When people start comparing your soprano voice to the great Varnay and the legendary Flagstad, there's a whole lot more going on than just "The next best new singer." Georg Solti once commented: "I once heard 30 sopranos audition for a part in a Mozart Opera; none of their voices moved me... until I heard Kiri (te Kanawa) sing! Here was something very special; a one in a million voice!" The very same thing is happening here! Yes, Lise is very young, but she already has that magnificent "buttery" fullness of tone, top notes to DIE for (3:01), and, YES, her vibrato comes in a few seconds after the note begins - Varnay style - just the way I like it! Take note people: you'll be hearing this very remarkable voice - in all the major Wagner & Strauss soprano roles, when the time comes - for a very long time to come; just think what this Norwegian wonder will do with Isolde... and Elektra... and Brunhilde?!! PLEASE support Lise's career and buy her debut album on Decca (which includes "Dich teure Halle" and Strauss' Vier letzte Lieder). Despite the absolute SCOURGE & VILLAINY of Covid-19, we live in very, VERY privileged times. Some of the best preventive medicine I know of can be administered here... by Doctors Strauss, Wagner & Davidsen! Stay safe & well, Mike D.
The most thrilling voice that I have heard since her great countrywoman Kirsten Flagstad who I was privileged to hear live. There have been some very good ones in between. However she is staggering role on Isolde
As good as this sounds on RUclips, she is EVEBN BETTER live! She is a phenomenal artist - and with her you have a sense of what audiences had in the 50s and 60s with Tebaldi and Nilson...
@@davidbastardo4154 Actually Verdi Requiem. She opened her mouth and the audience gasped. We knew that this was almost a cross between a Birgit Nillson and Tebaldi. Quite extraordinary.
@@Tevyeh613 Amazing. I hope more of her presentations are recorded in the future. I believe she is scheduled to play Elsa in the Meistersinger at the Met next year. Hopefully they will record it :)
She's outstanding in this. I listened to her Four Last Songs, which were nice, though her tendency to start a note straight and vibrato-less and after a second or two, allow it to resonate and vibrate properly became extremely annoying after a while. She doesn't do that here, and it's much much better. I think she has the potential to be the next great Wagnerian.
@@lemgull7865 No, not here. But on her recording of Strauss songs, she does that thing with her voice all the time, rather like a pop singer. She starts a tone straight without a vibrato, and then let's it vibrate property. Here, she's excellent.
I totally agree. I thought about to buy the record but exactly the mannerism to start often a note vibrato- less and let it swing after some seconds is for me extremely annoying also. This is a stylistic element for Barock music but totally wrong for the German Romantic music. I really wonder that no one gave her an advise during the recording sessions. Here she doesn't use this and i like the result very much. Her voice could develop with patience, growing age and time to a next world class high dramatic soprano in the tradition of great Scandinavian singers. But i fear the temptations of roles and offers will become a problem for this great, young talent. We will see but i hope the best.
@@Sir.Larselot The other thing about her that worries me is the shaking of the jaw whenever she sustains a note, but that seems to be kind of an epidemic among the younger generation of singers. When a voice is properly supported and the neck and jaw relaxed, there is never any shaking (look at Nilsson, Price, Freni, etc), but nowadays, you'd be hard pressed to find sopranos or mezzos who don't "chew" the notes or whose tongues don't waggle when they sustain a note (Goerke for one).
@@Shahrdad , her jaw isn't shaking so much but it reminds me very much to Hildegard Behrens when she sings higher notes. Then is the jaw pretty cramped, it doesn't look comfortably and more like hard work. The tongue is indeed shaking and this is really an epidemic among the younger generation of singers. But I'm afraid the most by the fact about her repertory in this young age and immediately at the leading opera houses. The great Flagstad said once in an interview about Wagner singing, that she can put the most important advice for young singers and Wagner in three words: "Leave Wagner alone". Just for the well known fact that the voice needs a long evolution to reach the physical power and stamina for the roles, ideally in a slow and well build career. Lise Davidsen starts with stuff like Sieglinde, Ariadne, Elisabeth at the age of early 30 years old, Flagstad spoke for roles like these about an age of around 40 years like she did. I can understand the hunger for a true, rare Wagner soprano and maybe this young woman is the most promising soprano for this since more than 20 years. But the list of very promising and famous singers is so long which lost their voices by singing too early heavy stuff. It would be so sad for this huge talent to have the same destiny.
Will be exciting to hear what she does with the Wesendonck and the Vier letzte Lieder which she will be singing soon. She may set a new standard in these. Not to mention Ariadne at Wiener Staatsoper.
