The greatest opera singer to ever grace God's green earth. As a male baritone, I still find something to learn from her singing that's how important she was to vocalism in GENERAL.
There has never been anyone to compare with this for sheer drama and emotion. Not the voice for many I acknowledge, but for me who started as a dramatic mezzo and ended up a soprano, there has never been another.
This is wonderful, and the volume is great so you can hear every detail. Chest voice is the foundation of safe as well as great singing. Or at least it was in those days. Great, well done.
The chest notes of Callas were always epic! As you mentioned in the description, she always insisted on a singer having chest tones. If you listen to her Julliard Master Classes she makes a point often of chest tones. To paraphrase her "you must have chest (low) notes, and a trill, like any instrumentalist!"
Di Stefano said she sang like a man. He meant the forthright passion and authority and conviction. Her chest notes are clenched fists deep dark caverns robust roots rough reckonings with destiny her deep space explorations. Her mid range is the universe of being and expression mysterious yet revelatory. Her top is risk and resonance explosions of confidence and calamity, power and pathos the heights of hysteria and declarations of dominance. But her low range o her low notes are her most consistent highlights.
I think Nabucco’s Abigaile and Medea of Dallas.. are the most powerful. Too bad there isn’t any live Gioconda from the late 40’s or early 50’s.. that would have been the best of the best
It was impressive how full her voice sounded at these lower parts of her range. Most sopranos tend to focus so much on developing and perfecting the higher parts of their voice and they completely forget about the lower ones. The result is no other than underdeveloped chest voice and weak low notes that lack depth, fullness and projection. This was not the case with Callas. With her, every note mattered. She'd make sure that every note that came out of her mouth, high or low, did so impressively. She was indeed La Divina. She will forever be irreplaceable. She could sing anything. Her repertoire was beyond most singers' capabilities.
The whole only downside to her extensive repertoire was that it likely cut her prime years short. But what a prime it was. 10 great years of callas was worth 30 very good years of anyone else
Gran vídeo, no solo informativo, sino instructivo. Nos has ayudado para entender aún más el gran valor del uso de la voz de pecho, fundamental para todo el repertorio operístico. Excelente recopilación de una parte del enorme legado de Callas. Muchas gracias. ❤❤❤
The photo is of a 1959 concert in London, and she was singing Lady Macbeth sleepwalking scene. She allowed her straps to slip down as a sign of her madness.
@@joseejaja279 I've just listened to the recording. The news is that it was a sensation and furore! Unfortunately only the Sleepwalking Scene was taped and in very bad audio, but I'm thankful for everything that comes from her
Thank you, to me seeing her like this seems out of character. But this demonstrate that she always had total control and used her wardrobe to serve the scene. Thanks again for pointing it out.
she gives not 100 percent, not a 120 percent, she gives 200....i wonder if she didnt need to be swept up from the stage after performance and recover for a week ...what an enourmous amount of energy this woman has....
Πολυ φροντισμένη η συλλογη των αποσπασμάτων , συγκεντρωμενη ολη η δύναμη της φωνης της στις χαμηλες νοτες, δεν θυμάμαι να εχω ακούσει κατι ανάλογο σπο άλλες καλλιτέχνιδες της όπερας, η Κάλλας ειναι αναντικατάστατη
Amazing performances, at times she almost sounds like a man. The divine Callas true attributes is to be loyal to the composer. Her legacy lives on has a testament to her will and unsurpassed talents.
Opera Lover I believe it is. She was a Lioness out for blood as Abigail. She owned so many roles. Nabucco is so PRIMAL & so true to the music of this role. LA DIVINA Arnold Bourbon Amaral
It was that remarkable middle register that made Maria so unique. Almost a paradox that she was noted for her coloratura\bel canto style that requires a difficult higher register which was not her strongest asset after her early career but the middle register remained supreme and does so to this day.
Bel canto and the coloratura difficult excersices and vocalizations that Callas sang is not only for high notes!! Although Callas's Voice was Huge up to High E until 1957!!!
The greatest opera singer to ever grace God's green earth. As a male baritone, I still find something to learn from her singing that's how important she was to vocalism in GENERAL.
There has never been anyone to compare with this for sheer drama and emotion.
Not the voice for many I acknowledge, but for me who started as a dramatic mezzo and ended up a soprano, there has never been another.
I am transported by her low notes. Cavernous sobs. Beautiful and dark, honest as they are open throated. Thank you Maria for your work. For your Art.
So yes, this is one of the best videos on UA-cam
Such a big difference between '72 and '74...
SHE WAS IMPROVING SO MUCH
This is wonderful, and the volume is great so you can hear every detail. Chest voice is the foundation of safe as well as great singing. Or at least it was in those days. Great, well done.
The chest notes of Callas were always epic! As you mentioned in the description, she always insisted on a singer having chest tones. If you listen to her Julliard Master Classes she makes a point often of chest tones. To paraphrase her "you must have chest (low) notes, and a trill, like any instrumentalist!"
Thank you for showcasing Maria's extraordinary vocal abilities. She was definitely one of a kind!
AND WHAT AMAZING SOUND ALL THE CLIPS HAVE !!!!!!!!
Só uma técnica perfeita poderia estas notas ao mesmo tempo sombrias e abertas, só Maria Callas foi capaz de tal subtileza!❤❤❤❤❤❤❤❤❤❤
Incomparable!!! Thank you for this wonderful compilation
Bravaaaaaaaa !! Un genio dramático musical único en toda la historia de la ópera.
Di Stefano said she sang like a man. He meant the forthright passion and authority and conviction. Her chest notes are clenched fists deep dark caverns robust roots rough reckonings with destiny her deep space explorations. Her mid range is the universe of being and expression mysterious yet revelatory. Her top is risk and resonance explosions of confidence and calamity, power and pathos the heights of hysteria and declarations of dominance. But her low range o her low notes are her most consistent highlights.
