Maria Callas Mario del Monaco Norma (1955 live, conducted by Antonino Votto, WITH SCORE)
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- Опубліковано 11 вер 2024
- Norma by Vincenzo Bellini performed in Italian
Conductor Antonino Votto - 1955(LI)
Orchestra - Teatro alla Scala
Chorus - Teatro alla Scala
Norma - Maria Callas
Adalgisa - Giulietta Simionato
Pollione - Mario Del Monaco
Oroveso - Nicola Zaccaria
Clotilde - Gabriella Carturan
Flavio - Giuseppe Zampieri
Note: The first 15 minutes of this performance weren't recorded.
Maria Callas IS Norma, Mario Del Monaco IS Pollione.
Del Monaco is too verismo to be a real Pollione. His voice is to stiff and lacks the elegance the role requires. Same thing goes for Corelli. And there is nothing verismo about Bellini. It is pure Bel Canto.
@@beachfanatic2010 So who's better?
@@BaroneVitellioScarpia1 (1) Filippeschi. (2) Lauri Volpi (3) Bergonzi. All three have correct Bel Canto technique and A LOT of elegance singing this. I mean, this isn’t foe everybody. In fact it isn’t for nobody cause nobody can sing it.
@@beachfanatic2010 I love Bergonzi's Pollione.
@@beachfanatic2010 preference of one or another voice for a given character on stage is the one thing, to dislike other voices is the other. So far so absolutely agreeable. Regarding voices like MDM or FC „stiff and lacking elegance“ is a presumptuous verdict. Audiences around the world sat back in their seats, nailed back, and kept listening til the last tune. They still do if they get the chance to listen to those historic recordings. MDM and FC were two of the greatest Polliones ever walked on stage. If someone doesn’t agree, accepted. The „real Pollione“ only lives in ones imagination. Personal taste, no more no less. Filippeschi, Volpi and the great Bergonzi were marvelous Polliones! A bit later Vickers appeared the same level. Today I could recommend Martin Muehle. However I i don’t know if he performed this role already. RDS
One of my favorite recordings ever! 🎆 Callas & del Monaco! 🎆
Let’s give the conductor Antonino Votto credit too. I love his tempo.
Yes, Votto's conducting is magnificent.
Antonino Votto and Guido Cantelli are the true successors of the great Toscanini.
Absolutely!!! Trio at end of Act 1 is especially tremendous.
@@BaroneVitellioScarpia1 è verissimo! Votto ebbe il tempo di dimostrarlo, il grande Cantelli no, purtroppo.
Antonio Votto was always the routine conductor except for a few occasions, both in the opera house and studio. He ruined too many Callas recordings where Serafin should have been used.
CALLAS,DEL MONACO,SIMIONATO DIR.VOTTO il massimo possibile.Manca solo V.BELLINIi in persona...la più grande NORMA!!!
Grazie di ❤👍Barone
One of the greatest operatic recordings of all time.
As always, NOT an official document. Shame on the La Scala management. Shame on Walter Legge.
Grazie Hijo, A wonderful treasure with a STELLAR CAST. GREETINGS from France 🇫🇷 Arnaud
The ultimate Norma.
The absolute magic of Callas alla Scala! Thank you so much!
OTTIMO LAVORO. OTTMO IL SUONO.
Grande e importante trabajo....Muchas gracias...!!!
The whole performance is a real masterwork BUT above all is "I figli ucido..." and the final "De non voler le vittime..." - nobody can do those parts like Maria. All singers in this performance are very good - Giulietta Simionato and Nicola Zaccaria must be mentioned, BUT without Antonino Votto, this achievement would not be possible - he was very modern in musical approach - Serafin never permitted Maria to take the highest register that offers you chilly on the back-bone at "delizia mia", even I know she will succeed, every time I listen to this aria I have emotions for her not to crack the last note. ALSO - many bad people blame Votto - In my opinion, he was very very good with Maria, as Nicola Rescigno not as good with other singers - Antonino Votto with Maria achieved the picks of lyric art in La Vetale - Tu che invoco... live in 1953 is the best rendition of that aria, also the other 2 arias of Julia and the big duet with Licinio are very touching, their Trovatore 1953 - Maria have very nice trills and Votto is better than Karajan in the first trio - in studio record Karajan have big trouble with the correct orchestra pitch in this trio -, all their La Sonnambula are also masterworks - how Votto and Maria manage the jealousy duet - creating a visual image "amo il rio perche l'onda ti da", is like you see the water going out from a bottle in the last live 1957 Edinburg performance, and the solo when Amina falls asleep on the count bed - is so real you can see in mind Maria fall on the bad and go sleeping - she is genial BUT also the orchestra conducted by Votto follow her perfectly. Their Boema is the best ever - Maria catches your attention from the beginning - "il respir..., quelle scale..." despite other sopranos the words are so natural emitted - other stupids put a wrong accent on "scale", of a very bad taste, Maria is so natural to transmit the fragility of Mimi..., the duet with Marcello and "Sono andati... very good, nobody can do that like them... the orchestra emphasizes "la morbidezza" of Mimi in a such natural way. And their last work Poliuto - very good also, we can only dream of Il Pirata at La Scala 1958 Maria, Corelli, Bastianini, and Votto conducting...
