Superhuman Maria Callas sings the Full-Assoluta role with Ultra Forte D6s (Spectacular Remastering)
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- čas přidán 31. 12. 2018
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Highlighted comments from the commenters below:
-From Shahrdad
This is what a Fred Cohn wrote in 2018 about Callas Armida in Opera News:
"IN APRIL 1952, when she sang the title role of Rossini’s Armida under Tullio Serafin at the Maggio Musicale Fiorentino, Maria Callas was just twenty-eight-years old. Her international renown came later. But the febrile applause that greets her first entrance on this recording indicates that, in Italy, she was already a sensation.
This Armida, part of Warner Classics’ new, bountiful, forty-two-disc compendium, Maria Callas Live, makes it amply clear what the fuss was about. She’s astonishing throughout, but especially in the opening salvo of the work’s finale. The sorceress Armida has just learned that her lover Rinaldo is abandoning her, and she responds with a series of runs, turns and octave leaps that would defeat all but the most technically accomplished singers. Callas’s singing here doesn’t register just as a technical tour-de-force but also as a searing portrait of rage. Her voice remains at full, torrential strength through even the most intricate passagework. Each note is sounded as cleanly as if on a piano, her attack giving the passagework, for all of its rapidity, a sculptural quality. Other singers have been as fleet, but none has been able to articulate coloratura with the same astounding force or ferocity. The passage is as phenomenal a two minutes of operatic performance as exists on disc.
In a role that consists mostly of coloratura, Callas offers an encyclopedic display of the expressive variety that florid singing can achieve. In her Act II duet with Rinaldo, it serves as a means of seduction. The sounds she makes aren’t exactly dulcet: the voice’s resin was a defining quality throughout her all-too-short career. But the way she binds those sounds into shapely, alluring phrases makes mere mellifluousness seem beside the point. “D’amore al dolce impero,” Armida’s showpiece rondo, not only dazzles the ear but demonstrates the sorceress’s supernatural capability for erotic enchantment. Still, Callas makes every bit as overwhelming an effect in the andante central section of the finale, when the writing forsakes coloratura in favor of simple declamation: Armida here has the nobility of a Gluck heroine."
-From Kastrafior:
Personne, non, jamais personne - ni sur terre sur une quelconque autre exoplanète - n'a chanté, ne chante ou ne chantera comme cette voix de lave incandescente, d'or et d'airain en fusion, cette voix dont l'énergie de vie a survécu le chaos préhistorique, par delà le plus terrifiant bonheur, et donc la mort.
Disclaimer - I own nothing - Hudba
Hola Querido,
I just read several comments and frankly I don't think I need to say anything else. So, I'll include this:
You probably read the Aprile Millo "Comeback" to the Metropolitan in the New York Times yesterday, I saw her in EVERYTHING she sang there, though I will confess I bought the tickets for Luciano, Domingo, you know the rest...
Around 9yrs ago maybe longer, I ran into Aprile in my local supermarket, I was surprised to see her there in the produce section. She lived in the neighborhood, after all the standard hellos great to see you, I asked her:
Who do you love in Opera?
Aprile: MARIA
Me: Why?
Aprile: It's obvious.
Me: Do you consult her recordings? Say Tosca?
Aprile: WHOEVER says they don't listen to MARIA for notes and details, is a liar.
Me:I love your Elizabetta in Don Carlo, you looked like a Velazquez painting.
Aprile: That is a compliment I'll always remember, how did you like my singing?
Me: Your "Vanita", in particular was incredible, the ABSOLUTE silence at the Metropolitan proves that.
Aprile: Thank You.
Me: May I kiss you?
Aprile: Help Yourself.
Me: Thank You. Kiss..
Ahahahahahahahhahahahahahahah you are a fantastic person.. I had understood that previously.... your sense of humor !!!! :D
...plus I must include Aprille Millo here... always thought of her as a Tebaldi but with real Technique... thank you for reminding me to post her
@@LohengrinO Absolutely TRUE that her model was tebaldi vocally, Aprile Millo had stage presence and was comfortable standing next to Luciano which is not an easy assignment. She was a performer in the "I'm going to seduce and conquer my audience, I will pose with DIVAness, raise my eyebrows, fake cry, scream in perfect pitch and look at the audience like Callas in MEDEA, resistance against me will be futile, I will get the ovations I work for, I've earned it dammit, my evil detractors, a few florists, can go home and feed their cats while I get that extra bow.."
