Bel raggio lusinghier di speme e di piacer, al fin per me brillo, brillo. Arsace ritorno, si, si a me verra. Quest'alma che sinor, geme, tremo, langui.oh come respiro! Ogni mio duol spari, spari. Dal cor, dal mio pensier si dileguò il terror, si! Bel raggio lusinghier, di speme di piacer, al fin per me brillo, si, al fin per me e brillo. La calma a questo cor. Arsa ce renderà: arsa ce ritorno... qui, qui a me verrà, qui verrà, verrà! Dolce pensiero di quell'istante, a te sorride, l'amante cor, si. Come più caro dopo il tormento è il bel momento di goia e amor! è il bel momento di goia e amor! Di goia, di goia e amor!... Ah! Dolce pensiero di quell'istante, a te sorride l'amante cor, si. Come più caro dopo il tormento, è il bel momento di pace amor. Di goia e amor...
resumo esta interpretación en dos palabras: arte sublime, inalcanzable para el resto de cantantes sopranos de todas las épocas .y no es cuestión de prefrencias, ni si me gusta esta o la otra, es la verdad sin ataduras. es la mejor de todos los tiempos.
La creatura più cara con un dono divino e così infelice. Tali doni non possono essere sopportati tra gli umani. Liberano sia dall'esaltazione e dalla bellezza che dall'invidia e dal martirio.
CALLAS demonstrates hier in " Semiramide " of ROSSINI a perfect lesson of singing Rossini. Listen to her flawless use of the "mesa di voce", a swelling and then tapering off a sustained note. Almost impossible for most sopranos to do !! What a world of drama and emotion she infuses into just one word ..... Her vocal tone is warm and a scale passages, perfectly legato, are polished to a pristine brilliance. Her final note is steady, rock and imperious ! It's may be the best CALLAS'S performance !
Ouvindo uma cantora de bel-canto que até considero ser uma das melhores da atualidade e voltando a Maria Callas, comfirmo que não houve nem haverá quem cante com a mesma magia e poder!❤❤❤❤❤❤❤❤
Fabulous! LA DIVINA once again gives everyone else a singing lesson. She owns this aria, just like everything else she ever did. That's why they all come to her to pay her tribute.
@TitoSchipa65 While you may be right about this later version, have a listen to the 1956 version. Callas's coloratura, downward chromatic scales, and especially the portamenti are the very embodiment of the Italian school of singing; certainly something Dame Joan could never claim, as much as I love her.
La Callas poteva cantare tutto e in Tutto era Divina!!!Non c'è niente da fare...semplicemente una cometa che passa una volta e chissà quando tornerà...
She's a scream, as ever! I really have tears in my eyes when I listen to her. She sings absolutely difficult pieces with a simplicity and ease that is astonishing.
Isabella Colbran, whom this aria was written for, had already declined at the stage of the premier performance. Maria Callas does a good job like the at the time declined Isabella.
Someone once described her voice as having a tin pie plate for a palate. To me she sounds like she is trying to gulp down a mouthful of marbles. Just because she was a great singer doesn't make her a good singer.
beautiful, just beautiful..you can enjoy in avery word she sings....voice was at the end but ..but what a voice....di gioia e amor...maybe like Isabella Colbran
i venture to say that anyone who dares to say anything negative about any singer other than "I don't care for their sound" probably doesn't know much about singing, drama, or they are simply jealous. Callas, Sutherland, Bartoli, Sills, Caballé, etc. are all huge names for a reason. They made it. They are amazing musicians and singers. Are you? Get over yourselves please.
acababa de pasar una gripe terrible y aun asi cantó y pues solo ella era capaz de dar ese resultado con su voz en contra. no ha habido digan lo que digan ninguna cantante tan musical como ella, lo demas es cuestion de gusto o de mal gusto de cada cual.
I haven't laughed out loud so much for ages....thanks to the reviewer who commented "opinions are like arseholes.... everybody's got one!"......well said!!....
Callas also sung this aria Live in 1956 when her voice was in much better condition than on this one, in my opinion: th-cam.com/video/FX_J0RLWYFc/w-d-xo.html I hope you enjoy it!
