Out of this world! 😃🌹 Is there anything that woman couldn’t do in her prime? 😅 What a gift to humanity that she lived in an era when her voice could be recorded for the rest of time!
Mine too. She is so good vocally especially in the dramatic coloratura roles, musically very accurate.. trills to die for and dramatically so convincing
Been listening to Callas' Elvira for days. How she managed to lighten her voice but yet project a totally healthy and supported sound is beyond me. The tidal wave of genius was pushing her forward, ever forward.
Is this the same woman who sang monster roles like Medea? She totally transforms herself to a light, nonchalant young woman with a hint of joy in her tone. She sounds youthful! Thanks for this!!
someone by listening to her complete thick fat sound here could suspect she was able to sing Medea and Gioconda... but someone listening to her 1957 Amina could no way think the same woman would the same year sing Medea like she did
"Is this the same woman who sang monster roles like Medea? She totally transforms herself to a light, nonchalant young woman with a hint of joy in her tone. She sounds youthful!" Yes, precisely for this reason she is considered one of the greatest vocal actresses in the history of opera. Different characters, different voices, different vocal characterizations, different qualities of voice. A girlish Gilda in Rigoletto, a commanding Turandot, Gioconda, Norma, etc. High flying light and virtuosic coloratura in Lakme's Bell Song, great depth of voice, chest voice, and searingly dramatic high notes in Gioconda's aria Suicidio!, and everything in between, all within about the same time period. That is Callas.
Love it ! The many voices that came from Callas was staggering. She could sing mezzo roles, she could be a demon like Medea, or a light voice like Elvira.
It’s sad she didn’t start performing mezzo roles when her top was going. We would have had some fantastic moments to remember. Not just the great soprano years. That is being selfish. Happy with what we have.
Those perfect chromatic descensions and ascensions (just before the high note) are breathtaking! That ending note is massive. Just as is the high D in "Ah, vieni al tempio".
Sublime.....is this the performance, where Di Stefano was listening to hear sing Qui la voce on stage in his dressing room? He said It was so beautiful and mesmerising he would never ever forget it......... what a compliment from such an artist.....thank you 😘
I love your description of early Callas in 'Full Fat'. I am assured by your repeated praise of this great singer that you are not being derogatory in what you say. Sure she was a big girl earlier on her career , so what. But what we Opera officiandos really appreciate was the 'fatness' of her voice. She displayed what the great divas of the past had possessed. A big voice that had flexibility and the ability to sing a variety of roles both dramatic and coloratura with the same instrument and with added qualities such as intense vocalisation and mesmirising interpretative powers.
A l'époque Maria était un phénomène vocal inégalé ,avec une extension vocale phénoménale qui lui permettait de chanter Tous les rôles de sopranos du répertoire du 19 e siècle .Ensuite en amaigrissant sa voix s'est allégée en gardant toujours cette virtuosité incroyable mais avec en plus un soucis de revenir à plus de sobriété et d'authenticité musicale .Callas était un phénomène vocal et une grande musicienne.
The quality in her voice was so rich,telling & true to the music she was interping. How we miss her my friend. VIVA LA CALLAS 👑💙 . aye Madre Mia 😢🎵💙 Arnold
Lohengrin O Referential in every Bel Canto role she sang. I was listening today to her entrance aria and cabaletta from La Sonnambula (with the famous flute staccato Eb6s) and I remain in awe at her timing, her synergy with the music, the chorus, the undulating vocal colours that poured from her as well as this mystifying technique that places notes cinematically as if she's not even singing!!! Callas's singing will never be repeated, because her voice transcended mere singing. It is the most vivid and pervasive artistic experience I can think of.
1955 was Callas' personal favorite year... she had once said: If only God could give me another year like 1955 (to sing what exactly I would ask her though :D)
Her Norma, Violetta, Amina in '55... All unrepeatable. I think 1955 was the perfect blend of pre-54 big voiced Callas and her thin-ultra feminine voiced years.
You want to hear her Eb6s, sign her up for Puritani! Yes, this is Callas. But, I do not hear Medea or L Macbeth here. This is a 16 year old girl with the most beautiful voice in the world. That trill at 0:44 is worth a thousand Eb6s IMO. It's like fingers running through your hair gently.
Yes!!! Agility accopanied by perfect legato!. But for me, the most remarkable thing here is how she keeps her voice light as a feather without ever sounding small. This is a testament to how big her voice was, not just agile.
Indeed.... the amount of control required to make that Tank of a Voice seem and sound like a Feather.. and to think that those years she had written a letter to her uncle saying: Im so happy! My voice gets heavier and heavier... I sound like a contralto these days!!! :D
@@LohengrinO Singers and teachers have forgotten that artistry in music means different colours and timbers. They all work to achieve and remain at ,,eveness of tone'' only. Among so many wonderful voices, Caruso, Gigli and Callas were able to use the change of their timber for the character of the music they sang.
