Maybe there will me a filmed version of this Lucia. My boyfriend's grandfather claims he's filmed la Callas al San Carlo. We're searching for the tapes. I'm so excited. Hope it's true and not been thrown by the nonna....🤞🤞🤞
@@vinc1774 Really? That's very bad news! I know for a fact the existence of many private recordings in video and audio. Unfortunately, the greedy people who own them won't share them. I've heard a few of these recordings with my own ears. Here in NYC where I live, I heard 3 excerpts of Fedora (yes, it exists) and also, in Rome, I heard excerpts of Valkyria and Tristan. The whole Lisbon Traviata is filmed and kept under a million locks, full videos of Callas' performances on British TV, the Epidaurus Medea, the Dallas Medea, the Scala Norma 1955...I could go on and on. I just don't understand why these greedy people keep all these gems hidden. It should be a crime to do so. Hopefully someday we will see and hear them.
@@kallasmarker3319 @Kallas Marker oh god... This makes me hope. Why is it that they wouldn't share or sell ?!? I'm a museum curator in France. I don't get that kind of behavior. Plus the bands are fragile, some might self-burn if I may write it that way, and these are monuments of the lyric history. I would so pay to here and see these documents. Have the owners at least transfered the bands on mp4 or whatever in case they burn or are being damaged by HR and temperature ?
A few unsteady high B-Flats here and there, but otherwise an unbelievably beautiful and expressive performance. I think one of her biggest achievements is to be able to be detailed interpretively yet not sacrifice the broad arc of the line. I can think of few other singers who could pull that balance off. This is the performance that Birgit NIlsson attended and wrote about in her book. She said that Callas was cheered after one act and ferociously booed after another. But Nilsson also noted that the mad scene was incredible.
O grande mal de Callas era o seu publico que, depois de a ter elevado á categoria de deusa não lhe admitia falhas humanas.Para mim Callas é o sinônimo perfeito do canto!
When you compare this to her earlier performances (th-cam.com/video/zhu_6dHrkDw/w-d-xo.html), you can hear what the loss of 1/3rd of her body mass cost her. In 1952, and even in the early 1954 Lucias at La Scala, there is no wobble on the B-flats, the trills and fast and free, and the high E-flats just pop out of her, free and ringing. In this performance, as well as the famous Berlin Lucia, there is the infamous wobble on the sustained high notes, the trills are tighter and slower, and she skips the first Eflat and only goes for the final one. Interpretively, her mad scene was breathtaking even from her very first performance in Rome, with insights and accents that have yet to be equalled by any other performer.
There is no scientific reasoning that proves that the reason she lost her voice was the weight loss. And Callas had a slower and wider vibrato even in her early, prime years in a lot of cases. In the first clip in 1952 she had much slower and wider vibrato than the other 2 clips which are from 1957 and 1959. Yes her vibrato became much less consistent in later years but it's not that Callas' vibrato wasn't often slow or wider than most singers even in her prime, weight loss years. th-cam.com/video/ujQ0I0hjmoI/w-d-xo.html th-cam.com/video/_bkucTao1LM/w-d-xo.html&start=5270 th-cam.com/video/5YJD3VHolRE/w-d-xo.html
Interesting recording! Her voice sounds in excellent shape and it is so opulent and flexible! I think it's interesting that both Maria and Joan Sutherland would avoid the high Elat at the end of the first part of the "Mad scene" (Maria just doesn't sing it and Joan transposed it down but singing a Dflat...) But the two WOULD sing the final Eflat at the end. Opera singing is SUCH a difficult thing to do on nights that maybe you don't feel your best. I have tremendous respect for opera singers. Especially virtuoso coloratura sopranos of this caliber !
I love this Lucia, she's wondrous. Re the first E Flat - Sutherland only did that after a certain time, and Callas would include the first E flat - up to a certain time. I actually prefer the way it's written - if the Lucia belts out the first alt E flat, the orchestra tends to welly out a chord under her, while the original score has that beautiful, touching downward figure. When I was a boy soprano at Southwark Cathedral, singing along at home the whole time to Galli-Curci, I couldn't understand why they wouldn't let me sing Lucia at Christmas concerts. 'No, Edwards. Britten's Te Deum solo again, please.' Poor little me...
