Puccini: Madama Butterfly by Maria Callas (2023 Remastered, Milan 1955) ***Listen to our latest mastering update (2023)*** : bit.ly/3shkawA 🎧 Qobuz (Hi-Res) bit.ly/49mA0XC Tidal (Hi-Res) bit.ly/45W0AE4 🎧 Deezer (Hi-Fi) bit.ly/40kOjI7 Amazon Music (Hi-Fi) amzn.to/40k1Mjr 🎧 Napster (Hi-Fi) bit.ly/3RAEUbg TH-cam Music (mp4) bit.ly/3shkawA 🔊 Download high-fidelity classical music: classicalmusicreference.com/ Giacomo Puccini (1858-1924) - Madama Butterfly Opera . Click to activate the English subtitles for the presentation (00:00-03:05) Act 1 E soffitto.. E Pareti (00:00) Questa è la cameriera (02:09) Dovunque al mondo (06:24) Quale smania vi prende (10:39) Quanto cielo ! Ancora un passo via (14:42) Gran ventura (17:43) L’imperial commissario (21:24) Vieni, amor mio (23:57) Ieri son salita tutta sola (26:35) Ed eccoci in famiglia (31:40) Viene la sera (37:13) Bimba dagli occhi pieni di malia (40:34) Vogliatemi bene, un bene piccolino (44:41) Act 2 E inzaghi ed izanami (51:34) Un bel di vedremo (58:53) C’è entrate (1:03:31) Non lo sapete insomma (1:07:00) A voi però giurerei fede constante (1:08:52) Ora a noi (1:12:24) E questo ? E questo ? (1:18:37) Che tua madre dovrà (1:21:00) Lo scendo al piano (1:24:32) Vespra ! Rospo maledetto (1:26:15) Una nave da guerra (1:28:15) Scuoti quella fronda di ciliegio (1:30:45) Or vienmi ad adornar (1:36:00) Coro a bocca chiusa (1:41:09) Oh eh ! Oh eh ! (1:44:10) Già il sole (1:51:38) Povera Butterfly (1:53:39) Lo so che alle sue pene (1:56:28) Addio, fiorito asil (2:00:30) Galileo dirai ? (2:02:25) Che vuol da me ? (2:04:39) Come una mosca prigioniera (2:10:21) Con onor muore (2:13:14) Butterfly : Maria Callas Suzuki : Lucia Danieli B.F. Pinkerton : Nicolai Gedda Kate Pinkerton : Luisa Villa Sharpless : Mario Borriello Goro : Renato Ercolani Yamadori : Mario Carlin Bonzo : Plinio Clabassi Commissario : Enrico Campi Orchestra E Coro Del Teatro Alla Scala Di Milano Chorus Master : Noberto Mola Herbert Von Karajan Recorded in 1955 New mastering in 2019 by AB for CMRR Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr Si le portrait de Butterfly par Callas est aussi émouvant, c’est en partie parce qu'il recrée, pour ces premiers épisodes, une fillette capable de dignité tragique, puis, dans la seconde moitié de l'opéra, lorsque l'expérience plus que les années auront apporté la maturité, parce qu'il associe de façon constante le timbre de l'enfant et la voix de l'adulte. Son approche imaginative du rôle est ainsi merveilleusement complète. Tout l'enregistrement est d'une grande richesse de détail. De manière plus forte peut-être que dans aucun autre de ses enregistrements, chaque phrase semble ici avoir quelque chose de spécial, et l'on pourrait écrire un livre entier pour mettre l'accent sur ce que nous appelons "interprétation". En un sens, ce faisant, nous ne rendons pas justice à Callas. Car son art était avant tout celui du chant, et derrière du talent de l'interprète, on en finit parfois par perdre de vue la cantatrice. A cette époque, en 1955, sa voix pouvait encore être un instrument d'une beauté très particulière. Dans cet enregistrement de Madama Butterfly, certaines notes aigües sont à vif, sous l'effet d'une pulsion capricieuse- le ré bémol concluant la scène d'entrée en étant le premier exemple. Mais, globalement, son chant est beau en tant que chant "pur", parfois exquis. Un exemple charmant en est la transparente mélodie ("lo seguo il mio destino") de l'Acte l, lorsqu'elle y parle de sa nouvelle religion. De même, à l'Acte Il, le solo débutant par "Che tua madre" est l'oeuvre d'un grand chanteur. Mais, bien entendu, lorsqu'elle donnait le meilleur d’elle-même comme ici, il n’y avait pas de séparation entre la cantatrice et l'actrice incarnant un rôle. Tout dans l'air "Un bel di" est magnifiquement chanté, mais tout est également éclairé par un regard intérieur qui en réhausse la beauté. La scène finale ("Tu, tu, piccol Iddio") est doublement émouvante, en raison de sa beauté intrinsèque bien sûr, mais aussi parce que c'est seulement maintenant, à l'approche de la mort, que l'on voit apparaître la femme dans son intégrité, seule sur scène, la seule fois dans tout l'opéra, abandonnant en cet instant toute contrainte, cause de tant de souffrances, et c'est alors seulement que nous entendons Maria Callas telle qu'en elle-même. Curieusement, peut-être, Butterfly est un rôle qu'elle chanta sur scène, à Chicago, en novembre 1955, le temps de trois représentations. Elle y avait intensément travaillé pour parvenir à l'authenticité des mouvements. Mais l'authenticité la plus achevée de ce rôle, c'est trois mois plus tôt qu'elle l'avait atteinte, dans les studios d'enregistrement. Karajan entoure la Diva Callas avec amour, laquelle trace un portrait inoubliable de l’héroïne. Elle est incomparable au second acte où elle dépasse les limites du chant pour atteindre celles de la tragédie grecque. Maria Callas - 90 Opera Arias, Carmen, Norma, Tosca, Traviata, Butterfly.. NEW MASTERING (Ct.rec.) : th-cam.com/video/VU1CZWEzQDA/w-d-xo.html Puccini - Madama Butterfly / New mastering (Renata Scotto, Carlo Bergonzi - ref.rec.: Sir J.Barbirolli) : th-cam.com/video/ItksENrfrAs/w-d-xo.html Giacomo Puccini & Vincenzo Bellini PLAYLIST (reference recordings) th-cam.com/video/80iFQqBCCyM/w-d-xo.html&list=PL3UZpQL9LIxNh-7OZfzx5gWWU5rbFpmcH&index=3
she changes the colour of her voice from the begining to the end... she starts with a girlish light and white colourfull voice to a dark mature and deep voice to the end... reflecting the life of butterfly in her voice... its amazing...
