I always think her high notes sound absolutely miraculous. It sounds almost "percussive", if that makes sense... as if an organist hit a key on a keyboard. The sound starts from nowhere with absolute precision, power and constancy. It's jaw-dropping. I'm obsessed with her.
I´m a Swede. We remember her as a great singer of course. But her wit and humour... It´s easier to reproduce I guess, the way you just did. She´s a legend.
I remember seeing this on black and white TV when I was a HS freshman. I thought it was ridiculous. Little did I know then the power this woman would soon hold over me that would endure throughout my life. Her performances were life changing experiences for me. No one can compare. No one.
Utter perfection! Her technique is flawless, with no constriction, no tongue flutter, and no wiggling around as most sopranos today do. Every note is dead center pitch with power to reach the farthest part of any opera house. No screaming, and no attempts to "place" her pitches with nasality. The greatest Turandot of the last many, many years. No one today comes close.
Spot on! Perfectly put! It's downright disconcerting how far singers have slipped from this standard. It's as though the best sprinters today were running the 100m in 11 seconds.
I completely agree with your assessment of Nilsson and your views on singers today! Although, I did a Turandot with Cristina Deutekom and she too, was close to perfection.
@@uliwidmaier5192 Yes, I heard Deutekom sing every rehearsal and performance. San Diego Opera in the Spring of 1982. Deutekom was incredible although, everyone acknowledges that Nilsson reigns supreme as Turandot! Deutekom returned soon after to sing Abagaile in Nabucco... stellar singing!
Notice how easily she produces those laser high notes so effortlessly. She simply opens her mouth and the notes just pour out with such extreme volume.
She simply thinks about her line and then her projection, then breathes, then keeps a cord closure that's just about right to have balanced flow and then decides when to sustain more. Yes ... simple
I would say that the sound seems to be effortless, however there a lot of muscle work going on in her body to produce that. Simply amazing. I recall in an interview she said that when she would sing Turandot, she would use every single muscle in her body to produce that sound. A force of nature that comes only in a lifetime (or even maybe two lifetimes!)
Some of the greatest high notes ever recorded. They sound downright otherworldly. As many have noted in the comments, they are not effortless, though they sure sound that way. Nilsson works extremely hard to produce them, both mentally and physically. The startling thing is that she succeeded to such an absurd extent. I never heard her live, but I'm told that she was much more impressive onstage than in any recording. A frightening thought! Joachim Kaiser, the great late German music critic, wrote that she makes other world class singers who share the stage with her sound undeservedly third-rate. Another thing I heard is that she didn't sound all that impressive when you stood next to her on stage. It was only in the auditorium that her unique voice truly unfolded. At any rate, a truly great recording.
I heard Nilsson sing Wagner at the Metropolitan Opera in New York During the performance I was at a standing room post behind the top row at the most distant point from the stage in that huge house. When she hit a high C something incredible and spectacular happened. I could feel reverberations from her voice physically coming through the bar of the post before me and radiating up my arms to my chest. I will never forget that moment as long as I live. I have heard other great singers but nobody I heard had her vocal power. They say Lauritz Melchior equalled her.
@@uliwidmaier5192 - Your words brought my experience at the Met 45 years ago back to me. I thank you for spurring a recall of that tremendous memory. I sure would love to have heard Flagstad and Melchior together!
@@johnmaxwell1750You are most welcome! I guess there is no end to what we would have liked to have heard. You got to experience Nilsson, which is absolutely magnificent. But you missed out on Flagstad and Melchior. There are probably not too many people alive who have heard those two. And they, in turn, missed out on Ponselle and Caruso . . . I am mainly a piano aficionado, and I got to experience Horowitz, Rubinstein, Kempff, Arrau, Richter, Michelangeli, and Brendel. So I am pretty happy.
@@uliwidmaier5192 - I was lucky to hear Rubenstein play Chopin. Also heard von Karajan/BPO and Solti/CSO. The skill and the excellence of those fantastic performances reminds me how lucky I was to hear such great artists at the peak of their powers. Their skills were several orders of magnitude beyond what most popular musicians in the same period accomplished during live performances.
