Maria Callas Remastered

[whipped guy]

Callas Remastered...

 

Well, here we go again! I was waiting for this to happen. Warner Classics now has access to all of La Divina's commercial recordings originally issued by EMI. They have remastered them at 24-bit 96 kHz using the original master tapes and will begin to release them in a few weeks. So Callas fanatics beware!!! The recording industry is going to try and get you to replace your current versions of this material for the umpteenth time! Interestingly, the cover art will more or less replicate that of the original issues.

 

Of course many of us bought this material on LP. In the 1980's all of this was digitally remastered for release on CD. In 1997 to commemorate the 20th anniversary of Callas' death all was remastered again as the Callas Edition. It was generally thought that the 1997 versions brought a slight improvement in sound. Still there are those who thought that EMI never got things quite right with either version.

 

To complicate matters many of these recordings were then remastered for a third time as part of EMI's Great Recordings Of The Century series (GROTC). These GROTC issues with their diffuse sound were mostly deemed to be inferior... and something to be avoided. Of course there have been attempts by other companies to remaster this material since most is in the public domain.

 

Now Warner will have another go at it. Still, how many times are the Callas fanatics going to be served this material? Will there be a dramatic improvement in the sound? After all, these recordings date from the 1950's and 1960's and even then EMI was not noted for its state of the art recording technology as evidenced that most were recorded in mono while other companies were recording in stereo. Plus in the intervening years have the original analog master tapes further disintegrated? Could these new versions actually sound worse? Yet, perhaps newer techniques will rejuvenate and breathe new life into these old dinosaurs. Could we finally hear all those amazing colors in the Callas voice as if experienced live? Unfortunately, there will be few individuals around to evaluate these new issues who actually heard La Divina in the flesh and in her prime.

 

As for myself, I will take a "wait and see" attitude and listen to what the audiophile experts have to say and then pick and choose to possibly upgrade favorite performances. If this remastering proves to be the way to go and you want the whole enchilada it might be best to wait for all to be reissued as a set and probably at a budget price.

 

Now another matter concerns the many live recordings that EMI reissued. I am not sure if Warner plans to open that can of worms or leave matters to the specialist labels. Quite frankly EMI's handling of those was quite erratic, one example being their Anna Bolena, which is the worst mastering available of that marvelous performance. Yet, their version of the Cologne Sonnambula is among the best.

 

Regarding these new incarnations, time will tell and again it most likely will be best to wait and see... or rather more appropriately hear... the results...

[whipped guy]

Today is the Day that it all starts...

 

Today (9/22/2014) is the day that the world wide release begins. However, in the USA the official release date begins tomorrow. I am tempted, but will still wait to see what the experts say. However, initial reports are promising as the original master tapes have been used which has supposedly not been the case with previous digital reissues. Hopefully, the original LP side breaks have been eliminated as well... example the awful silence after the first Norma/Adalgisa duet in Norma which flows seamlessly into the next scene... This has plagued all previous releases. Another reason to wait concerns the fact that the material might eventually be released in Hi-Resolution formats... SACD and as downloads. However, this might be overkill for such material... but then again there might be more info on the original tapes than thought previously...

 

[video=youtube;WwIiyeGE8qI]

[Epigonos]

Damn whipped guy you make me feel ancient. I’m one of the "few individuals around" who actually heard Callas in the flesh and in her prime. My mother was an opera fan of the first order. As a child I accompanied her to New York on several occasions to attend the met. If I remember correctly we saw only two or three Callas performances. My mother was an avid (fanatic) fan of Renata Tebaldi and absolutely loathed Callas. She used to call her the great shrieker. Unfortunately I don't remember much about the Callas performances as my mother was so critical of them that they quickly left my child's memory.

[TruHart1]

Callas/Tebaldi

 

Damn whipped guy you make me feel ancient. I’m one of the few individuals around who actually heard Callas in the flesh and in her prime. My mother was an opera fan of the first order. As a child I accompanied her to New York on several occasions to attend the met. If I remember correctly we saw only two or three Callas performances. My mother was an avid (fanatic) fan of Renata Tebaldi and absolutely loathed Callas. She used to call her the great shrieker.

