WHAT "A BEAUTIFUL COMPARISON" Between 2 Of OPERAS Truly GREAT SOPRANOS!! Maria Callas And Leontyne Price, TU CHE LE VANITA, Elizabetta's Aria- Don Carlo, by G. VERDI!! Thanks So Very Much!!! What A Really Beautiful Aria It Is! It is Extremely Demanding, Difficult to Sing Well!! I 'LOVE" Both Sopranos VOICES and Their SINGING!! I have met BOTH, But One - I Know Her Very Well And Adore Her! MARIA CALLAS HAS " A VERY BEAUTIFUL VOICE" , it Is One Of The Most Beautiful In Opera History, her Recordings in The, 1950' ARE MASTERPIECES!! Her Voice Is ' Unique, Very DISTINCTIVE!! CALLAS' VOICE Is A BIG VOICE, with a Very Different TIMBRE, TEXTURE and COLOR, A Natural DARK COLOR Her Voice Very Big, Very POWERFUL, Clarity, Brilliance, It Penetrates With Great Warmth And Phenomenal Flexibility!! CALLAS' Had " A PHENOMENAL CHEST REGISTER, A Tremendously BEAUTIFUL MIDDLE REGISTER , Her TOP VOICE, Astoundingly BEAUTIFUL, CLEAR with Full RESONANCE And ''ON PITCH"!!! CALLAS Interprets the Composer, SHE SINGS EXACTLY WHAT THE COMPOSER WRITES, The Music Tells her EVERYTHING, SHE UNDERSTANDS The MUSIC, The Composers Wishes, She KNOWS EVERY WORD, Her Superb Intelligence, Hard Work And Strong Discipline, HER VISION Of The Opera- COMES ALIVE FOR HER And The CONDUCTOR!! CALLAS' "LOVES TO SING And SHE LOVES OPERA'"!!! Her VOICE IS -SO-O-O REALLY BEAUTIFUL It Goes Greater Than That!! She CONTROLS IT and COLORS IT With "A MASTERFUL TECHNIQUE!! CALLAS' VOICE IS A MIRACLE!! A "A WONDER''!! She Thrills And Electrifies Her Audiences - EVERYWHERE- In Her Recordings And PERFORMANCES!! I "Enjoy CALLAS' Performance Of The VERDI Aria - BEST!! It Is The Most Beautifully Performed All THE WAY THROUGH!! The Sheer BEAUTY and Power of HER VOICE, Her Superb Musicality, Her Phrasing, Her CLEAR DICTION And Her Splendid Collaboration With The Conductor!! EXCELLENCE!!! I AM THRILLED!!!
Che dire? La Price è immensa, ma siamo sempre lì: la Callas dona anima, sangue e lacrime come nessuna, emoziona e coinvolge al di là del fatto che , per me, è comunque irraggiungibile come voce.
Price's voice was one of the most gorgeous sounds ever to come out of a human mouth, molten gold wrapped in dark red velvet. Callas's resinous voice was never classically beautiful, but she had at her disposal thousands of colors, superb musicianship, an an ability to put a specific "face" on every role she sang. Sometimes I think that some of the difference lies in the fact that Price was absolutely in love with the sound of her own voice (and who wouldn't be?) whereas Callas hated her own voice to the point of crying her eyes out the first time she heard herself on a recording. Here, one hears Price pouring her gorgeous voice out as Elisabetta, but she remains Leontyne Price. With Callas, Maria disappears, and you hear Elisabetta pouring out her soul and baring her agony through Callas's voice. Basically, one is one of the greatest singers and one of the most beautiful voices of all time; the other is a genius.
STOP WITH YOUR FUCKING BULLSHIT COMMENTS of La Divina's voice not being beautiful... UNFORTUNATELY for you MOTHERFUCKER your Ear is just use to GENERIC and PRETTY sound...with Callas, the notes take life and a VERY BELIEVABLE story unfolds in one's imagination...now if this Does not happen with u when CALLAS sings, then you need to broaden your Operatic sound repertoire.
