This is absolutely spectacular.... visually and dramatically, the presence of the words and the Verdian dialectic, and the simple physicality of this GRAN DAMA ESPAÑOLA, full of fear but full of determination... Callas use of slow trills with a preparation before and after them is riveting, the permanent use of chiaro-scuro , dynamics and exquisite pianissimi and rubati, the first "improvido" sung in an endless musical arch to a Sib with a perfect diminuendo at its end, the piano A after..... the attack of the highC and the way she leaves it... all is extraordinary, truly unique.... the aria is a killer, and here some moments show some problems Callas started experiencing in these years, the absence of a messa di voce in the LaB final being the one I find somehow not brilliant... but that is one note in a universe of musicality, dramma, singing, creating a personnaggio... Callas, only Callas
Your comments are quite insteresting. Regarding trills, Callas is either unique or one of very few vocalists who can execute a true two-note trill IMO. From Callas' quotes that I've read, she considered this kind of thing a necessary part of one's technique, that is, the kind of ornaments or "fioritura" necessary to sing the music of bel canto. Furthermore, she referred to coloratura as constituting a mode of expression rather than simply singing fast notes, which is what one hears all two often. As for the "preparation before and after" a trill, that is a demonstration of her musicianship as well as her vocal ability. Callas understood the music in and of itself and in fact that is where she looked to find out what gesture or dramatic expression to use. Ultimately, the music and drama became one and the same.
Straordinaria di tecnica e di espressività, solo il confronto con il Trovatore Scala 1953 la trova con i fiati leggermente più corti. Ma quale emozione ! Forse ancora più grandi!
