{"title":"Philharmonia Chorus","description":"\u003cp\u003eThe Philharmonia Chorus is a British chorus associated with the Philharmonia Orchestra.\u003c\/p\u003e\u003cp\u003eIt has been used for opera, choral and choral-orchestral repertory.\u003c\/p\u003e\u003cp\u003eThe chorus name is closely linked with London recording and concert activity in the mid-twentieth century.\u003c\/p\u003e","products":[{"product_id":"paco078","title":"GIULINI Mozart: Don Giovanni (1959) - PACO078","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eDon Giovanni\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStereo recording, 1959\u003cbr\u003eTotal duration: 2hr 42min\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eEberhard Wächter\u003c\/b\u003e - Don Giovanni\u003cbr\u003e\u003cb\u003eJoan Sutherland\u003c\/b\u003e - Donna Anna\u003cbr\u003e\u003cb\u003eLuigi Alva\u003c\/b\u003e - Don Ottavio\u003cbr\u003e\u003cb\u003eGottlob Frick\u003c\/b\u003e - Commendatore\u003cbr\u003e\u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e - Donna Elvira\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra \u0026amp; Chorus\u003c\/b\u003e\u003cbr\u003eConducted by\u003cb\u003e Carlo Maria Giulini\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe now celebrated Pristine Audio XR re-mastering treatment by Andrew Rose has rendered it superlative: warm, clear and spacious.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAlthough previous issues going back to 1987 are fine, EMI managed to botch \n                  its 2002 re-mastering of this famous recording in their \u003ci\u003eGreat \n                  Recordings of the Century\u003c\/i\u003e series, which is muffled, with \n                  all the upper frequencies removed. I found a very acceptable \n                  alternative in an issue on the Alto label which retains a little \n                  background hiss but no more than I would expect from a 1959 \n                  recording transferred from LPs, the very occasional click being \n                  in evidence. However, this Pristine transfer from clean LPs \n                  is now easily the best option: some slight sharpness in the \n                  LPs has been corrected, all clicks removed and the now celebrated \n                  Pristine Audio XR re-mastering treatment by Andrew Rose has \n                  rendered it superlative: warm, clear and spacious. The original \n                  EMI engineering was in any case always very good indeed. \u003cbr\u003e\n                    \u003cbr\u003e\n                  For all its fame and excellence, there are reasons to deny this \n                  account the epithet \"perfect\" - but a heck of a lot is very \n                  right indeed, starting with Giulini's magisterial direction, \n                  which is sprung, flexible and subtle, with none of the excessive \n                  leisureliness which sometimes afflicted his later conducting. \n                  The Philharmonia Orchestra is simply wonderful. \u003cbr\u003e\n                    \u003cbr\u003e\n                  The cast is superb, though I have reservations about a couple \n                  of things, starting with Taddei's tendency to ham it up too \n                  much with some nasal affectations and barking to accentuate \n                  things that are already intrinsically funny and are better delivered \n                  in a sly rather than a histrionic manner. He also loses tonal \n                  quality too often, such as in an ugly sustained D on \"maestosa\". \n                  Nonetheless, he is a good foil to Wächter's silky Don in \n                  their quick-fire exchanges, despite their voices being too similar \n                  in recitative if you are used to a bass such as Siepi or Ghiaurov \n                  as the Don. Wächter is aggressive, driven and able to signal \n                  that he is deliberately and cynically turning on the seductive \n                  charm to further his sex addiction. Many will welcome a baritone \n                  Don as more appropriate both to the tessitura of the music and \n                  the character of opera’s favourite roué. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Sutherland's Donna Anna is a surprise and simply the best on \n                  record: agile, huge and gorgeous of tone and even well characterised \n                  in so far as it is possible to enliven such a starchy soul. \n                  The contrast with Schwarzkopf's febrile Elvira is telling; she \n                  had already been singing this role for a decade and it suited \n                  her voice and talents ideally. Luigi Alva sings with both more \n                  beauty of line and steel in his tone than I had remembered. \n                  Sciutti is average as Zerlina, Cappuccilli hectoring as Masetto \n                  and the great Gottlob Frick very unsteady indeed in the opening \n                  scene - but he warms up nicely for an appropriately chilling \n                  and sepulchral Commendatore in the crucial final showdown. \u003cbr\u003e\n                  \u003cbr\u003e\n                  As is normally the case with Pristine, there is little in the \n                  booklet apart from the tracking cues, excerpts from a “Gramophone” \n                  review of a previous issue and a note from the engineer; otherwise \n                  one may go online for full programme notes. What is presumably \n                  a printing error on the spine of my review copies suggests that \n                  the catalogue number is 077; however, on the reverse covers, \n                  the discs themselves and the Pristine website the three discs \n                  are is listed as 078A, B and C.   \u003cbr\u003e\n                  \u003cbr\u003e\n                  \u003cb\u003e\u003ci\u003eRalph Moore \u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO078.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"Without question one of the supreme recordings of the twentieth century\"\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWith this recording apparently out of print (except for \nMP3 copies of the 2002 EMI reissue, I mistakenly thought - being unaware\n of another, 2009 EMI reissue on CD!), I was delighted to find that a \nset of near-mint HMV LPs delivered superb sound quality for remastering \npurposes. The discs themselves played slightly sharper than electrical \nreadings suggest was the true pitch sung - and has thus been corrected \nfrom 448Hz to 442.6Hz.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOther than that I've sought to bring greater clarity and\n accuracy to the sound through 32-bit XR remastering, which has revealed\n truly superb sound quality from start to finish of this timeless \nrecording.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eDon Giovanni\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eRecorded 7-15 October 1959\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAbbey Road Studios, London\u003c\/b\u003e\u003cbr\u003eTransfers from HMV Box SLS 5083\u003cbr\u003eCat Nos. ASD 3349-51\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTHE CAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eEberhard Wächter\u003c\/b\u003e (baritone) – Don Giovanni\u003cbr\u003e\u003cb\u003eJoan Sutherland\u003c\/b\u003e (soprano) – Donna Anna\u003cbr\u003e\u003cb\u003eLuigi Alva\u003c\/b\u003e (tenor) – Don Ottavio\u003cbr\u003e\u003cb\u003eGottlob Frick\u003c\/b\u003e (bass) – Commendatore\u003cbr\u003e\u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e (soprano) – Donna Elvira\u003cbr\u003e\u003cb\u003eGiuseppe Taddei\u003c\/b\u003e (baritone) – Leporello\u003cbr\u003e\u003cb\u003ePiero Cappuccilli\u003c\/b\u003e (baritone) – Masetto\u003cbr\u003e\u003cb\u003eGraziella Sciutti\u003c\/b\u003e (soprano) – Zerlina\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra \u0026amp; Chorus\u003c\/b\u003e\u003cbr\u003eChorus Master \u003cb\u003eRoberto Benaglio\u003c\/b\u003e\u003cbr\u003eHarpsichord \u003cb\u003eProfessor Heinrich Schmidt\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCarlo Maria Giulini\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, June 2012\u003cbr\u003eCover art: \"Don Juan and the statue of the Commander\" (detail) - Alexandre-Évariste Fragonard, oil on canvas, circa 1830-1835\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 42min\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO078.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO078.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Fanfare Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eEMI CD REISSUE, 2002\n\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eIt seems incredible now that Carlo Maria Giulini was the \u003cem\u003ethird choice\u003c\/em\u003e\n of conductor for this famed recording. First choice was Beecham, and \nwhen that fell through, Walter Legge, the producer, engaged Klemperer, \nwho, though weakened by illnesses and accidents, began working on the \nrecording, only to withdraw after three days because of pericarditis. \nLegge sent an SOS to the then relatively unknown Giulini, who responded \npositively, though, as the booklet tells us, with some trepidation. The \nrest is indeed history, as the whole ensemble proceeded to work like a \ndream, and produce what in this case is without question one of the \nsupreme recordings of the twentieth century, and will surely never be \nsurpassed on disc.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eCredit must go to Legge for two things \nin particular; firstly for assembling the peerless cast, and secondly \nfor overseeing the technical aspects so faultlessly. The beauty of the \nsingers is that, as befits the nature of the opera, they were either \nyoung (Alva, Wächter, Sutherland and Cappuccilli in their thirties, \nSciutti in her twenties) or in their absolute vocal and dramatic prime \n(Schwarzkopf, Taddei and Frick). Giulini himself was just 45, and the \nwhole project has a dynamism and wicked sense of humour that could only \nbe obtained with a team possessing this blend of talent, comparative \nyouth and experience.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eTo anyone who knows her only in 19th \ncentury Italian repertoire, Sutherland is a revelation here. She sings \nDonna Anna's arias with rare delicacy and elegance, plus the expected \ntechnical brilliance, while Schwarzkopf is simply perfection as Donna \nElvira, transforming her from what can sometimes be a mournful nag into a\n woman of great dignity and strength of character. The young Sciutti was\n an inspired choice as Zerlina, giving her a delightfully disingenuous \nquality that is as endearing as it is entertaining.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe men are equally good; Wächter was an\n exceptional Don, and in his vocal colouring contrives to reflect \nbrilliantly all the different ways the character presents himself to \nthose he wishes to manipulate, be they male or female. Alva makes an \nappropriately sweet-toned and rather deadpan Don Ottavio (though he is a\n touch rhythmically slack in places), and Cappuccilli makes an hilarious\n Masetto, aflame with righteous indignation and sexual jealousy. Frick \nis in his best cavernous voice as the Commendatore, reminding us of the \ngreat recorded Hagen he was to become soon after this.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eA cast ‘to die for’, then, no doubt \nabout that. Yet there are plenty of opera sets that fail to ignite \ndespite the starriest of line-ups. It’s the \u003cem\u003epacing \u003c\/em\u003eof the whole\n thing that is so superb, and here the continuo player, Heinrich \nSchmidt, makes a huge contribution. He gets the passages of \u003cem\u003erecitativo secco\u003c\/em\u003e\n bowling along at a terrific rate, emphasising the knockabout humour. In\n particular, the exchanges between Don Giovanni and Leporello are \noutstanding, the master’s twitting of the servant having, for modern \nears, unmistakable echoes of Blackadder and Baldrick.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe orchestral playing is what finally \nlifts the performance to the sublime level it achieves. Giulini draws \nthe most sensitive, stylish and dramatically aware playing from the \nPhilharmonia, especially from the strings, who produce a warmth and \nbeauty of tone that is very special. This serves to underline how this \nopera came to mean so very much – arguably more than any other 18th \ncentury stage work – to the Romantics of the 19th century.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe recording captures all of this \nfaithfully, with a balance that manages to make the singers sound just a\n little larger than life without losing the correct perspective. One of \nthe greatest musical and dramatic experiences available on disc, then, \nand one that I personally will always treasure.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eGwyn Parry-Jones, MusicWeb International\u003c\/b\u003e December 2002\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":32606647053,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":32606647245,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":32606647373,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO078_59dc3393-b69e-425b-a746-59e5768278ef.jpg?v=1487869053"},{"product_id":"paco078-cd","title":"GIULINI Mozart: Don Giovanni (1959) - PACO078 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"3CD only in plastic sleeve (+MP3)","offer_id":40478072333,"sku":null,"price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO078_3c52e0c4-0107-4274-86cd-a5758925d4c3.jpg?v=1658483850"},{"product_id":"pasc371","title":"KLEMPERER conducts Beethoven Symphonies Volume 3 (1957\/60) - PASC371","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 7\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 8\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in stereo 1957 \u0026amp; 1960\u003cbr\u003eTotal duration: 2hr 22:41\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAase Nordmo Løvberg\u003c\/b\u003e soprano\u003cbr\u003e\u003cb\u003eChrista Ludwig\u003c\/b\u003e alto\u003cbr\u003e\u003cb\u003eWaldemar Kmentt\u003c\/b\u003e tenor\u003cbr\u003e\u003cb\u003eHans Hotter\u003c\/b\u003e bass\u003cbr\u003e\u003cb\u003eThe Philharmonia Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThese three recordings are of the highest order and ones I will return to with great pleasure578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis is the third volume of the re-mastered “stereo \n          set” of Klemperer’s Beethoven symphonies. Unlike the budget \n          EMI Classics set (10 CDs - 4 04275 2) which nevertheless is a great \n          bargain, these transfers come from pristine LPs. The sound, as I discussed \n          when reviewing \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/June13\/Beethoven_sys456_PASC369.htm\"\u003eVolume \n          2\u003c\/a\u003e is notable for its superior bass. It sounds like top rate vinyl, \n          which many older collectors may prefer. Unlike the \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/July13\/Mahler_sys_2483982.htm\"\u003eMahler \n          set\u003c\/a\u003e where EMI have re-mastered and, in the case of the \u003ci\u003eResurrection\u003c\/i\u003e \n          restored the correct length, the EMI re-mastering is from the 1990s. \n          This is a missed opportunity although not all recent re-masters are \n          an improvement.  \u003cbr\u003e\n          \u003cbr\u003e\n          The stereo \u003cb\u003e\u003ci\u003eSeventh\u003c\/i\u003e\u003c\/b\u003e has, like the \u003ci\u003eEroica\u003c\/i\u003e and the\u003ci\u003e \n          Fifth\u003c\/i\u003e been generally, unfavourably compared to the mono recordings \n          of 1955. The mono \u003ci\u003e\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2002\/Nov02\/Beethoven57_Klemperer.htm\"\u003eSeventh\u003c\/a\u003e\u003c\/i\u003e \n          was last released separately (it is also in the 10 CD set, referred \n          to above) and my colleague Christopher Howell had reservations. The \n          first time I heard the 1955 CD in its stereo version (recorded in secret, \n          along with the mono) in 1988 I was impressed but have since found it \n          too slow. The first movement compares very unfavourably with Beecham \n          on EMI and others. Five years later, the first movement is much slower \n          than the norm but is powerful in its own way. The sound of the orchestra \n          is excellent. One key point from Klemperer was that like many conductors \n          of the old school (not Stokowski) was that he divided first and second \n          violins. This gives an antiphonal effect that is vital in these works. \n          The slow movement makes a terrific impact, one of the strongest I’ve \n          heard. This power and conviction continues during the Presto and the \n          finale although I did find the latter rather lumbering. I recalled Beecham’s \n          comment about yaks dancing, these yaks seem fairly geriatric. \u003cbr\u003e\n            \u003cbr\u003e\n          The sound of the orchestra is excellent and how well the Philharmonia \n          play. I enjoyed this recording much more than I expected; on its own \n          terms it’s quite a performance. In addition to the two EMI studio \n          recordings there are at least four live recordings for those who cannot \n          get enough of this work under Klemperer; for those enthusiasts may I \n          direct you to the Naxos Music Library. \u003cbr\u003e\n            \u003cbr\u003e\n          The \u003cb\u003e\u003ci\u003eEighth\u003c\/i\u003e\u003c\/b\u003e is a fine “heavy-weight” recording, \n          made concurrently with the RFH concerts. It certainly shows this work \n          is not a little symphony. Many of the points I have made referring the \n          \u003ci\u003eSeventh\u003c\/i\u003e apply here to a work which Klemperer clearly does not \n          see as a throwback to the first two symphonies. Whilst there is some \n          humour here, the performance does not have the joy others, such as Beecham, \n          have brought to this lovely work. The wind playing, particularly during \n          the Minuet is delightful and comes over very well in this re-mastering. \n          All in all, well worth hearing if by no means the only version to have. \n          \u003cbr\u003e\n            \u003cbr\u003e\n          When we come to the \u003cb\u003e\u003ci\u003eNinth\u003c\/i\u003e\u003c\/b\u003e we are dealing with one of the \n          first stereo recordings of the Choral Symphony. It garnered excellent \n          reviews on its release in 1959 and has always been held in high regard \n          as has the live recording, made by the same forces on \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2000\/june00\/beethoven9.htm\"\u003eTestament\u003c\/a\u003ea \n          week earlier.  \u003cbr\u003e\n          \u003cbr\u003e\n          I had not heard this performance for a very long time but was very impressed \n          right from the start. Klemperer really understands the first movement \n          in a way few others do, taking us through every part with clear detail \n          and purpose. The second movement “Scherzo” has been criticized \n          for its steady tempo but it is very evolving and engaging and credit \n          must be given to the Philharmonia and the producer Walter Legge. A few \n          nights ago we listened to the BBC Proms and Valery Petrenko conducting \n          the work where this movement in particular felt too hard-driven. The \n          third movement “adagio” is simply superb with everything \n          in place; the pace just right. Again we hear wonderful wind and string \n          playing. I thought there was too big a pause between the end of the \n          “adagio” and the “finale” but when we’re \n          into the “presto” all is good again and the playing is just \n          superb. There was some criticism, at the time, of Hans Hotter’s \n          singing but to my ears the soloists and chorus are first rate. It’s \n          a tribute to Walter Legge and the engineers as well as to Pristine that \n          the sound totally belies its 55 years. There is a real sense of the \n          special occasion, which I find very moving. There were comments, on \n          its original release, of the virtues of stereo and this is reinforced \n          in the final part. This is a \u003ci\u003eNinth\u003c\/i\u003e that certainly \n          deserves to be heard and enjoyed. \u003cbr\u003e\n            \u003cbr\u003e\n          These three recordings, despite a few reservations, are of the highest \n          order and ones I will return to with great pleasure, especially the \n          \u003cb\u003e\u003ci\u003eChoral\u003c\/i\u003e\u003c\/b\u003e. Allow me, however, to look elsewhere for more \n          spirited yaks in the \u003ci\u003eSeventh\u003c\/i\u003e. \u003cbr\u003e\n            \u003cbr\u003e\n          \u003cb\u003e\u003ci\u003eDavid R Dunsmore \u003c\/i\u003e\u003c\/b\u003e \u003cbr\u003e\n          \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC371.