Maria Callas Remastered

[+ Italiano]

Not all high E flat attempt are exactly a thing of beauty....

 

[whipped guy]

Not all high E flat attempt are exactly a thing of beauty....

 

LOL! No BIG LOL! She barely hit the B-flat! I think that makes her "Queen of being flat!"

[+ Italiano]

LOL! No BIG LOL! She barely hit the B-flat! I think that makes her "Queen of being flat!"

But her final high E flat is something to be remembered!! A sort of Tarzan.....

[whipped guy]

The 1953 EMI Tosca

 

PUCCINI Tosca

Text: Luigi Illica & Guiseppe Giacosa from La Tosca by Victorien Sardou

Producer: Walter Legge

Engineer: Robert Beckett

Recorded 10-21 August, 1953 Teatro alla Scala, Milano

 

Maria Callas- Tosca

Giuseppe di Stefano- Cavaradossi

Tito Gobbi- Scarpia

Franco Calabrese- Angelotti

Angelo Mercuriali- Spoletta

Melchiorre Luise- Sacrestan

Dario Caselli- Sciarrone/Jailor

Alvaro Cordova- Shepherd

 

Chorus and Orchestra of La Scala, Milan

Chorus MasterVittore Veneziani

Conductor Victor de Sabata

 

In a review of a recent recording of Verdi's Aïda the performance was praised for the contributions of the tenor and conductor. However, the reviewer then lamented that while the efforts of the other cast members were fine, all was not perfection and fell below the standards set by the tenor. In fact the reviewer remarked that none of the many other recordings of the piece have ever achieved total perfection either. Given the fact that there have been dozens of recordings of Aïda over the years that seemed incredible. However, thinking about other operas that also have an extensive discography it suddenly did not seem so odd as opera is indeed one of the most difficult genres in all of the arts to produce. Consequently the question to ponder is, "Has there ever been that perfect jewel of an opera recording?"

 

As an example, some have claimed that the classic 1959 Carlo Maria Giulini recording of Mozart's Don Giovanni is close to perfection. Yet, the operative word in the sentence is "close". While the conducting and women in that set have been almost universally praised, there are those who find some of the men a bit lacking. Yes, Joan Sutherland as Anna probably never sounded better. Graziella Scuitti's voice is indeed perfect for Zerlina, and even Elisabeth Schwarzkopf's Elvira is quite a masterful achievement with any edginess justified by the character's unstable disposition. The young Luigi Alva is indeed a sweet sounding Ottavio, but other tenors have brought a more substantial voice to the role. Giuseppe Taddei is a fine Leporello, yet others have been similarly admirable. While Piero Cappuccilli as Masetto is luxury casting, Gottlob Frick as the Commendatore, as terrifying and imposing as he proves to be, does not have the most idiomatic command of the Italian language. Finally, Eberhard Wächter in the title role is quite swashbuckling, but is not the most stylish and charming of leading men. In other words he is not Cesare Siepi, arguably the premier exponent of the part. Therefore while it can be recommended as a first choice recording, it can't quite be thought of as being absolutely flawless.

 

However, one recording that seems to be universally accepted as perfection is the 1953 EMI recording of Puccini's Tosca with Maria Callas, Giuseppe di Stefano, and Tito Gobbi conducted by Victor de Sabata.

 

Gobbi did not have the most suave of voices at least when compared to baritone contemporaries such as Robert Merrill or Ettore Bastianini. However, he knew how to use his voice in an intelligent, and often subtle manner that eluded most others. Plus, in 1953 he possessed quite a bit of power and substance. Furthermore, the sound of his voice in purely vocal terms was perfect for the lecherous and evil Scarpia. In addition, as did Callas, Gobbi had a special skill for using the appropriate tone required to enhance a given dramatic situation. As such he and Callas being theatrical kindred spirits literally become the characters that they portray in the opera's crucial second act.

 

In 1953 di Stefano was certainly in his prime. If ever there was a naturally beautiful tenor voice it was his and at this point in time he was capable of providing reams of golden tone in a role that perfectly suited his vocal range and dramatic abilities. No doubt being inspired by the keen theatrical instincts of those surrounding him he outdoes himself in that regard by reacting in a much more subtle, apt, and less careless manner than usually was his wont. As such he conveys the romance, ardor, despair and even humor inherent in the role in a most winning manner.

 

Then there is the presence of Callas. At this stage in her career she had not lost any significant weight and accordingly still had the voice of a solid and secure dramatic soprano such that even her most vociferous detractors have been forced to admit that her voice could be classified as beautiful. Furthermore she already had a certain amount of stage experience with the role in a variety of productions even if they had not yet occurred at the most prestigious opera venues. This combined with the unique vocal colorations of which she was capable certainly made for a totally complete characterization of the title character. The best singers can learn now to make their voices sound happy, sad, or angry in a generic manner. However, Callas was able to go well beyond what the best were capable of achieving. She had the unique ability to convey fear, exaltation, tenderness, rage, anxiousness, jealousy, and even tears with her voice. These are all qualities that permeate Tosca's world and she expresses all of them to perfection.

 

Finally, there is the conductor. De Sebata held the administrative post of artistic director at La Scala and was considered one of the most talented conductors in his day in both the symphonic and operatic repertoire even though his discography is somewhat lean. Indeed Tosca was his only commercial operatic recording in a career that was soon to be cut short due to ill health.

 

Given his penchant for attention to detail, he worked on the finer points of interpretation that would have been overlooked by a lesser personality. It has been noted that de Sabata was quite insistent that Callas intone the final line of the second act after she murders Scarpia as Puccini intended sung on a monotone repeated middle C-sharp as opposed to delivering it "parlato" (spoken) as is dictated by tradition. They also worked on delivering the line with a particular inflection. As such she repeated the line, "E avanti a lui tremava tutta Roma" (And before him all Rome trembled) a plethora of times until both were satisfied that all was absolutely perfect. It is interesting to note that when articulating the line she places an emphasis on the word "tutta" (all). In her other performances, both live and in the studio, Callas speaks the line and usually places an emphasis on the word "lui" (him). In this case it would seem that Callas probably acquiesced to de Sabata's preferences. However, in spite of her reputation for being difficult, she was always a team player and was certainly willing to accept a different approach as long as it was true to both the music and the drama.

