Maria Callas sings "Ah Bello Me Ritorna" six times with three different finales

On each occasion in the studio and then live. Audio sources pictured.
1949 Studio 0:00
1949 Buenos Aires 2:04
1954 Studio 2:56
1952 London 3:49
1960 Studio 4:34
1955 La Scala 5:25

[@josecarloscoelhocidade4366]

The most impressive voice I,ve ever heard. A voice for a life!

[@Shahrdad]

The 1955 Norma is one of the greatest documents of her art, and arguably the greatest Norma ever captured on recording. Her 1960 recording has some truly heartbreaking moments, especially when one hears the vocal frailty of the older woman against the luscious youthful sounds of Christa Ludwig as Adalgisa, but over all, I don't think the 1955 has been matched by anyone before or since.

[@jamesnickoloff6692]

Thank goodness, we have the 1955 recording--and the Anna Bolena from 1957--and the Lucia from 1955. This allows us to taste heaven. But how many other supernatural performances were not recorded?

[@billyboyblue1539]

Thank God for Callas-recordings yes- but imagine videos from her Mexico performances or all for that matter!

[@jamesnickoloff6692]

@@billyboyblue1539 Yes, Billy. I would especially like to have seen her "Medea" and "Traviata" and "Armida" and...and.... But that's being greedy!

[@andity1]

1949 Studio ❤ Her voice sounds so fresh

[@kgarmaker123]

Thats for sure... I love the 1960 stereo Norma, because inspite of its vocal flaws it is a reminder of who Norma is, and what the opera should sound like, especially since she is paired with that divine mezzo Christa Ludwig and Corelli. However, her singing in 1960 is a stark reminder of what just one short year being absent from the stage did for her voice , chasing around that fool Onassis. She sang quite well one year earlier in many recordings of live operas and concerts.

[@despertardelaconciencia369]

Sin embargo, a pesar que había perdido fuerza en la voz, algunas notas se tienden inestables... Gana en expresividad, gana el sentido dramático y profundo de la psiquis de Norma, los sentimientos conforme evoluciona la trama de la ópera también van evolucionando, cada nota o pausa esta plenamente justiciada, es una Norma mucho más elegante y expresiva, más humana, pero no una humana cualquiera, es la encarnación viva de una semi Diosa Druida.

[@creutzfeldtjakob7]

The size of that 1949 live 😍😍😍

[@dramaticsoprano5168]

1952 London is my favorite and also my favorite Norma recording in general.

[@tutankamon1975]

When you give all... you give all.

[@rosariocalcagno2011]

Maria per sempre. Maria FOREVER

[@LohengrinTh]

the one and only Assoluta of the 20th century

[@MrLuis85698]

LohengrinTh without an iota of doubt !!!

[@mauriciomtz6937]

And of this century also

[@eberlinpascal2837]

A Milan en cette soirée de 1955 ,Callas est du feu à l'état brut ,c'est fantastique ,et on n'a rien vu de semblable depuis .Cette cabalette est chantée à la perfection .

[@LohengrinTh]

definitely.. even if someone with her vocal powers appears again, which I doubt, will she be willing to sing the Assoluta repertoire that way? she wont want to destroy her voice

[@papaki88]

😍😍😍😍

[@paolocambriotto3397]

ascoltavo da bambino la Caballè in questo ruolo, perchè avevo la sua interpretazione con Domingo, tuttavia è la Callas il modello ispirativo per chi voglia cantare la Norma. Anche la stessa Caballè aveva una grande ammirazione per la Callas.

[@aseed333]

of course her best Norma was in 1955 with two mosters: Mario del Monaco and Simionato. for me an historic moment!

[@manolis.799]

ivan salas greatest Norma ever in my opinion

[@MrLuis85698]

Monsters indeed

[@davidsimmons654]

ivan salas couldn’t have said it better!

[@jamesnickoloff6692]

I completely agree. This recording is my desert island pick.