I think Nabucco’s Abigaile and Medea of Dallas.. are the most powerful. Too bad there isn’t any live Gioconda from the late 40’s or early 50’s.. that would have been the best of the best
Glorious!!!!.....thank you 😚
It was impressive how full her voice sounded at these lower parts of her range. Most sopranos tend to focus so much on developing and perfecting the higher parts of their voice and they completely forget about the lower ones. The result is no other than underdeveloped chest voice and weak low notes that lack depth, fullness and projection. This was not the case with Callas. With her, every note mattered. She'd make sure that every note that came out of her mouth, high or low, did so impressively. She was indeed La Divina. She will forever be irreplaceable. She could sing anything. Her repertoire was beyond most singers' capabilities.
The whole only downside to her extensive repertoire was that it likely cut her prime years short. But what a prime it was. 10 great years of callas was worth 30 very good years of anyone else
and thinking about merging vocal registers....how can you create an even merging when one register is very soft and underdeveloped
Gran vídeo, no solo informativo, sino instructivo. Nos has ayudado para entender aún más el gran valor del uso de la voz de pecho, fundamental para todo el repertorio operístico. Excelente recopilación de una parte del enorme legado de Callas. Muchas gracias. ❤❤❤
The photo is of a 1959 concert in London, and she was singing Lady Macbeth sleepwalking scene. She allowed her straps to slip down as a sign of her madness.
Shahrdad. I'm most greatful for the explanation. I was wondering about that for it's the first time l see this picture and it seemed out of caracter.
@@joseejaja279 I've just listened to the recording. The news is that it was a sensation and furore!
Unfortunately only the Sleepwalking Scene was taped and in very bad audio, but I'm thankful for everything that comes from her
Thank you, to me seeing her like this seems out of character. But this demonstrate that she always had total control and used her wardrobe to serve the scene. Thanks again for pointing it out.
Amazing in this respect too!
Thank you.
DIVINAAAAAAAAAAAAAA
FRANCO KALOGEROPOULOS is your name?
@@mateodedios4507 yes
@@marylambcarter 😳
Lo de Abigail y Lady Macbeth es una auténtica barbaridad. Dejó los papeles imposibles para cualquier soprano humana.
Well done!
she gives not 100 percent, not a 120 percent, she gives 200....i wonder if she didnt need to be swept up from the stage after performance and recover for a week ...what an enourmous amount of energy this woman has....
The 1965 Tosca was recorded in December 1964
MAGNÌFICA !!!!! ÙNICA !!!!!
Πολυ φροντισμένη η συλλογη των αποσπασμάτων , συγκεντρωμενη ολη η δύναμη της φωνης της στις χαμηλες νοτες, δεν θυμάμαι να εχω ακούσει κατι ανάλογο σπο άλλες καλλιτέχνιδες της όπερας, η Κάλλας ειναι αναντικατάστατη
Incredible is an understatement when describing how great this video is! What recital is 1961?
N. Lidar Recital with Sir Malcolm Sargent, pianist on 30 May 1961, at St. James's Palace, London.
@@OperaMyWorld Grazie mille!
❤
Amazing performances, at times she almost sounds like a man. The divine Callas true attributes is to be loyal to the composer. Her legacy lives on has a testament to her will and unsurpassed talents.
Dio creò la donna:,Maria Callas!
around 1:00 was just too much for me, awesome. what is that?
@@opera2745 thanks!!!
Opera Lover I believe it is. She was a Lioness out for blood as Abigail. She owned so many roles. Nabucco is so PRIMAL & so true to the music of this role. LA DIVINA Arnold Bourbon Amaral
Nabucco is a voice wrecker!!!
What piece she sing in 3:00 (1958) ?
“Numi venite a me” from Medea
6:01 What name music?
Il Corsaro of Verdi! ' Non so le tetre imaggini"
@@OperaMyWorld Thank you so much. I've been a fan of Thailand. I've been listening to Callas's work for over 10 years.
What opera was the first clip from? It was amazing!!
@@artdanks4846 Nabucco!!!
@OperaMyWorld Thank you!!! AmZing clip! Amazing video, from start to finish! Proving she did NOT "lose her voice"...AT ALL!!!
What in 03:28?
Gioconda...
Awesome，but excuse me, Callas was something more, much more, than high notes or chest voice.
Is the 1951 excerpt from I vespri siciliani?
P. Lochs thank you!
Is 1949 Nabucco? Wish you'd put which opera they were excerpted from
milanetc
1949: Nabucco
1950: Norma
1951: Vespri Siccilianni
1952: Macbeth
1953:Medea
1954: Serai
1955: Andrea Chenier
1956: Ballo in Maschera
1957:Anna Bolena
1958:Medea
1959:La Gioconda
1960:Poliuto
1961: Don Carlo
1961: Mefistofele
1962: Ernani
1963: Nabucco
1964:Don Giovanni and Oberon
1965: Tosca
1969: Vespri Sicilliani
1969: Il Corsaro
1972: Masterclasses - Cavalleria Rusticana and Manon Lescaut
1974: Werther
1976: “Ah Perfido”
@@OperaMyWorld OMG THANKS
I always want to hear more, the excerpts are too short!
It was that remarkable middle register that made Maria so unique. Almost a paradox that she was noted for her coloratura\bel canto style that requires a difficult higher register which was not her strongest asset after her early career but the middle register remained supreme and does so to this day.
Bel canto and the coloratura difficult excersices and vocalizations that Callas sang is not only for high notes!! Although Callas's Voice was Huge up to High E until 1957!!!
"The Master of Chest Notes" - What a silly, stupid headline.