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

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

Maria Callas: Rossini & Donizetti Arias (1963–1964)

Maria Callas (soprano)
Paris Conservatoire Orchestra, Nicola Rescigno

Although the bel canto repertoire was crucial to Callas’s career, and she played a significant part in reviving its fortunes, she never sang any of the roles – from both serious and comic operas – that are represented in this recital. Gramophone said: ‘It is extraordinary how the whole quality and colour of Callas’ voice changes as she moves from one character to another – for example, from the grand manner appropriate to the Babylonian queen [Semiramide] to the passion of the spoilt Italian duchess [Lucrezia Borgia] and thence to the simple charm of the countrywoman Adina [L’elisir d’amore].’

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

Maria Callas: Verdi Arias I (1958)

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

This recital brings together three operas from the earlier years of Verdi’s career (Nabucco, Ernani and Macbeth) and one of his greatest mature masterpieces (Don Carlo). Callas sang all of them on stage apart from Ernani, and Lady Macbeth proved a triumph for her when she opened the La Scala season in December 1952. Gramophone greeted this recital by saying: ‘Mme Callas has seldom had such a field day and her dramatic instinct is well nigh perfect in interpreting these wonderful pages, each characterised convincingly – and differently.’

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

Maria Callas: Verdi Arias II (1964)

Maria Callas (soprano)
Paris Conservatoire Orchestra, Nicola Rescigno

Only one of the roles represented in this Verdi recital figured in Callas’s stage repertoire: Elisabetta in Don Carlo, which she performed at La Scala in 1954. From the same opera she also sings Eboli’s mezzo-soprano showpiece “O don fatale”, a feature of her recitals in the early 1960s. An adventurous choice are Mina’s arias from the rarely-heard Aroldo (Verdi’s reworking of Stiffelio): ‘The vivid pronunciation of the words, the burning emotion conveyed by tone-colour, and the powerful and eloquent sense of rhythm, are all memorable. So is the fearless quality of Callas’s singing,’ said

Gramophone. When it came to Desdemona’s scene from Act IV of Otello, the critic wrote: ‘Verdi’s music is brought to life as by no other artist. Her voice is in fine state: very beautiful, and drawing a full glorious line.’

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

Maria Callas: Verdi Arias III (1964-69)

Maria Callas (soprano)
Paris Conservatoire Orchestra & Paris Opéra Orchestra, Nicola Rescigno

This third Verdi collection was the last recital that Callas recorded, over an extended period between 1964 and 1969. Arias from operas in her stage repertoire – Aida, Un ballo in maschera, I vespri siciliani and Il trovatore – were complemented by numbers from more rarelyheard works from Verdi’s ‘galley years’: When five of the tracks from this recital were originally released as Callas by Request, Gramophone admired the way: ‘Callas revealed her matchless command of line, verbal declamation and musical insight.’

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

Mascagni: Cavalleria Rusticana (1953)

Maria Callas (Santuzza), Giuseppe di Stefano (Turiddu), Rolando Panerai (Alfio), Anna Maria Canali (Lola), Ebe Ticozzi (Lucia)
Orchestra and Chorus of La Scala Milan, Tullio Serafin

In 1939, as a 15-year-old student in Athens, Maria Callas made her stage debut in the demanding role of Santuzza in Cavalleria rusticana. Five years later she sang it professionally with the Greek National Opera Company. In 1953, when she was already a star – shortly to record Tosca – Tullio Serafin enlisted her as the last-minute replacement for an indisposed colleague at the sessions for Mascagni’s one-acter at La Scala. The result was a recording in which full-blooded verismo was raised to new interpretative heights.

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

Ponchielli: La Gioconda (1952)

Maria Callas (La Gioconda), Gianni Poggi (Enzo), Paolo Silveri (Barnaba), Fedora Barbieri (Laura), Giulio Neri (Alvise), Maria Amadini (La Cieca), Piero Poldi (Zuàne), Armando Benzi (Isèpo), Piero Poldi (Un Pilota)
RAI Chorus & Orchestra Turin, Antonino Votto

It was as Ponchielli’s long-suffering ballad singer, La Gioconda, that Callas made her Italian debut, in 1947 at the Arena di Verona, and it proved crucial to her career. Five years later, La Gioconda became her first studio recording of a complete opera. It showcases both the dark-hued splendour of her voice at this period – she was still in her twenties – and her inimitable intensity and insight.

