This is one of her greatest depictions of the mad scene. That thin ether of madness in the voice floating so freely across the stage. Who cares about the E-flat in the cadenza when the rest is so spell-binding?
Breathtaking musicality. Possibly my favorite recording of Maria singing this Mad Scene. I doubt ANYONE can come close to understanding the emotional pain she experienced with the vocal problems she experienced. How desperate it must have felt! Though at this point the High Eb’s were almost gone, we must remember she went on to give us some of the most outstanding, historic operatic performances in the entire history of opera. God bless Maria Callas!
Have you listened to her La Somnabula from the same year? she had plenty of High E flats.. and I might add recorded the studio version of that opera that year.. and that recording is wonderful.
MARIA CALLAS IS THE BEST LUCIA EVER! AND ESPECIALLY IN THE MAD SCENE IS INCOMPARABLE IN ANY VERSION BOTH LIVE AND STUDIO RECORDINGS! MARIA CALLAS PRIMA DONNA ASSOLUTA LA DIVINA FOREVER I LOVE YOU!
Some claim it was the color of her voice that made her the greatest; I say it's the musicianship. She had not only great control of dynamics, but a sense of when to be quiet, when to swell, when to create an outburst, as if the something very deep from within her soul was united to the character's-something rare and precious in every note! And her use of rubato was on a level with the greatest instrumentalists, Horowitz, Szigeti, Hess. Fascinating, macabre, a black diamond.
I totally agree with you in everything. Rubato is something totally gone nowadays. They don't even teach it in music schools anymore. Now we have metronomes as singers and conductors. A truly sad era we're living in. I really appreciate your comment.
Lucia di Lammermoor, June 26th 1957 Roma, Rai Studios: Radio broadcast: Orchestra e Coro di Roma della Rai; maestro direttore Tullio Serafin; maestro del coro Nino Antonellini: Miss Lucia: Maria Callas Sir Edgardo di Ravenswood: Eugenio Fernandi Lord Enrico Asthon: Rolando Panerai Raimondo Bidebent: Giuseppe Modesti Lord Arturo Buclaw: Dino Formichini Alisa: Elvira Galassi Normanno: Valiano Natali
@mariandevadas :-) i'm glad for you. But i tell something: the mundial critics (and i am agree) told that 1954 was the best because the cast: Scala + Karajan + Di Stefano + Callas. And Callas was recently lost all the weight by two months, so her voice was exactly EQUAL than his golden period! So... not only is mather of personal opinion,but i respect you and happy that you like Divina Lucia (anyone).
@mariandevadas :-) For me the ebst Lucia of Callas EVER is from Scala 1954 (but the sound is horrible), so in conclution the best Lucia is from Berlin 1955 because the INCREDIBLE SOUND, the interpretation and excelent vocal state of maria.
Dazzling. I like Sills version too, but this is amazing. Not sure which I like better. I think I still prefer Sills, but two great dramatic lyric coloraturas. And terrific actresses. A feast.
This is her last great year for Lucia. She still had many Normas, Medeas, Bolenas, but she never sang Lucia better than this after 1957. Her Lucia from Dallas omitted all the top notes, and her legato was troublesome, and she was losing her pianissimi.
And it happened, because she quit practicing.. Remember, 1957 was the year she met the Scoundrel Onassis, he taught her to not give a shit about her singing, threw her records overboard for him and his awful son to shoot as target practice.. Thats all the reverance he had for her, All I can say is that the sex must have been worth it.. though I doubt it,
Some nights are better than others. That's just the nature of the voice. I think she sounds great here. Who cares about the high e flats when everything else is so amazing?
This is one of her greatest depictions of the mad scene. That thin ether of madness in the voice floating so freely across the stage.
Who cares about the E-flat in the cadenza when the rest is so spell-binding?
Breathtaking musicality. Possibly my favorite recording of Maria singing this Mad Scene. I doubt ANYONE can come close to understanding the emotional pain she experienced with the vocal problems she experienced. How desperate it must have felt! Though at this point the High Eb’s were almost gone, we must remember she went on to give us some of the most outstanding, historic operatic performances in the entire history of opera. God bless Maria Callas!
Have you listened to her La Somnabula from the same year? she had plenty of High E flats.. and I might add recorded the studio version of that opera that year.. and that recording is wonderful.
MARIA CALLAS IS THE BEST LUCIA EVER! AND ESPECIALLY IN THE MAD SCENE IS INCOMPARABLE IN ANY VERSION BOTH LIVE AND STUDIO RECORDINGS! MARIA CALLAS PRIMA DONNA ASSOLUTA LA DIVINA FOREVER I LOVE YOU!
No one like her -------- before or after here. She dug into the music and yielded a miracle.
