The voice is huge, and it seems to have more power in reserve. It's a darker, fuller, plusher sound than what we heard later from Callas after she became thin, and sometimes, she almost sounds like a contralto here. Here you can hear what Bonynge described hearing when Callas made her London debut in this performance: "But before she slimmed down, I mean this was such a colossal voice. It just poured out of her, the way Flagstad's did.... Callas had a huge voice. When she and Stignani sang Norma, at the bottom of the range you could barely tell who was who ... Oh it was colossal. And she took the big sound right up to the top."
Listening to this "Sediziose voci" for the first time, especially during the lines "in pagine di morte della superba Roma è scritto il nome..." 2:43, I suddenly realised why Richard Wagner was so fond of this opera.
MARIA CALLAS!!! WHAT A VOICE SHE HAS!!!!!!! This -IS ABSOLUTELY The MOST BEAUTIFUL VOICE I'VE EVER HEARD!!! And "TRULY, The GREATEST SINGING""!!!!! Maria Callas ' VOICE Was "A GIFT FROM GOD"!!!!! She Used It With Great Intelligence, Great Feeling And EXCELLENCE!! The Sheen, The BRILLANCE, The Flow-The- MAGNIFICENT-SHEER BEAUTY Of HER SOUND!! BIG, POWERFUL, SHIMMERING, ""OPEN And FREE""!!! Yet, Phenomenal CONTROL!! The PERFECT PLACEMENT Of Her Most Beautiful Sound: The BACK-OF-HER-THROAT, Which Produces -An Open-Free-Sound!!!! The REGISTERS Of HER VOICE STRONGLY And PERFECTLY DEVELOPED! Her CHEST VOICE Is 'The MOST MAGNIFICENT, The MOST POWERFUL, BIG- BOLD'!!!! It Is SOLID And Anchored In Strong TECHNIQUE And Fantastic FLEXIBILITY!! Her VOICE Is FREE And With Enormous Versitility. It SOARS ALL The WAY UP And OPENS-UP IN HER TOP RANGE!!!!! No Singer Has The Chest And middle And THE MOST BEAUTIFUL, GORGEOUS TOP VOICE Like MARIA CALLAS!! It "RINGS And SOARS SO It Is Overwhelmingly BEAUTIFUL!!!!! There Are No Vocal- Constrictions!! The FANTASTIC, CORRECT BREATH -SUPPORT!!!!! CALLAS' VOICE -SINGS ON THE BREATH "!!!!! Her "Clean-Attacks-On PHRASES!! She MANAGES-Her Breath Support In Such An EXTRAORDINARY WAY!!! She Produces Her Very Beautiful Sound ALL-THE-WAY- THROUGH, From The Beginning To The End Of The PHRASES! Her Phrasing IS ASTOUNDING! She Is ALWAYS WITH The ORCHESTRA!!! She Never Runs-Out-Of Breath!! And, A Voice So Big And Powerful, The "MOST BEAUTIFUL PIANISSIMOS-All Within The QUALITY Of Her VOICE, The SOUND And The TIMBRE!!! CALLAS' VOICE IS "Dead-Center-ON PITCH!!! MARIA CALLAS Must Have "A MUSICAL TERM CALLED- ""PERFECT PITCH""!!!! Words And DICTION, EVERY NOTE, And ALL Of THE COMPOSERS WRITINGS We're Of Great Importance To Her!!!! MARIA CALLAS Was ENORMOUSLY ""CREATIVE ARTIST"'!! She Used Her VOICE As An INSTRUMENT To Tell THE STORY, The SOUL- -OF-THE-CHARACTER SHE PORTRAYS Through The MUSIC In The OPERA!!!! Her Extraordinary Gift For MUSIC, SINGING And ACTING, She Captures "ALL THE DETAILS" In 'HER ROLES" And In "SINGING"!! She Has Great Depth And Developed STRONG CHARACTER For PERFECTION!! Total DEDICATION, Hard WORK And GREAT LOVE For OPERA And MUSIC!!!! Maria Callas Was ENORMOUSLY BLESSED! Maria Callas Was ""A VERY GIFTED YOUNGSTER'"! She Had EXCELLENT MUSIC TRAINING And SCHOOLING As A YOUNGSTER!! PIANO LESSONS, The MUSIC FUNDAMENTALS, Sight-reading, SINGING