Some people have the gift of a great voice (or musical ability) some have the gift of artistic genius, but very very few wed these gifts and pursue the goals of artistic truth with absolute unwavering devotion like Callas (or Heifetz imo)
There is something about her that is so awe - inspiring. There are many singers with beautiful voices but they don't touch my soul like Callas. Nobody comes close to Callas . She is the greatest artist ever. Hearing her makes me want to stop everything I'm doing and worship her - she's a divine being. We human beings don't deserve her ..
She sings with every fibre of her soul. Her work was her life. That’s when she was fully alive. Many were jealous of her power. She lived when she sang, beyond life.
In my experience, once I got into Callas nobody else could touch her in any way. I certainly love and appreciate many other beautiful voices and artists but there was nobody NOBODY ever eVER [and probably never will be] in the same stratosphere as Maria Callas. Incomparable. Untouchable. Period.
Lohengrin O, in my youth I used to think that Joan Sutherland was the best vocalist. But her diction n rather rather clouded mid voice troubled me... I took refuge in chamber music n solo instrumental.. but these past few years, your postings have ignited the fire once again for great vocalists. But importantly, I have come to appreciate the genius that is Maria Callas. Merci!
In the top register they actually compare although Sutherland never attempted several of the vocal stunts Callas did in her early years.. but Callas was a miraculous virtuoso throughout her range... listen to her Lady M's recitativi... the Voice flies through the words shaping musical phrases of unspeakable Genius... each phrase is a Miracle and it is in middle voice and no coloratura is required and it is still a Miracle no other has ever even remotely approached... Digital Articulation shaping Music of ingenius Depth
Che posso dire io Lohengrin O da incompetente quale sono ? Io mi delizio ascoltando questa voce...che non trova termini adeguati e giusti per definire questo Pianeta che a nome Callas....In breve...Lei è la meraviglia....la magnificenza....la grandezza stellare della Lirica....Tu sei indimenticabile Maria Callas ☆☆☆☆☆Elsa Asta
Damn Callas when she sang that E-flat, she made everthing and everybody completely dissapeared! Let’s talk about huge gigantic voices with Squillo all over the place!
vivemafille You can tell me whatever da fuck you want! You will not change my mind about Callas being the biggest voice of HISTORY! Every duet, every choir, every orchestration she was able to dominate with ease!
vivemafille You got the wrong one to fool babydoll. In this video: ruclips.net/video/L48-3eofsNY/видео.html. Do me a Big favor and forget the E flat at the end. This is a tough part to sing cause both the tenor and the soprano are having a duet while the heavy orchestra, soloist and the choir are BLASTING!!!! Now Callas is having this duet with the BIGGEST TENOR VOICE OF HISTORY who was Mario Del Monaco and Callas OVERSHADOWS Del Monaco and this with singing MEZZO FORTE PIANO with natural resonance without pushing yet her voice is so HUGE that almost before the end Del Monaco gives up....he gave up with Callas cause there simply was no way to compete with her volume. And Del Monaco never gave up! If anything he was a bully with other singers on stage cause his volume was way too much. FORGET THAT FINAL E FLAT - focus on the rest. Above heavy loud choir, MONSTER soloist with gigantic voices like Oralia Dominguez, Mario Del Monaco and a HUGE Verdi BRASS INSTRUMENT orchestra you only hear Callas above everybody. A feat that ABSOLUTELY NO HUMAN BEING HAS EVER REACHED! EVER BEFORE NOR AFTER!
Even from our viewpoint of Callas today - a miracle but in those days when a relatively unknown singer switched between Brünnhilde and Elvira it must have caused a sensation like flying to the moon. Why would anyone compare the sheer "beauty" of Callas voice with any other singer if no one EVER had her abilities??? Yes there have been other GREAT sopranos but there was just one MARIA CALLAS - luckily enough in the era of the recored voice...
I ADORE this woman ... she could make her gigantic voice sound pure, innocent and sweet like noone when she sang Elvira or Gilda. I even started to listen to Wagner with more emphasis through her. She was the epitome of operatic singing and rarely ever I hear an (italian) opera without asking myself "how would that sound with the voice of Maria Callas?" ... my big wish: come back fore one Roberto Devereux But as she was Greek, she probably now is singing between other gods and godesses in Mount Olympus
Yes but that may have been the reason she lost her voice so early - singing too much & too many heavy roles; thats certainly what Nicolai Gedda thought in his interview with August Everding.
