Last week I was passing library, there was a stall outside of books withdrawn from the use. The top book with a femal face "screamed" for me - "Maria Callas, Sacred Monster" by Stelios Galatopulos. It amazing how universe works...you ask it - it sends an answer in the most unexpected way... ;-) Thanks to your clip I am sure
This shows all details of why she's the true one and only Assoluta of the 20th century and it's not a shared spot as many try to make so many other sopranos out to be.
El video es notable. Permite apreciar con mucha nitidez y contundencia el por qué La Divina es absolutamente inigualable. Amo a María. Cuanto más la escucho más me conmueve, me asombra, deleita, sorprende. ASSOLUTA!!!
This video is just simply fabulous! And to think all the exquisite examples Callas provided in her career. I have two other comments. 1. Your opening example of Bolena is proof positive of how much drama Callas got from the music as written, singing exactly what was written without any high notes thrown in for effect. Bolena comes alive in vivid colors. 2. Callas was not only a musical genius but a very very intelligent woman who was smart enough to learn as much as she could from Serafin.!
@kgarmaker123 The Anna Bolena excerpt is one of my favourites, and I listen to it all the time on my Mad Scenes CD. Most singers need to throw in a tacky and draggish E-flat, but Callas works a miracle from Bb3-C6!
And besides her musical intelligence, she was also a technical marvel; complete mastery over three octaves with incredible agility, resonance, and dynamics. Who else can take a full sound on an E-flat, then swell it into an amazing diminuendo?
Quiero decirte que este vídeo es una obra absolutamente ESPECTACULAR.
La magistral, poderosa y sobrecogedora voz de María Callas, sacrificada a la diosa de la excelencia interpretativa nunca igualada, sólo puede recibir un calificativo: TITÁNICA.
Video 5* absolutamente recomendable para cualquier callasista y para cualquier amante de la ópera con un mínimo de gusto y sensibilidad.
Wonderful video! Btw is there a book that you could suggest for bel canto ornaments? Do you know which book Callas suggested during her masterclasses at Juilliard?
She is AS great as the other legends who helped brought classical music to great heights. Equal but not greater than the likeso f Sutherland, Sills, Tebaldi, Pryce, Ponselle, Pons, Mesple, Gruberova, Hallstein, Caballe, Freni, Te Kanawa...
Wonderful. Thank you for this. Maybe a future video could include her fury voice as in "io son Medea" or in Norma her "tremi tu". You fear for the poor slob as she unleashes her fury. How she moves people in every emotional scene.
this clip is so professionally done it could be used as an Archive for Maria's technical arsenal :) Incredible work - one of the very best videos of this type I have seen in Youtube
Just an amazing voice and unforgettable "grande dame" of the opera! She sings with so much passion and feeling that it goes under my skin each time I hear her voice...
This is a magnificent post, entertaining and educational. Callas felt what she sang. I'm a Pavarotti fan and got to see Sutherland whether I wanted to or not. I liked her in *Fille* the best because it was so vaudeville and she was herself in it. She always sounded the same to me, only the costumes were different.
Grazie!! Mancano Le Variazioni di Proch,cantato nel Martini& Rossi nel 1951,la registrazione mandata in onda da Franco Soprano nel settembre del 77,pur essendo deprecabile come qualità,mostra come arrivava a soprecuti eccezionali.
Grazie!! Mancano Le Variazioni di Proch,cantato nel Martini& Rossi nel 1951,la registrazione mandata in onda da Franco Soprano nel settembre del 77,pur essendo deprecabile come qualità,mostra come arrivava a soprecuti eccezionali.
Oh my goodness I love this video! She was perfection, a beautiful singer! I also made a video about Maria Callas - how often she is used in movies! xxxxxxxxxx
There are many astounding things that Maria does in this video.... however to my mind the two most difficult, are the commas in the Casta Diva, only heard done correctly by one other soprano .. Contrast this to Caballe, where the pitch noticeably droops at each accent( not Maria! . and.. the Decrescendo on the E flat.. really on any note.. Callas, Decrescendo's and crescdendos are superior to that of any other soprano I have ever heard.. and they make the music so much more interesting. too.
@kgarmaker123 What's also astonishing is how efficiently she executes the commas in the ascending trills in the caballeta of Coppia iniqua. I don't think I've heard any other soprano do something like that either. And it perfectly enhances the drama.
@BZBlaner The ascending trills of Coppia Iniqua.... are not done correctly by ANYONE except her.. We really need to make a list.. Maria is the only one who sings them correctly.. And makes much drama with that caballetta, sung EXCACTLY as written without interpolalted E flats, or transposing the whole aria down, so the caballetta, can end on A D flat ( Sutherland).
@kgarmaker123 Sutherland's Bolena was a hellish nightmare, full of wobbles and completely altered by Bonynge to accomodate Sutherland's non-existent lower voice and a top note. She never had the voice for Bolena, even in her vocal prime.
@BZBlaner Not only was Sutherland's Bolena a disaster (fortunately only saw the video) but Esclarmonde which she was so proud of, was awful and embarrassing. I saw it at Covent Garden in the 80s can't remember exactly when, I think 1983 maybe. Her Lucretia Borgia also in the 80s was very screechy. As for La Fille du Regiment Aaaarghhhh!!!!! Her voice in my opinion started deteriorating from around the mid 70s. After that it was full of wobble, transpositions and all the things we all know.
@Ariadne7710 AT last someone who sees Sutherland the way I do. yes her voice was in steep decline by the late seventies, and.. yes it was full of wobbles, right in the middle range..! Ugh.. ! I am not a big Sutherland fan.. When she was in her prime voice, none of her operas had DRAMA.. I never ever for one minute thought that any of her portrayals were sincere.
@kgarmaker123 Absolutely, spot on!! I don't think that either Joan or Bonynge were real musicians with any understanding of music or possessed any musicality. Listen to their interviews. They focus totally sound production. The aim was to make Joan sing coloratura passages and high notes to stun and amaze audiences. Which she did, to audiences who had very little understanding of what music (and opera in particular) were for. ie. TO CREATE DRAMA, EXPRESS FEELINGS, AND EMOTIONS, THROUGH MUSIC
@Ariadne7710 yes it is what I have said for a long time, her arias are merely vocalizes all sung on the dark swah vowel uh... except for her top notes, which are Ah.. .. Not very interesting. Callas, really could see how the trills, in a piece, were there for a purpose, to highten the emotion , feeling or thought being expressed.. The Bonyges saw them as ways to show case Joan's very facile trill alone. I am no Sutherland fan. Great coloratura , no sincerity, no musicality, no diction no drama
@kgarmaker123 Hear Hear, what I have been banging on about for ages...Sutherland sang notes. In her prime years she could sing very high notes with great clarity and beauty of tone, but they were just notes. She could trill iinterminably but the trills had no drama. Often a trill is there to heighten tension and needs to be paced accordingly. Start slowly then accelerate, then flatten out evenly and towards the end go into a diminuendo and/or decelerrando mode. Plus some ritardando at the end
@kgarmaker123 Even her coloratura lacked dramatic effect. It just depended on the notes themselves for impact. Although I never saw live either her Norma or Lucia which were supposed to be the pinnacles of her achievements, vocally they had very little drama. And if you can't produce dram in Norma or Lucia you have failed miserably. Just listening to recordings of Callas's "deh non volerli vittime" from Norma makes me sob without any visual aidl!!!! That is what i call first rate drama !!!!