The best thing about this video is that one is able to see just how poised yet relaxed her torso is. There is no tension anywhere, and there are no gimicks. She just stands and delivers, with the exception of the final high C where she hunkers down with that oomf from her core and below to get some extra support - just as she should!
@@ejvindfrantzen4194 We are so lucky and blessed to have on you tube video clips of the worlds greatest singers of the modern era (on film). When I read comments, be it approval or criticism, by members of the you tube community, and I suspect that the one's that I am thinking of, believe themselves to be voice coaches or experts, I have to wonder at what point they become qualified to approve or disapprove the performances of the greats.
@@joejohnson945 I played for 40 years in the opera orchestra in Copenhagen and even accompanied Brigit Nilsson in "Tosca" many many years ago. I love her voice and personality! Yours Ejvind Frantzen
@@ejvindfrantzen4194 Ejvind, how wonderful it must be to work with one of the opera world's greatest. You must have some wonderful memories. Best wishes, Joe
She kills me and in tthe same time I could cry of happiness ! We love you Birgit, wherever you are, your voice will never stop shining ! (By the way, with a Turandot like her, any Calaf drop dead at once... except Corelli, of course !) Thanks for this expert I never saw before.
Great Vocal Emission. Beautiful. So much bloom and freedom in her voice and the release of the air. She has a deep understanding of the OLD REAL ITALIAN APPOGGIO BREATHING TECHNIQUE. 👌👌👌👌👌
Es treibt mir die Tränen in die Augen. Diese Hochdramatische ist bis heute unerreicht. Wer sie auf der Bühne erleben konnte, darf sic h glücklich schätzen, weil nach Nilsson keine Sängerin in ihrer Klasse zu erleben war.
This is because the teachers today do not know how the voice works. Most of them never had any kind of major career and only could manage to sing light music. Powerful singing is a total mystery to them. So they only allow students to sing Lieder and Mozart.
Singers like Nilsson, Traubel, Flagstad, Callas, Ponselle, Melchior, and Bjorling are not to be found in opera today. The gods and goddesses have perished in Valhalla.
So these are icons ftom the past but ofcourse there are singers on this level today, but today you compete with more singer so you dont get the same treatment and hype.
@@tommylundholm9146 I have a hard time imagining singers now that can sing like this video. Would you be willing to name a few singers that you’re thinking of that you would recommend?
What people tend to forget is: as we learn later in the opera, Turandot is already in love with Calaf when she sings this aria. This has thrown her off-kilter, and she is nervous and hysterical. That is the reason for the extremely high, almost screamy tessitura. Puccini was a master at creating character through musical means.
Yeah she hated her teachers. The first one thought she was a mezzo and physically tried to push her voice down. It almost ruined her voice. Her second was almost as bad, the father of soprano Erika Sunnergård. Both of them try to take credit for Nilssons voice with Erika stating that her home was filled with that technique and that she definitely wasn't self-taught. Obviously not true since Erika doesn't sound a f*****ng bit like Birgit at all, and non of Arne Sunnergårdhs students has anything in common with Birgit.. Nilsson was mainly self-taught and her inspiration for the high notes, was her mother who easily took the high C:s in the most brilliant and easy way
Callas forever! Nobody can sing this aria like Maria - Is obvious that Nilsson do not understand Italian. Oderwise she can not be so soft on the word orrore.. Every word is so meaningful with Maria, she really understand like nobodyelse Puccini. Is incredible how Maria modulate the intrinsic ritm of this aria crating visual effect - listen to he 1957 rendition of the aria - how she sing/say "o Principi che a lunghi caravane... dove parte del mondo qui venite..." lunghi caravane suggest in Maria rendition something ondulating like kamels on the sand dunes the quaitnes if is firs disrupted by the accent on QUI venite - here, here is my reign - to do a real very good crescendo for Io vendico SU VOI, quella purezza - very delicate, ascending on quel grido for the pike on quella MORTE. Maria is a real genius, I was incapable to listen to Pucini before I discovered Maria in1994 - til that moment I listen to her recordings again and again, and they are so alive, every time I discover a nuance, an accent a way how she can create with sound ONLY visual images. An other example is from La Sonambula - "amo il rio perche londa ti da..."when si sing first this at Edinburg is very much evident - is like you hear water going from a bottle to a glass for Elvino to drink - Callas a real genius, nobody sing like her.
