{"title":"Tullio Serafin","description":"\u003cp\u003eTullio Serafin was an Italian conductor, one of the great opera conductors of the twentieth century. He was especially associated with La Scala, the Italian repertory and the careers of singers including Maria Callas.\u003c\/p\u003e\u003cp\u003eIn the Pristine catalogue he appears extensively in Bellini, Verdi, Puccini, Rossini, Donizetti and Cherubini, including many central Callas recordings.\u003c\/p\u003e\u003cp\u003eSerafin’s conducting combined theatrical instinct, singer-awareness and deep knowledge of Italian style. He could make bel canto breathe and Verdi stand on granite.\u003c\/p\u003e\u003cp\u003eHis page is essential. Serafin gives the Italian opera shelf its old master at the podium, calm hands controlling volcanic forces.\u003c\/p\u003e","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":"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":"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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\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":"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: 64:46\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\/PACO178.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO178.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":39303584251965,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205527290190,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205527322958,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO178.jpg?v=1756366724"},{"product_id":"paco178-cd","title":"CALLAS Verdi: Aïda (1955) - PACO178 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":54763503190350,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205527257422,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO178_f186293b-6bf9-40a7-9322-ae82564b97c7.jpg?v=1756366748"},{"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 - 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\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":"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":"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"},{"product_id":"paco219-cd","title":"CALLAS Bellini: Norma (1954 studio recording) - PACO219 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO219.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":49498796523854,"sku":null,"price":65.0,"currency_code":"EUR","in_stock":true},{"title":"3 CDs only in plastic sleeves (+MP3)","offer_id":55205508579662,"sku":null,"price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO219_de9bc943-b828-4527-b018-2df2bb4439ab.jpg?v=1732008845"},{"product_id":"paco225","title":"MARIA CALLAS Arias, Vol. 1: Puccini \u0026 Verdi (1954, 1958) - PACO225","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eManon Lescaut\u003c\/i\u003e, \u003ci\u003eMadama Butterfly\u003c\/i\u003e, \u003ci\u003eLa bohème\u003c\/i\u003e, \u003ci\u003eGianni Schicchi\u003c\/i\u003e, \u003ci\u003eTurandot\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eMacbeth\u003c\/i\u003e, \u003ci\u003eNabucco\u003c\/i\u003e, \u003ci\u003eErnani\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eAmbient Stereo \u0026amp; Stereo studio recordings, 1954 \u0026amp; 1958\u003cbr\u003eTotal duration: 78:12\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Tullio Serafin\u003c\/b\u003e \u0026amp; \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fOnce again, Pristine breathes new life into two established and indispensable recital classics578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003ePristine producer Andrew Rose has here combined two of Maria Callas’ greatest studio recital recordings, remastering the Puccini into Ambient Stereo and contributing a perceptive, eloquent and affectionate note of his own emphasising Callas’ unique ability to inhabit and animate an operatic role.\u003c\/p\u003e\u003cp\u003eFor my own part, if I wish to introduce anyone to Callas’s special gifts, I invariably turn to her mesmerising embodiment of Lady Macbeth, featured here in the second half of this programme, to which I make frequent exceptional references in my survey of the major recordings of Macbeth . My first task, however, on reviewing this disc, was to make a sonic comparison between this new release and the two discs in the Warner “big box” La Divina Maria Callas in all her roles ( review ). Being out of copyright, these recitals have been re-issued on various labels, major and minor, and multiply reviewed both on the archive MWI website and elsewhere, but it makes sense to go to the later incarnations of the source recordings. So let me say right away that there is simply no comparison between the two: the Warner remastering sounds thin, hissy, disembodied and distant; with Pristine’s transformation of it into Ambient Stereo, Callas steps forward into focus and we are swept away by the richness of both the sound and the artistry. This Pristine issue, then, is worth it purely for the enhancement of the Puccini recital.\u003c\/p\u003e\u003cp\u003eThe Verdi album was of course always in superior stereo sound so its transformation here will inevitably be less striking – but once again, there is much more space around the voice and if some slight ambient hiss remains, that is an indication of Andrew Rose’s reluctance to be too interventionist in his re-engineering. As with the Puccini, there is no doubt in my mind that this renovation of the sound is a bonus; I am really quite mystified by anyone who dislikes what he does to augment the listener’s pleasure.\u003c\/p\u003e\u003cp\u003eIt really is quite astonishing to reflect on the age of these recordings – as I write, nearly seventy-one years in the case of the Puccini and sixty-seven for the Verdi arias– and on how they still form a benchmark for so many opera lovers. Some critics have made much of the supposed wobble and deterioration in Callas’ soprano, manifested even as early as 1954, directly after her dramatic weight loss, but the occasional flaw of that nature is as nothing compared with the vocal and interpretative prowess Callas harnesses in every aria.\u003c\/p\u003e\u003cp\u003eShe was perhaps temperamentally better suited to portraying Verdi’s mostly stronger women than Puccini’s perpetual victims – and indeed she never performed any of these Puccini roles on stage except for the occasional radio broadcast and concert aria – but then we remember that two of her most celebrated recorded roles were the naïve, lovestruck Gilda and the feisty Tosca which rather reverse my generalisation– so she definitely had the range.\u003c\/p\u003e\u003cp\u003eThe opening aria from Manon Lescaut displays several of Callas’ great gifts to perfection: her legato, her deployment of heart-breaking portamenti , her command of dynamics and her acuity with text. Alongside such an abundance of vocal prowess some slight pulse on top notes is a negligible blemish. For the second aria from that opera, she darkens her timbre and exploits the trenchancy of her lower register to intensify the drama of the plight of the dying Manon, lost in the desert. Her Mimì and Laura are delicately and lyrically delineated yet they did not form part of her stage repertoire. She is ineffably touching in “Donde lieta uscì” and her voice expands magnificently for the climax of the aria before defaulting into the tenderness of “Addio senza rancor”. She even manages to suggest something of the wiliness of the spoilt little girl in the famous, sentimental Gianni Schicchi aria. The two arias from Madama Butterfly – yet another role she did not perform but recorded in full with Karajan – see her less inclined to play the deceived teenager than to depict a woman of courage and resolve. Turandot as Ice Princess might seem more Callas’ bag but the contrast between the sweetness and yearning in her voice in Liù’s “Signore ascolta” and the power and imperiousness of her Turandot is striking, affirming her versatility. Nonetheless, while she hardly makes Turandot a Shrinking Violet, she does render her more human and even sympathetic than many a more leather-lunged exponent of that killer role.\u003c\/p\u003e\u003cp\u003eJust as Turandot might seem to be more truly within her Fach as a dramatic soprano, the Verdi items play to her strengths, even if by 1958 a little more vocal frailty had crept in – but she is still in great voice. Unlike the Puccini operas, Nabucco and Macbeth and featured within her stage repertoire but both only once, relatively early in 1949 and 1952 respectively. A studio recording of Macbeth with Gobbi never got off the ground, so we are left with a live performance in poor sound with Macbeth sung by Mascherini, who is estimable but not Tito and these three arias, which have become benchmark recordings for all Ladies since. Just Callas’ spoken delivery of Macbeth’s letter preceding the aria proper is an object lesson in dramatic stagecraft and what follows is a tour de force. She is chilling, domineering, yet her vocal recklessness is always suggestive of a certain hysteria, a loss of control precipitating her mental breakdown. Just as Serafin was her ideal accompanist for the Puccini arias, Rescigno – her preferred conductor in the late 50s – is wholly sympathetic and idiomatic, finding exactly the right tempo for each aria, while even the great de Sabata, for example, is too fast in the sleepwalking scene. The orchestral introduction with its whining woodwind and growling lower strings is so atmospheric and Callas’ plaintive chant and sudden plunges into her lower register are captivating – just the way she repeatedly enunciates the word “immaginar” in “Chi poteva in quel vegliardo\/Tanto sangue immaginar?” (Whoever could have imagined so much blood in that old man?) is gripping. This encapsulates the greatness of Callas the dramatic tragedienne singer and Pristine’s revitalisation allows us to hear it even more vividly. The last, pulsed, top D flat caps one of the greatest recordings I know.\u003c\/p\u003e\u003cp\u003eAfter such an embarras de richesses the two subsequent arias could be anticlimactic – but in them Callas displays the same command. Abigaille is scarcely less unhinged than Lady Macbeth and Callas throws herself into the wild octave leaps of the introduction with the same abandon, before singing the central cantilena section with a seamless sweetness.\u003c\/p\u003e\u003cp\u003eAfter such almost exhausting pyrotechnical displays of dramatic intensity, the Ernani aria is like a welcome bonus, the opera being one of the most consistently melodic in Verdi’s earlier output. Callas despatches its lilting waltz and tripping cabaletta with such musicality – and indeed ease. If you don’t have this music and love Callas’ voice, acquire this – and even if you do, you might still want it for its much enhanced sound.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRalph Moore\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eMusicWeb International\u003c\/i\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO225.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In the pantheon of twentieth-century opera, Maria Callas  reigns not only as\n    a voice of unrepeatable individuality but as a dramatic  force who redefined\n    the interpretative scope of the soprano repertory. These  landmark\n    recordings — drawn from two celebrated sessions with the Philharmonia\n    Orchestra in London, in 1954 and 1958 — capture her at the height of her\n    vocal  powers and at the peak of her insight into two composers who formed\n    cornerstones of her stage career: Puccini and Verdi.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Puccini arias, recorded in 1954 under the baton of  Tullio Serafin,\n    showcase Callas’s uncanny ability to illuminate the emotional  core of each\n    heroine. In \"Un bel dì, vedremo\" from \u003cem\u003eMadama  Butterfly\u003c\/em\u003e, she\n    presents Cio-Cio-San not as a passive victim but as a woman  clinging to\n    hope with tragic clarity. There is no self-pity here — just  controlled\n    tension and aching resolve, delivered with extraordinary subtlety of\n    phrasing and colour.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In \"In questa reggia\" from \u003cem\u003eTurandot\u003c\/em\u003e,  Callas’s voice takes on a\n    glittering, imperious tone. Her Turandot is not  merely cold but deeply\n    wounded, and the central monologue becomes a chilling  declaration of power\n    and pain. The partnership with Serafin draws out the  music’s latent drama\n    and psychological depth. Few interpretations have so  convincingly conveyed\n    the blend of myth and trauma in Puccini’s last great  enigma.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The arias from \u003cem\u003eLa Bohème\u003c\/em\u003e and \u003cem\u003eManon Lescaut\u003c\/em\u003e reveal a\n    different Puccinian world: youthful vulnerability and lyrical  yearning. In\n    \"Sì, mi chiamano Mimì\", Callas floats the phrases with  touching simplicity,\n    while in \"In quelle trine morbide\" from \u003cem\u003eManon  Lescaut\u003c\/em\u003e, the voice\n    darkens and slows, evoking a woman trapped between  luxury and longing. Her\n    use of legato and finely shaded dynamics gives each  phrase narrative\n    weight.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Verdi arias, recorded in 1958 with Nicola Rescigno  conducting, showcase\n    Callas’s dramatic imagination in its most uncompromising  form. From\n    \u003cem\u003e\n        Macbeth\n    \u003c\/em\u003e\n    , her Lady Macbeth is elemental. In \"Nel dì della  vittoria… Vieni!\n    t’affretta!\", she hurls the lines with ruthless energy,  her tone sharpened\n    into a weapon. In \"La luce langue\", the voice dims  with the dying light,\n    creating an atmosphere of eerie, controlled malevolence.  Finally, in the\n    sleepwalking scene, \"Una macchia è qui tuttora\",  Callas strips the\n    character to her haunted core. Her voice becomes disembodied  — fragmented,\n    spectral — the descent into madness chillingly real.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In \u003cem\u003eNabucco\u003c\/em\u003e, \"Ben io t’invenni… Anch’io dischiuso  un giorno\" finds\n    Callas as the tormented Abigaille, expressing regret with  regal control and\n    aching introspection. Her mastery of Verdian line and tone  colours this\n    aria with complexity and tragic grandeur, far beyond mere vocal  brilliance.\n    Even in an excerpt, she finds a complete psychological portrait.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    From \u003cem\u003eErnani\u003c\/em\u003e,  \"Surta è la notte… Ernani! Ernani, involami\" becomes\n    a  miniature operatic scene. Elvira’s urgency, her longing and desperation,\n    are  etched into every phrase. Callas dispatches the florid writing with\n    ease, but  it is the emotional immediacy — her ability to bring the\n    character to life in  minutes — that lingers. She transforms the\n    conventional tropes of early Verdi  into something intimate and urgent.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In these Verdi roles, Callas uses every facet of her voice  as a dramatic\n    tool. Ornament becomes expression; silence carries weight. These  are not\n    simply arias but distilled dramas — entire acts condensed into a few\n    minutes. Her theatrical instinct shapes the structure of every phrase,\n    turning  vocal technique into storytelling.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    XR-remastered with new clarity, these recordings reaffirm  Callas not just\n    as a voice of legend but as a singular interpreter of  character, mood, and\n    musical structure. Whether navigating the lyrical sweep of  Puccini or the\n    psychological rigour of Verdi, she brings to each phrase an  intelligence\n    and emotional force that continue to astonish. Her voice was never  about\n    beauty alone — it was about meaning, tension, fire. In these Philharmonia\n    sessions, we are reminded not just of Callas’s artistry, but of her\n    unshakeable  presence — as vivid and unsettling now as it was over half a\n    century ago.