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From: MariaCallasLegend
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  • Meines Wissens hat Maria CALLAS

  • The content of the 27 februari 1962 concert was:

    Weber-Oberon-Ocean

    Verdi-Macbeth-La luce langue

    Rossini-Cenerrentola-Nacqui al affanno

    Massenet-Le Cid-Pleurez mes yeux

    Donizetti-Anna Bolena-A dolce guidami

    George Pretre-Philharmonica Orchestra-Royal Festival Hall London

    A verry good [also sometimes [too] critical] book is "The Callas Legacy'' from John Ardoin ISBN 0715622218, with all her dates of perfomances and remarks about them.....

  • Wonderful.

  • This is amazing -- she ripped through this aria with such ease, spanning all those huge phrases with incision and grandeur, also placing the high C in the second verse easily. But you can hear her lose her nerve with those high notes at the end; it seems Gobbi was right, that she lost her nerve more than anything else.

  • Amazing, she sing with the life in her hands like nobody else!!!

    the dedication and feeling for the music is unic.

    Gruberova/Netrebeko is a joke when it comes to interpretation compared to Callas'.

  • @bear46no Absolutely, since the demise of Callas and Sutherland there has not been a single soprano who can manage these difficult bel canto roles, the current "pretenders" should simply give up as they are an embarrassment!

  • oh yes yes yes. that is all i can say. yes Callas, YES. lovely. in 44 and in 62...yes. yes. yes.

  • Even in the twilight of her carrier Callas was a miracle!

  • Even in 1962, Callas is 100 times better than any siner of today, beginning by the barbie doll Netrebko

  • its interesting..i feel similar dramatic satisfaction listening to netrebkos bolena. sometimes ugly ish, but true and divine..transporting. i wish there was room in the youtube critic mind for a range of singing. belcanto doesnt have to be sutherland... much as she was the best. but so was callas. and so is netrebko

  • @tombwomb Netrebko's assumption of this or any bel canto role disregards literally every single tenet of bel canto singing. Not simply florid Italian tradition, but the schooling whereby singers master every facet of the voice (beginning with breathing) to be used for presenting the music on the page. Netrebko has no rationed breath control and if you watch or listen, she gasps constantly, desperately in the middle of phrases.

    Technique aside, she doesn't sing the notes or markings as written.

  • Époustouflant. Encore ici se confirme la notion que Callas, avec une voix diminuée et un souffle qui s'éouise, comparés a ce qu'ils étaient pendant ses grandes années, réussit èa nous émouvoir mille fois plus que des sopranos contemporaines aux intonations douteuses.... Bravo Maria! Inégalée encore une fois. Merci...

  • is this from the 27 February 1962 concert at the Royal Festival Hall? have you got any of the other songs on the programme of that performance? this is gem!!! thanks for the post really

  • @Tsuwan yes!i have the whole concert that had realised on cd!But never has published the anna bolena cabaletta!

  • @Tsuwan i will post all her arias!

  • @MariaCallasLegend you are a star!

  • Now if Callas could sing this so dramatically and successfully, why oh why do you think Netrebko failed so dismally? Compare the tempi and part of the secret will be revealed. Brava Maria.

  • @MrAndredekock and the fact that Maria could actually sing...

  • Thank you. It is lovely,,,and orginal, unique and magnifique..Maria the one and only of the 20th Century.

  • the definitive ANNA BOLENA OF ALL TIME!! FOR SURE!!!...

  • Thank you so much, MariaCallasLegend, for posting this excerpt! Callas  sounds truly like a force of nature here (being, as always, utterly musical). God bless you, Maria!

  • 62 c'est bian tard dans la carrière de Callas, et l'on sent les limites vocales par rapport à 57, mais quelle surprise, quelle émotion. C'est intense, c'est sublime, et c'est juste stylistiquement et dramatiquement. Mme Gruberova ferait bien d'écouter cela...

  • @opera751

    Mais (si l'on aime le chant romantique Italien pour l'ensemble de ses composantes) pourquoi opposer Callas, certe hors normes mais nullement idiomatique, à Gruberova incapable de poitriner outrageusement cependant qu'elle orne sur le souffle et nuance sa reprise avec justesse?. Tout l'intérêt de ce type de répertoire ne réside t'il pas dans la multiplicité d'approches qu'il génère?

  • judging per that brava at the end, this is an inhouse private recording. Listen to that BIG OL VOICE! Incredible that at this sketchier part of her career she can pull this off and like this. God Bless you Maria, we owe you!

  • Thank you for sharing this wonderful video clip. Viva Maria. Always magnifique, original and unique.

  • its really not so bad......a few "Hollaballoo" in the last bars, bute I didn't know that her voice was in that form so late in her career, much better than her Medea a year earlier...and better as some "Annas" today

  • please more from this concert!!!!!!!!!!!!!!!!

  • i thought it rather insane that she'd be attempting bolena in '62, but she pulls it off marvelously. i think the timber of the voice has changed, but the same dramatic and musical instincts are at work.

  • Callas sounds like she is in decent voice! Thanks ... again for another rarity

  • chi dirige Pretre? purtroppo non cè molto stile donizzettiano, peccato perché la voce ha ripreso molto qui, si vedein fine concerto...

  • Thanks so much again 

  • Grazie, soprattutto del documento visivo. !!

  • Thank you dear friend! The suon festivo was not inluded in the concert right?? Thanks again!!!!

  • @MariaCallasLegend Yes it WAS inluded or WAS NOT? :)

  • @distefano13069609 what do you mean by" suon festivo"?

  • @MariaCallasLegend

    "suon festivo" is the portion of the mad scene from Anna bolena that comes before the finale "coppia iniqua" and after the opening sectino of "Al dolce guidami". When Bolen is "roused" from her madness by the celebration sounds of the announcment of the new queen. (....i hope i'm right lol.)

  • @magicmonkichi "tempo di mezzo" or "materia id mezzo"...concerted sections between "numbers"

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