Maria and Rossini, heavenly listening! Her fraseggio is unparalleled , she's the one who really respects every single sign and note! Her Rossini's rendition is amazing over the years, her coloratura is part of the interpretation not just embellishment! People who complain about her vocal health: this is 1962 and still sings beautifully ! Listen to her Rossini from 1950,1952 (Armida!!!!), 1954,1956,1958! That was the real first Rossini renaissance!
Odio irrefrenabile per tutti quelli che erano contro la sua arte (Onassis e i critici prezzolati)ma lei ha vinto per che data ricordata per l eternità come il più grande soprano che sia mai esistito nessuno ricorda la Tebaldi o la Caballe ma solo lei quando si parla di opera lirica!Maria e per sempre e morta la donna ma l artista e petenne
Her high notes are hoarse and raspy, and yet, the voice floats and dances on the rapid-fire coloratura with the greatest of ease, so different from the aspirated and gargled coloratura singing that has become the norm today. She also sang this aria in mid 1940s at a concert in Athens, right before she left Greece to come to the United States. Can you imagine what if a recording of that had survived?
@@rafaelrosal. Bartoli is certainly one of the greatest offenders when it comes to aspirated coloratura. She doesn't so much sing as shoot notes at the audience as if from a machine gun. Lisette Oropesa's coloratura, on the other hand, is legato, graceful, clean, and extremely melodious. Her singing in the finale of "Adina" is a real treasure.
Callas was a soprano. But in Rossini's vocabulary low voices had to use also non legato agility. It existed. Agilita martellata is a type of singing which means hitting with voice like a hammer (martello in Italian means hammer). Maybe not in this aria, but in the agility of strength you can use strong accents on each note. It is not a mistake, you just have to learn all kinds of ways, even the staccato agility.
1962 and she still sings like an angel. Where is the "terrible" decline in her voice? Up to her death she was fantastic. Has anyone ever considered that her great weight loss had nothing to do with any deccline in her voice because she never was fat. She might have lost a kilo or 3 but the great change was that she changed her image. Modern clothes, classy hair dos , stylish make up etc. Noooooo she was terrible overweight and losing all that weight caused her to lose her voice is all that all the jealous so called critics can hammer on. She never lost anything of her glorious voice. She simply became more glamorous than she was at the beginning of her glorious career. ❤❤❤ 6:09
Is this from the concert in Germany? I have it on video.My daughter was convinced that in 1962 she was still a great artistic technical genius our Maya 👑💙 Arnold Bourbon Amaral
I'll suffer a final wobbly note in a definitive performance rather than an entire performance ailed by aspirated coloratura or every single trill skipped by an unaccomplished gal! + you will never hear better scales!
@@ransomcoates546 Screw Bartoli, a.k.a Franzl Lang of opera, or the clowns of opera such as Didonato, Garanca etc. I meant famous mezzos of the last hundred years who suck big time! See Simionato, Barbieri, Horne, Ludwig, Podles etc for aspirated coloratura, ghastly scales, non-existent trills... Even in tattered voice, Callas gives a lesson on florid Rossini singing. LEGATO LOADED!
@@alioffe4321 Actually, Ludwig sang a Rossini surprisingly well, with fluent coloratura and excellent trills, even though she said that bel canto was not her cup of tea. Barbieri could actually trill quite well, as you can see from her filmed Azucena. Simionato was a dramatic mezzo who could manage bel canto, but I would never call her a coloratura mezzo. Horne's coloratura seems manufactured rather than natural, and I think she was the mother of all this aspirated and gargled style of coloratura that has become the norm now. Ebe Stignani had surprisingly fluent coloratura in her younger years, though I don't think she could trill. Zara Dolukhanova sang beautiful Rossini, with flawless coloratura. For the best mezzo trills, listen to Karin Branzell singing "Stride la vampa" in German ( Lodernde Flammen).
