Callas does one thing I've never heard any other artist do: during a final cadence, she sings the penultimate note, in this case a high "C" and holds it what seems like forever, then she sings the portamento down to the final note, and takes a breath before singing the final note! This makes it possible to hold the high C much longer than would seem possible. This was one example of her genius IMO. Also, this aria demonstrates her astonishing bel canto technique. So far, I have not yet heard any other performance that compares with Callas' interpretation.
MARIA was in TRUTH herself, her best coach. I know all about the Serafin Phantom of the opera conductor influence on her, And, the other greats who shaped her, even told what to wear. BUT, in reality, NOBODY knew just by natural instincts more about a musical score more than La DIVINA. She had impeccable taste, EXCEPT in MEN. GREAT POST MARX, showing that MARIA did practice what she preached. The highlight showing of the score was a brilliant choice. It's ALL there. Nobody sang ROSSINI better than Maria.
This is more polished than 1952, with a more profound mastery of its treacherous octave leaps and acciaccature above the staff, with less dangerous shifts from heavy chest notes to ethereal top notes. The rubati are like a timepiece from Audemars Piguet, and the tempo is more passionate. 1952 showed her precocity but this version gives her the throne in Rossini’s Heaven!
I've watched a lot of masterclasses with singers such as Renee Fleming, and whereas Callas tells the singers to sing with an open throat, the new generation appears to be aiming for a constricted, narrow sound, as if every singer should be essentially a Mozart singer. Fleming often asks the singers to sing through a straw. I have wondered if that is why most new singers are indistinguishable for each other, and also why there is the epidemic of shaking jaws and waggling tongues.
@@onigbajamo Why do all their jaws shake whenever they sustain a note?? Nowadays, I'm shocked when someone does NOT look like they're chewing while holding a note.
@@mistersmith1883 Unfortunately, all of Callas's videos are from past her vocal prime (after her weight loss), and even when her high notes wobble in later ones, her jaw never shakes. This epidemic of shaking jaw is something rather new. Watch Leontyne Price, or Sutherland, or Arroyo, or Nilsson, Leona Mitchel, or Freni, among others, and none of them look like they're chewing when they sing.
I would never use the straw. The ratio of straw diameter to airflow cannot be determined and the pressure back onto the vocal folds and neck could be disastrous for the voice I think. Perhaps short term use of the could be beneficial. The shaking jaw is an indicator that something's horribly wrong in the voice I've been told.
Thank you for collating all these gems- the coaching advice, as well as this example of her art. As a teacher and a singer myself, having worked with a LOT of well-known 'teachers,' (one who advocated breathing through a straw as well!) the foundation of Bel Canto is contained in her comments: open throat, no valsalva, chest connection through the voice, low larynx, not confusing resonation with phonation, not being afraid to sing LOUD, less consonants, more vowels....She truly incarnated bel canto during her life.
Except one thing. There's nothing "beautiful" about singing "belcanto". There's also no such thing as "belcanto". It's just early 19th century western opera. There's nothing originally italian about it.
"Verismo" however is distinctly italian. Like the late Verdi operas, operas like Otello, or the operas of Puccini. Some say they took some inspiration from Germany's Wagner. But there's still something original about late 19th century italian operas. Rossini I can do without.
Απόλυτα Θεΐκή. Το μέτρο της, η μουσικότητά της, η γνώση της στην μουσική και στην πιστότητα και ακρίβεια της παρτιτο΄λυρας ειναι ακατάληπτη. VIva Divina Mar;ia!!! Importal!!!
the Rossini cavaletta is like out of control insanely difficult. I don’t spare time to listen to modern singers but I don’t think there’s anyone who would even be able to sing the notes as written let alone interpret. And definitely no one to sing the notes and interpret at genius level like Maria. Speechless at Rossini’s genius too and insane difficulty.
She have something unique she must have a great teacher....and she must exercise her self a lot to be so perfect....she have a strong voice with big opening deep sound and perfect expression in low notes and in higher notes sounded like a bird but without any mistake.....i think all her life before met Onassis was opera....hours of singing and play opera roles....
