{"title":"Maria Callas","description":"Maria Callas, Commendatore OMRI (Greek: Μαρία Κάλλας; December 2, 1923 – September 16, 1977), was a Greek-American soprano, and one of the most renowned and influential opera singers of the 20th century. Many critics praised her bel canto technique, wide-ranging voice and dramatic interpretations. Her repertoire ranged from classical opera seria to the bel canto operas of Donizetti, Bellini and Rossini and further, to the works of Verdi and Puccini; and, in her early career, to the music dramas of Wagner. Her musical and dramatic talents led to her being hailed as La Divina.\u003cbr\u003e\u003cbr\u003eBorn in New York City and raised by an overbearing mother, she received her musical education in Greece and established her career in Italy. Forced to deal with the exigencies of wartime poverty and with myopia that left her nearly blind onstage, she endured struggles and scandal over the course of her career. She turned herself from a heavy woman into a svelte and glamorous one after a mid-career weight loss, which might have contributed to her vocal decline and the premature end of her career. The press exulted in publicizing Callas's temperamental behavior, her supposed rivalry with Renata Tebaldi and her love affair with Greek shipping tycoon Aristotle Onassis. Although her dramatic life and personal tragedy have often overshadowed Callas the artist in the popular press, her artistic achievements were such that Leonard Bernstein called her \"the Bible of opera\" and her influence so enduring that, in 2006, Opera News wrote of her: \"Nearly thirty years after her death, she's still the definition of the diva as artist—and still one of classical music's best-selling vocalists.\"","products":[{"product_id":"paco085","title":"CALLAS Bellini: I Puritani (1953) - PACO085","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003eI Puritani\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1953\u003cbr\u003eTotal duration: 2hr 19:58\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGiuseppe Di Stefano\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eChorus \u0026amp; Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eTullio Serafin\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fCallas is the thing here, and nobody who admires her art can be without this historic set578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\nJohn Steane in his notes to this set rightly reminds us that it was \nCallas's famous 78rpm record of Elvira's Second Act scena that awakened \nmany attentive ears to the particular calibre and magic of Callas's art.\n By the time this set (which appeared three or four years later) was \nmade, she was an established star, and the uniquely elegiac, plangent \nquality of her Bellini singing was amply confirmed. I can hardly think \nof any music in all her recorded repertory I would rather hear her \ninterpret than \"Qui la voce\", \" Oh, vieni al tempio\" from the Wedding \nscene, or \"Son vergin vezzosa\" . They seem to adumbrate the very best of\n her art : the limpid tone (here, in her prime, warm and sensuous), her \nmoving, meaningful way with coloratura, pointed diction. That last \nattribute, allied to that vulnerable feeling Callas could always bring \nto her voice, are heard to marvellous effect in the recitative, most of \nall in the passage where Elvira is restored to her senses when her \nbeloved Arturo returns to her side. \u003cbr\u003e \u003cbr\u003e The remainder of the cast \nhave not had a good press, but I must admit that, at this distance of \ntime, I find di Stefano's bold, ardent singing, even if it is not so \ngraceful as one might wish and at times too strenuous, most appealing \nand Rolando Panerai's incisive, vibrant voice near-ideal for Riccardo. \nThen , Rossini-Lemeni, as the fatherly Gualtiero, is here heard to \ngreater advantage than on his other recordings, his cantabile truly \nBellinian. Serafin is, as ever, masterly in control of BelIinian line \nand drama, so it is a great pity such huge swathes of the score are \nexcised. For more complete versions of the score you would ha ve to turn\n to Muti's excellent version with Caballe:, were it available (EMI \nSLS5201, 1\/81), or the Sutherland\/ Bonynge set (Decca SET587, 7\/75). But\n what we have is here contained on two LPs (a CD release is scheduled \nfor later this year), each with very long sides and not a hint of \ndistortion. Also the awful mistake of using 'mock' stereo, as on the \n1978 reissue, is here eschewed. \u003cbr\u003e \u003cbr\u003e I like the way the engineers, \nin the early 1950s, recorded voices rather than, as has often happened \nsince, space; but the orchestra sounds somewhat boxy by modern \nstandards. I find it odd that the booklet retains Francis Toye's essay \non Bellini, which refers to articles in the old Grove; at least it \nshould have been updated. But Callas is the thing here, and nobody who \nadmires her art can be without this historic set.\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eA. B., Gramophone\u003c\/b\u003e, September 1987, \u003cem\u003eEMI reissue, excerpt\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO085.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe year 1953 was a phenomenally busy one in the studio \nfor Maria Callas. The previous September had seen her first opera \nrecording. 1953 saw \u003cem\u003eLucia di Lammermoor\u003c\/em\u003e (January \u0026amp; February), \u003cem\u003eI Puritani\u003c\/em\u003e (March), \u003cem\u003eCavalleria Rusticana\u003c\/em\u003e (April \u0026amp; August), \u003cem\u003eTosca\u003c\/em\u003e (August), and \u003cem\u003eLa Traviata\u003c\/em\u003e\n (September) all recorded by EMI. The middle three were recorded at La \nScala in Milan, where Callas was to record the majority of her major \nopera recordings, with the present recording being the first of these.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs was typical of the day, the voices were dry and the \norchestra somewhat boxy and wooden in sound quality, generating a sound \nwhich was relatively clean and clear but not particularly flattering to \nany of the musicians. Furthermore the lower end was somewhat feeble, \nleaving the lower male voice sounding a little pale; overall the sound \nwas flat and one-dimensional. This XR-remastering, best heard in its \nAmbient Stereo version, tackles all of these shortcomings; whilst of \ncourse the recording remains central and mono, a sense of reality and \nspace is opened up around voices and and orchestra we can truly believe \nin. The singers - both soloists and chorus - are immediate and very much\n alive in front of the listener, and the orchestra's tone is full and \nclear, shedding any hint of boxiness\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eCareful analysis or residual hum suggests an orchestral pitch of around A4=447Hz, which has been adopted here.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCALLAS\u003c\/b\u003e \u003cb\u003eBellini\u003c\/b\u003e: I Puritani (1953)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003eI Puritani\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSinfonia\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAll'erta! All'erta!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eO di Cromvel guerrieri\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eA festa!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOr dove fuggio io mai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAh! per sempre io ti perdei\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eO amato zio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSei com'arde in petto mio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOdi, Qual suon si desta\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 3\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAd Arturo onore\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eA te, o cara, amor talora\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI rito augusto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSon vergin vezzosa\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAh vieni al tempio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAh, dolor! Ah, terror!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eQual novella\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCinta di fiori\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eO rendetemi la speme\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVien, diletto, è in ciel la luna!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIl rival salvar tu dêi\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSe tra il buio fantasma vedrai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRiccardo! Riccardo!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct III\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSon salvo, alfin son salvo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eA una fonte afflitto e solo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eQual suon! Alcun s'appressa\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSon già lontani!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFinì, me lassa!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eViena, vieni fra queste braccia\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e29.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAlto là!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e30.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCredeasi, misera!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e31.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSuon d'araldi\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:16)\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eText: Carlo Pepoli\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 24-30 March, 1953\u003cbr\u003eBasilica di Santa Eufemia, Milan\u003cbr\u003eProducer: Dino Olivieri\u003cbr\u003eEngineers: I. Varisco\u003cbr\u003eCatalogue numbers Columbia 33.CX.1058-60\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTHE CAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eElvira - \u003cb\u003eMaria Callas \u003ci\u003esoprano\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eLord Arturo Talbo - \u003cb\u003eGiuseppe Di Stefano \u003ci\u003etenor\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eSir Riccardo Forth - \u003cb\u003eRolando Panerai \u003ci\u003ebass\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eSir Giorgio - \u003cb\u003eNicola Rossi-Lemeni \u003ci\u003ebass\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eEnrichetta di Francia - \u003cb\u003eAurora Cattelani \u003ci\u003emezzo-soprano\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eSir Bruno Robertson - \u003cb\u003eAngelo Mercurialli \u003ci\u003etenor\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eLord Gualtiero Valton - \u003cb\u003eCarlo Forti \u003ci\u003ebass\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra and Chorus of Teatro all Scala\u003c\/b\u003e\u003cbr\u003eChorus Master\u003cb\u003e Vittore Veneziani\u003c\/b\u003e\u003cbr\u003eConductor\u003cb\u003e Tullio Serafin\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO085.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO085.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":37144356557,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144356621,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144356685,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37144356749,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO085.jpg?v=1494337777"},{"product_id":"paco083","title":"CALLAS Bellini: Norma (1955, live) - PACO083","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003eNorma\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive recording, 1955\u003cbr\u003eTotal duration: 2hr 34:37\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e Norma\u003cbr\u003e\u003cb\u003eMario Del Monaco\u003c\/b\u003e Pollione\u003cbr\u003e\u003cb\u003eChorus and Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003eConductor \u003cb\u003eAntonino Votto\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf there is a single Norma of Callas to have, it is probably this one ... anyone who cares about this performance really needs the Pristine version.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis performance previously released on the MYTO label was reviewed in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e32:3\n by Marc Mandel along with six other operas starring Maria Callas. As \nMandel wrote: “By now all of Callas’s recordings have been so much \ndiscussed in the literature that my aim here is to consider these \nperformances as briefly and efficiently as possible.” I certainly agree \nwith Mandel and will follow his advice and try to be both brief and \nefficient. As Mandel pointed out, and as is mentioned in the brief notes\n on the inside of the cover, the first 15 minutes of this performance \nwere not recorded and they are again in this release spliced in from the\n earlier RAI concert performance with Del Monaco. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eI agree with Mandel who praised this \nperformance as “so overwhelming theatrical as to make for an amazing \nvisceral listening experience, reaching levels of excitement as \nthrilling as anything I’ve ever heard on disc.” Not only does it feature\n Callas and Del Monaco, two of the greatest star singers of their era, \nbut also the wonderful mezzo Giuletta Simionato and the fine bass Nicola\n Zaccaria. Antonio Votto’s conducting brings out the drama in the score.\n There is no booklet, just what are labeled Transfer notes by AR, who \nexplains how he improved the sound through remastering. The program \nnotes, as for other Pristine Audio recordings, can be obtained online. \nRecommended to anyone who does not have a copy of the MYTO release. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBob Rose\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003eT\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003ehis article originally appeared in Issue 36:4 (Mar\/Apr 2013) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIf Pristine were going to make the obvious choice of a live Callas \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNorma \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003efor\n restoration, it might have been the 1955 Rome RAI broadcast, because it\n was conducted by the more famous and highly admired Tullio Serafin. And\n yet, as Marc Mandel hints in his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e31:6\n review of that RAI recording, this might well be the preferred version.\n Because it is a fully staged performance in a great opera house, it \nseems to me that it reaches levels of intensity and sheer dramatic power\n not present on the RAI, even with the presence of Serafin. Votto, often\n a routinier, seems to be lifted way above that level by the greatness \nof what was happening on stage that night. The three principals feed off\n of each other, and if there is a single \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNorma \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eof Callas to have, it is probably this one. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThat is particularly true of Pristine’s\n fabulous transfer. My only complaint is that if you get the CD version \nthere is an awful break between the sides which allowed them to fit it \non two discs. But if you download it from their web site, you can avoid \nthat problem. But the sound quality is so much better than its \npredecessors (I know the performance from transfers on the Hunt, Gala, \nand Myto labels) that anyone who cares about this performance really \nneeds the Pristine version. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOne of the major repairs that Andrew \nRose has accomplished is removing virtually all of the flutter—the rapid\n speed variation that particularly affected sustained woodwind notes, \nmaking clarinets sound as if they were underwater. Although he was \n(obviously) unable to restore frequencies that were simply not on the \noriginal source (one does wonder what happened to the masters of the \nScala broadcasts), the frequency range that is there is more naturally \nand pleasingly balanced than elsewhere. All previous incarnations were \nharsh and edgy. That is not the case here. Rose provides fairly detailed\n notes explaining his work. Where there was material missing from this \nperformance, he used the RAI performance to fill it in—I wish he would \nhave been specific about precisely where this occurred. When a company \nspecializes in historic reissues, particularly of live performances, \nthere is an obligation to list the specifics of any changes to the \noriginal that they have made. That is a part of historic preservation. \nNonetheless, in the end one can do little but praise Pristine’s \nremarkable sonic restoration here. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs for the performance—as much as any \nevidence that exists it demonstrates the greatness of Callas, \nparticularly in this most demanding role. Of all her recorded Normas, \nthis finds her with the best balance of superb vocal condition and \nincisive dramatic instincts. One could argue that her singing, as \nsinging, is better in the 1952 Covent Garden performance (released on \nmany labels including EMI), but her insights deepened considerably in \nthe intervening three years. She colors the voice throughout—phrase by \nphrase, without ever seeming fussy or studied. Her fury at Adalgisa, her\n tenderness toward her children, and again her fury at Pollione in the \nfinal scene, all are palpable. She will break your heart as she enters \nin the duet “Mira o Norma” with Adalgisa, darkening the color of the \nvoice poignantly—and, by the way, blending perfectly with Simionato. The\n centerpiece of Callas’s Norma is the monologue “Dormono entrambi,” when\n she considers killing her children and is then horrified at herself. No\n Norma in my experience, and I have heard many, conveys the range of \nemotion inherent in this scene, one of Bellini’s most innovative and \nimaginative inspirations. You cannot come away unmoved. And Callas is in\n great voice throughout, capping act I with a ringing high D♭that soars \nover everyone. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSimionato is in great voice as \nAdalgisa, her voice free and open and her insight into the character \ndeep. She is a true partner for Callas, inflecting and coloring her \nsinging with meaning. The two play off each other superbly. Del Monaco \nis not quite so subtle, but the character of Pollione lacks \nopportunities for subtlety anyway. His voice rings authoritatively, with\n clarion sound and an innate sense of how to shape the music, and his \npresence here is a real asset to the whole. Nicola Zaccaria’s Oroveso is\n a fine addition, and Gabriella Carturan and Giuseppe Zampieri round out\n the cast as Clotilde and Flavio, each adding to the glamor of one of \nthose great nights in the opera house. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs I re-read the above, I feel that it doesn’t adequately express the cumulative power of this Norma. Callas was \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esui generis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Hers was not a classically beautiful voice. But she had a unique \nability to change vocal color in order to fit the sound to the moment of\n the score and the libretto. No soprano in this repertoire could match \nher in this. And in her few prime years, when the voice was steady \nthroughout and the control of dynamics and phrasing was total, there was\n no one like her. This is an historic performance, finally available in \ndecent monaural sound, and as such qualifies for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s Classical Hall of Fame. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:1 (Sept\/Oct 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO083.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn the e-mails which followed our remastering and release earlier this year of Maria Callas's iconic 1953 Tosca (\u003cem\u003ePACO080\u003c\/em\u003e) was one which simply asked me to look at her \u003cem\u003eNorma\u003c\/em\u003e.\n Not knowing to which of the several live and studio recordings she made\n of Bellini's opera my correspondent was referring I decided to do some \nresearch of my own. Time and time again I read that this, the December \n1955 live recording at La Scala, was \u003cem\u003ethe\u003c\/em\u003e performance to hear - despite the terribly poor sound quality. It seemed clear to me that therein lay a challenge...\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAnd a challenge it proved to be. The original recording \nsuffers multiple problems, most of which are clearly audible on previous\n issues on other labels. Audibly wobbly at times, wow and flutter \nafflicts particularly the orchestral sections (happily vocal vibrato \ntends to mask this for the singers); a limited frequency range was \nexacerbated by a weak bass and lower midrange, all of which merged into \nquite heavy background noise; radio interference and crosstalk \nfrequently distracted the listener from the performance; hiss levels \nwere uncomfortably high; and the vocals themselves were frequently \nuncomfortable to listen to as a result of an over-egged upper-midrange \nin attempts to bring clarity to the words.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis new 32-bit XR remastering attempts to address all \nof these shortcomings. Whilst I have to acknowledge the limits of what \ncan be achieved with material like this (one cannot magic up lost \nfrequencies from nowhere!), I've been able to address the pitch issues \nusing the revolutionary \u003cem\u003eCapstan\u003c\/em\u003e pitch stabilisation system (as \nwell as set the final pitch to just a hint under A4=435Hz, in line with \nall measurements of the source material's residual electrical signals), \nbrought out the richness of the lower end whilst separating it from the \nnoise in which it was buried, preserved what upper frequencies were \nthere whilst taming a harshness which could at times be painful at \nhigher volumes, and reduced or entirely eliminated thousands of \nextraneous noises, interference and so forth. As with other releases it \nhas been necessary to fill some gaps where material was missing - I've \nused Callas\/Del Monaco's RAI broadcast of 29 June 1955 for this, and \nre-equalised the earlier material to match as well as possible the La \nScala sound.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe end result is, despite the limitations inherent in \nthe original recording, a remarkable transformation of a magical, \nunforgettable performance.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCALLAS\u003c\/b\u003e \u003cb\u003eBellini\u003c\/b\u003e: Norma (1955, live)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003eNorma\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSinfonia\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIte sul colle\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSvanir le voci!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 3\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNorma viene\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 4\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSediziose voci\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 5\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSgombra è la sacra selva\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 6\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eEccola! va mi lascia\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 7\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVanne, e li cal entrambi\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 8\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAdalgisa! Alma, constanza\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 9\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMa di', l'amato giovane\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOh, di qual sei tu vittima\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIntroduction\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDormono entrambi\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVola — Adalgisa a me guida\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 3\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMe chiami — o Norma\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 4\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNon partí\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 5\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGuerrieri, a voi venirne\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 6\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eEi tornerà. Sì!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 7\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNorma, che fu\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 8\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNè compi il rito, o Norma\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 9\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eE' Pollion!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 10\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIn mia man alfin tu sei\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 11\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAll'ira vostra\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:28)\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003eText: Felice Romani after \u003ci\u003eNorma, ossia L'infanticidio\u003c\/i\u003e\u003cbr\u003e(Norma, or The Infanticide) by Alexandre Soumet\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 7 December 1955 Teatro alla Scala, Milan\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTHE CAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e – Norma\u003cbr\u003e\u003cb\u003eMario Del Monaco\u003c\/b\u003e – Pollione\u003cbr\u003e\u003cb\u003eGiulietta Simionato\u003c\/b\u003e – Adalgisa\u003cbr\u003e\u003cb\u003eNicola Zaccaria\u003c\/b\u003e – Oroveso\u003cbr\u003e\u003cb\u003eGabriella Carturan\u003c\/b\u003e – Clotilde\u003cbr\u003e\u003cb\u003eGiuseppe Zampieri\u003c\/b\u003e – Flavio\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus and Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003eChorus Master \u003cb\u003eNorberto Mola\u003c\/b\u003e\u003cbr\u003eConductor\u003cb\u003e Antonino Votto\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO083.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO083.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32417017293,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417017421,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417017549,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417017613,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO083.jpg?v=1487681956"},{"product_id":"paco119","title":"CALLAS Cherubini: Medea (1959, Covent Garden) - PACO119","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eCHERUBINI \u003c\/b\u003eMedea\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive recording, 30 June 1959, Royal Opera House, London\u003cbr\u003eProducer and XR Remastering: Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Maria Callas and Jon Vickers\u003cbr\u003eas Medea and Giasone in the 1959 Royal Opera House production\u003cbr\u003eTotal duration: 2hr 14:22\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eMedea - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eGiasone- \u003cb\u003eJon Vickers\u003c\/b\u003e\u003cbr\u003eGlauce - \u003cb\u003eJoan Carlyle\u003c\/b\u003e\u003cbr\u003eNeris - \u003cb\u003eFiorenza Cossotto\u003c\/b\u003e\u003cbr\u003eCreonte - \u003cb\u003eNicola Zaccaria\u003c\/b\u003e\u003cbr\u003eSoloists, \u003cb\u003eOrchestra and Chorus of the Covent Garden Opera\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eNicola Rescigno\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis release is extraordinary news for fans of Maria Callas578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is one of those releases that will\n have collectors of great historic recordings alternating cheering in \nexultation and wailing in frustration. Only four issues ago, in 37:3, I \nhailed the new ICA issue of this performance, taken from surviving \nmaster tapes, as being leagues ahead of all preceding issues, and at \nlast providing a live complete opera performance of Maria Callas in \nfully listenable, realistic sound. Now, with this new issue, Andrew Rose\n has accomplished the seemingly impossible; he miraculously supersedes \nthat ICA issue with a remastering from a new private source, “taped from\n the high-quality FM broadcast on the BBC’s Third Programme onto high \nspeed open reel tape” by a private collector. (Two very brief places \nwhere music was lost due to a need to change tape reels, and a few \nmoments of broadcast drop-out near the end of act I, have been filled in\n from previously issued sources, though Rose does an excellent job of \nminimizing the differences in the sound quality of the various sources.)\n One would think that ICA, working from archival master tapes, would \nhave the sonic edge here, but Rose amazingly trumps that release in \nspades. The ICA set remains good, but this is even better—tape hiss \ngreatly is reduced, the frequency range and dynamics are even more open,\n and clarity of details is amplified. Over the years, Rose has steadily \nrefined and improved his trademark XR remastering art, and the results \nare now routinely reaching the point of superlatives for every issue. A \nsecondary but welcome bonus is that, unlike the ICA release, this \npreserves the broadcast introductions to each act (including a reading \nof notes written by Andrew Porter). While every Callas maven on the \nplanet has doubtless already invested in the ICA set, a further \nexpenditure of funds to acquire this Pristine Audio version (the wailing\n in frustration side of matters) will be for such collectors virtually a\n moral and not merely an aesthetic imperative. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs I discussed the performance in \ndetail in my previous review, I will only briefly summarize that here. \nOf the six surviving Callas performances of the title role of this work,\n this is more than ever the one to have; indeed, it is a crown jewel of \nher discography, even if it stems from about two years after the first \nsigns of her vocal decay became evident (though she is in exceptionally \ngood voice here). As Giasone, Jon Vickers is a fully worthy partner and \ndramatic foil; Zaccaria, Cossotto, and Carlyle anchor a first-rate \nsupporting cast; the chorus and orchestra are likewise top-notch; and \nNicola Rescigno (a Callas favorite) provides able guidance and support \nfrom the podium. Tracking is less generous than on the ICA release (20 \ninstead of 29 cueing points), and as always fuller documentation must be\n accessed from Pristine’s web site, but these are very minor \nconsiderations. (While Rose has quite reasonably explained his minimal \npaper documentation as a cost-saving measure to keep his on-demand \nreleases affordable, I wonder if there is any way he could offer \ninterested collectors the option of paying an extra fee for a printed \nbooklet.) More than ever, this remains one of the truly indispensable \nitems of the Callas discography, and (despite the corrupt edition used \nof the score) a landmark in the history of 20th-century operatic \ninterpretation. If one could create a niche higher than “must have,” \nthis release would surely occupy it. But further comment by me is merely\n superfluous, nay tedious; set this review down and order this set \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enow. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames A. Altena\u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAlthough Maria Callas and Jon Vickers \nwere barely three years apart in age (Callas born in 1923, Vickers in \n1926), they collaborated in only one opera, Cherubini’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMedea\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n over a period of five years, from 1958 to 1962. Three live \nrecordings—made in Dallas in 1958, London in 1959, and Milan in \n1961—survive to document this unique partnership. Until now, the favored\n version has been the one from Dallas, which shows both principals in \nblazing form and is decently recorded. By 1961, Callas’s voice had \nloosened and frayed so much that it could no longer sustain the \nferocious demands she was placing on it. Two years earlier at Covent \nGarden she was in better condition, but previous releases of that \nversion have suffered from the poor quality of the recording. Now \nPristine Audio has discovered new tapes that capture the event in \nremarkably satisfying sound, with ample presence and detail. And so at \nlast we have a worthy document of what can now be appreciated as a \nthrilling performance of the first great Romantic opera, involving two \nof the greatest tragedians ever to stride the boards of any opera house.\n \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn several ways, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMedea \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e(or \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMédée\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n as originally titled at the Paris premiere in 1796) was the perfect \nvehicle to bring the artists together, particularly at that specific \npoint in their careers, when Callas was already in decline while Vickers\n was just emerging as a singer of international stature. Inspired by \nGluck’s “reform” operas of the 1760s to 1780s, but with more \nsophisticated orchestration and bolder, more adventurous harmonies (a \nnumber of passages anticipate Beethoven), Cherubini’s opera achieved a \nmarvelous fusion of 18th- and 19th-century styles, harnessing the \nvolcanic passions and theatrical extravagances of Romantic music to a \nClassical discipline. Callas can concentrate on her magnificent gift for\n dramatic declamation, as well as expressive, nobly sculpted cantilena, \nwithout having to contend with any extravagant coloratura or \nexceptionally high notes. And her voice, in 1959, is still sufficiently \nresilient to surmount most of the perils of that murderous act II \nfinale. Vickers is captured in his early prime, before the gravelly \nsnarls and lurching mannerisms began to invade his work: The flow and \nshapeliness of his legato singing is astonishing in a voice of such \nimmense size, and the sound itself (rugged strength enfolding a core of \ntreble-like purity) can be hauntingly beautiful. Both singers, so \ndifferent in background and training, found in this particular opera a \nmoral seriousness—and, amidst the sound and fury, a classical \ndignity—that allowed them to invest their roles with unforgettable \nconviction and candor. Given central performances of such power, it \nhardly matters that the opera was sung in an Italian translation, using \nan abridged score that incorporated recitatives composed by Franz \nLachner to replace the original spoken dialogue. What we experience is a\n musical drama of extraordinary concentration, formal cohesion, and \nintensity. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe remainder of the cast is worthy of\n the occasion. Joan Carlyle and the young Fiorenza Cossotto, as Glauce \nand Neris respectively, sing their arias with lovely tone and \nappropriate feeling. Nicola Zaccaria has the rich bass timbre and the \nauthority for the role of King Creonte. The conductor, Nicola Rescigno, \nis chiefly remembered as Callas’s preferred accompanist during the years\n of her decline. But he was also a musician of culture and experience, \nand the Covent Garden Orchestra plays exceptionally well for him. And I \nhave to say that I’ve never before heard a performance of this opera, \nlive or recorded, that demonstrated so clearly the sheer quality of the \nscore and its historical importance as a bridge between two major \nmusical eras. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJoshua Cohen\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis release is extraordinary news for fans of Maria Callas, and will settle with finality the question of which of the six \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMedea \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eperformances\n left in recorded form by Callas is the best choice. The strengths of \nthis version became fairly clear about a year ago when ICA Classics \nissued a version of this performance that it claims derived from the BBC\n tapes. Suddenly the relatively dim sound we had grown accustomed to in \nearlier versions seemed to open up. But now, for reasons that are not \neasily explained, we have another major degree of improvement in \nPristine’s release. Andrew Rose, Pristine’s owner, says that this \nrecording “was taped from the high quality live FM broadcast on the \nBBC’s Third Programme onto high speed open reel tape, and reproduces the\n event in a way that the existing CDs only hint at.” I heard this \nedition in Pristine’s XR Stereo remastering, a process that adds a \nrealistic sense of space around the music without resorting to the fake \nstereo techniques one remembers from the 1970s. ICA’s edition of this \nperformance was ecstatically received by almost all reviewers, including\n both Lynn René Bayley and James A. Altena in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e37:3. Altena also has a helpful chart in his review for those who wish to know about all six Callas \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMedea \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003erecordings. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt is important to know that while \nthere are specific merits to each of those six (especially, perhaps, the\n incredibly dramatic 1953 performance led by the young Leonard \nBernstein), four of them suffer from cramped or even primitive sound. \nThe only two with sound quality that doesn’t get in the way are the 1957\n studio recording led by Serafin and this one. The studio recording, \nsadly, does not catch Callas in her best voice, and for some reason \nSerafin seems out of sorts too. That recording, which one would have \nexpected to be one of her most important studio efforts, is a huge \ndisappointment. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBut here we have a performance of \nincredible power now available with a level of sound quality that we \nnever dreamed of. The sound is almost as good as a late 1950s studio \nrecording, and finally we can hear Callas and her colleagues with no \ncompensation needed for the sound quality. I almost feel apologetic to \nthose who recently invested in the ICA Classics edition, which was \nclearly better than its predecessors, but the reality is that this is as\n much better than the ICA as the ICA was over earlier versions. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCallas’s portrayal of Medea is one of \nthe classics of the second half of the 20th century operatic world. And \nwhile she might have been in slightly better voice for Bernstein in \n1953, the fact is that she is still singing well here. Her tone is even \nand secure, her ability to color the voice and convey all aspects of \nthis complex character is unparalleled. We get tenderness, pain, fury, \nself-hatred, jealousy, and every other part of the chemical mix that is \nMedea. All of it is audible, clearly, to anyone with ears—even if they \ndon’t know the opera. Here and in Dallas she had her only ideal partner \nas Jason, Jon Vickers. He sings with extraordinary power, but also tonal\n beauty, evenness of tonal emission, and a rare ability to apply vocal \ncolor to dramatic effect. They make an unforgettable pair. Bayley used \nthe word “incendiary” to describe Vickers’s performance, and it is the \nperfect adjective for both singers. Listen to Callas’s entrance in the \nthird act, “Numi, venite a me.” This is a sound that etches itself into \nyour memory, and doesn’t leave. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe rest of the cast is very fine, and \nRescigno’s conducting is in that zone that lies between competence on \none hand and revelatory inspiration on the other. This is more than \ngood, workmanlike conducting; he knows the style, he knows his singers, \nand he keeps the music flowing with energy and at the same time beauty. \nThe version used includes the usual cuts from that period, and the \nspoken dialogue of Cherubini’s original was replaced by Franz Lachner’s \nrecitatives, which again was standard for that era. Musicologists can \ncomplain, and to some degree they are right in feeling that the \nCherubini original, heard in French, is a finer work. But until another \nartist like Callas comes along and sings it, I’ll take this bastardized \nversion with her every time. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAnyone who cares about the art form of opera should have a Callas \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMedea\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n represented in their collection, and now it is perfectly clear that it \nis this Pristine transfer of the 1959 Covent Garden performance that is \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethe \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eone. This release practically defines why the Classical Hall of Fame exists in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO119.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e“Anyone\n who cares about the art form of opera should have a Callas Medea \nrepresented in their collection, and now it is perfectly clear that it \nis this Pristine transfer of the 1959 Covent Garden performance that is \nthe one\"\u003cbr\u003e- Fanfare\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhat could \npossibly justify revisiting a recording most recently issued (under \nofficial license) less than 18 months ago? Quite simply, the colossal \nleap forward in sound quality afforded by the discovery of source \nrecordings that, even in their raw state, were streets ahead of any \nprevious CD issue of this hugely important historic broadcast \nperformance.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe recording was taped from the high quality live FM broadcast on \nthe BBC's Third Programme onto high speed open reel tape, and reproduces\n the event in a way that the existing CDs only hint at. There were two \nvery brief sections where tape changes required patching, and three or \nfour moments of very brief tape dropout to fix towards the end of the \nfirst act; these aside, the broadcast has been marvellously preserved, \ntogether with BBC announcements.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eXR remastering has only served to further enhance such excellent \nsource material, almost totally eliminating tape hiss, and bringing \nforth a full and brilliant live sound that frequently matches - and in \nsome cases exceeds - the quality of Maria Callas's studio recordings \nmade in her 1950s heyday. No opera lover or Maria Callas fan can surely \nafford to be without this Medea!