Customer Reviews

Verdi: La Traviata (Complete opera); Maria Callas; Alfredo Kraus

5 star:		(28)
4 star:		(2)
3 star:		(3)
2 star:		(3)
1 star:		(2)

 

 

When people mention the opera La Traviata, this recording usually comes up first in the opera conoisseur's list of Traviatas for sound, quality, and cast. Violetta, being Maria Callas' favorite role after Norma, allows her to explore the intricacies of her voice along with her dramatic prowess on stage. Although you can listen to the great La Scala Traviata of 1955 (inarguably the year of her prime), this Traviata has a lot to offer which that Traviata won't. First of all, this recording boasts excellent sound, something which you can't get from the recordings of that period. Second, the cast here is stronger than that of the first recording. While Giuseppe di Stefano and Ettore Bastianini were great partners, and Giulini was a great Verdian conductor, Ghione was great it in his own respect. Plus, the sound is infinitely better. You can hear every detail of Maria's Violetta in this recording. Alfredo Kraus is a more graceful Alfredo, and I believe Mario Sereni as Giorgio Germont is amazing as well. Alfredo's voice is more ideal for the role of...Alfredo! Callas' feel for the role has also developed, and I think she gives a much better performance here than she did in La Scala, the lighter quality of her voice favored for Violetta's condition as a moribundo. And, Maria follows everything in the score while giving this a lot of dramatic truth. Maria can do a triple piano, something only VERY VERY FEW sopranos can do. She truly is the Violetta of this century. Listen to the letter scene and Addio del Passato, which I believe are the most heart-breaking versions of the aria and recitativo I've ever heard. There's no arguing here that Callas is Violetta. Lovely coloratura, amazing pianissimo, great interpretation, beautiful woman, great looks, great stage presence rolled in one amazing package. As for the music, Ghione conducts the performance wonderfully, although I still like Giulini's handling of Verdi's score. This is THE Traviata to own.

This live Lisbon performance was originally released in 1980; it was EMI's way of finally getting a Callas Traviata into their catalogues (there was never an EMI studio recording of the Callas Traviata). Now remastered, and in the new Callas Edition, the sound has been greatly improved, which is very fortunate, since this Traviata is quite good. Callas, a few strident top notes aside, is in great shape. Her final scene is enough to remind people why Callas was Callas. Alfredo Kraus, at the beginning of his career, sounds teriffic, and Mario Sereni is a certainly acceptable Germont. The conducting is not outstanding, but it suffices. The important thing here is that Callas' Violetta is here enshrined in a way that it can be heard and appreciated, in acceptable sound.

How she manages to convey Violetta's illness and despair by using vocal colours only... You can hear sobs from the audience... Simply gorgeous and beautiful! Also, in act III, the "Alfredo, Alfredo" using floating pianissimi... The most outstanding Violetta! But there are other great Traviatas too: The studio-rec with Moffo + the one with Sills.

This is the first opera recording I ever owned, and now the number of complete opera recordings I own totals over 100. After hearing and treasuring this recording, I bought every Maria Callas opera recording I could. With each recording I listened carefully and followed along with the libretto. The stories came alive for me mostly due to the passion and the expression I could hear in these Callas performances. Now, over 10 years later and having enjoyed many live opera seasons in San Francisco, I can look back at this recording with fondness. It opened a whole new world for me.

Those of us who first became acquainted with Maria Callas on LP will remember the frustration of there not being an EMI/Angel Callas Traviata. It was one of her greatest roles but was not recorded because of a contractual dispute with Cetra Records, who had recorded Callas' early go at the part. (Poor Antonietta Stella who DID make the EMI Traviata. Her recording became famous only for being the Traviata that Callas DIDN'T make.) Then, in 1980, there it was: Callas in Traviata on the ANGEL label! Filling that gap on the record shelf. It was a great thrill hard to imagine now that every note Callas ever taped is available everywhere.