And All The PRACTICES Required! Later On INTRODUCED To OPERA- At An Very Early Age - At 13 Yrs!!! While A STUDENT AT A CONSERVATORY In GREECE Maria Callas Had An Excellent VoiceTeacher, Mme. Hidalgo, Who RECOGNIZED HER VOICE And Her Possibilities And Began TEACHING HER TO SING OPERA - --LYRICALLY --With "HER YOUNG VOICE"!!! She Taught Callas With VERY CAREFUL DEVELOPING Of HER "VERY NATURAL VOICE""!! Callas Had Great Determination To ALWAYS Do Her Very Best, To Be The Best! TO BE THE GREATEST That She Was Destined To Become !!! Mme. Hidalgo TRAINED HER With Carefully CHOSEN VOCALIZING, SPECIAL VOCALICES To Challenge Her And DEVELOPE Her VOICE As She GREW And ADVANCED HERSELF. And, Of Course With MUSIC And OPERA!!! "NOTE": As I Discovered This GREAT VIDEO, I Was TOTALLY ENTHRALLED And Completely CAPTURED By "The MOST BEAUTIFUL SINGING And EXPRESSION Of HER VOICE!! Her SINGING Went STRAIGHT-To-MY HEART And SOUL!!!! I Felt What She Was SINGING ABOUT And Her VOICE Gave Me The Most Beautiful Moments!! I Was Completely CAPTURED And POSSESSED And ""TEARS Overwhelmed Me"!!! I Love OPERA!! I Have Met And Known Several Of The GREATEST OPERA SINGERS!!! This Great Video. Is The Highest Standard Of Operatic SINGING For Me!! I Would Love To. Own This Fantastic Video And The ACTUAL RECORDING!! MARIA CALLAS IS ""TRULY THE GREATEST ""!!!!! Thanks MARX For This Great Video!!!
Interesting : "The most beautiful voice..." . Beauty probably lies in the ear of the listener. But we all undoubtedly enjoy her voice : tender, screaming, incredible dramatic intensity ... "Or rendetemi la speme..." Goddess - not exaggeration. Imho
Найкращий запис Норми-Марії Каллас , неперевершений показник ,яким повинен бути вокальний комплекс співака , щоб бути гідним цього звання !!! Вокальне дихання свого кумира Рози Панселле божественна Марія Каллас довела до ідеалу досконалості,тому її голос відтворював всі її творчі задуми з легкістю Генія !!! Браво на всі віки !!!
A dazzling, enchanting, incredible, unique holiday of a lesson in vocal skills, an example of an ideal that anyone who wished to be an artist of the Opera House should strive for was taught to us by the unattainable Maria Callas for all time !!! Thank you Marx7811.
Сльози самі собою набіжали, бо ніхто не відважиться так,як божествена Марія Каллас поставити все життя на службу вокалу в досягненні неперевершенності серед сучасних співачок і співаків ,стати етолоном класичного інструментального вокалу. Великий жаль,що нема і бачиться в майбутньому сспрос на співацьку майстерність.Не ті часи,не той рівень духовності і немає спросу- немає і пропозицій,мотивацій . Штучний інтелект поглине маси людства , абраним залишуться тільки записи Марії Каллас ! Вони не здотні будуть відчути саму ейфорію від дотику до ідеальної краси живих емоцій від живої співаючої людини.
Here (from Covent Garden?) is Callas in her best period vocally & beginning to demonstrate the expressive qualities that has made her THE unique NORMA of our times. Vibrations are wide but no wobble yet in her instrument. She built up her characterization further so that by the date of her second studio recording she, despite an increasingly problematic vocal condition, reached the interpretive summit of her art in this role, IMO.
