Maria Callas The Complete Studio Recordings By LedMaria Callas - Complete Studio Recordings EMI 3. Material not previously remastered has been. ![]() ![]() Cetra. recordings that were recently reissued by Warner Classics. Simply Callas (2. The. contents are listed at the end of this review and include. Maria Callas The Complete Studio Recordings 1949 1969(2007) Maria Callas: Her 10 Greatest Moments. The First studio recording. Maria Callas as Isolde (Tristan and Isolde, Wagner) with Maestro Tullio Serafin, 1949. The Complete Studio Recordings. ![]() Find album reviews, stream songs, credits and award information for Maria Callas, The Complete Studio Recordings 1949-1969 - Maria Callas on AllMusic - 2007. Maria Callas Remastered (The Complete Studio Recordings. Find great deals on eBay for Maria Callas: Complete Recordings. Shop with confidence. LP form. The seventy. CDs of this collection are contained in cardboard sleeves. The CDs are numbered sequentially. CDs 6. 8 and 6. 9. Likewise the second is of recordings. The final CD (7. 0) is a ROM. The. libretti are given as separate files grouped by composer. In. view of the comments, in this review and elsewhere, about. The accompanying booklet gives all details. English, German and French about the singer and her recording. It is not easy to find the contents from this booklet. Certainly his. singing made a big impact on the sale of the new fangled. Cometh the day, cometh the man, or woman. What had previously taken eighteen. Each recording. company rushed to sign up known stars from the operatic stage. Some of the. singers on stage were well known, being involved with the. Otherwise the. executives were alert for new talent. The British Columbia. Angel. in America, and its chief record producer Walter Legge. Making a big impact was. American- born. singer of Greek origin called Maria Callas, who opened. La Scala season in 1. Legge. thought. her histrionic and vocal skills were what his company needed. The. problem for Legge was that Callas had already been signed. Cetra- Sorio. an Italo- American company to record four operas La Gioconda, La. Traviata, Manon and Mefistofele. Dario. Sorio, Cetra. She joined the. Athens Lyric Theatre singing Tosca, the Fidelio Leonore. Santuzza again. However, it was not until 1. La Gioconda in the vast Verona Arena that she. Tulio Serafin to. Isolde - in Italian. In 1. 94. 9, having sung Br. To learn and perform two operas of such diverse. Each role is formidably challenging for. Dario Sorio did not lose sleep over such issues. Cetra label issued recordings based on. Turin. These constitute the first. This recital (CD 1) includes Callas. No wonder. Legge was to get interested. But, two years later, in October. Italy from Rio, Callas stopped off. New York and signed the Cetra contract. She made her first. La Gioconda, in. Turin one year later (CDs 2- 4). This recording, together. Cetra recital and the La Traviata that Callas. Warner- Fonit. Dario Sorio moved to Angel Records, the American. EMI, its relationship with RCA Victor having come. After an assiduous courtship Callas followed. Sorio, and Legge had his artist; Callas signing an exclusive. July 1. 95. 2. By then Callas was making considerable waves. She had broken. into international recognition singing Norma in South. America in 1. 94. Whilst Norma was to be her calling- card. Covent Garden, La Scala and the Met, it was her portrayal. Lucia de Lammermoor that caused. Before that could take place Callas fulfilled. Cetra with a recording. Ponchielli. In fact Callas only ever sang the part of. Gioconda thirteen times on stage, including her Italian. Verona in 1. 94. 7. The 1. 95. 2 recording reprises the tenor. Verona performances. The demanding. and highly complex character of the eponymous heroine requires. CDs 2- 4) She recorded the part again. CDs 5. 2- 5. 4). Many Callas enthusiasts contend that. That. is as maybe. Personally, I find that the first recording. Callas. Her singing is. I review the whole of this first recording in. Naxos remastering (see review). To my ears these advantages are shared. However, I must point out this. In my own review of. Naxos and Regis of the Callas Rigoletto, I. Apart from that between Naxos and Regis, the differences. This did not prove possible for three of the. It was recorded. in the Teatro Communale in Florence, a friendlier recording. La Scala. The orchestral. Callas. He had prepared Rosa Ponselle. Callas for their debuts in the role, and. Joan Sutherland for her memorable. Covent Garden. It was Serafin who persuaded. Callas to bring the bel canto repertoire into her own when. Wagner (Kundry, Isolde and Br. Both male singers make. Lucia recording. (see review). Gobbi. with his incisive biting tone is a suitably bullying Edgardo. Lucia. In this recording Callas concentrates on the. Lucia. In the Mad Scene. Starting. with covered, even occluded, half voice and then moving. E flat note that runs down the spine. Their work together suffers. In general there were several more years. That being said. and although much is made of Callas. He had the idiom of the genre. Lucia recording. and elsewhere on disc, with his pacing and support for the. He is the conductor. I Puritani, (CDs 7- 8) (see review). Cavalleria Rusticana (CD 1. Basilica di Santa Eufemia in Milan. Although the. resonant acoustic of the venue certainly muddied the sound. Bellini in its LP days, it is much