@Ariadne7710 Yes , yes, yes.! What people forget ( not you I can see) Is that Callas was a musical genius.. She was an exceptional musician in all sense.. she had compete control of her instrument, ( at least for better than a decade.. and.... she realized all the drama from a complete musical read of the score. I have said, before.. she had the mind of a GREAT conductor in the body of a woman with a fabulous voice, and temperment. for drama. Sutherland only had the voice.
@kgarmaker123 We are in complete agreement on this. She was a total and complete musician who expressed her musical genius portraying the various roles she sang. Her Traviata was heartbreaking. Sitting in the audience at Covent Garden in1958 listening to act II, just before "dite alla giovine", the eerie silence just before she started was a heart stopping moment. You could hear a pin drop. And by the end of the aria tears were streaming down peoples faces. Violetta's tragedy touched us all
@Ariadne7710 I just looked up an old mp3 file (which I'd never touched) of her studio 'deh non volerli' and I literally just clasped my chest. Truly astonishing. Thanks for mentioning that track.
@gustopheles I am glad you discovered it and enjoyed it. In my opinion the way she sings "Deh non volerli vittime" is one of the most miraculous interpretations of any operatic drama that I have ever heard. No histrionics, no mad scenes, no amazing trills or top notes to make you gasp. Just the transmission of a tragic fatal moment by a supreme artist who can make you believe the reality of this tragedy. This is artistry of the highest level.
The thing about "Esclarmonde" is that she sang the high parts magnificently, the high D's and the high Eb in the unveiling scene, and the trills and the coloratura. But that only makes like 10% of the role, the other 90% of that role is ALL middle voice dramatic soprano with tessitura D4-G5.
@primohomme It may be that in the recording the high notes sound magnificent as you say. but my memory, sitting in the ROH at the time was of her straining her neck upwards to an incredible degree to produce those high notes. It was agonising to watch. The middle voice passages of course were sad but neither were the high coloratura passages all that clear or well articulated. I hated being there ever since. It made me feel bad to see someone of her rep reduced to that quality of performance
@primohomme Without the high notes, the role would probably be boring. can you imagine Montsy singing that role? Sutherland had her operas where vocally she was stunning, and that others only dreamed of geting close to that,but she was not a complete artist. And her middle voice left something to be desired.. She never sang into that voice, with any emphasis... She was smart and never pushed her voice, except for an occasional high note. Thats why she sand 30 yrs.
@primohomme Well, basically pick one.. She is careful in the middle, She never sings into F's and Gi's A Flalts A's etc.. for empasis, when it is called for, she normally is backed off.. listen to her Norma, and Callas.. Ah non Tremare, In mia Man, Deh non voler... all of the above.. she takes it easy in that role, except in the highest notes. this is a pattern that is repeated over and over.. throughout her career.
@kgarmaker123 Bonynge said after JS retired that she never gave everything she had, that she was always holding something back. I think that's just who she was. It probably contributed to her longevity.
@CaptFitzbattleaxe I am sorry to hear that. A voice of that quality holding back in her singing so she could go on for another 10 years is very sad. I personally believe those last 10 years weren't worth it. They were only worth it financially for her and Bonynge. As quality operatic singing almost everything she sang from the late 70s on was way beneath her standard. The wobbles were unavoidable but the transpositions, and changes in the melodic line to avoid certain notes were shameful.
@Ariadne7710 Well, who knows how much she actually held back - or whether that was responsible for her long career. I think she may have done better to retire five years earlier than she did. There are a substantial number of performances in the early- to mid-80s that show her in a positive light, but the late studio recordings--- No use crying of spilled milk, I guess.
Sorry - I didn't mean to hijack this thread from Maria to Joan. What lovely voices; may they sing through recordings forever!
@kgarmaker123 Bonynge said after JS retired that she never gave everything she had, that she was always holding something back. I think that's just who she was. It probably contributed to her longevity.
@kgarmaker123 If Sutherland wasn't a complete artist, then no one was -- sans Callas, who was a force of operatic art.
Us opera fans love to be hyperbolic about our favorites. JS blew off interviewers' attempts to set her up as a rival to other singers. She spoke of how she loved listening to others sing; indeed, she rarely played her own recordings once they were complete. Just 'cause you're not on the top of spectrum in every aspect of opera doesn't mean you aren't a complete artist.
In "Anna Bolena" Bonynge went beyond transposing things up or down to accomodate Joan. He went as far as actually CHANGING THE MUSIC (rewriting the vocal line) so it avoids the chest voice completely.
@primohomme And I know for a fact that in Coppia Iniqua it was transposed and altered completely to avoid the low B-flat. That's the only thing I've really heard from that recording lol.
@primohomme It is sad and pathetic that, supposed serious, musicians butcher music written by great composers so some performers who don't have the skills to perform it can do a patch-up job:) Would anyone accept a pianist playing a Beethoven Concerto eliminate or invert notes that he/she couldn't reach or simplify passages which are too difficult, to get round his limitations? Not in a million years. Why do singers think that it is OK to do that? Why is it acceptable for a top singer to do it?
@primohomme Hahahaha Sumi Jo???? Is he serious!!!!!! I love Sumi Jo's voice, in the right part she is fantastic, but Norma??? At least she knows what she can sing which is more than Bonynge does. His brain only recognises notes for the female voice from about C5 to E6 or better F6. No wonder pour old JS never managed to improve her middle or lower registers. she could ignore them because they didn't impress the ignorant masses who wet their pants at the sound of an Eb6 or above!!!!!
@primohomme And you are dead right about Bonynge using Joan. Without her voice he would never amounted to anything. A nothing pianist and a nothing conductor. He used her as leverage and she was too stupid to assert herself. How many top opera houses do you know who have hired him to conduct since she retired? None. He conducted in Australia (hardly a big deal to boast about in your CV) and in some small venues here and there. And that is all. It shows what their opinion of him is!!!!
@Ariadne7710 It's because their psycho fans can save them from the ultimate disaster. Can you honestly imagine some unknown coloratura in her early years singing Anna Bolena? She would be BOOOOED right off the stage! But when they become famous in the coloratura roles, they then think they can find the same success in the Assoluta repetoire. And with a coloratura cult backing them, then they turn masterpieces into evenings of High E and F galore. Such is the case of Edita Gruberova.
@BZBlaner Yes but doing it in your 50s, full of wobble, transpositions, scooping etc, etc isn't the answer either. Assoluta roles are very hard, the amount of singing involved huge and some are very long. They need a long range. Support at both ends, stamina. Just hitting a couple of Es or even Fs isn't going to be enough. The coloratura cult as you call it surely will get fed up with the wobble, scoops, breathing pauses in between every other note for the sake of a couple of shrieky Es
@Ariadne7710 I would love to agree with you, but the harsh reality is that they do praise their faves even in immense vocal decline. Go under any Gruberova or Devia video of them singing one of Donizetti's Three Queens and you'll see the lunatics go 'BRAVA, BRAVA!' in the comment section. LOL. And even worse, you have Gruberova herself thinking she brought something to Norma that Maria never did, or Damrau thinking she can sing Armida in 2016.
