Il faut se rendre compte qu'à notre époque ,aucune cantatrice n'oserait s'aventurer dans un récital d'une telle diversité et d'une telle difficulté , totalement épuisant vocalement ! Callas n'a jamais triché et elle le montre ici en affrontant fièrement tous les dangers .
Unerreicht! Meine rechte Hand habe ich seit 1962 nicht mehr gewaschen... Anl.eines Konzerts in Bonn/Beethovenhalle gab La Callas mir nach Schlussapplaus die Hand als danke für eine Rose (ausgerissen aus der Bühnenfekoration!) Ich bin dankbar, ein Genie begegnet zu sein viva la diva für immer!!!
This is a wonderful concert ,the Callas magic is on full display and her voice sounds secure and stable throughout its full range. I didn't expect to hear her voice in such great form late in her career
Was für ein fantastisches, wundervolles Konzert⭐️🎉⭐️Maria ist geliebt in alle Ewigkeit und wenn wir schon nicht live dabeisein konnten, so feiern wir sie jetzt in unsern Herzen💫💛💫 Tausend Dank für‘s Posten🥰
'And did it terrifically. I have always wondered what she would have done to "To This We've Come" from Menotti's "The Consul." It is the type of scena with alternating emotions that Callas delivered so well.
Menotti wanted her for the italian premiere of the Consul at La Scala, but Ghingerelli had sworn she would never sing at his theater. Of course we know how thdt turned out
True. The strange thing is that when she sings in Italian or french, her diction is so clear. But in English I struggle to understand her, even though she grew up in NYC.
Grazie Opera❤ Maria “il pericolo è il mio mestiere”: È sempre stata spericolata: la differenza tra noi e lei era che noi rischiavamo di sentire una frase abbassata di tono, ma lei rischiava la carriera!
C'est beau au niveau artistique et musical malgré les limites de sa voix à cette époque tardive .En tous cas c'est un choix de récital très courageux et elle ne choisit pas la facilité : Oberon et Macbeth c'est terriblement difficile .
En ce qui concerne la voix elle est vraiment en good shape, il ne pouvait en être autrement car elle venait de travailler sans relâche sa voix pendant près de deux ans...
Grazie Opera. Bellissimo concerto. Maria non al massimo in quell’anno, ma sempre eccezionale e emozionante. Se si osservano le sue incisioni in video si vede quanto si concentrasse per calarsi nei personaggi e quante volte cantasse con gli occhi chiusi se il brano glielo consentiva
A voz de Maria era o eco do drama interior que a atormentava A paixão soava na sua alma atormentada Maria cantava com o coração. Descansa em paz Divina! A tua voz soará pela eternidade.❤❤❤❤❤❤❤❤
When she “narrowed” or “slimmed” down her sound, it was her true sound, I feel. The dramatic darkening was always amazing, but I wonder if she sang the Oberon like the Bolena or Rossini, her sound would of been better balanced in the “later” years. (The Pondering’s of a fan.)
You're right. Although she didn't narrow or slim her voice exactly, she just sings with more open and clear dictions instead of darkening. Most sopranos rely on darkening and unclear dictions (many times, even nasality) as a first countermeasure for decline. Callas started to rely on darkening around 1957 as her voice was continuously thinning after the weight loss for some reason. She doesn't sing the aria from Oberon the same way as Cenerentola is because the first is a dramatic aria with long flowing lines, it will expose the faults in the voice production too much and she'll sound inconsistent. While Cenerentola is a coloratura role, it has so many runs and embellishments, the voice wouldn't be exposed.
Yes, you are spot on, and she said as much at the moment in her career that Bing fired her. “My voice is not an elevator” was something she discovered too late in her career. Couple that with the now standard media assaults and she had had quite enough of being La Divina. If a smarmy shipping magnate could make her forget all that-she grabbed at the opportunity “n’importe pas”!
You are right. The narrowed, more lyrical voice for her is more correct. This over singing started in 1958 really badly.Her concerts were oversung.. listen to the LosAngeles concert.. very much the sound was too big.. her traviatas that year suffered from pushing too.
@@maxcornise7204 don't forget her ex husband / manager Meneghini, who sold Callas like a circus animal. up the price after every performance, take every ridiculous offers instead protect her as his wife and an artist.
![Maria Callas in Nabucco (Highlights) [Napoli, 20/12/1949]](http://i.ytimg.com/vi/rkXtkq0MUo4/mqdefault.jpg)
![Maria CALLAS. [Rare] Récital à Copenhague, avec Georges PRÊTRE (1963)](http://i.ytimg.com/vi/SlESpybb5eg/mqdefault.jpg)
Very good for 1962 indeed
Il faut se rendre compte qu'à notre époque ,aucune cantatrice n'oserait s'aventurer dans un récital d'une telle diversité et d'une telle difficulté , totalement épuisant vocalement !
Callas n'a jamais triché et elle le montre ici en affrontant fièrement tous les dangers .
Unerreicht! Meine rechte Hand habe ich seit 1962 nicht mehr gewaschen...
Anl.eines Konzerts in Bonn/Beethovenhalle gab La Callas mir nach Schlussapplaus die Hand als danke für eine Rose (ausgerissen aus der Bühnenfekoration!) Ich bin dankbar, ein Genie begegnet zu sein viva la diva für immer!!!
TE ENVIDIO SANAMENTE,POR ESE HECHO Y POR ESTAR ALLÍ,POR VER Y ESCUCHAR A LA MEJOR CANTACTRIZ DEL SIGLO XX,UNA GENIA !!,CORDIALES SALUDOS.
