Album available // Bellini: Norma by Maria Callas ***Listen to our latest mastering update (2023)*** : cutt.ly/tem7kzVT 🎧 Qobuz cutt.ly/Tem7hfs2 Tidal cutt.ly/Xem7hIYs 🎧 Deezer cutt.ly/bem7jmfS Amazon Music cutt.ly/2em7j7sT 🎧 Napster cutt.ly/Tem7k1da RUclips Music cutt.ly/tem7kzVT 🎧 Pandora, Anghami, Soundcloud, QQ音乐, LineMusic 日本… Vincenzo Bellini (1801-1835) - Norma : Opera in Two Acts. *Click to activate the English subtitles for the presentation* (00:00-03:38) Introduction with the Famous "Casta Diva" (00:00) Overture (07:22) Act 1 Ite Sul Colle (13:16) Svanir Le Voci (23:18) Norma Viene (31:42) Sediziose Voci (36:27) Casta Diva (40:48) Fine Al Rito E Il Sacre Bosco (48:07) Sgombra È La Sacra Selva (53:13) Eccolo ! Va (59:16) Va, Crudele (1:00:53) Vanne, E Li Cela Entrambi (1:09:30) Oh, Rimembranza (1:17:37) Ma Di’ L’Amato Giovane (1:26:07) Oh Non Tremare (1:27:35) Oh Di Qual Sei Tu Vittima (1:29:09) - Act 2 Dormono Entrambe.. Mi Chiami, O Norma! (1:37:22) Deh! Con Te (1:49:14) Mira, O Norma.. Cedi, Deh Cedi (1:53:28) Non Partì (2:00:42) Guerrieri, A Voi Venite.. Ah Del Tebro Al Gioggo Indegno (2:06:15) Ei Tornerà. Si.. Norma, Che Fu (2:11:09) Guerra! Guerra! (2:17:11) Nè Compi Il Rito.. Sacrilego Nemico (2:19:23) In Mia Man (2:23:37) Damni Quel Ferro (2:31:49) Qual Cor Tradisi (2:35:16) Norma, Deh! Norma Scolpati! (2:40:02) -- Norma : Maria Callas Pollione : Mario Filippeschi Adalgisa : Ebe Stignani Oroveso : Nicola Rossi-Lemeni Flavio : Paolo Caroli Clotilde : Rina Cavallari Coro del Teatro alla Scala, Milano Maestro del coro : Vittore Veneziani Orchestra del Teatro alla Scala, Milano Direttore : Tullio Serafin Recorded in 1954 New mastering in 2018 by AB for CMRR Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr -- En Gaule, vers 50 avant Jésus-Christ, dans la forêt sacrée des Druides. Le Grand Prêtre Orovese, qui prêche la révolte contre l'occupant romain, invite son peuple à se rendre sur la colline pour fêter la pleine lune, leur chaste déesse. Le proconsul romain Pollione, a eu secrètement deux enfants de la Grande Prêtresse Norma, fille d'Orovese. Volage, il aime maintenant la jeune Adalgise et voudrait l'emmener à Rome - car il ne supporte plus ce peuple de barbares. - Sous la clarté de la lune, Norma coupe le gui avec une faucille d'oc et invite les Gaulois à préserver la paix. Elle dit ensuite à su servante son pouc Pollione, que les druides pourtant mettraient volontiers à mort. Adalgise, amoureuse de Pollione, demande aux dieux de lui épargner cette passion. Mais Pollione la rejoint et elle consent à se sauver avec lui. En tout innocence, elle va se confier à Norma. Évoquant sa propre destinée, Norma lui montre la plus grande compassion... jusqu'à ce que paraisse l'objet de cet amour, Adalgise, enfin mise au courant de la situation, jure de mourir plutôt que de partir avec le traître. - Norma, désespérée, voudrait tuer les enfants que lui a donnés Pollione. Elle n'en trouve pas le courage. Elle fait alors appeler Adalgise et lui demande d'épouser le Romain et d'emmener les enfants. La jeune fille rivalise en grandeur d'âme et promet de persuader le parjure : il reviendra à de bons sentiments! Les deux « rivales se réconcilient pleinement. Orovese apprend l'arrivée d'un nouveau proconsul, encore plus cruel que Pollione. Mais l'heure de la révolte ne tardera plus. - Adalgise a échoué : Pollione veut l'enlever de force. Norma jure de se venger dans des flots de sang et déclenche le grand soulèvement des Gaulois. Il faut aux druides une victime expiatoire : Pollione, arrêté, tiendra ce rôle. Dans un dernier entretien, Norma tente de le fléchir. Vainement : « Plutôt la mort, dit-il, que de renoncer à Adalgise ! » Elle lui montre que sa disparition sera le signal affreux carnage il réclame pourtant le supplice. - Elle appelle alors les Gaulois et fait préparer le bûcher pour une autre victime : une prêtresse qui a renié ses vœux. Elle avoue publiquement sa faute. supplie Orovese d'épargner les enfants et monte au bûcher avec Pollione. - En 1954, Maria Callas est dans la plénitude de sa voix ; elle est aussi à ce moment où elle va faire redécouvrir la vérité du bel canto romantique, débarrassé des traditions véristes, restituant la pureté de la ligne, la science des nuances, l'alchimie des inflexions pour construire un personnage depuis sa peau jusqu'à son sang, jusqu'à sa moelle. - Et là, avec ce rôle qui sera peut-être son plus beau, son plus accompli, elle porte le feu dans cette voix qu'elle plie à toutes les ombres et à tous les éclats : qu'on écoute « « Mira o Norma » et le déchirant « In mia man », ces deux duos, avec Adalgise d'abord, avec Pollione ensuite, dans lesquels Callas calcule l'effet de sa voix pour l'accorder à ses partenaires - génie du théâtre; qu'on écoute, bien sûr, son fameux « Casta Diva » devenu légendaire, où toutes les nuances sont convoquées pour peindre un camée vivant et entendre en filigrane le frémissement qui l'agite. -- Joachim Andersen - Bellini’s Casta Diva for Flute and Piano ..+ Presentation (rf.rc.: Toke Lund Christiansen) : ruclips.net/video/9LXwKBVVtZo/видео.html - Bellini - La Sonnambula Opera - Ah! non credea mirarti (Maria Callas - ref.recording: Antonio Votto): ruclips.net/video/T9J9JxVAm70/видео.html - Giacomo Puccini & Vincenzo Bellini PLAYLIST (reference recordings) : ruclips.net/video/96TbPwQn-9A/видео.html
