# Kirsten Flagstad



## Oskaar (Mar 17, 2011)

I am from the hometown of Kirsten Flagstad. She is considered one of the great Wagner interpreters. We have a small museum here in our town, but she is not highly valued by Norwegians. Germans and Americans appreciate her much higher.
It has probably lot to do with the history of war, where her husband was a Nazi. And also the fact that Hitler adopted Wagner's music.

I felt I had to create this thread, since I'm from her hometown. She had an amazing voice!

I hope this can be an interesting thread where we can discuss her life and work.


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## mamascarlatti (Sep 23, 2009)

oskaar said:


> I am from the hometown of Kirsten Flagstad. She is considered one of the great Wagner interpreters. We have a small museum here in our town, but she is not highly valued by Norwegians. Germans and Americans appreciate her much higher.
> It has probably lot to do with the history of war, where her husband was a Nazi. And also the fact that Hitler adopted Wagner's music.
> 
> I felt I had to create this thread, since I'm from her hometown. She had an amazing voice!
> ...


You might like to take a look at this thread:

October is Flagstad Month


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## Couchie (Dec 9, 2010)

She can't be that unpopular in Norway...


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## Aksel (Dec 3, 2010)

The question of Kirsten Flagstad's popularity in Norway is a difficult one to answer. I will try to answer it, not just now. If Oskaar wants to do so himself, feel free.

And Oskaar, Henry Johansen was in no way, shape or form a nazi. Sure, he was a member of the Norwegian Nazi party, but that also had a lot to do with the fact that he did business with the Germans.

And for the record, at the moment, I am also living in Hamar.


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## Oskaar (Mar 17, 2011)

Hehe..I appologise my lack of knowledge.


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## GoneBaroque (Jun 16, 2011)

Never the less she was magnificent.


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## Oskaar (Mar 17, 2011)

Yes, she was.
And I must say one thing. I am a member in a pottery community. In august we had a ceramist from spain coursing us (I was not participating) in ceramics relief. Kirsten Flagstad was a natural theme, since she is from Hamar, my hometown. And they made a beautiful relief! Tomorrow they will take pictures of it, and I will give you links.

We hope for a good place for it to be exposed. Hamar is building a new culture house, and I think it should certainly have a place there... But the art commities give contracts to each other, so I dont know.


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## gpolyz (Nov 25, 2011)

Politics and art always found a way to mix with each other. Flagstad herself always vehemently denied that either she or her husband DID anything that could be considered as improper. It is specific actions and not Membership itself that must be considered as proof of criminal activity.

Flagstad is the best Wagnerian soprano in recorded history. We have aural images from many trully great singers before and during her career ( Nordica, Destinn, Leider, Fuchs e.t.c.) and some from singers who came after her ( Nilsson, Crespin ). But no 
one came close to her.

Most of her amazing performances come from the 1930`s and have been preserved in poor sound( by today standards ). For those
interested: the RCA duets with Melchior recorded in dated but acceptable mono sound

http://www.fasolt.gr/images/00/r000450.jpg

and the 1951 Live Walkuere from the MET ( her first MET visit after the post WW-II troubles ). The sound is average but her
Bruenhilde is awsome:

http://www.fasolt.gr/images/00/r003550.jpg


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## Couchie (Dec 9, 2010)

Personally I think with excellent recordings of the Ring, Tristan, and Salome, Nilsson has the better recorded legacy that will lead to future generations appreciating her over Flagstad, who is only captured in flawed audio that will be considered more and more unbearable as technology continues to advance to ever higher standards of quality.


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## Aksel (Dec 3, 2010)

Couchie said:


> Personally I think with excellent recordings of the Ring, Tristan, and *Salome*, Nilsson has the better recorded legacy that will lead to future generations appreciating her over Flagstad, who is only captured in flawed audio that will be considered more and more unbearable as technology continues to advance to ever higher standards of quality.


