The interesting thing about La Divina is that as she mature, as her voice becomes a shadow of her prime past, her interpretation of the role also deepens. Brava!
Callas never wanted this material to be made public; she was who she was and the studios open their doors to her to TRY, that was all.... she tried and tried and tried, but she never intended to show this. She was always so concerned about people making money with her work, and it proved her right, because after her death EMI made everything public, even rehearsals in which she is simply marking the notes.
You are right that EMI violated her wishes and made money. However, even these things that she felt were not up to her standard give us insights into proper singing and characterization that no other singer has ever provided and we, as listeners, must be thankful for them.
I wonder why she chose this aria, which cruelly highlights the fragility of her upper register while giving her no real opportunity to shine in the middle and lower registers. It suited her to a tee in the early 1950s, but the voice already sounds strained in the 1956 recording under Karajan and the 1958 Paris recording is even less satisfying. She should have quietly dropped it from her repertoire after the Paris concert. There was plenty she could still sing beautifully in 1965, just not the Trovatore Leonora.
@@MorenoCassals70 Make no mistake, I think it's a great recording, but her days in the role were numbered. By 1965 it was no longer within her reach, unlike Tosca or even Norma which she still sang impressively on a good night.
@@piruja1965-mf6sw I respectfully disagree. The 1964 London Tosca is a great performance. The other Toscas from that period are in such poor sound that I can't listen to them, but that is hardly her fault. Tosca requires a great singing actress, and a few off notes don't spoil the fun -- not so in Il Trovatore and especially in this very demanding aria, which no one should attempt unless it lies comfortably within their range.
@@Matt75003 Don't you hear that Callas's voice is weak and hollow ? and that the support of the voice is painful? The same thing happens in her recording of Carmen and Carmen is a lower role in tessitura and the voice is destroyed. I inform you that singing Tosca is very very difficult,
The interesting thing about La Divina is that as she mature, as her voice becomes a shadow of her prime past, her interpretation of the role also deepens. Brava!
Grazie Opera❤In quest’aria la voce di Maria è più “notturna” e, anche se gli acuti sono un po’ oscillanti, e’ ancora più emozionante.
I´m in tears... this is ... OUT OF THIS WORLD...
Um arrepio me percorre a espinha ao ouvi_la Soberbo! Magnífico! Inigualável!! Obrigado!
I like that it is the darkest version of this aria by her. Even the 1950-51-52-53 d amors are not so dark as this
I know that her high notes are in trouble but the rest of singing is fenomenal and so emotional!
@@OperaMyWorld
You are right. Thank you for the post.
@@OperaMyWorld Absolutely! Thanks
🎉DIVINA !!!
Callas never wanted this material to be made public; she was who she was and the studios open their doors to her to TRY, that was all.... she tried and tried and tried, but she never intended to show this. She was always so concerned about people making money with her work, and it proved her right, because after her death EMI made everything public, even rehearsals in which she is simply marking the notes.
You are right that EMI violated her wishes and made money. However, even these things that she felt were not up to her standard give us insights into proper singing and characterization that no other singer has ever provided and we, as listeners, must be thankful for them.
Sempre una meraviglia
When you listen to Maria you listen to truth
You listen to true art at it's highest form mon Ami.
I wonder why she chose this aria, which cruelly highlights the fragility of her upper register while giving her no real opportunity to shine in the middle and lower registers. It suited her to a tee in the early 1950s, but the voice already sounds strained in the 1956 recording under Karajan and the 1958 Paris recording is even less satisfying. She should have quietly dropped it from her repertoire after the Paris concert. There was plenty she could still sing beautifully in 1965, just not the Trovatore Leonora.
Already In the 1956 EMI Trovatore her voice is little
@@MorenoCassals70 Make no mistake, I think it's a great recording, but her days in the role were numbered. By 1965 it was no longer within her reach, unlike Tosca or even Norma which she still sang impressively on a good night.
@@Matt75003 Not true, in 1964 and 1965 she simply had no voice anymore, there is no one Tosca of her of 1964 or 1965 that is decent, all are painful
@@piruja1965-mf6sw I respectfully disagree. The 1964 London Tosca is a great performance. The other Toscas from that period are in such poor sound that I can't listen to them, but that is hardly her fault. Tosca requires a great singing actress, and a few off notes don't spoil the fun -- not so in Il Trovatore and especially in this very demanding aria, which no one should attempt unless it lies comfortably within their range.
@@Matt75003 Don't you hear that Callas's voice is weak and hollow ? and that the support of the voice is painful? The same thing happens in her recording of Carmen and Carmen is a lower role in tessitura and the voice is destroyed.
I inform you that singing Tosca is very very difficult,
peccato nn abbia inciso altre arie.....tutto il primo verdi x esempio.....