A clear demonstration of her musicianship and musicality, these allowed her to have an understanding of singing, no matter the style, register, limitations, that few, if any, had during the last century. A kind of genius that appears once every 10 generations.
even though this is not her repertoire she has the innate ability to transform and make it her own .................i could listen to her forever.................pure GENIUS
after listening to Maria sing these arias, especially the 'cortigiani', someone half-jokingly said she could have started a new career at that point in her life as a baritone :)
She'd have been a wonderful teacher and stage director.! What she could have bought out vocally and dramatically from singers. So sad she died so young.
Even better that many baritones that sing this role. She was able to convey the tragic desperation of Rigoletto. In my opinion the phrase that includes..."...pianto, Marullo, signore..." was particularly poignant.
Listening to her sing these excerpts better than I've ever heard any tenor execute them, with more passion, with an infinitely deeper understanding of the text, of the line, of the cadences - it's astounding.
Okay that's insane. She is musically better than a lot of the mediocre ones but I doubt she'd be comfortable saying she is better than any tenor who has ever sang their own arias.
This is an invaluable document. I wish we had recordings of Callas singing *every* aria in the Italian repertoire. Even in reduced voice, without much accompaniment, and in fragments, she makes the music come alive like no one else. I only understood "Cortigiani" and "Eri tu" after listening to these Master Classes! Before I heard her versions, they really weren't of much interest to me (!). And even with arias that I already love, with many versions that I am fond of, like "A te, o cara" (di Stefano, Lauri-Volpi), her rendition still has the best phrasing and musicality of them all. Of Master Classes, it's appropriate to recall what they said about Giuditta Pasta's voice at the end of her career -- that, like the Last Supper, it was a ruin but still a masterpiece.
My favorites: 0:39 Callas sings "O tu Palermo, terra adorata ...." 1:31 Callas sings "Tu che a dio spiegasti l'ali...." (from Lucia di Lammermoor, Donizetti) 2:14 Callas sings "Ella giammai m'amo...." 3:31 Callas sings "Dormito io sol nel manto mio regal...." 5:31 Callas sings "Eri tu che macchiavi...." 7:47 Callas sings "A te o cara amor talora..." (from I Puritani, Bellini) 9:52 Callas sings "Cortigiani, vil razza dannata..." (Rigoletto, Verdi) 12:59 Callas sings "Credo confermo cuor siccome...."
A mazing how she could pull such strong low notes from her throat. What a voice hers was! Never again will we hear this kind of singing. The woman had an inferno in her throat.
It is interesting to get her take on things written for another voice type. One can only imagine the sounds she would produce if she coached these arias in prime voice.
Ella fidelidad a lo que quería el compositor, ella música, ella era teatralidad, ella era palabra, ella era vida, ella vino a iluminar al mundo con su voz, ella es insuperable, ella es eterna, la Divina. Hacía la celebración del primer centenario de su nacimiento.
Прекрасно и удивительно ! Сколько Мария Каллас спела ! и видимо хотела бы спеть ВСЁ -все партии и всю музыку ,которая ей нравится, Бесконечное стремление к совершенству и освоение нового. И сколько певцов могут услышать бесценное для себя ее гениальное испонение. Великая и навсегда непревзойденная
She is great! ... ugh... there are no words to Express the profound effect she has on me. Bc of Her interpretations of great music; I began to love opera.
I think that she was not an intellectual, but rather deeply intuitive. She really knew how to keep the line moving in Italian music, especially through the use of portamenti and rubati. I wish people wouldn't shy away from portamenti so much nowadays.
@@Charlz1980tv I do not see how it was inappropriate, and it certainly was not meant as a dig at her. I was making an observation that admirers of her have made before.
