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Tu che le vanita

Opera details:

Opera title:

Don Carlo


Giuseppe Verdi




Don Carlo Synopsis


Don Carlo Libretto


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Aria details:









Previous scene: Ella giammai m'amò
Next scene: Francia nobile suol

maria callas verdi don carlo "tu che le vanita"

Singer: Maria Callas

Maria Callas:
Vocal size and range
In the years prior to her weight loss, Callas's voice was a powerful soprano, the sheer size of which was much commented upon,[16] and there were no complaints about unsteadiness even in the most exposed passages.[8] In his review of Callas's 1951 live recording of I Vespri Siciliani, Ira Siff writes, "Accepted wisdom tells us that Callas possessed, even early on, a flawed voice, unattractive by conventional standards — an instrument that signaled from the beginning vocal problems to come. Yet listen to her entrance in this performance and one encounters a rich, spinning sound, ravishing by any standard, capable of delicate dynamic nuance. High notes are free of wobble, chest tones unforced, and the middle register displays none of the "bottled" quality that became more and more pronounced as Callas matured."[30] In a 1982 Opera News interview with Joan Sutherland and Richard Bonynge, Bonynge stated, "But before she slimmed down, I mean this was such a colossal voice. It just poured out of her, the way Flagstad's did... Callas had a huge voice. When she and Stignani sang Norma, at the bottom of the range you could barely tell who was who... Oh it was colossal. And she took the big sound right up to the top."[31] In his book, Michael Scott makes the distinction that whereas Callas's pre-1954 voice was a "dramatic soprano with an exceptional top", after the weight loss, it became, as one Chicago critic described the voice in Lucia,[16] a "huge suprano leggiero".[8] In performance, Callas's range was just short of three octaves, from F-sharp (F#3) below middle C (C4) heard in "Arrigo! Ah parli ad un core" from I Vespri Siciliani to E-natural (E6) above high C (C6), heard in the same opera as well as Rossini's Armida and Lakmé's Bell Song. After her June 11, 1951 concert in Florence, Rock Ferris of Musical Courier said, "Her high E's and F's are taken full voice."[16] In a French TV interview, Callas's teacher Elvira de Hidalgo spoke of her voice soaring to a high E, but did not mention the high F.[11] Although no definite recording of Callas singing high F's have surfaced, the presumed E-natural in her performance of Rossini's Armida —a poor-quality bootleg recording of uncertain pitch—has been referred to as a high F.[27]
[edit] Vocal registers

Callas's voice was noted by Walter Legge and other experts[27] for its three distinct registers. Her low or chest register was extremely dark and almost baritonal in power, and she used this part of her voice for dramatic effect, often going into this register much higher on the scale than most sopranos.[26] Her middle register had a peculiar and highly personal sound—"part oboe, part clarinet", as Claudia Cassidy described it[14]—and was noted for its veiled or "bottled" sound, as if she were singing into a jug.[26] Walter Legge attributed this sound to the "extraordinary formation of her upper palate, shaped like a Gothic arch, not the Romanesque arch of the normal mouth".[26] The upper register was ample and bright, with an impressive extension above high C, which—in contrast to the light flute-like sound of the typical coloratura soprano—she sang with the same full-throated sound as her lower registers.[14] And as she demonstrated in the finale of La Sonnambula on the commercial EMI set and the live recording from Cologne, she was able to execute a diminuendo on the stratospheric high E-flat, which Scott describes as "a feat unrivaled in the history of the gramophone."[8]

The agility of Callas's voice allowed her to sing difficult ornate music with ease and technical polish. In the words of Walter Legge, even in the most difficult florid music, there were no musical or technical difficulties "which she could not execute with astonishing, unostentatious ease. Her chromatic runs, particularly downwards, were beautifully smooth and staccatos almost unfailingly accurate, even in the trickiest intervals. There is hardly a bar in the whole range of nineteenth century music for high soprano that seriously tested her powers."[26] As part of her technical arsenal, Callas also possessed a beautiful and dependable trill in every vocal register.[32]

Watch videos with other singers performing Tu che le vanita:

maria callas verdi don carlo tu che le vanita  19739
1 - Maria Callas
Anja Harteros singing Tu che le vanita from DON CARLO 19748
1 - Anja Harteros

Montserrat Caballe Tu che la vanita  87399
1 - Montserrat Caballé
Ileana COTRUBAS sings Tu che le vanita from Don Carlo 19766
1 - Ileana Cotrubaș

1 - Renata Tebaldi
Virginia Zeani Tu che le vanita Don Carlo Verdi 19743
1 - Virginia Zeani

