Sie singt nicht nur technisch perfekt sondern sie investiert ihr ganzes Herz und ihre ganze Seele in diese Arie!! Sie ist auf ganzer Linie perfekt!!!Unübertroffen,einzigartig!! IHRE Lehrerin kann sich ein Schloss im Himmel bauen!!!Denn sie hat auf der Welt einzigartiges vollbracht!!Sie hat die Vollkommenheit für die Ewigkeit geformt!!!
@@josephhapp9 Lol! I know that they raised the pitch one whole step! That is why I thanked the person who pulled this video off! ...Perhaps how I SHOULD have phrased my comment was something akin to "Only Maria Callas COULD have sung an F6 with that much dramatic weight!" Not a smaller voiced flute-like lyric coloratura soprano to be sure! 😀
@@pointofnoreturn3103 even being a high E6 is awesome... This is coloratura with Nilsson/Dimitrova voice 😂 And some singers say, if you could sing and hold one note, you get to the next one at least in stacatto. so Callas could have easily sung the queen of the night
@@Antonio-qm3bi Oh, my gosh! Chills just went down my spine when I think about how SHE would have sung the Queen's Vengeance aria in the second act! ...Pamina in Flute was my first opera role, and Dr. Larsen told me that Sarastro was Pamina's long lost father. Hence the Queen's motivation for telling Pamina to kill him in the Vengeance aria. What is it now? "Hell hath no fury like a woman scorned..." My GOSH, how Maria Callas would have sung that aria!!!! 😍
The original key is Eb (that is how Callas sang it in every recording performance extant) NOT E which is the manipulation here, so I don't see the point of it. There is a splendid, solid Eb at the end of this 1952 Mexico recording, just as all the others after it.
This is not proof. The recording was played at the wrong speed. Callas had E flat 6 and E 6 only in public. If you can't tell it was manipulated, then you don't know opera or Maria Callas well
For those who didn't understand: this audio is modified to sound one tone higher than what she sang. Callas sang this Mad Scene in Eb, not F, like most sopranos. 😘🫰
It's the other way around. About 95% of the time, Sopranos sing the Mad Scene not in its original key (F Major) but in Eb Major. This came about so Sopranos could end the scene with a high Eb. Few Sopranos can pull off a sustained high F.
Dfgh 234 I changed the pitch, but it also slightly increased the speed. I could have preserved the speed, but it compromises the sound quality, which is already not the best, being an old recording.
It's definitely not the right speed. She would never have sung this in F major. Only a handful of sopranos sing it in the original key, and those who could didn't for various reasons. Lily Pons, Natalie Dessay, Ruth Welting, and perhaps Mady Mesple sang in F. Caballe did, but sang the score as written without the flute cadenza in the mad scene. In the original score if I remember correctly, there are two high Cs and one C# or D flat in the entire score. There's no flute cadenza in the original French or the customary Italian translation 😊
I can determine notes by absolute pitch and this definitely sounds like the key is in F - at least the final high note is an F6. I checked with a piano to see if perhaps somehow my hearing is off, but if I play an F6 note on the piano against the last note, (perhaps very very slightly flatter) it matches, and definitely doesn't match an E6.
This is an amazing conversation for me. I'm just now learning music but I have listened to La Divina Callas' recordings my whole life. For my better learning, to clarify for me: 1)what is the original key that this whole aria is written in? 2) And what did Maria actually sing for that last note, in real life, an E or an F?? This would help me so much as a student!
The original Mad Scene, at least Lucia's cavatina and cabaletta, is written in F major. The vast majority of sopranos sing it transposed a whole tone downwards, in Eb major, and it has been published in that key ever since, in an edition that Donizetti did not oversee*. There's a few more numbers that suffered that fate: Lucia's first cavatina (sung and published in D major, written in Eb major) and first cabaletta (sung and published in G major, written in Ab major), and the Enrico Lucia duet (sung and published in G major, written in A major). Also, keep in mind the ornate and high flute cadenza is a late addition that became tradition and was not originally present in the score. Long-story short, the usual edition of Lucia is a corrupt score and affects the lead character's music pretty heavily, all for the worse. *The French edition of the work, which he made himself, keeps the original keys: A major for the duet, F major for the mad scene, although, at the soprano's request, Lucia's, now Lucie's, first aria was changed to something completely different.
