Maria Callas

[zamyrabyrd]

She attended a performance of the Verdi Requiem and conceded her approval. She even gave Gavazzeni a pleased look as Gencer took the difficult piano on a B-flat in the "Libera me". I must remember where I read about this, but I'm pretty sure Gavazzeni himself told it.

Harry

The Libera Me as far as I remember is choral preceded by a recitative. Do you mean the Salva Me? 

ZB

[Tsaraslondon]

The Libera Me as far as I remember is choral preceded by a recitative. Do you mean the Salva Me? 

ZB

No he means the Libera me, which usually refers to the last section of the Requiem from the soprano's first recitative to the final muttered libera me at the end, and which includes the infamously difficult octave leap to a ppp Bb in alt on the word requiem.

[Tsaraslondon]

She attended a performance of the Verdi Requiem and conceded her approval. She even gave Gavazzeni a pleased look as Gencer took the difficult piano on a B-flat in the "Libera me". I must remember where I read about this, but I'm pretty sure Gavazzeni himself told it.

Harry

Funny. I've never come across that. I don't doubt you are right, but I was surprised because it is well known Callas was chary in her praise of other sopranos, particularly those who sang her repertoire. Caballe always stood out as the exception.

On the other hand she could be extremely generous to singers of other voice types. Teresa Berganza recalls with fondness her time working with Callas in Medea, remembering how kind Callas was towards her and how, when she sang Neris's aria over the supine body of Medea, Callas would remain absolutely motionless until the applause had died down.

[Harry Powell]

I have found it out. In a publication by La Scala: "Leyla Gencer 50 anni alla Scala". You can read it in the book and listen to Gencer's narrating the story in the DVD.

[zamyrabyrd]

No he means the Libera me, which usually refers to the last section of the Requiem from the soprano's first recitative to the final muttered libera me at the end, and which includes the infamously difficult octave leap to a ppp Bb in alt on the word requiem.

It's difficult to imagine that Callas would have complimented Gencer in this performance - a non-commercial, live recording here. She was obviously having a really off day, flat, and actually scooping up to the high Bb.
Verdi : MESSA DI REQUIEM - "Requiem" - Genova, 24.11.1967
http://www.youtube.com/watch?v=1WIqYTAtt54

I would have recognized this part with the Bb better as Requiem, but OK, it is in the Libera Me section.  There is a quite impressive high C though just before end of the work on the last syllable of Libera Me where the soprano solo comes in. Maybe she meant that? But everything else was below standard. Was she one of these ladies who wants something so much, imagines it in her mind and then eventually comes to believe it?

ZB

[Guido]

It's difficult to imagine that Callas would have complimented Gencer in this performance - a non-commercial, live recording here. She was obviously having a really off day, flat, and actually scooping up to the high Bb.
Verdi : MESSA DI REQUIEM - "Requiem" - Genova, 24.11.1967
http://www.youtube.com/watch?v=1WIqYTAtt54

I would have recognized this part with the Bb better as Requiem, but OK, it is in the Libera Me section.  There is a quite impressive high C though just before end of the work on the last syllable of Libera Me where the soprano solo comes in. Maybe she meant that? But everything else was below standard. Was she one of these ladies who wants something so much, imagines it in her mind and then eventually comes to believe it?
ZB

Yes - this "pleased look" sounds like wish fulfillment. How could this ever be confirmed?

[Harry Powell]

No, Gavazzeni is very clear. It was the b-flat. The performance in discussion is not the one Callas attended. I'll check the date, but I'm sure it's from the early days of Gencer in Italy.

By 1967 heavy roles had taken its toll on Gencer. She always resorted to glottal stops to take di forza top notes, but at that time it has become a continuos gimmick.

Yes - this "pleased look" sounds like wish fulfillment. How could this ever be confirmed?

By reading Gavazzeni's account or watching the DVD I mentioned?

[Harry Powell]

Hi again

The Requiem performance took place in Milan's Duomo under de Sabata on February 18th 1957 to mark Toscanini's funerals. To tell the truth, just the Libera me section was performed and it was preceded by Beethoven's March from the "Eroica". It was de Sabata's last public appearance.

Gavazzeni: "Gencer had succesfully auditioned before de Sabata (...) I was seating behind Callas and her husband. When Gencer took the octave leap (on the word "Requiem") to a pianissimo B-flat, Callas turned towards me and made an expressive gesture of approval".

Harry.

[Tsaraslondon]

This performance, IMO the best of all Callas's recorded Violettas has now finally been granted an official release.

http://www.prestoclassical.co.uk/r/ica%2Bclassics/ICAC5006

[Guido]

http://www.youtube.com/watch?v=lbfjHjohWB8

just found this - delightful and unbelievably beautiful.

But then saw that Callas sang it too: http://www.youtube.com/watch?v=033d9g56vKw&feature=related To think that the same voice had sung Isolde... sort of beggars belief.

[Tsaraslondon]

But then saw that Callas sang it too: http://www.youtube.com/watch?v=033d9g56vKw&feature=related To think that the same voice had sung Isolde... sort of beggars belief.

And in fact she was singing Kundry only 5 months before this concert. The Proch variations are really very slight, and one wonders why Callas even bothered singing them, but, as always, she can make even dull music sound interesting. Pity about the excruciating recording quality though.