@@Shahrdad I have always wondered about Simionato’s fach. I know she sang a lot of dramatic roles, and she certainly succeeded because of her very well-developed chest register. But her timbre was light, and her tessitura was higher than other dramatic mezzos. I’m sure her voice penetrated through the orchestra live, but that’s different than having a heavy voice. Both Barbieri and Stignani had far heavier voices. (Unsurprisingly, Barbieri lambasted Simionato as a lazy soprano. Those two did not get along…) Yet I much prefer Simionato in repertory that doesn’t require too much coloratura - dramatic roles, and even some more serious bel canto roles like Adalgisa and Jane Seymour. The way she tended to sing coloratura was a big liability. No legato at all. Ludwig’s voice, while ample, was similarly not dramatic. (Her excursions into the Verdian repertory were not successful, relative to her other performances, as she readily acknowledged.) It’s actually, for me, not surprising that her voice was pretty flexible. As you imply, however, she was primarily a German and Austrian singer rather than an Italian one from the standpoint of temperament and style.
Hmmm I seem to detect Mantelli making wild changes to the score to avoid her lower register. Odd for a “contralto.” Maria didn’t need to do such things. Looks like Maria wins again, as always!
Maria and Rossini, heavenly listening! Her fraseggio is unparalleled , she's the one who really respects every single sign and note! Her Rossini's rendition is amazing over the years, her coloratura is part of the interpretation not just embellishment! People who complain about her vocal health: this is 1962 and still sings beautifully ! Listen to her Rossini from 1950,1952 (Armida!!!!), 1954,1956,1958! That was the real first Rossini renaissance!
I thought she sounded great in the 1970s during her masterclasses
thnak you for the score! very interesting to note how precisely Callas performs every single indication by the composer
She always did
@@crazyorganist1609lo ha fatto solo lei.
I am loving this lately. I dance to it, learn the lyrics, sing along. She's great! She tore this Aria up! She's insanely musical.
i love this recording. no gimmicks, fake running notes or wishy washy phrasing... just pure accuracy and technical stability ❤
Accompanying it with the score is actually pretty amazing.
Thanks a lot.
Always a pleasure to hear Maria in florid Rossini!
Maria "the greatest" Callas.
Barone, I missed this video when it was uploaded,
I agree with you, La Divina, The greatest there ever was..
She could even feel when the music was a quarter note off Callas was a great pianist also.
Fantástica Maria!!!
Genuis ! Thanks for sharing ...
Sing it, girl! This song is the jam! ❤️
Odio irrefrenabile per tutti quelli che erano contro la sua arte (Onassis e i critici prezzolati)ma lei ha vinto per che data ricordata per l eternità come il più grande soprano che sia mai esistito nessuno ricorda la Tebaldi o la Caballe ma solo lei quando si parla di opera lirica!Maria e per sempre e morta la donna ma l artista e petenne
Her high notes are hoarse and raspy, and yet, the voice floats and dances on the rapid-fire coloratura with the greatest of ease, so different from the aspirated and gargled coloratura singing that has become the norm today. She also sang this aria in mid 1940s at a concert in Athens, right before she left Greece to come to the United States. Can you imagine what if a recording of that had survived?
aspirated and gargled? Bartoli?
@@rafaelrosal. Bartoli is certainly one of the greatest offenders when it comes to aspirated coloratura. She doesn't so much sing as shoot notes at the audience as if from a machine gun. Lisette Oropesa's coloratura, on the other hand, is legato, graceful, clean, and extremely melodious. Her singing in the finale of "Adina" is a real treasure.
@@Shahrdad Thank you for the information
@@Shahrdad Could not agree more! I have seen a video of Lisette warning singers of aspirating coloratura.
Callas was a soprano. But in Rossini's vocabulary low voices had to use also non legato agility. It existed. Agilita martellata is a type of singing which means hitting with voice like a hammer (martello in Italian means hammer). Maybe not in this aria, but in the agility of strength you can use strong accents on each note. It is not a mistake, you just have to learn all kinds of ways, even the staccato agility.
Ah, bel canto. Just trying to follow the score makes me dizzy.
