Birgit makes all the others look pathetic by comparison! Varnay makes a decent try, Crespin too smallish, but poor Modl sounds like a parody, a Looney Tumes parody at that!
Modl est affreuse dans cette partie.Dans le reste du role elle nous donne une veritable interpretation ce n'est pas le cas de Nilsson dont ce n'est pas le meilleur role.Crespin nous donne une intrepretation intelligente et sensible,avec une voix magnifique
@volleyballmell22 I just heard her on la fanciulla del west, and besides her voice is smaller than it was, she has not the touch, her voice trembles a lot with her vibrato. that's a shame. She was promissory.
The portamenti is not really managed properly by any of them....even dare I say Nilsson. Listen to Rita Hunter sing this. She doesn't skip it or tickle it like the others....she SINGS it.
Nilsson...and Varnay. Sorry Regine, I have heard better from you. And Martha Mödl, her voice is exquisite... in the medium range. She was a marvelous Sieglinde e.g. but her b's and c's are 't just that.
Nilsson is one of my 5 top sopranos of all time, so overall i'd say she wins this contest(that bright gleaming tone is so uniquely hers) but i love that immovable, colossal sound that Varnay produces. that warm, stentorian, Falcon timbre gets me everytime.
Nilsson sings it without the glissandos. The notes are tied not glissandos. I think Nilssons sings it as intended. The others do rather long glissandos.
Of these four, my favorite is Nilsson, but of all the versions I have heard, Frida Leider is the best. She sings a very rousing and beautiful version, and she also includes the two written trills, which she does easily and perfectly. Second would be Grob-Prandl who has by far the most rousing version, which she tosses aside as it were nothing. The only defect is the two missing trills. Incidentally, Eaglen also was able to perform the trills.
A direrencia de varios me gusta mucho Martha Modl, no tendrá una voz tan gigantesca pero lo suple con creces con una garra en la interpretacion que varias no tienen.
Y definitivamente no entiendo como olvidaron a Flagstaff
Sin duda, el mejor grito de guerra es el de NILSSON. Sin embargo no es el mejor registro de grabación. En estudio está la de Solti y en vivo hay un montón de registros en los cuales la NILSSON se luce
Uh hello...did we forget Kirsten Flagstad? She was the reigning Brunnhilde, and then Nilsson took over.....I do not know what the rest of these ladies are doing.
@zadolbalregistraciej Rita Hunter is just fabulous. Her 1972 recording of Brünnhilde's Immolation under Sir Charles Mackerras is HEARTBREAKING as is the fabulous Goodall Ring
most Brunnhildes border on mezzo but Nilsson was a straight up soprano (Varnay in my opinion was a mezzo who had just enough volume on a high C to pull off Wagner's soprano roles). that's why Nilsson is the best of on this video (although flagstad is still the best, the fact that she is not on this video is blaspheme )
Rita Hunter sounds like Minny Mouse compared to Varnay and Nilsson. As for Flagstad hojotoo wasn't her really strong point. Her golden lower register was wonderful but because she hadn't the relly piercing high notes. Brunnhilde is the only role where Nilson was her equal. Otherwise Flagstad rules, she is the greatest dramatic soprano ever...
Not quite. Birgit was tops as Elektra, Salome, Dyer's Wife, Turandot and Tosca, roles Flagstad never essayed, so that pretty much leaves Isolda, which is a toss up.
I have to say the best hojotohos i ever heard were rita hunters. she makes it seems incredibly easy. hers is the only one to acomplish Wagners idea of a happy young girl.
I love Nilsson and in terms of the sheer sound she wins this contest. I have to go with Varnay though because she went beyond the call and actually sang the two trills,
I totally agree. someone wrote that nothing is more unfair that crespin lacked ease with her high c's (and in my opinion b's) and i totally agree with him.
the Karajan Ring sucks (at least for my personal taste)...orchestra sounds ravishing but voices sound 'puny' (if that's the right word?)...but i guess each has its own beautiful interpretation ;P
Nilsson, Varnay, etc. they're all beautiful interpretations in their own way...btw, I can sing that aria too--imagine the sound of crows being chased away.. LOL :p
I agree that Flagstad is a great Wagnerian singer, and a great Brunhilde, however, if you are going to include Flagstad, you should also throw Gertrud Grob-Prandl into this competition, she did a superb recording of Brunhilde's battle cry in 1963 with thrilling,ringing top note. It pains me to say this, but she does rival some of these ladies.
Yes, the final, climactic phrase is wonderful in all of her recordings of this. Grob-Prandl has a voice of magnificent dimensions; it's sad that she was overshadowed by other singers of the time. Her Elektra is another fine achievement, especially her 'Was bluten Muß' - thrilling top notes!
Very funny - it does sound like it on the top notes.
Re your earlier comment re Nilsson, I think that the live recording from Bayreuth in 1967 captures her in better sound. Her sound on the top notes is like a laser beam!
Really? Sounded like the Solti to me ... personally, I like her live rendition with Bohm best. Much more dramatic, even if she did flub one of the high notes. I love all four ladies, though. Crespin may have trouble on the high notes, but the middle section is beautiful and very well-felt.
I checked it for you. It indeed is the Leinsdorf. You can hear it from the sounds of the voice: with Leinsdorf it sounds a bit in the distance while the Solti is much more direct. Solti's brass is stronger and NIlsson at Solti sings somewhat more dramatically. Moreover in the Solti Nilsson tends to be a bit early in the hojotoho's in contrast to the Leinsdorf......
Sin embargo se omitió a Kirsten Flagstad, a quien por cierto considero como la idónea y más grande interprete del rol, en contraste con Anibaal, puesto que hasta donde tengo conocimiento la voz de Nilsson suena mejor en obras wagnerianas menos dramáticas como Tristan e Isolda, mientras que Flagstad simplemente es Brünhilde, la poderosa Valkyrie, con su voz poderosa y muy bella. . .
it's interesting that most Brunnhildes actually had brighter voices than other dramatic sopranos (the obvious exception being Varnay with her dark excellence)
You also missed Gertrud Grob-Prandl. For those of you lucky enough to have the CD of arias, you know what I mean. I'll be posting it shortly as well as some Elektra and Turandot excerpts. Grob-Prandl sings circles around these ladies.
Por otro lado a la que no puedo salvar es a Martha Mold. Sinceramente es, según mi gusto personal, una voz dolorosa.
Según lo que se escucha: graves potentes y unos agudos apretadísimos al punto del hilo de voz. Parecen falsetes forzados que alcanzan un volumen considerable, pero parecieran falseteados algunos, en especial el último, el más alto que es como un hilito de voz.
Y repito Varnay está pesadísima, ya parece que está en la etapa de cambio a Mezzo dramática.
Creo que había publicado mi comentario aquí, pero como no lo vi volveré a hacerlo.
Según mi gusto personal elijo a Nilsson-Crespin.
Según la constitución vocal... NILSSON IS BRUNILDA. Es como si hubiese nacido para ese rol, como si se hubiese escrito para su "material" vocal. Las demás suenan destempladas o forzadas. Arrancan desde abajo para dar el agudo o cantan con portamentos para atrapar la nota. Tocan y se van.
Varnay suena pesadísima ¿De cuándo es el registro? Hay que ver la fecha
i accord with vasrach user...KIRSTEN FLAGSTAD HAD THE VERY BEST Hojotoho Contest OF ALL...AS THE OPERA NEWS MAGAZINE SAID, KIRSTEN FLAGSTAD WAS THE VOICE OS THE CENTURY...
¡ Nadie quiso desmerecer a la gran Flagstad, una de las grandes cantantes del siglo XX ! Alguien se quejó de eso. Simplemente aqui no está en este concurso y tratamos sobre estas cantantes, sólo eso.
Crespin is what the french call a "Falcon"... a soprano with a large middle and low register, but with high notes difficult to reach. This is also one reason why she was a perfect Sieglinde. Crespin switched over to mezzo because she lost the high notes very early in her career by overpowering (singing Brünnhilde, Kundry etc) and unfortunately by cancer desease.
But I heard her singing Carmen and sing a high C, Crespin's voice acts as a drammatic, not a Falcon, to my way of thinking. Though she is a drammatic with a clear center. Very weird. Anyhow WHAT A VOICE !!!!
Her top was always fortissimo, and this sort of screaming (sorry but's true) ruined her voice, she was clever enough to switch over to mezzo after 10 years only as a soprano. Her best recordings are Les Troyens and Wesendonck-Lieder, real Zwischenfach or mezzo...
