Nilson and the Met

Triston and Isolde, of all works, is the biggest hit at the Metropolitan Opera. The reason for this sensation is the Widely publicized and truly splendid performance of the statuesque (and this is not intended as a euphemism for "fat") Swedish dramatic soprano, Birgit Nilsson, whose Isolde was accorded a tremendous ovation at the first performance of the Met's new production last month.

As the front-page reviews of both the Times and Herald Tribune enthusiastically announced, Miss Nilsson's enormously powerful voice is superbly controlled and especially well-suited to Isolde's demanding music. In fact, many musicians have cited her bright, clear soprano as more appropriate even than Flagstad's to the role. Irving Kolodin, the musical pundit of the Saturday Review, added his share to the heroine-worship of Nilsson, now the fashion among New York critics, by pointing out her superb acting and imposing stage deportment. All in all, one can find few flaws in her tempestuous, queenly Isolde. Though one might complain about her occasional tendency to sing sharp, the fact remains that the New York critics are right, that her debut at the Met constituted a musical event of the first rank.

Yet, with such an extraordinarily successful Isolde, the Met lacks a competent Tristan. Because the opera requires a Tristan who is in every way equal to her, especially when the Irish bride is so commandingly portrayed, the Met's production does not satisfy entirely. Though Ramon Vinay and Karl Liebl are seasoned, intelligent performers, neither has the considerable vocal resources or discipline requisite for the taxing part. When Melchior left the Metropolitan's stage in 1949, there was no Heldentenor to replace him. By that time, Set Svanhom, his beautiful voice always a bit too lyric for the heaviest Wagnerian tenor roles such as Tristan and Parsifal, was also to retire. After Svanholm's few remaining years with the company, no one could be found on either side of the Atlantic who could make a reasonable claim to the place in the roster vacated by him. Revivals of Wagner haven't been stopped because of this shortage of dramatic tenors, but all of them have been impaired by it. Neither Leibl nor nor Vinay, holdovers from previous seasons, has provided the solution to this serious problem.

Although Tristan posed difficulties in casting, the Metropolitan was able to find a brilliant Brangaene. This smaller role is a key one, long and taxing, which requires a strong mezzo soprano, especially for the difficult solos in the second act. When the Isolde is as good as Nilsson, though, the first act passages of Isolde's companion become a test as well. It was here, perhaps, that Irene Dalis, the American mezzo, was most impressive. Dalis matched Nilsson's dramatic singing with a dazzling virtuosity and eloquence of her own; I cannot remember when I have heard such uniformly brilliant vocalism at the Metropolitan.

Tristan at the Met remains Isolde's show, however. Brangaene is important in the first half but insignificant for the final effect. The Liebestod constitutes the climax of Tristan. To this superb music and its terrific challenge, Nilsson brings endless energy and intelligence. The perfectly spun phrases follow one another in a demonstration of endurance and artistry that has an almost hypnotic effect.

Nilsson is not only notable for her Isolde; she also sings, apparently with comparable success, Turandot, all the Brunnehildes, and Leonora and Senta (both of which she will do later in the Met season). The roles, all extremely taxing, do not tire Nilsson out. Like the famed stamina of Melchior, who missed only three performances out of the over 500 scheduled for him at the Met, Nilsson's endurance is phenomenal. She thinks nothing of singing three Isoldes in a week, a feat which she plans for later in the season. Any other soprano would request four days separating each appearance.

Because Nilsson's voice is so indestructible, the public, happily, will have all the more opportunity to hear it. One looks forward to further demonstrations of her singing, especially in the Wagnerian repertoire which, since Flagstad's retirement from the stage, has been handled by second-rate sopranos. Wagner days are probably back at the Met, even if a Heldentenor remains lacking. Wagnerities, rejoice, there is a new heroine for you to acclaim! IAN STRASFOGEL