Donizetti: Lucia di Lammermoor / Maria Callas [Highlights]

Lucia di Lammermoor, opera Cruda, funesta smania
Composed by Gaetano Donizetti
Performed by London Philharmonia Orchestra
with Renzo Casellato, Bernardo Ladysz, Piero Cappuccilli
Conducted by Tullio Serafin
Lucia di Lammermoor, opera Regnava nel silenzio...Ah! Quando, rapito in estasi
Composed by Gaetano Donizetti
Performed by London Philharmonia Orchestra
with Margreta Elkins, Maria Callas
Conducted by Tullio Serafin
Lucia di Lammermoor, opera Sulla tomba...Qui di sposa eterna fede...Ah! Talor del tuo pensiero...Verano a te
Composed by Gaetano Donizetti
Performed by London Philharmonia Orchestra
with Ferruccio Tagliavini, Maria Callas
Conducted by Tullio Serafin
Lucia di Lammermoor, opera Soffriva nel pianto...Un folle t'accese..Che fia?...Suonar di giubilo...Se tradirmi tu potrai...Tu che vedi il pianto mio
Composed by Gaetano Donizetti
Performed by London Philharmonia Orchestra
with Piero Cappuccilli, Maria Callas
Conducted by Tullio Serafin
Lucia di Lammermoor, opera Chi mi frena
Composed by Gaetano Donizetti
Performed by Philharmonia Orchestra and Chorus
with Margreta Elkins, Bernardo Ladysz, Leonard del Ferro, Piero Cappuccilli, Maria Callas
Conducted by Tullio Serafin
Lucia di Lammermoor, opera Dalle stanze ove Lucia...Oh! Qual funesto avvenimento!
Composed by Gaetano Donizetti
Performed by Philharmonia Orchestra and Chorus
with Bernardo Ladysz
Conducted by Tullio Serafin
Lucia di Lammermoor, opera Il dolce suono...Ardon gli incensi...Spargi d'amaro pianto
Composed by Gaetano Donizetti
Performed by Philharmonia Orchestra and Chorus
with Renzo Casellato, Bernardo Ladysz, Piero Cappuccilli, Maria Callas
Conducted by Tullio Serafin
Lucia di Lammermoor, opera Tombe degli avi miei...Fra poco a me ricovero
Composed by Gaetano Donizetti
Performed by Philharmonia Orchestra and Chorus
with Ferruccio Tagliavini
Conducted by Tullio Serafin

Donizetti: Lucia di Lammermoor / Maria Callas [Highlights],Gaetano Donizetti,Philharmonia Orchestra and Chorus,Tullio Serafin,Maria Callas,Ferruccio Tagliavini,Bernardo Ladysz,Piero Cappuccilli,Margreta Elkins,Renzo Casellato,Leonard del Ferro,Angel Records,Classical,Classical Music,Italian Romantic Opera,Opera,Opera / Operetta / Oratorio

Donizetti: Lucia di Lammermoor (complete opera) with Maria Callas, Tito Gobbi, Giuseppe di Stefano, Tullio Serafin

Average customer rating:

Callas, di Stefano and Gobbi. Lucia di Lammermoor.
An actress, and a woman sings
Best Studio Recording
Lovely recording
Not THAT much shorter, the traditional cuts

Donizetti: Lucia di Lammermoor (complete opera) with Maria Callas, Tito Gobbi, Giuseppe di Stefano, Tullio Serafin

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Puccini: Tosca (1953) with Callas, di Stefano, Gobbi, cond. by de Sabata
Bellini: I Puritani
Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan
Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan
Maria Callas 100 Best Classics

ASIN: B00064N8S6
Release Date: 2005-01-11

Tracks:

Preludio
Percorrete Le Spiagge Vicine
Tu Sei Turbato!...E N'ho Ben Donde
Cruda, Funesta Smania
Il Tuo Dubbio E Omai Certezza
La Pietade In Suo Favore
Maestoso
Ancor Non Giunse!
Regnava Nel Silenzio
Quando Rapito In Estasi
Egli S'Avanza
Sulla Tomba Che Rinserra
Qui Di Sposa Eterna Fede
Ah, Talor Del Tuo Pensiero
Veranno E Te Sull'Aure

Tracks:

Moderato/Lucia Fra Poco A Te Verra
Appressati, Lucia
Il Pallor Fuesto, Orrendo...A Ragion Mi Fe' Spietato
Nobil Sposo...Cessa, Cessa!
Soffriva Nel Pianto
Che Fia?...Suonar Di Giubilo
Se Tradirmi Tu Potrai
Per Te D'Immenso Giubilo...Per Poco Fra Le Tenebre
Dov'E Lucia?...Qui Giungere Or La Vedrem
Ecco Il Tuo Sposo
Chi Mi Frena In Tal Momento
T'Allontana, Sciagurato...Rispettate In Me Di Dio
Sconsigliato! In Queste Porte Chi Ti Guida?
Esci, Fuggi, Il Furor Chem M'Accende
D'Immenso Giubilo
Ah!...Deh, Cessate Que! Contento!...Dalle Stanze Ove Lucia
Oh! Qual Funesto Avvenimento!
Oh Giusto Cielo!...Il Dolce Suono
Ohime! Sorge Il Tremendo
Ardon Gli Incensi; Splendon Le Sacre Faci
Spargi D'Amaro Pianto
Maestoso...Tombe Degli Avi Miei
Fra Poco A Me Ricovero
O, Meschina! O, Fato Orrendo!
Dove Corri, Sventurato?
Tu Che A Dio Spiegasti I'Ali
Che Facesti?

Customer Reviews:

Callas, di Stefano and Gobbi. Lucia di Lammermoor........2007-06-08

Beautiful recording, fabulous voices, Callas was at her very best in this period

An actress, and a woman sings .......2007-01-10

Befoe Maria came onto the scene in 1952, I actually believed that only the "whistling teakettle" type of voice could sing this type of work. When I actually heard a woman's voice, I was transformed from that day.

Best Studio Recording.......2006-11-01

Without a doubt this is the best studio recording of the opera hands down. Callas, Di Stefano and Gobbi are in fine form and Serafin keeps things going at a good pace. The best RECORDING of the opera is of course the 1955 Berlin performance with Karajan conducting. The sound is quite good as Callas bootlegs go and everybody is ON FIRE. One of those magical moments that thankfully somebody taped. If you MUST have your stereo, go with the first Sutherland recording or the Gruberova/Kraus/Rescigno.

Lovely recording.......2005-03-30

I'm a huge bel canto fan and Lucia is one of my top 3 operas. (The others are NORMA and ANNA BOLENA) There is no other Lucia like Callas. Nobody embodies the melancholy, the tragic, fragile beauty and the torment of this doomed heroine more than she. And her coloratura and E-flats glitter and sparkle but never sound senseless or bland. Her partners (di Stefano, Gobbi) are in pristine form and Serafin conducts bel canto with unmatched perfection. This is THE Lucia to buy! A steal, grab it while you can!

Not THAT much shorter, the traditional cuts.......2005-03-17

One can say whatever one likes but IMHO that short review below doesn't do justice to the brilliance of this recording which is not 30 minutes shorter than the Sutherland-recording from 1971. The traditional cuts don't harm the score (The only addition I'd like to see would be the tower-scene), on the contrary, they focus the drama and don't prolong it unnecessarily. The three leads are in brilliant form, the conductor is unmatched. Brava! Brava! Bravissima!

Average customer rating:

Beautiful Collection of Songs
A Legend in all.....La Callas.
Excellent compilation of La Divina's arias
Some people have no business reviewing this
BELLA BELLA BELLA!

Maria Callas, the Voice of the Century

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Callas, Maria | Divas | Opera & Vocal | Styles | Music
Similar Items:

The Very Best Of Maria Callas
Maria Callas - La Divina
Maria Callas: The Legend
Puccini: Arias
The Most Famous Opera Duets

ASIN: B00000631B
Release Date: 1998-03-17

Tracks:

Norma: Casta Diva (Atto I): Norma
La Sonnambula: Compagne, teneri amici...Come per me sereno (Atto I): La Sonnambula
Il Barbieri Di Siviglia: Una Voce poco fa (Atto I): Il barbiere di Siviglia
Lucia di Lammermoor: Regnava nel silenzio...Quando, rapito in estasi (Atto I): Lucia di Siviglia
Rigoletto: Gualtier Mald...Caro Nome (Atto I): Rigoletto
La Traviata: E Strano!...Ah, Fors'e lui...Sempre libera (Atto I): La traviata
La Boheme: Si, Mi chiamo Mimi (Atto I): La boheme
La Boheme: Donde Lieta Usci (Atto III) (Mimi's Farewell): La boheme
Madama Butterfly: Un Bel di Vedremo (Atto II): Madama Butterfly
TOSCA: Vissi D'arte (Atto II): tosca
Turandot: In questa reggia (Atto II): Turandot
La Wally: Ebben? ne andro lontana (Atto I): La Wally
Andrea Chenier: La mamma morta (Atto III): Andrea Chenier

Tracks:

Orphee et Eurydice: J'ai perdu mon Eurydice (Acte V)
Alceste: Divinites du Styx (Acte I)
Dinorah: Ombra leggiera (Atto II) (Shadow Song)
Romeo et Juliette: Ah! Je veux vivre (Acte I) (Waltz Song)
Faust: Les grand seigneurs...Ah! je ris (Acte III)
Lakme: Dov'e l'indiana bruna? (Atto II) (Bell Song)
Samson et Dalila: Printemps qui commence (Acte I)
Samson et Dalila: Mon coeur s'ouvre a ta voix (Acte II)
Les Pecheurs De Perles: Me voila seule...Comme autrefois (Acte II)
Carmen: L'amour est un oiseau rebelle (Habanera)(Acte I)
Carmen: Les tringles des sistre tintaient (Acte II)
Le Cid: De cet affreux combat...Pleurez mes yeux! (Acte III)
Manon: Je ne suis que faiblesse...Adieu, notre petite table (Acte II)
Louise: Depuis le jour (Acte III)

Customer Reviews:

Beautiful Collection of Songs.......2006-07-15

I have listened samples of 5 Callas CDs before buying this one. This one has a very beautiful collection of songs on just 2 CDs. he sings with so much expression. Most the recordings are from the fifties and early sixties when her voice was very young and lovely. I'll try to get her on DVD so I can see her sing.

