[Fshare] Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

“Tôi không phải là một thiên thần, và cũng chẳng việc gì phải cố tỏ vẻ như vậy – đó không phải vai diễn của tôi, nhưng tôi cũng không phải là kẻ độc địa. Tôi là một người phụ nữ và còn là một nghệ sĩ chân chính, vì vậy tôi muốn được dối xử một cách công bằng.” - Maria Callas.

Maria Callas không phải là một nhân cách toàn diện, không sở hữu giọng hát cũng như kĩ thuật thanh nhạc hoàn hảo tuyệt đối, nhưng nếu để chọn một soprano tiêu biểu nhất của thế kỉ 20, người ta không thể không nhắc đến bà. Cuộc đời đầy bi kịch, đau đớn, thất bại và cũng không ít vinh quang chói lọi của một người phụ nữ tài năng, mạnh mẽ, phức tạp, yêu mãnh liệt và sống hết mình về nghệ thuật xứng đáng là huyền thoại trong giới biểu diễn opera thế kỉ 20." nhaccodien.vn

"Although Maria Callas died, aged just 53, as long ago as September 1977, she remains an icon: as a supreme singing actress; as a celebrity, and as a woman of great style and elegance. The epitome of the operatic diva, the American-born Greek soprano is recognised as a singer who defined, and even redefined, opera in the 20th century and she has never lost her place among the world’s top-selling classical artists. With the release of CALLAS REMASTERED: The Complete Studio Recordings, opera lovers will now be able to hear her as never before.

Warner Classics is now the guardian of Maria Callas’s official recorded catalogue, and this 69-CD deluxe box set contains all the studio recordings that she made for both EMI/Columbia and the Italian label Cetra between 1949 and 1969. Each recording has been painstakingly remastered in 24-bit/96kHz sound at Abbey Road Studios, using the original tapes, and the entire collection has been curated with the greatest of care. The 26 complete operas and 13 recital albums contained in the box will also be made available as separate releases." prestoclassical.co.uk

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A01 Bellini: I Puritani
A02 Bellini: La Sonnambula
A03 Bellini: Norma 1954
A04 Bellini: Norma 1960
A05 Bizet: Carmen
A06 Callas à Paris I (1961)
A07 Callas à Paris II (1963)
A08 Callas at La Scala (1955)
A09 Cherubini: Medea
A10 Donizetti: Lucia di Lammermoor 1953
A11 Donizetti: Lucia di Lammermoor 1959
A12 Leoncavallo: I Pagliacci
A13 Maria Callas: Lyric and coloratura arias (1954)
A14 Maria Callas: Mad Scenes (1958)
A15 Maria Callas: Mozart, Beethoven, Weber recital (1963–1964)
A16 Maria Callas: Puccini Arias (1954)
A17 Maria Callas: Rossini & Donizetti Arias (1963–1964)
A18 Maria Callas: The First Recordings (1949)
A19 Maria Callas: Verdi Arias I (1958)
A20 Maria Callas: Verdi Arias II (1964)
A21 Maria Callas: Verdi Arias III (1964-69)
A22 Mascagni: Cavalleria Rusticana
A23 Ponchielli: La Gioconda 1952
A24 Ponchielli: La Gioconda 1959
A25 Puccini: La Bohème
A26 Puccini: Madama Butterfly
A27 Puccini: Manon Lescaut
A28 Puccini: Tosca 1953
A29 Puccini: Tosca 1964
A30 Puccini: Turandot
A31 Rossini: Il barbiere di Siviglia
A32 Rossini: Il Turco in Italia
A33 The Callas Rarities (1953–1969)
A34 Verdi: Aida
A35 Verdi: Il Trovatore
A36 Verdi: La forza del destino
A37 Verdi: La Traviata
A38 Verdi: Rigoletto
A39 Verdi: Un ballo in maschera

DONE

Books & Libretti: https://www.fshare.vn/file/SQ4YBDNU2GTG

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Bellini: I Puritani (1953)

Maria Callas (Elvira), Giuseppe di Stefano (Arturo), Rolando Panerai (Riccardo), Nicola Rossi-Lemeni (Giorgio), Angelo Mercuriali (Bruno), Carlo Forti (Gualtiero Valton), Aurora Cattelani (Enrichetta)
Orchestra and Chorus of La Scala Milan, Tullio Serafin

