Maria Callas be sucking all oxygen off the whole house, I can feel the emotion of density in the air. Who else! No else! This is it, the opera to DIE for. Love + Love + Bravo,
@@victorruiz2309 Estimado Sr. Ruiz: What a surprise!, que al comentario que respondía yo en esta red RUclips había sido escrito desde La Habana. [ I don't know if you speak Spanish; do you? ] Anyway, me alegra. Tampoco sé si Ud. es cubano, yo sí: guantanamero. Le recomiendo que lea la biografía de María Callas escrita por su marido Giovanni Battista Meneghini, es hasta ahora, y mire que yo he leído y visto mucho de la Callas, lo más fidedigno sobre su vida. Qué no hubiera escrito José Martí de existir ésta antes o durante la vida del 'Apóstol'. Reciba otro cordial saludo desde North Hollywood, California. P.S.: prevéngame si me he excedido en la confianza.
@@juanfranco-amigo412 ¡Qué sorpresa! Sí que estamos dispersos por todo el mundo. También soy cubano, de La Habana. Muchas gracias por la recomendación, trataré de conseguir el libro. Y no, no se preocupe, no se ha excedido en el nivel de confianza. Creo que, en promedio, los niveles de tolerancia de los cubanos a la socialización son bastante altos. Saludos.
Those last two notes "L'amo!" in the ascending Chest voice from F#4 to G4 sends this paerformance already over the top with it's wonderful production. She was the last great soprano from a time where it was not okay for the singers to perform like she did and perform in the manner that she did. To say she transfigured the art form would be a disservice to not only her but to the world of Opera. Just listen to how she blasts over the orchestra doing the most taxing moments of this dramatic showpiece for Maddaelena -- here we have a woman who truly doesn't let the death of her Mother completely take over her but instead learns from it and lets her spirit guide her to find love and greatness in it. Callas, in a role she only surveyed once, destroyed my notion of the opera and how it's supposed to be performed and truly it is filled... with "L'amo!"
@@fabriziocigni6945 Thank you for the clarification but let's be honest here -- how many sopranos are going to pronounce the "r" at the end of that sustained G4? This is an area where a legit soprano should revel in without the constriction of singing on the consonant "r" when you could just sing on the long [o] vowel.
@@deadwalke9588 but one only has to go to any studio recording of the aria in question, that of Callas herself 1954, or even more so to that of Mirella Freni, to hear that the last word is "amor," not the verbal form "amo", regardless of pitch (each performer then accentuates the final consonant more or less)
Reminds me of the best time of my life when I also sang this aria ... it was certainly similar to Maria when she was at home in her last years, listening to her recordings and often watching Sunset Boulevard, all alone and forgotten at this time. But now many of us know what she left us- pure art of opera! La mamma morta m'hanno Alla porta della stanza mia; Moriva e mi salvava! Poi a notte alta Io con Bersi errava, Quando ad un tratto Un livido bagliore guizza E rischiara innanzi a' passi miei La cupa via! Guardo! Bruciava il loco di mia culla! Cosi fui sola! E intorno il nulla! Fame e miseria! Il bisogno, il periglio! Caddi malata, E Bersi, buona e pura, Di sua bellezza ha fatto un mercato, Un contratto per me! Porto sventura a chi bene mi vuole! Fu in quel dolore Che a me venne l'amor! Voce piena d'armonia e dice: "Vivi ancora! Io son la vita! Ne' miei occhi e il tuo cielo! Tu non sei sola! Le lacrime tue io le raccolgo! Io sto sul tuo cammino e ti sorreggo! Sorridi e spera! Io son l'amore! Tutto intorno e sangue e fango? Io son divino! Io son l'oblio! Io sono il dio che sovra il mondo Scendo da l'empireo, fa della terra Un ciel! Ah! Io son l'amore, io son l'amor, l'amor" E l'angelo si accosta, bacia, E vi bacia la morte! Corpo di moribonda e il corpo mio. Prendilo dunque. Io son gia morta cosa!
after listening her singing I become an artist myself and cry my heart out. only regreat is I can not listen any other lady singers other than Maria . what a great lady .
