Maria Callas -Sonnambula 1955 Act 1 duet with REAL ENDING!
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- Опубліковано 6 вер 2024
- This has what i assume is the CORRECT ending to the duet, which sounds completely different to the EMI CD.
The CD in question is EMI 5 67906. The note on the CD sounds like it came from one of the 1957 performances. The way it merges with the applause and music had always bugged me but I thought it was just a bad master tape.
Until I got GOP12. I was listening to it with headphones on, and wasn't expecting such a huge sound at the end, it nearly killed my ears!
WARNING TO HEADPHONE USERS! FINAL NOTE WILL KILL YOU OR MAKE YOU BALD AT LOUD VOLUME!
Also, there are a few random noises at the start that I couldn't get rid of, but there aren't any loud pops or clicks, only some faint ones.
The images are mostly relating to the 1955 production, but there are a few from 1957.
And yes, I realise that there is a photo in the video that is of Maria from a performance of Norma :)
For anyone who doesn't know and is wondering, the song is called "Son geloso del Zefiro Errante", and Maria sings with Cesare Valletti.
Marta Mödl recalls meeting her before the premier backstage; she had seen pictures of her as a fat dramatic soprano and didn't know who she was looking for. She describes "falling upon a sylph in a long white dress, completely transformed from her former figure into this ballerina like figure."
Those are the best trills Callas ever sang.
infrantasi she must be a Vulcan or Romulan it feels things very very deeply in their mine help me mr. Spock understand help me help me help me
Our Maya could sing everthing. She did not have a signature role because once she sang it she owned it. VIVA CALLAS 👑💙 REGINA DIVINA. Thank you Callas Can for all your hard work. Arnold Bourbon Amaral
This is fabulous singing, so musical by Callas,.. unbelievable. She was just in great voice for this performance.
I love the unbelievably languorous tempo of the first part, and how Callas sings *all* the descending trills in one flawless legato. That's incredible -- not only are the trills seamlessly connected, they display subtle dynamic nuance, increasing in volume with the descent, which is so difficult -- it's much easier to sound louder as you go up, and so difficult to sing a trill in the same dynamic as the rest of the line. Famous trillers (most notably Sutherland) often do a weird drop into piano in order to start the trill. Even Ponselle, who had an excellent trill, couldn't quite bind it into the rest of the vocal line.
As for that penultimate note... I would have preferred at high C. I wonder why they went with a high D/Eb, which doesn't fit F major at all really. But it doesn't really detract from the overall performance for me. I like Valleti here a lot, and find this 1955 Sonnambula the warmest and most nourishing of Callas's performances. It has Callas at her most relaxed and confident - as a vocalist, as a musician, and (with her new, fabulous figure) as a woman. She had conquered La Scala and was now holding court!
Oh my God ! I can really die happy now !
Callas is sublime. This aria is so beautiful it almost hurt
Christian Nielsen almost!!?? Haha. JK. I completely understand.
Yes!
Christian Nielsen girlfriend I feel a song coming deep in my heart my blood is hot I love the Greeks their temperament they're strong will I was in love with Alexander the Great for 15 years! Why oh why did he leave us tell me why you cried cry cry cry etc etc I can say no more Rhonda right here in my recliner
In my opinion is the same evening but recorded from two different sources, the one of GOP seems to be made just on the stage, or with microphones very near to the voices...and this causes also the pitch to be distorted on high notes of both the singers. While the one by EMI seems to be taken from the audience seats, or any way more distant from the voice's sources. That's just my impression from hearing the comparisation of the two recording. Personally, Callas singing in this Opera I only have the studio version always made by EMI.
SAVE LOG you are so wise! I love your opinions they're so telling and true you are a god! I can say no more I feel faint.
Oh my god its beautiful
Just tremendous!...I SAY JUST TRRRRREMENDOUS! Anybody out there hear me? I just made an appointment for a hearing check.
The duet is in F major and the top note at the end is a top C. It does rather exceed the limitations of the recording equipment!!
Voglio dire...GRAZIE!
It takes out my breath !
GOOD LORD WHAT!!! hahaha Callas sings a reaaaally sharpened D flat, almost an E flat, I think EMI tried to correct it by putting in the 1957 high note, which is right on pitch. WOW
I have a feeling that EMI put the final DO from one of the 1957 live with Monti, and changed it at the very end for the coda, which sounds lower in tune...
I wonder if any commercial releases have this finale in them
Valetti's inability to tone down his voice in the first descending trills phrase ruined it for me. Despite the fact that Callas has a voice 5 times his size, she can sing the phrase as if whispering under the breath.
is it me ... or is she going above the high D ... and a little out of tune ... anyway THANKSSSSSSSSSSSSSSSSSSSSSSSSS i love your channel and all your videos .. thank you for loving the greatest singer EVER MARIA CALLAS !
that is what i thought...:)
The last of the great years.....
Bullshit and a bucket of spit!
Sono state tramandate troppo spesso compiacenti immagini vocali della Callas, falsandone l'autenticità documentale, e dichiarandole "live" si è oltrepasto il limite del truffaldino . Un sovracuto strillato, poco felice, non avrebbe certo fatto scandalo, specie se valutato in un contesto di così sorprendente positività.
I remember that note from my old Cetra LPs . . . it is a shocker! Frankly it's interesting to listen to this again after so many years. I find her singing a bit all over the place? Muffled then open - wobbly then secure? It's all a bit 'awkward'? Unique and fascinating - and repeatedly startlingly beautiful . . . but somehow not surprising that in New York the next year she has no E flats in Lucia.
She was sick in New York. So forgive her for not having sung notes Donizetti did not write! And two years after this performance, she was singing eb6s with diminuendi across Europe! As for this performance, it's sung to perfection. You will never hear better trills than these.
Would it be safe to fault Bernstein with the dissonance? I don't actually mind it.
Speaking of killing ears, Valletti is destroying mine with his oversinging. Callas though, she is beyond reproach.
In all fairness, my impression is that the part of Elvino is on the high side for Mr. Valletti.
Come mangiare un tenorino
Am I the only one who finds her voice really acidic and unpleasant here? When she tried to "lighten" her voice, to my ears the result was not the most delightful. She sang better with her full dark voice.
It was still good though.
LYRIC SOPRANO WHO RUINED HER VOIVE 5 YEAR CAREER
What an awful screamed top note - not even in the score. She is sharp by any reckoning!
You're an ignorant! Clearly. Screamed note? Ignorant! It's an amazing note, placed high in the mask. Did I say that you're an ignorant? Well, yes, you are. Go listen to your awful modern singers that can't even project. Ignorant.