"Until she achieved a triumph in the delicate coloratura role of Elvira in I puritani – in Venice in 1949 under the tutelage of maestro Tullio Serafin – Maria Callas had been making her name in dramatic roles, such as the epicallyscaled title role in Die Walküre, which she had been singing just days before. Her success in Bellini’s final opera set her firmly on the path to bel canto supremacy. Joining her as Arturo in this 1953 recording is one of her best-loved colleagues, the tenor Giuseppe di Stefano." prestoclassical.co.uk

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Bellini: La Sonnambula (1957)

Maria Callas (Amina), Nicola Monti (Elvino), Eugenia Ratti (Lisa), Fiorenza Cossotto (Teresa), Nicola Zaccaria (Rodolfo), Giuseppe Morresi (Alessio), Franco Ricciardi (Notaro)
Orchestra and Chorus of La Scala Milan, Antonino Votto

"Like Lucia di Lammermoor and Elvira (I puritani), Amina, the gentle heroine of La sonnambula, was a role that had become associated with light-voiced coloratura sopranos. Callas brought both a new substance and subtlety to the role when Luchino Visconti staged it for her at La Scala in 1955. This recording was made two years later, when the production was revived." prestoclassical.co.uk

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Thôi xong rồi, con HDD của em lại dính thêm "một thời đạn bom, một thời khói lửa".

Cảm ơn bác & xin chúc mừng năm mới.

 

Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Bellini: Norma (1954 Mono)

Maria Callas (Norma), Mario Filippeschi (Pollione), Ebe Stignani (Adalgisa), Nicola Rossi-Lemeni (Oroveso), Paolo Caroli (Flavio), Rina Cavallari (Clotilde)
Orchestra and Chorus of La Scala Milan, Tullio Serafin

This is the first of Callas’s two complete recordings of her signature role, the druid priestess Norma, in which she has remained unrivalled for 50 years. It captures her voice in its imposing early prime, while in the two famous duets for Norma and Adalgisa she is partnered by Ebe Stignani, generally considered the greatest Italian mezzo-soprano of her era. The conductor is Callas’s mentor Tullio Serafin.

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Bellini: Norma (1960)

Maria Callas (Norma), Christa Ludwig (Adalgisa), Franco Corelli (Pollione), Nicola Zaccaria (Oroveso), Edda Vincenzi (Clotilde), Piero De Palma (Flavio)
Orchestra and Chorus of La Scala Milan, Tullio Serafin

Callas first sang Bellini’s Norma in 1948, when she was just 25. She went on to perform the role of the heroic, but vulnerable Druid priestess – the ultimate embodiment of bel canto – more frequently than any other. In this second studio recording her conductor was again Tullio Serafin (he originally tutored her in the role in 1948), and the venue was again La Scala – where the opera was premiered in 1831. By 1960, Callas brought a wealth of new nuance to her interpretation, and she is aptly partnered by the creamy-voiced Christa Ludwig (in a rare recording of an Italian role) and the towering Franco Corelli.

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Bizet: Carmen (1964)

Maria Callas (Carmen), Nicolai Gedda (Don José), Andréa Guiot (Micaëla), Robert Massard (Escamillo), Nadine Sautereau (Frasquita), Jane Berbié (Mercédès), Jean-Paul Vauquelin (Le Dancaïre), Jacques Pruvost (Le Remendado), Claude Cales (Moralès), Jacques Mars (Zuniga)

Orchestre du Théâtre National de l’Opéra de Paris, Chœurs René Duclos & Chœurs d’enfants Jean Pesneaud, Georges Prêtre

Towards the end of Callas’s career, there were many rumours that she was planning to perform Carmen on stage. This was never to be, but Carmen became her penultimate complete recording of an opera – and her only complete recording of a French opera. With Georges Prêtre, one of her favoured conductors, and the ever-stylish Nicolai Gedda as her Don José, she captured every facet of the role. As Gramophone said when the set was first released: ‘Hers is a Carmen to haunt you.’

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Callas à Paris I (1961)

Maria Callas (soprano)
French Radio National Orchestra, Georges Prêtre

Callas never sang a role in French on stage, though she had studied French repertoire as a student and one of her most famous roles, Cherubini’s Medea, had originally been written in French as Médée. From the early 1960s she made her home in Paris, where in 1961 she recorded this recital of French-language arias for both soprano and mezzo-soprano, composed in the 18th, 19th and 20th centuries. ‘The recital … is a tour de force of sympathetic interpretation,’ wrote Gramophone after her death. ‘The range is astounding, so much so that hearing the record is both an inspiring and upsetting experience; not merely because of the sense of the early loss of so great an artist [as Callas], but because the plights of these great human archetypes – Orpheus, Alceste, Carmen, Dalila, Chimène and Juliet – are themselves so uplifting and disturbing as Callas presents them to us … Records like this change people’s lives.’

