Ich habe diese Aufnahme schon vielfach gehört und jedes Mal muss ich weinen!!!Weinen wegen der Jahrhundertschönheit dieser Stimme!!!Sie drückt alles aus was ein Mensch ausdrücken kann!!!Jeden Winkelzug des Herzens ❤️ wird ausgeleuchtet mit jeder Note!!!Einzigartig,himmlisch,macht einfach bis in alle Ewigkeit glücklich und ist ein ewiger Anspruch an jede andere Sängerin diesem Globus!!!
Nenhuma cantora até hoje,consegue interpretar com tanta intensidade esta á❤ria, como Maria Callas conseguiu!Fico arrepiada de cada vez que ouço!E Lúcia que está aí 👰
This was one of Callas's greatest performances, and one that can be termed as mythical because she is singing beyond the universe. The entire voice is produced with such gorgeous tones, and the control is superhuman. Every word is articulated to the fullest. I recall the critic, Desmond Shaw Taylor commenting in his review that Callas had never sung better. She said in an interview in 1954 that she must improve every year. This certainly validates that comment. All opera lovers including myself say she is a genius. She said in an interview that she is doing her job, and singing the way sopranos did once upon a time, going back to the great 19th century divas such as Pasta and Malibran. Yes, Callas is a reincarnate of those sopranos and of that era.
Si potrebbe scrivere un libro intero per scoprire parola per parola nota per nota l'immenso lavoro di Maria Callas in questa pagina. Tutto ciò che Lei ha voluto spiegare lungo tutta la sua carriera parlando del bel canto si ritrova riassunto qui. Però temo che siano pochi che sanno ascoltare, davvero ascoltare.
from a young dramatic mezzo-soprano, she had finally become a gigantic light soprano. In 54 the high staccati were carried out faster and in general the support was firmer, but in Berlin she found even more ghostly and hallucinatory lights and shadows in her voice. In any case, she declared that the performance where she sang best was Naples 1956, even though Karajan was no longer there. But in general each of his performances of Lucia is vocally interesting, even the last one. Whoever saw her on stage said that the interpenetration between gesture and voice was something never seen in any singer
@@rogalesi58 yes, very gladly. The young Callas was "exchanged" for dramatic mezzo, and it was for this reason that she was entrusted with heavy roles such as Santuzza and Leonora of Fidelio. In fact, with Callas we are dealing with a natural mezzo-soprano / alto voice, with a low transition area between F and E (intermediate between those characteristics of mezzo-soprano and altos) with a notable propensity to the high-pitched zone, so much so that the transition between medium and treble is found between F and F #, characteristic of sopranos. Probably the singer's physique allowed her to develop her voice in an abnormal way, and to give full resonance to the whole high and even over-high area of the soprano, also considering that Elvira de Hidalgo taught her the authentic technique of coloratura, applicable to any register
The "Different Ideas ABOUT MARIA CALLAS' VOCAL TRAINING Are Not Based On FACTS!! There Are THREE REGISTERS IN THE SOPRANO VOICE!! THE CHEST, THE MIDDLE AND ""THE HEAD (With FALSETTO)!! MARIA "'WAS TRAINED"" In THE OLD ITALIAN METHOD OF SINGING!! If Taught CORRECTLY EACH REGISTER IS DEVELOPED Then BLENDED SoThat ONE ""MOVES /GROWES Out Of The OTHER REGISTER EASILY! Each REGISTER HAS IT'S OWN UNIQUE QUALITIES Regarding ""THE SINGER'S TYPE OF VOICE"'" The ABILITIES (TALENT- GIFT), BUILD- PHYSICAL ABILITIES, INTELLIGENCE, AMBITIONS Etc.!!! IT Regards TEXTURE, TIMBRES, And Other Unique Qualities Of The Singer's Voice!! SOLID, EXACT- VOCALISES Gets The BEST RESULTS!!!! PERFECT, PRODUCTIVE, METICULOUS (CORRECT) VOCALIZATION ,Etc. !!!! You MUST HAVE A ""GOOD TEACHER To A GREAT TEACHER"'' Who KNOWS The "OLD ITALIAN METHOD"And How To TEACH IT TO The STUDENT- And Get VERY HEALTHY VERY PRODUCTIVE RESULTS While TRAINING The Student CORRECTLY! The ""OLD ITALIAN METHOD OF SINGING-- (CLASSICAL MUSIC)! Over A PERIOD OF TIME- A THOROUGH - COMPLETE TRAINING Makes GREAT SINGERS Like MARIA CALLAS And OTHERS!!!! 17:05
@@cttpn2611 Let's keep calm please...what you say is all very well: there have been many singers educated with that ancient method, but none achieved the results that Callos did. In my very humble opinion, the uniqueness of the phenomenon can be explained by a bizarre and courageous choice of repertoire with respect to the natural classification of the voice, and this also explains the early decline, or at any rate the fact that very soon she was no longer able to perform those miracles with a huge, snappy voice that could sing everything while remaining intact...