She SHOULD win!!.... For better chance of exposure, she could try "Sixty Minutes" (CBS) Though they largely air controversial topics, they DO also make room for classical "acts"!!.....Like Alma Deutscher
I find the recit to be lacking in pathos.In this performance there is a lack of scaling the phrases. The shimmer needed at the beginning has no contrast to make the end seem thrilling. I am sure she was nervous. Despite people yelling it does not touch the soul. It should. She is a young woman with a decision to make about love. Her father is basically selling her to his circle of singer friends. In the prayer in the forest, she looses connection to the man she really loves: Tannhäuser. She prays to God in the dark of night by the river of unfulfilled dreams. The implication is that she was a moon child who finds illumination only by reflecting what she receives from others.
I could tolerate the excessive vibrato if she would just sing the rhythms on the beat She could be a fine singer. But the screechy vibrato spoils it all. She sings constantly behind the beat.
Wow das ist wirklich wunderschön Lisa
WONDERBAR! I am astounded, thank you Lise.
When people start comparing your soprano voice to the great Varnay and the legendary Flagstad, there's a whole lot more going on than just "The
next best new singer." Georg Solti once commented: "I once heard 30 sopranos audition for a part in a Mozart Opera; none of their voices
moved me... until I heard Kiri (te Kanawa) sing! Here was something very special; a one in a million voice!" The very same thing is happening
here! Yes, Lise is very young, but she already has that magnificent "buttery" fullness of tone, top notes to DIE for (3:01), and, YES, her vibrato
comes in a few seconds after the note begins - Varnay style - just the way I like it! Take note people: you'll be hearing this very remarkable
voice - in all the major Wagner & Strauss soprano roles, when the time comes - for a very long time to come; just think what this Norwegian wonder
will do with Isolde... and Elektra... and Brunhilde?!! PLEASE support Lise's career and buy her debut album on Decca (which includes "Dich teure Halle"
and Strauss' Vier letzte Lieder). Despite the absolute SCOURGE & VILLAINY of Covid-19, we live in very, VERY privileged times. Some of the best preventive
medicine I know of can be administered here... by Doctors Strauss, Wagner & Davidsen!
Stay safe & well, Mike D.
With all the bad things going on, life has given us Lise. Thank you.
I saw her just live and she was the the absolute outstanding star of tannhäuser in bayreuth. Never heard anyone that good live.
The most thrilling voice that I have heard since her great countrywoman Kirsten Flagstad who I was privileged to hear live. There have been some very good ones in between. However she is staggering role on Isolde
I love that she looks so pleased and happy after she finished, when she knew she did good
Loved her expression. She knew she nailed it!
Amazing
EXCELENTE , uma das melhores interpretações que já ouvi dessa ária !
Her and Jennifer Wilson are the best wagnerian sopranos of 21st century
As good as this sounds on RUclips, she is EVEBN BETTER live! She is a phenomenal artist - and with her you have a sense of what audiences had in the 50s and 60s with Tebaldi and Nilson...
Heard her at the MET. I agree.
I wish I could hear her live. What did you hear her in? Tannhäuser? Fidelio? Walküre?
@@davidbastardo4154 Queen of Spades
@@davidbastardo4154 Actually Verdi Requiem. She opened her mouth and the audience gasped. We knew that this was almost a cross between a Birgit Nillson and Tebaldi. Quite extraordinary.
@@Tevyeh613 Amazing. I hope more of her presentations are recorded in the future. I believe she is scheduled to play Elsa in the Meistersinger at the Met next year. Hopefully they will record it :)
Voice is extraordinary! Nice chiaroscuro, correct vibrato, velvety tone and projection. Brava!
@Nicholas Ennos Please check out soprano Kasondra Kazanjian
In my opinion a young Dramatic Mezzosoprano (her high notes are tortured many times & she is loosing volume on high pitch...)
Amazing voice!
Great simply great. A real super wagnerian voice.
Sehr gut. Hoffnungsvoll, diese Hochdramatische.
Davidsen may be the best jugendlich to appear on the scene since Studer. I am mightily impressed with her voice, sound and delivery.
Wonderful singer! She has a very bright future.
Wow! Explosiva y brillante!
Magnifique!
Bravissima...the way she forms her mouth in some vowels reminds me of Birgit.
Yes..and she hits every note right on..just like Birgit ..Bless us all if she is Birgit's replacement ...
@@leonardkalom4476 Please check out soprano Kasondra Kazanjian
I am glad there is something like this to honor Dona Sophia. Lise is wonderful at this too.
With good technique, health and right repertoire at right time and, " the force of destiny", perhaps the answer to the lack of true dramatic sopranos
Guess where they are and why they’re not being hired....
sublime ...
