There is no art in this singing. There is no technique, no more calculation. It's no longer a soprano singing with a voice. It's THE voice singing through Callas. Callas transcends her physical body. She embraces the music, becoming one with the orchestra: a symbiotic relationship, really. She is the queen of a superorganism. Just close your eyes and listen to those trills. You can hear Leonora's heart fluttering in her chest with fear. Listen to her portamenti as tears running down her cheeks like pearly rivers. Listen to that ending decrescendo as if she's drowning in her tears already. And that note, Listen to that with your heart! The despair, the heartbreak, the chaos that is disclosing and engulfing her in that pitless darkness , all emblazened on that note along with Manrico's name. Who sang it like that? NO ONE! It's the single most meaningful note written by Verdi, or maybe any other composer. You can't sing that note without losing a part of yourself. And she ate herself up that night.
I will restart posting your Music Lisette, I always make some silence on a singer after I get a copyright strike (I had stopped with Julia Lezhneva as well for same reason but her father re-started me)... I know you, the Artists, are not responsible for the copyright strikes, but the companies, which are, can shut me down (although they can directly earn money from the clips with simple copyright claim, instead of strike, since I haven't monetized my posts)
Lisette, a ti te acabo de ver cantando el rapto y wow antes te vi en Lucia con Camarena y me hechizaste, bueno hasta tu corta participación en el oro del Rhin me encanta, espero poder escucharte en vivo próximamente.
It is just that every time you come back to a recording you haven’t listened to for a long time, you hear a myriad of things that you hadn’t heard before. It is like I am hearing it for the first time. That is why the enormity of her art is in a different league to any other singer.
I have spent most of my adult life studying Verdi and this opera specifically. No one comes close to Callas in this role. Well, no one comes close to Callas in any role.
as some friend noted recently, I have the most peculiar connection to Leonora's music... the first time I heard Miserere I had already heard it before, totally unexplained phenomenon to me
The incomparable Callas. Vocal, artistic, and musical genius expressed here. She had a supernatural and uncanny talent. Her singing goes beyond language, and you just feel everything Leonora is feeling without needing to know the words. Spine tingling.
She performed the role on stage about 20 times. Word has it Lauri-Volpi was quite dissatisfied with the little appreciation Callas got from the public after this performance. Callas must have bewitched him. Later, Björling called her Leonora "perfection". I think she is the only Leonora who has done full justice to this magnificent role.
Callas makes this sound effortless, a torrent of passion, musica de l'anima, per l'anima. When I first heard this opera, as a novice, I felt in love with "Tacea la notte placida";, the thrills, the colaratua; gradually, however, I discovered the gems, confusing story, if one can make sense of it, but the music..melody after melody--Manrico, Leonora, Azucena, il Conte--one must go all the way, there is not shortchanging Verdi, either do it right or don't do it. Callas, Milanov, Price, Caballe do Verdi a great honor. Sutherland in this role, not so much--good technique, but leaves me wanting for more. "D'amor sur l'alli rose " is like a rose unfolding its petals, caressing and full of passion, tinged with fear and resolve--all these emotions expressed in Callas' rendition. As a treat, could we hear the cabaletta, "Tu vedrai qu'amor in terra...". Grazie, ancora, Theo.
One of the funny things about this aria sequence is that the tempo di mezzo is typically considered just this short bridging passage that's supposed to link an aria to the cabaletta. Here it is known as the 'Miserere', and it's so stunning. The first time I heard it, it was the most profound thing I ever heard. The layering of the different characters and their situations offstage, almost as if Leonora is hearing their calls while she is going through this emotional state, it's really something else. And it's so striking that it makes the cabaletta afterwards a let down, or even just nondescript. For a long time I didn't even realize there was one!
She channels all the emotional desperation in the universe in that single note! It sends shivers down my spine. No hyperboles are enough to describe the emotional depth contained in that note, though. I believe Callas had a superhuman ability, but was trapped in a human body and subjected to its physical limitations. Her supernatural skills were too big for her human conditions.
.... Questa voce ti fa sognare ad occhi aperti.... Che belle sensazioni riesce a dare!!! Meravigliosa Maria Callas!! Grazie caro Lohengrin0 ti invio un affettuoso saluto 👋👍🏿👋👍🏿👋👍🏿👋👍🏿👋Elsa
I wish I was alive to see her in person. A real Greek tragodos unsurpassed by no one as of yet! Sure there are many other great voices (Jessy Norma, Elina Garagna , Diana Damrow etc) but not to Marias caliber Thank you for posting this
Who can sing a high D, or any high note for that matter, with THIS MUCH emotion instilled in the very core of the note? Tell me who! One even forgets its a musical note.. its pure human emotion. While others prepare their brain to be able to just hit the note in correct pitch, Callas seems to just open her mouth and let the emotions come out, and what comes out is.. I dont even know anymore at this point. I got lost inside that note.