Sorry muchachos pero se olvidaron the la voz wagneriana mas grande delo siglo XX. Kirsten Flagstad, dicho por los mas prestigiosos criticos internacionales fue The Greatest voice you ever hear in wagner roles ever. Pongase media pila y agreguen a la Flagstad a la lista.
Finalmente, Ud dice que la Crespin no podía cantar la tessitura de mezzo, sin embargo las veces que lo hizo sonó perfecta y cómoda.Creo que años ha todo era más alto, cualquiera que no sonase como seis hombres era catalogada como soprano y forzada a llevar su registro hasta la estratósfera. Hoy en cambio las coloraturas hacen de liricas, las liricas de spinto y las spinto de dramáticas. Ambos extremos son dañinos.
Greatfan, a Règine le dijieron todos los gtandes directores cuando empezò su carrera internacional en l '58/'60 que ella era lìrico-spinto, su color es lìrico-spinto y soprano,no hablo del DO y el SI que nunca fueron buenos, sino que tambien a Règine le costaba el SIb y el LA muchas veces tambien, a finales de los '60s tuvo que abandonar casi todos sus papeles de soprano por esta razon
No siempre los grandes directores son buenos jueces. Serafin podía serlo pero no Karajan, por ejemplo, en cuanto a voces y registros. Hacia fines de los 6o Règine sonaba como una dramática pura, algo más clara que Varnay pero en ese molde, al menos yo la percibo asi.
Sì estoy de acuerdo que Crespin es una soprano dramatica pero no podemos hablar de Crespin y Nilsson y a la misma vez de Suliotis que no es una gran cantante, de ninguna manera , lo mismo que Dernesch.
Sobre Varnay puedo decir que es una soprano dramatica, tiene un grave de varon, un centro bastante importante, aunque es una voz destimbrada, pero el agudo de Varnay ??? tiene pero es muy chico comparado a su centro-grave
En los '70s cantò algunos roles de mezzo muy bien, pero el Met le ofreciò Dalila y ella misma dijo que tratò de estudiarla pero no podia con la tessitura, lo mismo Amneris.Los rechazo y no los cantò.
Es una gran soprano, en franceses dramaticos maravillosa, en opera italiana por una sola razon, su sector agudo.
Règine su gran sueño era cantar Isolda, pero ella misma confesò que no podìa pasar la narraciòn de Isolda, 1er acto cuando la estudiò en su casa.
Por eso digo, la voz era extensisima pero paradojicamente no le permitía ni Dalila ni Isolda y le creaba cuestiones en la Tosca, a veces. Por ejemplo Helga Dernesch con Karajan se nota que es mezzo, escuchela junto a la Ludwig. Otra que pudo haber sido mezzo ya que estiró su registro hasta lo indecible y por eso sonaba hueca y blanca a veces fue la Suliotis. Muchas de estas voces femeninas con problemas en agudos terminan haciendo de mezzos y no suenan nada mal en ese cambio.
quise decir que en opera italiana hizo poco, por una sola razòn, el sector agudo.
Mi duda es si Crespin es una soprano dramatica, porque una diferencia entre la dramatica y la spinta es que la soprano spinta tiene un agudo mas expansivo (Nilsson que es spinta , Jones agudo vibratoso pero expansivo, Tebaldi no tan segura como Nilsson pero tambien cuando està en su mejor forma un hermoso agudo y muy expansivo) que las dramàticas (casos Traubel. Ponselle, Modlh, Varnay)
Yo creo que la Crespin fue una gran soprano dramática. La spinto tiene ese arrojo en el agudo que tienen Nilsson o Dimitrova, aunque Nilsson es algo más que spinto, está en la vecindad de la dramática, la diferencia es muy sutil. Tambien tienen que ver las técnicas. Varnay o Mödl muy a la alemana, Nilsson casi all' italiana. Saludos cordiales !
Achicarse arriba parece una patologìa tipica de la soprano dramatica.Por eso insisto, Nilsson no es soprano dramatica, es una spinta por eso su agudo es expansivo.
Please por la memoria de Nilsson, no hacer otra vez una comparaciòn entre Nilsson y Dimitrova , que la Dimitrova es una voz sin calidad y tiene un agudo vibratoso y feìto, feìto
Yo dije que TIENDE a la dramática, los DO que le escuché en Paris, en Turandot, el volúmen, a los 50 años ( 1968 ) estaban más cerca de la dramática. La base es una spinto fuerte, un poco en el medio entre dramática y spinto.
I heard some pretty high C's from Crespin in Tosca. I think she was almost a mezzo, her low notes were stronger than many so called mezzos. Had the tuning been lower as in past centuries, Règine would have sung many other roles. Her voice was huge , rich and had ...coloratura too, but yes, sometimes she could sound stressed up there . She was a great voice and a great artist even in intimate songs, but her top was not always free. I think she was an anphibious register. Though..Chapeau & Brava !
usted confunde extensiòn con tessitura.Crespin podìa apoyar notas muy bajas pero eso no quiere decir que pudiera cantar en la tessitura de mezzo que es muy distinto.Règine Crespin es una grandìsima soprano lirico-spinto, yo le escuhcè tambien algun DO bueno pero en una grabaciòn de Les Troyans, en cambio en Tosca los DO no son lindos, tengo 3 Toscas en vivo de Mme Crespin
No, no lo confundo. Soy cantante. Para mi Crespin era una gran soprano dramática, estupenda voz, pero en cuestiones de ' tessitura el tema es muy delicado de definir.En general una extensión acompaña a una tessitura, pero si puede haber - y hay - sopranos con BONUS. Y hay registros claramente indefinibles, como ha ocurrido en clases de Gina Cigna en las que no se pronunció por el registro de un par de jóvenes que parecían mezzos Y sopranos líricas. ¿ Qué son exactamente Verrett o Bumbry ?
ahora estamos mas cerca,Crespin una soprano dramàtica estamos de acuerdo, pero decir que le parece que era una mezzosoprano es una locura, si Règine tiene el color de una soprano!No me hable de Bumbry por favor !no es soprano, tampoco es mezzo es un pasticchio de cantante y de artista! lo mismo Verrett
Si una cantante con un registro anfibio CORRE el registro hacia abajo su centro SONARÁ a mezzo soprano, mientras que si canta en una tessitura más alta se asopranará. Hace unos años alguien censuraba a una mezzo soprano por " ser soprano pero no poder con la tessitura " a lo que un experimentado maestro replicó." Es que ESO es una mezzo, una soprano que no puede sostener la tessitura " Una cosa teoría sobre tessituras, registros y extensiones y otra muy distinta es encontrar casos reales.
The same for other germany opera roles.Règine biggest dream was to sing Isolde, she loved Isolede but she said she started to study it in her house and she couldn't pass the narration.Crespin herself told that
Aaahh! Enfin quelqu'un de positif ! C'est tellement difficile de chanter que je ne peux pas m'empêcher de défendre les chanteurs... surtout quand on sait que Crespinette était marseillaise (comme moi, mais la voix en plus) ! On n'est pas obligé de chanter Wagner à la truelle pour bien le chanter, bon sang !! Dans la partition, en tous cas, il y a des nuances.
@mariasarda Ils nous tuent tous ces critiques.Qu'importe si elle etait ceci ou cela.Ses aigus etaient tres souvent arraches et alors ?C'etait une vraie Tosca.Tosca ce n'est pas seulement le "vissi d'arte" et ses aigus difficiles.
Pour Brunhilde c'est la meme chose : les hojotoho de Nilsson sont magnifiques mais ceux de Crespin aussi et sa Walkyrie est la plus belle du disque.Le live de Salzbourg aussi.Chaque grand chanteur est unique avec ses qualites et ses defauts
Must say I prefer Crespin , who is one of my favourites, as Sieglinde rather than Brunhilde. Nilsson of course as the all time best Brunhildem, Modl I like but not in this aria, Varnay very good but always in the shadow of Nilsson
True, Birgit Nilsson had greater volume & Régine Crespin (Crépinette) was not mute either, Martha Mödl had a fiery interpretation & Astrid Varnay has the most "intellectual" approach but retained her human warmth. However, the audio clips, compared here, were taken under different conditions & recording techniques making comparison a bit unfair.
Actually, Crespin had a bigger voice than Nilsson in terms of amplitude. Nilsson's voice was more slender, but it had an intensity that let her compete with singers who had bigger instruments, like Crespin and Rysanek. In terms of sheer technical magnitude, Nilsson of course is almost untouchable. I've never heard her sing badly. Ever.
