Maria Callas Remastered

[whipped guy]

Maria Callas, Herbert von Karajan, and Donizetti's Lucia di Lammermoor (Part Two)

 

As implied above, the sound on this recording is reasonably acceptable. However, as originally recorded it tends to be not only overly bright but there is also quite a bit of unfortunate distortion and static that occurs during the Mad Scene. One solution is to keep things as recorded which tends to make the voices sound thin and unsupported. This unfortunately does nothing to mask the static. Another is to drastically filter out the defects which tends to eliminate the distortion at the expense of making the proceedings sound dull. Since this performance is available on a variety of labels every possible solution in between has been tried as well. The most successful result is what has been accomplished by Divina Records. The sound is equalized to simulate a quality mono studio recording of the period and painstaking attempts were made to eliminate the distortion and at the same time not adversely tamper with any musical elements in what only can be described as a labor of love that must have taken hours. Indeed an email exchange with the person responsible for the technical aspects of the sound restoration process indicated that to be exactly the case. Compared to all other versions the irritating distortion is miraculously totally missing. Unfortunately the CD version is sold out. However, it is available at a quite reasonable price as an instant download at www.divinarecords.com. If you are adept at burning your own CDs or are satisfied listening via your computer or other digital player either solo or connected to your stereo system this is definitely the version to own. That is the option that I chose even when the CD version was available. I downloaded the lossless FLAC version, but an MP3 version is available as well. As noted above the lossless version is the best that I have ever encountered. I would guess that the MP3 version for those who want to save space would sound reasonable as well. A sound file of both versions is available to audition prior to purchasing. It is also worthy of note that a "digital booklet" is included with the download that contains photos and other memorabilia from the production.

 

Incidentally, if I were confined to that proverbial desert island I would be greedy and not only take this performance, but also a copy of the live La Scala Norma discussed previously. Yes, 1955 was a very good year for Callas!

 

 

http://divinarecords.com/dvn019/dvn19_l.jpg

[whipped guy]

Callas, Leonard Bernstein and Bellini's La Sonnambula

• Maria Callas (Amina)
  
• Cesare Valletti (Elvino)
  
• Eugenia Ratti (Lisa)
  
• Giuseppe Modesti (Il conte Rodolfo)
  
• Gabriella Carturan (Teresa)
  

Orchestra and Chorus La Scala, Milan

Leonard Bernstein, conductor

March 5, 1955

 

Leonard Bernstein was the first American to conduct an opera at Milan's famed La Scala. He first did so in 1953 as a replacement for an ailing Victor DeSabata conducting Cherubini's Medea. He was reluctant to accept the invitation because he had heard that the soprano taking the title role was a bit "difficult". However, after meeting with her he realized that he would be dealing with someone who was as committed to musical excellence as was he. Needless to say that soprano was Maria Callas.

 

Their next collaboration was a strange one as it involved Bellini's La Sonnambula. Indeed, the only other significant foray that Bernstein made into Bel Canto territory was an album of Rossini Overtures with the New York Philharmonic. Interestingly, while Bernstein happily made many cuts in Medea he seemed loath to do so in La Sonnambula. As such his series of performances can be considered to be trail blazing as virtually no other performance of a Bel Canto opera dating from this period is performed virtually complete with most of the cabaletta repeats intact and so few internal cuts. Consequently, Bernstein’s performing edition is distinctive and differs from all the other more heavily cut later performances in which Callas participated. It is almost as if Bernstein was not aware of the traditions of the time. However, he most likely purposefully decided to completely ignore what was the norm and present the piece as close to how it was originally composed as possible. Bernstein even includes the small scene and aria for the secondary soprano plus the beautiful ensemble prior to the final sleepwalking scene. That ensemble does not include Callas, but it contains such a gorgeous melody that I can’t imagine why it would be cut. While at times he drives things along at a rapid pace in some of the choral sections, Bernstein shows a deep understanding of the style and gives his singers the ebb and flow needed to caress their vocal lines.

 

What also makes the performance quite distinctive are the embellishments that Bernstein composed for Callas for her opening aria and final cabaletta. Other than the traditional embellishments employed in Lucia di Lammermoor and Il Barbiere di Siviglia, the practice of embellishing other Bel Canto operas had become a lost art. That Bernstein would be involved in the revival of that aspect of operatic history is indeed quite surprising. However, working with Callas was most likely his inspiration.

 

Callas uses her “little girl” voice in this opera, and it seems to fit in naturally. Yet we are still given a womanly Amina and not the canary bird version of Bel Canto that tradition deemed acceptable in the role. What is ironic is that Bellini wrote the title role of both La Sonnambula and Norma for the same soprano, Giuditta Pasta. Yet in the early 20th Century Norma was considered to be a role for a dramatic soprano with coloratura ability while Amina was assigned to a high light lyric coloratura. Pasta was obviously an exceptional singer. Callas was as well. The only other singer in modern times to sing both successfully was Joan Sutherland and she was more of a natural Amina than a Norma. However, Callas was able to change the sound of her voice to suit the two very disparate personalities, while Sutherland was only able to create a generalized characterization of both characters. In essence Callas literally became both personas and was able to do so solely via vocal means. One simply has to listen to the opening phrase from both operas and it is obvious that with Callas the imperious sounding Norma is a completely different individual than the shy and fragile Amina.

 

Regarding the production itself, it was staged by the famed Italian film director Luchino Visconti. The original concept of composer and librettist was respected and the opera takes place in a remote Swiss village at the time of the composition of the piece. However, given that Callas was taking the title role, Visconti decided that the piece should be interpreted as a great diva portraying the gentle character of Amina and as such Visconti has Callas wearing jewels as would befit a prima donna. This was no more evident than during the final scene where he has her begin her final aria in the darkness of night as Callas sings of her despair. However, as Amina's innocence is proven, and especially for her final joyous cabaletta, Visconti not only had the lights on stage gradually become illuminated, but those in the theater itself as well including La Scala's grand chandelier. Consequently, the effect was totally overwhelming and the audience begins to applaud wildly even before the final curtain was to fall. Add in Bernstein's embellishments with their extra staccato flourishes and things become electrifyingly exciting as Callas pulls out all the stops in order to bring the opera to a rousing conclusion. Yes, there was Callas in all her splendor as the prima donna assoluta of La Scala standing before her adoring public.

