Bellini - Norma / Maria Callas [Live in Trieste 1953] [Enhanced]

1. Norma, opera
   Composed by Vincenzo Bellini
   with Boris Christoff, Elena Nicolai, Franco Corelli, Raimondo Botteghelli, Maria Callas, Bruna Ronchini
   Conducted by Antonino Votto
   
   

Bellini - Norma / Maria Callas [Live in Trieste 1953],Vincenzo Bellini,Antonino Votto,Maria Callas,Franco Corelli,Boris Christoff,Raimondo Botteghelli,Elena Nicolai,Bruna Ronchini,Divina Records,Classical,Classical Music,Italian Romantic Opera,Opera,Opera / Operetta / Oratorio

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Average customer rating: Audio beauty and magnificence, Maria Callas sublime Good "Best Of" The Very Best of Maria Callas Classic Callas

The Very Best Of Maria Callas Maria Callas Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gluck | Gluck, Christoph W. | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Ponchielli | Ponchielli, Amilcare | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Saint-Saëns, Camille | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | 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 Similar Items: Maria Callas, the Voice of the Century The Most Famous Opera Arias The Best of Italian Opera The Most Famous Opera Duets The #1 Opera Album ASIN: B00005Y1YQ Release Date: 2002-02-12

Tracks:

1. Carmen: L'Amour Est Un Oiseau Rebelle
2. Gianni Schicchi: O Mio Babbino Caro
3. La Wally: Ebben? Ne Andro Lontana
4. Samson Et Dalila: Mon Coeur S'ouvre A Ta Voix
5. Tosca: Vissi D'arte, Vissi D'amore
6. Andrea Chenier: La Mamma Morta
7. Le Nozze Di Figaro: Porgi Amor
8. Orphee Et Eurydice: J'ai Perdu Mon Eurydice
9. Aida: Ritorna Vincitor!
10. Adriana Lecouvreur: Respiro Appena... Lo So L'Umile Ancella
11. Madama Butterfly: Un Bel Di Vedremo
12. Norma: Casta Diva
13. Turandot: Signore, Ascolta!
14. Louise: Depuis Le Jour
15. La Boheme: Si. Mi Chiamano Mimi
16. La Gioconda: Suicidio
17. La Forza Del Destino: Pace, Pace Mio Dio!

Customer Reviews:

Audio beauty and magnificence, Maria Callas.......2007-03-31

There are moments on this recording that are virtually audio heaven.
Ms. Callas' voice goes beyond the normal concept of beauty.

sublime.......2007-02-14

she is an angel , a voice without parallel , a collection very interesting of arias from different masters.

Good "Best Of".......2007-02-09

Maira Callas was never a favorite of mine, but she is notable as a passionate, (but sometime shrill to my ears) performer. This collection is a good single record tribute to her operatic legacy.

The Very Best of Maria Callas.......2006-08-20

Second on my list for CDs that should be recommended for people who want to start on a long trail of Callas to the Carmen with Gedda and Prétre. This has perhaps the best excerpts of all time from Maria Callas. The 'Ritorna vincitor' and 'Una voce poco fa' are to be treasured. Any long-time Callas fan will find this CD of little to no interest, because anything they haven't heard before, there's a better, low-audio-quality version of somewhere. 4 stars for that reason.

Classic Callas.......2006-07-11

Countless assessments of Maria Callas' life and career, as well as re-issues of some of her definitive recorded performances have been fueled by the 25th anniversaary of her tragic and prophetic death alone in her Paris flat on September 16, 1977. One of those such discs, this 17 track retrospective compilation from the archives of EMI is among the best. Every character she portrays is bought to life by her incomparible ability both vocally and emotionally. Enjoy!

Average customer rating: Wonderful i recommend it Landmark Soprano. An essential work for opera listeners. Terrific introduction to the art of Callas Callas was the greatest Great starter CD

Maria Callas - La Divina Giacomo Puccini , Vincenzo Bellini , Georges Bizet , Gioachino Rossini , Alfredo Catalani , Camille Saint-Saëns , Giuseppe Verdi , Charles Gounod , Wolfgang Amadeus Mozart , Pietro Mascagni , Amilcare Ponchielli , Tullio Serafin , Georges Prêtre , Nicola Rescigno , Franco Ghione , Antonino Votto , Maria Callas , Alfredo Kraus , Ebe Ticozzi , Giuseppe di Stefano , London Philharmonia Orchestra , Orchestra e Coro del Teatro alla Scala , Orchestre National de la R.D.F. , Conservatory Concert Society Orchestra , and Lisbon Orquesta Sinfonica del Teatro Nacional de San Carlos Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Ponchielli | Ponchielli, Amilcare | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Saint-Saëns, Camille | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | 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 Callas, Maria | Divas | Opera & Vocal | Styles | Music Similar Items: La Divina 2 Maria Callas: La Divina 3 The Very Best Of Maria Callas Maria Callas, the Voice of the Century Maria Callas: The Legend ASIN: B000002RT6 Release Date: 1993-09-14

Tracks:

1. Madama Butterfly: Un bel di, vedremo (Atto ll)
2. Carmen: L'amour est un oiseau rebelle (Habanera) (Acte l)
3. La Wally: Ebben? ne andro lontana (Atto l)
4. Il Barbiere di Siviglia: Una voce poco fa (Atto l)
5. Norma: Casta Diva (Atto l)
6. Samson et Dalila: Mon coeur s'ouvre a ta voix (Acte ll)
7. Rigoletto: Caro nome (Atto l)
8. La Traviata: Sempre libera (Atto l)
9. Romeo et Juliette: Je veux vivre dans ce reve (Acte l)
10. La Boheme: Si, mi chiamano Mimi (Atto l)
11. Don Giovanni: Mi tradi quell'alma ingrata (Atto ll)
12. Cavalleria Rusticana: Voi lo sapete, o mamma
13. La Gioconda: Suicidio! (Atto lV)
14. Gianni Schicchi1: O mio babbino caro
15. Turandot: In questa reggia (Atto ll)
16. TOSCA: Vissi d'arte, vissi d'amore (Atto ll)

Amazon.com

If you want to know the reason behind all the fuss about Maria Callas, buy this CD. Callas's 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. Here you will hear the 18-year-old Butterfly imagining the return of her beloved; the sultry, adult Carmen seducing all around her; the youthful Wally telling her cruel father that she will go off into the cold wilderness rather than give up her boyfriend; the sly Rosina planning to outfox her guardian; the priestess Norma performing a sacred rite; Dalila wrapping Samson around her little finger and more; Gioconda contemplating suicide when all hope is gone; Gilda recalling the name of the boy she's just fallen for; and the icy princess Turandot reliving the rape of her ancestor and swearing that no man will possess her. And you'll believe them all. At times Callas's vocalism is a bit wiry (Juliette sounds stressed, for instance); but, in all, this is like a visit with 16 women, all of them interesting, and all of them great singers! --Robert Levine

Customer Reviews:

Wonderful i recommend it.......2007-08-01

This cd is in my car changer and i play it daily. A wonderful introduction Madame Callas.

