Word: nilsson
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Triston and Isolde, of all works, is the biggest hit at the Metropolitan Opera. The reason for this sensation is the Widely publicized and truly splendid performance of the statuesque (and this is not intended as a euphemism for "fat") Swedish dramatic soprano, Birgit Nilsson, whose Isolde was accorded a tremendous ovation at the first performance of the Met's new production last month...
...front-page reviews of both the Times and Herald Tribune enthusiastically announced, Miss Nilsson's enormously powerful voice is superbly controlled and especially well-suited to Isolde's demanding music. In fact, many musicians have cited her bright, clear soprano as more appropriate even than Flagstad's to the role. Irving Kolodin, the musical pundit of the Saturday Review, added his share to the heroine-worship of Nilsson, now the fashion among New York critics, by pointing out her superb acting and imposing stage deportment. All in all, one can find few flaws in her tempestuous, queenly Isolde. Though...
Although Tristan posed difficulties in casting, the Metropolitan was able to find a brilliant Brangaene. This smaller role is a key one, long and taxing, which requires a strong mezzo soprano, especially for the difficult solos in the second act. When the Isolde is as good as Nilsson, though, the first act passages of Isolde's companion become a test as well. It was here, perhaps, that Irene Dalis, the American mezzo, was most impressive. Dalis matched Nilsson's dramatic singing with a dazzling virtuosity and eloquence of her own; I cannot remember when I have heard such uniformly brilliant...
Tristan at the Met remains Isolde's show, however. Brangaene is important in the first half but insignificant for the final effect. The Liebestod constitutes the climax of Tristan. To this superb music and its terrific challenge, Nilsson brings endless energy and intelligence. The perfectly spun phrases follow one another in a demonstration of endurance and artistry that has an almost hypnotic effect...
...Nilsson is not only notable for her Isolde; she also sings, apparently with comparable success, Turandot, all the Brunnehildes, and Leonora and Senta (both of which she will do later in the Met season). The roles, all extremely taxing, do not tire Nilsson out. Like the famed stamina of Melchior, who missed only three performances out of the over 500 scheduled for him at the Met, Nilsson's endurance is phenomenal. She thinks nothing of singing three Isoldes in a week, a feat which she plans for later in the season. Any other soprano would request four days separating each...