Customer Reviews

Lyric & Coloratura Arias

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Whomever doubted Callas' abilities can now be silenced with the brilliance of her voice in this great great recording from her "big voice" era. Her seamless, and beautiful coloratura, paired with some of the greatest arias of opera along with the masterful insight injected into conducting by Maestro Tullio Serafin. From the tragic La Mamma Morta to the soulful Ebben ne Andro Lontana to her Una Voce Poco Fa to her great I Vespri Siciliani arias, every single one of these treasures must be sampled and indulged by any lover of opera. She has always had an inherent ability to color the phrases of each aria she sings so well that you cannot pass out on this voix du secle. Listen to her Bell Song. It may not be in the original French language in which it was written, but oh what an amazing spectacle of singing it was! It sounded as if Lakme were retelling the story of the Bell Legend of India! Of course, her coloratura may not impress you like Joan Sutherland's amazing Lakme could, but the sheer drama of her voice is enough to make this recording a necessity. Listen to her Una Voce Poco Fa. What a great voice it was that could easily ascend and descend the scales as if she were an elevator! This was the beginning of Callas' illustrious career! At this point of her career, she could still play with her voice however way she wanted to. Don't hesitate to buy this. You won't be disappointed.

This recital is one of the first two that Maria Callas recorded for EMI in September of 1954, when her voice and vocal capabilities were at her peak. The other one is the Puccini Arias, equally beautiful (these two recitals were recorded only in one week!!!!!!) The first five arias of this collection (lyrical arias) were considered "reserved territory" for Renata Tebaldi at that time. But I don't want compare Tebaldi with her (she also is one of my favourites!!!!).

I only want to say that the first five arias are sung with all her characteristic dramatic force, feeling and inspiration that only Callas had... They are unique, specially "La mamma morta" from Andrea Chènier (an opera she sang on stage in 1955 and soundtrack of the film "Philadelphia") and "Ebben?... Ne andró lontana" from La Wally.

The last four arias are coloratura style. Despite Callas was not a coloratura soprano (she was this rarest kind of soprano that only comes once in a century: soprano "drammatica d'agilitá), these arias are sang in amazing form, with an stupendous agility... To prove it, only hear "the answers of the shadow" in the shadow song of Dinorah, or listen to the magnificent "Bell song" from Lakmé, or the incomparable "Bolero" from I vespri Siciliani, both crowned with a powerful high E natural at the end (an E natural is a semitone above the E flat and only a few coloratura sopranos can reach it)... Can you say me which other soprano has a similar range and ability?? Can her voice be compared with the weak voices of today?? You have to hear this record!!!!

This CD demonstrates Maria Callas' unbelievable technique. She cannot be compared with the weak voices of today. No one has her range, strength or flexiblity anymore. Fabulous high E to close the CD out! THIS IS A MUST!

I'm not one of those people who thinks that nothing Maria Callas sung has ever been performed better, but I know a good recording when I hear it. If anyone ever wanted proof that Callas was among the greatest sopranos of all time, this recording, made at the zenith of her career, is it. In particular, the lyric selections are impressive. Her "Ebben? Ne andro lontana" puts her "rival" Tebaldi to shame (why she was ever considered a rival is beyond me), and is the best performance on disc of this beautiful aria, despite cutting the ending off, which seems to be becoming a habit in recordings.

The word "Coloratura" is an Italianised version of the word "Kolorieren" (To colour). It doesn't really have much to do with lalala and fioritura only. And Callas was a master of colouring and florid singing from 1949-1959. There are two recordings of her doing the Bell-song, one live (With DAZZLING topnotes) and one in the studio as presented here. Both shine in their own special light. I hear no problem whatsoever with the trills and runs, no, as she did as Armida she tackles the coloratura with verve, fire and brilliance. But the lyric selection... It was THIS "La mamma morta" that was picked to be used in "Philadelphia", the grand movie with Tom Hanks. This "La Mamma Morta" which even led the charts in the USA and Europe thanks to the movie! Would an "inept" Soprano evoke such a reaction? My friend HATES opera, yet I saw her in TEARS as she listened to this "La Mamma morta"! The phrase "Porto SVENTURA....." makes me cry each time I hear it. Several great critics call it young Callas' greatest recital. I quite agree. My favourite coloratura-recital forever.

