Caballe at her finest, in total command of her instrument with all the fabulous, unsurpassed legato, pianissimo, solidly secure in the top of her register and divine low notes. Heavenly singing. Effortless beauty, I could listen to her glorious voice forever.
Sin mover un músculo pero qué actriz. Con la expresión y la voz te hace sentir todo lo que Verdi pretendía y más. La mejor. En su propia liga. Nadie, y nadie es nadie, se le acerca.
Wow! Until now, Callas was the only singer I ever cared for with this particular aria. But now that I've heard Caballe do it, that's no longer the case. BRAVA, La Superba! Rest in Eternal Peace!
Una delle poche voci che vengono direttamente dal cielo e con una tecnica, con degli acuti e dei pianissimi che fanno di questa interpretazione quella di riferimento.
Addio La Superba ! RIP (1933-2018). One of the most riveting operatic personalities of the 20th century! Endowed with a sensational and ample spinto voice, her repertory was extremely diversified, from classical melodies, to Zarzuela, pop hits (scoring huge triumphs with pop artists including Freddie Mercury and Vangelis) and of course opera, in roles ranging from Alceste, Medea, Semiramide, Contessa in the Nozze di Figaro, Norma, Imogene, the Tudor Queens, Violetta, Leonora, Elisabetta (in Don Carlos: a most fabulous interpretation), Manon, Salomé (Hérodiade), Manon Lescaut, Mimi, Floria Tosca, Princess Turandot, Adriana Lecouvreur, Arabella, Salome and countless others, including rarely performed works, both in opera and on the concert platform! A God’s voice, her perfect breath control (only challenged by that of Leontyne Price) was awesome, her mastery of the pianissimi (frequently overused) and long-sustained high notes (glorious if somewhat metallic high-Cs and Ds ) were thrilling to the last and projected easily in the largest auditoriums. Her trills were sometimes lazy as was her vision of the prosodic line, which she knew how to accommodate to best fit with her own vocality! She was a marvelous, unique and generous Lady whom I was privileged to know and of whom I have fond memories. She leaves an undisputed and regal artistic legacy. One of the last operatic titans! Her radiant smile and indomitable sense of humour will be missed but her talent will last through her many recordings. She was an ambassador of peace and humility … Her voice will resonate high up there among singing Angels who will rejoice in welcoming her loving soul in a better world. RIP.
Almost unbearably beautiful singing! Otherworldly, singing of a goddess, that almost surpasses opera, hard to explain, like listening to a goddess of new age music at the same time as the superb singer of opera! When she was at her best it was like listening to the goddess of the world or olympus singing!
Matias el Mundo entero se ha conmovido, se conmueve y se conmoverá siempre con la gran e inolvidable Montserrat Caballe! Siempre estará en mi corazón!!
Montsy who cares about all these boring widowers! Let them talk! You created your own inimitable style. You were and you will remain unique because of that. You went beyond bland and you defined your own vision. That's being a full and complete artist. People can admire you or criticise you, but....they cannot remain emotionless. That 'e porta il pianto mio al trono del Signor'..... and 8:35 ...... what sublime moments!
@@PabloLopez-dv6huLa voz de Caballe era 500 veces mas pequeña que la de Callas. Inclusive Tebaldi era un elefante de voz enormemente pesada que era mucho mas pesada que la voz de Caballe. Pero tener un voz mucho mas pequeña no le quita merito.
She's totally a Callas successor, so much so that Callas herself said Caballe was the only one she could see as her successor. Silliness to keep bringing Maria Callas name up into everything. ZZzzzzzzz
They both were unique and different and they both know each other, and they contribute to bringing lost operas to the world. Last but not least....at that time there were so many good ones, not today. It is sad.
@JessyeNormanFan Caballé and Callas were in mutual admiration. It is even said that in one interview Callas responded to the question whether she sees someone as perpetuating her own art in the modern age with "Only Montserrat Caballé". I don't personally care about that, but I must say, one mustn't sound and look like Callas to be her successor, we have Aliberti for that (she's quite good actually!). Caballé could "feel" the music extraordinarily well. And the diamantine voice.
Verdi said once, opera is the voice and made for the voice. You don't need to be an actress, you just need to express with your voice what is happening. Callas sometimes overact, but it was Callas, she was very dramatic, but first of all....she knows how to sing. Callas and Caballé were unique, not only because of their voices, but the contribution that they did to opera was unique.
One of the last sopranos to use a mix of chest voice which gave her middle register a core and strength. Compare with the weak watery tone of most modern sopranos as their voices go into middle and low register.
