Extraordinaria la Caballe que logra expresar esa fragilidad emocional de la atormentada Leonora. Es un aria de difícil interpretación…aquí está el genio de Verdi, sin duda, el poder creativo de un artista grandioso. En mi humilde opinión esta es un aria para las grandes sopranos y Caballe era una de ellas. Muchas gracias por compartir esta pieza de gran belleza, gracias.
Oh, heavenly floating notes, her timbre, fiata with a character of endless pianissimo, and even a flawed trill makes for only one; legendary Caballe in 1968 was tremendous pleasure that brought all, a unique lady of the grande opera. RIP
Bellissima e grandissima !! Una voce di velluto e virtuosa ,chiara e cristallina ,nonché un grande pathos !! Una divina Superba !Ti amiamo,Montserrat ❤
Wonderful voice! Everytime I sing D'amor sull'ali rosee, the vocal technique of Montserrat is for me the winning weapon to overcome even the most difficult passages. Thanks Montserrat!
At this time, she could do everything; absolute respect of the indications of the partition: wonderful musicality, extreme nuances, trills... and even the complete text ! 😉
La Superba es perfecta. La Superba is terrific. Thank you very much for uploading this amazing video. From Santiago de Chile. Dr. Fernando Rivas-Burattini. 🤝👏👏👏💐✝️🙏✝️🇨🇱🇨🇱.
She was an unusually developed lyric but could handle this role especially this aria even if the role really calls for a dramatic or spinto (with agility). But I rather listen to this than most singers nowadays of course.
I truly believe that, there were many great singers at that time- not today, don't know why- but Callas and Caballé, were unique, each one had its own way of expressing what it was written, but this is what makes them, unique. Caballé not only had beautiful pianissimos, it was a lot more than that and they both - according to my poor humble opinion- enriched in their own way, Ópera. There were many good ones, but only these two ladies, were capable of marking their own school, their own way of singing. No one can sing like Callas, as no one can sing like Caballé. For me, they were among the great ones, the greatest.
Tantos anos depois desta interpretação e ainda a sentimos como se fosse ao vivo, fazendo vibrar a nossa emoção como se fosse a primeira vez. Milagre da Verdi, milagre de Monserrat ? Milagre da Música Eterna. Obrigada por nos oferecer esta ressurreição.
@@laprimmadonna2341 Effettivamente le cantanti pre CALLAS si prendono poco in considerazione, un pò per le poche registrazioni disponibili e un pò perchè han dei difetti come fruscii dovuti alla modesta tecnologia di allora. La Ponselle la conosco di nome ma non l ' ho mai ascoltata. Esistono quindi sue incisioni ? La Caballè per me è la più grande, più della Callas e prima della Callas metto Joan Sutherland.
She has never sung this better. The trills as always are a bit problematic. Cast: Manrico: Placido Domingo Leonora: Montserrat Caballé Azucena: Ruza Pospinov Count di Luna: Enzo Sordello Ferrando: George Mayer Inez: JoAnn Yockey Ruiz: Bennie Ray Old Gypsy: John Reed Campbell Messenger: Tony Lopez Orchestra and Chorus of the New Orleans Opera Knud Andersson, conductor (Live Performance, March 14 or 16, 1968)
There are so many trills, both long and short, in this aria that you can clearly hear how she manages to fake her way through them. She carefully hits the start and the end of the trill using the adjacent pitch, but in between she pulses the volume of the main pitch rather than alternating the two pitches. It's similar to what is called a "goat trill" in 16th-17th century music (Monteverdi for example), where it is a recognized ornament. If you want to hear this with proper trills, check out Joan Sutherland or early Leontyne Price. Of course, in every other respect this is a magnificent performance.
@@robertgordon862 I know both singers very well. I was in the audience at the debut of Leontyne Price in Il trovatore. I was not present at Jones Sutherland's debut in Lucia, but I saw her a few days later.
Ho 67 anni e sono cresciuto a "pane e Callas" qualche volta solo "Callas";a seguito di grossi dispiaceri "ultimi ascolti" osannati dai più,dico a chi vuol fare questo mestiere "Studiate e ascoltate"avete tutto a portata di oreccchio. buona serata nicola
Débat ridicule : Caballé avait tellement plus d'atouts vocaux que cela devient une lutte entre inconditionnels qui sont fanatisés sans comprendre de quoi ils parlent.