@@anthonyehrenzweig1635 that seems unlikely - the period when she was doing the most switches between role types was when her voice sounded most secure. She developed technical problems over time with her breath support (by her own admission, actually), and that was likely caused by both the weight loss as well as a disease that causes tissue degeneration in the body - it also handily explains why the poor woman died so young at only 53, as medication to treat degenerative diseases can really mess with your heart. Besides, Sutherland switched from lyric Händel/Mozart pieces to big-ass dramatic stuff her entire career and her voice was fine (if a little loose) by the end. Marilyn Horne started off as a soprano for goodness' sake! I'm sure Gedda meant well, but there's too many successful singers who have sung pretty extreme things without having to end their career at 41.
Al margen de lo más notorio y asombroso, si nos fijamos en los pequeños detalles todavía es más impactante: su forma de apianar incluso en los pasajes más comprometidos, de indicarle al director lo que tiene que hacer con ritardandos, su variedad en las notas picadas, series en mezzavoce, series en piano, reguladores y dinámicas jugando con el color y el volumen de la voz... Increíble.
I think Maria is a supreme being born with unique musical talent but her ascendancy to what she'd become wasn't achieved at happenstance. She studied with great passion and fire and was lucky to be associated with great tutors/tutelage who saw her promise. She was formidable even at early age, quite attentive to details and absorbed everything thrown at her; she was truly knowing to what she wanted to do. You see, there are not many who has parallels to her. The same thing applies to uniqueness of other greats like Da Vinci, Einstein, etc. They went through rigorous study in their field and non stop search for the "truth." Maria once remarked, " I want to bring the truth in my music." That says it all.
the plasticity and elasticity of her Voice those years was a never to be repeated Miracle.. and to think that was her Voice after Douzins of Turandots, Toscas and Aidas
Lohengrin O I have a question for you?if you could rank her top ten roles, what would they be? For me it is 1. Norma 2. Medea 3. Lady Macbeth 4. Violetta 5. Tosca 6. Lucia 7. Armida 8. Anna Bolena 9. Aida 10. Amina Of course this is very difficult and my rankings could change any day or moment really
Norma, Medea, Lady M, Violetta, Anna Bolena, Amina, Gioconda, Lucia, Armida, Tosca, Rosina, Aida, Elvira... but I would put in 1st place, as No1 together: Norma, Medea, Lady M, Violetta, Anna, Amina, Gioconda, Armida, Lucia, Tosca and Rosina... all in No1
Lohengrin O I thought about having some ties but decided I’d have to choose lol. It was very hard not finding a spot for Rosina or Gioconda in my list. But if I had to choose the Callas Triple Crown it would certainly be Norma, Medea, Lady M
The memory of these registers is what would weigh so heavily on Maria's mind during the worst periods of her unparalleled career, when, beset by criticism, she had to face the terror of not being perfect. And she certainly wasn't perfect, even in her prime, no one is, no one can be. But she never stopped being unique. The timbre of her voice, her interpretative qualities, her courage, her understanding of music, are unrivalled. To me much more impressive than an E6.
Esta grabación es histórica, no sólo por ser la única función grabada de esta Ópera con Maria Meneghini Callas, está grabación fue hecha en Mexico en 1951 y es la primera grabación completa de la historia de esta Ópera de Bellini, casi inmediatamente vino la versión de Studio con la gran Lina Pagliughi (voz en Italia de Blancanieves) en el rol de Elvira, pero Maria tuvo el privilegio de ser la primera.
@@HoangAnhNguyen-bl7pc because I placed the nick into the google translator and nothing came out so I just wondered it there is a meaning to my new nick ,,, so it is just a name?
Backward arrangement here: in "I Puritani", "Son vergin vezzosa" is later in Act 1 than "Odi ... qual suon si desta". However, thank you very much for posting both gems.
The Mexico City Puritani is interesting because Callas had problems with some (not all) of her high notes. The Eb at the end of "Vien, diletto" is cut short, and some of the high B's sound uncomfortable. (The ones she has trouble with are the ones that are in between a staccato and a long held note, that require a "medium" sort of touch; the ones she touches lightly are done exquisitely and just sheer perfection.) And, as far as her purely vocal achievements go, she caps the ensemble in "vieni al tempio" with high notes that are nothing short of magnificent - in a way they're even more thrilling than the Aida. But I digress... What I find really lovely here is how lightens her voice and conveys Elvira's youth by bringing forth the open vowel sounds. For her, it's a risk, because she was never terribly comfortable with the open "a" sound and had to make sure to prepare them. She chooses a different characterization in the studio recording - there's a streak of melancholy from the very beginning in that performance. (I wonder - vainly of course - how she decided to interpret her Chicago performances of 1955??) Here, she sounds so carefree, so girlish. It's an enormous contrast with the lugubrious tone she finds for the mad scene. Incidentally, I find the mad scene of this Mexico City performance to be a complete masterpiece - it's plangent, dark, wrenching, and such a contrast to the almost frivolous exuberance of the first act. No wonder di Stefano, who is sometimes grudging of his praise for Callas, admitted to being entranced by her "Qui la voce."
