Maria Callas - Ah! Non Giunge 1955 Sonnambula Finale GREAT SOUND!
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- Опубликовано: 12 сен 2024
- From GOP12. Definately in my top 5 favourite Callas recordings, i love the thriling way she attacks the notes, the delightful little piece of phrasing at 2:24, and the way the audience is heard to gasp at the deadly sonic onslaught of that amazing note at 2:50.
Images from the 1955 and 1957 productions.
I feel bad for people that don't listen to opera and never experience moments like this.
Agreed. I've never heard music so beautiful
that's my feeling as well!
Best comment ever! That's the truth.
I quoted these lyrics in my wedding vows. For me, this is perhaps the single greatest moment in opera. Imagine being there...my hands would have been bloody from clapping, my throat destroyed from cheering. There is no greater singing.
Questo accade quando due "divini" si incontrano e parlano, anzi cantano, la stessa lingua. Ma e' successo poche volte nell'opera e quelle volte solo con la Maria.
@@fabriziogarzi9892 chi è il secondo divino?
@@giovic9802Bellini
Какое вдохновение, какой подъëм духа у этой великой женщины. Она являет здесь на нашей планете вибрации другого более высокого измерения.
Запись 1955 года, а я слушаю ее почти 70 лет спустя. И говорю слова благодарности автору канала, всем причастным к возможности слышать это чудо-голос Марии Каллас. (Россия, 2024 год).
2:40 that was the most intense, mind-blowing, extraterrestrial trills succession i've ever heard, three ascending trills followed by a MASSIVE metallic trill on reversed messa di voce. This woman belongs to another dimension
The first verse is the most perfect expression of the characters joy. It is fervent, fleet, precise and sparkling. The second is the Diva doing Diva fireworks as the director Visconti intended. It is stupendous. Bernsteins ornamentation is extravagant and the intricate staccati complicates the forward rushing thrust of the tempo adding a fascinating dimension. But it is the trills here that blows the mind and ears. That first one is the most intense forcefull incandescent I have ever heard. I want those who disparage her skills in this to show me anything by anyone to come anywhere near this phenomenon in its force and focus and vitality
Непревзойдённая Мария Каллас! Браво! Любим и восхищаемся!
Compared to sutherland, this is the difference between a great technician and a great artist. Callas is genius.
Well… Callas was technicially more developed than Sutherland so not really
Callas was both. A great technician and great artist.
“En gustos y colores no han escrito los autores”
Callas en su época y Sutherland en la suya
and of course de gustibus non disputandum est!@@MiguelArcangel-zi7xd
The stories go that when she "woke up" all of the lights at La Scala were turned on, even the house lights..ah the thrill to be there for that!
Sutherland is on record as saying 'anyone who heard Callas after '55 never heard the real Callas voice'. It is absolutely stupendous. Death defying, fearless brilliance and a huge shout out to the genius of Bernstein who conducts like a man possessed.
Ever the Paganini of opera, the second verse, more ff, with sharper consonants, magnificent colors, and a sweet little girl who triumphs over the blues and gets it on with Elvino. You go, girl!
The first half is sung to perfection!!! (come scritto) and she comes back with wonderful ornamentations. At 1:58 and 2:06 she slips in gorgeous trills without ever breaking the line or disrupting the melodic flow. At the end of the aria, after singing three ascending trills, she pulls off a reverse messa di voce trill, which I haven't heard from anyone else, and a moron accuses her of not being able to sing a trill. If I had a nickel...
How much I agree with you...!!! Not only could Callas trill better than the others, but she could trill PP, P, MF, F.... she could also trill very quickly, less quickly, and slow, voir very slow, and always within the proportions.... If one hears the trills in Trovatore's D'amor sull'alli, and those of "tutte le torture", and those in "Hamlet's aria" and those in the duetto of the first act of Sonnambula, and the ones in "Adalgisa fia punita" of Normas last act duetto, ALL OF THEM ARE DIFFERENT FROM ONE ANOTHER, and all of them are perfect....she could prepare them, or take them straight, she could do crescendi with them... she could do anything with a trill... and yes, sir, I would like to share the fortune one would make if every time one hears the stupidity of some arguments one would get a nickel...
her ornamentation an the diversity of her trill always astound me!
I love how the audience is already at their feet before she even finishes the aria haha
Callas's unapologetic ecstasy of Amina brought tears of joy and vitality.. How free, how daring, soaring high, high up in the sky...yes some "aggressive" colorcatura than acrobatic Tetrazinni's, but oh what a moment, crystallised in history..
Thanks so much for sharing, with some very interesting tempo of photos highlighting her seemingly endless trills xxx.
p.s. Also loved Bernstein's attentive "shepherding" skills! ; )
I don't know how many times I've listened to this recording today. The sound is great and she was fantastic!