Comme dans tous les rôles qu'interprétait Maria Callas, le seul timbre de sa voix était déjà à lui seul, bouleversant et puissamment tragique....Aussi l'émotion est forte à l'écoute de cet air splendide de Madeleine de Coigny de l'Opera André Chénier, "La mamma morta" ....Ce qui la rendait, et la rend encore aujourd'hui, unique et irremplaçable....❤🙏👋🥰
A mi me parece una voz bellísima. El color es increíble. Y la emotividad que imprime es de otra galaxia. La soprano más importante de la historia de la Ópera
Et contre le génie on ne peut rien ! On est désarmé .Cette femme est miraculeuse par sa façon de raconter ,tout en chantant d'une voix puissante ,solide ,pleine .Il n'y a pas d'équivalent à son Art du chant . Désolé Renata et toutes les autres ....vous ne faites que chanter .Mais Madeleine de Coigny c'est Maria Callas .
Comment être indifférent devant tant de laideur, non seulement une voix laide, désagréable, mais une garce comme elle chante, elle a des goûts horribles, ce n'est pas Maddalena de caractère, c'est une sorcière. Ça n'a jamais été Maddalena, la preuve c'est que je ne l'ai chanté qu'1 fois et c'était dingue. Renata Tebaldi a été Maddalena di Coigny pendant 25 années consécutives de 1945 à 1970 dans tous les plus grands théâtres du monde
Sorry but this was the only thing I liked about this movie knew it was Callas as soon as she started singing would have loved to have seen La Davina sing this live but I would had to sit in the back cause I don’t think I could stay seated during a performance like this Bless u Maria for all the joy u gave the opera world n your fans ❤️🙋🏼♀️
VIVA!!!! "You can't buy or sell what MARIA CALLAS had". I actually have pity for those who tried to imitate her, even shamelessly copying, all for naught. No point in mentioning names, everybody on this channel KNOWS who they are.... Ok, I'll mention ONE.. scotto. I was present at those dreadful, gargly, NORMAS at the Metropolitan, making her entrance in some kind of "Afro", wig, a true delight of chaos throughout. I actually liked scotto as MIMI, she was young and plump with that lovely round peasant face, one could easily picture her stomping grapes in the Italian wine regions. She was true and sweet as MIMI. NO where near LA FRENI, but just around the corner close enough. Maria Callas lives because Opera fans need her, because she makes us feel what SHE felt, we are connected to her spirit, her MAGIC. Sure we can love other singers, like NILSSON and JOAN, I saw Joan plenty with Luciano live. My regret is that I never saw MARIA live onstage. We don't choose when we're born. No matter, MARIA CALLAS is with all that love her, for opera fans, it's easy. She is ASSOLUTA. Great Post Eternal!!! Love that applause ovation at the end!!!
Most healthy humans have the ability to forget about death altogether. I do not know how but they ignore it for the most of their lives. We know that it is there but some how we do not let it affect our everyday activities. We keep ourselves busy with jobs, raising kids and etc. I think we question our own mortality when our own parents die. The parents go away forever but their love and memories stay with us forever. Love is more stronger than death. But death is a reality and all humans have to face it one day. No exceptions. I guess this makes all humans equal. I think if we keep reminding ourselves that we will die one day then we will be able to do some good for others. I have not seen any actor in any movie who delivered such a great performance about death and life. I have seen many many movies but no one has moved the audience like Tom Hanks did about death. Tom is not offering any solutions or asking any question or asking for pity because he is dying. He is just pointing to the fact that most of us ignore consistently. Death is inevitable and it will come. He is telling the story of a girl who lost her mother and questioning her own mortality. Denzel also did a great job. His perspective changes about his own life in this scene. He is not frustrated with Tom about not preparing the answers for the court room, he is not worried about hating the opera or even Tom's condition. He is concern about his own mortality now. He realized that he has been ignoring this question for a very long time. He has no answer. He just rushes back to home and hug his child like he will never get the chance to hug his kid again. Someone said " Always plan like you have to live forever and live everyday like it is your last day"@@mrod1204
have you realized on how Callas is one of the so quite few singers who actually sings ALL the song without omiting ANYTHING and EVERYTHING CLEAR on to be heard and understood in Italian!! A lot of singers do the part just before the climax into a very rushed on way, either non singing all of that and saying in parlato/speaking/reciting those lines if they ever do said them - some actually mutilate the text and say or sing fewer things, furtherly they tend to not take proper breathing and lump all in a rushed way, spacing out the text to take breath for the climatic AHH of the aria! Maria Callas didn´t do ANYTHING of that!!! She says all, and takes the proper way of singing it as a whole!! Very few other have done it aside of her, and even the tradition of mutilating-rushing on/half-speaking the text lines had existed before Callas on some other legendary singers, sometimes better appreciated than her on their skills.
