Maria Callas

I love this CD. It includes the best performance of romantic heroines in opera by Maria Callas. I really enjoyed it and each time of listenting can be more understanding this great artist.

I grew up on opera but not on Maria Callas. Joan Sutherland, Schwartzkoff, Victoria Los Angeles, and Mady Mesple (to name a few) crowded the airwaves of our home growing up. I had heard that Maria Callas was THE Diva of opera and bought one of her obscure recordings from a low budget bin while in Paris 10 years ago. It didn't impress me that much. Perhaps it was recorded during her voice decline. I could certainly tell she had a powerhouse voice but many of those arias were unknown to me and I didn't connect all that well with the CD.

After reading some of these reviews I decided to give her one more chance. Surely 50 million opera fans can't be all wrong! So I bought this disc and listened to it the other day. There are plenty of pieces to listen to and her voice is a force to be recond with. I get it! She was truely great; as any opera buff will tell you - and rightfully so!

Callas is so incredible. No one can touch the Pathos is her voice. This CD is a great collection of her works. But don't stop here keep buying her up!

I like this CD very much. Great CD with superb voice. I love this CD.

There are moments on this recording that are virtually audio heaven.
Ms. Callas' voice goes beyond the normal concept of beauty.

While working on the PARALLEL PERSPECTIVES Archives page, I started thinking about Maria Callas & her rather bizarre, non-singing role in the equally bizarre 1970's Pier Passolini film MEDEA--and noticed this CD of Puccini's MADAMA BUTTERFLY. I must admit that I was kind of turned-off to see that the CD was remastered from the original non-sterophonic LP (there's just so much even digital technology can do in salvaging pre-stereo operatic recordings) and I really only purchased it because I was curious hear Callas in one of her less notable roles (unbelievably there were only 3 performances).

I was pleasantly surprised to find myself really enjoying the entire production.

Of course director Herbert Von Karajan is a famous talent in his own right and tenor Nicolai Gedda is outstanding as the faithless American lover, Pinkerton.

And there is Maria Callas.

Even the most ferocious detractors of Callas (and there are still many) admit that she possessed a knack for characterization that was tantamount to genius. I too will admit that strictly analyzed from a musical perspective, Callas' performances (including BUTTERFLY) may not be the best in terms of singing technique--but she did have "It"--that certain something that makes her performance unique & unforgettable.

The plot of the opera is simple: Callous American Pinkerton in Japan has fun with local girl, goes through a marriage charade, gets her pregnant, then takes off back home again. But this isn't enough. He returns to Japan with his new American wife & wants to take Butterfly's son back with them to America. Butterfly realizes she's been betrayed & dishonored, but also has to admit that giving up her son could result in great advantages to the boy. She makes the unselfish decision to give custody to Pinkerton & his wife, but she also decides to kill herself.

Puccini has been criticized for his use of "The Star Spangled Banner" as a musical thematic element in the opera. The criticism is purely artistic and not political. However, I thought it was entirely appropriate and that by using it, the composer was making a valid, early multi-cultural statement. I think it also gave the work a universality that is as relevant today as it was near the turn of the last century, the so-called "American Century."

In the final scene Butterfly finally reaches the conclusion that there is no place, no home left for her (after all, by "marrying" Pinkerton she had also renounced her religious faith, and because of that has lost her family as well.) For me, this tragic scene represented the essence of Butterfly--a beautiful, fragile creature, her delicate wings torn off by an uncaring man & blinded by the sudden intrusion of an unforgiving & absolute insight. Like a natural butterfly trapped in a room, the human Butterfly is driven to blinding distraction, unable to escape. This is true in Callas' performance, but it is greatly overshadowed by an underlying emotion of a fierce, almost defiant, rejection of what appears to be her fate--and by implication, the false love that set the self-destructive wheel in motion. This element exists in the interpretation of other singer's as well, but not to the degree of strength as projected by Callas. In a strange way it reminded me of Medea: A rage that devours love, love lost to outrage. Callas' interpretation is particularly note worthy because this striking example of the actor's art is heard, but never seen.

In fairness to Pinkerton, Butterfly's death forces him to reach a higher level of self-awareness.

The CD memorializes one of the great performing artists of "The American Century"--incidentally, Maria Callas was born in New York.

