LIVE! - Maria Callas & Leonard Warren - Udiste...Vivra! - Il Trovatore
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- เผยแพร่เมื่อ 16 มิ.ย. 2009
- Maria Callas (December 3, 1923 September 16, 1977)& Leonard Warren (April 21, 1911 - March 4, 1960) sing a tremendously moving and exciting performance of this great duet.
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we should just be thankful that we are able to hear these rare performances.
Two of my very favorite singer together!
Absolutely stunning performance!
Thank you for posting!!!! Warren and Callas!!!! What could be better?!
Callas is utterly superb here!!!!..... tackling this duet as easy as breathing!!!.... incomparable.....thank you so much for sharing this 😘
Yes,this IS 1950-a live performance from Mexico City on 20 June 1950,also with Baum and Simionato.
It was her first Leonora,and the complete performance is available on CD,which I have.
This is the only time, I remember they performed together.
MAGNIFIQUE.. Thank you for sharing it.
Callas and Warren! Perfection of all possible soprano / baritone duos! One can only imagine how phenomenal the 2 of them would have sounded together in Macbeth, had Bing not fired Callas! That would have been amazing. (I love Rysanek, who did a fine job. But Callas WAS Lady Macbeth!
Che splendore vocale....
Maravillosos! Mil gracias por compartir esta estupenda grabacion!!!
I always have loved Callas. Thanks uploading this video. jfsanin
"THERE WERE GIANTS IN THE EARTH IN THOSE DAYS"
Isn’t it such a pity that we can’t finish the remainder of that verse??😭😭
Callas siempre Callas inigualable , Warren gran baritono.
thank you for posting this, when I hear it I sometimes feel it would have been great if they had sung together more often, both sound incredible, I love Callas and Warren is one of my faovrites, the other being Gobbi.
Magnifico Dúo.
It's the famous performance from Mexico City, Palacio de Las Bellas Artes, June 20, 1950!
un bello dúo
Warren also forgets the words when he comes in at 2:19. LOL! It happens to us all.
awesome! TY.
Callas, Warren and Verdi= Paradise
@MrCafiero I once heard Ingvar Wixell forget the words of "Il balen del suo sorriso" in a MET broadcast. The entire audience started singing along. It was really cute. Just goes to show, you never forget the difficult things, always the simplest passages, where you could just kick yourself afterwards. I once couldn't remember how the Bach c minor Partita began. I had to walk off, look at the music, then come back. The audience just laughed and applauded.
I didnt know they knew eachother!
Someone here said that it is wonderful to hear Callas without "the horrible wobble" she developped later. That is plain nonsense. Her high notes became wobbly in the sixties. Her medioum and low register never were. Joan kept her high notes but the medium which is the heart of the voice became very shaky and wobbly. And so for so many other "great singers" and again noone points it out. Oh, Madame Gruberova has such lovely high notes. Opera is not only high notes..... But no Callas was "wobbly" when we can all hear that it is simply not true. Yhey hear it because they want to hear it and because someone told them that Callas was so and so.
123pailin .....I completely agree with you!!
It is true...so many singers today are way more unsteady than Callas, who always sang with a gorgeous line and may have wobbled on a couple of high notes (in her late career). After 1973, I found it very hard to enjoy a Sutherland performance in the house because of all the unsteadiness in the middle (there were exceptions, occasionally)
Sadly, the notorious wobble in Callas' upper register became clearly perceptible by 1956, and grew ever worse from that point on.as is well known
She had many performances untroubled by a wobble after 1956
@@photo161 Wow. I can only say that countless singers would love to be as "worse" as Callas was between 1956 and, let's say, 1958. There are so many performances during that time, both studio and live, that are beyond great (it would take too long to list them). 1958 was, IMO, her greatest year, and cannot be equaled, let alone surpassed. Many people could never get past Callas' natural timbre, and I respect that. As far as flaws in her technique, well, that topic will be debated forever.
Opinions are like...well, you know...everyone has one !!! Anyone want to get up & sing that music with this level of passion...be my guest !!!
That is true, but not all opinions are equally valid. People are not all experts even though they like to give comments; And now days even those who are considered experts are frauds.
@@SilverSingingMethod SO TRUE!! In many ways, the same can also be said for so many singers from today!
❤️❤️💐💐
Warren was THE Verdi Baritone of all time. No one can approach him!
Doch bastanini
Familie Riegler Bastianini is wonderful in True color and artistry. I still give the the edge to Warren for soaring effortless line, and untouchable high tones from passaggio up.
Sono d'accordo con il suo commento...un baritono con una grande voce e un'intenzione interpretativa molto Verdiana,anche se non l'unico
I love Warren and Bastianini both.
Knock Knock. It's Titta Ruffo. Open the Door.
Thank you for posting this! Warren sounds substantially different in recordings from live performances than he did on most of his commercial recordings. It helps me to better understand his reputation. Great to hear Callas when she could really sing well!
Now our hope is in Saoia Hernandez
Singing that has become extinct...Even today's famous sopranos walk through this role without a clue....
@sillyboydeux the conductor was Herbert von Karajan, and De Luna was Rolando Panerai. This information I got in Piotr Kaminski, Mille et un opéras. The recording was made in 1956 by EMI. OK? All the best
was duet was performed in Mexico city?
ps. and if you listen at 5:03 no soprano takes it at this speed!
Absolutely! Callas always sang at the tempo which the composer requested in the score. If you ever think that another singer is not using the correct tempo, go to Callas singing the same passage and find out.
@@wilsonwatt9283 Yes yes yes - in fact I was with a friend the other day listening to 'In quell trine morbide' and he was raving about the soprano - but it was toooooooooo slow - she was more in love with her voice than the intent of the music - I was polite but suffering - Callas's interpretation flows, and well - I could go on forever
Recorded when and where, please?
