Nilsson

[Conchis]

I've been listening to this over the past month:

https://www.base.com/buy/product/birgit-nilsson-the-great-live-recordings-music-cd/dgc-88985392322.htm

The conclusion I've come to is that Nilsson's voice declined fairly rapidly during the 60s, which was when she made most of her commercial recordings. What you hear then is a voice of formidable power but little (imo) beauty. She still had the laser-like precision to surge over the loudest orchestra, but it's not a voice I find at all affecting.

But listen to her earlier work - mostly done for Swedish Radio - and you hear the real deal. The version of Bluebeard's Castle (sung in German) here is one of the most convincing I've ever heard. And her first Immolation Scene (recorded in Swedish before she'd ever sung a Brunhilde on stage) really makes the hairs on the back of the neck stand up.

I never heard Nilsson in the opera house. What did those who did think?

[Lordgeous]

I thought this was going to be about Harry!

[DracoM]

Saw her in 'Elektra' in ROH. I was a dazed 6th Former.
Staggering impact.

[Darkbloom]

What was odd about Nilsson was that she had Donna Anna in her repertoire, something that you don't normally associate with that voice type. I've heard her voice described as being like a steam whistle, or a laser beam - very impressive but lacking in humanity compared to people like Varnay or Flagstad. Maybe there's just something (as with Karajan, discussed elsewhere on these boards) that repels people when faced with talent like that, because I've never heard anyone remotely like her, she was a phenomenon.

[gradus]

I've been listening to this over the past month:

https://www.base.com/buy/product/birgit-nilsson-the-great-live-recordings-music-cd/dgc-88985392322.htm

The conclusion I've come to is that Nilsson's voice declined fairly rapidly during the 60s, which was when she made most of her commercial recordings. What you hear then is a voice of formidable power but little (imo) beauty. She still had the laser-like precision to surge over the loudest orchestra, but it's not a voice I find at all affecting.


But listen to her earlier work - mostly done for Swedish Radio - and you hear the real deal. The version of Bluebeard's Castle (sung in German) here is one of the most convincing I've ever heard. And her first Immolation Scene (recorded in Swedish before she'd ever sung a Brunhilde on stage) really makes the hairs on the back of the neck stand up.

I never heard Nilsson in the opera house. What did those who did think?

In real life, a hard-edged but penetrating sound, not beautiful but the best of her generation of Brunnhildes and thrilling in combination with Solti's conducting or in the concert hall. Not someone I turn to much these days.

[LMcD]

I thought this was going to be about Harry!

Same here, but it turns out that Everybody's Talkin' about Birgit!

[Conchis]

Here's a substantial documentary from 1968. Some of it is in English:

https://youtu.be/tfr2FvfV_po

This was the year when Nilsson was diagnosed with cancer, though it was not publicly known at the time.

Nilsson had a very unfortunate effect on rival singers of her fach and generation. Her presence effectively obliterated them and she had no recognised 'competitors'. Once Nilsson emerged, Marta Modl was toast, and Astrid Varnay became an also-ran. This strikes me as being very unfair: although those singers still had careers (Modl's was ending, but she had a second life in 'character roles'), they were 'out' as far as recordings were concerned, because 'everyone' wanted Birgit. An indication of her power was the way in which the Met management forced her on Karajan, who didn't get on with her, when he conducted Walkure there in 1969 (he would no doubt have preferred a smaller-voiced Brunhilde). When you can get even Herbie in a corner, you know you've got power!

[Conchis]

Same here, but it turns out that Everybody's Talkin' about Birgit!

I am a fan of Harry Nilsson, a uniquely talented vocalist and songwriter, probably one of the biggest talents to emerge from the 60s.

[Lordgeous]

So, we have dual thread going here! My recording studio was thrilled to have mixed the extra tracks from Schmilssom in the Night (released as A Little More Schmilsson in the Night I think), mixed by my co-engineer Glenn Tommey. Interesting to hear the between takes chat, usually HN asking for more whisky as I recall, and especially fascinating to hear in detail all the wonderful arrangements and superb session players.

[Darkbloom]

For all you canary fanciers out there, let's also not forget the other Nilsson, Christina, who was a very popular bel canto soprano from the 19th century, also Swedish. I occasionally come across her name in novels and it can be momentarily confusing.

[Conchis]

For all you canary fanciers out there, let's also not forget the other Nilsson, Christina, who was a very popular bel canto soprano from the 19th century, also Swedish. I occasionally come across her name in novels and it can be momentarily confusing.

I can't claim to be a canary fancier. In fact, if I'm honest, I'm not a fan of the female operatic voice and honestly find it difficult to tell certain female singers apart. There are certain esteemed female singers with voices I can't abide (Schwarzkopf, Janowitz). Nilsson is one of the few I can easily identify.

[gradus]

Harry was terrific, so distinctive and original. Everybody's Talkin' can hardly be bettered as a film song. Two great Nilssons on one thread.

[Conchis]

Harry was terrific, so distinctive and original. Everybody's Talkin' can hardly be bettered as a film song. Two great Nilssons on one thread.

Sadly, I don't think they were related, unless very, very distantly. Both no doubt descended from Vikings.

[Lordgeous]

Related! Shame they didnt record a duet together like Mercury & Caballe!

[Conchis]

Can you imagine Birgit giving it the full-on Elektra on a cover of Harry's You're Breaking My Heart?

Just thinking about it terrifies me!