\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCALLAS\u003c\/b\u003e \u003cb\u003eCherubini\u003c\/b\u003e: Medea (1959, Covent Garden)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRadio Introduction\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:32)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCHERUBINI \u003c\/b\u003eMedea\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOverture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIntroduction Che Quando gia corona\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIo cedo all buona preghiera — O Amore, vieni a me\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo, non temer\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eO bella Glauce — Colco! Pensier fatal\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOr che piu non vedro — Ah, gia troppo turbo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePronube dive\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSignor! Ferma una donna — Qui tremar\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTaci, Giason — Dei tuoi figli la madre\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSon vane pui minacce — Nemici senza cor\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIntroduction\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSoffrir non posso — Data almen, per pieta\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMedea! o Medea! — Solo un pianto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCreonte a me solo — Figli mie\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHai dato pronto — Ah! Triste canto!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct III\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIntroduction\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNumi, venite a me\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDel fiero duol\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eD'amore il raggio ancora — Finale E che Io son Medea!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(17:00)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003ci\u003eMedea\u003c\/i\u003e - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eGiasone\u003c\/i\u003e - \u003cb\u003eJon Vickers\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eGlauce\u003c\/i\u003e - \u003cb\u003eJoan Carlyle\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eNeris\u003c\/i\u003e - \u003cb\u003eFiorenza Cossotto\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eCreonte\u003c\/i\u003e - \u003cb\u003eNicola Zaccaria\u003c\/b\u003e\u003cbr\u003e\u003ci\u003ePrima ancella\u003c\/i\u003e - \u003cb\u003eMary Wells\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eSeconda ancella\u003c\/i\u003e - \u003cb\u003eElizabeth Rust\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eCapo delle guardie\u003c\/i\u003e - \u003cb\u003eDavid Allen\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCovent Garden Opera Chorus and Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNicola Rescigno\u003c\/b\u003e, conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBroadcast live from the\u003cbr\u003eRoyal Opera House, London\u003cbr\u003eBBC Radio Third Programme\u003cbr\u003eTuesday 30 June 1959\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO119.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO119.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975432141,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975432205,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975432269,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975432333,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO119_34605ae7-bb37-4b3f-89ff-2de2dc64a85b.jpg?v=1487681959"},{"product_id":"paco084","title":"CALLAS Donizetti: Lucia di Lammermoor \u0026 First studio recordings (1953\/1949) - PACO084","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eDONIZETTI \u003c\/b\u003eLucia di Lammermoor\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1953 and 1949\u003cbr\u003eTotal duration: 2hr 12:58\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e - Lucia\u003cbr\u003e\u003cb\u003eGiuseppe Di Stefano\u003c\/b\u003e - Edgardo\u003cbr\u003e\u003cb\u003eTito Gobbi\u003c\/b\u003e - Enrico\u003cbr\u003e\u003cb\u003eChorus \u0026amp; Orchestra of the Maggio Musicale, Florence\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eTullio Serafin\u003c\/b\u003e, conductor\u003cbr\u003e\u003cb\u003eOrchestra Sinfonica di Torino della RAI\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArturo Basile\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare \u0026amp; Gramophone Historic Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fMuch credit is due to Tullio Serafin for his admirable direction of the opera and to the engineers for a most excellent recording578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIn \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e28:6\n I reviewed a release of this performance on EMI. It was digitally \nremastered by engineers who had no idea what the voices sounded like, \nand the sound was simply awful. In the same issue George Jellinek \nreviewed this performance that was issued on the Naxos label and stated \nthat it was audibly acceptable. He pointed out that “Serafin observes \nall of unfortunate cuts of his disrespectful era, including the intense \nWolf’s Crag confrontation between Edgardo and Enrico.” In \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e34:1,\n Bart Verhaeghe reviewed still another issue of this performance on \nBrilliant and praised the sound quality. I certainly agree that \nconductors of that era had little respect for the geniuses who created \noperas. It was a time that \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ebel canto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n had been replaced by con belto, and operas of the old period were \nalways cut to pieces. This performance gives us three wonderful singers,\n Callas, Di Stefano, and Gobbi, and it is a shame that they were not \nallowed to perform the whole opera. This recording has as I mention \nabove been released before more than once. The only reason for any \ncollector to purchase this release is if they don’t have any copy of the\n arias from her first recording session. The sound quality on this set \nis quite good. The only notes are about the transfer and are on the \ninside of the cover, and it is stated that full program notes can be \nfound online.\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eBob Rose\u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 36:4 (Mar\/Apr 2013) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eA lot of hard things have been said about Donizetti's \u003cem\u003eLucia di Lammermoor\u003c\/em\u003e,\n some of them justly; but, given a performance of the quality we have \nhere, there is plenty of life in the old opera and, once Lucia herself \ncomes on the scene, it is often very moving and always enjoyable, in \nspite of the librettist's hash up of Walter Scott's novel.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe weakest part of the opera is, fortunately, the first\n scene of all. The orchestral IntroductIon, impressive enough, is \nfollowed by a conventional chorus, ending with the stage direction \n\"exeunt rapidly\" : but not a moment too soon! Tito Gobbi does his best \nto make a living person of Sir Henry Ashton, and throws in a top G for \ngood measure, but nothing can really animate this lay figure. The \nconversational exchanges and Gobbi's Cavatina are rather too loudly \nrecorded and a much better balance is attained in the next scene, by the\n fountain, in which Lucia makes her first appearance. There is that \nrather naive business with the harp, by way of establishing \n\"atmosphere\", and then comes Lucia's solo \u003cem\u003eRegnava nel silenzio\u003c\/em\u003e,\n sung with a lovely legato by Maria Callas, who has already, one need \nhardly say, established Lucia, in the recitative, as a person of \ncharacter. She ends the aria with a beautifully executed cadenza, \ndisplaying those wonderful rich high notes of hers, but preceded by some\n rather bumpily recorded trills—the only place one can say this of them.\u003cem\u003e Quando rapito\u003c\/em\u003e,\n with its exquisitely done decorations, and finely moulded sequences, \ncompletes one's utter enjoyment of what is clearly going to be a great \nperformance of the part. Stefano, who now appears, uses his fine voice \nmore circumspectly than in \u003cem\u003eI Puritani\u003c\/em\u003e and the ensuing duet, \nwith a thrilling entry by Callas at \"Deh, ti placa\", is most enjoyable. \nBoth artists excel in the singing of \u003cem\u003eVeranno a te\u003c\/em\u003e, which it is silly to write off as a commonplace waltz. It can only be made into that by the adoption of the wrong tempo.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAfter the duet between Ashton and Lucia (Callas puts a \nwonderful amount of pathos into her singing of \"0 Ciel\") the aria of \nRaimondo (Bide-the-Bent) is cut, and Arié has to wait for his chance \nuntil later in the opera. The cuts throughout are, indeed, extensive.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe celebrated Sextet, \u003cem\u003eChi mi frena\u003c\/em\u003e, is \npreceded by one of the funniest remarks in opera, Lucia's \"Tis Edgar ! \nOh thunderbolt\", disguised for most of us, in the Italian text, as \"oh \nfulmine\". The Sextet may seem small beer compared to the Rigoletto \nquartet, or the Meistersinger quintet, but it is undeniably effective \nsung with such an excellent ensemble—how cunningly the orchestral start,\n pizzicato, fixes one's attention—and the contract episode is most \ndramatically presented. The first scene of Act 3 (\u003cem\u003eA Hall in the Castle of Ravenswood\u003c\/em\u003e) is cut and the act begins with the festive music of the next scene, \u003cem\u003ea Hall at Sir Henry Ashton's Castle\u003c\/em\u003e.\n A tribute may be paid here to the unfailingly lively singing of the \nchorus. Arié sings a brief aria well and is followed by the tuneful \nchorus \"Oh! qual funesto\", in which he joins.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAnd now comes the great moment, the Mad Scene. \nSutherland Edwards pointed out, many years ago, that the heroine of \nLucia can go mad in two different ways. Patti, Nilsson, Albani (we can \nadd Melba) did not rave, were not \"insanely eccentric, scarcely ever \nflighty\". They were regretful, moonstruck, with a poetry not unlike that\n of certain \u003cem\u003eNocturnes\u003c\/em\u003e by Chopin. He continues that Jima de \nMurska, a famous singer of his day, took quite another line and behaved \nlike a lunatic who at any moment might become dangerous, though \nremaining, naturally, in perfect control of her voice!\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eCallas's impersonation lies somewhere between these two.\n It is filled with the deepest pathos (as in her singing of \"Alfin son \ntua\", in the section beginning \"Ardon gli incensi\", which is quite \nunforgetable) and it has an impulsive, excitable note in it that conveys\n the derangement of the poor girl's mind. With all this goes the most \nsuperb vocalisation. In the cadenza before \u003cem\u003eSpargi d'amaro\u003c\/em\u003e, \nCallas knocks the flute out and we hear him only as a little timid \ntootle in the background. Here is certainly some of the finest singing \nof our time, and there is one moment in the repeat of \u003cem\u003eSpargi d'amaro\u003c\/em\u003e\n when the voice is recorded with all the actuality of three dimensional \nsound. It is startling. After the final thrilling E flat I had (this is a\n joke now with my friends) to take a turn in the garden to cool down!\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eIt is rough luck on Edgardo to have to follow on \nsuch an achievement : but without any straining after effect Stefano \nsings his celebrated aria \u003cem\u003eFra poco a me ricovere\u003c\/em\u003e very well : \nand in the later scene, when he stabs himself, his singing, to a \nbeautifully played 'cello obbligato, is very moving. Much credit is due \nto Tullio Serafin for his admirable direction of the opera and to the \nengineers for a most excellent recording.\u003cbr\u003e \u003cbr\u003e \u003cb\u003eA.R., The Gramophone\u003c\/b\u003e, March 1954\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO084.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis recording of \u003cem\u003eLucia di Lammermoor \u003c\/em\u003ewas Maria\n Callas's first opera for EMI, and one of very few of her classic 1950s \nEMI opera recordings not made in Milan with the orchestra and chorus of \nLa Scala. It was her second full opera recording, and only her third \nofficial studio recording session. Despite some major cuts in the score,\n it was hailed on its release, with A.R. writing not only praise for \nCallas in his review in The Gramophone: \"Much credit is due to Tullio \nSerafin for his admirable direction of the opera and to the engineers \nfor a most excellent recording\".\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFrom a technical perspective the original recording is \ninteresting. Despite at times being apparently unremittingly dry, \noccasionally we do get a sense of space and acoustic. Equalisation \nfavours clarity of voice above all, and there is a real lack of depth in\n the sound (and, it turns out, a lot of murk and muck in the lower \nregisters). Working on these two areas in particular rounds out the \nsound of the male voices in particular, making their previous \nincarnations sound somewhat impotent, as well as giving the orchestra a \nfar more convincing presence. But of course it is Callas who shines \nhere, and with the slightest cushioning of real opera house acoustics (in\n this case I found the Sydney Opera House to offer the most \naccommodating sound without sacrificing the clarity of the original \nrecording) she sounds more ravishing than ever.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eA quick note about the early Callas recordings: in \ncleaning these up I discovered low-pitched 50Hz mains hum which \nsuggested an unusually high orchestral pitch (A4=-~460Hz) running \nthroughout the three direct-to-disc 78rpm sessions. Repitching the \nrecordings from standard 440Hz by using this reference immediately \nrelieved them of an unusual heaviness of voice and sounded very \nconvincing. Despite this remarkable degree of sharpness I elected to \nbelieve that what my measurements and ears were telling me was indeed \ncorrect.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCALLAS\u003c\/b\u003e \u003cb\u003eDonizetti\u003c\/b\u003e: Lucia di Lammermoor \u0026amp; First studio recordings (1953\/1949)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDONIZETTI \u003c\/b\u003eLucia di Lammermoor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePrelude and Opening Chorus\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCruda, funesta smania\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRegnava nel silenzio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSulla tomba che rinserra\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLucia fra poco a te verrà\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIl pallor funesto, orrendo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePer poco fra le tenebre\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eChi mi frena in tal momento\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eT'allontana, sciagurato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct III\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eD'immenso giubilo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDalle stanze, ove Lucia\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAlfin son tua\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFra poco a me ricovero\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(17:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29, 30 January and 1, 3, 4, 6 February 1953, Teatro Comunale, Florence\u003cbr\u003eProducer: Dino Olivieri\u003cbr\u003eEngineers: Oswaldo Vareso, David Pickett\u003cbr\u003eCatalogue number Columbia 33.CX.1131\/2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix Nos 71294-2, 71295\u003cbr\u003eCatalogue number Cetra CB.20481\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix Nos 71296, 71297-2\u003cbr\u003eCatalogue number Cetra CB.20482\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix Nos 71298, 71299\u003cbr\u003eCatalogue number Cetra CB.20483\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eText: Salvadore Cammarano after Sir Walter Scott's historical novel \u003ci\u003eThe Bride of Lammermoor\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra and Chorus of the Florence 'Maggio Musicale'\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eChorus Master Andrea Morosini\u003c\/b\u003e\u003cbr\u003eConductor \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e \u003ci\u003eTristan und Isolde\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDolce e calmo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Turin, 8 November 1949\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eNorma\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCasta Diva\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAh! Bello a me ritorna\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Turin, 9 November 1949\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBellini: I Puritani — O rendetemi la speme\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBellini: I Puritani — Qui la voce sua soave\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBellini: I Puritani — Vien diletto, è in ciel la luna\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:19)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eI Puritani\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded Turin, 10 November 1949\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra Sinfonica di Torino della RAI\u003c\/b\u003e\u003cbr\u003eConductor\u003cb\u003e Arturo Basile\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO084.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO084.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eDONIZETTI \u003c\/b\u003eLucia di Lammermoor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTHE CAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eLucia - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eEdgardo - \u003cb\u003eGiuseppe Di Stefano\u003c\/b\u003e\u003cbr\u003eEnrico - \u003cb\u003eTito Gobbi\u003c\/b\u003e\u003cbr\u003eRaimondo - \u003cb\u003eRaffaele Arié\u003c\/b\u003e\u003cbr\u003eArturo- \u003cb\u003eValiano Natali\u003c\/b\u003e\u003cbr\u003eAlisa - \u003cb\u003eAnna Maria Canali\u003c\/b\u003e\u003cbr\u003eNormanna - \u003cb\u003eGino Sarri\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra and Chorus of the Florence 'Maggio Musicale'\u003c\/b\u003e\u003cbr\u003eChorus Master\u003cb\u003e Andrea Morosini\u003c\/b\u003e\u003cbr\u003eConductor\u003cb\u003e Tullio Serafin\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":37144390989,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144391053,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144391117,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37144391181,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO084.jpg?v=1494337813"},{"product_id":"paco097","title":"CALLAS Leoncavallo: Pagliacci (1954) - PACO097","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eLEONCAVALLO \u003c\/b\u003ePagliacci\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in Milan, 1954\u003cbr\u003eTotal duration: 73:12\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGiuseppe di Stefano\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eTito Gobbi\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eNicola Monti\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRolando Panerai\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOrchestra and Chorus of La Scala, Milan\u003c\/b\u003e\u003cbr\u003eConductor:\u003cb\u003e Tullio Serafin\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe fact is that she has the personality to have an affair virtually under the nose of her husband, and it is this tigress that Callas brings to life vividly578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs with the Furtwängler \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ereviewed\n elsewhere in this issue, I listed this as mono in the headnote because \nthe original recording is monaural, but I heard it in Pristine’s Ambient\n XR stereo remastering. One should never confuse this with the old \n“electronically reprocessed stereo” that the major labels inflicted on \nmonaural recordings for many years. Pristine’s “ambient stereo” is a \nprocess that creates a stereophonic ambience in the space around the \nrecording. There is nothing artificial or phony sounding about it. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI compared this to my favorite earlier \nreissue of this 1954 EMI studio recording, that by Mark Obert-Thorn on \nNaxos (8.111024). While that was a wonderfully clean and vivid transfer,\n this surpasses it. Andrew Rose of Pristine claims that “ambient stereo \nprocessing add[s] a great sense of space and air around the performers,”\n and that is exactly what happens. The EMI original, and the Naxos \ntransfer, sounded a bit fierce and close-in. Those who love this \nperformance should explore this edition. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI was surprised that I was unable to find a review of this recording in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive,\n because it is surely one of the finest recordings of this opera ever \nmade. There have been a number of very good ones, and singer preference \nwill rule most purchase decisions. Bjoerling, Gigli, Tucker, Del Monaco,\n and Corelli all have their fans (I happen to love them all). As for di \nStefano, we know intellectually that he probably shortened his career by\n taking on roles like this, and one can at times hear the strain, but my\n goodness this is a performance as good as any. The natural beauty of \nhis sound was still intact in 1954, and he throws himself into the role \nwith complete abandon. “Un tal gioco” is menacing, and “Vesti la giubba”\n is clearly the statement of a man on the edge of sanity. Some may find \nit over the top, but I find it utterly convincing and moving. His fury \nwhen he comes upon Nedda and Silvio is blood-curdling. He always had an \ninnate feel for the shape of Italian operatic music, and he carries you \nalong with him from beginning to end. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCallas is not a complete success here. \nTop notes are afflicted with a wobble and a distressing thinness of \ntone, and one cannot avoid that reality. However, she is so convincing \nin the role, and so imaginative in ways beyond virtually all other \nrecorded Neddas, that one looks past the problem. Nedda is often \npresented as a simpering and weak character. The fact is that she has \nthe personality to have an affair virtually under the nose of her \nhusband, and it is this tigress that Callas brings to life vividly. Her \nscene with Gobbi, as she rejects and mocks Tonio, is astonishing in its \ndramatic intensity. She is a mistress of vocal color and inflection, and\n I will put up with a few squally high notes in order to hear Nedda made\n something other than the cardboard character we usually get. She and di\n Stefano are particularly convincing in the second act. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCredit must also go to Gobbi as well, \nalways a singer with a brilliant sense of creating a character, never \ncontent to just sing the notes. He is in fabulous voice here throughout.\n Silveri is a fine Silvio, though without the tonal splendor of Robert \nMerrill, who graces the Bjoerling recording with perhaps the finest \nrecorded Silvio ever. Even the role of Beppe is superbly taken here by \nNicola Monti. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFinally, there is the idiomatic and \ntrenchant conducting of Serafin. He was an acknowledged master of the \nidiom, and manages to find the perfect balance of drama and lyricism, \ntenderness and fury, throughout. He turns the Intermezzo into a \nmini-masterpiece. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs is usual, Pristine provides minimal\n notes and no libretto. But they deserve our gratitude for restoring, \nwith love and skill, a classic recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePagliacci \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethat will provide great listening pleasure. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 37:4 (Mar\/Apr 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO097.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHaving cast around for recording venues, \nhere we find Callas and EMI at La Scala, which would be the favoured \nstage from then on for her studio operatic recordings. Many of the sonic\n problems that had plagued earlier studio recordings had by now been \novercome, and thus in remastering this recording my main aims in using \n32-bit XR remastering to inject life, clarity and depth into the overall\n sound was considerably less tricky than previously with Callas. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHappily the results do indeed bring \nsignificant improvements over the original sound, with Ambient Stereo \nprocessing adding a great sense of space and air around the performers -\n this is my recommended format. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCALLAS\u003c\/b\u003e \u003cb\u003eLeoncavallo\u003c\/b\u003e: Pagliacci (1954)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eLEONCAVALLO Pagliacci\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePrologue — Si può Si può\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSon qua!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eUn grande spettacolo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eUn tal gioco, credetimi\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI zampognari!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eQual fiamma avea nel guardo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSei là!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSo be che lo scemo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNedda! Silvio!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eE fra quest'ansie\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNon mi tentar!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eE allor perché, di'\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDerisione e scherno!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRecitar!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVesti la giubba\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIntermezzo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePresto, affrettiamoci\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCommedia — Pagliacco, mio marito\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCommedia — Ah! Colombina\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCommedia — Di fare il segno\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCommedia — Arlecchin!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCommedia — Coraggio!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCommedia — No, Pagliacco non son\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCommedia — Suvvia, così terribile\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12 -17 June 1954, Teatro alla Scala, Milan\u003cbr\u003eProducer: Walter Legge\u003cbr\u003eEngineer: Robert Beckett\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as UK Columbia 33.CXS.1211 and 33.CX.1212\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eNedda - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eCanio - \u003cb\u003eGiuseppe di Stefano\u003c\/b\u003e\u003cbr\u003eTonio - \u003cb\u003eTito Gobbi\u003c\/b\u003e\u003cbr\u003eBeppe - \u003cb\u003eNicola Monti\u003c\/b\u003e\u003cbr\u003eSilvio - \u003cb\u003eRolando Panerai\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus \u0026amp; Orchestra of Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eChorus Master - Vittore Veneziani\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eConductor - \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO097.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO097.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32417031949,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417032141,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417032333,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417032461,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO097.jpg?v=1487681965"},{"product_id":"paco088","title":"CALLAS Mascagni: Cavalleria Rusticana (1953) - PACO088","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMASCAGNI \u003c\/b\u003eCavalleria Rusticana\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1953\u003cbr\u003eTotal duration: 77:25\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e - Santuzza\u003cbr\u003e\u003cb\u003eGiuseppe di Stefano\u003c\/b\u003e - Turridu\u003cbr\u003e\u003cb\u003eChorus \u0026amp; Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eTullio Serafin\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare \u0026amp; Gramophone Historic Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe music comes at you characterised, experienced and weighted with an artistry wholly out of the ordinary578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis recording was first issued on LP on Angel Records in 1953. Harold D. Rosenthal reviewed it in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOpera \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003emagazine\n in November 1954. Rosenthal admired Callas, but thought Di Stefano was \nmiscast, although he admired his singing of the aria “Addio alla madre.”\n He also liked Panerai and was satisfied with Serafin’s conducting. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOnce again we have a remastering of \nthis old recording, by (no relation) Andrew Rose. Callas sings well. \nMichael Scott says in a review of the performance that she is an \nexcellent Santuzza, and I agree. Di Stefano is acceptable although his \nlyric tenor is miscast for a role that requires a dramatic tenor. \nPanerai is a good Alfio and Serafin is a fine conductor. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs usual Pristine Audio offers no \nbooklet. On the inside of the cover there is a copy of brief notes about\n the performance from a 1954 review published in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003emagazine\n in 1954, and an explanation of the recording by A. Rose. On the back \nthere is a listing of the bands and advice as to how to receive a full \ncatalog. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe sound is loud and clear. I have \nnot compared it with my original LP recording. It has also been \npreviously released on CD. Anyone who is interested in collecting \nrecordings of Callas and does not have the previous releases is \nrecommended to get this disc. There are many recording of this opera \nthat feature excellent singers and conductors, so this one is for those \nwho collect Callas.\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBob Rose\u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 37:1 (Sept\/Oct 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"body\"\u003eBefore discussing the artistic merits of this latest and third LP \u003cem\u003eCavalleria Rusticana\u003c\/em\u003e,\n note the price. Here is Cav. all on its own on three sides, two discs, \nwhich means that 33CXS1182 is the first single-sided LP to be issued in \nthis country. People with mixed feelings, noting that the price is \nappropriately lower, may also regret that the fourth side is not, in \nfact, an operatic recital by Callas! It may be recalled that this is the\n case with the Decca Cav., except that there the artist is Del Monaco, \nwhich is another story. My view is that the decision not to \"inflict\" a \nfiller on us shows good sense and is a lead by Columbia which I trust \nwill be followed. \u003cbr\u003e \u003cbr\u003e If you bought the second record on its own \nyou would still hear a sizeable portion of an opera which is, so to say,\n a late starter. Side two starts with the Easter Hymn and side three \nwith Santuzza, after the row at the church door, turning to Alfio and in\n vulgar parlance \"spilling the beans\"; followed by Alfio's vow of \nvengeance, intermezzo, chorus, men's quarrel and Di Stefano's powerful \n\"Addio alia madre\". But what I think instantly strikes you is that in \nthe rather conventional opening passage of Santuzza's distress you seem \nto be hearing the music sung for the first time. Callas is an \nexceptional artist in this creative artistry if in nothing else. Elena \nNicolai (Decca) makes it sound very ordinary; \"just another of \nSantuzza's tearful moments\". Milanov (H.M.V.) sings it most touchingly, \nwith a couple of really beautiful high notes. Whether Callas's \ninterpretation strikes you as \"beautiful\" or not, it is arresting. Just \nas in her Lucia, whatever the shortcomings, she suddenly caused you to \nhear some phrase like \"Alfin son tuo\" at the opening of the Mad Scene \nwhere one had hardly noticed it before, so here in page after page of \nthis durable favourite, the music comes at you characterised, \nexperienced and weighted with an artistry wholly out of the ordinary. \nAgainst this you must reckon that quite a number of the notes, in an \nuneven scale, are overloaded, ill-placed or pinched, with an \nunpredictable or hooty quality. To ignore these may be easier for some \npeople than others, but to deny them in the wish to canonize a \nsuperlative artist and raise her above all criticism seems to me \nimpossible. Enough that she makes the solo \"Voi lo sapete\" deeply \naffecting, and the quarrel hair-raising and with the superb amplitude of\n Maestro Serafin's conception, she makes the Easter Hymn sound as one \nhad forgotten it could sound. The tempi are on the slow side by some \nreckonings, but there is nothing scamped or slapdash about the \nperformance, no suggestion of a bawling match. The chorus are not \nperfect and the baritone is rather a crude singer. Otherwise the only \nmatter in question is whether Di Stefano is superior as Turiddu to \nBjörling (H.M.V.). He has a natural advantage over the Swede in his \nringing and clear enunciation of the Italian text. And though he is not \nalways so stylish or so musical a singer as Björling, he scores several t\n imes; e.g. right at the start, the Siciliana is more poetically sung - \nit is Björling's poorest moment; and the Italian's pathos is more \nelemental. It is finally a matter of personal taste whether you prefer \nthis new version to the H.M.V. It is way ahead of the Decca.\u003cbr\u003e \u003cbr\u003e \u003cb\u003eP.H-W., The Gramophone\u003c\/b\u003e, October 1954\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO088.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"She makes the Easter Hymn sound as one had forgotten it could sound\" - Gramophone\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFor Maria Callas's studio career, 1953 set out a working\n pattern which must have been deemed successful enough for it to be \nfollowed in 1954 in almost exactly the same manner. She recorded five \nfull operas for EMI in both 1953 and 1954, and in each case the \"middle\"\n recording was a shorter, single-act work. Appropriately enough, the two\n shorter works in question are frequently linked together: Leoncavallo's\n \u003cem\u003ePagliacci\u003c\/em\u003e, recorded in June 1954, and the present recording of Mascagni's \u003cem\u003eCavalleria Rusticana\u003c\/em\u003e,\n made in June and August, 1953. Three of the soloists appear on both \nrecordings, together with the La Scala orchestra and chorus under \nSerafin. Yet although they were later paired in reissue format, the two \nwere originally released separately, with \u003cem\u003eCavalleria Rusticana\u003c\/em\u003e \nbeing possibly the first British LP issue to span three sides, with the \nfourth side left blank and the second disc sold at a lower price.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs with other recordings Callas made in 1953 there was \nmuch to be done to improve sound quality. What began as a dull, flat, \nlifeless recording has, following XR remastering at the assiduous use of\n the acoustic properties of one of the world's finest opera houses, \ntotally blossomed. Indeed, in side-by-side comparison it's hard to \nbelieve the former could possibly have led to the latter. I've done my \nbest to contain occasional peak distortion in the very loudest sections \n(this is also apparent on EMI's CD issues so I assume is inherent in the\n master recording itself). This aside, this \u003cem\u003eCavalleria\u003c\/em\u003e now bcecomes a wonderful, glowing artefact, a particularly fine recording.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCALLAS\u003c\/b\u003e \u003cb\u003eMascagni\u003c\/b\u003e: Cavalleria Rusticana (1953)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMASCAGNI \u003c\/b\u003eCavalleria Rusticana\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePrelude\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSiciliana (Turiddu)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePrelude (conclusion)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCoro d'Introduizone\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGli aranci olezzano (Chorus)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDite, mamma Lucia (Santuzza)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIl cavallo scalpita (Alfio)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBeato voi, compar Alfio (Lucia)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIo me ne vado (Alfio) — Easter Hymn\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVoi lo sapete, o mamma (Santuzza)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTu qui, Santuzza (Turiddu)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFior di giaggiolo (Lola)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNo, no, Turiddu (Santuzza)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOh! Il Signore vi manda (Santuzza)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eComare Santa (Alfio)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIntermezzo sinfonico\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eA casa, a casa (Chorus)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eViva il vino spumeggiante (Turiddu)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eA voi tutti salute! (Alfio)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCompar Alfio! (Turiddu)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMamma, quel vino è generoso (Turiddu)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:44)\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003eText: Giovanni Targiono-Tozzetti \u0026amp; Guido Menasci after the short story and play by Giovanni Verga\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 16-25 June and 3-4 August, 1953 at Basilica di Sant'Eufemia, Milan, Italy\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eFirst issued in the UK in 1954 as Columbia LPs 33CXS1182\/3\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e - Santuzza\u003cbr\u003e\u003cb\u003eGiuseppe di Stefano\u003c\/b\u003e - Turridu\u003cbr\u003e\u003cb\u003eRolando Panerai\u003c\/b\u003e - Alfio\u003cbr\u003e\u003cb\u003eAnna Maria Canali\u003c\/b\u003e - Lola\u003cbr\u003e\u003cb\u003eEbe Ticozzi\u003c\/b\u003e - Mamma Lucia\u003cbr\u003e\u003cb\u003eChorus and Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003eChorus Master\u003cb\u003e Vittore Veneziani\u003c\/b\u003e\u003cbr\u003eConductor\u003cb\u003e Tullio Serafin\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO088.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO088.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32417037005,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417037069,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417037197,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417037261,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO088.jpg?v=1487681967"},{"product_id":"paco102","title":"CALLAS Puccini: La Bohème (1956) - PACO102","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003eLa Bohème\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio Recording · 1956\u003cbr\u003eTotal duration: 1hr 45:23\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e - Mimì\u003cbr\u003e\u003cb\u003eGiuseppe Di Stefano\u003c\/b\u003e - Rodolfo\u003cbr\u003e\u003cb\u003eSoloists, Chorus and Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAntonino Votto\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI treasure this CD and I think most opera lovers will want to own it578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOpera fans who want to understand the \ntradition of the art will want to be aware of Pristine Audio’s newly \nremastered recording of the 1956 Maria Callas-Giuseppe di Stefano \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa bohème\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Not only does it give us a chance to hear Callas’s intensely expressive\n interpretation of Mimì, we also hear her singing with a cast of her \npeers. Having lost almost 80 pounds a few years earlier, in 1956 Callas \nwas svelte and sounded vulnerable as she sang her tragic role with \nplaintive vocal colors. She touches your heart, especially if you are a \nvisual listener who tends to picture the artists playing their parts \nwhen you don’t see them. The singing of all-time great vocalists such as\n Victoria de los Angeles and Renata Tebaldi is wonderful to hear, but I \nprefer the art of interpretive artists like Callas or Mirella Freni who \nsing and act with equal ability. Freni and Pavarotti sing with exquisite\n phrasing on the somewhat less emotional recording conducted by Karajan.\n Di Stefano portrays Rodolfo as an ardent, passionate lover and he has \ngleaming high notes as well as excellent diction. I find Giuseppe di \nStefano’s bright Italianate vowels more interesting than Jussi \nBjörling’s less sensuous sound, which is heard on the EMI remastered \nrecording from 2002 with de los Angeles, Robert Merrill, and Thomas \nBeecham. On the recording with Tebaldi conducted by Tullio Serafin, \nCarlo Bergonzi sings with exquisite taste, but he does not have the fire\n of di Stefano. Pavarotti has more power than di Stefano but Karajan \ndoes not allow his tenor as much room to emote as Antonino Votto. With \nboth sopranos and tenors, there are no wrong choices here. Preferences \nare simply in accordance with listeners’ individual tastes. Anna Moffo \nis a dazzling Musetta who can be totally self-absorbed one minute and \nprayerfully charitable the next. Although she acts the part of a \nharridan at times, her tones are always sweet and smooth as silk. \nRolando Panerai is a fresh-sounding Marcello who loves Musetta despite \nher faults and portrays his role with burnished tones. He does not have \nthe rich tones that Merrill had, but I found his interpretation more \ncredible. Manuel Spatafora tells Schaunard’s bird story in an amusing \nmanner, and Nicola Zaccaria sings Colline’s overcoat aria with velvet \nlow notes. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003ePristine Audio offers this recording \nin several different formats. If you are a true audio buff, you will \nwant either the compact disc or the ambient stereo 24-bit FLAC download.\n For those who listen on less efficient equipment or in their cars, \nthere are lower priced alternatives, including 16-bit stereo or mono and\n MP3. The lively ambient stereo sound on the CD gives listeners the \nsense of space on a stage and makes this recording sound as though it \nwas made much later than 1956. Pristine Audio discs do not come with a \nbooklet of information, but the company’s web site has excellent \nbackground material and scores as well. I treasure this CD and I think \nmost opera lovers will want to own it. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eMaria Nockin\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 37:6 (July\/Aug 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO102.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"I found Callas’s Mimì one of the most moving I have ever heard\" - The Gramophone, 1958 \u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis classic recording of one of the most popular and oft-performed \noperas ever written was very well recorded for its day (though one can \nonly wish somewhat at headquarters in 1956 had pushed for stereo at this\n point). Alas the current EMI issue, although generally clean and clear,\n is a rather dull, lifeless affair to listen to. This new transfer with \nXR remastering brings real life and sparkle to the production, with a \nsense of real space on the stage especially present in our Ambient \nStereo version.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOn the basis of painstaking investigations of residual electrical \nhums found on the original recordings I've concluded that the orchestral\n tuning used here was around 445.5Hz, and this remaster has been tuned \naccordingly - taking into account, for the first time, tape speed drift \nand minor speed variations between tape machines over the course of the \nrecording. The result is, I hope, definitive.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCALLAS\u003c\/b\u003e \u003cb\u003ePuccini\u003c\/b\u003e: La Bohème (1956)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI La Bohème\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eQuesto mar rosso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePensier profondo!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAbbasso, abbasso l'autor!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSi può\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAl Quartiere Latin\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNon sono in vena\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eChe gelida manina!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSì. Mi chiamano Mimì\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eO soave fanciulla\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAranci, datteri!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eChi quardi\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBeviam. Ch'io beva del tossico!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eQuando men' vo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eChi l'ha richiesto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct III\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOhè, lè, le guardie\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMimi ! Speravo di trovarvi qui\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMarcello. Finalemente\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMimì è una civetta\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eD'onde lieta uscì al tuo grido d'amore\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDunque è propro finita\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct IV\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIn un coupé\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eO Mimì, tu più non torni\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eChe ora sia\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eC'è Mimì\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVecchia zimarra, senti\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSchaunard, ognuno der diversa via\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSono andanti\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOh Dio Mimì!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:10)\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eMimì - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eRodolfo - \u003cb\u003eGiuseppe di Stefano\u003c\/b\u003e\u003cbr\u003eMarcello - \u003cb\u003eRolando Panerai\u003c\/b\u003e\u003cbr\u003eSchaunard - \u003cb\u003eManuel Spatafora\u003c\/b\u003e\u003cbr\u003eColline - \u003cb\u003eNicola Zaccaria\u003c\/b\u003e\u003cbr\u003eBenoît\/Alcindoro - \u003cb\u003eCarlo Badioli\u003c\/b\u003e\u003cbr\u003eMusetta - \u003cb\u003eAnna Moffo\u003c\/b\u003e\u003cbr\u003eParpignol - \u003cb\u003eFranco Ricciardi\u003c\/b\u003e\u003cbr\u003eCustom House Officer - \u003cb\u003eEraldo Coda\u003c\/b\u003e\u003cbr\u003eSergeant - \u003cb\u003eCarlo Forti\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus \u0026amp; Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003eChorus Master: \u003cb\u003eNorberto Mola\u003c\/b\u003e\u003cbr\u003eConductor: \u003cb\u003eAntonino Votto\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eOriginally issued as UK Columbia LPs 33CX.1464-5\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO102.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO102.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":37144425549,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144425741,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37144425997,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO102_d4ee9cd7-4c11-4c57-818e-4c02b8feedfc.jpg?v=1745491612"},{"product_id":"paco113","title":"CALLAS Puccini: Madama Butterfly (1955) - PACO113","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003eMadama Butterfly\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording · 1955\u003cbr\u003eTotal duration: 2hr 18:18\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e - Butterfly\u003cbr\u003e\u003cb\u003eNicolai Gedda\u003c\/b\u003e - Pinkerton\u003cbr\u003e\u003cb\u003eSoloists, Orchestra and Chorus of La Scala Milan\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHerbert von Karajan\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fClassical CD Review review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f Andrew Rose's remastering has worked wonders on this recording made well over a half century ago578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis 1953 [\u003ci\u003esic\u003c\/i\u003e] EMI recording of Puccini's \u003cem\u003eMadame Butterfly\u003c\/em\u003e is\n        considered to be legendary. CD notes quote Alan Blythe as saying it represents\n        Callas \"at the peak of her vocal powers,\" admiring that on\n        occasion \"there\n          are a number of technical shortcomings.\" That is putting it mild!\n          At the time, Callas \u003cem\u003eshould\u003c\/em\u003e have been at her best, but she produces\n          some incredibly ugly sounds,\n          not helped by a recording that originally had some distortion. Often\n          her pitch is suspect, and it is hard to imagine that Karajan, a stickler\n          for perfection, might not have said to her, \"Maria, do you \u003cem\u003ereally\u003c\/em\u003e want\n      to try that D flat at the end of Butterfly's entrance?\" She did give\n      it a stab, and her  wobble on that treacherous note is rather pathetic.\n      No\n      question that dramatically she is magnificent, but for me that cannot compensate\n      for vocal defects. The remainder of the cast is superb, as is Karajan's\n      approach to the music, and \n      Andrew Rose's remastering has worked wonders on this recording made well\n      over a half century ago. However, for a beautifully sung \u003cem\u003eButterfly\u003c\/em\u003e, there\n      are dozens of superior recordings, particularly those featuring Mirella\n      Freni, de los Angeles, Caballé, and Tebaldi, to mention only a few\n      that offer vocal perfection.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO113.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"Callas\n and Karajan raise what is so often a mere tear-jerker into the deep \ntragedy Puccini surely intended ... the performance is quite tremendous\" - The Gramophone\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe 1955 Callas\/Karajan EMI recording of Madama Butterfly is rightly \nregarded as one of the all-time classics. As the legendary Alan Blyth \npointed out in his 1976 review of an LP reissue, it finds Callas at \ntheir \"absolute peak of her vocal form\" with taut, through-conceived \nsupport from Karajan \"at every turn of the drama\". However, Blyth also \nnoted a number of technical short-comings: \"recorded sound that is less \nthan lustrous\", a \"confined\" acoustic, \"the occasional sound of studio \nmovement\" and \"some momentary signs of overloading\".To these I would add\n inconsistent tape speeds leading to drifting pitch, background rumble \ninterspersed with accelerating traffic, and a general sense of a thin \nveil hanging over the sound.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAll of these are as present in the most recent 24-bit Callas box set \ntransfers as they were in 1976, or in 1955 - and each has been addressed\n for this new Pristine XR release. The enclosed acoustic has opened out \nbeautifully here, with a clarity and openness that brings new life to \nthe recording. Ambient Stereo, coupled with the lightest touch of \nconvolution reverberation, which models the real acoustic of one of the \nworld's foremost opera houses, adds a final sprinkle of magic to a sound\n that might now indeed be called \"lustrous\". Never has this classic \nButterfly ever sounded as good! \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCALLAS\u003c\/b\u003e \u003cb\u003ePuccini\u003c\/b\u003e: Madama Butterfly (1955)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003eMadama Butterfly\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eE soffitto...e pareti\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eQuesta è la cameriera\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDovunque al mondo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eQuale amania vi prende!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAh! Ah! quanto cielo!...Ancora un passo or via\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGran ventura\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eL'imperial Commissario\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVieni, amor mio!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIeri son salita tutta sola\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eEd eccoci in famigila\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eViene la sera\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBimba dagli occhi pieni di malia\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVogliatemi bene, un bene piccolino\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eE izaghi e Izanami\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eUn bel di vedremo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eC'è Entrate\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNon lo sapete insomma\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eA voi però giurerei fede costante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOr a noi\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eE questo e questo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eChe tua madre dovrà\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIo scendo al piano\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVespa! Rospo maledetto!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eUna nave da guerra\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eScuoti quella fronda di ciliegio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOr vienmi ad adornar\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCoro a bocca chiusa\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOh eh! Oh eh! Oh eh!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e29.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGià il sole!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e30.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePovera Butterfly!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e31.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIo so che alle sue ...Oh! l'amara fragranza\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e32.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAddio, fiorito\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e33.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGllielo dirai...Premetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e34.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eChe vuol da me\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e35.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCome una mosca prigioniera\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e36.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCon onor muore\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:18)\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e – Butterfly\u003cbr\u003e\u003cb\u003eNicolai Gedda\u003c\/b\u003e – Pinkerton\u003cbr\u003e\u003cb\u003eMario Borriello\u003c\/b\u003e – Sharpless\u003cbr\u003e\u003cb\u003eLucia Danieli\u003c\/b\u003e – Suzuki\u003cbr\u003e\u003cb\u003eRenato Ercolani\u003c\/b\u003e – Goro\u003cbr\u003e\u003cb\u003eMario Carlin\u003c\/b\u003e – Yamadori\u003cbr\u003e\u003cb\u003ePlinio Clabassi\u003c\/b\u003e – Lo zio Bonzo\u003cbr\u003e\u003cb\u003eEnrico Campi\u003c\/b\u003e – Il commissario imperiale\u003cbr\u003e\u003cb\u003eLuisa Villa\u003c\/b\u003e – Kate Pinkerton\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus and Orchestra, La Scala, Milan\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHerbert von Karajan\u003c\/b\u003e, conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded Teatro alla Scala, Milan, 1-6 August, 1955\u003cbr\u003eProducer: Walter Legge\u003cbr\u003eEngineer: Robert Beckett\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eOriginally issued as Columbia 33CX1296-8\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO113.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO113.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eNote: It is interesting to read these two reviews back-to-back. The \ninitial response to this Butterfly was hardly overwhelming - but two \ndecades later it was regarded as one of the highlights of the recorded \ncanon.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003eOriginal LP release, 1956\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eWe\n have by now become accustomed to the idea that Maria Callas can sing \nany soprano part she has a mind to, so that, though one might not \nconsider her a natural for the part, there is no need to be surprised \nthat she chose to sing Butterfly. There is, however, considerable matter\n for surprise that Nicolai Gedda should have been cast for Pinkerton. It\n is perfectly clear from the moment he opens his mouth that Mr. Gedda \nwould not hurt a flea, let alone a butterfly— and above all such an \nexotic specimen as this. This considerably alters the dramatic balance \nof the opera. Those parts of the score, moreover, where full and ringing\n tones are needed to realise Puccini’s intentions considerably \noverstrain the resources of this beautiful voice: but in other parts, \nwhere tenderness and soft lyrical tone are needed, Mr. Gedda comes into \nhis own and can look any Italian tenor in the larynx! Among such \nmoments, which necessarily occur in the first act, since Pinkerton has \nto be all out nearly all the time in the last, are his conversation with\n Butterfly immediately after her entrance, and his comforting “Bimba non\n piangere”, the gentle sensuousness of “Viene la sera” and “Bimba dagli \nocchi ”, later on. After this it is hard going for him and he is finally\n defeated when Callas is in full flood at the end of the love duet. Even\n so, he is never reduced to shouting, but one does want a voice like \nStefano’s to fill out the soaring phrases with ringing tone.\u003cbr\u003e\u003cbr\u003eStefano\n is also more in character as the brash and cynical young lieutenant who\n takes his fun where he finds it, without thought for anyone but \nhimself.\u003cbr\u003e\u003cbr\u003eCampora comes vocally somewhere between these two, \ninclining in character much more towards Gedda’s gentier \ninter­pretation, and, like Gedda, paying more attention to Puccini’s \nexpression markings than Stefano does.\u003cbr\u003e\u003cbr\u003eWe may, therefore, rate Gedda’s as a gallant performance with musical merits all too rarely found in operatic tenors.\u003cbr\u003e\u003cbr\u003eInghilleri\n was a paternal consul in the Decca set, Gobbi an austere one in the \nH.M.V,—one felt his sympathy with Butterfly was very much on the \nsurface, Boriello, in the new set, though without Gobbi’s vocal \nopulence, I like best of all the three. His voice is of very pleasing \nquality and he never misses a point: he is obviously deeply sorry for \nthe deserted wife.\u003cbr\u003e\u003cbr\u003eLucia Danieli seems also, to me, the best \nSuzuki and Renato Ercolani’s the most malicious (and salacious) Goro; \nbut these parts were well cast in the two previous issues.\u003cbr\u003e\u003cbr\u003eI have\n written at some length before about Renata Tebaldi and Victoria de los \nAngeles in the part of Butterfly and now, having heard Maria Callas and \ncompared her rendering with theirs my final impres­sion, which involves \nno great powers of perception, is that Tebaldi is throughout wholly in \nthe skin of the part and in it gives her finest performance on disc. She\n alone can open out her voice to its fullest extent without loss of \nquality, can command a most lovely mezza-voce—the high B at the end of \nthe lullaby in Act 3, for example— and can the most poignantly work on \nour emotions. The only thing in her perform­ance I regret are the stagey\n outbursts of laughter, of which there are three too many. Tebaldi \nsounds, admittedly, mature and Victoria de los Angeles is certainly more\n of the “little child wife” and conveys greater charm. But her \nbeautifully sung performance, most moving where the child is concerned, \nnever really touched me deeply. It seems incredible that she should not \nhave been able to put more into the anguished words in the last act, \n“Tutto é morto per me! tutto é finito ! ah!”. The way Tebaldi and Callas\n enunciate that “ah” pierces the heart.\u003cbr\u003e\u003cbr\u003eCallas gives consistently\n the best sung performance I have heard from her. At her entrance she \ntakes the optional top D flat and the voice develops that slow beat \nsometimes noticed elsewhere: but this happens on no other occasion and \nshe can, like Tebaldi, give a cutting edge to her tone when that is \ndramatically called for.\u003cbr\u003e\u003cbr\u003eThere are some points that Callas \nmisses. Tebaldi’s singing of “Dolce notte! quante stelle!” brings the \nscented, starlit night before us, but Callas puts nothing behind it at \nall and she is, for a moment, as casual in “Un bel di”, at “Chi sara” \netc. Such moments are, however, few and the only other one worth \nmentioning is when the canon is fired and she, like Los Angeles, gives \nno hint of what that means to her. Tebaldi alone registers, as she quits\n the high G sharp, the unbearable tension of that moment.\u003cbr\u003e\u003cbr\u003eCallas’s\n singing of “Che tua madre”, with the cry “Ait! morta” at the end, is \nmagnificent, and so is her outburst of joy and faith after the canon is \nheard. It is wonderful, in contrast to these great outbursts, to hear \nhow she whitens her tone to suggest the youth of Butterfly.\u003cbr\u003e\u003cbr\u003eThe \ndeath scene is tremendous, a generous outpouring of tone equalled only \nby Tebaldi, and as the opera ends one is filled with the sense of having\n heard a great performance of the part.\u003cbr\u003e\u003cbr\u003eErede gives the most \nsensitive (and sensuous) performance of the orchestral part, Gavazzeni \nthe least sympathetic—his tempos are also sometimes too quick—but \nKarajan, in a wholly sympathetic rendering, brings out more of the \ndetail of the score than I have ever heard before, in which he is aided \nby the clearest and most vivid of the three recordings. The Decca set \nhas, unfortunately, a rather blurred orchestral part. The entrance of \nButterfly is better engineered than in the H.M.V. set, in that she does \nappear to be coming nearer all the time and not suddenly.\u003cbr\u003e\u003cbr\u003eThere \nis a regrettable crash, after Sharpless hints that Pinkerton may never \nreturn, which sounds as if all the tea-trays in Japan bad been dropped: \nand there are moments when the orchestral tone is rather coarse. Though \nboth recordings were made in the Rome Opera House, the H.M.V. acoustic \nis slightly more spacious than the Columbia. Between sides 2 and 3 the \nbreak comes at an awkward moment, just before Butterfly runs out to get \nher child, and so the dramatic force of her cry “Ah! m’ha scordata” is \ndissipated by the ending of the side. But these are minor faults in view\n of the general excellence of this most interesting and in very many \nways splendid issue.\u003cbr\u003e\u003cbr\u003eA. H. \u003cbr\u003e\u003cbr\u003eThe Gramophone, December 1955\u003cbr\u003e\u003cbr\u003eReview: 1976 LP reissue\u003cbr\u003e\u003cbr\u003e“E\n un immensa pietà” (“it’s heartbreaking”), says Sharpless near the end \nof Butterfly, and in the most direct sense those were my sentiments as I\n listened to this set. As it progresses Callas and Karajan raise what is\n so often a mere tear-jerker into the deep tragedy Puccini surely \nintended, reminding us what a masterly score this is. Indeed my \nwell-seasoned and wary ears were quite overwhelmed by the experience. If\n I knew someone who doubted the validity of opera as music-drama I would\n sit him down to listen to the last twenty minutes of this set, text in \nhand, to receive an object-lesson in what it is all about. From the \nfalse happiness of “E qui, e qui!” through the stunned empty tone of \n“forse potrei cader morta sull’attimo” and the expansive generosity of \n“sotto il gran ponte del cielo” to the searing intensity of the suicide \nand Karajan’s heartrending last chord, the performance is quite \ntremendous.\u003cbr\u003e\u003cbr\u003eBut there is more, much more to Callas’s \ninterpretation, and I could quote enough examples of her penetrating \nvision of what Butterfly means to fill the rest of the page. Let me \nsuggest but three: the way she suggests at “Ieri son salita tutta sola \nin segrcto” (Act I) all Cio-Cio-San’s absolute faith in following her \ndestiny and forsaking her religion, the gentle simplicity of “Mio marito\n m’lia pro- mcsso” and, a little later in Act 2, at the end of “Che tua \nmadre” the impending tragedy of the repeated “Mortal”. Callas made this \nset when she was at the absolute peak of her vocal form, and she is the \nmistress of every vocal change needed to express Butterfly’s changing \nmood, even to the white, little-girl timbre she uses in the first act, \nwhich sometimes sounds too twee; that and the sour D flat at the end of \nthe Entrance are my only adverse criticisms of her interpretation.\u003cbr\u003e\u003cbr\u003eKarajan\n supports Callas at every turn of the drama with a tauter, more \nthrough-conceived direction than he brought to his recent Decca version \n(SET584-6, 2\/75), where the slow tempi evident here seem to my ears at \nleast to have turned to self-indulgence and rhythmic flabbi­ness, but \nfor once my heart was not in com­parative listening. Whenever I turned \naway to test reactions to other sets I longed to be back chez Callas and\n Karajan, and blow recorded sound that is less than lustrous. Even, on \nthis occasion, my old love Scotto and Barbirolli (HMV Angel SLS927, \n9\/67) could not shake my new allegiance, although Scotto comes much \nnearer to Callas’s very personal interpretation than does Freni, good as\n she is taken in isolation too.\u003cbr\u003e\u003cbr\u003eThe young Gedda presents a \ncredibly un-caddish Pinkerton, an unthinking but hardly callous lover in\n Act I, full of real remorse in Act 3, and always singing with fresh, \neasy tone and faultless phrasing but without the ‘face’ or bright attack\n of Pavarotti for Karajan’s Decca recording. Gedda is happier in the \npart’s more lyrical moments. You could hardly have a more sympathetic \nSharpless than Borriello, or a more actively engaged Suzuki than Lucia \nDanieli. There is the occasional sound of studio movement, some \nmomentary signs of over­loading when Callas really lets go, for the \nacoustic is confined and has not been much improved by the introduction \nof electronic stereo, and there is a poor break between Sides 2 and 3, \nbut honestly these considerations pale before the kind of theatrical \ninvolvement we have on all sides, and the price is very com­petitive \nwith no recommendable bargain version available.\u003cbr\u003e\u003cbr\u003eA.B. \u003cbr\u003e\u003cbr\u003eGramophone, May 1976\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32417044365,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417044429,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417044557,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO113_c5abf6f4-1da8-48c4-8044-fab3e7e25a71.jpg?v=1745491708"},{"product_id":"paco080","title":"CALLAS Puccini: Tosca (1953) - PACO080","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003eTosca\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1953\u003cbr\u003eTotal duration: 1hr 47:58\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e Tosca\u003cbr\u003e\u003cb\u003eGiuseppe di Stefano\u003c\/b\u003e Cavaradossi\u003cbr\u003e\u003cb\u003eTito Gobbi\u003c\/b\u003e Scarpia\u003cbr\u003e\u003cb\u003eChorus and Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003eConductor\u003cb\u003e Victor de Sabata\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fShe really was the greatest singing actress of her time578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePuccini’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTosca\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n has been described as a “shabby, little shocker” but the public and \nperformers have made it one of opera’s biggest hits and the recordings \nkeep coming out. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTosca \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eisn’t \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSalome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e but I can imagine that the audiences of a century or so ago might have been a little uncomfortable with Sardou’s play, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa Tosca\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n and the opera Puccini and his librettists fashioned from it. After all,\n after exulting about the joys of taking women by force, the principal \nvillain attempts to rape the star soprano right up there on stage. There\n are many who consider this particular performance to be the greatest \nopera recording ever made. I might not go that far but I do believe it’s\n the greatest recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTosca \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand\n has remained so for more than 50 years despite some impressive \nchallenges, the most formidable of which comes from a Decca recording \nthat was originally issued here on LP by RCA Victor. Imaginatively \nproduced (John Culshaw), beautifully played (the Vienna Philharmonic), \ndramatically conducted (Herbert Von Karajan), and splendidly sung \n(Leontyne Price, Giuseppe di Stefano, Giuseppe Taddei), it compensates \nin dramatic power for what it lacks in white heat. If it falls just \nshort of this classic EMI recording, it’s because of Maria Callas. First\n of all, I don’t see how Andrew Rose has managed, without access to \nEMI’s master tape, to give the original a slightly fuller sound and \nseemingly pull the voices just a bit closer than they were on my EMI \nCDs. If it should turn up in a used CD bin, avoid the EMI set with the \nclose-up of Callas’s face on the cover, which lacked interior cueing! \nThe later issues almost certainly do have it but, given this excellent \nPristine release, maybe the point is moot. My Pristine CDs came in a \nnarrow double jewel box that has no accompanying libretto but I imagine \nmost likely purchasers won’t need one. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI have, at times, suggested that, if a \nsoprano can convey three emotions: “I am happy” (without laughing), “I \nam sad” (without sobbing), and “I am angry” (without shouting), she will\n be accounted a great singing actress. Price, with her beautiful voice \n(Karajan once said it gave him goose pimples!) could convey these \nemotions. Callas, with her flawed but flexible voice, could convey \nnuances like “I am suspicious,” “I am indifferent,” “I am nervous,” and \nso on. Looking at my score of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTosca\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n just in act II, I see directions like “pretending calm,” “with \nsimulated indifference,” “with conviction,” “desperately,” “warmly,” \n“full of hatred and contempt,” “in despair,” and “humbly.” Granted, \nthese directions may come from an editor, rather than Puccini, but they \nare appropriate and she pretty much nails them. She really \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ewas\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n the greatest singing actress of her time. Since I’m in act II, I might \nas well mention that de Sabata, like most of his colleagues, cuts the \nthree bars that immediately follow “Vissi d’arte” (Scarpia says “Your \nanswer?” She replies “On my knees I beg for mercy.” I have no idea why \nit gets cut). Di Stefano, as one might expect, is a spirited, \nimpassioned Cavaradossi—there were signs that vocal problems were \nbrewing but, at this stage, they hardly detract from his performance. On\n the later Karajan recording, his top notes have hardened and have \nlittle ring to them but he has the role down pat and most of the di \nStefano charm still comes through. De Sabata’s Scarpia, Tito Gobbi was, \nby acclamation, the world’s champion Scarpia for most of his career. In \naddition to his intelligence, his lack of a conventionally beautiful \nsound was probably a contributing factor; the voice was sizeable and \ndark, with a rough edge to it but he could, when necessary, modulate it \nand sound ingratiating. At last I get a chance to write something other \nthan conventional wisdom: I think Karajan’s Giuseppe Taddei matches \nhim—he’s just as slimy and menacing but is capable of more smoothness \nand has adequate power when he needs it and was, himself, an \nimaginative, versatile performer. Karajan paces the music more slowly \nthan the more volatile de Sabata but \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epunctuates\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—it’s not a mere reading, and the production, with the usual Culshaw bells and whistles, really \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003edoes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n enhance the performance. It’s “staged,” almost as if it’s taking place \nright before your eyes. You really couldn’t go wrong with either \nrecording or with \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eboth\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e of them, for that matter. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere are other worthy recordings too, \nincluding an inevitable stereo remake by Callas and Gobbi, with Carlo \nBergonzi and Georges Prêtre replacing di Stefano and de Sabata. Their \nrenditions have coarsened a bit, probably due to some vocal \nwear-and-tear but Callas and Gobbi operating at 90 percent are nothing \nto sneeze at and Bergonzi, if he lacks Di Stefano’s charisma, \nnevertheless sings quite beautifully and Prêtre, if he’s no de Sabata, \nhas the measure of the score. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eFrancesco Molinari-Pradelli leads the \nalmost inevitable Renata Tebaldi\/Mario del Monaco recording. It’s well \nrecorded if not as imaginatively as the Culshaw production. Tebaldi is \nnot a strong Tosca (more of a vulnerable one) but her singing was more \nabout making beautiful sounds than projecting character and at that \nstage of her career, she could still do it—it’s a gorgeous piece of \nsinging, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eper se\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. \nThe producer seems to have kept Del Monaco a bit of a distance from the \nmicrophones much of the time—a good decision since, up close, his \nsinging could take on a hectoring quality. He sounds more like a warrior\n than a painter since, when in doubt, he simply turns up the volume as \nfew contemporaries could. With his ringing trumpet of a voice, he was \nmore effective in person but he certainly has his good moments here. \nUnfortunately, with his imposing stage presence, George London was a \nsinger who had to be seen as well as heard, as Scarpia or just about \nanything else this versatile bass\/baritone performed. The possessor of a\n big, dark, somewhat unwieldy voice, he’s terrific when Scarpia is at \nhis most menacing, which, granted, is a good bit of the time, but he’s \nless successful at turning on the charm—we hear the wolf but can’t see \nthe sheep’s clothing. I also have some affection for the 1938 Rome \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTosca\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of Maria Caniglia, Beniamino Gigli, and Armando Borgioli, led with \nauthority by Oliviero de Fabritiis. It gives “routine” a good name. \nThese people know what they’re doing and, basically, deliver the goods. \nIf the result isn’t especially notable for imaginative singing, it’s \nstill a satisfying piece of pour-it-on \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003everismo \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand Gigli can still utter some ravishing sounds. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 36:3 (Jan\/Feb 2013) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO080.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis recording has been issued and reissued so many \ntimes and on so many labels that it seemed futile to begin another \ntransfer unless something really special and new could be brought to it,\n something to distinguish it clearly and dramatically from all that have\n gone before. I believe that has been accomplished. Working from mint \nFrench LP pressings, Pristine's 32-bit XR remastering process has lifted\n the veil of nearly 60 years to bring a dramatic new life and clarity to\n the sound quality familiar to so many for so long.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe result of this process is truly astonishing to hear,\n and the sound quality revealed is ravishing. In its recommended Ambient\n Stereo incarnation there's a real sense of space around the performers \nas well. Finally, analysis of electrical hum buried in the original \nrecording indicates an original performance pitch of A=444.78Hz, which \nhas been preserved for this release.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCALLAS\u003c\/b\u003e \u003cb\u003ePuccini\u003c\/b\u003e: Tosca (1953)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003eTosca\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct I, Ah! Finalmente!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct I, Dammi i colori — Recondita armonia\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct I, Gente là dentro!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct I, Mario! Mario! Mario!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct I, Ah, quegli occhi — Quale occhio al mondo può star di paro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct I, ╘ buona la mia Tosca\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct I, Un tal baccano in chiesa!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct I, Tutto è chiaro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct I, Ed io venivo a lui tutta dogliosa\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct I, Tre sbirri, una carrozza\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct II, Tosca è un buon falco!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct II, Ha più forte\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct II, Meno male!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct II, Dov'è dunque Angelotti\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct II, Ed or fra noi parliam da buoni amici\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct II, Orsù, Tosca, parlate\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct II, Basta, Roberti\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct II, Nel pozzo, Del giardino\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct II, Se la giurata fede debbo tradir\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct II, Vissi d'arte\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct II, Vedi, le man giunte io stendo a te!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct II, E qual via scegliete\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct III, Io de' sospiri\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct III, Mario Cavaradossi A voi\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct III, E lucevan le stelle\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct III, Ah! Franchigia a Floria Tosca\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct III, O dolci mani mansuete e pure\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct III, E non giungono\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e29.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct III, Com'è lunga l'attesa!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e30.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAct III, Presto! Su, Mario! Mario! Su! Presto! Andiam!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:14)\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eText: Luigi Illica \u0026amp; Guiseppe Giacosa from La Tosca by Victorien Sardou\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer: Walter Legge\u003cbr\u003eEngineer: Robert Beckett\u003cbr\u003eRecorded 10-21 August, 1953 Teatro alla Scala, Milan\u003cbr\u003eTransfers from EMI box set 2 C 163-000410\/1\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTHE CAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e – Tosca\u003cbr\u003e\u003cb\u003eGiuseppe di Stefano\u003c\/b\u003e – Cavaradossi\u003cbr\u003e\u003cb\u003eTito Gobbi\u003c\/b\u003e – Scarpia\u003cbr\u003e\u003cb\u003eFranco Calabrese\u003c\/b\u003e – Angelotti\u003cbr\u003e\u003cb\u003eAngelo Mercuriali\u003c\/b\u003e – Spoletta\u003cbr\u003e\u003cb\u003eMelchiorre Luise\u003c\/b\u003e – Sacrestan\u003cbr\u003e\u003cb\u003eDario Caselli\u003c\/b\u003e – Sciarrone\/Gaoler\u003cbr\u003e\u003cb\u003eAlvaro Cordova\u003c\/b\u003e – Shepherd\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus and Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003eChorus Master \u003cb\u003eVittore Veneziani\u003c\/b\u003e\u003cbr\u003eConductor\u003cb\u003e Victor de Sabata\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO080.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO080.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e ARTICLE - \u003c\/b\u003eCallas - The Tosca Sessions (excerpt)\u003c\/p\u003e\u003cp\u003eThis Tosca was always different; headstrong and full-blooded both \nwhen the red recording light was on and when it was off. Truly dramma \nper musica. Her co-star, the great baritone Tito Gobbi, called it \"one \nof the finest recordings [I] had participated in and one of [my] best \nexperiences of this kind\". Sixteen years after the sessions in August \n1953, the Svengali-like Walter Legge listened again to the Tosca he had \nproduced for EMI. They had \"made immortal contributions through records \nto the artistic history of our time,\" he wrote to his heroine, Callas, \nwho was by now living in semi-retirement in Paris. The two had become \nestranged, and it was, wrote Legge, when he relistened to their Tosca \nthat he realised how trivial their disagreements were in the face of \nwhat they had together achieved (the letter worked: the producer and his\n Tosca were reconciled).\u003c\/p\u003e\u003cp\u003eArt had begun as commerce, as is usual with the record business. In \nthe early 1950s, Legge and EMI faced a problem. They were about to \nlaunch their own label in the United States, HMV Angel, rather than rely\n on American companies such as CBS for distribution. To run the new \noperation they had cunningly poached the formidable husband-and-wife \nteam of Dario and Dorle Soria from Cetra records. EMI knew that Italian \nopera was a big seller across the Atlantic and the Sorias, according to \nEMI music consultant Tony Locantro, \"were skilled at marketing and \npromotion and knew the American market very well. Certainly Callas to \nthem looked like an extremely promising and exciting artist who would \nadd lustre to the new Angel catalogue\".\u003c\/p\u003e\u003cp\u003eAs Legge wrote later: \"I was rather late on the Callas bus. Italy was\n not officially my territory.\" He felt more at home north of the Alps, \nwith Mozart and Herbert von Karajan in particular, but business was \nbusiness and was, as ever, driven by talent — and the talent who had \neveryone talking was Callas. \"At long last, a really exciting Italian \nsoprano!\" wrote Legge. \"My appetite was further whetted when one of her \nfamous male colleagues described her as 'not your type of singer'.\"\u003c\/p\u003e\u003cp\u003eA performance of Norma in Rome in 1951 convinced the deeply \ncompetitive Legge that he had to have her for EMI, though it would be a \nyear and many meetings before he got her signature on a contract. It \nhadn't been easy, he recalled. \"She expected tribute at every meeting, \nand my arms still ache at the recollection of the pots of flowering \nshrubs and trees that Dario [Soria] lugged to the Verona apartment.\"...\u003c\/p\u003e\u003cp\u003e...The last session at La Scala was on August 21. They had been \nrecording with just two free days since the 10th. All were utterly \nexhausted. Costs, as Walter Legge later grumbled to Lord Harewood, had \nspiralled as - thanks to the relentless perfectionism - the number of \nsessions needed had doubled. Wearily, Legge looked at the reels and \nreels of tape that he and his team would turn into the final product and\n invited de Sabata to help them select the best takes. \"My work is \nfinished\", said the maestro. \"We are both artists. I give you this \ncasket of uncut jewels and leave it entirely to you to make a crown \nworthy of Puccini and my work.