Callas does not act. She becomes the heroine and the music. She is just unique!!! I enjoy other opera singers as well (after all there are wonderful voices) but Callas is something else BRAVO MARIA ❤️❤️❤️❤️❤️❤️
She doesn't act because she becomes HERSELF (not just the character) through the composer and his creations. When she is most moving, it's because she is singing of her own hopes, dreams, despair. Here Callas, the great singer, is expressing the pain of Maria, the human being. That's why (at least to me) it's so real and so moving.
How utterly gorgeous and grand ! It's as riveting as her 1954 Alceste... Hearing this, I do lament the loss of her 1957 Covent Garden Norma, which was certainly a regal treat ! Anyway, thank you very much.
Of the roles of the Classical era Callas sang my personal favorite is her Julia from La Vestale... Tu che invoco, especially the 1954 one with the two C6s (ruclips.net/video/UVyo1JeF34w/видео.html)... especially in the second part where the Voice has to sustain the fastest legato dramatic line culminating to a C6, it is a miracle of singing By the way I cant find that part (Su questo sacre altare) with Ponselle.. Im highly curius to hear her singing fast
Lohengrin O Absolutely, she was so brilliantly eloquent in what one may call the French grand style - Gluck, Cherubini, Spontini... Listening back to her Medea, I can imagine how glorious would have been her Didon and/or Cassandre in Les Troyens !
JB63operaphile I dont think DiDo and Cassandre were maximal roles regarding the melody and Callas above all required supreme Melodies to sing.. Medea with her Drama and Tragic contradictions contains Enormous Melodies
Lohengrin O True, those two roles are mostly declamatory ones, and I tend to think Callas would go above all for cantabile singing... That being said, if you take the finale from Medea, though not profluent with melodies, it stands as an utter masterpiece - and Callas shines all through it... And I do think she would have been very well suited to the style of Berlioz (besides, she appeared to have a good command of the language) : her D'amour l'ardente flamme from her Paris recital, though clearly over the top vocally, is nonetheless a major achievement as regards the rhythm, which is the main difficulty of that music : Callas was peerless in that respect !
JB63operaphile There isnt one single sec inside Cherubini's Medea without the strongest melody.. it is Phenomenal.. and the finale is pure dramatic ingenious melody.. I dont know if it is because Callas didnt sing those roles but I have heard them with singers I adore (like Jessye Norman) and I didnt like them much.. I would have loved to hear Callas' Ariadne auf Naxos
1957 fue un gran año para Callas. Ifigenia, Anna Bolena, La Sonnambula en Cologne, sus grabaciones de Turandot y Manon Lescaut, sus conciertos en Atenas y Dallas. Realmente maravillosa.
sie sang nicht, sie war! nichts wurde komponiert. es entstand im augenblick, da sie es sang. es gibt keine herz und keine stimme nach ihr!!! meine ewige liebe. sempre, sempre la una!
Lady M's recitatives are THE BEST!!! If I had to pick ONE opera to show Callas at her BEST that would be Lady M... cant listen to it without Disaster coming through
Callas does not act. She becomes the heroine and the music. She is just unique!!! I enjoy other opera singers as well (after all there are wonderful voices) but Callas is something else BRAVO MARIA ❤️❤️❤️❤️❤️❤️
She doesn't act because she becomes HERSELF (not just the character) through the composer and his creations. When she is most moving, it's because she is singing of her own hopes, dreams, despair. Here Callas, the great singer, is expressing the pain of Maria, the human being. That's why (at least to me) it's so real and so moving.
Maria Callas unica en el mundo❤
How utterly gorgeous and grand ! It's as riveting as her 1954 Alceste... Hearing this, I do lament the loss of her 1957 Covent Garden Norma, which was certainly a regal treat ! Anyway, thank you very much.
Of the roles of the Classical era Callas sang my personal favorite is her Julia from La Vestale... Tu che invoco, especially the 1954 one with the two C6s (ruclips.net/video/UVyo1JeF34w/видео.html)... especially in the second part where the Voice has to sustain the fastest legato dramatic line culminating to a C6, it is a miracle of singing By the way I cant find that part (Su questo sacre altare) with Ponselle.. Im highly curius to hear her singing fast
Lohengrin O Absolutely, she was so brilliantly eloquent in what one may call the French grand style - Gluck, Cherubini, Spontini... Listening back to her Medea, I can imagine how glorious would have been her Didon and/or Cassandre in Les Troyens !
JB63operaphile
I dont think DiDo and Cassandre were maximal roles regarding the melody and Callas above all required supreme Melodies to sing.. Medea with her Drama and Tragic contradictions contains Enormous Melodies
Lohengrin O True, those two roles are mostly declamatory ones, and I tend to think Callas would go above all for cantabile singing... That being said, if you take the finale from Medea, though not profluent with melodies, it stands as an utter masterpiece - and Callas shines all through it... And I do think she would have been very well suited to the style of Berlioz (besides, she appeared to have a good command of the language) : her D'amour l'ardente flamme from her Paris recital, though clearly over the top vocally, is nonetheless a major achievement as regards the rhythm, which is the main difficulty of that music : Callas was peerless in that respect !
JB63operaphile There isnt one single sec inside Cherubini's Medea without the strongest melody.. it is Phenomenal.. and the finale is pure dramatic ingenious melody.. I dont know if it is because Callas didnt sing those roles but I have heard them with singers I adore (like Jessye Norman) and I didnt like them much.. I would have loved to hear Callas' Ariadne auf Naxos
Très belle Maria. ..Un PLAISIR !!!
I reiterate.... there's Callas.......then everybody else!!!!
o SVEnturata SVEnturata Ifigenia! Sublime !!!
1957 fue un gran año para Callas. Ifigenia, Anna Bolena, La Sonnambula en Cologne, sus grabaciones de Turandot y Manon Lescaut, sus conciertos en Atenas y Dallas. Realmente maravillosa.
underrated Callas role...
sie sang nicht, sie war! nichts wurde komponiert. es entstand im augenblick, da sie es sang. es gibt keine herz und keine stimme nach ihr!!! meine ewige liebe. sempre, sempre la una!
perhaps my favorite Callas recitative of all time...
Lady M's recitatives are THE BEST!!! If I had to pick ONE opera to show Callas at her BEST that would be Lady M... cant listen to it without Disaster coming through
SUPERBE!
Merveilleuse!!!!
❤❤❤й❤❤❤❤❤❤