@BZBlaner I'm no die-hard fan of Gruberova or Devia, but I think even their late stuff can be enjoyable (if flawed). Sure, no patch on Callas, but where they ever?
@kgarmaker123 The Callas ascending trills in Coppia Iniqua are a master class in how it should be done. The worse ones are the see-saw operetta style, so called ascending trills by Sills. They make me laugh!!! Not the right moment for a giggle you must admit!!!
isn't it moving to see a 19 year old Mariah Carrey super fan having learned Maria's voice so well as to produce a clip of musical accuracy of scientific levels and above all LOVE for the ultimate vocal phenomenon of all times... I think Maria is in good hands as long as wiz-kids like BZBlaner and Primohomme appear (and they keep coming ;)
The blood line of true Opera Fans though the Generations - new Space Kids amaze me :p
@bzblaner, you've done a video for Mariah, and now Maria...what about Broadway? I feel like Barbra or Patti should get some recognition for their brilliance :D
@BZBlaner Great Video. Incredibly well put together to make the point that she was the one and only soprano sfogato of the 20th century. And here we are just talking about t her amazing technique of sound production. If we start to talk about role interpretation and emotional impact then we are into a different sphere of artistry altogether.
@BZBlaner Brilliant idea. That would be a marvellous way of really showing her musicianship and unique interpretative talent. Any time you want any input I will be very happy to give you any information from the perspective of having seen her perform in her good years 1956 - 1959 in Norma, Traviata Bolena and Medea.
@Ariadne7710 Oh wow, you've seen Callas? That's pretty wild and especially during her second prime years :P And thanks, I will contact you if I decide to put that video into action.
@BZBlaner I hope you will decide to do it. I would have loved to do something like that myself but I don't know how!!! I can barely upload a video never mind do anything more technical!! I don't know how to do all these wiz kiddy things that I see other people doing with computers. So, please make the decision to do it. Interpretation, giving characters life through one's voice and musicianship are just as imortant (if not more so) than amazing vocal technique only.
What's the piece called that starts around 5:20? Also, this video just proves further that she and Sutherland were the best female voices the 20th century ever had. Though they were neck and neck in most aspects, I think Maria had more powerful low notes than Joan, and Joan had clearer trills than Maria. Otherwise, in terms of vocal skill, it's pretty much a toss-up!
@ChrisStockslager This is a one woman show...Everything of hers was more powerful than Joans they where completely two different type voices and talent like the Moon and the Sun are two different planets.
@sicuro75 I think that's up for debate. Sutherland's high notes were just as powerful as Callas' were for almost 40 years. Callas couldn't sustain anything above a high C after 1960 or so. They were different voice types, but they weren't. They both sang almost the same repertory and both had incredibly powerful and flexible voices. However, I think Sutherland was a true dramatic coloratura soprano, and Callas was at her core a dramatic mezzo who worked like crazy to get the top notes, etc. out.
@ChrisStockslager Debate... Unless you can offer us a Sample of Joans same High E like Maria's Aida and D in Armida then debate it but since realistically there is no such high notes from Sutherland that compare to that then there is no debate. Sutherland is a coloratura and is categorized as that so she should be compared to other sopranos in her classification.
@yuk747 /watch?v=MQHarlxpN1o&feature=related - High D. The Aida was an Eb, so here's a live Sutherland Eb: /watch?v=M2rzOj9IMDE&feature=related. Both without microphones and over a chorus and orchestra going full blast.
@ChrisStockslager They had the same repertory??Does Sutherland never sang Valkuria-Parsifal-Poliuto-Medea-Vestale-Tristano e Isotta-Il turco in Italia-Nabucco-I vespri siciliani-La gioconda-Macbeth-Cavalleria rusticana-Alceste-La forza del destino-Andrea Chénier-Pagliacci-Madama Butterfly-Fedora-figenia in Tauride-Manon Lescaut-Un ballo in maschera-Il pirata-Carmen-Armida...Very differents types of Operas Roles(maybe i forget someone) are about 24 and more roles that Sutherland never sang!!
@MariaCallasLegend As I recall, I said ALMOST the same repertory. Read the whole thing. Callas didn't sing Lucrezia, La Fille, Esclarmonde, Beatrice, Fledermaus, Emilia di Liverpool, L'Elisir d'amore, Hoffmann, Maria Stuarda, Messiah, Orfeo ed Euridice, or Verdi's Requiem. Must we keep score? They were both amazing sopranos and some of the greatest voices of the 20th century. The End.
@iiAmitx3 I think they should just make the ones the WANT to make instead of having a "to do" list. It's better that way, don't ya think? It'd be cool to have one of Whit or Ree, but I already know what they do, Mariah less so, so that one was nice too. This was informative. In a loose sense of course. Naw I ain't studyin lol.....
Excellent piece of work! Watched the whole thing. Though I am no opera, vocal, or even musical expert (I just see things intuitively), Callas is most definitely one of the greatest vocal musicians in any category or genre for her influence spans the divide from which we draw our music and her SOUND is instantly recognizable, even if the nature or degree of her TALENTS may not be as familiar to the less musically astute such as myself. I do enjoy vids like this. EDUCATIONAL!
Her voice is EVERYTHING. Like, perfection. I've loved her voice since my chorus teacher made our class watch a documentary about her life in 10th grade.
Another absolutely FABULOUS video @BZBlaner! I'm totally amazed by this woman. She blew me away! Was she even human? This stunning control over her voice is unreal.
And the ending was hilarious! I love the movies lol
Wow! she blew me away! Now i know why shes one of the most renowned Opera singers of the 20th century. Many of the "greats" come from New York!! gosh i love her! <3 that vocal range scale you compiled at the end dazzled me :D Great Video!!
Amazing video, it shows Maria's musicality in such an effulgent way
She is my idol and my inspiration.
Great editing and very good use of musical vocabulary :)
For all the criticism she received because of the timbre of her voice which some considered so beautiful and others so extremely ugly, she offered more than tonal beauty, she offered true musicianship and highest art...then she went away, and like as to a goddess, we still remember her and await her return.
Definitely the greatest female opera singer ever. Her agility is unreal and her precision is a marvel. The breath control required for what she did is not human.
The greatest female singer in opera....using a combination of stunning technical capabilities with innate musical intuitiveness that has no peer.
Her voice may not be the most beautiful...but it brings out the greatest amount of musicality in any piece...whether the range lies low on the ground...or soars to great heights...whether it's soft, mellow, tender and light...or brings out demanding authority, rage and passion.
YES ITS UP!!! This Goddess had COMPLETE control over her instrument. Peerless agility and breath control. It's unearthly! La Divina! Her runs are amazing! It's like each note is it's own, and it's not all mushed together. So clear! 11:13 O.O
A musician of great ability! Lmao at the end xD
Fantastic video. VERY knowledgeable and informative! Thanks for posting :)
I don't have words to describe her agile and greatness at singing. How can a human have this capacity to sing? God really privileged us giving us this ability that of course not everyone have, but everyone can enjoy.
I really didn't knew this singer. After watching this video, I definitely can claim that she is the greatest singer of all time I have ever seen.
Thanks for sharing your knowledge with us @BZBlaner !
