{"title":"La Scala Orchestra","description":"\u003cp\u003eLa Scala Orchestra is the orchestra of Teatro alla Scala in Milan.\u003c\/p\u003e\u003cp\u003eLa Scala is one of Italy’s principal opera houses.\u003c\/p\u003e\u003cp\u003eThe orchestra is associated with Italian opera and the wider international stage repertory.\u003c\/p\u003e","products":[{"product_id":"pasc320","title":"SCHURICHT conducts R. Strauss, Franck et al (1941-42) - PASC320","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eLOTHAR\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Schneider Wibbel – \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eFRANCK\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Le Chasseur maudit\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eZANDONAI\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Serenata Medioevale \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eREZNIČEK\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Donna Diana – \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAUSS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphonia Domestica, Op. 53\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1941\/42\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 77:44\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eStädtisches Orchester, Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra del Teatro alla Scala, Milano \u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCarl Schuricht\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI certainly welcome Schneider Wibbel’s overture back to the catalog, along with more recordings by the versatile Schuricht578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eAlthough he never reached the first magnitude celebrity status of some of his colleagues, Carl Schuricht was a busy conductor in Germany and a welcome guest outside it, in part, I would guess, because, unlike some of his colleagues, he was comfortable when he conducted the music of other nations. Fortunately, he did leave quite a few recordings that testify to this. Some of them are on this CD. One is by Riccardo Zandonai, who lived from 1883 to 1944 and was primarily a composer of operas, the only one of which you are likely to come upon nowadays is Francesca da Rimini, first heard in 1914. I’d love to know how Schuricht discovered Zandonai’s Serenata Medioevale, a rhapsodic, heavily chromatic nocturne for cello and orchestra. Maybe cellists aren’t lining up to play it because it’s too dreamy and subdued, but what is more likely is that they don’t even know it exists and I’m delighted that it’s included here. You will hear more surface noise than you are accustomed to, especially on the Italian 78s, because the recordings were issued on inferior wartime (1941) pressings. Some American 78s suffer from the same problem. Like most conductors, he zips through the Donna Diana Overture and skips the repeat, making the piece seem even less substantial than it actually needs to be. The only recording I’ve ever liked is that of Albert Wolff, which is more playful and light-handed. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe other souvenir of his 1941visit to Milan is a recording of Strauss’s Symphonia Domestica, a favorite work of the composer (and me), which had its premiere at Carnegie Hall in 1903 with Strauss on the podium. Depicting some events in the daily routine of Strauss and his wife and son, it’s a sort of tone poem à clef. Schuricht, I am pleased to perceive, seems to treat it as a series of intimate tableaux rather than as a sonic blockbuster. Strauss, of course, can’t resist showing off and inserts an elaborate double fugue into the proceedings. Personally, I think it adds four unnecessary minutes to the piece but he eventually ends the “symphony” with an exciting climax that leads to a witty close. The La Scala winds sound recessed but one seldom loses any significant detail, for which I give the credit to Schuricht, not the producer. I seriously doubt that the orchestra had ever played the piece before Schuricht’s engagement, which makes the performance even more impressive. Of course, good as the performance is, it doesn’t really compete with the better stereo recordings, among which I would include those of Maazel\/Vienna, Mehta\/L.A., Previn, Reiner, and Szell, with de Waart, Karajan, Kempe, Maazel\/BRO, and Sawallisch not far behind them. On the “historic” side, Mitropoulos (unofficially), Ormandy (the first electrical recording), and (especially) Krauss contributed some good ones. There is no lack of quality choices. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eSchuricht’s Berlin performance of Le Chasseur maudit, if it can’t match the virtuoso brilliance of later recordings from Boston (Munch), Minneapolis (Oue), and Philadelphia (Muti), was almost certainly the best recording of the piece until Desiré DeFauw’s Chicago Symphony issue from the mid 1940s. Schuricht saves something for the end, avoiding the sense of anticlimax one can get when the conductor (Munch is guilty of this) gets carried away by his excitement during the first half of the piece. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eAnother interesting novelty on this collection is the overture to Schneider Wibbel, an opera by Lothar Hundermark, who used the name Mark Lothar and was primarily a composer of light operas. One of his teachers was Wolf-Ferrari, and you can hear traces of his teacher in this cheerful, eccentric overture, a flashy, tuneful showpiece and quite a curtain-raiser—I wonder if Schneider Wibbel, supposedly his most successful opera, lives up to it. Born in 1902, Lothar lived until 1983. He wrote a lot of songs, and one Lied (Der Pirol) and one song cycle (Musik des Einsamen) are his only other pieces that appear to be available on recordings right now. I certainly welcome Schneider Wibbel’s overture back to the catalog, along with more recordings by the versatile Schuricht. \u003cbr\u003e\u003cb\u003e\u003cbr\u003eJames Miller \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 35:6 (July\/Aug 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC320.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSchuricht's complete rare wartime La Scala recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePlus recordings from Berlin in new Obert-Thorn transfers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe sources for the transfers were a postwar, yellow-label\nDeutsche Grammophon pressing for the Lothar; wartime Siemens Spezial pressings\nfor the Franck; and Italian Voce del Padrone pressings for the two La Scala\nitems. The La Scala recordings (presented here in their entirety) appear to be\nparticularly rare, and some surface noise remains on the lower-grade wartime\nshellac.\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\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\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003eLOTHAR\u003c\/b\u003e Schneider Wibbel – \u003cem\u003eOverture\u003c\/em\u003e\u003cbr\u003eRecorded 1942 in Berlin. \u003cbr\u003eMatrix nos.: 1948 ½ - GE 9 and 1949 ½ - GE 9 \u003cbr\u003eFirst issued on Grammophon 68269\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eFRANCK\u003c\/b\u003e Le Chasseur maudit\u003cbr\u003eRecorded 1942 in Berlin\u003cbr\u003eMatrix nos.: 2066 ½ - GE 9, 2067 ½ - GE 9, 2068 ½ - GE 9 and 2069 ½ - GE 9\u003cbr\u003eFirst issued on Grammophon 68086 and 68087 \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eZANDONAI\u003c\/b\u003e Serenata Medioevale\u003cbr\u003e\u003cb\u003eEnzo Martinenghi\u003c\/b\u003e solo cello\u003cbr\u003eRecorded 1941 in Milan. Matrix nos.: 2BA 4445, 4446 and 4447\u003cbr\u003eFirst issued on La Voce del Padrone DB 5401 and 5402 \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eREZNIČEK\u003c\/b\u003e Donna Diana – \u003cem\u003eOverture\u003c\/em\u003e\u003cbr\u003eRecorded 1941 in Milan. \u003cbr\u003eMatrix nos.: 2BA 4448\u003cbr\u003eFirst issued on La Voce del Padrone DB 5402 \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eSTRAUSS\u003c\/b\u003e Symphonia Domestica, Op. 53\u003cbr\u003eRecorded 1941 in Milan\u003cbr\u003eMatrix nos.: 2BA 4774-2, 4775-2, 4776-2, 4777-2, 4778-2, 4783-2, 4784-2, 4785 and 4786\u003cbr\u003eFirst issued on La Voce del Padrone DB 5418 through 5421 and DBS 5422 \u003cbr\u003e\u003cbr\u003e\u003cb\u003eStädtisches Orchester, Berlin \u003c\/b\u003e(1-2)\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milano\u003c\/b\u003e (3-5) \u003cbr\u003e\u003cb\u003e\u003cbr\u003eCarl Schuricht\u003c\/b\u003e conductor\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003e\n\u003cbr\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Carl Schuricht\u003cbr\u003e\u003cbr\u003eTotal duration: 77:44\u003cbr\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_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC320.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC320.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":34131875533,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34131875597,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC320_61db7a3c-c9a5-411c-ae6a-220cb8ff00a2.jpg?v=1489572989"},{"product_id":"pasc316","title":"CANTELLI Tchaikosvky: Symphony 5, Romeo \u0026 Juliet (1950\/51) - PASC316","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRomeo and Juliet – Fantasy Overture\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1950\/51\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 62:37\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLa Scala Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonia Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Guido Cantelli\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fCantelli’s La Scala Fifth is a must-have578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor the moment, the symphony fills a \nuseful gap in that this 1951 EMI recording does not seem to be otherwise\n available. But I’ve just seen EMI announce a Cantelli box in its “Icon”\n series, which will presumably include it, and will probably be \navailable by the time you read this. On this evidence, the recording \nitself is close, opaque, compressed, and rather colorless, about which \nthere’s probably not much to be done (Pristine’s transfer is in the \nexpert hands of Mark Obert-Thorn). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe performance is new to me, and I \nconfess to finding it quite astounding—not a bar of routine in the \nentire work; the familiar Cantellian qualities of ferocious control, \nclarity, and articulacy, but on this occasion with no sacrifice of \nspontaneity or sense of a real performance on the wing (in contrast to \nhis EMI “Pathétique” with the Philharmonia the following year, which has\n always struck me as a little studio-bound, over-controlled). The slow \nintroduction is kept on a tight rein, following which the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con anima\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is fast and precise (13:00) but with a surprising flexibility, for \nexample, the bridge, Rehearsal C ff., slightly held back for even \ngreater force and clarity; the result is an increase, not a decrease, in\n tension. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMolto piu tranquillo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n third theme (12 before Rehearsal H) is much faster (closer to the main \ntempo) than usual, purging the melody of sentimentality and lending it a\n rare gracefulness and coherence. In the recapitulation, Cantelli \nimpresses by his penchant for fresh rethinking of the transposed return \nof material from the exposition—see the first of the two secondary \nthemes (C♯-Minor, Rehearsal T + 8), projected with (relative to its \nfirst appearance) a noticeable increase in intensity, vehemence of \nattack, and rhetorical emphasis. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe strings’ introduction to the \nAndante cantabile displays a curious (rather Mengelbergian!) didactic \ntouch in the pointed break between bars 4 and 5, presumably to the end \nof clarifying the quadratic symmetry of phrase structure. In Cantelli’s \nhands, the movement has an atmosphere of hypnotic concentration, a \ndarkly elevated, sacralistic quality. Wind solos are projected with \ngreat solidity and vocal eloquence. Fresh-minted observation of detail \nis everywhere in evidence, and nothing escapes Cantelli’s eagle eye—for a\n small example, see the extraordinarily vivid, precise realization of \nTchaikovsky’s injunction \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePiu animato–ritenuto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in the repeated violin figure two bars before the contrasting middle \nsection (Rehearsal C + 7). The reprise’s gradual buildup to the \nmovement’s climax attains an overwhelming intensity through Cantelli’s \nfanatical strictness of control. The Waltz is rigorous and articulate \n(see the 16th-note thread through the middle section—this is faster than\n it sounds!). The finale is taken at a surprisingly measured pace, with a\n quality of weighty compactness and a refusal to get over-excited. This \npays dividends in the second theme (Rehearsal E ff.), where Cantelli’s \nprecision and grace (with a pointed slight over-dotting of the oboe \nmotive, then passed to cellos and basses) contrasts with the usual \nslightly frantic feel here. By comparison, Cantelli’s later live \nversions of the symphony (NBC, 1952, Music \u0026amp; Arts; Boston SO, 1953, \nPristine) are a little slower, more malleable and less single-minded in \nthe first movement, but consistently faster in the other three. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e“Single-minded” might be an even more apt descriptor for Cantelli’s dry-eyed \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRomeo,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n clocking in on the fast side at 18:27, though the timing is more the \nresult of his complete lack of indulgence (though not of a subtle \nflexibility) in the lyrical music than of any unusual speediness in the \nmain \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro giusto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n What sticks in the memory is that characteristically Cantellian \ncombination of legato solidity and keen rhythmic edge, investing the \nwhole thing with great power and sweep, delivered with high polish by \nthe Philharmonia. Transfer-wise, the competition here is with Testament \n(as a filler to the aforementioned Philharmonia “Pathétique”); though \nPristine’s sound is solid and well focused, I find Testament’s superior \nin impact and richness. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIn sum, Cantelli’s La Scala Fifth is a\n must-have. This will do very nicely, though I’ll be curious to hear how\n it compares with the EMI “Icon” release. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eBoyd Pomeroy\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 35:5 (May\/June 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC316.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCantelli conducts Tchaikovsky - superb new  Obert-Thorn transfers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"I confess to finding it quite astounding—not a bar of routine in the entire work\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eMany people still carry a torch for Guido Cantelli, the \nbrilliant Italian conductor tragically lost in a plane crash in 1956. \nCantelli was primed as Toscanini's successor, and would surely have gone\n on to great things, as a handful of surviving recordings suggests.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHere we present two excellent examples of his craft, in \nbrand new transfers from mint sources by Mark Obert-Thorn. Cantelli's \napproach to the music of Tchaikovsky was exemplary, and won immediate \nplaudits, including this from The Gramophone in 1951:\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\"Most of all, we find this abatement of the tragic \nelement in Tchaikovsky's mind in Cantelli's firm and far-seeing \ntreatment of the motto theme, in its first presentation and especially \nin its returns on sides 5 and 7. The last movement he makes sound \npositively hopeful, encouraging rather than, as sometimes, merely making\n the best of things. All praise to the performance, then...\"\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\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\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Romeo and Juliet – Fantasy Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e \u003cbr\u003eRecorded 13 October 1951\u003cbr\u003eAbbey Road Studio 1, London\u003cbr\u003eFirst issued as HMV DB 21373-75S (78s)\u003cbr\u003eFirst LP issue HMV ALP 1086\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milano\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e \u003cbr\u003eRecorded 23 \u0026amp; 26 September 1950\u003cbr\u003eAbbey Road Studio 1, London\u003cbr\u003eFirst issued as HMV DB 21187-91 (78s)\u003cbr\u003eFirst LP issue HMV ALP 1001\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003eGuido Cantelli \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Cantelli\u003cbr\u003e\u003cbr\u003eTotal duration: 62:37\u003cbr\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\/PASC316.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC316.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 16-bit FLAC","offer_id":34129836941,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34129837069,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34129837197,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC316.jpg?v=1489570341"},{"product_id":"pasc316-cd","title":"CANTELLI Tchaikosvky: Symphony 5, Romeo \u0026 Juliet (1950\/51) - PASC316 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478135053,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478135117,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC316_b2852d70-cb0b-444f-9016-718957db7f95.jpg?v=1658307377"},{"product_id":"pasc320-cd","title":"SCHURICHT conducts R. Strauss, Franck et al (1941-42) - PASC320 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork","offer_id":34131323789,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve","offer_id":34131323853,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC320.jpg?v=1658307607"},{"product_id":"pasc115","title":"TOSCANINI at the Venice Festival (1949) - PASC115","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCHERUBINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAnacréon Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 6 \"Pastoral\"\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eFRANCK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLes Eolides\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSMETANA \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Moldau\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Don Juan\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Meistersinger von Nürnburg: Prelude, Act 1\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1949\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal Duration: 1hr 38:16\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLa Scala Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC115.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eToscanini's only post-war Venice concert with La Scala\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eFull-length concert broadcast, previously unissued in full\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eToscanini was born in Parma, Emilia-Romagna, and won a scholarship to the local music conservatory, where he studied the cello. He joined the orchestra of an opera company, with which he toured South America in 1886. While presenting Aida in Rio de Janeiro, the orchestra's conductor was booed by the audience and forced to leave the podium. Although he had no conducting experience, Toscanini was persuaded to take up the baton, and led a magnificent performance completely from memory. Thus began his career as a conductor at age 19.\u003c\/p\u003e\n\u003cp\u003eUpon returning to Italy, Toscanini returned to his chair in the cello section, and participated as cellist in the world premiere of Verdi's Otello (La Scala, 1887) under the composer's supervision. (Verdi, who habitually complained that conductors never seemed interested in directing his scores the way he had written them, was impressed by reports from Arrigo Boito about Toscanini's ability to interpret his scores. The composer was also impressed when Toscanini consulted him personally, indicating a ritardando where it was not set out in the score; Verdi said that only a true musician would have felt the need to make that ritardando.)\u003c\/p\u003e\n\u003cp\u003eGradually the young musician's reputation as an operatic conductor of unusual authority and skill supplanted his cello career. In the following decade he consolidated his career in Italy, entrusted with the world premieres of Puccini's La Bohème and Leoncavallo's Pagliacci. In 1896, Toscanini conducted his first symphonic concert (works by Schubert, Brahms, Tchaikovsky, and Wagner), in Turin. By 1898 he was resident conductor at La Scala, Milan and remained there until 1908, returning during the 1920s. He took the Scala Orchestra to the United States on a concert tour in 1920-21; it was during that tour that Toscanini made his first recordings (for the Victor Talking Machine Company).\u003c\/p\u003e\n\u003cp\u003eToscanini returned to Europe from the United States after World War Two on a number of occasions, and conducted the Orchestra of La Scala at a further sixteen concerts between 1946 and 1952, cheifly in Milan, but also twice in Lucerne and once, as presented here, in Venice - the first of three engagements that year with the orchestra. The other two concerts, on 8th and 10th September 1949, consisted of largely the same repertoire as heard on this recording. Neither of these concerts is believed to have been recorded.\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=\"bodybig\" align=\"center\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003ctable style=\"width: 900px;\" cellspacing=\"0\" cellpadding=\"5\" align=\"center\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd colspan=\"2\"\u003e\n\u003cdiv class=\"bodybigblue\" align=\"center\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"bodybigblue\" align=\"center\"\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eConcert Programme: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTeatro La Fenice, Venice, Saturday, September 3rd 1949\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd valign=\"top\" height=\"400\" width=\"450\"\u003e\n\u003cp class=\"bodymid\"\u003ePart One\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1\u003c\/strong\u003e \u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCherubini\u003c\/strong\u003e - Anacréon Overture\u003c\/span\u003e (10:03)\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cbr\u003e Beethoven\u003c\/strong\u003e: Symphony No. 6 in F, \u003cbr\u003e Op. 68, \"Pastoral\"\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e2\u003c\/strong\u003e 1st mvt. - Allegro ma non troppo:\u003cbr\u003e \u003cem\u003eAwakenings of cheerful feelings upon arrival \u003cbr\u003e in the country\u003c\/em\u003e (9:02)\u003cbr\u003e \u003cstrong\u003e3\u003c\/strong\u003e 2nd mvt. - Andante molto mosso:\u003cbr\u003e \u003cem\u003eBy the brook\u003c\/em\u003e (11:40)\u003cbr\u003e \u003cstrong\u003e4\u003c\/strong\u003e 3rd mvt. - Allegro\u003cbr\u003e \u003cem\u003eMerry gathering of country folk\u003c\/em\u003e (5:01)\u003cbr\u003e \u003cstrong\u003e5\u003c\/strong\u003e 4th mvt. - Allegro:\u003cbr\u003e \u003cem\u003eThunderstorm; Storm\u003c\/em\u003e (3:44)\u003cbr\u003e \u003cstrong\u003e6\u003c\/strong\u003e 5th mvt. - Allegretto:\u003cbr\u003e \u003cem\u003eShepherd's Song; happy and thankful feelings \u003cbr\u003e after the storm\u003c\/em\u003e (9:14)\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e Duration: 48:44 \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd class=\"body\" valign=\"top\" height=\"250\" width=\"450\"\u003e\n\u003cp class=\"bodymid\"\u003ePart Two\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1\u003c\/strong\u003e \u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eFranck\u003c\/strong\u003e - Les Eolides\u003c\/span\u003e (10:31)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2\u003c\/strong\u003e \u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSmetana\u003c\/strong\u003e - The Moldau \u003c\/span\u003e\u003cbr\u003e (Má vlast: 2. Vltava, B111) (11:27)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e3\u003c\/strong\u003e \u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eR. Strauss\u003c\/strong\u003e - Don Juan, Op. 2\u003c\/span\u003e0 (17:47)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e4\u003c\/strong\u003e \u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWagner\u003c\/strong\u003e - Die Meistersinger von Nürnburg: \u003cbr\u003e Prelude, Act 1\u003c\/span\u003e (9:47)\u003c\/p\u003e\n\n\u003cp class=\"bodysmallarial\"\u003eDuration: 49:32\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eOriginal source material: \u003ci\u003eOpen-reel tape dub \nof acetate discs, believed to have been recorded from AM radio broadcast\n of this concert. Note that the frequency range and dynamic range of the\n recording has been somewhat limited by the nature of the radio \ntransmission. Some parts of the disc recordings also exhibit quite high \nnoise levels, which I have attempted to control as much as possible.\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\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\/PASC115.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC115.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":2951319126042,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":2951319158810,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":2951319191578,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":2951319224346,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC115_c9195ac5-1cdb-45a9-8a36-2248fc98ea70.jpg?v=1510941092"},{"product_id":"pasc115-cd","title":"TOSCANINI at the Venice Festival (1949) - PASC115 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":40478270029,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478270093,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC115_226bb39c-e3e1-4c2c-be24-f814497ccda6.jpg?v=1658241405"},{"product_id":"pasc162","title":"TOSCANINI The Final Concert at La Scala – All-Wagner (1952) - PASC162","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOrchestral excerpts\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1952\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal Duration: 1hr 53:19\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLa Scala Orchestra\u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC162.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eToscanini's final, ecstatically received 1952 La Scala concert\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eCelebration of an association with the orchestra dating back to 1887\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\" align=\"left\"\u003eHIstoric recordings can be so-called for at least two reasons - the one more commonly used is simply a reference to the age (and often the perceived sonic inferiority) of an older recording. But the second use of the term implies something particularly special, be it the nature of the performance or, perhaps more correctly, the nature of the event.