She was superhuman. She could sing (almost) everything that somehow fitted into her vocal range. End of story. No one ever came close and no one likely ever will.
Muito além de ser apenas um fenômeno vocal deslumbrante Maria Callas trouxe para a ópera de volta a teatralidade, a análise psicológica dos personagens. Além de sua técnica soberba e voz excepcional, Callas encarnava o que encarnava e isso se refletia na sua interpretação. sempre rigorasa com o estilo! Callas é única e, para mim, a maior soprano do século XX.
I think she was more than aware of the Miracle of Nature her Fat Voice was... and I also believe she never regretted losing it to become Audrey Hepburn thin... choices very well thought and calculated... I think she always considered herself a Prisoner of her Talent
Next month I'll go to my first live opera to watch I Puritani... Won't be like this at all (Pretty Yende sings Elvira), but just the music is worth the inversion.
@@LohengrinO HAHAHAHA Indeed! Can you believe they giving tickets away for 30 euros?? One on the top 3 theaters in Spain. I won't say no to a few laughs for that price and I'm dying to see how's the theater inside (it's the main reason I'm going).
I think I have never heard a more (to use Susan Graham's term) fucked up voice so early than Yende's. The huge screaming she did created a very early wobble that makes her sound as if she is 55 years old
@@LohengrinO There's a video of her singing "Una voce" in Wendy's (!) - that already says a LOT- and she sounds like a banshee. As for the theater, they soooo desperate for people they'd put the prices down, but won't change their quality content.
Mario Molina Orbea you must be a glutton for punishment LOL let us know how it turned out. What fools these mortals be. Later days Arnold Bourbon Amaral
Sutherland's only chance to surpass Callas with her indeed Dreamy Qui la voce was a Gargantuan task, for Callas' Qui la voce is a Masterpiece of Singing :D
Squillo by the truckload! Unparalleled artistry.
Michael Gast is that an opera term?
Squilo?
@@CarolineMartin Yes it is it's TRUE.
Squillo learned with her lol
Brunhilde and Elvira.
Norma and Amina.
Gioconda and Lucia.
Lady Macbeth and Lakmé.
Abigail and Gilda.
Coloratura in dramatic voice.
Speechless 😶❤
Santuzza and Rosina
Imogene and Isolde
Kundry and Violetta
Konstanze and Medea...
Soprano assoluta!!!
Dramatic doing coloratura is much better
Out of this world! 😃🌹 Is there anything that woman couldn’t do in her prime? 😅 What a gift to humanity that she lived in an era when her voice could be recorded for the rest of time!
❤❤❤❤❤❤❤❤❤
IMHO that's the difference between a good singer and a vocal phenomenon.
Thank you, dear friend.
These are high "D"s not Ebs. Perhaps the remastering in up a half step>
She is the reason why I love the opera as a vehicle of artistic expression and the Belcanto repertoire.
Mine too. She is so good vocally especially in the dramatic coloratura roles, musically very accurate.. trills to die for and dramatically so convincing
Been listening to Callas' Elvira for days. How she managed to lighten her voice but yet project a totally healthy and supported sound is beyond me. The tidal wave of genius was pushing her forward, ever forward.
Is this the same woman who sang monster roles like Medea?
She totally transforms herself to a light, nonchalant young woman with a hint of joy in her tone. She sounds youthful! Thanks for this!!
N. Lidar you're right, nonchalant is the word!
someone by listening to her complete thick fat sound here could suspect she was able to sing Medea and Gioconda... but someone listening to her 1957 Amina could no way think the same woman would the same year sing Medea like she did
"Is this the same woman who sang monster roles like Medea?
She totally transforms herself to a light, nonchalant young woman with a hint of joy in her tone. She sounds youthful!"
Yes, precisely for this reason she is considered one of the greatest vocal actresses in the history of opera. Different characters, different voices, different vocal characterizations, different qualities of voice. A girlish Gilda in Rigoletto, a commanding Turandot, Gioconda, Norma, etc. High flying light and virtuosic coloratura in Lakme's Bell Song, great depth of voice, chest voice, and searingly dramatic high notes in Gioconda's aria Suicidio!, and everything in between, all within about the same time period. That is Callas.
Love it ! The many voices that came from Callas was staggering. She could sing mezzo roles, she could be a demon like Medea, or a light voice like Elvira.
those days she was the Superman and the Miss Marvel of Singing :D
It’s sad she didn’t start performing mezzo roles when her top was going. We would have had some fantastic moments to remember. Not just the great soprano years.
That is being selfish.
Happy with what we have.
Those perfect chromatic descensions and ascensions (just before the high note) are breathtaking!
