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From: titanfan5
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  • her and Sutherland can really rock that e flat!

  • Anyone impressed by the ability to sing (as opposed to screech) high notes should check out recordings of Mado Robin. For her Bb above High C was nothing.

  • @xJirachi96x ¿sarcasm?

  • @montejesus

    no

  • Mario was upstaging her holding the Bbs a little too long. Del Monaco once made the comment that he had received his Callas training - this is it.

  • Der berühmte Stratosphärenton von La Divina in Mexiko-City ein Es in alto.Brava Maria !!!

  • Amazing high note (Eb) and very few sopranos can do it! It wasn't written by Verdi in this scene (the end of the Triumphal March Act 2 finale). It's out of character for Aida. She's defeated in this scene, hearing that the Pharaoh announces the marriage of Amneris & Radames whom she loves Aida's trapped at court as a slave. The high note is one of triumph, better suited to Amneris for this scene. Only a soprano in the role of Amneris or a mezzo with a high extension top could do it.

  • Simply Marvelous! Callas was/is MAGIC! No one before or since comes close! She stands alone in the glory of opera.

  • @CarloQuinto

    Agreed!

  • A Amneris parece ser Giulietta Simionatto!

  • SUPERHUMAN

  • What a great voice. Maria at her highest range, way above the others. She sang her heart out and this could be a reason for her heart attack at such an early age.

  • IMMORTAL CALLAS! THANK YOU

  • QUALCOSA UNICA DELLA NATURA,,, MARIA CALLAS AVEVA GLI ACUTI GROSSI, GRANDI , CORPOLENTI , OSCURI E ANCHE DIVENTAVA IL DOPPIO DI VOLUME, UN CASO STRANISSIMO CHE FA GRANDE SPETTACOLO, ''INASPETTATO'', FOLGORANTE! UN CASO UNICO DELLA NATURA! FANTASTICO!

  • ONLY LA CALLAS COULD DO SOMETHING LIKE THIS AND MAKE IT SOUND LIKE IT BELONGS!  BRAVA!

  • MARIO DEL MONACO DIO EL B flat, en la representacion siguiente, el podia coneso y con mucho mas.....solo que la Callas lo dio a traicion como hacia siempre con sus compañeros...

  • @Babywinona No se puede comparar a del Mónaco con la Callas. Ella fue una artista única, capáz de mil matices, mientras que Del Mónaco solo sabía cantar a pleno pulmón, sin sutilezas.

  • I believe the tenor was Kurt Baum, an amazing but under-appreciated singer. According to those familiar with the Belles Artes auditorium this type of "showboating" was the norm for Mexico City. The "come scritto" conductors (like Muti) can go sit on their batons!

  • I am at a loss for words. The Orchestra is playing, chorus and principle singers are all singing full blast, and Maria just unleashes this CANNON.

  • if only Tebaldi could do this...she can't! Callas is supreme, the only assoluta! B-R-A-V-A Callas!

  • The Amneris is Oralia Dominguez.

  • The story I heard about this bit of "self-indulgence" was that DelMonaco had indulged himself and held a high b flat longer than Callas in a duet. I guess you could call it revenge! Tasteful or not, it is stunning.

  • I wouldn't mind hearing more of such "self indulgence" if anyone could muster it.

    What a voice!

  • @osocubano

    Dearest,

    I could not agree more!

  • ¡Tremendísima!

  • Divina!!! 

  • i wish there were studio recordings of La Divina pre-1954

  • @fll7181 There are. The first 13 CDs of the 70 CD collection released by EMI under the title "The Complete Studio Recordings - Maria Callas" range from 1949 until 1953. Exquisite!

  • But... There are! The famous Tosca/1953, for example.

  • @fll7181 I believe the Puritani (although in mono) is made in 1953!

  • Dear Edosalp, Thank you so much for correcting my error! I apologize for the mistake.

    Oralia Dominguez was an excellent mezzo-soprano who had an international career. Best wishes.

  • Tebaldi who ? Price who ? lol.

  • At this time, Callas voice was really huge and this Eb surrounding after a guirlande of enormous B flat is simply unbelievable, staggering ! This is the only example of such a performance. You must know that Mario del Monaco also sings the note at the same time but Callas drowns out everything ( choir, orchestra and other soloists ). It's now possible to find this recording with a better sound.

  • @bpicaud1 And this is what I can't figure out. The Bbs are so taxing that I'm amazed she finished the rest of the opera after delivering the Eb. I almost feel like she should have lost her voice right then and there. This woman was just impossible.

