Customer Reviews

Maria Callas: Live In Concert

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4 star:		(1)
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2 star:		(1)
1 star:		(1)

 

 

Plain and simply, Maria Callas was the operatic icon of the Twentieth Century. The vocal, musical, and dramatic coponents of her art totaled a "complete package" that no one, living or historical, could come within miles of. My gripe here is with EMI, who, while they recorded Callas extensively in the standard repertoire (I am not including the studio recitals here), they completely missed the boat by not recording the great diva in roles like Lady Macbeth, Anna Bolena, Imogene in "Pirata", Elena in "Vespri", Abigalle in "Nabucco", and a few others. They have tried in recent years to correct this error by issuing live performances (with barely adequate sound) of "Bolena", "Macbeth", and "Pirata", etc. But --- and this is very important --- in many instances, the pressings that EMI have acquired sound even worse than the pirate pressings on which these performances first appeared. Truly, we should be grateful that EMI were brave enough to studio-record Callas in "Norma", "Puritani","Sonnambula" and "Il Turco in Italia".
This recording is a case in point. To start with, I am convinced that the abbreviated "Butterfly" aria in the beginning is NOT Callas. True, the speaking voice bears an astonishing likeness to her, but the singing does not. Even at the age of twelve, there should have been at least a hint of the Callas sound, however undeveloped. Someone spliced in another voice, I am sure. Yes, I know that I could be wrong, but I doubt it. The Proch variations are spectacular and they prove what a coloratura technician Callas was, but the sound is so introlerably bad that I find it impossible to listen to. All of the other items here are represented elsewhere on EMI releases in much better sound - though Callas herself may not have been in as excellent vocal condition.
Yes -- we are grateful to EMI for making so much of Callas' work available. But let's look at it from the $$$$$ standpoint. EMI has made megabucks on Callas, and while her artistry is certainly worth it, I wonder how much of a favor EMI is doing Callas by releasing material which she herself would have rejected, especially given the inferior pressings that EMI has settled for. It's not a tribute to the supreme diva of the Twentieth century ----- it's a matter of the all mighty dollar!!!!

This CD contains the very best moments of the Greek Diva!!!! It begins with the aria "Un bel dí", from Madama Butterfly, sung in 1935 under the name of "Nina Foresti". Although Callas always denied have sung under this pseudonym, and despite the voice in the aria is very different from the voice we know of Callas (she was only 12 at this moment), the voice we hear at the beginning of the interview is infallible.

The CD continues with extracts of the RAI Recitals she gave for the Italian Radio. The first was is in Turin (1951), whose "Aria and Variations for flute, soprano and orchestra, Deh! Torna mio Bene" by Proch, is the most vivid example of her virtuosity, despite the sound. The next recital was in Rome (1952), where she sang without equal the "Bell song" from Lakmé, the "Mad Scene" from Lucia (both ending with a high E), the aria from Nabucco and her incomparable Lady Macbeth!!! If this is not enough, we have the next RAI Recital in San Remo (1954): her first aproach to the french language is heard in "Depuis le jour", a jewel in "Tutte le torture", the wonderful "D'amore al dolce impero" and the echoes in the shadow song "Ombra leggiera" (ending with a top D). Finally, is included only one aria from the recital of Milan (1956): the Mad Scene from Hamlet (sung in italian) is very enjoyable!!!!! (Unfortunately, they not included the Semiramide's aria "Bel Raggio Lusinghier" from the same concert) What technique and what coloratura is shown in this recitals!!!!!!

Immediatly, Callas goes deeper with the Isolda's death "Dolce e calmo" (one of the two versions of this wagnerian aria), sung in Athenas (1957). Finally, the compilation ends with the concert of Amsterdam (1959), considered by the critics like the peak of her career. The arias included here are from la Vestale, Don Carlo, Ernani and Il Pirata.

This CD is a compilation that shows what Maria Callas was capable at her most inspired!!!!!!!