Sadly, most singers sing on tone. Callas however, follows the line of great singers like Tetrazzini and Claudia Musio and sings on vowels. What's the difference? Open and clear vowels penetrate. A voice singing on vowels has the space to get lots more consonant in. Low larynx allows the voice to engage at the bottom and be compellingly large at the top. It sounds simple doesn't it? It's a heck of a lot of work, and that's what modern singers aren't encouraged to do. They take the easy way out and sing on tone.
@@patrickgallagher3513 it could be the case but I have heard also Caballe sing this great and she has a lightier voice than Callas, while in other hand another heavier singer as Olivero sings the song in the wrong way, and she was supposedly singing in the old fashion way as Callas whereas Caballe wasn´t or so I recalled to knew about it. So I don´t know if it´s just vowels alone, furrtherly some recording of Muzio or some older singer very legendary before Callas had the same odd way of singing the troublesome part of the aria before the climax, evethough less noticeable as latter singers after Callas, so that mushy-rushed issue happened before Callas actually.
@@lhadzyan7300 Yes, but irrespective of the size of the voice, singing on vowels as Callas and Caballe did allows for much more intensity, a cleaner sound that can get much more edge. If you listen to Caballe singing Zarzuela when she was very young, it's thrilling.
@@patrickgallagher3513 oh, I get it. Well they learn the proper good way of singing whereas most of sopranos just develop the practical-easiest way of singing but it got troubles latter on siging for heavier-dense roles done for darker-mature voices. whereas lightier-brighiter and younger-voice roles are far better suited early on for that alternative way of singing. The older vowel technique indeed also helps singing well the lightier-younger roles HOWEVER it gives them some old-fashion and darker tune that didn´t match the proper performance for those roles alone, which might sound cleared but eerie unrealistic for being too much mature-tuned for the characters or style they´re singing, for which the modern mode of singing is better than the older one, but ONLY for those roles! A good singer might be able to blend, mixing or alternating on use BOTH techniques depending on what she is singing and how fitted her voice is done by nature for that or not that role alone or a part of the musical writting too as there are roles which EVOLVE during the whole opera so might sound very different at the beggining and at the end of the story, for sample, Violetta Valery of La Traviata.
Most healthy humans have the ability to forget about death altogether. I do not know how but they ignore it for the most of their lives. We know that it is there but some how we do not let it affect our everyday activities. We keep ourselves busy with jobs, raising kids and etc. I think we question our own mortality when our own parents die. The parents go away forever but their love and memories stay with us forever. Love is more stronger than death. But death is a reality and all humans have to face it one day. No exceptions. I guess this makes all humans equal. I think if we keep reminding ourselves that we will die one day then we will be able to do some good for others. I have not seen any actor in any movie who delivered such a great performance about death and life. I have seen many many movies but no one has moved the audience like Tom Hanks did about death. Tom is not offering any solutions or asking any question or asking for pity because he is dying. He is just pointing to the fact that most of us ignore consistently. Death is inevitable and it will come. He is telling the story of a girl who lost her mother and questioning her own mortality. Denzel also did a great job. His perspective changes about his own life in this scene. He is not frustrated with Tom about not preparing the answers for the court room, he is not worried about hating the opera or even Tom's condition. He is concern about his own mortality now. He realized that he has been ignoring this question for a very long time. He has no answer. He just rushes back to home and hug his child like he will never get the chance to hug his kid again. Someone said " Always plan like you have to live forever and live everyday like it is your last day"
She wasn't just an opera diva. She was a magnificent actress who brought soul to her characters and broke them out of their classical monotony. For this reason, and for bringing forgotten operatic classics to life, she was revolutionary. When Callas was on stage, she was unmistakable and incomparable.
in my humble opinion, Callas owns this but reading through the comments I decided to listen to Renata Tibaldi's studio recording from 1950. while it is marvelous in its technical quality, it feels melodramatic to a fault. the extension of phrasing makes it feel too much of a spectacle if that makes sense, and it strips it of the emotion and grief. you feel the pain in Callas' voice, the destruction and resolve, the anguish and anger. to me it will always be Callas and then everyone else. the only other that I've come to enjoy is from the incomparable Leontyne Price.
Came here after listening to Renata Tebaldi. RUclips Channel: Felipe Vargas Brignardello, Video: Renata Tebaldi, "La Mamma Morta", 1960. 4:53 - 4:57 is better here, although the sound quality of this video is faulty.
