Both of her recordings of this opera are phenomenal. In 1952, she's fearless, and she has the full power of her pre-weight loss voice at her disposal. The 1959 recording finds her in one final sunny moment where the voice sounds nearly as full and even as 7 years prior, and there is a new softness and femininity in her interpretation. I think one moment that shows this the best is a few minutes after this aria when Enzo enters. In 1952, Callas sounds surprised as she says, "Enzo, sei tu?" But in 1959, her voice just melts in that short phrase, the same way Gioconda's heart must have melted at the sight of Enzo. In the book "Opera on Record, Vol 3" Alan Blyth writes of Callas's two recordings, "In sum, whatever Callas set one listens to, one realizes that here a singer and a role make a perfect match. Every piece of recitative, every vocal line is imprinted with a wealth of feeling that is ideally suited to its utterance. The searing force of her interpretation makes us believe wholly in Gioconda's plight; what more can one ask of the interpreter of any part?"
John Ardoin said that the final scene of the 1959 recording was one of the only recordings that Callas was happy with. She told him, “It’s all in there, if anyone ever care to know what I was about.”
I am breathless... this is extrodinary, this is strengh, conviction, the despair in her voice is marvelous, everything is there, more than the voice itself, the emotions, everything, wow ! I just can't stop listening it again and again.
She can give chest resonances even to already high notes such as middle E and F. Only with the A does the voice become authentically soprano and sweet. It is amazing how such a young singer could do everything she wanted to do
Suicidio!... In questi fieri momenti Tu sol mi resti, E il cor mi tenti. Ultima voce Del mio destino, Ultima croce Del mio cammin. E un dì leggiadro Volavan l'ore, Perdei la madre, Perdei l'amore, Vinsi l' infausta Gelosa febre! Or piombo esausta Fra le tenèbre! Tocco alla mèta... Domando al cielo Di dormir quieta Dentro l'avel.
I love the bit at 3:30 - so exciting. I mean there has never been a greater chest voice. It seems to be tradition to do it that way, though the score clearly marks the exact opposite!
of course there have been many great chest voices! your comment shows that you don't know the great sopranos of the past. tebaldi had great chest voice two in the fifties.. and earlier where many of them, many....
@@contraltissima yes definitely Tebaldi had great chest voice, but GREATER than Callas? Ponselle had greater chest voice than Callas, but not in this aria....
Callas’ performance sets her aside from all the others. But I would point out Tebaldi’s version as another example of mastery and a lifetime dedication to the art of singing.
I believe Tebaldi's singing captured Gioconda's response to her dilema more comprehensively than Callas, while the character's spirit is fully demonstrated by timbre, shading and coloring of voice. Callas' approach is wonderfull also, but, just doesn't capture spirit and response to dilema as completely.
Do4 cantados en voz de pecho como si los cantara un hombre al tiempo que los agudos son los propios de una soprano, tremenda proeza vocal sin duda. Entiendo que los Do4 (el Do grave de la soprano) no tienen por qué sonar así de profundos siempre, sino que depende del color de la voz y la decisión de colocarlos en pecho o "in maschera".
@@montecarlostar Era rara su voz por así decirlo, su voz no era tan oscura en las notas graves. Si hay dos sopranos con voces oscuras "naturalmente" que cantaron este papel son Ponselle y Dimitrova
Esas notas graves, increíble y mucho se discute si una soprano debe temer a no notas de pecho. Yo como cantante considero de que si son necesarias casualmente para afrontar roles como este ó Aída. Incluso una voz como la mía que en algún momento tendría que pasar por Deh Vieni non Tardar de Mozart cuya nota más grave en la pieza es un la 3 y hay que emitirlo con buen apoyo. Volviendo a esta área de La Gioconda, fue de las primera pieza que me introdujeron a conocer la ópera siendo yo una cantante de heavy metal hace mucho tiempo y se que hay otras interpretaciones muy buena como la de Tebaldi ó Caballé y en esta era posmoderna quizá la mejor sea la de Saioa Hernández, Pero siempre voy a regresar a la Callas Por qué sinceramente sigo sin encontrar una versión para una expresiva que incluso me lleva a las lágrimas, No importa las veces que la escuche porque siempre termino llorando. Cuando Ella grabó esto tenía 28 ó 29 años Eso despliegue vocal era "arrollador" Hide hecho la 2ª grabación que se hizo en el 59 sigue siendo buena, pero no me van a dejar mentir de que no supera a esta Pues básicamente porque era el momento y lugar para La Callas. Saludos desde Nicaragua 🇳🇮. Mi tipo de voz: soprano lírica ligera.
