Birgit Nilsson - Full Vocal Range (C♯3-D6)
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- Опубликовано: 16 сен 2022
- As per the poll I made a few days ago, it seems people were interested in dramatic soprano vocal ranges so here's the first instalment, dedicated to the great Birgit Nilsson. While more known for her rock solid top notes, she had a surprisingly extensive lower register which she perhaps underutilised.
Special thanks to Noack Somewhere for sending me many of these notes, and to Kaji for the video inspiration.
Their channel links:
Noack Somewhere - / channel
Kaji - / kajivocals
C♯3 up to D6 without screamed notes. Although the C#3 is very brief, so not sure if I would count it.
Next in this series will be Kirsten Flagstad (could go VERY low!) and Ghena Dimitrova (could go VERY high). If anyone has examples of Ghena going low, please send them to me!
Also, let me know if you would like these to be a bit longer (i.e., showing some of the singing before the note is hit, rather than just moving from tone to tone).
Can't wait for a video on Ghena! I plan to do a few videos on her myself (on her dynamics which are some of the best out there and on her chest voice). I've not heard her sing above D-flat 6 but she has a PERFECT pianissimo one in one of her Macbeth performances (Verona, 1982). As for her low, I think she accidentally touched an F in one I vespri siciliani aria performance in the 90s or the 80s. Otherwise an F-sharp at least.
Here's the D-flat 6 pianissimo I mentioned - ruclips.net/video/vNieY3oFsGo/видео.html The best attempt at this pianissimo I've seen.
@@KajiVocals Ghena had an easily accessible whistle register up to Bb6 which she showcased in a masterclass. As for the lows, I assume you mean third octave Fs?
@@dramaticsoprano5168 Yes! F3.
Ohh..? Can you send me a link? Didn't know she could do that.
Another pianissimo, this time a high C - ruclips.net/video/UIMdDf-jflg/видео.html
I wasn't ready for that Bb5
That low register is really unique... and really beautiful
What a MONSTER 🤩😭💖🔝🔥
I think Nilsson’s top B natural is my favorite note in her voice! When she sings “In Questa Reggia,” there’s no doubt she’s using her instrument to serve the music!
In a swedish documentary, don't remeber the name, they visit her at her home. She's old, hasn't sung publicly in years. They are out in the garden, it's summer and coffetime. She all of a sudden calls her cats, with a short serie of VERY hight notes. I would guess she was somewhere between 75-80 then.
Let us know if you remember the name of the documentary!
Fantastic. So unique voice, so rich and firm tone. Brilliant singing technique. I admire her absolutely.
One of the best sopranos ever!
I read that she sang the Queen of the Night F6 to some opera director to prove a point but wow the fact that we actually have concrete proof in that scream that her voice could really go up there is amazing
In fact she didn't sang the 'QotN', she vocalize an aria in a way to "rest" the voice after sang in Die Walküre. Rudolf Bing wrote that in his memories.
Love your channel❣
Stunning.
She does a nice D in Danced All Night I think. The low notes are a bit dubious but this is the problem with these kinds of videos. I think she can do a good G3 and up. A solid instrument in all senses of the word. It boggles the mind why she is not emulated more in our current crop of Wagnerian sopranos.
It is a D-flat at the end of Danced All Night I believe. I think she does okay from E3 up, with potential for more development if she had trained down there, but of course it was never necessary for her.
She did a decent low F in one of the recordings of Die Frau ohne Schatten.
@Noack Somewhere what a wonderful video.
@Noack Somewhere No I think it was sustained at the very end. Came from out of nowhere really.
@@dramaticsoprano5168 ok, I knew it was above the high c. It was very well done. I don't know about her being so strong from e3. Her low notes, for me, were not as clear as I'd expect given the rest of her voice. If you hear Ponselle, Cigna and Flagstad, to me the low notes are a bit clearer. Still, this is great stuff and thank you for your hard work.
Wonderful and solid vocal range. She screamed up to a frequency around 1500Hz (F#6) in Tosca.
where? the highest note i have heard from her is the e6 scream in 1969 tosca
Monster
I'd really want to hear more of her low notes really.
Would you release a video like this for Sutherland? even for Callas (although for her, a lot of videos have been made?
I’m making a 3 hour long video on Callas’ range. Should be out later this year.
@@KajiVocals Looking forward to watching that
Ya hay un video sobre Sutherland.
Thank you very much for this video. Can you, please, do the same with Astrid Varnay?
When I have time absolutely! Not sure when that will be though.
@@dramaticsoprano5168 Many thanks!
What is the C#6 from?
From the Act 1 finale of her studio Macbeth.
Where came from the low f?
Die Frau ohne Schatten. I believe the role of the Dyer’s Wife has two low Fs. The lowest notes required in the traditional dramatic soprano repertoire.
Where is the C#6 from?????
@Noack Somewhere thank you!!!!
En Salomé canta el G b 3
You mean Gb3? 0:22 is the Salome low note.
@@dramaticsoprano5168 yes , is correct. pardon.
What's the music at the beginning??
“Ozean, du Ungeheuer!” from Weber’s Oberon.
@@dramaticsoprano5168 thank you!!
Which aria does this F3 come from.
Not an aria, but from Die Frau ohne Schatten. Here is a link with the timetamp: m.ruclips.net/video/YttPF9q9nys/видео.html
But didn't Kaji say she was a full-lyric or perhaps spinto soprano?
She was a dramatic soprano by trade and that is what she made her career out of.
Whether she was naturally something else, that is still up to opinion. The problem with classifications are they are manmade after all.
