Always liked her, but good god isn't this beautiful?
http://www.youtube.com/watch?v=mgpesiHWTbQ
You'll get no argument from me! :D I wonder who the orchestra and conductor were...
Awesome !
One of the greatest singers of the 20th Century .
Thanks Michel.
Quote from: jochanaan on October 30, 2007, 11:20:32 AM
You'll get no argument from me! :D I wonder who the orchestra and conductor were...
Thanks Michel for posting that, I love Flagstad she is my quintessential Isolde. I am not sure what the orchestra and conductor are. However
jochanaan if you are looking for a historical recording I have the following mind-blowing performance of Flagstad as Isolde in the 1930s, she brought the house down...unforgettable!!! You might want to check it out.
(http://ecx.images-amazon.com/images/I/41YNB88ER4L._SS500_.jpg)
marvin
My favorite Flagstad record is the Immolation Scene with Wilhelm Furtwängler on the EMI bleeding chunks set. The La Scala performances are just too lacking in SQ, but the studio finale is wonderful. There's also the premiere (again with Furtwängler) of the Strauss Vier letzte Lieder, the usual Tristan cuts, and the Immolation Scene out on Testament. If you can overcome the dim sonics, then you'll find the recording most excellent.
Quote from: marvinbrown on November 02, 2007, 04:46:14 AM
Thanks Michel for posting that, I love Flagstad she is my quintessential Isolde. I am not sure what the orchestra and conductor are. However jochanaan if you are looking for a historical recording I have the following mind-blowing performance of Flagstad as Isolde in the 1930s, she brought the house down...unforgettable!!! You might want to check it out.
*eyes glaze over* Flagstad. Melchior.
Reiner. Must have--must have... ;D
If you think Flagstad in Wagner is great (and she is), just wait until you hear Frida Leider.
I'm just working my way through this...
I hadn't heard Tristan before and have only got to the end of scene two but wow! Scene two act two is breathtakingly beautiful.
Quote from: Great Gable on November 08, 2007, 12:22:07 PM
I'm just working my way through this...
I hadn't heard Tristan before and have only got to the end of scene two but wow! Scene two act two is breathtakingly beautiful.
Great Gable, I believe and someone correct me here if I am mistaken that that recording has been digitally remastered and is part of the EMI Great Recordings of the Century series.
marvin
Quote from: marvinbrown on November 08, 2007, 02:14:19 PM
Great Gable, I believe and someone correct me here if I am mistaken that that recording has been digitally remastered and is part of the EMI Great Recordings of the Century series.
marvin
Yes and no. There are two issues of this recording on EMI. One is in the Great Recordings series but this version isn't. I believe the only difference is that this version doesn't come with the libretto and is considerably cheaper as a result - I paid £9 - which is a bargain in anyone's book. I think the sound quality is the same but don't quote me. This version states "remastered at Abbey Road by Simon Gibson" and was released in 2004. It certainly sounds good.
http://www.amazon.co.uk/Wagner-Tristan-Isolde-Richard/dp/B00005MIZN/ref=sr_1_5/203-7810774-1775126?ie=UTF8&s=music&qid=1194566253&sr=1-5
http://www.amazon.co.uk/Wagner-Tristan-Isolde-Richard/dp/B0001E8C14/ref=sr_1_3/203-7810774-1775126?ie=UTF8&s=music&qid=1194566253&sr=1-3
Quote from: Great Gable on November 08, 2007, 02:51:43 PM
Yes and no. There are two issues of this recording on EMI. One is in the Great Recordings series but this version isn't. I believe the only difference is that this version doesn't come with the libretto and is considerably cheaper as a result - I paid £9 - which is a bargain in anyone's book. I think the sound quality is the same but don't quote me. This version states "remastered at Abbey Road by Simon Gibson" and was released in 2004. It certainly sounds good.
http://www.amazon.co.uk/Wagner-Tristan-Isolde-Richard/dp/B00005MIZN/ref=sr_1_5/203-7810774-1775126?ie=UTF8&s=music&qid=1194566253&sr=1-5
http://www.amazon.co.uk/Wagner-Tristan-Isolde-Richard/dp/B0001E8C14/ref=sr_1_3/203-7810774-1775126?ie=UTF8&s=music&qid=1194566253&sr=1-3
I stand corrected then.
marvin
Flagstad sings Kindertotenlieder very well.Her performance is better than the ones of many mezzo soprano.
Quote from: Larry Rinkel on November 05, 2007, 05:17:07 AM
If you think Flagstad in Wagner is great (and she is), just wait until you hear Frida Leider.
I have only one recording of Frida Leider on an LP anthology. It's an awe-inspiring performance of Ho-jo-to-ho. What a voice! I don't know much about her.