The best Gioconda in history. Without a doubt.
I can't listen to anyone else sing a role I've heard her sing. She is The One.
Thought I was the only one
I’m the same! This isn’t singing, it’s superhuman art.
I'm absolutely the same way
Same
☺️
Impressionante con che facilità passa da una nota acuta ad un basso (greve).Insuperabile Callas❤❤❤
That anyone can really listen to this and not see that Callas is the unequaled genius of female dramatic singing is not even forgivable to me.
This is absolutely insane singing. The lower register is utterly outstanding. The Callas voice is a beast; a force of nature.
Wow, the FIRST note, she is just orchestral, no other word, So much complexity in her sound. Incredible
Dios mío, esos matices, esa musicalidad, esa expresión, ESOS GRAVES! Felices quienes tuvieron la ocasión de escucharla en vivo.
Both of her recordings of this opera are phenomenal. In 1952, she's fearless, and she has the full power of her pre-weight loss voice at her disposal. The 1959 recording finds her in one final sunny moment where the voice sounds nearly as full and even as 7 years prior, and there is a new softness and femininity in her interpretation. I think one moment that shows this the best is a few minutes after this aria when Enzo enters. In 1952, Callas sounds surprised as she says, "Enzo, sei tu?" But in 1959, her voice just melts in that short phrase, the same way Gioconda's heart must have melted at the sight of Enzo.
In the book "Opera on Record, Vol 3" Alan Blyth writes of Callas's two recordings, "In sum, whatever Callas set one listens to, one realizes that here a singer and a role make a perfect match. Every piece of recitative, every vocal line is imprinted with a wealth of feeling that is ideally suited to its utterance. The searing force of her interpretation makes us believe wholly in Gioconda's plight; what more can one ask of the interpreter of any part?"
The two Gioconda recordings, especially in the final scene, are Callas at her greatest -- THE Callas!
John Ardoin said that the final scene of the 1959 recording was one of the only recordings that Callas was happy with. She told him, “It’s all in there, if anyone ever care to know what I was about.”
I am breathless... this is extrodinary, this is strengh, conviction, the despair in her voice is marvelous, everything is there, more than the voice itself, the emotions, everything, wow ! I just can't stop listening it again and again.
4:25 fil di voce in deep chest voice! That girl is insane
María Callas, grande en Suicidio!!no me canso de escucharla!
Unsurpassed. Best Gioconda ever.
She can give chest resonances even to already high notes such as middle E and F. Only with the A does the voice become authentically soprano and sweet. It is amazing how such a young singer could do everything she wanted to do
Yeah she could do it, but at what cost.
Her chest voice give me A LOTS of goosebumps... 🤤🤤🤤🤤🤤🤤🤤🤤🤤
Tenebre sounds like a baritone
I NEVER tire of listening to this Callas
What a powerful interpretation
Suicidio!...
In questi fieri momenti
Tu sol mi resti,
E il cor mi tenti.
Ultima voce
Del mio destino,
Ultima croce
Del mio cammin.
E un dì leggiadro
Volavan l'ore,
Perdei la madre,
Perdei l'amore,
Vinsi l' infausta
Gelosa febre!
Or piombo esausta
Fra le tenèbre!
Tocco alla mèta...