This is a wonderful concert ,the Callas magic is on full display and her voice sounds secure and stable throughout its full range. I didn't expect to hear her voice in such great form late in her career
I can't get over how good Callas' voice is on this evening.
Fantastic concert. It’s a shame they did not think to film it…
Was für ein fantastisches, wundervolles Konzert⭐️🎉⭐️Maria ist geliebt in alle Ewigkeit und wenn wir schon nicht live dabeisein konnten, so feiern wir sie jetzt in unsern Herzen💫💛💫
Tausend Dank für‘s Posten🥰
Maria Callas foi até onde ninguém tinha ido antes. Ao atingir a perfeição absoluta, era como soubesse que não estaria por cá muito tempo!❤❤❤❤❤❤❤
The Oberon section is the only aria she ever sang in English!
Interesting.
'And did it terrifically. I have always wondered what she would have done to "To This We've Come" from Menotti's "The Consul." It is the type of scena with alternating emotions that Callas delivered so well.
Menotti wanted her for the italian premiere of the Consul at La Scala, but Ghingerelli had sworn she would never sing at his theater. Of course we know how thdt turned out
True. The strange thing is that when she sings in Italian or french, her diction is so clear. But in English I struggle to understand her, even though she grew up in NYC.
Elle est déchirante d'émotion dans l'air de Chimène ❤️
J'avais oublié de mentionner la scène finale d'Anna Bolena : monumentale et redoutable de difficulté.
Una voz maravillosa e inmortal😮😮😢😢❤❤❤❤❤
Grazie Opera❤ Maria “il pericolo è il mio mestiere”: È sempre stata spericolata: la differenza tra noi e lei era che noi rischiavamo di sentire una frase abbassata di tono, ma lei rischiava la carriera!
Ad oggi I N E G U A G L I A B I L E.!!!!❤❤❤
Υπέροχη ανάρτηση!! Ένα πραγματικό θείο δώρο!! Α truly divine gift!!
C'est beau au niveau artistique et musical malgré les limites de sa voix à cette époque tardive .En tous cas c'est un choix de récital très courageux et elle ne choisit pas la facilité : Oberon et Macbeth c'est terriblement difficile .
Wow! Thank you for this! the first aria was much better than her studio recording 😍 and I did not expect her to sing bolena after 1960
and her Bolena here was good!
BRAVA!!! BRAVI!!! BRAVA!!!👋👋👋
En ce qui concerne la voix elle est vraiment en good shape, il ne pouvait en être autrement car elle venait de travailler sans relâche sa voix pendant près de deux ans...
The Bolena is excellent
Καταπληκτική ανάρτηση από κάθε άποψη!
Χίλια ευχαριστώ, φίλε μου.
Less than 6 months for #MariaCallas100 🎉🥳🎂🎈
Just imagine the people at the time! Hearing the first three arias for the first time by Callas (because it was before they were released in studio)
And she sang them live that made her even more exciting!!
I think is her best 1960s concert!! Full of different repertoire and in glorious voice!!
@@OperaMyWorld I would argue that her Paris concert in 1963 is also up to the same standard. Voice-wise
Grazie Opera. Bellissimo concerto. Maria non al massimo in quell’anno, ma sempre eccezionale e emozionante. Se si osservano le sue incisioni in video si vede quanto si concentrasse per calarsi nei personaggi e quante volte cantasse con gli occhi chiusi se il brano glielo consentiva
Thank you !!!❤❤❤❤❤❤❤
A voz de Maria era o eco do drama interior que a atormentava A paixão soava na sua alma atormentada Maria cantava com o coração. Descansa em paz Divina! A tua voz soará pela eternidade.❤❤❤❤❤❤❤❤
Por fin , completo con el “Coppia iniqua “ . Muchísimas gracias ❤
Espectacular!!!! Estaba en excelente voz ese dia!!!!
La piu brava
❤👏👏👏
🧡🧡🧡👋👋👋
The Cenerentola piece was also better
When she “narrowed” or “slimmed” down her sound, it was her true sound, I feel. The dramatic darkening was always amazing, but I wonder if she sang the Oberon like the Bolena or Rossini, her sound would of been better balanced in the “later” years. (The Pondering’s of a fan.)
You're right. Although she didn't narrow or slim her voice exactly, she just sings with more open and clear dictions instead of darkening. Most sopranos rely on darkening and unclear dictions (many times, even nasality) as a first countermeasure for decline. Callas started to rely on darkening around 1957 as her voice was continuously thinning after the weight loss for some reason. She doesn't sing the aria from Oberon the same way as Cenerentola is because the first is a dramatic aria with long flowing lines, it will expose the faults in the voice production too much and she'll sound inconsistent. While Cenerentola is a coloratura role, it has so many runs and embellishments, the voice wouldn't be exposed.
Yes, you are spot on, and she said as much at the moment in her career that Bing fired her. “My voice is not an elevator” was something she discovered too late in her career. Couple that with the now standard media assaults and she had had quite enough of being La Divina. If a smarmy shipping magnate could make her forget all that-she grabbed at the opportunity “n’importe pas”!
You are right. The narrowed, more lyrical voice for her is more correct. This over singing started in 1958 really badly.Her concerts were oversung.. listen to the LosAngeles concert.. very much the sound was too big.. her traviatas that year suffered from pushing too.
@@maxcornise7204 don't forget her ex husband / manager Meneghini, who sold Callas like a circus animal. up the price after every performance, take every ridiculous offers instead protect her as his wife and an artist.