From what I can see, a healthy dose of respect shown to each aritst by the reviewers here. Thus far the fanatics on either side have not ruined it for all. Let's hope it stays so.
Malgré la qualité somptueuse de son timbre de voix ,Price ne réussit pas à se hausser au niveau de Callas.Callas interprète ici un grand personnage tout en chantant : elle EST Elisabeth de Valois !
This is a great example of two dynamic divas at their best. The differences being obviously the recording process ( live vs studio) would make for an awful opinion from anyone who can not otherwise see that these women elevated the opera world to a new height, in addition to understanding how each one has a different character in their voice. Yes there may be similiarities in their esspressitura, but there is also a core element of deliverance and elegant phrasing. Both are Divae Absolutae.
Interesting... the Venn diagram overlap of Price and Callas is much smaller than, say, Callas and Sutherland or Price and Tebaldi, and their voices seem custom-built for entirely different rep: Callas in the bel-canto and Price in Verdi/Puccini. We hear their flaws here (Price's smokey chest voice which fades under the orchestra & distinctly American sliding/scooping; Callas' spreading and reedy sound on her top which is already sounding shrill here) but we also hear two pre-eminent artists that, candidly, have no equal today... Price's radiant humanity & Callas' articulate brilliance. And both possess the arch-confident ATTACK which is sorely missing from opera houses today. Lots to learn from these two greats.
Думаю, весьма удачная мысль свести в импровизированном турнире двух выдающихся певиц, ибо в результате подобного сопоставления с особой выпуклостью становится видно, чем различаются между собой хорошая певица и певица великая. Первое различие между ними - такое же, как между картиной Тициана или Веронезе и её, прошу прощения за вынужденный каламбур, чёрно-белой репродукцией в натуральную величину: Прайс поёт масштабно и щедро, но её нюансы сугубо динамические, форте-пиано. Каллас, как всегда, темброво оркеструет всю эту труднейшую арию, в очередной раз демонстрируя, что "эта женщина поёт как оркестр". Примеров множество, но один из самых ярких - каким голосом обе певицы поют единственное слово : 'Francia! " - дистанция огромная... Однако это далеко не всё. Каллас проникнута музыкой арии, она её ПРОЖИВАЕТ, психологически "оправдывая", как говорят актёры, каждую вердиевскую ноту. Те, кто помнят снятые концертные выступления и фрагменты спектаклей великой гречаники, подтвердят, что музыку оркестровых вступлений и прочие оркестровые фрагменты Каллас переживала так же, как и свою вокальную партию. Именно отсюда рождалась богатейшая палитра её тембровых красок, которая вовсе не была самоцелью, а служила средством для создания психологического портрета её героини, для передачи всех, вплоть до мельчайших движений её души. Если обилие тембровых красок у Каллас делает конкурирующее исполнение чёрно белым, то это по-шаляпински неуёмное стремление к психологической правде, к эмоциональной рельефности поидаёт исполняемому образу стереоскопию, объём, скульптурную чёткость: мы не только восхищаемся тем или иным незабываемо спетым местом арии, но и испытываем высшее наслаждение от встречи с тем, что называется ПРАВДОЙ ИСКУССТВА.
Hola Alexandr, te agradezco por el texto muy dedicado y detallado que escribiste, pero en mi opinión Leontyne Price era más que una buena cantante, y con respecto a Callas, era de otro planeta, difícil de poner en palabras lo que ella transmite, su extraña voz, y su canto perfecto. Un abrazo!!!
@@gastoncaprosende6191 Hola Gaston! Leontyne Price era mas que una buena cantante: era muy buena. Кое-где она была просто незабываемой, например, в "Реквиеме" Верди в 1964 году с Караяном. Помню, как великолепно она пела арию Валли "Ebben' etc". Я сравнивал здесь прежде всего два исполнения арии Елизаветы. В отличие от многих, я не считаю голос Каллас совершенным, но как художник она превосходит всех своих коллег. На мой взгляд, было бы интересно превратить ваш диптих в триптих, добавив сюда Аделину Агостинелли, которая исполняет эту труднейшую арию с удивительнейшей непринужденностью. Что до Каллас и Прайс, мне кажется, было бы интересно свести их на территории "Трубадура": Леонора была одной из лучших партий ЛП. Интересен также был бы турнир двух Аид etc. А пока - спасибо за ответ. Желаю дальнейших свершений.
