Ingeborn Hallstein' s voice seems like the finest glass about to break with the magic that the scattered pieces once again form the most exquisite of ethearal figures.
She makes German - a language traditionally associated with strong, sometimes even harsh, phonemes - feel like a fountain of unbridled joy and spontaneity due to her crystal clear pitch and the majestic artistry of her consonants.
German language is a delight to listen to in opera if sung by Virtuosos exactly because of the many consonants that make diction and sound support Double Hard... if not triple
Shocking, Jaw-dropping, cleanest attack in legato and staccato phrases, best purity of tone up and down the range, great musicality and most effortless, in the highest extreme top in this repertoire. Simply incredible and unequaled in all these qualities. Let's celebrate such an artist!
indeed unequalled in her category (Acuto Sfogato)... not a Circus coloratura but a spectacular Musician that the great Conductors loved (she is Klemperer's Marzelline... the magic in her is not only the Digital-like production of sound but also the phenomenal intonation / pitch and the extreme musicianship: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-fE0F3nPNkkE.html
on the other hand.. her equivalents like Mado Robin etc are horrible singers for Circus... what an unbelievable difference between this most Sophisticated Acuto Sfogato Soprano and all those ridiculous above F6 singers... absolutely no comparison...
Lohengrin O She is absolutely wonderful but I have to disagree about Robin. She was an incredibly sophisticated musician and like Hallstein a wonderful actress and personality. Robin’s foray into modern music is astounding. I will say her voice is really an acquired taste but as with many of the truly greats you know instantly who the singer is within a few notes.
Fachry Hafidz Ahmadi You are not alone. My wife can’t stand her but does admit her musicianship is impressive. For many it’s a matter of vibrato and my wife just can’t get past it. Robin admitted herself in an interview she sometimes wished she had acquired a more Italianate technique rather than French.
Sie war einfach die beste deutsche Ultra Hoch Koloratura Soprano die es je gegeben hat.Es war nämlich nicht nur hoch,aber auch noch schön dabei,von einer Leichtigkeit.Unglaublich,so ein immenses Talent💝💝💝💝
Thanks mother nature for producing her... i've never had heard such a clear and long A6 (and may I add G6) before I listened to her... bloody miraculous, pure magic
yes she was a Phenomenon of Stratosphere ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ntvuVC1kKxc.html&lc=z23nj5y5qtzwev4eaacdp4341gumfdu5kt1bd0sdkwdw03c010c
Carl Sagan was onto something when he said people are made of star matter. Hallstein is a cosmos unto herself! I didn't even know it was possible to get that high. She must be communing with the gods, for sure!
Interesting the things I've learned getting a masters degree in English lol! I'd never heard of her until I took French literature last year, my junior semester! But she was well-known for her bourgeois literary writing with a definitive feminine quality.
@Breaking Bad Heisenberg: I haven‘t watched that channel in a while, but I seem to recall that he used her as an example for „constriction can sound pretty“ and even acknowledged the fact that she had her chest voice developped to some point, just not enough for him. So I don’t think he’d call her the worst. Anyway, while he is right about certain things, he‘s also caught up in the idea that the italian bel canto technique is the only good and healthy way of singing. That makes him consider some typical elements of what we might call the German singing tradition as flaws which they aren‘t necessarily
You are more qualified than many. The enjoyment is key. My experience suggests most opera detractors are disgruntled old gays whose only qualification is being part of a men's choir. Don't worry, the young gays aren't much better - we just compare Ariana and Christina instead of Ingeborg and Edita.
yes she was singing above C6 so easily as if she were speaking... and the tonality my God and the sweetness of sound and musicianship... truly exceptional woman
No words to describe, just syllables of awe and delight... and all those superlatives other listeners used. I only wish I could hear such singer alive.... Alas.
Un sublime rossignol, musical, inspiré et d'une incroyable vocalité, une très grande personnalité. Mais sous les feux d'artifice, que de mélancolie et de solitude.....
