Early Callas blasts a HUGE D6 in Leonora's aria
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- Опубликовано: 24 май 2016
- Highlight comments from the listeners below:
From philipc67:
She sets the standard with her very first Leonora, live in Mexico in the summer of 1950. She was not yet 27 years old and prepared the role alone. This is indeed sublime singing, observe the even placement of the voice all throughout the range, the reining in of her Assoluta instrument to produce those miraculous soft trills and chiaroscuro tones, the total control of diminuendo and pianissimo, the superb phrasing, her trademark "tears in the voice" like black diamonds, that violent high D-flat which comes out of nowhere. She will do it again six months later at the San Carlo di Napoli under Serafin in a somewhat more refined and restrained interpretation. Other singers (Sutherland, Price, Caballe et al) take their time with this piece, showing off indulgent high notes etc, but Maria invests it with the despair Verdi must have imagined. I listened to this the other evening, having survived a bad day, and she made me WEEP. Not one of all "the others" can do it.
-From Moirbasso
I think the thing that is so amazing about this recording, is not just the singing (which is astounding, considering the size of her voice) but the almost cavalier way in which Callas sings the music, EXACTLY as it was written, and then makes it seem effortless on top of it all! Others have written that the tempo here was without any spurious rubati - and they are correct. I love other singers in this role, but the scope of Callas' instrument going from "D'Amor" to "Miserere" is just mind-boggling.
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Can you imagine opening your mouth and having that sound come flooding out like a tsunami.....heavenly stuff!..
it is like having a Super Power... like the ability to fly etc...
Lohengrin O it is isn't it!.....my god she flew alright!.....out of the reach of other singing mortals..... everyday I thank God for the gramophone and these recordings.....thanks for sharing 😘
Imagine if we had her complete Serail Kostanze (I would go crazy to hear Ach ich liebte in a good 1952 night), her Fedora with Corelli, her Scala 1958 Pirata with Corelli and her complete Haydn Euridice
Lohengrin O And her Don Carlos!!!!.....so many not taped or lost!.... doesn't bear thinking about does it!....at least we have what we have...
Lohengrin O warp drive! Can't get enough of Maria Callas can we? Keep posting my friend. Arnold
It's like she's crying, like Leonora was doing in that moment.
Just "Divina": none other word could describe her better.
Callas's lower register is absolutely mesmerising!
The exquisite use of the chest voice!
4:27 That intake of breath makes my heart flutter. Oh, heavens.
I couldn't care less about the d6, it's Maria's unbelievable middle register and the way she uses it for dramatic effect - incomparable!
...but that D6 makes an aria of immense difficult IMPOSSIBLE to sing.. that is why so few sang it
Lohengrin O hello goodbye. What country do you live in Mr Man? I live in America as you will know. Get into her nice warm bed and are pugs Hattie Mae starts bugging me I love her she is so comforting she's 12 years old now. Back to business and more and more people will understand as you painstakingly explain every little detail Etc. Is Opera your preferred music of choice? Please respond I'm bored now. Arnold
Hey don't make flippant remarks like that... the total abandon of her whole soul diving into that high Db... what Verdi wrote about "riding on a tiger's back", there is no equal in the entire recording history.
@@arnoldamaral7406 WTF are you talking about
CALLAS voice hear is the sound coming from the depths of the Universe...!! something huge and giant! There will not be another MARIA CALLAS!!
Ascoltando la Callas dal vivo si comprende perché lei era ed é irripetibile.
La voce, la tecnica, l'interpretazione, i colori ed il pathos che lei profonde sono un unicum incredibile di magia lirica... Grazie al cielo é esistita !!
Infatti grazie a Dio della sua esistenza
al massimo fattor che volle in lei del creator suo spirito più vasta orma stampar...... è stata un dono di dio, di un dio, all'umanità
r.i.p.
Avessimo oggi interpreti di questo livello in teatro....
