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Well a tricky one again from you Dearest MANOLI.Not from AB who has developed a great carrear.But from the opera itself. A greek interpreter.You must be in Heaven.She was a piano virtuous before studying in the Conservatory of Athens.There,she won a scholarship from Maria Callas and went to study in Munich. And from then onwards she was required in Austria virtually all her first years .Von Karajan requested her for the Salzburg Festival.And besides she became Kammersangerin for Vienna s Staatsopera. About the Opera.A young 14 year old Mozart was strolling with his father in Italy.He received the commission of making an opera of wars between Turks and Romans. Actually it was more of a love story with a father and two sons in love with Aspasia. The funny thing about it is that apparently the singers were given and Mozart had to adapt the ideas he got to their voices. There was only one tenor,the king.The sons were one alto castrato and the other and the attendant soprano castrato. So no problems with your baritones here 😂. The curious thing is that being AB a mezzo according to Mozart she was supposed to be a soprano as Aspasia.And although her scales are divine and very Mozart like,her voice didn't intend to sound clear at all ,to me it's a pure mezzo singing. There's another thing that comes to my mind.We are only hearing her performing this third act.But what a melange it must have been having her amidst such high men voices... Anyway you ALWAYS surprise me with voice issues from Dear Mozart. By the way the opera disappeared for ages until Von Karajan found copies and decided to bring it to Salzburg Festival in the beginning of the seventies.What luck...❤🎉

*Αγαπητή μας Αγνή, σού εύχομαι ολόψυχα χρόνια πολλά και καλά και σ' ευχαριστώ για την χαρά που μάς έδωσες όλα αυτά τα χρόνια.* Thank you, dear Manoli, for the video and for the remembrance of Agni's birthday.

One of Baltsa's earliest studio recordings, the Deutsche Grammophon Mitridate. A local San Francisco radio station played the entire recording (three and a quarter hours) in 1977, which is when I first heard it. I was fourteen, and though I had been a rabid opera fan for eight years already, I was bowled over by the cast, none of whom had previously been known to me. Augèr, Gruberova, Cotrubas, Baltsa and Werner Hollweg was a lineup that didn't happen every day, and I was glued to the radio for the entire lengthy span of the work. Fortunately I was already a Wagner admirer, so my attention span had been conditioned accordingly. Baltsa's seductive combination of smooth legato and a plangent, somewhat reedy timbre enchanted me, and I was soon excited to learn that her meteoric career had catapulted her from her 'home' houses of Munich and Vienna to London, Paris, Milan, Berlin and New York. A magnificent singer, whose artistry has only become richer and more profound with the passing years. Happy Birthday, indeed! Thank you, Manoli!

saw her in losey's film adaptation a good actress as well as an amzing isnger

There were perhaps only two true assolutas in the 20th century, callas and Verett.

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Magnificent! Bravissima!

❤❤❤🎉🎉🎉😊😊😊

Un genio ,per chi conosce Nabucco e questo ruolo.Fenomeno irripetibile.

No one can match him

Melchior is the best of all time no one is even close is from another planet

Melchior is the best of all time no one is even close is from another planet

What type of bass is he?

Everyone of us thought you had made a great election with La Sonnambula.Such a romantic and sad role.So well accompained by the male singers. Bellini brought out so many skills of Maria,that it is magical and wonderful.Two souls that never met but that were embraced by hard work and pure beauty.❤🎉

I can't help but talk again about my favourite video. This marked a before and an after in me thanks to you. From not knowing anything about the singer to become another of the CRAZY FOR SILLS movement. She's the only who understood Bellini and who gave what he expected in this story of drama.Heard by anyone else it's just something else.Her incredible legato is important but her honesty in all she attempts in this aria makes it totally unique. A gift for life,a jewel of infinite carats.Bellini entered Sills and helped her through this absolute marvel.Absolutely breathtaking ❤❤❤🎉🎉🎉

This aria is so important that it really makes you think about the deep beauty of the whole Opera.A moment of sorrow and of intense personal anxiety.Incredible.❤🎉There are no words to describe it. Maya's high notes as a desperate mother are out of this world.

Incredibly beautiful 😍❤️.The things you find my dear friend. Isn't it beautiful that just Norma bewitched so many singers, making them give the very best of themselves.Wonderful.❤🎉

Maria here is like Simionato in C Rusticana for example.They let the shy beast out.And what a glorious beast.Corelli ,the eighth marvel of the world.❤🎉

La Sonnambula.You brought it to us to commemorate Maya s 100th birthday.Here Plancon defends very well his part,great legato and virtuosism.❤🎉

I prefer Simionato as Adalgisa.Although Verret also does an incredible job.What I'm glad is in the choice of the tenor.Most of the tenors in Norma are real disasters. Vickers sounded harsh in Orange 1974 although noone would have ever ruined that. Verret ate his opponent literally at the MET. But here,what a trio.It thrills anyone s body..Callás at her best, Simionato exultant and DM being the tenor that was needed.Exhilariting, fantastic ❤🎉

One of the finest renditions of this tricky number I've ever heard. Oralia finds the ideal balance of maternal heartbreak and Grand Guignol horror. If the singing goes a bit awry here and there (the final note is nearly a half-step below pitch), this is only to be expected when the artiste is this passionate and involved. An unforgettable portrayal. Thank you, Manoli!

