Mario Del Monaco and the longest note COMPETITION with Maria CALLAS - ENGLISH SUBTITLES

[@BaroneVitellioScarpia1]

My favorite soprano-tenor duet. Callas and Del Monaco are amazing!

[@SacredTemplar8]

Oh yeah absolutely, mine too, they’re incredibly phenomenal, what performances live on stage, would theirs be to see! A wonder to behold, without a shadow of a doubt!

[@hello_gorgeous_]

They sound incredible together! Two geniuses of the world of opera in a duet.

[@joemcbob9688]

Agreed!

[@oliverdelica2289]

Mario must have been a fun person to be friends with 😊😊

[@LucasBernalGarcia-w3g]

Nilsson Corelli??

[@baoanhnguyen9186]

All the comments here making this about MDM vs Callas or something do not realize that MDM himself said that the competition was friendly and due to nerves, not due to a sense of antagonism.

[@TimothyJonSarris]

The reason for which Corelli began singing more with Callas than Del Monaco did was because the tenor from Ancona probably was able to put up with this sort of ‘comportamento da diva.’

[@robertjschroff6307]

Del Monaco’s story telling is so funny ! 😃 Thanks for sharing. ☺️ They ( Callas and Del Monaco ) were also awesome in the final duet of Andrea Chenier!

[@callasiana8335]

True!😊

[@angr3819]

I wish I could have heard the greats live. Although I know records are not the same it is still possible to have a very good idea of the quality of voices by listening to the 33s, if they have been looked after. Mario is my own favourite. That quality of being oh so soft to full pelt then so very gentle again. I have heard only Mario and Franco Corelli do justice to the character of Andrea Chenier, albeit on recordings.

[@SacredTemplar8]

Oh my what an absolute gem! Thank you very much for this, especially with the subtitles! This is simply great, thank you very much indeed!! Mario and Callas are hands down my favorite duet!

[@shahramyazdani7575]

Sublime...DUE GRANDI

[@artdanks4846]

Wow! I never knew about this particular "singing duel" between these 2! Only the one with Kurt Baum, in the Mexico Aida.

[@HellasItalia4]

Lotta greco-romana !! Duetto mitico ,da brividi!! Ma vi rendete conto? Callas! Del Monaco!

[@cristinamonaco3474]

A me piace anche in questa sua estemporanea

[@Xerxes89]

Thank you so much for this upload about these two legends. I love the competition!!

[@callasiana8335]

Thank you very much for watching!🤗

[@Xerxes89]

@@callasiana8335 where is the video from? Is it a documentary with english subtitles? I would like to see it.

[@callasiana8335]

@@Xerxes89 you can find the link in the video description. But I don't think there are any subtitles, unfortunately.

[@paoloromeo899]

Grande Mario, un maestro

[@DiomedesDioscuro]

Jajajaja. Dos grandes. Benditas sean esas disputas.

[@ЕкатеринаВикторовна-м4ш]

Каллас, Дель Монако какие голоса. Счастье слышать и видеть. Спасибо Ютубу.

[@enlumineresse]

Grazie!

[@antben8992]

Mi sembra che , nel finale, Mario del Monaco inizi l " acuto dopo la Callas per poterlo tenere più a lungo. Sbaglio ?

[@angr3819]

Thank you

[@fabriziobaiano791]

Callas grande, ma per tenere gli acuti di Del Monaco... bisogna avere un mantice da fucina, altro che diaframma 😂

[@brunobalzano7566]

E lei ce l'aveva 😁

[@stefanodepeppo]

Sentila nell’Aida del 51 live dal Messico. Lei gli sta dietro secondo per secondo, non gli lascia un attimo di tregua!

