The Callas recording isn't from Mexico 1951. It is a studio recording from 1964, someone has added extra echo to make it sound like a live recording - presumably to make people think that Callas' voice sounded like this already back in 1951.
Sembra anche a me . Anche se la Callas del 1964 non cantava Aida da circa 10 anni ed è sempre valida, non è paragonabile, vocalmente, alle varie Aide 1950-51-53.
both artists were wonderful for different things. I'd give the edge to Callas with this aria, Casta Diva, Vissi' d'Arte, La Mamma Morte although I loved Tebaldi's interpretations with the last 2 as well. But I give Tebaldi the edge with Mimi's arias, Madama Butterfly , Suor Angelica (Senza Mamma- Tebaldi's hands down!!!) and Ave Maria from Otello. Bottom Line-----Callas ruled over the Bel Canto repertoire and Tebaldi ruled over the Verismo roles!
Callas and Tebaldi had made their debuts in Verona, as had Richard Tucker with them, when Giovanni Zenatello, with Tullio Serafin, reopened the amphitheater in 1947. All three became mutual admirers in 1947, and Callas's regard for Tebaldi's singing never diminished.
+SHICOFF1: The consensus among the Italian critics was that her voice was ample enough for the role-and unlike USA critics, the break between her upper and lower registers was not seen as a flaw in her technique.
+SHICOFF1: Through the late Joe Gimma (Licia Albanese’s husband and the investment manager for her, Callas, and Di Stefano, among many others), I did a telephone interview with her about Serafin and Ponselle. She could not have been nicer nor more generous with her time.
+SHICOFF1: As you know from your personal friendship with Tucker, he was perplexed by her reference to “another tenor, an American” when she wrote or talked about their debut performance in Verona. There in 1947, she was “Mary Callas” and he was “Ruby Tucker.” Yet for her final two performances at the Met, she chose Corelli and Tucker, and said to Tucker during the thunderous ovation after their love duet, “Why is it that when I sing with you I feel so good?” His reply was his way of making up for being excluded from her interviews: “It’s because when you’re singing with me, Mary [not “Maria”], you’re in the big leagues!”
I LOVE TEBALDI........SHE IS THE VOICE OF MY ENTIRE LIFE.FROM SHEN I WAS A BABY THIS IS THE VOICE I HEARD....FROM THE 1ST BOHEME AND BUTTERFLY RECORDINGS. SO I TEND TO BE BIAS IN MY PREFERENCES. DURING MY LIFE ....63 YEARS.... I HAVE LEARNED A LOT AND ALSO HAVE A LITTLE BIT O WISDOM NOW. MY HIGH LEVELS OF STUPIDITY ALSO HAVE DIMINISHED LATELY. SO I HAVE GAINED A CERTAIN RESPECT FOR BOTH SINGERS....BECAUSE ABOVE EVERTHING...THEY CLEARLY EXPRESSEDTHE COMPOSERS MARKINGS AT ALL TIMES.THEY WERE BOTH GREAT MUSICIANS AND IN THEIR OWN WAYS VIRTUOSOS .ALSO DESPITE THE HUGE STUDIO LEGACY OF BOTH LADIES........IT WAS IN THE THEATRE THAT THEY SANG THEIR BEST....AS THE MANY THOUSANDS IF TAPES CLEARLY SHOW. THE MANY VIDEOS OF BOTH ALSO SHOW THAT EACH HAD A UNIQUE STAGE PRESENCE WHICH CAME DIRECTLY FROM THEIR VOCAL QUALITIES. SO THERE IS A LOT TO BE THANKFUL FOR.......I COULD WRITE A BOOK.....BUT MY ONE TYPING FINGER WOULD GIVE UP. HEARING BOTH THESE .....THE GREATEST SINGERS OF ALL TIME....WE CANNOT BUT GET ON OUR KNEES AND THANK GOD THAT OUR LIVES HAVE BEEN SO ENRICHED BY THESE TWO HUMAN BEINGS.
At their best, they were the best! Both had their great roles. I have a soft spot for Tebaldi but have always raved about Callas as Medea, Armida, Lady Macbeth and Abigaille.
both undoubtedly draw an indelible mark on the History of Opera today no continuity of your artistic lineage ... to keep us hope, that at some future time be born those who continue,who collected his example his school!!! Caro *ditogam* Thanks for such didactic and Beautiful Souvenir!
