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Subject: Re: question
From: Max Paley <[log in to unmask]>
Reply-To:Max Paley <[log in to unmask]>
Date:Sun, 30 Jul 2017 01:14:04 -0700
Content-Type:text/plain
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On the "Ho-jo-to-HOH" she swoops up (or often, from Nilsson, jumps straight up) first to high Bs then to high Cs. The sustained high note after is a B.

Flagstad didn't stop taking them after 1947 - she took fewer of them. In all of her staged Tristan performances, right up to the end, she always hit the first high C but rarely the second, even as far back as 1940. She touches the high Cs in the battle cry in the 1950 La Scala performances. She always sang the first C in "Siegfried" but rarely the second, even back in the late 30s. Post war she rarely sang the C at the climax of the "Götterdämmerung" Prologue duet.

The actual "Ho-jo-to-ho" passage was always transposed down for Traubel. That also let Wotan avoid a high F#. The one and only recorded instance of a Traubel high C is at the end of the "Götterdämmerung" Prologue duet with Melchior conducted by Toscanini. He probably scared it out of her.

In the "Tristan" studio recording, there was no dubbing. Schwarzkopf stood beside Flagstad and sang the notes in real time. I swear I hear Flagstad singing along with her on the first one (as she always had done live) but not the second.

The latter point does lead to the slightly snarky question of who was singing Schwarzkopf's high Cs for her a decade later in the Giulini Verdi Requiem studio recording.

Max Paley

Sent from my iPad

> On Jul 29, 2017, at 23:46, daaaac <[log in to unmask]> wrote:
> 
> It’s a hgh B is the last not of the battlecry.  She touches high C twice before the end.
> 
> Donald
>> On Jul 30, 2017, at 1:53 AM, Les Mitnick <[log in to unmask]> wrote:
>> 
>> Will someone please be so kind as to answer the following question:
>>    In the opening of Act II of "Die Walkure", is Brunnhilde's ultimate high note a top B or a 
>> top C???  I'm referring to the Battle Cry, of course.  Helen Traubel simply didn't own a high 
>> C from the very beginning, and though Flagstad took them regularly from 1935 to 1941, she 
>> stopped taking them after her return in 1947).  Yet both of them appeared in many Ring 
>> performances in the late 1940s and Flagstad did the 1950 Furtwangler Ring as well as a 
>> complete Ring at the Met as late as 1951, as did Traubel.  Later, of course, these notes were 
>> never an issue or problem for Birgit Nilsson.
>>    Were transpositions made for them?  John Culshaw cited Flagstad's refusal to sing a 
>> complete recorded Walkure in 1957 (and instead recorded Act I and Act III separately, the 
>> results of which were critically acclaimed.  Culshaw also cited Flagstad's recalcitrance about 
>> Isolde's lightning top Cs in Act II of Tristan Und Isolde (those two infamous notes that could 
>> have been left out altogether, but which Schwarzkopf "dubbed in").  He then said that since 
>> she no longer had a top C, a complete Walkure in 1957 was impossible.
>>    But are those Battle Cry notes in the opening of Walkure Bs or Cs??  If they're written as 
>> Cs, they were obviously transposed one step down.  If they're Bs, then they were sung as 
>> written.  Culshaw's statements confused me.
>>    I tend to think they're Bs because I can't imagine Wagner being transposed downwards 
>> in the 1940s.  
>>    I hope I'm making sense here.
>> 
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