She sets the standard with her very first Leonora, live in Mexico in the summer of 1950. She was not yet 27 years old and prepared the role alone. This is indeed sublime singing: observe the even placement of the voice all throughout the range, the reining in of her Assoluta instrument to produce those miraculous soft trills and chiaroscuro tones, total control of diminuendo and pianissimo, the superb phrasing, her trademark "tears in the voice" cascading like black diamonds, that violent high D6b which comes out of nowhere at 04:19. She will do it again six months later at the San Carlo di Napoli under Serafin in a somewhat more refined and restrained interpretation. Other singers (Sutherland, Price, Caballe et al) take their time with this piece, showing off indulgent sustained notes etc, but Maria invests it with the despair Verdi must have imagined. I listened to this the other evening, having survived a bad day, and she made me WEEP. Not one of all "the others" can do it.
Maria callas indeed has tears in her voice but she doesn’t have the beauty in it like Montserrat ( she owns both drama and beauty) nor the purity of Renata Tebaldi. Of course it is a matter of taste but in my mind Callas is overvalued as a singer. As a performer she was outstanding. Her audience was cheap and cruel for her and I have tears in my eyes listening to her good recordings like this one.
Sirkka Kyrömies-Anttila overvalued? Do you know what are you talking about? If you knew a bit you would know ópera it’s not about beautiful voices, it’s about a good technique and a good interpretation.
Marco Corvo You did not even read what I said. You attacked me - Why , does it make you feel superior? - As a singer myself I am well aware that the color of the voice, the beauty in it does mean a lot. Everyone with musical talent and learning can adapt techique but the quality of the voice and interpretation makes a real singer. As I said, Maria Callas was outstanding in many ways, but her voice doesn’t have the beauty like many other sopranos. I didn’t mean to discount her but in her case - and I still don’t want to discredit her- the fact that she was willing to be a yellow-paper operatic diva with her tragic life, added to her success and distress. So sad. She felt unloved in the middle of her popularity and booed at the end of it. Technique did not secure her. - it is a constant wonder for me when one likes to share an opinion, you get something like You said ” You don’t know anything about opera”. I suggest You think twice, you never know how stupid You may sound on the receiving end.
Sirkka Kyrömies-Anttila if you say Callas is overvalued as a singer then you have no idea about singing. That’s a total non sense, as if you say Einstein was a fool, yes, is an opinion, but an ignorant one
philipc67 very impressive and touching analysis. How wonderful that You feel that way. You gave me a luring tip. I’ll listen to her Leonora😊.
In quest’aria Maria e insuperabile e insuperata.Col pianto nella gola dispiega il formidabile range della sua voce e naturalmente tutta la sua capacità tecnica e emozionale. Grazie Divina
She sounds absolutely sublime beyond words even in this old recording. The divine voice.
Amazing!!! Extraordinary!! Nobody sang and performed on stage and nobody has been as extraordinary her!!! There will be no other like Callas.
The trill on 4:40 is… well… divine
Glistening, vibrant, more than ample tone and volume.
It is the use of her instrument that counts here.
The subtleties of her singing are magnificent and unsurpassed.
For Maria it was not about the high or low notes but about about delivering a complete and true vocal performance and interpretation.
She acted both vocally and physically.
Láser beams on the unique VOICE of MARÍA CALLAS!!. She was a godess, stunning and giant artist. It is not possible to imagine a performance such as this...there will not be another MARÍA CALLAS!
Callas sang in Mexico for 3 consecutive years. At her very best. She got being Maria Meneghini. 3 years later she left as LA DIVINA.
penso di non sbagliare nel dire che lei,voce naturale,una volta in possesso di una variopinta e perfetta tecnica,in scena rappresentava con la sua voce una malinconia esistenziale del suo vissuto e quindi si immedesimava nel personaggio e il pubblico riceveva questo messaggio e veniva travolto.
There is no better than this in this piece.... its from other space... fluid like a river... amazing.
