MARIA CALLAS, ALWAYS made EVERYBODY around her better. That said, what stands out for me besides the singing is the photograph you accompanied with the post, here is a photo taken clearly by an Opera fan who succeeded in capturing by a snap of a camera the great Verdi moment, Callas in total captures the crisis and embarrassment of the moment and Di Stefano in total manliness and scorn. WOW!!! A perfect picture of history in La Scala. GREAT POST LOHENGRIN!!! Whenever I see a CALLAS post I wag my tail with K9 excitement.
Exactly, people stretched to their best when they were working with Callas... unbelievably inspiring... and exactly this Photo made me post this excerpt... you actually hear the sound by just looking at the photo
Di Stefano was actually a star before Callas, and they pushed one another to the heights of opera expression, the ultimate opera couple - true soul mates.
Maria forecast the death of opera in one of her last interviews. How right she was, mostly 2nd and 3rd rate singing (a few exceptions) 3rd rate productions and only some very good conducting that reflects the golden age.
Callas and diStefano, the chemistry between these two, they always made it happen. Listen to DiStefano's anger and Callas plaintiveness...Verdi, the master.
This is the most heart breaking scene from Traviata. Callas' singing of: "Alfredo, Alfredo in questo core" speaks of a profound love and hurt at her lover. It is impossible not to react to this without crying and sometimes sobbing. This is the recorded scene that forever got my heart to love Callas and opera.
I can't stop listening to the Eb6 CALLAS ' high pianissimi. What a good taste and refinement from the Diva!!! The previous notes were such emotional! She was superhuman ...unsurpassable great singer❤❤❤❤❤❤
When asked why Maestro Di Stefano walked out on this fabulous La Traviata he answered: “I was always against doing this Traviata. I hated having to do it. I didn’t hate the production itself it was beautiful. However, I did not want to sing Alfredo at this stage of my career, at La Scala. I felt that at La Scala, where I was singing important, leading roles, to sing Alfredo would be a step backward, for the role is subordinate to that of Violetta. The conductor was supposed to have been de Sabata. He asked me specially to sing Alfredo for him, and I respected him so much, I couldn’t refuse - - although, I protested that I was no good as Alfredo. He said, ‘No, no, Pippo, you must sing, and make this cast (which included Callas and Bastianini) stronger. I told him that I always went off pitch in the last scene, and he swore that he would himself give me my pitches then. So I accepted. Then I learned that de Sabata had himself withdrawn, and would be replaced by Carlo Maria Giulini. To me, this was one more reason not to do the opera, but the management insisted.” “During the rehearsals, I did everything I could to make them mad, to say, ‘Enough of Pippo! Let’s get someone else.’ All to no avail, and when I did show up at rehearsals, Visconti snubbed me. He had me facing upstage so often that I finally stopped a rehearsal to remind him that I sing with my mouth, not my derriere!" “At the end of the first performance, Callas said to me, ‘don’t come out for a bow, let me go out alone!’ I said, ‘Maria, you can go out alone tonight, and every night from now on, I’m leaving.’ And so, although the audience acclaimed me, I walked out of La Scala, went home, and told my wife to tell Ghiringhelli and de Sabata that I had left Milan.” “Years later, when Callas and I were together, she asked me, ‘Pippo, why did you walk out on that Traviata at La Scala? I never understood that.’ And I told her, ‘Because you insisted on that solo bow.’ Callas began to weep, and begged my pardon. ‘It’s true,’ she cried, ‘the sound of applause could make me do something like that!’ Imagine that!”
Callas e Di Stefano cantando Verdi. Isto é ópera na veia, canto lírico de verdade. Como não existe mais. A entrada cheia de tristeza de Callas é impressionante. Ambos grandes artistas e no auge. Tempos dourados da ópera que não existem maís!
I was lucky enough to experience her in her final world tour with Di Stefano. The audience pandemonium was incredible. Such love felt I shall always remember.
Callas n'était pas normale. Callas n'était pas humaine. Callas rendait tous│toutes ses collègues incroyables. Callas était un aimant euphorique de raffinement, d'engagement, de personnification anormale et inhumaine. Callas était un météorite supra-violent, terrible et mystérieux. Callas était un astéroïde noir et infini. Callas était le mystère noir et infini de l'âme humaine. Dans sa beauté vraie et absolue.
The first part of this recording is from 1955 Scala recording but the “Alfredo, Alfredo...” comes from the Mexico 1952 recording!! Anyway Callas is magnificent!! Pippo is amazing also!!! What a chemistry! As if the roles are written for both of them!!