@@aclassicaltrove thankyou much! I wasn't aware of all that. So in the duet, the tenor's part, Enrico, also suffers the same. I will be studying his part soon. I'll keep that in mind when searching for a "Lucia" score!
@@eddue12345 Actually, Enrico is the baritone, her brother. I'm refering to the Act II duet, 'Il pallor funesto'. The tenor is Edgardo and his music came out unscathed in the standard edition. Their duet happens in Act I and it's 'Sulla tomba'.
This recording has been wrought up to F from E flat. Her timbre is unrecognisable as Callas due to the distortion of pitch. Also, the tempo is circuslike, and never would have been countenanced by Callas. This whole thing is a fake and a phoney, carefully created by someone who wanted to hear Callas sing an F6. Outrageous.
Sie singt nicht nur technisch perfekt sondern sie investiert ihr ganzes Herz und ihre ganze Seele in diese Arie!! Sie ist auf ganzer Linie perfekt!!!Unübertroffen,einzigartig!! IHRE Lehrerin kann sich ein Schloss im Himmel bauen!!!Denn sie hat auf der Welt einzigartiges vollbracht!!Sie hat die Vollkommenheit für die Ewigkeit geformt!!!
Elvira de Hidalgo war immer stolz auf ihre beste Schülerin.
My dream was to see Maria Callas singing the Queen of the Night's Aria, but this I can only do in Heaven.
just listen to her Queen of the Night Masterclass at Julliard
Ew no.
I had an other dream: Verdi's Requiem by Callas. It could have been an earthquake...
❤❤❤❤❤Absolutely gorgeous!!Totally worldclass!!!I can't find words to describe my feelings!😊😊😊😊😊😊
Holy Moly! THAT F6 at the end!! Only SHE could have had that much dramatic weight on that tone! Wow! Thank you for making this video! Susan
F6 non esiste!
Sorry to tell you this audio has been raised a tone.
Faked as explained in the side notes.
@@josephhapp9 Lol! I know that they raised the pitch one whole step! That is why I thanked the person who pulled this video off! ...Perhaps how I SHOULD have phrased my comment was something akin to "Only Maria Callas COULD have sung an F6 with that much dramatic weight!" Not a smaller voiced flute-like lyric coloratura soprano to be sure! 😀
@@pointofnoreturn3103 even being a high E6 is awesome... This is coloratura with Nilsson/Dimitrova voice 😂
And some singers say, if you could sing and hold one note, you get to the next one at least in stacatto. so Callas could have easily sung the queen of the night
@@Antonio-qm3bi Oh, my gosh! Chills just went down my spine when I think about how SHE would have sung the Queen's Vengeance aria in the second act! ...Pamina in Flute was my first opera role, and Dr. Larsen told me that Sarastro was Pamina's long lost father. Hence the Queen's motivation for telling Pamina to kill him in the Vengeance aria. What is it now? "Hell hath no fury like a woman scorned..." My GOSH, how Maria Callas would have sung that aria!!!! 😍
What a beautiful birthday present today, 29th of February. Love you, Maria❤️
Brava!!!
J'entends ici un mi naturel ,et c'est déjà un exploit ,pour une cantatrice capable de chanter la Walkyrie et la Gioconda .Elle est inegalable .
Нереальная, непревзойденная навсегда, Богиня !!
Amazing as always!!!
Прекрасна очаровательна талантлива от бога
Все цветы к твоим ногам
❤💕🌹🌍🕊️
Nailed it!
The tape is quicker, she always sung the role on this key, and the last note was always an E Flat
love the video bravaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
This is original key, she sang F6, not E6 - fenomenal, so powerfull, perfect technically - wow.
It was recorded in E flat. The recording was sped up a little. It's quite obvious. She sounds like a heroic Minnie Mouse!
The original key is Eb (that is how Callas sang it in every recording performance extant) NOT E which is the manipulation here, so I don't see the point of it. There is a splendid, solid Eb at the end of this 1952 Mexico recording, just as all the others after it.
It sounds like a Mado Robin.
A Mado Robin with steroids.
