NOBODY could, can or will be able to sing Rossini (and anything else) the way Callas does. Like most commenters here, I too am amazed by how effortlessly She manages to change Her voice from the vocal killers, like Medea, Norma or Abigaille, to the [significantly] easier and much lighter music of Fiorilla, Rosina or even Armida. Whoever dares to deny the fact that Maria Callas was, is and will forever be the greatest and, yes, best opera singer of all time, is nothing, but either a liar, or a total idiot. Thank You, dearest Nuri, for another lovely video on Your channel, xo❤️
I consider her Fiorilla one of her greatest triumphs, because it showed she was not only the greatest musical tragedienne of all time, but one of the greatest comedians too. The characterisation is so vivid. Non-stop legato and the most uncanny inflections in timbre, phrasing etc that make Fiorilla leap out in front of us. And strangely, as comedic as this duet is, I also find it very tender and moving- especially at 2:42 onwards.
I find it so utterly confusing how so many people dismiss her Rossini. In that timestamp you mentioned, Callas executes superhuman agility in a shockingly nonchalant and effortless way... To not only be a reincarnation of Greek mythological tragedy on stage but also a coquettish Rossinian comedienne is nothing short of a miracle...
N. Lidar because they consider machine-gun Horne-Esque, Small, aspirated, gargling to be rossinian... instead of the ultimate natural flexibility... Maria’s Rossini (even some sections of Armida) really make her voice shine with youthful radiance, reminding you just how young she was. This great big dramatic instrument singing natural fioritura like it’s what it was born to do... And going back to Armida, she could turn it from sweet light fioritura (or che faro) to the dramatic full voice fury in the finale in a single evening, remarkable
@@NLidar Well Callas was the great Rossini singer of all time to me. There was no one who could execute the 'stepping stones' sequential, legato coloratura like Callas. And people call Horne a Rossini specialist? HA. She didn't have 1/10th of Callas's natural flexibility, range and musicality needed for Rossini, who I consider a unique genius.
@@manolis.799 Maria's Rossini will indeed always referrentially be the greatest.. Where some people create idiotic coloratura competitions and childish physical comedy, Callas creates moments of colorful and humourous wittiness, Italian exuberance, and of course pristine vocal abilities. Atleast in the opera buffas - when it comes to Armida, absolute ferocity is the keyword.
N. Lidar Armida must have both... she has to be seductive then her true side has to come out later...... however Callas being the genius she was made the change gradual... in act 1 she sings the fioritura in a lighter fashion then she does in D’amore al dolce impero (its a bit more sadistic there, you get a hint at what’s underneath,) then in act 3 she makes it monstrous! It’s a thrill!
Thank you, Nuri, for this reminder of just what an astounding miracle the phenomenon of Callas was. She seemed to have a direct psychic link to the composer and librettist, as if she were executing their wishes with no 'middle-man' of ego or pride to get in the way. It was as if she had Euterpe, Melpomene and Thalia invisibly guiding her every step. The basic technical foundation is never in doubt, and on this bedrock she is able to let her genius soar into realms of which no other singer could even dream. Just as Mozart seemed to have been possessed and goaded onward by a demonic spirit of creative genius that finally burned him out and killed him, so Callas was similarly possessed by the spirits of tragedy, comedy and music, which urged her to ever higher accomplishments until, exhausted and nearly depleted, she could no longer compete with her younger self and had to stop. I am sad but thankful that she surrendered what was essentially her life essence, as well as her personal happiness, in the service of art.
Calla’s Fiorilla and Rosina were Rossinian revelations that IMHO illuminate the deep intelligence and humanity of this artist like no others.
NOBODY could, can or will be able to sing Rossini (and anything else) the way Callas does. Like most commenters here, I too am amazed by how effortlessly She manages to change Her voice from the vocal killers, like Medea, Norma or Abigaille, to the [significantly] easier and much lighter music of Fiorilla, Rosina or even Armida. Whoever dares to deny the fact that Maria Callas was, is and will forever be the greatest and, yes, best opera singer of all time, is nothing, but either a liar, or a total idiot. Thank You, dearest Nuri, for another lovely video on Your channel, xo❤️
Thank you Sara for the great comment and thank you for watching!