I noticed that to. That opening was from the La Scala recording and one of my favorite renditions of this. A bit of back story. Di Stefano walked out on this production after the first performance. He didn't like the direction Callas and the conductor were taking. They fought, so he left. The people were livid because the tenor who replaced him, while good, was no Di Stefano. Just a little back story to the 1956 performance and possibly why his anger sounded so realistic. He was mad lol
This is just thrilling. It makes anyone shiver such is the emotion they bring about in their singing. Listen to modern versions of Traviata to notice the immense difference in tecnique, understanding and commitment envolved in this performance. Shame most of us could not see them on stage. Absolutely perfect singing in every way.
@@CyprusHot There is emotion. Lots of. Callas most important attribute was not her voice. There were better natural voices (Tebaldi, Ponselle, maybe Sutherland). It was her almost ingenious ability to understand the role and sing it how it was meant by the composer. That was what made her unique and unmatched until today.
Many sopranos did her e flat 3 with either cautious tone or just reach that note. But Diva Callas did it con forza as if it were not that high. That amaze me always. Only few did included Diva Callas
Thank you so much for posting this, part of a piece of operatic history still considered to be the finest La Traviata production at La Scala (1955) ever, featuring the greatest operatic pairing ever. Callas was at her best when with Di Stefano and Di Stefano was at his best when singing with Callas. Musical Magic!
I have this but so wonderful to see it posted here.....Traviata is not one my favourite Verdi operas but when Callas, Di Stefano and the suberb Bastianini break your heart it's a totally different matter...... sublime is the only superlative that covers it.....many thanks 😘
Sadly we will probably never hear anything like this today. Thank God a lot of these La Scala performances of Callas were recorded. La Scala should have had the forsight to record every role that Callas undertook at La Scala especially her 1956 Fedora and 1958 Il Pirata with Corelli.
her 1952 Kostanze!!! and her 1952 Haydn Euridice!!! and her 1951 Scala Vespri under de Sabata!!!! it is unbelievable to me those performances are lost... I dont care much about Fedora as an opera and at least we have her 1959 Pirata... but Kostanze and Euridice can u imagine...
di Stefano from 1:40 - 2:00 gave me my full life! I've never had that reaction to any tenor except Corelli. Absolutely marvelous! And La Divina ... what else is there to say?
it is extremely difficult to comment on this piece indeed, I had to re write the title several times and I kept repeating myself :p I still remember that fabulous thing u had written about Diskau's Wolfram: Falling through the stars of magnificence ... here this one Gave you your full life :D
@@johnareiter73 Couldn't disagree more. However I never loved Callas that much and Di Stefano is my favorite tenor. To me Di Stefano is one of the all time great tenors and very much on the level of Callas if not above her.
Questa e' la vera interpretazione di questa grande opera ,noi che ascoltiamo partecipiamo con il cuore colmo d' angoscia di struggimento!!!!! ...com'è cantata bene!!!!!!!! Magistralmente bene !!!!!!MARI
as a ten year old girl in Mexico City I was very fortunate to see and hear Maria Callas and Giussepe di Stefano sing five operas of whichnLa travista became my favorite. I am forever grateful to my parents for this fantastic opportunity! My love for opera was born during these performances. I remember a scene where Werther (di Stefano) is shot and he fell back and hit his head on the stage floor with a resounding thud! There was a gasp from the audience.
E' il tenore preferito della Callas con il fraseggio, il senso drammatico e l'abilità recitativa che aveva solo Di Stefano, la coppia ideale, in questa parte della Traviata, tutto rimane sullo sfondo, fino al coro, con lo scontro musicale di questa coppia di meravigliosi mostri dell'opera. Inarrivabile, irripetibile, quell'ardore è stata una vera sfida tra loro due e alla fine della vita della Callas, Di Stefano sempre amico, come diciamo oggi diventa sempre più un amico . La Callas, sempre Callas, la diva tra le dive, il soprano che incendiava il palco e bruciava se stessa in ogni esibizione..... Irripetibili .,.che dire questa recita è a futura memoria!!!!
Gosh, I’ve heard La Traviata 2 or 3 times at Chicago Lyric, beginning in 1967 (Monserrat Caballe and Alfredo Kraus, both of whom I appreciated as singers, and I never, ever thought it was an exciting opera. Until now!
TRAVIATA WERE AND IS ONE THE BEST BEAUTY OPERAS IN THE ITALIAN OPERISTIC ALSO IN THE WORLD MUSIC AND THIIS "DUETO"IS THE MOST BEAUTIFUL IN THE WORLD MUSIC.
Can't believe I just now saw this video for the first time, especially since you posted almost 2 years ago! But im SOOO glad I came across it! Best performance I've heard of this scene, EVER! But then why wouldn't it be? It's Callas!!! Thank you for posting!