Simplemente increíble. Esta señora debe haber tenido mínimo cuatro octavas de voz. Mi teoría personal es que cualquier mujer normal y afinada, tiene tres octavas de voz, porque jamás tuvieron el cambio de cuerdas bifásicas a monográficas, como los hombres que podemos hacer “falsete”, pero es un sonido “liso”, sin armónicos. Si esta señora saliera a cantar en programas actuales como “la voz “, le dirían que bellos falsetes que tienes. Hoy día las mujeres quieren tener voz de hombre aunque dañen sus cuerdas y los hombres voz de mujer, con tanto falsete. Hablo de la música popular actual. Voces como la de esta gran soprano, parecieron haber desaparecido de la faz de la tierra. Qué pena, me lamento por eso. Maravillosa voz de soprano y gran cantante...!!!!!!
Non solo il suo volto ...è molto bello ed interessante..... ma Ingeborg Hallstein's ha una voce tipica da foresta incantata...i suoi gorgheggi, i suoi delicati acuti... mi vengono in mente...mille usignoli...canarini...uccelli del Paradiso..le miriadi voci della selva..ed inoltre i violini ed i flauti ed armoniose arpe...grande davvero !!!☆☆☆Elsa Asta
L. Arditi - Il Bacio Sulle, sulle labbra, sulle labbra se potessi, Dolce un bacio, ti darei Dolce un bacio ti darei. Tutte ti direi le dolcezze dell'amor. Tutte ti direi le dolcezze dell'amor. Sempre, sempre assisa, sempre assisa A te d'appresso, mille gaudi ti direi, Ah! ti direi. Ed i palpiti udirei che rispondono al mio cor. Gemme e perle non desio, Non son vaga d'altro affetto. Un tuo sguardo è il mio diletto, Un tuo bacio è il mio tesor. Vieni! ah vien! più non tardare! Vieni a me, vien d'appresso. Ah vieni a me! Ah vien! Nell'ebbrezza d'un amplesso, ch'io viva sol d'amor! Sulle, sulle labbra, sulle labbra se potessi, Dolce un bacio, ti darei Dolce un bacio ti darei.
Oh, you delicious man!! You've finally posted more Hallstein!! Please come to Brazil so that I can shower you in excessive affection and coconut water!
Yes, her seamless jump from middle voice to notes several tones above high C shows how special she was. And she's got an uncanny sense of intonation and her interpolations/ornamentations are always tastefully done. As I say, if she had had a voice at least the size Beverly Sills', she would have been bigger than Joan Sutherland. P.S.: still waiting for you to post her singing Ach Ich Liebte and O Zittre Nicht.
Artful Dodger Not just tastefully... her ornaments have an uncanny beauty.. I dont know how she did it... who wrote them for her? how much of her musicianship (I suspect a lot) is breathed inside the Beauty of the ornaments... there are moments when she sings, that you think you hear a Dream
ian1856, what I meant is that if Hallstein had had a more sizable voice (at least as large as Sills'), she might have been able to rival even Joan Sutherland, who had the largest voice of a coloratura soprano ever. P.S.: this is another account, but I'm the same person who made the original comment.
I honestly think Hallstein's voice was smaller. The live performances that I've seen on RU-vid show that she could barely project her voice in anything other than very light coloratura roles, in which she was exquisite.
Lohengrin O God, I can never, ever listen to any another version of Il Bacio anymore. Sutherland sounds like a muffled, inferior miniature turd compared to Hallstein here. Hallstein is a goddess of cadenzas.
No idea... about 15 years ago I received an email with her Bell song from someone who thought I would find it interesting because I loved top notes... I took one listen to it and dismissed it because of the thin sound column... in the following months her extremely sweet sound and most beautiful cadenza up to G6 kept ringing in my ears and I returned to it and fell in love with her for she is the Prototype of acuto sfogato coloratura... and so beautiful as a woman... very special human being... Otto Klemperer, who did not like coloraturas, had her sing Marzelline in his studio Fidelio
Donald Cant The frequency of the pitch is singing is almost exactly where singers formant is, which is the frequency at which the voice fills a gap that the orchestra does not. So it was probably incredibly loud!
Her extreme high notes were heard mostly in her early recordings (the earlier, the higher, as is natural). After age 30 she would sometimes still go up to F6 but not higher. I appreciate her singing not just for the high notes.
Ингеборг шикарна. Но я впервые услышала в голосе барашек. Не знала что в ее исполнении есть такой деффект. Колоратура это супер, но для оперы этого недостаточно