exactly. As a non-professional I was always amazed by the ability of M. Callas to easily change the "color" of the voice so easily, so much that you forget is should be "just a soprano"
I'm a metalhead guy and I know almost nothing about opera. I dont know whats consider classic, what is the "best" moment in every opera,etc etc. But my ear, my "uncivilized" ear, and my soul and heart can recognize magnificence when it comes, from whatever genre of music. 1:02:32-1:02:55, that moment must be one of the greatest ever in music history. But ONLY WITH THAT VOICE here. Maybe in my "wild" side of my heart are bands like Motorhead, Rammstein, Paradise Lost, etc, but the "calm harbor" in my heart and soul is possessed by her majesty Maria Callas. Greatest artist of all times, the total "package" for me. She mezmerized guys like me that have almost nothing to do with her works. And thats perfection in my poor book. When I walk my dog I pass sometimes outside her (abandoned) family home here in Athens and every time I think of her. I think that here once lived an entity that wasnt human at all, the only human on her was her heart that killed her so early. A myth, a legend. Immortal. Respect, total respect.
im a rocker myself love floyd, stones, genesis etc but taste has changed to love opera especially arias. let me clear up something mr. telas opera is not a song but story telling in music its the first to start music to stories like phantom of the opera, kats, sigon, west side story etc you know what im getting at. some arias are so beautiful they go straight to your heart and soul unlike rock its just a feeling of movement .
I think what people who normally don't listen to opera is striking about this piece is that it is rather minimalistic in composition... so it's quite easy to understand... compare it for example to Wagner's Liebestod from Tristan & Isolde which is very complex in composition - tell me, metalheads, can it strike you, too?
@@stefanmuller1269 your a typical german and english person who thinks german or english composition are more complex than others like italian , russian, or french why is that just listen to the beauty of the composition instead of disecting it. im a spaniard and im also a rock fan of floyd, genesis, procol harem, the who etc but also a big fan of puccin, verdi, rossini, pietro mascagni. are you kidding me have you heard verdis dies aria i think he invented hard rock.
I have play Butterfly severel times in the Orchestra,never with Callas and Maestro Karajan. This must be the greatest of the GReatest ever made. We can feel that Karajan was the Maestro Grande. Good singers loved him. And Callas..."the one and only!!!!! Brynjar Hoff Operalover
@Oh Happy Day I really do NOT like Maria Callas in this opera. No idea what you're talking about. Just get maria callas off of verismo. Verismo wasn't made for her style of singing.
@@FriendlyCroock True. Her specialty was bel canto and should be praised for leading the way for other sopranos like Sutherland, Sills, Scotto, Caballe and Gencer to revise so much of that repertory from Gluck to early Verdi. But that she had the vocal heft to take on dramatic middle Verdi parts and Verismo is something to admire as well. A caveat here is that she performed on stage and recorded so much music beyond her vocal terroir which might have contributed to her relatively short career.
Nothing, ABSOLUTELY NOTHING is just "SUNG"!!! Every word, every note, every interval, every silence is SAID, FELT... the most incredible reading of a score usually sung by so called "beautiful voices".. With other interpreters, if there is a strong center and a D flat at the end of the entrance, everyone is happy... and YET: there is so much more to be expressed through the text and the music of this little girl who would have to kill herself... Callas gives it all, more than all of the others, all in terms of beauty, and style, and drama, and, (but that is always so with Callas) a very accurate reading of the score, and respecting even the very very difficult "breath" pauses written by Puccini.... She manages to use all of the colors of the spectrum of the human voice, and to put them into the score, into the written note.... how did she do it, it will be for ever a mystery, but for the sensitive ear and heart and soul, this is one masterpiece, showing what opera means, what opera is all about... and, all this in a role not particularly loved by Callas herself....
No one has ever done the D flat at the end of the entrance this majestically! I am always in awe every time I hear it. I always feel sad listening to Madama Butterfly. Its tragic and yet so beautiful.
Los comentarios sobre esta versión de Madame Butterfly quedan absurdos y sobran por qué no se puede ni se debe elaborar sobre lo obvio.. ...la Callas es magia, ella reflotó la ópera. Su fraseo es perfecto y claro.. Nicolás Gedda y Borriello igual, Gedda lindísima y dulce voz y no grita como otros tenores. Solo emite sonidos fraseados y dice se le cree lo que dice. Borriello igual y ningún intérprete desafina ninguno ni "cala" ni "cresce" y en esta ópera casi todos los cantantes desafinan en algún momento o varios. Calar es desafinar para abajo osea no llegar exactamente a la nota y crescer es desafinar para arriba de la nota. Se respetan las pausas y la partitura original de Puccini hasta en los puntos exactos para cortar frases y respirar. Cabe destacar la versatilidad de la voz de la Callas y como la "aligera" en el centro de su registro para llegar con dulzura al re bemol de su entrada del primer acto así como en el dúo de amor al final del primer acto. Excepcional como logra poner la voz de una niña en los momentos justos con inoscencia y pianissando notas y fraseo....luego logra con maestría engrosar y dar fuerza y sonoridad oscura en el centro de la voz para decir..dramáticamente y no ser aplastada por la orquesta en muchos momentos en que la misma va al máximo de fuerza y Callas no grita otras gritan toda la ópera en esos momentos en que la partitura exige máximo sonido de la orquesta osea fortissimo y lo mismo tiene que hacer la soprano. El mejor ejemplo de esto es al final de la ópera y dónde se conjugan dolor fragilidad y avasallante fuerza de sonido y dramatismo.
Chi mai ha interpretato Butterfly in questo modo, la voce cambia ad ogni parola ,dolcissima all'inizio e drammatica alla fine. Un'evoluzione sonora che ha del miracoloso. Unica e grandissima Callas in un ruolo che sembra lontanissimo dal suo tipo di voce.