The critiques posted here about Callas and this recording of Bel raggio are for the most part inaccurate and musically unfounded. Callas demonstrates here a perfect lesson in the correct style of singing Rossini. It is never in bad taste to sing an aria "come scritto" (as written). We know for a fact that Rossini detested his arias overly ornamented as we find in the recordings of Sutherland and other sopranos, as exciting as they may be to hear. Callas does other, more musically refined nuances. Listen to her flawless use of the "mesa di voce", a swelling and then tapering off of a sustained note. Simply exquisite and almost impossible for most sopranos to do. Listen to what she does with the sustained attacks on the word "Verra!" No upward staccati as Sutherland does, but what a world of drama and emotion she infuses into just one word. Her vocal tone is warm and lush and her scale passages, always perfectly legato, are polished to a pristine brilliance. Her approach to the aria is Grand, Regal, and Commanding. The tempo not too slow. The broadness of the tempo has the spaciousness necessary for a Queen. You do not want the fast tempo required for a soubrette as in Barbiere di Siviglia. Her final note is steady, rock solid, and imperious. This is altogether one of the great recordings by Maria Callas.
You're not impressing anyone but yourself. She only sang "come scritto" because her voice was out of her command. If this is "one of the great recordings by Maria Callas" then she is the most overrated singer who ever lived.
Maestro Sparacino TOTALLY RIGHT. Those trills are fantastic display here and there's an ELEGANCE of delivery that is luscious and beautiful. Joan no fue la chancleta de La CALLAS.
So many things are a competition. The all-or-none approach. In the way of irony, I reckon Callas nor Sutherland sang in order to find out who is supreme.
I think this is good considering being close to the premier performance of this opera. Isabella Colbran, whom this aria was written for, had a similar voice to Callas. Isabella was big decline when she sang this... interestingly Callas sang this and she was already past her prime. So it is good considering both her and Isabella were already in decline singing this. -I Imagine this is what the premier sounded like!
Dommage qu'elle n'est pas interprétée cet aria dans la grande époque. La voix est plus métallique, le vibrato bouge dangereusement, mais malgré tout ceci, cela reste musicalement et stylistiquement superbe.
And I thought I could just have this on in the background while doing something else! Of course I should have known she'd grab all my attention with the very first notes, and not let go until the very last second...
In 7:53 my ears are hearing "bel raggio lusinghier" but my mind is saying "trema per me fellon, trema, trema per me fellon" of Norma "Oh non tremare". Look this video th-cam.com/video/gULCaPkuDrY/w-d-xo.html at 0:43, the melody seems a lot
Well.......The conductor deserves a lot of praise as he slowed down and was really very forgiving of her need to slow down in order to get all of the coloratura to fit in the measures....but she still had such a big dark voice and I can't help but admire her voice even at this stage However - that all being said.....I still adore Callas...but I wish she had recorded this a bit younger.....still her technique is fascinating and so much better than what we have nowadays...
+george prentice she was fucking better than sutherland. sutherlands voice was dry nd lacked the beauty rossini was looking for. on the overall i would rate this song as june=callas>sutherland
+dike chukwudi Your comments here are among the most absurd things I have ever read on YT. Callas' voice was more beautiful and less dry than Sutherland? Sutherland 's voice not beautiful enough for Rossini or for that matter any composer??? I hate to be harsh but I can't take anything you say seriously and your opinions are essentially worthless.
William maddox its all about preference. I do not like Sutherland's version, it didn't appeal to me. Sutherland has never proven to be the best in any Rossini repertoire I've heard so far. She was good in Bellini's il puritani as Elvira, but that's it. After that, I find her voice dry and unappealing. Its just ma opinion.
+Amazing Stud And my opinion is watermelon is the dryest fruit ever! Here is the thing, if you don't like a singer's appearance that you don't wanna bother with her\he work, shut the fuck up and don't issue your biased opinion.
Il est pathétique d'écouter la grosse voix de la Callas, au timbre passablement lourdaud, ayant un registre de Soprano Dramatique voire de Mezzo-Soprano à l'occurrence, aborder les belles envolées de la Collorature rossinienne. C'est outrancier et même outrageant tant cela dépasse les bornes du possible. Comment peut-on oublier de nos jours des gens comme Joan Sutherland et Edita Gruberova dans leurs interprétations élégantes, souples et abordées avec tant de classe? Quel est le phénomène qui soulève encore tant d'engouement pour la Callas? Peut-être la couleur sensuelle de sa voix? Il serait nécessaire de démarrer d'une bonne fois de ce mythe envoûtant. La prise de son est excellente. Merci. Pedro Miguel, Mar del Plata, Argentine
she did sing an F6 in her 1952 complete Armida... Divina records never managed to explain to us why only that particular recording is "speed up" and Callas appears to sing an F6 at the end of the 1st act quartett... Only that recording and non other? :))) the one that has the F6 in it? no way :p
I really diss Rossini's opera, too much ornament and the vocal lines are quite one dimension for coloratura soprano roles. However, Callas make it effortless and colorful with multi dimension, not like the other soprano do the song like elevator going up and down. Bravo!!