Leonie Rysanek had a big and ugly voice.She had high notes but they were not beautiful, she had bad intonation too.Crespin high register was too much problematic, that's why she had to find special repertoire for her voice, she was unable to sing Aìda, Forza, Butterfly, Manon Lescaut and italian opera in general
True, Birgit Nilsson had greater volume & Régine Crespin (Crépinette) was not mute either, Martha Mödl had a fiery interpretation & Astrid Varnay has the most "intellectual" approach but retained her human warmth. However, the audio clips, compared here, were taken under different conditions & recording techniques making comparison a bit unfair.
True, Birgit Nilsson had greater volume & Régine Crespin (Crépinette) was not mute either, Martha Mödl had a fiery interpretation & Astrid Varnay has the most "intellectual" approach but retained her human warmth. However, the audio clips, compared here, were taken under different conditions & recording techniques making comparison a bit unfair.
True, B. Nilsson had greater volume & R.Crespin (Crépinette) was not mute either, Martha Mödl had a fiery interpretation & Astrid Varnay has the most "intellectual" approach yet retaining her human warmth. However, the audio clips, compared here, were taken under different conditions & recording techniques making comparison a bit unfair.Varnay simply did not record well [heard LIVE, she was totally different & incredible --both voice & acting-] B. Nilsson was even better live than recorded.
puede cantar bien un sib, un do, pero d q vale eso si no llena un teatro como corresponde? y tampoco uno se puede dejar llevar por lo que uno escucha en grabaciones menos si se trata de un cantante de opera.
puede cantar bien un sib, un do, pero d q vale eso si no llena un teatro como corresponde? y tampoco uno se puede dejar llevar por lo que uno escucha en grabaciones menos si se trata de un cantante de opera.
creo que el que el que sabe de musica puede opinar mas alla de lo que puede ser o no un sib, lo importante del cantante de opera, lo cual no se esta respetando mucho y asi estamos en decadencia de cantantes, es en el alcanze que tiene en el teatro, como llega su voz y las virtudes propias del cantante.
creo que el que el que sabe de musica puede opinar mas alla de lo que puede ser o no un sib, lo importante del cantante de opera, lo cual no se esta respetando mucho y asi estamos en decadencia de cantantes, es en el alcanze que tiene en el teatro, como llega su voz y las virtudes propias del cantante.
Crespin was unable to sing Ring Cycle, she stopped after she failed in WALKURE.She sang very little Verdi and Puccini and italian opera because her notes above Aflat were never good
Oh really? And from where did you glean this little bit of information? My guess is that you made it up and you son't be able to provide any documentation or research to support your claim. Maybe you'll surprise me though.
Oh really? And from where did you glean this little bit of information? My guess is that you made it up and you son't be able to provide any documentation or research to support your claim. Maybe you'll surprise me though.
Dear Beautenor please be sure that I don't care at all wether I might surprise you or not! I saw quite a lot of time both of them,and if Miss Nilsson was a great singer Mme.Crespin was a an ARTIST. That is what makes Mme.Crespin superior ! I leave the "research" for you. Is evident you have plenty of time for that kind of occupation. I don't waist mine when I have plenty interesting things to do.
Oh no no no....you misunderstood. I was responding to fleville who seems to think he (or she) knows so much about Crespin. I'm sorry if you thought I was talking about you. I absolutely agree with you. I think Crespin was AMAZING in so many ways. She was absolutely unique.
I'm so SORRY !!!Indeed Beautenor I realized later that I misunderstood and that your response was in fact addressed to "dear and intelligent little fleville". By the way I think this fleville other non is than (LOW CLASS) MORENO. Sorry again and I was glad reading your comment.
Don't tell me fazendasantoexpedito? Mme Crespin is superior to Nilsson ?ahaha this is a desperate answer of an alienist and ridiculous creature like you
She's not superior, but Crespin is equal to Nilsson. They had drastically different voices and approaches to singing. They were both amazing in their own way.
Both were very good. It's true Crespin probably couldn't sing some of the roles Nilsson sang. I don't think she ever sang Siegfried or Gotterdammerung Brunnhilde, Elektra, or Turandot. But not everything is about blasting high notes like a laser beam. Crespin brings interesting interpretation and phrasing. And I find the warmth in her voice to be really enchanting. Sometimes I find Nilsson to be dry.
jlee800: you don't know the career of Regine Crespin?.She was unable to sing Elektra, Turandot, Butterfly, Aìda, Leonora, Manon Lescaut, A.Chenier, etc, etc etc because she was in big trouble to sing even an A natural
LOL...you have no idea what you're talking about. Crespin did indeed have notes above an A natural, and she did not always have trouble up high. She was, on occasion, inconsistent, but she had B flats, Bs, and Cs. BIG ones.
you are wrong she started her international career in 58 (even she sang otello with Del Monaco in Spain in 56!) and she sang Tosca in 1970 with the big C she attempd again in the fall 70 to sing tosca with domingo and gobbi but stpped the general-rehearseal after the second act and amara sang the premier at the met. She can sang a good c and even and a fantastic c ( listen hérodiade or many live of Tosca) but trhe upper was not her best that's right
It's true.Crespin international career started in 1958 (Bayreuth).
It's true she could hit a C in early '60s but the note is was not good, you understand ?It was screamed.Even an A natural and Bflat were not beautiful notes.
Règine sang Aìda in Mexico in 1962 but she only sang three performances and she never dared to sing it again.3 Aìda performances in her whole career.That's why she didn't sing many italian operas (M.lescaut, Forza, Chenier, Butterfly, etc)
How many times are you going to change your name? You always post the same crap, always bash truly great singers.....maybe you should get a life. Crespin sometimes had a short top...so what? So did your idol Tebaldi.
I've heard Nilsson, Crespin, Hunter and Dernesh in the opera house. All were wonderful in their own way. Nilsson was incredible, of course. Crespin, though, had the most beautiful voice of the four. Very sensuous. Brought a rare warmth to the role.
Definitely Nilsson. I would not even consider Regine Crespin or Martah Modl. Astrid Varnay is great, but I prefer the longer cries and the directness of the sound Nilsson brings.
Thanks for the competition. Kirsten Flagstad however makes this aria sound like a pic-nic.
OK I did a search on Rita Hunter. Downloaded some of the clips from the English libretto Ring production she was in. Her upper registry is pretty good but her lower registry sounds like warbling.
Ok...so I wrote the below comment before I listened to the comp....and by far Rita Hunter's battlecry is the best of all of these. It embodies a great belcano line and the steely edge every great dramatic soprano should have. Whats more is it was recorded during a live performance and hasnt been messed with. I hope it will be posted.
I know the recording is in English, but what about adding Rita Hunter into the mix? Nilsson actually sang Seglinde to Hunters Brunhilde at the Met in the 70's. Nilsson also used to call Hunter personally to ask if she would cover a performance if she wasnt able to sing. A great voice that never got the true recognition it deserved.
I agree, the best " Ho jo to ho " is Nilsson's. Crespin's seems tricked in the studio. Even so she sings a couple of flat notes. There is a tricky chamber thing. Mödl was a great mezzo stretching her wonderful voice to the limits. Varnay short cry is a find, but the sustained high notes are a bit tense.
I don't agree Varnay high B natural is tense, it happens that Varnay voice on top is small.Varnay voice is very big bottom, quite big middle and lyrical and small high notes.
Crespin attempt to sing Brunhilde was a total fiasco she have to give up after her painful Walkure, she couldn't continue
Once again, you have no IDEA what you're talking about. Crespin was actually quite a good Brunnhilde. She did at times have a short top, but Walkure for the most part deos not sit very high. Crespin was quite remarkable in just about everything she ever sang. She's also without a doubt the largest voice (by far) in this comparison. Crespin had a huge instrument. Anyone who saw her live can attest to that.
You have NO idea what you're talking about.Just Crespin wans't quite remarkable in everything she sang.She debuted several roles and she couldn't keep then in repertoire, she had to drop them quickly because she failed (Senta, BRUNNILDE! she had to stop after Walkure!, you know NOTHING ignorant Beautenor)
LOL....Sure. Potrobas, or Moreno, or whoever the crap you are. Crespin was an AMAZING singer. Nothing you say can change that FACT. Rant all you want. All you do is show people how stupid you are. Cheers!
I do not agree always with all your comments but in this case you are exact! FACTS !!
Crespin was to Big an Artist to please everybody.
May be is a question of sensibility. If someone likes noblesse, diction, formidable low register, "pianissimi da non credere", huge honey and milk voice and all this with an extraordinary presence on scene then you love Crespin ! If you can't understand that, as espacecardin does, we can only be sorry for them.
