Milanov and Bartoli are really amusing. I laughed out loud. I am still laughing. The selection with Callas is the tamest rendition I've heard of her in this music. I used to have a Norma with her, Stignani and Filippeschi I believe and she was electrifying beyond belief. No contest here.
I’m pretty sure that the second one is Angela Meade. I heard her as Norma around 10 years ago. Yes, modern singer, but I think she has the voice for Norma. She’s a bit squally and fluttery here (and scooping as usual), but far, far better than the two that follow. The one that immediately follows is practically singing in falsetto. Also better than Bartoli. (Bartoli is clearly standing so close to the mic here.) The Callas recording is running flat. But what I always appreciate about her in this section is that she actually takes it slower so she can enunciate all the text clearly and accent accordingly, even though her ability to sing quickly is not in any doubt. She reminds us that the purpose of singing is to express, not to race.
Grazie Equinox.I tuoi commentatori possono dire quello che credono, ma Callas è imbattibile nell’ interpretazione. Il problema è che dovrebbero capire bene l’italiano
I'm not a music expert, but Bartola's interpretation (1st) is among the most original. In today's flood of quality singers, originality is, in my opinion, an important quality factor. Proof: general failure to recognize all the interpreters in this video!😂
Callas is the queen of singing and the greatest vocalist of all time! If all the others had better technique, they would have been able to handle Callas' repertoire but none of them could sing it as well as Callas not even 10% of Callas' level. END OF STORY
.....yawn Same old story - best of the best, etc I happen to like Callas - but seriously, she had flaws, and some less than stellar performances. At her Met debut - 1956 - the vibrato had already taken on a life of its own. Eventually, it was wide enough to drive a truck through it. Fact. Not Opinion. 😎😎😎
@@paules3437 callas' vibrato became problematic in the later years due to her health problems (dermatomyositis, you can search for "callas dermatomyositis") and she started to have wobble. But im talking about prime, pre weight loss Callas 1949-1952/1953
@@MetaMind-r2s You are entitled to your opinion. But I think it's impossible to crown "Best Ever". Are there metrics? A way of determining this? Nope. QED. 😎😎😎
Hey… Aren’t you the same guy who keeps trolling that Greene woman? I keep seeing you and a bunch of people bash her and after looking over your profiles, I’ve seen nothing on your profile to back up where you stand either buddy - let alone the others. Yeesh, I haven’t seen your kind of behavior except for outside a kindergarten playground. I don’t know how old you are but even if you are not a kid, seriously get over yourself and you seriously need to quit flattering yourself and act like an adult. K? We are all allowed to have different opinions and you make your own vitriolic comments known to many. BTW, if you do talk smack about me as well, go ahead - knock yourself out because you are not worth crying a river over and I actually have a fulfilling life outside of the Internet, so I frankly couldn’t give a rat’s ass what you say. I think Mrs Greene got it pegged, you need a serious reality check. Peace! ☮️
"Oh non tremare o perfido!" is the ultimate test to know if a singer can actually sing Norma, not "Casta diva". This passage is florid singing that nevertheless must express rage, within musical constraints. Callas is here a force of nature, the standard by which all others are to be measured. No one can touch her. Bartoli is as always mechanical and fails to express anything. Milanov had trouble with agility singing that always made her sound like a chicken. Her coloratura is too effortful. The other unknown singers at least did survive, perhaps they are just enough to put up a Norma if you want to go to the opera house... this is an extremely difficult part. Great Normas are few: Callas, Sutherland and Caballé are the best three. Then there are Verrett, Bumbury... not a long list.
That is true, yet Caballe and Sutherland were a bit lacking in this particular scene, especially Sutherland. One really needs a genuine dramatic voice to execute this properly.
@@equinox6651 Caballe was a fantastic Norma, but I agree. In this section, she scales her voice down somewhat and then speeds through it with some aspiration. But she takes the tempo fast, which makes things exciting in a surface-level sort of way. She does the same thing in In mia man.
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Milanov and Bartoli are really amusing. I laughed out loud. I am still laughing. The selection with Callas is the tamest rendition I've heard of her in this music. I used to have a Norma with her, Stignani and Filippeschi I believe and she was electrifying beyond belief. No contest here.
Omg as always you realize how this really has to sound only when Callas begins to sing.
I’m pretty sure that the second one is Angela Meade. I heard her as Norma around 10 years ago. Yes, modern singer, but I think she has the voice for Norma. She’s a bit squally and fluttery here (and scooping as usual), but far, far better than the two that follow. The one that immediately follows is practically singing in falsetto. Also better than Bartoli. (Bartoli is clearly standing so close to the mic here.)