There’s a very nice Eri Tu in here! (But Eri Tu is wonderful anyway). She’s working on some very raw material here - the student singing Eri tu is singing it so lyrically, as though it’s a parlour soiree! This warms the cockles of my heart - because for any soprano who like me has indulged in the secret vice of singing these bass and baritone arias for herself, at home, (haha) the tessitura of some of them is quite challenging whether original pitch or octave higher …. and must be so for the baritones - that is apparent in the Cortigiani. What a feast! Scaring all the baritones. Actually, what a terrifying masterclass that would have been haha! Go Maria!
qui dimostra tutta la sua grandezza, la sua arte innata, bravissima ed ancora con una voce unica, a dispetto di chi dice che non aveva più voce. I suo cambio di registro ancora spettacolare, 3 voci in una , incredibile
Ella y solo ella es la Gran Maestra capaz de abordar una voz de pecho y unas habilidades vocales únicas. Su voz está en perfecto estado para abordar roles más dramáticos. CALLAS ETERNA
Voce ormai usurata ma sempre vera/naturale e mai trascurare l'interpretazione, questo era cantare nell'era d'oro... Oggi suoni perfetti da voci tutte più o meno false e poverissime d'interpretazione 😢
Сивильский цилюльник исполняет Мария Каллос Я так безропатна простодушна вежлива очень очень паслушна и уступают всем во всем Но задевать себя я не позволю и настрою я на сваем не перед кем я не орабею и все будет так как я хочу
The cabaletta to the tenor aria from Donizetti's "Lucia di Lammermoor". "Tu che a Dio spiegasti l'ali", it's called. The aria itself is called "Fra poco a me ricovero".
Conclusion: She still had enough voice and ovaries to continue singing as a dramatic soprano and be able to recycle herself later as a mezzosoprano with a huge tessitura (a bit like Placido Domingo does now with bariton roles). So thanks Onassis for ruining an unrepeatable career and life.
My dear. Onassis had nothing to do with the premature end of her career. By the time she met Onassis, her breath support was already in trouble....and she knew it. Her voice in itself wasn't the problem, but rather it was her breath support. And that came to be a problem because of the immense amount of work she did. Hers was a machine of incredible creation and tuning. But she overworked that machine, by the massive repertoire she chose to have. The vast roles that she undertook, and how hard she worked in them. Her good friend and colleague Guilietta Simionato said that very thing to her, after she cracked a note in a performance. Callas said to her "I don't understand. I've done this performance so many times. How am I breaking it now?" And Guilietta said "Maria, you're overworked. You've worn out your diaphragm." And Guilietta was absolutely correct. And in a sense, you are correct too. The way her voice was fashioned, perhaps Callas should've been a Mezzo. She often said in later interviews that she was more toward a Mezzo. But my God, what we would've missed out on.....had she been a Mezzo! Imagine the jewels we wouldn't have. Callas carved out her own destiny, with no regrets. That was her wonder and legend....and a caution of what happens, when you truly give all you have to Art. Onassis did not do that to her. Callas never entered into anything, without knowing what she was getting into. No doubt, she felt that Onassis would offer a way out of singing in general. And he did indeed give her something she never truly had before: A man whom loved her, and whom she could love. Mind you, Onassis had his flaws.....and so did she. But he loved her, the best way he could. And she knew that. Which is why they remained friends, even after they parted and he married another. Read "Maria Callas: Sacred Monster". She lays out the whole thing with Onassis, in her own words and with her own certainty.
@@jenniferrodgers57 She stoped singing because of him and by the promise made by him to make Maria her wife, and he didn't accomplished that promise and in fact humiliated her when surprisingly married Jackie. And if that was not enough he showed their colours when he invited some paparazzis to Scorpios to make naked photos of Jackie when they were thinking to get divorced. He was a real disgraceful man in every way possible. And she could have sing still much more during the 60s.
@@alejandrosotomartin9720 Incorrect on so many levels. Again, read "Maria Callas: Sacred Monster". Maria, by her own words, admits openly and plainly that Onassis had nothing to do with her decline in singing. She wore herself out, and that's all there is to it. So stop demonizing Onassis. It really is a tired excuse.
@@jenniferrodgers57 The logical response of a woman still in love. But you know, women like the mean guys and always will be like that, even in the case of the great artists.