Another jewel in her MET crown is her rapport with the great tenors and company that was projected. She is surprisingly small in height, but tall on stage because her posture was always at attention. She NEVER sang a bad performance from where I sat. She's likeable and approachable and commands respect. She and Luciano was probably the best because they were not actors but commanded their roles in all the different costumes they wore. Domingo struggled with her because she couldn't compete with a hungry Marlon Brando wannabe snapping at her rear end, so the contrast in styles at times looked funny, literally providing some well meaning laughter. Millo is a true OPERA STAR. Let's celebrate her with a post Lohengrin!!!!
@@MrQbenDanny Ι always admired how beautiful and smooth her voice was but it always astonished me that she sang with true Italian Sincerity and Frankness without hiding behind mannerisms that distort the composition to keep her vocal line beautiful or too lazy to tune her voice well to avoid being flat and off pitch here and there (I think it is obvious to which two singers with MOST beautiful voices Im referring to)... I remember the first time I heard her Moro ma prima in grazia... I was expecting her to fall off here or there... she never did and the sound kept its beauty
@@LohengrinO BULLSEYE, perfect description. BRAVO!
No one can even dare to think of singing this impossibly difficult music like she did. Unique and unsurpassed.
Because she sang the impossible so well, audiences expected the impossible from her at all times. Bravissima! May she rest in peace.
InBoccaChiusa She's Alive Alive !-!! 💇🙋🏃🏃🏃💙 Arnold Bourbon Amaral
I just read something by Margaret Atwood that reminded me, immensely, of Callas:
"To be able to stand up there in front of everyone and shriek as loud as you could, about hatred and love and rage and despair, scream at the top of your lungs and have it come out MUSIC. That would be something".
I totally agree with you.
For everyone who says Maria was a bad singer. The funniest thing is that opera current tone deaf singers say that, and they could never achieve a tenth of what she does here. One of the most exciting pieces of singing in recorded history.
..or the current top singers who make documentaries of the Greatest Artist of the 20th Century about her paparazzis and her affair with Onassis or the Roma incident in 1958 .... Americans!!!! when God was raining Intelligence they were holding a huge Umbrella!
@@LohengrinO Sadly you are correct. My fellow countrymen, taken as a whole, are not the sharpest knives in the drawer. 😢
@@jasonhurd4379 But so many years after the death of Callas, still making documentaries about the Roma incident? why not when she was heiled with the Mexican Anthem, why not when she was called La Divina, why not about her early Turandots and Abigailes... I mean... why why why :D Even Hollywood in our days has absolutely nothing of the glamor of the past (I call them Butthole Celebrities)
@@LohengrinO You read my mind! I just watched a video of Dick Cavett interviewing Bette Davis from 1971, and she was making a similar point, that actors of her era, actors like Leslie Howard, Herbert Marshall and Claude Rains, all had character and individuality. They were giants. Now there are just pygmies and midgets running around with no flavor or discernible style or taste. Just as with opera, the pendulum will have to swing until it comes to a dead stop, at which point we can(hopefully) sweep away the disgraceful remnants of what the art form had degenerated into, and start again properly. Hopefully.
Lohengrin O and then they got in line at the Met for thier lobotomies. But when the Butcher🔪😷🔨 got in all he could find was an amoeba with Down's syndrome. I can say no more. Arnold Bourbon Amaral
This was breathtaking. At 5:49-5:55 mark, the sheer highness of the note mixed with the beautiful Callas vibrato...is EPIC.
She was a living miracle.
Die ehrlichste, die wahrhafteste Kehle die je auf der Erden zu hören war. Sie ist unübertroffen !!!!!!
As a singer I can tell you this is the most exciting recording of the 20th century. Fioritures, Contre notes...etc. The most difficult role ever written....
CALLAS A TUTOYÉ LE DIVIN !!
You don't need to qualify it by saying "As a singer" - A spectator is equally qualified to judge as a performer. Lose that ego, matey,
@@martinpaveymusic309 . You said " judge " how dare can you ! Only God can judge. Who is self centered now ? You make me laugh. Are you one more person, who was not recognized in his life giving lessons to others ! Poor guy ! And at last i' m not "matey" ! We did not raise the pigs together ! A little more education and respect would be suitable.
