Franco Corelli, el más grande Pollione en discos. Virilidad, poder, belleza vocal, carácter.

Magnificent Corelli!

The dynamic recording impressed me that doesn't like a recording 60 years ago but yesterday. Amazing!

Agreed! Callas IS Norma! And, Norma is THE Opera against which all other operas are to be measured. I care what no one else has to say on the matter, this IS the ultimate Opera. Certainly it is my favorite. And this is an excellent rendering of this classic of classics. Thanks, LOR (apologies, for a moment I mistook your channel for another), for posting it. Another very worthy posting, indeed. L543/:-)

@saelind73

4 ай бұрын

I'm a Verdi lover but I do agree that Norma is up there. It's breathtakingly beautiful. Bellini has written some of the most gorgeous melodies and Callas did justice to his masterpiece. There has never been a better Norma than her. This is one Opera that I would've loved to have seen it on stage, with Callas and Corelli. Le sigh!

@georgesclermont1911

3 ай бұрын

Norma is indeed a great opera but doesn't come up to the levels of Don Giovanni, Parsifal, Othello or Elektra. Callas IS Norma, no question. She is also Tosca.

@umbertorecami3339

3 ай бұрын

Più di così è impossibile

Callas, Corelli, and Ludwig together-breathtaking!

Corelli un gran y destacado cantante lírico.

Es sensacional Norma de Bellini ❤❤

Une merveilleuse interprétation qui suscite de grandes émotions. Merci !

Best of the Best !

Музыка Норма Беллини, просто фантастика, до слез пробивает.Мария Каллас великолепна, слов нет. Беллини будет жить вечно со своей музыкой. Это музыка огромной и страстной любви,которую можно передать только в музыке. Гении создали это твлрение.

Франко Корелли затмить невозможно. Он прекрасен! Голос Кристы Людвиг тоже доставил большое наслаждение.

@umbertorecami3339

3 ай бұрын

Corelli unico dopo di lui il nulla

@user-ix6ry3cu7i

3 ай бұрын

@@umbertorecami3339 Вы правы. После великого тенора не появилось ни одного певца, которого бы можно было сравнить с уникальным Франко Корелли.

This is my favorite recording of Norma and in my opinion it is the best of Callas'. Her partners are also magnificent. Thank you for making me listen to it again!

Bonjour merci à vous pour ce partage avec nos grandes étoiles les plus grandes immortelles a jamais des voix uniques et superbes interprètes inégales merci ❤❤❤❤❤❤

Best opera recording in history. The Cheops pyramid of the 20th century.

To me, this is the epitome of Norma. I’m sure Bellini had this recording playing in his head while composing this masterpiece

@johnpickford4222

7 ай бұрын

@DynastieArtisique: You’ve got garbage in your head. The bass could have been better cast and the role of Adalgisa assigned to a soprano. And the lead singer of Norma been in stronger firmer voice. That is what would have been in Bellini’s head.

@HofmannScores

7 ай бұрын

​@@johnpickford4222wtf are you talking about lmao? Stfu! You are making everything less clear!!

@ladivinafanatic

7 ай бұрын

@@johnpickford4222 You need to stfu you're making everything less clear.

@abeque64

7 ай бұрын

​@@johnpickford4222You should better have a better education with your responses.

Maria Callas will turn 100 if she lives today.

@kennethwayne6857

5 ай бұрын

It's good that she isn't. If she saw the state of the opera world today, that would kill her.

Of all the NORMA recordings I have heard this one is the most memorable. True that Callas‘ instrument is not in its best condition here but her interpretive genius, for me, compensates considerably. The last 20-25 minutes are among the most moving experience I have yet experienced in any operatic recording. Although in fresher voice in her first NORMA recording it is regrettable that Callas‘ colleagues, Stignani, excepted, fail to measure up to her standard, vocally & interpretively. Impressive as her characterization is in the earlier recording she is even more detailed & subtle in the 1960 recording + she has a really fine group adding to her already memorable impact here. Few, if any, then or now can equal the Pollione of Corelli. Some thought Ludwig an odd choice for Adalgisa but she is in superb form & matches, IMO, Stignani who is a little past her very best in the earlier recording but still impressive. Zaccaria as Oroveso does fine & solid work as well. A magnificent recording & one for the ages.

@pawdaw

7 ай бұрын

Norma needs huge reserves of strength and power, but also vulnerability, pathos. Callas may be occasionally less than ideal vocally in this recording but for me this only adds to the interpretation.

