Part 1 of 2 celebrating the birthday of La Divina, Maria Callas! Follow OT! INSTAGRAM: / operatictrash TWITTER: / operatictrash FACEBOOK: / operatictrash
One point I’d like to make is Callas’ stage presence. Even when she’s not singing, you cannot take your eyes off her, she’s almost hypnotic. If you watch the entire 1964 Tosca scene from Covent Garden, even when the great Gobbi is Scarpia, you follow her everywhere on the stage. Having said that, the acting from both remains unmatched. The bar was set at this performance.
I think her Rossini roles are oft overlooked for reasons that are unjust. I’ve overheard Rossini referred to as “little girl parts” and “silly music” as if comedy and the occasional melody reprieve were some sort of cardinal sin. At any rate, she really shines in it and you can hear her actually having fun and taking pleasure in it which is something more rarely seen and felt for Callas. That said ofcourse her La Vestale is superb as is her (what I consider penultimate performance) Lady Macbeth. Regardless of what she sang, if she sang it before 1959 and didn’t have the flu or a cold she was the best that ever sang it. And that holds true to 2021. La Divina the only true Assoluta I’ve ever heard. (Her performance of the proch variations is INSANE if you ever listen to it😂)
You have chosen the 1955 studio recording of Medea's aria, made for a recital album called "Maria Callas at La Scala". It is the most subdued of any version of this aria with Callas - if you listen to her live recordings of the complete opera, especially her best ones (La Scala 1953 and Dallas 1958), you will hear that she makes more use of her "usual interpretative means" than in the 1955 recording.
You did such an amazing job with this video!! I have been a huge Callas fan for over 50 years! She has been, and remains my all time favorite singer! And one thing you said toward the end really shocked me (in a good way)! I have been saying for years that Callas had the incredible ability to actually USE the flaws in her voice to masterfully express what was needed, both dramatically AND musically, at any given time in the roles she performed! I have never heard anyone else explain that aspect of her artistry before, until today! Thank you SOOO much for highlighting this about her! The first time I heard Callas, I actually didn't like her! I was 15 at the time, and had recently become enamored with the opera Lucia di Lammermoor. At the time I was only familiar with the studio recording of Roberta Peters, who I loved. But a friend told me about Callas, so I listened to her 2nd studio recording of Lucia (1959), and HATED it!!! But that was only because all I had to compare it to was Ms. Peters, which of course was an altogether different sound! Plus, by 1959 Callas' voice was already showing some signs of decline, and she actually had to stop singing Lucia after that, due to the vocal decline. But, it was shortly after listening to her Lucia that I then heard her Lady Macbeth, and her Medea! Those two roles changed everything for me, and I started listening to everything I could get my hands on!! Including her FIRST recording of Lucia (1953) which was AMAZING! (In fact, she even became my all time favorite Lucia, with Sutherland as a close second!) Since then I have been a devoted fan for 51 years!!! To me, there are 2 categories of really great opera singers: Group A - Highly gifted and phenomenal singers like Sutherland, Caballe, Leontyne Price, Marilyn Horne, Domingo, Pavarotti, etc. Group B - Maria Callas! As great as all other singers are, and I love listening to them all, they just can't be compared to La Divina. THANK YOU for posting this, and I'm so glad there will be a part 2!! Looking forward to that!!
I know what you were saying about first hearing Maria Callas I had the same reaction. I did not like her at first. However, once I acquired a taste for her, I could not be satiated.
Hats off for your very intelligent analysis of Callas's voice! I think you are so right in what you say about her imperfections. Maybe Anna-Lisa Björling, Jussi Björling's widow, said when Callas and Jussi Björling should perform together: "Callas's voice was not the most beautiful one, but her understanding of music was beyond measure". The performance was indeed something extra, but it was, unfortunately, not recorded. Those who want constant vocal beauty should listen to another soprano, those who want to hear an artist who can express the music with the voice like no other should listen to Callas.
