Anche se Giuseppe di Stefano è stato il partener storico della Callas, nei suoi anni d'oro Maria aveva in Del Monaco il suo contraltare perfetto. Talvolta rivali, ma anche per questo di una fusione canora perfetta.
ascolto questo duetto dalla Norma con Del Monaco e Maria Callas ogni mattina e la mia giornata comincia con poesia , amore e indescrivibile gioia che solo questi due enormi artisti sono capaci di darmi con le loro voci magnifiche e il loro immortale fascino.
What a great loss if this performance had not been recorded. Without a doubt the best Norma performance for the ages. And the best Norma of Callas' career.
Her voice is trembling with rage, yet it is not wobbling . . . that is the perfect example of her lifetime in art: melody is only as good as its expression of the text . . . a beautiful voice is only as good as the truth that the woman has in her loins . . . dopo lei, nessuno!
Ecco i GIGANTI della lirica. Ogni volta che li ascolto provo una emozione indescrivibile. MARIA CALLAS e MARIO DEL MONACO le due voci che hanno reso questa NORMA ineguagliabile.
Nobody than Franco Corelli! Maria sing great 1955, but my favorite recording is entire finale from 1960 with Corelli. That is greatest rendition! She wait Franco to make recording with him. Do listen to , these (about) 20 minutes of pure and extreme beauty and pathos. The best of the best!
sanja marinkovic By 1960 our MAYA was not the same as in 55 my friend sad😢 but true. Yes very sad indeed. If only Franco was around in 1950. That would of been electrifying. Corelli was exceptional but his forte was more dramatic spinto oh what a voice they both had👑👑 my friend. Arnold Bourbon Amaral 🌏🌍🌎👱👴🎹🎻🎼 music without boundaries
I can't conceive of a better rendition of this duet. Callas's oft noted differentiation of "Sì, sovr'essi alzai la punta. / Vedi, vedi a che son giunta!" is as moving now as first I heard it. I can't imagine how the Scala audience felt with her launch into "I Romani a cento a cento / Fian mietuti, fian distrutti" -- probably out of their minds! MDM is marvelous too, and the sound quality is amazing! It's clear without being thin, as in too many versions I've heard.
No better Norma......ever. She really gets it. Pretty voices like Caballe and Sutherland don't get the RAW that is Norma. Hope to be alive for your 100th birthday most appreciated Madame!
Clive Papayanis after Maria Callas according to Maria Callas she was asked if she had a successor she was very pensive and thought for a moment and she said only Montserrat Caballe. I found that very interesting but true. Both beautiful great voices but there is only one Davina. I love them both. La Davina Para Siempre! Arnold Borbon Amaral
Del Monaco: Miss Tebaldi has a most beautiful voice & I like singing with her very much. But there is something very special going on with Miss Callas and I also enjoy singing very much with her. This is somewhere on You Tube
Yes that interview occurred during a performance in Hartford, CT IIRC and perhaps it was during the peak of the Callas-Tebaldi rivalry. MDM handled the question of which soprano he preferred performing with in a very diplomatic way.
Ella le da tanto sentido a cada palabra que pareciera que crea el lenguaje, en este hernoso duo la divina profundiza casa frase, da sentido hasta a los instante de silencio, dudo que antes o después al maestro Bellini se le interpretase de esta manera, pasa de un sentir a otro, nos lleva al alma de Norma, a su miedo y decisión, realmente la Divina es eterna. Del Monaco aquí con una voz de bronce, masculina y en una de sus más brillante manera de dar vida a un papel difícil y encerrado entre el miedo y el amor. Luego de esto nada más hay. Callas eterna. Actualmente nada existe que se les asemeje.