@@asicdathens but she would practice singing everyday for 20 or more hours without getting tired and drained from all that process? Nowadays we have 1 hour weekly singing lessons and we want to accomplish any kind of success… we should have at least 3 weekly to be a percentage of great as these artists
Maria Callas sings so beautifully. I wonder why did they (music school) shift from teaching singing from an open throat which Maria Callas advocates heavily into like singing through a straw? I don't get it. Maria Callas, a class of her own, sings and sounds far so much more better than the opera singers I hear today.
As a baroque mezzo is hard to not choppe the notes when the composer do repeted notes like in agitata and son qual nave, but Callas is right... Sad thing is that pos Bartolli conductors ask us to choppe the notes :( now is the norm, and i need to pay the bills so i chopp the notes
Ti consiglio di cambiare repertorio, il barocco sarà pure bello ma ha partorito i "baroccari" che non sono credo dei veri musicisti ma solo dei talebani fissati e basta. Molti cantanti si rifugiano nel barocco perche' o non hanno voce o non hanno lavoro in teatri grandi, appannaggio di alcuni e basta. Se la Callas avesse cantato un paio di arie barocche e qualche cosa di Monteverdi non avremmo questo " movimento barocco" statico e mummificato. La filologia? E chi ha mai sentito Farinelli o la Cuzzoni o come suonava Handel o Cesti. Mi dicono " ci sono i trattati!.....mmmm...prova a cantare in casa le arie del Samson et Dalila di Saint Saens e non di Handel per non rattrappirti la voce.. spero che qualche cosa cambi. Ma non credo. Siete voi cantanti che vi dovete ribellare, noi del pubblico possiamo solo tirarvi i pomodori in scena o uscire dal teatro alla fine del primo atto come spesso accade. Vogliamo poi parlare dei registi? Cordiali saluti.
Please, please make her stop! She has nearly brightened my day. Almost. What was all the other things going on in this world, I'm not too happy. Or content, or accepting. But she shows me that I can always hold a tune in my head. I said head, not heart. (Well, maybe she's infected my heart, too.) For the rest of the day, I am not going to get her out of my ears. Okay. So there you go! So now you know it. I'm one of those guys. I'm a Maria Callas guy. And now you know.
L'Armida della Callas nel '52 e' il suo estremo apice virtuosistico mentre l'Anna Bolena quello drammatico, sfruttando, esibendo ogni sorta di forme e colori ed emozioni della sua voce. Nel mezzo c'e' tutto il resto. Barone, cordiali saluti.
@@BaroneVitellioScarpia1 , ma Rossini drammatico poi o lo canti così o come l'Assedio della Sills o cadi giu' dalla noia. Oggi si cade invece dalla noia. Non credo che i Rossini delle Devie delle Antonacci o delle Fleming e Bartoli e delle consimili restino nella storia. Cordiali saluti.
Everyone knows the 1954 version is wonderful. They also know the 1952 version is almost unbelievable. Did the weight loss start in those two intervening years? Or what other theories do people have to account for the difference?
Yes the weight loss happened from 1953-1954. And I agree that there is something completely over the top and wonderful about her 1952 Armida. But to me more often than not I find her to be a better and more accurate musician with more depth character understanding and all that after the weight loss. I think the other thing that’s important to note in judging these 2 Armidas against each other is that the 54 version is during a concert as one of many pieces whereas the 52 is an actual part of the opera. For me that accounts for the greater character involvement and dominance of the 52 version as well
They're both technical marvels and sheer perfection. Moreover the 1952 recording isn't that clear so the supposed difference is merely a stereotype that after the weight loss her voice declined.
@@Khalid7a No, I don’t think so. The sense of absolute control and fearless attacking of the notes is diminished in ‘54, and she does not interpolate the astonishing D.
@@ransomcoates546 Her attack is secco, very clean with no sliding or insecurity at all. She chose to not sing the high D, that doesn't mean she couldn't, she had her high notes at least until 1959.
Lmao, her Anna Bolena was created when she was the thinnest ever and it was a mind blowing performance, unparalleled until today! Callas is Callas, period, no matter her appearance!
