Extraordinaire performance vocale et dramatique de Callas ! Une Amelia inégalable .Ici nous sommes en 1957 et la voix est miraculeuse ! C'est pour moi la meilleure version de cet air car elle en fait une version hallucinante ,et complètement habitée par son personnage .Les notes graves de poitrines sont spectaculaires et les aigus sont célestes .On ne peut rêver meilleure interprétation .
Oui c est très vrai. La voix est à la fois puissante selon la necessité du role, et morbide pour donner une interpretation romantique et passionêe de cette musique
Miraculeuse, magique Maria, dans ce rôle complexe tant vocalement que dramatiquement, dont elle domine toutes les facettes avec une humanité et une maîtrise incomparables. Et quelle émotion de savoir qu'à peine 10 ans après La Gioconda de Vérone, nous entendons- déjà-les éclats crépusculaires de cette voix. Car dès 1958, les splendeurs seront plus incertaines, même si la musicienne, elle, demeurera intacte, jusqu'au dernier souffle de voix.
Amelia donna complessa. Maria ne rende tutte le sfaccettature emozionali. Ho avuto la fortuna di vederla alla Scala e Maria è stata formidabile. Di Stefano non bisogna vederlo in scena: è condizionato dal guardare costantemente il direttore d’orchestra e questo lo rende quasi immobile. La recita a cui sono stata presente è stata poco fortunata. Bastianini ha avuto un malore al secondo atto e ha dovuto abbandonare. Al suo posto è entrato un sostituto certo non bravo come Bastianini. A differenza dell’opera di Roma la Scala i sostituti li aveva.
Under the baton of Gavazzeni they were all under fire... and of course, this being a live recording at La Scala before the public, it added more sparks. The best Ballo with the best cast..🌹
Voce di gioia. Muchas gracias por compartir este vídeo. Elizabeth Schwarzkorf , una grande entre las grandes, dijo " esta mujer es un milagro ". Por esto y mucho más es la única que llamamos LA DIVINA. Saludos cordiales desde Santiago de Chile. Ut Benedicat tibi Dominun. Dr. Fernando Rivas-Burattini.
"Solitary field in the surroundings of Boston at the foot of a steep hill. Left, in the low, white two pillars; there slightly veiled moon illuminates some points of the scene. Amelia appears from the eminences, kneels and prays, then yes rises and gradually descends from hill." That unmistakable voice sending chills throughout one's soul. Oh, Maria ritorna da noi!
Utterly destroys the myth that "weight loss" was the only thing responsible for her vocal issues over time. This performance is almost 5 years after the weight loss and the voice has power, depth, emotive expressiveness, and flexibility beyond the range of almost any other soprano ever recorded. We should recognize that some of the vocal issues [as defined by the press and public] were actually choices the Callas made in refining her voice to create ultimate expressiveness. Certainly what this did was also create an expectation of perfection that no singer could ever have maintained. She kept it until her personal life disappointments led to a decline in her will.
Wilson Watt. I totally agree with you. In recent years opera aficionados have divided Callas's voice into two different voices, pre weight loss and post weight loss. Your observation about her refining her interpretations is absolutely correct. Early Callas sang with a lot of abandon which is exciting, but later she sang with more nuance and she was no longer contented with singing all out power. The power later was still there but only used when she felt she needed outpouring of tone. The stress she suffered in 1958 being fired by Ghiringelli and Bing took a toll on her. It was not suprising that in September 1958 she announced to the BBC that she wished to curtail the number of performances. I read that in John Ardoin's book The Callas Legacy.
Yeah, but there was also bad technique and the voice just wasn't what it used to be. She admits as much and you can hear it in later recordings. I don't think anyone believes it was just weight loss anymore. Nevertheless, her singing here is unparalleled!
There certainly is more refinement in the interpretation but compared to the bold recording of this same scene in 1951, the voice clearly shows signs of wear and tear. It's more unsteady, thinner and reedier. In 1951 there is more varnish around her voice. By 1957 it sounds drier, albeit the excellent dramatic instincts.
I appreciate everything you said and I believe you are spot on, that there are so many performances from 55-61 where she is in superb form-vocally and theatrically.
tagadhatatlan, hogy sok kitűnő énekesnő volt és van a pályán, de Callas csak egy van!!!!!!! eltelt közel hat évtized és még ma is hátborzongató az az erő, drámaiság amit tud nyújtani egy felvételen, Istenem milyen szerencsések akik élőben hallhatták az opera éneklés királynőjét, azt hiszem mindig velünk marad!!!!!!!!!!!!!!!!!!!!!!!!!!!!
