I heard her twice at the end of her career in the 1970s. She was incomparable in spite of the state of her voice at the time. The most important operatic soprano of the XX century.
She is still the only Lucia for me that signifies madness through both alarming and extremely subtle vocal variations. You feel like Lucia is walking through a dream and nightmare simultaneously.
I always loved that she maintained clear, pure vowels and didn't make them mushy so as to sound pretty. This is bel canto. The As are As, the Is are Is and the Es are Es.
babydrane: Your petty comment appears to be a slight at La Stupenda, Joan Sutherland. It is not necessary to slight one at the expense of the other. Each had strengths and weaknesses including career length. And La Divina was not always perfect in her execution of the score depending on her vocal condition at the time.
A soprano Maria Callas surpreende sempre. A sua técnica em coloraturas, a dramaticidade, a profunda integração com a personagem que interpreta, dia musicalidade e rigor de estou, avyornam uma das maiores , se não a maior soprano, ou melhor, cantora lírica do século XX. E até hoje ninguém conseguiu fazer nada parecido ou igual! Calmas é Absoluta.🎉
Sinto arrepios sempre que ouço a Callas cantar! É surreal e nesta gravação, se eu fechar os olhos, consigo vê-la no palco... a orquestra, o público numa ovação unânime pleno de entusiasmo pela Divina!
Δεν ειμαι μουσικοκριτικος ουτε τεχνολογος ειμαι απλα μουσικός και εχω να πω σε οτι άκουσα η Καλλας εκανε γρηγορα περάσματα , στις υψηλες νοτες η θαυμάσια δωρική φωνή της ειχε το ιδιο πάχος , τραγουδά με συνέπεια ,πρωτόγνωρο πάθος και δραματικοτητα, τη βρίσκω μοναδική και γοητευτικη
@@judygarland7186 Υπήρξαν τουλάχιστον δύο: Η Giuditta Pasta και η Maria Malibran. O John Ardoin, στο βιβλίο του για την Μαρία Κάλλας, την συγκρίνει με την Giuditta Pasta και μάλιστα λέει ότι ήταν μετενσάρκωσή της!
I always loved her in the coloratura repertoire! If she would have stayed in this repertoire longer I think we would have had her glory for a longer time.
You’re back! Fantastic. It is very interesting to relisten to these excerpts in succession. The Lucia is considerably less detailed interpretively than future iterations. But listening to her just follow the broad arc of the line with such fluidity is a joy. The Sonnambula lacks some of the great embellishments of the 1957 performances. But I think this performance is much preferable because she is singing full out. I have mixed feelings about her ‘voce infantile’ performances and recordings. The Armida has a lot of conviction and is imposing. But it is true that the warning signs of what would come are there - and not just at the top. She registers were beginning to diverge, and all those triplet and quadruplet runs make that reality quite apparent.
I always felt that her studio singing habits like "voce infantile" without proper support in recordings like Mimi and Manon damaged her voice more than singing heavy roles earlier on (among many factors).
@@Khalid7a They probably both did, but yes I agree. Problem was that she achieved it by constricting and, as you said, singing without as much breath support. I don’t think that she knew how to scale down her voice healthily, unlike say Eileen Farrell.
@@Khalid7a Well if that’s how you feel, it’s yours to own but it’s infantile since singing full out in a recording is not the same as a performance in an orchestra hall or opera theater.
@@babydrane The reason behind the weight loss was to become more believable as a stage character. Likely she did not retrain her singing and breathing to reflect her new physical state and her voice suffered as a result.
I heard her twice at the end of her career in the 1970s. She was incomparable in spite of the state of her voice at the time. The most important operatic soprano of the XX century.
.....her voice might have been in spreads but she was still CALLAS !
For me, the most heart wrenching and tragic lines in opera are "Alfin son tua. Alfin sei mio." And Callas made me realize that. What pathos!
That and the Edgardo _mio_ is just heartbreaking
And knowing it's not even true, just a catatonic fantasy. My God.
She is still the only Lucia for me that signifies madness through both alarming and extremely subtle vocal variations. You feel like Lucia is walking through a dream and nightmare simultaneously.
La perfezione vocale quasi ultraterrena ! Maestria e tecnica ineguagliabili, grazie per la condivisione.
