CALLAS 1969 ! The Voice, HUGE, were STILL there. She was so reasonable as the perfectionist she'd always been to block the ambitious project. The result would have been merciless compared to the recordings of the past It takes so much time of technique practicing to perfectly synchronise again all of that terrific extension and the profound tonal richness of the most gorgeous Soprano Voice of the XXth. Even if I tenderly like some other sopranos like R. Tebaldi or M. Freni, it is so hard to make comparisons and not to still choose the CALLAS. She nowadays still stood «ALONE» in the FIRMAMENT. And so WILL BE forever.
Apparently Callas herself didn't want this set of arias to be made public, and EMI did so after her death, in '77. The upper register is harder that earlier, and the so call problems her voice had, even in the glorious '50 are of course more accentuated...HOWEVER, if one is looking for art, if one wants to hear how a voice can express an infinite palette of feelings and emotions, this arias are a treasure. And of coures the fidelity and accuracy with which Callas reads the score is as impressive as ever. A testimony of probably the greatest vocal artist of the XX century at the end of career, still managing like no other singer to convey truth, to make notes have sense and beauty, to make opera a living thing... her musicality, her genius, even her technique remain unique and incomparable.
+Yamandu Delgado I prefer a 1000 times a Callas with a broken voice than all these Bimbos of Opera who sing in full health and transform arias into ridiculous pop songs
Patricia Bogni , such a perfectionist she was - but she also had an awareness of what she had been capable of, and recognised her own slipping technical mastery. In one of her interviews she commented, "I don't see myself as great. I have a duty to my art and to my public, and it's my job to execute my duty as best as I'm able." (Paraphrased)
Cuanti ricordi!.. L'ascoltavo anche prima di nascere... Mamma e Babbo Italiani tuttiedue... LA PIU GRANDE!!! BELLISSIMA SEMPRE. DESDE ARGENTINA Y AL MUNDO: ¡GRANDE CALLAS! ¡BRAVA!!! AÚN NO SUPERADA NI IGUALADA. AL DÍA DE HOY ME EMOCIONA ESCUCHAR ESA VOZ, ESA FUERZA... ESA DULZURA y POTENCIA A LA VEZ. UNA VOZ DONDE NO FALTAN LOS COLORES Y LOS CONTRASTES, LA SUAVIDAD Y LA FUERZA EN UNA PALABRA: ¡BRAVA! SEMPRE BRAVA!!!!
" Maria Callas ", The Greatest Soprano Of All Time, the BBC, 2007. In Callas' prime, any other singer would be vaporized next to LaDavina. People can post for a thousand years against her. It won't change the fact that Callas was, is, and always will be the greatest soprano of all time. It will never change.
The study she had undertaken on her voice can be heard here, There is much beauty and as always emotion.We should not expect to hear the voice of her youth and her health problems took their toll over the years. However it is a privilege to hear these recordings. Her commitment to the music and the authority of her voice which passes through a kind of fragility makes her all the more special.
Tenortalker yes I agree totally . Much has been written about La Divina but one thing is certain in 2006 a very knowledgeable critic Tony Locantro said of her " her vocal achievements stand unrivalled today and probably for all time This is from one of her boxed sets. Try the Ave Maria from Verdi ,s Otello.You will die of grief
These sessions have always been fascinating to me. When you think that this was the result of the work she did with de Hidalgo only one year after she left Onassis and had stopped singing (or practicing) for 3 or 4 years. This is such a tantalizing taste of what might have been had she continued this work in earnest. IT is obvious that her voice couldn't sustain full volume or energy yet, but the overall steadiness at the top is a miracle!
and they dare say that Callas lost her voice in 1955... you listen to this post 1960 recording (1964 if Im not mistaken?) and you get chills all over... the phrasing, the sense of Verdian style, the ingenious musicianship... a Phenomenon to the very end...
they dont mean lost her voice in a way that she cant sing anymore,,, of course she could still sing but it became less beautiful when she lost her weight even dame joan sutherland herself would admit that the best voice was the fat maria callas,,,
“ less beautiful” a voice? Then what is Gioconda 1959/ Norma 1960, and definitive interpretations during concerts in Amsterdam and Germany in the 1960s? Sutherland, allow me to say, was the aesthetic antithesis of Callas, who had a fixation on ‘beautiful voice’ over a voice that fleshed out a character. Let us remind ourselves what critics and ‘aesthetists’ initially said about Callas’ Traviata: that she had no voice in the last scene! The voice is an interpretative instrument as Maria taught us. Even in the Paris Normas in 1964, there are arias with haunting beauty ( Tenebri figli). Beauty’ as in ‘Truth’.