Stunning! Her legato never ceases to amaze me. I think it is unsurpassed by any singer since. I would be willing to bet it's one of the reasons Legge admired her, since he was so allergic to the intrusive 'aitch' sound. What's more, you can tell by listening that she's not even thinking about it: the legato is such an integral part of her technique that she does it automatically, as if by instinct. You never 'hear the technique', as you do with so many other singers. She mastered all those considerations, leaving her free to make profound music drama, which she does superbly. This excerpt makes me regret that we have so comparatively little Rossini on record from her. Just makes me appreciate what we do have all the more.
that is the exact same thing Rudolf Nureyev had said when Callas went to see him dance: "I hope next time she comes to see me I ll dance better... this woman has solved every technical problem, she just communicates with the audience"
Personne peut chante cette Armida, La Callas fabuleuse et incomparable a jamais
Yes ! Yes ! Yes ! We needed this !
No one can touch Callas as Armida ; this heroic bravura has never been sung like this . Whoever said Callas can't sing fast or doubted her fioriture ability needs to listen to this.
Look at those rock solid chest notes ! All those 6th octave notes sung with ease - easy as drinking water. Mind you - Rossini wrote this to show off Colbran's virtuosity and powerful dramatic acting . This is the hardest role Rossini wrote for the female voice , yet she's singing this like it's child's play.
This also proves that Callas had the biggest D6 in the history ..
...and in this remastering you can actually hear her cords clicking!
@@LohengrinO oh yes , I was wondering what that sound was .. are we hearing the sound of her laryngeal muscles receiving signals from brain while transitioning between chest voice and head voice ?
@@mezzosoprano4778 ...yes they made a pretty fantastic work at Warner!! best remastering ever
Ineguagliabile! Cantar Rossini è già impresa ardua, farlo così è a dir poco ardito, quasi "sfacciato" con tale meraviglia di agilità, coloratura, variazioni. . .impressionante. nessun' altra come lei.
Después de oír esto, quisiera saber si alguien puede decir que la Callas no merece el título de La Divina y, no es ella la más extraordinaria cantante del siglo XX y difícilmente alguna otra soprano pueda ser incluso comparada con ella. La Callas única, irrepetible, insuperable y eterna. Ella realmente es la Diosa, la musa, la interpreta, la música, la actriz, la voz, es arte hecha mujer.
One can only agree with Remi-Charles Caufman: this is the most exciting recording of the 20th century - by the greatest singer of them all.
Dominio total de la voz, de la partitura, de la orquesta, de la respiracion, un derroche cromatico, frases perfectas...en este nivel la Callas esta a años luz de todos los demás ❤❤❤ gracias
You will never hear singing like this again. Early Callas 50/51/52/53 was the greatest voice the world has ever heard. Utter astonishment.
...and occasionally up to 1957 (Bolena Sonnambula)
@@LohengrinO Don't get me wrong, there is still much to enjoy later in the 50's but even then, wonderful as they are, it's a different voice in size and scale to the phenomenon here.
Yes indeed. She had many great moments until at least 1957 (Anna Bolena, the Cologne Sonnambula, the Scala Ballo) and her 1958 Dallas Medea is astonishing! Even as late as January 1959, the Mad Scene from the Carnegie Hall Pirata is sublime, a vocal Stradivarius. Three 1955 live recordings remain unrivaled to this day: her Berlin Lucia under Karajan, the Scala Traviata and Norma!
Δεν υπαρχει ουτε θα υπαρξει αλλη τέτοια θεια,υπερανθρωπινη εκτελεση στον αιωνα viva la Callas
anche un miscredente come me non può disconoscere che in questa Donna abbia albergato uno spirito divino, unico, irripetibile, incommensurabile...
Una dea dell'Olimpo scesa in terra per deliziarci col suo meraviglioso canto!
IMPOSSIBLE SINGING ... ONLY THE DIVINE CALLAS
There are no words in any human language, to describe her greatness.
I have heard this clip before and it is wonderful to hear it again so many years later and to know this kind of singing is still getting attention. Such genius and such an era!
Maria! Only Maria!