But Flagstad was great all right.
To me she was the greatest soprano I heard in Wagner operas. Her recordings with Melchior in the 20s and 30s, her Ring with Max Lorenz and Furtwängler in the Scala, 1950, and, although she may suffer some vocal difficulties, her sublime presence in Tristan and Isolde conducted by Furtwängler.
I only see a soprano that could be considered a rival to Flagstad in that repertory: Astrid Varnay.
My children's great grandmother is KF's second cousin. No kidding, and my youngest son is LOUD.
I like her Vier letzte lieder with WF.
At the end of her carrer she did som pretty horrible psalms which were played on radio all the time when I was growing up. It is a pity that there are so very few pre war-recordings, when she saved the Met and such.
Not for nothing but I have a confession to make. After listening to two different recordings of Flagstad as Isolde, I am having problems accepting any other soprano in that role. My situation is quite drastic. I have had the Nilsson Bohm Tristan und Isolde in my amazon.co.uk shopping basket for the past couple of weeks and I just can't get myself to click that proceed to checkout button! That recording is praised as one of the greatest on record and its from Bayreuth. Believe me, I am well aware that there is nothing quite like hearing Wagner at Bayreuth and yet I just can't get myself to want to listen to any other Isolde but Flagstad. Flagstad's voice is unmistakable, so much depth, passion and pain and not to mention the power and perfect execution of the role of Isolde, how, oh somebody please tell me, how can I tolerate any other soprano in that role? What could Nilsson possibly contribute to the role of Isolde to trump Flagstad?
(The Bohm Tristan und Isolde is still in my shopping cart and shall remain there until further notice!)
marvin
Quote from: Valentino on December 03, 2007, 02:42:56 AM
My children's great grandmother is KF's second cousin. No kidding, and my youngest son is LOUD.
I like her Vier letzte lieder with WF.
At the end of her carrer she did som pretty horrible psalms which were played on radio all the time when I was growing up. It is a pity that there are so very few pre war-recordings, when she saved the Met and such.
An American singer,Dorothy Kirsten was also related to Miss Flagstad.
Quote from: marvinbrown on December 03, 2007, 03:50:58 PM
oh somebody please tell me, how can I tolerate any other soprano in that role? What could Nilsson possibly contribute to the role of Isolde to trump Flagstad?
Oh come on, their is no right or wrong way to sing Isolde. I always though Flagstad is a bit too matronly for the role (on the Furtwangler recording anyway). In the '30s recording with Melchior and Reiner she sounds marvelous, and the recording is stunningly good.
I also really like Margaret Price on the Carlos Kleiber recording. A stunning Verdian soprano, not quite a spinto but extremely lyrical and when balanced correctly like in the Carlos Kleiber recording sounds like the sexy princess that Isolde is supposed to be.
Quote from: PerfectWagnerite on December 03, 2007, 06:23:04 PM
Oh come on, their is no right or wrong way to sing Isolde. I always though Flagstad is a bit too matronly for the role (on the Furtwangler recording anyway). In the '30s recording with Melchior and Reiner she sounds marvelous, and the recording is stunningly good.
I also really like Margaret Price on the Carlos Kleiber recording. A stunning Verdian soprano, not quite a spinto but extremely lyrical and when balanced correctly like in the Carlos Kleiber recording sounds like the sexy princess that Isolde is supposed to be.
PW I have the 30s recording with Melchoir and Reiner and I find Flagstad is remarkably marvelous- nothing matronly about her performance in that recording. She has not restrained herself in any way, the shear intensity of her voice and the way she sings that role with so much unrestrained emotion and power make her my quintessential Isolde. I also have the Furtwangler (EMI Great Recordings of the Century) recording and that I will admit is more polished and perhaps the criticism of "matronly", and here I take that to mean "restrained", would apply here. But, it is a splendid performance nevertheless and the supporting cast is as ideal as you are ever going to get! Perhaps I should go ahead and purchase the Bohm recording with Nilsson regardless. If it is as BRILLIANT as they say it is then there must be something unique there as well. Though more unique than Flagstad remains to be seen (or heard as the case may be).
Finally I am surprised to hear that MARGARET PRICE attempted that role :o! I think I'll stick with Nilsson as a
possible alternative to Flagstad for the time being.
marvin
Quote from: marvinbrown on December 04, 2007, 01:40:36 AM
PW I have the 30s recording with Melchoir and Reiner and I find Flagstad is remarkably marvelous- nothing matronly about her performance in that recording. She has not restrained herself in any way, the shear intensity of her voice and the way she sings that role with so much unrestrained emotion and power make her my quintessential Isolde. I also have the Furtwangler (EMI Great Recordings of the Century) recording and that I will admit is more polished and perhaps the criticism of "matronly", and here I take that to mean "restrained", would apply here. But, it is a splendid performance nevertheless and the supporting cast is as ideal as you are ever going to get! Perhaps I should go ahead and purchase the Bohm recording with Nilsson regardless. If it is as BRILLIANT as they say it is then there must be something unique there as well. Though more unique than Flagstad remains to be seen (or heard as the case may be).