That ending note is massive. Just as is the high D in "Ah, vieni al tempio".
chromatic scales were always Callas' best
Sublime.....is this the performance, where Di Stefano was listening to hear sing Qui la voce on stage in his dressing room? He said It was so beautiful and mesmerising he would never ever forget it......... what a compliment from such an artist.....thank you 😘
Such power, such control...
Just wow!
I love your description of early Callas in 'Full Fat'.
I am assured by your repeated praise of this great singer that you are not being derogatory in what you say.
Sure she was a big girl earlier on her career , so what. But what we Opera officiandos really appreciate was the 'fatness' of her voice.
She displayed what the great divas of the past had possessed.
A big voice that had flexibility and the ability to sing a variety of roles both dramatic and coloratura with the same instrument and with added qualities such as intense vocalisation and mesmirising interpretative powers.
it is argued that her voice during her voluptuous years have more quality into it. hence, the subject of the video I guess.
The voice is ‘fat’ and this being a recording early in her carreer the picture cannot be right. At the time she was a really big girl!
A l'époque Maria était un phénomène vocal inégalé ,avec une extension vocale phénoménale qui lui permettait de chanter Tous les rôles de sopranos du répertoire du 19 e siècle .Ensuite en amaigrissant sa voix s'est allégée en gardant toujours cette virtuosité incroyable mais avec en plus un soucis de revenir à plus de sobriété et d'authenticité musicale .Callas était un phénomène vocal et une grande musicienne.
The quality in her voice was so rich,telling & true to the music she was interping. How we miss her my friend. VIVA LA CALLAS 👑💙 . aye Madre Mia 😢🎵💙 Arnold
It's almost as if sometimes Callas invented Bel Canto.
that feeling that HERS was the ONLY way was totally unique to her...
Lohengrin O Referential in every Bel Canto role she sang. I was listening today to her entrance aria and cabaletta from La Sonnambula (with the famous flute staccato Eb6s) and I remain in awe at her timing, her synergy with the music, the chorus, the undulating vocal colours that poured from her as well as this mystifying technique that places notes cinematically as if she's not even singing!!!
Callas's singing will never be repeated, because her voice transcended mere singing. It is the most vivid and pervasive artistic experience I can think of.
1955 was Callas' personal favorite year... she had once said: If only God could give me another year like 1955 (to sing what exactly I would ask her though :D)
Her Norma, Violetta, Amina in '55... All unrepeatable. I think 1955 was the perfect blend of pre-54 big voiced Callas and her thin-ultra feminine voiced years.
it also contains her most colorized performances... her 55 Violetta is a trillion-vocal-color performance
The ease of that high note at the end is incredible.. or at least she makes it SEEM easy. I've listened to it at least 10 times now... just fantastic!
I think that last note is a high D
La Divina🌹❤Molto bello....Mille grazie,nostro amigo!!!Callas e REGINA!!!👑🎶
Insuperable incomparable inolvidable
Chi la criticava era geloso della sua immensità!
I live for her early recordings.
You want to hear her Eb6s, sign her up for Puritani! Yes, this is Callas. But, I do not hear Medea or L Macbeth here. This is a 16 year old girl with the most beautiful voice in the world. That trill at 0:44 is worth a thousand Eb6s IMO. It's like fingers running through your hair gently.
the Agility... unbelievable... agility everywhere not just in top register
Yes!!! Agility accopanied by perfect legato!. But for me, the most remarkable thing here is how she keeps her voice light as a feather without ever sounding small. This is a testament to how big her voice was, not just agile.
Indeed.... the amount of control required to make that Tank of a Voice seem and sound like a Feather.. and to think that those years she had written a letter to her uncle saying: Im so happy! My voice gets heavier and heavier... I sound like a contralto these days!!! :D
And yet, she is the farthest thing from a contralto here! Callas was a vocal sorceress, a voice-shifter.
@@LohengrinO Singers and teachers have forgotten that artistry in music means different colours and timbers. They all work to achieve and remain at ,,eveness of tone'' only. Among so many wonderful voices, Caruso, Gigli and Callas were able to use the change of their timber for the character of the music they sang.
Some people have the gift of a great voice (or musical ability) some have the gift of artistic genius, but very very few wed these gifts and pursue the goals of artistic truth with absolute unwavering devotion like Callas (or Heifetz imo)
At times a rich full cream then a light meringue. What technique and vocalisation. Such control and beauty. Yes full fat indeed.
There is something about her that is so awe - inspiring. There are many singers with beautiful voices but they don't touch my soul like Callas. Nobody comes close to Callas . She is the greatest artist ever. Hearing her makes me want to stop everything I'm doing and worship her - she's a divine being. We human beings don't deserve her ..
Mezzo soprano I share the same sentiments with you.
She sings with every fibre of her soul. Her work was her life. That’s when she was fully alive.
Many were jealous of her power.
She lived when she sang, beyond life.