A Legend in all.....La Callas........2005-04-24

I would just like to refer to an article that was published by a German Newspaper in 1959, mentioned on the Callas Edition (CED:100342)
'...her voice is of unparalleled beauty, having an inimitable, completely own timbre of sopranos and altos...a performance of superior musical quality..a phenomenon amongst contemporary singers'
' ...One of the most spectacular Verdi arias, of Elizabeth from Don Carlo, and one, In Germany tottaly unknown, terrific scene from Bellini's opera Il Pirata were enough to enchant huge numers of television viewers, who can say at her next performance: 'we have seen La Callas''(Hamburg concert 1959)
'- from the contra-alt-f to the f - thats Callas' voice range, spanning over 37 half-tones. Callas herself has drawn the range of her voice. In her concert repertoire the contra-alt-f can be found in e.g. the aria from I Vespri Siciliani. In an aria from Rossini's opera Armida she reaches the 'F'. five half-tones above the high C. Normal voices couldnt possibly even whistle this high F. Though there are other singers, whose voices contain these three octaves - Erna Sack with her coloratura soprano, the lyrical singer Ema Berger and the dramatical singer Zinka Milanov from the New York Metropolitan Opera - simple fact is that the phenomenon Meneghini-Callas lies in her fabulous vocal versatility. She is a coloratura singer, drama-player and lyrist in one person - and an exceptionally talented ac-tress at that.'
Excuse from a journalist of the German Newspaper for the Diva :

Article Title : 'I am sorry!'

'I owe Maria Callas an apology. She is a unique vocal talent, a great artist. She is a primadonna. And she has her moods. Moods for which i ask her to forgive me. Because i misunderstood them - and many others too. That much i gathered from her latest television concert. Even in the flickering of the screen this woman's nervousness and enormous effort were visible.
La Callas is a fragile, rather shy person. Her moods are fear of failure. The moloch audience expects her to always go to any lenght, show the brilliance others just dont have. She is not allowed to get weak. Decent country singers are not decapitated for a false note. La Callas, on the other hand, is the identifying mark of the extraordinary. Even the slightest hint of a mistake would cost her her uniqueness, her stardom....a perverse triumph for all bathtube singers.
That explains her inhibitation to perform when she isnt well, her cancellations when she is not in the right mood. I understand them now. If she werent moody, she wouldnt be a primadonna, would not be La Callas.
Stars like her do not fit in our world of standards and programmed data. They pay dearly for their moods, have to put up fights and, undoubtedly, shed many a tear. So one more, my apologies, Maria Callas'
(Hans im Bild)
That's all folks!:D

Excellent compilation of La Divina's arias.......2005-03-21

This is one of the best compilations EMI has ever made for Maria Callas' arias. Each and every aria lets us listen to the best of her voice from each period of her career. An excellent collection!

Holly Mathews doesn't know how to appreciate art. Kathleen Battle and Renee Fleming themselves have admitted to the supremacy of Callas' singing over theirs, even if their voices seem more beautiful than La Divina. Why else would Callas be a legend and they wouldn't? They are equally good in their own right, but none of them would surpass the accuracy of La Divina's singing and phrasing. Holly Mathews' left side of the brain must be made of clay or foam, dead material that couldn't absorb any beauty.

Some people have no business reviewing this.......2005-01-25

My goodness, what is a non-musical person like Holly Mathews doing in this board? Do you know what other album she has reviewed? Hayley Westenra! And she's not even an opera singer! She obviously doesn't know her business! Disgraceful review! Ignore it! It obviously was not based on good judgement. I'm sure she is a pop fan who just likes tender music. Oh, her insulting language! What an ignorant Maria basher!

Anyway, this is an excellent compilation of SOME of Maria Callas' greatest arias. Although I do wish some arias like Pace Pace Mio Dio were included here, I do think it is a very good compilation all in all. Although she has many detractors, they still have to admit that Callas is the sheer embodiment of singing and drama. She was an actress...a panther on the stage. Listen to her La Mamma Morta and her Suicidio...those brought chills to my spine when I listened to them. Maria is the only singer in the history of opera besides the great Caruso-tenor Franco Corelli who touched me, moved me even. This is probably the reason why I love Maria Callas' music so much. If you want to hear Medea's anger and Norma's anguish and Butterfly's hopeful blindness, listen to Maria Callas. If you just want a golden voice, then go to Renata Tebaldi or Joan Sutherland. And don't even compare her with Charlotte Church or Hayley Westenra! The distaste of some people!

BELLA BELLA BELLA!.......2004-11-23

THIS WAS THE FIRST ALBUM I EVER BOUGHT FEATURING ANY OPERATIC SOPRANO. I WAS 15 AND WAS GIVEN MY VERY FIRST CLASSICAL PIECE "CARO MIO BEN" WHICH WAS NOT AN OPERA ARIA BUT DUE TOTHIS SONG I WAS SUDDENLY IN LOVE WITH OPERA. I HAD HEAR OF HER A FEW TIMES IN THE PAST BUT MY IDEA OF A GOOD SOPRANO AT THE TIME WAS SARAH BIRGHTMAN (YES I KNOW I KNOW!!!BUT I WAS YOUNG!)BUT IT DIDN'T TAKE LONG TO REALIZE HOW WRONG I WAS!! THIS CALLAS RECORDING HAD THE MOST PROFOUND EFFECT ON ME WHICH LED TO MY OBSESSION WITH MY OWN OPERATIC ASPIRATIONS. IT WAS STRANGE AS SHE DID NOT SOUND LIKE A FAT WOMAN SCREAMING HER HEAD OFF IN FULL BODY ARMOR. YES YES...I AND MANY MANY SAD AMERICANS HAVE THOUGH OF THIS WHEN GIVEN THE WORD OPERA. (NOW NOW, WE ALL FELT LIKE THAT AT SOME POINT) I NEVER REALIZED THAT THERE COULD BE SUCH PASSION. HER NORMA WAS IS SO BEAUTIFUL IN IT'S SIMPLICITY AND UNDERLINING STRENGTH. HER TAKE ON "COME OER ME SERENO" AND "UNA VOCE POCO FA" WERE SWEET AND APPROPRIATELY INNOCENT. HER BEL CANTO ROLES WHICH INCLUDED HER FANTASTIC LUCIA (ALTHOUGH LATER I WOULD PREFER SUTHERLAND) AND GILDA JUST THRILLED ME. I HAD NO IDEA SOMEONE COULD ACTUALLY SING THOSE PIECES! OF COURSE UP UNTIL THIS POINT I DIDN'T EVEN KNOW OPERA COULD SOUND LIKE THAT!! (SILLY ME!) I WAS SURPRISED TO REALIZED I KNEW THE ARIAS SHE SUNG FROM LA BOHEME, LA TRAVIATA, AND MADAME BUTTERFLY. THEY DIDN'T MAKE A HUGE IMPRESSION BECAUSE THEY DID NOT HAVE THE FIREWORKS I WAS LOOKING FOR BUT I STILL FOUND THEM TO BE BEAUTIFUL. AFTER ALL OF THIS I LANDED ON CALLAS' TAKE OF TOSCA'S "VISSI D'ARTE". IT WAS AND HAS BEEN THE ONLY TIME I'VE BEEN SO MOVED BY A PERFORMER THAT I CRIED. IT WAS SO PURE BUT THE PAIN WAS SO EVIDENT THAT IT JUST CHILLED ME. I MUST HAVE LISTENED TO IT THOUSANDS OF TIMES OVER THE YEARS AND STILL HAVE YET TO HEAR A MORE STIRRING RENDITION. DUE TO THE OVERWHELMING FIRST CD I MUST ADMIT I KIND OF IGNORED THE SECOND HALF. EVENTUALLY I DID GET TO IT AND FOUND WHAT I FELT WAS THE GREATEST SONG EVER WRITTEN. MY WHOLE BEING LIVED FOR LAKME'S BELL SONG. AFTER LISTENING TO HER I WAS CONVINCED THIS WOMAN WAS MAGICAL BECAUSE I COULDN'T FIGURE OUT HOW SHE OR ANY HUMAN COULD SING LIKE THAT! HER SECOND DISC WAS INTERESTING BECAUSE IT WENT FROM WHITE HOT COLORATURA TO MEZZO? AAHHH BUT YES SHE WENT THERE. INTO THE INTENSITY OF SAMSON ET DELILA. I THOUGHT THEY WERE BEAUTIFUL!!! OF COURSE I KNOW PREFER MARILYN HORNE TO CALLAS ON THOSE SONGS....BUT IT SHOWED ME THAT NOT EVERY SONG HAS TO BE HIGH TO BE BEAUTIFUL. I LOVED AND STILL DUE LOVE THIS COLLECTION....IN FACT I HAVE BOUGHT IT THREE TIMES AS MINE DETERIORATED QUICKLY 'CAS I PLAYED THEM SO MUCH! AND I'VE GIVEN THIS COLLECTION TO COUNTLESS FRIENDS AND FAMILY. THIS IS THE BEST COLLECTION OF CALLAS' WORK AND I WOULD RECOMMEND IT TO EVERYONE AND ANYONE! VIVA LA DIVA!

