Caballe’ always funny and lovely and lively, both ladies!

Sam Ramey also recounts the story in a video up on KZfaq.

So sad

Einfach ml so hinnehmen. Da ne Nuance und da ne Nuance. Immer das feilschen, hat das zu sein

😂

Agreed. Amazing 💥

I so agree with you. The entire concert on that night was simply extraordinary. It is so unfortunate that it was never taped. There is a fabulous CD but unfortunately nothing on film.

How stupid to talk about that event here. It is disrespectful to Montserrat.

@@rafaellmata6083 GROW UP! You are disrespectful to common sense.

@@rafaellmata6083 Horne’s Adalgisa hardly sounded like a young priestess- hardly like a soprano (Horne was a mezzo/contralto).

According to the booklet accompanying this DECCA recording, the actual recording date was November & December 1984. The actual recording release date by DECCA was not until 1988.

❤❤❤

I agree. Her Norma from 1970-1975 are the best!

E Mitch: Not here she ain’t. IT’S ALL JOAN ❤️

vous avez zappé ici c est adalgisa .... Callas forever

Nice comment ! Thanks

It's not. Her high D was immensely powerful

You sound soused to make such a comment.

dear the voices wear out, all

1984 was very late for Caballe as well

Listen the performance of Callas, Simionato and del Monaco!

You’re right. The stars of this trio look great on paper, but Sutherland’s voice had thickened quite a bit and acquired a beat by this point. Caballe had also lost tonal quality. I’m a huge fan of both ladies, but Sutherland’s earlier Norma recording with Marilyn Horne and John Alexander is far superior.

@@wotan10950 Sutherland's early recordings are great. But by the late 1970's Her voice was beginning to deteriorate because of age. So why did she redo recordings of works that she had already recorded? (Norma, Lucia, Traviata, etc.) It was because she could record them with Pavarotti. He was the biggest ticket in town, a huge draw, the performer that everyone wanted to work with. And those new recordings would sell like hotcakes. So the real reason was money. Those remakes made lots of money. And sadly, sometimes money overrules art.

of course not 2020...in 2020 al 3 are already dead

1984 was the release date, so probably late 1983 through early 1984

Actually, I lied. The release was 1988!

Caballe the best Norma....

No. - Callas, Gencer (interpretation) - Suherland (vocalism)

@ManuelGonzalez-fi1ki some of us expect more than just vocalise in bad Italian. Caballe and Callas were in the first league, and let's not forget Rosa Raisa. Gencer had a second rate voice but was an exciting performer.

​@@Orfeus80no. Gencer was better than Caballé in Norma and in many óperas. Gencer was a Great of s. XX. Of course.

@ManuelGonzalez-fi1ki Gencer was a fine provincial soprano. Caballe had a world-class instrument.

?? Hmm?

Sutherland squawks and has loosening tone (in 1984 she was a little past her prime which also accounts for her wild swooping to high notes) and has no pianissimo. Recording is not great (over reverberant). Caballé’s tone is perfectly focussed and of course was limpidly beautiful.

Davide Chevrolet: Yeah, what does an old broken down spiteful person like you sound like?? Wheezing every other word?

Timbuktu: The conducting is fine and all three, yes ALL THREE, are very good. It depends on your hearing and you are one deaf A**HOLE!

Si salva? Ah bon..

Etianno NONSENSE: Callas is one interpretation and Sutherland is another. There is a power and delicacy that Sutherland offers which Callas never could, especially after the late fifties. What was her vocal problem? Attitude, poor choice of roles or indifference to her art caused by a Greek billionaire who dumped her? Hmmmm, SUTHERLAND IS IT!!!

Je ne la trouve pas inaudible, le sans intérêt je vois très bien de quoi vous parlez; par contre elle avait une bonne étique et ses coloratures et aigus toujours au rendez-vous.. L'enregistrement a de l'intérêt en tant qu'expérimentation surtout, puis il est de très bonne qualité technique.. et il paraît qu'ils ont pris plaisir à le produire.

@@johnpickford4222 You shouldn’t be so rude about the vocal decline of Callas’ voice!. It was beyond her control. Everybody knows that in her earlier and middle years she was the BEST! She sang very difficult roles maybe too soon in her earlier years, while the others wouldn’t go near many of those roles because they felt they weren’t ready for them and most didn’t sing the repertoire she sang. As Maria said in an interview, she didn’t have any rivals because the others singers only stayed within certain roles. She sang them all! You just can’t compare these other singers to someone who had the repertoire she so successfully sang!!!