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Editorial Reviews
Third EMI CLassics (1997) 2CD set of the historically-acclaimed 1953 La Scala performance. Its immortal cast includes Maria Callas, Giuseppe di Stefano, Tito Gobbi, and others, under the direction of Victor de Sabata. More than 50 years after the release of the origninal 1953 LP recording, this performance of Puccini's masterpiece still has no rivals.
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Most Helpful Customer Reviews
46 of 47 people found the following review helpful:
5.0 out of 5 stars
Proof That Opera Is Powerful Drama- Spectacular!,
By Bill Ratner (Los Angeles, CA USA) - See all my reviews
This review is from: Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan (Audio CD)
Maria Callas was a legend in her time (roughly the World War II and 50's era) and she raised the bar for dramatic sopranos who would come in her aftermath, She was living proof that an opera singer is also a dramatist. Callas was a dedicated actress as much as she was an opera singer. She studied her roles so religiously that she became her characters. Thus, those who saw her perform when she was alive were treated with high art and drama. Now, thanks to the digital technology available to us, we can hear live performances on recording of Callas' finest moments - her Norma, her Lucia, her La Gioconda, her La Vestale, her Medea and in this cas, her Tosca. Puccini's Tosca, based on a play by the Frenchman Victor Sardou, is a story full of raw emotion and fiery drama. Floria Tosca is an aristocratic and good-hearted woman who loves the artist Mario. It is post-Napoleon Rome, and political instability befouls the air. The villainous Scarpia, jealous of Mario and wanting Tosca for himself, arranges the execution of Mario on false charges of revolt. Tosca leaps from a high building to her death. Maria Callas ' voice is heavy, dark and full of thunder. This kind of largeness is necessary for the role of Tosca, who is characterized as a strong woman, despite her tragic finale. Tito Gobbi sings a truly evil Scarpia, lusty, scheming and devilish. His baritone was very commanding in his day. Singing the heroic Mario is Di Stefano, who was paired with Callas quite often. His tenor voice is terrific, lyric and powerful and full of drama. In my opinion, Placido Domingo's Mario is just as good and perhaps even a clone of Stefano's. This recording is a good buy. Enough with the Renata Tebaldi versus Maria Callas feud. There may have been no rivalry at all. The fact they were both powerful-voiced, dramatic divas, yet distinct in their portrayals serves only as a matter of taste. If you are a loyal follower of Callas, then do not belittle a Tebaldi fan. Likewise if you are a Tebaldi fan, don't spew venom against Callas. It's only a feud between their fans, not the singers. In fact, Tebaldi and Callas got along great. The same is said of Joan Sutherland and Beverly Sills. There is no point in rivalry. I have heard both the Callas and Tebaldi Tosca and I like both of them.
34 of 34 people found the following review helpful:
5.0 out of 5 stars
THE voice of Tosca,
By
This review is from: Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan (Audio CD)
The oddest thing I've read was one of these reviewers calling Callas' voice "common". Her voice is unique in the history of recorded opera. How many people can sing everything from Wagner to Bizet to Donizetti? and do so in a memorable way? You may or may not like it, but COMMON it is not. Callas was an incredibly versatile singer who may have been second to others in some things (such as Sutherland in the Bel Canto style work), but Tosca was MEANT for Maria. The darkish voice, the passion, the moments of elegance, the personal interpretation of Tosca WILL move you, even if you do think her tone is "ugly" --which I can't imagine ANYONE thinking. Keep in mind that this is Puccini. It's about drama, it's about life's rawness and poignancy. It's not JUST about the instrument. It's also about the skill, artistic commitment, and imagination of the instrumentalist. Maria Callas has all of this more than most singers. The UCLA kid's critique was incomprehensible to me. I'm only a few years older than her and, yes, I adore Cecilia Bartoli (not spelled with 'y') but I and many of my YOUNGER friends think she's dead wrong about Maria Callas. You can't compare apples and oranges. Callas was a coloratura, Bartoli is a Mezzo. A couple of years ago, Bartoli wouldn't even sing Carmen because she's growing her voice. Callas did Liebestod and the Lakme Bell Song in the same set! In her debut! Also, I think reviewers should try to tell us WHY they found something aesthetically unsatisfying. This "my generation" stuff if utter silliness whose logical extension would mean there is no reason to appreciate anything old --Puccini himself, for instance!
30 of 30 people found the following review helpful:
5.0 out of 5 stars
5 Stars and More!!! Brava Callas!,
By
This review is from: Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan (Audio CD)
I have always been a huge fan of Maria Callas. She brought the intensity and true drama of anything she performed and she risked everything to give us glorious interpretations. Certainly is is true that she had a voice that was not traditionally considered baeutiful, but I am not one of those people who like tweety bird singers who only sing for beauty of sound(which is not true beauty at all - only a superficial one in my opinion). If a composer's wish is to have drama and life to his opera, then the singer has to obey the composer's wishes, end of story. And Callas is the one singer who did this. When neede, she sacrificed beauty for expression of the drama that is opera, and this Tosca is one of the finest examples one can hear of the drama and fire that is required in Puccini's music. This is a set that for once dispels any doubts as to its value as one of the greteast recordings of the century. It is a total perofrmance. Many people single out the second act of this recording for its dramatic intensity, but I feel that does a disservice to Callas and Puccini, as he wrote his opera as a whole combined force of several acts. Sure, the Second act does have the famous Vissi d'arte, and other great 'tunes', but I feel that the whole performance has to be taken into account. The first act is notable for its varieties and subtlties of the orchestra's playing, the second act for its bitter drama and Tosca's cry to God, and the Third Act for its heartbreaking ending (why is it that the prima donnas have to die so horribly?). Throughout the recording Callas, Gobbi, di Stefano and de Sabata create magic through their individual genius. This set has the balance of fire, intelligence, passion, and sound quality needed for a successful recording. For a 48-year-old recording, the sounds stands up well against other versions. I know I haven't reviewed the set as much as I have praised Callas, but what has been said in the other 67 reviews is sufficient I think. I urge you strongly to listen to this set and see foryourself how great music is and Callas!
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