Maria prepared for this role on her own. Tullio Serafin refused to help her. John Ardoin in his “The Callas Legacy” book dedicates about five pages to the task of listing her accomplishment in this role. “... she managed to restore a sense the real bel-canto nature of this Verdi heroine, a nature that had been glossed over by years of heavier sopranos singing the part imprecisely”... I’m also paraphrasing John here: is as if an old painting familiar but dim, has been cleaned to its original tints. He’s not all compliments, he also notes her unorthodox interpolations. If anyone can find this book, I’d recommend you read his critique of this role with great care. It is exquisite. It was published in 1991. I treasure my copy, it survived my apartment’s fire. ❤
Je préfère les représentations de Napoli et plus tard celles de la Scala en 53.Les extrapolations de Mexico surtout sur la cabalette du premier air ne sont pas appropriées.Mais ce qu'elle nous laisse comme document de son art du bel canto est absolument immense .Personne n'a jamais chanté Leonora avec une telle maîtrise ,une telle perfection et une telle précision ( les trilles sont fabuleux ❤️).Elle a redonné au rôle sa véritable nature belcantiste .Je ne vois personne pour faire mieux qu'elle.
@@eberlinpascal2837 Maestro Serafin wasn’t going to be working in Mexico, Guido Picco was to be the conductor for that season there. Serafin simply told her that he had no intention of laying the groundwork for another conductor’s performances. She was very surprised about his response as well. Serafin might have deprived her of his counsel, but Maria proved to be a great musician and worker by preparing on her own. What a magnificent singing and performance she gave.
Proof that it is possible to have everything, legato, fiexibility, shattering brilliant high notes, huge chest tones , a REAL trill, drama,pathos and a complex womanly voice… wonderful !
As a Mexican, I can help but feel a sense of privilege that my beautiful country was so lucky to witness La Divina in all of her splendor during these glorious years!
WOWZA! Joan Sutherland said of Callas, “Those who did not hear the Callas voice before 1955, did not hear the Callas voice.” While I don’t entirely agree with that assessment, this stupendous performance causes me to understand why she made it. Eye-popping.
Thank you Lohengrin. This is too magnificent for words. This is why when I listen to anyone else sing her repertoire I am unmoved. How can anyone even come close. You can say Maria has spoiled me. There used to be a video here on You tube of her final performance in Mexico City when the orchestra and the audience sing La Golondrina to her and she kneels of the stage and kisses it. It is by far the most moving tribute any artist can receive from her audience. It is truly wonderful that she had that experience. Thanks again.
❤Pues la leyenda dice también que María Callas y Di Stefano 'aprendieron a cantar en México ' es decir se "liberaron ahí"... magistral la Callas me ha hecho llorar desde la mañana...❤❤❤ muchas gracias
Több mint 40 éve nincs köztünk, de még ma is Ő a nagy varázsló, aki tehetsége, hihetetlen muzikalitása, drámaisága révén valóban felejthetetlen, Ő az operaéneklés örök csillaga, pótolhatatlan tehetsége!!!!!!!!!!!!!!!!!!!!!!!
My intro to Callas was years ago right here on YT: the two Leonora arias from Mexico 1950 and Violeta’s Act 1 aria from Mexico 1951. I don’t think I’ve ever recovered. Every other singer I’d heard before or have heard since has faded into insignificance by comparison.
Grazie Theo❤ Questo brano di Trovatore l’ho ascoltato moltissime volte, ma non riesco a non stupirmi per la bravura di Maria. Usa tutti i colori della sua voce per rendere il suo ruolo più drammatico.
Non aveva ancora compiuto 27 anni. Tullio Serafin si era rifiutato di prepararla, durante il viaggio in nave per il ruolo di Leonora. Lo ha studiato da sola ed il risultato lo ascoltiamo tutti. Grazie sempre cara Maria!
Depois de ouvir Callas é impossível passar de imediato a outra cantora. Qualquer me parece medíocre. Só ela,com o seu lamento cantado, consegue despertar emoções!❤❤❤❤❤❤❤❤❤❤
On passe du sublime au sublimissime, et soudain à quelquechose qui va encore au-delà de la perfection de son chant, de sa diction : sa musicalité absolue
Così giovane e già immensa.Serafin non l aiuto per poi diventare il suo più grande estimatore! disse che questa donna può cantare tutto quello che è stato scritto per una donna.piu di così.....
