All live performances. There are so many great moments and great singers that I could't include for the sake of lenght of the video. These are some of my favorite.
I'm glad that the Callas segments you included are all from her pre-weight-loss days, when her voice was where nature intended it to be. As Richard Bonynge, who heard her in her heavier as well as thin years, said, "But before she slimmed down, I mean this was such a colossal voice. It just poured out of her, the way Flagstad's did.... Callas had a huge voice. When she and Stignani sang Norma, at the bottom of the range you could barely tell who was who ... Oh it was colossal. And she took the big sound right up to the top." All of these ladies are phenomenal, but early Callas was basically in a category by herself. She could go from Isolde, Brünnhilde, and Kundry to Puritani, and she could go from Lady Macbeth and Abigaile to Lucia, Gilda, and Armida. Among all these great ladies, she had the most phenomenal agility, and her upward extension and facility above high C was beyond the reach of the others. Sadly, she paid a terrible price for her rapid weight loss, and the voice was never the same instrument afterwards. If we only had one soprano today who could hold a candle to ANY of these ladies! Instead, we get singers who scream and look like they're chewing gum when they sustain a note.
GREAT COLLECTION!! Thank you for this! Really shows how singing USED to be, when they still knew HOW, and when good singing was actually PROMOTED!! Not like today!
She will never be a dramatic soprano! She was a lovely lyric soprano who damaged her voice in my opinion singing dramatic coloratura soprano repertoire. Desdemona in Verdi's Otello was as heavy as she should have gone. The high coloratura stuff stretched the voice beyond repair. Then she artificially darkened the voices and not there's a wobble. Adina and Norina were terrific for her lyric soprano voice. Violetta and Rosina not so much. Liu, Mimi, Juluet were all wonderful for her. This other repertoire had damaged 💔 the voice in my opinion
Glad to see you were joking! She destroyed the beauty of her lyric voice, by thinking she was a dramatic soprano! (Just like Renata Scotto did, before her!)
Ponselle's voice is one of a kind, the most beautiful of any soprano in the history of opera. Nilsson's Isolde is so thrilling and she was the greatest Turandot of her time. The great Milanov, such a sumptuous voice and command, supreme soprano. Callas La Divina, the ultimate Norma. Who is the Abigaille? It sounds like Dimitrova. Callas is so fierce as Lady Macbeth. Callas's high notes in follie follie in Traviata are bells going off. Callas the Armida of the 20th century. The combination of power and agility is beyond comprehension. Her Elvira in Puritani took Bellini's music to a new level, and that awesome high note at the end of caro nome. Varnay the outstanding Wagnerian, built in drama. You ended the video so well with Milanov singing Enzo adorato e come t'amo. Her mezza di voce is out of this world. It's from the MET 1939 broadcast. Thank you for putting such a great compilation together of these legendary sopranos.
Très belle compilation des plus grands sopranos dramatiques toutes admirables .Callas se distingue cependant .Ce n'est pas la plus belle voix du monde de la catégorie Soprano Dramatique .Ce qui compte c'est beaucoup plus que le timbre ( qualité innée qui ne doit rien à l'étude ) la façon de de servir de sa voix pour obtenir le but recherché .Grâce à l'étude ,Callas avait développé une technique exceptionnelle ,sur trois octaves ,avec une voix de soprano dramatique cependant .C'était un phénomène vocal .On peut la définir comme soprano dramatique coloratura ..Ou soprano sans limite .Capable de chanter Tous les rôles de Sopranos ,léger. dramatiques et lyriques ,mais aussi des rôles de mezzo. Voilà ce qui fait la particularité de Callas .Après il faut rajouter en plus Sa façon d'interpréter ,qui là encore se place très au dessus des autres .
Tulio Serafin said that Rosa Pónsel was one of the wonders of opera-voice of the 20th century. Maria Callas also admired her greatly she was her favorite singer.