Again, I found the entire production wonderful in its' own right, even if it does lack the latest technological recording innovation.

The Very Best of Maria Callas
Maria Callas, the Voice of the Century
Puccini - Madama Butterfly / Freni, Pavarotti, Ludwig, Wiener Phil., Karajan
Puccini: Madama Butterfly

Puccini.

Up there with Mozart when it comes to tearing the heart out of your soul.

Maria Callas - what a sexy women - no wonder that rich Greek fella courted her. She is a diamond, a truly wonderful opera singer. No, she is better than that. Maria Callas interprets the music into an emotional fury that extends passion and mundanity to their horizons.

Why buy Playboy when you can get the real deal right here. Smouldering femininity with knobs on. Simply the best.

Nicolai Gedda as B.F Pinkerton is brilliant, a true showman in the role and a brilliant tenor full-stop. Callas on the other was not good at Cio-Cio San, in fact she was terrible.
It truly shows the difference between the two lead roles vocal technique and capability, in 'Vogliatemi bene', Gedda was brilliant note perfect and tone perfect, Callas was terrible she shrieked most of her way through the duet and sang a shrill top C at the end which compared with Gedda's masterful top C was a piece of dirt.
If you disagree listen the the track over and over again, see how shrill and whiney Callas's top C really is.

All over brilliant performance by Gedda, Callas was unworthy of such a great Pinkerton.

It's a SHOCK how Callas interpreted "Madama Butterfly" It's close to perfect. Must listen for opera lovers!

There are many "Butterfly" recordings out there that are excellent in their own right but this recording deserves a category of excellence all it's own. What almost looks like mis-casting on paper, Callas does an astonishing job with the title role, which she recorded months before singing a series in Chicago and never to touch the role again. This is really one of those recordings that should be considered an historical event in the history of recorded opera. The collaboration of all the principles with von Karajan shows a unique unity that hasn't been duplicated very often.

But there's Callas' Cio Cio San that is really the reason to consider this recording. Even her silences, such as when she notices Kate in the garden in the final scenes, speaks volumes. There's this incredible thread that she creates from her entrance to her death that is like nothing I've ever heard before in this role. Also her choice of tone is remarkable and characteristic of this most chameleon of artists. She transforms herself from child to woman during the love duet and really does not sing at full tilt until the heart rendering final scene. This is an amazing studio portrayal and like I said, absolutely historical.

I was looking for this play quite long ago, and finally I found it right at Amazon.

I bought this on recommendation of a friend as I prepared to sing Carmen in a chorus, so I have listened to it perhaps 20 times. I never get tired of Callas. Some of the other reviewers said she was past her prime. Maybe that's true for pure vocal quality, but her feel for the role is outstanding and, though this is just audio, you can see her sneer, watch her flirt, and chuckle with her intonation. The chorus isn't great, but mine will be better.

I am 100% pleased with this product. The shipment was fast, and the product was exactly what I had hoped for. I would give this vendor the highest possible rating and my strongest recommendation.

Received the product in a very timely manner....I've enjoyed listening to the CD on the way into work. It helps me relax.

Of the many recordings of Carmen that I've owned, this is the best. Callas has the perfect voice for it.

...if you are, and don't want to be offended/mad, stop here [but note the five stars]. Blessed with massive God-given talent, she had a defective technique that she wouldn't change, made bad casting decisions, and ruined her voice at a young age. Difficult to the point of being unprofessional, rude to fans and colleagues alike [What does a performer owe the fans? Ted Williams said he only owed his base hits, but he sure owed that. A singer at least owes showing up, and hitting the right notes], she was a terror. She got some bad cards in the game of life, but dealt a lot of them to herself. But. But. Sometimes the stars line up just right....this is the Tosca for the ages, and MAYBE the greatest complete recording of an opera ever made. Listen to Callas' "Vissi d'arte"...listen when she kills Scarpia, and later, herself. That's pure magic. That's why, in spite of what I wrote above, I STILL listen to Callas. She was off a lot, but when she was on, look out. If there was ever a greater Tosca she was either [a] Maria Jeritza or [b] a girl who only existed in the mind of Puccini. {The first Tosca was Madame Hariclea Darclee...she is said to have been fabulous, and judging by the quality of her assignments, she must have been, but good luck finding a recording}.

