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Subject: Re: Birgit Nilsson Great Streaming Documentary
From: Maxwell Paley <[log in to unmask]>
Reply-To:Maxwell Paley <[log in to unmask]>
Date:Wed, 10 Jan 2018 13:37:54 +0530
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I don’t think it’s inane. Her very slender vowels and minimal vibrato could be heard as “cold” and a number of people didn’t like her timbre and style in Italian opera, other than as Turandot.

I never heard her live in “Ballo” but I like her studio recording and find her very passionate. I did hear live as Tosca and didn’t really like what I heard. Very loud throughout and rock solid top notes but very steely and little, I guess I have to say it, “warmth.”

Max Paley

Sent from my iPhone

> On Jan 9, 2018, at 22:21, Operatics <[log in to unmask]> wrote:
> 
> Yes, her Amelia    -   I remember some reviewer's inane comments about Nilsson's voice being cold - ( it must be cold because she comes from icy Sweden)!
> 
> Estelle
> 
> 
> 
>> On 1/9/2018 6:24 AM, k youngmann wrote:
>> And she wasn’t just limited to heavy roles. Her Amelia opposite di Stefano’s Riccardo / Gustavo in Chicago back in ’59 generated some of the greatest applause I’ve ever heard, especially after the Act II duet. Gobbi’s Renato didn’t hurt the performance either!
>> 
>> Kurt Youngmann
>> 
>>> On Jan 9, 2018, at 7:42 AM, Bob Rideout <[log in to unmask]> wrote:
>>> 
>>> Certainly, in my years of opera going, no one has come close
>>> to Birgit Nilsson for vocal opulence and security in the heavier
>>> Wagnerian roles, and in her prime, pre WWIi, there was no
>>> singer who commanded greater tonal splendor than Kirsten
>>> Flagstad.
>> 
>> "Anti-intellectualism has been a constant thread winding its way through our political and cultural life, nurtured by the false notion that democracy means that 'my ignorance is just as good as your knowledge.'” -
>> Isaac Asimov
>> 
>> 
>> 
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