I'm sorry I wasn't born till 76, 18 months before she died so I really missed out on a great teacher. We're better off teaching ourselves than relying on today's voice teachers.
@@alioffe4321 that sums it perfectly! I'm a choreographer and a dancer, and she is one of my GREAT TEACHERS, in all respects. her truth applies to anyone in need of advice AND inspiration, whether an artist or not. I very much appreciate your comments here in RU-vid, they are very enlightening AND beautifully phrased, thanks for sharing them.
Thanks for posting. Besides being the voice of the century, Callas was a great actress and an intelligent teacher. She revived lost operas and modernized opera bringing it into the 20th century. Making it relevant by a naturalistic modern way of acting. RIP La Divina. It is 2020 and nobody has equaled you.
When she tells the lady singing Queen of the night that she'll need to find her way - and encourages her by telling her she will: sweet! She then gave her time to try things more than once. Beautiful, wonderful, generous Lady, dearly missed, and cherished in our hearts. Rest in peace, Dear Maria.❤️
How pracious this video is!!! I was always wondering how M.Callas sing the scales so smooth so beautiful , just like a flawless pearl freely rolling up and down a roller coaster. .... It's really really amazing!!
Sitting Duck The last generation of singers who could begin as a teenager and study daily for hours on end. Her teacher de Hildago said she remembered her as staying through all the other students’ lessons after her own.
This is the only Juilliard excerpt left with the full masteclass since someone either deleted them or RU-vid must've deleted them. Please, save a backup copy of this pivotal and important piece of operatic history.
@@sandradee105 You can go on the legal way to obtain them, by buying the cd from amazon or listening to it on spotify/itunes instead of waiting for piracy
It is really unfortunate that the entire series which is like over 30 classes are not all on RU-vid for free anymore. They were such a valuable resource to have. I just forked out $50 and bought the whole series. Some people said they are on the Julliard website for free but I couldn’t find them.
It didn't. "Master Class" was a combination of Callas' history, her reputation for being temperamental, and the myths that opera queens insist on believing in.
This is a very interesting recording, but please rename or take down your other video of Callas supposedly singing 'Der hölle Rache'. The recording is not of Callas and she never sang the aria or the role.
The tembre of Maria's speaking voice is exactly the the same as of her singing voice. It's very rare, usually it's hard to understand who's talking. Usually operatic voice is far from speaking
It's because of the vocal technique. They don't teach this sort of vocal technique anymore. She is a soprano and her speaking voice is very dark and low, i believe it's the result of rather low position of the larynx, low , not collapsed.
The recording is from October 1971, and the student's name is Syble Young. Here Callas was very patient with her, but when she sang "Una voce poco fa" the following February, Callas was somewhat harsher, both putting her down for her choice of cadenza and telling her to wear a longer skirt. Young also sang "Caro nome" during the master class.
She din't put the girl down. She gave her the good advice, not to appear in auditions in a short skirt with those men sitting down there: "they see everything". And then she appologized for bringing it up. Just listen to the recording.
It's most interesting to hear Callas dissect and, at points, sing phrases from arias she never performed. Her "Cortigiani" from Rigoletto remains one of the finest I've ever heard. She is so focused with regard to expression and musical accuracy, I wish to hear her sing everything. Imagine her Isolde's "Narrative and Curse"...The soprano has a lovely voice, but curiously struggles with a section of the aria that, as a listener, has always struck me as especially difficult. Callas provides excellent advice but, as she recommends, there's work to be done. Also, the sound is strikingly clear. When these audio transcripts first surfaced, the sound was muffled. One could barely hear Callas. This is superb!
ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-pDUyA-fVie8.html Por qué esta grabación es idéntica a la que publicaste como interpretada por María Callas? Creo que hay un error. Se presta para confusión. La voz es de Lucía Popp, no de María Callas. No sabía cómo mandarte el mensaje, porque el vídeo de la Callas no permite comentarios. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-nmqEGAgu2O8.html Agregué el 2do link para hacer la aclaración. De no ser así mi comentario es confuso. Lo siento.