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"The performance is as great as anything one is likely to hear in this world\" - The Gramophone\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs with the previous releases in this series, I came to the original \nEMI recordings full of admiration. Consistently well-made and of this \nhighest technical quality for their era, one wonders what benefits might\n arise from applying XR remastering to them? And then I hear the results\n - and suddenly those 1950s recordings don't sound so good after all in \ncomparison! This is therefore a project dedicated to extracting the \nfinest sound possible from a very accomplished working base. It is \nsomething I believe is as valid for well-known, well-made recordings of \nthe past as it is for the rarer and more troublesome recordings I also \nwork with.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis presents Klemperer at his very best; he can now be heard in \nunprecedented sound quality, significantly improving on all previous \nissues.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eKLEMPERER\u003c\/b\u003e conducts \u003cb\u003eBeethoven\u003c\/b\u003e Symphonies Volume 3 (1957\/60)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7 in A major, Op. 92\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Poco sostenuto — Vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:53)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 8 in F, Op. 93\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro vivace e con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegretto scherzando\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Tempo di Menuetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:31)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125 \"Choral\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro ma non troppo, un poco maestoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(17:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Molto vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Adagio e cantabile — Andante moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Presto — Allegro assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(24:40)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTracks 1–12:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAase Nordmo Løvberg\u003c\/b\u003e soprano\u003cbr\u003e\u003cb\u003eChrista Ludwig\u003c\/b\u003e alto\u003cbr\u003e\u003cb\u003eWaldemar Kmentt\u003c\/b\u003e tenor\u003cbr\u003e\u003cb\u003eHans Hotter\u003c\/b\u003e bass\u003cbr\u003e\u003cb\u003eThe Philharmonia Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e conductor\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eRecording dates:\u003c\/b\u003e\u003cbr\u003eSymphony No. 7 Recorded 25 October, 19 November and 3 December, 1960\u003cbr\u003eSymphony No. 8 Recorded 29-30 October 1957\u003cbr\u003eSymphony No. 9 Recorded 31 October and 21-23 November 1957\u003cbr\u003eRecorded at Kingsway Hall, London\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, November-December 2012\u003cbr\u003eCover artwork based on a photograph of Otto Klemperer\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 22:41\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC371.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC371.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW Beethoven Symphony No. 9\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eHere is the much anticipated Klemperer Ninth. So many \nreaders will have heard him conduct this in the concert hall or on the \nradio, or will at any rate know his way with Beethoven from other \nrecords, that it seems hardly necessary to describe the result in much \ndetail - it is so obviously going to be a great Beethoven \ninterpretation. And so, indeed, it is, with the Columbia technical staff\n all out, too, to make the result a success. \u003cbr\u003e\u003cbr\u003eBut although we may\n know conductor and orchestra, there are two less predictable \nparticipants in this perfonnance, the soloists and the Philharmonia \nChorus (who here make their debut on records). Soloists, bless their \nhearts (or, curse them, according to your mood) are seldom predictable. \nThe best known of this quartet is Hans Hotter, a fine singer and artist \nindeed, but singing his opening recitative in a manner that will \ndistress many sensitive ears. I f only, one feels, he had concentrated \nless on expressing the message of the words and more on singing each \nnote well in tune, for he pushes some very sharp. Later, when he is \nmainly engaged in quartet work, his contribution is excellent. \u003cbr\u003e\u003cbr\u003eThe\n rest are efficient without being remarkable, good enough, at any rate, \nnot to let things down. The soprano, Aase Nordmo Løvberg, does her \ndifficult job pretty well, though she tends to force the pace a bit at \nthe start and her final top B is precise rather than particularly \nbeautifulnothing like Schwarzkopf's in her performance with Furtwängler.\n Christa Ludwig fills her less exacting role well and Waldemar Kmentt is\n perfectly adequate, if not remarkable. Whether he has a ringing top B \nflat, by the way, one cannot tell, for the chorus covers him when he \nshould come out with it. \u003cbr\u003e\u003cbr\u003eThe Philharmonia Chorus is splendid. \nBright tone, incisive attack, boundless energy and all the sustained \npower you could wish for- the sopranos' long f f top A at the end of \n\"der ganzen Welt\" section is as thrilling as the subsequent pp chords \nfrom the whole chorus (\"muss ein lieber Vater wohnen\"). \u003cbr\u003e\u003cbr\u003eI said \nthat there was little need to describe Klemperer's interpretation, but \nthat will not prevent me, like Saki's boring Stephen Thorle, from doing \nso! It is a performance which leaves you at the end with the feeling \nthat every performance of the Ninth should give, that you have been \nthrough a spiritual experience of overwhelming greatness. It is of a \nquality that I think no other living conductor could give. And, \ndifferent as Klemperer is from Toscanini, the two have certain things in\n common. The astonishing attention to detail, the gift ofilluminating \nthe significance of some detail of orchestration that had escaped one's \nattention before: and (which I think Klemperer has in even greater \ndegree) the achievement of an orchestral balance that gives lucidity of a\n kind rarely heard. (Those close-packed imitative entries in the first \nmovement, bars 427 to 452, have surely never been so clearly heard.) \u003cbr\u003e\u003cbr\u003eThe\n first movement is immensely powerful, but impressed me most of all by \nthe way Klemperer seizes upon and conveys the essential atmosphere of \nevery part of it, especially those \u003cem\u003epp\u003c\/em\u003e passages of indescribable mystery. The \u003cem\u003eScherzo\u003c\/em\u003e,\n with the Philharmonia playing the softest sections with astonishing \ndelicacy, may seem a little steady and cautious in comparison with other\n conductors' performances, but it is, in fact, taken at about \nBeethoven's metronome mark. (Weingartner's speed was only slightly \nfaster, but Toscanini's a good deal more so and gave, therefore, an \nentirely different feeling to the whole movement.) But Klemperer is a \ngreat respecter of the score and, by the way, is one of the few to \nobserve the repeat of the second section of this movement. The slow \nmovement, with a wonderfully rapt meaa voce from the strings, is surely \nall that one could wish for and a momentary lapse of ensemble between \nviolas and woodwind at one point is insignificant beside the satisfying \nbeauty of all the playing. \u003cbr\u003e\u003cbr\u003eThis, then is a great experience to hear.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eTH, The Gramophone\u003c\/strong\u003e, November 1958 \u003cem\u003e(Review of first LP issue)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe Klemperer 9th in stereo at last -months after its \nscheduled release date and a full year after its mono issue. Readers may\n speculate as to why those who have been enterprising enough to equip \nthem.selves into a stereo set-up should have been made to wait so long. \nHowever, I hope they have not given in and bought the mono records, for \nthe stereo is undoubtedly much superior and it is, in fact, the sort of \nrecording of this work I have been waiting for. \u003cbr\u003e\u003cbr\u003eI put on the \nfinale straightway (on the principle that we all know E.M.I. can record \nan orchestra well enough) and immediately began to think that this \nsounded more like a real performance than any record of a choral work I \nhad ever heard. All the adjectives with which everyone describes stereo \ncame to mind (I'm sure you know them by now) and the advantage in the \nreproduction of this array of soloists, chorus and orchestra is great \nindeed. \u003cbr\u003e\u003cbr\u003eDirect comparison with the mono sound was difficult \nbecause the two are recorded at very different levels (the stereo lower)\n and one had to keep finding an equal volume before any true judgment of\n the impact of the chorus or the climaxes was possible. But my main \nimpression was of the way the stereo sound laid out the forces before me\n in a wide arc, with the orchestra more consistently clear against the \nchorus than ever before. This spaciousness of the music is the greatest \ngain. \u003cbr\u003e\u003cbr\u003eBalance is very good, though sometimes different from that\n of the mono records. For a year I have been going about saying that \nnobody makes the trumpets ring out in the choral part of the 6\/8 section\n as Klemperer does and how wonderful that is. Well, he doesn't in \nstereo! And what he really does one could only discover by hearing a \nlive performance. Which just shows how much we are at the mercy of the \ntechnicians. \u003cbr\u003e\u003cbr\u003eThe performance is as great as anything one is \nlikely to hear in this world. If I criticised any points in my earlier \nreview, they were of little account in relation to the whole---except, \nperhaps, Hotter's singing of his opening passage. (If only Columbia had \nD.G.G.'s Fischer-Dieskau). \u003cbr\u003e\u003cbr\u003eReaders should notice that this \nstereo recording takes four sides and that the Egmont side of the mono \nhas disappeared. When I consider the quality of what we are given and \ncompare it with the lack of quality in D.G.G.'s three-sided version, I \ncan't really regret the Egmont loss. There is absolutely no question of \nwhich to choose between the two, for both immensity of performance and \nfineness of recording. \u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eTH, The Gramophone\u003c\/strong\u003e, December 1959 \u003cem\u003e(Review of first stereo LP issue)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":36726534925,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":36726534989,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":36726535053,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC371_0aee36e6-fb31-4c15-b5f7-c7009bb30930.jpg?v=1493473330"},{"product_id":"pasc371-cd","title":"KLEMPERER conducts Beethoven Symphonies Volume 3 (1957\/60) - PASC371 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478171533,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC371_8010f141-e600-46cd-9bd7-f97fb167c526.jpg?v=1658309012"},{"product_id":"pabx012","title":"KLEMPERER Complete Beethoven Symphonies (1956-60) - PABX012","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphonies Nos. 1 - 9\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eGroße Fuge\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eCoriolan Overture\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1956-1960\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAase Nordmo Løvberg\u003c\/b\u003e soprano\u003cbr\u003e\u003cb\u003eChrista Ludwig\u003c\/b\u003e alto\u003cbr\u003e\u003cb\u003eWaldemar Kmentt\u003c\/b\u003e tenor\u003cbr\u003e\u003cb\u003eHans Hotter\u003c\/b\u003e bass\u003cbr\u003e\u003cb\u003eThe Philharmonia Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThere is a perceptible improvement to be enjoyed as a result of Rose’s remastering efforts578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW OF VOLUMES 2 \u0026amp; 3\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThese releases represent a sonic update by Andrew \nRose of the well-known and highly regarded Klemperer EMI Kingsway Hall \nreleases from 1956-60, plus the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGrosse Fuge\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n recorded at Abbey Road Studio One. Though EMI pressings of that era \ncould be noisy and sometimes less than luminous, the master tapes \nthemselves have always been considered to represent the best that was \npossible in early stereo, and listeners have been able to enjoy them on \nCD for some time now without having to make too many allowances for \nantiquity. There is nonetheless a perceptible improvement to be enjoyed \nas a result of Rose’s remastering efforts.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe sound here seems to have had a veil lifted \nfrom the treble, and the general effect of comparing these CDs side by \nside with the EMI releases is to note a greater kaleidoscopic and \nreverberant depth as a result of Rose’s efforts. These CDs sound nearly \nmodern in their lack of “flatness.” And for long stretches one nearly \nforgets entirely the age of the endeavor. Of course, dynamics in \nclimaxes tend to back away from the listener a bit, and the price of \ngreater luminosity is sometimes a slight metallic tinge to the \nreverberant field. But all of this is so subtle, that the general effect\n is of a nearly modern set of recordings. There is little real \ndistortion. A happy plus in these releases is the inclusion as liner \nnotes of the original \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e reviews from the cycle.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRehearing after many years, I’m struck by how \nnormal Klemperer’s pacing actually is, for a conductor often accused of \nslowness. He was clearly in full vigor for these interpretations. And \nthe Philharmonia of his era was an elegant orchestra, as close as \nBritain ever got to replicating the smoothness and elision of phrasing \npossible in Berlin and Vienna. It does not hurt that the other major \nconductor most associated with recording the Philharmonia during this \nperiod was Herbert von Karajan! Karajan consciously aimed to combine the\n electricity of Toscanini with the smoother and more metaphysical view \nfavored by Furtwängler. Klemperer, by contrast, sought a slower and more\n consistently rounded approach, not unlike Furtwängler’s, but without \nFurtwängler’s sudden shifts in tempo.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Fifth and Seventh symphonies make for good \ncases in point. Listening is like watching a powerful railroad train \nfrom the air. The train moves massively and even swiftly. It does not \nseem to slow down going uphill, nor speed-up going down. It leans \nslightly into curves, but its weight carries it around them at full \nspeed. One is aware of great mass-in-motion and the sheer impressiveness\n of its unstoppability. Indeed, this power is so striking, one is \ntempted to extend the metaphor and suggest that period-performance \npractices of the present day are giving us toy trains!  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBack in the early 1960s, much was made of how \nslowly the scherzo in the “Pastorale” came across in Walter’s Columbia \nSymphony recording—and it was commented that Klemperer’s recording was \neven slower. But listening with fresh ears, I’m struck by how well \nKlemperer’s tempo comports with a group of people actually dancing. If \nyou were watching a folk dance on the village green, the participants \nwould most likely move at a tempo like this—one which takes into account\n the sheer physics of mass and movement. Thought about this way, the \nmore common “Pastorale” tempo choices often seem cartoonish and \nun-danceable.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn general, when it comes to phrasing Beethoven, \nan irreverent analysis might go like this: Toscanini—dogs sneezing; \nKarajan—a bullet train; Klemperer—a hundred car freight train.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI’m happy to be a hobo on this one. Save me a boxcar! \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eSteven Kruger\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003eThis article originally appeared in Issue 36:6 (July\/Aug 2013) of Fanfare Magazine.\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC365.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 16px; text-align: left;\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eKLEMPERER conducts Beethoven Symphonies Volume 1 (1957\/59) - PASC365\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\n\n\u003cbr\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eKlemperer was a busy man in 1957 and thereabouts. Having polished off the Brahms symphonies (Pristine Audio PASC360-362) in the springtime, he soon set to work on the Beethoven canon. October alone saw recordings in London's Kingsway Hall of the bulk of the series - all or part of the First, Second, Fourth, Sixth, Eighth and Ninth were taped in stereo during this month, together with the Coriolan Overture present in this volume.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt's true to say that the recordings were very well made for their day - better perhaps than the Brahms which had preceded them. XR remastering here isn't a question of rescuing a dismal historic artefact; rather it's a case of eliciting the very finest sound quality possible from from fine source material - digging deep into the bass for added richness; opening out oft-constricted strings; lifting a veil from the upper treble. In short, whilst the current EMI transfers are perfectly acceptable representations of what was possible in 1957, these Pristine remastering offer us what more could have been heard had Klemperer and the Philharmonia had a 21st century recording facility to work with. It's one of those classic series of recordings which merit the very best sound quality - and which should stand thus in every collection.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eKLEMPERER conducts Beethoven Symphonies Volume 2 (1956-59) - PASC369\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eKlemperer's classic Beethoven Symphony Cycle: The middle set, Nos 4-6\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eUnprecedented sound quality in these new 32-bit XR-remastered transfers\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt's true to say that these recordings were very well made for their day - better perhaps than the Brahms which had preceded them. XR remastering here isn't a question of rescuing a dismal historic artefact; rather it's a case of eliciting the very finest sound quality possible from from fine source material - digging deep into the bass for added richness; opening out oft-constricted strings; lifting a veil from the upper treble. In short, whilst the current EMI transfers are perfectly acceptable representations of what was possible in 1956-59, these Pristine remastering offer us what more could have been heard had Klemperer and the Philharmonia had a 21st century recording facility to work with. It's one of those classic series of recordings which merit the very best sound quality - and which should stand thus in every collection.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eKLEMPERER conducts Beethoven Symphonies Volume 3 (1957\/60) - PASC371\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eKlemperer's classic Beethoven Symphony Cycle: The final set, Nos 7-9\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"The performance is as great as anything one is likely to hear in this world\" - The Gramophone\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs with the previous releases in this series, I came to the original \nEMI recordings full of admiration. Consistently well-made and of this \nhighest technical quality for their era, one wonders what benefits might\n arise from applying XR remastering to them? And then I hear the results\n - and suddenly those 1950s recordings don't sound so good after all in \ncomparison! This is therefore a project dedicated to extracting the \nfinest sound possible from a very accomplished working base. It is \nsomething I believe is as valid for well-known, well-made recordings of \nthe past as it is for the rarer and more troublesome recordings I also \nwork with.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis presents Klemperer at his very best; he can now be heard in \nunprecedented sound quality, significantly improving on all previous \nissues.