Flagstad never recorded Salome, nor any opera by Strauss. She was scheduled to sing the Marschallin in Rosenkavalier in her debut year at the Met, but she found a way out of it. She later came to love Rosenkavalier, but the subject matter was simply to immoral for a well-bred Oslo girl. 
One of her all-time favourite operas was Elektra, and she would have loved to sing it, but the part was simply to obscene for her, so she couldn't bring herself to sing it. She did sing _Orest!_ in concert version, though.

And the Furtwängler Tristan is in rather good shape soundwise, wouldn't you say? It is still one of the most sold recordings of that opera ever.


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## Bill H. (Dec 23, 2010)

I would recommend reading Astrid Varnay's autobiography "55 Years in Five Acts", which documents what she understands of Flagstad's situation around the war years, as well as afterwards. Told from the viewpoint of someone with whom KF was a family friend, but nonetheless worthwhile.


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## rollerphant (Oct 11, 2011)

Aksel said:


> Flagstad never recorded Salome, nor any opera by Strauss. She was scheduled to sing the Marschallin in Rosenkavalier in her debut year at the Met, but she found a way out of it. She later came to love Rosenkavalier, but the subject matter was simply to immoral for a well-bred Oslo girl.
> One of her all-time favourite operas was Elektra, and she would have loved to sing it, but the part was simply to obscene for her, so she couldn't bring herself to sing it. She did sing _Orest!_ in concert version, though.
> 
> And the Furtwängler Tristan is in rather good shape soundwise, wouldn't you say? It is still one of the most sold recordings of that opera ever.


I came to appreciate Flagstad through the Furtwangler Tristan....and that's only happened in the last few months. Granted, I'm accustomed to listening to live audience recordings of various rock bands, so my tolerance for less than optimal sound is probably not that of the normal consumer, but it is still possible. And I would say that if you can handle poor quality sound, the 1936 Reiner version will make you fall in love with Flagstad.


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## Couchie (Dec 9, 2010)

Aksel said:


> Flagstad never recorded Salome, nor any opera by Strauss. She was scheduled to sing the Marschallin in Rosenkavalier in her debut year at the Met, but she found a way out of it. She later came to love Rosenkavalier, but the subject matter was simply to immoral for a well-bred Oslo girl.
> One of her all-time favourite operas was Elektra, and she would have loved to sing it, but the part was simply to obscene for her, so she couldn't bring herself to sing it. She did sing _Orest!_ in concert version, though.
> 
> And the Furtwängler Tristan is in rather good shape soundwise, wouldn't you say? It is still one of the most sold recordings of that opera ever.


I think she lacks sex appeal.


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## Aksel (Dec 3, 2010)

Couchie said:


> I think she lacks sex appeal.


Because she never recorded Salome? I think it has more to do with her morally strict upbringing and her dominating mother. So I guess you are right.


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## Couchie (Dec 9, 2010)

It has nothing to do with Salome, or Salami for that matter. She could be hotter.

Now Nilsson... there's a woman!


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## moody (Nov 5, 2011)

Couchie said:


> Personally I think with excellent recordings of the Ring, Tristan, and Salome, Nilsson has the better recorded legacy that will lead to future generations appreciating her over Flagstad, who is only captured in flawed audio that will be considered more and more unbearable as technology continues to advance to ever higher standards of quality.


I am quite happy listening to recordings from 1904, I have hundreds and hundreds of very early examples that is how you learn about the history of singing. On top of that they were better than what you hear today.
It is worth listening to Flagstad and Set Svanholm performing " Heil dir, Sonne " from "Siegfried", rec.1951, HMV.
The first time I heard her and it knocked me out !
Also the "Wesendonck" Lieder with the Vienna Phil /Knappertsbusch. Decca/London.
She also recorded a disc of Greig songs with Edwin McArthur, pno. Decca. And Grieg's "Haugtussa" (Troll Maiden ) on poems by Arne Garborg. This included songs by Sinding, Decca.
Mahler's "Kindertotenlieder " and "Lieder eines Fahrenden Gesellen "with the Vienna Phil./ Adrian Boult. Decca.
I recently picked up an LP ( yes they are still easy to find in good condition ) of sacred songs with the London Phil./Boult . Decca. not my cup of tea but it's her after all.
RCA also issued a disc recorded in the 1930's of arias by Beethoven, Weber and Wagner. with the Philadelphia/Ormandy and a scratch orchestra cond.Hans Lange.
The secret is to listen to the music and not the recording---I've got 7000 LP's , what am I going to do with them when they become unbearable ? I prefer Flagstad, Leider and Traubel to Nilsson anyway.