She's like the most incredible vocal phenom ever. It's not just that she has peerless technical abilities, it's as if she truly fuses those aspects of her technicality better than ANYONE ELSE. And most importantly, she's the greatest musician in classical music history. She uses her voice to SING, not just vocalize.
@Chimier That's SO right Chimi, that's SO right! Sometimes people concentrate so much on the technical aspects of an opera singer's voice, but with Callas it's almost impos
Hi
I loved your video, it's not internet trash
Can you tell the names of the songs?
1: the one in the beginning of the video
2: the one you said only María and Joan could sing, it is sung around the 7th minute
Merci d'avance
jhansebas 6 days ago
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This music blows my mind.
Splendide,absolutely amazing, a lovely talented soprano.
hermosísima! el sonido espectacular
Absolutely amazing :))
Wonderful singing
Tenorbravo 4 weeks ago
Hi Is Sarah Brightman is a Light Soprano??????
Ehadurkah 4 weeks ago
Last week I was passing library, there was a stall outside of books withdrawn from the use. The top book with a femal face "screamed" for me - "Maria Callas, Sacred Monster" by Stelios Galatopulos. It amazing how universe works...you ask it - it sends an answer in the most unexpected way... ;-) Thanks to your clip I am sure
Bipidibuda 1 month ago
Una obra maestra para la voz titánica. Gracias.
ubedajils 2 months ago
Anyone know what aria "Come del primo amor" is from?
Yodaddy1988457 2 months ago in playlist Favorite videos
@Yodaddy1988457 Norma, IMO.
ubedajils 2 months ago
@ubedajils Possibly, but what would the aria be called if its from the opera Norma? :(
Yodaddy1988457 2 months ago
@Yodaddy1988457 The aria is called "Ei tornera si!", and it's one of the most complex vocal lines Bellini ever wrote.
BZBlaner 2 months ago
@BZBlaner Ok I found that one. Now I only need to find one more. What's the aria called at 12:31 where you introduce the first trill?
Thanks!
Yodaddy1988457 2 months ago
@Yodaddy1988457 Caro nome, IMO, from Rigoletto.
ubedajils 2 months ago
@Yodaddy1988457 BZBlaner is right. The aria is "Ei tornerà", escena tercera del acto segundo.
ubedajils 2 months ago
Hey would it be possible for you to post a list of all these aria's?
I know what some of them are, but I am very curious as to what the other ones are.
Thanks!
Yodaddy1988457 2 months ago
WHAT A GREAT VIDEO!!
Excellent job! I wish more people watched thi video, is just SOOO good
One of the best I've ever watched
...actually
LacrimaLunaMortua 2 months ago
This shows all details of why she's the true one and only Assoluta of the 20th century and it's not a shared spot as many try to make so many other sopranos out to be.
sicuro75 2 months ago
by far this is the most complit video of maria callas where she is shown how wonderful and powerful her voice was and still is today thank you
MAPIAKALLAS 2 months ago
El video es notable. Permite apreciar con mucha nitidez y contundencia el por qué La Divina es absolutamente inigualable. Amo a María. Cuanto más la escucho más me conmueve, me asombra, deleita, sorprende. ASSOLUTA!!!
Agwii 2 months ago
BZBlaner - thank you for the clip, definitely goes in my favourites, brilliant collection of extracts, enhancing comments - fab, good job!
Bipidibuda 2 months ago 2
@Bipidibuda Thanks for your comment :)
BZBlaner 2 months ago 2
congratulations on the excellent taste.
tneprescintr 2 months ago
This video is just simply fabulous! And to think all the exquisite examples Callas provided in her career. I have two other comments. 1. Your opening example of Bolena is proof positive of how much drama Callas got from the music as written, singing exactly what was written without any high notes thrown in for effect. Bolena comes alive in vivid colors. 2. Callas was not only a musical genius but a very very intelligent woman who was smart enough to learn as much as she could from Serafin.!
kgarmaker123 2 months ago
@kgarmaker123 The Anna Bolena excerpt is one of my favourites, and I listen to it all the time on my Mad Scenes CD. Most singers need to throw in a tacky and draggish E-flat, but Callas works a miracle from Bb3-C6!
And besides her musical intelligence, she was also a technical marvel; complete mastery over three octaves with incredible agility, resonance, and dynamics. Who else can take a full sound on an E-flat, then swell it into an amazing diminuendo?
BZBlaner 2 months ago
Quiero decirte que este vídeo es una obra absolutamente ESPECTACULAR.
La magistral, poderosa y sobrecogedora voz de María Callas, sacrificada a la diosa de la excelencia interpretativa nunca igualada, sólo puede recibir un calificativo: TITÁNICA.
Video 5* absolutamente recomendable para cualquier callasista y para cualquier amante de la ópera con un mínimo de gusto y sensibilidad.
Ehorabuena.
There is only ONE CALLAS.
ubedajils 3 months ago 2
Wonderful Callas's commemoration!
MisterPapageno 3 months ago
sublime perfection!
NEBESHIKU 3 months ago
I love the photo of her in the video..where is it from?
8bobthebuilder 3 months ago in playlist My Greeting Videos
@8bobthebuilder It's the cover art for the Mad Scenes album on iTunes.
BZBlaner 3 months ago
@BZBlaner
What song in 2:13?
thesugimotosan 3 months ago
@thesugimotosan Ah! partiamo, i miei tormenti (Il Pirata).
BZBlaner 3 months ago
@8bobthebuilder Esta foto pertenece a la ópera Anna Bolena.
ubedajils 3 months ago
@ubedajils Gracias...es muy bonita (foto); soy de Australia.
8bobthebuilder 3 months ago
Excellent work!!! Congratulations!!! Callas, the perfect musician, the perfect actress, the perfect singer!!!
pereziana 3 months ago
Wonderful video! Btw is there a book that you could suggest for bel canto ornaments? Do you know which book Callas suggested during her masterclasses at Juilliard?
Remalia19 3 months ago
@Remalia19 I'm not sure about the book Callas named, but I love "Ornamentation in Baroque and Post-Baroque Music" (Neumann).
BZBlaner 3 months ago
She is AS great as the other legends who helped brought classical music to great heights. Equal but not greater than the likeso f Sutherland, Sills, Tebaldi, Pryce, Ponselle, Pons, Mesple, Gruberova, Hallstein, Caballe, Freni, Te Kanawa...
reginabellestar 3 months ago
@reginabellestar Tebaldi? Nice laugh.
Stefano94x 3 months ago
@reginabellestar I daresay that Sutherland and Callas were slightly above the rest in terms of skill. :)
ChrisStockslager 3 months ago
An amazing feat for ignorants like myself that want so much to learn more about opera!! Thank you so very much!! Magically done!
visitingsaramontiel 4 months ago
She's amazing!!!
MrButler124 4 months ago
Keep watching this lol. Who would dislike this?
stardusth2o 4 months ago
Wonderful. Thank you for this. Maybe a future video could include her fury voice as in "io son Medea" or in Norma her "tremi tu". You fear for the poor slob as she unleashes her fury. How she moves people in every emotional scene.
rusalkaism 4 months ago
Oh God how I love this!
31071946 5 months ago
I keep coming back to this!