Je souscris totalement à vos propos, Xavier. Le fanatisme et l'ignorance n'apportent rien à l'Art lyrique, ni à la moindre réflexion en général. Contentons-nous d'aimer la beauté, et toutes celles et ceux qui la servent, à leur manière.
It would be more spectacular if she could actually sing the trills rather than bray. For such an accomplished technician, her inability to sing a real trill was always puzzling.
Funny that you are listening to an amazing, other-wordly performance and the only thing that you can say is 'she is unable to sing a real trill'. As if art were just a trill. Kind of sad
@@Wotan123456789 Imagine you went to a piano or violin concerto, and the pianist or violinist eliminated all the trills, or scales, or whatever they found difficult, just because they couldn't do them. Would you stand there and applaud their "otherworldly" performance, or would you wonder why someone who isn't able to play what the composer wrote is actually allowed on the stage? In the Julliard master classes, once a soprano asked Callas if she should sing the trills in a Verdi aria. Her answer was, "Well, he wrote them, didn't he?" Verdi didn't write these ornaments for prettiness sake, but to express longing and fear here, and joy and excitement in Leonora's first aria. So no matter how "otherworldly" your singing might be, singing what Verdi wrote is just the starting point.
@@Shahrdad I disagree. First, a trill or any kind of ornamentation in the human voice cannot be compared to an instrument. You should have used another example than the one you used of Callas in Juilliard. My teacher, Eugene Kohn, was her pianist and we have talked throughout the years what Callas meant. And for the record, scritto or not, Callas took herself certain liberties, whether to create a climax or a dramatic effect - or do you think all those E and Ebs in Bellini, Rossini and Donizetti were actually written in the score? And talking about that same aria, Callas sang it come scritto only till 1952 then she sang the 'easier' ending without the Csharp, so back to your statement "Well, he wrote then, didn't he?" starts to be invalid. Lastly, even if you have prefered Caballe to sing proper trills (which you are entitled to), I find it odd that you seem to be unable to hear some of the finest pianissimi a human voice produced (and for the record, I have hear Caballe live, and the effect that those piani produced cannot really be appreaciated in a recording - they were other-wordly) and state an appreciation that disregard that but underlines the lack of a thrill. Pace
@@Wotan123456789 Her pianissimi were of course divine. But unfortunately, at some point they became a gimmick. As her career progressed, she seemed less and less fond of singing her high notes forte, even when they were written to be sung forte, and instead, switched to crooning them pianissimo. I always found Caballe to be a rather contradictory singer. She was a crack musician who often sounded like she was just sight-reading a role. I often heard her eliminate words and just start vocalizing wordlessly, and even though she had nearly the entire arsenal of bel canto technique at her fingertips, she never learned to trill. And I wasn't talking about come scritto in the sense of not ornamenting or not adding the traditional extra high note here and there. This is an old and honored tradition in this repertoire. I was talking about singing the written trills in a slow aria such as D'amor sul ali or Al dolce guidami. And that's what Callas was talking about too. Here, you just cannot cheat your way out of it. You can't get out of the trills in Di tale amor, or in Coppia iniqua, or in the Lucia's Quando rapito in estasi or Spargi d'amaro pianto. You just can't. And interpolating an extra high note here and there isn't the same thing as being unable or unwilling to sing the written trills. You wouldn't tolerate a pianist doing there; why would you accept a singer doing the same thing?
Caballe better than Callas ??? Ahahah 😂😂😂 l'avez vous entendue dans Armida ? Lucia ? Macbeth ? Rigoletto ? Alceste, Efigenia, Medea et j'en oublie.... j'aime Caballe mais la piacer au dessus de Callas qui pronocait chaque mot, la merveilleuse Caballe était la Reine de l'escamotage, vocalisant à plein tube au lieu d'articuler...surtout à l'étranger en Italie elle s'applicait un peu, le risque était trop gros !
Extraordinaria la Caballe que logra expresar esa fragilidad emocional de la atormentada Leonora. Es un aria de difícil interpretación…aquí está el genio de Verdi, sin duda, el poder creativo de un artista grandioso. En mi humilde opinión esta es un aria para las grandes sopranos y Caballe era una de ellas. Muchas gracias por compartir esta pieza de gran belleza, gracias.