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

Ponchielli: La Gioconda (1959)

Maria Callas (La Gioconda), Pier Miranda Ferraro (Enzo), Piero Cappuccilli (Barnaba), Fiorenza Cossotto (Laura), Ivo Vinco (Alvise), Irene Companeez (La Cieca), Leonardo Monreale (Zuàne), Carlo Forti (Un Cantore), Renato Ercolani (Isèpo), Carlo Forti (Un Pilota)
Orchestra and Chorus of La Scala Milan, Antonino Votto

Callas’s second studio recording of La Gioconda was made in 1959, six years after her last stage performances of the role, which in 1947 has been the vehicle for her Italian debut (at the Arena di Verona). The recording came at a turning point in Callas’s life –

when her relationship with Aristotle Onassis led to her separation from her husband, Giovanni Battista Meneghini. Writing in Gramophone in 1960, Philip Hope-Wallace said: ‘I simply cannot imagine anyone getting more out of the role than she does this time … the total effect is riveting.’ Joining Callas were two young Italian singers destined for great careers: the mezzo-soprano Fiorenza Cossotto as her rival, Laura, and, as the sinister Barnaba, baritone Piero Cappuccilli.

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

Puccini: La Bohème (1956)

Maria Callas (Mimi), Giuseppe di Stefano (Rodolfo), Rolando Panerai (Marcello), Anna Moffo (Musetta), Nicola Zaccaria (Colline), Manuel Spatafora (Schaunard), Franco Ricciardi (Parpignol), Carlo Badioli (Alcindoro/Benoit)

Orchestra and Chorus of La Scala Milan, Antonino Votto

Callas never sang the role of Mimì on stage, but this did not prevent her recorded interpretation from being, as described by Philip Hope-Wallace in Gramophone, ‘brilliantly realised … This Mimì comes alive and later haunts you in the most extraordinary way … one of the most moving I have ever heard.’ Giuseppe di Stefano is an ardent Rodolfo and the young Anna Moffo makes a delectable Musetta.

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

Puccini: Madama Butterfly (1955)

Maria Callas (Butterfly), Nicolai Gedda (Pinkerton), Mario Borriello (Sharpless), Lucia Danieli (Suzuki), Renato Ercolani (Goro), Mario Carlin (Yamadori), Plinio Clabassi (Lo zio Bonzo), Enrico Campi (Il commissario imperiale), Luisa Villa (Kate Pinkerton)
Orchestra and Chorus of La Scala Milan, Herbert von Karajan

A famous backstage photo was taken in Chicago after one of just three performances that Callas gave of Madama Butterfly; it shows the soprano in her Japanese costume, snarling furiously at a bailiff who had served a writ on her – the very image of the tempestuous diva. By contrast, in her recording of the role, ‘it is, miraculously,’ as the critic John Osborne observed, ‘the 15-yearold girl and not the great Callas who stands before us'.

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

Puccini: Manon Lescaut (1957)

Maria Callas (Manon Lescaut), Giuseppe di Stefano (Des Grieux), Giulio Fioravanti (Lescaut), Franco Calabrese (Geronte), Dino Formichini (Edmondo), Fiorenza Cossotto (Madrigal singer)
Orchestra and Chorus of La Scala Milan, Tullio Serafin

Each act of Puccini’s episodic opera shows Manon Lescaut in a different light – from the ingénue of the first to the desperate, dying woman of the last. Though Callas never performed the role on stage, she captures every aspect of this passionate, but selfish and enigmatic character. In this particular Puccini opera, the tenor is by no means overshadowed by the soprano, and Giuseppe di Stefano duly dominates the gripping scene at Le Havre. The young Fiorenza Cossotto – a powerhouse in roles such as Amneris and Eboli – makes a cameo appearance as the Madrigal Singer.