Donizetti: Lucia di Lammermoor (complete opera) EMI's Great Recordings of the Century with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin

Average customer rating:

An Achievement for Donizetti and Callas!
Lucia di Lammermoor - One of Callas' finest hours

Donizetti: Lucia di Lammermoor (complete opera) EMI's Great Recordings of the Century with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Bellini: Norma (complete opera) EMI's Great Recordings of the Century with Maria Callas, Tullio Serafin, Chorus & Orchestra of La Scala, Milan
Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan
Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan
Verdi: Il Trovatore (complete opera) EMI Great Recordings of the Century with Maria Callas, Giuseppe di Stefano, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan
Wagner: Lohengrin

ASIN: B0001O3YB2
Release Date: 2004-04-06

Tracks:

Preludio
Percorrete Le Spiagge Vicine
Tu Sei Turbato!...E N'ho Ben Donde
Cruda, Funesta Smania
Il Tuo Dubbio E Omai Certezza
La Pietade In Suo Favore
Maestoso
Ancor Non Giunse?
Regnava Nel Silenzio
Quando Rapito In Estasi
Egil S'avanza
Sulla Tomba Che Rinserra
Qui Di Sposa Eterna Fede
Ah, Talor Del Tuo Pensiero
Verranno A Te Sull'aure

Tracks:

Moderato.../Lucia Fra Poco A Te Verra
Appressati, Lucia
Il Pallor Funesto, Orrendo...A Ragion Mi Fe' Spietato
Nobil Sposo...Cessa, Cessa!
Soffriva Nel Pianto
Che Fia?...Suonar Di Giubilo
Se Tradirmi Tu Potrai
Per Te D'immenso Giubilo...Per Poco Or La Vedrem
Dov'e Lucia?...Qui Giungere Or La Vedrem
Ecco Il Tuo Sposo
Chi Mi Frena In Tal Momento
T'allontana, Sciagurato...Rispettate In Me Di Dio
Sconsigliato! In Queste Porte Chi Ti Guida?
Esci, Fuggi, Il Che M'accende
D'immenso Giubilo
Ah!...Deh, Cessate Quel Contento!...Dalle Stanze Ove Lucia
Oh! Qual Funesto Avvenimento!
Oh Giusto Cielo!...Il Dolce Suono
Ohime! Sorge Il Tremendo
Ardon Gli Incensi; Splendon Le Sacre Faci
Spargi D'amaro Pianto
Maestoso.../Tombe Degli Avi Miei
Fra Poco A Me Ricovero
Oh, Meschina! Oh, Fato Orrendo!
Dove Corri, Sventurato?
Tu Che A Dio Spiegasti L'ali
Che Facesti?

Customer Reviews:

An Achievement for Donizetti and Callas!.......2005-01-09

From the conductors to the principal singers to the chorus, this recording of Lucia is without a doubt the must-have of all Lucias both for the reason of musicality, good taste, good music, and great singers. Donizetti himself could never have seen a better cast arranged for his tragic opera! To have an enormous voice (and please understand that this enormous voice is capable of handling coloratura passages just like any light coloratura could) sing Lucia is a phenomenon, and to have the likes of a great tragic artist such as Maria Callas singing a part which has been the playground of most coloratura lights is simply mind-blowing! Her keen sense of drama is evident in this Lucia, as she performs the madscene with a certain kind of drama never seen in any performance of Lucia before and after her career. Not even the fabled Dame Joan performances could match up with the beauty and the drama of this Lucia di Lammermoor. Lacking a good sense of drama and tragedy, Dame Joan only comes close the the accuracy of the score with her embellishments. Callas had so much more to offer to the role. The madness, the tragedy, all of it is so heartfelt in her singing. Of course, Lucia isn't simply a soprano's opera. Let us not forget the tenor who plays the part of Edgardo, who, if it were not for the high demand of a great many jealous sopranos in the past, would have shone as the star in this opera. Giuseppe di Stefano, a tenor with a great voice with an equally great dramatic capability, brought the part a human side which could not be heart from Pavarotti's belching. And Tito Gobbi, who else could have matched such a great baritone? No one!!! He was the ultimatum of the dramatic villain. Of course, we must not forget the efforts of the great Tullio Serafin, the most talented of all the known bel canto conductors during the age of recording technology. I recomment this recording to anyone who wants to hear a TRUE Lucia sung with a passion.

Lucia di Lammermoor - One of Callas' finest hours.......2004-05-17

Lucia di Lammermoor is a complex role that has been portrayed by a varity of voice-types. Canaries like Pons, Carosio, Dessay, Jo and others, dramatic sopranos d'agilita like Callas and young Sutherland and today L'ubica Vargicova, lyric coloraturas like Sills, Scotto and Kohutkova and even spintos like Caballe and Rost who sang it come scritto, lower and without the ornamentations later added. All of these have their merits, it is my opinion though that a dramatic soprano d'agilita can do it justice incredibly. I find the role to be too demanding for canaries because it demands a rich middle and dark colours also. Passionate lyric coloraturas like Sills sound fabulous as Lucia as well because of their feminity, innocence and sweetness. Maria Callas, who was singing Tosca, Gioconda, Lady Macbeth and Norma at the time added Lucia to her repertoire in 1952, singing it in Mexico City after having sung a part of the madscene in a concert ealier. (A recording exists) The enthralled audience adored her so much and wouldn't stop hailing their divine one until the entire madscene had to be repeated, a feat no other Lucia achieved before or after. What kind of a Lucia is Callas? Well, a very unique one as one might expect of La Divina. Listening to "Regnava nel silenzio" you'll hear not only maiden-like beauty but an alarming, fearful colour of angst and beginning madness. It's only hinted, not overdone. But knowing Lucia's fate it's very moving. The coloratura in the cabaletta "Quanto rapito in estasi" presents us with another voice. Where Callas had sounded dark, melancholic and deep in the aria here she was glowing, shining and glittering but never chirping. Her top-registers was as steady as her rich middle then and the high note ending the cabaletta is lush, steady and beautiful. In the love-duet with honey-voiced di Stefano as Edgardo the angst returns, mixed with her pure and passionate love for Edgardo. The unisono of these two stunning voices has not been equalled since, it was a legendary partnership. In the duet with her brother Enrico Lucia's voice has grown darker, more afraid and closer to the madness soon to follow, climaxed in the tormented outcry "La tomba, la tomba m'aspetta!" (The tomb, the tomb is awaiting me!). The stretta of the duet, Enrico's harshness and Lucia's breakdown as she begs God to let her die culminates in a fabulous note in alto.
The wedding-scene has a feel of doom I haven't heard again before or after. Callas' voice is almost white with pain and fear and when Edgardo comes she breaks down, knowing now that her brother has betrayed her. Being spurned by a grief-stricken Edgardo we hear (!) Lucia breaking into a million pieces --> Going mad. The madscene itself, with the glorious "play" (Who calls it that?) with the flute is so hauntingly beautiful and touching. Mistaking the flute for her lover's voice Lucia, who has just murdered her husband, deliriously sings of the joy awaiting her and Edgardo. One cannot help but weep for her, this pure, loving soul that was crushed by ambition and hatred of others. The fireworks, high notes, cadenzas and coloratura of the cabaletta climaxes in a huge, glorious E-flat. A fabulous recording of bel canto, not only beautiful or pretty but haunting and moving.
Di Stefano sings a passionate, ultimate Edgardo and Panerei sounds idiomatic, dramatic and properly enraged as Enrico. Serafin shows all other maestri how bel canto MUST BE conducted. True there are some cuts but nothing that I personally miss a lot. In short: It's the best studio-recording of Lucia ever.

