Customer Reviews

Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan

5 star:		(58)
4 star:		(11)
3 star:		(3)
2 star:		(3)
1 star:		(4)

 

 

If ever the was an opera recording that deserved the highest praise despite its technical deficiencies, this is it. Many reviewers below complain about this recording's sonics -- it is a live, mono recording from 1955. But focusing on sonic problems in the face of Callas's magnificent performance is like deprecating the *Mona Lisa* because there are a few cracks in the paint. Callas gives here the ultimate opera performance: she not only has complete command of the music, but she works within it to create a living, breathing character who develops during the course of, and as a result of, the drama. What she does is better than acting while singing; it is acting *by means of* singing. (And, I should add, the other principals are excellent.)

If you have not yet listened to a lot of opera, or if you just want a recording that will sound pretty in the background, then you will probably not appreciate this set. As your tastes become more educated, however, return to this. You will be blown away.

This was one of Callas's signature rolls. I have many recordings of Callas performing Traviata ('51,'52,'53,'55,'56,'58 Lisbon, '58 Covent Garden), but this is the best. The sound quality is a problem -- but not THAT big a problem. It's not in the realm of historical document; it's a recording that can easily be enjoyed just for pleasure. (The '51 Mexico is a BAD recording.) The '55 has it over on the others for several reasons: 1) Callas was in her best voice -- the first few years after her weight loss; so she has the distinct Callas sound, and at its strongest. 2) Her attack on the role is fierce and hair-raising in its passion and depth of feeling. Listen to her saying goodbye to Alfredo. Then compare that moment to anyone else's recording. No one, with the exception of Alagna's wife (her name escapes me) comes CLOSE. The Lisbon recording has better sound but slightly weaker passion, and this La Scala recording also has the advantage of de Stefano as Alfredo. Do not miss this.

This is a definitive recording!
Although the performance is live and the sound may be not so good (it is also mono) ehat we hear is perfect. I believe this is the most beautiful Traviata on record musically, artistically and dramatically.
First of all, Callas! We are in 1955 and her voice is still beautiful. There are no problems with it and her colour is not yet ruined (many have said that Callas had an ugly voice, but this occured later). She sings gloriously and perfectly (Just listen "Sempre Libera" at the end of the first axct). Also she makes our heart break when she says Germont that Alfredo is the only person she has in the world ("Non sapete...")
in the second act. But I think that the most moving point is her separation with Alfredo in the same act. Listen to "Saro la...tra qui fior...presso a te sempre, sempre, sempre presso a te" and you won't remain with dry eyes. This is certainly the reason that when she leaves we can hear an uproarious applaud from the audience.
Di Stefano is a match for Callas at least where voice is concerned. He was not a tremendous actor but he was an adequate one. His performance here is great, he hits all the high notes perfectly (at one point when he pays Violetta for her services in the second act he is given a tremendous applaud that can be heard over the orchestra and the chorus).
Bastianini's Germont is also a diamond. He may not get inside the role but his voice is very beautiful and he uses it excellently. I believe that he is one of the best baritones ever.
Finally, I have nothing to say about Giulini's conduction but one word: SUBLIME!

So, I must reccommend this set not only for Callas fans but for all the fans of Verdi's masterpiece.

Time and time again, a great singer with the command of an immense operatic range would study and attempt to sing the role of Violetta Valery. Time and time again though, there is an incompleteness in the genius these singers exude in the singing of such an incredible opera. More often than not, I find a ton of Violettas on the market bland and unmoving. Yes, they are beautiful vocally, but is beauty simply the calibre for the execution of an opera? I don't believe so!

The great Violettas of our day-Joan Sutherland, Anna Moffo, Beverly Sills, etc., have all displayed a great sense of vocal discipline in their respective performance of this Verdi opera. However, none (even with their amazing flutelike voices) have gone as far as achieving what Maria Callas had achieved in this live recording of La Traviata. Supported by the great voices of Giuseppe di Stefano and Ettore Bastianini, along with the baton of Carlo Maria Guilini, this Verdi opera surely is a classic among classics. With its excellent cast of singers, the lead soprano being the highlight of the entire recording of course, this undoubtedly should belong in the collection of a serious opera lover. The sound quality may falter in some areas, but all in all, it was a heart-wrenching performance.

From the electrifying Sempre Libera (Callas' version was the best so far in years) to the depressing Addio del Passato (my favorite aria in the whole opera), no one else could have injected a myriad of colors into her voice if she were not the great Callas herself. If you really are intent in vocal beauty (in which Callas was good, by the way in this record) and dramatic intensity, add this Traviata to your collection.

No one seems to deny that Callas is a definitive Violetta but there seems to be some arguement about the sound quality of her recordings of Traviata which are, unfortunately, all live.

On this 1955 set, for me, the terrible recording quality of the third act does undermine my full enjoyment. I would advise a person new to Callas, Traviata or Opera in general to only purchase this version as a second or third supporting set to a set they already know & love.

Altho also a live recording, the Callas 1958 Lisbon set is much improved (but not perfect) on the above 1955 set in terms of recording quality. I also like Te Kanawa's version from the early 1990's if you want to go stereo & digital. There are numerous others of great quality, by great singers depending on the style of singing & acting you like.

Once you have another set to fall back on when you are not in the mood for the extremely poor sound mentioned above, then buy this 1955 Callas set & sit back and enjoy Callas's extremely moving virtuoso performance. It is worth it for that.

Amazon's ESSENTIAL recording truly is essential! This is the GREATEST Traviata ever. Callas is in supreme form and sings the hell out of Violetta! Buy it and be enchanted by timeless beauty!

I do not understand why people have trouble with mono sound or live recordings, I believe the ear adjusts to the sound.