Wow! 5:30 Dramatic, slow vibrato; was not expecting that. When I find a guitarist (or any musician) with dynamic, tasteful vibrato, my ears perk up. 🥃🐸
Her Tosca will never be equaled. When Maria sees the knife on the table I read a comment by one critic who said "Maria did not discover the knife, the knife discovered her."
Has anybody ever invested the word “così” with more pathos? “Maria Freakin’ Callas” is right. Some water seems to be developing in my eyes, too. (Nice use of the Daptain, btw.)
Great Video . If you would be into doing some more stuff from her (without video sadly)vocal prime at some point here are some of my faves and imo best live performances: Although the audio quality is...somewhat lacking, her 1952 live Armida is unbelievable. A vocal masterwork. The 1951 Mexico Aida is amazing The 1953 Florence Medea is astounding. The 1955 La Scala Norma is probably the best Norma ever recorded. The 1955 La Scala La Sonnambula is perfect. The 1955 Berlin Lucia is very famous, and beautiful. The 1957 Anna Bolena is the best one there is. PERIOD. The 1958 London La Traviata is an incredible recording, with a stunning interpretation by Callas, though some prefer the early (1952 or 1955) recordings for their more secure vocals. some great studio recordings: 1952 La Gioconda 1953 Tosca 1953 Lucia 1954 Il Turco in Italia 1955 Madama Butterfly 1958 Mad Scenes (her Bolena is my favourite Callas recording ever. Great sound quality, fantastic vocals, perfect interpretation).
I agree ,and I will add Un Ballo in Maschera live in la scala, Machbeth with Victor de Sabata 1.952, Nabucco Naples 1.949, Traviata in la Scala 1.955 is sublime , it could help us to understand ourselves as human beings. My favoutire Medea is for me the Dallas 1.958 one with Vickers. The Poliuto from the early sixties, despite not being in her best miment is terrific. Her Vespry Sisciliani in Florence is outstanding too as well as her I puritani 1.953. The variation torna mio ben, the constance aria in il ratto dil serraglio are virtuosistically impecable. Two of her very best recitals are the 1.952 RAI and lyric and coloratura arias and Puccini arias recorded in the same week. Her 1.949 recording of Parsifal is incredible. Her voice encopasses Pasta, Malibran tradition. Singing acting of the highest caliber many times exquisite singing. Maybe, not the most beautiful voice like Tebaldi, Delos Angeles, Caballe or Milanov. But she surpases them all in her interpretaive ability and architectonical sense of the music, expressivity and imaginative use of dinamics betteen many other qualities.
Yes, the Medea is interesting. You can always hear her holding the voice back in this rep, but at the same time, it doesn't sound awkward...the artistry is always there.
Callas, YAS~! and YAS again~! ....CALLAS AGAIN~! YAS~!......also...And you, Gurl, that hair is on point, an is that a safety pin necklace(!?) goin 90's style! An the snack, introducing me to something new, gotta try it~! (based on the name I kinda thought it was a joke *^_^*)
@@operatictrash I went to the local shop, nope, looked online, had to order it for delivery. Lotus Biscoff arrived today. All I have to say is, I blame/thank YOU OperaticTrash for these calories! ...Lotus Biscoff...So legato~~~~~ ^_^.
It is very sad that Maria persistently refused to record her live performances. I know she was extreme perfectionist and there are dozen or hundred takes of her recordings while looking for the perfect sound but this robbed us some of her fantastic performances
Well I am just going to say it...I am a young spinto tenor and for me Callas/Di stefano are the greatest duo in opera history...For most roles she was the best ever, ever recorded and if you want vocal perfection you can easily look up her recordings up to 1959...And ever later the musicianship stayed with both of them...Even her Una parola o adina from 1972 is still decent. Nobody has her stage presence and charisma the only singer today that has something similar but you have to experience it live is Anna Netrebko and Maestro Domingo...They have some of that showman stage presence...a born Diva...you are born with it or not!!!Callas said and it is so true...
