All doing great jobs.. and yet in Callas’ voice there are trmpestous cascades and roulades scales up and down differences in volume that simply are out of this world. The rest modulate the volume between forte and fortissimo and that’s all.. it is what made Callas to sit in a league of her own above the rest, and most likely probably be so for a long time
Callas is singing in her EMI recording with a microphone molar tooth, anyway her voics is tubed and ugly . The other three are hear in recordings with amateur sound and in spite of that mediocre sound, the one who has the great voice with cascades of creamy sound is Renata Tebaldi,
@@ginopietracupa4305 I wander if this is her studio recording, in no way sounds like it; she did sing this live in Chicago,it might be one of those performances
Callas redition is so vivid!!!i close my eyes and she the pain she goes through as she knows that her child will left behind without her!!! i do not care if Tebaldi was perfect pich when I cannot feel any emotions but just a great voice
La tensione drammatica e il pathos conferiti dalla voce monumentale e soggiogante della Tebaldi sono, a mio avviso, difficilmente eguagliabili. Cosa doveva essere vederla in Butterfly...Sicuramente sarei diventato suo schiavo, come ebbe a dire Bonynge con riferimento alle recite all’Arena Flegrea del ‘58.
I think this later Callas 63 version is unsurpased, pure electricity on living flesh... just listen the public... how I would love to be there... I have heared that it is record on video but remains in the shadows... what a crime...
I was under the impression that there were no live recordings of Maria madama butterfly this is great this seems to be a live performance does the whole performance exist and tape?
@@mao1878 this definitely sounds different from the studio recording, her voice is not as steady and diction is not her usual, a lot of editing would be required
Marx, you selected four marvelous Cio Cio Sian's, all who sang the role in the theatre. Tebaldi's scream at the beginning of the aria is startling, but it fits the mood as well as her attack on gioca gioca at the end. Callas is so riveting and tragic. I know that she included Butterfly's death in her 1963 concerts. Is this from Paris? I heard the others but the one from Paris has the best sound.
Dear MARX you are really bad with the poor girls you compare with Callas. here, regardless of vocal tastes, an interpretative detail would suffice: THE FIRST THREE TERRORIZES THE POOR CHILD ONLY THE CALLAS PRONUNCIATION "VA', Gioca, Gioca" WITH SWEETNESS. this is enough to understand why Callas is Callas Caro MARX sei proprio cattivo con le poverette che metti a confronto con la Callas. qui, a prescindere dai gusti vocali, basterebbe un dettaglio interpretativo: LE PRIME TRE TERRORIZZANO IL BAMBINO SOLO LA CALLAS PRONUNCIA "VA', GIOCA, GIOCA" CON DOLCEZZA. basta questo per capire perchè la Callas è la Callas
Dear Marx I thank you very much to have put this video, though I must admit it is quite an emotional challenge to listen four times in a row this most effective but very sad aria. I think Geraldine Farrar is quite good (her voice is beautifully well balanced between her registers) and as for Callas, she is in better voice and more involved in her studio recording of this aria from 1955 comparatively to this recording from Paris live in 1963.
En este vídeo, en mi opinión, María Callas es la peor, parece como si le costara llegar a las notas agudas, son demasiado chilladas y poseé un vibrato demasiado pronunciado. María Callas fue y siempre será la mejor intérprete de Ópera, pero a partir de mediados de los 50's y por culpa de las grabaciones de estudio, su ágil y poderosa se fue apagando. Para mí, la mejor es mi querisima Renata Tebaldi con ese elegantísimo squillo en los agudos y esa fantástica coordinación de registros ¡Increíble! 👏🏻☺️
Belcantista Gallego el Suicidio no tiene nada lo elegante. La interpretación de María es perfecta. Muy dramática ... muy real.Madame butterfly se ha decidido a morir. Trágico, ¿no? Por otra parte, La interpretación de Tebaldi bastante sosa. Otros puntos de vistas. 🙂🙃
@@fzpe856 La interpretación puedo ser perfecta. Como ya he comentado, María Callas fue y siempre será una gran intérprete de Ópera incluso es sus peores épocas supo donde había que acentuar y donde poner ese magnífico sentimiento que ella siempre ponía, mas su técnica se fue deteriorando, se puede comprobar en esta grabación que su voz es bastante débil. Una lástima que todas las modernas quieran imitar a La Callas. Respecto a lo de Tebaldi, técnica gloriosa hasta su retirada, tal vez tuviera una interpretación más sosa, mas en muchas grabaciones y óperas mantiene una interpretación preciosa. Gracias por su comentario. 🙋🏻♀️
Gino Pietracupa Todas entubadas, sus interpretaciones no dicen nada, en butterfly Todas esas tías con voces lindas y pequeñas no existen. Gracias por tu comentario. Paz.
Belcantista Gallego Respecto a lo de Tebaldi, Ella nunca logró mantener una técnica gloriosa hasta el final. Para que seamos justos. Tuvo su momento, pero luego su technical se fue empeorando. 🙋♂️ paz, amigo. Xxx
All doing great jobs.. and yet in Callas’ voice there are trmpestous cascades and roulades scales up and down differences in volume that simply are out of this world. The rest modulate the volume between forte and fortissimo and that’s all.. it is what made Callas to sit in a league of her own above the rest, and most likely probably be so for a long time
Callas is singing in her EMI recording with a microphone molar tooth, anyway her voics is tubed and ugly . The other three are hear in recordings with amateur sound and in spite of that mediocre sound, the one who has the great voice with cascades of creamy sound is Renata Tebaldi,
@@ginopietracupa4305 I wander if this is her studio recording, in no way sounds like it; she did sing this live in Chicago,it might be one of those performances
@@ginopietracupa4305 It's a Callas live recording from Paris, 1963.