@@OperaMyWorld Your pathology of hatred towards Tebaldi is very evident, especially creating your videos of Tebaldi to insult her. The reality is that Tebaldi was never strident, neither in 1950 nor in 1970, and that Maria Callas is strident. But also Callas's high notes are full of "irregular vibrations" and are light in color. Callas could never have "the color" that Tebaldi has in the high notes and Tebaldi's vibrato is so unwavering that she just "doesn't have irregular vibrations". Tebaldi never screamed but her voice is powerful therefore her high notes are made of granite, huge and I repeat "without irregular vibrations". Here you are not on your channel where you are a dictatorship and you would delete this message. Read it here so you get sick
High notes is what tebaldi never has sorry for the not understand the colour of high notes and better wat you are seeing about La DIVINA but every wobble or high notes going wrong better than FLAT AND CREAK
@@JanneMalik-tq8bv Tebaldi's high notes are perfect, clean, firm and full bodied and with unwavering vibrato. Tebaldi's vibrato is so perfect her high notes simply do not have irregular vibrations . Callas never could have the color Tebaldi has in the high notes and Callas high notes are strident, clear in color and full of irregular vibrations, Callas never could sing an A natural and a Bflat properly . Tebaldi is not flat but Callas sings sharp because Callas forced
If I remember correctly, Callas learned this role in something like a week, after Mario del Monaco decided he wanted to sing Andrea Chenier instead of Trovatore.
@@nachoignacio9350tu non tieni idea ...se capisci di lirica di canto .. siete tutti soggiogati dalla greca ...ma vocalmente non era adatto a questo repertorio
It’s a matter of closing your eyes and you will see her on the stage. Out of this world !
Maria Callas be sucking all oxygen off the whole house, I can feel the emotion of density in the air. Who else! No else! This is it, the opera to DIE for. Love + Love + Bravo,
This performance is ridiculous.. what a talent!
Oh, mio Dio, che emozioni... solo Maria Callas... per sempre ❤
She is unforgettable
The best opera singer all the times! Wonderfull and unforgettable! 💖💖💖
The absolute, incomparable and unsurpassable performance of this aria.
Concordo totalmente
In short, divine...La Divina. Greetings from California.
@@juanfranco-amigo412 well, indeed. Greetings from La Habana.
@@victorruiz2309 Estimado Sr. Ruiz: What a surprise!, que al comentario que respondía yo en esta red RUclips había sido escrito desde La Habana. [ I don't know if you speak Spanish; do you? ] Anyway, me alegra. Tampoco sé si Ud. es cubano, yo sí: guantanamero. Le recomiendo que lea la biografía de María Callas escrita por su marido Giovanni Battista Meneghini, es hasta ahora, y mire que yo he leído y visto mucho de la Callas, lo más fidedigno sobre su vida. Qué no hubiera escrito José Martí de existir ésta antes o durante la vida del 'Apóstol'. Reciba otro cordial saludo desde North Hollywood, California. P.S.: prevéngame si me he excedido en la confianza.
@@juanfranco-amigo412 ¡Qué sorpresa! Sí que estamos dispersos por todo el mundo. También soy cubano, de La Habana. Muchas gracias por la recomendación, trataré de conseguir el libro. Y no, no se preocupe, no se ha excedido en el nivel de confianza. Creo que, en promedio, los niveles de tolerancia de los cubanos a la socialización son bastante altos. Saludos.
Solo con Lei brividi e lacrime ...insuperata voce❤
Sie war die Beste, weil die Gültigste, die in den Noten sich Erfüllende, sie verbog sich nie!!!
Inolvidable,Maria Callas, siempre maravillosa:!!
This is opera!
Lol are they still alive?
Oh dear lord.... oh dear lord to have been there.... my heart!
Absolut❤for ever! The Voice!!
meravigliosa, brava
grazie Maria Callas❤
She is mother is she is love she is life she is everything 💖💖💖
Unique Maria.... Her voice brings tears to my eyes! May God rest her soul.
El de la tabaquera de calle san martín. Ppsta
Those last two notes "L'amo!" in the ascending Chest voice from F#4 to G4 sends this paerformance already over the top with it's wonderful production. She was the last great soprano from a time where it was not okay for the singers to perform like she did and perform in the manner that she did. To say she transfigured the art form would be a disservice to not only her but to the world of Opera. Just listen to how she blasts over the orchestra doing the most taxing moments of this dramatic showpiece for Maddaelena -- here we have a woman who truly doesn't let the death of her Mother completely take over her but instead learns from it and lets her spirit guide her to find love and greatness in it.