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eIt would be impossible not to consider Toscanini's final concert with the Orchestra of La Scala as historic. He had joined the orchestra as a cellist in 1887, participating that year in the première of Verdi's \u003cem\u003eOtello\u003c\/em\u003e under the composer's baton and immediately making an impression. He soon graduated from the ranks of the orchestra to the podium, and was to serve two lengthy engagements at principal conductor between 1898 and the end of the 1920s.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eHe would return to conduct the orchestra on a number of occasions following the end of the Second World War, though as time wore on these became increasingly rare occasions, and this final concert of 1952 was the only one he conducted with the orchestra that year. As with his final NBC concert, it was an all-Wagner affair.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThe concert was broadcast in full by Radio Italy, and almost all of that broadcast was recorded onto disc from the AM radio transmission. Whilst the radio reception is excellent, with no audible interference or cross-talk, the frequency response from such a transmission is poor, and greatly compromises the sound quality available here.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eTo our knowledge there have been two previous issues of this concert on CD. These ranged in sound quality from poor (the one we've heard) to dreadful (according to reports). We are lucky to have in our tape collection a transfer of the original discs onto high quality open-reel tape which surpasses in quality that of the better of the two previous CD issues, albeit by a rather narrow margin. Thus we have an excellent base from which to start.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eWe have also been able to apply XR remastering to the recording, something which has allowed us to transform the murky sound quality into something far more enjoyable. Our analysis showed a steep roll-off in the frequency response of the entire treble range between 2kHz and 5.5kHz (the point at which the narrow range of the broadcast cuts off the top end completely). By restoring this range to its original and correct level, as well as tackling other anomalies lower in the tonal spectrum, an instant and dramatic improvement is achieved.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eWe have also been able to look at a number of other factors. At the start of the concert one perceives something of a panic from either the radio engineer or the recording engineer, as the volume levels are wrenched violently down following the first chords, then rather coarsely manipulated until a satisfactory level is found partway through the first piece. This has been evened out. Elsewhere hundreds of the kind of flaws which creep inevitably onto a delicate acetate recording after even one or two plays have been either entirely corrected or greatly reduced.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThe pitch of the recording has also been corrected, and we've paid attention to disc side changes in order to create as continuous a flow as possible.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eAfter much agonising it was decided that, as a consequence of the historic nature of this broadcast, the entire programme would be preserved here. This does include a lengthy introduction in Italian - which I personally do not speak or understand - which seems to go on and on until the announcer finally runs out of steam. A minute or so's silence from him is filled with the sound of the audience coughing and the orchestra endlessly tuning up, which we've omitted.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eThus those who either understand Italian, or simply enjoy the sound of the language, can sit back and hear the full transmission as broadcast on 19th September 1952; those who would rather get straight down to the music are recommended to skip straight to track 2. Either way it's a splendid occasion, with a wildly ecstatic audience, and some marvellous moments. We've chosen a lengthy sample so you can fully gauge both the quality of the sound and the performance - the full 18 minutes of the reflective \u003cem\u003eSiegfried Idyll\u003c\/em\u003e - which we hope you will enjoy as much as we do.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003cbr\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\u003cul\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003ePART 1\u003c\/b\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003eIntroduction (13:27)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWAGNER\u003c\/strong\u003e - Die Meistersinger: Prelude to Act 1 (9:58)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWAGNER\u003c\/strong\u003e - Siegfried: Forest Murmurs (8:45)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWAGNER\u003c\/strong\u003e - Siegfried Idyll (18:10)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWAGNER\u003c\/strong\u003e - Götterdämmerung: Siegfried's Rhine Journey (11:52)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003e\u003cul\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003ePART 2\u003c\/b\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003eIntroduction (0:36)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWAGNER\u003c\/strong\u003e - Parsifal: Good Friday Spell (11:40)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWAGNER\u003c\/strong\u003e - Götterdämmerung: Siegfried's Death and Funeral Music (14:33)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWAGNER\u003c\/strong\u003e - Tristan und Isolde: Prelude and Liebestod (18:42)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWAGNER\u003c\/strong\u003e - Die Walküre: The Ride of the Valkyries (5:36)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded at Teatro alla Scala, Milan, Italy, 19th September 1952\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003cstrong\u003eTechnical note:\u003c\/strong\u003e\n This recording was made from a frequency-range-compromised AM radio \nbroadcast onto acetate discs. This transfer was taken from an excellent \n1\/4 \" tape transfer of original discs. Note that some applause runs \nshort due to disc side changes - we have preserved as much of the \nbroadcast as survives, including the lengthy Italian spoken \nintroduction, though omitting a minute or so of audience noise when the \nannouncer had presumably run out of things to say. After much agonising \nit was decided to retain the original introduction in full; we hope our \nItalian-speaking friends will enjoy it, and suggest that if you cannot \nfollow spoken Italian you begin your listening at track 2.\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003eTransfer and XR remastering by Andrew Rose at Pristine Audio, May 2009\u003cbr\u003e Cover artwork based on a photograph of Arturo Toscanini\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003cbr\u003e Total duration: 1hr 53:19 \u003cbr\u003e ©2009 Pristine Audio.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\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\/PASC162.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC162.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":35861873741,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":35861873805,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":35861873869,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":35861873933,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC162.jpg?v=1491982949"},{"product_id":"pasc162-cd","title":"TOSCANINI The Final Concert at La Scala – All-Wagner (1952) - PASC162 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":40478309389,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478309453,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC162_d4db9364-3d6e-460b-a739-119ac22069da.jpg?v=1658242633"},{"product_id":"pasc189","title":"PANIZZA conducts Mendelssohn and Boero (1928-31) - PASC189","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELSSOHN\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eFingal’s Cave\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELSSOHN\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4 \"Italian\"\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELSSOHN\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eWedding March\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBOERO \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eEl Matrero\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1928-31\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 67:15 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLa Scala Orchestra, Milan\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e Orquesta del Teatro Colón, Buenos Aires \u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEttore Panizza\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e \u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eA native of Argentina, Ettore Panizza was an \nassistant to Toscanini at La Scala during the 1920s, but had an \ninternational career of his own, including conducting 304 performances \nfor the Metropolitan Opera between December 1934 (an \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAida\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e) and April 1942 (a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTosca\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in Cleveland while the company was on tour). He was the leading \nconductor of the company’s Italian wing once Tullio Serafin departed for\n La Scala in 1934, and his solid, idiomatic work can be heard on a good \nmany Met broadcasts of the time. His operatic contribution to this \nPristine Audio CD is some excerpts from Felipe Boero’s opera, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEl matrero \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e(“The\n Artful Knave”), recorded a month after the opera’s July 1929 premiere. \nThe producer, Mark Obert-Thorn, speculates quite reasonably that the \npresence of the celebrated baritone, Apollo Granforte, in one of the \nleading roles accounts for the recording that, in any case, was only \nissued in Argentina and had appeared here in the U.S. only on a Club 99 \nLP in the 1970s.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eGranforte played Don Liborio, a wealthy farmer whose district has been plagued by a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ematrero.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n One day, Liborio’s daughter, Pontezuela, is serenaded by a wandering \nsinger, Pedro Cruz, who unsuccessfully courts her. She rejects him, \nsaying that her ideal of a man is the daring \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ematrero\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Have you guessed who the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ematrero\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is, yet? Anyway, he has a severe accident and dies in her arms as the opera ends. The music, while it uses the language of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003everismo, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis flavored with Argentine folk elements and supposedly even uses \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003egaucho\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e dialect in some places, for authenticity.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAlthough Panizza was primarily associated with \nopera during his career, he was not strictly limited to it, as the three\n Mendelssohn recordings demonstrate. He has his own interesting take on \nthe symphony. He seems to be using a thin string section for the \nperformance, but the loss in sonority is compensated by a gain in \nprecision and detail. The tempo is moderate. Not surprisingly, there’s \nno exposition repeat in movement one. The second movement trudges a \nbit—it’s certainly more sober than most, perhaps even mournful, but \ntastefully punctuated and stretched for expression. Except for all the \nskipped repeats, the third movement is conventional, but that isn’t the \ncase with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epresto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n finale, which goes at a surprisingly deliberate tempo, deriving its \nmomentum from the clarity of the agitated rhythmic figures that propel \nit. Tension builds through the accumulation of detail, but a little more\n urgency would have helped. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHebrides Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and the Wedding March (which is also shorn of some repeats) are, \nlikewise, solid performances by a conductor who could obviously stray \noutside his specialty without embarrassing himself. The transfers of \nthese early electrical recordings seem to be about all that could be \nasked for. Further information can be had at www.pristineclassical.com. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:4 (Mar\/Apr 2010) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC189.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eEttore Panizza's complete Mendelssohn\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003ePlus rare recordings from Boero's Argentine opera, El Matrero\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eAs a result of the release (first on LP, more recently on CD) of a number of Metropolitan Opera broadcast performances from the mid-1930s through the early 1940s, Ettore Panizza is remembered today as one of the great opera conductors of the first half of the 20th Century, with particular distinction in the Verdi repertoire. But during his lifetime, his commercial discography was slim, filling fewer than three CDs’ worth of recordings. Nearly all of them were made with the orchestra of La Scala, Milan, where he served as an assistant to Toscanini; and, as one might expect, they center on the (largely operatic) works of Italian composers.