This aria is written for an EXTREMELY dramatic voice. It is not written for a soubrette soprano like Price. In any case would be a vocal ant and Callas is the size of a dinosaur vocally. 2 different things.
@@lyazidhamroune7990 She was a light lyric. Comparing her to real italianated voices that are lyric like Clara Petrella, Maria Cerbotari, Gabriella Tucci, etc. she is way lighter.
My favorite aria from one of my most favorite opera. There is no comparison. Leontyne Price has no voice for this opera, and her singing is quite monotone and colorless. Maria Callas was born for this aria, she is acting while singing, changing the color of the voice as the text calls for, a true drama. I love this aria, and if I want to listen to it, I always go back to Callas. I made a little correction, English is not my native language. Thank you.
These women are being compared because they are among the very best the opera world has produced over the past century. Please don’t think that Price is just “some” singer, as other’s have alluded to below. I don’t believe Leontyne’s voice we will ever be replicated on the opera stage again. Callas, there are many copycats. Leontyne, no one would ever dare try to copy her voice, both for good reasons and bad. Leontyne’s voice was traditional in a non-traditional way. Nonetheless, she out-Italianed the Italian divas. Her voice had a cry to it that emoted the pain of the characters she brought to life. I did not care for the sliding. But, the instrument - untouchable. Literally for the heavens. Also, notice that whoever created this video didn't do a comparison between Callas and Scotto or Callas and Caballe or Callas and whoever else. That goes to show you how both Callas and Leontyne created a before and after moment in Opera. They both had the goods. Now, with that being said, it’s tough to compare these two - given that on Callas’ recording, the audio was better. But I will say that Callas’ legato was better. I listened to Callas first, and I said to be myself: Leontyne is going to blow this out of the water. However, I was shocked. 0:35 to 1:29 pretty much tell the story. Price’s version was worth the price of admission, but it felt slightly labored. I wasn't crazy about the phrasing. Callas’ version felt as seamless as silk. However, Callas’ voice isn’t perfect either. It’s powerful, undeniably. But, to me, it tends to sound overly nasally, so much so that in certain sections it calls attention to itself. You could say the same about Price’s lower register. Let’s remember Callas and Price were two different types of sopranos. For me, Callas was more of a lyric (bel-canto), somewhat coloratura. (Maybe Callas and Sutherland might have been a more similar paring.) (Kathleen Battle is one of the few true coloraturas!) Price, on the other hand, was 1,000 % a dramatic soprano with an incredible range and vocal pallet; it was like giving Monet a voice. There are other versions floating out there that are equally breathtaking. Someone recorded a live rendition of Martina Arroyo, in which the first part of the aria is EXQUISITE. Mirella Freni also has also given the world sublime renditions. At the end of the day, Callas might have the agility and the technical prowess, but Price will forever have THE VOICE. I thought Callas’ phrases was impeccable in the beginning, but I preferred Leontyne’s phrasing toward the end. This is actually quite key. Leontyne, toward the end, really captured the excitement of the coda. She maintained the tension in the melody line. In Callas’ version @14:45 she sort of disappears. That is the MOST consequential set up of the piece leading to that climatic note just a few moments later. Yes, we get you're exhausted. That's the excitement of it all. You sort of want to hear that effort. You don't want it to SOUND too easy. You want to be in a position to root for the soprano, and when she hits that note, you go crazy. So, neither rendition is definitive, but they are both renditions for the ages. Few today would be lucky to come close to these renditions. I can't stress enough: both women are ELITE level sopranos, rarely equaled TO THIS DAY. But for me, when you strip all the antics away, Price’s voice is beyond pristine. It’s hard to describe. It’s sort of like seeing the Everlasting Truth incarnate. If a pearl could sing, that would be Leontyne’s voice.
