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Callasiana83
Registrace 27. 01. 2021
Italian. In love with Maria Callas since 1997.
Italiana. Innamorata di Maria Callas dal 1997.
Italiana. Innamorata di Maria Callas dal 1997.
Mario Del Monaco and the longest note COMPETITION with Maria CALLAS - ENGLISH SUBTITLES
The great tenor Mario Del Monaco tells a funny episode about his Norma with Maria Callas at La Scala in 1956.
Source: Teatro alla Scala Docs - "Del Monaco alla Scala", by Christian Angeli and Roberto Giannarelli, available on RaiPlay. Contains an excerpt from documentary "Il favoloso Mario Del Monaco" - 1967.
Link: www.raiplay.it/programmi/delmonacoallascala
ITA: Mario Del Monaco e la gara della nota più lunga con Maria Callas.
Il grande tenore Mario Del Monaco racconta un episodio divertente sulla Norma alla Scala con la Callas nel 1956.
Fonte: Teatro alla Scala Docs - "Del Monaco alla Scala", di Christian Angeli e Roberto Giannarelli, disponibile su RaiPlay. Contiene un estratto dal documentario "Il favoloso Mario Del Monaco" - 1967.
Link: www.raiplay.it/programmi/delmonacoallascala
#mariacallas #mariodelmonaco
Source: Teatro alla Scala Docs - "Del Monaco alla Scala", by Christian Angeli and Roberto Giannarelli, available on RaiPlay. Contains an excerpt from documentary "Il favoloso Mario Del Monaco" - 1967.
Link: www.raiplay.it/programmi/delmonacoallascala
ITA: Mario Del Monaco e la gara della nota più lunga con Maria Callas.
Il grande tenore Mario Del Monaco racconta un episodio divertente sulla Norma alla Scala con la Callas nel 1956.
Fonte: Teatro alla Scala Docs - "Del Monaco alla Scala", di Christian Angeli e Roberto Giannarelli, disponibile su RaiPlay. Contiene un estratto dal documentario "Il favoloso Mario Del Monaco" - 1967.
Link: www.raiplay.it/programmi/delmonacoallascala
#mariacallas #mariodelmonaco
zhlédnutí: 14 171
Video
Interview to Cossotto about Norma with Callas - ENGLISH SUBTITLES
zhlédnutí 8KPřed 3 lety
In this interview Fiorenza Cossotto defends herself from the accusations against her about the 1965 Norma in Paris with Maria Callas. Cossotto explains that she didn't intentionally drown out Callas' voice with hers, because Callas wasn't well during those performances. A listening of that infamous final of Act 1 is following (3:02). Source: Italian radio show "La Barcaccia", Radio 3, broadcast...
Intervista a Fiorenza Cossotto sulla FAMIGERATA Norma con Maria Callas
zhlédnutí 6KPřed 3 lety
In questa intervista Fiorenza Cossotto parla della sua carriera e si difende dalle accuse contro di lei riguardo la Norma del 1965 a Parigi con Maria Callas (7:05). La Cossotto spiega di non aver coperto intenzionalmente con la voce la Callas, che durante quelle recite non stava bene. Segue l'ascolto del famigerato finale del I Atto (10:06). Fonte: trasmissione radiofonica "La Barcaccia", Radio...
Jajajaja. Dos grandes. Benditas sean esas disputas.
Mi sembra che , nel finale, Mario del Monaco inizi l " acuto dopo la Callas per poterlo tenere più a lungo. Sbaglio ?
ma figurati se nottetempo hanno stravolto la scenografia e il palcoscenico aggiungendo tre metri, come se il regista, lo scenografo, il capopalco, ecc non abbiano voce in capitolo e possano avere accettare con il beneplacito generale per accomodare un presunto capriccio di una cantante nervosa ed insicura. Le prove di scena in voce con il set completo non si fanno che in ultimo stadio e fino ad allora non si era resa conto la Callas della voce di DM? La sfoggio' tutta all'improvviso la voce? E poi Chi paga gli straordinari di questi lavori e materiali scenici, gli attezzisti, i tecnici di palco ecc? Che idiozie da pettegolezzo
La OPERA se reduce en una sola nombre "MARÍA CALLAS l'UNICA SOPRANO ASSOLUTA ASSOLUTTAAAAAAA nessuna nessuna nessuna nessuna nessuna nessuna come LEI!!!!!!!!!! CORELLI MONSTRUOSO!!!!!!!
