Not the "loudest" or "biggest". Just the most well-placed and projected. This is what happens when you sing with brains. and not brawn (as they do today)
Anna Netrebko is a fine singer, but it seems that the dramatic/Wagnerian singers aren’t what they used to be. Of course, when Miss Nilsson sang Isolde, people probably compared her unfavourably to Kirsten Flagstad and Helen Traubel.
@@CanadianMonarchist Probably yes and probably not. In my opinion Miss Netrebko is of course a fine singer, but her voice would be better placed in the role of Liù. Even Magda Olivero (which sang "Tosca" at her Met debout when she was 60 years old) never sang Tourandot but Liù as far I know (and Miss Olivero had the technique to sing the role but not the right voice for).
Sometimes we hear a very good Turandot (there was, there is), and then we listen to Birgit Nilsson, and we know there is only one, there will be never but one, the goddess from the North, the star that shines in the sky and will always dazzle us, Lady Birgit Nilsson, the unique, the splendid, the irreplaceable.
now you know why in studio recordings they had to turn her down to "balance" the orchestra and not blow out the equipment! She drowns out the orchestra here - in person even more exciting. not as wide as some voices, but the most penetrating and exciting I've ever heard live. No wonder this role made her rich......
@@digogalvaos I don't think "blow out the equipment" is supposed to be interpreted literally but rather as a way to express that her voice was simply too penetrating and loud for most recording instruments back then. It is well established that studio recordings didn't do her voice justice as they mostly captured her overtones and not her 'full' voice which sometimes made her sound more shrill than she actually was.
@@Operafreak9 If you 'overmodulate' into the microphone, the electronic signal the microphone sends to the recording equipment turns into a distorted, unusable mess. There's a recording of Nilsson at the Met doing the Bing Gala where you can tell the engineer kills her mic just for a tiny fraction of a second because he could tell the signal had turned into mush, and that's the only way to get that fixed.
It is correct. And in this interview with Jessey Norman, she recalls how Birgit warmed up with Mozart to lighten her voice before performances ("I remember at the opera house in Berlin, singing the Second Norn in Götterdämmerung,” she says. “I was warming up for my 10 minutes of singing, and [Swedish soprano] Birgit Nilsson, who had this voice that one could hear in the next city it was so huge, was warming up with Mozart! That is why, at 60-odd, she was still singing ‘Hojotoho!’ in Die Walküre better than anybody else "): www.ft.com/content/bf36ba12-e369-11e4-9a82-00144feab7de
That is obviously nonsense. Brigit is one of the greatest in her field, but that statement just doesn't make sense. The orchestra in Turandot is just as big as in Wagnerian operas, the only difference is that she doesn't do that much singing in this role. But she did not simply sail past some of her other Italian roles, she often seemed to struggle in Aida. Of course it is understandable that she wanted to play some other roles as well.
Haha, it's when you hear the sound of the tenor that you really get how much sound she's producing. I mean the ought to have been on the same stage, but it sounds like he's in the next building down the street.
Sublime la Nilsson dal vivo la sua voce era bellissima, le registrazioni non rendono quello che era la realtà. Anche se la voce più monumentale e quindi più grande a livello di volume è stata quella della Tebaldi; lo dico per pura esperienza personale poiché la frequentazione dei tratri d'opera da parte mia iniziò nel 1956, ma lo dicono anche Anna Moffo che la definì la voce più GRANDE e la stessa Birgit Nilsson parlò incantata e folgorata dall'enormità della sua voce. È fattuale. Saluti leonardeschi.
June Anderson, Callas, Birgit, Joan Sutherland all had colossal voices. May God bless them, to how much joy and artistry they brought us. Sad to see opera as a dying art.
.....If I wouldn’t bow my knee only in front of God, BN would be one of the human beings I could think of. Certainly to none of her successors. Vocal Chords made from Kevlar in a hull full of humour and philanthropy. RIP Birgit Nilsson
Franco Corelli fue el único que pudo competir con Birgit Nilsson en el "Gli enigmi sono tre...", y aún así habían veces en las que Nilsson lo sobrepasaba.
@@OperaMyWorld I think you're right. I remember reading about a performance of Turandot with Nilsson, Corelli, and Vishnevskaya in the latter's autobiography. But I think that might have been at Scala rather than Bolshoi.
