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)
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.
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.
The tempestuous dark coloratura soprano of Alexandrina Pendatchanska, in the Vows scene of Semiramide, then in a short highlight of the duet with Assur, and in the weeping queen Elisabeth II in Roberto Devereux. With her thrilling low register, great intensity, and dazzling virtuosity, she is one of the rarest belcanto and baroque voice appeared in the last years.
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.
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.
![Callas on Rigoletto\](http://img.youtube.com/vi/yNHPMGQkeGk/2.jpg "Callas on Rigoletto\")
![Callas teaches bass-baritone Willard White on Fiesco\](http://img.youtube.com/vi/iywh6HKYW0E/2.jpg "Callas teaches bass-baritone Willard White on Fiesco\")
![Deborah Voigt sings Isolde\](http://img.youtube.com/vi/cOJzr406A3o/2.jpg "Deborah Voigt sings Isolde\")
![Shirley Verrett sings Isolde\](http://img.youtube.com/vi/tM0SVA3b0XE/2.jpg "Shirley Verrett sings Isolde\")