*** ECCO L' ORRIDO CAMPO ***🎼⭐🌿🌹 ARIA) UN BALLO IN MASCHERA ) GIUSEPPE VERDI 🎼🌿🇨🇮 CANTA IL SOPRANO SING'S, MARIA CALLAS ⭐🌿🌹 TEATRO ALLA SCALA, MILANO 1975. MERAVIGLIOSA INTERPRETAZIONE ARTISTICA DEL PASSATO GLORIOSO . LAURA LAURETTA TRIDICO SERRA. REFERENTE LIRICO MONDIALE .
A NOSSA SINA Na ária Ecco l'orrido campo, da ópera Un Ballo In Maschera, de Verdi, tem a revelação tétrica: "Meia-noite! - e o que eu vejo? Um espectro Do subterrâneo ele se levanta ... e, em métrica, Suspira! Ele tem um lampejo de raiva em seus Olhos. Ele é terrível! Ajude-me, oh! Senhor, Ergue meu pobre coração!" Ao inimigo adeus. Tudo se resolve com o coração cheio de amor. Como num incêndio, a pandemia em rescaldo. Mas as pessoas com medo chama as chamas. E o perigo ronda os medrosos sem respaldo. A fé no todo que nos envolve e a todos ensina O caminho que chega ao lugar sem haver lamas. Deslindar os mistérios a todos é a nossa sina. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - A NOSSA SINA (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Buenos días Marx. Usted habla español. Le agradecería alguna señal que me indique si usted lee los comentarios sobre su magnífica colección la Divina. Muchas gracias de antemano. Dr. Fernando Rivas-Burattini.
It is so sad that the finale in this version is shortened. It is missed the dialog between Giasone and Medea, when Giasone asks to see the children and Medea replies that she will see them soon, and curses Giasone by saying that he will wander and the women will reject him, etc.
Extraordinaire performance vocale et dramatique de Callas ! Une Amelia inégalable .Ici nous sommes en 1957 et la voix est miraculeuse ! C'est pour moi la meilleure version de cet air car elle en fait une version hallucinante ,et complètement habitée par son personnage .Les notes graves de poitrines sont spectaculaires et les aigus sont célestes .On ne peut rêver meilleure interprétation .
Oui c est très vrai. La voix est à la fois puissante selon la necessité du role, et morbide pour donner une interpretation romantique et passionêe de cette musique
My favorite Amelia. Her voice is absolutely beautiful.
5:22 I love the way the sound rides the orchestra to the top C. Truly grand singing!
Miraculeuse, magique Maria, dans ce rôle complexe tant vocalement que dramatiquement, dont elle domine toutes les facettes avec une humanité et une maîtrise incomparables. Et quelle émotion de savoir qu'à peine 10 ans après La Gioconda de Vérone, nous entendons- déjà-les éclats crépusculaires de cette voix. Car dès 1958, les splendeurs seront plus incertaines, même si la musicienne, elle, demeurera intacte, jusqu'au dernier souffle de voix.
She was a magical musician.
The very best Amelia there ever was. Flawless melodrama and musical perfection. “Dopo di me-nessuno”! Infatti!
Amelia donna complessa. Maria ne rende tutte le sfaccettature emozionali. Ho avuto la fortuna di vederla alla Scala e Maria è stata formidabile. Di Stefano non bisogna vederlo in scena: è condizionato dal guardare costantemente il direttore d’orchestra e questo lo rende quasi immobile. La recita a cui sono stata presente è stata poco fortunata. Bastianini ha avuto un malore al secondo atto e ha dovuto abbandonare. Al suo posto è entrato un sostituto certo non bravo come Bastianini. A differenza dell’opera di Roma la Scala i sostituti li aveva.
Any more details about the impressions of Callas' voice...demeanor?
Brava. Callas!! Brava!!! Brava!!!!!!!!!!!
Under the baton of Gavazzeni they were all under fire... and of course, this being a live recording at La Scala before the public, it added more sparks. The best Ballo with the best cast..🌹
Voce di gioia.
Muchas gracias por compartir este vídeo.
Elizabeth Schwarzkorf , una grande entre las grandes, dijo " esta mujer es un milagro ".
Por esto y mucho más es la única que llamamos LA DIVINA.
Saludos cordiales desde Santiago de Chile.
Ut Benedicat tibi Dominun.
Dr. Fernando Rivas-Burattini.
"Solitary field in the surroundings of Boston
at the foot of a steep hill. Left, in the
low, white two pillars; there
slightly veiled moon illuminates some
points of the scene. Amelia appears from the
eminences, kneels and prays, then yes
rises and gradually descends from
hill."
That unmistakable voice sending chills throughout one's soul. Oh, Maria ritorna da noi!
what a beautiful feeling by this comment...thank you!
Amazing recording of an amazing performance by the most amazing of all singers, La Divina! BRAVA!!! Thank you for posting!!! 😁👏👍
❤❤❤Personne ne peut combiner, depuis Callas, tous les éléments quasiment impossibles à atteindre, pour que la performance soit à son niveau ultime!