As to the rest...Maestro di Sabata carries the show...he makes great singers even greater. PERFECT orchestral playing in an opera where the orchestra has to set the mood [yes...I know that's true of others]. Giuseppe di Stefano may really have been more of a lyric tenor than Cavaradossi calls for, but he gave an absolutely wonderful performance, and meshed perfectly with Callas. If Tucker [or Caruso] is my ideal in this role, di Stefano is a good second choice. As for Maestro Gobbi, when was he ever other than perfect? When? Yes, there have been other great Scarpias...maybe they were equal, but none were better. Check out the story of the Scarpia costume he donated to a museum...and it's NOT funny.

OK, I've said enough, and offended Callas fans. I apologize for that. God rest her soul. And I do recognize her good points. When the opera house in Heaven runs Tosca, I want to see Jeritza on opening night. THEN, I want to see Callas. Then Madame Darclee. [and don't leave out Tebaldi]. But, I want di Sabata to conduct every night, with this orchestra. Well...Heaven is in the future; right now we have this, and it is absolutely the recording of the ages. Ten stars? Twenty? You HAVE to have this. Period. The End.

NOTE: While all my remarks are valid for this CD incarnation, the remastering is generally regarded as poor. Instead, I strongly recommend the original 1997 Callas Edition of this same recording, still in print and easily available here on Amazon. The Callas Edition has better, more natural sound AND it has the libretto/notes described in the official Amazon review above (which incorrectly attributes them to this budget edition).

This was originally posted in my music review blog. Check my profile if you are interested.

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Music critics have long been fond of drolly referring to Tosca as a "shabby little shocker" and then misattributing the comment to George Bernard Shaw. No small wonder, then, that this Tosca has long been hailed as the "greatest" opera recording of the last century, even before such milestones as the Solti Ring and the Giulini Don Giovanni.

But are such superlatives justified? There have been many fine recordings of Tosca in the 50 years since this one, most with better recorded sound and many of them boasting excellent casts. Are they so clearly second-rate?

The truth is, it depends on how you think of opera. If perfect vocalism is your standard, this performance will not be a first choice. As adored singer Floria Tosca, Callas' striking-but-not-beautiful voice is somewhat paradoxical, occasionally sacrificing legato for the sake of some dramatic effect or another. Similarly, Giuseppe Di Stefano's golden, lyric tenor voice sounds hollow and pressed on top, most noticeably in the heroic Vittoria! of Act 2. And Gobbi's voice is typically venomous, lacking any real heft or depth. Those seeking consistently beautiful, secure singing from beginning to end would do well to acquire the excellent sets of Tebaldi or Caballé, the latter featuring a young José Carreras in particularly fine voice.

Dramatically, however, this recording is likely unequalled, which is saying a lot in a story driven by murder, torture, attempted rape, and suicide. Callas plays Tosca as ideally as one could hope for--a hotheaded, passionate woman subject to conflicting fits of suspicion, vanity, vulnerability, white-hot anger, and the most deeply felt compassion. For example, her jealous outburst in Act 1, "Lo Neghi?" ("You deny it?), is just short of shrill and is most convincingly pissy. Conversely, Vissa d'arte is beautiful and perfectly paced--a masterful depiction of suffering, in which the cry to God at the end of the aria is a fearful but reverent plea for mercy. But perhaps most striking is the moment when Tosca stabs and then hisses at the dying Scarpia, "Muori! Muori! Muori!" (Die! Die! Die!), delivered so viciously you can almost see the blood on her hands.

Cavaradossi is always less important in this opera, but Giuseppe Di Stefano makes a good case for him. What Stefano's Cavaradossi lacks in heroism he makes up for in beauty--with Stefano, we never forget that Cavaradossi is a lovesick artist. His two arias come off with great sentimentality and his Act III duet with Tosca, O dolci mani, displays some of the most ardent and beautiful singing ever recorded.