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eKLEMPERER\u003c\/b\u003e Complete \u003cb\u003eBeethoven\u003c\/b\u003e Symphonies (1956-60)\u003c\/p\u003e\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eKLEMPERER conducts Beethoven Symphonies Volume 1 (1957\/59) - PASC365\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003e\u003cb\u003eKLEMPERER\u003c\/b\u003e conducts \u003cb\u003eBeethoven\u003c\/b\u003e Symphonies Volume 1 (1957\/59)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 1 in C, Op. 21\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio molto — Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante cantabile con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Menuetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Adagio — Allegro molto e vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:35)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 2 in D, Op. 36\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio molto — Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Larghetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo (allegro)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro molto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:05)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 3 in E flat, Op. 55 \"Eroica\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Marcia funebre Adagio assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro molto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:33)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCoriolan Overture, Op. 62\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:59)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTracks 1–13:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e conductor\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eRecording dates:\u003c\/b\u003e\u003cbr\u003eSymphony No. 1 recorded 28-29 October 1957\u003cbr\u003eSymphony No. 2 recorded 4-5 October 1957\u003cbr\u003e*Symphony No. 3 recorded 29 October \u0026amp; 11-13 November 1959\u003cbr\u003eCoriolan Overture recorded 21 October 1957\u003cbr\u003eRecorded at Kingsway Hall, London\u003cbr\u003e*Studio One, Abbey Road, London\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, November 2012\u003cbr\u003eCover artwork based on a photograph of Otto Klemperer\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 9:10\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eKLEMPERER conducts Beethoven Symphonies Volume 2 (1956-59) - PASC369\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003e\u003cb\u003eKLEMPERER\u003c\/b\u003e conducts \u003cb\u003eBeethoven\u003c\/b\u003e Symphonies Volume 2 (1956-59)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 4 in B flat, Op. 60\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio — Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:46)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 5 in C minor, Op. 67\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo — Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:37)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 6 in F, Op. 68 \"Pastoral\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante molto mosso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eV. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:30)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Große Fuge, Op. 133\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGroße Fuge, Op. 133\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:34)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTracks 1–14:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e conductor\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eRecording dates:\u003c\/b\u003e\u003cbr\u003eSymphony No. 4 recorded 21-22 October 1957\u003cbr\u003e*Symphony No. 5 recorded 22-24 October 1959\u003cbr\u003eSymphony No. 6 recorded 28-29 October 1957\u003cbr\u003e*Große Fuge recorded 26-27 March 1956\u003cbr\u003eRecorded at Kingsway Hall, London\u003cbr\u003e*Studio One, Abbey Road, London\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, November 2012\u003cbr\u003eCover artwork based on a photograph of Otto Klemperer\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 19:16\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eKLEMPERER conducts Beethoven Symphonies Volume 3 (1957\/60) - PASC371\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003e\u003cb\u003eKLEMPERER\u003c\/b\u003e conducts \u003cb\u003eBeethoven\u003c\/b\u003e Symphonies Volume 3 (1957\/60)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7 in A major, Op. 92\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Poco sostenuto — Vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:53)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 8 in F, Op. 93\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro vivace e con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegretto scherzando\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Tempo di Menuetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:31)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125 \"Choral\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro ma non troppo, un poco maestoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(17:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Molto vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Adagio e cantabile — Andante moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Presto — Allegro assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(24:40)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTracks 1–12:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAase Nordmo Løvberg\u003c\/b\u003e soprano\u003cbr\u003e\u003cb\u003eChrista Ludwig\u003c\/b\u003e alto\u003cbr\u003e\u003cb\u003eWaldemar Kmentt\u003c\/b\u003e tenor\u003cbr\u003e\u003cb\u003eHans Hotter\u003c\/b\u003e bass\u003cbr\u003e\u003cb\u003eThe Philharmonia Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e conductor\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eRecording dates:\u003c\/b\u003e\u003cbr\u003eSymphony No. 7 Recorded 25 October, 19 November and 3 December, 1960\u003cbr\u003eSymphony No. 8 Recorded 29-30 October 1957\u003cbr\u003eSymphony No. 9 Recorded 31 October and 21-23 November 1957\u003cbr\u003eRecorded at Kingsway Hall, London\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, November-December 2012\u003cbr\u003eCover artwork based on a photograph of Otto Klemperer\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 22:41\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":40659383117,"sku":null,"price":96.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55205553733966,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55205553766734,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC365.jpg?v=1769527809"},{"product_id":"pabx012-cd","title":"KLEMPERER Complete Beethoven Symphonies (1956-60) - PABX012 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"6 CDs only in plastic sleeve (+MP3)","offer_id":55205553701198,"sku":null,"price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC365_209fe920-64d0-442c-a7e1-2cacbd9cfde3.jpg?v=1657122040"},{"product_id":"paco167","title":"KARAJAN R. Strauss: Der Rosenkavalier (1956) - PACO167","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Der Rosenkavalier\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1956\u003cbr\u003eTotal Duration: 3hr 11:57\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e - Die Feldmarschallin\u003cbr\u003e\u003cb\u003eChrista Ludwig\u003c\/b\u003e - Octavian\u003cbr\u003e\u003cb\u003eTeresa Stich-Randall\u003c\/b\u003e - Sophie\u003cbr\u003e\u003cb\u003eOtto Edelmann\u003c\/b\u003e - Der Baron Ochs auf Lerchenau\u003cbr\u003e\u003cb\u003eEberhard Wächter\u003c\/b\u003e - Herr von Faninal\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eHerbert von Karajan\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO167.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Richard Strauss undoubtedly had a life-long love affair with the female\n    voice. All his best operatic roles are written for women and nowhere is\n    this more apparent than in \u003cem\u003eDer Rosenkavalier. \u003c\/em\u003eThe opera features\n    excellent parts for no less than three different types of female voice:\n    light soprano (Sophie), mezzo-soprano (Octavian) and mature lyric soprano\n(Marschallin). When EMI producer Walter Legge decided to record    \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e the easiest choice he had to make was casting\n    his wife, Elisabeth Schwarzkopf, as the Marschallin. Schwarzkopf sang\n    Sophie at Covent Garden and elsewhere in the late 1940s, but it was the\n    Marschallin that would become her signature role. The role requires a\n    mature singer able to convey the huge emotional range of the part using\n    both the music and the words. Schwarzkopf was a renowned lieder singer and\n    puts this experience to full use. Her voice has just the right combination\n    of weight and lyricism to convey all of the emotion felt by the character\n    as she accepts the loss of her youth.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    A young Christa Ludwig sings Octavian with verve. Ludwig would go on to be\n    lauded as one of the greatest mezzos of her time, singing far more than the\n    usual range of roles. In addition to the ones you would expect (Carmen,\n    Fricka, Waltraute, Ortrud, Brangäne, Cherubino), she mastered some parts\n    more normally associated with dramatic sopranos including Fidelio, Kundry\n    and the Dyer’s Wife. Teresa Stich-Randall sings the youthful Sophie,\n    bringing a lovely vocal purity to the role. The American soprano burst onto\n    the musical scene as Nanetta in Toscanini’s broadcast of Falstaff in 1950\n    but bulk of her future career would be in Europe. Stich-Randall made few\n    studio recordings and only this \u003cem\u003eRosenkavalier\u003c\/em\u003e has remained\n    consistently in the catalogue. Austrian bass Otto Edelmann sings Ochs and\n    is careful not to overact the part. It is easy to go too far in the\n    characterisation of Ochs but Edelman offers us a slightly more restrained\n    performance that works very well. Edelmann sang Hans Sachs at the\n    re-opening of the Bayreuth festival in 1951, repeating the role at the\n    Metropolitan Opera where he also sang Wotan, Gurnemanz and Ochs to great\n    acclaim.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Founded by Walter Legge in 1945 the Philharmonia was regarded as the finest\n    of all the London Orchestras in the 1950s. Having worked with the orchestra\n    on several previous occasions (this recording was one of several operas\n    that Karajan made with EMI in the mid-1950s with Schwarzkopf and the\n    Philharmonia) Karajan arrived at very first recording session and proceeded\n    to record the opening of the opera without any rehearsal, capturing the\nfreshness of a live performance in a studio environment. This recording of    \u003cem\u003eDer Rosenkavalier \u003c\/em\u003eremains one of the best ever committed to disc.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eTechnical Note on Mono vs Stereo\u003c\/b\u003e\u003cbr\u003eIn 1956 most record companies were starting to think about stereo. Some felt it would be the “next big thing” to drive sales in the future, others were less sure. EMI’s great British rivals Decca often seemed to be ahead of the game, whereas EMI by comparison appeared a more cautious, conservative outfit. Decca had had a two year head start in the UK with vinyl and long playing records over EMI, and by 1954 were making their first experimental stereo recordings, even though stereo replay was not yet a domestic possibility. And so, despite the scepticism of EMI’s Walter Legge, the larger company began to follow suit. Nobody wanted to be caught without back catalogue ready to issue if stereo ever arrived and then took off commercially.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe early approach to making recordings in stereo would now be thought of as highly unusual. For a number of years, into the early 1960s, two separate teams would work on a recording, one for mono and one for stereo. At first the top engineers made the mono recordings, leaving the stereo production to the “b team”. They used different microphones in different positions and ended up with a different balance. As time went on the top guys started doing more and more stereo work until the practise started to be abandoned around 1961. Thereafter mono releases were derived by mixing the two stereo channels into one.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn the case of \u003ci\u003eDer Rosenkavalier \u003c\/i\u003ethe official release version, made by the main production team, was mono. Nobody could know whether the stereo version would ever be released, and even if it was, whether anyone would buy it. The balance was significantly different between singers and orchestra – it was as if the stereo version was almost an afterthought – and yet this stereo release is the one most of us are now familiar with. (A similar thing happened in 1967 with The Beatles' \u003ci\u003eSgt. Pepper\u003c\/i\u003e album - purists prefer the mono version, which the band mixed over three weeks, over the quick stereo mix produced in three days after they'd gone home, just in case stereo took off in pop music.)\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn the mid-nineties Dame Elisabeth Schwarzkopf was enlisted as “re-engineering producer” for a CD reissue, now long out of print, of \u003ci\u003eDer Rosenkavalier\u003c\/i\u003e. She chose to work with the mono release. For her, and others, this was how it should sound. It's that carefully-crafted mono recording we’ve chosen to work with for Pristine. XR remastering has worked wonders to open out the sound here – without changing the fundamental character of the recording, it makes the original sound somewhat boxy and antique by comparison. I like to think Dame Elisabeth would have approved.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Der Rosenkavalier\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDisc One\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Introduction\u003cspan style=\"font-size: 12px;\"\u003e (3:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Wie du warst! Wie du bist!\u003cspan style=\"font-size: 12px;\"\u003e (2:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Du bist mein Bub', du bist mein Schatz!\u003cspan style=\"font-size: 12px;\"\u003e (5:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Der Feldmarschall sitzt im krowatischen Wald\u003cspan style=\"font-size: 12px;\"\u003e (4:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Quinquin, es ist ein Besuch\u003cspan style=\"font-size: 12px;\"\u003e (1:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Selbstverständlich empfängt mich Ihro Gnaden\u003cspan style=\"font-size: 12px;\"\u003e (8:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Hat Sie schon einmal\u003cspan style=\"font-size: 12px;\"\u003e (0:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Macht das einem lahmen Esel aus mir?\u003cspan style=\"font-size: 12px;\"\u003e (2:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Geben mir Euer Gnaden den Grasalf' da\u003cspan style=\"font-size: 12px;\"\u003e (1:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Wollen Euer Gnaden leicht den Jungen Herren da\u003cspan style=\"font-size: 12px;\"\u003e (1:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e I komm' glei\u003cspan style=\"font-size: 12px;\"\u003e (2:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Di rigori armato il seno\u003cspan style=\"font-size: 12px;\"\u003e (2:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Als Morgengabe\u003cspan style=\"font-size: 12px;\"\u003e (3:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Mein leiber Hippolyte\u003cspan style=\"font-size: 12px;\"\u003e (3:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Da geht er hin, der aufgeblasene schlechte Kerl\u003cspan style=\"font-size: 12px;\"\u003e (5:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Ach, du bist wider da!\u003cspan style=\"font-size: 12px;\"\u003e (5:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Die Zeit, die ist ein sonderbar Ding\u003cspan style=\"font-size: 12px;\"\u003e (2:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Mein schöner Schatz\u003cspan style=\"font-size: 12px;\"\u003e (4:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Ich werd' jetzt in die Kirchen\u003cspan style=\"font-size: 12px;\"\u003e (7:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDisc Two\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Introduction\u003cspan style=\"font-size: 12px;\"\u003e (0:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Ein ernster Tag, ein grosser Tag\u003cspan style=\"font-size: 12px;\"\u003e (1:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e In dieser feierlichen Stunde der Prüfung\u003cspan style=\"font-size: 12px;\"\u003e (3:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Mir ist die Ehre widerfahren\u003cspan style=\"font-size: 12px;\"\u003e (7:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Ich Kenn' Ich schon recht wohl\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Jetzt aber kommt mein Herr Zukünftiger\u003cspan style=\"font-size: 12px;\"\u003e (3:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Brav, Faninal, er weiss, was sich gehört\u003cspan style=\"font-size: 12px;\"\u003e (4:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Wird kommen über Nacht\u003cspan style=\"font-size: 12px;\"\u003e (2:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Hab nichts dawider\u003cspan style=\"font-size: 12px;\"\u003e (3:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Was Sie ist ... Mit Ihren Augen voll Tränen\u003cspan style=\"font-size: 12px;\"\u003e (3:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Herr Baron von Lerchenau!\u003cspan style=\"font-size: 12px;\"\u003e (7:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Er muss mich pardonieren\u003cspan style=\"font-size: 12px;\"\u003e (6:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Da lieg' ich!\u003cspan style=\"font-size: 12px;\"\u003e (6:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Da ... Herr Cavalier!\u003cspan style=\"font-size: 12px;\"\u003e (4:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDisc Three\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Einleitung und Pantomime\u003cspan style=\"font-size: 12px;\"\u003e (6:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Hab'n Euer Gnadenn noch weitre Befehle?\u003cspan style=\"font-size: 12px;\"\u003e (2:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Nein, nein, nein, nein! I trink' kein Wein\u003cspan style=\"font-size: 12px;\"\u003e (1:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Ach, lass Sie schon einmal das fade Wort!\u003cspan style=\"font-size: 12px;\"\u003e (3:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Die schöne Musi!\u003cspan style=\"font-size: 12px;\"\u003e (2:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Wie wie Stund' hingeht\u003cspan style=\"font-size: 12px;\"\u003e (4:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Oh weh, was maken wir?... Halt! Keiner rührt sich!\u003cspan style=\"font-size: 12px;\"\u003e (5:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Sind desto eher im Klaren\u003cspan style=\"font-size: 12px;\"\u003e (1:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Muss jetzt partout zu ihr!... Ihre hochfürstliche Gnaden\u003cspan style=\"font-size: 12px;\"\u003e (10:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Ist halt vorbei\u003cspan style=\"font-size: 12px;\"\u003e (2:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Mein Gott, es war nicht mehr als eine Farce\u003cspan style=\"font-size: 12px;\"\u003e (2:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Heut' oder morgen oder den übernächsten Tag\u003cspan style=\"font-size: 12px;\"\u003e (4:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Marie Theres'!... Hab' mir's gelobt\u003cspan style=\"font-size: 12px;\"\u003e (6:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Ist ein Traum, kann nicht wirklich sein\u003cspan style=\"font-size: 12px;\"\u003e (3:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Ist ein Traum... Spür nur dich\u003cspan style=\"font-size: 12px;\"\u003e (2:57)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e – Die Feldmarschallin\u003cbr\u003e\u003cb\u003eChrista Ludwig\u003c\/b\u003e – Octavian\u003cbr\u003e\u003cb\u003eTeresa Stich-Randall\u003c\/b\u003e – Sophie\u003cbr\u003e\u003cb\u003eOtto Edelmann\u003c\/b\u003e – Der Baron Ochs auf Lerchenau\u003cbr\u003e\u003cb\u003eEberhard Wächter\u003c\/b\u003e – Herr von Faninal\u003cbr\u003e\u003cb\u003eLjuba Welitsch\u003c\/b\u003e – Marianne\u003cbr\u003e\u003cb\u003ePaul Kuen\u003c\/b\u003e – Vlazacchi\u003cbr\u003e\u003cb\u003eKerstin Meyer\u003c\/b\u003e – Annina\u003cbr\u003e\u003cb\u003eNicolai Gedda\u003c\/b\u003e – Ein Sänger\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra And Chorus\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eHerbert von Karajan\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 10-15 \u0026amp; 17-22 December, 1956, Kingsway Hall, London\u003cbr\u003eProduced by Walter Legge\u003cbr\u003eXR remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Elisabeth Schwarzkopf as the Feldmarschallin.