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PollWhat should the government do about ailing financial institutions? Nothing, except to back off and get out—as any Objectivist knows, intervention is treating the disease with the disease 84% Intervene judiciously—enough to avert a catastrophe that is otherwise imminent 3% Intervene massively—as it's doing 3% Nationalize the whole economy and be done with it. Bring on the USSA! 1% Something else (specify) 9% Total votes: 76
 Basic Economics by Thomas Sowell
 Economics In One Lesson by Henry Hazlitt
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Birgit Nilsson RIP -- Anja Kampe Welcome! Submitted by Ed Hudgins on Sat, 2006-01-14 21:48.
Opera fans mourn the passing on Christmas day of Birgit Nilsson at the ripe young age of 87. Nilsson was one of the greatest post-World War II opera sopranos and specialized in Wagnerian roles. Here's a report of her life: http://www.signonsandiego.com/news/features/20060111-1439-obit-nilsson.h... Her best-known role was Brunnhilde in "Die Walkure." You can hear her the Vienna Philharmonic's version with Georg Solti conducting on the London/Decca label. http://www.amazon.com/gp/product/B0000042H6/qid=1137273784/sr=1-1/ref=sr... But while we're saddened by Nilsson's passing, the good news on the opera and Wagnerian front is the emergence of Anja Kampe. I saw her America debut with the Washington Opera in 2003 in the role of Sieglinde in "Die Walkure" with Placido Domingo as Siegmund. She not only has an incredible voice but she's slim, blond and beautiful! She fits the imagine that Wagner probably had for a Sieglinde and against the reality of many Wagnerian sopranos who, while perhaps with wonderful voices, have established their own stereotype of being -- how can I put this delicately -- twice the women they ought to be. Last night (Friday, Jan. 13) Kampe reprised the role in a concert version of the first act of "Die Walkure" with the National Symphony Orchestra. Not only was she marvelous but sitting in the fifth row, within steps of the stage, I could see even better what was apparent in her America debut: she can act as well as sing! Also Clifton Forbis did an excellent job as Siegmund and Eric Halfvarson's deep bass voice was strong and powerful for Hunding.) So goodbye Birgit, yours was a wonderful life and you've left us with wonderful music and welcome Anja, with look forward to more from you in the future!
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P.S.
Peter --Liked your little tribute! The Immolation scene, while not exactly Objectivist, is another of the all-time great moments in opera and the great challenge for a Nilsson or Gasteen.
Yes also to Karajan
Peter -- Nilsson would be in Valhalla, complaining to Woton!
I have the "Ring" with Karajan as well as with Solti and Janowitz with Vickers are indeed a great pairing. (My favorite sets of Beethoven and Brahms symphonies are with Karajan.) I also love the staging of the Levine "Ring" which is on DVD with Behrens as Brunhilde and James Morris as Woton, especially Woton's farewell, one of the most powerful scenes in all of opera. I like the line especially when, singing of he who will be able to break through the ring of fire with which he's surrounding Brunnhilda (Siegfried, of course!), Woton says it will be someone who is "freer than I, the god." Humans are free!
I'll keep my eyes open for Gasteen.
Worry not...
Worry not, I've already posted my own brief tribute to the great Birgitt. She really was born to sing Brunnhilde. If there were a heaven, I'm sure that as we speak she'd be thundering loudly at God about what a mess His Vast Omnipotence has made of things, and trying to burn the whole place down.
Farewell Birgitt.
Ed, Anja Kampe may well be a great Sieglinde -- the best I've heard was Gundula Janowitz, which makes her pairing with Jon Vickers on Karajan's 'Ring' one to hear -- but as far as new Brunnhilde's go, the one presently being talked about is Australian Lisa Gasteen, the Brunnhilde of Oz.
It won't end!
Linz -- I guess the opera will just keep going on and on, as Wagner's actually do! Imagine more and more and more Mario Lanza!
That's a Wagnerian soprano?
Don't tell Cresswell - he'll be uncontrollable.
And how do we know if the opera's over if there's no fat lady to sing?