Customer Reviews

Puccini: Tosca (complete opera) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Victor de Sabata, Chorus & Orchestra of La Scala, Milan

5 star:		(108)
4 star:		(14)
3 star:		(7)
2 star:		(1)
1 star:		(5)

 

 

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.

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!

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!

I can't understand why some people call Callas' voice ugly.In 1953 it was a beautiful,warm instrument.
Just listen how wonderful Callas sings in the love-duets with Di Stefano.That's vocal beauty combined with great passion.Callas always sounds beautiful when it makes dramatic sense.In the scenes with Tito Gobbis' daemonical Scarpia the sound of Callas' voice changes.How can anyone sing about feelings like hate,fear and desperation with a beautiful voice?I think no other soprano is so convincing in the second act as Callas is.She portrays her feelings against Scarpia (t'odio daemonio!-I hate you devil!,assassino!-murderer!) with real hate in the voice.Another advantage of Callas'Tosca is,that she always tries to avoid laughable realistical effects like crying,screaming,sobbing which ruin the recordings of many verismo -singers.Only in Vissi d'arte you can hear a small sob that is really heartbreaking.
In my opinion this recording is the best Tosca.When it was made Maria Callas,Giuseppe di Stefano and Tito Gobbi were all in their vocal prime.Di stefano was such a passionate Mario and Tito Gobbi will always be the most convincing Scapia of all times.
The orchestra and the chorus of the Scala are perfect,Victor de Sabata is an intelligent conductor,you can feel how much he loved this opera.
Another great recording is von Karajan's Tosca with Leontyne Price.

It is easy to hear why this 1953 TOSCA is considered one of the greatest -- if not THE greatest -- opera recordings of all time. To start with, Maestro Victor de Sabata has an unusually profound understanding of the score: he makes TOSCA sound like a drama, not like a melodrama. Close your eyes during Act II and listen to how masterfully de Sabata controls the music's ebb and flow, its contrast between tension and repose.
Giuseppe di Stefano's tenor is in its golden prime, with a warm, liquid sound. He is also alive dramatically: his cries of "Vittoria!" in Act II are thrilling, his "E lucevan le stelle" in Act III heartrending. Maria Callas and Tito Gobbi are both in secure voice and at the height of their powers dramatically. Gobbi's tone is filled with a rich vibrato that makes him sound almost alluring in his scenes with Tosca. Callas' portrayal of Tosca (it is just that -- a complete characterization in sound) is full of moment-to-moment nuance and detail. It is electrifying when, while stabbing Scarpia, she lets her full voice out: suddenly, Tosca is no longer the scared "little woman." Callas' "Vissi d'arte" is beautiful in every way: tone, intonation, phrasing, and feeling. As TOSCA is such an atmospheric opera, it would be nice if the recording were in stereo. However, the intense conducting and vocal/dramatic performances more than compensate for any lack of "atmosphere." In fact, I always feel completely caught up in the drama when I listen to this TOSCA. That, surely, is one of the tests of a great opera recording.

How can so many people miss the point of Callas' singing? Not only was she trying to portrait surface beauty- the beauty of the voice, but also the inner truths of the story. I agree that Callas' vocal beauty is controvercial, but there is so much emotion and strength in her voice that even people who question it's beauty should be able to appriciate it. Why is it that so often substance is overlooked in the search of surface beauty, (which I think Callas had also)? No other recording of Tosca left me as satisfied as this one (except the other Callas one).

And to the Callas detractors, how many of you have actually listened to Callas impartially? Her technique and vocal prowess are virtually unmatched!

By the way, as for the younger generation not being fans of Callas, I am 14, and I have a friend, 15, who also appriciates Callas.

To be honest, I decided to review this "Tosca", because I saw the average review of 4 stars and I can not agree with that. How can one possibly listen to magnificent Tosca of Callas and Terrified Scarpia of Gobbi and not to give 5 stars to this recording? This is how "Tosca" was meant to be and should be performed. Here is everything: Starting with heartbreaking, brilliant, desperate and sometimes proud singing of Maria Callas, the best Tosca ever. And what about Tito Gobbi. He is one of the best singing actors of the 20th century and this recording shows you why. Even not seeing him, only listening to him, one can judge how precise and at the same time emotional is his performance. This is outstanding. Di Steffano's Cavaradossi is great. I want review the second act: Listening to Callas and Gobbi, this very tense dialog, full of emotions, passions and Di Steffano's terryfing Vitoria!Vitoria! what one can say? This is the best act ever written. I can defenitely say so, although "Tosca" is not my favourite opera, but this recording defenitely gives me this impression. So this is top class and defenitely 5 star performance.

This is an amazing recording. If you like Callas or Gobbi get it - they are a phenominal duo.

It's amazing that all the Tebaldi fans are still trashing the Great Callas. Just the way it was between the prima donna's during their lifetimes - their fans starting all the trouble.

