{"product_id":"callas-cherubini-medea-1959-covent-garden-paco119","title":"CALLAS Cherubini: Medea (1959, Covent Garden) - PACO119","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCHERUBINI  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMedea\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recording, 30 June 1959, Royal Opera House, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eProducer and XR Remastering: Andrew Rose\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCover artwork based on a photograph of Maria Callas and Jon Vickers\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eas Medea and Giasone in the 1959 Royal Opera House production\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 14:22  \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 16px;\"\u003eMedea - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaria Callas\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGiasone-  \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJon Vickers\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGlauce - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJoan Carlyle\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNeris - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFiorenza Cossotto\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eCreonte - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNicola Zaccaria\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSoloists, Orchestra and Chorus of the Covent Garden Opera\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNicola Rescigno\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, conductor\n\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis release is extraordinary news for fans of Maria Callas578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is one of those releases that will\nhave collectors of great historic recordings alternating cheering in\nexultation and wailing in frustration. Only four issues ago, in 37:3, I\nhailed the new ICA issue of this performance, taken from surviving\nmaster tapes, as being leagues ahead of all preceding issues, and at\nlast providing a live complete opera performance of Maria Callas in\nfully listenable, realistic sound. Now, with this new issue, Andrew Rose\nhas accomplished the seemingly impossible; he miraculously supersedes\nthat ICA issue with a remastering from a new private source, “taped from\nthe high-quality FM broadcast on the BBC’s Third Programme onto high\nspeed open reel tape” by a private collector. (Two very brief places\nwhere music was lost due to a need to change tape reels, and a few\nmoments of broadcast drop-out near the end of act I, have been filled in\nfrom previously issued sources, though Rose does an excellent job of\nminimizing the differences in the sound quality of the various sources.)\nOne would think that ICA, working from archival master tapes, would\nhave the sonic edge here, but Rose amazingly trumps that release in\nspades. The ICA set remains good, but this is even better—tape hiss\ngreatly is reduced, the frequency range and dynamics are even more open,\nand clarity of details is amplified. Over the years, Rose has steadily\nrefined and improved his trademark XR remastering art, and the results\nare now routinely reaching the point of superlatives for every issue. A\nsecondary but welcome bonus is that, unlike the ICA release, this\npreserves the broadcast introductions to each act (including a reading\nof notes written by Andrew Porter). While every Callas maven on the\nplanet has doubtless already invested in the ICA set, a further\nexpenditure of funds to acquire this Pristine Audio version (the wailing\nin frustration side of matters) will be for such collectors virtually a\nmoral and not merely an aesthetic imperative. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs I discussed the performance in\ndetail in my previous review, I will only briefly summarize that here.\nOf the six surviving Callas performances of the title role of this work,\nthis is more than ever the one to have; indeed, it is a crown jewel of\nher discography, even if it stems from about two years after the first\nsigns of her vocal decay became evident (though she is in exceptionally\ngood voice here). As Giasone, Jon Vickers is a fully worthy partner and\ndramatic foil; Zaccaria, Cossotto, and Carlyle anchor a first-rate\nsupporting cast; the chorus and orchestra are likewise top-notch; and\nNicola Rescigno (a Callas favorite) provides able guidance and support\nfrom the podium. Tracking is less generous than on the ICA release (20\ninstead of 29 cueing points), and as always fuller documentation must be\naccessed from Pristine’s web site, but these are very minor\nconsiderations. (While Rose has quite reasonably explained his minimal\npaper documentation as a cost-saving measure to keep his on-demand\nreleases affordable, I wonder if there is any way he could offer\ninterested collectors the option of paying an extra fee for a printed\nbooklet.) More than ever, this remains one of the truly indispensable\nitems of the Callas discography, and (despite the corrupt edition used\nof the score) a landmark in the history of 20th-century operatic\ninterpretation. If one could create a niche higher than “must have,”\nthis release would surely occupy it. But further comment by me is merely\nsuperfluous, nay tedious; set this review down and order this set \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enow. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames A. Altena\u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAlthough Maria Callas and Jon Vickers\nwere barely three years apart in age (Callas born in 1923, Vickers in\n1926), they collaborated in only one opera, Cherubini’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMedea\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nover a period of five years, from 1958 to 1962. Three live\nrecordings—made in Dallas in 1958, London in 1959, and Milan in\n1961—survive to document this unique partnership. Until now, the favored\nversion has been the one from Dallas, which shows both principals in\nblazing form and is decently recorded. By 1961, Callas’s voice had\nloosened and frayed so much that it could no longer sustain the\nferocious demands she was placing on it. Two years earlier at Covent\nGarden she was in better condition, but previous releases of that\nversion have suffered from the poor quality of the recording. Now\nPristine Audio has discovered new tapes that capture the event in\nremarkably satisfying sound, with ample presence and detail. And so at\nlast we have a worthy document of what can now be appreciated as a\nthrilling performance of the first great Romantic opera, involving two\nof the greatest tragedians ever to stride the boards of any opera house.