\"\u003c\/p\u003e\u003cp\u003eFor Callas, for Gobbi, for de Sabata himself, this Tosca had been \nperhaps the most intensive recording project they would ever undertake. \nAnd yet, despite the heat, despite the extended recording schedule and \nthe temperament, for once everything locked into place. Callas and her \nco-stars had set new performance standards for Puccini's opera, which \nmany feel have yet to be surpassed on record. And for the soprano's many\n fans, just about everything you need to know about her talent, her \nunique dramatic gifts and the interpretative power of a truly \nmagnificent singing actress is here on this recording.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eChristopher Cook, Gramophone\u003c\/b\u003e June 2007\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32417045325,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417045453,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417045645,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO080_d46d6985-d0ad-4ea3-b95a-c1f441c903d6.jpg?v=1745491666"},{"product_id":"paco090","title":"CALLAS Verdi: La Traviata (1953) - PACO090","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eLa Traviata\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1953\u003cbr\u003eTotal duration: 2hr 2:07\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eVioletta Valéry - \u003cb\u003eMaria Callas\u003c\/b\u003e (\u003ci\u003esoprano\u003c\/i\u003e)\u003cbr\u003eAlfredo Germont -\u003cb\u003e Francesco Albanese\u003c\/b\u003e (\u003ci\u003etenor\u003c\/i\u003e)\u003cbr\u003eGiorgio Germont - \u003cb\u003eUgo Savarese\u003c\/b\u003e (\u003ci\u003ebaritone\u003c\/i\u003e)\u003cbr\u003e\u003cb\u003eCoro Cetra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOrchestra Sinfonica di Torino della RAI\u003c\/b\u003e\u003cbr\u003eConductor\u003cb\u003e Gabriele Santini\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAndrew Rose has done perhaps his finest work yet .. Callas’s voice benefits from this, as do all the other singers and, in particular, the orchestra578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis 1953 Cetra studio recording has \nnever sounded this good. Andrew Rose has done perhaps his finest work \nyet in restoring this to something much more gratifying than the \noriginal release (which I have on Cetra LPs, as well as a few different \nCD incarnations). The sound is less harsh, warmer, and much more open \nthan the close-in, almost claustrophobic original. Callas’s voice \nbenefits from this, as do all the other singers and, in particular, the \norchestra. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor Callas collectors this will be a \nvery important release, even perhaps a revelation. For the rest, even \nserious opera lovers who want in their collection at least one \nrepresentation of Callas in her greatest role, this is clearly \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enot \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethe\n one. My recommendation continues to be for the Covent Garden \nperformance with Valletti, Zanasi, and Rescigno, available on a number \nof labels (I wish Andrew Rose would have a go at that one). This is \nCallas’s first recorded \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003etraviata\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n and while the voice probably never sounded as secure and solid in any \nof the later ones, her ability to convey the drama—unusually strong here\n when compared with other sopranos—continued to grow far beyond what we \nhave here. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAnd then there is the problem of the \nartists with whom Cetra surrounded her. Santini’s conducting is often \npedestrian (particularly in the Germont-Violetta duet, where many \nconductors reflect so much more vividly the pathos of the situation but \nSantini plods along without inflection or real phrasing). Albanese’s \nAlfredo is decently sung, and gains much from the warmer sound of this \ntransfer; but it is singing without insight or coloring—mere \nnote-spinning. Savarese’s dry, throaty baritone begins to wear on the \nears. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe value here is Callas in her best \nvoice. Although she does not reduce “Dite alla giovine” to the mere \nthread of sound as she was to later in her live performances, it is \nstill magical enough. There is a pure vocal beauty that was not to \nremain long for Callas, and it is worth hearing this recording for that \naspect alone, particularly because it is married to an already \nintelligent dramatic portrayal, even if it is one that would be \nsurpassed a few years later. A few specifics: “Amami Alfredo” here is \nfull voiced and desperate, with a richness to the sound that was no \nlonger there even in 1958; but the lines leading up to that climactic \nmoment were to gain a sense of urgency, even panic, that is missing \nhere. And the last act outburst at the realization that she was to die \nso young, while certainly gripping here, lacks the utter horror and \nanguish of later Lisbon, La Scala, and Covent Garden performances, where\n the crescendo on “Ah…Morir” is shocking in its explosiveness. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs usual with Pristine, there is no \nlibretto, but there are interesting notes, including comments about the \ntransfer. I must admit that when I received this to review, my first \nthought was “why did Pristine bother with this recording?” After hearing\n the difference between the Cetra and this, and hearing just how much \nbetter Callas and all aspects of the performance sounded, I understand. \nIt still is primarily of value for Callas fans and serious students of \noperatic performance as an art form, an art form of which Maria Callas \nwas one of the unique and most important practitioners. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:1 (Sept\/Oct 2013) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO090.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"There is addiction to the heroine...such art is priceless\" - Gramophone\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"For Callas \u003c\/em\u003e\u003cem\u003ecollectors this will be a very important release, even perhaps a revalation\" - Fanfare\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBefore signing a contract with Walter Legge at EMI, \nMaria Callas had already committed herself to recording four operas for \nCetra in Italy. Of these, only \u003cem\u003eLa Gioconda\u003c\/em\u003e in 1952 and \u003cem\u003eLa Traviata\u003c\/em\u003e in\n 1953 materialised; it remains unclear as to why the contract was not \ncompleted. Even though the Italian recording remained available on \nimport only outside Italy for a number of years, it meant that Legge \nnever commissioned an EMI studio recording of Callas in what was one of \nher most famous roles. And I'm afraid Cetra's recording facilities \nweren't up to those of EMI at the time.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThus this classic recording of Callas (albeit with a \nsomewhat second-rate supporting cast) has long suffered from a rather \ninadequate sound quality which has a rather boxy, enclosed quality to \nit, with an unsympathetic acoustic and a tendency to peak distortion on \nthe voices. The combination of re-equalisation, distortion reduction, \nsubtle de-noising and the acoustic space of one of the world's finest \nopera houses that has made up this new 32-bit XR remastering goes a huge\n way to alleviate these issues, bringing significant sonic improvements \nthat breathe new life and colour into Maria Callas's wonderful \nperformance.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCALLAS\u003c\/b\u003e \u003cb\u003eVerdi\u003c\/b\u003e: La Traviata (1953)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eLa Traviata\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePrelude\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDell'invito trascorsa\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLibiamo, ne' lieti calici\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eChe è ciò\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eUn dì felice, eterea\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eÈ strano! È strano!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFollie! follie!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLunge da lei\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDe' miei bollenti spiriti\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAnnina, dionde vieni\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePura siccome un angelo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDite alla giovine\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDammi tu forza, o cielo!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAh, vive sol quel core all'amor mio!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDi Provenza il mar, il suol\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAvram lieta di maschere la notte\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAlfredo! Voi!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDi sprezzo degno\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct III\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePrelude\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAnnina Comandate\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTeneste la promessa\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLargo al quadrupede\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSignora! Che t'accade\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eParigi, o cara\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAh Violetta!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:32)\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eLibretto: Francesco Maria Piave\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded September 1953, Studio del RAI, Turin, Italy\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eOriginally issued in Italy. Issued by Cetra in the UK in 1958 as LPC1246\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eVioletta Valéry - \u003cb\u003eMaria Callas (\u003ci\u003esoprano\u003c\/i\u003e)\u003c\/b\u003e\u003cbr\u003eAlfredo Germont - \u003cb\u003eFrancesco Albanese (\u003ci\u003etenor\u003c\/i\u003e)\u003c\/b\u003e\u003cbr\u003eGiorgio Germont - \u003cb\u003eUgo Savarese (\u003ci\u003ebaritone\u003c\/i\u003e)\u003c\/b\u003e\u003cbr\u003eFlora Bervoix - \u003cb\u003eEde Marietti Gandolfo (\u003ci\u003emezzo-soprano\u003c\/i\u003e)\u003c\/b\u003e\u003cbr\u003eAnnina - \u003cb\u003eInes Marietti (\u003ci\u003esoprano\u003c\/i\u003e)\u003c\/b\u003e\u003cbr\u003eIl Visconte Gaston De Letorières - \u003cb\u003eMariano Caruso (\u003ci\u003etenor\u003c\/i\u003e)\u003c\/b\u003e\u003cbr\u003eIl Barone Douphol - \u003cb\u003eAlberto Albertini (\u003ci\u003ebass\u003c\/i\u003e)\u003c\/b\u003e\u003cbr\u003eIl Marchese d'Obigny\/Dottore Grenvil - \u003cb\u003eMario Zorgniotti (\u003ci\u003ebass\u003c\/i\u003e)\u003c\/b\u003e\u003cbr\u003eGiuseppe - \u003cb\u003eTommaso Soley (\u003ci\u003etenor\u003c\/i\u003e)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCoro Cetra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra Sinfonica di Torino della RAI\u003c\/b\u003e\u003cbr\u003eConductor\u003cb\u003e Gabriele Santini\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO090.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO090.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32417047565,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417047693,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417047885,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO090.jpg?v=1756366463"},{"product_id":"paco131","title":"CALLAS Verdi: Rigoletto (1955) - PACO131","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eRigoletto\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1955\u003cbr\u003eTotal duration: 1hr 57:57\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eRigoletto\u003cb\u003e - Tito Gobbi\u003c\/b\u003e\u003cbr\u003eGilda\u003cb\u003e - Maria Callas\u003c\/b\u003e\u003cbr\u003eDuca di Mantova\u003cb\u003e - Giuseppe di Stefano\u003c\/b\u003e\u003cbr\u003eSparafucile\u003cb\u003e - Nicola Zaccaria\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eTullio Serafin\u003c\/b\u003e, conductor\u003cbr\u003e\u003cb\u003eChorus and Orchestra of La Scala, Milan\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fStill the top choice even if you buy another more modern edition578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e“Once heard, this rendering is never \nlikely to be forgotten,” is the still the judgment of the majority of \nmusic critics, and there is no need to change this verdict yet. Here in \nthis freshly minted transfer, the reasons are if anything even clearer \nwhy this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRigoletto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eremains\n the standard by which all others must follow. That said, despite what \nused to be called the standard theatrical cuts and sound which—although \nmuch clearer than before—is still 60 years old and not even genuine \nstereo, the younger amongst you might still say, “Well, why choose this \nversion when Milnes, Cappuccilli, Domingo, and Pavarotti are all out \nthere?” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe reasons are immediately obvious: \nSerafin, Callas, and Gobbi. Serafin paces like he has done it all his \nlife, which of course he had—from the gentle accompaniment of “Piangi, \npiangi” to the quickening roar of “Si, vendetta.” All is right and \nproper. Next is Tito Gobbi in the title role. Just listen to the \ncontrast in the repetitions of “La ra la ra” and then to follow the \nsadness and desperation in “Dove l’avran nascosta?” (Where has she been \nhidden?) With plenty of vibrato when he finally admits the courtiers \nhave kidnapped his daughter—the frustration, the regret—it’s all there. \nThe violent beginning of “Cortigiani” and the pleading second half of \nthe aria all beautifully acted with the voice. One can “see” the emotion\n from one of the really great singers of the 20th century—a golden voice\n indeed. There are so many touches of individuality in this performance.\n “Un vindice avrai” is sung with an open and angry tone and you can see \nthe eyes glaring and the angry expression before coming down to the “Si,\n vendetta.” This is tremendous. To adapt Callas expert John Ardoin’s \nview—Gobbi and Callas draw strength from the text and do so with such \nmodel diction that “we all but taste Piave’s words.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMESi\"\u003eRigoletto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nwas recorded in 1955, during which Callas was at her absolute peak. She \nsings delicately throughout, honing down the voice to great effect in \n“Caro nome.” Her duets with Gobbi are just magical and “Tutte le feste” \nblends in. The tenderness she exhibits in the whole of the last scene \nwith her father beginning “V’ho ingannato” and for example the slight \nextension of “O mio padre” is acting with the voice of the highest \ncaliber. Is there another soprano who characterizes like this? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere is a but, and that but is Di \nStefano. By 1955, although he was still in fine voice, his singing had \nbecome more open and “Questa o quella” is charmless—try Gigli in 1938, \nlive from Covent Garden. “La donna e mobile” has a lovely diminuendo in \nthe middle but is hardly a classy piece of singing, despite the face and\n presence he undoubtedly supplies in abundance throughout. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis transfer, an ambient stereo \ntransfer from Pristine, opens up the orchestra successfully. The brass \nin the Overture shine out as they have not done before, lifting the \ntension; however, there is still some inherent distortion in the \nrecording. This package is on two CDs with an attractive picture of \nCallas on the cover. There is no libretto. For two towering vocal \nfigures from the last century and a conductor who knew everything about \npacing, this set is still the top choice even if you buy another more \nmodern edition. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDavid Cutler\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:1 (Sept\/Oct 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO131.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"That\n one recording should continue to hold sway over many other attractive \ncomers after so long is simply a tribute to Callas, Gobbi, Serafin and \nWalter Legge\" - Gramophone, 2015\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBetween the summer of 1954 and September 1955, the legendary EMI \nproducer Walter Legge recorded no less than six full operas at La Scala,\n Milan, with Maria Callas in a leading role. Rigoletto was the sixth of \nthese. It is almost impossible to imagine such a productive work-rate \ntoday, and yet this amazingly productive period, with Callas at the \nheight of her powers, produced some of the defining recordings of the \noperatic canon - not least the present offering. The recording team were\n by now exceptionally familiar with the venue, and in an era of mono \nrecording where the primary concern was capturing the voices and \nbalancing them against the instruments, rather than the stereo \npresentation of a staged drama that would soon follow, it was no doubt \neasier to make these recordings than it would later become.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eNevertheless, it took 13 days to record \u003cem\u003eRigoletto\u003c\/em\u003e, and in \nthis restoration I've encountered minor differences in recordings made \non different days - slightly intrusive traffic noise here, peak \ndistortion there - which I've hopefully dealt with to the listener's \nsatisfaction.Some minor pitch discrepancies have been ironed out. But \nthe main contribution here has been to open out the sound and lift \nsomething of a veil from the performance, with Ambient Stereo XR \nremastering bringing a greater sense of life, clarity and immediacy to \nthe proceedings throughout. Can it really be 60 years since this \nrecording was first released?\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCALLAS\u003c\/b\u003e \u003cb\u003eVerdi\u003c\/b\u003e: Rigoletto (1955)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e Rigoletto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePrelude\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDella mia bella incognita borghese\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eQuesta o quella per me pari sono\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGran nuova, Gran nuova\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCh'io gli parli\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eQuel vecchio maledivami\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePari siamo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFiglia... Mio padre\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAh, veglia, o donna\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGiovanni, ho dei rimorsi\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eChe m'ami, deh, ripetimi\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGualtier Malde... Caro nome\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRiedo... Perche\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eZitti, zitti\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eElla mi fu rapita\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDuca, duca\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePovero Rigoletto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCortigiani, vil razza dannata\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMio padre... Tutte le feste al tempio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSchiudete, ire al carcere\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct III\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eE l'ami\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLa donna e mobile\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eUn di, se bel rammentomi\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBella figlia dell'amore\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eVenti scudi hai tu detto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAh, piu non ragiono\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDella vendetta alfin giunge l'istante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eV'ho ingannato, colpevole fui\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 3-16 September 1955\u003cbr\u003eTeatro alla Scala, Milan\u003cbr\u003eRecording producer: Walter Legge\u003cbr\u003eRecording Engineer: Robert Beckett\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRigoletto - 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PACO097 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":32418910285,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO097_6966bcaa-5326-4f04-a0c7-69318681c44e.jpg?v=1658484333"},{"product_id":"paco172","title":"CALLAS Verdi: La Forza del Destino (1954) - PACO172","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eLa Forza del Destino\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1954\u003cbr\u003eTotal duration: 2hr 45:00\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eDonna Leonora -\u003cb\u003e Maria Callas\u003c\/b\u003e\u003cbr\u003eDon Alvaro - \u003cb\u003eRichard Tucker\u003c\/b\u003e\u003cbr\u003eDon Carlo di Vargas - \u003cb\u003eCarlo Tagliabue\u003c\/b\u003e\u003cbr\u003eIl Padre Guardiano - \u003cb\u003eNicola Rossi-Lemeni\u003c\/b\u003e\u003cbr\u003ePreziosilla - \u003cb\u003eElena Nicolai\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus \u0026amp; Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO172.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\"PERHAPS THE STORY of “La Forza del Destino” is a bit lugubrious for Easter morning, but not this crackling performance straight from Milan’s La Scala. Tullio Serafin meets Verdi on his own ground in the pace he sets for Maria Meneghini Callas as Leonora, Richard Tucker as Don Alvaro, Nicola Rossi-Lemeni as Padre Guardiano, Carlo Tagliabue as Don Carlo, Elena Nicolai as Preziosilla, Renato Capecchi as Fra Melitone, and Gino del Signore as Trabuco [Angel 3531-C]. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis has the live sound of the Scala’s mellow yet brilliant acoustics, the virtuosity of its operatic stature. Orchestra and chorus are topflight, the pacing in the inn scenes is as chameleonic as the score. As always when they are together, Callas' and Rossi-Lemeni occupy a special plane. When they appear you are not just interested, you are involved. Tucker does some superb singing, and Tagliabue rescues himself from a stodgy start to make steely sparks fly from more than swords in their last encounter. Add Nicolai’s [the Italian, not the Greek Nicolaidi] volatile glint as the camp follower, Capecchi’s sulky drollery as the buffo monk, and the peddler’s slyness, and it adds up to a performance rich in characterization and in that reinforced, revitalized line that is the very pulse beat of Verdi. Interesting Benois sketches suggest furies and angels fighting it out.\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eChicago Tribune\u003c\/b\u003e, 10 April 1955\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis recording was issued to mixed receptions in 1955. The review from the Chicago Tribune (above) is glowing, whilst \u003ci\u003eThe Gramophone\u003c\/i\u003e's critic in May 1955 moaned about \"some uneven singing here, most of it contributed by Callas. Her voice is not too steady, there is an occasional shrillness and insecurity of pitch, and often a definite wobble,\" though there is praise for the rest of the cast and the recording itself. Interestingly this attitude towards Maria Callas was also to be found in another British review in \u003ci\u003eThe Observer\u003c\/i\u003e.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBy the time the recording was reissued on CD in 1987 it seems British critics had come round to a new way of thinking with regard to Maria Callas: \"Leonora was a role to which Callas was particularly well attuned. Leonora's ardour, sincerity, and desperate vulnerability are etched by this great artist into her every utterance. Forza begins with a subdued conversation and ends with the great trio and Callas is unforgettable in both.\" Interestingly the critic goes on to suggest: \"Callas is also helped by the new digital remastering, and by CD; her voice never really sat comfortably in 1950s vinyl which bucked and jabbered at her emissions are surely as any dyed-in-the wool canary-fancier. The sound is now clear and true.\" (\u003ci\u003eGramophone\u003c\/i\u003e)\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis new Pristine XR remastering further improves on the sound of this classic recording, adding new layers of warmth, depth and complexity to the sound-stage and significantly rounding out the tone of both singers and orchestra.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e La Forza del Destino\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDisc One\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e Sinfonia\u003cspan style=\"font-size: 12px;\"\u003e (7:32)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e Buona notte, mia figlia\u003cspan style=\"font-size: 12px;\"\u003e (2:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e Temea restasse qui fino a domani!\u003cspan style=\"font-size: 12px;\"\u003e (1:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Me pellegrina ed orfano\u003cspan style=\"font-size: 12px;\"\u003e (3:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e M'aluti, signorina\u003cspan style=\"font-size: 12px;\"\u003e (0:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e Ah, per sempre\u003cspan style=\"font-size: 12px;\"\u003e (7:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Vil seduttor! Infame figlia!\u003cspan style=\"font-size: 12px;\"\u003e (2:09)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e Holà, holà, holà!\u003cspan style=\"font-size: 12px;\"\u003e (1:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e La cena è pronta\u003cspan style=\"font-size: 12px;\"\u003e (0:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e Che vdedo! Mio fratello!\u003cspan style=\"font-size: 12px;\"\u003e (0:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e11.\u003c\/span\u003e Viva la guerra!\u003cspan style=\"font-size: 12px;\"\u003e (0:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e12.\u003c\/span\u003e Al suon del tamburo\u003cspan style=\"font-size: 12px;\"\u003e (2:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e13.\u003c\/span\u003e Padre Eterno Signor\u003cspan style=\"font-size: 12px;\"\u003e (3:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e14.\u003c\/span\u003e Viva la buona compagnia!\u003cspan style=\"font-size: 12px;\"\u003e (1:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e15.\u003c\/span\u003e Poich'è imberbe l'incognito\u003cspan style=\"font-size: 12px;\"\u003e (0:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e16.\u003c\/span\u003e Son Pereda, son ricco d'onore\u003cspan style=\"font-size: 12px;\"\u003e (2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e17.\u003c\/span\u003e Sta bene\u003cspan style=\"font-size: 12px;\"\u003e (3:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e18.\u003c\/span\u003e Sono giunta! Grazie, o Dio!\u003cspan style=\"font-size: 12px;\"\u003e (1:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e19.\u003c\/span\u003e Madre, pietosa Vergine\u003cspan style=\"font-size: 12px;\"\u003e (5:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e20.\u003c\/span\u003e Chi siete?\u003cspan style=\"font-size: 12px;\"\u003e (2:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e21.\u003c\/span\u003e Chi mi cerca?\u003cspan style=\"font-size: 12px;\"\u003e (1:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e22.\u003c\/span\u003e Infelice, delusa, rejetta\u003cspan style=\"font-size: 12px;\"\u003e (11:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e23.\u003c\/span\u003e Il santo nome di Dio Signore\u003cspan style=\"font-size: 12px;\"\u003e (8:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e24.\u003c\/span\u003e La Vergine degli Angeli\u003cspan style=\"font-size: 12px;\"\u003e (3:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDisc Two\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e Attenti al gioco\u003cspan style=\"font-size: 12px;\"\u003e (4:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e La vita è inferno all'infelice\u003cspan style=\"font-size: 12px;\"\u003e (3:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e O tu che in seno\u003cspan style=\"font-size: 12px;\"\u003e (3:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Al tradimento!\u003cspan style=\"font-size: 12px;\"\u003e (2:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e All' armi!\u003cspan style=\"font-size: 12px;\"\u003e (2:19)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e Piano ... qui posi\u003cspan style=\"font-size: 12px;\"\u003e (1:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Solenne in quest' ora\u003cspan style=\"font-size: 12px;\"\u003e (4:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e Morir! Tremenda cosa!\u003cspan style=\"font-size: 12px;\"\u003e (2:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e Urna fatale del mio destino\u003cspan style=\"font-size: 12px;\"\u003e (2:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e E s'altra prova rinvenir potessi?\u003cspan style=\"font-size: 12px;\"\u003e (2:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE, SCENE THREE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e11.\u003c\/span\u003e Compagni, sostiamo\u003cspan style=\"font-size: 12px;\"\u003e (3:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e12.\u003c\/span\u003e Né gustare m'è dato\u003cspan style=\"font-size: 12px;\"\u003e (8:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e13.\u003c\/span\u003e Lorché pifferi e tamburi\u003cspan style=\"font-size: 12px;\"\u003e (1:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e14.\u003c\/span\u003e Qua, vivandiere, un sorso\u003cspan style=\"font-size: 12px;\"\u003e (0:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e15.\u003c\/span\u003e A buon mercato chi vuol comprare?\u003cspan style=\"font-size: 12px;\"\u003e (2:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e16.\u003c\/span\u003e Pane, pan per carità!\u003cspan style=\"font-size: 12px;\"\u003e (3:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e17.\u003c\/span\u003e Nella guerra è la follia\u003cspan style=\"font-size: 12px;\"\u003e (2:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e18.\u003c\/span\u003e Toh! Toh! Poffare il mondo!\u003cspan style=\"font-size: 12px;\"\u003e (3:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e19.\u003c\/span\u003e Rataplan, rataplan, della gloria\u003cspan style=\"font-size: 12px;\"\u003e (3:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDisc Three\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT FOUR, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e Fate la carità\u003cspan style=\"font-size: 12px;\"\u003e (6:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e Giunge qualcuno, aprite\u003cspan style=\"font-size: 12px;\"\u003e (1:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e Invano Alvaro, ti celasti al mondo\u003cspan style=\"font-size: 12px;\"\u003e (3:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Le minaccie, i fieri accenti\u003cspan style=\"font-size: 12px;\"\u003e (5:30)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT FOUR, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e Pace, pace mio Dio!\u003cspan style=\"font-size: 12px;\"\u003e (6:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e Io muoio! Confessione!\u003cspan style=\"font-size: 12px;\"\u003e (3:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Non imprecare, umiliati a Lui\u003cspan style=\"font-size: 12px;\"\u003e (5:35)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eDonna Leonora - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eDon Alvaro - \u003cb\u003eRichard Tucker\u003c\/b\u003e\u003cbr\u003eDon Carlo di Vargas - \u003cb\u003eCarlo Tagliabue\u003c\/b\u003e\u003cbr\u003eIl Padre Guardiano - \u003cb\u003eNicola Rossi-Lemeni\u003c\/b\u003e\u003cbr\u003ePreziosilla - \u003cb\u003eElena Nicolai\u003c\/b\u003e\u003cbr\u003eFra Melitone - \u003cb\u003eRenato Capecchi\u003c\/b\u003e\u003cbr\u003eIl marchese di Calatrava - \u003cb\u003ePlinio Clabassi\u003c\/b\u003e\u003cbr\u003eCurra - \u003cb\u003eRina Cavallari\u003c\/b\u003e\u003cbr\u003eMastro Trabuco - \u003cb\u003eGino del Signore\u003c\/b\u003e\u003cbr\u003eUn alcade\/Un chirurgo - \u003cb\u003eDaro Caselli\u003c\/b\u003e\u003cbr\u003eSoldati\/Giuscatari - \u003cb\u003eGiulio Scarinci, Ottorino Bagalli\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus \u0026amp; Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastered by Andrew Rose\u003cbr\u003eRecorded 17-24 August 1954, Teatro alla Scala, Milan\u003cbr\u003eCover artwork based on a photograph of Maria Callas\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eDownloads include full score, vocal score \u0026amp; Italian\/English libretto\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 45:00\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eCD1: 76:28\u003cbr\u003eCD2: 57:06\u003cbr\u003eCD3: 31:26\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO172.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO172.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31693576044605,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205533614414,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205533647182,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO172.jpg?v=1756366667"},{"product_id":"paco172-cd","title":"CALLAS Verdi: La Forza del Destino (1954) - PACO172 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO172.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":54763499585870,"sku":null,"price":65.0,"currency_code":"EUR","in_stock":true},{"title":"3 CDs only in plastic sleeve (+MP3)","offer_id":55205533548878,"sku":null,"price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO172_ef77ce57-01b1-4ac9-b96f-c2c775a6bbc5.jpg?v=1756366691"},{"product_id":"paco175","title":"CALLAS Rossini: Il Turco in Italia (1954) - PACO175","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003eIl Turco in Italia\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1954\u003cbr\u003eTotal duration: 1hr 52:57\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eFiorilla - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eSelim - \u003cb\u003eNicola Rossi-Lemeni\u003c\/b\u003e\u003cbr\u003eNarciso - \u003cb\u003eNicolai Gedda\u003c\/b\u003e\u003cbr\u003eGeronio - \u003cb\u003eFranco Calabrese\u003c\/b\u003e\u003cbr\u003eZaida - \u003cb\u003eJolanda Gardino\u003c\/b\u003e\u003cbr\u003eAlbazar - \u003cb\u003ePiero de Palma\u003c\/b\u003e\u003cbr\u003eIl poeta - \u003cb\u003eMariano Stabile\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eChorus and Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003eChorus Master: \u003cb\u003eVittore Veneziani\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eGianandrea Gavazzeni\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO175.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\"\u003ci\u003eIl Turco in Italia\u003c\/i\u003e was the sixth opera recorded by Callas under her contract with Columbia\/Angel. For other works either side of it Walter Legge seemed more concerned with his diva filling holes in his company’s catalogue. It was, after all, being eclipsed by Decca with their diva Renata Tebaldi, recording her in roles of which she had stage experience. This recording was the exception. It was also unusual in that Rossini operas on record were few and far between. Apart from the \u003ci\u003eIl Barbiere\u003c\/i\u003e, EMI’s \u003ci\u003eIl Comte d’Ory\u003c\/i\u003e under Gui, and a 1958 recording by Philips of \u003ci\u003eMosé\u003c\/i\u003e, with Nicola Rossi-Lemeni in the title role, the catalogue lacked recordings by the composer well into the LP era. Even the present one is a very abbreviated version at around 113 minutes compared with the 146 minutes on the CBS recording with Montserrat Caballé as Fiorilla.\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2006\/mar06\/Rossini_Turco_811102829.htm\"\u003eRobert J Farr,\u003c\/a\u003e\u003c\/b\u003e\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2006\/mar06\/Rossini_Turco_811102829.htm\"\u003e MusicWeb International, 2006\u003c\/a\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\"Fiorilla was one of two comic roles in Maria Callas’ repertoire, the other being Rossini’s Rosina. \u003ci\u003eIl Turco \u003c\/i\u003eis a strange work, witty and wry rather than zany, and very literary. Most of the score’s highlights are ensembles, and you might imagine that Callas could overpower her co-stars in such a situation. But the opposite is true despite her unique timbre that always shines through. She’s in great voice in this 1954 recording, absolutely secure throughout her range, and her impeccable rhythmic sense makes her work in the tricky, sometimes off-the-beat ensembles ideal. She turns out to be a team player par excellence. The role is of a headstrong, sassy woman who loves the attention men give her, and she loves playing one off against the other. Callas uses a girlish tone when being seductive but puts some iron into it when she has to make a point. Bass Nicola Rossi-Lemeni plays the Turk Callas plays games with, and he’s as expressive and fluid as she is. The rest of the cast is equally good. There have been better (and more complete) recordings since, but Callas is in a class by herself, and this is utterly charming.\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003ca href=\"https:\/\/www.classicstoday.com\/review\/review-13229\/\"\u003e\u003cb\u003eRobert Levine\u003c\/b\u003e, Classics Today, undated\u003c\/a\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\"Calabrese is, in fact, at his best when he is joined by Callas in the duet \"Per piacere alia signora”. The husband and wife exchanging “Perdonate” and “Mi lasciate” is quintessential Rossini and grand vocal acting. All through, Mme. Callas acts vividly, chiding, boasting, melting; one can “see” the performance, and when in typical Rossinian style she is given a “key” figure, each repetition of it carries, so one thinks, a slightly different meaning. I found myself teased by memories of these little phrases for hours afterwards, though neither of her big arias contains anything quite up to the best in the \u003ci\u003eBarber\u003c\/i\u003e. On her own and when in lighter voice, Mme. Callas is admirably the Rossinian heroine, and she has such go and gusto in the ensembles, one forgives the crowing and the occasional bagpipe skirl. Spontaneous? Never—in the Galli-Gurci blythe, canary style. But an artist! She reminds me very much of Columbia’s Mercedes Capsir, a singer too easily written off in the old days.\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eP.H.-W\u003c\/b\u003e., The Gramophone, October 1955\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003eIl Turco in Italia\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Sinfonia\u003cspan style=\"font-size: 12px;\"\u003e (8:42)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Nostra patria è il mondo intero\u003cspan style=\"font-size: 12px;\"\u003e (2:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Ho da fare un dramma buffo\u003cspan style=\"font-size: 12px;\"\u003e (3:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Ah! Se di questi zingari l'arrivo\u003cspan style=\"font-size: 12px;\"\u003e (0:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Vado in traccia di una Zingara\u003cspan style=\"font-size: 12px;\"\u003e (3:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Ah mia moglie\u003cspan style=\"font-size: 12px;\"\u003e (1:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Non si dà follia maggiore\u003cspan style=\"font-size: 12px;\"\u003e (3:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Voga, voga, a terra, a terra\u003cspan style=\"font-size: 12px;\"\u003e (1:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Bella Italia, alfin ti miro\u003cspan style=\"font-size: 12px;\"\u003e (2:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Serva... Servo\u003cspan style=\"font-size: 12px;\"\u003e (3:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Amici... soccorretemi\u003cspan style=\"font-size: 12px;\"\u003e (0:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Un marito scimunito!\u003cspan style=\"font-size: 12px;\"\u003e (5:31)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Ola tosto il caffé\u003cspan style=\"font-size: 12px;\"\u003e (1:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Siete Turchi\u003cspan style=\"font-size: 12px;\"\u003e (3:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Io stupisco, mi sorprende\u003cspan style=\"font-size: 12px;\"\u003e (2:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Come! sì grave scomo\u003cspan style=\"font-size: 12px;\"\u003e (3:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Un vecchio far non può maggior follia\u003cspan style=\"font-size: 12px;\"\u003e (2:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Per piacere alla signora\u003cspan style=\"font-size: 12px;\"\u003e (2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e No, mia vita, mio tesoro\u003cspan style=\"font-size: 12px;\"\u003e (3:34)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE, SCENE THREE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Gran maraviglie\u003cspan style=\"font-size: 12px;\"\u003e (1:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e Per la fuga è tutto lesto\u003cspan style=\"font-size: 12px;\"\u003e (4:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e Perché mai se non tradito\u003cspan style=\"font-size: 12px;\"\u003e (2:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e Evviva d'amore\u003cspan style=\"font-size: 12px;\"\u003e (0:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e Chi servir non brama Amor\u003cspan style=\"font-size: 12px;\"\u003e (1:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e Qui mia moglie ha da venire\u003cspan style=\"font-size: 12px;\"\u003e (0:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e Ah! che il cor non m'ingannava\u003cspan style=\"font-size: 12px;\"\u003e (2:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e Vada via si guardi bene\u003cspan style=\"font-size: 12px;\"\u003e (1:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e Quanto il vento\u003cspan style=\"font-size: 12px;\"\u003e (3:06)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e A proposito, amico\u003cspan style=\"font-size: 12px;\"\u003e (1:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e D'un bell'uso in Turchia\u003cspan style=\"font-size: 12px;\"\u003e (3:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Se Fiorilla di vender bramate\u003cspan style=\"font-size: 12px;\"\u003e (1:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Ed invece di pagarla\u003cspan style=\"font-size: 12px;\"\u003e (1:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Non v'è piacer perfetto\u003cspan style=\"font-size: 12px;\"\u003e (2:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Che Turca impertinente!