 

By the time La Callas sang at the Met, the top part of her voice was quite unreliable. Interesting that your mom was part of that famous Callas/Tebaldi fan divide. I thought at first hearing Tebaldi was such a disappointment (I first heard her on the Met b'cast of Manon Lescaut in 1968) as her high B's and high C's were sometimes very flat and sometimes sounded like she was in pain!

 

My first hearing of Callas (a famous recording of Norma) left me of the same opinion with her voice sounding downright ugly to my ears. Over time Tebaldi won me over with her commitment to acting with her voice (and that great chest voice!) The same was true for Callas whose ability to nuance the words (especially in Italian) won me over completely. Both of them were amazing in what they did with voices which were only without problems when they were in their early youth.

 

TruHart1

[whipped guy]

How I discovered Maria Callas

 

I posted this a while back in this forum and thought it would be worth a second look:

 

 

Actually I discovered Callas a bit "late" in life. I always liked classical music since I was about 7 or 8 years old but I did not get into opera until I was the ripe old age of about 13 or so… The first opera I listened to was Mozart’s Don Giovanni on the radio in the Giulini recording… My second was Paisiello’s Il Socrate Imaginario via a RAI broadcast tape that was transmitted from a radio station in NYC. After exploring the Mozart Operas I then investigated Rossini… and in those days (the 1960’s) there was not much to choose from after the obvious Barbiere. I liked it a lot and subsequently purchased the Guilini set of L’Italiana in Algeri… and a note in the accompanying libretto spoke of a recording of the sequel… Il Turco in Italia… I recall the day that I purchased it after saving my pennies… It was a cloudy day and after my mom had driven me to the record store… she then had to go do some additional shopping, but I stayed in the car and read the libretto and the essay. That is the first time I consciously heard of a singer named Maria Meneghini Callas… and I had absolutely no clue as to whom she was… not a clue!!! I couldn’t wait to get home to spin the discs… but not to hear this singer… but rather to hear the opera! I recall being more than somewhat disappointed by the sound of her voice… She was not De Los Angeles or Roberta Peters… two singers that I liked at the time. It actually troubled me… and troubled me quite a bit… and it troubled me so much that I had to listen to the opera a second time that very day. Yet there was something different about the voice that captivated me…

 

Well after investigating Rossini, the next logical step was Donizetti and Bellini… and since I was working on a budget and the mono EMI recordings were less expensive… and were on fewer discs… as opposed to the more expensive Decca… actually London in those days… Sutherland recordings… I ended up purchasing more Callas recordings… but not because I liked her voice. I purchased them in spite of her appearing on the recordings due to budgetary considerations… I really thought that she was a second rate singer… Plus, I was more interested in the music as opposed to the singers involved. Then I read somewhere that she was considered to be one of the greatest singers of all time… and I said to myself… “How could that be?? The voice is so strange!!!” Then, after hearing her as Norma (her second recording… and the condition of her voice troubled me even more!!!!) I had the opportunity to compare her Norma to the recorded versions by Sutherland and Gina Cigna (the only other recordings available at the time)… AND THEN I UNDERSTOOD WHAT THE FUSS WAS ALL ABOUT!!! I won’t go into the details but as far as comparisons are concerned… and heaven knows I actually do like Sutherland and admire Cigna to some extent, but vocally flawed and all there was a dramatic purpose working behind the Callas voice and subtle nuances that the other singers just only approximated… Plus as time wore on I came to find the voice actually quite appealing and oh so colorful… yes!!! It possessed a kaleidoscope of colors as no other voice had or probably will ever have… I could go on… and I know that here are flaws and she is not a perfect singer… but the pluses far outweigh the minuses… Moreover she was the simple Amina, the vengeful Norma, the insane Lucia, not to mention Violetta, Carmen, and Tosca… Plus so many more… and yes, even the deliciously flirtatious Fiorilla in that often overlooked little recording of Il Turco in Italia...

 

Let me stop here and just say that the rest is indeed history!

[wisconsinguy]

WG, Excellent review/summation/evaluation. Now I'll have to go back and re-read ur entire post for the 4th tine! R

[TruHart1]

WG, Excellent review/summation/evaluation. Now I'll have to go back and re-read ur entire post for the 4th tine! R

 

I agree with wisconsinguy, whipped guy. Your post conveys the essence in the development of a Callas fan!