Serafin asked her to do Isolde and she said she knew the part. She didn't. She was a quick study! In her early Italian career, most thought her to be a heavy dramatic soprano. Many of the Italian dramatics when Callas started like Cigna and Pacetti had retired for health reasons,, and others had blown out their voices. Caniglia, a spinto, stepped in to big dramatic roles with variable results.
Min 10:15. Callas is the only real Wagnerian on record. Nilsson and Flagstad are both ANTI Wagnerians cause they can’t trill which is a key element to sing “Die Walküre” and Wagner in general. Wagner STATED clearly that any of his Isoldes and singers in general is required to first dominate and sing Bellini’s Norma and master it before singing any of his works. This is something that Wagner stated and not something that I pulled it out of my azz. Lilli Lehmann for instance to me isn’t a real dramatic soprano and Wagner himself criticize her voice in being a bit light for his music. Callas on the other hand is a genuine dramatic soprano who not only mastered Norma but she genuinely spoil it for any other soprano to even come close to it and approach it. So yes, by Wagner’s own statements the only real dramatic soprano who is truly Wagnerian is Callas. Also Callas can not be compare to Caballe nor Sutherland in any type of way. Vocally I would say Sutherland was a dolphin in size. Caballe was a beluga and Callas was a mature blue whale(biggest animal who ever lived on this earth above dinosaurs). A true dramatic voice is simply this: 1) METALLIC 2) Big without pushing
One point I’d like to make is Callas’ stage presence. Even when she’s not singing, you cannot take your eyes off her, she’s almost hypnotic. If you watch the entire 1964 Tosca scene from Covent Garden, even when the great Gobbi is Scarpia, you follow her everywhere on the stage. Having said that, the acting from both remains unmatched. The bar was set at this performance.
Dont forget her as Abigaille and Armida.
I think her Rossini roles are oft overlooked for reasons that are unjust. I’ve overheard Rossini referred to as “little girl parts” and “silly music” as if comedy and the occasional melody reprieve were some sort of cardinal sin.
At any rate, she really shines in it and you can hear her actually having fun and taking pleasure in it which is something more rarely seen and felt for Callas.
That said ofcourse her La Vestale is superb as is her (what I consider penultimate performance) Lady Macbeth. Regardless of what she sang, if she sang it before 1959 and didn’t have the flu or a cold she was the best that ever sang it. And that holds true to 2021.
La Divina the only true Assoluta I’ve ever heard.
(Her performance of the proch variations is INSANE if you ever listen to it😂)
You have chosen the 1955 studio recording of Medea's aria, made for a recital album called "Maria Callas at La Scala". It is the most subdued of any version of this aria with Callas - if you listen to her live recordings of the complete opera, especially her best ones (La Scala 1953 and Dallas 1958), you will hear that she makes more use of her "usual interpretative means" than in the 1955 recording.
You did such an amazing job with this video!! I have been a huge Callas fan for over 50 years! She has been, and remains my all time favorite singer! And one thing you said toward the end really shocked me (in a good way)! I have been saying for years that Callas had the incredible ability to actually USE the flaws in her voice to masterfully express what was needed, both dramatically AND musically, at any given time in the roles she performed! I have never heard anyone else explain that aspect of her artistry before, until today! Thank you SOOO much for highlighting this about her!
The first time I heard Callas, I actually didn't like her! I was 15 at the time, and had recently become enamored with the opera Lucia di Lammermoor. At the time I was only familiar with the studio recording of Roberta Peters, who I loved. But a friend told me about Callas, so I listened to her 2nd studio recording of Lucia (1959), and HATED it!!! But that was only because all I had to compare it to was Ms. Peters, which of course was an altogether different sound! Plus, by 1959 Callas' voice was already showing some signs of decline, and she actually had to stop singing Lucia after that, due to the vocal decline.
