Kirsten Flagstad - Isolde's Curse (Berlin Concert, 1952)

This is from the same night where she famously sang an Elektra excerpt. Very surprising how formidable her high Bs still were at this point, especially considering 2 years prior she ducked the same note in Strauss' 4 songs. I believe this is the last time Flagstad sung this scene live and the only time she performed it in concert. This piece is available on streaming services but in poor quality, I would recommend buying the physical CD from Amazon for better quality.
Highlights:
6:54, 7:38 - Big, round, secure B5s
8:05 - Giant A5s
The high Bs in this song briefly touch high C (even after pitch correction), one could argue these is also the last time Flagstad sung a high C live too.
0:08 was an error on the tape, but it's possible Flagstad's enormous voice caused the mic to glitch
Conductor - Georges Sebastian

[@draganvidic2039]

She’s all MAJESTIC

[@MrStpendouslvforjo]

An AWESOME sound, so majestic and rich. To me - here at this concert - she sounds like she is less "full" in the lower (still excellent though) but more free and ringing at the top! Such an incredible singer - a force of nature...

[@Nunofurdambiznez]

Outstanding video quality! Clear and very precise!

[@roberthorn1838]

Magnificent! That kind of perfectly supported grand yet beautiful tone seems to have vanished from this world

[@UMVELINQANGI]

Glorious

[@davidsimmons654]

thank you so much for this! I think she felt more comfortable with singing these two high B's because of what proceeds them. with the Strauss, its proceeded with stepwise motion, but these Wagnerian B's are attacked so it's more exposed but easier in terms of breath management. once again, thank you so much for this beautiful recording!!!

[@dramaticsoprano5168]

Interesting, however she sang all the high Bs in Fidelio with seemingly no effort in 1951. The first one is preceded by stepwise motion, just as in the Strauss: kzbin.info/www/bejne/h4DJgpKnecZlh5o. She sang the high B in Gotterdammerung as late as 1956. I think it may just be a case of her being comfortable with her regular roles that she had performed for decades by this point, but being less confident when it came to learning new material.

[@davidsimmons654]

@@dramaticsoprano5168 yes, BUT! You have to think of vocal stamina. Wagner sits in a relatively low place in the soprano voice with burst over the staff for dramatic climaxes, which is the same with Fidelio. Those two B’s definitely approached in a way that requires great breath management, yes, but with Strauss, the tessitura is so hellaciously high (for a true Dramatic like Flagstad), she she’s using probably more support to sustain it (the tessitura). I love your thoughts!

[@ER1CwC]

​@@davidsimmons654 I think this analysis is spot on. Tessitura matters a lot. But her voice had lowered and ripened by the time she sang the Four Last Songs. Those high Bs wouldn't have been problems earlier in her career. I also think that she preferred to not sing notes rather than strain them as a matter of policy. It's like how she would duck the second high C in the beginning of the extended duet with Tristan in Act II following WWII.

[@davidsimmons654]

@@ER1CwC oh of course! She had no problems revarnishing halls! 😀

[@kellysmithslawsonsoprano357]

FAST tempi overall. Can’t tell if that was a choice or if the conductor was feeling their wheaties. 😂