I think skipping the note was more for vocal than artistic reasons. While she had the note securely at hand, she always sang it, and it was a crowd pleaser. At her Scala Lucias of early 1954, while she still had some weight on her, the E-flats just pop out of her effortlessly, but by 1955, the note is already much more effortful. Interestingly, it was easier for her to start on a B-flat, glide up to an E-flat, and slide down and end up on a A-flat, as she does in "Vien diletto" from Puritani or at the end of Sempre libera in Traviata. However, ending on an sustained E-flat as in Lucia became much more challenging for her post-weight loss. By 1958, even at the end of Sempre libera, she would just scream out an E-flat and then descent as soon as possible. But as Simionato said, in her salad days when Callas was at her natural weight, singing E-flats was as easy for her as drinking a glass of water.
This is so masterfully phrased and interpreted. E flats are weird and overvalued nowadays, really unnecessary for the most part, in my opinion, and prove very little about an artist’s interpretative powers. Lots of sopranos nowadays have them but the rest will make you very sleepy or agitated as the case may be!
Oui j'ai bien entendu des gens la huer après la cadence avec la flûte !! C'est incroyable et scandaleux ,car elle a très bien chanté cette partie .Je ne comprends pas ces réactions ,c'est indigne ,devant une artiste de cette envergure .
@@eberlinpascal2837 the public is asking for a "bis", not booing. I was also confused when I first heard this - they do it throughout the performance, almost after each big number.
Gracioso: se escuchan algunos abucheos. Uno se pregunta hoy en día (y también en ese momento) quiénes hubiesen estado a la altura de esta magistral ejecución, con esa profundidad vocal, y afinación. Personalmente pienso que este repertorio en el extremo de lo agudo perjudicó la voz de María. La obligaba a cantar casi sin apoyo y con un hilo de voz en algunas zonas.
Hello Marx. What source did you use, because the sound is clearer than previous versions I heard. As a result, Callas's voice is more distinct. It is not only her fabulous coloratura technique, but the voice is so beautiful, and the long breath spans are due to her lung capacity and diaphragmatic support. This gives credence to the fact that her weight loss did not have an adverse on her voice.
Through the weight-loss her voice shrunk about 9/10th and she was left with 1/10th of the voice she had before. She lost range in the upper tessitura A LOT!
@@gerardcohen7780 in ‘54 she had already lost all the weight. The voice had actually grown from ‘53 to ‘54. You also have to remember that she did nothing wrong. She had dermatomyositis (a disease that causes a failure of the muscles and tissues, including the larynx). Most of the vocal fatigue happened due to this. Her technique was near perfect. If you listen to her recordings of Lucia from earliest to latest her technique stays virtually identical through time.
Il faut être objectif et on sent réellement des problèmes en cette année 56 .Il y a eu les Lucia du Met très laborieuses ,la Traviata en retrait par rapport à celle de 55 .Puis les Barbiere Di siviglia , chahutés à la Scala .Donc ce n'était pas une très bonne saison pour Maria .Et je pense que cela est dû au surmenage qu'elle imposait à sa voix .En revanche l'année 57 a été glorieuse : Somnambulla , Iphigénie ,Ballo in maschera ,Anna Bolena ,et Lucia de Rome ( mais que je n'aime pas ) oui elle aurait dû arrêter de chanter Lucia dès 56 ,je confirme .
Неповторний тембр і вся тембральна гамма дає голосу можливість створити "галограмму" живого образу страшної трагедії, а глядачу-слухачу виразно побачіти ту нещасну Лючію і перейнятися гірким співчуттям!!! Справжній оперний театр помер з уходом неповторної зірки Марії Каллас. Мистецтво оперного співу вибухнуло неповторною красою і зникло, як гасло в пустому залі. Переконаний, що на довго ! Сьогодні під виглядом опери нам показують балаган в помпезних постановах, де бездарні режисери приховуючі свою нікчемність видають її за сучасне бачення, забуваючі що в справжній опері глядач бачить з "закритими" очіма. А диригенти грають наче чергову симфонію, красуються гучністю, бо майстерністю акомпонувати не навчилися. І це діється повсякчасно, на жаль.
Elle s'en sort très honorablement ,par rapport aux Lucia qu'elles a fait au Met la même année .On sent cependant des limites ,et si les contre ré de l'air d'entrée et du " si tradirmi tu potrai " sont bien chantés ,les Mi bémol de la scène de la folie lui posent des problèmes ,au point qu'elle esquive celui des variations avec la flûte ( comme à Berlin avec Karajan ) .Pas de problème cependant ,sauf que le deuxième Mi bémol dans la cadence finale est ici très peu assuré .Du coup je me demande si elle a eu raison de continuer à chanter Lucia après 1955 ,car elle se mettait en danger dans ce rôle à cette époque là .Quel intérêt ?