\u003cspan style=\"font-size: 12px;\"\u003e (2:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Credete alle femmine\u003cspan style=\"font-size: 12px;\"\u003e (1:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e In Italia certamente\u003cspan style=\"font-size: 12px;\"\u003e (3:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Fermate... Cosa c'è?\u003cspan style=\"font-size: 12px;\"\u003e (1:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e E Selim non si vede!\u003cspan style=\"font-size: 12px;\"\u003e (2:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Oh! guardate che accidente\u003cspan style=\"font-size: 12px;\"\u003e (3:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Dunque seguitemi\u003cspan style=\"font-size: 12px;\"\u003e (1:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Questo vecchio maledetto\u003cspan style=\"font-size: 12px;\"\u003e (2:46)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO, SCENE THREE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Sì, mi è forza partir\u003cspan style=\"font-size: 12px;\"\u003e (1:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Son la vite sul campo appassita\u003cspan style=\"font-size: 12px;\"\u003e (2:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Rida a voi sereno il cielo\u003cspan style=\"font-size: 12px;\"\u003e (3:05)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eFiorilla - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eSelim - \u003cb\u003eNicola Rossi-Lemeni\u003c\/b\u003e\u003cbr\u003eNarciso - \u003cb\u003eNicolai Gedda\u003c\/b\u003e\u003cbr\u003eGeronio - \u003cb\u003eFranco Calabrese\u003c\/b\u003e\u003cbr\u003eZaida - \u003cb\u003eJolanda Gardino\u003c\/b\u003e\u003cbr\u003eAlbazar - \u003cb\u003ePiero de Palma\u003c\/b\u003e\u003cbr\u003eIl poeta - \u003cb\u003eMariano Stabile\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus and Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003eChorus Master: \u003cb\u003eVittore Veneziani\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eGianandrea Gavazzeni\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastered by Andrew Rose\u003cbr\u003eRecorded at Teatro Alla Scala, Milan. 31 August - 8 September 1954\u003cbr\u003eCover artwork based on a photograph of Maria Callas and Nicola Rossi-Lemeni as Fiorilla and Selim in the 1955 La Scala production of \u003ci\u003eIl Turco in Italia\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 1hr 52:57 CD1: 77:15 CD2: 35:42\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO175.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO175.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":33011297353789,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205528830286,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205528863054,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO175_7525aac5-6707-4d09-a8f1-7debc43186e7.jpg?v=1611566540"},{"product_id":"paco175-cd","title":"CALLAS Rossini: Il Turco in Italia (1954) - PACO175 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO175.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205528797518,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO175.jpg?v=1658497502"},{"product_id":"paco178","title":"CALLAS Verdi: Aïda (1955) - PACO178","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eAïda\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1955\u003cbr\u003eTotal duration: 2hr 24:40\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e - Aïda\u003cbr\u003e\u003cb\u003eRichard Tucker\u003c\/b\u003e - Radamès\u003cbr\u003e\u003cb\u003eFedora Barbieri\u003c\/b\u003e - Amneris\u003cbr\u003e\u003cb\u003eTito Gobbi\u003c\/b\u003e - Amonasro\u003cbr\u003e\u003cb\u003eGiuseppe Modesti\u003c\/b\u003e - Ramfis\u003cbr\u003e\u003cb\u003eNicola Zaccaria\u003c\/b\u003e - Il re d'Egitto\u003cbr\u003e\u003cb\u003eElvira Galassi\u003c\/b\u003e - Una sacerdotessa\u003cbr\u003e\u003cb\u003eFranco Ricciardi\u003c\/b\u003e - Un messaggero\u003cbr\u003e\u003cb\u003eChorus and Orchestra of the Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO178.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eEnter Aida: Callas is a great artist. I believe that at any time she would be so considered and having recently heard her \u003ci\u003eLucia \u003c\/i\u003efrom the second row of the stalls, I aver that faults or no faults, one is in the presence of a tremendous singing-artist whose will-power and art are brandished at you in such a way that faults \"mean\" nothing. Often in this Nile scene in the silence under the moon, she will \u003ci\u003ecaress \u003c\/i\u003ea phrase as lovingly as Kreisler or Mischa Elman, fining her voice, colouring it, giving the words a heartfelt meaning which - that hall-mark of his histrionic genius - \u003ci\u003esurprises \u003c\/i\u003eus. Just as in the sentence in the \u003ci\u003eForza \u003c\/i\u003emonastery scene, \"Vergin m ' assisti\" she gets far more out of the dramatic meaning than her rival Tebaldi, so here too there are dramatic points wonderfully brought off which Tebaldi, ever steady and appealing, hardly makes us notice. Yet Tebaldi is so much steadier, and produces tone which is so infinitely more sympathetic that one cannot in the long run and for repeated playing fail to prefer the suave Italian to the agitating American-Greek soprano. At least so say I, with my ears unable to rid themselves of the memory of the toppling yowl of Mme Callas's high A and high C, even if real tears stood in my eyes as she cried to Tito Gobbi: \"Padre, son maladirmi; schiava non son\": which is marvellous, like Lucia's \"Alfin son tui\". an artist, but how incomplete - to alternate ecstasy and irritation!\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eThe Gramophone\u003c\/b\u003e, January 1956 (\u003ci\u003eexcerpt\u003c\/i\u003e)\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAida was the final magnificent work of Verdi's second period, using every element of his art: sublime large-scale choruses and poignant arias, pageantry, dance, spectacle and exoticism are all here, confirming his status as one of the greatest musical dramatists. The theme is doomed love – Radames, a Captain of the Egyptian guard falls for Aida, an Ethiopian slave; he sings her one of the great tenor arias 'Celeste Aida'; other memorable moments are Aida's 'Ritorna vincitor' and 'O patria mia' and their duet before being entombed alive 'O terra, addio'.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eCallas’s Aida is an assumption of total understanding and conviction; the growth from a slave-girl torn between love for her homeland and Radames, to a woman whose feelings transcend life itself, represents one of the greatest operatic undertakings ever committed to disc. Alongside her is Fedora Barbieri, an Amneris palpable in her agonised mixture of love and jealousy – proud yet human. Tucker’s Radames is powerful and Gobbi’s Amonasro quite superb – a portrayal of comparable understanding to set alongside Callas’s Aida. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eTullio Serafin’s reading is in the central Italian tradition of its time. That’s to say, it’s unobtrusively right in matters of tempo, emphasis and phrasing, while occasionally passing indifferent ensemble in the choral and orchestral contribution. Although the recording can’t compete with modern versions (it was never, in fact, a model of clarity), nowhere can it dim the brilliance of the creations conjured up by this classic cast.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eGramophone,\u003c\/b\u003e May 2015\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eAïda\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Preludio\u003cspan style=\"font-size: 12px;\"\u003e (3:46)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Sì: corre voce che l'Etiope ardisca\u003cspan style=\"font-size: 12px;\"\u003e (1:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Se quel guerrier io fossi!\u003cspan style=\"font-size: 12px;\"\u003e (4:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Quale insolito gioia nel tuo sguardo\u003cspan style=\"font-size: 12px;\"\u003e (3:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Vieni, o diletta, appressati\u003cspan style=\"font-size: 12px;\"\u003e (2:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Alta cagion v'aduna\u003cspan style=\"font-size: 12px;\"\u003e (3:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Su! del Nilo al sacro lido\u003cspan style=\"font-size: 12px;\"\u003e (2:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Ritorna vincitor\u003cspan style=\"font-size: 12px;\"\u003e (6:41)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Possente, possente Fthà\u003cspan style=\"font-size: 12px;\"\u003e (3:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Immenso, immenso Fthà!\u003cspan style=\"font-size: 12px;\"\u003e (3:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Nume, custode e vindice\u003cspan style=\"font-size: 12px;\"\u003e (3:51)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Chi mai fra gl'inni e i plausi\u003cspan style=\"font-size: 12px;\"\u003e (2:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Danza di piccoli schiavi mori\u003cspan style=\"font-size: 12px;\"\u003e (3:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Fu la sorte dell'armi a' tuoi funesta\u003cspan style=\"font-size: 12px;\"\u003e (5:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Pietà ti prenda del mio dolor\u003cspan style=\"font-size: 12px;\"\u003e (4:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Gloria all'Egitto, ad Iside\u003cspan style=\"font-size: 12px;\"\u003e (3:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Marchia trionfale\u003cspan style=\"font-size: 12px;\"\u003e (1:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Ballabile\u003cspan style=\"font-size: 12px;\"\u003e (4:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Vieni, o guerriero vindice\u003cspan style=\"font-size: 12px;\"\u003e (2:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Salvator della patria, io ti saluta\u003cspan style=\"font-size: 12px;\"\u003e (2:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e Che veggo! Egli? Mio padre!\u003cspan style=\"font-size: 12px;\"\u003e (1:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e Quest'assisa ch'io vesto vi dica\u003cspan style=\"font-size: 12px;\"\u003e (2:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e Il dolor che in quel volto favella\u003cspan style=\"font-size: 12px;\"\u003e (2:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e O Re: pei sacri Numi\u003cspan style=\"font-size: 12px;\"\u003e (5:14)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e O tu che sei d'Osiride\u003cspan style=\"font-size: 12px;\"\u003e (4:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Qui Radamès verrà!\u003cspan style=\"font-size: 12px;\"\u003e (7:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Ciel! mio padre!\u003cspan style=\"font-size: 12px;\"\u003e (8:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Pur ti riveggo, mia dolce Aida\u003cspan style=\"font-size: 12px;\"\u003e (3:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Fuggiam gli ardori inospiti\u003cspan style=\"font-size: 12px;\"\u003e (6:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Ma dimmi: per qual via\u003cspan style=\"font-size: 12px;\"\u003e (3:19)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT FOUR, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e L'aborrita rivale a me sfuggia\u003cspan style=\"font-size: 12px;\"\u003e (3:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Già i Sacerdoti adunansi\u003cspan style=\"font-size: 12px;\"\u003e (6:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Ohimè! morir mi sento!\u003cspan style=\"font-size: 12px;\"\u003e (8:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e A lui vivo la tomba\u003cspan style=\"font-size: 12px;\"\u003e (3:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT FOUR, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e La fatal pietra sovra me si chiuse\u003cspan style=\"font-size: 12px;\"\u003e (5:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Immenso, immenso Fthà\u003cspan style=\"font-size: 12px;\"\u003e (5:42)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e – Aïda\u003cbr\u003e\u003cb\u003eRichard Tucker\u003c\/b\u003e – Radamès\u003cbr\u003e\u003cb\u003eFedora Barbieri\u003c\/b\u003e – Amneris\u003cbr\u003e\u003cb\u003eTito Gobbi\u003c\/b\u003e – Amonasro\u003cbr\u003e\u003cb\u003eGiuseppe Modesti\u003c\/b\u003e – Ramfis\u003cbr\u003e\u003cb\u003eNicola Zaccaria\u003c\/b\u003e – Il re d'Egitto\u003cbr\u003e\u003cb\u003eElvira Galassi\u003c\/b\u003e – Una sacerdotessa\u003cbr\u003e\u003cb\u003eFranco Ricciardi\u003c\/b\u003e – Un messaggero\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus and Orchestra of the Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastered by Andrew Rose\u003cbr\u003eRecorded 10-24 August 1955, Teatro alla Scala, Milan\u003cbr\u003eCover artwork based on a photograph of Maria Callas\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 24:40 CD1: 79:54 CD2: 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Barbieri\u003c\/b\u003e - Azucena\u003cbr\u003e\u003cb\u003eGiuseppe Di Stefano\u003c\/b\u003e - Manrico\u003cbr\u003e\u003cb\u003eNicola Zaccaria\u003c\/b\u003e - Ferrando\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCoro e Orchestra de Teatro alla Scala, Milano\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eHerbert von Karajan\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO181.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\"The role of Leonora is one in which I have much admired Mme Callas. Her assumption is that of a great lady, as it should be; and in the two big arias I have heard her phrase the music like a virtuoso violinist with a mastery which marked her off from most other Leonoras of the common sort. Most of that grandeur is evident in this recording. But to enjoy Mme Callas you have—if I may commit ah Irishism—to like her in the first place. If you can accept that half closed throat and the occasional curdling skirls and the sagging beat on the top notes, all will seem magical. She again brings to the most hackneyed music a gift of recreating it as if it were being sung for the first time. She feels the sense of words (as, for example, neither Tebaldi nor Milanov seem to sense them at all). On the other hand, considered from a purely tonal angle, the purely sensuous side of her singing offers little here to compare to the ravishing sounds which issue from the Leonoras of Tebaldi (in “Tacea la notte”) or Mme Milanov in the introduction to “D’amor sull’ ali”. But the actual spanning and placing of the phrases are lovely and in the rapid and difficult caballetta to the former aria Mme Callas, who is far more nippy with her shakes and gruppetti, though sticking to a fairly safe pace, shows up as a much more practised coloratura singer than either of her rivals. In the scene with the count which comes after the Miserere, Mme Callas is altogether astonishing in her realisation of the drama in her dynamic phrasing, making her rivals sound merely like also rans in a steeple chase. “Mira d’acerbe lagrime” and the vengeful glee of “Vivra! Contend il giubilo” are perfectly in character. Altogether, provided you like Mme Callas’s strange vocal production, you are likely to forget the other two “complete” Leonoras. Only in one place does she a little disappoint me; that is her moment of amazement in the Convent scene, “E deggio — e posso crederlo?”, not nearly as thrilling as expected. But the working up of the ensemble thereafter is exceptionally clear in this new issue. Indeed I do not recall a \u003ci\u003eTrovatore \u003c\/i\u003ein which so many of the words came through so clearly...\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e...But what of Herbert von Karajan’s handling of the score as a whole? Well, I find it superior to Erede (Decca), who sounds laggard and cautious by comparison. But the excitements are not always of a very Verdian kind and von Karajan often seems to drive the singers without at the same time achieving that justifiable rightness that we associate with Toscanini’s Verdi. Cellini in the H.M.V. did one or two questionable things, but von Karajan often whips up the tempo in a way which seems to have no warrant in the score or the nature of the music, as if he simply felt that here was a place where the orchestra might as well assert itself. Equally some of the ralientandos sound, not natural, but grudgingly exaggerated, as if a concession to an absurd fashion. There are few untidy passages. Superficially at least it is a “hot” performance and I don’t expect most listeners to share my reserve in this matter of the true Verdian style not being achieved.\" \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e -\u003ci\u003e The Gramophone\u003c\/i\u003e, November 1957\u003c\/p\u003e\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\"That Callas\/Karajan \u003ci\u003eIl trovator\u003c\/i\u003ee has long been one of the great Verdi recordings\" - so wrote Richard Osbourne in Gramophone in 2014, and yet until now it has remained the case that the sound quality EMI\/Colombia were offering from these mid-50s mono opera recordings was still significantly behind that of their chief rival, Decca. Once again in this critically-acclaimed series, Pristine's Ambient Stereo XR remastering has significantly transformed the sound quality and listening experience of one of the great Callas opera recordings, bringing to it new life and the wonderfully rich and vibrant sound that was too often lacking in the original. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eIl Trovatore\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDisc One\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e \u003ci\u003eScene 1\u003c\/i\u003e - All'erta! All'erta!\u003cspan style=\"font-size: 12px;\"\u003e (2:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e Di due figli vivea padre beato\u003cspan style=\"font-size: 12px;\"\u003e (0:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e Abbietta zingara, fosca vegliarda!\u003cspan style=\"font-size: 12px;\"\u003e (3:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Brevi e tristi giorni visse\u003cspan style=\"font-size: 12px;\"\u003e (1:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e Sull'orlo dei tetti\u003cspan style=\"font-size: 12px;\"\u003e (1:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e \u003ci\u003eScene 2\u003c\/i\u003e - Che più t'arresti?\u003cspan style=\"font-size: 12px;\"\u003e (2:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Tacea la notte placida\u003cspan style=\"font-size: 12px;\"\u003e (3:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e Quanto narrasti di turbamento m'ha piena l'alma!\u003cspan style=\"font-size: 12px;\"\u003e (0:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e Di tale amor\u003cspan style=\"font-size: 12px;\"\u003e (1:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e Tace la notte!\u003cspan style=\"font-size: 12px;\"\u003e (1:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e11.\u003c\/span\u003e Il Trovator! Io fremo! Deserto sulla terra\u003cspan style=\"font-size: 12px;\"\u003e (1:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e12.\u003c\/span\u003e Anima mia! Più dell'usato\u003cspan style=\"font-size: 12px;\"\u003e (2:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e13.\u003c\/span\u003e Di geloso amor sprezzato\u003cspan style=\"font-size: 12px;\"\u003e (2:44)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e14.\u003c\/span\u003e \u003ci\u003eScene 1\u003c\/i\u003e - Vedi! le fosche notturne spoglie\u003cspan style=\"font-size: 12px;\"\u003e (2:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e15.\u003c\/span\u003e Stride le vampa!\u003cspan style=\"font-size: 12px;\"\u003e (2:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e16.\u003c\/span\u003e Mesta è la tua canzon!\u003cspan style=\"font-size: 12px;\"\u003e (2:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e17.\u003c\/span\u003e Sol or siamo\u003cspan style=\"font-size: 12px;\"\u003e (1:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e18.\u003c\/span\u003e Condotta ell'era in ceppi\u003cspan style=\"font-size: 12px;\"\u003e (4:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e19.\u003c\/span\u003e Non son tuo figlio!\u003cspan style=\"font-size: 12px;\"\u003e (2:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e20.\u003c\/span\u003e Mal reggendo all'aspro assalto\u003cspan style=\"font-size: 12px;\"\u003e (3:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e21.\u003c\/span\u003e L'usato messo Ruiz invia!\u003cspan style=\"font-size: 12px;\"\u003e (1:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e22.\u003c\/span\u003e Perigliarti ancor languente\u003cspan style=\"font-size: 12px;\"\u003e (2:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e23.\u003c\/span\u003e \u003ci\u003eScene 2\u003c\/i\u003e - Tutto è deserto\u003cspan style=\"font-size: 12px;\"\u003e (1:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e24.\u003c\/span\u003e Il balen del suo sorriso\u003cspan style=\"font-size: 12px;\"\u003e (3:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e25.\u003c\/span\u003e Qual suono! Oh ciel!\u003cspan style=\"font-size: 12px;\"\u003e (0:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e26.\u003c\/span\u003e Per me ora fatale\u003cspan style=\"font-size: 12px;\"\u003e (2:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e27.\u003c\/span\u003e Ah! se l'error t'ingombra\u003cspan style=\"font-size: 12px;\"\u003e (2:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e28.\u003c\/span\u003e Perchè piangete? O dolci amiche\u003cspan style=\"font-size: 12px;\"\u003e (2:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e29.\u003c\/span\u003e E deggio e posso crederlo?\u003cspan style=\"font-size: 12px;\"\u003e (4:47)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDisc Two\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e \u003ci\u003eScene 1\u003c\/i\u003e - Or co' dadi, ma fra poco\u003cspan style=\"font-size: 12px;\"\u003e (4:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e In braccio al mio rival!\u003cspan style=\"font-size: 12px;\"\u003e (2:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e Giorni poveri vivea\u003cspan style=\"font-size: 12px;\"\u003e (3:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Deh! rallentate, o barbari\u003cspan style=\"font-size: 12px;\"\u003e (2:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e \u003ci\u003eScene 2\u003c\/i\u003e - Quale d'armi fragor\u003cspan style=\"font-size: 12px;\"\u003e (2:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e Ah sì, ben mio, coll'essere io tuo\u003cspan style=\"font-size: 12px;\"\u003e (2:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e L'onda de' suoni mistici pura discenda al cor!\u003cspan style=\"font-size: 12px;\"\u003e (1:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e Di quella pira, l'orrendo foco\u003cspan style=\"font-size: 12px;\"\u003e (3:23)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT FOUR\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e \u003ci\u003eScene 1\u003c\/i\u003e - Siam giunti; oecco la torre\u003cspan style=\"font-size: 12px;\"\u003e (3:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e D'amor sull'ali rosee\u003cspan style=\"font-size: 12px;\"\u003e (4:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e11.\u003c\/span\u003e Misere, Quel suon, quelle preci\u003cspan style=\"font-size: 12px;\"\u003e (7:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e12.\u003c\/span\u003e Udiste?\u003cspan style=\"font-size: 12px;\"\u003e (1:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e13.\u003c\/span\u003e Mira, d'acerbe lagrime\u003cspan style=\"font-size: 12px;\"\u003e (2:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e14.\u003c\/span\u003e Conte! Né basti!\u003cspan style=\"font-size: 12px;\"\u003e (1:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e15.\u003c\/span\u003e Colui vivrà, Vivrà! Contende il giubilo\u003cspan style=\"font-size: 12px;\"\u003e (2:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e16.\u003c\/span\u003e \u003ci\u003eScene 2\u003c\/i\u003e - Madre, no dormi?\u003cspan style=\"font-size: 12px;\"\u003e (5:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e17.\u003c\/span\u003e Sì, la stanchezza m'opprime\u003cspan style=\"font-size: 12px;\"\u003e (1:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e18.\u003c\/span\u003e Ai nostri monti ritorneremo\u003cspan style=\"font-size: 12px;\"\u003e (2:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e19.\u003c\/span\u003e Che! Non m'inganna\u003cspan style=\"font-size: 12px;\"\u003e (1:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e20.\u003c\/span\u003e Parlar non vuoi? Ha quest'infame l'amor venduto\u003cspan style=\"font-size: 12px;\"\u003e (3:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e21.\u003c\/span\u003e Ti scosta!\u003cspan style=\"font-size: 12px;\"\u003e (1:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e22.\u003c\/span\u003e Prima che d'altri vivere\u003cspan style=\"font-size: 12px;\"\u003e (3:33)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e – Leonora\u003cbr\u003e\u003cb\u003eRolando Panerai\u003c\/b\u003e – Il Conte Di Luna\u003cbr\u003e\u003cb\u003eFedora Barbieri\u003c\/b\u003e – Azucena\u003cbr\u003e\u003cb\u003eGiuseppe Di Stefano\u003c\/b\u003e – Manrico\u003cbr\u003e\u003cb\u003eNicola Zaccaria\u003c\/b\u003e – Ferrando\u003cbr\u003e\u003cb\u003eLuisa Villa\u003c\/b\u003e – Ines\u003cbr\u003e\u003cb\u003eRenato Ercolani\u003c\/b\u003e – Ruiz\/Un messo\u003cbr\u003e\u003cb\u003eGiulio Mauri\u003c\/b\u003e – Uno zingaro\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCoro e Orchestra de Teatro alla Scala, Milano\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eChorus master: Norberto Mola\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eHerbert von Karajan\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Maria Callas as Leonora in 1950\u003cbr\u003eProducer: Walter Legge\u003cbr\u003eEngineer: Robert Beckett\u003cbr\u003eRecorded 3-9 August, 1956, Teatro alla Scala, Milan\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 9:37\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eCD1: 67:56\u003cbr\u003eCD2: 61:41\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO181.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO181.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":39373879869501,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205526077774,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205526110542,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO181_cdf8f7d9-b3dc-46a5-a422-bbee5cf5697b.jpg?v=1756366862"},{"product_id":"paco181-cd","title":"CALLAS Verdi: Il Trovatore (1956) - PACO181 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":54763511742798,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeves (+MP3)","offer_id":55205526045006,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO181.jpg?v=1756366882"},{"product_id":"paco187","title":"CALLAS Verdi: Un Ballo In Maschera (1956) - PACO187","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eUn ballo in maschera\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1956\u003cbr\u003eTotal duration: 2hr 10:38\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eAmelia - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eRiccardo - \u003cb\u003eGiuseppe Di Stefano\u003c\/b\u003e\u003cbr\u003eRenato - \u003cb\u003eTito Gobbi\u003c\/b\u003e\u003cbr\u003eUlrica - \u003cb\u003eFedora Barbieri\u003c\/b\u003e\u003cbr\u003eOscar - \u003cb\u003eEugenia Ratti\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCoro e Orchestra del Teatro Alla Scala, Milano\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Antonino Votto\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO187.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\"This reissue of \u003ci\u003eBallo \u003c\/i\u003eis a welcome reminder of the special qualities of its principals . As JBS intimated when it last appeared on LP (6\/79), Votto has been under-rated as its conductor: his direction has a truly Verdian \u003ci\u003eélan\u003c\/i\u003e. This is one of Callas's most compelling assumptions. Certain phrases, such as when she sings \"Son di lui\", - \"I am his\" meaning her husband's to Riccardo - remain uniquely accented and convincing. Her Amelia does have more character, presence and sheer \u003ci\u003espinto \u003c\/i\u003equality than that of either soprano on the rival sets. Gobbi is a very different Renato than Bruson, who appears for both Solti (Decca) and Abbado (DG); more incisive, more threatening, but by the same token, rather less smooth in his vocalization; for an ideal \"Eri tu\", I would want to go far further back in recorded history, to Amato and de Luca. Where Riccardo is concerned, I suppose di Stefano is closer to Pavarotti (SoJti) than to Domingo (Abbado) in giving face to the role. He hasn't so secure a top register as either of his rivals, but my goodness, in the ballata and the love duet he does surpass them both in the involvement and daring of his performance; indeed, I think all three principals are superior to their successors in creating the tension of a live performance as against a studio one. In that respect this is the recording! have always turned to most often, even though in my heart I would have to admit that the Abbado is the more finished and better-produced set. I should add that Barbieri makes a vivid and resourceful Ulrica and Ratti a smiling, pert, if sometimes shrill Oscar.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe DG is, of course, also the more comfortably recorded, although I would suggest that, in its CD manifestation, the EMI is more than respectable in terms of sound. Callas enthusiasts will want this version in any case. Others may find the choice more difficult depending on whether they value the character of individual performances over all-round finish . My own preference is clear; it is for this EMI set.\" \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eA.B., \u003ci\u003eThe Gramophone\u003c\/i\u003e, September 1987, review of EMI CD reissue\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs we continue our journey through the studio opera recordings made by Maria Callas in the 1950s, in \u003ci\u003eUn ballo in maschera\u003c\/i\u003e we reach the last of a continuous run of mono opera studio recordings - presented here in Pristine's Ambient Stereo format which, whilst maintaining the central mono sound image, brings space, air and ambience around that image for a more realistic and comfortable listening experience.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhere its major rival, Decca, had pioneered the stereo format, beginning in 1954 despite no domestic reproduction equipment yet offering the new sound, EMI was once again a couple of years or more behind its British counterpart. And whilst the standard of sound engineering was audibly better with each visit to Milan's La Scala Theatre for the annual round of Maria Callas recordings, it still lagged behind the pioneering work of Kenneth Wilkinson and his colleagues at Decca.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis recording nevertheless resides at the sonic peak of the end of the mono era, greatly easing my own work in transforming its sound, through the XR remastering process, into the truly beautiful artefact presented here.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e Un ballo in maschera\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (50:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Prelude\u003cspan style=\"font-size: 12px;\"\u003e (4:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Posa in pace\u003cspan style=\"font-size: 12px;\"\u003e (1:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e S'avanza il Conte\u003cspan style=\"font-size: 12px;\"\u003e (3:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Il cenno mio de là\u003cspan style=\"font-size: 12px;\"\u003e (2:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Alla vita che t'arride\u003cspan style=\"font-size: 12px;\"\u003e (2:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Il primo giudice\u003cspan style=\"font-size: 12px;\"\u003e (1:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Cavatina: Volta la terrea\u003cspan style=\"font-size: 12px;\"\u003e (1:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Signori oggi d'Ulrica...Orni cura si doni al diletto\u003cspan style=\"font-size: 12px;\"\u003e (3:09)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Zitti, l'incanto non dessi turbare\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Arrivo il primo...Villano, dà indietro\u003cspan style=\"font-size: 12px;\"\u003e (2:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Su fatemi largo\u003cspan style=\"font-size: 12px;\"\u003e (3:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Che v'agita cosi\u003cspan style=\"font-size: 12px;\"\u003e (5:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Su profetessa monta il treppiè\u003cspan style=\"font-size: 12px;\"\u003e (4:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Chi voi siate l'audace parola\u003cspan style=\"font-size: 12px;\"\u003e (5:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Finale - Finisci il vaticinio\u003cspan style=\"font-size: 12px;\"\u003e (4:27)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (79:46)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Prelude - Ecco l'orrido campo\u003cspan style=\"font-size: 12px;\"\u003e (9:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Teco io sto...Gran Dio\u003cspan style=\"font-size: 12px;\"\u003e (9:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Ahimè!...s'appressa alcun!\u003cspan style=\"font-size: 12px;\"\u003e (5:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Seguitemi!...Mio Dio!\u003cspan style=\"font-size: 12px;\"\u003e (7:39)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e A tal colpo è nulla il pianto\u003cspan style=\"font-size: 12px;\"\u003e (6:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Alzati! Là tuo figlio a te concede riveder\u003cspan style=\"font-size: 12px;\"\u003e (6:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Siam soli...udite\u003cspan style=\"font-size: 12px;\"\u003e (8:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Il messaggio entri\u003cspan style=\"font-size: 12px;\"\u003e (3:48)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Forse la soglia attinse\u003cspan style=\"font-size: 12px;\"\u003e (5:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Ah! Dessa è là\u003cspan style=\"font-size: 12px;\"\u003e (1:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Fervono amori e danze\u003cspan style=\"font-size: 12px;\"\u003e (5:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Ah! Perchè qui!.. fuggite\u003cspan style=\"font-size: 12px;\"\u003e (5:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Finale - Ella è pura, in braccio a morte\u003cspan style=\"font-size: 12px;\"\u003e (4:34)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eAmelia - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eRiccardo - \u003cb\u003eGiuseppe Di Stefano\u003c\/b\u003e\u003cbr\u003eRenato - \u003cb\u003eTito Gobbi\u003c\/b\u003e\u003cbr\u003eUlrica - \u003cb\u003eFedora Barbieri\u003c\/b\u003e\u003cbr\u003eOscar - \u003cb\u003eEugenia Ratti\u003c\/b\u003e\u003cbr\u003eSilvano - \u003cb\u003eEzio Giordano\u003c\/b\u003e\u003cbr\u003eSamuel - \u003cb\u003eSilvio Maionica\u003c\/b\u003e\u003cbr\u003eTom - \u003cb\u003eNicola Zaccaria\u003c\/b\u003e\u003cbr\u003eGiudice\/Servo - \u003cb\u003eRenato Ercolani\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCoro e Orchestra del Teatro alla Scala, Milano\u003c\/b\u003e\u003cbr\u003echorus master: \u003cb\u003eNorberto Mola\u003c\/b\u003e\u003cbr\u003econductor: \u003cb\u003eAntonino Votto\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Maria Callas and Giuseppe Di Stefano in Un Ballo In Maschera, 1957\u003cbr\u003eRecorded at Teatro alla Scala, Milan, 4 - 9 September 1956\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 10:38\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO187.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO187.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":39586781003837,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205524046158,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205524078926,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO187.jpg?v=1756366908"},{"product_id":"paco187-cd","title":"CALLAS Verdi: Un Ballo In Maschera (1956) - PACO187 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":54763513643342,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeves (+MP3)","offer_id":55205524013390,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO187_286b84eb-b6cd-4a11-b8fc-dcca29d34c89.jpg?v=1756366926"},{"product_id":"paco191","title":"CALLAS Rossini: Il barbiere di Siviglia (stereo, 1957) - PACO191","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003eIl barbiere di Siviglia\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStereo studio recording, 1957\u003cbr\u003eTotal duration: 2hr 9:58\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eRosina \u003cb\u003e- Maria Callas\u003c\/b\u003e\u003cbr\u003eIl conte d'Almaviva\u003cb\u003e - Luigi Alva\u003c\/b\u003e\u003cbr\u003eFigaro \u003cb\u003e- Tito Gobbi\u003c\/b\u003e\u003cbr\u003eBartolo \u003cb\u003e- Fritz Ollendorff\u003c\/b\u003e\u003cbr\u003eBasilio \u003cb\u003e- Nicola Zaccaria\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Chorus \u0026amp; Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAlceo Galliera\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO191.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    \"We go to \u003cem\u003eII \u003c\/em\u003e\u003cem\u003ebarbiere \u003c\/em\u003efor refreshment. Here the choice of\n    conductor was as happy as it was unexpected. The veteran Serafin and\n    man-of-the-moment Giulini were the obvious choices, but already critics and\n    public were complaining about the predictability of cast-lists in this\n    wonderful new age of complete operatic recordings. Alceo Galliera had\n    attracted attention as a symphonic conductor and an orchestral trainer of\n    exceptional ability. Walter Legge had picked him out for some early\n    recordings with the Philharmonia Orchestra, including a sparkling\n    performance of the Overture from \u003cem\u003eIl \u003c\/em\u003e\u003cem\u003ebarbiere. \u003c\/em\u003eTo the\n    opera itself he brought a light touch, imaginative care for detail and a\n    nice Rossinian feeling of expectancy, of fun brooding in alleyways and lights\n    turned on in corners. It is, of course, an ensemble opera, the whole\namounting to much more than the sum of its parts. The famous Rossini    \u003cem\u003ecrescendo \u003c\/em\u003eis the embodiment of laughter welling up from all points\n    of the compass. It is as important, for instance, that the \"stars\" work\n    together in the \"Buona sera\" quintet as that Figaro should make a success\n    of his \"Largo al factotum\"; and, however brilliant Rosina's \"Una voce poco\n    fu\", the general joy of the evening depends more upon the success of the Act I finale. Here, each of the principals makes a special\n    contribution (mostly through an individuality of timbre), but each also\n    draws from the centre (that is, the conductor and, I think, the record\n    producer) a sense of a specialness of occasion, almost of history, that\n    Legge was able to impart to every individual session.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    All three principal singers need grace and agility, with the tenor's role\n    widely regarded as of the greatest technical difficulty. The Act 2 aria\n    \"Cessa di piu resistere\" has until recently been almost always omitted and,\n    on account of this omission and a number of other cuts, it would be\n    impossible to recommend this as the essential version. ButI see no reason to suppose Alva could not have made as good a job of it as\n    his successors have done: he was singing with the most delightful purity of\n    tone and definition of line, and both serenades are sung with elegance. The\n    lingering \u003cem\u003ediminuendi\u003c\/em\u003e of \"Se ii mio nome\" is in the best tradition\n    of his famous predecessor Tito Schipa.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Of Callas it was said by Walter Legge that comedy failed to brush her with\n    its wings. He wrote with the authority of experience, but the unprejudiced\near does not support such a conclusion. The two complete sets -    \u003cem\u003eIl barbiere di Siviglia\u003c\/em\u003e and \u003cem\u003eIl Turco in Italia\u003c\/em\u003e – are sung\n    with a smile which becomes radiantly visible if one can add the memory of\n    sparkling eyes and brilliant teeth as shown in video recordings of concert\n    performances. Of course we listen prepared to flinch before every high\n    note. The accursed flap lurks ahead ready to shake, rattle and roll every\n    dominant-tonic finale, yet almost always we find on returning to such\n    moments that the internal vocal caricaturist has been at work, distorting\n    and exaggerating. The wry humour of \"Dunque io son\" is much to her liking\n    and in this (as in much else) she is the mistress of humorous timing.\n    Otherwise much is done simply by individuality of timbre, the familiar\n    thrill of recognising the irreplaceable voice.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    And the same is true of Gobbi: his voice still had an exceptional richness\n    of colouration, especially in the middle register and at moderate volume.\n    Sometimes the vibrations would flatten out, but the savour was never lost\n    for long; always he was Gobbi and once you had caught a love for the voice\n    it was not something you would drop for a coarsened note or two. Doctors\n    Basilio and Bartolo are also richly cast.\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eJohn Steane\u003c\/b\u003e, \u003ci\u003eGramophone\u003c\/i\u003e, May 2011\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis recording, made in London in February 1957, was the first stereo opera recorded by Maria Callas for EMI. Later that year she would return to Milan to record again in mono at La Scala; unlike their Decca counterparts, EMI were slow to adapt to stereo work, particularly in what might now be considered the obvious field of opera. Nevertheless they did a very good job here - one which I hope you will find has been further enhanced in this Pristine XR remastering.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003eIl barbiere di Siviglia\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (59:44)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Overture\u003cspan style=\"font-size: 12px;\"\u003e (6:41)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Piano, pianissimo, senza parlar\u003cspan style=\"font-size: 12px;\"\u003e (2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Ecco ridente in cielo\u003cspan style=\"font-size: 12px;\"\u003e (4:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Ehi, Fiorello?