Відео

Melhor do mundo ❤

Questa è la Callas che cantava all'arena di Verona nel 1955

Scala 1953 - the best version 👌👌👌

Revisionist appraisal of Scotto’s here intent I believe. She is acting coy but she is making clear how Callas was looking to ensure that it was her show and not Scotto’s. We all heard it and we all reacted to it. Callas may have had motives to proclaim her supremacy over Scotto during this recording . Scotto after all had triumphed as Amina when she took over one of Callas’ performances. Callas could be very insecure and often picked fights with colleagues and management because of it. She was not a perfect person. Callas fans were hyper sensitive to any comments Scotto made towards her which were seen/heard as snide comments. There was a very ‘devoted’ Callas fan who made it his business to disrupt all of Scotto’s MET performances. Play with fire, you’re gonna get burnt. Finally, Scotto was never a Spinto. Early on I’d say she was a leggiera with not very beautiful top notes but with a lovely sound. As a lyric she was excellent as there was no need to push her lovely middle register. Later in her career she seldom made a big sound at the bottom of her range, and I often struggled hear those notes as she tapered them to a slim sound. Not a Spinto voice.

Todas son destacables. Faltan dos muy buenas versiones: June Anderson y M Horne. A mi me personalmente me gustan las versiones de Gruberova (que luego de esta versión realizó otras con una variación final muy impactante). Gracias por compartir este trabajo!

J’ai 80 ans et je suiș de Roumanie . Je n’ oublirai jamais Cette grande dame d’ une dignite sans egale qui est venue a Bucatest Dan un concert de grande tenue Chaque fois que je l’ entends je voi ma jeunesse et mes annees d’ etudes Ma belle jenesse dont nerestent que leș suvenirs

Imposible to choose....

Tiago hay alguna grabación de Fedora? Me gustaría mucho escuchar el dúo del 2 acto. Si hay súbelo para disfrutarlo. Muchas Gracias. 😊😊😊

Diva única. Jamás habra otra. Inigualable. La amo ❤ ❤ ❤

6:24 I simply cry 16:25 & 17:28 Beautiful resonance

uwielbiam🥰

From 2:00 to 2:08 The singing is so beautiful and precious that it hurts! I never stop being fascinated by this singer. The voice could be screechy yet at the same time extremely beautiful in softer passage in the middle voice, as if she has 2 different voices!

What is the name of the Aria from Manon Lescaut ?

the mezzo di voce in the 1952 recording is astonishing - a ppp which Caballe would be proud of to full Brunhilde and back

A intensidade dramática na voz de Callas foi aumentando com os anos, só em1974 a voz de Callas era uma pálida sombra do que já tinha sido, mesmo assim poria" a um canto" qualquer cantora de hoje!❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤

❤❤❤😊😊😊❤❤❤

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Sem palavras!...

Как она великолепна ..💓

Comentar sobre as performances da maior soprano dos séculos XX e XXI é publicar redundâncias. Calkas é única, insubstituível e absoluta. Nenhuma outra cantora lírica chegou perto do deu trabalho deslumbrante, da perfeição dos seus melismas e coloraturas, da capacidade dramática e controle da voz, do sei phatda imensidão de sua arte. Ela viverá para sempre absoluta. s teatral

I have to say I love the 1958 Dallas version the best. To me, her voice sounds more venomous and witchy in that one.

Interesting to hear the mix of Mezzos and sopranos, as the sopranos added all of the top stuff that wasn't written in the aria proper. Von Stade was the first recording of this I ever heard, and for a while thought it a mezzo role! I do enjoy the mezzos singing it, though I'm not familiar with the rest of the role! Always been a Moffo fan!

I saw her on this final concert tour in Chicago. Her choice of repertoire was superb with both dramatic and lyric pieces. Her voice was in reasonably good shape at that point in the tour and sounded better and more in control than she sounds here. What was most stunning was the physical way she embodied the character she was singing. With nothing more than a plain white gown and a long red silk stole she became a peasant woman betrayed, a Spanish noblewoman, a man of Greek myth, a Spanish queen among others. She did this with just slight changes in her body position, with hand movements, with use of her eyes and the tilting of her head. One realized in seeing/hearing her even this late what a phenomenon she must have been during the period when her voice was a supple and responsive as her body.

