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The vocal talents of Birgit Nilsson were first recognized when she began to sing in her church choir. She studied voice with Ragnar Blennow in Bastad and later at the Royal Music Academy Stockholm with Joseph Hislop and Arne Sunnegärdh. She made her opera debut at Stockholm where her first important role was Agatha in Der Freischütz, and in 1947 she sang Lady Macbeth in Verdi's Macbeth there. Her first important international appearance came in 1951 as Elettra in Mozart's Idomeneo at the Glyndebourne Festival. In 1952, she sang Donna Anna in Don Giovanni at Florence. Her first important appearances in Wagner operas came in 1953 at Stockholm where she sang Elisabeth in Tannhäuser and Isolde for the first time. This marked the start of the most important Wagnerian career of the second half of the 20th century. The following year she made her Bayrueth debut as Elsa in Lohengrin and in the same season sang Ortlinde in Die Walküre. She later appeared there as Isolde and as Brunnhilde. It was in Munich during the 1954-1955 season that she first sang Brunnhilde in Wagner's Der Ring des Nibelungen and during the same season she sang her first Salome. In 1957, she sang the complete Ring cycle in London. At the Vienna State Opera she was heard as Elsa, Sieglinde, Elisabeth, Aida, and Sent. In 1957 she sang Leonore in Beethoven's Fidelio and the following season sang her first Turandot. She was also highly regarded for her interpretations of Elektra and the Barak's Wife in Die Frau ohne Schatten. Her other important Italian roles were Tosca, Amelia in Un ballo in maschera and Aida. She sang at all of the major opera centers of the world including Tokyo, Paris, Buenos Aires, Chicago, San Francisco, and Hamburg. Also she sang Turandot in Moscow with the Teatro alla Scala. At the age of 62, a performance of Strauss' Elektra was videotaped at the Metropolitan Opera House and broadcast around the world.

Because of her full schedule of opera performances, Nilsson did not sing in many concerts or recitals although early in her career she did sing the Ninth Symphony of Beethoven on several occasions, including one at Bayreuth. She did give some recitals including tours of Australia and Japan as well the major music centers of Europe and North America. Her recital programs concentrated on the German and Scandinavian songs, including some rarely heard pieces by Stenhammar. She often sang "I Could Have Danced All Night" as an encore.

The voice of Birgit Nilsson was like a laser beam that cut through the orchestra, unlike the voice of Kirsten Flagstad or Jessye Norman which are like a wall of sound. It was a large voice with such brilliance that at times it gave the sensation of being sharp of the intended pitch. She was a congenial colleague except for her long-standing difficulties with Franco Corelli regarding the length of the high Cs in Puccini's Turandot and with Herbert von Karjan. Happily all of her important roles have been preserved on recordings. As long as the operas of Wagner are performed, the voice of Birgit Nilsson will be remembered, and no one has sung Puccini's Turandot with more brilliance or security. Her autobiography, Mina minnesbilder, was published in 1977 at Stockholm.

A mezzo-soprano of such power and authority that she became a dominant figure in opera through the 1950s, 1960s, and 1970s, Regina Resnik began her career as a soprano. At the Metropolitan Opera, short on dramatic singers during WWII, Resnik was drafted for assignments no young singer should ever be asked to undertake. She survived, but as the high tessitura of these heavy soprano roles placed increasing strain on her constantly darkening voice, she stepped into the dramatic mezzo-soprano repertory in the mid-'50s with revelatory results. Her acuity as an actress enabled her to create formidable portraits as Amneris, Carmen, Marina, and Ortrud. Resnik began voice lessons with Rosalie Miller while still in high school. After graduating from Hunter College in 1942, she made her debut in concert at the Brooklyn Academy of Music. Engaged as an understudy for the New Opera Company, she was called upon to replace an ailing soprano as Lady Macbeth in December 1942. After singing Leonore and Micaëla for Mexico's Opera Nacional, she won the Metropolitan Opera Auditions of the Air in 1944, and by December of that year, she had replaced Zinka Milanov as Leonora in Il trovatore (after also having appeared at the New York City Opera as Santuzza). Although critics questioned the advisability of one so young assuming such demanding roles, Resnik impressed them and the public with her sound musicianship and thorough preparation. She continued in soprano roles during the ensuing decade and after much consideration, made the switch to mezzo roles. Her Sieglinde at the 1953 Bayreuth Festival proved a transitional role. In 1955, she sang Amneris at the Cincinnati Zoo Opera and, in February 1956, she re-appeared at the Metropolitan as Marina in Boris Godunov, eventually completing 30 seasons in the house. Her transition met with approval as critics hailed the deep, potent sound of her new vocal persona. From that point until her retirement, she conjured a memorable gallery of personalities, embracing nearly all of the big parts in the dramatic mezzo fach in theaters ranging from San Francisco to Salzburg. Her Klytemnästra, Herodias, Carmen, Eboli, and Dame Quickly were celebrated, her Wagner performances hailed as among the best of her time. Resnik's histrionic authority made her welcome as a stage director as well.

