Callas singing Sempre libera like a Wild Cat

Highlighted comment from commenters below:
-From Felix Carvajal:
No one has ever or will ever sing like this. All the trills, scales, everything Verdi wrote is perfectly executed with a gargantuan voice. It's like an 18 wheeler moving like a Ferrari. If it is this mind blowing recorded with 1950's technology.....OMG, what it must have sounded like seated in that theatre!!!
-From Shahrdad
There is a Greek documentary here on YouTube in which Robert Sutherland, who was her piano accompanist, talks about how near the end of her life, whenever he would visit her, Callas would be listening to her old recordings from this era. He said, "I said 'That's really marvelous singing!' And she said, 'Marvelous? It's bloody miraculous!' And she was right. It WAS miraculous."
Callas herself knew quite well that what she had achieved was not to be repeated.
-From Shahrdad:
An easier question to ask is which ones were NOT bloody miraculous? Her first documented complete performance, Nabucco (Naples, 1949) shows a 26 year old girl singing Abigaile the way it hasn't been sung since, with perfect legato, perfect coloratura, perfect trills, and an intensity and vehemence bordering on insane. Just listen to Salgo Gia, and compare it to everyone else, and everyone else falls short.
Her first commercial recital shows a Casta diva that is more sculpted than sung, and a Qui la voce which set the standard in legato, portamento, portato, and the give and take of tempo that is the hallmak of bel canto. And the cabaletta with its pears-falling-off-a-string scales itself is another miracle.
Her Traviata, especially Sempre libera, as heard on this video, were truly miraculous. Tito Gobbi said he would stand in the wings to hear her sing this, because he knew it was a once in a lifetime, or once in a century experience. Even amazing Sutherland never sang it with the abandon, the Wagnerian tone, and the absolute mastery Callas exhibits here.
Her Trovatore too was absolutely miraculous. No one, not even Price, has been able to sing D'amor sul ali with the perfection of young Callas, with trills totally joined with the melodic line and phrases weeping with sadness.
Her Armida. . . . I don't think there is anything I can say that hasn't been said before. She learned the fiendish role in a week, then she sang the living crap out of it as if she had sung it all her life. And we will never hear it sung that way again.
Her Medea in Florence too set a standard that no one has even dared to attempt. Again, she learned it in a week and sang it as it hasn't been sung since. Of all her roles, that is the one that I think the gods must have created for her. She didn't sing Medea. She WAS Medea.
Just for virtuosity, I think the prize goes to her singing of the Proch variations. It's total fluff, but she manages to sing it as if it were great music, and her virtuosity and her handling of the fiendishly difficult passages is a marvel. And she does it with a voice of a Brünnhilde.
Callas, in her prime, was a herself a miracle, and Italians recognized it. They named her La Divina long before she became the thin and glamorous Callas of legend. As Nilsson said, "At her best, Callas was greater than the rest of us put together.

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