WestVoice 5 months ago in playlist More videos from BZBlaner
What an amazing video!!! :)
borias12 5 months ago
this clip is so professionally done it could be used as an Archive for Maria's technical arsenal :) Incredible work - one of the very best videos of this type I have seen in Youtube
LohengrinT 5 months ago 8
wow.
necrogoddess 5 months ago
Just an amazing voice and unforgettable "grande dame" of the opera! She sings with so much passion and feeling that it goes under my skin each time I hear her voice...
MCBTranslations1 5 months ago
Anyone who doesn't understand Callas should watch this! Thanks for the fabulous compilation.
CaptFitzbattleaxe 5 months ago
This is a magnificent post, entertaining and educational. Callas felt what she sang. I'm a Pavarotti fan and got to see Sutherland whether I wanted to or not. I liked her in *Fille* the best because it was so vaudeville and she was herself in it. She always sounded the same to me, only the costumes were different.
Qbendanny 5 months ago
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Grazie!! Mancano Le Variazioni di Proch,cantato nel Martini& Rossi nel 1951,la registrazione mandata in onda da Franco Soprano nel settembre del 77,pur essendo deprecabile come qualità,mostra come arrivava a soprecuti eccezionali.
MrPipposiculo 5 months ago 2
Grazie!! Mancano Le Variazioni di Proch,cantato nel Martini& Rossi nel 1951,la registrazione mandata in onda da Franco Soprano nel settembre del 77,pur essendo deprecabile come qualità,mostra come arrivava a soprecuti eccezionali.
MrPipposiculo 5 months ago
Oh my goodness I love this video! She was perfection, a beautiful singer! I also made a video about Maria Callas - how often she is used in movies! xxxxxxxxxx
bethiesparkles 5 months ago
There are many astounding things that Maria does in this video.... however to my mind the two most difficult, are the commas in the Casta Diva, only heard done correctly by one other soprano .. Contrast this to Caballe, where the pitch noticeably droops at each accent( not Maria! . and.. the Decrescendo on the E flat.. really on any note.. Callas, Decrescendo's and crescdendos are superior to that of any other soprano I have ever heard.. and they make the music so much more interesting. too.
kgarmaker123 5 months ago
@kgarmaker123 What's also astonishing is how efficiently she executes the commas in the ascending trills in the caballeta of Coppia iniqua. I don't think I've heard any other soprano do something like that either. And it perfectly enhances the drama.
BZBlaner 5 months ago
@BZBlaner The ascending trills of Coppia Iniqua.... are not done correctly by ANYONE except her.. We really need to make a list.. Maria is the only one who sings them correctly.. And makes much drama with that caballetta, sung EXCACTLY as written without interpolalted E flats, or transposing the whole aria down, so the caballetta, can end on A D flat ( Sutherland).
kgarmaker123 5 months ago
@kgarmaker123 Sutherland's Bolena was a hellish nightmare, full of wobbles and completely altered by Bonynge to accomodate Sutherland's non-existent lower voice and a top note. She never had the voice for Bolena, even in her vocal prime.
BZBlaner 5 months ago
@BZBlaner Not only was Sutherland's Bolena a disaster (fortunately only saw the video) but Esclarmonde which she was so proud of, was awful and embarrassing. I saw it at Covent Garden in the 80s can't remember exactly when, I think 1983 maybe. Her Lucretia Borgia also in the 80s was very screechy. As for La Fille du Regiment Aaaarghhhh!!!!! Her voice in my opinion started deteriorating from around the mid 70s. After that it was full of wobble, transpositions and all the things we all know.
Ariadne7710 5 months ago
@Ariadne7710 AT last someone who sees Sutherland the way I do. yes her voice was in steep decline by the late seventies, and.. yes it was full of wobbles, right in the middle range..! Ugh.. ! I am not a big Sutherland fan.. When she was in her prime voice, none of her operas had DRAMA.. I never ever for one minute thought that any of her portrayals were sincere.
kgarmaker123 5 months ago
@kgarmaker123 Absolutely, spot on!! I don't think that either Joan or Bonynge were real musicians with any understanding of music or possessed any musicality. Listen to their interviews. They focus totally sound production. The aim was to make Joan sing coloratura passages and high notes to stun and amaze audiences. Which she did, to audiences who had very little understanding of what music (and opera in particular) were for. ie. TO CREATE DRAMA, EXPRESS FEELINGS, AND EMOTIONS, THROUGH MUSIC
Ariadne7710 5 months ago
@Ariadne7710 yes it is what I have said for a long time, her arias are merely vocalizes all sung on the dark swah vowel uh... except for her top notes, which are Ah.. .. Not very interesting. Callas, really could see how the trills, in a piece, were there for a purpose, to highten the emotion , feeling or thought being expressed.. The Bonyges saw them as ways to show case Joan's very facile trill alone. I am no Sutherland fan. Great coloratura , no sincerity, no musicality, no diction no drama
kgarmaker123 5 months ago
@kgarmaker123 Hear Hear, what I have been banging on about for ages...Sutherland sang notes. In her prime years she could sing very high notes with great clarity and beauty of tone, but they were just notes. She could trill iinterminably but the trills had no drama. Often a trill is there to heighten tension and needs to be paced accordingly. Start slowly then accelerate, then flatten out evenly and towards the end go into a diminuendo and/or decelerrando mode. Plus some ritardando at the end
Ariadne7710 5 months ago
@kgarmaker123 Even her coloratura lacked dramatic effect. It just depended on the notes themselves for impact. Although I never saw live either her Norma or Lucia which were supposed to be the pinnacles of her achievements, vocally they had very little drama. And if you can't produce dram in Norma or Lucia you have failed miserably. Just listening to recordings of Callas's "deh non volerli vittime" from Norma makes me sob without any visual aidl!!!! That is what i call first rate drama !!!!
Ariadne7710 5 months ago
@Ariadne7710 Yes , yes, yes.! What people forget ( not you I can see) Is that Callas was a musical genius.. She was an exceptional musician in all sense.. she had compete control of her instrument, ( at least for better than a decade.. and.... she realized all the drama from a complete musical read of the score. I have said, before.. she had the mind of a GREAT conductor in the body of a woman with a fabulous voice, and temperment. for drama. Sutherland only had the voice.
kgarmaker123 5 months ago
@kgarmaker123 We are in complete agreement on this. She was a total and complete musician who expressed her musical genius portraying the various roles she sang. Her Traviata was heartbreaking. Sitting in the audience at Covent Garden in1958 listening to act II, just before "dite alla giovine", the eerie silence just before she started was a heart stopping moment. You could hear a pin drop. And by the end of the aria tears were streaming down peoples faces. Violetta's tragedy touched us all
Ariadne7710 5 months ago
@Ariadne7710 I just looked up an old mp3 file (which I'd never touched) of her studio 'deh non volerli' and I literally just clasped my chest. Truly astonishing. Thanks for mentioning that track.
gustopheles 3 months ago
@gustopheles I am glad you discovered it and enjoyed it. In my opinion the way she sings "Deh non volerli vittime" is one of the most miraculous interpretations of any operatic drama that I have ever heard. No histrionics, no mad scenes, no amazing trills or top notes to make you gasp. Just the transmission of a tragic fatal moment by a supreme artist who can make you believe the reality of this tragedy. This is artistry of the highest level.