 

TruHart1

[+ Charlie]

I thought at first hearing Tebaldi was such a disappointment (I first heard her on the Met b'cast of Manon Lescaut in 1968) as her high B's and high C's were sometimes very flat and sometimes sounded like she was in pain!

 

Both of them were amazing in what they did with voices which were only without problems when they were in their early youth.

 

TruHart1

I saw Tebaldi in Philadelphia as Desdemona around 1968, when everyone was saying she was past her prime, and I was ready to agree, until the last act. Suddenly the sound was so gorgeous that people in the audience were weeping, and I had a catch in my throat.

[whipped guy]

Incidentally, I compared the sound of the excerpt from Il Barbiere di Siviglia referenced in the above video with the 1997 and 1986 EMI remasterings. I realize that there are sonic limitations inherent in the YouTube sound, but there was a definite difference in the sound quality of all three. Using BOSE earbuds the newest version is the brightest, leanest, and has the least reverb. The oldest mastering has the darkest sound, with the 1997 being somewhere in between. So there are definite differences.

 

Still this might not matter to some... and still to others they might actually prefer the darker more reverbrant sound of the older versions. I find all of this fascinating. Yet others may say that it's the performance that counts, not the sound. I think that they go hand in hand and that the sonic qualities of a recording can often determine how one perceives a performance. If the producers of this series are indeed attempting to return to the participants original intentions they might just be onto something, as many experts insist that the original LP releases have up until now provided the best sound for these now historic recordings.

[whipped guy]

A preliminary report on the sound...

 

After much thought I decided not to order the complete Callas Remastered collection even though a recent price reduction at Amazon made it a very attractive and enticing proposition. Since I collect Bel Canto operas and have virtually every note that Callas sang from that musical period both live and in the studio, I decided to purchase only the albums dealing with that genre.

 

From what has been released individually so far, I have listened to the 1954 Norma, I Puritani, the Mad Scenes disc, and did some spot checks of La Sonnambula and the 1953 Lucia di Lammermoor. There are definitely differences when compared to the original CD incarnations and the 1997 versions. In general the orchestra sounds sweeter and the voices are clearer... with that of Callas sounding ever more closer. One has the impression of standing exactly next to the microphone... such is the brilliance with which the voice is reproduced.

 

The stereo Mad Scenes album has never sounded so sweet... In the past the sound had a harsh quality to the string sound that was not exactly kind to Callas' unique sound either. In the new version the orchestra sounds more natural and by extrapolation I would assume that extends to the manner in which the Callas voice is produced as well. The same general observations can be applied to the mono Norma set with the additional observation that the lower end of the orchestra has a slightly less bit of weight associated with it compared to the earlier CD's. Conversely, cymbals are more incisively produced. Incidentally, the infamous LP side break that occurred after the first female duet which perversely interrupted the musical flow has finally been corrected.

 

With the Puritani, the orchestra sounds a bit thinner and lacking in body compared to earlier versions, yet the sound is sweeter and again the cymbals are crisper... However, a few minor distortions are a bit more evident. The bass reproduction also seems less powerful. However, this is my recollection regarding the original LP version that I purchased as a teen the 1960's. (I still own that original set, but have no easy way to listen to it as my current setup does not have a phono input.). Still, while things seem leaner, the voices are still crystal clear. This makes DiStefano sound a bit harsher compared to past CD versions, but Callas still comes through as colorful as ever... The kaleidoscope of colors is evident in spades.

 

A spot check of the Lucia revealed the elimination of some low rumbling distortions in Lucia's first aria, but no attempts to clear up high lying distortions such as occurs near the conclusion of the second act. A quick perusal of Sonnambula revealed a sound picture similar to that of Norma.

 

Interestingly, while I hear differences, Andrew Rose, of Pristine Records (admittedly a competitor with reissuing this material) says he heard no significant differences when he compared several tracks from Madama Butterfly and Tosca.

 

Since the voices are much clearer (and as alluded to above that can make the voices sound a bit more colorful, if a bit harsh) I wonder what the late Callas recordings will sound like... perhaps the flaws will be even more exposed? From what I have read, there has been no attempt to sanitize those late recordings.

