damn!! Verdi also wrote this??!! verdi is the best operatic composer the world has ever seen, period! It's so sad that he never lived to hear Callas' live especially prime singing his works...
ONE Lady and many very good men. Verrett was impressive with her wonderful bountiful voice and beauty and was probably the sole successor to La Divina in Macbeth yet I'm sure that the wonder- woman Callas sang without ANY of the effort seen in Verrett's otherwise splendid performance. Ludwig alone drowned Milnes, the others don't even have to help her. Ghiaurov, Colzani, Taddei, Penno - splendidi; Sarabia next to them? something is not right.
@SuperMagren How nice ..I'm pretty well, now enjoying a well deserved break from my students. Summer is too hot here, please beware of high temperatures yourself, is your big garden fresh and green? Sincerely...
@SuperMagren I'm so glad you're well. Indeed, nature is still the only beautiful and innocent thing we have, we humans have destroyed everything, new barbarism is conquering, while we helplessly watch... in dusty, hot and concrete-choked Belgrade, I look at the poor trees barely surviving, two wonderful rivers on which the city lies carelessly polluted and people are still blind to everything around them...I am happy that you will enjoy the peace of your beautiful green haven when summer leaves us, try as we may, history moves at a slow and relentless pace. More and more I think it is hopeless to expect the deranged criminals in the Russian government and their copycats (and our mobster president is exactly that, just a mini version of Putin) to sober up from the madness of unlimited power in their hands.
Where's Franco Corelli? Milnes and Warren's high A flat in the end of Pieta rispetto amore deserves a mention too, and I'll take Milnes over Taddei in the next scene (La vita che importa). Taddei and Gencer's Act 2 duet, however, is wonderful. Another Macbeth I like a lot is Stoyan Popov, unfortunately there are no complete recordings with him... As much as I like Gencer, I still prefer Callas as Lady Macbeth, her sleepwalking scene is easily the best. Ghiaurov's Come dal ciel precipita is the gold standard but I personally prefer Giaiotti in this particular aria, his high E in the end reminds me a little bit of the great Giulio Neri. And Victor de Sabata's prelude should also be in this video.
Corelli's big aria is slightly inferior to Penno's, and the rest of the role is insignificant; the high A-flat is simply out of place in Pieta rispetto amore and stylistically wrong; Callas' sleepwalking scene ultimately comes down to her interpretation of delirium, whereas her version shows more sensitivity, Gencer's actually depicts a state of sleepwalking i.e. delirium. Ghiaurov's aria I still prefer to Giaiotti's despite Giaiotti having the far superior finish, because Ghiaurov shows incredible sensitivity and nervousness of Banquo's pending fate whereas Giaiotti delivers it rather monotonously.
@@BestOperaMoments Vocally both Corelli and Penno were fantastic but I prefer Corelli’s style and his phrasing. The high A flat interpolation in the end of Pieta rispetto amore might not please everyone but I like it very much. Cappuccilli’s rendition is fine but IMHO he lacked a bit of fire, I much prefer Milnes’ 1970, 1973 and 1978 recordings and Warren’s 1959 recording. I’m a huge fan of Gencer but Callas was the real master on sleepwalking scenes and mad scenes, and her high D flat is much more secure than Gencer’s. The only part of Gencer’s Lady Macbeth that I really enjoy is her Act 2 duet with Taddei, her Vieni t’affretta is aggressive but not as wild as Callas, and Callas’ low B is much stronger. I agree with you on Ghiaurov but Giaiotti sounds more scary and his interpretation of Come dal ciel precipita is more profound.
Macbeth is basically a boxing match between Callas and herself on multiple occasions 😂
damn!! Verdi also wrote this??!! verdi is the best operatic composer the world has ever seen, period! It's so sad that he never lived to hear Callas' live especially prime singing his works...
Love this opera and the source material. Anxious for your comments on the recordings
ONE Lady and many very good men. Verrett was impressive with her wonderful bountiful voice and beauty and was probably the sole successor to La Divina in Macbeth yet I'm sure that the wonder- woman Callas sang without ANY of the effort seen in Verrett's otherwise splendid performance.
