Customer Reviews

Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (2 complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

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I am deeply struck by how extraordinary this Cavelleria Rusticana is; I have not even listened to all of Pagliacci, because I am enraptured by the gorgeous rhythms that open Cavelleria. The prelude and chorus are remarkable in their sweeping, emotive, and deeply peaceful expressions, and then we are taken directly into the plaintive Callas, and the tragedy begins to build. The performances from Callas, Stefano, Gobbi, and the orchestra all work to exemplary effect in creating a remarkably intense atmosphere. This is a performance that I have to recover from: it absorbs the emotions so entirely that I need a couple of hours to return to my ordinary self. I cannot comment on the technical aspects of the opera, but do know that it works with incredible sublimity in creating a kind of hyperreal atmosphere where the characters and action of the work become infused with an immense importance that does not seem to be present in our real and ordinary lives.

First of all, the veteran Tullio Serafin shapes these two operatic shockers into something as close to contemporary drama as is possible. Both operas burst out of the speakers with a vibrance and immediacy that is all too rare in operatic recordings. In "Cavalleria Rusticana:", Callas reminds one of what the great legendary actress Anna Magnani would have sounded like if she sang. Her voice is large, dark, and incredibly rich.
By contrast, her Nedda in "Pagliacci" is brighter voiced, liberated, and more than a little vicious. It is a tribute to Callas that she would undertake two such different roles within such a short time (the "Cav" was recorded first, with the "Pagliacci" following by six months). Giuseppe di Stefano is fine in both operas, as is Rolando Panerai (who sings a beautiful love duet with Callas in "Pagliacci"), but Tito Gobbi's deformed clown Tonio in "Pagliacci" is amazing, and his confrontation with Callas' Nedda is hair-raising. Surely, these operas have been given some very fine recordings (most notably the "Cav" and "Pag" conducted by Herbert von Karajan on DGG), but none ---- absolutely NONE ---- have been better than these. Not only for Callas fans, but for anyone who wants to know what verismo opera is about.

Callas' tone quality was ideal for verismo opera, and Cavalleria being the first operatic role she ever studied (at the tender age of 14!), I think it is safe to say that her interpretation was solid, as well as her vocal technique. She had a timbre that could very easily play into the 'coarse country maiden' sound that is most appropriate in the moving roles of Santuzza and Nedda. Just beware: The performers truly succeed in executing brutally quick and dirty (dramatically speaking, not musically!) stories that really leave one feeling shocked. They should not be digested in conjunction, but separately to allow oneself to calm down before being struck down by the power. This might be the one problem with this set from the perspective of the listener: it is certainly not subtle. But then, the lack of subtlety is perhaps more the fault of Mascagni and Leoncavallo than the performers. . . .

Some highlights of this set in my opinion:

In Cavalleria: Callas' 'Voi Lo Sapete' was absolutely moving, although I couldn't help feeling as though this single aria probably caused her more strain than Turandot, Tosca, and Isolde combined---talk about a complete union of emotional and physical involvement! The 'No, No, Turiddu' duet was also gorgeous and lulled an imediate response from me. I felt pity for the obviously ill-treated and decieved Santuzza, but was also sympathetic for Di Stefano's Turiddu. In many of these recordings, Di Stefano was merely a backdrop for Callas' magnificence, but he truly holds his own as this Turiddu----very convincing dramatically and vocally.

In Pagliacci: Rolando Panerai was one of the highlights in this piece---it's a shame Callas didn't record with him more often. As already mentioned, Gobbi does a beautiful job with the prologue. Di Stefano's "Vesti La Giubba" is a little bit less than extraordinary. I think Di Stefano had a voice that was somewhat too innocent and, well, might I add, not quite *hefty* enough to carry the role of Canio effectively. That said, he is not offensive in the least and the overall product is quite riveting.

I cannot profess to be a Cav/Pag expert, but from the little I have experienced, this appears to be a very fine set indeed. As long as you are not revolted by the distinctive Callas tone quality (I happen to be a professed Callas lover so my opinions are probably somewhat biased!) I think you will very much enjoy this recording.