Lohengrin O you never cease to impress and amaze with your posts please keep bringing these great performances to us so they are not forgotten and showing us what great opera really is thank you for your painstaking work
Fabulous! Intensity of expression like no other! I wouldn't call that a quiet final note though - presumably that's what you meant by "piano Eb6"... And what a fantastic opera! I can't quite get my head round comments which claim otherwise.
❤Istenem!🙏 Egy mai popsztár milliós nézettséggel bír! 🫢 Két világsztár operaénekes sokkal kevesebbel!😪 De ez a felvétel csaknem 80 év távlatából megmaradt legalább viszonyítási alapnak minden eljövendő generációnak‼️‼️ Ha lesznek még operabarátok!😔
The noticeable difference in natural voice quality and musical interpretation is enormous -- todays voices are technically manufactured they lack the beauty of tone and effortless production of this era.
Yeah, as pointed out, the second half of the scene is actually from Mexico City in 1952, not La Scala. She did not do that E flat interpolation at La Scala....it would have been considered "taste free".
La Callas, ah! La Callas, LA DIVINA, que maravilloso final del concertante del segundo acto de la maravillosa Traviata, una ópera de apenas tres personajes, etéreos, profundos y maravillosos. Sólo di Stefano es el tenor dd la Callas, habían tenores con mucho más volumen, pero el fraseo, el sentido dramático y la capacidad actoral ( sin saber una gota de música, sólo instinto) la tenía únicamente di Stefano, la pareja ideal de la Callas y, en esta parte de LA TRAVIATA, todo queda en segundo plano, hasta el coro, con el enfrentamiento musical de este par de monstruos maravillosos de la ópera. Inigualables, irrepetibles, ese ardor, esa entrega nunca más. Era un verdadero desafío entre ambos y al final de la vida de la Callas, di Stefano pasa a ser un amigante, como se dice hoy a “un amigo con derechos”. Callas, siempre Callas, la diva entre divas, la soprano que se prendía fuego en el escenario y se quemaba a sí misma en cada función, y al día siguiente cual ave fénix en una nueva representación o en una nueva ópera. Distintos personajes, pero la misma entrega, el arte más sublime de todos. El de la ópera, también el más difícil. Me gustaría que pusieran de ser posible la fecha exacta de las grabaciones y hasta el día mismo de la función. Es tan misteriosa la capacidad de LA DIVINA, que hasta el día de hoy nadie la iguala, peor la supera. O me pueden decir si alguien más desde ella termina el concertaste con un mi bemol sobreagudo pianissimo. Aclárenme por favor si alguien más lo ha hecho, aunque no sea en vivo como ella, aunque sólo sea en grabación. No creo que haya otra que se atreva. Qué pena para la ópera y qué pena para el mundo. Qué pena....!!!!!!!!!!!
Eb6 pianissimo has not been done by either Sutherland nor Nilsson... Nilsson tries a Db6 piano and it comes out horrible in her Lady M. And of course no one has done a Diminuendo on an Eb6 ua-cam.com/video/KpFsSTnnWa4/v-deo.html
@@LohengrinO En realidad Jessica Pratt lo ha hecho este año en Las Palmas. Deberías buscarlo. Quizá no es tan delicado como el de la Callas pero sigue siendo una acción muy valiente por su parte. Un saludo
Love the videos. Di Stefano is one of my favorite tenors. Not to much of a Callas fan but lobe Di Stefano.Several things, I believe this is several recordings put together. I have the recording that is used in the opening. It does seem different. The opening was from the La Scala recording which Did Stefano walked out on after the first performance. He didn't like the direction Callas and the conductor were taking. They fought, so he left. The people were livid because the tenor who replaced him, while good, was no Di Stefano. Just a little back story to the 1956 performance and possibly why his anger sounded so realistic. He was mad lol
The first part of Di Stefano is Inez’s from his only performance at La Scala in 1955, in Visconti’s famous production. The second part, Callas part, is from Mexico in 1952 I believe
Is this magnificent clip from the legendary Zeffirelli, Scala production of 1953 with Bernstein conducting? Certainly, the conducting elevates the level of the drama to an impact such as I have never heard before.
