Callas à Paris: Arias, Vol. 2

Christoph Willibald Gluck (Composer), Hector Berlioz (Composer), Georges Bizet (Composer), Jules Massenet (Composer), Charles Gounod (Composer), Georges Prêtre (Conductor), Monte Carlo Conservatory Concert Society Orchestra (Orchestra), Maria Callas (Performer) | Format: Audio CD

Product Details

• Performer: Maria Callas
• Orchestra: Monte Carlo Conservatory Concert Society Orchestra
• Conductor: Georges Prêtre
• Composer: Christoph Willibald Gluck, Hector Berlioz, Georges Bizet, Jules Massenet, Charles Gounod
• Audio CD (January 20, 1998)
• SPARS Code: ADD
• Number of Discs: 1
• Label: Capitol
• ASIN: B000002SA6
• In-Print Editions: MP3 Download
• Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
• Amazon Best Sellers Rank: #544,715 in Music (See Top 100 in Music)
  • #73 in Music > Classical > Opera & Vocal > Divas > Callas, Maria

Customer Reviews

Most Helpful Customer Reviews

7 of 8 people found the following review helpful:

4.0 out of 5 stars CALLAS MAGIC STILL WORKS ----- MOST OF THE TIME, June 27, 1999

By 

"lesismore26" (Chicago, Illinois USA) - See all my reviews

This review is from: Callas à Paris: Arias, Vol. 2 (Audio CD)

This was Callas' second excursion into the French repertoire, and it was recorded as a follow-up the the highly successful first recital, which was issued a year and a half before. Callas is in variable condition here: some of her singing is pushed and labored, much of it acceptable and interesting, and a fair amount of it is excellent. The first aria, from Gluck's "Iphegine en Tauride" shows Callas at her most vocally vulnerable, with problematic sustained top notes. But once over that, things improve. The Berlioz aria from "La Damnation de Faust" is beautifully done, if one watery top B flat can be excused; The cavatina from "The Pearl Fishers" is lyrical and flowing, and Callas even produces an acceptable top C (albeit very short) at the conclusion. The two "Manon" arias are a 50-50 proposition; the first is beautifully sung, while the second is plagued by uncertainty in the upper register (she, wisely, omits the traditional top D, and substitutes the harmonic lower A in its place). This tentative singing gives way to the greatest singing on the entire recording. Her version of Massenet's "Letter Scene" from "Werther" has become the classic version of this piece, and for good reason. Written in the mezzo soprano keys, Callas doesn't need to concern herself with stressed top notes, and can concentrate on the music and text, and she comes up with a profound and revelatory performance.Finally, the "Jewel Song" from "Faust" provides one of the greatest moments on any Callas recording. The old chestnut sounds completely new, and Callas infuses it with such embulence and happiness, that it spoils you when you hear another version of the piece. An amazing performance of a "war-horse" if ever there was one. Summing up, this recording is worth having for the Berlioz, Massenet, and the Gounod.

2 of 2 people found the following review helpful:

5.0 out of 5 stars Who Cares: Watery B Flats, March 23, 2008

By 

W. Burton (NY & LA USA) - See all my reviews
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This review is from: Callas à Paris: Arias, Vol. 2 (Audio CD)

You will never hear an O Malheureuse from Iphegenie en Tauride like this - ever. Her soul sings this aria; it comes from the depths of her being and her voice is not flawed here in the least; it is rich, rich with tears and texture like no other version ever recorded - It is lament itself, haunting and beautiful. This aria alone, is reason enough to own this CD.

When you listen to Callas, you're not hearing her if you're excusing the watery B flats or pointing at acceptable, but short top Cs.

This is a must for every Callas collection!