Thank you Lohengrin! Maria is the reason I cannot listen to any other singer! They all just sound so wrong!
In my experience, once I got into Callas nobody else could touch her in any way. I certainly love and appreciate many other beautiful voices and artists but there was nobody NOBODY ever eVER [and probably never will be] in the same stratosphere as Maria Callas. Incomparable. Untouchable. Period.
LOVELY VOICE! Sublime...
Imaginar la cantidad de letras y melodìas que retuvo en la memoria para llevarlas a escena! Es una genia!
Once you go Callas you can't go back.
Lohengrin O, in my youth I used to think that Joan Sutherland was the best vocalist. But her diction n rather rather clouded mid voice troubled me... I took refuge in chamber music n solo instrumental.. but these past few years, your postings have ignited the fire once again for great vocalists. But importantly, I have come to appreciate the genius that is Maria Callas. Merci!
In the top register they actually compare although Sutherland never attempted several of the vocal stunts Callas did in her early years.. but Callas was a miraculous virtuoso throughout her range... listen to her Lady M's recitativi... the Voice flies through the words shaping musical phrases of unspeakable Genius... each phrase is a Miracle and it is in middle voice and no coloratura is required and it is still a Miracle no other has ever even remotely approached... Digital Articulation shaping Music of ingenius Depth
you have mirrored my own experience -- how wonderful to learn this, mille grazie!
You have to listen to early Sutherland. She didn't have these problems in 1959-1961
The Voice is the staircase to Olympus.
the Voice of Purgatory, it had Cleansing Healing abilities
Che posso dire io Lohengrin O da incompetente quale sono ? Io mi delizio ascoltando questa voce...che non trova termini adeguati e giusti per definire questo Pianeta che a nome Callas....In breve...Lei è la meraviglia....la magnificenza....la grandezza stellare della Lirica....Tu sei indimenticabile Maria Callas ☆☆☆☆☆Elsa Asta
Ah les folles soirées sud americaines1950- 1953 !!! Smack et merci .
Damn Callas when she sang that E-flat, she made everthing and everybody completely dissapeared! Let’s talk about huge gigantic voices with Squillo all over the place!
I love gigantic and full voices rather than light and constricted ones. I don't understand why these modern sopranos love to constrict their voices.
They are NOT properly developed. They sound like they have diarrea!!!!! BTW, this Eb6 is in mezzo forte, this is NOT in full fortissimo!
On recordings her voice sounds huge, but I know several people who heard her often and they say her voice really wasn't that big.
vivemafille You can tell me whatever da fuck you want! You will not change my mind about Callas being the biggest voice of HISTORY! Every duet, every choir, every orchestration she was able to dominate with ease!
vivemafille You got the wrong one to fool babydoll. In this video: ruclips.net/video/L48-3eofsNY/видео.html.
Do me a Big favor and forget the E flat at the end. This is a tough part to sing cause both the tenor and the soprano are having a duet while the heavy orchestra, soloist and the choir are BLASTING!!!! Now Callas is having this duet with the BIGGEST TENOR VOICE OF HISTORY who was Mario Del Monaco and Callas OVERSHADOWS Del Monaco and this with singing MEZZO FORTE PIANO with natural resonance without pushing yet her voice is so HUGE that almost before the end Del Monaco gives up....he gave up with Callas cause there simply was no way to compete with her volume. And Del Monaco never gave up! If anything he was a bully with other singers on stage cause his volume was way too much. FORGET THAT FINAL E FLAT - focus on the rest. Above heavy loud choir, MONSTER soloist with gigantic voices like Oralia Dominguez, Mario Del Monaco and a HUGE Verdi BRASS INSTRUMENT orchestra you only hear Callas above everybody. A feat that ABSOLUTELY NO HUMAN BEING HAS EVER REACHED! EVER BEFORE NOR AFTER!
Even from our viewpoint of Callas today - a miracle but in those days when a relatively unknown singer switched between Brünnhilde and Elvira it must have caused a sensation like flying to the moon.
Why would anyone compare the sheer "beauty" of Callas voice with any other singer if no one EVER had her abilities???
Yes there have been other GREAT sopranos but there was just one MARIA CALLAS - luckily enough in the era of the recored voice...
small minds think small... and I dont think those small minds could recognize the Abilities of Callas
I ADORE this woman ... she could make her gigantic voice sound pure, innocent and sweet like noone when she sang Elvira or Gilda. I even started to listen to Wagner with more emphasis through her. She was the epitome of operatic singing and rarely ever I hear an (italian) opera without asking myself "how would that sound with the voice of Maria Callas?" ... my big wish: come back fore one Roberto Devereux
But as she was Greek, she probably now is singing between other gods and godesses in Mount Olympus
Yes but that may have been the reason she lost her voice so early - singing too much & too many heavy roles; thats certainly what Nicolai Gedda thought in his interview with August Everding.
