In effetti la prima Callas, quella fino al 1953, è praticamente un'altra cantante ed è la migliore cantante di cui esistano le registrazioni. Anche la Callas del periodo successivo è una cantante magnifica, ma la prima Callas ha un registro di petto baritonale, possiede i sovracuti, ha lo spessore drammatico e insieme è precisissima nelle colorature, compresi i trilli, troppo spesso trascurati dalle altre cantanti. Queste sono cose già rare da trovarsi singolarmente, ma praticamente impossibili da trovare tutte insieme in una stessa cantante. È davvero un peccato che le registrazioni del primo periodo siano pochissime e quasi tutte di cattiva qualità.
@@ir3356 At that point (1971-72), Terribaldi already sounded like a 100-year-old woman. And people still think she was in great form in the recitals with Franco Corelli and Callas "lost her voice"😂
ASAS ROSADAS "D'amor sull'ali rosee" - Il Trovatore, do compositor Giuseppe Verdi, há suspiros e indagação do medo. A noite escura envolve a mulher que chora com dor, Sem ele saber. Será que sabia que tudo é arremedo? Aurora raiando na madrugada, isto respira ao redor, Trazendo lembrança de asas rosadas, memória grava Sem que sinta o que está acontecendo de mal a pior. D'amor sull'ali rosee, ária de Leonora, que amava. No 4º ato, da ópera Il Trovatore, de Verdi, é um luar Escondido nas sombras das nuvens indo ao redor, Visão dos poetas cantando o amor deve continuar Nas asas rosadas em que lirismo encontra o melhor Abrigo. Após a pandemia na Terra o que é sofredor Será transformado em dádiva agradecida ao Senhor. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - ASAS ROSADAS (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
This is why Sutherland and Bonynge said that you had to hear Callas before 1954. They were enamored of the combination of the extraordinary technique with the enormous vocal resources she displays. However, if you listen to Callas from 1949 to 1963 you will hear a singer purposely slimming not only her figure but also her voice as she refines her character interpretation. For certain characters, she maintains the large size needed [e.g., Norma and Medea] but chooses to use less voice but more technical skill in achieving the greatest emotional impact for such characters as Amina and Traviata.
I'd have to agree. Even her later Leonoras are "lighter" and perhaps for the better artistically but here her low register literally sounds darker and more baritonal than the tenor's.
The slimming of voice was just a consequence of her shrinking body and the resultant shrinking of vocal size and weight. I think the weight loss really affected her breath support mechanism, which never fully recovered, and the compensatory mechanisms she utilized ultimately led to vocal disintegration. But she was intelligent enough to use even her vocal shortcomings as a tool in deepening the interpretation. If you listen to her 1953 recording of this from La Scala (right before she began dieting), you hear her refining the role, but the vocal outpouring is just as generous as it was in Mexico City or Naples. I think the 1953 version is the greatest version of this aria I've heard. She eschews the high D-flat, but she adds a beautiful trill at the end on which she even does a mesa di voce!
@wilsonwatt9283: Nice try to explain how she continued finding refinement while losing her voice. Over time any singer will invest greater interpretation or find new alternatives but this does not what happened to her voice and it slimmed down faster than she did. It could be that she tried for the same vocal effect slim as when she was heavy and it took a toll on her voice.
@@johnpickford4222 Actually, the slimming of the voice went hand in hand with the slimming of the figure. Even in 1953, you can hear a difference in the plushness and power of the voice between her Florence Medea (right before she began reducing) and her Scala Medea of Dec. 7th., by which time, she had lost a good amount of weight. The voice is great in both, but there is definitely more power and more "contralto-ish" overtones to her sound in May than in December. In her Lucias of early 1954, she was slimmer, but still had some weight on her, and she was still using some of the vocal positions of her heavier days; the trills are fast and free, and the high E-flats just pop out of her with ease. By the time she recorded her lyric/coloratura recital, the voice had become the "slim" voice, with the trills slower and less free, and the highest notes are neither as full nor as easy as earlier in the same year. When she recorded Forza in the latter part of '54, she was already having problems with the "wobble" creeping in to the point that Legge told her unless she got it under control, they'd have to give seasickness pills with every side of the album. In Vestale (December 7), the vocal outpouring is generous, but the high notes threaten to wobble when taken at full force (the high C at the end of Tu che invoco, which she wisely cuts just as it threatens to get out of control). When you listen to the same aria in 1956, she is using a narrower, higher vocal position, which is quite beautiful, and she takes the high C at the end with much less force and is able to keep it under control. I once played a game with a couple of friends who were total novices to opera and knew nothing about Callas. I played her voice from her heavy days and also from her early slim years (before the problems really became obvious), and in each one, they were able to identify where she was "fat" and where she was "thin." Bonynge once said that he was surprised people didn't talk about it more as it was happening. I remember reading a review from a concert in Chicago in '57 or '58 where the reviewer wrote, "There were sounds fearfully uncontrolled, forced beyond the too-slim singer's present capacity to support or sustain." So the connection of her weight and voice were noticed even during her prime.