ascult aceasta muzica de pe la 5 ,6 ani adica de cca 72 de ani .Maria ,a facut ceva ce nimeni in sec xx ,poate cu exceptia lui Enrico Caruso .Doamna Virginia Zeani ,spunea ca in ciuda problemelor ,pe care singura le-a creat ,Maria este cea mai mare soprana a sec. xx .Indraznesc sa spun ca nici sec xxi nu ne v-a da olta soprana de calibrul ei.
People love saying 'she had an ugly voice'. Objectively, the soprano with the prettiest feminine voice today (or ever in the XXth century for that matter) couldn't compare to the technical prowess of Maria Callas. What good is a 'pretty voice' if there is little power or colour to it? Maria's subjectively 'ugly voice' is a trillion times more remarkable in the exceptional quality of it's technical capacity and ability than the subjectively 'prettiest' voice anyone can defend. It's such a lame and poor argument.
Totally agree. Billie Holiday “objectively” didn’t have a pretty voice, and yet is still regarded as the best jazz singer of all time. Meryl Streep doesn’t have the prettiest face of any actress, and yet… And the list goes on and on. Genius goes way beyond conventionally “pretty”.
Eran los 50's, la televisión aún no tenía las enormes posibilidades que llegó a tener, el cine no se entendía mucho con la ópera, y a ella, por razones que no sabemos, no le gustaba que se transmitieran sus actuaciones de óperas completas. Sólo tenemos algunos conciertos de finales de los 50's y principios de los 60's y algunos de los 70's. Las actuaciones que hizo en México a principios de los 50's se dice que fueron grabadas pero que se destruyeron durante el terremoto del 85.
Even though I'm not a fan of her voice at all - I personally find it ugly and not as beautiful as others like Antonina Nezhandova or Luisa Tetrazzini, but her emotion is FANTASTIC and superior to many of her colleagues and even predecessors. She raised opera to be better than just be performed overexaggeratedly and instead to be more realistic. From 1955 and prior, she succeeded to perform realistic emotion and healthy technique.
Ich habe diese Aufnahme schon vielfach gehört und jedes Mal muss ich weinen!!!Weinen wegen der Jahrhundertschönheit dieser Stimme!!!Sie drückt alles aus was ein Mensch ausdrücken kann!!!Jeden Winkelzug des Herzens ❤️ wird ausgeleuchtet mit jeder Note!!!Einzigartig,himmlisch,macht einfach bis in alle Ewigkeit glücklich und ist ein ewiger Anspruch an jede andere Sängerin diesem Globus!!!
Τι υπεροχα λογια , γεματα αληθεια.❤❤❤
Genial
Nenhuma cantora até hoje,consegue interpretar com tanta intensidade esta á❤ria, como Maria Callas conseguiu!Fico arrepiada de cada vez que ouço!E Lúcia que está aí 👰
Toda a dor e sofrimento de uma mente atormentada é revelado na voz unica de Maria Callas!
