Podcast appearances and mentions of Kirsten Flagstad

Welcome to this special presentation of "Army of Stars," a radio program that captured the spirit of giving during the golden age of radio. From the 1930s through the 1990s, this series brought together some of entertainment's brightest stars in support of The Salvation Army's mission. And today, we're traveling back to December 25, 1949, for a particularly memorable Christmas broadcast. Hear from a best-in-class lineup of operatic talent—including Lawrence Tibbett, Kirsten Flagstad, Lisa Albanese and José Berling—a Nativity story reading by Jean Hersholt, beloved by radio audiences as "Dr. Christian," and a message from The Salvation Army's then National Commander Commissioner Ernest Pugmire.   While much has changed since 1949, The Salvation Army's commitment to serving those in need remains constant. So let's return to Christmas Day, 1949, as an Army of Stars salutes The Salvation Army. EPISODE SHOWNOTES: Read more. BE AFFIRMED. Get the Good Words email series. JOIN THE HOPEFULS. Get inside the group. WHAT'S YOUR CAUSE? Take our quiz. BE INSPIRED. Follow us on Instagram. DO GOOD. Give to The Salvation Army.  

Sometimes when I look back on past episodes of Countermelody, I surprise myself with how good they were, even in the early days when I was still trying to figure everything out. This episode, first posted as a bonus episode five years ago is a good example of that. Earlier that season I had coined the term “Full-Figured Baroque” to describe the “old-fashioned” style of Baroque performance that I personally prefer to what one currently hears in churches and concert halls around the world and on recordings. This episode was devoted to Baroque music composed specifically for the Christmas season, recorded between 1940 and 1992, and performed in deliciously non-period style, replete with deliberate tempi, judiciously applied vibrato, and stately ritardandi. There is a special focus on the Christmas portion of Handel's Messiah and Bach's Weihnachts-Oratorium and assorted cantatas for the Advent, Christmas, and Epiphany season. Singers include Janet Baker, Tom Krause, Jerry Hadley, Margaret Marshall, Francisco Araiza, Russell Oberlin, Helen Watts, William Warfield, John Shirley-Quirk, Peter Schreier, Heather Harper, Shirley Verrett, Edith Mathis, Hermann Prey, Marga Höffgen, Agnes Giebel, Kurt Equiluz, Florence Quivar, Aksel Schiøtz, Kirsten Flagstad, Christa Ludwig, Edith Mathis, Brigitte Fassbaender. Ernst Haefliger, Jennifer Vyvyan, Anna Reynolds, Judith Blegen, Fritz Wunderlich, Elly Ameling, Peter Schreier, and Gundula Janowitz. Conductors include Neville Marriner, Raymond Leppard, Colin Davis, Karl Richter, Lorin Maazel, Helmut Winschermann, Vittorio Negri, Karl Münchinger, Leonard Bernstein, Herbert von Karajan, Eugene Ormandy, Adrian Boult, Andrew Davis, and Eugen Jochum, among others. Don't miss out on this full-figured Christmas treat! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

durée : 00:58:48 - Kirsten Flagstad - par : Aurélie Moreau - Kirsten Flagstad (1895-1962) a chanté les grands rôles de sopranos wagnériennes qui lui ont valu une renommée mondiale. La voici interprétant Brünnhilde et Isolde, ainsi que des œuvres de Mendelssohn, Strauss, et Grieg, norvégien comme elle.

Pablo L. Rodríguez crítico de música clásica del diario el Pais: "Era la equivalente a María Calas, ella en la ópera italiana y Kirsten en la ópera wagneriana."Kirsten Flagstad, la mejor voz wagneriana fue víctima de numerosas Fake News sobre su implicación nazi: "De ella se decía de todo, se llegó a escribir que Hitler le había llevado en su avión privado y que ella había cantado para Hitler y para los alemanes. Era todo mentira evidentemente, pero lo más gordo de todo fue la historia del anillo económico. Se creó un bulo en el que ella había liderado una trama clandestina nazi-"

Andrés Amorós dedica un programa a la gran cantante de ópera noruega Kirsten Flagstad, una de las mejores interpretando a Wagner.

Bereits vor zwei Jahren ist Ingeborg Solbrekkens Biographie über Kirsten Flagstad auf Norwegisch erschienen. Flagstad war die international bestbezahlte Sängerin in Zeiten eines Weltkriegs, der von Deutschland ausging – und sie sang vor allem Musik des deutschen Komponisten Richard Wagner. Das sind bereits zwei Gründe, dieses Buch auch in Deutschland zu lesen, meint SWR2-Rezensent Matthias Nöther.

Die Norwegerin Kirsten Flagstad gehört zu den großen Sopranistinnen des 20. Jahrhunderts. Als sie 1933 ihr Bayreuth-Debüt feierte, hatte sie schon 75 Rollen in ihrem Repertoire. Jetzt erst, über 60 Jahre nach ihrem Tod im Jahr 1962, erscheint die erste Biografie über diese "Jahrhundertstimme".

Inspired by my holiday in Denmark last week, today I inaugurate a new series on Countermelody called “Nordic Tracks,” featured music from Scandinavia and the Nordic countries. There has always been a wealth of vocal music from Sweden, Denmark, Norway, Finland, and Iceland, and in this episode I focus exclusively on orchestral songs, a genre which I also featured in a special episode last fall. Of course there are the usual standbys by Grieg and Sibelius and Nielsen, but also featured is the work of less-celebrated composers, beginning with the romantics and post-romantics (Wilhelm Stenhammar, Ture Rangström) and through to the present day (Aulis Sallinen, the late Kaija Saariaho). The singers are some of the greatest ever to raise their voices in song, including Kirsten Flagstad, Soile Isokoski, Birgit Nilsson, Hugo Hasslo, Elisabeth Söderström, Eric Sædén, Karita Mattila, Anne Sofie von Otter, and many others. It's highly likely that you will encounter singers (Gitta-Maria Sjöberg, Kirsten Schultz) and composers (Fartein Valen, Laci Boldemann, Poul Schierbeck) that you may have never heard before (I know I did!) Oh, yes, and it's all topped off with a bit of Björk! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

durée : 00:59:53 - Été Classique Matin du mercredi 12 juillet 2023 - par : Lionel Esparza - Considérée comme l'une des plus grandes sopranos du XXe siècle, Kirsten Flagstad était particulièrement reconnue pour ses performances dans le répertoire wagnérien. Sa voix puissante et son interprétation passionnée lui ont valu une renommée mondiale.