Callas, in a role she only surveyed once, destroyed my notion of the opera and how it's supposed to be performed and truly it is filled... with "L'amo!"
Exactly. The use of chest voice in last phrases from 5:00 onwards is a touch of pure genius.
what an ugly chest voice Callas
Not L'amo but l'Amor, the last phrase is " io son l'Amor" (I am Love)
@@fabriziocigni6945 Thank you for the clarification but let's be honest here -- how many sopranos are going to pronounce the "r" at the end of that sustained G4? This is an area where a legit soprano should revel in without the constriction of singing on the consonant "r" when you could just sing on the long [o] vowel.
@@deadwalke9588 but one only has to go to any studio recording of the aria in question, that of Callas herself 1954, or even more so to that of Mirella Freni, to hear that the last word is "amor," not the verbal form "amo", regardless of pitch (each performer then accentuates the final consonant more or less)
She left that theatre in RUINS
Serious damage. Not a dry seat in the house.
La Dea greca .
Unica .
❤️🌹
Reminds me of the best time of my life when I also sang this aria ... it was certainly similar to Maria when she was at home in her last years, listening to her recordings and often watching Sunset Boulevard, all alone and forgotten at this time. But now many of us know what she left us- pure art of opera!
La mamma morta m'hanno
Alla porta della stanza mia;
Moriva e mi salvava!
Poi a notte alta
Io con Bersi errava,
Quando ad un tratto
Un livido bagliore guizza
E rischiara innanzi a' passi miei
La cupa via!
Guardo!
Bruciava il loco di mia culla!
Cosi fui sola!
E intorno il nulla!
Fame e miseria!
Il bisogno, il periglio!
Caddi malata,
E Bersi, buona e pura,
Di sua bellezza ha fatto un mercato,
Un contratto per me!
Porto sventura a chi bene mi vuole!
Fu in quel dolore
Che a me venne l'amor!
Voce piena d'armonia e dice:
"Vivi ancora! Io son la vita!
Ne' miei occhi e il tuo cielo!
Tu non sei sola!
Le lacrime tue io le raccolgo!
Io sto sul tuo cammino e ti sorreggo!
Sorridi e spera! Io son l'amore!
Tutto intorno e sangue e fango?
Io son divino! Io son l'oblio!
Io sono il dio che sovra il mondo
Scendo da l'empireo, fa della terra
Un ciel! Ah!
Io son l'amore, io son l'amor, l'amor"
E l'angelo si accosta, bacia,
E vi bacia la morte!
Corpo di moribonda e il corpo mio.
Prendilo dunque.
Io son gia morta cosa!
Goodness! She’s gorgeous 😍
Grandissima👏👏👏👏👏
E absuluta e il mostro del belcanto, insomma...¡La Divina! Saluti dalla California.
Sei immortale!!!
Beautiful, incomparable 💃
Lo que transmite esta mujer es .. Inigualable!!!
Now this is how this aria should be delivered, the rest should all be ashamed!
Yes this is sung splendidly but I think you are being unfair to others.
The Truth Opera Goddess.
La mejor, la mejor, nadie como ella...eriza los pelos de la piel...la divina...
There is Maria Callas, then lightyears of nothing and then the rest.
Inarrivabile
Unica divina maestosa
Favolosa!!!!!
She was unique, she cried in that performance
That’s nice to know. She makes us all cry, as well!
Who would be crying... she was real Maddaelena on stage that night.
Divina ❤ !
Única , insuperable, María Callas
Mi strugge l’anima Maria...
Thank you for posting this! I’ve never heard the live on stage version- so moving! It’s spectacular!❤
This is why it's in "Philadelphia!"
the best
after listening her singing I become an artist myself and cry my heart out. only regreat is I can not listen any other lady singers other than Maria . what a great lady .
Comme dans tous les rôles qu'interprétait Maria Callas, le seul timbre de sa voix était déjà à lui seul, bouleversant et puissamment tragique....Aussi l'émotion est forte à l'écoute de cet air splendide de Madeleine de Coigny de l'Opera André Chénier, "La mamma morta" ....Ce qui la rendait, et la rend encore aujourd'hui, unique et irremplaçable....❤🙏👋🥰
Unica, Divina💖
maravillosa
Por favor ¡¡¡¡ qué maravilla ¡¡¡ María gracias!!!
