Callas in one of her legendary performances in a piece she learned within the space of a week. The weight and passion in her voice, the ferocity and sensual impetuousness, explain why operatic composers were obsessed with setting the tale to Armida to music. Thank you for the upload!
She was a comet, a force full of fire and creation power. As hot as her immense talent was, so was it to be short lived in our times... until the next life where her voice has sung forever. ❤️🎈
She was and always always will be-the most wonderful brilliant and emotionally heart-breaking operatic singer of all time. I have loved her voice since I first heard it as a small child.It is as immortal as Tito Gobbi once said of her"I thought she was immortal-and she is".
Каллас- это Самородок- бриллиант чистейший , обрамлённый тончайшими золотыми нитями, который невозможно с кем- либо сравнивать!!!! Её тембр и диапазон голосовых данных- УНИКАЛЬНЫ и это ФАКТ, который неоспорим!!🌿🌹🌹💕💕👍🌿👏👏👏👏👏🎉🎉🎉🎉❤️❤️❤️
Somehow we tend to forget that Callas sang Armida - a very difficult part. She gave a once-in-a-lifetime performance. And the finale especially must have been exhausting.
As bad as the sound is the incredible artistry of Maria at the apogee of her career comes through. It’s hard to imagine today just how amazing it must have been to see/hear opera back in the 50’s at the great houses of Europe and the U.S. with such a wealth of real talent, singers, conductors, designers.
I wished she had sang a lot more Rossini. He just fits her voice like a well-tailored glove. Can you IMAGINE being in the audience, probably hearing Armida for the first time in the 20th century, and hearing THIS in person!!?!? Simply immortal!! 🥰
She sang too much Rossini, it made the voice very unstable in the high notes in later life, she was absolutely murdered by the Italian Opera Houses performing opera's that were not really her Repertoire, I heard her literally nearly a Hundred times in her short Career, it was sad to see how the Establishment and the Press chased her everywhere and not allowing her peace to have rest or even have a cup of Coffee, her personal life was a disaster, apart from Giuseppe Di Stefano and one or two others she gained no support , Onassis was a disaster of the worst kind, he used her terribly, her later life was altogether sad, I cannot listen to her in her later life, I remember her Puccini Tosca Butterfly Manon all were fantastic roles for her, her Gioconda was incredible in London she was adored, she at least left a legacy of fantastic performance and tragic singing that no Soprano has since matched only by the greats of earlier years were there anyone capable. Great Artist and a Wonderful Lady RIP I hope she is doing duets with Caruso in Heaven.
@@robertevans8010 no, that didn’t made the voice unstable, when you have a good technique you don’t lose your voice, Maria Callas lost her voice for some reasons, but the 3 main ones are: -She had a disease called dermatomyositis (take a look in internet, it’s a disease that affects to all muscles in the body, including those which make you sing, getting them old faster) -She lost a lot of weight in a very short time, that’s very bad for the body not o lot for the voice (she lost like 40kg) -She had very bad habits, as smoke These are the main reasons why she began to lose her voice
@@marcoscorvo2514 Please Sir I actually had an interview with her and she certainly did admit that singing such very demanding roles and the variety of demanding roles certainly did make a strain on her, she had wanted to sing more Puccini than say Wagner, early and the demands and the excesses that she had to produce to keep the wolves at bay " as to say " were constant, the continuous stress of having to sing extreme high notes, did make a terrible demand on her voice, I always have said that, it was the constant pressures of this that made the " Wobble " it was a wobble and it is very evident, in many live recordings , worse, nervous tension and always can create a problem, many singers can control, that tension two very famous ones are Caruso, who was an extremely nervous man off stage, but a Titan on it, Corelli had much the same problem, but Caruso managed to rid the problem on stage. Corelli constantly had to fight nerves. Her personal life was a tragedy and a very big Tragedy, her life was to a point of being harassed and followed even Stalked by certain Gentlemen of the time, had she settled down and maybe have Children her life may have been hers, but it was