{"product_id":"callas-donizetti-lucia-di-lammermoor-first-studio-recordings-19531949-paco084","title":"CALLAS Donizetti: Lucia di Lammermoor \u0026 First studio recordings (1953\/1949) - PACO084","description":"overviewfb55cd020f0643f08418183279e63a5f\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 class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDONIZETTI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLucia di Lammermoor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1953 and 1949 \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 12:58\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaria Callas\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Lucia\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGiuseppe Di Stefano\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eEdgardo \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTito Gobbi\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eEnrico \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus \u0026amp; Orchestra of the Maggio Musicale, Florence\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTullio Serafin, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra Sinfonica di Torino della RAI \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eArturo Basile\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e, conductor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare \u0026amp; Gramophone Historic Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fMuch credit is due to Tullio Serafin for his admirable direction of the opera and to the engineers for a most excellent recording578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIn \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e28:6\nI reviewed a release of this performance on EMI. It was digitally\nremastered by engineers who had no idea what the voices sounded like,\nand the sound was simply awful. In the same issue George Jellinek\nreviewed this performance that was issued on the Naxos label and stated\nthat it was audibly acceptable. He pointed out that “Serafin observes\nall of unfortunate cuts of his disrespectful era, including the intense\nWolf’s Crag confrontation between Edgardo and Enrico.” In \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e34:1,\nBart Verhaeghe reviewed still another issue of this performance on\nBrilliant and praised the sound quality. I certainly agree that\nconductors of that era had little respect for the geniuses who created\noperas. It was a time that \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ebel canto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nhad been replaced by con belto, and operas of the old period were\nalways cut to pieces. This performance gives us three wonderful singers,\nCallas, Di Stefano, and Gobbi, and it is a shame that they were not\nallowed to perform the whole opera. This recording has as I mention\nabove been released before more than once. The only reason for any\ncollector to purchase this release is if they don’t have any copy of the\narias from her first recording session. The sound quality on this set\nis quite good. The only notes are about the transfer and are on the\ninside of the cover, and it is stated that full program notes can be\nfound online.\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eBob Rose\u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 36:4 (Mar\/Apr 2013) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eA lot of hard things have been said about Donizetti's \u003cem\u003eLucia di Lammermoor\u003c\/em\u003e,\nsome of them justly; but, given a performance of the quality we have\nhere, there is plenty of life in the old opera and, once Lucia herself\ncomes on the scene, it is often very moving and always enjoyable, in\nspite of the librettist's hash up of Walter Scott's novel.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe weakest part of the opera is, fortunately, the first\nscene of all. The orchestral IntroductIon, impressive enough, is\nfollowed by a conventional chorus, ending with the stage direction\n\"exeunt rapidly\" : but not a moment too soon! Tito Gobbi does his best\nto make a living person of Sir Henry Ashton, and throws in a top G for\ngood measure, but nothing can really animate this lay figure. The\nconversational exchanges and Gobbi's Cavatina are rather too loudly\nrecorded and a much better balance is attained in the next scene, by the\nfountain, in which Lucia makes her first appearance. There is that\nrather naive business with the harp, by way of establishing\n\"atmosphere\", and then comes Lucia's solo \u003cem\u003eRegnava nel silenzio\u003c\/em\u003e,\nsung with a lovely legato by Maria Callas, who has already, one need\nhardly say, established Lucia, in the recitative, as a person of\ncharacter. She ends the aria with a beautifully executed cadenza,\ndisplaying those wonderful rich high notes of hers, but preceded by some\nrather bumpily recorded trills—the only place one can say this of them.