The Callas recording is running flat. But what I always appreciate about her in this section is that she actually takes it slower so she can enunciate all the text clearly and accent accordingly, even though her ability to sing quickly is not in any doubt. She reminds us that the purpose of singing is to express, not to race.
If I had to guess it sounds like the 2nd singer is Angela Meade
Grazie Equinox.I tuoi commentatori possono dire quello che credono, ma Callas è imbattibile nell’ interpretazione. Il problema è che dovrebbero capire bene l’italiano
Cierto. Saludos cordiales ❤❤❤
I'm not a music expert, but Bartola's interpretation (1st) is among the most original. In today's flood of quality singers, originality is, in my opinion, an important quality factor. Proof: general failure to recognize all the interpreters in this video!😂
With all due respect to both singers: Horrendous!
Callas is the queen of singing and the greatest vocalist of all time! If all the others had better technique, they would have been able to handle Callas' repertoire but none of them could sing it as well as Callas not even 10% of Callas' level. END OF STORY
"End of story". Wow. Presumptuous. Do the rest of us get to have opinion, like Callas' vibrato is big enough to drive a truck thru?
.....yawn
Same old story - best of the best, etc
I happen to like Callas - but seriously, she had flaws, and some less than stellar performances. At her Met debut - 1956 - the vibrato had already taken on a life of its own. Eventually, it was wide enough to drive a truck through it. Fact. Not Opinion.
😎😎😎
@@rugby8-Philadelphia prime, pre weight loss Callas was the best vocalist, singer ever. 1949-1952/1953
@@paules3437 callas' vibrato became problematic in the later years due to her health problems (dermatomyositis, you can search for "callas dermatomyositis") and she started to have wobble. But im talking about prime, pre weight loss Callas 1949-1952/1953
@@MetaMind-r2s
You are entitled to your opinion. But I think it's impossible to crown "Best Ever". Are there metrics? A way of determining this?
Nope.
QED.
😎😎😎
Why a lyric small soprano disguised as mezzo should record Norma in studio is beyond me…
(Bartoli)
The others are painful to hear too.
Ni siquiera una lirica, suena como una lirica-ligera o coloratura con una voz subdesarrollada y color de voz horrible y aburrido.
@@Pachinanonimmuy bien dicho. Saludos cordiales ❤❤
@@PachinanonimIgnore that troll Dragan Vidic. He doesn’t know a thing what he’s talking about, except his subjective opinions. Leave him be.
Who were the conductors, teacher?
"the point is clear"??? Is it? What exactly is your point?
😊😊😊
BRAVA CALLAS
The first singer seems to munch on her own tongue :D
1 is Bartoli.
2 is? 3 is? Omg so wrong…
I give up!
Plz provide a list of singers here.
Read the description.
Hey… Aren’t you the same guy who keeps trolling that Greene woman? I keep seeing you and a bunch of people bash her and after looking over your profiles, I’ve seen nothing on your profile to back up where you stand either buddy - let alone the others. Yeesh, I haven’t seen your kind of behavior except for outside a kindergarten playground. I don’t know how old you are but even if you are not a kid, seriously get over yourself and you seriously need to quit flattering yourself and act like an adult. K? We are all allowed to have different opinions and you make your own vitriolic comments known to many. BTW, if you do talk smack about me as well, go ahead - knock yourself out because you are not worth crying a river over and I actually have a fulfilling life outside of the Internet, so I frankly couldn’t give a rat’s ass what you say. I think Mrs Greene got it pegged, you need a serious reality check. Peace! ☮️
@@equinox6651what description?¿
ONLY CALLAS SORY
"Oh non tremare o perfido!" is the ultimate test to know if a singer can actually sing Norma, not "Casta diva". This passage is florid singing that nevertheless must express rage, within musical constraints. Callas is here a force of nature, the standard by which all others are to be measured. No one can touch her. Bartoli is as always mechanical and fails to express anything. Milanov had trouble with agility singing that always made her sound like a chicken. Her coloratura is too effortful. The other unknown singers at least did survive, perhaps they are just enough to put up a Norma if you want to go to the opera house... this is an extremely difficult part.
Great Normas are few: Callas, Sutherland and Caballé are the best three. Then there are Verrett, Bumbury... not a long list.
That is true, yet Caballe and Sutherland were a bit lacking in this particular scene, especially Sutherland. One really needs a genuine dramatic voice to execute this properly.
@@equinox6651 Caballe was a fantastic Norma, but I agree. In this section, she scales her voice down somewhat and then speeds through it with some aspiration. But she takes the tempo fast, which makes things exciting in a surface-level sort of way. She does the same thing in In mia man.
If the best three Normas are needed, it's Callas, Muzio and Cerquetti. Sutherland and Caballe come next. There's not even a debate.