@@anthonyehrenzweig1635 that seems unlikely - the period when she was doing the most switches between role types was when her voice sounded most secure. She developed technical problems over time with her breath support (by her own admission, actually), and that was likely caused by both the weight loss as well as a disease that causes tissue degeneration in the body - it also handily explains why the poor woman died so young at only 53, as medication to treat degenerative diseases can really mess with your heart.
Besides, Sutherland switched from lyric Händel/Mozart pieces to big-ass dramatic stuff her entire career and her voice was fine (if a little loose) by the end. Marilyn Horne started off as a soprano for goodness' sake! I'm sure Gedda meant well, but there's too many successful singers who have sung pretty extreme things without having to end their career at 41.
What is this degenerative disease you mention?
Al margen de lo más notorio y asombroso, si nos fijamos en los pequeños detalles todavía es más impactante: su forma de apianar incluso en los pasajes más comprometidos, de indicarle al director lo que tiene que hacer con ritardandos, su variedad en las notas picadas, series en mezzavoce, series en piano, reguladores y dinámicas jugando con el color y el volumen de la voz... Increíble.
I think Maria is a supreme being born with unique musical talent but her ascendancy to what she'd become wasn't achieved at happenstance. She studied with great passion and fire and was lucky to be associated with great tutors/tutelage who saw her promise. She was formidable even at early age, quite attentive to details and absorbed everything thrown at her; she was truly knowing to what she wanted to do. You see, there are not many who has parallels to her. The same thing applies to uniqueness of other greats like Da Vinci, Einstein, etc. They went through rigorous study in their field and non stop search for the "truth." Maria once remarked, " I want to bring the truth in my music." That says it all.
Superhuman Maria !!!
and tomorrow she will sing Brunnhilde!
the plasticity and elasticity of her Voice those years was a never to be repeated Miracle.. and to think that was her Voice after Douzins of Turandots, Toscas and Aidas
Lohengrin O santuzzas, Normas, Fidelios, Isoldes, Giocandas as well
Lohengrin O I have a question for you?if you could rank her top ten roles, what would they be?
For me it is
1. Norma
2. Medea
3. Lady Macbeth
4. Violetta
5. Tosca
6. Lucia
7. Armida
8. Anna Bolena
9. Aida
10. Amina
Of course this is very difficult and my rankings could change any day or moment really
Norma, Medea, Lady M, Violetta, Anna Bolena, Amina, Gioconda, Lucia, Armida, Tosca, Rosina, Aida, Elvira... but I would put in 1st place, as No1 together: Norma, Medea, Lady M, Violetta, Anna, Amina, Gioconda, Armida, Lucia, Tosca and Rosina... all in No1
Lohengrin O I thought about having some ties but decided I’d have to choose lol.
It was very hard not finding a spot for Rosina or Gioconda in my list.
But if I had to choose the Callas Triple Crown it would certainly be Norma, Medea, Lady M
Can anyone put a year on this? Maria took on so many roles........truly a modern opera measuring stick!
Commenter Victor Beristain says "...esta grabacion fue hecha en Mexico en 1951..." Translation: This recording was made in Mexico in 1951...
51 or 52
And thank you!!!
The memory of these registers is what would weigh so heavily on Maria's mind during the worst periods of her unparalleled career, when, beset by criticism, she had to face the terror of not being perfect. And she certainly wasn't perfect, even in her prime, no one is, no one can be. But she never stopped being unique. The timbre of her voice, her interpretative qualities, her courage, her understanding of music, are unrivalled. To me much more impressive than an E6.
that Eb6 and the Agility of such an incredibly heavy and dark voice will always remain an unrepeatable miracle
@@shaundudley4576 I agree :-)
00:00 "son vergin vegozza"
03:54 "Chi mosse a miei desir il genitor"
05:50 "Odi..qual suon si desta"
Esta grabación es histórica, no sólo por ser la única función grabada de esta Ópera con Maria Meneghini Callas, está grabación fue hecha en Mexico en 1951 y es la primera grabación completa de la historia de esta Ópera de Bellini, casi inmediatamente vino la versión de Studio con la gran Lina Pagliughi (voz en Italia de Blancanieves) en el rol de Elvira, pero Maria tuvo el privilegio de ser la primera.
De qué ópera se trata??? I puritani????
Gracias por la info 💪🏼
Me parece que Il Puritani fue grabada en 1952. En 1951 Callas presentó Aida en la Ciudad de México.
Mil gracias por la info, me encanta! x
@@ElizabethRainey En el '51 en México cantó Aida y Traviata.
this is very, very young Callas!
can you please tell me what is the meaning of: ViệtAnh NguyễnBá a hacker hacked my fb account and my name was changed to that I wrote
@@LohengrinO omg, i don't know :D, why you ask me? not all Vietnamese on internet was hacker :))
@@HoangAnhNguyen-bl7pc because I placed the nick into the google translator and nothing came out so I just wondered it there is a meaning to my new nick ,,, so it is just a name?