Domando al cielo
Di dormir quieta
Dentro l'avel.
Incroyable...
All other versions of this aria pales in comparison, even Callas' own second version from 1959
Impresionante la cavernosidad de su voz en el registro medio y de pecho. Suena como un tenor!
Sola e unica
2:12 or piombo esausta fra le tenebre 🔥🔥🔥
Avete notato come acquista volume la voce nelle note basse?
I love the bit at 3:30 - so exciting. I mean there has never been a greater chest voice. It seems to be tradition to do it that way, though the score clearly marks the exact opposite!
of course there have been many great chest voices! your comment shows that you don't know the great sopranos of the past. tebaldi had great chest voice two in the fifties.. and earlier where many of them, many....
@@contraltissima Also Rosa Ponselle and Magda Olivero
@@contraltissima yes definitely Tebaldi had great chest voice, but GREATER than Callas? Ponselle had greater chest voice than Callas, but not in this aria....
@@moonlightelf591 dimitrova had greater chest voice than callas
callas had better chest voice than tebaldi@@contraltissima
Callas’ performance sets her aside from all the others. But I would point out Tebaldi’s version as another example of mastery and a lifetime dedication to the art of singing.
I believe Tebaldi's singing captured Gioconda's response to her dilema more comprehensively than Callas, while the character's spirit is fully demonstrated by timbre, shading and coloring of voice. Callas' approach is wonderfull also, but, just doesn't capture spirit and response to dilema as completely.
Otherworldly!!!!!❤
BRAVISSIMA ❗️❤️🙏🏻💐
Voz voz voz,i trabajo,,¿imposible sacar esa gravedad cavernicula? Claro es Callas,no solo canta,interpreta ella es Gioconda,o Traviata,o Norma,.Divina
Do4 cantados en voz de pecho como si los cantara un hombre al tiempo que los agudos son los propios de una soprano, tremenda proeza vocal sin duda. Entiendo que los Do4 (el Do grave de la soprano) no tienen por qué sonar así de profundos siempre, sino que depende del color de la voz y la decisión de colocarlos en pecho o "in maschera".
Es verdad, en su serie de conciertos de despedida no los canta tan profundos, suenan un poco más superficiales
@@montecarlostar Era rara su voz por así decirlo, su voz no era tan oscura en las notas graves. Si hay dos sopranos con voces oscuras "naturalmente" que cantaron este papel son Ponselle y Dimitrova
Esas notas graves, increíble y mucho se discute si una soprano debe temer a no notas de pecho. Yo como cantante considero de que si son necesarias casualmente para afrontar roles como este ó Aída. Incluso una voz como la mía que en algún momento tendría que pasar por Deh Vieni non Tardar de Mozart cuya nota más grave en la pieza es un la 3 y hay que emitirlo con buen apoyo. Volviendo a esta área de La Gioconda, fue de las primera pieza que me introdujeron a conocer la ópera siendo yo una cantante de heavy metal hace mucho tiempo y se que hay otras interpretaciones muy buena como la de Tebaldi ó Caballé y en esta era posmoderna quizá la mejor sea la de Saioa Hernández, Pero siempre voy a regresar a la Callas Por qué sinceramente sigo sin encontrar una versión para una expresiva que incluso me lleva a las lágrimas, No importa las veces que la escuche porque siempre termino llorando. Cuando Ella grabó esto tenía 28 ó 29 años Eso despliegue vocal era "arrollador" Hide hecho la 2ª grabación que se hizo en el 59 sigue siendo buena, pero no me van a dejar mentir de que no supera a esta Pues básicamente porque era el momento y lugar para La Callas. Saludos desde Nicaragua 🇳🇮.
Mi tipo de voz: soprano lírica ligera.
❤
Is there any live recordings of her performance of her Gioconda?
Hi
Sounds like someone has poorly applied an equaliser to this whole recording and butchered its quality
the version on spotify is even worse, super compressed
No one like Her