not, you understand the Wobble or you could say broad notes at the top of her range was evident early, many older Generation critics and musicologists were saying that she needs to bring her range under control, roles like Armida and Medea yes she certainly sung magnificently, but they certainly were killers if you wished to sing Butterfly or Tosca throughout your operatic career. I am now 102 years of age, I had the pleasure of seeing and in some stages of my life talking to some of the greats as they say, the most informed and straight to the point were two Tenors . Martinelli and Lauri Volpi I interviewed them twice each, for different reasons, they were both friends of Callas, Martinelli said that she was a truly great Soprano with all the attributes at her behest, acting and vocal ability together, Lauri Volpi also was very admiring of her and her ability to draw the best out of her voice, Martinelli was not a critic of her singing but did say that her personal life, will damage her, he was right, that was in Chicago in 1955 or 58 if I remember, Lauri Volpi also thought her personal life had rid her of her career, also that singing extremely different roles early Highly Dramatic, Coloratura Bel Canto, Lyrical and Italian Verismo at some point will strain the voice that he talked with myself and a few other Hacks of Opera Magazines, he was not as Generous a Man as Martinelli and you had to be careful not to make a displeasure. Later in the Eighties I talked with Di Stefano, this Man stood by her all her life, he saw and heard her problems and he was loyal to her, pity the Operatic Press and Newspaper owners were not as Generous, they were the real Killers of her voice. The Disease you state is very much known about and I do not think that was the reason, smoking can cause problems, but many singers smoked, some like Bjorling were alcoholics and he fought that virtually is entire time in New York, Tibbett the same, the weight of the Lady, you are correct when she was young, she was Rubinesque, as to say, quite plump, her voice was beautiful and round also then, losing weight was that she had also become a " Star " a fashion Icon and was one of the most notable and recognised persons in the World wherever you were, that definitely did changer attitudes and the people around her, the so called Jet Set many of whom were hangers on and wanted the limelight as well. Onassis was the break I believe, she felt betrayed and she was, this was the downward spiral that caused her demise so young. I heard my first opera singers live in Rehearsal in Covent Garden in 1927 and 28 I forgot who it was in 27 but in 28 it was a final Rehearsal for Siegfried, I was taken by mother to wait for my Father who had been rehearsing earlier, he had been a Leading Tenor in the Chorus in London from 1909 till 1940, he loved Callas like myself by the way, I saw Rudolf Laubenthal and Nanny Larsen Todsen Rehearsing with Coates conducting, it was magnificent. I was luck to see before the War many great singers, Melchior many times, Martinelli who was magnificent in the Coronation Season in 37 In Aida Otello twice Turandot twice , Tosca and Carmen all his performances were a great spectacle of singing artistry and the diction was so clear, he won me over very young. Gigli also but not in Aida but in La Boheme and Traviata, Lauri Volpi I heard first in 36 then in Italy after the War I preferred him older, great Tenor, Pertile I heard whilst on a summer Holiday in Italy 1933, what a Tenor he was, also Merli who was disappointing in Forza in 34 , Borgioli in Falstaff with Stabile in London in 38, I also heard Melchior in London three times as Otello, magnificent Voice but his Italian was very accented and even though I think he was a great Otello, he should have been THE Otello he had the real voice for it, In Wagner he could not be beaten that I will go to my grave saying. Maria Callas was of the same Class as all these Great Singers, she had everything at her disposal and she used them to the full, her memory and her life will never be forgotten and whether she had voice problems or not, she was a truly great Artist and to me a lovely Lady, I talked to her about Flowers and Animals and her eyes lit up, what a tragedy! I will say no more, Prynhawn da ich i gyd, Noson lawen i'r Cymru.
The last Eb6 is unleashed like a meteor and exploded the entire orchestra. No voice can survive something of that magnitude. Unbelieavable. Its like she sacrificed 5 years of vocal life in this performance only.
