I too saw her many times at the met and on their spring tours. I remember at 19 seeing her in Atlanta as Turandot. When she came out the stage door I asked if it were true that she sings Der Holle Rache- She said yes for fun- Then she took me by the hand to her dressing room, called in someone to play and sang the aria, complete with 4 high f's. I was mesmerized- Thought I had died and gone to heaven- she laughed and hugged me- Such an artist and so kind to a kid as I was then.
Haha...nice & funny. She claimed that she was able to sing it ,while vocalising ,warming up her voice before a performance. Despite the fact she lost her voice because of a very bad teacher ,she worked a lot ,to discover her own technique. (Anita Cerquetti did the same thing with the Queen of the night) One of the first roles of A.Silja ,as well....So perhaps ,it brings luck...
Years ago, I had an LP of Nilsson arias. And 'Ozean du Ungerheuer' was one of my favorites. I can't walk on the beach today without opening my arms and exclaiming, Ozean du Ungerheuer! 🌊
In a world of swooping, scooping, caterwauling sopranos, the lightning-bolt accuracy of Nilsson's singing is refreshing beyond description. Surely one of the greatest artists in musical history.
She was known to be such a friendly and open person to her fans. How lucky you are not only to have heard her, but to have her do something like that!! Magnificent. Just makes her memory better in my mind.
After all these years, and she still moves us and delight us as if she were still among us. I can not think of a better compliment for an artist, and certainly Nilsson deserves it!
I remember that I had never heard anything like it before (or since) When she finished and we went back out, the dozens of people outside were cheering- she looked at me, flashed that smile, hugged me again, and then left waving to the fans-
She's got the power, beauty, clarity and agility for this aria. Weber is so difficult to fine the right combinations for, especially Oberon. I guess there are a number of reasons one hears this mostly in concert and can count on one hand recordings and/or productions of Oberon.
I cannot tell you how many times I have watched this. At 8:13 oh my. She hits it and then you see the jubilation in her face; her face and entire body in delight. She's not only in love with the music but also overjoyed that she has conquered an extraordinarily difficult piece. Thank you for sharing.
Well, I'm not sure of course, but I have heard from others who said as a matter of course that she often vocalized up to the high F. I was astonished by the sheer flexibility of her Mozart coloratura though you could tell she was consciously pulling back on the usual volume and lightening her voice. It just staggered me that she would do something like this for a gushing 19 y/o fan as I was (and still am at 64) She was so extraordinarily kind and hugged me as I burst into tears of joy.
Well I am proud to come from the same rural district in the south of Sweden (Scania) as her. My mum resembled her a bit. Same impressive posture, dark hair, big chin and loud voice. (my mum and I always used to call each other on the phone after hearing Birgit on the radio. "What did you think of Biggan tonight?") :o> (my mum laughed like Biggan too. Sort of a coloratura aria kind of laughter.) (haha.)
Swedish Audiences are very restrained, in London I heard her and Flagstad singing this on the stage at the Albert Hall , when Thousands stood on their feet and cheered including I may say our then Young Queen!
eccelsa...voce straordinariamente potente timbrata ma capace di modulare ottima tecnica... e interprete di classe nonostante le critiche che le sono state fatte di essere fin troppo vocalista Grande tra le grandi del secolo XX
Simply astounding artistry, especially when you realize she was 46 at the time she did this. One of the great voices of the century. None like her working today.
What's so astounding about her being 46? Any singer worth their salt who sings properly and cares for their voice should peak in their 30's through their 50's. 46? Big deal.
@@mrlopez-pz7pu she a wonderful memorable experience for this person when she was 19. What you say is true but such a negative comment. You obviously suck lemons when you wake up.
Well every concert in Sweden is formal. It will take the horns they used to shake the walls of Jericho to wake up a Swedish audience! :-D (I am Swedish myself.) :-( Anyway, this is from the same concert in what I judge to be the Stockholm Concert Hall (not the Berwald Hall) during the mid-60-ies that Isolde's Liebestod (here on RUclips) is from. The conductor being the great (but outside of Sweden unknown) Stig Westerberg! (I'll check my 1964-68 diary. I may mention it.)