Thanks. You put in clear words what most of us feel only vaguely. All the more cursing that nobody, absolutely NOBODY, had the foresight to record with decent, professional equipment, Anna Bolena, Traviata with Giulini, Trovatore with Bjorling, Lucia in Berlin...instead, all we get is the RAI Parsifal, a broadcast made around the time of Armida in Florence, and Act II of La Tosca, ONLY Act II, believe it or not, by BBC ten years later. Nothing in between. And to think four of those absolute masterpieces were the brainchild of Luchino Visconti no less, the legendary film director who certainly should have had the vision to preserve such priceless works of art for all eternity.
What a great work! 👏👏👏
thank you for mthge Norma 1955 posting. Great performance across the board Voices orchestra and great sound. a rarity for RAI recordings. The Callas Warner set selected the 1953 performance which is not better tnan this one.
MDM's Me Protegge is legendary
Gigantisch! Aber mich als musikalischen Laien aber doch stillen oder gelegentlich lauten Genießer bedrängt die Frage, wer war der beste Pollione - Mario del Monaco oder Franco Corelli oder gar ein anderer!? Über Maria Callas sage ich nichts, da fehlen ohnehin die Worte . oder es wäre wie "Eulen nach Athen tragen"
Zu Ihrer großartigen Arbeit fällt mir ein Zitat von Francis Bacon ein: Nicht die Glücklichen sind dankbar. Es sind die Dankbaren, die glücklich sind!
How about Gino Penno?
@@BaroneVitellioScarpia1 MDM and Corelli are on a completely different level as Penno.
@@BestOperaMoments I don't think so.
….Besser, schlechter…Aus meiner Sicht lediglich Kriterien des eigenen Geschmacks. Ich bin dankbar, zwei Tenöre dieser Qualität in der Rolle erlebt zu haben. Der Luxus der freien Auswahl auf diesem Niveau. Später kam ja Jon Vickers dazu. Herrlich. Was sich da heute versucht….Gruß!
Wow, precious, thank you!
The tempo here is WAY faster than Serafin’s tempo.
Ah delmonaco! Che bello!
1:53:52, In mia man alfin tu sei
1:56:11, Si sovr'essi alzai
1:57:22, i romani a cento
it's strange, this one is on spotify with the start of the performance included
Most releases of this uses the first 15 minutes from the Serafin radio Norma (from the same year) as a filler.
@@BestOperaMoments that's what I thought. thank you for the info
The Act 1 finale is just incredibly thrilling. The bathrooms at LaScala must have been very busy after that, at the intermission.
WTF is there any correlation between a great musical performance and having to use the restroom? Please do not even go there with how stimulated you get listening to opera. Grow up. And keep your eyes on your own junk when using the urinal!!
@@johnpickford4222 they meant that because the performance was so incredible no one would want to get up and miss some of it to use the restroom, so everyone would be going during intermission
Stupid comment.
Thank you my friend. 🇫🇷 Arnuad Bourbon Amaral
My next video will be the 1959 Pirata with the great Pier Miranda Ferraro.
Il Pirata del 59 alla Carnegie Hall con dir.orchestra N.Rescigno.
Sua voz é inconfundível.
Nagranie historyczne Callas i Del Monaco przeszli w tym nagraniu do legendy.Chociaż Del Monaco śpiewa zbyt siłowo,Corelli według mnie dużo lepiej śpiewał.