I still believe if Callas had lost the weight more GRADUALLY AND worked (physical therapy, etc.) to adjust her technique to her “new” body, she could have maintained that “take no prisoners” POWER! Of course she was still great after the weight loss, but that ABSOLUTE AUTHORITY was gone-she was STILL fearless as ever, but the voice was not the same.
1955 Callas with the nuances! Absolutely breath taking. My idol, my hero, my vocal poweress. There will never be another one like her, we can all wish we were annointed like this.
Richard Bonynge spoke about what he heard when he first saw Callas in 1952: ""But before she slimmed down, I mean this was such a colossal voice. It just poured out of her, the way Flagstad's did.... Callas had a huge voice. When she and Stignani sang Norma, at the bottom of the range you could barely tell who was who ... Oh it was colossal. And she took the big sound right up to the top." Listening to these and looking at the photos (I believe the 1955 is the RAI broadcast rather than the Scala performance) you can see how her voice mirrored her physique. In 1952, she's a tall, strong looking young woman, rather like a strong farm-girl. I know people called her "fat," but I would say she was statuesque and voluptuous and strong and often, quite beautiful; she certainly wasn't nearly as obese as what we routinely see on stage and on the streets nowadays. The voice was also fuller, more powerful, more even, and the high notes were easy and rich. Three years later, after she had lost 1/3 of her body-mass, the voice is leaner, smaller, without the same reserves of power, and the high notes are less full and more metallc. The highest notes no longer come as easily and dependably as they did before either. In compensation, there is more nuance and more femininity, perhaps as a result of her actually feeling beautiful for the first time in her life. As much as I usually prefer her "fat" voice in most roles, I find that her 1955 Scala Norma to be her definitive interpretation of the role. Her voice is in excellent "thin" shape, she is imperious and vulnerable, and her fury is even more frightening than before. And yet, there is a fragility under the bluster that wasn't quite there before. It's the perfect embodiment of how she describes Norma: "“Norma resembles me in certain points. She seems strong, even fierce sometimes … yet she is not, even if she roars like a lion."
When Callas was young and stronger physically, she sung like a waterfall of sound, but when she lost weight and the voice change its texture and became somehow thiner, she sung like an orchestra .... I personally believe that she became the best singer ever after she lost the weight.
Maria Callas before she lost weight was a better singer, but Callas post-1954 was the more nuanced vocalist. Her voice became one with the orchestra instead of merely singing to what the orchestra is playing.
It's quite obvious that the 52 performance is a dazzling vocal display. The 55 Norma our Mayas technique humanized Norma to an incredible artistic level. Comparing our Maya before and after the weight loss is futile. We can't compare greatness when it concerns our Maya. Regina Divina.
Grazie Opera❤Alla Scala la voce sembra più tagliente è più squillante. Credo che per Maria la Scala (1955) fosse più stimolante del Covent Garden (1952). Non era ancora abituata al pubblico inglese che, con sua meraviglia, dopo Casta Diva non l’aveva applaudita. Le hanno poi spiegato che gli inglesi battono le mani solo a fine dell’atto
Even though her voice lost the effortlessness and freshness of youth, the later record clearly shows her evolution as an interpreter. The phrasing feels much more intentional and grave in 1955, somehow more believable. She presents a truly fierce character where before she was “merely” impressive.
Very interesting comparison. You only have to hear how she tackles high C in 55 compared to 52 to understand how much she worked on technique to make the sounds less shouty, more collected and incisive on the word. At the same time, it is undeniable that in 1952 she had greater strength, stamina and perhaps even pure volume. The problem probably also lies in the repertoire. If she had not sung Norma after 1952, we would have the testimony of a phenomenal singer, but with the 1955 Norma we have an excavation in the romantic style (humanity, sweetness, fury, doubts, colors, incisiveness, etc.) that only she was able to bring to these heights, and which set the school for subsequent generations. If, on the other hand, she had no longer sung Medea after 1953, we would still have an authoritative Medea for the future, because the classical style perhaps does not require Bellini's in-depth study.
Yes, frankly I hear very little or any "loss" in tonnage in this 1955 clip. Still a powerhouse. And remained so right up until she started seeing Onassis in 1959 and stopped practising.
I like both, but I think the 1952 voice was probably easier for her to sing with. I think she lost TOO MUCH WEIGHT, and I think she would have lasted a bit longer if she hadn't skinnied herself down so. But then, her sister was slender like that and had a lovely voice, so..........???