[@hotradiogaga]

0:50 Ma come la Callas che dice "Aò 🤣

[@callasiana8335]

Difatti mi sembra improbabile. 😊

[@fabriziogarzi9892]

@@callasiana8335 , pura invenzione di parte. Il palcoscenico venne allungato per Sonnambula da Visconti perché ricreava il proscenio dell'Ottocento e siccome era una buona idea venne utilizzato anche nel Turco in Italia e nella Norma...e non credo proprio che Maria temesse il Mario che poi alla fine del 1 atto inchiodo' al muro con un Re sopracuto conclusivo come nell'Aida al Messico....

[@brunobalzano7566]

Chi è senza peccato scagli la prima pietra, Mario. Tuttavia, la Callas non ha mai (mai) parlato dei colleghi, nel bene e nel male. Eravate entrambi due sublimi prime donne che ci hanno regalato duetti storici, una coppia perfetta, peccato questa puerile diatriba.

[@giovic9802]

4:12

[@jaguarm.]

Grande voci.....❤ Jaguar Mercury

[@LazarNewDeal]

Two Little problems with the narratives: 1st: Alberto speaks as if Callas first heard Del Monaco's "exploding voice" at La Scalla. Callas sang with Del Monaco for the first time in 1949 Buenos Aires Turandot. And then MANY times before La Scalla Norma. If she wanted the stage to be made bigger, firstly she would have asked before because she had known Monaco's voice for long and secondly a biggr stage impacts both the Soprano and the tenor. 2nd: Even Del Monaco's admits that the composer intended the soprano to finish last but what he did was like: "F*** the composer and the music, my ego does not admit it. Music must serve me not the other way around"

[@callasiana8335]

You're right: they had already sung together many times, including a beautiful Aida in Mexico in 1951. So Callas couldn't be surprised or even scared at all by him. 🏺🎶

[@jiso5232]

Well, you forgot one important fact. While MDM's voice grew from the forties to early fifties, Callas's voice got weaker since the lost of her weight. So while she was comfortable singing with MDM around 1950, she probably wasn't later. It could be very demanding for her to keep up with him. She probably became nervous and when she decided to get the audience attention by outsinging him, she didn't realise his chest is like three time bigger than hers. The second argument is baseless. It's fine when a soprano tries to outsing a tenor, while the other way isn't? Strange logic.

[@hodgrix]

Well MDM said that they were both supposed to cut off when the director told them to without either of them holding on longer. He actually seems really nice and laid back. Of course Callas was a bigger deal than him and more exciting on stage than anyone but she was a perfectionist wanted to be better than everyone all around period. So I could understand her becoming insecure at a larger voice than her's which in hindsight seems kind of silly.

[@awokwok1029]

@@jiso5232 not really. She sometimes overpowered Del Monaco in 1955. And she already lose weight..

[@sugarbist]

Dear Pedro, that's not what MDM is saying here. MDM is saying that in a duet, Callas held on to a high note longer than he did and the conductor intended. He then states that the public may have thought that he was not capable to hold on to the note as long as Callas did. So he later took a long breath and in retaliation held a note longer than Callas and Maria became angry. They were arguing about it behind the curtain, but when the curtain opened they took each others hand and bowed to the public. In another interview, MDM is asked about Callas and Tebaldi. He stated that Tebaldi had a most beautiful voice, but there is something very special going on with Callas's voice and very much enjoys singing with her.

[@ransomcoates546]

This is amusing, since Kurt Baum’s refusal to stop holding high notes past her is supposed to have prompted the famous ‘Aida’ E flat. She certainly won that contest.

[@mariosnizamis7475]

Well, only Callas was capable of shadowing signore del Monaco ; that is why he is still remembering her after 12 years, while he was still singing.

[@virtuosacoloratura9740]

Il meglio e il peggio incarnati nelle medesime menti..

[@ИринаДанилова-ж9п]

Каллас-великая певица! Но мне нравится, что Марио Дель Монако не стал уступать ей в её капризах. Браво, Марио-настоящий лев! После этого случая они долго не разговаривали... Она переключилась на Ф. Корелли. Приятно было увидеть и услышать Альберто Дель Монако, они похожи с Марио. Интересно, он жив?