Admirar a la única soprano asolutta de que se tiene registro en el siglo XX, heredera de las grandes divas que extrenaron las operas de su repertorio es un privilegio de las generaciones que después de su legado continuan admirando sus grabaciones. Sumaba a sus tres octavas y un semi tono, una admirable dicción y una excelente técnica capaz de aligerar la robustez de su voz a límites inigualables. Su voz caia como una contralto en los abismos verdianos, pasaba por la cavernocidad de una mezzo-soprano que le permitía interpretar todo el registro para esa voz sin ningún problema, intretando desde una Carman exepcional a títulos de Rossini con absoluto dominio belcantista sin apartarse del color necesario para darle al persona el énfasis necesario. Superlativa en el registro de soprano dramática que le hizo merecer ser la exhumadora de óperas tan complejas como Macbeth o Nabucco. Su registro de soprano lírica y de coloratura dejó sus mejors momentos en óperas tales como Traviata, Aida, Tosca, Manon Lescaut, Forza del destino, La Gioconda, sin olvidar su sublime Norma y la inigualable Medea de Cherubini. Sus notas de soprano ligera sumado a una facilidad inigualable para aligerar la voz indispensable para maravillar en la Sonambula y Lacmé. El robusto caudal vocal, su musculatura laringea incomparable le permitió cantar en la Fenice de Venecia, cuando aún su carrera estaba dando los primeros pasos La Walkiria de Wagner y a la semana maravillar al mismo público con una Elvira de I Puritani de Bellini cuya tesitura está en las antípodas del genio aleman. Su Lucia di Lammermoor es inigualable. Operas como Il Pirata de Bllini o Armida de Rossini no pudieron ser igualadas nunca más. Elizabeth Schwarkopf, eximia soprano alemana, al escuchar a Callas en La Traviata, en la Arena di Verona, al salir dijo que ella no cantaría nunca más esta ópera. Al preguntarle el reportero por qué decia eso, ella respondió: para que intentar cantar lo que María hace en forma superlativa e inigualable. Elvira de Hidalgo, su maestra le mudó su técnica y expriencia en el bel canto tradicional y esto, sumado a sus dotes de gran actriz, la convirtieron en la Divina.
J'adore! Everytime I sing Bellini or Verdi or Puccini, it’s impossible for me not to be inspired by the great Maria. There's always a bit of her in every note I play
Hormis la fantastique et sublime Maria Callas, la direction de Serafin (orchestre) et surtout la direction de chœur de Vittore Veneziani sont exceptionnelles.
La differenza tra una grande cantante e la Callas è che basta il recitativo di ingresso di Norma per capire la grandezza della "Divina". Poi procedendo con Casta Diva, duetti ecc. si ha la conferma. Molte altre soprano hanno cantato Norma in modo meraviglioso, a volte con voce più pulita, pianissimi più dolci, acuti più.... ma una frase della Callas fa capire subito la sua grandezza. Norma è Callas. Lo stesso almeno per Sonnambula, Traviata, Armida, Tosca e forse altre eroine. Quando attacca Casta Diva mi vengono le lacrime agli occhi perché ho sentito decine di altre Casta Diva ma questa emozione solo da LEI
La mayoría de los comentarios se refieren al gran momento que atravesaba la Callas en el 54. Cierto. Pero insisto, aún si María Callas en las peores etapas de su carrera hubiera decidido, no cantar la Norma, sino recitarla, declamarla, seguiría siendo mil veces mejor que todas las sopranos de hoy día . La Callas es y seguirá siendo EXTRAORDINARIA!!!Gracias❤❤❤
La Divina musica di Vincenzo Bellini cantata e interpretata divinamente da Maria Callas & Co. Un' edizione della Norma come questa nei giorni odierni c'è la possiamo semplicemente scordare.
Salutări din partea unui mare fan al Mariei Callas. Eu am această înregistrare pe CD de la EMI, dar prezenta masterizare are un sunet mai bun. Înregistrarea a fost făcută la Cinema Metropol din Milano în 1954. Toate cele bune, Gabriel D
норма моя любимая опера но в исполнении м каласс нет слов чтоб передать мой восторг от прослушивания этой прекрасной оперы спасибо за счастье что была в театре милана
Une des plus grandes oeuvres de l'histoire de l'opéra et une divine interprète. Maria Callas une des plus grandes interprètes de «Casta Diva». Merveilleux !
@milanetc4865: You should check out the stereo 1960 version, the MADAMA BUTTERFLY recording and several live ones like the 1955 LA SONNAMBULA conducted by Bernstein.
Ovvio che appartiene al mondo intero, come tutti i più grandi geni, compositori ed artisti esistiti ed esistenti. Detto ciò ribadisco che Vincenzo Bellini, detto il cigno catanese, nacque a Catania (città che lo ama e lo omaggia intintolandogli il suo meraviglioso teatro lirico). Il nonno, Vincenzo Tobia Nicola Bellini (di origini abruzzesi), fu un celebre compositore di musica sacra. Ingaggiato dal mecenate catanese Ignazio Paternò-Castello V, principe di Biscari, si trasferisce definitivamente a Catania dove conosce la moglie, la catanese Michelina Burzì, dalla quale ebbe cinque figli. Il primogenito Rosario, compositore minore, sarà a sua volta padre del ben più celebre Vincenzo.