Exacto, canta como una verdadera adolescente NO con voz de matrona de 60 años como algunas sopranos que hacen este rol y parecen Turandot. Las inflexiones y matices de su voz son maravillosos. Y la Danieli, Gedda y Sharples tmb excelentes.
María Callas sabía interpretar, sabía leer, adaptarse a la partitura, a cantar con el sentimiento del compositor, en este caso Puccini, tan meticuloso en sus obras.
Sublime voice! When I sing Madama Butterfly it’s just impossible for me not to be inspired by the great Maria. There's always a bit of her in every note I play
Dall'età di otto anni ascolto Callas e sempre resterà nel mio cuore come la più sublime e meravigliosa interprete del melodramma italiano senza togliere nulla ad altre grandi interpreti. ❤❤❤
C'est un véritable plaisir d'écouter cet opéra ! La voix de Maria Callas est sublime, envoûtante ! Elle arrive à nous chanter la souffrance de Madame Butterfly et on souffre avec elle ! Quel génie !
Almost all prima donna's show signs of fatigue by the end of act two. But this is Callas! My good father had the good fortune of seeing her live. What I would give!!
Obviously, no singer is going to get as tired making a studio recording as performing a role onstage. In a studio, you don't need to project over a distance and you can take breaks, not to mention do retakes.
Cette version reste incontestablement la référence. D'abord parce qu'il y a Maria Callas, parfaite, et puis la direction de Karajan, équilibré et légère. À emporter sur une île déserte !
This and the Sheridan 1929 recording are, in my opinion, two of the best performances of Madama Butterfly ever recorded. Thank you very much for posting this.
Translation of the Uploader's Remarks: "Karajan surrounds the Diva Callas with love, who traces an unforgettable portrait of the heroine. It is incomparable in the second act where it transcends the limits of singing and attains Greek tragedy".
This recording has many poignant moments. For me, her aria "Che tu madre dovra " (1:21:47-1:24:24) gives me goosebumps and tears (many). Her last "morta" in that aria is heartbreaking.
Perché? La parte è per soprano lirico spinto.La Dea poteva sostenere qualsiasi ruolo da soprano.Da Gilda a Lakme fino a ruoli da mezzosoprano. Un fenomeno è una duttilità incredibili.Poi ha cantato troppo e sappiamo tutti come è andata a finire.La grande Mirella (lirico puro forse più leggero)non si è mai cimentata in teatro con quest'opera
@@MsGiorgio44 ho scritto che non è il ruolo più adatto a lei, per dire che ci sono opere nelle quali i ruoli le sono stati più congeniali e ne hanno decretato il mito assoluto che è stata, infatti ho specificato che lei è comunque divina sempre... non capisco che cosa dovrei spiegare
Para mí es la versión de referencia, sentimiento en estado puro. María Callas te llega al corazón de forma directa, sin filtros. Imposible no emocionarse, llorar incluso, escuchándola.
Wie bei fast allen ihrer Aufnahmen werde ich in das Geschehen hineingesogen. Ist es ein Hörspiel, Nein, sie singen, sie überwältigen mich gefühlsmäßig! Gedda hat diese Rolle bereut? Wie nur wenige andere Sängerinnen hat mich Maria Callas davon überzeugt, dass un bel di vedremo ein hoffnungsvoller Freudenschrei sein darf, die letzten Szenen hingegen trotzalledem ein trotziger, selbstbewusster Aufschrei sind!
@@TheFlaptrapper because of the dictatorial behaviour of Mister God ,... The opposite of Toscanini who was very fast ,Karajan became so slow ,which is very tiring. Very good the first years ,having f.e., Modl& Vinay for Tristan, or Martinis-Rankin-Fehenberger for an unforgettable Aida ,but sorry, i can't listen at all Freni's Aida with a totally miscast Horne, & the throaty Carreras.He wanted defend singing heavy roles ,by lighter voices .POOR RESULTS. In Opera everything has to be traditional. If you don't respect the rules .....It's difficult for the conductors ,to be operatic conductors, knowing about voice,registers & singers. KNOWLEDGE= OBJECTIVITY.
Poche parole: quando sei davanti a un miracolo occorre solo star zitti e ascoltare. Il processo psicologico che mette in atto la Callas con l’uso della sua voce per tutta l’opera non ha eguali.
Superb recording, Maria in a state of grace and captured in excellent voice. Overwhelming incarnation of Butterfly, especially in the love duet and final scene. In terms of a more lyrical, luscious sound for the whole work I tend to prefer the 1974 recording with Freni and Pavarotti, also under Karajan.
She really makes the role of Butterfly sound maneagable, putting less emphasis on the lesser dramatic parts allowing one to save up all that passion for the big scenes
Sublime, sublime, sublime!! Muchas gracias por esta maravilla de opera. La perfección en cada nota, en cada compás, en cada matiz ... única y emocionante!.
Gran versión ésta, me parece perfecta en todos los sentidos, para mí quedará como una referencia, tanto musical, vocal como interpretativa, para próximas generaciones futuras. Es de admirar la Inteligencia de Callas, Gedda, Borriello..., que interpretan sus papeles, con un caracter intimista, suave y morbido, con unas medias voces maravillosas que me han emocionado. Estos grandes cantantes, pudiendo Lucir todos los registros de sus Espléndidas voces, no lo hacen de forma deliberada y creo que Karajan tendria mucho que ver,en esta forma tan sutil de cantar, esta obra maravillosa de Puccini; a veces en la opera menos, es muchísimo más. Otros cantantes harian Galas Ostentosas de todos dus recursos. Los de esta Version no cantan, para la Galería ávida de Sensaciones Especiales, estos cantan para Puccini.❤❤❤🎉🎉🎉
There are no more such artis, never was there ever such a Butterfly. Nor will there ever be. The absolute maximum of every single phrase and frangment, and of the entire character build up, not to mention the strictly vocal and technical part. In the time of on-stage robbots and plastic dolls, we can at least experience the memory of what art actually looked like, before turning into mass media culture. Compliments and special thanks for the upload!
Not to forget also the rest of the cast, which is truly remarkable and a fitting partner to stand next to Callas in this historic event - Lucia Danieli, a merely perfect Suzuki, the second lead party, after all...