Give it a rest! That means you simply do NOT sing, and ONLY listen to Callas recordings. There have been legendary singers way before her and after. Great technique, surely, and passion for opera. But many singers who possess great qualities.
Nothing after '55 counts - this is the real, astonishing, Callas voice - the voice that reinvented an art form. Divinity indeed, it's the greatest voice in operatic history
@@Vik2312yes those many post 1955 perfs are all fascinating to listen to but 1955 WAS her last truly great year. Even then her voice was nothing like this unbelievably strong 1952 Norma. The 1958 Lisbon Traviata is good (the Eb is not her best), but the commercial recordings from 1958 on do not make for easy listening. Her Juliet’s Waltz and Depuis le jour are almost embarrassing.
@@jeffreymiller4814 And yet, her recording of mad scenes, especially Bolena and Pirata, and a the following year, her second Gioconda (especially the final scene) remain some of the greatest singing committed to the gramophone. And her Dallas Medea remains rightfully a legend. I think her voice wasn't the same after 1953 rather than 1955, but she did do some astounding singing even with her thin voice.
Cette Norma de Covent Garden en 52 montre Callas à l'apogée de ses moyens vocaux.C'est sans doute sa meilleure Norma de par l'insolence ,la sûreté ,et la puissance vocale .Mais je préfère la version de ,1955 à la Scala , très électrique, sur scène et dans le public !!
@@purisermonisamator ok Alexandre ,je veux bien vous croire ,mais de quelle performance s'agit il ? Ou alors parlez vous de l'enregistrement studio avec Serafin avec l'orchestre de la Scala ? Si c'est de cela dont vous parlez ,il est parfait ,je suis d'accord .Mais cela ne vaut pas le live ,car cela ne vit pas de la même façon .Et généralement je n'écoute pas Callas dans ses enregistrements studio ,car elle y est moins intéressante.
@@-giakhanh--kayden-8337 Correct. this is F, which was the key that Bellini transposed it to, for Giuditta Pasta. He originally wrote it in G, which is the key that Sutherland did this in.
Bit of an inside baseball comment. This recording has always bugged me because she sounds either a tad under-pitch or heavy, and I have never been able to conclude definitively whether it's her or the recording. I just checked with the new Warner remastering, and it turns out that it's the pitch of the recording: (I think) every pressing prior to that one (including the one Marx kindly posted here) is a bit flat. Given EMI's spotty record, I'm shocked to say that Warner/EMI actually did the right thing this time around and made an improvement. I encourage people to check that new remastering. Judging by that remastering, I do think that she's a bit nervous and a bit heavy (and thus just a tiny bit flat) at certain spots. But otherwise she's in fabulous voice.
She was more than 90 kg, and then became less than 60 kg. For 1.76-8 m tall, she was simply below healthy weight. She was a vocal athletes, working and training from 8 to 12 hours a day.
Callas in her humility would agree with you. Callas always maintained in her interviews that Ponselle was the greatest singer of them all. Incidentally Ponselle was the last Norma at Covent Garden before Callas’ performances in 1952. Unfortunately there are no recordings of the Ponselle Norma from the early 30’s.
this is about 150,8 times better than Rosa Ponselle who didnt even have enough coloratura skills to sing the fioritura of Norma as easily as Callas or Sutherland. Not to mention the other aspects of artistry required to deliver the part.
Rosa was all about producing sound and marvelous sound she produced indeed. Everything else was rather neglected. Callas was all about making music and giving expression it also so happens that the sounds magnificently matched her expressive music making miracles.
Ponselle had a beautiful rich color of voice and a great personality but only an ounce of Callas agility and natural coloratura and fraseggio! Callas spoke Italian everyday, she lived the language, it was not only something to sing along with and this is one of her strength that set the bar higher and higher..