@@danielaardizzone2687 Non se la prenda perchè conosco bene la storia di bellini,posso aggiungere che gli studi al conservatorio di napoli vennero pagati dal comune di Catania,e morto giovane avesse vissuto come alcuni suoi colleghi penso non ci sarebbero stati eguali,mi permetto di consigliare di ascoltare(i Puritani Callas Di Stefano del 1952,mi scuso non volevo irritarla.
Absolutely delightful. A wonderful gift shared with us. Maria Callas, a name that will never be forgotten. I am not an 'opera buff' but I know what I like and her voice is simply enthralling.
@@BaroneVitellioScarpia1 During these dreadful times I am enjoying my new found delight in opera. I have noticed that I am favouring the singers from the past. Am I being biased? Nomatter, it is all wonderful.
Callas estaba en la plenitud en esta histórica grabación. Imposible no estremecerse, llorar incluso, escuchándola. Gracias por subir estos inolvidables momentos.
Fantástica essa gravação! Há muito gosto de Fado, de Bocelli, de Pavarotti em sua versões mais populares...Mas, de Ópera, fiquei encantada depois de ouvir "La Divina" Callas brincar, sem dificuldades, de subir e descer sua voz. Em sua melhor fase, ela não era desse mundo! Tinha uma voz superba, de anjo!
+Classical Music -- Thank you very much for sharing this rare masterpiece. Such gems should not be lost to future generations. I appreciate you doing your part to preserve the West's heritage of great works of music. Long live the voice of Callas!
@@TheVaughan5 Maybe dead to you, but not to others. Yes, good singers, but the kind who will be remembered and cherished for generations to come? Doubtful. Only time will tell, but I've yet to hear anyone singing now who makes me forget Callas, Sutherland, Nilsson, Te Kanawa, Fleming or Domingo, Bruson, Cappuccilli, Diego Flores, Caruso, Pavarotti, Milnes, Di Stefano, Corelli, MacNeil, Chernov, Diaz, Ghiaurov, Furlanetto, Morris, well, I could go on and on.
@@uppityglivestockian Yes people who applaud the most woeful singing today have no idea what the art of Italian opera is or should I say was all about. It's most likely that the few good singers today won't be remembered because as I say the art is dead so they are exceptions to the rule and don't enjoy the following or fan base that the greats of the past had. Today's opera is all about freak producers, the singers are secondary.
@@TheVaughan5 Right, the classic Italian vocal pedagogy has been abandoned for who knows how long now. It looks, to me, as if classic vocal pedagogy is still strong and prolific in the Caucasus Region, i.e., Russia, Bulgaria, Romania, and so on.
Callas and Norma, Wonderful excerpts to discover the work : 40:48 ; 1:17:37 ; 1:27:35 ; 1:29:09 ; 1:43:22 ; 1:49:31 ; 1:53:29 ; 2:12:16 ; 2:23:46 ; 2:24:23 ; 2:29:22 ; 2:42:43.. On 30th November 1948 the young Maria Callas made her debut in Bellini’s Norma at the Teatro Communale in Florence under the direction of Tullio Serafin, who prepared the 25-year-old soprano for that exacting role after her studies with Elvira de Hidalgo in Athens. Callas revived the Romantic bel canto style in a truly revolutionary manner with her individual voice and vast vocal range which extended from high coloratura to heavy, dark dramatic soprano. The tenor Mirto Picchi was her first Pollione and his memoirs vividly describe the elation of both public and critics alike after that first night in Florence. Zaffirelli has said ‘’Maria identified with Norma greatly. In a way it was her own story. Maria, after all, is a high priestess of her art. Yet, at the same time, she is the most fallible of women. Very human. As Norma, Maria created the maximum of what opera can be. In a lifetime, one can see many great things in the theatre, but to see Maria Callas in Norma, what is there to compare to it ? Maria Callas - 90 Opera Arias, Carmen, Norma, Tosca, Traviata, Butterfly.. NEW MASTERING (Ct.rec.) : ruclips.net/video/VU1CZWEzQDA/видео.html
Amazingly beautiful! Listening to how Bellini nurtures the beauty of a melody here, I can understand why Chopin so admired Bellini. The most subtle elaboration of the melody results in such beauty. Also, the interplay between solo voce and chorus is absolutely brilliant. Bellini creates this wonderful beauty of the aria supported by the chorus. So beautiful! And then of course there’s Callas...
viverito yes Wagner said, that Norma would stay forever, which is however somewhat arrogant in itself. I however doubt, that Bellini would have liked Wagner, perhaps he would have admired his unquestionable mastership, but I doubt he would have liked the results of it
@@viverito It's the opposite, a section of Norma that sounds Wagnerian: ruclips.net/video/hOB3xJ5k8mg/видео.html, although plainly Wagner sought the secret of Bellini's technique of continuous melody in Norma, finding it perhaps in Tristan and Die Walkure.
There will never be another Norma to compare with Callas. I just wish they had chosen another tenor rather than Filippeschi for this recording. Callas first sang Bellini's Norma in 1948, when she was just 25. She went on to perform the role of the heroic, but vulnerable Druid priestess -the ultimate embodiment of bel canto - more frequently than any other. In the second studio recording her conductor was again Tullio Serafin (he originally tutored her in the role in 1948), and the venue was again La Scala - where the opera was premiered in 1831. By 1960, Callas brought a wealth of new nuance to her interpretation, and she is aptly partnered by the creamy-voiced Christa Ludwig (in a rare recording of an Italian role) and the towering Franco Corelli.
@BaroneVitellioScarpia1: Sutherland’s first one with Horne and Alexander is not negligible and shouldn’t be ignored. There is no reason to sacrifice yourself or your reasoning on the alter of Callas.
@@johnpickford4222 The art of commentary is above all that of consciousness. When you have nothing to say that can add to the silence, you have to silent. So shut up. You trouble the music.
Callas, easily the best Norma of all time. Filippeschi is not my cup of tea as Polione. Stignani is marvelous as Adalgisa. Great recording, thanks much for sharing. Paz y salud.
