I could not have agreed with you more! Bigman240 predicts a "return to the old tradition of… Mado Robin"- oh God please no! Horne once described difficult runs & passages as "showing off." And there's some truth to that- we're impressed- & yet I believe the singers' interests comes second to the composer's. I find that ending is simply appalling, gratuitous. Callas ended all this, it may be hard & may take forever, but singers must try to move on & not regress where she left off.
Callas loved to interpolate high notes too, including in Rosina’s aria which was not written for a soprano. She did not have the same range and did not sing higher than High-E on stage but added plenty of high notes for instance in Aida (the famous high-E in Mexico), Traviata, Lucia, Turco in Italia etc. I know it sounds very purist (and snobbish) for some people to hate high notes and high coloratura sopranos like K. Dondalska, but give the singers and the public a break. There are still many people who love high interpolation and ornamentation. It’s just a question of taste, and no one has perfect taste.
@@oliviero.m750 thank you so much for your comment. The callas fans pretend it starts and ends with her, and when she had them, she interpolated them when ever she could. Only when she lost them and no longer had the ability did she leave them out. Just listen to her early recordings. She even interpolated a high Eb in AIDA! Most would think that was tasteless and vulgar showing off....
I am willing to accept (and enjoy!!! as this audience did) more bravura "show off" singing in a concert/recital ... however, in a staged performance I would have felt this to be very out of place.
Such a beautiful voice and excellent coloratura and control ❤❤
Great voice !!!!! Brawo Pani Katarzyno, przecudny głos
I'm in love ! - sumptuous lower range, free and easy top - she's great! (and that's after listening to the beloved Erna Sack)
her voice is the eight wonder of the world
3:47 A3
With this voice we return to the old traditon of Lily Pons, Roberta Peters, Mado Robin, etc..
But if she could get to Bb6 she could have done the F#6 version
High notes to rival Yma Sumac!
orchestra is terrible! but she is sensational!!!!! the next big coloratura star for sure! wow
I could not have agreed with you more! Bigman240 predicts a "return to the old tradition of… Mado Robin"- oh God please no! Horne once described difficult runs & passages as "showing off." And there's some truth to that- we're impressed- & yet I believe the singers' interests comes second to the composer's. I find that ending is simply appalling, gratuitous. Callas ended all this, it may be hard & may take forever, but singers must try to move on & not regress where she left off.
Callas loved to interpolate high notes too, including in Rosina’s aria which was not written for a soprano. She did not have the same range and did not sing higher than High-E on stage but added plenty of high notes for instance in Aida (the famous high-E in Mexico), Traviata, Lucia, Turco in Italia etc. I know it sounds very purist (and snobbish) for some people to hate high notes and high coloratura sopranos like K. Dondalska, but give the singers and the public a break. There are still many people who love high interpolation and ornamentation. It’s just a question of taste, and no one has perfect taste.
@@oliviero.m750 thank you so much for your comment. The callas fans pretend it starts and ends with her, and when she had them, she interpolated them when ever she could. Only when she lost them and no longer had the ability did she leave them out. Just listen to her early recordings. She even interpolated a high Eb in AIDA! Most would think that was tasteless and vulgar showing off....
I am willing to accept (and enjoy!!! as this audience did) more bravura "show off" singing in a concert/recital ... however, in a staged performance I would have felt this to be very out of place.