@@jefolson6989 Oh, may I drop something in here, not at all frosty or dismissive. I think, what we experience here is, that she has got a lot of personal power, and her chest voice has, too. The metallic timbre we can hear, is just so authentic, and part of her own set of superpowers. But she is at the same time in total alignment with her student, checking in also verbally again and again, and therefore really supportive!
I'm sorry I wasn't born till 76, 18 months before she died so I really missed out on a great teacher. We're better off teaching ourselves than relying on today's voice teachers.
@@alioffe4321 that sums it perfectly! I'm a choreographer and a dancer, and she is one of my GREAT TEACHERS, in all respects. her truth applies to anyone in need of advice AND inspiration, whether an artist or not. I very much appreciate your comments here in UA-cam, they are very enlightening AND beautifully phrased, thanks for sharing them.
Oh God, I love her speaking voice and how she demonstrates to the student, what she means... so healthily clear and in her power - and in tender respect at the same time!! I'm impressed - such a wonderful, warmhearted, kind and deliberately focused pedagogue! Wouldn't have expected that. 🙏🏻❤
Thanks for posting. Besides being the voice of the century, Callas was a great actress and an intelligent teacher. She revived lost operas and modernized opera bringing it into the 20th century. Making it relevant by a naturalistic modern way of acting. RIP La Divina. It is 2020 and nobody has equaled you.
This is the only Juilliard excerpt left with the full masteclass since someone either deleted them or UA-cam must've deleted them. Please, save a backup copy of this pivotal and important piece of operatic history.
@@sandradee105 You can go on the legal way to obtain them, by buying the cd from amazon or listening to it on spotify/itunes instead of waiting for piracy
It is really unfortunate that the entire series which is like over 30 classes are not all on UA-cam for free anymore. They were such a valuable resource to have. I just forked out $50 and bought the whole series. Some people said they are on the Julliard website for free but I couldn’t find them.
How pracious this video is!!! I was always wondering how M.Callas sing the scales so smooth so beautiful , just like a flawless pearl freely rolling up and down a roller coaster. .... It's really really amazing!!
Sitting Duck The last generation of singers who could begin as a teenager and study daily for hours on end. Her teacher de Hildago said she remembered her as staying through all the other students’ lessons after her own.
It didn't. "Master Class" was a combination of Callas' history, her reputation for being temperamental, and the myths that opera queens insist on believing in.
The recording is from October 1971, and the student's name is Syble Young. Here Callas was very patient with her, but when she sang "Una voce poco fa" the following February, Callas was somewhat harsher, both putting her down for her choice of cadenza and telling her to wear a longer skirt. Young also sang "Caro nome" during the master class.
She din't put the girl down. She gave her the good advice, not to appear in auditions in a short skirt with those men sitting down there: "they see everything". And then she appologized for bringing it up. Just listen to the recording.
It's most interesting to hear Callas dissect and, at points, sing phrases from arias she never performed. Her "Cortigiani" from Rigoletto remains one of the finest I've ever heard. She is so focused with regard to expression and musical accuracy, I wish to hear her sing everything. Imagine her Isolde's "Narrative and Curse"...The soprano has a lovely voice, but curiously struggles with a section of the aria that, as a listener, has always struck me as especially difficult. Callas provides excellent advice but, as she recommends, there's work to be done. Also, the sound is strikingly clear. When these audio transcripts first surfaced, the sound was muffled. One could barely hear Callas. This is superb!
The tembre of Maria's speaking voice is exactly the the same as of her singing voice. It's very rare, usually it's hard to understand who's talking. Usually operatic voice is far from speaking
It's because of the vocal technique. They don't teach this sort of vocal technique anymore. She is a soprano and her speaking voice is very dark and low, i believe it's the result of rather low position of the larynx, low , not collapsed.
This is a very interesting recording, but please rename or take down your other video of Callas supposedly singing 'Der hölle Rache'. The recording is not of Callas and she never sang the aria or the role.