You have my vote and admiration. Slimming down, not thinning out. A perfect example of your analysis were her performances in London 1959, the Traviata sung dolce cantando with great pathos, and her Medea full of seduction, fury and homicidal rage!❤
too wild, uneven vocally and angry for my taste, despite the technical skill in the florid singing. Caballe creates the right atmosphere, like a dream, she makes time stand still.
I dont know what is worse.. if completely ignore the trills or fake them like Caballe does. Both are always such a huge disappointment for me. Might be by POV only, cause the trills have a special place in my heart. Its like they have a magical quality and hold so much expression that I simply cant take the forgery.
@@Orfeus80 I diverge with you here! I think Callas is the best overall fit as Leonora. (Caballe isn't dark enough for my tastes to be the ideal, and I have issues with her florid technique, _beyond the issue of the trill_ . Her D'amor sull'ali rosee is spectacular though, and I do think she is a great Leonora.) I do see your point about the overt expression. The 1953 performance is probably more appropriate from an interpretive standpoint. Unfortunately, Callas said a few things during the Juilliard masterclasses and her radio interview with Edward Downes that are being treated as The Received Word. (Not her fault that that has become the case.) A little knowledge is a dangerous thing. It's also easier to hear the absence of trills than hear registration balance issues, just as spotting imperfect paint jobs is easier than discerning foundation problems until the building finally collapses.
@@ER1CwC I can hear the greatness in Callas´s Leonora and certainly don't object if you prefer her overall. It's a tough call for me between Caballe and Callas here as well. Callas has better florid skills, a darker tone and communicates le pene del mio cor so well. Caballe on the other hand with her ethereal singing like a sospir dolente defines for me what her Leonora describes as notte placida, ciel sereno, d´amor sull´ ali.
![ความรักไม่ได้น่ากลัวขนาดนั้น (TRUST ME) - LYKN [ OFFICIAL MV ]](http://i.ytimg.com/vi/9np-lAtCRpQ/mqdefault.jpg)
La Callas non finirà mai di emozionare...e di riempirci l'anima di sensazioni uniche
This scene is my favourite of all Il trovatore and this version is just so heartbreaking. Thank you for sharing!
This is almost too much to take, she sings from the soul of humanity itself!
La Divina! 🖤
There has never been a better Leonora. My favorite version of this is her 1953 La Scala version.
LA DIVINA
BELLEZA !!!!!!!!!!!!!!!!!!!!!!!!
In effetti la prima Callas, quella fino al 1953, è praticamente un'altra cantante ed è la migliore cantante di cui esistano le registrazioni. Anche la Callas del periodo successivo è una cantante magnifica, ma la prima Callas ha un registro di petto baritonale, possiede i sovracuti, ha lo spessore drammatico e insieme è precisissima nelle colorature, compresi i trilli, troppo spesso trascurati dalle altre cantanti. Queste sono cose già rare da trovarsi singolarmente, ma praticamente impossibili da trovare tutte insieme in una stessa cantante. È davvero un peccato che le registrazioni del primo periodo siano pochissime e quasi tutte di cattiva qualità.
A marvellous interpretation never equalized by other great opera diva....
No, man... Tebaldi certainly did...
@@tonyypolito Tebal whooo? tebaldi???? lmao Tebaldi cannot even trill
@@ir3356”I can’t trill” “Ohhhhhh that’s bad news! How are you going to sing Il trovatore?”
@@ladivinafanatic too bad she didn't attend THAT masterclass 😂
@@ir3356 At that point (1971-72), Terribaldi already sounded like a 100-year-old woman. And people still think she was in great form in the recitals with Franco Corelli and Callas "lost her voice"😂
ASAS ROSADAS
"D'amor sull'ali rosee" - Il Trovatore, do compositor
Giuseppe Verdi, há suspiros e indagação do medo.
A noite escura envolve a mulher que chora com dor,
Sem ele saber. Será que sabia que tudo é arremedo?
Aurora raiando na madrugada, isto respira ao redor,
Trazendo lembrança de asas rosadas, memória grava
Sem que sinta o que está acontecendo de mal a pior.
D'amor sull'ali rosee, ária de Leonora, que amava.
No 4º ato, da ópera Il Trovatore, de Verdi, é um luar
Escondido nas sombras das nuvens indo ao redor,
Visão dos poetas cantando o amor deve continuar
Nas asas rosadas em que lirismo encontra o melhor
Abrigo. Após a pandemia na Terra o que é sofredor
Será transformado em dádiva agradecida ao Senhor. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - ASAS ROSADAS (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
This is why Sutherland and Bonynge said that you had to hear Callas before 1954. They were enamored of the combination of the extraordinary technique with the enormous vocal resources she displays. However, if you listen to Callas from 1949 to 1963 you will hear a singer purposely slimming not only her figure but also her voice as she refines her character interpretation. For certain characters, she maintains the large size needed [e.g., Norma and Medea] but chooses to use less voice but more technical skill in achieving the greatest emotional impact for such characters as Amina and Traviata.
I'd have to agree. Even her later Leonoras are "lighter" and perhaps for the better artistically but here her low register literally sounds darker and more baritonal than the tenor's.
