Composer: Birgit Nilsson
Works: Adolphe Adam: O Holy Night; Ludwig van Beethoven: Fidelio – Abscheulicher!, Komm, Hoffnung; César Franck: Panis angelicus; Franz Gruber: Silent Night; Giuseppe Verdi: Nabucco – Ben io t’invenni; La forza del destino – Pace, pace, mio Dio!; Richard Wagner: Tristan und Isolde – Mild und Leise; Götterdämmerung – Starke Scheite (Immolation Scene); Tannhäuser – Dich, teure halle; Die Walküre – Der Männer Sippe, Du bist der Lenz; Carl Maria von Weber: Der Freischütz – Wie naht mir der Schlummer
Performers: Birgit Nilsson (soprano), Åke Levén (organ), Orchestra of the Royal Opera House, Covent Garden, Edward Downes, Argeo Quadri, Bayreuth Festival Orchestra, Karl Böhm
Recording: Live performances from the Bayreuth Festival (1966, 1967) and studio recordings (1963, 1962)
Label: DECCA
Birgit Nilsson remains a towering figure in the operatic world, not merely as a stellar soprano but as an embodiment of the dramatic intensity and vocal prowess that the demanding roles of Wagner, Verdi, and their contemporaries require. The collection presented in Decca’s “The Singers” series showcases her extraordinary talents across a selection of operatic excerpts that delve into the weightier end of the repertoire. This recording captures Nilsson at various stages of her career, revealing the depth of her artistry as she navigates the challenges posed by some of the most formidable operatic scores.
The first striking feature of this compilation is Nilsson’s unparalleled power, particularly evident in her rendition of Beethoven’s “Abscheulicher!” from Fidelio. Here, her voice soars with an almost visceral energy, embodying the emotional turmoil of the character Leonore. The orchestration, led by Edward Downes, provides a suitably dramatic backdrop, enhancing the sense of desperation and hope. This performance stands out not only for its technical execution but also for the palpable emotional engagement that Nilsson brings to the stage—a hallmark of her interpretive choices throughout the collection.
In stark contrast, the ethereal beauty of César Franck’s “Panis angelicus” allows for a different facet of Nilsson’s artistry to shine. Here, her voice takes on a serene quality, deftly balancing the demands of the lyrical line with a sense of introspection. The lush orchestral support complements her tone beautifully, though it is the clarity of her phrasing that truly captivates. This moment of tenderness is juxtaposed with the thunderous brass in Wagner’s “Starke Scheite,” where Nilsson’s command of the climactic moments reflects her profound understanding of the dramatic arc within Wagner’s music. The Bayreuth Festival Orchestra, under Karl Böhm, adds its own layer of intensity, creating a sonic landscape that is both rich and imposing.
Sound quality and engineering merit attention as well, particularly given the varied origins of the recordings. The live performances from Bayreuth possess an exhilarating immediacy, capturing the raw energy of the festival atmosphere, while the studio recordings provide a more polished sound. Yet, there is a slight trade-off; the absence of printed texts and translations may alienate some listeners who are less familiar with the operatic lexicon. Nevertheless, the enhanced CD format allows for supplementary material that can enrich the listening experience, albeit requiring access to a computer.
Nilsson’s interpretations throughout this collection are characterized by a remarkable emotional range and a keen instinct for drama. The juxtaposition of the vigorous “Du bist der Lenz” from Die Walküre with the gentle “O Holy Night” offers a compelling narrative of the soprano’s multifaceted abilities, each aria revealing the nuances of her vocal color and interpretative depth. Though the excerpts are inevitably truncated, often leaving one yearning for the surrounding context, the selections effectively illustrate Nilsson’s exceptional artistry.
This anthology serves as a testament to Birgit Nilsson’s monumental contributions to the operatic canon. It encapsulates not only her technical brilliance but also her profound ability to convey the emotional weight of each role. While there may be other recordings that offer more comprehensive performances of specific works, the sheer presence and theatricality of Nilsson’s voice—especially in the context of these demanding excerpts—make this collection an indispensable homage to one of opera’s greatest heroines. For those seeking to understand the heights of operatic expression, this recording stands as a vivid reminder of Nilsson’s legacy in the pantheon of classical music.