This was one of Callas's greatest performances, and one that can be termed as mythical because she is singing beyond the universe. The entire voice is produced with such gorgeous tones, and the control is superhuman. Every word is articulated to the fullest. I recall the critic, Desmond Shaw Taylor commenting in his review that Callas had never sung better. She said in an interview in 1954 that she must improve every year. This certainly validates that comment. All opera lovers including myself say she is a genius. She said in an interview that she is doing her job, and singing the way sopranos did once upon a time, going back to the great 19th century divas such as Pasta and Malibran. Yes, Callas is a reincarnate of those sopranos and of that era.
May I ask where this was performed?
When you hear her footsteps... feeling goosebumps all over the body. It's so realistic!
Maravillosa voz,transmite muchosimo .
È sempre un piacere ascoltarla
After all these years - HOW does she do it ?! Every single syllable, every note is so full ! A thousand colours. A miracle. In aeternam.
Thank you for these moments of beauty in these trying times!
Muchísimas Gracias !!!!! Puedo escuchar esto una y mil veces y siempre emocionarme....belleza absoluta !!!! Gracias !!!!
Si potrebbe scrivere un libro intero per scoprire parola per parola nota per nota l'immenso lavoro di Maria Callas in questa pagina. Tutto ciò che Lei ha voluto spiegare lungo tutta la sua carriera parlando del bel canto si ritrova riassunto qui. Però temo che siano pochi che sanno ascoltare, davvero ascoltare.
from a young dramatic mezzo-soprano, she had finally become a gigantic light soprano. In 54 the high staccati were carried out faster and in general the support was firmer, but in Berlin she found even more ghostly and hallucinatory lights and shadows in her voice. In any case, she declared that the performance where she sang best was Naples 1956, even though Karajan was no longer there. But in general each of his performances of Lucia is vocally interesting, even the last one. Whoever saw her on stage said that the interpenetration between gesture and voice was something never seen in any singer
dramatic mezzo-soprano?!!! can you please explain better please, I'm confused.
@@rogalesi58 yes, very gladly. The young Callas was "exchanged" for dramatic mezzo, and it was for this reason that she was entrusted with heavy roles such as Santuzza and Leonora of Fidelio. In fact, with Callas we are dealing with a natural mezzo-soprano / alto voice, with a low transition area between F and E (intermediate between those characteristics of mezzo-soprano and altos) with a notable propensity to the high-pitched zone, so much so that the transition between medium and treble is found between F and F #, characteristic of sopranos. Probably the singer's physique allowed her to develop her voice in an abnormal way, and to give full resonance to the whole high and even over-high area of the soprano, also considering that Elvira de Hidalgo taught her the authentic technique of coloratura, applicable to any register
The "Different Ideas ABOUT MARIA CALLAS' VOCAL TRAINING Are Not Based On FACTS!!
There Are THREE REGISTERS IN THE SOPRANO VOICE!!
THE CHEST, THE MIDDLE AND ""THE HEAD (With FALSETTO)!!
MARIA "'WAS TRAINED"" In THE OLD ITALIAN METHOD OF SINGING!! If Taught CORRECTLY EACH REGISTER IS DEVELOPED Then BLENDED SoThat ONE ""MOVES
/GROWES Out Of The OTHER REGISTER EASILY! Each REGISTER HAS IT'S OWN UNIQUE QUALITIES Regarding ""THE SINGER'S TYPE OF VOICE"'" The ABILITIES (TALENT- GIFT), BUILD- PHYSICAL ABILITIES, INTELLIGENCE, AMBITIONS Etc.!!!
IT Regards TEXTURE, TIMBRES, And Other Unique Qualities Of The Singer's Voice!! SOLID, EXACT- VOCALISES Gets The BEST RESULTS!!!! PERFECT, PRODUCTIVE, METICULOUS (CORRECT)
VOCALIZATION ,Etc. !!!!
