Maria Callas & Giuseppe Di Stefano - The Unreleased Duets (LP Mono Sound) [3-5 May 1973]
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- čas přidán 30. 07. 2024
- Here is the Last Studio Recording of Duets with Maria Callas & Giuseppe Di Stefano, recorded in London in May of 1973, just before their Farewell Tour!! Ofcourse they have vocal difficulties but its a unique document!!
Here is the programme:
01. 00:00:00 • Donizetti: L’elisir D’amore: "Una parola, o Adina.."
02. 00:07:15 • Verdi: Don Carlo: "Io vengo a domandar.."
03. 00:15:43 • Verdi: La Forza del Destino: "Ah, per sempre o mio bel angelo"
04. 00:22:56 • Verdi: I Vespri Siciliani: "Quale, o prode, al tuo coraggio.."
05. 00:29:17 • Verdi: Aida: "Pur ti riveggo, mia dolce Aida…."
06. 00:38:48 • Verdi: Otello: "Gia nella notte densa…."
The London Symphony orchestra was conducted by Antonio de Almeida
The recording took place on 3-5 May 1973 in the St. Giles Cripplegate Church in London!
The source is an old LP in mono sound from the microphone of Callas, so Di Stefano is sounding in the backround!! Divinarecords has realeased this album in Excellent Stereo sound...but this recording is also quite clear and with more reverb than the Divinarecords!! Hope to enjoy!! - Hudba
I remember this, when it came out. I also remember meeting di Stefano briefly around this time, when I was at Georgia State University, but it was not in connection with any performance. I remember talking to him on the sidewalk near the arts and music building at GSU, with my companion Tom. 73/74 were busy years for Tom. He was in one of Maria Callas' master classes in New York around that time, and playing for a number of singers while they were in Atlanta. But I can't find a reference yet for di Stefano singing in Atlanta that year.
Una fantástica grabación que nos muestra la voluntad y la fortaleza de la diva de la ópera en aquello que la convirtió en un ícono eterno. ❤El tenor Di Stefano mantiene la voz que lo consagró como una de las figuras relevantes que acompañó a Callas durante su carrera. Por momentos la diva de la ópera trata de mantener los agudos el mayor tiempo posible; sin embargo, parece que se inclina por dejar su interpretación a meza voce para cuidar su voz. Para la prensa sensacionalista, Callas se encontraba en la etapa final de su carrera. Para quienes apreciamos y valoramos el arte de la diva, estas grabaciones manifiestan el sentido humano y la empatía que Callas mostraba en su trabajo. Nunca se rindió y el tiempo continúa demostrando lo que ella es: Una estrella, una mujer excepcional, una cantante inigualable, la divina eterna. ❤ ¡Gracias por compartir el vídeo!
Who in the world could fail to recognize the insight, the rel 6:07 evance, the humanitarian bent to your words. Maria Callas was a star, an icon, but after that maybe the best singer of opera in the world. She once said that Rosa Ponselle was really the best which shows her humility and gratitude for her gifts.
Also, Maria is a proud compatriot of mine. We share the same heritage.
Grazie Opera❤non ho dubbi che Maria abbia negato l’autorizzazione a pubblicare il disco. Per quanto dotata di una tecnica straordinaria mi pare innegabile che la voce fosse compromessa in modo serio e, con la voce, anche le sue interpretazioni.Forse anche un po’ bloccata dalla sua autocritica.Ho queste registrazioni da anni, ma non avevo mai avuto il coraggio di ascoltarle.Ho visto Maria alla Scala tre volte (Sonnambula, Ballo in maschera, Poliuto)e temevo di offuscarne il ricordo,Grazie ancora
Con éstos magníficos dúos uno disfruta al máximo: María y Giusppe ...!!!
Che emozione incredibile questo disco inciso il giorno della mia nascita
Di Stefano bién, María un Gran Esfuerzo, plausible en todo momento. Una Verdadera Diva!!!!!
Her voice sounds very soft, velvet, less cover and white almost childish .. It remembers me some Butterfly parts...anyway, she sings much better here than in the live recitals around the same time for me... More relaxed? The orquestra instead of piano?? I dont know but the Tokio was the best and the last recorded, she looks and sing so happy and joyfully and the last note was perfect in "una parola ".❤
Thank you - this record is compared with the original very heavenly sound manupilated to make the sound of the two beloved voices much more comfortable! It is not the the truth but makes the listening much easier. !!!😇🥰🌹
Όντως μοναδικό ντοκουμέντο, για το οποίο σ' ευχαριστώ, φίλε μου.
