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Subject:

Re: Flagstad (was Re: Vocal Training and Two Great Tenors)

From:

Donald Levine <[log in to unmask]>

Reply-To:

Donald Levine <[log in to unmask]>

Date:

Thu, 8 Mar 2018 11:58:49 -0700

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

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One of my favorite of all the extant Flagstad recordings is the almost
complete Fliegende Hollander from Covent Garden 1937 under Fritz Reiner
with Herbert Janssen, Max Lorenz, Torsten Ralf and Ludwig Weber. A cast
made in heaven. A Senta made in heaven. You can hear the glorious fjords
of Norway in that voice.

Donald

On Thu, Mar 8, 2018 at 11:48 AM, donald kane <[log in to unmask]> wrote:

> I would love to have heard a Flagstad Eva, far more than the
> boring ALCESTE I sat through; she is, for me, one of Wagner's
> most cherishable heroines.
>
> dtmk
>
>
>
>
> On Thu, Mar 8, 2018 at 1:23 PM, Maxwell Paley <[log in to unmask]> wrote:
>
> > Indeed.
> >
> > The other one I’ve really wondered about is her Aida. An older music
> > critic friend saw her sing “Ritorna vincitor” in recital during the late
> > 30s. He said the effect was “electrifying.”
> >
> > Later he had chance to ask her “Why not at the Met?” Her simple response
> > was “they never asked me.”
> >
> > She badly wanted to sing Eva at the Met but was told “no one wants to
> hear
> > you in that.”
> >
> > The reason I’m so curious about what she learned from Bratt is that her
> > way of singing seems so unique. The sound is so huge but seems to pour
> out
> > (never “pushed” out) with extraordinarily little effort, sounding as easy
> > as speaking. Other singers have developed great muscular strength in the
> > support muscles, but the results have been very different. Again, for the
> > size of the voice, it seems like she required very little air to “drive”
> > it. She just continued singing on as though breathing weren’t even a
> > consideration. Several times conductors were asking if she didn’t want a
> > pause for a breath here or there, only to be calmly told “I have no
> need.”
> >
> > Roberta mentioned the ever-present “soft” attack (which I think was
> > wrongly attributed to “scooping”) which, at least from the outside, seems
> > very different from Nilsson. Nilsson was also unique in a different way
> in
> > how she managed to thrive with what sounded like a fairly forceful attack
> > (particularly in how she seemed to be able to slam out powerful top
> notes).
> > Not for every voice: Ursula Schröder-Feinen didn’t survive it.
> >
> > Max Paley
> >
> >
> >
> > Sent from my iPhone
> >
> > > On Mar 7, 2018, at 16:35, donald kane <[log in to unmask]> wrote:
> > >
> > > Minnie is the one that always intrigued me, because Flagstad', the
> > person,
> > > must have been like that when she was young, and as Donald Levine put
> it,
> > > "it's a big sing".
> > >
> > > dtmk
> > >
> > >
> >
>
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