"Mirror, mirror on the wall, who's the greatest Calaf of them all?" Mirror: " My dear Danny, YOU know the answer to this question. Don't play games with me." ME: "Sorry Mirror. It's just that Lohengrin has been posting other Calafs and I'm kinda, well, you know the rest..." Mirror: "Yes, Lohengrin has a heart of 18K Italian Opera Gold, but he likes to have fun, and can be wicked in the nicest way." ME: " You haven't answered my question dear Mirror. WHO is the greatest Calaf? Mirror: "The greatest Calaf, is your FATHER." ME: "Thanks Mirror, I knew you'd say that, but I needed to hear it. I have a Teresa Stratas question, but we'll leave it for another time. I love you."
Giuseppe Di Stefano nel ruolo di Calaf si mostra nella sua bellezza umana, nella sua solarità vocale , nella sua grande intelligenza interpretativa conquistando tutti coloro che l'ascoltano.
Signora Vera, e a quanti hanno commentato più o meno positivamente il ruolo di Calaf del Di Stefano: L’opera lirica è composta da un libretto che non solo è narrazione ma, soprattutto emozionalitá, passione, dolore, vendetta. Tutte queste emozionalitá vegono trasmesse dal Maestro Compositore su uno “spartito” composto da una “serie di note”; note che tra loro compongono una “melodia”, che, “è espressione, sentimento dell’animo umano. Tutto ciò ciò premesso, senza dare lezioni a nessuno, il “canto lirico” è questo con la priorità di trasmettere entrambi ma, la priorità del libretto, non di una nota perfetta ma incapace di trasmettere quella emotività. Dovrei proseguire, e di molto ma non posso. Ho ottantatré anni, sono stato iniziato allo “audio del canto nel lontano 1946 dal Maestro Perosi e Padre Santini (ofm) cugino del celeberrimo direttore Gabriele; in collegio fino al 16.mo anno ho sempre studiato e cantato brani da operetta con la supervisione del Maestro Benaglio, direttore del coro del Teatro dell’opera di Roma; dal 1958 al 1963 ho seguito quasi tutte le opere in cartellone sia come “claké”, comparsa, e addetto al “ritiro di piccoli compensi degli artisti per noi “clackisti”, sema a mai tralasciare lo studio del canto. Ho ascoltato tutti gl artisti citati ma posso affermare in pieno le parole di Pippo: “ ... io sono un tenore ma, un cantante “. A.F.
@@albertofiano8591 Bellissima la sua testimonianza di chi conosce perfettamente il canto, il fraseggio, la recitazione e l'immedesimazione ...La ringrazio di cuore Vera Santarelli
Bravissimo! La sua voce quella notte era un altro motivo per cui non aveva perso la testa per mano di Turandot. Turandot - Birgit Nilsson Calaf - Giuseppe di Stefano Liù - Rosanna Carteri Timur - Giuseppe Modesti Coro e Orchestra Del Teatro Alla Scala Maestro Antonino Votto Inaugurazione della stagione lirica 7 dicembre 1958
Another incredible sound! And to think he was one of many that were around at the time! Of course, Calafs may come and Calafs may go but there was only one Nilsson!
.... Tra tantissimi talentuosi Artisti della Lirica.... Tu lo sai carissimo Lohengrin0 I miei preferiti che mi rubano il cuore sono in primis Franco Corelli a seguire Mario Del Monaco e Giuseppe Di Stefano., Bruno Prevedi, Franco Bonisolli, Angelo Loforese ecc. ecc ve ne sono davvero di eccellenti che non si può fare veramente una scelta!!! Tu sei sempre grande a proporci queste meravigliose voci che sono incise su varia tecnologia... ma sono soprattutto incise nella memoria della stessa potente Lirica!! Loro hanno fatto un epoca che difficilmente sarà dimenticata!!! Un abbraccio affettuoso da Elsa 🌹🌹🌹🌹🌹🌹🌹
Although Corelli is the ultimate Calaf in many people’s minds to me Pippo had something Franco didn’t.. pathos and passion, in a very different way..he soothes your soul, especially in the lyric passages when he sings softly, it’s almost like a whisper
Di Stefano is the greater actor...he is never casual with his lyrics...what he lacks in technical security in comparison with Corelli or Gedda, he more than makes up for with his acting and interpretive skills...you hang on every word, because he sings like he means every word.
