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

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  1. ivanhoe76

    ivanhoe76 Well-Known Member

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

    Verdi: Rigoletto (1955)

    Maria Callas (Gilda), Tito Gobbi (Rigoletto), Giuseppe di Stefano (Il Duca), Nicola Zaccaria (Sparafucile), Adriana Lazzarini (Maddalena), Plinio Clabassi (Monterone), William Dickie (Marullo), Renato Ercolani (Borsa), Giuse Gerbino (Giovanna), Carlo Forti (Il Conte di Ceprano), Elvira Galassi (La Contessa di Ceprano)
    Orchestra and Chorus of La Scala Milan, Tullio Serafin

    Callas only sang Gilda in Rigoletto in one run of performances, in Mexico City in 1952, and she recorded the role three years later. She moves beyond the girlish tone and sparkling coloratura of the character’s first scenes to create a figure of tragic stature as events unfold. ‘Once heard, this rendering is never likely to be forgotten,’ was Gramophone’s judgement on her interpretation, and the same could apply to Tito Gobbi’s, embodying every aspect of the accursed court jester.

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  2. ivanhoe76

    ivanhoe76 Well-Known Member

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

    Verdi: Un ballo in maschera (1956)

    Maria Callas (Amelia), Giuseppe di Stefano (Riccardo), Tito Gobbi (Renato)

    Orchestra and Chorus of La Scala Milan, Antonino Votto

    Callas’s first stage appearances in Verdi’s Un ballo in maschera came at La Scala in 1957, a year in which Milan also saw her in La sonnambula and Anna Bolena. As in this recording, made the year before, she shared Verdi’s most spectacular soprano-tenor duet (in Act II) with Giuseppe di Stefano. This was the last time Callas and Di Stefano appeared together in opera, though they reunited in the 1970s to direct I vespri siciliani in Turin and to give a series of joint concerts in Europe, the USA, Canada, South Korea and Japan. Gramophone judged this recording of Ballo to be ‘one of Callas’s most compelling assumptions’.

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