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD One: 70:19; CD Two: 58:51; CD Three:\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e 61:48\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 3hr 11:57\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO167.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO167.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":29994997088317,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205538169166,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205538201934,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO167.jpg?v=1568383527"},{"product_id":"paco167-cd","title":"KARAJAN R. Strauss: Der Rosenkavalier (1956) - PACO167 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO167.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"3 CDs only in plastic sleeve (+MP3)","offer_id":55205538136398,"sku":null,"price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO167_45654052-32d7-4050-bcb3-b4dbf6e43900.jpg?v=1658497295"},{"product_id":"paco189","title":"KARAJAN Mozart: Così fan tutte - Schwarzkopf, Merriman (1954) - PACO189","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eCosì fan tutte\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1954\u003cbr\u003eTotal duration: 2hr 40:31\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e - Fiordiligi\u003cbr\u003e\u003cb\u003eNan Merriman\u003c\/b\u003e - Dorabella\u003cbr\u003e\u003cb\u003eLisa Otto\u003c\/b\u003e - Despina\u003cbr\u003e\u003cb\u003eLeopold Simoneau\u003c\/b\u003e - Ferrando\u003cbr\u003e\u003cb\u003eRolando Panerai\u003c\/b\u003e - Guglielmo\u003cbr\u003e\u003cb\u003eSesto Bruscantini\u003c\/b\u003e - Don Alfonso\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra \u0026amp; Chorus\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eHerbert von Karajan\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO189.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\"Così fan tutte, ossia La scuola degli amanti\u003c\/b\u003e, K. 588, was first performed on 26 January 1790 at the Burgtheater in Vienna, Austria. The libretto was written by Lorenzo Da Ponte who also wrote Le nozze di Figaro and Don Giovanni.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe short title, \u003ci\u003eCosì fan tutte\u003c\/i\u003e, literally means \"So do they all\", using the feminine plural (tutte) to indicate women. It is usually translated into English as \"Women are like that\". The words are sung by the three men in act 2, scene 3, just before the finale; this melodic phrase is also quoted in the overture to the opera. Da Ponte had used the line \"Così fan tutte le belle\" earlier in \u003ci\u003eLe nozze di Figaro\u003c\/i\u003e (in act 1, scene 7).\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe first performance of Mozart's setting took place at the Burgtheater in Vienna on 26 January 1790. It was given only five times before the run was stopped by the death of the Emperor Joseph II and the resulting period of court mourning. It was performed twice in June 1790 with the composer conducting the second performance, and again in July (twice) and August (once). After that it was not performed in Vienna during Mozart's lifetime. The first British performance was in May 1811 at the King's Theatre, London. \u003ci\u003eCosì fan tutte\u003c\/i\u003e was not performed in the United States until 1922, when it was given at the Metropolitan Opera.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAccording to William Mann, Mozart disliked prima donna Adriana Ferrarese del Bene, da Ponte's arrogant mistress for whom the role of Fiordiligi had been created. Knowing her idiosyncratic tendency to drop her chin on low notes and throw back her head on high ones, Mozart filled her showpiece aria \"Come scoglio\" with constant leaps from low to high and high to low in order to make Ferrarese's head \"bob like a chicken\" onstage.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe subject matter did not offend Viennese sensibilities of the time, but in the 19th and early 20th centuries was considered risqué, vulgar, and even immoral. The opera was rarely performed, and when it did appear it was presented in one of several bowdlerised versions. After World War II it regained a place in the standard operatic repertoire and is now frequently performed.\" - \u003cb\u003e\u003ci\u003eWikipedia\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\"This is a performance worthy to be set beside the Glyndebourne one recorded for the Mozart Opera Society (EMI) and it has, of course, the advantage of present-day recording technique. The Glyndebourne set omitted two arias from Act 2, ‘Tradito, schernito’ (sung by Ferrando) and ‘E amore un ladroncello’ (sung by Dorabella), which are restored in the present recording, though the Duettino in Act 1, and Ferrando’s aria ‘Ah! io veggio, quell’ anima bella’ are, as is customary, cut. The recitatives are reduced to the necessary minimum, but they are sung with such verve and expression that I almost regretted the cuts. One of the most delicious moments is the conversation about the weather between the embarrassed couples in the garden scene in Act 2.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe casting is ideal. Elisabeth Schwarzkopf is in splendid voice as the sentimental Fiordiligi and sings her two big arias not only brilliantly but with expressive moments that are really touching: and Nan Merriman, as the practical Dorabella, is equally good and keeps a firm hold of the vocal line in her Gluck-like aria, ‘Smanie implacabili’. The two voices blend well and the characters, vocally, are excellently contrasted.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eLisa Otto has not quite the flexibility that Alda Noni brought to the part or the mischievous charm I remember (in an unforgettable performance at the Residenz Theatre, Munich, in past years) in Elisabeth Schumann’s singing: but Miss Otto is a good Despina and very amusing in her assumed voices as the doctor and notary.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eSesto Bruscantini’s Don Alfonso is a subtle and convincing characterisation. He uses an apparently gentle old man’s voice (‘I’m a peaceful old fogey’) as he makes fools of the sisters (and indeed of their lovers) and this generally quiet manner renders his anti-feminine outburst in Act 1 all the more effective.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eRolando Panerai, as Guglielmo, subdues his powerful voice to the needs of the occasion and Léopold Simoneau, as Ferrando, surpasses himself in lovely tone and phrasing.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis strong cast is supported by orchestral playing by the Philharmonia Orchestra under Karajan of the finest quality: one feels every member of the orchestra is giving of his very best. Both singers and players handle their lovely phrases like jewels and throughout the opera the performance, sparkling, tender, witty, vivacious, by turns, gives the maximum of musical enjoyment. In particular, the sensuous beauty that informs Act 1 is perfectly realised.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis superlative issue is notable, also, for the close observance of Mozart’s expression marks, of which one of the most frequent is \u003ci\u003esotto voce\u003c\/i\u003e. This we really get: and the asides are real asides. How refreshing this is. It was good to hear Alfonso’s ‘I’ll burst myself with laughter’ coming through so clearly in the adorable letter-writing quintet, and the engineers are to be congratulated on this admirable bit of balance. But the balance is extremely good all through both between the voices themselves and between them and the orchestra. Only in the first quintet (‘Sento, O Dio’) are Alfonso and Guglielmo a little too weak in tone when all five voices are engaged, and Simoneau sounds a little distant in his arias.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eKarajan’s tempi seemed to me just right. The Overture chuckles along delightfully and though the \u003ci\u003eallegro molto\u003c\/i\u003e of the Sextet (\u003ci\u003ealla breve\u003c\/i\u003e) is taken about as fast as it can safely go the sisters are able to articulate the quavers in their part without any blurring. They do these passages, and those in the last act finale, with brilliant ease and unanimity. The ensemble singing throughout is, indeed, perfect.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe recording covers a wide dynamic range: tonally I have never heard anything better. Listening with friends to this recording in my music room gave the impression that by some miracle the opera was being performed there to a scale proportioned to its size, enabling us to savour the exquisite music without any of the usual distractions.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe comedy is, of course, a highly artificial one, but there are moments when Mozart is certainly not laughing at his puppets, when they take on flesh and blood and are more than vehicles for lovely music: and this is well brought out in this performance. Whatever good things the Mozart celebrations may bring us next year I cannot think that this superb performance and recording will be surpassed.\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eAlec Robertson\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, September 1955\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eCosì fan tutte\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (63:45)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Overture\u003cspan style=\"font-size: 12px;\"\u003e (4:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e La mia Dorabella\u003cspan style=\"font-size: 12px;\"\u003e (2:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e E la fede delle femmine\u003cspan style=\"font-size: 12px;\"\u003e (2:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Una bella serenata\u003cspan style=\"font-size: 12px;\"\u003e (2:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Ah, guarda, sorella\u003cspan style=\"font-size: 12px;\"\u003e (5:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Vorrei dir, e cor no ho\u003cspan style=\"font-size: 12px;\"\u003e (1:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Sento, oh Dio, che questo piede\u003cspan style=\"font-size: 12px;\"\u003e (5:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Bella vita militar!\u003cspan style=\"font-size: 12px;\"\u003e (2:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Di scrivermi ogni giorno\u003cspan style=\"font-size: 12px;\"\u003e (3:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Soave sia il vento\u003cspan style=\"font-size: 12px;\"\u003e (5:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Ah, scostati!\u003cspan style=\"font-size: 12px;\"\u003e (4:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e In uomini, in soldati\u003cspan style=\"font-size: 12px;\"\u003e (3:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Alla bella Despinetta\u003cspan style=\"font-size: 12px;\"\u003e (6:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Stelle! Che ardir!\u003cspan style=\"font-size: 12px;\"\u003e (6:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Non siate ritrosi\u003cspan style=\"font-size: 12px;\"\u003e (1:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e E voi ridete?\u003cspan style=\"font-size: 12px;\"\u003e (1:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Un'aura amorosa\u003cspan style=\"font-size: 12px;\"\u003e (5:32)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (18:39)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Ah, che tutta in un momento\u003cspan style=\"font-size: 12px;\"\u003e (3:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Si mora, sì, si mora\u003cspan style=\"font-size: 12px;\"\u003e (5:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Eccovi il medico\u003cspan style=\"font-size: 12px;\"\u003e (3:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Dove son?\u003cspan style=\"font-size: 12px;\"\u003e (3:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Dammi un bacio\u003cspan style=\"font-size: 12px;\"\u003e (3:46)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC THREE\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (78:09)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Andate là ... Una donna a quindici anni\u003cspan style=\"font-size: 12px;\"\u003e (4:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Prendero quel brunettino\u003cspan style=\"font-size: 12px;\"\u003e (3:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Secondate, aurette amiche\u003cspan style=\"font-size: 12px;\"\u003e (3:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e La mano a me date\u003cspan style=\"font-size: 12px;\"\u003e (4:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Il core vi dono\u003cspan style=\"font-size: 12px;\"\u003e (4:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Ei parte...senti...ah no!\u003cspan style=\"font-size: 12px;\"\u003e (1:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Per pieta, ben mio, perdona\u003cspan style=\"font-size: 12px;\"\u003e (7:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Amico, abbiamo vinto!\u003cspan style=\"font-size: 12px;\"\u003e (2:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Donne mie, la fate a tanti\u003cspan style=\"font-size: 12px;\"\u003e (3:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e In qual fiero contrasto\u003cspan style=\"font-size: 12px;\"\u003e (5:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Ora vedo che siete\u003cspan style=\"font-size: 12px;\"\u003e (1:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e E amore un ladroncello\u003cspan style=\"font-size: 12px;\"\u003e (3:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Comme tutto congiura\u003cspan style=\"font-size: 12px;\"\u003e (1:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Fra gli amplessi in pochi stanti\u003cspan style=\"font-size: 12px;\"\u003e (6:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Oh poveretto me\u003cspan style=\"font-size: 12px;\"\u003e (1:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Tutti accusan le donne\u003cspan style=\"font-size: 12px;\"\u003e (1:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Fate presto, o cari amici\u003cspan style=\"font-size: 12px;\"\u003e (1:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Benedetti i doppi coniugi\u003cspan style=\"font-size: 12px;\"\u003e (5:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e E nel tuo, nel mio bicchiero\u003cspan style=\"font-size: 12px;\"\u003e (2:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Miel signori, tutto\u003cspan style=\"font-size: 12px;\"\u003e (3:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e Sani e salvi\u003cspan style=\"font-size: 12px;\"\u003e (3:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e Ah, signor, son rea di morte\u003cspan style=\"font-size: 12px;\"\u003e (6:11)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e – Fiordiligi\u003cbr\u003e\u003cb\u003eNan Merriman\u003c\/b\u003e – Dorabella\u003cbr\u003e\u003cb\u003eLisa Otto\u003c\/b\u003e – Despina\u003cbr\u003e\u003cb\u003eLeopold Simoneau\u003c\/b\u003e – Ferrando\u003cbr\u003e\u003cb\u003eRolando Panerai\u003c\/b\u003e – Guglielmo\u003cbr\u003e\u003cb\u003eSesto Bruscantini\u003c\/b\u003e – Don Alfonso\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra \u0026amp; Chorus\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eHerbert von Karajan\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Elisabeth Schwarzkopf \u0026amp; Nan Merriman in Così fan tutte, Milan c.1955\u003cbr\u003eRecorded 13-17, 19-21 July \u0026amp; 6 November 1954, Kingsway Hall, London (13 July) \u0026amp; EMI Studio No. 1, Abbey Road, London (rest)\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 40:31\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO189.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO189.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":39794309169213,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205523292494,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205523325262,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO189_49c305fa-1d7e-4822-947b-5ef9fd6b7b4a.jpg?v=1646370905"},{"product_id":"paco189-cd","title":"KARAJAN Mozart: Così fan tutte - Schwarzkopf, Merriman (1954) - PACO189 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO189.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"3 CDs only in plastic sleeve (+MP3)","offer_id":55205523259726,"sku":null,"price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO189_d0cd82b4-f8f2-4020-8e52-05cf881f0c85.jpg?v=1658497875"},{"product_id":"paco191","title":"CALLAS Rossini: Il barbiere di Siviglia (stereo, 1957) - PACO191","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003eIl barbiere di Siviglia\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStereo studio recording, 1957\u003cbr\u003eTotal duration: 2hr 9:58\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eRosina \u003cb\u003e- Maria Callas\u003c\/b\u003e\u003cbr\u003eIl conte d'Almaviva\u003cb\u003e - Luigi Alva\u003c\/b\u003e\u003cbr\u003eFigaro \u003cb\u003e- Tito Gobbi\u003c\/b\u003e\u003cbr\u003eBartolo \u003cb\u003e- Fritz Ollendorff\u003c\/b\u003e\u003cbr\u003eBasilio \u003cb\u003e- Nicola Zaccaria\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Chorus \u0026amp; Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAlceo Galliera\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO191.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    \"We go to \u003cem\u003eII \u003c\/em\u003e\u003cem\u003ebarbiere \u003c\/em\u003efor refreshment. Here the choice of\n    conductor was as happy as it was unexpected. The veteran Serafin and\n    man-of-the-moment Giulini were the obvious choices, but already critics and\n    public were complaining about the predictability of cast-lists in this\n    wonderful new age of complete operatic recordings. Alceo Galliera had\n    attracted attention as a symphonic conductor and an orchestral trainer of\n    exceptional ability. Walter Legge had picked him out for some early\n    recordings with the Philharmonia Orchestra, including a sparkling\n    performance of the Overture from \u003cem\u003eIl \u003c\/em\u003e\u003cem\u003ebarbiere. \u003c\/em\u003eTo the\n    opera itself he brought a light touch, imaginative care for detail and a\n    nice Rossinian feeling of expectancy, of fun brooding in alleyways and lights\n    turned on in corners. It is, of course, an ensemble opera, the whole\namounting to much more than the sum of its parts. The famous Rossini    \u003cem\u003ecrescendo \u003c\/em\u003eis the embodiment of laughter welling up from all points\n    of the compass. It is as important, for instance, that the \"stars\" work\n    together in the \"Buona sera\" quintet as that Figaro should make a success\n    of his \"Largo al factotum\"; and, however brilliant Rosina's \"Una voce poco\n    fu\", the general joy of the evening depends more upon the success of the Act I finale. Here, each of the principals makes a special\n    contribution (mostly through an individuality of timbre), but each also\n    draws from the centre (that is, the conductor and, I think, the record\n    producer) a sense of a specialness of occasion, almost of history, that\n    Legge was able to impart to every individual session.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    All three principal singers need grace and agility, with the tenor's role\n    widely regarded as of the greatest technical difficulty. The Act 2 aria\n    \"Cessa di piu resistere\" has until recently been almost always omitted and,\n    on account of this omission and a number of other cuts, it would be\n    impossible to recommend this as the essential version. ButI see no reason to suppose Alva could not have made as good a job of it as\n    his successors have done: he was singing with the most delightful purity of\n    tone and definition of line, and both serenades are sung with elegance. The\n    lingering \u003cem\u003ediminuendi\u003c\/em\u003e of \"Se ii mio nome\" is in the best tradition\n    of his famous predecessor Tito Schipa.