But, it was shortly after listening to her Lucia that I then heard her Lady Macbeth, and her Medea! Those two roles changed everything for me, and I started listening to everything I could get my hands on!! Including her FIRST recording of Lucia (1953) which was AMAZING! (In fact, she even became my all time favorite Lucia, with Sutherland as a close second!)
Since then I have been a devoted fan for 51 years!!! To me, there are 2 categories of really great opera singers: Group A - Highly gifted and phenomenal singers like Sutherland, Caballe, Leontyne Price, Marilyn Horne, Domingo, Pavarotti, etc. Group B - Maria Callas! As great as all other singers are, and I love listening to them all, they just can't be compared to La Divina. THANK YOU for posting this, and I'm so glad there will be a part 2!! Looking forward to that!!
I know what you were saying about first hearing Maria Callas I had the same reaction. I did not like her at first. However, once I acquired a taste for her, I could not be satiated.
the goat of opera !
My first time hearing Callas was her last recording of "Norma'" which has been called sub-par, but slayed me and made me a forever fan.
Have you heard Warner's new remastering of it? Her voice sounds more beautiful in it than in the old remastering.
Hats off for your very intelligent analysis of Callas's voice! I think you are so right in what you say about her imperfections. Maybe Anna-Lisa Björling, Jussi Björling's widow, said when Callas and Jussi Björling should perform together: "Callas's voice was not the most beautiful one, but her understanding of music was beyond measure". The performance was indeed something extra, but it was, unfortunately, not recorded.
Those who want constant vocal beauty should listen to another soprano, those who want to hear an artist who can express the music with the voice like no other should listen to Callas.
can't wait for your next video on callas!!
Beautiful ❤thanks
Te amo, gracias por este video. Podrías colocar algo de la sonámbulo? O quizás el E flat de Aida en el 1951
Wow! 5:30 Dramatic, slow vibrato; was not expecting that.
When I find a guitarist (or any musician) with dynamic, tasteful vibrato, my ears perk up. 🥃🐸
Her Tosca will never be equaled. When Maria sees the knife on the table I read a comment by one critic who said "Maria did not discover the knife, the knife discovered her."
Has anybody ever invested the word “così” with more pathos? “Maria Freakin’ Callas” is right. Some water seems to be developing in my eyes, too. (Nice use of the Daptain, btw.)
Great Video . If you would be into doing some more stuff from her (without video sadly)vocal prime at some point here are some of my faves and imo best
live performances:
Although the audio quality is...somewhat lacking, her 1952 live Armida is unbelievable. A vocal masterwork.
The 1951 Mexico Aida is amazing
The 1953 Florence Medea is astounding.
The 1955 La Scala Norma is probably the best Norma ever recorded.
The 1955 La Scala La Sonnambula is perfect.
The 1955 Berlin Lucia is very famous, and beautiful.
The 1957 Anna Bolena is the best one there is. PERIOD.
The 1958 London La Traviata is an incredible recording, with a stunning interpretation by Callas, though some prefer the early (1952 or 1955) recordings for their more secure vocals.
some great studio recordings:
1952 La Gioconda
1953 Tosca
1953 Lucia
1954 Il Turco in Italia
1955 Madama Butterfly
1958 Mad Scenes (her Bolena is my favourite Callas recording ever. Great sound quality, fantastic vocals, perfect interpretation).
I agree ,and I will add Un Ballo in Maschera live in la scala, Machbeth with Victor de Sabata 1.952, Nabucco Naples 1.949, Traviata in la Scala 1.955 is sublime , it could help us to understand ourselves as human beings. My favoutire Medea is for me the Dallas 1.958 one with Vickers. The Poliuto from the early sixties, despite not being in her best miment is terrific. Her Vespry Sisciliani in Florence is outstanding too as well as her I puritani 1.953. The variation torna mio ben, the constance aria in il ratto dil serraglio are virtuosistically impecable. Two of her very best recitals are the 1.952 RAI and lyric and coloratura arias and Puccini arias recorded in the same week. Her 1.949 recording of Parsifal is incredible. Her voice encopasses Pasta, Malibran tradition. Singing acting of the highest caliber many times exquisite singing. Maybe, not the most beautiful voice like Tebaldi, Delos Angeles, Caballe or Milanov. But she surpases them all in her interpretaive ability and architectonical sense of the music, expressivity and imaginative use of dinamics betteen many other qualities.