Finally I am surprised to hear that MARGARET PRICE attempted that role :o! I think I'll stick with Nilsson as a possible alternative to Flagstad for the time being.
marvin
By "matronly" I mean too mature, sounds like Tristan's aunt or mother, well in the '50s recording anyway. With Reiner she wounds wonderful.
You don't know about this CD?
(http://ecx.images-amazon.com/images/I/41J1P3SRQYL._AA240_.jpg)
C'mon, stop pulling my leg.
Quote from: PerfectWagnerite on December 04, 2007, 05:36:25 AM
By "matronly" I mean too mature, sounds like Tristan's aunt or mother, well in the '50s recording anyway. With Reiner she wounds wonderful.
You don't know about this CD?
(http://ecx.images-amazon.com/images/I/41J1P3SRQYL._AA240_.jpg)
C'mon, stop pulling my leg.
In all honesty no! The set that everyone seems to be raving about is this:
(http://ecx.images-amazon.com/images/I/41XA381DV8L._SS500_.jpg)
Whenever I find myself arguing with fellow Wagnerians that Flagstad is the greatest Isolde on record it is this Bohm set at Bayreuth that Wagnerians are quick to claim to be the contender for the "best" Tristan und Isolde on record. But I see that you champion the Price recording PW, perhaps before I run off and buy the Bohm set I should do some sampling and try out the Kleiber set. I can never have too many recordings of my favorite opera!
marvin
Quote from: marvinbrown on December 04, 2007, 05:52:05 AM
Whenever I find myself arguing with fellow Wagnerians that Flagstad is the greatest Isolde on record it is this Bohm set at Bayreuth that Wagnerians are quick to claim to be the contender for the "best" Tristan und Isolde on record. But I see that you champion the Price recording PW, perhaps before I run off and buy the Bohm set I should do some sampling and try out the Kleiber set. I can never have too many recordings of my favorite opera!
marvin
There are reasons people like the Boehm set. Quick tempo and a refusal to dawdle or milk the moments gives the reading a forward impetus I sometimes miss in the Furtwangler reading. But I prefer Furtwangler because it has more power and sweep. There is no question Nilsson was a great Isolde (you won't get disagreements about that). I think her voice is sufficiently different from Flagstad (more more icy, not quite as expressive, equally ringing, never strident) that it merits acquiring this set.
If you have the $$$ I would highly recommend the Carlos Kleiber/Price/Kollo recording mentioned above. Price is probably one of the top Verdian sopranos of our generation. Hers is not a very big voice and is VERY nicely complemented by Rene Kollo (who is never much of a heldentenor anyway). Carlos Kleiber manages the orchestral balances very well. In this reading you find the same quick tempo as Boehm combined with the fervor and power of Furtwangler. I am sure you will enjoy it.
For a change of pace I also like Karajan/Vickers/Dernesch. I used to absolutely DETEST this reading because it SOUNDS slow. But it is immensely detailed, unparalleled orchestral execution, and shows the complete control over the BP that HVK had. It is such a precise reading almost like a machine. A rather cold approach not unlike HVK's Ring Cycle but once in a while I like it.
I don't really have any other modern Tristans but recently I acquired the Thielemann recording and it really doesn't make an impression on me, good or bad.
Quote from: PerfectWagnerite on December 04, 2007, 06:13:43 AM
For a change of pace I also like Karajan/Vickers/Dernesch. I used to absolutely DETEST this reading because it SOUNDS slow. But it is immensely detailed, unparalleled orchestral execution, and shows the complete control over the BP that HVK had. It is such a precise reading almost like a machine. A rather cold approach not unlike HVK's Ring Cycle but once in a while I like it.
But there is absolutely nothing cold about Vickers' intensity in Act 3. In fact, some reviewers have gone so far as to say that, as a performance, it is altogether too painful, and that they found it just too draining. I also love Dernesch's Isolde; much more feminine and womanly than most. The top notes tax her occasionally, but the middle register is quite beautiful and she contributes a really lovely
Liebestod.
Getting back to Flagstad, of course it is an absolutely magnificent voice, even throughout its registers and produced with absolute security. But I too have often found her somewhat matronly, a little cool and lacking in real passion. After all she once remarked disparagingly of Lotte Lehmann's Sieglinde, that she acted on stage as no woman should act with anyone but their husband. Hearing records of Frida Leider was a revelation for me. She thrilled where Flagstad impressed, and I would probably rank her as the greatest Wagnerian soprano of all time. Incidentally, she too was a great Verdi singer. The Australian singer, Marjorie Lawrence, more a high mezzo or
falcon, to use the French expression, is also a magnificent Isolde in the few extracts I have heard from her.