L'immortale Divina 💖 Oggi voci e interpretazioni di questo livello ce le possiamo sognare....
no one ever sang like this. not that we've known. Callas was a miracle, one that values an entire existence.
What a blessing that it was recorded.
To all those glamour misses out there pretending to be singers.....instead of talking how to do it and giving vague advice to poor debutantes with no more clues than you have, stop bashing her and finding fault where there was none just listen and try do what she did. Nothing is impossible, Callas proved it...
they sing two operas, eat two carrots and they become Masters :D and teach teach teach :D
Right on. pallin
I can’t believe Verdi couldn’t hear this!!!
This is also my favorite recording of Callas’ voice! The instrumentis pure perfection at this point of her career and she was in such great voice this night! Her 1953 at La Scala her top notes are lesser but her low voice is superior vs here her low voice sounds less full but both of these Leonora are so plunsh, rich and thick! A lot of people like Tebaldi’s richness, yet she never achieve this level of richness!
Incredible performance to be treasured forever. RIP Maria.
En el siglo XX y en lo que va del XXI solamente Callas ha sido Leonora, su sentimiento, entonación, el cuidado de acatar lo que buscaba el compositor, su legato, sus agudos, su dicción, pero sobre todo la manera de hacernos sentir con su voz cada sentimiento. La desesperación para no hacerle saber de su dolor. La Divina.
Efectivamente. Todo eso que describes solo es posible con la conjunción de dos cosas: una musicalidad exquisita y una técnica insuperable. En el caso de Maria, además, había un tercer elemento: una presencia vocal fuera de serie. Si a eso le sumamos su inteligencia tenemos el cocktail perfecto, el que le hace ser insuperable en este papel como en la mayoría de los otros roles verdianos y, por supuesto, en Norma, Medea o Tosca, en los que ha dejado el listón muy alto para las cantantes de las próximas generaciones.
@@ASerranobaritone es increíble. Su legado se hace cada vez más actual.
To: Philip67
Although it was a couple of years ago, I’ve just read your comments about Maria Callas.
You are so right about your comments. I won’t go into the reasons as this will only annoy the people with negative comments even more !
But yes, she is the only soprano that make me cry, touching so many aspects of my childhood which bring on the tears in nearly everything she sings. I love the Italian words which are used - specifically ‘assoluta’ which sums it up totally. And yes to hear her with either Di Stefano or Carelli ( who I prefer) in that last act of Norma is sufficient reason to understand the prevailing question ‘why am I here’ ?!
Thanks again for your able and intense description on Maria Callas.
Richard Lubbock (London)
4:11 - 4:27
I am in heaven.
Magnificent! Unforgettable Callas.
Simply unbelievable in every regard. I think this might be the single greatest record of Callas' Voice. Her Norma and Medea are greater/deeper/fuller characterisations perhaps (they are more interesting characters too), but here we hear a voice pushed to its extremes and yet still singing with such an enormous surplus, such a superflux, that it transcends the conventional parameters of the music and scene.
the 1953 Firenze Medea and the 1952 Covent Garden Norma find Callas in equal surpluss of Voice, as if singing those role was a walk in the park.. there is a point in the Covent Norma (when she sings the phrase Come del primo amor) where she sings a line 16 sec long, she ascends to a C6 and all that without the slightest effort
Lohengrin O that's the Norma with the incredible ending that you posted - the tear in the voice one? I will listen to both of these again.
celloguy
yes, the entire recording is unbelievable... she sings Norma as if she walks in the park... as if drinking a glass of water... it is where Sutherland sings Clotilde
@@LohengrinO ooof the Medea of Firenze is pure insanity... And that Norma...
EVERY TIME I AM LISTENING TO HER IS AS I ALMOST SEE GOD...............
I understand what you experienced. Her singing is not human, it is not even "difficult" it is impossible
Just Heavenly!!! Wherever you be María Callas, you always will be The Greek Godess!!;
MARIA CALLAS LA OBRA PERFECTA DE LOS DIOSES!!