Callas also sung this aria Live in 1956 when her voice was in much better condition than on this one, in my opinion: th-cam.com/video/FX_J0RLWYFc/w-d-xo.html I hope you enjoy it!
@gustopheles Thanks for your comments. Maria Callas sang an F6 in Armida. After 1960, I think she couldn't sing C#6. But before this year, she always do it. I think I wrong some words. Callas rarely sang Semiramide.
She sang Norma and Tosca until 1965 and there are plenty of High C's in both operas. You should learn before expressing such a statement. Caballé, like Callas, sang Semiramide following the original score and not like Sutherland did, wonderfully though.
The highest note in 'Armida' is not an F6 but an E6, at the end of the Act One quartet. To the best of my knowledge, Calls never sang an F6 anywhere. This is not a criticism, she has no greater fan, but just a correction.
@conghoan1998 You're mistaken. This is from the Rossini/Donizetti disc she put out in 1964. And there are no C sharps attempted here. Are you thinking of the 56 concert recording?
She's singing, like Caballé, the original score being being B flat the highest note in this aria. Rossini's secret was to write mostly in the middle of the voice and was never pleased with the over ornamentation a few singers, female and male, used to do to his arias at the time.
Credo che sia una delle interpretazioni più modeste che esistono in commercio Una Callas ormai in disarmo. Un finale penoso per una grande cantante come Lei fu.
@luigipavabartolotti I used to know a couple of teachers who hated the voice and stated that this is a coloratura.... Once, someone no lesser than Grace (yes Bumbry) told me the same. "This is a Dramatic Coloratura!" she said imperially! I am not name-dropping, I am just telling you... God knows how many people have a different opinion out there... Listening to them would be fatal...
@conghoan1998 As far as your assertion that this was recorded between 57-60: there are no Callas recordings of Bel raggio in any of those years. Also, while it's safe to assume that from 61 onward, she wobbled on virtually any note above the staff, it's awfully presumptuous of you to say she "can't sing C#6". In her prime, she never sang an F6, but that doesn't mean she couldn't.
caro luigipavabortlotti anche Callas ha il titolo ben meritato di soprano di coloratura...ha cantato molto bene le arie di coloratura per un certo periodo di tempo per molti critici piuttosto breve...anche se qui canta "bel raggio lusinghiero" che è tardi...
Bel raggio lusinghier di speme e di piacer, al fin per me
brillo, brillo.
Arsace ritorno, si, si a me verra.
Quest'alma che sinor, geme, tremo, langui.oh come respiro!
Ogni mio duol spari, spari. Dal cor, dal mio pensier si
dileguò il terror, si!
Bel raggio lusinghier, di speme di piacer, al fin per me
brillo, si, al fin per me e brillo.
La calma a questo cor. Arsa ce renderà: arsa ce ritorno...
qui, qui a me verrà, qui verrà, verrà!
Dolce pensiero di quell'istante, a te sorride, l'amante cor,
si. Come più caro dopo il tormento è il bel momento di
goia e amor!
è il bel momento di goia e amor! Di goia, di goia e
amor!...
Ah! Dolce pensiero di quell'istante, a te sorride l'amante
cor, si. Come più caro dopo il tormento, è il bel momento
di pace amor. Di goia e amor...
❤❤❤😊😊😊🎉🎉🎉
Лучшая певица! Я ей молюсь! ❤❤❤❤
The supreme VOICE OF ALL TIME.... 💕💕💕👑❤️
Mía Signora, mia Diva, mio Angelo, dono di Dio, ti Amo María Callas. ❤
So true grazie mille🌷
O dio mio que gentil!
Superhuman Callas !!! Maria the breath of God !!!
I always wished that Callas sang every Rossini opera. She would breathe so much life in every line!
