I remember hearing her sing on the MET gala in 1983. I was unprepared for the size of her voice, as she was known for her pianissimi. Her's was among the largest of the whole night including Nilsson's. Caballe's precision in the music and German is noteworthy here, along with her more well-known passion. KUDOS to BOTH. Bravo Zubin Mehta.
...At the time, I was often quite critical of Mehta, finding him, as I thought then, not sufficiently emotionally involved. But hearing this thrilling performance with Caballe at her absolute best, it is difficult to imagine a more overwhelmingly dramatic reading than that which is given here by Mehta and the N.Y. Phil...!
I love Montserrat and Zubin Metha and always will. I can’t wait to see him conducting in Barcelona’s Palau de la Musica in January 2024, I bought the tickets long time ago! ❤❤❤
Her power is overwhelming!! I've never seen her more animated, more into it with her physical gestures. That's the beauty of working with Zubin Mehta. He brings out the best.
Because of my recording camera and the terrible sound in philharmonic/Fisher Hall- her voice is drowned by the orchestra. NOT SO in person. Just the opposite.
This is why Caballé is the voice of eternity. The music of Salomé is so connected to the words of Oscar Wilde that the combination is hair raising. THIS is monumental singing!
Time and again I re-watch this, and each time I have goosebumps! Phenomenal singing and acting. She is completely in her element here. Impossible for me to hear another Salome after hers. Sublime.
@@SymphonyBrahms I already have, thanks. I love Nilsson, too, of course. But there is something different (to me) about Caballe's interpretation. I find she understands how to act the part of Salome during her singing, far better than any other I've seen and heard.
People forget that Caballé was a Strauss specialist (she sang Salome, Arabella, Marschallin, Four Last Songs, lieder). For it being relatively late in her active career and a bit past her prime, this is an extraordinary performance. And Mehta’s conducting is spot-on.
This is not past her prime. This is right in the middle of her prime. 1980 was the beginning of the decline and by 1982 it was fairly certain that her best years were behind her as she had more bad performances that year than good.
Richard Strauss was her favorite composer and she's always totally invested when she sang his music. And am I allowed to confess that I prefer german music sung by latin (or black) voices. For my taste, nordic voices are often too metallic.
WOW!! Thank you for sharing this. A phenomenal Mm Caballe and matched with conductor Mehta!!!!!!!!! Who could ask for anything more. Historic!!!!! Thank you.
WOW! Thank you, thank you, thank you!!!! It brought tears to my eyes to see Caballe once again passionately embrace the music in her youth. She was undoubtedly the finest--vocally--Salome of all times. I knew the ovation would blow the roof off! This is a real treasure and a reminder of how truly great Caballe was.
AWESOME! There was a performance at Carnagie Hall about the same time with the Philadelphia Orchestra where she almost collapses at the end. One of my great memories;would love to see that again!
Man totet dieses Weib! She's a force of nature. And to think she was in the second opera I ever saw in my life at old Pittsburgh Opera have-voice, will-travel at the Syria Mosque theatre where a treasure trove of singers passed through in the late 60s. Caballe was Amelia in Ballo in maschera back in 1968. I thought she was real good. I had no idea at age 11 just how good, until I really got into the world of singers and opera. (My 3rd opera that season was Tosca with this French lady name Regine Crespin! I was 3 feet from her backstage waiting to go one as a Te Deum boy chorister.) I grew to expect great things from her (both hers) in Verdi and Puccini and Mozart. Another discovery along the way, what I never would have predicted was that Caballe was superb in German opera, paradoxically (I thought) despite her Latin roots. Such complete assurance and echt diction. How was this? Her splendid recording of Salome with Leinsdorf, for example. Where did this come from? Well surprise! surprise!. She started her career singing in German-speaking Switzerland, continuing her foundational preparation later at the Bremen opera house. Hence a Salome that gives even Birgit a run for the money! Sie hat so eine Stimme! Sie dringt in die Tiefe des Herzens! I'll say! Just listen to this NYPO audience cheer. (Look how young Zuben Mehta looks. Oy vey!)
She was a very good friend of the Tenor Francisco Ortiz, my teacher.. he tell me many beautiful thing of her and he introduced me once.. was incredible see her opposite me..
Un experiencia sensorial. Salomé, una ópera cuyo final es violento, intenso y donde la voz tiene que dar todo de sí. Ella ha repetido en varias ocasiones que es su papel favorito, y eso se nota viendo la pasión con que canta. Brigit Nilsson y ella son únicas en este tipo de repertorio.