"Lip-Syncing to a soundtrack of MARIA CALLAS, reaches deep into the soul, complete and absolute ecstasy, tears streaming down the face. OPERA BLISS." THIS one, is particularly tricky to synchronize with the lips because of all the fun devilish seasonings she sprinkles on the famous aria. VIVA LA LEYENDA VIVA LA DIVINA VIVA LA DIOSA DE LA OPERA
Maybe quite early 50's I'm guessing? If anyone knows the location or year I'd love to find out! This is the most sublime thing I've heard in awhile. Thank you for this.. I've been going through so much and I just sat here and sobbed and sobbed. Healing!
Hello! I love your videos and I've been subscribed for a couple years now I think but I was wondering if there is a reason why you don't put the title of the opera and the name of the particular piece in the description box? I listen to opera/classical music pretty much everyday and I am always trying to expand my knowledge base. I think it would be really helpful, especially for us younger people, if we didn't have to ask for the names of these things in the comments.
Ув. Секлета Лимариха (интересный у вас ник, только в оригинале - ЛимЕриха), я бы оценила эту запись также, как вы. У меня нет такого таланта, как у многих здешних меломанов, которые оставили замечательные, подчас просто поэтические, комменты об этом феноменальном пении.
This sounds like 1952 or 53. As usual she sounds wonderful. The volume at the beginning is a bit low though. The male singer is also wonderful with clear diction. It would be great if we could have complete Callas operas put up with English subtitles just so we can follow the stories. Of course, no words are needed with Callas, because you can hear the emotions.
She intentionally keeps the voice at minimum low (soundwise) to portray the reservedness of Leonora's personality; hence the singing predominantly in mezza voce/piano. She talks about this in an interview. The occasional fortissimo passages/dramatic outbursts are utilized to highlight the changing states of emotion and enhance the drama. The ultimate singing actress!
@@LohengrinO Really depends on what you're looking for! The aria alone is very telling. In just two years, she will not be able to sing that note anymore. No one could, not like this. Ponselle touches it briefly. Sutherland glides into it and still sings it mezza voce. Gencer resorts to ppp. Price uses a scale. Moffo sings it as if someone shoves their finger into her eye... But, the chest voice will have expanded immeasurably, she will be able to decelerate her trills, which was musically more correct etc. But, this Leonora is an amalgamation of voice and artistry in the highest possible degree. Maria truly stopped existing that night. Callas took over. And seeing that, Serafin really let her be!
The only thing i never understood was why the heck do people caught like mad during the most thrilling lines?! That of course until i myself had a caught fit some years ago at the opera and got the look from all around 😛🤦♀️😂 As to Maria’s 1953 Leonora i already stated that it is the most perfect one for all those involved in it and for all their chemistry together which is something unequalled. For example the studio Tosca or Lucia or Puritani are just outstanding!! But the studio Aida or Trovatore or Ballo just don’t cause me any thrill, at all.. which given the cast is very strange, but oh so true ... regards, Dana
@@mao1878 BUt I really cannot choose... each Performance is a Living Creature... it speaks to you in a totally different way each time you listen to it, it is never the same, your brain picks up Harmonics it hadn't picked up before and it is as if the Artwork is ALIVE, singing in front of you a different performance... her sound was so Multi-Leveled and SO affected by her Soul that it is literally a Living Organism
@@Evvivaverdi Thank you. I asked because Sutherland once said that she didn't think that anyone who heard Callas after '55 heard the true Callas voice. This was in a comment regarding Callas' vocal decline, a topic that makes me very sad. So I've been curious to hear what she sounded like pre-weight loss. Those who were there at the height of Callas' career say she sounded best when she was still heavy set. I'm not a voice expert so to me she sounds heavenly at whatever age. Lol. Love, eternal peace, and respect to the Great Callas.
Indeed, as Callas itself once said, her best year (in terms of voice) was 1955; you just have to listen to her in Traviata, Sonnambula or Andrea Chénier at Milan, or in Lucia di Lammermoor at Berlin, to feel the evidence and the accuracy of her words. So yes, her voice was probably not the same, but this doesn't mean ''worse'' but diverse, with different harmonics, multiple subtleties, more metal and passion beyond limits (her 1957 Bolena at La Scala is an example of stratospheric vocal and dramatic skills). Finally, as you say you're interested in her early years, I would recommend you, if you haven't done it yet, to listen to her 1949 Nabucco (''Donna, chi sei'') in Naples, her 1952 Puritani (''Ah! Vieni al tempio'') in Mexico City or her 1953 Medea (''Nemici senza cor'') in Milan. Greetings!