Absolutely sensational, and anyone who says Callas’ voice was ugly, just direct them here. The young Callas voice had such beauty.
A lot of unalloyed rubbish has been spoken of and written about Maria Callas' voice. Hers was not a normal soprano voice. It was one of scary, supreme greatness; unending talent, thousands of hours of practice, study and meditation, uncompromising meditation. The passages here are hugely complicated and she was the complete mistress of all of them. She remains supreme even now, more than half a century afterwards. I regret I was born too late to be able to have the chance of listening to her live. I believe hearing her live was a very different, perfectly ethereal, experience. I can but imagine it, while listening to these recordings. Mr. Lohengrin - thanks a massive bunch.
I feel the same way. I wish I had been alive and able to see her perform, especially in this early period. I think she was greatest voice of the 20th century.
Such lovely homage to our Divina…AND to our host. Both sentiments eminently well deserved and echoed by me!
This is not just Callas' greatest virtuosic achievement. It's Rossini's greatest, as well. It's a travel, a tour de force between the lower and upper segments of the voice, requiring a heroic weight and agility throughout the entire range. Listen how her head voice and the demonic chest tones represent her human and sorceress qualities, finalizing with her choice of vengeance over love in the finale. Callas' chiaroscuro tones, declamatory recitatives, and androgynous range in this work is perfect for Armida.
...and she sounds as if it is so easy, unbelievable
@@LohengrinO Because it was! She's mocking Rossini, here ;) and you, off all people, know very well that she could sing three of these in one day. 1952 was her greatest year.
@@alioffe4321 indeed... in one year, 1952, she sang: Norma, Lucia, Traviata, Lady Macbeth, Armida, Gilda, Trovatore Leonora, Kostanze (Serail), Aida, Gioconda, Tosca, Euridice (Haydn), Elena (Vespri Siciliani), Elvira (Puritani) and the main aria of Lakme and Abigaile in concert
@@LohengrinO she was the only who could! I think it was lehmann who said singing three Brünhildes was easier than singing one norma. Callas could sing three Normas/Armidas in one day with a glass of water and half an hour break in between.
...she was indeed Superhuman... as Sharhdad said in one of my posts: When Callas was caught listening to one of her early live recordings and someone mentioned how good they were she replied: Good? they were bloody Miraculous!
Did some checking--already established as a dramatic soprano..Amazing that she could handle verismo (Andrea Chenier, Gioconda) and have the flexibility and agility to handle the bel canto roles. The alchemy between Callas and Serafin , a mentor and his disciple rooted in mutual respect, admiration, commitment and trust is rare today.
Le variazioni di Armida sono forse uno dei brani più duri scritti per un soprano. Non credo poi che un soprano leggero possa cantare con successe questa parte. Ma Maria lo può ed è sconvolgente ascoltarla.Le tre ottave della sua voce sono uno dei fattori peculiari di Maria. In questo brano è ineguagliabile.
Una auténtica MARAVILLA SOBREHUMANA. GENIO Y MITO ABSOLUTO. CALLAS ETERNA.
I've never heard a singer apply huge, heroic weight through all registers of the voice, but yet sound effervescent and at ease. Most singers, you can actually hear them HEAVE their voice around, but Callas just so smooth, with the most immaculate legato possible.
3:47- What singer has sang arpeggios that precisely? Like a computer.
that is the word that always comes to my mind with early Callas singing... Computer
But with huge soul
@@LohengrinO 3:47 that's how every modern high or coloratura mezzo think they sound like.
Incredible but true... Years have gone by, no singer has ever sung like her... Thank you Madame Callas for all you gave us !
no one ever will again...
Ditemi voi chi mai potrà superarla. . Nessuno.è al di sopra di tutto in tutto quello che ha fatto👏👏👏👏👏👏👏👏👏👏👏👏👑👑👑👑👑👑👑👑👑
There is no word can describe this voice. She is unique
I just don't have the words to describe what I feel when I listen to Maria singing this way! Thank you Lohengrin for sharing this incredible recordings with all of us!!!
It is just unbelievable what we can hear here.... no words, no comments... just listen and wonder!!! Superwonder woman singer.... THANK YOU for posting!!!! :-)
Un enregistrement époustouflant, unique, les superlatifs manquent !