@@alejandrosotomartin9720 The typical response of a man who doesn't entirely know smart women. Callas knew her voice was in big trouble. Her husband was giving her financial problems. Meeting Onassis was a chance encounter, which led to love and later led to friendship.
Félelmetes hogy mennyire ismerte még a férfirepertoire-t is!! Azonban énekelni màr nem kellett volna abban a hangi àllapotàban! Persze neki minden megbocsjthato!!!
I realise how she emphasises a certain masculine approach in the sound... Very different to the recent school of singing where male singers sound like women in that everything is such sooo feminine... The only distinction on stage between the soprano and the tenor is the tessitura... That is sooo boring... I really do wish our modern singers would all listen to this... Put the balls back in the voice
YOU JUST HIT THE NAIL RIGHT IN THE VERY EPICENTRE OF THE HEAD. THE MODERN USELESS MASKED SINGING TECHNIQUE AND USELESS ALEXANDER TECHNIQUE. MARIA TEACHES EXACTLY LIKE THE VERY OLD ITALIAN APPOGGIO METHOD OF SINGING.
@@eddue12345 The modern public knows nothing. In Copenhagen where I live there's a standing ovation after almost every performance, no matter what it was like. because the public knows nothing and has no passion for opera, they just come to a performance because "that could be fun" or "that will make me look good", and they are so impressed by hearing a live orchestra and someone approximately singing what's in the score that they stand up at the end. The fact that the modern public tolerates the generally low level of singing today and the dreadful modern productions we have suffered for decades says it it!
I think I've seen about 7 comments of yours on different videos stating something along the lines of 'Not yours/his/her/their/it 's best'. What's your point? That you're better, perhaps?
One more time I realize what a genius Bellini was , it’s so hard to pinpoint your favorite composer especially in classical music where every composer has made something amazing but bellini’s music just touches me differently
A clear demonstration of her musicianship and musicality, these allowed her to have an understanding of singing, no matter the style, register, limitations, that few, if any, had during the last century. A kind of genius that appears once every 10 generations.
even though this is not her repertoire she has the innate ability to transform and make it her own .................i could listen to her forever.................pure GENIUS
Stephen Costen....well stated!
after listening to Maria sing these arias, especially the 'cortigiani', someone half-jokingly said she could have started a new career at that point in her life as a baritone :)
What a real clear chest voice!!!!
Hearing her shape A te, o cara is especially satisfying. Nothing elaborate, just a gorgeous melody sung simply.
Why did she love Bellini? Because of his plain so harmonica melodies
She'd have been a wonderful teacher and stage director.! What she could have bought out vocally and dramatically from singers. So sad she died so young.
The best Rigoletto sung by female voice...
Even better that many baritones that sing this role. She was able to convey the tragic desperation of Rigoletto. In my opinion the phrase that includes..."...pianto, Marullo, signore..." was particularly poignant.
Listening to her sing these excerpts better than I've ever heard any tenor execute them, with more passion, with an infinitely deeper understanding of the text, of the line, of the cadences - it's astounding.
Okay that's insane. She is musically better than a lot of the mediocre ones but I doubt she'd be comfortable saying she is better than any tenor who has ever sang their own arias.
This is an invaluable document. I wish we had recordings of Callas singing *every* aria in the Italian repertoire. Even in reduced voice, without much accompaniment, and in fragments, she makes the music come alive like no one else. I only understood "Cortigiani" and "Eri tu" after listening to these Master Classes! Before I heard her versions, they really weren't of much interest to me (!). And even with arias that I already love, with many versions that I am fond of, like "A te, o cara" (di Stefano, Lauri-Volpi), her rendition still has the best phrasing and musicality of them all.
Of Master Classes, it's appropriate to recall what they said about Giuditta Pasta's voice at the end of her career -- that, like the Last Supper, it was a ruin but still a masterpiece.
My favorites:
0:39 Callas sings "O tu Palermo, terra adorata ...."
1:31 Callas sings "Tu che a dio spiegasti l'ali...." (from Lucia di Lammermoor, Donizetti)
2:14 Callas sings "Ella giammai m'amo...."