Most likely due to copyright. It'll uploaded again though. I've seen the full masterclass series be put up and taken down several times throughout the years on UA-cam.
Chris Cruz they are in the Public Domain. They were recorded by Julliard who made them free for educational purposes. No company has claim on these recordings and They do not have a copyright.
ua-cam.com/video/pDUyA-fVie8/v-deo.html Por qué esta grabación es idéntica a la que publicaste como interpretada por María Callas? Creo que hay un error. Se presta para confusión. La voz es de Lucía Popp, no de María Callas. No sabía cómo mandarte el mensaje, porque el vídeo de la Callas no permite comentarios. ua-cam.com/video/nmqEGAgu2O8/v-deo.html Agregué el 2do link para hacer la aclaración. De no ser así mi comentario es confuso. Lo siento.
él lo sabe muy bien. Creo que haya puesto el nombre de la Callas sòlo para tener muchos pulgares puestos da los que non saben ni rconocer la voz de la Callas ni siquiera que Maria Callas nunca cantò "Die holle rache". Por eso , despuès de muchas lamentaciones, decidiò no de corregir el tìtulo, sino de quitar a la gente la posibilidad de hacer qualquier comentario. Y eso no me parece una cosa honesta.
@@isamaia2389 Maria Callas nunca interpretó esta ópera. Creo que me faltó agregar el link al que hago alusión, aquí va y no es María Callas, es en realidad Lucía Popp, como el que dejé al inicio de mi primer comentario. ua-cam.com/video/nmqEGAgu2O8/v-deo.html
@@isamaia2389 Maybe you don't know that this guy some hear ago posted a video titled"Maria Callas sing The Queen of night" with Luisa Popp's voice. It has an impressive number of view, thanks to the title, and never changed It despite lots of people protesting for the fake.
What most of those who are obsessed with technique, declamation, and dynamics fail to mention is the no less importance of learning believable delivery and Callas corrects the student on that problem first. Its a shame many foolishly believe that the technique, dynamics, and declamation alone is what makes the performance. The minority of truly understanding performers like Caruso, Sirota, Slezak, Franz, Ponselle, Patti, Flagstad, etc - including Callas, knew it was of no less importance and did not slack off to learn it, as sadly many prior, during, and after did so. Sad to see such laziness.
Interesting, that all the Juilliard ladies have problems with their chest register. Until today. BTW: Callas is absolutely right: In German there is no audible "r" in words like "Hört!", "Mutter" or "Schwur".
Indeed, many fall for that trap and rely on the false belief you just need technique, dynamics, sound, healthy declamation alone to sell a performance and Callas disproved that.
Imagine if Maria was alive in 2000 at 77 years old or if Patricia Janeckova was born in 1990.What if she could be her teacher!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!I can only dream!!!!!!!
The student's voice type may not suitable for this Singspiel ~ Her voice is more Verdian in my ears. Strong flow of volume, sharp, harsh high register, she is potentially a good L.Macbeth XD
hahaha you are out of your mind. Callas was a Verdi voice which is a voice that is at least 5 times bigger than this student’s voice who has a very light lyric coloratura voice. She a tiny voice especially - there is no weight whatsoever in her middle or low voice and a real Verdi voice has tremendous power in the low and middle voice.