\u003cem\u003e Quando rapito\u003c\/em\u003e,\nwith its exquisitely done decorations, and finely moulded sequences,\ncompletes one's utter enjoyment of what is clearly going to be a great\nperformance of the part. Stefano, who now appears, uses his fine voice\nmore circumspectly than in \u003cem\u003eI Puritani\u003c\/em\u003e and the ensuing duet,\nwith a thrilling entry by Callas at \"Deh, ti placa\", is most enjoyable.\nBoth artists excel in the singing of \u003cem\u003eVeranno a te\u003c\/em\u003e, which it is silly to write off as a commonplace waltz. It can only be made into that by the adoption of the wrong tempo.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAfter the duet between Ashton and Lucia (Callas puts a\nwonderful amount of pathos into her singing of \"0 Ciel\") the aria of\nRaimondo (Bide-the-Bent) is cut, and Arié has to wait for his chance\nuntil later in the opera. The cuts throughout are, indeed, extensive.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe celebrated Sextet, \u003cem\u003eChi mi frena\u003c\/em\u003e, is\npreceded by one of the funniest remarks in opera, Lucia's \"Tis Edgar !\nOh thunderbolt\", disguised for most of us, in the Italian text, as \"oh\nfulmine\". The Sextet may seem small beer compared to the Rigoletto\nquartet, or the Meistersinger quintet, but it is undeniably effective\nsung with such an excellent ensemble—how cunningly the orchestral start,\npizzicato, fixes one's attention—and the contract episode is most\ndramatically presented. The first scene of Act 3 (\u003cem\u003eA Hall in the Castle of Ravenswood\u003c\/em\u003e) is cut and the act begins with the festive music of the next scene, \u003cem\u003ea Hall at Sir Henry Ashton's Castle\u003c\/em\u003e.\nA tribute may be paid here to the unfailingly lively singing of the\nchorus. Arié sings a brief aria well and is followed by the tuneful\nchorus \"Oh! qual funesto\", in which he joins.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAnd now comes the great moment, the Mad Scene.\nSutherland Edwards pointed out, many years ago, that the heroine of\nLucia can go mad in two different ways. Patti, Nilsson, Albani (we can\nadd Melba) did not rave, were not \"insanely eccentric, scarcely ever\nflighty\". They were regretful, moonstruck, with a poetry not unlike that\nof certain \u003cem\u003eNocturnes\u003c\/em\u003e by Chopin. He continues that Jima de\nMurska, a famous singer of his day, took quite another line and behaved\nlike a lunatic who at any moment might become dangerous, though\nremaining, naturally, in perfect control of her voice!\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eCallas's impersonation lies somewhere between these two.\nIt is filled with the deepest pathos (as in her singing of \"Alfin son\ntua\", in the section beginning \"Ardon gli incensi\", which is quite\nunforgetable) and it has an impulsive, excitable note in it that conveys\nthe derangement of the poor girl's mind. With all this goes the most\nsuperb vocalisation. In the cadenza before \u003cem\u003eSpargi d'amaro\u003c\/em\u003e,\nCallas knocks the flute out and we hear him only as a little timid\ntootle in the background. Here is certainly some of the finest singing\nof our time, and there is one moment in the repeat of \u003cem\u003eSpargi d'amaro\u003c\/em\u003e\nwhen the voice is recorded with all the actuality of three dimensional\nsound. It is startling. After the final thrilling E flat I had (this is a\njoke now with my friends) to take a turn in the garden to cool down!\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eIt is rough luck on Edgardo to have to follow on\nsuch an achievement : but without any straining after effect Stefano\nsings his celebrated aria \u003cem\u003eFra poco a me ricovere\u003c\/em\u003e very well :\nand in the later scene, when he stabs himself, his singing, to a\nbeautifully played 'cello obbligato, is very moving. Much credit is due\nto Tullio Serafin for his admirable direction of the opera and to the\nengineers for a most excellent recording.\u003cbr\u003e \u003cbr\u003e \u003cb\u003eA.R., The Gramophone\u003c\/b\u003e, March 1954\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO084.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCallas: The early recordings - her first EMI opera, her first studio sessions\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eMassive sonic overhauls from the vocal gems that launched a legend\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis recording of \u003cem\u003eLucia di Lammermoor \u003c\/em\u003ewas Maria\nCallas's first opera for EMI, and one of very few of her classic 1950s\nEMI opera recordings not made in Milan with the orchestra and chorus of\nLa Scala. It was her second full opera recording, and only her third\nofficial studio recording session. Despite some major cuts in the score,\nit was hailed on its release, with A.R. writing not only praise for\nCallas in his review in The Gramophone: \"Much credit is due to Tullio\nSerafin for his admirable direction of the opera and to the engineers\nfor a most excellent recording\".