Tu che le vanita Kristine Opolais DON CARLO 19759
1 - Kristine Opolais

Barbara Frittoli Tu che le vanita Don Carlo 2001 19757
1 - Barbara Frittoli

Angela Gheorghiu as Elisabetta di Valois Tu Che Le Vanita 2014 in HD Italian subtitles 19761
1 - Angela Gheorghiu
Leyla Gencer Verdi Don Carlo Tu che le vanita 19750
1 - Leyla Gencer

Margaret Price Don Carlo Tu che le vanita 19756
1 - Margaret Price
Takesha Meshe Kizart Tu che le vanita 87402
1 - Takesha Meshé Kizart

Fiorenza Cedolins Tu che le vanita Don Carlo 87404
1 - Fiorenza Cedolins
Pilar Lorengar Don Carlo CONTEST Tu che le vanita  87405
1 - Pilar Lorengar

Amanda Roocroft Tu che le vanita Don Carlo 87407
1 - Amanda Roocroft
Lianna Haroutounian Don CARLO Tu che le vanita  87408
1 - Lianna Haroutounian

Felicia Weathers sings Tu che le vanita from Don Carlo 87410
1 - Felicia Weathers
Don Carlo Tu che le vanita Marina Poplavskaya 87412
1 - Marina Poplavskaya

Ghena Dimitrova sings Tu che le vanita Don Carlo by Verdi 19749
1 - Ghena Dimitrova
Tu Che le Vanita Kiri Te Kanawa 87420
1 - Kiri Te Kanawa

Edda Moser Tu che le vanita Don Carlo 1974 87422
1 - Edda Moser

Julia Varady sings Tu che le vanita Don Carlo1980 87423
1 - Júlia Várady

Don Carlos Toi qui sus le neant Sonya Yoncheva Paris 2017 19742
1 - Sonya Yoncheva
1 - Daniela Dessì

Anna Netrebko Tu che le vanita Don Carlo Giuseppe Verdi 19736
1 - Anna Netrebko
Renata Scotto Don Carlo CONTEST Tu che le vanita  19772
1 - Renata Scotto

Aprile Millo Verdi Don Carlo Tu che le vanita  19745
1 - Aprile Millo
Raina Kabaivanska Elisabetta di Valois Tu che le vanita MET 1970 87437
1 - Raina Kabaivanska

Sylvia Sass Tu che le vanita Don Carlo 87444
1 - Sylvia Sass
Anita Cerquetti Don Carlo CONTEST Tu che le vanita  87446
1 - Anita Cerquetti

Tu che le vanita from Verdi s Don Carlo sung by Leonie Rysanek with ovation 87448
1 - Leonie Rysanek
Great singers in Lisbon Mara Zampieri 2 Don Carlo 87451
1 - Mara Zampieri

Mimi Coertse sings Tu Che Le Vanita from Don Carlos 87453
1 - Mimi Coertse
Roxana Briban Tu che le vanita from Verdi s Don Carlo 87455
1 - Roxana Briban

Mirella Freni Tu che le vanita Don Carlo 19782
1 - Mirella Freni

Veronique Gens Tu che le vanita Verdi Don Carlo Act V Scene 1 in French 19764
1 - Véronique Gens

Camilla Nylund Tu Che Le Vanita Conoscesti Del Mondo Don Carlos 87476
1 - Camilla Nylund
Katia Ricciarelli Tu che le vanita Don Carlo Giuseppe Verdi 19781
1 - Katia Ricciarelli

Teresa ZylisGara sings Don Carlo Tu che le vanita Th Schippers conducts 87479
1 - Teresa Żylis-Gara
Grace Bumbry Tu che le vanita 87482
2 - Grace Bumbry

YASMINE LEVIELLENTUCK 2016 Elizabeth Connell 3rd prize winner Tu che le vanita  87483
1 - Elizabeth Connell
Rita Hunter sings Tu che le vanita In English from Don Carlo 87486
1 - Rita Hunter

Rita Orlandi Malaspina Tu che le vanita Don Carlo 1968 87493
2 - Fiorenza Cossotto
Martina Arroyo Don Carlo Tu che le vanita  19755
1 - Martina Arroyo

Adelina Agostinelli Tu che le vanita Don Carlo 1910 87505
1 - Margherita Grandi
1 - Maria Dragoni

Tu che le vanita Don Carlo Verdi Rosalind Plowright Carreras Domingo Baltsa Verona 1985 87508
1 - Rosalind Plowright
Dame Gwyneth Jones Verdi Don Carlo Tu che le vanita  87510
1 - Gwyneth Jones