Callas : une voix collosalle ,dans tous les registres y compris le registre suraigu .Très flexible ,avec une technique d'agilité incroyable .Mais toutes les voix présentes ici sont au delà de l'extraordinaire ,dans les extraits présentés ici .Pas assez de mots pour décrire leur immense talent .On se demande ce qu'est devenue la technique de chant aujourd'hui .Et en tous cas ces cantatrices sont toutes de réelles divas .
I of course worship you know who. But for the record I love Tebaldi very much, her last act of Traviata was the first thing I listened to repeatedly when I discovered Opera in our small town library. It enchanted me and from there Opera became essential to my life. At first because I had been exposed to Leontyne Price and Sutherland and Freni and others of that kind of gorgeous vocal fullsomeness before I came to Callas, I was very disappointed especially given her preeminence which seemed absurd to me, her voice, I felt just did not match up. It took a while and some persistence, because so much that was readily available at the time was of her later recordings, to get her. But once I got her, she got me, and the rest is history. Love all these Singers dearly and all are indispensable to my life. Callas though, IS my life.
Of all these GREAT. DRAMATIC SOPRANOS , Only Our MAYA was supreme. Her voice in her Prime was so full of every EMOTION that the human voice can reveal. Thank you my friend for this dazzling vocal display. Arnold Bourbon Amaral
It would have been a good idea to give the name of the singer and the work for each extract. It's extremely frustrating to hear them without any other information.
Callas is more an example of dramatic singing (singing like a dramatic soprano) than being a dramatic soprano. Nevertheless every singer should use their whole voice.
Callas has by far by farrrrr by farr the biggest voice of all of these singers. She is totally on a different level. Referential is her Nabucco which is extremely musical and agile without EVER being even slightly overpowered by the orchestra.
@@beachfanatic2010 You must be talking about recordings, I have heard Milanov, Callas and Nilsson in person and Nilsson certainly had the larger voice. On the other had Eileen Farrell's voice was even larger. But size isn't everything! All of them could be heard very nicely and to me, there is much more about opera singing than just the volume of the voice.
@@paragod333 Sir, YOU NEVER SAW CALLAS AS A FAT WOMAN BEFORE 1953 SIR! NO YOU DID NOT! YOU MAY HAD SEEN HER WHEN SHE LOST OVER 100 POUNDS YES THAT I BELIEVE. TOO BAD CALLAS VOCAL SIZE SHRANK 1/10 OF ITS ORIGINAL SIZE AFTER 1954. AFTER 1954 THAT WAS NOT HER VOICE. IT WAS REMAINS, LEFT OVERS, RUINS WHATEVER DA FUCK YOU WANT TO CALL IT. BUT IT WAS NOT EVEN HALF OF HER ACTUAL VOICE. I UNDERSTAND VERY WELL THAT YOU ARE VERY VERY OLD BUT YOU WERE NOT IN ITALY FOR HER FIRST 50 TURANDOTS IN THE 1940’S, NOR RIO DE JANEIRO, NOR MEXICO CITY, NOR BUENOS AIRES. LET’S GET THAT STRAIGHT OK!
I was going to individual vocal lessons and the teacher told me i was an alto, today i went to choir and they told me I'm a soprano and a really dramatic one. Can someone tell me how is this possible?
Vocal teaching and general singing knowledge have been in decline for decades. It's not impossible for you to have both dramatic soprano and alto range, although I recommend relying on your own ears to make the final judgement, especially since it seems like almost nobody knows what a dramatic soprano is nowadays. Most people think that the "dramatic" prefix means "heavy set", when in reality large singers usually have proper breath support (which they get naturally due to their physique) these days and can sing bigger roles (unlike smaller singers who probably weren't taught how to REALLY use 100% of their breathing system). Even Corelli struggled with singing teachers refusing to classify his voice as dramatic simply because he was very slender back in his teenage years, we can imagine just how deeply this false connotation between "large body" and " voice" has been ingrained into the opera world. All I can do is wish you good luck on your singing journey.