I don't know what some of you are hearing, but Leontyne Price sings this aria beautifully. The Callas queens here are, as usual, brainwashed. They are in love with a tragic figure not with good singing.
I so agree with you. All this nonsense about Callas being the greatest and everything she sang being the best performance is such tosh. The voice was ugly, and strident and that wobble? Please. Price is by far the better interpreter here.
Haha. Prices gorgeous timbre has always been victimized by her scooping and strange sloppiness. The struggle is real, kunst vs stimm. Callas haters generally dismiss the merit of musicality.
Price had a uniquely beautiful sound. Even to the end of the recital career the high notes gleamed and throbbed. To me ALL the flaws that became obvious later were always there. The awkward transitions, the scooping ie. How is it that Price is never accused of singing with 3 disparate registers? Love her madly and i have been among the cheering crowds. But Callas is the greater musician and artist by far to my ears.
Price es sin duda una de las Grandes Discípulas de la GRANDIOSA CALLAS.
CALLAS construye esta Aria de una forma arquitectónica. ABSOLUTA y ETERNA.
Totalmente cierta tu reflexión. Saludos cordiales
WHAT "A BEAUTIFUL COMPARISON" Between 2 Of OPERAS Truly GREAT SOPRANOS!! Maria Callas And Leontyne Price, TU CHE LE VANITA, Elizabetta's Aria- Don Carlo, by G. VERDI!!
Thanks So Very Much!!! What A Really Beautiful Aria It Is! It is
Extremely Demanding, Difficult to Sing Well!!
I 'LOVE" Both Sopranos VOICES and Their SINGING!! I have met BOTH, But One - I Know Her Very Well And Adore Her!
MARIA CALLAS HAS " A VERY BEAUTIFUL VOICE" , it Is One Of The Most Beautiful In Opera History, her Recordings in The, 1950' ARE MASTERPIECES!! Her Voice Is ' Unique, Very DISTINCTIVE!!
CALLAS' VOICE Is A BIG VOICE, with a Very Different TIMBRE, TEXTURE and COLOR, A Natural DARK COLOR Her Voice Very Big, Very POWERFUL, Clarity, Brilliance, It Penetrates With Great Warmth And Phenomenal Flexibility!! CALLAS' Had " A PHENOMENAL CHEST REGISTER, A Tremendously BEAUTIFUL MIDDLE REGISTER , Her TOP VOICE, Astoundingly BEAUTIFUL, CLEAR with Full RESONANCE And ''ON PITCH"!!!
CALLAS Interprets the Composer, SHE SINGS EXACTLY WHAT THE COMPOSER WRITES, The Music Tells her EVERYTHING, SHE UNDERSTANDS The MUSIC, The Composers Wishes, She KNOWS EVERY WORD, Her Superb Intelligence, Hard Work And Strong Discipline, HER VISION Of The Opera- COMES ALIVE FOR HER And The
CONDUCTOR!! CALLAS' "LOVES TO SING And SHE LOVES OPERA'"!!! Her VOICE IS -SO-O-O REALLY BEAUTIFUL It Goes Greater Than That!! She CONTROLS IT and COLORS IT With "A MASTERFUL TECHNIQUE!! CALLAS' VOICE IS A MIRACLE!! A "A WONDER''!! She Thrills And Electrifies Her Audiences - EVERYWHERE- In Her Recordings And PERFORMANCES!!
I "Enjoy CALLAS' Performance Of The VERDI Aria - BEST!! It Is The Most Beautifully Performed All THE WAY THROUGH!! The Sheer BEAUTY and Power of HER VOICE, Her Superb Musicality, Her Phrasing, Her CLEAR DICTION And Her Splendid Collaboration With The Conductor!! EXCELLENCE!!! I AM THRILLED!!!
Gracias por aportar esta excelente explicación de lo que representa M.Callas para usted, y también de lo que fue M.Callas. Un abrazo!!!
