Maria Callas

[Tsaraslondon]

I have the Myto 1958 Rescigno ROH "Traviata" but I think the Lisbon/Ghione/Myto is slightly better, and if I keep only one I go with Lisbon



The live Giulini "traviata" has such poor sound I rarely listen to it...............we need a Divina "traviata"

We will have to agree to disagree on that point. IMO, the Lisbon does have a great deal to commend it, not least Alfredo Kraus's youthful Alfredo. Sereni is also excellent as Germont, though I marginally prefer Zanasi, but Ghione's rather four square, pedestrian conducting prevents Callas from giving the full dimension to Violetta, that she is able to under Resigno at Covent Garden, though I admit she is in slightly fresher voice in Lisbon.

I agree with you about the sound on the Giulini, but I would not want to be without such moments as the blistering intensity she brings to the Amami Alfredo section in this performance.

[kishnevi]

Speaking of sound quality issues--
This morning I listened to Callas' studio recording of I Puritani, and was struck (again) by how bad it sounded--the mono effect was especially bad, dulling everything in sight, and Callas came off rather shrill. The only portion I liked was "Suoni la tromba", and of course Callas was not involved in that. 

now issued in EMI's new budget opera format with this cover

but still the same remastering (1997)

So the question arises: is there a better Callas recording of Puritani? And is there any "modern" (meaning stereo era) recording of this opera you might suggest, even if it might not be Callas.

[Tsaraslondon]

Speaking of sound quality issues--
This morning I listened to Callas' studio recording of I Puritani, and was struck (again) by how bad it sounded--the mono effect was especially bad, dulling everything in sight, and Callas came off rather shrill. The only portion I liked was "Suoni la tromba", and of course Callas was not involved in that. 

now issued in EMI's new budget opera format with this cover

but still the same remastering (1997)

So the question arises: is there a better Callas recording of Puritani? And is there any "modern" (meaning stereo era) recording of this opera you might suggest, even if it might not be Callas.

I can't say which is the best remastering of the Callas I Puritani, as I haven't heard them all. Some would say that the very earliest pressing, issued in the early 1990s is the best, the digital remastering less aggressive than the the later ones. This is the one I have and Callas doesn't sound in the least shrill to me, apart from a few uncomfortable moments in the Vieni al tempio ensemble.



The only other Callas I Puritani is a live performance from Mexico city in 1952. The performance is a bit of a mess though and the sound execrable.

Of modern recordings, choice will probably come down to the Sutherland (with Pavarotti, under Bonynge) or Caballe (with Kraus, under Muti). I marginally prefer the Caballe, though you don't get Sutherland's pyrotechnics and Kraus, however suavely he sings, is drier of tone than Pavarotti. Both recordings are complete, and the Callas is not. That said, I can't listen to either without hearing Callas in my mind's ear, so indelible is her impression on this music.

[Franco]

Arkiv Music is having an opera sale - the Callas/Bernstein Medea is going for $14.99.

[kishnevi]

I can't say which is the best remastering of the Callas I Puritani, as I haven't heard them all. Some would say that the very earliest pressing, issued in the early 1990s is the best, the digital remastering less aggressive than the the later ones. This is the one I have and Callas doesn't sound in the least shrill to me, apart from a few uncomfortable moments in the Vieni al tempio ensemble.

It was especially noticeable at that point...

Of modern recordings, choice will probably come down to the Sutherland (with Pavarotti, under Bonynge) or Caballe (with Kraus, under Muti). I marginally prefer the Caballe, though you don't get Sutherland's pyrotechnics and Kraus, however suavely he sings, is drier of tone than Pavarotti. Both recordings are complete, and the Callas is not. That said, I can't listen to either without hearing Callas in my mind's ear, so indelible is her impression on this music.

I have several Sutherland recordings (is there a major bel canto opera she didn't record?)--enough for my tastes already;  and only one of Caballe, so I should get the Caballe.  But I prefer Pavarotti to Kraus.  Oh, dear, oh dear--well, I guess I could always go for the traditional resolution of this problem.  Buy both.

BTW, are you sure the Callas recording is not complete?  The EMI liner notes explicitly call it a "complete recording".  (Unless that was just to contrast with the isolated recordings of arias discussed in the first part of the liner notes.)

[Tsaraslondon]

BTW, are you sure the Callas recording is not complete?  The EMI liner notes explicitly call it a "complete recording".  (Unless that was just to contrast with the isolated recordings of arias discussed in the first part of the liner notes.)

Not complete in the sense that it uses the cuts traditional at the time. Both the Bonynge and Muti versions are, I believe, note complete.

[kishnevi]

Not complete in the sense that it uses the cuts traditional at the time. Both the Bonynge and Muti versions are, I believe, note complete.

I shoujld have thought of that. 
I was listening to the EMI 1953 Tosca earlier tonight.  Recorded five months after I Puritani, but it's amazing how much better the sonics are.  Producer/engineer teams were different, but I suspect the difference may have been in the location--Tosca at La Scala, Puritani at a church in Milan I have never otherwise heard of.