Il ne faut pas se plaindre que la mariée soit trop belle ! Cette scène de folie est magnifique, très belles sonorités, une ligne de chant bien dessinée comme toujours, et le médium est ici nettement meilleur et mieux en place qu'à Berlin. l'Opéra n'est pas un concours de notes extrêmes pour en mettre plein la vue, ce qui est franchement insupportable. C'est une satisfaction aussi de voir comment un chanteur sait négocier avec intelligence les airs difficiles en fonction de ses moyens. Personnellement, je n'ai jamais entendu cette aria aussi bien chantée par d'autres cantatrices.
@@Orfeus80 Or maybe you listen to Tebaldi too much that you don't know what correct pitch is? You can use a frequency detector, it's 932Hz, perfectly on pitch Bb.
Callas was a genius when it came to vocals and interpretation but an idiot when it came to taking care of her voice by this time she was even smoking and drinking. She was certainly EXTREMELY MISGUIDED! When you decide to have the high dramatico coloratura repertorio you can effort very lil mistakes and gaps in your lifestyle.
She also had a degenerative disease!!! DERMATOMYOSITIS (a disease that causes a failure of the muscles and tissues, including the larynx). Also remember that they did not KNOW cigarettes were bad back then (only found out in the 60s) and even some of THE BEST opera singers smoked. About callas (She would eat only grilled meat and unseasoned vegetables. She didn’t drink alcohol or eat desserts. Her only lapse was to eat little jellies that she bought at a Scala.) About Onassis (She was aware that her career was falling apart and knew that in part it was due to Onassis. He didn’t care anything about music or opera. For him, Maria Callas was a trophy to exhibit, and he made her do many things which are not good for an opera singer: she would be out in winds on his boat, and he would make her stay up until late. Yes, Onassis certainly contributed to the end of her career.) It was a different time when she could not say no or she may have reeped far worse consequences (he was already abusing her; more abuse would not have been better). You see, my mother always has this saying “when something is so incredibly amazing, it cannot stay on this world for too long” and I think she’s right. We were gifted with this voice and no one has and no one will surpass La Callas!!!!
@@Vik2312 She didn't have any diseases, but with a big and heavy voice like hers, there is no way you can lose one-third of your body mass without your voice being affected. She never could support her voice the same way after the weight loss, and the affects of the physical change were immediately audible in the voice itself. The diagnoses of Ehler Danlos and Dermatomyositis are nothing but BS excuses. The cause of her vocal downfall was right before our eyes the whole time.
@@Shahrdad we don't know whether she had a disease or not. After all it makes more sense than losing your voice due to weight loss. And the 1954 lyric and coloratura arias album is perfect and shows perfect vocals up to high E which are her best high E's ever recorded and better than her high E's in earlie, pre-weight loss years. Many singers lost a lot of weight and didn't have this drastic vocal deterioration that Callas showed
@@tanyaokain192 Actually, there is plenty of evidence about how weight loss can affect your breathing and support (it's something we medical people see in our bariatric population every day), and also it affects the larynx itself. Debbie Voigt also suffered a similar change in her voice after she lost weight. And this is what Marilyn Horne has to say about it: th-cam.com/video/iQz8Xuy6190/w-d-xo.htmlsi=Ugb6ecXXAv0dHCxu&t=6345
![ลองสุ่มไอโฟน 990 โกงมั้ย? [ โกงมั้ยครับ ep.101 ] | DOM](http://i.ytimg.com/vi/bfsWe0j492k/mqdefault.jpg)
Maybe there will me a filmed version of this Lucia. My boyfriend's grandfather claims he's filmed la Callas al San Carlo. We're searching for the tapes. I'm so excited. Hope it's true and not been thrown by the nonna....🤞🤞🤞
I really really hope that it is true! Keep us posted please!
@@kallasmarker3319 seems that it's been thrown to the bin unfortunately. People don't know the value of what they have. Well...
??????
@@vinc1774 Really? That's very bad news! I know for a fact the existence of many private recordings in video and audio. Unfortunately, the greedy people who own them won't share them.
I've heard a few of these recordings with my own ears. Here in NYC where I live, I heard 3 excerpts of Fedora (yes, it exists) and also, in Rome, I heard excerpts of Valkyria and Tristan. The whole Lisbon Traviata is filmed and kept under a million locks, full videos of Callas' performances on British TV, the Epidaurus Medea, the Dallas Medea, the Scala Norma 1955...I could go on and on. I just don't understand why these greedy people keep all these gems hidden. It should be a crime to do so. Hopefully someday we will see and hear them.