Legendary 1955 production was by Visconti and conducted by Giulini. Bernstein conducted her in Medea and Sonnambula. Zefirelli directed her in Traviata in Dallas in 1958. How do I know all this???? Misspent youth . . .
ua-cam.com/video/JUJPLBrvXhM/v-deo.html in this interview Carla Fracci, who was on stage that night, remembers how struck she was by her performance. She was playing one of the zingarelle before and now was on stage as one of the guests. She remembers that particularly during this scene she started crying when callas as violetta kneeled down in the most gracious way with her long white gloves and started singing one her best Alfredo, Alfredo. Fracci says it was an experience that really impressed her and she remembered that even after so many years
I guess Pippo was best in such partitures.. scorn, bitterness, super mad and super sexiness.. like Traviata, Ballo, Lucia and Rigoletto. Unlike Corelli who sounded much more manly but on the romantic side.. and mad in a totally different way.. jeez to have heard any of them with Maria in Medea... wow!! Even though Franco was preparing the role in 61 i think Giasone would have been a better match to Pippo.. though if you look at the Pagliacci filmed set of young Franco.. that man could play crazy to an unmatched size
What i find interesting is that Pippo’s first role was Elvino in Sonnambula.. why he never recorded/sung it again with Maria will be one of those mysteries of life I guess 🧐
Fare musica equivaleva a porsi spiritualmente in confronto con il lavoro di un artista creatore e consisteva nel sentire il peso e la responsabilità del proprio compito non di fronte alla critica o alle industrie discografiche o alle copertine delle riviste musicali, ma di fronte all'opera d'arte ed al suo creatore. Di Stefano e La Callas fanno parte di questa generazione di artisti, ed il loro approccio alla musica non esiteremmo a definirlo etico spirituale
![Giuseppe Di Stefano - "Che Gelida Manina" - 4/11/1962 (Rare Video) [Improved Sound]](/img/n.gif)
MARIA CALLAS,
ALWAYS made EVERYBODY around her better. That said, what stands out for me besides the singing is the photograph you accompanied with the post, here is a photo taken clearly by an Opera fan who succeeded in capturing by a snap of a camera the great Verdi moment, Callas in total captures the crisis and embarrassment of the moment and Di Stefano in total manliness and scorn. WOW!!!
A perfect picture of history in La Scala. GREAT POST LOHENGRIN!!!
Whenever I see a CALLAS post I wag my tail with K9 excitement.
Exactly, people stretched to their best when they were working with Callas... unbelievably inspiring... and exactly this Photo made me post this excerpt... you actually hear the sound by just looking at the photo
The photo was taken by Erio Piccagliani, house photographer of La Scala, on May 28th 1955.
by the way this photo is sold as a postcard at La Scala in their shop. Truly iconic
@@LohengrinO The reverse is also true: you can "see" the acting just by listening to the singing.
Di Stefano was actually a star before Callas, and they pushed one another to the heights of opera expression, the ultimate opera couple - true soul mates.
With Callas singing Verdi, you always think it's the master himself conducting.
Today opera is stone dead compared to this. Thank God for the recording industry.
Maria forecast the death of opera in one of her last interviews. How right she was, mostly 2nd and 3rd rate singing (a few exceptions) 3rd rate productions and only some very good conducting that reflects the golden age.
Callas and diStefano, the chemistry between these two, they always made it happen. Listen to DiStefano's anger and Callas plaintiveness...Verdi, the master.
This is the most heart breaking scene from Traviata. Callas' singing of: "Alfredo, Alfredo in questo core" speaks of a profound love and hurt at her lover. It is impossible not to react to this without crying and sometimes sobbing. This is the recorded scene that forever got my heart to love Callas and opera.
I can't stop listening to the Eb6 CALLAS ' high pianissimi. What a good taste and refinement from the Diva!!! The previous notes were such emotional! She was superhuman ...unsurpassable great singer❤❤❤❤❤❤
When asked why Maestro Di Stefano walked out on this fabulous La Traviata he answered: “I was always against doing this Traviata. I hated having to do it. I didn’t hate the production itself it was beautiful. However, I did not want to sing Alfredo at this stage of my career, at La Scala. I felt that at La Scala, where I was singing important, leading roles, to sing Alfredo would be a step backward, for the role is subordinate to that of Violetta. The conductor was supposed to have been de Sabata. He asked me specially to sing Alfredo for him, and I respected him so much, I couldn’t refuse - - although, I protested that I was no good as Alfredo. He said, ‘No, no, Pippo, you must sing, and make this cast (which included Callas and Bastianini) stronger. I told him that I always went off pitch in the last scene, and he swore that he would himself give me my pitches then. So I accepted. Then I learned that de Sabata had himself withdrawn, and would be replaced by Carlo Maria Giulini. To me, this was one more reason not to do the opera, but the management insisted.”
“During the rehearsals, I did everything I could to make them mad, to say, ‘Enough of Pippo! Let’s get someone else.’ All to no avail, and when I did show up at rehearsals, Visconti snubbed me. He had me facing upstage so often that I finally stopped a rehearsal to remind him that I sing with my mouth, not my derriere!"