And at this time, she pronounced all the text, even with the consonants !
Ella sabía sacarle jugo a su instrumento. Y Verdi un genio.
Unbelievable I can’t imagine how it must have felt hearing her in person
LA VOCE PIU' BELLA DEL '900. Infinita Caballe'
Oh, heavenly floating notes, her timbre, fiata with a character of endless pianissimo, and even a flawed trill makes for only one; legendary Caballe in 1968 was tremendous pleasure that brought all, a unique lady of the grande opera. RIP
Эту арию никто, по крайней мере в последние 70 лет, так божественно не пел. Голос небесной красоты, великолепное колоратурное сопрано!
Пела Каллас, на то есть записи 1951 года из San Carlo
In 1968 she was number 1, legendary pianissimi with no end, legatto and atmosphere verdian unique … thanks for share this geme !
La ultima absoluta, una voz legendaria de una belleza muy difícil de superar.
Breath-taking...unbelievable.
Mi prende in mezzo allo stomaco tanto è.....divina. nessuna come lei. Mai.
Bellissima e grandissima !! Una voce di velluto e virtuosa ,chiara e cristallina ,nonché un grande pathos !! Una divina Superba !Ti amiamo,Montserrat ❤
Celestial❤
La Caballe.. Unmatched then.. Unmatched now..!!
Montse tus pianissimos me hacen tocar el cielo, el lugar donde te encuentras.
Oh my god this was soooo beautiful.
Голос Небесной красоты и чистоты!!! Слава гениальной Монтсеррат!!!
Thank you for this elegant, musical, performance by an Outstanding Singer
Absofreakinglutely Amazing!
😎😎😎
Wonderful voice! Everytime I sing D'amor sull'ali rosee, the vocal technique of Montserrat is for me the winning weapon to overcome even the most difficult passages. Thanks Montserrat!
Brava La Superba
Grazie per questo video. Montserrat sublime in questo ruolo e particolarmente in quest'aria
At this time, she could do everything; absolute respect of the indications of the partition: wonderful musicality, extreme nuances, trills... and even the complete text ! 😉
The young Montserrat Caball'e great pianissimo 1968❤
Wonderful. The best.
La Superba es perfecta.
La Superba is terrific.
Thank you very much for uploading this amazing video.
From Santiago de Chile.
Dr. Fernando Rivas-Burattini.
🤝👏👏👏💐✝️🙏✝️🇨🇱🇨🇱.
Exquisite!
Unica ,inigualable e insuperable
Spectacular in its infinite beauty 😍 ✨️ ❤️
She was an unusually developed lyric but could handle this role especially this aria even if the role really calls for a dramatic or spinto (with agility).
But I rather listen to this than most singers nowadays of course.
Brava!
Única y angelical!!!!
なんて美しい響きでしょう❤
Удивительно красивая женщина
SUMAMENTE BRILLANTE .-
Amazing.
Streeeeeeeeeeeeeeepitosa!!!!!!!!!!
Sublime Montserrat !
Exquisite Thank you
Beautiful.Thank you for posting♫♪ ॐ¸¸.•*¨*•♫♪
genial!!!!!!!!me encantó
I truly believe that, there were many great singers at that time- not today, don't know why- but Callas and Caballé, were unique, each one had its own way of expressing what it was written, but this is what makes them, unique. Caballé not only had beautiful pianissimos, it was a lot more than that and they both - according to my poor humble opinion- enriched in their own way, Ópera. There were many good ones, but only these two ladies, were capable of marking their own school, their own way of singing. No one can sing like Callas, as no one can sing like Caballé. For me, they were among the great ones, the greatest.
Montserrat da vida a personagem da Opera conforme o autor....Ela e esplêndida!
Tantos anos depois desta interpretação e ainda a sentimos como se fosse ao vivo, fazendo vibrar a nossa emoção como se fosse a primeira vez. Milagre da Verdi, milagre de Monserrat ? Milagre da Música Eterna. Obrigada por nos oferecer esta ressurreição.
Bravaaaaaaaaaá
Brividi!