Un Día Como Hoy 12 de Julio: Acontece: 1493: Hartman Schedel publica la Crónica de Núremberg, uno de los primeros libros realizados por la imprenta. Nace: 1895: Kirsten Flagstad, soprano noruega (f. 1962). 1934: Van Cliburn, músico estadounidense. Fallece: 1536: Erasmo de Róterdam, escritor y filósofo neerlandés (n. 1466). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

Continuamos nuestro examen de la vocalidad gluckiana un poco a matacaballo. Quizá tengamos que acercarnos de nuevo al tema en un próximo futuro. Bellísimas páginas llevamos en la faltriquera: Aria con coro de Ifigenia en Tauride por Mireille Delunch y los conjuntos de Mark Minkowski, la Obertura de Orfeo y Euridice por Diego Fasolis e I Barochisti, Chiamo il mio ben così y Numi, barbari Numi! por Philippe Jaroussky. Luego el aria L’espoir venait dans mon âme por Anne Sofie von Otter y John Eliot Gardiner, la Danza de las Furias por el mismo director y la Orquesta de la Ópera de Lyon. Luego radiamos tres arias de otras tantas óperas del compositor: Se mai senti spirarti sul volto de La clemenza di Tito y Perché se tanti siete de Antigono en la voz de Cecilia Bartoli, y Divinités du Styx (en alemán) de Alcestes cantada por Kirsten Flagstad.Escuchar audio

Synopsis The German composer Richard Strauss wrote his first song at age 6, and his last at age 84, a year before his death in 1949. Four of his last songs were for soprano and orchestra. These Four Last Songs, as they came to be known, were premiered in London, at the Royal Albert Hall, on today's date in 1950. Strauss had written to the great Norwegian soprano Kirsten Flagstad, suggesting "I would like to make it possible that [the songs] should be at your disposal for a world premiere ... with a first-class conductor and orchestra.” Flagstad did sing the premiere performances, with the first-rate Philharmonia Orchestra of London conducted by the legendary German conductor Wilhelm Furtwangler. In addition to those famous performers, credit for the realization of Strauss's request is also due to an unlikely and exotic patron of the arts, namely the Maharaja of Mysore, who put up a cash guarantee for the Strauss premiere. And since he could not be present himself, the Maharaja asked that the premiere be recorded and the discs shipped to him in Mysore. The Maharaja had wanted to be concert pianist, but the deaths of both his father and his uncle forced him to succeed to the throne in 1940 at the age of 21. In addition to underwriting the Strauss premiere, the young Maharaja championed the music of the Russian composer Nikolas Medtner, and, in 1945, the creation of the Philharmonia Orchestra of London as a recording ensemble for the enterprising EMI producer Walter Legge. In addition to Western classical music, the Maharaja was passionate about the court music of his native land, and, under the pen name of Shri Vidya, himself composed almost 100 works in the South Indian tradition. Music Played in Today's Program Richard Strauss (1864 - 1949) "Im Abendrot (At Twlight)," from "Four Last Songs" Jessye Norman, s; Leipzig Gewandhaus Orch; Kurt Masur, conductor. Philips CD 464 742

Atendiendo la sugerencia de un oyente traemos a nuestro programa a uno de los tenores wagnerianos más acreditados de la segunda posguerra. Analizamos su voz y sus peculiaridades y lo escuchamos, en compañía de la insigne Kirsten Flagstad en un largo fragmento del famoso dúo de amor de Tristán e Isolda, con Wilhelm Furtwängler en el imaginario foso. Después nos canta varios momentos de La walkiria, con el mismo maestro dirigiendo y con Leonie Rysanek como Sieglinde. Pasamos enseguida a Los maestros cantores, donde expone su primera intervención del primer acto (Am Stillen Herd) y la famosa Canción del premio en una histórica versión de Bayreuth grabada en 1944 bajo el mando de Hermann Abendroth. Escuchar audio

durée : 00:14:59 - Les Nuits de France Culture - par : Albane Penaranda - Jeu de l'ouïe - Kirsten Flagstad, la wagnérienne du froid (1ère diffusion : 05/12/1995) * En 1995, Marc Dumont consacrait cinq épisodes de l'émission "Jeu de l'ouïe" aux grandes voix suédoises de la chanson. Le deuxième volet donnait à entendre celle de la cantatrice Kirsten Flagstad, née en 1895 et morte en 1962, qui fut en son temps une star de l'opéra wagnérien. Mais Kirsten Flagstad était. norvégienne. Pourquoi l'inclure alors dans une série consacrée aux grandes voix suédoises ? Réponse à l'écoute de cette émission diffusée pour la première fois sur France Culture le 5 décembre 1995, et qui s'ouvrait par l'un des « Wesendonck Lieder » de Wagner. * Par Marc Dumont  Réalisation Géraldine Prutner Jeu de l'ouïe - Kirsten Flagstad, la wagnérienne du froid  1ère diffusion : 05/12/1995