@@liglesiash no no
Gino Pietracupa
Callas >>> Renata. Even Renata knows that. 😛
María so dramatic. My favourite Madame butterfly.
Callas has an urgency and desperation ; amazing
Callas redition is so vivid!!!i close my eyes and she the pain she goes through as she knows that her child will left behind without her!!! i do not care if Tebaldi was perfect pich when I cannot feel any emotions but just a great voice
Tebaldi... Splendore vocale grande impatto... Callas voce meno rigogliosa ma comunque grande...
Callas and Destinn.
La tensione drammatica e il pathos conferiti dalla voce monumentale e soggiogante della Tebaldi sono, a mio avviso, difficilmente eguagliabili. Cosa doveva essere vederla in Butterfly...Sicuramente sarei diventato suo schiavo, come ebbe a dire Bonynge con riferimento alle recite all’Arena Flegrea del ‘58.
I think this later Callas 63 version is unsurpased, pure electricity on living flesh... just listen the public... how I would love to be there... I have heared that it is record on video but remains in the shadows... what a crime...
I was under the impression that there were no live recordings of Maria madama butterfly this is great this seems to be a live performance does the whole performance exist and tape?
David Molina i am 100% sure the applause was edited and added at the end of the clip ;)
Here you are: ua-cam.com/video/kLPvkI_IVdk/v-deo.html
@@mao1878 this definitely sounds different from the studio recording, her voice is not as steady and diction is not her usual, a lot of editing would be required
JAdal Matamoros This is from the 1963 Paris recital.
@@ER1CwC thanks
I Think Callas’ 1955 studio performance of this is her best; she was in good form. This isn’t bad though.
María está viviendo y sintiéndo ese dolor ... Puedee cortar el dolor, para mi es otro nivel interpretativo.
Maria e Renata, vocalmente completamente diverse, ma entrambi grandi soprano, forse tra le migliori insieme a poche altre di sempre....
Quattro grandi soprano e su questo non ci piove, ma - a mio gusto - una delle quattro qui c'entra davvero poco...
Marx, you selected four marvelous Cio Cio Sian's, all who sang the role in the theatre. Tebaldi's scream at the beginning of the aria is startling, but it fits the mood as well as her attack on gioca gioca at the end. Callas is so riveting and tragic. I know that she included Butterfly's death in her 1963 concerts. Is this from Paris? I heard the others but the one from Paris has the best sound.
Callas can't be beat
Dear MARX you are really bad with the poor girls you compare with Callas.
here, regardless of vocal tastes, an interpretative detail would suffice:
THE FIRST THREE TERRORIZES THE POOR CHILD ONLY THE CALLAS PRONUNCIATION "VA', Gioca, Gioca" WITH SWEETNESS. this is enough to understand why Callas is Callas
Caro MARX sei proprio cattivo con le poverette che metti a confronto con la Callas.
qui, a prescindere dai gusti vocali, basterebbe un dettaglio interpretativo:
LE PRIME TRE TERRORIZZANO IL BAMBINO SOLO LA CALLAS PRONUNCIA "VA', GIOCA, GIOCA" CON DOLCEZZA. basta questo per capire perchè la Callas è la Callas
Totally agree!!!!
Dear Marx I thank you very much to have put this video, though I must admit it is quite an emotional challenge to listen four times in a row this most effective but very sad aria. I think Geraldine Farrar is quite good (her voice is beautifully well balanced between her registers) and as for Callas, she is in better voice and more involved in her studio recording of this aria from 1955 comparatively to this recording from Paris live in 1963.
Non e MariaCallas..neanche il gi pro e impostazione vocale non è perfetta Callas cantava perfettamente in italiano sara un attenuata del muto
En este vídeo, en mi opinión, María Callas es la peor, parece como si le costara llegar a las notas agudas, son demasiado chilladas y poseé un vibrato demasiado pronunciado. María Callas fue y siempre será la mejor intérprete de Ópera, pero a partir de mediados de los 50's y por culpa de las grabaciones de estudio, su ágil y poderosa se fue apagando.
Para mí, la mejor es mi querisima Renata Tebaldi con ese elegantísimo squillo en los agudos y esa fantástica coordinación de registros ¡Increíble! 👏🏻☺️
Belcantista Gallego el Suicidio no tiene nada lo elegante. La interpretación de María es perfecta. Muy dramática ... muy real.Madame butterfly se ha decidido a morir. Trágico, ¿no?
Por otra parte, La interpretación de Tebaldi bastante sosa.
Otros puntos de vistas. 🙂🙃
@@fzpe856 la Callas toda entubada, no dice nada su interpretación, en Butterfly Callas no existe
@@fzpe856 La interpretación puedo ser perfecta. Como ya he comentado, María Callas fue y siempre será una gran intérprete de Ópera incluso es sus peores épocas supo donde había que acentuar y donde poner ese magnífico sentimiento que ella siempre ponía, mas su técnica se fue deteriorando, se puede comprobar en esta grabación que su voz es bastante débil. Una lástima que todas las modernas quieran imitar a La Callas. Respecto a lo de Tebaldi, técnica gloriosa hasta su retirada, tal vez tuviera una interpretación más sosa, mas en muchas grabaciones y óperas mantiene una interpretación preciosa. Gracias por su comentario. 🙋🏻♀️
Gino Pietracupa
Todas entubadas, sus interpretaciones no dicen nada, en butterfly Todas esas tías con voces lindas y pequeñas no existen.
Gracias por tu comentario. Paz.
Belcantista Gallego
Respecto a lo de Tebaldi, Ella nunca logró mantener una técnica gloriosa hasta el final. Para que seamos justos. Tuvo su momento, pero luego su technical se fue empeorando. 🙋♂️ paz, amigo. Xxx