These voices are so exciting! I wanna listen to them all the time, I can feel all this great energy and vibrations that come from the singers. Modern opera is really far from this. Opera NEEDS to be reborn!
Absolutely. I feel the battle is lost when I read people calling Netrebko or Garanca "an amazing" singer, though. Thank God we have these precious recordings.
BRAVO!!!BRAVISSIMO!!! La Grande DIOSA griega MARIA CALLAS, was the guiding light in every opera production on stage and recordings. La CALLAS set the style of expression that defined them. Her co-stars always sang better with HER because they had to. Here is a prime example of this great results, it is stunning. BRAVO POST!!!! Gracias!!!
We never will either,because they dont train long enough and modern directors dont want these type of singers,more is the pity,del monaco studied for 10 years
This has long been one of my favorite performances and it's awesome to hear this lengthened segment here leading into the finale. My goodness these two were titans of singing!!
Non trovo piu parole per queste persone .Sono unici c'e' una partecipazione totale nella loro interpretazione , eppure si dice non corrresse simpatia fra loro .Super potenza dell'arte!!
You've made my day my friend. I was just sending my friend Saioa Hernandez Castalia Diva & there we blown away etc. And now I get this 💎. THE PICTURES ARE INCREDIBLE. I've never heard this duet with Our Maya & The Beast. His voice was so different from Corelli yet very Masculine. Thank you. Where was this performance etc? Arnold 🙃
Eternal Maria Callas I thought it was LA Scala. Maria's voice was so big. Mario could hold his own with our Maya. Excuse Mexico City Aida at the end the triumphal scene HUGE HI E. OUR MAYA👧👰 👑 Arnold
Arnold Amaral Maria’s voice was never HUGE. It had a considerable size until 1953, but when she started to loose weight it became thinner, let’s say the size of a lyric soprano. It was always a penetrating metallic and audible voice, but especially here no, it wasn’t huge. That doesn’t take anything away from her greatness
@@stefanodepeppo I admired 8 time Callas at La Scala,her voice was strong,metallic or swett or pianissimo:Medea or Amina, Here Callas is capable to PROJECT high notes very resonant, in italiano,lingua dell'opera non peso ma risonanza,usava dinamiche legittimate dall'autore,ma molto varie.
Why did they transpose the ending when they both had high B's? Possibly as insurance - this comes at the very end, and one little accident could ruin the whole evening for the audience.
Del Monaco always transposed the duet when performing it live. The issue is not the note itself but rather the tessitura. It's a bit high for most dramatic tenors.
Callas and Del Monaco were certainly great and I'd give them 5 stars, but my preference is for the duet done on this aria by Renata Tebaldi and Franco Corelli.
Salve amico...devo correggerti... Non è abbassata la tonalità è abbassato il sin finale che è diventato sib...ma la tonalità iniziale è corretta...saluti
What a pity that they lowered the key at minute 5:25 of half a tone. The transposition sounds horrible! And it is obvious that Callas would have not been afraid of two C flats at the end, but it is quite bizarre that del Monaco apparently was! In 1955...weird!
d'accordo,qui è l'unico punto abbassato,mentre la prassi esecutiva cala tutto di un semitono. Personalmente sono maniaco del come scritto,tuttavia in certi casi l'abbassamento aiuta,impedendo ai mediocri di urlare.
L'inizio del duetto è in tonalità originale,la fine è abbassato di mezzo tono...tuttavia,a parte questo abbassamento,non pregiudica in alcun modo l'esecuzione, che è fra le più spettacolari che ho ascoltato....grazie
Well the standard Met transposition would have been at 3’46”. MC and MDM still sing the thrilling middle “è il mondo” section in key here. Taking the ending down a half tone was a wise move for BOTH of them, not just for Del Monaco (who btw gets ahead of the orchestra at “orgoglio di bellezza”). He and Magda Olivero also took the finale of Francesca da Rimini down a half step “live” in 1959. In the recording studio 10 years later, they sing it in key and both NAIL the long high B natural. Live performances in this verismo repertoire are exhausting. The great singers just know whether they need to take transpositions or not. Better to take it down a half tone than ruin the performance. Transpositions, blatant or “sneaky”, are common-Boheme Act 1, Trovatore Il balen and Di quella pira, Lucia Tomb scene, I puritani, La sonnambula, Ernani, and back in the day, La traviata Act 1 finale to name a few. This is still a thrilling Andrea Chenier performance. I’ll take Callas and Del Monaco in a heartbeat. Any day, in ANY key.
Del Monaco ha quasi sempre abbassato questo duetto,proprio con la benedizione di Giordano!!! Infatti c'è uno spartito donato a Del Monaco dall'autore stesso,con la tonalità abbassata di mezzo tono!!! Però solo la parte finale!!! Questa è storia...