I'm not a Di Stefano nuts but sure think this Calaf performance is quite awesome. I'll never forget when in my early 20s (long time ago), discussing my likes in opera & my reluctance about Di Stefano & his Callas recordings with a future professional tenor friend of mine my age, he showed me a recording of Salut, demeure chaste et pure with Di Stefano and it was my very 1st time hearing "that" high C filato 💎. A sure distinctive powerful tenor voice.
La parte più lirica di Calaf! Qui Pippo è stupendo... Non ha la vocalità per questo ruolo,ma "Non piangere Liu" è eseguita in modo splendido...nessun dorma è al limite...fare quel sol aperto prima di vince...ro è un errore e si sente nel sin ...questo a voler essere critico,in base ad una vocalità prettamente lirica non adatta al ruolo...non si può cantare tutto e in modo Perfetto!!! Solo Caruso è riuscito ad essere grande in tutte le opere cantate.
GDS perhaps the most beautiful Lyric tenor voice of the 1940's and 1950's, RIP. I saw him singing in Tosca in the late 1950's with Tebaldi, still a very beautiful voice, then in his late 30's and Tebaldi brought the house down.
@@LohengrinO In Vienna they would not have applauded into the final note. Heard him in Vienna as Edgardo (1956) and Don Jose (1957). Great performances.
Two interesting tidbits about this performance. 1. Nilsson writes in her autobiography that Di Stefano showed up woefully late into the rehearsal process. She was annoyed, but forgave him once he start singing. She also writes that his voice was considerably larger in person than in recordings. 2. Corelli’s biographer, Rene Seghers, describes Di Stefano here as using every trick in the book to keep up with Nilsson’s “enormous vocal output.”
he almost competes with her in Riddle scene and Nilsson is in her usual Ultra-Blast mode... that means his voice was at least big... Poor lady, forced to sing this voice suicide again and again in her life... imagine till when her voice would have lasted if she hadnt sung Turandot
@@LohengrinO ahahaha not sure I can agree with that... I mean even at Levine's gala when she sang hojotoho B flat when she was very much retired she still sounded very secure... For someone her age... Most cannot even sing at that age.. but she sounded very convincing I think... It was only a very very short excerpt but I have yet to hear a b flat like that since I must admit.... Even from others in their prime... At least in my opinion
I heard Di Stefano circa 1962 in concert at Carnegie Hall. As described by Corelli - Zucker here on YT, Di Stefano's voice was round, rich, full, and beautiful, very much how we hear him on records except for the beautiful overtones in the theater. GDS perhaps had the most beautiful quality of voice ever. Try his Ah Non Credevi Tu and Addio Mignon. Enjoy
Come ti capisco!!! Corelli è Calaf... Calaf è Corelli.... Lui nel suo costume di Calaf e la sua giovane età ed alla sua gigantesca voce simile ad un semideo... e per forza Turandot cede.. ahahahah ho voluto scherzare un po', però è anche vero bello come Corelli sulla scena teatrale ne ho visti ben pochi... c'è per esempio.... mbeh Corelli?? Cordiali saluti
@@elsaasta5164 è insostituibile e indimenticabile. Questo è l'anno del centenario della nascita. Siamo stati fortunati di averlo avuto. Grazie dell'attenzione.
Adoro Di Stefano. Acho, de todos, a mais bela voz. Mas Turandot não é para a voz dele. Acho , inclusive, que ele detonou sua belíssima voz cantando fora do seu repertório. Ele e tantos outros. Ferraris correndo em pistas de off-road.
I love di Stefano in the 50s. I like Corelli but heard so many sloppy performances despite the voice, that I prefer Bjoerling, including his Calaf. Pavarotti made a fine impression as well. Domingo was not up to the job in 1984 when I heard him live. For a combination of Corelli, di Stefano and Bjoerling look to the great Gigli. Power, emotion and beauty of tone-Gigli.
