Customer Reviews

Maria Callas - The 1958 Los Angeles Concert / Puccini, Rossini, et al

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This, the most recently unearthed of Callas' live documents, represents the great soprano at the peak of her interpretative mastery. In general, it can be said that her voice sounds closer to that heard on the EMI sessions of two months before than to the Paris concert done twenty days after. The voice was captured relatively far from the microphone; thus, every interpretative detail cannot be heard with the immediacy of a studio recording. Yet if one listens carefully, all details are there. The recorded sound puts a nice complexion on Callas' voice, and her singing is more relaxed and at times more spontaneous than in some of her studio recordings realised in September 1958. Practice - this was the last concert of the 1958 USA and Canada tour organised by Sol Hurok - or contact with a live audience? Probably both.

The VESTALE aria sounds relatively less involved than the rest; it was Callas' usual warm-up piece for the period 1958-59. The final interpolated high C (absent in the studio version of 1955 and in all three concert versions of 1959) is rather tight and slightly shrill; the same note is no more pleasant in the MACBETH recitative (on the first "retrocede"). Otherwise, her top works fine, and less caution is needed for its projection than it would be the case in 1959 (an occasional slight pulsation is present, but is hardly intrusive). At times, the top notes are even more powerful and brilliant than on EMI - the final note in the HAMLET excerpt, for example.

The MACBETH aria, appropriately diabolical and close in spirit to the EMI recording, is vocally infinitely superior to either Hamburg or Stuttgart versions of May 1959 (both disappointing performances of the piece), and far more exciting in result. The BARBIERE aria might sound somewhat subdued in comparison to the Paris version (December 19, 1958, EMI video), but it still a remarkable embodiment of the character's coquettish playfulness and witty charm.

Musetta's Waltz from BOHEME is not the strongest point of this Los Angeles concert. Interpretatively, Callas would be less rigid, more seductive and subtly provocative in this music during the European concert tour of May and June 1963. However, this 1958 version is far more secure from the vocal point of view, and the climactic high B works considerably better for her than it would be later (though still not rock solid as it might have been earlier in her career).

The MEFISTOFELE aria is quite different in approach from either EMI 1954 or London 1959; more sad and plaintive, with less emphasis on the chest notes. The cadenzas and the diminuendo on the final B are simply stunning; the psychological effect of those purely vocal sections of an essentially dramatic aria is amazing. Unforgettable once heard, and incomparable.

The HAMLET excerpt in particular sounds more spontaneous and relaxed than on EMI, and Callas' inventive playing with rhythm in florid passages is very becoming. Interestingly, not a single memory lapse in her French. Elsewhere, she seems to have memorised the text remarkably well (some usual little slips in the VESTALE aria notwithstanding), her mind firmly focused on both musical and dramatic interpretation. The interpretative details would have been in greater evidence had the voice been given more presence on this recording, with each consonant clearly audible (which, unfortunately, was not the case). Still, there seems to be no valid reason to complain about the sound of this in-house tape.

The leaflet notes written by John Ardoin present statistical and historical facts about the concert, the Hurok tour, and Callas' usual choices for her recital programs during the 1950s. No detailed review or comparative analysis in terms of interpretation is given, having probably been kept for the future edition or update of the author's remarkable and famous book "The Callas Legacy" (the latest edition dates from 1995). The orchestra conducted by Nicola Rescigno has been left without credit on this CD edition.

All in all, a highly enjoyable recording - which few will dispute - and an excellent musical signature by Maria Callas as an exceptionally gifted and insightful concert performer. Yet I would hesitate to call it "a major addition to Callas' recorded legacy". Callas' recorded versions of these six arias are quite numerous: eight (BARBIERE), seven (VESTALE), six (BOHEME), five (MACBETH), four (HAMLET), three and a half (MEFISTOFELE), while several of her important stage incarnations (FEDORA, TRISTAN UND ISOLDE, DON CARLO, MEFISTOFELE, FIDELIO) have either never been recorded or are yet to see the light.