@@OperaMyWorld If you haven't read her autobiography (Galina, A Russian Stor), it's definitely worth a read. She insisted on dressing like a Chinese peasant for the performance. I also remember her saying that when Corelli began to sing, she realized she was hearing something extraordinary. She also wanted to sing the final note of her aria pianissimo as instructed in the score, but she was told Italians like a loud high note, so she began pianissimo and the last second did a crescendo to fortissimo. Critics described it as a train coming out of a tunnel, and it really does sound like that!
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.
At times too penetrating, that is not necessarily agreeable. Yes, she had a loud voice, but so had Ghena Dimitrova too. The problem is that none else than Maria Callas has ever been able to sing this aria, without screaming.
Honey, honey, there is a difference between screaming and a well developed voice, as much as I LOVE💓💓💓 Maria Callas, had SUCH great musicality with any opera she sang(even Medea) her high notes were shrill BECAUSE she screamed(was forced) at a young age making her vibrato wider at the top(something she would cry about). Nilsson(💓) ofc shouted sometimes(necessary at times). Yes. But she and many others had DEVELOPED they're voices to immense volume and weight(squillo) which is why recording studios had to tone it down Because her voice was developed to be used IN A THEATRE(not yelling at u😘) base the judgment of the voice and art form in the context they were created to be in✌
Not the "loudest" or "biggest". Just the most well-placed and projected. This is what happens when you sing with brains. and not brawn (as they do today)
SLAY, QUEEN BIRGIT! The simple farmgirl born with the voice of a mighty cherubim remains peerless to this very day.
Phenomenal. Super human. When I hear this, I think she has to be the greatest soprano ever to have lived. ❤❤❤❤❤
Caballé was also superb
And what have we today? Anna Netrebko as Turandot. Sad. Very sad.
Anna Netrebko is a fine singer, but it seems that the dramatic/Wagnerian singers aren’t what they used to be. Of course, when Miss Nilsson sang Isolde, people probably compared her unfavourably to Kirsten Flagstad and Helen Traubel.
@@CanadianMonarchist Probably yes and probably not. In my opinion Miss Netrebko is of course a fine singer, but her voice would be better placed in the role of Liù. Even Magda Olivero (which sang "Tosca" at her Met debout when she was 60 years old) never sang Tourandot but Liù as far I know (and Miss Olivero had the technique to sing the role but not the right voice for).
When singing Turandot, she always gives me the chills. The real deal.
that note she hits at 36 seconds on this video is off the chain i just adore her voice
Proper training and technique and care of the voice
Sometimes we hear a very good Turandot (there was, there is), and then we listen to Birgit Nilsson, and we know there is only one, there will be never but one, the goddess from the North, the star that shines in the sky and will always dazzle us, Lady Birgit Nilsson, the unique, the splendid, the irreplaceable.
No one can touch her turandot. She was a phenomenal actress in this role. She commands your attention. The sets and costumes look absolutely stunning
now you know why in studio recordings they had to turn her down to "balance" the orchestra and not blow out the equipment! She drowns out the orchestra here - in person even more exciting. not as wide as some voices, but the most penetrating and exciting I've ever heard live. No wonder this role made her rich......
@@digogalvaos I don't think "blow out the equipment" is supposed to be interpreted literally but rather as a way to express that her voice was simply too penetrating and loud for most recording instruments back then. It is well established that studio recordings didn't do her voice justice as they mostly captured her overtones and not her 'full' voice which sometimes made her sound more shrill than she actually was.
@@CH-is1vc I think Culshaw actually said he was concerned about the equipment.
@@Operafreak9 If you 'overmodulate' into the microphone, the electronic signal the microphone sends to the recording equipment turns into a distorted, unusable mess. There's a recording of Nilsson at the Met doing the Bing Gala where you can tell the engineer kills her mic just for a tiny fraction of a second because he could tell the signal had turned into mush, and that's the only way to get that fixed.
@@RayJorg Thank you. I was unaware.
Bloody marvelous, a force of nature, she can broke a glaciar with that stamina and command of all the registers of her terrific voice
Was there even an orchestra playing? The SIZE of that voice just filling the entire stage and more? WOW Birgit IS Opera! Stupefying
What a VOICE!! INCREDIBLE!
