What Opera Are You Listening to Now?

[Papy Oli]

It might be that Callas adopts a different voice character for each role she sang. Although inimitably herself, she somehow manages to adapt the weight and colour of her voice to the character she is playing. Hence her Lady Macbeth and Gilda could amost be different singers. Maybe that's what you find unsettling.

I wouldn't pick up on those subtleties yet, Tsara, I'll have a think when I get back to her recording.

TD: Rigoletto / Giulini Act I

[Papy Oli]

Concluding Act II & III of both these Rigoletto :






PS:: Double whammy, double stabbing, double heartbreak, double "La Maledizione"...      

That opera malarkey will break me 

[Tsaraslondon]

If only this absolutely superb performance were in better sound! As it is, this Warner transfer (and the one on Myto, who probably used the same source) is a massive improvement on the old EMI Callas Edition set, which was almost unlistenable in places.

And this is a performance that simply demands to be heard. What a superb conductor De Sabata was and what a shame that he was lured into the recording studio so rarely. His symphonic conception of the score has tremendous power and excitement. Then of course there is Callas and I doubt the role of Lady Macbeth has ever been so brilliantly sung. Not only is she equal to all the considerable demands of the score, but she creates a totally believable character study of vaulting ambition eventually undone by crippling guilt. It always surprises me that this series of performanes at La Scala was the only time she ever sang the role. You certainly would never suspect that this was the first time she was singing it in public, so all encompassing is her performance.

None of the other singers is quite in Callas's league, but Tajo and Penno are both fine as Banquo and Macduff. Unfortunately Mascherini is variable as Macbeth, his performance never quite catching fire. He's not bad, just not particularly interesting. Lady Macbeth emerges as the stronger character, but maybe that's as it should be.

For anyone who loves Verdi, this performance is essential, for the contributions of De Sabata and Callas at least. De Sabata said to Callas at the time, "Maria, you are a monster; you are not an artist nor a woman nor a human being, but a monster." Certainly there are times when she seemed almost superhuman, and she does so here.

[Papy Oli]

A little sampling of various Manon Lescaut.

   

   

[Tsaraslondon]

A little sampling of various Manon Lescaut.

   

   

Not one of my favourite operas (I prefer Massenet's take on L'Abbé Prévost's novel) nor one of my favourite Callas recordings, though it's the only one I have. Callas does create the most interesting Manon, but it has to be admitted that her top register is decidedly shaky in places.

I've heard the other three recordings and I think it would be quite hard for me to make a choice from them. I think it one of Björling's best studio recordings, but I don't much like Albanese, I'm afraid. The Sinopoli is an excellent performance and I think would probably be my final choice. The Bartoletti made less impression on me.

As I say, it's a long time since I've listened to them. It'll be interesting to see which one you like best.

[Papy Oli]

Not one of my favourite operas (I prefer Massenet's take on L'Abbé Prévost's novel) nor one of my favourite Callas recordings, though it's the only one I have. Callas does create the most interesting Manon, but it has to be admitted that her top register is decidedly shaky in places.

I've heard the other three recordings and I think it would be quite hard for me to make a choice from them. I think it one of Björling's best studio recordings, but I don't much like Albanese, I'm afraid. The Sinopoli is an excellent performance and I think would probably be my final choice. The Bartoletti made less impression on me.

As I say, it's a long time since I've listened to them. It'll be interesting to see which one you like best.

At this time, the Bartoletti and the Perlea have made the cut for fuller sampling, Tsara.

For the Sinopoli, I found some of the voices too distant and uninvolving. I was sort of non-plussed by the Callas recording.

I might give priority to the Perlea/Bjorling/Albanese, if only for variety as I already have some Caballé and Domingo in other key operas so far but none of the formers.

Truth be told re the Manon(s), the entry in my tracking file of 100 operas was actually the Massenet opera but I completely blanked the composer and assumed it was meant to be Manon Lescaut. Ah well, i'll check Massenet's later. Newbie's mistake 

[Tsaraslondon]

At this time, the Bartoletti and the Perlea have made the cut for fuller sampling, Tsara.

For the Sinopoli, I found some of the voices too distant and uninvolving. I was sort of non-plussed by the Callas recording.

I might give priority to the Perlea/Bjorling/Albanese, if only for variety as I already have some Caballé and Domingo in other key operas so far but none of the formers.