Se considera por expertos que la historia de la Ópera se divide entre antes de ella y después de ella, con una voz impresionante, que va desde los tonos de soprano ligera hasta dramática por su registro de voz, único en el mundo, pues, alcanzaba 2 y media escala de registro
Tullio Serafin conducts here in slow tempi. Only the singer with solid technical background, and belcanto technique will successfully go through this seemingly simple score. Today, few singers have even basic musical schooling, not to mention basic belcanto technique - they sing this opera , breaking their voices ang destroying the opera itself.
Very sadly true! The art of Bel Canto singing is almost gone now! No more Serafins, no more Callas's. No more of the great artists that truly knew and understood this great school of music. Maybe in another era in the future, it may re-surface. But it will take another Serafin and Callas combination! (And a great teacher like di Hidalgo).
@@artdanks I think it’s highly unlikely that great opera singing will ever return simply because the art of teaching has gone. - the fact that a Scala audience can applaud the most dire performance imaginable tells the whole story.
If, God forbid, Casta Diva would have the first aria in the opera, it would have been unnecessary to stay for the rest of the performance. Thanks so very, very much for posting of Maria at her prime.
Grandis dans les cafes a menilmontant paris 20 Ou il est ecrit you want to play you get to pay Interdit au moin de 18 ans Si on secoue trop le flipper cela entraine le TILT fin de partie Dommage qu il n y ait pas de flipper dans toute les ecoles Bonne journee
The 1960 recording is the reference. Corelli is better than Fillipeschi, the young Christa Ludwig is much more suited to Adalgisa than Stignani, and Zaccaria is more steady than Niccola Rossi-Lemeni. Serafin's conducting is pretty much the same, it's just Callas' voice is definitely fresher in the 1954 recording, but I still think the later recording trumps it.
Ich mag mich nicht entscheiden müssen, wer sagt, dass ich es muss?, der erotische Schönklang von Corelli-Ludwig oder die lodernde Leidenschaft der jüngeren Maria Callas? Was für ein Luxus, dass wir die Möglichkeit haben, auszuwählen.
![Bellini: Norma - Callas, Corelli, Ludwig, Zaccaria, de Palma, Vicenci, Serafin (1960) [Subtitles]](http://i.ytimg.com/vi/IwiFz7XKJiw/mqdefault.jpg)
![Bellini: Norma - Callas, Corelli, Ludwig, Zaccaria, de Palma, Vicenci, Serafin (1960) [Subtitles]](/img/tr.png)
Album available // Bellini: Norma by Maria Callas
***Listen to our latest mastering update (2023)*** : cutt.ly/tem7kzVT
🎧 Qobuz cutt.ly/Tem7hfs2 Tidal cutt.ly/Xem7hIYs
🎧 Deezer cutt.ly/bem7jmfS Amazon Music cutt.ly/2em7j7sT
🎧 Napster cutt.ly/Tem7k1da RUclips Music cutt.ly/tem7kzVT
🎧 Pandora, Anghami, Soundcloud, QQ音乐, LineMusic 日本…
Vincenzo Bellini (1801-1835) - Norma : Opera in Two Acts.
*Click to activate the English subtitles for the presentation* (00:00-03:38)
Introduction with the Famous "Casta Diva" (00:00)
Overture (07:22)
Act 1
Ite Sul Colle (13:16)
Svanir Le Voci (23:18)
Norma Viene (31:42)
Sediziose Voci (36:27)
Casta Diva (40:48)
Fine Al Rito E Il Sacre Bosco (48:07)
Sgombra È La Sacra Selva (53:13)
Eccolo ! Va (59:16)
Va, Crudele (1:00:53)
Vanne, E Li Cela Entrambi (1:09:30)
Oh, Rimembranza (1:17:37)
Ma Di’ L’Amato Giovane (1:26:07)
Oh Non Tremare (1:27:35)
Oh Di Qual Sei Tu Vittima (1:29:09)
-
Act 2
Dormono Entrambe.. Mi Chiami, O Norma! (1:37:22)
Deh! Con Te (1:49:14)
Mira, O Norma.. Cedi, Deh Cedi (1:53:28)
Non Partì (2:00:42)
Guerrieri, A Voi Venite.. Ah Del Tebro Al Gioggo Indegno (2:06:15)
Ei Tornerà. Si.. Norma, Che Fu (2:11:09)
Guerra! Guerra! (2:17:11)
Nè Compi Il Rito.. Sacrilego Nemico (2:19:23)
In Mia Man (2:23:37)
Damni Quel Ferro (2:31:49)
Qual Cor Tradisi (2:35:16)
Norma, Deh! Norma Scolpati! (2:40:02)
--
Norma : Maria Callas
Pollione : Mario Filippeschi
Adalgisa : Ebe Stignani
Oroveso : Nicola Rossi-Lemeni
Flavio : Paolo Caroli
Clotilde : Rina Cavallari
Coro del Teatro alla Scala, Milano
Maestro del coro : Vittore Veneziani
Orchestra del Teatro alla Scala, Milano
Direttore : Tullio Serafin
Recorded in 1954
New mastering in 2018 by AB for CMRR
Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr
--
En Gaule, vers 50 avant Jésus-Christ, dans la forêt sacrée des Druides. Le Grand Prêtre Orovese, qui prêche la révolte contre l'occupant romain, invite son peuple à se rendre sur la colline pour fêter la pleine lune, leur chaste déesse. Le proconsul romain Pollione, a eu secrètement deux enfants de la Grande Prêtresse Norma, fille d'Orovese. Volage, il aime maintenant la jeune Adalgise et voudrait l'emmener à Rome - car il ne supporte plus ce peuple de barbares.
-
Sous la clarté de la lune, Norma coupe le gui avec une faucille d'oc et invite les Gaulois à préserver la paix. Elle dit ensuite à su servante son pouc Pollione, que les druides pourtant mettraient volontiers à mort. Adalgise, amoureuse de Pollione, demande aux dieux de lui épargner cette passion. Mais Pollione la rejoint et elle consent à se sauver avec lui. En tout innocence, elle va se confier à Norma. Évoquant sa propre destinée, Norma lui montre la plus grande compassion... jusqu'à ce que paraisse l'objet de cet amour, Adalgise, enfin mise au courant de la situation, jure de mourir plutôt que de partir avec le traître.