Certains l on nommee
" DEESSE GRECQUE "
CELA LUI VA SI BIEN.....
If Gods planning to play music in heaven, this aria will be in the back ground. From Egypt with love.
..I always related Callas' voice with the Purgatory... Callas in Purgatory, Arleen Auger in Heavens
@@LohengrinO lovee how u put that into words.
Myself is second u to that.
В чем велика Каллас, так в том, что слушая ее с закрытыми глазами, видишь все, что происходит на сцене, она не только велика в пении, но еще в том, что умеет затронуть самые сокровенные струны любой души!
She sets the standard with her very first Leonora, live in Mexico in the summer of 1950. She was not yet 27 years old and had prepared the role alone. This is indeed sublime singing: observe the even placement of the voice throughout the range, the reining in of her Assoluta instrument to produce those miraculous soft trills and chiaroscuro tones, total control of diminuendo and pianissimo, the superb phrasing, her trademark "tears in the voice" cascading like black diamonds, that violent high D-flat which comes out of nowhere. She will do it again six months later at the San Carlo di Napoli under Serafin in a somewhat more refined and restrained interpretation. Other singers (Sutherland, Price, Caballe et al) take their time with this piece, showing off indulgent long phrases and high notes, but Maria invests it with the despair Verdi must have imagined. I listened to this the other evening, having survived a terrible day, and she made me WEEP. None of "the others" can do that.
this one of the most amazing comments I have ever read about Maria.. gz :D I placed it on the description above... (I will do that more often with amazing comments)
Thank you my dear, how kind of you. I have done a slight edit to my text, take a look and see if you want to use it instead.
I changed it... (I did prefer the "out of nowhere" description of her Db6... most poetic)
Yes, you are quite right. I have now reinstated the "out of nowhere" option, feel free to use it!
Thanks for the background of this performance.
Breath taking!
I think the thing that is so amazing about this recording, is not just the singing (which is astounding, considering the size of her voice) but the almost cavalier way in which Callas sings the music, EXACTLY as it was written, and then makes it seem effortless on top of it all! Others have written that the tempo here was without any spurious rubati - and they are correct. I love other singers in this role, but the scope of Callas' instrument going from "D'Amor" to "Miserere" is just mind-boggling.
rubati can be used to make a passage easier? had never thought of that but it does make huge sense...
Мне кажется,Каллас и Верди писали это вместе.❤
Thank you thank you for these early recordings of La Divina!
What value can be placed on whatever, primitive, nascent recording tech there was, to pass this down to us?
I stood to roar for some memorable moments in my day, but this is a treasure invaluable. Almost unbelievable.
I've been doubly speechless... one after hear this and the second after to read the wondeful comment. So thank you very much philipc67 and Lohengrin O ;-)
ye some comments are incredible... I place them to the description above when they climb up above the ordinary admiration and contain amazing info or poetic interpretation of her Art
I remember watching a video of her singing this for a 1957 concert at the Opéra Garnier in Paris. I purchased the video cassette from the gift shop there with the little I had left of my week’s food stipend. I was 20, it was worth it. I was enraptured, totally spellbound. Despite the fact that I’d been listening to her for two years by then it was the first time I’d seen her perform. Less than five years later a rekindling of interest in Callas in the US would make that concert and the rest of her (tragically few) videos available at every single Tower Records. She would even be featured on Apple billboards.
But at that point in my life, it was rare indeed to see her in live action so I took the chance and went hungry.
I wouldn’t do that today, but isn’t that what youth is for?
Thank you for this exciting recording and for the nostalgic transport it bright me.
Was that not 1959 in Paris rather than 1957? The President Rene' Coty attended. I also believe it was her debut there, incredible as it seems, when her "great" career was about to end when she met Onassis. Paris just wasnt a top opera venue at that time.