Truth be told re the Manon(s), the entry in my tracking file of 100 operas was actually the Massenet opera but I completely blanked the composer and assumed it was meant to be Manon Lescaut. Ah well, i'll check Massenet's later. Newbie's mistake 

The Puccini opera was his first big success and pre-dates La Boheme, so it's quite an early work. The Callas recording scores over the others in the later acts, especially the last act, which is usually anti-climactic, though not here.

I feel the Massenet opera captures more of the atmosphere of the original novel. I'd recommend the Monteux recording with Victoria De Los Angeles as an enchanting Manon. More recent recordings, with their polyglot casts and international orchestras, don't capture its inimitable French style so well, though the Pappano recording with Gheorghiu and Alagna is very good.

Incidentally, Halévy and Auber also wrote operas adapted from the novel, though they are rarely performed today.

[Tsaraslondon]

Given that the sound of the wonderful De Sabata 1952 La Scala performance leaves quite a bit to be desired, this Abbado recording is my studio choice.

In many ways, Abbado's conception of this dark, brooding score is very similar to De Sabata's, although De Sabata's tempi are occasionally a little more propulsive, and he too has the La Scala orchestra and chorus on top form. He also has an excellent cast, and Cappuccilli, Ghiaurov and Domingo are all an improvement on their De Sabata counterparts. Verrett is superb too, my favourite Lady Macbeth after Callas, but listening to her performance straight after the De Sabata, I remain convinced that the role is for a true soprano, not a pushed up mezzo. Verrett compensates for a lack of brilliance at the top of her register with wonderfully intelligent and musical singing, but I miss the sheer visceral thrill of Callas's voice in 1952.

Nonetheless this is a great recording and I think the equal of Abbado's award winning Simon Boccanegra. I much prefer it to the Muti, which came out around the same time.

[Papy Oli]

The Puccini opera was his first big success and pre-dates La Boheme, so it's quite an early work. The Callas recording scores over the others in the later acts, especially the last act, which is usually anti-climactic, though not here.

I feel the Massenet opera captures more of the atmosphere of the original novel. I'd recommend the Monteux recording with Victoria De Los Angeles as an enchanting Manon. More recent recordings, with their polyglot casts and international orchestras, don't capture its inimitable French style so well, though the Pappano recording with Gheorghiu and Alagna is very good.

Incidentally, Halévy and Auber also wrote operas adapted from the novel, though they are rarely performed today.

I have added your Monteux recommendations to my Idagio pile !  thank you.

[Papy Oli]

Today's sampling: Lucia Di Lammermoor.

   



   

[Tsaraslondon]

Today's sampling: Lucia Di Lammermoor.

   



   

The two pre-eminent Lucias of the post war period. I'm not a big Sutherland fan, but it is the role that made her a star and the one she sang more than any other. I think the later recording with Pavarotti is usually considered better than the first, largely because she was at her mooniest and her diction was at its worst when she made the first set. I believe the later recording is also note complete.

Of the three Callas recordings, the 1959 recording with the Philharmonia, recorded in Kingsway Hall, has the best sound, but is possibly only for Callas afficionados, due to the parlous state of her top register by then. That leaves the 1953 studio under Serafin, which was the first recording she ever made for EMI, and the live Karajan performance, which is my personal favourite. I see you have included the photo from the Divina release, which is probably the best sounding transfer, though I don't think Divina is producing physical discs anymore. However the Warner is also very good and might be easier to come by.



At all costs, avoid any of the EMI transfers of this performance. They must have used an inferior source.

[Todd]

Finally got to this famous performance, and it lives up to expectations.  Not that it was evident it would in the slow to start Prelude, which is also hampered by predictably dated but ultimately fully acceptable sonics.  The too distant, not compelling sailor also kind of falls flat.  Then Martha Modl starts in, and she scorches the earth.  Karajan picks up the pace, and the drama comes at the listener fast and furious from then on.  Ramon Vinay offers a nice counterbalance to Modl, though neither could be called especially nuanced in their roles.  But then, this was a live performance, and a scrappy one at that, so it doesn't matter.  This is about drama and excitement, not studio perfection, and Karajan shows he can deliver both.  Sure, one can point to better singers at various points in different performances - Vickers under Bohm in Orange in Act III, for instance, or Caterina Ligendza under Kleiber in La Scala in the Liebestod (how I adore this one) - but taken as a whole, this is one badass performance. 