As you know, I'm a HUGE fan of Callas as well as Sutherland. And I adore this duet. I even find this duet to be more of a favorite than the two Norma/Adalgisa duets. That said, Callas sings a "In mia man alfin tu sei" even better in Rome in the same year. Type in... "in mia man rome" on YT's search. And it's take you to that staggering performance. A bonus is that that video also shows a slideshow of Callas' emotions that fits the music perfectly. The only down side is the english translation interferes with the video. I hate translations. Anyone who is watching Callas sing "In mia man alfin tu sei" don't need the translation since they already know the lyrics or understand Italian. Callas captures every nuiance of Norma's emotions to the point of ridiculous!
l will check that ;) thank you, l also love this not because Maria is at her best (IMO in '55 she was already past her prime) but because of the great combination, as l said, of two beautiful big voices :D
In mia man, alfin tu sei is my favorite piece from Norma besides the trio and Casta Diva. I love Callas to the end of her career, the same with Sutherland. They are the two icons of opera that I can't live without. I am totally aware that after her weight loss the voice was not the same. Although in the 1955 Rome recording, you only hear her slight decline when she screamed the high C at the end of the duet. The fantastic sync of the photos with the lyrics is riveting. And even with the weight loss, she still matched del Monaco's HUGE voice in volume.
This scene defines Norma's character more than any other scene from Bellini's masterpiece, Norma. I agree...Bellini is the King of bel canto and Norma and Puritani(apples and oranges) proves without a doubt, he is the supreme maestro of bel canto. I adore Donizetti's Lucia, but Norma is the epitomy of bel canto Next in line...Beatrice, Sonnambula and Puritani. And Donizetti's Borgia, Anna Bolena and Roberto Devereux.
Ad un attento ascolto, trovo questi due artisti, i più idonei,per interpretare Norma e Pollione !!! Questo commento è scritto sul Corriere in stampa il 09 12 1955,con firma Franco Abbiati !!! Sono d'accordo...grazie
This operistic interpretation is " FENOMENAL" vIva Maria as Norma. One of a kind. Unmatching. Thank you for sharing this video clip. I am in heaven when I listen to it.
Es increíble (y estomagante) el número de comentarios que ponen el acento, no en las condiciones técnicas, estéticas, musicales o dramaticas de Callas, todas ellas extraordinarias desde mi punto de vista, sino en decir que la suya es no sólo la mejor versión de la Norma sino la única posible. Ya está bien de comparaciones y de tratar de imponer el propio gusto a los demás como si fuera verdad revelada y no una simple cuestión de preferencia. La _Divina_ fue muy grande. No se merece la manada de cenutrios que se reclaman sus fans.
Ha, ha, il Mediterraneo spacca!! Che scultura! 2 Miti! Come indica il mio nome youtube senza Hellas e l' Italia il mondo sarebbe stato unpo piu brutto....!
The music of "In mia man" is so gentle and lilting, and yet, she manages to make it sound as threatening as a tightly wound spring. I have to yet hear anyone equal her in this opera.
@@Shahrdad well of course no one could hold a candle next to her. She has natural abilities that no one has. For example she sings in one concert the aria of Lady Macbeth and finishes with Lakme. Literally no one ever did that. But! In Norma Caballe is just equal to her. Maybe just because she idolised her she could produce those sounds like her. Listen to that duet "In mia man" especially 1974 performance, and then listen to any of Callas's performances.
@@andity1 Caballe, of course, had the more beautiful sound. Her coloratura could often be aspirated, whereas Callas's was always legato and clean. Also, Caballe never could sing a real trill, but often substituted a kind of a goat-like bray in its place. Callas, on the other hand, had solid and often huge trills in every register. And she could even do a messa di voce on a trill (1953 Scala trovatore, d'amor sul ali). Caballe's Norma in Orange is probably her greatest moment as a performer, and after Callas, it's probably the best out there. Unfortunately, Caballe sleepwalked through too many performances, and she frequently omitted the text and just vocalized on a vowels. She also began using her pianissimi as a gimmick, often substituting a pianissimo where the composer wanted a forte, especially in the high notes. Some of her performance (her Medea, especially) were just embarrassing. A friend of mine once met Caballe at a dinner party in Germany, and they talked for a long time. The conversation came to Callas, and Caballe said that Maria could look at a score, and immediately see all the shading, all the colors, and all the nuance in the role. She was actually rather puzzled why these weren't so obvious to everyone else. Caballe also said that Maria would look at a very complicated coloratura passage, hum it to herself, and then sing it out perfectly, whereas she herself had to practice it for a week or so to get it into the voice. She said that was one of the many abilities Callas had that she envied. I love both singers, but Callas was in a universe of her own.