This week I celebrated my birthday, so today is the second of this month's birthday celebrations. A number of my listeners have been asking me for a while to post an episode featuring my favorite singers and recordings. So here it is! We lead off with a brief memorial tribute to Angela Lansbury, who died in the early California morning of my birthday. The rest of the episode features many recordings that I first got to know as I began exploring the world of great singing on records. Leontyne Price, Maria Callas, Alexander Kipnis, Elisabeth Söderström, Richard Lewis, Renata Scotto, Adele Addison, Gundula Janowitz, Margaret Price, Teresa Stratas, Gérard Souzay: all of these artists were formative figures in my early listening experience. My appreciation of some others came later: Hina Spani, Brigitte Fassbaender, Georges Thill, Sylvia Sass, Nicolai Gedda, Kirsten Flagstad. By this late date, all of them have been favorite artists of mine for decades and are represented on the episode by some of their greatest recordings. The episode concludes with a brief tribute to the English composer Ralph Vaughan Williams on the occasion of his 150th birthday, also celebrated this week. P.S. Two years ago I did another Happy Birthday To Me episode, which featured performances by some of my favorite pop divas. The episode can be found for a limited time at the top of my LinkTree chain. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Historically and traditionally, the arts have enjoyed the patronage of kings.We all know that culture broadens minds. It's an important basis by which society finds expression and happiness. So it is in the larger common good that culture has been encouraged. It binds a society and gives it an identity. And a personality. And sets up the basis for cultural interaction with other societies.People like kings patronise the arts to allow its exponents the freedom to live in their minds and pursue their muse. Musicians, dancers, artists, dramatists and storytellers have enjoyed the patronage of the palace.The Maharajas of Mysore—many of them—have pursued the arts themselves. The most notable among them being Jayachamarajendra Wadiyar—the last Maharaja of Mysore before his kingdom acceded to the Union of Indian states in 1947. He was a thinker, a published philosopher, a patron of the arts—but importantly, he, a patron without bias. While there is a rich legacy of Carnatic music patronised by him, Wadiyar fulfilled the last wish of legendary composer Richard Strauss. This is a little known fact.In 1950, he sponsored a performance at the Royal Albert Hall, by London's Philharmonia Orchestra led by German conductor Wilhelm Furtwängler and with soprano Kirsten Flagstad singing Strauss's final composition, Four Last Songs.The Maharaja was an accomplished musician too. Schooled in Carnatic and Western classical music, he tried to make meaning of the two forms and worked tirelessly to find a blend—later admitting that is was difficult. (As a musician, I want to say that unfortunately too many musicians have been pitiless in this pursuit.)Chronicling this unusual Maharaja is my guest today, Deepti Navaratna, author of an unconventionally structured biography of Wadiyar, titled The Maverick Maharaja.But as I researched her, I realised that she is unusual. By my reckoning, she is a wonderful Carnatic singer. And she is a neuroscientist, which means she is licensed to dissect brains in a laboratory.Scientific research is a linear and process driven discipline and conclusions are reached by goals and planned milestones. Surprises are often not welcome. The other side of her, is music. And the point of musical composition is to defy linearity while sticking to a framework of rules and conventions. The point of music is surprise.Maybe the two are connected. And maybe it takes a maverick to make the connection. Let's find out.ABOUT DEEPTI NAVARATNAA musician and neuroscientist, she served as the Regional Director, Indira Gandhi National Centre for the Arts. She directed the centre's research, academic and outreach activities at the intersection of arts and sciences. She is currently the TV Raman Pai Chair of Excellence and Professor of Humanities at the National Institute Of Advanced Studies, Bangalore.Buy The Maverick Maharaja: https://amzn.to/3ALLovEThe Mysore Anthem composed by the Maharaja of Mysore, JC Wadiyar and imagined by Dr Deepti Navaratna: https://youtu.be/axLDJ-HtQIcWHAT'S THAT WORD?!Co-host Pranati "Pea" Madhav joins Ramjee Chandran in "What's That Word?!",  where they discuss the word "MAVERICK".WANT TO BE ON THE SHOW?Reach us by mail: theliterarycity@explocity.com or simply, tlc@explocity.com.Or here: https://www.facebook.com/groups/theliterarycityOr here:  https://www.instagram.com/explocityblr/

En succé men en omdiskuterad sådan. Per Feltzin berättar om premiären 1935, om berättelsen och om debatterna efteråt. Vi hör bland annat Summertime, It ain't necessarily so och I got plenty o'nuttin. Lyssna på alla avsnitt i Sveriges Radio Play. Broadwaypremiären var 10:e oktober 1935 och dit kom Hollywoodstjärnor som Kathrine Hepburn, Leslie Howard och Joan Crawford - och operastjärnor som Kirsten Flagstad. Gershwin skrev om sin samtid, 30-talets USA, och operan utspelar sig i Charleston, South Carolina. Slaveriet är i färskt minne, bomullsplantagerna drivs inåt landet och hamnen är full av fartyg. Det är långt söderut vid den amerikanska östkusten där fukt, stormar och högvatten ofta drabbar invånarna.På Catfish row finns Bess, den vackra Bess som har problem med både män och kokain. Här finns hennes fästman Crown, en hetlevrad spelare och fixare av det mesta. Här finns Sporting Life - han handlar med både smuggelsprit och kokain. Och - här finns den handikappade tiggaren Porgy. Han är lam i båda benen och tar sig runt med hjälp av en liten vagn... och sjunger.Varför välja just den här inspelningen? Det finns snyggare, mera välsjungna och välspelade men den här har mycket mer dramatik. Det är en live-upptagning hämtad från en uppsättning som är en av de mest framgångsrika scenproduktioner någonsin. Mellan 1952 och 1956 var den på turné i USA, Europa, Sydamerika och Afrika.Porgy och Bess är en succé men en med komplikationer. På 30-talet diskuterade man om det verkligen var en opera - med så mycket jazz och en berättelse om de fattigaste människorna. De trasiga. I en opera? Gershwin själv menade att det inte fanns någon annan musik som var mer amerikansk än jazz. All annan musik härstammar från andra länder och kulturer men jazzen är amerikansk. Perfekt för att skildra just den här historien.Men, det var inte bara jazzen i "Porgy och Bess" som fick kritik, utan det blev också en diskussion om vem som har rätten att beskriva ett visst samhälle, att skriva om en grupp människor som man inte själv tillhör. Kunde verkligen judiska immigranter som tonsättaren George Gershwin och den textförfattande brodern Ira och ett vitt par från Södern gestalta svarta fattiga fiskare?Då var det vanligt med blackface - svartmålade ansikten på vita skådespelare. För att undvika det skrev Gershwin in att endast svarta sångare fick spela. Men det har också tagits för ett utpekande av de svarta. Det underströk att berättelsen var ett öde enbart för afro-amerikaner. Som inte ens kunde tala ordentlig engelska. Porgy och Bess blev operan om svarta - i stället för bara en opera om svarta. Gershwin själv avled två år efter urpremiären när man opererade en hjärntumör han hade fått. Men musiken - den spelades, precis som den spelas än idag.

Richard Strauss hat neben seinen Opern auch zahlreiche Lieder komponiert in allen Phasen seines Lebens. Von den rund 150 Liedern sind die ersten bereits im zarten Alter von sechs Jahren entstanden, und auch ganz am Ende seines Lebens hat sich Strauss nochmals dem Lied zugewandt. Als 83-jähriger hat er 1948 in der Schweiz (in Pontresina und in Montreux) seine «Vier letzten Lieder» auf Gedichte von Hermann Hesse und Joseph von Eichendorff komponiert. Die Lieder sind üppig orchestriert und verlangen eine starke Stimme, die Durchsetzungskraft hat, aber gleichzeitig mit dem Orchester zu einer Einheit zusammenwächst. Die Uraufführung der Lieder hat Strauss nicht mehr erlebt, sie fand erst zwei Jahre nach seinem Tod in der Royal Albert Hall in London statt, mit Kirsten Flagstad und dem Philharmonia Orchestra unter der Leitung von Wilhelm Furtwängler. Die Vier letzten Lieder für Sopran und Orchester sind Abschiedslieder, in denen Strauss etwas wehmütig auch auf sein eigenes Leben zurückschaut - zurück auf eine Welt, die nicht mehr so ist, wie sie einmal war vor den beiden Weltkriegen. Sie sind eine Art persönliches Requiem voller Klangfülle und Poesie - Lieder von grosser Farbigkeit und von einer grossen Innigkeit, die bis heute nichts von ihrem Zauber verloren haben. Gäste von Eva Oertle sind der Dirigent Jan Schultsz und die SRF-Direktorin Nathalie Wappler.