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eTwo notable exceptions to the rule were Panizza’s recordings of Mendelssohn, all of which are contained on this release, and the scenes from Felipe Boero’s opera \u003cem\u003eEl Matrero\u003c\/em\u003e, which he set down shortly after he conducted the world première on 12 July 1929. The latter is a particularly rarity in his discography in that it was the only recording he made in his native Buenos Aires, where he had been born of Italian parents, and it was also the only recording he made for the Victor label.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eVictor’s involvement most likely came about because of the participation of Apollo Granforte, La Scala’s great baritone in the inter-war years, well-known to record collectors due to his participation in the complete Italian HMV recordings of \u003cem\u003eAida\u003c\/em\u003e, \u003cem\u003eOtello\u003c\/em\u003e, \u003cem\u003eIl Trovatore\u003c\/em\u003e and \u003cem\u003ePagliacci\u003c\/em\u003e, who was making his Colón debut that season. The excerpts chosen from the opera (whose title has been variously translated as \u003cem\u003eThe Sly One\u003c\/em\u003e, \u003cem\u003eThe Artful Knave\u003c\/em\u003e and \u003cem\u003eThe Bandit\u003c\/em\u003e) center around his character, Don Liborio. (Other \u003cem\u003eMatrero\u003c\/em\u003e recordings were made around this time, including two discs of choral excerpts credited to another conductor, and two 10-inch sides with Nena Juárez on which no conductor or orchestra is identified on the label, and no matrix information is displayed which might tie it to the Panizza sessions.)\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eEl Matrero\u003c\/em\u003e was initially scheduled for three performances in July, 1929; but it caused such a sensation that another three performances were added for the following month, at which time the present recordings were made. They are particularly rare in that they were only issued in Argentina, and their only previous reissue was on the small historical vocal LP label, Club 99, in the 1970s. (I could find no reference of any complete recording of \u003cem\u003eEl Matrero\u003c\/em\u003e ever having been made. A synopsis of the plot can be found lower down this page.) The Mendelssohn items have only previously been reissued on a two-CD set accompanying a Panizza biography published by La Scala.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe principal sources for the transfers were a black label Italian Voce del Padrone disc for the \u003cem\u003eHebrides Overture\u003c\/em\u003e; a Victor Red Seal “Z”-type shellac pressing for the \u003cem\u003eItalian\u003c\/em\u003e Symphony and its filler; and “Gold” label Argentine Victor pressings for the \u003cem\u003eMatrero\u003c\/em\u003e set. A couple instances of blasting on the \u003cem\u003eMatrero\u003c\/em\u003e sides, as well as some overload distortion in the \u003cem\u003eMidsummer Night’s Dream Wedding March\u003c\/em\u003e, appear to be inherent in the original recordings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e- \u003cem\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\u003c\/em\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\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003ePANIZZA conducts MENDELSSOHN\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003eLa Scala Orchestra, Milan\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong class=\"body\"\u003eHebrides Overture, “Fingal’s Cave”, Op. 26\u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eRecorded in April, 1928 in Milan. Matrices: CF 1641-2 and 1642-2. \u003cbr\u003e First issued on La Voce del Padrone AW 3984\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong class=\"body\"\u003eSymphony No 4 \"Italian\" in A, Op. 90\u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eRecorded 5th January, 1931 in Milan. \u003cbr\u003e Matrices: CF 3731-2, 3746-2, 3647-1, 3748-3, 3749-2, 3750-2 and 2F 6-2.\u003cbr\u003e First issued on La Voce del Padrone AW 245 through 248\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cstrong\u003eA Midsummer Night’s Dream, Op. 61\u003c\/strong\u003e - Wedding March: Allegro vivace\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e Recorded 10th January, 1931 in Milan. Matrix: 2F 17-1. \u003cbr\u003e First issued on La Voce del Padrone AW 248\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003ePANIZZA conducts BOERO's El Matrero\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cul\u003e\n\u003cli class=\"body\"\u003e\n\u003cem\u003eAct 1\u003c\/em\u003e - \"\u003cstrong\u003eLa Media Caña\u003c\/strong\u003e\"\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cem\u003eAct 1\u003c\/em\u003e - \"\u003cstrong\u003eEl Canto del Hornero\u003c\/strong\u003e\"\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cem\u003eAct 1\u003c\/em\u003e - \u003cstrong\u003ePedro’s Aria and Trio\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cem\u003eAct 2\u003c\/em\u003e - \u003cstrong\u003eTrio\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cem\u003eAct 2\u003c\/em\u003e - \u003cstrong\u003eDuet\u003c\/strong\u003e (Act II Finale)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cem\u003eAct 3\u003c\/em\u003e - \u003cstrong\u003eTrio\u003c\/strong\u003e (Act III Finale)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003ePedro Cruz\u003c\/strong\u003e …………………………………………………. Pedro Mirassou (\u003cem\u003etenor\u003c\/em\u003e)\u003cbr\u003e \u003cstrong\u003ePontezuela\u003c\/strong\u003e ………………………….………………………Nena Juárez (\u003cem\u003emezzo-soprano\u003c\/em\u003e)\u003cbr\u003e \u003cstrong\u003eDon Liborio\u003c\/strong\u003e ………………………………………………… Apollo Granforte (\u003cem\u003ebaritone\u003c\/em\u003e)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cb\u003eOrquesta del Teatro Colón, Buenos Aires. Recorded August, 1929 in Buenos Aires\u003c\/b\u003e\u003cbr\u003e Matrices: CVE 44700-3, 44701-2, 44709-2, 44710-3, 44702-5, 44708-2\u003cbr\u003e First issued on (Argentine) Victor 9574 through 9576 in album S-2\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn \u003cbr\u003e Cover artwork based on a photograph of Ettore Panizza\u003cbr\u003e \u003cbr\u003e Total duration: 67:15 \u003cbr\u003e ©2009 Pristine Audio. \u003c\/span\u003e\u003cbr\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\/PASC189.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC189.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":36097765005,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205576868174,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC189.jpg?v=1492437868"},{"product_id":"pasc189-cd","title":"PANIZZA conducts Mendelssohn and Boero (1928-31) - PASC189 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478329741,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205576835406,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC189_6caa3a88-efbe-43d2-8751-61fa2fa5bab4.jpg?v=1658243265"},{"product_id":"paco148","title":"SABAJNO Verdi: Requiem (La Scala, 1929) - PACO148","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRequiem\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe 1929 World Première Recording\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1929\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 77:34\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaria Luisa Fanelli\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (soprano)\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eIrene Minghini-Cattaneo\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (mezzo-soprano)\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eFranco Lo Giudice\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (tenor)\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eEzio Pinza \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e(bass)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus and Orchestra of La Scala, Milan\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCarlo Sabajno\u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO148.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    This world première recording of the Verdi Requiem stood unchallenged in\n    the catalog for ten years until the Serafin version with Gigli superseded\n    it. It never appeared on an “official” LP or CD reissue; and its last new\n    transfer, released nearly 30 years ago, is long out of print.\n\u003c\/p\u003e\n\u003cp\u003e\n    Those familiar with the 78s will be aware of the myriad technical problems\n    associated with the original recording: hum, microphonic tonal resonances,\n    rumble, car horns outside La Scala, pitch differences on nearly every side,\n    and peak distortion (primarily during the soprano’s high notes). Modern\n    advances in transfer technology have enabled all of these to be cleared up,\n    save for the occasional distortion, and even this has been ameliorated\n    somewhat.\n\u003c\/p\u003e\n\u003cp\u003e\n    The sources for the present transfer were pre-war American Victor “Z” and\n    “Gold” label pressings, save for the final record, which came from an\n    Italian Disco Grammofono pressing.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_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\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI: Requiem\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eRequiem e Kyrie\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. Requiem aeternam (4:49)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e6 September 1929 ∙ CM 1062-2A (HMV D 1751)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    2. Kyrie eleison (3:39)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e7 September 1929 ∙ CM 1064-2A (D 1751)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cbr\u003eSequence (Dies irae)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    3. Dies irae (2:07)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e4 September 1929 ∙ CM 1058-2 (D 1752)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    4. Tuba mirum (2:13)\u003cbr\u003e5. Mors stupebit (1:12)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e5 September 1929 ∙ CM 1059-2 (D 1752)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    6. Liber scriptus\/*Dies irae (5:23)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e6 and *12 September 1929 ∙ CM 1061-1A and *1072-1A [part] (D 1753)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    7. Quid sum miser (3:01)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e12 September 1929 ∙ CM 1072-1A [part] (D 1753)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    8. Rex tremendae (3:32)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e3 September 1929 ∙ CM 1056-1A (D 1754)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    9. Recordare (3:33)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e12 September 1929 ∙ CM 1073-2A (D 1754)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    10. Ingemisco (3:39)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e8 September 1929 ∙ CM 1066-1A (D 1755)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    11. Confutatis\/Dies irae (4:35)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e5 September 1929 ∙ CM 1060-1A (D 1755)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    12. Lacrymosa (4:40)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e7 September 1929 ∙ CM 1057-3A (D 1756)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cbr\u003eOffertorio\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    13. Domine Jesu (4:45)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e10 September 1929 ∙ CM 1069-2A (D 1756)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    14. Hostias (5:25)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e10 \u0026amp; 7 September 1929 ∙ CM 1070-1 and 1063-1 [part] (D 1757)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cbr\u003e15. \u003cstrong\u003eSanctus\u003c\/strong\u003e (2:43)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e7 September 1929 ∙ CM 1063-1 [part] (D 1757)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cbr\u003e16. \u003cstrong\u003eAgnus Dei\u003c\/strong\u003e (4:24)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e13 September 1929 ∙ CM 1078-1A (D 1758)\n\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    17. \u003cstrong\u003eLux aeterna\u003c\/strong\u003e (4:51)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e8 September 1929 ∙ CM 1065-2 (D 1758)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cbr\u003eLibera me\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    18. Libera me\/Dies irae (4:28)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e12 September 1929 ∙ CM 1071-2A (D 1759)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    19. Requiem aeternam (2:58)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e13 September 1929 ∙ CM 1079-3A (D 1759)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    20. Libera me (5:37)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e9 September 1929 ∙ CM 1067-1 \u0026amp; 1068-3 (D 1760)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cbr\u003e\u003cb\u003eMaria Luisa Fanelli\u003c\/b\u003e (soprano)\u003cbr\u003e\u003cb\u003eIrene Minghini-Cattaneo\u003c\/b\u003e (mezzo-soprano)\u003cbr\u003e\u003cb\u003eFranco Lo Giudice\u003c\/b\u003e (tenor)\u003cbr\u003e\u003cb\u003eEzio Pinza \u003c\/b\u003e(bass)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eChorus and Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003e(Chorus Master: Vittore Veneziani)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eCarlo Sabajno\u003c\/b\u003e (conductor)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded in the Opera House, La Scala, Milan\n\u003c\/p\u003e\n\u003cp\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\n\u003c\/p\u003e\u003cp\u003eCover artwork based on Michelangelo's \u003cb\u003eThe Last Judgement \u003c\/b\u003e (1536–1541, detail), The Sistine Chapel, Vatican City\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing: 77:34\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_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\/PACO148.