-
Norma, désespérée, voudrait tuer les enfants que lui a donnés Pollione. Elle n'en trouve pas le courage. Elle fait alors appeler Adalgise et lui demande d'épouser le Romain et d'emmener les enfants. La jeune fille rivalise en grandeur d'âme et promet de persuader le parjure : il reviendra à de bons sentiments! Les deux « rivales se réconcilient pleinement. Orovese apprend l'arrivée d'un nouveau proconsul, encore plus cruel que Pollione. Mais l'heure de la révolte ne tardera plus.
-
Adalgise a échoué : Pollione veut l'enlever de force. Norma jure de se venger dans des flots de sang et déclenche le grand soulèvement des Gaulois. Il faut aux druides une victime expiatoire : Pollione, arrêté, tiendra ce rôle. Dans un dernier entretien, Norma tente de le fléchir. Vainement : « Plutôt la mort, dit-il, que de renoncer à Adalgise ! » Elle lui montre que sa disparition sera le signal affreux carnage il réclame pourtant le supplice.
-
Elle appelle alors les Gaulois et fait préparer le bûcher pour une autre victime : une prêtresse qui a renié ses vœux. Elle avoue publiquement sa faute. supplie Orovese d'épargner les enfants et monte au bûcher avec Pollione.
-
En 1954, Maria Callas est dans la plénitude de sa voix ; elle est aussi à ce moment où elle va faire redécouvrir la vérité du bel canto romantique, débarrassé des traditions véristes, restituant la pureté de la ligne, la science des nuances, l'alchimie des inflexions pour construire un personnage depuis sa peau jusqu'à son sang, jusqu'à sa moelle.
-
Et là, avec ce rôle qui sera peut-être son plus beau, son plus accompli, elle porte le feu dans cette voix qu'elle plie à toutes les ombres et à tous les éclats : qu'on écoute « « Mira o Norma » et le déchirant « In mia man », ces deux duos, avec Adalgise d'abord, avec Pollione ensuite, dans lesquels Callas calcule l'effet de sa voix pour l'accorder à ses partenaires - génie du théâtre; qu'on écoute, bien sûr, son fameux « Casta Diva » devenu légendaire, où toutes les nuances sont convoquées pour peindre un camée vivant et entendre en filigrane le frémissement qui l'agite.
--
Joachim Andersen - Bellini’s Casta Diva for Flute and Piano ..+ Presentation (rf.rc.: Toke Lund Christiansen) : ruclips.net/video/9LXwKBVVtZo/видео.html
-
Bellini - La Sonnambula Opera - Ah! non credea mirarti (Maria Callas - ref.recording: Antonio Votto): ruclips.net/video/T9J9JxVAm70/видео.html
-
Giacomo Puccini & Vincenzo Bellini PLAYLIST (reference recordings) : ruclips.net/video/96TbPwQn-9A/видео.html
Classical Music/ /Reference Recording English
Classical Music/ /Reference Recording ENGLISH SUBTITLES
E un'opera che ogni volta che l'ascolto mi commuove fino alle lacrime,emozionate bellissima questa edizione in particolare.
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Admirar a la única soprano asolutta de que se tiene registro en el siglo XX, heredera de las grandes divas que extrenaron las operas de su repertorio es un privilegio de las generaciones que después de su legado continuan admirando sus grabaciones. Sumaba a sus tres octavas y un semi tono, una admirable dicción y una excelente técnica capaz de aligerar la robustez de su voz a límites inigualables. Su voz caia como una contralto en los abismos verdianos, pasaba por la cavernocidad de una mezzo-soprano que le permitía interpretar todo el registro para esa voz sin ningún problema, intretando desde una Carman exepcional a títulos de Rossini con absoluto dominio belcantista sin apartarse del color necesario para darle al persona el énfasis necesario. Superlativa en el registro de soprano dramática que le hizo merecer ser la exhumadora de óperas tan complejas como Macbeth o Nabucco. Su registro de soprano lírica y de coloratura dejó sus mejors momentos en óperas tales como Traviata, Aida, Tosca, Manon Lescaut, Forza del destino, La Gioconda, sin olvidar su sublime Norma y la inigualable Medea de Cherubini. Sus notas de soprano ligera sumado a una facilidad inigualable para aligerar la voz indispensable para maravillar en la Sonambula y Lacmé. El robusto caudal vocal, su musculatura laringea incomparable le permitió cantar en la Fenice de Venecia, cuando aún su carrera estaba dando los primeros pasos La Walkiria de Wagner y a la semana maravillar al mismo público con una Elvira de I Puritani de Bellini cuya tesitura está en las antípodas del genio aleman. Su Lucia di Lammermoor es inigualable. Operas como Il Pirata de Bllini o Armida de Rossini no pudieron ser igualadas nunca más. Elizabeth Schwarkopf, eximia soprano alemana, al escuchar a Callas en La Traviata, en la Arena di Verona, al salir dijo que ella no cantaría nunca más esta ópera. Al preguntarle el reportero por qué decia eso, ella respondió: para que intentar cantar lo que María hace en forma superlativa e inigualable. Elvira de Hidalgo, su maestra le mudó su técnica y expriencia en el bel canto tradicional y esto, sumado a sus dotes de gran actriz, la convirtieron en la Divina.
J'adore! Everytime I sing Bellini or Verdi or Puccini, it’s impossible for me not to be inspired by the great Maria. There's always a bit of her in every note I play
Hormis la fantastique et sublime Maria Callas, la direction de Serafin (orchestre) et surtout la direction de chœur de Vittore Veneziani sont exceptionnelles.