Del Monaco piatto non mi pare affatto..... Lo stesso autore Giordano lo preparò di persona nel 1949 , la recita ebbe un successo strabiliante tant'è che l autore del Opera gli regalò una sua fotografia con dedica al mio Caro Chenier .
These voices are so exciting! I wanna listen to them all the time, I can feel all this great energy and vibrations that come from the singers. Modern opera is really far from this. Opera NEEDS to be reborn!
No one sings bel canto anymore
Amén sister
Absolutely. I feel the battle is lost when I read people calling Netrebko or Garanca "an amazing" singer, though. Thank God we have these precious recordings.
Mai più@@scataplaft
PASSION....PASSION....PASSION over all....PASSION in BEAUTY for TRUTH...
Mario e Maria il meglio del meglio e qui mi fermo!
Ma cosa commentate questi sono i più grandi dello scenario lirico e lo saranno sem pre insostituibili
BRAVO!!!BRAVISSIMO!!!
La Grande DIOSA griega MARIA CALLAS, was the guiding light in every opera production on stage and recordings. La CALLAS set the style of expression that defined them.
Her co-stars always sang better with HER because they had to. Here is a prime example of this great results, it is stunning.
BRAVO POST!!!! Gracias!!!
Non v'è nulla di più sublime...belli e bravi...
Unfortunately, we do not have singers today that can compare.
We never will either,because they dont train long enough and modern directors dont want these type of singers,more is the pity,del monaco studied for 10 years
BRAVISSIME!!!CHE GRANDE DUETO!!!!GRAZIE TANTE!!!
This has long been one of my favorite performances and it's awesome to hear this lengthened segment here leading into the finale. My goodness these two were titans of singing!!
...Truly glorious singing, indeed...
Wonderful. Conductor knows what he's doing. Superb pacing.
Wonderful music sung by two of the immortals....well done utube
They sound wonderful! The best rendition of this opera! It's so sad that I will never see them live on stage.
Марио улыбается нам с небес..и готовит свое второе Воплощение,придет второй Марио Дель Монако
Entendre Mario Del Monaco, quel régal.
Del Mónaco pasión y fuerza ...
Callas esa voz Electrizante que transmite algo diferente..
Non trovo piu parole per queste persone .Sono unici c'e' una partecipazione totale nella loro interpretazione , eppure si dice non corrresse simpatia fra loro .Super potenza dell'arte!!
Inarrivabili nessuno come loro.❤❤
Proprio così!
DIVINIIIIIIIIIIII
the golden days
DIVIN un regal ce voci Maria e fenomenala și duetul este formidabil
SPETTACOLARE finale!!!
Esto es extraordinario!!!Si hoy Andrea Chenier se escuchara tan solo la mitad de lo que aquí se oye...
Si te conformas con la octava parte, tenemos a Kaufmann
@@JavierBorja-bs1dd No creo que Kaufmann llegué a tanto. Saludos cordiales
Saludos también para Vd.
Beautiful!
Questi Documenti ❤Grazie
Epic!!!!❤❤❤
A+. Big Love!!!
You've made my day my friend. I was just sending my friend Saioa Hernandez Castalia Diva & there we blown away etc. And now I get this 💎. THE PICTURES ARE INCREDIBLE. I've never heard this duet with Our Maya & The Beast. His voice was so different from Corelli yet very Masculine. Thank you. Where was this performance etc? Arnold 🙃
Arnold Amaral this performance was in La Scala, conducted by Antonio Votto, in 1955. THANK YOU for the beautiful comment!❤️❤️❤️❤️❤️❤️
Eternal Maria Callas I thought it was LA Scala. Maria's voice was so big. Mario could hold his own with our Maya. Excuse Mexico City Aida at the end the triumphal scene HUGE HI E. OUR MAYA👧👰 👑 Arnold
Arnold Amaral Maria’s voice was never HUGE. It had a considerable size until 1953, but when she started to loose weight it became thinner, let’s say the size of a lyric soprano. It was always a penetrating metallic and audible voice, but especially here no, it wasn’t huge. That doesn’t take anything away from her greatness
@@stefanodepeppo I admired 8 time Callas at La Scala,her voice was strong,metallic or swett or pianissimo:Medea or Amina, Here Callas is capable to PROJECT high notes very resonant, in italiano,lingua dell'opera non peso ma risonanza,usava dinamiche legittimate dall'autore,ma molto varie.
@@stefanodepeppo Can you tell me the difference between a huge voice and a penetrating voice as you commented?
DUE TITANI.
И непростые у них были отношения..Мария и Марио..это уже легенда,недовольна друг другом..
Exquisito La Callas Del Monaco
Powerfully Spectacular!!!!!
♥️♥️💐💐
A truly thrilling performance despite the slight train wreck between 3’56” and 4’15”.
A voz da Maria é única. Inconfundível. Para Giordano Mário Del Mônaco era o André Chenier que faltava na sua Opera.
