Highlighted comments from the commenters below:
-From ghostofyeats: In terms of pure musical thrill, this is my favorite Callas moment. The variation on the last verse with the staccati up to Eb and descent to Ab is magical, but what I love most is actually the part immediately after (at 2:43). Bernstein's tempo is breathtakingly fast, but Callas dispatches the series of turns with arrogant ease. She is the only person who does the 'con gran forza' on the last set of sixteenth notes. It's a pure diva move, but also exactly what Bellini has written into the score. Then, of course, she follows up with a laser-like Eb that bursts out of nowhere. It's one of my favorite moments because it isn't an interpolation or a cadenza, just a superhuman interpretation of Bellini's written notes, that no one else has come even close to. (There is a muffled 1965 version with Sutherland that comes close, but Bonynge's awful conducting elsewhere ruins it.)

-BZBlaner:
If a vocal ornament could reach diamond status, the ascending staccati to E-flat at 2:18 would be it. I cannot even begin to fathom the amount of voice physiology involved. A true butterfly.
-tonshaad1230:
They claim 1952 was the year of Callas, same for 1950 Mexico. For me? Anything after '54-''65 is her years. The voice of opera, the complete and outstanding female queen of Opera showed her true colors after losing the weight and it showed in her easy vocalisms. For example, she demonstrates messa di voce and allarrendo on staccato notes! No one has done that and maintained the flow of the melody, with a clear-cut example of legatissimo!
Wondrous examples as usual Lohengrin. I haven't been on commenting on your videos but know I am still here, lurking to my "dear public"
-From Théodore Gavaliatsis:
After the crystal-clear staccato ascending passage she deliciously descends down to lower contralto chest-notes, makes it sound as easy as breathing.
I have to admit this descending variation to the low Aflat is so thrilling and equally beautiful to the perfectly executed ascending staccati cascade. Sutherland also uses this lower variation in the first recording of Sonnambula where she is vocally on fire but I doubt she ever sang it live. It sounds like the badge of honor of a true Assoluta.

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