Such perfection! I've said it before, at times I have to remind myself that she was human being, that she was Maria. There are no words that can truly portray her art. I am speechless.
Callas has been my favorite singer for 50 years. But the first time I ever heard her was her 1959 studio recording of Lucia, which she should not have done. Her voice was not at all in good shape on that recording, and the E flat6 was painful to listen to. I stopped listening to her after that, for about a year. But then heard her Medea, her Lady Macbeth, and then her 1953 studio Lucia. SUCH a difference!! And I've been a total fan of La Divina ever since! I was so crushed at her passing in 1977! But, as I said at the time, which has shown to be true, "her art will live forever"! Viva La Divina!!
As she lost more and more vocal resources, her portrayal became more and more fragile. That being said, her performances when she was larger and at the hight of her vocal powers were just as moving, detailed, and shattering as the later ones. She was an artist to the finger tips from start to finish.
@@jmiller05 Yes, but compared to ‘52 or ‘53, it’s less powerful, less plush, more strained on top, and the very high notes no longer come easily and aren’t as full and well supported.
17:41 en tres bonne forme vocale encore pour Lucia en cette annee 57.Certes ce n'est plus aussi fulgurant que les Lucias de Mexico Milan et Berlin .Mais tout de même c'est tres riche en expressivité et la ligne de chant est comme toujours extraordinaire.
Nothing like a Callas-Serafin collab. Especially towards the end of her career. Serafin kinda sounds like an old man in the pit (I mean he was) and Callas interpretation here is very routine sounding - like she's done it a million times (which she had), but the tone of her voice here is excellent for the role (it sounds very beautiful, soft and somber), she does many touching things, gives great feeling, and all together they paint a very clean and clear picture of the piece.
Such perfection! I've said it before, at times I have to remind myself that she was human being, that she was Maria. There are no words that can truly portray her art. I am speechless.
After 1954 she didn't hit Eb6 at the end of flute cadenza anymore (apart from 1959 studio) but her interpretation became more emotive
Eb is sung in Spargi d amaro and at the end of sestetto-
@@saverioorlando sestetto is D6
Callas has been my favorite singer for 50 years. But the first time I ever heard her was her 1959 studio recording of Lucia, which she should not have done. Her voice was not at all in good shape on that recording, and the E flat6 was painful to listen to. I stopped listening to her after that, for about a year. But then heard her Medea, her Lady Macbeth, and then her 1953 studio Lucia. SUCH a difference!! And I've been a total fan of La Divina ever since! I was so crushed at her passing in 1977! But, as I said at the time, which has shown to be true, "her art will live forever"! Viva La Divina!!
INSUPERABLE, Maravillosa Maria Callas¡¡¡¡¡¡¡¡¡¡
She seems to have not a voice, but an instrument played by a sublime extra-terrestris musician.
wonderful- absolute perfection...and beyond!
As she lost more and more vocal resources, her portrayal became more and more fragile. That being said, her performances when she was larger and at the hight of her vocal powers were just as moving, detailed, and shattering as the later ones. She was an artist to the finger tips from start to finish.
If Callas had a coach like Richard Bonygne, she would have more longevity
@@dgxgamesy3940 Lmao no
@@onigbajamo So how she would gain more time of best years?
I wouldn't say she had lost a lot of vocal resources here... 1957 was an Indian summer for the Callas voice.
@@jmiller05 Yes, but compared to ‘52 or ‘53, it’s less powerful, less plush, more strained on top, and the very high notes no longer come easily and aren’t as full and well supported.
Perfect
La mejor de todos los tiempos. UNICA.
17:41 en tres bonne forme vocale encore pour Lucia en cette annee 57.Certes ce n'est plus aussi fulgurant que les Lucias de Mexico Milan et Berlin .Mais tout de même c'est tres riche en expressivité et la ligne de chant est comme toujours extraordinaire.
Chaque note est pensée, contrôlée, colorée, sublime. Que faire après çà. Pauvres chanteuses "modernes" à l'épreuve. Aller courage.
Divina por siempre y para siempre!!!
Da. Brividi. Divina Callas
Harika,. Dramatik ve koleratür soprano
Nothing like a Callas-Serafin collab. Especially towards the end of her career. Serafin kinda sounds like an old man in the pit (I mean he was) and Callas interpretation here is very routine sounding - like she's done it a million times (which she had), but the tone of her voice here is excellent for the role (it sounds very beautiful, soft and somber), she does many touching things, gives great feeling, and all together they paint a very clean and clear picture of the piece.
Callas never did routine!
La mejor del mundo!!!