\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\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 1\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eManon Lescaut\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e In quelle trine morbide (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Sola, perduta, abbandonata (Act 4)\u003cspan style=\"font-size: 12px;\"\u003e (5:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eMadama Butterfly\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Un bel dì vedremo (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (4:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Con onor muore (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (3:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eLa bohème\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Sì. Mi chiamano Mimì (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (4:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Donde lieta usci (Act 3)\u003cspan style=\"font-size: 12px;\"\u003e (3:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eGianni Schicchi\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e O mio babbino caro\u003cspan style=\"font-size: 12px;\"\u003e (2:34)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eTurandot\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Signore, ascolta! (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (2:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e In questa reggia (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (6:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Tu che di gel sei cinta (Act 3)\u003cspan style=\"font-size: 12px;\"\u003e (2:50)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eMacbeth\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Nel dì della vittoria ... Vieni! t'affretta (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (7:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e La luce langue (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (4:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Una macchia è qui tuttora (Act 4)\u003cspan style=\"font-size: 12px;\"\u003e (11:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eNabucco\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Ben io t' invenni ... Anch'io dischiuso un giorno (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (9:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eErnani\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Surta è la notte ... Ernani, Ernani, involami (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (6:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 17, 18, 20, 21 September 1954, Watford Town Hall\u003cbr\u003ePresented in Ambient Stereo\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 19, 20, 24 October 1958, Abbey Road Studio 1, London\u003cbr\u003ePresented in stereo\u003cbr\u003eOriginal recording producer: Walter Legge\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e (Puccini) and \u003cb\u003eNicola Rescigno\u003c\/b\u003e (Verdi)\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Maria Callas\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 78:12\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\/PACO225.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO225.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 \u0026 Ambient Stereo 24-bit FLAC","offer_id":52899370729806,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo \u0026 Ambient Stereo 16-bit FLAC","offer_id":55205505499470,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo \u0026 Ambient Stereo MP3","offer_id":55205505532238,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO225.jpg?v=1749178806"},{"product_id":"paco225-cd","title":"MARIA CALLAS Arias, Vol. 1: Puccini \u0026 Verdi (1954, 1958) - PACO225 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO225.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":52899349201230,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205505466702,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO225_76c158b6-80ec-413c-a9ae-6adf7d7d7557.jpg?v=1748008176"},{"product_id":"pabx048","title":"MARIA CALLAS The Verdi Opera Collection (studio recordings, 1953-1956) - PABX048","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eAïda (r. 1955)\u003cbr\u003e\u003cb\u003eVERDI \u003c\/b\u003eIl trovatore (r. 1956)\u003cbr\u003e\u003cb\u003eVERDI \u003c\/b\u003eLa forza del destino (r. 1954)\u003cbr\u003e\u003cb\u003eVERDI \u003c\/b\u003eLa traviata (r. 1953)\u003cbr\u003e\u003cb\u003eVERDI \u003c\/b\u003eRigoletto (r. 1955)\u003cbr\u003e\u003cb\u003eVERDI \u003c\/b\u003eUn ballo in maschera (r. 1956)\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eSix studio opera recordings in Ambient Stereo XR remasters\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO181.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 16px; text-align: left;\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eCALLAS Verdi: La Traviata (1953) - PACO090\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\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\n\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\n\u003cbr\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\n\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\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eCALLAS Verdi: Rigoletto (1955) - PACO131\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eCallas and Gobbi's classic 1955 Rigoletto in a superb new XR remaster\u003c\/em\u003e\u003c\/p\u003e\n\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\n\u003cbr\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\n\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\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eCALLAS Verdi: La Forza del Destino (1954) - PACO172\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\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\n\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\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eChicago Tribune\u003c\/b\u003e, 10 April 1955\u003c\/p\u003e\n\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\n\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\n\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\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eCALLAS Verdi: Aïda (1955) - PACO178\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\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\n\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\n\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\n\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\n\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\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eGramophone,\u003c\/b\u003e May 2015\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eCALLAS Verdi: Il Trovatore (1956) - PACO181\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\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\n\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\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e -\u003ci\u003e The Gramophone\u003c\/i\u003e, November 1957\u003c\/p\u003e\n\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\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eCALLAS Verdi: Un Ballo In Maschera (1956) - PACO187\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\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\n\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\n\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\n\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\n\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\n\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\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\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\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\u003eMARIA CALLAS\u003c\/b\u003e The \u003cb\u003eVerdi\u003c\/b\u003e Opera Collection (studio recordings, 1953-1956)\u003c\/p\u003e\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eCALLAS Verdi: La Traviata (1953) - PACO090\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003e\u003cb\u003eCALLAS\u003c\/b\u003e \u003cb\u003eVerdi\u003c\/b\u003e: La Traviata (1953)\u003c\/p\u003e\n\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\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eCALLAS Verdi: Rigoletto (1955) - PACO131\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003e\u003cb\u003eCALLAS\u003c\/b\u003e \u003cb\u003eVerdi\u003c\/b\u003e: Rigoletto (1955)\u003c\/p\u003e\n\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 - \u003cb\u003eTito Gobbi\u003c\/b\u003e\u003cbr\u003eGilda - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eDuca di Mantova - \u003cb\u003eGiuseppe di Stefano\u003c\/b\u003e\u003cbr\u003eSparafucile - \u003cb\u003eNicola Zaccaria\u003c\/b\u003e\u003cbr\u003eMaddalena - \u003cb\u003eAdriana Lazzarini\u003c\/b\u003e\u003cbr\u003eGiovanna - \u003cb\u003eGiuse Gerbino\u003c\/b\u003e\u003cbr\u003eMonterone - \u003cb\u003ePlinio Clabassi\u003c\/b\u003e\u003cbr\u003eMarullo - \u003cb\u003eWilliam Dickie\u003c\/b\u003e\u003cbr\u003eBorsa - \u003cb\u003eRenato Ercolani\u003c\/b\u003e\u003cbr\u003eConte di Ceprano - \u003cb\u003eCarlo Forti\u003c\/b\u003e\u003cbr\u003eContessa di Ceprano - \u003cb\u003eElvira Galassi\u003c\/b\u003e\u003cbr\u003eUn usciere - \u003cb\u003eVittorio Tatozzi\u003c\/b\u003e\u003cbr\u003eUn paggio - \u003cb\u003eLuisa Mandelli\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\u003e\u003cb\u003eTullio Serafin\u003c\/b\u003e, conductor\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eCALLAS Verdi: La Forza del Destino (1954) - PACO172\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\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\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eCALLAS Verdi: Aïda (1955) - PACO178\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\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: 64:46\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eCALLAS Verdi: Il Trovatore (1956) - PACO181\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\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\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eCALLAS Verdi: Un Ballo In Maschera (1956) - PACO187\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\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\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\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_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_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":54763465933134,"sku":null,"price":208.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205504483662,"sku":null,"price":143.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205504516430,"sku":null,"price":117.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX048.jpg?v=1769530151"},{"product_id":"pabx048-cd","title":"MARIA CALLAS The Verdi Opera Collection (studio recordings, 1953-1956) - PABX048 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":54763482972494,"sku":null,"price":200.0,"currency_code":"EUR","in_stock":true},{"title":"13 CDs only in plastic sleeve (+MP3)","offer_id":55205504450894,"sku":null,"price":165.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX048_668a9cd3-5a4a-4ea0-ac5b-865ced19bbc6.jpg?v=1756800330"},{"product_id":"paco239","title":"MARIA CALLAS Arias, Vol. 2: Lyric \u0026 Coloratura (1954, 1955) - PACO239","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eLYRIC ARIAS\u003c\/b\u003e \u003ci\u003eSuor Angelica, Adriana Lecouvreur, Andrea Chénier, La Wally, Mefistofele\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCOLORATURA ARIAS\u003c\/b\u003e \u003ci\u003eIl barbiere di Siviglia, Dinorah, Lakmé, I vespri siciliani\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eLA SCALA SCENES\u003c\/b\u003e \u003ci\u003eMedea, La sonnambula\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1954 \u0026amp; 1955\u003cbr\u003eTotal duration: 79:15\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO239.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMaria Callas’s great recital discs were never merely collections of attractive arias. They were demonstrations of range, character and dramatic imagination, assembled at a moment when her voice could move from lyric tenderness to florid brilliance and tragic declamation with extraordinary speed. This second volume brings together three such strands: a single Puccini aria from the September 1954 sessions, the complete programme of her celebrated \u003cem\u003eLyric and Coloratura\u003c\/em\u003e recital, and three La Scala scenes recorded the following year. Originally issued across separate Columbia recital LPs, they now form a coherent portrait of Callas moving between intimacy, virtuosity and full operatic tragedy.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“Senza mamma” finds Callas at her most inward. The line is restrained, the grief concentrated, and the emotion allowed to emerge through the shape of the phrase rather than through external display. That same ability to create a person within a few minutes governs the Cilea, Giordano and Catalani arias that follow. In Adriana’s entrance aria, Callas catches both the actress’s professional poise and the vulnerability beneath it; in “Poveri fiori” the lament is darker and more private. “La mamma morta” and “Ebben? ne andrò lontana” reveal the breadth of her lyric manner, where the voice may not always possess conventional smoothness, but the words are never neutral and the musical line is never merely decorative.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eA 1955 review in \u003cem\u003eThe Gramophone\u003c\/em\u003e of the original recital recognised precisely this tension. Its critic heard occasional heaviness, strain and awkwardness, yet also “great tenderness and simplicity, deep emotion” and an exceptional command of vocal characterisation. The review admired the distraught Margherita of \u003cem\u003eMefistofele\u003c\/em\u003e, the chromatic control of Lakmé’s “Dov’è l’indiana bruna?”, and the sheer versatility of a programme that moves from \u003cem\u003everismo\u003c\/em\u003e intensity to Rossinian and Meyerbeerian display.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThat versatility remains the album’s central fascination. “Una voce poco fa” is less a polite showpiece than a portrait of intelligence sharpening into resolve; “Ombra leggera” tests agility and lightness; the Verdi bolero demands ease, brilliance and rhythmic buoyancy. Callas does not approach these arias as a sequence of technical hurdles. Each becomes a miniature drama.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eTullio Serafin is crucial to the effect. With the Philharmonia Orchestra in Watford and the Orchestra del Teatro alla Scala in Milan, he gives Callas room to colour a phrase without allowing the pulse to slacken. The accompaniments are alert, flexible and notably free of theatrical exaggeration. Serafin knew her voice intimately and understood that its most compelling effects often came not from forcing the drama forward, but from creating the space in which a word, a pause or a sudden change of colour could register fully.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe final three tracks deepen that dramatic concentration. “Dei tuoi figli” from \u003cem\u003eMedea\u003c\/em\u003e is not simply an aria but an eruption of maternal anguish and moral terror, shaped with the authority that made the role one of Callas’s most formidable stage creations. The two extended scenes from \u003cem\u003eLa sonnambula\u003c\/em\u003e show another side of her art. In “Come per me sereno” the innocence is never insipid, while “Ah! non credea mirarti” is spun with a fragile inwardness that makes the cabaletta’s release all the more exhilarating.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhen \u003cem\u003eThe Gramophone\u003c\/em\u003e reviewed the La Scala LP in June 1958, it described \u003cem\u003eMedea\u003c\/em\u003e as “a great Callas showpiece” and judged this excerpt “certainly exciting”, finding Callas “at the top of her form”. That verdict catches the authority of the performance: even in a short extract, the role seems fully present, with the vocal line carrying both supplication and threat.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThat balance of reservation and admiration now reads less like equivocation than accuracy. Callas’s greatness did not depend upon an immaculate surface. It lay in her ability to make every phrase carry intention, to turn ornament into psychology and vocal colour into theatre. These recordings preserve that art at full stretch. They reveal a singer capable of tenderness, fury, brilliance, melancholy and madness, often within the space of a single side. The voice may occasionally show effort; the imagination never does.