วีดีโอ

Ti porta in Paradiso!

👍👍best ever

Her voice was a siren from top to bottom, in the dynamics from forte to pianissimo... the siren is always there

Her "Jago" (12:18) gives you instantaneous goosebumps.

Best Macbeth ever!

Callas's singing of this role is a lesson in Rossinian singing, and I don't think anyone else captures the underlying bitchiness of this character as well as Callas does, and she does it with playfulness and humor.

Norma Santuzza documento storico dello stile di canto dei tempi e del temperamento esagerato per non dire altro della Burzio

Her voice is not as high pitched or as silky as Tebaldi but nobody can do what Callas did. She is awesome 🤩 and such talents come once every century. A gift from God was given to humanity in Callas, may she rest in peace 🌺😇🤩🥂🎉🙏❤️

As heavenly as her voice is in 49, someone said in 48 she was even better. How is that humanly possible? May she rest in peace, what a gift to humanity she was ❤

Такой красивый,нежный,трогательный голос!-Лучший в мире!

Quelle extraordinaire expressivité même si certaines notes sont quelques fois un peu flottantes.

❤

Caballe is not dramatic, she is spinto-lyric.

Gencer is the best Anna among them.

Ocean! thou mighty monster! That lies curled like a green serpent, round about the world! To musing eye thou art an aweful sight, When calmly sleeping in the morning light; But when thou risest in thy wrath, As now, and fling'st thy folds around some fated prow! Crushing the strong ribbed bark as if it were a reed! Then, Ocean, art thou terrible indeed. The waves become increasingly calm and bright. Still I see thy billows flashing! Through the gloom their white foam flinging, And the breaker's sullen dashing In mine ear hope's knell is ringing. A few rays of the evening sun, hitherto obscured by the darkness of the storm, break through the clouds. But lo! methinks a light is breaking Slowly over the distant deep, Like a second morn awaking Pale and feeble from its sleep. The waves continue to abate. Brighter now, behold! 'tis beaming! On the storm, whose misty train Like some shatter'd flag is streaming Or a wild steed's flying mane. The evening sun sheds its full glory across the sky. And now the Sun bursts forth, the wind is lulling fast, And the broad wave but pants from fury past! Cloudless over the blushing water, Now the setting sun is burning, Like a victor red with slaughter, To his tent in triumph turning. The sea becomes quite calm and the clouds part. Ah! per chance these eyes may never look upon This light again! Fare thee well, bright orb, forever, Thou for me wilt rise in vain! - The sun sets and a ship glides past from right to left. But what gleams so white and fair, Heaving with the heaving billow? 'tis a seabird, wheeling there over some Wretch's wat'ry pillow! No! it is no bird, I mark! Joy! lt is a boat, a sail! And yonder rides a gallant bark, Unimpair'd by the gale! Oh transport! My Huon, haste down to the shore! Removing her veil, sbe signals with it to the ship. Quick, quick for a signal, this scarf, This scarf shall be waved! They see me! They answer! They ply the strong oar! Huon! Huon! Huon! Huon! my husband, my love, we are saved! We are saved! We are saved!

Bravooooooooooooo

Antonio brought me here

Sorry but to these ears she starts to sound flat from “ io con Bersi errava” to the end. Opulent, extremely beautiful voice who lost her high notes very early in her career. To call her “ perfection” is a stretch IMO.

21:45 - 21:55 oh my gosh! The size of her voice with the trills and the Eb6🤌🏽

Kurt Baum was a PIG for a tenor!

She didn't have any rivals

Ms. Steber was my voice teacher/coach in Graz, Austria Summer of 1979.

Heaven

Exciting but the wobble at 1:27, 1:53 etc made her singing uneven, already in 1950.

Mi ricorda le ultime parole del film Europa '51 di Rossellini: "una santa... una santa..."