@@Pilgrim06 Ultimately, Callas's technique unravelled, so she became unable to express herself and had to stop. You can be as expressive and insightful as you want to be, but ultimately, you need a voice to communicate all of that. You need both a voice and expression. An opera is not a play or modern musical theater.
Hace 7 años dije que era una de las mejores graciones de Callas . Ahora después de volver a escucharlo : Es la mejor grabación de Callas para EMI . Es un prodigio vocal de pianisimos , medias voces , musicalidad , la voz está fresca , hace filados , coloratura , intención dramática y la voz esta bien colocada , se nota el trabajo de Elvira de Hidalgo . Para completarlo faltaba solo La bataglia de Legnano y creo que I Masnadieri . Que no se concluyera no lo puede entender y menos que no diera permiso María Callas para su publicación . Solo cuando murió salieron en diferentes albunes la sesión histórica de María Callas de 1969 . Última vez que trabajo para EMI.
Konstantinos, I have always been curious about these 1969 sessions. I have seen them referred to as test recordings, rehearsals, engineering tests, etc. but have never understood what any of that means! Do you think she was marking her high notes for rehearsal? Were these rehearsals which were simply never performed? Were they for the benefit of the orchestra? In any case, I have always been amazed at the good condition of her voice here. . . . . and the pianissimo top notes were exactly the right way to try to get them back into shape, work which she unfortunately didn't complete for whatever reason. Just wanted to know your thoughts on these sessions.
Callas recorded the arias from Lombardi and Attila first in 1964 and in 1969 (second version) but never authorized the publication. The aria from Vespri was recorded first with Tonini (1962) and than with Rescigno (1964). The arias from Corsaro are a sort of rehearsal (made up by EMI with differen pieces) made in 1969 session with Rescigno.
ce n'est pas qu"elle ait un visage déplaisant mais si l'occasion m'avait été donnée de m'adonner à certaines fantaisies buccales, je me serais abstenu...par peur d'une dentition acérée peut-être mais surtout par crainte de cette hystérie sous-jacente... cette inconstance se traduit par un sentimentalisme qui ne pourra abuser que le vulgaire... concrètement, cette gueularde ne rend pas hommage aux oeuvres qu'elle interprète (massacre).
As a lifelong fan of Verdi and and a lifelong detractor of the idea of Callas as a great singer I find this just horrible, better that she should never have lived!
This is from her very last studio recording in 1969. Obviously the voice is not what it once was: loss of volume, shortened high notes, reduced respiratory reserve. BUT! Such elegance in phrasing, control of pianissimo and legato, perfect intonation, supreme musicianship. The technique remains intact.
CALLAS 1969 ! The Voice, HUGE, were STILL there. She was so reasonable as the perfectionist she'd always been to block the ambitious project. The result would have been merciless compared to the recordings of the past It takes so much time of technique practicing to perfectly synchronise again all of that terrific extension and the profound tonal richness of the most gorgeous Soprano Voice of the XXth. Even if I tenderly like some other sopranos like R. Tebaldi or M. Freni, it is so hard to make comparisons and not to still choose the CALLAS. She nowadays still stood «ALONE» in the FIRMAMENT. And so WILL BE forever.
Même déclinante c'est sublime. Voix magique. Incroyable.
Apparently Callas herself didn't want this set of arias to be made public, and EMI did so after her death, in '77. The upper register is harder that earlier, and the so call problems her voice had, even in the glorious '50 are of course more accentuated...HOWEVER, if one is looking for art, if one wants to hear how a voice can express an infinite palette of feelings and emotions, this arias are a treasure. And of coures the fidelity and accuracy with which Callas reads the score is as impressive as ever. A testimony of probably the greatest vocal artist of the XX century at the end of career, still managing like no other singer to convey truth, to make notes have sense and beauty, to make opera a living thing... her musicality, her genius, even her technique remain unique and incomparable.
+Yamandu Delgado I prefer a 1000 times a Callas with a broken voice than all these Bimbos of Opera who sing in full health and transform arias into ridiculous pop songs
Patricia Bogni mi io
Patricia Bogni , such a perfectionist she was - but she also had an awareness of what she had been capable of, and recognised her own slipping technical mastery. In one of her interviews she commented, "I don't see myself as great. I have a duty to my art and to my public, and it's my job to execute my duty as best as I'm able." (Paraphrased)
Cuanti ricordi!.. L'ascoltavo anche prima di nascere... Mamma e Babbo Italiani tuttiedue... LA PIU GRANDE!!! BELLISSIMA SEMPRE.