“At the end of the first performance, Callas said to me, ‘don’t come out for a bow, let me go out alone!’ I said, ‘Maria, you can go out alone tonight, and every night from now on, I’m leaving.’ And so, although the audience acclaimed me, I walked out of La Scala, went home, and told my wife to tell Ghiringhelli and de Sabata that I had left Milan.”
“Years later, when Callas and I were together, she asked me, ‘Pippo, why did you walk out on that Traviata at La Scala? I never understood that.’ And I told her, ‘Because you insisted on that solo bow.’ Callas began to weep, and begged my pardon. ‘It’s true,’ she cried, ‘the sound of applause could make me do something like that!’ Imagine that!”
Callas e Di Stefano cantando Verdi. Isto é ópera na veia, canto lírico de verdade. Como não existe mais. A entrada cheia de tristeza de Callas é impressionante. Ambos grandes artistas e no auge. Tempos dourados da ópera que não existem maís!
Di Stefano's "Vi disperda" from Lucia and "Che qui pagata io l'ho" from Traviata are really unbeatable! So are Callas' reactions!
La più bella traviata di sempre, chi poteva cantarla? La coppia del secolo Maria Callas e Giuseppe Di stefano❤
What would I give to hear Callas on the stage!!!
I was lucky enough to experience her in her final world tour with Di Stefano. The audience pandemonium was incredible. Such love felt I shall always remember.
BRAVO PIPPO… He is so lucky to have Maria by his side. No one can really impress him, no one EXCEPT Callas!
Callas n'était pas normale. Callas n'était pas humaine. Callas rendait tous│toutes ses collègues incroyables. Callas était un aimant euphorique de raffinement, d'engagement, de personnification anormale et inhumaine. Callas était un météorite supra-violent, terrible et mystérieux. Callas était un astéroïde noir et infini. Callas était le mystère noir et infini de l'âme humaine. Dans sa beauté vraie et absolue.
Excepcional ,escalofriante y emocionante comentario.Felicidades.
Думаю. Великолепный коммент. Но и это еще не все. ОНА-ВСЕЛЕННАЯ...
ПЛАЧУ ОТ ЕЕ ПЕНИЯ
Non, c'est un grand cadeau de Dieu, son talent et sa voix!
C’est vrai, une beauté sombre et mystérieuse. Elle a réveillé sa souffrance, comme Piaf
So perfectly and beautifully and poetically stated!
My God!!! The legendary Diva sings here Eb6 high pianissimi!!!!❤❤❤
Stunning
This is true opera at its best!!
Che emozioni! Gli anni d'oro della vera grande lirica.
Again Callas showing to be super human. !!! Eb6 in pianissimo is such a refined beauty and technique!! Love it!!!!
Che voci, che passione, quale consapevolezza!👏👏👏❤️❤️❤️
The final E-flat has been spliced in from her Mexico City performance some years earlier. At La Scala she ended the scene as written in the score.
The first part of this recording is from 1955 Scala recording but the “Alfredo, Alfredo...” comes from the Mexico 1952 recording!! Anyway Callas is magnificent!! Pippo is amazing also!!! What a chemistry! As if the roles are written for both of them!!
OperaMyWorld, I thought I detected a hiatus! Thanks for the clarification.
I noticed that to. That opening was from the La Scala recording and one of my favorite renditions of this. A bit of back story. Di Stefano walked out on this production after the first performance. He didn't like the direction Callas and the conductor were taking. They fought, so he left. The people were livid because the tenor who replaced him, while good, was no Di Stefano. Just a little back story to the 1956 performance and possibly why his anger sounded so realistic. He was mad lol
Yes there is missing the "di sprezzo degno" of Germont Pere. Thanks for the specifics !
This is just thrilling. It makes anyone shiver such is the emotion they bring about in their singing. Listen to modern versions of Traviata to notice the immense difference in tecnique, understanding and commitment envolved in this performance. Shame most of us could not see them on stage. Absolutely perfect singing in every way.
How is it different to today ? Please educate me
@@CyprusHot There is emotion. Lots of. Callas most important attribute was not her voice. There were better natural voices (Tebaldi, Ponselle, maybe Sutherland). It was her almost ingenious ability to understand the role and sing it how it was meant by the composer. That was what made her unique and unmatched until today.
At last someone dares to tell the truth!
The Gods defended and decided to sing a duet. Sublime
Atmosfere magiche,irripetibili,interpretazione da delirio!
Many sopranos did her e flat 3 with either cautious tone or just reach that note. But Diva Callas did it con forza as if it were not that high. That amaze me always. Only few did included Diva Callas
Thank you so much for posting this, part of a piece of operatic history still considered to be the finest La Traviata production at La Scala (1955) ever, featuring the greatest operatic pairing ever. Callas was at her best when with Di Stefano and Di Stefano was at his best when singing with Callas. Musical Magic!