@Steve VanDien Mexico City, 20.VI.1950
not doing what they used to? Thank goodness!
How wonderful to hear her voice before it developed that horrible wobble and lost its beauty. She was such a great musician and extraordinary artist.
Callas' voice never lost its 'beauty'. It is true that, like many other singers, she had some control problems in mid-career and was mercilessly attacked for them even though her overall performances were still better than most sopranos ever achieve. I heard her live in Chicago in the last tour before her death. Even then her voice, thought obviously more limited than at its peak, was one of the most expressive I have heard in 55 years of operagoing. In addition, she had "glamour" in the ancient mystical sense of "ability to appear as something other than the self". With only a piano accompaniment and dressed in a plain white gown and red satin stole she became: a Spanish princess [Ximene's aria from El Cid; a Sicilian peasant girl [Voi la sapete]; a French noblewoman [Elisabeth in "Don Carlo"' and others as well. Her ability to change before your eyes without the help of sets, costumes, orchestra or cast support was miraculous and I can only imagine what that ability with all of those other supports must have provided to audiences who saw her in fully staged performances.
@lpvcrcd You're right. Warren must have goosed her.
True Warren died March 4, 1960. MY BAD
What?
I agree with you completely. Stracciari and Ponselle would be my choice for 1st place, followed by Battistini-Barbieri. Each has a right to a career. But for me the 1st place pair sing more naturally and the expressiveness is there. The fire of the voices, the clarity...One can tell one is listening to 2 Americans. Stracciari at a certain point was easily the greatest baritone. He knew sang much better than Ruffo...Ruffo was more like Warren...Warren was better than Ruffo IMHO.Ruffo blew it out
But Barbieri sang Azucena, not Leonora.
Such a shame Callas live recordings are bad sounding. She overloaded the microphones i guess.
Are they? Warren doesn't sound like in his prime at all to me. I don't hear his signature huge voice. Is it due to the sound quality of the recording? Huh, strange. So this is from 1950?
Those that are so obsessed with "goosing" should themselves be "goosed" by Attila the Hun and his merry Men.
Can't touch Ponselle/Stracciari.
I must agree that is my favorite recording of that duet ! Singing & Tempo !!!
Io la tocco invece... Stracciari enorme ma ormai avanti in carriera con la Ponselle dotata di un timbro magnifico ma con una paura atavica degli acuti...girava per le quinte con la serbente sempre pronta con un bicchiere d'acqua... Inarrivabile era la Tetrazzini e anche lei ormai in età, ma che tecnica e che voce... Gli staccati più belli della storia del disco
Grandes intérpretes, porém prefiro Warren com ZINKA MILANOV.
I really hate saying this... but Warren just wasn't a great di Luna. The role was too Bel Canto for him. His interpretation really suffers from a lack of vocal agility. Just listen to how he slows down the passages well below their marked tempi, and seems to be fighting with the conductor who wants to go faster. Warren was never comfortable with agitato passages. The natural deep beauty of his voice is enough to make his performance memorable, but you need a more agile baritone like Bastianini for Trovatore. Now THERE was the ideal di Luna!
Mark Decker Totally agree with you!
Mark Decker true, it causes also his very bad pitch here.
You are an completely ignorant half wit who knows nothing about vocal funtion. so you base your idiotic ideas on some stupid info you learned from some dumb source. Don't listen to people like this who are above you in every way. Stick with Dessay and those people.
Deutschesfach is a moron.
I was thinking that too, and see that you already said that 5 years ago! Lol! Thank you!
Much prefer the Battistini-Barbieri or the Stracciari-Ponselle duets. I find that Warren's voice is just too thick/woofy and Callas' voice too strident for my taste. Even though the older recordings were technologically less sophisticated, the singers voices were clearer and all-around superior.
Both callas and warren sound very heavy here, especially warren, very slow and sluggish, not very good at all
Verdi opera, what you want it to be? Shot one example you think is better?
Oct 3020. Another posting of marvelous music and artists who can help me smile and remember those times when I was fortunate to hear them live.
Both are using so much air pressure to make their voices big...the tones are not sung completely through...legato is kind of thrown out the window. So is the line. The voices are impressive but not centered very well. Both sound less interesting that Björling would have at the same age...technically. He carries the dark timbre down and the vowels do not open like they should in Italian. She looses the support an top and pushes. Famous but not doing what they used to...if you ask me.
You couldn't be more WRONG! What are you talking about? She "looses" the support "an" top and pushes makes no sense whatsoever.
None of your observations are accurate. There is nothing about Callas at this point that loses support; her legato is superb. Perhaps you are mistaking lazy singers who fail to sing consonants as having good "legato" but opera is sung drama and here both London and Callas are doing just that. Also, the reference to Bjorling seems out of place as he was a tenor and this is a baritone-soprano duet.
You do know that you can edit your comment by clicking on the vertical ellipses at the far right next to your comment. You criticize a comment as out of place for mentioning Bjoerling who is not present in the duet above, yet you did the same thing by placing Bass-Baritone George London in the duet when it is obvious that it is Leonard Warren doing the honors.
Oddly, Björling called her Leonora, "Perfection". She doesn't lose support on the tops and definitely does not push! On the contrary, she's trying to make that bigass voice sound smaller, so it can move around more freely. She once said that she had sung Leonora predominantly in mezza voce. Even at 6:55, she's killing Warren, and that's not Callas' full-fledged fortissimo! She could have gone louder than that!
This is so bad compared to Bastianini/Gencer and B/Price that I have to give it a dislike.