[@natanaelgorrin9473]

Callas nunca habló de Del Monaco, este nunca superó que Callas tiene un capítulo preponderante en el mundo operista. No niego que ambos juntos nos regalaron grabaciones insuperables hasta la actualidad. Del Monaco es un Dios, pero Callas es el Titán.

[@amantedellopera1681]

While she may never have spoken of him,he certainly spoke of her and in a very good way,so one would wonder who really was the better person

[@alessandropelizzoli6613]

There Is an account by Poulenc, Who refused to give a role to Callas, that explains WHO Is the real good person....

[@XPRT10R]

ma figurati se nottetempo hanno stravolto la scenografia e il palcoscenico aggiungendo tre metri, come se il regista, lo scenografo, il capopalco, ecc non abbiano voce in capitolo e possano avere accettare con il beneplacito generale per accomodare un presunto capriccio di una cantante nervosa ed insicura. Le prove di scena in voce con il set completo non si fanno che in ultimo stadio e fino ad allora non si era resa conto la Callas della voce di DM? La sfoggio' tutta all'improvviso la voce? E poi Chi paga gli straordinari di questi lavori e materiali scenici, gli attezzisti, i tecnici di palco ecc? Che idiozie da pettegolezzo

[@ele923]

Вообще -то, мужщина должен уступать женщине , да еще Такой, но , это же итальянец......их это не касается

[@robbiai]

mio dio, che pavone! insopportabile! La callas non ha mai perso un secondo della sua esistenza a parlare di del monaco. Era veramente ossessionato. Ma di lui non si parla più; mentre di lei non si smetterà mai!

[@iubanne]

Era particolare Del Monaco. Niente di letale ...

[@Monnarchmonnarchy]

Del monaco widy bari disaster

[@alessandropelizzoli6613]

E dove si parla di Callas? A questo Mondo si parla di Madonna, non di Callas.

[@robertocozzarin]

Che infantile del Monaco

[@richardholmesmusic2128]

Certo. Ridicolo!

[@antonioschiavi6870]

Fra tutte e due.... Due esaltati

[@robertocozzarin]

@@antonioschiavi6870 Con la differenza che Maria Callas non ha mai parlato di Del Monaco nelle interviste

[@radames5855]

@@robertocozzarin nemmeno Del Monaco Egli parla di una prima donna Ma non fa nome

[@fabriziogarzi9892]

@@radames5855 ...perché 'intervista e' stata tagliata. In altre la nomina spesso.

[@BG-kq6cn]

I used to wonder why those "tenors" always spoke like they're operatic singers 😁 Because big tenor such as Mario del Monaco and Franco Correli never spoke like "operatically" ... Later my speculation was that real operatic singers do not pretend to be, but those who are amateurs need that impressions from others 😂

[@paologaudenzi837]

se invece di trasformare la lirica in circo avessero "solo" cantato era molto meglio, le voci c'erano e tanto bastava a non involgarire tutto per niente.

[@georget.7348]

The toughest competition between these two giants was in Aida in Mexico City, end of the third act, Vieni, vieni, B flat and then t'amo t'amo high A, it's amazing. It's interesting to hear del Monaco talk, he sounds like a very lyric tenor, perfect placement, that's why he lasted so long, there is an Otello from Bruxelles with Ricciarelli that can never be matched by anybody. But to tell the truth, the competition was not so friendly. I met a guy once back in 1981 who had studied with del Monaco and he once asked him about la Callas and Mario said "Quella era una puttana!". And it is also a fact that after this Norma, Mario told Meneghini "You and your wife don't own La Scala!!!!!". Now you take di Stefano, who once said that his favorite soprano was Magda Olivero, give me a break!!!!! But there is one undeniable fact, Mario was so handsome, imagine those two on stage, just like Callas-Corelli!!!!