L'unico peccato che ci ha lasciato questo superbo trio è che siamo condannati a tenere a mente questa interpretazione incredibile contro tutti gli altri che ora possiamo guardare o ascoltare...
Ah, Callas, Del Monaco, and Simionato, have there ever been greater artists to appear on the operatic stage? As someone said, "Giants roamed the earth in those days."
Del Monaco, what a performer and a wonderful dramatic tenor. In a time with no microphones he had the power and projection to fill any venue. He would have been one of the greatest Wagnerian tenors had he done more of it. My favourite Tenor along with Aragall.
What a trio! All three in superb voice condition, Historically one of the best ever,could never be surpassed by any body in the near future or ever .Thank you to all those involved in sharing this immortal performance
Insuperables. Ninguna antes, ninguna contemporánea y ninguna después de Callas a sido Norma salvo la Pasta. Este tríos es electrizante, que fuerza y que iintensidad. La Divina eterna.
I had thought that Maria Callas voice went into a sharp decline after her weight loss but I was wrong. Here she she sounds really really wonderful with a really solid D6i at the end of the trio. I don't hear any flaws in her voice here. I'm really quite Blown Away
This is one of the first CD's I bought. Although I'm all about Verdi, this is my favorite opera performance ever. Lions and lionesses roaring on stage, and suffering «the slings and arrows of outrageous fortune», moving everybody to tears. Opera at its very best.
Giulietta Simionato visited Japan 3 times with Italian Opera by NHK(1956-1961) There must be many TV broadcasted reccordings ,eg."Aida" with Mario Del Monaco.
And let's give credit to the conductor Antonino Votto for setting up this thrilling moment. His versions of "Norma" are much more exciting (because quicker-paced) than the much-praised Tullio Serafin's, one of Callas' primary mentors. Indeed, Votto conducted the two greatest performances of which we have recordings--Trieste in 1953 and La Scala in 1955, both superior in my view to the studio versions which Serafin recorded (1954 and 1960). And for proof, listen to the 1955 RAI live version from Rome, also with Del Monaco, but with Serafin conducting--done only six months before this performance which opened the La Scala season on December 7.
NEVER compare Sutherland to Callas. I saw Sutherland in 1970 in her debut of the role of Norma at the Met. Beautiful singing but BORING!!! You couldn't understand a word of what she was singing either. Callas has no equal in the role.
I agree in part. I saw Sutherland twice in Norma, including her first run at the Met. She was vocally perfect but there was no character present. Hearing Bellini's music sung perfectly was fascinating both times but not satisfying. I have seen several Normas since and all of them were more convincing than Sutherland, though none sang the role as perfectly. Even Sills, who was a better Norma than people think [I did see her in the role}, brought more to the actual role than Sutherland. However, only Callas really brings all of the myriad of emotions to the performance that the music actually portrays.
@@ivanposa8101 Even when Sutherland sang in English, an English-speaking audience could have used subtitles. She always sounded instrumental. Gorgeous, but the language was Martian.
When you have sung on every stage that Sutherland and Callas graced to as much acclaim as they BOTH received, then *maybe* I'll give a rats ass what you have to say. Until then, why not just enjoy the amazing singing from two artists who each had their own strengths instead of bashing them? I will never understand the need some opera queens have to put another singer down in order to lift up their favorite. smh
@@dbengtnyc I was not putting either of them down. They both were the best in their fields. It's just that they were different and one has a right to one's own preference. And yes, I heard Callas, too.
I heard Callas as Norma live at the (old) Met in 1956 (I was 16). I heard Sutherland as Norma at the new Met in 1970 (I was 30). Comparing them is nonsense. Callas, with all her flaws, was demonic, mesmerizing, riveting, even though her top notes were already tragic shreds. Sutherland was angelic, transcendent, superhumanly beautiful, and NOBODY CARED about her diction. There were GIANTS IN THE EARTH in those days. NEVER take them for granted---- we will not hear their like again. A FACT: NO recording can truly capture the power, the three-dimensional projection into the vast space of the Met's auditorium, of these unique artists. Do not dream that you you truly heard them if you did not hear them live.
A M E N ! regarding hearing them live... sitting at the Metropolitan - on some nights with the luck of being down front and center - there were certain notes coming from both Corelli and Vickers that literally made my sternum buzz. The force and power, both aural and owning-the-stage personal, coming from these giants was of a magnitude that is gone from today's theatres. Thank you for your comment, Mr. Epstein.
