Maria Callas Gino Penno Enzo Mascherini Macbeth full opera (1952 live, WITH SCORE)
ฝัง
- เผยแพร่เมื่อ 16 มิ.ย. 2022
- Macbeth by Giuseppe Verdi performed in Italian
Conductor Victor de Sabata - 1952(LI)
Orchestra - Teatro alla Scala
Chorus - Teatro alla Scala
Macbeth - Enzo Mascherini
Lady Macbeth - Maria Callas
Banco - Italo Tajo
Macduff - Gino Penno
Malcolm - Luciano della Pergola
Dama - Angela Vercelli
Medico - Dario Caselli
Domestico - Attilio Barbesi
Sicaro - Mario Tommasini - เพลง
![[MIRRORED] LISA - ROCKSTAR 🎸 MV version #LISA #BLACKPINK #ROCKSTAR](http://i.ytimg.com/vi/-U58DuCCtZk/mqdefault.jpg)
The PERFECT Lady Macbeth. Callas' technique is absolutely flawless, her voice can cut through the orchestra like a laser beam and her coloratura is better than any coloratura sopranos, not to mention the incredible low notes. And it's incredible that Callas sang the most adorable Gilda and the most evil Lady Macbeth in the same year!
Mascherini's Macbeth is so perfect. The tender despair. The fear, the regret.
This is an excerpt from a November1995 New Yorker article about Callas by Will Crutchfield: "Verdi's Macbeth, which Callas revived at La Scala in 1952 was one of her revelations. Tales of great nineteenth-century singers abound in accounts of single words or phrases so filled with artistry and spirit that they leave listeners shaken and lives changed. Sometimes it sounds a little mystical - really all that in one word? So it is good to have an example preserved on record. Callas needs only one syllable. When Macbeth returns trembling from the room where he has murdered sleep, the Lady takes charge of his faltering courage: he hears someone approaching, yet seems rooted to the spot; she launches the allegro of their duet with the single word "Vien!" - "Come!" [35:55 on here] It's short on middle F, and, as voiced by Callas, it contains the tactical decision to leave quickly rather than be discovered; a sense of contempt for her husband's vacillation; and a tinge of flushed anxiety on her part for the enormity of the situation. What can be analyzed here? A sound that is strong but faintly hesitant; a certain intake of breath. There is little to describe. When the artist's vision is profound, things beyond analysis emerge. It's chilling. All evening long, right through to the unearthly sleepwalking scene, Callas seems possessed by the character. What could she not imagine, and what not voice?"
Above all, this shows Callas amazing versatility and musicianship, a voice for every role, sublime !
La Callas nel ruolo della Lady suona in modo terrificante ma in senso buono: fa impressione già solo lo spartito del ruolo, e in più se cantato così fa solo che venire i brividi! 🥶😻💖 Complimentoni ovviamente anche a Mascherini, grandissimo baritono dalla voce cantabile e morbida, e alla potenza e alla bellezza della voce di Penno! 😍🥰💕💕
Maestro de Sabata is PHENOMENAL!!!! OMG! He plays you can see it! Without him singers would never shine.....
Last GOAT like this I saw in Met in 2014, few months before he died, and it was Lorin Maazel, he was conducting " Don Carlos"
Interesting to note that part of act 1 finale is Leyla Gencer, no mean Lady Macbeth herself. Callas imbues the text with so much meaning and nuance, and the brindisi is perfection, brava !
You are so right my friend. Callas is extraordinary
Thank you, Barone. I've been waiting to hear this classic for some time now. I'm glad I finally found it, and in such good shape! Well worth the wait. /:-)
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Thank you for posting this!
Act 1, s.1: 02:46
Act 1, s.2: 15:28
Act 2, s.1: 44:59
Act 2, s.2: 51:23
Act 2, s.3: 58:32
Act 3: 1:12:29
Act 4, s.1: 1:41:36
Act 4, s.2: 1:54:24 (Sleepwalking Scene)
Act 4, s.3: 2:04:46
Thank you, David, for posting this! /:-)
THE Lady Macbeth🌹
lavoro splendido
I saw Shirley Verrett at La Scala in the late 70s as Lady Macbeth. She wasn't Callas of course, and her Italian is quite bad, but I think she gave an alternate version, different from our Divina's Lady Macbeth, which I found very interesting and well sung.
She did a fabulous movie of it..and was vocally very correct.
I always thought she sounded very American when she sang Italian. Sondra Radvanovsky has the same trait.
Come sempre, GRAZIE MILLE caro #BaroneVitellioScarpia1!!!