 

Still, while exhilarating that final cabaletta is not the most remarkable aspect of the performance. It is the more introspective moments where Callas works her magic. One such moment is "Ah, non creda mirarti", the aria where Amina bares her soul during her second act sleepwalking scene. It is sung softly and with a pure legato line, and so perfectly that it is almost as if Callas never takes a breath such is the seamless delivery of what is one of the most heartbreaking arias in all opera. Indeed, if it were possible to sing in one's sleep this is exactly what it should sound like. Another special moment, is the brief recitative that occurs near the beginning of the second act. In this little and often overlooked scene all that made Callas exceptional is totally in evidence. The music is actually nothing more than a few basic notes. However, the pathos with which Callas imbues those simple phrases is enough to make one's heart break. One knows that Amina has hit rock bottom. For any other singer it is a throwaway moment. For Callas it is the crux of the entire piece as she truly captures the essence of Amina and her desperate situation.

 

Regarding the supporting cast, the presence of Cesare Valletti in the tenor role is a notable asset. He he was the most aristocratic of performers and as such a perfect match for Callas, and in spite of not possessing the ability to sing the multiple high C's necessary to sing the role as in the traditional printed score. (Bellini’s autograph has the tenor’s arias in even higher keys!) Incidentally, the only significant cuts taken were most likely made to accommodate Valletti. Still he was the premier Bel Canto tenor of his time and the loss of several pages of mostly repeated music is a small price to pay to be able to experience his elegant and stylish manner.

 

The sound quality of the recording is a bit lackluster and the pitch could be steadier, but it is still listenable and the ear soon adjusts to the less than state of the art sonics. The EMI version is probably the best. However, if you are on a budget the Opera D'Oro version is acceptable.

 

http://i.ytimg.com/vi/X54kViEByGc/hqdefault.jpg

 

A bejeweled Callas in her Act I costume

 

 

Callas, Valletti, Visconti, Bernstein

[+ Italiano]

Visconti looks almost a bit "jealous" of Maria's look at Lenny...

[whipped guy]

La Sonnambula addendum:

 

After the run of performances of La Sonnambula with Bernstein in 1955 Callas returned to the piece in 1957 with conductor Antonino Votto. At that time EMI made a commercial recording with the forces of La Scala concurrent with the piece being performed in Milan. The production was subsequently taken on tour by the La Scala company first to Cologne and finally the Edinburgh Festival.

 

For these performances Callas somewhat refined her interpretation and adjusted her embellishments. Unfortunately Votto, unlike Bernstein, made a significant number of cuts to the score. In addition, tenor Cesare Valetti. was replaced by the sweet if small voiced Nicola Monti.

 

While I wish that Callas had continued to perform the more complete and more interestingly embellished version of her opening cabaletta as with Bernstein her adjustments to Bernstein's embellishments for the finale of the piece were probably for the better.

 

There is no doubt that the staccato flourishes that she employed in the last act cabaletta under Bernstein are quite exciting and are electrifying in an almost Sutherland-like manner. However, she opted to smooth things out a bit by replacing some of the staccati with legati and those staccati that remained were approached in a much more sweet-tempered manner that was awe inspiring in the exact opposite manner in which she approached things with Bernstein. In compensation she decided to extend her cadenza just prior to the second verse up to the high E-flat in alt. That she makes a diminuendo on the note shows that she did not choose the note solely as an extroverted exhibition. Consequently the overall result is that a bit of under-statement is substituted for the flash. Still, there is something overtly special about that final cabaletta with Bernstein that is missing from the 1957 performances. Yet, ultimately she opted for elegance vs. mere fireworks and given the gentle nature of the title character as interpreted by Callas they seem more appropriate from a dramatic point of view. In the final analysis we are richer for having both.

 

The commercial recording is representative of her performances under Votto and is probably the best alternative for the general collector. However, the recording of the Cologne performance is considered special among Callas aficionados and as such is a worthy acquisition as well. The perfectly articulated trills in the "Son geloso" duet and her delicate articulation of the embellishments in the final cabaletta are alone worth the price of admission! Recordings of two of the Edinburgh performances are available, but Callas is in somewhat tired voice. This is true of the performance of August 21 where Callas makes a mishmash of the end of her opening aria. However, she recovers and while the voice sounds less than fresh for the remainder of the performance, she compensates with an ardent quality that ultimately wins the listener over. As usual, Callas at less than her best always has something special to offer.

 

For those interested in the Cologne performance the versions on Myto and EMI are probably the best readily available. The above referenced Edinburgh performance is available in fine sound on Testament from a tape in the private collection of Walter Legge who produced the majority of the recordings that Callas made for EMI. A recording of the August 26 Edinburgh performance is available from divinarecords.com. It is interesting to note that Votto's conducting is more passionate in all of these live performances compared to the studio version.

 

The finale of the opera from Cologne:

 

https://www.youtube.com/watch?v=ELN9qSgj1Pc

[whipped guy]

One more excerpt from the Cologne performance of La Sonnambula. Take note of the perfectly executed trills beginning at 3:22. Priceless!

 

[MrMiniver]

Great reviews, great analysis, great everything. Thanks for taking the time to share!

[whipped guy]

Bellini: Norma La Scala 12/7/1955 sonic update:

(Note: Since this is the ne plus ultra of Callas performances I have gone into extra detail regarding the two best versions currently available.)

 

It was mentioned previously that the Divina Records mastering of this performance by Pablo Berruti was the best available. Subsequent to the Divina version, a mastering by Pristine Classical was released. This performance of Norma is most often considered to be the most outstanding of the many Callas performances of her signature role that have been preserved in sound. Indeed when Andrew Rose of Pristine Classics opted to choose one and only one Callas Norma to remaster it was the legendary 1955 La Scala performance that he selected. I recently was able to audition the Pristine version and in some aspects it betters the Divina release.

 

The Divina is mastered to sound like an honest representation of a monaural FM radio broadcast of the 1950's. The sound is clear with an almost imperceptible hint of background hiss that indicates the tape's radio origins. In contrast, the Pristine version has a much more silent background that gives the illusion of a professional analog recording. When originally recorded there was a short burst of static toward the beginning of the second act. The Divina somewhat attenuates it. The Pristine almost eliminates it.

 

While the sound of the Divina is a bit softer, that of the Pristine is more forward. This affects the voices to the extent that there is an intensity on Pristine that is lacking on Divina. Needless to say there is more of a sharply defined dramatic character to how Callas sounds. Still, the more rounded vocal coloration of the Divina also has a certain allure. This alone might decide which version one might prefer. Of course when recording the type of microphone, microphone placement, equalization, and a variety of other factors can alter the sound. Any recording is an illusion of reality. Modern day sound technicians strive to capture as much reality as possible. Given the original radio source and the fact that it is not known what type of equipment was actually used to record the broadcast, any attempts at correcting the sound to replicate things as they actually existed at the time are completely futile.

 

Regarding matters of pitch both take a different stance. The Pristine version is pitched below A 440. Andrew Rose bases the choice on a variety of complex factors. It appears that the Divina is pitched a bit higher as it was thought that Italian orchestras of the era tuned slightly higher. In any event, most listeners would not hear any significant difference. However, it may account for why Callas sounds a bit fuller in the Pristine version and sweeter in the Divina. Still, it illustrates the attention to detail that was applied to both versions even if different solutions were eventually chosen.

