It's so extraordinary to see the audience's appreciation for Nilsson. Before and after the performance, people were overwhelmed by her presence. 65 years old and signing like a goddess. Bravissima!
I was there and can attest to the fact that the initial ovation was thunderous, having been earned through decades of thrilling performances, and yet this modest woman was still clearly moved by the outpouring of love she garnered.
I was there and time simply stopped. Only and one occasion to also see for the last time all the legendary luminaries, including magnificent Bampton, regal and unpleasant Milanov, humble and touching Roman, exquisite and elegant Sayao and radiant Stevens... RIP.
Nilsson was the culmination and high point of the Old Met's Farewell Gala in 1966. And the Bing Gala in 1972. And the Centennial Gala of 1983. INCREDIBLE!
And she was a lovely person! I waited on line at her book signing. When I mentioned it was my birthday, she bubbled over with enthusiasm, and signed with a great flourish! AND she was wearing sensible shoes!
To any of you who were at the concerts Nilsson gave upon her return to the Metropolitan Opera, I once came across a bootleg recording on CD of these historical recordings. I have in vain searched high and low for that CD. Any suggestions would therefore be much appreciated.
To Travel Is To Live I could’ve sworn there was an audio version on UA-cam, unless I’m hallucinating. To be honest, her first number, Dich teure Halle, wasn’t good. She probably wasn’t warmed up. But by the time she got to Salome and Brunnhilde’s Immolation, the years vanished and she launched thunderbolts into the theater. I thought her encore would be a Swedish ditty after the previous ‘bagatelles,’ but she thundered out Hojotoho! What a night!
I was there, center orchestra, for this event. Monumental! Nilsson's voice has been described as a laser - it was. I believe she was the last performer of the evening - a fitting honour.
I’ve seen this clip dozens of times, and I even got to see Nilsson onstage three times during those years. But I just noticed Rise Stevens’ reaction to the high-B 9:02 on “mir lacht.” Stevens knew that it was a treacherous note, and her whole body shook with relief when Nilsson hurled it out like in the old days. Stevens also imperceptibly shakes her head, as if to say, “Birgit, how can you still be so fantastic!”
Even at that age, Nilsson's voice was majestic! Amazing! How I wish I could be there even though I feel blessed because we have technology that allow us to listen to voices like Nilsson, Callas, or Sutherland even after they left us... I certainly go to Opera whenever I can, but nowadays I don't find anyone on their level... Some of their recordings remain, to my taste, definitive versions of those roles to this date (I remember Turandot by Nilson, or Amina/Sonnambula by Callas, or Elvira/Puritani by Sutherland... etc.), although many decades have passed by since... How amazing is that!? Thank you for uploading! =)
Is that the one where she told Cavett about her famous shoe story, and Cavett replied, “There’s no business like shoe business.” I thought Nilsson would fall over laughing!
Even more impressive is the folk song, "When I Was 17," she sings AFTER this aria dedicated to Christine Nisson, who was the prima donna at the first Metropolitan Opera performance. The Tristan excerpt is a wonderful tribute to a great career, but the folk song shows the true Nilsson prowess!
She often said that her voice became lighter and more agile after a big performance! She once sang the Queen of the Night aria (with all the high-Fs) in her dressing room after a Gotterdammerung. The conductor, Bohm, refused to believe it, so he sat down at the piano to accompany Nilsson. And sure enough - Queen of the Night!
Great show of affection and admiration from the audience to Birgit. She can't even believe such a welcoming to the stage, as she looks so humble and surprised, i love the gaze she gives to Levine like saying "Can you believe it?". Something else, at 0:45 stopped i can see Erna Berger in green, at the back in a black gown i think it's Nell Rankin. In blue at the front , nexto to Berger is Eleanor Steber.
@@dudeforcaster8630 I find that the reverse is also true. Videos of Flagstad are always followed by comments that extol the virtues of Nilsson and set up one soprano against the other. Hero worship tolerates no dissenting voices.
It’s actually a high-B; there is no C in the Narrative. But to have maintained her voice in good condition after decades of singing little bagatelles like Brunnhilde and Elektra, even you have to admit that her singing here is still creditable.
She was 65 years old at this event. Amazing!
It's so extraordinary to see the audience's appreciation for Nilsson. Before and after the performance, people were overwhelmed by her presence. 65 years old and signing like a goddess. Bravissima!
One of the greatest opera singers who ever lived.
I was there and can attest to the fact that the initial ovation was thunderous, having been earned through decades of thrilling performances, and yet this modest woman was still clearly moved by the outpouring of love she garnered.
Wonderful Birgit Nilsson, 100 years today on May 17th 2018, She will live for ever !
She was one of the greatest of the great....still giving her 100%
She was towering. And a lovely person, with a fabulous sense of humor to match that voice. Great and humble at the same time. One of a kind.
I was there and time simply stopped. Only and one occasion to also see for the last time all the legendary luminaries, including magnificent Bampton, regal and unpleasant Milanov, humble and touching Roman, exquisite and elegant Sayao and radiant Stevens... RIP.
TEARS of JOY one of the greatest singers of our time BRAVO OVATION
Nilsson was the culmination and high point of the Old Met's Farewell Gala in 1966. And the Bing Gala in 1972. And the Centennial Gala of 1983. INCREDIBLE!
Unglaublich! Sie ist eine Göttin! Mit 65 Jahre...
I saw her near the end of her career in Elektra, Frau, and her Met Comeback Concert. Even at that late date, her voice was still spectacular.