La differenza tra una grande cantante e la Callas è che basta il recitativo di ingresso di Norma per capire la grandezza della "Divina". Poi procedendo con Casta Diva, duetti ecc. si ha la conferma. Molte altre soprano hanno cantato Norma in modo meraviglioso, a volte con voce più pulita, pianissimi più dolci, acuti più.... ma una frase della Callas fa capire subito la sua grandezza. Norma è Callas. Lo stesso almeno per Sonnambula, Traviata, Armida, Tosca e forse altre eroine. Quando attacca Casta Diva mi vengono le lacrime agli occhi perché ho sentito decine di altre Casta Diva ma questa emozione solo da LEI
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Maria diventa il personaggio, la differita fra grande cantante ed Artista.
La mayoría de los comentarios se refieren al gran momento que atravesaba la Callas en el 54. Cierto. Pero insisto, aún si María Callas en las peores etapas de su carrera hubiera decidido, no cantar la Norma, sino recitarla, declamarla, seguiría siendo mil veces mejor que todas las sopranos de hoy día . La Callas es y seguirá siendo EXTRAORDINARIA!!!Gracias❤❤❤
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La Divina musica di Vincenzo Bellini cantata e interpretata divinamente da Maria Callas & Co. Un' edizione della Norma come questa nei giorni odierni c'è la possiamo semplicemente scordare.
This Norma made Maria.....she astounded the opera world....and in turn made Norma.
La voce di Maria Callas è celestiale
Le 3 ore più grandi di tutta la lirica
Opéra magnifique
En effet.
Questa musica è immortale, vivrà per sempre. Grazie Iutuble che ci dà la possibilità di asccottarla.
Великая Каллас!!!!!! Одно слово: "Божественная"! Драгоценнейший Бриллиант, сверкающий всеми своими гранями! Сейчас так уже никто не поёт, увы!
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Maria Calas, a goddess of opera singing.
La Divina at her best!!!!!
Callas had the most exciting voice of the 20th century . You knew it was😢her😢from the first note.
В такие моменты понимаешь, какое везенье сейчас жить! Благодарю за возможность слушать!)
спасибо за ваш комментарий :-)
Hello how are you doing today 💖
Callas, =The supreme voice of all Time ❤️👑🌏🙏👏👏👏👏
Salutări din partea unui mare fan al Mariei Callas.
Eu am această înregistrare pe CD de la EMI, dar prezenta masterizare are un sunet mai bun.
Înregistrarea a fost făcută la Cinema Metropol din
Milano în 1954. Toate cele bune, Gabriel D
@@dumitrescugabriel1704 respect deosebit! Și eu o divinizez! Sa fiți sănătos!
Absoluta diva, hasta hoy año 2021 no aparece nadie que la supere. Insuperable!!!.
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Maria Callas...insuperable!
la plus belle voix de l'opéra
норма моя любимая опера но в исполнении м каласс нет слов чтоб передать мой восторг от прослушивания этой прекрасной оперы спасибо за счастье что была в театре милана
Une des plus grandes oeuvres de l'histoire de l'opéra et une divine interprète. Maria Callas une des plus grandes interprètes de «Casta Diva». Merveilleux !
Je pense qu'il faudrait écrire 'la plus grande interprète de Casta Diva'.
This is my favourite Callas recording of all time. This is it!
@milanetc4865: You should check out the stereo 1960 version, the MADAMA BUTTERFLY recording and several live ones like the 1955 LA SONNAMBULA conducted by Bernstein.
Thanks. I prefer her vocals in the 1954 recording. Yes, I do like the 55 Butterfly.@@johnpickford4222
Vincenzo Bellini, il cigno catanese 😍 ❤️ e la grande voce di Maria Callas ❤️!
A parte che la famiglia bellini erano di origini abruzzesi Vincenzo nipote d'arte appartiene al mondo intero,grazie maestro per la bellissima opera.
Ovvio che appartiene al mondo intero, come tutti i più grandi geni, compositori ed artisti esistiti ed esistenti. Detto ciò ribadisco che Vincenzo Bellini, detto il cigno catanese, nacque a Catania (città che lo ama e lo omaggia intintolandogli il suo meraviglioso teatro lirico). Il nonno, Vincenzo Tobia Nicola Bellini (di origini abruzzesi), fu un celebre compositore di musica sacra. Ingaggiato dal mecenate catanese Ignazio Paternò-Castello V, principe di Biscari, si trasferisce definitivamente a Catania dove conosce la moglie, la catanese Michelina Burzì, dalla quale ebbe cinque figli. Il primogenito Rosario, compositore minore, sarà a sua volta padre del ben più celebre Vincenzo.
@@danielaardizzone2687 Non se la prenda perchè conosco bene la storia di bellini,posso aggiungere che gli studi al conservatorio di napoli vennero pagati dal comune di Catania,e morto giovane avesse vissuto come alcuni suoi colleghi penso non ci sarebbero stati eguali,mi permetto di consigliare di ascoltare(i Puritani Callas Di Stefano del 1952,mi scuso non volevo irritarla.
Absolutely delightful. A wonderful gift shared with us. Maria Callas, a name that will never be forgotten. I am not an 'opera buff' but I know what I like and her voice is simply enthralling.
Sublime!!!!!!!
Her voice is the best ever.
@@BaroneVitellioScarpia1 During these dreadful times I am enjoying my new found delight in opera. I have noticed that I am favouring the singers from the past. Am I being biased? Nomatter, it is all wonderful.
A beautiful voice. Music is a universal language.
Her voice gives me chills
*us
@dennismayugba3326: Is that good or bad chills?
Sublime voice on Casta diva
Callas estaba en la plenitud en esta histórica grabación. Imposible no estremecerse, llorar incluso, escuchándola. Gracias por subir estos inolvidables momentos.
Божественный голос , он уносит меня ввысь, я перестаю ощущать своё тело- только душа….
OMG I am speechless at the beauty of this.
Bellini , amb Norma Beautiful
MARIA UNICA PER SEMPRE
Fantástica essa gravação! Há muito gosto de Fado, de Bocelli, de Pavarotti em sua versões mais populares...Mas, de Ópera, fiquei encantada depois de ouvir "La Divina" Callas brincar, sem dificuldades, de subir e descer sua voz. Em sua melhor fase, ela não era desse mundo! Tinha uma voz superba, de anjo!