Her Armida is the best I've ever heard.
Together with a Gobbi Macbeth, it was the great opera miss of the XXth century
Breathing life to every word/syllable/line - that (to me) was her unique gift.
resumo esta interpretación en dos palabras: arte sublime, inalcanzable para el resto de cantantes sopranos de todas las épocas .y no es cuestión de prefrencias, ni si me gusta esta o la otra, es la verdad sin ataduras. es la mejor de todos los tiempos.
She was and still is the greatest opera singer!
Voice of an angel singing, takes us mere mortals to another reality
This is magnificent Callas, she can also do Rossini's with glorious touch!
@Barone Vitellio Scarpia she has the barber of seville, many operas are not done...Dynamic across, no one is close to Maria Callas.
Uno strumento pieno di colori dell' umanità.
The size, color and weight of her voice never fails to impress !
La creatura più cara con un dono divino e così infelice. Tali doni non possono essere sopportati tra gli umani. Liberano sia dall'esaltazione e dalla bellezza che dall'invidia e dal martirio.
❤
CALLAS demonstrates hier in " Semiramide " of ROSSINI a perfect lesson of singing Rossini. Listen to her flawless use of the "mesa di voce", a swelling and then tapering off a sustained note. Almost impossible for most sopranos to do !!
What a world of drama and emotion she infuses into just one word .....
Her vocal tone is warm and a scale passages, perfectly legato, are polished to a pristine brilliance.
Her final note is steady, rock and imperious !
It's may be the best CALLAS'S performance !
You simply stole Maestro Sparacino's comment.
Strepitosa come sempre!!! Unica ed irraggiungibile. A chi mette pollice verso, auguro di avere la stessa voce e di poter cantare come cantava Lei !!!
Una Dea una Divinità un Miracolo unica Divina Maria Callas forever ❤️❤️❤️
Ouvindo uma cantora de bel-canto que até considero ser uma das melhores da atualidade e voltando a Maria Callas, comfirmo que não houve nem haverá quem cante com a mesma magia e poder!❤❤❤❤❤❤❤❤
Divina,celestiale,eterna.
She was outer-worldly. I thank you for posting this incredible performance.
Amazing thank you most beautiful Performance 💯💯💯💯👍⭐⭐⭐❤️❤️❤️❤️❤️❤️❤️
La purezza di un diamante, la potenza di un tuono. Callas unica ed eterna voce ineguagliabile
Masto Babe, io direi anche di piu'.
incomparabile!
Fantastic voice! Brava Maria! Callas forever!
Unica e insuperabile!!!!!
È sempre una grande gioia ascoltare la Callas ma qui la stupenda la supera e non di poco.
Se con "la stupenda" si riferisce a Joan Sutherland, concordo con lei.
simplemente memorable!!! que timbre. oscura y flexible!!! una voz de carácter!!! La Diva!!!
Toda una clase de canto... la única capaz de leer una partitura tan magistralmente...!!!
Fabulous! LA DIVINA once again gives everyone else a singing lesson. She owns this aria, just like everything else she ever did. That's why they all come to her to pay her tribute.
Come canta ed interpreta lei, nessun'altra!!!!!!!
La più Grande , Fra le Grandi grazie Maria
@TitoSchipa65 While you may be right about this later version, have a listen to the 1956 version. Callas's coloratura, downward chromatic scales, and especially the portamenti are the very embodiment of the Italian school of singing; certainly something Dame Joan could never claim, as much as I love her.
Magistral interpretación de Maria Callas , del Aria "Bel raggio lusinghier"
La Callas poteva cantare tutto e in Tutto era Divina!!!Non c'è niente da fare...semplicemente una cometa che passa una volta e chissà quando tornerà...
Belle parole signora Clelia !
VERISSIMO !!!
Unique underslanding of Belcanlo aeslhelics and of Belcanlo vocal ornamenlalions!
La mayor tristeza es la absoluta seguridad de que no volverá a existir nada parecido...
👏👏👏👏👏👏👏GRANDE!!!!
Meraviglia
She's a scream, as ever! I really have tears in my eyes when I listen to her. She sings absolutely difficult pieces with a simplicity and ease that is astonishing.
+Gianluca Spizzo Sono d'accordo con te, carissimo. Very good! ;) Abracio, ragazzo.
scream ?
maybe Gianluca would say a cream :)
Isabella Colbran, whom this aria was written for, had already declined at the stage of the premier performance. Maria Callas does a good job like the at the time declined Isabella.