Ah, to have been there to witness such greatness. I for one love to hear the audience in these live recordings,. In many cases the live versions are more exciting and interesting than the studio recordings (this is not meant to denigrate the studio records, far from it).
The final scene is built around a brace of arias for Amina which are a virtually a summing of up of the work and it central figure. The recitative and cavatina of this scene are among the most moving pages in operatic literature and Callas singing of these alone would be enough to assure a proud place for her in the annals of singing.
In Visconti's production, as Callas began the jubilant cabaletta "Ah! non giunge," the lights on stage and in the auditorium - even Scala's great central chandelier - rose to full intensity. Callas, no longer Amina, stood front stage center, the great prima donna at her moment of triumph. Even before she finished the piece the audience had began shouting and applauding.
I read that someone who was there that night said that at the end of the aria "the audience went mad, applauding and shouting brava before the last note was even sung".
Audiences reaction at 2:22/2:23 is amazing. She was a phenomenon! 😍
Never noticed that before! I love the Scala audience, they're so committed to the performance. You can hear them too in the 1955 Norma.
2:46 - 2:55 --> you can actually see the sound waves...
La Divina hatte für jede Rolle eine spezielle Stimme (Lady Macbeth,Abigaile Norma,Amina,Violetta,Elvira,Rosina und,und,und --Für die Amina setzte sie ihre berühmte "Kleinmädchenstimme"ein um die Jugendlichkeit dieses Mädchen´s zum Ausdruck zu bringen.Einfach zauberhaft !!Herzlichen Dank lieber John ,wie immer ein traumhaftes Video-
Assolutamernte meravigliosa... in utile dire della sua perfezione esecutiva, ma il messaggio di rinascita del belcanto è in interpretazioni come questa... ogni suo personaggio ha creato un precedente indimenticabile.
I don't agree with calling callas the one and definite best. Perfection has many faces.
But my god this performance is stellar. What a pristine, technically phenomenal, vibrant and intelligent singer. What a fantastic talent.
She IS the talent !!!
Callas is the one and definite best.
@@SymphonyBrahms you can consider her as that. And I don't care if you do. But that doesn't make that statement more intelligent.
I see her as absolutely unique, something almost nobody else is or was. And spectacularly skilled and highly sophisticated. But to say she is the one definite best is just bullshit.
The descending chromatic scales are breathtaking - as they were in 1957 from the Eb. The contrast between first and second verse and the ornamentations are breathtaking - because they aren't just Sutherland meaningless technical ability - with Callas they mean something. And just listen to that audience - no wonder they explode.
This so true, even in the midst of ornamentation, calla imbues the singing with character.
Es en vivo. Brava, BRAVISSIMA! Callas insuperable y divina siempre......!!!!!!!! Qué afinación perfecta y qué fraseo musical. Ni una sola nota desafinada. Maravillosa CALLAS, LA DIVINA....!!!!!!!!!!! Extraordibaria
Perfect, more than perfect pronunciation! Being an american-greek singer Callas tought how to "parlar cantando", talking while singing. in italian. Miracles of art perfection
Really sings all naturally , AMAZING
the EMI's version has such squally distortions that I'd always preferred the Koln version, which, to be fair, is full throated and sung even more ecstatically. But this cleaned up version is spectacular -- now I understand better the effect of Visconti's directing Callas to sing the second verse at the front of the stage. It must have been tremendous!
...e mentre cantava la seconda strofa ad ogni variazione Luchino Visconti gli accendeva le luci in sala e al Sibemolle finale si accendeva tutto il lampadario centrale....oggi a noi ben poche cose.
A true delight.
Astonishing.
Oh, to have been there!
the besttttttttttttttttttttt
She was the greatest ! ❤😊
Bellissima!
Mit welcher Leichtigkeit Callas hier ihre Kaskaden abspult und welch "intellektueller" Krampf heute geboten wird, wo jeder Triller bereits Entzücken auslöst, weil eigentlich kaum was da sitzt, wo es hingehört bei diesen Leichtgewichten aus Korea oder sonstwo, die aber das Herz für solche Partien nicht finden. Callas wusste immer, wo sie hin muss, mit welcher Stimmfarbe sie Charaktere gestalten konnte und musste.
I love this performance! And will soon make a wonderful addition to our drag lip sync channel! VIVA LA DIVINA! ♥️
That was some aggressive coloratura singing
Hahahahahah
That is, if coloratura is supposed to be aggressive - voice breaking, I reckon.
Non mi stanco di sentirla... dal 1959 fino ad'oggi...
Divine ................!!!
❤❤❤❤❤❤😊😊😊😊😊Amina war einer ihrer größten Glanzleistungen ihrer Karriere!
Brava!!
