There will be many, perhaps most people, who will hear nothing but arrogance in Maria's words here. But her transparency and accuracy (even with awkward English phrasing at times) is striking. Even more, what she is expressing is a supreme commitment to the art of singing, to music. She took her talent and dedicated it--all of it--to the great Art of Music.
I appreciate your comments. It is a remarkable and insightful interview. Maria was clearly a devoted artist. We will never experience her likeness again, I’m afraid.
@@stephenfletcher6801 I agree, Stephen. We will not see another Maria, at least in my. lifetime (I'm 75). But I am SO grateful that she not only appeared in the firmament but--especially--that she came along when there was decent recording equipment available for both studio and live performances. I treasure (=adore) her performances of Norma, Elvira, Violetta, Amina, and above all, Medea. How very fortunate we are that these recordings will last as long as humanity survives.
@@jamesnickoloff6692 Thanks for responding. I fully appreciate all that you posited. To your list of treasured performances of Callas, I would add Anna Bolena and Armida. What I would have given to be in the audience for any of those performances. And, of course, I would need to add the Mexico Aida….and for the obvious reason! We have our age in common, as I, too, am 75. Please feel free to communicate in whatever way you choose. It is a very pleasant surprise to discover someone my age with an equal passion. My best to you!
@@stephenfletcher6801 How could I possibly have omitted Anna Bolena, Armida, and the 1951 Aida (though I've published on Callas' performance as Aida at Covent Garden in 1953 which I think is even better). And what about Lucia, for goodness' sake??? Good to meet you, Stephen. I wish there were an easy, non-public, way to exchange email addresses. I live in Miami by the way.
I remember clips of this from maybe 10 years ago on youtube, and I've always loved this interview - so many iconic quotes! "I am not afraid of any rival because I do not have one, thank heavens for me." But I've never heard the complete interview and, at 5:34, Salome?? It would have been quite incredible to hear her in that!
there were and there are musical singers, who sung/ sing musically and with respect to the written note, yes, that is a fact... but, until now, nobody read and sung a score in the way Callas did. That is not an opinion, that is what one sees and hears when one seats and listens with the score.
For all people wondering why Callas keeps on talking about Donizetti, Bellini and Rossini being XVIII century composers: I think she might be thinking about the Italian way of calling the XIX century (Ottocento).
Your Wrong roman Numerals for 19 is X (ten) IV ( one before ten meaning 9) 10 + 9 = 19.....look at Shakespeare Henry the 4th is written Henry IV ( one "I" before five "V" means five minus one which I'd 4)
Callas évoque les livres de Heinrich Panofka (1807-1887) et Giuseppe Concone (1801- 1861), qui ont été la base de ses études musicales avec Elvira de Hidalgo.
![Maria CALLAS. [Rare] Récital à Copenhague, avec Georges PRÊTRE (1963)](http://i.ytimg.com/vi/SlESpybb5eg/mqdefault.jpg)
![Maria CALLAS. [Rare] Récital à Copenhague, avec Georges PRÊTRE (1963)](/img/tr.png)
There will be many, perhaps most people, who will hear nothing but arrogance in Maria's words here. But her transparency and accuracy (even with awkward English phrasing at times) is striking. Even more, what she is expressing is a supreme commitment to the art of singing, to music. She took her talent and dedicated it--all of it--to the great Art of Music.
Très beau commentaire, auquel nous nous associons.
Merci.
I appreciate your comments. It is a remarkable and insightful interview. Maria was clearly a devoted artist. We will never experience her likeness again, I’m afraid.
@@stephenfletcher6801 I agree, Stephen. We will not see another Maria, at least in my. lifetime (I'm 75). But I am SO grateful that she not only appeared in the firmament but--especially--that she came along when there was decent recording equipment available for both studio and live performances. I treasure (=adore) her performances of Norma, Elvira, Violetta, Amina, and above all, Medea. How very fortunate we are that these recordings will last as long as humanity survives.
@@jamesnickoloff6692 Thanks for responding. I fully appreciate all that you posited. To your list of treasured performances of Callas, I would add Anna Bolena and Armida. What I would have given to be in the audience for any of those performances. And, of course, I would need to add the Mexico Aida….and for the obvious reason! We have our age in common, as I, too, am 75. Please feel free to communicate in whatever way you choose. It is a very pleasant surprise to discover someone my age with an equal passion. My best to you!
@@stephenfletcher6801 How could I possibly have omitted Anna Bolena, Armida, and the 1951 Aida (though I've published on Callas' performance as Aida at Covent Garden in 1953 which I think is even better). And what about Lucia, for goodness' sake??? Good to meet you, Stephen. I wish there were an easy, non-public, way to exchange email addresses. I live in Miami by the way.
The greatest operatic artist of all-time.
Puccini
A genious...
Escucharla hablar ya es un PLACER y cantar lo MAXIMO
I remember clips of this from maybe 10 years ago on youtube, and I've always loved this interview - so many iconic quotes! "I am not afraid of any rival because I do not have one, thank heavens for me." But I've never heard the complete interview and, at 5:34, Salome?? It would have been quite incredible to hear her in that!
I’ve always wondered what she would have been like in Salome. At the very least, we would have heard all the correct notes.
She really sticks to her principles. She's not fond of Salome and Elektra. She had said this in her short interview in 1974.
Ela era fantástica , autentica verdadeira falava com propriedade de quem sabe muito, afinal é Maria Callas, Bravo bravissimo. ❤
Good evening Madame Callas! We miss you madame.. so very much
Grazie Asklepios❤
We understand and totally agree MMC has no rivals . She was a unique being.
'I sing music' - she was right, whatever repertoire she was tackling she brought her intense musicality to it.
Maria unica unica unica
Was She really the only musician?
There were other great musicians firtunately.
I love Callas.
I love Zeani, Cerquetti, Gencer too.
Nous aussi !
You literally picked all my favorite sopranos.
there were and there are musical singers, who sung/ sing musically and with respect to the written note, yes, that is a fact... but, until now, nobody read and sung a score in the way Callas did. That is not an opinion, that is what one sees and hears when one seats and listens with the score.
For all people wondering why Callas keeps on talking about Donizetti, Bellini and Rossini being XVIII century composers: I think she might be thinking about the Italian way of calling the XIX century (Ottocento).
hey you Lobster, Ottocento that`s 18th century
Your Wrong roman Numerals for 19 is X (ten) IV ( one before ten meaning 9) 10 + 9 = 19.....look at Shakespeare Henry the 4th is written Henry IV ( one "I" before five "V" means five minus one which I'd 4)
@@Maguirearch you dumb ass;19 in Roman numerals is XIX;IV in Roman numbers is 4.
In Italian, when speaking about "ottocento" one talks about the 1800 and forward, Callas is translating in a way, mistakenly.
@@frankiewally1891 I LOVE YOUR POLITENESS!
❤
9:48 Of what books she talk? :)
Callas évoque les livres de Heinrich Panofka (1807-1887) et Giuseppe Concone (1801- 1861), qui ont été la base de ses études musicales avec Elvira de Hidalgo.
@@asklepios6780 thank you so much!!!!!!
Caballe said she found Pirata more difficult than Norma.
Meneghini a déclaré que les représentations de Pirata à La Scala avaient laissé Callas "sans voix"...
On peut comprendre que cette interview ait déconcerté le public...
En effet. Callas, ce jour-là, ne brillait pas par sa modestie...
@@asklepios6780 Mais, elle disait justement la vérité!