Maria Callas - Mexico High Notes Part 1
HTML-код
- Опубликовано: 5 окт 2024
- 50+ high or major notes from the 1950-1952 Mexico tours in chronological order. For visuals, the covers of the albums you can find these tracks on.
What can you say about this collection of performances? In my opinion, the audiences that were privvy to these treasures were the luckiest people to have ever lived!
Imagine being there in the Palacio de Bellas Artes, whether being in 1950, when Maria Callas may have been unknown to you, or in 1952, when you had been given a taste, but longed for more!
She sung many roles in mexico, giving some of the most vocally intense performances of her careeer. The single note that is more incredible and daring (in my opinion) the high E in the 1951 Aida. These are the wild years, where it's almost like she was learning the limits of her incredibly powerful and intriguing voice.
There are only a few absences - the 28 June, 1952 performance of Tosca, and the final note of Se Tradirmi Tu Potrai from the 10 June 1952 Lucia. I have ordered these albums but i couldn't wait the two month shipping time.
I Highly recommend you buy these albums from wherever you can, this is just the tip of the iceberg, her middle and lower registers, her agility and daring are just as amazing. If you get to pick where you go when you die, you'll find me here!
I didn't include the "June 14 1952" Lucia mad scene notes as i believe them to be fakes
Part 1
Norma 23 May, 1950
Ah bello mi ritorna
Oh, non tremare
Vanne, sì, mi lascia, indegno
Sì, fino all'ore estreme
In mia Mano
Deh! Non volerli vittime
Aida May 30, 1950
Ritorna Vincitor
O Re, Pei Sacri Numi ... Gloria all'Egitto
O Terra, Addio
Aida, 3 June, 1950
Ritorna Vincitor
Tosca 8 June, 1950
Franchigia a Floria Tosca
Presto! Su, Mario!
Il Trovatore 20 June,1950
Tacea la notte placida
Di Tale Amor
No! Di Geloso Amor Sprezzato
D'Amor Sull'Ali Rosee
Colui Vivra...Vivra! Contende Il Giubilo
Il Trovatore 27 June, 1950
Tacea la notte placida
Aida, 3 July 1951
Ritorna Vincitor
O Re, Pei Sacri Numi ... Gloria all'Egitto
O Terra, Addio
La Traviata 17 July, 1951
Sempre Libera
Part 2
I Puritani 29 May, 1952
Odi...Qual Suon Si Desta?
Son Vergin Vezzosa
Dov'e Arturo?
Oh vieni al tempio
Ma tu gia mi fuggi?
Vieni fra queste braccia
La Traviata 3 June, 1952
Sempre Libera
Alfredo! Alfredo! Di Questo Core
Addio Del Passato
Lucia di Lammermoor 10 June, 1952
Quando, Rapito In Estasi
Ah! Verranno A Te Sull'aure
Chi mi frena in tal momento
Esci, Fuggi, Il Furor Che M'accende
Ardon Gli Incensi
Spargi D'amaro Pianto
Ardon Gli Incensi (Encore)
Spargi D'amaro Pianto (Encore)
Rigoletto 17 June, 1952
Ah! Veglia, O Donna
Addio! Speranza Ed Anima
Gualtier Maldè!...Caro Nome
Sì, Vendetta, Tremenda Vendetta
Lucia di Lammermoor 26 June, 1952
Ardon Gli Incensi
Spargi D'amaro Pianto
Tosca 28 June, 1952
Vissi d'arte
Franchigia a Floria Tosca
Presto! Su, Mario! 
Развлечения
![Eminem - Temporary (feat. Skylar Grey) [Official Music Video]](http://i.ytimg.com/vi/ZaK9Wi5ho0o/mqdefault.jpg)
Maria , the breath of God !!!
Can hear Kurt Baum constantly trying to hold his note a second longer than her. She got her own back with that note in Aida. Take that!
that shriek after "Mario, Mario!" in Tosca is absolutely shocking and riveting. Amazing, and thank you for compiling this!
Just as an aside, Giulietta Simionato sounds just wonderful in the Norma too. What a pair of singers as their prime.
Such wonderful high notes Callas had when she was in her youth. I, too love the Eb6 in Aida.
I love Callas' voice even during her decline in the 1960's. There's a quality in her voice that is perfect for tragic heroines as her voice ripens.
Along with Sutherland, they are the two reigning queens of opera.
Young Callas was unique...is there any singer on record to match those high notes...there is something insane about her unique balance of expression and voice...She had it all
una meraviglia della natura sta donna
Amazing. Lucky Mexico.
NADIE COMO CALLAS NUNCA!
Gracias, gracias, por compartir estas joyitas con el mundo.
como nos tiene acostumbrados !!!!! belleza !!!!
I'll always be a little bitter over the primitive recording technology at the time was no able to handle the sheer volume of Callas' voice. The same thing with Kristin Flagstad.
@MAPIAKALLAS She never sang Barbiere in Mexico. She sang Rosina on stage once, 1956 at La Scala under Giulini and recorded the opera for EMI in 1957. She also sang Aida in 1950 and 1951 in Mexico, with the interpolated high E-flats at the end of act 2, and her first Lucia and only Gilda in Rigoletto in 1952
I couldnt have enjoyed that more
jeje gracias!
Ja! Bien dicho y estoy de acuerdo!
@shivastotravali Yes maria callas when to mexico in 1950, 1951, and 1952 she sing la traviata, il puritani, Norma, tosca, Il barber di siviglia, and il torbatore
WOW i didn't know Callas sung the interloped High D in Norma
Correction: In 1950 she sang Norma, Aida, Tosca and her first Trovatore Leonoras. In 1950 she sang Aida and Traviata. In 1952 she sang Traviata, Puritani, Tosca, her first Lucias, and her first and last Gildas in Rigoletto. Maria only sang Barbiere once, and that was in 1956 at La Scala.
jajajaj Maria siempre le tiraba su cachetada al caer el telon por alargar las notas mientras ella respetaba lo que el compositor escribia pero como Baum no lo dejaba de hacer ella tambien lo hizo y se convirtio en un eterna competencia durante esta gira a Mexico especialmente en sus Aidas
Are you sure about Barbiere? I don't think she sang that role until 56 at La Scala. It may have been another role.
@gustopheles
there's a masterclass audio out there of Callas' where she briefly discuses the..."operatic screech"..if you will...like you said shocking..^_^
@magicmonkichi thanks for the heads up, I'll look for it!
Was that Leonard Warren singing with her in the part of "Vanne"?
One note where Tebaldi had her. She owned the C at 'io quella lama'.
"Wonderful" high notes? Dramatic, yes, surely enough, but not beautiful. Almost always di forza and this is one of the reasons why her voice was a total wreck after just a few years. Oversinging and overpushing of the voice; all those interpolated high notes sung FFF have ruined her voice. But her talent and artistry are of course unique and legendary.
That subjective. They are beautiful to me.
@@KajiVocals And pretty much the only way to sing these notes healthily is to sing them is FFF!
@@ER1CwC I would not say volume (or lack there of) has much to do with healthy notes.
Ecco perchè a 40 anni non aveva più voce! :/