@@judygarland7186 Well, see, that's my point. Since the video was prepared by someone else, who put the Time and Energy into it creation, and since you view it for free, I think you shouldn't be complaining, or telling the creator what you believe *should* be included. It's Free. Appreciate that fact. 😎😎😎
Tous ces extraits sont très intéressants mais ni Carmen, ni Traviata, et surtout Norma ne sont des rôles de soprano dramatiques pourquoi nous faire entendre ces artistes dans ces rôles ???
Sorry ik heb véél naar Z, Milanov geluisterd maar op paar high B flat na ,begrijp ik niets van haar art vaak B Flat Flat en of uit tone of in midden van de High B flat pauze door ademnood etc ook totaal geen DivA . adembenemende
@@draganvidic2039 You need to take a good look in the mirror, you are consistently being a hypocrite. I won't stop speaking the truth, because you don't like to hear it. God be with you.
@@liedersanger1 Not an opinion but an objective fact. Use your ears, to quote Callas, and as Caruso said - “have something in the heart”. They were not wrong. :) God bless!
@@equinox6651 Actually in many documents of Tebaldi "live" Forzas del destino (there are like 6 or 7 tapes of different performances ) Tebaldi Bs are all good, and on the other hand in the many documents of Zinka Milanov "live" Forzas del destino (also there are like 6 or 7 tapes of different performances) Milanov's Bs are not good
@@ginopietracupa4305 It’s almost a “common” knowledge among opera aficionados that Tebaldi had a problematic top! As a respone to your commentary, I offer this lovely idiom: “Even a blind squirrel finds a nut once in a while”
@@equinox6651 that comment was created by Callas fans, who hate Renata Tebaldi more than they admire Callas, and you prove to have no ears and only repeat what the Callas fans install and it is not true. There are the recorded documents, listen to Tebaldi's Forza del Destino "live", Tebaldi is excellent in all of them, with all excellent high notes, and then listen to Milanov's Forza del Destino "live" and she is not well, in almost all of them
Name one singer today before the public who can sing with such excitement as any of these wonderful singers could on their worst days.
I'm glad that the Callas segments you included are all from her pre-weight-loss days, when her voice was where nature intended it to be. As Richard Bonynge, who heard her in her heavier as well as thin years, said, "But before she slimmed down, I mean this was such a colossal voice. It just poured out of her, the way Flagstad's did.... Callas had a huge voice. When she and Stignani sang Norma, at the bottom of the range you could barely tell who was who ... Oh it was colossal. And she took the big sound right up to the top."
All of these ladies are phenomenal, but early Callas was basically in a category by herself. She could go from Isolde, Brünnhilde, and Kundry to Puritani, and she could go from Lady Macbeth and Abigaile to Lucia, Gilda, and Armida. Among all these great ladies, she had the most phenomenal agility, and her upward extension and facility above high C was beyond the reach of the others. Sadly, she paid a terrible price for her rapid weight loss, and the voice was never the same instrument afterwards.
If we only had one soprano today who could hold a candle to ANY of these ladies! Instead, we get singers who scream and look like they're chewing gum when they sustain a note.
Rosa Ponselle and Birgit Nillson have beautiful voices as well as dramatic.
GREAT COLLECTION!! Thank you for this! Really shows how singing USED to be, when they still knew HOW, and when good singing was actually PROMOTED!! Not like today!
2:49 What a voice!
Where is Anna Netrebko?
(Joking..)
😂😂😂
She will never be a dramatic soprano! She was a lovely lyric soprano who damaged her voice in my opinion singing dramatic coloratura soprano repertoire. Desdemona in Verdi's Otello was as heavy as she should have gone. The high coloratura stuff stretched the voice beyond repair. Then she artificially darkened the voices and not there's a wobble. Adina and Norina were terrific for her lyric soprano voice. Violetta and Rosina not so much. Liu, Mimi, Juluet were all wonderful for her. This other repertoire had damaged 💔 the voice in my opinion
Netrebko among spinto or dramatic sopranos? Nonsense.