Ce n'est pas parce que les "Brunnhilde" de Crespin ont marqué la fin proche de sa carrière, qu'elle n'en étais pas moins grande dans ce rôle! Qui êtes vous pour traiter les gens d'ignorant!!!
Yo la vi a Règine Crespin en Buenos Aires en los '60s y no solo sus notas en el SI o SIb eran muy cortas y gritadas sino que cantaba simpre con mucha angustia en la tessitura aguda
Siempre notas y solo notas ! No tenés nada que decir respecto al fraseo ? a sus pianisimos? a su registro grave único ? a su maravillosa presencia escénica? Yo también la vi en esos años y era una GLORIA !! Te acordas quizás de Les Troyens? Te acordás de la "Damnation de Faust"? Personas que van al teatro sólo para escuchar un Si o un Sib no merecerían tener la oportunidad de escuchar artistas inmensos com lo fue Mme.Crespin.
Mi sembra que sos un argentino quizas exiliado en Brasil, tus respuestas me hacen recordar a un grupito muy chiquito de snobs que habìa en Buenos Aires, que en todo el mundo solo ellos decìan cosas parecidas a las que escribis de vos de Règine Crespin.Fue una buena cantante pero siempre estuvo por debajo de las grandes de su època en todo, en teatros, en grabaciones, etc
y volvemos a lo mismo, No la lleguè a ver en Troyanos pero sì la vì en Werther, muy bueno pero cuando pongo la grabaciòn ni siquiera el SIb es bueno, gritos.
Damnation muy buena, pero el disco de arias italianas todos los agudos son malos, todos sin excepciòn, en Sieglinde lo mismo
There is no value to discuss such a GREAT ARTIST as Crespin with anyone that think the way you do. It is evident that you are not able to understand Mme Crespin's GRANDEUR.You are only estadistics: How many times ? How many years?. That has nothing to do with ARTISTRY. Just one performance of Crespin as De Marschalin or Dido or Charlotte or Siglinde has more interest that the entiree career of a lot de "stars" . If there is any ignorant here that is you dear fellow !!!
fazendasantoexpedito: What a fantastic poetry you wrote! More important to sing De Marschalin or Dido than an entire career! wow! Mme Crespin was the umbilical cord of this world!
The real thing is Règine Crespin recorded very little and this isn't casual.She was unable to sing italian opera because she couldn't sing in the higher tessitura.She did very little, her Tosca was very screamed , there wasn't anything presentable above Aflat, she had to drop it soon too
Definitivamente Nilsson..............
afonito22 2 weeks ago
Birgit rules!
s99jonte 4 months ago
Many thanks for posting this interesting video. I wish you had given the name list of the singers.
bassoprof 8 months ago
I like Varnay the best except for the octave leaps to the Bs and Cs. For me, Nilsson's voice is a bit awkward here, though her power is undeniable.
bmh4d0k3n 8 months ago 2
@bmh4d0k3n It seemed like Varnay was going up there too quick. But Nilsson ripped it up there! Right? Is that what you're saying?
blkmichaux 5 months ago
@blkmichaux Basically. Varnay just yelped the Bs and Cs while Nilsson really sang them.
bmh4d0k3n 5 months ago
Birgit makes all the others look pathetic by comparison! Varnay makes a decent try, Crespin too smallish, but poor Modl sounds like a parody, a Looney Tumes parody at that!
DonPaolissimo 9 months ago 3
Quá tuyệt ! Hojotoho thật tuyệt vời ! Nilsson no1 !
conghoan1998 9 months ago 3
kniplova is better
joszaruba 9 months ago
kniplova is better
joszaruba 9 months ago
I'd say that Birgit Nilsson wins the competition hands down.
hackwhiteful 10 months ago
Modl est affreuse dans cette partie.Dans le reste du role elle nous donne une veritable interpretation ce n'est pas le cas de Nilsson dont ce n'est pas le meilleur role.Crespin nous donne une intrepretation intelligente et sensible,avec une voix magnifique
dapheneo 11 months ago
When they used Hojotoho on the Met's opera quiz with unidentified sopranos the panel's favorite was...Helen Traubel!
TheVerdiBaritone 1 year ago
Nilsson Nilsson Nilsson. She is my favorite Brunnhilde, besides Behrens MAYBE. I'm hoping for Voigt to rock it out this season, too!
volleyballmell22 1 year ago 2
@volleyballmell22 I just heard her on la fanciulla del west, and besides her voice is smaller than it was, she has not the touch, her voice trembles a lot with her vibrato. that's a shame. She was promissory.
RoOodOoOloOmeg 1 year ago
The portamenti is not really managed properly by any of them....even dare I say Nilsson. Listen to Rita Hunter sing this. She doesn't skip it or tickle it like the others....she SINGS it.
Ahdren 1 year ago
Nilson, no doubt, is the great one here.
Robertgrade 1 year ago
Flagstad was the best. How can she not be here is beyond my understanding!!!
FeelinMinnesota 1 year ago
@FeelinMinnesota Flagstad in this role is simply ' hors competition'
poisonandantidote 1 year ago
Nilsson...and Varnay. Sorry Regine, I have heard better from you. And Martha Mödl, her voice is exquisite... in the medium range. She was a marvelous Sieglinde e.g. but her b's and c's are 't just that.
Chrissie19242 1 year ago
Nilsson is one of my 5 top sopranos of all time, so overall i'd say she wins this contest(that bright gleaming tone is so uniquely hers) but i love that immovable, colossal sound that Varnay produces. that warm, stentorian, Falcon timbre gets me everytime.
spinto12 1 year ago
I regret to say that to my humble opinion the best RING is by Anna Russell, including the Hojo-etc.
flon5flon 1 year ago
@flon5flon
You are right. I told you. You know it better than me... ;)
ReinaAntartica 1 year ago
Poor singers, having to outsing Nilsson. That cannot be done, ever.
zgopify 1 year ago 2
NILSSON!!!!!!
segu82 1 year ago 2
Marta Möld duele a los oídos y casí ni se la escucha
Anibaal 1 year ago
Nilsson sings it without the glissandos. The notes are tied not glissandos. I think Nilssons sings it as intended. The others do rather long glissandos.
Nilsson is just fantastisch!
CyberElektra 1 year ago 2
Of these four, my favorite is Nilsson, but of all the versions I have heard, Frida Leider is the best. She sings a very rousing and beautiful version, and she also includes the two written trills, which she does easily and perfectly. Second would be Grob-Prandl who has by far the most rousing version, which she tosses aside as it were nothing. The only defect is the two missing trills. Incidentally, Eaglen also was able to perform the trills.
Shahrdad 1 year ago
I love Varnay!
antigonosphilos 1 year ago
Marta Modl is horrible, seems to be dying.
ar1th2ur3 2 years ago
you don't have the 2 best up, Flagstad and Lieder.
PS: I love Varnay, she sounds like a dramatic mezzo =P
raigekimaru 2 years ago
I stand for Kirsten Flagstad...
TUMuenchen 2 years ago 2
No one sang all the music of this part like Frida Leider! Where is the trill here??
tantris5 2 years ago
Birgit Nilsson is Brunhilde....and no one can top her!
MastersoftheOpera 2 years ago 4
Es cierto que soy la mejor.....
birgitnilsson 2 years ago
buena ocurrencia, que modestia, jaja ( no te lo tomes a mal. estoy bromeando tambien)
58wotan 2 years ago
A direrencia de varios me gusta mucho Martha Modl, no tendrá una voz tan gigantesca pero lo suple con creces con una garra en la interpretacion que varias no tienen.
Y definitivamente no entiendo como olvidaron a Flagstaff
Para mi el orden es:
Nilsson, Modl y Flagstaff
grizabela00 2 years ago
you picked just about the worst recording of birgit.
andrewoconnorblue 2 years ago
Sin duda, el mejor grito de guerra es el de NILSSON. Sin embargo no es el mejor registro de grabación. En estudio está la de Solti y en vivo hay un montón de registros en los cuales la NILSSON se luce
Anibaal 2 years ago
Astrid Varnay is an absolut winner in this contest!!!
Brava Astrid!!!
hautecontrre 2 years ago
Uh hello...did we forget Kirsten Flagstad? She was the reigning Brunnhilde, and then Nilsson took over.....I do not know what the rest of these ladies are doing.
