The Isoldes I love in terms of the High C produced are Frida Leider, Kirsten Flagstad, Martha Mödl, Gertrude Grob-Prandl, Astrid Varnay, Birgit Nilsson, and Gwyneth Jones.
Nilsson, Flagstad, Grob-Prandl are the obvious answers. I don't like Varnay's sound as Isolde generally, but she does great here. ( I love Varnay as Brunnhilde.)
Grob-Prandl had a voice even bigger than Nilsson's, and her high Cs just pop out. The last lady seemed really over-parted. For many, Leider's Isolde remains unequalled, and she sang it as if it were Norma.
Thanks for the comment. I don’t doubt there are many better examples out there for other artists as well. But with so many different recordings, it’s impossible for me to always pick out the best (usually I just choose the most viewed or top listing). I guess that’s something people need do consider when reviewing who ‘sings it best’. I think next time I will include the year and other details for the recordings I select so there’s some context at least.
@@angryjalapeno I think she sounds great, but this does seem to be the studio recording. The issue is that Culshaw loved to swamp his singers with the orchestra in order to achieve a more "realistic" experience. For the Decca Ring, Culshaw once said something like the orchestra is composed of 100 soloists and that even the triangle ought to be heard clearly. Nilsson responded, "From whom are people going to purchase the record -- me, or the triangle?" Something like that.
The by far most majestic High C´s were produced by the great Flagstad. After that i prefer the C´s from Mödl because of the warm sound. The last in my list is Harshaw, next to pitch problems her sound is not pleasing, she sings pretty overstrained.
@@Duketributechannel , i have to confess that i never got warm with Grob-Prandl because of her fast vibrato. I prefer wider ones. But this is a personal opinion of course. Regards from the north of Germany :)
@@Xelth4 , no doubt that Nilsson was a fantastic singer. But I'm so sorry, her icy sound was never my cup of tea. I prefer a warm quality in the color of a voice.
how is martha modl better than nilsson??? martha modl pushes and screams! especially her high notes unlike flagstad and nilsson. Flagstad and Nilsson are the best !!! @@Sir.Larselot
Nilsson, for making you do a double-take and ask "Oh, those were the high C's?" Charbonnet's second high C sounds, shall we say, pained-not inappropriate considering what I think the Tristan just did to her. Wacky staging.
My favorites here are Flagstad and Grob-Prandl. To think people say Flagstad had no high C, yet her notes sounds bigger in a primitive 30s recording than everyone else! It’s a shame Eileen Farrell never sang these Cs.
@@BaroneVitellioScarpia1 I agree Grob-Prandl had technical flaws, the biggest IMO was her very pitchy vibrato which I’m surprised isn’t a issue for more people. I still enjoy her recordings regardless because it’s rare for such a large voice to be so fearless in the upper register. Her agility was also impressive (Reiza, Isabelle, even Pamina).
@@dramaticsoprano5168 Eileen Farrell DID sing those high C’s!! February 26, 1969 with Leonard Bernstein and the New York Philharmonic Orchestra. The Tristan was Jess Thomas. Gala 3 CD set GL100.613
Це повинно бути схожим на жіночий оргазм, мати якісь ознаки недозволеного, навіть непристойного. І при цьому бути прекрасним. На мій смак це вдається найкраще Birgitt Nilsson. Її звуки такі гарні, що навіть лякають.
Flagstad easily is the best among these, the rest sound lackluster and lack passion in the role. It is a shame you don’t include Farrell, though, as with Flagstad, she had both passion and technique.
@@Xelth4If there is a recording of Farrell even attempting Isolde’s two C’s I haven’t heard it. Like Traubel, in concert (she never sang the part onstage) she just left them out. The only Wagner C I know of is in the ‘Siegfried’ finale with Svanholm, recorded in the late 40’s.
@ I’m no good at the mechanics of UA-cam, but if you search ‘Farrell, Svanholm, Siegfried’ it comes up. The date is 1949, Leinsdorf conducting. She sings the whole duet well, especially the ‘Ewig war ich’ part, where her warm lower register is a plus. She’s not anxious to hold on to the C, but she makes it.
Nilsson and Flagstad. Jones, shout.
Very lyrical timbre from Nilsson there.
Nilsson & Flagstad for ever because of their beauty of tone…
Martha Mödl mit ihrer warmen, wunderschönen Stimme und diesem rollenden "R" ist für mich als Isolde nicht zu toppen.
The Isoldes I love in terms of the High C produced are Frida Leider, Kirsten Flagstad, Martha Mödl, Gertrude Grob-Prandl, Astrid Varnay, Birgit Nilsson, and Gwyneth Jones.
Nilsson, Flagstad, Grob-Prandl are the obvious answers. I don't like Varnay's sound as Isolde generally, but she does great here. ( I love Varnay as Brunnhilde.)
Varnay!! ❤❤
Gwyneth Jones the best!
Grob-Prandl had a voice even bigger than Nilsson's, and her high Cs just pop out. The last lady seemed really over-parted. For many, Leider's Isolde remains unequalled, and she sang it as if it were Norma.