Great singing
Although we get a glimpse of the wobble that she will have in the future in the final high note
OH MY GOD
CHE VOCE BELLISSIMA!!!, MARIA CALLAS "LA DIVINA" PER SEMPRE IN NOSTRI CUORE!!!
Perdón, pero si hay algo que No tuvo es una bella voz, después está el gusto personal, sin duda respetable
@@mariateresaschniebs4929 No estoy de acuerdo...a mi me parece una versátil y bella voz la de María Callas...respeto su opinión, gracias🙏
A mi me parece una voz bellísima. El color es increíble. Y la emotividad que imprime es de otra galaxia. La soprano más importante de la historia de la Ópera
@@carlosrapita7546 100%de acuerdo Carlos!!! 🙌😊🎶🙏
Et contre le génie on ne peut rien ! On est désarmé .Cette femme est miraculeuse par sa façon de raconter ,tout en chantant d'une voix puissante ,solide ,pleine .Il n'y a pas d'équivalent à son Art du chant . Désolé Renata et toutes les autres ....vous ne faites que chanter .Mais Madeleine de Coigny c'est Maria Callas .
Comment être indifférent devant tant de laideur, non seulement une voix laide, désagréable, mais une garce comme elle chante, elle a des goûts horribles, ce n'est pas Maddalena de caractère, c'est une sorcière.
Ça n'a jamais été Maddalena, la preuve c'est que je ne l'ai chanté qu'1 fois et c'était dingue. Renata Tebaldi a été Maddalena di Coigny pendant 25 années consécutives de 1945 à 1970 dans tous les plus grands théâtres du monde
I'm crying.......
Sorry but this was the only thing I liked about this movie knew it was Callas as soon as she started singing would have loved to have seen La Davina sing this live but I would had to sit in the back cause I don’t think I could stay seated during a performance like this Bless u Maria for all the joy u gave the opera world n your fans ❤️🙋🏼♀️
VIVA!!!!
"You can't buy or sell what MARIA CALLAS had".
I actually have pity for those who tried to imitate her, even shamelessly copying, all for naught. No point in mentioning names, everybody on this channel KNOWS who they are....
Ok, I'll mention ONE.. scotto. I was present at those dreadful, gargly, NORMAS at the Metropolitan, making her entrance in some kind of "Afro", wig, a true delight of chaos throughout.
I actually liked scotto as MIMI, she was young and plump with that lovely round peasant face, one could easily picture her stomping grapes in the Italian wine regions. She was true and sweet as MIMI. NO where near LA FRENI, but just around the corner close enough.
Maria Callas lives because Opera fans need her, because she makes us feel what SHE felt, we are connected to her spirit, her MAGIC. Sure we can love other singers, like NILSSON and JOAN, I saw Joan plenty with Luciano live. My regret is that I never saw MARIA live onstage. We don't choose when we're born.
No matter, MARIA CALLAS is with all that love her, for opera fans, it's easy. She is ASSOLUTA.
Great Post Eternal!!! Love that applause ovation at the end!!!
What pompous arrogance
Madre mía!
Tom Hanks describing this performance in "Philadelphia" was so wonderful 🤗
It made the movie
Most healthy humans have the ability to forget about death altogether. I do not know how but they ignore it for the most of their lives. We know that it is there but some how we do not let it affect our everyday activities. We keep ourselves busy with jobs, raising kids and etc. I think we question our own mortality when our own parents die. The parents go away forever but their love and memories stay with us forever.
Love is more stronger than death.
But death is a reality and all humans have to face it one day. No exceptions. I guess this makes all humans equal. I think if we keep reminding ourselves that we will die one day then we will be able to do some good for others.
I have not seen any actor in any movie who delivered such a great performance about death and life. I have seen many many movies but no one has moved the audience like Tom Hanks did about death. Tom is not offering any solutions or asking any question or asking for pity because he is dying. He is just pointing to the fact that most of us ignore consistently. Death is inevitable and it will come. He is telling the story of a girl who lost her mother and questioning her own mortality.
Denzel also did a great job. His perspective changes about his own life in this scene. He is not frustrated with Tom about not preparing the answers for the court room, he is not worried about hating the opera or even Tom's condition. He is concern about his own mortality now. He realized that he has been ignoring this question for a very long time. He has no answer. He just rushes back to home and hug his child like he will never get the chance to hug his kid again.