But Callas and Stefano are more than matched in the Baron Scarpia of Tito Gobbi. His trademark snarl is used to great effect, capable of both stentorian authority and warm, honeyed manipulation. This is the definitive Scarpia--a vile, slithering, sadistic animal in an aristocrat's coat, who makes Darth Vader look kind of like a sissy. At the end of Act 1, Gobbi's Te Deum is the most gripping in the catalogue, illustrating both his declamatory style and the thoughtfulness of his interpretation. To extract an example: Scarpia's high note in the last phrase, "Tosca, mi fai dimenticare Iddio!" ("Tosca you make me forget God!), usually milked for melodrama, is here underplayed. Why? Because for Scarpia, this isn't a fervent confession of evil; it's just a statement, and it's hardly a turning point for a villain so foul. In truth, Gobbi's Scarpia sounds most fervent when he's torturing Cavaradossi, where his gleeful snarling conveys the Baron's sadism perfectly. But, almost as important, he also dies very well, shouting furiously and choking on his own blood in a pleasingly graphic way.

Victor De Sabata leads the orchestra in a reading of blistering, Italianate intensity. Every line of the score is sharply defined without ever sacrificing weight or visceral impact. Furthermore, everything is paced to create the most excruciating tension possible--when else has the orchestra so perfectly conveyed the desperation of Tosca's confrontation with Scarpia? And when else has the ending of Tosca felt so physically, mercilessly traumatic? In Sabata's hands, the orchestra does a most marvelous thing: it becomes another voice, telling the story as clearly as any one of the characters.

In all, this is a superb achievement that admirably lives up to its reputation. If you've never experienced opera as drama, this is the place to start.

Highly recommended.

Grade: A+

I bought this CD after the attendance of the opera and recommendation by a good friend. While I was initially hesitant because of the age of the recording, the remastering worked wonders, it sounds better than some of the modern recordings I own. The opera: unbelievably beautiful, romantic, scary, sad - if you want all the enjoyment of drama and music, this is the CD to buy!

If you are a Callas fan, you have no excuse for not owning this. If you are new to Callas or if you have only a mild interest in her art, this is one of three Callas cds you should own.
The singing is exquisite, Callas' vocal artistry and dramatic ability shine through on this recording. BUY IT!!

I was a freshman in college when this record came on the market with Puritani as a pair from EMI. Callas and Gobbi in this version changed my view of what is possible in musical acting.

For me this is the Tosca to get. In my view, no one comes close to the passion of Callas. Everything else is right too. Will probably never be done better. And this is a 1953 recording.

This is much more than the best opera recording ever: it is the true expression of perfection.

Maria screamed at all times, no pianissimis. The best Tosca is with Renata Tebaldi and Mario Del Monaco.

Originally posted in my music review blog. Check my profile if you are interested.

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Music critics have long been fond of drolly referring to Tosca as a "shabby little shocker" and then misattributing the comment to George Bernard Shaw. No small wonder, then, that this Tosca has long been hailed as the "greatest" opera recording of the last century, even before such milestones as the Solti Ring and the Giulini Don Giovanni.

But are such superlatives justified? There have been many fine recordings of Tosca in the 50 years since this one, most with better recorded sound and many of them boasting excellent casts. Are they so clearly second-rate?

The truth is, it depends on how you think of opera. If perfect vocalism is your standard, this performance will not be a first choice. As adored singer Floria Tosca, Callas' striking-but-not-beautiful voice is somewhat paradoxical, occasionally sacrificing legato for the sake of some dramatic effect or another. Similarly, Giuseppe Di Stefano's golden, lyric tenor voice sounds hollow and pressed on top, most noticeably in the heroic Vittoria! of Act 2. And Gobbi's voice is typically venomous, lacking any real heft or depth. Those seeking consistently beautiful, secure singing from beginning to end would do well to acquire the excellent sets of Tebaldi or Caballé, the latter featuring a young José Carreras in particularly fine voice.

Dramatically, however, this recording is likely unequalled, which is saying a lot in a story driven by murder, torture, attempted rape, and suicide. Callas plays Tosca as ideally as one could hope for--a hotheaded, passionate woman subject to conflicting fits of suspicion, vanity, vulnerability, white-hot anger, and the most deeply felt compassion. For example, her jealous outburst in Act 1, "Lo Neghi?" ("You deny it?), is just short of shrill and is most convincingly pissy. Conversely, Vissa d'arte is beautiful and perfectly paced--a masterful depiction of suffering, in which the cry to God at the end of the aria is a fearful but reverent plea for mercy. But perhaps most striking is the moment when Tosca stabs and then hisses at the dying Scarpia, "Muori! Muori! Muori!" (Die! Die! Die!), delivered so viciously you can almost see the blood on her hands.