\u003cspan style=\"font-size: 12px;\"\u003e (1:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Mille grazie, mio signore\u003cspan style=\"font-size: 12px;\"\u003e (1:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Gente indiscreta!\u003cspan style=\"font-size: 12px;\"\u003e (0:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e La ran la le ra, la ran la la\u003cspan style=\"font-size: 12px;\"\u003e (4:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Ah, che bella vita!\u003cspan style=\"font-size: 12px;\"\u003e (3:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Se il mio nome saper voi bramate\u003cspan style=\"font-size: 12px;\"\u003e (2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Oh, cielo!\u003cspan style=\"font-size: 12px;\"\u003e (1:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e All'idea di quel metallo\u003cspan style=\"font-size: 12px;\"\u003e (3:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Piano, piano\u003cspan style=\"font-size: 12px;\"\u003e (1:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Oh, il meglio\u003cspan style=\"font-size: 12px;\"\u003e (1:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Ah, che d'amore la fiamma\u003cspan style=\"font-size: 12px;\"\u003e (1:23)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Una voce poco fa\u003cspan style=\"font-size: 12px;\"\u003e (6:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Sì, sì, la vincerò\u003cspan style=\"font-size: 12px;\"\u003e (4:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e La calunnia è un venticello\u003cspan style=\"font-size: 12px;\"\u003e (3:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Ah! Che ne dite?\u003cspan style=\"font-size: 12px;\"\u003e (2:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Dunque io son\u003cspan style=\"font-size: 12px;\"\u003e (2:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Fortunati affetti miei\u003cspan style=\"font-size: 12px;\"\u003e (2:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (70:04)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Ora mi sento meglio\u003cspan style=\"font-size: 12px;\"\u003e (1:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e A un dottor della mia sorte\u003cspan style=\"font-size: 12px;\"\u003e (4:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Finora in questa camera\u003cspan style=\"font-size: 12px;\"\u003e (0:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Ehi, di casa, buona gente\u003cspan style=\"font-size: 12px;\"\u003e (5:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Dunque, lei vuol battaglia?\u003cspan style=\"font-size: 12px;\"\u003e (3:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Che cosa accadde, signori miei\u003cspan style=\"font-size: 12px;\"\u003e (2:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Fermi tutti, nessun si muova\u003cspan style=\"font-size: 12px;\"\u003e (1:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Fredda ed immobile\u003cspan style=\"font-size: 12px;\"\u003e (3:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Ma signor ... ma un dottor\u003cspan style=\"font-size: 12px;\"\u003e (4:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Ma vedi il mio destino!\u003cspan style=\"font-size: 12px;\"\u003e (0:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Pace e gioia sia con voi\u003cspan style=\"font-size: 12px;\"\u003e (2:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Insomma, mio signore, chi è lei?\u003cspan style=\"font-size: 12px;\"\u003e (2:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Venite, signorina\u003cspan style=\"font-size: 12px;\"\u003e (0:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Contro un cor che accende amore\u003cspan style=\"font-size: 12px;\"\u003e (5:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Bella voce! Bravissima!\u003cspan style=\"font-size: 12px;\"\u003e (0:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Quando mi sei vicina\u003cspan style=\"font-size: 12px;\"\u003e (0:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Bravo, signore barbiere, ma bravo!\u003cspan style=\"font-size: 12px;\"\u003e (2:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Don Basilio! ... Cosa veggo!\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Buona sera, mio signore\u003cspan style=\"font-size: 12px;\"\u003e (2:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Orsu, signor Don Bartolo\u003cspan style=\"font-size: 12px;\"\u003e (3:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e Che vecchio sospettoso!\u003cspan style=\"font-size: 12px;\"\u003e (0:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e Il vecchiotto cerca moglie\u003cspan style=\"font-size: 12px;\"\u003e (3:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e Temporale\u003cspan style=\"font-size: 12px;\"\u003e (2:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e Alfine eccoci qua\u003cspan style=\"font-size: 12px;\"\u003e (1:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e Ah, qual colpo inaspettato\u003cspan style=\"font-size: 12px;\"\u003e (5:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e Ah, disgraziati noi!\u003cspan style=\"font-size: 12px;\"\u003e (2:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e Zitti, zitti, piano, piano\u003cspan style=\"font-size: 12px;\"\u003e (2:05)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRosina - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eIl conte d'Almaviva - \u003cb\u003eLuigi Alva\u003c\/b\u003e\u003cbr\u003eFigaro - \u003cb\u003eTito Gobbi\u003c\/b\u003e\u003cbr\u003eBartolo - \u003cb\u003eFritz Ollendorff\u003c\/b\u003e\u003cbr\u003eBasilio - \u003cb\u003eNicola Zaccaria\u003c\/b\u003e\u003cbr\u003eBerta - \u003cb\u003eGabriella Carturan\u003c\/b\u003e\u003cbr\u003eFiorello - \u003cb\u003eMario Carlin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra \u0026amp; Chorus\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAlceo Galliera\u003c\/b\u003e\u003cbr\u003echorus-master Roberto \u003cb\u003eBenaglio\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 7-14 February 1957, Kingsway Hall, London\u003cbr\u003eXR Remastered by Andrew Rose\u003cbr\u003eEMI Producer: Walter Legge\u003cbr\u003eEMI Sound Engineer: Robert Gooch\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 9:58\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO191.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO191.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":39928587747389,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55205522211150,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55205522243918,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO191_4d268be4-1b7e-402d-88ce-299d5b99348c.jpg?v=1652863113"},{"product_id":"paco191-cd","title":"CALLAS Rossini: Il barbiere di Siviglia (stereo, 1957) - PACO191 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":40096492617789,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205522145614,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO191_a8c80985-018f-4361-9e29-0e7c2c231117.jpg?v=1658995079"},{"product_id":"paco193","title":"CALLAS Bellini: La sonnambula (1957) - PACO193","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003eLa sonnambula\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1957\u003cbr\u003eTotal duration: 2hr 00:32\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e - Amina\u003cbr\u003e\u003cb\u003eFiorenza Cossotto\u003c\/b\u003e - Teresa\u003cbr\u003e\u003cb\u003eNicola Zaccaria\u003c\/b\u003e - Il conte Rodolfo\u003cbr\u003e\u003cb\u003eNicola Monti\u003c\/b\u003e - Elvino\u003cbr\u003e\u003cb\u003eEugenia Ratti\u003c\/b\u003e - Lisa\u003cbr\u003e\u003cb\u003eGiuseppe Morresi\u003c\/b\u003e - Alessio\u003cbr\u003e\u003cb\u003eFranco Ricciardi\u003c\/b\u003e - Un notaro\u003cbr\u003e\u003cb\u003eChoir \u0026amp; Orchestra of Teatro Alla Scala, Milan\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eAntonino Votto\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO193.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    \"Many readers will have listened to \u003cem\u003eLa Sonnambula\u003c\/em\u003e broadcast from\n    Edinburgh, with the same Amina, Elvino and Rodolfo. The first thing to be\n    said is that La Divina is in far better voice on this recording than she\nwas in Scotland. There she was tired (between recording\u003cem\u003eLa Sonnambula\u003c\/em\u003e and singing it on the stage she recorded    \u003cem\u003eManon Lescaut\u003c\/em\u003e, and then \u003cem\u003eTurandot\u003c\/em\u003e, which may perhaps have\n    had something to do with it). The première had uneasy moments, and by the\n    third performance, which was broadcast, almost every sustained note around\n    about G started to crack and collapse. This does not happen in the set;\n    there we hear the Amina which for two seasons has delighted audiences at La\n    Scala, and very wonderful it is. The voice is not perfect. There are once\n    or twice hints of that second note underlying and sullying the proper one.\n    There are sharp, wobbly notes (the final one of “Come per me sereno”, for\n    example). But there is also much exquisitely beautiful singing—lovely tone,\n    movingly tender phrasing, gloriously delicate and virtuosic moments such as\n    at some upward arpeggios in “Sovra il sen ”.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    I have used the words “spellbinding and sublime art” about Callas’s\n    interpretation of the role. It is very intricate, and fired by poetic\n    intellect. I should like to quote Felice Romani, the librettist of the\n    opera, on the subject of his heroine, for all that he says is relevant to\n    Callas’s performance: “The role of Amina” he wrote, “although it may seem\n    at first sight easy to play, is perhaps more difficult than many others\n    deemed more important. It calls for an actress who is playful, ingenuous\n    and innocent, and at the same time passionate, impetuous and affectionate;\n    who has one cry for joy and another for sorrow, different timbres for\n    reproof and for pleading; who displays in every movement, in every glance,\n    every sigh, a certain stylisation mixed with realism such as we find in\n    some paintings by Albani and certain of Theocritus' idylls”.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Thus, said Romani, did Giuditta Pasta create the role . . . and thus does\n    Maria Callas perform it. I need hardly point out how strikingly she colours\n    every phrase, note and word. After a couple of playings, almost every line\n    of recitative sticks in the mind with the exact colour and expression that\n    she gives to it; “Compagne, teneri amici”, before “Come per me”; “Il cor\n    soitano”, the only dowry she brings Elvino ; “Qui! perchi? ”, filled with\n    terror and amazement as she wakes in the Count’s bedroom; “Alt ! il mio\n    anello”, the cry which wrings our hearts as much as Brünnhilde’s shriek,\n    and far more affectingly, when the ring is torn from her finger. Sooner or\n    later I shall have to brave the comparison with Pagliughi, so let me plunge\n    in here to remark that Pagliughi sings “Qul! perchi?” with far less\n    character, yet is touchingly beautiful all the same; but that her “Ah! il\n    mio anelio ” goes for fairly little; that she is much less passionate and\n    moving in her pleading with Elvino in the forest scene.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Pagliughi is far more the “playful, ingenuous and innocent” heroine only. I\n    love her performance. The beautiful thread of tone, the notes dropped\n    sweetly and truly into place, afford a kind of pleasure that Callas cannot\n    provide. Her phrasing of “Come per me”, though less intricate than\n    Callas's, is also extremely beautiful. I can’t quite define why Callas’s\n    “Ah, non credea” should strike me as less than satisfying; perhaps the\n    timbre is too strongly coloured for the line of the music. “Ah, non giunge”\n    is relatively unaffecting because simple gaiety is not something that this\n    soprano can easily express. Welling, interior, almost unbearable joy, yes,\n    but not bright, clear happiness. Pagliughi is deliciously bouncy in this\n    final aria; Callas turns it into a rather self-conscious and excessively\n    elaborate display. The second verse can take a lot of decoration (Pagliughi\n    sings only Bellini’s notes—yet how attractively), but the embellishments\n    must sound fresh, not, as here, laboured.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Romani also said that the singing of the role should be “at once simple and\n    adorned, spontaneous and perfectly judged, finished but without showing the\n    signs of study”. Between them, but not separately, Callas and Pagliughi\n    embody his perfect heroine. It is Pagliughi who has the cry for joy—every\n    time she sings the word “gioia”, which comes often, she gives it a little\n    joyous inflexion, particularly in the final “Oh gioia” of her awakening,\n    marked by Bellini \u003cem\u003econ un pianto di contento\u003c\/em\u003e—but Callas who has the\n    cry for sorrow: listen to her tone as she starts the quartet “D’un\n    pensiero” at the end of Act 1.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The concerted numbers go well in the new set, especially the two\n    soprano\/tenor duets of Act 1, with limpid sixths in the second verse of\n    “Prendi, Panel” and fascinating phrasing of the lovely “Son geloso del\n    zeffiro”. Monti’s voice has been stepped up a little by the engineers to\n    sound more robust than it does in life. He is a smooth, reliable,\n    well-tuned and tasteful singer, though a much less interesting artist than\n    Tagliavini, whose interpretation seems more personal, and more deeply felt.\n    Zaccaria too is reliable, though here not in the Siepi class: the divine\n    melody of “Vi ravviso” counts for much more in the Cetra set, and Siepi\n    shows far more imagination in his utterance of the beautiful verses which\n    lead into it. Ratti’s Lisa is delightful, and Cossotto brings a lovely firm\n    voice to the part of Teresa, though she tends to sing too loudly. Norberto\n    Mola’s Scala choir is outstanding in the chorus describing the fantasma,\n    and also in the one where the villagers creep into the Count’s bedroom,\n    only to be surprised by finding a girl asleep on the bed...\"\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eA.P. \u003c\/b\u003e\u003ci\u003eThe Gramophone\u003c\/i\u003e, 1957\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis recording is unusual in that it was only the second time that Maria Callas recorded an opera with the La Scala company for EMI that was made in the Basilica di Sant'Eufemia, a late 19th century church in Milan. Ironically the previous time this location was used - normally recordings were made during the summer 'off-season' in the Teatro Alla Scala - was for a previous Bellini recording, \u003ci\u003eNorma\u003c\/i\u003e, from 1953, both recorded in mid-March at a time when, I assume, the opera house was unavailable.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs a result of this unusual acoustic, especially for opera (normally churches and opera houses are at the opposite ends of the spectrum when considering natural reverberation within the space), this remaster proved more than usually tricky. It is unfortunate also, at a time where stereo discs were only a year or so away and, in the US at least, stereo tapes were already outselling their cheaper mono versions, that EMI stuck with mono recording - despite the success of their previous outing in London with Rossini's \u003ci\u003eIl barbiere di Siviglia\u003c\/i\u003e (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PACO191\"\u003ePACO191\u003c\/a\u003e). \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis Ambient Stereo remaster therefore aims to manage two things at once - both to enhance and \"fix\" the sound of the original recording, and to place it in the more acoustically appropriate space of one of the world's great opera houses. I hope you will find success on both fronts.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eBELLINI\u003c\/b\u003e La sonnambula\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDisc One\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (77:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Introduction - Viva Amina\u003cspan style=\"font-size: 12px;\"\u003e (2:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Tutte è gioia, tutte è fiesta\u003cspan style=\"font-size: 12px;\"\u003e (3:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e In Elvezia non v'ha rosa\u003cspan style=\"font-size: 12px;\"\u003e (3:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Care compagne, e voi\u003cspan style=\"font-size: 12px;\"\u003e (7:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Io più di tutti\u003cspan style=\"font-size: 12px;\"\u003e (10:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Scritti nel ciel giasono\u003cspan style=\"font-size: 12px;\"\u003e (3:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Domani, appena aggiorni\u003cspan style=\"font-size: 12px;\"\u003e (6:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Contezza del paese\u003cspan style=\"font-size: 12px;\"\u003e (7:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Basta così\u003cspan style=\"font-size: 12px;\"\u003e (9:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Davver, non mi dispiace\u003cspan style=\"font-size: 12px;\"\u003e (10:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Osservate: l'uscio è aperto\u003cspan style=\"font-size: 12px;\"\u003e (13:00)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDisc Two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (43:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Qui la selva è più folta ed ambrosa\u003cspan style=\"font-size: 12px;\"\u003e (5:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Reggimi, o buona madre\u003cspan style=\"font-size: 12px;\"\u003e (11:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e A fia pur vero, Elvino\u003cspan style=\"font-size: 12px;\"\u003e (6:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Signore! che creder deggio?\u003cspan style=\"font-size: 12px;\"\u003e (8:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Ah! non credea mirarti\u003cspan style=\"font-size: 12px;\"\u003e (6:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Ah! non giunge uman pensiero\u003cspan style=\"font-size: 12px;\"\u003e (4:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e (soprano) – Amina\u003cbr\u003e\u003cb\u003eFiorenza Cossotto (mezzo-soprano)\u003c\/b\u003e – Teresa\u003cbr\u003e\u003cb\u003eNicola Zaccaria\u003c\/b\u003e (bass) – Il conte Rodolfo\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNicola Monti\u003c\/b\u003e (tenor)- Elvino\u003cbr\u003e\u003cb\u003eEugenia Ratti\u003c\/b\u003e (soprano) - Lisa\u003cbr\u003e\u003cb\u003eGiuseppe Morresi\u003c\/b\u003e (bass) - Alessio\u003cbr\u003e\u003cb\u003eFranco Ricciardi\u003c\/b\u003e (tenor) - Un notaro\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChoir \u0026amp; Orchestra of Teatro Alla Scala, Milan\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eAntonino Votto\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eChorus master: Norberto Mola\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastered by Andrew Rose\u003cbr\u003eCover Artwork based on a photograph of Maria Callas as Amina at La Scala, Milan, 1955\u003cbr\u003eRecorded at Basilica di Sant'Eufemia, Milan, 3-9 March, 1957\u003cbr\u003eProduced by Walter Legge. Engineered by Robert Beckett.\u003cbr\u003eFirst released in the UK as Columbia 33CXS1469\/70-1\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 00:32\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO193.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO193.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":40094666457149,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205520802126,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205520834894,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO193_71067850-9624-4243-9605-8889b11a7dc4.jpg?v=1659068105"},{"product_id":"paco198","title":"CALLAS \u0026 SCHWARZKOPF Puccini - Turandot (1957) - PACO198","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003eTurandot\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1957\u003cbr\u003eTotal duration: 1hr 58:00\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eTurandot - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eLiù - \u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e\u003cbr\u003eCalaf - \u003cb\u003eEugenio Fernandi\u003c\/b\u003e\u003cbr\u003eAltoum - \u003cb\u003eGiuseppe Nessi\u003c\/b\u003e\u003cbr\u003eTimur - \u003cb\u003eNicola Zaccaria\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra e Coro del Teatro alla Scala, Milano\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO198.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    It is fascinating to look back at the earliest reviews of what is generally\n    acknowledged today as one of the great Turandot recordings. In writing\n    these notes I had expected to bring you extensive quotes from \u003ci\u003eThe\n    Gramophone\u003c\/i\u003e’s ecstatic review of September 1958. But instead what do I find?\n    Something of an evisceration:\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    “The timbre [of Callas] is sometimes hollow and plummy in the easier\n    positions; the emission is wavering and sounds both strained and ill\n    supported in the upper reaches; and her Turandot is here, to my ear,\n    totally unsatisfying – no matter how often elsewhere I may applaud this and\n    that stroke of dramatic truth and imagination.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\n    “Next, what about Mme Schwarzkopf? I hear this German Liu with gratitude –\n    and I find her final song before her suicide, “Thou who art girt in ice”,\n    most moving and beautiful, with a true legato and some lovely floated tone,\n    perfectly supported. Sad therefore to report that she throws away her\n    chance in the first song – the lovely \u003cem\u003emorendo\u003c\/em\u003e ending could so\n    easily have been sostenuto, but goes wisping away in a ladylike gasp. This\n    Liu sounds a bit out of it in an otherwise all Italianate cast…”\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBut this opinion seems to have been quickly side-lined and forgotten by\n    other critics, as opinions shifted to regard the recording as a classic. By\n    1979 the same magazine (albeit the pen of a different reviewer) writes, of\n    an LP reissue:\n    \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“One thinks of this as Callas’s \u003cem\u003eTurandot\u003c\/em\u003e, and so it is, with the\n    start of “In questa reggia” bringing a sudden generation of electricity\n    that has one gasping, but hearing this riveting performance afresh has\n    brought it home too how much it is Serafin’s \u003cem\u003eTurandot \u003c\/em\u003e as well.\n    One might in principle feel that a more reticent manner was more faithful\n    to the score, but Serafin has one on the edge of one’s seat.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\n    “I remember originally finding the obvious stylistic contrast between\n    Schwarzkopf and the other singers rather obtrusive, and some may still find\n    it so, but what I note now are such heavenly moments as the end of “Signore\n    ascolta” when the control of tone and legato in the rising octaves in the\n    codetta is ravishing, ending with an immaculate \u003cem\u003emesa di voce\u003c\/em\u003e. This\n    too is a classic performance, finely contrasted with that of the princess.”\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    And the revisions get better – more recently, again from \u003ci\u003eGramophone\u003c\/i\u003e:\n    \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“To have Callas, the most flashing-eyed of all sopranos as Turandot, is—on\n    record at least—the most natural piece of casting. Other sopranos may be\n    comparably icy in their command, but Callas with her totally distinctive\n    tonal range was able to give the fullest possible characterization. With\n    her Turandot was not just an implacable man-hater but a highly provocative\n    female. One quickly reads something of Callas's own underlying\n    vulnerability into such a portrait, its tensions, the element of\n    brittleness. Equally in the final arioso of Alfano's completion, ''Del\n    primo pianto'', the chesty way she sings ''Straniero'' in the opening\n    phrase, addressing Calaf, is unforgettable in its continuing threat. With\n    her the character seems so much more believably complex than with others.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    It was sad that, except at the very beginning of her career, she felt\n    unable to sing the role in the opera house, but this 1957 recording is far\n    more valuable than any memory of the past, for me one of the most\n    thrillingly magnetic of all her recorded performances, the more so when\n    Schwarzkopf as Liu provides a comparably characterful and distinctive\n    portrait, far more than a Puccinian 'little woman', sweet and wilting. Even\n    more than usual one regrets that the confrontation between princess and\n    slave is so brief. Though for some Schwarzkopf's observance of markings in\n    Liu's two arias may seem to meticulous, the extra detail reinforces the\n    fine-spun Straussian quality, notably in the rising and falling octaves of\n    ''Signore ascolta''.\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis XR remastering of what is today acknowledged as one of the great\n    recordings of \u003cem\u003eTurandot\u003c\/em\u003e helps lift a sonic veil from the original\n    recording – in all of its subsequent reissues – as well as providing a\n    sense of space and dimension to the staging that is particularly welcome in\n    the ensemble and chorus sections. It is tragic that still Walter Legge was\n    resisting stereo recording at La Scala in 1957 – Ambient Stereo processing\n    can only go so far in this respect – but nevertheless I hope you’ll find a\n    considerable improvement here over previous issues.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003ePUCCINI\u003c\/b\u003e Turandot\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (76:58)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Popolo di Pekino!\u003cspan style=\"font-size: 12px;\"\u003e (4:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Perduta la battaglia\u003cspan style=\"font-size: 12px;\"\u003e (1:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Gira la cote, gira, gira!\u003cspan style=\"font-size: 12px;\"\u003e (2:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Perch\u003cspan style=\"font-size: 12px;\"\u003e (4:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e O giovinetto!\u003cspan style=\"font-size: 12px;\"\u003e (5:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Figlio, che fai?\u003cspan style=\"font-size: 12px;\"\u003e (3:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Silenzio!\u003cspan style=\"font-size: 12px;\"\u003e (4:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Signore, ascolta!\u003cspan style=\"font-size: 12px;\"\u003e (2:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Non piangere, Li\u003cspan style=\"font-size: 12px;\"\u003e (2:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Ah! per l'ultima volta!\u003cspan style=\"font-size: 12px;\"\u003e (2:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Ol\u003cspan style=\"font-size: 12px;\"\u003e (3:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Ho una casa nell'Honan\u003cspan style=\"font-size: 12px;\"\u003e (3:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e O mondo, pieno di pazzi innamorati!\u003cspan style=\"font-size: 12px;\"\u003e (4:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Udite trombe! Altro che pace!\u003cspan style=\"font-size: 12px;\"\u003e (4:33)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Un giuramente atroce mi costringe\u003cspan style=\"font-size: 12px;\"\u003e (4:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Popolo di Pekino!\u003cspan style=\"font-size: 12px;\"\u003e (1:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e In questa Reggia\u003cspan style=\"font-size: 12px;\"\u003e (2:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e O Principi, che a lunghe caravane\u003cspan style=\"font-size: 12px;\"\u003e (3:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Straniero, ascolta!\u003cspan style=\"font-size: 12px;\"\u003e (4:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Gelo che ti d\u003cspan style=\"font-size: 12px;\"\u003e (3:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e Figlio del cielo!\u003cspan style=\"font-size: 12px;\"\u003e (2:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e Tre engmi m'hai proposto\u003cspan style=\"font-size: 12px;\"\u003e (4:31)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (41:02)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Cosi comanda Turandot\u003cspan style=\"font-size: 12px;\"\u003e (3:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Nessun dorma!\u003cspan style=\"font-size: 12px;\"\u003e (2:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Tu che guardi le stelle\u003cspan style=\"font-size: 12px;\"\u003e (3:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Principessa divina\u003cspan style=\"font-size: 12px;\"\u003e (2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Quel nome!\u003cspan style=\"font-size: 12px;\"\u003e (2:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Tanto amore segreto\u003cspan style=\"font-size: 12px;\"\u003e (2:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Tu che di gel sei cinta\u003cspan style=\"font-size: 12px;\"\u003e (3:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Li\u003cspan style=\"font-size: 12px;\"\u003e (5:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Principessa di morte!\u003cspan style=\"font-size: 12px;\"\u003e (3:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e O mio fio mattutino\u003cspan style=\"font-size: 12px;\"\u003e (8:03)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Diecimila anni al nostro Imperatore!\u003cspan style=\"font-size: 12px;\"\u003e (3:25)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eLa principessa Turandot - \u003cb\u003eMaria Callas\u003c\/b\u003e (soprano)\u003cbr\u003eL’imperatore Altoum - \u003cb\u003eGiuseppe Nessi\u003c\/b\u003e (tenor)\u003cbr\u003eTimur - \u003cb\u003eNicola Zaccaria\u003c\/b\u003e (bass)\u003cbr\u003eIl principe ignoto (Calaf) - \u003cb\u003eEugenio Fernandi\u003c\/b\u003e (tenor)\u003cbr\u003eLiù - \u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e (soprano)\u003cbr\u003ePing - \u003cb\u003eMario Borriello\u003c\/b\u003e (tenor)\u003cbr\u003ePang - \u003cb\u003eRenato Ercolani\u003c\/b\u003e (tenor)\u003cbr\u003ePong - \u003cb\u003ePiero de Palma\u003c\/b\u003e (tenor)\u003cbr\u003eUn mandarino - \u003cb\u003eGiulio Mauri\u003c\/b\u003e (bass)\u003cbr\u003eIl principino di Persia - \u003cb\u003ePiero de Palma\u003c\/b\u003e (tenor)\u003cbr\u003ePrima voce - \u003cb\u003eElisabetta Fusco\u003c\/b\u003e (soprano)\u003cbr\u003eSeconda voce - \u003cb\u003ePinuccia Perotti\u003c\/b\u003e (soprano)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra e Coro del Teatro alla Scala, Milano\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003echorus master: \u003cb\u003eNorberto Mola\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eLibretto by Adami and Simoni, based on Friedrich Schiller's adaptation of the play Turandot by Carlo Gozzi\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 9-13, 15 July 1957, Teatro alla Scala, Milan\u003cbr\u003eAmbient Stereo XR remastering by: Andrew Rose\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eFront cover artwork: \u003cb\u003eMaria Callas\u003c\/b\u003e \u0026amp; \u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e at La Scala, Milan\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 1hr 58:00\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO198.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO198.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":40505160597565,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205518246222,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205518278990,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO198.jpg?v=1745491774"},{"product_id":"paco198-cd","title":"CALLAS \u0026 SCHWARZKOPF Puccini - Turandot (1957) - PACO198 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO198.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":40505157222461,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205518213454,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO198_9f19934c-f8a4-4260-94f2-dbe977dfca9d.jpg?v=1745491801"},{"product_id":"paco205","title":"CALLAS Puccini - Manon Lescaut (1957) - PACO205","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003eManon Lescaut\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1957\u003cbr\u003eTotal duration: 2hr 0:35\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eManon Lescaut - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eChevalier des Grieux - \u003cb\u003eGiuseppe di Stefano\u003c\/b\u003e\u003cbr\u003eLescaut - \u003cb\u003eGiulio Fioravanti\u003c\/b\u003e\u003cbr\u003eGeronte di Ravoir - \u003cb\u003eFranco Calabrese\u003c\/b\u003e\u003cbr\u003eEdmondo - \u003cb\u003eDino Formichini\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra e Coro del Teatro alla Scala, Milano\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO205.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003e\u003cb\u003eREVIEW\u003c\/b\u003e (1959)\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eManon Lescaut\u003c\/em\u003e is something more than a historical curiosity framing a few famous solos. It was written \u003cem\u003econ amore\u003c\/em\u003e and also \u003cem\u003econ slancio\u003c\/em\u003e. The very beginning of the first act catches you up in its hand and sweeps you forward to the arrival of the coach and poor Manon sitting all by herself in a corner of the hotel yard waiting to be taken off to a convent, where she would have made Sister Angelica and even Casanova's nuns look like paragons of virtue. Once Manon arrives, \u003cem\u003eamore\u003c\/em\u003e, not to say \u003cem\u003epassione disperata\u003c\/em\u003e, takes over; and, given a Manon who can present the gay, fatal \u003cem\u003eingénue\u003c\/em\u003e, you can be kept on tenterhooks for the rest of the evening. The difference between this and La Bohème is that three years later [Puccini] was able to convey the \u003cem\u003eslancio\u003c\/em\u003e in more memorable, flexible themes, and observe the \u003cem\u003eamore\u003c\/em\u003e with amusement as well as passion.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eSerafin, in the new recording, manages the \u003cem\u003eslancio\u003c\/em\u003e all right, the impetus, the bright lights, the charm, the gathering of students whose name is youth and whose god is hope. The opening scene is more neatly, but much less irresistibly, handled in the Decca set. Di Stefano does not make a strong impression at his entrance; too close to the mike to give a suggestion of stage effect, he is vocally awkward too, with his shifts of vocal placing in mid-phrase. He leaves the impress of “Tra voi, belle” to Serafin whose accompaniment is rhythmically superb. In the Decca set Del Monaco sings the piece more engagingly (once you can persuade your gramophone to get over the raw, wiry noise that his microphone placing emphasizes — when will tenors understand that their voices sound less faulty when slightly removed from the mike?) but is poorly supported by the orchestra. There is time to observe that the Lescaut and Geronte are vocally well differentiated and characterized in the new set (and here, by the way, may I correct a misapprehension recently committed to print? Geronte is, as his name implies, an old man, not a coeval rival for Des Grieux); and then Manon is upon us, and a promising set becomes a really stimulating one.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt is the old story again. Maria Callas’s high notes, not so much in the first act as later, are acid in quality and develop what is a beat if not a wobble. But her singing of Manon’s more vivacious passages (I am chiefly thinking of “L’ora, o Tirsi”) is beautifully poised and dazzling; she characterizes Manon in every mood—the gentle, rather preoccupied girl in her first meeting with Des Grieux (“Manon Lescaut mi chiamol”, and a caressing portamento on that last word so as to bring home the thematic importance of the phrase), the spoiled darling at the beginning of the second act, the woman knowing herself in the wrong but still promising to do better next time though everybody else knows she won’t, the kept woman throwing scorn at her protector (“this is the love you offer me”, as she plants a looking glass in front of his face, and Callas’s inflexions make both it and him as visible as the ring and fine clothes with which the old Croesus has adorned her). And so her performance continues, through the slightly comic quick trio in which she tries to collect all her treasures before decamping, through the forlorn degraded convict of the third act, to the death in the American desert which Puccini had the creative audacity to make an act for two characters alone, a symbol of solitude which makes its point on the gramophone more impressively than any proscenium-bounded stage can ever do. Comparison with Tebaldi is here unkind, because Tebaldi is always herself, warm and opulent and slightly fuller toned (if only because “L’ora, o Tirsi” is beyond her reach, Manon is not her part). She makes a really lovely noise in all Manon’s expansive cantabile music, and that in turn is beyond Callas’s reach; but opera is more than vocal euphony, and the much more is where Callas displays herself at every moment of this opera a great artist of the gramophone, an interpreter who removes veils from our eyes, and a singing actress who, like all great singers of this century, transforms a gramophone from a wooden box into an experience.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eI must mention that Di Stefano makes a most enjoyable impression in the second and third acts, singing his A minor solo “Ah, Manon, mi tradisce il tuo folle pensier” with genuine ardour, and sustaining with the tension of the third act which explodes in “Guardate, pazzo son”. Fiorenza Cossotto, at present the young singer for whom I can envisage the brightest future among her contemporaries, makes a show-stopping moment of the Madrigal in act two. Serafin gives a disappointing account of the third act intermezzo, strangely exaggerated and heavy. There is a short cut in the last act, from figures 20 to 21. The recorded atmosphere is dull, much less vivid and theatrical than that of the Decca set. I am in no doubt that the new records (which will not appear in stereo form) are musically and dramatically more desirable, though; and for that we have to thank Callas and the conductor who has done so much to make her the artist she is. I am fairly sure that Puccini would thank them too.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eW.S.M.\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, December 1959\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003eManon Lescaut\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (76:25)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Ave, sera gentile\u003cspan style=\"font-size: 12px;\"\u003e (4:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e L'amor? l'amor?\u003cspan style=\"font-size: 12px;\"\u003e (1:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Tra voi, belle, brune e bionde\u003cspan style=\"font-size: 12px;\"\u003e (1:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Ma bravo!\u003cspan style=\"font-size: 12px;\"\u003e (1:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Descendono, vediam! Viaggiatori eleganti, galanti!\u003cspan style=\"font-size: 12px;\"\u003e (2:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Cortese damigella, il priego mio accettate\u003cspan style=\"font-size: 12px;\"\u003e (4:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Donna non vidi mai simile a questa!\u003cspan style=\"font-size: 12px;\"\u003e (2:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e La tua ventura , ci rassicura\u003cspan style=\"font-size: 12px;\"\u003e (5:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Vecchietto amabile\u003cspan style=\"font-size: 12px;\"\u003e (2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Vedete? Io son fedele alla parola mia\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Non c’è più vino? E che? Vuota è la botte?\u003cspan style=\"font-size: 12px;\"\u003e (1:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Di sedur la sorellina è il momento!\u003cspan style=\"font-size: 12px;\"\u003e (4:21)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Despettosetto questo riccio!\u003cspan style=\"font-size: 12px;\"\u003e (4:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e In quelle trine morbide\u003cspan style=\"font-size: 12px;\"\u003e (2:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Poiché tu vuoi saper, Des Grieux\u003cspan style=\"font-size: 12px;\"\u003e (2:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Che ceffi son costor? Ciarlatani o speziali?\u003cspan style=\"font-size: 12px;\"\u003e (2:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Paga costor!\u003cspan style=\"font-size: 12px;\"\u003e (1:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Minuetto\u003cspan style=\"font-size: 12px;\"\u003e (8:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Oh, sarò la più bella!\u003cspan style=\"font-size: 12px;\"\u003e (8:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Ah! Affè, madamigella\u003cspan style=\"font-size: 12px;\"\u003e (2:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e Senti, di qui partiamo\u003cspan style=\"font-size: 12px;\"\u003e (3:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e Lescaut! Tu qui?\u003cspan style=\"font-size: 12px;\"\u003e (3:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (44:09)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Intermezzo\u003cspan style=\"font-size: 12px;\"\u003e (5:19)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Ansia eterna, crudel\u003cspan style=\"font-size: 12px;\"\u003e (4:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e E Kate rispose al Re\u003cspan style=\"font-size: 12px;\"\u003e (2:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e All'armi! All'armi!\u003cspan style=\"font-size: 12px;\"\u003e (1:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Rosetta! Eh! Che aria!\u003cspan style=\"font-size: 12px;\"\u003e (3:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Presto! In fila! Marciate!\u003cspan style=\"font-size: 12px;\"\u003e (3:44)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT FOUR\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Tutta su me ti posa\u003cspan style=\"font-size: 12px;\"\u003e (3:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Manon, senti, amor mio!\u003cspan style=\"font-size: 12px;\"\u003e (2:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Sei tu che piangi?