[San Antone]

Leoš Janáček (1854-1928) | The Cunning Little Vixen
Charles Mackerras

[Tsaraslondon]

I Masnadieri might seem a step bakwards after Macbeth, which preceded it, but one should remember that it was planned and prepared earlier. It has a somewhat intransigent libretto and none of the characters really come to life.

That said, there is some glorious music in it and there is much to enjoy, particularly whenit is sung and played as well as it is here. Caballé, in particular, is really exquisite in a role written for the Swedish nightingale, Jenny Lind.

[Papy Oli]

The two pre-eminent Lucias of the post war period. I'm not a big Sutherland fan, but it is the role that made her a star and the one she sang more than any other. I think the later recording with Pavarotti is usually considered better than the first, largely because she was at her mooniest and her diction was at its worst when she made the first set. I believe the later recording is also note complete.

Of the three Callas recordings, the 1959 recording with the Philharmonia, recorded in Kingsway Hall, has the best sound, but is possibly only for Callas afficionados, due to the parlous state of her top register by then. That leaves the 1953 studio under Serafin, which was the first recording she ever made for EMI, and the live Karajan performance, which is my personal favourite. I see you have included the photo from the Divina release, which is probably the best sounding transfer, though I don't think Divina is producing physical discs anymore. However the Warner is also very good and might be easier to come by.



At all costs, avoid any of the EMI transfers of this performance. They must have used an inferior source.

On this opera alone, I ended with opposite reaction processes between Callas & Sutherland : Where with Callas, it always takes me a minute or two to settle my ears to and then enjoying her voice, with Sutherland, it was "oh she sounds very nice" for a minute or two and then I went "God, doesn't she mumbles a lot.." to the point of being too distracting. I only have Sutherland in Giulini's Don Giovanni so far but I don't remember having such an adverse reaction when I sampled and short-listed it. It will be interesting on my full listen.

As for the sampling of the 4 Callas versions. It gets complicated 

- I haven't been put off by the poorer sound of the 1953 version and loved the voice.
- I haven't been put off by anything in her "later" voice in the 1959 version although these particular subtleties will probably go over my head at this time anyway
- Weirdly, I haven't been put off too much by the sound quality of the 1955 Live Karajan either. I guess my ears are getting gradually accustomed to this type of recording as well. I listened to chunks of the The Warner version is on Idagio. Divina Records only has a one-track sample, to me it sounded marginally better than the same track on the Warner remaster.

As it stands, I am only 3-4 more recordings of interest away of making the Studio red box more financially worthwhile (based on ebay prices) instead of cherry picking a few FLAC studio recordings. I am pondering asking for that red box to Santa    and get one or two live recordings until then to scratch that Callas itch meanwhile.  0:)
 

[Papy Oli]

Finally got to this famous performance, and it lives up to expectations.  Not that it was evident it would in the slow to start Prelude, which is also hampered by predictably dated but ultimately fully acceptable sonics.  The too distant, not compelling sailor also kind of falls flat.  Then Martha Modl starts in, and she scorches the earth.  Karajan picks up the pace, and the drama comes at the listener fast and furious from then on.  Ramon Vinay offers a nice counterbalance to Modl, though neither could be called especially nuanced in their roles.  But then, this was a live performance, and a scrappy one at that, so it doesn't matter.  This is about drama and excitement, not studio perfection, and Karajan shows he can deliver both.  Sure, one can point to better singers at various points in different performances - Vickers under Bohm in Orange in Act III, for instance, or Caterina Ligendza under Kleiber in La Scala in the Liebestod (how I adore this one) - but taken as a whole, this is one badass performance.

This type of review is not helping either    (especially a day after my Karajan Parsifal landed in the post box!!).
The price on Qobuz makes this tempting too.

why am I spending more time in this section of the forum ?!?! 

[Tsaraslondon]

On this opera alone, I ended with opposite reaction processes between Callas & Sutherland : Where with Callas, it always takes me a minute or two to settle my ears to and then enjoying her voice, with Sutherland, it was "oh she sounds very nice" for a minute or two and then I went "God, doesn't she mumbles a lot.." to the point of being too distracting. I only have Sutherland in Giulini's Don Giovanni so far but I don't remember having such an adverse reaction when I sampled and short-listed it. It will be interesting on my full listen.

As for the sampling of the 4 Callas versions. It gets complicated 

- I haven't been put off by the poorer sound of the 1953 version and loved the voice.
- I haven't been put off by anything in her "later" voice in the 1959 version although these particular subtleties will probably go over my head at this time anyway
- Weirdly, I haven't been put off too much by the sound quality of the 1955 Live Karajan either. I guess my ears are getting gradually accustomed to this type of recording as well. I listened to chunks of the The Warner version is on Idagio. Divina Records only has a one-track sample, to me it sounded marginally better than the same track on the Warner remaster.