@@Shahrdad I completely agree with you, I just pointed out that exact performance in Norma. Because honestly is the most amazing singing that I've listened in that duet. I can replay it for hours without getting tired.
Nothing I can say to add to the comments - well, can't help myself, A Goddess of all others.What I really wanted to do was thank the paw for posting photos I have never seen before! Love them, thank you!
Mi sarebbe piaciuto da matti vederli dal vivo..sul palco..Per motivi cronologici,impossibile purtroppo...Ce ne fossero oggi,di cantanti così....Pallide esecuzioni non paragonabili...Francesca Sassu
I can’t help thinking the tempo adds to the monumental effect here: it’s much slower (especially in the beginning phrases) than I remember hearing elsewhere. It never drags, but there’s a sustained, building tension that I’m not sure anyone else could have pulled off in quite this way.
Интересно послушать Каллас после Аниты Черкуэтти... Понимаешь истинную величину каждой из них... :) (для непонятливых: Анита Черкуэтти великолепна и превосходит всех остальных сопрано)
Magnifici. L' ho sentita anche con Cerquetti, che come qualità di voce, insieme a Caballe', era superiore. Ma l' interpretazione e la personalità di Callas restano ineguagliate.
Callas was the only soprano who was able to bully Del Monaco on stage! And he deserved it too! Cause he was notorious for bullying sopranos with his volume. That did not work with Callas cause Callas had an equal sized voice by 1955 and a bigger voice before 1954.
Here you are so wrong,del monaco was no bully,and he thought very highly of callas maybe more so than his singing partner tebaldi,in deed in a book i read recently and in the view of many of the sopranos he sang with,he came out on top as being one of the kindest and most considerate to sing with.also callas did once try to hold onto a note longer than him and he held it longer,that said they admired each other greatly and some of the most exciting duets the opera world ever heard or is likely to do so again
Maybe this Pollione is too strong, I slightly prefer Corelli with Callas in this scene - her menacing, overbearing basso over his sobbing bright voice revealing a vain, selfish and beautiful man. This Pollione is too mature and maybe he is so much an Otello that he does not contrast this terrible murderous woman as Norma is.
Però persino Maria stessa convenne che la più grande Norma fu Monserrat Caballe'. Mario del Monaco e Maria Callas a mio parere tendevano a urlare troppo con l'intenzione di sopravanzarsi. Entrambi meglio in un'edizione di Andrea Chénier.
Monserrat aveva una voce meravigliosa e una capacità interpretativa notevolissima, ma i giudizi li esprimono gli ascoltatori e la presenza tragica della Callas in quest' opera, come in Medea e ne La Vestale resta ineguagliata e ineguagliabile,
She did not say that. When some interviewer asked Callas who her successor who be, she said, Maybe Caballe’’. She sent Montserrat by post her earrings that she wore in Norma . Montserrat never wore them, although she treasured them. She said,”There was only 1 Maria.” . These 2 women admired and respected each other.
Anche se Giuseppe di Stefano è stato il partener storico della Callas, nei suoi anni d'oro Maria aveva in Del Monaco il suo contraltare perfetto. Talvolta rivali, ma anche per questo di una fusione canora perfetta.
The definitive Norma. Nobody has come close to this and no one ever will
The theater must have shaken with Callas and Del Monaco singing.
This woman, we owe her so much. There's nothing like her throat... The golden throat.
Interpretazione da brividi !!!! Due giganti che non hanno avuto simili.
ascolto questo duetto dalla Norma con Del Monaco e Maria Callas ogni mattina e la mia giornata comincia con poesia , amore e indescrivibile gioia che solo questi due enormi artisti sono capaci di darmi con le loro voci magnifiche e il loro immortale fascino.
Belle mattine per te Bruna ,ma sono invidioso ,io ho altri problemi matina con i miei nipotini.
Sono d'accordo,le giornate senza la voce di maria sono incolori e monotone.
grande Bruna.