TrevorDaniels 2 years ago 2
And have you ever heard an early recording of Rita Hunter's Brunhilde? I think she is inimitably!
zadolbalregistraciej 2 years ago
@zadolbalregistraciej Rita Hunter is just fabulous. Her 1972 recording of Brünnhilde's Immolation under Sir Charles Mackerras is HEARTBREAKING as is the fabulous Goodall Ring
moietybaby 1 year ago
Nilsson!!!!!!! (But if Varnay had those high "b"s and "c"s she would win)
sorobji 2 years ago 3
most Brunnhildes border on mezzo but Nilsson was a straight up soprano (Varnay in my opinion was a mezzo who had just enough volume on a high C to pull off Wagner's soprano roles). that's why Nilsson is the best of on this video (although flagstad is still the best, the fact that she is not on this video is blaspheme )
raigekimaru 2 years ago 2
Rita Hunter sounds like Minny Mouse compared to Varnay and Nilsson. As for Flagstad hojotoo wasn't her really strong point. Her golden lower register was wonderful but because she hadn't the relly piercing high notes. Brunnhilde is the only role where Nilson was her equal. Otherwise Flagstad rules, she is the greatest dramatic soprano ever...
mozzrt 2 years ago
@mozzrt
Not quite. Birgit was tops as Elektra, Salome, Dyer's Wife, Turandot and Tosca, roles Flagstad never essayed, so that pretty much leaves Isolda, which is a toss up.
Operanut9 1 year ago
I have to say the best hojotohos i ever heard were rita hunters. she makes it seems incredibly easy. hers is the only one to acomplish Wagners idea of a happy young girl.
tristanchord85 2 years ago
She's horrible. I'm sorry
AuthenticFeirce 2 years ago
I love Nilsson and in terms of the sheer sound she wins this contest. I have to go with Varnay though because she went beyond the call and actually sang the two trills,
babydrane 2 years ago
Sorry, but no wagnerian contest is valid without Kirsten Flagstad!
Johnny1206 2 years ago 8
Nilsson wins, but Varnay comes very close.
mozzrt 2 years ago 5
Oh oh.... Nilsson rules.....!
s99jonte 3 years ago 5
There are certainly those who can sing louder than Crespin, but with regard to beauty of voice few can compare.
sambtrli 3 years ago
I totally agree. someone wrote that nothing is more unfair that crespin lacked ease with her high c's (and in my opinion b's) and i totally agree with him.
moghedien13 2 years ago
It is a pity that Karajan in his mania to avoid Nilsson would push everybody on his way to do stuff that wouldn't fit them.
Why would the marvelous Crespin put her luscious instrument through this ordeal... Thank god it was only for the record...
Actually I have to add Mödl deals with the high much better than I expected!
Nilsson and Varnay sail through it each in her own way, but definitely a home game.
CONTESTAR 2 years ago 2
the Karajan Ring sucks (at least for my personal taste)...orchestra sounds ravishing but voices sound 'puny' (if that's the right word?)...but i guess each has its own beautiful interpretation ;P
symyu 2 years ago 6
Nilsson, Varnay, etc. they're all beautiful interpretations in their own way...btw, I can sing that aria too--imagine the sound of crows being chased away.. LOL :p
symyu 2 years ago
You missed the best one : KIRSTEN FLAGSTAD
Johnny1206 3 years ago
I agree that Flagstad is a great Wagnerian singer, and a great Brunhilde, however, if you are going to include Flagstad, you should also throw Gertrud Grob-Prandl into this competition, she did a superb recording of Brunhilde's battle cry in 1963 with thrilling,ringing top note. It pains me to say this, but she does rival some of these ladies.
Otellogv 3 years ago
Gertrud Grob-Prandl was magnificent. She is brilliant in Ozean du ungeheuer from Oberon.
Imogenn 3 years ago
Yes, the final, climactic phrase is wonderful in all of her recordings of this. Grob-Prandl has a voice of magnificent dimensions; it's sad that she was overshadowed by other singers of the time. Her Elektra is another fine achievement, especially her 'Was bluten Muß' - thrilling top notes!
Otellogv 3 years ago
By the way, did miss Varnay have a little dog under her dress?
martello79 3 years ago
Very funny - it does sound like it on the top notes.
Re your earlier comment re Nilsson, I think that the live recording from Bayreuth in 1967 captures her in better sound. Her sound on the top notes is like a laser beam!
Otellogv 3 years ago
I think this is the early Nilsson recording with Leinsdorf. On the Solti around 8 years later she is even better!
You should also check out Anja Silja's hojotoh. Astonishing! She would deserve a place in the contest I'd suggest....
martello79 3 years ago 2
Really? Sounded like the Solti to me ... personally, I like her live rendition with Bohm best. Much more dramatic, even if she did flub one of the high notes. I love all four ladies, though. Crespin may have trouble on the high notes, but the middle section is beautiful and very well-felt.
nclysander 2 years ago
I checked it for you. It indeed is the Leinsdorf. You can hear it from the sounds of the voice: with Leinsdorf it sounds a bit in the distance while the Solti is much more direct. Solti's brass is stronger and NIlsson at Solti sings somewhat more dramatically. Moreover in the Solti Nilsson tends to be a bit early in the hojotoho's in contrast to the Leinsdorf......
martello79 2 years ago
Thanks. I figured it out myself a little later. Sorry for the trouble...
nclysander 2 years ago
Nilsson is fantastic, although I love Varnay despite her idiosyncratic Hojotohos.
Nilsson still wins. ;) :)
CyberElektra 3 years ago 5
wow, i'm really impressed by regine crespin in this!!!
foxxywilma 3 years ago
Die Stimmen klingen a l l e entstellt und mit viel zu viel Hall versehen
AlexCorralejo 3 years ago
El video es fabuloso, sin duda las mejores.
Sin embargo se omitió a Kirsten Flagstad, a quien por cierto considero como la idónea y más grande interprete del rol, en contraste con Anibaal, puesto que hasta donde tengo conocimiento la voz de Nilsson suena mejor en obras wagnerianas menos dramáticas como Tristan e Isolda, mientras que Flagstad simplemente es Brünhilde, la poderosa Valkyrie, con su voz poderosa y muy bella. . .
Alleeexoscm 3 years ago
Even if it makes me look unintellectual, I liked Varnay the best.
Antoniac123 3 years ago 2
it's interesting that most Brunnhildes actually had brighter voices than other dramatic sopranos (the obvious exception being Varnay with her dark excellence)
raigekimaru 3 years ago
You also missed Gertrud Grob-Prandl. For those of you lucky enough to have the CD of arias, you know what I mean. I'll be posting it shortly as well as some Elektra and Turandot excerpts. Grob-Prandl sings circles around these ladies.
kentonshade 3 years ago
No question about it, La Nilsson is Brünhilde.
krulskij 3 years ago 22
absolutely! that Modl doesnt compare at all
manwithemeraldeyes 3 years ago 2
Por otro lado a la que no puedo salvar es a Martha Mold. Sinceramente es, según mi gusto personal, una voz dolorosa.
Según lo que se escucha: graves potentes y unos agudos apretadísimos al punto del hilo de voz. Parecen falsetes forzados que alcanzan un volumen considerable, pero parecieran falseteados algunos, en especial el último, el más alto que es como un hilito de voz.
Y repito Varnay está pesadísima, ya parece que está en la etapa de cambio a Mezzo dramática.
Anibaal 3 years ago
Creo que había publicado mi comentario aquí, pero como no lo vi volveré a hacerlo.
Según mi gusto personal elijo a Nilsson-Crespin.
Según la constitución vocal... NILSSON IS BRUNILDA. Es como si hubiese nacido para ese rol, como si se hubiese escrito para su "material" vocal. Las demás suenan destempladas o forzadas. Arrancan desde abajo para dar el agudo o cantan con portamentos para atrapar la nota. Tocan y se van.
Varnay suena pesadísima ¿De cuándo es el registro? Hay que ver la fecha
Anibaal 3 years ago
Crespin es la peor de todo el concurso.El agudo es un grito
piruja61 3 years ago
Birgit is quite incredible :)
mujviktor 3 years ago 16
i accord with vasrach user...KIRSTEN FLAGSTAD HAD THE VERY BEST Hojotoho Contest OF ALL...AS THE OPERA NEWS MAGAZINE SAID, KIRSTEN FLAGSTAD WAS THE VOICE OS THE CENTURY...
eternauta72 3 years ago
All of them are great Varnay has the most beautiful timbro.
chanteur73 3 years ago
I think Nilsson is the most excellent!!
yangmeng6000 3 years ago 8
where is kirsten???
she is THE best.
vasrach 3 years ago
¡ Nadie quiso desmerecer a la gran Flagstad, una de las grandes cantantes del siglo XX ! Alguien se quejó de eso. Simplemente aqui no está en este concurso y tratamos sobre estas cantantes, sólo eso.