Bellisima en todas sus dimensiones! Vivir con honor o no vivir! Éste 10 de NOVIEMBRE de 2022 en el Teatro del Libertador de la Ciudad de Córdoba Argentina tendré la gran responsabilidad y el inmenso honor de interpretar a Mándame Butterfly, bajo la dirección del maestro coreano Jongwhi Vakh Park con la Orquesta Sinfónica de Córdoba y el Coro Polifonico de Córdoba! Vengan!!!
incomparabile interpretazione- a me pare divisa nettamente in due parti dal grido " m'ha scordata!" - com'è logico ( la Callas è srmpre logica): prima il canto e im timbro nell'illusione dopo la voce della disperazione
This is just not real singing other conducting... this is a miracle of the human race that will last for ever most probably unchalenged... probably impossible to sound like that on the stage, but here we have a complete elaborate painting of the opera, so vividly everything is conveid to the listener!
Vraiement cette versión de Madama Butterfly chante par Callas reste incontestablement le diference avec des autores versiones. Ici Callas c'est ettonant etc magnifique. Giuseppe di Stefano toujours son grand partenaire de l'opera avec une tres belle voix.
Alle bellissime recensioni qui sotto, aggiungo che la Callas non aveva mai interpretato Madama Butterfly in teatro. Quindi affrontava il ruolo per la prima volta con una capacità di introspezione miracolosa.
Una magnífica y bella voz con gran inteligencia musical y afinación perfecta no definen ni hacen a un o una gran cantante de ópera si no tiene un perfecto y gran y clarísimo fraseo y dicción. El fraseo y dicción si marcan una diferencia y " hacen" a un o una cantante de ópera de primerísima calidad de lujo. Yo estudié canto y mi profesora de canto fue a su vez cantante de ópera en Italia y ella fue alumna de canto del célebre "maestro Lari" y del también famoso maestro profesor Paolo Antonio marido nada menos que de Toti dal Monte y profesor y hacedor de esta famosa cantante y mi maestra de canto ponía énfasis y hacia casi prioridad en el "fraseo" y dicción como le enseñaron a ella estos dos grandes y célebres maestros profesores de canto. Sobre todo Paolo Antonio y esa es la perfecta escuela operatica estilo italiano periodo Toti dal Monte. Callas la tenía tiene y tendrá pero hoy la calidad ya está perdida! Mucho marketing...
Maria callas se equivoco al cantar madame butterfly En absoluto un papel Para su voz Recién desde el segundo acto está centrada Gedda esta lejano En todo caso la dirección De karajan
17.1.19. l see opera "M-m Butterfly". Hi , friends ! This's me yous music critic that it yous music freak&pranker. How do you do broheems? Giacomo Puccini is Hourse. Good man. Hourses is good people.
Puccini: Madama Butterfly by Maria Callas (2023 Remastered, Milan 1955)
***Listen to our latest mastering update (2023)*** : bit.ly/3shkawA
🎧 Qobuz (Hi-Res) bit.ly/49mA0XC Tidal (Hi-Res) bit.ly/45W0AE4
🎧 Deezer (Hi-Fi) bit.ly/40kOjI7 Amazon Music (Hi-Fi) amzn.to/40k1Mjr
🎧 Napster (Hi-Fi) bit.ly/3RAEUbg TH-cam Music (mp4) bit.ly/3shkawA
🔊 Download high-fidelity classical music: classicalmusicreference.com/
Giacomo Puccini (1858-1924) - Madama Butterfly Opera .
Click to activate the English subtitles for the presentation (00:00-03:05)
Act 1
E soffitto.. E Pareti (00:00)
Questa è la cameriera (02:09)
Dovunque al mondo (06:24)
Quale smania vi prende (10:39)
Quanto cielo ! Ancora un passo via (14:42)
Gran ventura (17:43)
L’imperial commissario (21:24)
Vieni, amor mio (23:57)
Ieri son salita tutta sola (26:35)
Ed eccoci in famiglia (31:40)
Viene la sera (37:13)
Bimba dagli occhi pieni di malia (40:34)
Vogliatemi bene, un bene piccolino (44:41)
Act 2
E inzaghi ed izanami (51:34)
Un bel di vedremo (58:53)
C’è entrate (1:03:31)
Non lo sapete insomma (1:07:00)
A voi però giurerei fede constante (1:08:52)
Ora a noi (1:12:24)
E questo ? E questo ? (1:18:37)
Che tua madre dovrà (1:21:00)
Lo scendo al piano (1:24:32)
Vespra ! Rospo maledetto (1:26:15)
Una nave da guerra (1:28:15)
Scuoti quella fronda di ciliegio (1:30:45)
Or vienmi ad adornar (1:36:00)
Coro a bocca chiusa (1:41:09)
Oh eh ! Oh eh ! (1:44:10)
Già il sole (1:51:38)
Povera Butterfly (1:53:39)
Lo so che alle sue pene (1:56:28)
Addio, fiorito asil (2:00:30)
Galileo dirai ? (2:02:25)
Che vuol da me ? (2:04:39)
Come una mosca prigioniera (2:10:21)
Con onor muore (2:13:14)
Butterfly : Maria Callas
Suzuki : Lucia Danieli
B.F. Pinkerton : Nicolai Gedda
Kate Pinkerton : Luisa Villa
Sharpless : Mario Borriello
Goro : Renato Ercolani
Yamadori : Mario Carlin
Bonzo : Plinio Clabassi
Commissario : Enrico Campi
Orchestra E Coro Del Teatro Alla Scala Di Milano
Chorus Master : Noberto Mola
Herbert Von Karajan
Recorded in 1955
New mastering in 2019 by AB for CMRR
Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr
Si le portrait de Butterfly par Callas est aussi émouvant, c’est en partie parce qu'il recrée, pour ces premiers épisodes, une fillette capable de dignité tragique, puis, dans la seconde moitié de l'opéra, lorsque l'expérience plus que les années auront apporté la maturité, parce qu'il associe de façon constante le timbre de l'enfant et la voix de l'adulte. Son approche imaginative du rôle est ainsi merveilleusement complète.