Even when she had a fragment of her voice, Callas had an ocean of musicality and musicianship to offer. She was the greatest soprano in her deathbed, and still is. The others? They sounded like an old fart when they were past their prime. The ones we have today? They sound like shit even on their heyday.
She was referring to the belcanto singing technique, not the repertoire. Belcanto is the only correct way of singing and everything in opera should be sung in belcanto.
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
Callas does one thing I've never heard any other artist do: during a final cadence, she sings the penultimate note, in this case a high "C" and holds it what seems like forever, then she sings the portamento down to the final note, and takes a breath before singing the final note! This makes it possible to hold the high C much longer than would seem possible. This was one example of her genius IMO. Also, this aria demonstrates her astonishing bel canto technique. So far, I have not yet heard any other performance that compares with Callas' interpretation.
Unsurprisingly, the great Maria Callas puts everyone else in the shade; a genius at work.
MARIA was in TRUTH herself, her best coach. I know all about the Serafin Phantom of the opera conductor influence on her, And, the other greats who shaped her, even told what to wear.
BUT, in reality, NOBODY knew just by natural instincts more about a musical score more than La DIVINA. She had impeccable taste, EXCEPT in MEN.
GREAT POST MARX, showing that MARIA did practice what she preached. The highlight showing of the score was a brilliant choice. It's ALL there.
Nobody sang ROSSINI better than Maria.
I am no musical scholar but Maria Callas is great. She was serous about achieving the best results possible. She's a genius in my eyes.
Nadie hubo , hay , ni habrá que cante como esta mujer . Nunca .
❤❤❤Totalmente cierto, saludos cordiales
Correcto
This is more polished than 1952, with a more profound mastery of its treacherous octave leaps and acciaccature above the staff, with less dangerous shifts from heavy chest notes to ethereal top notes. The rubati are like a timepiece from Audemars Piguet, and the tempo is more passionate. 1952 showed her precocity but this version gives her the throne in Rossini’s Heaven!
1:05 She was singing o zittre nicht! The first queen of night aria
I've watched a lot of masterclasses with singers such as Renee Fleming, and whereas Callas tells the singers to sing with an open throat, the new generation appears to be aiming for a constricted, narrow sound, as if every singer should be essentially a Mozart singer. Fleming often asks the singers to sing through a straw. I have wondered if that is why most new singers are indistinguishable for each other, and also why there is the epidemic of shaking jaws and waggling tongues.
I've noticed a lot of singers today sound weary, laboured and constricted and I have no idea why they're desirable qualities in singing.
@@onigbajamo Why do all their jaws shake whenever they sustain a note?? Nowadays, I'm shocked when someone does NOT look like they're chewing while holding a note.
The straw is not to blame, it helps the vocal fold to vibrate simetrically, and helps with people with vocal damage and stuff.
@@mistersmith1883 Unfortunately, all of Callas's videos are from past her vocal prime (after her weight loss), and even when her high notes wobble in later ones, her jaw never shakes. This epidemic of shaking jaw is something rather new. Watch Leontyne Price, or Sutherland, or Arroyo, or Nilsson, Leona Mitchel, or Freni, among others, and none of them look like they're chewing when they sing.
I would never use the straw. The ratio of straw diameter to airflow cannot be determined and the pressure back onto the vocal folds and neck could be disastrous for the voice I think. Perhaps short term use of the could be beneficial. The shaking jaw is an indicator that something's horribly wrong in the voice I've been told.
Incredible. You can feel every note, but not because they are cut from one another, but because even with legato she's precise. One of a kimd
This is honestly mindblowing. I am actually in shock that a human voice could do that.
En effet! Sommet insurpassable ! J'adore tes contributions concernant La Callas ! Continuons!!
Thank you for collating all these gems- the coaching advice, as well as this example of her art. As a teacher and a singer myself, having worked with a LOT of well-known 'teachers,' (one who advocated breathing through a straw as well!) the foundation of Bel Canto is contained in her comments: open throat, no valsalva, chest connection through the voice, low larynx, not confusing resonation with phonation, not being afraid to sing LOUD, less consonants, more vowels....She truly incarnated bel canto during her life.
This is beautiful singing.. its really hard,and she rips through it like its nothing.