Greatfan 3 years ago
Crespin is what the french call a "Falcon"... a soprano with a large middle and low register, but with high notes difficult to reach. This is also one reason why she was a perfect Sieglinde. Crespin switched over to mezzo because she lost the high notes very early in her career by overpowering (singing Brünnhilde, Kundry etc) and unfortunately by cancer desease.
wotansings 3 years ago
But I heard her singing Carmen and sing a high C, Crespin's voice acts as a drammatic, not a Falcon, to my way of thinking. Though she is a drammatic with a clear center. Very weird. Anyhow WHAT A VOICE !!!!
Greatfan 3 years ago
Her top was always fortissimo, and this sort of screaming (sorry but's true) ruined her voice, she was clever enough to switch over to mezzo after 10 years only as a soprano. Her best recordings are Les Troyens and Wesendonck-Lieder, real Zwischenfach or mezzo...
wotansings 3 years ago
...and don't forget Les Nuits d'Éte.
Tompa4321 3 years ago
Sorry muchachos pero se olvidaron the la voz wagneriana mas grande delo siglo XX. Kirsten Flagstad, dicho por los mas prestigiosos criticos internacionales fue The Greatest voice you ever hear in wagner roles ever. Pongase media pila y agreguen a la Flagstad a la lista.
eternauta72 3 years ago
Finalmente, Ud dice que la Crespin no podía cantar la tessitura de mezzo, sin embargo las veces que lo hizo sonó perfecta y cómoda.Creo que años ha todo era más alto, cualquiera que no sonase como seis hombres era catalogada como soprano y forzada a llevar su registro hasta la estratósfera. Hoy en cambio las coloraturas hacen de liricas, las liricas de spinto y las spinto de dramáticas. Ambos extremos son dañinos.
Greatfan 3 years ago
Greatfan, a Règine le dijieron todos los gtandes directores cuando empezò su carrera internacional en l '58/'60 que ella era lìrico-spinto, su color es lìrico-spinto y soprano,no hablo del DO y el SI que nunca fueron buenos, sino que tambien a Règine le costaba el SIb y el LA muchas veces tambien, a finales de los '60s tuvo que abandonar casi todos sus papeles de soprano por esta razon
fleville 3 years ago
No siempre los grandes directores son buenos jueces. Serafin podía serlo pero no Karajan, por ejemplo, en cuanto a voces y registros. Hacia fines de los 6o Règine sonaba como una dramática pura, algo más clara que Varnay pero en ese molde, al menos yo la percibo asi.
Greatfan 3 years ago
Comparto algunas cosas, otras no.
Sì estoy de acuerdo que Crespin es una soprano dramatica pero no podemos hablar de Crespin y Nilsson y a la misma vez de Suliotis que no es una gran cantante, de ninguna manera , lo mismo que Dernesch.
Sobre Varnay puedo decir que es una soprano dramatica, tiene un grave de varon, un centro bastante importante, aunque es una voz destimbrada, pero el agudo de Varnay ??? tiene pero es muy chico comparado a su centro-grave
fleville 3 years ago
¿ Porqué no hablar de Soulioutis y Dernesch ? Son registros. No estamos haciendo competencia,por supuesto que Crespin o Nilsson son superiores !!!
Greatfan 3 years ago
En los '70s cantò algunos roles de mezzo muy bien, pero el Met le ofreciò Dalila y ella misma dijo que tratò de estudiarla pero no podia con la tessitura, lo mismo Amneris.Los rechazo y no los cantò.
Es una gran soprano, en franceses dramaticos maravillosa, en opera italiana por una sola razon, su sector agudo.
Règine su gran sueño era cantar Isolda, pero ella misma confesò que no podìa pasar la narraciòn de Isolda, 1er acto cuando la estudiò en su casa.
fleville 3 years ago
Por eso digo, la voz era extensisima pero paradojicamente no le permitía ni Dalila ni Isolda y le creaba cuestiones en la Tosca, a veces. Por ejemplo Helga Dernesch con Karajan se nota que es mezzo, escuchela junto a la Ludwig. Otra que pudo haber sido mezzo ya que estiró su registro hasta lo indecible y por eso sonaba hueca y blanca a veces fue la Suliotis. Muchas de estas voces femeninas con problemas en agudos terminan haciendo de mezzos y no suenan nada mal en ese cambio.
Greatfan 3 years ago
quise decir que en opera italiana hizo poco, por una sola razòn, el sector agudo.
Mi duda es si Crespin es una soprano dramatica, porque una diferencia entre la dramatica y la spinta es que la soprano spinta tiene un agudo mas expansivo (Nilsson que es spinta , Jones agudo vibratoso pero expansivo, Tebaldi no tan segura como Nilsson pero tambien cuando està en su mejor forma un hermoso agudo y muy expansivo) que las dramàticas (casos Traubel. Ponselle, Modlh, Varnay)
fleville 3 years ago
Yo creo que la Crespin fue una gran soprano dramática. La spinto tiene ese arrojo en el agudo que tienen Nilsson o Dimitrova, aunque Nilsson es algo más que spinto, está en la vecindad de la dramática, la diferencia es muy sutil. Tambien tienen que ver las técnicas. Varnay o Mödl muy a la alemana, Nilsson casi all' italiana. Saludos cordiales !
Greatfan 3 years ago
Achicarse arriba parece una patologìa tipica de la soprano dramatica.Por eso insisto, Nilsson no es soprano dramatica, es una spinta por eso su agudo es expansivo.
Please por la memoria de Nilsson, no hacer otra vez una comparaciòn entre Nilsson y Dimitrova , que la Dimitrova es una voz sin calidad y tiene un agudo vibratoso y feìto, feìto
fleville 3 years ago
Yo dije que TIENDE a la dramática, los DO que le escuché en Paris, en Turandot, el volúmen, a los 50 años ( 1968 ) estaban más cerca de la dramática. La base es una spinto fuerte, un poco en el medio entre dramática y spinto.
Greatfan 3 years ago
I heard some pretty high C's from Crespin in Tosca. I think she was almost a mezzo, her low notes were stronger than many so called mezzos. Had the tuning been lower as in past centuries, Règine would have sung many other roles. Her voice was huge , rich and had ...coloratura too, but yes, sometimes she could sound stressed up there . She was a great voice and a great artist even in intimate songs, but her top was not always free. I think she was an anphibious register. Though..Chapeau & Brava !
Greatfan 3 years ago 2
usted confunde extensiòn con tessitura.Crespin podìa apoyar notas muy bajas pero eso no quiere decir que pudiera cantar en la tessitura de mezzo que es muy distinto.Règine Crespin es una grandìsima soprano lirico-spinto, yo le escuhcè tambien algun DO bueno pero en una grabaciòn de Les Troyans, en cambio en Tosca los DO no son lindos, tengo 3 Toscas en vivo de Mme Crespin
fleville 3 years ago
No, no lo confundo. Soy cantante. Para mi Crespin era una gran soprano dramática, estupenda voz, pero en cuestiones de ' tessitura el tema es muy delicado de definir.En general una extensión acompaña a una tessitura, pero si puede haber - y hay - sopranos con BONUS. Y hay registros claramente indefinibles, como ha ocurrido en clases de Gina Cigna en las que no se pronunció por el registro de un par de jóvenes que parecían mezzos Y sopranos líricas. ¿ Qué son exactamente Verrett o Bumbry ?
Greatfan 3 years ago
ahora estamos mas cerca,Crespin una soprano dramàtica estamos de acuerdo, pero decir que le parece que era una mezzosoprano es una locura, si Règine tiene el color de una soprano!No me hable de Bumbry por favor !no es soprano, tampoco es mezzo es un pasticchio de cantante y de artista! lo mismo Verrett
fleville 3 years ago
Si una cantante con un registro anfibio CORRE el registro hacia abajo su centro SONARÁ a mezzo soprano, mientras que si canta en una tessitura más alta se asopranará. Hace unos años alguien censuraba a una mezzo soprano por " ser soprano pero no poder con la tessitura " a lo que un experimentado maestro replicó." Es que ESO es una mezzo, una soprano que no puede sostener la tessitura " Una cosa teoría sobre tessituras, registros y extensiones y otra muy distinta es encontrar casos reales.