Este video me hacía mucha falta...gracias
,¡Quién como ella!
Impresionante canto.
De otra dimensión existencial.
aublime
Sin habla he quedado después de esta aria cantada por una de las más. grandes sopranos del 😂siglo. pasado. ❤❤❤
So good to see you again Oneguin65! Thank you!
Люблю.
inmensa
Welcome Back, friend. I "saw" you by chance only today.
Superlativa
I was missing Oneguin!
Hope this is the same person with the same incredible collection of clips and videos. Thanks.
My account was closed by Facebook due to copyright claims
@@onegin653 me alegro mucho que esté de vuelta. Gracias.
Very nice. But where's the all pianissimo?
1:40 her pianissimi literally stop time...
Per me non è la Callas , la numero uno....ma MONTSERRAT CABALLE '. Immensa : voce, colore, interpretazione.
Puede ser…pero con todo respeto, para mi en las tres calidades que mencionas me quedo con la Leonora de Rosa Ponselle. Saludos cordiales.
@@laprimmadonna2341 Effettivamente le cantanti pre CALLAS si prendono poco in considerazione, un pò per le poche registrazioni disponibili e un pò perchè han dei difetti come fruscii dovuti alla modesta tecnologia di allora. La Ponselle la conosco di nome ma non l ' ho mai ascoltata. Esistono quindi sue incisioni ? La Caballè per me è la più grande, più della Callas e prima della Callas metto Joan Sutherland.
Callas? Chi è?
@@sciagurrato1831 infatti sciagurato
I think perhaps all of you should enjoy this - not comment on other singers, not claim to know best.
Appreciate *this* gift you have been given
😎😎😎
She has never sung this better. The trills as always are a bit problematic.
Cast:
Manrico: Placido Domingo
Leonora: Montserrat Caballé
Azucena: Ruza Pospinov
Count di Luna: Enzo Sordello
Ferrando: George Mayer
Inez: JoAnn Yockey
Ruiz: Bennie Ray
Old Gypsy: John Reed Campbell
Messenger: Tony Lopez
Orchestra and Chorus of the New Orleans Opera
Knud Andersson, conductor
(Live Performance, March 14 or 16, 1968)
The trills were problematic for her? I don't see on this occasion where she struggled.
@@rafaellmata6083 You don't need to see, you need to listen.
There are so many trills, both long and short, in this aria that you can clearly hear how she manages to fake her way through them. She carefully hits the start and the end of the trill using the adjacent pitch, but in between she pulses the volume of the main pitch rather than alternating the two pitches. It's similar to what is called a "goat trill" in 16th-17th century music (Monteverdi for example), where it is a recognized ornament. If you want to hear this with proper trills, check out Joan Sutherland or early Leontyne Price. Of course, in every other respect this is a magnificent performance.
@@robertgordon862 I know both singers very well. I was in the audience at the debut of Leontyne Price in Il trovatore. I was not present at Jones Sutherland's debut in Lucia, but I saw her a few days later.
Ho 67 anni e sono cresciuto a "pane e Callas" qualche volta solo "Callas";a seguito di grossi dispiaceri "ultimi ascolti" osannati dai più,dico a chi vuol fare questo mestiere "Studiate e ascoltate"avete tutto a portata di oreccchio.
buona serata
nicola
It's not supposed to be sung ppp throughout . Check the dang score
That's really nice (even if the trills are a bit weak) but I prefer fortissimi than pianissimi though.
Lovely in tone and artistry..justneeded a bit more support.
Always the coughing in the audience !
Débat ridicule : Caballé avait tellement plus d'atouts vocaux que cela devient une lutte entre inconditionnels qui sont fanatisés sans comprendre de quoi ils parlent.
Je souscris totalement à vos propos, Xavier.
Le fanatisme et l'ignorance n'apportent rien à l'Art lyrique, ni à la moindre réflexion en général.
Contentons-nous d'aimer la beauté, et toutes celles et ceux qui la servent, à leur manière.
Ce n'est pas le tout d'avoir des pianissimi, il faut savoir triller, ce qui est essentiel pour cette aria.
....io i trilli gli ho sentiti benissimo!
C'est un grelottement....
Fabelhaft. Unerreichbar bis heute.
