# More Maria



## nina foresti (Mar 11, 2014)

Notice how she is able to completely turn from a poignant, despairing role to a comedic one and still
deliver a sincere performance.
Her ability to mesmerize and capture an audience is overwhelming.


----------



## The Conte (May 31, 2015)

Some of these Callas performances have been colourised, why won't Warner release a set of Blu-rays/DVDs - "Callas on Film Remastered".

They could do with taking a leaf out of Tom Volf's book.

N.


----------



## Tsaraslondon (Nov 7, 2013)

nina foresti said:


> Notice how she is able to completely turn from a poignant, despairing role to a comedic one and still
> deliver a sincere performance.
> Her ability to mesmerize and capture an audience is overwhelming.


This one has always seemed to me one of the most remarkable. She is elegantly dressed and coiffed but she just becomes the poor wronged village girl before your eyes.


----------



## MAS (Apr 15, 2015)

This is one performance that was not well colorized, but contains one of my favorite arias. But this was 1962 so Callas is not at her best. There's also the _Habanera_.


----------



## Woodduck (Mar 17, 2014)

Tsaraslondon said:


> This one has always seemed to me one of the most remarkable. She is elegantly dressed and coiffed but she just becomes the poor wronged village girl before your eyes.


It happens before my eyes, but before my ears is a voice in truly perilous condition. At times it's as if she can barely get a sound out, and it's clearly not an interpretive choice.


----------



## Tsaraslondon (Nov 7, 2013)

Woodduck said:


> It happens before my eyes, but before my ears is a voice in truly perilous condition. At times it's as if she can barely get a sound out, and it's clearly not an interpretive choice.


Yes, I know, the voice is almost gone and it is obvious she is treading very carefully. However, even in a few bars of recitative, she tells me more about poor, broken-hearted Amina than any other soprano with her voice in full bloom. Regardless of the parlous state of her voice, I find it incredibly moving. She also sang _Adieu, notre petite table_ and _O mio babino caro_, neither aria particularly taxing, and it is notable she didn't attempt the cabaletta to the *Sonnambula* aria. Apparently she also sang Duparc's _L'invitation au voyage_ but it was not broadcast and the footage has been lost.

This was in 1965 shortly before her final Normas in Paris, when she was unable to complete the final performance. One further performance of Tosca in London followed (a royal Gala at which she was performing against doctors' orders) and she never again appeared on stage.


----------



## nina foresti (Mar 11, 2014)

Woodduck said:


> It happens before my eyes, but before my ears is a voice in truly perilous condition. At times it's as if she can barely get a sound out, and it's clearly not an interpretive choice.


Sometimes, ignorance is bliss. I never once heard "a voice in perilous condition."
For me this was one of her more charming, sad, sensitive and tearful portrayals minus fancy hand motions and only a modicum of facial expressions.
If she was being more tranquil than her usual in order to be careful I wouldn't mind a lot more of this kind of interpretation from singers.
I was touched by her pain down deep inside and it almost seemed like she was singing about Onassis.


----------



## Woodduck (Mar 17, 2014)

Tsaraslondon said:


> Yes, I know, the voice is almost gone and it is obvious she is treading very carefully. However, even in a few bars of recitative, she tells me more about poor, broken-hearted Amina than any other soprano with her voice in full bloom. Regardless of the parlous state of her voice, I find it incredibly moving. She also sang _Adieu, notre petite table_ and _O mio babino caro_, neither aria particularly taxing, and it is notable she didn't attempt the cabaletta to the *Sonnambula* aria. Apparently she also sang Duparc's _L'invitation au voyage_ but it was not broadcast and the footage has been lost.
> 
> This was in 1965 shortly before her final Normas in Paris, when she was unable to complete the final performance. One further performance of Tosca in London followed (a royal Gala at which she was performing against doctors' orders) and she never again appeared on stage.


I can enjoy the "O mio babbino" much more, since it doesn't tax her remaining resources and her characterization is utterly charming. I imagine the farewell to her little table is lovely too, and I suspect the vanished Duparc may have been a real treasure. She could have left us a fine collection of French song, and even made a mini-career out of it.


----------



## Woodduck (Mar 17, 2014)

nina foresti said:


> Sometimes, ignorance is bliss. I never once heard "a voice in perilous condition."
> For me this was one of her more charming, sad, sensitive and tearful portrayals minus fancy hand motions and only a modicum of facial expressions.
> If she was being more tranquil than her usual in order to be careful I wouldn't mind a lot more of this kind of interpretation from singers.
> I was touched by her pain down deep inside and it almost seemed like she was singing about Onassis.


It can be a bit of a curse, being so conscious of what's happening with voices. I had my own struggles as a singer, and have strong psycho-physical reactions to the pain of others' attempts to master the mechanism. My comments aren't meant to throw a wet blanket over the enthusiasms of others.


----------



## The Conte (May 31, 2015)

Woodduck said:


> It can be a bit of a curse, being so conscious of what's happening with voices. I had my own struggles as a singer, and have strong psycho-physical reactions to the pain of others' attempts to master the mechanism. My comments aren't meant to throw a wet blanket over the enthusiasms of others.


I have this, but I'm fortunate because I can switch this off at will.

N.


----------



## nina foresti (Mar 11, 2014)

Woodduck said:


> It can be a bit of a curse, being so conscious of what's happening with voices. I had my own struggles as a singer, and have strong psycho-physical reactions to the pain of others' attempts to master the mechanism. My comments aren't meant to throw a wet blanket over the enthusiasms of others.


Never let it be said that a wet blanket was thrown over my enthusiasm for a particular voice. In that case I could go into the business of selling blankets! (Can you say Olivero? Can you say Netrebko?)
The only time I felt I would rather not continue listening to La Divina was when she was doing recitals with Di Stefano where it seemed kinder not to include myself among those who were thrill seekers more than true lovers of her voice.


----------