él lo sabe muy bien. Creo que haya puesto el nombre de la Callas sòlo para tener muchos pulgares puestos da los que non saben ni rconocer la voz de la Callas ni siquiera que Maria Callas nunca cantò "Die holle rache". Por eso , despuès de muchas lamentaciones, decidiò no de corregir el tìtulo, sino de quitar a la gente la posibilidad de hacer qualquier comentario. Y eso no me parece una cosa honesta.
@@isamaia2389 Maria Callas nunca interpretó esta ópera. Creo que me faltó agregar el link al que hago alusión, aquí va y no es María Callas, es en realidad Lucía Popp, como el que dejé al inicio de mi primer comentario. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-nmqEGAgu2O8.html
@@isamaia2389 Maybe you don't know that this guy some hear ago posted a video titled"Maria Callas sing The Queen of night" with Luisa Popp's voice. It has an impressive number of view, thanks to the title, and never changed It despite lots of people protesting for the fake.
Most likely due to copyright. It'll uploaded again though. I've seen the full masterclass series be put up and taken down several times throughout the years on RU-vid.
Chris Cruz they are in the Public Domain. They were recorded by Julliard who made them free for educational purposes. No company has claim on these recordings and They do not have a copyright.
Imagine if Maria was alive in 2000 at 77 years old or if Patricia Janeckova was born in 1990.What if she could be her teacher!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!I can only dream!!!!!!!
What most of those who are obsessed with technique, declamation, and dynamics fail to mention is the no less importance of learning believable delivery and Callas corrects the student on that problem first. Its a shame many foolishly believe that the technique, dynamics, and declamation alone is what makes the performance. The minority of truly understanding performers like Caruso, Sirota, Slezak, Franz, Ponselle, Patti, Flagstad, etc - including Callas, knew it was of no less importance and did not slack off to learn it, as sadly many prior, during, and after did so. Sad to see such laziness.
Indeed, many fall for that trap and rely on the false belief you just need technique, dynamics, sound, healthy declamation alone to sell a performance and Callas disproved that.
The student's voice type may not suitable for this Singspiel ~ Her voice is more Verdian in my ears. Strong flow of volume, sharp, harsh high register, she is potentially a good L.Macbeth XD
hahaha you are out of your mind. Callas was a Verdi voice which is a voice that is at least 5 times bigger than this student’s voice who has a very light lyric coloratura voice. She a tiny voice especially - there is no weight whatsoever in her middle or low voice and a real Verdi voice has tremendous power in the low and middle voice.
By the way, the "Magic Flut" is not a Singspiel. On the first performance, it was called: "Eine große Oper", that is just "A big (or grand) opera". A Singspiel is basicly half dialogue, half music, somewhat the predecessor of operetta, usually on rather comic, light subjects. Instead of that, "Magic Flute" belongs to german operas with dialogue (like all 18th century operas in german, which never would have secco recitatives) like, later, Beethoven's "Fidelio". Mozart wrote three Singspiele: "Bastien und Bastienne", his first (or second) opera, the unfinished "Zaide" and, of course, "Entführung aus dem Serail", even though the last one is already more like a proper opera. In Mozart's times, there were performances of the "Magic Flute" in italian languages (in Italy or elsewhere, if performed by an italian opera company), that would have recitatives instead of the dialogue, for italian operas would always have recitatives, while german and french operas in the late 18th century would have spoken dialogue (like Cherubini's "Medée"). In the german speaking countries, they would perform italian opera in the original language or in german, but, if so, always with spoken dialogue (like "Figaro" or "Don Giovanni" for example) and Mozart would, of Course, accept that. Mozart wrote an aria for a german version of Paisiello's "Barber of Seville" in german. The only opera, which he wrote in italian (with recitatives), but also adapted it for a german version (with spoken dialogue) was "La finta giardiniera", in his german Version "Die verstellte Gärtnerin", for which he adjusted most of the accompagnati to the german language. In Germany (and England, for example) the would perform comic opera (for example any Comic Mozart, Rossini, Donizetti) until roundabout world war I in the native language and with spoken dialogue, most unlikely with recitatives.