Виртуозно исполнено! Оперы Россини и Беллини именно так исполняли со всеми техническими украшениями звучания. Это бельканто. Сейчас и раньше "Сомнамбулу" очень редко ставили из-за технически трудного исполнения. А Мария Каллас исполняла все, заявив что она в высшей лиге.
Why EMI plundered all the lives of Maria Callas???? I don't understand!
Thank you for your job tunipoverlord!
pure electricity ...………………………………...…………………...…...………………...……...……………..
Cristina F. Cierto, "no era para ella", pero, aun así, la hizo su interpretación resultó en una Amina maravillosa.
holy shit...
Interessante
La Atenea del Olimpo Operistico!!!!!!!!!!!
Les parece que alguna mortal pueda medianamente igualarla??????
Brava, nothing to compare with "la Stupenda" which sings always with the same voice from Puritani to Anna Bolena, from Norma to ... I don't know because each second opera interpreted by her becomes boring
Totally agree with you. Thanks
James Parker Well Sutherland has much better staccato and doesn't need to thin out her voice when singing higher coloratura like Callas does in 56’ and many other places. And Sutherland sing Armina’s intro with perfect legato and a actually believable pure young girl's tone. I guess if you CHOSSE to dislike a singer you are deaf to everything!
James Parker On PAPER, not in my cellphone. Besides the old thing Medea there's not really a role that her recording betters everyone else, it's pointless to argue she's better than anyone when I simply wouldn't pick her version for most operas. The great thing about Sutherland is she actually does many thing the best.
James Parker, this is a sensless discussion! Say you love Brussels Sprouts and Terrance Xu hates them you never get him to try them. Which is of course a pity, because they are healthy and full of vitamines. Terrance Xu, your writing; I quess if you choose to dislike a singer you are deaf to everything.Here you show an amazing moment of self knowledge For your information, Callas put weight off her voice because she is portraying a young girl, in fact she had a different voice for every character she was singing. I advise you to continue to only listen to Sutherlands voice, as the art of Callas is completely wasted on you!
Callas herself said Norma, Sonnambula, Puritani, "same woman". It's not about how much she can change, it's about how much she can't. She isn't born with a real soprano's easy top, nor is she born with a pretty voice. It is what it is. I'm tired of the "my idol is deeper, darker and smarter than yours" game back when I was a teenager listening to indie rocks.
Viva Bellini
I prefer Ms Sutherland
OPM MTV VIDEO She's lacks so much artistic impression & quite boring with her very poor diction, She allowed herself to be molded by her Narcissistic, controlling so called husband. Mediocre composer. Etc etc. Our . Maya raised the bar so high it's in an alternate universe. Arnold Bourbon Amaral
Why this happy aria in Callas singing becomes dramatic?
Poor Callas, struggled and sluggish. Listen to La Stupenda for real thrills and real trills.
Seriously ? If Sutherland is your favorite , why not stay in her videos ? You look like a moron.
+tklogan t Shut up
+astroboy royale I agree. This was not a role for the great Callas. The performance is labored and, despite her attempt to lighten her voice, too strong and, at times, harsh. Of course, she is successful in expressing the joy of Amina and her technique is very good except for the trills; however, Sutherland is better in this role. Also, if one hears some of the older divas, such as Tetrazzini, Sembrich, and Galli-Curci, in this music, there is no comparison. Callas is generally better, actually supreme, in the music of Verdi, Puccini and the verismo composers, as well as Bellini's Norma and even Puritani. But the texture of the music in Sonnambula was somehow, I think, not for her.
TAKE AWAY LA STUPS TRILLS AND YOU HAVE NOTHING BUT MUSH. YOU CANT UNDERSTAND A THING SHE IS SINGING WORDS ARE A PART OF SINGING ALSO.
+Joseph Orlando Take away Sutherland's trills, beautiful and full-bodied tone, particularly in the upper register, fluent and even chromatic and diatonic scales, and even registers, and what do you have? Callas. Joking, of course, because Callas had some of these vocal attributes as well. But my main point is that Sutherland's singing serves as a treatise on how to sing beautifully, whereas Callas' singing serves as a textbook on how to sing expressively and with meaning and substance. They are both supreme, but in their own unique way. I agree that Callas' diction is far superior to Sutherland's, in both Italian and French, though Sutherland is not so bad in the latter.
Es en vivo. Brava, BRAVISSIMA! Callas insuperable y divina siempre......!!!!!!!! Qué afinación perfecta y qué fraseo musical. Ni una sola nota desafinada. Maravillosa CALLAS, LA DIVINA....!!!!!!!!!!!
Es en vivo. Brava, BRAVISSIMA! Callas insuperable y divina siempre......!!!!!!!! Qué afinación perfecta y qué fraseo musical. Ni una sola nota desafinada. Maravillosa CALLAS, LA DIVINA....!!!!!!!!!!!