Tout l'enregistrement est d'une grande richesse de détail. De manière plus forte peut-être que dans aucun autre de ses enregistrements, chaque phrase semble ici avoir quelque chose de spécial, et l'on pourrait écrire un livre entier pour mettre l'accent sur ce que nous appelons "interprétation". En un sens, ce faisant, nous ne rendons pas justice à Callas. Car son art était avant tout celui du chant, et derrière du talent de l'interprète, on en finit parfois par perdre de vue la cantatrice.
A cette époque, en 1955, sa voix pouvait encore être un instrument d'une beauté très particulière. Dans cet enregistrement de Madama Butterfly, certaines notes aigües sont à vif, sous l'effet d'une pulsion capricieuse- le ré bémol
concluant la scène d'entrée en étant le premier exemple. Mais, globalement, son chant est beau en tant que chant "pur", parfois exquis.
Un exemple charmant en est la transparente mélodie ("lo seguo il mio destino") de l'Acte l, lorsqu'elle y parle de sa nouvelle religion. De même, à l'Acte Il, le solo débutant par "Che tua madre" est l'oeuvre d'un grand chanteur. Mais, bien entendu, lorsqu'elle donnait le meilleur d’elle-même comme ici, il n’y avait pas de séparation entre la cantatrice et l'actrice incarnant un rôle. Tout dans l'air "Un bel di" est magnifiquement chanté, mais tout est également éclairé par un regard intérieur qui en réhausse la beauté.
La scène finale ("Tu, tu, piccol Iddio") est doublement émouvante, en raison de sa beauté intrinsèque bien sûr, mais aussi parce que c'est seulement maintenant, à l'approche de la mort, que l'on voit apparaître la femme dans son intégrité, seule sur scène, la seule fois dans tout l'opéra, abandonnant en cet instant toute contrainte, cause de tant de souffrances, et c'est alors seulement que nous entendons Maria Callas telle qu'en elle-même.
Curieusement, peut-être, Butterfly est un rôle qu'elle chanta sur scène, à Chicago, en novembre 1955, le temps de trois représentations. Elle y avait intensément travaillé pour parvenir à l'authenticité des mouvements. Mais l'authenticité la plus achevée de ce rôle, c'est trois mois plus tôt qu'elle l'avait atteinte, dans les studios d'enregistrement. Karajan entoure la Diva Callas avec amour, laquelle trace un portrait inoubliable de l’héroïne. Elle est incomparable au second acte où elle dépasse les limites du chant pour atteindre celles de la tragédie grecque.
Maria Callas - 90 Opera Arias, Carmen, Norma, Tosca, Traviata, Butterfly.. NEW MASTERING (Ct.rec.) : th-cam.com/video/VU1CZWEzQDA/w-d-xo.html
Puccini - Madama Butterfly / New mastering (Renata Scotto, Carlo Bergonzi - ref.rec.: Sir J.Barbirolli) : th-cam.com/video/ItksENrfrAs/w-d-xo.html
Giacomo Puccini & Vincenzo Bellini PLAYLIST (reference recordings) th-cam.com/video/80iFQqBCCyM/w-d-xo.html&list=PL3UZpQL9LIxNh-7OZfzx5gWWU5rbFpmcH&index=3
Paradiso terrestre
Thank you my friend. Arnold Bourbon Amaral
Classical Music/ /Reference Recording bethesda
@@arnoldamaral3814 You've got that right, Arnold! /:-)
Ññññññ
she changes the colour of her voice from the begining to the end... she starts with a girlish light and white colourfull voice to a dark mature and deep voice to the end... reflecting the life of butterfly in her voice... its amazing...
sHE KNEW WHAT TO DO. A COMPLETE AND ADMIRABLE ACTRESS.
And that is why she was who she was.
King Tut Our Maya. Regina Divina 👑 was truly the greatest Operatic artist of modern era. How she is missed.
exactly. As a non-professional I was always amazed by the ability of M. Callas to easily change the "color" of the voice so easily, so much that you forget is should be "just a soprano"
@@arnoldamaral7406 So right! /:-)
I'm a metalhead guy and I know almost nothing about opera. I dont know whats consider classic, what is the "best" moment in every opera,etc etc. But my ear, my "uncivilized" ear, and my soul and heart can recognize magnificence when it comes, from whatever genre of music. 1:02:32-1:02:55, that moment must be one of the greatest ever in music history. But ONLY WITH THAT VOICE here. Maybe in my "wild" side of my heart are bands like Motorhead, Rammstein, Paradise Lost, etc, but the "calm harbor" in my heart and soul is possessed by her majesty Maria Callas. Greatest artist of all times, the total "package" for me. She mezmerized guys like me that have almost nothing to do with her works. And thats perfection in my poor book. When I walk my dog I pass sometimes outside her (abandoned) family home here in Athens and every time I think of her. I think that here once lived an entity that wasnt human at all, the only human on her was her heart that killed her so early. A myth, a legend. Immortal. Respect, total respect.
Great music is great music, be it metal, rock or opera. So glad you had the opportunity to hear it!!!
It's not just the moment you mentioned, it's the whole aria - it's insane and one of the best arias in opera history
im a rocker myself love floyd, stones, genesis etc but taste has changed to love opera especially arias. let me clear up something mr. telas opera is not a song but story telling in music its the first to start music to stories like phantom of the opera, kats, sigon, west side story etc you know what im getting at. some arias are so beautiful they go straight to your heart and soul unlike rock its just a feeling of movement .
I think what people who normally don't listen to opera is striking about this piece is that it is rather minimalistic in composition... so it's quite easy to understand... compare it for example to Wagner's Liebestod from Tristan & Isolde which is very complex in composition - tell me, metalheads, can it strike you, too?
@@stefanmuller1269 your a typical german and english person who thinks german or english composition are more complex than others like italian , russian, or french why is that just listen to the beauty of the composition instead of disecting it. im a spaniard and im also a rock fan of floyd, genesis, procol harem, the who etc but also a big fan of puccin, verdi, rossini, pietro mascagni. are you kidding me have you heard verdis dies aria i think he invented hard rock.
I have play Butterfly severel times in the Orchestra,never with Callas and Maestro Karajan. This must be the greatest of the GReatest ever made. We can feel that Karajan was the Maestro Grande. Good singers loved him. And Callas..."the one and only!!!!!