Except one thing. There's nothing "beautiful" about singing "belcanto".
There's also no such thing as "belcanto". It's just early 19th century western opera. There's nothing originally italian about it.
"Verismo" however is distinctly italian.
Like the late Verdi operas, operas like Otello, or the operas of Puccini.
Some say they took some inspiration from Germany's Wagner. But there's still something original about late 19th century italian operas.
Rossini I can do without.
Admirable
Απόλυτα Θεΐκή. Το μέτρο της, η μουσικότητά της, η γνώση της στην μουσική και στην πιστότητα και ακρίβεια της παρτιτο΄λυρας ειναι ακατάληπτη. VIva Divina Mar;ia!!! Importal!!!
One forgets how many intricate notes a prima donna is expected to sing with precision and ease.
Mostro sacro che ha rivoluzionato il mondo della lirica❤
Maria Callas *is* Mastery and Class, par excellence.
Thank you!
👏🏻👏🏻👏🏻impresionante, inigualable, insuperable.👏🏻👏🏻👏🏻👌🏻❤️👍🏻
Couldn’t get better than this
Amazing
the Rossini cavaletta is like out of control insanely difficult. I don’t spare time to listen to modern singers but I don’t think there’s anyone who would even be able to sing the notes as written let alone interpret. And definitely no one to sing the notes and interpret at genius level like Maria. Speechless at Rossini’s genius too and insane difficulty.
Maravillosa❗❗
É meravigliosa 😍😍😍😍
Outstanding
Genio geniale, perfect absolutely
And Thank you for posting this Marx
Thank you for the music score. Very interesting!😊❤🏺
She have something unique she must have a great teacher....and she must exercise her self a lot to be so perfect....she have a strong voice with big opening deep sound and perfect expression in low notes and in higher notes sounded like a bird but without any mistake.....i think all her life before met Onassis was opera....hours of singing and play opera roles....
According to her biography by Arianna Huffington, during her studies in Athens she was the first to arrive and the last to leave.
@@asicdathens but she would practice singing everyday for 20 or more hours without getting tired and drained from all that process? Nowadays we have 1 hour weekly singing lessons and we want to accomplish any kind of success… we should have at least 3 weekly to be a percentage of great as these artists
@@marianperez96 Doesn't sound right. Only 1 hour a week? I personally have instructed lessons 3 times a week and self-study 6 days a week.
Espectacular 🎉
Toda una lección de canto!
Unbelievable ❤
Maria Callas sings so beautifully. I wonder why did they (music school) shift from teaching singing from an open throat which Maria Callas advocates heavily into like singing through a straw? I don't get it. Maria Callas, a class of her own, sings and sounds far so much more better than the opera singers I hear today.
Straws help you open your throat, though?
Only in a tracheotomy...
As a baroque mezzo is hard to not choppe the notes when the composer do repeted notes like in agitata and son qual nave, but Callas is right... Sad thing is that pos Bartolli conductors ask us to choppe the notes :( now is the norm, and i need to pay the bills so i chopp the notes
Ti consiglio di cambiare repertorio, il barocco sarà pure bello ma ha partorito i "baroccari" che non sono credo dei veri musicisti ma solo dei talebani fissati e basta. Molti cantanti si rifugiano nel barocco perche' o non hanno voce o non hanno lavoro in teatri grandi, appannaggio di alcuni e basta. Se la Callas avesse cantato un paio di arie barocche e qualche cosa di Monteverdi non avremmo questo " movimento barocco" statico e mummificato. La filologia? E chi ha mai sentito Farinelli o la Cuzzoni o come suonava Handel o Cesti. Mi dicono " ci sono i trattati!.....mmmm...prova a cantare in casa le arie del Samson et Dalila di Saint Saens e non di Handel per non rattrappirti la voce.. spero che qualche cosa cambi. Ma non credo. Siete voi cantanti che vi dovete ribellare, noi del pubblico possiamo solo tirarvi i pomodori in scena o uscire dal teatro alla fine del primo atto come spesso accade. Vogliamo poi parlare dei registi? Cordiali saluti.
Mi piace moltissimo
Please, please make her stop!