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Of Callas it was said by Walter Legge that comedy failed to brush her with\n    its wings. He wrote with the authority of experience, but the unprejudiced\near does not support such a conclusion. The two complete sets -    \u003cem\u003eIl barbiere di Siviglia\u003c\/em\u003e and \u003cem\u003eIl Turco in Italia\u003c\/em\u003e – are sung\n    with a smile which becomes radiantly visible if one can add the memory of\n    sparkling eyes and brilliant teeth as shown in video recordings of concert\n    performances. Of course we listen prepared to flinch before every high\n    note. The accursed flap lurks ahead ready to shake, rattle and roll every\n    dominant-tonic finale, yet almost always we find on returning to such\n    moments that the internal vocal caricaturist has been at work, distorting\n    and exaggerating. The wry humour of \"Dunque io son\" is much to her liking\n    and in this (as in much else) she is the mistress of humorous timing.\n    Otherwise much is done simply by individuality of timbre, the familiar\n    thrill of recognising the irreplaceable voice.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    And the same is true of Gobbi: his voice still had an exceptional richness\n    of colouration, especially in the middle register and at moderate volume.\n    Sometimes the vibrations would flatten out, but the savour was never lost\n    for long; always he was Gobbi and once you had caught a love for the voice\n    it was not something you would drop for a coarsened note or two. Doctors\n    Basilio and Bartolo are also richly cast.\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eJohn Steane\u003c\/b\u003e, \u003ci\u003eGramophone\u003c\/i\u003e, May 2011\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis recording, made in London in February 1957, was the first stereo opera recorded by Maria Callas for EMI. Later that year she would return to Milan to record again in mono at La Scala; unlike their Decca counterparts, EMI were slow to adapt to stereo work, particularly in what might now be considered the obvious field of opera. Nevertheless they did a very good job here - one which I hope you will find has been further enhanced in this Pristine XR remastering.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003eIl barbiere di Siviglia\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (59:44)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Overture\u003cspan style=\"font-size: 12px;\"\u003e (6:41)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Piano, pianissimo, senza parlar\u003cspan style=\"font-size: 12px;\"\u003e (2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Ecco ridente in cielo\u003cspan style=\"font-size: 12px;\"\u003e (4:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Ehi, Fiorello?\u003cspan style=\"font-size: 12px;\"\u003e (1:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Mille grazie, mio signore\u003cspan style=\"font-size: 12px;\"\u003e (1:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Gente indiscreta!\u003cspan style=\"font-size: 12px;\"\u003e (0:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e La ran la le ra, la ran la la\u003cspan style=\"font-size: 12px;\"\u003e (4:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Ah, che bella vita!\u003cspan style=\"font-size: 12px;\"\u003e (3:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Se il mio nome saper voi bramate\u003cspan style=\"font-size: 12px;\"\u003e (2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Oh, cielo!\u003cspan style=\"font-size: 12px;\"\u003e (1:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e All'idea di quel metallo\u003cspan style=\"font-size: 12px;\"\u003e (3:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Piano, piano\u003cspan style=\"font-size: 12px;\"\u003e (1:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Oh, il meglio\u003cspan style=\"font-size: 12px;\"\u003e (1:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Ah, che d'amore la fiamma\u003cspan style=\"font-size: 12px;\"\u003e (1:23)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Una voce poco fa\u003cspan style=\"font-size: 12px;\"\u003e (6:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Sì, sì, la vincerò\u003cspan style=\"font-size: 12px;\"\u003e (4:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e La calunnia è un venticello\u003cspan style=\"font-size: 12px;\"\u003e (3:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Ah! Che ne dite?\u003cspan style=\"font-size: 12px;\"\u003e (2:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Dunque io son\u003cspan style=\"font-size: 12px;\"\u003e (2:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Fortunati affetti miei\u003cspan style=\"font-size: 12px;\"\u003e (2:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (70:04)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Ora mi sento meglio\u003cspan style=\"font-size: 12px;\"\u003e (1:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e A un dottor della mia sorte\u003cspan style=\"font-size: 12px;\"\u003e (4:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Finora in questa camera\u003cspan style=\"font-size: 12px;\"\u003e (0:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Ehi, di casa, buona gente\u003cspan style=\"font-size: 12px;\"\u003e (5:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Dunque, lei vuol battaglia?\u003cspan style=\"font-size: 12px;\"\u003e (3:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Che cosa accadde, signori miei\u003cspan style=\"font-size: 12px;\"\u003e (2:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Fermi tutti, nessun si muova\u003cspan style=\"font-size: 12px;\"\u003e (1:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Fredda ed immobile\u003cspan style=\"font-size: 12px;\"\u003e (3:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Ma signor ... ma un dottor\u003cspan style=\"font-size: 12px;\"\u003e (4:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Ma vedi il mio destino!\u003cspan style=\"font-size: 12px;\"\u003e (0:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Pace e gioia sia con voi\u003cspan style=\"font-size: 12px;\"\u003e (2:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Insomma, mio signore, chi è lei?\u003cspan style=\"font-size: 12px;\"\u003e (2:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Venite, signorina\u003cspan style=\"font-size: 12px;\"\u003e (0:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Contro un cor che accende amore\u003cspan style=\"font-size: 12px;\"\u003e (5:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Bella voce! Bravissima!\u003cspan style=\"font-size: 12px;\"\u003e (0:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Quando mi sei vicina\u003cspan style=\"font-size: 12px;\"\u003e (0:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Bravo, signore barbiere, ma bravo!\u003cspan style=\"font-size: 12px;\"\u003e (2:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Don Basilio! ... Cosa veggo!\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e Buona sera, mio signore\u003cspan style=\"font-size: 12px;\"\u003e (2:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e Orsu, signor Don Bartolo\u003cspan style=\"font-size: 12px;\"\u003e (3:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e Che vecchio sospettoso!\u003cspan style=\"font-size: 12px;\"\u003e (0:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e Il vecchiotto cerca moglie\u003cspan style=\"font-size: 12px;\"\u003e (3:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e Temporale\u003cspan style=\"font-size: 12px;\"\u003e (2:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e Alfine eccoci qua\u003cspan style=\"font-size: 12px;\"\u003e (1:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e Ah, qual colpo inaspettato\u003cspan style=\"font-size: 12px;\"\u003e (5:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e Ah, disgraziati noi!\u003cspan style=\"font-size: 12px;\"\u003e (2:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e Zitti, zitti, piano, piano\u003cspan style=\"font-size: 12px;\"\u003e (2:05)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRosina - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eIl conte d'Almaviva - \u003cb\u003eLuigi Alva\u003c\/b\u003e\u003cbr\u003eFigaro - \u003cb\u003eTito Gobbi\u003c\/b\u003e\u003cbr\u003eBartolo - \u003cb\u003eFritz Ollendorff\u003c\/b\u003e\u003cbr\u003eBasilio - \u003cb\u003eNicola Zaccaria\u003c\/b\u003e\u003cbr\u003eBerta - \u003cb\u003eGabriella Carturan\u003c\/b\u003e\u003cbr\u003eFiorello - \u003cb\u003eMario Carlin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra \u0026amp; Chorus\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAlceo Galliera\u003c\/b\u003e\u003cbr\u003echorus-master Roberto \u003cb\u003eBenaglio\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 7-14 February 1957, Kingsway Hall, London\u003cbr\u003eXR Remastered by Andrew Rose\u003cbr\u003eEMI Producer: Walter Legge\u003cbr\u003eEMI Sound Engineer: Robert Gooch\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 9:58\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO191.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO191.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":39928587747389,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55205522211150,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55205522243918,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO191_4d268be4-1b7e-402d-88ce-299d5b99348c.jpg?v=1652863113"},{"product_id":"paco191-cd","title":"CALLAS Rossini: Il barbiere di Siviglia (stereo, 1957) - PACO191 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":40096492617789,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205522145614,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO191_a8c80985-018f-4361-9e29-0e7c2c231117.jpg?v=1658995079"},{"product_id":"paco207","title":"CALLAS Donizetti - Lucia di Lammermoor (1959, stereo) - PACO207","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eDONIZETTI \u003c\/b\u003eLucia di Lammermoor\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStereo studio recording, 1959\u003cbr\u003eTotal duration: 1hr 50:50\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eLucia - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eEdgardo -\u003cb\u003e Ferruccio Tagliavini\u003c\/b\u003e\u003cbr\u003eEnrico - \u003cb\u003ePiero Cappuccilli\u003c\/b\u003e\u003cbr\u003eRaimondo - \u003cb\u003eBernard Ladysz\u003c\/b\u003e\u003cbr\u003eArturo - \u003cb\u003eLeonard del Ferro\u003c\/b\u003e\u003cbr\u003eAlisa - \u003cb\u003eMargreta Elkins\u003c\/b\u003e\u003cbr\u003eNormanno - \u003cb\u003eRenzo Casellato\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO207.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Donizetti heard Bellini’s \u003cem\u003eI Puritani\u003c\/em\u003e eclip­sing his own new opera,\n    \u003cem\u003eMarino Faliero,\u003c\/em\u003e at the Théâtre-Italien—and  went away and wrote\n    \u003cem\u003eLucia.\u003c\/em\u003e That crude way of putting it reveals an  essential truth.\n    \u003cem\u003eI Puritani,\u003c\/em\u003ethough not based on Scott (whatever the  reference books\n    may say), borrowed the title under which \u003cem\u003eOld Mortality\u003c\/em\u003e was\n    trans­lated, and its plot belonged to the world of the Romantic novel. In\n    this field Donizetti was superior. In  both operas there is an opening\n    scene with a chorus of retainers and a lyrical aria for a dramatic baritone;\n    a  heroine who goes mad for love, and imagines her wedding day in an\n    elaborate Mad  Scene; a bass who announces her arrival; a romantic tenor who\n    must be both tender  and heroic; an \u003cem\u003euragano\u003c\/em\u003e, or violent storm.\n    Donizetti even took one of  Bellini's melodies (the bass line of the\n    first-act duet) and improved on it (as  the chorus' B major tune in the last\n    scene of \u003cem\u003eLucia).\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    I do not want to praise \u003cem\u003eLucia\u003c\/em\u003e at the expense of \u003cem\u003eI Puritani\u003c\/em\u003e\n    (a very beautiful opera), but lately a  certain amount of the opposite has\n    been going on. Twenty-five years ago the old  Italian operas generally were\n    held in low esteem; more recently, the conventional thing to say is that\n    Bellini is all right — because of  his melodic gift. But to anyone who has a\n    feeling for \u003cem\u003eopera\u003c\/em\u003e, as opposed  to just \u003cem\u003emusic\u003c\/em\u003e, it is plain\n    that \u003cem\u003eLucia\u003c\/em\u003e exists in  a different world from \u003cem\u003eI  Puritani\u003c\/em\u003e\n    (despite the inspired pages of the latter). And one reason is that  its\n    characters are real people finding utterance in song — characters in\n    situations  imagined by a great artist, not concoctions by a minor\n    librettist.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The heroine remains close to Scott’s Miss Lucy; and she, you remember,\n    “though  the expression of the countenance was in the last degree gentle,\n    soft, timid, and feminine\", yet “nourished the germ of those passions which\n    sometimes spring up in one night, like the gourd of the prophet, and\n    astonish the observer by their unexpected ardour and  intensity”. No more\n    than Amina is she just a sweet, simple coloratura. It is  the great dramatic\n    truth of Maria Callas’s Lucia, in this new recording, which  sets it above\n    the impersonation of the earlier Columbia set. (Roberta  Peters seems to me\n    to be hardly a starter in the “great  Lucia\" stakes, but merely efficient,\n    so I shall not consider the R.C.A.  set in any detail in this review.) The\n    Whitsun weekend has been spent playing  again and again, in endless\n    com­parisons and to different groups of people, the  new and old Callas\n    recordings, the R.C.A., and Joan Sutherland’s version of the  two arias. The\n    conclusion is that in  every way Mme Callas has refined  her interpretation\n    of the role, and made it more exquisite, more  fascinating, musically and\n    dramatically more subtle — in a word, more  beautiful. But do not think that\n    this means the line has been overloaded with  emotional colourings or\n    self-consciously artistic “effects\". Sometimes  she has achieved her result\n    by simplification. For example, in “Verrano a te\"  she no longer presses,\n    but spins a tender thread of legato: this duet is  melting, with Tagliavini\n    at his most dulcet; the final verse in octaves is  ravishing. (The brief\n    cadenza in which the soprano from the high C,  the tenor from the high E\n    flat (!), run down in sixths, is as usual omitted: is  it ever sung?). And\n    “Alfin sei mio\" is no longer broken by a gulp.  Indeed Mme Callas could be\n    said to have made her Lucia greater by reducing the  overt dramatics, by\n    bringing new tenderness, fragrance and innocence to her  interpretation, and\n    thereby actually increasing its expressive power.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The sound of the voice is very different from seven  years ago. There is\n    less weight behind it; it is more supple, more  delicate. The timbre is not\n    so dark, more tender and less resonated. I  grant at once that there is more\n    confidence, more forthrightness, in the  earlier performance; and that in\n    the cabaletta, “Quando rapita in estasi\",  the high D and, especially, the\n    high C, of the final decorations are awkward,  and may touch a nerve of pain\n    in the listener. But on the whole the singing  represents Callas at\n    technically her best. There is just one sour note, the  high C mentioned\n    above; and very little of the unsteadiness, and moments of  curdled tone,\n    that spoil, for example, parts of the \u003cem\u003eLa Sonnambula\u003c\/em\u003e record­ing. For\n    some reason, each time the trill on the D sharp in  “Regnava\" (but not the\n    other trills) is insecure. But that the singing as  a whole is more\n    beautiful than in the earlier set there can be no doubt.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e - \u003cb\u003eA. P.\u003c\/b\u003e, \u003ci\u003eThe Gramophone,\u003c\/i\u003e July 1960 (\u003ci\u003eexcerpt\u003c\/i\u003e)\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eDONIZETTI \u003c\/b\u003eLucia di Lammermoor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (54:42)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Preludio\u003cspan style=\"font-size: 12px;\"\u003e (2:33)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Percorrete . . . Percorriamo le spiagge vicine\u003cspan style=\"font-size: 12px;\"\u003e (2:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Tu sei turbato! . . . E n'ho ben d'onde\u003cspan style=\"font-size: 12px;\"\u003e (3:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Cruda, funesta smania\u003cspan style=\"font-size: 12px;\"\u003e (2:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Il tuo dubbio è amai certezza . . . Come vinti da stanchezza\u003cspan style=\"font-size: 12px;\"\u003e (2:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e La pietade in suo favore\u003cspan style=\"font-size: 12px;\"\u003e (1:42)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Ancor non giunse?\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Regnava nel silenzio alta la notte e bruna\u003cspan style=\"font-size: 12px;\"\u003e (4:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Quando rapito in estasi\u003cspan style=\"font-size: 12px;\"\u003e (3:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Egli s'avanza ... Lucia perdona se ad ora inusitata\u003cspan style=\"font-size: 12px;\"\u003e (2:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Sulla tomba che rinserra il tradito genitore\u003cspan style=\"font-size: 12px;\"\u003e (3:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Qui di sposa eternal fede . . . Ah, soltanto il nostro foco\u003cspan style=\"font-size: 12px;\"\u003e (2:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Verranno a te sull'aure i miei sospiri ardenti\u003cspan style=\"font-size: 12px;\"\u003e (4:38)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Lucia fra poco a te verrè . . . Tremante l'aspetto\u003cspan style=\"font-size: 12px;\"\u003e (3:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Appressati, Lucia . . . Il pallor funesto, orrendo\u003cspan style=\"font-size: 12px;\"\u003e (5:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Soffriva nel pianto . . . Un folle t'accese\u003cspan style=\"font-size: 12px;\"\u003e (3:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e Che fia? . . . Suonar di giubilo\u003cspan style=\"font-size: 12px;\"\u003e (1:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e Se tradirmi tu potrai . . . Tu che vedi il pianto mio\u003cspan style=\"font-size: 12px;\"\u003e (2:03)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc two\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (56:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Per te d'immenso giubilo . . . Per poco fra le tenebre\u003cspan style=\"font-size: 12px;\"\u003e (3:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Dov'é Lucia? . . . Qui giungere or la vedrem\u003cspan style=\"font-size: 12px;\"\u003e (4:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Chi me frena in tal momento\u003cspan style=\"font-size: 12px;\"\u003e (3:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e T'allontana, sciagurato . . . Rispettate in me di Dio\u003cspan style=\"font-size: 12px;\"\u003e (1:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Sconsigliato! In queste porte chi ti guida?\u003cspan style=\"font-size: 12px;\"\u003e (2:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Esci, fuggi, il furor che mi accende\u003cspan style=\"font-size: 12px;\"\u003e (1:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e D'immenso giubilo s'innalzi un grido\u003cspan style=\"font-size: 12px;\"\u003e (2:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Dalle stanze ove Lucia tratta avea col suo consorte\u003cspan style=\"font-size: 12px;\"\u003e (2:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Oh! Qual funesto avvenimento!\u003cspan style=\"font-size: 12px;\"\u003e (3:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Il dolce suono mi colpi di sua voce!\u003cspan style=\"font-size: 12px;\"\u003e (6:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Ardon gli incensi\u003cspan style=\"font-size: 12px;\"\u003e (5:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Spargi d'amaro pianto\u003cspan style=\"font-size: 12px;\"\u003e (4:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE, SCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Tombe degli avi miei\u003cspan style=\"font-size: 12px;\"\u003e (4:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Fra poco a me ricovero darà negletto avello\u003cspan style=\"font-size: 12px;\"\u003e (3:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Oh, meschina! Oh, fato orrendo!