[DarkAngel]

TS
I placed an order for Divina label Norma.........if order is processed well I am next looking at this prize:



There is no EMI studio Anna Bolena, only the 1957 live version from La scala with conductor Gavazzeni.
I suspect Divina will again improve our sound quality, they have obtained original master tape to work from for this remaster.........Callas is an unstoppable elemental force of nature here

I can report that Divina does indeed have the best sound available for this live Anna Bolena, made from donated master tapes of BJR collection, any fan of Callas must have this!

Even more impressive is the stunning collection of 350+ extremely high quality photos contained on enhanced CD, vast majority I have never seen. The ones from Act III especially wonderful, Callas has her long hair down and she looks just stunning......these could grace any elite fashion magazine, better than any photos I have seen in any published book, priceless.........

[Tsaraslondon]

I can report that Divina does indeed have the best sound available for this live Anna Bolena, made from donated master tapes of BJR collection, any fan of Callas must have this!

Even more impressive is the stunning collection of 350+ extremely high quality photos contained on enhanced CD, vast majority I have never seen. The ones from Act III especially wonderful, Callas has her long hair down and she looks just stunning......these could grace any elite fashion magazine, better than any photos I have seen in any published book, priceless.........

It seems then that I will indeed have to replace my EMI pressing with this Divina one. I actually have the first EMI issue, which mistakenly has a photo of Callas as Imogene in Il Pirata on the front cover. EMI did later change the cover, but it just goes to show how slapdash they were.

[Guido]

http://www.youtube.com/watch?v=TVMTxXnSePY&feature=related

Not what the title says but a nice video showing the understatedness, yet power of her stage presence. And it's a video of her actually on stage which I didn't know existed!

[Tsaraslondon]

http://www.youtube.com/watch?v=TVMTxXnSePY&feature=related

Not what the title says but a nice video showing the understatedness, yet power of her stage presence. And it's a video of her actually on stage which I didn't know existed!

This is one of the only snippets (recorded for a news programme, I believe, of her 1964 Paris Norma. Even then, one can hear the voice still had great penetrative power, though she ducks the high option on the words io mieto. It was recorded at the dress rehearsal.

[knight66]

I just got hold of the Callas Carmen. I have listened through to it a couple of times. It sounds very 'French' unlike, for example, the Karajan sets. I have enjoyed it a lot and it again points up what a pity is was that Callas did not move into Mezzo roles. It was issued in 1964, so late in her career, yet vocally it is terrific.

Mike

[Tsaraslondon]

I just got hold of the Callas Carmen. I have listened through to it a couple of times. It sounds very 'French' unlike, for example, the Karajan sets. I have enjoyed it a lot and it again points up what a pity is was that Callas did not move into Mezzo roles. It was issued in 1964, so late in her career, yet vocally it is terrific.

Mike

That's what I pointed out in the Carmen thread, Mike. I think it's one of the most French Carmens out there. I very much like the supporting cast too. Guiot was not a big star or a big name, but her Micaela strikes me as just right. There is a touch of vinegar in the voice, to be sure, but it's French wine vinegar, and she makes a plucky Micaela, which indeed she should be. Massard, too is good as Es Camillo and the comprimarii, chorus, orchestra and conductor are also French. Vickers may have made a better foil for this particular Carmen, but Gedda, whose French is impeccable, makes an excellent Jose. I also like Pretre's swift, no nonsense, approach to the score. I know it uses the now discredited Guiraud recitatives, but it is my favourite Carmen, and not just for Callas's startlingly original take on the role, dangereuse et belle, as Micaela describes her.

[Guido]

Isn't it meant to sound spanish though? I love the Callas performance, and find Leontyne Price far too beautiful, noble and rounded a voice for this role.

[knight66]

Gedda is a bit bland, but he was just so musical and with a first rate voice. Unlike Corelli or Vickers, it feels French. I don't mind whether it is sung or spoken recits. I like both ways of performing it.

Mike

[Tsaraslondon]

Isn't it meant to sound spanish though? I love the Callas performance, and find Leontyne Price far too beautiful, noble and rounded a voice for this role.

Actually no. The music is influenced by Spanish rhythms of course, but this is French music written by a French composer, and, to my mind, should sound French. If we were to follow up your idea, then Mozart's Le Nozze di Figaro and Rossini's Il Barbiere di sivinglia should also sound Spanish. And, for all Puccini's use of authentic Chinese tunes in Turandot, does it sound Chinese? Absolutely not. It's Italian opera through and through. So is Aida, in which Verdi created his own brand of Egyptiana.

[Guido]

I was sort of joking! One shudders to think what an Egyptian sounding Aida would be!

[czgirb]

How about Sakkaris Record' The Greatest Years of Maria Callas set
Is it better in both performance and sound ?
Which records is highly recommended ?

[czgirb]

Please recommended a recording, which comes from that set

[Tsaraslondon]

Please recommended a recording, which comes from that set

I don't know this set. But it can only be another issue of material that has been available before on other labels.