Glad to see you were joking! She destroyed the beauty of her lyric voice, by thinking she was a dramatic soprano! (Just like Renata Scotto did, before her!)
What a truly wonderful post. Thank u so very much
Wowza, this really is hair-raising stuff all around. Thank you!
Ponselle's voice is one of a kind, the most beautiful of any soprano in the history of opera. Nilsson's Isolde is so thrilling and she was the greatest Turandot of her time. The great Milanov, such a sumptuous voice and command, supreme soprano. Callas La Divina, the ultimate Norma. Who is the Abigaille? It sounds like Dimitrova. Callas is so fierce as Lady Macbeth. Callas's high notes in follie follie in Traviata are bells going off. Callas the Armida of the 20th century. The combination of power and agility is beyond comprehension. Her Elvira in Puritani took Bellini's music to a new level, and that awesome high note at the end of caro nome. Varnay the outstanding Wagnerian, built in drama. You ended the video so well with Milanov singing Enzo adorato e come t'amo. Her mezza di voce is out of this world. It's from the MET 1939 broadcast. Thank you for putting such a great compilation together of these legendary sopranos.
Très belle compilation des plus grands sopranos dramatiques toutes admirables .Callas se distingue cependant .Ce n'est pas la plus belle voix du monde de la catégorie Soprano Dramatique .Ce qui compte c'est beaucoup plus que le timbre ( qualité innée qui ne doit rien à l'étude ) la façon de de servir de sa voix pour obtenir le but recherché .Grâce à l'étude ,Callas avait développé une technique exceptionnelle ,sur trois octaves ,avec une voix de soprano dramatique cependant .C'était un phénomène vocal .On peut la définir comme soprano dramatique coloratura ..Ou soprano sans limite .Capable de chanter Tous les rôles de Sopranos ,léger. dramatiques et lyriques ,mais aussi des rôles de mezzo. Voilà ce qui fait la particularité de Callas .Après il faut rajouter en plus Sa façon d'interpréter ,qui là encore se place très au dessus des autres .
Tulio Serafin said that Rosa Pónsel was one of the wonders of opera-voice of the 20th century. Maria Callas also admired her greatly she was her favorite singer.
@@davidmolina7543 La Callas …soprano Assoluta!She was the MIRACLE.
Maria Callas was the greatest Abigaille
the most beautiful voice oof any soprano in history of opera is Renata Tebaldi, not Ponselle
Is it possible to get a break down of who's singing what. Some for me are obvious, others not so much. That'd be greatly appreciated.
Callas : une voix collosalle ,dans tous les registres y compris le registre suraigu .Très flexible ,avec une technique d'agilité incroyable .Mais toutes les voix présentes ici sont au delà de l'extraordinaire ,dans les extraits présentés ici .Pas assez de mots pour décrire leur immense talent .On se demande ce qu'est devenue la technique de chant aujourd'hui .Et en tous cas ces cantatrices sont toutes de réelles divas .
The Finale of Zinka Milanov from 'La Gioconda' was absolutely stunning, there will never be another like her!
She was also an excellent Tosca.
@@davidmolina7543 Agreed, also great as Leonore (Trovatore). Her pianissimo notes were spontaneous, you never knew they were coming. Unlike Caballe.
I of course worship you know who. But for the record I love Tebaldi very much, her last act of Traviata was the first thing I listened to repeatedly when I discovered Opera in our small town library. It enchanted me and from there Opera became essential to my life. At first because I had been exposed to Leontyne Price and Sutherland and Freni and others of that kind of gorgeous vocal fullsomeness before I came to Callas, I was very disappointed especially given her preeminence which seemed absurd to me, her voice, I felt just did not match up. It took a while and some persistence, because so much that was readily available at the time was of her later recordings, to get her. But once I got her, she got me, and the rest is history.