Un Día Como Hoy 12 de Julio: Acontece: 1493: Hartmann Schedel publica la Crónica de Núremberg, uno de los primeros libros realizados por la imprenta. Nace: 1895: Kirsten Flagstad, soprano noruega (f. 1962). 1934: Van Cliburn, músico estadounidense. Fallece: 1536: Erasmo de Róterdam, escritor y filósofo neerlandés (n. 1466). Una producción de Sala Prisma Podcast. 2021

Dear listeners, it is Easter Sunday. While we are strictly non-sectarian at Countermelody, I did want to offer a program of spring favorites to welcome in the earth’s rebirth. (I also had to scramble to create a “filler” episode due to having lost two days of work this week after receiving my first jab on Wednesday.) Hence today’s offering: a Blumenstrauss of songs celebrating the beloved season of spring. I decided to limit today’s selections exclusively to song, omitting opera, operetta, and oratorio, but somewhat arbitrarily including songs from musicals amidst the classical and pop offerings. Even so, what a lineup of stars today: everyone from Mabel Mercer to Jan DeGaetani, from Hans Hotter to Dionne Warwick, from Georgia Brown to Roberta Alexander, from Kirsten Flagstad to Gordon MacRae. We hear composers ranging from Alec Wilder to Franz Schubert, from Milton Babbitt to Burt Bacharach, and from Hugo Wolf to Tom Lehrer. May these songs and songsters help us to welcome in the long-awaited spring! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content including artist photos and episode setlists. And please head to my Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available.

En succé men en omdiskuterad sådan. Per Feltzin berättar om premiären 1935, om berättelsen och om debatterna efteråt. Vi hör bland annat Summertime, It ain't necessarily so och I got plenty o'nuttin. Broadwaypremiären var 10:e oktober 1935 och dit kom Hollywoodstjärnor som Kathrine Hepburn, Leslie Howard och Joan Crawford - och operastjärnor som Kirsten Flagstad. Drygt tio år tidigare hade Gershwin skapat sensation med orkesterstycket Rhapsody in Blue - också det en klassiker... Efter premiären var det galafest och Gershwin själv satt vid pianot och spelade den, redan då och där, mycket uppskattade musiken. Ändå - dagen efter började diskussionerna. Men mer om det senare. Gershwin skrev om sin samtid, 30-talets USA, och operan utspelar sig i Charleston, South Carolina. Slaveriet är i färskt minne, bomullsplantagerna drivs inåt landet och hamnen är full av fartyg. Det är långt söderut vid den amerikanska östkusten där fukt, stormar och högvatten ofta drabbar invånarna. På Catfish row finns Bess, den vackra Bess som har problem med både män och kokain. Här finns hennes fästman Crown, en hetlevrad spelare och fixare av det mesta. Här finns Sporting Life - han handlar med både smuggelsprit och kokain. Och - här finns den handikappade tiggaren Porgy. Han är lam i båda benen och tar sig runt med hjälp av en liten vagn... och sjunger. Operan tar sin början i trädgården på Catfish row. Bess pojkvän Crown spelar tärning med Robbins i kvarteret, men efter ett gräl mördar Crown sin motspelare och flyr. Kvar blir Bess, men ingen vill hjälpa henne. Ingen utom Porgy. De blir ett par och för ett ögonblick verkar det som att de två ska bli lyckliga. Men Crown kommer tillbaka - och Sporting Life lockar fortfarande med sitt kokain. Porgy gör allt för att hindra Crown från att förstöra Bess liv till sist tar han till kniven, Crown dör och Porgy grips av polisen. När han sedan släpps efter några dagar, vågar ingen först säga var Bess är. När Porgy till sist förstår att hon följt med kokainhandlaren Sporting Life till New York, 160 mil därifrån, släpper han allt och sätter sig i sin lilla vagn för att långsamt ta sig dit. Varför välja just den här inspelningen? Det finns snyggare, mera välsjungna och välspelade men den här har mycket mer dramatik. Det är en live-upptagning hämtad från en uppsättning som är en av de mest framgångsrika scenproduktioner någonsin. Mellan 1952 och 1956 var den på turné i USA, Europa, Sydamerika och Afrika. Dirigenten på det här livealbumet är Alexander Smallens som gjorde New Yorkpremiären 1935. På inspelningen finns bland andra operasångaren Leontyne Price som Bess och jazzsångaren Cab Calloway som Sporting Life. Porgy och Bess är en succé men en med komplikationer. På 30-talet diskuterade man om det verkligen var en opera - med så mycket jazz och en berättelse om de fattigaste människorna. De trasiga. I en opera? Gershwin själv menade att det inte fanns någon annan musik som var mer amerikansk än jazz. All annan musik härstammar från andra länder och kulturer men jazzen är amerikansk. Perfekt för att skildra just den här historien. Operan baseras på Dubose Haywards roman "Porgy" som kom 1925, men också på den mycket framgångsrika pjäs som hans hustru Dorothy Hayward skrev två år senare. Paret bodde i Charleston, så båda deras berättelser bygger delvis på egna iakttagelser. Porgy är till exempel inspirerad av den handikappade Samuel Smalls som också tog sig fram på en liten kärra. Redan på 20-talet fick George Gerswhin romanen Porgy i sin hand och slukade den - klockan fyra på morgonen var han klar och sa efteråt att han var tvärsäker på att det här var den berättelse han hade letat efter. Han ville sammanfoga det folkliga Amerika till något som var inte var teater, inte musikal - utan en genomkomponerad opera. En "folk opera" som han kallade den. Och Heyward själv föreslog - ska du inte kalla den för något mera än Porgy, något mer operaaktigt. Det finns ju operorna Pelleas och Melisande, Samson och Delilah och Tristan och Isolde - - därav Porgy och Bess. Men, det var inte bara jazzen i "Porgy och Bess" som fick kritik, utan det blev också en diskussion om vem som har rätten att beskriva ett visst samhälle, att skriva om en grupp människor som man inte själv tillhör. Kunde verkligen judiska immigranter som tonsättaren George Gershwin och den textförfattande brodern Ira och ett vitt par från Södern gestalta svarta fattiga fiskare? Då var det vanligt med blackface - svartmålade ansikten på vita skådespelare. För att undvika det skrev Gershwin in att endast svarta sångare fick spela. Men det har också tagits för ett utpekande av de svarta. Det underströk att berättelsen var ett öde enbart för afro-amerikaner. Som inte ens kunde tala ordentlig engelska. Porgy och Bess blev operan om svarta - i stället för bara en opera om svarta. Valet av jazz som musikalisk grund till operan, menade flera, pekade också ut de negativa sidorna av en svart identitet. Gav de svarta en lågstatusstämpel. Gershwin fick kritik för att han hade skrivit en massa sånger i en opera... Självklart, sa han. Den berättelse jag ville skriva, skulle ha allvar och humor i sig och vara underhållande. Precis som Verdis operor - och Carmen. Den diskussion som fördes då är i allra högsta grad aktuell på många sätt. Gershwin själv avled två år efter urpremiären när man opererade en hjärntumör han hade fått. Men musiken - den spelades, precis som den spelas än idag.