A Santuzza that never screeches but suffers musically, almost as beautiful as de los Angeles' Santuzza. LOVELY singing in the famous prayer and Callas' alluring Nedda in "Pagliacci" has never been equalled. Di Stefano is great as Turridu and not SO great as Canio but he still beats all tenors today in this role! BRAVI!

Absolutely wonderful! I think "Cavalleria Rusticana" has to be among Callas's best studio recordings.

The music alone is beautiful and captured excellently on this set. The Overture and the Intermezzo are gloriously sweeping.

My Other highlights - The Easter Hymn is thrilling as it builds from a simple beginning to its full-blooded climax. It is immediately followed by "Voi lo Sapete, O Mamma" which finds Callas both at her most heart-breaking and in her finest voice (It is 1954 - the same year as the famous Tosca recording) "No, No Turrido" is another favourite. I really can't recommend this recording highly enough.

I haven't listened to "Pagliacci" properly yet but even if it were the worst recording in the world (which I am sure it is not!) this set would be worth buying for "Cavalleria Rusticana" alone.

If you want to hear pure terror in the human voice then listen to the repeat of the Columbina ditty in the penultimate scene where Nedda tries to get the show back on the track during Canio's rage, and then compare it to the first singing the the opening scene of the Comedia. And it all occured in her imagination. She never had direction on how to achieve these miracles of human expression. On the stage she probably would have melted the Chandalier and all the hair in the audience would have been singed. And the good news the Santuzza and Nedda are only moments great theater in a performance that is nothing but great theater. Did Gobbi grow horns? Did di Stefano kill everybody in the stage audience? He certainly scared the wits out of them. Did Panerai make everybody swoon at the sexual passion in his voice. (He was singing to a microphone.)This Nedda is a complex long suffering, two timing wife who knows that she probably going to die and lets everyone know it with the slightest nuance of tonal shift in two presentations of the same commedia del'arte ditty. It's almost too great a drama coming from speakers. It would have left a live audience in shock. And my opinion we are treated to the most exquisite singing la divina ever recorded. Get it because Callas, Gobbi, et al let us know that Italian verismo can be the greatest drama. And folks it was all in the singers' imagination because the star never did any of this on the stage. Did I mention Serafin's contol of all of this art underpinning all of it in the orchestra? I am guessing there was a lot of melted recording tape.

well, it's callas et al. if you don't know what that means, then you should buy this cd and find out what you're missing out on. if you DO know what it means, then why are you wasting your time reading a review? you know this is worth buying at nearly any price.
so, it's obviously a historical recording so don't expect perfect sound quality. just expect the world's best singers and prepared to change your undergarments multiple times throughout each listening.
if you don't think callas, di stefano and gobbi are the bomb, then you obviously have no taste . . . there's a recording of "sterile corporate musical arias" at your local *$s that i'm sure you'll think is good....

I FELL IN LOVE WITH CALLAS AT THE TENDER AGE OF 11, AND COINCIDENTALLY, WITH DI STEFANO (IN LUCIA). SOON AFTERWARDS, IT BECAME A GROUP ORGY WITH GOBBI IN TOSCA. THIS CAV/PAG WILL CUT THROUGH YOUR SOUL LIKE A KNIFE. ONE WORD COMES TO MIND: PERFECTION. WHAT IS IT ABOUT LA CALLAS THAT HER VOICE COMES OUT OF MY BODY? DID I MENTION I ALSO FELL IN LOVE WITH VERISMO, AND MASCAGNI IN PARTICULAR? I NOW OWN ALL OF HIS OPERAS (AVOID SI) EXCEPT ONE (WAY TOO EXPENSIVE). IF YOU WANT ANOTHER MASCAGNI TOTAL FIX, WITH AN AMERICAN TENOR TO DIE FOR, TRY SILVANO, WITH JOSEPH WOLVERSTON.