Видео

Pero el problema era la mezzo más que Suliotis...

I’m sure he’s long dead now, but I wouldn’t love to know who the jerk was with all that commentary

WTF IS NETREBKO BEING MENTIONED?? Y’all just love to hate her!

She could have been one of the great opera singers had that been her focus. The quality of her voice is mind boggling. It's so naturally beautiful and well produced.

Gosh i love chicago, i WISH i could have seen the original performance! Everyone who did is so lucky

Thanks for sharing this part of this exciting performance....❤Souliotis , what a true kind of an artist ....

WISH I WERE THERE

I may be mistaken about the origin of this performance, but I believe it comes from a full concert performance of "Candide" that used to circulate, on reel-to-reel tape (!), in bootleg form. Again, I may be wrong, but I believe that the cast included Alan Arkin (Pangloss/Martin), William Lewis (?) (Candide) and Irra Pettina (the original Old Lady). Corrections welcome for that cast list! The real interest in the performance was that it used, perhaps for the last time, Lillian Hellman's original Broadway book -- note that Kahn sings "Here I am in Paris, France," not the later "Here I am, oh sorry chance." Some of the music that had been dropped from the original production, including at least one big "aria" for Candide, was restored. For those of us who feel the piece, despite its fabulous score, has never really made dramatic sense since the drastic series of later overhauls, it made for interesting listening. People aren't aware, by the way, that "Candide" was intended by its creators as a satire on the U.S., carefully hidden under the guise of a 19th century style European operetta. The later rethinkings that sought to bring it closer to Voltaire's novel in a way missed the point. And all of Bernstein's other musicals -- On the Town, Wonderful Town, West Side Story asnd 1600 Pennsylvania Ave., as well as his quasi-pop one-act opera Trouble in Tahiti -- are explicitly about the U.S.

I hear Auntie Loretta, she said was tired and she meant that.

Io credo che oltre all'aspettativa l'opera sia stata preparata male, di corsa.

Silly people was put back in during the Lincoln center run June 27-29, 2024. So beautiful !!!

This original Broadway musical cast of Camelot was superb. They're unsurpassed.

I'm sure someone has asked, but it sounds like the version recorded here was taken up a half step? I don't know if that's because the record was sped up or because Madeline asked to have the key transposed? I'd love to get a confirm on this

Che peccato non avere il video❤❤❤❤❤❤

Wow...this is chilling. Any "Company" fan is cheering this thing on.

does the full original show exist at all? I've been trying to find a full bootleg

She was hoarse….riiiiiiiiiiiiight….She was just….I have no words. How was this better than the hundred other times she did the song??? Like what??? 😱

Brava, Diva!! ✨👑✨ 🌟💛🌟

Is that Sheryl Lee Ralph?!?!

I don't think this performance deserves to be booed. Probably she was nervous with so many opera icons in the public. And after all not every day your voice is fireworks. She might be out of tune in some places and couldn't sing her high notes well, but she gave a decent performance. With the standards now she was simply great

Barbara Harris made Daisy a more vulnerable & innocent character. I wish the entire show was available. I have Barbra Streisand's final "Funny Girl" entire show, and she was better than she is in the movie. She even did an encore, and performed "My Man".

that HA-HA-HA!!!!! towards the end really showa you. she was/is human and she was thinking. i'm not doing this tomorrow, lol. she was getting emotional and i loved it!!!!

Rather hear this than being bored to death.

GOOSEBUMPS!!!!

Dear Maria, and dear Renata, Forget, forgive, conclude and be agreed. RIP 🌹🌹🌹

Sono una cantante Lirica e questo è un pubblico vergognoso!!!!!!! Al di là della serata si o no, si deve un minimo di rispetto agli artisti. Una cosa tristissima e squallida 😑Intanto Elena Suliotis è su Wikipedia e molti di quelli che erano fra la folla, nessuno se li ricorderà più, dopo morti. I compassati Inglesi.... Bah 🤢🤮

NORMA had not been heard in New York City since 1956 when Callas sang it at the MET. Bing had tried to get Sutherland to open the season in 1964 but she wanted I PURITANI anc they agreed on a new production of LUCIA DI LAMMERMORE. The MET would not do NORMA until 1970 with Sutherland, Horne, Bergonzi and Siepi (who appeared in 1956 w/Callas.). There may have been unfair expectation of Souliotis but it was not a great performance. A child sent to do a woman’s job. And a woman New York would get with La Stupenda in 1970.