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

Puccini: Tosca (1953 Mono)

Maria Callas (Tosca), Giuseppe di Stefano (Cavaradossi), Tito Gobbi (Scarpia), Franco Calabrese (Angelotti), Melchiorre Luise (Il Sagristano), Angelo Mercuriali (Spoletta), Dario Caselli (Sciarrone), Alvaro Cordova (Un pastore), Dario Caselli (Un carceriere)
Orchestra and Chorus of La Scala Milan, Victor de Sabata

This Tosca, made in 1953 with the forces of La Scala, is a landmark in recording history. Conducted with searing intensity by Victor de Sabata, it teams Callas with two of her closest colleagues, the tenor Giuseppe di Stefano and the baritone Tito Gobbi – a performer who could rival Callas in dramatic finesse and power. Tosca’s aria ‘Vissi d’arte’ (I lived for art) has come to be seen as Callas’s personal manifesto.

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

Puccini: Tosca (1964)

Maria Callas (Tosca), Carlo Bergonzi (Cavaradossi), Tito Gobbi (Scarpia), Giorgio Tadeo (Il Sagristano), Leonardo Monreale (Angelotti), Renato Ercolani (Spoletta), Ugo Trama (Sciarrone), David Sellar (Un pastore), Leonardo Monreale (Un carceriere)
Paris Conservatoire Orchestra, Paris Opera Chorus, Georges Prêtre

Tosca was the role in which – in 1965, the year this recording was made – Callas gave her last complete performances at the Royal Opera House, Covent Garden, the Metropolitan Opera and the Paris Opéra. This was her final complete recording of an opera, and, 12 years after her first version of Tosca, it reunited her with the Scarpia of Tito Gobbi. They were joined by Carlo Bergonzi as Cavaradossi. Gramophone praised ‘a thrilling and very complete interpretation, with scene after scene, bar after bar, brought to life by sheer intelligence and dramatic insight’.

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

Puccini: Turandot (1957)

Maria Callas (Turandot), Eugenio Fernandi (Calaf), Elisabeth Schwarzkopf (Liù), Mario Borriello (Ping), Renato Ercolani (Pang), Piero De Palma (Pong), Nicola Zaccaria (Timur), Giuseppe Nessi (L'imperatore Altoum), Giulio Mauri (Un mandarino)
Orchestra and Chorus of La Scala Milan, Tullio Serafin

Callas sang the role of Turandot 24 times on stage, in the late 1940s. It was the role originally planned for her US debut, but the opera company went bankrupt and the performances (scheduled for Chicago in 1947) never took place. She brings unusual subtlety to Puccini’s icy princess, while Elisabeth Schwarzkopf – more readily identified with Fiordiligi and the Marschallin – is surprise casting as the self-sacrificing Liù.

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

Rossini: Il barbiere di Siviglia (1957)

Maria Callas (Rosina), Tito Gobbi (Figaro), Luigi Alva (Almaviva), Fritz Ollendorf (Bartolo), Nicola Zaccaria (Basilio), Gabriella Carturan (Berta), Mario Carlin (Fiorello)
Philharmonia Orchestra and Chorus, Alceo Galliera

As she demonstrated in both Il barbiere di Siviglia and Il turco in Italia, Callas, the great tragedienne, could also turn her skills to comedy. As it happened, the 1956 La Scala production of Rossini’s most popular opera did not prove a great success with audiences, but its stars – Callas, Tito Gobbi and Luigi Alva – reassembled in London the following year for this recording. Callas sang the role of Rosina at its original mezzo-soprano pitch and her version of ‘Una voce poco fa’ – punctuated by an unforgettable ‘ma’ (‘but’) in the cabaletta – is a miracle of both elegance and wit.

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

Rossini: Il Turco in Italia (1954)

Maria Callas (Donna Fiorilla), Nicolai Gedda (Don Narciso), Nicola Rossi-Lemeni (Selim), Jolanda Gardino (Zaida), Franco Calabrese (Don Geronio), Mariano Stabile (Il poeta Prosdocimo), Piero De Palma (Albazar)
Orchestra and Chorus of La Scala Milan, Gianandrea Gavazzeni

Callas’s two comic roles were both in operas by Rossini: Il barbiere di Siviglia and Il turco in Italia. She first played the capricious and flirtatious Fiorilla – a married Neapolitan woman who takes up with a visiting Turk – in Rome in 1950. Five years later, at La Scala, she appeared in a production by Franco Zeffirelli, also, famously, the director of her Covent Garden Tosca and Paris Norma. Gramophone wrote: ‘Mme Callas acts vividly, chiding, boasting, melting, and when in typical Rossinian style she is given a “key” figure, each repetition of it carries, so one thinks, a slightly different meaning. I found myself teased by memories of these little phrases for hours afterwards.’