 

Ultimately the edge probably goes to the Pristine version due to its quiet background. I would even go so far as to say that even when originally broadcast the performance probably never sounded as good. In that respect the mastering is somewhat paradoxical and as such might bother a purest knowing that it is not a representation of what was originally broadcast, but rather an idealized version of reality. Therefore if any fault can be ascribed, it is that the result sounds overly refined with the muted background being almost surreal at times. In other words it sounds filtered and excessively "pristine" compared to the Divina version even going so far as to muffle some audience murmurs as minor as they might be. However, at one point this works against the Pristine version as the gasps of audience admiration as Callas perfectly hits a high C and then makes a diminuendo is virtually masked in Andrew Rose's version. As such it would be totally understandable if someone were to prefer the Divina version.

 

To further complicate matters the Pristine mastering is available in both mono and ambient stereo. It is the ambient stereo version with which I am familiar. In essence it sounds like a mono recording that is being played in an acoustic space so as to give a certain amount of breath and depth to the recording. It is emphatically not processed artificial stereo as the sound is definitely emanating from a single source. What actually enhances the listening experience is that the recording seems more spacious as opposed to being one dimensional. Again a purest might disagree.

 

While both the Divina and Pristine versions give a reliable representation of the performance in their own way, it must be noted that approximately the first 15 minutes of the original broadcast were not recorded. This does not involve Callas and effects the overture, the opening scene for bass, and a portion of the tenor's initial recitative. Different choices were made to fill the void and both work equally well. In both cases the editing and equalization is so seamless that one would hardly realize that such was the case.

 

While the Pristine might have the sonic edge and it does come with a digital full score of the standard Ricordi version that does not always correspond to exactly what is being performed, the Divina has a digital booklet of copious photos, a scan of the original program, and even a brief video of the final moments of the opera from the dress rehearsal. The tracking on the Pristine follows the divisions in the score. Those on Divina are much more plentiful. As such the Callas completist might need both.

 

In the final analysis the Divina and Pristine versions both reaffirm that this is indeed the Norma where the Callas voice could do no wrong and that she was completely and unequivocally on top of her game.

 

Incidentally the CD version of the Divina is sold out. However, it is available as a download. The Pristine version is available as a CD or download.

 

You can't go wrong with either one. Needless to say I am happy to own both.

 

www.divinarecords.com

 

www.pristineclassical.com

[+ WilliamM]

Thanks, we are so lucky to have your comments. I am seeing Manon Lescaust this season at the Met. For some reason I have neglected Puccini in favor of Verdi. I plan to change that in 2016. I just went back and read your Callas Puccini Arias review.

 

I have been listening to Caballe's and Kaufmann's Puccini albums, I need to buy Callas' today.

[+ Italiano]

Always great to read you on these reviews!

[whipped guy]

Maria Callas, Carlo Maria Giulini, and Verdi's La Traviata (Part One of Three):

 

Maria Callas and conductor Carlo Maria Giulini

 

Carlo Maria Giulini was one of the other great conductors with whom Callas had a significant relationship. In fact, one of the most interesting statements regarding the sound of the Callas voice was made by Giulini:

 

“It is very difficult to speak of the voice of Callas. Her voice was a very special instrument. Something happens sometimes with string instruments—violin, viola, cello—where the first moment you listen to the sound of this instrument, the first feeling is a bit strange sometimes. But after just a few minutes, when you get used to, when you become friends with this kind of sound, then the sound becomes a magical quality. This was Callas.”

Callas and Giulini first collaborated in 1954 at La Scala in a rare staging of Gluck's Alceste, a relatively little known performance that underscores the diversity of roles that Callas undertook during the course of her career. Callas gave a searing interpretation of Euripides' Greek princess that was backed by the intensity of Giulini's conducting. Subsequently Callas and Giulini were to again collaborate on what would be one of the greatest triumphs of the Callas career at La Scala, the 1955 production of Verdi's La Traviata.

Intetestingly, unlike her work with both Von Karajan and Bernstein, not all of Callas' outings with Giulini proved to be felicitous. The unhappy event was the 1956 staging of Rossini's Il Barbiere di Siviglia, a run of performances that were probably the only really unfortunate event among the many productions at the famed Milanese theater with Callas that occurred in the 1950's. This was the first and only time that Callas appeared on stage in the piece and not being a natural comedienne she overly exaggerated the comedy to gross effect. That she was not in the best voice, at least for the one performance preserved in sound, certainly did not help matters. That the only surviving recording of the event is quite problematic only adds to the misfortune.

 

To complicate the situation she unwisely chose to approach the part in a schizophrenic manner such that the coloratura soprano of tradition was at odds with the mezzo-soprano of Rossini's original. As such there appeared to be no harmonious balance or proportion to her interpretation. Although the respected baritone and frequent colleague Tito Gobbi was her Figaro they seemed to have no affinity for each other. Even Giulini, who was usually a paragon of precision in conducting Rossini's complicated ensembles (as evidenced by his recording of the same composer's L'Italiana in Algeri) could not quite hold things together. Interestingly, after the run of Barbiere performances Giulini reportedly decided to forgo opera entirely. Fortunately that proved not to be the case, yet he certainly did subsequently focus most of his career on the orchestral repertory and only participated in opera under special circumstances.

 

Happily, when Callas recorded Barbiere the following year (with a different conductor yet similar cast) all these issues were resolved and were replaced by a winning interpretation that would rise Phoenix-like out of the ashes of the ill-fated Scala production. Callas still utilized a number of the soprano embellishments but they were integrated into the whole with the result that the composer's original design was better respected. She also toned down the comedy so that it was more urbane and thus in keeping with Rossini's concept. Furthermore, one hears a sly comedic quality and definite smile in her voice which makes her interactions with Gobbi and the others in the cast delightful indeed.

 

In any event, after Callas first appeared in a role whether she got things right or wrong she had a special gift that ensured that she would further develop and refine her interpretations. With Barbiere it was the rare situation where she needed to rethink the role. In the case of operas such as Lucia, Norma, and especially La Traviata it was a matter of making minute adjustments and refinements. Either way the final result was invariably a revelation as Callas always gave attention to the smallest details. Details that lesser artists often overlooked.