This tenor didn't even have a chance... HAHAHAHAHAHAHA' Birgit Nilsson was a NATURE FORCE! BRAVA!!! BRAVISSIMA!!! 👏👏👏👏👏👏
"Come back" Bigitti, we miss you, and the likes of you.
Simply astonishing. Such a gift to us who simply melt at her vocal perfection.
Überwältigend. Sternstunden des Operngesangs. Eine der wundervollsten Stimmen überhaupt. Auch heute noch unerreicht.
I have been told she sang Turandot when she wanted to refresh her throat with something "light".
It is correct. And in this interview with Jessey Norman, she recalls how Birgit warmed up with Mozart to lighten her voice before performances ("I remember at the opera house in Berlin, singing the Second Norn in Götterdämmerung,” she says. “I was warming up for my 10 minutes of singing, and [Swedish soprano] Birgit Nilsson, who had this voice that one could hear in the next city it was so huge, was warming up with Mozart! That is why, at 60-odd, she was still singing ‘Hojotoho!’ in Die Walküre better than anybody else
"): www.ft.com/content/bf36ba12-e369-11e4-9a82-00144feab7de
Yeah, I've heard that,too. That's a role that eats people alive. And for her it's recreation.
That is obviously nonsense. Brigit is one of the greatest in her field, but that statement just doesn't make sense. The orchestra in Turandot is just as big as in Wagnerian operas, the only difference is that she doesn't do that much singing in this role. But she did not simply sail past some of her other Italian roles, she often seemed to struggle in Aida. Of course it is understandable that she wanted to play some other roles as well.
@@ZENOBlAmusicI would think Aida would be an easier part than Turandot. I wonder why she struggled with it.
COLOSSAL!!!!!!!!!!!!! ❤️❤️❤️
A force of nature🌊she's AWESOME!
2:30 Goodbye, Tenore.
Haha, it's when you hear the sound of the tenor that you really get how much sound she's producing. I mean the ought to have been on the same stage, but it sounds like he's in the next building down the street.
He ain’t Corelli!!
a very good Titanic impression
Makes the hair stand up n the back of your neck. So superb
Stunning in a role she really owned!
Most definitely
Sublime la Nilsson dal vivo la sua voce era bellissima, le registrazioni non rendono quello che era la realtà. Anche se la voce più monumentale e quindi più grande a livello di volume è stata quella della Tebaldi; lo dico per pura esperienza personale poiché la frequentazione dei tratri d'opera da parte mia iniziò nel 1956, ma lo dicono anche Anna Moffo che la definì la voce più GRANDE e la stessa Birgit Nilsson parlò incantata e folgorata dall'enormità della sua voce. È fattuale.
Saluti leonardeschi.
Nilsson a PULVÉRISÉ le pauvre ténor….
Incredible
June Anderson, Callas, Birgit, Joan Sutherland all had colossal voices. May God bless them, to how much joy and artistry they brought us. Sad to see opera as a dying art.
June anderson??? ,😂
@@OperaMyWorld yep! Very pretty strong resonant and large too! you can check her out on youtube. tons of videos and documentaries.
@@OperaMyWorld...June Andersin, a lovely voice, I thought, but certainly not "colossal"!..
Gena Dimitrova too, dramatic sopran... 🙏🏻😃
Pure Titanium.
.....If I wouldn’t bow my knee only in front of God, BN would be one of the human beings I could think of. Certainly to none of her successors.
Vocal Chords made from Kevlar in a hull full of humour and philanthropy. RIP Birgit Nilsson
This opera needs to be retired, as there is now no one else that even comes close to Birgit!
Someone should tell that to Anna Netrebeko
@@EmilyGloeggler7984E Who are you speaking of?
@@EmilyGloeggler7984 honey we await ur response😐😶
@@caseyfranco3959 What did she say, this Emily Greene?
@@esterbruno8604 I think it was there was someone who sang it better than Nilsson I think.
Gyönyörű hang,gyönyörű opera!!!
BIRGIT TURANDOT ! Unbelievable .
Phenomenal. Period. End.
Unique.
I mean was the tenor even singing that high C?! She is so incredible!!!