Maybe bigger but certainly not as glorious high notes…
In no particular order: Kirsten Flagstad, Martha Mödl, Birgit Nilsson, Gwyneth Jones, Gertrude Grob-Prandl, and Astrid Varnay,
Brava, Dame Gwyneth.
Charbonet sounded some what like what was happening to her was real 🤭🤣
Nilsson's high Cs in this clip are not so radiant. In Bohm's live recording her C's are so visceral and beyond compare.
Thanks for the comment. I don’t doubt there are many better examples out there for other artists as well. But with so many different recordings, it’s impossible for me to always pick out the best (usually I just choose the most viewed or top listing). I guess that’s something people need do consider when reviewing who ‘sings it best’.
I think next time I will include the year and other details for the recordings I select so there’s some context at least.
that live recording is still for me the definitive Tristan
@@dramaticsoprano5168 No problem, it's not a criticism; just a comment with some info.
It is known that Nilsson was a lot better live, than in studio. Bohm recording is live and the one in this clip is the Decca recording in studio.
@@angryjalapeno I think she sounds great, but this does seem to be the studio recording. The issue is that Culshaw loved to swamp his singers with the orchestra in order to achieve a more "realistic" experience. For the Decca Ring, Culshaw once said something like the orchestra is composed of 100 soloists and that even the triangle ought to be heard clearly. Nilsson responded, "From whom are people going to purchase the record -- me, or the triangle?" Something like that.
Jones simply the best
Grey, Jones and Meier.
Harshaw sounds like she's screeching instead of singing..
She does not screech and modern sopranos are often false darkened without chiaroscuro.
Harshaw was always better as a mezzo than soprano. I guess she could never quite figure out her highest notes.
The by far most majestic High C´s were produced by the great Flagstad. After that i prefer the C´s from Mödl because of the warm sound. The last in my list is Harshaw, next to pitch problems her sound is not pleasing, she sings pretty overstrained.
i agree with you. I like Grob-Prandl too
@@Duketributechannel , i have to confess that i never got warm with Grob-Prandl because of her fast vibrato. I prefer wider ones. But this is a personal opinion of course. Regards from the north of Germany :)
and nilsson????@@Sir.Larselot
@@Xelth4 , no doubt that Nilsson was a fantastic singer. But I'm so sorry, her icy sound was never my cup of tea. I prefer a warm quality in the color of a voice.
how is martha modl better than nilsson??? martha modl pushes and screams! especially her high notes unlike flagstad and nilsson. Flagstad and Nilsson are the best !!! @@Sir.Larselot
Astrid Varnay is the best!
Nilsson, for making you do a double-take and ask "Oh, those were the high C's?" Charbonnet's second high C sounds, shall we say, pained-not inappropriate considering what I think the Tristan just did to her. Wacky staging.
I thought he was going to mount her right there! Ha ha!
I thought the same thing 🤣
yea what was the point of ... whatever that was?
I like Meir b st
I like the first 4 and Astrid Varnay.
My favorites here are Flagstad and Grob-Prandl. To think people say Flagstad had no high C, yet her notes sounds bigger in a primitive 30s recording than everyone else!
It’s a shame Eileen Farrell never sang these Cs.
@@dramaticsoprano5168 I don’t like Grob Prandl, she sounds throaty and her musicality is terrible.
@@BaroneVitellioScarpia1 I agree Grob-Prandl had technical flaws, the biggest IMO was her very pitchy vibrato which I’m surprised isn’t a issue for more people.
I still enjoy her recordings regardless because it’s rare for such a large voice to be so fearless in the upper register. Her agility was also impressive (Reiza, Isabelle, even Pamina).
@@dramaticsoprano5168
Flagstad had a high C in the beginning of her career.
@@dramaticsoprano5168 Eileen Farrell DID sing those high C’s!! February 26, 1969 with Leonard Bernstein and the New York Philharmonic Orchestra. The Tristan was Jess Thomas. Gala 3 CD set GL100.613
Це повинно бути схожим на жіночий оргазм, мати якісь ознаки недозволеного, навіть непристойного. І при цьому бути прекрасним. На мій смак це вдається найкраще Birgitt Nilsson. Її звуки такі гарні, що навіть лякають.
Grob-Prandl is the best Isolde
Flagstad easily is the best among these, the rest sound lackluster and lack passion in the role. It is a shame you don’t include Farrell, though, as with Flagstad, she had both passion and technique.
farrell's technique was not great, she was pushing and forcing
@@Xelth4If there is a recording of Farrell even attempting Isolde’s two C’s I haven’t heard it. Like Traubel, in concert (she never sang the part onstage) she just left them out. The only Wagner C I know of is in the ‘Siegfried’ finale with Svanholm, recorded in the late 40’s.
@@ransomcoates546 can you send this high C in siegfried please
@ I’m no good at the mechanics of UA-cam, but if you search ‘Farrell, Svanholm, Siegfried’ it comes up. The date is 1949, Leinsdorf conducting. She sings the whole duet well, especially the ‘Ewig war ich’ part, where her warm lower register is a plus. She’s not anxious to hold on to the C, but she makes it.
@ I have replied to your question, but posted it without your address.