I've read that something came over her once the performance began. Previously she worked and worked on the music, but once the performance began she "became" the character. That IMO was the nature of her genius: to her the music and drama were one. In one of her interviews, she said that her mentor Tulio Serafin said that "it's all in the music" (referring dramatic gestures etc.).
@@danawinsor1380 Actually, interestingly, she wasn't one to lose herself into a character. Everything was planned out. She wasn't a Martha Modl or Magda Olivero. But she did speak of trying to keep half of her brain spontaneous (and the other half in full control). Whatever that means, maybe that's why she avoided seeming calculated, even though her approach was calculated. Unlike Schwarzkopf.
Forse il Maestro Direttore, forse il tenore si sentiva più aggio cambiando quel pezzo, forse la tradizione....In quelli anni i Maestri avevano delle idee chiare, et sapevano quello che volevano.
In March 1957 she not only recorded it but also revived the production at La Scala, both with Monti (in 1955 she had sung it with Valletti). The production then traveled to Köln in July and Edinburgh in August, still with Monti.
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Una delle cose che mi piacciono di piu della Callas... molto bravo anche Nicola Monti
I Love Callas, and I must say I really really like the voice of Nicola Monti ❤
As with everything I've heard her in, Callas doesn't sing it, she doesn't act it, she lives it.
Callas IS Amina.
I've read that something came over her once the performance began. Previously she worked and worked on the music, but once the performance began she "became" the character. That IMO was the nature of her genius: to her the music and drama were one. In one of her interviews, she said that her mentor Tulio Serafin said that "it's all in the music" (referring dramatic gestures etc.).
@@danawinsor1380 Actually, interestingly, she wasn't one to lose herself into a character. Everything was planned out. She wasn't a Martha Modl or Magda Olivero. But she did speak of trying to keep half of her brain spontaneous (and the other half in full control). Whatever that means, maybe that's why she avoided seeming calculated, even though her approach was calculated. Unlike Schwarzkopf.
Callas is amazing Amina! But as Elvino I prefer Cesare Valletti.
The 1955 recording with Callas and Valletti is by far the best ever.
Perché invertono le due parti?
Forse il Maestro Direttore, forse il tenore si sentiva più aggio cambiando quel pezzo, forse la tradizione....In quelli anni i Maestri avevano delle idee chiare, et sapevano quello che volevano.
Are you sure is this 1957? I thought the Scala's performance was in 1955 and in 1957 she recorded the opera with Votto and sang it in Cologne
King's Theatre, Edinburgh, on August 21st, 1957, with the orchestra and chorus of Piccola Scala, Milan :)
@@Oldschoolsingers Thank you very much. I didn't know this performance
In March 1957 she not only recorded it but also revived the production at La Scala, both with Monti (in 1955 she had sung it with Valletti). The production then traveled to Köln in July and Edinburgh in August, still with Monti.