Callas Vs Tebaldi (Suicidio Live 1974)

[@AWS2210]

Maria Callas, beyond being a renowned opera singer, was an extraordinary actress. It was through this rare combination of talents that she conveyed the profound emotions of the characters she portrayed with unparalleled intensity. This ability to embody the dramatic essence of her roles set her apart from other singers of her time, making her artistry truly unique and unforgettable.

[@danawinsor1380]

Callas had a special gift. I don't think anyone taught her to act, although I believe Visconti assisted her develop and refine her acting during the 1950s. I have often thought of Maria "channeling" if you will, the spirits of her Greek ancestors and thereby found her unique gifts (that last part is not really meant to be taken seriously.) BTW, Clara Shear, a renowned soprano of her generation and equally renowned voice teacher in Boston, said after attending Callas' 1974 recital: "It was worth the price of admission to see Callas walk out on stage!"

[@AWS2210]

@@danawinsor1380 Visconti, the director I admire most, who passed away in 1976, indeed played a significant role in helping Callas as an actress. An intellectual aristocrat, Visconti was a masterful director of both prose and lyric theatre, as well as cinema. Without a doubt, Callas gained invaluable knowledge from him.

[@AWS2210]

@@danawinsor1380 Thank you for reaching out! It’s always a pleasure to share recommendations about Luchino Visconti, a filmmaker whose work I greatly admire. His films are rich in emotion, visually stunning, and often deeply layered with social and historical commentary. Here are some of his finest works that I believe best represent his genius: The Leopard (1963) - A masterpiece of historical cinema, this film captures the decline of Sicilian aristocracy with breathtaking visuals and a haunting performance by Burt Lancaster. It’s one of Visconti’s most iconic works. Death in Venice (1971) - A poignant exploration of beauty, desire, and mortality, based on Thomas Mann’s novella. Visconti’s meticulous attention to detail and Dirk Bogarde’s performance make this unforgettable. Rocco and His Brothers (1960) - A compelling family drama that delves into themes of love, loyalty, and the struggles of migration. Alain Delon’s performance as Rocco is extraordinary. La Terra Trema (1948) - A neorealist gem that vividly portrays the harsh lives of Sicilian fishermen. Its raw authenticity and social realism make it a standout in his early career. Senso (1954) - A visually sumptuous tale of passion and betrayal set during the Italian-Austrian wars. It’s a perfect blend of romantic melodrama and historical epic. Each of these films showcases Visconti’s range, from neorealism to grand historical epics. Depending on your interests, I’d be happy to discuss any of them further or recommend more specific titles!

[@AWS2210]

@@danawinsor1380 The Damned (1969) - A chilling portrayal of a wealthy industrialist family’s descent into moral and political corruption during the rise of Nazism. This film is as haunting as it is visually arresting, and it showcases Visconti’s fearless exploration of dark themes.

[@AWS2210]

@@danawinsor1380Thank you for reaching out! It’s always a pleasure to share recommendations about Luchino Visconti, a filmmaker whose work I greatly admire. His films are rich in emotion, visually stunning, and often deeply layered with social and historical commentary. Here are some of his finest works that I believe best represent his genius: The Leopard (1963) - A masterpiece of historical cinema, this film captures the decline of Sicilian aristocracy with breathtaking visuals and a haunting performance by Burt Lancaster. It’s one of Visconti’s most iconic works. Death in Venice (1971) - A poignant exploration of beauty, desire, and mortality, based on Thomas Mann’s novella. Visconti’s meticulous attention to detail and Dirk Bogarde’s performance make this unforgettable. Rocco and His Brothers (1960) - A compelling family drama that delves into themes of love, loyalty, and the struggles of migration. Alain Delon’s performance as Rocco is extraordinary. La Terra Trema (1948) - A neorealist gem that vividly portrays the harsh lives of Sicilian fishermen. Its raw authenticity and social realism make it a standout in his early career. Senso (1954) - A visually sumptuous tale of passion and betrayal set during the Italian-Austrian wars. It’s a perfect blend of romantic melodrama and historical epic. Each of these films showcases Visconti’s range, from neorealism to grand historical epics. Depending on your interests, I’d be happy to discuss any of them further or recommend more specific titles!

[@dantewalston2755]

This is a great contrast with two great artists, Callas even with half of her instrument gives the music what is needed. Tebaldi was truly a full lyric, this aria pushed her beyond her limits.

[@tita4359]

Opera fans speak the biggest nonsense. Tebaldi did have a bigger voice than callas but who cares? Both are great artists

[@dantewalston2755]

@tita4359 they both are two of the greatest opera singers, but size of the instrument, and the literature where it's used can make the difference between an applause or encore!

[@stephaniecintron191]

Callas with half of her voice gives me goosebumps, Tebaldi sound really good, rich voice, but I don't feel emotions. That's why Callas was and still and always be Callas.

[@NoéJiménezMora]

Mano a mano de dos gigantescas artistas.

