Вообще -то, мужщина должен уступать женщине , да еще Такой, но , это же итальянец......их это не касается

The toughest competition between these two giants was in Aida in Mexico City, end of the third act, Vieni, vieni, B flat and then t'amo t'amo high A, it's amazing. It's interesting to hear del Monaco talk, he sounds like a very lyric tenor, perfect placement, that's why he lasted so long, there is an Otello from Bruxelles with Ricciarelli that can never be matched by anybody. But to tell the truth, the competition was not so friendly. I met a guy once back in 1981 who had studied with del Monaco and he once asked him about la Callas and Mario said "Quella era una puttana!". And it is also a fact that after this Norma, Mario told Meneghini "You and your wife don't own La Scala!!!!!". Now you take di Stefano, who once said that his favorite soprano was Magda Olivero, give me a break!!!!! But there is one undeniable fact, Mario was so handsome, imagine those two on stage, just like Callas-Corelli!!!!

Grande voci.....❤ Jaguar Mercury

Jajajaja. Dos grandes. Benditas sean esas disputas.

Mi sembra che , nel finale, Mario del Monaco inizi l " acuto dopo la Callas per poterlo tenere più a lungo. Sbaglio ?

ma figurati se nottetempo hanno stravolto la scenografia e il palcoscenico aggiungendo tre metri, come se il regista, lo scenografo, il capopalco, ecc non abbiano voce in capitolo e possano avere accettare con il beneplacito generale per accomodare un presunto capriccio di una cantante nervosa ed insicura. Le prove di scena in voce con il set completo non si fanno che in ultimo stadio e fino ad allora non si era resa conto la Callas della voce di DM? La sfoggio' tutta all'improvviso la voce? E poi Chi paga gli straordinari di questi lavori e materiali scenici, gli attezzisti, i tecnici di palco ecc? Che idiozie da pettegolezzo

La OPERA se reduce en una sola nombre "MARÍA CALLAS l'UNICA SOPRANO ASSOLUTA ASSOLUTTAAAAAAA nessuna nessuna nessuna nessuna nessuna nessuna come LEI!!!!!!!!!! CORELLI MONSTRUOSO!!!!!!!

Grande NOSTALGIA per la Barcaccia , Cossotto e , ovviamente la DIVINA

As a professional classical musician with more than fifteen years of experience, I can safely say that there aren't many ways to "help" a colleague in trouble, other than to keep singing/playing YOUR OWN PART to the best of your abilities. And that's exactly what Ms.Cossotto did. I really don't get what she was supposed to do according to this nonsense critics, and I assume that her detractors aren't educated in the field. At all! A big shotout to Ms.Cossotto for being not only one of the greatest singers of all times, but an awesome professional as well.

Con Suozzo e Stinchelli... Diceva la sigla... Poi è arrivata la regista Vespa

Cossotto was known of trying outsing or trick famous singers like Callas or Sutherland and Caballe! Stolling curtain calls during arias or duets...you can see also IN KZbin THE Souliotis Norma duet with Cossotto, where Souliotis had vocal trouble in high notes and she smiled almost to take a bow!! Zeffirelli testify that he sweared not to work again with Cossotto after the Paris Last Norma and did it actually!! Ardoin also testify this!!

Invece la Callas era una mammola

Cossoto immense diva ♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️♥️

4:12

A me piace anche in questa sua estemporanea

Stinchelli spara pettegolezzi a caso.

All the comments here making this about MDM vs Callas or something do not realize that MDM himself said that the competition was friendly and due to nerves, not due to a sense of antagonism.

Vedi la grande come parla della collega

chissà perchè i giornalisti dicono sempre solo delle balle che rovinano la gente, e non fanno nemmeno le smentite, veramente una brutta categoria!

The bitter truth is Callas was voiceless by the mid 60s. Sick or not, these gala performances were embarrassing even without the (usual for Callas) excuse of the cold. The Callas queens as always wanted to blame someone else for her failures...poverina (Onassis, Meneghini, Bing, Mozart, Tebaldi and so on) and Cossotto was the perfect victim. The total antithesis of Callas, vocally firm throughout her registers. Even in her prime Callas would have suffered from the comparison with the canon that Cossotto was. At least we have the tapes to hear for ourselves that Cossotto is respectful towards her voiceless colleague. What was she supposed to do, stop singing to support Maria? Show must go on ladies...

Wow! I never knew about this particular "singing duel" between these 2! Only the one with Kurt Baum, in the Mexico Aida.

La barcaccia programma ignobile....

I used to wonder why those "tenors" always spoke like they're operatic singers 😁 Because big tenor such as Mario del Monaco and Franco Correli never spoke like "operatically" ... Later my speculation was that real operatic singers do not pretend to be, but those who are amateurs need that impressions from others 😂

To you Italian speakers - did Maria Callas speak Italian with a Greek accent, or were her pronunciations the same as native Italians? Just curious as a strictly English speaker.

