Another lesson at the Juilliard School, on Fiesco'aria in Simon Boccanegra. Callas inspires young Willard White (before he began his a great carreer) with some more authority, exact diction, urgency in the vibrato and phrasing, and talks about the relative pianissimo on an operatic stage.
Work and art. When Maria Callas shows more expression on a baritone aria than any other singer.
(From her famous masterclasses at Julliard from 1971 to 1972)
Most of the time, people associates (for whom who know her in Europe at the present time), the voice of Marian Anderson with the Contralto parts. Here is a radio broadcast where she performs the Casta Diva from Norma. Even lowered a tone, it gives clearly a new idea of her great range, and eclectic possibilities.
Mireille Delunsch in the famous aria "Ah si la liberté" ( yet sung by Felia Litvine and Frida Leider in early 20th century).
Wonderful richness of poetry in this baroque opera.
A young Ramey (1977-1981) in all his purity of style, sense of theater, humility, and flexibility of the instrument.
2 recitatives from the cantatas BWV 140 & 80, + the high aria of the bass in the Mass in B minor, BWV 232.
A 1993 film on this original and inspired producer.
Wilson before begining to make controversial opera productions in 1985, was already at the head of about 20 works of avant-garde theater since 1965 and continued until today.
Violetta Urmana sings Isolde's death in a piano recital in Schwetzingen, 2003. A pity not to be able to put here the whole piece, the pianist is very good too.
Norma at the Met, a fire and an amazing high C pianissimo and even a high C sharp interpolated in the duet with Pollione (John Alexander), by Verrett as Adalgisa.