The voice is huge, and it seems to have more power in reserve. It's a darker, fuller, plusher sound than what we heard later from Callas after she became thin, and sometimes, she almost sounds like a contralto here. Here you can hear what Bonynge described hearing when Callas made her London debut in this performance: "But before she slimmed down, I mean this was such a colossal voice. It just poured out of her, the way Flagstad's did.... Callas had a huge voice. When she and Stignani sang Norma, at the bottom of the range you could barely tell who was who ... Oh it was colossal. And she took the big sound right up to the top."
Listening to this "Sediziose voci" for the first time, especially during the lines "in pagine di morte della superba Roma è scritto il nome..." 2:43, I suddenly realised why Richard Wagner was so fond of this opera.
MARIA CALLAS!!! WHAT A VOICE SHE HAS!!!!!!! This -IS ABSOLUTELY The MOST BEAUTIFUL VOICE I'VE EVER HEARD!!! And "TRULY, The GREATEST SINGING""!!!!!
Maria Callas ' VOICE Was "A GIFT FROM GOD"!!!!! She Used It With Great Intelligence, Great Feeling And EXCELLENCE!!
The Sheen, The BRILLANCE, The Flow-The- MAGNIFICENT-SHEER BEAUTY Of HER SOUND!!
BIG, POWERFUL, SHIMMERING,
""OPEN And FREE""!!!
Yet, Phenomenal CONTROL!!
The PERFECT PLACEMENT Of Her Most Beautiful
Sound: The BACK-OF-HER-THROAT, Which Produces -An Open-Free-Sound!!!!
The REGISTERS Of HER VOICE STRONGLY And PERFECTLY DEVELOPED! Her CHEST VOICE Is 'The MOST MAGNIFICENT, The MOST POWERFUL, BIG- BOLD'!!!! It Is SOLID And Anchored In Strong TECHNIQUE And Fantastic FLEXIBILITY!! Her VOICE Is FREE And With Enormous Versitility. It SOARS ALL The WAY UP And OPENS-UP IN HER TOP RANGE!!!!!
No Singer Has The Chest And middle And THE MOST BEAUTIFUL, GORGEOUS TOP VOICE Like MARIA CALLAS!!
It "RINGS And SOARS SO It Is Overwhelmingly BEAUTIFUL!!!!!
There Are No Vocal- Constrictions!!
The FANTASTIC, CORRECT BREATH -SUPPORT!!!!! CALLAS' VOICE -SINGS ON THE BREATH "!!!!!
Her "Clean-Attacks-On PHRASES!!
She MANAGES-Her Breath Support In Such An EXTRAORDINARY WAY!!!
She Produces Her Very Beautiful Sound ALL-THE-WAY- THROUGH, From The
Beginning To The End Of The PHRASES!
Her Phrasing IS ASTOUNDING! She Is ALWAYS WITH The ORCHESTRA!!!
She Never Runs-Out-Of Breath!! And, A Voice So Big And Powerful, The "MOST BEAUTIFUL PIANISSIMOS-All Within The QUALITY Of Her VOICE, The SOUND And The TIMBRE!!! CALLAS' VOICE IS "Dead-Center-ON PITCH!!!
MARIA CALLAS Must Have "A MUSICAL TERM CALLED- ""PERFECT PITCH""!!!!
Words And DICTION, EVERY NOTE, And ALL Of THE COMPOSERS WRITINGS We're Of Great Importance
To Her!!!!
MARIA CALLAS Was ENORMOUSLY ""CREATIVE ARTIST"'!!
She Used Her VOICE As An INSTRUMENT To Tell THE STORY,
The SOUL- -OF-THE-CHARACTER SHE PORTRAYS Through The MUSIC In The OPERA!!!! Her Extraordinary Gift For MUSIC, SINGING And ACTING, She Captures "ALL THE DETAILS" In 'HER ROLES" And In "SINGING"!! She Has
Great Depth And Developed STRONG CHARACTER For PERFECTION!!
Total DEDICATION, Hard WORK And GREAT LOVE For OPERA And MUSIC!!!!
