Maria Callas - BJR143 - Il Pirata Finale, 1959 New York
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- čas přidán 7. 09. 2012
- The mad scene finale from my LP copy of BJR 143 "Soprano Assoluta" in better sound than EMI.
From the concert performance, Carnegie Hall, New York City, 1959
Nicola Rescigno conducting.
Italian:
Oh! s'io potessi dissipar le nubi
che m'aggravan la fronte!
È giorno, o sera?
Son io nelle mie stanze...
o son sepolta?
(prende Adele)
Ascolta.
Geme l'aura d'intorno.
(spaventata)
Ecco, ecco l'ignuda deserta riva,
ecco giacer trafitto al mio fianco un guerriero...
Ma...non è questo, non è questo Gualtiero.
È desso...Ernesto!
Ei parla...
ei chiama il figlio...
il figlio è salvo!
io, io lo sottrassi ai colpi de' malfattori...
a lui si rechi, il vegga...
l'abbracci e mi perdoni anzi ch'ei mora.
(Le vien condotto il figlio; ella nol ravvisa in prima,
ma in un tratto lo riconosce, e dopo averlo baciato
più volte dice:)
Deh! tu, innocente,
per me...per me l'implora.
Col sorriso d'innocenza,
collo sguardo dell'amore,
di perdono e di clemenza,
deh! favella, sì, al genitor,
deh! favella al genitor.
Digli, ah! digli che respiri,
digli che sei libero per me,
che pietoso un guardo ei giri
a chi tanto, sì, a chi tanto per te oprò.
(Odesi dalla Sala del Consiglio un lugubre suono.
Spaventata, Imogene lascia il figlio.)
Qual suono ferale echeggia, rimbomba?
Del giorno finale è questa la tromba?
CORO (cavalieri dalle sale)
Il consiglio condanna Gualtier!
IMOGENE
Gualtier! oh periglio! egli è prigionier!
Spezzate i suoi nodi, ch'ei fugga lasciate.
Che veggo?
Ai custodi in mano lo date.
CORO (donne)
Ah, no.
IMOGENE
Il palco funesto per lui s'innalzò.
CORO
Deh! vieni: riparati
a stanze più chete:
procura agli spiriti
conforto e quiete.
IMOGENE
Il palco funesto
per lui s'innalzò...
ah! sì.
Oh, Sole! ti vela
di tenebra fonda,
al guardo mi cela
la barbara scure.
Ma il sangue già gronda,
ma tutta m'innonda
d'orror, d'affanno, d'angoscia,
d'orrore morrò.
CORO
Deh! vieni: riparati
a stanze più chete, ecc.
(Al duol che l'opprime
più regger non sa.)
IMOGENE
Là...vedete...il palco funesto.
Ah! sì. Oh Sole! ti vela, ecc.
English Translation:
Oh, if only I could scatter the clouds
that oppress my brow!
Is it day, or night?
Am I in my apartments...
or in the tomb?
(taking Adele aside)
Listen.
The wind moans all around.
(terrified)
Look, there is the bare, deserted shore,
look, a soldier lies sorely wounded at my side...
But it is not...it is not Gualtiero.
'Tis he...Ernesto!
He speaks...
he calls his son...
his son is safe!
It was I, I who rescued him from the assassins...
let the boy be restored to his father who may see
him, embrace him and forgive me before he dies.
(The boy is brought to her; she does not recognize
him at first but suddenly she does and kisses him
repeatedly:)
Oh, my innocent child,
for me...for me implore.
With the smile of innocence,
with the glance of love
pray speak to your father
of clemency and pardon.
Pray speak to your father.
Tell him, ah tell him that you live,
tell him that you are free because of me,
so that he may look mercifully
upon the one who did so much for you.
(The mournful sound of a trumpet is heard from
the Council Chamber. Frightened, Imogene leaves
her son.)
What is that fatal sound echoing, resounding?
Is it the trumpet of the day of judgment?
CHORUS (knights, from the council chamber)
The Council condemns Gualtiero!
IMOGENE
Gualtiero! In danger! He is a prisoner!
