Maria Callas Obliterates Franco Corelli with Huge Laserbeam D6
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- Опубликовано: 7 сен 2024
- Highlighted comments from the commenters below:
-From Shahrdad
This was November of 1953, before Callas had lost too much weight. Her voice still had the support, the heft, and the ease that it would lose along with the pounds. Corelli and Callas were very fond of one another, and he once said she pretty much taught him the role of Pollione. Even when her voice was almost gone in the Paris Normas, he would scale down his immense voice in order to support her. Lovely singer and a real human being.
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It's not fair comparing male voices to female voices. The acoustics are different. Men need much more power to achieve the same level of "loudness".
Yes! Also why do opera ‘fans’ behave as if loudness is the only desirable trait in a voice ??? Dynamics people !!
@@Jdman5000 Is not only loudness, is fill it with tone and depth
@@evelynkatz1301 The title is about Callas singing louder than Corelli. My comment is to be understood in that specific context. In female voices, some call it head voice, the fundamental is not dampened, but it is in male voices, because it lies below the first formant. The fundamental is the loudest partial. So female singers have an acoustic advantage. My comment does not pertain to aesthetics or any other aspects.
@@Jdman5000 timbre, color, pitch (pitch is really the conditio sine qua non), diction and intelligibility, enunciation, dramatic timing, BEAUTY, and yes - volume! I've just given this some thought while writing these lines, and I believe that since Caruso(!!) no tenor has had all these qualities! Then again, Caruso didn't have the looks, but he could act!! Honestly, Domingo has all these qualities, including looks, to some degree. He is quite the talent, people don't give him enough credit because he isn't extremely outstanding in any department.
@@hanslick3375 Thomas Lo Monaco had all the qualities.
No obliteration. Just a delicious simultaneous climax.
Callas and Corelli are two proofs that perfection exists. And it's human. Bravi, bravissimi 🙏💖
Ama,zimg. God given voices to let us mortals have a peek of glory.
She literally spits fire here. I’ve never known a singer to tear into the text like Callas
she spits Fire everywhere!!!
Lohengrin O I keep coming back to this... as I can’t stay away long. This as all of her other D6s in this scene are taken with no extra section or pause. Just blasted out of thin air. Scream-like but obviously not a scream. A hundred times more authentic than when the canaries add the little placement note
5:17 Corelli gives a higher grade ... 5:20 Callas enters with a high grade ... "5: 21at 5:25 Corelli outshines Callas" 5:26 - Callas passes Corelli ... 5:27 - both with same level...
Corelli was a lightening
Explosion in opera. He displayed humility. I am so concerned about the future of Opera as was in the Golden Days. Will the future keep the tradition going,? I am no apologist when I state forceably that to see how opera is presented today in "rubbish" sorry I can't find another word or phrase, presentations.
Yes, change costumes but not to the extent of the ridiculous. Heaven has the creme del la creme.
Actually… Sutherland in this trio …..
I had the enormous pleasure of hearing Corelli a few times in some of his greatest roles, and he was truly incredible. His presence alone would have been enough, but that voice, together with his charisma, and high voltage energy on stage made him other-worldly. But I met him personally though a mutual friend a couple times after he had stopped singing. He was as gracious and sincere as he was dynamic and brilliant on the operatic stage. A real gentleman, I remember.
Corelli ,the best Pollione ever, Callas the best Norma ever .Great singers
Eisenzopf was better as Pollione, though he retired before Callas arrived. Hooemeyow!!
No one sings like this anymore! I wish they still did.
This is Callas best high D. You hear the tremendous amount control(ease), squillo, resonance and ring it has! It is so heavy and dramatic but at the same time it sounds girlish.
Well, I can’t choose between this one and the terrific 1952 London version. I think in 1952 the voice was even more generous. Devine!
The effect of having excellent chiaroscuro. She has insane amount of brightness and darkness at that single note on same time.
No one Obliterates Franco :)
Maria did :)
@@CyprusHot Haha, not really! :)
@@ballaratboy1 yes definitely 😃
I've been told that when Corelli was singing, all eyes were on him. So, Corelli could not be obliterated by anyone.