Maria Callas Was ENORMOUSLY BLESSED! Maria Callas Was ""A VERY
GIFTED YOUNGSTER'"! She Had EXCELLENT MUSIC TRAINING And SCHOOLING As A YOUNGSTER!! PIANO LESSONS, The MUSIC FUNDAMENTALS, Sight-reading, SINGING And All The PRACTICES Required! Later On INTRODUCED To OPERA- At An Very Early Age - At 13 Yrs!!! While A STUDENT AT A CONSERVATORY In GREECE Maria Callas Had An Excellent VoiceTeacher, Mme. Hidalgo, Who RECOGNIZED HER VOICE And Her Possibilities And Began TEACHING HER TO SING OPERA -
--LYRICALLY --With "HER YOUNG VOICE"!!! She Taught Callas With VERY CAREFUL DEVELOPING Of HER "VERY NATURAL VOICE""!! Callas Had Great Determination To ALWAYS Do Her Very Best, To Be The Best!
TO BE THE GREATEST That She Was Destined To Become !!!
Mme. Hidalgo TRAINED HER With Carefully CHOSEN VOCALIZING, SPECIAL VOCALICES To Challenge Her And DEVELOPE Her VOICE As She GREW And ADVANCED HERSELF. And, Of Course With MUSIC And OPERA!!!
"NOTE": As I Discovered This GREAT VIDEO, I Was TOTALLY ENTHRALLED And Completely CAPTURED By "The MOST BEAUTIFUL SINGING And EXPRESSION Of HER VOICE!! Her SINGING Went STRAIGHT-To-MY HEART And SOUL!!!!
I Felt What She
Was SINGING ABOUT And Her VOICE Gave Me The Most Beautiful Moments!!
I Was Completely CAPTURED And POSSESSED And ""TEARS Overwhelmed Me"!!!
I Love OPERA!! I Have Met And Known Several Of The GREATEST OPERA SINGERS!!!
This Great Video. Is The Highest Standard Of Operatic SINGING For Me!!
I Would Love To. Own This Fantastic Video And The ACTUAL RECORDING!!
MARIA CALLAS IS ""TRULY THE GREATEST ""!!!!!
Thanks MARX For This Great Video!!!
Interesting : "The most beautiful voice..." . Beauty probably lies in the ear of the listener. But we all undoubtedly enjoy her voice : tender, screaming, incredible dramatic intensity ... "Or rendetemi la speme..." Goddess - not exaggeration. Imho
Casta Diva...qué hermosura, nadie como la Callas!
Here we hear the miracle that was Maria Callas! 💙
La più grande Norma di tutti i tempi!!! Grazie Maria.......
Unica.. Irripetibile.. Ineguagliabile.. Inarrivabile
Ed anche “just damn good singing”, infatti!
Utterly unsurpassed then and now!!!.....thank you 😘
Those powerful opening lines set the whole tone! Amazing sound!!
Найкращий запис Норми-Марії Каллас , неперевершений показник ,яким повинен бути вокальний комплекс співака , щоб бути гідним цього звання !!! Вокальне дихання свого кумира Рози Панселле божественна Марія Каллас довела до ідеалу досконалості,тому її голос відтворював всі її творчі задуми з легкістю Генія !!! Браво на всі віки !!!
Es lo más cercano a la perfección celestial
Que poderosa voz. Maravillosa!!!
A dazzling, enchanting, incredible, unique holiday of a lesson in vocal skills, an example of an ideal that anyone who wished to be an artist of the Opera House should strive for was taught to us by the unattainable Maria Callas for all time !!! Thank you Marx7811.
So very true! And yet, sadly it seems like that is rarely done today! Based on the poor caliber of singing we hear today, unfortunately!
Es la Divina, esg, perfecta.!!!!!!
Saludos cordiales desde Santiago,Chile.
Ut Benedicat tibi Dominun.
Dr. Fernando Rivas-Burattini.