  • @babydrane

    That is why she was called "La Divina". I believe she got lost@ The Met from the Heavenly Chorus :)

  • At this time, Callas voice was really huge and this Eb surrounding after a guirlande of enormous B flat is simply unbelievable, staggering ! This is the only example of such a performance. You must know that Mario del Monaco also sings the note at the same time but Callas drowns out everything ( choir, orchestra and other soloists ).

  • The mezzo-soprano is Giulietta Simionato.

  • @dabiscaglia You are wrong, the mezzo is Oralia Dominguez, mexican singer, moved to Milan. Callas and Simionato sang together, one year before 1950.

  • @dabiscaglia You are wrong, the mezzo is Oralia Dominguez, mexican singer, moved to Milan. Callas and Simionato sang together, one year before in 1950.

  • "here's the High E Flat: heavenly"

    that just made my fucking day.

    gracias gracias gracias!

  • How great she was. To have lived in her era, to have been able to attend one of her operas. It must have been sublime. Of course I do not wish to forget Verdi, because it was his genius also that allowed MC bestow her gift to the world.

  • I just fell from my bed when I heard that. What fun to adore Callas! Merci mille fois!

  • Amneris is sung by Oralia Dominguez.

  • This always gives me chills. How I wish I could have attended some of Callas' historical performances. She was the greatest of them all.

  • WOW. This is out of this world......Maria Callas a very talented soprano..Magnifique interprepation.....Thanks.

  • She cuts through the orchestra like Birgit Nilsson...on an E flat. Incredible

  • @danball7777777 Are you speaking from experience or hearsay? Presumably 14 year olds have to rely on the latter. As to the former, I have my own as a soprano and having worked with many women singers. Mezzos frequently can cross the C line but are not as comfortable up there re: Eboli's aria from Don Carlo. . A rule of thumb--the highest note a soprano performs is still under at least a minor third from her highest possible note. Coloraturas usually can chirp up to a G above the staff.

  • Hey... Actually and according to what it was written in Sacred Monster, The E was sung way before Callas by a Mexican Soprano called Ángela Peralta, and it was offered Callas to sing it. Which she, accordingly, refused because, mainly, it wasn't written. But after an incident with Baum who was Radames to her Aida. Then she asked all her colleagues, except Baum, if it was ok with them if she sang the High E; and they all said yes. So at the very end Baum was caught off guard. The rest is history

  • This is the legendary High Eb note (unwritten in the score!!) 'over' the whole orchestra and chorus...ringing out her supremacy (mainly because the tenor had been holding onto his notes WAY past their written 'value'...trying to 'upstage' her!!She certainly puts him 'in his place'...and creates a legendary moment in the whole of opera in the process!!)Magnificent!!!!

  • The name of the the Mezzo is Oralia Dominguez (Mexican), and not Simonato as many people think. Maria Callas, Mario del Monaco, Giuseppe Taddei

    Cond. Oliviero de Fabritis, Orchestra & Chorus of del Palacio de Bellas Artes, Mexico City

    @pump066...not, it is not K. Baum but del Monaco. K.Baum was in the 1950 recording, there was also there a Eb, because Callas was upset about the tenor.

    Great! thanks.

  • the mezzo is Oralia Dominguez from Mexico.

  • Amazing!

  • amazing@@!!!!

  • Not only did she hit the top Eb but she savored it for a count of 12. A few great voices in opera today but not many risk takers.

  • Wasn´t it tenor Kurt Baum in this ?

  • amneris is Oralia Dominguez

  • Its a vocally incomparable. Beyond most singers capability. Of course Del Monaco is a powerful tenor however, Callas really wins the day. 4:47 oh well on to other musical offerings. Thanks for this. Be well and happy. only a fool woulkd try ... to imitate.

  • WOW THIS IS OPERA!!!

  • What's the actual name of the Triumphal March?

  • @ChrisStockslager It is " Marcia Trionfale" from Aida, I think. I'm just looking at the related video titles.

  • The correct name of this march is the march trinfal "Gloria all'Egitto."

  • You are right, Amneris - Oralia Dominguez, Giuglietta was on 3 June 1950 !!! Sorry for mistake :)

  • Amneris is Giulietta Simionato

  • It is Dominguez indeed.  Callas pulled off this trick the year before with the encouragement of Simionato (she herself confirmed it in an interview) and Moscona both of whom were pissed off at Kurt Baum and wanted him to get a good jolt. The second year (1951) was done with Dominguez and I think Callas just liked the trill of it, and it definitely fits the atmosphere of the scene.

  • +100 !!!La Callas un mito ,una legenda !!! Immortale !!!