The outright winner on this one!!...I bought the Giulini, EMI recording..100 years ago or so!!!..(it certainly seems like it!!)...and immediately fell in love with Montserrat!!.. In that recording, however, its the duet with Domingo ..."Ma Lassu..." which completely seals the deal...."mezza voce" ...I'm sorry but before Caballe, that phrase meant nothing!!!....."EXQUISITE"...is the only accolade.........
imho the contrast w/Callas shows with stark clarity that while Callas in general outclasses Caballe, in this role Callas is badly miscast. For all her acting skills she can't capture the role. Caballe on the other hand captures the hopelessness perfectly. Brava!
Joel Bergsman cerchiamo di non fare confronti, sono due stili diversi , la Calla era la Callas, Caballe era la Caballe, due stili e due diverse voci., La Divina e la Superba ...
La Superba indeed..her voice at this stage is wonderful and her top notes more secure then they became later. She has an almost maternal feel to her singing that caresses rather than rouses..unlike Callas who is full of emotion period!
It is very possible this maternal feeling is coming through. Her daughter was born November 1972, so possibly she was pregnant in this recording. Most women feel pretty strong and healthy during pregnancy unless there is morning sickness. She was very beautiful in this.
Come sempre, tipico della Caballè non recitare, eccetto forse in Norma, lì sì che non fa rimpiangere la Callas anche come interpretazione del ruolo....
vincenzo anzoletti, Elisabetta le sta perfetta ma non certo fa rimpiangere la Callas nella Norma e mi dispiace dire oggi queste cose. L'ultimo grande soprano.
Dear, Senora Montserrat, When my day does come for what the Spirit calls for me, Please, senora, Por favor, sing this prayer for me on my day? Muchas Gracias.
Tu che le vanità conoscesti del mondo E godi nell'avel il riposo profondo Se ancor si piange in cielo Piangi sul mio dolor E porta il pianto mio al trono del Signor Carlo qui dee venir! che parta e scordi omai A Posa di vegliar sui giorni suoi giurai Ei segua il suo destin La gloria il traccierà Per me, la mia giornata a sera è giunta già! O Francia, nobil suol Sì caro ai miei verd'anni! Fontainebleau! ver voi schiude il Pensiero i vanni Giuro eterno d'amor là Dio da me ascoltò E quest'eternità un giorno sol durò Tra voi, vaghi giardin di questa terra ibéra Se Carlo ancor dovrà fermare i passi a sera Che le zolle, i ruscel', i fonti, i boschi I fior Con le loro armonie cantino il nostro amor Addio, bei sogni d'ôr, illusion perduta! Il nodo si spezzò, la luce è fatta muta! Addio, verd'anni Ancor! cedendo al duol crudel Il core ha un sol desir: la pace dell'avel! Tu che le vanità conoscesti del mondo E godi nell'avel d'un riposo profondo Se ancor si piange in cielo Piangi sul mio dolor E il tuo col pianto mio reca appié del Signor
@@fontenayperi ignorance must be bliss !,,montserrat had an almost non functioning thyroid ,when it was eventually discovered it was removed as cancerous .She had lots of problems ,her leg was almost shattered ,which made difficulties for her for 40 years 😪
From the first moments of the performace I felt something was wrong. Now I realised what it was.... the rushed interpretation.... the ugly vibratto... turns out I played it at 1,25 speed.
Me encanta todo esto, comparar, criticar, etc. Es lo que hoy no existe en la opera y por eso es una mierda. Os recuerdo que a callas la buchearon muchas veces y a Caballé y otras. Hoy se aplaude la mediocridad.
I don't think her voice is large enough to be ideally suited to this aria. Anything above the dynamic ranges of mf sounds belted in order to compensate for what is really not a very large voice. Therefore, her fortes sound uncomfortable and forced. I usually cringe before I know she's going to sing a forte because they tend to wobble and are just not beautiful and in line with the rest of her voice. However, on the positive side, her musicianship, and vocal technique are otherwise exquisite. Her pianissimo are unsurpassed and extraordinarily beautiful. A better rendering of this aria can be heard from Marc who has the dramatic force and line that Caballe lacks. Don't get me wrong, I love Caballe. But hers is not a dramatic voice even though she tries to use it that way to ill effect.
+Lydia Guarrochena Te recomiendo a la Callas y veras cuanta diferencia hay en cuanto a gesticulación, brazos, manos, hombros y especialmente en la voz.
Personalmente me transmite mucho mas Caballé que Callas, las dos son muy grandes y no deberiamos compararlas ya que Callas nombró a Caballé su succesora. Aquí Montserrat alomejor no se mueve mucho, pero para mi el color de voz me resulta mas bonito que el de Maria.