Ad oggi nessuno può essere paragonato con la Callas
Che dire? La Price è immensa, ma siamo sempre lì: la Callas dona anima, sangue e lacrime come nessuna, emoziona e coinvolge al di là del fatto che , per me, è comunque irraggiungibile come voce.
Transportada a lugares inimaginables, sublime, gracias totales.!!
Genial, el vídeo, Gastón . Esta aria me fascina!!! Es fantástica…muchas gracias
😊👍
Price's voice was one of the most gorgeous sounds ever to come out of a human mouth, molten gold wrapped in dark red velvet. Callas's resinous voice was never classically beautiful, but she had at her disposal thousands of colors, superb musicianship, an an ability to put a specific "face" on every role she sang. Sometimes I think that some of the difference lies in the fact that Price was absolutely in love with the sound of her own voice (and who wouldn't be?) whereas Callas hated her own voice to the point of crying her eyes out the first time she heard herself on a recording. Here, one hears Price pouring her gorgeous voice out as Elisabetta, but she remains Leontyne Price. With Callas, Maria disappears, and you hear Elisabetta pouring out her soul and baring her agony through Callas's voice. Basically, one is one of the greatest singers and one of the most beautiful voices of all time; the other is a genius.
ABSOLUTELY ! spot on . vb n
I agree WHOLE HEARTEDLY!! Very aptly put. Thank you!
STOP WITH YOUR FUCKING BULLSHIT COMMENTS of La Divina's voice not being beautiful... UNFORTUNATELY for you MOTHERFUCKER your Ear is just use to GENERIC and PRETTY sound...with Callas, the notes take life and a VERY BELIEVABLE story unfolds in one's imagination...now if this Does not happen with u when CALLAS sings, then you need to broaden your Operatic sound repertoire.
@@clintonmauricewilliams8400 your all caps certainly convinced us all. Classy.
Price delivers beautiful notes; Callas delivers the meaning, the emotion and the character.
Again. Somebody (you) who totally gets Callas AND the difference that she made to the whole of Opera. vb n
Wonderful performances.
From what I can see, a healthy dose of respect shown to each aritst by the reviewers here. Thus far the fanatics on either side have not ruined it for all. Let's hope it stays so.
Malgré la qualité somptueuse de son timbre de voix ,Price ne réussit pas à se hausser au niveau de Callas.Callas interprète ici un grand personnage tout en chantant : elle EST Elisabeth de Valois !
This is a great example of two dynamic divas at their best. The differences being obviously the recording process ( live vs studio) would make for an awful opinion from anyone who can not otherwise see that these women elevated the opera world to a new height, in addition to understanding how each one has a different character in their voice. Yes there may be similiarities in their esspressitura, but there is also a core element of deliverance and elegant phrasing. Both are Divae Absolutae.
Interesting... the Venn diagram overlap of Price and Callas is much smaller than, say, Callas and Sutherland or Price and Tebaldi, and their voices seem custom-built for entirely different rep: Callas in the bel-canto and Price in Verdi/Puccini. We hear their flaws here (Price's smokey chest voice which fades under the orchestra & distinctly American sliding/scooping; Callas' spreading and reedy sound on her top which is already sounding shrill here) but we also hear two pre-eminent artists that, candidly, have no equal today... Price's radiant humanity & Callas' articulate brilliance. And both possess the arch-confident ATTACK which is sorely missing from opera houses today. Lots to learn from these two greats.
Both are great!
A good example of largely instrumental vs dramatic singing.
Думаю, весьма удачная мысль свести в импровизированном турнире двух выдающихся певиц, ибо в результате подобного сопоставления с особой выпуклостью становится видно, чем различаются между собой хорошая певица и певица великая. Первое различие между ними - такое же, как между картиной Тициана или Веронезе и её, прошу прощения за вынужденный каламбур, чёрно-белой репродукцией в натуральную величину: Прайс поёт масштабно и щедро, но её нюансы сугубо динамические, форте-пиано. Каллас, как всегда, темброво оркеструет всю эту труднейшую арию, в очередной раз демонстрируя, что "эта женщина поёт как оркестр". Примеров множество, но один из самых ярких - каким голосом обе певицы поют единственное слово : 'Francia! " - дистанция огромная...