I guess this was the result of this so called hatred between Tebaldi and Callas. For what i know now it was probably a thing made up by the médias to sell their papers.... Thanks for this wonderful piece. I was very young when i heard the Miserere for the first time and years later it stills give me goose bumps.
There is no art in this singing. There is no technique, no more calculation. It's no longer a soprano singing with a voice. It's THE voice singing through Callas. Callas transcends her physical body. She embraces the music, becoming one with the orchestra: a symbiotic relationship, really. She is the queen of a superorganism. Just close your eyes and listen to those trills. You can hear Leonora's heart fluttering in her chest with fear. Listen to her portamenti as tears running down her cheeks like pearly rivers. Listen to that ending decrescendo as if she's drowning in her tears already. And that note, Listen to that with your heart! The despair, the heartbreak, the chaos that is disclosing and engulfing her in that pitless darkness , all emblazened on that note along with Manrico's name. Who sang it like that? NO ONE! It's the single most meaningful note written by Verdi, or maybe any other composer. You can't sing that note without losing a part of yourself. And she ate herself up that night.
You can HEAR the pain in her voice, the pain of Leonora without making the melody inaudible or aspirated, pure theatrical singing
The ultimate vocalist of the twentieth century at her very best. Perfectly focused, fearless, flawless singing.
Her heart exploded with that High D6. She gave us everything.
*_She gave us everything_*
Couldn't be said better.
Amazing and so inspiring!! I love all the videos you share, Lohengrin!! Your channel is awesome.
I will restart posting your Music Lisette, I always make some silence on a singer after I get a copyright strike (I had stopped with Julia Lezhneva as well for same reason but her father re-started me)... I know you, the Artists, are not responsible for the copyright strikes, but the companies, which are, can shut me down (although they can directly earn money from the clips with simple copyright claim, instead of strike, since I haven't monetized my posts)
If Lisette says it, it is law!
Lisette, a ti te acabo de ver cantando el rapto y wow antes te vi en Lucia con Camarena y me hechizaste, bueno hasta tu corta participación en el oro del Rhin me encanta, espero poder escucharte en vivo próximamente.
@@operalovers if only the singers of today wouldn't just "listen" to the old singers and actually LEARN from them😔
@@caseyfranco3959 90% of "the old singers" were shitty, though. They could learn A LOT from listening to today's finest, Oropesa included!
And here we are almost 70 years later in awe and with goose bumps. No one comes even remotely close. Thank you Lohengrin O once again.
It is just that every time you come back to a recording you haven’t listened to for a long time, you hear a myriad of things that you hadn’t heard before. It is like I am hearing it for the first time. That is why the enormity of her art is in a different league to any other singer.
That's the beauty of a classic.
I have spent most of my adult life studying Verdi and this opera specifically. No one comes close to Callas in this role. Well, no one comes close to Callas in any role.
as some friend noted recently, I have the most peculiar connection to Leonora's music... the first time I heard Miserere I had already heard it before, totally unexplained phenomenon to me
Well said!
@@LohengrinO Perhaps, in your previous life your fist name was Giuseppe :-)
Thank you, dear friend, for this gem.
@@aetion ...or this Music is so STRONG and DEEP I carry its memory from the previous life
@@LohengrinO Of course, who can know? Since we don't know, everything is possible.
The incomparable Callas. Vocal, artistic, and musical genius expressed here. She had a supernatural and uncanny talent. Her singing goes beyond language, and you just feel everything Leonora is feeling without needing to know the words. Spine tingling.
My rescue dog is called Leonora, because of this particular track! Brava Maria!
The trills make me die. Each time. Litteraly die. Each time since so many years. I'll never get used to it. She was not from earth.
Amazing to see a role she didn’t perform as much Norma , Traviata or Medea. But yet no one has been able to come close to her. That’s magic.
She performed the role on stage about 20 times. Word has it Lauri-Volpi was quite dissatisfied with the little appreciation Callas got from the public after this performance. Callas must have bewitched him. Later, Björling called her Leonora "perfection". I think she is the only Leonora who has done full justice to this magnificent role.
Early Callas. How bloody wonderful. Thank you. 🌹
Absolutely divine Voice, an artist of Marias caliber is beyond understanding, listen and you ll be in a transcendental dream streight to the heavens.