@@jimbuxton2187 she had about 26 years of career, 21 if we ignore the last performances of 1965. Imo lasting 21 years singing like that and such a wide repertoire is really impressive. If it wasnt by her very solid technique she would have lasted like 5 years. Thats exactly what happened to few soprani who tried to imitate Callas, they lost the voice in few years. And I think had she remained fat she would have lasted another decade singing crazy stuff like this one.
@@Tdvc .... she only had truly 5 or 6 years of prime singing. ( but those 5 or 6 0 were better than anyone's!) Most people have 10 years. Sutherlands had 15. Opera is a very demanding profession and the American opera houses are too big for vocal longitivity. Sills said singing Devereaux took 5 years off of her carreer but she knew it would and did it any way.
@@jimbuxton2187 Well, she started singing professionally in 1939 - at 16! Unfortunately, the first recordings we have are from 1949, which leaves us with a ten year gap - and a critic said the 1948 season, with a string of Turandots, took its toll on her voice, which in 1949 no longer was what it had been... if that's true, can we even imagine what she can have sounded like?
I didn't know anything about him, but after looking him up I think he may have been the ideal choice for the job... and now I wish, more than ever, that I could travel back in time to that incredible evening at the Maggio Musicale in 1952!
Voilà ce sont ces extraits de représentations ( Armida ,Parsifal ,Nabucco,Aida ,Puritani ,Rigoletto ...) Qu'elle fit en début de carrière .C'est cela que ceux qui veulent se rendre compte de l'Art de Callas dans sa plénitude ,doivent écouter en priorité .
Hello, Andrei, Sunt surprins sa vad ca nu exista niciun comentariu in limba română. Iţi mulţumesc pt ca ai postat acest fragment din Armida, o opera oarecum uitată, dar callas este uluitoare in această inregistrare legendara. Cu salutari respectuase, Gabriel D , un fan Maria Callas
@@jaybee2838 I don't think that is the only reason. Italy was WAY BEHIND Germany, Austria, the UK, and the US in recording live performances from the radio or the auditorium. There are examples of the qualitative difference beyond counting from the 1950s. And this is a shame since many of the greatest operatic performances of that decade took place in Italy. Too bad for us today. Most of Callas' greatest performances were live and in Italy, unfortunately.
By working on her technique for many hours every day ever since she was 13. She wasn't a miracle or a monster. She was someone who understood that talent is only 10% - someone who was willing to put in a lot of extremely hard work to make that talent truly flourish.
Nope. She didn’t. Different voices. Callas was essentially a dark lyric or spinto with coloratura. It was probably a big voice for italian standards, but not a wagnerian.
Ha amato l' amore e quell' amore
l' tradita...ma oggi chi l' ama se la tiene stretta nel ❤️❤️❤️
NUNCA habrá otra voz así
Estensione, dinamica, intonazione, interpretazione!! Un tutt'uno monolitico e.... pazzesco....
Callas in one of her legendary performances in a piece she learned within the space of a week. The weight and passion in her voice, the ferocity and sensual impetuousness, explain why operatic composers were obsessed with setting the tale to Armida to music. Thank you for the upload!
😺❤️❤️❤️❤️❤️
Scrittura di una difficoltà sovrumana.
La Callas nel 1952 non conosceva la parola "difficoltà"
È un fiume in piena, nessuno può fermarla
Altro che il ROF. Il ROF e' questo. E come nel gioco del poker si apre e chiude istantaneamente.
Absolutnie fantastyczne, nie z tego świata !
Fantastic performance ❤
Maria Callas aqui no seu melhor!!!!! Impressionante!!!!Quem consegue ouvir sem sentir profunda emoção?!❤❤❤❤❤❤❤
Good God!! Beyond ANYTHING in recording history and thank God for the recordings!!
She was a comet, a force full of fire and creation power. As hot as her immense talent was, so was it to be short lived in our times... until the next life where her voice has sung forever. ❤️🎈
Superhuman Callas !!! Maria the breath of God !!!
Solo escuchando la voz....se ve la artista!!! Debería ser Electrizante verla en vivo y en su esplendor vocal !