Now the performance, Callas preferred live recording as she hated hearing her own voice in the recording studio. Her voice is absolutely divine, the colours, the subtle phrasing, the drama, and the personification of the role. This was my second opera and Callas recording and I had to be persuaded to buy this recording instead of her Sonnambula, I'm glad I did. The reason for my hesitation was I saw the Zefferelli television version with Domingo and was totally put off. The second act was as boring as they come, Domingo yelled and was to outrageous. However I appreciated Zefferelli's directing the whole performance was a bore. So when I got the Callas recording I was not awoked but startled to attention.

Guilini's opening was perfect along with the rest of the opera, he truly is underatted as one of the greatest conductors of all time. Then Callas appeared,her perfect vocalisim, the way she demanded the concentration of the audience and totally one them over. Her E Strano through to the Sepre Libera showed all the emotions she could tackle. The wonder, love, absolute fun and joy right up to the top exhilirating Eb. The second act dazzled me, you have to hear it to understand. I love how she spits out Morro (Track 20) what passion. Act 3 shows her in fine nervous tension because of Alfredo, I absolutely love her ability to hold you captivated. The the last act shows her at her most vulnerable the wobbled top note at the end of Addio del passato gave me tears in its total conception of the role. This act makes or breaks a soprano and Callas does crawl over the line but marches over in a triumph squashing all her so called rivals.

Di Stefano is radiant as always in the mid-1950's and puts on a great performance especially in the heated moments, as he walked out after this performance. Bastianini is much better than his usual self, giving a totally wonderful performance, equalled by few.

However this performance as always with a Callas recording knocks her cast members for a six. She is the greatest soprano ever and continually shows how she revolutionised opera and dominated her field even to this day.

I heard part of Ghiorghiu (if thats how you spell it) in Traviata and was appalled let alone when I read a review that compared her to Callas. Young singers try to copy older singers with dire consequences. A singer should find what the composer is asking and then find their individual way of identifiying and interpreting the character instead of following precendent. Their can be only one Callas, Nilsson, Rysnkae, Ludwig, de los Angeles or Price so people should become their own singer.

Bravo Callas, di Stefano, Bastianini and Guilini, another unsurpassable performance. If only to have been their

This is a live recording of the opening night of La Scala, Milan, 1955. Maria Callas, the Violetta, was at the height of her powers: her voice was still in its prime, but her artistic skills had fully developed. We are fortunate that this performance was recorded, because we now have a record of the most artistically perfect, moving, Violetta ever. I say artistically because even in its prime, Callas's voice was never very beautiful; if you want vocal perfection go for Sutherland or Cotrubas. But Callas turns in a well-sung and astoundingly well-acted performance here. In the Act Two duet with Giorgo Germont, her phrasing is superb, her acting even more so: desperation, passion, anger, all the facets and emotions of Violetta are right there, waiting to be marveled at. The third act is almost unbearably poignant; her use of a thin, pure vocal quality throughout the entire act is unique. And while the vocal quality itself is not ideal, the singing is. Her coloratura in Act One is perfect, and she absolutely nails the high E-flat at the end of "Sempre Libera." She offers fine legato in Act Two, and the unique quality in Act Three already mentioned. She is well supported by the passionate Alfredo of Giuseppe di Stefano, who while not stylistically perfect has the ideal voice for the role. Ettore Bastianini, despite his magnificent voice, is an extremely disappointing Germont. He sings Germont with no expression whatsoever; he could just as well be singing a series of "la la la"s as singing one of the most rewarding characters in the opera. His phrasing is awful and his legato in "Di provenza" is simply atrocious. Carlo Maria Giulini directs the excellent La Scala Orchestra with poignancy and lyricism, though his tempi get too slow in the Brindisi and "Un dì, felice." But the main drawback to this recording is the sound. It starts perfectly acceptably in Act One, but gets increasingly distorted in Act Two Scene One, and in the party scene is seriously distorted and deteriorated, and from then on it only gets worse. I am normally tolerant of imperfect sound, but this is just too crumbly to bear. And of course, the recording, though the voices and orchestra are recessed, captures the audience noise perfectly. The audience noise is another frustration: the La Scala audience is not afraid of showing their approval, and are very noisy. When Callas nails that high E-flat in "Sempre libera," the audience explodes and renders the orchestral coda inaudible; after "Amami, Alfredo," they explode again and render that coda inaudible; after Alfredo throws his winnings at Violetta's feet in Act 2, they explode again and drown out the chorus, and they cheer and applaud prematurely at the end of each act. So this should not be your first recording of "La Traviata." I recommend the DG Kleiber/Cotrubas/Domingo/Milnes recording, with this as an invaluable supplement. Happy listening!

I'm so happy I bought this! I'm listening to the second act over and over again. And I don't get the "bad sound quality" thing! I think the quality is quite good for a live-broadcast. This Traviata puts all others to shame. How sad that I couldn't see this vocal wonder and astonishing tragedienne live! Buy this recording and be enchanted like I am!

~Estelle

While I have never been a huge Callas fan, I recognize her significance in Operatic history-but find her voice occasionally harsh, I must honestly say that this recording is magical. She is in truly wonderful voice, singing an enchanting "Sempre Libera" ending in a thrilling top E-flat. Being a live recording there is a sence of urgency surrounding the performance, not everyone loves this, but I find it exciting. Hearing the footsteps, the stage sounds really brings the performance to life. I could go on and on and on about this moment or that, but suffice it to say that there is a good reason that this recording has been beloved for nearly half a century.
For a beautifully sung recording see the 1963 Sutherland/Bergonzi/Merrill recording which is sublime.
One Traviata is not enough (I have 6! 2 Callas/2 Sutherland/Caballe and Sills).