Maria Callas is in stunning voice in this recital, but what is really extraordinary is the way she uses her voice to enhance the drama in the music. This recital is essential Callas. My favorite tracks are "Poveri fiori" with its mood of deep melancholy brought out all the more by Callas' singing; "Una voce poco fa," in which the elaborate embellishments are perfectly in character; and "Merce, dillete amiche." The aria from ANDREA CHENIER is also most expressively sung, as is "L'altra notte" from MEFISTOFELE (I believe this is said to be one of her greatest recordings ever). Every Callas fan should have "Lyric and Coloratura Arias," but may I also recommend her "Mad Scenes" and "Puccini Arias" recitals?

This isn't the ultimate Callas recital - there have been ones, before and after, that have more pugnaciously demonstrated Callas's reputation as the voice that could encompass all of female vocal music. In 1957 there was the recital with Traviata, Bolena, Puritani, Macbeth, and Mozart; in 1952, there was the jaw-dropping assembly of Nabucco, Macbeth, then *Lucia*, and the Bell Song. Even as late as 1959, recitals included items such as the Pirata mad scene and "Tu che le vanita" from Don Carlo, which showcased Callas's aptness for Verdi, and her thrilling chest tones. Truth be told, none of the arias on this disc belong to operas that are part of Callas's repertoire (except maybe the Barbiere): all the more impressive and telling that it's this recital that has earned the reputation of *the* Callas recital.

As many reviewers have noted, the first five arias fall under the verismo umbrella, whereas the last four are coloratura pieces. And as some have pointed out, the first five were firmly in Tebaldi's territory, and the inclusion of the coloratura pieces can be interpreted as Callas throwing down the gauntlet: "I can sing *your* repertoire, now try mine!" The diva-esqe squabbling of the 50s is now long gone (at least in theory!), and this disc needs to stand or sink by its own merits. As I mentioned, *none* of these arias really fell comfortably in Callas's repertoire, but that's probably what Callas used recitals for. I doubt, even, if the Mefistofele aria was really in Tebaldi's comfort zone - I can't imagine her voice doing those arpeggios with comfort.

Regardless how badly these arias represent Callas's repertoire, they were carefully selected and, unlike the other available Callas recitals, carefully conducted. The first aria from Adriana Lecouvreur is astonishing for the sheer beauty of tone. It seems that every year Callas had to reinvent her technique for achieving pianissimi, and she had trouble in this same year during the recording of La Forza del Destino; but pace Walter Legge, the silk-thread mirror-smooth tone she achieves here is beautiful. Those who say Callas had an ugly voice should simply listen to those. The second aria is a clever transition into more dramatic territory, setting the stage for the famous "La mamma morta." The live recording in 1955 of Andre Chenier finds her singing with greater conviction and even more musicality, but the reading here is effective, and I think the microphone captures the thrill of her portamenti, especially in the second half of the aria. The only quibble I have - and it's a minor one - is with the high note, a B (I believe), which takes on a different quality from the rest of her voice: there's leakier emission of air, and is certainly a harbinger. Next is the dark aria from La Wally, which I can imagine Tebaldi doing very well in, but Callas holds her own, especially with her ability to vary the frequency of her vibrato.

The fifth aria is from from Mefistofele, and in terms of length, it's the centerpiece of the disc. Callas was to perform this a few more times in recitals, once in Los Angeles in 1958, and in London in 1959; she also teaches this piece at Juilliard in 1971. It's difficult to compare her interpretations at the end of the 50s with the one here, because those later recitals are captured at a distance, but it seems that Callas, but taking decrescendos on the higher notes and bringing forth her chest voice, heightened Margherita's desperation and despair. Notwithstanding her later interpretations, this rendition is deeply haunting, particularly with the Serafin's conducting.

Next - Barbiere! Though the moods couldn't be more different, the low-lying phrases and flights of coloratura in the Mefistofele aria can be considering to foreshadow "Una voce poco fa." Callas sang this in recital and performed a run once in 1956, unhappily; the interpretation here is different - closer, perhaps, to the 1956 La Scala run. Rosina is more spirited than thoughtful, despite the mezzo range, and Serafin has her sing a different cadenza. This has her in the most secure voice of all her interpretations of this aria, and is a delight to hear. The so-called Shadow Song comes after. You can notice the climbing tessitura - a testament to the care that this disc was assembled. I think Callas's live version in the same year is better, but that may be due to the milking of the studio recording, which sometimes obscures Callas's careful differentiation between light and shadow, piano and mezzo-forte. The last two arias were ones she had performed recently. The Bell Song from Lakme capped her 1952 recital, and she sang Elena's Bolero at La Scala in 1951, opening their season. Though Serafin and Callas share a wonderful rapport, the performances on this disc can't match those previous renditions (fortunately captured on disc) for sheer ease and vocal excellence. Particularly in the "Merce, diletta amiche" there are a few blemishes: a smeared descending scale towards the end, and a strained attack at the high E. (Interestingly, Callas also cracked this note 3 years ago, in Florence.)