 

At any rate, due to these efforts the performance flows in a most natural manner with even the many small supporting roles fitting nicely into the overall picture. In addition where there is jocularity, power, irony, catastrophe, or other emotion it is aptly underpinned by the orchestra which is constantly in tune with the dramatic situation being acted out on stage. And yes! One can almost see the piece being acted on stage such is the overall sound picture provided by the performers.

 

As an interesting aside Puccini made the following comment in 1920 when de Sabata was at the beginning of his career, "...although [De Sabata] is an excellent musician of the other school – that is, the modern school – he can't, and does not know how to, conduct my music." It would have been interesting to know if the composer (who died in 1924) thought that de Sabata had learned a thing or two in the ensuing 33 years!

 

If the recording has a flaw it is that it was recorded in mono prior to the age of stereo. However, even in that regard it was blessed by the gods. Given the fact that EMI was said to be an acronym for "Every Mistake Imaginable", there is so much that they actually got right from both a technical and artistic viewpoint. There is even a spaciousness to the proceedings that helps give the illusion of the soundstage mentioned above. As an example, during the sessions a special emphasis was placed on Tosca's triple repetition of "Mario! Mario! Mario!" at her initial entrance as she approaches ever closer so as to clarify the changing perspective. Even the placement of the church bells that ring at the beginning of the third act were meticulously arranged to convey the desired spacial effect. Indeed the powerful sonic impression that is achieved at the conclusion of the first act as the lustful Scarpia declares "Tosca, mi fai dimenticare Iddio!" (Tosca you make me forget God himself!) as the chorus sings the hymn "Te deum laudamus" (God, we praise you) is amazing for a monaural recording.

[whipped guy]

The 1953 EMI Tosca - Part 2 continued from previous posting

 

Where problems existed concerned that fact that when initially released on CD there were indeed various difficulties with sound quality and pitch. Fortunately those were eventually corrected culminating in the most recent version on the Warner label as taken from the original master tape. In addition, Andrew Rose of Pristine Classical has mastered an extremely fine version working from original mint French LP pressings.

 

While one feels the need to single out specific examples of the dramatic features and emotional power of this performance, one can confine things to the final moments of the piece which reaches its climax with Tosca exclaiming, "O Scarpia, avanti a Dio!" (Oh Scarpia, we meet before God!) as she leaps to her death. Such is the force and determination of the line and all that has led up to it that we instantly know that the drama will certainly continue well into the next lifetime!

 

It is interesting to note that by the 1960's the recording's producer Walter Legge had become estranged from Callas. After listening to this special recording he realized that any disagreement between them was trivial in comparison to the greatness that they had preserved for posterity. He communicated his feelings to Callas which lead to a reconciliation.

 

In summary, while this is most likely the greatest recording of Tosca, it is also one of the greatest recordings of any opera. In fact some consider it to be one of the greatest recordings of all time. Period.

[whipped guy]

Tosca in Stereo - Two Versions

 

Puccini: Tosca (1964)

Maria Callas - Tosca

Carlo Bergonzi - Mario Cavaradossi

Tito Gobbi - Scarpia

Orchestre de la Société du Conservatoire Paris

Georges Prêtre - conductor

 

 

Puccini: Tosca (1962)

Leontyne Price - Tosca

Giuseppi Di Stefano - Mario Cavaradossi

Giuseppi Taddei - Scarpia

Vienna Philharmonic Orchestra

Herbert Von Karajan - conductor

 

 

If one would prefer a stereo Tosca then I would suggest two possibilities based on the cast from the 1953 EMI as all three principal singers did record the piece in the 1960's for the stereo medium. Callas and Gobbi did so in 1964 with tenor Carlo Bergonzi under the baton of Georges Prêtre. Di Stefano did so in 1962 with soprano Leontyne Price and baritone Giuseppe Taddei overseen by Herbert von Karajan.

 

Needless to say all three were no longer in the freshest voice. However, they were still capable of creating an impact dramatically and vocally if without the vocal steadiness and assurance of a decade earlier.

 

Callas in some respects is even more forceful on her second recording and this is especially true regarding her lower register. While the voice has deteriorated significantly she imbues the role with certain shadings and nuances that give a pleasing shape to the vocal line in the more introspective portions of the role such as the aria "Vissi d'arte". Her voice per se may have disintegrated since the earlier recording, but she certainly demonstrates how she had grown as an artist over the intervening years and how she accordingly attempted to overcome any vocal problems by deepening her interpretations. Gobbi if anything sounds even more sinister and threatening as Scarpia and once again works well with Callas. Tenor Carlo Bergonzi, who is captured here in his prime, was among the most tasteful of tenors and he does not disappoint. He always exhibited a certain restraint and if his two arias lack the passion and daring of Di Stefano he more than makes up for it with style, elegance, and a perfect legato line. Georges Prêtre, who worked frequently with Callas during this time frame, conducts idiomatically if without any special insights.

 

The recording was planned as the soundtrack for a film that was to be produced by Franco Zeffirelli. Unfortunately the project was abandoned. During this period Callas basically sang only two roles on stage, Norma and Tosca. She appeared as Tosca along with Gobbi in London, Paris, and New York. In fact Tosca was her final appearance in a staged opera. That occurred in London on July 5, 1965. In both Paris and London the production was by Zeffirelli. As such this recording can be viewed as a souvenir of those final performances. It is interesting to note that the second act of the piece was filmed live in London and is one of the few instances where Callas can be seen performing on stage.

 

In the other recording under consideration, Di Stefano has as his Tosca the young and vocally alluring Leontyne Price. She is a more feminine Tosca than Callas with softer contours to her vocalism. Indeed Callas told Price that she heard "a lot of love" in her voice and in a sense that explains the difference in approach. While she is not as detailed and incisive as Callas, who seems to be constantly agitated regarding her love for Mario and her hatred of Scarpia, Price makes up for it with a lush erotic quality to her vocalism and a cunning attitude towards Scarpia. Taddei has a more traditional baritone sound and while probably not as menacing as Gobbi still creates a portrait of evil. Di Stefano was in what were his late prime years and he uses his voice in the the somewhat reckless and exciting manner that contributed to his vocal decline. However, there is still plenty of attractiveness to his vocalism to do more than justice to the part. Plus, at times he even checks his daring manner to offer a bit of welcome nuance to his interpretation.