Cavaradossi is always less important in this opera, but Giuseppe Di Stefano makes a good case for him. What Stefano's Cavaradossi lacks in heroism he makes up for in beauty--with Stefano, we never forget that Cavaradossi is a lovesick artist. His two arias come off with great sentimentality and his Act III duet with Tosca, O dolci mani, displays some of the most ardent and beautiful singing ever recorded.

But Callas and Stefano are more than matched in the Baron Scarpia of Tito Gobbi. His trademark snarl is used to great effect, capable of both stentorian authority and warm, honeyed manipulation. This is the definitive Scarpia--a vile, slithering, sadistic animal in an aristocrat's coat, who makes Darth Vader look kind of like a sissy. At the end of Act 1, Gobbi's Te Deum is the most gripping in the catalogue, illustrating both his declamatory style and the thoughtfulness of his interpretation. To extract an example: Scarpia's high note in the last phrase, "Tosca, mi fai dimenticare Iddio!" ("Tosca you make me forget God!), usually milked for melodrama, is here underplayed. Why? Because for Scarpia, this isn't a fervent confession of evil; it's just a statement, and it's hardly a turning point for a villain so foul. In truth, Gobbi's Scarpia sounds most fervent when he's torturing Cavaradossi, where his gleeful snarling conveys the Baron's sadism perfectly. But, almost as important, he also dies very well, shouting furiously and choking on his own blood in a pleasingly graphic way.

Victor De Sabata leads the orchestra in a reading of blistering, Italianate intensity. Every line of the score is sharply defined without ever sacrificing weight or visceral impact. Furthermore, everything is paced to create the most excruciating tension possible--when else has the orchestra so perfectly conveyed the desperation of Tosca's confrontation with Scarpia? And when else has the ending of Tosca felt so physically, mercilessly traumatic? In Sabata's hands, the orchestra does a most marvelous thing: it becomes another voice, telling the story as clearly as any one of the characters.

In all, this is a superb achievement that admirably lives up to its reputation. If you've never experienced opera as drama, this is the place to start.

Highly recommended.


Grade: A+

NOTE: Be sure to get this 1997 Callas Edition (still in print and readily available), rather than one of the subsequent poor remasterings.

This CD set is fairly nice for the price it was. Everything sounded beautiful, my only problem was that some parts are way louder than others, so I had to control the volume alot.

1) Opera took years to "grow" on me.
2) I became an opera addict. Fullblown.
3) I "got" Callas.

You who know,
know what I'm talkin' 'bout.

Like everbody, at first, her voice freaked me out a bit.

Of course, I got over that as I came to understand the "big picture".

Maria's soul pours through once again in this [grazie addio] performance of La Sonnambula.

I have great respect for Mr. Bernstein and everybody else who worked on this beautiful performance.

However, it's all about Maria.

A friend of mine, not a real opera fan, but 100% Italian, whom I've introduced to "La Divina", remarked that once you hear Maria sing certain arias, you can't really listen to anybody else's version, no matter how utterly beautiful or technically flawless they may be.

Maria sets the standard for "soul".

SOURCE: Live performance from La Scala in Milan, March 5, 1955.

SOUND: Weak, inadequate, antiquated, muffled, limited and frustrating. I am reminded of the output of the first generation of pocket-sized transistor radios that were such a craze when I was in junior high school--the ones that made the Bakelite-cased, table model AM radios at home sound so resonantly mellifluous. Audiophiles who suffer the vapors on hearing digital recordings made with last week's equipment, walk away right now. This is not for you. The only reason for listening to this recording is the performance. Live with its technical inadequacies.

CAST: Amina - Maria Callas (soprano); Elvino - Cesare Valletti (tenor); Teresa - Gabriella Carurani (mezzo-soprano); Il Conte Rodolfo - Giuseppe Modesti (bass); Lisa - Eugenia Ratti (soprano); Alessio - Pierluigi Latinucci (bass); Un Notario - Giuseppe Nessi (tenor). CONDUCTOR: Leonard Bernstein with the Orchestra and Chorus of Teatro alla Scala, Milano.