As it stands, I am only 3-4 more recordings of interest away of making the Studio red box more financially worthwhile (based on ebay prices) instead of cherry picking a few FLAC studio recordings. I am pondering asking for that red box to Santa    and get one or two live recordings until then to scratch that Callas itch meanwhile.  0:)

Sutherland's Donna Anna for Giulini was recorded in 1959, with the voice still at its freshest and still quite forwardly placed. Her diction was also a lot better then, possibly because she was working with so many Italian conductors (Giulini for the Don Giovanni recording, Serafin for Lucia di Lammermoor at Covent Garden, Nello Santi and Francesco Moilinari-Pradelli for her first recitals). When she started working almost exclusively with her husband Richard Bonynge, the voice changed quite a bit and she adopted a more moony, style with mushy diction. Sometimes it's almost impossible to understand what language she is singing in. I have a Christmas album of hers and when my partner heard it for the first time, he asked me what language she was singing in. As it happens, it was English, though you'd never know it. I have tried to enjoy her singing more than I do, but most of her recordings post about 1960 just irritate me. For many though, the fabulous top notes and spectacular coloratura are enough.

If you are becoming more inclined towards Callas, then I'd suggest the Warner Callas red box would make a very good buy, especially if you can pick it up at a good price (I assume we're talking about physical CDs here).

For the live stuff, the Callas Live Remastered Warner box is also a pretty good buy, but some of the transfers leave something to be desired. The Lisbon Traviata, for instance, is better in EMI's first 1980s issue, and Divina's Anna Bolena is in a different world of clarity from any of the others I've heard (though Myto isn't bad). I don't have Divina's Lucia. The Warner is quite good, but I'm told the Divina is even better. In any case this has always been one of the best sounding live Callas recordings.

[Papy Oli]

Sutherland's Donna Anna for Giulini was recorded in 1959, with the voice still at its freshest and still quite forwardly placed. Her diction was also a lot better then, possibly because she was working with so many Italian conductors (Giulini for the Don Giovanni recording, Serafin for Lucia di Lammermoor at Covent Garden, Nello Santi and Francesco Moilinari-Pradelli for her first recitals). When she started working almost exclusively with her husband Richard Bonynge, the voice changed quite a bit and she adopted a more moony, style with mushy diction. Sometimes it's almost impossible to understand what language she is singing in. I have a Christmas album of hers and when my partner heard it for the first time, he asked me what language she was singing in. As it happens, it was English, though you'd never know it. I have tried to enjoy her singing more than I do, but most of her recordings post about 1960 just irritate me. For many though, the fabulous top notes and spectacular coloratura are enough.

Thank you for the information and context, Tsara.

If you are becoming more inclined towards Callas, then I'd suggest the Warner Callas red box would make a very good buy, especially if you can pick it up at a good price (I assume we're talking about physical CDs here).

At the moment, it is about £10 per opera as FLAC on Presto (On sale). The physical box can be found around £80-£100. I obviously still have plenty to explore first but, at this rate, this is gradually becoming a no-brainer.

For the live stuff, the Callas Live Remastered Warner box is also a pretty good buy, but some of the transfers leave something to be desired. The Lisbon Traviata, for instance, is better in EMI's first 1980s issue, and Divina's Anna Bolena is in a different world of clarity from any of the others I've heard (though Myto isn't bad). I don't have Divina's Lucia. The Warner is quite good, but I'm told the Divina is even better. In any case this has always been one of the best sounding live Callas recordings.

Thank you. If the interest persists, i will rather cherry pick the live recordings.

[Todd]

The price on Qobuz makes this tempting too.

That's where I bought it.  I'm not saying you should buy it, but I'm not saying you shouldn't buy it, either.

[Tsaraslondon]

Callas's Abigaille has to be heard to be believed, but, oh dear, the sound. It's quite a hard listen and I have to admit to just cutting to Callas's contributions most times I listen to it; which is a shame, because it's obviously quite a good all round performance. Gui is a major element in its success of course and Bechi is rather good, though nowhere near as imaginative as Gobbi, who recorded it late in his career.

A veritable riot explodes during and after Va pensiero and of course it is encored. It's all very exciting, but, oh, the sound really is a trial.