 

However, what really holds the recording together is what was one of the main reasons for the success of the 1953 EMI Tosca and that is the conducting. Von Karajan is ever the master with an attention for detail and therefore paints both vocal and orchestral pictures of sound analogous to those of de Sabata. That he has the famed Vienna Philharmonic at his disposal is certainly an asset. Moreover, since he was working in a medium that allows for even greater clarity, presence, and power the sonic results are more spectacular. This was no doubt in part due to the efforts of famed recording producer John Culshaw. It is interesting to compare the final moments of the first act. For a monaural recording the de Sabata is quite spacious and exciting. However, with the stereo medium, and building to a climax with a menacingly slower tempo, von Karajan provides an equally exciting experience with the added spacial dimension characteristic of the newer technology.

 

Given that Callas is so superb in her earlier recording I would suggest her 1964 version as a supplement to Callas in 1953. Still even when not at her best Callas is often light years ahead of the competition. Since Tosca a was a role that Callas performed throughout her career (and that goes back to her student days in Greece) having both recordings nicely documents how Callas approached the part over the span of a number of years. The most recent Warner mastering as part of the Callas Remastered Series is the best available version.

 

The von Karajan recording is fine enough that if one were to only have one recording of Tosca it would certainly be a valid choice. The best sounding mastering is Decca Legends 96/24 or The Originals 96/24 which are essentially two different packagings of the same version.

 

(Note: Interestingly Price recorded Tosca a decade later with Plácido Domingo and Sherill Milnes under Zubin Mehta, but the consensus is that her first version is the one that best stands the test of time. Von Karajan also recorded the piece a second time with Katia Ricciarelli, José Careras, Ruggero Raimondi, and the Berlin Philharmonic. His first version likewise is preferred not only for its superior cast, and especially regarding the title role, but for its superior sonics as well. Of course there have been countless recordings of Puccini's "shabby little shocker" over the years and others might be directed to some of their favorite singers such as Tebaldi, Freni, and Scotto to name but three who have recorded Puccini's ill-fated heroine.)

 

 

 

 



[TruHart1]

Not all high E flat attempt are exactly a thing of beauty....

 

 

I would refer you to the vocalism achieved on recordings of the great(?!) Madame Florence Foster Jenkins, made back in the 1940's, for that type of "attempted" high note. Here's a catty version of The Queen of the Night's aria from Mozart's Die Zauberflöte:

 

Rather painful to the ears, I'm afraid! :eek:

 

TruHart1

[whipped guy]

I would refer you to the vocalism achieved on recordings of the great(?!) Madame Florence Foster Jenkins, made back in the 1940's, for that type of "attempted" high note. Here's a catty version of The Queen of the Night's aria from Mozart's Die Zauberflöte:

 

Rather painful to the ears, I'm afraid! :eek:

 

TruHart1

LOL! I could only get through about half of this. So a bit of corrective action is needed. Callas never sang the Queen of the Night's aria (as far as I know ) with all its staccato flourishes. So here is something close. The Bell Song from Lakme by Delibes sung in Italian from a live Italian radio broadcast in 1952.

 

https://www.youtube.com/watch?v=ocxXW9Fjj2g

[TruHart1]

LOL! I could only get through about half of this. So a bit of corrective action is needed. Callas never sang the Queen of the Night's aria (as far as I know ) with all its staccato flourishes. So here is something close. The Bell Song from Lakme by Delibes sung in Italian from a live Italian radio broadcast in 1952.

 

https://www.youtube.com/watch?v=ocxXW9Fjj2g

LOL! I can't blame any opera lover for not making it through a Madame Jenkins' selection and although she did record the Lakme Bell Song, I would not post that here after listening to La Divina's version! o_Oo_O:rolleyes:

 

Posting her rendition of the Queen of the Night's aria was to compare her attempts at high F's to the failed attempt of the soprano above in Aida to hit an Eb!

 

TruHart1

[whipped guy]

As an addendum to my two Tosca postings above where I discussed the the 1953 and 1964 recordings of Maria Callas, I thought that it would be interesting to compare two videos of Callas in the role. The first is from the Ed Sullivan Show in 1956 where an abridged version of the final portion of Act Two was performed with George London as Scarpia. The second is the entire second act in the Franco Zeffirelli production as filmed at the Royal Opera House Covent Garden in 1964 with Tito Gobbi as Scarpia. It is interesting to compare how the voice changed over the years and also an opportunity to see how Callas acted and moved on stage.

 

https://www.youtube.com/watch?v=VKF3njDhl-A

 

[+ sync]

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.

 

You have made a statement that I hesitated to make in this environment. You summed up my feelings precisely. I give Maria Callas an A+ for technical difficulty and execution, but for me too, her voice lacked warmth. For me, in this voice range, it's Joan Sutherland all the way. Brace yourselves, I expect it will be coming in like rain.

[whipped guy]

You have made a statement that I hesitated to make in this environment. You summed up my feelings precisely. I give Maria Callas an A+ for technical difficulty and execution, but for me too, her voice lacked warmth. For me, in this voice range, it's Joan Sutherland all the way. Brace yourselves, I expect it will be coming in like rain.

LOL! Sorry to disappoint, but no reason to brace yourself. I appreciate Sutherland as well. In fact I wrote the following earlier in this thread:

 

Personally I am one who appreciates what both Callas and Sutherland brought to the operatic table. Neither singer was perfect, and even in their prime years both had "issues". Callas often was not able to control her often recalcitrant voice on a consistent basis and as time passed on the voice became increasingly unruly. Sutherland sacrificed diction for smoothness of delivery, but even when she attempted to correct that problem she was not helped by her often unidiomatic Italian. Both had a well grounded training in the elements of the Bel Canto tradition. Both appeared before the public and recorded longer than they should have.

 

To quote musicologist Philip Gosset, "La Sutherland made us understand the beauty of melodic lines; la Callas made us understand the drama that was percolating under the incomparable surface of the music..."

Gosset went on to say that, "Opera is an amalgam of music and words. Beautiful sounds are one part of that amalgam, to be sure, perhaps even the most important part. But those of us who love Rossini’s Semiramide (and there are many) will always remember what it was like to hear for the first time that famous recording with Joan Sutherland as the Queen of Babylon and Marilyn Horne as her son, Arsace. Horne made every word count; Sutherland produced beautiful sounds. While we admired Sutherland’s performance, we knew that Horne had understood something that Sutherland had not yet fully comprehended, and that it was fundamental to Rossini’s art."

