@@evangeliadimitriadis5706 If you can't hear the difference between th-cam.com/video/VnpmqyMSPis/w-d-xo.htmlsi=Kfvw085SkHaKmXUX&t=194 and th-cam.com/video/VnpmqyMSPis/w-d-xo.htmlsi=MkymOUyTxUpf1O0h&t=278 please get your ears checked. Caniglia's dynamic range was huge.
@@jiso5232 check your knowledge: on minute 3:16 her piano is shortbreathing , then on 3:33 she totally unable to modulate the intensity of the sound and she simply ignores what is marked in the score. You point me her final Bflat on minute 4:39 her top is totally out of body. Go learn something about what it means to have dynamic range and what it means to have legato and voice support technique, all things that Maria Caniglia lacks.
@@evangeliadimitriadis5706 So all the contemporary critics, who actually heard her live and praised her dynamic range and technique were all wrong, while you (confusing the weaknesses of recording technology and singers technique), 75 years later, have just discovered the truth. Ok.
Why do people think Maria Callas is the best in every career? I am far from her edge but as I heard from youtube I think she was great in many pieces but not all. For my ears,this song I think this singer sing very well .I fall in love her velvet voice even she didn't show off some technics like others try to show to be more special, example,long breath messa di voce on first word
Always one of my favorite spinto/dramatic sopranos. The great link between Claudia Muzio and Renata Tebaldi. A glorious, beautiful voice. She was very much taken with the US when she made her Met debut. Had she returned I don't think Zinka Milanov would have dominated the Met's Italian wing as much as she did. For one thing, Edward Johnson did not like Milanov and she did not like him. Fire and water. I have older friends who actually knew Caniglia and loved her as a person.
But Caniglia is unable to modulate, dynamics zero in her singing. I leave aside Muzio among the spinto sopranos because to me Muzio is a clear lyrical soprano , no spinto
Better. Healthy sounding developed voice with big dynamic range and very uniform vocal color in the entire range. These qualities don't come along often (other examples of female singers with these qualities could be Destinn, young Ponselle, Schumann-Heink, Traubel, Stignani and Deutekom).
Callas was nowhere near the best in this role. I think anyone with such an opinion has just not listened to enough. She was more suited to Verdi's higher and more florid heroines.
@dramaticsoprono5168.....I agree that Callas was not the best in this specific role.....Caniglia had a more solid voice, with less tendancy to what I call a " curdled vibrato" as Callas displayed in later years.
Beautiful, healthy voice, with great stylistic authenticity. But the interpretation is rather conventional, melodramatic, not to say hammy. And the famous pianissimo Bflat is given full voice and definitely flat. As a result : nothing to write home about.
My my my what a tremendous unique voice! The DEFINITION of a true spinto voice.
voice with dymanics: zero, incomplete technique
@@evangeliadimitriadis5706 In this recording she sounds loud yes but when she sang Desdemona she has dynamics.
@@evangeliadimitriadis5706 If you can't hear the difference between th-cam.com/video/VnpmqyMSPis/w-d-xo.htmlsi=Kfvw085SkHaKmXUX&t=194 and th-cam.com/video/VnpmqyMSPis/w-d-xo.htmlsi=MkymOUyTxUpf1O0h&t=278 please get your ears checked. Caniglia's dynamic range was huge.
@@jiso5232 check your knowledge: on minute 3:16 her piano is shortbreathing , then on 3:33 she totally unable to modulate the intensity of the sound and she simply ignores what is marked in the score. You point me her final Bflat on minute 4:39 her top is totally out of body. Go learn something about what it means to have dynamic range and what it means to have legato and voice support technique, all things that Maria Caniglia lacks.
@@evangeliadimitriadis5706 So all the contemporary critics, who actually heard her live and praised her dynamic range and technique were all wrong, while you (confusing the weaknesses of recording technology and singers technique), 75 years later, have just discovered the truth. Ok.
Not only could she pronounce beautifully, she had the "accento", an art which more or less belongs to the past.
voce di grandissima eleganza... meravigliosa.
Why do people think Maria Callas is the best in every career? I am far from her edge but as I heard from youtube I think she was great in many pieces but not all. For my ears,this song I think this singer sing very well .I fall in love her velvet voice even she didn't show off some technics like others try to show to be more special, example,long breath messa di voce on first word
Tembral beauty of Caniglia is unsurpassed, she did inspire Tebaldi, passion and feminity, lost completely, listen!!!!
voice with dymanics: zero, incomplete technique
Only Maria Caniglia can pull it off!
Very high level singing
Always one of my favorite spinto/dramatic sopranos. The great link between Claudia Muzio and Renata Tebaldi. A glorious, beautiful voice. She was very much taken with the US when she made her Met debut. Had she returned I don't think Zinka Milanov would have dominated the Met's Italian wing as much as she did. For one thing, Edward Johnson did not like Milanov and she did not like him. Fire and water. I have older friends who actually knew Caniglia and loved her as a person.
But Caniglia is unable to modulate, dynamics zero in her singing. I leave aside Muzio among the spinto sopranos because to me Muzio is a clear lyrical soprano , no spinto
As good as Callas ....in my opinion..
Better. Healthy sounding developed voice with big dynamic range and very uniform vocal color in the entire range. These qualities don't come along often (other examples of female singers with these qualities could be Destinn, young Ponselle, Schumann-Heink, Traubel, Stignani and Deutekom).
JiSo....absolutely...and the same structure as the mezzo, Stignani.....the 1940 Verdi Requiem, with them in duet is superb
@@robcardinal8430 Both Caniglia and Stignani studied with Agostino Roche at the Naples Conservatory in the early-mid192's. Same teacher:)
Callas was nowhere near the best in this role. I think anyone with such an opinion has just not listened to enough.
She was more suited to Verdi's higher and more florid heroines.
@dramaticsoprono5168.....I agree that Callas was not the best in this specific role.....Caniglia had a more solid voice, with less tendancy to what I call a " curdled vibrato" as Callas displayed in later years.
Beautiful, healthy voice, with great stylistic authenticity. But the interpretation is rather conventional, melodramatic, not to say hammy. And the famous pianissimo Bflat is given full voice and definitely flat. As a result : nothing to write home about.
Caniglia : dymanics ZERO, she is unable to modulate, incomplete technique