I'm listening to this on Maria's birthday. My 60 birthday too. Thanks Maria, you'll never know how much your music has meant to me xx
This role has to be the most challenging role in all opera - and Maria walks over it - incredible!
Penso che dal punto di vista vocale questa sia la cosa piu' bella che io abbia mai ascoltato
She still sings this great in heaven. How I envy the angels. 😊 You are always remembered and adored, La Callas. 🥰
I always thought Callas' place was in the Purgatory
Along with the Proch Variations, Nabucco and the Dallas Medea this is the most insane florid and fiery/fisty singing in operatic singing EVER composed and every delivered. Not sure how the original singers of these roles sounded but at least partially must have sounded this amazing too since the composers wrote the roles for them. But i can bet that not even them acted with their voice in THIS absolutely stunning manner!
Callas truly was a MUSICAL GENIUS.. not of singing but of music interpretation
the original singers didnt sound 1/10 of this :D
Lohengrin O no way of knowing that for sure..;) we gotta give them some credit since Rossini and Verdi and Donizetti wrote the roles to match their particular singing abilities...;)
Absolutely no way.... never before never again
Oh that beautiful voice nobody will match her ❤️❤️❤️❤️❤️
Personne, non, jamais personne - ni sur terre sur une quelconque autre exoplanète - n'a chanté, ne chante ou ne chantera comme cette voix de lave incandescente, d'or et d'airain en fusion, cette voix dont l'énergie de vie a survécu le chaos préhistorique, par delà le plus terrifiant bonheur, et donc la mort.
Amen!!!
Absolutely Divine! Thank you so much for sharing this treasure!!!
Todos los pasajes fluyen como un río que se dirige incontenible hacia el mar del arte, que no otro es su destino
La Divina per sempre.
Divina.........
No hay grabación de su voz en " vivo" más brillante que esta. Superlativa; Divina... Qué maravilla de mujer fue !!!!
Unbelievable just unbelievable!
...and never to be repeated
Ni antes ni después. Solo ELLA y su momento. Ni hay ni habrá. LA DIVINA. CALLAS FOR EVER.
Callas made Opera exciting by her manner of keeping the audience on the edge of their seats waiting from one exciting phrase to the next! She just did it all with her voice and delivering the best ever!
INCANDESCENT extraordinary singing ...........bravissimo MARIA.......YOU GAVE SO MANY PEOPLE ENORMOUSJOY
Last night I've seen the new documentary on her. I recomend it. We could discuss wheater you like or dislike her and her singing (colour of the voice), but there should not be any doubt: she was unique and marvelous singer. This Armida is outstanding. For those who doubt her: take a part of any opera, try 10 or 20 different singers, and you'll allways find out Callas's performance is something special.
Lohengrin O It was so disappointing my friend. More like a life time movie. & a really bad one. Callas deserves so much more. The greatest👑 Operatic artist of the 20th Century & they produce that awful insulting so called ducumentry more like .Cacamentary. What a circus. Arnold Bourbon Amaral 😖😠😡
Callas is one and only Diva
Indeed! @@liointhesun
deusa da ópera: absoluta, inigualável e grandiosa !
I think she's not a human being, she's an angel of music.
Callas c'est le plus que parfait.
Siamo su un altro pianeta!!!!! Non ci sono parole!!!!! Davvero non è umana!!!!!
Maria Callas non era umana
@@LohengrinO , Maria non voleva si dicesse di lei cosi. Diceva di essere sempre presente a cio' che faceva. Era invece molto "umana", ma lei era la Callas e lei lo sapeva. La divinita' non si preoccupa, agisce e basta. Maria studiava perche' sapeva di essere imperfetta. Questo a noi, persone intelligenti, non pare. "altre" invece non si preoccupavano affatto e si beavano della propria bella voce...non facciamo nomi. E i risultati diversi si sono visti e sopratutto "sentiti". Su questa Armida si puo' dire che questa interpretazione "cantata" dall'inizio alla fine e' davvero la cosa piu' stupefacente e spettacolare che la Maria ci abbia lasciato. Tutti gli anni del Festival rossiniano di Pesaro non valgono tre minuti di questo spettacolo.Sembra incredibile che abbia fatto tutto quello che noi ascoltiamo di questa serata...beh, si, non era umana.