Yes, the Medea is interesting. You can always hear her holding the voice back in this rep, but at the same time, it doesn't sound awkward...the artistry is always there.
Callas, YAS~! and YAS again~! ....CALLAS AGAIN~! YAS~!......also...And you, Gurl, that hair is on point, an is that a safety pin necklace(!?) goin 90's style! An the snack, introducing me to something new, gotta try it~! (based on the name I kinda thought it was a joke *^_^*)
Lotus Biscoff....He's that bass from 'over there' right!?
That’s the guy! 🤣
@@operatictrash I went to the local shop, nope, looked online, had to order it for delivery. Lotus Biscoff arrived today. All I have to say is, I blame/thank YOU OperaticTrash for these calories! ...Lotus Biscoff...So legato~~~~~ ^_^.
It is very sad that Maria persistently refused to record her live performances. I know she was extreme perfectionist and there are dozen or hundred takes of her recordings while looking for the perfect sound but this robbed us some of her fantastic performances
Nice video, i like how honnest you are.
AC-DC: Antes de Callas, Dopo Callas. L'opera é divisa cosí.
Well I am just going to say it...I am a young spinto tenor and for me Callas/Di stefano are the greatest duo in opera history...For most roles she was the best ever, ever recorded and if you want vocal perfection you can easily look up her recordings up to 1959...And ever later the musicianship stayed with both of them...Even her Una parola o adina from 1972 is still decent. Nobody has her stage presence and charisma the only singer today that has something similar but you have to experience it live is Anna Netrebko and Maestro Domingo...They have some of that showman stage presence...a born Diva...you are born with it or not!!!Callas said and it is so true...
Her Wagnerian roles were Isolde, the Walkure Brunnhilde, and Kundry. All sung in Italian
Serafin asked her to do Isolde and she said she knew the part. She didn't. She was a quick study! In her early Italian career, most thought her to be a heavy dramatic soprano. Many of the Italian dramatics when Callas started like Cigna and Pacetti had retired for health reasons,, and others had blown out their voices. Caniglia, a spinto, stepped in to big dramatic roles with variable results.
Please react to these wonderful singers: Ghena Dimitrova, Elena Obrastzova, Edda Moser ❤️
Min 10:15. Callas is the only real Wagnerian on record. Nilsson and Flagstad are both ANTI Wagnerians cause they can’t trill which is a key element to sing “Die Walküre” and Wagner in general. Wagner STATED clearly that any of his Isoldes and singers in general is required to first dominate and sing Bellini’s Norma and master it before singing any of his works. This is something that Wagner stated and not something that I pulled it out of my azz. Lilli Lehmann for instance to me isn’t a real dramatic soprano and Wagner himself criticize her voice in being a bit light for his music. Callas on the other hand is a genuine dramatic soprano who not only mastered Norma but she genuinely spoil it for any other soprano to even come close to it and approach it. So yes, by Wagner’s own statements the only real dramatic soprano who is truly Wagnerian is Callas. Also Callas can not be compare to Caballe nor Sutherland in any type of way. Vocally I would say Sutherland was a dolphin in size. Caballe was a beluga and Callas was a mature blue whale(biggest animal who ever lived on this earth above dinosaurs). A true dramatic voice is simply this: 1) METALLIC 2) Big without pushing
Please, more Cristina Deutekom!
m.th-cam.com/video/3qmyWC38HVI/w-d-xo.html
Her "alle bande" is so distinct; seems more staccato than other singers.
Without a doubt, she’ll be featured again!