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## Couchie (Dec 9, 2010)

But you're clearly an older generation, not of the future generations I refer to. My _cellphone_ can record 1080p video and audio in better quality than anything before 1950. What will it be like 50 years from now? People will become less and less able to "listen to the music" beyond the crackle and hiss of the audio as time goes on, mark my words.


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## Oskaar (Mar 17, 2011)

Couchie.. I must admit that I skip a lot of bader sounding versions of a work when I discover music. But I I have an interrest in a special work, or a special artist, I can find qualities in bather sounding reccordings. It is an adaption I have to make, and when I have done that, I find all the other qualities. Flagstad WAS Wagner and THE MET in many years. And the glory arround here, and her modest personality makes it allone interresting to listen to.


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## moody (Nov 5, 2011)

Couchie said:


> But you're clearly an older generation, not of the future generations I refer to. My _cellphone_ can record 1080p video and audio in better quality than anything before 1950. What will it be like 50 years from now? People will become less and less able to "listen to the music" beyond the crackle and hiss of the audio as time goes on, mark my words.


You are not kidding, I'm a very older generation-- I am 74, but I think there is a misunderstanding here. If I want to see a whole opera I will go to the opera house ,watch on TV or buy or hire a DVD. But then, afterwards, I will want to know how singers from the past did it .You've got to remember that when I was 20 Flagstad was current and big! I buy no new recordings, I'm really not interested, but I like to get together with like-minded people ( of all ages ) and argue and play examples,it can be the same aria all evening. Jazz lovers do it also,I bet that you will find that people like me will still be listening to these old sounds in the year 3000.You will probably be there listening to your old sounds, let me know, won't you ?


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## AndyS (Dec 2, 2011)

Couchie said:


> Personally I think with excellent recordings of the Ring, Tristan, and Salome, Nilsson has the better recorded legacy that will lead to future generations appreciating her over Flagstad, who is only captured in flawed audio that will be considered more and more unbearable as technology continues to advance to ever higher standards of quality.


I completely agree and think that this is a problem ive been facing. I love Nilsson, possibly my favourite soprano, and she's been well served on record in that most of her famous roles have been captured in decent sound. If you want to hear Flagstad in even half good sound the voice is not at it's best (voices age, nothing really can be helped with that) which I admit, has led me to not appreciate her as much as I'd like. I've mostly been limited to the Furtwangler Tristan and the Solti Rheingold. At that age she sang a brilliant Fricka! But I can hear why she was shying away from the high notes

But it he last few days I've been trawling YouTube for clips to hear her at her best... And WOW! I just listened to her and Melchior singing the Gotterdamerung prologue, blew me away. Her voice had such a ringing quality, a fullness throughout and tremendous warmth that, as much as I love her, escapes Nilsson. Finally I can see what the fuss is about


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## Badinerie (May 3, 2008)

moody said:


> Also the "Wesendonck" Lieder with the Vienna Phil /Knappertsbusch. Decca/London.
> 
> I recently picked up an LP ( yes they are still easy to find in good condition ) of sacred songs with the London Phil./Boult . Decca. not my cup of tea but it's her after all.
> 
> The secret is to listen to the music and not the recording---I've got 7000 LP's , what am I going to do with them when they become unbearable ? I prefer Flagstad, Leider and Traubel to Nilsson anyway.


