The Met in MotionMain MenuIntroduction: Moving through the MetArchive FeverWorldness on the MoveHD LivenessConclusionSo, what has happened, is happening, will happen to opera?Sylvia Korman5804eaa9e6616ef8921331944c570afac4400e2b
Maria Callas
12019-04-24T14:56:38-07:00Sylvia Korman5804eaa9e6616ef8921331944c570afac4400e2b332964plain2019-04-24T17:11:57-07:00Sylvia Korman5804eaa9e6616ef8921331944c570afac4400e2bCallas recorded Lucia di Lammermoor twice, in 1953 and again in 1959. In her 1953 recording (http://bit.ly/mc1953), her cadenza is lengthy, florid, and quite similar to that of Melba or Pons. When it came time to record her second Lucia, Callas wanted to shorten the cadenza, but feared that to do so would be seen as evidence that she no longer had the skills to perform the Melba-standard coloratura. Her compromise, as you can hear, is to sing the traditional cadenza, but shortened significantly.
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12019-04-24T02:50:38-07:00Sylvia Korman5804eaa9e6616ef8921331944c570afac4400e2bLucia Flute Cadenza1Melba, Pons, Callas, Sutherland, and Dessay sing the Lucia di Lammermoor cadenzaplain2019-04-24T02:50:38-07:00Internet ArchiveaudioLuciaCadenzaCompMixdownSylvia Korman5804eaa9e6616ef8921331944c570afac4400e2b