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO148.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cstrong\u003eReissue Review\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    [The present recording] is at least valuable as a historic document: after\n    all, it is pretty amazing that so soon after the introduction of the\n    electrical process such a faithful recording of a large choral work could\n    have been made. Carlo Sabajno, who was HMV’s house conductor in Italy and\n    an underrated musician, directs a fierily intense performance that sounds\n    convincing on these CD transfers, apart from the distortion found on the\n    originals. The chorus and orchestra are in many ways superior to their\n    successors on the Columbia Scala set under de Sabata (nla) made 25 years\n    later. The former in particular sing with brio in the \u003cem\u003eDies irae\u003c\/em\u003e\n    and with lightness in the \u003cem\u003eSanctus\u003c\/em\u003e. It is a raw, somewhat\n    unvarnished performance, not wholly accurate, because in those days retakes\n    were out of the question.\n\u003c\/p\u003e\n\u003cp\u003e\n    Two of the soloists achieve a high level of conviction. Indeed, neither\n    Minghini-Cattaneo a much underrated mezzo, nor Ezio Pinza have been\n    surpassed on record in this music. The mezzo sings throughout with opulent\n    tone, biting attack and consistent steadiness, and she never forgets to\n    convey the meaning of what she is interpreting. She isn’t over-subtle\n    concerning dynamics. In that respect she is given a lesson by Pinza, who is\n    at all times responsive to what Verdi wrote as regards note values and\n    emphases. Everything he does here is exemplary. Franco Lo Giudice has\n    precisely the right Verdian tang for the tenor’s music and sings with total\n    conviction, but his contribution is spoilt by an over-effusive style,\n    particularly in the “Ingemisco”. The soprano is frankly very bad, singing\n    without a trace of sensibility and in a consistently loud and piercing\n    tone. In spite of her and other failings, I always enjoy this old\n    performance, but it could never be recommended as a first choice.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eAlan Blyth\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        \u003cem\u003eGramophone\u003c\/em\u003e\n        review of a previous CD reissue (May, 1990)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_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":"Mono 16-bit FLAC","offer_id":7181801717821,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205547934030,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO148_15945251-d2d6-4f60-b4ec-a3a878e0c070.jpg?v=1521868013"},{"product_id":"paco148-cd","title":"SABAJNO Verdi: Requiem (La Scala, 1929) - PACO148 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO148.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":7114077077565,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205547901262,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO148_53c003a6-9f74-4ae5-9939-13187b33d3af.jpg?v=1658496766"},{"product_id":"paco161","title":"RICCARDO STRACCIARI in Rossini's Il barbiere di Siviglia (1929) - PACO161","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eIl barbiere di Siviglia \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e(\u003c\/span\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Barber of Seville\u003c\/span\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording 1929\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 5:49\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRiccardo Stracciari \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Figaro\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMercedes Capsir\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Rosina\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDino Borgioli\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Il Conte d'Almaviva\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus and Orchestra of La Scala, Milan\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLorenzo Molajoli\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO161.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    This release is the first of two which will present both of the complete\nopera recordings of baritone Riccardo Stracciari. Rossini’s\u003cem\u003eIl barbiere di Siviglia\u003c\/em\u003e was recorded in 1929, and Verdi’s    \u003cem\u003eRigoletto\u003c\/em\u003e, with the same principal cast members and conductor,\n    followed the next year. Despite their importance, these sets have never\n    received satisfactory new transfers during the CD era, with the last\n    “official” transfer of \u003cem\u003eIl barbiere\u003c\/em\u003e from EMI having been made as\n    long ago as 1955 (reissued from those tapes for a 1979 LP edition).\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eRiccardo Stracciari\u003c\/strong\u003e\n    (1875 - 1955) was born near Bologna and made his professional debut there\n    in 1899. He first sang at La Scala in 1904, and his international career\n    began the following year with appearances at Covent Garden in 1905 and the\n    Metropolitan Opera in 1906. He sang widely throughout Europe and the\n    Americas before retiring in 1944. He was best known for his portrayal of\n    Figaro in \u003cem\u003eIl barbiere di Siviglia\u003c\/em\u003e, which he reportedly sang 1000\n    times, and for Rigoletto. No less an authority than Rosa Ponselle admired\n    his singing, and he is still considered one of the finest Italian baritones\n    of his era.\n\u003c\/p\u003e\n\u003cp\u003e\n    Coloratura \u003cstrong\u003eMercedes Capsir\u003c\/strong\u003e (1895 – 1969) was born in\n    Barcelona and made her debut in 1913 as Gilda in \u003cem\u003eRigoletto\u003c\/em\u003e. Her\n    Italian debut was as Rosina in \u003cem\u003eIl barbiere\u003c\/em\u003e, and she first appeared\n    at La Scala in 1924. In addition to her two recordings with Stracciari, she\n    also recorded \u003cem\u003eLa Traviata\u003c\/em\u003e and \u003cem\u003eLucia di Lammermoor \u003c\/em\u003eunder\n    Molajoli. She retired from performing in 1949.\n\u003c\/p\u003e\n\u003cp\u003e\nFlorence-born lyric \u003cem\u003etenore di grazie\u003c\/em\u003e    \u003cstrong\u003eDino Borgioli\u003c\/strong\u003e (1891 – 1960) was most associated with\n    Mozart and the \u003cem\u003ebel canto\u003c\/em\u003e roles of Rossini and Donizetti. He made\n    his debut in 1914, first sang at La Scala in 1918, toured Australia with\n    Melba in 1924, and appeared at Covent Garden the following year and, during\n    the 1930s, at the Glyndebourne Festival. He also sang in Paris, Salzburg,\n    San Francisco, Chicago and at the Metropolitan. Following his performing\n    career, he taught in London.\n\u003c\/p\u003e\n\u003cp\u003e\n    Little is known about conductor \u003cstrong\u003eLorenzo Molajoli\u003c\/strong\u003e (1868 –\n    1939) – so little, in fact, that until recently, it was thought by some\n    that he was another conductor working under a \u003cem\u003enom de disque\u003c\/em\u003e for\n    contractual purposes. His early career was spent conducting in the\n    Americas, South Africa and provincial Italian theatres. In 1926, he became\n    Italian Columbia’s house conductor, under which guise he recorded twenty\n    complete or abridged operas between 1928 and 1932. His tight control of the\n    ensemble (credited on the labels as the “Milan Symphony Orchestra”, but in\n    reality the La Scala forces) and fast tempi often produced dramatic and\n    exciting performances.\n\u003c\/p\u003e\n\u003cp\u003e\n    Even listeners without perfect pitch will note that the piano used to\n    accompany the recitatives in this recording was tuned much lower than the\n    orchestra, leading to some jarring transitions. I have chosen to leave\n    these differences as they were, so as not to falsify the original\n    recording. Likewise, I decided not to add artificial reverberation to the\n    very dry acoustic of the small studio in which the recording was made, so\n    as not to muffle the rapid-fire delivery of the recitatives.\n\u003c\/p\u003e\n\u003cp\u003e\n    Some textual issues require comment. In the “Lesson Scene”, Capsir sings an\n    adaptation she made of Mozart’s \u003cem\u003e12 Variations on “Je suis Lindor”\u003c\/em\u003e,\n    K354, which itself had been based on a theme composed by Antoine-Laurent\n    Baudron for Beaumarchais’ \u003cem\u003eLe Barbiere de Séville\u003c\/em\u003e, thus bringing it\n    full circle, as it were. The aria sung by Bartolo in Scene 2 of Act 1,\n    “Manca un foglio”, was written by Pietro Romani for an 1816 Florence\n    production as a substitute for Rossini’s original, “A un dottor della mia\n    sorte,” which presented some vocal difficulties. Romani’s interpolation\n    became accepted as canon over the years; but for this reissue, I have let\n    Baccaloni have the last word by appending his 1941 recording of the Rossini\n    original.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_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 align=\"center\"\u003e\n    \u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eRossini\n\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\n    Il barbiere di Siviglia\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n\u003cb\u003eRiccardo Stracciari \u003c\/b\u003e\u003cem\u003ebaritone\u003c\/em\u003e (Figaro); \u003cb\u003eMercedes Capsir \u003c\/b\u003e   \u003cem\u003esoprano\u003c\/em\u003e (Rosina); \u003cb\u003eDino Borgioli\u003c\/b\u003e \u003cem\u003etenor\u003c\/em\u003e (Il Conte\nd'Almaviva); \u003cb\u003eSalvatore Baccaloni\u003c\/b\u003e \u003cem\u003ebass\u003c\/em\u003e (Bartolo); \u003cb\u003eVincenzo Bettoni    \u003c\/b\u003e\u003cem\u003ebass\u003c\/em\u003e (Basilio); \u003cb\u003eCesira Ferrari \u003c\/b\u003e\u003cem\u003esoprano\u003c\/em\u003e (Berta); \u003cb\u003eAttilio\n    Bordonali \u003c\/b\u003e\u003cem\u003ebaritone\u003c\/em\u003e (Fiorello); \u003cb\u003eAristide Baracchi\u003c\/b\u003e \u003cem\u003ebass\u003c\/em\u003e (An\n    Officer)\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n    Chorus and Orchestra of La Scala, Milan (Vittore Veneziani, chorus master)\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n    \u003cb\u003eLorenzo Molajoli\u003c\/b\u003e, conductor\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCD 1 \u003cspan style=\"font-size: 14px;\"\u003e(64:49)\n\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n    1. Overture (6:50)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eAct 1, Scene 1\u003c\/strong\u003e\u003cbr\u003e2. Piano, pianissimo (3:06)\u003cbr\u003e3. Ecco, ridente in cielo (5:27)\u003cbr\u003e4. Mille grazie, mio signore (2:19)\u003cbr\u003e5. Largo al factotum (7:32)\u003cbr\u003e6. Se il mio nome saper voi bramate (4:30)\u003cbr\u003e7. All’idea di quel metallo (7:43)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eAct 1, Scene 2\u003c\/strong\u003e\u003cbr\u003e8. Una voce poco fa (11:00)\u003cbr\u003e9. La calunnia è un venticello (6:19)\u003cbr\u003e10. Dunque io son (6:12)\u003cbr\u003e11. Manca un foglio (3:52)\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCD 2 \u003cspan style=\"font-size: 14px;\"\u003e(61:02)\n\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n    1. Finora in questa camera (0:30)\u003cbr\u003e2. Ehi, di casa, buona gente (7:33)\u003cbr\u003e3. Che cosa accadde, signori miei (4:00)\u003cbr\u003e4. Fredda ed immobile (2:58)\u003cbr\u003e5. Ma signor . . . ma un dottor (4:25)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eAct 2\u003c\/strong\u003e\u003cbr\u003e6. Ma vedi il mio destino! (0:33)\u003cbr\u003e7. Pace e gioia sia con voi (3:50)\u003cbr\u003e8. Un verde praticel pien di bei fiori (4:25)\u003cbr\u003e9. Quando mi sei vicina (3:27)\u003cbr\u003e10. Don Basilio! . . . Cosa veggo! (4:08)\u003cbr\u003e11. Buona sera, mio signore (5:33)\u003cbr\u003e12. Il vecchiotto cerca moglie (2:39)\u003cbr\u003e13. Temporale (3:59)\u003cbr\u003e14. Ah, qual colpo inaspettato! (7:13)\u003cbr\u003e15. Di sì felice innesto (1:13)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 21 November 1927 (Overture) \u0026amp; 24 June – 5 July 1929 in Milan\u003cbr\u003eMatrix nos.: WBX 204\/5 (Overture) and WBX 605\/8, 610\/7 \u0026amp; 620\/36\u003cbr\u003eFirst issued on Italian Columbia D 14564\/79\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eMatrix and take number detail in order of presentation:\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eOverture: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    WBX 204-2, 205-1\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eAct 1, Scene 1:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    WBX 605-2, 606-1, 626-2, 615-3, 636-2, 613-1, 607-2, 608-2\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eAct 1, Scene 2:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    WBX 610-2, 614-2, 625-2, 611-3, 628-2, 629-2, 631-4, 620-2, 621-2, 633-2,\n    634-2, 632-1\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eAct 2:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    WBX 630-2, 617-1, 635-1, 622-1, 623-2, 624-1, 616-2, 612-1, 627-1\n\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cem\u003eAppendix\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003e16. A un dottor della mia sorte (4:32)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eSalvatore Baccaloni \u003c\/strong\u003e\n    \u003cem\u003ebass\u003c\/em\u003e\u003cstrong\u003e\u003cbr\u003eOrchestra conducted by Erich Leinsdorf\u003c\/strong\u003e\u003cem\u003e\u003c\/em\u003e\u003cbr\u003eRecorded 6 February 1941 in Liederkranz Hall, New York City\u003cbr\u003eMatrix: XCO 29731 ∙ First issued on American Columbia 71193-D\n\n\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\n    material\n\n\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\/PACO161.