 

Like Horne, Callas was quite precise in her attention to language and diction. Add in the unique manner in which Callas approached the "drama that was percolating under the incomparable surface of the music...", and one realizes what made Callas so exceptional... and actually beyond exceptional. In her prime Callas often had moments where her voice was also beautiful... Perhaps it was never beautiful in the conventional or Sutherland sense, but it was often a thing of beauty nonetheless. Even when her voice was not remotely beautiful Callas often had a special ability to turn such deficiencies into dramatic assets... again something that made her quite extraordinary. That she could create a character and make one totally believe in the validity of that character and do so in the totally non visual recording medium is what firmly established the greatness of Callas in the history of recorded sound. When one combines that gift with her presence in the theater... and by presence I am referring to both her visual acting ability and the fact that she transformed herself into a paragon of fashion... one suddenly understands what all the fuss and commotion was all about, and especially in those glory years of the mid to later 1950's. Sutherland could never even begin to compete on such a level with Callas. Her's was a different natural ability... a purely vocal gift, a force of nature that was centered on beauty of tone, thrilling high notes, and rapid fire delivery of the most intricate florid music imaginable.

In fact earlier in this thread I also discuss how the Callas voice troubled me when I first heard it. Consequently, I can certainly understand how one could be totally unmoved or similarly bothered by its sound as pure sound. This is especially true regarding her later recordings. However, when I first encountered the voice it was via a recording made in 1954 when she was in her prime.

 

Plus we all hear differently. What is one person's hash tone can be peerceived as exciting by another. Conversely, what some consider to be plush might be considered to be colorless by another set of ears. And so it continues...

 

Now if anyone else wants to start that rain storm I'll be just off to the sidelines taking cover.......

[+ sync]

LOL! Sorry to disappoint, but no reason to brace yourself. I appreciate Sutherland as well. In fact I wrote the following earlier in this thread:

 

Personally I am one who appreciates what both Callas and Sutherland brought to the operatic table. Neither singer was perfect, and even in their prime years both had "issues". Callas often was not able to control her often recalcitrant voice on a consistent basis and as time passed on the voice became increasingly unruly. Sutherland sacrificed diction for smoothness of delivery, but even when she attempted to correct that problem she was not helped by her often unidiomatic Italian. Both had a well grounded training in the elements of the Bel Canto tradition. Both appeared before the public and recorded longer than they should have.

 

To quote musicologist Philip Gosset, "La Sutherland made us understand the beauty of melodic lines; la Callas made us understand the drama that was percolating under the incomparable surface of the music..."

Gosset went on to say that, "Opera is an amalgam of music and words. Beautiful sounds are one part of that amalgam, to be sure, perhaps even the most important part. But those of us who love Rossini’s Semiramide (and there are many) will always remember what it was like to hear for the first time that famous recording with Joan Sutherland as the Queen of Babylon and Marilyn Horne as her son, Arsace. Horne made every word count; Sutherland produced beautiful sounds. While we admired Sutherland’s performance, we knew that Horne had understood something that Sutherland had not yet fully comprehended, and that it was fundamental to Rossini’s art."

 

Like Horne, Callas was quite precise in her attention to language and diction. Add in the unique manner in which Callas approached the "drama that was percolating under the incomparable surface of the music...", and one realizes what made Callas so exceptional... and actually beyond exceptional. In her prime Callas often had moments where her voice was also beautiful... Perhaps it was never beautiful in the conventional or Sutherland sense, but it was often a thing of beauty nonetheless. Even when her voice was not remotely beautiful Callas often had a special ability to turn such deficiencies into dramatic assets... again something that made her quite extraordinary. That she could create a character and make one totally believe in the validity of that character and do so in the totally non visual recording medium is what firmly established the greatness of Callas in the history of recorded sound. When one combines that gift with her presence in the theater... and by presence I am referring to both her visual acting ability and the fact that she transformed herself into a paragon of fashion... one suddenly understands what all the fuss and commotion was all about, and especially in those glory years of the mid to later 1950's. Sutherland could never even begin to compete on such a level with Callas. Her's was a different natural ability... a purely vocal gift, a force of nature that was centered on beauty of tone, thrilling high notes, and rapid fire delivery of the most intricate florid music imaginable.

In fact earlier in this thread I also discuss how the Callas voice troubled me when I first heard it. Consequently, I can certainly understand how one could be totally unmoved or similarly bothered by its sound as pure sound. This is especially true regarding her later recordings. However, when I first encountered the voice it was via a recording made in 1954 when she was in her prime.

 

Plus we all hear differently. What is one person's hash tone can be peerceived as exciting by another. Conversely, what some consider to be plush might be considered to be colorless by another set of ears. And so it continues...

 

Now if anyone else wants to start that rain storm I'll be just off to the sidelines taking cover.......

 

Thank you Whipped Guy, that is a wonderfully informative and analytical posting. Your abilities to detect and extract the intricacies of vocal production, phrasing and interpretation are far superior to mine. I also appreciate your mention of the legendary Marilyn Horne, which brings to mind something that keeps nagging me from time to time, and maybe you can help or direct me. My all-time favorite contralto voice belongs to a contralto that, through the 1960's and 1970's would appear at New York's Radio City Music Hall every year to sing the solo lines in the "Glory of Easter" presentation. My recollection is that her name is Virginia Harmes, but I'm not sure about that. I have scoured the Internet many times for a clue, but have found nothing conclusive.

[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.

You have made a statement that I hesitated to make in this environment. You summed up my feelings precisely. I give Maria Callas an A+ for technical difficulty and execution, but for me too, her voice lacked warmth. For me, in this voice range, it's Joan Sutherland all the way. Brace yourselves, I expect it will be coming in like rain.

LOL! Sorry to disappoint, but no reason to brace yourself. I appreciate Sutherland as well...

In fact earlier in this thread I also discuss how the Callas voice troubled me when I first heard it. Consequently, I can certainly understand how one could be totally unmoved or similarly bothered by its sound as pure sound. This is especially true regarding her later recordings. However, when I first encountered the voice it was via a recording made in 1954 when she was in her prime.

 

Plus we all hear differently. What is one person's hash tone can be peerceived as exciting by another. Conversely, what some consider to be plush might be considered to be colorless by another set of ears. And so it continues...