The recording is terrible BUT la prima donna assoluta is divine. I've never in 50 years of visiting operas in all the great houses heard anything remotely similar
@@LohengrinO A surprise for the offstage Manrico, Kurt Baum, who swore she will never sing again in America after *that* _Aida_ only 20 days before this _Trovatore_ 😂
It can't have been easy for him to share the stage with someone who was practically in another galaxy... but I mostly wonder what it can have been like for La Divina to share the stage with partners who were, artistically, far from being her equals (and sometimes were less than outstanding as human beings, too).
![Bellini: Norma - Callas, Corelli, Ludwig, Zaccaria, de Palma, Vicenci, Serafin (1960) [Subtitles]](http://i.ytimg.com/vi/IwiFz7XKJiw/mqdefault.jpg)
Maria prepared for this role on her own. Tullio Serafin refused to help her. John Ardoin in his “The Callas Legacy” book dedicates about five pages to the task of listing her accomplishment in this role. “... she managed to restore a sense the real bel-canto nature of this Verdi heroine, a nature that had been glossed over by years of heavier sopranos singing the part imprecisely”...
I’m also paraphrasing John here: is as if an old painting familiar but dim, has been cleaned to its original tints.
He’s not all compliments, he also notes her unorthodox interpolations.
If anyone can find this book, I’d recommend you read his critique of this role with great care. It is exquisite. It was published in 1991. I treasure my copy, it survived my apartment’s fire. ❤
I worship these interpolations
@@LohengrinO oh, I do too this performance is another one of her greatest ones. ♥️
Je préfère les représentations de Napoli et plus tard celles de la Scala en 53.Les extrapolations de Mexico surtout sur la cabalette du premier air ne sont pas appropriées.Mais ce qu'elle nous laisse comme document de son art du bel canto est absolument immense .Personne n'a jamais chanté Leonora avec une telle maîtrise ,une telle perfection et une telle précision ( les trilles sont fabuleux ❤️).Elle a redonné au rôle sa véritable nature belcantiste .Je ne vois personne pour faire mieux qu'elle.
Savez vous pourquoi le maestro Serafin aurait refusé de lui faire travailler le rôle ? Cela me surprend vraiment !
@@eberlinpascal2837 Maestro Serafin wasn’t going to be working in Mexico, Guido Picco was to be the conductor for that season there. Serafin simply told her that he had no intention of laying the groundwork for another conductor’s performances. She was very surprised about his response as well.
Serafin might have deprived her of his counsel, but Maria proved to be a great musician and worker by preparing on her own. What a magnificent singing and performance she gave.
Proof that it is possible to have everything, legato, fiexibility, shattering brilliant high notes, huge chest tones , a REAL trill, drama,pathos and a complex womanly voice… wonderful !
As a Mexican, I can help but feel a sense of privilege that my beautiful country was so lucky to witness La Divina in all of her splendor during these glorious years!
in her absolute BEST vocal and interpretive shape... thank God those recordings exist
Thanks to Mexico indeed!
Maria Callas offers *humanity* depths and heights of human soul. And an extra-human vocal rendition.
WOWZA! Joan Sutherland said of Callas, “Those who did not hear the Callas voice before 1955, did not hear the Callas voice.” While I don’t entirely agree with that assessment, this stupendous performance causes me to understand why she made it. Eye-popping.
The only one thing I would have desired is to be attending those wonderful performances in Bellas Artes. Thank you, Lohengrin!
Thank you Lohengrin. This is too magnificent for words. This is why when I listen to anyone else sing her repertoire I am unmoved. How can anyone even come close. You can say Maria has spoiled me. There used to be a video here on You tube of her final performance in Mexico City when the orchestra and the audience sing La Golondrina to her and she kneels of the stage and kisses it. It is by far the most moving tribute any artist can receive from her audience. It is truly wonderful that she had that experience. Thanks again.