Uma das óperas mais lindas que eu conheço. MAJESTOSA!!!👏👏👏
Inmensamente extraordinaria voz 👍👌👌👏😘
Божественная Каллас по сердцу скребёт. И в "Норме" как бриллиант сверкает. И так красиво напевает. Что за душу берет
Wonderful, Callas is unbeatable! Неперевершена!
BELLEZA !!!!!!!! ÙNICA !!!!!!!!!!!
Muchas Gracias por compartir esta obra de arte, patrimonio de la humanidad.
We are humbly permitted to experience the Manifestation of the Divine on Earth ............
to quote : Music is an art from heaven.
@@classicalmusicreference No, I'm pretty sure he just means Callas.
XxSaruman82xX yes La Divina is her nickname
Thank you for sharing this divine beauty with us, mortals.
+Classical Music -- Thank you very much for sharing this rare masterpiece. Such gems should not be lost to future generations. I appreciate you doing your part to preserve the West's heritage of great works of music. Long live the voice of Callas!
Hello how are you doing today 💖
The Great Callas. La Divina. In those days we had giants in opera. Today there are only pygmies.
All true unfortunately. There are some very good singers today but very few and not in the realm of Italian opera which is a dead art.
@@TheVaughan5 Maybe dead to you, but not to others. Yes, good singers, but the kind who will be remembered and cherished for generations to come? Doubtful. Only time will tell, but I've yet to hear anyone singing now who makes me forget Callas, Sutherland, Nilsson, Te Kanawa, Fleming or Domingo, Bruson, Cappuccilli, Diego Flores, Caruso, Pavarotti, Milnes, Di Stefano, Corelli, MacNeil, Chernov, Diaz, Ghiaurov, Furlanetto, Morris, well, I could go on and on.
@@uppityglivestockian Yes people who applaud the most woeful singing today have no idea what the art of Italian opera is or should I say was all about. It's most likely that the few good singers today won't be remembered because as I say the art is dead so they are exceptions to the rule and don't enjoy the following or fan base that the greats of the past had. Today's opera is all about freak producers, the singers are secondary.
@@TheVaughan5 Right, the classic Italian vocal pedagogy has been abandoned for who knows how long now. It looks, to me, as if classic vocal pedagogy is still strong and prolific in the Caucasus Region, i.e., Russia, Bulgaria, Romania, and so on.
@@TheVaughan5 Freak producers and regie-vandals. It's insufferable.
Callas and Norma, Wonderful excerpts to discover the work : 40:48 ; 1:17:37 ; 1:27:35 ; 1:29:09 ; 1:43:22 ; 1:49:31 ; 1:53:29 ; 2:12:16 ; 2:23:46 ; 2:24:23 ; 2:29:22 ; 2:42:43.. On 30th November 1948 the young Maria Callas made her debut in Bellini’s Norma at the Teatro Communale in Florence under the direction of Tullio Serafin, who prepared the 25-year-old soprano for that exacting role after her studies with Elvira de Hidalgo in Athens. Callas revived the Romantic bel canto style in a truly revolutionary manner with her individual voice and vast vocal range which extended from high coloratura to heavy, dark dramatic soprano.
The tenor Mirto Picchi was her first Pollione and his memoirs vividly describe the elation of both public and critics alike after that first night in Florence. Zaffirelli has said ‘’Maria identified with Norma greatly. In a way it was her own story. Maria, after all, is a high priestess of her art. Yet, at the same time, she is the most fallible of women. Very human. As Norma, Maria created the maximum of what opera can be. In a lifetime, one can see many great things in the theatre, but to see Maria Callas in Norma, what is there to compare to it ?
Maria Callas - 90 Opera Arias, Carmen, Norma, Tosca, Traviata, Butterfly.. NEW MASTERING (Ct.rec.) : ruclips.net/video/VU1CZWEzQDA/видео.html
Amazingly beautiful! Listening to how Bellini nurtures the beauty of a melody here, I can understand why Chopin so admired Bellini. The most subtle elaboration of the melody results in such beauty.
Also, the interplay between solo voce and chorus is absolutely brilliant. Bellini creates this wonderful beauty of the aria supported by the chorus. So beautiful!
And then of course there’s Callas...
teddy toto Wagner was also a big admirer of Bellini. I forgot what Wagner opera it was, but there is a section in it that sounds like Norma.
viverito yes Wagner said, that Norma would stay forever, which is however somewhat arrogant in itself. I however doubt, that Bellini would have liked Wagner, perhaps he would have admired his unquestionable mastership, but I doubt he would have liked the results of it
@@viverito It's the opposite, a section of Norma that sounds Wagnerian: ruclips.net/video/hOB3xJ5k8mg/видео.html, although plainly Wagner sought the secret of Bellini's technique of continuous melody in Norma, finding it perhaps in Tristan and Die Walkure.
I've been listening to this recording for 30 years and I still discover nuances of her vocalism.
¡me emociona tanto que lloro cadavez que la escucho,no tendrian que morir genios asi!
!
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Yes, I agree with finding nuances that is only from Diva Maria. Other singers pale.
This channel is truly a hidden gem. Thank you for the regular uploads and superb quality of your content!
Thanks Jordan :-)
@@classicalmusicreference Я вас тоже люблю Привет из революционного Минска, Беларусь.
Мне тоже нравится этот канал.Здесь только музыка,её 100%звучание без искажений и помех.
Wunderschön....es ist göttlich danke
BELLEZA!!!!!!!!!!!!!!!!
There will never be another Norma to compare with Callas. I just wish they had chosen another tenor rather than Filippeschi for this recording. Callas first sang Bellini's Norma in 1948, when she was just 25. She went on to perform the role of the heroic, but vulnerable Druid priestess -the ultimate embodiment of bel canto - more frequently than any other. In the second studio recording her conductor was again Tullio Serafin (he originally tutored her in the role in 1948), and the venue was again La Scala - where the opera was premiered in 1831. By 1960, Callas brought a wealth of new nuance to her interpretation, and she is aptly partnered by the creamy-voiced Christa Ludwig (in a rare recording of an Italian role) and the towering Franco Corelli.