 

In summation, so far I prefer the sound of these new masters as I hear more a natural sounding orchestral palate combined with greater presence and color in the reproduction of the vocal aspects. Still deciding if it is worth reinvesting will depend on how golden your ears are, the type of equipment you have, and how much of a fanatic you are regarding such matters.

 

As an addendum, it is worth noting that the discs are packaged in cardboard sleeves with paper inserts and the discs are designed to look like miniature LP's. A insert with bief notes is included, but no libretto. The packaging takes up minimal shelf space... Not a bad thing!

[+ WilliamM]

After much thought I decided not to order the complete Callas Remastered collection even though a recent price reduction at Amazon made it a very attractive and enticing proposition. Since I collect Bel Canto operas and have virtually every note that Callas sang from that musical period both live and in the studio, I decided to purchase only the albums dealing with that genre.

 

From what has been released individually so far, I have listened to the 1954 Norma, I Puritani, the Mad Scenes disc, and did some spot checks of La Sonnambula and the 1953 Lucia di Lammermoor. There are definitely differences when compared to the original CD incarnations and the 1997 versions. In general the orchestra sounds sweeter and the voices are clearer... with that of Callas sounding ever more closer. One has the impression of standing exactly next to the microphone... such is the brilliance with which the voice is reproduced.

 

I checked Amazon for the recordings you mentioned. I found one or two. Should I be looking at some other website?

 

Wish I had your focus, WG. I jump around from Pearl Jam to Ethel Merman to Caballe to Bob Dylan.

[whipped guy]

I checked Amazon for the recordings you mentioned. I found one or two. Should I be looking at some other website?

 

Wish I had your focus, WG. I jump around from Pearl Jam to Ethel Merman to Caballe to Bob Dylan.

All that I mentioned were purchased on Amazon... Search "Callas remastered" in CD and vinyl.

 

Incidentally, I listened to the Sonnambula this evening and it had the best sound of all. Sweet and nicely balanced... It is amazing how a Callas sounds so delicate in the role... Her staccato embellishments are simply amazing!

[+ WilliamM]

F.Y.E. in Phiadelphia is sell the complete set and individual CDs from the set. I bought Sonnambula a few hours after you posted, WG.

 

Callas is indeed superb, way beyond what I expected from the latest remastering.

[whipped guy]

F.Y.E. in Phiadelphia is sell the complete set and individual CDs from the set. I bought Sonnambula a few hours after you posted, WG.

 

Callas is indeed superb, way beyond what I expected from the latest remastering.

Well, I'm glad that you enjoyed! While I have read some unflattering things about some of the remasterings...the 1953 Tosca is said to have a constricted dynamic range... what I have heard are all improvements, with the Sonnambula and Mad Scenes album by far having the best sound.

 

Of the two the Mad Scenes album has the most improved sound. All previous incarnations have exhibited a harshness that did not flatter either the sound of the orchestra or that of Callas. The strings now sound much sweeter and more natural as does Callas. Of all the classic Callas recital albums It is my contention that this particular set best represents the genius that was Callas. Has anyone ever sung with a more perfect sense of a legato line, articulated trills so lovingly, and created such a sense of character... and all at the same time? I doubt it... Yet listen to this disc... and especially the final scene from Anna Bolena... and it's all there.

 

Getting back to La Sonnambula, the delicate nature of her portrayal of Amina can't be overemphasized. That it is the same voice that is the imperious and vengeful Norma (yet sounds so different) is testament alone to Callas being one of the great vocal actresses of all time.

[whipped guy]

I recently was able to exchange a bit of correspondence with a guru who is quite knowledgeable about all things Callas and especially the sound of the original LP's. It is his contention that the remastering of the 1953 Lucia is not an accurate representation of how Callas sounded at the time. I mentioned that the voice sounded more colorful and more like the Callas of the mid 1950's. He agreed, but based on the sound of the original... and I mean original LP pressings... Callas sounds more like the dramatic soprano of her earlier years... Also there is supposedly less distortion on the LP's compared to the new CD remastering... Just one person's opinion, but a person who is quite respected in his field and has worked restoring much live Callas material. He prefers the earlier CD versions of at least this Lucia as being closer to the sound of the LP edition. I guess it is a judgement call... and we'll all hear things differently. I slightly prefer how Callas sounds on the newer version... Perhaps because that it is so different is the reason why I prefer it and even though there seems to be more high frequency distortions.