Landmark Soprano. An essential work for opera listeners........2007-05-26

Maria Callas may be the only female 'superstar' working in my lifetime. In the 1950s and early 1960's, she had all the star power and paparrazi draw of Jackie and Marilyn, far outstripping the fame to the world at large of her primary rival, Renita Tibaldi. I am not an expert, or even an experienced amateur at evaluating operatic sopranos; however I've listened to several of the modern crop, and while the newbies probably do a better job of keeping on key, none of them can match the drama emoted by Ms. Callas on any given aria. All three releases are especially good buys, as they all run to over 72 minutes; however the recording quality does show its early (pre-multitrack, pre-digital) recording technology. Each is as good as the next regarding content, but 2 and 3 are a bit better in sound quality.

Terrific introduction to the art of Callas.......2007-04-24

This album is entitled "Divina," not to be confused with "Divina 2," itself a very nice example of Callas at her best. This CD samples a variety of her roles, indicating the range of her art. A few examples. . . .

"Un bel di" from Puccini's "Madama Butterfly" is very well done. She displays a rich voice and a passionate rendering of this aria. At greater volume, her voice remains under control and attractive sounding (something that does not always occur as her career developed further).

The "Habanera" from Bizet's "Carmen" is normally a mezzo soprano work. However, Callas features a good lower tone, and it works pretty well here. She shows nice breath control, too. The orchestral backing is exceptional.

"Sempre libera," from Verdi's "La Traviata," is a soprano's dream. Here, though, Callas' voice is not as attractive as in other cuts. There is some harshness with higher notes. Alfredo Kraus' singing, by the way, is most attractive. There is some unpleasantness with Callas technique in this work, although there is a nice characterization as well (this is the price you pay for Callas). She shows off some nice runs, but zero in the way of trills (some other sopranos display nice trills in this piece).

Finally, a very well done version of "Si, mi chiamano Mimi" from Puccini's "La Boheme." Sweet sounds at the outset. She seems to capture the character well. Smooth singing, done well.

Thus, a good introduction to the art of Maria Callas. There are cuts here that feature some of the wondrous nature of her work. There are other cuts where one hears some unattractive aspects of her singing and one wonders about her technique. But, in the end, this is a good representation of the work of Callas.

Callas was the greatest.......2007-02-06

It's amazing how the anti-Callas claquers continue to thrive. I'll side with Leonard Bernstein, who labeled Callas "The Bible of Opera," and who described her 1952 performance of La Sonnambula under his baton as "pure electricity." Unfortunately, recordings don't do justice to any artist, given the lack of spontaneity and a full audience, as well as a host of other reasons. Even Callas withheld many recordings from release because she was her own worst critic and they did not meet her high standards. I've been listening to opera for over 30 years and although I can appreciate the artistry of Tebaldi, Sutherland, Sills, Freni, Carteri, Moffo, Price, etc., some of whom had better pure voices, there was none that could match Maria's intensity, passion, range, personality, acting ability and pure emotion. Callas could sing bel canto colaratura but drop down to a near-mezzo voice that included many dramatic roles.

The Callas bashers will always be with us, but thankfully they will always be in the tiny minority. True connossiers of opera know there never has been and never will be as great a singer as La Divina.

Great starter CD.......2005-11-24

As simplistic as this sounds, this is a perfect CD if you know you like opera, but don't know exactly what you want to hear. You'll definitely recognize some of the more popular arias, and will grow to love the others.

Average customer rating: all-star cast 2 Callas Normas. Which to get. Greater Depth or Neccessary Caution? CALLAS' ASTONISHING NORMA CALLAS MESMERIZING AS NORMA

Bellini - Norma / Maria Callas, Ludwig, Corelli, Zaccaria, Teatro alla Scala, Serafin Vincenzo Bellini , Tullio Serafin , Maria Callas , Christa Ludwig , Franco Corelli , Nicola Zaccaria , and Piero de Palma Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music 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 Ludwig, Christa | Divas | Opera & Vocal | Styles | Music Opera & Vocal | Box Sets | Stores | Music Blowout Box Sets | Classical Music Blowout | Stores | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Bellini, Vincenzo | ( B ) | Composers, A-Z | Classical Music Blowout | Stores | Music Ludwig, Christa | ( L ) | Performers, A-Z | Classical Music Blowout | Stores | Music Callas, Maria | ( C ) | Performers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan Donizetti: Lucia di Lammermoor (complete opera) with Maria Callas, Tito Gobbi, Giuseppe di Stefano, Tullio Serafin Verdi: Rigoletto (Complete Opera); Maria Callas; Tito Gobbi; Giuseppe di Stefano Bellini: I Puritani / Callas, di Stefano, Rossi-Lemeni, Panerai; Serafin ASIN: B00000630R Release Date: 1998-03-17

Tracks:

1. Norma: Sinfonia
2. Norma: Act One - Scene One : Ite sul colle...Dell'aura tua profetica (Oroveso)
3. Norma: Svanir le voci! (Pollione)
4. Norma: Meco all'altar di Venere (Pollione)
5. Norma: Odi?.. I suoi riti a compiere (Flavio, Coro, Pollione)
6. Norma: Me protegge, me difende (Pollione)
7. Norma: Norma viene
8. Norma: Sediziose voci
9. Norma: Casta Diva
10. Norma: Fine al rito, e il sacro bosco
11. Norma: Ah! bello a me ritorna (Norma, Oroveso)
12. Norma: Sgombra e la sacra selva (Adalgisa)
13. Norma: Eccola - va, mi lascia
14. Norma: Va, crudele
15. Norma: Vieni in Roma (Pollione, Adalgisa)

Tracks:

1. Norma: Act One - Scene Two : Vanne, e li cela entrambi (Norma)
2. Norma: Adalgisa!.. Alma, costanza
3. Norma: Oh, rimembranza!
4. Norma: Ah si, fa core, abbracciami (Norma, Adalgisa)
5. Norma: Ma di'... l'amato giovine
6. Norma: Oh, di qual sei tu vittima
7. Norma: Perfido! ... Or basti! (Norma, Adalgisa, Pollione)
8. Norma: Vanne, si, mi lascia, indegno (Norma, Pollione, Adalgisa, Coro)

Tracks:

1. Norma: Act Two - Scene One : Introduzione
2. Norma: Dormono entrambi! (Norma)
3. Norma: Ola! Clotilde (Norma, Clotilde)
4. Norma: Mi chiami, o Norma?
5. Norma: Deh, con te, con te li prendi
6. Norma: Mira, o Norma
7. Norma: Cedi ... deh cedi!
8. Norma: Si, fino all'ore estreme (Adalgisa, Norma)
9. Norma: Acto Two - Scene Two : Non parti? (Coro)
10. Norma: Guerrieri! a voi venirne
11. Norma: Ah!, del Tebro al giogo indegno (Oroveso)
12. Norma: Acto Two - Scene Three : Ei tornera, Si! (Norma)
13. Norma: Squilla il bronzo del Dio! (Oroveso, Norma)
14. Norma: Guerra! guerra!
15. Norma: Ne compi li rito, o Norma? (Oroveso, Norma, Pollione)
16. Norma: In mia man alfin ti sei
17. Norma: Gia mi pasco ne' tuoi sguardi (Norma, Pollione)
18. Norma: Dammi quel ferro!
19. Norma: Qual cor tradisti
20. Norma: Norma! deh! Norrma, scolpati!
21. Norma: Deh! Non volerli vittime (Norma, Pollione, Oroveso)

Customer Reviews:

all-star cast.......2007-06-13

This recording is exactly what you would expect from an all-star cast.