Centramos ya nuestro estudio en las voces de los personajes. Empezamos por el de Leonora, la sacrificada mujer que lucha, ataviada como un hombre, por salvar a su marido, Florestan, de las garras vengativas de su enemigo político, Pizarro. Analizamos su tipo vocal y escuchamos históricas interpretaciones de alguno de sus números más destacados en versión de sopranos importantes: Kirsten Flagstad, Gre Brouwenstijn, Marta Mödl y Angela Denoke. Escuchar audio

Solistene Eli Kristin Hanssveen og Yngve Søberg tok turen til Kirsten Flagstad Museum på Hamar for å høre mer om denne verdensstjernen - og for å snakke om hvordan det står til med operakunsten i Norge i dag.

Recuperamos el hilo conductor de las memorias de Bing, tantos años al frente de la nave del Metropolitan de Nueva York, a la que infundió vida durante los años 50, 60 y parte de los 70. Escuchamos intervenciones del barítono Leonard Warren muerto en escena durante una representación de La forza del destino de Verdi. Luego un fragmento del dúo de Pelléas et Méilsande de Debussy. Aparece también Victoria de los Ángeles durante una representación de Marta de Flotow. Seguimos con el final de Las bodas de Fígaro de Mozart con la propia Victoria como Condesa y Fritz Reiner en el foso. Nos reencontramos con Kirsten Flagstad, que aquí entona un aria de Alceste de Gluck. Y nos dejamos llevar por el vaivén de las csárdás de El murciélago de Johann Strauss de la mano de Hilde Gueden y Clemens Krauss. Escuchar audio

durée : 00:14:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Jeu de l’ouïe - Kirsten Flagstad, la wagnérienne du froid (1ère diffusion : 05/12/1995) - réalisation : Virginie Mourthé

Si hi ha avui dia una cantant d'

Fast wäre Kirsten Flagstad, eine der größten Wagner-Sängerinnen des letzten Jahrhunderts, Pianistin geworden. Denn erst 1930 verschrieb sich die 1895 geborene Norwegerin ganz der Kunst Wagners. Doch dann ging alles ganz schnell: frisch entdeckt, wurde sie an der New Yorker Met ab 1934 zum großen Star und so populär, dass die US-amerikanische Wagner-Rezeption in das Zeitalter "before and after Kirsten" eingeteilt wurde. Eine Jahrhundertstimme, warm, reich und expressiv, von immenser Kraft und Größe. Privat indes blieb der Weltstar stets nahbar und uneitel. ZOOM würdigt die Sopranistin zu ihrem 125. Geburtstag.

Uno de los bastiones, junto con Bayreuth y el Met, de la carrera de Lauritz Melchior fue el Covent Garden de Londres. Rebuscamos en el túnel del tiempo y nos acercamos a sendos momentos históricos vividos en dicho coliseo. El primero en 1938, durante una representación de El crepúsculo de los dioses dirigida nada menos que por Furtwängler, Escuchamos la cuarta escena del acto II. Junto al tenor danés, aparecen Frida Leider, Herbert Jansen, Wilhelm Shirp y Anny von Stosch. La tremenda escena del juramento. El segundo, de un año antes, 1937, se refiere a la parte final del dúo de amor de Tristán e Isolda. Al lado de Melchior, Kirsten Flagstad y Margarete Klose. En el foso, la flamígera batuta de sir Thomas Beecham. Dos hitos, reconocibles pese a la mala calidad sonora. Cerramos el programa con tres interpretaciones del lied de Schubert Der Doppelgänger: las de los barítonos Matthias Goerne y Gérard Souzay y el tenor Christoph Prégardien. Histórico de emisiones: 02/02/2014 Escuchar audio

The German composer Richard Strauss wrote his first song at age 6, and his last at age 84, a year before his death in 1949. Four of his last songs were for soprano and orchestra, settings of one poem by the Romantic poet Josef von Eichendorff, and three by the modern poet and novelist Hermann Hesse. These “Four Last Songs,” as they came to be known, were premiered in London, at the Royal Albert Hall, on today’s date in 1950. Strauss had written to the great Norwegian soprano Kirsten Flagstad, suggesting "I would like to make it possible that [the songs] should be at your disposal for a world premiere … with a first-class conductor and orchestra.” Flagstad did sing the premiere performances, with the first-rate Philharmonia Orchestra of London conducted by the legendary German conductor Wilhelm Furtwangler. In addition to those famous performers, credit for the realization of Strauss’s request is also due to an unlikely and exotic patron of the arts, namely the Maharaja of Mysore, Jayachamarajendra Wadiyar Bahudar, who put up a cash guarantee for the Strauss premiere. And since he could not be present himself, the Maharaja asked that the premiere be recorded and the discs shipped to him in Mysore. The Maharaja had wanted to be concert pianist, but the deaths of both his father and his uncle forced him to succeed to the throne in 1940 at the age of 21. Mysore was one of the most prosperous states of India, and, in addition to underwriting the premiere of Strauss’s “Four Last Songs”, the young Maharaja championed the music of the Russian composer Nikolas Medtner, and, in 1945, the creation of the Philharmonia Orchestra of London as a recording ensemble for the enterprising EMI producer Walter Legge. In addition to Western classical music, the Maharaja was passionate about the court music of his native land, and, under the pen name of Shri Vidya, himself composed almost 100 works in the South Indian tradition.