Grande NOSTALGIA per la Barcaccia , Cossotto e , ovviamente la DIVINA
As a professional classical musician with more than fifteen years of experience, I can safely say that there aren't many ways to "help" a colleague in trouble, other than to keep singing/playing YOUR OWN PART to the best of your abilities. And that's exactly what Ms.Cossotto did. I really don't get what she was supposed to do according to this nonsense critics, and I assume that her detractors aren't educated in the field. At all! A big shotout to Ms.Cossotto for being not only one of the greatest singers of all times, but an awesome professional as well.
Con Suozzo e Stinchelli... Diceva la sigla... Poi è arrivata la regista Vespa
Cossotto was known of trying outsing or trick famous singers like Callas or Sutherland and Caballe! Stolling curtain calls during arias or duets...you can see also IN CZcams THE Souliotis Norma duet with Cossotto, where Souliotis had vocal trouble in high notes and she smiled almost to take a bow!! Zeffirelli testify that he sweared not to work again with Cossotto after the Paris Last Norma and did it actually!! Ardoin also testify this!!
Cossotto herself admitted she was competitive. I remember reading an interview from 2015, she seems to have regretted some aspects of her personality though. Anyhow, I would rather have her singing today. Wasn't she Caballe's favourite mezzo to sing with? This interview is a bit misleading though. The alleged upstaging bit was not from the Act 1 Finale, but the Norma-Adalgisa duet where Cossotto takes the High C, and Callas didn't. Listening to the recordings however, I can't really hear any other instances of Cossotto trying to upstage Callas. Sure the High C didn't come out well from Callas's throat for the Act 2 duet, but I don't see why Cossotto should be blamed for her A coming out great. She couldn't have known.
Invece la Callas era una mammola
Cossoto immense diva ♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️
4:12
A me piace anche in questa sua estemporanea
Stinchelli spara pettegolezzi a caso.
All the comments here making this about MDM vs Callas or something do not realize that MDM himself said that the competition was friendly and due to nerves, not due to a sense of antagonism.
Vedi la grande come parla della collega
chissà perchè i giornalisti dicono sempre solo delle balle che rovinano la gente, e non fanno nemmeno le smentite, veramente una brutta categoria!
The bitter truth is Callas was voiceless by the mid 60s. Sick or not, these gala performances were embarrassing even without the (usual for Callas) excuse of the cold. The Callas queens as always wanted to blame someone else for her failures...poverina (Onassis, Meneghini, Bing, Mozart, Tebaldi and so on) and Cossotto was the perfect victim. The total antithesis of Callas, vocally firm throughout her registers. Even in her prime Callas would have suffered from the comparison with the canon that Cossotto was. At least we have the tapes to hear for ourselves that Cossotto is respectful towards her voiceless colleague. What was she supposed to do, stop singing to support Maria? Show must go on ladies...
Exactly
Wow! I never knew about this particular "singing duel" between these 2! Only the one with Kurt Baum, in the Mexico Aida.
La barcaccia programma ignobile....
I used to wonder why those "tenors" always spoke like they're operatic singers 😁 Because big tenor such as Mario del Monaco and Franco Correli never spoke like "operatically" ... Later my speculation was that real operatic singers do not pretend to be, but those who are amateurs need that impressions from others 😂
To you Italian speakers - did Maria Callas speak Italian with a Greek accent, or were her pronunciations the same as native Italians? Just curious as a strictly English speaker.
Her prononciation was excellent: she sounded like an Italian from Veneto (north-east Italy), the region she lived in with Meneghini before moving to Milan. You could tell she was Italian, if it weren't for minor mistakes she made in grammar and lexical choices. 💕
@@callasiana8335 Thanks for your detailed answer! It’s amazing how fluent she was in so many languages. She was incredibly intelligent.
@@jamesmorrison2055 I absolutely agree!
@@callasiana8335 She spoke 4 languages quite fluently, but remember that 2 (english and greek) were native languages. Her Italian may have been good but her French, although good, was not that of a French native.