Owners of the Schirmer piano score, watch out for cuts from page 44 to 48, 76 to 80, and 106 to 107. The endings of bth acts are also different.

2 Callas Normas. Which to get........2006-11-12

If you are trying to decide between the two studio recordings of Norma with Callas, I offer some advice. Get them both. The later recording is quite beautiful and better recorded. The earlier has a fresher sounding Callas but she does have more dramatic insight in that later recording. Ludwig is a nice treat in a bel-canto role. Overall, I highly recommend!

Greater Depth or Neccessary Caution?.......2006-10-13

This is a strange recording for me. It features three all time favorite singers of mine, Callas, Ludwig and Corelli, and yet I had very mixed feelings about it. Some have called Callas's performance here more refined than the earlier recording and the famous live performances. I would characterize her performance as slightly cautious. Her Norma is older, wiser and a bit on the weathered side. I wonder how much of the refinement was her own sense of having to compensate for her voice which was in the final stages of decline. I expected a certain degree of the recklessness that she displayed in her second Tosca recording that was made a few years later. Here she seems to be carefully phrasing at times as to not hurt something. But, despite the vocal decline, not just the high notes but the tone, her mastery of the style and ease with which she handles the coloratura passages, is still a miraculous listening experience.

I'm glad I have the recording and the current edition is warmer than the original CD release. This was the only opportunity for Callas, Corelli and Ludwig to make a commercial recording together, and Corelli and Ludwig are wonderful, although too bad EMI was unable to get Simionatto. But if you're familiar with the earlier recording (which by the way is only available at the moment in an awful GROTC edition) and the live performances, you might miss the broad strokes, I do, but it is still a worthy listening experience. When is Callas not? Never as far as I'm concerned.

I would have loved to have rated this 5 stars, but 4 seems more appropriate. It's a fine but not a great recording.

CALLAS' ASTONISHING NORMA.......2006-08-15

Well, I think there are two roles in the history of opera that after the interpretation of Maria Callas it would not be unwise to claim that they should not be performed again: Norma by Bellini (all recordings she ever made) and la Traviata by Verdi (the definition of the role lies in the London 1958 Traviata- unfortunately, her 1953 studio recording with Cetra is almost unacceptable considering how she developed the role of Violetta after 1955).
Although I very rarely sit down to write a review at Amazon, after having read so much on Mme Callas, I feel it is my responsibility as a fan of this great art named opera to make the following points:
a)Maria Callas was not an interpreter. She was a creator herself to be placed at the same rank as Donizzeti, Bellini and Verdi. Had it not been for her I doubt that opera would exist today and if it did it would be a sad, boring musuem exhibit. She recreated the whole of Italian Opera -not just bel canto- and modernised it in a way that will make it last for another 100 years aftet her death. I remind you that opera in the 50's meant German Opera. Italian opera before Mme Callas was something of a joke. Terribly abused by singers and a bad tradition of horrendus vocalising, the music of Italian composers had lost its drama, its sense, its meaning.
b)why do people spend so much time judging the voice of this great artist? Why can they not just relax and enjoy this great artistry? No-one says that there no other great singers! But no matter how great, they are unfortunately just that:"singers". Caballe, Sutherland, Sills, Price, Fleming, Dessay all have amazing voices and great carreers. But, comparing them with a phenomenon that was for the opera what Mozart was for classical music simply does not do them justice.
c)Whether we like it or not Norma is a dramatic soprano role! A very difficult one as well and it should be treated with some respect. Caballe and Sutherland, because they had these amazing voices, did manage to sing it and they sang it well. But, as they were not dramatic sopranos they conveyed a lyricism in their interpretation that simply does not suit the role and Bellini's intentions. Other attempts however (Sills and -alas- Gruberova recently)should really remain as textbook examples of how inflated egos can ridicule both theselves and a work of art. I repeat that Norma is a dramatic soprano role. In this sense the only singers that approached the Callas perfection are Elena Suliotis (Decca for reason of expediency or stupidity is not reissuing her marvellous 1968 recording with Del Monaco) and Jane Eaglen in the Sony Muti recording. The only singer that seems to have been taught by the Callas Legacy in Bel Canto is Mme Renata Scotto but she was as well inadequate as Norma and wasted much of her talent singing (for commercial reasons, I suppose) Puccini.
d)Callas has been very unlucky as far as supporting cast is concerned. The 1960 Norma recording is the only exception. It features the amazing Franco Corelli. What a voice this man had! Pefect voice, perfect dramatic conviction, beautiful and clear italian diction. Can we imagine a Callas -Corelli partnership in Aida, Pirata, Manon Lescaut?
e)Callas did not lose her voice even though she overworked it in the 50s. The 1964 Tosca recording is the best proof of that. But she did lose her confidence and emotional stability. This fact led her quit her carreer in 1965 and that is the real tragedy of opera. Had she managed to work as hard in the 60-68 period when all her worry was Ar. Onassis we would have been left with at least 10 amazing stereo recordings. And I say 68 because someone like Callas simply would refuse to play young soprano roles after the age of 45. She believed that opera singers are like ballet dansers or athletes (and they are!), they should retire early. Mme Sutherland had a voice till the age of 60. And so? Is it not ridiculous singing La Sonnambula at the age of 59? If Callas did that she would not be the legend she is!

This is all I wanted to note on a woman that achieved a fame in the world of opera (and beyond!!!) in a way that noone else had before and I am afraid no one else will do so in the future. People had to sleep on pavements for three days and three nights to get a ticket for this lady!

CALLAS MESMERIZING AS NORMA.......2006-07-14

Reading through the online reviews, it is obvious that Maria created great controversy because her approach to classical singing and acting was so very different. She was everything, extraordinary singer with a rare vocal technique of endless colors and shades, from the video footage we have now we can see that she was truly the charismatic actress described in previous years, and above all . . . she was one of the great musicians of the last century.

No singer classical or popular has been without vocal problems, and it is important to remember that Maria began her stage career at the age of 17 with the Athens Opera as a professional opera singer. Her last stage performances were in 1965 in Tosca and Norma . . . a stage and recording career of almost 25 years! No small achievement, and she performed her great roles, Violetta, Lucia, Medea, and of course Norma . . . all over the world "live" for over a decade, Norma for almost 15 years.

It would be difficult to say of such an artist that "one" role was her best, since her vast repertory ranged from Wagner and Beethoven to Bellini, Puccini, Bizet and so many other composers.

She single handedly with the help of her great vocal and musical mentor Tullio Serafin, resurrected the great belcanto works of Donizetti and Bellini and transformed them in integrated vocal and dramatic experiences . . . fortunately for us, there are quite a few studio and live recordings available of this repertoire which she loved so much.

Personally, I never found Bellini's Norma to be a very interesting opera until I heard the 1960 recording with Maria. All previous recordings were lovely, with various singers singing 'Casta Diva' beautifully, but disengaged from the dramatic impact of the words and this complex woman, this figure out of a Greek tragedy!

