One of the great prima donnas of the 20th century in full bloom. There is no one before the public today who can even approach this.
@arnoldamaral74064 жыл бұрын
Macho Voce Only Saioa Hernandez 👑
@debbiejohnson27894 жыл бұрын
She learned the best breath control and everything about breathing for opera preparation from her early teachers whom she discusses and credits . She said in an interview that she practiced and employed these techniques throughout her career and it paid off. Don’t know if schools today put enough emphasis on that, but they really should if they don’t.
@debbiejohnson27894 жыл бұрын
Her son was born in 1966. I wonder what month this was.
@judyjones24753 жыл бұрын
@@debbiejohnson2789 she was 5 months pregnant here 🥰
@anagerlo8037 Жыл бұрын
@@judyjones2475 experta en MC, recuerdo un desmayo en la traviata, pero esa era Montsita.Gracias por la información.
@christiaandhooghe5 жыл бұрын
At this time, there is NO soprano delivering like La Superba. This is vocal purity and real belcanto. Marvelous!
@WelshHomo873 жыл бұрын
Callas and Sutherland come to mind bot better soprani than Caballe
@Orfeus803 жыл бұрын
@@WelshHomo87 those two were great in other roles. None of them sang Pirata like Caballe.
@ir33562 жыл бұрын
@@Orfeus80 hell no, CAballe sounds like my grandma in il pirata. Callas voice was divine.
@Orfeus802 жыл бұрын
@@ir3356 maybe we should hear your grandma. By the time Callas sang this, her voice was wobbling like a pot of divine jello. Lol
@ir33562 жыл бұрын
@@Orfeus80 you are the synonym of bad taste hahha, yeah she sounds better than Caballé. By the time Callas sang this, she was La Divina not, la fatty caballé period
@johngotwalt31433 жыл бұрын
my heart, be still - you brought me so many moments ....
@aboulkheirdavid28806 жыл бұрын
God bless you Montserrat. You were the best. LOVE for ever, la Superba.
@elisapradaorosa52106 жыл бұрын
Adios MARAVILLOSA , oírte en el teatro , fue una de las grandes emociones de mi vida.
@jean-christopheMiquel-ef3ur4 жыл бұрын
Une merveille !
@lynnefisher41675 жыл бұрын
Pure magic. Soulful & beautiful. Thank you
@imperatoverdini63425 жыл бұрын
Stupenda unica
@lizbradshaw57473 жыл бұрын
She is a goddess.
@marcopimentel6152 жыл бұрын
Bravissimo
@jean-baptisteastierdevilla54136 жыл бұрын
Magique !
@maryvaillancourt11585 жыл бұрын
so epic!
@stefanoorlandi3796 жыл бұрын
Chapeau!!
@thomasmalesys28866 жыл бұрын
Such a lesson of style... plus a glorious voice and interpretation.. when was it recorded?
@cristinajeronimo466 жыл бұрын
First known TV recording. Paris debut 1966
@thomasmalesys28866 жыл бұрын
Thank you
@Lellobeetle6 жыл бұрын
Divine. And mid-pregnancy to boot.
@АлексейПермь-щ1м3 жыл бұрын
Звезда . Супер.
@eduardooliverosanca41385 жыл бұрын
The best, even better than Callas in Il pirate, she was one of the greatest 3 or 4 of 20th century no doubt. But in Il pirate...she was the only!!!! Bravissima Caballé.
@arnoldamaral74064 жыл бұрын
Eduardo Oliveros Anca After CALLAS our Montse was her successor. Now we have SAIOA HERNANDEZ.
@mariojimenez7624 жыл бұрын
Está bien la montse pero no creo que mejor que callas, una digna heredera sí, en cuanto al trabajo musical belcantista, pero ni su voz es assoluta ni se acercó a la clase de actriz que callas fue. Igualmente me gusta mucho la caballé. Las he oido a una seguida de la otra y pues existiendo la grabacion de callas la verdad q no encuentro sentido a la otra, la obra brilla en cada pasaje con callas, lo dramatico desaparece con caballé, no vivo para comparar pero en el caso de esta obra es demasiado obvio, solo escuchar la palabra horrore en una y en la otra , aunque yo hubiera tomado el mismo camino que caballe con una voz de soprano lirico, creo q hizo bien al elegir ese repertorio y "adecuar" su voz a el pero ese registro medio velado siempre le juega en contra, igualmente gracias a la caballet por todo lo q nos entregó.
@jeffreymiller4814 Жыл бұрын
@@mariojimenez762I prefer Caballé here. Callas’ voice was in severe decline when she took on Il pirata. I guess she had some fine dramatic moments, but I am not a fan of trying to make psycho-dramas out of bel canto operas. In this repertoire I need to hear effortless, steady, pitch-dominant legato singing coming from a singer with their head up, and not covered, chin-on-chest, unsteady, facing-the-floor singing. But hey, many people love the “late” Callas in this. I’ll take her 1952 or 1955 Norma, her Berlin Lucia, her EMI Tosca, I puritani, Lucia, and Cavalleria in a heartbeat over anyone else’s. Montse gets Il pirata.
