Krzysztof Penderecki

Krzysztof Penderecki
Krzysztof Penderecki (1933-2020) conducting his oratorio "Seven Gates of Jerusalem" at the Winter Palace, St Petersburg, in 2001. Photo by Dmitry Lovetsky

Wednesday, July 20, 2016

Maria Callas | Vissi D'Arte: The Puccini Love Songs, Vol. I/II (Audio video)

EMI have marked the Puccini anniversary with a re-release of Callas's complete Puccini studio recordings. For those who don't want to go that far we have this two-disc set of highlights which should be enough to keep most people happy. It's in mono sound throughout, and it shows both the best and worst of Callas in full flow. There is very little here in the way of vocal beauty, but plenty of dramatic truth.

Most of the recordings are taken from the complete sets she recorded with La Scala in the 1950s, and these are supplemented with extracts from a studio recital she did with Serafin and the Philharmonia, so with Turandot we hear her as both the ice princess and as Liu. These recordings have long been classics and it is good to get bite-size chunks from them in this manageable form. Generally speaking the earlier the recording the better we find Callas's voice, so the classic 1953 Tosca shines as brightly as ever. Callas remains a mass of contradictions throughout: her entry in Act 1 and the subsequent love duet show her as the jealous harpy and the affectionate lover who melts at Cavaradossi's tender words. Vissi d'arte is tender and moving, while at the same time revealing Tosca's coiled tension. Di Stefano is also on his best form here, the voice exhibiting lyrical warmth and even a willingness to shade down his timbre. Gobbi's assumption of Scarpia remains the most rounded on record. This was long before he embodied the role for Zeffirelli in 1964, but we can see him clearly in our minds' eye: it is a shame that all we hear of him is the brief scene with Tosca in the church in Act 1.

Callas is also wonderful as Cio-Cio San. She makes the young girl's innocence remarkably believable in Act 1, even if it is a little difficult to imagine her as a 15-year old. She is full of rapt wonder at her entrance, while the love duet is full of tingling erotic anticipation. Gedda is also a superb Pinkerton here, his tone matching Callas' at every turn. Callas matures into the self-deluding but strong young woman of Act 2 with a poignant Un bel di, and a defiant Che tuo madre dovra. Her extraordinary acting is evident in the suicide scene, and she is helped here as elsewhere by Karajan's masterful control of the orchestra and his shaping of the scene to convey a horrible inevitability to the whole story.

Callas is somewhat less convincing as Mimi. She cannot really sum up the innocence and naivety of the character, with a somewhat steely Mi chiamano Mimi, though her death scene is tremendously moving, even if di Stefano mars it with his stentorian weeping. Her tone was beginning to lose its shine by 1958 and we can detect the beginnings of a wobble in her higher notes. Unfortunately these are all too prominent in Manon Lescaut, especially in the Act 2 duet which can be somewhat taxing to listen to at times. In quelle trine morbide sounds shrill and somewhat strained, though to her credit she uses exactly these qualities to make the death scene all the more compelling.

Her imperious nature works very well indeed as Turandot, and her vocal difficulties seem not to have bothered her for the complete studio recording. She commands every scene in which she appears: In questa reggia holds no terrors for this princess and she dominates Eugenio Fernandi's Calaf in the riddle scene. Going from this to her studio portrayal of Liu is a bit of a jolt, but she even manages some pianissimo tenderness for Signore ascolta. From her recital, Senza mamma is beautifully moving though O mio babbino caro isn't alluring enough.

Callas was undoubtedly an exceptional artist, probably one of the best Puccini interpreters of the 20th century, but this set is probably more for those who know that already rather than those new to Puccini looking for somewhere to start. In spite of its re-mastering the mono sound still feels limited, and Callas's dominating character isn't well suited to all the roles here. Nevertheless, it's a fitting tribute to a great artist, and, with reservation, it'll do nicely as a souvenir of Puccini too.

Source: Simon Thompson (

Το 2008, στο πλαίσιο του εορτασμού των 150 χρόνων από τη γέννηση του Τζάκομο Πουτσίνι, η δισκογραφική εταιρεία EMI επανακυκλοφόρησε τον πλήρη κατάλογο με τα έργα του συνθέτη, σε ηχογραφήσεις με τη Μαρία Κάλλας.