I love her singing Wesendonck, I would have really enjoyed her performing Electra! 
Im still buying vinyl. The old stuff not the terrible re-issues. There are many bargains to be found.


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## bigshot (Nov 22, 2011)

I don't see how anyone can even compare Flagstad and Nilsson. They are two completely different types of sopranos... like fire and ice. Not that one is necessarily better than the other. Just different. That's why I like older recordings. There are more individualistic approaches in the past than in modern times.

Traubel is greatly underappreciated.


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## AndyS (Dec 2, 2011)

I've been listening to her complete Decca recitals which I picked up lately

The more I listen to her, the more I appreciate how brilliant a singer she actually was and how high the natural quality of her voice is, even at that later stage in her career


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## Aksel (Dec 3, 2010)

AndyS said:


> I've been listening to her complete Decca recitals which I picked up lately
> 
> The more I listen to her, the more I appreciate how brilliant a singer she actually was and how high the natural quality of her voice is, even at that later stage in her career


The fact that she was on a somewhat permanent vocal rest from 1941 to the end of WWII might have helped. But absolutely. It's amazing how she kept her voice in such good shape over so many years, with her endless recital tours and three-a-week Brünnhildes and Isoldes. The fact that she also became an alto (due to her psoriasis treatments) in the latter part of her career must have helped as well.


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## powerbooks (Jun 30, 2012)

AndyS said:


> I completely agree and think that this is a problem ive been facing. I love Nilsson, possibly my favourite soprano, and she's been well served on record in that most of her famous roles have been captured in decent sound. If you want to hear Flagstad in even half good sound the voice is not at it's best (voices age, nothing really can be helped with that) which I admit, has led me to not appreciate her as much as I'd like. I've mostly been limited to the Furtwangler Tristan and the Solti Rheingold. At that age she sang a brilliant Fricka! But I can hear why she was shying away from the high notes
> 
> But it he last few days I've been trawling YouTube for clips to hear her at her best... And WOW! I just listened to her and Melchior singing the Gotterdamerung prologue, blew me away. Her voice had such a ringing quality, a fullness throughout and tremendous warmth that, as much as I love her, escapes Nilsson. Finally I can see what the fuss is about


As a Wagner fan, I have the highest regard to Nilsson with her sheer capability of artistic skills. I still remember her speech during James Levine's 25 year Met celebration concert (1997), and her amazing Brünnhilde "Hoyotoho!" at age 79!

But I think her voice has an unique characteristics (something on the "cold" side), and after comparing with other Wagner sopranos, I felt difficult to fell in love with her voice. True, I definitely admire her and rank her among the best Wagner singers, I just like some other voice better, including Flagstad.

I was just listening to the Bohm/Bayreuth Tristan yesterday, and again notice the distinction. While the voice is well suited for Act 1, I much prefer warmer tone in Act 2 and 3 from Flagstad.


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## powerbooks (Jun 30, 2012)

Flagstad is also exceptional at Lieder.

She was the Richard Strauss' choice for the "Four Last Songs", and premiered the song cycle with Furtwangler in 1950 after the death of the composer. You can find the record online.


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## Seattleoperafan (Mar 24, 2013)

Ponselle and Flagstad are strongly recommended by knowing operatic critics as having the 2 greatest recorded soprano voices ( I'd put Sutherland in that group). Flagstad and Ponselle had a vocal contest at the Old Met to see who had the bigger voice and Flagstad won. Her amazing beauty of tone, effortless dominance of the orchestra and noble interpretations put her at the top of my list for Wagner, even over Nilsson ( who had more power at the very top). Her Isolde was unparalled and if you listen to her late recording of the work the recording quality is much improved over her 30's recordings. Her voice is very mature then, but still astoundingly beautiful. Check her out.She started out as a lyric soprano who's voice grew unbelievably as she matured, but she never lost the lyric beauty of tone with the added projection.She sang contralto recordings after she retired with great effect.


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