If these accusations were "ignobili", why did Zeffirelli himself go backstage and swear to Cossotto never to work with her again? He said so in an interview for Ardoin's and Fitzgerald's book from 1974, "Callas". This wasn't the only time Cossotto tried to outsing a colleague - in 1969 she sang Adalgisa to Sutherland's "Norma" in Buenos Aires and tried the same tricks, though Sutherland being Sutherland didn't really notice, but others around her did, according to Norma Major's biography of her. Lord Harewood said in an interview that when Callas and Cossotto sang "Medea" together in London in 1959, when Medea has fainted and Neris sings her aria. Cossotto had placed herself on Callas' dress so Callas couldn't move - after Neris' aria, Cossotto was able to acknowledge the audience's applause but Callas was forced not to move.

Come al solito la barcaccia è un pettegolezzo unico

se invece di trasformare la lirica in circo avessero "solo" cantato era molto meglio, le voci c'erano e tanto bastava a non involgarire tutto per niente.

Chi è senza peccato scagli la prima pietra, Mario. Tuttavia, la Callas non ha mai (mai) parlato dei colleghi, nel bene e nel male. Eravate entrambi due sublimi prime donne che ci hanno regalato duetti storici, una coppia perfetta, peccato questa puerile diatriba.

Cosotto is trying to save her legacy.

Опера Беллини Норма

mio dio, che pavone! insopportabile! La callas non ha mai perso un secondo della sua esistenza a parlare di del monaco. Era veramente ossessionato. Ma di lui non si parla più; mentre di lei non si smetterà mai!

This is amusing, since Kurt Baum’s refusal to stop holding high notes past her is supposed to have prompted the famous ‘Aida’ E flat. She certainly won that contest.

Il meglio e il peggio incarnati nelle medesime menti..

Callas grande, ma per tenere gli acuti di Del Monaco... bisogna avere un mantice da fucina, altro che diaframma 😂

Lotta greco-romana !! Duetto mitico ,da brividi!! Ma vi rendete conto? Callas! Del Monaco!

Callas nunca habló de Del Monaco, este nunca superó que Callas tiene un capítulo preponderante en el mundo operista. No niego que ambos juntos nos regalaron grabaciones insuperables hasta la actualidad. Del Monaco es un Dios, pero Callas es el Titán.

Каллас-великая певица! Но мне нравится, что Марио Дель Монако не стал уступать ей в её капризах. Браво, Марио-настоящий лев! После этого случая они долго не разговаривали... Она переключилась на Ф. Корелли. Приятно было увидеть и услышать Альберто Дель Монако, они похожи с Марио. Интересно, он жив?

Thank you

Каллас, Дель Монако какие голоса. Счастье слышать и видеть. Спасибо Ютубу.

Two Little problems with the narratives: 1st: Alberto speaks as if Callas first heard Del Monaco's "exploding voice" at La Scalla. Callas sang with Del Monaco for the first time in 1949 Buenos Aires Turandot. And then MANY times before La Scalla Norma. If she wanted the stage to be made bigger, firstly she would have asked before because she had known Monaco's voice for long and secondly a biggr stage impacts both the Soprano and the tenor. 2nd: Even Del Monaco's admits that the composer intended the soprano to finish last but what he did was like: "F*** the composer and the music, my ego does not admit it. Music must serve me not the other way around"

Grandissima artista

I 2 commentatori un po precari ! Haahaahahshhs

Cossotto amabile

Callas non si puo sostituire. Finanche oggi!

Del Monaco’s story telling is so funny ! 😃 Thanks for sharing. ☺️ They ( Callas and Del Monaco ) were also awesome in the final duet of Andrea Chenier!

Grande Mario, un maestro

Cossotto n'était pas une partenaire loyale avec Callas à l'inverse de la grande mezzo Simionato. Même Georges Prêtre qui dirigeait cette fameuse Norma s'était fâché. Mais l'Histoire a retenu et placé Callas au panthéon des chanteuses , beaucoup de personnes ont découvert l'opéra grâce à Callas. Elle traverse les époques, peut on en dire autant de Cossotto, qui s'en souvient ?? Et je souligne que Cossotto est loin d'avoir les qualités de l'immense mezzo qu'était Madame Simionato. Une voix divine, un talent hors norme et la meilleure partenaire de Callas et d'autres . Ecoutez Anna Bolena, Norma......,et plein de rôle où elle brillait . En plus Simionato était une femme d'un immense gentillesse et d'une modestie inversement proportionnelle à son immense talent. Ecoutez les enregistrements de cette magnifique mezzo. Bien amicalement.

I had never even heard that this supposedly happened. Hearing the recording, it didn't sound like it was anything that bad to cause any kind of scandal. What was the public's reaction to it. Obviously, Cossotto went on to a very successful career, so I guess it turned out alright.

Well, only Callas was capable of shadowing signore del Monaco ; that is why he is still remembering her after 12 years, while he was still singing.

Che infantile del Monaco