OMG! She was from another Galaxy
just perfection! What a beautiful way to start a new yera. Thank you for posting it. Maria made me fall in love with opera.
Petros Balaskas Welcome my friend. Arnold Bourbon Amaral
This is my driving music. Keeps me awake and excited driving through the dullest stretches of Highway 5 in the California Central Valley.
used to go to work for years and years with this music playing inside my mind
@@LohengrinO another is her singing Tutte Le torture, the Italian translation of Marten aller arten. Those high notes shake the cobwebs out of my head and cheer me up better than a cup of coffee and an orgasm.
Well…it’s a close contest.
@@MichaelDG2023 Malfitano always spoke with huge admiration for Callas' tute le torture
It’s D#6, not important, it’s absolutely marvelous!
The best of the best! Thank you for posting this, Lohengrin O.
if I find you in a video commenting the thing is good
jamais existirá outra.... uma deusa no infinito!!!
Superhuman, yes... We are not hearing Maria Callas, the artist, we are hearing Armida, the sorceress, who is not quite human. She weaves a spell with her music - it's not broken until the very end of the opera.
We don't know what Pasta or Colbran (or Malibran) sounded like. We can always tell ourselves, "yes, I wasn't there to hear them, but surely there are great singers today, who are probably just as good." With Callas, no doubt remains - all we have left is the regret we couldn't be there to see her live, and the gratitude for the recordings that survive. ❤
I really doubt even if they had Callas' darkness, plasticity, agility and range that they were singing with this amount of FORZA!!
@@LohengrinO yes, I'm blown away every time I hear this recording - and I do listen to it often. I usually only notice at the end that I was holding my breath. A force of nature! And she never sounds strained... But then, she's a sorceress, she's using magic, the laws of nature don't apply.
Superhuman Callas . Maria the breath of God !!!
This performance is truly an OH MY GOD OH MY GOD performance --perfection perfection. I first heard Mme. Callas on Cetra records as a young vocal student. I knew immediately I wanted to be able to interpret musically dramatically emotionally like this at that time unknown woman. I have followed her career with joy. My greatest Joy was participating in her Master Class at Julliard. RIP Maria -- you left far too early. Thank you for the countless of hours of inspiration motivation and truism of operatic performance.
Super , super , superb să fiți binecuvântați pentru audiția minunatei Callas câtă. virtuozitate !!!
Un portento....
When I hear people call opera nothing but warbling, in regards to today's opera I'm forced to agree with them. It's almost laughable the sounds they make and even the uninterested can tell. I'm only a dilettante and only discovered "true" opera through channels like these. It's amazing how thrilling opera can be when sung correctly and you can hear the difference. Thank you for posting these videos.
dont compare the average very good singer of opera to Maria Callas... it is unfair for both of them
The voice has nothing to do with weight. The voice is controlled by the lungs and the air pushed via your diaphram. This is a direct quote from a medical article. Also, I have recently listened to Andrea Chenier with Callas in the Warner Classics remastered version, which in my opinion surpasses all previous cd efforts, but the distortion is still audible, but not as pronounced. My point is that Callas's voice sounds clearer on Warner's. She had shed 80 lbs plus, and you can see how thin she is from any of the pictures during this peformance. Her voice sounds very similar to her La Scala Medea where she was considerably heavier. The low notes have a creamy sound and the highs are penetrating to the point where she overpowers Del Monaco. This coming from a woman that lost a large amount of weight. Perhaps the article I quoted gives credence.
Others have tried, but felt short (I am thinking of a recent "prima donna assoluta" at the Met)..let this be an example, a study of how it is done, coloratura, fioratura, cadenzas, keeps you on the edge of your seat, wondering, "where will she take us next"? Ah the thrill of it all..What a way to start 2019!
Who are you thinking of?
I am sure you can only be referring to Renee Fleming. And although she was no Callas in this role, as they are 2 separate individuals, she still did an incredible job.
Renee was descent... there are other armidas who were disasters
Regardless, it is a challenging role which is the reason we are not treated as often as we should.
by "should" you mean the way Callas sang it? in our days they cannot even sing easy roles not the Assoluta repertoire... they are too busy interviewing each other backstage at the Met...: Pls Anna tell us how difficult was this role for you? ah... it was I dont know, where am I? where is my son? ah come here say hi to grandma sweetheart!!!