Bonjour la grande Maria Callas superbe unique dans cet air merci a vous pour ce partage un régal merci vraiment et bravo a l immortelle étoile qui brille a jamais au firmament des grands de l opera
i think the most beautiful part is not the D6... i think the thrill after it it's amazing
her trills in Trovatore were a matter of discuss ever since she first sang Leonora.. huge references inside books :D
Wonderful Maria xxx
Amazing!
Incredible!
Even after that HUGE D6, she maintains her sound and agility in the descending scales. A masterpiece of an aria, what I would call Verdi's own Casta Diva :)
and how unbelievably tragic that D6.. the ultimate proof of her tortured soul.. if you listen at this once, then u simply miss it in all the subsequent performances... I think Sutherland sings it as well in her suprisingly very good Leonora
The D6 was originally written too right? I think it's one of the few Verdi scores above a C#6. Obviously, most sopranos have omitted it.
Sutherland's Il Trovatore is indeed very good and musical. Leontyne's Leonora is also gorgeous but without the agility of Callas or Joan.
Btw, where do you find these recordings? They are fantastic!
I never understood if this D6 is optional or not...
I've only seen one copy of a Trovatore score, and in the one I saw, the D is written and there is an ossia indicating there is an optional passage up to a Bb instead (which is what sopranos usually sing nowadays). If you listen to very old recordings (before 1930) most of the sopranos sing the D. I don't know why the alternative eventually became more commonplace.
Gav640
ah thank you so much for this information.. you answered me a question I had for yeaaaaaaaaaars... it is excruciatingly difficult thats why.. even Sutherland glides towards it, she does not attack it... this aria for me is one of the most difficult ever written.. you can clearly hear the torture on the voice of the singers who sing it.. was listening to Caballe's legendary 1966 Trovatore in her absolute prime and she almost cracks twice in this area (her sound does not come out.. it is so disturbing / still the audience goes wild I ll never understand why people were deaf regarding Caballe's most faulty technique that gave us an Ocean of cracks in her live performances or all those endless pauses in order to access the falsetto placement after 1969 when it got disconnected from the rest of the voice)
Thank you for sharing. For anyoine who loves this aria I also recomment Leontyne Price's performance. Maybe she was not as emotional and "Oscar winning actress" on stage like Callas, but she had an incredibly beautiful brightness in her voice and was technically perfect, with beautiful pianissimi.
ruclips.net/video/_saAIrRxUP8/видео.html
After this nobody else counts. Fioriture on point, trills so much on point that you don’t even notice them unless you listen really carefully but they are there in a very define and pronounce way. Pianos are there, drama and emotion is there, CLARITY of tone is there, intensity in there and most importantly a genuine DRAMATIC SOPRANO vocal weight and size. Dynamics are there: listen more carefully and you will notice that she sings the entire piece in mezza di voce.
Amazing interpretation.
Просто восторг ! Замечательно , что есть такая запись, повторить такое невозможно !
What an instrument!!!!!
It was an extraordinary performance... Callas, Simionato, Baum, Warren, Moscona, Picco was the conductor.... 3 performances in June 1950...... The legendary fight with Baum in Aida performances that season (which originated thanks God ... that Callas sang the MITICAL MI BEMOL at the end of second act) had been occurred one month ego!!! of this Trovatore and all mexican public were at that time Callas fan.......just listen the enthusiastic Bravo!!!at the end of aria.....
SENCILLAMENTE MARAVILLOSA
Totalmente emocionante.
Personne , personne n'a chanté "le pene del mio cor" comme la Callas, la Callas est unique.
Si Sondra Radvanovsky
Cantora absoluta,levava a voz onde queria,onde talvez outra nunca mais levará.
MARAVILLOSA
Brividi. Unica. Grazie Callas. ❤
O rigor estético na abordagem, os trinados, coloraturas, os tons claro e escuro, Callas é paixão e entrega puras. Seu pathos, a força dramática, a dicção perfeita. Ela não é meramente humana mas sobre humana. Foi e será pir muito yempo a maior cabtora de ópera do universo
Wonderful chest register!