These selections don't represent Callas. For that, you need to find her recordings of complete operas, such as her Butterfly and Forza, and especially her numerous live performances (Anna Bolena, Medea, Traviata, Sonnambula, Norma), in which the depth of her characterization and musical genius were matched by a sense of occasion. But here, there *is* a sense of occasion. In the collaboration with Callas and Serafin, one feels that both were concerned with the creation of art, much more so than establishing Callas's reputation as a versatile singer, or upping the rivalry with Tebaldi. In almost no other disc is Callas's vocal production more consistently and uniformly beautiful, and the concentration of dramatic truth and vivid musicality is second to none.

This recital of Maria Callas displays a phenomonal talent. Her ability to adopt a different voice for every role that she sings is staggering. Dark, light, medium, soft or strong, the pallette of colors in her vocal apparatus were at her disposal . She recorded these aria's the same week as her Puccini recital. Amazing how the same artist can sing 'In Questa Reggia' from Turandot and 'The Bell Song' from Lakme. It is an incredible feat, but also very risky. Callas being Callas was a risk taker. In September 1954 when she recorded both the Puccini and Lyric-Coloratura Aria's she had shed nearly all of her excess weight. The dispute continues today as to whether or not the weight loss affected her voice. Judging by her vocal condition in this recital the voice is responsive to its demands and knows no bounds. When Callas reduced her weight she did not take any time off from her career, therefore the muscles that are necessary to support the voice were in constant use. This is my observation. In those days she also vocalized regularly. Her vocal decline in my opinion stemmed from alternating heavy dramatic soprano roles with coloratura roles. A voice can only do this for so long. When the elasticity of the vocal chords are stretched, the voice loses control and the quality is compromised. Callas by nature was a dramatic soprano and sounded comfortable singing such roles as La Gioconda, Lady Macbeth, Aida and Turandot. When she sang the coloratura roles she lightened and whitened her voice, thus robbing it of its natural rich and full texture. The stratospheric notes were not entirely comfortable for her. As early as 1952 in her last Mexico City season, she had problems with the high e-flats in Lucia and I Puritani. The e-flat in the cabaletta of 'Vien Diletto' from Puritani was hardly sustained and quickly released. The same applied to the e-flat that concludes the first cadenza of the Mad Scene in Lucia, her first performance. These could have been the tell tale signs of future vocal problems. A singer must have a comfort zone and stay in their fach to sustain a long career. Callas was the reincarnate of the 19th century soprano's who sang everything, ie: Giuditta Pasta and Pauline Viardot. Depite the fact that Callas took risks, we are left with her recorded legacy of a repertoire ranging from Bellini to Wagner, affording us to revel in her amazing gifts as an artist.

This is one of Callas' supreme Recitals. A unique combination of lyricism, drama and gorgeous coloratura. Beginning with an amazing recording of Adriana's lovely aria we're treated with a beauty rarely heard. Followed by "Poveri fiori", another gem that makes one wish for a complete Adriana with Callas. After that comes her world-famous recording of "La mamma morta" (Andrea Chenier). This recording was used in the movie PHILADELPHIA and adored worldwide. Amazing the line "I bring unhappiness to those who love me!" or "Smile and hope, I'm love! I'm hope!" Another highlight is her recording of "L'altra notte". Here the tormenting amtosphere of a cold jail, the abandonment and sadness become almost too real. Her singing the line "Last night they drowned my baby in the sea!" will make you weep! The coloratura-part starts with Rosina's funny aria which Callas sings in the originial mezzo-key, pearl-like coloratura and a big vocal smile. Her recording of the shadow-aria not only features great coloratura but amazing chiaroscuro-effects. Her Bell-aria sounds like a silver bell and Elena's Bolero from Vespri sounds like a joyful dance crowned with a magnificent high E. One of the greatest lyric&coloratura recitals ever. This, "The Art of the Primadonna" and Callas'"Madscenes" belong into every belcanto-collection!

Callas redefined the art of the coloratura for me as I've never hear before. As a fan of Sumi Jo, I find Callas to be infinitely superior. But I didn't arrived at this until a good friend of mine forced me to listen to her. I heard this recording and find myself in awe. Get this!