@@kallasmarker3319 @Kallas Marker oh god... This makes me hope. Why is it that they wouldn't share or sell ?!? I'm a museum curator in France. I don't get that kind of behavior. Plus the bands are fragile, some might self-burn if I may write it that way, and these are monuments of the lyric history. I would so pay to here and see these documents. Have the owners at least transfered the bands on mp4 or whatever in case they burn or are being damaged by HR and temperature ?
the sound seems more rich and undistorced.Grazie,grazie
A few unsteady high B-Flats here and there, but otherwise an unbelievably beautiful and expressive performance. I think one of her biggest achievements is to be able to be detailed interpretively yet not sacrifice the broad arc of the line. I can think of few other singers who could pull that balance off.
This is the performance that Birgit NIlsson attended and wrote about in her book. She said that Callas was cheered after one act and ferociously booed after another. But Nilsson also noted that the mad scene was incredible.
O grande mal de Callas era o seu publico que, depois de a ter elevado á categoria de deusa não lhe admitia falhas humanas.Para mim Callas é o sinônimo perfeito do canto!
When you compare this to her earlier performances (th-cam.com/video/zhu_6dHrkDw/w-d-xo.html), you can hear what the loss of 1/3rd of her body mass cost her. In 1952, and even in the early 1954 Lucias at La Scala, there is no wobble on the B-flats, the trills and fast and free, and the high E-flats just pop out of her, free and ringing. In this performance, as well as the famous Berlin Lucia, there is the infamous wobble on the sustained high notes, the trills are tighter and slower, and she skips the first Eflat and only goes for the final one. Interpretively, her mad scene was breathtaking even from her very first performance in Rome, with insights and accents that have yet to be equalled by any other performer.
There is no scientific reasoning that proves that the reason she lost her voice was the weight loss. And Callas had a slower and wider vibrato even in her early, prime years in a lot of cases. In the first clip in 1952 she had much slower and wider vibrato than the other 2 clips which are from 1957 and 1959. Yes her vibrato became much less consistent in later years but it's not that Callas' vibrato wasn't often slow or wider than most singers even in her prime, weight loss years.
th-cam.com/video/ujQ0I0hjmoI/w-d-xo.html
th-cam.com/video/_bkucTao1LM/w-d-xo.html&start=5270
th-cam.com/video/5YJD3VHolRE/w-d-xo.html
Interesting recording! Her voice sounds in excellent shape and it is so opulent and flexible! I think it's interesting that both Maria and Joan Sutherland would avoid the high Elat at the end of the first part of the "Mad scene" (Maria just doesn't sing it and Joan transposed it down but singing a Dflat...) But the two WOULD sing the final Eflat at the end. Opera singing is SUCH a difficult thing to do on nights that maybe you don't feel your best. I have tremendous respect for opera singers. Especially virtuoso coloratura sopranos of this caliber !
@PolishViking I agree!
I love this Lucia, she's wondrous. Re the first E Flat - Sutherland only did that after a certain time, and Callas would include the first E flat - up to a certain time. I actually prefer the way it's written - if the Lucia belts out the first alt E flat, the orchestra tends to welly out a chord under her, while the original score has that beautiful, touching downward figure. When I was a boy soprano at Southwark Cathedral, singing along at home the whole time to Galli-Curci, I couldn't understand why they wouldn't let me sing Lucia at Christmas concerts. 'No, Edwards. Britten's Te Deum solo again, please.' Poor little me...
@PolishViking Caballe was singing it in F major on the recording of course, so an e-flat was never an option.
@@johnwoods8790 Correct. The entire opera with Caballe was done in what they said were the original keys. A very interesting recording!
I think skipping the note was more for vocal than artistic reasons. While she had the note securely at hand, she always sang it, and it was a crowd pleaser. At her Scala Lucias of early 1954, while she still had some weight on her, the E-flats just pop out of her effortlessly, but by 1955, the note is already much more effortful. Interestingly, it was easier for her to start on a B-flat, glide up to an E-flat, and slide down and end up on a A-flat, as she does in "Vien diletto" from Puritani or at the end of Sempre libera in Traviata. However, ending on an sustained E-flat as in Lucia became much more challenging for her post-weight loss. By 1958, even at the end of Sempre libera, she would just scream out an E-flat and then descent as soon as possible. But as Simionato said, in her salad days when Callas was at her natural weight, singing E-flats was as easy for her as drinking a glass of water.