Ah, that explains the tepid response - thank you. Good Lord, I expected them to scream their lungs out after that and wondered what sort of stupor could have seized them. It made me angry, actually. To have that shower of gold followed by such a listless response. Well, thank goodness we have the film and we can all make it up to her for years to come.
And we here are glad you found and posted it! I cannot remember who sang the recording I used back in the late sixties when I was writing my music history term paper. Joseph Braunstein (Do you remember him from Nonesuch jacket notes?) assigned all the singers to trace the evolution of the dramatic monologue (where recitativo and cantabile became integrated, and leitmotifs appeared.)
First performed at Covent Garden, London on 12 April 1826, with Miss Paton as Reiza, Mme. Vestris as Fatima, Braham as Huon, Bland as Oberon and the composer conducting, it was a triumph with many encores, and the production was frequently revived. The libretto was later translated into German by Theodor Hell, and it is in this German translation that the opera is most frequently performed. While it is logical to assume that the German translation would have had the composer's approval - and that it would have been in that language that revisions would have been made - he heard it only in English, and did not work on a translation before his death.
Yes, it is unfortunate that at those times great singers sang works in translation - like Nilsson here and Fritz Wunderlich there... maybe with English to German the transition is not so noticeable, but when they sing Italian or Russian repertoire in Swedish or German, it is awkward to listen. The original English would be infinitely better, of course...
Yes! There were in fact so few people who sang this aria. Eileen Farrell recorded it (but it is early digital transfer-not remastered in good sound), Sutherland did it in English. I can't think of others offhand. Earlier I think Flagstad might have as well, but I've never heard a recording. It is more amazing that this is live in concert!
Agreed, perfect, perfect pitch. No doubt her confidence to reach for the big sounds comes from her perfect pitch. The more she reached, the bigger the sound. And she reached far, and the sound was perfect, and big. Sounds biblical.
Yes, the story is true- I was at the recital you spoke of in Atlanta too. Seems I also remember her singing Traume from The Wesendonk lieder. Didn't she wear a very form fitting red dress?- Jimmy Carter and his wife were there (he was Governor at the time) and we sat behind them over on the right in those box seats that swept down on each side. Her artistry was I fear lost on the Carters- but maybe not!
I think Jimmy was a bit of an opera fan. Perhaps Rosalyn too. I remember the German Chancellor complained he could not carry on a decent telephone conversation with Carter with that damned opera playing on his stereo.
That is probably very true. I think the 50s and 60s was the beginning of the recording era and this was a perfect training ground for singers. Nothing like a recording to show a singer all their faults. Of course this assumes you are willing to listen, and are even interested in improving your singing.
Joie indicible que cet « Ozean » par Sainte Birgit qui émeut et donne le frisson par ses moyens vocaux somptueux près qu’inhumains. Et joie égale avec Sainte Gundula tout aussi merveilleuse et époustouflante sinon plus. Plus aucune hélas ne leur arrive à la cheville. Si triste et tellement frustrant. Heureux comme nous qui les avons vues.
Birgit Nilsson was the greatest Isolde who ever sang the part. Also the greatest Brunnhilde. And the greatest Elektra and Salome. She was also a wonderful Turandot, Aida and Tosca. She was one of the greatest sopranos who ever lived.
What a great example of a terrific singer letting the composer and her glorious instrument convey the music. (don't mean to start a new thread - but maybe we could just send this to Ms. Bartoli as an example of what moves people most - not facial contortions or vocal acrobatics - just honest musicianship.)
Extraordinary! Bravissima! And what great music, one can hear why Wagner loved Weber. At 4:43 and at 5:19 the Notung voice is so clearly heard! While at 6:15 it sounds like Berlioz' Les nuits d'été. Clearly Weber's music was mightily influential. Only one shortcoming is that she sings not in the original English, it takes away the originally conceived sound. Otherwise her singing is perfect, outstanding. Why is there no video of this whole opera??? Alas...
@@marchesano Sorry to enlighten you but the libretto was in English, Weber traveled to London to specifically study English so that he could relate to the libretto better. He died in London while performing the opera. You can easily find this information with minimal effort. It is even more a pity that at Nilsson's time such artistic devotion of the composer was cruelly snubbed for an unknown purpose.
You think this audience is bad? Watch some of the facial expressions during the Liebestod I've uploaded (from the same concert). Some poor souls seem to be verging on boredom! If only I were to be there...nothing short of transfiguration!