 

At any rate, I'm not throwing out my older versions...

[+ Italiano]

Fascinating thread!

[whipped guy]

I just had the opportunity to audition the new Warner remastering of the Callas recording of Rossini's Il Barbiere di Siviglia.

 

While this 1957 recording of Il Barbiere di Siviglia is considered a classic, it has always puzzled me because it not only employs virtually all of the now now mostly ill reputed traditional cuts, but also uses the most corrupt orchestral text of any major stereo era recording known to me. Even in the days prior to the authentic Ricordi Urtext version of the score by Alberto Zedda (which dates from 1968 and was first recorded by Claudio Abbado in the early 1970's) it was possible to obtain reasonably accurate versions of the score. What is used here is an edition where the wind parts are often not only completely rewritten, but additional trombone and timpani are also added into the mix to reinforce the sound at certain points. That a triangle is used in place of the sistrum was and is still often common practice as a substitute for that unconventional percussion instrument.

 

It is interesting to note that Rossini's original scoring calls for in addition to the usual complement of strings, two piccolos, flute, oboe, bassoon, guitar, and pairs of clarinets, horns, and trumpets. Percussion consists of bass drum (which can imply cymbals) and a sistrum (a form of rattle). However, when the two piccolos are employed the flute and oboe are silent. When one piccolo is employed only one of either the oboe or flute is utilized... but never both. Obviously the flutist and oboist were also the piccolo players. This is analogous to some early Mozart symphonies where flutes are employed in some movements and oboes in others, but never together. In the version of the score used for this recording the two piccolos are never heard. Instead we get what sounds to my ears like newly written flute and oboe parts all of which gives a less brilliant presentation of the score. This especially effects Figaro's (in)famous entrance aria much to its detriment, not to mention the finale to the first act among other parts of the score.

 

Still, in spite of the orchestral issues, what is presented is indeed a Callas classic. Callas sings the part in the original mezzo keys even though on quite a few occasions she adds a number of high lying soprano embellishments as was the tradition at the time. There is indeed a special gleam and smile to her voice and most certainly during "Una voce poco fa". In summation this recording confirms that Callas could be just as adept at comedy as she was at tragedy. Furthermore Tito Gobbi as Figaro and Callas play off each other deliciously and especially in the recitative prior to their duet as well as the duet itself. I have never been overly fond of the sound of Gobbi's voice but here it has greater presence and more ping. One also gets to hear tenor Luigi Alva in youthful voice in a role that he would record twice more in his career. The Bartolo does not sound idiomatically Italian but gives a decent rendition of what is left of his much cut aria. The Basilio and Berta are fine.

 

The sound of the new mastering is leaner and brighter than previous CD editions. The original 1986 CD release has somewhat dark sound. The 1997 version is a bit brighter and was transferred at a higher level. The newer version has been transferred at a even higher level. It as almost as if the aural equivalent of a scrim was lifted from the proceedings. Still the sound of the original 1986 version is in many ways the most pleasing of all... The difference being that it reflects a balcony seat in the theatre as opposed to a front and center location. As such the new version presents the voices with pristine clarity... the same for the orchestra... and especially since conductor Alceo Galliera seems to have made a special effort to emphasize precision and lucidity. If only the pristine original scoring had been utilized!!!! However, it is what it is and we must at least be grateful that it was recorded in stereo... the first opera that Callas recorded in the medium. Of course it was recorded stereophonically because the the recording was made in London. At the time EMI (a firm that lagged woefully behind the audiophile curve) was not set up for stereo recording in Italy. So one must be thankful for what was achieved and in fairness the casual listener might not even notice the orchestral issues.

 

Incidentally, regarding EMI's aversion to stereo, one of the great tragedies of recorded history was the Callas recording of Puccini's Turandot... a piece that cries out for a stereo recording. That was recorded in Milan well after this Barbiere... I had always hoped that there was a secret stereo master of that recording, but alas such was not to be the case.

 

As I audition additional releases in this series I will report.