Maria's 1960 performance I feel remains a rare experience, in which all the artists seem riveted by the dramatic power of her by then mesmerizing interpretation of Norma. Every subtlety of this conflicted woman's story is expresssed, even down to just single words.

Like many of her recordings and her career in general, I feel this recording is for the ages . . . unforgettable and deeply, deeply moving.

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 Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Delibes, Léo | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gluck | Gluck, Christoph W. | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Meyerbeer | Meyerbeer, Giacomo | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Saint-Saëns, Camille | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Bellini, Vincenzo | A to B | Featured Composers, A-Z | Opera & Vocal | Styles | Music Catalani, Alfredo | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Charpentier, Gustave | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Delibes, Leo | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Donizetti, Gaetano | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Giordano, Umberto | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Gluck, Christoph W. | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Gounod, Charles | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Massenet, Jules | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Meyerbeer, Giacomo | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Puccini, Giacomo | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Rossini, Gioacchino | Q to T | Featured Composers, A-Z | Opera & Vocal | Styles | Music Saint-Saens, Camille | Q to T | Featured Composers, A-Z | Opera & Vocal | Styles | Music Vocal Works by Verdi | Verdi, Giuseppe | U to Z | Featured Composers, A-Z | 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 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:

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

Tracks:

1. Orphee et Eurydice: J'ai perdu mon Eurydice (Acte V)
2. Alceste: Divinites du Styx (Acte I)
3. Dinorah: Ombra leggiera (Atto II) (Shadow Song)
4. Romeo et Juliette: Ah! Je veux vivre (Acte I) (Waltz Song)
5. Faust: Les grand seigneurs...Ah! je ris (Acte III)
6. Lakme: Dov'e l'indiana bruna? (Atto II) (Bell Song)
7. Samson et Dalila: Printemps qui commence (Acte I)
8. Samson et Dalila: Mon coeur s'ouvre a ta voix (Acte II)
9. Les Pecheurs De Perles: Me voila seule...Comme autrefois (Acte II)
10. Carmen: L'amour est un oiseau rebelle (Habanera)(Acte I)
11. Carmen: Les tringles des sistre tintaient (Acte II)
12. Le Cid: De cet affreux combat...Pleurez mes yeux! (Acte III)
13. Manon: Je ne suis que faiblesse...Adieu, notre petite table (Acte II)
14. 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!

Average customer rating: all-star cast Portrait of an Artist This reissue is great Wondrous recording The Greatest Norma On Record And Calla's Greatest Role

Bellini: Norma (complete opera) EMI's Great Recordings of the Century with Maria Callas, Tullio Serafin, Chorus & Orchestra of La Scala, Milan Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | 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: Donizetti: Lucia di Lammermoor (complete opera) EMI's Great Recordings of the Century with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin 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 Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan Wagner: Lohengrin ASIN: B0000CG8EK Release Date: 2003-10-07

Tracks:

1. Act 1, Scene 1: Sinfonia
2. Introduzione (Andante Grave)...(Orchestra) Ite Sul Colle, O Druidi
3. Dell'aura Tua Profetica (Oroveso/Coro)
4. Svanir Le Voci! (Pollione/Flavio)
5. Meco All'altar Di Venere (Pollione)
6. Odi? I Suoi Riti A Compiere (Flavio/Coro/Pollione)
7. Me Protegge, Me Difende
8. Allegro Assai (Orchestra) Norma Viene (Coro)
9. Sediziose Voci (Norma/Oroveso/Coro)
10. Casta Diva
11. Fine Al Rito, E Il Sacro Bosco
12. Ah! Bello A Me Ritorna (Norma/Oroveso/Coro)
13. Andante...(Orchestra) Sgombra E La Sacra Selva
14. Deh! Proteggimi, O Dio! (Adalgisa)
15. Eccola- Va, Mi Lascia
16. Va, Crudele
17. Vieni In Roma (Pollione/Adalgisa)

Tracks:

1. Allegro Agitato (Orchestra) Vanne, E Li Cela Entrambi (Norma, Clotilde)
2. Adalgisa!...Alma, Costanza
3. Oh, Rimembranza!
4. Ah Si, Fa' Core, Abbracciami
5. Ma Di: L'amato Giovane
6. Oh, Di Quai Sei Tu Vittima
7. Perfido!...Or Basti! (Norma/Adalgisa/Pollione)
8. Vanne, Si, Mi Lascia, Indegno (Norma/Pollione/Adalgisa/Coro)

Tracks:

1. Introduzione (Allegro Assai Moderato) (Orchestra)
2. Dormono Entrami! (Norma)
3. Ola! Clotilde! (Norma/Clotilde)
4. Mi Chiami, O Norma?
5. Deh! Con Te, Con Te Li Prendi
6. Mira, O Norma
7. Cedi, Deh Cedi!
8. Si, Fino All'Ore Estreme (Adalgisa/Norma)
9. Allegro Maestoso...(Orchestra) Non Parti? (Coro)
10. Guerrieri! A Voi Venirne
11. Ah! Del Tebro Al Giogo Indegno (Oroveso/Coro)
12. Andante Maestoso...(Orchestra) Ei Tornera! Si! (Norma/Clotilde)
13. Squilla Il Bronzo Del Dio!
14. Guerra! Guerra! (Oroveso/Coro/Norma)
15. Ne Compi Il Rito, O Norma? (Oroveso/Norma/Clotilde/Coro/Pollione)
16. In Mia Man Alfin Tu Sei
17. Ah, Crudele! In Sen Del Padre (Norma/Pollione)
18. Dammi Quel Ferro!
19. Qual Cor Tradisti
20. Norma! Deh Norma! Scolpati
21. Deh! Non Volerli Vittime (Pollione/Norma/Oroveso/Coro)

Customer Reviews:

all-star cast.......2007-06-13

The recording is exactly what you would expect from an all-star cast.

Owners of the Schirmer piano score, watch out for cuts from page 44 to 48, 76 to 80, and 106 to 107. The endings of bth acts are also different.

