alguien la ha oido y nos puede dar su opinión?

yo lo ignoro casi todo sobre ella..aparte de lo que se puede encontrar por internet

qué pensáis de ella , de su estilo de cantante?

alguna grabación recomendada para ignorantes como yo?

graciasssssssssssssssss

Hallstein is one of the greatest and most underappreciated of the German coloratura sopranos of the 20th century. She studied with her mother, Elisabeth Hallstein, and debuted as Musetta at Passau in 1956. From 1958 to 1959, she was a member of the ensemble of the opera in Basel (Switzerland). In 1959, she debuted at the Gärtnerplatztheater Munich as Harriet in Millocker's operetta Der Armer Jonathan and created a sensation. That year she also debuted at the Bavarian State Opera, Munich, where she became a member of the ensemble in 1961, and a Kammersingerin in 1968. From 1960, she was a regular guest to the Salzburg Festival, where she sang in Mozart operas (Rosina, Konstanze, Zaide), in the world premiere of Henze's Die Bassariden in 1966, and in matinee concerts and lieder recitals. She was also a guest artist at some of the great opera houses of the world including the Covent Garden, Vienna State Opera, Teatro Colón (Buenos Aires), and the opera houses of Amsterdam, Brussels, Cologne, Copenhague, Dresden, Frankfurt, Geneva, Hamburg, Karlsruhe, Kassel, Mannheim, Montreal, Ottawa, Paris, Rom, Stockholm, Stuttgart, Venice, and Zurich. She appeared in numerous TV operetta broadcasts which made her very popular in Germany. Since 1981, she has taught at the Würzburg conservatory.

She is a secret treasure among record collectors, especially "high-note lovers." Hallstein made many records of arias, waltzes, bird songs, lieder, operetta, and musical comedy. She is primarily remembered as an operetta specialist, but she had the chops--as they say--for important music. Her most famous (and first) recording was Marczelline in Fidelio under Klemperer -- considered to be one of the great opera recordings of all time. Among the dozens of roles in her repertoire, she sailed through Mozart's demanding Die Zauberflote and Die Entfuhrung aus dem Serail, as well as his most extraordinary concert arias, and presented some difficult modern works by Henze, Egk, Milhaud, Fortner, Bennet, and Bialas (many of these were world premieres). Her vocal range was beyond extensive -- she was an "acuto sfogato" soprano, which is the highest type of coloratura soprano with access to notes in the whistle register above High F. She sings G's and G-sharps in a few of her records from the studio--but even more amazing is that she included these super high notes in some of her live performaces as well (they can be heard in hard-to-find private recordings or broadcast documents). Her tone was airy, light, and spinning, her technique was nearly flawless and always accurate, and her sense of style was uncommonly charming. A wonderful, unique, beautiful artist.

Es la Marzelline del fantástico Fidelio de Klemperer, y, en mi modesta opinión, es el punto negro de una versión casi redonda. Aparece ciertamente justita de tesitura...