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Maria Callas: In Concert - Hamburg (1959 & 1962) (1962)

ALL 03/16/1962 (en) Music 119 Min
  • Release
    03/16/1962
  • Production
    NDR, Warner Classics
  • Rotten tomato
    0%
  • Original title
    Maria Callas: In Concert - Hamburg (1959 & 1962)
  • Original language
    en
  • Production Cost
  • 0.00
    -

A filmed record of two concerts given in Hamburg, Germany, by opera star Maria Callas in 1959 and 1962

Overview

The 1959 concert finds Callas just 1 year before the loss of her voice and although her voice is not what it was in 1952 you can still hear the Vocal Miracle. The repertoire interchanges between heavy dramatic soprano (Lady Macbeth, Elisabetta), to soprano coloratura (Rosina) and to soprano dramatico d'agilita (Imogene in Pirata, Gulia). The maturity of the interpretation regarding the legatti, the phrasing is astounding and Callas dominates each aria singing them in the only possible way. "Tu che invoco" appears as a cataract of dramatic phrases in a fine classical style of this classical period opera, then Lady Macbeth appears diabolical & dark although she avoids keeping her voice in the high C, her Rosina is sparkling and facile in the coloratura as if it is a natural way of speaking and Elisabetta is where time stops: the drama in this aria holds a metaphysical aura. Finally her entire Mad Scene from Pirata shows all her talent as an actress and bel canto singer.

  2. Story

  3. Editor

  4. Producer



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Casts

  1. María Callas

    Self

  2. Nicola Rescigno

    Self - Conductor

  3. Georges Prêtre

    Self - Conductor

Full Cast & Crew

Casts : 3 , Crews : 2

Recommand

Keyword

Maria Callas: In Concert - Hamburg (1959 & 1962) (1962) 119 Min

ALL 03/16/1962 (en)
Music
  • Release 03/16/1962
  • Production
    NDR, Warner Classics
  • Original title Maria Callas: In Concert - Hamburg (1959 & 1962)
  • en
  • Revenue0.00

A filmed record of two concerts given in Hamburg, Germany, by opera star Maria Callas in 1959 and 1962

Overview

The 1959 concert finds Callas just 1 year before the loss of her voice and although her voice is not what it was in 1952 you can still hear the Vocal Miracle. The repertoire interchanges between heavy dramatic soprano (Lady Macbeth, Elisabetta), to soprano coloratura (Rosina) and to soprano dramatico d'agilita (Imogene in Pirata, Gulia). The maturity of the interpretation regarding the legatti, the phrasing is astounding and Callas dominates each aria singing them in the only possible way. "Tu che invoco" appears as a cataract of dramatic phrases in a fine classical style of this classical period opera, then Lady Macbeth appears diabolical & dark although she avoids keeping her voice in the high C, her Rosina is sparkling and facile in the coloratura as if it is a natural way of speaking and Elisabetta is where time stops: the drama in this aria holds a metaphysical aura. Finally her entire Mad Scene from Pirata shows all her talent as an actress and bel canto singer.

  1. Georges Prêtre, Nicola Rescigno

    Director

  2. Story

  3. Editor

  4. Producer



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