Extraordinaria la Caballe que logra expresar esa fragilidad emocional de la atormentada Leonora. Es un aria de difícil interpretación…aquí está el genio de Verdi, sin duda, el poder creativo de un artista grandioso. En mi humilde opinión esta es un aria para las grandes sopranos y Caballe era una de ellas. Muchas gracias por compartir esta pieza de gran belleza, gracias.
Абсолютно эталонное пение! С первой ноты хочется слушать ещё и ещё! Ужасно, что даже такие люди уходят от нас! Пусть теперь Бог наслаждается её пением! ❤❤❤
Oh, heavenly floating notes, her timbre, fiata with a character of endless pianissimo, and even a flawed trill makes for only one; legendary Caballe in 1968 was tremendous pleasure that brought all, a unique lady of the grande opera. RIP
Bellissima e grandissima !! Una voce di velluto e virtuosa ,chiara e cristallina ,nonché un grande pathos !! Una divina Superba !Ti amiamo,Montserrat ❤
At this time, she could do everything; absolute respect of the indications of the partition: wonderful musicality, extreme nuances, trills... and even the complete text ! 😉
I truly believe that, there were many great singers at that time- not today, don't know why- but Callas and Caballé, were unique, each one had its own way of expressing what it was written, but this is what makes them, unique. Caballé not only had beautiful pianissimos, it was a lot more than that and they both - according to my poor humble opinion- enriched in their own way, Ópera. There were many good ones, but only these two ladies, were capable of marking their own school, their own way of singing. No one can sing like Callas, as no one can sing like Caballé. For me, they were among the great ones, the greatest.
La Superba es perfecta. La Superba is terrific. Thank you very much for uploading this amazing video. From Santiago de Chile. Dr. Fernando Rivas-Burattini. 🤝👏👏👏💐✝️🙏✝️🇨🇱🇨🇱.
Wonderful voice! Everytime I sing D'amor sull'ali rosee, the vocal technique of Montserrat is for me the winning weapon to overcome even the most difficult passages. Thanks Montserrat!
She was an unusually developed lyric but could handle this role especially this aria even if the role really calls for a dramatic or spinto (with agility). But I rather listen to this than most singers nowadays of course.
Tantos anos depois desta interpretação e ainda a sentimos como se fosse ao vivo, fazendo vibrar a nossa emoção como se fosse a primeira vez. Milagre da Verdi, milagre de Monserrat ? Milagre da Música Eterna. Obrigada por nos oferecer esta ressurreição.
@@laprimmadonna2341 Effettivamente le cantanti pre CALLAS si prendono poco in considerazione, un pò per le poche registrazioni disponibili e un pò perchè han dei difetti come fruscii dovuti alla modesta tecnologia di allora. La Ponselle la conosco di nome ma non l ' ho mai ascoltata. Esistono quindi sue incisioni ? La Caballè per me è la più grande, più della Callas e prima della Callas metto Joan Sutherland.
She has never sung this better. The trills as always are a bit problematic. Cast: Manrico: Placido Domingo Leonora: Montserrat Caballé Azucena: Ruza Pospinov Count di Luna: Enzo Sordello Ferrando: George Mayer Inez: JoAnn Yockey Ruiz: Bennie Ray Old Gypsy: John Reed Campbell Messenger: Tony Lopez Orchestra and Chorus of the New Orleans Opera Knud Andersson, conductor (Live Performance, March 14 or 16, 1968)
There are so many trills, both long and short, in this aria that you can clearly hear how she manages to fake her way through them. She carefully hits the start and the end of the trill using the adjacent pitch, but in between she pulses the volume of the main pitch rather than alternating the two pitches. It's similar to what is called a "goat trill" in 16th-17th century music (Monteverdi for example), where it is a recognized ornament. If you want to hear this with proper trills, check out Joan Sutherland or early Leontyne Price. Of course, in every other respect this is a magnificent performance.
@@robertgordon862 I know both singers very well. I was in the audience at the debut of Leontyne Price in Il trovatore. I was not present at Jones Sutherland's debut in Lucia, but I saw her a few days later.