@vincenzomesseri3433: The night you reference was when the MET had a benefit for the deaf. Since they couldn’t hear they thought Netrebko was great. Now, when the MET had a benefit for the blind, and they could hear, there was no applause.

Of course the irony of using this musical and this clip as an example of, well, anything is that Kahn (who I worship) couldn’t begin to sing this role consistently on a nightly basis and bailed 9 weeks into a year long contract after having lost her voice on at least one other occasion and cancelling on a semi regular basis (Judy Kaye sang almost a third of the previews). One of the reasons no one does this musical is that it’s vocally unrealistic, essentially demanding operatic voices singing borderline operatic music on a nightly basis. And Kahn, despite her illustrious accomplishments, was hardly some musical theater supernova. This was, in fact, her third staged musical (out of 4 in total) and her last on Broadway. So a very odd example because there has NEVER been a time when singers up to this musical were plentiful.

Where can I bear this whole show?

What an angelic and versatile voice she had! To go from this to the deadpan comic alto off key brilliance of “I’m Tired”, that’s talent.

Debió ser una noche terrible para Suliotis.Lo lamento.

Wow! That’s a killer tempo to perform such back-breaking, spine-bending choreography!!!

Please change the title of this video! As Dimitris said, this clip of Callas has nothing to do with Scotto.

OH MY GOD! I had no idea!

40 years on and I still tear up hearing her sing that final note!!!

Andrea sounds EXACTLY like she does on the cast album. What a pro.

As a stage performer and singer, I would be absolutely appalled by this kind of audience behavior. It's ironic as a young person to me to hear people scream and jabber on about how "today's audiences have no respect for the performers and talk and whatnot throughout shows," and yet they thought this was completely normal activity back in the 1960s. I know Opera is, in many ways, a much more "cultured" art than musical theatre is, but... If this audience response is "culture," thank God I'm in the dregs of the musical comedy.

:) :) Of course, we all wish there was video also...who doesn't love Madeline. I knew she sang but not like this!

We saw The Happy Time when it was on Broadway with the original cast. The cast was excellent with Robert Goulet giving his Tony Award Winning performance. He was onstage practically the entire show, and obviously loved every minute of it. David Wayne was also wonderful. A memorable show.

Oh my, Barbara Harris. What a talent! John Cullum took over this role during the Broadway Pre-Tour and made it his own.

I saw Larry on Broadway. Still trying to find the London 1971 cast album featuring him if it even exists

Robert Goulet in magnificent voice during this performance. He was a consummate stage performer. I heard a similar recording for his initial run in Camelot and like this performance, he astounds with his vocals and energy.

It’s really kinda crazy to think that she was only on Broadway in this role for just one full year. I wonder why she left such a successful production (which she was the star of) in such a short amount of time?

I would love to hear the extended applause after Turkey Lurkey until the fade out which sounds like additional curtain call. Sounds like an exciting and genuinely joyous moment. Thank you for sharing what there is..it is infectious.

She came back and triumphed

Glitter and be gay, That's the part I play; Here I am in Paris, France, Forced to bend my soul To a sordid role, Victimized by bitter, bitter circumstance. Alas for me! Had I remained Beside my lady mother, My virtue had remained unstained Until my maiden hand was gained By some Grand Duke or other. Ah, 'twas not to be; Harsh necessity Brought me to this gilded cage. Born to higher things, Here I droop my wings, Ah! Singing of a sorrow nothing can assuage. And yet of course I rather like to revel, I have no strong objection to champagne, My wardrobe is expensive as the devil, Perhaps it is ignoble to complain... Enough, enough Of being basely tearful! I'll show my noble stuff By being bright and cheerful! Pearls and ruby rings... Ah, how can worldly things Take the place of honor lost? Can they compensate For my fallen state, Purchased as they were at such an awful cost? Bracelets...lavalieres Can they dry my tears? Can they blind my eyes to shame? Can the brightest brooch Shield me from reproach? Can the purest diamond purify my name? And yet of course these trinkets are endearing, I'm oh, so glad my sapphire is a star, I rather like a twenty-carat earring, If I'm not pure, at least my jewels are! Enough! Enough! I'll take their diamond necklace And show my noble stuff By being gay and reckless! Observe how bravely I conceal The dreadful, dreadful shame I feel.

She positively glows!!! Nobody can outdo Madeline

SHE is screaming to much in this performance!

She sung this song exactly like it was her last show!!!!!! 🔥🔥🔥🔥