Ariadne7710 3 months ago
@Ariadne7710
The thing about "Esclarmonde" is that she sang the high parts magnificently, the high D's and the high Eb in the unveiling scene, and the trills and the coloratura. But that only makes like 10% of the role, the other 90% of that role is ALL middle voice dramatic soprano with tessitura D4-G5.
primohomme 5 months ago
@primohomme It may be that in the recording the high notes sound magnificent as you say. but my memory, sitting in the ROH at the time was of her straining her neck upwards to an incredible degree to produce those high notes. It was agonising to watch. The middle voice passages of course were sad but neither were the high coloratura passages all that clear or well articulated. I hated being there ever since. It made me feel bad to see someone of her rep reduced to that quality of performance
Ariadne7710 5 months ago
@primohomme Without the high notes, the role would probably be boring. can you imagine Montsy singing that role? Sutherland had her operas where vocally she was stunning, and that others only dreamed of geting close to that,but she was not a complete artist. And her middle voice left something to be desired.. She never sang into that voice, with any emphasis... She was smart and never pushed her voice, except for an occasional high note. Thats why she sand 30 yrs.
kgarmaker123 5 months ago
@kgarmaker123
What role? Esclarmonde? 90% of the role is all soprano middle voice
It barely goes above A5 for most of the whole thing
I think Sutherland's middle voice is best in her Handel recordings, her live Alcina and Rodelinda for me are the best.
primohomme 5 months ago
@primohomme Well, basically pick one.. She is careful in the middle, She never sings into F's and Gi's A Flalts A's etc.. for empasis, when it is called for, she normally is backed off.. listen to her Norma, and Callas.. Ah non Tremare, In mia Man, Deh non voler... all of the above.. she takes it easy in that role, except in the highest notes. this is a pattern that is repeated over and over.. throughout her career.
kgarmaker123 5 months ago
@kgarmaker123 Bonynge said after JS retired that she never gave everything she had, that she was always holding something back. I think that's just who she was. It probably contributed to her longevity.
CaptFitzbattleaxe 5 months ago
@CaptFitzbattleaxe I am sorry to hear that. A voice of that quality holding back in her singing so she could go on for another 10 years is very sad. I personally believe those last 10 years weren't worth it. They were only worth it financially for her and Bonynge. As quality operatic singing almost everything she sang from the late 70s on was way beneath her standard. The wobbles were unavoidable but the transpositions, and changes in the melodic line to avoid certain notes were shameful.
Ariadne7710 5 months ago
@Ariadne7710 Well, who knows how much she actually held back - or whether that was responsible for her long career. I think she may have done better to retire five years earlier than she did. There are a substantial number of performances in the early- to mid-80s that show her in a positive light, but the late studio recordings--- No use crying of spilled milk, I guess.
Sorry - I didn't mean to hijack this thread from Maria to Joan. What lovely voices; may they sing through recordings forever!
CaptFitzbattleaxe 5 months ago
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@kgarmaker123 Bonynge said after JS retired that she never gave everything she had, that she was always holding something back. I think that's just who she was. It probably contributed to her longevity.
CaptFitzbattleaxe 5 months ago
@kgarmaker123 If Sutherland wasn't a complete artist, then no one was -- sans Callas, who was a force of operatic art.
Us opera fans love to be hyperbolic about our favorites. JS blew off interviewers' attempts to set her up as a rival to other singers. She spoke of how she loved listening to others sing; indeed, she rarely played her own recordings once they were complete. Just 'cause you're not on the top of spectrum in every aspect of opera doesn't mean you aren't a complete artist.
CaptFitzbattleaxe 5 months ago
@BZBlaner
In "Anna Bolena" Bonynge went beyond transposing things up or down to accomodate Joan. He went as far as actually CHANGING THE MUSIC (rewriting the vocal line) so it avoids the chest voice completely.
primohomme 5 months ago
@primohomme "He went as far as actually changing the music" - Oh wow, I didn't know that LOL.
BZBlaner 5 months ago
@BZBlaner
It's true, there's several passages completely changed, re written by Bonynge so Joan doesn't have to use chest voice at all.
primohomme 5 months ago
@primohomme And I know for a fact that in Coppia Iniqua it was transposed and altered completely to avoid the low B-flat. That's the only thing I've really heard from that recording lol.
BZBlaner 5 months ago
@primohomme It is sad and pathetic that, supposed serious, musicians butcher music written by great composers so some performers who don't have the skills to perform it can do a patch-up job:) Would anyone accept a pianist playing a Beethoven Concerto eliminate or invert notes that he/she couldn't reach or simplify passages which are too difficult, to get round his limitations? Not in a million years. Why do singers think that it is OK to do that? Why is it acceptable for a top singer to do it?
Ariadne7710 5 months ago
@Ariadne7710
I don't think that's so much Sutherland's fault as it is Bonynge's
He really used her talent as means for him to become somebody
He never truly had much respect for the music, I mean, in the early 90's he offered
The role of "Norma" to Sumi Jo! she of course declined as she knew she couldn't sing it
primohomme 5 months ago
@primohomme Hahahaha Sumi Jo???? Is he serious!!!!!! I love Sumi Jo's voice, in the right part she is fantastic, but Norma??? At least she knows what she can sing which is more than Bonynge does. His brain only recognises notes for the female voice from about C5 to E6 or better F6. No wonder pour old JS never managed to improve her middle or lower registers. she could ignore them because they didn't impress the ignorant masses who wet their pants at the sound of an Eb6 or above!!!!!
Ariadne7710 5 months ago
@primohomme And you are dead right about Bonynge using Joan. Without her voice he would never amounted to anything. A nothing pianist and a nothing conductor. He used her as leverage and she was too stupid to assert herself. How many top opera houses do you know who have hired him to conduct since she retired? None. He conducted in Australia (hardly a big deal to boast about in your CV) and in some small venues here and there. And that is all. It shows what their opinion of him is!!!!
Ariadne7710 5 months ago
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primohomme 5 months ago
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@Ariadne7710
I don't think that's so much Sutherland's fault as it is Bonynge's
He really used her talent as means for him to become somebody
He never truly had much respect for the music, I mean, in the early 90's he offered
The role of "Norma" to Sumi Jo! she of course declined as she knew she couldn't sing it
primohomme 5 months ago
@Ariadne7710 It's because their psycho fans can save them from the ultimate disaster. Can you honestly imagine some unknown coloratura in her early years singing Anna Bolena? She would be BOOOOED right off the stage! But when they become famous in the coloratura roles, they then think they can find the same success in the Assoluta repetoire. And with a coloratura cult backing them, then they turn masterpieces into evenings of High E and F galore. Such is the case of Edita Gruberova.
BZBlaner 5 months ago
@BZBlaner Yes but doing it in your 50s, full of wobble, transpositions, scooping etc, etc isn't the answer either. Assoluta roles are very hard, the amount of singing involved huge and some are very long. They need a long range. Support at both ends, stamina. Just hitting a couple of Es or even Fs isn't going to be enough. The coloratura cult as you call it surely will get fed up with the wobble, scoops, breathing pauses in between every other note for the sake of a couple of shrieky Es
Ariadne7710 5 months ago
@Ariadne7710 I would love to agree with you, but the harsh reality is that they do praise their faves even in immense vocal decline. Go under any Gruberova or Devia video of them singing one of Donizetti's Three Queens and you'll see the lunatics go 'BRAVA, BRAVA!' in the comment section. LOL. And even worse, you have Gruberova herself thinking she brought something to Norma that Maria never did, or Damrau thinking she can sing Armida in 2016.