Portrait of an Artist.......2005-05-16

No other role is more associated with Maria Callas than the role of the Druid priestess Norma. Throughout her career, what survived out of the ninety Normas that she sang showed a growth in Maria as an artist and as a vivid painter of this extremely complex role. An excerpt of her 1949 Norma from Buenos Aires shows a warrior priestess who is in complete control of her vocal resources. In that recording (Divina Records 12), Callas is in splendid vocal form, giving one of her most vocally delectable interpretations of Casta Diva. Already in 1949, we see an artist who understood the part, but still didn't offer us a feminine side to it. During that same year, a Cetra recording with the Casta Diva...Ah Bello a me ritorna excerpt was released, also finding her in splendid vocal form (akin to Ponselle's Casta Diva, only better in coloratura facilities). It was an amazing document of the young Callas' career, and I'd recommend it to anyone who would like to discover Callas' voice. A year later, we have her Norma in Mexico, and we find a more warrior-like approach to the music, but nonetheless it gave an amazing effect to the fury duets in the second act. Two years later, in London, we find Callas giving us more of the woman along with a Stignani who was in splendid vocal form. Then the Trieste excerpts (also by Divina) shows another side of Callas in which we see her development as an artist. This is very much like the Sunflowers of Vincent Van Gogh, where each successing Sunflower painting shows a more intimate and personal side of poor Vincent. The next Norma document we have of Callas is this studio recording. Once again, Serafin and Callas collaborate in this recording, and oh what a recording it was! Callas, of course, is the biggest star in this Norma, but other singers like Stignani and Rossi-Lemeni make an impact on it as well. Although Stignani well into her years (as was her voice), her great dramatic mezzo soprano timbre was amazingly so, an instrument of that served the role well. After all, she had sung the role with Gina Cigna. Stignani may have sounded matrimonly enough to be Norma, but her Adalgisa was in every respect grande and complete. It may not have Ludwig's amazing and youthful insight into the role, but what a force of nature her voice was! Rossi-Lemeni is also another dramatic force to reckon with, and he is an Oroveso I would treasure the more I listen to him. Mario Filipesschi though, is lousy. He was vocally able, but his interpretation was lacking and he sounded boring. Callas though, is beautiful sounding in this recording. She was a complete Norma vocally and dramatically, and every excerpt that showcases her abilities as a singer is simply exquisite. She was also slimmer when this recording was made, so there was a certain sensitivity to her voice when she sang this Norma. And then there is Serafin. No other conductor has approached the genius of this man. His perfect use of the bel canto tempo gives it a dimension that no other maestro would touch, and this is the reason why I would recommend this recording. Other great Normas would follow, but this was the recording that would put Callas' stamp on the role forever.

This reissue is great.......2005-04-11

I don't have to elaborate the good things about this recording most what I have to say has been said by previous reviewers. Please read the reviews especially in the original cover edition. What I would like to say that this reissue is a cheaper version than the original black cover without compromising quality and cover. So for those who have not purchased this great recording (best Norma Studio recording ever) This is you chance to get this. In its label it says "The Great Recordings of the Century" I could never disagree with that.

Wondrous recording.......2005-03-31

This is one of a number of recordings I have with Callas, including one where Joan Sutherland plays Clotilde (this is a live recording and the sound is not great, but the performance simply sizzles and again Stignani is the Adalgisa). However, to this recording. At first I was not impressed with it like I felt I would be. Of course, Callas didn't disappoint at all, but the rest of the cast sort of bothered me. Norma's father was sung in a way with virtually no legato at all and sort of shoved out note by note. There was no characterization to speak of, but the voice was full (perhaps recorded very closely miked and forward). Pollione really sort of bothered me, as he is the first really important lead we hear. Of course, this role was sung by Mario Filippschi. He sounded old, but his high C was wonderful. I had to consult the booklet that came with the recording to learn a thing about him (which was precious little) but it did give his birth and death dates. The man was OLD when he recorded the role. He may have been a wonder in his younger days, as he was considered for the longest time the only tenor who could successfully sing the role of Arnoldo in Rossini's William Tell. However, when he recorded this opera, he was, well, nearing the age most tenors gladly stop singing. That said, with repreated listenings, I started to really see what he was offering the role. He had heart, he had masculinity, he had passion. And he did sing the notes. I found his diction much better than Stignani's and he sang the correct sound for most of his vowels (Stignani has a terrible habit of singing all the "e" vowels, said in Italian as an "AY" sound to those who speak English, with all sorts of vowel sounds, and it didn't matter if the vowel occurred in the passagio or not, so covering or darkening the tone for the passagio was not the reason). I also found he did play off Callas' Norma well. He could act with his voice, but in all truth, it is one of those non-descript voices that serves the music well and drifts out of the hearer's memory. No, he is not a Corelli, but he sings with far more finesse than Corelli does, and he never had to SCOUP up to his higher notes, and he followed the timing of the music perfectly. I really learned to appreciate his contribution to the opera.

Then there was Stignani. I have many recordings of her, some made way back when (back with Gigli) and she was electrifying in them. She had better diction as well and didn't distort her vowels as she does in this recording. However, as with Filippischi, she is no spring chicken. She is a "great dame" by this point in her life. Her legato line was not as it should have been (or as it was in the live recording I have), but it was by no means bad. One could tell hers is a huge voice, and well, they never record well. There was a super strong "squillo" to the sound (incredible ring, which is what a singer wants, even Callas has it, though her production is far too forward) which in and of itself gives excitement to whatever she sings. Personally, I felt she was far too old for Adalgisa by this point in her career, even though she sings it well (though to those who don't know, the duets are sung in the lower keys used by Ponselle when she sang the opera, not in the published keys in the score). I really doubt her ability to sing higher notes was the reason for the lower keys, for at that time period, it was normal to use the lower keys.

However, Stignani does dodge the high C in the first act duet with Callas, and it is sad, but not a loss. I am not sure about the characterization of her role, for I really didn't feel for a moment I was listening to the fears and loves of a young vestle virgin wondering what to do with her first love. At times, I almost thought she should be giving Callas advice on love, she seemed old enough to be her mother.

Yet, that said, I came to really love the performance. It is said that Stignani sounds "old fashioned" and that is quite a good desciption. She sings the role as it was sung in the olden days of opera (some call the golden age) and many of her methods and approaches to singing the role were also sung by Telva when she sang the role against Ponselle's Norma. That was how the world saw the opera then. We see it differently, and partly because of Callas and her new approach to things.

Now we get to the NORMA of the opera, Callas. I have a number of recordings of Callas in this role, this and another studio recording, and two live performances, one at Covent Garden with the Clotilde of Sutherland, and the Paris opera performance near the end of her career (where she flubs a High C in the last act, stops the performance and resings the phrase getting the note, and by the way, I was at that performance in person, so I had the opportunity to witness a Callas Norma, even if it was at the end of her career).

Though I agree with everyone when they say they find more subtleties with the later recording (and you will find even more in the Paris performance), Callas' basic understanding of Norma never changes. She knows what Norma is all about right from the get go. Maybe that was her work with Serafin that did that (after all, she very openly attributes her way with a recitative directly to him, and that he taught her how to make coloratura make dramatic sense, and she certainly does make it make dramatic sense). Whatever it was, this was a role that will forever be associated with Callas, and like many say, she is the only real Norma out there. Sutherland, Sills, and Caballe may have sang the notes more beautifully, but they didn't grasp, or if they did they couldn't convey it in their voices, the depth of character, nor the emotional distress of the character. Everyone sings her "angry moments" well, but what most forget is this is a woman who has lived a life of a lie for years. She is not the virgin she pretends to be. And that personal disappointment, that knowledge of self, that inner knowing of one's own hypocrasy, is there, even when Callas opens her mouth to begin the recitative that will lead us into the Casta Diva. As when Callas sang Violetta, we knew she was sick right from the get go, we know that Norman is a tormented creature right from the first notes, which makes her caballetta after the Casta Diva meaningful, for after all, she is not wanting her lover to be destroyed.

This recording has much to offer, and much joy to give. I rated it only 4 stars because of my reservations with the cast (it seems more often than not, Callas is paired with far inferior casts in her recordings, which is such a shame; imagine if she had singers, both men and women, equal to her in presentation, coloratura, musicianship, and in dramatic interpretation). However, having seen Norma many times by various artists, I tend to agree with one reviewer who stated that we sadly see anyone get up there and sing this opera really ruining it because they have no business being up there singing it, even if they have all the notes.