@@dina113east don’t believe everything you hear
So nice to hear Norma and Franco Corelli in this wonderful duet I love it
Corelli disse che quando cantava la Callas si sprigionava una magia ed una penetrazione sonora che nessuna altra soprano aveva... Una carica emotiva e un pathos vocale unico. Non aveva eguali... La Tebaldi aveva la voce più bella esteticamente e la Nilsson anche più potente ma nessuna interpretava la parola cantata con quella immedesimazione assoluta e quella vera antica scuola che lei ha rilanciato riprendendo opere dimenticate... La belcanto renaissance esiste grazie alla Callas ..
two giants from the golden age of opera!
What a magnificent pair of singer's!!!!!!!!!!!
To this day I'm always in disbelief at how cleanly she sings the High D6. Not a single pause or alteration to the line to sing it. Quite incredible.
and she totally murders Corelli's super volume... this is unbelievable :p
Lohengrin O She completely makes you forget about Adalgisa too ha.
this particular Adalgisa is the recent Justice League's Stepenwolf... instantly forgetable :D (I liked the movie though despite the negative reviews :D liked it to the point of going to re watch it :p )
+ jmiller05 ruclips.net/video/wfLOt5P6nSk/видео.html
www.hollywoodreporter.com/news/charlie-rose-accused-sexual-harassment-by-eight-women-1060441?facebook_20171120 Charlie Rose accused :D
I wish Callas recorded more with Corelli, to me he matched her better than di Stefano.
Para mim as melhores gravações da Callas com o Di Stefano foram o Rigoletto, Lá Boehme, Manon Lescaut. Adoro a Luccia de L'ammemore com Ferruchio Tagliavine.
Yes, Corelli and del Monaco were her ideal partners.
@@andrzejzborowski4920 that makes sense. For sure she hated Baum and Del Monaco and anyone who wasn't a team player and tried to surprise her and outshadow her on stage. However, with MdM it was she who started it. Corelli wasn't that kind of blinded alpha male - he adjusted to who he sung with, didn't he?
MDM spoke of Callas as someone he admired and respected, and if they didn't record with each other it's probably because EMI and Decca did not like sharing singers.
Corelli was much better than di Stefano.
Good heavens! Who can sing with such beuauty and commitment as these incredible artists. A true lesson in the almost lost art of singing properly. Just heartbreaking.
Imagine Bellini's reaction to hearing this
Even Callas couldn't obliterate Corelli's mighty sound!
No One obliterates Franco Corelli!
unless he wanted it
5:17 Corelli gives a higher grade ... 5:20 Callas enters with a high grade ... "5: 21at 5:25 Corelli outshines Callas" 5:26 - Callas passes Corelli ... 5:27 - both with same level... Corelli was most intense!
I absolutely love Corelli and I respectfully mention also Mario del Monaco to you. He was magnificent. Please listen to his Othello. Stunning!
@@susaedu368 Yes, Maria del Monaco was Otello!
A soprano who sang with Corelli for the first time is quoted as saying, "In my long career, Corelli had the biggest voice of any tenor that I have ever heard".
Same was said about Del Monaco though... But I completely agree that Corelli was a power god
What an extraordinary pair. So exciting.
😭😭😭😭 grandiiiii! Immensi! Unici! Ormai non c'è più nessuno che canti a questi livelli!
Astounding.Thank you so much dear Lohengrin for uploading this extraordinary performance.
It's wonderful singing but I don't see how she obliterates him though.... I mean you can hear his high note very clearly....
@Violinist 1 corelli had an A6?!?!?!?!
A4* @Violinist 1
5:17 Corelli gives a higher grade ... 5:20 Callas enters with a high grade ... "5: 21at 5:25 Corelli outshines Callas" 5:26 - Callas passes Corelli ... 5:27 - both with same level... Corelli was most intense!
Can we just say they are both FANTASTIC here!
@@rossinilove yes. This is not a competition. They are cooperating with each other to give this beautiful performance.
Nobody obliterated Franco Corelli, my friend.