This scene always tears me apart. And the passion of di Stefano...!
Oh, man, to have been there...
Callas y Pippo, son el antes y después de la Ópera Mundial por siempre, gracias.
I have this but so wonderful to see it posted here.....Traviata is not one my favourite Verdi operas but when Callas, Di Stefano and the suberb Bastianini break your heart it's a totally different matter...... sublime is the only superlative that covers it.....many thanks 😘
the 1/2, the second 1/2.. :p
The voice, the woman, the legend.
Fra cento anni quasi tutti i nomi di oggi saranno dimenticati, la Callas no ...
Leggendaria coppia della lirica. Saranno eternamente i numero UNO!!!
Sadly we will probably never hear anything like this today. Thank God a lot of these La Scala performances of Callas were recorded. La Scala should have had the forsight to record every role that Callas undertook at La Scala especially her 1956 Fedora and 1958 Il Pirata with Corelli.
her 1952 Kostanze!!! and her 1952 Haydn Euridice!!! and her 1951 Scala Vespri under de Sabata!!!! it is unbelievable to me those performances are lost... I dont care much about Fedora as an opera and at least we have her 1959 Pirata... but Kostanze and Euridice can u imagine...
di Stefano from 1:40 - 2:00 gave me my full life! I've never had that reaction to any tenor except Corelli. Absolutely marvelous! And La Divina ... what else is there to say?
it is extremely difficult to comment on this piece indeed, I had to re write the title several times and I kept repeating myself :p I still remember that fabulous thing u had written about Diskau's Wolfram: Falling through the stars of magnificence ... here this one Gave you your full life :D
di Stefano was fortunate to have Callas, as she was the best and he was good, but not in her class, but in his prime in his early 50s recordings
John Areiter what an idiot
Agree !! That is a different level. The tone and diction are clear with the very intense drama from the soul. What a Tenor
@@johnareiter73 Couldn't disagree more. However I never loved Callas that much and Di Stefano is my favorite tenor. To me Di Stefano is one of the all time great tenors and very much on the level of Callas if not above her.
Questa e' la vera interpretazione di questa grande opera ,noi che ascoltiamo partecipiamo con il cuore colmo d' angoscia di struggimento!!!!! ...com'è cantata bene!!!!!!!! Magistralmente bene !!!!!!MARI
..e poi non puoi dire che la Tebaldi qua' e' stupenda!
That final note- a miracle.
she wipes it into nothing as if dying then takes it up again into a thread.... who else.......
Magnificent! Nothing less.
as a ten year old girl in Mexico City I was very fortunate to see and hear Maria Callas and Giussepe di Stefano sing five operas of whichnLa travista became my favorite. I am forever grateful to my parents for this fantastic opportunity! My love for opera was born during these performances. I remember a scene where Werther (di Stefano) is shot and he fell back and hit his head on the stage floor with a resounding thud! There was a gasp from the audience.
ouuch
The definition of the Highest of all Arts, Opera. Melodrama, acting and singing at its finest, too bad i wasnt born in those days.....
Another heart wrenching scene from these two legendary powerhouses can't get enough today's singers can't compare bravi bravi bravi !!!!!!!!!!!!!
At 1:56 I burst into spontaneous applause just before the audience chimed in.
2:00 onwards is SO DRAMATIC wow
E' il tenore preferito della Callas con il fraseggio, il senso drammatico e l'abilità recitativa che aveva solo Di Stefano, la coppia ideale, in questa parte della Traviata, tutto rimane sullo sfondo, fino al coro, con lo scontro musicale di questa coppia di meravigliosi mostri dell'opera. Inarrivabile, irripetibile, quell'ardore è stata una vera sfida tra loro due e alla fine della vita della Callas, Di Stefano sempre amico, come diciamo oggi diventa sempre più un amico . La Callas, sempre Callas, la diva tra le dive, il soprano che incendiava il palco e bruciava se stessa in ogni esibizione..... Irripetibili .,.che dire questa recita è a futura memoria!!!!
Peccato non aver nessun video di questa superba Interpretazione.
Brividi! Brividi! Brividi! Coppia insuperabile, nonostante ci siano stati soprattutto nello stesso periodo cantanti di grandissima qualità.
Gosh, I’ve heard La Traviata 2 or 3 times at Chicago Lyric, beginning in 1967 (Monserrat Caballe and Alfredo Kraus, both of whom I appreciated as singers, and I never, ever thought it was an exciting opera. Until now!
How I miss this passion and technique. Callas best Violetta Ever Di Stefano also amazing.
TRAVIATA WERE AND IS ONE THE BEST BEAUTY OPERAS IN THE ITALIAN OPERISTIC ALSO IN THE WORLD MUSIC AND THIIS "DUETO"IS THE MOST BEAUTIFUL IN THE WORLD MUSIC.