Aυτο λέγεται ταλέντο..και είναι από τον Θεό..
Callas can only be compared with Callas.
I agree completely.
King Tut....you said it!!!
So true. No point in trying to compare her, or any other singer, with another. They are all different.
Someone once described her voice as having a tin pie plate for a palate. To me she sounds like she is trying to gulp down a mouthful of marbles. Just because she was a great singer doesn't make her a good singer.
Wow.. how philosophic ...
Magnifica, sublime.
@JEANHIKER This is from the end of 1963 and begining of 1964 and was recorded for her Rossini and Donizetti arias...! :)
beautiful, just beautiful..you can enjoy in avery word she sings....voice was at the end but ..but what a voice....di gioia e amor...maybe like Isabella Colbran
Thankx for the post ~
The vid caps (pics) are beautiful.
La absoluta!
i venture to say that anyone who dares to say anything negative about any singer other than "I don't care for their sound" probably doesn't know much about singing, drama, or they are simply jealous. Callas, Sutherland, Bartoli, Sills, Caballé, etc. are all huge names for a reason. They made it. They are amazing musicians and singers. Are you? Get over yourselves please.
What a silly comment
This was recorded in December, 1963.
Majestic!
acababa de pasar una gripe terrible y aun asi cantó y pues solo ella era capaz de dar ese resultado con su voz en contra. no ha habido digan lo que digan ninguna cantante tan musical como ella, lo demas es cuestion de gusto o de mal gusto de cada cual.
No habrá ninguna igual, no habrá ninguna!!!
MrTanguerodeley . ya han comparado a Anghela Georgiu con María Callas y Georgiu es más melodiosa y su voz más potente
@@guidobarria6749 🤣🤣🤣🤣🤣
@@guidobarria6749 es su apreciación......Callas sublime!!!!!! Soberbia!!!!!!!!
@@guidobarria6749 🤣🤣🤣🤣🤣 Va, te lo concedo, pero no puedes andar comparando a dos cantantes tan distintas.
great, greater, one of the greatest
a sempre grande Callas....
Brividi, ❤️
Bella~ Maria Callas
I haven't laughed out loud so much for ages....thanks to the reviewer who commented "opinions are like arseholes.... everybody's got one!"......well said!!....
Callas also sung this aria Live in 1956 when her voice was in much better condition than on this one, in my opinion:
th-cam.com/video/FX_J0RLWYFc/w-d-xo.html
I hope you enjoy it!
come maria callas non nasceranno piu´`
She is like trains in Switzerland: trains are the reference for timing, not watches. She is it.
Unica!!
The critiques posted here about Callas and this recording of Bel raggio are for the most part inaccurate and musically unfounded. Callas demonstrates here a perfect lesson in the correct style of singing Rossini. It is never in bad taste to sing an aria "come scritto" (as written). We know for a fact that Rossini detested his arias overly ornamented as we find in the recordings of Sutherland and other sopranos, as exciting as they may be to hear. Callas does other, more musically refined nuances. Listen to her flawless use of the "mesa di voce", a swelling and then tapering off of a sustained note. Simply exquisite and almost impossible for most sopranos to do. Listen to what she does with the sustained attacks on the word "Verra!" No upward staccati as Sutherland does, but what a world of drama and emotion she infuses into just one word. Her vocal tone is warm and lush and her scale passages, always perfectly legato, are polished to a pristine brilliance. Her approach to the aria is Grand, Regal, and Commanding. The tempo not too slow. The broadness of the tempo has the spaciousness necessary for a Queen. You do not want the fast tempo required for a soubrette as in Barbiere di Siviglia. Her final note is steady, rock solid, and imperious. This is altogether one
of the great recordings by Maria Callas.
You're not impressing anyone but yourself. She only sang "come scritto" because her voice was out of her command. If this is "one of the great recordings by Maria Callas" then she is the most overrated singer who ever lived.
Rosina was not written for a soubrette but for a mezzo in Il Barbiere di Siviglia.
Maestro Sparacino TOTALLY RIGHT. Those trills are fantastic display here and there's an ELEGANCE of delivery that is luscious and beautiful. Joan no fue la chancleta de La CALLAS.
Maestro Sparacino .