@frank ioele I'm sad to hear your reminiscence of Sutherland as Norma. I never heard her sing live myself, she retired before I started attending the opera regularly, but she told me herself that Norma was probably her favourite role.
I think this norma trio should be at par with the ones with Sutherland...stunning HUGE D6 to knock all the other singers into the orchestra pit. Callas and Sutherland had the D6 in total command at the end of the Norma Trio. Other sopranos may have a D6, but they are at least half the size of Callas or Sutherland. Both can sing both Isolde and Amina. None of the singers today can "sing" those roles the way they are meant to be sung. That's why I rarely go to the opera these days.
Please, don't bring Dame Mashed Potatoes In The Mouth into the conversation. She had no idea what she was singing. Her only concern was trilling, interpolating unnecessary high notes and getting to the feed bag as soon as she could lumber there. There is only one Norma and her name is Maria Callas.
And you're busy parroting Sutherland's detractors without thinking for yourself - detractors who made it seem like a fault that Sutherland's voice and technique were flawless to deflect attention from the fact that Callas' were not. "Oh but she's so dramatic... she wobbles on purpose because of the dramatic context..." - please spare me! She destroyed her voice and tried to rationalize her shortcomings, claiming she "sang ugly on purpose", but if you listen carefully to her recordings, you'll find that her singing is often more nuanced in the early years when her voice was in better shape. The truth is that they were BOTH amazing talents and that they BOTH deserved the fame and glory they experienced. You may be busy criticizing Sutherland because you're aware of the fact that in some respects she was superior to Callas, but we should be so lucky to have a Norma today comparable to Sutherland's - just as we should be so lucky to have singers today with an artistic genius comparable to that of Callas.
Beh..Del Monaco a tutt'oggi resta il piu' grande Pollione...non era un grande interprete ma qua' e' perfetto.Andrebbe ricordato piu' come Pollione che come Otello.
Callas was, perhaps, and not always, more dramatic....bla bla bla, but Sutherland REALLY sang BEL CANTO. I love her High notes and embelishments because she really could do it with flawless technic. Callas one must see and Sutherland one can hear without video. But actually I love them both in Norma. They were distinct kind os singers. Compare is silly.
It really depends on what you're looking for in bel canto. If you want dynamics (crescendo/diminuendo, messa di voce, fil di voce), chiaroscuro, rubato, vocal coloring, world class slow legato singing or phrasing, a full-functioning chest voice, dramatic scales around 2 octaves, good diction etc, Sutherland RARELY sang BEL CANTO. If you want vocal purity, fioratura con forza, first class legato in florid passages, big ass high notes, piercing staccati, diamond trills, Sutherland was textbook bel canto. BTW Callas is the last person one needs to see. Sutherland herself said that Callas' actual acting was in her singing. They are my two favorite singers. But, I've never cared for Sutherland's Norma.
Ali Offe Same here my friend. Callas will always be. Supreme. Above all others my friends. Just her repertoire in itself tells you all you need to know unless you want to study her even further. She will always be the empress of Opera till the end of time indeed. No need to compare the soprano and that soprano to Maria Callas. Everyone who truly understands this incredible art form knows in their heart and Maria Callas it's a standard that everyone else will never achieve. Only Montserrat Caballe came close. Sincerely Arnold Bourbon Amaral
Sutherland really sung bel canto? Are you mad or what? She had absolutely no idea what bel canto was. Callas, on the other hand, knew all bel canto nuances and did them all perfectly. Sutherland was a bel canto JOKE.
John Reed: Callas always sounds like she's singing through a can with marbles in her mouth -- horrific; her high notes were never centered, often sharp and almost always with a wobble, nowhere near as fantastic or beautiful as Sutherlands. Callas' best years were when she was fat, so apparently she also spent a lot of time at the feed bag. Yes, she was a great "dramatic artist," because she had to be to make up for the voice she destroyed. She never sang Lucia after hearing Sutherland sing it because she didn't want the comparison. Sutherland's career lasted almost 40 years because she had the greatest voice God ever gave a human and she took care of it -- and knew her limitations; how long did Callas' career last? All this nastiness aside, they were both great artists; I prefer Sutherland, you Callas. So be it.
Sorry, but Rosa Ponselle's voice (have you ever heard it?) is beyond everyone else's in the 20th century, in my opinion, except maybe Anita Cerquetti's. But to think of Sutherland as a great SINGER? Yikes? Does anything she ever sang really touch your heart or your gut?
What an ignorant you must be. Who cares man? Who remembers Dame Retardedland nowadays? She did nothing special in opera..she had nothing but trilling in her instrument..she married a gay conductor to help her get somewhere cuz nobody wanted her. Callas achievements were huge and still are to this day. The Aussi O sound girl could never. Greatness is only understood by a few..commoners like other commoners like Sutherland.
