61 years after this was recorded it is still the definitive version. Nobody before Callas nor after her sang it with such intelligence, perfect phrasing, emotion and control. RIP La Divina....it doesn't look as if anyone will ever take your place. There is only one Callas. There could only ever be one.
Каллас свойственна экспрессия, выразительность и вкупе с артикуляцией и хорошей постановкой она достигла вершин исполнения, с хорошей дикцией ей нет равных, согласен, но что касается певиц, то было много не менее прекрасных исполнительниц - та же Малибран великолепно вела себя на сцене или Паста. Однако в двадцатом веке нужно признать, что Мария Каллас является крупнейшей оперной величиной и сделала большой вклад в мировое музыкальное искусство.
Opera lovers are grouped into two categories......those who GET Maria Callas, and those who don't. Those of us who DO GET Callas know that we are blessed beyond words!
I am not getting her. As many times as I try to listen, i find myself not listening very soon. Getting bored and distracted. I feel no emotion in her singing. Or if there is, it is always the same, sad cry. Never excitement or happiness or anything.
57 years after this was recorded, this scene remains the definition of Bel Canto. Not since 1958 has any singer been able to match Callas in this music, neither Sutherland, nor Sills, nor Caballe, nor Scotto, nor Gruberova, nor Netrebko, nor any of the other wonderful ladies. Not one singer has been able to sing the cavatina with such seamless and poignant legato, with every trill perfectly molded into the musical line, every turn and roulade perfectly executed with unostentatious ease, and yet, full of emotion and sadness. None has sung the cabaletta with a more anger, abandon, and nobility, or executed the cascades of rising trills with such technical perfection and resigned fury. Callas even breaks your heart with the simple phrase, "Infelice son io." Many singers have tried valiantly and given wonderful performances in their own right, but Callas remains unmatched and untouchable in this music. She IS Anna Bolena; the rest are merely her handmaidens.
+Shahrdad please, a great interpretation from a great singer but an unpleasant voice for many. Callas never sang the entire role as written by the composer, she sang her version of it, cut in half, poor trills, labored coloratura, no repetitions as demanded by the score etc. Technically surpassed by at least half a dozen sopranos.
Callas's voice was not to everyone's taste, but she is not the one who decided what edition of a role was performed. Cuts were made by the conductor, as you can hear in live performances where one conductor opened a cut and another cut a different section. You might say all you want about the sound of the voice, but Callas had perfect, dependable trills in every register, even in the chest notes, and her coloratura technique was second to none. Sutherland had more beautiful trills, but she could never bind them into a slow melody as seamlessly as Callas could. Sills had okay trills, but in the cavatina, she brayed rather than trilled. Caballe and Scotto never had a trill. Callas's coloratura (and Sutherland's) was always done legato but with every note clearly articulated and sung, rather than the aspirated, hahahahaha coloratura one hears nowadays which sounds like a machine gun shooting notes rather than singing. Callas's philosophy about repeats was actually quite correct: sing it once, sing it well, say what you need to say and move on. One only has to listen to Sutherland's second verse of "a bello a me ritorna" or "tu vedrai d'amor in terra" to see how correct Callas was. But she also knew the proper time to repeat, as in here or Pirata or end of Sonnambula. As she once said, times are different now as is the audience. In the old days, they would come and go during a performance, chat, go in the hall and visit, but now they sit through the performances, and unnecessary repetition only makes the piece tedious.
+tklogan t. No one has come close to sing Anna Bolena like Maria Callas. Pity that you do not like it. By the way, Callas always respected the composers and strictly followed what was written. If cuts are made, blame the conductors or the producers, not her. You should know better than that.
Callas said several times that too many repeats make a piece too long and too tedious, and repeats should only be done when they truly add something to the drama, but not for just showing off.
Once she said that she never understood what "having a beautiful voice means." Her sudden or subtle vocal shifts, from agitated to dolcissimo canto, even the shape of vowels for each emotion that is expressed in Anna's music, are so varied and yet so precise, her dynamic control, holding in her anguish until it explodes, make an enormous impression on this listener, and yet phrase by phrase and note by note, they are very small, and almost undetectable musical effects.