Sara Allouche......absolutely agree!!! 😊
Self-aware, classy, fun, unique, light, effortless: Callas
She is truly a God to be able to transform herself so swiftly from the infernal Medea to this playful little soubrette-voiced Fiorilla...
N. Lidar same voice that gave us Norma the same year, same voice that sang Brunnhilde, Kundry, Isolde, Medea, Gioconda, etc.... unrepeatable
The voice pours out like sweet liquid.....absolutely delicious....thank you 😚
I consider her Fiorilla one of her greatest triumphs, because it showed she was not only the greatest musical tragedienne of all time, but one of the greatest comedians too.
The characterisation is so vivid. Non-stop legato and the most uncanny inflections in timbre, phrasing etc that make Fiorilla leap out in front of us. And strangely, as comedic as this duet is, I also find it very tender and moving- especially at 2:42 onwards.
I find it so utterly confusing how so many people dismiss her Rossini. In that timestamp you mentioned, Callas executes superhuman agility in a shockingly nonchalant and effortless way... To not only be a reincarnation of Greek mythological tragedy on stage but also a coquettish Rossinian comedienne is nothing short of a miracle...
N. Lidar because they consider machine-gun Horne-Esque, Small, aspirated, gargling to be rossinian... instead of the ultimate natural flexibility... Maria’s Rossini (even some sections of Armida) really make her voice shine with youthful radiance, reminding you just how young she was. This great big dramatic instrument singing natural fioritura like it’s what it was born to do...
And going back to Armida, she could turn it from sweet light fioritura (or che faro) to the dramatic full voice fury in the finale in a single evening, remarkable
@@NLidar Well Callas was the great Rossini singer of all time to me. There was no one who could execute the 'stepping stones' sequential, legato coloratura like Callas. And people call Horne a Rossini specialist? HA. She didn't have 1/10th of Callas's natural flexibility, range and musicality needed for Rossini, who I consider a unique genius.
@@manolis.799 Maria's Rossini will indeed always referrentially be the greatest.. Where some people create idiotic coloratura competitions and childish physical comedy, Callas creates moments of colorful and humourous wittiness, Italian exuberance, and of course pristine vocal abilities. Atleast in the opera buffas - when it comes to Armida, absolute ferocity is the keyword.
N. Lidar Armida must have both... she has to be seductive then her true side has to come out later...... however Callas being the genius she was made the change gradual... in act 1 she sings the fioritura in a lighter fashion then she does in D’amore al dolce impero (its a bit more sadistic there, you get a hint at what’s underneath,) then in act 3 she makes it monstrous! It’s a thrill!
Vintage CALLAS my friend. Only CALLAS could sing Rossini completely . TY FOR POSTING DEAR MADAME Sincerely Arnold Bourbon Amaral 👴🌿🌏🌎🌎🌍🎻🎹🎶
Thank you, Nuri, for this reminder of just what an astounding miracle the phenomenon of Callas was. She seemed to have a direct psychic link to the composer and librettist, as if she were executing their wishes with no 'middle-man' of ego or pride to get in the way. It was as if she had Euterpe, Melpomene and Thalia invisibly guiding her every step. The basic technical foundation is never in doubt, and on this bedrock she is able to let her genius soar into realms of which no other singer could even dream. Just as Mozart seemed to have been possessed and goaded onward by a demonic spirit of creative genius that finally burned him out and killed him, so Callas was similarly possessed by the spirits of tragedy, comedy and music, which urged her to ever higher accomplishments until, exhausted and nearly depleted, she could no longer compete with her younger self and had to stop. I am sad but thankful that she surrendered what was essentially her life essence, as well as her personal happiness, in the service of art.
N. Lidar CALLAS WAS THE INCREDIBLE SACRIFICE OF THE MOST BEAUTIFUL ART FORM IN THE UNIVERSE. 👑 REGINA PER SIEMPRE. Arnold Bourbon Amaral
Miraculous.