She was and always always will be-the most wonderful brilliant and emotionally heart-breaking operatic singer of all time. I have loved her voice since I first heard it as a small child.It is as immortal as Tito Gobbi once said of her"I thought she was immortal-and she is".
There's not much to be said tbh... this is an absolute miracle. I'm speechless and with goosebumps all over my body.
This transfer is better than other versions I’ve heard - you can really hear her voice! Thanks for posting.
Каллас- это Самородок- бриллиант чистейший , обрамлённый тончайшими золотыми нитями, который невозможно с кем- либо сравнивать!!!! Её тембр и диапазон голосовых данных- УНИКАЛЬНЫ и это ФАКТ, который неоспорим!!🌿🌹🌹💕💕👍🌿👏👏👏👏👏🎉🎉🎉🎉❤️❤️❤️
Finale ... infernale! Leggendaria Divina! RIP
Somehow we tend to forget that Callas sang Armida - a very difficult part. She gave a once-in-a-lifetime performance. And the finale especially must have been exhausting.
Exactly.
As bad as the sound is the incredible artistry of Maria at the apogee of her career comes through. It’s hard to imagine today just how amazing it must have been to see/hear opera back in the 50’s at the great houses of Europe and the U.S. with such a wealth of real talent, singers, conductors, designers.
Bravo bravo bravo brilliance grandiose fantastic genial vocal
I wished she had sang a lot more Rossini. He just fits her voice like a well-tailored glove. Can you IMAGINE being in the audience, probably hearing Armida for the first time in the 20th century, and hearing THIS in person!!?!? Simply immortal!! 🥰
She sang too much Rossini, it made the voice very unstable in the high notes in later life, she was absolutely murdered by the Italian Opera Houses performing opera's that were not really her Repertoire, I heard her literally nearly a Hundred times in her short Career, it was sad to see how the Establishment and the Press chased her everywhere and not allowing her peace to have rest or even have a cup of Coffee, her personal life was a disaster, apart from Giuseppe Di Stefano and one or two others she gained no support , Onassis was a disaster of the worst kind, he used her terribly, her later life was altogether sad, I cannot listen to her in her later life, I remember her Puccini Tosca Butterfly Manon all were fantastic roles for her, her Gioconda was incredible in London she was adored, she at least left a legacy of fantastic performance and tragic singing that no Soprano has since matched only by the greats of earlier years were there anyone capable. Great Artist and a Wonderful Lady RIP I hope she is doing duets with Caruso in Heaven.
@@robertevans8010 no, that didn’t made the voice unstable, when you have a good technique you don’t lose your voice, Maria Callas lost her voice for some reasons, but the 3 main ones are:
-She had a disease called dermatomyositis (take a look in internet, it’s a disease that affects to all muscles in the body, including those which make you sing, getting them old faster)
-She lost a lot of weight in a very short time, that’s very bad for the body not o lot for the voice (she lost like 40kg)
-She had very bad habits, as smoke
These are the main reasons why she began to lose her voice
@@marcoscorvo2514 Please Sir I actually had an interview with her and she certainly did admit that singing such very demanding roles and the variety of demanding roles certainly did make a strain on her, she had wanted to sing more Puccini than say Wagner, early and the demands and the excesses that she had to produce to keep the wolves at bay " as to say " were constant, the continuous stress of having to sing extreme high notes, did make a terrible demand on her voice, I always have said that, it was the constant pressures of this that made the " Wobble " it was a wobble and it is very evident, in many live recordings , worse, nervous tension and always can create a problem, many singers can control, that tension two very famous ones are Caruso, who was an extremely nervous man off stage, but a Titan on it, Corelli had much the same problem, but Caruso managed to rid the problem on stage. Corelli constantly had to fight nerves.
Her personal life was a tragedy and a very big Tragedy, her life was to a point of being harassed and followed even Stalked by certain Gentlemen of the time, had she settled down and maybe have Children her life may have been hers, but it was not, you understand the Wobble or you could say broad notes at the top of her range was evident early, many older Generation critics and musicologists were saying that she needs to bring her range under control, roles like Armida and Medea yes she certainly sung magnificently, but they certainly were killers if you wished to sing Butterfly or Tosca throughout your operatic career.