I think it's important to add that the singer can't hear her/himself the way the listener does. As I understand it, the sound is controlled by interior sensations. If a vocalist or voice teacher reads this I hope they will comment or elaborate.
I had the wonderful pleasure of seeing Beverly Sills perform this final scene in a concert. Afterward, when I met her, she said that Maria Callas had been her inspiration and that Callas was the greatest by far. She also said that even though other sopranos might not admit it, that when they are learning a new role, they go immediately to Callas recordings for insights. She laughed and said that they would secretly listen over their coffee in the morning even if they didn't admit it! Sills was so gracious and kind that evening and she made a lasting and warm impression I treasure.
Have read that Sills, HATED-- Callas's voice, her seemingly natural vocal abilities; but on a one-on-one social setting, could 'muster', social etiquette politeness. lol...
So in other words, she knew when to bullshit around Callas! And this is why Sills to this day career is only known for her performances of the Carol Burnett Show while Callas is still defined as THE Soprano of the 20th century and is the number one Soprano of all time.
First, I would like evidence of the alleged negative comments from Sills about Callas. I doubt they exist. That said, I agree with you 100%. Sills, unfortunately, remains a footnote in the history of opera and Maria Callas IS the history of opera! Brava Callas!!!
@@humbugone1715 once again we hear the nasty, sniping, small minded hatred of fans for any other artist other than the one they worship. I like and admire Callas. But I also like Sills, an artist with a stunningly beautiful voice and great bel canto technique. I also like Sutherland and Caballe. So while some people may like to wallow in nasty comments, I choose not to do so. That's why I attend the opera by myself, and have done so for many years. I don't want to be around opera snobs.
It is fabulous singing isn't it!! She really did sing this role like no other. She had an amazing instinct for the meaning of the music. And of course you are right, she never held back to try and save her voice. And always with faithful adherence to the score, no silly extra top notes to show off or any of that nonsense. Which was something she always insisted on, that a serious musician had to be true to the music and serve both the music and the composer. Unlike some others we could name!!
Величайшая певица 20 ( и не только) века!!! При первых же звуках её голоса у меня наворачиваются слезы на глаза, так глубоко и проникновенно Мария Каллас поёт. Я в своей жизни слушала много певцов и певиц, но ни один из них не трогал мою душу так , как это делала Великая Мария!
Which singers would you recommend that they can come ..even a little close, to her power, brilliant coloratura, interpretation, beauty of voice, nuances in dynamics? I am not being sarcastic at all...I really would like to hear them.
This presentation is absolutely priceless! Not only do we have the magnificent voice and interpretation of Maria in one of her most memorable roles but the synchronized photos of the Scala production from 1957 are incredibly expressive. Focus in particular on those which are captured as close ups of Maria's fabulously emotive face as well as the ones showing her hands--only she could depict a character's emotional state by the placement of her sculptured hands! Although I have been listening to Maria's Ana for many years, coming across this presentation only confirms in my mind and heart her superiority in this bel canto treasure. Very grateful to Callas Fan for this posting. Complimenti!!
When Callas sang Lucia at La Scala, Toti dal Monte went backstage to see her. She had tears in her eyes and told Callas: "I sang this role many years but I never knew what it was about until now. You have made me understand Lucia". Now, THAT'S A COMPLIMENT!!!!
Thank you ever so much...a revelation...Maria is in absolutely superb voice, not only for 1958 but for any time in her epochal career...a glorious performance!
Seducio Santini que problemas tiene? Si es su gusto a usted que le importa Somos muchos los que creemos eso, si usted no tiene la sensibilidad para darse cuenta de que fue una artista distinta a todas y qué rompió el molde, ninguna otra hubo igual La última prima donna Usted eduque su oreja y su sensibilizador musical para que aprenda a escuchar como corresponde
what a performance, hard to find the words to describe Maria's artistry; absolutely stunning; she isn't singing (superbly at that) the part, she is Anna Bolena; thank you for the upload
Honestly, I don't know how she does it. Just an innate feeling for the music atop years of training? I've never heard music this thrilling or dramatic. As many great singers as there are and have been on recording, no one has dared to match Callas in Anna Bolena, she was all fire, pathos, and damnation.