[@spyridonroumeliotis7831]

There will never be an equal !

[@elisapradaorosa5210]

Callas siempre DIOSA

[@opera1dan2]

Thanks for putting this together. 1955 is my favourite. I love the Rome version same year too. That was the version I first heard and will always have a special place

[@francescafigini4374]

Inarrivabile !!!

[@seanbeat]

...And i believe of this Century too...If it goes this way in the Opera World!

[@fabriziomariagarzi5534]

Incantevole sempre.

[@seanbeat]

i collect since 1988...everything fron Her. Especially Lives! You can see the action!!! incredible!!!!!

[@Gabriel-hs9mv]

the final note in Buenos Aires is freaking insane

[@fiorellazoratti7729]

Callas sei un gioiello

[@santiagorenna4331]

49 and 55!!! Divina ❤️

[@hugoalvesreis4271]

1955 best!

[@deadwalke9588]

The truth comes out in the voices that have experienced pain. Her 1960-1965 performances register this pain throughout and the openness as one can hear in her 1960 studio performance makes it even clearer. There's a true quality to her voice and it is apparent when she does the sustain notes.

[@calebgreen3554]

i’m so here for this video! thank you!

[@christinesanchez1726]

Merci beaucoup ! 😊

[@panospoupou7834]

Ah! quando ah! quando!

[@tutankamon1975]

I think there is a couple more from 64 and 65 but without high note at the end.

[@marylambcarter]

DIVINAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA

[@chortkiv1]

DO YOU REALLY THINK SOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO, or are you exaggerating a little bit?

[@marylambcarter]

@@chortkiv1 my dear ... FU..... YOUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU

[@eberlinpascal2837]

Je préfère toujours en général ses versions live que celles en studio.Donc pour moi ma version préférée est : 1 Milan 1955 ,2 Londres 1952 , 3 Buenos aires 1949.Les autres sont très belles également mais ne procurent pas la même excitation.

[@rosariocalcagno2011]

Ivan : I agree with you

[@seanbeat]

gia´!

[@deadwalke9588]

1960 studio, 1955 Norma, and then 1954 studio. 1949 sounded more wobbly than her supposed "wobble era" of 1959-1960

[@stefanodepeppo]

deadwalke 1949 wobbly?....😮🤔

[@jeanfourneau4411]

Not to believe !

[@igorkochetkov6046]

Where is the greatest Mexico-1950? :-)

[@meto2854]

Her 1960 Norma is absolutely painful...wish she never made it. Otherwise, glorious!

[@hotradiogaga]

That's nor true at all! There you can really feel the pain in her voice

[@brunopicaude3092]

Well, the vocal instrument declined but but the expression was always higher.

[@ahogbin2644]

I think people sometimes forget what a superb technique Callas had; she was of course trained by the coloratura Elvira de Hidalgo in Athens. By singing Wagner, Puccini, Verdi and the bel canto composers she pushed her voice too far too much and so burnt out early.

[@CallasCarey]

The "open throat" concept is ridiculous! I love Maria and her Normas so much, but 1960 is painful. You can hear how much she was struggling vocally and technically. 1949 and 1955 were perfect and flawless. Callas never sung with an "open throat." She sung with very forward placement and a very relaxed larynk and when pushed down, the sound became richer. I can't stand this "open throat new generation b.s." Nobody understands what technique is anymore. Open throat and space is NOT technique.

[@jerryarispi4031]

Thank you. Open throat results in throaty singing. When she was at her best, she kept everything compressed, and focused. Like a laser beam carving out melodies.

[@solenelevan]

You need both -- open throat AND focus. These concepts are not mutually exclusive.

[@M.Stabile]

@@jerryarispi4031 Del Monaco never do throaty singing.

[@MrYonexguy63]

DiStefafano was always yelling Aperta la gola! at Callas during the tour. Imagine him giving technique lessons...