Однако это далеко не всё. Каллас проникнута музыкой арии, она её ПРОЖИВАЕТ, психологически "оправдывая", как говорят актёры, каждую вердиевскую ноту. Те, кто помнят снятые концертные выступления и фрагменты спектаклей великой гречаники, подтвердят, что музыку оркестровых вступлений и прочие оркестровые фрагменты Каллас переживала так же, как и свою вокальную партию. Именно отсюда рождалась богатейшая палитра её тембровых красок, которая вовсе не была самоцелью, а служила средством для создания психологического портрета её героини, для передачи всех, вплоть до мельчайших движений её души. Если обилие тембровых красок у Каллас делает конкурирующее исполнение чёрно белым, то это по-шаляпински неуёмное стремление к психологической правде, к эмоциональной рельефности поидаёт исполняемому образу стереоскопию, объём, скульптурную чёткость: мы не только восхищаемся тем или иным незабываемо спетым местом арии, но и испытываем высшее наслаждение от встречи с тем, что называется ПРАВДОЙ ИСКУССТВА.
Hola Alexandr, te agradezco por el texto muy dedicado y detallado que escribiste, pero en mi opinión Leontyne Price era más que una buena cantante, y con respecto a Callas, era de otro planeta, difícil de poner en palabras lo que ella transmite, su extraña voz, y su canto perfecto. Un abrazo!!!
@@gastoncaprosende6191 Hola Gaston! Leontyne Price era mas que una buena cantante: era muy buena. Кое-где она была просто незабываемой, например, в "Реквиеме" Верди в 1964 году с Караяном. Помню, как великолепно она пела арию Валли "Ebben' etc". Я сравнивал здесь прежде всего два исполнения арии Елизаветы.
В отличие от многих, я не считаю голос Каллас совершенным, но как художник она превосходит всех своих коллег.
На мой взгляд, было бы интересно превратить ваш диптих в триптих, добавив сюда Аделину Агостинелли, которая исполняет эту труднейшую арию с удивительнейшей непринужденностью.
Что до Каллас и Прайс, мне кажется, было бы интересно свести их на территории "Трубадура": Леонора была одной из лучших партий ЛП. Интересен также был бы турнир двух Аид etc. А пока - спасибо за ответ. Желаю дальнейших свершений.
Well said. "art is not art, until it is put to the service of expression" vb n
@@neuberg7315 Excuse me, what means your "vb n" ?
@@purisermonisamator Very Best. Neuberg
This aria is written for an EXTREMELY dramatic voice. It is not written for a soubrette soprano like Price. In any case would be a vocal ant and Callas is the size of a dinosaur vocally. 2 different things.
A soubrette? Price is a spinto, her voice was huge. Nonsense.
@@lyazidhamroune7990 She was a light lyric. Comparing her to real italianated voices that are lyric like Clara Petrella, Maria Cerbotari, Gabriella Tucci, etc. she is way lighter.
@@beachfanatic2010 Not a soubrette or a light lyric either.
My favorite aria from one of my most favorite opera. There is no comparison. Leontyne Price has no voice for this opera, and her singing is quite monotone and colorless. Maria Callas was born for this aria, she is acting while singing, changing the color of the voice as the text calls for, a true drama. I love this aria, and if I want to listen to it, I always go back to Callas. I made a little correction, English is not my native language. Thank you.
These women are being compared because they are among the very best the opera world has produced over the past century. Please don’t think that Price is just “some” singer, as other’s have alluded to below. I don’t believe Leontyne’s voice we will ever be replicated on the opera stage again. Callas, there are many copycats. Leontyne, no one would ever dare try to copy her voice, both for good reasons and bad. Leontyne’s voice was traditional in a non-traditional way. Nonetheless, she out-Italianed the Italian divas. Her voice had a cry to it that emoted the pain of the characters she brought to life. I did not care for the sliding. But, the instrument - untouchable. Literally for the heavens.