Possibly the greatest operatic performance I’ve ever heard
Callas e Del Monaco sono in grado di far crollare un teatro solo con la voce! Che voci, che musica, che interpretazione! 💗💖
Norma e Pollione...non potrebbe essere rappresentati meglio....in quest'opera per i migliori di sempre per sempre...
What a great loss if this performance had not been recorded. Without a doubt the best Norma performance for the ages. And the best Norma of Callas' career.
Her voice is trembling with rage, yet it is not wobbling . . . that is the perfect example of her lifetime in art: melody is only as good as its expression of the text . . . a beautiful voice is only as good as the truth that the woman has in her loins . . . dopo lei, nessuno!
Ecco i GIGANTI della lirica. Ogni volta che li ascolto provo una emozione indescrivibile. MARIA CALLAS e MARIO DEL MONACO le due voci che hanno reso questa NORMA ineguagliabile.
Quanto è vero! Che malinconia..
In mia man una tra le migliori interpretazioni al mondo- Una Norma e Pollione tra i più grandi
Certo, mettere insieme una coppia come questa, il risultato non poteva essere che questo!!! Grandioso
That opening line chills to the bone!!!.......nobody else has the same affect....plus the singing is out of this universe!!......glorious!!..
Nobody than Franco Corelli! Maria sing great 1955, but my favorite recording is entire finale from 1960 with Corelli. That is greatest rendition! She wait Franco to make recording with him. Do listen to , these (about) 20 minutes of pure and extreme beauty and pathos. The best of the best!
sanja marinkovic By 1960 our MAYA was not the same as in 55 my friend sad😢 but true. Yes very sad indeed. If only Franco was around in 1950. That would of been electrifying. Corelli was exceptional but his forte was more dramatic spinto oh what a voice they both had👑👑 my friend. Arnold Bourbon Amaral 🌏🌍🌎👱👴🎹🎻🎼 music without boundaries
No @@sanjamarinkovic9040no the 1955 radio broadcast with del monaco is the greatest,pollione was for mario
Die beste Norma,warum eine andere Sängerin hören,das wäre vertane Zeit. SIMIONATIO Del Monaco Traum Besetzung in dieser Oper.
Monumental.
4:10 - 4:47 my favourite part from norma and my favourite version , brilliant .
una delle pagine più belle dell'intero repertorio operistico. ...due interpreti fenomenali
Che cosa si può dire? Due giganti.
I can't conceive of a better rendition of this duet. Callas's oft noted differentiation of "Sì, sovr'essi alzai la punta. / Vedi, vedi a che son giunta!" is as moving now as first I heard it. I can't imagine how the Scala audience felt with her launch into "I Romani a cento a cento /
Fian mietuti, fian distrutti" -- probably out of their minds! MDM is marvelous too, and the sound quality is amazing! It's clear without being thin, as in too many versions I've heard.
ghostofyeats it's something truly fantastic what else can I say OUR MAYA 💛🌏🌍🌎🎹🎻🎼 Arnold Bourbon Amaral
No better Norma......ever. She really gets it. Pretty voices like Caballe and Sutherland don't get the RAW that is Norma. Hope to be alive for your 100th birthday most appreciated Madame!
Clive Papayanis after Maria Callas according to Maria Callas she was asked if she had a successor she was very pensive and thought for a moment and she said only Montserrat Caballe. I found that very interesting but true. Both beautiful great voices but there is only one Davina. I love them both. La Davina Para Siempre! Arnold Borbon Amaral
Favolosi...Grandissimi...Immortali!! Una Meraviglia
WOW!!!Mai più così!!!
Definitivamente ya no hay cantantes asi estan años luz por la técnica vocal que se ensela en estos tiempos
Not entirely gone, we’re on the brink of another golden age in opera.
LA DIVINA!!!!!!!!! The perfect duet!
Sono 40 anni che ascolto questo pezzo e non mi sono ancora abituato alla musica del GENIO di BELLINI
Forse dovevi dire che non ti sei mai stancato di sentirlo, perché le cose splendide non stancano mai!