Amazing!
Dank voor deze super love song super human
Callas, only ONE!!!
🌹🌹🌹🌹🌹🌹🌹❤❤❤❤BRAVAAAAAAA!!!!!!❤❤❤❤🌹🌹🌹🌹🌹🌹🌹
LA DIVINA !! ONE AND ONLY ONLY REAL ART OF ARTS.
I hope this new year people stop comparing ordinary singers like for example Miss Netrebko to this exceptional artist.....La Primadonna Assoluta del Mondo!
Henk Hartman good luck! The people have the right to know! Take care of my friend sincerely Arnold Borbon Amaral 👦🌏🌎🌍🎶
Henk Hartman She is opening La Scala as Tosca in drag. At least Saioa Hernandez will follow her & give a true performance of this Puccini MASTERPIECE. Arnold Bourbon Amaral
Después de los comentarios que se inician con el artículo de Ópera News, la conclusión es que la Divina es perfecta....y no hay otra Divina!!!!!
Saludos desde Santiago de Chile.
Dr. Fernando Rivas-Burattini.
Callas's singing of this aria has positively incredible beauty and power !
Singing of this calibre leaves one speechless.
oh but why? she was a Voiceless actress with 0 technique who destroyed her voice all too soon and thank God almost 100 years after her Birth EVERYBODY has forgotten her... Long live the Metropolitan Opera :D
Lohengrin O I don't understand ?
@@Operacrazed Im mocking her detractors..
@@LohengrinO Thank goodness. Sorry your sarcasm was wasted on me. Thought for a moment you had lost your mind !
ye... i went operacrazed for a moment :p
ΚΑΛΗ ΧΡΟΝΙΑ, ΔΗΜΙΟΥΡΓΙΚΗ ΚΑΙ ΜΕ ΥΓΕΙΑ!
Επίσης και με πολύ αγάπη... κάτι που λείπει από τους πάντες
❤️@@LohengrinO
Thank you for this. Happy New Year to you.
María Callas , ABSOLUTA MARAVILLA, ESTE DÍA MARCÓ UNA PÁGINA EN LA HISTORIA DEL ARTE LÍRICO , ¿ Hasta cuanto ella era consciente de la maravilla que producía ? No se sabe ............. !!! Armando Cerutti - Barítono
¡Magnífica!
Thank you so much for posting this aria, the best ever in the Rossini world, in my opinion. I’m so happy to own it in vinyl, Callas is divina 😀😀😀
Thank you for the special gift!!!! I wish you a happy new year, full of gems like this one!!!! She is truly amazing!!!! :D
...if they must be like this one I have already failed
When I hear this I simply envision modern sopranos grabbing their suitcase, packing their belongings and getting the hell out.
It should be so terrifying to approach anything Callas has sung. At any point in her career tbh.
What was the quote, Callas at her worst is better than any of us at our best.
Just wish I remembered where I heard it.
I picture the Idiots in the Met interviewing each other backstage with an attitude of 1000 Cardinals saying: A word of advice dear, don't fuck up your voice... just put everybody to sleep with whatever you sing as I do!! :D
Lohengrin O i don’t recall anyone recently at Met to actually be a singer 😂
@@LohengrinO I wonder who could have said that? Initials JdD perhaps?
@@jasonhurd4379 Susan Graham!
@@LohengrinO Even worse! I cannot understand the adulation that is showered on that broad. I held off on hearing her voice for years, and then when I finally broke down and listened, my reaction was That's it? That uncentred, soft-edged, dangerously insubstantial 'voice' is what all the critics and audiences are screaming for!? Then she goes around boasting about her coaching sessions with Christa Ludwig, and I think Honey, please. You aren't even fit to lick the ground Ludwig walked on. Don't get me started on Susan Graham! 😠
Beautiful 🎼🎼🎼🎼🎼
Thank God for the recording of sound at this time and even before
How could someone listen to this and say her technique wasn’t immaculate and that she was simply a great actress who was “lucky” to have a career. Some blogger wrote this idiotic post that Callas was just “in the right place at the right time.” Bullshit
...ignorants.. u know many of the people expressing opinions in our days are completely clueless... Have you read the comments of the pop star fans in LegendaryVocalists channel? they are using technical terms of singing that they dont have the slightest clue what they mean and they project several opinions that they probably read somewhere... what really surprised me was once seeing some Metropolitan expert in youtube explaining that Callas was not a good singer (that's why the Met is completely ridiculous in our days)
Lohengrin O pop star fans? You mean 12 year olds who shouldn’t even be on the Internet? Why would I put myself through reading THAT?