L'unico peccato che ci ha lasciato questo superbo trio è che siamo condannati a tenere a mente questa interpretazione incredibile contro tutti gli altri che ora possiamo guardare o ascoltare...
This is Opera!!! 💚💙💚💙✨✨🎵🎶🌹
Ah, Callas, Del Monaco, and Simionato, have there ever been greater artists to appear on the operatic stage? As someone said, "Giants roamed the earth in those days."
Del Monaco, what a performer and a wonderful dramatic tenor. In a time with no microphones he had the power and projection to fill any venue. He would have been one of the greatest Wagnerian tenors had he done more of it. My favourite Tenor along with Aragall.
@@ivanposa8101 Franco Corelli?
Who said that already ?
@@deloor171 what about his cousin the great Cranco Forelli ?
Of course! Corelli was certainly one of the greats!
PRIMA SOPRANO, PRIMO TENORE, PRIMA CONTRALTO! A PERFORMANCE THAT HAS NEVER, EVER BEEN EQUALLED.
Prima mezzo-soprano.
Simionato no era contrato, era mezzosoprano
Hit that high D girl and drive the other singers into the front seats of La Scala.
What a trio! All three in superb voice condition, Historically one of the best ever,could never be surpassed by any body in the near future or ever .Thank you to all those involved in sharing this immortal performance
Formidabili...Oggi una Norma di un simile valore è impensabile! Superlativi
Penso proprio di di
This is soooo exciting!!!
Simionato was stunning and Mario sounded so youthful, bright and like the character should.
Did you forget Callas ?
Insuperables. Ninguna antes, ninguna contemporánea y ninguna después de Callas a sido Norma salvo la Pasta. Este tríos es electrizante, que fuerza y que iintensidad. La Divina eterna.
Gon Cabrera Perce Amechi?.? Grazie Arnold Bourbon Amaral en USA 🌎🌍🌏🌿🌹👴LA DIVINA PER SIEMPRE 👸👑👑👑
The strongest D6 I've ever heard!!!
Alle drei sind sehr große Meister!
BRAVI MAESTRI!!
That was an unforgettable evening, I wish I was there.
Me too!!!
tre talenti sopraumani! dii dell'opera assieme!
These three great artists owned Norma in the 40's and 50's. In over half a century, no one has come up to this standard. We're still waiting..
Meravigliosi... La puntatura finale... Emozionante da pelle d'oca...
I had thought that Maria Callas voice went into a sharp decline after her weight loss but I was wrong. Here she she sounds really really wonderful with a really solid D6i at the end of the trio. I don't hear any flaws in her voice here. I'm really quite Blown Away
The deterioration started after 1960, although she regained some of its beauty at around 1969-1970
This is one of the first CD's I bought. Although I'm all about Verdi, this is my favorite opera performance ever. Lions and lionesses roaring on stage, and suffering «the slings and arrows of outrageous fortune», moving everybody to tears. Opera at its very best.
edizione favolosa.....insuperabile!! con tutto il rispetto x gli altri
The conductor set the correct pace to add to the excitement. You can sense it from the orchestra as well.
Wow....meravihloso suono... fantástico
Giulietta Simionato visited Japan 3 times with Italian Opera by NHK(1956-1961) There must be many TV broadcasted reccordings ,eg."Aida" with Mario Del Monaco.
And let's give credit to the conductor Antonino Votto for setting up this thrilling moment. His versions of "Norma" are much more exciting (because quicker-paced) than the much-praised Tullio Serafin's, one of Callas' primary mentors. Indeed, Votto conducted the two greatest performances of which we have recordings--Trieste in 1953 and La Scala in 1955, both superior in my view to the studio versions which Serafin recorded (1954 and 1960). And for proof, listen to the 1955 RAI live version from Rome, also with Del Monaco, but with Serafin conducting--done only six months before this performance which opened the La Scala season on December 7.
truly great
What an EVENT ~~ Those three legends do their very best on stage together at the very same moment.
Uffffffff MADRE MÍA!!!!!! say no more. ❤❤❤❤❤❤❤❤👏👏👏👏👏👏👏👏👏👏👏
I love the humming that forms when she sings "il suon di morte" 2:14 (best with headphones)
Senza paragoni questo trio é meraglioso. Bravissimo Callas, Simionato anche Del Mônaco
What a thrilling moment NEVER to be repeated.
