Customer Reviews

Puccini: Tosca

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1 star:		(1)

 

 

At the risk of being heretical, I'll go out on a limb and state that this is my favorite version of "Tosca" on disc. There. I've said it.
The critical consensus, of course, is that the Callas-de Sabata version is not only the greatest "Tosca" ever recorded, but one of the greatest recordings of any opera, ever. As excellent as Callas-de Sabata is, though, and as superior that recording's di Stefano of 1953 is to the somewhat strained di Stefano of ten years later heard on Price-Karajan, for me Price is the most accomplished Floria Tosca from a vocal standpoint (by a long shot!) and temperamentally, the part fits her like a glove. Karajan's pacing of the score, and the many felicitous details he conjures from the Vienna Philharmonic, are in a class by themselves; certainly his mannered, eccentric later recording on DG affords far less pleasure. Taddei - and here I'm committing yet another heresy, I'm afraid - strikes me as a far subtler, and therefore more frightening, Scarpia than the legendary Tito Gobbi, and his voice is fresher, to boot. But first, last and always one must return, in discussing this recording, to Leontyne Price. The sheer beauty of her voice, the awesome technique that keeps her both on pitch and in perfect control of dynamics from soft to loud - with none of Callas' lapses into shrieking - and the incomparable way she has of wrapping her voice around a surging Puccini melody, make this a performance for the ages, and an ideal way for a newcomer to this opera (or to opera in general) to acquaint onesself with Puccini's genius.

Leontyne Price, America's great prima donna is my favorite Tosca, hands down over the Callas 1953 Tosca. Although poor Di Stefano is much better in the Callas Tosca. But Tosca is about Tosca. And I say Price has no equals.
It's the voice and drama that makes a great Tosca. Price has both, Callas has only the drama. Listen to Price's "Vissi D'arte" sung as a prayer with Von Karajan's mighty conducting backing it up. Now how can you compare to that? She soars over the huge orchestra with her fluttering high notes so secure and effortless
while Callas has a pushed kind of tone when she reaches for her top notes. Don't get me wrong, I love Callas. It's just that I think she's starting to get overrated as Tosca just as Price is underrated.
The entire second act will have you glue to your seat. Price does what seems the impossible. She sings a beautiful AND ugly Tosca. She is glorious when she needs to be as in "Vissi D'arte" and in her poignant moments with Cavaradossi, and montrous as she should be when she stabs Scarpia repeatedly. Now that's the way Tosca should be sung - as a woman in love - and what she's capable of doing for that love; Not as a raving maniac as Callas portrays her.
I think Price epitomizes Tosca. Her voice is perfect for Puccini and Verdi. She is America's prima donna and we should be proud of her.

As one reviewer has pointed out, this is THE stereo Tosca to own. Taken as a whole, meaning the singing, conducting, orchestral playing, and recording production, this Tosca is a near perfect gem. Recorded in 1962, these sessions caught Leontyne Price in glorious voice and top form. It's no wonder that she considered von Karajan a mentor, for not only is the singing beautiful, but her vocal acting in many ways approaches Callas' 1953 recording. When compared to the work she did with Leinsdorf (Ballo, Butterfly, her second Aida etc.) it's obvious that Price needed a conductor like von Karajan or Solti to bring out her better dramatic instincts. Throughout this recording, Price puts in little touches such as the amusement of Tosca's reassurance in Act III to Cavaradossi's question of proper stage-falling technique with the word "Cosi." When Price recorded Tosca again ten years later with Mehta, she leans a little too far to melodrama, missing the finer details that can make Tosca such a believable and gripping experience. Vocally speaking, Price is partnered excellently by Taddei in the role of Scarpia and more than adequately by di Stefano as Cavaradossi. Taddei is a less subtle actor than Gobbi in the '53 Callas recording, but di Stefano has actually improved his acting when compared to his earlier effort. True, his voice by then was definitely showing signs of wear (hence my judging this recording a NEAR-perfect gem), but again von Karajan proves his dramatic sense by pulling a believable character out of a singer who didn't consider acting that important. Finally, the recorded sound is spectacular. John Culshaw worked wonders in the Sofiensaal, creating a sound picture so vivid, you don't even have to close your eyes to see it. As a Decca Double, this recording is unbeatable value, a necessity for any collector, and an absolute must for anyone who's serious about Italian opera in general and Tosca in particular.

I have to agree with the majority of reviewers who rate Leontyne Price as being one of the greatest interpreters in the role of Tosca to date. While I would agree that Callas is often voted the "best in" category, I would agree that Price's overall performance -- her ability to successfully project many different emotions within the same scene, to sing both beautifully and menicingly in seamless fashion, etc. -- are superior to the often overacted and at times coarse Callas performance. And I would disagree with one reviewer's characterization of Tosca as a "***th" -- she is no such thing! She is a woman both passionately in love and at the same time insanely jealous of her painter lover -- but she is not a "***th. And Price manages to convey the complete dicotomy of this character perfectly. I would agree that de Stefano is not in his best voice here, though certainly he is more than adequate. Von Karajan's conducting here is passionate and sweaping, not overly hurried as he sometimes is, grabbing the listerer's attention and keeping it throughout. I have the London/Decca CD re-release of this recording (not the current Polygram as shown) so there may be some deterioration in the latest transfer, though I have not heard any static or shrillness as spoken of by another reviewer. All in all, this is the recording of Tosca I always recommend to anyone who wants to become familiar with Tosca or Puccini or opera itself. It is a performance not to be missed.

Wonderfull Leontyne in a Wonderfull Tosca. Di Stefano, Taddei and Krajan they'are in is top. Superb sound.

Leontyne sh'is the best Tosca imaginable. Very good cast. karajan is amazing!

Yes, L.Price is among the best Toscas. She has given us a Tosca whose main aspect is vanity, this is why I like this edition a lot. I regard Price more as a Verdi soprano but here she shows that as Tosca she can be exquisite. She has powerful high notes and nice lower ones. I must mention though that her Tosca cannot be compared with Renata Tebaldi's. TEBALDI is the perfect, the grand Tosca that Puccini had in mind. The only, perhaps, main drawback of Price's Floria is her Mario. Di Stefano is not in his prime, sounds a bit tired to me (he was better with Callas but his Floria was the ugly one back then). On the whole, a Tosca that, if you don't want Tebaldi's edition, is certainly worth buying.

This is te veru best recording of this Puccini's opera. Price sh'is sublime

This is the seventh Tosca that I have added to my collection, and listening to it for the first time was a true revelation. I played it over and over again for several days, unable to believe a voice could be as lovely as that of Leontyne Price. Price's Tosca is the essence of pure vocal beauty, a velvety sound that gives ineffable pleasure to the ear. This is a highly rewarding production of one of Puccini's most popular operas. Di Stefano is a well-rounded Cavaradossi and Taddei is outstanding as Scarpia--as good as they are, Price steals every scene--her voice is almost miraculous, as witnessed in her "Presto, su! Mario!" at the opera's end--I have never heard another singer crying out "Mario, Mario!" in such a hauntingly beautiful manner as Price. It simply must be heard to be believed! The opera comes with no libretto, just a synopsis of each act. Nevertheless, it is a Decca "Double Decker" and is a real bargain at well under $20. This is not only one of my favorite recordings of Tosca (its only rival is Callas as Tosca), but it is without doubt one of my favorite opera recordings, period. I don't know how I was so late in discovering Price's ravishing Tosca, but better late than never.

Brava Leontyne. The Tosca more amazing recordage.