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Callas à Paris II (1963)

Maria Callas (soprano)
Paris Conservatoire Orchestra, Georges Prêtre

As in her first Callas à Paris recital, recorded two years previously, the diva performs arias of diverse weight, colour and mood – from the darker tones of Berlioz’s Marguerite to the brilliant ‘Jewel Song’ of Gounod’s Marguerite, and from the mezzo-ish melancholy of Massenet’s Charlotte to the soprano coquetry of the same composer’s Manon. ‘Simply as an artist,’ wrote Gramophone in its review of the recital, ‘in her sense of line, her feeling for a word, her command of colour and her mastery of the whole complex art of interpretation – [Callas] is so far ahead of all other contemporary singers, and of all but the greatest past singers, too, that she almost spoils us for the rest.

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Callas at La Scala (1955)

Maria Callas (soprano)
Orchestra of La Scala Milan, Tullio Serafin

Callas first sang at Milan’s legendary La Scala for the opening of the 1951–1952 season (in Verdi’s I vespri siciliani) and she became closely identified with the theatre, notably in productions directed by Luchino Visconti and his protégé Franco Zeffirelli. Spontini’s La vestale was staged for her there in 1954, Bellini’s La sonnambula in 1955, and her final La Scala performances came in 1962 with Cherubini’s Medea. ‘This wonderful record gives us … Callas at her most spell-binding and enthralling,’ wrote Gramophone. ‘Callas at La Scala … shows the diva at her most exciting and most beautiful.’

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Cherubini: Medea (1957)

Maria Callas (Medea), Renata Scotto (Glauce), Mirto Picchi (Giasone), Miriam Pirazzini (Neris), Giuseppe Modesti (Creonte)
Orchestra and Chorus of La Scala Milan, Tullio Serafin

The role of the betrayed and finally murderous Medea became closely associated with Maria Callas. In 1969, several years after her final operatic performance, she even starred as Jason’s spurned wife – as an actress, not as a singer – in a film directed by Pier Paolo Pasolini. She first appeared in Cherubini’s opera in 1953 in Florence, with Vittorio Gui conducting, and later that year collaborated with Leonard Bernstein in a staging at La Scala; in 1962, the role brought her final appearances at Milan’s great opera house.

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Donizetti: Lucia di Lammermoor (1953 Mono)

Maria Callas (Lucia), Nicolai Gedda (Edgardo), Robert Massard (Enrico)
Orchestra and Chorus of the Maggio Musicale Fiorentino, Tullio Serafin

This Lucia di Lammermoor was the first complete recording that Callas made under the aegis of Walter Legge for EMI/Columbia – and also her first recording with Giuseppe di Stefano, Tito Gobbi and her mentor Tullio Serafin. She had made her role debut as Lucia the previous year (1952), bringing tragic stature to the archetypal fragile bel canto heroine. Gramophone described her recorded performance as ‘certainly some of the finest singing of our time’.

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Donizetti: Lucia di Lammermoor (1959)

Maria Callas (Lucia), Ferruccio Tagliavini (Edgardo), Piero Cappuccilli (Enrico), Bernard Ladysz (Raimondo), Leonard Del Ferro (Arturo), Margreta Elkins (Alisa), Renzo Casellato (Normanno)
Philharmonia Orchestra and Chorus, Tullio Serafin

In the six years that had passed since 1953, and her first recording of Lucia di Lammermoor, Callas’s voice had maybe become less robust, but her singing had become still more perceptive. As Gramophone said: ‘Mme Callas has refined her interpretation of the role, and made it more exquisite, more fascinating, musically and dramatically more subtle – in a word, more beautiful.’

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Leoncavallo: I Pagliacci (1954)

Maria Callas (Nedda), Giuseppe Di Stefano (Canio), Tito Gobbi (Tonio), Rolando Panerai (Silvio), Nicola Monti (Beppe)
Orchestra and Chorus of La Scala Milan, Tullio Serafin

While Pagliacci’s regular companion piece, Cavalleria rusticana, figured prominently in Callas’s early career, Leoncavallo’s one-acter had no place in her stage repertoire. But as Gramophone wrote of this recording: ‘When Callas [as Nedda] and Gobbi [as Tonio] are on the stage the drama is strikingly unfolded … There has been [no Nedda] more urgently or pressingly feminine than Callas … the only one to create real tension at the idea of Canio reading her thoughts; the only one to give meaning … to her mood as the birds fly overhead; and … the only one to greet her lover with delight.’