3:31 Callas sings "Dormito io sol nel manto mio regal...."
5:31 Callas sings "Eri tu che macchiavi...."
7:47 Callas sings "A te o cara amor talora..." (from I Puritani, Bellini)
9:52 Callas sings "Cortigiani, vil razza dannata..." (Rigoletto, Verdi)
12:59 Callas sings "Credo confermo cuor siccome...."
A mazing how she could pull such strong low notes from her throat. What a voice hers was! Never again will we hear this kind of singing. The woman had an inferno in her throat.
7:46 has broken my already broken heart. Her supreme immortal soul and voice are written in my life forever.
😿😔♥️
♥
A te o cara! She's just... I can't. I love her.
A pity Maria Callas could not adapt her repertoire, choosing mezzo pieces. She for sure indulged herself in singing all these bariton and tenor lines
This is the kind of woman we need in life.
Oh my God ..... perfect teaching .... in every Stimmlage .... impossible. Magnificent masterclass.
Even after her prime voice, she still sounds immaculate! La Divina!!!
It is interesting to get her take on things written for another voice type. One can only imagine the sounds she would produce if she coached these arias in prime voice.
@@patrickandrew2785 Oh, yes, definitely a delight to hear and see.
Ella fidelidad a lo que quería el compositor, ella música, ella era teatralidad, ella era palabra, ella era vida, ella vino a iluminar al mundo con su voz, ella es insuperable, ella es eterna, la Divina. Hacía la celebración del primer centenario de su nacimiento.
Una vera scuola di interpretazione,la Callas conosceva i ruoli non suoi con una curiosità inimitabile e trasformava in teatro musicale tutto.
So true.
E vero. Solo lei
Meravigliosa. Lei è l’OPERA.
Verdi, Leoncavallo, Donizetti, etc : Get me out of my coffin right now. I must rewrite some of my operas and have her sing them.
Прекрасно и удивительно ! Сколько Мария Каллас спела ! и видимо хотела бы спеть ВСЁ -все партии и всю музыку ,которая ей нравится, Бесконечное стремление к совершенству и освоение нового. И сколько певцов могут услышать бесценное для себя ее гениальное испонение. Великая и навсегда непревзойденная
She is great! ... ugh... there are no words to Express the profound effect she has on me. Bc of Her interpretations of great music; I began to love opera.
Está mujer era un Genio .
I think that she was not an intellectual, but rather deeply intuitive. She really knew how to keep the line moving in Italian music, especially through the use of portamenti and rubati. I wish people wouldn't shy away from portamenti so much nowadays.
What a peculiar remark. And highly inappropriate, to be honest.
After all, she didnt need to be an intellectual - she was an artist.
@@Charlz1980tv I do not see how it was inappropriate, and it certainly was not meant as a dig at her. I was making an observation that admirers of her have made before.
Wonderful to have this record.
Once again, it shows she was /is above others!
There are no other's my friend. VIVA LA CALLAS 💙 REGINA DIVINA 👑. Arnold Bourbon Amaral
I’m glad us fledgling singers at least have these recordings of old school masters. Since avoiding bad teaching is hard enough as it is…
Bravissimo. Bravissimo.Bravisso. ❤️❤️❤️❤️❤️
There’s a very nice Eri Tu in here! (But Eri Tu is wonderful anyway). She’s working on some very raw material here - the student singing Eri tu is singing it so lyrically, as though it’s a parlour soiree! This warms the cockles of my heart - because for any soprano who like me has indulged in the secret vice of singing these bass and baritone arias for herself, at home, (haha) the tessitura of some of them is quite challenging whether original pitch or octave higher …. and must be so for the baritones - that is apparent in the Cortigiani. What a feast! Scaring all the baritones. Actually, what a terrifying masterclass that would have been haha! Go Maria!
7:47 Dios Mío...cuánto la amo.
Amazing!! i wish male singers coud develope such guts!
Pura música. Fenomenal!
Maria ❤️ quanto ti amiamo
❤️❤️❤️❤️❤️🙏🙏🙏🙏🙏
A Legend...