@jeronimogonzalez42272 жыл бұрын
I love Callas, but… in this Caballe is the queen absoluta
@mcalos28146 жыл бұрын
Che dire... i bei tempi andati.. l'unica erede della Callas come Lei stessa disse...oggi abbiamo la Yoncheva.. ahimè
@brunomingardi86006 жыл бұрын
Sono d'accordo sulla Caballè, ci mancherebbe altro! Ma smettiamola di demonizzare i cantanti d'oggi sempre e comunque.
@robertoramossempere72526 жыл бұрын
Tiene razón, nos lamentábamos de Aliberti en comparación con Callas y Caballé y hoy la echamos de menos cuando oímos a la Yoncheva... ¡Que bajo ha caído el mundo de la ópera!
@giudiciadanna45505 жыл бұрын
m calos, la Callas non disse un bel niente...anzi...e' pura mitologia.
@giudiciadanna45505 жыл бұрын
@@brunomingardi8600 , il fatto e' che i cantanti d'oggi si impegnano e studiano poco, sono superficiali...non gliene frega niente insomma.
@jean-christopheMiquel-ef3ur4 жыл бұрын
Qui est la Yoncheva ?....
@mykelastor21592 жыл бұрын
please don't compare Caballe with Callas. Just enjoy the greate performance
@jamesnickoloff6692 Жыл бұрын
I don't know when or where this performance took place, but there is no doubt that Caballé is great here. But she is nowhere near Callas in this, even with more beautiful tones and complete technical command. Even in 1959, past her prime, Callas surpassed all comers. Here is the evidence from Hamburg in 1959. The aria starts at 1:10.16. kzbin.info/www/bejne/jHSUgpyqm9CVkKs. There are several factors that (for me) make the difference, and these include voice tone and pathos. Mostly, however, I think the difference is that Imogene was not a character through whom Montserrat could express her own life, while Maria found Imogene to be a vehicle that she could use to tell the world who she--Maria--really was. Callas' performance is a self-revelation; Caballé's is about beautiful singing.
@davidmolina75434 жыл бұрын
No one has equaled her interpretation of this fiendishly difficult aria she sails through it with Grace and aplomb; not even Callas and this from a Callas fan.
@georgcorfu3 жыл бұрын
David Mollina Is that true? I thought Callas was the best of the best.
@emitch92133 жыл бұрын
Whoa!
@pedrolongoria2122 жыл бұрын
@@georgcorfu lol
@rugby8-Philadelphia2 жыл бұрын
Its also about preference, and personal taste. I love Callas, but there is no way to arrive at a "score" to rate performances to each other ......not matter what the old opera queens tell you 😎😎😎
@emitch92133 жыл бұрын
Oh to be sitting in the audience then...
@giovic9802 Жыл бұрын
4:46 8:30 10:08
@eduardooliverosanca41384 жыл бұрын
She was the best on this role. Y punto😄
@davidmolina75433 жыл бұрын
Without a doubt.
@margueritelouise5183 Жыл бұрын
There has been Callas Caballé and Netrebko❤❤❤
@arnoldamaral74064 жыл бұрын
I just listened to Rene Flemings poor attemp of Bellinis mad scene & I actually felt bad for her.It was so bad 😵as she struggled with the cabaletta 😢.Her beautiful lyric voice was all over the place. Arnold Bourbon Amaral
@machovoce68265 жыл бұрын
The conductor sucks. First of all he's rushing her and second of all he has little command of the Bellinian line.
@debbiejohnson27894 жыл бұрын
I wish I knew about these things. Some of these conductors can be jerks, right? She didn’t look too happy when she left the stage. Thanks for pointing this out. Now I know why.
@Antonio-qm3bi4 жыл бұрын
@@debbiejohnson2789 The same happened with her debut in Turandot, as the slave Liù. In the Turandot with Nilsson, the director did not want Caballe to participate. Nilsson said "if she goes, I'll go." Thanks to this noble act of Birgit Nilsson, Caballé drove the public crazy with her "Signore Ascolta" and the scenes of Liù's death.
@joeleigen41792 жыл бұрын
@@Antonio-qm3bi Thank you so much for this story. It's so important to see these phenomenal singers as people...and perhaps as people first. That Nilsson would recognize this injustice to a fellow artist and simply refuse to let it stand. I had little room to grow in my estimation of her as a singer for the century, I didn't know that she matched that talent with character and pluck. When will we see their likes again?
@MOV1983 Жыл бұрын
machovoce6826, and what is the "Bellinian line" exactly? The conductor who "sucks" happens to be Carlo Felice Cillario, one of the most respected conductors of his time. He and Caballe collaborated on many occasions. He conducted her Covent Garden debut of La Traviata in 1972, and later on conducted her commercial recording of "Norma" with RCA. The aria here is from a concert in Paris 1966. Conductors who "suck" do not get to perform at these levels, especially back in that era. Perhaps the orchestra also lacks the "Bellinian line". All the best to you.
@juliantalegonrueda945017 күн бұрын
Montserrat fue una gran voz sin duda pero Maria Callas...oh Maria fue única prima donna absoluta su orese cia en el escenario era impresionante No sólo cantaba co. La voz sino con manos ojos todo su cuerpo.daba vida al personaje a Imogene Norma Vioketa Elvira Tosca...no habia ni hay ni habrá otra