  • Some might say the Eb is pure self-

    indulgence! But, Maria gives us the

    theatrical thrill we seek! She generously

    bestowed the gifts of her talent, heart,

    soul, intelligence, courage, sincerity

    and performing acumen so that we

    might thrill again and again as we do

    in your unforgettable video. Thank you!

  • The first One To Perform A High Eb in The Palacio De Bellas Artes was ANGELA PERALTA....a mexican soprano !!!

  • Comment removed

  • Patti did an E-flat in Aida. When ?

  • correction: Ángela Peralta. A mexican and the first to sing Aida in Mexico, used to do the E-flat in this very same Opera house.

    This is what impressarios told Callas at the performance.

  • Even more kudos to maira...They said "Do the Eb" and she just shrugged and sid "OK" and she did...Not an easy fit by any standards

  • Sorry, Maria that is...

  • Interesting! People who rate this with less than five stars simply CANNOT love opera!

    It is like Tebaldi's Forza with Mitropoulos or Sutherland's Lucia or Nilson's Isolde from Bayreuth.

    No matter if these singers do or do not belong in your favorites' list, these are moments in Opera-History that justify the existence of this art throughout the centuries. Denying them you belong somewhere else.

    You are not opera lover, not even opera connoisseur: it reduces one to some banal opera "audience"...

  • Even mentioning Nilsson's Isolde from Bayreuth means that you disregard the classic and unequalled interpretation of Flagstad. It is obvious that you know very little of classical music. Now go listen to Flagstad before you write anything more of Nilsson's Isolde! This message comes to you from a Swede, who happens to reside in the same part of the country where Nilsson formally lived, while hiding her income elsewhere (to avoid our exorbitant income tax). As for that high E-flat - who cares?

  • My reference to legendary performances was a random one with no ambitions of historical-critical acclaim.

    I am not going to defend my level of knowledge to you.

    However, I cannot disregard your obvious lack of level in manners and the insult that great singers like Flagstad have to suffer by being represented by this type of unauthorised opera buffs on youtube...

  • Whatever it iwas, is or will be...Never before... and never again!...In Mexico...The callas Phenomenon is still respected and as an historic moment...

  • that's a million dollar note alone, let alone the whole performance.

    The strength is out of control.

  • I have heard about this note for decades. Thank you so, so much for the post. Unbelievable, and at high altitude. LA DAVINA!

  • She definitely was complaining a lot to her husband how bad she felt in Mexico City!

    You can read it in her many letters in a book in Italian by R. Allegri.

    But no, she didn't show it on stage!

  • it's actually 1 mile and a half above level, about 2400 meters.

  • E-flat !

  • The Callas's Eflat is near ultrasound!

  • mind blowing! is there a clearer version of this recording?

  • check youtube user MARISOLDELMONICO

    "Aida Del Monaco -Callas Dal vivo 1951 Messico"

  • MARISOLDELMONACO, typo sorry

  • thank you so much :)

  • AMNERIS IS ORALIA DOMINGUEZ.

  • HOLY GOD !!! :D :D !! VIVA CALLAS !!

  • Comment removed

  • JIjo de la patria madre!... por eso nos consideran una bola de idiotas....

  • Comment removed

  • @MrJuan541 Exacto, sigue practicandolo

  • Comment removed

  • ¡Sí! ¡Por supuesto! Aprecio tanto el amor y el conocimiento de otros fanáticos de la ópera italiana. Las óperas líricas y dramáticas en el repertorio del bel canto y me caen en una manera profunda. Las óperas italianas del género de los dramáticos, y de los líricos, hágame sentir la luz de Dioses que brillan por mi alma humilde.

  • Esta diosa divina tocará mi alma para toda la eternidad. ¡Cuánta maestía y enriquecimiento ella me ha dado y otros aficionados innumerables de la ópera italiana!

  • I have this live recording. Like others from this period of her career, the performance, being pirated, suffers from bad sound quality at times. However, no amount of static, or even that God awful hack of a tenor Kurt Baum in the 1950 live AIDA, could have kept her voice from ringing with such fire. Here Mario del Monaco is a big improvement from the year before with the above mentioned Baum. The high E flat here is incredible; sung "right through the middle" as she used to say.

  • Mario Del Monaco and the other Gods and just listen jajajajajajaja it isAida as per Verdi no less bye

  • This is available on CD, EMI Classics 5 62678 2. Live 1951 recording. Yes, the crowd goes crazy at the end of the Triumphal Scene,

    Maria Callas, Aida

    Mario del Monaco, Radames

    Oralia Dominguez, Amneris

    Giuseppe Taddei, Amonasro

    Roberto Silva, Ramfis

    Ignacio Ruffino, re d'Egitto

    Orquesta y Coro del Palacio de Bellas Artes, Mexico City

    conducted by Oliviero de Fabriitis.

