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No need to be nasty. Just don’t read the synopsis if you don’t want to.

@@homagetogreathistoricalsin9711 how about you credit all the performers instead of putting up his lane as defense.

I don’t agree with you that I’m putting up a line of defense. I feel like your comment was nasty and not constructive so I am being assertive.

Agreed. If that live recording from 1958 were on vinyl, I would post that instead of this.

Why? They are both gorgeous. This is a fantastic duo. Thank god we don't have to choose because we had all of them. Now we don't have even halfas good as all these Opera singers were. @@homagetogreathistoricalsin9711

They never realized how dangerous smoking was back then. It's the worst thing a singer could do.

Yes indeed. I like the conducting better on the first excerpt because it is conducted by Giulini. All four singers were wonderful singers.

I also love Callas but I prefer Cerquetti

Callas studied her art all her life, was devoted to it and was by far the best of all in her era and ever since. No-one does the finale of this aria like Callas either. Cerquetti was primarily a musician of other instruments and only studied vocally for a year. Nevertheless, Cerquetti stood in for Callas in Norma when she was not well enough to perform; as she was already playing the role in Naples. However, the stamina required to travel between the two cities and sing proved too much for Cerquetti and she retired at the unbelievably young age for an opera singer, of 31. A very short career but what a tremendous voice Cerquetti had and we are very fortunate to have these recordings. Callas obviously is in another dimension entirely in acting and singing but Cerquetti is superb and infinitely better than any soprano we see on stage these days.

Я слушала интервью,где Марио рассказывает про их знакомство,как Этторе выступал в конце 40-х и начале 50-х..и затем как Марио работал с ним и следил за путем коллеги в опере..В этом рассказе столько участия и теплого сердечного настроения,Марио даже немного по актёрски показал,каким Этторе был скромным,неуверенным поначалу..Но быстро поверил в себя(при этом черты застенчивости,немного молчаливости остались в певце),его голос большой,красивый раскрылся как роскошный бутон цветка..Марио жалел коллегу,такая ранняя смерть.."и его большой красивый голос умолк.."

@@user-ry9zf5fp4v Ettore had a life with no father, no father figure... it was extremely tragic and non confident from any view of psychological or social points. Mario Callas and Mario plus a lot others gave Ettore affirmation and confidence. Mario had been extremely helpful and loving to his brother Ettore. Though there were not a lot of recordings for some reason. I love Ettore's bass tone of large size, always centered, consistent throughout ranges, his raw genuine approach to the arias. Either way, their combination on stage, together with Mara Callas and other great female artists... it is just so luxury and extremely glorious for Operatic World. No more now... they are the best!

Марио говорил про голос Этторе"голос большой,голос красивый..мой добрый Экстраколлега.."

Arkhipova’s recording of “Song and Dances of Death” is great.

@@homagetogreathistoricalsin9711 I also like Arkhipova’s Carmen with Del Monaco and Azucena with Caballe and Milnes. But my favorite Russian mezzo soprano is Obraztsova, her low notes are so strong and beautiful!

Studio recording with Karajan conducting. I’ll edit and put that in.

We were discussing Kim Borg last week and you mentioned the live recording with him and Ghiaurov being a favorite of yours. I agree. I would post this excerpt from that live recording. However, I do not have that recording on vinyl.

Mirella Freni NEVER sang Tosca

Thanks for the comment!