Greatfan 3 years ago
Olympic singing. POWER!
veramour 3 years ago
Wow
sonozoltan 3 years ago
I would say, I miss the real competence for Nilsson... and I mean... Flagstadt... Why dont you try her?
Gabriel13187 3 years ago
Good video. Very different singers.
1. Birgit Nilsson misses the octaves... But everything else is really cool.
2. Very good too. She sounds like a kind witch on the high notes (but misses some of the octaves too), which I think fits well.
3. She has the witchiness too, but is not doing it with the same ease and confidence as Crespin. Too slow...
4. Heavy voice. Screaming witch on the top notes again. Cool.
Kirsten Flagstad is missing.
ehasl 3 years ago
1. Nilsson - WOW!!!
2. Varnay - amazing!
3. Crespin - very good.
4. Modl - hm...
Manya1759 3 years ago 9
Arrêtez de critiquer, et courez prendre des leçons de chant !
mariasarda 3 years ago
c'est vrai Régine Crespin était fantastique et y en a marre de la dénigrer!
matm68 3 years ago
The same for other germany opera roles.Règine biggest dream was to sing Isolde, she loved Isolede but she said she started to study it in her house and she couldn't pass the narration.Crespin herself told that
enderezo 3 years ago
Aaahh! Enfin quelqu'un de positif ! C'est tellement difficile de chanter que je ne peux pas m'empêcher de défendre les chanteurs... surtout quand on sait que Crespinette était marseillaise (comme moi, mais la voix en plus) ! On n'est pas obligé de chanter Wagner à la truelle pour bien le chanter, bon sang !! Dans la partition, en tous cas, il y a des nuances.
mariasarda 3 years ago 2
@mariasarda Ils nous tuent tous ces critiques.Qu'importe si elle etait ceci ou cela.Ses aigus etaient tres souvent arraches et alors ?C'etait une vraie Tosca.Tosca ce n'est pas seulement le "vissi d'arte" et ses aigus difficiles.
Pour Brunhilde c'est la meme chose : les hojotoho de Nilsson sont magnifiques mais ceux de Crespin aussi et sa Walkyrie est la plus belle du disque.Le live de Salzbourg aussi.Chaque grand chanteur est unique avec ses qualites et ses defauts
dapheneo 8 months ago 2
Must say I prefer Crespin , who is one of my favourites, as Sieglinde rather than Brunhilde. Nilsson of course as the all time best Brunhildem, Modl I like but not in this aria, Varnay very good but always in the shadow of Nilsson
robertdonkers 3 years ago 4
True, Birgit Nilsson had greater volume & Régine Crespin (Crépinette) was not mute either, Martha Mödl had a fiery interpretation & Astrid Varnay has the most "intellectual" approach but retained her human warmth. However, the audio clips, compared here, were taken under different conditions & recording techniques making comparison a bit unfair.
nutty42 3 years ago
Actually, Crespin had a bigger voice than Nilsson in terms of amplitude. Nilsson's voice was more slender, but it had an intensity that let her compete with singers who had bigger instruments, like Crespin and Rysanek. In terms of sheer technical magnitude, Nilsson of course is almost untouchable. I've never heard her sing badly. Ever.
BeauTenor 3 years ago
Leonie Rysanek had a big and ugly voice.She had high notes but they were not beautiful, she had bad intonation too.Crespin high register was too much problematic, that's why she had to find special repertoire for her voice, she was unable to sing Aìda, Forza, Butterfly, Manon Lescaut and italian opera in general
jerodo4330 3 years ago
LOL....ok, If you say so. Every Italian opera I've heard her in is great singing.
BeauTenor 3 years ago
True, Birgit Nilsson had greater volume & Régine Crespin (Crépinette) was not mute either, Martha Mödl had a fiery interpretation & Astrid Varnay has the most "intellectual" approach but retained her human warmth. However, the audio clips, compared here, were taken under different conditions & recording techniques making comparison a bit unfair.
nutty42 3 years ago
True, Birgit Nilsson had greater volume & Régine Crespin (Crépinette) was not mute either, Martha Mödl had a fiery interpretation & Astrid Varnay has the most "intellectual" approach but retained her human warmth. However, the audio clips, compared here, were taken under different conditions & recording techniques making comparison a bit unfair.
nutty42 3 years ago
True, B. Nilsson had greater volume & R.Crespin (Crépinette) was not mute either, Martha Mödl had a fiery interpretation & Astrid Varnay has the most "intellectual" approach yet retaining her human warmth. However, the audio clips, compared here, were taken under different conditions & recording techniques making comparison a bit unfair.Varnay simply did not record well [heard LIVE, she was totally different & incredible --both voice & acting-] B. Nilsson was even better live than recorded.
nutty42 3 years ago
por todo esto amo a birgit nilsson ^^ creo que fue una de las mejores! su voz era unica
isisclassic 3 years ago
puede cantar bien un sib, un do, pero d q vale eso si no llena un teatro como corresponde? y tampoco uno se puede dejar llevar por lo que uno escucha en grabaciones menos si se trata de un cantante de opera.
isisclassic 3 years ago
puede cantar bien un sib, un do, pero d q vale eso si no llena un teatro como corresponde? y tampoco uno se puede dejar llevar por lo que uno escucha en grabaciones menos si se trata de un cantante de opera.
isisclassic 3 years ago
creo que el que el que sabe de musica puede opinar mas alla de lo que puede ser o no un sib, lo importante del cantante de opera, lo cual no se esta respetando mucho y asi estamos en decadencia de cantantes, es en el alcanze que tiene en el teatro, como llega su voz y las virtudes propias del cantante.
isisclassic 3 years ago
creo que el que el que sabe de musica puede opinar mas alla de lo que puede ser o no un sib, lo importante del cantante de opera, lo cual no se esta respetando mucho y asi estamos en decadencia de cantantes, es en el alcanze que tiene en el teatro, como llega su voz y las virtudes propias del cantante.
isisclassic 3 years ago
Régine Crespin was the greater ARTIST of them all.
fazendasantoexpedito 4 years ago
Crespin was unable to sing Ring Cycle, she stopped after she failed in WALKURE.She sang very little Verdi and Puccini and italian opera because her notes above Aflat were never good
fleville 3 years ago 2
Oh really? And from where did you glean this little bit of information? My guess is that you made it up and you son't be able to provide any documentation or research to support your claim. Maybe you'll surprise me though.
BeauTenor 3 years ago
Oh really? And from where did you glean this little bit of information? My guess is that you made it up and you son't be able to provide any documentation or research to support your claim. Maybe you'll surprise me though.
BeauTenor 3 years ago
Dear Beautenor please be sure that I don't care at all wether I might surprise you or not! I saw quite a lot of time both of them,and if Miss Nilsson was a great singer Mme.Crespin was a an ARTIST. That is what makes Mme.Crespin superior ! I leave the "research" for you. Is evident you have plenty of time for that kind of occupation. I don't waist mine when I have plenty interesting things to do.
fazendasantoexpedito 3 years ago
Oh no no no....you misunderstood. I was responding to fleville who seems to think he (or she) knows so much about Crespin. I'm sorry if you thought I was talking about you. I absolutely agree with you. I think Crespin was AMAZING in so many ways. She was absolutely unique.
BeauTenor 3 years ago
I'm so SORRY !!!Indeed Beautenor I realized later that I misunderstood and that your response was in fact addressed to "dear and intelligent little fleville". By the way I think this fleville other non is than (LOW CLASS) MORENO. Sorry again and I was glad reading your comment.
fazendasantoexpedito 3 years ago
Don't tell me fazendasantoexpedito? Mme Crespin is superior to Nilsson ?ahaha this is a desperate answer of an alienist and ridiculous creature like you
fleville 3 years ago
She's not superior, but Crespin is equal to Nilsson. They had drastically different voices and approaches to singing. They were both amazing in their own way.
BeauTenor 3 years ago
Both were very good. It's true Crespin probably couldn't sing some of the roles Nilsson sang. I don't think she ever sang Siegfried or Gotterdammerung Brunnhilde, Elektra, or Turandot. But not everything is about blasting high notes like a laser beam. Crespin brings interesting interpretation and phrasing. And I find the warmth in her voice to be really enchanting. Sometimes I find Nilsson to be dry.
jlee800 3 years ago
jlee800: you don't know the career of Regine Crespin?.She was unable to sing Elektra, Turandot, Butterfly, Aìda, Leonora, Manon Lescaut, A.Chenier, etc, etc etc because she was in big trouble to sing even an A natural
jerodo4330 3 years ago
I heard her live several times, and you are very wrong.
operaman2000 3 years ago
LOL...you have no idea what you're talking about. Crespin did indeed have notes above an A natural, and she did not always have trouble up high. She was, on occasion, inconsistent, but she had B flats, Bs, and Cs. BIG ones.