Someone said " Always plan like you have to live forever and live everyday like it is your last day"@@mrod1204
callas andre chenier Le meilleur d'un opéra Qui me serre le coeur. Magnifique
Eccezionalmente unica ed assoluta
have you realized on how Callas is one of the so quite few singers who actually sings ALL the song without omiting ANYTHING and EVERYTHING CLEAR on to be heard and understood in Italian!!
A lot of singers do the part just before the climax into a very rushed on way, either non singing all of that and saying in parlato/speaking/reciting those lines if they ever do said them - some actually mutilate the text and say or sing fewer things, furtherly they tend to not take proper breathing and lump all in a rushed way, spacing out the text to take breath for the climatic AHH of the aria!
Maria Callas didn´t do ANYTHING of that!!! She says all, and takes the proper way of singing it as a whole!! Very few other have done it aside of her, and even the tradition of mutilating-rushing on/half-speaking the text lines had existed before Callas on some other legendary singers, sometimes better appreciated than her on their skills.
Sadly, most singers sing on tone. Callas however, follows the line of great singers like Tetrazzini and Claudia Musio and sings on vowels. What's the difference? Open and clear vowels penetrate. A voice singing on vowels has the space to get lots more consonant in. Low larynx allows the voice to engage at the bottom and be compellingly large at the top. It sounds simple doesn't it? It's a heck of a lot of work, and that's what modern singers aren't encouraged to do. They take the easy way out and sing on tone.
@@patrickgallagher3513 it could be the case but I have heard also Caballe sing this great and she has a lightier voice than Callas, while in other hand another heavier singer as Olivero sings the song in the wrong way, and she was supposedly singing in the old fashion way as Callas whereas Caballe wasn´t or so I recalled to knew about it. So I don´t know if it´s just vowels alone, furrtherly some recording of Muzio or some older singer very legendary before Callas had the same odd way of singing the troublesome part of the aria before the climax, evethough less noticeable as latter singers after Callas, so that mushy-rushed issue happened before Callas actually.
@@lhadzyan7300 Yes, but irrespective of the size of the voice, singing on vowels as Callas and Caballe did allows for much more intensity, a cleaner sound that can get much more edge. If you listen to Caballe singing Zarzuela when she was very young, it's thrilling.
@@patrickgallagher3513 oh, I get it. Well they learn the proper good way of singing whereas most of sopranos just develop the practical-easiest way of singing but it got troubles latter on siging for heavier-dense roles done for darker-mature voices. whereas lightier-brighiter and younger-voice roles are far better suited early on for that alternative way of singing.
The older vowel technique indeed also helps singing well the lightier-younger roles HOWEVER it gives them some old-fashion and darker tune that didn´t match the proper performance for those roles alone, which might sound cleared but eerie unrealistic for being too much mature-tuned for the characters or style they´re singing, for which the modern mode of singing is better than the older one, but ONLY for those roles!
A good singer might be able to blend, mixing or alternating on use BOTH techniques depending on what she is singing and how fitted her voice is done by nature for that or not that role alone or a part of the musical writting too as there are roles which EVOLVE during the whole opera so might sound very different at the beggining and at the end of the story, for sample, Violetta Valery of La Traviata.
Most healthy humans have the ability to forget about death altogether. I do not know how but they ignore it for the most of their lives. We know that it is there but some how we do not let it affect our everyday activities. We keep ourselves busy with jobs, raising kids and etc. I think we question our own mortality when our own parents die. The parents go away forever but their love and memories stay with us forever.
Love is more stronger than death.
But death is a reality and all humans have to face it one day. No exceptions. I guess this makes all humans equal. I think if we keep reminding ourselves that we will die one day then we will be able to do some good for others.
I have not seen any actor in any movie who delivered such a great performance about death and life. I have seen many many movies but no one has moved the audience like Tom Hanks did about death. Tom is not offering any solutions or asking any question or asking for pity because he is dying. He is just pointing to the fact that most of us ignore consistently. Death is inevitable and it will come. He is telling the story of a girl who lost her mother and questioning her own mortality.
Denzel also did a great job. His perspective changes about his own life in this scene. He is not frustrated with Tom about not preparing the answers for the court room, he is not worried about hating the opera or even Tom's condition. He is concern about his own mortality now. He realized that he has been ignoring this question for a very long time. He has no answer. He just rushes back to home and hug his child like he will never get the chance to hug his kid again.