[Guido]

And in fact she was singing Kundry only 5 months before this concert. The Proch variations are really very slight, and one wonders why Callas even bothered singing them, but, as always, she can make even dull music sound interesting. Pity about the excruciating recording quality though.

Amazing. The recording reveals a pristine voice though - those highnotes sound like those of a shimmering soubrette! Though presumably with enough volume to destroy a glass factory.

[DarkAngel]

This performance, IMO the best of all Callas's recorded Violettas has now finally been granted an official release.

http://www.prestoclassical.co.uk/r/ica%2Bclassics/ICAC5006

I think this is the same performance as this Myto label release, very good indeed.
I also like the Lisbon performance with Krauss from same label.....
 

[Tsaraslondon]

I think this is the same performance as this Myto label release, very good indeed.
I also like the Lisbon performance with Krauss from same label.....
 

There seems to be some dispute on Amazon as to which of the two releases of the London performance has the best sound. Either way, I still prefer the London performance, despite the absaence of Kraus. Valletti is, anyway, a near ideal Alfredo and Zanasi is superior to Sereni. I also prefer Rescigno's discreet, yet lyrical conducting to the rather four square Ghione. Callas is superb in both performances, but, though she is in marginally fresher voice in Lisbon, by some strange alchemy, it is the London performance that is the most cogently moving - one of those nights where everything came together to produce a performance, which is almost unbearably moving. Sady, after two more performances in a Zeffirelli production in Dallas, Callas never sang the role again.

[DarkAngel]

There seems to be some dispute on Amazon as to which of the two releases of the London performance has the best sound. Either way, I still prefer the London performance, despite the absaence of Kraus. Valletti is, anyway, a near ideal Alfredo and Zanasi is superior to Sereni. I also prefer Rescigno's discreet, yet lyrical conducting to the rather four square Ghione. Callas is superb in both performances, but, though she is in marginally fresher voice in Lisbon, by some strange alchemy, it is the London performance that is the most cogently moving - one of those nights where everything came together to produce a performance, which is almost unbearably moving. Sady, after two more performances in a Zeffirelli production in Dallas, Callas never sang the role again.

Agree that Rescigno ROH has the better orchestral touch compared to the Ghione Lisbon version.
EMI has used the Ghione performance (black) for thier release, have recently been revisiting the 1955 Giulini (blue) although the sound is more compromised (especially first several tracks of CD 2) the dramatic vocal heights reached here are a real marvel, her follie/sempre libera section is unleashed with such dramatic impact makes me spellbound to her magic

   

Best sound quality Callas Traviata is the 1953 studio Santini recorded for Cetra label, but available in the EMI studio boxset for Callas
Many small labels have this performance and an excellent remaster available through Naxos

[Tsaraslondon]

Best sound quality Callas Traviata is the 1953 studio Santini recorded for Cetra label, but available in the EMI studio boxset for Callas
Many small labels have this performance and an excellent remaster available through Naxos

I suppose it is, though, considering that it's a studio recording, the sound isn't that good, and, of all the roles she sang, Violetta is the one which went through the greatest alchemy. Her performances became ever more subtle and restrained. Maybe that's why I love the London performance so much. Some might say that greater vocal fallibility lead her to greater vocal subtlety, the means dictating the, art so to speak. Either way, very few singers have come anywhere near getting to the heart of Verdi's most sympathetic heroine as Callas has done, though some may have sung it more prettily.

[zamyrabyrd]

http://www.youtube.com/watch?v=lbfjHjohWB8

just found this - delightful and unbelievably beautiful.

But then saw that Callas sang it too: http://www.youtube.com/watch?v=033d9g56vKw&feature=related To think that the same voice had sung Isolde... sort of beggars belief.

For sure the unclear recording doesn't do her justice. But the Callas' passion sort of bursts through more than the expected dulcet coloratura of a soubrette.  (I'd like to find a Rita Streich version, if it exists.)

Meanwhile, by way of comparison, here is Mado Robin in the Proch Variations. The Italian is a bit strange. I would have though it coming from an English speaker - nevermind. The coup-de-grace Bb in alt is stunning.
http://www.youtube.com/watch?v=TZWnLdnbrGU&feature=related

If a soprano can sing this fiendishly difficult piece well, she can be hired on the spot.

ZB

[Guido]

Can anyone tell me more about Callas' dislike of Tosca? What was it that she disliked? Did she dislike all Puccini, or just this opera?

[Tsaraslondon]

Can anyone tell me more about Callas' dislike of Tosca? What was it that she disliked? Did she dislike all Puccini, or just this opera?

It is pretty well documented that she didn't have much time for Puccini. The great Italian composers for her were Bellini, Donizetti, Rossini and of course Verdi, composers who wrote extensively and beautifully for the voice. The skills she had worked so hard to attain, and which enabled her to render the music of these compoers with such accuracy, are hardly necessary in Puccini and the rest of the verismo school, which require only a good solid production, but no real flexibiilty. This is no doubt why she regarded them with such antipathy. Interestingly, she states in one of her interviews, that Tosca's Vissi d'arte should be cut, as it holds up the drama. I can't imagine any other prima donna even countenancing such a thing.

[Guido]

Haha amazing story re: the aria!

So the objection was only that it wasn't challenging vocally enough? Or did she object to the characters/libretti/musical substance too? Wagner doesn't require much flexibility either...

(sorry for asking - I have tried googling extensively, but can't find anything).