Donizetti: Lucia di Lammermoor / Callas, di Stefano, Pnaerai, Zaccaria; Karajan

Average customer rating:

10 Stars
Excellent
A little bit of this...a little bit of that.
Undoubtedly Callas' Best Lucia
CALLAS' BEST LUCIA!

Donizetti: Lucia di Lammermoor / Callas, di Stefano, Pnaerai, Zaccaria; Karajan
Gaetano Donizetti , Herbert von Karajan , Maria Callas , Giuseppe di Stefano , Nicoal Zaccaria , Rolando Panerai , Coro del Teatro alla Scala , and Berlin RIAS-Symphonie-Orchester
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Callas, Maria | Divas | Opera & Vocal | Styles | Music
Similar Items:

Donizetti: Anna Bolena (complete opera live 1957) with Maria Callas, Gianni Raimondi, Gianandrea Gavazzeni, Orchestra & Chorus of La Scala, Milan
Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan
Bellini: La Sonnambula (complete opera live 1955) with Maria Callas, Giuseppe Modesti, Leonard Bernstein, Chorus & Orchestra of La Scala, Milan
Ponchielli: La Gioconda (complete opera) with Maria Callas, Fiorenza Cossotto, Antonino Votto, Orchestra & Chorus of La Scala, Milan
Cherubini: Medea (complete opera live 1953) with Maria Callas, Fedora Barbieri, Leonard Bernstein, Orchestra & Chorus of La Scala, Milan

ASIN: B00000630V
Release Date: 1998-03-17

Tracks:

Lucia di Lammermoor: preludio
Lucia di Lammermoor: Act One - Scene One - percorrete...percorriamo le spiagge vicine
Lucia di Lammermoor: tu sei turbato!...e n'ho ben d'onde
Lucia di Lammermoor: cruda, funesta smania
Lucia di Lammermoor: il tuo dubbio e omai certezza...come vinti da stanchezza
Lucia di Lammermoor: la pietade in suo favore
Lucia di Lammermoor: Scene - ancor non giunse?
Lucia di Lammermoor: regnava nel silenzio alta la notte e bruna
Lucia di Lammermoor: quando rapito in estasi
Lucia di Lammermoor: egli s'avanza...lucia, perdona se ad ora inusitata
Lucia di Lammermoor: sulla tomba che rinserra il tradito genitore
Lucia di Lammermoor: qui di sposa eterna fede...ah, soltanto il nostro foco
Lucia di Lammermoor: ah, talor del tuo pensiero venga un foglio messaggero
Lucia di Lammermoor: veranno a te sull'aure i miei sospiri ardenti

Tracks:

Lucia di Lammermoor: Act Two - Scen One - lucia fra poco a te verra...tremante l'aspetto
Lucia di Lammermoor: appressati, lucia...il pallor funesto, orrendo
Lucia di Lammermoor: soffriva nel pianto...un folle t'accese
Lucia di Lammermoor: che fia?...suonar di giubilo
Lucia di Lammermoor: se tradirmi tu potrai...tu che vedi il pianto mio
Lucia di Lammermoor: Scene - per te d'immensa giubilo...per poco fra le tenebre spari la vostra stella
Lucia di Lammermoor: dov'e lucia? ...qui giungere or la vedrem
Lucia di Lammermoor: piange la madre estinta
Lucia di Lammermoor: chi mi frena in tal momento
Lucia di Lammermoor: t'allontana, sciagurato...rispettate in me di Dio
Lucia di Lammermoor: sconsigliato! in queste porte chi ti guida?
Lucia di Lammermoor: esci, fuggi, il furor che m'accende
Lucia di Lammermoor: Act Three - Scene One - d'immenso giubilo s'innalzi un grido
Lucia di Lammermoor: dalle stanze ove lucia tratta avea col suo consorte
Lucia di Lammermoor: oh! qual funesto avvenimento!
Lucia di Lammermoor: il dolce suono mi colpi di sua voce!...ardon gli incensi
Lucia di Lammermoor: spargi d'amaro pianto
Lucia di Lammermoor: Scene Two - tombe degli avi miei
Lucia di Lammermoor: fra poco a me ricovero dara negletto avello
Lucia di Lammermoor: oh, meschina! oh, fato orrendo!
Lucia di Lammermoor: tu che a dio spiegasti l'ali

Amazon.com essential recording

Lucia was another one of Callas's signature roles; in fact, one might argue that she made people listen to it in a manner they had neglected since its inception. Long the territory of canary-like high sopranos with no interest in drama (e.g., Lily Pons), Callas brought the role into the same dramatic focus it had been created for. At its premiere in 1835, members of the audience wept audibly at Lucia's lunacy. With her darker tone and psychological probing, Callas made us hear what was in the poor girl's soul--she was an innocent, tricked, abandoned, and driven mad. This live performance, in so-so sound (but absolutely worth it), is staggering in its musical and dramatic potency; something between Callas and Karajan was in the air that made them think, breathe, and create music as one. Callas ducks the first big E-flat in the Mad Scene for dramatic effect; the second one is all the more special for making us wait for it. And elsewhere Callas's "rightness" within the role is never in doubt. Costar Giuseppe di Stefano, too, is at his best, singing with ardor and gorgeous streams of sound, and the ensemble work is so spectacular that the audience demands--and gets--an encore of the 2nd Act sextet. Any collection of great opera recordings without this set is incomplete. --Robert Levine

Customer Reviews:

10 Stars.......2006-08-04

Apart from all of the, as Berstein said it, 'pure electricity' - does anyone not notice all of the incredible musical detail that is in this recording?? Callas is the supreme musician - no other Lucia comes close to this one. I love Joan Sutherland, but she gargles her way through the score, with no true legato and very little sense of line and musical direction...I've never heard Beverly Sills' Lucia, because: I can't stand her voice. Opera is not just music - it's theatre, it's emotion. Who cares about bell-tone e-flats when the real beauty lies within the interpreter and how s/he communicates the details!

PS: Donizetti wrote the mad scene in F major originally - not E-flat - Listen to the recording with Andrea Rost - the original 1835 Lucia - musically, the entire opera makes more sense. AND the lower e-flat in the Callas recording brings that entire scene to a perfectly 'maddening' close.

Excellent.......2005-10-01

Callas made several studio and live recordings of Lucia di Lammermoor. Her greatest reading of this role is probably this one, from Berlin in 1955. Her voice, although no longer the full dramatic voice of 1953, her first studio recording of the role, is perhaps even finer in 1955. Her voice seems to allow a greater degree of light and shade than before, and is steadier than later in her career. Whenever it is asked of her, Callas seems able to imbue a phrase with wonderful tenderness. She 'becomes' the very embodiment of Donizetti's Lucia - yes, she 'became' many characters from Medea to Amina (Sonnambula), but Lucia, like Norma, was a huge role in her career. Her partnership with di Stefano is as fine here as in the studio - although he benefits from being heard in the theatre acoustic, which does not seem to highlight any form of weakness in his high notes - an unfortunate side effect of the close mono sound of the Legge recording in 1953.
Rolando Panerai has had a wonderful and long career- I really like his timbre and approach to the role of Enrico - although others may not, preferring Tito Gobbi on the studio set.
Having a great conductor like Herbert von Karajan - and at this point in his career he was great - conducting may at first seem something of a waste considering that emphasis is nearly always (sometimes unfairly) based on the singers. Karajan manages to inject some life into the score while following the singers fastidiously - a welcome change from lots of other conductors who meander through the score, suiting the wants of the artists rather than the demands of the composer.
The sound is usually of a good standard considering the unofficial source and age of the recording - although it does not quite compete with studio recording from this period. I am not sure which label provides the best transfer of this particular performance, although this EMI version benefits from the inclusion of a libretto.
Subsequently I would say this is probably the best "live" recording and amongst the greatest of the work available - although outstanding recordings, "live" and in the studio, with Sutherland, Sills, Caballé, as well as many other sopranos, vie for a top recommendation.

Very Highly recommended
D. Bennett

A little bit of this...a little bit of that........2005-08-13

Recordings of opera are always tricky things--primarily because opera is a theatrical event more than it is a purely musical one...it exists of course beyond the notes of the score, but also beyond the sounds of any given recording. I believe it is the "more than the music" element of opera that immortalized Callas as "La Divina"--and, truly, what gives this recording its own place in the opera firmament. I have to say that I do not like Callas' voice because it is not beautiful. As voices go, I think there are many singers who are far superior. That said, a performance is more than just beauty of sound--and in this arena, Callas is difficult to beat. For that reason, though I do not find the sound of her voice pleasing in general, I must nonetheless add my praise to her performing abilities--particularly in her earlier works, before the strain has set in and where her truly stunning technical abilities are, I feel, at their best.

Why such a lengthy diatribe on the virtues of Maria Callas before touching the nature of this particular recording? Hopefully to give readers some perspective on my opinions--particularly those who have not before heard Callas sing and are expecting something perhaps different than is delivered.

Insofar as this recording is concerned, Callas officially recorded Lammermoor three times, and though each has its own remarkable qualities, the Karajan version wins out slightly for me. Callas brings a passion and immediacy to Lucia that few other sopranos have equalled for me--either in recording or on stage. (While I also own Sutherland and Sills versions of this opera and while I find that both S&S have far more beautiful voices than Callas does, I am simply not convinced that either are "Lucia." Particularly in Sutherland's case--while "stupendous" in the vibrant quality of her tone, textual meaning is glossed over a bit too much for me. We lose the theatricality that is so intrinsic to opera. But, I digress.) Callas in this recording really hits the center of the opera for me--the emotional nature and mental collapse of the title character. Lucia di Lammermoor is for me a character opera much like a character play or novel--all of the plot machinations, etc, are really points of characterization for Lucia. The genesis of Callas' Lucia is breathtaking.