May I ask why you didn't include Greindl and Hotter in your google-spreadsheet? They were nasal later in their career, but their technique in the 1930s/1940s was great. Greindl (ruclips.net/video/MQ3HjNXl7nU/видео.html), Hotter (ruclips.net/video/Vw4jXY2G7BI/видео.html). Do you think they were overall bad or do you only include singers who were consistently good throughout their career?
La Nilsson aligne les contre-ut aussi facilement que si elle enfilait des perles. En revanche, le chef dirige tout ça à la truelle. Aucun sens du phrasé puccinien.
Oh come on! Callas and Sutherland's renditions of Turandot is extremely bad! The only one who can play in the Turandot league was Gwyneth Jones and she still was far behind
![Lethal Company Music Video 🎵 "Follow The Orders" [VERSION A]](http://i.ytimg.com/vi/QeooZB4Z7RA/mqdefault.jpg)
Something to study and learn for today´s Wobble Turandots.
Well stated!
I wonder if a certain Anna N. heard this recording… 😭
@@RestlessTheRED SUPERB comment!!!
@@RestlessTheRED that terrible woman symbolises everything that's wrong with opera today!
I always think her high notes sound absolutely miraculous. It sounds almost "percussive", if that makes sense... as if an organist hit a key on a keyboard. The sound starts from nowhere with absolute precision, power and constancy. It's jaw-dropping. I'm obsessed with her.
“Percussive” I wouldn’t have though of, but is quite descriptive; some of these notes are not issued, but struck.
A quote from Birgit Nilsson: Isolde made me famous. Turandot made me rich.
I am just reading her autobiography. 💫
@@xiaogeju2011 It is very amusing and interesteing.
I´m a Swede. We remember her as a great singer of course. But her wit and humour... It´s easier to reproduce I guess, the way you just did. She´s a legend.
@@mattias5157 I'm a Dane and you can keep Skåne, Halland and Blekinge, but we want Birgit Nilsson 😉
@@kbhprinsesse Oh, now she's everywhere and don't know anything about borders, I guess. She's "your" just as much as "our" now, don't you think?
I remember seeing this on black and white TV when I was a HS freshman. I thought it was ridiculous. Little did I know then the power this woman would soon hold over me that would endure throughout my life. Her performances were life changing experiences for me. No one can compare. No one.
So rightly said!!!!!
THE Turandot of reference
Utter perfection! Her technique is flawless, with no constriction, no tongue flutter, and no wiggling around as most sopranos today do. Every note is dead center pitch with power to reach the farthest part of any opera house. No screaming, and no attempts to "place" her pitches with nasality. The greatest Turandot of the last many, many years. No one today comes close.
Spot on! Perfectly put! It's downright disconcerting how far singers have slipped from this standard. It's as though the best sprinters today were running the 100m in 11 seconds.
I completely agree with your assessment of Nilsson and your views on singers today! Although, I did a Turandot with Cristina Deutekom and she too, was close to perfection.
@@er12144 You heard Deutekom in Turandot? Awesome! What an experience! Did you ever hear Nilsson live?
@@uliwidmaier5192 Yes, I heard Deutekom sing every rehearsal and performance. San Diego Opera in the Spring of 1982. Deutekom was incredible although, everyone acknowledges that Nilsson reigns supreme as Turandot! Deutekom returned soon after to sing Abagaile in Nabucco... stellar singing!
Perfection? Her sound is just ugly and she's not able to pronounce all of the syllables. You can like, but it's definitely not perfect.
Notice how easily she produces those laser high notes so effortlessly. She simply opens her mouth and the notes just pour out with such extreme volume.
She simply thinks about her line and then her projection, then breathes, then keeps a cord closure that's just about right to have balanced flow and then decides when to sustain more. Yes ... simple
Years of proper training and dedication make it look simple.
