Nanny Larsén-Todsen (1884–1982)

Nanny Larsén-Todsen was a Swedish dramatic soprano whose career was distinguished by her interpretations of Richard Wagner’s operatic repertoire. Regarded as one of the foremost Wagnerian sopranos of the early twentieth century, she belonged to the generation preceding Frida Leider and Kirsten Flagstad. Her artistry was particularly associated with the roles of Brünnhilde and Isolde, which she performed to great acclaim at the Bayreuth Festival.

Larsén-Todsen’s professional career commenced at the Royal Swedish Opera, where she was active between 1906 and 1925. She subsequently appeared at several of the most prestigious international opera houses, including La Scala (1923–1924), the Metropolitan Opera (1925–1927), and the Bayreuth Festival (1927–1931). In addition to these engagements, she was a frequent guest performer at leading European opera houses.

Nanny Larsen-Todsen at Bayreuth

1927

Die Walküre (Brünnhilde)
Siegfried (Brünnhilde)
Götterdämmerung (Brünnhilde)
Parsifal (Kundry)

1928

Tristan und Isolde (Isolde)
Die Walküre (Brünnhilde)
Siegfried (Brünnhilde)
Götterdämmerung (Brünnhilde)

1930

Tristan und Isolde (Isolde)
Die Walküre (Brünnhilde)
Siegfried (Brünnhilde)
Götterdämmerung (Brünnhilde)

1931

Tristan und Isolde (Isolde)
Die Walküre (Brünnhilde)
Siegfried (Brünnhilde)
Götterdämmerung (Brünnhilde)

Selected Biographies

One of the finest monuments in sound ever to have been raised to the everlasting glory of music. (Claude Debussy on Parsifal)

"The thing about Wagner is that there can be no true success in any production of his operas, only degrees of failure. There is so much in these bloody pieces, all you can do is try to live up to them." (Keith Warner, The Guardian)

"I have never come across an audience with so much hatred, so much anger, such a thirst for revenge. They take everything personally. It makes you a little bit scared, and it's really quite terrifying." (Lance Ryan on the audiences at Bayreuth)

"People sometimes complain that Wagner operas are too long, that they get stiff and sore about 10.30 because they have rushed in to hear one of his works straight from work and are not properly prepared for listening to his music. The audience, as much as the artists, must be prepared for a performance."
(Benjamin Britten to Alan Blyth, Gramophone)

"I was bowled over. It was the year after Wieland Wagner had died; to be able to see his productions was a total knock-out. These bare stagings, where everything was done with lighting. The light changed with the music, and the shadows and patterns seemed as archetypal as the music itself. Nobody had done that on the stage before. I thought it was extraordinary and wonderful."
(Patrick Carnegy to The Guardian)

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