Salome/Norma/Leonoras/Mimi/Violetta/Donizetti’s Queens/Semiramide/Ballo/ Gioconda to name only a few Not all at the same time but only Callas could claim to be that versatile except Caballe’s career lasted much longer. RIP
If this is from the same concert I attended, she also sang the Immolation Scene, and the audience went even wilder at the end. Make my day, if not the entire year, by telling me you also recorded that.
Sorry Bob- I don't think so. It was at Philharmonic Hall or Fisher Hall, or whatever they're calling it today.. if that helps. That's 'all' I could tape. IT WASN'T EASY.
This was her debut with NY Philharmonic in 1978 at Avery Fisher Hall. The Wagner concert was around 1980 or 81, same conductor, same orchestra, same hall.
This concert where she sang the Immolation Scene is reviewed here: www.nytimes.com/1981/02/20/arts/music-montserrat-caballe-in-gotterdammerung-aria.html?searchResultPosition=2
And quite possibly the same gown--she was all in black that night, too. Thanks for the posts, especially the link to the review. I remember her "reckless intensity" as if it was yesterday. I also remember what seemed like an endless stream of basses as the rest of the orchestra filed in for the second half, and the friend I was with quipping "Here comes the heavy artillery."
The sound here is awful-Caballe' sounds 'drowned out by the orchestra. Not So!! It was the terrible sound in Philharmonic/A.Fisher Hall (or whatever it is called). Her voice soared over the orchestra!!!
Completely buried. Mismatched for the need of a dramatic weight. Shame on Mehta for not trying to soften the orchestra to help her. How was this allowed to happen to a great singer?!!!
We can find here un TH-cam a second recording of this same performance and it's amazing. Caballe sang this role a lot of times from 1958 to 1988 at la Scala with a huge success. This poor sound is because of the los quality equipment and its position.
yeah... it was certainly the role for her voice - but not for her weight! one who wouldn't like to watch the fat lady playing the whimsical teenager could still either not attend her live performances, close his eyes during the performance, or listen to a recording.
I lived through the Caballé era, and I can assure you, her performances were sold out as soon as they were announced. Folks didn't give a damn about her weight. In those days all we cared about was voice, voice and voice, and there were dozens of star singers whose avoirdupois did not prevent them from singing to sold out houses of adoring fans. Pavarotti, Scotto, Caballé, Rita Hunter, Cristina Deutekom, Birgit Nilsson, Ursula Schröder-Feinen, Marilyn Horne, Sharon Sweet, Jane Eaglen and David Rendall were just a few of the plus-size singers whose angelic voices overcame any objection to their physical unsuitability for the roles they sang.
I remember hearing her sing on the MET gala in 1983. I was unprepared for the size of her voice, as she was known for her pianissimi. Her's was among the largest of the whole night including Nilsson's. Caballe's precision in the music and German is noteworthy here, along with her more well-known passion. KUDOS to BOTH. Bravo Zubin Mehta.
More than nilsson?
Caballe is phenomenal but I think Mehta also needs a mention. His conducting is truly inspiring. They make a great team.
They sure did and they were good friends!
I have read from more than one singer what a singer's conductor he was. Beverly Sills was quite fond of him, as was Leontyne Price.
...At the time, I was often quite critical of Mehta, finding him, as I thought then, not sufficiently emotionally involved. But hearing this thrilling performance with Caballe at her absolute best, it is difficult to imagine a more overwhelmingly dramatic reading than that which is given here by Mehta and the N.Y. Phil...!
I love Montserrat and Zubin Metha and always will. I can’t wait to see him conducting in Barcelona’s Palau de la Musica in January 2024, I bought the tickets long time ago! ❤❤❤
Her power is overwhelming!! I've never seen her more animated, more into it with her physical gestures. That's the beauty of working with Zubin Mehta. He brings out the best.
Because of my recording camera and the terrible sound in philharmonic/Fisher Hall- her voice is drowned by the orchestra. NOT SO in person. Just the opposite.
This is why Caballé is the voice of eternity. The music of Salomé is so connected to the words of Oscar Wilde that the combination is hair raising. THIS is monumental singing!
Time and again I re-watch this, and each time I have goosebumps! Phenomenal singing and acting. She is completely in her element here. Impossible for me to hear another Salome after hers. Sublime.
Listen to Nilsson singing it. She was the greatest Salome.
@@SymphonyBrahms I already have, thanks. I love Nilsson, too, of course. But there is something different (to me) about Caballe's interpretation. I find she understands how to act the part of Salome during her singing, far better than any other I've seen and heard.
Les derniers feux de Caballé mais quels feux .
De 1962 à 1978 , la sopran du siècle nous a régalé , comme ici .