THANK YOU MAESTRO!!!! Too many idiots willing to pass as critics! Callas is one of a kind, no doubt about that.
In every example, the comments are Callas vs Sutherland. Since when is creative interpretation a competition?
THANK YOU!
So many things are a competition. The all-or-none approach. In the way of irony, I reckon Callas nor Sutherland sang in order to find out who is supreme.
Ask the critics🙄
Sublime.
I think this is good considering being close to the premier performance of this opera.
Isabella Colbran, whom this aria was written for, had a similar voice to Callas. Isabella was big decline when she sang this... interestingly Callas sang this and she was already past her prime. So it is good considering both her and Isabella were already in decline singing this. -I Imagine this is what the premier sounded like!
Then it was a wonderful premier!
@thomastmwc
Agility doesn't matter that much in my opinion. She let's the music speak a lot more than some "superagile" singers.
Dommage qu'elle n'est pas interprétée cet aria dans la grande époque.
La voix est plus métallique, le vibrato bouge dangereusement, mais malgré tout ceci, cela reste musicalement et stylistiquement superbe.
@jacques frapart
Callas avait chanté cet aria à la RAI de Milan le 27 septiembre 1956. Il existe un enregistrement de ce recital là.
La Divina per sempre.
bella opera lirica
Splendide Callas !
DIEU ACCUEILLEZ DANS VOTRE PARADIS CETTE CHÈRE MARIA CALLAS!!!💛🌿✝️🌿💛🎼🎶🎻🎶🎼💛🌿🐇🧖♂️🌿💛
Very clear n deep.
at the end , she sounded like caballé, amaizing
No. she wasn't that bad.
And I thought I could just have this on in the background while doing something else! Of course I should have known she'd grab all my attention with the very first notes, and not let go until the very last second...
❤❤❤😊😊😊❤❤❤
Callas: Never more reached...
In 7:53 my ears are hearing "bel raggio lusinghier" but my mind is saying "trema per me fellon, trema, trema per me fellon" of Norma "Oh non tremare". Look this video th-cam.com/video/gULCaPkuDrY/w-d-xo.html at 0:43, the melody seems a lot
QUEEN CALLAS!!! HAIL!
De sf. Maria un gand un pentru Maria Callas!
Brava!
Well.......The conductor deserves a lot of praise as he slowed down and was really very forgiving of her need to slow down in order to get all of the coloratura to fit in the measures....but she still had such a big dark voice and I can't help but admire her voice even at this stage
However - that all being said.....I still adore Callas...but I wish she had recorded this a bit younger.....still her technique is fascinating and so much better than what we have nowadays...
+george prentice she was fucking better than sutherland. sutherlands voice was dry nd lacked the beauty rossini was looking for. on the overall i would rate this song as june=callas>sutherland
All three are my favorites......I think some people can be a bit hard on Joan Sutherland sometimes😃
+dike chukwudi Your comments here are among the most absurd things I have ever read on YT. Callas' voice was more beautiful and less dry than Sutherland? Sutherland 's voice not beautiful enough for Rossini or for that matter any composer??? I hate to be harsh but I can't take anything you say seriously and your opinions are essentially worthless.
William maddox its all about preference. I do not like Sutherland's version, it didn't appeal to me. Sutherland has never proven to be the best in any Rossini repertoire I've heard so far. She was good in Bellini's il puritani as Elvira, but that's it. After that, I find her voice dry and unappealing. Its just ma opinion.
+Amazing Stud And my opinion is watermelon is the dryest fruit ever! Here is the thing, if you don't like a singer's appearance that you don't wanna bother with her\he work, shut the fuck up and don't issue your biased opinion.
That comment was two years old! Of course I've since learned of her Armida F6
la una!!!! ich weigere mich anzuerkennen, dass es nach ihr noch andere opernsängerinnen gibt.
talking and disputing about her 31 years after her death shows the importance of Callas
Il est pathétique d'écouter la grosse voix de la Callas, au timbre passablement lourdaud, ayant un registre de Soprano Dramatique voire de Mezzo-Soprano à l'occurrence, aborder les belles envolées de la Collorature rossinienne. C'est outrancier et même outrageant tant cela dépasse les bornes du possible. Comment peut-on oublier de nos jours des gens comme Joan Sutherland et Edita Gruberova dans leurs interprétations élégantes, souples et abordées avec tant de classe? Quel est le phénomène qui soulève encore tant d'engouement pour la Callas? Peut-être la couleur sensuelle de sa voix? Il serait nécessaire de démarrer d'une bonne fois de ce mythe envoûtant. La prise de son est excellente. Merci.