La Norma è stata scritta in 3 mesi. E' chiaro che certamente Dio guidava la mano di Bellini
Del Monaco: Miss Tebaldi has a most beautiful voice & I like singing with her very much. But there is something very special going on with Miss Callas and I also enjoy singing very much with her. This is somewhere on You Tube
Yes that interview occurred during a performance in Hartford, CT IIRC and perhaps it was during the peak of the Callas-Tebaldi rivalry. MDM handled the question of which soprano he preferred performing with in a very diplomatic way.
@@rdargenio Yes, he did.
Ella le da tanto sentido a cada palabra que pareciera que crea el lenguaje, en este hernoso duo la divina profundiza casa frase, da sentido hasta a los instante de silencio, dudo que antes o después al maestro Bellini se le interpretase de esta manera, pasa de un sentir a otro, nos lleva al alma de Norma, a su miedo y decisión, realmente la Divina es eterna. Del Monaco aquí con una voz de bronce, masculina y en una de sus más brillante manera de dar vida a un papel difícil y encerrado entre el miedo y el amor. Luego de esto nada más hay. Callas eterna. Actualmente nada existe que se les asemeje.
Gli anni D'oro di entrambi
Superlativi e inarrivabili!
I dei dell'Olimpo! Nulla da aggiungere!
sans. doute la meilleure. version jamais. enregistrée ,2 géants , Callas souveraine comme jamais et Monaco qui n' en fait pas trop ! Magnifico
2 of the greatest dramatic voices!
so touching , so beautiful
bravissimi!!!!
As you know, I'm a HUGE fan of Callas as well as Sutherland. And I adore this duet. I even find this duet to be more of a favorite than the two Norma/Adalgisa duets. That said, Callas sings a "In mia man alfin tu sei" even better in Rome in the same year. Type in... "in mia man rome" on YT's search. And it's take you to that staggering performance.
A bonus is that that video also shows a slideshow of Callas' emotions that fits the music perfectly. The only down side is the english translation interferes with the video. I hate translations. Anyone who is watching Callas sing "In mia man alfin tu sei" don't need the translation since they already know the lyrics or understand Italian. Callas captures every nuiance of Norma's emotions to the point of ridiculous!
l will check that ;) thank you,
l also love this not because Maria is at her best (IMO in '55 she was already past her prime) but because of the great combination, as l said, of two beautiful big voices :D
In mia man, alfin tu sei is my favorite piece from Norma besides the trio and Casta Diva. I love Callas to the end of her career, the same with Sutherland. They are the two icons of opera that I can't live without.
I am totally aware that after her weight loss the voice was not the same. Although in the 1955 Rome recording, you only hear her slight decline when she screamed the high C at the end of the duet.
The fantastic sync of the photos with the lyrics is riveting. And even with the weight loss, she still matched del Monaco's HUGE voice in volume.
absolutely :)
ln mia man is a heavenly piece, Bellini was the God of melody
This scene defines Norma's character more than any other scene from Bellini's masterpiece, Norma. I agree...Bellini is the King of bel canto and Norma and Puritani(apples and oranges) proves without a doubt, he is the supreme maestro of bel canto.
I adore Donizetti's Lucia, but Norma is the epitomy of bel canto Next in line...Beatrice, Sonnambula and Puritani. And Donizetti's Borgia, Anna Bolena and Roberto Devereux.
Ad un attento ascolto, trovo questi due artisti,
i più idonei,per interpretare Norma e Pollione !!! Questo commento è scritto sul Corriere in stampa il 09 12 1955,con firma Franco Abbiati !!! Sono d'accordo...grazie
La grande divina,Il grande gigante lirico drammatico, Bravi e grazie
This operistic interpretation is " FENOMENAL" vIva Maria as Norma. One of a kind. Unmatching. Thank you for sharing this video clip. I am in heaven when I listen to it.
Beautiful!
Es increíble (y estomagante) el número de comentarios que ponen el acento, no en las condiciones técnicas, estéticas, musicales o dramaticas de Callas, todas ellas extraordinarias desde mi punto de vista, sino en decir que la suya es no sólo la mejor versión de la Norma sino la única posible. Ya está bien de comparaciones y de tratar de imponer el propio gusto a los demás como si fuera verdad revelada y no una simple cuestión de preferencia.
La _Divina_ fue muy grande. No se merece la manada de cenutrios que se reclaman sus fans.