Bravíssima! Era pura arte! 💖👏🏾
Amazing! The glory of Greece! The Rigoletto aria amazing! Oh, l personally like to sing although l am woman! Brava Maria! Rerfect post!
qui dimostra tutta la sua grandezza, la sua arte innata, bravissima ed ancora con una voce unica, a dispetto di chi dice che non aveva più voce. I suo cambio di registro ancora spettacolare, 3 voci in una , incredibile
Mamma mia! Che che voce sotto umana...
My sweet teacher Diva Maria Callas
Ella y solo ella es la Gran Maestra capaz de abordar una voz de pecho y unas habilidades vocales únicas. Su voz está en perfecto estado para abordar roles más dramáticos.
CALLAS ETERNA
Wonderful, but sad, in that she wants so much to sing. Her musicality remained unmatched, but the voice no longer cooperated.
La Divina 🧨❤️🙏
Magnifica!!
Thrilling!!
This unbelievable. Her Ella giammai m'amó...
11:15 she still could sing out such raw power, speechless
wonderful Othello
10.56 Marullo, signore...
Liked!
The full masterclasses need a reupload
Can sombody please give list of arias?
Voce ormai usurata ma sempre vera/naturale e mai trascurare l'interpretazione, questo era cantare nell'era d'oro... Oggi suoni perfetti da voci tutte più o meno false e poverissime d'interpretazione 😢
Non dimentichiamo che erano lezioni di INTERPRETAZIONE e non di TECNICA DI CANTO !
12:21 In that "in the beginning, eh?" the "eh" is pronounced in the most Greek way ever 😁
😢😖👑👑💙💙 Arnold Bourbon Amaral
She was probably a great teacher. Who were her students?
Сивильский цилюльник исполняет Мария Каллос
Я так безропатна простодушна вежлива очень очень паслушна и уступают всем во всем Но задевать себя я не позволю и настрою я на сваем не перед кем я не орабею и все будет так как я хочу
Could you telle me, please, what is she singing at 1’32? It’s so beautiful!
The cabaletta to the tenor aria from Donizetti's "Lucia di Lammermoor". "Tu che a Dio spiegasti l'ali", it's called. The aria itself is called "Fra poco a me ricovero".
@@MissAlexia "Ah! per sempre", the baritone aria from the beginning of Bellini's "I puritani".
Y tenía esta vocerraza y los críticos se dignaron a decir que ya no tenía voz???
Conclusion: She still had enough voice and ovaries to continue singing as a dramatic soprano and be able to recycle herself later as a mezzosoprano with a huge tessitura (a bit like Placido Domingo does now with bariton roles). So thanks Onassis for ruining an unrepeatable career and life.
My dear. Onassis had nothing to do with the premature end of her career. By the time she met Onassis, her breath support was already in trouble....and she knew it. Her voice in itself wasn't the problem, but rather it was her breath support. And that came to be a problem because of the immense amount of work she did. Hers was a machine of incredible creation and tuning. But she overworked that machine, by the massive repertoire she chose to have. The vast roles that she undertook, and how hard she worked in them. Her good friend and colleague Guilietta Simionato said that very thing to her, after she cracked a note in a performance. Callas said to her "I don't understand. I've done this performance so many times. How am I breaking it now?" And Guilietta said "Maria, you're overworked. You've worn out your diaphragm."
And Guilietta was absolutely correct.
And in a sense, you are correct too. The way her voice was fashioned, perhaps Callas should've been a Mezzo. She often said in later interviews that she was more toward a Mezzo. But my God, what we would've missed out on.....had she been a Mezzo! Imagine the jewels we wouldn't have. Callas carved out her own destiny, with no regrets. That was her wonder and legend....and a caution of what happens, when you truly give all you have to Art.
Onassis did not do that to her.
Callas never entered into anything, without knowing what she was getting into.
No doubt, she felt that Onassis would offer a way out of singing in general. And he did indeed give her something she never truly had before: A man whom loved her, and whom she could love.