[whipped guy]

My take on the Callas stereo remake of Lucia di Lammermoor

 

Callas first recorded Lucia di Lammermor for EMI in 1953. It is vocally and dramatically spectacular, yet in some respects is an unfinished portrait given what Callas was to achieve in later performances... and especially that under Von Karajan live in Berlin in 1955. Still, that was the recording that reminded the world that Lucia was not a mindless canary, but rather a character with flesh on her bones and as such was a milestone in the history of recorded sound.

 

With the advent of stereo Callas recorded the role a second time in 1959. Contrary to popular wisdom I have a preference for the stereo version of her two commercial recordings because of her many vocal nuances, her theatrical insights, and in spite of the fact that it was recorded a bit past her prime. Just listen to how she traces the repeat of the cabaletta section of her opening aria with a perfect legato, and how lovingly she caresses the embellishments compared to the earlier recording. That’s says it all. Likewise the shadings and chiaroscuro that she brings to her solos in the love duet that concludes the act reveal how Callas was forever refining her interpretations with gradations and tints of color analogous to that of a master painter. Of course at this stage of her career Callas was not capable of always attacking the highest notes with utmost accuracy and indeed there are a couple of notes above the staff that are not exactly things of beauty. However, that’s a small price to pay for the dramatic skill and intelligence inherent in her interpretation. Those few unpleasant notes aside, as always with Callas the dramatic accents are certainly backed up with such ample musical intelligence that any vocal shortcomings are easily forgiven. Incidentally, Callas employs a shorter version of the traditional flute accompanied cadenza in the Mad Scene. While this was probably due to some vocal insecurity, the result is a more compact and more dramatically apt interpolation… an example of how Callas was often able to turn her vocal liabilities into an asset.

 

The remainder of the cast is fine, unfortunately conductor Serafin takes all the traditional cuts that were common at the time with the result being that the recording it not totally representative of Donizetti’s opera as originally conceived. As such it precludes it from being an absolute first choice regardless of the prodigious vocal and dramatic abilities that Callas brings to the proceedings. Still it is required listening and would prove to be the perfect supplement (along with the first Callas version) to complete recordings such as those conducted by Bonynge and Mackerras… the former with Sutherland and the latter featuring period instruments and a scholarly critical edition of the score.

 

This recording has always had a dark hue that seemed appropriate to the piece. That it sparkles a bit more in the new Warner remastering only serves to enhance and enrich the overall sound and as such it is an improvement over previous CD releases.

[wisconsinguy]

WG,

Thank you for the reviews. As you know, I still consider myself quite opera naive. Just your reviews have me turning into a Callas fan! Keep them coming. WG2.

[+ Italiano]

Yes WG, thanks as always!!

[whipped guy]

Verdi Arias 1958

(Macbeth Nabucco Ernani Don Carlo)

 

 

This recital of Verdi arias has always troubled me because as fine as it is I have always felt that it could have been better. It was recorded virtually at the same time as was the Mad Scenes album in London. However, while Mad Scenes was taped in Kingsway Hall, the Verdi was recorded in EMI's Abby Road Studio a few days before, a venue with which Callas was not supposedly comfortable.

 

I have always considered the Mad Scenes album to represent the apex of Callas' art... and especially her masterful interpretation of the final scene from Anna Bolena with its flawless legato and perfectly articulated trills. Her top notes are quite secure as well.

 

With the Verdi recital Callas seems to be striving for a larger sound. This not only effects the highest notes which can often sound labored and not secure, but also some simple lower lying phrases that seem to be overly stressed. Also many of the trills are not as distinctly articulated. Just compare the trills in the Nabucco cabaletta with the meticulousness of those from the Anna Bolena cabaletta and the contrast is obvious. I have always wondered if the differences were related to the fact that Callas thought Verdi needed a larger sounding voice, or if she was troubled with the acoustics of Abby Road and thus overly forced her instrument? The other possibly was that her recalcitrant voice was just not responding as well as it would be only days later.

 

Still this is an important entry in the Callas discography as it contains her only commercial recordings of two very important roles... Lady Macbeth and Abigaille in Nabucco. For the three Macbeth arias this recital is indispensable. Callas simply is the perfect incarnation of Shakespeare's and Verdi's bloodthirsty and troubled Lady in spite of some less than beautiful sounds. Furthermore, the sleepwalking scene is particularly effective with a steady and ethereal concluding high D-flat that proves that when not forcing the voice she was capable of producing an agreeable sound even above the staff. Still for me the prize in the album is the final aria... a particularly intense reading of "Tu che le vanità" from Don Carlo. I have never heard the aria done better. There is absolutely no misplaced intensity in this great scene. We hear Callas alternating between a grand manner that includes a number of deep sounding almost contralto like tones and sections where she delicately lightens her voice to telling effect.