\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn several ways, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMedea \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e(or \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMédée\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nas originally titled at the Paris premiere in 1796) was the perfect\nvehicle to bring the artists together, particularly at that specific\npoint in their careers, when Callas was already in decline while Vickers\nwas just emerging as a singer of international stature. Inspired by\nGluck’s “reform” operas of the 1760s to 1780s, but with more\nsophisticated orchestration and bolder, more adventurous harmonies (a\nnumber of passages anticipate Beethoven), Cherubini’s opera achieved a\nmarvelous fusion of 18th- and 19th-century styles, harnessing the\nvolcanic passions and theatrical extravagances of Romantic music to a\nClassical discipline. Callas can concentrate on her magnificent gift for\ndramatic declamation, as well as expressive, nobly sculpted cantilena,\nwithout having to contend with any extravagant coloratura or\nexceptionally high notes. And her voice, in 1959, is still sufficiently\nresilient to surmount most of the perils of that murderous act II\nfinale. Vickers is captured in his early prime, before the gravelly\nsnarls and lurching mannerisms began to invade his work: The flow and\nshapeliness of his legato singing is astonishing in a voice of such\nimmense size, and the sound itself (rugged strength enfolding a core of\ntreble-like purity) can be hauntingly beautiful. Both singers, so\ndifferent in background and training, found in this particular opera a\nmoral seriousness—and, amidst the sound and fury, a classical\ndignity—that allowed them to invest their roles with unforgettable\nconviction and candor. Given central performances of such power, it\nhardly matters that the opera was sung in an Italian translation, using\nan abridged score that incorporated recitatives composed by Franz\nLachner to replace the original spoken dialogue. What we experience is a\nmusical drama of extraordinary concentration, formal cohesion, and\nintensity. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe remainder of the cast is worthy of\nthe occasion. Joan Carlyle and the young Fiorenza Cossotto, as Glauce\nand Neris respectively, sing their arias with lovely tone and\nappropriate feeling. Nicola Zaccaria has the rich bass timbre and the\nauthority for the role of King Creonte. The conductor, Nicola Rescigno,\nis chiefly remembered as Callas’s preferred accompanist during the years\nof her decline. But he was also a musician of culture and experience,\nand the Covent Garden Orchestra plays exceptionally well for him. And I\nhave to say that I’ve never before heard a performance of this opera,\nlive or recorded, that demonstrated so clearly the sheer quality of the\nscore and its historical importance as a bridge between two major\nmusical eras. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJoshua Cohen\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis release is extraordinary news for fans of Maria Callas, and will settle with finality the question of which of the six \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMedea \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eperformances\nleft in recorded form by Callas is the best choice. The strengths of\nthis version became fairly clear about a year ago when ICA Classics\nissued a version of this performance that it claims derived from the BBC\ntapes. Suddenly the relatively dim sound we had grown accustomed to in\nearlier versions seemed to open up. But now, for reasons that are not\neasily explained, we have another major degree of improvement in\nPristine’s release. Andrew Rose, Pristine’s owner, says that this\nrecording “was taped from the high quality live FM broadcast on the\nBBC’s Third Programme onto high speed open reel tape, and reproduces the\nevent in a way that the existing CDs only hint at.” I heard this\nedition in Pristine’s XR Stereo remastering, a process that adds a\nrealistic sense of space around the music without resorting to the fake\nstereo techniques one remembers from the 1970s. ICA’s edition of this\nperformance was ecstatically received by almost all reviewers, including\nboth Lynn René Bayley and James A. Altena in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e37:3. Altena also has a helpful chart in his review for those who wish to know about all six Callas \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMedea \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003erecordings. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt is important to know that while\nthere are specific merits to each of those six (especially, perhaps, the\nincredibly dramatic 1953 performance led by the young Leonard\nBernstein), four of them suffer from cramped or even primitive sound.\nThe only two with sound quality that doesn’t get in the way are the 1957\nstudio recording led by Serafin and this one. The studio recording,\nsadly, does not catch Callas in her best voice, and for some reason\nSerafin seems out of sorts too. That recording, which one would have\nexpected to be one of her most important studio efforts, is a huge\ndisappointment. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBut here we have a performance of\nincredible power now available with a level of sound quality that we\nnever dreamed of. The sound is almost as good as a late 1950s studio\nrecording, and finally we can hear Callas and her colleagues with no\ncompensation needed for the sound quality. I almost feel apologetic to\nthose who recently invested in the ICA Classics edition, which was\nclearly better than its predecessors, but the reality is that this is as\nmuch better than the ICA as the ICA was over earlier versions. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCallas’s portrayal of Medea is one of\nthe classics of the second half of the 20th century operatic world. And\nwhile she might have been in slightly better voice for Bernstein in\n1953, the fact is that she is still singing well here. Her tone is even\nand secure, her ability to color the voice and convey all aspects of\nthis complex character is unparalleled. We get tenderness, pain, fury,\nself-hatred, jealousy, and every other part of the chemical mix that is\nMedea. All of it is audible, clearly, to anyone with ears—even if they\ndon’t know the opera. Here and in Dallas she had her only ideal partner\nas Jason, Jon Vickers. He sings with extraordinary power, but also tonal\nbeauty, evenness of tonal emission, and a rare ability to apply vocal\ncolor to dramatic effect. They make an unforgettable pair. Bayley used\nthe word “incendiary” to describe Vickers’s performance, and it is the\nperfect adjective for both singers. Listen to Callas’s entrance in the\nthird act, “Numi, venite a me.” This is a sound that etches itself into\nyour memory, and doesn’t leave. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe rest of the cast is very fine, and\nRescigno’s conducting is in that zone that lies between competence on\none hand and revelatory inspiration on the other. This is more than\ngood, workmanlike conducting; he knows the style, he knows his singers,\nand he keeps the music flowing with energy and at the same time beauty.\nThe version used includes the usual cuts from that period, and the\nspoken dialogue of Cherubini’s original was replaced by Franz Lachner’s\nrecitatives, which again was standard for that era. Musicologists can\ncomplain, and to some degree they are right in feeling that the\nCherubini original, heard in French, is a finer work. But until another\nartist like Callas comes along and sings it, I’ll take this bastardized\nversion with her every time. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAnyone who cares about the art form of opera should have a Callas \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMedea\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nrepresented in their collection, and now it is perfectly clear that it\nis this Pristine transfer of the 1959 Covent Garden performance that is \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethe \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eone. This release practically defines why the Classical Hall of Fame exists in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO119.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMaria Callas's legendary Medea in fabulous, definitive sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e“Anyone\nwho cares about the art form of opera should have a Callas Medea\nrepresented in their collection, and now it is perfectly clear that it\nis this Pristine transfer of the 1959 Covent Garden performance that is\nthe one\"\u003cbr\u003e- Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eWhat could\npossibly justify revisiting a recording most recently issued (under\nofficial license) less than 18 months ago? Quite simply, the colossal\nleap forward in sound quality afforded by the discovery of source\nrecordings that, even in their raw state, were streets ahead of any\nprevious CD issue of this hugely important historic broadcast\nperformance.\u003c\/p\u003e\u003cp\u003eThe recording was taped from the high quality live FM broadcast on\nthe BBC's Third Programme onto high speed open reel tape, and reproduces\nthe event in a way that the existing CDs only hint at. There were two\nvery brief sections where tape changes required patching, and three or\nfour moments of very brief tape dropout to fix towards the end of the\nfirst act; these aside, the broadcast has been marvellously preserved,\ntogether with BBC announcements.\u003c\/p\u003e\u003cp\u003eXR remastering has only served to further enhance such excellent\nsource material, almost totally eliminating tape hiss, and bringing\nforth a full and brilliant live sound that frequently matches - and in\nsome cases exceeds - the quality of Maria Callas's studio recordings\nmade in her 1950s heyday. No opera lover or Maria Callas fan can surely\nafford to be without this Medea!\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCHERUBINI  \u003c\/b\u003eMedea \u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eMedea\u003c\/em\u003e - Maria Callas\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eGiasone\u003c\/em\u003e - Jon Vickers\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eGlauce\u003c\/em\u003e - Joan Carlyle\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eNeris\u003c\/em\u003e - Fiorenza Cossotto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eCreonte\u003c\/em\u003e - Nicola Zaccaria\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003ePrima ancella\u003c\/em\u003e - Mary Wells\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eSeconda ancella\u003c\/em\u003e - Elizabeth Rust\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eCapo delle guardie\u003c\/em\u003e - David Allen\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eCovent Garden Opera Chorus and Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eNicola Rescigno\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBroadcast live from the \u003cbr\u003eRoyal Opera House, London \u003cbr\u003eBBC Radio Third Programme\u003cbr\u003eTuesday 30 June 1959\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO119.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO119.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":44064777928794,"sku":"cet1789304755646","price":24.51,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064777961562,"sku":"xbk1789304755647","price":19.66,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":44064777994330,"sku":"xrx1789304755648","price":17.87,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064778027098,"sku":"pif1789304755649","price":14.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/callas-cherubini-medea-1959-covent-garden---paco119_1.jpg?v=1789304762","url":"https:\/\/vestorawear.shop\/products\/callas-cherubini-medea-1959-covent-garden-paco119","provider":"My Store","version":"1.0","type":"link"}