Tamar Iveri Tu che le Vanita Don Carlo 87513
1 - Tamar Iveri

Soprano MARIA CANIGLIA Don Carlo Tu che le vanita 1951 87520
1 - Maria Caniglia

Verdi Don Carlo Tu che le vanita Giannina Russ 1913 87524
1 - Giannina Russ
Tu che le vanita oe  87526
1 - Makvala Kasrashvili

Don Carlo Act V Tu che le vanita conoscesti del mondo 19740
1 - Leontyne Price
Nina Rautio Verdi Don Carlos 4 act Tu che le vanita Elizabet22121992 87543
1 - Nina Rautio

Galina Gorchakova Tu che le vanita DON CARLO Giuseppe Verdi 19765
1 - Galina Gorchakova
Don Carlo final act Joanna Parisi Ramon Vargas Tu che le vanita Ma lassu ci vedremo 87403
1 - Joanna Parisi
5 - Ramón Vargas

Gundula Janowitz Verdi Don Carlos Tu che le vanita conosce  87426
1 - Edith Mathis
1 - Elisabeth Grümmer
1 - Elizabeth Harwood
1 - Gundula Janowitz
1 - Maria Stader
Katia Ricciarelli Tu che le vanita conoscesti del mondo Don Carlo Giuseppe Verdi 19754
1 - Katia Ricciarelli
2 - Agnes Baltsa

BAD vs GOOD CHEST VOICE comparison 87450
1 - Angela Gheorghiu
1 - Anna Netrebko
1 - Diana Damrau
1 - Ghena Dimitrova
1 - Lina Bruna Rasa
1 - Maria Callas
1 - Maria Caniglia
1 - Maria Vitale
1 - Renata Tebaldi
1 - Roberta Peters
1 - Rosa Ponselle
2 - Ebe Stignani
2 - Elena Obraztsova
2 - Elīna Garanča
2 - Fedora Barbieri
2 - Marilyn Horne
2 - Oralia Domínguez



Il Chiostro del Convento di San Giusto come nell'Atto primo. Notte. Chiaro di luna.

Elisabetta entra lentamente assorta nei suoi pensieri, s'avvicina alla tomba di Carlo V e s'inginocchia.

Tu che le vanità conoscesti del mondo
E godi nell'avel il riposo profondo,
Se ancor si piange in cielo, piangi sul mio dolor,
E porta il pianto mio al trono del Signor.
Carlo qui dee venir! che parta e scordi omai...
A Posa di vegliar sui giorni suoi giurai.
Ei segua il suo destin, la gloria il traccierà.
Per me, la mia giornata a sera è giunta già!
O Francia, nobil suol, sì caro ai miei verd'anni!
Fontainebleau! ver voi schiude il pensiero i vanni.
Giuro eterno d'amor là Dio da me ascoltò,
E quest'eternità un giorno sol durò.
Tra voi, vaghi giardin di questa terra ibéra,
Se Carlo ancor dovrà fermare i passi a sera,
Che le zolle, i ruscel', i fonti, i boschi, i fior,
Con le loro armonie cantino il nostro amor.
Addio, bei sogni d'ôr, illusion perduta!
Il nodo si spezzò, la luce è fatta muta!
Addio, verd'anni, ancor! cedendo al duol crudel,
Il core ha un sol desir: la pace dell'avel!
Tu che le vanità conoscesti del mondo
E godi nell'avel d'un riposo profondo,
Se ancor si piange in cielo, piangi sul mio dolor,
E il tuo col pianto mio reca appié del Signor.

English Libretto or Translation:


The Cloister of the Convent of San Giusto as in the First Act. Night. Moonlight.

Elizabeth enters slowly in her thoughts, approaches the tomb of Charles V and kneels.

You who knew the vanities of the world
And enjoy deep rest in avel
If you still cry in the sky, cry on my pain,
And bring my tears to the throne of the Lord.
Carlo here dee venir! that leaves and forgets omai ...
Posa di vigil on his juraes days.
And he follows his destiny, the glory will trace it.
For me, my day in the evening has already arrived!
O France, nobil suol, so dear to my two years!
Fontainebleau! the vices are opened to you.
I swear eternally of love there God listened to me,
And this eternity one day only lasted.
Among you, vague gardens of this Iberian land,
If Carlo still has to stop the steps in the evening,
That the clods, the ruscel ', the sources, the woods, the flowers,
Our harmonies sing with their harmonies.
Goodbye, beautiful dreams d'ôr, lost illusion!
The knot broke, the light is mute!
Goodbye, two years, still! yielding to the cruel duol,
The core has a sol desir: the peace of the avel!
You who knew the vanities of the world
And enjoy in the avel of a deep rest,
If you still cry in the sky, cry on my pain,
And yours with my weeping bears the sign of the Lord.

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Sheetmusic in our database with this aria

Operatic Anthology: Soprano