Brynjar Hoff
Operalover
@Oh Happy Day
I really do NOT like Maria Callas in this opera.
No idea what you're talking about.
Just get maria callas off of verismo. Verismo wasn't made for her style of singing.
@@FriendlyCroock True. Her specialty was bel canto and should be praised for leading the way for other sopranos like Sutherland, Sills, Scotto, Caballe and Gencer to revise so much of that repertory from Gluck to early Verdi. But that she had the vocal heft to take on dramatic middle Verdi parts and Verismo is something to admire as well. A caveat here is that she performed on stage and recorded so much music beyond her vocal terroir which might have contributed to her relatively short career.
Almost any recording with Maria Callas is iconic…
Nothing, ABSOLUTELY NOTHING is just "SUNG"!!! Every word, every note, every interval, every silence is SAID, FELT... the most incredible reading of a score usually sung by so called "beautiful voices".. With other interpreters, if there is a strong center and a D flat at the end of the entrance, everyone is happy... and YET: there is so much more to be expressed through the text and the music of this little girl who would have to kill herself... Callas gives it all, more than all of the others, all in terms of beauty, and style, and drama, and, (but that is always so with Callas) a very accurate reading of the score, and respecting even the very very difficult "breath" pauses written by Puccini.... She manages to use all of the colors of the spectrum of the human voice, and to put them into the score, into the written note.... how did she do it, it will be for ever a mystery, but for the sensitive ear and heart and soul, this is one masterpiece, showing what opera means, what opera is all about... and, all this in a role not particularly loved by Callas herself....
No one has ever done the D flat at the end of the entrance this majestically! I am always in awe every time I hear it. I always feel sad listening to Madama Butterfly. Its tragic and yet so beautiful.
Los comentarios sobre esta versión de Madame Butterfly quedan absurdos y sobran por qué no se puede ni se debe elaborar sobre lo obvio..
...la Callas es magia, ella reflotó la ópera. Su fraseo es perfecto y claro..
Nicolás Gedda y Borriello igual, Gedda lindísima y dulce voz y no grita como otros tenores. Solo emite sonidos fraseados y dice se le cree lo que dice. Borriello igual y ningún intérprete desafina ninguno ni "cala" ni "cresce" y en esta ópera casi todos los cantantes desafinan en algún momento o varios. Calar es desafinar para abajo osea no llegar exactamente a la nota y crescer es desafinar para arriba de la nota.
Se respetan las pausas y la partitura original de Puccini hasta en los puntos exactos para cortar frases y respirar.
Cabe destacar la versatilidad de la voz de la Callas y como la "aligera" en el centro de su registro para llegar con dulzura al re bemol de su entrada del primer acto así como en el dúo de amor al final del primer acto. Excepcional como logra poner la voz de una niña en los momentos justos con inoscencia y pianissando notas y fraseo....luego logra con maestría engrosar y dar fuerza y sonoridad oscura en el centro de la voz para decir..dramáticamente y no ser aplastada por la orquesta en muchos momentos en que la misma va al máximo de fuerza y Callas no grita otras gritan toda la ópera en esos momentos en que la partitura exige máximo sonido de la orquesta osea fortissimo y lo mismo tiene que hacer la soprano. El mejor ejemplo de esto es al final de la ópera y dónde se conjugan dolor fragilidad y avasallante fuerza de sonido y dramatismo.
Your coments and opinión above is perfect and very técnical in musical and operatic terms.
Bravo!!
Chi mai ha interpretato Butterfly in questo modo, la voce cambia ad ogni parola ,dolcissima all'inizio e drammatica alla fine. Un'evoluzione sonora che ha del miracoloso. Unica e grandissima Callas in un ruolo che sembra lontanissimo dal suo tipo di voce.
Exacto, canta como una verdadera adolescente NO con voz de matrona de 60 años como algunas sopranos que hacen este rol y parecen Turandot. Las inflexiones y matices de su voz son maravillosos. Y la Danieli, Gedda y Sharples tmb excelentes.
María Callas sabía interpretar, sabía leer, adaptarse a la partitura, a cantar con el sentimiento del compositor, en este caso Puccini, tan meticuloso en sus obras.
Sublime voice! When I sing Madama Butterfly it’s just impossible for me not to be inspired by the great Maria. There's always a bit of her in every note I play
This opera has more beautiful melodies in the first 30 minutes - one melody follows the other. This is my favourite opera.
I think it is Puccini’s greatest opera.
My favourite opera too. It's so great
The melody starting at 12:30 is one of the best parts in the first act.
I agree. I love La Boheme but the first 10 minutes sets the scene but doesn’t have the best music to settle in with
This is my favourite opera to go to sleep to as it is gentle pace/graceful music like the character Madame Butterfly
The letter scene is so moving. Beyond discription. Puccini was truly special. 🙏😢💙
Dall'età di otto anni ascolto Callas e sempre resterà nel mio cuore come la più sublime e meravigliosa interprete del melodramma italiano senza togliere nulla ad altre grandi interpreti. ❤❤❤
Maria Callas riesce a differenziare incredibilmente il ruolo di Butterfly 🦋 per me una delle più convincenti e belle interpretazioni di questo ruolo.
Only a genius like Puccini could write the waiting chorus. (Humming) 👍
Não é murmúrio?
So powerful! This recording has to be one of the all time greatest. So soulful!
I first heard this opera at the Santa Fe Opera. Unforgettable.
teddy toto Welcome to the world of Puccini my friend. Opera is the greatest ART FORM IN THE WORLD.
@@arnoldamaral7406 Completely agree! Greatest by far.
C'est un véritable plaisir d'écouter cet opéra ! La voix de Maria Callas est sublime, envoûtante ! Elle arrive à nous chanter la souffrance de Madame Butterfly et on souffre avec elle ! Quel génie !
Almost all prima donna's show signs of fatigue by the end of act two. But this is Callas! My good father had the good fortune of seeing her live. What I would give!!
Obviously, no singer is going to get as tired making a studio recording as performing a role onstage. In a studio, you don't need to project over a distance and you can take breaks, not to mention do retakes.
Cette version reste incontestablement la référence. D'abord parce qu'il y a Maria Callas, parfaite, et puis la direction de Karajan, équilibré et légère. À emporter sur une île déserte !