I can sympathize that some reviewers are perhaps disappointed that Callas did not take the first high e-flat that appears to be so contentious, but I believe her choice works well. Too many Lucias use the opera as a vehicle for coloratura fireworks and lose the real core of the character. While Callas, like Caballe, might limit some of the ornamentation, I think the reading nonetheless effective. (A question/note on ornamentation in general: If it is acceptable to change the original score by adding embellishments, why is it not similarly acceptable to alter the score by removing embellishments? There are many approaches to singing various passages of any Donizetti opera--some traditionally flashy, others less so. It is a matter of the conductor's and singer's choice. I do not personally see why Callas' choice re: the high note is so apparrently contemptible. I think it logical given how operas of this period are treated.)

Some recordings in which Callas appears can seem to be unbalanced merely because it is difficult to create a supporting cast with enough weight to counterbalance her. It's no act of God or Congress that Callas and di Stefano were so frequently paired; here, he has the weight and ring to ground her Lucia nicely. Karajan also works well with the orchestra to support her.

A big detractor--other than the beauty of Lucia's voice if that's what you enjoy in opera--is the mono sound quality. I personally do not mind it, but it might be a reason to choose another recording of the opera if such things matter to you.

My advice, of course, is not even worth two cents, but if you're looking to buy a recording of any opera, I think you need to first think about your tastes in listening choices and why you're listening to the recording. Arguments over which diva is better and for what reasons are largely irrelevant. If you love a beautiful sound--great. Choose a singer that you like (whether or not that singer is well-liked by others). If you prefer acting ability and theater that is really grounded in the text (including diction that is clear and unmuddied)--great. Choose a recording whose cast follows that philosophy of performing. For me, this recording follows the latter of the two types of recordings. I own other recordings of Lucia because I happen to like beautiful singing. As I also happen to like passionate singing, a real understanding of the text (and an ability to convey that understanding), and a wholly fleshed-out character, I also have purchased this recording. The choice of which recording happens to make it into my CD player depends entirely on my mood and preferences of the moment--as your choice of which recording to buy should be for you.

(End sanctimonius report)

Undoubtedly Callas' Best Lucia.......2005-05-03

Many will argue that Callas' first studio recording will find her in very stable voice. Then again, many will readily swing handbags at those who do not acknowledge the fact that 1955 saw Callas in her vocal and dramatic best. True, the fat notes weren't there anymore, and at this stage of Callas' career, the vocal flaws that were later going to put a quick end to her great and illustrious career were only beginning to creep into the performance, but what a night it was! Her Lucia from 1953 saw a dramatic soprano with the agility of a natural coloratura soprano, and while many would prefer the opulent, rich voice of the early 50's, I find myself coming back to her glorious interpretation in Berlin. Here, Lucia has a softer, more fragile aspect to her, brought about by the thinning of Callas and her voice. It is certainly more effective! Every single moment of the opera isn't without meaning, and the mad scene (although an E-flat was omitted) is simply astonishing. By the way, Donizetti's score doesn't have that E-flat after Ardon gli incensi. But truly, Lucia was brought alive as a result of Callas' great mark on the role. Her partners during the evening were stellar as well, backed up by the great voices of Giuseppe di Stefano, Niccola Zaccaria, Gianni Raimondi, and other great singers of that era. Callas' take of this Lucia is considered by many to be the best. I agree with them. While I wouldn't part with the first recording, and I certainly do love the interpretation in the second studio remake, this is the Lucia I would bring to my desert island. And, Karajan brings a different perspective to this Lucia that no Italian conductor could ever give to Donizetti's score. From Picco to de Fabriitis to Serafin et. al, this Lucia will make its mark above them all (except for the first studio recording, possibly). Along with the Scala Traviata of the same year, plus the Norma that would come in December, and possibly the London Norma with Joan Sutherland, her Medeas at Dallas with Rescigno and at Milan with Bernstein, her 1955 Sonnambula yet again with the West Side Story composer, the fabled Anna Bolena of 1957, plus her La Forza del Destino with Serafin, I would consider these to be her essential recordings, with her Puccinis and other Verdi's following in second place.

CALLAS' BEST LUCIA!.......2005-01-28

The cooperation between Callas and Karajan works wonders indeed. I love the lyrical side Karajan brings out of Callas. Her phrasing, especially in the duets is moving and lovely! Regnava nel silencio is always one of her Lucia's highlights but again it's her interaction with the other singers in the scenes that I really admired in this performance. Her first duet with Edgardo is magical! The voice is in great shape too and it's a joy that she pushes it very little, which gives it a sweet quality not often related to Callas. The mad scene has a verisimo feeling in it (notice the fantasma effect) and Callas saves her good top note for the conclusion of the scene.

Di Stefano is ardent and heroic, fortunately also pushing his fragile instrument less than usual. I miss some of Bergonzi's and Carreras' elegance but Di Stefano was the ideal partner for Callas. Panerai was a bit disappointing. I hadn't noticed on other recordings that he had such a fluttery voice. He sings well though with a couple of impressive high notes. Add to that a great Nicola Zaccaria as Raimondo and you have an all-around superb cast and performance. The very young Karajan cares more for his singers than he would in later years and it's a pleasure to hear his detailed conducting without loosing the voices. The remastered EMI sound is great for the '50s standards.

Some listeners who've already been fascinated by the gorgeous and technically brilliant singing of Sutherland will have difficulties enjoying Callas' performance. On the other hand, Sutherland was my first Lucia but I did hear the magic in Callas' Lucia too. It's one of Callas' most involved performances and its universal praise is justified!

Maria Callas - Life & Art (2 CD's & Bonus DVD)

Average customer rating:

The Fascinating Maria Callas
Stupenda! A great compilation...
wonderful representation of Callas artistry

Maria Callas - Life & Art (2 CD's & Bonus DVD)

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
Similar Items:

Verdi: Arias by Maria Callas (includes DVD - rare performance of Callas on film)
Callas - A Documentary Plus Bonus / John Ardoin, Franco Zeffirelli
Maria Callas - Passion / A Film by Gerard Caillat
The Passion of Callas
Maria Callas - The Callas Conversations (EMI Classic Archive)

ASIN: B0002Z83KW
Release Date: 2004-11-16

Tracks:

Bellini: Norma - Casta Diva (Act I)
Donizetti: Anna Bolena - Al dolce guidami castel natio (Act II)
Verdi: Il trovatore - D'amor sull'ali rosee (Act IV)
Catalani: La Wally - Ebben? ne andrr lontana (Act I)
Giordano: Andrea Chinier - La mamma morta (Act III)
Puccini: La bohhme - Donde lieta uscl (Act III)
Puccini: Tosca - Vissi d'arte (Act II)
Mascagni: Cavalleria rusticana - Voi lo sapete o mamma
Boito: Mefistofele - L'altra notte in fondo al mare (Act III)10. Puccini: Madama Butterfly - Un bel dl vedremo (Act II)
Puccini: Turandot - Signore, ascolta (Act I)
Puccini: Manon Lescaut - Sola, perduta, abbandonata (Act IV)
Ponchielli: La Gioconda - Suicidio! (Act IV)
Verdi: Aida - Ritorna vincitor! (Act I)
Bizet: Carmen - Carreau ! Pique ! (Card Scene) (Act III)
Massenet: Le Cid - De cet affreux combat...Pleurez, mes yeux ! (Act III)

Tracks:

Bellini: La sonnambula - Compagne, teneri amici...Come per me sereno...Sovra il sen la man mi posa (Act I)
Bellini: I puritani - Son vergin vezzosa (Act 1)
Donizetti: Lucia di Lammermoor - Regnava nel silenzio...Quando rapito in estasi (Act I)
Verdi: Rigoletto - Gualtier Maldh...Caro nome (Act I)
Verdi: La traviata - Ah, fors'h lui (Act I)
Puccini: Gianni Schicchi - O mio babbino caro
Cilea: Adriana Lecouvreur - Ecco: respiro appena. Io son l'umile ancella (Act I)
Thomas: Mignon - Ah, pour ce soir...Je suis Titania (Act II)
Gounod: Romio et Juliette - Ah ! Je veux vivre dans ce rjve (Act I)
Gounod: Faust - Un bouquet !...Ah ! je ris (Jewel Song) (Act III)
Berlioz: La Damnation de Faust - D'amour l'ardente flamme (Part IV)
Massenet: Werther - Werther ! Qui m'aurait dit...Des cris joyeux (Letter Scene) (Act III)
Bizet: Les Pjcheurs de perles - Me voil` seule...Comme autrefois (Act II)
Saint-Saens: Samson et Dalila - Printemps qui commence (Act I)
Charpentier: Louise - Depuis le jour ( Act III)

Tracks:

Massenet: Le Cid - De cet affreux combat...Pleurez, mes yeux (Acte III) (DVD)
Bizet: Carmen - Prilude; Habanera (Acte I); Entr'acte (Acte III); Siguidille (Acte I) (DVD)
Verdi: Ernani - Surta h la notte...Ernani, involami (Atto I) (DVD)
Rossini: La Cenerentola - Nacqui all'affanno e al pianto...Non piy mesta (Atto II) (DVD)
Verdi: Don Carlo - O don fatale, o don crudel (Atto III) (DVD)

Customer Reviews:

The Fascinating Maria Callas.......2007-01-10

The DVD of her life was the most interesting part. I was really hoping for a wide selection of arias on the CDs, rather than the two full operas that came in the set.