Some people shouldn’t be able to have their opinions blasted for everyone to read. It’s embarrassing for them lol.
I am in a few opera Facebook groups where they threatened to kick me out for speaking ill of Netrebko!
MET is a joke nowadays
@@manolis.799 I have been kicked out of every opera forum / group for speaking in favor of Callas :D
@@LohengrinO
You are So right my friend!
Lohengrin O they’re full of bitter old people who hated Callas in her time and continue to do so. While exalting modern singers like how can you have lived in the time of great singers and love the ones today?
She sang the aria " d' amore al dolce impero" once again in 1954 in a recital with Gigli in san Remo. Exciting also because this is Callas but not with such a vocalita. Thank you
@@Shahrdad . You are wright it was in 1954 in San Remo with Gigli sorry.
Shahrdad
Still better than the rest.🙂
Ouvir Callas a cabtar é um privilégio imenso. Ela é a maior cantora fe ópera de todos os tempos. Perfeição absoluta! Callas é Eterna.
In Callas's RAI Norma from 1955 the low notes have that deep cavernous sound from her heavy weight days with a close resemblance to the Gioconda 1952 Cetra recording. It depended on how she wanted to produce her voice. She was a chameleon, and was capable of adapting her voice to the role she was singing. I think she eventually wanted a lighter sound to her voice as she was venturing more into bel canto terrain.
...or in the Dallas Medea... full cavernous
@@LohengrinO Oh yes. I feel that when she wasn't singing consistently during the liaison with Onassis that the voice was not functioning as well. You have to constantly use the voice and the diaphragm to keep it working. However Callas could always get her voice up and running even in her later years. The Paris Tosca's 1965. I think 2 of those performances were recorded. Her voice is even from top to bottom, and the high notes are surprisingly steady. One concert with Di Stefano 1974, I forgot which month, shows her in good form. They sing the duet from the second act of Gounod's Faust and she produces a lovely mezza voce on a high note, perfectly supported.
@@raybercse1 ...imo both the abrupt and total amount of loss of weight and the way!! she sang the Assoluta and heavy dramatic roles led to the deterioration of her voice but her thin voice quite often was as phenomenal as her heavy voice up to 1957 and her personal Favorite year of her Career was 1955 not 1952 as we Callasians usually choose over her absolute vocal health of those the years prior to weight loss
@@LohengrinO I have noticed carefully listening to her voice in the Florence Medea, Tosca and Cavelleria Rusticana that the voice got deeper in the low register, but the top sounded thinner. It's a strange phenomena but it seems that the lower register got fuller. Yet she was able to still sing a high eb. In the La Scala Medea later in 1953 the top notes sound fuller than they did in Florence. The low register is still dark but not as weighty as in Florence. I think the voice always changed perhaps due to going from dramatic to leggero roles and vicea versa.
Callas inarrivabile
j adore ...
Not a die hard fan here, but you must be deaf if you do not acknowledge the vocal tour de force here. Phenomenal! Plus Rossini always suited her. Great Fiorilla (I love how she lightens her tone in this role) and Rosina too.
This is Nilsson with the agility of Tetrazzini singing Armida here. Callas voice was extremely heavy naturally.
LA PIU BRAVA
Magical Maria
La Callas era una attice, come poteva essere Traviata, Sonnambula, Lucia col fisico inadatto al personaggio?
con la stessa volontà con cui ha imparato la tecnica necessaria ad esprimesi ha rimodellato il corpo per essere perfetta in scena
Con la stessa capacità di cambiare la sua voce per aderire al personaggio ha voluto cambiare il suo fisico.
Lo "doveva fare". Ha preso sempre dei rischi immensi per darci quello che ci ha dato.
...I also agree with what you say but I also agree with what Shahrdad says
Dando il massimo e lasciando un segno vero nella musica lirica.nessuno come lei.
Breathtaking. Unique