She triumphs and is stupendous, but I don't wish to have negative commentary on other great singers. Maria Callas of course did several roles that Birgit could not inhabit fully.
Que linda se la ve, y elegante; esto aparte, de su magnifica, una gran interpreta- cion de esta inmensa, y nada facil, aria. Birgit demuestra, con esta aria, y me con- firma que era de las Grandes Sopranos, no Heroica, pero si, una Spinto, Neta, que podia hacer, perfectamente, el repertorio heroico. ¡¡¡Esta Fabulosa!!!
This is very good, of course. But my favorites in this piece remain Teschemacher ruclips.net/video/lM1WY6h79dU/видео.html and Bindernagel ruclips.net/video/zQUta-vP1Zk/видео.html
I also admire Ms Bartoli, but as a personal preference (and I know that many would disagree) I would rather she would let her glorious voice and superb musicianship doing the talking.
And what a role model for today´s women who have been told they have to look like Holocaust survivors to be accepted. Not so slim women are not hot? You bet they are. Who was an overwhelming Isolde? (clip of this aria too from this same concert here on YT. Actually more views than the Solti version.)
Much prefer Sutherland's rendition...Sutherland's voice seems a little larger and Nilsson misses the high C on art thou(english version)...A great performance, but as i said prefer Sutherland's effortless rendition.
There isnt a musical note in the entire performance. And making the passing top C the climactic note is shir idiocy and utterly unmusical. Listen to the perfect Farrell.
You are allowed your opinions. I love Eileen Farrell too. However, Birgit is quite musical. Your snide commentary proves your complete lack of understanding, nonetheless musciality.
![[RARE] BIRGIT NILSSON - MASTERCLASS (FULL)](http://i.ytimg.com/vi/LQXYbfI9Kmo/mqdefault.jpg)
I too saw her many times at the met and on their spring tours. I remember at 19 seeing her in Atlanta as Turandot. When she came out the stage door I asked if it were true that she sings Der Holle Rache- She said yes for fun- Then she took me by the hand to her dressing room, called in someone to play and sang the aria, complete with 4 high f's. I was mesmerized- Thought I had died and gone to heaven- she laughed and hugged me- Such an artist and so kind to a kid as I was then.
Oh, my God!
lucky lucky YOU!!
Haha...nice & funny.
She claimed that she was able to sing it ,while vocalising ,warming up her voice before a performance. Despite the fact she lost her voice because of a very bad teacher ,she worked a lot ,to discover her own technique.
(Anita Cerquetti did the same thing with the Queen of the night)
One of the first roles of A.Silja ,as well....So perhaps ,it brings luck...
Selfie?
Years ago, I had an LP of Nilsson arias. And 'Ozean du Ungerheuer' was one of my favorites. I can't walk on the beach today without opening my arms and exclaiming, Ozean du Ungerheuer! 🌊
In a world of swooping, scooping, caterwauling sopranos, the lightning-bolt accuracy of Nilsson's singing is refreshing beyond description. Surely one of the greatest artists in musical history.
Amazing! Her voice was so efficiently produced. Virtually no constriction! So full and lush.
Ahhh!! The BEST
I heard her many times from 1959 to the '80's. She was astonishing.
She was known to be such a friendly and open person to her fans. How lucky you are not only to have heard her, but to have her do something like that!! Magnificent. Just makes her memory better in my mind.
After all these years, and she still moves us and delight us as if she were still among us. I can not think of a better compliment for an artist, and certainly Nilsson deserves it!
I remember that I had never heard anything like it before (or since) When she finished and we went back out, the dozens of people outside were cheering- she looked at me, flashed that smile, hugged me again, and then left waving to the fans-
She's got the power, beauty, clarity and agility for this aria. Weber is so difficult to fine the right combinations for, especially Oberon. I guess there are a number of reasons one hears this mostly in concert and can count on one hand recordings and/or productions of Oberon.
I cannot tell you how many times I have watched this. At 8:13 oh my. She hits it and then you see the jubilation in her face; her face and entire body in delight. She's not only in love with the music but also overjoyed that she has conquered an extraordinarily difficult piece. Thank you for sharing.
