@@IRosamelia Caballé was a great versatile artist without a doubt, but her voice was no where as big and rich as Flagstad's. And after singing Turandot, her voice developed an edge that never completely healed.
Why doesn't anyone ever say anything about her masterful handling of the texts and the subtlety of her interpretations? She was not just a great voice, but a great artist! Singing these things for a "hometown" audience certainly brings a shine to the voice, more than usual.
Once again, sorry for the lack of uploads in the past month or so. My life isn't currently at a stage where I get much time to edit videos, but they will come eventually. I hope you enjoy this performance in the meantime. Beautiful singing in the Grieg (much better than the studio versions of En Drom) and one of my favorite performances of the Immolation Scene. Also note the the climatic G-sharp in the Liebestod being held for an extra bar.
Oh my goodness. This is a treasure for sure. She’s in great voice. I agree with you about the Immolation Scene. It’s a stunner of a performance (as is her “New York Farewell” immolation from 2 years later). I love late Flagstad because her voice got so rich yet stayed so full and steady. She NEVER got a wobble nor did she “lose” her high notes. She could nail Bbs and Bs into her 60s. Geraldine Farrar, who was the Met radio host when Flagstad made her now historic debut, and who knew immediately she was a major star, also loved her post war singing. Who cares if she avoided high Cs. La di da. So did Traubel. They were still the two great Isoldes of the 20th century. Their voices had SPLENDOR.
I obviously never saw Flagstad on stage. But with every new recording I hear, I believe more and more that there was Flagstad, and then there was everyone else. Yes, of course, Nilsson and Traubel were goddesses, but even they couldn’t approach Flagstad. Her voice is what you’d imagine Athena or the Statue of Liberty sounding like.
I think that this is pretty close to perfection from a vocal standpoint. The sound just comes out of her, and her vocal emission is completely steady. Inspiring stuff.
Here's Flagstad, at the age of 58! proving why she deserved the voice of the century title without a rival.
Without rival? I says Monserrat Caballé sire! 😝
@@IRosamelia Caballé was a great versatile artist without a doubt, but her voice was no where as big and rich as Flagstad's. And after singing Turandot, her voice developed an edge that never completely healed.
@@Khalid7a Heretic! 😲
The greatest voice of the ages..
Why doesn't anyone ever say anything about her masterful handling of the texts and the subtlety of her interpretations? She was not just a great voice, but a great artist!
Singing these things for a "hometown" audience certainly brings a shine to the voice, more than usual.
I am just discovering Kirsten Flagstad and am blown away by her power and tone. Wonderful singing!
Once again, sorry for the lack of uploads in the past month or so. My life isn't currently at a stage where I get much time to edit videos, but they will come eventually.
I hope you enjoy this performance in the meantime. Beautiful singing in the Grieg (much better than the studio versions of En Drom) and one of my favorite performances of the Immolation Scene. Also note the the climatic G-sharp in the Liebestod being held for an extra bar.
Listening now! 🎉🎉
Thank you very much for you effort, uploading this, for me the greatest Mezzo- Soprano in all time!
Thank you so much for this treasure!
Oh my goodness. This is a treasure for sure. She’s in great voice. I agree with you about the Immolation Scene. It’s a stunner of a performance (as is her “New York Farewell” immolation from 2 years later). I love late Flagstad because her voice got so rich yet stayed so full and steady. She NEVER got a wobble nor did she “lose” her high notes. She could nail Bbs and Bs into her 60s. Geraldine Farrar, who was the Met radio host when Flagstad made her now historic debut, and who knew immediately she was a major star, also loved her post war singing. Who cares if she avoided high Cs. La di da. So did Traubel. They were still the two great Isoldes of the 20th century. Their voices had SPLENDOR.
I obviously never saw Flagstad on stage. But with every new recording I hear, I believe more and more that there was Flagstad, and then there was everyone else. Yes, of course, Nilsson and Traubel were goddesses, but even they couldn’t approach Flagstad. Her voice is what you’d imagine Athena or the Statue of Liberty sounding like.
The voice oh the century.
That is outstanding. Brava!
I think that this is pretty close to perfection from a vocal standpoint. The sound just comes out of her, and her vocal emission is completely steady. Inspiring stuff.
Just listen and a wonder! Not just a voice, a miracle. Flagstad is in her late fifties here, having sung some of the heaviest roles in the repertoire.
I should have begun my other comment with a heartfelt “thank you” first. Thank you. Lots! This is rare rare rare.
Have missed your account on my TH-cam page. Thanks for the upload!
Fantastic