Both Birgit and Maria did quite often
I've always been fascinated with the diversity in Norma. There are super lows and super highs, super dramatic arias and super calm arias, it's just truly a masterpiece. Thank you for uploading this
the Greatest Opera ever written by far... Don Giovanni (or Zauberflote) and Die Walkurie dont even come close
The most difficult role written for the female voice. Don't let anyone convince you otherwise lol.
nooooooooo it is the Queen of the Night... just listen to the at least 50 best Queen of the Nights up to now... and then compare to the 1.5 good Normas :D
Lohengrin O Coloratura gays go hysterical over those top notes. I actually believe that they don't think any other music exists in those operas other than a high F6.
they do not appreciate Music at all.. I think they would place Niki Minaj Anakonda next to A bello a me ritorna if Niki had added a bit of stratospheric coloratura in it :D
Корелли и Каллас - мне кажется, что это лучший, это красивейший дуэт в истории оперного искусства!
Un vero signore fu Corelli oltre che un immenso interprete.
Wow, just amazing singing by these two...it doesn't get any better.
Two legends. There were giants in those days. Now there are only pygmies.
Well, Zajcik. I haven't heard anything like that since Blanche Thebaum.
@@ksol1460tv Zajick is a great mezzo in the same class as Stignani, Simionato, and Horne. But after she retires there is no one to replace her.
Franco único, y con Callas dos titanes.... desde el alma.... desde Montevideo....
Quale perfezione,potenza,intensità!!! Che voci!
Maravilloso dúo , emocionante, electrifica. Los amo. Hellas.
Este dúo dinámico me gustaría estar en contacto permanente son indispensables para poder escuchar la mejor calidad de los dos divos más destacado de la lírica
One of my favorite videos of yours! I listen to it every day.
I wish I could have been in the audience. Magic!
Grandi interpreti...la signora Callas è una Norma eccellente...Corelli non gli è da meno...grande coppia di FENOMENI
VIVA MARIA!!!! Y CORELLI!!!
She will always be The Lady in the Penthouse, with all the other sopranos living in the floors below. Here in this possessed excerpt, she's surfing a wave called ecstasy to the final crest. CORELLI doesn't back down from the competition, going on riding on his chariot whipping his horses faster. The greatest couple for Norma, and they look magnificent in those sheets with draping suited for the Gods. I Bow to their art, always have. Great post Lohengrin.
I dont think Corelli would ever tone down his voice for none... and why would he? this is 1953, Callas was a Titan then
5:17 Corelli gives a higher grade ... 5:20 Callas enters with a high grade ... "5:21at 5:25 Corelli outshines Callas" 5:26 - Callas passes Corelli ... 5:27 - both with same level... Corelli was most intense!
And NetrebCow living in the basement.
Just discovered a few days ago the gorgeous Bataglia di Legnano from 61 with Franco and Ettore.. amazing! Stella sings great ( a perfect Tebaldi copy...) but i was wondering so much how it would have sounded sung by Maria. Listened to the masterclass where she tought one of the soprano arias and she mentioned she wanted to but she never got to. But the amazement came from an interview with Franco when he was doing the Bataglia saying he was studying Jasone (!!!) just because Maria loved Medea and he wanted to sing it with her.
Now imagine that 😍😍😍
They should use digital technology to improve the sound quality, so that young non-opera fans can appreciate the majesty of these two opera artists.
I heard Corelli with Kirsten and Gobbi in Tosca (Cillario cond.) in '73. They left Lincoln Center a mass of smoking wreckage. Can imagine if that had been Maria.
Las dos sopranos que acompaña a Franco Corelli el príncipe de los tenores son divas
Nobiltà,potenza espressiva,arte di canto assoluta,irripetibili emozioni.
Un binomio di vocalità senza precedenti.
And besides which, Miss Callas was very respectful to the singers she admired. She never tried to upstage in any way, those who earned her respect. Now that, is a star!!!!!
she didnt try to, she sang full voice and so did he and she covered him up..
Your statement is not completely accurate. Callas didn't try to upstage anybody through her declining years, but did have vocals duels with Del Monaco when they were both in their vocal prime. Specifically Aida 1951 in Mexico City.
Maria, ... mia adorata Maria, ... Franco, ... mio idolo Franco, ... ormai sono alla fine dei miei giorni, ... conto i giorni, le ore, i minuti che mi separano dal raggiungerVi in cielo ed ascoltarVi, estasiato, cantare insieme agli angeli ... i più belli dei quali siete Voi due, ...
