Birgit Nilsson floats two high C's in the climax of Figlio del Cielo
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- čas přidán 16. 03. 2022
- This is an excerpt from the legendary 1961 performance at the Met of Turandot with Birgit Nilsson, Franco Corelli, Anna Moffo and Bonaldo Giaotti. Every time Nilsson floats those high C's over the ensemble in Figilo del Cielo, I think of skyscrapers. That's why I've included them in the slideshow. (Burj Khalifa, Sears/Willis Tower and the New World Trade Center)
Because Nilsson and Corelli sung this opera so many times, the main reason you listen to a performance is for the Liu and Anna Moffo is the best I have ever heard in the role. She makes the drama real and compelling--you can feel Liu's despair at Calaf's rejection much stronger than other sopranos because she has such a great feel for words. When it gets to the torture scene, she doesn't give a fake little sigh the way most other sopranos do, instead there's a real scream of pain and the next few lines are half gritted, half spat out. Her voice is wistful and melancholy like a violin and the way she colors every phrase is simply magical. You can find her part here. If it ever gets taken off, just tell me and I'll post it myself.
• Anna Moffo as Liù (Tur...
Also, if you want some more from the performance, just ask me.
Nilsson and Corelli forever!!!
That’s not floating. She just keeps those C’s in a very bright, forward l, resonant place and doesn’t reach up for them. She lets the upper partials, meaning the higher frequencies, do the work. It’s a totally free, brilliant sound that cuts like a laser through the choral and orchestral forces. Such a lesson in rock solid technique. Also, she's staying engaged down low in her body and letting the breath energize the voice/feed the resonance/energize the resonance. Everyone has a different way to describe it depending on their own experience. Regardless, she had an amazing understanding of vocal technique and what her voice could do.
shut the hell up. no one asked for a lesson. he's allowed to describe HIS post as he chooses.
No, it’s not *arbitrary imagery describing subjective experience* she’s actually doing *arbitrary imagery describing subjective experience*
@@kaelsurtour My pleasure dear Kael 😂
@@matthiasjacquot2018 I describe it as "getting my hair blown back in balcony circle." Lady Birgit did it to me on her farewell tour in San Francisco. Don't know how, don't care.
Okay, you have a point. I guess she was moving away from the recording equipment when she sung those notes.
The best top C's in the business
It’s unbelievable. I always say life is rubbish but then I hear them and…Life is beautiful 😢
She was one of a kind, such power and elegance
nilsson was wonderful...and corelli, wow what a C!
Corelli is no slouch either
I agree with you about Moffo- - a wonderful musical singer! I was in the boys chorus for this opera and because I was a scroll bearer, I got to be on stage for the whole battle between Corelli and Nilsson. Nilsson won almost every time. I would not use the word "floats" to describe the singing in this part. She's bellowing for all she's worth. 'Float' usually describes the sound of Milanov or Tebaldi in the Enzo adorato scene from Gioconda. Also Moffo floats a high note in this production. Wonderful!
Lucky you! You must be in your late seventies.
Mid. @@lukasmiller486
I'm 75. @@lukasmiller486
The greatest Turandot ever. Others might have been more expressive but none of them were able to conquer the mountainous tessitura as easily as Nilsson. And I agree with you, she does float those C6s (by her standards), she doesn't sing them full out.
The very operatic portrayal I ever saw!!!!
This performance is my fav too.
It’s connection to the diaphragm. I love high notes.
More like blasting! _But,_ she is not pushing, so they do not sound heavy. Amazing.
She😢had it !
*Considering the climax in figlio del cielo is, in my opinion, one of the heaviest lifts in the Soprano rep, I assume that the word "floats" 2 high Cs is more than a little tongue in cheek!*
👏👏👏👏
Certainly one of the greats. I also adore Joan Sutherland’s version. Corelli superb too.
Floating?? She’s singing at the top of her lungs against a chorus.
Takes a lot of energy and technique
She could sing this even louder
And she surpasses all the sopranos of the choir in the second high C.
Obviously the the uploader was being humorous in his choice of words. This is one of the toughest climaxes in the Soprano repertoire. Even the largest voices need tutta la forza to be heard over huge chorus with the Sopranos all screaming their lungs out on the high C along with Turandot
Mi è parso d' udire la voce di un certo.. F R A N C O C O R E L L I 😆
I listen to this brilliant performance, then I listen to NetrebCow and realize how sadly opera has fallen.
NeFiasKow is the quintessence of everything that's wrong with opera today.
I'm so glad someone else feels the same way...
Floating?!
This transfer is about a half tone too high.
The voices of Nilsson and Corelli sound much too bright.
Nilsson is of course superb, but Corelli’s “No, no principessa altera” isn’t exactly chopped liver here.
And not just that-but nobody has done the role beter than Corelli. Nilsson is Nilsson, but there have been some other great Turandots
Strange and unrelated images of high-rises meant, I'm sure, to illustrate her high Cs. How unnecessary!! Let the MUSIC stand alone. It really doesn't need any help... F.
it annoyed the heck out of me
You really got angry unnecesarily. It's only a peculiae fragment of opera with a passionate title. Nothing else.
I really love old school opera singers. I feel blank when the modern opera singers doesn't have enough strong, full voice when singing.
Some normal singers mimicking opera singer without audacity like tf they're doing. They're just ruining the pieces of art. It's sounds awful and disrespecting.
It does. But then it goes very well with the idiotic modern productions where people sit on the toilet dressed in suits. Ridiculous. Most modern directors/producers/designers of opera should be jailed for destroying art.
You ought to check out Giancarlo Monsalve’s blog. He’s the real deal. I don’t know why the Met hasn’t invited him with the powerful voice and presence and good looks he has.
@@kbhprinsesse Fortunately, that directorial approach has been fading in popularity. It can work for SOME operas on occasion, but most of the time, it just doesn't.
@@golden-63 unfortunately, where I live it's not fading in popularity at all - almost all productions are like that, it's AWFUL!
Forgive me, but... I hear a hen cackle.
The voices i wish i heard in opera, exist in my head.
Although i have heard angelic voices a few times in opera. Only a few.
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Objectively - She was a mechanical singer, like an automaton but terrible delivery. I don’t know why she never learned believable delivery but it’s a tragedy she never did. With that said, as a person, she otherwise seemed mostly kind and charming, by some accounts. On that point, one can’t fault her. It nevertheless is a tragedy that she never had fully learned all opera skills like other dramatic sopranos like Rosa Ponselle, who is superior in delivery.