Callas would have definitely made this her role too, like she did with everything she sang (Medea, Norma, Traviata, Armida, etc) but she was kind enough to leave some for the others, who didn't do a very good job. Imagine Callas singing this role! Absolute perfection! Caballe is ok here, with the usual ugliness when she sang forte, or rather "shouted," but we love everybody.
@@jaykeyz9094 And please do not forget that Callas's belcanto legacy was preserved and continued by sopranos of the next generation, precisely like the great Caballé, Scotto, Gencer, Sills, Gruberova, etc... If they were famous, it was because Callas set them the standard!
@@kallasmarker3319La Divina had many gifts, but a beautiful voice was not among them. Referring to Caballe’s voice as ugly is your prerogative, but it says more about you than it does about the great Caballé (who never uttered a single “ugly” note in the many times I heard her “live” from 1970-1985…not ONE).
The coordination of her great chest voice with her head voice is enviable by many colleagues of her time. For some people in the audience his performance may be obscene, but it is how you really have to interpret this role of Belcanto. Today she interprets herself differently than the great divas of the past (between 1900 and 1970), a time that will never resurface. The current (young) public is content with the singers of the moment, thinking that mediocrity is the point of arrival to a good performance on stage. 0:43 Only she and others like the great Callas could dramatize the role well using her magnificent chest voice, the last divas of the 20th century. The rest of the sopranos only know how to sing well in the high range, sadly.
Beh se questo lo considera meno del solito...un acuto emesso con una penetranza e squillo incredibile, dei pianissimo da brivido..ma dove la sentiamo più una simile meraviglia? Dalla Netrebko? Con tutto il rispetto per per la Netrebko
I dont know if its the original recording! Because I used to have the complete recording and there was no high D at the finale! Only if it’s another date!!
The high D is at the end of the queens confrontation, and is decided at the end of the second act. What we are hearing is the very end, the end of the third act and she didn't sing any high D here
It's a violin. (+ what Onegin just said, namely, that Caballé did, for this performance, one of her very rare high D-s in the end of the _first part_ of the opera)
As much I love Sills, she didnt have the heavy notes, the lower part of the voice that Caballe had!! Ofcourse she had better high notes...also her voice was much smaller!
Η τελευταία από τις πολύ μεγάλες.
Να είσαι καλά, φίλε μου.
Qué barbaridad, qué maravilla ❤
Amazing!😍
It's a shame that Callas has not sung this role...
And what exactly does callus callas have to do with this video?
@@jaykeyz9094 Maria Callas sang only Ana Bolena, I would have liked she had sung the complete trilogy of Donizetti's queens in her own style...
Callas would have definitely made this her role too, like she did with everything she sang (Medea, Norma, Traviata, Armida, etc) but she was kind enough to leave some for the others, who didn't do a very good job. Imagine Callas singing this role! Absolute perfection!
Caballe is ok here, with the usual ugliness when she sang forte, or rather "shouted," but we love everybody.
@@jaykeyz9094 And please do not forget that Callas's belcanto legacy was preserved and continued by sopranos of the next generation, precisely like the great Caballé, Scotto, Gencer, Sills, Gruberova, etc... If they were famous, it was because Callas set them the standard!
@@kallasmarker3319La Divina had many gifts, but a beautiful voice was not among them. Referring to Caballe’s voice as ugly is your prerogative, but it says more about you than it does about the great Caballé (who never uttered a single “ugly” note in the many times I heard her “live” from 1970-1985…not ONE).
👏👏👏👏❤❤❤
The coordination of her great chest voice with her head voice is enviable by many colleagues of her time. For some people in the audience his performance may be obscene, but it is how you really have to interpret this role of Belcanto. Today she interprets herself differently than the great divas of the past (between 1900 and 1970), a time that will never resurface. The current (young) public is content with the singers of the moment, thinking that mediocrity is the point of arrival to a good performance on stage. 0:43 Only she and others like the great Callas could dramatize the role well using her magnificent chest voice, the last divas of the 20th century. The rest of the sopranos only know how to sing well in the high range, sadly.
Callas never sung Maria Stuarda
Grazie Opera❤ La Caballe è bravissima, ma mi sembra meno del solito in questo finale
Beh se questo lo considera meno del solito...un acuto emesso con una penetranza e squillo incredibile, dei pianissimo da brivido..ma dove la sentiamo più una simile meraviglia? Dalla Netrebko? Con tutto il rispetto per per la Netrebko
There is a strange swich at 1:45 min....... I do not think is the real live recording from that night.
Any fan from Caballé can tell.
A friend send me the complete recording today!! It’s complete!! It’s totally real!
Is that a high D I hear at the end??
I dont know if its the original recording! Because I used to have the complete recording and there was no high D at the finale! Only if it’s another date!!
The high D is at the end of the queens confrontation, and is decided at the end of the second act. What we are hearing is the very end, the end of the third act and she didn't sing any high D here
Nope. No high D. She did it at the end of the 1st act with Brigitte Fassbaender as Elizabeth.
It's a violin. (+ what Onegin just said, namely, that Caballé did, for this performance, one of her very rare high D-s in the end of the _first part_ of the opera)
Se oye, no sé si de ella o de alguna corista, y tampoco sé si es de ese día o un montaje, pero al final del primer acto en Munich también lo dio.
To me Sills was so MUCH better singing the Tudor 3 queens. Caballe much better in Norma and Lucrezia Borgia ( her best role IMO)
As much I love Sills, she didnt have the heavy notes, the lower part of the voice that Caballe had!! Ofcourse she had better high notes...also her voice was much smaller!
@@OperaMyWorld Yes. To each her own. My preference ( purely subjective) is for Sills.
Leyla Gencer is amazing for me 👌🏼
@@OperaMyWorld you're absolutely right