Callas may have not had the most beautiful voice, but she had far more than all the notes, she had the entire soul of the character; Callas is Norma.

The Greatest Norma On Record And Calla's Greatest Role.......2005-02-02

This is the best version of Bellini's Norma on record because of the power and beauty of Maria Callas' voice which was at its prime in this recording. Maria Callas in her legendary 1954 performance as Bellini's epic character Norma..what more can you ask for ? Fans of the great late diva will be pleased. She has the best voice on this recording than all the subsequent late 50's and 60's recordings. It benefits from having conductor Tulio Serafin, who knew how to work well with Callas, as the force behind the music. Serafin made Callas a star actually, because he knew how to effectively bring out the best in her.

Maria Callas in this Norma is fresh, powerful and complex. She is plaintive and spiritual in the serene "Casta Diva" aria, dazzling in the coloratura "A Bello A Mi Ritorna" and she changes from love-struck woman to a volcano of fury and revenge in the later scenes to finally noble and resigned in the finale. Only Callas could most dramatically portray Norma. It is true that Callas's singing technique emphasized the dramatic intensity more so than the beauty. She wanted for audiences to be treated to real drama. She strained her voice so hard that it can be a gritty ugly voice. Even like this, there are moments in which Maria Callas sounds absolutely beautiful. The weak cast supporting her are indeed inferior when compared to such singers as tenors Franco Corelli, Mario Del Monaco and mezzo soprano Christina Ludwig which Callas worked with in later recordings. But this doesnt matter seeing how Maria is the real star anyways.

Other Normas of great calibre include Shirley Verrett and Montserrat Caballe. Both these sopranos once visited Callas and sought advice for how to sing a sensational Norma. Callas told them not to overdo it or to oversing it. Shirley Verrett sang a fine Norma and is indeed closer to Callas than Caballe but Caballe did the role numerous times and seemed to master the role quite well. If you are looking for the best Norma look no further.

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 Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Berlioz | Berlioz, Hector | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Boito, Arrigo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Ponchielli | Ponchielli, Amilcare | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Saint-Saëns, Camille | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Thomas | Thomas, Ambroise | ( T ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | 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:

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

Tracks:

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

Tracks:

1. Massenet: Le Cid - De cet affreux combat...Pleurez, mes yeux (Acte III) (DVD)
2. Bizet: Carmen - Prilude; Habanera (Acte I); Entr'acte (Acte III); Siguidille (Acte I) (DVD)
3. Verdi: Ernani - Surta h la notte...Ernani, involami (Atto I) (DVD)
4. Rossini: La Cenerentola - Nacqui all'affanno e al pianto...Non piy mesta (Atto II) (DVD)
5. 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: OPERA HEAVEN Incredibly Beautiful . . . Ultimate Aria Ultimate indeed

The Ultimate Aria Collection ~ A Passion for Opera Georges Bizet , Giuseppe Verdi , Giacomo Puccini , Gaetano Donizetti , Ruggero Leoncavallo , Gioachino Rossini , Gustave Charpentier , Leo Delibes , Vincenzo Bellini , Christoph Willibald Gluck , Pietro Mascagni , Wolfgang Amadeus Mozart , Francesco Cilea , Edouard Lalo , Camille Saint-Saens , Arrigo Boito , George Frideric Handel , Alfredo Catalani , Amilcare Ponchielli , Charles Gounod , Jules Massenet , Ambroise Thomas , Fritz Wunderlich , Rome Opera Theater Orchestra & Chorus , Maria Callas , Elisabeth Schwarzkopf , Orchestra e Coro del Teatro alla Scala , Wiener Philharmoniker , Orchestre de Paris , Carlo Maria Giulini , Tullio Serafin , Sir Charles Mackerras , Francesco Molinari-Pradelli , Riccardo Muti , and Leone Magiera Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Boito, Arrigo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Delibes, Léo | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gluck | Gluck, Christoph W. | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music Lalo, Edouard | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Leoncavallo | Leoncavallo, Ruggiero | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mascagni | Mascagni, Pietro | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Ponchielli | Ponchielli, Amilcare | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Saint-Saëns, Camille | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Thomas | Thomas, Ambroise | ( T ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music Compilations | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | 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 Caballe, Montserrat | Divas | Opera & Vocal | Styles | Music Callas, Maria | Divas | Opera & Vocal | Styles | Music Freni, Mirella | Divas | Opera & Vocal | Styles | Music Classical | Box Sets | Stores | Music Similar Items: The Most Famous Opera Arias The Most Famous Opera Duets Aria II: A Passion for Opera Aria: A Passion for Opera Rapture: Opera's Most Heavenly Moments ASIN: B000009OQL Release Date: 1998-08-11

Tracks:

1. Carmen: Quand je vous aimerai? ...L'amour (Habanera)
2. I Pagliacci: Recitar!... Vesti la giubba
3. Madama Butterfly: Un bel di vedremo
4. L'Elisir d'Amore: Una furtiva lagrima
5. Nabucco: Va pensiero (Chorus Of The Hebrew Slaves)
6. Gianni Schicchi: O mio babbino caro
7. Rigoletto: La dona e mobile
8. The Barber Of Seville: Largo al factotum
9. Louise: Depuis le jour
10. Lakme: Flower Duet
11. Turandot: Nessun dorma
12. Norma: Casta diva
13. Gianni Schicchi: A vete torto!
14. TOSCA: Vissi d'arte
15. TOSCA: E lucevan le stelle
16. La rondine: Chi il bel sogno di Doretta
17. Il Trovatore: Di quella pira

Tracks:

1. L'Elisir d'Amore: Quanto e bella, quanto e cara!
2. Orphee et Eurydice: J'ai perdu mon Eurydice
3. La Boheme: Che gelida manina
4. La Boheme: Si, mi chimano Mimi
5. La Traviata: Di Provenza il mar
6. L'amico Fritz: O amore, o bella luce del core
7. Le nozze di Figaro: Voi che sapete
8. TOSCA: Recondita armonia
9. Adriana Lecouvreur: Ecco, respiro appena...lo son l'umile ancella
10. Le Roi d'Ys: Puisqu'on ne peut... Vainement, ma bien-aimee
11. Samson et Dalila: Mon coeur s'ouvre a'ta voix
12. Mefistofele: Dai campi, dai prati
13. Manon Lescaut: In quelle trine morbide
14. Serse: Ombra mai fu
15. Turandot: Signore, ascolta
16. Manon Lescaut: Donna non vidi mai
17. La Wally: Ebben? ne ando lontana
18. La Gioconda: Cielo e mar

Tracks:

1. Aida: Se quel guerriero io fossi...Celeste Aida
2. Romeo Et Juliet: L'amour, l'amour...Ah, leve-toi soleil
3. Mefistofele: L'altra notte in fondo al mare
4. Werther: Toute mon ame est la...Pourqui me reveiller
5. Barber Of Seville: Una voce poco fa
6. Cosi Fan Tutti: Un aura amorosa
7. Le Villi: Se como voi piccina
8. Un Balle en Maschera: `Se come voi piccina`
9. Carmen: La fleur que tu m'avais jette
10. La forza del destino: Pace, pace mio Dio
11. Adriana Lecouvreur: L'anima ho stanca
12. La Gioconda: Suicidio
13. Don Giovanni: Dalla sua pace
14. La Traviata: De' miei bolenti spiriti
15. La nozzi di Figaro: Porgi amor
16. Turandot: Non piangere, Liu
17. Mignon: Elle ne croyait pas dans sa candeur naive