I agree. La Callas said Glauce's aria rather than Scotto's aria. However, if we think deeply, Scotto's attitude during the interview is rather tender and a little funny. I never felt she meant that Callas was jealous of her. I think she wanted to reflect Callas' impetuous temperament, which is well known by everybody, and we still love her. Please, have in mind that Renata was 23 by that time. I've never understood why people want to create fake controversy. Hugs, dear Tiago.

Непревзойденная Амина! Никто и близко не стоит.Спасибо любимая!

La potente Callas giovane che stupi' le folle !!!

Aquelas hoje que pensam ser grandes sopranos e que pensam ter beleza incomparável, não têm metade da elegância e o saber estar de Maria Callas!!! E que dizet da sua voz magica?...❤❤❤❤❤❤❤❤❤❤🇵🇹

Quanto eu não daria para ouvir Maria Callas ao vivo!Sem nunca a ter visto, sinto saudades!❤❤❤❤❤🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🇵🇹

What an interesting video! This fiendish role was a perfect fit for her voice, and even with a fraction of her former voice, she could make the role work as no one has been to ever since. The video is also fascinating as it shows how the voice changed over an 8 year period, but especially in the first few years after she lost all that weight. In the first performance, she's at her biggest, and so is the voice. It's a huge, dark sound, with searing high notes and cavernous chest tones, and tons of power in reserve. A critic wrote that "she displayed a vocal generosity that was scarcely believable for its amplitude and resilience." By December of that year, she had already lost a good deal of weight and looked, as Margarete Wallmann said, like one of the Caryatids on the Acropolis. The voice is still powerful, but you can hear a slight decrease in power and in darkness and plushness of tone. In the span of a few months, the voice already sounds much more to the "thin" Callas voice. By 1957, though it's a studio rather than live recording, you hear a much smaller, thinner sound, without the former reserves of power or the cavernous low tones. I think her 1958 performance in Dallas is Callas at her best interpretively, and also she's in her best "thin" voice. You can almost taste the adrenaline that must have been flowing that night, where she proceeded to give a historic performance right after being fired from the Met. 1959 is very similar to Dallas, but without the same fire. In this selection, she even sounds good in 1961, but this part of the opera isn't as exposed as “Dei tuoi figli” earlier. Even her "worst" Medea is better than what we have heard ever since.

There's the studio version of Una voce poco fa. The best version ever

Für mich hat sich der Geist der Griechischen Tragödie, in diese Stimme inkarniert.

I love some performances of Medea.. and for sure she is the best Medea. Ever.. however carrying her chest voice up as high as she pushed it ruined her top voice

Adoravelmente irretocável ❤

Maria Callas será sempre uma referencia no mundo da opera para aspirantes ao belcanto!Muitas quererão chegar ao seu nível, mas sempre ficarão longe.MarIa Callas foi unica.Levou a sua voz até onde, provavelmente, mais ninguém chegará !Callas para sempre!❤🇵🇹

Interesting the ‘59 version is more moving to me, because she has the depth of the emotional interpretation, High wobble or no wobble. This is why she will always be the greatest - despite (or because?) of her voice deterioating, what she lost in control, she gained in interpretation, which will never be beaten.

Nessuna ha mai cantato Gioconda così!!!!!!!!!!!!!!!!

SUPERHUMAN CALLAS !!! Maria the breath of God !!!!

Callas is Tosca! Nenhuma outra conseguiu expressar sentimentos tão intensos quanto Callas no papel.

Não há nem vai haver assim Linda Amor eterno AMÁLIA

Nunca mais vamos ver outra Amália! À única, sem dúvida🇵🇹 São Louuuuuuccas! Viva a Reina do Fado ♥️

Puritani is from 1953 recording

once again, one must note what one hears in the finale of Act II: the most self-contained recording, where the lack of Callas' visual and stage feedback is least felt, is the first: the deities of hell are all in the voice

Il penultimo, quello di Dallas, è un tono sotto. E comunque l'acuto è un si bemolle 4...

Sing to the coloratura until dramatic roles in the same year....is amazing

Maravilloso el fragmento con Kraus

Più passano gli anni, più approfondisce il dolore di Tosca. E dire che Tosca non era un’opera che amasse particolarmente.Ma la ripresa televisiva di Londra la renderà, credo, immortale

María Callas es y será mi favorita siempre

This is lovely. The 1952 is better . But I have listened to all of 1959 recording and it is excellent

I duetti storici, cioè indelebili nel tempo, sono quelli IPERURANEI di Maria e Pippo.

Maria unbelievable