[@WilsonWatt-q2e]

Tebaldi always let her voice do all of the work for the composer hoping that the composer had done the work for the character. Callas on the other hand worked for the character and helped the composer find the ultimate expression of that character. Difference between a great vocal performer and a great operatic actress. I saw both of them at this late stage of each of their careers and they shoudl not be compared as they had totally different perception of their purpose in serving the music.

[@Antonio-qm3bi]

Lo que importa es el resultado final. Tebaldi solo tenia una voz bonita lirica, eso es todo

[@correoprivado9953]

I completely get your point, and I think this may be a related point of view on the critics: Callas was the most famous soprano of her period (she still is today), and she was famous for her complete dedication to opera as a ‘whole’. That’s why I think ANY variation on her instrument wouldn’t pass unnoticed, even minimum changes. We can’t forget the diva was retired since 1965, so nobody heard her voice in 8 years. It was a matter of curiosity: if you were a fan of Callas in 1974, of course you would be thrilled in talking about her actual/new voice if you prefer (there was a whole generation that knew her only through records). And Tebaldi, on the other hand, was a very gifted singer with a beautiful voice: that’s that. So I think the public wouldn’t expect much of Tebaldi apart from vocal beauty… Having said that, the situation it’s still unfair to Callas.

[@alexandersporykhine]

Tebaldi's singing is surprising for her control and domination of her voice, Callas is purity and strength. It may be that in the last years of her career Maria has not controlled her voice as well and that is why she has strange and false sounds, but the emotion of a Great Actress is always present. Thank you very much for the singing classes that are very useful for the professionals of Opera.

[@brunopicaude3092]

Notice that Tebaldi's high notes, at the end, are false too.

[@MrStpendouslvforjo]

I really enjoyed this OperaMy World!!

[@tiagodelode9368]

Callas for ever. she has not limits in her interpretation.

[@vittorioducci]

Siamo al cospetto di due giganti della lirica che non hanno avuto eguali. Certo che la vociaccia della Callas sarà venerata anche tra 1000 anni.

[@marisarossi6692]

super voce con tre colori. Maria forever.

[@GarthAstrology]

Both sound pretty representative for the year. Tebaldi had just retired from the operatic stage the year before, the voice having gone from gold to brass during the 60's. You can hear Callas's issues with the control of her diaphragm producing intonation issues at lower volume, shortness of breath at the end of phrases and major breaks in the registers. Tebaldi's voice is more unified, but hard, inflexible and monochrome. Both ladies were fantastic artists and well deserving of their respective places in the 20th century operatic lexicon.

[@VictorAlcantar-q8g]

Callas extraordinaria, magistral

[@marisarossi6692]

la Tebaldi manca di tragicità. Callas forever.

[@rdsteyer]

Callas pone su alma y hace que su interpretación tenga diferencia de todas demás. A parte de eso pone en la voz de pecho para que haya diferenciación en esa aria. Tebaldi no es como si estuviera cantando una aria lírica de un oratorio. Callas siempre.❤❤❤❤

[@VictorAlcantar-q8g]

@@rdsteyer estoy de acuerdo callas super profesional auténtica magistral

[@natanaelgorrin9473]

Callas fuego, sentimiento, entrega. Tebaldi, bien.

[@williamwordsworth7230]

Callas

[@johnboy8576]

Do you have rare recordings of Maria or even not published?

[@OperaMyWorld]

Unpublished no at the moment!

[@Alcbc0]

Callas sempre sera única, teve a vida pública desgraçada por um homem que a torturou, mau tratou e não queria que ela continuasse a cantar, por um motivo não entendido, quando saiam ,este homem telefonava para a impresa e dizia com quem estava e onde ,porque dele ninguem queria saber nem os próprios filhos, ele usava Callas para tapar as escapadas com a " irmã de Jack " será que era com a irmã mesmo, e por que a raiva do marido e cunhados"

[@andreamogavero7777]

😂😂😂 bro…..Callas forever

[@nathelondon3719]

No contest. Callas on a bad day was better than Tibaldi on a good day.

[@silene89]

Tebaldi è stata fortunata a essere paragonata alla Callas. Era una cantante come tante, niente di speciale.

[@piruja1965-mf6sw]

Direi che è il contrario, la Tebaldi è uno dei grandi soprani del secolo scorso insieme a Birgit Nilsson, Joan Sutherland e Kirsten Flagstad, mentre la Callas è un personaggio la cui grande fama è stata quella di essere una donna scandalosa.

[@12341234W1]

@@piruja1965-mf6sw You should listen to Callas

[@marisarossi6692]

@@piruja1965-mf6sw la fama di Maria dipende dalla sua immensa bravura.

[@marisarossi6692]

la Tebaldi è stata la più grande lirica di tutte; mentre Maria rimane la dea dell'Olimpo.

[@silene89]

@@piruja1965-mf6sw La Tebaldi come La Nilsson e la Sutherland?? Queste avevano un talento mostruoso, la Tebaldi era mediocre.