Absolumment d'accord!
Tout à fait, Guilhem
Agreed 100%.
I understand that you are posting the portrait of Napoleon, but let me tell you my friend that this man brought too much misery on the french people.
This and the Sheridan 1929 recording are, in my opinion, two of the best performances of Madama Butterfly ever recorded. Thank you very much for posting this.
Translation of the Uploader's Remarks: "Karajan surrounds the Diva Callas with love, who traces an unforgettable portrait of the heroine. It is incomparable in the second act where it transcends the limits of singing and attains Greek tragedy".
Thanks :)
This recording has many poignant moments. For me, her aria "Che tu madre dovra " (1:21:47-1:24:24) gives me goosebumps and tears (many). Her last "morta" in that aria is heartbreaking.
Caballe
Maria Callas la Divina, come lei non c’è nessuno! ❤️🌹
Puccini è un genio assoluto ! questo non è il ruolo più adatto alla Callas ma lei è divina sempre...
ho scritto al presente perché siamo fra immortali
Perché? La parte è per soprano lirico spinto.La Dea poteva sostenere qualsiasi ruolo da soprano.Da Gilda a Lakme fino a ruoli da mezzosoprano. Un fenomeno è una duttilità incredibili.Poi ha cantato troppo e sappiamo tutti come è andata a finire.La grande Mirella (lirico puro forse più leggero)non si è mai cimentata in teatro con quest'opera
Se gentilmente vuoi spiegarmi perché non è adatta lo apprezzerei.Forse ho male inteso.Grazie
@@MsGiorgio44 ho scritto che non è il ruolo più adatto a lei, per dire che ci sono opere nelle quali i ruoli le sono stati più congeniali e ne hanno decretato il mito assoluto che è stata, infatti ho specificato che lei è comunque divina sempre... non capisco che cosa dovrei spiegare
Para mí es la versión de referencia, sentimiento en estado puro. María Callas te llega al corazón de forma directa, sin filtros. Imposible no emocionarse, llorar incluso, escuchándola.
Totalmente de acuerdo insuperable sin palabras eterna LA CALLAS
Siempre me emociono con esta ópera .
It is one of the best records of Madama Butterfly which I ‘ve ever heard
The best !
À jamais dans nos cœurs, Callas restera : superbe interprétation…!
Best soprano ever ! So amazing voice / women 😍🤩
After listening to this I know I would only be disappointed listening to another rendition.
The Orchestra is really great
Wie bei fast allen ihrer Aufnahmen werde ich in das Geschehen hineingesogen. Ist es ein Hörspiel, Nein, sie singen, sie überwältigen mich gefühlsmäßig! Gedda hat diese Rolle bereut? Wie nur wenige andere Sängerinnen hat mich Maria Callas davon überzeugt, dass un bel di vedremo ein hoffnungsvoller Freudenschrei sein darf, die letzten Szenen hingegen trotzalledem ein trotziger, selbstbewusster Aufschrei sind!
Her voice was in great shape for that recording. Even Karajan, whom I usually despise, did a great job.
Just curious, why do you despise?
skzion2 Hate.??? Porque???
@@arnoldamaral7406 why hate?easy to say ..perhaps stydy...knowledge..comparisons..
@@TheFlaptrapper because of the dictatorial behaviour of Mister God ,...
The opposite of Toscanini who was very fast ,Karajan became so slow ,which is very tiring.
Very good the first years ,having f.e., Modl& Vinay for Tristan, or Martinis-Rankin-Fehenberger for an unforgettable Aida ,but sorry, i can't listen at all Freni's Aida with a totally miscast Horne, & the throaty Carreras.He wanted defend singing heavy roles ,by lighter voices .POOR RESULTS.
In Opera everything has to be traditional. If you don't respect the rules .....It's difficult for the conductors ,to be operatic conductors, knowing about voice,registers & singers.
KNOWLEDGE= OBJECTIVITY.
@@alexanderzaphir721 That's what happens when you conduct with your eyes closed, you lose the sense of time :)))
Absolutely precious.
Poche parole: quando sei davanti a un miracolo occorre solo star zitti e ascoltare. Il processo psicologico che mette in atto la Callas con l’uso della sua voce per tutta l’opera non ha eguali.
Illuminating and transient sounds!
Sublime. Merci beaucoup pour ce moment musical très agréable.
Puccini+Callas+Gedda=Perfection. Wonderful. Thank you. /:-)
Cómo me inspira escuchar esta opera. Me encanta👌😌💞
Maria Callas e meravegliosa!
Superb recording, Maria in a state of grace and captured in excellent voice. Overwhelming incarnation of Butterfly, especially in the love duet and final scene. In terms of a more lyrical, luscious sound for the whole work I tend to prefer the 1974 recording with Freni and Pavarotti, also under Karajan.
She really makes the role of Butterfly sound maneagable, putting less emphasis on the lesser dramatic parts allowing one to save up all that passion for the big scenes
Sublime, sublime, sublime!! Muchas gracias por esta maravilla de opera. La perfección en cada nota, en cada compás, en cada matiz ... única y emocionante!.
Maria trasmette sensazioni incredibili qualsiasi frase canti ...è e rimarrà unica 😢❤
C'est d'une beauté indescriptible.
C'est l'opéra de Puccini que je préfère.
Oddio che bellezza!!! 😍😍😍🥰🥰🥰🥰❤❤❤❣❣❣❣❣❣
I played in the pit orchestra in Australia and we did 9 performances in which I witnessed Madame Butterfly die 9 times !!!
Any idea when the next performance will be in Melbourne? 😂
Maria straordinaria, Karajan sublime...ma vorrei citare anche la prestazione fenomenale di Gedda
Stunning!
This is gold!!! 😍😍😍🖤
The whole cast were brilliant yet precious. Callas' God like voice is sipping into every cell of mine.
Gran versión ésta, me parece perfecta en todos los sentidos, para mí quedará como una referencia, tanto musical, vocal como interpretativa, para próximas generaciones futuras.