    The program notes say she first went up to the high E-flat in 1950 MC after the tenor Kurt Baum was upstaging her.

  • Why you didn't write the data related with this recording ?? All the world mustto know that this performance is consider one of the best performances of AIDA in all times and all arround the world, It was performed in MEXICO CITY !!!!!

  • I've heard other Ebs from la Callas. For example, at I Vespri Siciliani (i think 1954)in Merce, dillette amiche she ends with an Eb. But one can notice the difference in her voice.

  • Actually, I Vespri Siciliani was a high E natural that is actually sung often by those who have that upper extension and Callas was one of them :)

  • oh ok, sorry... =)

  • Most if not all sopranos, that is, if they are true sopranos, have in their range up to and including high E. It's just the F as in the 'Queen of the Night' that crosses the line into coloratura-land. From there it is an "upper extension". The optional Eb is usually done at the end of the 'Sempre Libera' in 'Traviata'.

  • Actually there are tons of sopranos who don't have a high E and are extremely famous. Rosa Ponselle, Grace Bumbry, Monsterrat Caballe and many others are among the many that didn't have an upper extension to a high E. And an upper extension doesn't necessarily mean a high F. For example, Ewa Podles is a contralto with a great range and she has an "upper extension" to a high C.

  • @titanfan5 Ewa Podles has higher range. There's her Dover, giustitia, amor on YT with high C sharp. I've also heard that's she can hit even Eb.

  • @titanfan5 Ewa Podles has higher range. There's her Dover, giustitia, amor on YT with high C sharp. I've also heard that's she can hit even Eb.

  • @zamyrabyrd not all can hit an E. plus this is no ordinary Eb this is hit in full head voice which is extremly rare, to be honest i think she was the only one that reached a Eb in full head voice.

  • @pedy19 Hi there, I don't know what you mean by "full head voice" except that over the staff notes of sopranos when properly executed can pierce through an orchestra and reach the furthest row of an opera house. Fully or amply supported head tones are the issue here and what breath power is needed to sustain them. She was young, courageous and physically well endowed. Yes, that was surely an exciting musical moment, lucky for posterity it was caught on tape.

  • @zamyrabyrd yes its true that some notes can pierce our ears, but still ive heard no opera singer hit the Eb6 with the power callas did and i meant precisly that when i used the expression "full head voice", once there are some singers who can pierce our ears with E6 notes, still Callas not was more about power n not so piercing. Check out Ana Paula Russo je veaux vivre her high notes are extremly piercing, still they cant compare to Callas projection.

  • @titanfan5 That's one E I can do without. I just don't like it in Vespri.

  • @sweetnessglyc totes

  • my grandmother was there that night, she said to me that the crowd exploited with that last unexpected Eb...she and her friend began to cry and clapped so hard that hes watch broke. What a great night with Oralia Dominguez, Mario del Monaco "The singing volcano" and "the divine" Callas.

    She also went to the presentation of "Traviata", two weeks later with an excelent performance of Callas and Cesare Valletti

  • Wasn't this discussion about the Triumphal Scene? Tetrazzini, according to John Stratton, sang this in Buenos Aires in concert in 1894. I have not seen the program, however. She did record an excerpt from Aida, Ritorna vincitor, available in the USA on a limited edition autographed IRCC disc. Since Melba and Patti DID sing Aida, it would certainly have been within the realm of possibility for Luisa to have sung the Triumphal Scene, a high Eb at the end would have been the only choice for her

  • Amneris: Oralia Dominguez- awesome mezzo, very under-appreciated. I must say she came very close to stealing the show in this performance

  • Ω! Ψυχή μου εσύ!

  • In response to a few comments: 1) Tetrazzini reportedly took the high Eb so that would have been 40 years before this performance. 2) The "2 additional Eb's" some people are hearing are aural illusions caused by the overtones of the orchestra on the Eb chord. No soprano, and certainly not Maria, would play around with this music to that extent. Going up on the final note in a tonic chord is rarely distasteful and surely not disrespectful. In this case it shows incredible vocal strength.

