Of all the Callas lovers on youtube you do the absolutely best job of updating the sound! As one of the many who consider Callas incomparable, I truly appreciate your efforts. If you created a play list of your posts it would be my all the time go to list. Love the Robert Shaw additions
@@matOpera For example not just Callas, although she is my favourite, but you have other's - Tebaldi, Nilsson - etc, and your choices which demonstrate their art is excellent. Was that clear, or do you understand what I am trying to say?
le travail de restoration est tres bien balancé . je ne crois pas l avoir entendu comme cela auparavant.. nous attendons les autres callas, je pense ...., traviata 1951, trovatore 51, et meme sa medee 53 a florence merci.
I am curious how you applied the equalizer on this recording? Did you use a parametric equalizer? Which one did you use? The outcomes is superb! Many thanks on your great job! I do play this CD quite often.
I used iZotope Ozone Advanced to apply an EQ Matching algorithm and then some additional spectral EQ. I also added some stereo image depth. I’m really glad you’re enjoying it! I’ll be posting more performances soon.
@@matOpera I look forward to your uploads. I am an analogue man, old fashion type. How I wish I can have the Vinyl Copy of this performance. Once again, thanks for your great effort so that we all can enjoy the top quality sound of this performance.
@@chi-wanglee5917 I recommend checking out discogs for rare LPs. The best version of the Callas 1955 Traviata is, as far as I’m aware, the Foyer LP. Thanks for your comments, and happy listening!
When you compare this (admittedly her best "thin" year) to what she did a mere three years earlier, you can hear how much the weight loss cost her vocally. th-cam.com/video/IK-1wQoC-jk/w-d-xo.html
Yes, but I would still argue that this was her best year. She could still do what she wanted to do expressively in her core repertory without making any compromises. She is more expressive here and elsewhere that year than during her fat years. It's too bad we don't have recordings from Chicago of her Trovatore and Puritani from that year too.
@@ER1CwC She was just as expressive and musical before the weight loss than after. The precarious vocal state of her late Traviatas did add more pathos to the role. That was part of her genius: making vocal weaknesses into expressive strengths.
@@Shahrdad I think she was less introspective and less understated during her fat years. Maybe that was a product of her more robust resources, or maybe not. I think in most cases, the greater introspection was the correct call interpretively speaking.
@@ER1CwC Of course her interpretations matured and changed, but I think (as did Michael Scott) that a lot of the readjustment was more of an adjustment to reduced vocal resources than anything else. I also feel that some of the interpretive resources she had early on were lacking later on. For example, if you listen to her early Sempre libera recordings, she shapes and colors each one of the repeated high Cs near the very end differently. With each C, she seems to be examining and reviewing her options for how to proceed with her new-found feelings. By the time of the Scala traviata, she no longer could color and shape each C individually as she had three or four years before. The fault John Ardoin found in the earlier traviatas was an over-generosity of sound in the second and third acts, but when I hear the entire performance, it all works together perfectly, despite the wagnerian scale of her voice at the time.
@@ShahrdadI broadly agree. I also think that Michael Scott has/had much, much better ears than John Ardoin. But I tend to agree with Ardoin when it comes to Traviata. I think her approach to Traviata earlier on was too robust vocally and interpretatively. But then, I’m nitpicking. I don’t think that her voice was ever Wagnerian, but that’s another discussion! (I relistened to her Kundry recently, and it’s got to be one of the lightest voiced Kundry’s on record.)
![Callas as Lucia - Act 1 aria + duet (LIVE ‘STEREO’ Sound) [1956]](http://i.ytimg.com/vi/-9l8SsaB_lQ/mqdefault.jpg)
![Callas as Lucia — Act 1 aria + duet (LIVE ‘STEREO’ Sound) [1956]](/img/tr.png)
The best Violetta of all time.
Do people realize that they will never ever hear that aria sung like that as long as they live.... what a gift from God she IS!+!+!+
Strepitosa, unica, la più grande del 900❤
Of all the Callas lovers on youtube you do the absolutely best job of updating the sound! As one of the many who consider Callas incomparable, I truly appreciate your efforts. If you created a play list of your posts it would be my all the time go to list. Love the Robert Shaw additions
Thanks for the kind words. Do you mean _all_ my posts, or do you have something specific in mind?
@@matOpera For example not just Callas, although she is my favourite, but you have other's - Tebaldi, Nilsson - etc, and your choices which demonstrate their art is excellent. Was that clear, or do you understand what I am trying to say?
le travail de restoration est tres bien balancé . je ne crois pas l avoir entendu comme cela auparavant.. nous attendons les autres callas, je pense ...., traviata 1951, trovatore 51, et meme sa medee 53 a florence merci.
👏👏👏👏👏👏
her Best traviata was the México City one. when her e dkats could drown any and all
I am curious how you applied the equalizer on this recording? Did you use a parametric equalizer? Which one did you use? The outcomes is superb! Many thanks on your great job! I do play this CD quite often.
I used iZotope Ozone Advanced to apply an EQ Matching algorithm and then some additional spectral EQ. I also added some stereo image depth.
I’m really glad you’re enjoying it! I’ll be posting more performances soon.
@@matOpera I look forward to your uploads.
I am an analogue man, old fashion type. How I wish I can have the Vinyl Copy of this performance. Once again, thanks for your great effort so that we all can enjoy the top quality sound of this performance.
@@chi-wanglee5917 I recommend checking out discogs for rare LPs. The best version of the Callas 1955 Traviata is, as far as I’m aware, the Foyer LP.
Thanks for your comments, and happy listening!
When you compare this (admittedly her best "thin" year) to what she did a mere three years earlier, you can hear how much the weight loss cost her vocally. th-cam.com/video/IK-1wQoC-jk/w-d-xo.html
Yes, but I would still argue that this was her best year. She could still do what she wanted to do expressively in her core repertory without making any compromises. She is more expressive here and elsewhere that year than during her fat years. It's too bad we don't have recordings from Chicago of her Trovatore and Puritani from that year too.
@@ER1CwC She was just as expressive and musical before the weight loss than after. The precarious vocal state of her late Traviatas did add more pathos to the role. That was part of her genius: making vocal weaknesses into expressive strengths.
@@Shahrdad I think she was less introspective and less understated during her fat years. Maybe that was a product of her more robust resources, or maybe not. I think in most cases, the greater introspection was the correct call interpretively speaking.
@@ER1CwC Of course her interpretations matured and changed, but I think (as did Michael Scott) that a lot of the readjustment was more of an adjustment to reduced vocal resources than anything else. I also feel that some of the interpretive resources she had early on were lacking later on. For example, if you listen to her early Sempre libera recordings, she shapes and colors each one of the repeated high Cs near the very end differently. With each C, she seems to be examining and reviewing her options for how to proceed with her new-found feelings. By the time of the Scala traviata, she no longer could color and shape each C individually as she had three or four years before. The fault John Ardoin found in the earlier traviatas was an over-generosity of sound in the second and third acts, but when I hear the entire performance, it all works together perfectly, despite the wagnerian scale of her voice at the time.
@@ShahrdadI broadly agree. I also think that Michael Scott has/had much, much better ears than John Ardoin. But I tend to agree with Ardoin when it comes to Traviata. I think her approach to Traviata earlier on was too robust vocally and interpretatively. But then, I’m nitpicking.
I don’t think that her voice was ever Wagnerian, but that’s another discussion! (I relistened to her Kundry recently, and it’s got to be one of the lightest voiced Kundry’s on record.)