 

I just wish that EMI had engaged a chorus and soloists as they had done for the Mad Scenes album. This especially effects the Macbeth items negatively, not to mention the Nabucco and Ernani arias as well.

 

So not a perfect recital... Like the second Lucia recording we are dealing with an unruly voice at times. However, while the vocal issues were a harbinger of the vocal problems still to come, there is so much intelligence and dramatic truth on display that one can forgive the vocal lapses.

 

So classic Callas... and in the Warner remastering it sounds as good as ever.

[adriano46]

WhippedGuy let me add my own appreciation for this really exciting thread on all things Maria Callas and opera.

 

Like others here, I have always been a fan of classical music, probably because I took piano lessons since I was 5. I remember already by 13 being introduced to Benjamin Brittan ("Appalachian Spring," "Rodeo," and "Fanfare for the Common Man," marking by introduction to 20th century classical music that grew and grew exponentially through my college years. Opera was that illusive genre that I could not really enjoy.

 

My first full opera was at the Chicago Lyric opera, and a matinee production of "Madame Butterfly". In graduate school a professor introduced me to Bellini's "Norma" (Sutherland and Horne... sublime duets I have rarely heard repeated) and then on to Mozart and more Puccini ("Magic Flute" and "La Boheme"). I became a designated driver to an older and crippled aficionado of opera who took me to dozens of operas at the New York City Opera (as I looked longingly at those more privileged going into the Met). But this was the era of Beverly Sills at the City Opera and he thoroughly enjoyed here.

 

Living in Europe for many years opened the door to a wider repertoire and the opportunity for more performances in Milan, London, Naples, Rome, Verona, Paris, Vienna, Budapest and eventually also my introduction to Russian opera in Moscow. Stateside I began frequenting the Met too.

 

I eventually had a collection of nearly 200 CD productions of operas, and came to really appreciate the qualities of various artists, but also came to appreciate Maria Callas whose voice took longer for me to accept and like. Funny how one person's interpretation of a role can color how you hear all other recordings. If any here like Benjamin Brittan's works, you know he wrote all tenor parts for Peter Pears whose voice is haunting and not for everyone (although his "Peter Grimes" is perfection).

 

Whipped -- keep up your analysis and stories and reviews of recordings. In this age of the Cloud, I appreciate the collection of CD's I began to buy some 25-30 years ago and that still provide hours and hours of enjoyment and pleasure.

[whipped guy]

Maria Callas Sings Operatic Arias (1954)

 

Callas at her absolute best!

 

Of all the Callas recital discs this is the absolute gem. It was designed to showcase her versatility and how she was able to deal with a variety of styles that span the better part of a century. When initially released it was referred to as being a Lyric-Coloratura recital... and that is an apt description. The recital begins with a number of verismo arias by Cilea, Giordano, and Catalani that are sung to perfection, with "Ebben, ne andrò lontana" from La Wally by Catalani given a particularly expressive interpretation. These are followed by what must be one of the most hauntingly gorgeous renditions of "L'altra notte" from Mefistofele by Boito. The trills alone are proof of the Bell Canto training that gave Callas such a solid musical foundation.

 

This proves to be the perfect transition to the second half of the disc which offers four coloratura showpieces. The first is a nicely embellished version of Rossini's "Una voce poco fa" from Il Barbiere di Siviglia that is sung in the lower original mezzo key, but with many of the soprano variants. This is followed by the "Shadow song" from Dinorah with its higher lying coloratura. Then incredibly we are given the "Bell Song" from Lakme by Delibes... a high lying coloratura showpiece if ever there ever was one! This is capped by a high E in alt. However, Callas gives us one additional high E at the conclusion of the the bolero from Verdi's I Vespri Siciliani. Of course the latter was originally a French opera and that brings one to the only criticism of the recital. The final three numbers are performed in Italian translation as opposed to the original French. This was something that was quite common at the time and especially in Italy where even Wagner was routinely performed in Italian translation. That quibble aside I know of few others who would be able to pull off such a spectacular and varied recital. The closest I can think of is Joan Sutherland in her "Art of the Prima Donna" album.