Il canto degli Dei
Ma, no Di Stefano?...
spero che tu ci sei ancora amico :-)
@@boazraspoutine9316 per ora ci sono, ... ma il mio sguardo, il mio desiderio sono, ormai, rivolti verso il cielo, ...
che eleganza....che sensibilità....parlare della propria dipartenza in un video omaggio a due grandi " dipartiti "...... lascerai qualcosa su RUclips anche tu....zozzo ? o dobbiamo aspettare ascoltarti agli Inferi....a me , " L'Attico " nun me tocca....... Arrivedorci !!!
sono sempre qui tra noi con le loro emozioni. pagina eterna che mantiene vivi bellini come maria e franco..... grazie lohengrin 0
Nope ! Franco's just fine - very non obliterated . But it was a truly magnificent attempt . ❤❤❤
All that Lohengrin O share with us is Fantastic. I wish he would add the performance date
MAGICAL
Oh to have videos of Callas and Corelli in their roles!
A parte che non avverto alcuna cancellazione della voce di Corelli, le registrazioni dal vivo non danno alcun parametro valutativo. Tutto dipende da troppi fattori (il tipo di acustica, la posizione dei microfoni, la tipologia dei microfoni, la posizione dei cantanti sul palco).
Quando cantavo io capitava spesso che, quando mi si registrava, si sentisse solo me o il soprano o il baritono o un'altra voce qualsiasi.
Quello che posso assicurare, essendo stato allievo del Maestro Franco, è che era praticamente impossibile coprire la sua voce, che era come un cannone di babordo. In teatro non ci riusciva nemmeno l'orchestra durante un fff.
Why on earth aren‘t today‘s singers being taught to sing like this (at least technically)?
this singing here is an extremely rare genetic accident, it cannot be taught or duplicated
@@LohengrinO As an outsider, I must say that sounds like an insufficient excuse.
@@LordMgls no one can teach you to sing like those two :D they are both extremely rare genetic accidents
@@LohengrinO I just find it too unlikely that between the dawn of sound recording and a bit after these two there were several extremely rare genetic accidents and nowadays there are none to be heard! 😇
There are no great singes being born today. In order to teach someone, they have to possess a great voice to begin with. All we have today are singers like NetrebCow, howling at the moon like cats in an alley.
Two gods on the earth. Now, they are in haven.
Heaven
Mr. Serrano this is all you can say? I am pitty for you....
May she meant "Gloria de ,,,,,,,,,,,"
Idea for a cage match compilation: mezzos obliterating poor baritones at the end of Il trovatore (bonus if they add supervillain laugh)
Cabille’s Norma was very beautiful in its own right- Sutherland’s was almost perfectly sung- but Callas remains the greatest Norma ever!
It could have been written just for her, she gave that impression!
No one obliterates Corelli unless he allows it.
Sorry, that came out wrong.😅
I would not mess around with this Norma.
Puro Fuego 🔥🔥🔥 BRAVO!!!👏🏿👏🏿👏🏿
NOBODY OBLITERATES FRANCO CORELLI
Bravoooooooooooooo Corelli and Callas bravooooo
Callas was an expert when it came to juggling big high note endings where only a one second timing is left to make that register drop and producing a good solid lasting end note Corelli barely held on for a second and a half.
No way, hear again) 5:17 Corelli gives a higher grade ... 5:20 Callas enters with a high grade ... "5: 21at 5:25 Corelli outshines Callas" 5:26 - Callas passes Corelli ... 5:27 - both with same level... Corelli was most intense!
Purtroppo hai noi!! Cantanti così non c'è nè saranno più!!!!
mai mai più potremo sentirci tremare il cuore e lo spirito come ora!
Bonjour magnifique des voix immortelles Maria callas trouve en franco corelli un partenaire a sa mesure un regal merci
Bravi - Callas, Corelli and Nicolai of course!
And please, please, dont forget Elena Nicolais Adalgisa, she had such a huge voice!....