Someone said " Always plan like you have to live forever and live everyday like it is your last day"
She wasn't just an opera diva. She was a magnificent actress who brought soul to her characters and broke them out of their classical monotony. For this reason, and for bringing forgotten operatic classics to life, she was revolutionary. When Callas was on stage, she was unmistakable and incomparable.
NESSUN altra .
Né prima
Né dopo
Prima tante , dopo nessuna
@@leonardoumbriano4515 nessuna neanche prima regge il minimo confronto
Almeno su disco
@@Tkimba2 adesso poi vuoto cosmico.
@@fabriziogarzi9892 adesso meno di nessuno. Cifre negative
@@Tkimba2 come l'imperatore romano, pollice verso.
La veuve du compositeur était dans la salle ce soir la......
Vraiment ou légende ?
Your devotion to Callas is understandable, but the more images you throw at us, the more distracted we are in trying to listen to her.
No nació ni nacerá otra igual❤
A melhor, nao tem o que fazer
Daha güçlü bir performans mümkün mü bilmiyorum.
in my humble opinion, Callas owns this but reading through the comments I decided to listen to Renata Tibaldi's studio recording from 1950. while it is marvelous in its technical quality, it feels melodramatic to a fault. the extension of phrasing makes it feel too much of a spectacle if that makes sense, and it strips it of the emotion and grief. you feel the pain in Callas' voice, the destruction and resolve, the anguish and anger. to me it will always be Callas and then everyone else. the only other that I've come to enjoy is from the incomparable Leontyne Price.
Came here after listening to Renata Tebaldi. RUclips Channel: Felipe Vargas Brignardello, Video: Renata Tebaldi, "La Mamma Morta", 1960. 4:53 - 4:57 is better here, although the sound quality of this video is faulty.
4:53 - 4.57 here is a scream
@@ginopietracupa4305hahahahahah!!! It’s Perfect go listen to Tebaldi to understand what underpitch scream means!
@@OperaMyWorld Your pathology of hatred towards Tebaldi is very evident, especially creating your videos of Tebaldi to insult her.
The reality is that Tebaldi was never strident, neither in 1950 nor in 1970, and that Maria Callas is strident. But also Callas's high notes are full of "irregular vibrations" and are light in color.
Callas could never have "the color" that Tebaldi has in the high notes and Tebaldi's vibrato is so unwavering that she just "doesn't have irregular vibrations".
Tebaldi never screamed but her voice is powerful therefore her high notes are made of granite, huge and I repeat "without irregular vibrations".
Here you are not on your channel where you are a dictatorship and you would delete this message. Read it here so you get sick
High notes is what tebaldi never has sorry for the not understand the colour of high notes and better wat you are seeing about La DIVINA but every wobble or high notes going wrong better than FLAT AND CREAK
@@JanneMalik-tq8bv Tebaldi's high notes are perfect, clean, firm and full bodied and with unwavering vibrato. Tebaldi's vibrato is so perfect her high notes simply do not have irregular vibrations . Callas never could have the color Tebaldi has in the high notes and Callas high notes are strident, clear in color and full of irregular vibrations, Callas never could sing an A natural and a Bflat properly . Tebaldi is not flat but Callas sings sharp because Callas forced
Any idea where this was?
January 8th, 1955, Theatro alla Scala, Milan, Italy
Душевнее Каллас никто не пел.
She made a mistake at “ha fatto un mercato un contratto per me”
BFD = Big Fucking Deal
If I remember correctly, Callas learned this role in something like a week, after Mario del Monaco decided he wanted to sing Andrea Chenier instead of Trovatore.
@@matthewbbentonPas cool de la part de MDM
... but who cares.
STOP THOSE ANNOYING PICTURES!!!!!!!!!!!!!!!!!!!!!!!!!!
Preferisco la versione Tebaldi...
Ну так ступайте вон!
@@amneris78 per niente...esci tu!!! apprezzo anche la versione Callas ... ascolto e giudico ... preferisco un'altra versione...quale è il problema....
No tienes idea de lo que hablas
@@nachoignacio9350tu non tieni idea ...se capisci di lirica di canto .. siete tutti soggiogati dalla greca ...ma vocalmente non era adatto a questo repertorio
Is it possible? I think that is made by Artificial Inteligence! Well, no, I think that even artificial inteligence can not sing as Callas.
Callas eterna❤