It's like she didn't keep as open of a throat after she lost the weight perhaps in order to gain better control of the music and words. Callas strength lied in her nuance and sensitivity to the micro and macro details of a piece. Perhaps scaling down the voice while still keeping it penetrating, if slightly uglier, was the best way for her to truly realize her interpretive vision. I prefer the 1955 version, but perhaps vocally this was not as healthy.
В 1952 голос был другой окраски: глубже, сильнее и звучал чуть ниже и не был резким, во втором варианте1955г.в голосе появился металлический блеск и он приобрёл некоторую резкость, стал звучвть чуть выше.
1952 a more epic/heroic Norma, 1955 a more human Norma. I’ll take either WAY before anybody else’s.
I love the recordings of Callas pre-weight loss. You can feel the voice - huge and absolutely magnificent. 👏👏👏👏👏
I still believe if Callas had lost the weight more GRADUALLY AND worked (physical therapy, etc.) to adjust her technique to her “new” body, she could have maintained that “take no prisoners” POWER! Of course she was still great after the weight loss, but that ABSOLUTE AUTHORITY was gone-she was STILL fearless as ever, but the voice was not the same.
1955 is more controlled and more musical, with gorgeous nuances. 😻
So so…
But it has a wobble on the high notes, that the older version doesn't have. And it doesn't have half of the power, the strength of the former.
1955 Callas with the nuances! Absolutely breath taking. My idol, my hero, my vocal poweress. There will never be another one like her, we can all wish we were annointed like this.
Richard Bonynge spoke about what he heard when he first saw Callas in 1952: ""But before she slimmed down, I mean this was such a colossal voice. It just poured out of her, the way Flagstad's did.... Callas had a huge voice. When she and Stignani sang Norma, at the bottom of the range you could barely tell who was who ... Oh it was colossal. And she took the big sound right up to the top."
Listening to these and looking at the photos (I believe the 1955 is the RAI broadcast rather than the Scala performance) you can see how her voice mirrored her physique. In 1952, she's a tall, strong looking young woman, rather like a strong farm-girl. I know people called her "fat," but I would say she was statuesque and voluptuous and strong and often, quite beautiful; she certainly wasn't nearly as obese as what we routinely see on stage and on the streets nowadays. The voice was also fuller, more powerful, more even, and the high notes were easy and rich. Three years later, after she had lost 1/3 of her body-mass, the voice is leaner, smaller, without the same reserves of power, and the high notes are less full and more metallc. The highest notes no longer come as easily and dependably as they did before either. In compensation, there is more nuance and more femininity, perhaps as a result of her actually feeling beautiful for the first time in her life.
As much as I usually prefer her "fat" voice in most roles, I find that her 1955 Scala Norma to be her definitive interpretation of the role. Her voice is in excellent "thin" shape, she is imperious and vulnerable, and her fury is even more frightening than before. And yet, there is a fragility under the bluster that wasn't quite there before. It's the perfect embodiment of how she describes Norma: "“Norma resembles me in certain points. She seems strong, even fierce sometimes … yet she is not, even if she roars like a lion."
We would be happy to have someone with 1/4 of this Voice Talent and musicality today!!!
When Callas was young and stronger physically, she sung like a waterfall of sound, but when she lost weight and the voice change its texture and became somehow thiner, she sung like an orchestra .... I personally believe that she became the best singer ever after she lost the weight.
La FUERZA FEROZ de 1952 y el ARTE SUPREMO de 1955. CALLAS ETERNA POR SIEMPRE.
Bravissimo
Creo que el tiempo te da la experiencia para navegar en un mar bravo.
Celle de 1952 superlative vocalement.Celle de 1955 grandiose et inégalable artistiquement .Mais qui peut égaler ces performances là ?
Thanks so much for putting this side by side. So instructive! Brilliant :)
Imposible no to sing better than those the second more nuanced due to musical experience,and what an experience
Maria Callas before she lost weight was a better singer, but Callas post-1954 was the more nuanced vocalist. Her voice became one with the orchestra instead of merely singing to what the orchestra is playing.
Was more sound there
Inigualable , grandiosa. Indudablemente la Divina.