Bruno Prevedi just skiped his High C!!
Chances to be heard is so rare, hence I think he might as well omit the high C and save it for later... Lol
@@OperaMyWorld and James McCracken also .
If corelli was there both of them you will hear
@@sentagustafsson7204 McCraken had no big high C, if any at all.
my god this is amazing!
Indimenticabile leggendaria nilsson
Can you hear it without crying ?
Tenor sounds great too. This recording from Moscow is cool
Non, non, vous ne rêvez pas, c'est bien un être humain qui chante.
Magnificent
They said Luciano was the king of the hi "C"s well then Birgit certainly was the Queen of the high "C"s.
corelli is the king of high C and corelli >>>>>>>>>>>>>>>>>>>>>>>>>> pavarotti
grandissima.
Omg I need that simple dress for tomorrow....
This is a real Turandot, not the over 🎙Microphone out of tune wobbling nightmares the Met has presented!
That lavish Zeffirelli staging is over the top for the type of singing heard there.
2:32
Sie übertönt den Mann einfach beim hohen C :D
er singt das hohe C nicht
Gertrude Grob-Prandl is probably the only other person to sing Turandot this heroically.
Unfortunately her vibrato was quite annoying!!!
@@OperaMyWorldI need to find a performance by Gwyneth Jones, I would think she might be of this caliber.
@@williammorris584 When I heard Jones live, it was a screech ana a wobble.
El tenor desapareció!!!
Franco Corelli fue el único que pudo competir con Birgit Nilsson en el "Gli enigmi sono tre...", y aún así habían veces en las que Nilsson lo sobrepasaba.
Sorry Franco, Birgit made you disappear
It was not Franco, it was Bruno Prevedi
@@jesussantini759 got it! Thanks.
Which part of the opera is?
Dragan Vidic thanks!
Act 2 scene 2
who is the tenor
Bruno Prevedi!
I thought she did Turandot at the Bolshoi with Corelli. That tenor doesn't sound like Corelli at all.
I don’t think Corelli ever sang at the Bolshoi anything!
The tenor is Bruno Prevedi!
@@OperaMyWorld I think you're right. I remember reading about a performance of Turandot with Nilsson, Corelli, and Vishnevskaya in the latter's autobiography. But I think that might have been at Scala rather than Bolshoi.
@@Shahrdad It was at La Scala in 1964! That same year La Scala tour in Bolshoi but without Corelli!
@@OperaMyWorld If you haven't read her autobiography (Galina, A Russian Stor), it's definitely worth a read. She insisted on dressing like a Chinese peasant for the performance. I also remember her saying that when Corelli began to sing, she realized she was hearing something extraordinary. She also wanted to sing the final note of her aria pianissimo as instructed in the score, but she was told Italians like a loud high note, so she began pianissimo and the last second did a crescendo to fortissimo. Critics described it as a train coming out of a tunnel, and it really does sound like that!
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.
Distrugge il tenore e tutta l'orchestra!
I never liked Nilsson’s Turandot because of her “quel iiiiido” instead of “quel griiiiido ”. It’s not just a note it’s a word that has to be sung
E' forse la. miglior Turandot la Nilson veramente notevole, ❤️
At times too penetrating, that is not necessarily agreeable. Yes, she had a loud voice, but so had Ghena Dimitrova too. The problem is that none else than Maria Callas has ever been able to sing this aria, without screaming.
Aetion you are absolutely right!
Ok, what about Sutherland? You may not like it, but no screaming there!
+Xavier Alberto Oh yes, you are right. I like DJS very much.
Thank you.
@@ER1CwC Thank you. Not EVEN in the same ball park as Nilsson.
Honey, honey, there is a difference between screaming and a well developed voice, as much as I LOVE💓💓💓 Maria Callas, had SUCH great musicality with any opera she sang(even Medea) her high notes were shrill BECAUSE she screamed(was forced) at a young age making her vibrato wider at the top(something she would cry about). Nilsson(💓) ofc shouted sometimes(necessary at times). Yes. But she and many others had DEVELOPED they're voices to immense volume and weight(squillo) which is why recording studios had to tone it down Because her voice was developed to be used IN A THEATRE(not yelling at u😘) base the judgment of the voice and art form in the context they were created to be in✌