Sever his bonds and let him escape.
What do I see?
You are handing him over to the jailers.
CHORUS (women)
Ah, no.
IMOGENE
The fatal scaffold has been erected for him.
CHORUS
Oh come, rest in the quiet
of your apartments:
Soothe your spirit
with comfort and peace.
IMOGENE
The fatal scaffold
has been erected for him...
Ah, yes.
Oh, Sun, veil yourself
in darkest gloom,
hide the cruel axe
from my sight.
But I see the blood flowing already,
and I am filled with
anguish and distress
I shall die with the horror of it.
CHORUS
Oh come, rest
in the quiet of your apartments, etc.
(She can no longer bear
the grief that oppresses her.)
IMOGENE
There...see...the fatal scaffold, etc.
Ah! yes. Oh, Sun, veil yourself, etc.
FENOMENO senza paragoni , dovete accettarlo .
L'abbiamo già accettato.
Ma purtroppo non c'è più.
Fenomeno putroppo unico e irripetibile
Повторити можливо, коли є кому викласти учню всю послідовність задач, що йому потрібно вирішити самостійно кожноденно на грані фанатизму,бо навчити співати неможливо. Ми самі себе вчимо, формуєм і вдосканалюємо свій Співацькій Комплекс. Де головним є бажання гармонічно розчинитися в Музиці, тобто підпорядкувати себе її величності. Співак обожнює музику в собі, все інше бізнес на музиці і самолюбовання паяца.
ESATTO, DEVONO ACCETTARLO, NESSUNA SARA' MAI COME LEI
Callas is by far the most exciting soprano in history of recorded singing. And the best.
superba, incomparabile, unica
Those chest notes ! I never get tired of them !
Unica, grande, ineguagliabile, DIVINA...❤️❤️❤️
Every syllable, every word, every phrase has meaning. She was incapable of singing without meaning or purpose. The way she sang recitatives is a marvel. She respected and followed the composer's intention. "Everything you need to know, the composer has seen to it," she stated. Opera is drama + music. So was Callas, drama + music. There will never be another like her. May she rest in peace.
200%❤
Io la amo e sarà sempre nel mio cuore ❤️, perché la Callas è viva nel cuore di chi la ama. Grazie Maria, Divina
What GORGEOUS music - absolutely BEAUTIFUL. And the ending showed Maria at her most powerful - especially good for 1959! She was something extraordinary!
María Callas en sus años de oro. Divina
Grande María Callas!!! Única! Y verla en el escenario, difícil decir con palabras!
Unica, inimitabile, irraggiungibile artista.
DIVINA sempre unca, fantastica.
I listened to this again and I think this has got to be one of the greatest things I've ever heard.
Callas' technical foundation and accomplishment was that of a master musician. It remains thrilling for me to hear.
It shouldn't seem so extraordinary in a singer, though. You're still a musician, so in order to make music you must perform things like scales and mordents and arpeggios perfectly and in every volume and variance- just as a violinist or pianist must. If you play the 'cello, for instance, and you can't trill you wouldn't be allowed into high school orchestra (let alone a conservatory). Callas emphasized this point on several different occasions in her Juilliard master classes, if I'm not mistaken. A successful way of thinking and so evident in this performance.
She has made history into opera and the history of performing arts. Incredible rendition! Thank you!
Dramatic, grand, thrilling, everything about this performance is perfect. The pause before the final high note is genius, it brings so much more unpredictability, so much more drama. It highlights both Callas and the orchestra so much more than any other rendition
Every now and again a god given talent comes along that reinvents the art form anew. Callas was that force. We shall not hear her like again. La Divina indeed
Mai e dico mai,, nessuno la potrà superare, sublime 💫💫💫💫💫💫🌠🌠🌠🌠💜💜💜💜💜💜💜
MAI, CI HANNO PROVATO, CI PROVERANNO, MA NESSUNA SARA' MAI COME LEI... MAI, MAI, LEI E' STATA, E' E SARA' LA PIU' GRANDE
One of the most mysterious and magical things about Callas's singing is that she could perform the most technically difficult feat and achieve it with such ease and nonchalance that you don't even notice it happened. That is until you go back and listen again and wonder to yourself, "How did she do that??" In the cavatina section, what she does in the second verse with "di'gli" is mind boggling. She sings those little notes under the breath, almost as if they weren't even there. You don't hear the notes, but just the arc of the melody and the anguish of Imogene. And yet, every note has been truly sung perfectly. I have listened to just about every soprano sing this scene, and not a single one is able to achieve what Callas does here, and she even did it years later for a student in Juilliard in one of the masterclasses. This is Art That Conceals Art.
