{"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","url":"https:\/\/www.pristineclassical.com\/products\/pabx057","provider":"Pristine Classical","version":"1.0","type":"link"}