“I’ll never forget the day I made the giant leap from being a relatively unknown singer to becoming world famous.”
In the entrance the first thing you see is the large portrait of Kirsten as Sieglinde in her historic debut at The Metropolitan Opera in New York in 1935.
This is where her career took off, in a lounge at the Metropolitan:
It’s early in the morning of Saturday 2nd February, 1935.
Kirsten is preparing for her first performance at The Metropolitan Opera in New York in the role of Sieglinde in Wagner’s opera Die Walküre. The concert hall is far from full, we are in the middle of the “Thirties depression”, the American economy is faltering, and this has a knock-on effect on the performing arts. There is even talk of closing down the opera. The Met needed a Wagner soprano, a magnet to attract the crowds and swell the coffers.
From the very moment she began to sing, the audience were captivated, enthralled.
The curtain is lowered, and for a second there is absolute silence.
Then, unprecedented, wild applause. Three times Kirsten was called back to take the curtain call. All the Saturday matinées at The Met were broadcast live to about 10 million listeners. After the first act, the retired Metropolitan singer Geraldine Farrar, who was the regular radio presenter of the matinée broadcasts, exclaimed,
“Ladies and gentlemen. Today we are privileged to witness one of the greatest performances in history. Today a completely unknown singer has enthralled the audience with her sublime voice and charismatic personality. A star is born!”
The accolade led to a run on the opera. Everyone wanted to be a part of this operatic sensation. When the second act started, every single remaining ticket had been sold. This huge, enthusiastic response must have been frightening for Kirsten. An audience of 4500, completely overwhelmed. Ovations increasing every act. When the curtain is lowered for the last time, the audience storm the stage, shouting “bravo”, clapping their hands and stamping their feet in a very “un-operatic” manner. When Kirsten finally comes out alone in front of the curtain, the audience throw their programmes into the air and roar their approval. Modest as always, Kirsten thanks them and curtsies.
Her Metropolitan debut will become music history. She has taken America by storm, and is an opera sensation.
Nine sold-out performances of Wagner’s opera Tristan und Isolde make a profit of $150000, and The Met is saved from financial ruin. The opera has found its new star. From now on, everybody in America knows who Kirsten Flagstad is, and performances are sold out wherever and whenever her name is on the posters.
Publisert 25 March 2009
