Her 1951 Kundry also displays her size extremely well. Certainly she sounds much bigger in her 1950s recordings than the 1930s. The old recording style must have missed much of the overtones in her voice.
@@dramaticsoprano5168 The tremendous development of a contralto-like lower register in the 50’s must also have expanded the breadth of the rest of her voice.
Great Scene, great!!! Love and violence, love and power are incompatible. Illusiveness of power, proximity to rise to fall.Debunking titanism, pygmy titans. My absolutly fave scene from all th operas. Flagstad is first-rate, amazing, on fire...P.S. the death of Valhalla and the all-cleaning spill of the Rhine
I think the photo may be taken from a film version she made of the Immolation. I seem to remember that the scene was introduced by Bob Hope, though I don't know if it was included in a film or if it was a short which was shown in cinemas as a filler. Thank you for the video!
*More info about this recording ;) Siegfried - Set Svanholm Brünnhilde - Kirsten Flagstad Gutrune - Ingrid Bjoner Waltraute - Eva Gustavson Hagen - Egil Nordsjo Gunther - Waldemar Johnsen Opera Chorus Oslo Philharmonic Orchestra Norwegian State Radio Orchestra Conductor Øivin Fjelstad Oslo, 1955*
This was from a Norwegian radio broadcast. Gotterdamerung was broadcast live over three days in January of 1956. Act three, with the Immolation Scene, was broadcast on January 10th...
I remember her in this set to have been much more vocally compromised. Perhaps Act II was a stretch; this is magnificent still. (She made the recording only to benefit her National Opera, if memory serves. She was the Director.)
Not her best Immolation ( that would be the 1948 under Furtwangler) and the complete set from which it comes is not very good but it still has a lot to offer
She had the most rich and perfectly dark yet vibrant voice....
Her voice and singing are stunning and so clear and steady.
I think this gives the best sense of the gargantuan size of her instrument compared to earlier recordings of this work.
Her 1951 Kundry also displays her size extremely well. Certainly she sounds much bigger in her 1950s recordings than the 1930s. The old recording style must have missed much of the overtones in her voice.
@@dramaticsoprano5168 The tremendous development of a contralto-like lower register in the 50’s must also have expanded the breadth of the rest of her voice.
The best of the Wagnerians.. Kirsten we all love you
God sent voice
The greatest of all..
Yes......
Great Scene, great!!! Love and violence, love and power are incompatible. Illusiveness of power, proximity to rise to fall.Debunking titanism, pygmy titans. My absolutly fave scene from all th operas. Flagstad is first-rate, amazing, on fire...P.S. the death of Valhalla and the all-cleaning spill of the Rhine
Está grabación supera a las anteriores, se perdió mucha dinámica y expresividad en las otras grabaciones increíble voz
Vinicius Soaris Thank you!
The photo was made in Hollywood by MGM when she was filmed singing the war cry for the film The Big Broadcast of 1938.
I think the photo may be taken from a film version she made of the Immolation. I seem to remember that the scene was introduced by Bob Hope, though I don't know if it was included in a film or if it was a short which was shown in cinemas as a filler.
Thank you for the video!
That's for Die Walküre
@@flohilde3677 Thank you for the update. I meant the photo. It looks the same as the film.
Does anyone know where this was recorded? Conductor? Cast? (in case it was taken from a performance).
*More info about this recording ;)
Siegfried - Set Svanholm
Brünnhilde - Kirsten Flagstad
Gutrune - Ingrid Bjoner
Waltraute - Eva Gustavson
Hagen - Egil Nordsjo
Gunther - Waldemar Johnsen
Opera Chorus
Oslo Philharmonic Orchestra
Norwegian State Radio Orchestra
Conductor Øivin Fjelstad
Oslo, 1955*
This was from a Norwegian radio broadcast. Gotterdamerung was broadcast live over three days in January of 1956. Act three, with the Immolation Scene, was broadcast on January 10th...
I remember her in this set to have been much more vocally compromised. Perhaps Act II was a stretch; this is magnificent still. (She made the recording only to benefit her National Opera, if memory serves. She was the Director.)
Not her best Immolation ( that would be the 1948 under Furtwangler) and the complete set from which it comes is not very good but it still has a lot to offer
Utmost beauty talking about dramatic soprano!