Maria Callas is the only TRUE goddess in the musical firmament that is Opera. Go ahead and disagree, if you dare, but she sounds like death itself couldn't keep her from coming down from Mount Olympus to kick some mortal ass if provoked! We love you, Maria, and know you had (have?) a gentle soul, but oh, that voice, didn't scare even you sometimes? Ferociously brilliant.
Is this version somewhat different from the text Sutherland sang in studio? I mean, I think some parts of the lyric are different in this recording in comparison to Sutherland's reading (for example, Sutherland in about 1:30 sings "Then, Ocean, art thou terrible, indeed", while Callas says something else)... Btw, Callas' voice sounds remarkably preserved for a recording made after '62 and her performance in overall is surprisingly impressive, with trills, powerful higher notes, great low notes.
I believe that this was recorded in 1964, when her voice was well into its decline. What I find fascinating is that absolutely Wagnerian scale of her singing here. She doesn't spare her voice, and she really tells a story.
@Shahrdad Decline? Maybe. What strikes me is how little evidence of it there is in this recording. Maybe she just found this music so interesting and challenging that she just threw caution to the winds and gave her magnificent all.
@Shahrdad That was recorded in 1962, at a time she had serious problems with her sinus ...Nevertheless, and despite all the imperfections we ca notice notice, this is much better than what any "so called" singer of today could do
@Faust075 You may be correct, but in "The Callas Legacy", there is no mention of Callas recording this aria commercially in 1962. She did sing it in London at the Royal Festival Hall (in quite good voice), so I think this might be the 1964 commercial version. I do believe there are at least two takes of the aria from that session. She's more solid in 1962 all the way to a high C, but much more Wagnerian in scale in 64. The live Cenerentola aria from 62 is a wonder of joy and lightness!
I am a great estimator of Maria Callas, and indeed she is my favourite singer. Unfortunately I have to say that in this piece, expect for the wonderful expression as ever, the voice is not good. I don't know when this performance was made, but I am sure it's after 1959 (maybe 1964) because after 1957 Maria's voice has gone into decadence, and in this piece you can hear the high register compromised by steady notes, sometimes not very nice to hear, and sometimes screamed
@MisterPapageno it's such a pity because this piece was chosen by Maria when she was 16 for her admission exam at Athens Conservatory :( by the way, wonderful actress indeed, with little or no voice!
This was the very first aria / recording of opera that I ever heard. I was about 5 years old. I was at my aunts home. I asked her to play some records. I sat in front of her huge console stereo. This was the first aria on the album.
I will never forget the feeling hearing this aria. To me I was in shock of the voice, story, music. It was like a Walt Disney movie to me!
isn't this after she lost weight and started losing her voice?
sounds good to ME, but i wonder what it must have sounded like if she sung it before, when she was at her prime
idunnowhatimdoin 2 months ago
The recording I have on CD is different and better.
Fairpavel 2 months ago
Maria Callas is the only TRUE goddess in the musical firmament that is Opera. Go ahead and disagree, if you dare, but she sounds like death itself couldn't keep her from coming down from Mount Olympus to kick some mortal ass if provoked! We love you, Maria, and know you had (have?) a gentle soul, but oh, that voice, didn't scare even you sometimes? Ferociously brilliant.
TheJedgeworth 6 months ago
Is this version somewhat different from the text Sutherland sang in studio? I mean, I think some parts of the lyric are different in this recording in comparison to Sutherland's reading (for example, Sutherland in about 1:30 sings "Then, Ocean, art thou terrible, indeed", while Callas says something else)... Btw, Callas' voice sounds remarkably preserved for a recording made after '62 and her performance in overall is surprisingly impressive, with trills, powerful higher notes, great low notes.
Homoclassicus 10 months ago
ME ENCANTA LA TESITURA
MINAGELANCASTER 1 year ago
I believe that this was recorded in 1964, when her voice was well into its decline. What I find fascinating is that absolutely Wagnerian scale of her singing here. She doesn't spare her voice, and she really tells a story.
Shahrdad 1 year ago
@Shahrdad Decline? Maybe. What strikes me is how little evidence of it there is in this recording. Maybe she just found this music so interesting and challenging that she just threw caution to the winds and gave her magnificent all.
Matt75003 11 months ago
@Shahrdad That was recorded in 1962, at a time she had serious problems with her sinus ...Nevertheless, and despite all the imperfections we ca notice notice, this is much better than what any "so called" singer of today could do
Faust075 11 months ago
@Faust075 You may be correct, but in "The Callas Legacy", there is no mention of Callas recording this aria commercially in 1962. She did sing it in London at the Royal Festival Hall (in quite good voice), so I think this might be the 1964 commercial version. I do believe there are at least two takes of the aria from that session. She's more solid in 1962 all the way to a high C, but much more Wagnerian in scale in 64. The live Cenerentola aria from 62 is a wonder of joy and lightness!
Shahrdad 11 months ago
I am a great estimator of Maria Callas, and indeed she is my favourite singer. Unfortunately I have to say that in this piece, expect for the wonderful expression as ever, the voice is not good. I don't know when this performance was made, but I am sure it's after 1959 (maybe 1964) because after 1957 Maria's voice has gone into decadence, and in this piece you can hear the high register compromised by steady notes, sometimes not very nice to hear, and sometimes screamed
MisterPapageno 1 year ago
@MisterPapageno it's such a pity because this piece was chosen by Maria when she was 16 for her admission exam at Athens Conservatory :( by the way, wonderful actress indeed, with little or no voice!
MisterPapageno 1 year ago
@MisterPapageno
Yes, it's one of her later recordings, but worth hearing for true Callas admirers
primohomme 1 year ago
This was the very first aria / recording of opera that I ever heard. I was about 5 years old. I was at my aunts home. I asked her to play some records. I sat in front of her huge console stereo. This was the first aria on the album.
I will never forget the feeling hearing this aria. To me I was in shock of the voice, story, music. It was like a Walt Disney movie to me!
I have been hooked ever since.
Brent
BrentAudi 1 year ago 3
i love herrrr!!!!! her powefull voice.....!!!!! MARIA CALLASSS MY DIVA ASSOLUTA!!! I GROW HEARDING HER VOICE.... AND WANNA DIE HEARDING HIS VOICE!!!
maurizio888 1 year ago
Wow! I would almost say this aria fully equals Abigaille's aria Ben io t'invenni in its monstruous difficulty!
corellithebest 2 years ago
It was written for the same voice type as Abigaille's. An "assoluta", or soprano sfogato.
primohomme 2 years ago
Hearing Callas singing English is so unexpected...but stunning.
CatalinaDM56 2 years ago 2
This has been flagged as spam show
@CatalinaDM56 Especially when it should be sung in german
mucfan 1 year ago
Im shocked!!!!!!!
Always when I hear this aria sung by Callas!
She has ALL the qualities for it.
Brava for La Divina.
She places her words, loke swords....and then..well, she lances THEM like bullets!!!!
Rezia in full force.
andreasscholl 2 years ago 4