BZBlaner 5 months ago
@BZBlaner I'm no die-hard fan of Gruberova or Devia, but I think even their late stuff can be enjoyable (if flawed). Sure, no patch on Callas, but where they ever?
CaptFitzbattleaxe 5 months ago
@kgarmaker123 The Callas ascending trills in Coppia Iniqua are a master class in how it should be done. The worse ones are the see-saw operetta style, so called ascending trills by Sills. They make me laugh!!! Not the right moment for a giggle you must admit!!!
Ariadne7710 5 months ago
@kgarmaker123
isn't it moving to see a 19 year old Mariah Carrey super fan having learned Maria's voice so well as to produce a clip of musical accuracy of scientific levels and above all LOVE for the ultimate vocal phenomenon of all times... I think Maria is in good hands as long as wiz-kids like BZBlaner and Primohomme appear (and they keep coming ;)
The blood line of true Opera Fans though the Generations - new Space Kids amaze me :p
The Kwisatz Haderaches of Opera :))
LohengrinT 5 months ago
FABULOUS!
kgarmaker123 5 months ago
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Maria CAllas L'Assoluta ti amo:)
sttar1982 5 months ago
Maria CAllas L'Assoluta ti amo:)
sttar1982 5 months ago
great editing.
asdfopera 5 months ago
Haha both mariah n maria are super talented. N that including u!!! Bravo :)))
walterloo11 5 months ago
@bzblaner, you've done a video for Mariah, and now Maria...what about Broadway? I feel like Barbra or Patti should get some recognition for their brilliance :D
rekupp 5 months ago
@rekupp Yes, if anything I'll do one for Streisand since I am more familiar with her voice and catalogue.
BZBlaner 5 months ago
@BZBlaner Great Video. Incredibly well put together to make the point that she was the one and only soprano sfogato of the 20th century. And here we are just talking about t her amazing technique of sound production. If we start to talk about role interpretation and emotional impact then we are into a different sphere of artistry altogether.
Ariadne7710 5 months ago
@Ariadne7710 You know, "The Musicianship of Maria Callas" would be an excellent sequel to this video :P
Thanks for watching.
BZBlaner 5 months ago
@BZBlaner Brilliant idea. That would be a marvellous way of really showing her musicianship and unique interpretative talent. Any time you want any input I will be very happy to give you any information from the perspective of having seen her perform in her good years 1956 - 1959 in Norma, Traviata Bolena and Medea.
Ariadne7710 5 months ago
@Ariadne7710 Oh wow, you've seen Callas? That's pretty wild and especially during her second prime years :P And thanks, I will contact you if I decide to put that video into action.
BZBlaner 5 months ago
@BZBlaner I hope you will decide to do it. I would have loved to do something like that myself but I don't know how!!! I can barely upload a video never mind do anything more technical!! I don't know how to do all these wiz kiddy things that I see other people doing with computers. So, please make the decision to do it. Interpretation, giving characters life through one's voice and musicianship are just as imortant (if not more so) than amazing vocal technique only.
Ariadne7710 5 months ago
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31071946 5 months ago
Maria Callas... watch her documentary that is on here, i own countless cd's of her, she is a special one
CyprusHot 5 months ago
She is a Greek Goddess ! Maria Sing!
CyprusHot 5 months ago
I'm not famliar with her much at all, but after watching this.. i can say she is fantastic! Great job on this :D
MimiDahhling30 5 months ago
Simply brilliant video sir! In future, if i want to introduce a friend to Maria Callas, i shall call upon this video.
I'm wondering which aria is sampled in Volume Switch (1:54)?
turnipoverlord 5 months ago
@turnipoverlord That's Maria's legendary Db6 in Una maccia e qui tuttora from Lady Macbeth.
BZBlaner 5 months ago 5
@BZBlaner Can you tell me how runs and leaps are called in italian, please?
Fairpavel 4 months ago
What's the piece called that starts around 5:20? Also, this video just proves further that she and Sutherland were the best female voices the 20th century ever had. Though they were neck and neck in most aspects, I think Maria had more powerful low notes than Joan, and Joan had clearer trills than Maria. Otherwise, in terms of vocal skill, it's pretty much a toss-up!
ChrisStockslager 5 months ago
@ChrisStockslager It's from her 1952 Armida (Se al mio Crudel Tormento).
BZBlaner 5 months ago
@ChrisStockslager This is a one woman show...Everything of hers was more powerful than Joans they where completely two different type voices and talent like the Moon and the Sun are two different planets.
sicuro75 5 months ago
@sicuro75 I think that's up for debate. Sutherland's high notes were just as powerful as Callas' were for almost 40 years. Callas couldn't sustain anything above a high C after 1960 or so. They were different voice types, but they weren't. They both sang almost the same repertory and both had incredibly powerful and flexible voices. However, I think Sutherland was a true dramatic coloratura soprano, and Callas was at her core a dramatic mezzo who worked like crazy to get the top notes, etc. out.
ChrisStockslager 5 months ago
@ChrisStockslager Debate... Unless you can offer us a Sample of Joans same High E like Maria's Aida and D in Armida then debate it but since realistically there is no such high notes from Sutherland that compare to that then there is no debate. Sutherland is a coloratura and is categorized as that so she should be compared to other sopranos in her classification.
yuk747 5 months ago
@yuk747 /watch?v=MQHarlxpN1o&feature=related - High D. The Aida was an Eb, so here's a live Sutherland Eb: /watch?v=M2rzOj9IMDE&feature=related. Both without microphones and over a chorus and orchestra going full blast.
ChrisStockslager 5 months ago
@ChrisStockslager Correction - both with orchestra going full blast. The high D is at 10:20, and the Eb is at 3:47.
ChrisStockslager 5 months ago
@ChrisStockslager
I agree, but that's the definition of a soprano sfogato. A mezzo or contralto voice that is extended through natural talent of training.
Both Maria and Joan had high E's. Both could touch high F but it was not very good.
Both had solid middle voice (Joan not so much after she went into the high coloratura repertoire)
But Maria had the low chest tones, which Joan struggled with or simply did not care about
primohomme 5 months ago
@ChrisStockslager They had the same repertory??Does Sutherland never sang Valkuria-Parsifal-Poliuto-Medea-Vestale-Tristano e Isotta-Il turco in Italia-Nabucco-I vespri siciliani-La gioconda-Macbeth-Cavalleria rusticana-Alceste-La forza del destino-Andrea Chénier-Pagliacci-Madama Butterfly-Fedora-figenia in Tauride-Manon Lescaut-Un ballo in maschera-Il pirata-Carmen-Armida...Very differents types of Operas Roles(maybe i forget someone) are about 24 and more roles that Sutherland never sang!!
MariaCallasLegend 5 months ago
@MariaCallasLegend As I recall, I said ALMOST the same repertory. Read the whole thing. Callas didn't sing Lucrezia, La Fille, Esclarmonde, Beatrice, Fledermaus, Emilia di Liverpool, L'Elisir d'amore, Hoffmann, Maria Stuarda, Messiah, Orfeo ed Euridice, or Verdi's Requiem. Must we keep score? They were both amazing sopranos and some of the greatest voices of the 20th century. The End.