@@LohengrinO yes, and sorry about that, it is a name of somehow Vietnamese FB account :(
@@HoangAnhNguyen-bl7pc it is just an ordinary vietnamese name that does not mean anything? (Im worried if in vietnamese it means something bad :D)
Backward arrangement here: in "I Puritani", "Son vergin vezzosa" is later in Act 1 than "Odi ... qual suon si desta".
However, thank you very much for posting both gems.
The Mexico City Puritani is interesting because Callas had problems with some (not all) of her high notes. The Eb at the end of "Vien, diletto" is cut short, and some of the high B's sound uncomfortable. (The ones she has trouble with are the ones that are in between a staccato and a long held note, that require a "medium" sort of touch; the ones she touches lightly are done exquisitely and just sheer perfection.) And, as far as her purely vocal achievements go, she caps the ensemble in "vieni al tempio" with high notes that are nothing short of magnificent - in a way they're even more thrilling than the Aida. But I digress...
What I find really lovely here is how lightens her voice and conveys Elvira's youth by bringing forth the open vowel sounds. For her, it's a risk, because she was never terribly comfortable with the open "a" sound and had to make sure to prepare them. She chooses a different characterization in the studio recording - there's a streak of melancholy from the very beginning in that performance. (I wonder - vainly of course - how she decided to interpret her Chicago performances of 1955??) Here, she sounds so carefree, so girlish. It's an enormous contrast with the lugubrious tone she finds for the mad scene. Incidentally, I find the mad scene of this Mexico City performance to be a complete masterpiece - it's plangent, dark, wrenching, and such a contrast to the almost frivolous exuberance of the first act. No wonder di Stefano, who is sometimes grudging of his praise for Callas, admitted to being entranced by her "Qui la voce."
I love this picture (Of her) as in relief, you see the image of a bat and a crow on her shoulder! Just like Elvira…
Min 7:47
ùnica !!!!!!!!!!!!!!!!!!!!
She was superhuman. She could sing (almost) everything that somehow fitted into her vocal range. End of story. No one ever came close and no one likely ever will.
Muito além de ser apenas um fenômeno vocal deslumbrante Maria Callas trouxe para a ópera de volta a teatralidade, a análise psicológica dos personagens. Além de sua técnica soberba e voz excepcional, Callas encarnava o que encarnava e isso se refletia na sua interpretação. sempre rigorasa com o estilo! Callas é única e, para mim, a maior soprano do século XX.
...di tutti tempi
The best voice ever* utube smile by john bavas
*Fat Callas is the best Callas!*
More info where & when this was recorded,seem to me live,.?? In house wire ???,Rene
Andre Weinberger mexico 1951
Love your post.
But I think La Callas would be upset to see fat voice ? Don’t you? I know you love her.
I think she was more than aware of the Miracle of Nature her Fat Voice was... and I also believe she never regretted losing it to become Audrey Hepburn thin... choices very well thought and calculated... I think she always considered herself a Prisoner of her Talent
Next month I'll go to my first live opera to watch I Puritani... Won't be like this at all (Pretty Yende sings Elvira), but just the music is worth the inversion.
Ηave a nice scream and wobble feast :D
@@LohengrinO HAHAHAHA Indeed! Can you believe they giving tickets away for 30 euros?? One on the top 3 theaters in Spain. I won't say no to a few laughs for that price and I'm dying to see how's the theater inside (it's the main reason I'm going).
I think I have never heard a more (to use Susan Graham's term) fucked up voice so early than Yende's. The huge screaming she did created a very early wobble that makes her sound as if she is 55 years old
@@LohengrinO There's a video of her singing "Una voce" in Wendy's (!) - that already says a LOT- and she sounds like a banshee.
As for the theater, they soooo desperate for people they'd put the prices down, but won't change their quality content.
Mario Molina Orbea you must be a glutton for punishment LOL let us know how it turned out. What fools these mortals be. Later days Arnold Bourbon Amaral
For some reason I always forget about her Puritani.... stupid me.
Sutherland's only chance to surpass Callas with her indeed Dreamy Qui la voce was a Gargantuan task, for Callas' Qui la voce is a Masterpiece of Singing :D
Lohengrin O they got Callas and Sutherland.... I got Damrau when I saw it. Not a fair trade
So do I, Actually it's a vocal display for Sutherland Help us stat!!!
Who is the bass?
Evonne Goolagong in drag my friend. 🤔 Arnold Bourbon Amaral
"She was really an actress who sang". Laughable. Act - you bet, but in its prime, it was and remains the greatest operatic voice the world has known.
Who's the tenor
Giuseppe di Stefano