One of the most versatile artists of the 20th century's second half, baritone (or bass baritone) Tom Krause excelled in music from Bach to Britten, Mozart to Searle. Though not exceptionally large or sensuous, Krause's cleanly produced instrument never issued unpleasant sounds, and the singer's refined artistic instincts conspired to keep his work at a high level. Even in situations calling for a greater weight of voice than he really commanded, his clear diction and canny sensitivity to the right accents enabled him to give the impression of authority.

Krause intended to pursue a career in medicine in his native city, but found that a taste for light music and later, an interest in singing, were moving him toward a musical career. He entered the Vienna Music Academy in 1956, and upon completion of his studies there, made his debut in 1959 at Berlin's Städtische Oper. The role was Escamillo, an impersonation he was to record on two subsequent occasions. Early international exposure came through the Kurwenal he recorded with Solti and Birgit Nilsson. Numerous engagements followed at opera houses and concert stages throughout Middle Europe, and in 1962, Krause became a member of the company at Hamburg where he endeared himself to the public in Wagner, Verdi, and (especially) Mozart roles. After only five years, he was made a Kammersänger. For his home theater, he participated in the premieres of Ernst Krenek's Der Goldene Bock in 1964 and Humphrey Searle's Hamlet in 1968. Meanwhile, Krause had made his Bayreuth debut as the Herald in Lohengrin (1962) and the following year appeared at the Glyndebourne Festival for the first time as the Count in Strauss' Capriccio.

In the United States, Krause took part in the American premiere of Britten's War Requiem and made his Metropolitan Opera debut as Mozart's Almaviva on October 11, 1967. In six seasons, Krause was heard in 43 performances, including three other roles: Malatesta, Guglielmo, and Escamillo. The later was captured on disc together with Marilyn Horne's Carmen and James McCracken's massive Don José, all under Leonard Bernstein's revisionist eye. Chicago heard Krause as Guglielmo on-stage at the Lyric Opera and as a moving Christus in the Chicago Symphony Orchestra performances of Bach's St. Matthew Passion under Solti. Krause later participated in Solti's recording of the work.

Krause's Salzburg debut came in 1968 when he sang the title role in Don Giovanni, beginning a productive relationship with the festival. Thirty years after his first appearance, he sang in Salzburg's widely praised production of Messiaen's Saint François d'Assise. Paris heard Krause for the first time in 1973; La Scala welcomed him two years later. While heard to best advantage on-stage in Mozart, Krause made effective studies of such other roles as Pizzaro, Golaud, Amfortas, and portrayed a light-voiced but vivid Amonasro.

During his lengthy career, Krause made many studio recordings with first-class collaborators. His Pizzaro with Nilsson, McCracken, and a hard-driving Lorin Maazel is intimidatingly nasty. His numerous Bach recordings reveal a mellifluous voice and sympathetic interpretation joined with stylistic keenness. Both of his recorded Escamillos, if not the last word in bravura, show both dramatic flair and the ability to truly voice the many low-lying phrases. Finally, Krause's many recordings of German lieder and Scandinavian and Russian songs are the work of an insightful, engaging artist.