@@cmg1111 I agree. In addition to watching her health and using her voice with intelligence.
@@cmg1111 Plus Godzilla vocal chords
I would say that the sound seems to be effortless, however there a lot of muscle work going on in her body to produce that. Simply amazing.
I recall in an interview she said that when she would sing Turandot, she would use every single muscle in her body to produce that sound. A force of nature that comes only in a lifetime (or even maybe two lifetimes!)
Die schönste Stimme der Welt stark klar mit eine unglaubliche Schönheit
In 1962 La Nilsson evidentely reached HEAVEN !
2:26 HUGE VOICE! That laser beam Squillo.
Wouldn't it be fun to put Birgit next to Dimitrova and compare them in the theater.....!
@@jimbuxton2187 dimitrova had bigger voice than nilsson
I love Dimitrova but her hight C were not solid but screamy Nilsson had solid crystall clear voice @@judygarland7186
@@judygarland7186 And? This opera queen one-upmanship is beyond tiresome.
Wow the chiaroscuro she puts into it. Sound is full of light yet deep
She's's crazy easy hitting them notes. And then came Jussi Björling. What a country.
A masterclass of the highest order... young singers take several notes!
Nobody is like Birgit. Thank you, my beautiful inspiration, for all music. 💐💐💐
Some of the greatest high notes ever recorded. They sound downright otherworldly. As many have noted in the comments, they are not effortless, though they sure sound that way. Nilsson works extremely hard to produce them, both mentally and physically. The startling thing is that she succeeded to such an absurd extent. I never heard her live, but I'm told that she was much more impressive onstage than in any recording. A frightening thought! Joachim Kaiser, the great late German music critic, wrote that she makes other world class singers who share the stage with her sound undeservedly third-rate. Another thing I heard is that she didn't sound all that impressive when you stood next to her on stage. It was only in the auditorium that her unique voice truly unfolded. At any rate, a truly great recording.
I heard Nilsson sing Wagner at the Metropolitan Opera in New York During the performance I was at a standing room post behind the top row at the most distant point from the stage in that huge house. When she hit a high C something incredible and spectacular happened. I could feel reverberations from her voice physically coming through the bar of the post before me and radiating up my arms to my chest. I will never forget that moment as long as I live. I have heard other great singers but nobody I heard had her vocal power. They say Lauritz Melchior equalled her.
@@johnmaxwell1750 That is crazy! What an awesome experience! Thank you so much for sharing. Wow. Born in 1962, I missed her by just a few years.
@@uliwidmaier5192 - Your words brought my experience at the Met 45 years ago back to me. I thank you for spurring a recall of that tremendous memory. I sure would love to have heard Flagstad and Melchior together!
@@johnmaxwell1750You are most welcome! I guess there is no end to what we would have liked to have heard. You got to experience Nilsson, which is absolutely magnificent. But you missed out on Flagstad and Melchior. There are probably not too many people alive who have heard those two. And they, in turn, missed out on Ponselle and Caruso . . . I am mainly a piano aficionado, and I got to experience Horowitz, Rubinstein, Kempff, Arrau, Richter, Michelangeli, and Brendel. So I am pretty happy.
@@uliwidmaier5192 - I was lucky to hear Rubenstein play Chopin. Also heard von Karajan/BPO and Solti/CSO. The skill and the excellence of those fantastic performances reminds me how lucky I was to hear such great artists at the peak of their powers. Their skills were several orders of magnitude beyond what most popular musicians in the same period accomplished during live performances.
!!!!!!what a voice!!!! What a performer!!!! What a power!!!!!
The best thing about this video is that one is able to see just how poised yet relaxed her torso is. There is no tension anywhere, and there are no gimicks. She just stands and delivers, with the exception of the final high C where she hunkers down with that oomf from her core and below to get some extra support - just as she should!
I'm so glad that you approve of her technique Eric !
@@joejohnson945 right to the point!