@@barahona68 Yes, of course. I was just talking about how she sounded when she spoke Italian. I couldn't tell very much about her French.
If these accusations were "ignobili", why did Zeffirelli himself go backstage and swear to Cossotto never to work with her again? He said so in an interview for Ardoin's and Fitzgerald's book from 1974, "Callas". This wasn't the only time Cossotto tried to outsing a colleague - in 1969 she sang Adalgisa to Sutherland's "Norma" in Buenos Aires and tried the same tricks, though Sutherland being Sutherland didn't really notice, but others around her did, according to Norma Major's biography of her. Lord Harewood said in an interview that when Callas and Cossotto sang "Medea" together in London in 1959, when Medea has fainted and Neris sings her aria. Cossotto had placed herself on Callas' dress so Callas couldn't move - after Neris' aria, Cossotto was able to acknowledge the audience's applause but Callas was forced not to move.
Come al solito la barcaccia è un pettegolezzo unico
se invece di trasformare la lirica in circo avessero "solo" cantato era molto meglio, le voci c'erano e tanto bastava a non involgarire tutto per niente.
Chi è senza peccato scagli la prima pietra, Mario. Tuttavia, la Callas non ha mai (mai) parlato dei colleghi, nel bene e nel male. Eravate entrambi due sublimi prime donne che ci hanno regalato duetti storici, una coppia perfetta, peccato questa puerile diatriba.
Cosotto is trying to save her legacy.
She doesn't need to try - she was one of the greatest and leaves an enormous legacy of fabulous performances
@@puppetoz she's not trying to save her vocal legacy but her legacy as as good colleague.
Опера Беллини Норма
mio dio, che pavone! insopportabile! La callas non ha mai perso un secondo della sua esistenza a parlare di del monaco. Era veramente ossessionato. Ma di lui non si parla più; mentre di lei non si smetterà mai!
Era particolare Del Monaco. Niente di letale ...
Del monaco widy bari disaster
E dove si parla di Callas? A questo Mondo si parla di Madonna, non di Callas.
This is amusing, since Kurt Baum’s refusal to stop holding high notes past her is supposed to have prompted the famous ‘Aida’ E flat. She certainly won that contest.
Il meglio e il peggio incarnati nelle medesime menti..
Callas grande, ma per tenere gli acuti di Del Monaco... bisogna avere un mantice da fucina, altro che diaframma 😂
E lei ce l'aveva 😁
Sentila nell’Aida del 51 live dal Messico. Lei gli sta dietro secondo per secondo, non gli lascia un attimo di tregua!
Lotta greco-romana !! Duetto mitico ,da brividi!! Ma vi rendete conto? Callas! Del Monaco!
Callas nunca habló de Del Monaco, este nunca superó que Callas tiene un capítulo preponderante en el mundo operista. No niego que ambos juntos nos regalaron grabaciones insuperables hasta la actualidad. Del Monaco es un Dios, pero Callas es el Titán.
While she may never have spoken of him,he certainly spoke of her and in a very good way,so one would wonder who really was the better person
There Is an account by Poulenc, Who refused to give a role to Callas, that explains WHO Is the real good person....
Каллас-великая певица! Но мне нравится, что Марио Дель Монако не стал уступать ей в её капризах. Браво, Марио-настоящий лев! После этого случая они долго не разговаривали... Она переключилась на Ф. Корелли. Приятно было увидеть и услышать Альберто Дель Монако, они похожи с Марио. Интересно, он жив?
Thank you
Каллас, Дель Монако какие голоса. Счастье слышать и видеть. Спасибо Ютубу.
Two Little problems with the narratives: 1st: Alberto speaks as if Callas first heard Del Monaco's "exploding voice" at La Scalla. Callas sang with Del Monaco for the first time in 1949 Buenos Aires Turandot. And then MANY times before La Scalla Norma. If she wanted the stage to be made bigger, firstly she would have asked before because she had known Monaco's voice for long and secondly a biggr stage impacts both the Soprano and the tenor. 2nd: Even Del Monaco's admits that the composer intended the soprano to finish last but what he did was like: "F*** the composer and the music, my ego does not admit it. Music must serve me not the other way around"
You're right: they had already sung together many times, including a beautiful Aida in Mexico in 1951. So Callas couldn't be surprised or even scared at all by him. 🏺🎶
Well, you forgot one important fact. While MDM's voice grew from the forties to early fifties, Callas's voice got weaker since the lost of her weight. So while she was comfortable singing with MDM around 1950, she probably wasn't later. It could be very demanding for her to keep up with him. She probably became nervous and when she decided to get the audience attention by outsinging him, she didn't realise his chest is like three time bigger than hers. The second argument is baseless. It's fine when a soprano tries to outsing a tenor, while the other way isn't? Strange logic.