She has nearly brightened my day. Almost. What was all the other things going on in this world, I'm not too happy. Or content, or accepting. But she shows me that I can always hold a tune in my head. I said head, not heart. (Well, maybe she's infected my heart, too.)
For the rest of the day, I am not going to get her out of my ears. Okay. So there you go! So now you know it. I'm one of those guys. I'm a Maria Callas guy. And now you know.
❤️
You've been bitten by the bug. There's no turning back.
She was sitting Barbara Hendricks here😮
This is brilliant, but the 1952 was the best.
…there is the time before Callas and the time after Callas…(Franco Zefirelli)
👏👏👏👏👏👏👏
I prefer the 1952 live recording but this is great too.
L'Armida della Callas nel '52 e' il suo estremo apice virtuosistico mentre l'Anna Bolena quello drammatico, sfruttando, esibendo ogni sorta di forme e colori ed emozioni della sua voce. Nel mezzo c'e' tutto il resto. Barone, cordiali saluti.
@@fabriziogarzi9892 L'unica Armida della storia.
@@BaroneVitellioScarpia1 , ma Rossini drammatico poi o lo canti così o come l'Assedio della Sills o cadi giu' dalla noia. Oggi si cade invece dalla noia. Non credo che i Rossini delle Devie delle Antonacci o delle Fleming e Bartoli e delle consimili restino nella storia. Cordiali saluti.
Si può avere questo video con la traduzione in italiano?? Grazie mille
Sanremo 1954.
Quelli erano i Sanremo di una volta...😇
0:03
1:24, no pronuncia dura
3:21, D'amor al dolce impero
what aria is 1:47?
Damore al dolce impero, armida
Marx,i love you
👍📺👀
I love her rossini music. Theres nothing she can't sing.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Make her do that again! I dare her! Right here in public.
1954? It does not sound like from 1952.
Está loca!!
🌹❤️
Everyone knows the 1954 version is wonderful. They also know the 1952 version is almost unbelievable. Did the weight loss start in those two intervening years? Or what other theories do people have to account for the difference?
Yes the weight loss happened from 1953-1954. And I agree that there is something completely over the top and wonderful about her 1952 Armida. But to me more often than not I find her to be a better and more accurate musician with more depth character understanding and all that after the weight loss.
I think the other thing that’s important to note in judging these 2 Armidas against each other is that the 54 version is during a concert as one of many pieces whereas the 52 is an actual part of the opera. For me that accounts for the greater character involvement and dominance of the 52 version as well
They're both technical marvels and sheer perfection. Moreover the 1952 recording isn't that clear so the supposed difference is merely a stereotype that after the weight loss her voice declined.
@@Khalid7a No, I don’t think so. The sense of absolute control and fearless attacking of the notes is diminished in ‘54, and she does not interpolate the astonishing D.
@@ransomcoates546 Her attack is secco, very clean with no sliding or insecurity at all. She chose to not sing the high D, that doesn't mean she couldn't, she had her high notes at least until 1959.
@@Khalid7a No sense arguing with a Callas widow.
Legato, legato, legato...
Fat Callas was the greatest soprano, said Joan Sutherland.
Fat and thin, Callas is the greatest Soprano ever
Lmao, her Anna Bolena was created when she was the thinnest ever and it was a mind blowing performance, unparalleled until today! Callas is Callas, period, no matter her appearance!
Callas is always the best.
Even when she had a fragment of her voice, Callas had an ocean of musicality and musicianship to offer. She was the greatest soprano in her deathbed, and still is. The others? They sounded like an old fart when they were past their prime. The ones we have today? They sound like shit even on their heyday.
CALLAS ETERNA
Too many notes
Lol not a lesson on belcanto, this is not belcanto repertoire.... She was teaching Mozart here.
She was referring to the belcanto singing technique, not the repertoire. Belcanto is the only correct way of singing and everything in opera should be sung in belcanto.
@@TheLuisims, that's a nonsense. Lol 😅
@@NemesisTheInevitable you are clearly clueless.
Belcanto is first and foremost a technique.
@@Ignasimp, I am aware of that.
@@NemesisTheInevitable then why did you say it was nonsense?