Couldn't agree more. I saw those performances and this one, as well. I was young, but I'll never forget this.
Dave Glo Oh you were very fortunate!
And she was a lovely person! I waited on line at her book signing. When I mentioned it was my birthday, she bubbled over with enthusiasm, and signed with a great flourish! AND she was wearing sensible shoes!
To any of you who were at the concerts Nilsson gave upon her return to the Metropolitan Opera, I once came across a bootleg recording on CD of these historical recordings. I have in vain searched high and low for that CD. Any suggestions would therefore be much appreciated.
To Travel Is To Live I could’ve sworn there was an audio version on UA-cam, unless I’m hallucinating. To be honest, her first number, Dich teure Halle, wasn’t good. She probably wasn’t warmed up. But by the time she got to Salome and Brunnhilde’s Immolation, the years vanished and she launched thunderbolts into the theater. I thought her encore would be a Swedish ditty after the previous ‘bagatelles,’ but she thundered out Hojotoho! What a night!
I was there, center orchestra, for this event. Monumental! Nilsson's voice has been described as a laser - it was. I believe she was the last performer of the evening - a fitting honour.
Actually, Price and Pavarotti were the last. But in the end, who cared. Nilsson stole the show.
I’ve seen this clip dozens of times, and I even got to see Nilsson onstage three times during those years. But I just noticed Rise Stevens’ reaction to the high-B 9:02 on “mir lacht.” Stevens knew that it was a treacherous note, and her whole body shook with relief when Nilsson hurled it out like in the old days. Stevens also imperceptibly shakes her head, as if to say, “Birgit, how can you still be so fantastic!”
The say that she and Sutherland had their voices till the end..
Wonderful!
I love her!!
Even at that age, Nilsson's voice was majestic! Amazing!
How I wish I could be there even though I feel blessed because we have technology that allow us to listen to voices like Nilsson, Callas, or Sutherland even after they left us...
I certainly go to Opera whenever I can, but nowadays I don't find anyone on their level... Some of their recordings remain, to my taste, definitive versions of those roles to this date (I remember Turandot by Nilson, or Amina/Sonnambula by Callas, or Elvira/Puritani by Sutherland... etc.), although many decades have passed by since... How amazing is that!?
Thank you for uploading! =)
such a pity to cut short the final ovation!!!
Thank you.
Still very exciting phrasing and intonation. Yes the voice is aged here but she still hurls her upper register like a thunderbolt.
She was such a wonderful lady. There is a great interview on a Dick Cavett.
Is that the one where she told Cavett about her famous shoe story, and Cavett replied, “There’s no business like shoe business.” I thought Nilsson would fall over laughing!
Even more impressive is the folk song, "When I Was 17," she sings AFTER this aria dedicated to Christine Nisson, who was the prima donna at the first Metropolitan Opera performance. The Tristan excerpt is a wonderful tribute to a great career, but the folk song shows the true Nilsson prowess!
She often said that her voice became lighter and more agile after a big performance! She once sang the Queen of the Night aria (with all the high-Fs) in her dressing room after a Gotterdammerung. The conductor, Bohm, refused to believe it, so he sat down at the piano to accompany Nilsson. And sure enough - Queen of the Night!
Great show of affection and admiration from the audience to Birgit. She can't even believe such a welcoming to the stage, as she looks so humble and surprised, i love the gaze she gives to Levine like saying "Can you believe it?". Something else, at 0:45 stopped i can see Erna Berger in green, at the back in a black gown i think it's Nell Rankin. In blue at the front , nexto to Berger is Eleanor Steber.
Besides Steber is the wonderful Jarmila Novotná.
Really is Eleanor in the audience?
saw/heard her last "Ring" at the Met ----- es gibt kein anderes
Well, well ..... this Nilsson. Outstanding! Yes, 65 years of age and yes, a few "flaws" BUT : listen to Stemme and Theorin today ???
God, stemme and theorin have no business singing Wagner
So right you are!!@@AP-dd3xp
I don't care to listen to them.
I fully understand!@@SymphonyBrahms
Superhuman.....
8:17 - 9:06 !!!!
Nice shoes
9:09 is that Milanov smiling at the back? After Birgit hit that note 😬
Not much of a smile if it was. Milanov was known more for her jealously of Nilsson and her own self importance. It was likely a smirk vs a smile.
@@baritonebynight that wasn't Milanov...
who are the people sitting behind on stage?
ksionc100 Retired stars from the Met- many of the greatest singers of the century.
ksionc100: The MET needs every dollar it can get so it was selling tickets for any place they could put a seat. The rafters were sold out I was told.
But of curse!
SHOUT OUT TO THE EXTRAORDINARY AUDIENCE TOO!
only one top C remains fine in this video...her voice is almost gone...the "myth" Nilsson...(prefer Flagstad!)
She was sixty five years old at the moment (I think it's something to evaluate...). And to have a top C at this age is an event!
Serious question; why do Flagstad fans almost always show up on these videos and trash talk BN? What do you get out of it?
@@dudeforcaster8630 I find that the reverse is also true. Videos of Flagstad are always followed by comments that extol the virtues of Nilsson and set up one soprano against the other. Hero worship tolerates no dissenting voices.
@@karlakor Perhaps, but since I am not a KF fan I do not seek out her work. These dead diva comparisons are tiresome and pointless.
It’s actually a high-B; there is no C in the Narrative. But to have maintained her voice in good condition after decades of singing little bagatelles like Brunnhilde and Elektra, even you have to admit that her singing here is still creditable.
Horror!!!