\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\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 2\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eLyric and Coloratura Arias\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eSuor Angelica\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Senza mamma\u003cspan style=\"font-size: 12px;\"\u003e (5:36)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCILEA \u003c\/b\u003e\u003ci\u003eAdriana Lecouvreur\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e Ecco: respiro appena... Io son l’umile ancella\u003cspan style=\"font-size: 12px;\"\u003e (3:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Poveri fiori\u003cspan style=\"font-size: 12px;\"\u003e (3:13)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGIORDANO \u003c\/b\u003e\u003ci\u003eAndrea Chénier\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e La mamma morta\u003cspan style=\"font-size: 12px;\"\u003e (4:53)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCATALANI \u003c\/b\u003e\u003ci\u003eLa Wally\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Ebben? Ne andrò lontana\u003cspan style=\"font-size: 12px;\"\u003e (4:52)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBOITO \u003c\/b\u003e\u003ci\u003eMefistofele\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e L’altra notte in fondo al mare\u003cspan style=\"font-size: 12px;\"\u003e (7:29)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003e\u003ci\u003eIl barbiere di Siviglia\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Una voce poco fa\u003cspan style=\"font-size: 12px;\"\u003e (6:53)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMEYERBEER \u003c\/b\u003e\u003ci\u003eDinorah\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e08.\u003c\/span\u003e Ombra leggera\u003cspan style=\"font-size: 12px;\"\u003e (5:42)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDELIBES \u003c\/b\u003e\u003ci\u003eLakmé\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e09.\u003c\/span\u003e Dov’è l’indiana bruna?\u003cspan style=\"font-size: 12px;\"\u003e (8:06)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eI vespri siciliani\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Mercè, dilette amiche\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCHERUBINI \u003c\/b\u003e\u003ci\u003eMedea\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Dei tuoi figli\u003cspan style=\"font-size: 12px;\"\u003e (4:55)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003e\u003ci\u003eLa sonnambula\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Compagne, teneri amici... Come per me sereno\u003cspan style=\"font-size: 12px;\"\u003e (5:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Oh! se una volta sola... Ah! non credea mirarti... Ah! non giunge\u003cspan style=\"font-size: 12px;\"\u003e (13:57)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e (tracks 1-10)\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e (tracks 11-13)\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 1-10 recorded 15-21 September 1954\u003cbr\u003eWatford Town Hall\u003cbr\u003eTracks 11-13 recorded 9-12 June 1955\u003cbr\u003eTeatro alla Scala, Milan\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of Maria Callas\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 79:15\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\/PACO239.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO239.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":60092994322766,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":60092994355534,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":60092994388302,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO239.jpg?v=1786060808"},{"product_id":"paco239-cd","title":"MARIA CALLAS Arias, Vol. 2: Lyric \u0026 Coloratura (1954, 1955) - PACO239 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO239.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":60092882878798,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":60092879667534,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO239_253f66e7-067d-4160-b576-55b5451ce84d.jpg?v=1783689801"},{"product_id":"pabx052","title":"MARIA CALLAS - The Bellini Opera Collection - PABX052","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eI Puritani\u003c\/i\u003e; \u003ci\u003eLa sonnambula\u003c\/i\u003e; \u003ci\u003eNorma\u003c\/i\u003e (both the 1954 and 1960 recordings)\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, Milan, 1953–1960; the 1960 \u003ci\u003eNorma\u003c\/i\u003e in stereo\u003cbr\u003eTotal duration: 9:42:59\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e as Elvira, Amina and Norma\u003cbr\u003eWith \u003cb\u003eGiuseppe Di Stefano\u003c\/b\u003e, \u003cb\u003eEbe Stignani\u003c\/b\u003e, \u003cb\u003eMario Filippeschi\u003c\/b\u003e, \u003cb\u003eNicola Rossi-Lemeni\u003c\/b\u003e, \u003cb\u003eRina Cavallari\u003c\/b\u003e, \u003cb\u003ePaolo Caroli\u003c\/b\u003e, \u003cb\u003eFiorenza Cossotto\u003c\/b\u003e, \u003cb\u003eNicola Zaccaria\u003c\/b\u003e, \u003cb\u003eNicola Monti\u003c\/b\u003e, \u003cb\u003eEugenia Ratti\u003c\/b\u003e, \u003cb\u003eGiuseppe Morresi\u003c\/b\u003e, \u003cb\u003eFranco Ricciardi\u003c\/b\u003e, \u003cb\u003eChrista Ludwig\u003c\/b\u003e, \u003cb\u003eFranco Corelli\u003c\/b\u003e, \u003cb\u003eEdda Vincenzi\u003c\/b\u003e and \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 (\u003ci\u003eI Puritani\u003c\/i\u003e and both recordings of \u003ci\u003eNorma\u003c\/i\u003e) and \u003cb\u003eAntonino Votto\u003c\/b\u003e (\u003ci\u003eLa sonnambula\u003c\/i\u003e)\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO215.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCALLAS Bellini: I Puritani (1953) - PACO085\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCallas's first full Bellini opera - her second for EMI - another musical milestone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eHer first La Scala recording given the full Pristine XR remastering treatment to sound stunning\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp class=\"body\"\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\n\u003cp class=\"body\"\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\n\u003cp class=\"body\"\u003eCareful analysis or residual hum suggests an orchestral pitch of around A4=447Hz, which has been adopted here.\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCALLAS Bellini: Norma (1954 studio recording) - PACO219\u003c\/summary\u003e\u003cp\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\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\" target=\"_blank\"\u003e\u003cfont color=\"#0000ff\"\u003ePristine PACO 215\u003c\/font\u003e\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\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\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\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\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\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\u003e\n    \u003cstrong\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCALLAS Bellini: La sonnambula (1957) - PACO193\u003c\/summary\u003e\u003cp style=\"margin-left: 25px;\"\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=\"margin-left: 25px;\"\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=\"margin-left: 25px;\"\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=\"margin-left: 25px;\"\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=\"margin-left: 25px;\"\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=\"margin-left: 25px;\"\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\n\u003cp style=\"margin-left: 25px;\"\u003e\u003cb\u003eA.P. \u003c\/b\u003e\u003ci\u003eThe Gramophone\u003c\/i\u003e, 1957\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\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\n\u003cp\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\" target=\"_blank\"\u003ePACO191\u003c\/a\u003e). \u003c\/p\u003e\n\u003cp\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\n\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCALLAS Bellini - Norma (1960, stereo) - PACO215\u003c\/summary\u003e\u003cp style=\"margin-left: 25px;\"\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=\"margin-left: 25px;\"\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=\"margin-left: 25px;\"\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=\"margin-left: 25px;\"\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\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\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\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\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\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\n\u003cp\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/details\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\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCALLAS Bellini: I Puritani (1953) - PACO085\u003c\/summary\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003eI Puritani \u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eText: Carlo Pepoli\u003cbr\u003e Recorded 24-30 March, 1953\u003cbr\u003e Basilica di Santa Eufemia, Milan\u003cbr\u003e Producer: Dino Olivieri\u003cbr\u003e Engineers: I. Varisco\u003cbr\u003e Catalogue numbers Columbia 33.CX.1058-60\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eTHE CAST\u003cbr\u003e Elvira\u003cb\u003e - Maria Callas \u003c\/b\u003e\u003cem\u003esoprano\u003c\/em\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003eLord Arturo Talbo \u003cb\u003e- Giuseppe Di Stefano \u003c\/b\u003e\u003cem\u003etenor\u003c\/em\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003eSir Riccardo Forth\u003cb\u003e - Rolando Panerai \u003c\/b\u003e\u003cem\u003ebass\u003c\/em\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003eSir Giorgio \u003cb\u003e- Nicola Rossi-Lemeni \u003c\/b\u003e\u003cem\u003ebass\u003c\/em\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003eEnrichetta di Francia\u003cb\u003e - Aurora Cattelani \u003c\/b\u003e\u003cem\u003emezzo-soprano\u003c\/em\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003eSir Bruno Robertson\u003cb\u003e - Angelo Mercurialli \u003c\/b\u003e\u003cem\u003etenor\u003c\/em\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003eLord Gualtiero Valton\u003cb\u003e - Carlo Forti \u003c\/b\u003e\u003cem\u003ebass\u003c\/em\u003e\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cbr\u003e Orchestra and Chorus of Teatro all Scala\u003cbr\u003e \u003c\/b\u003eChorus Master\u003cb\u003e Vittore Veneziani\u003cbr\u003e \u003c\/b\u003eConductor\u003cb\u003e Tullio Serafin\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCALLAS Bellini: Norma (1954 studio recording) - PACO219\u003c\/summary\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003eNorma\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (62:08)\u003cbr\u003e1. Sinfonia  (5:56)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAct one, Scene one \u003c\/b\u003e\u003cbr\u003e2. Ite sul colle... dell'aura tua profetica  (10:01)\u003cbr\u003e3. Svanir le voci!  (2:49)\u003cbr\u003e4. Meco all'altar di Venere  (2:32)\u003cbr\u003e5. Odi?... I suoi riti a compiere  (1:32)\u003cbr\u003e6. Me protegge, me difende  (1:31)\u003cbr\u003e7. Norma viene  (4:42)\u003cbr\u003e8. Sediziose voci  (4:22)\u003cbr\u003e9. Casta Diva  (7:19)\u003cbr\u003e10. Fine al rito, e il sacro bosco  (1:37)\u003cbr\u003e11. Ah! bello a me ritorna  (3:28)\u003cbr\u003e12. Sgombra è la sacra selva  (6:03)\u003cbr\u003e13. Eccola - va, mi lascia  (1:30)\u003cbr\u003e14. Va, crudele  (5:24)\u003cbr\u003e15. Vieni in Roma  (3:20)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two \u003c\/b\u003e(27:52)\u003cbr\u003e\u003cb\u003eAct one, Scene two\u003c\/b\u003e\u003cbr\u003e1. Vanne, e li cela entrambi  (4:46)\u003cbr\u003e2. Adalgisa! Alma, costanza  (3:24)\u003cbr\u003e3. Oh, rimembranza!  (5:25)\u003cbr\u003e4. Ah si, fa core, abbracciami  (3:07)\u003cbr\u003e5. Ma di' ... l'amato giovine  (3:02)\u003cbr\u003e6. Oh, di qual sei tu vittima  (4:14)\u003cbr\u003e7. Perfido! ... Or basti!  (1:24)\u003cbr\u003e8. Vanne, si, mi lascia, indegno  (2:37)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc three\u003c\/b\u003e (70:17)\u003cbr\u003e\u003cb\u003eAct two, Scene one\u003c\/b\u003e\u003cbr\u003e1. Introduzione  (3:56)\u003cbr\u003e2. Dormono entrambi!  (4:34)\u003cbr\u003e3. Olà! Clotilde!  (0:50)\u003cbr\u003e4. Mi chiami, o Norma?  (2:34)\u003cbr\u003e5. Deh! con te, con te li prendi  (4:15)\u003cbr\u003e6. Mira, o Norma  (4:00)\u003cbr\u003e7. Cedi ... deh cedi!  (1:07)\u003cbr\u003e8. Si, fino all'ore estreme  (2:08)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAct two, Scene two\u003c\/b\u003e\u003cbr\u003e9. Non parti?  (5:34)\u003cbr\u003e10. Guerrieri! a voi venirne  (1:51)\u003cbr\u003e11. Ah! del Tebro al giogo indegno  (3:03)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAct two, Scene two\u003c\/b\u003e\u003cbr\u003e12. Ei tornerà. Sì!  (4:33)\u003cbr\u003e13. Squila il bronzo del Dio!  (1:30)\u003cbr\u003e14. Guerra! guerra!  (2:14)\u003cbr\u003e15. Né compi il rito, o Norma?  (4:13)\u003cbr\u003e16. In mia man alfin tu sei  (5:45)\u003cbr\u003e17. Già mi pasco ne' tuoi sguardi  (2:29)\u003cbr\u003e18. Dammi quel ferro!  (3:26)\u003cbr\u003e19. Qual cor tradisti  (4:46)\u003cbr\u003e20. Norma! deh! Norma, scòlpati!  (2:37)\u003cbr\u003e21. Deh! Non voleri vittime  (4:54)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\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\u003e\u003cbr\u003eChorus and Orchestra of Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eRecorded 23 April - 3 May 1954, Milan\u003cbr\u003eAmbient Stereo XR remastering by: Andrew Rose\u003cbr\u003eCover artwork: Maria Callas as Norma in 1954\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 40:22\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCALLAS Bellini: La sonnambula (1957) - PACO193\u003c\/summary\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBELLINI\u003c\/b\u003e La sonnambula\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDisc One\u003c\/b\u003e (77:22)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003cbr\u003e1. Introduction - Viva Amina  (2:18)\u003cbr\u003e2. Tutte è gioia, tutte è fiesta  (3:15)\u003cbr\u003e3. In Elvezia non v'ha rosa  (3:29)\u003cbr\u003e4. Care compagne, e voi  (7:49)\u003cbr\u003e5. Io più di tutti  (10:19)\u003cbr\u003e6. Scritti nel ciel giasono  (3:15)\u003cbr\u003e7. Domani, appena aggiorni  (6:48)\u003cbr\u003e8. Contezza del paese  (7:14)\u003cbr\u003e9. Basta così  (9:39)\u003cbr\u003e10. Davver, non mi dispiace  (10:16)\u003cbr\u003e11. Osservate: l'uscio è aperto  (13:00)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDisc Two\u003c\/b\u003e (43:08)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003cbr\u003e1. Qui la selva è più folta ed ambrosa  (5:51)\u003cbr\u003e2. Reggimi, o buona madre  (11:23)\u003cbr\u003e3. A fia pur vero, Elvino  (6:31)\u003cbr\u003e4. Signore! che creder deggio?  (8:28)\u003cbr\u003e5. Ah! non credea mirarti  (6:47)\u003cbr\u003e6. Ah! non giunge uman pensiero  (4:08)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e (soprano) - Amina\u003cbr\u003e\u003cb\u003eFiorenza Cossotto\u003c\/b\u003e (mezzo-soprano) - Teresa\u003cbr\u003e\u003cb\u003eNicola Zaccaria\u003c\/b\u003e (bass) - Il conte Rodolfo\u003cbr\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\u003e\u003cb\u003eChoir \u0026amp; Orchestra of Teatro Alla Scala, Milan\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eAntonino Votto\u003cbr\u003e\u003c\/b\u003eChorus master: Norberto Mola\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\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\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 00:32 \u003c\/b\u003e  \u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCALLAS Bellini - Norma (1960, stereo) - PACO215\u003c\/summary\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003eNorma\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc one\u003c\/b\u003e (63:18)\u003cbr\u003e\u003cbr\u003e1. Sinfonia  (5:36)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAct One, Scene One\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e2. Ite sul colle... dell'aura tua profetica  (9:38)\u003cbr\u003e3. Svanir le voci!  (3:10)\u003cbr\u003e4. Meco all'altar di Venere  (2:56)\u003cbr\u003e5. Odi?... I suoi riti a compiere  (1:33)\u003cbr\u003e6. Me protegge, me difende  (1:38)\u003cbr\u003e7. Norma viene  (4:22)\u003cbr\u003e8. Sediziose voci  (4:31)\u003cbr\u003e9. Casta Diva  (7:00)\u003cbr\u003e10. Fine al rito, e il sacro bosco  (1:41)\u003cbr\u003e11. Ah! bello a me ritorna  (3:21)\u003cbr\u003e12. Sgombra è la sacra selva  (6:35)\u003cbr\u003e13. Eccola - va, mi lascia  (1:48)\u003cbr\u003e14. Va, crudele  (5:41)\u003cbr\u003e15. Vieni in Roma  (3:48)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (28:02)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAct one, Scene two\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. Vanne, e li cela entrambi  (4:25)\u003cbr\u003e2. Adalgisa! Alma, costanza  (3:38)\u003cbr\u003e3. Oh, rimembranza!  (5:19)\u003cbr\u003e4. Ah si, fa core, abbracciami  (3:07)\u003cbr\u003e5. Ma di' ... l'amato giovine  (3:08)\u003cbr\u003e6. Oh, di qual sei tu vittima  (4:17)\u003cbr\u003e7. Perfido! ... Or basti!  (1:27)\u003cbr\u003e8. Vanne, si, mi lascia, indegno  (2:41)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc three\u003c\/b\u003e (70:06)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAct two, Scene one\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. Introduzione  (3:47)\u003cbr\u003e2. Dormono entrambi!  (4:55)\u003cbr\u003e3. Olà! Clotilde!  (0:50)\u003cbr\u003e4. Mi chiami, o Norma?  (2:50)\u003cbr\u003e5. Deh! con te, con te li prendi  (4:28)\u003cbr\u003e6. Mira, o Norma  (4:16)\u003cbr\u003e7. Cedi ... deh cedi!  (1:09)\u003cbr\u003e8. Si, fino all'ore estreme  (2:10)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAct two, Scene two\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e9. Non parti?  (5:16)\u003cbr\u003e10. Guerrieri! a voi venirne  (1:56)\u003cbr\u003e11. Ah! del Tebro al giogo indegno  (3:03)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAct two, Scene two\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e12. Ei tornerà. Sì!  (4:30)\u003cbr\u003e13. Squila il bronzo del Dio!  (1:22)\u003cbr\u003e14. Guerra! guerra!  (2:06)\u003cbr\u003e15. Né compi il rito, o Norma?  (4:06)\u003cbr\u003e16. In mia man alfin tu sei  (5:43)\u003cbr\u003e17. Già mi pasco ne' tuoi sguardi  (1:44)\u003cbr\u003e18. Dammi quel ferro!  (3:26)\u003cbr\u003e19. Qual cor tradisti  (5:04)\u003cbr\u003e20. Norma! deh! Norma, scòlpati!  (2:40)\u003cbr\u003e21. Deh! Non voleri vittime  (4:44)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003eNorma \u003cb\u003e- Maria Callas\u003cbr\u003e\u003c\/b\u003eAdalgisa \u003cb\u003e- Christa Ludwig\u003cbr\u003e\u003c\/b\u003ePollione \u003cb\u003e- Franco Corelli\u003cbr\u003e\u003c\/b\u003eOroveso \u003cb\u003e- Nicola Zaccaria\u003cbr\u003e\u003c\/b\u003eClotilde \u003cb\u003e- Edda Vincenzi\u003cbr\u003e\u003c\/b\u003eFlavio \u003cb\u003e- Piero De Palma\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eChorus and Orchestra of Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eRecorded 5-12 September 1960, Milan\u003cbr\u003e\u003cbr\u003eStereo XR remastering by: Andrew Rose\u003cbr\u003eCover artwork: Maria Callas in 1960\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 41:26\u003c\/b\u003e\u003c\/details\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_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco085\"\u003eCALLAS Bellini: I Puritani (1953) - PACO085 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco219\"\u003eCALLAS Bellini: Norma (1954 studio recording) - PACO219 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco193\"\u003eCALLAS Bellini: La sonnambula (1957) - PACO193 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco215\"\u003eCALLAS Bellini - Norma (1960, stereo) - PACO215 — cover art\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"24-bit FLAC","offer_id":60901449695566,"sku":null,"price":160.0,"currency_code":"EUR","in_stock":true},{"title":"16-bit FLAC","offer_id":60901449761102,"sku":null,"price":110.0,"currency_code":"EUR","in_stock":true},{"title":"MP3","offer_id":60901449793870,"sku":null,"price":90.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX052.jpg?v=1789993053"},{"product_id":"pabx052-cd","title":"MARIA CALLAS - The Bellini Opera Collection - PABX052 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eI Puritani\u003c\/i\u003e; \u003ci\u003eLa sonnambula\u003c\/i\u003e; \u003ci\u003eNorma\u003c\/i\u003e (both the 1954 and 1960 recordings)\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, Milan, 1953–1960; the 1960 \u003ci\u003eNorma\u003c\/i\u003e in stereo\u003cbr\u003eTotal duration: 9:42:59\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e as Elvira, Amina and Norma\u003cbr\u003eWith \u003cb\u003eGiuseppe Di Stefano\u003c\/b\u003e, \u003cb\u003eEbe Stignani\u003c\/b\u003e, \u003cb\u003eMario Filippeschi\u003c\/b\u003e, \u003cb\u003eNicola Rossi-Lemeni\u003c\/b\u003e, \u003cb\u003eRina Cavallari\u003c\/b\u003e, \u003cb\u003ePaolo Caroli\u003c\/b\u003e, \u003cb\u003eFiorenza Cossotto\u003c\/b\u003e, \u003cb\u003eNicola Zaccaria\u003c\/b\u003e, \u003cb\u003eNicola Monti\u003c\/b\u003e, \u003cb\u003eEugenia Ratti\u003c\/b\u003e, \u003cb\u003eGiuseppe Morresi\u003c\/b\u003e, \u003cb\u003eFranco Ricciardi\u003c\/b\u003e, \u003cb\u003eChrista Ludwig\u003c\/b\u003e, \u003cb\u003eFranco Corelli\u003c\/b\u003e, \u003cb\u003eEdda Vincenzi\u003c\/b\u003e and \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 (\u003ci\u003eI Puritani\u003c\/i\u003e and both recordings of \u003ci\u003eNorma\u003c\/i\u003e) and \u003cb\u003eAntonino Votto\u003c\/b\u003e (\u003ci\u003eLa sonnambula\u003c\/i\u003e)\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO215.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCALLAS Bellini: I Puritani (1953) - PACO085\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCallas's first full Bellini opera - her second for EMI - another musical milestone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eHer first La Scala recording given the full Pristine XR remastering treatment to sound stunning\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp class=\"body\"\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\n\u003cp class=\"body\"\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\n\u003cp class=\"body\"\u003eCareful analysis or residual hum suggests an orchestral pitch of around A4=447Hz, which has been adopted here.\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCALLAS Bellini: Norma (1954 studio recording) - PACO219\u003c\/summary\u003e\u003cp\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\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\" target=\"_blank\"\u003e\u003cfont color=\"#0000ff\"\u003ePristine PACO 215\u003c\/font\u003e\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\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\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\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\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\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\u003e\n    \u003cstrong\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCALLAS Bellini: La sonnambula (1957) - PACO193\u003c\/summary\u003e\u003cp style=\"margin-left: 25px;\"\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=\"margin-left: 25px;\"\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=\"margin-left: 25px;\"\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=\"margin-left: 25px;\"\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=\"margin-left: 25px;\"\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=\"margin-left: 25px;\"\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\n\u003cp style=\"margin-left: 25px;\"\u003e\u003cb\u003eA.P. \u003c\/b\u003e\u003ci\u003eThe Gramophone\u003c\/i\u003e, 1957\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\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\n\u003cp\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\" target=\"_blank\"\u003ePACO191\u003c\/a\u003e). \u003c\/p\u003e\n\u003cp\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\n\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCALLAS Bellini - Norma (1960, stereo) - PACO215\u003c\/summary\u003e\u003cp style=\"margin-left: 25px;\"\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=\"margin-left: 25px;\"\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=\"margin-left: 25px;\"\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=\"margin-left: 25px;\"\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\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\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\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\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\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\n\u003cp\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/details\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\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCALLAS Bellini: I Puritani (1953) - PACO085\u003c\/summary\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003eI Puritani \u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eText: Carlo Pepoli\u003cbr\u003e Recorded 24-30 March, 1953\u003cbr\u003e Basilica di Santa Eufemia, Milan\u003cbr\u003e Producer: Dino Olivieri\u003cbr\u003e Engineers: I. Varisco\u003cbr\u003e Catalogue numbers Columbia 33.CX.1058-60\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eTHE CAST\u003cbr\u003e Elvira\u003cb\u003e - Maria Callas \u003c\/b\u003e\u003cem\u003esoprano\u003c\/em\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003eLord Arturo Talbo \u003cb\u003e- Giuseppe Di Stefano \u003c\/b\u003e\u003cem\u003etenor\u003c\/em\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003eSir Riccardo Forth\u003cb\u003e - Rolando Panerai \u003c\/b\u003e\u003cem\u003ebass\u003c\/em\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003eSir Giorgio \u003cb\u003e- Nicola Rossi-Lemeni \u003c\/b\u003e\u003cem\u003ebass\u003c\/em\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003eEnrichetta di Francia\u003cb\u003e - Aurora Cattelani \u003c\/b\u003e\u003cem\u003emezzo-soprano\u003c\/em\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003eSir Bruno Robertson\u003cb\u003e - Angelo Mercurialli \u003c\/b\u003e\u003cem\u003etenor\u003c\/em\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003eLord Gualtiero Valton\u003cb\u003e - Carlo Forti \u003c\/b\u003e\u003cem\u003ebass\u003c\/em\u003e\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cbr\u003e Orchestra and Chorus of Teatro all Scala\u003cbr\u003e \u003c\/b\u003eChorus Master\u003cb\u003e Vittore Veneziani\u003cbr\u003e \u003c\/b\u003eConductor\u003cb\u003e Tullio Serafin\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCALLAS Bellini: Norma (1954 studio recording) - PACO219\u003c\/summary\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003eNorma\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (62:08)\u003cbr\u003e1. Sinfonia  (5:56)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAct one, Scene one \u003c\/b\u003e\u003cbr\u003e2. Ite sul colle... dell'aura tua profetica  (10:01)\u003cbr\u003e3. Svanir le voci!  (2:49)\u003cbr\u003e4. Meco all'altar di Venere  (2:32)\u003cbr\u003e5. Odi?... I suoi riti a compiere  (1:32)\u003cbr\u003e6. Me protegge, me difende  (1:31)\u003cbr\u003e7. Norma viene  (4:42)\u003cbr\u003e8. Sediziose voci  (4:22)\u003cbr\u003e9. Casta Diva  (7:19)\u003cbr\u003e10. Fine al rito, e il sacro bosco  (1:37)\u003cbr\u003e11. Ah! bello a me ritorna  (3:28)\u003cbr\u003e12. Sgombra è la sacra selva  (6:03)\u003cbr\u003e13. Eccola - va, mi lascia  (1:30)\u003cbr\u003e14. Va, crudele  (5:24)\u003cbr\u003e15. Vieni in Roma  (3:20)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two \u003c\/b\u003e(27:52)\u003cbr\u003e\u003cb\u003eAct one, Scene two\u003c\/b\u003e\u003cbr\u003e1. Vanne, e li cela entrambi  (4:46)\u003cbr\u003e2. Adalgisa! Alma, costanza  (3:24)\u003cbr\u003e3. Oh, rimembranza!  (5:25)\u003cbr\u003e4. Ah si, fa core, abbracciami  (3:07)\u003cbr\u003e5. Ma di' ... l'amato giovine  (3:02)\u003cbr\u003e6. Oh, di qual sei tu vittima  (4:14)\u003cbr\u003e7. Perfido! ... Or basti!  (1:24)\u003cbr\u003e8. Vanne, si, mi lascia, indegno  (2:37)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc three\u003c\/b\u003e (70:17)\u003cbr\u003e\u003cb\u003eAct two, Scene one\u003c\/b\u003e\u003cbr\u003e1. Introduzione  (3:56)\u003cbr\u003e2. Dormono entrambi!  (4:34)\u003cbr\u003e3. Olà! Clotilde!  (0:50)\u003cbr\u003e4. Mi chiami, o Norma?  (2:34)\u003cbr\u003e5. Deh! con te, con te li prendi  (4:15)\u003cbr\u003e6. Mira, o Norma  (4:00)\u003cbr\u003e7. Cedi ... deh cedi!  (1:07)\u003cbr\u003e8. Si, fino all'ore estreme  (2:08)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAct two, Scene two\u003c\/b\u003e\u003cbr\u003e9. Non parti?  (5:34)\u003cbr\u003e10. Guerrieri! a voi venirne  (1:51)\u003cbr\u003e11. Ah! del Tebro al giogo indegno  (3:03)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAct two, Scene two\u003c\/b\u003e\u003cbr\u003e12. Ei tornerà. Sì!  (4:33)\u003cbr\u003e13. Squila il bronzo del Dio!  (1:30)\u003cbr\u003e14. Guerra! guerra!  (2:14)\u003cbr\u003e15. Né compi il rito, o Norma?  (4:13)\u003cbr\u003e16. In mia man alfin tu sei  (5:45)\u003cbr\u003e17. Già mi pasco ne' tuoi sguardi  (2:29)\u003cbr\u003e18. Dammi quel ferro!  (3:26)\u003cbr\u003e19. Qual cor tradisti  (4:46)\u003cbr\u003e20. Norma! deh! Norma, scòlpati!  (2:37)\u003cbr\u003e21. Deh! Non voleri vittime  (4:54)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\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\u003e\u003cbr\u003eChorus and Orchestra of Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eRecorded 23 April - 3 May 1954, Milan\u003cbr\u003eAmbient Stereo XR remastering by: Andrew Rose\u003cbr\u003eCover artwork: Maria Callas as Norma in 1954\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 40:22\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCALLAS Bellini: La sonnambula (1957) - PACO193\u003c\/summary\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBELLINI\u003c\/b\u003e La sonnambula\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDisc One\u003c\/b\u003e (77:22)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003cbr\u003e1. Introduction - Viva Amina  (2:18)\u003cbr\u003e2. Tutte è gioia, tutte è fiesta  (3:15)\u003cbr\u003e3. In Elvezia non v'ha rosa  (3:29)\u003cbr\u003e4. Care compagne, e voi  (7:49)\u003cbr\u003e5. Io più di tutti  (10:19)\u003cbr\u003e6. Scritti nel ciel giasono  (3:15)\u003cbr\u003e7. Domani, appena aggiorni  (6:48)\u003cbr\u003e8. Contezza del paese  (7:14)\u003cbr\u003e9. Basta così  (9:39)\u003cbr\u003e10. Davver, non mi dispiace  (10:16)\u003cbr\u003e11. Osservate: l'uscio è aperto  (13:00)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDisc Two\u003c\/b\u003e (43:08)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003cbr\u003e1. Qui la selva è più folta ed ambrosa  (5:51)\u003cbr\u003e2. Reggimi, o buona madre  (11:23)\u003cbr\u003e3. A fia pur vero, Elvino  (6:31)\u003cbr\u003e4. Signore! che creder deggio?  (8:28)\u003cbr\u003e5. Ah! non credea mirarti  (6:47)\u003cbr\u003e6. Ah! non giunge uman pensiero  (4:08)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e (soprano) - Amina\u003cbr\u003e\u003cb\u003eFiorenza Cossotto\u003c\/b\u003e (mezzo-soprano) - Teresa\u003cbr\u003e\u003cb\u003eNicola Zaccaria\u003c\/b\u003e (bass) - Il conte Rodolfo\u003cbr\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\u003e\u003cb\u003eChoir \u0026amp; Orchestra of Teatro Alla Scala, Milan\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eAntonino Votto\u003cbr\u003e\u003c\/b\u003eChorus master: Norberto Mola\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\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\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 00:32 \u003c\/b\u003e  \u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCALLAS Bellini - Norma (1960, stereo) - PACO215\u003c\/summary\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003eNorma\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc one\u003c\/b\u003e (63:18)\u003cbr\u003e\u003cbr\u003e1. Sinfonia  (5:36)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAct One, Scene One\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e2. Ite sul colle... dell'aura tua profetica  (9:38)\u003cbr\u003e3. Svanir le voci!  (3:10)\u003cbr\u003e4. Meco all'altar di Venere  (2:56)\u003cbr\u003e5. Odi?... I suoi riti a compiere  (1:33)\u003cbr\u003e6. Me protegge, me difende  (1:38)\u003cbr\u003e7. Norma viene  (4:22)\u003cbr\u003e8. Sediziose voci  (4:31)\u003cbr\u003e9. Casta Diva  (7:00)\u003cbr\u003e10. Fine al rito, e il sacro bosco  (1:41)\u003cbr\u003e11. Ah! bello a me ritorna  (3:21)\u003cbr\u003e12. Sgombra è la sacra selva  (6:35)\u003cbr\u003e13. Eccola - va, mi lascia  (1:48)\u003cbr\u003e14. Va, crudele  (5:41)\u003cbr\u003e15. Vieni in Roma  (3:48)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (28:02)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAct one, Scene two\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. Vanne, e li cela entrambi  (4:25)\u003cbr\u003e2. Adalgisa! Alma, costanza  (3:38)\u003cbr\u003e3. Oh, rimembranza!  (5:19)\u003cbr\u003e4. Ah si, fa core, abbracciami  (3:07)\u003cbr\u003e5. Ma di' ... l'amato giovine  (3:08)\u003cbr\u003e6. Oh, di qual sei tu vittima  (4:17)\u003cbr\u003e7. Perfido! ... Or basti!  (1:27)\u003cbr\u003e8. Vanne, si, mi lascia, indegno  (2:41)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc three\u003c\/b\u003e (70:06)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAct two, Scene one\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. Introduzione  (3:47)\u003cbr\u003e2. Dormono entrambi!  (4:55)\u003cbr\u003e3. Olà! Clotilde!  (0:50)\u003cbr\u003e4. Mi chiami, o Norma?  (2:50)\u003cbr\u003e5. Deh! con te, con te li prendi  (4:28)\u003cbr\u003e6. Mira, o Norma  (4:16)\u003cbr\u003e7. Cedi ... deh cedi!  (1:09)\u003cbr\u003e8. Si, fino all'ore estreme  (2:10)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAct two, Scene two\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e9. Non parti?  (5:16)\u003cbr\u003e10. Guerrieri! a voi venirne  (1:56)\u003cbr\u003e11. Ah! del Tebro al giogo indegno  (3:03)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAct two, Scene two\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e12. Ei tornerà. Sì!  (4:30)\u003cbr\u003e13. Squila il bronzo del Dio!  (1:22)\u003cbr\u003e14. Guerra! guerra!  (2:06)\u003cbr\u003e15. Né compi il rito, o Norma?  (4:06)\u003cbr\u003e16. In mia man alfin tu sei  (5:43)\u003cbr\u003e17. Già mi pasco ne' tuoi sguardi  (1:44)\u003cbr\u003e18. Dammi quel ferro!  (3:26)\u003cbr\u003e19. Qual cor tradisti  (5:04)\u003cbr\u003e20. Norma! deh! Norma, scòlpati!  (2:40)\u003cbr\u003e21. Deh! Non voleri vittime  (4:44)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003eNorma \u003cb\u003e- Maria Callas\u003cbr\u003e\u003c\/b\u003eAdalgisa \u003cb\u003e- Christa Ludwig\u003cbr\u003e\u003c\/b\u003ePollione \u003cb\u003e- Franco Corelli\u003cbr\u003e\u003c\/b\u003eOroveso \u003cb\u003e- Nicola Zaccaria\u003cbr\u003e\u003c\/b\u003eClotilde \u003cb\u003e- Edda Vincenzi\u003cbr\u003e\u003c\/b\u003eFlavio \u003cb\u003e- Piero De Palma\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eChorus and Orchestra of Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eRecorded 5-12 September 1960, Milan\u003cbr\u003e\u003cbr\u003eStereo XR remastering by: Andrew Rose\u003cbr\u003eCover artwork: Maria Callas in 1960\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 41:26\u003c\/b\u003e\u003c\/details\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_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco085\"\u003eCALLAS Bellini: I Puritani (1953) - PACO085 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco219\"\u003eCALLAS Bellini: Norma (1954 studio recording) - PACO219 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco193\"\u003eCALLAS Bellini: La sonnambula (1957) - PACO193 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco215\"\u003eCALLAS Bellini - Norma (1960, stereo) - PACO215 — cover art\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"10 CDs only in plastic sleeve (+MP3)","offer_id":60901450187086,"sku":null,"price":126.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX052_c1858983-0b6b-4809-b53c-d276aae860cf.jpg?v=1789993059"},{"product_id":"paco242","title":"Maria Callas Arias, Vol. 3: Great Scenes \u0026 Mad Scenes - PACO242","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eDon Carlo\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eIl pirata\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eAmbient Stereo and stereo studio recordings, 1955 \u0026amp; 1958\u003cbr\u003eTotal duration: 75:20\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO242.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis third and final volume of Pristine’s Callas aria series brings together some of her most sustained dramatic encounters. Three scenes from Spontini’s \u003ci\u003eLa vestale\u003c\/i\u003e, recorded at La Scala with Tullio Serafin in 1955, lead to Verdi’s “Tu che le vanità” and the three extended \u003ci\u003eMad Scenes\u003c\/i\u003e recorded with Nicola Rescigno and the Philharmonia in 1958.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Spontini group completes the selections from \u003ci\u003eCallas at La Scala\u003c\/i\u003e begun in Volume 2. Reviewing the original LP in \u003ci\u003eThe Gramophone\u003c\/i\u003e in June 1958, Andrew Porter set Callas beside Rosa Ponselle, whose tonal beauty remained a formidable standard. Callas brought a different intensity to the words. In “Tu che invoco” he especially admired the dramatic and tender continuation beyond Ponselle’s shorter recorded excerpt.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“O Nume tutelar” concentrates Giulia’s distress into a prayer; “Caro oggetto” completes the group. Porter also praised the balance between Callas and Serafin’s orchestra.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eElisabetta’s great scene from \u003ci\u003eDon Carlo\u003c\/i\u003e completes the Verdi recital represented in Volume 1. Its demands drew reservations from Philip Hope-Wallace in \u003ci\u003eThe Gramophone\u003c\/i\u003e: his 1959 review questioned details of vocal colour and the steadiness of the ending, while his stereo reassessment sought greater weight and breadth. Admiration for Callas’s characterisation did not preclude criticism of its execution.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe \u003ci\u003eMad Scenes\u003c\/i\u003e allow her dramatic imagination a broader canvas. In \u003ci\u003eAnna Bolena\u003c\/i\u003e, supporting voices and chorus sustain the theatrical continuity as recollection gives way to alarm, dismay and defiance. Hope-Wallace admired this emotional range. The lyricism of “Al dolce guidami” is one stage in a journey that reaches its culmination in “Coppia iniqua”.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThomas’s Ophelia inhabits a more elusive world. Hope-Wallace found dramatic truth in the tenderness, quiet song fragments and sudden rhythmic changes of the \u003ci\u003eHamlet\u003c\/i\u003e scene, despite a strong objection to its climactic high note. Porter’s 1960 review was exceptionally appreciative.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBellini’s \u003ci\u003eIl pirata\u003c\/i\u003e closes the programme with another extended finale. Hope-Wallace admired the changing moods, prayerful passages and exciting conclusion, while again finding the upper notes troubling. Enthusiasm and reservation coexist throughout these reviews. Across these longer scenes, each heroine acquires her own pace of thought and her own manner of confronting catastrophe.\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\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 3\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eGreat Scenes \u0026amp; Mad Scenes\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Tu che invoco (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(10:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e O Nume tutelar (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Caro oggetto (Act III) \u003cspan style=\"font-size: 12px;\"\u003e(3:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eDon Carlo\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e Tu che le vanità (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Piangete voi?... Al dolce guidami castel natio (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(19:59)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e À vos jeux... Partagez-vous mes fleurs... Et maintenant écoutez ma chanson (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:28)\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\u003eIl pirata\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Oh! s’io potessi... Col sorriso d’innocenza (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(17:02)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e (tracks 1–3)\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e (track 4)\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e (tracks 5–7)\u003cbr\u003econducted by \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 1–3 recorded 9–12 June 1955\u003cbr\u003eTeatro alla Scala, Milan\u003cbr\u003ePresented in Ambient Stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTrack 4 recorded during sessions of 19, 21 \u0026amp; 24 September 1958\u003cbr\u003eNo. 1 Studio, Abbey Road, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 5–7 recorded 24–25 September 1958\u003cbr\u003eKingsway Hall, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 75:20\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\/PACO242.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO242.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 \u0026 Ambient Stereo 24-bit FLAC","offer_id":60993603469646,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo \u0026 Ambient Stereo 16-bit FLAC","offer_id":60993603404110,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo \u0026 Ambient Stereo MP3","offer_id":60993603436878,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO242.jpg?v=1790655802"},{"product_id":"paco242-cd","title":"Maria Callas Arias, Vol. 3: Great Scenes \u0026 Mad Scenes - PACO242 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eDon Carlo\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eIl pirata\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eAmbient Stereo and stereo studio recordings, 1955 \u0026amp; 1958\u003cbr\u003eTotal duration: 75:20\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO242.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis third and final volume of Pristine’s Callas aria series brings together some of her most sustained dramatic encounters. Three scenes from Spontini’s \u003ci\u003eLa vestale\u003c\/i\u003e, recorded at La Scala with Tullio Serafin in 1955, lead to Verdi’s “Tu che le vanità” and the three extended \u003ci\u003eMad Scenes\u003c\/i\u003e recorded with Nicola Rescigno and the Philharmonia in 1958.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Spontini group completes the selections from \u003ci\u003eCallas at La Scala\u003c\/i\u003e begun in Volume 2. Reviewing the original LP in \u003ci\u003eThe Gramophone\u003c\/i\u003e in June 1958, Andrew Porter set Callas beside Rosa Ponselle, whose tonal beauty remained a formidable standard. Callas brought a different intensity to the words. In “Tu che invoco” he especially admired the dramatic and tender continuation beyond Ponselle’s shorter recorded excerpt.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“O Nume tutelar” concentrates Giulia’s distress into a prayer; “Caro oggetto” completes the group. Porter also praised the balance between Callas and Serafin’s orchestra.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eElisabetta’s great scene from \u003ci\u003eDon Carlo\u003c\/i\u003e completes the Verdi recital represented in Volume 1. Its demands drew reservations from Philip Hope-Wallace in \u003ci\u003eThe Gramophone\u003c\/i\u003e: his 1959 review questioned details of vocal colour and the steadiness of the ending, while his stereo reassessment sought greater weight and breadth. Admiration for Callas’s characterisation did not preclude criticism of its execution.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe \u003ci\u003eMad Scenes\u003c\/i\u003e allow her dramatic imagination a broader canvas. In \u003ci\u003eAnna Bolena\u003c\/i\u003e, supporting voices and chorus sustain the theatrical continuity as recollection gives way to alarm, dismay and defiance. Hope-Wallace admired this emotional range. The lyricism of “Al dolce guidami” is one stage in a journey that reaches its culmination in “Coppia iniqua”.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThomas’s Ophelia inhabits a more elusive world. Hope-Wallace found dramatic truth in the tenderness, quiet song fragments and sudden rhythmic changes of the \u003ci\u003eHamlet\u003c\/i\u003e scene, despite a strong objection to its climactic high note. Porter’s 1960 review was exceptionally appreciative.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBellini’s \u003ci\u003eIl pirata\u003c\/i\u003e closes the programme with another extended finale. Hope-Wallace admired the changing moods, prayerful passages and exciting conclusion, while again finding the upper notes troubling. Enthusiasm and reservation coexist throughout these reviews. Across these longer scenes, each heroine acquires her own pace of thought and her own manner of confronting catastrophe.\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\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 3\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eGreat Scenes \u0026amp; Mad Scenes\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Tu che invoco (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(10:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e O Nume tutelar (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Caro oggetto (Act III) \u003cspan style=\"font-size: 12px;\"\u003e(3:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eDon Carlo\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e Tu che le vanità (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Piangete voi?... Al dolce guidami castel natio (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(19:59)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e À vos jeux... Partagez-vous mes fleurs... Et maintenant écoutez ma chanson (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:28)\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\u003eIl pirata\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Oh! s’io potessi... Col sorriso d’innocenza (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(17:02)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e (tracks 1–3)\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e (track 4)\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e (tracks 5–7)\u003cbr\u003econducted by \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 1–3 recorded 9–12 June 1955\u003cbr\u003eTeatro alla Scala, Milan\u003cbr\u003ePresented in Ambient Stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTrack 4 recorded during sessions of 19, 21 \u0026amp; 24 September 1958\u003cbr\u003eNo. 1 Studio, Abbey Road, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 5–7 recorded 24–25 September 1958\u003cbr\u003eKingsway Hall, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 75:20\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\/PACO242.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO242.