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Maria Callas, Giuseppe Di Stefano, Tito Gobbi, Nicola Monti, Rolando Panerai, Coro e Orchestra del Teatro alla Scala di Milano, Tullio Serafin – Ruggero Leoncavallo: I Pagliacci (1954/2014)
FLAC (tracks) 24 bit/96 kHz | Time – 01:12:49 minutes | 717 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Warner Classics
The role of Nedda in Leoncavallo’s verismo classic never entered Callas’s stage repertoire, and so her recording made with the forces of La Scala, Milan, between 12 and 17 June 1954 represents one of her explorations of an opera made purely within the confines of the studio, rather than developing over a period on the stage. But as in all such cases – this was the first time she recorded a role she had not previously sung – Callas’s desire to explore it to the fullest remains paramount. There is a complete identification between singer and character, down to the smallest detail, that make her Nedda an unusually complex creation that grows throughout the opera as she responds to its desperate emotional thrills and spills.
Read more![Maria Callas, Fiorenza Cossotto, Nicola Zaccaria, Nicola Monti, Eugenia Ratti, Giuseppe Morresi, Franco Ricciardi, Coro e Orchestra del Teatro alla Scala di Milano, Antonino Votto - Vincenzo Bellini: La Sonnambula (1957/2014) [Official Digital Download 24bit/96kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/08/29/6y0CpGK.jpg?resize=500%2C500&ssl=1)
Maria Callas, Fiorenza Cossotto, Nicola Zaccaria, Nicola Monti, Eugenia Ratti, Giuseppe Morresi, Franco Ricciardi, Coro e Orchestra del Teatro alla Scala di Milano, Antonino Votto – Vincenzo Bellini: La Sonnambula (1957/2014)
FLAC (tracks) 24 bit/96 kHz | Time – 02:00:55 minutes | 1,21 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Warner Classics
While all of Callas’s bel canto roles were revelatory, her first Amina achieved instant legendary status partly because of the Luchino Visconti production surrounding it. Visconti replicated a bygone era visually by costuming the slimmed-down diva in the manner of a 19th-century ballerina, while Callas replicated that time vocally, combining bel canto style with a full dramatic impersonation not associated with a role owned at the time by bird-like coloraturas. Callas transported Bellini’s lyric masterpiece back to the age of Giuditta Pasta, for whom it was created, offering her share of vocal fireworks – but in the name of expression. Suddenly, the opera itself was understood anew.
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