 

Such was certainly the case with the 1955 La Traviata referenced above. The production by Luchino Visconti was very cinematic and as such Callas had a field day with her portrayal of Violetta and especially regarding the moribund Violetta of the final act. She had performed the opera and even commercially recorded it previously. However, it was only with this production that all the elements fell perfectly into place making Violetta one of her greatest achievements along with her Norma and Lucia. Callas working in concert with Giulini and Visconti delivered a revelatory performance. Indeed the enthusiasm of the La Scala audience knew no bounds as they sensed that they were experiencing something quite extraordinary and special. Even though Verdi's opera was hugely popular it was like experiencing the piece for the first time, such was the total identification that Callas had with the character. I am quite confident that more than one patron at La Scala expressed the following sentiment: Le altre cantano La Traviata, la Callas è La Traviata. (Others sing La Traviata, Callas is La Traviata.)

 

Callas certainly has been credited with breathing new life into the Bel Canto operas by revealing the depth of emotion that had been ignored by singers who treated them merely as vocal showpieces. However, what might be forgotten is how she elevated operas such as Alceste and Traviata, which were operas that had been treated with reasonable respect for their dramatic content, to new heights of theatricality. A new age was born. There would be no turning back. To paraphrase Carlo Maria Giulini, "This also was Callas".

 

Gluck: Alceste "Divinitá infernal" April 4, 1954 (Italian version of "Divinités du Styx")

 

https://www.youtube.com/watch?v=ep4puQIs7vo

 

(To be continued: La Traviata at La Scala 1955-1956)

[+ Italiano]

As usual, great review!

There is no (apparently..) live survival of her Fiorilla (apart from the 1950 aria), but the unanimous review were enthusiastic, talking also about her comedian ability. I always wondered what made that live Scala Rosina so unfocused?...Perhaps the fact that she didn't manage a good balance between mezzo and coloratura soprano? Perhaps a bad stage director?...

 

By the way, a little correction. Luchino Visconti's first collaboration with Callas was La Vestale, 8 months after Alceste. Margarita Wallmann was Alceste's stage director, whom Callas had already collaborated with in Medea few months earlier, and who will also direct Un ballo in maschera in 1957.

[whipped guy]

As usual, great review!

There is no (apparently..) live survival of her Fiorilla (apart from the 1950 aria), but the unanimous review were enthusiastic, talking also about her comedian ability. I always wondered what made that live Scala Rosina so unfocused?...Perhaps the fact that she didn't manage a good balance between mezzo and coloratura soprano? Perhaps a bad stage director?...

 

By the way, a little correction. Luchino Visconti's first collaboration with Callas was La Vestale, 8 months after Alceste. Margarita Wallmann was Alceste's stage director, whom Callas had already collaborated with in Medea few months earlier, and who will also direct Un ballo in maschera in 1957.

Xaf! You are indeed correct about La Vestale! That's what I get from doing things from "memory"! (I do have a big birthday in a few days! LOL!) How could I ever forget this classic Callas photo of Callas in Visconti's production of La Vestale! I will correct my post! Thanks!

 

http://media.wsimag.com/attachments/acb5bc173bfba28384d60ab153dc8b3bba7b0852/store/fill/408/612/f302a4eaa261b04af332140b8b802d2a3c0e92478a11ad568d91be879ac2/Maria-Callas-nella-Vestale-di-Spontini-allestimento-di-Visconti-Zuffi.jpg

[whipped guy]

I always wondered what made that live Scala Rosina so unfocused?...Perhaps the fact that she didn't manage a good balance between mezzo and coloratura soprano? Perhaps a bad stage director?...

Regarding the La Scala 1956 Barbiere, from what I understand the production was old (and was not much liked when it was new) and was basically thrown together with each participant mainly left to their own devices. Giulini also did not seem to have things under control either. As awkward as Callas seemed to be, basso Nicola Rossi-Lemeni as Basilio was a total abomination in his aria. So horrendous that I can't believe that Giulini allowed it! Yet, Rossi-Lemeni received a tumultuous and seemingly favorable ovation from the audience. I would think that there had to be some sort of visual shenanigans that evoked the response because vocally it is perhaps the worst rendition of the aria "La calunnia" that I have ever heard! (Unless the audience was enthused with the fact that at one point he was able to whistle and sing at the same time!). Perhaps Callas was attempting to outdo him in the "visual over the top and over acting" comedy department. If so that probably explains her lack of success!

 

Photos of the production look silly as well!

 

 

Incidentally at the conclusion the Music Lesson Scene after the words, "Bella voce! Bravissima!" (A beautiful voice! Very well done!) not every one in the audience agrees with that assessment as from their reaction a mini vocal brawl between the pro and anti Callas factions seems to breakout in the theatre. (Ya just gotta love that La Scala audience from those days!) Unfortunately I think that I would have been in the dissenting group that particular evening even though I would not have expressed it vocally.

 

In fairness, much of the surviving recording plays sharp and as such distorts the sound of the voices, but still that does not account for all of what went quite badly on that unfortunate night!

[whipped guy]

Maria Callas, Carlo Maria Giulini, and Verdi's La Traviata (Part Two of Three):

La Traviata at La Scala 1955 - 1956 in the production by Luchino Visconti

 

Verdi: La Traviata (Two Versions)

 

Maria Callas (sop) Violetta

Giuseppe di Stefano (ten) Alfredo Germont

Ettore Bastianini (bar) Giorgio Germont

Carlo Maria Giulini, conductor

Teatro alla Scala May 28, 1955

 

Maria Callas (sop) Violetta

Gianni Raimondi (ten) Alfredo Germont

Ettore Bastianini (bar) Giorgio Germont

Carlo Maria Giulini, conductor

Teatro alla Scala January 19, 1956

 

"I did it to serve Callas, for one must serve a Callas." Luchino Visconti on his collaborations at La Scala with Maria Callas.

 

Giulini himself remarked, "For three weeks, Visconti, Callas, and myself worked only on the Violetta character. Only after that we started rehearsals. Visconti had the great ability to suggest ideas that an intelligent actress like Callas assimilated and made her own. In these three weeks the character of Violetta was created:La Callas became Violetta."

 

Of course Callas was able to interpret Violetta's character in purely vocal terms as well. It is often said that it takes three voices to sing the title role of La Traviata. Many times singers who are able to deal with the florid first act and especially the cabaletta "Sempre libera" don't have the vocal weight to deal effectively with the second act. Also those who have the weight to deal with the second act don't have the vocal agility for the first act. Others can't make their voice sound fragile enough to insure that the mortally ill Violetta of the final act sounds convincing. With the chameleon voiced Callas and her well schooled Bel Canto training, none of these issues proved to be obstacles. Indeed, only a Callas would be able to use her kaleidoscope of vocal colors to convincingly portray the various dramatic situations to which Violetta is subjected. As such she has a lilt in her voice for the party scenes of the first act, the power and heft for a dramatic outburst such as "Amami Alfredo" in the second act, and the delicacy for "Parigi oh cara" in the third act.