Simply. The best! Thank you, Lohengrin
Callas makes this sound effortless, a torrent of passion, musica de l'anima, per l'anima. When I first heard this opera, as a novice, I felt in love with "Tacea la notte placida";, the thrills, the colaratua; gradually, however, I discovered the gems, confusing story, if one can make sense of it, but the music..melody after melody--Manrico, Leonora, Azucena, il Conte--one must go all the way, there is not shortchanging Verdi, either do it right or don't do it. Callas, Milanov, Price, Caballe do Verdi a great honor. Sutherland in this role, not so much--good technique, but leaves me wanting for more. "D'amor sur l'alli rose " is like a rose unfolding its petals, caressing and full of passion, tinged with fear and resolve--all these emotions expressed in Callas' rendition. As a treat, could we hear the cabaletta, "Tu vedrai qu'amor in terra...". Grazie, ancora, Theo.
Imagine having the power to open your mouth and have these sounds to come out :D jeeeesus
One of the funny things about this aria sequence is that the tempo di mezzo is typically considered just this short bridging passage that's supposed to link an aria to the cabaletta. Here it is known as the 'Miserere', and it's so stunning. The first time I heard it, it was the most profound thing I ever heard. The layering of the different characters and their situations offstage, almost as if Leonora is hearing their calls while she is going through this emotional state, it's really something else. And it's so striking that it makes the cabaletta afterwards a let down, or even just nondescript. For a long time I didn't even realize there was one!
She channels all the emotional desperation in the universe in that single note! It sends shivers down my spine. No hyperboles are enough to describe the emotional depth contained in that note, though. I believe Callas had a superhuman ability, but was trapped in a human body and subjected to its physical limitations. Her supernatural skills were too big for her human conditions.
Her early singing though did not have physical limitations
.... Questa voce ti fa sognare ad occhi aperti.... Che belle sensazioni riesce a dare!!! Meravigliosa Maria Callas!! Grazie caro Lohengrin0 ti invio un affettuoso saluto 👋👍🏿👋👍🏿👋👍🏿👋👍🏿👋Elsa
A phenomenon! At her best she was a miracle.
❤❤❤❤❤❤❤❤❤
I wish I was alive to see her in person. A real Greek tragodos unsurpassed by no one as of yet! Sure there are many other great voices (Jessy Norma, Elina Garagna , Diana Damrow etc) but not to Marias caliber Thank you for posting this
❤❤❤😊😊😊🎉🎉🎉
La BELLEZA del CANTO hecho ARTE ABSOLUTO en ella, en CALLAS.
Who can sing a high D, or any high note for that matter, with THIS MUCH emotion instilled in the very core of the note? Tell me who! One even forgets its a musical note.. its pure human emotion. While others prepare their brain to be able to just hit the note in correct pitch, Callas seems to just open her mouth and let the emotions come out, and what comes out is.. I dont even know anymore at this point. I got lost inside that note.
"Lip-Syncing to a soundtrack of MARIA CALLAS, reaches deep into the soul, complete and absolute ecstasy, tears streaming down the face. OPERA BLISS."
THIS one, is particularly tricky to synchronize with the lips because of all the fun devilish seasonings she sprinkles on the famous aria.
VIVA LA LEYENDA
VIVA LA DIVINA
VIVA LA DIOSA DE LA OPERA
I lip synch with her while she sings inside my head
@@LohengrinO I tried it with Bartoli once and got a migraine.
@@MrQbenDanny ahahahahhahahahahahahaha
La Divina slays us again! Thanks Theo!
I’m shocked how many people are coughing it’s very disturbing 😢
Callas forever.
Maybe quite early 50's I'm guessing? If anyone knows the location or year I'd love to find out! This is the most sublime thing I've heard in awhile. Thank you for this.. I've been going through so much and I just sat here and sobbed and sobbed. Healing!
1951 Napoli, we all go through much, the devil is dancing upon our backs
Hello!
I love your videos and I've been subscribed for a couple years now I think but I was wondering if there is a reason why you don't put the title of the opera and the name of the particular piece in the description box? I listen to opera/classical music pretty much everyday and I am always trying to expand my knowledge base. I think it would be really helpful, especially for us younger people, if we didn't have to ask for the names of these things in the comments.
all the details are always described by my extremely knowledgeable followers, just always read the comments
@@LohengrinO thank you for your response. I will continue to do so. I figured that would be too much to ask. Lol
Класс, что тут скажешь...
Ув. Секлета Лимариха (интересный у вас ник, только в оригинале - ЛимЕриха), я бы оценила эту запись также, как вы. У меня нет такого таланта, как у многих здешних меломанов, которые оставили замечательные, подчас просто поэтические, комменты об этом феноменальном пении.
Ethereal !!!!!
Vane, lasciami... And already you know (no, you don't really know)...