Знаете,мне понравился Марио Филиппески.Серафини не ошибся.
Powerful voice.
Tullio Serafin direzione eccezionale.
Oui c'est beau et c'est bien c'est sweet et c'est du bellini.
Ageless passion & beauty.
Unica …..Maria!
BRILLIANT! WITH COMPLIMENTS.
Buon compleanno Maria!
wonderfull Recording thanks for Upload
Me agrada tanto escucharla
My goodness! So sweet and adorable! I am in paradise, really))
:-)
Beautiful, thank you!!!
cheguei nesse vídeo por uma palestra da Lucia Helena Galvão que relatou que essa era a música favorita dela, agora sei a razão, é belíssima!
Thank you .. Bravissimo Grande Tenor .. MARIO FILIPPESCHI
아름답다... ㅜㅠ
I love this music
This and the 1960 one are the best two studio recordings of Norma.
@BaroneVitellioScarpia1: Sutherland’s first one with Horne and Alexander is not negligible and shouldn’t be ignored. There is no reason to sacrifice yourself or your reasoning on the alter of Callas.
@@johnpickford4222how about I decide what I listen to Callas is Norma for me after Callas I can’t feel other singers and lot of people feel like me
Sutherland sucks@@johnpickford4222
Thanks so much, good postage ! I own the original record, it is peerless. I I listened to it this morning, and sat on the chair; Then tears flowed.
@christianguignard9980: Well we all have are reactions to this but please contain yourself. You won’t be able to get through other recordings.
@@johnpickford4222 The art of commentary is above all that of consciousness. When you have nothing to say that can add to the silence, you have to silent. So shut up. You trouble the music.
Maria Callas!!!! Nessuna MAI!!!!!!❤
Grerat Tenor .. Maestro FILIPPESCHI
Muchas gracias classical music
Fantastic
瑪利亞-卡拉絲逝世,近50年,演唱功力,似前無古人,後無來者
La Ebe li mette tutti dietro di sé. Che technica straordinaria che voce bella e assolutamente nello stile.
Alexey Izmirliev non mi stancherò' mai di dire ascoltate la Elena Souliotis e poi fate il paragone Elena superba nessuna come lei
Will sing it in Morroco soon amazing
@thegoldberg8919: You? Who the heck are you? Is this Anna Netrebko??
What an amazing collection of arias! Great selection!
Волшебно!!! ❤❤❤
Callas, easily the best Norma of all time. Filippeschi is not my cup of tea as Polione. Stignani is marvelous as Adalgisa. Great recording, thanks much for sharing. Paz y salud.
Stignani is terrible here, how can you say she is great!? She was old in this recording, the voice is sharp, strident, horror.
This is a real 💎 my friend. Thank you Arnold Bourbon Amaral
Se considera por expertos que la historia de la Ópera se divide entre antes de ella y después de ella, con una voz impresionante, que va desde los tonos de soprano ligera hasta dramática por su registro de voz, único en el mundo, pues, alcanzaba 2 y media escala de registro
Maravilhosa!!!!!
Bela cancione live
Sensacional...
La mas GLORIOSA NORMA de LA CALLAS es a mi gusto la de la Scala con LA SIMIONATO y del MONACO, bajo la batuta de VOTTO!
@gencerito: You mean the live La Scala December 1955 performance.
Bravo for your work! Viva Maria! utube just in time by john bavas
Amoooo!!!!
Tullio Serafin conducts here in slow tempi. Only the singer with solid technical background, and belcanto technique will successfully go through this seemingly simple score.
Today, few singers have even basic musical schooling, not to mention basic belcanto technique - they sing this opera , breaking their voices ang destroying the opera itself.
Zev Targiel so true.
Very sadly true! The art of Bel Canto singing is almost gone now! No more Serafins, no more Callas's. No more of the great artists that truly knew and understood this great school of music. Maybe in another era in the future, it may re-surface. But it will take another Serafin and Callas combination! (And a great teacher like di Hidalgo).
It seems simple but it isn t.....
In those years Callas WAS Norma.
The live recording at la Scala with Del Monaco is fabulous!
@@artdanks I think it’s highly unlikely that great opera singing will ever return simply because the art of teaching has gone. - the fact that a Scala audience can applaud the most dire performance imaginable tells the whole story.
@@TheVaughan5 Unfortunately, I'm afraid I have to agree with you! Sooo sad! I'm glad that we still have recordings of the greats!
Heaven on Earth.
L’art ,son éternité
L’amour pour la Callas ne va jamais s’éteindre,la Diva en détient le secret ❤
❤❤❤❤❤❤❤❤❤
gr8ce
Sublime.
좋은음악 공유해주셔서 감사합니다 ❤
Divine
If, God forbid, Casta Diva would have the first aria in the opera, it would have been unnecessary to stay for the rest of the performance. Thanks so very, very much for posting of Maria at her prime.
:-)
Grandis dans les cafes a menilmontant paris 20
Ou il est ecrit you want to play you get to pay
Interdit au moin de 18 ans
Si on secoue trop le flipper cela entraine le TILT fin de partie
Dommage qu il n y ait pas de flipper dans toute les ecoles
Bonne journee
Thank you. This is truly sublime.
The 1960 recording is the reference. Corelli is better than Fillipeschi, the young Christa Ludwig is much more suited to Adalgisa than Stignani, and Zaccaria is more steady than Niccola Rossi-Lemeni. Serafin's conducting is pretty much the same, it's just Callas' voice is definitely fresher in the 1954 recording, but I still think the later recording trumps it.
Ich mag mich nicht entscheiden müssen, wer sagt, dass ich es muss?, der erotische Schönklang von Corelli-Ludwig oder die lodernde Leidenschaft der jüngeren Maria Callas? Was für ein Luxus, dass wir die Möglichkeit haben, auszuwählen.
Show!!!
Premiered #otd in 1831 🌹🌹🌹