 

As was his wont throughout his career Giulini favors slow tempi and this has been the main criticism of his conducting. Indeed the first act duet "Un dì felice" is probably the slowest on record, and likewise for "Dite alla giovane" in the following act. Still most of the slow tempos that involve Callas do work quite well and somewhat influenced her future work with other conductors. A case in point is the ensemble that concludes the second act beginning "Alfredo, Alfredo". Callas seems to thrive with the tempo and imbues the passage with a sadness that perfectly mirrors Violetta's unfortunate predicament. As was often the case in similar dramatic situations one can hear the tears in her voice. Earlier in the act Giulini slows down the pace during the gambling scene and allows some very expressive commentary from Callas, something that is currently frowned upon by many conductors.

 

The same is true of the aria "Addio del passato" in the final act where again Giulini favors a somewhat slower tempo, but again Callas knowing that the tempo was a representation of Violetta's physical condition works in concert with Giulini's wishes and again to fitting effect. Still, if the aria were performed with the repeat intact it might have proved to be too much of a good thing. However, in the context in which it is presented the tempo works. Plus it must be noted that in this aria Callas perfectly captures the frailty of Violetta's condition. She always makes the final note of the aria sound as fragile as possible so as to emphasize Violetta's vulnerability. The voice seems to want to crack and shatter such is the delicacy with which she approaches the note. It never quite does, but it certainly seems to be on the verge of disaster. That this "defect" was introduced purposefully by Callas at this point to underscore the drama is indisputable in my mind. As such it is analogous to the final note of the second act of the Berlin Lucia that also serves to presage the character's fate.

 

The cast is rounded out with her frequent partner tenor Giuseppe Di Stefano as Alfredo. Interestingly Di Stefano sang only the one performance that was broadcast and then hastily withdrew from the production. It has been said that he was not only displeased with Visconti, but that he was piqued by the fact that Callas was getting all the attention. Still, Callas and he were to collaborate many times up until the soprano's final concerts. Baritone Ettore Bastianini was Germont. Both give respectable performances, if without the special dramatic insights that were the Callas hallmark, with the always passionate and rich voiced DiStefano being a bit casual and almost blustery at times and the golden voiced Bastianini somewhat wooden. Giulini holds the performance together in spite of his slower than average tempos by breathing with his singers. All the traditional cuts prevalent at the time are taken.

 

While in the original season only a few performances were scheduled. Such was their success that a multiplicity were subsequently planned for the following year. It is interesting to note that Callas and Giulini repeated their performances of La Traviata the following year before, during, and after the time of the star-crossed Barbiere production. The tenor for those performances was the reliable and sweet voiced Gianni Raimondi. Bastianini was again the scheduled baritone.

 

Regarding the sound quality of the 1955 La Scala Traviata, none of the versions available are perfect. EMI chose that performance for release and the quality of the sound is no better, and according to some experts actually worse, than other versions currently available. Interestingly, when La Scala itself decided to release a Callas Traviata on CD it chose the 1956 version. Perhaps it did so because EMI had chosen the earlier performance. Likewise, the sound is not really an improvement over versions available on private labels.

 

In the 1955 version Callas has a bit more power for the dramatic outbursts such as "Amami Alfredo" and the high E-flat that is the interpolated penultimate note of "Sempre libera" is attacked and sustained with greater assurance.

 

"Sempre libera" with Di Stefano, the cabaletta that concludes Act One from 1955 with its superb E-flat in alt at the conclusion. Visuals from the production are included.

 

 

An excerpt from Act Two again from 1955 including her passionate "Amami Alfredo" where Callas has plenty of power in reserve with Giulini underpining her orchestrally with crescendos of forceful intensity The audience spontaneously and vociferously responds with applause.

 

Some consider the 1955 performance to be the best performance of the seven Callas recordings of Traviata preserved in sound. 1955 was a special year for Callas and as such reflects the best balance between vocal assurance and dramatic insights. However, different factors are important to different listeners. Consequently, it is not universally accepted to be the best overall performance of the opera in which Callas participated when taken as a whole when one considers other factors suchassound quality, supporting cast, conducting, and even the contributions of Callas herself.

 

(To be continued: Pre and post Giulini performances of La Traviata)

[JohnGerman]

I have to admit that I have never liked her voice - choked chicken. She was a good actress though, which is a rarity among opera singers.

[TruHart1]

I have to admit that I have never liked her voice - choked chicken. She was a good actress though, which is a rarity among opera singers.

Part of the reason she was such a great operatic actress was her ability to convey her emotions through whatever language she was singing, using nuance and inflection in order to make the meaning obvious even if a listener was not familiar with the language. This quote by WG from the above post points out two instances of this...

...The same is true of the aria "Addio del passato" in the final act... [Callas] always makes the final note of the aria sound as fragile as possible so as to emphasize Violetta's vulnerability. The voice seems to want to crack and shatter such is the delicacy with which she approaches the note. It never quite does, but it certainly seems to be on the verge of disaster. That this "defect" was introduced purposefully by Callas at this point to underscore the drama is indisputable in my mind. As such it is analogous to the final note of the second act of the Berlin Lucia that also serves to presage the character's fate...

Of course. she knew instinctively how to move on stage and often made moves that not only became legendary, but have been adopted by other singers for their own interpretations of those roles!

 

TruHart1

[JohnGerman]

Part of the reason she was such a great operatic actress was her ability to convey her emotions through whatever language she was singing, using nuance and inflection in order to make the meaning obvious even if a listener was not familiar with the language. This quote by WG from the above post points out two instances of this...

 

Of course. she knew instinctively how to move on stage and often made moves that not only became legendary, but have been adopted by other singers for their own interpretations of those roles!

 

TruHart1

 

I don't disagree with you, and I agree she is considered one of the greatest all time. BUT, I just can't get over her voice. It lacked warmth and doesn't give my ears a soothing pleasure.

[whipped guy]

I don't disagree with you, and I agree she is one of the greatest all time. BUT, I just can't get over her voice. It lacked warmed and doesn't give my ears a soothing pleasure.

The first time that I heard the Callas voice was in her 1954 recording of Rossini's Il Turco in Italia. This is what I wrote about that recording earlier in this thread where my full comments can be viewed:

 

To say that I was quite troubled by the sound of the Callas voice is putting it mildly. However, over time I learned to appreciate the many hues inherent in that amazing voice, not to mention her dramatic talents.

 

Even Carlo Maria Giulini had a similar reaction as also posted in this thread. In fact I distinctly recall that day and how perplexed I was by the sound of her voice. I actually listened to the recording twice in quick succession because I could not believe that a soprano with such an unattractive voice would have been chosen to participate in a recording under the aegis of the famed Teatro alla Scala. Needless to say at the time this young teen had no clue who Maria Meneghini Callas was! It was quite a few years before I totally got Callas. As such I know that it's an acquired taste.