Norma es excellent ❤❤

great great

What a cast! and with glorious Maria at the top! The result is superNorma.

Everybody talks about Callas here, but to me what makes this recording special, is the entire cast. I mean, where you could find better Pollione than Corelli [kudos for Callas for insisting on having him for the recording, btw] ? Who could be as majestic Oroveso as Zaccaria? Who could counduct orchestra better than Serafin? Ludwig is not my personal favorite in this role (I prefer Horne/Caballe to her), but she did very well too. The finale is just unbelievable: you may easily feel Oroveso''s pain, that the sacred laws say, he has to sentence his own daughter to death, her desperate tries to save the children from the same fate, Pollione's remorse, Gauls' wrath... This is opera.

@innamoratopazzo1792

2 ай бұрын

❤❤❤❤❤

This is a true masterpiece 👏, Maria callas is amazing ❤

Love Classical Music

Merci pour ce chef d'œuvre et sa traduction française !

Maria Callas = The Queen Of Bel Canto! The Empress Of Opera!!! NO ONE SINGS NORMA, ANNA BOLENA, TOSCA, MADAMA BUTTERFLY, NABUCCO, LADY MACBETH... etc. etc. etc. LIKE HER!!!!!!!!!!! SHE IS THE SINGLE BEST OPERA SINGER EVER LIVED!!!!!!!!!!!!!

@DynastieArtistique

8 ай бұрын

Hail Callas!

@ladivinafanatic

8 ай бұрын

@@DynastieArtistique Hail Callas!

@franciscoromero5001

8 ай бұрын

¿ Se imagina a Callas cantando con Caruso?

@ladivinafanatic

7 ай бұрын

@@franciscoromero5001 Caruso murió en 1921, Callas nació en 1923.

@franciscoromero5001

7 ай бұрын

@@ladivinafanatic por eso lo digo Pero la

Grand merci aussi pour les sous-titres animant cette video.

Слушаю запись в канун столетия рождения несравненной певицы Марии Каллас. Вот ее слова: "Бельканто - совершенство звуков, нанизанных на нить дыхания, пение, щедрое и разнообразного стиля, то есть Россини, Беллини и Верди - я не говорю о Масканьи и Пуччини, которые для меня несравнимы с первыми тремя. Голос должен быть инмтрументом и вести себя как таковой". Мария Каллас "Воспоминания. Дневники. Письма". составитель Том Вольф. Париж 2019г. Москва АСТ, 2021г.

@user-zt8bm3lm5g

6 ай бұрын

Полностью согласна? Вот поэтому, она и возложила на себя эту миссию по возрождению Бельканто как не отемленную часть голосового пения и показав на своем примере, повторить которое , практически ни кому не удалось.😊

Sound so Good !!

To think that Hollywood is casting Angelina Jolie as Callas! Only in America could you think of something so grotesque.

@cashelnd

5 ай бұрын

Fanny Ardant did the best she could, I think, in the oddly conceived Zeffirelli film "Callas Forever" (2002), and she at least had a passing resemblance to Callas. I agree that Jolie is a peculiar casting choice for the new film. Wasn't Meryl Streep reported to have been slated for a Callas film at one point? At this point in time, Jolie is at least close to Callas' age in the time frame of the projected film, not that this matters all that much. For what it's worth, my top pick for the actor who could do interesting work in the role is Juliette Binoche, and of course I have no idea whether she was considered for the role but I can easily imagine her deciding against it. "The Crown" has reminded us of how many superb actors can personify a renowned figure with grace and ingenuity, but there's a world of difference between the fanbase of Elizabeth II and Callas!

@georgesclermont1911

5 ай бұрын

I saw Fanny Ardant in Paris as Callas in the Master class (in French). She WAS Callas on the stage..@@cashelnd

@cashelnd

5 ай бұрын

I envy your having seen Ardant in Master Class-that’s quite a bravura role and I don’t doubt that Ardant was impressive!

@user-em2xt2rv1f

5 ай бұрын

😊

@user-em2xt2rv1f

5 ай бұрын

😊

So exquisite….yet tragic

Thanks

Ara vaig al meu futon fins a les sis , tinc quirofan bona nit ❤

La más grande de todos los tiempos. La Única,la Divina!!!!

Bellini is genial composer

Only few people listen to this masterpiece too pity .

@canman5060

8 ай бұрын

I think you missed at least 20 million people world wide from China to Africa !

@user-ll7fk8oz8l

5 ай бұрын

Я слушаю. Русская женщина.