+Shahrdad Callas was like a Russian doll of singing. Everything she sang had depths and depths of emotion, technique and flawless artistry.
Caballe once said that whereas it took her a week to get a difficult phrase into her voice, Callas could look at the score, hum the phrase, and then sing it perfectly in full voice. Her musicality and technical facility were unequalled. And I think that is why she can sing these phrases that are technically incredibly difficult, but she makes them sound so easy that you don't even notice them. The pianist Guiomar Novaes did the same when she played Chopin. It's rather like the greatest of ballerinas, who perform feats that are physically near impossible and exceedingly painful, and yet, they look as if they're weightless and everything is as easy for them as breathing.
Sharhdad Your comment about the Callas' s vocalizing is very sensitive. It is true that she's doing the whole phrase with all those notes so fast that we just keep in mind the movement of the line. Try to do the same thing with a piano it's impossible. Yes she sang the entire score but her legato is so perfect that we don't listen the different notes. The art of belcanto and instrumentalists should make us forget the difficulty of technical aspects. Callas does it as no one else because she's a great professional and because she's a singer with a huge humanity. Bellini and Callas " la fusione intima e unica di due anime di simile sensibilità"
Among all the little notes, Callas somehow manages never to lose the thread of the melody. The other day, I was listening to Caballe sing Come e bello, from Lucrezia Borgia. It's beautiful, but through much of the singing, I just hear notes. When Callas sings the same aria, even with a voice that is a ghost of what it used to be, all those little notes continue to be the melody. She makes it sound s lot easier than it really was.
angalafan, Listen to Guiomar Novaes playing Chopin's first piano concerto. She is able to produce the same effect on the piano that Callas did with her voice. She plays some of the most complicated passages "under the breath," as if the notes weren't even there. One hears the line and the emotion, and the notes disappear into the feeling of the music. Indeed, she manages to do the same with all her Chopin pieces. It's very much the way Callas sang Bellini (who was greatly admired by Chopin) and Donizetti. Here is a link: czcams.com/video/FjEC2nOI9qU/video.html
I WAS ONE OF THE LUCKY ONE TO BE THERE THAT NIGHT AND SEE AND HEAR HER WORK HER MAGIC. IT IS A NIGHT I WILL NVEVER FORGET.
+Joseph Orlando i envi you:))) i wish i was born and able to pay a ticket to go to see her
Wow! Please share more of your memories.
Please tell us more about what you remember.
Is she really amazing? 😱😍 has she a lot of volume of voice?
Please tell us 🙏🙏🙏
JOE O AGAIN SHE WAS MORE THEN AMAZING. HER VOICE WAS A GOOD SIZE WHICH COULD BE HEARD THROUGH OUT THE LARGE HOUSE SHE SANG IN.
Il y a les chanteurs d'opéra ou artistes lyriques, comme on veut et il y a Maria callas. Superlative, inclassable, immense.
insuperabile ....ancora oggi!! oggi, averne di artisti così....con i cali di voce e i difetti che le si attribuiscono.
Wonderful voice, the one and only , chapeau Maria Callas.
Ogni volta che scende ai gravi mi fa venire i brividi! Fantastica!