Love all these Singers dearly and all are indispensable to my life. Callas though, IS my life.
Mind blowing! When Will there be singers like this ever again??
Of all these GREAT. DRAMATIC SOPRANOS , Only Our MAYA was supreme. Her voice in her Prime was so full of every EMOTION that the human voice can reveal. Thank you my friend for this dazzling vocal display. Arnold Bourbon Amaral
Callas was a phenomenon.
i love this video, please come back posting more about callas
Maria Callas is the GOAT.
It would have been a good idea to give the name of the singer and the work for each extract. It's extremely frustrating to hear them without any other information.
can you list the arias used?
Callas is more an example of dramatic singing (singing like a dramatic soprano) than being a dramatic soprano. Nevertheless every singer should use their whole voice.
Never! There should always be reserve.
@@paragod333
Bla bla bla...
(I mean range and development)
Callas has by far by farrrrr by farr the biggest voice of all of these singers. She is totally on a different level. Referential is her Nabucco which is extremely musical and agile without EVER being even slightly overpowered by the orchestra.
@@beachfanatic2010 You must be talking about recordings, I have heard Milanov, Callas and Nilsson in person and Nilsson certainly had the larger voice. On the other had Eileen Farrell's voice was even larger. But size isn't everything! All of them could be heard very nicely and to me, there is much more about opera singing than just the volume of the voice.
@@paragod333 Sir, YOU NEVER SAW CALLAS AS A FAT WOMAN BEFORE 1953 SIR! NO YOU DID NOT! YOU MAY HAD SEEN HER WHEN SHE LOST OVER 100 POUNDS YES THAT I BELIEVE. TOO BAD CALLAS VOCAL SIZE SHRANK 1/10 OF ITS ORIGINAL SIZE AFTER 1954. AFTER 1954 THAT WAS NOT HER VOICE. IT WAS REMAINS, LEFT OVERS, RUINS WHATEVER DA FUCK YOU WANT TO CALL IT. BUT IT WAS NOT EVEN HALF OF HER ACTUAL VOICE. I UNDERSTAND VERY WELL THAT YOU ARE VERY VERY OLD BUT YOU WERE NOT IN ITALY FOR HER FIRST 50 TURANDOTS IN THE 1940’S, NOR RIO DE JANEIRO, NOR MEXICO CITY, NOR BUENOS AIRES. LET’S GET THAT STRAIGHT OK!
15:26 to 1538 Phenomenal note's in on line!!
Who are the singers in the end of ”Teco Io sto” from Un Ballo?
Milanov & Bjorling
name of all piece please? 😢😢😢
U have to name the singers and arias on your video or in the discretion.
What is the difference of dramatic soprano compared lyric soprano?
Are they louder they sing higher?
What’s Callas singing at the 10:00 minute mark!? I think it’s Il Pirata but I could be wrong
Armida
Pythia Delphi thank you!
Armida, last act “Se al mio crudel tormento”
@@marcoscorvo2514 thank you!
I was going to individual vocal lessons and the teacher told me i was an alto, today i went to choir and they told me I'm a soprano and a really dramatic one.
Can someone tell me how is this possible?
Vocal teaching and general singing knowledge have been in decline for decades. It's not impossible for you to have both dramatic soprano and alto range, although I recommend relying on your own ears to make the final judgement, especially since it seems like almost nobody knows what a dramatic soprano is nowadays. Most people think that the "dramatic" prefix means "heavy set", when in reality large singers usually have proper breath support (which they get naturally due to their physique) these days and can sing bigger roles (unlike smaller singers who probably weren't taught how to REALLY use 100% of their breathing system). Even Corelli struggled with singing teachers refusing to classify his voice as dramatic simply because he was very slender back in his teenage years, we can imagine just how deeply this false connotation between "large body" and " voice" has been ingrained into the opera world. All I can do is wish you good luck on your singing journey.