\u003cspan style=\"font-size: 12px;\"\u003e (4:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Tu che a Dio spiegasti l'ali\u003cspan style=\"font-size: 12px;\"\u003e (5:03)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eLucia - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eEdgardo - \u003cb\u003eFerruccio Tagliavini\u003c\/b\u003e\u003cbr\u003eEnrico - \u003cb\u003ePiero Cappuccilli\u003c\/b\u003e\u003cbr\u003eRaimondo - \u003cb\u003eBernard Ladysz\u003c\/b\u003e\u003cbr\u003eArturo - \u003cb\u003eLeonard del Ferro\u003c\/b\u003e\u003cbr\u003eAlisa - \u003cb\u003eMargreta Elkins\u003c\/b\u003e\u003cbr\u003eNormanno - \u003cb\u003eRenzo Casellato\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003echorus master: \u003cb\u003eRoberto Benaglio\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eLibretto by Salvatore Cammarano after Walter Scott\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 16-21 March 1959, Kingsway Hall, London\u003cbr\u003eStereo XR remastering by: Andrew Rose\u003cbr\u003eCover artwork: Maria Callas as Lucia di Lammermoor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 1hr 50:50\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO207.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO207.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":47342805057870,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55205513855310,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55205513888078,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO207_9735ee11-e251-4de3-a757-19c9b4ae597a.jpg?v=1701407705"},{"product_id":"paco207-cd","title":"CALLAS Donizetti - Lucia di Lammermoor (1959, stereo) - PACO207 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO207.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":47342439465294,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205513822542,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO207.jpg?v=1710933680"},{"product_id":"paco242","title":"Maria Callas Arias, Vol. 3: Great Scenes \u0026 Mad Scenes - PACO242","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eDon Carlo\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eIl pirata\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eAmbient Stereo and stereo studio recordings, 1955 \u0026amp; 1958\u003cbr\u003eTotal duration: 75:20\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO242.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis third and final volume of Pristine’s Callas aria series brings together some of her most sustained dramatic encounters. Three scenes from Spontini’s \u003ci\u003eLa vestale\u003c\/i\u003e, recorded at La Scala with Tullio Serafin in 1955, lead to Verdi’s “Tu che le vanità” and the three extended \u003ci\u003eMad Scenes\u003c\/i\u003e recorded with Nicola Rescigno and the Philharmonia in 1958.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Spontini group completes the selections from \u003ci\u003eCallas at La Scala\u003c\/i\u003e begun in Volume 2. Reviewing the original LP in \u003ci\u003eThe Gramophone\u003c\/i\u003e in June 1958, Andrew Porter set Callas beside Rosa Ponselle, whose tonal beauty remained a formidable standard. Callas brought a different intensity to the words. In “Tu che invoco” he especially admired the dramatic and tender continuation beyond Ponselle’s shorter recorded excerpt.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“O Nume tutelar” concentrates Giulia’s distress into a prayer; “Caro oggetto” completes the group. Porter also praised the balance between Callas and Serafin’s orchestra.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eElisabetta’s great scene from \u003ci\u003eDon Carlo\u003c\/i\u003e completes the Verdi recital represented in Volume 1. Its demands drew reservations from Philip Hope-Wallace in \u003ci\u003eThe Gramophone\u003c\/i\u003e: his 1959 review questioned details of vocal colour and the steadiness of the ending, while his stereo reassessment sought greater weight and breadth. Admiration for Callas’s characterisation did not preclude criticism of its execution.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe \u003ci\u003eMad Scenes\u003c\/i\u003e allow her dramatic imagination a broader canvas. In \u003ci\u003eAnna Bolena\u003c\/i\u003e, supporting voices and chorus sustain the theatrical continuity as recollection gives way to alarm, dismay and defiance. Hope-Wallace admired this emotional range. The lyricism of “Al dolce guidami” is one stage in a journey that reaches its culmination in “Coppia iniqua”.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThomas’s Ophelia inhabits a more elusive world. Hope-Wallace found dramatic truth in the tenderness, quiet song fragments and sudden rhythmic changes of the \u003ci\u003eHamlet\u003c\/i\u003e scene, despite a strong objection to its climactic high note. Porter’s 1960 review was exceptionally appreciative.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBellini’s \u003ci\u003eIl pirata\u003c\/i\u003e closes the programme with another extended finale. Hope-Wallace admired the changing moods, prayerful passages and exciting conclusion, while again finding the upper notes troubling. Enthusiasm and reservation coexist throughout these reviews. Across these longer scenes, each heroine acquires her own pace of thought and her own manner of confronting catastrophe.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 3\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eGreat Scenes \u0026amp; Mad Scenes\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Tu che invoco (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(10:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e O Nume tutelar (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Caro oggetto (Act III) \u003cspan style=\"font-size: 12px;\"\u003e(3:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eDon Carlo\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e Tu che le vanità (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Piangete voi?... Al dolce guidami castel natio (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(19:59)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e À vos jeux... Partagez-vous mes fleurs... Et maintenant écoutez ma chanson (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eIl pirata\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Oh! s’io potessi... Col sorriso d’innocenza (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(17:02)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e (tracks 1–3)\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e (track 4)\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e (tracks 5–7)\u003cbr\u003econducted by \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 1–3 recorded 9–12 June 1955\u003cbr\u003eTeatro alla Scala, Milan\u003cbr\u003ePresented in Ambient Stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTrack 4 recorded during sessions of 19, 21 \u0026amp; 24 September 1958\u003cbr\u003eNo. 1 Studio, Abbey Road, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 5–7 recorded 24–25 September 1958\u003cbr\u003eKingsway Hall, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 75:20\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO242.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO242.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo \u0026 Ambient Stereo 24-bit FLAC","offer_id":60993603469646,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo \u0026 Ambient Stereo 16-bit FLAC","offer_id":60993603404110,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo \u0026 Ambient Stereo MP3","offer_id":60993603436878,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO242.jpg?v=1790655802"},{"product_id":"paco242-cd","title":"Maria Callas Arias, Vol. 3: Great Scenes \u0026 Mad Scenes - PACO242 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eDon Carlo\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eIl pirata\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eAmbient Stereo and stereo studio recordings, 1955 \u0026amp; 1958\u003cbr\u003eTotal duration: 75:20\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO242.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis third and final volume of Pristine’s Callas aria series brings together some of her most sustained dramatic encounters. Three scenes from Spontini’s \u003ci\u003eLa vestale\u003c\/i\u003e, recorded at La Scala with Tullio Serafin in 1955, lead to Verdi’s “Tu che le vanità” and the three extended \u003ci\u003eMad Scenes\u003c\/i\u003e recorded with Nicola Rescigno and the Philharmonia in 1958.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Spontini group completes the selections from \u003ci\u003eCallas at La Scala\u003c\/i\u003e begun in Volume 2. Reviewing the original LP in \u003ci\u003eThe Gramophone\u003c\/i\u003e in June 1958, Andrew Porter set Callas beside Rosa Ponselle, whose tonal beauty remained a formidable standard. Callas brought a different intensity to the words. In “Tu che invoco” he especially admired the dramatic and tender continuation beyond Ponselle’s shorter recorded excerpt.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“O Nume tutelar” concentrates Giulia’s distress into a prayer; “Caro oggetto” completes the group. Porter also praised the balance between Callas and Serafin’s orchestra.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eElisabetta’s great scene from \u003ci\u003eDon Carlo\u003c\/i\u003e completes the Verdi recital represented in Volume 1. Its demands drew reservations from Philip Hope-Wallace in \u003ci\u003eThe Gramophone\u003c\/i\u003e: his 1959 review questioned details of vocal colour and the steadiness of the ending, while his stereo reassessment sought greater weight and breadth. Admiration for Callas’s characterisation did not preclude criticism of its execution.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe \u003ci\u003eMad Scenes\u003c\/i\u003e allow her dramatic imagination a broader canvas. In \u003ci\u003eAnna Bolena\u003c\/i\u003e, supporting voices and chorus sustain the theatrical continuity as recollection gives way to alarm, dismay and defiance. Hope-Wallace admired this emotional range. The lyricism of “Al dolce guidami” is one stage in a journey that reaches its culmination in “Coppia iniqua”.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThomas’s Ophelia inhabits a more elusive world. Hope-Wallace found dramatic truth in the tenderness, quiet song fragments and sudden rhythmic changes of the \u003ci\u003eHamlet\u003c\/i\u003e scene, despite a strong objection to its climactic high note. Porter’s 1960 review was exceptionally appreciative.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBellini’s \u003ci\u003eIl pirata\u003c\/i\u003e closes the programme with another extended finale. Hope-Wallace admired the changing moods, prayerful passages and exciting conclusion, while again finding the upper notes troubling. Enthusiasm and reservation coexist throughout these reviews. Across these longer scenes, each heroine acquires her own pace of thought and her own manner of confronting catastrophe.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 3\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eGreat Scenes \u0026amp; Mad Scenes\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Tu che invoco (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(10:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e O Nume tutelar (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Caro oggetto (Act III) \u003cspan style=\"font-size: 12px;\"\u003e(3:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eDon Carlo\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e Tu che le vanità (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Piangete voi?... Al dolce guidami castel natio (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(19:59)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e À vos jeux... Partagez-vous mes fleurs... Et maintenant écoutez ma chanson (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eIl pirata\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Oh! s’io potessi... Col sorriso d’innocenza (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(17:02)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e (tracks 1–3)\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e (track 4)\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e (tracks 5–7)\u003cbr\u003econducted by \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 1–3 recorded 9–12 June 1955\u003cbr\u003eTeatro alla Scala, Milan\u003cbr\u003ePresented in Ambient Stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTrack 4 recorded during sessions of 19, 21 \u0026amp; 24 September 1958\u003cbr\u003eNo. 1 Studio, Abbey Road, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 5–7 recorded 24–25 September 1958\u003cbr\u003eKingsway Hall, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 75:20\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO242.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO242.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":60993603600718,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":60993603633486,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO242_a3e1fb5c-caaa-410d-886e-3d0cfd9ec400.jpg?v=1790655806"},{"product_id":"pabx057","title":"Maria Callas Arias Volumes 1–3 - PABX057","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003eArias and scenes from:\u003cbr\u003e\u003cb\u003ePUCCINI\u003c\/b\u003e \u003ci\u003eManon Lescaut\u003c\/i\u003e; \u003ci\u003eMadama Butterfly\u003c\/i\u003e; \u003ci\u003eLa bohème\u003c\/i\u003e; \u003ci\u003eGianni Schicchi\u003c\/i\u003e; \u003ci\u003eTurandot\u003c\/i\u003e; \u003ci\u003eSuor Angelica\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eMacbeth\u003c\/i\u003e; \u003ci\u003eNabucco\u003c\/i\u003e; \u003ci\u003eErnani\u003c\/i\u003e; \u003ci\u003eI vespri siciliani\u003c\/i\u003e; \u003ci\u003eDon Carlo\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eLa sonnambula\u003c\/i\u003e; \u003ci\u003eIl pirata\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eBOITO\u003c\/b\u003e \u003ci\u003eMefistofele\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCATALANI\u003c\/b\u003e \u003ci\u003eLa Wally\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCHERUBINI\u003c\/b\u003e \u003ci\u003eMedea\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCILEA\u003c\/b\u003e \u003ci\u003eAdriana Lecouvreur\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eDELIBES\u003c\/b\u003e \u003ci\u003eLakmé\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eGIORDANO\u003c\/b\u003e \u003ci\u003eAndrea Chénier\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eMEYERBEER\u003c\/b\u003e \u003ci\u003eDinorah\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eROSSINI\u003c\/b\u003e \u003ci\u003eIl barbiere di Siviglia\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eAmbient Stereo and stereo studio recordings, 1954-1958\u003cbr\u003eThree-volume collection: PACO225, PACO239 and PACO242\u003cbr\u003eTotal duration: 3hr 52:47\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Chorus\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e and \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMARIA CALLAS Arias, Vol. 1: Puccini \u0026amp; Verdi (1954, 1958) - PACO225\u003c\/summary\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In the pantheon of twentieth-century opera, Maria Callas  reigns not only as\n    a voice of unrepeatable individuality but as a dramatic  force who redefined\n    the interpretative scope of the soprano repertory. These  landmark\n    recordings — drawn from two celebrated sessions with the Philharmonia\n    Orchestra in London, in 1954 and 1958 — capture her at the height of her\n    vocal  powers and at the peak of her insight into two composers who formed\n    cornerstones of her stage career: Puccini and Verdi.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Puccini arias, recorded in 1954 under the baton of  Tullio Serafin,\n    showcase Callas’s uncanny ability to illuminate the emotional  core of each\n    heroine. In \"Un bel dì, vedremo\" from \u003cem\u003eMadama  Butterfly\u003c\/em\u003e, she\n    presents Cio-Cio-San not as a passive victim but as a woman  clinging to\n    hope with tragic clarity. There is no self-pity here — just  controlled\n    tension and aching resolve, delivered with extraordinary subtlety of\n    phrasing and colour.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In \"In questa reggia\" from \u003cem\u003eTurandot\u003c\/em\u003e,  Callas’s voice takes on a\n    glittering, imperious tone. Her Turandot is not  merely cold but deeply\n    wounded, and the central monologue becomes a chilling  declaration of power\n    and pain. The partnership with Serafin draws out the  music’s latent drama\n    and psychological depth. Few interpretations have so  convincingly conveyed\n    the blend of myth and trauma in Puccini’s last great  enigma.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The arias from \u003cem\u003eLa Bohème\u003c\/em\u003e and \u003cem\u003eManon Lescaut\u003c\/em\u003e reveal a\n    different Puccinian world: youthful vulnerability and lyrical  yearning. In\n    \"Sì, mi chiamano Mimì\", Callas floats the phrases with  touching simplicity,\n    while in \"In quelle trine morbide\" from \u003cem\u003eManon  Lescaut\u003c\/em\u003e, the voice\n    darkens and slows, evoking a woman trapped between  luxury and longing. Her\n    use of legato and finely shaded dynamics gives each  phrase narrative\n    weight.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Verdi arias, recorded in 1958 with Nicola Rescigno  conducting, showcase\n    Callas’s dramatic imagination in its most uncompromising  form. From\n    \u003cem\u003e\n        Macbeth\n    \u003c\/em\u003e\n    , her Lady Macbeth is elemental. In \"Nel dì della  vittoria… Vieni!\n    t’affretta!\", she hurls the lines with ruthless energy,  her tone sharpened\n    into a weapon. In \"La luce langue\", the voice dims  with the dying light,\n    creating an atmosphere of eerie, controlled malevolence.  Finally, in the\n    sleepwalking scene, \"Una macchia è qui tuttora\",  Callas strips the\n    character to her haunted core. Her voice becomes disembodied  — fragmented,\n    spectral — the descent into madness chillingly real.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In \u003cem\u003eNabucco\u003c\/em\u003e, \"Ben io t’invenni… Anch’io dischiuso  un giorno\" finds\n    Callas as the tormented Abigaille, expressing regret with  regal control and\n    aching introspection. Her mastery of Verdian line and tone  colours this\n    aria with complexity and tragic grandeur, far beyond mere vocal  brilliance.\n    Even in an excerpt, she finds a complete psychological portrait.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    From \u003cem\u003eErnani\u003c\/em\u003e,  \"Surta è la notte… Ernani! Ernani, involami\" becomes\n    a  miniature operatic scene. Elvira’s urgency, her longing and desperation,\n    are  etched into every phrase. Callas dispatches the florid writing with\n    ease, but  it is the emotional immediacy — her ability to bring the\n    character to life in  minutes — that lingers. She transforms the\n    conventional tropes of early Verdi  into something intimate and urgent.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In these Verdi roles, Callas uses every facet of her voice  as a dramatic\n    tool. Ornament becomes expression; silence carries weight. These  are not\n    simply arias but distilled dramas — entire acts condensed into a few\n    minutes. Her theatrical instinct shapes the structure of every phrase,\n    turning  vocal technique into storytelling.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    XR-remastered with new clarity, these recordings reaffirm  Callas not just\n    as a voice of legend but as a singular interpreter of  character, mood, and\n    musical structure. Whether navigating the lyrical sweep of  Puccini or the\n    psychological rigour of Verdi, she brings to each phrase an  intelligence\n    and emotional force that continue to astonish. Her voice was never  about\n    beauty alone — it was about meaning, tension, fire. In these Philharmonia\n    sessions, we are reminded not just of Callas’s artistry, but of her\n    unshakeable  presence — as vivid and unsettling now as it was over half a\n    century ago.\n\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMARIA CALLAS Arias, Vol. 2: Lyric \u0026amp; Coloratura (1954, 1955) - PACO239\u003c\/summary\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMaria Callas’s great recital discs were never merely collections of attractive arias. They were demonstrations of range, character and dramatic imagination, assembled at a moment when her voice could move from lyric tenderness to florid brilliance and tragic declamation with extraordinary speed. This second volume brings together three such strands: a single Puccini aria from the September 1954 sessions, the complete programme of her celebrated \u003cem\u003eLyric and Coloratura\u003c\/em\u003e recital, and three La Scala scenes recorded the following year. Originally issued across separate Columbia recital LPs, they now form a coherent portrait of Callas moving between intimacy, virtuosity and full operatic tragedy.