Bellini: La Sonnambula (complete opera live 1955) with Maria Callas, Giuseppe Modesti, Leonard Bernstein, Chorus & Orchestra of La Scala, Milan [LIVE] [ORIGINAL RECORDING REMASTERED]

Maria Callas (Artist), Bellini (Artist), Lsc (Artist), Bernstein (Artist)

Product Details

• Audio CD (November 5, 2002)
• SPARS Code: A-D
• Number of Discs: 2
• Format: Live, Original recording remastered
• Label: EMI Classics
• ASIN: B000069V7N
• Average Customer Review: 5.0 out of 5 stars See all reviews (22 customer reviews)
• Amazon.com Sales Rank: #30,635 in Music (See Bestsellers in Music)

Editorial Reviews

Amazon.com
Maria Callas had worked with Leonard Bernstein at La Scala on Medea in 1953. Here, in '55, they were together again for a very different heroine. While Medea is all vengeance and rage, Amina in Sonnambula is a delicate, sweet, village girl whose sleepwalking confuses the locals into thinking she's unfaithful to her fiancé. Of course, she's exonerated and all ends happily. This role is one of the tests of a great bel canto soprano. There are miles of coloratura, grand leaps, long-breathed melodies, and high notes galore. Callas is at her peak here, singing with delicacy and girlish tone, with fine filigree and sheer loveliness. She makes us care about this character--quite a feat. Tenor Cesare Valletti is her elegant, sweet-toned, and expressive fiancé, and the rest of the cast is fine. Bernstein knows which parts of the score to race through and which to linger over. The remastering of this once-quite-terrible-sounding recording has rendered it acceptable. But even if it weren't (and if you own Callas's other EMI recording of this opera), the wonders of this set--at midprice--are worth hearing. --Robert Levine

Customer Reviews

Most Helpful Customer Reviews

50 of 51 people found the following review helpful:

5.0 out of 5 stars Wonderful historical performance in cleaned-up sound, December 2, 2002

By	Vincent Lau (Hong Kong) - See all my reviews

To be frank, I initially approached this 2CD set, the first official release of the live recording of that legendary 1955 production of La Sonnambula at La Scala, with a fair amount of trepidation, for the LP set that I owned (released by a private Italian label years ago) is in such atrocious sound that renders the LPs virtually unlistenable. Happily, the sound engineers at EMI have done an excellent job in re-mastering the tapes and we now are able to admire this fabulous historical performance in decent sound with the additional benefits of the articles and full libretto (with translation) that come with this treasurable release.

Maria Callas was, of course, the central attraction, and indeed the raison d'etre, for this Visconti-directed production and, judging from what we hear on this set, she was in excellent form on the first night (when this recording was taped). In portraying the innocent and virginal village girl Amina, Callas uses her meltingly tender tone to enchanting effect, whether in her serene reflection of the beauty of nature or her sweet anticipation of marital bliss. Indeed, this recording documents some of Callas' most lyrical singing that has ever been captured on record. Her mesmerising interpretation of the sleeping walking scene would, by itself, ensure her a lasting place in the annals of operatic singing. Conjuring a magical half-lit tone which most convincingly evokes the fragility and the melancholic musings of a girl whose mind is then residing in the realm just beyond consciousness, this mistress of bel canto not only demonstrates how to phrase the long melodies of Bellini with liquidity and musicality, she also shows how these purely vocal devices can contribute towards expression. Her coloratura singing is also brilliant with top E flats securely in place. The Act I cabaletta "Sovra il sen", with the increasingly ornate embellishments with each reprise of the melody and the cascades of chromatic scales at the end, is superbly done and the rondo finale, "Ah! non giunge", provides a spectacular conclusion to the opera where the awakened Amina is amazed and dazzled by the jubilation that surrounds her, which for once made those vocal pyrotechnics an apt reflection of the heroine's sense of awe and elation. While some slight unsteadiness in tone does intrude once in a while, these are comparatively minor in 1955 when the diva was still in her vocal prime. This is truly a great vocal performance and an unforgettable assumption.

Callas is here ideally partnered by Cesare Valletti, a tenore di grazia of the old school, who sings with admirable grace and style throughout. He possesses a beautiful voice and his singing is also heart-felt, elegant and true to the spirit of the work. In fact, he is quite incomparable in the part of Elvino. His duets with Callas are just sublime with the two phrasing prodigiously and singing to perfection in close harmony and with supreme expressiveness. This recording can, hopefully, lead to a re-assessment of the artistry of this rather under-appreciated Italian tenor and maybe even the release of his other recordings for many of today's singers (including some of the biggest names) and voice students can surely learn a lot about the art of singing from him. There is actually no weak link in the cast, which attests to the strength of the La Scala Company in those days. Giuseppe Modesti provides streams of warm Italianate tone as Count Rodolfo and he sings his arias with an innate sense of style without the slightest forcing. Eugenia Ratti is a perky and jealous Lisa with bright high notes and fluent scales while Gabriella Carturan is a sympathetic Teresa whose firm voice does not get submerged in ensembles. The Scala chorus is an effervescent lot, although they are at times out of sync with the orchestra, especially at the beginning of Act I.

One very special feature of this recording is the presence of Leonard Bernstein in the pit. The famed American composer, then at the earlier stages of his conducting career, gives a rather individualistic interpretation of the score. The dynamic range that he produces is great and there are more marked contrasts in tempo than one use to encounter in a Bellini opera. In particular, he employs a rapid and almost whirl-wind of a tempo for some of the choral scenes and thereby distinguishing them from the more leisurely, introspective and spiritually concentrated episodes for the principal solos and duets. Through such contrasts, Bernstein successfully marks out the private and more introspective spheres of the protagonists from the hustle and bustle of the village during the wedding celebrations. He also allows the singers maximum flexibility, which thereby enables Callas and Valletti to do all those wonderful things in their solos and duets. In short, this is an interesting and at times even exciting, though perhaps not absolutely idiomatic, reading of the score.

This live recording is preferable to the earthbound studio recording that Callas made with EMI in 1957. There, Antonino Votto's conducting is pedestrian and Nicola Monti can hardly be compared with Valletti in terms of style and technical control. Callas is also in better voice (and more vivid) 2 years earlier and Bellini's score suffers more cuts under the hands of Votto than those of Bernstein. This new release is therefore the one to have, and given the quality of the performances as well as the cleaned-up sound, it easily deserves a 5-star recommendation.

15 of 15 people found the following review helpful:

5.0 out of 5 stars One of the two Greatest Sonnambulas in history!, December 5, 2004

By	Christian Ocier (Grand Rapids, MI) - See all my reviews (TOP 1000 REVIEWER)

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.

17 of 18 people found the following review helpful:

5.0 out of 5 stars I saw this live..., January 26, 2004

By	MatteoL - See all my reviews

She was the most beautiful, most exciting singer I ever saw. Live this sounded even more beautiful and here Callas, who scared me to death as Medea, looked so fragile and touching... I also saw Sutherland and Scotto afterwards... I'll never forget the Visconti-production with Callas. Listen to her and Valletti and admire Bernstein. In my day this was what we called heaven... Enjoy!