People forget that Caballé was a Strauss specialist (she sang Salome, Arabella, Marschallin, Four Last Songs, lieder). For it being relatively late in her active career and a bit past her prime, this is an extraordinary performance. And Mehta’s conducting is spot-on.
This is not past her prime. This is right in the middle of her prime. 1980 was the beginning of the decline and by 1982 it was fairly certain that her best years were behind her as she had more bad performances that year than good.
@ Her peak years were the late 1960s and 1970s
Strauss was her favorite composer but her success in bel canto led her to a wider repertoire. She always loved Strauss, the master of female voices
She was from another world.Her voice had kind of angelic quality..
She is channelling the music! A pervasive artistic experience!
Beyond words. ecstasy, passion, Caballe
She is a Rare gem in the Opera World! Absolutely Incredible!
Caballe is in ecstasy here. You can really tell she loved this role which suited her so much.
I love Richard Strauss's music and Maestra Caballe is perfectly matched to it. What a transcendant experience.
Richard Strauss was her favorite composer and she's always totally invested when she sang his music. And am I allowed to confess that I prefer german music sung by latin (or black) voices. For my taste, nordic voices are often too metallic.
WOW!! Thank you for sharing this. A phenomenal Mm Caballe and matched with conductor Mehta!!!!!!!!! Who could ask for anything more. Historic!!!!! Thank you.
WOW! Thank you, thank you, thank you!!!! It brought tears to my eyes to see Caballe once again passionately embrace the music in her youth. She was undoubtedly the finest--vocally--Salome of all times. I knew the ovation would blow the roof off! This is a real treasure and a reminder of how truly great Caballe was.
yes
So wonderfully in her element. She is passionate and gorgeous.
Thank you for this. Montsy at her very best. Fabulous
My Lord ! What a Voice and Superb Ability!
AWESOME! There was a performance at Carnagie Hall about the same time with the Philadelphia Orchestra where she almost collapses at the end. One of my great memories;would love to see that again!
de quoi perdre la tête....... Thank you for sharing.
Man totet dieses Weib! She's a force of nature. And to think she was in the second opera I ever saw in my life at old Pittsburgh Opera have-voice, will-travel at the Syria Mosque theatre where a treasure trove of singers passed through in the late 60s. Caballe was Amelia in Ballo in maschera back in 1968. I thought she was real good. I had no idea at age 11 just how good, until I really got into the world of singers and opera. (My 3rd opera that season was Tosca with this French lady name Regine Crespin! I was 3 feet from her backstage waiting to go one as a Te Deum boy chorister.) I grew to expect great things from her (both hers) in Verdi and Puccini and Mozart. Another discovery along the way, what I never would have predicted was that Caballe was superb in German opera, paradoxically (I thought) despite her Latin roots. Such complete assurance and echt diction. How was this? Her splendid recording of Salome with Leinsdorf, for example. Where did this come from? Well surprise! surprise!. She started her career singing in German-speaking Switzerland, continuing her foundational preparation later at the Bremen opera house. Hence a Salome that gives even Birgit a run for the money! Sie hat so eine Stimme! Sie dringt in die Tiefe des Herzens! I'll say! Just listen to this NYPO audience cheer. (Look how young Zuben Mehta looks. Oy vey!)
I love your comments! So true.
Uberwältigend und Impulsiv❤
Grandios Monserat Cabelle🎉Danke fürs hochladen😊
Good God! What sheer power.
She was a very good friend of the Tenor Francisco Ortiz, my teacher.. he tell me many beautiful thing of her and he introduced me once.. was incredible see her opposite me..
Tell us more please x
Che dire? Un' interpretazione preziosa, un' interpretazione così non la sentiremo mai più.
Un experiencia sensorial. Salomé, una ópera cuyo final es violento, intenso y donde la voz tiene que dar todo de sí. Ella ha repetido en varias ocasiones que es su papel favorito, y eso se nota viendo la pasión con que canta. Brigit Nilsson y ella son únicas en este tipo de repertorio.
Incredible!!
Qui aujourd'hui peut "assurer" comme ça cette scène? Une splendeur !
Salome/Norma/Leonoras/Mimi/Violetta/Donizetti’s Queens/Semiramide/Ballo/ Gioconda to name only a few
Not all at the same time but only Callas could claim to be that versatile except Caballe’s career lasted much longer.
RIP
@@xxsaruman82xx87 she sang the Immolation at concerts in New York.
@@1pureboy1 She also sang an amazing Isolde, here's a full performance in video! th-cam.com/video/lHS9E5ti1sA/w-d-xo.html
She sang Isolde and Siegende a few times. And I believe recorded Elizabeth’s arias
@@xxsaruman82xx87 oh yes she did.