By the way, the "Magic Flut" is not a Singspiel. On the first performance, it was called: "Eine große Oper", that is just "A big (or grand) opera". A Singspiel is basicly half dialogue, half music, somewhat the predecessor of operetta, usually on rather comic, light subjects. Instead of that, "Magic Flute" belongs to german operas with dialogue (like all 18th century operas in german, which never would have secco recitatives) like, later, Beethoven's "Fidelio". Mozart wrote three Singspiele: "Bastien und Bastienne", his first (or second) opera, the unfinished "Zaide" and, of course, "Entführung aus dem Serail", even though the last one is already more like a proper opera. In Mozart's times, there were performances of the "Magic Flute" in italian languages (in Italy or elsewhere, if performed by an italian opera company), that would have recitatives instead of the dialogue, for italian operas would always have recitatives, while german and french operas in the late 18th century would have spoken dialogue (like Cherubini's "Medée"). In the german speaking countries, they would perform italian opera in the original language or in german, but, if so, always with spoken dialogue (like "Figaro" or "Don Giovanni" for example) and Mozart would, of Course, accept that. Mozart wrote an aria for a german version of Paisiello's "Barber of Seville" in german. The only opera, which he wrote in italian (with recitatives), but also adapted it for a german version (with spoken dialogue) was "La finta giardiniera", in his german Version "Die verstellte Gärtnerin", for which he adjusted most of the accompagnati to the german language. In Germany (and England, for example) the would perform comic opera (for example any Comic Mozart, Rossini, Donizetti) until roundabout world war I in the native language and with spoken dialogue, most unlikely with recitatives.
“I’m asking a lot of you because you deserve it and I know you absorb” what an honor
Her speaking voice has something so sweet and motherly when she explains, I get her as a Greek, her linguist mannerisms and expression.
I dont get that at all! To me she sounds like rigid and a bit dismissive.Frosty rather than warm.
@@jefolson6989 Oh, may I drop something in here, not at all frosty or dismissive. I think, what we experience here is, that she has got a lot of personal power, and her chest voice has, too. The metallic timbre we can hear, is just so authentic, and part of her own set of superpowers. But she is at the same time in total alignment with her student, checking in also verbally again and again, and therefore really supportive!
This would be my dream. To be taught by Maria Callas!!
Mine too im so sorry we lost her :(
Listen to her recordings, then!
I'm sorry I wasn't born till 76, 18 months before she died so I really missed out on a great teacher. We're better off teaching ourselves than relying on today's voice teachers.
I believe that in heaven i ll meet Maria Callas and she give a little master to me
@@alioffe4321 that sums it perfectly! I'm a choreographer and a dancer, and she is one of my GREAT TEACHERS, in all respects. her truth applies to anyone in need of advice AND inspiration, whether an artist or not. I very much appreciate your comments here in UA-cam, they are very enlightening AND beautifully phrased, thanks for sharing them.
Oh God, I love her speaking voice and how she demonstrates to the student, what she means... so healthily clear and in her power - and in tender respect at the same time!! I'm impressed - such a wonderful, warmhearted, kind and deliberately focused pedagogue! Wouldn't have expected that. 🙏🏻❤
i love hearing her teach. like another comment said, there's something so motherly about the way she teaches.
Thanks for posting. Besides being the voice of the century, Callas was a great actress and an intelligent teacher. She revived lost operas and modernized opera bringing it into the 20th century. Making it relevant by a naturalistic modern way of acting. RIP La Divina. It is 2020 and nobody has equaled you.
I always love the way callas speaks
So do i
@John Michael Rodriguez syang tunay
@@arishjohndalivacayabyab5005 uy pinoy. la divina is the best
This is the only Juilliard excerpt left with the full masteclass since someone either deleted them or UA-cam must've deleted them. Please, save a backup copy of this pivotal and important piece of operatic history.
yes please can we re publish them? My mother recently deceases was a student and used to have a link. I would like to keep a record of her voice!
@@sandradee105 You can go on the legal way to obtain them, by buying the cd from amazon or listening to it on spotify/itunes instead of waiting for piracy
filipp721 they are in the public domain as repeatedly pointed out by Julliard. It is NOT piracy you dolt.
It is really unfortunate that the entire series which is like over 30 classes are not all on UA-cam for free anymore. They were such a valuable resource to have. I just forked out $50 and bought the whole series. Some people said they are on the Julliard website for free but I couldn’t find them.
ua-cam.com/play/OLAK5uy_nHmwEYKOJiifwX1g_ReuIOpVM5WWTtCXA.html
The full Masterclasses.