Es de admirar la Inteligencia de Callas, Gedda, Borriello..., que interpretan sus papeles, con un caracter intimista, suave y morbido, con unas medias voces maravillosas que me han emocionado. Estos grandes cantantes, pudiendo Lucir todos los registros de sus Espléndidas voces, no lo hacen de forma deliberada y creo que Karajan tendria mucho que ver,en esta forma tan sutil de cantar, esta obra maravillosa de Puccini; a veces en la opera menos, es muchísimo más. Otros cantantes harian Galas Ostentosas de todos dus recursos. Los de esta Version no cantan, para la Galería ávida de Sensaciones Especiales, estos cantan para Puccini.❤❤❤🎉🎉🎉
1:14:20...siempre me emociona esta parte. Pobre pequeña....
Y más al ser interpretada por la mejor soprano de la historia: María Callas
This is a Magic moment!!!
Mi ópera favorita, nunca me cansaré de escucharla
There are no more such artis, never was there ever such a Butterfly. Nor will there ever be. The absolute maximum of every single phrase and frangment, and of the entire character build up, not to mention the strictly vocal and technical part. In the time of on-stage robbots and plastic dolls, we can at least experience the memory of what art actually looked like, before turning into mass media culture. Compliments and special thanks for the upload!
Not to forget also the rest of the cast, which is truly remarkable and a fitting partner to stand next to Callas in this historic event - Lucia Danieli, a merely perfect Suzuki, the second lead party, after all...
Amazing and atonishing the choir in its part with the emission if sound with the mouth shut and giving head voice...perfect!
En mi opinión, es la mejor versión. Lástima que no quedó un video.
I always remember my father and my childhood with Vogliatemi bene, un bene piccolino....thks!
callas pure emotion
Gorgeous and beautiful
Indeed
Amazing voice and interpretation....La Divina is unsurpassable
14:42 es tocar el cielo con las manos…
🥹
Bellisima en todas sus dimensiones! Vivir con honor o no vivir!
Éste 10 de NOVIEMBRE de 2022 en el Teatro del Libertador de la Ciudad de Córdoba Argentina tendré la gran responsabilidad y el inmenso honor de interpretar a Mándame Butterfly, bajo la dirección del maestro coreano Jongwhi Vakh Park con la Orquesta Sinfónica de Córdoba y el Coro Polifonico de Córdoba! Vengan!!!
Don’t cry for me, I’m already dead
incomparabile interpretazione- a me pare divisa nettamente in due parti dal grido " m'ha scordata!" - com'è logico ( la Callas è srmpre logica): prima il canto e im timbro nell'illusione dopo la voce della disperazione
thank you!
Such a masterpiece.. Would have been greatly more enjoyable if there wasn't an advert every couple of airas.. c'mon!
Un bel di vedremo (58:53) YES!!!
Very beautiful! Thank you! :)
Szia magyarország :-)
@@classicalmusicreference Hi :)
Very nice, thank you!
This is just not real singing other conducting... this is a miracle of the human race that will last for ever most probably unchalenged... probably impossible to sound like that on the stage, but here we have a complete elaborate painting of the opera, so vividly everything is conveid to the listener!
Nadie como María con esta aria.
Definitive recording...
Maria Callas+Nikolaj Gedda=KARAJN❤🎉😊!!!
Vraiement cette versión de Madama Butterfly chante par Callas reste incontestablement le diference avec des autores versiones. Ici Callas c'est ettonant etc magnifique. Giuseppe di Stefano toujours son grand partenaire de l'opera avec une tres belle voix.
Non è Di Stefano ma Nicolai Gedda.
Wouldn't it be great if we could hear her recorded on contemporary sound equipment?
BRAVA!!! LA DIVINA!!!💖
Thank you for this video.
1:18:00 legendary
Thank you very much!
Daanke ich war Beleuchtung in Chemnitz und nun mrinr schönste
Alle bellissime recensioni qui sotto, aggiungo che la Callas non aveva mai interpretato Madama Butterfly in teatro. Quindi affrontava il ruolo per la prima volta con una capacità di introspezione miracolosa.
🎉🎉❤❤😅😢❤❤❤❤❤❤
All pop singers have to bend the knee to Maria Callas.
Callas ❤️
Poor Mascagni....hearing this Finale.....realizing he'd never be Number One.....Wow!
Gracias por subir a la DIOSA !!!!
Callas is Callas is Callas and here little Girl..... Butterfly !!!
Una magnífica y bella voz con gran inteligencia musical y afinación perfecta no definen ni hacen a un o una gran cantante de ópera si no tiene un perfecto y gran y clarísimo fraseo y dicción. El fraseo y dicción si marcan una diferencia y " hacen" a un o una cantante de ópera de primerísima calidad de lujo.
Yo estudié canto y mi profesora de canto fue a su vez cantante de ópera en Italia y ella fue alumna de canto del célebre "maestro Lari" y del también famoso maestro profesor Paolo Antonio marido nada menos que de Toti dal Monte y profesor y hacedor de esta famosa cantante y mi maestra de canto ponía énfasis y hacia casi prioridad en el "fraseo" y dicción como le enseñaron a ella estos dos grandes y célebres maestros profesores de canto. Sobre todo Paolo Antonio y esa es la perfecta escuela operatica estilo italiano periodo Toti dal Monte. Callas la tenía tiene y tendrá pero hoy la calidad ya está perdida! Mucho marketing...
20:45, quant'anni avete
24:30, io vorrei pochi oggetti da donna
Maria callas se equivoco al cantar madame butterfly
En absoluto un papel
Para su voz
Recién desde el segundo acto está centrada
Gedda esta lejano
En todo caso la dirección
De karajan
RIP #MariaCallas100 (died #otd in 1977) 🌹🌹🌹
Which is your favorite, and why?
Great Gifts?🎁🎁🎁🎁🎁
Dziękuję...
1:13:27
genios !!!
Ich wae Beleuchtung , Chemnniz Opernhaus................................Merci
Россини Мадам Батерфляй
Исполняет Арию Мария Каллос и Георт Отс
@Роман Вязовик спасибо что паправили🌹
🎶🎶🎶
❤️
17:05, 49:00
44:11
17.1.19. l see opera "M-m Butterfly". Hi , friends ! This's me yous music critic that it yous music freak&pranker. How do you do broheems? Giacomo Puccini is Hourse. Good man. Hourses is good people.