Сльози самі собою набіжали, бо ніхто не відважиться так,як божествена Марія Каллас поставити все життя на службу вокалу в досягненні неперевершенності серед сучасних співачок і співаків ,стати етолоном класичного інструментального вокалу. Великий жаль,що нема і бачиться в майбутньому сспрос на співацьку майстерність.Не ті часи,не той рівень духовності і немає спросу- немає і пропозицій,мотивацій . Штучний інтелект поглине маси людства , абраним залишуться тільки записи Марії Каллас ! Вони не здотні будуть відчути саму ейфорію від дотику до ідеальної краси живих емоцій від живої співаючої людини.
Che parole sublimi ❤️
So beautifully well said!!! And such a tragedy is our world today!
Her voice was so unique. My ears feel so good to hear her high notes, needless to say the impeccable technique and passion came through her voice
Whaaaaaaaat😱😱!This is a titanic voice.What a huge voice,breath controle and sensivity in singing!
La divina forever!😍
Thank you Marx for sharing this amazing recording! It is sooo beautiful and clear! It is celestial!!!
Il miracolo della Voce !!!
Perfection
I have read about this night all my life, but to hear it, that is very is great singing, indeed. Thank you for making this available. Glorious!
Phenomenal!
Carissima, indimenticabile, inarrivabile Maria: oggi Norma cercasi !!
Divina voce❣️
Divina,ergo, perfecta.
ÙNICA !!!!!!!!!!!!!!!!!!!!!
Here (from Covent Garden?) is Callas in her best period vocally & beginning to demonstrate the expressive qualities that has made her THE unique NORMA of our times. Vibrations are wide but no wobble yet in her instrument. She built up her characterization further so that by the date of her second studio recording she, despite an increasingly problematic vocal condition, reached the interpretive summit of her art in this role, IMO.
She was always expressive. I don't think she was even capable of singing unexpressively.
Marx, tank you for this. . .anyway you could provide us with the whole performance?
She set the standard...no one comes near this comet!
Give it a rest! That means you simply do NOT sing, and ONLY listen to Callas recordings.
There have been legendary singers way before her and after.
Great technique, surely, and passion for opera. But many singers who possess great qualities.
@@ot8479 Other singers with great quality and technique, yes. But none to THIS high level! Callas remains the pinnacle.
Nothing after '55 counts - this is the real, astonishing, Callas voice - the voice that reinvented an art form. Divinity indeed, it's the greatest voice in operatic history
Sonnambula, Ifigenia, Rosina, Anna Bolena, Pirata, 1958 Tosca, Ophelia, 1958 Medea, Amelia, 1955/56 Traviata, 1959 Gioconda, Butterfly…
@@Vik2312yes those many post 1955 perfs are all fascinating to listen to but 1955 WAS her last truly great year. Even then her voice was nothing like this unbelievably strong 1952 Norma. The 1958 Lisbon Traviata is good (the Eb is not her best), but the commercial recordings from 1958 on do not make for easy listening. Her Juliet’s Waltz and Depuis le jour are almost embarrassing.
@@jeffreymiller4814 And yet, her recording of mad scenes, especially Bolena and Pirata, and a the following year, her second Gioconda (especially the final scene) remain some of the greatest singing committed to the gramophone. And her Dallas Medea remains rightfully a legend. I think her voice wasn't the same after 1953 rather than 1955, but she did do some astounding singing even with her thin voice.
The 1952 recording is the one that made Joan Sutherland admire la Callas.
Actually Sutherland sang along with Callas in the role of Clotilde. She said that then Callas's voice was huge.
@@brumgab
She could interpret too which Sutherland never could really well.
And to think she was only 28 years old here!!!
Anche Michelangelo scolpi la "Pieta' di San Pietro a 24 anni.
Callas you are norma a goddess perfection
Cette Norma de Covent Garden en 52 montre Callas à l'apogée de ses moyens vocaux.C'est sans doute sa meilleure Norma de par l'insolence ,la sûreté ,et la puissance vocale .Mais je préfère la version de ,1955 à la Scala , très électrique, sur scène et dans le public !!
Agree👌
Yes, this is the more heroic Norma, the 1955 is the more human Norma.