I gain so much pleasure from hearing La Divina's speaking voice. She has brought me through many hills and valleys.
the young lady has a great instrument... and WHAT a teacher Madam Callas is!!!!
I'd be shitting my pants if I sing like this and still she finds what to correct,
Sounds like Deutekom!
How lucky to be couched by La Divina, Maria freakin Callas!!
Beautiful instrument of the student too.
Maria Callas vocalizing is absolute perfection!
How pracious this video is!!!
I was always wondering how M.Callas sing the scales so smooth so beautiful , just like a flawless pearl freely rolling up and down a roller coaster. .... It's really really amazing!!
She worked at it until she got it right.
Sitting Duck The last generation of singers who could begin as a teenager and study daily for hours on end. Her teacher de Hildago said she remembered her as staying through all the other students’ lessons after her own.
But must be a gift ,that named talent
@@Empoweredwoman1234
Student is very excellent ...impressive range ...very interesting posting 💕 healthy for brain 🧠 and heart ❤
Maria Callas is such a perfectionist!❤️❤️🥰
Yes. What else!
I love hearing the masters teach
What a unique privilege - a masterclass with Maria Callas - my god - can you imagine?
What a charming person she was.
Would love to know who the student is and what she is doing today. Callas is a world treasure.
Syble Young, 25 October 1971. She also worked with Callas on "O zittre nicht" also from ZAUBERFLÖTE and "Una voce poco fa" from BARBIERE.
"listen listen this is the god of vengeance so the words must be as sharp as everything". 100%.
what a voice, student is really impresive, she were chosen one by apsolute Genius...
Happy Birthday, Maria!
I love her voice period but her speaking voice is motherly and familiar ❤
Fascinating Greek pronunciation at 06:10 for Monotono Monochromo!
I thought she pronounced it more in Italian way 😅
I've been looking for this for ever
I'm surprised at how sympathetic Maria is. ....."you need to come in like an ICE PICK !" LOL!
She sounds very kind. I don't know why in Broadway's Master class they made her sound like a bad person
It sells better.
It didn't. "Master Class" was a combination of Callas' history, her reputation for being temperamental, and the myths that opera queens insist on believing in.
Written by people who never met her and never attended her performances.
Thank you so much for this record 😍😍😍🌹🎼
La voz de la estudiante es maravillosa
this is precious~~~ 😍😍😍
The recording is from October 1971, and the student's name is Syble Young. Here Callas was very patient with her, but when she sang "Una voce poco fa" the following February, Callas was somewhat harsher, both putting her down for her choice of cadenza and telling her to wear a longer skirt. Young also sang "Caro nome" during the master class.
Is there a video of that here?
@@CClarinet123 ua-cam.com/video/xwGuvhjo1Sw/v-deo.html
She din't put the girl down. She gave her the good advice, not to appear in auditions in a short skirt with those men sitting down there: "they see everything". And then she appologized for bringing it up. Just listen to the recording.
@@zehnthaus just read my comment. It says "putting her down FOR HER CHOICE OF CADENZA", not for the skirt.
@@kbhprinsesse Callas didn't put her down for her choice of cadenza either.
It's most interesting to hear Callas dissect and, at points, sing phrases from arias she never performed. Her "Cortigiani" from Rigoletto remains one of the finest I've ever heard. She is so focused with regard to expression and musical accuracy, I wish to hear her sing everything. Imagine her Isolde's "Narrative and Curse"...The soprano has a lovely voice, but curiously struggles with a section of the aria that, as a listener, has always struck me as especially difficult. Callas provides excellent advice but, as she recommends, there's work to be done. Also, the sound is strikingly clear. When these audio transcripts first surfaced, the sound was muffled. One could barely hear Callas. This is superb!
This would have been an easy peasy for Maria during her vocal prime.