I love the end!!!
This is so masterfully phrased and interpreted. E flats are weird and overvalued nowadays, really unnecessary for the most part, in my opinion, and prove very little about an artist’s interpretative powers. Lots of sopranos nowadays have them but the rest will make you very sleepy or agitated as the case may be!
She did not deserve to be booed. Otherwise the recording is great.
Oui j'ai bien entendu des gens la huer après la cadence avec la flûte !! C'est incroyable et scandaleux ,car elle a très bien chanté cette partie .Je ne comprends pas ces réactions ,c'est indigne ,devant une artiste de cette envergure .
@@eberlinpascal2837 the public is asking for a "bis", not booing. I was also confused when I first heard this - they do it throughout the performance, almost after each big number.
I don't think she is being booed. They are shouting 'Bis' meaning encore.
13:18 Clearly shouting Bis, not boo.
Gracioso: se escuchan algunos abucheos. Uno se pregunta hoy en día (y también en ese momento) quiénes hubiesen estado a la altura de esta magistral ejecución, con esa profundidad vocal, y afinación. Personalmente pienso que este repertorio en el extremo de lo agudo perjudicó la voz de María. La obligaba a cantar casi sin apoyo y con un hilo de voz en algunas zonas.
No son abucheos para nada. Están gritando BIS BIS BIS para que repita la escena de la locura.
Irripetibile e irraggiungibile
Hello Marx. What source did you use, because the sound is clearer than previous versions I heard. As a result, Callas's voice is more distinct. It is not only her fabulous coloratura technique, but the voice is so beautiful, and the long breath spans are due to her lung capacity and diaphragmatic support. This gives credence to the fact that her weight loss did not have an adverse on her voice.
I used the MYTO version, compresed the audio and added stereo effect with Audacity, and equalization with Izotope RX 6
@@Marx-xl5xt Thank you. You did a great job. Hearing La Divina in your restored sound added a lot to my day.
It did unfortunately ! Listen her broadcasts beetwen 1953 and 1954. The voice is not the same at all. Sharper but much smaller.
Through the weight-loss her voice shrunk about 9/10th and she was left with 1/10th of the voice she had before. She lost range in the upper tessitura A LOT!
@@gerardcohen7780 in ‘54 she had already lost all the weight. The voice had actually grown from ‘53 to ‘54. You also have to remember that she did nothing wrong. She had dermatomyositis (a disease that causes a failure of the muscles and tissues, including the larynx). Most of the vocal fatigue happened due to this. Her technique was near perfect. If you listen to her recordings of Lucia from earliest to latest her technique stays virtually identical through time.
❤❤❤😊😊😊❤❤😂
Fantastic! Thank you! Where did you find the photos of this particular Lucia?
Il faut être objectif et on sent réellement des problèmes en cette année 56 .Il y a eu les Lucia du Met très laborieuses ,la Traviata en retrait par rapport à celle de 55 .Puis les Barbiere Di siviglia , chahutés à la Scala .Donc ce n'était pas une très bonne saison pour Maria .Et je pense que cela est dû au surmenage qu'elle imposait à sa voix .En revanche l'année 57 a été glorieuse : Somnambulla , Iphigénie ,Ballo in maschera ,Anna Bolena ,et Lucia de Rome ( mais que je n'aime pas ) oui elle aurait dû arrêter de chanter Lucia dès 56 ,je confirme .
Неповторний тембр і вся тембральна гамма дає голосу можливість створити "галограмму" живого образу страшної трагедії, а глядачу-слухачу виразно побачіти ту нещасну Лючію і перейнятися гірким співчуттям!!! Справжній оперний театр помер з уходом неповторної зірки Марії Каллас. Мистецтво оперного співу вибухнуло неповторною красою і зникло, як гасло в пустому залі. Переконаний, що на довго ! Сьогодні під виглядом опери нам показують балаган в помпезних постановах, де бездарні режисери приховуючі свою нікчемність видають її за сучасне бачення, забуваючі що в справжній опері глядач бачить з "закритими" очіма. А диригенти грають наче чергову симфонію, красуються гучністю, бо майстерністю акомпонувати не навчилися. І це діється повсякчасно, на жаль.