At last, the release of the famous Callas concert in Los Angeles on November 29, 1958, an occasion that found her in outstanding voice. It is hard to believe that Callas was on the eve of the overwhelming vocal problems that forced her into early retirement in 1965, because there is virtually no evidence of it here. With the exception of Musetta's Waltz from "La Boheme", Callas had already made studio recordings of all the arias and scenes presented here ---- but these live performances surpass them all. The voice is in perfect balance with the musical and dramatic instincts, and in Callas' particular case, this adds up to something extraordinary, with a myriad of vocal colors layered onto razor-sharp characterizations. For those who claim that Callas was the greatest operatic practitioner of the twentieth century, this CD would serve as strong support for that claim. For those who do not, this disc may well prove to be a revelation. Be that as it may, the sad fact remains that at the time of this concert, Maria Callas was days away from her 35th birthday ------- and her life's work was already nearing an end. This recording is an invaluable document.

A quarter century after her death, previously unavailable recorded material by Maria Callas continues to surface. The present recording, taken live from one of the concerts on her American tour of the late 1950s, duplicates material available elsewhere. For example, the first three items were also sung by Callas at her Hamburg concert of 1959, which was televised and which has been transferred to VHS and DVD. The Mad Scene from Thomas' "Hamlet" is on her 1959 EMI recording.

One year earlier than the above performances, Callas' voice is in good shape, with only a few of her trademark flaws. She tries a rather unsteady high C at the end of the Vestale aria that she wisely omitted in later performances. Musetta's Waltz is a chestnut that tends to expose her weaknesses, in particular a lack of ability to project light, flirtatious charm when it's not written into the music, as it is in the case of Rossini. The intensely sung Mefistofele aria is perhaps the gem of this collection. The sound on this issue is necessarily more primitive than a recording made under more controlled conditions.

On the whole, this concert is a worthy representation of Callas and it is good to have it available. On the other hand, because of the sound and the availability of duplicate performances of these particular numbers, it's probably not the best choice as an introduction to her art.

Yes, I think that her voice was beautiful... She makes me smile, makes me cry and gives me joy! No other soprano, be it Sutherland, Sills or anyone is capable of that!

This rare concert is a revelation. 1958 was an inervating year that started with the infamous Rome walkout during a performance of Norma in January and ended with her termination from the Metropolitan Opera House in November. She was now independent. Sol Hurok sponsored a series of concerts in the U.S. toward the end of 1958 thus giving audiences the opportunity to hear Callas display her versatility by singing arias from various opera's. Callas's confidence as an artist did not betray her despite these career setbacks judging by her vocal condition at this concert of November 29, 1958 at the Los Angeles Shrine Auditorium. Her voice is strong, rich and full and most of the top notes are steady. The sinuous tones she invests as Lady Macbeth to the diaphanous tones as Ophelia gives credence to her range and flexibility. The sound is not the best because I think someone in the hall tape recorded the concert on less than professional equipment. However, Callas's voice fills the hall with torrents of sound. Well recommended.

This is a recently discovered recording of THE greatest artist of this century. It is a wonderful concert of her 1958 American Tour that was never released. A must item for any serious collector! WONDERFUL!

I love Callas and her wonderful coloratura. I'm also from L.A. so it's nice to hear a bit of art history in a town that is so often referred to as culturally devoid.

This CD started with a poor master recording. Lots of pops and hisses, so the final result (I'm guessing) couldn't be made that great. Still, Callas' magic does come through, just much scratchier than I think she would want replayed.

Amazing...Callas is astounding. Nice to hear the Hamlet in French before her voice went. You get a sense of what the voice sounded like in the hall, and why it was so unique. Naughty Rescigno...his conducting isn't stellar, but Callas is still amazing!

This is the first Maria Callas piece I've listened to. The recording is rough/primitive. The quality of the sound is as if it was recorded with a 4-track recorder in a school gymnasium. However, the vocals are astonishing, and well worth the purchase.

This is the greatest legacy that a singer can leave. What an incredible evening! She is in marvellous voice, secure, dramatic, intense! This will silence all Callas' detractors. Nobody can deny her great role in the world of opera. She is the QUEEN!