Oh, but then the performance..no EMI production here. It featured a laughably inept chorus, a rugged provincial orchestra and uninspired spporting cast. But all of this was swept aside by the go-for-broke intensity of Callas' Violetta. In the midst of all that mediocrity was this vivid prtrayal of the brave, angry, feverish Violetta created by Callas. An absolute treasure snatched from the mists of the recorded past.

Now we also have the arguably superior La Scala performances, and even that old Cetra to complete our picture of Callas' Violetta. And the Lisbon itself is sounding much better (but, oddly, still, not available in the original stereo master recording from Portugese Radio). But, "Gran Dio!" nothing will erase the intensity of hearing this hair raising performance for the the first time. If you haven't heard it yet, don't wait.

P.S. I don't know why some fans think that admiring one singer means that you have to "hate" another. Scotto, Cotrubas, Moffo, Caballe, Tebaldi, Sutherland, Sills, et al: They are all insanely gifted artists with something unique to tell us.

Between this set and the 1955 "live" Traviata, we hear why Violetta was considered to be one of Callas's greatest roles.

The long Act II extended scene between baritone and soprano is the true value of this recording. Elsewhere, it is obvious that Callas's voice has declined since 1955---but never the artistry, though: that remained true, vital, and always searching to the very end of her meteoric career.

In the long scene between Germont and Violetta, both Callas and Sereni take us to the very heart of this opera. They both sing intelligently, meaningfully, generously, with care but also with gusto and "point". Thank God this radio transmission has been released to the general public: this scene between Callas and Sereni alone is worth its weight in gold.

I have seen several reviews about this Traviata. I am glad to see it constitutes a reference "de facto". I will throw some light on some points I have read...

At the time of this recording, Kraus was just beginning his carreer as a singer; he was in his first or second year of singing, and when he was offered to perform with Callas, he at first hesitated, overwhelmed by the myth and by certain bad fame she had about her character and temper. In the end, this was the only time they sang together. Kraus always referred to her as a very amiable and helpful colleague.

The only problem with this opera is the quality of the recording, for it was originally a pirate one, the same as the video. The edition in this CD has mastered the sound and a great many of the defects the original, raw recorded had, have been eliminated (I have one copy of the original that was sold by small companies before this edition was released).

Musically, the opera is definitive. The main problem with Traviatas is that singers may be unsuited for some parts of their characters. For example, the role of Violetta is light and agile at the beginning, and grows more dramatic. Fantastic performances such as Caball?'s lack, perhaps, a little more lightness, especially in the first act. With the role of Alfredo, the main issue is the deepness of his personality, sometimes not fully transmitted by performers. In both characters, sensitivity forms a critical part of the plot. Sometimes the action takes place very quickly and with very little words (think of the return of Alfredo in the second act, when he finds Violetta writing a letter), fact which requires that the singers transmit the full emotional charge in very little time. In this opera, emotions evolve not by what the characters say, but actually due to the things they don't mention and the listener feels and deducts. From the point of view of the artist, this is a formidable challenge, for a few notes must concentrate the expression to fire emotions and imagination in the public.

With all this in mind, it is easy to see why this performance excels, for both Maria Callas and Alfredo Kraus are splendidly sensitive and dedicated singers, who thoroughly analyzed their parts and designed the best of interpretations. Their extraordinary vocal capabilities allow them to paint every detail of feeling, every psychological twist. The transformation of Violetta portrayed by Callas is fantastic, and the emotional charge she puts with the few words of the "Amami, Alfredo" are impressive. Kraus is fascinating, especially being such an early singer at the time, and having grown immense to share performance with Callas. The delicacy and finesse of his "Ah! s?, da un anno" are unmatched. I tend to think that Callas and Kraus suffered a sort of mutual understanding in this opera which improved each other's interpretation. It is often said that one always grows better when beside a great artist; and they both were.