Maria la Divina in a magnificent recording, beautifully remastered. She remains the greatest. It is such a pity personal mishap did not allow the world to have the goddess sing longer. She achieved so much in such a short time. Let her spirit fly around for inspiration.
tra 55 anni di ascoltare, sia in teatro che in concerti, alle più grandi... Nilsson, Tebaldi, Caballé, Freni, Sutherland, Arroyo, Schwarzkopf, Victoria de Los Angeles, Gulin, Mösser, Berganza, Horne, Dernesch, Knie, Veasy, Verret, Bumbry, Rysanek, Ricciarelli, Chiara, Dimitrova, Netrebko, Valentini-Terrani, Marton,...lungisimo etc., e la propia Callas en 1974, in Madrid, recital con Di Stefano (mai ho potuto ascoltare dal vivo a Sills o Price), non ho ascoltato mai una interpretazione simile per acento, forza drammatica, vocalità straordinaria, legato, messa in voce, interpretazione, etc. che puoi essere paragonabile a questa. e assolutamente eccezionale, senza dubbio, lo migliore cho ho ascoltato mai. Grazie Maria
The source is an LP copy of BJR 143, which i purchased from a collector via the internet. It's a collection of concert material stretching from 1949 to 1959. The Maria Callas Museum has free downloadable mp3 copies of both the original BJR master tapes, and the final LP release of this 3 LP set, among other treasures.
her voice is very beautiful in this specific night. we're lucky that this recording was done. very unique singer. unique. specially in bellini. unique.
Bellissimo
Bravo brilliance vocal
A spectacular performance in every respect and hard to believe that it took place as late as 1959!
"As the other soloists filed out for the seventeen minute final scene, all the lights but those over the exits and the musicians' desks suddenly went out. Slowly Miss Callas rose, drew close her red stole, and an eerie glow fell on her face. At that ghostly juncture, Miss Callas made the most of her strange and haunting timbres. It was something to be left in the dark with the voice of Maria Meneghini Callas." Louis Biancolli, New York World--Telegram and Sun
Louis Biancolli was such a wonderful music critic! I always looked forward to reading his reviews... Never acidic - he had a marvelous way of expressing the complete atmosphere of a performance, and appreciating artists in spite of and sometimes even in appreciation of their idiosyncrasies.
Joan Nilson A class act indeed. Arnold Bourbon Amaral 👴👱
I love the soul and spirit of Maria Callas' singing. Her sound is her own. I am often moved to both pain and joy from the beautiful arias, and her approach to the stories in the melodies. She has 'balls' in her sound, which I understand is not a musical term but here I am lost in gratitude. Bless her forever! Viva human music! And joy to you all!
Giuseppe di Stefano pretty much said the same thing the first time he heard her. He said, "She sings like a man."
Superhuman Callas !!! Maria , the breath of God !!!
I'm amazed by the quality of this channel's recordings. They're actually better than the EMI remasters, which in order to reduce noise end up cutting out a lot of harmonics in the voice. Thanks for posting.
È quasi incredibile tanto risulta sovrumana!! Maria sei e rimarrai ineguagliabile
Её голос был редкий бриллиант,никогда земля больше не рождала такой чистоты и силы голос!
Многие могут со мной поспорить,но поверьте, я переслушала очень многих оперных певиц,в том числе мою не менее любимую Моннсерат Кабалье, Мария Каллас это просто что то волшебное. Счастье ,что мы знали и слышали о её великом таланте)))
Callas , insuperable, energetic with her dark and great voice ! Caballé in Il Pirata offered a superb amd magistral Imogene version too !
Brava Maria!! Remarkable voice and such a gorgeous aria!
Caballe had a beautiful voice.Callas was of Great importance for singing actor in opera during 1950 and 1960.
Callas la divina any way!
Aria iniziale bellissima, forse la più bella del melodramma ottocentesco e non solo...!!
SPEECHLESS~!!!!!!!!!!!!!!!
Arguably the last truly great vocal performance she gave.. Perhaps not the glory days of the early 50's but an astonishing culmination of her art
E véro, fenomenale...🤩un artista senza rivale!
There is no other nor will there be another like her for eternity. Her art is unparalleled as evidenced by her live performance on that night.
Eternity is a very long time. Let's not be sadomasochistic and hope we get a bel canto genius in our lifetime. Thanks.