@@ejvindfrantzen4194 We are so lucky and blessed to have on you tube video clips of the worlds greatest singers of the modern era (on film). When I read comments, be it approval or criticism, by members of the you tube community, and I suspect that the one's that I am thinking of, believe themselves to be voice coaches or experts, I have to wonder at what point they become qualified to approve or disapprove the performances of the greats.
@@joejohnson945 I played for 40 years in the opera orchestra in Copenhagen and even accompanied Brigit Nilsson in "Tosca" many many years ago. I love her voice and personality! Yours Ejvind Frantzen
@@ejvindfrantzen4194 Ejvind, how wonderful it must be to work with one of the opera world's greatest. You must have some wonderful memories. Best wishes, Joe
She kills me and in tthe same time I could cry of happiness ! We love you Birgit, wherever you are, your voice will never stop shining !
(By the way, with a Turandot like her, any Calaf drop dead at once... except Corelli, of course !)
Thanks for this expert I never saw before.
A voice of her century and perhaps the millennium!
Thank you Thank you for uploading the legendary master!!!
One thing I do notice is that Birgit is not ashamed to open her mouth wide. Some of the young ones are fixated with looking lovely!
I admire her posture. Surely that's a contributing factor to her beautiful voice.
Fantastic! Excellent! Bravo!
Such a miracle!!!!
Signore e Signori ho il piacere di presentarvi Sua Alltezza reale TURANDOT
Absolutely amazing!
Thrilling
This simply explains why Turandot was brought out of the vault especially for Nilsson.
I remember the sound of her voice made you feel you were being pushed back in your seat! Turandot, Elektra, Brunhilde....
Spettacolare😍
Many years ago, a friend of mine told me that in Germany, they called Nilsson ",Laserzunge" which translates roughly to Laser Tongue.
Wow this is great, thanks! I didn't know there was footage of her singing Turandot, other than in the filmed production from 1969, what a powerhouse!
There's also this one, where she's singing live:
ruclips.net/video/LzG9pnwkS48/видео.html
@@trrill thanks :)
Great Vocal Emission. Beautiful. So much bloom and freedom in her voice and the release of the air. She has a deep understanding of the OLD REAL ITALIAN APPOGGIO BREATHING TECHNIQUE. 👌👌👌👌👌
A Deusa da minha rua 💖💖💖💖💖
There's only one word for Birgit: SPECTACULAR !!
Force of nature!
He quedado perplejo!! Que hermoso ❣️ con que naturalidad canta y cuánta entrega y pasión, genial!!!
BRAVO!
Great,Thank you for sharing. 👏💐
Your channel is awesome!
Es treibt mir die Tränen in die Augen. Diese Hochdramatische ist bis heute unerreicht. Wer sie auf der Bühne erleben konnte, darf sic h glücklich schätzen, weil nach Nilsson keine Sängerin in ihrer Klasse zu erleben war.
Che sogno....
Meravigliosa Nilson una delle piu' grandi interpreti di Tutradt❤️
L'unica, direi
What happened why are there No singers like this today?
This is because the teachers today do not know how the voice works. Most of them never had any kind of major career and only could manage to sing light music. Powerful singing is a total mystery to them. So they only allow students to sing Lieder and Mozart.
Классная Биргит!
Unglaublich perfekt😍
Люблю.
Grandissima soprano !!!
Positively no better rendition of two women doing this duet. None better anywhere, anytime!
💚
Люблю. ....... Куда там....кому там.....Нільсон - золото!
Singers like Nilsson, Traubel, Flagstad, Callas, Ponselle, Melchior, and Bjorling are not to be found in opera today. The gods and goddesses have perished in Valhalla.
Why?
So these are icons ftom the past but ofcourse there are singers on this level today, but today you compete with more singer so you dont get the same treatment and hype.
@@tommylundholm9146 I have a hard time imagining singers now that can sing like this video. Would you be willing to name a few singers that you’re thinking of that you would recommend?
I agree!
👍
Goddess.
👏👏👏👏👏👏
Puccini realy wanted to torture dramatic sopranos? The texture of this aria is so weirdly high for dramatic soprano.