The first line "house bass" for London/Decca records in the 1950s, Dutch bass Arnold van Mill wielded a virile basso cantante that displayed ample bite for Wagner while being supple enough to make him a creditable singer of Mozart bass roles such as Osmin and Sarastro. His recorded legacy attests to a perceptive artist and one authoritative enough to have been exemplary in Verdi roles had his services not been required elsewhere. Trained at the Rotterdam and Hague conservatories, van Mill made his stage debut at Brussels' Théâtre de la Monnaie. From 1946 until 1950, he was a member of the Royal Opera at Antwerp. His debut at the postwar Bayreuth Festival took place in 1951 and his mellifluous Titurel is preserved on the London/Decca recording made of that revolutionary Wieland Wagner production. In 1953, he became a member of the Hamburg Staatsoper, remaining with that company for many years. He was heard with the Hamburg company on its visit to the 1956 Edinburgh Festival (the bass' singing of the title role in Cornelius' De barbier von Bagdad as described by Harold Rosenthal as "magnificent," though his Sarastro found him in less effulgent voice) and in 1969, the bass participated in the world premiere of Krzysztof Penderecki's The Devils of Loudon. Other productions at the Bayreuth Festival presented van Mill as Fasolt, Fafner, a money-grubbing yet sympathetic Daland, and a King Marke described by critic Horst Kögler as "dignified." At Glyndebourne in 1957, the bass presented his gruff but endearing Osmin, a portrayal beautifully sung. Arnold van Mill's legacy resides in good measure with his recordings. Beginning with his Bayreuth Titurel of 1951, many of them are of the Wagnerian repertory. When Kirsten Flagstad chose to recorded Acts I and III of Die Walküre (preserving a record of her Sieglinde and avoiding Brünnhilde's Act II "War Cry," then beyond her), van Mill was the choice for Hunding. Contrasted with the aging Siegmund of Set Svanholm and the somewhat matronly Sieglinde of Flagstad, van Mill's Hunding is firm of voice and incisive in setting forth the text. Sumptuous sound captures voice quality with great accuracy. When Birgit Nilsson won such ecstatic reviews for her Metropolitan Opera Isolde, a recording of the opera was imperative and van Mill was chosen for King Marke. While legendary bass Alexander Kipnis expressed reservations about the quality of van Mill's voice in a review of the recording, most critics found it praiseworthy and the artist's dramatic instincts fully engaged. When Herbert von Karajan pulled together an all-star cast for a London/Decca Aida, van Mill proved himself a superb Ramfis, biting in declamation, equally adept at legato singing, and uncompromisingly authoritative. The bass also recorded a noteworthy Commendatore for RCA, later on the London/Decca label.

With a membership that is entirely amateur, the Vienna Singverein has developed a reputation as one of the finest choral ensembles in the world. Made up of about 200 singers, it has performed under the baton of some of today's leading conductors, including Gergiev, Ozawa, Boulez, Mehta, Muti, Barenboim, and Koopman. Such podium stalwarts from the past as Karajan and Furtwängler have not only conducted the Singverein but have held an enduring relationship with the ensemble, both in concert and on recordings. The Singverein's repertory is inclusive of a vast range, from J.S. Bach to Franz Schmidt and beyond, and while they have sung works by Verdi and Bizet and many composers outside the Austro-German sphere, they have shown a decided preference for music by Haydn, Mozart, Beethoven, Brahms, Wagner, Bruckner, and other German or Austrian composers. Although the Singverein have sung in operatic performances and recordings, Mozart and Wagner in particular, they have generally performed concert music. The Singverein has made hundreds of recordings over the years, many of them available on such major labels as Chandos, Decca, DG, EMI, Philips, and Sony.

The Vienna Singverein was founded in 1858 as a wing of the Society of Friends of Music. The roots of the ensemble actually date back to 1812, when the Society of Friends was originally formed. The Singverein's home in the concert world is the Vienna Musikverein. Johannes Brahms served as one of the Singverein's early artistic directors. Under his baton a partial premiere of his Requiem was presented by the ensemble in 1867. The Singverein developed a long history of important premieres, including those of the Bruckner Te Deum, Mahler Eighth Symphony, and the Franz Schmidt oratorio Das Buch mit sieben Siegeln.

In the 20th century the ensemble gained an international reputation and from mid-century made numerous concert tours throughout Europe, the U.S., Australia, Japan, and elsewhere. Among the more memorable concerts abroad was a 1985 performance of the Mozart Coronation Mass at St. Peter's Basilica in Rome under Herbert von Karajan, with Pope John Paul II present.

Karajan made over 70 recordings with the Singverein, many of them achieving broad critical acclaim. A number of these recordings have been made available, like the 2007 reissue of the Beethoven Ninth Symphony on DG (Grand Prix). Since 1991 Johannes Prinz has served as choir director of the Vienna Singverein.