Yeah and a deep love for the music
There are no voices like this today! AMAZING
So true. No voices and no characters. I fail to understand what the hell happened to the opera scene
How true. No voices in Opera like hers. Gloria Swanson said of past movie stars "we have faces then"; with Opera "they had voices then".
Hoy 2022 escuché a birgete, me conmueve hasta las lágrimas, VIRTUOSISMO ABSOLUTO
Well, I'm not sure of course, but I have heard from others who said as a matter of course that she often vocalized up to the high F. I was astonished by the sheer flexibility of her Mozart coloratura though you could tell she was consciously pulling back on the usual volume and lightening her voice. It just staggered me that she would do something like this for a gushing 19 y/o fan as I was (and still am at 64) She was so extraordinarily kind and hugged me as I burst into tears of joy.
Her phrasing is very grand and beautiful.
..............
That must have been, unbelievable. VERY envious of you!
Well I am proud to come from the same rural district in the south of Sweden (Scania) as her. My mum resembled her a bit. Same impressive posture, dark hair, big chin and loud voice. (my mum and I always used to call each other on the phone after hearing Birgit on the radio. "What did you think of Biggan tonight?") :o> (my mum laughed like Biggan too. Sort of a coloratura aria kind of laughter.) (haha.)
I saw her do a recital at the Kennedy Center in 1966...unbelievable..later in San Francisco Die walkure
A collosal voice that could make the Nile part with that High C. 🌹
Que hermoso, que presencia y que hermosa dicción, excelente!!!!!
Mesmerising! Clear as a bell and so serenely confident in every phrase. Birgit Nilson was a phenomenal soprano.
Swedish Audiences are very restrained, in London I heard her and Flagstad singing this on the stage at the Albert Hall , when Thousands stood on their feet and cheered including I may say our then Young Queen!
Nilson's confidence is as astounding as her voice. Riveting. Thank you!
I have to say also that Westerberg was a very fine Conductor with a Excellent Orchestra in Stockholm.
eccelsa...voce straordinariamente potente timbrata ma capace di modulare
ottima tecnica...
e interprete di classe nonostante le critiche che le sono state fatte di essere fin troppo vocalista
Grande tra le grandi del secolo XX
Simply astounding artistry, especially when you realize she was 46 at the time she did this. One of the great voices of the century. None like her working today.
What's so astounding about her being 46? Any singer worth their salt who sings properly and cares for their voice should peak in their 30's through their 50's. 46? Big deal.
@@mrlopez-pz7pu she a wonderful memorable experience for this person when she was 19. What you say is true but such a negative comment. You obviously suck lemons when you wake up.
Today we have NetrebCow. Oh, dear.
Perfect, simply gorgeous singing.
What incredible technique and artistry. I feel blessed to have seen her many times in performance, both in Vienna and NYC.
Surely this lady was a Goddess.
No doubt about it.
Oh yeah. Saved to faves all day long baby.
Vielen Dank für dieses wunderbare Video!
Ich bin so dankbar, dass ich so oft mit ihr in der Wiener Staatsoper auf der Bühne stehen durfte!
Speechless I am astonished, She is amazing, wonderful, incredible 👏👏👏
Thanks for posting this! This vid was up before, but disappeared.
You are truly lucky to have experienced her live and so many times. In fact, you have received the divine gift. :)
Well every concert in Sweden is formal. It will take the horns they used to shake the walls of Jericho to wake up a Swedish audience! :-D (I am Swedish myself.) :-(
Anyway, this is from the same concert in what I judge to be the Stockholm Concert Hall (not the Berwald Hall) during the mid-60-ies that Isolde's Liebestod (here on RUclips) is from. The conductor being the great (but outside of Sweden unknown) Stig Westerberg! (I'll check my 1964-68 diary. I may mention it.)
Ah, that explains the tepid response - thank you. Good Lord, I expected them to scream their lungs out after that and wondered what sort of stupor could have seized them. It made me angry, actually. To have that shower of gold followed by such a listless response. Well, thank goodness we have the film and we can all make it up to her for years to come.
And we here are glad you found and posted it! I cannot remember who sang the recording I used back in the late sixties when I was writing my music history term paper. Joseph Braunstein (Do you remember him from Nonesuch jacket notes?) assigned all the singers to trace the evolution of the dramatic monologue (where recitativo and cantabile became integrated, and leitmotifs appeared.)