The German composer Richard Strauss wrote his first song at age 6, and his last at age 84, a year before his death in 1949. Four of his last songs were for soprano and orchestra, settings of one poem by the Romantic poet Josef von Eichendorff, and three by the modern poet and novelist Hermann Hesse. These “Four Last Songs,” as they came to be known, were premiered in London, at the Royal Albert Hall, on today’s date in 1950. Strauss had written to the great Norwegian soprano Kirsten Flagstad, suggesting "I would like to make it possible that [the songs] should be at your disposal for a world premiere … with a first-class conductor and orchestra.” Flagstad did sing the premiere performances, with the first-rate Philharmonia Orchestra of London conducted by the legendary German conductor Wilhelm Furtwangler. In addition to those famous performers, credit for the realization of Strauss’s request is also due to an unlikely and exotic patron of the arts, namely the Maharaja of Mysore, Jayachamarajendra Wadiyar Bahudar, who put up a cash guarantee for the Strauss premiere. And since he could not be present himself, the Maharaja asked that the premiere be recorded and the discs shipped to him in Mysore. The Maharaja had wanted to be concert pianist, but the deaths of both his father and his uncle forced him to succeed to the throne in 1940 at the age of 21. Mysore was one of the most prosperous states of India, and, in addition to underwriting the premiere of Strauss’s “Four Last Songs”, the young Maharaja championed the music of the Russian composer Nikolas Medtner, and, in 1945, the creation of the Philharmonia Orchestra of London as a recording ensemble for the enterprising EMI producer Walter Legge. In addition to Western classical music, the Maharaja was passionate about the court music of his native land, and, under the pen name of Shri Vidya, himself composed almost 100 works in the South Indian tradition.

durée : 00:58:21 - 1948 : l'année de "Tristan" à La Havane - par : Marcel Quillévéré - 1948 : Vienne et Berlin sont décidément sur le devant de la scène à La Havane. Clemens Kraus et Kirsten Flagstad sont à l’affiche pour des concerts et pour une représentation de Tristan et Iseulde de Wagner. Les guichets du Théâtre Auditorium sont pris d’assaut... - réalisé par : Géraldine Prutner

In this series of podcasts, Seattle Opera Dramaturg Jonathan Dean gives listeners a taste of nine different types of traditional opera. Opera seria, traditional Italian serious opera, developed in the mid-1600s and lasted into the early 1800s. Handel’s Giulio Cesare (Julius Caesar), an opera from 1724, is a great masterpiece and an examplar of the genre; another is Gluck’s Orfeo ed Euridice (aka Orphée et Eurydice, aka Orpheus and Euridice, 1762/1774). Musical examples on the podcast drawn from recordings of Gluck’s Iphigénie en Tauride, Les Musiciens du Louvre conducted by Mark Minkowski (Archiv 1999); Monteverdi’s L’incoronazione di Poppea, Della Jones and Mark Tucker with the City of London Baroque Sinfonia conducted by Richard Hickox (Virgin Classics 1988); Gluck’s Alceste, Kirsten Flagstad and Geraint Jones Orchestra conducted by Geraint Jones (Decca 1956); Ercole sul Termodonte, Topi Lehtipuu and Rolando Villazón conducted by Fabio Biondi (Virgin Classics 2009); Giulio Cesare, Anne Sofie von Otter, Marijana Mijanović, Magdalena Kožená, and Les Musiciens du Louvre conducted by Mark Minkowski (Archiv 2002); also Giulio Cesare, Derek Lee Ragin and Concerto Köln conducted by René Jacobs (Harmonia Mundi 1991); Gluck’s Orphée et Eurydice, Maria Callas and Orchestre National de la Radiodiffusion Française, 1961; and Seattle Opera’s 2015 production of Semele conducted by Gary Thor Wedow.

In Episode 6 of the Neuromantics, we conduct an allegro ma non troppo investigation of pitch, timbre and the high drama of embodied sound – what we feel when we sing, and why we sing at all. The two papers under vocal attack – but think Philly Soul as well as Kirsten Flagstad – are Gerald J. Balzano's “What Are Musical Pitch and Timbre?” (1974, https://www.jstor.org/stable/40285339?seq=1) and “Notes on Music and Opera” by W. H. Auden, from his wonderful anthology of essays, The Dyer's Hand (1963, shorturl.at/fsTU7).Concert highlights include: the way pitch is more than wave-form and timbre is fundamental to speech (and sense-making) as well as music; how dynamic pitch implies relationships, some of which give us the structure of the scale; how a single note or tone can take us on musical and psychological journeys, from the circle of fifths to Klangfarbenmelodie (sound-colour melody); why it is men have a falsetto and women, arguably, do not; why operatic tragic heroines really enjoy dying of TB.

durée : 01:58:41 - Mes reines wagnériennes - par : Philippe Cassard - Birgit Nilsson, Léonie Rysanek, Astrid Varnay, Régine Crespin, Kirsten Flagstad. Une petite discographie idéale - réalisé par : Pierre Willer

Det er duket for delte meninger i guttegarderoben når lavkulturtantene jazzer om Billy Budd-oppsetningen på Den Norske Opera & Ballett. Mens enkelte er klare for å stupe måke langs planten av ren begeistring, er andre forvirret og litt skuffet over det de trodde skulle være et sjøslag av en shantykor-kavalkade. Ingen av oss har noe særlig forutsetninger for å synse om opera, og det beviser vi på pinligst mulig vis gjennom en hjemmesnekret opera-quiz. Egentlig bør alle være fornøyde med at vi klarer oss gjennom så å si hele episoden uten å bryte ut i sang for å formidle de kruttsterke følelsene våre.Lik oss på Facebook Følg oss på InstagramAndre stikkord: Psychobitch, Aldri mer 13, Skam, kulturell appropriasjon av ungdomskultur og teenagernes skam og sosiale medier, Tik Tok, sportsfilmer, Martin Lund, Emir alias Onge Sushi Mane, Luksusfellen, Camp Kulinaris, Hallgeir Kvadsheim, Jonas Bakkevig, Silje Sandmæl, I lomma på Silje, Tore Petterson, Jenny Jensen og museflettene hennes, Septimus, forbrukerjournalistikk og testing av matnyheter, Grandiosa, Pepsi Max, Tryllefløyten med Atle Antonsen, Delibes’ Lakmé, Kirsten Flagstad, Herman Melville, Moby Dick, Ahabs Wife av Sena Jeter Naslund, Benjamin Britten, War Requiem, alskens fokkeslasker, shantykor, Ashanti-kor, Storm Weather Shanty Choir, Slogmåkane, dokumentaren Arbeidssanger og viser fra seilskutetiden, The Village People, Turboneger, Aftenpostens Slik blir du en operaelsker-guide, Leoncavallos Pagliacci, Seinfeld, MasterChef Australia, YouTube-kanalen Bon Appétit, pulled pork, cronuts, Pringles, Snickers, gips, Rowan Atkinson og Kim Bodnia og alle de andre støttekontaktene til Saga Norén i Broen.