TEXT: The standard cuts that were traditional for a century or more are observed.

COMMENTARY: In 1955 La Scala presented "Sonnambula" in an expensive new production overseen by Luchino Visconti, who served as producer, director and all-around prop for Maria Callas. It marked the second occasion in which Callas and Leonard Bernstein worked together in an opera house. Callas was still at her peak, but not long before, a bobbled high note during a performance of "Andrea Chenier" had occasioned an outburst of boos and whistles, something that Maria Callas would remember far more clearly than the cheers she had also earned that night. Callas believed that the sharks were beginning to circle--and she was probably right. Not long after that, Callas, being Callas, had managed to get into an unseemly tussle with Boris Christoff over bows in a "Medea." And the feud with Renata Tebaldi had come to a nice, sour boil.

By the time Callas arrived in Milan, she was in a state. Her doctor ordered complete rest. The opening of "La Sonnambula" was postponed for two weeks. Bernstein was not entirely unhappy at the delay, for it allowed him to get in an almost unprecedented eighteen orchestral rehearsals for an opera that La Scala habitually performed after only a single run-through.

At the time, Callas seems to have been going through an infatuation with Visconti. When she finally turned up at rehearsals, she was unusually pliant before his direction. However, so the story goes, one Visconti-ism proved too much for her. Although the opera is set in a humble Tyrolean village, the director insisted that Callas wear her best personal jewelry during all rehearsals. "But Luchino," she is supposed to have said, "I'm only a village girl." "No," Visconti replied, "you are MARIA CALLAS playing a village girl, and don't you forget it!"

Callas sings extremely well here, lightening her voice to portray the simple village girl, Amina (pace Luchino), but nevertheless in full La Divina mode with wonderful high notes and breathtaking vocal decorations. For Callas fans, that fully justifies a five-star rating for this set.

This is one of the relatively few Callas live recordings that can also boast of a first-class tenor and conductor. Cesare Valletti was a true, indeed a classic tenore di grazia. He was Tito Schipa's student and in some ways he surpassed that charming old musical con man. Because of him, the glorious Amina-Elvino duets are first-rate. (Such was not the case in Callas' studio recording and her second live recording, both made with the utterly useless Nicola Monti.) Bernstein was at his most Bernsteinly. He put his well-rehearsed orchestra through their paces and injected drama, fire and electricity into the music. (Perhaps more drama, fire and electricity than sweetly melodious Bellini ever intended--but that's another subject.)

The rest of the cast is pretty good, also unusual for a live Callas recording. Eugenia Ratti is a little too hard-edged for my taste but she is effective as the hard-edged Lisa. Giuseppe Modesti is fine as Count Rodolfo. The only fault I can find with him is that he is not Cesare Siepi.

Callas at her best, a good supporting cast and a top conductor, all of these demand and deserve five stars.

BUT--this is not at all the best performance of "La Sonnambula" available. In 1952 CETRA issued a recording with Lina Pagliughi and Ferruccio Tagliavini which is currently available in various editions. Pagliughi was good, even though she was never the vocal technician that Callas was. Nevertheless, she was a better Amina, singing in the old melodic way. Excellent as Valletti was, Tagliavini was even better. Overall, I think the Pagliughi-Tagliavini performance is the one Bellini would have said most closely matched his intentions.

This recording of La Sonnambula is a necessity in any opera lover's collection. Featuring Maria Callas at the prime of her career, one cannot ignore the fact that despite the quality of this live recording, the sheer interpretation of Bellini's Swiss village girl in this Sonnambula should never be condoned. At 1955, Callas' voice was at its peak form, fresh without the many characteristics that would detract non-fans from her recordings. It was during this time too that she worked with the famed American conductor Leonard Bernstein, one of the most dexterous and passionate interpreters of the score. Also included in this collaboration was the famed film director Luchino Visconti, and it was this trio that brought the spotlights of opera into this rare gem of a Sonnambula. The other Sonnambula, the live Koln Sonnambula with Votto, comes with a much superior cast and an even more superior sound, but this Sonnambula should never be overlooked for the numerous trills and embellishments that Bernstein had designed for Callas' voice in this performance. Overall, I'd give it a six stars for the magic of her interpretation, but minus one star for the mediocre sound.