Stupenda! A great compilation..........2006-08-23

First off, I think this is a great compilation of Maria Callas' work. It has a little bit of almst everything. It picks the right records and highlights them quite well. I liked the idea of splitting the album into two discs. One of lighter romantic arias. The other with tragic and dramatic arias. Now, to the point...
I listen to many operas as it is my music of choice. Whenever I find myself at a loss with a certain soprano for either character or tone I always find myself coming back to Callas. Not having the most tonaly beautiful voice she does for me what is more important. She adds life and passion to the music instead of just singing it. She knows the characters and their motivations. This rare feat comes thru in her voice. Capable of singing almost any soprano role from a light lyric coloratura such as Lakme or to the heavy demands of a Wagnerian role such as Norma. Not only does her range impress but her voice was capable of such colors and shades of those colors. She imparts such pathos and depth with her voice. This for me is most important. A singer can have the most tonaly beautiful voice, but if there is no heart and emotion behind it, forget about it. Callas has that in spades. Maybe that is why 30 some odd years after her death I still find myself turning to her for inpsiration.

wonderful representation of Callas artistry.......2006-04-29

This 2 set CD and additional DVD are a great sampling of Maria Callas singing various operatic arias. They demonstrate not only her remarkable vocal range but her ability to perform expressively as well. No artist in my opinion can act today as well as Callas. Callas voice may have been flawed later on during her career, but her ability to act truly makes up for any vocal imperfections. After all, she is the only operatic soprano I know of who possessed not only the natural talent for acting, but the ability to sing anything from mezzo to soprano. If you are a fan of Callas, then I highly recommend this set. Even those not familiar with Maria Callas should hear her perform at least once.

Average customer rating:

All hail to Callas the greatest Lucia of them all
Unforgettable live Lucia in nice sound
The best Lucia ever!
Lucky Mexico City
The only Lucia!!!!!!!

Donizetti: Lucia di Lammermoor

Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

Lucia Di Lammermoor
Donizetti: Lucia di Lammermoor (complete opera) EMI's Great Recordings of the Century with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin
Verdi: La Traviata
Maria Callas ~ Cherbini - Medea [selection]
Bellini: Norma (complete opera) with Maria Callas, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

ASIN: B00003Q5B4
Release Date: 2000-01-11

Tracks:

Lucia di Lammermoor: D'immenso giubilo s'innalzi un grido
Lucia di Lammermoor: Il dolce suono
Lucia di Lammermoor: Spargi d'amaro pianto
Lucia di Lammermoor: Tombe degli avi miei ... Fra poco a me ricovero
Lucia di Lammermoor: Oh, meschina oh, fato orrendo
Lucia di Lammermoor: Tu che Dio spiegasti L'ali

Tracks:

Lucia di Lammermoor: Percorrete le spiagge vicine
Lucia di Lammermoor: Tu sei turbato!
Lucia di Lammermoor: Crudo, funesta smania
Lucia di Lammermoor: Ancor non giunse!
Lucia di Lammermoor: Regnava nel silenzio
Lucia di Lammermoor: Quando, rapito in estasi
Lucia di Lammermoor: Egi s'avanza!
Lucia di Lammermoor: Verranno a te sull'aure
Lucia di Lammermoor: Lucia fra poco a te verra
Lucia di Lammermoor: Soffriva nel piano
Lucia di Lammermoor: Che fia? Suonar di giubilo
Lucia di Lammermoor: Per te d'immenso giubilo
Lucia di Lammermoor: Chi mi frena in tal Momento?
Lucia di Lammermoor: T'allontana, sciagurato

Customer Reviews:

All hail to Callas the greatest Lucia of them all.......2005-05-05

I have listened to many versions of Lucia di Lammermoor (including non Callas performances) and Callas still delivers the best performance for the role of Lucia. This 1952 version shows the la Divina in top of her prime. Hearing that flat e rising just makes me thank God for giving Callas to the world. The only thing I do not like in this cd package is that there is no Lyric sheet. As a non italian this is important for me. Its a good thing I have all the versions of Lucia di Lammermoor of Callas . Both EMI complete versions offer the lyric sheet.
But despite this fact one should never let this version pass.

Unforgettable live Lucia in nice sound.......2004-10-04

On this page you can download two nice tracks to see if the sound-quality is good enough for you, I suggest to listen to those first. ;-) In any case this Lucia from 1952 marks the rebirth of Lucia as redeemed from chirpers like Pons and Robin who had turned it into a "Listen to my hiiiiiiiiiiiiiigh notes" fest. Lucia being a DARK and dramatic character despite her innocence and her really over the top naiveté it's a character that fits Callas like a glove. Her "Regnava nel silenzio" tears off all facades of Lucia's character, here her weak mental health is clearly shown and how Callas sings it and the cabaletta afterwards! Incredible colours in the cantabile, amazing fireworks and acuti in the cabaletta. The dialogue with Enrico is spine-chilling, the madscene unsurpassable in its vocal magnitude, virtuosic bel canto and colours. To see how BEAUTIFUL young Callas could sound listen to her singing "Verranno a te..." with di Stefano as Edgardo. This Lucia is the best ever made available. Do not miss it at all costs!!!!

The best Lucia ever!.......2004-05-11

This one beats all the other "famous" Lucias easily. A live-recording of incredible magnitude! Brava La Divina!

Lucky Mexico City.......2004-04-15

Even this early in Callas' career she new what the music was about. Listen to the endless coloration in the act two scene one duet with Lucia's brother. This performance on a whole is very provincial and very exciting. It is hard to listen to others who have recorded this opera. You can listen to this Lucia a hundred times and still find something new. di Stefano too makes other tenors who sang this role sound boring. What passion, what opera!

The only Lucia!!!!!!!.......2004-03-11

I got this Lucia yesterday! Finally!!!!!! After this magnificent Lucia I cannot listen to any other Lucia anymore, not even Sutherland! I'm a new Callas-Fan! So glad I bought this! Finally I understood why all opera-experts adore this woman!

Average customer rating:

Re: The review from the preceding oddly named reviewer
Get some Callas complete sets, otherwise an excellent introduction
6 Stars!
Callas is Opera's Meryl Streep
WOW!

Maria Callas: The Legend

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
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The Very Best Of Maria Callas
Maria Callas, the Voice of the Century
Maria Callas: The Platinum Collection
La Divina 2
The Passion of Callas

ASIN: B00004ZDL4
Release Date: 2000-10-24

Tracks:

Norma: Act I, Casta Diva
La Wally: Act I: Ebben? Ne Andro Lontana
Gianni Schicch: O Mio Babbino Caro
Andrean Chenier: Act III: La Momma Morta
Tosca: Act II: Vissi D'arte
Madame Butterfly: Act II: Un Bel Di Vedremo
La Boheme: Act I: Si. Mi Chiamano Mimi
La Boheme: Act III: Donde Lieta Usci
La Traviata: Act I: Ah, Fors' E Lui
La Traviata: Act III: Addio, Del Passato
Orphee Et Eurydice: Act IV: J'ai Perdu Mon Eurydice
Samson Et Delila: Act II: Mon Couer S'ouvre A Ta Voix
Carmen: Act I: L'amour Est Un Oiseau Rebelle (Habanera)
Carmen: Act I: Pres Des Remparts De Seville
Carmen: Act II: Les Tringles Des Sistres Tintaient (Chanson Boheme)
Il Barbier Di Siviglia: Act I: Une Voce Poco Fa
Lucia Di Lammermoor: Act III: Spargi D'amaro Pianto

Amazon.com

What's the reason for all the fuss about soprano Maria Callas, whose life story is like a study in Greek tragedy? Her great gift was not purity of tone or emission, reliability, or sheer loveliness; it was, rather, her ability to change her vocal color and style to suit not only particular periods of opera but to get under the skin of the individual characters she portrayed: Bellini's priestess Norma performing a sacred rite; Puccini's sweetly hopeful Mimí from La Bohème and his innocent Butterfly; Verdi's courtesan Violetta; Bizet's sultry, adult Carmen; Donizetti's raving Lucia, and many others--and you'll believe them all. Much--though not all--of the program is identical to the 1993 anthology La Divina, though there has been some remastering since then. It's a perfect way to sample the art of Callas and begin to understand why, decades after her death, she remains one of the opera world's most revered performers. --Robert Levine

Customer Reviews:

Re: The review from the preceding oddly named reviewer.......2006-05-09

He--or she, as the case may be--understands.