Is this level of greatness gone forever ?
ofc it is... forever!
do you really believe this? i hope not 😥
long gone,
@@EsmeSalzman you are wibu.
@@immanuelpriyo1141 pls what does that mean😭
afortunados nosotros que una y mil veces podemos experimentar este "cielo"
Слушаю каждый день и понимаю - вот это вершина искусства....
That photo!!!!!!!!
Maria...Es como un milagro, cada vez canta mejor
Can't believe I just now saw this video for the first time, especially since you posted almost 2 years ago! But im SOOO glad I came across it! Best performance I've heard of this scene, EVER! But then why wouldn't it be? It's Callas!!! Thank you for posting!
Gracias por compartir este momento tan sublime.
Cosa dire. Più di questo non si potrà avere dal melodramma. Grandissimi.
Ringraziamo il cielo di averli avuti e di avere le loro registrazioni miracolose...
Lohengrin O you never cease to impress and amaze with your posts please keep bringing these great performances to us so they are not forgotten and showing us what great opera really is thank you for your painstaking work
oh my... what nice words :D rare thing in the internet world where everyone wears his true self :p thank you
Der Mittel- und Höhepunkt von La Traviata!
Fabulous! Intensity of expression like no other! I wouldn't call that a quiet final note though - presumably that's what you meant by "piano Eb6"...
And what a fantastic opera! I can't quite get my head round comments which claim otherwise.
C'était a l'appothéose de leur voix divine. Ça eĺève les âmes
Unprecedented!
GREAT
❤Istenem!🙏
Egy mai popsztár milliós nézettséggel bír! 🫢
Két világsztár operaénekes sokkal kevesebbel!😪
De ez a felvétel csaknem 80 év távlatából megmaradt legalább viszonyítási alapnak minden eljövendő generációnak‼️‼️
Ha lesznek még operabarátok!😔
Maria Callas was touched by God and she gave us that through her art.
Una gran interprete. molto sencibile. Stupenda!
DIVINA!!!!!!!!
The noticeable difference in natural voice quality and musical interpretation is enormous -- todays voices are technically manufactured they lack the beauty of tone and effortless production of this era.
GRAZIE.....FANTASTICO....
What a beauty!!!
Stellare! 🌟🤩
Yeah, as pointed out, the second half of the scene is actually from Mexico City in 1952, not La Scala. She did not do that E flat interpolation at La Scala....it would have been considered "taste free".
This sounds like a mix from Mexico 1952 (where she soars to a high Eb at the end of the Alfredo, Alfredo) and La Scala 1955, where does not.
Amazing!
Exquisite❤
BRAVI TUTTI!
La Callas, ah! La Callas, LA DIVINA, que maravilloso final del concertante del segundo acto de la maravillosa Traviata, una ópera de apenas tres personajes, etéreos, profundos y maravillosos. Sólo di Stefano es el tenor dd la Callas, habían tenores con mucho más volumen, pero el fraseo, el sentido dramático y la capacidad actoral ( sin saber una gota de música, sólo instinto) la tenía únicamente di Stefano, la pareja ideal de la Callas y, en esta parte de LA TRAVIATA, todo queda en segundo plano, hasta el coro, con el enfrentamiento musical de este par de monstruos maravillosos de la ópera. Inigualables, irrepetibles, ese ardor, esa entrega nunca más. Era un verdadero desafío entre ambos y al final de la vida de la Callas, di Stefano pasa a ser un amigante, como se dice hoy a “un amigo con derechos”. Callas, siempre Callas, la diva entre divas, la soprano que se prendía fuego en el escenario y se quemaba a sí misma en cada función, y al día siguiente cual ave fénix en una nueva representación o en una nueva ópera. Distintos personajes, pero la misma entrega, el arte más sublime de todos. El de la ópera, también el más difícil. Me gustaría que pusieran de ser posible la fecha exacta de las grabaciones y hasta el día mismo de la función. Es tan misteriosa la capacidad de LA DIVINA, que hasta el día de hoy nadie la iguala, peor la supera. O me pueden decir si alguien más desde ella termina el concertaste con un mi bemol sobreagudo pianissimo. Aclárenme por favor si alguien más lo ha hecho, aunque no sea en vivo como ella, aunque sólo sea en grabación. No creo que haya otra que se atreva. Qué pena para la ópera y qué pena para el mundo. Qué pena....!!!!!!!!!!!