Maria, ... mia adorata Maria, ... verranno a te sull'aure i miei sospiri ardenti, udrai nel mar che mormora l'eco dei miei lamenti ....
questa pagina con questo post è per me una calamita, ogni volta , quando apro il computer...... che bellezza di musica....... che splendore di voci
Ha, ha, il Mediterraneo spacca!! Che scultura! 2 Miti! Come indica il mio nome youtube senza Hellas e l' Italia il mondo sarebbe stato unpo piu brutto....!
Maria Callas
Mario del Monaco
th paw Thank you my friend. Wouldn't you simply die without Bellini???OUR MAYA 👑💙 REGINA LA DIVINA & HEAD CHOLLA INDEED!!!
The music of "In mia man" is so gentle and lilting, and yet, she manages to make it sound as threatening as a tightly wound spring. I have to yet hear anyone equal her in this opera.
Montserrat Caballe
@@andity1 Caballe herself would admit that she couldn’t hold a candle to Callas, whom she idolized.
@@Shahrdad well of course no one could hold a candle next to her. She has natural abilities that no one has. For example she sings in one concert the aria of Lady Macbeth and finishes with Lakme. Literally no one ever did that. But! In Norma Caballe is just equal to her. Maybe just because she idolised her she could produce those sounds like her. Listen to that duet "In mia man" especially 1974 performance, and then listen to any of Callas's performances.
@@andity1 Caballe, of course, had the more beautiful sound. Her coloratura could often be aspirated, whereas Callas's was always legato and clean. Also, Caballe never could sing a real trill, but often substituted a kind of a goat-like bray in its place. Callas, on the other hand, had solid and often huge trills in every register. And she could even do a messa di voce on a trill (1953 Scala trovatore, d'amor sul ali). Caballe's Norma in Orange is probably her greatest moment as a performer, and after Callas, it's probably the best out there. Unfortunately, Caballe sleepwalked through too many performances, and she frequently omitted the text and just vocalized on a vowels. She also began using her pianissimi as a gimmick, often substituting a pianissimo where the composer wanted a forte, especially in the high notes. Some of her performance (her Medea, especially) were just embarrassing.
A friend of mine once met Caballe at a dinner party in Germany, and they talked for a long time. The conversation came to Callas, and Caballe said that Maria could look at a score, and immediately see all the shading, all the colors, and all the nuance in the role. She was actually rather puzzled why these weren't so obvious to everyone else. Caballe also said that Maria would look at a very complicated coloratura passage, hum it to herself, and then sing it out perfectly, whereas she herself had to practice it for a week or so to get it into the voice. She said that was one of the many abilities Callas had that she envied.
I love both singers, but Callas was in a universe of her own.
@@Shahrdad I completely agree with you, I just pointed out that exact performance in Norma. Because honestly is the most amazing singing that I've listened in that duet. I can replay it for hours without getting tired.
Callas the one and only....what more is to be said?
Merveilleux et inégalable Mario Del Monaco !!!
Voix unique et splendide !!!
Le plus grand ténor du monde.
So Beautiful.
Sono assolutamente ineguagliabili!!!!!!!!!!! Mari
Amazing!!!!!!!
Two Titans
Лучший состав оперы " Норма".
Bravissimi!
Nothing I can say to add to the comments - well, can't help myself, A Goddess of all others.What I really wanted to do was thank the paw for posting photos I have never seen before! Love them, thank you!
the best norma ever Maria Callas
BELLEZA !!!!!!!!!!!
Jamás habrá algo igual
Mi sarebbe piaciuto da matti vederli dal vivo..sul palco..Per motivi cronologici,impossibile purtroppo...Ce ne fossero oggi,di cantanti così....Pallide esecuzioni non paragonabili...Francesca Sassu
Stellari" odiosi"i insuperabili eterni avevo 15 anni ma non posso dimenticare col libretto in mano per seguire
Coppia unica.
favolosi😘
Michela Cogoi Aye 🏃 Arnold Bourbon Amaral
Duetto stratosferico!
Thank you very much.