Corelli was the best Calaf for voice, true not the great musician of perfection that the more lyric Bjoerling was, but Jussi never sang the Calaf role live anyhow, he was less spinto then Franco but did record it very well. Di Stefano and Gigli where Lyric tenors basically and both Gigli and Bjoerling ( in 1939 for Gigli at the old Met.at age 49-- and in 1958 for Bjoerling at age 47 in Chicago,) both huge houses, about 3,800 at the Met. and 3,583 for Chicago, both tenors received mediocre reviews for their performances in Aida in those two cities then, but but both had success with it in the smaller European houses, (Stockholm Sweden is a house of 1,180 seats at most) Gigli sang both Chenier and even Forza with Success, Jussi didn't sing them or Calaf ever, nor Don Jose, I saw Jussi in 1958, a more perfect artist musician then Gigli, but I did not ever see Gigli, but his voice by accounts of relatives who saw him, said it was somewhat larger then Jussi's, I think more of a warm Italian golden tenor and very beautiful-- but in concert Bjoerling cannot be beat for a more varied program, he sang German lieder, French, Italian, English and his own Swedish so well plus his low notes where better then Pav. or Gigli's and he had the top also-- but true the voice in studio records at times was not nearly as warm or passionate as Gigli's, yet live Jussi was warmer then his studio records, I saw him as the Duke in Chicago in 1958 and as I have said and the voice was adequate easily in size for the role, he also managed two bigger roles fine in the big houses, Trovatore and Don Carlo, his voice did record very well, but was not ever Corelli or Tucker spinto big, live is the best test, some singers like MDM did not record well in the studio, I saw his Otello in 1959 in Italy, in house and he was wonderful with a true dramatic voice and powerful like a trumpet. I saw GDS a few times, saw him in 1959 in Tosca with Tebaldi, his voice was the most beautiful lyric tenor since Gigli in his prime probably-- but not really long prime years like Gigli's. Tagliavini also beautiful and lyric in his prime, but more limited to lyric roles then both Jussi and GDS.
@@shicoff1398 Very nice appreciation of various tenors you've heard. Tagliavini in La Boheme was just too light for me, I would prefer Valletti. Valletti had more color, in my opinion. MDM had a large, dramatic voice and I still appreciate some of his recordings, especially videos such as Otello and Pagliacci. GDS was my favorite tenor as a child until I discovered Gigli and Bjoerling. His early recordings had some phenomenal singing whereas his 50s EMI recordings he had a great understanding of the lyrics, beyond most singers of Italian opera. A shame he abused his voice and in the 60s, lost it's charm (and amazing pianissimos). I've heard Domingo dozens of times as early as 1973 live. He was a dependable tenor with great stage presence; however, in a 1984 production of Turandot, his voice got lost in the L.A. Dorothy Chandler Hall. The new singer Javier Camarena, records like a spinto tenor but in real life, is a light lyric tenor. I heard him live in Chandler in 2019 in Pearl Fishers. Could barely hear him against the orch. in the first act, just okay loudness after that and I was sitting in the front row balcony center. Beautiful voice though.
@@stephenfleschler9682 act 3 in Boheme live would be tougher for Tagliavini or Valetti, but I did not hear Tagliavini sing Boheme live, nor Valetti, I'm talking about Tagliavini's Boheme with Carteri on Cetra LP's , so I don't like to say when I didn't see a singer live a good opinion and nobody I know alive now saw Valetti live, but I did see Tagliavini live in a few things-- and for me his voice was more beautiful then Valetti, Tagliavini was able to sing Tosca well-- but Ballo was a stretch for him at times on his recording of it . Tagliavini didn't last very long in his prime, Valletti a wonderful singer as an artist, but for me not a really sensational lyric voice, I cannot say very well, I did not see him in house, the only real way to really know. I saw Bjoerling in house and GDS and Peerce both in the 1950's, cannot say about Camarena didn't hear him but I guessed from recordings a small leggiero voice, does not sound big to me, even with jacked up records but good high notes on radio, you saw him, I didn't so cannot say but small as you said does not surprise me at all!
Gigli was one of the greatest tenors ever but was not a Calaf. Corelli did sing sloppy at times, but not in Calaf which was his signature role, singing it 54 times at the Met alone. Bjorling only recorded Turandot in the studio with Nilsson, whereby the Volume controls had to be turned up on his side of the recording. ''Andrew Farkas book co written with the approval of Anna Lisa Bjorling''. Pavarotti sang the role of Calaf 6 times in 1997. Review Pavarotti sang well, but less well in mezza voce` partly perhaps because he had a mild cold. Like Corelli or not, he was the premier Calaf of the last 70 years.
@@shicoff1398 Are you the famous opera singer Neil Shicoff? I heard Mr. Shicoff in Tosca about 2008 at the LA Opera and have 8 recordings of his complete operas.
Instead of posting comments' that we've all heard and read before, listen to the recordings that is as good if not better than any other, like his complete Italian radio recordings 1952-56, full operas recorded with Callas especially Tosca and La Boheme never bettered by any other in my opinion,I have a large collection of various other tenors full operas but I always end up coming back to Di Stefano for all the flaws his voice was as beautiful as you could ever hear.