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO161.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":30605388939325,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205539414350,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO161.jpg?v=1570803829"},{"product_id":"paco161-cd","title":"RICCARDO STRACCIARI in Rossini's Il barbiere di Siviglia (1929) - PACO161 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO161.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs with case \u0026 artwork (+MP3)","offer_id":29208076910653,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205539381582,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO161_b737f8fd-2cde-475b-acb9-eeae8742b5a9.jpg?v=1658497141"},{"product_id":"paco169","title":"RICCARDO STRACCIARI in Verdi's Rigoletto (1930) - PACO169","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eRigoletto\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording 1930\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 1hr 49:17\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRiccardo Stracciari \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Rigoletto\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMercedes Capsir\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Gilda\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDino Borgioli\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Duke of Mantua\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus and Orchestra of La Scala, Milan\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLorenzo Molajoli\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO169.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cem\u003e\n        [A]nyone who wants to hear one of the greatest Verdian baritones ever,\n        who had already made his debut when Verdi was still alive, will be\n        rewarded. Stracciari’s co-singers are distinguished: refined, bright,\n        but powerful lyric tenor Dino Borgioli and brilliant Spanish coloratura\n        soprano Mercedes Capsir, who specialised in roles such as Gilda. The\n        rest of the cast are Milanese regulars and uniformly fine [. . .]\n    \u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003e \u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003e\n        Stracciari had an especially rich, sonorous quality to his baritone –\n        it really was a unique, miraculous sound of extraordinary resonance; no\n        other Rigoletto except Titta Ruffo approaches its depth and power. He\n        was already a veteran performer in his early fifties here, having sung\n        professionally for thirty years but the voice is still in marvelous\n        condition and he uses the text so expressively. Sadly, the only other\n        complete recording he made (in 1929 with the same two co-singers and\n        conductor as here) was of his other signature role, Figaro, which he\n        sang over a thousand times.\n    \u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003e \u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003e\n        What little we know about Molajoli is through the excellence of the\n        recordings he made for Columbia; everything about his conducting is\n        right here. You will not hear a better assumption of the eponymous\n        leading role and he is more than adequately partnered.\n    \u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        Ralph Moore, Verdi’s \u003cem\u003eRigoletto\u003c\/em\u003e – A Discographical Conspectus\n    \u003c\/strong\u003e\n    (MusicWeb International, July, 2019)\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    The present release is a follow-up to our earlier, critically-acclaimed\n    reissue of Stracciari’s \u003cem\u003eBarber of Seville\u003c\/em\u003e (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco161\" target=\"_blank\"\u003ePACO 161\u003c\/a\u003e), the\n    baritone’s only other complete opera recording. Despite their importance,\n    these sets have never received satisfactory new transfers during the CD\n    era, with the last “official” transfer of \u003cem\u003eRigoletto\u003c\/em\u003e from EMI\n    having been made as long ago as 1954 (reissued from those tapes for a 1979\n    LP edition).\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eRiccardo Stracciari\u003c\/strong\u003e\n    (1875 - 1955) was born near Bologna and made his professional debut there\n    in 1899. He first sang at La Scala in 1904, and his international career\n    began the following year with appearances at Covent Garden in 1905 and the\n    Metropolitan Opera in 1906. He sang widely throughout Europe and the\n    Americas before retiring in 1944. He was best known for his portrayal of\n    Figaro in \u003cem\u003eIl barbiere di Siviglia\u003c\/em\u003e, which he reportedly sang 1000\n    times, and for Rigoletto. No less an authority than Rosa Ponselle admired\n    his singing, and he is still considered one of the finest Italian baritones\n    of his era.\n\u003c\/p\u003e\n\u003cp\u003e\n    Coloratura \u003cstrong\u003eMercedes Capsir\u003c\/strong\u003e (1895 – 1969) was born in\n    Barcelona and made her debut in 1913 as Gilda in \u003cem\u003eRigoletto\u003c\/em\u003e. Her\n    Italian debut was as Rosina in \u003cem\u003eIl barbiere\u003c\/em\u003e, and she first appeared\n    at La Scala in 1924. In addition to her two recordings with Stracciari, she\n    also recorded \u003cem\u003eLa Traviata\u003c\/em\u003e and \u003cem\u003eLucia di Lammermoor \u003c\/em\u003eunder\n    Molajoli. She retired from performing in 1949.\n\u003c\/p\u003e\n\u003cp\u003e\nFlorence-born lyric \u003cem\u003etenore di grazie\u003c\/em\u003e    \u003cstrong\u003eDino Borgioli\u003c\/strong\u003e (1891 – 1960) was most associated with\n    Mozart and the \u003cem\u003ebel canto\u003c\/em\u003e roles of Rossini and Donizetti. He made\n    his debut in 1914, first sang at La Scala in 1918, toured Australia with\n    Melba in 1924, and appeared at Covent Garden the following year and, during\n    the 1930s, at the Glyndebourne Festival. He also sang in Paris, Salzburg,\n    San Francisco, Chicago and at the Metropolitan. Following his performing\n    career, he taught in London.\n\u003c\/p\u003e\n\u003cp\u003e\n    Little is known about conductor \u003cstrong\u003eLorenzo Molajoli\u003c\/strong\u003e (1868 –\n    1939) – so little, in fact, that until recently, it was thought by some\n    that he was another conductor working under a \u003cem\u003enom de disque\u003c\/em\u003e for\n    contractual purposes. His early career was spent conducting in the\n    Americas, South Africa and provincial Italian theatres. In 1926, he became\n    Italian Columbia’s house conductor, under which guise he recorded twenty\n    complete or abridged operas between 1928 and 1932. His tight control of the\n    ensemble and fast tempi often produced dramatic and exciting performances.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_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 align=\"left\"\u003e\n    \u003cspan style=\"font-size: 36px;\"\u003eVerdi - Rigoletto\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e (52:13)\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eAct 1, Scene 1\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. Prelude (2:24)\u003cbr\u003e2. Della mia bella incognita borghese (1:43)\u003cbr\u003e3. Questa o quella (4:43)\u003cbr\u003e4. Gran nuova! gran nuova! (2:36)\u003cbr\u003e5. Ch’io gli parli (4:08)\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eAct 1, Scene 2\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    6. Quel vecchio maledivami! (4:04)\u003cbr\u003e7. Pari siamo! (3:47)\u003cbr\u003e8. Figlia! . . . Mio padre! (7:25)\u003cbr\u003e9. Ah! veglia, o donna (1:53)\u003cbr\u003e10. Giovanna, ho dei rimorsi (2:45)\u003cbr\u003e11. È il sol dell’anima (5:10)\u003cbr\u003e12. Gualtier Maldè . . . Caro nome (6:22)\u003cbr\u003e13. Riedo! perchè? (2:11)\u003cbr\u003e14. Zitti, zitti (3:01)\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e (57:05)\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eAct 2\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. Ella mi fu rapita! . . . Parmi veder (5:29)\u003cbr\u003e2. Duca, Duca! (2:03)\u003cbr\u003e3. Povero Rigoletto (3:14)\u003cbr\u003e4. Cortigiani, vil razza dannata (4:16)\u003cbr\u003e5. Mio padre! (1:52)\u003cbr\u003e6. Tutte le feste (8:01)\u003cbr\u003e7. No, vecchio t’inganni . . . Sì, vendetta (2:33)\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eAct 3\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    8. E l’ami? (1:48)\u003cbr\u003e9. La donna è mobile (3:10)\u003cbr\u003e10. Un dì, se ben rammentomi (1:39)\u003cbr\u003e11. Bella figlia dell’amore (4:30)\u003cbr\u003e12. Venti scudi (3:41)\u003cbr\u003e13. È amabile in vero (5:58)\u003cbr\u003e14. Della vendetta (4:11)\u003cbr\u003e15. Chi è mai? (2:52)\u003cbr\u003e16. Lassù in cielo (1:48)\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cb\u003eCAST\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eRiccardo Stracciari\u003c\/strong\u003e\n    \u003cem\u003ebaritone\u003c\/em\u003e\n(Rigoletto); \u003cstrong\u003eMercedes Capsir\u003c\/strong\u003e \u003cem\u003esoprano\u003c\/em\u003e (Gilda);\u003cstrong\u003eDino Borgioli\u003c\/strong\u003e \u003cem\u003etenor\u003c\/em\u003e (Duke of Mantua);\u003cstrong\u003eErnesto Dominici\u003c\/strong\u003e \u003cem\u003ebass\u003c\/em\u003e (Sparafucile);\u003cstrong\u003eAnna Masetti Bassi\u003c\/strong\u003e \u003cem\u003econtralto\u003c\/em\u003e (Maddalena);\u003cstrong\u003eDuilio Baronti\u003c\/strong\u003e \u003cem\u003ebaritone\u003c\/em\u003e (Monterone);    \u003cstrong\u003eIda Mannarini\u003c\/strong\u003e \u003cem\u003emezzo-soprano\u003c\/em\u003e (Countess Ceprano,\nGiovanna); \u003cstrong\u003eAristide Baracchi\u003c\/strong\u003e \u003cem\u003ebaritone\u003c\/em\u003e (Marullo);\u003cstrong\u003eGuido Uxa\u003c\/strong\u003e \u003cem\u003etenor\u003c\/em\u003e (Borsa);\u003cstrong\u003eEugenio Dall’Argine\u003c\/strong\u003e \u003cem\u003ebass\u003c\/em\u003e (Count Ceprano);    \u003cstrong\u003eAnna Novi\u003c\/strong\u003e \u003cem\u003emezzo-soprano\u003c\/em\u003e (Page)\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eChorus and Orchestra of La Scala, Milan\u003c\/strong\u003e\u003cbr\u003e(Vittore Veneziani, chorus master)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eLorenzo Molajoli\u003c\/strong\u003e\n    , conductor\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 22 August 1927 (Pari siamo) \u0026amp; 17 – 27 May 1930 in Milan\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eMatrix nos.: WBX 137 (Pari siamo) and WBX 833\/844, 846\/852 \u0026amp; 854\/863\n\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eFirst issued on Italian Columbia GQX 10028\/42\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eAct 1, Scene 1:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n        WBX 836-2, 837-2, 833-2, 834-2\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eAct 1, Scene 2:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n        WBX 844-2, 137-1, 855-2, 857-2, 860-2, 861-2, 859-2, 846-1, 839-2,\n        835-2\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eAct 2:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n        WBX 838-2, 863-2, 840-2, 841-1, 842-2, 843-2, 862-2, 847-2\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eAct 3: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n        WBX 858-2, 848-1, 849-2, 850-2, 851-2, 852-1, 856-2, 854-2\n    \u003c\/span\u003e\n    \u003cbr\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\n    material\n\n\u003cbr\u003eCover artwork based on a photograph of Riccardo Stracciari as Rigoletto\u003cbr\u003e\u003cbr\u003eTotal duration:\u003cb\u003e 1hr 49:17 \u003c\/b\u003e   \u003cbr\u003e\u003cbr\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\/PACO169.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO169.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":31493941952573,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205535711566,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO169_9cb4026c-6267-42c0-900c-afba36102f93.jpg?v=1579245306"},{"product_id":"paco169-cd","title":"RICCARDO STRACCIARI in Verdi's Rigoletto (1930) - PACO169 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO169.