Che ricchezza, discutere su due meraviglie così. In realtà, comunque, io preferisco la Callas in alcune arie e la Tebaldi in altre, ma sono gusti personali. M'inchino a tutte e due.
Wait, I just got into opera, but Renata Tebaldi expressed astonishment and bewilderment when she heard Maria Callas' ability to take on coloratura soprano roles especially with her big (almost dramatic) voice (I believe the majority of people categorize her as a soprano sfogato). My question is, weren't there voices like Joan Sutherland, Virginia Zeani, Edda Moser (she is much younger so I'm guessing she wasn't popular then) who made a name for themselves for their dramatic and coloratura abilities? I don't feel like Maria Callas' is a true coloratura (her abilities don't really match up to coloratura speed and articulation).
Lissandra Freljord I never considered Callas much of a Coloratura either because Edda Moser and Joan Sutherland were both great big voices who were able to effortlessly sing difficult coloratura. I always considered Callas to be a dramatic with amazing agility in the upper range in her early years.
Early Maria Callas has the cleanest, most precise legato you have heard, almost singing like a piano. All those singers you have mentioned, though well-respected, was not on par with the coloratura ability of Callas!
The so-called rivalry was created by the press, both artists have testified over the years that it never really existed. Different singers altogether both superb in their own way and certainly far superior to any operatic soprano of today.
Esa supuesta rivalidad tiene mucho de mediática, cuya publicidad ambas supieron aprovechar. Al margen de toda esta parafernalia superficial estaba la gran soprano Victoria de los Ángeles, quien, para muchos críticos y directores como Toscanini, fue la mejor del siglo veinte.
Renata Tebaldi and Maria Callas are different artist. Tebaldi was a wondeful Elenora in ""La Forza del Destino" and "Madame Butterfly". Callas the best "Aida" and Violetta in "La Traviata".
Claude Michaud: I am not for the sound but the interpretation and the emotions in the voice. The tone does not matter at all. That's why I love Callas because she is unique.
Just based on sound, I much prefer Tebaldi, but many who heard Callas live say she was wonderful, and I'm hardly in a position to argue ;) never heard either one live. Very nice video
It it just absurd to compare these two. Callas has made a mark on history that will not be equaled by anyone. Tebaldi could have been a good performer of art songs....as long as they did not challenge her to go above the F. Once she had to go high she ALWAYS screamed and went flat. She had precious little dramatic insights, if any at all. Maria Callas will reign as the greatest soprano of all time because OPERA is DRAMA......not just sound. And for what it is worth.......to my ears Callas produces the most gorgeous tones of any singer I have ever heard.
Yes thank you. I feel that so much of the time when people talk about Callas' merits and minuses they take for granted just what a mark she did make on history and why. Just the simple fact that there is so much discussion surrounding her is a testament to how much more she accomplished than any of her contemporaries and any singer since her.
I'll take Maria Callas any day. She has a better voice and beautiful looking as well. She certainly knew what she was singing about. I don't understand why Renata Tebaldi is admired by so many people and I don't think someday I will change my mind on Tebaldi. But Tebaldi-worshippers can't even construct a legitimate and objective argument about why she is better than Callas.
To quote Callas, "Callas has no rivals". No one could do what Callas did, so she couldn't possibly have had any true rivals. Don't get me wrong. Tebaldi was an amazing singer in her own right. But "rival" of Callas? Never.
There is/was no rivalry. Just listen to the way Callas starts Ritorna Vincitor, the drama, the passion, the voice...no rivals. Champagne always beats Coca Cola.
Madame, you have apparently never attended an opera performance in Italy. It is the cradle of opera, and there, opera is THE competitive sport! Par excellence!
Tebaldi had a nice enough voice but so did many others..... Virginia Zeani (underated) to name just one......there can be no comparison, there was, is and will always be one Callas....... it's a matter of taste also..
Callas, always! For those who say Tebaldi's "Butterfly" was better....listen to Callas' 1955 Butterfly. Her 'Un bel di vedremo' is beyond contention! Also, La Divina's "Ritorna Vincitor" is far more compelling to these ears! Callas simply had it all. She did it all. She was the Soprano Sfogato Assoluta! Period.