\u003cspan style=\"font-size: 12px;\"\u003e (5:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Sola, perduta, abbandonata\u003cspan style=\"font-size: 12px;\"\u003e (4:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Fra le tue braccia, amore, l'ultima volta!\u003cspan style=\"font-size: 12px;\"\u003e (7:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eManon Lescaut - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eChevalier des Grieux - \u003cb\u003eGiuseppe di Stefano\u003c\/b\u003e\u003cbr\u003eLescaut - \u003cb\u003eGiulio Fioravanti\u003c\/b\u003e\u003cbr\u003eGeronte di Ravoir - \u003cb\u003eFranco Calabrese\u003c\/b\u003e\u003cbr\u003eEdmondo - \u003cb\u003eDino Formichini\u003c\/b\u003e\u003cbr\u003eL'oste - \u003cb\u003eCarlo Forti\u003c\/b\u003e\u003cbr\u003eIl maestro di ballo - \u003cb\u003eVito Tatone\u003c\/b\u003e\u003cbr\u003eUn musico - \u003cb\u003eFiorenza Cossotto\u003c\/b\u003e\u003cbr\u003eUn sergente - \u003cb\u003eGiuseppe Morresi\u003c\/b\u003e\u003cbr\u003eUn lampionaio - \u003cb\u003eFranco Ricciardi\u003c\/b\u003e\u003cbr\u003eUn comandante - \u003cb\u003eFranco Ventriglia\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra e Coro del Teatro alla Scala, Milano\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003echorus master:\u003cb\u003e Norberto Mola\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eLibretto by Domenico Oliva, Giulio Ricordi, Luigi Illica, Giuseppe Giacosa \u0026amp; Marco Praga\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 18-27 July 1957, Teatro alla Scala, Milan\u003cbr\u003eAmbient Stereo XR remastering by: Andrew Rose\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eFront cover artwork: \u003cb\u003eMaria Callas\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 0:35\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO205.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO205.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":46900854686030,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205515559246,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205515592014,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO205_09b51c74-501e-4a6f-a4ae-5c90bb229c17.jpg?v=1745491828"},{"product_id":"paco205-cd","title":"CALLAS Puccini - Manon Lescaut (1957) - PACO205 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO205.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":46900821000526,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205515526478,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO205_ac480caf-a2de-45ac-9cb8-aac3447f5183.jpg?v=1745491849"},{"product_id":"paco206","title":"CALLAS Cherubini - Medea (La Scala, 1957, stereo) - PACO206","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eCHERUBINI \u003c\/b\u003eMedea\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1957\u003cbr\u003eTotal duration: 1hr 58:08\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eMedea - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eGlauce - \u003cb\u003eRenata Scotto\u003c\/b\u003e\u003cbr\u003eNeris - \u003cb\u003eMiriam Pirazzini\u003c\/b\u003e\u003cbr\u003eGiasone - \u003cb\u003eMirto Picchi\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra and Chorus of La Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO206.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\"While awaiting the discs of \u003ci\u003eMedea \u003c\/i\u003efor review I spent an interesting time in looking up references to the opera and to Cherubini. He was, as is well known, held in the utmost reverence in Europe. Beethoven considered him the greatest dramatic composer of his time, Haydn called him the greatest living composer, but I did not know that Brahms thought that in \u003ci\u003eMedea \u003c\/i\u003eCherubini had reached the highest point in dramatic music or that Puccini had declared the opera to be “a real masterpiece”. Elsewhere one discovers varying opinions, among them that the composer’s operas are now museum pieces. He is not mentioned at all in the revised edition of Kobbel. Now one of the very few things that really enthralled me at school was the study of Greek and of Euripides in particular: and remembering how thrilled I was with his \u003ci\u003eMedea \u003c\/i\u003eI wondered how Cherubini’s music would mate with the libretto founded on the play.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe blazing intensity of the Overture knocked me off my patronising perch. Here was a foretaste of the feverish activity of the woman who became a living curse to humanity, a torment to herself and others, ceaselessly and remorselessly plotting and leaving only wreckage behind her. Tullio Serafin has a firm grasp of the grand classic style and proportions of the opera and I was, for most of the time, held spellbound by it. There are conventionalities, of course—as, for example, at the end of some of the arias—but there is a wealth of invention in the vocal and instrumental writing and a steady drive forward to the ultimate and appalling tragedy.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Introductions to Acts 2 and 3 are very fine, the first full of suspense, the second a vivid picture of a sultry night, with a great storm breaking out. One learns with surprise from Harold Lawrence’s excellent essay, which precedes the Italian-English libretto, that Cherubini uses no trumpets, no extra percussion and that the single trombone is used only to reinforce the off-stage wind band. With these restricted forces he certainly does evoke ‘’sounds of great majesty and power” as well as of great beauty…\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMy score of the opera bears a motto from the \u003ci\u003eMédée \u003c\/i\u003eof Corneille, “Moi, dis-je, et c’est assez”: this is echoed in the libretto in the word “Io son Medea”. Callas is indeed Medea, and that is enough: it could not be more. From the moment she discloses herself to her faithless husband, his bride to be and her father, to her tremendous cry at the end of the opera, “I go now to the Styx, the sacred river, there will my shade await you”, this great singer runs through the gamut of human emotions; love and tenderness, hate and scorn, rage and anguish, cruelty and hypocrisy; a princess and a magician who, in spite of her revolting crimes, gains our unwilling sympathy. Only a great character could hate and murder on this scale. And so in Medea’s superb arias (in which the orchestral parts are of great originality), in her recitatives, in her duet with Jason (in which the ’cellos play so remarkable a part in creating a sinister atmosphere), at all points, Callas gives the finest performance I have ever heard from her. At one or two moments, as in the first act aria “Dei tuoi figli la madre” (You see the mother of your children), she cannot make us forget the cruelly trying nature of the vocal part, but her voice is in splendid order, her attack magnificent: and she gives us some spine-chilling moments when she glories in the horrible death, by poison which burns the flesh off the body, that she has brought to Glauce and Creon, or when she cries to the Black Furies to come to her aid as she determines to kill her children.\"  - A. R., \u003ci\u003eThe Gramophone\u003c\/i\u003e, March 1959 (\u003ci\u003eexcerpts\u003c\/i\u003e)\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003ci\u003eMedea \u003c\/i\u003eis unusual in the canon of studio opera recordings made by Maria Callas in that, although it was issued in the UK by EMI's Columbia imprint, the recording was actually made by Mercury Records for Dischi Ricordi in Italy. At times it leaves something to be desired from a technical perspective - the balance between an unusually dry orchestral sound and the voices isn't always as good as one might wish for, for example, and the tonal balance is a little thin. I've done what I can to ameliorate as many of these shortcomings as possible with the aim of producing a more enjoyable listening experience, and in this I think the exercise has been largely successful. It is of course a stereo recording, which is sadly all too rare in the 1950s Callas catalogue - one of the benefits of Mercury undertaking the location recording rather than EMI, whose release - in the era of stereo LPs - was originally mono only!\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eCHERUBINI \u003c\/b\u003eMedea\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (50:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Sinfonia\u003cspan style=\"font-size: 12px;\"\u003e (6:54)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Che? Quando già corona Amor\u003cspan style=\"font-size: 12px;\"\u003e (6:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e O Amore, vieni a me!\u003cspan style=\"font-size: 12px;\"\u003e (5:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e No, non temer\u003cspan style=\"font-size: 12px;\"\u003e (2:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e O bella Glauce\u003cspan style=\"font-size: 12px;\"\u003e (2:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Colco! Pensier fatal!\u003cspan style=\"font-size: 12px;\"\u003e (1:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Or che più non vedrò\u003cspan style=\"font-size: 12px;\"\u003e (2:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Ah, già troppo turbò\u003cspan style=\"font-size: 12px;\"\u003e (0:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Pronube dive\u003cspan style=\"font-size: 12px;\"\u003e (3:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Signor! Ferma una donna\u003cspan style=\"font-size: 12px;\"\u003e (4:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Qui tremar devi tu\u003cspan style=\"font-size: 12px;\"\u003e (2:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Taci, Giason\u003cspan style=\"font-size: 12px;\"\u003e (2:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Dei tuoi figli la madre\u003cspan style=\"font-size: 12px;\"\u003e (4:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Son vane qui minacce\u003cspan style=\"font-size: 12px;\"\u003e (0:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Nemici senza cor\u003cspan style=\"font-size: 12px;\"\u003e (4:20)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (67:45)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Introduzione\u003cspan style=\"font-size: 12px;\"\u003e (2:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Soffrir non posso\u003cspan style=\"font-size: 12px;\"\u003e (2:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Date almen per pietà\u003cspan style=\"font-size: 12px;\"\u003e (9:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Medea, o Medea!\u003cspan style=\"font-size: 12px;\"\u003e (1:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Solo un pianto con te versare\u003cspan style=\"font-size: 12px;\"\u003e (6:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Creonte a me solo un giorno dà?\u003cspan style=\"font-size: 12px;\"\u003e (2:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Figli miei, miei ascolto\u003cspan style=\"font-size: 12px;\"\u003e (6:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Hai dato pronto ascolto\u003cspan style=\"font-size: 12px;\"\u003e (1:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Ah! Triste canto! ... Dio dell' Amor!\u003cspan style=\"font-size: 12px;\"\u003e (8:45)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Introduzione\u003cspan style=\"font-size: 12px;\"\u003e (4:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Numi, venite a me\u003cspan style=\"font-size: 12px;\"\u003e (4:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Del fiero duol che il cor mi frange\u003cspan style=\"font-size: 12px;\"\u003e (4:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Neris, che hai fatto\u003cspan style=\"font-size: 12px;\"\u003e (1:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e E che? Io son Medea!\u003cspan style=\"font-size: 12px;\"\u003e (11:14)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eMedea - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eGlauce - \u003cb\u003eRenata Scotto\u003c\/b\u003e\u003cbr\u003eNeris - \u003cb\u003eMiriam Pirazzini\u003c\/b\u003e\u003cbr\u003eGiasone - \u003cb\u003eMirto Picchi\u003c\/b\u003e\u003cbr\u003eCreonte - \u003cb\u003eGiuseppe Modesti\u003c\/b\u003e\u003cbr\u003ePrima ancella - \u003cb\u003eLidia Morimpietri\u003c\/b\u003e\u003cbr\u003eSeconda ancella - \u003cb\u003eElvira Galassi\u003c\/b\u003e\u003cbr\u003eCapo delle guardie - \u003cb\u003eAlfredo Giacomotti\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra e Coro del Teatro alla Scala, Milano\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003echorus master: \u003cb\u003eNorberto Mola\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eLibretto by \u003cb\u003eFrançois Benoît Hoffman\u003c\/b\u003e\u003cbr\u003eItalian translation by \u003cb\u003eCarlo Zangarini\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 12-19 September 1957, Teatro alla Scala, Milan\u003cbr\u003eStereo XR remastering by: Andrew Rose\u003cbr\u003eCover artwork: Maria Callas as Medea\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 1hr 58:08\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO206.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO206.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":47149486440782,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55205514346830,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55205514379598,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO206_b39e453c-db98-4327-9fcb-cf071ccd980b.jpg?v=1698380105"},{"product_id":"paco206-cd","title":"CALLAS Cherubini - Medea (La Scala, 1957, stereo) - PACO206 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO206.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":47149431980366,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205514314062,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO206.jpg?v=1710933657"},{"product_id":"paco207","title":"CALLAS Donizetti - Lucia di Lammermoor (1959, stereo) - PACO207","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eDONIZETTI \u003c\/b\u003eLucia di Lammermoor\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStereo studio recording, 1959\u003cbr\u003eTotal duration: 1hr 50:50\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eLucia - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eEdgardo -\u003cb\u003e Ferruccio Tagliavini\u003c\/b\u003e\u003cbr\u003eEnrico - \u003cb\u003ePiero Cappuccilli\u003c\/b\u003e\u003cbr\u003eRaimondo - \u003cb\u003eBernard Ladysz\u003c\/b\u003e\u003cbr\u003eArturo - \u003cb\u003eLeonard del Ferro\u003c\/b\u003e\u003cbr\u003eAlisa - \u003cb\u003eMargreta Elkins\u003c\/b\u003e\u003cbr\u003eNormanno - \u003cb\u003eRenzo Casellato\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO207.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Donizetti heard Bellini’s \u003cem\u003eI Puritani\u003c\/em\u003e eclip­sing his own new opera,\n    \u003cem\u003eMarino Faliero,\u003c\/em\u003e at the Théâtre-Italien—and  went away and wrote\n    \u003cem\u003eLucia.\u003c\/em\u003e That crude way of putting it reveals an  essential truth.\n    \u003cem\u003eI Puritani,\u003c\/em\u003ethough not based on Scott (whatever the  reference books\n    may say), borrowed the title under which \u003cem\u003eOld Mortality\u003c\/em\u003e was\n    trans­lated, and its plot belonged to the world of the Romantic novel. In\n    this field Donizetti was superior. In  both operas there is an opening\n    scene with a chorus of retainers and a lyrical aria for a dramatic baritone;\n    a  heroine who goes mad for love, and imagines her wedding day in an\n    elaborate Mad  Scene; a bass who announces her arrival; a romantic tenor who\n    must be both tender  and heroic; an \u003cem\u003euragano\u003c\/em\u003e, or violent storm.\n    Donizetti even took one of  Bellini's melodies (the bass line of the\n    first-act duet) and improved on it (as  the chorus' B major tune in the last\n    scene of \u003cem\u003eLucia).\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    I do not want to praise \u003cem\u003eLucia\u003c\/em\u003e at the expense of \u003cem\u003eI Puritani\u003c\/em\u003e\n    (a very beautiful opera), but lately a  certain amount of the opposite has\n    been going on. Twenty-five years ago the old  Italian operas generally were\n    held in low esteem; more recently, the conventional thing to say is that\n    Bellini is all right — because of  his melodic gift. But to anyone who has a\n    feeling for \u003cem\u003eopera\u003c\/em\u003e, as opposed  to just \u003cem\u003emusic\u003c\/em\u003e, it is plain\n    that \u003cem\u003eLucia\u003c\/em\u003e exists in  a different world from \u003cem\u003eI  Puritani\u003c\/em\u003e\n    (despite the inspired pages of the latter). And one reason is that  its\n    characters are real people finding utterance in song — characters in\n    situations  imagined by a great artist, not concoctions by a minor\n    librettist.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The heroine remains close to Scott’s Miss Lucy; and she, you remember,\n    “though  the expression of the countenance was in the last degree gentle,\n    soft, timid, and feminine\", yet “nourished the germ of those passions which\n    sometimes spring up in one night, like the gourd of the prophet, and\n    astonish the observer by their unexpected ardour and  intensity”. No more\n    than Amina is she just a sweet, simple coloratura. It is  the great dramatic\n    truth of Maria Callas’s Lucia, in this new recording, which  sets it above\n    the impersonation of the earlier Columbia set. (Roberta  Peters seems to me\n    to be hardly a starter in the “great  Lucia\" stakes, but merely efficient,\n    so I shall not consider the R.C.A.  set in any detail in this review.) The\n    Whitsun weekend has been spent playing  again and again, in endless\n    com­parisons and to different groups of people, the  new and old Callas\n    recordings, the R.C.A., and Joan Sutherland’s version of the  two arias. The\n    conclusion is that in  every way Mme Callas has refined  her interpretation\n    of the role, and made it more exquisite, more  fascinating, musically and\n    dramatically more subtle — in a word, more  beautiful. But do not think that\n    this means the line has been overloaded with  emotional colourings or\n    self-consciously artistic “effects\". Sometimes  she has achieved her result\n    by simplification. For example, in “Verrano a te\"  she no longer presses,\n    but spins a tender thread of legato: this duet is  melting, with Tagliavini\n    at his most dulcet; the final verse in octaves is  ravishing. (The brief\n    cadenza in which the soprano from the high C,  the tenor from the high E\n    flat (!), run down in sixths, is as usual omitted: is  it ever sung?). And\n    “Alfin sei mio\" is no longer broken by a gulp.  Indeed Mme Callas could be\n    said to have made her Lucia greater by reducing the  overt dramatics, by\n    bringing new tenderness, fragrance and innocence to her  interpretation, and\n    thereby actually increasing its expressive power.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The sound of the voice is very different from seven  years ago. There is\n    less weight behind it; it is more supple, more  delicate. The timbre is not\n    so dark, more tender and less resonated. I  grant at once that there is more\n    confidence, more forthrightness, in the  earlier performance; and that in\n    the cabaletta, “Quando rapita in estasi\",  the high D and, especially, the\n    high C, of the final decorations are awkward,  and may touch a nerve of pain\n    in the listener. But on the whole the singing  represents Callas at\n    technically her best. There is just one sour note, the  high C mentioned\n    above; and very little of the unsteadiness, and moments of  curdled tone,\n    that spoil, for example, parts of the \u003cem\u003eLa Sonnambula\u003c\/em\u003e record­ing. For\n    some reason, each time the trill on the D sharp in  “Regnava\" (but not the\n    other trills) is insecure. But that the singing as  a whole is more\n    beautiful than in the earlier set there can be no doubt.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e - \u003cb\u003eA. P.\u003c\/b\u003e, \u003ci\u003eThe Gramophone,\u003c\/i\u003e July 1960 (\u003ci\u003eexcerpt\u003c\/i\u003e)\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eDONIZETTI \u003c\/b\u003eLucia di Lammermoor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (54:42)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Preludio\u003cspan style=\"font-size: 12px;\"\u003e (2:33)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Percorrete . . . Percorriamo le spiagge vicine\u003cspan style=\"font-size: 12px;\"\u003e (2:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Tu sei turbato! . . . E n'ho ben d'onde\u003cspan style=\"font-size: 12px;\"\u003e (3:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Cruda, funesta smania\u003cspan style=\"font-size: 12px;\"\u003e (2:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Il tuo dubbio è amai certezza . . . Come vinti da stanchezza\u003cspan style=\"font-size: 12px;\"\u003e (2:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e La pietade in suo favore\u003cspan style=\"font-size: 12px;\"\u003e (1:42)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Ancor non giunse?\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Regnava nel silenzio alta la notte e bruna\u003cspan style=\"font-size: 12px;\"\u003e (4:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Quando rapito in estasi\u003cspan style=\"font-size: 12px;\"\u003e (3:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Egli s'avanza ... Lucia perdona se ad ora inusitata\u003cspan style=\"font-size: 12px;\"\u003e (2:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Sulla tomba che rinserra il tradito genitore\u003cspan style=\"font-size: 12px;\"\u003e (3:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Qui di sposa eternal fede . . . Ah, soltanto il nostro foco\u003cspan style=\"font-size: 12px;\"\u003e (2:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Verranno a te sull'aure i miei sospiri ardenti\u003cspan style=\"font-size: 12px;\"\u003e (4:38)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Lucia fra poco a te verrè . . . Tremante l'aspetto\u003cspan style=\"font-size: 12px;\"\u003e (3:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Appressati, Lucia . . . Il pallor funesto, orrendo\u003cspan style=\"font-size: 12px;\"\u003e (5:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Soffriva nel pianto . . . Un folle t'accese\u003cspan style=\"font-size: 12px;\"\u003e (3:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Che fia? . . . Suonar di giubilo\u003cspan style=\"font-size: 12px;\"\u003e (1:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Se tradirmi tu potrai . . . Tu che vedi il pianto mio\u003cspan style=\"font-size: 12px;\"\u003e (2:03)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (56:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Per te d'immenso giubilo . . . Per poco fra le tenebre\u003cspan style=\"font-size: 12px;\"\u003e (3:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Dov'é Lucia? . . . Qui giungere or la vedrem\u003cspan style=\"font-size: 12px;\"\u003e (4:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Chi me frena in tal momento\u003cspan style=\"font-size: 12px;\"\u003e (3:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e T'allontana, sciagurato . . . Rispettate in me di Dio\u003cspan style=\"font-size: 12px;\"\u003e (1:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Sconsigliato! In queste porte chi ti guida?\u003cspan style=\"font-size: 12px;\"\u003e (2:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Esci, fuggi, il furor che mi accende\u003cspan style=\"font-size: 12px;\"\u003e (1:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e D'immenso giubilo s'innalzi un grido\u003cspan style=\"font-size: 12px;\"\u003e (2:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Dalle stanze ove Lucia tratta avea col suo consorte\u003cspan style=\"font-size: 12px;\"\u003e (2:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Oh! Qual funesto avvenimento!\u003cspan style=\"font-size: 12px;\"\u003e (3:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Il dolce suono mi colpi di sua voce!\u003cspan style=\"font-size: 12px;\"\u003e (6:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Ardon gli incensi\u003cspan style=\"font-size: 12px;\"\u003e (5:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Spargi d'amaro pianto\u003cspan style=\"font-size: 12px;\"\u003e (4:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Tombe degli avi miei\u003cspan style=\"font-size: 12px;\"\u003e (4:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Fra poco a me ricovero darà negletto avello\u003cspan style=\"font-size: 12px;\"\u003e (3:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Oh, meschina! Oh, fato orrendo!\u003cspan style=\"font-size: 12px;\"\u003e (4:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Tu che a Dio spiegasti l'ali\u003cspan style=\"font-size: 12px;\"\u003e (5:03)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eLucia - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eEdgardo - \u003cb\u003eFerruccio Tagliavini\u003c\/b\u003e\u003cbr\u003eEnrico - \u003cb\u003ePiero Cappuccilli\u003c\/b\u003e\u003cbr\u003eRaimondo - \u003cb\u003eBernard Ladysz\u003c\/b\u003e\u003cbr\u003eArturo - \u003cb\u003eLeonard del Ferro\u003c\/b\u003e\u003cbr\u003eAlisa - \u003cb\u003eMargreta Elkins\u003c\/b\u003e\u003cbr\u003eNormanno - \u003cb\u003eRenzo Casellato\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003echorus master: \u003cb\u003eRoberto Benaglio\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eLibretto by Salvatore Cammarano after Walter Scott\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 16-21 March 1959, Kingsway Hall, London\u003cbr\u003eStereo XR remastering by: Andrew Rose\u003cbr\u003eCover artwork: Maria Callas as Lucia di Lammermoor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 1hr 50:50\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO207.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO207.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":47342805057870,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55205513855310,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55205513888078,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO207_9735ee11-e251-4de3-a757-19c9b4ae597a.jpg?v=1701407705"},{"product_id":"paco207-cd","title":"CALLAS Donizetti - Lucia di Lammermoor (1959, stereo) - PACO207 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO207.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":47342439465294,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205513822542,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO207.jpg?v=1710933680"},{"product_id":"paco208","title":"CALLAS Ponchielli - La Gioconda (1959, stereo) - PACO208","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003ePONCHIELLI \u003c\/b\u003eLa Gioconda\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStereo studio recording, 1959\u003cbr\u003eTotal duration: 2hr 46:10\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eLa Gioconda - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eLaura Adorno - \u003cb\u003eFiorenza Cossotto\u003c\/b\u003e\u003cbr\u003eLa Cieca - \u003cb\u003eIrene Companeez\u003c\/b\u003e\u003cbr\u003eAlvise Badoero -\u003cb\u003e Ivo Vinco\u003c\/b\u003e\u003cbr\u003eEnzo Grimaldo - \u003cb\u003ePier Miranda Ferraro\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus and Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAntonino Votto\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNB The earlier 1952 mono version of this recording is also available on Pristine\u003c\/b\u003e \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco216\"\u003e\u003cb\u003ePACO216\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO208.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    \n        Can any reader help me towards  the remainder of the Victorian poem\n        which contains the line “She found \u003cem\u003eLa  Gioconda\u003c\/em\u003ewas rather\n        beyond ’er”\n   \n    ? Not of course that Mme Callas finds any such thing:\n    \u003cem\u003e\n        au  contraire.\n    \u003c\/em\u003e\n    I simply cannot imagine anyone getting more out of  the role than she does\n    this time—not that sounding “gioconda” (i.e. “joyous”)  is quite her forte.\n    But just listen to the passage at the close of side 4 beginning “O mia\n    madre” and  ending “per lui . . . per lui”, etc. “Pure” singing? By no\n    means. Indeed  there is much con­striction and at least one heavily beating\n    climax. And yet  the total effect is “riveting”—to use a hackneyed adjective\n    to describe the  effect of rather banal music suddenly being burned afresh\n    onto one’s  imagination. Compare this same passage with the Cetra version\n    reviewed two  years ago; same singer, same conductor. Both make an\n    infinitely more artistic effect now. It could epitomise the whole recording.\n    Of  course you may say that artistry is not the prime consideration here;\n    beef \u003cem\u003eà  la\u003c\/em\u003e Barbieri (the rival Laura in the earlier set) is what\n    most \u003cem\u003eGioconda\u003c\/em\u003e fans today insist on. But it cannot always have been\n    so. Generations of \u003cem\u003ebel  canto\u003c\/em\u003e singers lavished their art on this\n    superlative  old Grand Opera. Obviously it still has a public of kinds.\n    Since in an  access of unwonted goodwill I gave the old Decca set under\n    Gavazzeni the big hello, I have been assailed by  doubts and wake in the\n    night thinking I have heard an accusing voice say “You  didn’t half start\n    something…”. Well, there they are: not one, but \u003cem\u003ethree\u003c\/em\u003e versions to\n    choose from, with my blessing now lighting (as Gioconda’s blind mother would\n    say) on this latest.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Callas apart, if such an idea is possible, the cast itself is  commendable.\n    As Laura and her husband we have the real life couple Cossotto and  Vinco,\n    thoughtful, stylish and anxious to match the heroine in artistic aim. It  is\n    well worth comparing the mezzos in that ladies’ battle on board ship; the\n    duet, “I saw him first”, or words to that effect, which can sometimes\n    produce  such an absurd and hilarious effect of “Anything you can do, I can\n    do louder”.  In the new set, Callas and Cossotto make it sound actually\n    dignified. Whereas  trying to “out ham” Barbieri in the earlier version,\n    Callas resorted to rather  vulgar singing. Ferraro is a little\n    disappointing. My preference is di Stefano  (with Milanov and Warren on the\n    Previtali set listed above). Mr. Ferraro is, in  my view, much preferable to\n    del Monaco or Poggi, but even he cannot apparently  refrain from bawling the\n    end of “Cielo e mar” and finishes really brutally— with a stupendous yell.\n    Strange  that when Mme Callas is spending so much art on \u003cem\u003eher\u003c\/em\u003ebits,\n    that the  leading man is not coaxed into thinking along the same lines. The\n    baritone, Cappuccilli,  is an acceptable Barnaba; but hasn’t the villainy in\n    the voice or the rueful,  rhythmic glee of Bastianini or the late Leonard\n    Warren. I find this role a little  subservient sounding; it is, or should be\n    one of the leading, if not \u003cem\u003ethe\u003c\/em\u003e leading male  part.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The sound is excellent—bells, distant voices, ironical  off-stage revelry\n    are beauti­fully calculated. But it is as a portrait of Mme  Callas’s voice\n    (blemishes and all) and a souvenir of her exceptional dramatic  gift that\n    the new set will most commend itself. The stereo version, announced  for\n    release on SAX2359-61, is not yet to hand.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cb\u003eP.H.-W., \u003ci\u003eThe Gramophone\u003c\/i\u003e\u003c\/b\u003e, October  1960\n\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003ePONCHIELLI \u003c\/b\u003eLa Gioconda\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (52:23)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT 1\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e Preludio\u003cspan style=\"font-size: 12px;\"\u003e (5:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e Feste e pane!\u003cspan style=\"font-size: 12px;\"\u003e (2:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e E cantan su lor tombe!\u003cspan style=\"font-size: 12px;\"\u003e (2:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Figlia, che reggi Il tremulo piè\u003cspan style=\"font-size: 12px;\"\u003e (3:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e L'ora non giunse ancor del vespro santo\u003cspan style=\"font-size: 12px;\"\u003e (2:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e Polso di cerro!\u003cspan style=\"font-size: 12px;\"\u003e (3:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Suo covo è un tugurio\u003cspan style=\"font-size: 12px;\"\u003e (3:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e Che? La plebe or qui si arroga\u003cspan style=\"font-size: 12px;\"\u003e (4:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e Voce di donna o d'angelo\u003cspan style=\"font-size: 12px;\"\u003e (5:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e Enzo Grimaldo, Principe di Santafior, che pensi?\u003cspan style=\"font-size: 12px;\"\u003e (3:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e11.\u003c\/span\u003e O grido di quest'anima\u003cspan style=\"font-size: 12px;\"\u003e (2:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e12.\u003c\/span\u003e Maledici? Sta ben ... l'amor t'accieca\u003cspan style=\"font-size: 12px;\"\u003e (2:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e13.\u003c\/span\u003e O monumento!\u003cspan style=\"font-size: 12px;\"\u003e (3:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e14.\u003c\/span\u003e Carneval! Baccanal!\u003cspan style=\"font-size: 12px;\"\u003e (2:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e15.\u003c\/span\u003e Angele Dei\u003cspan style=\"font-size: 12px;\"\u003e (6:00)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (37:32)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT 2\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e Ho! He! Ho! He! Fissa Il timone!\u003cspan style=\"font-size: 12px;\"\u003e (4:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e Pescator, affonda l'esca\u003cspan style=\"font-size: 12px;\"\u003e (1:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e Pescator, affonda l'esca\u003cspan style=\"font-size: 12px;\"\u003e (2:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Sia gloria ai canti dei naviganti!\u003cspan style=\"font-size: 12px;\"\u003e (4:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e Cielo e mar!\u003cspan style=\"font-size: 12px;\"\u003e (4:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e Ma chi vien?\u003cspan style=\"font-size: 12px;\"\u003e (4:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Laggiù nelle nebbie remote\u003cspan style=\"font-size: 12px;\"\u003e (2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e E il tuo nocchiere or la fuga t'appresta\u003cspan style=\"font-size: 12px;\"\u003e (0:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e Stella del marinar!\u003cspan style=\"font-size: 12px;\"\u003e (2:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e E un anatema!\u003cspan style=\"font-size: 12px;\"\u003e (0:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e11.\u003c\/span\u003e Là attesi e il tempo colsi\u003cspan style=\"font-size: 12px;\"\u003e (1:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e12.\u003c\/span\u003e L'amo come il fulgor del creato!\u003cspan style=\"font-size: 12px;\"\u003e (2:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e13.\u003c\/span\u003e Il mio braccio t'afferra!\u003cspan style=\"font-size: 12px;\"\u003e (1:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e14.\u003c\/span\u003e Maledizion! Ha preso il vol!\u003cspan style=\"font-size: 12px;\"\u003e (1:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e15.\u003c\/span\u003e Vedi là, nel canal morto\u003cspan style=\"font-size: 12px;\"\u003e (3:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc three\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (76:16)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT 3\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e Si morir ella de'!\u003cspan style=\"font-size: 12px;\"\u003e (2:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e Ombre di mia prosapia\u003cspan style=\"font-size: 12px;\"\u003e (2:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e Qui chiamata m'avete? .... Bella così, madonna\u003cspan style=\"font-size: 12px;\"\u003e (3:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Morir! è troppo orribile!\u003cspan style=\"font-size: 12px;\"\u003e (2:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e La gaia canzone\u003cspan style=\"font-size: 12px;\"\u003e (3:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e O madre mia, nell'isola fatale\u003cspan style=\"font-size: 12px;\"\u003e (2:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Benvenuti messeri! Andrea Sagredo!\u003cspan style=\"font-size: 12px;\"\u003e (4:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e Grazie vi rendo per le vostre laudi\u003cspan style=\"font-size: 12px;\"\u003e (1:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e Prodigio! Incanto!\u003cspan style=\"font-size: 12px;\"\u003e (9:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e Vieni! ... Lasciami!\u003cspan style=\"font-size: 12px;\"\u003e (3:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e11.\u003c\/span\u003e Già ti veggo immota e smorta\u003cspan style=\"font-size: 12px;\"\u003e (5:21)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT 4\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e12.\u003c\/span\u003e Nessum v'ha visto?\u003cspan style=\"font-size: 12px;\"\u003e (5:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e13.\u003c\/span\u003e Suicidio!\u003cspan style=\"font-size: 12px;\"\u003e (4:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e14.\u003c\/span\u003e Ecco, il velen di Laura\u003cspan style=\"font-size: 12px;\"\u003e (5:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e15.\u003c\/span\u003e Ridarti il sol, la vita!\u003cspan style=\"font-size: 12px;\"\u003e (2:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e16.\u003c\/span\u003e O furibonda jena\u003cspan style=\"font-size: 12px;\"\u003e (2:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e17.\u003c\/span\u003e Ten va serenata\u003cspan style=\"font-size: 12px;\"\u003e (1:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e18.\u003c\/span\u003e La barca s'avvicina\u003cspan style=\"font-size: 12px;\"\u003e (2:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e19.\u003c\/span\u003e Quest'ultimo bacio che il pianto\u003cspan style=\"font-size: 12px;\"\u003e (5:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e20.\u003c\/span\u003e Ora posso morir. Tutto è compiuto\u003cspan style=\"font-size: 12px;\"\u003e (3:53)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eLa Gioconda - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eLaura Adorno - \u003cb\u003eFiorenza Cossotto\u003c\/b\u003e\u003cbr\u003eLa Cieca - \u003cb\u003eIrene Companeez\u003c\/b\u003e\u003cbr\u003eAlvise Badoero - \u003cb\u003eIvo Vinco\u003c\/b\u003e\u003cbr\u003eEnzo Grimaldo - \u003cb\u003ePier Miranda Ferraro\u003c\/b\u003e\u003cbr\u003eBarnaba - \u003cb\u003ePiero Cappuccilli\u003c\/b\u003e\u003cbr\u003eZuane - \u003cb\u003eLeonardo Monreale\u003c\/b\u003e\u003cbr\u003eCantore\/Pilota - \u003cb\u003eCarlo Forti\u003c\/b\u003e\u003cbr\u003eIsepo\/Prima voce lontana - \u003cb\u003eRenato Ercolani\u003c\/b\u003e\u003cbr\u003eSeconda voce lontana - \u003cb\u003eAldo Biffi\u003c\/b\u003e\u003cbr\u003eUn barnabotto - \u003cb\u003eBonaldo Giaiotti\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus and Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAntonino Votto\u003c\/b\u003e\u003cbr\u003e\u003cb\u003echorus master: Norberto Mola\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eLibretto by Arrigo Boito\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 4-11 September 1959, Teatro alla Scala, Milan\u003cbr\u003eStereo XR remastering by: Andrew Rose\u003cbr\u003eCover artwork: Maria Callas as La Gioconda\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 46:10\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO208.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO208.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":47527174209870,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55205513167182,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55205513199950,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO208.jpg?v=1721656872"},{"product_id":"paco208-cd","title":"CALLAS Ponchielli - La Gioconda (1959, stereo) - PACO208 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO208.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":47527105528142,"sku":null,"price":50.0,"currency_code":"EUR","in_stock":true},{"title":"3 CDs only in plastic sleeve (+MP3)","offer_id":55205513101646,"sku":null,"price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO208_dc5d8e5d-52cb-425d-b10e-f08d9a725167.jpg?v=1710933723"},{"product_id":"paco215","title":"CALLAS Bellini - Norma (1960, stereo) - PACO215","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003eNorma\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStereo studio recording, 1960\u003cbr\u003eTotal duration: 2hr 41:26\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eNorma - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eAdalgisa - \u003cb\u003eChrista Ludwig\u003c\/b\u003e\u003cbr\u003ePollione - \u003cb\u003eFranco Corelli\u003c\/b\u003e\u003cbr\u003eOroveso - \u003cb\u003eNicola Zaccaria\u003c\/b\u003e\u003cbr\u003eClotilde - \u003cb\u003eEdda Vincenzi\u003c\/b\u003e\u003cbr\u003eFlavio - \u003cb\u003ePiero De Palma\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eChorus and Orchestra of Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO215.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    “On balance, too, I should choose the new Columbia \u003cem\u003eNorma\u003c\/em\u003e in\n    perference to the same company's still available 1954 set which also has\n    Callas  and Serafin with the Scala chorus and orchestra. The recording is\n    far better,  and so are the men: Corelli gives us a likeable Pollione more\n    than a little  reminiscent of Lauri-Volpi, and Zaccaria contributes a sound,\n    if not very  distinguished, High Priest. Though I always long to hear a\n    lyrical soprano as  Adalgisa, I greatly took to Christa Ludwig's\n    performance, which was thoroughly  Italian (in the good sense of that\n    adjective), with shapely phrasing and firm  attack.