Ho 67 anni e sono cresciuto a "pane e Callas" qualche volta solo "Callas";a seguito di grossi dispiaceri "ultimi ascolti" osannati dai più,dico a chi vuol fare questo mestiere "Studiate e ascoltate"avete tutto a portata di oreccchio. buona serata nicola
Débat ridicule : Caballé avait tellement plus d'atouts vocaux que cela devient une lutte entre inconditionnels qui sont fanatisés sans comprendre de quoi ils parlent.
Je souscris totalement à vos propos, Xavier. Le fanatisme et l'ignorance n'apportent rien à l'Art lyrique, ni à la moindre réflexion en général. Contentons-nous d'aimer la beauté, et toutes celles et ceux qui la servent, à leur manière.
It would be more spectacular if she could actually sing the trills rather than bray. For such an accomplished technician, her inability to sing a real trill was always puzzling.
Funny that you are listening to an amazing, other-wordly performance and the only thing that you can say is 'she is unable to sing a real trill'. As if art were just a trill. Kind of sad
@@Wotan123456789 Imagine you went to a piano or violin concerto, and the pianist or violinist eliminated all the trills, or scales, or whatever they found difficult, just because they couldn't do them. Would you stand there and applaud their "otherworldly" performance, or would you wonder why someone who isn't able to play what the composer wrote is actually allowed on the stage? In the Julliard master classes, once a soprano asked Callas if she should sing the trills in a Verdi aria. Her answer was, "Well, he wrote them, didn't he?" Verdi didn't write these ornaments for prettiness sake, but to express longing and fear here, and joy and excitement in Leonora's first aria. So no matter how "otherworldly" your singing might be, singing what Verdi wrote is just the starting point.
@@Shahrdad I disagree. First, a trill or any kind of ornamentation in the human voice cannot be compared to an instrument. You should have used another example than the one you used of Callas in Juilliard. My teacher, Eugene Kohn, was her pianist and we have talked throughout the years what Callas meant. And for the record, scritto or not, Callas took herself certain liberties, whether to create a climax or a dramatic effect - or do you think all those E and Ebs in Bellini, Rossini and Donizetti were actually written in the score? And talking about that same aria, Callas sang it come scritto only till 1952 then she sang the 'easier' ending without the Csharp, so back to your statement "Well, he wrote then, didn't he?" starts to be invalid. Lastly, even if you have prefered Caballe to sing proper trills (which you are entitled to), I find it odd that you seem to be unable to hear some of the finest pianissimi a human voice produced (and for the record, I have hear Caballe live, and the effect that those piani produced cannot really be appreaciated in a recording - they were other-wordly) and state an appreciation that disregard that but underlines the lack of a thrill. Pace
@@Wotan123456789 Her pianissimi were of course divine. But unfortunately, at some point they became a gimmick. As her career progressed, she seemed less and less fond of singing her high notes forte, even when they were written to be sung forte, and instead, switched to crooning them pianissimo. I always found Caballe to be a rather contradictory singer. She was a crack musician who often sounded like she was just sight-reading a role. I often heard her eliminate words and just start vocalizing wordlessly, and even though she had nearly the entire arsenal of bel canto technique at her fingertips, she never learned to trill. And I wasn't talking about come scritto in the sense of not ornamenting or not adding the traditional extra high note here and there. This is an old and honored tradition in this repertoire. I was talking about singing the written trills in a slow aria such as D'amor sul ali or Al dolce guidami. And that's what Callas was talking about too. Here, you just cannot cheat your way out of it. You can't get out of the trills in Di tale amor, or in Coppia iniqua, or in the Lucia's Quando rapito in estasi or Spargi d'amaro pianto. You just can't. And interpolating an extra high note here and there isn't the same thing as being unable or unwilling to sing the written trills. You wouldn't tolerate a pianist doing there; why would you accept a singer doing the same thing?
Caballe better than Callas ??? Ahahah 😂😂😂 l'avez vous entendue dans Armida ? Lucia ? Macbeth ? Rigoletto ? Alceste, Efigenia, Medea et j'en oublie.... j'aime Caballe mais la piacer au dessus de Callas qui pronocait chaque mot, la merveilleuse Caballe était la Reine de l'escamotage, vocalisant à plein tube au lieu d'articuler...surtout à l'étranger en Italie elle s'applicait un peu, le risque était trop gros !
