Maria Callas - Il Pirata "Ah! sarai finch'io respiro - Rehearsal London 1961

with Antonio Tonini

[@kastrafior6166]

De quelle exoplanète nous est venue cette phénoménale, cette sublissime voix ? Humains, priez !

[@asklepios6780]

Mille mercis pour le partage de ces raretés ! Pour les "fans", elles sont le seul véritable intérêt du coffret Warner version 2023...

[@ThrivingJean]

Bonjour, quelle est la référence de ce coffret, svp? Merci.

[@OperaMyWorld]

Thank you!!

[@BrianJosephMorgan]

Merci beaucoup.

[@brunopiafoubrunopiafou1710]

merci

[@OperaMyWorld]

please upload more...

[@aetion]

❤❤❤❤

[@tutankamon1975]

This was complete record an release in rarities I think Its perfect but the last note is a bit weak the chorus is better than this even. This is incredible. I didnt knew someting new has came out!!

[@ER1CwC]

A lot of vocal problems here, but the fioratura and the phrasing are still very beautiful.

[@Orfeus80]

It's shocking how damaged her 38-year old voice sounds here. Like sandpaper, no lustre left whatsoever.

[@kurtgarmaker3719]

You people are too critical ! This is pretty damn good..vibrato on high d is a bit slow but the rest is very good .

[@jimbuxton2187]

A bit slow....!!!!! It only vibrated 3 times...

[@kurtgarmaker3719]

That's because it wasn't held very long and she was tight and not warmed up.

[@kurtgarmaker3719]

Four times, first she has too much vibrato.. or a wobble, now not enough. Come on.. this was a rehearsal. There are singers making a living singing now whose vocal troubles are even worse.

[@tutankamon1975]

​@@kurtgarmaker3719 true

[@tutankamon1975]

I think this is a bad day for her... but nevertheless how her ability of singing change dramatically from late 58 to 60 is mesmerazing...😢 I think the theory of the illness is quite possible if not I dont know... a voodo by Meneghini perhaps😱😱😱 but in 59 she record Lucia which is incredible... everything so strange...😢 (besides in these session the balance is not good the voice is too pressent and dry an the orquestra is too low... much better ballance in 69 or even 64)

[@fabriziocigni6945]

Callas' unique and unrepeatable voice remains until the recording of Gioconda, which took place in the days of her separation from her husband. Until that moment this voice can experience unpleasant episodes, which gradually become more and more frequent from 1958, especially in very high operas (Traviata and Lucia, which in fact, after 1959, she abandons). The first damage this unique voice receives is at the level of vocal extension, above all at the top. In heavy roles the high notes occasionally tended to open up and oscillate more than in the past, and in light roles they even went pale. But in 1960 it's a very different voice returned to the scene, also reduced in volume. She choose inexplicably high roles: Poliuto, Norma, the arias we hear here. Instead she recovers (a little) the ancient body of the voice with the first album of French arias, especially those for mezzo-soprano. But as soon as she takes on a very high role, the voice, although still very agile and well practiced in vocalization (again the French arias for soprano), becomes very very small. It's her choice: she preferred to continue as a (coloratura/high) soprano, even though she could no longer sing those roles with the beautiful dramatic and full-bodied sound of the past (a unique phenomenon, as we know). in other words, what I mean is that after 1960 it is as if we had two "normal" voices, a very charming mezzo (Carmen, Werther etc.), and a somewhat tired soprano, who is not always able to complete the roles very difficult ones that he would like to sing (Norma, Nabucco). It was before 1959 that we heard something sung that defies any normal vocal classification

[@eberlinpascal2837]

Oui , de mon modeste point de vue,son enregistrement de Gioconda en 59 reste encore très pertinent bien que vocalement inférieur à celui de 52. Évidemment pour Lucia en 59 c'était déjà fini ,du moins en scène ,car l'enregistrement qu'elle en fit en 59 est correct ,mais sur le fil du rasoir ! Traviata est restée très bien jusqu'en 58 : Lisbonne et Londres avec encore des mi bémol tout à fait remarquables . En 59 les concerts de Hambourg et de Stuttgart montre une Maria Callas plus fragile et assez prudente ( omission du contre ut dans l'air du Pirata ). Cette même année pourtant au Carnegie Hall de New York ,elle donne une version très convaincante du Pirata avec toutes les notes aiguës. Et en 60 son interprétation de Paolina dans le Poliuto de Donizetti est encore une fois remarquable. Mais le déclin vocal est évident même si le génie de l'interprétation demeure entier . Les albums d'airs d'opéras français de 62 ,avec Romeo et Juliette et la Philline de Mignon montrent que sa technique incroyable d'agilité demeure intacte ,mais les sonorités sont discutables . Reste que ses airs de mezzo soprano de Carmen ,Charlotte ,et Dalila sont très beaux. Moi je pense qu'à partir des années 60 elle aurait pu faire une grande nouvelle carrière dans ce répertoire et aussi le répertoire contemporain grâce à sa faculté d'expression hors du commun .

[@fabriziocigni6945]

@@eberlinpascal2837 les mi bemols de Lisbonne et Londres sont déjà ouverts et pas "a fuoco". Le ut du Pirate 1959 est un peu crié, mais ici avec l'orchestre très fort ça peut aller. Après New York, elle n'est plus capable d'aller au de là du si naturel sans risquer le cri

[@eberlinpascal2837]

@@fabriziocigni6945 avec tout de même quelque beaux moments : dans Poliuto en 60 ( la cabalette " perche di stolto giubilo" est bien menée avec style et avec un joli contre ut ( dièse ?) à la fin ).Mais vous avez raison sur l'ensemble de l'état de sa voix après 1958.C'est bien triste car encore en 1957 elle a eu une saison magnifique ( Bolena ,Somnambule , Iphigénie ,et Amelia du Ballo in maschera (❤️)

[@tutankamon1975]

Thank you!!!