Maria Callas' Epic Hellfire D6 against Giulietta Simionato and Mario Del Monaco in the Norma Trio
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- čas přidán 28. 07. 2022
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My favorite scene in opera
Bellini: Norma Act 1 Finale Dir. Antonio Votto, La Scala 1955 - Hudba
3 otherworldly singers in 1 spectacular scene. Literally cannot get any better than this!
How can she sustain such a slow tempo in such a strong manner, ("Oh di qual sei tu vittima") she gives it all, always.
Wonderful trio, one of their greatest performances, a superb Norma!
Yes all three sing so very well and blend extremely well. Great Talents. Maria Callas contributed a very high note indeed! 🧡🧡🧡
This trio is one of the reasons Norma is so great. Wouldn't you simply die without these three TITANS & BELLINI. 💙🍷🇲🇫 Arnuald Bourbon Amaral. Viva our MAYA 👑🙏
For the ages, and never to be seen again, unfortunately
Callas in her absolute prime was simply untouchable. She was on FIRE this night. What a spectacular, effortless yet thrilling and long-held high D she nails at the end. No wonder the La Scala audience went crazy.
Legendary on every level
For me this is her greatest Norma recording. It's not perhaps as naturally weighty as her earlier Norma's but it's far more nuanced IMO and she shades her vocal colouring more expertly, between ultimate venom and disconsolate at the thought of her lover's betrayal. Plus Simionato was the only mezzo who could really stand up to Callas's vocal barrage and live to still blast her C6 (although I do think Stignani sounded more beautiful as a blended entity with Callas in the duets).
I think this strikes the ideal balance for Callas between vocal power and stability and a complete dramatic portrayal. My favorite opera recording of all time and it isn’t really close.
3 of the greatest singers of all time ❤
I agree that this is one of the greatest moments in Callas' recorded legacy. Another is her singing of "Qual cor tradisti" in this same 1955 performance.
What a pleasure to hear these three magnificent artists together in this work. They can just let go and let their collective genius have free rein. Pure ecstasy. Thank you, Manoli!
Without a doubt!
Unbridled passionate ferocious spectacular singing. Bravi!!!
Simionato had the most perfect chest register of her day: perfectly equalised, never harsh but always firm and strong, a model for all other singers. And of course Callas was no slouch in the chest register, either!
I certainly agree with all of the comments on the perfection of Callas here. One must also, however, note the magnificence of Simionato's singing and interpretation. For example, her diminuendo on the "Ahime" just before the Qual sei lei trio begins is incredible. Thank heavens that we had reached the age of recording that could capture and preserve these performances for us.
If that “re in alt” had been a slap, Mario would have had to wear a body sling for the rest of the night! No-for 2 weeks!
Pretty hard to beat as the gold standard.
Absolutely ginormous Norma
The Best ❤
Thank you Manoli. I am always in awe of Maria. There is so much genius in her art. Besides all the musical gifts I find her sense of timing so incredible. To me, it's as if she is hearing everything in her head at a slower pace in order to be able to produce the perfect sound at the perfect instant. Genius beyond words. I'm always moved by her, and the others are pretty incredible too. Thanks again.
I’m with you all the way Juan! There is an innate spontaneity and attention to detail that Callas had mastered. I don’t know how much was pure dramatic instinct or careful study, but there is never a routine phrase in the vast expanse of Maria’s recordings. I think partially she had an uncanny ability to learn music and scores quickly (some times in a matter of days) which allowed her to focus on a deeper artistic portrayal. Other singers have had similar abilities to learn scores quickly (Beverly Sills writes she had memorized several operas by the time she was ten or so) and they too seem to be more artistically-centered. The particular moment that sticks with me after so many listens to this recording (too many to count) is the way Callas phrases Norma’s rage up to “trema per te felon!” Only to abruptly cut the line short to utter “e’il figli tuoi” in that extended, creeping, spiteful, shameful, and disgusted manner. It never fails to send chills down my spine!
@@manolis.799 Our MAYA was always in the Zone. Such an amazing gift/ability she had.
MdM, MC and GS under AVs baton, what to wish more?
Thank you, dear Manoli
i miss big voices in norma
Listen to Sioa Hernandez Norma it's Great 👍 my friend.
WOW😳!!!
❤❤❤
👏👏👏👏👏👏👏👏👏
This is fantastic but I prefer the 1953 recording with Corelli and Nicolai, also conducted by Votto.
Really? Interesting. That performance is so fragmented in terms of what’s survived it’s a total mess. Corelli and del Monaco seem on about equal footing for me (minus the C5 in the aria) and Nicolai is… alright? She’s no Simionato imo. But it’s a take I haven’t seen before so I’m intrigued
Υπάρχει η Μαρία Κάλλας, και οι άλλοι.
No no no Tsutsa Mutsa was far better Norma than Callas, I had seen her live in 1905 and she sang Viens Malika so much better than this duet here... she even added a G6 at the end of the Mad Scene of Norma
You ARE her! Aren’t you?!?! Don’t try to fool me
@@manolis.799 Im too modest but YES!!! Im the Ultimate Soprano Sfogato Assoluta Falcon Lirico Leggero Spinto Bacon Mushroom Melt of all the Centuries... I am the humble servant of MY Genius
@@LohengrinOOr shall we say Quad-polar assoluta🤣🌊🤣🤗🇺🇲🍷🇫🇷.
@@LohengrinO don’t forget pyrotechno!
🤣🤣🤣