ChrisStockslager 5 months ago
@ChrisStockslager Callas didn't sing those roles because she wasn't asked to, Sutherland didn't sing Callas' repertory because she wouldn't dare it.
NEBESHIKU 3 months ago
AWESOME video! By the way I loved the ending hahahaha
mAnNyElLaTiNo33 5 months ago
AWESOME video! By the way I loved the ending X-D
mAnNyElLaTiNo33 5 months ago
i love staccato :D
iiAmitx3 5 months ago
can you make a video like this about whitney? :) and i wouldn't mind another one for mariah LOL
iiAmitx3 5 months ago
@iiAmitx3 I think they should just make the ones the WANT to make instead of having a "to do" list. It's better that way, don't ya think? It'd be cool to have one of Whit or Ree, but I already know what they do, Mariah less so, so that one was nice too. This was informative. In a loose sense of course. Naw I ain't studyin lol.....
1hes2ranger 5 months ago
@1hes2ranger but im really intersted in what he has to say about whitney :) from an expert point of view
iiAmitx3 5 months ago
@iiAmitx3 I hear ya, I was really just speaking for myself. Sorry about that.
1hes2ranger 5 months ago
@1hes2ranger don't mention it :)
iiAmitx3 5 months ago
@iiAmitx3 he will, both for WH and Bee :)
kelvinpyaeko 5 months ago
@kelvinpyaeko bee = beyoce? lol and how do u know?
iiAmitx3 5 months ago
@iiAmitx3 yes, it is. welp, we r on twitter. so :)
kelvinpyaeko 5 months ago
@kelvinpyaeko ohh okay, i hope whitney comes first cause im super interested! xD
iiAmitx3 5 months ago
Excellent piece of work! Watched the whole thing. Though I am no opera, vocal, or even musical expert (I just see things intuitively), Callas is most definitely one of the greatest vocal musicians in any category or genre for her influence spans the divide from which we draw our music and her SOUND is instantly recognizable, even if the nature or degree of her TALENTS may not be as familiar to the less musically astute such as myself. I do enjoy vids like this. EDUCATIONAL!
1hes2ranger 5 months ago 9
@1hes2ranger Thanks so much for your comment!
BZBlaner 5 months ago
@BZBlaner No, thank YOU.
1hes2ranger 5 months ago
Her voice is EVERYTHING. Like, perfection. I've loved her voice since my chorus teacher made our class watch a documentary about her life in 10th grade.
VaunTV 5 months ago
Another absolutely FABULOUS video @BZBlaner! I'm totally amazed by this woman. She blew me away! Was she even human? This stunning control over her voice is unreal.
And the ending was hilarious! I love the movies lol
LoveGreatVocal 5 months ago
CANT WAIT FOR YOUR NEXT VIDEOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO I WANT MOREEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE :)
marylambcarter 5 months ago
The gasps of shock and awe from the audience at 11:30 are a total "wish you were there" moment.
turnipoverlord 5 months ago
IM BLOWN AWAY ... ONE OF THE BEST CALLAS VIDEOS EVER BRAVOOOOOOOOOOOOOOOOOOOOOOOOOOO CALLAS FOREVERRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR
marylambcarter 5 months ago
PERFECT!!!
WestVoice 5 months ago
Her 1957 Sonnambula in Colony it's just a miracle! AMAZING VIDEO!
Remalia19 5 months ago
Wow! she blew me away! Now i know why shes one of the most renowned Opera singers of the 20th century. Many of the "greats" come from New York!! gosh i love her! <3 that vocal range scale you compiled at the end dazzled me :D Great Video!!
MCLAMB4LIFE1 5 months ago
@MCLAMB4LIFE1 she came from Greece ;)
CyprusHot 5 months ago
@CyprusHot Yes, shes Greek, but she was born in New York!! :)
MCLAMB4LIFE1 5 months ago
@MCLAMB4LIFE1 ha ha yeah this is true, if I knew Onassis back in the day I would have punched him for the way he treated her :)
CyprusHot 5 months ago
PRIMA DONNA ASSOLUTA! LA DIVINA! EXCELLENT VIDEO!
MS77SB 5 months ago
Amazing video, it shows Maria's musicality in such an effulgent way
She is my idol and my inspiration.
Great editing and very good use of musical vocabulary :)
For all the criticism she received because of the timbre of her voice which some considered so beautiful and others so extremely ugly, she offered more than tonal beauty, she offered true musicianship and highest art...then she went away, and like as to a goddess, we still remember her and await her return.
primohomme 5 months ago 10
Definitely the greatest female opera singer ever. Her agility is unreal and her precision is a marvel. The breath control required for what she did is not human.
Devotedlamb19 5 months ago
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Devotedlamb19 5 months ago
Damn! the ending of this video was fantastic! The way she went up that scale, was amazing!
Mcvideos92 5 months ago
The greatest female singer in opera....using a combination of stunning technical capabilities with innate musical intuitiveness that has no peer.
Her voice may not be the most beautiful...but it brings out the greatest amount of musicality in any piece...whether the range lies low on the ground...or soars to great heights...whether it's soft, mellow, tender and light...or brings out demanding authority, rage and passion.
That is La Divina....Maria Callas.
Great job on this video.
KyoHanjin 5 months ago
YES ITS UP!!! This Goddess had COMPLETE control over her instrument. Peerless agility and breath control. It's unearthly! La Divina! Her runs are amazing! It's like each note is it's own, and it's not all mushed together. So clear! 11:13 O.O
A musician of great ability! Lmao at the end xD
Fantastic video. VERY knowledgeable and informative! Thanks for posting :)
stardusth2o 5 months ago
Excellent video...yet I'm still confused about this woman lol
IloveArethaFranklin 5 months ago
@IloveArethaFranklin I don't think anyone will fully understand what this woman had inside her throat. Thanks for checking!
BZBlaner 5 months ago
It's a shame there aren't many recording of her from her prime (at least not on YT).
rekupp 5 months ago
La Divina.
Stefano94x 5 months ago
My favorites run away after watching this. :(
RomuloVideos2 5 months ago
#DEAD at the ending!
Chimier 5 months ago
@Chimier HAHAHAHAHAHA you noticed XD Thanks for watching!
BZBlaner 5 months ago
I don't have words to describe her agile and greatness at singing. How can a human have this capacity to sing? God really privileged us giving us this ability that of course not everyone have, but everyone can enjoy.
I really didn't knew this singer. After watching this video, I definitely can claim that she is the greatest singer of all time I have ever seen.
Thanks for sharing your knowledge with us @BZBlaner !
RomuloVideos2 5 months ago
@RomuloVideos2 Thanks for watching!
BZBlaner 5 months ago
She's like the most incredible vocal phenom ever. It's not just that she has peerless technical abilities, it's as if she truly fuses those aspects of her technicality better than ANYONE ELSE. And most importantly, she's the greatest musician in classical music history. She uses her voice to SING, not just vocalize.
Chimier 5 months ago 5
@Chimier *greatest vocal musician*
Chimier 5 months ago
@Chimier That's SO right Chimi, that's SO right! Sometimes people concentrate so much on the technical aspects of an opera singer's voice, but with Callas it's almost impos