Preferite Song Freddie Mercury
It would be more spectacular if she could actually sing the trills rather than bray. For such an accomplished technician, her inability to sing a real trill was always puzzling.
Funny that you are listening to an amazing, other-wordly performance and the only thing that you can say is 'she is unable to sing a real trill'. As if art were just a trill. Kind of sad
@@Wotan123456789 Imagine you went to a piano or violin concerto, and the pianist or violinist eliminated all the trills, or scales, or whatever they found difficult, just because they couldn't do them. Would you stand there and applaud their "otherworldly" performance, or would you wonder why someone who isn't able to play what the composer wrote is actually allowed on the stage? In the Julliard master classes, once a soprano asked Callas if she should sing the trills in a Verdi aria. Her answer was, "Well, he wrote them, didn't he?"
Verdi didn't write these ornaments for prettiness sake, but to express longing and fear here, and joy and excitement in Leonora's first aria. So no matter how "otherworldly" your singing might be, singing what Verdi wrote is just the starting point.
@@Shahrdad I disagree. First, a trill or any kind of ornamentation in the human voice cannot be compared to an instrument.
You should have used another example than the one you used of Callas in Juilliard. My teacher, Eugene Kohn, was her pianist and we have talked throughout the years what Callas meant. And for the record, scritto or not, Callas took herself certain liberties, whether to create a climax or a dramatic effect - or do you think all those E and Ebs in Bellini, Rossini and Donizetti were actually written in the score? And talking about that same aria, Callas sang it come scritto only till 1952 then she sang the 'easier' ending without the Csharp, so back to your statement "Well, he wrote then, didn't he?" starts to be invalid.
Lastly, even if you have prefered Caballe to sing proper trills (which you are entitled to), I find it odd that you seem to be unable to hear some of the finest pianissimi a human voice produced (and for the record, I have hear Caballe live, and the effect that those piani produced cannot really be appreaciated in a recording - they were other-wordly) and state an appreciation that disregard that but underlines the lack of a thrill.
Pace
@@Wotan123456789 Her pianissimi were of course divine. But unfortunately, at some point they became a gimmick. As her career progressed, she seemed less and less fond of singing her high notes forte, even when they were written to be sung forte, and instead, switched to crooning them pianissimo. I always found Caballe to be a rather contradictory singer. She was a crack musician who often sounded like she was just sight-reading a role. I often heard her eliminate words and just start vocalizing wordlessly, and even though she had nearly the entire arsenal of bel canto technique at her fingertips, she never learned to trill.
And I wasn't talking about come scritto in the sense of not ornamenting or not adding the traditional extra high note here and there. This is an old and honored tradition in this repertoire. I was talking about singing the written trills in a slow aria such as D'amor sul ali or Al dolce guidami. And that's what Callas was talking about too. Here, you just cannot cheat your way out of it. You can't get out of the trills in Di tale amor, or in Coppia iniqua, or in the Lucia's Quando rapito in estasi or Spargi d'amaro pianto. You just can't. And interpolating an extra high note here and there isn't the same thing as being unable or unwilling to sing the written trills. You wouldn't tolerate a pianist doing there; why would you accept a singer doing the same thing?
@@Wotan123456789 Let's also not forget when a singer told Callas, "I can't trill." And she said, "You can't trill? That's bad news."
Люблю.
Caballe better than Callas ???
Ahahah 😂😂😂 l'avez vous entendue dans Armida ? Lucia ? Macbeth ? Rigoletto ?
Alceste, Efigenia, Medea et j'en oublie.... j'aime Caballe mais la piacer au dessus de Callas qui pronocait chaque mot, la merveilleuse Caballe était la Reine de l'escamotage, vocalisant à plein tube au lieu d'articuler...surtout à l'étranger en Italie elle s'applicait un peu, le risque était trop gros !
J'oubliais, je trouve que l'abus de tous ces pianissimi sont un peu ennuyeux !!!
@@renatofiorentini7250 Un peu ?...
@@renatofiorentini7250 "la Reine de l'escamotage"
C'est exactement mon avis, avec tout le respect que j'ai pour cette grande artiste.
Les trilles ????
Mais je suis probablement ce que décrit plus haut Xavier Dussort : un fanatisé inconditionnel qui ne comprend pas de quoi il parle...