00:00 Mozart Il Ratto Dal Serraglio - Tutte le torture 08:41 Meyerbeer Dinorah - Ahime! Che notte oscura... Ombra leggiera 15:33 Charpentier Louise - Depuis le jour 21:32 Rossini Arminda - D'amore al dolce impero
Дыхание Марии эталонно, оно дарило ей полную творческую свободу, отдаваться музыке ,растворяться ней. Спасибо Маркс вам за чудо , почти невозможное в наши дни !!!
Amazing Amazing Amazing - and her French diction is excellent! The consummate, supreme artist. In her portrayal of Louise, she is so vulnerable, so innocent, so honest in revealing her being in love. The intimacy is touching, so true. My heart wants to remember the beauty of that first day when she sings this, and I hate to use the word sing, she goes beyond singing, she incarnates... ok that doesn't make sense either, but how can one describe her art?
Sovrumana Maria nell’aria di Costanza ha fiati incredibilmente lunghi, in Dinorah da una lezione di agilità e, come sempre, riesce a trasmettere un senso anche alla parte virtuosistica, in Louise prevalgono dolcezza e abbandono (ha una dizione in francese chiarissima) e poi alla fine Armida la maga e qui ecco una magnifica lezione di bel canto. Grazie Marx hai fatto un lavoro di restauro splendido complimenti
Perfection of the Genius!!! I could compare Callas's Art only with the superb quality of the Stradivari violin and legendary - brilliant virtuosity of Paganini...
Non esiste nessuna al suo livello, passaggi, legato, dosaggio dei fiati, pulizia di emissione e scale ascendenti e discendenti fulgide.... Acuti tenuti in modo splendidi e fiorettature e staccati e trillo stupendi. Quanto alla Netrebko citata da qualcuno, non scherziamo siamo di fronte ad una leggenda, imparagonabile ad una che canta come una soubrette, e anche tirata via... Pompata da case discografiche e protezioni teatrali. Negli anni di Maria sarebbe stata una soprano comprimaria, seppure....
Incredible in all respects. There will never be another remotely comparable. Unique gift. But hearing her always makes me feel a little sad. 🤷🏻♂️ maybe it’s because her singing always touches me so deeply. It really pierces the heart. Bravissima Maria, la Divina. RIP
Depuis le jour...no había escuchado algo tan hermoso , hasta ahora...es sublime ..la divina me hace soñar. Gracias por compartir el arte...el arte de Callas...mil gracias.
Finally! Callas as Constanze. Mozart's heroines always seem so 'weak' and 'passive' by the sorts of singers that sing them, after the mid-1960's. It certainly is not the music, but the 'perception' of the music- as if the people in Mozart's time didn't procreate or something! But "Marten aller Arten" - even in the Italian, the character has some backbone and bite. As I really love WAM, this was a treat to hear. Grazie tanto.
La Netrebko non esiste di fronte a Maria... Parliamo di una cantante fra le tante che è imparagonabile ad una leggenda. Ultimamente poi è anche molto scesa e la sua linea di canto e la respirazione, il legato e le messe di voce fanno acqua ovunque... Poi che la si incensi dipende dalla spinta delle case discografiche, dei teatri e dalla scarsa capacità di distinguere le doti canore di un pubblico che si accontenta ...e molto !!! Ascolti il fenomenale controllo dei fiati di Maria... Non ha eguali.
Nebresco? 😂 The only tension with her is the vocal tension in her throat, through poor breathing technique. Comparing Callas and Nebresco (😂) is like comparing fire and water. Get real, monsieur! And no-one who ever heard La Callas ever forgot her name, either haha. Anna Nebresco can eat her heart out.
@@numetutelare 👍🏻 Well said, sir. Every point. It's just sad these days that it needs to be said. People don't seem to actually listen and hear these things anymore. Or they don't mind the vocal imperfections or inaudible notes. And La Netrebko's fees and ticket prices are hair-raising !! 😱 I did hear her live once, but I would not pay more of my hard-earned money to hear her. Yet I would have sold my mother to hear Callas. 😂
@@theon9575 Je suis bien d'accord. Elle est incomparable. La technique est extraordinaire et l'expressivité est hors norme. Sans parler de sa beauté, de sa classe.
MARÍA CALLAS , EN ESA ÉPOCA TENÍA LA VOZ TODAVÍA LOZANA Y AÚN ERA EXTENSÍSIMA , LA MANEJABA CON INCREÍBLE MAESTRÍA Y MUSICALIDAD SUPREMA. EL RESUSTADO ESTE CONCIERTO UNA "GEMA PRECIOSA" EN LA HISTORIADEL ARTE LÍRICO. Armando Cerutti - Barítono
Really nice! What a pleasant surprise the Mozart is. I've never heard Callas sing Mozart. The earliest I've heard from her is Spontini. It's stylistic restraint (the Mozart) is really admirable, and the line and color beautiful. Even here in 1954 there's clear evidence of problems to come, but it's hard to assign fault in some of the strident high notes, when so many others of them are still beautiful. Callas was clearly a master of style. Comparing this Depuis le Jour to late recordings - vocally - is like night and day. It's so fresh in 1954. I understand better how her vocal qualities captivated her early admirers. I've always loved Callas for the color, psychological and dramatic character she was able to place in the very sound of her voice, which she perfected as the years went by. I think that was the real genius of her vocalism. Her 1958 Mimi retained this youthful quality. Too bad she never did Bohême on stage. It would have been one of her greatest theatrical triumphs. Renata Scotto underwent the same kind of change. Scotto's middle register was still ravishing in later years, while her upper range became just as strident as Callas' ever did, or more so. The recording quality is also very, very good. You really made my day posting this concert Marx. Thank you!
@@DM-wj8br Yes, but those are not good recordings. And she basically did it to spite Walter Legge for going with Schwarzkopf (his wife) for the stereo recording of the Verdi Requiem. Callas’s attitude was basically: “If she can sing my repertory, then I’ll sing hers.”
Callas' true voice was never intended to live in that glamorous, thin body. To hear the real Callas voice, you have to listen to her before she shed 1/3 of her body weight. It was a darker, fuller, lusher, bigger sound that often sounded almost like a contralto, but she could lighten the sound as needed as well. The high notes were easier, fuller, supported on a solid column of breath support, and the trills were freer and faster.
Possibly more to do with choosing the correct sound for the repertoire. All of the selections are lyrical rather than declamatory. Stunning vocalism whatever.
@@mavoisine3 The one aria that I am not so impressed with is the Charpentier, incorrectly labelled as Massenet here. The voice is insecure, there is an obtrusive wobble and she has some intonation issues. It seems an odd choice to include with the others.
@@omarsomehow69 I am afraid that I am not a fan of Netrebko (I think that is who you mean) at all. I love the recording of Kathleen Battle singing the aria, although her voice could not have coped with the full role……..at least I don’t think she attempted it. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-xPQDjB0_HN4.html
@@janel342 if Mozart actually said that, then he was quoting the philosophers of the ages. But How is this relevant 😂? Here's a 🌷 from Amsterdam for you. X