An Superb presentation. Birgit at her Best .
First performed at Covent Garden, London on 12 April 1826, with Miss Paton as Reiza, Mme. Vestris as Fatima, Braham as Huon, Bland as Oberon and the composer conducting, it was a triumph with many encores, and the production was frequently revived. The libretto was later translated into German by Theodor Hell, and it is in this German translation that the opera is most frequently performed. While it is logical to assume that the German translation would have had the composer's approval - and that it would have been in that language that revisions would have been made - he heard it only in English, and did not work on a translation before his death.
Yes, it is unfortunate that at those times great singers sang works in translation - like Nilsson here and Fritz Wunderlich there... maybe with English to German the transition is not so noticeable, but when they sing Italian or Russian repertoire in Swedish or German, it is awkward to listen. The original English would be infinitely better, of course...
Yes! There were in fact so few people who sang this aria. Eileen Farrell recorded it (but it is early digital transfer-not remastered in good sound), Sutherland did it in English. I can't think of others offhand. Earlier I think Flagstad might have as well, but I've never heard a recording. It is more amazing that this is live in concert!
Thank you Chris!
Great voice,every IN TONO,fine musician...
7:07 - oh, dear!
PHENOMENALE!
Glorious!
Thanks for sharing. Priceless experience :)
No dejo de escuchar esa entrada, la orquesta y finalmente esa voz que dice toda la obra, grandeeee birgite!!!
Agreed, perfect, perfect pitch. No doubt her confidence to reach for the big sounds comes from her perfect pitch. The more she reached, the bigger the sound. And she reached far, and the sound was perfect, and big.
Sounds biblical.
Most. Adorable. Story. Ever!!
Yep this is the Concert Hall in Stockholm. You know, where they give away the Nobel Prize!
Yes, the story is true- I was at the recital you spoke of in Atlanta too. Seems I also remember her singing Traume from The Wesendonk lieder. Didn't she wear a very form fitting red dress?- Jimmy Carter and his wife were there (he was Governor at the time) and we sat behind them over on the right in those box seats that swept down on each side. Her artistry was I fear lost on the Carters- but maybe not!
I think Jimmy was a bit of an opera fan. Perhaps Rosalyn too. I remember the German Chancellor complained he could not carry on a decent telephone conversation with Carter with that damned opera playing on his stereo.
Gran com la vida!
Bigger than life!
That is probably very true. I think the 50s and 60s was the beginning of the recording era and this was a perfect training ground for singers. Nothing like a recording to show a singer all their faults. Of course this assumes you are willing to listen, and are even interested in improving your singing.
Joie indicible que cet « Ozean » par Sainte Birgit qui émeut et donne le frisson par ses moyens vocaux somptueux près qu’inhumains. Et joie égale avec Sainte Gundula tout aussi merveilleuse et époustouflante sinon plus.
Plus aucune hélas ne leur arrive à la cheville. Si triste et tellement frustrant.
Heureux comme nous qui les avons vues.
Brilliancy
Divina
Maria callas also recorded it in English.
So did Joan Sutherland and Leontyne Price
Birgit Nilsson was the greatest Isolde who ever sang the part. Also the greatest Brunnhilde. And the greatest Elektra and Salome. She was also a wonderful Turandot, Aida and Tosca. She was one of the greatest sopranos who ever lived.
Wish she'd sung this opera on stage.
What a great example of a terrific singer letting the composer and her glorious instrument convey the music. (don't mean to start a new thread - but maybe we could just send this to Ms. Bartoli as an example of what moves people most - not facial contortions or vocal acrobatics - just honest musicianship.)
Megnificaaaa
Extraordinary! Bravissima! And what great music, one can hear why Wagner loved Weber. At 4:43 and at 5:19 the Notung voice is so clearly heard! While at 6:15 it sounds like Berlioz' Les nuits d'été. Clearly Weber's music was mightily influential. Only one shortcoming is that she sings not in the original English, it takes away the originally conceived sound. Otherwise her singing is perfect, outstanding. Why is there no video of this whole opera??? Alas...
Sorry to inform you, but the opera was written in German, not English. She sings it in the original language.
