Customer Reviews

Callas at La Scala

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I'm a Callas fan. I thought very much to buy this CD, but finally adquired and it didn't disappointed me. It contains arias from forgotten operas that Callas gave life again, for example, Spontini's "Medea" and Cherubini's "La Vestale". Also, it has two very fine pieces from Bellini's "La Sonambula". Her "Compagne, teneri amici...Come per me sereno" sounds like an angel: what coloratura voice and what high note at the final of this piece!!! What bel canto recital!!! Callas's voice sounds very great in this 1955 recording. I would like that the sound was stereo, but in this year, only the monofonic sound was available. But the quality of the sound is very acceptable. This is one of my favorite Callas recital!!!

Some of Callas' greatest singing can be heard on this recording, though with regard to the "Sonnambula" and "Medea" scenes, good as they are, Callas actually improved upon them in subsequent live performances of the complete operas (all of which can be heard on CD). The "Sonnambula" scenes are very beautifully sung, but for some reason Callas here eschews all but the most minimal coloratura embellishments. As a result, the music has more of a dreamy quality to it than the more exciting aura which can be felt in her live performances of "Sonnambula" from La Scala and Cologne. The "Medea" scene is also well done as far as it goes, but again, later performances of "Medea" surpass the version heard here. The "Vestale" arias stand as Callas' only substantial statement of the role of Giulia, since she never recorded a complete "Vestale" (and the live performance from La Scala has terrible sound). She performs all three arias with great mastery, especially the long "Tu che invoco", which she brings to a searing and fiery conclusion. These "Vestale" arias are for me the highlight of the entire recording. The digitally remastered sound is excellent, and Serafin does an expert job with the La Scala orchestra. This is not one of the supreme Callas recordings (except for the "Vestale" excerpts), but only because she made such vast improvements over the already formidable performances she gives here. Certainly well worth your attention.

Here Callas can be heard singing three of her greatest roles. It begins with Medea's pleading aria from Cherubini's Medea. Listen how she colours her voice in the most pleading tones, the tears and terror in "Ho dato tutto a te! Torna sposo per me!"!! Recalling the sweetness of their first love her voice becomes bright and shiny only to turn dark, brooding and pleading as she begs Giasone to return to her. An unforgettable portrait of this heroine! Next comes Giulia in Spontini's La Vestale, an opera Ponselle had sung to perfection. After Ponselle this beautiful opera was forgotten until Callas revived it in her greatest year at La Scala: 1954/55. Her recordings of Giulia's arias are masterpieces which are as magnificent as the great Ponselle's recordings. Last but not least the two scenes of Amina (La Sonnambula). Lovely and light in "Come per me sereno" and haunting in "Ah non credea". Two Bellinian masterpieces. If you're looking for the greatest Sonnambula ever recorded buy Callas' live recording with her and Valletti, conducted by Bernstein. One of the greatest Belcanto Recitals EVER!