[+ Italiano]

I was totally taken by her voice when I was 10, 11 with her Butterfly recording....And shortly after I went to buy her first studio Tosca to replace the Tebaldi Tosca that a friend who owned in Milan (where I grew up) a little music store had suggested and sold to me, and which sounded like a not so interesting opera to the ears of this young boy. And it was like I was listening to Tosca for the first time!

I never got her "unpleasant" voice until I bought the second studio Norma, where I started to hear all those flaws much more. I guess I was just taken by how her voice got my heart and soul.

 

Chocked chicken ....well everybody is entitled to his/her opinion.

Nevertheless I am convinced that first of all, she had a BEAUTIFUL voice in her palm days, with some unorthodox sounds. Listen to her first Lucia, her live Macbeth, her live Scala Trovatore, her first arias recording by Cetra....

After loosing weight her voice notoriously started to loose power and core, becoming more and more shrill and unstable, and I can understand some people react negatively to it.

She still remains the amazing Artist who keeps selling and who is a reference for any soprano, with a unique musicality and understanding of the poetry which comes from ALL the music she sang, even when the voice really started to be wild and responding poorly to her command.

[whipped guy]

Nevertheless I am convinced that first of all, she had a BEAUTIFUL voice in her palm days, with some unorthodox sounds. Listen to her first Lucia, her live Macbeth, her live Scala Trovatore, her first arias recording by Cetra....

After loosing weight her voice notoriously started to loose power and core, becoming more and more shrill and unstable, and I can understand some people react negatively to it.

She still remains the amazing Artist who keeps selling and who is a reference for any soprano, with a unique musicality and understanding of the poetry which comes from ALL the music she sang, even when the voice really started to be wild and responding poorly to her command.

 

We all hear differently, and I can respect those who don't hear the beauty in her tone, but she did have a beautiful voice! Any singer who could sing the aria "Ah, non credea mirarti" from Bellini's La Sonnsmbula as Callas did has a beautiful voice. No singer has ever sung the piece with such a perfect legato, even tone, pared her voce down to a single strand of delicate sound, and made your heart break in the process. That is a beautiful voice! She was even able to do so from the first time that she sang the piece in public in 1955 to as late as 1965 in a program recorded for French TV. Simply sublime!

 

Commercial recording 1957:

 

French TV 1965:

[whipped guy]

Maria Callas, Carlo Maria Giulini, and Verdi's La Traviata (Part Three of Three):

Pre and post Giulini performances of La Traviata

Verdi: La Traviata (Three Versions)

 

Maria Callas (sop) Violetta

Alfredo Kraus (ten) Alfredo

Mario Sereni (bar) Giorgio

Franco Ghione, conductor

Lisbon São Carlos March 27, 1958

 

 

Maria Callas (sop) Violetta

Cesare Valetti (ten) Alfredo

Mario Zanasi (bar) Giorgio

Nicola Rescigno, conductor

London Royal Opera House June 20, 1958

 

Maria Callas (sop) Violetta

Francesco Albanese (ten) Alfredo

Ugo Saverese (bar) Giorgio

Gabrielle Santini, conductor

Cetra Recording September 1953

 

In addition to the two La Scala recordings with Giulini there are performances of Traviata from Lisbon and London in 1958 that were preserved in better sound. The conducting is also more traditional and as such things move along at a faster pace even though at times Callas still prefers some of the Guilini inspired slower tempi. Those who are troubled by Giulini's overall slow tempos and the imperfect sound of the Scala recordings favor these versions and especially the London version not only for the faster tempi, but for the supporting cast as well.

 

As was often the case with later Callas performances she also introduced a number of subtle shadings that enhance and shape the vocal line and especially in more introspective moments. At certain junctures Callas uses less voice (though it has been said that she had less voice to use at this stage in her career) and consequently the frailty of Violetta's condition is better realized. While many of these shadings are used to emphasize Violetta's vulnerability, they are also evident even in such show stoppers as "Sempre libera". As such they give a special flow and contour to her vocalism. Again some attribute this to the fact that having a bit less vocal power with which to work Callas was forced to hold back at certain points to help preserve her voice. If so it is another example of how she was often able to turn potential deficiencies into assets.

 

The so-called "Lisbon Traviata" was officially released by EMI in 1980 on LP and was based on a somewhat muffled copy of the original master tape as professionally recorded by Portuguese Radio that was in the possession of tenor Alfredo Kraus who was the Alfredo. In addition, the performance wasmade even more famous by the Terrence McNally play of the same name. The conducting of Franco Ghione is not exceptional, but it does pair Callas with the refined tenor of Kraus who was at the very beginning of what was to be a long and distinguished career. The reliable Mario Sereni was Giorgio. Callas also gives one of her most heartbreaking renditions of the final act's "Addio del passato". The performance was released on CD by EMI in 1987. It was subsequently remastered in 1997, but many experts agree that the 1987 version offers better sound. By default that makes the the mastering on the Pearl label as transferred by Mike Richter as having the best sound of the readily available versions. Richter was given a copy of what was supposed to be an exact copy made to preserve the original master tape. However, something went awry in the replicating process. Richter corrected the errors to the best of his ability, but the results while quite good are not perfect.

 

The London version is led by Nicola Rescigno, a conductor with whom Callas worked quite frequently and with whom she shared a special affinity. Some of his tempos are a bit swifter. However, Callas had a knack for easily adapting to different situations as long as the result was true to the drama as envisioned by the composer. What also makes the recording special is the supporting cast. Baritone Mario Zanasi and Callas are on the same wavelength dramatically and even better is Cesare Valletti, he being the most patrician of tenors. In this performance Callas again portrays the infirm Violetta to perfection. In fact in the great ensemble beginning "Alfredo, Alfredo" one can not only hear the tears in her voice, but one knows that those tears are coming from a person who is not long for this earth. Such were the talents of this remarkable artist! As noted above, for those interested in the best balance between sound quality, supporting cast, and conducting the London version is often considered to be the best compromise even though there are some issues regarding the sound due to slight variations in pitch. Many consider the "ambient mastering" version on ICA Classics to be among the best available.

 

It should be noted that two performances from Mexico City were recorded in 1951 and 1952. Unfortunately the sound of those recordings and at times the production values to which Callas was subjected do not reflect the highest international standards. As with most of her Mexico City outings Callas is somewhat of an unrestrained vocal powerhouse yet a shining beacon while at times some of her colleagues seem lost at sea. Fortunately for her Valletti and Di Stefano were her tenor colleagues respectively. In 1952, as was her wont in the early days, she interpolates a stunning high note at the end of the third act something that she never did in any of her other recorded performances.