Some claim it was the color of her voice that made her the greatest; I say it's the musicianship. She had not only great control of dynamics, but a sense of when to be quiet, when to swell, when to create an outburst, as if the something very deep from within her soul was united to the character's-something rare and precious in every note! And her use of rubato was on a level with the greatest instrumentalists, Horowitz, Szigeti, Hess. Fascinating, macabre, a black diamond.
infrantasi I totally agree my friend. Our MAYA was always in the ZONE. Arnold Bourbon Amaral
I totally agree with you in everything. Rubato is something totally gone nowadays. They don't even teach it in music schools anymore. Now we have metronomes as singers and conductors. A truly sad era we're living in. I really appreciate your comment.
Yes! Every note she utters your heart and soul are bonded with her journey.
OMG!! goose bumps!! and the attack of the last note!!! PERFECT
Queste voci non dovrebbero mai lasciare il mondo per dare il senso della vera arte passione e sensibilita' ...in modo speciale " OGGI..."!
incredibile Maria. La più grande Lucia.
Lucia di Lammermoor, June 26th 1957
Roma, Rai Studios: Radio broadcast: Orchestra e Coro di Roma della Rai; maestro direttore Tullio Serafin; maestro del coro Nino Antonellini:
Miss Lucia: Maria Callas
Sir Edgardo di Ravenswood: Eugenio Fernandi
Lord Enrico Asthon: Rolando Panerai
Raimondo Bidebent: Giuseppe Modesti
Lord Arturo Buclaw: Dino Formichini
Alisa: Elvira Galassi
Normanno: Valiano Natali
Raphaël Pisano
The way she phrased "Al fin son tua, al fin sei mia" (8:15-8:38) touched me so deeply :(
unica solo callas
That's my favorite part as well
Qui al suo apice, irraggiungibile sotto tutti i punti di vista
@mariandevadas :-) i'm glad for you. But i tell something: the mundial critics (and i am agree) told that 1954 was the best because the cast: Scala + Karajan + Di Stefano + Callas. And Callas was recently lost all the weight by two months, so her voice was exactly EQUAL than his golden period! So... not only is mather of personal opinion,but i respect you and happy that you like Divina Lucia (anyone).
@mariandevadas All Callas's lovers are friends of mine!!!
Divina Maria
This is a great live! I love the pressa la fonte mecca tassidi ohime fantasma part
senpre alla ricerca del meglio,mai uguale a se stessa
:-) I'm happy to share whitalls who loves callas art's all i've of her!
I agree, but Sills took on some dramatic roles and did very well with them.
MARIA fuiste unica
@mariandevadas :-) For me the ebst Lucia of Callas EVER is from Scala 1954 (but the sound is horrible), so in conclution the best Lucia is from Berlin 1955 because the INCREDIBLE SOUND, the interpretation and excelent vocal state of maria.
don't you like Berlin 1955 better than Scala 1954? Berlin she took all the time she needed to express... Scala sounded a bit rushed...
Wayne Yeh 1955 is so much better! As usual Maria ruled! 🌏🌎🌍👑💛🎼 Arnold Borbon Amaral
Maria!
The supreme....this is the most beautiful voice of all time😍Callas the supreme queen of all queen
A friend had a private recording a number of years ago. Don't know whatever happened to him or that tape!
al que no le gusta no sabe de opera menos de voses
marabillosa con eso les digo todopor ahi hay mucha envidia ni modo
qui peut me dire qui est le chef d'orchestre ? merci
Tullio Serafin
Dazzling. I like Sills version too, but this is amazing. Not sure which I like better. I think I still prefer Sills, but two great dramatic lyric coloraturas. And terrific actresses. A feast.
This is her last great year for Lucia. She still had many Normas, Medeas, Bolenas, but she never sang Lucia better than this after 1957. Her Lucia from Dallas omitted all the top notes, and her legato was troublesome, and she was losing her pianissimi.
Why? Did you hear her Lucia from Dallas? There is no recorded version that I am aware of.
And it happened, because she quit practicing.. Remember, 1957 was the year she met the Scoundrel Onassis, he taught her to not give a shit about her singing, threw her records overboard for him and his awful son to shoot as target practice.. Thats all the reverance he had for her, All I can say is that the sex must have been worth it.. though I doubt it,
And she became an anorexic.. which is never good for the body or the voice.
I love the 1959..stereo studio version
the most of all she did
But what about Jackie and Evangelia? No one likes them! LOL.
That catastrophic first night which she "spectacularly" missed both E flats? Or the second night that she played safe?
that's Dallas 1959 I think... 1957 she totally had E flats after Spargi damore...
🙄
I thought that Callas' voice was still supposed to be in good condition in 1957?
she was in good condition no? 1957 was the year that she did diminuendo on E flats in Amina... no one in history could ever do that...
Some nights are better than others. That's just the nature of the voice. I think she sounds great here. Who cares about the high e flats when everything else is so amazing?
poor Maria, since 1956 onwrads her high notes were a scream without preparation
Federico Mastrangelo complimenti per la cazzata scritta!!!
unlike your sweet heart tebaldi who never had a high notes or agile voice
You do know that the high e flat diminuendo in her studio recordings and in her live Cologne Sonnambula was 1957 right?
Khalid TERIBALDI per Lohengrin LOL. My Dad would say Terrible Tebaldi. Arnold Bourbon Amaral
🙄