@@ginopietracupa4305 I agree. I have never heard her this declined, but this was her last year on stage and this must have been among the last things she ever did. Vocal decline for Birgit Nilsson doesnt have to meen it sounds bad, its just not all her. Her voice is still very "moist" and still, no wobble and no dryness and no forcing, the big sound is still there so easy. As she said herself, just open the doors and let the sound come flooding. Its hard to hear if she almost looses her vibrato on the high note or if its bad recording: Long after she ended her carreer she was asked why she hadent prolonged it, she was after all singing in her homechurch for more than 10 years after leaving the big stages. On this she replyed: I can still sing, i just dont sound like Birgit Nilsson any longer. I think what differed Birgit from any other soprano was that unlike the rest, Birgit was forcing her voice IN, like if she was a dam or ocean, other singers forces their voices out.
@@ginopietracupa4305 did you realise what kind of outrageous things you writing here? She was "at her strongest vocal decline" after 45 YEARS of singing, 36 YEARS of career which being filled with heaviest dramatic repertoire at the AGE of 64. Did you realise what kind of nonsense you just wrote here? How many sings like this after 60? You talking about NILSSON, not average third class soprano. So, be careful next time if you going write things like this.
actually, she was magnificent in the second recording. She should’ve never done the tour. I love Nilsson, but she had pitch issues later in her career.
@@omarsomehow69 Callas in her second recording sounds AMAZING. And she always knew how to phrase legato Italian lines and how to "sculpt" Italian even during her vocal decline. The same cannot said about Mme Nillson. Impressive as her voice was (definitely too late here) she never had a real "flavor" for Italian rep. Let's save Turandot, when she could belt her enormous voice.
Oh please! I'm a huge Nilsson fan, but Callas in her 20s could do things that Nilsson couldn't even have dreamed of, like singing Brünnhilde and Elvira in the same week, or sing Lady Macbeth, Lucia, Abigile, and Lakme all in the same concert. Nilsson was a great singer with a fascinating voice, but I don't think she was ever really suited to the Italian repertoire, and honestly, I think Wagner himself might have found her way with his music rather foreign, since he wanted his music to be sung as if it were bel canto. At this stage in her career, Nilsson's pitch was often uncertain, though she retained those unique high notes.
I appreciate the feedback. Yes, the marvellous Swedish soprano did not have the lower chest tones that Callas did and I think I could hear a bit of struggle on Nilsson’s part in the lowest part of the range… However, I am thinking of a live performance that she did on television in black-and-white TV quite some years before this concert, so I am a bit off base here… Please forgive She did still have so many marvellous qualities as regards the voice and her capabilities in the higher part of the range… Always appreciate Honest feedback… Wishing you all the best!
That was fascinating! She still had such an amazing instrument!
No, she had not an amazing instrument anymore, this is the time I listen Nilsson at her strongest vocal decline
@@ginopietracupa4305 I agree. I have never heard her this declined, but this was her last year on stage and this must have been among the last things she ever did. Vocal decline for Birgit Nilsson doesnt have to meen it sounds bad, its just not all her. Her voice is still very "moist" and still, no wobble and no dryness and no forcing, the big sound is still there so easy. As she said herself, just open the doors and let the sound come flooding.
Its hard to hear if she almost looses her vibrato on the high note or if its bad recording: Long after she ended her carreer she was asked why she hadent prolonged it, she was after all singing in her homechurch for more than 10 years after leaving the big stages. On this she replyed: I can still sing, i just dont sound like Birgit Nilsson any longer.
I think what differed Birgit from any other soprano was that unlike the rest, Birgit was forcing her voice IN, like if she was a dam or ocean, other singers forces their voices out.
@@ginopietracupa4305 did you realise what kind of outrageous things you writing here? She was "at her strongest vocal decline" after 45 YEARS of singing, 36 YEARS of career which being filled with heaviest dramatic repertoire at the AGE of 64. Did you realise what kind of nonsense you just wrote here? How many sings like this after 60? You talking about NILSSON, not average third class soprano. So, be careful next time if you going write things like this.
Amazing voicee 😍😍 Real opera singing
Así es. Esta es una voz de ópera. Saludos cordiales.
Just wish the recording was better.
Tempo is very slow too.
Impressive chestnotes.
Because it is at x0.75
Excelente en las notas bajas…fra le tenebre…como un tenor lírico al igual que dentro l’avel. Lástima que el sonido no es óptimo.
Where are the original recordings of these concerts?
Too late in her career, with uncertain pitch. Maybe it’s a bad recording.
Can you you remind us how your favorite Maria Callas sounds at her last tour or even in her second studio recording? Oh please.
actually, she was magnificent in the second recording. She should’ve never done the tour. I love Nilsson, but she had pitch issues later in her career.
Maybe ?? You don't hear? 😂
@@omarsomehow69 Callas in her second recording sounds AMAZING. And she always knew how to phrase legato Italian lines and how to "sculpt" Italian even during her vocal decline. The same cannot said about Mme Nillson. Impressive as her voice was (definitely too late here) she never had a real "flavor" for Italian rep. Let's save Turandot, when she could belt her enormous voice.
She sounds better at this age than Callas did in this piece in her twenties. And this comment is from a Callas Widow. 😮
Please...!
Oh please! I'm a huge Nilsson fan, but Callas in her 20s could do things that Nilsson couldn't even have dreamed of, like singing Brünnhilde and Elvira in the same week, or sing Lady Macbeth, Lucia, Abigile, and Lakme all in the same concert. Nilsson was a great singer with a fascinating voice, but I don't think she was ever really suited to the Italian repertoire, and honestly, I think Wagner himself might have found her way with his music rather foreign, since he wanted his music to be sung as if it were bel canto. At this stage in her career, Nilsson's pitch was often uncertain, though she retained those unique high notes.
I appreciate the feedback. Yes, the marvellous Swedish soprano did not have the lower chest tones that Callas did and I think I could hear a bit of struggle on Nilsson’s part in the lowest part of the range… However, I am thinking of a live performance that she did on television in black-and-white TV quite some years before this concert, so I am a bit off base here… Please forgive She did still have so many marvellous qualities as regards the voice and her capabilities in the higher part of the range… Always appreciate Honest feedback… Wishing you all the best!