 

Now if anyone else wants to start that rain storm I'll be just off to the sidelines taking cover.......

I find it so ironic that I had an acquaintance that not only disliked the Callas voice (he called it uneven and harsh whenever she tried to "make it sound dramatic") but was of the opinion that Sutherland's voice was cold and mechanical, not to mention the usual criticism that her diction in all languages was atrocious! He could be quite a negative, opinionated guy.

 

Personally, I was put off at my first hearing by the later Callas voice quality and absolutely preferred Sutherland but over time, I began to realize just what a great and expressive artist Callas was, at the end of her career sometimes creating great artistic expression using the remnant of a once strong instrument by sheer force of will! Of course, whether you love or hate her voice, hardly anyone disagrees that Callas set the bar for great operatic acting once she lost all the weight in the early 1950's.

 

TruHart1

[whipped guy]

Thank you Whipped Guy, that is a wonderfully informative and analytical posting. Your abilities to detect and extract the intricacies of vocal production, phrasing and interpretation are far superior to mine. I also appreciate your mention of the legendary Marilyn Horne, which brings to mind something that keeps nagging me from time to time, and maybe you can help or direct me. My all-time favorite contralto voice belongs to a contralto that, through the 1960's and 1970's would appear at New York's Radio City Music Hall every year to sing the solo lines in the "Glory of Easter" presentation. My recollection is that her name is Virginia Harmes, but I'm not sure about that. I have scoured the Internet many times for a clue, but have found nothing conclusive.

That is a singer that seems to have eluded my attention. However, there is nothing more exciting than hearing a deep contralto voice and especially when the voice has a certain unique quality about it. I am sure that was the case with your elusive singer. Perhaps another poster might be able to help out regarding her identity.

[whipped guy]

I find it so ironic that I had an acquaintance that not only disliked the Callas voice (he called it uneven and harsh whenever she tried to "make it sound dramatic") but was of the opinion that Sutherland's voice was cold and mechanical, not to mention the usual criticism that her diction in all languages was atrocious! He could be quite a negative, opinionated guy.

 

Personally, I was put off at my first hearing by the later Callas voice quality and absolutely preferred Sutherland but over time, I began to realize just what a great and expressive artist Callas was, at the end of her career sometimes creating great artistic expression using the remnant of a once strong instrument by sheer force of will! Of course, whether you love or hate her voice, hardly anyone disagrees that Callas set the bar for great operatic acting once she lost all the weight in the early 1950's.

 

TruHart1

 

Since they shared many roles, it was partially via a comparison of the Callas and Sutherland approaches that made me realize the uniqueness of Callas. By comparing their very different approaches I realized that there was more to singing than just beautiful sounds. To this day my two favorite commercial recordings of Bellini's Norma are Sutherland's first which is a paragon of vocal beauty and Callas' second which while vocally problematic has the soprano living and breathing the part dramatically. When considering commercial recordings only by having both can one totally appreciate Bellini's achievement. The closest that Callas came to combining beauty of voice with her keen dramatic instincts was in the 1955 live La Scala performance that I discuss in great detail earlier in this thread.

 

Later in her career Sutherland got a bit more into the role dramatically but never achieved the intensity of Callas as it was just not in her voice. In that regard the singer who probably came the closeest to combining vocal beauty with dramatic instincts was Montserrat Caballé. They were the three great Normas of the last century. I have not yet heard a singer who has sung the role as well as these three ladies did.

[+ sync]

That is a singer that seems to have eluded my attention. However, there is nothing more exciting than hearing a deep contralto voice and especially when the voice has a certain unique quality about it. I am sure that was the case with your elusive singer. Perhaps another poster might be able to help out regarding her identity.

 

Thanks. I'll keep trying every now and again. Just can't totally forget her. Any 2nd tenor would love to have the sonorous resonance of her lower register.

[whipped guy]

As an addendum to my above Tosca post:

 

http://imgc-cn.artprintimages.com/images/P-473-488-90/61/6150/DCCG100Z/posters/j-b-handelsman-reservations-please-and-while-i-wait-i-d-like-to-hear-act-ii-of-tosca-new-yorker-cartoon.jpg

[whipped guy]

In search of the greatest Norma preserved in sound.

 

The title role of Vincenzo Bellini's Norma is often considered to be the ultimate test of a soprano's abilities, the Mount Everest of all soprano roles. Consequently the part has been compared to Shakespeare's Hamlet as being not only an extremely long and taxing part, but also difficult due to the diversity of emotions that must be expressed. Hamlet and Norma traverse very different paths during the course of their respective ill fated journeys, but both must deal with a wide variety of public and private decisions that will affect not only their own fate, but the fate of their people as well. Furthermore, their introspective moments must be balanced with the moments of raw vengeance and retribution. It is rare for an opera of this period to have its libretto praised, but Schopenhauer, Wagner, and others have remarked upon the aptness of it's construction by librettist Felice Romani and Bellini's way of melding the words to the music.

 

German soprano Lilli Lehmann, who was one of the most versatile sopranos of the late Nineteenth Century and a famous Norma in her day, once remarked that singing one Norma was more difficult than singing the three Brünnhilde roles from Wagner's Der Ring des Nibelungen. As one of the supreme masterpieces of Bel Canto, it would seem that a technically schooled beautiful voice would be the main requirement. However, what makes the role of Norma so unique is the range of emotions that must be expressed. With Norma virtually every state of mind is incorporated into one highly complex and emotionally charged character. Furthermore, because Bellini's conflicted Druid priestess is such a multifaceted role it requires a singer who is not only able to spin yards of serene cantilena, but also an artist capable of expressing the more ferocious aspects of the pagan priestess' complex personality. In emotional terms Norma ranges from the serenity of her dove-like prayer for peace to a savagely fierce tigress vengefully calling for war. In addition, both the tranquil moments of repose and the stormy periods of revenge must be conveyed by a singer capable of solving the considerable technical problems of executing the complex fioritura characteristic of the bel canto style. To complicate matters Norma has two extended and intricate duets with Adalgisa, the second soprano role, with whom she must blend her voice seamlessly as well.