In my opinion, "Norma"-1954 is the best one!
@@purisermonisamator ok Alexandre ,je veux bien vous croire ,mais de quelle performance s'agit il ? Ou alors parlez vous de l'enregistrement studio avec Serafin avec l'orchestre de la Scala ? Si c'est de cela dont vous parlez ,il est parfait ,je suis d'accord .Mais cela ne vaut pas le live ,car cela ne vit pas de la même façon .Et généralement je n'écoute pas Callas dans ses enregistrements studio ,car elle y est moins intéressante.
Permettez-vous de vous répondre en Russe?
Wow, such clear sound, thank you! Do you have the whole performance in this sound quality?
Hello, Marx,
Please, how could I get/buy the hole opera
in this sound ??! Thank you.
Best regards, Gabriel D. from Romania
Callas even when her voice was declining yet she was genial !
Talvez a voz de Callas soasse de modo diferente depois de perder peso, mas nem por isso perdeu o seu pode!❤❤❤❤❤❤❤❤❤❤❤
Admirable Golfo Mistico
Indeed "not as good as Ponselle", as someone commented... This is much "more good"!
Yup, by far.
❤❤❤❤❤❤❤❤❤❤
Hello, Marx,
Please, how could I get/buy the whole opera
in this sound quality ??! Thank you.
Best regards, Gabriel D. from Romania
This is wonderful, but it sounds like it's a semitone lower than normal or it might just be the recording. Otherwise this is one of her best.
The aria is done in different keys depending on the singer. Sutherland used a higher key.
this is the key that Bellini himself transposed for Giuditta Pasta i believe
@@-giakhanh--kayden-8337 Correct. this is F, which was the key that Bellini transposed it to, for Giuditta Pasta. He originally wrote it in G, which is the key that Sutherland did this in.
Bit of an inside baseball comment. This recording has always bugged me because she sounds either a tad under-pitch or heavy, and I have never been able to conclude definitively whether it's her or the recording. I just checked with the new Warner remastering, and it turns out that it's the pitch of the recording: (I think) every pressing prior to that one (including the one Marx kindly posted here) is a bit flat. Given EMI's spotty record, I'm shocked to say that Warner/EMI actually did the right thing this time around and made an improvement. I encourage people to check that new remastering.
Judging by that remastering, I do think that she's a bit nervous and a bit heavy (and thus just a tiny bit flat) at certain spots. But otherwise she's in fabulous voice.
Her voice was completely different before losing weight. I think today with good training and dieting it wouldn't be the case.
She was more than 90 kg, and then became less than 60 kg. For 1.76-8 m tall, she was simply below healthy weight. She was a vocal athletes, working and training from 8 to 12 hours a day.
Que alguien saque de la saca al que no para de toser.
What year was this and where?
@@Marcus-xd8ux With Sutherland as Clotilde.
@@ransomcoates546
That’s not when or where 😂🤦🏻
Not as good as Rosa Ponselle.
Callas in her humility would agree with you. Callas always maintained in her interviews that Ponselle was the greatest singer of them all. Incidentally Ponselle was the last Norma at Covent Garden before Callas’ performances in 1952. Unfortunately there are no recordings of the Ponselle Norma from the early 30’s.
this is about 150,8 times better than Rosa Ponselle who didnt even have enough coloratura skills to sing the fioritura of Norma as easily as Callas or Sutherland. Not to mention the other aspects of artistry required to deliver the part.
Rosa was all about producing sound and marvelous sound she produced indeed. Everything else was rather neglected. Callas was all about making music and giving expression it also so happens that the sounds magnificently matched her expressive music making miracles.
And here comes the pretentious newbie who can't listen to a singer if it wasn't recording on a wax cylinder and the voice is barely audible 🤣
Ponselle had a beautiful rich color of voice and a great personality but only an ounce of Callas agility and natural coloratura and fraseggio! Callas spoke Italian everyday, she lived the language, it was not only something to sing along with and this is one of her strength that set the bar higher and higher..