Get some Callas complete sets, otherwise an excellent introduction.......2006-05-04

This was my first experience to the voice of Maria Callas. Before listening to this disc, I had already read all kinds of articles and reviews hyping Callas as "the singer of the 20th century", "the goddess", "la divina"...and so on.
Right at the beginning of the first track, "Casta Diva" from Norma, I was totally knocked over. I had imagined the most famous voice of the century as an angelic, gorgeous voice. What ugly sounds I heard! Even the coloratura and phrasing did not sound even. I continued running through the whole disc and at each track could not stand for more than a minute, struck with her weird sounding instrument. The only moment that I really liked on that first listen was that glorious E flat that closes the CD, which was so powerful that I listened to it again and again.
Then, by chance, I got to borrow the recording of Tosca with that impeccable Callas-di Stefano-Gobbi-Sabata cast. It was a weekend, and I decided to give it a listen, libretto in hand.
I was totally out of words. I did not like Callas's voice at all at the beginning, but slowly warmed up to it. Her portrayal of the anguish of Tosca at the 2nd act was so terrifyingly true and alive that I was totally speechless and literally immobilized. By that knock-out aria, Vissi d'Arte, I had already conceived the voice of Maria Callas as a beautiful voice. The ending of the opera, with that wonderful acting from Callas, literally had me immobilized for 15 minutes after the final chord.
After Tosca, one by one came Callas's Violetta, Norma, Lady Macbeth, Gioconda, Lucia di Lammermoor...It is impossible for me now to tell exactly when did I start to love that "ugly" voice. I slowly understood why Callas's recordings and portrayals had that frightening ability to convince and seduce: Callas does not sacrifice the ongoing drama for a beautiful but senseless sound. She sacrifices that beauty of sound of a Tebaldi or Milanov in order to REALLY get into the character and become the character she portrays. The best way to listen to Callas is not to listen to the highlights, but to every single moment of her interpretations. She is one of the rare voices that can bring so much excitement to those recitatives and make them as worth hearing as the florid arias.
Callas's voice is so distinct and "tasty" that after her I quite can not content myself with any other voice. It is really exciting how she literally grabs you with her art and brings you to her knees. If you want to really get to know Maria Callas, get some of her complete sets of her famous roles like Tosca, Norma, Violetta and get to know why she is such a legend.

6 Stars!.......2005-04-05

Is Callas' voice per se exceptionally beautiful, bearing in mind that once upon a time the standard was gracefulness and pleasentness to the ears? Before Callas, we have Tebaldi and Schwarkopf...

Nevertheless with Callas, we surely have a most incredible voice of the century. Incredible in the sense that she could cover literally a range of 2.5 octaves with ease (not even Caballe could do that), and she could change her timbers anytime and at any register. Coupled with a profound understanding of the characters that she sings, this makes her suitable for almost all opera parts. That explains why her singing could be so moving, so powerful and so full of drama.

But Callas with really beautiful recorded sound is not easy to come by, leave alone those recorded when she was in her prime. This is exactly such an album. Furthermore, most of the arias here are from famous operas, quite a few from what people would name the "top ten" operas. Last but not the least, Alfred Brendel, one of the topmost pianists, used to listen to Callas a lot partly to see her phrasings! Highly recommended for all opera, in fact all music lovers.

Callas is Opera's Meryl Streep.......2004-08-07

This CD is a great catalogue of Callas' tremendous talent as a singer and actress.

The thing about Maria Callas is that she brings good entertainment to the stage; an aspect that has, unfortunately, often been neglected in productions. While most of us have never had the opportunity to see her perform live, and technology at the peak of her career couldn't do justice to her voice, we can still feel the essence of each character she meant to portray. Her artistic dexterity is supreme, allowing for her ability to faithfully interpret the composers' intent.

For example, through Maria you can feel extremely sympathetic to Violetta's melancholy, or Tosca's desperation. She is adorable as Mimi and graciously reverent as Bellini's Norma. She paints these different characters in your mind with the many varied colors of her voice and a thorough understanding of the whole science of music. You will be affected with each aria, and you'll fall in love with her. If you are a Callas fan, this CD should be in your collection, and if you don't know Callas yet, this is a great first CD to learn about her and maybe even a good deal about Opera. Buy it!

WOW!.......2004-07-14

Callas is the best! The greatest soprano ever. This compilation is absolutely gorgeous!

Average customer rating:

Just the best of the best.

Maria Callas Live

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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ASIN: B000AMUU9E
Release Date: 2005-11-08

Tracks:

Casta Diva...Fino Al Rito...Ah! Bello A Me Ritorna
Oh, Rimembranza!...Ah Si, Fa Core
Perfido! Or Basti!
Mira, O Norma...Cedi, Deh Cedi!...Si, Fino All'ore Estreme
In Mia Man Alfin Tu Sei
Deh! Non Volerli Vittime
Sorgete; E In Me Dover...Quando A Un Tratto - Various Artists
Ah! Lo Sento
Cedo Al Destin Orribile
Oh! S'io Potessi Dissipar Le Nubi...Col Sorriso D'innocenza..Oh, Sole! Ti Vela Di Tenebra Fonda

Tracks:

Care Compagne...Come Per Me Sereno...Sovra Il Sen
Son Geloso Del Zefiro Errante
D'Un Pensiero E D'un Accento...Non Piu Nozze - Various Artists
Ah! Non Credea Mirarti
Ah! Non Giunge
Regnava Nel Silenzio...Quando Rapito In Estasi
Qui Di Sposa...Verranno A Te
Soffriva Nel Pianto...Tu Che Vedi Il Pianto Mio
Chi Mi Frena - Various Artists
Il Dolce Suono...Ardon Gli Incensi...Spargi D'amaro Pianto - Various Artists

Tracks:

Dei Tuo figli...O Fatal Vello D'or
Creonte A Me Solo
E Che? Io Son Medea!
Come, Innocente Giovane...Non V'ha Sguardo
Io Sentii Sulla Mia Mano - Various Artists
Ove Sono?...In Quegli Sguardi Impresso...Ah! Segnata E La Mia Sorte - Various Artists
Va, Infelice
Fin Dall'eta Piu Tenera...Salira D'Inghilterra Sul Trono
Piangete Voi?...Al Dolce Guidami...Qual Mesto Suon?...Coppia Iniqua - Various Artists

Tracks:

Di Mio Padre...Deh! Pelopea Stirpe!...O Tu, Che In Tua Pieta Crudel
Sommi Dei!...O Sventurata Ifigenia
Il Voto Pago Andra...Io Ti Veggio
Ah! L'esecrando Rito...Io T'imploro Anelante
Di Quai Soavi Lagrime
Omai Da Lunge...Perche Di Stolto Giubilo
Donna...Che! Possente Numi!...Quest'alma E Troppo Debole
Ah! Fuggi Da Morte
Ecco Il Segnal!
Ecco L'orrido Campo...Ma Dall'arido Stela Divulsa
Teco Io Sto...O Qual Soave Brivido
A Tal Colpo...Morro, Ma Prima In Grazia

Tracks:

Libiamo, Ne' Lieti Calici
E Strano! E Strano...Ah! Fors'e Lui...Sempre Libera
Non Sapete...Ah! Dite Alla Giovine
Dammi Tu Forza, O Cielo!
Teneste La Promessa...Addio Del Passato
Ah, Violetta!...Se Una Pudica Vergine - Various Artists
Ritorna Vincitor!
Al Tuo Consiglio Io Cedo...Gloria All'egitto - Various Artists
Qui Radames Verra!...O Patria Mia
Ciel! Mio Padre!
O Terra, Addio

Tracks:

Nel Di Della Vittoria...Vieni! T'afferetta!...Or Tutti Sorgete
La Luce Langue
Una Macchia E Qui Tuttora
Gente La Dentro!...Mario! Mario!...Non La Sospiri, La Nostra Casetta
Orsu, Tosca, Parlate - Various Artists
Vissi D'arte
Senti, L'ora E Vicina...Amaro Sol Per Te...Presto! Su, Mario! - Various Artists
Ecco L'altare...Ervate Possente
Come Sa Amare!...La Mamma Morta
Benedico Il Destino! - Various Artists

Tracks:

Ben Io T'invenni...Anch'io Dischiuso Un Giorno (Abigaille, Act II)
Dov'e L'indiana Bruna? (Bell Song) (Lakme, Act II)
Tutte Le Torture (Costanze, Act II)
Ahime! Che Notte Oscura...Ombra Leggera (Shadow Song) (Dinorah, Act II)
Depuis Le Jour (Louise, Act III)
D'amore Al Dolce Impero (Armida, Act II)
Bel Raggio Lusinghier (Smiramide, Act I)
Ma Chi E Questa Bella...Ai Vostri Giochi...Ed Ora A Voi (Ofelia, Act IV)
Vanne, Lasciami...D'amor Sull'ali Rosee (Leonora, Act IV)
Pace, Pace, Mio Dio! (Leonora, Act IV)
Dolce E Calmo (Liebestod) Isolde, Act III)

Tracks:

Una Voce Poco Fa (Rosina, Act I)
Tu Che Vedi Il Mio Tormento (Tu Che Invoco) (Giulia, Act II)
Surta E La Notte...Ernani! Nernai, Involami (Elvira, Act I)
Tu Che Le Vanita (Elsabetta, Act IV)
Si. Mi Chiamano Mimi (Mimi, Act I)
L'altra Notte In Fondo Al Mare (Margherita, Act III)
L'amour Est Un Oiseau rebelle (Habanera) (Carmen, Act I)
Pres Des Remparts De Seville (Seguedille) (Carmen, Act I)
Nacqui All'affanno...Non Piu Mesta (Cenerentola, Act II)
Je Ne Suis Que Faiblesse...Adieu, Notre Petite Table (Manon, Act II)
Werther! Qui M'aurait Dit...Des Cris Joyeux (Charlotte, Act III)
Tu? Tu? Piccolo Iddio (Butterfly, Act II)
O Mio Babbino Caro (Lauretta)

Customer Reviews:

Just the best of the best........2006-02-08

From all the compilations of Maria Callas EMI has issued this is BY FAR the best one.

