Sie singt nicht nur technisch perfekt sondern sie investiert ihr ganzes Herz und ihre ganze Seele in diese Arie!! Sie ist auf ganzer Linie perfekt!!!Unübertroffen,einzigartig!! IHRE Lehrerin kann sich ein Schloss im Himmel bauen!!!Denn sie hat auf der Welt einzigartiges vollbracht!!Sie hat die Vollkommenheit für die Ewigkeit geformt!!!
@@josephhapp9 Lol! I know that they raised the pitch one whole step! That is why I thanked the person who pulled this video off! ...Perhaps how I SHOULD have phrased my comment was something akin to "Only Maria Callas COULD have sung an F6 with that much dramatic weight!" Not a smaller voiced flute-like lyric coloratura soprano to be sure! 😀
@@pointofnoreturn3103 even being a high E6 is awesome... This is coloratura with Nilsson/Dimitrova voice 😂 And some singers say, if you could sing and hold one note, you get to the next one at least in stacatto. so Callas could have easily sung the queen of the night
@@Antonio-qm3bi Oh, my gosh! Chills just went down my spine when I think about how SHE would have sung the Queen's Vengeance aria in the second act! ...Pamina in Flute was my first opera role, and Dr. Larsen told me that Sarastro was Pamina's long lost father. Hence the Queen's motivation for telling Pamina to kill him in the Vengeance aria. What is it now? "Hell hath no fury like a woman scorned..." My GOSH, how Maria Callas would have sung that aria!!!! 😍
The original key is Eb (that is how Callas sang it in every recording performance extant) NOT E which is the manipulation here, so I don't see the point of it. There is a splendid, solid Eb at the end of this 1952 Mexico recording, just as all the others after it.
For those who didn't understand: this audio is modified to sound one tone higher than what she sang. Callas sang this Mad Scene in Eb, not F, like most sopranos. 😘🫰
It's the other way around. About 95% of the time, Sopranos sing the Mad Scene not in its original key (F Major) but in Eb Major. This came about so Sopranos could end the scene with a high Eb. Few Sopranos can pull off a sustained high F.
It's definitely not the right speed. She would never have sung this in F major. Only a handful of sopranos sing it in the original key, and those who could didn't for various reasons. Lily Pons, Natalie Dessay, Ruth Welting, and perhaps Mady Mesple sang in F. Caballe did, but sang the score as written without the flute cadenza in the mad scene. In the original score if I remember correctly, there are two high Cs and one C# or D flat in the entire score. There's no flute cadenza in the original French or the customary Italian translation 😊
This is not proof. The recording was played at the wrong speed. Callas had E flat 6 and E 6 only in public. If you can't tell it was manipulated, then you don't know opera or Maria Callas well
Dfgh 234 I changed the pitch, but it also slightly increased the speed. I could have preserved the speed, but it compromises the sound quality, which is already not the best, being an old recording.
This recording has been wrought up to F from E flat. Her timbre is unrecognisable as Callas due to the distortion of pitch. Also, the tempo is circuslike, and never would have been countenanced by Callas. This whole thing is a fake and a phoney, carefully created by someone who wanted to hear Callas sing an F6. Outrageous.
I can determine notes by absolute pitch and this definitely sounds like the key is in F - at least the final high note is an F6. I checked with a piano to see if perhaps somehow my hearing is off, but if I play an F6 note on the piano against the last note, (perhaps very very slightly flatter) it matches, and definitely doesn't match an E6.
This is an amazing conversation for me. I'm just now learning music but I have listened to La Divina Callas' recordings my whole life. For my better learning, to clarify for me: 1)what is the original key that this whole aria is written in? 2) And what did Maria actually sing for that last note, in real life, an E or an F?? This would help me so much as a student!
The original Mad Scene, at least Lucia's cavatina and cabaletta, is written in F major. The vast majority of sopranos sing it transposed a whole tone downwards, in Eb major, and it has been published in that key ever since, in an edition that Donizetti did not oversee*. There's a few more numbers that suffered that fate: Lucia's first cavatina (sung and published in D major, written in Eb major) and first cabaletta (sung and published in G major, written in Ab major), and the Enrico Lucia duet (sung and published in G major, written in A major). Also, keep in mind the ornate and high flute cadenza is a late addition that became tradition and was not originally present in the score. Long-story short, the usual edition of Lucia is a corrupt score and affects the lead character's music pretty heavily, all for the worse. *The French edition of the work, which he made himself, keeps the original keys: A major for the duet, F major for the mad scene, although, at the soprano's request, Lucia's, now Lucie's, first aria was changed to something completely different.
@@aclassicaltrove thankyou much! I wasn't aware of all that. So in the duet, the tenor's part, Enrico, also suffers the same. I will be studying his part soon. I'll keep that in mind when searching for a "Lucia" score!
@@eddue12345 Actually, Enrico is the baritone, her brother. I'm refering to the Act II duet, 'Il pallor funesto'. The tenor is Edgardo and his music came out unscathed in the standard edition. Their duet happens in Act I and it's 'Sulla tomba'.