Whatever she sings, she is superior than any other sopranos from the past, but I will not say present, since there are no great sopranos today, not even Anna Netrebko, who's voice I don't like, she almost always shouts. But I don't want to criticize her, as somebody said earlier, if you don't like somebody's voice, don't listen. I don't listen to today's crop, neither has a characteristic voice (except Netrebko), and all voices seem the same. In the past the big majority of singers had a typical voice, and one could guess right away who it was: Corelli (he and Callas, two legends), Mario Del Monaco, Di Stefano (the sweetest voice ever) , Bjorling, Bergonziv etc. and almost all sopranos, like Tebaldi, Zinka Milanov, etc. Today the opera world is sterile and soulless. And if you add all these horrible new productions, I'm forced to listening to my records or to RU-vid.
@@judithbereczky4114 Your comment is interesting but I beg to differ on one point: I think Ms. Netrebko possesses a beautiful instrument and produces a beautiful sound.
Rigor de estilo, dramaticidade na medida, agilidade nós melismas, Callas é absoluta e encarna o drama de Ana Bolena de maneira visceral. Sua performance é uma aula de Bel Canto! Incomparável e insuperável, Maria Callas é absoluta na vastidão de seu repertório, no alcance e extensão de sua voz, na sua inscrivel capacidade de encarnar a personagem que interpreta. O que a coloca, para mim, como a maior diva da ópera dos séculos XX e XXI!
This is SUPREME! As much as I love Sutherland's Anna Bolena, I have to give this role to Callas. What a sensitive singing of Donizetti's music. And what a wonderful sound she makes here. Also check out Callas' New Mexico "Armida", "Lucia" and Tosca.
You are absolutely right. A stunning performance in every respect. Even though it was not a live performance it is still full of that passion that she always showed on stage.
C'est sa meilleure version de la folie d'Anna Bollena.La plus inspirée vocalement ,avec de telles couleurs et de telles nuances ! Mieux que le live de la Scala en 57 .C'est un sommet du bel canto ,un vrai joyau ,servi par un chef d'orchestre extraordinaire, Rescigno .Le tempo est parfait pour servir et accompagner la diva .Un miracle !
I LOOOOOOOOOOOOOVE OPERA. I am just learning. I do not know all the terms or more than I LOVE the costumes and the music. Perhaps, I am a philistine, at this point? Not sure. However, I KNOW which performer makes me cry and which ones give me goosebumps. I know that Ms. Callas makes my breathing stop. I am in awe.
As she constantly repeated, every performance is different, first because of the physical and emotional state of the singer, the artists around especially the conductor, here Nicola Rescigno who like Serafin or George Prêtre were in communion with her
Ce n'est pas totalement vrai. Chez elle comme chez la plupart des grands artistes, les choses sont en gros fixées une fois pour toutes. C'est dans les détails qu'il existe des variations circonstancielles. Mais les phrasés et la conception d'ensemble du personnage sont sculptés dans le marbre dès la prise de rôle. Sauf peut-être pour Médée à laquelle elle a fini par donner plus d'humanité.
you are absolutely right -- she was never better. The Dallas rehearsal of PURITANI used to be my favorite Callas, but now I have a new one! Thank you so much for positng
Top level of maestros, include some hated her, praised her as the ONE be born in 100 years. Period. Anatomically, she was given by God to be the ONLY ONE. Plus, she worked so hard that her teachers worried about her health. Thanks God, such GOOD teachers whom she could faithfully learn from including acting lessons, who polished her potential.