I guess it is easy to confuse what is impressive with what is important.
Where are the greats Muzio! Raisa, Scacciatti, Arangi-Lombardi,Bruna Rasa, Caniglia,Stella,Cigna?
Muzio is clear lyrical soprano, Antonietta Stella another lyrical soprano with an opaque voice
Who was singing abigaile
Dimitrova
What’s the piece in 11:40?
Medea
Nemici senza cor
Viva Callas
Lmaoo im supposed to sing like this? Makes sense now JAJAJAJ
in which seconds does nilsson sing here? you should have put their name each time
You should not complain.
Why don't you ask for your money back? 😎😎😎
@@rugby8-Philadelphia which money
@@judygarland7186
Well, see, that's my point.
Since the video was prepared by someone else, who put the Time and Energy into it creation, and since you view it for free, I think you shouldn't be complaining, or telling the creator what you believe *should* be included. It's Free. Appreciate that fact.
😎😎😎
Astrid Varnay la voz más grande de todas estas mujeres en TAMAÑO.
No
Es casi cómico. A la única que se le entiende lo que canta es a la Callas. Las otras parece que no vocalizan ni frasean.
Tous ces extraits sont très intéressants mais ni Carmen, ni Traviata, et surtout Norma ne sont des rôles de soprano dramatiques pourquoi nous faire entendre ces artistes dans ces rôles ???
Sorry ik heb véél naar Z, Milanov geluisterd maar op paar high B flat na ,begrijp ik niets van haar art vaak B Flat Flat en of uit tone of in midden van de High B flat pauze door ademnood etc ook totaal geen DivA . adembenemende
Why is Renee Fleming absent? The New York Times and countless other reliable experts consider her one of the greatest voices of all-time. ❓
Because she is not a dramatic soprano.
Fleming is a lyric soprano.
Because she worth nothing!
Ponselle is the best out of all of them, because she could emote as well as had a solid technique and beautiful sound. The rest - no.
The TROLL witch strikes again.
Can’t you just disappear?
Forever preferably.
@@draganvidic2039 You need to take a good look in the mirror, you are consistently being a hypocrite. I won't stop speaking the truth, because you don't like to hear it. God be with you.
@@EmilyGloeggler7984 😂😂😂
@@EmilyGloeggler7984 Toure entitled to your opinions. They’re all any of us gets in this world .
@@liedersanger1 Not an opinion but an objective fact. Use your ears, to quote Callas, and as Caruso said - “have something in the heart”. They were not wrong. :) God bless!
Milanov was never confortable on top, often flat, or fissa
Yes, she sucked. Tebaldi, on the other hand, was always spot on, those perfectly placed high Bs and Cs, just can’t get them out of my head 🙄
Go check your ears
@@equinox6651 Actually in many documents of Tebaldi "live" Forzas del destino (there are like 6 or 7 tapes of different performances ) Tebaldi Bs are all good, and on the other hand in the many documents of Zinka Milanov "live" Forzas del destino (also there are like 6 or 7 tapes of different performances) Milanov's Bs are not good
@@ginopietracupa4305
It’s almost a “common” knowledge among opera aficionados that Tebaldi had a problematic top! As a respone to your commentary, I offer this lovely idiom:
“Even a blind squirrel finds a nut once in a while”
@@equinox6651 that comment was created by Callas fans, who hate Renata Tebaldi more than they admire Callas, and you prove to have no ears and only repeat what the Callas fans install and it is not true.
There are the recorded documents, listen to Tebaldi's Forza del Destino "live", Tebaldi is excellent in all of them, with all excellent high notes, and then listen to Milanov's Forza del Destino "live" and she is not well, in almost all of them
Astrid Varnay does not know to sing without screaming above the staff. Milanov should have never touched Norma score
Ma manco la Cigna però
I agree here.
Gino Pietracupa: No one cares for your provincial opinion. Varna and Milanov are fine.