@@tommydenzio the istrument is the voice with which you are born. She had a liric soprano which is the most common female voice. Her great technique which she learned with her Teacher Elvira de Hidalgo made it to an exquisite, beautiful voice. She learned to open her throat, to lower her larynx and build up her muscles to keep it open and low, even in the pianissimos. Which asks for years of hard training, its known, that she trained her upper body muscles so hard that she suffered big pain, when studiyng these famous pianissimos. She had a developped chest register which she used the right way. Her singing is the result of many years of building up her instrument without any tricks. This made her voice so beautiful and clear. Today the pianos are mostly tricks, the throats not open but they sing in the mask which is the nice word for nose. Thats why todays voices are much less beautifull and clear, dont carry, have al the time vocal problems and start to wobble after a short time in the heavier repertoire if they did not start right away already with a wobble.
Ah! este es el famoso Requiem Karajan-Caballé en el que la superba cambió varias notas de su intervención desafiando a Karajan en los ensayos. Karajan... lo consintió, pero igual por eso ya no se volvieron a encontrar.....
Callas + Tebaldi = Caballé Just listen to the chest voice in this piece. Wow! What a range. We all know she handles the high notes without breathing (almost).
Grazie Montsy. Rispetto ad altre versioni si sente chiaramente la mano di nostra Eccelenza. Pare sia stato un vero scontro dei Titani...molto triste l'orribile storia del peso che ne seguì poco dopo. Di certo non un motivo di vanto di sua Eccellenza nostro Von Karajan... Thank you Montsy! Compared to other versions, one can clearly feel the hand of our Eccelenza. Apparently it was a real clash of the Titans...very sad the horrible story of Caballé's weight that followed shortly afterwards. Certainly not a source of pride for His Excellency our Von Karajan...
Sie ist die Beste! Wunderschön mit welcher Behutsamkeit sie in jeder Tonlage ist, wundervoll!
MY GOD THE HIGH Bb in 7:21 IS HEAVEN!
The only one I listend to this day who really did the high Bb in pianissimo
Price excelled at this particular moment as well. She “ could melt steel” as Marylin Horne herself said.
She was amazing
I will always remember in Milano in Chiesa San Marco with Abbado and Valentini Terrani
Unique ocassion in both were together ! She was stratosferic as Karajan was as a conductor !!!
This rendition is just beautiful!!!
Монтсеррат Кабалье Королева вокала от Бога! Она гений!
Her diction! Other than that and the high C, a beautiful and powerful performance. Always love her soft singing and floated high notes.
High C???!!!
@@zadighamroune Yes, at 12:20. Top C fortissimo.
La Superba ,Montserrat the best ever ❤
What an instrument she had . she was great in the 70's
Its not the instrument , its all about TECHNIQUE!
@@vitabella6481 we will have to agree to disagree
@@tommydenzio the istrument is the voice with which you are born. She had a liric soprano which is the most common female voice. Her great technique which she learned with her Teacher Elvira de Hidalgo made it to an exquisite, beautiful voice. She learned to open her throat, to lower her larynx and build up her muscles to keep it open and low, even in the pianissimos. Which asks for years of hard training, its known, that she trained her upper body muscles so hard that she suffered big pain, when studiyng these famous pianissimos. She had a developped chest register which she used the right way. Her singing is the result of many years of building up her instrument without any tricks. This made her voice so beautiful and clear. Today the pianos are mostly tricks, the throats not open but they sing in the mask which is the nice word for nose. Thats why todays voices are much less beautifull and clear, dont carry, have al the time vocal problems and start to wobble after a short time in the heavier repertoire if they did not start right away already with a wobble.
Ah! este es el famoso Requiem Karajan-Caballé en el que la superba cambió varias notas de su intervención desafiando a Karajan en los ensayos. Karajan... lo consintió, pero igual por eso ya no se volvieron a encontrar.....
4:44-7:33 BRAVA!!!!! LA SUPERBA DANDO CÁTEDRA
Qui viene in mente la Tebaldi,è difficile e inutile scegliere,che brave!
Callas + Tebaldi = Caballé Just listen to the chest voice in this piece. Wow! What a range. We all know she handles the high notes without breathing (almost).
Callas e' da sola. + Tebaldi non esiste.
@@fabriziogarzi9892 You lie ! Tebaldi = romantic, Callasm = theatrical. Period.
❤
Grazie Montsy. Rispetto ad altre versioni si sente chiaramente la mano di nostra Eccelenza. Pare sia stato un vero scontro dei Titani...molto triste l'orribile storia del peso che ne seguì poco dopo. Di certo non un motivo di vanto di sua Eccellenza nostro Von Karajan...
Thank you Montsy! Compared to other versions, one can clearly feel the hand of our Eccelenza. Apparently it was a real clash of the Titans...very sad the horrible story of Caballé's weight that followed shortly afterwards. Certainly not a source of pride for His Excellency our Von Karajan...
❤✨❤️✨❤️✨
Y a du monde dans la salle !!!
Normalita. No es el mejor "liberame" que se puede escuchar. Le falta garra, fuerza.
What is the best one? Callas?
Try yoy to do that... who knows? @@lettyc.5018
Il suo Requiem valeva poco. Era privo di drammaticita' e di peso.
@@lettyc.5018 Tebaldi,1950, La Scala with Toscanini. Recently, Violeta Urmana with Semyon Bichkov.
❤