Also, notice that whoever created this video didn't do a comparison between Callas and Scotto or Callas and Caballe or Callas and whoever else. That goes to show you how both Callas and Leontyne created a before and after moment in Opera. They both had the goods.
Now, with that being said, it’s tough to compare these two - given that on Callas’ recording, the audio was better. But I will say that Callas’ legato was better. I listened to Callas first, and I said to be myself: Leontyne is going to blow this out of the water. However, I was shocked. 0:35 to 1:29 pretty much tell the story. Price’s version was worth the price of admission, but it felt slightly labored. I wasn't crazy about the phrasing. Callas’ version felt as seamless as silk. However, Callas’ voice isn’t perfect either. It’s powerful, undeniably. But, to me, it tends to sound overly nasally, so much so that in certain sections it calls attention to itself. You could say the same about Price’s lower register.
Let’s remember Callas and Price were two different types of sopranos. For me, Callas was more of a lyric (bel-canto), somewhat coloratura. (Maybe Callas and Sutherland might have been a more similar paring.) (Kathleen Battle is one of the few true coloraturas!) Price, on the other hand, was 1,000 % a dramatic soprano with an incredible range and vocal pallet; it was like giving Monet a voice.
There are other versions floating out there that are equally breathtaking. Someone recorded a live rendition of Martina Arroyo, in which the first part of the aria is EXQUISITE. Mirella Freni also has also given the world sublime renditions.
At the end of the day, Callas might have the agility and the technical prowess, but Price will forever have THE VOICE. I thought Callas’ phrases was impeccable in the beginning, but I preferred Leontyne’s phrasing toward the end. This is actually quite key. Leontyne, toward the end, really captured the excitement of the coda. She maintained the tension in the melody line. In Callas’ version @14:45 she sort of disappears. That is the MOST consequential set up of the piece leading to that climatic note just a few moments later. Yes, we get you're exhausted. That's the excitement of it all. You sort of want to hear that effort. You don't want it to SOUND too easy. You want to be in a position to root for the soprano, and when she hits that note, you go crazy. So, neither rendition is definitive, but they are both renditions for the ages. Few today would be lucky to come close to these renditions.
I can't stress enough: both women are ELITE level sopranos, rarely equaled TO THIS DAY. But for me, when you strip all the antics away, Price’s voice is beyond pristine. It’s hard to describe. It’s sort of like seeing the Everlasting Truth incarnate. If a pearl could sing, that would be Leontyne’s voice.
I don't know what some of you are hearing, but Leontyne Price sings this aria beautifully. The Callas queens here are, as usual, brainwashed. They are in love with a tragic figure not with good singing.
Lol why I ignore it. Coming from a opera background she was amazing
K.km an easy way to dismiss Callas, facile , over simplistic, and really stupid !
I so agree with you. All this nonsense about Callas being the greatest and everything she sang being the best performance is such tosh. The voice was ugly, and strident and that wobble? Please. Price is by far the better interpreter here.
KM ""The Callas queens here are, as usual, """ - - - that is offensive ! n
Haha. Prices gorgeous timbre has always been victimized by her scooping and strange sloppiness. The struggle is real, kunst vs stimm. Callas haters generally dismiss the merit of musicality.
Sono due stupendi cantanti....ogni paragone è trastullo senza senso...
Только Прайс.
I don’t like Price’s woofy voice. Callas is perfect.
Hola Barone, Price está genial en esta aria. Un abrazo!!!
@@gastoncaprosende6191 I don’t think so, her voice was VERY small.
@@BaroneVitellioScarpia1 A few times I couldn't even hear her while singing this aria. I never liked her voice.
@@judithbereczky4114 She could NEVER be heard when she sang with Corelli.
Price had a uniquely beautiful sound. Even to the end of the recital career the high notes gleamed and throbbed. To me ALL the flaws that became obvious later were always there. The awkward transitions, the scooping ie. How is it that Price is never accused of singing with 3 disparate registers? Love her madly and i have been among the cheering crowds. But Callas is the greater musician and artist by far to my ears.
Muy bueno aplausos