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs with case \u0026 artwork (+MP3)","offer_id":31493940478013,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205535678798,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO169.jpg?v=1658497337"},{"product_id":"paco172","title":"CALLAS Verdi: La Forza del Destino (1954) - PACO172","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa Forza del Destino\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1954\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  2hr 45:00\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003eDonna Leonora -\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Maria Callas\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eDon Alvaro - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRichard Tucker\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eDon Carlo di Vargas - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCarlo Tagliabue\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eIl Padre Guardiano - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNicola Rossi-Lemeni\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePreziosilla - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eElena Nicolai\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus \u0026amp; Orchestra of La Scala, Milan\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTullio Serafin\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO172.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\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]. \u003cbr\u003e\u003cbr\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.\"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eChicago Tribune\u003c\/b\u003e, 10 April 1955\u003cbr\u003e\u003cbr\u003e\u003cbr\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.\u003cbr\u003e\u003cbr\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)\u003cbr\u003e\u003cbr\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.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\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\u003e\u003cspan style=\"font-size: 24px;\"\u003eVERDI La Forza del Destino\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDisc One\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. Sinfonia  (7:32)\u003cbr\u003e\u003cbr\u003eACT ONE\u003cbr\u003e2. Buona notte, mia figlia  (2:25)\u003cbr\u003e3. Temea restasse qui fino a domani!  (1:42)\u003cbr\u003e4. Me pellegrina ed orfano  (3:43)\u003cbr\u003e5. M'aluti, signorina  (0:27)\u003cbr\u003e6. Ah, per sempre  (7:13)\u003cbr\u003e7. Vil seduttor! Infame figlia!  (2:09)\u003cbr\u003e\u003cbr\u003eACT TWO, SCENE ONE\u003cbr\u003e8. Holà, holà, holà!  (1:18)\u003cbr\u003e9. La cena è pronta  (0:35)\u003cbr\u003e10. Che vdedo! Mio fratello!  (0:34)\u003cbr\u003e11. Viva la guerra!  (0:59)\u003cbr\u003e12. Al suon del tamburo  (2:41)\u003cbr\u003e13. Padre Eterno Signor  (3:48)\u003cbr\u003e14. Viva la buona compagnia!  (1:52)\u003cbr\u003e15. Poich'è imberbe l'incognito  (0:41)\u003cbr\u003e16. Son Pereda, son ricco d'onore  (2:30)\u003cbr\u003e17. Sta bene  (3:01)\u003cbr\u003e\u003cbr\u003eACT TWO, SCENE TWO\u003cbr\u003e18. Sono giunta! Grazie, o Dio!  (1:41)\u003cbr\u003e19. Madre, pietosa Vergine  (5:15)\u003cbr\u003e20. Chi siete?  (2:07)\u003cbr\u003e21. Chi mi cerca?  (1:10)\u003cbr\u003e22. Infelice, delusa, rejetta  (11:15)\u003cbr\u003e23. Il santo nome di Dio Signore  (8:05)\u003cbr\u003e24. La Vergine degli Angeli  (3:49)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDisc Two\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eACT THREE, SCENE ONE\u003cbr\u003e1. Attenti al gioco  (4:14)\u003cbr\u003e2. La vita è inferno all'infelice  (3:00)\u003cbr\u003e3. O tu che in seno  (3:18)\u003cbr\u003e4. Al tradimento!  (2:18)\u003cbr\u003e5. All' armi!  (2:19)\u003cbr\u003e\u003cbr\u003eACT THREE, SCENE TWO\u003cbr\u003e6. Piano ... qui posi  (1:36)\u003cbr\u003e7. Solenne in quest' ora  (4:07)\u003cbr\u003e8. Morir! Tremenda cosa!  (2:08)\u003cbr\u003e9. Urna fatale del mio destino  (2:38)\u003cbr\u003e10. E s'altra prova rinvenir potessi?  (2:26)\u003cbr\u003e\u003cbr\u003eACT THREE, SCENE THREE\u003cbr\u003e11. Compagni, sostiamo  (3:08)\u003cbr\u003e12. Né gustare m'è dato  (8:40)\u003cbr\u003e13. Lorché pifferi e tamburi  (1:50)\u003cbr\u003e14. Qua, vivandiere, un sorso  (0:31)\u003cbr\u003e15. A buon mercato chi vuol comprare?  (2:17)\u003cbr\u003e16. Pane, pan per carità!  (3:01)\u003cbr\u003e17. Nella guerra è la follia  (2:12)\u003cbr\u003e18. Toh! Toh! Poffare il mondo!  (3:59)\u003cbr\u003e19. Rataplan, rataplan, della gloria  (3:26)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDisc Three\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eACT FOUR, SCENE ONE\u003cbr\u003e1. Fate la carità  (6:19)\u003cbr\u003e2. Giunge qualcuno, aprite  (1:10)\u003cbr\u003e3. Invano Alvaro, ti celasti al mondo  (3:26)\u003cbr\u003e4. Le minaccie, i fieri accenti  (5:30)\u003cbr\u003e\u003cbr\u003eACT FOUR, SCENE ONE\u003cbr\u003e5. Pace, pace mio Dio!  (6:19)\u003cbr\u003e6.  Io muoio! Confessione!  (3:08)\u003cbr\u003e7.  Non imprecare, umiliati a Lui  (5:35)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCAST \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eDonna Leonora - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eDon Alvaro - \u003cb\u003eRichard Tucker\u003c\/b\u003e\u003cbr\u003eDon Carlo di Vargas -\u003cb\u003e Carlo 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\u003e Giulio Scarinci, Ottorino Bagalli\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eChorus \u0026amp; Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003e\u003cbr\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\u003cp\u003eDownloads include full score, vocal score \u0026amp; Italian\/English libretto\u003cbr\u003e\u003cbr\u003eTotal duration:\u003cb\u003e  2hr 45:00     \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD1: 76:28     \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD2: 57:06    \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD3: 31:26\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\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\/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":"paco186","title":"SCOTTO \u0026 DI STEFANO in Donizetti's Lucia di Lammermoor (1959, stereo) - PACO186","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDONIZETTI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLucia di Lammermoor\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStereo studio recording, 1959\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  1hr 51:56 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003eLucia –\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Renata Scotto\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eEdgardo – \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGiuseppe Di Stefano\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eEnrico – \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEttore Bastiannini\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRaimondo – \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eIvo Vinco\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlisa – \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eStefania Malagù \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eArturo – \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFranco Ricciardi \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra and Chorus of Teatro alla Scala\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNino Sanzogno\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO186.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    This release celebrates the one hundredth anniversary of the birth of\n    Giuseppe Di Stefano (24 July 1921 – 3 March 2008), certainly one of the\n    greatest tenors of the twentieth century. It fills an odd gap in his\n    discography in that all but one of his complete studio opera sets is now\n    available in “official” transfers – the ones with Callas in Warner’s\n    complete box devoted to the soprano, the EMI \u003cem\u003eTraviata\u003c\/em\u003e with\n    Antonietta Stella on Testament, and his Deccas in another complete box from\n    that label – except for his stereo remake of \u003cem\u003eLucia di Lammermoor\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp\u003e\n    This lone item had originally been recorded by the Mercury Records team\n    (Wilma Cozart Fine, producer; Harold Lawrence, musical supervisor; and\n    Robert Fine, balance engineer) as part of a series made in Italy for the\nmusic publisher Ricordi, which included a Callas set of Cherubini’s    \u003cem\u003eMedea\u003c\/em\u003e (reissued in the Warner box) and a \u003cem\u003eRigoletto\u003c\/em\u003e with\n    Bastiannini (Pristine PACO 184). It originally came out on Mercury, but the\n    rights stayed with Ricordi, who would later license it out to labels as\n    disparate as Deutsche Grammophon in Europe and the bargain-basement Everest\n    Opera Series in the USA.\n\u003c\/p\u003e\n\u003cp\u003e\n    Ricordi itself published the first (and only authorized) CD version in\n    1988, which was from various reports an unsatisfactory affair that had only\n    four tracks for the entire set – one for each original LP side! Since then,\n    it has appeared on a variety of independent labels, sometimes in mono\n    (although it was a stereo original), at other times identified as a live\n    performance (which it wasn’t) and usually in transfers which, according to\n    reviewers, betrayed their LP origins with thumps, clicks and off-center\n    pitch wow.\n\u003c\/p\u003e\n\u003cp\u003e\n    This set’s dismal reissue history coincides with a mixed critical\n    reception. While Bastiannini is universally singled out for praise for his\n    Enrico, the contributions of the other performers have received wildly\n    divergent notices. Although some claim that Di Stefano was past his prime\n    when he made this recording, \u003cem\u003eFanfare’\u003c\/em\u003es Lynn René Bayley, citing a\n    contemporaneous Italian and French aria recital Di Stefano made for Decca,\n    writes that “1959 was a good year for him, in fact his last really good\n    one.” Indeed, while there is some hardness to his tone in some of louder\n    passages, one doesn’t hear the strain and intonation problems that are\n    present on some of his recordings from a few years earlier (for example,\n    “Cielo e mar” in his 1957 complete \u003cem\u003eGioconda\u003c\/em\u003e), even at the\npunishingly high pitch La Scala was using at the time of this    \u003cem\u003eLucia\u003c\/em\u003e (around A4=449 Hz, verified by the 50 Hz mains hum I removed\n    from the original recording).\n\u003c\/p\u003e\n\u003cp\u003e\n    Even the sound of the original recording itself, though made by the\n    legendary Mercury team, has come under some criticism. Reviewing the\n    Ricordi CD made from the master tapes, \u003cem\u003eFanfare\u003c\/em\u003e’s Robert Levine\n    wrote that the “sound is excellent in a big, forward way, but it has no\n    atmosphere at all – it sounds like the worst of digital, although I don’t\n    think digital recording is the problem.” While transferring this, I noticed\n    that while the recording was clear and had good stereo separation, it was\n    also rather dry and close-up, magnifying the occasional harshness of the\n    singing. Through re-equalization and the addition of a modest amount of\n    digital reverb, I’ve tried to ameliorate some of these issues. (I also\n    corrected some channel imbalances and removed hum, studio noises, and the\n    sound of traffic outside the theater.) Whatever one thinks of the\n    performance as a whole, I hope you will agree that it has never sounded\n    better than it does here.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_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\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eDONIZETTI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003eLucia di Lammermoor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCD 1\u003c\/b\u003e (53:40)\n\u003c\/p\u003e\n\u003cp\u003e\n    1. Preludio (2:32)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eACT ONE SCENE 1\u003c\/b\u003e\u003cbr\u003e2. Percorrete . . . Percorriamo le spiagge vicine (2:24)\u003cbr\u003e3. Tu sei turbato! . . . E n’ho ben d’onde (2:51)\u003cbr\u003e4. Cruda, funesta smania (2:08)\u003cbr\u003e5. Il tuo dubbio è amai certezza . . . Come vinti da stanchezza (2:11)\u003cbr\u003e6. La pietade in suo favore (1:38)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eSCENE 2\u003c\/b\u003e\u003cbr\u003e7. Ancor non giunse? (4:10)\u003cbr\u003e8. Regnava nel silenzio alta la notte e bruna (4:17)\u003cbr\u003e9. Quando rapito in estasi (3:37)\u003cbr\u003e10. Egli s’avanza . . . Lucia perdona se ad ora inusitata (2:37)\u003cbr\u003e11. Sulla tomba che rinserra il tradito genitore (3:06)\u003cbr\u003e12. Qui di sposa eternal fede . . . Ah, soltanto il nostro foco (2:18)\u003cbr\u003e13. Verranno a te sull’aure i miei sospiri ardenti (4:23)\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003eACT TWO SCENE 1\u003c\/b\u003e\u003cbr\u003e14. Lucia fra poco a te verrà . . . Tremante l’aspetto (3:13)\u003cbr\u003e15. Appressati, Lucia . . . Il pallor funesto, orrendo (5:16)\u003cbr\u003e16. Soffriva nel pianto . . . Un folle t’accese (3:29)\u003cbr\u003e17. Che fia? . . . Suonar di giubilo (1:29)\u003cbr\u003e18. Se tradirmi tu potrai . . . Tu che vedi il pianto mio (2:01)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCD 2\u003c\/b\u003e (58:18)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eACT TWO\u003c\/b\u003e (Continued)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eSCENE 2\u003c\/b\u003e\u003cbr\u003e1. Per te d’immenso giubilo . . . Per poco fra le tenebre (3:30)\u003cbr\u003e2. Dov’é Lucia? . . . Qui giungere or la vedrem (4:02)\u003cbr\u003e3. Chi me frena in tal momento (3:32)\u003cbr\u003e4. T’allontana, sciagurato . . . Rispettate in me di Dio (1:14)\u003cbr\u003e5. Sconsigliato! In queste porte chi ti guida? (2:00)\u003cbr\u003e6. Esci, fuggi, il furor che mi accende (1:59)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eACT THREE SCENE 1\u003c\/b\u003e\u003cbr\u003e7. D’immenso giubilo s’innalzi un grido (2:22)\u003cbr\u003e8. Dalle stanze ove Lucia tratta avea col suo consorte (2:28)\u003cbr\u003e9. Oh! Qual funesto avvenimento! (2:55)\u003cbr\u003e10. Il dolce suono mi colpi di sua voce! (6:10)\u003cbr\u003e11. Ardon gli incensi (7:58)\u003cbr\u003e12. Spargi d’amaro pianto (3:40)\n\n\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003eSCENE 2\u003c\/b\u003e\u003cbr\u003e13. Tombe degli avi miei (4:06)\u003cbr\u003e14. Fra poco a me ricovero darà negletto avello (3:16)\u003cbr\u003e15. Oh, meschina! Oh, fato orrendo! (4:19)\u003cbr\u003e16. Tu che a Dio spiegasti l’ali (4:47)\n\u003c\/p\u003e\n\u003cp\u003e\n    Orchestra and Chorus of Teatro alla Scala\u003cbr\u003econducted by \u003cstrong\u003eNino Sanzogno\u003c\/strong\u003e\u003cbr\u003e(Chorus Master: Norberto Mola)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eCAST\n\u003c\/p\u003e\n\u003cp\u003e\n    Lucia – \u003cstrong\u003eRenata Scotto\u003c\/strong\u003e (soprano)\u003cbr\u003eEdgardo – \u003cstrong\u003eGiuseppe Di Stefano\u003c\/strong\u003e (tenor)\u003cbr\u003eEnrico – \u003cstrong\u003eEttore Bastiannini\u003c\/strong\u003e (baritone)\u003cbr\u003eRaimondo – \u003cstrong\u003eIvo Vinco\u003c\/strong\u003e (bass)\u003cbr\u003eAlisa – \u003cstrong\u003eStefania Malagù\u003c\/strong\u003e (mezzo-soprano)\u003cbr\u003eArturo – \u003cstrong\u003eFranco Ricciardi\u003c\/strong\u003e (tenor)\u003cbr\u003eNormanno – \u003cstrong\u003eN. N.