🤝🙏
Elle s'en sort très honorablement ,par rapport aux Lucia qu'elles a fait au Met la même année .On sent cependant des limites ,et si les contre ré de l'air d'entrée et du " si tradirmi tu potrai " sont bien chantés ,les Mi bémol de la scène de la folie lui posent des problèmes ,au point qu'elle esquive celui des variations avec la flûte ( comme à Berlin avec Karajan ) .Pas de problème cependant ,sauf que le deuxième Mi bémol dans la cadence finale est ici très peu assuré .Du coup je me demande si elle a eu raison de continuer à chanter Lucia après 1955 ,car elle se mettait en danger dans ce rôle à cette époque là .Quel intérêt ?
Il ne faut pas se plaindre que la mariée soit trop belle ! Cette scène de folie est magnifique, très belles sonorités, une ligne de chant bien dessinée comme toujours, et le médium est ici nettement meilleur et mieux en place qu'à Berlin. l'Opéra n'est pas un concours de notes extrêmes pour en mettre plein la vue, ce qui est franchement insupportable. C'est une satisfaction aussi de voir comment un chanteur sait négocier avec intelligence les airs difficiles en fonction de ses moyens. Personnellement, je n'ai jamais entendu cette aria aussi bien chantée par d'autres cantatrices.
@@lucjustin7755 je crois bien ,et j'en suis sûr ! qu'elle est même sifflée ,ce que je trouve injuste malgré tout .
Hmmmm, that Bflat at 4’.50”???
Flat as a pancake
@@Orfeus80 Or maybe you listen to Tebaldi too much that you don't know what correct pitch is? You can use a frequency detector, it's 932Hz, perfectly on pitch Bb.
@@Distefano5 I see you have what is called selective hearing ;)
@@Orfeus80 So you are over assessing music, now diagnosing medical conditions😂? It's ok to be wrong sometimes, what's not ok is to be a dunce.
@@Distefano5 and who told you I'm not a musician and a doctor? 😜 . Go pray to your Maria shrine dear.
Callas was a genius when it came to vocals and interpretation but an idiot when it came to taking care of her voice by this time she was even smoking and drinking. She was certainly EXTREMELY MISGUIDED! When you decide to have the high dramatico coloratura repertorio you can effort very lil mistakes and gaps in your lifestyle.
She also had a degenerative disease!!! DERMATOMYOSITIS (a disease that causes a failure of the muscles and tissues, including the larynx). Also remember that they did not KNOW cigarettes were bad back then (only found out in the 60s) and even some of THE BEST opera singers smoked. About callas (She would eat only grilled meat and unseasoned vegetables. She didn’t drink alcohol or eat desserts. Her only lapse was to eat little jellies that she bought at a Scala.) About Onassis (She was aware that her career was falling apart and knew that in part it was due to Onassis. He didn’t care anything about music or opera. For him, Maria Callas was a trophy to exhibit, and he made her do many things which are not good for an opera singer: she would be out in winds on his boat, and he would make her stay up until late. Yes, Onassis certainly contributed to the end of her career.) It was a different time when she could not say no or she may have reeped far worse consequences (he was already abusing her; more abuse would not have been better). You see, my mother always has this saying “when something is so incredibly amazing, it cannot stay on this world for too long” and I think she’s right. We were gifted with this voice and no one has and no one will surpass La Callas!!!!
@@Vik2312 She didn't have any diseases, but with a big and heavy voice like hers, there is no way you can lose one-third of your body mass without your voice being affected. She never could support her voice the same way after the weight loss, and the affects of the physical change were immediately audible in the voice itself. The diagnoses of Ehler Danlos and Dermatomyositis are nothing but BS excuses. The cause of her vocal downfall was right before our eyes the whole time.
@@Shahrdad we don't know whether she had a disease or not. After all it makes more sense than losing your voice due to weight loss. And the 1954 lyric and coloratura arias album is perfect and shows perfect vocals up to high E which are her best high E's ever recorded and better than her high E's in earlie, pre-weight loss years. Many singers lost a lot of weight and didn't have this drastic vocal deterioration that Callas showed
@@tanyaokain192 Actually, there is plenty of evidence about how weight loss can affect your breathing and support (it's something we medical people see in our bariatric population every day), and also it affects the larynx itself. Debbie Voigt also suffered a similar change in her voice after she lost weight. And this is what Marilyn Horne has to say about it: th-cam.com/video/iQz8Xuy6190/w-d-xo.htmlsi=Ugb6ecXXAv0dHCxu&t=6345
@@Shahrdad are you a doctor? because you said " we medical people see "