Callas provoca uma enormidade de sentimentos e sensações! Única, soberba, incomparável, perfeita como intérprete, como musicista. Sua voz não é dos anjos mas neles pode até dar inveja. Ela foi a maior diva do século XX e até hoje não existe ninguém a sua altura.
Why didn’t they film all her operas and concerts and all why why why :( I know she wasn’t fond of the idea of filming and i think it came from Serafin who wasn’t aware what the film industry will become later and of course opera can’t be fully sensed on a couch but only in the opera house but still 😢 Thank you for posting these extracts, Dana
Yes, only Tosca was filmed, BUT Tosca is the least intense , the least worth among all the opera done by Callas and her excellent Tenors. If Medea, La traviata, Norma and Aida....ect was fully filmed, the opera art may not be diminish like now.
@@morganchan2465 true and with all my love for Callas I don't like her acting in Tosca. Very mannered. I think she was much more comfortable as Norma, acting-wise
Morgan Alan Yes It would my friend.Marketing & P.R. agents are vipers that prey on the attractive singers for the ALMIGHTY $$$. And most Conductors/ Directors appeal to the masses with limited knowledge of the most incredible ART FORM. Very sad but true. Take care Arnold Bourbon Amaral
@@Tkimba2 I am curious to know whose acting you like in Tosca... And what Callas' Norma have you seen on video to think she was much more comfortable acting as Norma than Tosca?...
@@stefanodepeppo I don’t agree with the Tkimba2 comment that Callas’s acting as Tosca is mannered, but it is true that her portrayal as Tosca (at least in 1964) was not in line with how she tended to portray her other characters. She was much more inclined to act through grand, stylized gestures in the tradition of classical (Greek) theater and to otherwise keep relatively still. You can see it in the short video clips that are available of her Norma and Medea, and she talks about her approach in some of her recorded interviews (e.g., with Edward Downes). Others like Visconti talk about it as well. Her Tosca is much more grand grignol, to put it crudely, with lots of running around. I’m most curious about how she would have moved on stage as Traviata. There are some short clips from Lisbon, but it’s hard to tell because the video quality is rather poor.
She almost cancelled the Hamburg concert, as she was suffering from a bad cold. Despite that, I'm so glad the concert was filmed. She's hypnotic to watch.
The studio recording is better. But I think she is forcing her voice less here than in the other live recordings. The top at the end, however, is glassy is a result. Her upper register was just collapsing. I like the Stuttgart one actually where she is sick, but has had some time to think through a game plan (unlike in Hamburg).
She is superb here, very secure vocally, just as good if not better than the Carnegie Hall performance in January of 1959. Exquisite chiaroscuro phrasing in true Bellinian line. And to think that this Amsterdam concert came just after the exhausting Covent Garden Medeas. Then she embarked on the fatal Christina cruise and the rest is history...