I hele sitt voksne liv samlet Arne Dørumsgaard på plateinnspillinger og lydbånd. Da Stavanger kommune fikk hele samlingen på 80-tallet, veide den 40 tonn. Samlingen ble grunnmuren og mye av reisverket i det som nå er Norsk lydinstitutt. "Første gang jeg besøkte Dørumsgaard i Italia forsto jeg at dette var en samling med en tanke bak. Han ønsket å dokumentere hvordan utøvelsen av kjent klassisk musikk endrer seg over tid. Denne samlingen tjener formålet, sier fagkonsulent Per Dahl ved lydinstituttet. Det var Dahl som hadde kontakten med Dørumsgaard etter at Nasjonalbiblioteket ikke kunne ta imot tilbudet fra Dørumsgaard. "Det kan jeg forstå. For det skulle mye arbeid til å få registrert og katalogisert dette enorme materialet, sier Dahl. Arne Dørumsgaard vokste opp i Fredrikstad og blant barndomsvennene hans var domorganist Søren Gangfløt – som også ble den første professoren i kirkemusikk ved Musikkhøyskolen i Oslo, og Karsten Andersen. Den av de fremste norske dirigentene i det forrige århundre. "Dørumsgaard tok selv utdannelse i sang ved Musikkonservatoriet i Oslo. Etter krigen ble han så opprørt over behandlingen av verdensstjernen Kirsten Flagstad, at han forlot Norge for godt. Flagstad ble beskyldt for å være nazist og ble dårlig behandlet av norske myndigheter. Det er ettertrykkelig fastslått at hun ikke var det. Han flyttet til Paris og utdannet seg videre i sang og ble en slags coach for sangere som skulle spille inn plater, forteller Dahl Senere giftet han seg og flyttet til Italia. Hele tiden samlet han plater. Det ble omkring 100 000 plater og tusenvis av spolebånd og andre opptaksmedier. "Samlingen er åpen for alle som vil komme for å se og høre, forteller Dahl. Særlig viktig er samlingen av norske musikere som har spilt inn plater i utlandet. "De andre sangerne" eller Norvegica-samlingen. Foruten musikklivet i Stavanger, blir samlingen besøkt av doktorgrasforskere og andre som vil studere utviklingen i fremførelsespraksis. Sendt første gang lørdag 31/3 2018. Programleder Jan Henrik Ihlebæk

Både Kirsten Flagstad og Teknisk museum ble lurt. Vi dykker ned i historien til et fransk veggur, som slettes ikke var så gammelt som man trodde.

Wagner's Tristan und Isolde is an extraordinary journey through the human psyche, and through the two most powerful forces guiding our lives: love and death. From the opening bars of the Prelude, the music draws us in with an intense and restless longing that doesn't loosen its grip until the final, transcendent moments of the opera.  This week on He Sang/She Sang, Merrin Lazyan speaks with writer Paul Thomason about the intoxicating magnetism of Tristan und Isolde, and tenor Stuart Skelton compares singing the role of Tristan to climbing the Himalayas.  Paul's YouTube pick (Kirsten Flagstad): Merrin's YouTube pick (Birgit Nilsson):  This episode features excerpts from the following album: Wagner: Tristan und Isolde (EMI Classics, 2005)— Plácido Domingo, tenor; Nina Stemme, soprano; Mihoko Fujimura, mezzo-soprano; Orchestra of the Royal Opera House, Covent Garden conducted by Antonio Pappano

Kirsten Flagstad ble født i Kirkegata på Hamar i 1885 og sang seg fram til de fornemste operahus og konsertsaler over hele verden. I sin genre var hun på høyde med Henrik Ibsen og Edvard Munck i berømmelse. Men krigen bidro til å kaste mørke skygger over hennes liv. "Kirsten Flagstad ble mobbet. Og kongehuset var passivt med på mobbingen. Behandlingen av Kirsten Flagstad her i landet er skandaløs" sier Flagstad-biograf Ingeborg Solbrekken. Forfatteren har også skrevet bok om landssviksoppgjøret etter krigen som rammet verdensstjernen hardt – fordi hun ifølge Solbrekken ble slått i hartkorn med sin mann, Henry Johansen. Han var NS-medlem fram til 1941 og drev handel med tyskerne gjennom sine trelastbedrifter. "Med tiden ønsker museet å få til en utstilling også som omhandler krigen og landssvikoppgjøret som fikk så direkte innvirkning på Flagstads liv, sier museumsleder Annika Åsen. Programleder er Jan Henrik Ihlebæk.

** Fremskrittsparti-ordførere håper på et folkelig kulturbudsjett - men partiet får liten innflytelse, tror redaktør. ** Vikingskip og torsk erstatter Kirsten Flagstad og Kristian Birkeland på Norges Banks nye seddelserie. ** Broderier om ondskap står sentralt i ny bok.

The first part of a two-part Lohengrin from 1937 under Maurice de Abravanel. The stellar cast includes Kirsten Flagstad, Rene Maison,Karin Branzell, Julius Huehn, and Ludwig Hofmann. (71 min.)

 The remarkable Lauritz Melchior sings highlights from Siegfried, Tannhauser, Tristan (w.Frida Leider),Pagliacci,Otello, Walkure (w.Lotte Lehmann), Meistersinger, Gotterdamerung (with Kirsten Flagstad), plus the live "Walse" from the 1940 broadcast of Walkure, where you need a stopwatch!!!! (72 min.)

  (Announced)  Marvelous singing by the treasured Kirsten Flagstad in opera and song. No words can adequately describe the fabulous career of this great lady. I know you will love it.  (71 min.)

Isommer forteller vi historien om Kirsten Flagstads liv - Norges største operastjerne. Ingrid Morken er vår ekspert, og vi treffer henne som vanlig i Flagstads barndomshjem, Strandstuen i Hamar, som idag er Flagstad-museum:

„Muzikinis pastišas“: Richardo Wagnerio 200-sioms gimimo metinėms. Prancūzų rašytoja Françoise Sagan (Fransuaza Sagan) vieną savo populiariųjų romanų pavadino „Ar mėgstate Bramsą?“. Šio trečiadienio „Muzikinis pastišas“ klaus jūsų – ar mėgstate Wagnerį? Lygiai prieš 200 metų, gegužės 22 dieną Leipcige gimęs kompozitorius – nepaprastai ryški ir kontroversiška asmenybė. Tad laidoje prisiminsime ne tik jo gyvenimo faktus, bet ir sklaidysime kompozitoriaus knygų ir straipsnių „Apie dirigavimą“, „Apie vokiškos muzikos esmę“, „Apie eilėraščių ir muzikos kūrimą“ puslapius. Beje, beveik visų operų, kurias pats Wagneris vadino „muzikinėmis dramomis“, libretai – taip pat jo kurti... Laidoje skambės fragmentai iš Wagnerio operų, įdainuoti solistų, kurie vadinami „geriausiais vagneriškais balsais“ – įvairių metų Kirsten Flagstad, Hitlerio favorito Maxo Lorenzo (Makso Lorenco), Waltraudos Meier (Mejer), Matti Salmineno, Placido (Plasido) Domingo, ir Violetos Urmanos įrašai.