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“Senza mamma” finds Callas at her most inward. The line is restrained, the grief concentrated, and the emotion allowed to emerge through the shape of the phrase rather than through external display. That same ability to create a person within a few minutes governs the Cilea, Giordano and Catalani arias that follow. In Adriana’s entrance aria, Callas catches both the actress’s professional poise and the vulnerability beneath it; in “Poveri fiori” the lament is darker and more private. “La mamma morta” and “Ebben? ne andrò lontana” reveal the breadth of her lyric manner, where the voice may not always possess conventional smoothness, but the words are never neutral and the musical line is never merely decorative.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eA 1955 review in \u003cem\u003eThe Gramophone\u003c\/em\u003e of the original recital recognised precisely this tension. Its critic heard occasional heaviness, strain and awkwardness, yet also “great tenderness and simplicity, deep emotion” and an exceptional command of vocal characterisation. The review admired the distraught Margherita of \u003cem\u003eMefistofele\u003c\/em\u003e, the chromatic control of Lakmé’s “Dov’è l’indiana bruna?”, and the sheer versatility of a programme that moves from \u003cem\u003everismo\u003c\/em\u003e intensity to Rossinian and Meyerbeerian display.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThat versatility remains the album’s central fascination. “Una voce poco fa” is less a polite showpiece than a portrait of intelligence sharpening into resolve; “Ombra leggera” tests agility and lightness; the Verdi bolero demands ease, brilliance and rhythmic buoyancy. Callas does not approach these arias as a sequence of technical hurdles. Each becomes a miniature drama.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eTullio Serafin is crucial to the effect. With the Philharmonia Orchestra in Watford and the Orchestra del Teatro alla Scala in Milan, he gives Callas room to colour a phrase without allowing the pulse to slacken. The accompaniments are alert, flexible and notably free of theatrical exaggeration. Serafin knew her voice intimately and understood that its most compelling effects often came not from forcing the drama forward, but from creating the space in which a word, a pause or a sudden change of colour could register fully.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe final three tracks deepen that dramatic concentration. “Dei tuoi figli” from \u003cem\u003eMedea\u003c\/em\u003e is not simply an aria but an eruption of maternal anguish and moral terror, shaped with the authority that made the role one of Callas’s most formidable stage creations. The two extended scenes from \u003cem\u003eLa sonnambula\u003c\/em\u003e show another side of her art. In “Come per me sereno” the innocence is never insipid, while “Ah! non credea mirarti” is spun with a fragile inwardness that makes the cabaletta’s release all the more exhilarating.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhen \u003cem\u003eThe Gramophone\u003c\/em\u003e reviewed the La Scala LP in June 1958, it described \u003cem\u003eMedea\u003c\/em\u003e as “a great Callas showpiece” and judged this excerpt “certainly exciting”, finding Callas “at the top of her form”. That verdict catches the authority of the performance: even in a short extract, the role seems fully present, with the vocal line carrying both supplication and threat.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThat balance of reservation and admiration now reads less like equivocation than accuracy. Callas’s greatness did not depend upon an immaculate surface. It lay in her ability to make every phrase carry intention, to turn ornament into psychology and vocal colour into theatre. These recordings preserve that art at full stretch. They reveal a singer capable of tenderness, fury, brilliance, melancholy and madness, often within the space of a single side. The voice may occasionally show effort; the imagination never does.\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMaria Callas Arias, Vol. 3: Great Scenes \u0026amp; Mad Scenes - PACO242\u003c\/summary\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis third and final volume of Pristine’s Callas aria series brings together some of her most sustained dramatic encounters. Three scenes from Spontini’s \u003ci\u003eLa vestale\u003c\/i\u003e, recorded at La Scala with Tullio Serafin in 1955, lead to Verdi’s “Tu che le vanità” and the three extended \u003ci\u003eMad Scenes\u003c\/i\u003e recorded with Nicola Rescigno and the Philharmonia in 1958.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Spontini group completes the selections from \u003ci\u003eCallas at La Scala\u003c\/i\u003e begun in Volume 2. Reviewing the original LP in \u003ci\u003eThe Gramophone\u003c\/i\u003e in June 1958, Andrew Porter set Callas beside Rosa Ponselle, whose tonal beauty remained a formidable standard. Callas brought a different intensity to the words. In “Tu che invoco” he especially admired the dramatic and tender continuation beyond Ponselle’s shorter recorded excerpt.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“O Nume tutelar” concentrates Giulia’s distress into a prayer; “Caro oggetto” completes the group. Porter also praised the balance between Callas and Serafin’s orchestra.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eElisabetta’s great scene from \u003ci\u003eDon Carlo\u003c\/i\u003e completes the Verdi recital represented in Volume 1. Its demands drew reservations from Philip Hope-Wallace in \u003ci\u003eThe Gramophone\u003c\/i\u003e: his 1959 review questioned details of vocal colour and the steadiness of the ending, while his stereo reassessment sought greater weight and breadth. Admiration for Callas’s characterisation did not preclude criticism of its execution.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe \u003ci\u003eMad Scenes\u003c\/i\u003e allow her dramatic imagination a broader canvas. In \u003ci\u003eAnna Bolena\u003c\/i\u003e, supporting voices and chorus sustain the theatrical continuity as recollection gives way to alarm, dismay and defiance. Hope-Wallace admired this emotional range. The lyricism of “Al dolce guidami” is one stage in a journey that reaches its culmination in “Coppia iniqua”.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThomas’s Ophelia inhabits a more elusive world. Hope-Wallace found dramatic truth in the tenderness, quiet song fragments and sudden rhythmic changes of the \u003ci\u003eHamlet\u003c\/i\u003e scene, despite a strong objection to its climactic high note. Porter’s 1960 review was exceptionally appreciative.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBellini’s \u003ci\u003eIl pirata\u003c\/i\u003e closes the programme with another extended finale. Hope-Wallace admired the changing moods, prayerful passages and exciting conclusion, while again finding the upper notes troubling. Enthusiasm and reservation coexist throughout these reviews. Across these longer scenes, each heroine acquires her own pace of thought and her own manner of confronting catastrophe.\u003c\/p\u003e\u003c\/details\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMARIA CALLAS Arias, Vol. 1: Puccini \u0026amp; Verdi (1954, 1958) - PACO225\u003c\/summary\u003e\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 1\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eManon Lescaut\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e In quelle trine morbide (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Sola, perduta, abbandonata (Act 4)\u003cspan style=\"font-size: 12px;\"\u003e (5:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eMadama Butterfly\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Un bel dì vedremo (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (4:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Con onor muore (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (3:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eLa bohème\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Sì. Mi chiamano Mimì (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (4:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Donde lieta usci (Act 3)\u003cspan style=\"font-size: 12px;\"\u003e (3:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eGianni Schicchi\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e O mio babbino caro\u003cspan style=\"font-size: 12px;\"\u003e (2:34)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eTurandot\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Signore, ascolta! (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (2:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e In questa reggia (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (6:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Tu che di gel sei cinta (Act 3)\u003cspan style=\"font-size: 12px;\"\u003e (2:50)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eMacbeth\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Nel dì della vittoria ... Vieni! t'affretta (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (7:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e La luce langue (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (4:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Una macchia è qui tuttora (Act 4)\u003cspan style=\"font-size: 12px;\"\u003e (11:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eNabucco\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Ben io t' invenni ... Anch'io dischiuso un giorno (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (9:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eErnani\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Surta è la notte ... Ernani, Ernani, involami (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (6:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 17, 18, 20, 21 September 1954, Watford Town Hall\u003cbr\u003ePresented in Ambient Stereo\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 19, 20, 24 October 1958, Abbey Road Studio 1, London\u003cbr\u003ePresented in stereo\u003cbr\u003eOriginal recording producer: Walter Legge\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e (Puccini) and \u003cb\u003eNicola Rescigno\u003c\/b\u003e (Verdi)\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Maria Callas\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 78:12\u003c\/b\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMARIA CALLAS Arias, Vol. 2: Lyric \u0026amp; Coloratura (1954, 1955) - PACO239\u003c\/summary\u003e\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 2\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eLyric and Coloratura Arias\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eSuor Angelica\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Senza mamma\u003cspan style=\"font-size: 12px;\"\u003e (5:36)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCILEA \u003c\/b\u003e\u003ci\u003eAdriana Lecouvreur\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e Ecco: respiro appena... Io son l’umile ancella\u003cspan style=\"font-size: 12px;\"\u003e (3:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Poveri fiori\u003cspan style=\"font-size: 12px;\"\u003e (3:13)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGIORDANO \u003c\/b\u003e\u003ci\u003eAndrea Chénier\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e La mamma morta\u003cspan style=\"font-size: 12px;\"\u003e (4:53)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCATALANI \u003c\/b\u003e\u003ci\u003eLa Wally\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Ebben? Ne andrò lontana\u003cspan style=\"font-size: 12px;\"\u003e (4:52)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBOITO \u003c\/b\u003e\u003ci\u003eMefistofele\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e L’altra notte in fondo al mare\u003cspan style=\"font-size: 12px;\"\u003e (7:29)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003e\u003ci\u003eIl barbiere di Siviglia\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Una voce poco fa\u003cspan style=\"font-size: 12px;\"\u003e (6:53)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMEYERBEER \u003c\/b\u003e\u003ci\u003eDinorah\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e08.\u003c\/span\u003e Ombra leggera\u003cspan style=\"font-size: 12px;\"\u003e (5:42)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDELIBES \u003c\/b\u003e\u003ci\u003eLakmé\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e09.\u003c\/span\u003e Dov’è l’indiana bruna?\u003cspan style=\"font-size: 12px;\"\u003e (8:06)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eI vespri siciliani\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Mercè, dilette amiche\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCHERUBINI \u003c\/b\u003e\u003ci\u003eMedea\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Dei tuoi figli\u003cspan style=\"font-size: 12px;\"\u003e (4:55)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003e\u003ci\u003eLa sonnambula\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Compagne, teneri amici... Come per me sereno\u003cspan style=\"font-size: 12px;\"\u003e (5:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Oh! se una volta sola... Ah! non credea mirarti... Ah! non giunge\u003cspan style=\"font-size: 12px;\"\u003e (13:57)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e (tracks 1-10)\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e (tracks 11-13)\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 1-10 recorded 15-21 September 1954\u003cbr\u003eWatford Town Hall\u003cbr\u003eTracks 11-13 recorded 9-12 June 1955\u003cbr\u003eTeatro alla Scala, Milan\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of Maria Callas\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 79:15\u003c\/b\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMaria Callas Arias, Vol. 3: Great Scenes \u0026amp; Mad Scenes - PACO242\u003c\/summary\u003e\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 3\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eGreat Scenes \u0026amp; Mad Scenes\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Tu che invoco (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(10:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e O Nume tutelar (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Caro oggetto (Act III) \u003cspan style=\"font-size: 12px;\"\u003e(3:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eDon Carlo\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e Tu che le vanità (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Piangete voi?... Al dolce guidami castel natio (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(19:59)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e À vos jeux... Partagez-vous mes fleurs... Et maintenant écoutez ma chanson (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eIl pirata\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Oh! s’io potessi... Col sorriso d’innocenza (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(17:02)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e (tracks 1–3)\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e (track 4)\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e (tracks 5–7)\u003cbr\u003econducted by \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 1–3 recorded 9–12 June 1955\u003cbr\u003eTeatro alla Scala, Milan\u003cbr\u003ePresented in Ambient Stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTrack 4 recorded during sessions of 19, 21 \u0026amp; 24 September 1958\u003cbr\u003eNo. 1 Studio, Abbey Road, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 5–7 recorded 24–25 September 1958\u003cbr\u003eKingsway Hall, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 75:20\u003c\/b\u003e\u003c\/p\u003e\u003c\/details\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco225\"\u003eMARIA CALLAS Arias, Vol. 1: Puccini \u0026amp; Verdi (1954, 1958) - PACO225 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco239\"\u003eMARIA CALLAS Arias, Vol. 2: Lyric \u0026amp; Coloratura (1954, 1955) - PACO239 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco242\"\u003eMaria Callas Arias, Vol. 3: Great Scenes \u0026amp; Mad Scenes - PACO242 — cover art\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"24-bit FLAC","offer_id":60995485729102,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"16-bit FLAC","offer_id":60995485794638,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"MP3","offer_id":60995485827406,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX057.jpg?v=1790668315"},{"product_id":"pabx057-cd","title":"Maria Callas Arias Volumes 1–3 - PABX057 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003eArias and scenes from:\u003cbr\u003e\u003cb\u003ePUCCINI\u003c\/b\u003e \u003ci\u003eManon Lescaut\u003c\/i\u003e; \u003ci\u003eMadama Butterfly\u003c\/i\u003e; \u003ci\u003eLa bohème\u003c\/i\u003e; \u003ci\u003eGianni Schicchi\u003c\/i\u003e; \u003ci\u003eTurandot\u003c\/i\u003e; \u003ci\u003eSuor Angelica\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eMacbeth\u003c\/i\u003e; \u003ci\u003eNabucco\u003c\/i\u003e; \u003ci\u003eErnani\u003c\/i\u003e; \u003ci\u003eI vespri siciliani\u003c\/i\u003e; \u003ci\u003eDon Carlo\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eLa sonnambula\u003c\/i\u003e; \u003ci\u003eIl pirata\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eBOITO\u003c\/b\u003e \u003ci\u003eMefistofele\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCATALANI\u003c\/b\u003e \u003ci\u003eLa Wally\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCHERUBINI\u003c\/b\u003e \u003ci\u003eMedea\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eCILEA\u003c\/b\u003e \u003ci\u003eAdriana Lecouvreur\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eDELIBES\u003c\/b\u003e \u003ci\u003eLakmé\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eGIORDANO\u003c\/b\u003e \u003ci\u003eAndrea Chénier\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eMEYERBEER\u003c\/b\u003e \u003ci\u003eDinorah\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eROSSINI\u003c\/b\u003e \u003ci\u003eIl barbiere di Siviglia\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eAmbient Stereo and stereo studio recordings, 1954-1958\u003cbr\u003eThree-volume collection: PACO225, PACO239 and PACO242\u003cbr\u003eTotal duration: 3hr 52:47\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Chorus\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e and \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMARIA CALLAS Arias, Vol. 1: Puccini \u0026amp; Verdi (1954, 1958) - PACO225\u003c\/summary\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In the pantheon of twentieth-century opera, Maria Callas  reigns not only as\n    a voice of unrepeatable individuality but as a dramatic  force who redefined\n    the interpretative scope of the soprano repertory. These  landmark\n    recordings — drawn from two celebrated sessions with the Philharmonia\n    Orchestra in London, in 1954 and 1958 — capture her at the height of her\n    vocal  powers and at the peak of her insight into two composers who formed\n    cornerstones of her stage career: Puccini and Verdi.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Puccini arias, recorded in 1954 under the baton of  Tullio Serafin,\n    showcase Callas’s uncanny ability to illuminate the emotional  core of each\n    heroine. In \"Un bel dì, vedremo\" from \u003cem\u003eMadama  Butterfly\u003c\/em\u003e, she\n    presents Cio-Cio-San not as a passive victim but as a woman  clinging to\n    hope with tragic clarity. There is no self-pity here — just  controlled\n    tension and aching resolve, delivered with extraordinary subtlety of\n    phrasing and colour.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In \"In questa reggia\" from \u003cem\u003eTurandot\u003c\/em\u003e,  Callas’s voice takes on a\n    glittering, imperious tone. Her Turandot is not  merely cold but deeply\n    wounded, and the central monologue becomes a chilling  declaration of power\n    and pain. The partnership with Serafin draws out the  music’s latent drama\n    and psychological depth. Few interpretations have so  convincingly conveyed\n    the blend of myth and trauma in Puccini’s last great  enigma.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The arias from \u003cem\u003eLa Bohème\u003c\/em\u003e and \u003cem\u003eManon Lescaut\u003c\/em\u003e reveal a\n    different Puccinian world: youthful vulnerability and lyrical  yearning. In\n    \"Sì, mi chiamano Mimì\", Callas floats the phrases with  touching simplicity,\n    while in \"In quelle trine morbide\" from \u003cem\u003eManon  Lescaut\u003c\/em\u003e, the voice\n    darkens and slows, evoking a woman trapped between  luxury and longing. Her\n    use of legato and finely shaded dynamics gives each  phrase narrative\n    weight.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Verdi arias, recorded in 1958 with Nicola Rescigno  conducting, showcase\n    Callas’s dramatic imagination in its most uncompromising  form. From\n    \u003cem\u003e\n        Macbeth\n    \u003c\/em\u003e\n    , her Lady Macbeth is elemental. In \"Nel dì della  vittoria… Vieni!