Gracias y más gracias... ¡¡¡Subiste Macbeth por Callas!!!💟
As good as it gets!
Absolutely wonderful, splendid performance from everyone. I'm not even trying to describe what she did that evening, it's just precious personal moments when you listen to the incredible immersion in the music, she became Lady M., it was the same with all the characters she portrayed. Maybe I might put a small remark about Mascherini, but a very small one. No one mentioned Tajo, he is great.
Tajo sounds a little bit like Tancredi Pasero here.
@@BaroneVitellioScarpia1 You are an amazing well of knowledge, Barone. Pasero's Filippo II is wonderful. I liked Tajo's resonant sound, he sang a great performance here. Mascherini 's voice is a bit colorless, though.
@@ivanatodorovic8073 I listen to this performance everyday and I always sing along with Tajo. He is so wonderful here.
@@BaroneVitellioScarpia1 What I would give to hear that!!! I'm glad we noticed the same, Tajo holds the strings in all the scenes he is in and his voice is great. Do you know that Kathleen Battle studied with him? ( not yor favorite, I know)- Unusual?..
@@BaroneVitellioScarpia1 But I must say this is an impressive performance overall, de Sabata did a terrific job leading it.
Callas is perfect but Mascherini, Penno and Tajo are also excellent. It’s a shame a lot of the time this recording is referred to as a document just for Callas because the whole cast, not to mention the conducting, is brilliant. I do like the Abbado recording for a studio stereo version, but this would still be my first choice, even despite the sound. It has that much more drama.
What a treasure!
Salvador, Brazil... tropical placenta
15.03.2024
Tácio Esquivel.
Caro Barone grazie di ❤ ma...Tu vuoi vincere facile🤣🤣🤣🤣 edizione storica fantastica!!!
32:53, ma dimmi altra voce
33:46, quell'animo trema
34:13, combatte delira (Scott, p. 104)
15:28 min. Nel dí della Vittoria... Vieni, t'affretta
It is funny, I think it is Leyla Gencer who sings in the discover of the murder of the King, the section from 40.16 to 42.23. I wished to hear Callas here, but it's not her on this (small) climax part. Not the same metal nor vibrato. Apart from that, I find the tempi of De Sabata in the Sleepwalking scene much too fast, so that Callas has to rush, and the little details are a bit lost (the written "sempre sotto voce" at the begining is not sotto voce. She is supposed to sleep, with nightmares, but not to run. Callas adapts herself like nobody else could ever do (same thing in the end of the cabaletta "or tutti sorgete")as the unbeatable dramatico d'agilità she was.
It is Leyla Gencer. In some recordings (this) because the "a cappella" section of that finale was almost inaudible, they "substituted" it with the live Gencer version (much slower!). Eventually it was restored and in the old BJR records and in the CDs Record Label "Divina" it was replaced with the original Callas/Mascherini etc a cappella. I TOTALLY agree with you with the thought that as vibrant and great de Sabata's conducting is, the tempi in the Sleepwalking scene are WAY too fast!
L'unica Lady Macbeth....Immensa Callas.
La Callas è l'unica Lady Macbeth per me. Non riesco a godermi nessun'altra Lady Macbeth dopo aver ascoltato la Callas.
Altro che Lady Netrebko..
@@e.g.8454 I soprani di coloratura non hanno il diritto di cantare Lady Macbeth. Ed è divertente che la coloratura del soprano drammatico (Callas) sia mooooooooooooolto migliore del soprano di coloratura (Netrebko).
@@BaroneVitellioScarpia1 Giusto, poi lei ormai canta malissimo.
@@e.g.8454 Ciao Eugenio...credo che Callas sia la Lady che Verdi voleva...non riesco a immaginare altre cantanti in questo personaggio..Netrebko è brava per i sordi..
1:39:45 - Eric
And if you think that some IDIOTIC people who hated Callas went to La Scala that night with whistles, which you can hear at 2:04....!!!
As Toscanini said, they have no ears, no eyes, nothing at all! They have ears in their feet! Corpo d'un dio santissimo!
Do you like Albin Ahl rendition of "Studia il passo"?
Yes. But my favorite Banco is Bonaldo Giaiotti.
@@BaroneVitellioScarpia1 I can't agree more. And I also think he is the best Mefistofele in Boito's Mefistofele.
Edizione falsata dalla EMI e prima ancora dalla Cetra dalla sostituzione di buona parte del finale primo con quella Gencer-Taddei-Gui Palermo 1960 (“Oh gran Dio che ne’ cuori penetri…”).