I am now 102 years of age, I had the pleasure of seeing and in some stages of my life talking to some of the greats as they say, the most informed and straight to the point were two Tenors . Martinelli and Lauri Volpi I interviewed them twice each, for different reasons, they were both friends of Callas, Martinelli said that she was a truly great Soprano with all the attributes at her behest, acting and vocal ability together, Lauri Volpi also was very admiring of her and her ability to draw the best out of her voice, Martinelli was not a critic of her singing but did say that her personal life, will damage her, he was right, that was in Chicago in 1955 or 58 if I remember, Lauri Volpi also thought her personal life had rid her of her career, also that singing extremely different roles early Highly Dramatic, Coloratura Bel Canto, Lyrical and Italian Verismo at some point will strain the voice that he talked with myself and a few other Hacks of Opera Magazines, he was not as Generous a Man as Martinelli and you had to be careful not to make a displeasure.
Later in the Eighties I talked with Di Stefano, this Man stood by her all her life, he saw and heard her problems and he was loyal to her, pity the Operatic Press and Newspaper owners were not as Generous, they were the real Killers of her voice.
The Disease you state is very much known about and I do not think that was the reason, smoking can cause problems, but many singers smoked, some like Bjorling were alcoholics and he fought that virtually is entire time in New York, Tibbett the same, the weight of the Lady, you are correct when she was young, she was Rubinesque, as to say, quite plump, her voice was beautiful and round also then, losing weight was that she had also become a " Star " a fashion Icon and was one of the most notable and recognised persons in the World wherever you were, that definitely did changer attitudes and the people around her, the so called Jet Set many of whom were hangers on and wanted the limelight as well. Onassis was the break I believe, she felt betrayed and she was, this was the downward spiral that caused her demise so young.
I heard my first opera singers live in Rehearsal in Covent Garden in 1927 and 28 I forgot who it was in 27 but in 28 it was a final Rehearsal for Siegfried, I was taken by mother to wait for my Father who had been rehearsing earlier, he had been a Leading Tenor in the Chorus in London from 1909 till 1940, he loved Callas like myself by the way, I saw Rudolf Laubenthal and Nanny Larsen Todsen Rehearsing with Coates conducting, it was magnificent.
I was luck to see before the War many great singers, Melchior many times, Martinelli who was magnificent in the Coronation Season in 37 In Aida Otello twice Turandot twice , Tosca and Carmen all his performances were a great spectacle of singing artistry and the diction was so clear, he won me over very young. Gigli also but not in Aida but in La Boheme and Traviata, Lauri Volpi I heard first in 36 then in Italy after the War I preferred him older, great Tenor, Pertile I heard whilst on a summer Holiday in Italy 1933, what a Tenor he was, also Merli who was disappointing in Forza in 34 , Borgioli in Falstaff with Stabile in London in 38, I also heard Melchior in London three times as Otello, magnificent Voice but his Italian was very accented and even though I think he was a great Otello, he should have been THE Otello he had the real voice for it, In Wagner he could not be beaten that I will go to my grave saying.
Maria Callas was of the same Class as all these Great Singers, she had everything at her disposal and she used them to the full, her memory and her life will never be forgotten and whether she had voice problems or not, she was a truly great Artist and to me a lovely Lady, I talked to her about Flowers and Animals and her eyes lit up, what a tragedy! I will say no more, Prynhawn da ich i gyd, Noson lawen i'r Cymru.
@@robertevans8010 Marvelous. You are a treasure.
Me too 😕😺❤️
meravigliosa, un fenomeno. gli altri soprani possono solo sognare di avvicinarsi a lei.
The last Eb6 is unleashed like a meteor and exploded the entire orchestra. No voice can survive something of that magnitude. Unbelieavable. Its like she sacrificed 5 years of vocal life in this performance only.
