This is the most astonishing singing I've ever heard Flagstad do. Unlike on the Reiner version which I have all of the high B's are properly nailed and that penultimate note in the curse is the single loudest and most amazing note I have ever heard any singer produce on record. It is not to be believed!!!!!!
I've never heard Flagstad as intense and as searing as she is at the conclusion of this narrative. She was the possessor of the grandest and most glorious dramatic soprano of the entire Twentieth Century. Nilsson came close, but in the final analysis, I'd have to give the ultimate palm to Flagstad. The extreme top notes faded as time went on but the richness and beauty of the lower and middle never left her. Just listen to her final London/Decca recordings of the late 1950's..stupendous!!
I like the added darkness to the mature Flagstad's voice I don't think this is a shadow of her former self at all. Just different.. I think she enjoyed being someone other than herself and this allowed her to explore sides to herself that are hidden in her ordinary life as she was so reserved. Nilsson's voice was supposed to have sounded much darker and richer in real life but only came across this way rarely in live recordings.
Nilsson cut the orchestra only in the top register Flagstad cut the orchestra at the top and at the low register. Nilsson was lyric-dramatic than Flagstad's Giant dramatic mezzo type voice. Mezzo Thebom sounds as child in front of the colossal Flagstad in this Isolde, if it was Nilsson she should sound lighter than Thebom
The mezzo is Elizabeth Hôngen-next to Flagstad she sounds like a child! She was very respected in the German-speaking countries. Wish I could have heard Flagstad in the flesh! Che vergogna!
@viverito Stop ranting about those unfortunately supplemented High C 8th notes - unless you know something. Those high C's occur in the introduction to the love duet of the second act. They are the only High C's in Tristan and there are none in this selection. Remember too, the extent to which studio recordings and even stage performances are manipulated in our days. It's a shame that Decca didn't inform that these short high C's were supplemented, that's why it was blown out of proportion.
"if it was Nilsson she should sound lighter than Thebom". Sounds like an utterly false statement to me. By all accounts Nilsson exceeded Flagstad in the upper register in volume and quality. And Nilsson's middle register must have been impressive otherwise she wouldn't be considered one of the two greatest Wagnerian sopranos in the past 100 years.
Please, violinthief, can you tell us who the conductor and the Brangane are? The sound seems too good for it to be one of her live Met performances.... or is it? I love Flagstad, especially her Isolde. For me, she is the perfect magical princess. I have many of her live Tristans with Melchior, her vocal soul mate. I love the last photo of young Kirsten with the lace collar. Thank you so much for posting this.
Nilsson, a great soprano, never possessed the naturally pure vocal instrument of Flagstad. Such homogeneous tone from top to bottom. Such richness and volume. Nilsson had a weak lower register and intonation problems.
Both, the warmth of Flagstad and the cold of Nilson come from the vocal technique, believe me, Birgit is good, but she far does not possess the technical abilities Flagstad has. Moreover, if anyone of us could hear Flagstad at least with the quality of Callas, then everyone would understand who Flagstad was!
I am a devoted admirer of Callas. But she had her vocal weaknesses; and even in the early 50's. Flagstad has that purity, the strong support,, that homogeneity of sound from the lower register to the top, which is rare and highly prized. No, I think she is a prodigy and truly singular. Let's thank the gods for bestowing one of their own upon us.
Flagstad was The Wagnerian dramatic soprano ever Nilsson didnt had the vocal power of Flagstad she was more lyric you have to learn more about voices dear:)
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Truly colossal singing. Perhaps the finest Narrative I've ever heard from Tristan.
This is the most astonishing singing I've ever heard Flagstad do. Unlike on the Reiner version which I have all of the high B's are properly nailed and that penultimate note in the curse is the single loudest and most amazing note I have ever heard any singer produce on record. It is not to be believed!!!!!!
There´s no other singer like her, she´s divine !
Again as I wrote on a different video, Flagstad makes a human being proud to be a human being.
I've never heard Flagstad as intense and as searing as she is at the conclusion of this narrative. She was the possessor of the grandest and most glorious dramatic soprano of the entire Twentieth Century. Nilsson came close, but in the final analysis, I'd have to give the ultimate palm to Flagstad. The extreme top notes faded as time went on but the richness and beauty of the lower and middle never left her. Just listen to her final London/Decca recordings of the late 1950's..stupendous!!
I like the added darkness to the mature Flagstad's voice I don't think this is a shadow of her former self at all. Just different.. I think she enjoyed being someone other than herself and this allowed her to explore sides to herself that are hidden in her ordinary life as she was so reserved. Nilsson's voice was supposed to have sounded much darker and richer in real life but only came across this way rarely in live recordings.
Nilsson cut the orchestra only in the top register Flagstad cut the orchestra at the top and at the low register. Nilsson was lyric-dramatic than Flagstad's Giant dramatic mezzo type voice. Mezzo Thebom sounds as child in front of the colossal Flagstad in this Isolde, if it was Nilsson she should sound lighter than Thebom
The mezzo is Elizabeth Hôngen-next to Flagstad she sounds like a child! She was very respected in the German-speaking countries. Wish I could have heard Flagstad in the flesh! Che vergogna!
@viverito Stop ranting about those unfortunately supplemented High C 8th notes - unless you know something. Those high C's occur in the introduction to the love duet of the second act. They are the only High C's in Tristan and there are none in this selection. Remember too, the extent to which studio recordings and even stage performances are manipulated in our days. It's a shame that Decca didn't inform that these short high C's were supplemented, that's why it was blown out of proportion.
Philharmonia Orchestra, cond. Issay Dobrowen - London, Abbey Road Studios,1948.
"if it was Nilsson she should sound lighter than Thebom". Sounds like an utterly false statement to me. By all accounts Nilsson exceeded Flagstad in the upper register in volume and quality. And Nilsson's middle register must have been impressive otherwise she wouldn't be considered one of the two greatest Wagnerian sopranos in the past 100 years.
@Greatfan You have got the Right Point!!! No one has described them better than you in any youtube posting here or elsewhere.
Flagstad is perfect, the proof of God's existence!
what year was this from? This does not sound like the studio recording with the Schwarzkopf high C's. These high C's sound like Flagstad herself.
Flagstad is great, but I like more the magic power of Astrid Varnay.
Please, violinthief, can you tell us who the conductor and the Brangane are? The sound seems too good for it to be one of her live Met performances.... or is it?
I love Flagstad, especially her Isolde. For me, she is the perfect magical princess. I have many of her live Tristans with Melchior, her vocal soul mate.
I love the last photo of young Kirsten with the lace collar. Thank you so much for posting this.
Nilsson, a great soprano, never possessed the naturally pure vocal instrument of Flagstad. Such homogeneous tone from top to bottom. Such richness and volume. Nilsson had a weak lower register and intonation problems.
Ibsen was norwegian !
really inspired here, but, can you post the date of this recording please? thank you a lot...;-)
Both, the warmth of Flagstad and the cold of Nilson come from the vocal technique, believe me, Birgit is good, but she far does not possess the technical abilities Flagstad has. Moreover, if anyone of us could hear Flagstad at least with the quality of Callas, then everyone would understand who Flagstad was!
I am a devoted admirer of Callas. But she had her vocal weaknesses; and even in the early 50's. Flagstad has that purity, the strong support,, that homogeneity of sound from the lower register to the top, which is rare and highly prized. No, I think she is a prodigy and truly singular. Let's thank the gods for bestowing one of their own upon us.
Flagstad was The Wagnerian dramatic soprano ever
Nilsson didnt had the vocal power of Flagstad
she was more lyric
you have to learn more about voices dear:)