 

More noteworthy is the Cetra commercial recording from 1953. The Cetra recording is available in excellent sound on both the Warner and Pristine labels. It is probably the most perfect of the Callas Traviata performances from a purely vocal perspective. However, while the somewhat provincial supporting cast leaves something to be desired, there is still much to admire and enjoy even if the Callas portrayal is only a work in progress. Although Callas had not yet completely formed her interpretation she would have gone down in history as one of the greatest interpreters of the role simply based on this early recording. The critic Desmond Shawe-Taylor noted in a review of that embryonic 1953 recording that Callas "sounds as if she had written the libretto herself"! I wonder what his comments would have been regarding Callas in those later live performances where she exhibited an even more profound identification with the character of Violetta.

 

It is interesting to note that when Callas recorded Traviata for Cetra her contract stated that she could not rerecord the piece for a five year period. That explains the lack of a second commercial recording after she had completely established her artistic view of the role. Interestingly, EMI did record it in 1955 with the forces of La Scala. The dependable Antoinetta Stella was Violetta, Giuseppe DiStefano Alfredo, and Tito Gobbi Giorgio. Her mentor Tullio Serafin conducted. That Serafin agreed to head the project caused the tempestuous Callas to temporarily break with him.

 

In any event, Callas sang her last Traviata at the Dallas Opera in November of 1958 shortly after that five year period had expired. That a recording was not attempted at that time was certainly a lost opportunity as her next recording projects all involved revisiting previously recorded roles for the stereo medium. Accordingly, Callas rerecorded versions of Lucia, La Gioconda, and Norma in March 1959, September 1959, and September 1960 respectively. However, this was also the period where the voice was beginning to unravel and by the time that she got to Norma the vocal problems were quite in evidence even though her interpretive powers were still totally intact. In any event, I recall vocal coach Alberta Masiello stating that Callas was still able to work her magic with much of the role in private sessions long after she had last performed the part. Indeed her frequent colleague Tito Gobbi had remarked that Callas had really lost her confidence when singing in public as opposed to loosing her voice. Perhaps that was partially true!

 

"Sempre Libera" Cetra Recording 1953

 

 

"Sempre libera" London 1958:

 

 

"Addio del passato" Lisbon 1958:

 

 

No matter which Traviata performance one ultimately prefers, and I can definitely see how someone might prefer the Cetra recording for purely vocal reasons, in the final analysis it was only with those initial 1955 performances when working with the musical and theatrical talents of Giulini and Visconti that the Callas Traviata was finally able to blossom to its fullest effect as drama. As such the operatic world was subsequently made much richer. In any event, all these performances in one way or another prove that Callas was the gold standard by which all others are to be be measured.

 

As noted previously, and this statement can be extended to include just about anything that she ever sang: Le altre cantano la Traviata, la Callas è la Traviata. (Others sing Traviata, Callas is Traviata.) Many consider that to be still true to this very day.

[+ Italiano]

Maria Callas, Carlo Maria Giulini, and Verdi's La Traviata (Part Three of Three):

Pre and post Giulini performances of La Traviata

Verdi: La Traviata (Three Versions)

 

Maria Callas (sop) Violetta

Alfredo Kraus (ten) Alfredo

Mario Sereni (bar) Giorgio

Franco Ghione, conductor

Lisbon São Carlos March 27, 1958

 

 

Maria Callas (sop) Violetta

Cesare Valetti (ten) Alfredo

Mario Zanasi (bar) Giorgio

Nicola Rescigno, conductor

London Royal Opera House June 20, 1958

 

Maria Callas (sop) Violetta

Francesco Albanese (ten) Alfredo

Ugo Saverese (bar) Giorgio

Gabrielle Santini, conductor

Cetra Recording September 1953

 

In addition to the two La Scala recordings with Giulini there are performances of Traviata from Lisbon and London in 1958 that were preserved in better sound. The conducting is also more traditional and as such things move along at a faster pace even though at times Callas still prefers some of the Guilini inspired slower tempi. Those who are troubled by Giulini's overall slow tempos and the imperfect sound of the Scala recordings favor these versions and especially the London version not only for the faster tempi, but for the supporting cast as well.

 

As was often the case with later Callas performances she also introduced a number of subtle shadings that enhance and shape the vocal line and especially in more introspective moments. At certain junctures Callas uses less voice (though it has been said that she had less voice to use at this stage in her career) and consequently the frailty of Violetta's condition is better realized. While many of these shadings are used to emphasize Violetta's vulnerability, they are also evident even in such show stoppers as "Sempre libera". As such they give a special flow and contour to her vocalism. Again some attribute this to the fact that having a bit less vocal power with which to work Callas was forced to hold back at certain points to help preserve her voice. If so it is another example of how she was often able to turn potential deficiencies into assets.

 

The so-called "Lisbon Traviata" was officially released by EMI in 1980 on LP and was based on a somewhat muffled copy of the original master tape as professionally recorded by Portuguese Radio that was in the possession of tenor Alfredo Kraus who was the Alfredo. In addition, the performance wasmade even more famous by the Terrence McNally play of the same name. The conducting of Franco Ghione is not exceptional, but it does pair Callas with the refined tenor of Kraus who was at the very beginning of what was to be a long and distinguished career. The reliable Mario Sereni was Giorgio. Callas also gives one of her most heartbreaking renditions of the final act's "Addio del passato". The performance was released on CD by EMI in 1987. It was subsequently remastered in 1997, but many experts agree that the 1987 version offers better sound. By default that makes the the mastering on the Pearl label as transferred by Mike Richter as having the best sound of the readily available versions. Richter was given a copy of what was supposed to be an exact copy made to preserve the original master tape. However, something went awry in the replicating process. Richter corrected the errors to the best of his ability, but the results while quite good are not perfect.

 

The London version is led by Nicola Rescigno, a conductor with whom Callas worked quite frequently and with whom she shared a special affinity. Some of his tempos are a bit swifter. However, Callas had a knack for easily adapting to different situations as long as the result was true to the drama as envisioned by the composer. What also makes the recording special is the supporting cast. Baritone Mario Zanasi and Callas are on the same wavelength dramatically and even better is Cesare Valletti, he being the most patrician of tenors. In this performance Callas again portrays the infirm Violetta to perfection. In fact in the great ensemble beginning "Alfredo, Alfredo" one can not only hear the tears in her voice, but one knows that those tears are coming from a person who is not long for this earth. Such were the talents of this remarkable artist! As noted above, for those interested in the best balance between sound quality, supporting cast, and conducting the London version is often considered to be the best compromise even though there are some issues regarding the sound due to slight variations in pitch. Many consider the "ambient mastering" version on ICA Classics to be among the best available.

