Debunking more criticisms of Maria Callas

Please make sure you have watched the previous video:    • Debunking Every Anti-Callas Argument Ever   0:04 Callas' 1954 Chénier vs Tebaldi, and why I, too, think the 1955 live recording was better 2:33 "Callas had wobble in 1957 In questa reggia from Puccini's Turandot" 4:58 Ending scene of Andrea Chénier 6:20 Vissi d'arte ending 10:25 Luisa Tetrazzini and the break between registers (if she was really against it then why she herself sang in this way?) 11:30 Callas' 1952 Caro nome phrasing, the real problem isn't her but the conductor 13:30 "Callas' high notes in Mozart Entführung aus dem Serail aria were constricted" 15:44 Callas' 1960 studio Norma vs Verrett's modern school singing vs Callas' 1965 LIVE Norma