The tembre of Maria's speaking voice is exactly the the same as of her singing voice. It's very rare, usually it's hard to understand who's talking. Usually operatic voice is far from speaking
It's because of the vocal technique. They don't teach this sort of vocal technique anymore. She is a soprano and her speaking voice is very dark and low, i believe it's the result of rather low position of the larynx, low , not collapsed.
Daniela d It’s also interesting that her speaking voice is unimpaired after the voice was long gone.
she used to smoke A LOT too.
Even Mario Del Monaco’s speaking voice was far from his singing voice
Amazing how a late opera singer teaches a 2 minute aria in 29 minutes :)
This is a very interesting recording, but please rename or take down your other video of Callas supposedly singing 'Der hölle Rache'. The recording is not of Callas and she never sang the aria or the role.
Yes, in that recording, 'Der hölle Rache' is sung by Lucia Popp not by Callas.
Proof:
ua-cam.com/video/pDUyA-fVie8/v-deo.html
grazie Maria!!!!
Does anyone know the name of the soprano that is jumping through the hoops!!??
Da qui si può capire il genio di Maria Callas
I am trying to imagine how it is gonna be if callas would have sung in german
@J. W. K. excuse me but I don't speak german .
@J. W. K. I am going to be so intrigued to hear that 🤩😍
Whose is wondering where is that student now?
me haha. Some of them can be searched on UA-cam while some, only God knows.
Where the hell was this on the Warner release? Good god this is a gem!
Callas is the best!
False. Even Callas would correct you that she is NOT. She is one of them, but there are better performers/singers than her.
@@EmilyGloeggler7984 if you are moved, thats the ticket. Callas’ emotions.
The improvement is really noticeable.
Too bad she didn't continue with the Masterclass because the headmaster of Juilliard sold the recordings without her consent
Whatever happened to this soprano? She has a great voice.
Who is the magnificent student singing Der Hölle Rache...?
How do you imagine a Queen of the Night sung by Maria Callas?
It would have been utterly mind blowing! It would have had all the authoritative power of her Turandot! She'd've been terrifying.
@@r.i.p.volodya I think she should have sung at least one of the arias. Rudolf Bing offered her the role but she turned it down.
26:00
👸 👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻 🌹
That vocalization was so wobbly
Why were they deleted?!?!?!?!?!?!?
Most likely due to copyright. It'll uploaded again though. I've seen the full masterclass series be put up and taken down several times throughout the years on UA-cam.
@@Itschriscruz Same but the last time was up for a long time.
Chris Cruz they are in the Public Domain. They were recorded by Julliard who made them free for educational purposes. No company has claim on these recordings and They do not have a copyright.
ua-cam.com/video/pDUyA-fVie8/v-deo.html
Por qué esta grabación es idéntica a la que publicaste como interpretada por María Callas? Creo que hay un error. Se presta para confusión. La voz es de Lucía Popp, no de María Callas. No sabía cómo mandarte el mensaje, porque el vídeo de la Callas no permite comentarios.
ua-cam.com/video/nmqEGAgu2O8/v-deo.html
Agregué el 2do link para hacer la aclaración. De no ser así mi comentario es confuso. Lo siento.
él lo sabe muy bien. Creo que haya puesto el nombre de la Callas sòlo para tener muchos pulgares puestos da los que non saben ni rconocer la voz de la Callas ni siquiera que Maria Callas nunca cantò "Die holle rache". Por eso , despuès de muchas lamentaciones, decidiò no de corregir el tìtulo, sino de quitar a la gente la posibilidad de hacer qualquier comentario. Y eso no me parece una cosa honesta.
This voice is Maria Callas! Sorry
@@isamaia2389 Maria Callas nunca interpretó esta ópera. Creo que me faltó agregar el link al que hago alusión, aquí va y no es María Callas, es en realidad Lucía Popp, como el que dejé al inicio de mi primer comentario.
ua-cam.com/video/nmqEGAgu2O8/v-deo.html
@@isamaia2389 María Callas es la maestra.
