Fine al rito... Ah, bello a me ritorna; Norma; Maria Callas (with score)

[@manolis.799]

I’ve always said this was her greatest Norma... Also that high C at the end is like it’s shot out of a cannon, completely solid and deafening. Miraculous

[@manolis.799]

Martín her D6 at the end of act 1 sounds like a meteor.... it DESTROYS Del Monaco and Simionato. This is one of those performances of Callas that are at the top of “if I could pick one to see” list I can never decide between this, Leonora 50, Aida 51, Medea 53, Lady Macbeth, Armida, or Anna Bolena. I would have to pick out of a hat.

[@manolis.799]

Jim JJ if only there was a recording of that week where she alternated Brunnhilde with Elvira

[@ot8479]

@@manolis.799 LEAVE DAME SIMIONATO ALONE! SHE WAS A MASTER OF KNOWN! AND HER VOICE LASTED A LIFETIME

[@manolis.799]

@@ot8479 I’m the biggest Simionato fan there is. Relax

[@BaroneVitellioScarpia1]

Ecco come si fa! Viva la Callas!

[@Empoweredwoman1234]

This is great. It would be great if you could do a score for Casta Dive along with the introduction bit immediately before. It seems it has been taken down, along with a number of other great score animations.

[@NLidar]

@@aclassicaltrove PRIMOHOMME IS BACK??

[@NLidar]

@@aclassicaltrove What's his new user? Btw the score animation you've is really great.

[@ot8479]

As much as I really love Garifullina, she sings the notes, says the words but the Dames Callas, Tebaldi, (Simionato when she recorded some Arias from Norma m, not as Adalgisa but Norma), Anderson in her recitals, Bambry, and Norman, they let this character breathe with more sentiment and life. They were able to sing this aria with the sadness it should have. Norma defends herself saying that she know his wrongdoing, but she can't bring her heart to punish her beloved Pollione, and cries hoping he'll return to her. Belcanto technique never excluded sentiment and soul in the words and how they are delivered. I guess modern singers don't undergo the rigorous training of early 20th century. In the 1950s we saw the last generation who was taught by the very protagonists of the 'golden era' of opera.

[@issol7643]

________✨_________

[@liedersanger1]

Scala?