Quale fortuna possedere per eredità i 3 dischi originali della Columbia con questa splendida edizione dell'Aida! (Callas, Tucker, Gobbi, Zaccaria, Modesti: il fior fiore della scena lirica italiana degli anni '50).
Three genius here. Serafin's tempo and his care for the details is just right. Gobbi's phrasing at "Pensa che il popolo..." is heart-wrenching, and of course the famous "o patria...quanto mi costi!" of Callas.
Why do people say that Aida was not her part? Is there anything wrong with her singing, her phrasing, her understanding of the part? Hell no! Must it always be those oversinging ladies who drown people in sound and swallow half of the words?"
Geez, what people say this wasn't "her part"? They can't be human, they can't have good hearing or sensibility. Her genius ranged so wide. Early on, I listened to her "obvious" roles---Norma, Tosca, Lucia---then later discovered that she brought astonishment to other roles, like no other. This is one. No cast handles this scene as well, it's mastery.
Magnifica grabación, excelente interpretación que queda como una de las mejores Aídas que se han interpretado. "No sei mia figlia del pharaoni tu sei la schiava!!!!"IMPRESIONANTE!!!
Maria Callas is a legend, and you can't argue with a legend! Not everything she sang was good, to my taste. Her skill as an operatic actress was her strong point. And I respect her for that!
maybe it wasn't the right opera for her...but she has some thrilling moments and she is a Teacher for every singers later...I love a lot the recordings in Mexico City...she was, and here too, Divina!
@@anandy9292 allow me to disagree Price was extraordinary in many ways and for many reasons in this role but she will never be compared to Callas’ interpretation of the role! Someone must have sth more than a rigorous emphasis to the thorough singing of the score... No one can dispute the fact that Price was delivering the score! But there is a reason why someone can take a good sized nap while listening to her recording... With Callas though, this isn’t happening -objectively. She approached the role in certain terms that made her purify the role. I don’t know why exactly is this happening; is it the intonation? Is it the depths of her voice? Is it the stellar interpretation that exists even in the studio recording...? I don’t know! And its not that Aida was a part made for her flush. She was more an Amneris lol. But she made it her own
@@oliverdelica2289 Disagree! There are some unfortunate souls who are not familiar with opera and are in the process of discovery. Besides which, it is slightly off-putting for cognoscenti.
Both are expressive but Aida was not a good fit for Callas, she can't evoke sympathy in this role and her voice struggles. Gobbi's characterisation and vocalism is at times like a caricature of a barbaric tribe and it doesn't work for me.
@Rosemary Allen no. In other roles I think he's more complex. But he's not alone, Bechi also opted for a similar characterisation as Amonasro. If you find barbaric too insulting a term, maybe rough is more appropriate.
Quale fortuna possedere per eredità i 3 dischi originali della Columbia con questa splendida edizione dell'Aida! (Callas, Tucker, Gobbi, Zaccaria, Modesti: il fior fiore della scena lirica italiana degli anni '50).
Three genius here. Serafin's tempo and his care for the details is just right. Gobbi's phrasing at "Pensa che il popolo..." is heart-wrenching, and of course the famous "o patria...quanto mi costi!" of Callas.
I love that line from Aida. It makes the duet flow so well. VIVA LA OPERA !!!
Due mostri sacri della lirica. Nessuno più come loro due: Tito Gobbi e Maria Callas. Da brivido quest'aria.
...mamma mia che coppia.... Eccezionale, come pure eccezionale è il maestro Serafin.
both very emotional and full of character! can't go better than this!
Absolutely!
price and estes at price's farewell opera at the met, that one i must say is better
Don’t forget the one between Guelfi and Cerquetti, or the one between Taddei and Callas. Astonishing!
Callas is seemless, but listen Pavel Lisitsian as Amonasrio in Bolshoy.
Excelentismo Tullio Serafin, the best director, the best singer!!
Maravilloso duo
Why do people say that Aida was not her part? Is there anything wrong with her singing, her phrasing, her understanding of the part? Hell no! Must it always be those oversinging ladies who drown people in sound and swallow half of the words?"
Beautifully put!
Geez, what people say this wasn't "her part"? They can't be human, they can't have good hearing or sensibility. Her genius ranged so wide. Early on, I listened to her "obvious" roles---Norma, Tosca, Lucia---then later discovered that she brought astonishment to other roles, like no other. This is one. No cast handles this scene as well, it's mastery.
Magnifica grabación, excelente interpretación que queda como una de las mejores Aídas que se han interpretado. "No sei mia figlia del pharaoni tu sei la schiava!!!!"IMPRESIONANTE!!!
Excelencia pura.
Maria Callas is a legend, and you can't argue with a legend! Not everything she sang was good, to my taste. Her skill as an operatic actress was her strong point. And I respect her for that!
maybe it wasn't the right opera for her...but she has some thrilling moments and she is a Teacher for every singers later...I love a lot the recordings in Mexico City...she was, and here too, Divina!
They are great! Thank you !
Monstrous Nile Scene! Can't get any better than this.
go watch price and estes in price's farewell at the met, not even the great callas can compare to that performance
@@anandy9292 Price' was impeccable in Act I that night, surely the best AIDA of all time there; but she somehow wasnt in her best shape in ACT III
@@anandy9292 allow me to disagree
Price was extraordinary in many ways and for many reasons in this role but she will never be compared to Callas’ interpretation of the role! Someone must have sth more than a rigorous emphasis to the thorough singing of the score... No one can dispute the fact that Price was delivering the score! But there is a reason why someone can take a good sized nap while listening to her recording... With Callas though, this isn’t happening -objectively. She approached the role in certain terms that made her purify the role. I don’t know why exactly is this happening; is it the intonation? Is it the depths of her voice? Is it the stellar interpretation that exists even in the studio recording...? I don’t know! And its not that Aida was a part made for her flush. She was more an Amneris lol. But she made it her own
Personally I think Giuseppe Taddei and Maria Callas takes the cake for me
@@oliverdelica2289 Don't forget the Callas-Raffaele De Falchi version in 1950.
Прекрасное исполнение. Браво!!!
Capolavoro assoluto.
Legendary.
Impressive
Люблю.
4:57, Non sei mia figlia
WHY DO YOU ILLUSTRATE UN PAPER ABOUT L'AIDA WITH IMAGES OFA TOSCA IN LONDON 1964?????
Why the picture from Tosca?
Because it's the two of them together. Doesn't have to exactly be from Aida
@@oliverdelica2289 Disagree! There are some unfortunate souls who are not familiar with opera and are in the process of discovery. Besides which, it is slightly off-putting for cognoscenti.
アイーダなのに、サムネがトスカなのは、いかがなものか…
Si'. Perche'?
Both are expressive but Aida was not a good fit for Callas, she can't evoke sympathy in this role and her voice struggles. Gobbi's characterisation and vocalism is at times like a caricature of a barbaric tribe and it doesn't work for me.
Which did you wish to insult more, the great Tito Gobbi or the Ethiopian nation? I suggest you moderate your critique.
@@rosemaryallen2128 who said anything about the Ethiopian nation? I suggest you read my comment carefully.
Are you inferring then, that ALL Tito Gobbi's performances strike you as 'barbaric', not just Amonasro?
@Rosemary Allen no. In other roles I think he's more complex. But he's not alone, Bechi also opted for a similar characterisation as Amonasro. If you find barbaric too insulting a term, maybe rough is more appropriate.
@@Orfeus80 We enjoy what we are emotionally pre-disposed to enjoy, of course. But the reverse process is a sad thing.
Люблю.
Люблю.
Люблю.