Maria Callas - Tutte le Torture,1954 San Remo with Sound Externalistion GREAT SOUND!

[@Operacrazed]

Let's not forget she gave the Italian premiere of this opera at La Scala. Her singing of Mozart here is immaculate. The beauty of phrasing as well as the immaculate coloratura is superb. She shied away from Mozart but here she does him more than justice !

[@marykokiou7106]

😊😊😊😊😊😊

[@jirizika6266]

As usually whatever this "sacred monster" touched is pure perfection and I listen this again and again not being able to have enough. Thank you CallasFan again for your efford, your work gives us so much pleasure ! Shamed companies who earn money printing her recordings but have really poor specialist comparing to you! God bleesed you for your abilities.

[@petermartin6820]

Nice full clear sound not washed like some of her bootleg recordings. And the way she sung this was like a piece of cake for her. I just love how she always managed to keep a steady full solid sound at all times throughout her vocal lines which i never hear better from other singers. How amazing it would be if her 1952 performance of the opera was to all of a sudden turn up.

[@kgarmaker123]

Superb singing with superb trills. and.. this is interesting.. hearing this aria sung this way, with this kind of emphasis.. Others make it boring. ( Like Joan S)

[@hectorhugomoyano9518]

BELLEZA !!!!!!!!!!!!!!!

[@cristinagastel9130]

fantastica Mari😢a😊 2:51 ❤

[@rosariocalcagno2011]

Sanremo is only one word. I love Callas

[@infrantasi]

I know there are lots and lots more pirates that have never surfaced, or people want to keep them for themselves. There are recordings of her Forza that she did in 1953, somewhere, because John Ardoin commented on it in his book.

[@infrantasi]

I like Joan's Dinorah and Lakme arias, but she didn't know how to use the "assoluta" range from low F to high E (almost F!).

[@artdanks]

Too bad she didn't do more Mozart. We don't typically think of Callas as a Mozartean singer, but this recording proves she absolutely was. Imagine what her Donna Anna, Donna Elvira, Contessa, or Fiordiligi would have been like!

[@wilsonwatt9283]

Callas said in several interviews that she found Mozart's vocal music "boring" and did not desire to sing more of it. She felt that each aria, because of the 18th Century confines of operatic convention, presented essentially one emotional state at a time [i.e., boring in the interpretive sense, not as pure music]. The few examples we have [this and the very late Mozart arias on the 1963 Mozart, Weber, Beethoven studio recording] demonstrate her technical mastery of Mozart but do also show how much more involved she became in the Weber and Beethoven pieces which offer the kind of emotional counterpoint [especially Ah! perfido] that no one ever sang better than Callas.

[@cliffgaither]

_Art Danks ::_ _You forgot to mention "Elettra"._

[@eberlinpascal2837]

Elle chante très bien cet air ,car elle possède une technique solide de coloratura .Donc techniquement c'est très bien .Mais ce n'est pas son univers .