Customer Reviews

Rossini: Il Turco In Italia (complete opera) with Maria Callas, Nicolai Gedda, Gianandrea Gavazzeni, Chorus & Orchestra of La Scala, Milan

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Rossini's "Il Turco in Italia has never enjoyed the success of that composers vastly more celebrated "Barbiere di Siviglia", but there are some wonderful and fun things here nonetheless. The fairly uncomplicated story of a viperish Italian woman (married to an elderly and passive husband) who falls for a visiting Turk evolves into a vibrant and funny "opera buffa" in the very skilled hands of Maria Callas, Nicola Rossi-Lemeni (in the title role), and Mariano Stabile (as a poet in search for a subject who observes and relishes the goings-on). While, of course, Callas was not readily associated with comedy (her profound assumptions of Norma, Medea, Lucia, Traviata, and Lady Macbeth were already legendary at the time of this 1954 recording), she had scored a great success in this opera, both in Rome, and in a celebrated La Scala revival. Callas is in stupendous voice here ------ she executes roulades, cadenzas, and top D's with a security she rarely exhibited thereafter. Moreover, she creates a real comic character. As is essential for this type of music, her enunciation is pushed forward, with incredibly clear declamation of both consonants and open vowel sounds. Her entire assumption here reminds one of a celebrated Hamlet who, for a change of pace, undertakes to undertake Falstaff, and Callas brings it off with tremendous panache. But she is not the only star here. Nicola Rossi-Lemeni is a wonderfully pompous Turk, and his duet work with Callas is in the greatest tradition of the art of opera-buffo. Mariano Stabile, one of the greatest Italian buffo baritones of the century, contributes a showy and humourous portrait of the poet in search of a subject. And as a bonus, the young Nicolai Gedda, in the relatively small role of Narciso, sings a short but very lyrical aria. Gavazzeni, who was one of the podium giants of the Italian opera stage several decades ago, conducts the beautiful score with a breezy and airy quality, always allowing his artists plenty of latitude to make their own particular mark on this music. This performance is somewhat cut, and there is more music to be heard on the more recent recordings of this opera, but none of them capture the essence of Rossini as does this one. This is not just for Callas fans (though many will already have this wonderful recording), but for anyone interested in savoring a wonderful and refreshing Rossini score that, in it's own very special way, offers rewards as satisfying as those found in "Barbiere di Siviglia", "Italiana in Algeri" and "La Cenerentola". A top-of-the-line effort, in very fine digitally remastered sound that is a vast improvement over the original long playing records.

I have been looking for this CD for a long time. I had an old set in tape format. When EMI first remastered this performance in CD, it was very expensive for me at the time. This performance goes in and out of production, I guess it does not sell well, which it is a shame, because these are superb performances from all the principals and supporting cast.

This recording is a joy to listen to. Who knew that all these singers known for their powerful dramatic performances in heavy hitters such as Bellini's "Norma" could be such great comedians. Their performances are a feast for the ears.

My most favorite scene is from Disc 1 tracks 18 to 21. It is hilarious to hear Callas singing the crafty Fiorilla, playing the "offended" wife to her husband's attempts to rein in her roving eye!. When she sings "No mia vita...mio tesoro" (No my darling... my treasure) with such fake sticky-honeyed-tongue,you can HEAR her fake tears. Callas subtly overplays her singing from such roles as Elvira and Medea in this very small scene alone. She does it with such mastery, you can hear the musical threads of Elvira from "Qui la voce" in Fiorilla's "voi crudele!... mi fatte oltraggio! mi offendete!" (you cruel one!, you humilliate me!, you offend me!) in such pitiable tones that her husband bids good-bye to his courage after listening to such demonstrations of wounded dignity and pride.

She sings her fake tears in such a way, that, for a moment you feel sorry for this wronged woman! then, through a subtle change in the shading of the notes,you realize, she's faking them! thorough the music, you can picture Fiorilla, looking thorough her fingers at her husband, pouring it on, laying it on thick, watching the effect her "tears" are having on the poor chap.

When he kneels at her feet defeated, begging forgiveness, she rounds on him with such a Medea-esque fury in "ed ossate minnaciarmi! maltratarmi, spaventarmi! (and you dare to threaten me, mistreat me, scare me!) that the unhappy, innocent, unsuspecting, antler-addled man has no idea how he lost the argument!!. When Fiorilla knows she's won, you can hear again on her music, how blythely, happily and carefree, she goes out enjoying her power. I replay this scene over and over. And along with her husband, I am caught unaware and became dumbstruck by her tears and her fury.

My other favorite scene is on track 28, when Fiorilla and Zaida have a fight. The have such a row, you cannot help but to picture these two women in an Italian open-air market, among the produce and fish stalls with those typical italian gestures, being dragged away from each other by their embarrased lovers hurling abuse at each other trying to have the last word.

If you want a more musical critique regarding this opera, John Ardoin's "The Callas Legacy" book is a superb source explaining Callas' musical genius. Ardoin will give you greater details on the music execution of the entire cast and interesting tidbits on one of the cast members, Aureliano Pertile.

The booklet that accompanies this set is very informative and in various languages. I love this set and hope that whoever listens to it will enjoy as much as I do. I wonder how Cecilia Bartoli's Turco would measure against Callas'. Although I love and admire Cecilia's ability to sing bel canto roles and her deft handling of Rossini's music,but, I'm afraid I know and love Callas's singing skills even more.

Callas is so associated with her roles of tragic women such as Norma, Lucia ,Violeta and Tosca that her talent for other roles are overshadowed. The La Divina is so versatile and talented that people almost forget that she is equally good in tragic and light comedy roles. The light and comic side of Callas is not often revealed. This recording proves that the charming and witty music that suites the character of Fiorilla is suited for the great talent of Maria Callas .The other performers in this recording did a superb job in their performances. Selim is a charm, Nicolai Gedda shows youth, and Stabile creates an impression in his role as Prosdocimo. Overall this is the Best Il turco in Italia among the three versions I have heard. So for Callas fans who want to hear the other side of Callas purchase this recording its worth every penny.

This is proof that those who say that Callas couldn't sing happy or funny parts. Her Fiorilla is deliciously funny. Absolutely exquisite, a must!

I saw her live in this role... She was the funniest Fiorilla ever! An enchanting must for every operalover!

Yes, this recording is only for Callas lovers, because she do so well her part in this ultra-cut recording. Rossi-Lemeni doesn't reach the power of Ramey, but Stabile print his personal and arcaic way of singing and doing comedy. But for Rossini lovers, this recording seems a "demo" or "sample" one, because there are parts in pieces or complete pieces which has been cut (it must be because there was not a critic edition of this opera). I'm disapointed of Rossini when I listened Il Turco (i didnt never heard this opera) but when i heard the Marriner and Chailly recording, I disapointed from Gavazzeni and La Scala. If this was recorded in the critical and complete edition, it was the definitive recording (the same appreciation applies for the Puritani, Barbiere, Sonnambula, Lucia, Norma, etc)