I remember how excited I was when I first heard about this recording in '72 or '73. I think the sessions were reported in High Fidelity magazine. Then I waited year after year and it never appeared. Glad that one can finally hear it. Not perfect, to be sure, but these singers were incapable of being boring. As I remember the program was announced as Verdi and Donizetti duets, and was to have also included the Act I duet from 'Lucia di Lammermoor', but they never got around to it.
19:05 & 21:09 Magical 😍
Muchísimas gracias por compartir con nosotros el último disco de Callas junto a Di Stefano grabado en estudio. Un abrazo!!!
I’ve been looking for this album for ages, despite one critic’s (I think Ardoin’s) comment that Callas’s voice had deteriorated seriously so much that listening to it ‘would make a stone weep’. Thank you for uploading it 🙏
It would indeed make a stone weep, but occasionally for the right reasons, as in the "Poi mi guidavi" section of the Otello duet where she gives an idea of what a great performance this could have been ten years earlier.
Lovd it!!!❤ thanks!!
Ευχαριστούμε πολύ!! Και έψαχνα το ντουέτο από την δύναμη του πεπρωμένου και δεν το έβρισκα! ❤
La meravigliosa e indimenticabile unica Voce di Pippo di y❤
Amazing!!!!!!!❤❤❤❤❤❤❤ thanks!!!!
How old are you? the age required for playing on Tiktok with all your little red hearts, a six-year old? When it comes to Callas, what a pity !
DiStefano sounds tight at times.. youthful in some others
❤❤
Why was this ever released for the PUBLIC? It's not as bad as reported to be. There are many lovely moments, the ELISIR is brimming with charm. I got one a few days ago but with the exception of the ELISIR, the rest had very poor sound and with no clarity. Had to give up after the Elisir. Will this better version eventually reach the public? These artists are long gone and cannot refuse to let these items go unpublished - for good. Would like to have a copy.
🫶🌎🙏😪💔💔
Some parts suited them well others.. were far from touchable and they should have kept their distance. Also not sure why Maria tried to show lighter voice but in a very strange way, far from Sonnambula or Rigoletto type.. it is like her core depth had gone and the dark molasses she used to possess were gone for good.. also she seems to have been much closer to the microphone and Pippo further away, strange..
It’s actually recorded test rehearsals…they never wanted to be released! I think that at moments Callas seems as she is marking not singing in full voice!
Giuseppe sounds like Giuseppe? A bit tight every now and then - but . . . it's fine? Maria . . . oh dear . . . phrase after phrase just absolutely beautiful . . . but the whole, a patchwork of beauty, ugliness and disaster. What I believe people do not really appreciate is the agony this must have caused her. Maria, a superb musician, was always agonisingly self critical . . . this whole process would have been torture. ❤❤❤
Wish she had recorded them at the end of 1974 or at 1975-7 when her voice really has recovered!
It is an exaggeration to say that her voice really recovered. I heard her in her Chicago concert in 1974 and most of the problems you can hear here were still present although perhaps not quite so pronounced. She sang this duet at that concert but had to interrupt it halfway through. Interestingly, DiStefano, who was sounding good, indicated that he felt he could not continue. Callas did go on to sing other arias and in some of the lower range and French selections [both Pleurez mes yeux and J'ai perdu Eurydice] she sounded better and fuller of voice. The higher tessitura arias were somewhat painful. What was most astonishing however was how she seemed to physically change into the character she was singing in each aria by just slight changes of posture or positioning of her hand or her head at certain points. This ability was what made her the greatest operatic performer of all time when she could match the exquisite use of her grand voice to it.
J@@OperaMyWorld
@@user-gt7xs1fc6g I have an in-house recording of the Chicago Concert! Callas did not sang the arias that you indicate never in her farewell recitals! Also Di Stefano interrupted the Don Carlo Duet because he cracked constantly! I have it recorded! So sorry I can’t believe what you say…also I have about 6 reviews of the Chicago recital who prove that!
My apologies; my memory was off and you are correct about different arias. @@OperaMyWorld
I agree after listening to it all. They both sound very very very out of shape.. there are some nice notes and phrases.. but this is no where near their previous glory.. at times it's lovely. Others very hard to listen to.
Callas sounds decent. Not as good as at the end of the tour in 1975.
Sapporo November 1974.