Tebaldi had the "pretty" voice. The vocal pearls. But Callas had the pure emotion. The genius interpretation. That's why Callas reigns supreme with me. Always.
And how was Tebaldi as Norma, Medea, Lady Macbeth, La Sonnambula, Armida, Iphegine, Anna Bolena, Lucia, Abigaille in "Nabucco", Imogene in "Il Pirata", Alceste, Elvira in "Puritani", etc??????
@@ms.chaewon9231, Callas is the diva, the personage, the gay world loves her because she represents the tragic heroine with whom to identify himself; Tebaldi is the real belcanto; Tebaldi is dedition, application, art.
Видеоклипы
due stelle bellissime,ognuna brilla al modo suo unico sul firmamento operistico.
due leonesse dell'arte lirica !
sono semplicemente meravigliose !
Two wonderful Divas, i have a preference for Renata her voice is round and soft, but it's just personal! Thank you so much for this video!
Thank you so much for sharing this beautiful singing with me.
--------Ellen
The Callas recording isn't from Mexico 1951. It is a studio recording from 1964, someone has added extra echo to make it sound like a live recording - presumably to make people think that Callas' voice sounded like this already back in 1951.
Sembra anche a me . Anche se la Callas del 1964 non cantava Aida da circa 10 anni ed è sempre valida, non è paragonabile, vocalmente, alle varie Aide 1950-51-53.
Wonderful, what an Magnificent voice, She is so Incredible, She is so Marvellous, Brilliant : )
Bless You and Thank You
Tammy
To anyone who's seen the Sopranos....
The narrator sounds exactly like the psychic Paulie sees in season 2
tebaldi is a beautiful voice... Callas is PURE fire
both artists were wonderful for different things. I'd give the edge to Callas with this aria, Casta Diva, Vissi' d'Arte, La Mamma Morte although I loved Tebaldi's interpretations with the last 2 as well. But I give Tebaldi the edge with Mimi's arias, Madama Butterfly , Suor Angelica (Senza Mamma- Tebaldi's hands down!!!) and Ave Maria from Otello. Bottom Line-----Callas ruled over the Bel Canto repertoire and Tebaldi ruled over the Verismo roles!
Callas and Tebaldi had made their debuts in Verona, as had Richard Tucker with them, when Giovanni Zenatello, with Tullio Serafin, reopened the amphitheater in 1947. All three became mutual admirers in 1947, and Callas's regard for Tebaldi's singing never diminished.
+SHICOFF1: The consensus among the Italian critics was that her voice was ample enough for the role-and unlike USA critics, the break between her upper and lower registers was not seen as a flaw in her technique.
+SHICOFF1: Through the late Joe Gimma (Licia Albanese’s husband and the investment manager for her, Callas, and Di Stefano, among many others), I did a telephone interview with her about Serafin and Ponselle. She could not have been nicer nor more generous with her time.
+SHICOFF1: As you know from your personal friendship with Tucker, he was perplexed by her reference to “another tenor, an American” when she wrote or talked about their debut performance in Verona. There in 1947, she was “Mary Callas” and he was “Ruby Tucker.” Yet for her final two performances at the Met, she chose Corelli and Tucker, and said to Tucker during the thunderous ovation after their love duet, “Why is it that when I sing with you I feel so good?” His reply was his way of making up for being excluded from her interviews: “It’s because when you’re singing with me, Mary [not “Maria”], you’re in the big leagues!”
I LOVE TEBALDI........SHE IS THE VOICE OF MY ENTIRE LIFE.FROM SHEN I WAS A BABY THIS IS THE VOICE I HEARD....FROM THE 1ST BOHEME AND BUTTERFLY RECORDINGS. SO I TEND TO BE BIAS IN MY PREFERENCES.
DURING MY LIFE ....63 YEARS....
I HAVE LEARNED A LOT AND ALSO HAVE A LITTLE BIT O WISDOM NOW.
MY HIGH LEVELS OF STUPIDITY ALSO HAVE DIMINISHED LATELY.
SO I HAVE GAINED A CERTAIN RESPECT FOR BOTH SINGERS....BECAUSE ABOVE EVERTHING...THEY CLEARLY EXPRESSEDTHE COMPOSERS MARKINGS AT ALL TIMES.THEY WERE BOTH GREAT MUSICIANS AND IN THEIR OWN WAYS VIRTUOSOS .ALSO DESPITE THE HUGE STUDIO LEGACY OF BOTH LADIES........IT WAS IN THE THEATRE THAT THEY SANG THEIR BEST....AS THE MANY THOUSANDS IF TAPES CLEARLY SHOW.