DESDE ARGENTINA Y AL MUNDO: ¡GRANDE CALLAS! ¡BRAVA!!! AÚN NO SUPERADA NI IGUALADA.
AL DÍA DE HOY ME EMOCIONA ESCUCHAR ESA VOZ, ESA FUERZA... ESA DULZURA y POTENCIA A LA VEZ. UNA VOZ DONDE NO FALTAN LOS COLORES Y LOS CONTRASTES, LA SUAVIDAD Y LA FUERZA EN UNA PALABRA: ¡BRAVA! SEMPRE BRAVA!!!!
" Maria Callas ", The Greatest Soprano Of All Time, the BBC, 2007. In Callas' prime, any other singer would be vaporized
next to LaDavina. People can post for a thousand years against her. It won't change the fact that Callas was, is, and always will be the greatest soprano of all time. It will never change.
***** What??? What about 26:02? What?
Ok, so you're bigger than the BBC, right?
***** Well, ya' sure ain't an opera expert.
***** Anna Netrebko? Really? Weak small voice. she is eye candy, not substance. lately getting worse.
These are recorded way past her vocal prime. Even when her voice was no longer cooperating, one can still learn more from her than anyone.
those beautiful eyes
Inparagonabile Maria Callas, casta Diva...grazie!
Como siempre,la más grande. Una auténtica diva hasta el final de sus días.
beautiful, thank you Maria
CALLAS: realmente si fue y es LA DIVINA. Que bellísima voz,hasta el momento INSUPRABLE.La más grande COLORATURA.......
Adore !!!
And this is late Callas??? 1969 wow!!! She sounds great...she really should have kept singing! Thanks for posting...
πτυχή έμπνευσης , πολιτισμού , πόσο μου λείπει αυτή η Ελλάδα. Ευχαριστώ
Absolut Beautiful ... Fantastic !!!! Thanks for sharing...
Lo máximo María callas
Insuperable
No hay otra como ella
Única
The study she had undertaken on her voice can be heard here, There is much beauty and as always emotion.We should not expect to hear the voice of her youth and her health problems took their toll over the years. However it is a privilege to hear these recordings. Her commitment to the music and the authority of her voice which passes through a kind of fragility makes her all the more special.
Tenortalker yes I agree totally . Much has been written about La Divina but one thing is certain in 2006 a very knowledgeable critic Tony Locantro said of her " her vocal achievements stand unrivalled today and probably for all time This is from one of her boxed sets. Try the Ave Maria from Verdi ,s Otello.You will die of grief
nessuna come lei!
Beautiful. Artistic and nuanced. Mature and idiomatic in every way. Grande.
Thank you for sharing this amazing performens❤
Inmediatamente hermosa e incomparable.
Voce trascinante e potente,unica
These sessions have always been fascinating to me. When you think that this was the result of the work she did with de Hidalgo only one year after she left Onassis and had stopped singing (or practicing) for 3 or 4 years. This is such a tantalizing taste of what might have been had she continued this work in earnest. IT is obvious that her voice couldn't sustain full volume or energy yet, but the overall steadiness at the top is a miracle!
Sublime!
and they dare say that Callas lost her voice in 1955... you listen to this post 1960 recording (1964 if Im not mistaken?) and you get chills all over... the phrasing, the sense of Verdian style, the ingenious musicianship... a Phenomenon to the very end...
+Lohengrin O Recorded in Paris,Salle Wagram 1969***
they dont mean lost her voice in a way that she cant sing anymore,,, of course she could still sing but it became less beautiful when she lost her weight even dame joan sutherland herself would admit that the best voice was the fat maria callas,,,
“ less beautiful” a voice? Then what is Gioconda 1959/ Norma 1960, and definitive interpretations during concerts in Amsterdam and Germany in the 1960s? Sutherland, allow me to say, was the aesthetic antithesis of Callas, who had a fixation on ‘beautiful voice’ over a voice that fleshed out a character. Let us remind ourselves what critics and ‘aesthetists’ initially said about Callas’ Traviata: that she had no voice in the last scene! The voice is an interpretative instrument as Maria taught us. Even in the Paris Normas in 1964, there are arias with haunting beauty ( Tenebri figli). Beauty’ as in ‘Truth’.