Στον πρώτο από τους δύο δίσκους με επιλογές από αυτήν τη μοναδική επετειακή επανέκδοση, η Μαρία Κάλλας – ίσως η καλύτερη ερμηνεύτρια ηρωίδων του Πουτσίνι, τον εικοστό αιώνα – ερμηνεύει άριες και άλλα μέρη από τις όπερες «Μανόν Λεσκώ», «Λα Μποέμ», «Τόσκα» και «Αδελφή Αγγελική». Τη συνοδεύουν οι κορυφαίοι σολίστες Τζουζέπε ντι Στέφανο (τενόρος), Άννα Μόφο (υψίφωνος), Ρολάντο Πανεράι (βαρύτονος), Μανουέλ Σπαταφόρα (βαρύτονος), Νίκος Ζαχαρίου (μπάσος), Τίτο Γκόμπι (βαρύτονος) και Μελχιόρ Λουίζε (μπάσος). Την Ορχήστρα της Σκάλας του Μιλάνου και την Ορχήστρα Φιλαρμόνια του Λονδίνου διευθύνουν οι θρυλικοί μαέστροι Τούλιο Σεραφίν, Αντονίνο Βότο και Βίκτορ ντε Σάμπατα.

Maria Callas (1923-1977)

Giacomo Puccini (1858-1924)

Vissi D'Arte: The Puccini Love Songs

Vol. I/II

♪ Manon Lescaut (1893)

1. In quelle trine morbide (Act II - Manon)
2. Oh, saro la piu bella (Act II - Manon, Des Grieux)
3. Sola, perduta, abbandonata (Act IV - Manon)

Manon Lescaut: Maria Callas
Chevalier Des Grieux: Giuseppe di Stefano
Orchestra del Teatro alla Scala, Milano / Tullio Serafin (1959)

♪ La Bohème (1896)

4. Si. Mi chiamano Mimi (Act I - Mimì)
5. Ehi! Rodolfo!... O soave fanciulla (Act I - Schaunard, Colline, Marcello, Rodolfo, Mimì)
6. Donde lieta usci (Act III - Mimì)
7. Dunque e proprio finita? (Act III - Rodolfo, Mimì, Marcello, Musetta)
8. Sono andati? (Act IV - Mimì, Rodolfo, Schaunard, Musetta, Marcello, Colline)

Mimì: Maria Callas
Musetta: Anna Moffo
Rodolfo: Giuseppe di Stefano
Marcello: Rolando Panerai
Schaunard: Manuel Spatafora
Colline: Nicola Zaccaria
Orchestra del Teatro alla Scala, Milano / Antonino Votto (1958)

♪ Tosca (1900)

9. Mario! Mario! Mario!... Son qui (Act I - Tosca, Cavaradossi)
10. Mario! Mario! (Act I - Tosca, Scarpia)
11. Vissi d'arte (Act II - Tosca)
12. Senti, l'ora e vicina (Act III - Tosca, Cavaradossi)

Floria Tosca: Maria Callas
Mario Cavaradossi: Giuseppe di Stefano
Baron Scarpia: Tito Gobbi
The Sacristan: Melchiorre Luise
Orchestra del Teatro alla Scala, Milano / Victor de Sabata (1953)

♪ Suor Angelica (1918)

13. Senza mamma

Sister Angelica: Maria Callas
Philharmonia Orchestra / Tullio Serafin (1954)

Maria Callas, soprano

Giuseppe di Stefano, tenor
Anna Moffo, soprano
Rolando Panerai, baritone
Manuel Spatafora, baritone
Nicola Zaccaria, bass
Tito Gobbi, baritone
Melchiorre Luise, bass

Orchestra del Teatro alla Scala, Milano
Philharmonia Orchestra

Tulio Serafin (1878-1968)
Antonino Votto (1896-1985)
Victor de Sabata (1892-1967)

EMI Classics 2008

(HD 1080p – Audio video)

See also

Maria Callas | Vissi D'Arte: The Puccini Love Songs, Vol. II/II (Audio video)

Maria Callas – 38th anniversary of her death

Giacomo Puccini: Tosca, Act II – Maria Callas, Renato Cioni, Tito Gobbi, Georges Prêtre, Franco Zeffirelli

Maria Callas Sings Operatic Arias, 1955 – Digital remastering 2014 – Philharmonia Orchestra, Tullio Serafin (Audio video)

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