@@jaybee2838 i hope so, but to have a copy of Callas is just impossible (and unnecessary ). I hope artists in the future learn from her, and if they reach the level of genius she reached, great, if not, they are wonderful in their own way. Everyone is unique.
"Ah, s'io potessi…" e già mi copro di brividi.
This is fabulous singing. No wobble issues, magnificent phrasing, solid top notes and all round wonderful interpretation. Where have you unearthed these great recordings with such clear sound?
La mas grande!!!!!!!!!!!!!
GOD HOW TRULY TRAGIC...AND THAT DARK UNIQUE COLOUR!
Magnifica!
BRAVA, MARIA!!!
I love the sound, so much better than any version I have heard
MAGNIFICENT
I thought it was rude to cough if you are in the audience..I understand that it may happen..but so much?
But I guess it didn't bother her, cuz she SAAANGGG that night
Ohhh i love herrrrr...so many things to praise, but her voice is so huge, high notes often seem like screams done by others, but she sings it with so much stamina, vibrato and power...yasssss one and only, MADAM CALLAS !!!! Bravo !!!!!! ... and them low notes hehe
i love, forever!!
This is the definitive Imogene. Caballe could never do this role justice due to her not being a dramatic coloratura but Callas , she definitely brings out the "con gran Forza" which is what Bellini wanted
Thank you for posting. This is my favorite. I absolutely love the high note at the end MORRO! and every other curvy morro she sings. But I absolutely love every word she sings.
BRAVISSIMA Callas! And thank YOU for uploading!
splendore unico non raro
Maravillosa Aria
Francisco Ferrer Galiana, a usted siempre me lo encuentro en los comentarios jaja de cada aria que me gusta, saludos.
Toujours cette voix qui reste dans les joues !
unica e irripetibile
Brava, Divina!!
Única irreemplazable!!
Here again we can hear that Callas did not lose her voice when she lost weight. Every time she sang onstage she pushed herself further to match the voice to the character. Claudia Cassidy in her memoir of Callas' Traviata says "... I thought she is sick and will never finish this performance...". Of course, Callas then gave one of her greatest performances of Violetta. It is true that she changed her voice for each character and did this repeatedly with roles that she sang repeatedly but this was not due to decline in the voice [which really did not happen until 62-63] but as she saw greater and greater subtleties that she could bring to her dramatic interpretation rather than simply repeatedly singing beautiful notes. Her 1961 "Medea" with Vickers demonstrates that the voice remained viable and flexible. Cherubini's Medea is perhaps the second pinnacle of all soprano roles after Norma and Callas delivers it perfectly. She was what all opera singers should be but very few are: a "singing actor".
I think it is true however that she progressively lost volume after the dieting.
@@ransomcoates546 How exactly can you measure this without being present for a live performance?
@@jamesnickoloff6692 Richard Bonynge and Joan Sutherland were there through it all. Read their remarks.
@@ransomcoates546 Where can I find their remarks? (They were not, of course, entirely neutral observers.)
For some reason I can’t add the edit ‘Bonynge/Sutherland/Callas’ and ‘are’.
16:09 *BRAVA!*
TO R AND J I AM BACK TO LET YOU KNOW THAT I GOT TO SEE ALL HER NEW YORK PERFORMANCES EVEN HER SING CARMEN AT PRES' JFK BIRTHDAY PARTY AT THE OLD GARDEN. MEMORIES NEVER TO BE FORGOTTEN..I HAVE ALL HER RECORDS OLD AND NEW AND WOULD NEVER PART WITH ONE OF THEM.
Lucky son of a bitch! :)
You are truly fortunate. I wish I could have seen/heard Callas during those great years. Still, she left such an astonishing recorded legacy, and the few filmed performances are tantamount to the Dead Sea Scrolls, IMO.
If I’m not mistaken, Bellini marked the final cabaletta as “con gran forza”, and, boy, does Callas deliver!!
He did. It requires a true dramatic coloratura which Caballe certainly wasn't
drive them crazy Maria!!
Hi crazy george !