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":60993603600718,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":60993603633486,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO242_a3e1fb5c-caaa-410d-886e-3d0cfd9ec400.jpg?v=1790655806"},{"product_id":"pabx057","title":"Maria Callas Arias Volumes 1–3 - PABX057","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003eArias and scenes from:\u003cbr\u003e\u003cb\u003ePUCCINI\u003c\/b\u003e \u003ci\u003eManon Lescaut\u003c\/i\u003e; \u003ci\u003eMadama Butterfly\u003c\/i\u003e; \u003ci\u003eLa bohème\u003c\/i\u003e; \u003ci\u003eGianni Schicchi\u003c\/i\u003e; \u003ci\u003eTurandot\u003c\/i\u003e; \u003ci\u003eSuor Angelica\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eMacbeth\u003c\/i\u003e; \u003ci\u003eNabucco\u003c\/i\u003e; \u003ci\u003eErnani\u003c\/i\u003e; \u003ci\u003eI vespri siciliani\u003c\/i\u003e; \u003ci\u003eDon Carlo\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eLa sonnambula\u003c\/i\u003e; \u003ci\u003eIl pirata\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eBOITO\u003c\/b\u003e \u003ci\u003eMefistofele\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCATALANI\u003c\/b\u003e \u003ci\u003eLa Wally\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCHERUBINI\u003c\/b\u003e \u003ci\u003eMedea\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCILEA\u003c\/b\u003e \u003ci\u003eAdriana Lecouvreur\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eDELIBES\u003c\/b\u003e \u003ci\u003eLakmé\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eGIORDANO\u003c\/b\u003e \u003ci\u003eAndrea Chénier\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eMEYERBEER\u003c\/b\u003e \u003ci\u003eDinorah\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eROSSINI\u003c\/b\u003e \u003ci\u003eIl barbiere di Siviglia\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eAmbient Stereo and stereo studio recordings, 1954-1958\u003cbr\u003eThree-volume collection: PACO225, PACO239 and PACO242\u003cbr\u003eTotal duration: 3hr 52:47\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Chorus\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e and \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMARIA CALLAS Arias, Vol. 1: Puccini \u0026amp; Verdi (1954, 1958) - PACO225\u003c\/summary\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In the pantheon of twentieth-century opera, Maria Callas  reigns not only as\n    a voice of unrepeatable individuality but as a dramatic  force who redefined\n    the interpretative scope of the soprano repertory. These  landmark\n    recordings — drawn from two celebrated sessions with the Philharmonia\n    Orchestra in London, in 1954 and 1958 — capture her at the height of her\n    vocal  powers and at the peak of her insight into two composers who formed\n    cornerstones of her stage career: Puccini and Verdi.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Puccini arias, recorded in 1954 under the baton of  Tullio Serafin,\n    showcase Callas’s uncanny ability to illuminate the emotional  core of each\n    heroine. In \"Un bel dì, vedremo\" from \u003cem\u003eMadama  Butterfly\u003c\/em\u003e, she\n    presents Cio-Cio-San not as a passive victim but as a woman  clinging to\n    hope with tragic clarity. There is no self-pity here — just  controlled\n    tension and aching resolve, delivered with extraordinary subtlety of\n    phrasing and colour.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In \"In questa reggia\" from \u003cem\u003eTurandot\u003c\/em\u003e,  Callas’s voice takes on a\n    glittering, imperious tone. Her Turandot is not  merely cold but deeply\n    wounded, and the central monologue becomes a chilling  declaration of power\n    and pain. The partnership with Serafin draws out the  music’s latent drama\n    and psychological depth. Few interpretations have so  convincingly conveyed\n    the blend of myth and trauma in Puccini’s last great  enigma.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The arias from \u003cem\u003eLa Bohème\u003c\/em\u003e and \u003cem\u003eManon Lescaut\u003c\/em\u003e reveal a\n    different Puccinian world: youthful vulnerability and lyrical  yearning. In\n    \"Sì, mi chiamano Mimì\", Callas floats the phrases with  touching simplicity,\n    while in \"In quelle trine morbide\" from \u003cem\u003eManon  Lescaut\u003c\/em\u003e, the voice\n    darkens and slows, evoking a woman trapped between  luxury and longing. Her\n    use of legato and finely shaded dynamics gives each  phrase narrative\n    weight.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Verdi arias, recorded in 1958 with Nicola Rescigno  conducting, showcase\n    Callas’s dramatic imagination in its most uncompromising  form. From\n    \u003cem\u003e\n        Macbeth\n    \u003c\/em\u003e\n    , her Lady Macbeth is elemental. In \"Nel dì della  vittoria… Vieni!\n    t’affretta!\", she hurls the lines with ruthless energy,  her tone sharpened\n    into a weapon. In \"La luce langue\", the voice dims  with the dying light,\n    creating an atmosphere of eerie, controlled malevolence.  Finally, in the\n    sleepwalking scene, \"Una macchia è qui tuttora\",  Callas strips the\n    character to her haunted core. Her voice becomes disembodied  — fragmented,\n    spectral — the descent into madness chillingly real.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In \u003cem\u003eNabucco\u003c\/em\u003e, \"Ben io t’invenni… Anch’io dischiuso  un giorno\" finds\n    Callas as the tormented Abigaille, expressing regret with  regal control and\n    aching introspection. Her mastery of Verdian line and tone  colours this\n    aria with complexity and tragic grandeur, far beyond mere vocal  brilliance.\n    Even in an excerpt, she finds a complete psychological portrait.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    From \u003cem\u003eErnani\u003c\/em\u003e,  \"Surta è la notte… Ernani! Ernani, involami\" becomes\n    a  miniature operatic scene. Elvira’s urgency, her longing and desperation,\n    are  etched into every phrase. Callas dispatches the florid writing with\n    ease, but  it is the emotional immediacy — her ability to bring the\n    character to life in  minutes — that lingers. She transforms the\n    conventional tropes of early Verdi  into something intimate and urgent.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In these Verdi roles, Callas uses every facet of her voice  as a dramatic\n    tool. Ornament becomes expression; silence carries weight. These  are not\n    simply arias but distilled dramas — entire acts condensed into a few\n    minutes. Her theatrical instinct shapes the structure of every phrase,\n    turning  vocal technique into storytelling.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    XR-remastered with new clarity, these recordings reaffirm  Callas not just\n    as a voice of legend but as a singular interpreter of  character, mood, and\n    musical structure. Whether navigating the lyrical sweep of  Puccini or the\n    psychological rigour of Verdi, she brings to each phrase an  intelligence\n    and emotional force that continue to astonish. Her voice was never  about\n    beauty alone — it was about meaning, tension, fire. In these Philharmonia\n    sessions, we are reminded not just of Callas’s artistry, but of her\n    unshakeable  presence — as vivid and unsettling now as it was over half a\n    century ago.\n\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMARIA CALLAS Arias, Vol. 2: Lyric \u0026amp; Coloratura (1954, 1955) - PACO239\u003c\/summary\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMaria Callas’s great recital discs were never merely collections of attractive arias. They were demonstrations of range, character and dramatic imagination, assembled at a moment when her voice could move from lyric tenderness to florid brilliance and tragic declamation with extraordinary speed. This second volume brings together three such strands: a single Puccini aria from the September 1954 sessions, the complete programme of her celebrated \u003cem\u003eLyric and Coloratura\u003c\/em\u003e recital, and three La Scala scenes recorded the following year. Originally issued across separate Columbia recital LPs, they now form a coherent portrait of Callas moving between intimacy, virtuosity and full operatic tragedy.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“Senza mamma” finds Callas at her most inward. The line is restrained, the grief concentrated, and the emotion allowed to emerge through the shape of the phrase rather than through external display. That same ability to create a person within a few minutes governs the Cilea, Giordano and Catalani arias that follow. In Adriana’s entrance aria, Callas catches both the actress’s professional poise and the vulnerability beneath it; in “Poveri fiori” the lament is darker and more private. “La mamma morta” and “Ebben? ne andrò lontana” reveal the breadth of her lyric manner, where the voice may not always possess conventional smoothness, but the words are never neutral and the musical line is never merely decorative.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eA 1955 review in \u003cem\u003eThe Gramophone\u003c\/em\u003e of the original recital recognised precisely this tension. Its critic heard occasional heaviness, strain and awkwardness, yet also “great tenderness and simplicity, deep emotion” and an exceptional command of vocal characterisation. The review admired the distraught Margherita of \u003cem\u003eMefistofele\u003c\/em\u003e, the chromatic control of Lakmé’s “Dov’è l’indiana bruna?”, and the sheer versatility of a programme that moves from \u003cem\u003everismo\u003c\/em\u003e intensity to Rossinian and Meyerbeerian display.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThat versatility remains the album’s central fascination. “Una voce poco fa” is less a polite showpiece than a portrait of intelligence sharpening into resolve; “Ombra leggera” tests agility and lightness; the Verdi bolero demands ease, brilliance and rhythmic buoyancy. Callas does not approach these arias as a sequence of technical hurdles. Each becomes a miniature drama.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eTullio Serafin is crucial to the effect. With the Philharmonia Orchestra in Watford and the Orchestra del Teatro alla Scala in Milan, he gives Callas room to colour a phrase without allowing the pulse to slacken. The accompaniments are alert, flexible and notably free of theatrical exaggeration. Serafin knew her voice intimately and understood that its most compelling effects often came not from forcing the drama forward, but from creating the space in which a word, a pause or a sudden change of colour could register fully.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe final three tracks deepen that dramatic concentration. “Dei tuoi figli” from \u003cem\u003eMedea\u003c\/em\u003e is not simply an aria but an eruption of maternal anguish and moral terror, shaped with the authority that made the role one of Callas’s most formidable stage creations. The two extended scenes from \u003cem\u003eLa sonnambula\u003c\/em\u003e show another side of her art. In “Come per me sereno” the innocence is never insipid, while “Ah! non credea mirarti” is spun with a fragile inwardness that makes the cabaletta’s release all the more exhilarating.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhen \u003cem\u003eThe Gramophone\u003c\/em\u003e reviewed the La Scala LP in June 1958, it described \u003cem\u003eMedea\u003c\/em\u003e as “a great Callas showpiece” and judged this excerpt “certainly exciting”, finding Callas “at the top of her form”. That verdict catches the authority of the performance: even in a short extract, the role seems fully present, with the vocal line carrying both supplication and threat.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThat balance of reservation and admiration now reads less like equivocation than accuracy. Callas’s greatness did not depend upon an immaculate surface. It lay in her ability to make every phrase carry intention, to turn ornament into psychology and vocal colour into theatre. These recordings preserve that art at full stretch. They reveal a singer capable of tenderness, fury, brilliance, melancholy and madness, often within the space of a single side. The voice may occasionally show effort; the imagination never does.\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMaria Callas Arias, Vol. 3: Great Scenes \u0026amp; Mad Scenes - PACO242\u003c\/summary\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis third and final volume of Pristine’s Callas aria series brings together some of her most sustained dramatic encounters. Three scenes from Spontini’s \u003ci\u003eLa vestale\u003c\/i\u003e, recorded at La Scala with Tullio Serafin in 1955, lead to Verdi’s “Tu che le vanità” and the three extended \u003ci\u003eMad Scenes\u003c\/i\u003e recorded with Nicola Rescigno and the Philharmonia in 1958.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Spontini group completes the selections from \u003ci\u003eCallas at La Scala\u003c\/i\u003e begun in Volume 2. Reviewing the original LP in \u003ci\u003eThe Gramophone\u003c\/i\u003e in June 1958, Andrew Porter set Callas beside Rosa Ponselle, whose tonal beauty remained a formidable standard. Callas brought a different intensity to the words. In “Tu che invoco” he especially admired the dramatic and tender continuation beyond Ponselle’s shorter recorded excerpt.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“O Nume tutelar” concentrates Giulia’s distress into a prayer; “Caro oggetto” completes the group. Porter also praised the balance between Callas and Serafin’s orchestra.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eElisabetta’s great scene from \u003ci\u003eDon Carlo\u003c\/i\u003e completes the Verdi recital represented in Volume 1. Its demands drew reservations from Philip Hope-Wallace in \u003ci\u003eThe Gramophone\u003c\/i\u003e: his 1959 review questioned details of vocal colour and the steadiness of the ending, while his stereo reassessment sought greater weight and breadth. Admiration for Callas’s characterisation did not preclude criticism of its execution.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe \u003ci\u003eMad Scenes\u003c\/i\u003e allow her dramatic imagination a broader canvas. In \u003ci\u003eAnna Bolena\u003c\/i\u003e, supporting voices and chorus sustain the theatrical continuity as recollection gives way to alarm, dismay and defiance. Hope-Wallace admired this emotional range. The lyricism of “Al dolce guidami” is one stage in a journey that reaches its culmination in “Coppia iniqua”.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThomas’s Ophelia inhabits a more elusive world. Hope-Wallace found dramatic truth in the tenderness, quiet song fragments and sudden rhythmic changes of the \u003ci\u003eHamlet\u003c\/i\u003e scene, despite a strong objection to its climactic high note. Porter’s 1960 review was exceptionally appreciative.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBellini’s \u003ci\u003eIl pirata\u003c\/i\u003e closes the programme with another extended finale. Hope-Wallace admired the changing moods, prayerful passages and exciting conclusion, while again finding the upper notes troubling. Enthusiasm and reservation coexist throughout these reviews. Across these longer scenes, each heroine acquires her own pace of thought and her own manner of confronting catastrophe.