The slimming of voice was just a consequence of her shrinking body and the resultant shrinking of vocal size and weight. I think the weight loss really affected her breath support mechanism, which never fully recovered, and the compensatory mechanisms she utilized ultimately led to vocal disintegration. But she was intelligent enough to use even her vocal shortcomings as a tool in deepening the interpretation. If you listen to her 1953 recording of this from La Scala (right before she began dieting), you hear her refining the role, but the vocal outpouring is just as generous as it was in Mexico City or Naples. I think the 1953 version is the greatest version of this aria I've heard. She eschews the high D-flat, but she adds a beautiful trill at the end on which she even does a mesa di voce!
@wilsonwatt9283: Nice try to explain how she continued finding refinement while losing her voice. Over time any singer will invest greater interpretation or find new alternatives but this does not what happened to her voice and it slimmed down faster than she did. It could be that she tried for the same vocal effect slim as when she was heavy and it took a toll on her voice.
@@johnpickford4222 Actually, the slimming of the voice went hand in hand with the slimming of the figure. Even in 1953, you can hear a difference in the plushness and power of the voice between her Florence Medea (right before she began reducing) and her Scala Medea of Dec. 7th., by which time, she had lost a good amount of weight. The voice is great in both, but there is definitely more power and more "contralto-ish" overtones to her sound in May than in December. In her Lucias of early 1954, she was slimmer, but still had some weight on her, and she was still using some of the vocal positions of her heavier days; the trills are fast and free, and the high E-flats just pop out of her with ease. By the time she recorded her lyric/coloratura recital, the voice had become the "slim" voice, with the trills slower and less free, and the highest notes are neither as full nor as easy as earlier in the same year. When she recorded Forza in the latter part of '54, she was already having problems with the "wobble" creeping in to the point that Legge told her unless she got it under control, they'd have to give seasickness pills with every side of the album. In Vestale (December 7), the vocal outpouring is generous, but the high notes threaten to wobble when taken at full force (the high C at the end of Tu che invoco, which she wisely cuts just as it threatens to get out of control). When you listen to the same aria in 1956, she is using a narrower, higher vocal position, which is quite beautiful, and she takes the high C at the end with much less force and is able to keep it under control. I once played a game with a couple of friends who were total novices to opera and knew nothing about Callas. I played her voice from her heavy days and also from her early slim years (before the problems really became obvious), and in each one, they were able to identify where she was "fat" and where she was "thin." Bonynge once said that he was surprised people didn't talk about it more as it was happening. I remember reading a review from a concert in Chicago in '57 or '58 where the reviewer wrote, "There were sounds fearfully uncontrolled, forced beyond the too-slim singer's present capacity to support or sustain." So the connection of her weight and voice were noticed even during her prime.
You have my vote and admiration. Slimming down, not thinning out. A perfect example of your analysis were her performances in London 1959, the Traviata sung dolce cantando with great pathos, and her Medea full of seduction, fury and homicidal rage!❤
This Napoli I presume.
10:04 "ahi, par che la morte" "con ali di tenebre", she uses her chest voice up to C5 flat (B4) (~494 Hertz).
i don't hear any B4 at 10:04 at all
En este momento su voz estaba llena de squillo y Carnosidad.
Ma era un teatro o un sanatorio
too wild, uneven vocally and angry for my taste, despite the technical skill in the florid singing. Caballe creates the right atmosphere, like a dream, she makes time stand still.
I dont know what is worse.. if completely ignore the trills or fake them like Caballe does. Both are always such a huge disappointment for me. Might be by POV only, cause the trills have a special place in my heart. Its like they have a magical quality and hold so much expression that I simply cant take the forgery.
@@Tdvc for me, the worst are the people who think a trill makes or brakes a performance.
@@Orfeus80 some ppl enjoy being fooled I guess
@@Orfeus80 I diverge with you here! I think Callas is the best overall fit as Leonora. (Caballe isn't dark enough for my tastes to be the ideal, and I have issues with her florid technique, _beyond the issue of the trill_ . Her D'amor sull'ali rosee is spectacular though, and I do think she is a great Leonora.) I do see your point about the overt expression. The 1953 performance is probably more appropriate from an interpretive standpoint.
Unfortunately, Callas said a few things during the Juilliard masterclasses and her radio interview with Edward Downes that are being treated as The Received Word. (Not her fault that that has become the case.) A little knowledge is a dangerous thing. It's also easier to hear the absence of trills than hear registration balance issues, just as spotting imperfect paint jobs is easier than discerning foundation problems until the building finally collapses.
@@ER1CwC I can hear the greatness in Callas´s Leonora and certainly don't object if you prefer her overall. It's a tough call for me between Caballe and Callas here as well. Callas has better florid skills, a darker tone and communicates le pene del mio cor so well. Caballe on the other hand with her ethereal singing like a sospir dolente defines for me what her Leonora describes as notte placida, ciel sereno, d´amor sull´ ali.
Sorry this is not that great. It hughlights a more naturally beautiful tone that is not quite as dynamic.