Fuera de este mundo 👏🏼👏🏼👏🏼
Amazing sound!!!!
Brillantes, electrizantes!!!!!!!!
Per me sono i tre migliori interpreti di questi ruoli....
NEVER compare Sutherland to Callas. I saw Sutherland in 1970 in her debut of the role of Norma at the Met. Beautiful singing but BORING!!! You couldn't understand a word of what she was singing either. Callas has no equal in the role.
I agree in part. I saw Sutherland twice in Norma, including her first run at the Met. She was vocally perfect but there was no character present. Hearing Bellini's music sung perfectly was fascinating both times but not satisfying. I have seen several Normas since and all of them were more convincing than Sutherland, though none sang the role as perfectly. Even Sills, who was a better Norma than people think [I did see her in the role}, brought more to the actual role than Sutherland. However, only Callas really brings all of the myriad of emotions to the performance that the music actually portrays.
@@wilsonwatt9283 I agree about Sutherland, pretty singing but not one word is decipherable.
@@ivanposa8101 Even when Sutherland sang in English, an English-speaking audience could have used subtitles. She always sounded instrumental. Gorgeous, but the language was Martian.
When you have sung on every stage that Sutherland and Callas graced to as much acclaim as they BOTH received, then *maybe* I'll give a rats ass what you have to say. Until then, why not just enjoy the amazing singing from two artists who each had their own strengths instead of bashing them? I will never understand the need some opera queens have to put another singer down in order to lift up their favorite. smh
@@dbengtnyc I was not putting either of them down. They both were the best in their fields. It's just that they were different and one has a right to one's own preference. And yes, I heard Callas, too.
Listen the performance of Callas, Corelli and Nicolai too. This is still amazing! Grazie!
Maravilloso!!! Gracias.
Прекрасный трио Марии Каллас Мансерат Кабаллье и Георга Отса
👍💐💐💐❤️Браво
I still cannot fathom how the hell that D6 just shot out on top of the other two VOCAL MONSTERS and a orchestra that was playing at full force
@@ralphoperaphileIt’s a D.
@@matthewbbenton My mistake - quite right; apologies
Wonderful
great, great...these are real opera singers in appropriate roles
Que buen sonido!!!
Ottima Callas e Pollione di qualità...
Amazing!
Bravi!
Te best madame Callas
I heard Callas as Norma live at the (old) Met in 1956 (I was 16). I heard Sutherland as Norma at the new Met in 1970 (I was 30). Comparing them is nonsense. Callas, with all her flaws, was demonic, mesmerizing, riveting, even though her top notes were already tragic shreds. Sutherland was angelic, transcendent, superhumanly beautiful, and NOBODY CARED about her diction. There were GIANTS IN THE EARTH in those days. NEVER take them for granted---- we will not hear their like again. A FACT: NO recording can truly capture the power, the three-dimensional projection into the vast space of the Met's auditorium, of these unique artists. Do not dream that you you truly heard them if you did not hear them live.
great
A M E N !
regarding hearing them live...
sitting at the Metropolitan - on some nights with the luck of being down front and center -
there were certain notes coming from both Corelli and Vickers that literally made my sternum buzz.
The force and power, both aural and owning-the-stage personal, coming from these giants was of a magnitude that is gone from today's theatres.
Thank you for your comment, Mr. Epstein.
Just out of curiosity - did Callas hit high D at the end of Norma trio in 1956 at the Met?
@frank ioele I'm sad to hear your reminiscence of Sutherland as Norma. I never heard her sing live myself, she retired before I started attending the opera regularly, but she told me herself that Norma was probably her favourite role.
Singing Norma in Theater Mohammed 5 Morocco now . So inspirational
💖💖💖
my god, maria!!!!
Almost seventy years on,still nonpareil!
bravo
I think this norma trio should be at par with the ones with Sutherland...stunning HUGE D6 to knock all the other singers into the orchestra pit.
Callas and Sutherland had the D6 in total command at the end of the Norma Trio. Other sopranos may have a D6, but they are at least half the size of Callas or Sutherland.
Both can sing both Isolde and Amina. None of the singers today can "sing" those roles the way they are meant to be sung.
That's why I rarely go to the opera these days.
Is this stereo version available commercially?
Un solo Dio, una sola Callas. Solo che la Callas esiste.
Se lo digo a todos/as las que cantan hoy en día, con todo respeto: INTENTAD SUPERARLO, AFICIONADA@S
Люблю.
I have a version of this in inexorable sound. Where did you get this amazing, amazing version?