THE MANY VIDEOS OF BOTH ALSO SHOW THAT EACH HAD A UNIQUE STAGE PRESENCE WHICH CAME DIRECTLY FROM THEIR VOCAL QUALITIES.
SO THERE IS A LOT TO BE THANKFUL FOR.......I COULD WRITE A BOOK.....BUT MY ONE TYPING FINGER WOULD GIVE UP.
HEARING BOTH THESE .....THE GREATEST SINGERS OF ALL TIME....WE CANNOT BUT GET ON OUR KNEES AND THANK GOD THAT OUR LIVES HAVE BEEN SO ENRICHED BY THESE TWO HUMAN BEINGS.
At their best, they were the best! Both had their great roles. I have a soft spot for Tebaldi but have always raved about Callas as Medea, Armida, Lady Macbeth and Abigaille.
both undoubtedly draw an indelible mark on the History of Opera
today no continuity of your artistic lineage ...
to keep us hope, that at some future time be born those who continue,who collected his example his school!!!
Caro *ditogam* Thanks for such didactic and Beautiful Souvenir!
Che ricchezza, discutere su due meraviglie così. In realtà, comunque, io preferisco la Callas in alcune arie e la Tebaldi in altre, ma sono gusti personali. M'inchino a tutte e due.
Brave entrambe con vocalità diversa.
Wait, I just got into opera, but Renata Tebaldi expressed astonishment and bewilderment when she heard Maria Callas' ability to take on coloratura soprano roles especially with her big (almost dramatic) voice (I believe the majority of people categorize her as a soprano sfogato). My question is, weren't there voices like Joan Sutherland, Virginia Zeani, Edda Moser (she is much younger so I'm guessing she wasn't popular then) who made a name for themselves for their dramatic and coloratura abilities? I don't feel like Maria Callas' is a true coloratura (her abilities don't really match up to coloratura speed and articulation).
Lissandra Freljord I never considered Callas much of a Coloratura either because Edda Moser and Joan Sutherland were both great big voices who were able to effortlessly sing difficult coloratura. I always considered Callas to be a dramatic with amazing agility in the upper range in her early years.
I recommend you listen to Callas' 1952 Armida and then judge weather she could not sing coloratura in fast speed with articulation.
@@hodgrix oh her Amina and Rossini!
Maria Callas is literally trained to sing coloratura as written. Her technique is beyond reproach in her true working years.
Early Maria Callas has the cleanest, most precise legato you have heard, almost singing like a piano. All those singers you have mentioned, though well-respected, was not on par with the coloratura ability of Callas!
The so-called rivalry was created by the press, both artists have testified over the years that it never really existed. Different singers altogether both superb in their own way and certainly far superior to any operatic soprano of today.
This is from The Voice, The Story; John Ardoin's 1988 radio documentary, aka "Callas in her own words"
@babydrane Here is NO comparison, it's only documentary about how these two magnificent Diva's respect each other :) Hope you enjoyed :)
Esa supuesta rivalidad tiene mucho de mediática, cuya publicidad ambas supieron aprovechar. Al margen de toda esta parafernalia superficial estaba la gran soprano Victoria de los Ángeles, quien, para muchos críticos y directores como Toscanini, fue la mejor del siglo veinte.
René Pariente: toutes deux sont magnifique selon les morceaux.
Ich Persönlich finde beide sehr gut.
Renata Tebaldi and Maria Callas are different artist. Tebaldi was a wondeful Elenora in ""La Forza del Destino" and "Madame Butterfly". Callas the best "Aida" and Violetta in "La Traviata".
It's really looks like that you are right, but on the disk was written 1951 ..
This is not fair.. This is Callas in 1964 .. not in 1951
I like Callas but still prefer Tebaldi - great voice, a more beautiful sound.
But Callas is great also.
Claude Michaud: I am not for the sound but the interpretation and the emotions in the voice. The tone does not matter at all. That's why I love Callas because she is unique.