Utterly destroys the myth that "weight loss" was the only thing responsible for her vocal issues over time. This performance is almost 5 years after the weight loss and the voice has power, depth, emotive expressiveness, and flexibility beyond the range of almost any other soprano ever recorded. We should recognize that some of the vocal issues [as defined by the press and public] were actually choices the Callas made in refining her voice to create ultimate expressiveness. Certainly what this did was also create an expectation of perfection that no singer could ever have maintained. She kept it until her personal life disappointments led to a decline in her will.
Wilson Watt. AMEN!!! Beautifully said! Thank you!! 😁👍
Wilson Watt. I totally agree with you. In recent years opera aficionados have divided Callas's voice into two different voices, pre weight loss and post weight loss. Your observation about her refining her interpretations is absolutely correct. Early Callas sang with a lot of abandon which is exciting, but later she sang with more nuance and she was no longer contented with singing all out power. The power later was still there but only used when she felt she needed outpouring of tone. The stress she suffered in 1958 being fired by Ghiringelli and Bing took a toll on her. It was not suprising that in September 1958 she announced to the BBC that she wished to curtail the number of performances. I read that in John Ardoin's book The Callas Legacy.
Yeah, but there was also bad technique and the voice just wasn't what it used to be. She admits as much and you can hear it in later recordings. I don't think anyone believes it was just weight loss anymore. Nevertheless, her singing here is unparalleled!
There certainly is more refinement in the interpretation but compared to the bold recording of this same scene in 1951, the voice clearly shows signs of wear and tear. It's more unsteady, thinner and reedier. In 1951 there is more varnish around her voice. By 1957 it sounds drier, albeit the excellent dramatic instincts.
I appreciate everything you said and I believe you are spot on, that there are so many performances from 55-61 where she is in superb form-vocally and theatrically.
Bravaaaaaaaaaa !!❤
Brava...
tagadhatatlan, hogy sok kitűnő énekesnő volt és van a pályán, de Callas csak egy van!!!!!!! eltelt közel hat évtized és még ma is hátborzongató az az erő, drámaiság amit tud nyújtani egy felvételen, Istenem milyen szerencsések akik élőben hallhatták az opera éneklés királynőjét, azt hiszem mindig velünk marad!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Hat igen, isteni, azert hivjak La Divina...
*** ECCO L' ORRIDO CAMPO ***🎼⭐🌿🌹 ARIA) UN BALLO IN MASCHERA ) GIUSEPPE VERDI 🎼🌿🇨🇮 CANTA IL SOPRANO SING'S,
MARIA CALLAS ⭐🌿🌹 TEATRO ALLA SCALA, MILANO 1975.
MERAVIGLIOSA INTERPRETAZIONE ARTISTICA DEL PASSATO GLORIOSO .
LAURA LAURETTA TRIDICO SERRA. REFERENTE LIRICO MONDIALE .
❤
A NOSSA SINA
Na ária Ecco l'orrido campo, da ópera Un Ballo
In Maschera, de Verdi, tem a revelação tétrica:
"Meia-noite! - e o que eu vejo? Um espectro
Do subterrâneo ele se levanta ... e, em métrica,
Suspira! Ele tem um lampejo de raiva em seus
Olhos. Ele é terrível! Ajude-me, oh! Senhor,
Ergue meu pobre coração!" Ao inimigo adeus.
Tudo se resolve com o coração cheio de amor.
Como num incêndio, a pandemia em rescaldo.
Mas as pessoas com medo chama as chamas.
E o perigo ronda os medrosos sem respaldo.
A fé no todo que nos envolve e a todos ensina
O caminho que chega ao lugar sem haver lamas.
Deslindar os mistérios a todos é a nossa sina. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - A NOSSA SINA (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Wow, great sound! Do you have the entire opera in this sound quality? What’s the source? THANKS!
¿Usted habla español?
There is a deaf or an ignorant?
Both
Buenos días Marx.
Usted habla español.
Le agradecería alguna señal que me indique si usted lee los comentarios sobre su magnífica colección la Divina.
Muchas gracias de antemano.
Dr. Fernando Rivas-Burattini.
Buenos días, si leo los comentarios, gracias por visitar mi canal.
@@Marx-xl5xt
Muchas gracias por su respuesta.
Su canal es magnífico. Me permite disfrutar de
La Divina.
It is so sad that the finale in this version is shortened. It is missed the dialog between Giasone and Medea, when Giasone asks to see the children and Medea replies that she will see them soon, and curses Giasone by saying that he will wander and the women will reject him, etc.
What opera are you talking about? This is Un Ballo in Maschera, not Medea! 🙂