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Maria Callas: Lyric and coloratura arias (1954)

Maria Callas (soprano)
Philharmonia Orchestra, Tullio Serafin

As this recital amply demonstrates, Maria Callas encompassed an extraordinary range of roles. She is as convincing in the pinpoint coloratura of Lakmé’s ‘Bell Song’ (‘Her chromatic scale is beautifully done and she sails up to the region known as in alt with the greatest ease,’ said Gramophone) as in the sweeping, richlycoloured lines of Maddalena’s ‘La mamma morta’ from Andrea Chénier, famously and movingly featured on the soundtrack of the 1993 Hollywood film Philadelphia. ‘There is great tenderness and simplicity, deep emotion, and the most lovely moulding of the vocal phrases,’ wrote Gramophone, ‘Madame Callas’s characterisations … are nothing less than superb, and altogether there is some of her finest singing yet recorded.’

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Maria Callas: Mad Scenes (1958)

Maria Callas (soprano)
Philharmonia Chorus & Orchestra, Nicola Rescigno

Callas did not make complete recordings of Donizetti’s Anna Bolena and Bellini’s Il pirata, though, as the queen of La Scala, she enjoyed triumphs in both roles in 1957–1958. The vocally and dramatically demanding final scenes of both operas feature in this recital with Ophélie’s mad scene from Ambroise Thomas’s Hamlet, another coloratura extravaganza. When this recital first appeared in 1959, Gramophone wrote: ‘This is a most remarkable record, not only for its material … but for its astonishing vividness and dramatic poetry … It has been a thing of much wonder for me.’

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Maria Callas: Mozart, Beethoven, Weber recital (1963–1964)

Maria Callas (soprano)
Paris Conservatoire Orchestra, Nicola Rescigno

This recital of Austro-German repertoire (albeit composed to Italian and English texts) was prompted by Callas’s indignation on discovering that her EMI producer, Walter Legge, had chosen his wife, Elisabeth Schwarzkopf, for a recording of the Verdi Requiem. ‘If your wife can sing my repertoire, then I can sing hers,’ declared Callas. As it turned out, she complemented arias from ‘Schwarzkopf roles’ (Donna Elvira and Countess Almaviva) with one of Donna Anna’s arias and with scenas by Beethoven and Weber that she had first learned as a student in Athens. (She had sung Leonore in Fidelio in Greece at the age of just 21.) ‘The disc shows the voice in the excitingly fresh condition that was heard in the Covent Garden Toscas [1964],’ wrote Gramophone. ‘The Callas personality is here at its most intense. This tigress is fiercer than ever, in some ways more exciting than ever. The flashing eyes seem to drill into one, and the scalp tingles … This is an exciting disc to fire and excite admirers.’

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Maria Callas: Puccini Arias (1954)

Maria Callas (soprano)
Philharmonia Orchestra, Tullio Serafin

Callas came to be closely identified with Tosca, and it was the only Puccini role she sang with any frequency during her reign as a prima donna. Turandot had figured prominently in her early career, and she performed Cio-Cio San (Madama Butterfly) three times in Chicago in 1955, but all the other characters in this recital did not figure in her stage repertoire. Yet, as Gramophone said when this album was first released: ‘To each and every aria she brings the stamp of an individual artistry, something of character acting, and a concern for the dramatic and musical shaping of the aria which is very unlike the sort of Puccini singing we usually hear today.’

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

Maria Callas: The First Recordings (1949)

Maria Callas (soprano)
RAI Orchestra Turin, Arturo Basile

Recorded in 1949 when Maria Callas was just 25, this debut recital encapsulates the young soprano’s astonishing maturity, versatility and technical finesse. She had already sung all three roles showcased here – Wagner’s Isolde and Bellini’s Norma and Elvira (I puritani) – in the theatre. As Gramophone, which described the recital as ‘incandescent and spellbinding’, wrote: ‘The Liebestod is a beautiful example of sustained interpretation, with a long line running through the whole piece, each phrase finding part-fulfilment in the next until the climax is reached,’ concluding overall that: ‘The eloquence of phrase and the technical control put at the service of a discerning heart and mind are obvious to hear.’

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Ðề: Warner Classics - Maria Callas Remastered: The Complete Studio Recordings (1949-1969) [FLAC]

A17 chưa có nhé bác!