Art demands sacrifice 😉
I wonder how many people were bleeding in the audience... lol
What people tend to forget is: as we learn later in the opera, Turandot is already in love with Calaf when she sings this aria. This has thrown her off-kilter, and she is nervous and hysterical. That is the reason for the extremely high, almost screamy tessitura. Puccini was a master at creating character through musical means.
@@jasonhurd4379
I agree with you.
The lady was properly taught by someone who insisted on taking high notes cleanly, and without facial or bodily contortion.
@omarsomehow69 tell me more, please.
Yeah she hated her teachers. The first one thought she was a mezzo and physically tried to push her voice down. It almost ruined her voice. Her second was almost as bad, the father of soprano Erika Sunnergård. Both of them try to take credit for Nilssons voice with Erika stating that her home was filled with that technique and that she definitely wasn't self-taught. Obviously not true since Erika doesn't sound a f*****ng bit like Birgit at all, and non of Arne Sunnergårdhs students has anything in common with Birgit.. Nilsson was mainly self-taught and her inspiration for the high notes, was her mother who easily took the high C:s in the most brilliant and easy way
Also Eva Turner💖💖💖💖
Callas forever! Nobody can sing this aria like Maria - Is obvious that Nilsson do not understand Italian. Oderwise she can not be so soft on the word orrore.. Every word is so meaningful with Maria, she really understand like nobodyelse Puccini. Is incredible how Maria modulate the intrinsic ritm of this aria crating visual effect - listen to he 1957 rendition of the aria - how she sing/say "o Principi che a lunghi caravane... dove parte del mondo qui venite..." lunghi caravane suggest in Maria rendition something ondulating like kamels on the sand dunes the quaitnes if is firs disrupted by the accent on QUI venite - here, here is my reign - to do a real very good crescendo for Io vendico SU VOI, quella purezza - very delicate, ascending on quel grido for the pike on quella MORTE. Maria is a real genius, I was incapable to listen to Pucini before I discovered Maria in1994 - til that moment I listen to her recordings again and again, and they are so alive, every time I discover a nuance, an accent a way how she can create with sound ONLY visual images. An other example is from La Sonambula - "amo il rio perche londa ti da..."when si sing first this at Edinburg is very much evident - is like you hear water going from a bottle to a glass for Elvino to drink - Callas a real genius, nobody sing like her.
Callas and her ugly wobbly wire? For widows, perhaps. Tasteless, self-mannered widows.
Must have made it possible for broke enthusiasts to save money listening from across the street.
Swedish radio symphony or Swiss??
Swedish. It says it-in Swedish-around 0:17.
Thanks for yet another excellent upload! Great collection
This is a concert in the Opera House Stockholm, Sweden.
Another example of why it's just asking too much, wanting to hear a trilled R sung on high B.
A few did though
May I ask why you didn't include Greindl and Hotter in your google-spreadsheet? They were nasal later in their career, but their technique in the 1930s/1940s was great. Greindl (ruclips.net/video/MQ3HjNXl7nU/видео.html), Hotter (ruclips.net/video/Vw4jXY2G7BI/видео.html).
Do you think they were overall bad or do you only include singers who were consistently good throughout their career?
A Soprano should have easy high notes! Brigit is a high soprano.
La Nilsson aligne les contre-ut aussi facilement que si elle enfilait des perles.
En revanche, le chef dirige tout ça à la truelle. Aucun sens du phrasé puccinien.
Can i say i love Birgit and am a huge fan but i dont like her Turandot ?
She would have been 44. The voice took time to reach peak performance.
@Noack Somewhere Precisely my point. She debuted in the 1940’s.
Callas fans only sound stupid when they insist her renditions of "Turandot" are superior to Nilsson's.
BRAVA CALLAS
@@vivianbelissima CROAK, HOOT!
Oh come on! Callas and Sutherland's renditions of Turandot is extremely bad! The only one who can play in the Turandot league was Gwyneth Jones and she still was far behind
@@magnusjakopsohn7824 Birgit Nillson's is superior to all of them.
The Met HD was horrific wobbly. out of tune. They replaced one wobbler with another. I had to listen to thee great Nilsson.