James Levine Anniversary Celebration
Added: 1 year ago
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In this collected CD of Callas's Rome 1952 and San Remo 1954 performances, I see two of he
In this collected CD of Callas's Rome 1952 and San Remo 1954 performances, I see two of her rarest selections--her lady Macbeth (with Cabaletta) and her, say, first French repertoire, Depuis Le Jour, from the Act III of Louise. (Forgive me for not mentioning her amazing Nabucco and Bell song...)
There are definitely quite a few differences between the 1954 Louise and the later interpretation in the much pervasive French repertoires disc. But I would only like to talk about this Louise in 1954.
Calla's Louise was carefully sung with full innocence and hope, but in the meantime, there is this tragic tonality. However, this tragic tonality is different from what you can perceive from her famous Bellini or Verdi heronines. Her tragic tonality comes exclusively, as I an amateur would say, from the gliding notes she offered. These winding notes flying in the air have given more sense of innocence to Louise; but it is the innocence that makes her life more tragic. Here, even in the darker low notes, Callas has managed to draw this simple girl closer to us... I would say I favor and savor these low notes most. In combination, Louise is shivering and most likely overwhelmed by love. Yes! Louise is also panting and it's also more than love, but it's been very different from Gilda's Caro Nome.
Every mood, every tiny little thing comes together and mingles and brings the audience a living heroine.
Both falling in love with an artist, Louise is very different from Mimi. Yes, Loise is not an ill seamstress like Mimi. But Callas here has captured the sorrow at this moment behind the possible break of a family that inevitably becomes a tragedy of its own. Indeed, some may argue for the verismo elements in Louise, or the differences between the two artists, or even the differences between languages, nationalities and composers. But I as a humble amateur, rather sit back and listen carefully, perhaps with my eyes full of tears, to Maria Callas.
More details of the record:
http://www.amazon.com/Maria-Callas-Live-Rome-1952/dp/B000069 V7Q/ref=sr_1_8?ie=UTF8&s=music&qid=1202440708&sr=8-8
Exclusively Callas... Only in EMI...
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Added: 5 months ago
Views: 1,203
Jason Davis as Idomeneo
Erin Crooks as Idamante
Olga Tylman as Elettra
Musical Direct
Jason Davis as Idomeneo
Erin Crooks as Idamante
Olga Tylman as Elettra
Musical Direction by Dr Walter H Kemp
Stage Direction by David Overton
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Added: 1 month ago
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Katia Ricciarelli sings Liu's first act aria in Puccini's Turandot.
Vienna, 1983. Condu
Katia Ricciarelli sings Liu's first act aria in Puccini's Turandot.
Vienna, 1983. Conductor: Lorin Maazel.
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Added: 1 year ago
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Renée Fleming sings the aria "Signore, ascolta!" from Act I of Puccini's opera, Turandot.
Renée Fleming sings the aria "Signore, ascolta!" from Act I of Puccini's opera, Turandot.
For all you Caballe fans out there, I challenge the belief that she sang the best rendition of the aria. Listen to Ms. Fleming's lighter, freer, more lyrical sound, better suited for Liu. Also, she says, "Ah, pieta" at the end instead of Caballe's "Ah," while still holding the note for ages in a gorgeous way.
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Added: 4 months ago
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This video was recorded in Studio syrland - Reykjavik, while recording the song. Hera's fi
This video was recorded in Studio syrland - Reykjavik, while recording the song. Hera's first recording in Iceland.
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Added: 1 year ago
Views: 3,683
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