She gave all she had in every performance... it is said that the more bright is a light less time it last... and she reaaaly shined!!!
Tiago.....Yes... you can't last long singing like this.
@@jimbuxton2187 she had about 26 years of career, 21 if we ignore the last performances of 1965. Imo lasting 21 years singing like that and such a wide repertoire is really impressive. If it wasnt by her very solid technique she would have lasted like 5 years. Thats exactly what happened to few soprani who tried to imitate Callas, they lost the voice in few years. And I think had she remained fat she would have lasted another decade singing crazy stuff like this one.
@@Tdvc .... she only had truly 5 or 6 years of prime singing. ( but those 5 or 6 0 were better than anyone's!) Most people have 10 years. Sutherlands had 15. Opera is a very demanding profession and the American opera houses are too big for vocal longitivity. Sills said singing Devereaux took 5 years off of her carreer but she knew it would and did it any way.
@@jimbuxton2187 Well, she started singing professionally in 1939 - at 16! Unfortunately, the first recordings we have are from 1949, which leaves us with a ten year gap - and a critic said the 1948 season, with a string of Turandots, took its toll on her voice, which in 1949 no longer was what it had been... if that's true, can we even imagine what she can have sounded like?
STRADIVINAAAAAAA
😺❤️
very interesting pictures- this stage setting was designed by Alberto Savinio, less known but not less important bother of Giorgio de Chirico
I didn't know anything about him, but after looking him up I think he may have been the ideal choice for the job... and now I wish, more than ever, that I could travel back in time to that incredible evening at the Maggio Musicale in 1952!
Puta que pariu....... Que perfeição! Divina!
✨
Voilà ce sont ces extraits de représentations ( Armida ,Parsifal ,Nabucco,Aida ,Puritani ,Rigoletto ...) Qu'elle fit en début de carrière .C'est cela que ceux qui veulent se rendre compte de l'Art de Callas dans sa plénitude ,doivent écouter en priorité .
🥰
Hello, Andrei,
Sunt surprins sa vad ca nu exista niciun comentariu in limba română.
Iţi mulţumesc pt ca ai postat acest fragment din Armida, o opera oarecum uitată, dar callas este uluitoare in această inregistrare legendara.
Cu salutari respectuase,
Gabriel D , un fan Maria Callas
LA PIU BRAVA
How is that in Germany at that time they recorded live operas in virtually studio quality, and Italian recordings sound like this?
This is a bootleg recording.
@@jaybee2838 I don't think that is the only reason. Italy was WAY BEHIND Germany, Austria, the UK, and the US in recording live performances from the radio or the auditorium. There are examples of the qualitative difference beyond counting from the 1950s. And this is a shame since many of the greatest operatic performances of that decade took place in Italy. Too bad for us today. Most of Callas' greatest performances were live and in Italy, unfortunately.
How did she do it? She was Callas.
By working on her technique for many hours every day ever since she was 13. She wasn't a miracle or a monster. She was someone who understood that talent is only 10% - someone who was willing to put in a lot of extremely hard work to make that talent truly flourish.
It’s not Callas.😂😂😂😂 Maria Meneghini! ❤
Is it possible that Callas until 1954 had a bigger voice than Kirsten Flagstad and Birgit Nilsson?
Nope. She didn’t. Different voices. Callas was essentially a dark lyric or spinto with coloratura. It was probably a big voice for italian standards, but not a wagnerian.
@@AndreiUngureanuoperafan she wasn't a lyric. No way.
@@antwerpen1969 Deutekom's clucking can't begin to compare to this!
Ad inseguir traetemi un empio, un traditor.
Fucking legendary 😺❤️❤️❤️😺❤️😺❤️😺❤️
Not my favorite voice - I find her voice odious - but at least she acts with it and the technique itself is strong.
"odious" refers to character or behavior, not to the physical (or visual or audible) qualities of something
You really are dry, are you?
@@NLidar not worth your time, trust me!
@@alioffe4321 I do trust you!
@@NLidar And I love you for that!