Birgit Nilsson

The vocal talents of Birgit Nilsson were first recognized when she begun to sing in her church choir. She researched tone of voice with Ragnar Blennow in Bastad and later on in the Royal Music Academy Stockholm with Joseph Hislop and Arne Sunnegärdh. She produced her opera debut at Stockholm where her 1st essential part was Agatha in Der Freischütz, and in 1947 she sang Woman Macbeth in Verdi’s Macbeth there. Her 1st essential international appearance arrived in 1951 as Elettra in Mozart’s Idomeneo in the Glyndebourne Event. In 1952, she sang Donna Anna in Don Giovanni at Florence. Her 1st essential looks in Wagner operas arrived in 1953 at Stockholm where she sang Elisabeth in Tannhäconsumer and Isolde for the very first time. This marked the beginning of the main Wagnerian profession of the next half from the 20th hundred years. The following calendar year she produced her Bayrueth debut as Elsa in Lohengrin and in the same period sang Ortlinde in Die Walküre. She afterwards made an appearance there as Isolde so that as Brunnhilde. It had been in Munich through the 1954-1955 period that she initial sang Brunnhilde in Wagner’s Der Band des Nibelungen and through the same period she sang her initial Salome. In 1957, she sang the entire Ring routine in London. On the Vienna Condition Opera she was noticed as Elsa, Sieglinde, Elisabeth, Aida, and Sent. In 1957 she sang Leonore in Beethoven’s Fidelio and the next period sang her initial Turandot. She was also respectable on her behalf interpretations of Elektra as well as the Barak’s Wife in Die Frau ohne Schatten. Her various other essential Italian roles had been Tosca, Amelia in Un ballo in maschera and Aida. She sang at every one of the main opera centers from the globe including Tokyo, Paris, Buenos Aires, Chicago, SAN FRANCISCO BAY AREA, and Hamburg. Also she sang Turandot in Moscow using the Teatro alla Scala. At age 62, a functionality of Strauss’ Elektra was videotaped on the Metropolitan Opera Home and broadcast all over the world. Due to her full timetable of opera shows, Nilsson didn’t sing in lots of concerts or recitals although early in her profession she do sing the Ninth Symphony of Beethoven on many events, including one at Bayreuth. She do provide some recitals including travels of Australia and Japan aswell the main music centers of European countries and THE UNITED STATES. Her recital applications concentrated for the German and Scandinavian tracks, including some seldom heard parts by Stenhammar. She frequently sang “I POSSIBLY COULD Have Danced FOREVER” as an encore. The tone of voice of Birgit Nilsson was just like a laser that cut through the orchestra, unlike the tone of voice of Kirsten Flagstad or Jessye Norman that are like a wall structure of sound. It had been a large tone of voice with such brilliance that sometimes it gave the feeling of being razor-sharp of the meant pitch. She was a congenial colleague aside from her long-standing problems with Franco Corelli concerning the length from the high Cs in Puccini’s Turandot and with Herbert von Karjan. Gladly most of her essential roles have already been maintained on recordings. So long as the operas of Wagner are performed, the tone of voice of Birgit Nilsson will become remembered, no you have sung Puccini’s Turandot with an increase of brilliance or protection. Her autobiography, Mina minnesbilder, was released in 1977 at Stockholm.