 

In Norma Bellini utilizes what on the surface seems to be mere vocal display as a means of expressing the varying predicaments to which Norma is subjected. Of course there are many precedents for such an approach. One prime example occurs in Rossini's opera Armida where in the final scene Armida unleashes a barrage of vengeful coloratura fireworks that prove to be a model for Norma's similar if more compact vocal statements. Likewise that final scene contains elements of quietude and doubt that are a model for Norma's more introspective musings. One can similarly look to the aria "Giusto ciel" from Rossini's Maometto Secondo to find the seeds for Norma's prayer for peace, the exquisite aria "Casta diva". In addition, the seedling for the intensely passionate ensemble that concludes the piece with its rising melodic line can be seen in the ensemble "Qual mesto gemito" from Semiramide, again by Rossini. Semiramide more than likely also provided the inspiration for the two extended female duets that are among the highlights the score. In all these examples Bellini borrowed certain ideas, modified them to suit his dramaturgical needs, and in the process created a character of immense musical and theatrical complexity.

 

In an ideal world one singer would be able to embody all the attributes necessary to realize all of the vocal and dramatic hurdles. However, over the years that absolutely perfect singer seems never to have existed, at least not in the history of recorded sound. Indeed, even the famed Giuditta Pasta who was an artist renowned for both her vocal and dramatic prowess, and was the original creator of the role, found certain facets of the part problematic. In fact, based on contemporaneous reports throughout the Nineteenth Century no single singer has probably ever fulfilled all of the complex requirements. The only possible exception being Giulia Grisi, who as the Adalgisa at the premiere, graduated to the title role, and was almost universally praised in the part.

 

From the onset of the recording industry excerpts of Norma were set down with Norma's opening aria "Casta diva" being the most often preserved. Since only excerpts of Norma were recorded in the early years of the Twentieth Century, one must rely upon contemporary accounts combined with what ever meager recorded evidence exists. Chief among those whose Norma was partially captured in sound was soprano Rosa Ponselle, who while greatly praised, was still said by some critics not to have perfectly mastered all of the role's vocal and dramatic requirements.

 

It was not until the 1930's and 1940's that the first complete recordings both live and in the studio of Bellini's masterpiece appeared. Therefore that is where one begins the search for the conclusive aural evidence of that elusively perfect Norma. The first two artists worthy of attention were Gina Cigna and Zinka Milanov, singers who were more noted for their dramatic abilities as opposed to their technical ability to accurately perform the role's substantial technical hurdles.

 

Toward the second half of the Twentieth Century the first great Norma to appear was Maria Callas. She was followed a decade or so later by by Joan Sutherland. In fact two of the essential commercial recordings of Bellini's masterpiece are Callas' second (1960), which while it finds Callas somewhat vocally problematic has the soprano living and breathing the part dramatically and Sutherland's first (1964) in which she is not only the ultimate technician but is the paragon of vocal beauty. In addition, the Sutherland recording features the legendary pairing of Sutherland with Marilyn Horne in the duets. The approach in both recordings is vastly different yet both are valid in their own way. The Callas recording robustly emphasizes the theatrics while the Sutherland recording takes a lyrical approach that highlights vocal refinement and elegance. Knowing and appreciating both recordings gives one an understanding of Bellini's achievement and what he was attempting to say. Yet when heard individually both fall short of accurately representing all the features of the piece.

 

A third notable soprano subsequently to attempt the the part was Montserrat Caballé who first did so in 1970. Caballé had a ravishingly beautiful voice with a trademark pianissimo that was the envy of many. Since she proves to be a valid middle ground between the approaches of Callas and Sutherland, Caballé's studio recording (1972) should be added to the list of commercial recordings necessary to get a total feeling for the how the role and indeed the opera can be approached.

 

To Be Continued

[whipped guy]

Norma Part Two

 

Callas had the ability to convey a wide range of emotions from loving mother to the anger and rage so essential to convey Norma's total character. She had the capacity to draw one into the drama and make one's heart break at one point and then have one fear for their life at another. It often did not sound pretty, but Callas was able to color her voice aptly to convey the wide variety of feelings. That she also possessed considerable technical abilities that rivaled those of Sutherland helped to complete the picture.

 

Sutherland, on the other hand, never possessed the type of voice necessary to convey the more aggressive aspects of the role. Yes, she had the consummate technique combined with a substantial voice that was often referenced as being silvery, glowing, and sensuous. However, because of those very special qualities she was never able to totally complete the picture. As such she was more successful in Norma's more introspective and tranquil musings. Consequently, when it came to Norma's more forceful moments she relied solely on the considerable power of her vocalism to express the drama.

 

Regarding Caballé, while she was not as supreme a technician as was Sutherland, she possessed enough of a grounding in the technical aspects of singing to hold her own. In addition, while she was able to get her dramatic points across, she was not as adept at creating character as was Callas.

 

To give specific examples, in Norma's opening recitative Callas is quite authoritative such that there is no doubt that she has a certain amount of power and control over the Druid populace. However, the exquisite aria "Casta diva", Norma's extremely beautiful prayer for peace which follows, while delicately shaped with phrase endings tapering into silence, seems to be lacking the very beauty that defines it in spite of Callas' refined and stylish approach. With Sutherland it is just the opposite. One wonders how someone with a less than forceful personality can hold sway over her people. Yet when it comes to the aria the silvery quality and bloom of her voice perfectly conveys the moonlight landscape of Norma's elegant plea for calm and tranquility. Caballé is more commanding than Sutherland in her opening recitative and brings a different type of lunar beauty to the aria "Casta diva" which with her exquisite pianissimo renders the impression that she is in a trance and suspended in time.

 

In another passage later in the opera Bellini writes a series of rising trills followed by some complex coloratura warbling describing how Adalgisa will be punished by being burned alive for breaking her vows. Sutherland articulates the trills perfectly and beautifully and basically relies on the flow of the musical line to convey the message. It all sounds so proper and technically perfect and as such it is a marvel of her consummate vocalism. With Callas, on the other hand, those trills burn like fire. They were not meant to be beautifully articulated. Perfectly articulated from a technical point of view, but not beautifully! Caballé is not as technically proficient and barely articulates the trills, but does get her dramatic points across by having a sufficient ability to act with her voice.