05:17 All the Pain…all the heart of Leonora in One note! What a Huge High D! Thank you Maria!❤
Talk about a high-wire act! My goodness. Even her breaths add to the characterization. No one equals Callas. Here life was the ultimate opera.
That is not real… it’s heaven!! ❤
❤Pues la leyenda dice también que María Callas y Di Stefano 'aprendieron a cantar en México ' es decir se "liberaron ahí"... magistral la Callas me ha hecho llorar desde la mañana...❤❤❤ muchas gracias
Több mint 40 éve nincs köztünk, de még ma is Ő a nagy varázsló, aki tehetsége, hihetetlen muzikalitása, drámaisága révén valóban felejthetetlen, Ő az operaéneklés örök csillaga, pótolhatatlan tehetsége!!!!!!!!!!!!!!!!!!!!!!!
Ein es wahr ist, dass der liebe Gott manchmal Engel auf die Erde schickt, war diese Frau einer davon.
Imagine being there at that historic moment. Chills!
I wouldnt be able to restrain myself on the D6
My intro to Callas was years ago right here on YT: the two Leonora arias from Mexico 1950 and Violeta’s Act 1 aria from Mexico 1951. I don’t think I’ve ever recovered. Every other singer I’d heard before or have heard since has faded into insignificance by comparison.
thats the Callas Effect best described by Yves Saint Laurent as an Eagle who covered up under her Gigantic Wings all who existed before or since
@@LohengrinO Never heard that quote before. Love it, thanks!
Grazie Theo❤ Questo brano di Trovatore l’ho ascoltato moltissime volte, ma non riesco a non stupirmi per la bravura di Maria. Usa tutti i colori della sua voce per rendere il suo ruolo più drammatico.
Che fortuna poter godere di simili tesori. Grazie!
Beyond magnificent. Maria's Misserre is incomparable.
Non aveva ancora compiuto 27 anni. Tullio Serafin si era rifiutato di prepararla, durante il viaggio in nave per il ruolo di Leonora. Lo ha studiato da sola ed il risultato lo ascoltiamo tutti. Grazie sempre cara Maria!
If she sing this song today, would she wow the common people like a pop singer does? I’d like to think so.
Maria Callas was an operatic monster,Brava!
Depois de ouvir Callas é impossível passar de imediato a outra cantora. Qualquer me parece medíocre. Só ela,com o seu lamento cantado, consegue despertar emoções!❤❤❤❤❤❤❤❤❤❤
Sublime! Tha Alpha and the Omega of singing and performing... No other comment...
Flawless young Maria 🥰
On passe du sublime au sublimissime, et soudain à quelquechose qui va encore au-delà de la perfection de son chant, de sa diction : sa musicalité absolue
Love the costume
Unica, Divina, Sublime...
La exquisitez de los trinos... Sublime.
*There is no Callas quite like BIG Callas.*
Ήταν μια φορά κι έναν καιρό .....
Να είσαι καλά, φίλε Τεό.
CALLAS ETERNA
Из всего Верди мне нравятся лишь три оперы - Трубадур, Травиата и Риголетто, а из трёх лучшая ария "На крыльях любви".
Così giovane e già immensa.Serafin non l aiuto per poi diventare il suo più grande estimatore! disse che questa donna può cantare tutto quello che è stato scritto per una donna.piu di così.....
❤❤❤❤❤❤❤❤❤
The recording is terrible BUT la prima donna assoluta is divine. I've never in 50 years of visiting operas in all the great houses heard anything remotely similar
4:24-6:18 🌹🌹🌹
5:17 !!
@@LohengrinO A surprise for the offstage Manrico, Kurt Baum, who swore she will never sing again in America after *that* _Aida_ only 20 days before this _Trovatore_ 😂
0:00-12:26 Un miracle !
@@LohengrinO Amazing... 🙏🏻
It can't have been easy for him to share the stage with someone who was practically in another galaxy... but I mostly wonder what it can have been like for La Divina to share the stage with partners who were, artistically, far from being her equals (and sometimes were less than outstanding as human beings, too).
What year was this please?
1950. Performance at the Palacio de las Bellas Artes, Mexico City.
NON HUMAN SINGER