\u003c\/p\u003e\u003c\/details\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\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMARIA CALLAS Arias, Vol. 1: Puccini \u0026amp; Verdi (1954, 1958) - PACO225\u003c\/summary\u003e\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 1\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eManon Lescaut\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e In quelle trine morbide (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Sola, perduta, abbandonata (Act 4)\u003cspan style=\"font-size: 12px;\"\u003e (5:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eMadama Butterfly\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Un bel dì vedremo (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (4:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Con onor muore (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (3:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eLa bohème\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Sì. Mi chiamano Mimì (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (4:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Donde lieta usci (Act 3)\u003cspan style=\"font-size: 12px;\"\u003e (3:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eGianni Schicchi\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e O mio babbino caro\u003cspan style=\"font-size: 12px;\"\u003e (2:34)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eTurandot\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Signore, ascolta! (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (2:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e In questa reggia (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (6:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Tu che di gel sei cinta (Act 3)\u003cspan style=\"font-size: 12px;\"\u003e (2:50)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eMacbeth\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Nel dì della vittoria ... Vieni! t'affretta (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (7:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e La luce langue (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (4:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Una macchia è qui tuttora (Act 4)\u003cspan style=\"font-size: 12px;\"\u003e (11:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eNabucco\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Ben io t' invenni ... Anch'io dischiuso un giorno (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (9:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eErnani\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Surta è la notte ... Ernani, Ernani, involami (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (6:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 17, 18, 20, 21 September 1954, Watford Town Hall\u003cbr\u003ePresented in Ambient Stereo\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 19, 20, 24 October 1958, Abbey Road Studio 1, London\u003cbr\u003ePresented in stereo\u003cbr\u003eOriginal recording producer: Walter Legge\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e (Puccini) and \u003cb\u003eNicola Rescigno\u003c\/b\u003e (Verdi)\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Maria Callas\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 78:12\u003c\/b\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMARIA CALLAS Arias, Vol. 2: Lyric \u0026amp; Coloratura (1954, 1955) - PACO239\u003c\/summary\u003e\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 2\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eLyric and Coloratura Arias\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eSuor Angelica\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Senza mamma\u003cspan style=\"font-size: 12px;\"\u003e (5:36)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCILEA \u003c\/b\u003e\u003ci\u003eAdriana Lecouvreur\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e Ecco: respiro appena... Io son l’umile ancella\u003cspan style=\"font-size: 12px;\"\u003e (3:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Poveri fiori\u003cspan style=\"font-size: 12px;\"\u003e (3:13)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGIORDANO \u003c\/b\u003e\u003ci\u003eAndrea Chénier\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e La mamma morta\u003cspan style=\"font-size: 12px;\"\u003e (4:53)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCATALANI \u003c\/b\u003e\u003ci\u003eLa Wally\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Ebben? Ne andrò lontana\u003cspan style=\"font-size: 12px;\"\u003e (4:52)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBOITO \u003c\/b\u003e\u003ci\u003eMefistofele\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e L’altra notte in fondo al mare\u003cspan style=\"font-size: 12px;\"\u003e (7:29)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003e\u003ci\u003eIl barbiere di Siviglia\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Una voce poco fa\u003cspan style=\"font-size: 12px;\"\u003e (6:53)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMEYERBEER \u003c\/b\u003e\u003ci\u003eDinorah\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e08.\u003c\/span\u003e Ombra leggera\u003cspan style=\"font-size: 12px;\"\u003e (5:42)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDELIBES \u003c\/b\u003e\u003ci\u003eLakmé\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e09.\u003c\/span\u003e Dov’è l’indiana bruna?\u003cspan style=\"font-size: 12px;\"\u003e (8:06)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eI vespri siciliani\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Mercè, dilette amiche\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCHERUBINI \u003c\/b\u003e\u003ci\u003eMedea\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Dei tuoi figli\u003cspan style=\"font-size: 12px;\"\u003e (4:55)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003e\u003ci\u003eLa sonnambula\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Compagne, teneri amici... Come per me sereno\u003cspan style=\"font-size: 12px;\"\u003e (5:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Oh! se una volta sola... Ah! non credea mirarti... Ah! non giunge\u003cspan style=\"font-size: 12px;\"\u003e (13:57)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e (tracks 1-10)\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e (tracks 11-13)\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 1-10 recorded 15-21 September 1954\u003cbr\u003eWatford Town Hall\u003cbr\u003eTracks 11-13 recorded 9-12 June 1955\u003cbr\u003eTeatro alla Scala, Milan\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of Maria Callas\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 79:15\u003c\/b\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMaria Callas Arias, Vol. 3: Great Scenes \u0026amp; Mad Scenes - PACO242\u003c\/summary\u003e\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 3\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eGreat Scenes \u0026amp; Mad Scenes\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Tu che invoco (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(10:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e O Nume tutelar (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Caro oggetto (Act III) \u003cspan style=\"font-size: 12px;\"\u003e(3:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eDon Carlo\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e Tu che le vanità (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Piangete voi?... Al dolce guidami castel natio (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(19:59)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e À vos jeux... Partagez-vous mes fleurs... Et maintenant écoutez ma chanson (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:28)\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\u003eIl pirata\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Oh! s’io potessi... Col sorriso d’innocenza (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(17:02)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e (tracks 1–3)\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e (track 4)\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e (tracks 5–7)\u003cbr\u003econducted by \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 1–3 recorded 9–12 June 1955\u003cbr\u003eTeatro alla Scala, Milan\u003cbr\u003ePresented in Ambient Stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTrack 4 recorded during sessions of 19, 21 \u0026amp; 24 September 1958\u003cbr\u003eNo. 1 Studio, Abbey Road, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 5–7 recorded 24–25 September 1958\u003cbr\u003eKingsway Hall, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 75:20\u003c\/b\u003e\u003c\/p\u003e\u003c\/details\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_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco225\"\u003eMARIA CALLAS Arias, Vol. 1: Puccini \u0026amp; Verdi (1954, 1958) - PACO225 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco239\"\u003eMARIA CALLAS Arias, Vol. 2: Lyric \u0026amp; Coloratura (1954, 1955) - PACO239 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco242\"\u003eMaria Callas Arias, Vol. 3: Great Scenes \u0026amp; Mad Scenes - PACO242 — cover art\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"24-bit FLAC","offer_id":60995485729102,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"16-bit FLAC","offer_id":60995485794638,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"MP3","offer_id":60995485827406,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX057.jpg?v=1790668315"},{"product_id":"pabx057-cd","title":"Maria Callas Arias Volumes 1–3 - PABX057 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003eArias and scenes from:\u003cbr\u003e\u003cb\u003ePUCCINI\u003c\/b\u003e \u003ci\u003eManon Lescaut\u003c\/i\u003e; \u003ci\u003eMadama Butterfly\u003c\/i\u003e; \u003ci\u003eLa bohème\u003c\/i\u003e; \u003ci\u003eGianni Schicchi\u003c\/i\u003e; \u003ci\u003eTurandot\u003c\/i\u003e; \u003ci\u003eSuor Angelica\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eMacbeth\u003c\/i\u003e; \u003ci\u003eNabucco\u003c\/i\u003e; \u003ci\u003eErnani\u003c\/i\u003e; \u003ci\u003eI vespri siciliani\u003c\/i\u003e; \u003ci\u003eDon Carlo\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eLa sonnambula\u003c\/i\u003e; \u003ci\u003eIl pirata\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eBOITO\u003c\/b\u003e \u003ci\u003eMefistofele\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCATALANI\u003c\/b\u003e \u003ci\u003eLa Wally\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCHERUBINI\u003c\/b\u003e \u003ci\u003eMedea\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCILEA\u003c\/b\u003e \u003ci\u003eAdriana Lecouvreur\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eDELIBES\u003c\/b\u003e \u003ci\u003eLakmé\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eGIORDANO\u003c\/b\u003e \u003ci\u003eAndrea Chénier\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eMEYERBEER\u003c\/b\u003e \u003ci\u003eDinorah\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eROSSINI\u003c\/b\u003e \u003ci\u003eIl barbiere di Siviglia\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eAmbient Stereo and stereo studio recordings, 1954-1958\u003cbr\u003eThree-volume collection: PACO225, PACO239 and PACO242\u003cbr\u003eTotal duration: 3hr 52:47\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Chorus\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e and \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMARIA CALLAS Arias, Vol. 1: Puccini \u0026amp; Verdi (1954, 1958) - PACO225\u003c\/summary\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In the pantheon of twentieth-century opera, Maria Callas  reigns not only as\n    a voice of unrepeatable individuality but as a dramatic  force who redefined\n    the interpretative scope of the soprano repertory. These  landmark\n    recordings — drawn from two celebrated sessions with the Philharmonia\n    Orchestra in London, in 1954 and 1958 — capture her at the height of her\n    vocal  powers and at the peak of her insight into two composers who formed\n    cornerstones of her stage career: Puccini and Verdi.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Puccini arias, recorded in 1954 under the baton of  Tullio Serafin,\n    showcase Callas’s uncanny ability to illuminate the emotional  core of each\n    heroine. In \"Un bel dì, vedremo\" from \u003cem\u003eMadama  Butterfly\u003c\/em\u003e, she\n    presents Cio-Cio-San not as a passive victim but as a woman  clinging to\n    hope with tragic clarity. There is no self-pity here — just  controlled\n    tension and aching resolve, delivered with extraordinary subtlety of\n    phrasing and colour.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In \"In questa reggia\" from \u003cem\u003eTurandot\u003c\/em\u003e,  Callas’s voice takes on a\n    glittering, imperious tone. Her Turandot is not  merely cold but deeply\n    wounded, and the central monologue becomes a chilling  declaration of power\n    and pain. The partnership with Serafin draws out the  music’s latent drama\n    and psychological depth. Few interpretations have so  convincingly conveyed\n    the blend of myth and trauma in Puccini’s last great  enigma.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The arias from \u003cem\u003eLa Bohème\u003c\/em\u003e and \u003cem\u003eManon Lescaut\u003c\/em\u003e reveal a\n    different Puccinian world: youthful vulnerability and lyrical  yearning. In\n    \"Sì, mi chiamano Mimì\", Callas floats the phrases with  touching simplicity,\n    while in \"In quelle trine morbide\" from \u003cem\u003eManon  Lescaut\u003c\/em\u003e, the voice\n    darkens and slows, evoking a woman trapped between  luxury and longing. Her\n    use of legato and finely shaded dynamics gives each  phrase narrative\n    weight.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Verdi arias, recorded in 1958 with Nicola Rescigno  conducting, showcase\n    Callas’s dramatic imagination in its most uncompromising  form. From\n    \u003cem\u003e\n        Macbeth\n    \u003c\/em\u003e\n    , her Lady Macbeth is elemental. In \"Nel dì della  vittoria… Vieni!\n    t’affretta!\", she hurls the lines with ruthless energy,  her tone sharpened\n    into a weapon. In \"La luce langue\", the voice dims  with the dying light,\n    creating an atmosphere of eerie, controlled malevolence.  Finally, in the\n    sleepwalking scene, \"Una macchia è qui tuttora\",  Callas strips the\n    character to her haunted core. Her voice becomes disembodied  — fragmented,\n    spectral — the descent into madness chillingly real.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In \u003cem\u003eNabucco\u003c\/em\u003e, \"Ben io t’invenni… Anch’io dischiuso  un giorno\" finds\n    Callas as the tormented Abigaille, expressing regret with  regal control and\n    aching introspection. Her mastery of Verdian line and tone  colours this\n    aria with complexity and tragic grandeur, far beyond mere vocal  brilliance.\n    Even in an excerpt, she finds a complete psychological portrait.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    From \u003cem\u003eErnani\u003c\/em\u003e,  \"Surta è la notte… Ernani! Ernani, involami\" becomes\n    a  miniature operatic scene. Elvira’s urgency, her longing and desperation,\n    are  etched into every phrase. Callas dispatches the florid writing with\n    ease, but  it is the emotional immediacy — her ability to bring the\n    character to life in  minutes — that lingers. She transforms the\n    conventional tropes of early Verdi  into something intimate and urgent.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In these Verdi roles, Callas uses every facet of her voice  as a dramatic\n    tool. Ornament becomes expression; silence carries weight. These  are not\n    simply arias but distilled dramas — entire acts condensed into a few\n    minutes. Her theatrical instinct shapes the structure of every phrase,\n    turning  vocal technique into storytelling.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    XR-remastered with new clarity, these recordings reaffirm  Callas not just\n    as a voice of legend but as a singular interpreter of  character, mood, and\n    musical structure. Whether navigating the lyrical sweep of  Puccini or the\n    psychological rigour of Verdi, she brings to each phrase an  intelligence\n    and emotional force that continue to astonish. Her voice was never  about\n    beauty alone — it was about meaning, tension, fire. In these Philharmonia\n    sessions, we are reminded not just of Callas’s artistry, but of her\n    unshakeable  presence — as vivid and unsettling now as it was over half a\n    century ago.\n\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMARIA CALLAS Arias, Vol. 2: Lyric \u0026amp; Coloratura (1954, 1955) - PACO239\u003c\/summary\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMaria Callas’s great recital discs were never merely collections of attractive arias. They were demonstrations of range, character and dramatic imagination, assembled at a moment when her voice could move from lyric tenderness to florid brilliance and tragic declamation with extraordinary speed. This second volume brings together three such strands: a single Puccini aria from the September 1954 sessions, the complete programme of her celebrated \u003cem\u003eLyric and Coloratura\u003c\/em\u003e recital, and three La Scala scenes recorded the following year. Originally issued across separate Columbia recital LPs, they now form a coherent portrait of Callas moving between intimacy, virtuosity and full operatic tragedy.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“Senza mamma” finds Callas at her most inward. The line is restrained, the grief concentrated, and the emotion allowed to emerge through the shape of the phrase rather than through external display. That same ability to create a person within a few minutes governs the Cilea, Giordano and Catalani arias that follow. In Adriana’s entrance aria, Callas catches both the actress’s professional poise and the vulnerability beneath it; in “Poveri fiori” the lament is darker and more private. “La mamma morta” and “Ebben? ne andrò lontana” reveal the breadth of her lyric manner, where the voice may not always possess conventional smoothness, but the words are never neutral and the musical line is never merely decorative.