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Of course, Callas herself is the heart of the matter, and I do not see how\n    it  can be denied that her vocal (as opposed to interpretative) powers show\n    here a  certain decline. For a long time her sustained upper notes have \u003cem\u003e\n    resembled\u003c\/em\u003e a slow trill; now they often \u003cem\u003eare\u003c\/em\u003e that. From\n    countless examples I select  one, the high A flat at the end of the first\n    recitative, just before  \"Casta Diva\". If someone were to put the stylus\n    down, without  previous warning or explanation, on this note, and if we did\n    not at once  recognise the timbre, we should conclude that (perhaps for\n    demonstration  purposes) as part of a singing lesson, someone was executing\n    a shake at an  unusually slow rate. Much  the same thing  happens to almost\n    every long-held note above the stave, and often to E's and  F's also.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Below, the tone is usually veiled, seldom beautiful or pure in the abstract,\n    but often fascinating in context. Though I cannot help wilting under those\n    huge  high tremolos, I come in the end to admire and almost to love the\n    lower regions  of Mme Callas's voice because of the incomparable art, now\n    richer than ever,  with which it is deployed. There are refinements and\n    subtleties (for instance,  the sudden \u003cem\u003epiano\u003c\/em\u003e on the phrase \"pei tuoi\n    figli\" in Norma's  plea to Pollione) which come closer to the world of some\n    great Lieder singer–a Gerhardt, even – than to that\n    of Italian opera as we  know it today. Of the same order is her exquisite\n    fining-off and shading away  at the end of many phrases and cadences: for\n    instance, in the first two phrases  of \"Deh non volermi vittime\" in the\n    Finale, or in the \"Mira, o  Norma\" duet with Adalgisa. This opening scene of\n    Act 2 is indeed the high  water mark, artistically, of the whole set.”\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\n    “The Gramophone and the Voice” – \u003cb\u003eDesmond Shawe-Taylor\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e,\n    January 1962\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMaria Callas recorded her first opera in Italy in September 1952. Eight\n    years later she recorded an opera for the last time at La Scala, her career\n    as  a recording soloist in full-length works almost over. Two more\n    recordings were  to follow – both recorded in Paris in the mid-sixties with\n    Georges Prêtre  conducting – and were received with mixed reviews. (Her 1964\n    \u003cem\u003eCarmen\u003c\/em\u003e was liked by The Gramophone, her \u003cem\u003eTosca\u003c\/em\u003eof 1965, the\n    last Callas opera recording, was not.)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    It seems incredible today that such a stellar career in the studio was so\n    short-lived.  But as the article quoted here suggests, her voice was\n    starting to fail her,  and despite her ever-greater artistry as a performing\n    singer in opera, clearly  her producers were ready to move on.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    A golden age of opera recording, which had needed the new technology of\n    long-playing records for its success, was reaching a curious place, one\n    where  instead of continuing to explore the operatic repertoire, artists\n    like Callas  were being asked to re-record in stereo works that they’d only\n    recorded a very  few years earlier in mono. Certainly the sound was better\n    here in 1960 than it  had been in 1954, but given the high expense of buying\n    a set of LPs such as  those of an opera that runs for at the time – the cost\n    of the three long-playing  discs, including sales taxes in the UK, was over\n    £170 – nearly $220US – in today’s  money.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Despite the great leap forward in sound quality, there is still room for\n    improvement. I find some of the stereo positioning of the voices less than\n    convincing, and alas right now I’m unable to do much about this, but the\n    overall sound in this XR remaster is now much fuller and richer than in the\n    original EMI, bringing a welcome added depth to the entire production.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003eNorma\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (63:18)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Sinfonia\u003cspan style=\"font-size: 12px;\"\u003e (5:36)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct One, Scene One\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Ite sul colle... dell'aura tua profetica\u003cspan style=\"font-size: 12px;\"\u003e (9:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Svanir le voci!\u003cspan style=\"font-size: 12px;\"\u003e (3:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Meco all'altar di Venere\u003cspan style=\"font-size: 12px;\"\u003e (2:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Odi?... I suoi riti a compiere\u003cspan style=\"font-size: 12px;\"\u003e (1:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Me protegge, me difende\u003cspan style=\"font-size: 12px;\"\u003e (1:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Norma viene\u003cspan style=\"font-size: 12px;\"\u003e (4:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Sediziose voci\u003cspan style=\"font-size: 12px;\"\u003e (4:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Casta Diva\u003cspan style=\"font-size: 12px;\"\u003e (7:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Fine al rito, e il sacro bosco\u003cspan style=\"font-size: 12px;\"\u003e (1:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Ah! bello a me ritorna\u003cspan style=\"font-size: 12px;\"\u003e (3:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Sgombra è la sacra selva\u003cspan style=\"font-size: 12px;\"\u003e (6:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Eccola - va, mi lascia\u003cspan style=\"font-size: 12px;\"\u003e (1:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Va, crudele\u003cspan style=\"font-size: 12px;\"\u003e (5:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Vieni in Roma\u003cspan style=\"font-size: 12px;\"\u003e (3:48)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (28:02)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct one, Scene two\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Vanne, e li cela entrambi\u003cspan style=\"font-size: 12px;\"\u003e (4:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Adalgisa! Alma, costanza\u003cspan style=\"font-size: 12px;\"\u003e (3:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Oh, rimembranza!\u003cspan style=\"font-size: 12px;\"\u003e (5:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Ah si, fa core, abbracciami\u003cspan style=\"font-size: 12px;\"\u003e (3:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Ma di' ... l'amato giovine\u003cspan style=\"font-size: 12px;\"\u003e (3:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Oh, di qual sei tu vittima\u003cspan style=\"font-size: 12px;\"\u003e (4:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Perfido! ... Or basti!\u003cspan style=\"font-size: 12px;\"\u003e (1:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Vanne, si, mi lascia, indegno\u003cspan style=\"font-size: 12px;\"\u003e (2:41)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc three\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (70:06)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct two, Scene one\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Introduzione\u003cspan style=\"font-size: 12px;\"\u003e (3:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Dormono entrambi!\u003cspan style=\"font-size: 12px;\"\u003e (4:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Olà! Clotilde!\u003cspan style=\"font-size: 12px;\"\u003e (0:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Mi chiami, o Norma?\u003cspan style=\"font-size: 12px;\"\u003e (2:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Deh! con te, con te li prendi\u003cspan style=\"font-size: 12px;\"\u003e (4:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Mira, o Norma\u003cspan style=\"font-size: 12px;\"\u003e (4:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Cedi ... deh cedi!\u003cspan style=\"font-size: 12px;\"\u003e (1:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Si, fino all'ore estreme\u003cspan style=\"font-size: 12px;\"\u003e (2:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct two, Scene two\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Non parti?\u003cspan style=\"font-size: 12px;\"\u003e (5:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Guerrieri! a voi venirne\u003cspan style=\"font-size: 12px;\"\u003e (1:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Ah! del Tebro al giogo indegno\u003cspan style=\"font-size: 12px;\"\u003e (3:03)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct two, Scene two\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Ei tornerà. Sì!\u003cspan style=\"font-size: 12px;\"\u003e (4:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Squila il bronzo del Dio!\u003cspan style=\"font-size: 12px;\"\u003e (1:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Guerra! guerra!\u003cspan style=\"font-size: 12px;\"\u003e (2:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Né compi il rito, o Norma?\u003cspan style=\"font-size: 12px;\"\u003e (4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e In mia man alfin tu sei\u003cspan style=\"font-size: 12px;\"\u003e (5:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Già mi pasco ne' tuoi sguardi\u003cspan style=\"font-size: 12px;\"\u003e (1:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Dammi quel ferro!\u003cspan style=\"font-size: 12px;\"\u003e (3:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Qual cor tradisti\u003cspan style=\"font-size: 12px;\"\u003e (5:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Norma! deh! Norma, scòlpati!\u003cspan style=\"font-size: 12px;\"\u003e (2:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e Deh! Non voleri vittime\u003cspan style=\"font-size: 12px;\"\u003e (4:44)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eNorma - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eAdalgisa - \u003cb\u003eChrista Ludwig\u003c\/b\u003e\u003cbr\u003ePollione - \u003cb\u003eFranco Corelli\u003c\/b\u003e\u003cbr\u003eOroveso - \u003cb\u003eNicola Zaccaria\u003c\/b\u003e\u003cbr\u003eClotilde - \u003cb\u003eEdda Vincenzi\u003c\/b\u003e\u003cbr\u003eFlavio - \u003cb\u003ePiero De Palma\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus and Orchestra of Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 5-12 September 1960, Milan\u003cbr\u003eStereo XR remastering by: Andrew Rose\u003cbr\u003eCover artwork: Maria Callas in 1960\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 41:26\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO215.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO215.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":48366751908174,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55205510316366,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55205510349134,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO215.jpg?v=1718338505"},{"product_id":"paco215-cd","title":"CALLAS Bellini - Norma (1960, stereo) - PACO215 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO215.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs","offer_id":48366698922318,"sku":null,"price":65.0,"currency_code":"EUR","in_stock":true},{"title":"3 CDs only in plastic sleeve (+MP3)","offer_id":55205510283598,"sku":null,"price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO215_1d87a1f7-c12f-4349-b399-d2f634a59a78.jpg?v=1718188743"},{"product_id":"paco216","title":"CALLAS Ponchielli - La Gioconda (1952) - PACO216","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003ePONCHIELLI \u003c\/b\u003eLa Gioconda\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1952\u003cbr\u003eTotal duration: 2hr 46:20\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eLa Gioconda - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eLaura Adorno - \u003cb\u003eFedora Barbieri\u003c\/b\u003e\u003cbr\u003eLa Cieca - \u003cb\u003eMaria Amadini\u003c\/b\u003e\u003cbr\u003eAlvise Badoero -\u003cb\u003e Giulio Neri\u003c\/b\u003e\u003cbr\u003eEnzo Grimaldo - \u003cb\u003eGianni Poggi\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus and Orchestra of RAI,Torino\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAntonino Votto\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNB The 1959 stereo remake of this recording is also available on Pristine\u003c\/b\u003e \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco208\"\u003e\u003cb\u003ePACO208\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReview578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fCallas’s voice is more attractive sounding here than on all earlier issues ... The improvement is significant enough to warrant replacement578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis 1952 studio recording was made for the Cetra label and is the first of two that Maria Callas made of La Gioconda . Both this set and EMI’s later stereo effort have been reviewed many times in Fanfare (you can find those reviews in the magazine’s online Archive). There is general agreement that her Gioconda was one of Callas’s significant achievements on disc, despite some vocal problems (a bit more so in the second recording).\u003c\/p\u003e\u003cp\u003eFor many, the main issue of interest here will be the sound quality of Pristine’s transfer. Does Andrew Rose’s XR Ambient Stereo remastering make a meaningful improvement on the last Warner transfer? (Warner represented a decided improvement on the dry Cetra original.) The answer is yes, and I think resoundingly so. The XR Ambient Stereo process is specifically designed to solve this kind of cramped, dry acoustic by adding a sense of space around singers and orchestra just as heard in the hall. An A-B comparison of Pristine’s remastering with Warner’s made clear that it provides a far more pleasant listening experience. Callas’s voice is more attractive sounding here than on all earlier issues.\u003c\/p\u003e\u003cp\u003eThis recording is important because Callas makes more of the character of Gioconda than anyone else on disc. Her soft singing at “Enzo adorate … ah! come t’amo” may not have the beautiful sheen offered at that moment by Zinka Milanov or Montserrat Caballé, but it is beautifully executed and is integrated into the entire scene rather than stopping the action as a standout vocal highlight. The dramatic power Callas displays in her big aria, “Suicidio!”, is in a different artistic realm than other singers inhabit. At first she spits out the words in a fury, but then her mood turns inward: she sings, “Or piombo esausta fra le tenebre” (“Now I fall exhausted into the darkness. To the task…. I now ask Heaven to let me sleep quietly in the tomb.”) Callas will break your heart with the way she empties her tone of body as the aria ends. Throughout the opera she demonstrates a mastery of color and inflection that makes her sui generis . She famously said about her Gioconda, “It’s all there, for anyone who cares to understand or wishes to know what I was about.” She was, in fact, referring to her second recording, but I think it is just as fitting for her first one.\u003c\/p\u003e\u003cp\u003eIn both sets she was saddled with a less-than-ideal supporting cast, in an opera that requires much better. The poorest partner from 1952 is tenor Gianni Poggi as Enzo. His voice is weathered, he occasionally sings under the pitch, and he emits a throttled sound that becomes tiresome quickly. “Cielo e mar!” is clumsy in its phrasing and unpleasant in its sheer vocalism. Fedora Barbieri is a fine Laura, however, and Paolo Silveri a decent enough Barnaba unless you have memories of Leonard Warren, Ettore Bastianini, and Robert Merrill. Giulio Neri’s Alvise is very strong, but Maria Amadini’s Cieca is thin-voiced and harsh. Callas’s later stereo recording is a bit more strongly cast but also not ideal.\u003c\/p\u003e\u003cp\u003eBoth recordings are led by Antonino Votto, a conductor who can serve as a definition of the term “routinier.” He understands the style and doesn’t really get in the way, but neither does he add anything meaningful to the performance. Things occasionally bog down, as in the “Dance of the Hours,” but Votto is frustrating more for what he does not do than for what he does.\u003c\/p\u003e\u003cp\u003eThe key factor here is Pristine’s restoration. This recording has always been a cornerstone of any Callas collection, and Pristine has improved upon all earlier editions, including even Naxos’s excellent version. The improvement is significant enough to warrant replacement. The CD comes with a note reproducing Philip-Hope Wallace’s 1958 Gramophone review (1958 brought the first British release of this recording).\u003c\/p\u003e\u003cp\u003ePristine releases are available from its website, pristineclassical.com, in a variety of streaming and download formats as well as CDs. Purchasing the recording in any form includes some substantial bonuses from Pristine. Anyone who buys the recording receives a download package which includes three PDF files: the full orchestral score, the vocal score (with piano accompaniment) and the original Italian libretto. In addition, purchasing the discs also entitles you to receive the MP3 version of the recording as a free extra to the discs.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO216.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\"When this jolly old Grand Opera came to LP for the first time (except for an old Urania set) in Decca’s excellent version, which I reviewed in February, I let my pen fly along under the memory of childish enjoyments and no doubt wrote at too great a length and with undue enthusiasm of the old war horse. (I was duly snubbed.) Nor did I imagine that so soon I should have to be hearing it all over and over again. May my friendly admiration for the fustian but instinctively dramatic old work be taken for granted?\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Cetra cast is impressive and offers strong competition to the Cerquetti, Simionato, Del Monaco, Bastianini set-up on Decca. This Cetra recording is, I think, a shade brighter and often a little brittle. But both sets have plenty of perspective and atmosphere and the Cetra the rather better chorus (not that that really matters). Gavazzeni took certain things, for instance “Suicidio!”, rather more briskly than Votto, who is a “last-ouncer”. Under some of the more terrific solos and duets I could have done with more orchestral texture, but that is partly true also of Decca. One notices it in that terrific ladies’ slanging match on shipboard (“He’s mine!” “No, he’s mine, I saw him first”), where it is rather fun incidentally to hear Barbieri, in terrific form, ten times beefier than Simionato, actually “take away” the duet from Maria Callas — who wouldn’t often allow that to happen, I fancy. Simionato was a more delicate Laura than Barbieri, who hams it up a lot, though she sings \"Stella marinar” affectingly. On the problem of Callas versus Cerquetti, I find I have to eat my words (honest, I hope), I said that I actually preferred Cerquetti’s “Suicidio!” to Callas’s, which at that time I knew only out of context on a 7-inch EP. In context, though plummy at the start and tremendously laboured, it is undeniably more exciting than Cerquetti’s more rapid and firmer, less melodramatic version. In spite of some painful high notes and unevenness of effect, Callas’s Gioconda is a marvellously vivid figure; everything is made memorable, convincing; everything is \"dared” at its most exciting. I don’t want to seem to be going back on Cerquetti, but an aria such as “Suicidio” as the climax to a growing interpretation can sound quite different and much more artistic than when cut from its context.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHow the rest of the two casts match up is largely a matter of opinion. Poggi’s attack, his accuti are unfailing. He sings very excitingly in the \"Enzo Grimaldo” duet (Silveri, too, takes all his chances and is in good form, the equal of Bastianini). But Poggi cannot cope with “Cielo e mar”, or at least the musing and delicate aspects of it. He hollers. But then so does Del Monaco. Siepi is slightly preferable to the late Giulio Neri. In the Dance of the Hours (side 5) you can easily compare the two conductors. Votto is the more lush, the more given to a “telling” rubato. Some of his ensembles on this side sound congested, and though this is a decent pressing, I had a little trouble with groove jumping and pre-echoes. But anyone contemplating a complete Gioconda should examine and perhaps select this one.\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eP.H.-W, \u003c\/b\u003e\u003ci\u003eThe Gramophone\u003c\/i\u003e, December 1958 \u003cbr\u003e(NB. The UK release of this recording came some 6 years after it was made, 5 years after its original Italian issue.)\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003ePONCHIELLI \u003c\/b\u003eLa Gioconda\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (54:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT 1\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e Preludio\u003cspan style=\"font-size: 12px;\"\u003e (5:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e Feste e pane!\u003cspan style=\"font-size: 12px;\"\u003e (2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e E cantan su lor tombe!\u003cspan style=\"font-size: 12px;\"\u003e (2:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Figlia, che reggi Il tremulo piè\u003cspan style=\"font-size: 12px;\"\u003e (3:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e L'ora non giunse ancor del vespro santo\u003cspan style=\"font-size: 12px;\"\u003e (2:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e Polso di cerro!\u003cspan style=\"font-size: 12px;\"\u003e (3:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Suo covo è un tugurio\u003cspan style=\"font-size: 12px;\"\u003e (3:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e Che? La plebe or qui si arroga\u003cspan style=\"font-size: 12px;\"\u003e (4:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e Voce di donna o d'angelo\u003cspan style=\"font-size: 12px;\"\u003e (5:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e Enzo Grimaldo, Principe di Santafior, che pensi?\u003cspan style=\"font-size: 12px;\"\u003e (2:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e11.\u003c\/span\u003e O grido di quest'anima\u003cspan style=\"font-size: 12px;\"\u003e (2:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e12.\u003c\/span\u003e Maledici? Sta ben ... l'amor t'accieca\u003cspan style=\"font-size: 12px;\"\u003e (2:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e13.\u003c\/span\u003e O monumento!\u003cspan style=\"font-size: 12px;\"\u003e (3:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e14.\u003c\/span\u003e Carneval! Baccanal!\u003cspan style=\"font-size: 12px;\"\u003e (2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e15.\u003c\/span\u003e Angele Dei\u003cspan style=\"font-size: 12px;\"\u003e (6:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (36:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT 2\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e Ho! He! Ho! He! Fissa Il timone!\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e Pescator, affonda l'esca\u003cspan style=\"font-size: 12px;\"\u003e (1:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e Pescator, affonda l'esca\u003cspan style=\"font-size: 12px;\"\u003e (2:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Sia gloria ai canti dei naviganti!\u003cspan style=\"font-size: 12px;\"\u003e (4:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e Cielo e mar!\u003cspan style=\"font-size: 12px;\"\u003e (4:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e Ma chi vien?\u003cspan style=\"font-size: 12px;\"\u003e (4:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Laggi nelle nebbie remote\u003cspan style=\"font-size: 12px;\"\u003e (2:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e E il tuo nocchiere or la fuga t'appresta\u003cspan style=\"font-size: 12px;\"\u003e (0:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e Stella del marinar!\u003cspan style=\"font-size: 12px;\"\u003e (2:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e E un anatema!\u003cspan style=\"font-size: 12px;\"\u003e (0:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e11.\u003c\/span\u003e Là attesi e il tempo colsi\u003cspan style=\"font-size: 12px;\"\u003e (1:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e12.\u003c\/span\u003e L'amo come il fulgor del creato!\u003cspan style=\"font-size: 12px;\"\u003e (2:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e13.\u003c\/span\u003e Il mio braccio t'afferra!\u003cspan style=\"font-size: 12px;\"\u003e (1:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e14.\u003c\/span\u003e Maledizion! Ha preso il vol!\u003cspan style=\"font-size: 12px;\"\u003e (1:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e15.\u003c\/span\u003e Vedi là, nel canal morto\u003cspan style=\"font-size: 12px;\"\u003e (3:03)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc three\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (75:29)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT 3\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e Si morir ella de'!\u003cspan style=\"font-size: 12px;\"\u003e (2:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e Ombre di mia prosapia\u003cspan style=\"font-size: 12px;\"\u003e (2:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e Qui chiamata m'avete? .... Bella così, madonna\u003cspan style=\"font-size: 12px;\"\u003e (3:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Morir! è troppo orribile!\u003cspan style=\"font-size: 12px;\"\u003e (2:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e La gaia canzone\u003cspan style=\"font-size: 12px;\"\u003e (3:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e O madre mia, nell'isola fatale\u003cspan style=\"font-size: 12px;\"\u003e (2:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Benvenuti messeri! Andrea Sagredo!\u003cspan style=\"font-size: 12px;\"\u003e (4:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e Grazie vi rendo per le vostre laudi\u003cspan style=\"font-size: 12px;\"\u003e (1:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e Prodigio! Incanto!\u003cspan style=\"font-size: 12px;\"\u003e (9:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e Vieni! ... Lasciami!\u003cspan style=\"font-size: 12px;\"\u003e (3:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e11.\u003c\/span\u003e Già ti veggo immota e smorta\u003cspan style=\"font-size: 12px;\"\u003e (5:18)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT 4\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e12.\u003c\/span\u003e Nessum v'ha visto?\u003cspan style=\"font-size: 12px;\"\u003e (5:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e13.\u003c\/span\u003e Suicidio!\u003cspan style=\"font-size: 12px;\"\u003e (4:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e14.\u003c\/span\u003e Ecco, il velen di Laura\u003cspan style=\"font-size: 12px;\"\u003e (5:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e15.\u003c\/span\u003e Ridarti il sol, la vita!\u003cspan style=\"font-size: 12px;\"\u003e (2:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e16.\u003c\/span\u003e O furibonda jena\u003cspan style=\"font-size: 12px;\"\u003e (2:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e17.\u003c\/span\u003e Ten va serenata\u003cspan style=\"font-size: 12px;\"\u003e (1:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e18.\u003c\/span\u003e La barca s'avvicina\u003cspan style=\"font-size: 12px;\"\u003e (2:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e19.\u003c\/span\u003e Quest'ultimo bacio che il pianto\u003cspan style=\"font-size: 12px;\"\u003e (4:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e20.\u003c\/span\u003e Ora posso morir. Tutto è compiuto\u003cspan style=\"font-size: 12px;\"\u003e (3:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e21.\u003c\/span\u003e Vo' farmi più gaia, più fulgida ancora\u003cspan style=\"font-size: 12px;\"\u003e (3:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eLa Gioconda - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eEnzo - \u003cb\u003eGianni Poggi\u003c\/b\u003e\u003cbr\u003eBarnaba - \u003cb\u003ePaolo Silveri\u003c\/b\u003e\u003cbr\u003eLaura - \u003cb\u003eFedora Barbieri\u003c\/b\u003e\u003cbr\u003eAlvise - \u003cb\u003eGiulio Neri\u003c\/b\u003e\u003cbr\u003eLa Cieca - \u003cb\u003eMaria Amadini\u003c\/b\u003e\u003cbr\u003eZuàne - \u003cb\u003ePiero Poldi\u003c\/b\u003e\u003cbr\u003eIsèpo - \u003cb\u003eArmando Benzi\u003c\/b\u003e\u003cbr\u003eUn Pilota - \u003cb\u003ePiero Poldi\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus and Orchestra of RAI, Torino\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAntonino Votto\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 6 - 10 September, 1952, Auditorium della RAI, Torino\u003cbr\u003eAmbient Stereo XR remastering by: Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Maria Callas\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 46:20\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO216.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO216.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":48872180810062,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205509792078,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205509824846,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO216_b173eb3f-a24b-48fa-9d80-7407e3520ea2.jpg?v=1721966405"},{"product_id":"paco216-cd","title":"CALLAS Ponchielli - La Gioconda (1952) - PACO216 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO216.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":48872137720142,"sku":null,"price":65.0,"currency_code":"EUR","in_stock":true},{"title":"3 CDs only in plastic sleeve (+MP3)","offer_id":55205509759310,"sku":null,"price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO216_ae47f7ce-7061-4ecc-84b1-930b5b329c60.jpg?v=1721654888"},{"product_id":"paco219","title":"CALLAS Bellini: Norma (1954 studio recording) - PACO219","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003eNorma\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1954\u003cbr\u003eTotal duration: 2hr 40:22\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eNorma - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eAdalgisa - \u003cb\u003eEbe Stignani\u003c\/b\u003e\u003cbr\u003ePollione - \u003cb\u003eMario Filippeschi\u003c\/b\u003e\u003cbr\u003eOroveso - \u003cb\u003eNicola Rossi-Lemeni\u003c\/b\u003e\u003cbr\u003eClotilde - \u003cb\u003eRina Cavallari\u003c\/b\u003e\u003cbr\u003eFlavio - \u003cb\u003ePaolo Caroli\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eChorus and Orchestra of Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO219.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    For those wishing to hear Maria Callas singing one of her  greatest roles,\n    that of Norma in Bellini’s opera of the same name, and one of  the first\n    major roles to bring her to international attention, there are two  options\n    in her catalogue of studio recordings: the present recording, made in  Milan\n    in 1954 with Serafin at the podium, and the 1960 remake with the same\n    conductor and venue, but a different supporting cast.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Each has its adherents, and each has both its big pluses and  its big\n    minuses. In the case of the later recording (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco215\"\u003ePristine PACO 215\u003c\/a\u003e), the\n    recording was made in stereo, the support cast is much stronger, but the\n    Callas  voice is generally regarded as some way past its best.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    For the present, 1954 recording, we have Callas at her very  peak, but in a\n    stodgy mono recording with a cast which often leaves plenty to  be desired.\n    In a review which expressed overall disappointment with the  recording, \u003ci\u003eThe\n    Gramophone\u003c\/i\u003e’s Phillip Hope-Wallace, in November 1954, wrote: “So,  finally\n    what about Callas, which some people would say, and perhaps rightly, is  all\n    that really matters in considering \u003cem\u003eNorma\u003c\/em\u003e? As I have suggested,\n    where  it is a question of musicianship and of dramatic interpretation and\n    coloration  of the voice she is quite magnificent, her phrasing has an\n    etched quality, she  is at once a great dramatic artist and great singer in\n    the way that Frida  Leider was. The musicianship of her \u003cem\u003eCasta Diva\u003c\/em\u003e\n    leaves most of the  versions I know as non-starters, the \u003cem\u003eglissando\u003c\/em\u003e\n    passages in the cabaletta  “Deh bello a me ritorna” shortly afterwards are\n    breathtaking, Norma’s anguish  when she finds out that she is betrayed, the\n    reproachful dignity and biting  scorn of her scenes with the wretched\n    Pollione and her hieratic magnanimity in  dealing with her rival—all these\n    are truly wonderful. She also makes you hear  the music for the first time\n    (an overworked description no doubt, but a quality  not otherwise easy to\n    describe).”\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Nearly half a century later, in 2002, the verdict is similar  from\n\u003ci\u003e    Gramophone\u003c\/i\u003e’s John Steane: “The first [Norma], from 1954, comes to life  only\n    when Callas sings.  Serafín disappoints  in this .. \u003cem\u003e.\u003c\/em\u003e Nicola\n    Rossi-Lemeni as Oroveso is allowed to sing off­-pitch, and Mario Filippeschi\n    as  Pollione sings his role from start to finish as though marked\n    \u003cem\u003e\n        senza espressione\n    \u003c\/em\u003e\n    .  Then comes Callas, and the effect is immediate.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The fascination of this intensely personal, affectionate  ‘Casta diva’ is\n    coupled with admiration for a technique which makes her able to  do the\n    right thing - the reiterated high As, for example, are not achieved by\n    means of a ‘lift’ and are also not smoothed out (as often happens) into a\n    single continuous note. The \u003cem\u003efioriture\u003c\/em\u003e are exquisite - but not so\n    the last  note of all, the sustained high F which is perilous in the\n    extreme. Wonders  abound in the cabaletta; she leaves, and on comes Ebe\n    Stignani, the Adalgisa.  At Covent Garden, as I remember, the sheer beauty\n    of her voice (after Callas’s)  was enough to make everybody sit up; on\n    record, the immediate gratitude gives  way very quickly to the realisation\n    that we are back in the realm of the  blandly inexpressive. And so it\n    continues until Callas’s next appearance, and  so on throughout the opera.\n    If the last disc in this set (Act 2) could be issued  separately it would\n    perhaps constitute the prime recommendation of all, for here  is the great\n    role sung by the great artist at a time when the voice still  matched the\n    art.”\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The only respite thus far would come in 2014 with this aside,  again in\n\u003ci\u003e    Gramophone\u003c\/i\u003e: “Hearing afresh that 1954 Norma in ‘Maria Callas  Remastered’ I\n    can’t help thinking that it was the frailty of the LP format that  was 80\n    per cent of the problem”.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    While I’m not sure that this Pristine Ambient XR remaster –  or any other –\n    will ever be able to work sufficient magic on certain aspects of  this\n    recording, for those whose primary interest is in the remarkable  instrument\n    that Maria Callas had at her disposal, it has to surely be an  essential\n    release. Multiple sonic veils have been lifted from the original recording,\n    and if there is regret that the source material is what it is, there is\n    delight  in being able to shine a brighter, warmer light on it than perhaps\n    ever before.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003eNorma\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (62:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Sinfonia\u003cspan style=\"font-size: 12px;\"\u003e (5:56)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct one, Scene one\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Ite sul colle... dell'aura tua profetica\u003cspan style=\"font-size: 12px;\"\u003e (10:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Svanir le voci!\u003cspan style=\"font-size: 12px;\"\u003e (2:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Meco all'altar di Venere\u003cspan style=\"font-size: 12px;\"\u003e (2:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Odi?... I suoi riti a compiere\u003cspan style=\"font-size: 12px;\"\u003e (1:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Me protegge, me difende\u003cspan style=\"font-size: 12px;\"\u003e (1:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Norma viene\u003cspan style=\"font-size: 12px;\"\u003e (4:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Sediziose voci\u003cspan style=\"font-size: 12px;\"\u003e (4:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Casta Diva\u003cspan style=\"font-size: 12px;\"\u003e (7:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Fine al rito, e il sacro bosco\u003cspan style=\"font-size: 12px;\"\u003e (1:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Ah! bello a me ritorna\u003cspan style=\"font-size: 12px;\"\u003e (3:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Sgombra è la sacra selva\u003cspan style=\"font-size: 12px;\"\u003e (6:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Eccola - va, mi lascia\u003cspan style=\"font-size: 12px;\"\u003e (1:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Va, crudele\u003cspan style=\"font-size: 12px;\"\u003e (5:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Vieni in Roma\u003cspan style=\"font-size: 12px;\"\u003e (3:20)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (27:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct one, Scene two\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Vanne, e li cela entrambi\u003cspan style=\"font-size: 12px;\"\u003e (4:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Adalgisa! Alma, costanza\u003cspan style=\"font-size: 12px;\"\u003e (3:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Oh, rimembranza!\u003cspan style=\"font-size: 12px;\"\u003e (5:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Ah si, fa core, abbracciami\u003cspan style=\"font-size: 12px;\"\u003e (3:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Ma di' ... l'amato giovine\u003cspan style=\"font-size: 12px;\"\u003e (3:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Oh, di qual sei tu vittima\u003cspan style=\"font-size: 12px;\"\u003e (4:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Perfido! ... Or basti!\u003cspan style=\"font-size: 12px;\"\u003e (1:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Vanne, si, mi lascia, indegno\u003cspan style=\"font-size: 12px;\"\u003e (2:37)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc three\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (70:17)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct two, Scene one\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Introduzione\u003cspan style=\"font-size: 12px;\"\u003e (3:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Dormono entrambi!\u003cspan style=\"font-size: 12px;\"\u003e (4:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Olà! Clotilde!\u003cspan style=\"font-size: 12px;\"\u003e (0:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Mi chiami, o Norma?\u003cspan style=\"font-size: 12px;\"\u003e (2:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Deh! con te, con te li prendi\u003cspan style=\"font-size: 12px;\"\u003e (4:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Mira, o Norma\u003cspan style=\"font-size: 12px;\"\u003e (4:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Cedi ... deh cedi!\u003cspan style=\"font-size: 12px;\"\u003e (1:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Si, fino all'ore estreme\u003cspan style=\"font-size: 12px;\"\u003e (2:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct two, Scene two\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Non parti?\u003cspan style=\"font-size: 12px;\"\u003e (5:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Guerrieri! a voi venirne\u003cspan style=\"font-size: 12px;\"\u003e (1:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Ah! del Tebro al giogo indegno\u003cspan style=\"font-size: 12px;\"\u003e (3:03)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAct two, Scene two\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Ei tornerà. Sì!\u003cspan style=\"font-size: 12px;\"\u003e (4:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Squila il bronzo del Dio!\u003cspan style=\"font-size: 12px;\"\u003e (1:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Guerra! guerra!\u003cspan style=\"font-size: 12px;\"\u003e (2:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Né compi il rito, o Norma?\u003cspan style=\"font-size: 12px;\"\u003e (4:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e In mia man alfin tu sei\u003cspan style=\"font-size: 12px;\"\u003e (5:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Già mi pasco ne' tuoi sguardi\u003cspan style=\"font-size: 12px;\"\u003e (2:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Dammi quel ferro!\u003cspan style=\"font-size: 12px;\"\u003e (3:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Qual cor tradisti\u003cspan style=\"font-size: 12px;\"\u003e (4:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Norma! deh! Norma, scòlpati!\u003cspan style=\"font-size: 12px;\"\u003e (2:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e Deh! Non voleri vittime\u003cspan style=\"font-size: 12px;\"\u003e (4:54)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eNorma - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eAdalgisa - \u003cb\u003eEbe Stignani\u003c\/b\u003e\u003cbr\u003ePollione - \u003cb\u003eMario Filippeschi\u003c\/b\u003e\u003cbr\u003eOroveso - \u003cb\u003eNicola Rossi-Lemeni\u003c\/b\u003e\u003cbr\u003eClotilde - \u003cb\u003eRina Cavallari\u003c\/b\u003e\u003cbr\u003eFlavio - \u003cb\u003ePaolo Caroli\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus and Orchestra of Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 23 April - 3 May 1954, Milan\u003cbr\u003eAmbient Stereo XR remastering by: Andrew Rose\u003cbr\u003eCover artwork: Maria Callas as Norma in 1954\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 40:22\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO219.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO219.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":49498881524046,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205508645198,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205508677966,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO219.jpg?v=1732008812"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/collections\/Callas.jpg?v=1495805448","url":"https:\/\/www.pristineclassical.com\/collections\/artist-maria-callas.oembed?page=6","provider":"Pristine Classical","version":"1.0","type":"link"}