Corelli was defiantly not a small singer, he was rather huge. And callas mutes corelli's huge voice. Although she loses volume a little after the diet (like in 1955 when she was muted by monaco) however, her musicality grows on and on.
at the final note D6 yes she Obliterates him (with effort cause she makes the D6 laser like which she rarely did so) but during the entire scene they both stand together very Large in volume and sometimes Corelli caps Callas
이준혁 great
이준혁 is
Callas even in 1955 obliterated Del Monaco on the Bb in the Andrea Chenier, what are you talking about? This is the same year where she sings Norma and destroys him vocally on the C6 and D6. She had her huge voice all the way to the end.
5:17 Corelli gives a higher grade ... 5:20 Callas enters with a high grade ... "5: 21at 5:25 Corelli outshines Callas" 5:26 - Callas passes Corelli ... 5:27 - both with same level...
Voices of XX century
Immense franco merci maria les deux plus grands ❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️
Interesting additional notes. Thank you.
MARAVILLOSO DUO
Callas was a Rolls Royce usually surrounded by Volkswagens.
Corelli was LaFerrari Aperta though :p
sono due bombe meravigliosamente all'altezza l'uno dell'atra
And Corelli was Ferrari
Corelli was quite vocal (pun intended) about how he felt his early training was “ruinous”, especially in the upper registers. Far be it for me to take exception with his towering talent over this, but personally, I think he’s being a little hard on himself. I can only imagine the look of disdain the suggestion that he is being obliterated here would have drawn from Callas.
Miss Callas could never obliterate that tenor, my friend. Sir Franco sang with many a soprano and managed just fine, thank you!
oh but she did and so did Birgit my friend
anche Elena Nicolai grande cantante un pò ingiustamente dimenticata. Maria e Franco due Dei
I meant Poliuto.....please forgive my mistake..😑
Fenómenos ,monstruos. Hellas
Bravo!!!
Corelli has always been one of my favourite tenors, never cared for Del Monaco's sound in this role or any other role for that matter..... wonderful together, Callas of course superb, the photo posted is Pollione if I'm not mistaken.....oh I really wish I could have heard the Fedora they performed together!!.....dream on is the expression I believe 😶
the photo comes from their Poliuto... Maria was fat in this 1953 Norma... but since I dont plan to ever post their Poliuto, I wanted to use this Ultra Gorgeous photo
She looked better with a bit of meat on her bones.
Awesome!
The Adalgisa is Elena Nicolai, not to be confused with Greek mezzo Elena Nikolaidi, and she is NOT forgettable. She was an excellent, very musical singer with a voice that is steady, pitch centered, and quite immense. She is Santuzza on the early Decca Cavalleria with DelMonaco.
Of course we have all been brainwashed into thinking Adalgisa is a mezzo role and best sung by mezzos. It is not. It is a soprano role, created by Giulia Grisi, the first Elvira in Puritani and the first Norina (with her husband Mario as Ernesto). So then you might say Stignani, Simionato and Cossotto are all miscast in this role. Sumi Jo and Montserrat Caballe are both very successful on recording. Madame Caballe is the only singer to have commercially recorded both Norma and Adalgisa.
If we’re going to argue who’s the best mezzo Adalgisa, my vote goes hands down to Cossotto. She sounded YOUNG. Stignani and Simionato did not. My own personal favorite is Bianca Bernini, who along with Caballe and Pedro Lavirgen sang one of the most beautiful and most thrilling performances of this opera I’ve ever heard (Philadelphia Lyric Opera 1972-73).
I personally like the low Adalgisa voices (because the role contains a lot of low notes that classic sopranos cannot support) who also sang easily the C6 that is written for Adalgisa in her duet with Norma... very few sang that C6, Simionato was the best of them all
Lohengrin O December 7, 1955. The greatest Norma performance of all time. However this performance is surely Callas’ best trio. She’s on 🔥.
@@melbapatti I believe Horne and Verrett will make most people’s short list of excellentAdalgisas. As for that high D, Callas is always exciting. It would be unfair to compare a live performance to a recording but if we want to focus only on a single note, Sutherland is the winner by a mile and a mike. .
??? ... Nessuno supera l'altro si sentono bene entrambi , poi se si devono far paragoni , meglio farlo su uno stesso disegno musicale, dove si sentono posizione legato sostegno...