I regret I had not the chance to be at the theatre that night, for I happened to be at a Kraus Traviata many years after (1995!), and, having seen it once, I can imagine what that Callas-Kraus performance might have been live.

I'm not sure what prompted me to purchase the LP version of this recording of LA TRAVIATA over twenty five years ago. I was just beginning to build my opera recording collection and the name Maria Callas was one that I recognized, so I purchased the set. Stickers on the plastic covering claimed it was the greatest recording of the work ever! When I first listened to it, I wondered what all the fuss surrounding this recording was all about. Keep in mind I failed to notice that it was a live recording. When I heard all the background noise, including the prompter giving lines, as well as all the stage movements (the microphones had to be at floor level), as well as the uneven sound, perfect at some moments, then distant sounding, I decided I was ripped off, that is until the recording got to "E'stano/Sempre Libera" then all the background noise and defects went into the background and I believe I experienced the sumptuousness of Callas' voice for all it was worth. Years later I learned that this recording is the fabled "Lisbon Traviata" the subject of a play as well as rumors of an even better pirate recording of this performance. Little did I know I had purchased a bit of opera history.

Certainly this set has many wonderful qualities. Since Callas is live, we hear how she totally embraced a role and Violetta, one of her favorites and best loved roles, comes to life in this set in a manner few other sets can match. We also have a young Alfredo Kraus, just beginning his career, and we're gifted with his light and flexible voice, one that seems perfectly suited to the character of Alfredo. Mario Serini's Papa Germont is just what a Verdian father ought to be. We also hear an energized orchestra and chorus of Teatro Nacional de Sao Carlos, Lisboa. My guess is the company knew this was a performance for the ages and fortunately, we have a record of it.

I'm giving this set five stars because the performance is a five star performance, no doubt. Its energy and excitement more than compensate for its few flaws that are common in live performances. As far as recording quality, it would be about two stars, even for 1958 standards. EMI does as good as job as possible to give it a clear sound, but there are just too many background noises and uneven moments to do too much of a difference. I don't recall noticing so many noises in the LP version and it's quite possible that this is one set that works better as an LP. Still it's an electrifying performance and since my record player no longer works and I have no idea where the LP is, I'm glad I have this set and always feel its excitement any time I listen to it.

I really get a kick out of those people, some of whom are represented on this page, who knock Maria Callas. They don't understand her, they are unable to respond to the Callas voice and art, and they truthfully have no idea what they are hearing and what Callas was trying to do. They only hear the voice, which could turn wiry and unsteady in the uppermost notes. None of this matters at all. For many, Callas was and is the greatest operatic artist of this century. What she had was better than a mere "beautiful" sound; she WAS music. Her Violetta had pathos, beauty, and painful intensity. As one critic said: "Any soprano can make you cry at the end of "Traviata", but Callas made you cry in the middle of "Traviata"." Why can't people who dislike Callas just refrain from buying her recordings and complaining about a voice which they simply are incapable of appreciating? One thing is for sure: with tons of live and studio recordings, and something like fifty biographies written about her, she must have had SOMETHING!!!! I wonder how many of Callas' detractors can say the same thing? Of course none!

I'm particularly passionate about this recording. Not only is it unlike any other singer's Traviata, for my money, this is the hottest vocal performance ever recorded live in an opera house. Callas negotiates, shapes and conquers every phrase in this role with alarming athletic ability, serves Verdi's demanding music with perfect sensitivity, then delivers a catharsis worthy of a great tragedienne. Music and acting come together here in a blinding flash that for me, is unique. There is nothing like this recording. No other singer has climbed this Mt. Everest of a role and left so definitive a stamp. I love all the live Callas recordings -- Berlin Lucia, Dallas Medea, the Normas, etc. -- but here is the crown jewel. I won't discuss the many moments of this recording critics have drooled over for decades -- Just put the CDs in, and hold on to the sofa -- you might fall off.