Callas sounding OLD? Sutherland is the one with the matronly sound while Callas sang Amina with a bright, innocent voice, something even severe critics noticed. Meowing the coloratura? Who are you listening to? To some silly chirper like Pons or Robin? Callas was a dramatic coloratura with incredible squillo! If you dislike Callas, fine, but to invent LIES and to PLAGIARIZE is a crime and REPULSIVE. Shame on you!

This live-recording is, even in an illustrious discography as Callas', a wonder. A wonder of sheer perfection, love and beauty. Callas who could sing a blood-curdling Medea and Lady Macbeth sang the purest, most touching and tearful Amina. Just listen to Amina's first aria to hear a voice of airy beauty, lucid warmth and tenderness. The duets with Elvino (The WONDERFUL Valletti, a true belcanto-tenor in the tradition of Schipa) soar to heaven rivalling the stars! And her madscene is unrivalled with the ornaments and incredible coloratura! A keeper!

This Cd is the best compliment to a set than choice part of the opera. Also debit say than the seller Cayman is swell to. Thank you.

I'm not opera literate, so I was looking for some kind of introduction that had some familiar arias and that would connect me to others that I had not heard. I liked that the notes with the cd indicated where a new listener may have heard some of the music (in a commercial, during an important scene in a movie, etc). This was the source of a lot of 'Ah ha!' moments. It even inspired me to rent a dvd of a live version of Turandot and to put others on my Netflix queue. I owe my newly aroused curiosity about opera, believe it or not, to Il Divo. I had to know what these guys sing when they're not reinterpreting pop songs. I'm glad I started this journey and this cd was a good start.

This is a great product if the individual enjoys and appreciates classical music and especially the opera.

As a long time armchair Opera listener I'm shocked that I hadn't come across this album until recently. I'm not really an Opera connoisseur so my review is based on just the fact that I love Opera, but mostly by listening to arias or occasionally going to the Opera.

This CD is quite comprehensive and offers a broad spectrum of aria's and some chorus's from several composers as well as the more famous of singers. In 2 CD's, 19 tracts each, many of the most famous arias are represented. If you are a Wagner fan you might be disappointed, however, Puccini, Mozart, Bizet, and Verdi are well represented. If you want a taste of Opera without sitting down and listening to a full Opera, this is perfect. My only complaint is that there is not enough Jose Carreras!

There will always be arguments for this or that singer, but this title is absurd. I didn't see a single Jussi Bjoerling, George London, Leonard Warren, or Zinka Milanov, and only one mention of Del Monaco. These were singers. Bjoerling and London were in a class by themselves. I saw all of these folks live on stage. London and Del Monaco had stage presence you don't get now. Di Stefano, Kirsten, de los Angeles should be on any best list. Play any tenor aria by any tenor; then play Bjoerling's. Play any bass/baritone aria by any singer; then play London's. Jussi and George will knock your socks off. They sang everything in every language. Tebaldi and Pavarotti sang only Italian, much easier.

There is not much more I can say about the value of this famous performance; unfortunately this latest remastering (2004) is overly bright and filled with audio artifacts - listen to Gobbi's very first lines in Act One - every consonant has an artifact. The earler EMI mastering from 1986 and the Naxos version are both far better. EMI is doing a real disservice to perhaps its greatest artist by the poor quality of many of the transfers.

Beautiful recording, fabulous voices, Callas was at her very best in this period

Befoe Maria came onto the scene in 1952, I actually believed that only the "whistling teakettle" type of voice could sing this type of work. When I actually heard a woman's voice, I was transformed from that day.

Without a doubt this is the best studio recording of the opera hands down. Callas, Di Stefano and Gobbi are in fine form and Serafin keeps things going at a good pace. The best RECORDING of the opera is of course the 1955 Berlin performance with Karajan conducting. The sound is quite good as Callas bootlegs go and everybody is ON FIRE. One of those magical moments that thankfully somebody taped. If you MUST have your stereo, go with the first Sutherland recording or the Gruberova/Kraus/Rescigno.