@innamoratopazzo1792

2 ай бұрын

Этой гениальной оперой наслаждаются миллионы людей, в том числе в России. ❣️❣️❣️❣️❣️

La Callas i la Caballe las millors Norma de Bellini ❤❤

It’s just amazing to realize how Maria Callas was able to eclipse every great singer of her time. People would go to the opera to see her in spite of great ones like Corelli, Del Monaco, Di Stefano, Bergonzi including her supposed rival, Renata Tebaldi and then everyone else, and even nowadays, in 2023 every great soprano is measured against her greatness as singer, actress and musician. ❤❤❤

@ladivinafanatic

7 ай бұрын

Lol how can Tebaldi be compared to Callas?

@ZENOBlAmusic

7 ай бұрын

The opera houses were full during this time, people went to see all of the great singers. Tebaldi and Corelli was known as Ms. Sold out and Mr. Sold Out at the Met. Of course the Met was a huge opera house. But popularity has never been a measurement of greatness. In today's world far more people know who Domingo is, and saw him then any then of these older opera singers. Of course Maria Callas was great, but popularity does not measure greatness. It amusing that opera fans would think about using that argument, going by that argument popular music would rank far higher than opera in greatness. But even within popular music people don't just rank the best selling artist as the best.

@alexgomez2

2 ай бұрын

@@ladivinafanatichow? There’s no comparison. 1. Tebaldi had a beautiful voice but she was ALWAYS flat high notes starting from Bb; 2. Callas was a complete musician who played piano, spoke and sang in many languages; 3. Callas’ repertoire included Coloratura, Verdian, Puccinian and even Wagnerian operas. ; 4. Callas included Mezzosoprano repertoire, like Carmen & Cavalleria, sounding like a Mezzo and not like a second class Soprano. How can you compare. BTW, Tebaldi used recordings by Callas to learn repertoire. So, how can YOU compare?

@johnc-mk9me

Ай бұрын

@@alexgomez2 So silly.

Thanks for this sensational recording, uploaded in terrific sound. But I'm not seeing the subtitles per the heading. Tried two different browsers. Not ungrateful, just FYI in case there's a glitch you're able to fix - or help me with.

@legendaryopera

9 ай бұрын

Sorry about that, should be fixed now!

♥️♥️♥️

СПАСИБО большое бравоооооо ❤️💐

Légendery Norma of Callas !!!!!!

I wish this were recorded a year earlier, along with her second Gioconda. Somehow, between 1959 and 1960, something happened to her upper register where the sounds became frayed and threadbare. That being said, this is a very moving interpretation of Norma, and I think she brings out the poignancy and sadness of the character better than ever. I also enjoy the contrast between the weather-worn voice of Callas and the luscious and youthful sound of Ludwig. Ludwig spoke about this recording in an interview: "I had never sung Bellini, and this whole bel canto thing isn't my 'cup of tea.' I had never sung it. I had to learn the role in 8 days, because another singer got sick. So I learned the music, and then came the question of what is the style of singing this thing? And Callas told me, 'You know what, just simply imitate me!' And that was the difficulty of imitating her, because Callas is inimitable. You simply cannot, because she had something in her voice, like the entire tragedy of her life lay in just one note. I don't know what it is, I just start to hear her sing a recitative, and I begin to weep. I have this feeling for this woman. . .the voice in itself is not beautiful, but what she creates with it is so fantastic. The way she shapes a recitative, nobody can do that, and when you try to imitate her, that doesn't work either. " I had this set on LP, and I remember that the recording captured not only the singers and the orchestra, but you could also sometimes hear the trucks driving outside of La Scala during the recording session. I don't know whether or not they were able to digitally remove the sound of the trucks in the later reprocessing, but on the LP, you could definitely hear them. For the best balance between interpretive genius and vocal splendor, I always go to the 1955 live recording from La Scala. She's in fabulous "thin" voice, and she's interpretively just as deep as she was in 1960. Also, her fury in the trio and in "in mia man" is much more terrifying in the live performance.

@ER1CwC

Ай бұрын

She should have recorded Norma instead of Lucia. Lucia was beyond her in 1959, whereas Norma was not, especially because she was less prone there to try to lighten her sound. But hindsight is 20/20.

@ER1CwC

Ай бұрын

The second Gioconda is to be valued, certainly, but it probably wouldn’t have been made had there not been the impetus to re-record operas that she had already done in stereo. I think they would have likely done Traviata instead in that alternative timeline. That might have been very valuable since the Cetra was not well known; her Violetta would not have had to been “rediscovered” through pirates. In reality, they did plan to record Traviata in 1960, but that didn’t pan out.