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eA 1955 review in \u003cem\u003eThe Gramophone\u003c\/em\u003e of the original recital recognised precisely this tension. Its critic heard occasional heaviness, strain and awkwardness, yet also “great tenderness and simplicity, deep emotion” and an exceptional command of vocal characterisation. The review admired the distraught Margherita of \u003cem\u003eMefistofele\u003c\/em\u003e, the chromatic control of Lakmé’s “Dov’è l’indiana bruna?”, and the sheer versatility of a programme that moves from \u003cem\u003everismo\u003c\/em\u003e intensity to Rossinian and Meyerbeerian display.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThat versatility remains the album’s central fascination. “Una voce poco fa” is less a polite showpiece than a portrait of intelligence sharpening into resolve; “Ombra leggera” tests agility and lightness; the Verdi bolero demands ease, brilliance and rhythmic buoyancy. Callas does not approach these arias as a sequence of technical hurdles. Each becomes a miniature drama.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eTullio Serafin is crucial to the effect. With the Philharmonia Orchestra in Watford and the Orchestra del Teatro alla Scala in Milan, he gives Callas room to colour a phrase without allowing the pulse to slacken. The accompaniments are alert, flexible and notably free of theatrical exaggeration. Serafin knew her voice intimately and understood that its most compelling effects often came not from forcing the drama forward, but from creating the space in which a word, a pause or a sudden change of colour could register fully.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe final three tracks deepen that dramatic concentration. “Dei tuoi figli” from \u003cem\u003eMedea\u003c\/em\u003e is not simply an aria but an eruption of maternal anguish and moral terror, shaped with the authority that made the role one of Callas’s most formidable stage creations. The two extended scenes from \u003cem\u003eLa sonnambula\u003c\/em\u003e show another side of her art. In “Come per me sereno” the innocence is never insipid, while “Ah! non credea mirarti” is spun with a fragile inwardness that makes the cabaletta’s release all the more exhilarating.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhen \u003cem\u003eThe Gramophone\u003c\/em\u003e reviewed the La Scala LP in June 1958, it described \u003cem\u003eMedea\u003c\/em\u003e as “a great Callas showpiece” and judged this excerpt “certainly exciting”, finding Callas “at the top of her form”. That verdict catches the authority of the performance: even in a short extract, the role seems fully present, with the vocal line carrying both supplication and threat.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThat balance of reservation and admiration now reads less like equivocation than accuracy. Callas’s greatness did not depend upon an immaculate surface. It lay in her ability to make every phrase carry intention, to turn ornament into psychology and vocal colour into theatre. These recordings preserve that art at full stretch. They reveal a singer capable of tenderness, fury, brilliance, melancholy and madness, often within the space of a single side. The voice may occasionally show effort; the imagination never does.\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMaria Callas Arias, Vol. 3: Great Scenes \u0026amp; Mad Scenes - PACO242\u003c\/summary\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis third and final volume of Pristine’s Callas aria series brings together some of her most sustained dramatic encounters. Three scenes from Spontini’s \u003ci\u003eLa vestale\u003c\/i\u003e, recorded at La Scala with Tullio Serafin in 1955, lead to Verdi’s “Tu che le vanità” and the three extended \u003ci\u003eMad Scenes\u003c\/i\u003e recorded with Nicola Rescigno and the Philharmonia in 1958.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Spontini group completes the selections from \u003ci\u003eCallas at La Scala\u003c\/i\u003e begun in Volume 2. Reviewing the original LP in \u003ci\u003eThe Gramophone\u003c\/i\u003e in June 1958, Andrew Porter set Callas beside Rosa Ponselle, whose tonal beauty remained a formidable standard. Callas brought a different intensity to the words. In “Tu che invoco” he especially admired the dramatic and tender continuation beyond Ponselle’s shorter recorded excerpt.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“O Nume tutelar” concentrates Giulia’s distress into a prayer; “Caro oggetto” completes the group. Porter also praised the balance between Callas and Serafin’s orchestra.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eElisabetta’s great scene from \u003ci\u003eDon Carlo\u003c\/i\u003e completes the Verdi recital represented in Volume 1. Its demands drew reservations from Philip Hope-Wallace in \u003ci\u003eThe Gramophone\u003c\/i\u003e: his 1959 review questioned details of vocal colour and the steadiness of the ending, while his stereo reassessment sought greater weight and breadth. Admiration for Callas’s characterisation did not preclude criticism of its execution.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe \u003ci\u003eMad Scenes\u003c\/i\u003e allow her dramatic imagination a broader canvas. In \u003ci\u003eAnna Bolena\u003c\/i\u003e, supporting voices and chorus sustain the theatrical continuity as recollection gives way to alarm, dismay and defiance. Hope-Wallace admired this emotional range. The lyricism of “Al dolce guidami” is one stage in a journey that reaches its culmination in “Coppia iniqua”.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThomas’s Ophelia inhabits a more elusive world. Hope-Wallace found dramatic truth in the tenderness, quiet song fragments and sudden rhythmic changes of the \u003ci\u003eHamlet\u003c\/i\u003e scene, despite a strong objection to its climactic high note. Porter’s 1960 review was exceptionally appreciative.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBellini’s \u003ci\u003eIl pirata\u003c\/i\u003e closes the programme with another extended finale. Hope-Wallace admired the changing moods, prayerful passages and exciting conclusion, while again finding the upper notes troubling. Enthusiasm and reservation coexist throughout these reviews. Across these longer scenes, each heroine acquires her own pace of thought and her own manner of confronting catastrophe.\u003c\/p\u003e\u003c\/details\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\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMARIA CALLAS Arias, Vol. 1: Puccini \u0026amp; Verdi (1954, 1958) - PACO225\u003c\/summary\u003e\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 1\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eManon Lescaut\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e In quelle trine morbide (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Sola, perduta, abbandonata (Act 4)\u003cspan style=\"font-size: 12px;\"\u003e (5:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eMadama Butterfly\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Un bel dì vedremo (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (4:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Con onor muore (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (3:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eLa bohème\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Sì. Mi chiamano Mimì (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (4:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Donde lieta usci (Act 3)\u003cspan style=\"font-size: 12px;\"\u003e (3:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eGianni Schicchi\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e O mio babbino caro\u003cspan style=\"font-size: 12px;\"\u003e (2:34)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eTurandot\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Signore, ascolta! (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (2:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e In questa reggia (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (6:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Tu che di gel sei cinta (Act 3)\u003cspan style=\"font-size: 12px;\"\u003e (2:50)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eMacbeth\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Nel dì della vittoria ... Vieni! t'affretta (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (7:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e La luce langue (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (4:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Una macchia è qui tuttora (Act 4)\u003cspan style=\"font-size: 12px;\"\u003e (11:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eNabucco\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Ben io t' invenni ... Anch'io dischiuso un giorno (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (9:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eErnani\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Surta è la notte ... Ernani, Ernani, involami (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (6:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 17, 18, 20, 21 September 1954, Watford Town Hall\u003cbr\u003ePresented in Ambient Stereo\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 19, 20, 24 October 1958, Abbey Road Studio 1, London\u003cbr\u003ePresented in stereo\u003cbr\u003eOriginal recording producer: Walter Legge\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e (Puccini) and \u003cb\u003eNicola Rescigno\u003c\/b\u003e (Verdi)\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Maria Callas\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 78:12\u003c\/b\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMARIA CALLAS Arias, Vol. 2: Lyric \u0026amp; Coloratura (1954, 1955) - PACO239\u003c\/summary\u003e\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 2\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eLyric and Coloratura Arias\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eSuor Angelica\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Senza mamma\u003cspan style=\"font-size: 12px;\"\u003e (5:36)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCILEA \u003c\/b\u003e\u003ci\u003eAdriana Lecouvreur\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e Ecco: respiro appena... Io son l’umile ancella\u003cspan style=\"font-size: 12px;\"\u003e (3:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Poveri fiori\u003cspan style=\"font-size: 12px;\"\u003e (3:13)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGIORDANO \u003c\/b\u003e\u003ci\u003eAndrea Chénier\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e La mamma morta\u003cspan style=\"font-size: 12px;\"\u003e (4:53)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCATALANI \u003c\/b\u003e\u003ci\u003eLa Wally\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Ebben? Ne andrò lontana\u003cspan style=\"font-size: 12px;\"\u003e (4:52)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBOITO \u003c\/b\u003e\u003ci\u003eMefistofele\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e L’altra notte in fondo al mare\u003cspan style=\"font-size: 12px;\"\u003e (7:29)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003e\u003ci\u003eIl barbiere di Siviglia\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Una voce poco fa\u003cspan style=\"font-size: 12px;\"\u003e (6:53)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMEYERBEER \u003c\/b\u003e\u003ci\u003eDinorah\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e08.\u003c\/span\u003e Ombra leggera\u003cspan style=\"font-size: 12px;\"\u003e (5:42)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDELIBES \u003c\/b\u003e\u003ci\u003eLakmé\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e09.\u003c\/span\u003e Dov’è l’indiana bruna?\u003cspan style=\"font-size: 12px;\"\u003e (8:06)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eI vespri siciliani\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Mercè, dilette amiche\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCHERUBINI \u003c\/b\u003e\u003ci\u003eMedea\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Dei tuoi figli\u003cspan style=\"font-size: 12px;\"\u003e (4:55)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003e\u003ci\u003eLa sonnambula\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Compagne, teneri amici... Come per me sereno\u003cspan style=\"font-size: 12px;\"\u003e (5:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Oh! se una volta sola... Ah! non credea mirarti... Ah! non giunge\u003cspan style=\"font-size: 12px;\"\u003e (13:57)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e (tracks 1-10)\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e (tracks 11-13)\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 1-10 recorded 15-21 September 1954\u003cbr\u003eWatford Town Hall\u003cbr\u003eTracks 11-13 recorded 9-12 June 1955\u003cbr\u003eTeatro alla Scala, Milan\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of Maria Callas\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 79:15\u003c\/b\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMaria Callas Arias, Vol. 3: Great Scenes \u0026amp; Mad Scenes - PACO242\u003c\/summary\u003e\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 3\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eGreat Scenes \u0026amp; Mad Scenes\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Tu che invoco (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(10:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e O Nume tutelar (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Caro oggetto (Act III) \u003cspan style=\"font-size: 12px;\"\u003e(3:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eDon Carlo\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e Tu che le vanità (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Piangete voi?... Al dolce guidami castel natio (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(19:59)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e À vos jeux... Partagez-vous mes fleurs... Et maintenant écoutez ma chanson (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:28)\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\u003eIl pirata\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Oh! s’io potessi... Col sorriso d’innocenza (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(17:02)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e (tracks 1–3)\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e (track 4)\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e (tracks 5–7)\u003cbr\u003econducted by \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 1–3 recorded 9–12 June 1955\u003cbr\u003eTeatro alla Scala, Milan\u003cbr\u003ePresented in Ambient Stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTrack 4 recorded during sessions of 19, 21 \u0026amp; 24 September 1958\u003cbr\u003eNo. 1 Studio, Abbey Road, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 5–7 recorded 24–25 September 1958\u003cbr\u003eKingsway Hall, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 75:20\u003c\/b\u003e\u003c\/p\u003e\u003c\/details\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_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco225\"\u003eMARIA CALLAS Arias, Vol. 1: Puccini \u0026amp; Verdi (1954, 1958) - PACO225 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco239\"\u003eMARIA CALLAS Arias, Vol. 2: Lyric \u0026amp; Coloratura (1954, 1955) - PACO239 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco242\"\u003eMaria Callas Arias, Vol. 3: Great Scenes \u0026amp; Mad Scenes - PACO242 — cover art\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"3 CDs with case \u0026 artwork (+MP3)","offer_id":60995486024014,"sku":null,"price":51.0,"currency_code":"EUR","in_stock":true},{"title":"3 CDs only in plastic sleeve (+MP3)","offer_id":60995486056782,"sku":null,"price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX057_6bbb9a85-6c32-425d-9ec5-89f36de3fcf5.jpg?v=1790668321"}],"url":"https:\/\/www.pristineclassical.com\/collections\/artist-tullio-serafin.oembed?page=4","provider":"Pristine Classical","version":"1.0","type":"link"}