I'm a huge bel canto fan and Lucia is one of my top 3 operas. (The others are NORMA and ANNA BOLENA) There is no other Lucia like Callas. Nobody embodies the melancholy, the tragic, fragile beauty and the torment of this doomed heroine more than she. And her coloratura and E-flats glitter and sparkle but never sound senseless or bland. Her partners (di Stefano, Gobbi) are in pristine form and Serafin conducts bel canto with unmatched perfection. This is THE Lucia to buy! A steal, grab it while you can!

Although I grew up with many of M.Callas recordings, it wasn't until very recently that I listened in full to her Mimi, a role she never sang onstage, unfortunately, and only learned for this recording. There are many really wonderful recordings and performances of this popular opera and of this sweet and touching character, the tragic seamstress who falls in love with the poet Rodolpho, one of Puccini's most endearing characters, Mimi.
In the last act, as Mimi is fading and her voice lovingly speaks to her friends gathered around her, I found myself weeping just by the sheer sweetness and love Callas had found to express this endearing character.
She got me! Who would have known that this great singing actress who had sung Wagner, Bellini, Verdi, great dramatic roles around the world, could scale her voice and expression into this unforgettable jewel of a performance. Such musical genius is rare. I am so grateful that I was alive during this era to experience Callas, her talent continues to touch people everywhere through these remarkable recordings. Anthony Plumer

I'm sure Callas fans will wish to burn me at the stake after my review. I greatly respect opera singers because they are able to sing with such glorious voices. They are the Olympic weightlifters of the vocal art. I can barely sing in the shower. Whether one loves a particular soprano/tenor is really a matter of preference. Callas' performance is very good - breathing, diction, pronunciation, etc., however I find a certain "chilliness" in her voice. Technically, she is superb and displays her dramatic prowess. However, my favorite soprano is Anna Moffo whom shines as Musetta. Her voice is warm, rosy and lyrical. She really is able to convey the flirtiness of her character. Di Stefano pours his heart into Rodolfo and sings with animal magnetism. Like Corelli, he sang with such intensity which contributed to his vocal decline. He still gives a terrific performance to be remembered for the ages. Overall, I greatly enjoy this La Boheme for several reasons. It is a great historical record of Callas' career, supported by fantastic singers Moffo and Di Stefano.

La Boheme in its complete form is splendid no matter what, but Callas, who is clearly at the apex of her powers, is remarkable. This opera, and this version in particular, is a must for anyone who wishes to hear the best that the art form has to offer. Giuseppe di Stephano is pretty good as well. He and Callas were emotionally close, although not in the Biblical sense, however their regard for each other comes through in what many regard as Verdi's best effort.

This is a great recording of the Puccini Operas with first class soloists. I like the way the tracks are numbered making easy access to selected parts of the operas. Though it is not in stereo, it has a really excellent sound.

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Along with Armeda, Anna Bolena, here is a jewel from the past. Maria is wonderful. The supporting cast was very good for the time, but what a difference today with standards and supportive artists better and better rehearsed.

No one should consider doing a performance of Traviata without checking in with this recording first. The Callas interpretation is riveting with detail and color that stands alone. Di Stefano is young, exciting, and half crazed a great match for Callas. Bastianini is on the same level with the best of them. This is a recording you can listen to from beginning to end without boredom.
The traditional cuts are welcomed. Had Verdi composed this work 20 years later there would have been no excess. I think the cuts add focus to this masterpiece by trimming the fat. And remember this is from the mid 1950s and live. Leave the sound alone. A nice complete recording, if it exists, with Magda Olivero could have been a second choice.

Love opera. Sodoes mom. Perfect Mother's Day gift for her. Sent her several operas that i purchased online. This one was missing a cd. I had to return it. Obviously a seller's mistake. Returned the package and received a refund.

Due to its' age this recording's quality is spotty. Sometimes the chorus may as well have been in another state. Callas' performance is wonderful, the rest of the principals are adequate. If you are filling out a collection of Callas' work this would be a worthy addition. If you really want to hear the opera, pick another version.

A historic performance, with Maria Callas in her best moment. Very good work in the orchestra, too. Warning: the quality of the recording is below the standard, as a label in the box honestly warns, and it is mono, not stereo, but anyway it's worth to cope with that given the quality of the interpretation.