 

It must be noted that Callas initially recorded Norma in 1954. She is actually quite fine and in representative form for the period with the exception that she uncharacteristically glides up to the high C at the conclusion of her opening scene and does not interpolate the high D at the end of the first act which she always did at that stage of her career. Unfortunately the supporting cast leaves much to be desired. There are also many examples (1950-1965) of Callas performing the complete role on stage and each recording has its own special persona. It is indeed interesting to see how Callas grew in the part from a dramatic perspective over the span of so many years. What is interesting to note is that as the vocal powers of her youth began to decline she increasing provided both dramatic and vocal nuances in compensation. If one were to view a graph of the decline of her vocal powers and the rise of her dramatic abilities the lines would intersect at the year 1955, an important date to remember.

 

As is the case with Callas, multiple performances featuring Sutherland and Caballé exist. As examples, there are two MET broadcasts from 1970 and a 1972 recording from the San Francisco Opera where Sutherland attempts not only to be a more authoritative Norma in her public proclamations, but also more forceful in Norma's vengeful moments. However, she is only partially successful in these attempts and again ultimately relies on the strength of her vocalism and the shape of the melodic line to tell the story. In addition, Sutherland recorded the piece in the studio a second time in 1984 and it being twenty years after her first recording she is a bit past her prime. While she again makes a valiant attempt to portray the aggressive side of Norma's personality, the vocal colors required are once again simply not at her disposal. However, it is possibly the closest that she came to doing so and the contrast with twenty years earlier is definitely palpable. Interestingly, in the intervening years no singer has sung the role better. What is also interesting about the recording is that Caballé takes the secondary role of Adalgisa and is one of the role's best exponents on records. Regarding Caballé in the title role, there is a 1973 MET broadcast where the aria "Casta diva" actually has as much beauty but more shape than on her studio recording. There is also a much praised 1974 performance from Orange, France where Caballé is in similar form combining beauty of tone (again “Casta diva” is imbued with a delicate dream-like quality) and dramatic insights while missing some of the finer technical details.

 

Of course many other sopranos have attempted Norma with varying degrees of success. However, while many have had something special to offer, none have reached the albeit imperfect heights attained by Callas, Sutherland, and Caballé. As examples, Beverly Sills had no problems with the technical aspects of the role, but her voice was simply too light, bright, and not sizable enough to make Bellini's melodies soar. Renata Scotto overly emphasized the harsher aspects of Norma's persona to the detriment of ignoring her more gentle side. Jane Eaglen, who was better known as a Wagnerian soprano and was often criticized in that Fach, was simply loud and lacking in nuance. One interesting singer was Leyla Gencer who while greatly influenced by Callas, and probably influenced Caballé, never quite reached the level of the the best. Along those lines was Elena Souliotis, who while destined to carry the torch of Callas never fulfilled the promise. More recently Cecilia Bartoli has proven to be overly mannered and idiosyncratic if provocative in her approach. Many others were simply overparted by the technical hurdles in spite of attempts to be true to the drama. And so it has continued with no single singer able to reach the summit of Mount Everest unscathed.

 

To Be Continued

[whipped guy]

Norma Part Three

 

After hearing Caballé perform the role Callas told her that her Norma was "beautiful". Caballé beamed with delight thinking that she had received the ultimate expression of praise from the by then legendary Maria Callas. However, shortly thereafter, when the Spanish diva was out of earshot, Callas remarked that she did not mean it as a compliment, but implied that she said it simply to say something nice.

 

In fact in an interview Callas said the following: "Bel Canto does not mean beautiful singing alone. It is, rather, the technique demanded by the composers of this style — Donizetti, Rossini, and Bellini... There is no excuse for not having a trill, for not doing the acciaccatura, or not having good scales. Look at your scores! There are technical things written there to be performed... When you interpret a role, you have to have a thousand colors to portray happiness, joy, sorrow, fear. How can you do this with only a beautiful voice? Even if you sing harshly sometimes, as I have frequently done, it is a necessity of expression. You have to do it, even if people will not understand. But in the long run they will, because you must persuade them of what you're doing."

 

Callas uniquely had many voices and as such was able to convey that variety of emotions of which she spoke. Whether or not one of those voices could be considered to be "beautiful" is open for debate and as suggested that has been the main criticism of the Callas Norma and especially pertaining to the aria "Casta diva" where it is said not to have a moonlike glow. So while Callas probably phrased and shaped the aria as fine as or better than anyone else, the overall effect often lacked the ultimate in attractiveness and beauty. Indeed if her voice was ever considered to be "beautiful" it certainly was not in the classical sense. That she did not have that classically beautiful voice forced her from the beginning of her career to delve deeply into all she did on a different level, a level that placed emphasis not only on the drama, but on the finer technical details as well.

 

Furthermore, as noted above, as the voice deteriorated she increasingly compensated with special dramatic insights and nuances to counteract any vocal shortcomings. As such she was dedicated to her art and refined her interpretative abilities to compensate for the fact that the voice often refused to respond to her wishes. Such was the case in her 1960 studio recording. While vocally not always a thing of beauty the woman literally became Norma and subsequently won the battle over her voice by totally conquering the dramatic aspects of the role. The fact that her dramatic abilities were bolstered by a well grounded vocal technique where she was able to generate a solid and evenly produced column of sound across her entire range even when executing the most intricate vocal lines added a special quality to her artistry. (Think the passage involving those perfectly articulated yet fiery trills referenced above.) Her career ended when she was not capable of controlling a voice that had become increasingly unruly over time. Indeed her final performances of the role in 1965 are a difficult listen. Still, in spite of the regrettable vocal problems even at that late date she completely owns the character as no other had probably ever done before and certainly never has since. Consequently, as far as capturing the theatrical essence of Norma few would argue against the fact that Callas takes the honors. However, to investigate now close Callas came to combining that with vocal excellence one must look to the mid 1950's when Callas was in her element. As implied above she is reasonably accomplished in both of her commercial recordings, not to mention a number of live outings that had the good fortune to be preserved. However, Callas outdid even herself on one special evening and it was the opening night of the 1955-1956 La Scala season.

 

In fact, of all the recordings of Norma both live and in the studio the closest that anyone probably has ever come to combining the technical skills, elegance, and keen dramatic instincts with close to ideal colleagues is Callas' remarkable December 7, 1955 La Scala performance. If one could have only one recording of Norma, that ultimate desert island recording, this would be the one to cherish. Callas is in exceptional voice and consequently there almost seems to be a moonlike glow to her opening aria and Callas comes as close as she ever did to portraying the more serene aspects of Norma's persona. Add to this the fact that her fearless Norma blazes with fire when required and one is knocking at the door of perfection.