Since its inception in 1842, the Wiener Philharmoniker (or Vienna Philharmonic Orchestra in English) has represented the best in the Central European orchestral tradition. Before the Wiener Philharmoniker was founded, there was no permanent, professional orchestra to be found outside the opera halls in the city of Mozart, Haydn, and Beethoven. The Wiener Philharmoniker is one of the most traditional orchestras in the world today, with much-beloved traditions, like the annual New Year's concerts of waltzes by the Strauss family.

In 1833, Franz Lachner, conductor at the Hofoper, had formed a musicians' association from the ranks of the opera orchestras to play symphonic music, but this was a temporary endeavor. Nine years later, a group of music critics and other interested parties persuaded Otto Nicolai, principal conductor of the Kärntertortheater, to conduct the first Wiener Philharmoniker concert at the Grosser Redoutensaal (Great Ballroom) on March 28, 1842. The group was founded as the first completely self-governing orchestra, and it has remained so ever since. Although concerts were irregular until 1860, the orchestra quickly built up a reputation. From 1860 to 1875, Otto Dessoff was the permanent conductor, bringing the music of Brahms, Wagner, and Liszt into the concert halls. Hans Richter succeeded Dessoff and conducted the orchestra until 1898, introducing Bruckner and Dvorák to Viennese audiences. Both of these conductors played major roles in establishing the Wiener Philharmoniker as one of the finest orchestras in the world. During this time, the Wiener Philharmoniker had numerous premieres of now-classic works such as Brahms' Second Symphony and Bruckner's Eighth; sometimes, as in the case of Bruckner's Third, the premiere was conducted by the composer himself. The great Gustav Mahler conducted from 1898 to 1901, but his tenure was marked by dissension within the orchestra.

The longest-term conductor of the post-Mahler era was Felix Weingartner, from 1908 to 1927. He was beloved by the orchestra for his measured, classical style and, in particular, for his Beethoven interpretations. From 1933 to 1938, the revered conductors Bruno Walter and Wilhelm Furtwängler shared the subscription concerts; after Hitler's annexation of Austria in 1938, the Nazi Party dissolved the orchestra, but the decision was reversed after Furtwängler intervened. The Wiener Philharmoniker led an uneasy life during the war but afterward reclaimed its place in the world's orchestral pantheon. The list of conductors who have led Wiener Philharmoniker subscription concerts reads like an honor roll of maestros; Richard Strauss, Arturo Toscanini, Herbert von Karajan, and Leonard Bernstein have each taken turns at the podium.

The Wiener Philharmoniker has held an annual New Year's Day Concert of Strauss family works, particularly those of Johann II, since 1941 when Clemens Krauss began the tradition; the first of these concerts was actually held on New Year's Eve in 1939, after which the concert has occurred on New Year's Day. Riccardo Muti led the orchestra in its 80th New Year's concert in 2021, marking his sixth appearance in the series. While some of its traditions are revered, others have come under fire in recent years. Though the Wiener Philharmoniker premiered a lot of music in its early days, it now prefers to play mostly music written before 1900, which created a controversy at the Salzburg Festival during the 1990s. The orchestra also refused until 1997 to accept a female musician as a full member, threatening to disband rather than cave in to political pressure. The first woman member of the Wiener Philharmoniker was harpist Anna Lelkes, who was granted full membership after 26 years of service. Simone Young was the first woman to conduct the Wiener Philharmoniker in 2005, and in 2008, Albena Danailova became the orchestra's first female concertmaster. Historically, the Wiener Philharmoniker has opposed hiring musicians who are not Central European in order to preserve what is perceived as a unique quality of sound. While the orchestra's policies may be controversial, it cannot be disputed that the Wiener Philharmoniker is one of the world's finest orchestras, performing with exceptional finesse and clarity, with a beautifully blended woodwind and brass sound that meshes perfectly with its subtle, lush strings.

The Wiener Philharmoniker is celebrated on 24-carat gold bullion coins issued by the Austrian Mint. In 2006, the design of the coinage was featured by Austrian Airlines on its airplanes to promote both the orchestra and the sale of the coins, which are among the most popular with investors. ~ Andrew Lindemann Malone