Proof that Our Divine one sang up to an F6 ❤️
This is not proof. The recording was played at the wrong speed. Callas had E flat 6 and E 6 only in public. If you can't tell it was manipulated, then you don't know opera or Maria Callas well
For those who didn't understand: this audio is modified to sound one tone higher than what she sang. Callas sang this Mad Scene in Eb, not F, like most sopranos. 😘🫰
It's the other way around. About 95% of the time, Sopranos sing the Mad Scene not in its original key (F Major) but in Eb Major. This came about so Sopranos could end the scene with a high Eb. Few Sopranos can pull off a sustained high F.
@@golden-63 Yes, and Maria Callas wasn't one of those who could sustain a High F.
Did you change the speed too or just the pitch ?
Dfgh 234 I changed the pitch, but it also slightly increased the speed. I could have preserved the speed, but it compromises the sound quality, which is already not the best, being an old recording.
The speed
You don't think Callas could sing that fast? The proof is to me in the extra bright low notes.. this was recorded before 1950..
This is the mexico performances from 1952!! The audio has been transpoed up a whole tone...its fake...
It's definitely not the right speed. She would never have sung this in F major. Only a handful of sopranos sing it in the original key, and those who could didn't for various reasons. Lily Pons, Natalie Dessay, Ruth Welting, and perhaps Mady Mesple sang in F. Caballe did, but sang the score as written without the flute cadenza in the mad scene. In the original score if I remember correctly, there are two high Cs and one C# or D flat in the entire score. There's no flute cadenza in the original French or the customary Italian translation 😊
it's sooo fast
What is the original key in?
F major is the original in the French version, E flat in the Italian version
This is not the original key, the original is in F, this is in E-(natural).
I can determine notes by absolute pitch and this definitely sounds like the key is in F - at least the final high note is an F6. I checked with a piano to see if perhaps somehow my hearing is off, but if I play an F6 note on the piano against the last note, (perhaps very very slightly flatter) it matches, and definitely doesn't match an E6.
I happen to have absolute pitch as well... maybe because my pitch is a little sharp... hmmm... it sounds like an E to me.
Yep... I listened to it again the E is a little sharp (by about a quarter tone) around 1330 hz.
Maybe your piano is a little flat.
Mar R yup. It's an F.
This is an amazing conversation for me. I'm just now learning music but I have listened to La Divina Callas' recordings my whole life. For my better learning, to clarify for me: 1)what is the original key that this whole aria is written in?
2) And what did Maria actually sing for that last note, in real life, an E or an F??
This would help me so much as a student!
The original Mad Scene, at least Lucia's cavatina and cabaletta, is written in F major. The vast majority of sopranos sing it transposed a whole tone downwards, in Eb major, and it has been published in that key ever since, in an edition that Donizetti did not oversee*. There's a few more numbers that suffered that fate: Lucia's first cavatina (sung and published in D major, written in Eb major) and first cabaletta (sung and published in G major, written in Ab major), and the Enrico Lucia duet (sung and published in G major, written in A major). Also, keep in mind the ornate and high flute cadenza is a late addition that became tradition and was not originally present in the score. Long-story short, the usual edition of Lucia is a corrupt score and affects the lead character's music pretty heavily, all for the worse.
*The French edition of the work, which he made himself, keeps the original keys: A major for the duet, F major for the mad scene, although, at the soprano's request, Lucia's, now Lucie's, first aria was changed to something completely different.
@@aclassicaltrove thankyou much! I wasn't aware of all that. So in the duet, the tenor's part, Enrico, also suffers the same. I will be studying his part soon. I'll keep that in mind when searching for a "Lucia" score!
@@eddue12345 Actually, Enrico is the baritone, her brother. I'm refering to the Act II duet, 'Il pallor funesto'. The tenor is Edgardo and his music came out unscathed in the standard edition. Their duet happens in Act I and it's 'Sulla tomba'.
O yes, that's right!
❤❤❤❤❤❤❤❤❤❤
Which is exactly the manipulation?
Thanks in advance.
Apparently he edited it. Well just to know how it sounds
Raising the pitch by just above one semitone (but not two semitones, I adjusted so the last high note is an exact F6). Also Jefta, I’m a she ;)
🎉 utube John bavas crazy
This recording has been wrought up to F from E flat. Her timbre is unrecognisable as Callas due to the distortion of pitch. Also, the tempo is circuslike, and never would have been countenanced by Callas. This whole thing is a fake and a phoney, carefully created by someone who wanted to hear Callas sing an F6. Outrageous.
when was this recorded?