Her singing is beyond describe. It was magical. She sing the music piece so meticulous, but not excessive. She presented the maximum potential opera music can be to the audiences. THANK GOD recording technology is invented. I wish her and her great peer singers' recording can heritage down the history.
Une scène extrêmement difficile ,de soprano dramatique coloratura , admirablement interprétée ,avec une grande sobriété et fidélité ,une grande intensité dramatique et une grande élégance .
Everybody loves to compare and say who is best - I love Callas for her raw emotional open sounds(there are just different overtones with her)....I love Sutherland for her power and technique.....and I love Sills for just about everything! But could Price be my favorite???? and I adore Anna Moffo! certain people for certain roles.It's so great that we have these old recordings....thank you RU-vid!
Marx, così giovane e tanto sensibile,il mondo dei ragazzi sarebbe un mondo buono e leale se in tanti apprezzassero il dono dell'unica musica che rende i nostri giorni un tesoro da scoprire con dolcezza.grazie.
That‘s how a voice must sound. Who said that Callas had 3 different voice colours? Maybe in other roles or performances but not here!! Her voice is supported by a deep breath and a continuous air pressure along the whole vocal range. That‘s why it‘s powerful and flexible at the same time. The chest participation is, on the contrary some people think, the only way to sing well, to achieve all what your voice is able to give: nice and warm colour, vocal extension, free emission… in summary, a true human voice, not what we are used to hearing in the last times
"Maybe in other roles or performances but not here!!" -- I think there is a lot of truth in this statement. The voice doesn't sound disjointed because this repertory suited her voice like a glove. The problem in heavier repertory (verismo in particular) is that she dragged her chest voice way up in order to compensate for the fact that her voice actually wasn't that heavy, particularly in the middle. In these dramatic bel canto roles, she didn't need to do that. There needs to be chest participation, but it needs to be properly coordinated.
So much technique that you can hear here. Damn. She was good. Accessing all the voice, colouring like crazy and carrying like a bell. Tour de force singing.
Marx 7811, Thank you for all your hard work my friend.The Nabucco duet was truly stellar.Only Our Montse came close to CALLAS artistry & please disregard those ODIOUS comments.Some people will never understand/ appreciate Our MAYA @ any age 👑💙. Take care. Sincerely Arnold Bourbon Amaral
Gracias por compartir este registro, extraordinario , increïble, la Callas, como siempre al servicio del arte. Y, al que no le guste, pues que no lo escuche. Saludos
Anna Piangete voi? donde tal pianto? … È questo Giorno di nozze. Il Re mi aspetta … è acceso, Infiorato l'altar. - Datemi tosto Il mio candido ammanto; il crin m'ornate Del mio serto di rose … Che Percy non lo sappia - il Re l'impose. CORO Oh! memoria funesta! ANNA Oh! chi si duole? Chi parlò di Percy? … Ch'io non lo vegga; Ch'io m'asconda a' suoi sguardi. - È vano - Ei viene … Ei m'accusa … ei mi sgrida. Oh! mi perdona … Infelice son io. Toglimi a questa Miseria estrema … Tu sorridi? … oh gioia! … Non fia, non fia che qui deserta io moia! Al dolce guidami Castel natìo, Ai verdi platani, Al queto rio Che i nostri mormora Sospiri ancor. Colà, dimentico De' corsi affanni. Un giorno rendimi De' miei prim' anni. Un giorno solo Del nostro amor.
CON EL MAYOR RESPETO POR TODAS LA INSIGNES SOPRANOS QUE INTERPRETARON ESTE ROL, PARA MI LEAL SABER, DECIR "ANNA BOLENA ES SINÓNIMO DE MARÍA CALLAS" Armando Cerutti
What can I say about Callas? On this recording she was at its best and she was in many terms the best of the recording era of the 20th century, no doubt. Before that, we dont know. She was the best at this role, but no one is mentioning Caballé, and although Sutherland and others were great, for me, only surpassed by Callas in these role... Caballé was the best or the second best. But this is only my humble opinion, from a guy from Spain. Bravissima Callas.
Pleinement d'accord avec ASerranobaritone et Marx. Quant à la versatilité de Callas relevée par tant de critiques "bien intentionnées" (!!!) il s'agit moins d'un défaut que du reflet, sur tous les plans humains, de la richesse de sa personnalité - donc, dans son cas, d'abord musicale et vocale. Par ailleurs, les chanteurs lyriques, travailleurs infatigables, ne sont pas des dieux. Parce qu'ils sont humains, ils peuvent être très "journaliers". À l'inverse, parce qu'ils sont humains, et précisément dans le précieux enregistrement présent à tout jamais, et en raison de toute l'antériorité de leur Art, ils atteignent des sommets insurpassables que nous nommons "divins". Merci d'avoir gardé l'enregistrement de cette répétition (en réalité tout un monde) et de nous l'offrir en partage.
Just a rehearsal? Nobody, not even Montserrat sang this better. And mind you, this is a sloppy 1957 recording during rehearsal. Not a well rehearsed and soundtechnically well prepared1981 concert recording like Montserrat. Who was divine as well
Whatever… myth, legend…wobbly even then… the singing is flawed and unpleasant… the presence through the flaws , the struggle give it natural drama… open your ears… a personality , interesting… too much hype about this one
Io non trovo affatto impeccabile la Callas in questa interpretazione. Ed ho soprattutto molte riserve sulla direzione di Gavazzeni, che mise in scena un’opera mutila persino dell’overture. Ma, signori, dobbiamo solo inchinarci difronte al coraggio ed alla professionalità di un soprano che ebbe il coraggio d’interpretare un’opera mai messa in scena negli ultimi 80 anni e soprattutto mai registrata. Prima di criticare, bisognerebbe informarsi.
La direzione e' di Nicola Rescigno e non di Gavazzeni, sono prove del concerto di apertura della stagione a Dallas e l'Anna Bolena e' il vertice interpretativo di Maria Callas in assoluto. Prima di dire scemenze bisognerebbe informarsi. E la Callas e' sempre impeccabile.
O.k., CallaS WAS GREAT, sometimes, in her older days, I preferred Joan Sutherland. Nowedays - nobody - nobody - would get the chance - the chance - to become more known than Callas - even if she would sing a lot "better" than Callas. Opera is dieing.
Opera is already dead, not just because there are no singers, no scene directors, etc. Opera is dead, because the people that go to the opera today, don't know shit about what they are listening and applaud all the crab that we have today and the crab that we have today, is because the people that attend to opera don't know shit.