Every tenor singing Pollione next to Callas seem to disappear in her presence. Corelli is probably the closest one to reach ,,equal partnership" with her on stage. And Del Monaco is just noisy :D
Interpretively yes but in terms of Volume it is an achievement because Corelli had a Volume of Legendary proportions... and no wonder he was Callas' favorite tenor
“Del Monaco is just noisy”??! Oh yeah, right.
His Otello, Radames, Andrea Chenier, Des Grieux, Canio, Loris, Cavaradossi, Luigi, and many others are NOT just noisy. He was a patrician artist, and had a titanic dramatic tenor voice which he used in the way it let him know he had to use it. Singing croony or soft textured would have constricted it.
Instead, he used his voice in a functionally correct way and it held up right to the end of his career. His last performances at age 60 are among his most thrilling and beautiful. He was MY kind of tenor. Sonorous and open throated.
Noisy schmoisy.
@@melbapatti In Norma from 1955 Callas really made MDM pale and almost unimportant; so I sorry that Callas and Corelli did not sing Norma that year!
sanja marinkovic Hi Sanja! I cannot agree that Callas (or anyone else) could ever make MDM “pale”. His Pollione was always stellar, ESPECIALLY in the 1955 La Scala performance with Callas and Simionato (which is in great recorded sound).
Of course Corelli was also a stellar Pollione, but this performance is in bad sound and doesn’t do him justice. By the time he brilliantly recorded it with Callas, which does him great justice, SHE was past her best.
The December 7, 1955 La Scala performance still gets my vote as the #1 Norma on record. It may be Callas’ greatest operatic performance, period. GS and MDM match her note for note.
Another ridiculous statement. My guess is that you never saw either Corelli or Del Monaco live?
Franco en Maria
I kweet dat Maria niet mijn moeder is dat zij mij vrouwe is
Franco toch zou ik haar zo blijven zien
Is het mogelijk te weten
Wie mijn moeder dan wel is ik geloof dat ik haar ben franco
Ik ben blij dat jij Nederlands kent daar dit de taal van de geest is die wij over dragen
Voor onze groeiende spiritualiteit van de ziel
In het huis waar in wij
Wonen
Dank je wel ik hou van de opa die jullie tot ons
Samen komen
Veel plezier en liefde voor de familie de wij zijn
Woutet joannes
i did not detect any obliteration(peter newbrook)
От Маша давала дрозда! Же би і Кореллі - чудо.
No arguments, could be the two greatest
Oh My Gosh!!!
Actually, it's just that she's higher. He's belting that A.
Im exaggerating, no one ever obliterated Franco, not even Birgit
@@LohengrinOHe was glorious! I love that story of Bing telling Corelli to nip Birgit's neck during Turandot, and she rang Bing to say she couldn't go on for the next act as she had rabies...
Birgit had exceptional sense of humor... almost as Legendary as her voice... she once was in a performance of Turandot with Caballe as Liu and the maestro was bullying Caballe for singing too pianisimmo and wanted to replace her so Birgit stepped in and said if Montserrat leaves I leave too, you will never hear Liu sung more beautifully... and maestro went furious so in dress rehearsal he was SMASHING the orchestra upon Birgit's head trying to cover her sound but in vain because Birgit just easily sang ABOVE EVERYTHING and at the end of the rehearsal turned to the maestro and said: and next time Maestro I will sing Full Voice :D
fabulous: I think that the picture is from Poliuto and not Norma, just for your info :)
yes it is from Poliuto
Never!
“Obliterates” him?
I am a man of exaggeration :D
Wow!
Awesome
UNERREICHBAR
Perchè mettere la foto di Poliuto nel duetto di Norma! A parte questo elettrizzanti entrambi!
Opera in the years before singers concentrated mainly on likes on Facebook, Twitter, WhatsApp
Only 60 years ago but gone forever :(
❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤!!!!!!!!!!!!!!!!!!!
For the 1960 recording of Norma, Callas insisted that Corelli sing with her.
Even a nuclear bomb could not "obliterate " the great Franco Corelli. "Compliments" ,would have been a better word to use.
Obliterates Franco? Hardly.