\u003c\/strong\u003e (tenor)\n\u003c\/p\u003e\n\u003cp\u003e\n    Recorded 25 August – 1 September 1959 in the Teatro alla Scala, Milan\n\u003c\/p\u003e\n\u003cp\u003e\n\n        Producer and Audio Restoration Engineer: Mark Obert-Thorn\n    \u003cbr\u003eCover artwork based on photographs of Giuseppe Di Stefano and Renata Scotto as Edgardo and Lucia\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  1hr 51:56 \u003c\/span\u003e\u003cbr\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_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\/PACO186.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO186.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 16-bit FLAC","offer_id":39481320243261,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55205524570446,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO186_f8f89ada-2053-4e7a-b8de-f34ed49f876b.jpg?v=1637298904"},{"product_id":"paco186-cd","title":"SCOTTO \u0026 DI STEFANO in Donizetti's Lucia di Lammermoor (1959, stereo) - PACO186 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO186.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs with case \u0026 artwork (+MP3)","offer_id":39481327124541,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeves (+MP3)","offer_id":55205524537678,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO186_d30bfe51-7baf-4956-911b-1c31b77b2f49.jpg?v=1658497806"},{"product_id":"paco193","title":"CALLAS Bellini: La sonnambula (1957) - PACO193","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBELLINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa sonnambula\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1957\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 00:32\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaria Callas\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Amina\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFiorenza Cossotto\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Teresa\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNicola Zaccaria\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Il conte Rodolfo\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNicola Monti\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Elvino\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEugenia Ratti \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Lisa\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGiuseppe Morresi\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Alessio\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFranco Ricciardi\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Un notaro\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eChoir \u0026amp; Orchestra of Teatro Alla Scala, Milan\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eConducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAntonino Votto\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO193.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\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\u003cp style=\"margin-left: 25px;\"\u003e\u003cb\u003eA.P. \u003c\/b\u003e\u003ci\u003eThe Gramophone\u003c\/i\u003e, 1957\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\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\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\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\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\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\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eBELLINI\u003c\/b\u003e La sonnambula\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\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\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\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\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\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO193.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO193.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":40094666457149,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205520802126,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205520834894,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO193_71067850-9624-4243-9605-8889b11a7dc4.jpg?v=1659068105"},{"product_id":"paco193-cd","title":"CALLAS Bellini: La sonnambula (1957) - PACO193 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO193.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3) - will be shipped end August €20.00 - CD only in","offer_id":40096493043773,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205520769358,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO193_3a97cc50-8f36-4296-93a4-b543b9a3ae09.jpg?v=1658995062"},{"product_id":"paco193-cd-1","title":"CALLAS Bellini: La sonnambula (1957) - PACO193 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO193.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":40187337834557,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205520736590,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO193.jpg?v=1661342785"},{"product_id":"paco239","title":"MARIA CALLAS Arias, Vol. 2: Lyric \u0026 Coloratura (1954, 1955) - PACO239","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eLYRIC ARIAS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eSuor Angelica, Adriana Lecouvreur, Andrea Chénier, La Wally, Mefistofele\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCOLORATURA ARIAS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eIl barbiere di Siviglia, Dinorah, Lakmé, I vespri siciliani\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\r\n\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eLA SCALA SCENES\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eMedea, La sonnambula\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1954 \u0026amp; 1955\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\r\nTotal duration: 79:15\u003c\/span\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaria Callas\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, soprano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\r\n\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonia Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\r\n\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra del Teatro alla Scala, Milan\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\r\nconducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTullio Serafin\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO239.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\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\n\u003cp\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\n\u003cp\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\n\u003cp\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\n\u003cp\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\n\u003cp\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\n\u003cp\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\n\u003cp\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\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size:24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 2\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eLyric and Coloratura Arias\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003cem\u003eSuor Angelica\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e01.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eSenza mamma\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(5:36)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eCILEA \u003c\/b\u003e\u003cem\u003eAdriana Lecouvreur\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e02.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eEcco: respiro appena... Io son l’umile ancella\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(3:49)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e03.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003ePoveri fiori\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(3:13)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eGIORDANO \u003c\/b\u003e\u003cem\u003eAndrea Chénier\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e04.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eLa mamma morta\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(4:53)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eCATALANI \u003c\/b\u003e\u003cem\u003eLa Wally\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e05.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eEbben? Ne andrò lontana\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(4:52)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eBOITO \u003c\/b\u003e\u003cem\u003eMefistofele\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e06.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eL’altra notte in fondo al mare\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(7:29)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003e\u003cem\u003eIl barbiere di Siviglia\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e07.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eUna voce poco fa\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(6:53)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eMEYERBEER \u003c\/b\u003e\u003cem\u003eDinorah\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e08.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eOmbra leggera\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(5:42)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eDELIBES \u003c\/b\u003e\u003cem\u003eLakmé\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e09.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eDov’è l’indiana bruna?\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(8:06)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003cem\u003eI vespri siciliani\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eMercè, dilette amiche\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(4:01)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eCHERUBINI \u003c\/b\u003e\u003cem\u003eMedea\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eDei tuoi figli\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(4:55)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003e\u003cem\u003eLa sonnambula\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eCompagne, teneri amici... Come per me sereno\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(5:49)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size:16px;\"\u003eOh! se una volta sola... Ah! non credea mirarti... Ah! non giunge\u003c\/span\u003e \u003cspan style=\"font-size:12px;\"\u003e(13:57)\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp style=\"font-size:16px;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eMaria Callas\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 20px;\"\u003e, soprano\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/p\u003e\n\n\u003cp style=\"font-size:16px;\"\u003e\n\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e \u003cspan style=\"font-size:14px;\"\u003e(tracks 1-10)\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e \u003cspan style=\"font-size:14px;\"\u003e(tracks 11-13)\u003c\/span\u003e\u003cbr\u003e\nconducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\n\u003c\/p\u003e\n\n\u003cp style=\"font-size:16px;\"\u003e\u003cspan style=\"font-size:14px;\"\u003e\nTracks 1-10 recorded 15-21 September 1954\u003cbr\u003e\nWatford Town Hall\u003cbr\u003e\u003cbr\u003e\nTracks 11-13 recorded 9-12 June 1955\u003cbr\u003e\nTeatro alla Scala, Milan\u003cbr\u003e\u003cbr\u003e\nXR remastering by Andrew Rose\u003cbr\u003e\nCover artwork based on a photograph of Maria Callas\n\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size:16px;\"\u003e\u003cspan style=\"font-size:14px;\"\u003e\n\u003cb\u003eTotal duration: 79:15\u003c\/b\u003e\n\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\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"}],"url":"https:\/\/www.pristineclassical.com\/collections\/ensemble-la-scala-orchestra.oembed?page=3","provider":"Pristine Classical","version":"1.0","type":"link"}