\n    t’affretta!\", she hurls the lines with ruthless energy,  her tone sharpened\n    into a weapon. In \"La luce langue\", the voice dims  with the dying light,\n    creating an atmosphere of eerie, controlled malevolence.  Finally, in the\n    sleepwalking scene, \"Una macchia è qui tuttora\",  Callas strips the\n    character to her haunted core. Her voice becomes disembodied  — fragmented,\n    spectral — the descent into madness chillingly real.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In \u003cem\u003eNabucco\u003c\/em\u003e, \"Ben io t’invenni… Anch’io dischiuso  un giorno\" finds\n    Callas as the tormented Abigaille, expressing regret with  regal control and\n    aching introspection. Her mastery of Verdian line and tone  colours this\n    aria with complexity and tragic grandeur, far beyond mere vocal  brilliance.\n    Even in an excerpt, she finds a complete psychological portrait.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    From \u003cem\u003eErnani\u003c\/em\u003e,  \"Surta è la notte… Ernani! Ernani, involami\" becomes\n    a  miniature operatic scene. Elvira’s urgency, her longing and desperation,\n    are  etched into every phrase. Callas dispatches the florid writing with\n    ease, but  it is the emotional immediacy — her ability to bring the\n    character to life in  minutes — that lingers. She transforms the\n    conventional tropes of early Verdi  into something intimate and urgent.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In these Verdi roles, Callas uses every facet of her voice  as a dramatic\n    tool. Ornament becomes expression; silence carries weight. These  are not\n    simply arias but distilled dramas — entire acts condensed into a few\n    minutes. Her theatrical instinct shapes the structure of every phrase,\n    turning  vocal technique into storytelling.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    XR-remastered with new clarity, these recordings reaffirm  Callas not just\n    as a voice of legend but as a singular interpreter of  character, mood, and\n    musical structure. Whether navigating the lyrical sweep of  Puccini or the\n    psychological rigour of Verdi, she brings to each phrase an  intelligence\n    and emotional force that continue to astonish. Her voice was never  about\n    beauty alone — it was about meaning, tension, fire. In these Philharmonia\n    sessions, we are reminded not just of Callas’s artistry, but of her\n    unshakeable  presence — as vivid and unsettling now as it was over half a\n    century ago.\n\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMARIA CALLAS Arias, Vol. 2: Lyric \u0026amp; Coloratura (1954, 1955) - PACO239\u003c\/summary\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMaria Callas’s great recital discs were never merely collections of attractive arias. They were demonstrations of range, character and dramatic imagination, assembled at a moment when her voice could move from lyric tenderness to florid brilliance and tragic declamation with extraordinary speed. This second volume brings together three such strands: a single Puccini aria from the September 1954 sessions, the complete programme of her celebrated \u003cem\u003eLyric and Coloratura\u003c\/em\u003e recital, and three La Scala scenes recorded the following year. Originally issued across separate Columbia recital LPs, they now form a coherent portrait of Callas moving between intimacy, virtuosity and full operatic tragedy.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“Senza mamma” finds Callas at her most inward. The line is restrained, the grief concentrated, and the emotion allowed to emerge through the shape of the phrase rather than through external display. That same ability to create a person within a few minutes governs the Cilea, Giordano and Catalani arias that follow. In Adriana’s entrance aria, Callas catches both the actress’s professional poise and the vulnerability beneath it; in “Poveri fiori” the lament is darker and more private. “La mamma morta” and “Ebben? ne andrò lontana” reveal the breadth of her lyric manner, where the voice may not always possess conventional smoothness, but the words are never neutral and the musical line is never merely decorative.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eA 1955 review in \u003cem\u003eThe Gramophone\u003c\/em\u003e of the original recital recognised precisely this tension. Its critic heard occasional heaviness, strain and awkwardness, yet also “great tenderness and simplicity, deep emotion” and an exceptional command of vocal characterisation. The review admired the distraught Margherita of \u003cem\u003eMefistofele\u003c\/em\u003e, the chromatic control of Lakmé’s “Dov’è l’indiana bruna?”, and the sheer versatility of a programme that moves from \u003cem\u003everismo\u003c\/em\u003e intensity to Rossinian and Meyerbeerian display.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThat versatility remains the album’s central fascination. “Una voce poco fa” is less a polite showpiece than a portrait of intelligence sharpening into resolve; “Ombra leggera” tests agility and lightness; the Verdi bolero demands ease, brilliance and rhythmic buoyancy. Callas does not approach these arias as a sequence of technical hurdles. Each becomes a miniature drama.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eTullio Serafin is crucial to the effect. With the Philharmonia Orchestra in Watford and the Orchestra del Teatro alla Scala in Milan, he gives Callas room to colour a phrase without allowing the pulse to slacken. The accompaniments are alert, flexible and notably free of theatrical exaggeration. Serafin knew her voice intimately and understood that its most compelling effects often came not from forcing the drama forward, but from creating the space in which a word, a pause or a sudden change of colour could register fully.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe final three tracks deepen that dramatic concentration. “Dei tuoi figli” from \u003cem\u003eMedea\u003c\/em\u003e is not simply an aria but an eruption of maternal anguish and moral terror, shaped with the authority that made the role one of Callas’s most formidable stage creations. The two extended scenes from \u003cem\u003eLa sonnambula\u003c\/em\u003e show another side of her art. In “Come per me sereno” the innocence is never insipid, while “Ah! non credea mirarti” is spun with a fragile inwardness that makes the cabaletta’s release all the more exhilarating.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhen \u003cem\u003eThe Gramophone\u003c\/em\u003e reviewed the La Scala LP in June 1958, it described \u003cem\u003eMedea\u003c\/em\u003e as “a great Callas showpiece” and judged this excerpt “certainly exciting”, finding Callas “at the top of her form”. That verdict catches the authority of the performance: even in a short extract, the role seems fully present, with the vocal line carrying both supplication and threat.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThat balance of reservation and admiration now reads less like equivocation than accuracy. Callas’s greatness did not depend upon an immaculate surface. It lay in her ability to make every phrase carry intention, to turn ornament into psychology and vocal colour into theatre. These recordings preserve that art at full stretch. They reveal a singer capable of tenderness, fury, brilliance, melancholy and madness, often within the space of a single side. The voice may occasionally show effort; the imagination never does.\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMaria Callas Arias, Vol. 3: Great Scenes \u0026amp; Mad Scenes - PACO242\u003c\/summary\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis third and final volume of Pristine’s Callas aria series brings together some of her most sustained dramatic encounters. Three scenes from Spontini’s \u003ci\u003eLa vestale\u003c\/i\u003e, recorded at La Scala with Tullio Serafin in 1955, lead to Verdi’s “Tu che le vanità” and the three extended \u003ci\u003eMad Scenes\u003c\/i\u003e recorded with Nicola Rescigno and the Philharmonia in 1958.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Spontini group completes the selections from \u003ci\u003eCallas at La Scala\u003c\/i\u003e begun in Volume 2. Reviewing the original LP in \u003ci\u003eThe Gramophone\u003c\/i\u003e in June 1958, Andrew Porter set Callas beside Rosa Ponselle, whose tonal beauty remained a formidable standard. Callas brought a different intensity to the words. In “Tu che invoco” he especially admired the dramatic and tender continuation beyond Ponselle’s shorter recorded excerpt.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e“O Nume tutelar” concentrates Giulia’s distress into a prayer; “Caro oggetto” completes the group. Porter also praised the balance between Callas and Serafin’s orchestra.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eElisabetta’s great scene from \u003ci\u003eDon Carlo\u003c\/i\u003e completes the Verdi recital represented in Volume 1. Its demands drew reservations from Philip Hope-Wallace in \u003ci\u003eThe Gramophone\u003c\/i\u003e: his 1959 review questioned details of vocal colour and the steadiness of the ending, while his stereo reassessment sought greater weight and breadth. Admiration for Callas’s characterisation did not preclude criticism of its execution.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe \u003ci\u003eMad Scenes\u003c\/i\u003e allow her dramatic imagination a broader canvas. In \u003ci\u003eAnna Bolena\u003c\/i\u003e, supporting voices and chorus sustain the theatrical continuity as recollection gives way to alarm, dismay and defiance. Hope-Wallace admired this emotional range. The lyricism of “Al dolce guidami” is one stage in a journey that reaches its culmination in “Coppia iniqua”.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThomas’s Ophelia inhabits a more elusive world. Hope-Wallace found dramatic truth in the tenderness, quiet song fragments and sudden rhythmic changes of the \u003ci\u003eHamlet\u003c\/i\u003e scene, despite a strong objection to its climactic high note. Porter’s 1960 review was exceptionally appreciative.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBellini’s \u003ci\u003eIl pirata\u003c\/i\u003e closes the programme with another extended finale. Hope-Wallace admired the changing moods, prayerful passages and exciting conclusion, while again finding the upper notes troubling. Enthusiasm and reservation coexist throughout these reviews. Across these longer scenes, each heroine acquires her own pace of thought and her own manner of confronting catastrophe.\u003c\/p\u003e\u003c\/details\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMARIA CALLAS Arias, Vol. 1: Puccini \u0026amp; Verdi (1954, 1958) - PACO225\u003c\/summary\u003e\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 1\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eManon Lescaut\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e In quelle trine morbide (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Sola, perduta, abbandonata (Act 4)\u003cspan style=\"font-size: 12px;\"\u003e (5:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eMadama Butterfly\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Un bel dì vedremo (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (4:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Con onor muore (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (3:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eLa bohème\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Sì. Mi chiamano Mimì (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (4:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Donde lieta usci (Act 3)\u003cspan style=\"font-size: 12px;\"\u003e (3:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eGianni Schicchi\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e O mio babbino caro\u003cspan style=\"font-size: 12px;\"\u003e (2:34)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eTurandot\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Signore, ascolta! (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (2:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e In questa reggia (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (6:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Tu che di gel sei cinta (Act 3)\u003cspan style=\"font-size: 12px;\"\u003e (2:50)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eMacbeth\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Nel dì della vittoria ... Vieni! t'affretta (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (7:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e La luce langue (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (4:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Una macchia è qui tuttora (Act 4)\u003cspan style=\"font-size: 12px;\"\u003e (11:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eNabucco\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Ben io t' invenni ... Anch'io dischiuso un giorno (Act 2)\u003cspan style=\"font-size: 12px;\"\u003e (9:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eErnani\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Surta è la notte ... Ernani, Ernani, involami (Act 1)\u003cspan style=\"font-size: 12px;\"\u003e (6:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 17, 18, 20, 21 September 1954, Watford Town Hall\u003cbr\u003ePresented in Ambient Stereo\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 19, 20, 24 October 1958, Abbey Road Studio 1, London\u003cbr\u003ePresented in stereo\u003cbr\u003eOriginal recording producer: Walter Legge\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e (Puccini) and \u003cb\u003eNicola Rescigno\u003c\/b\u003e (Verdi)\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Maria Callas\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 78:12\u003c\/b\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMARIA CALLAS Arias, Vol. 2: Lyric \u0026amp; Coloratura (1954, 1955) - PACO239\u003c\/summary\u003e\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 2\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eLyric and Coloratura Arias\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003e\u003ci\u003eSuor Angelica\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Senza mamma\u003cspan style=\"font-size: 12px;\"\u003e (5:36)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCILEA \u003c\/b\u003e\u003ci\u003eAdriana Lecouvreur\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e Ecco: respiro appena... Io son l’umile ancella\u003cspan style=\"font-size: 12px;\"\u003e (3:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Poveri fiori\u003cspan style=\"font-size: 12px;\"\u003e (3:13)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGIORDANO \u003c\/b\u003e\u003ci\u003eAndrea Chénier\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e La mamma morta\u003cspan style=\"font-size: 12px;\"\u003e (4:53)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCATALANI \u003c\/b\u003e\u003ci\u003eLa Wally\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Ebben? Ne andrò lontana\u003cspan style=\"font-size: 12px;\"\u003e (4:52)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBOITO \u003c\/b\u003e\u003ci\u003eMefistofele\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e L’altra notte in fondo al mare\u003cspan style=\"font-size: 12px;\"\u003e (7:29)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003e\u003ci\u003eIl barbiere di Siviglia\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Una voce poco fa\u003cspan style=\"font-size: 12px;\"\u003e (6:53)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMEYERBEER \u003c\/b\u003e\u003ci\u003eDinorah\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e08.\u003c\/span\u003e Ombra leggera\u003cspan style=\"font-size: 12px;\"\u003e (5:42)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDELIBES \u003c\/b\u003e\u003ci\u003eLakmé\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e09.\u003c\/span\u003e Dov’è l’indiana bruna?\u003cspan style=\"font-size: 12px;\"\u003e (8:06)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003ci\u003eI vespri siciliani\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Mercè, dilette amiche\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCHERUBINI \u003c\/b\u003e\u003ci\u003eMedea\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Dei tuoi figli\u003cspan style=\"font-size: 12px;\"\u003e (4:55)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI \u003c\/b\u003e\u003ci\u003eLa sonnambula\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Compagne, teneri amici... Come per me sereno\u003cspan style=\"font-size: 12px;\"\u003e (5:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Oh! se una volta sola... Ah! non credea mirarti... Ah! non giunge\u003cspan style=\"font-size: 12px;\"\u003e (13:57)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e (tracks 1-10)\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e (tracks 11-13)\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 1-10 recorded 15-21 September 1954\u003cbr\u003eWatford Town Hall\u003cbr\u003eTracks 11-13 recorded 9-12 June 1955\u003cbr\u003eTeatro alla Scala, Milan\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of Maria Callas\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 79:15\u003c\/b\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMaria Callas Arias, Vol. 3: Great Scenes \u0026amp; Mad Scenes - PACO242\u003c\/summary\u003e\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Volume 3\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003ci\u003eGreat Scenes \u0026amp; Mad Scenes\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSPONTINI\u003c\/b\u003e \u003ci\u003eLa vestale\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e01.\u003c\/span\u003e Tu che invoco (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(10:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e02.\u003c\/span\u003e O Nume tutelar (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e03.\u003c\/span\u003e Caro oggetto (Act III) \u003cspan style=\"font-size: 12px;\"\u003e(3:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e \u003ci\u003eDon Carlo\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e04.\u003c\/span\u003e Tu che le vanità (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDONIZETTI\u003c\/b\u003e \u003ci\u003eAnna Bolena\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e05.\u003c\/span\u003e Piangete voi?... Al dolce guidami castel natio (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(19:59)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTHOMAS\u003c\/b\u003e \u003ci\u003eHamlet\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e06.\u003c\/span\u003e À vos jeux... Partagez-vous mes fleurs... Et maintenant écoutez ma chanson (Act IV) \u003cspan style=\"font-size: 12px;\"\u003e(10:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBELLINI\u003c\/b\u003e \u003ci\u003eIl pirata\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e07.\u003c\/span\u003e Oh! s’io potessi... Col sorriso d’innocenza (Act II) \u003cspan style=\"font-size: 12px;\"\u003e(17:02)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e, soprano\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milan\u003c\/b\u003e (tracks 1–3)\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e (track 4)\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra and Chorus\u003c\/b\u003e (tracks 5–7)\u003cbr\u003econducted by \u003cb\u003eNicola Rescigno\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 1–3 recorded 9–12 June 1955\u003cbr\u003eTeatro alla Scala, Milan\u003cbr\u003ePresented in Ambient Stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTrack 4 recorded during sessions of 19, 21 \u0026amp; 24 September 1958\u003cbr\u003eNo. 1 Studio, Abbey Road, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTracks 5–7 recorded 24–25 September 1958\u003cbr\u003eKingsway Hall, London\u003cbr\u003eRecorded in stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 75:20\u003c\/b\u003e\u003c\/p\u003e\u003c\/details\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco225\"\u003eMARIA CALLAS Arias, Vol. 1: Puccini \u0026amp; Verdi (1954, 1958) - PACO225 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco239\"\u003eMARIA CALLAS Arias, Vol. 2: Lyric \u0026amp; Coloratura (1954, 1955) - PACO239 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco242\"\u003eMaria Callas Arias, Vol. 3: Great Scenes \u0026amp; Mad Scenes - PACO242 — cover art\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"3 CDs with case \u0026 artwork (+MP3)","offer_id":60995486024014,"sku":null,"price":51.0,"currency_code":"EUR","in_stock":true},{"title":"3 CDs only in plastic sleeve (+MP3)","offer_id":60995486056782,"sku":null,"price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX057_6bbb9a85-6c32-425d-9ec5-89f36de3fcf5.jpg?v=1790668321"}],"url":"https:\/\/www.pristineclassical.com\/collections\/ensemble-philharmonia-chorus.oembed?page=2","provider":"Pristine Classical","version":"1.0","type":"link"}