@@marchesano Sorry to enlighten you but the libretto was in English, Weber traveled to London to specifically study English so that he could relate to the libretto better. He died in London while performing the opera. You can easily find this information with minimal effort. It is even more a pity that at Nilsson's time such artistic devotion of the composer was cruelly snubbed for an unknown purpose.
7:07 man...that high note....
Ozean du Ungeheuer as revealed by the Goddess of the C.
Frida Leider, Majorie Lawrence and Elisabeth Rethberg recorded in German
@jozanesz I've checked the pitch. It is correct.
God did her high Fs blow out your eardrums?! :P
@Nilssonite Yes, you are lucky, so lucky...
Fantastic. What a massive voice. (Also, I really like the conductor. Does anybody know who he is?)
She is at her peak here. Was this ever released on an album (vinyl, preferably)?
Unfortunately not.
Beleza e drama!
BEAUTIFUL! ❤❤❤ CAN SOMEBODY PLEASE SEND ME THE LYRICS OF THIS ARIA?
You think this audience is bad? Watch some of the facial expressions during the Liebestod I've uploaded (from the same concert). Some poor souls seem to be verging on boredom! If only I were to be there...nothing short of transfiguration!
Triumphs where Callas fails. Not a waver. Stunning.
She triumphs and is stupendous, but I don't wish to have negative commentary on other great singers. Maria Callas of course did several roles that Birgit could not inhabit fully.
If Callas had recorded it in the prime of her career, she would not have fails. She just did it too late.
@@3uHo4ka ruclips.net/video/kPd4RA8j8Ug/видео.html
Shut up about the great Callas. The version by Callas is glorious. Ignorante!
@@3uHo4ka isn't that always the case with Callas? IF only if she had recorded this when younger.
rather tepid applause for such a spectacular performance. Is the audience stoned?
Just Swedish.
What a dead audience
BUT THAT VOICE!!!
Along with Sutherland....the greatest voice on Earth
THE VOICE!!!!! Wow!
And madame Callas. ❤️
And the legendary Callas.
Que linda se la ve, y elegante; esto aparte, de su magnifica, una gran interpreta-
cion de esta inmensa, y nada facil, aria. Birgit demuestra, con esta aria, y me con-
firma que era de las Grandes Sopranos, no Heroica, pero si, una Spinto, Neta,
que podia hacer, perfectamente, el repertorio heroico. ¡¡¡Esta Fabulosa!!!
This is very good, of course. But my favorites in this piece remain Teschemacher ruclips.net/video/lM1WY6h79dU/видео.html and Bindernagel ruclips.net/video/zQUta-vP1Zk/видео.html
5 dislikes???? Really?
those 5 are probably into rap which is NOT music but a low social comment.
Fans of the overrated NetrebCow, no doubt.
Help me. What's the name of this music?
ruclips.net/video/miSJ_wZTE3g/видео.html
Love her but she’s singing sharp on a lot of notes above the staff…
I also admire Ms Bartoli, but as a personal preference (and I know that many would disagree) I would rather she would let her glorious voice and superb musicianship doing the talking.
@marchesani Flagstad did not have, by any means the easyness of those outpouring highest, notes. SHe was an excellent singer , though.
And what a role model for today´s women who have been told they have to look like Holocaust survivors to be accepted. Not so slim women are not hot? You bet they are. Who was an overwhelming Isolde? (clip of this aria too from this same concert here on YT. Actually more views than the Solti version.)
Perfect in almost all ways. Just a little cold and a little slow. I think I prefer Flagstad.
Flagstad was great, But Nilsson was greater.
Much prefer Sutherland's rendition...Sutherland's voice seems a little larger and Nilsson misses the high C on art thou(english version)...A great performance, but as i said prefer Sutherland's effortless rendition.
There isnt a musical note in the entire performance. And making the passing top C the climactic note is shir idiocy and utterly unmusical. Listen to the perfect Farrell.
Wundervoll gesungen! So musikalisch! Besonders der Übergang zum hohen c ist phänomenal! Da verstummt jeder Hörbefehl...
You are allowed your opinions. I love Eileen Farrell too. However, Birgit is quite musical. Your snide commentary proves your complete lack of understanding, nonetheless musciality.
Farrell is far below the great Nilsson. Your ignorant remark shows how pathetic you are.