Ludwig alone drowned Milnes, the others don't even have to help her.
Ghiaurov, Colzani, Taddei, Penno - splendidi; Sarabia next to them? something is not right.
Obviously Sarabia is not on the same calibre as the rest, but dramatically speaking I adore his interpretation in that one particular scene.
@@BestOperaMoments The amount of off notes was a little too much.
@SuperMagren How nice ..I'm pretty well, now enjoying a well deserved break from my students. Summer is too hot here, please beware of high temperatures yourself, is your big garden fresh and green?
Sincerely...
@SuperMagren I'm so glad you're well. Indeed, nature is still the only beautiful and innocent thing we have, we humans have destroyed everything, new barbarism is conquering, while we helplessly watch... in dusty, hot and concrete-choked Belgrade, I look at the poor trees barely surviving, two wonderful rivers on which the city lies carelessly polluted and people are still blind to everything around them...I am happy that you will enjoy the peace of your beautiful green haven when summer leaves us, try as we may, history moves at a slow and relentless pace. More and more I think it is hopeless to expect the deranged criminals in the Russian government and their copycats (and our mobster president is exactly that, just a mini version of Putin) to sober up from the madness of unlimited power in their hands.
@SuperMagren Pasolini o Montale? I vaguely remember...
interesting to know that in the EMI recording - Gencer was slpiced in as the quality was so poor in the live Callas performance
Modl in German is mesmerizing even though she omits or modifies more difficult passages.
Where's Franco Corelli? Milnes and Warren's high A flat in the end of Pieta rispetto amore deserves a mention too, and I'll take Milnes over Taddei in the next scene (La vita che importa). Taddei and Gencer's Act 2 duet, however, is wonderful. Another Macbeth I like a lot is Stoyan Popov, unfortunately there are no complete recordings with him... As much as I like Gencer, I still prefer Callas as Lady Macbeth, her sleepwalking scene is easily the best. Ghiaurov's Come dal ciel precipita is the gold standard but I personally prefer Giaiotti in this particular aria, his high E in the end reminds me a little bit of the great Giulio Neri. And Victor de Sabata's prelude should also be in this video.
Corelli è il miglior Macduff possibile.
@@e.g.8454 Ma quella performance è stata rovinata da Ruggero Raimondi e Francesco Molinari Pradelli.
Corelli's big aria is slightly inferior to Penno's, and the rest of the role is insignificant; the high A-flat is simply out of place in Pieta rispetto amore and stylistically wrong; Callas' sleepwalking scene ultimately comes down to her interpretation of delirium, whereas her version shows more sensitivity, Gencer's actually depicts a state of sleepwalking i.e. delirium. Ghiaurov's aria I still prefer to Giaiotti's despite Giaiotti having the far superior finish, because Ghiaurov shows incredible sensitivity and nervousness of Banquo's pending fate whereas Giaiotti delivers it rather monotonously.
@@BestOperaMoments Vocally both Corelli and Penno were fantastic but I prefer Corelli’s style and his phrasing. The high A flat interpolation in the end of Pieta rispetto amore might not please everyone but I like it very much. Cappuccilli’s rendition is fine but IMHO he lacked a bit of fire, I much prefer Milnes’ 1970, 1973 and 1978 recordings and Warren’s 1959 recording. I’m a huge fan of Gencer but Callas was the real master on sleepwalking scenes and mad scenes, and her high D flat is much more secure than Gencer’s. The only part of Gencer’s Lady Macbeth that I really enjoy is her Act 2 duet with Taddei, her Vieni t’affretta is aggressive but not as wild as Callas, and Callas’ low B is much stronger. I agree with you on Ghiaurov but Giaiotti sounds more scary and his interpretation of Come dal ciel precipita is more profound.
@@BaroneVitellioScarpia1 Well, Banquo is supposed to be scared, not scary ;)
I am sorry but i prefered Verrett's Una Macchia