Carnegie Hall, New York 27 January 1959; she had recently been fired by Rudolf Bing and the Met. I have the entire live recording: she begins with wobbly, acidic tone and ends the performance in the astonishing vocal splendor we have here. The long breath control, exemplary phrasing, chiaroscuro moonlit Bellinian line, masculine chest notes and red-hot high notes! Really this is superlative singing, equal to her admirable 1955 Berlin Lucia under Karajan.
Also equal to her 1955 scala's Traviata and anna bolena , she is an opera obsessive , she would kill herself for the sake of bel canto .
That was extremely satisfying!!!
george prentice Amen to that. Arnold Bourbon Amaral 👑💙🌍🌎🌏
Nobody sang Il Pirata with that feeling. She is not so far my favourite soprano but I have to recognize that this particular role seemed to have been created for her!
DIEU ACCUEILLEZ DANS VOTRE PARADIS CETTE ARTISTE INOUÏE que fut MADAME MARIA CALLAS!!!💛🌿✝️🌿💛🎼🎶🎻🎶🎼💛🧖♂️🐇💛
Good job for uploading this videos!!
Pero qué barbaridad, qué maestría! Sólo el fraseo, cada palabra es una bofetada a la mitad de las cantantes actuales. En todo lo demás, bueno, repetir y repetir y repetir lo tan sabido: magistralidad en esencia. Dea!
Simplemente La Divina
Great presentation!
Rare to hear her in such astonishing form this late in her career. Fabulous.
EXQUISITA
Divine
Great performance in spite of too many “coughers” !
Concert performance with a prompter. Ah yes, the good old days...
Hey wow, I didn't know about the Maria Callas Museum mp3s. Thanks
bello
So the Met not only lost Eileen Farrell that year, they also lost the chance of mounting something extraordinary for this wonderful artist.
infrantasi Farrell sang at the Met until 1964.
Ένα χάδι απ τον ουρανό που δεν χάσει ποτέ την θαλπωρή του, όσοι αιώνες κι αν το πολεμήσουν με λήθη
good ~~~~~~~~~~~~~~~
COMMENTS?... I HAVE NO MORE COMMENTS TO MAKE TO " THIS OTHER WORLD CREATURE"...
Davai Good song
Гениально
Armida florence 1952
She sounds amazing here. It's hard to Beileve this 1959. I can't believe by this time the next year her voice was not able to do this anymore. It's so weird, how callas voice was.
Apparently, at the beginning of the performance, Maria wasn't sounding great. But her voice slowly warmed up, and by the 2nd Act she was sounding glorious. And yes, quite good for 1959. LA Callas was at her best when she was pissed off!
Callas's problem was her breath support, which worked beautifully when she was heavier, but steadily got weaker as she got thinner and thinner. I think by 1959, she was 120 pounds, 100 pounds lower than her heaviest of 220 in early 1953. You can see in photos where her collar bones are really sticking out. I think she was one of those singers that depended on her physic for breath support, and her big heavy voice needed every last bit of support it could get. And she was never really that fat. She was almost 5-9, and 220 is heavy but not morbidly obese. She was just a tall, well-built, voluptuous girl, and she often looked very beautiful, almost like one of those caryatids on the Acropolis. I think she the adrenaline was really going, such as here or the Dallas Medea, she got extra physical strength and confidence. Her Gioconda of September 1959 is almost quite magnificent, with the voice in wonderful shape. The last act is one of her masterpieces. She once told John Ardoin, "If anyone ever wants to know what I was all about, it's all in there."
Can't blame Maria, who'd like to be on stage at 220lbs singing in front of opera cognoscentis? Something gives...yet she still got incessant criticisms needlessly, despite no one comes close to her musical genius!
Just look at photos of her before her weight loss. She was by no means morbidly obese, but a tall, voluptuous woman, and often very very beautiful. And don't forget she was almost 5-9.
