Raina Kabaivanska - Sempre Libera - La Traviata
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"Quando men vo" from La Boheme - Raina Kabaivanskaby napat146,397 views
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"Addio, del passato" from La Traviata - Raina Kabaivanskaby napat145,111 views
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Raina Kabaivanska - La Traviata - 1991 Concertby coloraturafan3,796 views
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Raina Kabaivanska - Roberto Devereux - Final ariaby coloraturafan4,327 views
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Elena Mauti-Nunzia - Sempre Libera - La Traviataby coloraturafan694 views
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Raina Kabaivanska - La Traviata - Sempre liberaby amlirco1,783 views
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Sempre libera Maria Callasby operaclassicc98,151 views
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Raina Kabaivanska & Nazzareno Antinori - Dolce notte! Quante stelle!by amlirco3,898 views
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Raina Kabaivanska & Franco Corelli - Don Carlo Duet & Finaleby amlirco3,151 views
Interessante a semelhança da voz da Kabaiavanska com a voz de Callas...
avalokiteshivara 1 year ago
The Italian press just wanted to lambast Callas and Di Stefano (co-directors), whose direction was rather poor, and it showed. I attended the performance with Gianni Raimondi (Arrigo), who alternated with Antonioli. Kabaivanska (and the exquisite dancer Natalia Makarova) survived it all.
MusicaParola 3 years ago
Wow! You were there?! The recording is available for sale from a Canadian private seller. I wondered if it were worth getting (I understand the reviews of the production were only luke-warm...). Now that I know, I will try to obtain it. Thank you!
Klytemnest 3 years ago
I was fortunate to have seen her in Vespri at the re-opening of the new Teatro Regio di Torino (I actually went to get a glimpse of Callas who was directing with Di Stefano). She was vocally flawless, although -of all people- Callas' direction didn't help her much. I don't know if this is available on disc or video.
MusicaParola 3 years ago
I am glad to find another Kabaivanska fan. In that interview (a bonus on the DVD of her 1987 Lugano recital) she says that the passages with which she was having difficulties did not come easily to ANY soprano. Yes, I loved her in Roberto Devereux as well, and in general her coloratura is quite good. I find it interesting that you agree that when heard live her voice did not sound strident. I never heard her Vespri. Is it really wonderful? Should I get it?
Klytemnest 3 years ago
She probably said that in sincere humility; she could negotiate coloratura passages very well in operas far more difficult than Traviata. She was magnificent in Roberto Devereux and Vespri (directed by Callas). I saw Kabaivanska dozens of times on stage in 10different operas and recitals, and there was never any stridency in her vocalism. All singers have bad days, naturally, and this is the case here. Her Leonora in Trovatore was heavenly (she studied it with Ponselle). A great artist.
MusicaParola 3 years ago
In an 1987 interview she explains that she did not sing Traviata more often because of this aria, because she could not deliver some of its passages perfectly. I think her "Ah, fors'e lui" is truly beautiful, but the cabaletta, with all of its challenges, does not show her off to her best advantage. The sound is often pushed and strident. On the other hand, I understand that live her voice sounded much more velvety than on recordings.
Klytemnest 3 years ago
It's my pleasure. You can find the (almost) entire aria in my clips to gain the impression of those fluctuations I was talking about.
amlirco 3 years ago
This is my first experience with this singer and this opera. Now that you have explained it, I understand why she is acting that way. Thank you so much amlirco!
MusicaParola 3 years ago
Histrionics... Is this meant to be a witty remark?! The context and text of the aria fit perfectly to her style. Do you have some background about La Traviata at all? Let me put it easier for you: she's courtesan who has lost the hope for a true love and suddenly she realizes she could have been wrong and in that very moment vibrates in delerium between believe and disbelieve.
One more lesson from LA DIVA! A full-blooded and vibrant interpretation with respect to so many still-born.
amlirco 3 years ago