I can’t help thinking the tempo adds to the monumental effect here: it’s much slower (especially in the beginning phrases) than I remember hearing elsewhere. It never drags, but there’s a sustained, building tension that I’m not sure anyone else could have pulled off in quite this way.
Интересно послушать Каллас после Аниты Черкуэтти...
Понимаешь истинную величину каждой из них... :)
(для непонятливых: Анита Черкуэтти великолепна и превосходит всех остальных сопрано)
Brava.
Esperaba un final mas agudo fortissimo de mi adorada Callas...Pero siempre bellisimo.
Qué esperabas? ¿Que escupiera las cuerdas vocales?
Grazie di cuore a Bellini e ha chi inventato internet
Who are those 3 deaf who voted 👎??
amazing cheekbones.
Da brividi.....
C'est du feu ,ou de l'électricité à l'état pur !!!
I Agree 1000%
Shoccante !!!!
La piu brava!!!
Monserrat aveva una voce molto bella ,ma non aveva i colori di Maria ,la Callas possedeva tre voci ecco perché è la più grande di tutte.
It's not possible today!
Who is the lady at Callas' left? 6:08.
💖💖💖💖💖💖💖💖💖💖💖
Magnifici. L' ho sentita anche con Cerquetti, che come qualità di voce, insieme a Caballe', era superiore. Ma l' interpretazione e la personalità di Callas restano ineguagliate.
2:19 what a monster.
I think Domingo once said he wished he'd sung with Callas-imagine what fire there would have been.
It wouldn’t have been anything close to this duo, Callas and Corelli, Callas and Di Stefano, and Callas and Bergonzi
@@shayanmardanbeigi2697 I agree!
Wtf, there would be no fire since Domingo's mosquito size voice couldn't keep up with Callas's voice.
He didnt have enough squillo or power or high notes as nice a tenor as he was,certainky no partner for callas
No fire at all domingo would be lost,tiny voice in comparison
Callas was the only soprano who was able to bully Del Monaco on stage! And he deserved it too! Cause he was notorious for bullying sopranos with his volume. That did not work with Callas cause Callas had an equal sized voice by 1955 and a bigger voice before 1954.
Here you are so wrong,del monaco was no bully,and he thought very highly of callas maybe more so than his singing partner tebaldi,in deed in a book i read recently and in the view of many of the sopranos he sang with,he came out on top as being one of the kindest and most considerate to sing with.also callas did once try to hold onto a note longer than him and he held it longer,that said they admired each other greatly and some of the most exciting duets the opera world ever heard or is likely to do so again
You might be thinking of Kurt Baum, who was just a trashy tenor. MDM had class.
🤣🤣🤣🤣
Maybe this Pollione is too strong, I slightly prefer Corelli with Callas in this scene - her menacing, overbearing basso over his sobbing bright voice revealing a vain, selfish and beautiful man. This Pollione is too mature and maybe he is so much an Otello that he does not contrast this terrible murderous woman as Norma is.
Ooooooooooooof
Опера Беллини Норма
Исполняет Мария Каллас и Георг Отс
И Марио Дель Монако!!...!?...
Però persino Maria stessa convenne che la più grande Norma fu Monserrat Caballe'. Mario del Monaco e Maria Callas a mio parere tendevano a urlare troppo con l'intenzione di sopravanzarsi. Entrambi meglio in un'edizione di Andrea Chénier.
Monserrat aveva una voce meravigliosa e una capacità interpretativa notevolissima, ma i giudizi li esprimono gli ascoltatori e la presenza tragica della Callas in quest' opera, come in Medea e ne La Vestale resta ineguagliata e ineguagliabile,
L Callas. n a jamais. dit. ça , elle a. juste reconnu , du bout des lèvres , le talent de Caballé
Non credo proprio la forza drammatica che la Callas mette in questa aria la Caballe se la sogna...penso proprio che Norma sia della Callas...
She did not say that. When some interviewer asked Callas who her successor who be, she said, Maybe Caballe’’. She sent Montserrat by post her earrings that she wore in Norma . Montserrat never wore them, although she treasured them. She said,”There was only 1 Maria.” . These 2 women admired and respected each other.
@@1955etienne yes, that is more like it!