Callas is my favorite singer, followed by Schwartzkopf, Sutherland, and Tebaldi.

You really can't compare Callas and Tebaldi, they are too different. Tebaldi had the voice of an angel, and Callas had multiple voices. Their voices were too different to compare. I prefer Callas because she was able to do so many things with her voice that Tebaldi couldn't.

Callas BECAME the characters in the operas she performed, Tebaldi merely sang them, but beautifully. Opera is not just about singing. Do you go to a play to hear people just talk? No you go to see them act and tell a story. Most opera singers are not good actors. Callas was a phenominal actress and a one of a kind singer. "Nobody can double Callas."

I have difficulties distinguishing the voices between sopranos. I can't tell who is singing. However, with Callas you know it's her- vocally and emotionally. She has it all.

There is a reason why Berstein called Callas "the greatest artist of the 20th century" and there's a reason Callas is still the highest selling opera star more than 20 years after her death. Callas is immortal and growing in popularity with young people. That girl from UCLA doesn't know what she's talking about, and it figures Callas would rank number 58 in a city completely void of any artistic taste. A city that made stars out of Pauly Shore, Paula Abdul, Pamela Anderson, and countless other talentless prats, is being used as basis for true talent? That is revolting.

In conclusion, judge Callas for yourself. You may not like her, you may love her. I did so and I love her...it was one of the greatest discoveries of my life!

There is really not much more that can be said of this recording, except that it is not at all over rated in my opinion. If you are not fond of Callas' voice, you certainly will not like this Tosca, but if you do, you will be completely enchanted. Callas delivers the ultimate rendition of the title role; soft and tender in the areas where tenderness is required (her Vissi d'arte is incredible), and impassioned and fervent where it is called for. Yet, despite her powerful and dramatic singing, she also conveys a definite feeling of vulnerability which is absolutely essential for the role.

Although Giuseppe Di Stefano is not generally one of my favourites, he's ideal for the role of Cavaradossi (sort of puppy-ish yet passionate) and his E Lucevan Le Stelle deserves attention. Tito Gobbi is Callas's equal in this set. As adorable as he is as Figaro, he is devious, sarcastic, yet strangely alluring as Scarpia; to the degree that one feels the true eroticism lies between Tosca and he, rather than between she and Mario. Victor de Sabata is unrivaled in my opinion and delivers an intoxicating performance. I agree with the poster below that states that Callas is certainly not only for stubborn elderly people who do not appreciate new sounds. I am fifteen, and although I love Sumi Jo and Cecilia Bartoli, they are completely incomparable to Callas. Not because they are necessarily inferior, but because they are completely different animals! Not only do they sing different fachs (Cecilia is a mezzo, and Sumi Jo is a coloratura) but they were not even trained in the same schooling as Callas! Callas is truly the most divine example of how bel canto can be used. Another of my favourite Toscas is the Milanov/Bjoerling/Warren version. Check it out if you want to hear a truly incredible Cavaradossi.

This Tosca demonstrates vividly the aspects of Maria Callas' voice that ultimately made her one of the best vocalists of the century: Extreme versatility, passion, impeccable technique, strength and endurance, and a voice and soul containing such beauty that she brings tears to the eyes of anyone willing to accept her for what she is.

Nobody who loves this opera should be without Callas, Gobbi, and di Stefano. De Sabata I can take or leave, but many, many opera fanatics think of these performers as owning their parts for good reason. Callas was a marvelous voice and a marvelous singer, with an enormous variety of tonal colors. Tosca was a role that fit her like a glove, so why all this Callas bashing? She certainly did NOT scream on this recording, and the reviewers who note that she is in youthful and fresh voice are only giving voice to the truth. Maria Callas was in no small part responsible for the current opera popularity. Even we who don't have her on our `fave' list owe her a debt of gratitude way too big to pay. I hope she's singing with the angels in Heaven...

Tito Gobbi is one of my favorite Scarpias, next to George London. I remember seeing a short film clip of this man when I was a kid. It knocked me off my feet, figuratively speaking. Gobbi was one impressive singing actor, with a one-of-a-kind voice. This is a fine documentation of his vast and varied art.

Giuseppi di Stefano had one of the most sheerly gorgeous tenor voices I have ever heard. It was sweet in tone, sounding like fine velvet brought to life and taught to sing opera. You think this is the greatest opera recording of all time? I cannot agree with that at all, but I see where those claims are coming from. Frankly, my vote for such a recording has to go to a live Knappertsbusch Parsifal. The conducting was to die for... and the singers and their singing! Hotter, Thomas, Neidlinger, Talvela, George London, and a great soprano whose name escapes me, in as inspired a performance of any opera as I have ever heard. Tosca has three principles who've got to be on the money- that Parsifal has six. Anyway, back to Tosca... if you love this opera, do yourself a HUGE favor, and buy this recording!