It was a magical memory that I have cherished since that night. Callas was incredible! They were both on fire. Simply wonderful. Thank you and bless you.
Bonjour ce partage un vrai bonheur a écouter la divine Maria et notre ténor Mr Corelli deux grandes étoiles de l Opéra immortelles a jamais et qui manquent beaucoup de nos jours hélas le temps est impitoyable merci a vous qui nous les rendez tellement présent merci vraiment
I had honour to know Franco Corelli and I remember still when we talk about Callas he said at she was professionist who wanted same as well from her college..but by others it was called to be difficult because she was perfectionist of her art and opera. Who is equal ?!? No body No body cant double Callas by her own words is still today the same !
I saw Corelli in Tosca and that "Vittoria" that went around the world melted me. And the "E lecuvan" was like an orgasmic tight rope. Luckily I saw him 3 more times. And getting his autograph I saw how fantastically handsome he was.
@@elenajha4357 He seemed so touched by us teens he reached out and touched my friend's teary cheek. Responding to our admiration he said softly, "I can see."
Specialty Horse Training: “Orgasmic and handsome” somehow I get the feeling that his ‘horse’ attributes and not his musical were more important to you.
@@elenajha4357 Getting his autograph, my girlfriend said "Oh, Mister Corelli I loved it so." Corelli, seeing her tears face and blouse, said as he reached out to touch her wet cheeks, "I can see". Imagine, this international star so moved by a teens' tears!
Igen titánok után nehéz azt a színvonalat nyújtani, amit Ők tudtak, évtizedek után is hátborzongató az élmény, ma is Ő a " TOSCA " semmi nem változott!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Barone, la sera dopo canto' con Tucker..il suo penultimo tenore, col quale condivise il primo debutto importante all'Arena di Verona e questa penultima sua recita..nessuno dei due avrebbe immaginato lo sviluppo della loro Storia...specie lei. Comunque una Storia umana e artistica stratosferica, fuori dei canoni, molto commovente che a distanza ci coinvolge ancora oggi e stiamo qua' a parlarne. Cordiali saluti. ( in queste recite Maria era perfetta)
I'm not quite certain what you mean by describe how their voices were live. This clip, which is in better sound than any other recording of this performance I've heard (I thought I posted a comment saying that here, but I can't seem to find it), does it better than any description I could give. But, since you asked and said please, and I enjoy writing about opera and performances I've seen, so what I write below may be more than you bargained for. I am not a professional critic and am not educated in music at all, just an opera fan, but starting with my first performance in 1961, I have written a "review" of every performance I've ever seen and they run in the thousands (not just opera, but concerts and theater, as well). So, I will share with you what I wrote about it the next day, although it doesn't so much describe the voices as the event. One caveat, I was 19 years old when I wrote this. The writing is somewhat immature and full of hyperbole, most (but not all) of which I cut out. I certainly would not write it like that today, but to paraphrase would lose the sense of immediacy. Met performance of "Tosca" - March 19, 1965 "....In the late 1950s Callas' voice developed a wobble.... This wobble became progressively worse, so much so, that in1962 she abandoned staged opera altogether to retrain her voice. She made a triumphant return to opera at Covent Garden in 1964. However, as one familiar with a tape of that performance, I know the wobble was still there. ....When the chords sounded and Callas sang out "Mario, Mario" a gasp wet out through the House. Then she came out...the audience cheered and cheered and only after many minutes was the music able to continue....Her voice was quite low, much less powerful than I expected. But at times it was beautiful. Also at times it was wobbly, especially in the last act, when she let out one cranky wobble that made the whole audience audibly shudder. There were times she was vocally so insecure as to make one wonder if she wasn't kidding. But she had that Callas tinge..... With all her vocal problems her performance was great. One may ask how an opera singer with vocal problems can give a great performance? It is simple, her conception of the role sweeps away every consideration. In act I, during the Cavaradossi-Tosca duet she smiled just like a coy, designing teenager....[I]t was her facial expressions which captured me...she has electricity in that face. ....Tito Gobbi, who made his opera debut in 1937 is still the greatest baritone alive....[L]ike Callas, by the sheer magnitude of his portrayal, he makes the most beautiful voiced baritones look shameful. His eyes just shine and when he sings the "Te Deum".... Vocally his bark was as thrilling as ever. He is without a doubt one of the greatest singers of all time. As Cavaradossi, the greatest tenor alive, Franco Corelli. Again, he was the only one of the principals in his vocal prime. While Callas and Gobbi can rely on acting, Corelli can't,...although he did well for this performance. However, Corelli was vocally splendid....On this occasion he was kind of overshadowed in the first two acts. But his best work came in the last act, wherein he sang one of the best "E Luceavan's" I've ever heard from him as well as an exquisite "O Dolce Mani". Thus, on the first anniversary of what I thought was the "Tosca" to end all "Toscas", I saw another "Tosca" I can't conceive of being duplicated again." The performance of "Tosca" I alluded to in the last paragraph occurred almost exactly one year before, in March 1964, in which the cast was Tebaldi, Gobbi, Corelli. @@luisvillalobos3452
@@leslieepstein4700 Thank You so much! I always ask that question of “how was the voice live (in the theater)?” to people who had the opportunity to see Callas or any other “old-school” singer. I’m 16, I didn’t have the opportunity to hear live any or my favorite singers, all of them are unfortunately dead. Again, Thank you so much for your wonderful comment!
Stavolta Mara è accolta dal pubblico del Met in modo così affettuoso che si commuove (gli applausi all’entrata sono stati molto più lunghi) e cerca di cantare al meglio e ci riesce!!
ME TOO, Arnold Amaral! The greatest soprano and the greatest tenor of the 20th century, together in such a magnificent and important performance! They both sound so amazing!!