Eb6 pianissimo has not been done by either Sutherland nor Nilsson... Nilsson tries a Db6 piano and it comes out horrible in her Lady M. And of course no one has done a Diminuendo on an Eb6 ua-cam.com/video/KpFsSTnnWa4/v-deo.html
@@LohengrinO En realidad Jessica Pratt lo ha hecho este año en Las Palmas. Deberías buscarlo. Quizá no es tan delicado como el de la Callas pero sigue siendo una acción muy valiente por su parte. Un saludo
Di Stefano: the greatest singer of the Universe!
O dolci baaacciooo… languide caresseee...
❤De nos jours personne peut nous donner tant de frissons! Verdi à écrit pour Callas et Di Stefano Bravo ❤
¡Nadie, nadie ha cantado con tanto dolor esa frase "Alfredo, Alfredo, di questo core..."! Una vez más, es como un milagro...
From 02:00 to 02:35 why did it sound like Verdi's take of the Julia mad scene from La Vestale?
Sorry, the ending has been edited. The beginning of the scene is indeed Scala 1955 but the high Eb6 is from Mexico 1952. Honestly!
indeed, I did it
Love the videos. Di Stefano is one of my favorite tenors. Not to much of a Callas fan but lobe Di Stefano.Several things, I believe this is several recordings put together. I have the recording that is used in the opening. It does seem different. The opening was from the La Scala recording which Did Stefano walked out on after the first performance. He didn't like the direction Callas and the conductor were taking. They fought, so he left. The people were livid because the tenor who replaced him, while good, was no Di Stefano. Just a little back story to the 1956 performance and possibly why his anger sounded so realistic. He was mad lol
Thank you for this information.
The first part of Di Stefano is Inez’s from his only performance at La Scala in 1955, in Visconti’s famous production.
The second part, Callas part, is from Mexico in 1952 I believe
Divine!
TY!
Is this magnificent clip from the legendary Zeffirelli, Scala production of 1953 with Bernstein conducting? Certainly, the conducting elevates the level of the drama to an impact such as I have never heard before.
Legendary 1955 production was by Visconti and conducted by Giulini. Bernstein conducted her in Medea and Sonnambula. Zefirelli directed her in Traviata in Dallas in 1958. How do I know all this???? Misspent youth . . .
@@alandun27 Misspent? More like quality education...
@@NLidar A kind message on UA-cam! thank you.
Quando si impegnavano veramente.
ua-cam.com/video/JUJPLBrvXhM/v-deo.html in this interview Carla Fracci, who was on stage that night, remembers how struck she was by her performance. She was playing one of the zingarelle before and now was on stage as one of the guests. She remembers that particularly during this scene she started crying when callas as violetta kneeled down in the most gracious way with her long white gloves and started singing one her best Alfredo, Alfredo. Fracci says it was an experience that really impressed her and she remembered that even after so many years
A phenomenon of catalysis of Energy
Лучший Альфредо и гениальная Виолетта
So much sadness in her voice…
6:30
Лучшая Травиата
Лучшая виолетта лучший Альфредо
Пиппо здесь превзошел самого себя
Di Stefano rules
I guess Pippo was best in such partitures.. scorn, bitterness, super mad and super sexiness.. like Traviata, Ballo, Lucia and Rigoletto. Unlike Corelli who sounded much more manly but on the romantic side.. and mad in a totally different way.. jeez to have heard any of them with Maria in Medea... wow!! Even though Franco was preparing the role in 61 i think Giasone would have been a better match to Pippo.. though if you look at the Pagliacci filmed set of young Franco.. that man could play crazy to an unmatched size
What i find interesting is that Pippo’s first role was Elvino in Sonnambula.. why he never recorded/sung it again with Maria will be one of those mysteries of life I guess 🧐
perhaps tessitura too high for him?
@@LohengrinO he sung Puritani very well so .. don’t think it was too high for mid 50’s when Maria sang it
Corelli,passionale ,trascendetale, sublime !! Magnifici 👏👏👏
it is Di Stefano
Lohengrin O excuse me !!
ÙNICOS !!!!!!!!!!!!!!!!!!!!!
Fare musica equivaleva a porsi spiritualmente in confronto con il lavoro di un artista creatore e consisteva nel sentire il peso e la responsabilità del proprio compito non di fronte alla critica o alle industrie discografiche o alle copertine delle riviste musicali, ma di fronte all'opera d'arte ed al suo creatore. Di Stefano e La Callas fanno parte di questa generazione di artisti, ed il loro approccio alla musica non esiteremmo a definirlo etico spirituale
and Giulini's conducting!
MARIA..... VIVANTE À JAMAIS !
Nothing else comes close.
❤️❤️❤️❤️❤️❤️❤️❤️❤️
Sounds like Gigli to me, not di Stefano.
nooooo!! it is Niki Minaj!!
Gigli's voice was not big and open like this...