Pedro Miguel, Mar del Plata, Argentine
she did sing an F6 in her 1952 complete Armida... Divina records never managed to explain to us why only that particular recording is "speed up" and Callas appears to sing an F6 at the end of the 1st act quartett... Only that recording and non other? :))) the one that has the F6 in it? no way :p
Please have a look at Mariella Devia's version, opera and concert and let me know.
I really diss Rossini's opera, too much ornament and the vocal lines are quite one dimension for coloratura soprano roles. However, Callas make it effortless and colorful with multi dimension, not like the other soprano do the song like elevator going up and down. Bravo!!
Even though she had vocal problems, I think she still had all the charm and magic as she did in her younger years.
Callas also sung this aria Live in 1956 when her voice was in much better condition than on this one, in my opinion:
th-cam.com/video/FX_J0RLWYFc/w-d-xo.html
I hope you enjoy it!
Calling this vocal problems is hilarious! The problem I imagine is for any and all other singers to actually conceive them self as such
@@sukrame5331 She did have vocal problems and extensively talked about them in several interviews.
@gustopheles Thanks for your comments. Maria Callas sang an F6 in Armida. After 1960, I think she couldn't sing C#6. But before this year, she always do it. I think I wrong some words. Callas rarely sang Semiramide.
She sang Norma and Tosca until 1965 and there are plenty of High C's in both operas. You should learn before expressing such a statement. Caballé, like Callas, sang Semiramide following the original score and not like Sutherland did, wonderfully though.
The highest note in 'Armida' is not an F6 but an E6, at the end of the Act One quartet. To the best of my knowledge, Calls never sang an F6 anywhere. This is not a criticism, she has no greater fan, but just a correction.
@conghoan1998 You're mistaken. This is from the Rossini/Donizetti disc she put out in 1964. And there are no C sharps attempted here. Are you thinking of the 56 concert recording?
She's singing, like Caballé, the original score being being B flat the highest note in this aria. Rossini's secret was to write mostly in the middle of the voice and was never pleased with the over ornamentation a few singers, female and male, used to do to his arias at the time.
Credo che sia una delle interpretazioni più modeste che esistono in commercio
Una Callas ormai in disarmo. Un finale penoso per una grande cantante come Lei fu.
@luigipavabartolotti I used to know a couple of teachers who hated the voice and stated that this is a coloratura....
Once, someone no lesser than Grace (yes Bumbry) told me the same.
"This is a Dramatic Coloratura!" she said imperially!
I am not name-dropping, I am just telling you...
God knows how many people have a different opinion out there... Listening to them would be fatal...
Aunque no tenía coloratura en todo es lo máximo..
@conghoan1998 As far as your assertion that this was recorded between 57-60: there are no Callas recordings of Bel raggio in any of those years. Also, while it's safe to assume that from 61 onward, she wobbled on virtually any note above the staff, it's awfully presumptuous of you to say she "can't sing C#6". In her prime, she never sang an F6, but that doesn't mean she couldn't.
She did sang an F6 at the end of Armida!
8:08 - 8:15 is like she would be dancing
💝💝💝
Why add photos of her unrelated to the performance? False advertising.
Quei 65.... pollici versi...si saranno redenti nel frattempo ?
Michele,quei pollici in giù sono imbecilli e tali resteranno fino alla notte dei tempi...
Michele,quei pollici in giù sono imbecilli e tali resteranno per l'eternità.
caro luigipavabortlotti anche Callas ha il titolo ben meritato di soprano di coloratura...ha cantato molto bene le arie di coloratura per un certo periodo di tempo per molti critici piuttosto breve...anche se qui canta "bel raggio lusinghiero" che è tardi...
So many mad opera queens displaying their own opinions. My opinion is that if you can do better, why aren't you being recorded?
All these mad opera queens should live together in a castle called “living hell”
Somptueux
Aiuta l'organizzatore centrale,a non soccombere al distress : quindi blocca l'autofertilizzazione del cancro.
@TitoSchipa65 Of course. Maria Callas's voice is slower and darker.
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LA CALLAS LA DIVA
... end of hystory of the opera too?