1962 and she still sings like an angel. Where is the "terrible" decline in her voice? Up to her death she was fantastic. Has anyone ever considered that her great weight loss had nothing to do with any deccline in her voice because she never was fat. She might have lost a kilo or 3 but the great change was that she changed her image. Modern clothes, classy hair dos , stylish make up etc. Noooooo she was terrible overweight and losing all that weight caused her to lose her voice is all that all the jealous so called critics can hammer on. She never lost anything of her glorious voice. She simply became more glamorous than she was at the beginning of her glorious career. ❤❤❤ 6:09
She's hoarse and yet amazing!
Intrressante
Callas lo más grande que la ópera puede llegar a ser.
You high???
Is this from the concert in Germany? I have it on video.My daughter was convinced that in 1962 she was still a great artistic technical genius our Maya 👑💙 Arnold Bourbon Amaral
No, I think this is a studio recording, made in 1962 (in London, but I am not sure about that)
She did a few recordings with Tonini conducting around 1962, which were not released till after she died.
________✨________
Straight jacketing
Tjis is better than a previously recorded version of this operatic aria, much steadier and better
Y que no podia hacer esta mujer???
Still impressive until the big wobble on the final high note.
I'll suffer a final wobbly note in a definitive performance rather than an entire performance ailed by aspirated coloratura or every single trill skipped by an unaccomplished gal! + you will never hear better scales!
Ali Offe If you mean the unbearable Bartoli I agree.
@@ransomcoates546 Screw Bartoli, a.k.a Franzl Lang of opera, or the clowns of opera such as Didonato, Garanca etc. I meant famous mezzos of the last hundred years who suck big time! See Simionato, Barbieri, Horne, Ludwig, Podles etc for aspirated coloratura, ghastly scales, non-existent trills... Even in tattered voice, Callas gives a lesson on florid Rossini singing. LEGATO LOADED!
@@alioffe4321 Actually, Ludwig sang a Rossini surprisingly well, with fluent coloratura and excellent trills, even though she said that bel canto was not her cup of tea. Barbieri could actually trill quite well, as you can see from her filmed Azucena. Simionato was a dramatic mezzo who could manage bel canto, but I would never call her a coloratura mezzo. Horne's coloratura seems manufactured rather than natural, and I think she was the mother of all this aspirated and gargled style of coloratura that has become the norm now. Ebe Stignani had surprisingly fluent coloratura in her younger years, though I don't think she could trill. Zara Dolukhanova sang beautiful Rossini, with flawless coloratura. For the best mezzo trills, listen to Karin Branzell singing "Stride la vampa" in German ( Lodernde Flammen).
@@Shahrdad I have always wondered about Simionato’s fach. I know she sang a lot of dramatic roles, and she certainly succeeded because of her very well-developed chest register. But her timbre was light, and her tessitura was higher than other dramatic mezzos. I’m sure her voice penetrated through the orchestra live, but that’s different than having a heavy voice. Both Barbieri and Stignani had far heavier voices. (Unsurprisingly, Barbieri lambasted Simionato as a lazy soprano. Those two did not get along…) Yet I much prefer Simionato in repertory that doesn’t require too much coloratura - dramatic roles, and even some more serious bel canto roles like Adalgisa and Jane Seymour. The way she tended to sing coloratura was a big liability. No legato at all.
Ludwig’s voice, while ample, was similarly not dramatic. (Her excursions into the Verdian repertory were not successful, relative to her other performances, as she readily acknowledged.) It’s actually, for me, not surprising that her voice was pretty flexible. As you imply, however, she was primarily a German and Austrian singer rather than an Italian one from the standpoint of temperament and style.
Not as good as Eugenia Mantelli.
Hmmm I seem to detect Mantelli making wild changes to the score to avoid her lower register. Odd for a “contralto.” Maria didn’t need to do such things. Looks like Maria wins again, as always!
@@manolis.799 😊💙 word hijo mio. Arnold
Both are great.