BeauTenor 3 years ago
Règine Crespin A natural was NOT a beautiful note.NEVER.B flat was effortful and short and NOT beautiful. ALWAYS.
B and Cs were attempted screams.I repeat Règine Crespin A natural was NOT a beautiful note
jerodo4330 3 years ago
Like I said. If you say so. You only look like a moron when you spout that kind of tripe.
BeauTenor 3 years ago
Crespin had BIG Bflat screams.
Her BIG scream on B and C lasted only 5 years since her internationatl career started, and it were BIG screams
enderezo 3 years ago 2
you are wrong she started her international career in 58 (even she sang otello with Del Monaco in Spain in 56!) and she sang Tosca in 1970 with the big C she attempd again in the fall 70 to sing tosca with domingo and gobbi but stpped the general-rehearseal after the second act and amara sang the premier at the met. She can sang a good c and even and a fantastic c ( listen hérodiade or many live of Tosca) but trhe upper was not her best that's right
matm68 3 years ago
It's true.Crespin international career started in 1958 (Bayreuth).
It's true she could hit a C in early '60s but the note is was not good, you understand ?It was screamed.Even an A natural and Bflat were not beautiful notes.
enderezo 3 years ago 6
Règine sang Aìda in Mexico in 1962 but she only sang three performances and she never dared to sing it again.3 Aìda performances in her whole career.That's why she didn't sing many italian operas (M.lescaut, Forza, Chenier, Butterfly, etc)
enderezo 3 years ago
She could never SING a Bflat, B (even A natural), those notes were screamed and short and not on occasion, ALWAYS
enderezo 3 years ago 4
This has been flagged as spam show
How many times are you going to change your name? You always post the same crap, always bash truly great singers.....maybe you should get a life. Crespin sometimes had a short top...so what? So did your idol Tebaldi.
BeauTenor 3 years ago
should be as well on the list
bogdankos 4 years ago
nilsson beats them all, but flagstad and jones :D
bogdankos 4 years ago
Nilsson is the winner, but I love Varnay's hat!!
fideliosmum 4 years ago 5
I've heard Nilsson, Crespin, Hunter and Dernesh in the opera house. All were wonderful in their own way. Nilsson was incredible, of course. Crespin, though, had the most beautiful voice of the four. Very sensuous. Brought a rare warmth to the role.
noosphere23 4 years ago 2
I love Nilsson, she is one of my three favourite sopranos with Price and Callas, but I heard Rita Hunter's battlecry and it was the easiest sounding.
Greatfan 4 years ago
Definitely Nilsson. I would not even consider Regine Crespin or Martah Modl. Astrid Varnay is great, but I prefer the longer cries and the directness of the sound Nilsson brings.
Thanks for the competition. Kirsten Flagstad however makes this aria sound like a pic-nic.
SieglindeMoos 4 years ago 2
OK I did a search on Rita Hunter. Downloaded some of the clips from the English libretto Ring production she was in. Her upper registry is pretty good but her lower registry sounds like warbling.
jlee800 4 years ago
Ok...so I wrote the below comment before I listened to the comp....and by far Rita Hunter's battlecry is the best of all of these. It embodies a great belcano line and the steely edge every great dramatic soprano should have. Whats more is it was recorded during a live performance and hasnt been messed with. I hope it will be posted.
Ahdren 4 years ago
I know the recording is in English, but what about adding Rita Hunter into the mix? Nilsson actually sang Seglinde to Hunters Brunhilde at the Met in the 70's. Nilsson also used to call Hunter personally to ask if she would cover a performance if she wasnt able to sing. A great voice that never got the true recognition it deserved.
Ahdren 4 years ago
I agree, the best " Ho jo to ho " is Nilsson's. Crespin's seems tricked in the studio. Even so she sings a couple of flat notes. There is a tricky chamber thing. Mödl was a great mezzo stretching her wonderful voice to the limits. Varnay short cry is a find, but the sustained high notes are a bit tense.
Greatfan 4 years ago 3
I don't agree Varnay high B natural is tense, it happens that Varnay voice on top is small.Varnay voice is very big bottom, quite big middle and lyrical and small high notes.
Crespin attempt to sing Brunhilde was a total fiasco she have to give up after her painful Walkure, she couldn't continue
espacecardin 4 years ago
Once again, you have no IDEA what you're talking about. Crespin was actually quite a good Brunnhilde. She did at times have a short top, but Walkure for the most part deos not sit very high. Crespin was quite remarkable in just about everything she ever sang. She's also without a doubt the largest voice (by far) in this comparison. Crespin had a huge instrument. Anyone who saw her live can attest to that.
BeauTenor 4 years ago
You have NO idea what you're talking about.Just Crespin wans't quite remarkable in everything she sang.She debuted several roles and she couldn't keep then in repertoire, she had to drop them quickly because she failed (Senta, BRUNNILDE! she had to stop after Walkure!, you know NOTHING ignorant Beautenor)
espacecardin 4 years ago
LOL....Sure. Potrobas, or Moreno, or whoever the crap you are. Crespin was an AMAZING singer. Nothing you say can change that FACT. Rant all you want. All you do is show people how stupid you are. Cheers!
BeauTenor 4 years ago 3
This time I say ; BRAVO BEAUTENOR!
I do not agree always with all your comments but in this case you are exact! FACTS !!
Crespin was to Big an Artist to please everybody.
May be is a question of sensibility. If someone likes noblesse, diction, formidable low register, "pianissimi da non credere", huge honey and milk voice and all this with an extraordinary presence on scene then you love Crespin ! If you can't understand that, as espacecardin does, we can only be sorry for them.
fazendasantoexpedito 3 years ago
Ce n'est pas parce que les "Brunnhilde" de Crespin ont marqué la fin proche de sa carrière, qu'elle n'en étais pas moins grande dans ce rôle! Qui êtes vous pour traiter les gens d'ignorant!!!
ioSonoCallas 3 years ago
Yo la vi a Règine Crespin en Buenos Aires en los '60s y no solo sus notas en el SI o SIb eran muy cortas y gritadas sino que cantaba simpre con mucha angustia en la tessitura aguda
enderezo 3 years ago
Muchas gracias enderezo.
ioSonoCallas 3 years ago
Siempre notas y solo notas ! No tenés nada que decir respecto al fraseo ? a sus pianisimos? a su registro grave único ? a su maravillosa presencia escénica? Yo también la vi en esos años y era una GLORIA !! Te acordas quizás de Les Troyens? Te acordás de la "Damnation de Faust"? Personas que van al teatro sólo para escuchar un Si o un Sib no merecerían tener la oportunidad de escuchar artistas inmensos com lo fue Mme.Crespin.
fazendasantoexpedito 3 years ago
Mi sembra que sos un argentino quizas exiliado en Brasil, tus respuestas me hacen recordar a un grupito muy chiquito de snobs que habìa en Buenos Aires, que en todo el mundo solo ellos decìan cosas parecidas a las que escribis de vos de Règine Crespin.Fue una buena cantante pero siempre estuvo por debajo de las grandes de su època en todo, en teatros, en grabaciones, etc
enderezo 3 years ago
y volvemos a lo mismo, No la lleguè a ver en Troyanos pero sì la vì en Werther, muy bueno pero cuando pongo la grabaciòn ni siquiera el SIb es bueno, gritos.
Damnation muy buena, pero el disco de arias italianas todos los agudos son malos, todos sin excepciòn, en Sieglinde lo mismo
enderezo 3 years ago
There is no value to discuss such a GREAT ARTIST as Crespin with anyone that think the way you do. It is evident that you are not able to understand Mme Crespin's GRANDEUR.You are only estadistics: How many times ? How many years?. That has nothing to do with ARTISTRY. Just one performance of Crespin as De Marschalin or Dido or Charlotte or Siglinde has more interest that the entiree career of a lot de "stars" . If there is any ignorant here that is you dear fellow !!!
fazendasantoexpedito 3 years ago
fazendasantoexpedito: What a fantastic poetry you wrote! More important to sing De Marschalin or Dido than an entire career! wow! Mme Crespin was the umbilical cord of this world!
fleville 3 years ago
The real thing is Règine Crespin recorded very little and this isn't casual.She was unable to sing italian opera because she couldn't sing in the higher tessitura.She did very little, her Tosca was very screamed , there wasn't anything presentable above Aflat, she had to drop it soon too