Quote from: Tsaraslondon on December 04, 2007, 08:01:41 AM
The Australian singer, more a high mezzo or falcon, to use the French expression, is also a magnificent Isolde in the few extracts I have heard from her.
??? What Australian singer? I don't see any mentioned in this thread.
Quote from: Wendell_E on December 04, 2007, 08:32:45 AM
??? What Australian singer? I don't see any mentioned in this thread.
Sorry. Forgot to add her name - Marjorie Lawrence. Duly amended.
Thanks. Just wanted to make sure I wasn't missing something. Or going crazy (always a possibility).
Quote from: PerfectWagnerite on December 04, 2007, 06:13:43 AM
...Hers is not a very big voice and is VERY nicely complemented by Rene Kollo (who is never much of a heldentenor anyway)...
Off-topic comment: Is Kollo actually good in this? The only acquaintance I have with him is on the first Solti/Mahler Eighth--and based on that, I have no wish for further acquaintance. He's the only weak spot on that recording among an awesome vocal lineup that includes Heather Harper, Lucia Popp and Martti Talvela, among others.
Quote from: jochanaan on December 04, 2007, 03:46:28 PM
Off-topic comment: Is Kollo actually good in this? The only acquaintance I have with him is on the first Solti/Mahler Eighth--and based on that, I have no wish for further acquaintance. He's the only weak spot on that recording among an awesome vocal lineup that includes Heather Harper, Lucia Popp and Martti Talvela, among others.
The best thing I can say is that Kollo doesn't DISTRACT from this recording. He is not the fiery type like Vickers or even Windgassen at times. His Tristan is much more contemplative almost like he is in a dream the entire time. Whether you like this or not is a matter of taste. Personally I think it is fine at times but in Act III he seems overparted, even in the studio. Some may say his portrayal is a bit "soft".
As to Tristan und Isolde, for whatever reason, I tend to order my favorites Runnicles (2006), Kleiber (1982), and Böhm (1966). For whatever reason, and it could be the unique circumstances surrounding the Runnicles version, Christine Brewer really has the sort of ringing tone that I think a great Wagnerian soprano should have. I don't know if she is similar to Flagstad, indeed, I might say that her tone is a bit too hard to place her with Flagstad (maybe closer to Nilsson).
As to Kollo: There are two recordings in which I can stomach him unreservedly, both of Wagner works, Karajan's Meistersinger and Kleiber's Tristan. Outside that list, and I find his contributions - shall we say - lackluster in all the wrong ways. Kleiber got a serviceable Tristan out of him, though, and that was miracle enough. I tend to have the broader reservations about Fischer-Dieskau in Kleiber's set, as his by-then hectoring style and tendencies toward stridency made him a bit grating. Sometimes that worked in his favor, especially earlier in his career (Fricsay's Don Giovanni), but it isn't always appealing to me.
Did Flagstad sing any role of Verismo opera like Nilsson? And what is the basic difference between Nilsson and Flagstad?
Quote from: wagnernn on December 05, 2007, 03:08:44 AM
Did Flagstad sing any role of Verismo opera like Nilsson?
She sang Minnie and Tosca early in her career. Also some Verdi (Aida, Amelia, and Desdemona) which I suppose might be considered "pre-versitic" vocally. But, unlike Nilsson, I don't think she continuted to sing those after she became a famous Wagnerian. At the Met, she only sang Wagner,
Fidelio, and Gluck's
Alceste.
My old friend asked me for a record od Flagstad singing Desdemona ,but I can't find any thing! Please share my any aria or scene in Otello with Flagstad.Thank you very much!
*bumping this thread after more than seven years!!!!*
Any current fans of Flagstad here at GMG?
I am considering this Decca compilation? Any thoughts?
[asin] B007IGG0MG[/asin]
(http://ecx.images-amazon.com/images/I/71mOi5NRU8L._SL1120_.jpg)
EDIT: I came across this review on MusicWeb (http://www.musicweb-international.com/classrev/2012/Nov12/Flagstad_Decca_4783930.htm) in case anybody is interested?
Quote from: Michel on October 30, 2007, 12:37:25 AM
Always liked her, but good god isn't this beautiful?
http://www.youtube.com/watch?v=mgpesiHWTbQ
Under the clip is the following:
"Tristan und Isolde (2004 Digital Remaster): Mild und leise (III.Akt)" by Kirsten Flagstad/Philharmonia Orchestra/Issay Dobroven