I always loved that she maintained clear, pure vowels and didn't make them mushy so as to sound pretty. This is bel canto. The As are As, the Is are Is and the Es are Es.
babydrane: Your petty comment appears to be a slight at La Stupenda, Joan Sutherland. It is not necessary to slight one at the expense of the other. Each had strengths and weaknesses including career length. And La Divina was not always perfect in her execution of the score depending on her vocal condition at the time.
you seem to be the one throwing a dagger at Sutherland by understanding the original comment to be about her 😂
@@johnpickford4222uhhh noone said anything, if Sutherland comes to your mind when people mention mushy vowels then the one criticizing is probably you
So extraordinary, so subreal...
Divina!!!
A soprano Maria Callas surpreende sempre. A sua técnica em coloraturas, a dramaticidade, a profunda integração com a personagem que interpreta, dia musicalidade e rigor de estou, avyornam uma das maiores , se não a maior soprano, ou melhor, cantora lírica do século XX. E até hoje ninguém conseguiu fazer nada parecido ou igual! Calmas é Absoluta.🎉
Grazie Marx❤ Lucia è un grandissimo personaggio interpretato con una intensità così profonda da diventare INEGUAGLIABILE
Sinto arrepios sempre que ouço a Callas cantar! É surreal e nesta gravação, se eu fechar os olhos, consigo vê-la no palco... a orquestra, o público numa ovação unânime pleno de entusiasmo pela Divina!
Houve que dissesse que Maria Callas quando cantava se transfigurava. Só podia ser! Esta voz é dotada de poderes divinos!
Δεν ειμαι μουσικοκριτικος ουτε τεχνολογος ειμαι απλα μουσικός και εχω να πω σε οτι άκουσα η Καλλας εκανε γρηγορα περάσματα , στις υψηλες νοτες η θαυμάσια δωρική φωνή της ειχε το ιδιο πάχος , τραγουδά με συνέπεια ,πρωτόγνωρο πάθος και δραματικοτητα, τη βρίσκω μοναδική και γοητευτικη
Η Βίβλος της όπερας oπως είπε και ο Leonard Bernstein
Στον 20ό αιώνα δεν υπήρξε άλλο τέτοιο φωνητικό φαινόμενο. Η απόλυτη σοπράνο (soprano sfogato).
@@panoschytiris η καλυτερη φωνη ολων των εποχων!!!!
@@aetion ουτε τον 19ο αιωνα υπηρξε ουτε ποτε άλλοτε
@@judygarland7186 Υπήρξαν τουλάχιστον δύο: Η Giuditta Pasta και η Maria Malibran. O John Ardoin, στο βιβλίο του για την Μαρία Κάλλας, την συγκρίνει με την Giuditta Pasta και μάλιστα λέει ότι ήταν μετενσάρκωσή της!
Our Maya Regina Divina 👑❤️👏👏👏👏👏👏👏👏👏👏💯 La única, Prima Donna Asoluta 🩵🌍🌎🌍 thank you amico mio 🩵 grée di Francia 🇨🇵 Arnaud Bourbon Amaral
Great singer and interpreter.
Pentru totdeauna Maria Callas inegalabilă și de ne înlocuit! 🤗❤️🇷🇴
I always loved her in the coloratura repertoire! If she would have stayed in this repertoire longer I think we would have had her glory for a longer time.
LA DIVINA
ALFIN SON TU! ❤️
12:09 When they say Callas high notes are bad
È dio !
You’re back! Fantastic. It is very interesting to relisten to these excerpts in succession. The Lucia is considerably less detailed interpretively than future iterations. But listening to her just follow the broad arc of the line with such fluidity is a joy. The Sonnambula lacks some of the great embellishments of the 1957 performances. But I think this performance is much preferable because she is singing full out. I have mixed feelings about her ‘voce infantile’ performances and recordings. The Armida has a lot of conviction and is imposing. But it is true that the warning signs of what would come are there - and not just at the top. She registers were beginning to diverge, and all those triplet and quadruplet runs make that reality quite apparent.
I always felt that her studio singing habits like "voce infantile" without proper support in recordings like Mimi and Manon damaged her voice more than singing heavy roles earlier on (among many factors).
@@Khalid7a They probably both did, but yes I agree. Problem was that she achieved it by constricting and, as you said, singing without as much breath support. I don’t think that she knew how to scale down her voice healthily, unlike say Eileen Farrell.
@@Khalid7a Agreed. I think she should never have faked anything or lost any weight.
@@Khalid7a Well if that’s how you feel, it’s yours to own but it’s infantile since singing full out in a recording is not the same as a performance in an orchestra hall or opera theater.
@@babydrane The reason behind the weight loss was to become more believable as a stage character. Likely she did not retrain her singing and breathing to reflect her new physical state and her voice suffered as a result.