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

The Callas Rarities (1953–1969)

Maria Callas (soprano)

Various orchestras & conductors The tracks on this album were recorded over a period of no less than 16 years. The earliest, the two versions of Donna Anna’s ‘Non mi dir’, date from 1953, and were intended to test microphone placings before Callas made her first commercial recording for EMI: Lucia di Lammermoor. The latest, the Verdi arias recorded with Nicola Rescigno in 1964–1965 and 1969, were never approved for release by the soprano. When Callas Rarities was first released in 1993, Gramophone wrote: ‘Each item, each phrase almost, has something to be said about it: the whole collection makes essential listening.’

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

Verdi: Aida (1955)

Maria Callas (Aida), Richard Tucker (Radamès), Fedora Barbieri (Amneris), Tito Gobbi (Amonasro), Giuseppe Modesti (Ramfis)
Orchestra and Chorus of La Scala Milan, Tullio Serafin

One of the legendary moments in Callas’s career came in 1950 in Mexico City, when she interpolated a stupendous top E flat at the end of the Triumphal Scene in Act II of Aida. In this recording under Serafin she abided by the score, but still prompted Gramophone to speak of her ‘fascinating art and prodigious personality’, observing the way she was ‘rapt in imaginative intensity in the significance of the words’.

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

Verdi: Il Trovatore (1956)

Maria Callas (Leonora), Giuseppe di Stefano (Manrico), Giuseppe di Stefano (Azucena), Rolando Panerai (Il Conte di Luna), Nicola Zaccaria (Ferrando), Luisa Villa (Ines), Renato Ercolani (Ruiz), Giulio Mauri (Un vecchio zingaro), Renato Ercolani (Un messo)
Orchestra and Chorus of La Scala Milan, Herbert von Karajan

Like Norma, the role of Leonora in Il trovatore demands both bel canto finesse and considerable vocal and dramatic weight, but Callas sang it only some 20 times. This recording – in which she, Fedora Barbieri, Giuseppe di Stefano and Roland Panerai constitute a suitably impressive quartet of principals – marked her farewell to the complete role and also her final collaboration with Herbert von Karajan.

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

Verdi: La forza del destino (1954)

Maria Callas (Leonora), Richard Tucker (Don Alvaro), Carlo Tagliabue (Don Carlo), Plinio Clabassi (Il Marchese di Calatrava), Elena Nicolai (Preziosilla), Renato Capecchi (Fra Melitone), Rina Cavallari (Curra), Nicola Rossi-Lemeni (Padre Guardiano), Gino Del Signore (Mastro Trabuco), Dario Caselli (Un Chirurgo/Un Alcalde)
Chorus & Orchestra of La Scala Milan, Tullio Serafin

Relentlessly pursued by Fate, Leonora in La forza del destino is a haunted heroine whose passions and fears are expressed on a grand scale. Callas’s stage experience of Forza was limited to her early career in Italy – in fact, Leonora was her first Verdi role – but, as Lord Harewood, founder of Opera magazine, observed, her recorded assumption exhibited ‘an unparalleled musical sensibility and imagination and a grasp of the musico-dramatic picture which is unique’. She took her place in a powerful cast conducted by her mentor Tullio Serafin.

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

Verdi: La Traviata (1953)

Vở opera được trình diễn nhiều nhất trên thế giới về mối tình ngang trái của nàng Violetta với cốt truyện phỏng theo Trà hoa nữ của A. Dumas. Một trong những bản thu được đánh giá cao cho La Traviata.

Maria Callas (Violetta), Francesco Albanese (Alfredo), Ugo Savarese (Germont)
RAI Chorus and Orchestra Turin, Gabriele Santini

Violetta, the most complex and fully-rounded of Verdi’s heroines, was one of the roles that defined Maria Callas as an artist. She performed it more than 60 times between 1951 and 1958, most famously in Luchino Visconti’s production at La Scala in 1955/56. It is often said that the role demands a different kind of voice for each act, and, when she made this recording for the Cetra label in 1953, Callas offered youthful, ringing power complemented by coloratura prowess and the capacity for great delicacy. More than 60 years on, her characterisation, in its subtlety and truth, still sets the standard for La traviata.

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