 

It should be noted that two performances from Mexico City were recorded in 1951 and 1952. Unfortunately the sound of those recordings and at times the production values to which Callas was subjected do not reflect the highest international standards. As with most of her Mexico City outings Callas is somewhat of an unrestrained vocal powerhouse yet a shining beacon while at times some of her colleagues seem lost at sea. Fortunately for her Valletti and Di Stefano were her tenor colleagues respectively. In 1952, as was her wont in the early days, she interpolates a stunning high note at the end of the third act something that she never did in any of her other recorded performances.

 

More noteworthy is the Cetra commercial recording from 1953. The Cetra recording is available in excellent sound on both the Warner and Pristine labels. It is probably the most perfect of the Callas Traviata performances from a purely vocal perspective. However, while the somewhat provincial supporting cast leaves something to be desired, there is still much to admire and enjoy even if the Callas portrayal is only a work in progress. Although Callas had not yet completely formed her interpretation she would have gone down in history as one of the greatest interpreters of the role simply based on this early recording. The critic Desmond Shawe-Taylor noted in a review of that embryonic 1953 recording that Callas "sounds as if she had written the libretto herself"! I wonder what his comments would have been regarding Callas in those later live performances where she exhibited an even more profound identification with the character of Violetta.

 

It is interesting to note that when Callas recorded Traviata for Cetra her contract stated that she could not rerecord the piece for a five year period. That explains the lack of a second commercial recording after she had completely established her artistic view of the role. Interestingly, EMI did record it in 1955 with the forces of La Scala. The dependable Antoinetta Stella was Violetta, Giuseppe DiStefano Alfredo, and Tito Gobbi Giorgio. Her mentor Tullio Serafin conducted. That Serafin agreed to head the project caused the tempestuous Callas to temporarily break with him.

 

In any event, Callas sang her last Traviata at the Dallas Opera in November of 1958 shortly after that five year period had expired. That a recording was not attempted at that time was certainly a lost opportunity as her next recording projects all involved revisiting previously recorded roles for the stereo medium. Accordingly, Callas rerecorded versions of Lucia, La Gioconda, and Norma in March 1959, September 1959, and September 1960 respectively. However, this was also the period where the voice was beginning to unravel and by the time that she got to Norma the vocal problems were quite in evidence even though her interpretive powers were still totally intact. In any event, I recall vocal coach Alberta Masiello stating that Callas was still able to work her magic with much of the role in private sessions long after she had last performed the part. Indeed her frequent colleague Tito Gobbi had remarked that Callas had really lost her confidence when singing in public as opposed to loosing her voice. Perhaps that was partially true!

 

"Sempre Libera" Cetra Recording 1953

 

 

"Sempre libera" London 1958:

 

 

"Addio del passato" Lisbon 1958:

 

 

No matter which Traviata performance one ultimately prefers, and I can definitely see how someone might prefer the Cetra recording for purely vocal reasons, in the final analysis it was only with those initial 1955 performances when working with the musical and theatrical talents of Giulini and Visconti that the Callas Traviata was finally able to blossom to its fullest effect as drama. As such the operatic world was subsequently made much richer. In any event, all these performances in one way or another prove that Callas was the gold standard by which all others are to be be measured.

 

As noted previously, and this statement can be extended to include just about anything that she ever sang: Le altre cantano la Traviata, la Callas è la Traviata. (Others sing Traviata, Callas is Traviata.) Many consider that to be still true to this very day.

 

Very interesting as always, whipped guy!

 

I would like to add what to me is the ultimate Callas' (and perhaps not only hers...)"Sempre libera". Yes, perhaps as herself declared she sings a bit like a "wild cat", but the perfect placement of ALL notes, the brilliance of the sparkling coloratura, the beauty and easiness of her full throat high Cs, high Db and the final amazing E flat has never been compared by her.

 

Mexico 1951:

 

[whipped guy]

[uSER=3916]@xafnndapp[/uSER] I'm glad that you added something from one of the Mexico performances. As I said Callas was a bit of a "vocal powerhouse" in those days. Plus she had plenty of high notes to burn, and particularly high E-flats! It's a pity that the sound of those early Mexican perfirmances is a bit primitive, which is one reason why I did not discuss them at greater length.

 

Interestingly, Divina Records in Argentina has obtained 57 original 16 inch acetate discs of her Mexican performances. With any luck they will be able to clean them up and release them so they can be heard in the best sound that modern technology currently has to offer. It still won't be state of the art, but hopefully it will be an improvement. In any event, we are lucky that these performances even exist. Plus, as I implied, those that are able to listen through the imperfect sound might actually prefer one of those earlier Traviata recordings simply for the outstanding vocalism.

[whipped guy]

As noted above Callas in her early career had plenty of high notes to burn. She was particularly quite free with showcasing her stunning high E-flat in alt and even in situations where it was not exhibited in normal operatic practice. Such a case was in the Triumphal Scene which concludes the second act of Verdi's Aida. The following video explains the circumstances and begins and ends with Callas singing the note in 1950 and then 1951 at the Palacio de Bellas Artes in Mexico City. In between are examples of a number of singers who subsequently emulated and attempted to replicate what Callas had achieved. In any event, it is a very rare event when the note is indeed interpolated as most singers who have the dramatic and vocal weight to sing the role of Aida rarely have the upper extension necessary to tackle the note. I personally only recall hearing it done once when listening to a live broadcast performance of Aida.

 

Incidentally when Callas subsequently recorded the opera commercially for EMI she did not interpolate the note, but sang the conclusion of the scene as written. At any rate, as with most things operatic Callas was the trailblazer. Even though the "Aida E-flat" has not become standard practice due to its difficulty, who else but Callas to set the example and raise the bar!

 

As noted above most of her Mexico City recordings are in poor sound. However, if one listens through the less than state of the art sonics the musical rewards can be astonishing.

 

https://www.youtube.com/watch?v=swCdGrLw2a0

 

As a postscript purists might consider the interpolation of the E-flat to be analogous to a party trick. However, given the pomp and splendor associated with the scene the note more than fits in from a dramatic point of view. As such, it can be considered to be a valid option not only musically but theatrically as well. I would guess hat Verdi would have approved, if with the caveat that the note be a good one! (Such was the composer's reply to a tenor who asked if it would be permissible to interpolate a High C at the conclusion of "Di quella pira" in Il Trovatore.)

[whipped guy]

I just stumbled on this on YouTube. It is obviously a fake, as it dubs a high E-flat into the Callas 1955 EMI studio recording of Verdi's Aïda where she sang the conclusion of the scene come scritto, as written with the lower E-flat.

 

In any event, while it is the aural equivalent of photoshop, it does give an indication of what might have been. Incidentally, the note does sound like Callas, so it must have been excised from one of her many recordings where she tackles the note albeit in another context. My guess would be possibly from her 1953 recording of Lucia di Lammermoor where she hits the note twice.

 

 

https://www.youtube.com/watch?v=Ex3p20BKEjI