@@Pilgrim06 Ultimately, Callas's technique unravelled, so she became unable to express herself and had to stop. You can be as expressive and insightful as you want to be, but ultimately, you need a voice to communicate all of that. You need both a voice and expression. An opera is not a play or modern musical theater.
Mia cara... Bravissimma!!!!!!!
Hace 7 años dije que era una de las mejores graciones de Callas . Ahora después de
volver a escucharlo :
Es la mejor grabación de Callas para EMI . Es un prodigio vocal de pianisimos , medias voces , musicalidad , la voz está fresca , hace filados , coloratura , intención dramática y la voz esta bien colocada , se nota el trabajo de Elvira de Hidalgo . Para completarlo faltaba solo La bataglia de Legnano y creo que I Masnadieri . Que no se concluyera no lo puede entender y menos que no diera permiso María Callas para su publicación . Solo cuando murió salieron en diferentes albunes la sesión histórica de María Callas de 1969 . Última vez que trabajo para EMI.
Magnifica selección de arias de Verdi
Beautiful Thank you.
Hermosa y cautivante voz...
The scale from 6.50 to 7.05...seamless.
Pure magic...
Something supernatural...
DIVINA.
Favolosa!
Una de las grabaciones mejores de María Callas y la ultima con EMI!
una bellisima seleccion
16 con oído de palo.De seguro algún flaite o cuma,que solo escucha su mugre de ruido.
Callas única, sublime,grandiosa.
ÙNICA !!!!!!!!!!!!!!
GRAN SELECCIÓN DE SELECCIÓN DE ARIAS DE VERDI
Un don du "Ciel" !
I wouldn’t title this ‘Early’ Verdi Arias.
Why not? Except for I VESPRI SICILIANI, the rest are prior to Luisa Miller and Traviata...
wonderful, simply the treasures are those less frequently heard arias, but why the timing of each aria is not provided??
Konstantinos, I have always been curious about these 1969 sessions. I have seen them referred to as test recordings, rehearsals, engineering tests, etc. but have never understood what any of that means! Do you think she was marking her high notes for rehearsal? Were these rehearsals which were simply never performed? Were they for the benefit of the orchestra? In any case, I have always been amazed at the good condition of her voice here. . . . . and the pianissimo top notes were exactly the right way to try to get them back into shape, work which she unfortunately didn't complete for whatever reason. Just wanted to know your thoughts on these sessions.
💯💐💯🌹❤️💯
STILL the best ever??
9:23-12:33 What is the name of this aria?
1969??? I can't believe this, sorry. With this voice quality, it was from 1955-1960.
Callas recorded the arias from Lombardi and Attila first in 1964 and in 1969 (second version) but never authorized the publication. The aria from Vespri was recorded first with Tonini (1962) and than with Rescigno (1964). The arias from Corsaro are a sort of rehearsal (made up by EMI with differen pieces) made in 1969 session with Rescigno.
What is the name of the aria beginning at 4:02?
***** "Arrigo! Ah, parli a un core" from I vespri siciliani!
+hammad984 It is 'Arrigo! ah parli a un core' from I Vespri Siciliani
ce n'est pas qu"elle ait un visage déplaisant mais si l'occasion m'avait été donnée de m'adonner à certaines fantaisies buccales, je me serais abstenu...par peur d'une dentition acérée peut-être mais surtout par crainte de cette hystérie sous-jacente... cette inconstance se traduit par un sentimentalisme qui ne pourra abuser que le vulgaire... concrètement, cette gueularde ne rend pas hommage aux oeuvres qu'elle interprète (massacre).
Belle logorrhée !
Claude Alain : Quel Con !
Encore une folle fan de netrebko.
As a lifelong fan of Verdi and and a lifelong detractor of the idea of Callas as a great singer I find this just horrible, better that she should never have lived!
Blimey
What a horrible man you are!!!
Victoria Grapsidou outrages
So don't come here just to leave disgusting remarks. If you don't like her, don't listen!
Thank you for this eloquent comment. It settles the question of what kind of people could hate Maria. Unspeakable.
This is from her very last studio recording in 1969. Obviously the voice is not what it once was: loss of volume, shortened high notes, reduced respiratory reserve. BUT! Such elegance in phrasing, control of pianissimo and legato, perfect intonation, supreme musicianship. The technique remains intact.
And this is late Callas??? 1969 wow!!! She sounds great...she really should have kept singing! Thanks for posting...