You MUST HAVE A ""GOOD TEACHER To A GREAT TEACHER"'' Who KNOWS The "OLD ITALIAN METHOD"And How To TEACH IT TO The STUDENT- And Get VERY HEALTHY VERY PRODUCTIVE RESULTS While TRAINING The Student CORRECTLY!
The ""OLD ITALIAN METHOD OF SINGING-- (CLASSICAL MUSIC)!
Over A PERIOD OF TIME- A THOROUGH - COMPLETE TRAINING
Makes GREAT SINGERS Like MARIA CALLAS And OTHERS!!!! 17:05
@@cttpn2611 Let's keep calm please...what you say is all very well: there have been many singers educated with that ancient method, but none achieved the results that Callos did. In my very humble opinion, the uniqueness of the phenomenon can be explained by a bizarre and courageous choice of repertoire with respect to the natural classification of the voice, and this also explains the early decline, or at any rate the fact that very soon she was no longer able to perform those miracles with a huge, snappy voice that could sing everything while remaining intact...
MARAVILLOSA
esplendida
Inegalabilă interpretarea! 🇷🇴❤️
ascult aceasta muzica de pe la 5 ,6 ani adica de cca 72 de ani .Maria ,a facut ceva ce nimeni in sec xx ,poate cu exceptia lui Enrico Caruso .Doamna Virginia Zeani ,spunea ca in ciuda problemelor ,pe care singura le-a creat ,Maria este cea mai mare soprana a sec. xx .Indraznesc sa spun ca nici sec xxi nu ne v-a da olta soprana de calibrul ei.
@@marcelpopa8018 sunt deacord cu dumneavoastră!
SUPERHUMAN CALLAS !!!! Maria the breath of God !!!!!!
People love saying 'she had an ugly voice'. Objectively, the soprano with the prettiest feminine voice today (or ever in the XXth century for that matter) couldn't compare to the technical prowess of Maria Callas. What good is a 'pretty voice' if there is little power or colour to it? Maria's subjectively 'ugly voice' is a trillion times more remarkable in the exceptional quality of it's technical capacity and ability than the subjectively 'prettiest' voice anyone can defend. It's such a lame and poor argument.
Totally agree. Billie Holiday “objectively” didn’t have a pretty voice, and yet is still regarded as the best jazz singer of all time. Meryl Streep doesn’t have the prettiest face of any actress, and yet… And the list goes on and on. Genius goes way beyond conventionally “pretty”.
“Other singers deliver (more or less) pretty notes; Callas delivers the meaning, the emotion and the character.”
😢😢😢🎉❤❤❤❤❤❤❤❤
Why keep repeating idiocies from persons who know no better. It's their loss. Basta!
Gracias por subir este video. Maravillosa Callas.❤
thank you for posting, meravigliosa come sempre.
out of this world ❤️
Божественно
Always Callas! ❤️❤️🥰
Our Maya LA UNICA, Thank you for posting my friend. Arnold Bourbon Amaral
Wenn die Zeit stillsteht
Muchas gracias por esta joya musical. ¿Sabes por qué muy rara vez grababa un vídeo actuando?
Eran los 50's, la televisión aún no tenía las enormes posibilidades que llegó a tener, el cine no se entendía mucho con la ópera, y a ella, por razones que no sabemos, no le gustaba que se transmitieran sus actuaciones de óperas completas. Sólo tenemos algunos conciertos de finales de los 50's y principios de los 60's y algunos de los 70's. Las actuaciones que hizo en México a principios de los 50's se dice que fueron grabadas pero que se destruyeron durante el terremoto del 85.
Even though I'm not a fan of her voice at all - I personally find it ugly and not as beautiful as others like Antonina Nezhandova or Luisa Tetrazzini, but her emotion is FANTASTIC and superior to many of her colleagues and even predecessors. She raised opera to be better than just be performed overexaggeratedly and instead to be more realistic. From 1955 and prior, she succeeded to perform realistic emotion and healthy technique.
Your ignorance knows no limits.
❤❤❤❤❤