Well MDM said that they were both supposed to cut off when the director told them to without either of them holding on longer. He actually seems really nice and laid back. Of course Callas was a bigger deal than him and more exciting on stage than anyone but she was a perfectionist wanted to be better than everyone all around period. So I could understand her becoming insecure at a larger voice than her's which in hindsight seems kind of silly.
@@jiso5232 not really. She sometimes overpowered Del Monaco in 1955. And she already lose weight..
Dear Pedro, that's not what MDM is saying here. MDM is saying that in a duet, Callas held on to a high note longer than he did and the conductor intended. He then states that the public may have thought that he was not capable to hold on to the note as long as Callas did. So he later took a long breath and in retaliation held a note longer than Callas and Maria became angry. They were arguing about it behind the curtain, but when the curtain opened they took each others hand and bowed to the public. In another interview, MDM is asked about Callas and Tebaldi. He stated that Tebaldi had a most beautiful voice, but there is something very special going on with Callas's voice and very much enjoys singing with her.
Grandissima artista
I 2 commentatori un po precari ! Haahaahahshhs
Cossotto amabile
Callas non si puo sostituire. Finanche oggi!
La Callas è ineguagliabile e lo sarà per sempre!😊❤🏺
SOPRATUTTO oggi, s'intende.
Del Monaco’s story telling is so funny ! 😃 Thanks for sharing. ☺️ They ( Callas and Del Monaco ) were also awesome in the final duet of Andrea Chenier!
True!😊
I wish I could have heard the greats live. Although I know records are not the same it is still possible to have a very good idea of the quality of voices by listening to the 33s, if they have been looked after. Mario is my own favourite. That quality of being oh so soft to full pelt then so very gentle again. I have heard only Mario and Franco Corelli do justice to the character of Andrea Chenier, albeit on recordings.
Grande Mario, un maestro
Cossotto n'était pas une partenaire loyale avec Callas à l'inverse de la grande mezzo Simionato. Même Georges Prêtre qui dirigeait cette fameuse Norma s'était fâché. Mais l'Histoire a retenu et placé Callas au panthéon des chanteuses , beaucoup de personnes ont découvert l'opéra grâce à Callas. Elle traverse les époques, peut on en dire autant de Cossotto, qui s'en souvient ?? Et je souligne que Cossotto est loin d'avoir les qualités de l'immense mezzo qu'était Madame Simionato. Une voix divine, un talent hors norme et la meilleure partenaire de Callas et d'autres . Ecoutez Anna Bolena, Norma......,et plein de rôle où elle brillait . En plus Simionato était une femme d'un immense gentillesse et d'une modestie inversement proportionnelle à son immense talent. Ecoutez les enregistrements de cette magnifique mezzo. Bien amicalement.
I had never even heard that this supposedly happened. Hearing the recording, it didn't sound like it was anything that bad to cause any kind of scandal. What was the public's reaction to it. Obviously, Cossotto went on to a very successful career, so I guess it turned out alright.
Well, only Callas was capable of shadowing signore del Monaco ; that is why he is still remembering her after 12 years, while he was still singing.
Che infantile del Monaco
Certo. Ridicolo!
Fra tutte e due.... Due esaltati
@@antonioschiavi6870 Con la differenza che Maria Callas non ha mai parlato di Del Monaco nelle interviste
@@robertocozzarin nemmeno Del Monaco Egli parla di una prima donna Ma non fa nome
@@radames5855 ...perché 'intervista e' stata tagliata. In altre la nomina spesso.
Buon compleanno!
Grazie!
Cossotto is a mezzo-soprano not colorature ! Combien de Soprano se sont dérobé en portamento au cours de leur carrière : many !
Bien sur, Cossotto est un mezzo-soprano.
we know haha