Incredibile riascoltare cosa riuscivano a fare questi tre mostri 70 anni fa.A sollevare le folle…Oggi c’è il nulla.
Please, don't bring Dame Mashed Potatoes In The Mouth into the conversation. She had no idea what she was singing. Her only concern was trilling, interpolating unnecessary high notes and getting to the feed bag as soon as she could lumber there. There is only one Norma and her name is Maria Callas.
bravo!!! concordo
And you're busy parroting Sutherland's detractors without thinking for yourself - detractors who made it seem like a fault that Sutherland's voice and technique were flawless to deflect attention from the fact that Callas' were not. "Oh but she's so dramatic... she wobbles on purpose because of the dramatic context..." - please spare me! She destroyed her voice and tried to rationalize her shortcomings, claiming she "sang ugly on purpose", but if you listen carefully to her recordings, you'll find that her singing is often more nuanced in the early years when her voice was in better shape.
The truth is that they were BOTH amazing talents and that they BOTH deserved the fame and glory they experienced. You may be busy criticizing Sutherland because you're aware of the fact that in some respects she was superior to Callas, but we should be so lucky to have a Norma today comparable to Sutherland's - just as we should be so lucky to have singers today with an artistic genius comparable to that of Callas.
I heard them both live, and you are right on target !
MadonnaImperia You’re not very bright.
I agree. Callas was a far better Norma than Joan, who was a better Elvira and an equally great Amina.
Beh..Del Monaco a tutt'oggi resta il piu' grande Pollione...non era un grande interprete ma qua' e' perfetto.Andrebbe ricordato piu' come Pollione che come Otello.
Callas was, perhaps, and not always, more dramatic....bla bla bla, but Sutherland REALLY sang BEL CANTO. I love her High notes and embelishments because she really could do it with flawless technic. Callas one must see and Sutherland one can hear without video. But actually I love them both in Norma. They were distinct kind os singers. Compare is silly.
It really depends on what you're looking for in bel canto. If you want dynamics (crescendo/diminuendo, messa di voce, fil di voce), chiaroscuro, rubato, vocal coloring, world class slow legato singing or phrasing, a full-functioning chest voice, dramatic scales around 2 octaves, good diction etc, Sutherland RARELY sang BEL CANTO. If you want vocal purity, fioratura con forza, first class legato in florid passages, big ass high notes, piercing staccati, diamond trills, Sutherland was textbook bel canto. BTW Callas is the last person one needs to see. Sutherland herself said that Callas' actual acting was in her singing. They are my two favorite singers. But, I've never cared for Sutherland's Norma.
Ali Offe Same here my friend. Callas will always be. Supreme. Above all others my friends. Just her repertoire in itself tells you all you need to know unless you want to study her even further. She will always be the empress of Opera till the end of time indeed. No need to compare the soprano and that soprano to Maria Callas. Everyone who truly understands this incredible art form knows in their heart and Maria Callas it's a standard that everyone else will never achieve. Only Montserrat Caballe came close. Sincerely Arnold Bourbon Amaral
Que pésimo gusto! Asco!
Sutherland really sung bel canto? Are you mad or what? She had absolutely no idea what bel canto was. Callas, on the other hand, knew all bel canto nuances and did them all perfectly. Sutherland was a bel canto JOKE.
John Reed: Callas always sounds like she's singing through a can with marbles in her mouth -- horrific; her high notes were never centered, often sharp and almost always with a wobble, nowhere near as fantastic or beautiful as Sutherlands. Callas' best years were when she was fat, so apparently she also spent a lot of time at the feed bag. Yes, she was a great "dramatic artist," because she had to be to make up for the voice she destroyed. She never sang Lucia after hearing Sutherland sing it because she didn't want the comparison. Sutherland's career lasted almost 40 years because she had the greatest voice God ever gave a human and she took care of it -- and knew her limitations; how long did Callas' career last? All this nastiness aside, they were both great artists; I prefer Sutherland, you Callas. So be it.
Sorry, but Rosa Ponselle's voice (have you ever heard it?) is beyond everyone else's in the 20th century, in my opinion, except maybe Anita Cerquetti's. But to think of Sutherland as a great SINGER? Yikes? Does anything she ever sang really touch your heart or your gut?
What an ignorant you must be. Who cares man? Who remembers Dame Retardedland nowadays? She did nothing special in opera..she had nothing but trilling in her instrument..she married a gay conductor to help her get somewhere cuz nobody wanted her. Callas achievements were huge and still are to this day. The Aussi O sound girl could never. Greatness is only understood by a few..commoners like other commoners like Sutherland.