When will we ever hear him sing Verdi? Hope singing Manrico or Corrado is in his bucket list. I'm waiting!

RIGOLETTO (Quel vecchio maledivami!) SPARAFUCILE Signor?... RIGOLETTO Va', non ho niente. SPARAFUCILE Né il chiesi... a voi presente Un uom di spada sta. RIGOLETTO Un ladro? SPARAFUCILE Un uom che libera Per poco da un rivale, E voi ne avete. RIGOLETTO Quale? SPARFUCILE La vostra donna è là. RIGOLETTO (Che sento!) E quanto spendere Per un signor dovrei? SPARAFUCILE Prezzo maggior vorrei. RIGOLETTO Com'usasi pagar? SPARAFUCILE Una metà s'anticipa, Il resto si dà poi. RIGOLETTO (Demonio!) E come puoi tanto securo oprar? SPARAFUCILE Soglio in cittade uccidere, Oppure nel mio tetto. L'uomo di sera aspetto; Una stoccata e muor. RIGOLETTO (Demonio!) E come in casa? SPARAFUCILE È facile... M'aiuta mia sorella … Per le vie danza ... è bella... Chi voglio attira ... e allor… RIGOLETTO Comprendo. SPARAFUCILE Senza strepito... È questo il mio strumento. mostra la spada Vi serve? RIGOLETTO No al momento. SPARAFUCILE Peggio per voi... RIGOLETTO Chi sa? SPARAFUCILE Sparafucil mi nomino. RIGOLETTO Straniero? SPARAFUCILE per andarsene Borgognone. RIGOLETTO E dove all'occasione? SPARAFUCILE Qui sempre a sera. RIGOLETTO Va'. SPARAFUCILE Sparafucil.

She sings at least one high D too.maybe two

A cada frase ela coloca alma, expressão, música e poesia. Nenhuma outra cantora conseguiu evar a Arte do canto a esta altura celestial. Callas consegue ser absolutamente original respeitando a partitura, a intenção do compositor, o gênero musical. Absoluta!!!🤍

Maravillosa

Assoluta 🎉

Awsome! He Would be perfect for a bass singer of an Acapella group!

Exciting!!!!!

Two of the finest 20th century operatic performers. Stunning.

Awesome 🎉

Und ich habe vor ein paar wochen, anhand das Wälse Rätsel gelöst!!!! Es ist eine Fermate: Heißt sänger kann so lange die Note singen, wir er kann und will..genauer aalysiert, siehe mein video dazu

For me it would be Simionato and Corelli so fabulous in all their unforgettable duets.

BRAVO!!! 👏

Thanks so much for this guy!

Tito Manlio is that rare thing: a Baroque opera with the name part composed specifically for basso voice. Most of Tito's arias are declamatory and syllabic in nature, but this one, the first aria in the work, gives the artist some scope for legato and fioritura, which you take advantage of impressively. Your feeling for Vivaldi, the seria genre and early music in general are most admirable. Please continue to post your performances for us to enjoy! Thank you, Manoli!

Excellent Manoli. I love to hear you sing. Thank you for sharing and all the best.

Il Trovatore is,for some people Verdi s favourite opera.I think partly for interpretations like this.Although the direction of Herr Karajan can't be left aside,of course.

This falcon soprano is so incredible and how she adapts from the most fierce and lively to the most subtle and soft cantabile so to say.

Pure Ecstasy.Fantastic aria and beautiful voice.What a great singer Manoli.Another marvel I've discovered through you.❤🎉

Gobbi transformes into Iago.A bad natured man,a man able to turn Othello into a jealous frency.And all for a will of becoming him,the Glory of Venice.Great performance.

Bravo, dear Manoli. Keep the good job!

What to say of Homer.Manoli s favourite.She does great.The question is,is a contralto the ideal voice here...❤🎉I m sure you'll say if it's Homer,YES.

Yes she is very good in general.Very representative of the singers of her time.

Tongue and sword.Manoli s favourite.I agree.It s fascinating the Romanticism taking account of the gravity of the conversation.

You do like Don Carlo Manoli... Good voice.Angelical tone.

There will never ever be a better tenore than CORELLI. The best Voice,the best image,the most shy on stage but so incredibly focused in every role he sung.Adorable, fantastic, overwhelming.There will never ever be another like him.Sheer perfection❤❤❤❤

Not my type of singer, although I recognize her voice qualities.