@Shahrdad

Ай бұрын

I have always thought that she should’ve recorded Norma instead of Lucia as well.

Es un sueño!!!!!!!!

Primadonna assoluta for ever !

La divina Forever 🎉😊

Якщо слухати Норму, то тільки в виконанні Марії Каллас. В її виконанні стільки особистого. Дуже дяккую за якісний запис.

❤❤❤❤❤❤❣️☀️🌹🌹🌹🌹🌹🙏🏾

33:24 Casta Diva

Maria Callas ist genial, aber die größte Norma hat Joan Sutherland 1978 gesungen ♥️

Are you planning to post more Callas full operas with english subtitles soon or not?

M Mi LP

Norma di Bellini , al Teatre del Liceu sempre ha sigut un exit ❤

6:30 7:24

Which part is Casta Diva?

@NataliaPika-hl5dd

5 ай бұрын

33.20

24:29

2:38:43

Please upload Filippeschi & Taddei

@ladivinafanatic

8 ай бұрын

Yes! Callas Filippeschi Norma >>>>>>>>

22:00

숙제 )

La Callas alla scala diede forfait in una famosa serata perché non era più in voce e non sosteneva Corelli che,interrogato, da gentiluomo non lo ha mai ammesso

La Norma de Montserrat Caballe tambe es .....sensacional ❤

@ladivinafanatic

7 ай бұрын

Callas >>>>>>>>>>>>>>>>>>>>> Caballe

@cgclx5013

2 ай бұрын

Caballe is always calante, and watching her puts me to sleep, I guess her obesity didn't help her and she is boring like a petrified hipopotamus, with all respect, zero acting

22:00 1:30:00 2:10:50 2:25:30

I think EMI wanted their own Gioconda than Centra’s. Instead of Lucia, they could’ve recorded Traviata I suppose. 1960 would’ve been far too late for Traviata.

@ER1CwC

Ай бұрын

I think Traviata would have been doable in 1960. The only trial would have been Sempre libera, but there would have been work arounds for that -- record it one verse at a time, skip the Eb, etc.

@Shahrdad

Ай бұрын

@@ER1CwC But between 1959 and 1960, something happened to her voice where the upper register because threadbare and raspy. I think that would've been just as obvious with Traviata as it is with Norma.

@ER1CwC

Ай бұрын

​@@Shahrdad Oh absolutely. I think 1960 would have been the absolute last year it would have been remotely viable. She made radical changes to her technique in 1961 that were very problematic, probably due the influence of that vocal coach she was working with in Paris. Actually, upon some hasty reflection, I'm inclined to say that 1959 wasn't that different from 1960. She was rustier in 1960 and probably physically weaker, but the top was vanishing fast in 1959. She could kind of hard knuckle a high C or Db when she was feeling alright (e.g., in Pirata), but she couldn't sing them when she was ill (e.g., Hamburg), and even elsewhere (e.g., Amsterdam), they are glassy.

@Shahrdad

Ай бұрын

@@ER1CwC Agree largely, but her Gioconda recorded in September of 1959 doesn't have any of that raspiness that you heard in 1960. The high B in Suicidio is actually rounder and prettier than in 1952. What happened between than and 1960, I don't really know. I think it all had to do with breath support (which Phyllis Curtin first mentioned in the 1980s, citing the sinking chest and forward shoulders you see in videos, especially when she goes for high notes). I have always wondered if the added adrenaline of her new separation from Meneghini gave her an extra boost of physical strength when she recorded Gioconda, but for me, that's one last sunny moment. It took me along time to come to believe it, but I think the downward trajectory of the voice all started with the rapid and massive weight loss. And the more I have taken care of bariatric patients, the more I come to see that the simplest answer was the correct one.

@ER1CwC

Ай бұрын

​@@Shahrdad Yeah probably. What I would say was that the combination of weight loss and not believing in fachs were catalysts. I think she had technical issues, particularly in the primo passaggio, which were always going to manifest at some point: it was a matter of when, not if. Changing her support system so quickly and singing rep that put pressure on the wrong parts of her voice accelerated it. I also don't think she was someone who could self-diagnose problems and come up with solutions adeptly (unlike Milanov). Orfeus sent me the in depth analysis of Callas's decline by Conrad Osborne. Have you read it? I don't agree with everything Osborne observes, but it is an interesting piece.

kzread.info/dash/bejne/in5o05Nvm5WecZs.html Inch er? Panir patrastox???

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