"Nobody can double Callas!" This was the response of the Rome Opera management when Callas told them during rehearsals that she wasn't well and that they should find a substitute for the upcoming opening night of Norma on 2 January, 1958. Against her better judgement, she agreed to go on. President Gronchi and wife were in the audience along with a huge array of celebrities from the world of film, stage, politics and the arts. Her co-star was Franco Corelli as Pollione. Miriam Pirazzini was Adalgisa, substituting for a Fedora Barbieri who had also fallen sick during the rehearsals. Giulio Neri was Oroveso and the conductor was Gabriele Santini. Callas managed to get through the first act, singing Sediziose voci, Casta Diva and the cabaletta rather unevenly, with some tones occluded and unsteadiness in the upper voice. She doesn't sound at ease and there is a lack of power. She took the curtain calls with her colleagues at the end of the first act and it has been reported that someone shouted, 'You cost us a million lire! Go back to Milan!' A very long interval ensued and the audience began to get restless. There were whistles and wolf calls. Little did they know that a drama was playing out backstage. Callas had declared herself ill and refused to continue the performance. Shouts and weeping were heard from her dressing room. Something crashed to the floor. Eventually an announcement was made over the microphone that the performance was suspended as Madame Callas was ill. Pandemonium broke loose. There were shouts and screams. The President and celebrities were stunned. Their chauffeurs had left as they weren't expected to return until later when the opera was due to finish. As the opera was broadcast on the radio, men who had told their wives they were going to the opera were found out to be with their mistresses when they returned home late, knowing nothing about the cancellation. It was just a cancellation. Something that happens frequently in the opera house. But it was no ordinary cancellation, it was a Callas cancellation and it was viewed as a prima donna whim and an insult. The repercussions of the evening were to haunt her for the rest of her career. Subconsciously, it was a turning point in her attitude to the career she had devoted her life to. She was denounced in the Italian parliament, excrement was smeared in front of her house, revolting insults were scrawled on the walls and pavement. She was on the front pages of newspapers worldwide the next day and portrayed as a money-grabbing, selfish and capricious prima donna. It must have left her very damaged and bitter that she had worked so hard and given so much to the world of opera and those who love it, to be treated so abominably. It affected her relationship with La Scala even more, already under strain for the Edinburgh debacle, and over the next year we see some important changes in her life and career. She retreated via an underground passage to the Hotel Quirinale where she remained holed up until she had recovered. A press conference was arranged and looking magnificent in full diva mode she explained the situation to the reporters. But the damage had been done. She never sang in Rome again. On New Year's Eve, 1957, after a day of rehearsing in the unheated theatre, she appeared on television singing a mesmerising Casta Diva, and photographs show her huddled in a heavy fur coat during the breaks. She sued the Rome Opera for breach of contract, as she was well enough to sing again by the third performance and they refused to have her back. It wasn't until the 1970s that she learned that she had won the case.

Io questa voce finita nonl a sento.....

What language they're singing in??

Szkoda że nie bylo lepszych nośników do zapisu głosu. Na szczęście te czasy minęły, przyszly nowe...czy lepsze ?

SIGILLO DI ETERNITA'

PORCO IL DEMONIO!!!! Toscanini qui ha fatto magie!!!! Non si spiega nulla sennò!

Guess I'm the only one here, but to me it's no. 2, Leyla Gencer, who sings it most exquisitely and with the most meaning. Yes, Callas is magnificent, but Gencer is the best.

Celestial interpretation !

Magnífica !!! Única !!!!

Piangete voi? donde tal pianto? … È questo Giorno di nozze. Il Re mi aspetta … è acceso Infiorato l'altar. - Datemi tosto Il mio candido ammanto; il crin m'ornate Del mio serto di rose … Che Percy non lo sappia - il Re l'impose (Oh memoria funesta!) Oh! chi si duole? Chi parlò di Percy? … Ch'io non lo vegga; Ch'io m'asconda a' suoi sguardi. - È vano - Ei viene … Ei m'accusa … ei mi sgrida. Oh! mi perdona … Infelice son io. Toglimi a questa Miseria estrema … Tu sorridi? … oh gioia! … Non fia, non fia che qui deserta io moia! Al dolce guidami Castel natìo Ai verdi platani Al queto rio Che i nostri mormora Sospiri ancor Colà, dimentico De' corsi affanni Un giorno rеndimi De' miei prim' anni Un giorno solo Del nostro amor

Un genio ,ogni ruolo e autore la voce diventa un altro strumento Callas ....sempre perfetta nello stile... musicalità non umana

O mundo só terá uma Callas. Ninguém jamais chegará a altura das performances requintadas, perfeitas da maior cantora operistica do século XX. Ela borda cada palavra com música, teatro, uma dicção perfeita, além de encarnar a personagem que canta. Divina. Absoluta. Única.🎉

Where are Caballé and Devia ?

😭 Has anyone ever sung this name so beautifully with such love and longing? 1:02

Maria is the only one that makes it so natural that it sounds like Donizetti himself wrote it

The balls it must have taken to sing like this 😢😢

MARIO, FAVOLOSO COME SEMPRE!!!!!!!! Ogni interpretazione è divina ed unica. Il TENORE dalla voce e recitazione irripetibile ed ineguagliabile.

How many more breaths does Netrebko have to steal 😢

Why dont you Gruberova as well 😅 thanks anyways ❤

The distinction between musician and singer is obvious.

You just can't be that great at the opening recitative, aria and cabaletta at the same time!

❤❤❤

Solo " Divina"...??? Molto di più!!!!❤❤❤❤

Bellissimo! Haunting, intriguing. I can't take my ears off thisl

Beverly çok iyi okumuş bir de cumhuriyet divamız Leyla GENCER OKUMUŞ. RUHLARI ŞAD OLSUN HATIRLATTINIZ ÇOK MUTLU OLDUM