so what? I am Medea!!! only Callas is able to give all those feelings of pain , agony,. betreal sadness tendernss and madness in such a short period of time, She is a true complete artist! No one else can ever reach her artistry.Her memory is eternal. Thank you for posting this!
Medea was her artistry at summit ! However the people after Callas are cowardly avoid to mention this opera, because they afraid of compare, compare to this demi-god legend
I regret to say it took me a long time to appreciate Medea but more so Medea by Callas. Since l do not understand Italian, l too often rely on the beauty of the music to transport me into the realm of the composer. However lately l found myself listening to her as if she was speaking to me and l must say, there lies the magic! I still can not understand Italian but somehow it seems no longer necessary for l am join with her, face to face and all that comes out of her mouth is so expressive, so melodious, so true that l can finally say I love this opera! Thanks for sharing, be safe.
La divina..hight priestess of opera and her art ! HER OWN WORDS NO BODY CANT DOUBLE LA CALLAS and its thrue until today.. Even those little voices by moscet try to DOUBLE her ! Haha ha i say to them. First prodous every singel word clear and remember to be as well actress on stage ! God luck Bocca il lupo !
da brividi! Medea come Gioconda sono personaggi che appartengono di diritto alla Callas. Tutte le altre interpretazioni prima e dopo di Lei non hanno senso.
Carlo Pietroniro, la sera prima c'era stata la Wally con la Tebaldi che inaugurava la stagione con scarso successo...la sera dopo, assieme alla direzione e concertazione tagliente, travolgente e infuocata e a senso unico di Bernstein, fu un trionfo assoluto. Quella sera Maria fece capire definitivamente che non ce n'era piu' per nessuna. E come dici tu pare di essere lì...e siamo lì.
This recording is magnificent and tragic in every sense. Magnificently sung, but so were many others, by Simionato, Tebaldi, and others.Tragic because Walter Legge should have instead chose Macbeth, Armida, Medea, to name the three most obvious, or even Turandot.
This is the famous Medea under Bernstein, Scala 10 December 1953. The prompter is audibly feeding her lines. Maria is tremendous, somewhat more refined than her Promethean first Florence Medea in May of that same year but still very passionate. She will repeat the feat with a leaner physique and instrument, but in excellent vocal form and a more human interpretation, in Dallas five years later.
There's a studio recording around here on RU-vid with Callas (complete opera) as Leonora in Il Trovatore/von Karajan conducting. I think it's also from the '50's and she gives a beautiful performance. The range of her repertoire is amazing, going from Leonora to Medea, that's quite a leap.
A leap indeed: during 1952 alone she sang Elena in Vespri Siciliani, Norma, Konstanze in Seraglio (her only Mozart role), Elvira in Puritani, Armida, Gioconda, Traviata, Tosca, her first Lucias, her only Gildas in Rigoletto, Norma again for her ROH debut, the Trovatore Leonora, and Lady Macbeth at La Scala. Medea would follow in 1953. The term Assoluta never found a better justification. Look up her Torino concert for RAI in February 1952, available here on RU-vid, to observe the versatility and excellence.
This the complete live performance: Act I: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-KmfTMhQitTY.html Acts II and III: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-sTdCEZFvM3w.html This is the studio stereo version: Act I: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-JyiLHSslNl0.html Acts II and III: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-KVQ5c7Itn_g.html
