Kirsten Flagstad’s advice for young singers who want to sing Wagner.
In the end, she sings an excerpt from Die Walküre a capella.
~~~
Picture artwork, editing and remastering by AfroPoli
42 thoughts on “Kirsten Flagstad – A singing lesson: How to sing Wagner [1950]”
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singers, listen to Ms. Flagstad
Yes, you are definitely missing something. No one sang Wagner better than
Flagstad.
Wow
You actually sound like a moron right now. Please stop.
This was great.
The Wagnerian soprano of the 21st century? And pray, who may this 27
economic student be?
Likewise, I even would have been willing to swim part of the way. 😉 Joke
aside, she raised the standard for Wagnerian sopranos to a dizzy height and
only a handful of singers came close but never surpassed her. Thank you for
sharing this valuable educative clip.
Great, wildly intelligent singer! Thanks, AfroPoli.
I find Flagstad completely true. Nowadays, vocal music has hit rock bottom.
Everyone is losing the virtue of patience which is pertinent to vocal
music, whether singing bel canto or Wagnerian. We had a period of revival
in bel canto with Joan Sutherland, Maria Callas, and Luciano Pavarotti, but
ever since, we have hit rock bottom. You cannot force the voice to do
something immediately. You have to gradually work your way up into harder,
more difficult parts like Kirsten did.
If alive now, Kirsten would say our “greatest” singers of this age would be
in the chorus in her time……..for me she is the greatest voice in the
history of recorded music……over Lanza, Caruso, etc. Her daughter
married and was living in North Dakota decades ago…..if what I read is
true.
she has a big, strong voice
My goodness, even her speaking voice sounds spectacular!
Stemme may indeed be the economic student, but she is certainly not 27…..
1:53 she was lucky to have that path.
Very interesting and inspiring. I also enjoy to listen to her speaking
voice, so naturally open, warm and full, not as artificial as the speaking
voices of many singers.
At age 18 and 19, I was very fortunate to be a volunteer usher at the San
Francisco Opera. I saw Kirsten Flagstad perform in, “Die Walkure” and
“Tristan und Isolde.” Both were great performances, but my most memorable
night came four years later when Mme. Flagstad was the guest artist on the
old Sunday night, “Standard Hour” radio broadcast, from the San Francisco
Opera House. This time I was seated in the Dress Circle, which is the
upper half of the main balcony. She sang the “Immolation” scene from the
finale of Gotterdamerung. Her voice carried to the upper levels as if she
was standing next to you, clear, powerful, yet controlled in a manner that
I have never heard another singer approach. She could override the entire
orchestra without ever seeming to be loud. There are three above all that
for me represent the greatest voices of the 20th century, (Caruso,
Sutherland, and Flagstad)
No wonder she is such a great singer. She had the voice and the
intelligence to use it properly
HA! HA ! Good advice . Leave it alone early.
Some people think that there is no talents or voices. It is all wrong.
There are voices, but the problem is that the voice has to mature and that
happens not earlier than 35 for any voice type. Moreover, the young talents
enter competitions, sing too much and ruin themselves even before becoming
physiologically mature to sing Verdi, Wagner, etc. Why most competitions
are around 25-30? This is a question that should be raised. No one cared if
there would be Flagstad 70 y.old on stage instead of some dolls that jump
up side down and except their body have nothing to show. If they have good
body -that’s good, let them go to modeling business and leave opera alone!
80 years ago there were many great singers, today-I don’t know if you can
find someone to compare with Flagstad or even Pavarotti. Who cared that he
was overweight? Did not he filled the halls? did not he left his name in
history? Because everythings is here for business, therefore smart singers
go slower, but have an age issue, weight issue, etc. , and the rest you all
know……we need to fight for opera if we want quality, if we really want
to keep the genre. Nature could not give so many good voices and all of a
sudden stop to produce them; it is our fault that we don’t take too many
years to study, to preserve, not to allow modern stupid productions that
ruin opera. Sorry for being very straight forward, but unless we speak up
we cannot change things to a better result.
I dont believe this is Flagstad … this is nonsense,
INVALUABLE ADVICE SINCE THERE ARE NO SINGERS IN ANY OPERA HOUSE, WHERE
“SHOUTING” HAS BECOME THE NORM, WHO CAN MATCH FLAGSTAD.
Wagner ! Her advice is great !
I can think of at least one exception to the rule that Wagner should be
attempted only later in one’s career. Marjorie Lawrence started singing
Wagner right at the beginning of her career, making her debut as Elisabeth
in Tannhauser at the age of 25. A year later she sang Ortrud in Lohengrin,
and from there she took on the other major Wagnerian heroines and
alternated these roles with Flagstad at the Metropolitan. Polio kept her
off the operatic stage from the year 1941, but she continued to sing
concerts until the end of her career. It is a shame that Marjorie Lawrence
is not better known today!
Many many thanks for uploading this. There is great info in a few minutes
that will work for a lifetime. Happy to find a couple of similar
conclusions with this great maestra. And good new thoughts to follow.
Deeply grateful to have been able to hear this. Again thanks, and hoping
that many many many more listen to it!
She sounds so majestetic.
Oh that WAS GREAT!!! She sounds like the most majestic voice ever!!
Flagstad, Nilsson, and Sutherland were the three GREATEST voices EVER
Magnificent voice – aristocratic in every way! A great, great lady and
singer! (:-o)
Thanks very much for sharing this, it’s fascinating hearing a legend talk
about her technique and learning.
Fascinating! Thank you for posting how a great artist prepares.
Most enlightening! Thank you for sharing.
To me, the voice of the 20th century. And a wonderful singing lesson
indeed, at the end in particular of course.
all these new singers need an education in music, they all need singing
lessons, hooting and howling and singsong is crap,
so amazingly helpful! thank you for sharing this!
that accent is so strong :(
Madame Flagstad’s advice applies not only to women who aspire to sing
Wagner but also men. Singing Alberich will make a believer out of anyone
who might doubt her wisdom (see the dim comments from an individual a few
years ago).
8:15 Nur Todgeweihten taugt mein Anblick;
wer mich erschaut,
der scheidet vom Lebens Licht.
Auf der Walstatt allein erschein’ ich Edlen
wer mich gewahrt,
zur Wal kor ich ihn mir!
Death-doomed is he who looks upon me;
who meets my glance
must turn from the light of life.
On the war-field alone I come to heroes;
those whom I greet
with me needs must go hence!
what is the intro song?
Do someone know witch’s the aria She sang for the begining? And if is not
bother for a long: how’s the lastone aria’s name? At my request, sorry dir
disturbing. Thanks!!! 😊👍
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