 

Plus, it seems that on this particular occasion Callas could do anything with her often quite recalcitrant instrument as it sounds free, open, and almost beautiful. Whether singing softly or loudly the voice responds splendidly to her every wish. As such she blends perfectly with her colleagues, which colleagues are as fine as any that had partnered her in this opera. This is especially true of the duets where as Adalgisa Giulietta Simionato proves to be the perfect partner for Callas. In fact in their first act duet Callas caresses a high C so perfectly and lovingly that there are audible gasps of admiration from the audience. This inspires Simionato to likewise tackle the note head on to thrilling effect. Callas then counters with a series of dynamic high C's during the challenging passage beginning "Ah! Non tremare". She then goes on to conclude the finale of the first act with a free, open, and perfectly placed high D which predictably elicits a wave of tumultuous applause. At the beginning of the second act she pares her voice down almost to a Caballé-like pianissimo in the touching scene "Teneri figli" where she contemplates killing her sleeping children. This contrasts splendidly with the zeal of her fanatical outburst for revenge as she lashes out with the call for war. As the act progresses Callas pours out torrents of gorgeous sound which culminates in a final ensemble of searing emotion and surging passion.

 

Still while Callas comes close there are still portions of the role where one can make a more than reasonable case for both the Sutherland and Caballé approaches as being more valid. To cite examples from Norma's long opening scene, a cogent argument could be made that Callas takes the honors in the recitative, Caballé in the aria, and Sutherland in the concluding cabaletta section. So while we are not dealing with absolute perfection, the uniqueness of the manner in which Callas convincingly captures Norma's complex persona combined with her technical mastery ultimately wins the day and in spite of the fact that conductor Antonino Votto takes all the traditional cuts. However, what helps to make this performance so special concerns the fact that not only was it captured live, but based on the audience response it is obvious that they realize that they are experiencing something quite extraordinary as well.

 

If anything on this earth proves that there is often no such thing as perfection in life it is Bellini's ill fated priestess. Only the most exceptional of performers have even come close to solving all of Norma's problems. Callas was able to come the closest and work her special magic because she had the good fortune of being well schooled in the technical aspects of singing. That combined with a sharing of what was concealed within her soul, mind, and heart is what made her such a passionately committed and genuinely unique artist, and arguably the greatest Norma preserved in sound.

 

 

 

Addendum:

 

For the best sounding versions of the 1955 La Scala performance please note the following:

 

http://www.companyofmen.org/posts/1043426/

 

The commercial recordings referenced exist in multiple masterings. The best sounding versions (with catalog numbers) are as follows:

 

Callas 1954: Warner/Callas Remastered 0825646341115

Callas 1960: Warner/Callas Remastered 0825646340842

Sutherland 1964: Decca 475 7902

Caballé 1972: RCA/Sony 88875074482

Sutherland 1984: Decca 478 3042

[+ Italiano]

@whipped guy ALWAYS great to read yr posts!

[TruHart1]

Yes, WG, you should definitely submit a few of these great essays to a publication such as Musical America (does that even still exist?) or Opera News. They are that well-written IMHO!

 

TruHart1

[whipped guy]

Norma update. I just received notification that the Divina Records mastering of the famed 1955 La Scala Norma with Maria Callas is once again available on CD. The physical discs were sold out and it was only available as a download. The discs are now available.

 

Check out their entire catalog of CD's and downloads at www.divinarecords.com Many other items that were out of stock are now available. Please note that these are CD-R's as opposed to pressed CD's for those not able to download the material and burn their own CD-R's.

 

Divina carries some of the best sounding Callas live recordings available. Incidentally, they are also releasing the 1959 Carnegie Hall concert performance of Bellini's Il Pirata. I was able to get a copy of the original unedited tape that they are using. It needed lots of editing, but even unedited it sounded better than what other companies have produced. For example the overture is in D major not D-flat due to incorrect pitching.

 

Enjoy!

[whipped guy]

Bellini: IL PIRATA

 

CAST

Imogene: Maria Callas

Gualtiero: Pier Miranda Ferraro

Ernesto: Costantino Ego

Adele: Regina Sarfaty

Itulbo: Glade Peterson

Goffredo: Chester Watson

 

Orchestra and Chorus of the American Opera Society

Nicola Rescigno, conductor

Margaret Hillis, chorus director

 

http://divinarecords.com/dvn021/dvn021_l.jpg '

 

Here are my impressions of the newly released Divina version of Bellini's Il Pirata which I downloaded and burned to CD yesterday. It is taken from the original master, which original recording is somewhat overly bright, at times overly saturated resulting in distortions, and riddled with a few hiccups along the way. While the sound of the Divina remastering is still recognizable as being from the overly bright source, it is less fatiguing and the distortions have been somewhat attenuated. However it has a presence that is lacking in other versions released by other companies and that includes the EMI version. Unfortunately the microphone placement overly favors the brass section. Still the performance flows seamlessly and most importantly it is pitched correctly. As an example, other versions have the overture in D-flat as opposed to D major. It should be noted that all the applause is included so one gets a feel for exactly what the audience reaction was at the actual event. Indeed reams of applause are included at the opera's conclusion and confirms the ecstatic and tumultuous audience reaction to Callas that bordered on hysteria. This may or not be considered an advantage, but is in line with Divina's policy to include all the recorded material that exists.

 

It is a pity that Callas' performances of the piece at La Scala in 1958 were not broadcast or recorded. The supporting cast included tenor Franco Corelli and baritone Ettore Bastianini who certainly would have performed at higher level compared to Pier Miranda Ferraro and Costantino Ego. It is also probable that Callas would have been in somewhat better voice as it takes a while for her to totally warm up. The conductor for those Scala performances was Antonino Votto who may or may not have taken as many cuts as Nicola Rescigno did in New York. Callas recorded her opening aria and the final scene for EMI. In addition several versions (including one video) of the final scene as performed in concert have been preserved. However, given the fact that this is the only "complete" Callas performance of Bellini's early opera to be preserved in sound one must be thankful for its very existence. I have had a CD copy of the original master tape and even in its rough and unedited form it sounded better than what has been released by other companies. Since the Divina release definitely is an improvement on the original master tape and is light years ahead of previously released versions it is most definitely the version to own.