clearer in these remasterings. It is worth noting that. Callas took on the role of Santuzza for the recording a. Tosca sessions when another singer. Recorded. complete, anecdote and legend surround the recording and. Legge demanded. Although when first issued the performance. By absolute standards, none. Callas herself. does not always sustain a perfect legato, Gobbi has raw. Di Stefano is stretched at climaxes. Di. Stefano sings with ardent lyrical beauty in his great solo. Act 3 duet with Tosca. No Scarpia. on record has been so threatening, or snarled so effectively. Gobbi; his taunting of Tosca in the Church, prior to. Te. Deum, is chilling But, above all, what makes this performance. Act 2, where Gobbi and Callas, as they did. The sparks of the. Sabata. really fly. There are moments of involvement and identification. It is the. vocal acting and dramatic tension built up in Act 2 that. They took Maria into the RAI studios in Turin to record. Violetta in La Traviata in September 1. Visconti production conducted by Giulini at La Scala in. With a relaxed Santini on the rostrum, and alongside. It is her only studio recording. To considerable frustration currency restrictions. Britain was not able to import copies from the. Italian source. The performance has all the Callas hallmarks. EMI remasterings sound far superior to the. LPs I eventually owned after Manchester! My review of. the performance on remastering for Naxos indicates the poorer. Cetra compared with Columbia. I am pleased to report sonic improvement here (CDs 1. Strangely, at La Scala itself Renata Tebaldi. Decca. It would have been a better choice than I Puritani the. Lucia. This live performance has been issued. EMI (5. 62. 66. 8- 2). On this studio recording Callas and Stignani. Adalgisa, are in less fresh voice whilst Fillipeschi is. Pollione. Despite these reservations, as I indicate. Naxos remasterings (see review). Callas. She re- recorded the work in stereo. September. 1. 96. La Scala with Serafin. CDs 5. 5- 5. 7). In this later recording. Corelli, as Pollione, and Zaccaria are infinitely better. Christa Ludwig is a vocally. Adalgisa. Callas, however, is vocally. Her lifestyle and her inappropriately heavy repertoire. Two months later, Legge and. Callas were again in La Scala for the first of five Verdi. It would be. foolish to state that Callas could soar above the orchestra. Tebaldi let alone Milanov in this. But despite moments of vocal unsteadiness in a sotto. For her last La Scala recording of the year. August, the opera chosen was the then rarely. Callas, bel canto work by Rossini, Il. Turco in Italia. This was badly received at its premiere. La Scala in August 1. Gavazenni, and alongside. Gedda as Narcisco, Callas works wonders with its fioratura. CDs 2. 1- 2. 2). Her trusted. Serafin, was on the rostrum. On the Puccini disc. Donde lieta usci from La Boheme is to die for whilst her Si. Mi chiamano. Mimi from the same opera is less convincing. As well. as her Butterfly arias, of note also is her singing. Liu. In a period when coloratura technique. Callas. Over 5. 0 years. An example is her singing of Lakm. The lower pitched Una voce poca fa, recorded. La Scala performances, which were only. Rosina. She appeared in no fewer than six. Rossini. In the two years previously. To her divadom. at La Scala Callas added other facets of the diva lifestyle. With her newly svelte figure she began to. Her first. recording of the year was a recital made in the La Scala. CD. 2. 5) under Serafin and taking in repertoire varying. Cherubini. One wonders if the ever- perceptive. Legge was hearing things in her sung performances, or seeing. Certainly. he continued to cast her in a widely varying repertoire. Lady Macbeth. The chosen opera for the June recording was Madama. Butterfly (CDs 2. Nicolai Gedda as Pinkerton. The. first two, Aida (CDs 2. Rigoletto (CDs. 3. Serafin on the rostrum and Gobbi as the father. In my review of. the Naxos remastering, I note her lack of vocal security. O patria mio while acknowledging her better Ritorna. Vincitor and enjoying the visceral excitement and drama. Barbieri. Richard Tucker is a robust Radames. In the September. Rigoletto with Di Stefano returning. Duke. Callas never sang. Gilda on stage and although she manages convincing coloratura. This issue really belongs to Gobbi. It was. one of Callas. With Karajan again on the rostrum the work was Il. Trovatore (CDs 3. Legge had wanted the vocally robust. Tucker for the role of Manrico. Tucker. a devout Jew, preferred not to be associated with Karajan. Nazi regime in World War II were. Stefano. In. the lyrical passages he sings and phrases well, but lacks. Inevitably. this is evident in Manrico. That. she could and does inflect insights into the facets and dilemmas. Aida there. is a downside. Perhaps the best illustration. Callas. Rolando. Panerai! Lo tremo and Il balen are. Karajan makes. minor excisions (see full review). That. seems no limitation and Callas is a very appealing Mimi. Votto is the conductor as he is in the. Un Ballo in Maschera (CDs 3. Boheme and with the usual partnership of. Di Stefano and Gobbi. Yes, there is the. The role. of Riccardo suits Di Stefano well and his voice is not over- stretched. It seems it was not so easy to set up the necessary. La Scala, so for Callas. With the orchestra. Alceo Galliera and with Gobbi dominant and.
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