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act III, with Walter Widdop, cond. Blech: One critic claimed that " voice is a fine one but sings here not quite so well as in some of her other recorded roles". Hermann Klein for the
Gramophone is more enthusiastic: "neither in the important matter of style nor for beauty of voice or purity and
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Estelle
Liebling: An exploration of her pedagogical principles as an extension and elaboration of the Marchesi method, including a survey of her music and editing for coloratura soprano and other voices
253:. "The best of the vocal records appears to be that of the Love Duet.. sung by Gota Ljungberg and Walter Widdop, at whose hands the amorous frenzy of the climax is given full value"
141:
She went on to sing at most of the principal opera houses in Europe and
America and "was acclaimed not only for her singing, but also for her acting and dramatic intensity"
446:
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Born in
Sundsvall, she studied at the Stockholm Opera School with the physician and vocal coach Gillis Bratt. She undertook further studies with
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arias with Joseph
Schmidt. "Neither singer seems to have reached an adequate understanding of the dramatic significance of the duet"
436:
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Voice problems eventually caused retirement but as late as 1938 she gave a set of songs with orchestra in concert in
Copenhagen
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225:, cond. Coates. She has a "large range of vocal colour... this long lament, so beautifully sung here by Mme. Ljungberg."
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in 1917. She remained one of the leading singers there until 1926 when began her international career.
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260:(Finale). Cond. Blech. "The performance is all that we should expect from such performers"
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of the 1920s who sang throughout
American and Europe and left an important recorded legacy.
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breadth of declamation could be compared with an IsoIde like Göta
Ljungberg"
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At the Berlin State Opera, she often appeared in Wagner but also as
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Music
Supervisors' Journal, vol 18, no 1, Oct 1931, p78
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125:, in New York City during her time at the Met.
366:notes, Der Ring des Nibelungen, Pearl Records
8:
83:(4 October 1893 – 28 June 1955) was a major
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447:20th-century Swedish women opera singers
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165:London debut was in 1924 as Sieglinde (
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244:. "The sexy, passionate Ljungberg"
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204:) and Brünnhilde as well as Salome.
128:She debuted as Gutrune in Wagner's
411:Music and Letters, Oct 1933, p 404
375:Musical Times, dec 1, 1926, p 1111
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384:Musical Times, nov 1, 1929, p996
175:. She later appeared there as
348:Musical Times, July 1938, p541
211:Recorded legacy with critiques
1:
330:Dean Fowler, Alandra (1994).
198:from 1932 to 1935 as Isolde (
299:The Times, Jul 4, 1955, p11
463:
158:, as well as in musicals.
437:Swedish operatic sopranos
402:Gramophone, May 1928, p21
357:Gramophone, Oct 1924, p65
28:
185:), Tosca and Elisabeth (
117:. She also studied with
317:www.cantabile-subito.de
256:1929: Richard Strauss:
236:excerpts, conducted by
168:Der Ring des Nibelungen
442:People from Sundsvall
336:University of Arizona
151:Cavalleria rusticana
136:Royal Swedish Opera
265:Tristan und Isolde
201:Tristan und Isolde
196:Metropolitan Opera
103:Mme Charles Cahier
313:"Ljungberg, Göta"
163:Royal Opera House
121:, the teacher of
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81:Göta Ljungberg
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74:(aged 61)
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55:4 October 1893
45:Göta Ljungberg
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148:, Santuzza (
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109:and also in
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72:(1955-06-28)
70:28 June 1955
432:1955 deaths
427:1893 births
250:Die Walküre
58:Sundsvall,
421:Categories
283:References
188:Tannhäuser
179:, Kundry (
51:1893-10-04
242:Leo Blech
134:with the
107:Stockholm
97:Biography
88:Wagnerian
182:Parsifal
171:) under
334:(PhD).
156:Elektra
85:Swedish
271:1933:
258:Salome
222:Salome
215:1924:
177:Salome
154:) and
115:Berlin
60:Sweden
277:Tosca
146:Tosca
111:Milan
240:and
234:Ring
161:Her
113:and
67:Died
41:Born
191:).
105:in
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304:^
290:^
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338:.
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53:)
49:(
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