Amazon.com

Put together in evident haste, this collection is nevertheless a surefire, appetite-whetting starter kit both for the budding operaphile and for the simply intimidated. The samplings include some of the greatest voices from EMI's vaults: here you'll find the polar opposites Callas and Caballe, the golden wonder of Wunderlich and early Carreras, and a host of other singers who've made their stamp on this century. Emphasis is on the soprano and tenor range, while the lower voices are given short shrift, and the selections cleave predictably to standard Italian and French repertory (with an occasional surprise, such as an aria from Lalo's Le Roi d'Ys). Still, the nearly three and a half hours of music represented will make a ready convert of anyone who hasn't experienced the specially heightened, time-stopping expressivity--beyond the power of mere song--that is the aria's function and will likely spark a desire to explore the larger operatic context in several cases. And though the lack of a booklet with texts or at least bios of the artists is frustrating, this is a good place to begin for an overview of the mesmeric power extraordinary voices can wield. --Thomas May

Customer Reviews:

OPERA HEAVEN.......2002-12-13

Probely this is a good buy for someone who is gest getting into the world of OPERA.Still a very good purchaes with fimiluar songs.

Incredibly Beautiful . . ........2001-10-27

If you love opera - this collection of some of the lovliest arias ever sung by artists from Caballe to Freni, from Delibes to Puccini - will inspire you. It is a wonderful gift for friends or for yourself.

Ultimate Aria.......2001-08-03

In my small operetic mind, this set of Cd's has completely captured me for the Opera. I was a young and upcoming musician in my youth. I'v been around the block "as it were" with the Classics. This collection is indeed, the benchmark upon which all others would hope to aspire.

Congradulations EMI for an incredible vision of the greatest opeatic moments recorded.

Gosh what's next?

Ralph Hassman

Ultimate indeed.......2000-08-02

If you don't like the idea of buying whole operas, or if you're a newcomer to opera - this is an extremely good collection / introduction, worth every single cent. The collection features many of the worlds greatest singers, giving their interpretations of some of the world's greatest arias. The compilation itself is very tasteful and covers a wide range from Handel to early 20th century composers. You won't miss any important stuff from the history of opera, except maybe Wagner and the most modern operas - I'll come back to that fact later. The compilers have actually put some lesser known, although no less beautiful, arias here, that oftenly are neglected on ordinary opera-collections, why the name `ultimate collection' is more than correct in that aspect.

EMI have a enormous archive to pick their recordings from, and that of course makes it easy to find first rate interpretations of all the arias included in this collection, and I do think that almost all of the arias are wonderfully sung here. It may be possible to find better performances of single numbers here and there, but I've not yet heard a more complete, wellmatched, and so thrillingly sung collection.

Well then, is there nothing wrong with this compilation? You might find it a little odd that there are so many soloarias and so few duets, terzettos a.s.o, especially since the drama in operas oftenly is greater in numbers with more than one singer. You might also wish that some of the recordings had been a little more modern (most of these recordings were made during the 50's, 60's & 70's) giving place to younger performers that still are singing on the stages, but those are minor objections when the over all quality is so high.

The maybe strongest objection to this collection is that there is not one single part from any of Wagner's operas, and not any number sung in german, nor is there any parts from modern or russian operas. That may be a miss if you're interested in Wagner, russian and modern opera - on the other hand I think you should watch Wagners, russian and modern operas before listening to recordings of them - and if you've seen them and liked them you will probably buy the whole opera anyway. Therefor I still think that this is a extremely strong and complete compilation - the best I've run into so far. Easy to listen to, yet never banal.

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 Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gluck | Gluck, Christoph W. | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Saint-Saëns, Camille | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | 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 Similar Items: 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:

1. Norma: Act I, Casta Diva
2. La Wally: Act I: Ebben? Ne Andro Lontana
3. Gianni Schicch: O Mio Babbino Caro
4. Andrean Chenier: Act III: La Momma Morta
5. Tosca: Act II: Vissi D'arte
6. Madame Butterfly: Act II: Un Bel Di Vedremo
7. La Boheme: Act I: Si. Mi Chiamano Mimi
8. La Boheme: Act III: Donde Lieta Usci
9. La Traviata: Act I: Ah, Fors' E Lui
10. La Traviata: Act III: Addio, Del Passato
11. Orphee Et Eurydice: Act IV: J'ai Perdu Mon Eurydice
12. Samson Et Delila: Act II: Mon Couer S'ouvre A Ta Voix
13. Carmen: Act I: L'amour Est Un Oiseau Rebelle (Habanera)
14. Carmen: Act I: Pres Des Remparts De Seville
15. Carmen: Act II: Les Tringles Des Sistres Tintaient (Chanson Boheme)
16. Il Barbier Di Siviglia: Act I: Une Voce Poco Fa
17. 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 Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Boito, Arrigo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Cherubini, Luigi | ( C ) | Featured Composers, A-Z | Classical | Styles | Music General | Delibes, Léo | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gluck | Gluck, Christoph W. | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Meyerbeer | Meyerbeer, Giacomo | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Thomas | Thomas, Ambroise | ( T ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | 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 | Soundtracks | Styles | Music Similar Items: Maria Callas 100 Best Classics Maria Callas: The Platinum Collection Maria Callas - Passion / A Film by Gerard Caillat Callas: La Divina [Limited Edition] Lyric & Coloratura Arias by Maria Callas (EMI's Great Recordings of the Century) ASIN: B000AMUU9E Release Date: 2005-11-08

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

1. Una Voce Poco Fa (Rosina, Act I)
2. Tu Che Vedi Il Mio Tormento (Tu Che Invoco) (Giulia, Act II)
3. Surta E La Notte...Ernani! Nernai, Involami (Elvira, Act I)
4. Tu Che Le Vanita (Elsabetta, Act IV)
5. Si. Mi Chiamano Mimi (Mimi, Act I)
6. L'altra Notte In Fondo Al Mare (Margherita, Act III)
7. L'amour Est Un Oiseau rebelle (Habanera) (Carmen, Act I)
8. Pres Des Remparts De Seville (Seguedille) (Carmen, Act I)
9. Nacqui All'affanno...Non Piu Mesta (Cenerentola, Act II)
10. Je Ne Suis Que Faiblesse...Adieu, Notre Petite Table (Manon, Act II)
11. Werther! Qui M'aurait Dit...Des Cris Joyeux (Charlotte, Act III)
12. Tu? Tu? Piccolo Iddio (Butterfly, Act II)
13. 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: Callas superb, others less so... Much better than EMI version! THE LISBON CALLAS 'TRAVIATA' IN MUCH BETTER SOUND! Excellent