Unlike her studio recitals, unequal and mostly recorded when her voice was starting to decay, this live records take you back to the glorious early fifties when the young Callas was changing the history of opera forever.

The first 6 CD's are scenes from stage performances and the last 2 from recitals.

Chronollogically, this compilation starts with the legendary (and controversial) 1951 Mexico-City "Aida" and ends with the 1964 Covent Garden "Tosca" (when Callas' voice was just the shade of itself but at the peak of her dramatic skills).
Listen to the electrifying poetry of the 1952 "La sonnambula", to the devorating flame of 1955 "La traviata" and "Lucia". Not to forget the 1952 "Norma", the 1957 "Ana Bolena" and some rarities like "Andrea Chénier", "Ifigenia in Tauride" and "Poliuto".
The only great absent of this collection is "Armida"...

As for the the 2 recital CD's, the first one contains arias from concerts between 1952 and 1958, when Callas was in full command of her voice. Nobody else was capable of singing arias from Nabucco and Lakmé on the same recital! And listen to the last aria: Wagner's Isolde's dead.

The second one, contains arias from 1959 to 1963. Here, Callas voice had diminished considerably and she was not anymore capable of the same technical miracles, but she still managed to give thrilling dramatical interpretations (listen to the dead scene of Madama Butterfly of the 1963 Paris recital!!!)

In 80% of this compilation you can hear the young Callas creating her own legend, giving herself completly on the stage.

Average customer rating:

YET ANOTHER CALLAS COLLECTION

Maria Callas: The Platinum Collection

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

General | Easy Listening | Pop | Styles | Music
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La Divina 2
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Maria Callas, the Voice of the Century

ASIN: B000B6OD0G
Release Date: 2005-11-08

Tracks:

Puccini: Un bel di vedremo (from Madama Butterfly)
Bizet: L'zmour est un oiseau rebelle - Habanera (from Carmen)
Catalini: Ebben? ne andro lontana (from La Wally)
Rossini: Una voca poco fa (from Il Barbiere di Siviglia)
Bellini: Casta Diva (from Norma)
Saint-Saens: Mon coeur s'ouvre a ta voix (from Samson et Dalila)
Verdi: Gualtier Malde... Caro nome (from Rigoletto)
Verdi: Sempre libera (from La Traviata)
Gounod: Ah! Je veux vivre dans ce reve (from Romeo et Juliette)
Puccini: Si. Mi chiamano Mimi (from La Boheme)
Mozart: Mi tradi quell'alma ingrate (from Don Giovanni)
Mascagni: Voi lo sapete, o mamma (from Cavalleria Rusticana)
Ponchielli: Suicidio! (from La Gioconda)
Puccini: O mio babbino caro (from Gianni Schicchi)
Puccini: In questa reggia (from Turandot)
Puccini: Vissi d'arte (from Tosca)

Tracks:

Giordano: La mamma morte (from Andrea Chenier)
Spontini: O nume tutelar (from La Vestale)
Massenet: Je ne suis que faiblesse... Adieu, notre petite table (from Manon)
Puccini: Oh, saro la piu bella... Tu, tu, amore? (from Manon Lescaut)
Bizet: Pres des ramparts de Seville - Seguedille (from Carmen)
Rossini: Dunque io son (from Il Barbiere di Siviglia)
Delibes: Dov'e l;indiana brune? - Bell Song (from Lakme)
Verdi: Qui Radames verra .... O partria mia (from Aida)
Puccini: O soave fanciulla (from La Boheme)
Puccini: Signore, ascolta! (from Turandot)
Leoncavallo: Qual fiamma avea nel guardo!... Hui! Stridono lassu (from Pagliacci)
Verdi: D'amor sull'ali rosee (from Il Trovatore)
Puccini: Vogliatemi bene, un bene piccolino (from Madama Butterfly)
Meyerbeer: Ombra leggera - Shadow Song (from Dinorah)

Tracks:

Gluck: Divinites du Styx (from Alceste)
Bizet: Les tringles des sistres tintaient - Chanson boheme (from Carmen)
Verdi: Surta e la notte... Ernani! Ernani, involami (from Ernani)
Puccini: il quelle trine morbide (from Manon Lescaut)
Verdi: Ritorna vincitor! (from Aida)
Gluck: J'ai perdu mon Eurydice (from Orphee et Eurydice)
Verdi: Merce, dilette amiche - Bolero (from I Vespri Siciliani)
Charpentier: Depuis le jour (from Louise)
Puccini: Donde lieta usci (from La Boheme)
Thomas: Ah, pour ce soir... Je suis Titania - Polanaise (from Mignon)
Verdi: Teneste la promessa... Addio, del passato (from La Traviata)
Verdi: O don fatale (from Don Carlo)
Saint-Saens: Printemps qui commence (from Samson et Dalila)
Bellini: Compagne, teneri amicic... Come per sereno...Sovra il sen (from
Cilea: Ecco: respiro appena. Io son l'umile ancella (from Andriana Lecouvreur)
Donizetti: Spargi d'amaro pianto (from Lucia di Lammermoor)

Customer Reviews:

YET ANOTHER CALLAS COLLECTION.......2006-02-08

I find that I'm beginning to agree with Herbert Breslin, who wrote in his book "The King and I" (which deals with his years as Pavarotti's manager) that "EMI has managed to convince the public that Maria Callas is still alive". Undoubtedly, EMI has made a fortune on Callas -------- complete operas, live recordings of operas, recitals, previously unpublished arias, and the like ------- and is showing no signs of slowing up promoting her recordings. There is no other operatic artist whose recordings are being promoted and marketed the way Callas' are. Obviously, the fascination continues. Is all of this warranted? Obviously, to judge by the sales of her recordings, most definitely "yes". Callas the artist is represented in this collection with arias and scenes recorded in different times of her short but spectacular career. The items recorded in the early and middle 1950's are vocally more secure than those recorded after 1960. What IS incredible are the different colors and hues that Callas had in her voice ---- she comes off as kind of an operatic Lon Chaney ("Man of a Thousand Faces")and manages to forge her imprint into virtually every item on included on this disc. What other soprano - living or historical---could sing such a wide repertoire which incorporated so many different vocal styles? This alone is reason to value Callas ------- as well as for her brains and incredible musicianship. Certainly we have hard more externally beautiful voices, but virtually none of them have had the sheer individuality of Maria Callas. This collection is certainly a great place to sample her art. I warn you ---- her art is addictive.

Average customer rating:

Donizetti: Lucia di Lammermoor

Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B000O5B55A
Release Date: 2007-04-10

Tracks:

Prelude
Percorrete Le Spiagge Vicine
Tu Sei Turbato!
Cruda Funesta Smania
Il Tuo Dubbio E Ormai Certezza
La Pietade In Suo Favore
Ancor Non Giunse!
Regnava Nel Silenzio
Quando Rapito In Estasi
Egli S'Avanza!
Sulla Tomba Che Rinserra
Qui, Di Sposa Eterna Fede
Ah! Talor Del Tuo Pensiero
Ah, Verranno A Te Sull'Aure

Tracks:

Lucia Fra Poco A Te Verra
Appressanti, Lucia
Soffriva Nel Pianto
Che Fia!
Se Tradirmi Tu Potrai
Per Te D'Immenso Giubilo
Dov'e Lucia?
Piange La Madre Estinta
Chi Mi Frena In Tal Momento?
T'allontana Sciagurato
Sconsigliato, In Queste Porte Chi Ti Guida?
Esci, Fuggi, Il Furor Che M'accende
D'immenso Giubilo S'innalzi Un Grido
Ah! Dalle Stanze Ove Lucia
Oh! Quai Funesto Avvenimento!
Il Dolce Suono...Alfin Son Tua
Spargi D'amaro Pianto
Tombe Degli Avi Miei
Fra Pco A Me Ricovero
Oh Meschina! Oh Fato Orrendo!
Tu Che A Dio Spiegasti L'ali

Album Description

"If I could own but a single Callas set it would be this one!" -- John Ardoin, author, The Callas Legacy

"Callas brings a passion and intimacy to the role that no other soprano [in the last] century has equaled ... Karajan creates ideal support for Callas's blinding performance." -- Rough Guide To Opera

One of the greatest live complete opera recordings starring Maria Callas, and the best of her recordings of Lucia di Lammermoor. Live performance, Berlin, September 29, 1955. Selected as one of the best performances from the vast Opera d'Oro catalog and reissued with new packaging, performance notes from Callas biographer Robert Levine, the fabulous cover art of Rafal Oblinski, and complete libretto newly translated by Bill Parker.

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