 

 

This recital has never sounded better with crisp orchestral sound that complements the many colors that Callas produces and proof that the voice was capable of indeed being beautiful. The new Warner mastering brings us up close and personal with Callas and she more than survives the scrutiny. A must have!

[whipped guy]

A first for my first post in this thread this year:

 

Callas - The First Recordings 1949

 

The Mastery of Early Callas Remastered Beautifully

 

Wagner - Tristan und Isolde "Liebestod" (Sung in Italian)

Bellini - Norma "Casta diva"

Bellini - I Puritani "Mad Scene"

 

 

This CD of three arias that Callas recorded for the Italian firm Cetra contains the earliest examples of Callas in the recording studio and showcases her famed versatility. Needless to say it captures Callas in her youthful dramatic soprano days and reveals a voice that can effortlessly encompass music of contrasting styles.

 

These recordings have been circulating for years, but this is by far their finest incarnation. Since the recording sessions occurred prior to Cetra recording on tape, the sound technicians at Warner have found pristine original 78 discs from which to make their transfers. The result is a revelation compared to the dull and muffled sound of the several previous versions that I have encountered over the years and that includes all previous attempts by Cetra, Warner, and even those by sound gurus such as Ward Marston.

 

It must be noted that the first two tracks of the Puritani Mad Scene are taken from alternate takes that were released in the UK on the Parlophone label. Parlophone was affiliated with Cetra and their pressing differed slightly from the more familiar takes that Cetra released in Italy, and the Italian pressing has been the source of most previous editions. For that reason alone this CD is essential for the Callas completist. It is too bad that both Puritani takes could not be included or for that matter a discarded take of the first verse of "Casta diva" which also exists. However, those are sins of omission and perhaps pristine original discs could not be located.

 

Nonetheless, even given the extremely short duration of this CD, the excellence of the transfers, not to mention the quality of the singing... which includes spotless flights of coloratura and a secure high E-flat in alt... is more than worth the price of admission as Callas indeed had mastered the essentials of all three arias even at this very early stage of her career.

[whipped guy]

The "Callas at La Scala" recital disc:

 

 

This CD represents not what was originally released by EMI, but rather what was intended to be released. The two scenes from Bellini's La Sonnambula which open the disc were never approved by Callas. However, they feature Callas in quite decent voice and deserve to be heard. The first act aria "Come per me sereno" and cabaletta is the better performed of the two scenes. The embellishments are minimal, but the scene concludes with a perfectly placed E-fat in alt that is one of the most beautiful that Callas ever produced. I would guess that it was conductor Tullio Serafin's idea to be chaste with the embellishments and was one reason why Callas never approved the take as Callas always included a number of virtuoso embellishments when otherwise performing this aria. The same problem exists with the final aria "Ah, non credea mirarti" and cabaletta. Actually the introductory recitative and aria are beautifully performed. It is not only the paucity of embellishments but a certain harsh quality that at times permeates the concluding cabaletta that reveals Callas at slightly less than her best. In addition, the fact that the choral parts are not included also detracts from these excerpts which include some disjointed sounding cuts due to the absence of the chorus. Still, it is good to hear Callas experiment with an alternative approach to both of these scenes and it is only when comparing from other occasions that one might feel disappointed.

 

The remainder of the disc includes a touching and representative rendition of "Dei tuoi figli" from Cherubini's Medea. This is followed by three arias from Spontini's La Vestale which show Callas to good effect. Callas is quite passionate, tender, or forceful as the situation demands. The only disappointment is the lack of an interpolated high C at the conclusion of "Tu che invoco". Still, her rendition of this aria is so powerful that one hardly misses it. It is also worth noting that both the Cherubini and Spontini items are obviously performed in Italian translation as opposed to the original French.

 

The sound of the new Warner remastering is quite fine with the Callas voice ringing out with exceptional clarity and the orchestra sounding a tad sweeter compared to earlier CD versions.

 

Incidentally when the LP version of this recital was originally released the disc was filled out with the opening aria from Sonnambula as well as the Puritani Mad Scene. Both were taken from the complete EMI recordings.