Verdi: La Traviata Manufacturer: Pearl ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Maria Callas ~ Cherbini - Medea [selection] Verdi: Aida (complete opera live 1951) with Maria Callas, Mario del Monaco, Oliviero de Fabritis, Orchestra & Chorus of del Palacio de Bellas Artes, Mexico City Bellini: La Sonnambula (complete opera live 1957) with Maria Callas, Nicola Zaccaria, Antonino Votto, Chorus & Orchestra of La Scala, Milan Maria Callas - Passion / A Film by Gerard Caillat Massenet: Manon ASIN: B0009K8L8E Release Date: 2005-06-21

Tracks:

1. Prelude
2. Dell'Invito Trascorsa E Gia L'Ora
3. Libiam Ne'Lieti Calici
4. Che e Cio?
5. Un Di, Felice, Eterea
6. Ebben? Che Diavol Fate
7. Si Ridesta In Ciel L'Auro
8. E Strano! E Strano!
9. Ah, Fors'e Lui
10. Follie! Follie!
11. Sempre Libera
12. Lunge Da Lei
13. De'Miei Bollenti Spiriti
14. Annina, Donde Vieni?
15. Alfredo?... Per Parigi Or Partiva
16. Non Sapete Quale Affetto
17. Un Di, Quando Le Veneri
18. Ah! Dite All Giovine
19. Imponete... Non Amarlo Ditegli
20. Morro! La Mia Memoria
21. Dammi Tu Forza, O Cielo!
22. Che Fai?
23. Ah, Vive Sol Quel Core All'Amor Mio
24. Di Provenza Il Mar

Tracks:

1. Avrem Lieta Di Maschere La Notte
2. Noi Siamo Zingarelle
3. Di Madride Noi Siami Mattadori
4. Alfredo! Voi!
5. Invitato A Qui Seguirmi
6. Ogni Suo Aver Tal Femmina
7. Di Sprezzo Degno Se Stesso
8. Alfredo, Alfredo, Di Questo Core
9. Prelude
10. Annina?... Comandate?
11. Teneste La Promessa
12. Addio, Del Passato Soave... Vien Diletto
13. Largo Al Quadrupede
14. Signora!... Che T'Accadde
15. Parigi, O Cara
16. Ah, Non Piu
17. Ah! Gran Dio
18. Ah, Violetta
19. Prendi, Quest'e L'Immagine
20. Se Una Pudica Vergine
21. Casta Diva... Ah! Bello A Me Ritorna
22. Qui La Voce
23. Isolde's Liebestod

Customer Reviews:

Callas superb, others less so..........2007-01-07

Ok, most people who buy this recording will do so to hear Maria Callas in the role of Violetta. I recommend buying it for that alone. Of Traviata and Callas, one studio recording exists produced by CETRA and it leaves much to be desired. The other widely known Traviata is the live production at La Scala in 1955 with di Stefano as her Alfredo. That 1955 recording is truly the ultimate. Callas was in wonderful voice with a truly outstanding supporting cast. Giulini as conductor brought a wonderful nuance and subtlety not often heard in Traviata.
This album, recorded live in 1958 at the San Carlos opera house is one of historical lore. There have been several bootleg recordings floating around since Callas's death and it was then remastered by EMI in a recording which the audio still does not improve upon the performance. This recording proves to be the best for audio. The performers can be heard clear as a bell. Very little microphone distortion exists. Now, from there we go on to the actual performance.
Callas's penultimate.
The first act goes somewhat rough in the beginning as the voices and orchestra warm up. But, by the time we hear E stranno? we are enthralled. Callas brings a beautiful interpretation as always. Her act one really features Violetta's fragility which often is not caught up from what I hear in most Violettas. Her Sempre libera is a crying call. She cannot see herself as being loved and cared for, but wants desperately to try. Other great moments include the third act Addio del passato. Callas has never had such heart wrenching emotion. Every infelction of color lands correctly. Even the crack of the low C on the last lines fits accordingly with a dying woman's sentiments. A few strains can be heard notably on higher notes with a little wobbling, but that is to be expected with Callas after '57. Also, in the second act finale she seems to be struggling to simply get thru.
Now, to the other parts. The orchestra under Ghione seems quite limited and acceptable. No real understanding of the distinction of ton between acts. He also lacks subtlety with act two's duets.
Alfredo Kraus can be seen setting up for future greatness but is simply passable in his interpretation of Alfredo. His voice in prime never really catches the flowing lines and melodic notes seen so well under di Stefano in the '55 Traviata.
Now, for the worst part. Mario Sereni. How did he get this role against Callas. From what I can tell from research he was a stand in at Teatro Carlos and was in with the board of directors. Either way, he is barely listenable. He has no nuance or idea of line interpretation. He is a standard Giorgio Germont. No inflection of individuality. He also sounds a bit hoarse for the role if I hear correctly.
So, given all these factors I give it four stars for Callas and an amazing third act. from Addio del passtao to Parigi o cara the tension is unbearable until Violetta gasps her last breath.
So, if you are looking for a truly great Traviata get the 1955 Callas la Scala. If you want more modern sound buy I can only suggest Gheorghiu's 1993 Covent Garden premiere. But, this recording makes a great addition to any collection.

Much better than EMI version!.......2006-04-13

I've never heard about this label "Pearl" but my goodness...they are master of remestering! I just had to buy again even though I already own EMI set! Thanks to "Pearl"

THE LISBON CALLAS 'TRAVIATA' IN MUCH BETTER SOUND!.......2005-10-19

The sound source that Pearl has found for this famous performance is infinitely superior to that found by EMI. It's as though a thick layer of gauze has been lifted, and has yielded a much more detailed and sonically improved version of this performance. I cannot see how anyone would purchase the EMI version after hearing this one ------- indeed, if they already own the EMI version, they should replace it with this one immediately. This performance has been discussed at such length in other places and on other postings that it seems silly to elaborate on it, except to say that both Maria Callas and Alfredo Kraus benefit greatly from the improved sonics. Callas, of course, needs no advocates -------- she stands by herself on her own terms. Similiarly, the reputation of Alfredo Kraus, already exemplary, is validated once again. This edition of the Lisbon "Traviata" is the best-sounding one so far, and it is unlikely to be bettered. One big bonus: we get Callas' very early recordings of Isolde's final scene, Norma's "Casta Diva", and Elvira's Mad Scene from "I Puritani", all recorded when Callas was on the verge of her great career. All three arias show the voice in spectacular condition all the way up to an outstanding top E flat. These three arias may seem a bit inconsistent with "Traviata", but they are well worth hearing. No Callas devotee should be without this set.

Excellent.......2005-07-31

This transfer of the famous Lisbon Traviata has consistently better sound than the source used by EMI. There are still bumps, bangs, and occasions when the principles are some distance away from the mike, as with nearly all live performances, but overall the sound is cleaner and fresher. The orchestra sound is considerably less muffled. The voices are more flatteringly recorded here, than on EMI. In many ways, this transfer is the best available recording of Maria Callas in La Traviata. Her recording with Giulini/ di Stefano has her in better voice but one is able to appreciate the subtleties of Callas' interpretation so much more easily here due to the infinitely better sound. Similarly, the principal trio of Violetta, Alfredo, and Germont is much stronger here than on Callas studio venture from 1953 where she practically carried the performance.
Highly recommended
D. Bennett

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