@omarsomehow69 Yeah I agree with Kaji that she could sing dramatic and lyric phrases well, despite being in between.
@omarsomehow69 Oh wait I thought you were talking about Callas.
@omarsomehow69 Yeah I guess Nilsson's true voice is debatable.
Jusqu'au C6 c'est très très bien . Après ce sont des cris de guenon .
I don’t think there is anything wrong with her C-sharp.
She did Lady Macbeth’s pp D-flats very easily too. There is also another good D-flat in her I Could Have Dance All Night.
@Noack Somewhere lmao it has nothing to do with Callas. But glad you mention Callas here, since Nillson's Lady Macbeth was ugly duckling sound!
@Noack Somewhere furious eagle? With that extremely weak chest register? Non-existing coloratura? She's about to die when she sang Lady Macbeth lmao.
@Noack Somewhere of course her Lady Macbeth she sounded pretty weak compared to Callas's, their Abigail as well even she has good low register there but Callas's was stronger. I would say even Tebaldi had more vocal weight than her, their tosca says it all.
About their turandot, i would say i prefer Nillson's better than Callas's. But Callas's turandot 1949 with Del Monaco wasn't bad.
I don't much care about Callas's short time career. From 1941 to 1955 she gives us Nabucco, Lady Macbeth, Armida, Elvira, Rigoletto, La Traviata, Medea, Norma, Aida, trovatore, also the best Gioconda. And after vocal declined, she still able to slay Medea in 1958, attempt high E-flat diminuendo in 1957 like it was nothing.. We adore Callas because she is genius.
@Noack Somewhere also compare how much long they stay in opera is just like you compare Di Stefano to Pavarotti. Pavarotti had longer career, but Young Di Stefano was better than Pavarotti.
Везде я читаю одно и то же: "огромный голос", "необъятный объём" и всё в этом роде. С одной стороны согласен: голос мощный, впечатляющий. Однако, я бы не стал превозносить его над другими не менее выдающимися вагнеровскими сопрано. Голос Биргит Нильссон бесподобен наверху. Её верхний регистр не имеет себе равных, но в целом он вряд ли может сравниться с такими гигантами, как, скажем, Астрид Варнай, Кирстен Флагстад, Хелен Траубель или Эллин Фарелл. У Биргит весьма посредственная середина и нижние ноты. Более того, иногда кажется, что её голос звучит как-то узко и сдавленно. А вот у Астрид Варнай средний и нижний регистры это просто вулкан мощи и объёма - тут ей нет равных.
@omarsomehow69 я отметил шикарные верха у Нильссон - тут спора нет. Хотя та же Флагстад, а ещё Гертруда Гроб-Прандль, Гуинет Джонс, а в некоторых выступлениях и Астрид Варнай (несмотря на чрезвычайно тяжёлый голос) имеют вполне конкурентный звук. При этом те же Флагстад, Варнай, Траубель, Фарелл также имеют мощь и объём в середине и насыщенные низы (особенно Варнай) - чего у Биргит Нильссон нет. Она в середине и внизу звучит узко, хотя от драмсопрано ждёшь объём по всему диапазону. Я слышал, что Нильссон начинала как драматическая колоратура - отсюда узкое звучание.
@omarsomehow69 так вот и я о том же. Нильссон бесподобная в верхнем регистре и ей, действительно, нет равных, но, повторюсь ещё раз, у драматических сопрано мне нравится ощущать объём и вес нижнего и среднего регистров - это их основное отличие от лирических голосов. Кстати, Гертруда Гроб-Прандль в моём понимании тоже не совсем драматическое сопрано: тоже узкий голос, хотя опять-таки бесподобный верх. Не знаю, может тут дело в слуховом восприятии голосов: чем голос шире и темнее, тем он кажется больше. Я как-то провёл эксперимент. Включил отрывки из Вагнера в исполнении Нильссон, Флагстад, Гроб-прандль и Варнай и дал послушать двоим, совершенно далёким от оперы людям. Я попросил их сравнить голоса этих певиц и сказать, какой из них кажется самым мощным. Так вот оба из подопытных, ничуть не сомневаясь, назвали Астрид Варнай. Я думаю, тут дело как раз в том, что у неё самый тёмный и широкий голос и поэтом он ощущается как более крупный. Ещё я предлагал сравнить Туранот Нильссон и Гены Димитровой. Победила Димитрова.
@omarsomehow69 да, у Варнай голос кажется самым тёмным и самым грузным. По тембру на неёё очень похожа Джесси Норман, а ещё наша российская драм-меццо Елена Манистина, как мне кажется. Среди вами перечисленных я бы отметил, что Леони Ризанек тоже имеет довольно крепкий и тёмный голос, равно как и моя любимица Тина Тёрнер. У Гены Димитровой и Анны Шафажинской тоже шикарные голоса и тоже довольно тёмные. Тёмные голоса на мой взгляд имеют напряжение на верхах, но зато им легко даётся погружение в нижний регистр и возможность петь не только партии сопрано, но и меццо. Часто я слышу такое мнение, что Джесси Норман и Астрид Варнай легко справляются с тесситурой контральто. Норман пела Иокасту очень убедительно, а Клитемнестра Варнай вообще стала легендой среди любителей Штрауса.
I thought that considering any sort of screech, wheeze, burp and fart as vocal range was a prerogative of pop music listeners. Apparently, I was wrong.
Well I included everything but did specify they were exclamations, and you certainly have the choice to not count them.
We do have witnesses who claimed she could easily sing the QOTN high Fs though. She also touches a (non-screamed) high D in Danced All Night, but very briefly.