I am a Callas fan, and it would be dishonest to try to present the idea I am neutral regarding her. However, this said, I have always been rather objective when discussing her. For those who are not familiar with the Callas sound, be prepared, it is like no other. It is often shrill, even hard pressed, at times she has an uncontrolled wobble when singing high notes, she sounds like she is singing into a bottle in the middle voice, and growlying on low notes. Doesn't sound too pretty, does it? Well, in the classic vocal sense it isn't. It is what she does with what she was given that is so remarkable. Yes, one would and does expect totally musical loveliness from Sutherland, but with Callas one seldom hear that. One does hear a wondrous technique, a glorious spinning of a vocal line, emotions that are to the depths of the human heart, words -- yes, one HEARS the words -- that are ripe with meaning. Her legato is seamless, and her use of glossandos when decending in a passage take the breath away. The miracle is one actually thinks they are hearing extremely lovely singing, with lovely gentle tones that caress the ears. Callas is well supported by the various orchestras, and has sympathetic conductors who seem to understand her very riviting readings of the music. You will hear Callas, as she is, and the miracle that was her.

Let me begin by saying that I am a very objective fan and I try to lend an impartial ear to all music types. That being said when it comes to Callas and this compilation in particular I feel that there is no one who comes close to her in power and clarity between c.1948-c.1961 when the vocal trouble begins to show. I feel that to compare her to Tebaldi, Sutherland, Nilsson et al. is like bringing a knife to a gunfight and listening to any recording made by Callas in that time (especially those on this comp) should show any objective listener, whether professional or not, how opera is to be sung. My only gripe with Maria is that she either could not or would not sing German opera in German.

All this being said if you want to listen to operatic heaven this is a must for your collection. I am literally blown away by the power of Callas live. Every time I put this CD in it sounds like I'm hearing her for the first time. The Bell Song (sung in italian here), Tutte la Torture(also italian), the arias from Il Pirata, and especially the one from Macbeth are probably some the best examples of what the human voice has to offer.

I know I sound like another Callas fanatic but this is not the case. A baseball fan doesn't hate guys like Mantle or Mays simply because they are not Babe Ruth. One doesn't dislike Beethoven or Bach because they aren't Mozart. The fact is while I like and appreciate singers such as Caballe, Sutherland, Tebaldi, and so forth and own many of their works they simply are not Callas.

Here Callas achieved something that neither Sills nor Sutherland could do: She sang Lucia's madscene and Lady Macbeth's aria in ONE live recital to PERFECTION! The voice sounds GORGEOUS, it's at ease and brilliant. The colours, the miraculous acuti, the flawless trills, coloratura and runs... She is the QUEEN OF OPERA!

For those have been frustrated so long by knowing that Callas was superb in live performance but hated hearing bad technical recordings of these performances, you can now celebrate! This remastered collection from EMI is a marvel, and you can now thrill to the sound of Callas at her peak with these circa 50's recordings.

This one's a beauty...not only are these carefully selected high points of the Callas career, the mastering and production is meticulous. The lineup of conductors is impressive, too--these guys were among the best of their time and their contributions go quite some way beyond mere accompaniment. Simonetto, in particular, was incapable of giving a lousy performance.

In spite of some screechy bleakness here and there, Callas during this period redefined what "coloratura-lyric" means.

This is a fabulous 2 CD set of live concerts by Maria Callas from 1949 to 1959. It demonstrates her unique range from dramatic soprano arias to The Bell Song. A must-have for all Callas lovers.

The album is brilliant. It has some very great pieces of Callas and is a must to have for anyone even remotely interested in Opera. Trust me, the music will take you somewhere out of this world.

Most of this album is just fine and shows Maria Callas in typical form. I'm not a huge fan of her voice, but I do appreciate her artistry and acting. But, the Wagner Liebestod IN ITALIAIN is just too much. It makes me laugh out loud every time I hear it. It's worth the price just for the amusement value.