VANNE... fyi
This sounds like 1952 or 53. As usual she sounds wonderful. The volume at the beginning is a bit low though. The male singer is also wonderful with clear diction.
It would be great if we could have complete Callas operas put up with English subtitles just so we can follow the stories. Of course, no words are needed with Callas, because you can hear the emotions.
it is 1951 in Napoli
She intentionally keeps the voice at minimum low (soundwise) to portray the reservedness of Leonora's personality; hence the singing predominantly in mezza voce/piano. She talks about this in an interview. The occasional fortissimo passages/dramatic outbursts are utilized to highlight the changing states of emotion and enhance the drama. The ultimate singing actress!
@@alioffe4321 is this her greatest Leonora? the 1951 in Napoli?
@@LohengrinO Really depends on what you're looking for! The aria alone is very telling. In just two years, she will not be able to sing that note anymore. No one could, not like this. Ponselle touches it briefly. Sutherland glides into it and still sings it mezza voce. Gencer resorts to ppp. Price uses a scale. Moffo sings it as if someone shoves their finger into her eye... But, the chest voice will have expanded immeasurably, she will be able to decelerate her trills, which was musically more correct etc. But, this Leonora is an amalgamation of voice and artistry in the highest possible degree. Maria truly stopped existing that night. Callas took over. And seeing that, Serafin really let her be!
@@alioffe4321 ahahahaha the eye of Moffo ahahahahaha
When was this performance? And was it Jussi Bjoerling opposite Callas?
Lauri Volpi, 1951
@@LohengrinO Thank you. The voice is sure Lauri-Volpi.
The only thing i never understood was why the heck do people caught like mad during the most thrilling lines?! That of course until i myself had a caught fit some years ago at the opera and got the look from all around 😛🤦♀️😂
As to Maria’s 1953 Leonora i already stated that it is the most perfect one for all those involved in it and for all their chemistry together which is something unequalled. For example the studio Tosca or Lucia or Puritani are just outstanding!! But the studio Aida or Trovatore or Ballo just don’t cause me any thrill, at all.. which given the cast is very strange, but oh so true ... regards, Dana
1951, Napoli
@@LohengrinO the 1951 one is the next in line :) after the 1953 Scala .. at least it is so to my ears. Which one do you think was best overall?
@@mao1878 all of them
@@LohengrinO that is one answer you can’t ever be wrong with :)
@@mao1878 BUt I really cannot choose... each Performance is a Living Creature... it speaks to you in a totally different way each time you listen to it, it is never the same, your brain picks up Harmonics it hadn't picked up before and it is as if the Artwork is ALIVE, singing in front of you a different performance... her sound was so Multi-Leveled and SO affected by her Soul that it is literally a Living Organism
What year was this recorded? Or, how old was Callas here?
This is from 1951 in Naples; therefore she was about 28. So young and already unattainable.
@@Evvivaverdi Thank you. I asked because Sutherland once said that she didn't think that anyone who heard Callas after '55 heard the true Callas voice. This was in a comment regarding Callas' vocal decline, a topic that makes me very sad. So I've been curious to hear what she sounded like pre-weight loss. Those who were there at the height of Callas' career say she sounded best when she was still heavy set. I'm not a voice expert so to me she sounds heavenly at whatever age. Lol.
Love, eternal peace, and respect to the Great Callas.
Indeed, as Callas itself once said, her best year (in terms of voice) was 1955; you just have to listen to her in Traviata, Sonnambula or Andrea Chénier at Milan, or in Lucia di Lammermoor at Berlin, to feel the evidence and the accuracy of her words.
So yes, her voice was probably not the same, but this doesn't mean ''worse'' but diverse, with different harmonics, multiple subtleties, more metal and passion beyond limits (her 1957 Bolena at La Scala is an example of stratospheric vocal and dramatic skills).
Finally, as you say you're interested in her early years, I would recommend you, if you haven't done it yet, to listen to her 1949 Nabucco (''Donna, chi sei'') in Naples, her 1952 Puritani (''Ah! Vieni al tempio'') in Mexico City or her 1953 Medea (''Nemici senza cor'') in Milan.
Greetings!
My goodness @@Evvivaverdi, thank you for the comprehensive reply. I will check out your recommendations. Salute!
My pleasure! I hope you enjoy!
I remember that one critic in the 1960s compared Callas unfavorably to Renata Tebaldi. I thought - what a rotten critic.
I guess this was the result of this so called hatred between Tebaldi and Callas. For what i know now it was probably a thing made up by the médias to sell their papers....
Thanks for this wonderful piece. I was very young when i heard the Miserere for the first time and years later it stills give me goose bumps.