Word: birgit
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Dates: during 1960-1969
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...singers. As Leonore, Gladys Kuchta reaches everything but the heights of Abscheulicher!; Julius Patzak, who had been singing for 35 years when this record was made, still sounds fresh and sturdy as Florestan; the best performance on the record is Melita Muszely's Marzelline. The singular glories of Birgit Nilsson's Fidelio can't be found here, but listeners will enjoy a high level of musicianship...
PUCCINI: TURANDOT (Angel; 3 LPs). For this generation at least, Swedish Soprano Birgit Nilsson has firmly appropriated the treacherous role of the icy Oriental princess. Seven years ago, Nilsson recorded Puccini's last opera for RCA Victor, and now has repeated her triumphal performance. The plus value in the new set is Tenor Franco Corelli, who in brilliance and power is Nilsson's match, and as Calaf can credibly convert the cruel princess into a woman in love. The earlier recording is superior, however, having Erich Leinsdorf as conductor and a generally better cast, including Renata Tebaldi...
VERDI: REQUIEM (RCA Victor). The virtues of this new recording are the soloists. Carlo Bergonzi is good enough to make the listener forget Jussi Bjoerling's masterly reading of the Ingemisco. Birgit Nilsson is all fire; Lili Chookasian and Ezio Flagello both have big, warm voices. The difficulties stem from Erich Leins-dorf's conducting of the Boston Symphony. The pace is much too slow. The long, dramatic Otello-like lines enshroud the listener rather than move him. Tullio Serafin's interpretation of the Requiem (Angel) is still the best...
SONGS OF SCANDINAVIA (London). Birgit Nilsson, the Swedish farmer's daughter, puts aside the superhuman passions of Wagner's Valhalla to sing most expressively some quiet love songs and mystic reveries about the fir forests, mists and dripping rocks of Scandinavia. Seven songs are by Sibelius, three by Grieg, and four by the little-known Swedish songwriter and symphonist, Ture Rangstr...
...second act, she showed the stuff great prima donnas are made of, held the final high note beyond everyone else on the stage and, with an arrogant toss of her head, strode off still singing full throttle. Her warm, artfully shaded voice is not as large as Birgit Nilsson's, nor does she favor the bel canto filigrees of Joan Sutherland. Instead she infuses a role with an earthy energy reminiscent of Maria Callas, a quality which, above all else, excites...