Kulturhusene er en av årsakene til kommunenes rekordgjeld. - ute av kontroll, sier kulturforsker. La lokalsamfunnene bestemme, mener AP-poltiker. Kirsten Flagstad debuterte for 100 år siden, og i dag begynner feiringen. Østerrikske Ulrich Seidl avslutter nå en trilogio, om håp, tro og kjærlighet. Den siste filmen kommer på kino i morgen.

Highlights from a Golden-Age-of-Wagner Tannhauser in 1936,under Artur Bodansky. It features, Kirsten Flagstad, Lauritz Melchior,Lawrence Tibbett, Emmanuel List, and Margaret Halstead. In those days they did make cuts in Wagnerian performances, but I am not sure if the cuts involve this music. If you do know the opera well, you will possibly hear some cuts. I know it is a bit longer to sit through Wagner these days, BUT I hate cuts (unless everyone is terrible.)   (71 min.)

Wilhelm Furtwaengler conducts scenes from a 1937 Covent Garden Gotterdamerung with Kirsten Flagstad, Lauritz Melchior, Kerstin Thorborg, Herbert Janssen, and Ludwig Weber  (71 min.)

 The sensational Kirsten Flagstad is heard in the World Premiere of Strauss' Four Last Songs from 1950 under Wilhelm Furtwaengler  in London.She is then heard in three Strauss songs: Befreit, Allerseelen, and Caecilie, from San Francisco in 1950 under Merolla. She is joined by Set Svanholm in Wagner Scenes from The Flying Dutchman, Lohengrin, Tristan und Isolde, and Die Meistersinger, from 1949 also under Gaetano Merolla.   (70 min.)

  The miraculous Kirsten Flagstad, born July 11, 1895, is heard in her debut as Sieglinde with Paul Althouse (1935) and then in a scene from 1937 with Marjorie Lawrence as Brunnhilde in act three. Both are conducted by Arthur Bodansky. We then move to her Brunnhilde in 1940, with Lawrence as the Sieglinde, Lauritz Melchior and Julius Huehn, under Erich Leinsdorf.  (68 min.)

12 selections featuring live performances by some of opera's greatest singers.Included are: Renata Tebaldi,Leonie Rysanek,Leontyne Price, Zinka Milanov, Eleanor Steber, Birgit Nilsson, Kiri Te Kanawa,Kirsten Flagstad, Hilde Gueden, Judith Blegen, Renata Scotto, Tatiana Troyanos, Placido Domingo, Jon Vickers, Luciano Pavarotti, Franco Corelli, Dmitri Hvorostovsky, and Lauritz Melchior  (70 min.)

From Covent Garden, 1937, a live performance of the third act of Die Walkure under Wilhelm Furtwaengler, featuring Kirsten Flagstad, Maria Muller, and Rudolf Bockelman.  (64 glorious minutes)

A collection of songs by Edvard Grieg.(Announced).The soloists include: Kirsten Flagstad, Birgit Nilsson, Ernestine Schumann-Heink, Lucy Isabelle Marsh, Povla Frijsh, Lauritz Melchior,Jussi Bjoerling, Helen Traubel, and Richard Crooks.(67 min.)

  A legendary cast under Bruno Walter in highlights from a 1941 Fidelio. The cast includes Kirsten Flagstad, Rene Maison, Alexander Kipnis,Julius Huehn, and Herbert Janssen. (71 min.)

  Here is a cut version of the second act of Tristan und Isolde from San Francisco, 1937 under Fritz Reiner. It features the historical pairing of Kirsten Flagstad and Lauritz Melchior, with Kathleen Meisle, Emmanuel List, and Julius Huehn completing the cast. What more can one say about these phenomenal Wagnerian singers?  (61 min.)

A stunning (stereophonic) performance by Kirsten Flagstad(age 56) with Astrid Varnay,Ferdinand Frantz,Blanche Thebom, and Gunther Treptow, conducted by Fritz Stiedry  (70 min.)

What more can one say about the legendary soprano Kirsten Flagstad, possessor of one of the greatest natural voices in opera history?    This podcast features songs and arias from her career, from the early days to her farewell, plus some commercial recordings made later on. I know you will enjoy this marvelous soprano.    Featured are scenes from Tannhauser, Gotterdamerung, Walkure,    Parsifal, the World Premiere of the Strauss' Four Last Songs in 1950,  and some miscellaneous material as narrated.   (74 min.)    

Volume Two of the Siegfried Finale Compilation.Included are:   Gwyneth Jones and Manfred Jung  (Boulez)   Florence Easton and Lauritz Melchior (Various)   Astrid Varnay and Wolfgang Windgassen   (Keilberth)   Rita Hunter and Alberto Remedios  (Goodall)   Gertrude Grob-Prandl and Gunther Treptow  (Moralt)    Kirsten Flagstad and Set Svanholm  (Furtwangler)                                 (74 min.)

Ten versions of the great "Liebestod" from Wagner's "Tristan und Isolde."                    The order is as follows: Astrid Varnay,Helen Traubel, Lotte Lehmann, Nanny Larsen-Todsen,Rita Hunter, Johanna Meier, Margaret Harshaw, Martha Moedl,Birgit Nilsson, and Kirsten Flagstad.                                             (73 min.)  

A  comparison of Kunst(art) and Stimme (voice) sopranos.Included are the following divas: Maria Callas, Renata Tebaldi, Joan Sutherland, Martha Moedl,Kirsten Flagstad, Leonie Rysanek, Nina Stemme, Marilyn Horne,Conchita Supervia, Elena Suliotis, Maria Caniglia, Zinka Milanov,Edita Gruberova.                                        (74 minutes)

A comparison of ten fine sopranos singing the Sieglinde"Hallucination Scene' from Act two of Wagner's "Die Walkure." Featured are:              Regine Crespin, Kirsten Flagstad, Julia Varady,             Leonie Rysanek, Astrid Varnay, Birgit Nilsson,             Lotte Lehmann, Regina Resnik, Martha Moedl,             Natalie Secunde.                                  (75 minutes)  

Our second podcast dedicated to artists who celebrate birthdaysin the month of July: July 11:              Mattiwilda Dobbs (1925)            Nicolai Gedda  (1925) (in photo)            Ludmilla Dvorakova (1923)            Herman Prey     (1929)            Ebe Stignani  (1903) July 12:             Kirsten Flagstad  (1895)            Gloria Lane   (1925)                                     (71 minutes)

      A comparison of various renditions of Strauss' Four Last Songs,   including the world premiere (1950) as sung by Kirsten Flagstad.     Since many people like to test themselves on a podcast  like this, I am deliberately not listing theartists here. The artists' names will beprovided after each group of three selections.                                        ENJOY!!!!!                             I

Roy Plomley's castaway is soprano Kirsten Flagstad. Luxury: Knitting needles and wool