purtroppo per le "altre" che sono venute dopo ,maria ha marchiato alcuni ruoli dandone una versione assolutamente definitiva. questo è uno di quei ruoli dove , ovviamente non basta cantare bene. ci vuole altro. nessuna ha ancora superato o eguagliato a oggi l'intensità e il canto magistrale di questa grandissima artista.non sto nemmeno a discutere sui commenti idioti tipo....brutta voce canto disomogeneo etc etc. se non è una bella voce questa.....se non ha una tecnica belcantistica autentica(senza forzature trucchi effettacci ) lei ........mah!! della sutherland poi non dico nulla. i documenti sonori parlano chiaro.
sono completamente daccordo x quanto amo la Joan nn cè paragone Lei è Anna Bolena in tutto l'accento il personaggio.....ascoltate l anima sembra Ke La si veda recitare aveva qualcosa di unico Lei diceva ke seguiva lo spartito ma certe sfumature le aveva solo Lei grazie Maria nn so' come dirteLo ma tu riesci a farmi piangere!
Maria Callas foi um milagre produzido pela Natureza.Na sua breve passagem sobre a Terra, nunca poderia ser compreendida por ninguém.Nao houve tempo para que se pudesse entender uma tão grande excelência!❤❤❤❤❤❤❤❤❤🇵🇹
Simionato said in an interview that after the 57 prima, she and Callas were walking together out of the theater and Callas said, "Giulietta, dopo me: nessuno!" Sono d'accordissimo!
La Callas ha senz’altro riscritto la storia dell’Opera. E, in questo caso, ha l’indiscusso merito di aver riproposto un capolavoro ingiustamente dimenticato. Gavazzeni però ha operato dei tagli incomprensibili in questa edizione
Ja, es ist ein Wunder, Beschreibung ohne Größenwahn. Wann ist denn schon jemals jemand anderes in diesem Umfang mit dem Hörer in einen realismusartigen Dialog getreten. Ein Hörspiel, dass einen in den Sog einer Geschichte unwiderstehlich hineinzieht, ein Malström, der einen nicht mehr frei-/los-lässt, mehr kann doch niemand verlangen.
I think the difference between Callas and other singers is that she was a musician of genius first and a singer second. She needed to interpret and create the character first and foremost and used her voice and technique to do that. Listen to Ophelie's mad scene from Hamlet on one hand and Lady Macbeth's sleepwalking scene on the other. Miraculous both of them. You can hear clearly Ophelie's instability and fragility in the voice, and Lady Macbeth's nightmarish inner world is equally obvious.
Creo que esta escena tanto Caballé (no en La Scala, por Dios) como Sutherland llegaron a cantarla "tan bien" como Callas, pero da la sensación de que Maria está dentro del papel y ellas solo lo cantan, y lo cantan muy bien, muy muy bien. Para ellas era trabajo, un trabajo que hacían muy bien, pero para Callas era su vida.
One of Callas's colleagues on this recording is the late British mezzo-soprano Monica Sinclair, who also recorded the alto role in "Messiah" and worked with Joan Sutherland.
I don't wish to people be better than Maria Callas . I always wish at least someone can be qualified as her. Ask any vocal coach for being like her. Then you will realize how difficult, time consuming process it is . In your life time it's almost impossible.
Are you weeping? whence such tears? This is a wedding day. The King awaits me…the altar is lit up and bedecked with flowers. Quickly, give me my white cloak; decorate my hair with my crown of roses… Don't let Percy know of it… The King demands it. CHORUS: Oh! What sad memories! ANNA: Oh! Who is mourning? CHORUS: Oh! What sad memories! ANNA: Oh! who is mourning? Who spoke of Percy?…Don't let me see him. Let me hide from his gaze. It is no use. He is coming… He accuses me…he decries me. Oh! forgive me… I am unhappy. Take me from this extreme misery. Are you smiling? Oh joy! Don't let me die, don't let me die alone. Guide me to the sweet mansion of my birth, to the green plane-trees to the quiet river, that still murmers with our sighs. There, I forget the streams of anguish, give me back one day of my early years, just one day of our love. CHORUS: Who can see her dry eyed in such anguish, in such mourning and not feel their heart break?