Anch'io preferisco la Tebaldi
Just based on sound, I much prefer Tebaldi, but many who heard Callas live say she was wonderful, and I'm hardly in a position to argue ;) never heard either one live. Very nice video
It it just absurd to compare these two. Callas has made a mark on history that will not be equaled by anyone. Tebaldi could have been a good performer of art songs....as long as they did not challenge her to go above the F. Once she had to go high she ALWAYS screamed and went flat. She had precious little dramatic insights, if any at all. Maria Callas will reign as the greatest soprano of all time because OPERA is DRAMA......not just sound. And for what it is worth.......to my ears Callas produces the most gorgeous tones of any singer I have ever heard.
Yes thank you. I feel that so much of the time when people talk about Callas' merits and minuses they take for granted just what a mark she did make on history and why. Just the simple fact that there is so much discussion surrounding her is a testament to how much more she accomplished than any of her contemporaries and any singer since her.
As you well know anything diabolic is much more appealing than angelic
Maria.
Don't know if it's unfair but...now let's have Tebaldi's Elvira!
Maria callas feelings renata tevaldi alberto mejias says the two are wonderful but maria is every time greek with all that we understand
I'll take Maria Callas any day. She has a better voice and beautiful looking as well. She certainly knew what she was singing about. I don't understand why Renata Tebaldi is admired by so many people and I don't think someday I will change my mind on Tebaldi. But Tebaldi-worshippers can't even construct a legitimate and objective argument about why she is better than Callas.
Above all is Kirsten Flagstad
Most stupidest conment
To quote Callas, "Callas has no rivals". No one could do what Callas did, so she couldn't possibly have had any true rivals. Don't get me wrong. Tebaldi was an amazing singer in her own right. But "rival" of Callas? Never.
ganumeorebeli Maria Callasi
A journalist: "Mr. Toscanini, who do you think is the best, Callas or Tebaldi?"
Arturo Toscanini: "Victoria de los Ángeles"
Braaaavo maestro! Che diplomatia! :-))))
But De los Angeles was indeed great too!!!!!She was underrated....
Callas is the one...
I agree with you Callas had more than a voyce you could belive wat she was.!!! Singin!!! and by God could she sing.
Every generation would have each legend. Callas is the one
per aida preferisco tebaldi
There is/was no rivalry. Just listen to the way Callas starts Ritorna Vincitor, the drama, the passion, the voice...no rivals. Champagne always beats Coca Cola.
Operatic singing is not a competitive game. For those who do not sing, they might be better off arguing over football teams.
Madame, you have apparently never attended an opera performance in Italy. It is the cradle of opera, and there, opera is THE competitive sport! Par excellence!
Tebaldi had a nice enough voice but so did many others..... Virginia Zeani (underated) to name just one......there can be no comparison, there was, is and will always be one Callas....... it's a matter of taste also..
Callas, always! For those who say Tebaldi's "Butterfly" was better....listen to Callas' 1955 Butterfly. Her 'Un bel di vedremo' is beyond contention! Also, La Divina's "Ritorna Vincitor" is far more compelling to these ears! Callas simply had it all. She did it all. She was the Soprano Sfogato Assoluta! Period.
Jennifer Rodgers ❤❤❤❤❤❤❤❤❤!!!!!!!!!
La Tebaldi la si ascolta la Callas la si guarda....
Romeo Romeo, si vede che hai capito poco.
Tebaldi had the "pretty" voice. The vocal pearls.
But Callas had the pure emotion. The genius interpretation. That's why Callas reigns supreme with me. Always.
Callasssss
Alwais Tebaldi better than Callas. Gourgeus voice!
And how was Tebaldi as Norma, Medea, Lady Macbeth, La Sonnambula, Armida, Iphegine, Anna Bolena, Lucia, Abigaille in "Nabucco", Imogene in "Il Pirata", Alceste, Elvira in "Puritani", etc??????
Nah uh-uh. No operas like those.
Tebaldi was the superior voice, Callas was the superior stage performer.
I do prefer Renata Tebaldi, her voice is the perfection. Callas has other qualities but not the voice
It's matter of taste. But if you look at the over-all quality of both singers, Callas wins -- repetoire down to the voice.
@@ms.chaewon9231, Callas is the diva, the personage, the gay world loves her because she represents the tragic heroine with whom to identify himself; Tebaldi is the real belcanto; Tebaldi is dedition, application, art.
Callas wins!