Shahrdad hi 😊. I think that had she stayed larger she wouldn’t have developed the same disciplined performances as she did when she was skinny. Just my opinion, but bigger Callas to me sounds like she sang with a maximum amount of ease, but also with a carefreeness to the score compared to how she sings here. I have heard that she had a premonition that she would have a short career, so I feel that she was intent on getting things more right as soon as she got thin. That is not to say that I don’t think I she sang beautifully when she was bigger, just not with as much fidelity to the structure of the score. Again just my opinion. And I’m glad we have both Callas’ if you will... 😊
Una noche sin la música mexicana o la ópera italiana sería muy triste para mí, sin duda. Por lo tanto, tengo la intención de pasar el resto de mi existencia mundana con las bellas artes de México e Italia. No me conformo con un ruido atroz porque me duelen los oídos de rodearme de una tortura así. Debo tener la música de México de la época de oro y la ópera de Italia o me pongo perturbado y bastante cabrón y nadie me puede soportar. Muy buenas noches a todos desde mi sala donde estoy pensando en cosas bonitas que diré en México durante mi próxima estancia. Quiero que cada uno haya tenido un fin de semana destacado.
Nana Mouskouri, la petite sœur de Callas n a quasiment rien chanté en italien. Et C était de bon goût, car le Bel Canto s y était si magnifiquement développé avec Maria Callas... Elle a dans son répertoire de vhansons internationales et grecques de qualité creusé son propre sillon de très bonne interprète
Perché ogni volta che ascolto la Callas mi comnuovo?
Cuando pienso que la cantó con Franco Corelli y Ettore Bastianini y que no hay grabación de ello me quiero cortar la yugular.
hay que esperar 10 años más que se terminen los derechos de autor y seguro que aparecen maravillas ocultas, como por ejemplo "Fedora" y la versión que mencionas!!!
¿Será cierto que aún hay muchas grabaciones “a pie de escenario” de Maria por ver la luz? De solo pensarlo las lágrimas me resultan incontenibles...
Almaviva es verdad, que hay grabaciones de ella que no han salido a la luz todavía, yo cada cierto tiempo veo cosas nuevas de ella
@@Evvivaverdi Yo todavía estoy esperando sus grabaciones de Isolda, de El rapto del Serallo, su Don Carlo, Fedora y de El Pirata con Corelli. También moriría por escuchar su Walkiria y su Euridice, pero estoy seguro que de estas últimas no existe ninguna grabación 😢
Why do so many sick people go to the opera? Every recorded live performance is ruined by so many people coughing! :( Stay home with your germs!!
Rapture folds Would you miss Callas La Divina if you had a cold my friend. I would not!! Sincerely Arnold Bourbon Amaral 👱👴🏃🏃🏃
Ahahahahah...🤣👏🏾
If I were in an audience listening to María Callas and someone was coughing I probably would have thrown the program at them.
Sooo annoying! Despite of being a pulmonologist I hear less coughing during my shift
They always sound like smokers' coughs to me. Remember this was NYC in the 50s.
Who sings like that but her :O!
This past Saturday Nov 4, 2017 a pre-recorded concert performamce of Bellini’s -Il Pirata- from Caramoor “starring” one Angela Meade as Imogene was broadcast over the radio. Well, it was a complete waste of my time, and I am sure many others as well. Nothing she did rose above the printed notes. There was nothing there. A blank. And I mean nothing. But some in the industry are trying hard to present her as a Metropolitan Opera “star”. Such are the diminished times we live in. Compare that to this and there is simply neither comparison nor justification for the mediocrities. That said, the only redeeming force from Caramoor was the tenor, whose name eludes me.
"Some in the industry are trying hard...l
That has been going on for decades.
Now, i have never heard (nor heard of) Miss Meade, but what you say doesn't surprise me in the least.
@@rosehavenfarm2969 In spite of the fact there are some very good singers around today, in Italian opera at least there really isn't anyone to compare with the best of the post WW2 era. As a high art form opera, as predicted by Maria Callas in the 1970's, is now really a dead art.
doGreatartistsgrowontrees? Desperate times calls for desperate measures My friends 😢 Where have all the flowers gone??? 💐🌹 Arnold Bourbon Amaral
why "late in her career"? she left sing for private reasons
Si - ha lasciato il canto per Onassis! - un porco totale! Lei invece era divina!!!
Lets not forget Monserrat Caballet rendition......she also was superb