Anche la Renata Scotto, era molto portata, per questa parte. Sapeva cantarla bene😅
Why did they transpose the ending when they both had high B's? Possibly as insurance - this comes at the very end, and one little accident could ruin the whole evening for the audience.
Del Monaco always transposed the duet when performing it live. The issue is not the note itself but rather the tessitura. It's a bit high for most dramatic tenors.
2:23 Ah chi la parola estrema
LISTEN TO PERTILE and MARGARET SHERIDAN
Both were superbly good,but del monaco in my opinion was greatest chenier a long with Corelli and I have to say gigli
@@amantedellopera1681. Pertile? I did not like his voice. Too scratchy...
Callas and Del Monaco were certainly great and I'd give them 5 stars, but my preference is for the duet done on this aria by Renata Tebaldi and Franco Corelli.
The tebaldi del monaco is better,as is the stella del monaco,though i like corelli,gigli and pertile were also excellent
Both pairs are perfect in this role and I would also add Beniamino Gigli with Maria Caniglia under Oliviero de Fabritiis.
Il finale è abbassato di mezzo tono.
il vecchio
Salve amico...devo correggerti... Non è abbassata la tonalità è abbassato il sin finale che è diventato sib...ma la tonalità iniziale è corretta...saluti
@@radames5855
Grazie !
La vecchiaia caro, la vecchiaia brutta cosa …
Saluti cordiali!
Nicola
@@bodiloto no no si può sbagliare tutti...un caro saluto
At one point she sings ‘l’amore’ for ‘la morte’.
Listen to la habanera (lamour et un oiseau rebelle) where she messes up the lyrics...
the audience present has probably noticed, others perhaps not.
What a pity that they lowered the key at minute 5:25 of half a tone. The transposition sounds horrible! And it is obvious that Callas would have not been afraid of two C flats at the end, but it is quite bizarre that del Monaco apparently was! In 1955...weird!
d'accordo,qui è l'unico punto abbassato,mentre la prassi esecutiva cala tutto di un semitono. Personalmente sono maniaco del come scritto,tuttavia in certi casi l'abbassamento aiuta,impedendo ai mediocri di urlare.
... How very sad for you that even this spectacular performance isn't good enough...
L'inizio del duetto è in tonalità originale,la fine è abbassato di mezzo tono...tuttavia,a parte questo abbassamento,non pregiudica in alcun modo l'esecuzione, che è fra le più spettacolari che ho ascoltato....grazie
Well the standard Met transposition would have been at 3’46”. MC and MDM still sing the thrilling middle “è il mondo” section in key here. Taking the ending down a half tone was a wise move for BOTH of them, not just for Del Monaco (who btw gets ahead of the orchestra at “orgoglio di bellezza”).
He and Magda Olivero also took the finale of Francesca da Rimini down a half step “live” in 1959. In the recording studio 10 years later, they sing it in key and both NAIL the long high B natural.
Live performances in this verismo repertoire are exhausting. The great singers just know whether they need to take transpositions or not. Better to take it down a half tone than ruin the performance. Transpositions, blatant or “sneaky”, are common-Boheme Act 1, Trovatore Il balen and Di quella pira, Lucia Tomb scene, I puritani, La sonnambula, Ernani, and back in the day, La traviata Act 1 finale to name a few. This is still a thrilling Andrea Chenier performance. I’ll take Callas and Del Monaco in a heartbeat. Any day, in ANY key.
Del Monaco ha quasi sempre abbassato questo duetto,proprio con la benedizione di Giordano!!!
Infatti c'è uno spartito donato a Del Monaco dall'autore stesso,con la tonalità abbassata di mezzo tono!!! Però solo la parte finale!!!
Questa è storia...
Prefiero lejos a Corelli , transmite sentimientos. Del Monaco me parece correcto pero plano
Del Monaco piatto?
Scriva qualcos'altro...
Beh definire del Monaco piatto ....forse ha problemi di udito...
Del Monaco piatto non mi pare affatto..... Lo stesso autore Giordano lo preparò di persona nel 1949 , la recita ebbe un successo strabiliante tant'è che l autore del Opera gli regalò una sua fotografia con dedica al mio Caro Chenier .
Man Del Monaco was louder than her on that last note at the end!!!!
Callas sounded bigger for me...
@@moonlightelf591not a hope,keep dreaming 😂😂😂😂😂😂😂😂
@@amantedellopera1681 you keep dreaming not me.
@@moonlightelf591 🤣🤣🤣🤣
@@amantedellopera1681 😛😛😛
слава джоакино россини
Che c' entra Rossini, questo è Umberto Giordano, molti anni dopo
Nunca me gustó la voz de Callas. Espectacular Del Mónaco. 🙏
Neanche a me è mai piaciuta la voce della Callas
I love Gena Dimitrova, her is pure dramatic sopran... 😃
In questo ruolo, era meglio, la Renata Scotto
So was tebaldi,stella but Mario was chenier in every sense
Ahahahahahah