Mind you, Onassis had his flaws.....and so did she. But he loved her, the best way he could. And she knew that. Which is why they remained friends, even after they parted and he married another. Read "Maria Callas: Sacred Monster". She lays out the whole thing with Onassis, in her own words and with her own certainty.
@@jenniferrodgers57 She stoped singing because of him and by the promise made by him to make Maria her wife, and he didn't accomplished that promise and in fact humiliated her when surprisingly married Jackie. And if that was not enough he showed their colours when he invited some paparazzis to Scorpios to make naked photos of Jackie when they were thinking to get divorced. He was a real disgraceful man in every way possible. And she could have sing still much more during the 60s.
@@alejandrosotomartin9720
Incorrect on so many levels.
Again, read "Maria Callas: Sacred Monster".
Maria, by her own words, admits openly and plainly that Onassis had nothing to do with her decline in singing.
She wore herself out, and that's all there is to it.
So stop demonizing Onassis.
It really is a tired excuse.
@@jenniferrodgers57 The logical response of a woman still in love. But you know, women like the mean guys and always will be like that, even in the case of the great artists.
@@alejandrosotomartin9720
The typical response of a man who doesn't entirely know smart women.
Callas knew her voice was in big trouble. Her husband was giving her financial problems.
Meeting Onassis was a chance encounter, which led to love and later led to friendship.
♥
Ihre Musikalität (z. B. "A te o cara" 7:46) ist beispiellos.
Callas was chronically ill, that's the reason behind her decline.
Are there links to the individual coaching of the arias these come from? Wish these were video taped. Still had quite a lot of voice left
Félelmetes hogy mennyire ismerte még a férfirepertoire-t is!! Azonban énekelni màr nem kellett volna abban a hangi àllapotàban! Persze neki minden megbocsjthato!!!
I realise how she emphasises a certain masculine approach in the sound... Very different to the recent school of singing where male singers sound like women in that everything is such sooo feminine... The only distinction on stage between the soprano and the tenor is the tessitura... That is sooo boring... I really do wish our modern singers would all listen to this... Put the balls back in the voice
YOU JUST HIT THE NAIL RIGHT IN THE VERY EPICENTRE OF THE HEAD. THE MODERN USELESS MASKED SINGING TECHNIQUE AND USELESS ALEXANDER TECHNIQUE. MARIA TEACHES EXACTLY LIKE THE VERY OLD ITALIAN APPOGGIO METHOD OF SINGING.
AMEN!! TO BOTH OF YOU!
And the public needs to start expecting this from their singer at the theaters
@@eddue12345 The modern public knows nothing. In Copenhagen where I live there's a standing ovation after almost every performance, no matter what it was like. because the public knows nothing and has no passion for opera, they just come to a performance because "that could be fun" or "that will make me look good", and they are so impressed by hearing a live orchestra and someone approximately singing what's in the score that they stand up at the end. The fact that the modern public tolerates the generally low level of singing today and the dreadful modern productions we have suffered for decades says it it!
OH DIO
Isn't jai perdu mon Eurydice usually sung by a man? Her interpretations makes most of the other interpretations fall short.
Probably she should have sung male roles throughout her short career.
33 Years isn't that short is it??
Callas voice is so nasally
Not her best, granted she is singing these in a teaching capacity.
I think I've seen about 7 comments of yours on different videos stating something along the lines of 'Not yours/his/her/their/it 's best'. What's your point? That you're better, perhaps?
And if indeed this is not her best, you yourself pointed out she is singing in a strictly professional teaching capacity. I repeat, what is the point?
GO AWAY NOW!!! Arnold Bourbon Amaral
What a silly, insignificant and ignorant comment....
@@arnoldamaral7406 WORD
What aria is at 7:35? 😢 please
Baritone Aria I puritani "Ah per sempre io ti perdei"
One more time I realize what a genius Bellini was , it’s so hard to pinpoint your favorite composer especially in classical music where every composer has made something amazing but bellini’s music just touches me differently
7:47 Dios Mío...cuánto la amo.