Каллас не была универсальна
Just perfect!!
I heard her the same year, with orchestra, and can attest to the size of her voice and her unbelievable singing.
Stupendous!
Astounding!TY StuartLou for posting
Just superb!!
IMPRESIONANTE
Let us not forget that her Salome recording under Leinsdorf has rarely been equaled and positively NEVER SURPASSED. Not by anyone.
❤🤲👏🏻👏🏻👏🏻 Gracias Montserrat por tanta intensidad 🌹🌹🌹🌹🌹🌹🌹
Moment exceptionnel et infiniment bouleversant.
What a fabulous concert...didn't she also sing the Strauss Last Four Songs in the program...sublime!
Yes, she did.
Che magnificenza!!!
I asked myself, if the wonderful Ljuba Welitsch made it better - never heard these intensity of the final scene !
Unbelievable as always! What command!
Tremendous!
great great singing
Peccato che l'audio sia così scadente! Una grande interpretazione.
PRIMA DONNA ASSOLUTA !!!
unica
Incomparable. Voice and orchestral colors are sublime, despite the subject!
INTERPRETAZIONE SUBLIME
WHAT A PHENOMENON !
Just insanely terrific. So powerful. Chilling.
Montserrat Caball'e a angel of earth!!!!!!!🎼🎵🎶💥💥💥💥💥
Sublime Montserrat !
Inmensa !!!!
If this is from the same concert I attended, she also sang the Immolation Scene, and the audience went even wilder at the end. Make my day, if not the entire year, by telling me you also recorded that.
Sorry Bob- I don't think so. It was at Philharmonic Hall or Fisher Hall, or whatever they're calling it today.. if that helps. That's 'all' I could tape. IT WASN'T EASY.
This was her debut with NY Philharmonic in 1978 at Avery Fisher Hall. The Wagner concert was around 1980 or 81, same conductor, same orchestra, same hall.
This concert where she sang the Immolation Scene is reviewed here:
www.nytimes.com/1981/02/20/arts/music-montserrat-caballe-in-gotterdammerung-aria.html?searchResultPosition=2
And quite possibly the same gown--she was all in black that night, too.
Thanks for the posts, especially the link to the review. I remember her "reckless intensity" as if it was yesterday. I also remember what seemed like an endless stream of basses as the rest of the orchestra filed in for the second half, and the friend I was with quipping "Here comes the heavy artillery."
@@bobzeschin3154 I live that-Caballe did carry a heavy artillery...💖🌹
Reina caballe lo mas
Brrrava!!!
The sound here is awful-Caballe' sounds 'drowned out by the orchestra. Not So!! It was the terrible sound in Philharmonic/A.Fisher Hall (or whatever it is called). Her voice soared over the orchestra!!!
The audio I’m getting is fuzzy
¡J-o-d-e-r!
Eh oui, Madame Caballe était aussi une immense Salomé; c'est un rôle qu'elle adorait... Cela s'entend et cela se voit ! Document inestimable.
Even though Nilsson will be the definite Salome for me, Caballe delivers a very good performance here.
Brava però la nilsson e superiore mi dispiace
Completely buried. Mismatched for the need of a dramatic weight. Shame on Mehta for not trying to soften the orchestra to help her. How was this allowed to happen to a great singer?!!!
We can find here un TH-cam a second recording of this same performance and it's amazing. Caballe sang this role a lot of times from 1958 to 1988 at la Scala with a huge success.
This poor sound is because of the los quality equipment and its position.
Caballe sang the role very well. But Nilsson sang it better.
yeah... it was certainly the role for her voice - but not for her weight! one who wouldn't like to watch the fat lady playing the whimsical teenager could still either not attend her live performances, close his eyes during the performance, or listen to a recording.
evidentemente no vas a ver opera vas a ver un desfile de modelos
There are fat and passionate teenagers in this world
I lived through the Caballé era, and I can assure you, her performances were sold out as soon as they were announced. Folks didn't give a damn about her weight. In those days all we cared about was voice, voice and voice, and there were dozens of star singers whose avoirdupois did not prevent them from singing to sold out houses of adoring fans. Pavarotti, Scotto, Caballé, Rita Hunter, Cristina Deutekom, Birgit Nilsson, Ursula Schröder-Feinen, Marilyn Horne, Sharon Sweet, Jane Eaglen and David Rendall were just a few of the plus-size singers whose angelic voices overcame any objection to their physical unsuitability for the roles they sang.
@@jasonhurd4379 How fortunate we were to be a part of the Golden Age of Opera! Will never be a time again as we knew...
Hope you look back on this and feel a semblance of shame. Pathetic comment.