  • Kurt Baum was an ugly heroine mule, his singing is similar to that of a duck gargling listerine mouth wash how dare he think he could outsing the * Divine Maria Callas * .. rightfully she put that beast out of his misery ;) ... :D :D !! BRAVO ~ YES MARIA !! BRAVO !!! :D :D !! CALLAS FOR EVER BEYOTCHESS !! LOLZZ

  • LMAO thanks for the chuckle

  • Solo MARIA era capaz de esas locuras y proezas musicales que los puristas llaman "circo" pero que llevan a la gloria a quien se atreve a hacerlo y resulta exitoso..

  • amneris es giuletta simionato esto fue en mi ciudad mexico d.f. palacio de bellas artes 1951

  • You're right - I've listened again and I finally caught them. They're almost imperceptable and I stand corrected! Interestingly, she employed the same device at the end of the trio (Perfido...) in her 1955 La Scala live performance of Norma with Tulio Serafin. I imagine it was a good way of measuring her strength or double checking she had the note before she commited herself to a climactic high note.

  • Lol, people, that's the orchestra - not her. You can actually clearly hear her voice go back down. Whipping out top notes in such a cute fashion would not be like Callas - she wanted the E flat to be a shocker, so preceding them with little altissimo flourishes would be completely pointless.

  • On the contrary - it was a very intelligent way of ensuring she had the note before committing to it. It is her and she does the same thing at the end of the trio in her Norma at la Scala, during a live performance in 1955. What I think you hear going back down is the other voices.

  • But this is Aida or a circus function?

  • It is Aida, if you were of been there maybe some people would wonder if the circus was in town seing you for the clown u r.

  • to the user : loumanar : for saying " but this is Aida or a circus function ? " ... honey puh-lease your whole life is a circus function ~ next !

  • I'm sorry, I've listened and listened and fear you're mistaken - the two notes you mention are at least a 4th below the high E flat, somewhere aroung the B - A mark. I haven't checked the score, so I'm guessing! She was thrilling though, wasn't she?

  • I can hear then... she just touches them ... it sounds like a little beep after the (scales? runs? don't know the correct term) that go up to a B.

  • The National Palace of Fine Arts in Mexico city...Yes, there is one. Not only a stunning, huge white marble building but the host of ALL major fine arts disciplines of the world and their stars. Also the home of the spectacular Ballet Folklorico de Mexico.

  • Yes, diva!!! Off the charts. That is a fat, soaring laser of an E flat.

  • Es una pena que haya yo descubierto la opera despues de la muerte de esta divina mujer. Al escribir esto, todavia no me recupero de la emocion...

    It is a pity that i discovered opera after this divine woman's death. As I write this I have not yet been able to emotionally recover...Bravissima!!!!

  • The REAL story of that note - Kurt Baum (Radames) was driving everyone crazy with his musically boorish behavior. Several of the cast asked Callas to go for the note top shut him up. She refused citing it was not Verdian or musical. Serafin proved that a singer had done it during Verdi's lifetime so she finally agreed - a fitting punishment for Baum and an incredible act of bravery and technique. This recording is actually the following season when she did it again more sweetly.

  • Do someone know if she was the first to dare to do this E flat? or if some divas did it before her?

  • I think she was the first. I know people did it after her, but as for before, I'm not really sure.

  • @titanfan5 Actually and according to what it was written in Sacred Monster, The E was sung before Callas by a Mexican Soprano called Ángela Peralta, and it was offered Callas to sing it. Which she, accordingly, refused because, mainly, it wasn't written. But after an incident with Baum who was Radames to her Aida. Then she asked all her colleagues, except Baum, if it was ok with them if she sang the High E; and they all said yes. So at the very end Baum was caught off guard. The rest is history

  • so many others tried to sing this note but non managed to blast the House with it...

  • Brava La Divina Callas!!!!

    your voice will always be sung in

    the heavens!!!

    BRAVA!!!

  • Rating this performance, Titan?

    You should climb up to heaven to find such a high score...

  • "You should climb up to heaven to find such a high score" - what a nice phrase!

  • Wow, simply divine...

  • Ἐρέβους δ΄ ἐν ἀπείροσι κόλποις τίκτει πρώτιστον ὑπηνέμιον Νὺξ ἡ μελανόπτερος ὠιόν͵ ἐξ οὖ περιτελλομέναις ὥραις ἔβλαστεν Ἔρως ὁ ποθεινός στίλβων νῶτον πτερύγοιν χρυσαῖν͵ εἰκὼς ἀνεμώκεσι δίναις.

  • Ah Callas.

  • How EPIC.. people EPIC !! DAMM I LUV MARIA CALLAS !! :D :D I prolli woulda yelled bravo till my throat ran dry & bled thru my mouth & my lungs exploded with excitement !! lol :D & yea its dat serious ;).

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