This is one of my favourite Callas recordings. I’d love to know what she was singing about as I don’t speak Italian. Of course, the emotions are obvious.
you never need the actual words with Callas... she Transmutes them to you... In fact she herself had said: Often I find the words in libretti ridiculous and wonder how I will be able to sing them without laughing onstage but always THROUGH the Music I manage to Transform them
Seems like she wants to talk to God and she did.
She did more than that. Callas made us al feel God.
Sheer magic!
SUBLIME !!!!!!!!!!!!!!!!
❤❤❤❤❤❤❤❤❤
iNNOLVIDABLE MARIA111111111
1950 mexico
💙💙💙💙💙
Unique in every aspect, never again like her
ELLE EST LA VIE SUR SCENE
RESTEE DANS LES ESPRITS
ET LES COEURS
5:09-5:19... Dieci secondi di salita verso il paradiso. Ti si può solo amare. Punto.
The gold standard.
The men are great too!
HAY ALGUNAS MUJERES Y HOMBRES QUE DEBERÍAN SER INMORTALES Y PERMANECER SIEMPRE EN SU PLENITUD Y ENTRE ELLAS ESTARÍA LA SRA. CALLAS. PORQUE...ES Y SERÁ IRREMPLAZABLE POR SIEMPRE.
Si la hubiera podido escuchar, Verdi se caía de culo
A trip in Heaven and further than Heaven...
I wonder how many people die of extasy this night ?
Ok does anyone know what she is singing , please let me know
I’m asking for the meaning of the lyrics and the story behind it lol
She sings about her love and sadness to her imprisoned beloved Manrico... D' amor sull ali rosee (Upon the pink wings of Love)
Lohengrin O thank you very much ❤️🙏
Lohengrin O also you should consider starting an instagram page which would serve as a preview to your RUclips channel
well I dont like that many followers because the music in this channel is not exactly popular in the broader sense, it is popular within the circle of real opera lovers and even for those there are some posts which are totally new to them (sometimes even to me for it is music I have never heard before)...my approach is always gentle (not my will to force my posts on anyone)... but I will consider it (have never been in instagram)
D moll 😀
S'il avait respecté le texte italien, le ténor aurait évité à 8.19 le "faux départ" à l' "addio" de la généreuse Maria !
JURISMICH ...0
Viva Salzburgo,HvK !
Theo,I know you love all types of music my friend. Have you listened to 14 yr. Old Allie Sherlock? Let me know what you think? Take care old man Arnold
hadnt heard her before, wonderful artist, big range but endless pitch problems without the musical intelligence to hide them - she tries to sing the songs as written and fails, if she variates them cleverly she ll sound much better. I dont think pitch problems of that degree can ever be solved (ofc Lana del Rey also has them and fixes them with the recording machines digitally but Lana's timbre and songs are so Unique that they stand alone even with pitch problems)
The tenor and the choir are so anemic compared to her lol
Saïd Mrabet the tenor is singing from offstage...
NO COMMENT!..............................................................................
Hello; Lohengrin O! HOW ARE YOU? I THANK YOU FOR YOUR KINDNESS...BUT IT IS TRUE": THE BEAUTY IS SO, SO, SO GREAT, SO HUDGE THAT I HAVE NO COMMENTS TO MAKE! STAY WELL. BYE-BYE.
Magic.
Divine.
Callas.
She is usualy Nr.1, and then follow the rest. But in this aria I personaly prefere Caballe and Gencer. But Maria is great also.
MisterSoprano I Also like Milanov and Kabaisbanka
High C, great, opera is about a little more than that!
JE LES AIME TOUTES LES DEUX
@@lylianemanquest2323 Voila un bon esprit!
You were not the only one she made weep...
in our detoriating culture you have to come back to Callas
❤❤❤❤❤❤❤❤❤
D moll 😀
❤❤❤❤❤❤❤❤