Helt fantastisk❤
She's outstanding in this. I listened to her Four Last Songs, which were nice, though her tendency to start a note straight and vibrato-less and after a second or two, allow it to resonate and vibrate properly became extremely annoying after a while. She doesn't do that here, and it's much much better. I think she has the potential to be the next great Wagnerian.
@@lemgull7865 No, not here. But on her recording of Strauss songs, she does that thing with her voice all the time, rather like a pop singer. She starts a tone straight without a vibrato, and then let's it vibrate property. Here, she's excellent.
I totally agree. I thought about to buy the record but exactly the mannerism to start often a note vibrato- less and let it swing after some seconds is for me extremely annoying also. This is a stylistic element for Barock music but totally wrong for the German Romantic music. I really wonder that no one gave her an advise during the recording sessions. Here she doesn't use this and i like the result very much. Her voice could develop with patience, growing age and time to a next world class high dramatic soprano in the tradition of great Scandinavian singers. But i fear the temptations of roles and offers will become a problem for this great, young talent. We will see but i hope the best.
@@Sir.Larselot The other thing about her that worries me is the shaking of the jaw whenever she sustains a note, but that seems to be kind of an epidemic among the younger generation of singers. When a voice is properly supported and the neck and jaw relaxed, there is never any shaking (look at Nilsson, Price, Freni, etc), but nowadays, you'd be hard pressed to find sopranos or mezzos who don't "chew" the notes or whose tongues don't waggle when they sustain a note (Goerke for one).
@@Shahrdad , her jaw isn't shaking so much but it reminds me very much to Hildegard Behrens when she sings higher notes. Then is the jaw pretty cramped, it doesn't look comfortably and more like hard work. The tongue is indeed shaking and this is really an epidemic among the younger generation of singers. But I'm afraid the most by the fact about her repertory in this young age and immediately at the leading opera houses. The great Flagstad said once in an interview about Wagner singing, that she can put the most important advice for young singers and Wagner in three words: "Leave Wagner alone".
Just for the well known fact that the voice needs a long evolution to reach the physical power and stamina for the roles, ideally in a slow and well build career.
Lise Davidsen starts with stuff like Sieglinde, Ariadne, Elisabeth at the age of early 30 years old, Flagstad spoke for roles like these about an age of around 40 years like she did.
I can understand the hunger for a true, rare Wagner soprano and maybe this young woman is the most promising soprano for this since more than 20 years.
But the list of very promising and famous singers is so long which lost their voices by singing too early heavy stuff. It would be so sad for this huge talent to have the same destiny.
Absolutely magnificent!!!......You should get on "Sunday Morning" if Jane Pauley, or someone else at CBS, knows anything about fine music!!
Hey this girl is good!
Will be exciting to hear what she does with the Wesendonck and the Vier letzte Lieder which she will be singing soon. She may set a new standard in these. Not to mention Ariadne at Wiener Staatsoper.
BRAVISSIMA.
She is singing Sieglinde and Elizabeth in Bayreuth this summer. I may have to drain my bank account. When she sings Isolde, 100 PC , I will be there.
Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", magnificent voice
Grandioso!
Wow
She SHOULD win!!.... For better chance of exposure, she could try "Sixty Minutes" (CBS) Though they largely air controversial topics, they DO also make room for classical "acts"!!.....Like Alma Deutscher
By all the gods, if a young soprano sounds like this, what is she going to sound like in 20 years?
Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", magnificent voice
as a native german speaker, I would like to see clearer pronunciation. although that's not so bad with wagner's sometimes almost unbearable texts ...
Yep. .....she's good alright..
Is she singing Elsa or Sieglinde soon??
TREMENDOUS ♥♥♥♥
!
!
!
Only three names. Nilsson. Traubel. Flagstad. No one else can compare to them.
If her voice stays healthy she can join their ranks.
Great Artist, a real Wagner voice! Mrs Harteros should go back to Händel 😉
I wonder why Angela Meade isn’t singing like this. :-D
I find the recit to be lacking in pathos.In this performance there is a lack of scaling the phrases. The shimmer needed at the beginning has no contrast to make the end seem thrilling. I am sure she was nervous.
Despite people yelling it does not touch the soul.
It should. She is a young woman with a decision to make about love. Her father is basically selling her to his circle of singer friends.
In the prayer in the forest, she looses connection to the man she really loves: Tannhäuser. She prays to God in the dark of night by the river of unfulfilled dreams. The implication is that she was a moon child who finds illumination only by reflecting what she receives from others.
The reincarnation of Birgit Nilsson!
Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", magnificent voice
Better than Birgit. Intonation much better and exciting timbre. Think Flagstad.
Une voix puissante oui, mais...
I could tolerate the excessive vibrato if she would just sing the rhythms on the beat She could be a fine singer. But the screechy vibrato spoils it all. She sings constantly behind the beat.