@@isamaia2389 Maybe you don't know that this guy some hear ago posted a video titled"Maria Callas sing The Queen of night" with Luisa Popp's voice. It has an impressive number of view, thanks to the title, and never changed It despite lots of people protesting for the fake.
What most of those who are obsessed with technique, declamation, and dynamics fail to mention is the no less importance of learning believable delivery and Callas corrects the student on that problem first. Its a shame many foolishly believe that the technique, dynamics, and declamation alone is what makes the performance. The minority of truly understanding performers like Caruso, Sirota, Slezak, Franz, Ponselle, Patti, Flagstad, etc - including Callas, knew it was of no less importance and did not slack off to learn it, as sadly many prior, during, and after did so. Sad to see such laziness.
Poor girl had some work to do. Hoped she listened to Maria.
Interesting, that all the Juilliard ladies have problems with their chest register. Until today.
BTW: Callas is absolutely right: In German there is no audible "r" in words like "Hört!", "Mutter" or "Schwur".
Girl sounds like she doesn't have a clue what she's singing. Shame, her voice is lovely.
Indeed, many fall for that trap and rely on the false belief you just need technique, dynamics, sound, healthy declamation alone to sell a performance and Callas disproved that.
Imagine if Maria was alive in 2000 at 77 years old or if Patricia Janeckova was born in 1990.What if she could be her teacher!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!I can only dream!!!!!!!
the German R in the opera is no rolled! im german and an opera singer . THAT sounds SILLY
Someone who, by themselves, do not understand the role is furious must be hopeless singers, only in opera they can make a career.
God almighty, this girl speaks too damn much!
She's just eager to learn.
The student's voice type may not suitable for this Singspiel ~ Her voice is more Verdian in my ears. Strong flow of volume, sharp, harsh high register, she is potentially a good L.Macbeth XD
hahaha you are out of your mind. Callas was a Verdi voice which is a voice that is at least 5 times bigger than this student’s voice who has a very light lyric coloratura voice. She a tiny voice especially - there is no weight whatsoever in her middle or low voice and a real Verdi voice has tremendous power in the low and middle voice.
By the way, the "Magic Flut" is not a Singspiel. On the first performance, it was called: "Eine große Oper", that is just "A big (or grand) opera". A Singspiel is basicly half dialogue, half music, somewhat the predecessor of operetta, usually on rather comic, light subjects. Instead of that, "Magic Flute" belongs to german operas with dialogue (like all 18th century operas in german, which never would have secco recitatives) like, later, Beethoven's "Fidelio". Mozart wrote three Singspiele: "Bastien und Bastienne", his first (or second) opera, the unfinished "Zaide" and, of course, "Entführung aus dem Serail", even though the last one is already more like a proper opera. In Mozart's times, there were performances of the "Magic Flute" in italian languages (in Italy or elsewhere, if performed by an italian opera company), that would have recitatives instead of the dialogue, for italian operas would always have recitatives, while german and french operas in the late 18th century would have spoken dialogue (like Cherubini's "Medée"). In the german speaking countries, they would perform italian opera in the original language or in german, but, if so, always with spoken dialogue (like "Figaro" or "Don Giovanni" for example) and Mozart would, of Course, accept that. Mozart wrote an aria for a german version of Paisiello's "Barber of Seville" in german. The only opera, which he wrote in italian (with recitatives), but also adapted it for a german version (with spoken dialogue) was "La finta giardiniera", in his german Version "Die verstellte Gärtnerin", for which he adjusted most of the accompagnati to the german language. In Germany (and England, for example) the would perform comic opera (for example any Comic Mozart, Rossini, Donizetti) until roundabout world war I in the native language and with spoken dialogue, most unlikely with recitatives.
@@beachfanatic2010 You are absolutely right.
@@beachfanatic2010 Thank you ! I've learnt.
Her voice would have to gain weight and color in the middle and bottom to be able to sing Lady Macbeth. Perhaps Amina, Adina, Gilda, or Sophie