It's quite obvious that the 52 performance is a dazzling vocal display. The 55 Norma our Mayas technique humanized Norma to an incredible artistic level. Comparing our Maya before and after the weight loss is futile. We can't compare greatness when it concerns our Maya. Regina Divina.
Siempre, IMPRESIONANTE👏👏👏👍👍👍👍😇😇😇😇😇
Nel 55 Norma è diventata leggenda, una interpretazione potente, drammatica e umana senza pari! Callas 4ever!!!!❤❤
the control and musicianship in 1955 is absolutely thrilling from soprano down almost to tenor. just wow
Que c'est beau!
Would be cool to do a comparison of her 1960 recording, and 1965 Paris Norma too
I forbid it.
DIVINA.
Grazie Opera❤Alla Scala la voce sembra più tagliente è più squillante. Credo che per Maria la Scala (1955) fosse più stimolante del Covent Garden (1952). Non era ancora abituata al pubblico inglese che, con sua meraviglia, dopo Casta Diva non l’aveva applaudita. Le hanno poi spiegato che gli inglesi battono le mani solo a fine dell’atto
Bueno, en aquel entonces debería serlo, pero hoy, no creo...😊
Even though her voice lost the effortlessness and freshness of youth, the later record clearly shows her evolution as an interpreter. The phrasing feels much more intentional and grave in 1955, somehow more believable. She presents a truly fierce character where before she was “merely” impressive.
Женщина с прекрасным голосом и несчастной судьбой!
Всё же хорошо, что она смогла реализовать свой талант, хоть так 🙏
Υπέροχη
Very interesting comparison. You only have to hear how she tackles high C in 55 compared to 52 to understand how much she worked on technique to make the sounds less shouty, more collected and incisive on the word. At the same time, it is undeniable that in 1952 she had greater strength, stamina and perhaps even pure volume. The problem probably also lies in the repertoire. If she had not sung Norma after 1952, we would have the testimony of a phenomenal singer, but with the 1955 Norma we have an excavation in the romantic style (humanity, sweetness, fury, doubts, colors, incisiveness, etc.) that only she was able to bring to these heights, and which set the school for subsequent generations. If, on the other hand, she had no longer sung Medea after 1953, we would still have an authoritative Medea for the future, because the classical style perhaps does not require Bellini's in-depth study.
Quale interpretazione ... propria della sua personalità
Many said that when Callas lost all the tonnage, she lost her voice with it. IMHO, she was ALWAYS electrifying......
Yes, frankly I hear very little or any "loss" in tonnage in this 1955 clip. Still a powerhouse.
And remained so right up until she started seeing Onassis in 1959 and stopped practising.
Celle de 1952, une bombe !! Elle semble beaucoup fragile vocalement en 1955 : la très belle musicalité n'empêche pas de le remarquer...
Impossible for me to choose - La Divina at different points in her career.
No matter the triumphs of the previous years, 1955 Callas is out of this world
Προτιμώ υην Νορμα του 1955❤❤❤❤❤❤
Vocalement insurpassable en 1952 mais la version de la Scala de 1955 est beaucoup plus dramatique.
Just for the exact info the 2nd Recording is from Rome Rai (June 1955)
52 more instinctive and double the Voice in volume!
weight doesn't have anything to do with the voice, it's sound or any other property for that matter
I like both, but I think the 1952 voice was probably easier for her to sing with. I think she lost TOO MUCH WEIGHT, and I think she would have lasted a bit longer if she hadn't skinnied herself down so. But then, her sister was slender like that and had a lovely voice, so..........???
It's like she didn't keep as open of a throat after she lost the weight perhaps in order to gain better control of the music and words. Callas strength lied in her nuance and sensitivity to the micro and macro details of a piece. Perhaps scaling down the voice while still keeping it penetrating, if slightly uglier, was the best way for her to truly realize her interpretive vision. I prefer the 1955 version, but perhaps vocally this was not as healthy.
Obviamente prefiero la del 52👍,la del 55, el tempo está ralentizado y me parece exagerado el agudo...😘
The later Norma, even conductors followed her :))
I wonder if the 1955 is Votto.
@@MUSICALLANthe 1955 excerpt is conducted by Serafin
В 1952 голос был другой окраски: глубже, сильнее и звучал чуть ниже и не был резким, во втором варианте1955г.в голосе появился металлический блеск и он приобрёл некоторую резкость, стал звучвть чуть выше.
До похудения голс был лучше объемнее богаче