\u003c\/p\u003e\u003cp class=\"body\"\u003eFrom a technical perspective the original recording is\ninteresting. Despite at times being apparently unremittingly dry,\noccasionally we do get a sense of space and acoustic. Equalisation\nfavours clarity of voice above all, and there is a real lack of depth in\nthe sound (and, it turns out, a lot of murk and muck in the lower\nregisters). Working on these two areas in particular rounds out the\nsound of the male voices in particular, making their previous\nincarnations sound somewhat impotent, as well as giving the orchestra a\nfar more convincing presence. But of course it is Callas who shines\nhere, and with the slightest cushioning of real opera house acoutics (in\nthis case I found the Sydney Opera House to offer the most\naccommodating sound without sacrificing the clarity of the original\nrecording) she sounds more ravishing than ever.\u003c\/p\u003e\u003cp class=\"body\"\u003eA quick note about the early Callas recordings: in\ncleaning these up I discovered low-pitched 50Hz mains hum which\nsuggested an unusually high orchestral pitch (A4=-~460Hz) running\nthroughout the three direct-to-disc 78rpm sessions. Repitching the\nrecordings from standard 440Hz by using this reference immediately\nrelieved them of an unusual heaviness of voice and sounded very\nconvincing. Despite this reamrkable degree of sharpness I elected to\nbelieve that what my measurements and ears were telling me was indeed\ncorrect.\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 Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli class=\"bodymidarial\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDONIZETTI \u003c\/b\u003eLucia di Lammermoor\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e Text: Salvadore Cammarano after Sir Walter Scott's historical novel \u003cem\u003eThe Bride of Lammermoor\u003c\/em\u003e \u003cbr\u003e Recorded 29, 30 January and 1, 3, 4, 6 February 1953, Teatro Comunale, Florence\u003cbr\u003e Producer: Dino Olivieri\u003cbr\u003e Engineers: Oswaldo Vareso, David Pickett\u003cbr\u003e Catalogue number Columbia 33.CX.1131\/2\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cbr\u003eOrchestra and Chorus of the Florence 'Maggio Musicale'\u003cbr\u003e Chorus Master Andrea Morosini\u003cbr\u003e Conductor Tullio Serafin\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eWAGNER Tristan und Isolde - \u003c\/b\u003eDolce e calmo\u003c\/span\u003e\u003cbr\u003e Recorded Turin, 8 November 1949\u003cbr\u003e Matrix Nos 71294-2, 71295\u003cbr\u003e Catalogue number Cetra CB.20481\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBELLINI Norma - \u003c\/b\u003eCasta Diva\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBELLINI Norma - \u003c\/b\u003eAh! Bello a me ritorna\u003c\/span\u003e\u003cbr\u003e Recorded Turin, 9 November 1949\u003cbr\u003e Matrix Nos 71296, 71297-2\u003cbr\u003e Catalogue number Cetra CB.20482\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBELLINI I Puritani - \u003c\/b\u003eO rendetemi la speme\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBELLINI I Puritani - \u003c\/b\u003eQui la voce sua soave\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBELLINI I Puritani - \u003c\/b\u003eVien diletto, è in ciel la luna\u003c\/span\u003e\u003cbr\u003e Recorded Turin, 10 November 1949\u003cbr\u003e Matrix Nos 71298, 71299\u003cbr\u003e Catalogue number Cetra CB.20483\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cblockquote\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eOrchestra Sinfonica di Torino della RAI \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eConductor\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e Arturo Basile\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/blockquote\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\/PACO084.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO084.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDONIZETTI \u003c\/b\u003eLucia di Lammermoor\u003cbr\u003e \u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eTHE CAST\u003cbr\u003e Lucia - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003eEdgardo - \u003cb\u003eGiuseppe Di Stefano\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Enrico - \u003cb\u003eTito Gobbi\u003c\/b\u003e\u003cbr\u003e Raimondo - \u003cb\u003eRaffaele Arié\u003c\/b\u003e\u003cbr\u003e Arturo- \u003cb\u003eValiano Natali\u003c\/b\u003e\u003cbr\u003e Alisa - \u003cb\u003eAnna Maria Canali\u003c\/b\u003e\u003cbr\u003e Normanna - \u003cb\u003eGino Sarri\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eOrchestra and Chorus of the Florence 'Maggio Musicale'\u003cbr\u003e \u003c\/b\u003eChorus Master\u003cb\u003e Andrea Morosini\u003cbr\u003e \u003c\/b\u003eConductor\u003cb\u003e Tullio Serafin\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":44064777797722,"sku":"zar1789304755728","price":28.59,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064777830490,"sku":"qmo1789304755729","price":19.66,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":44064777863258,"sku":"pwq1789304755730","price":16.34,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064777896026,"sku":"zva1789304755731","price":15.88,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/callas-donizetti-lucia-di-lammermoor-first-studio-recordings-19531949---paco084_1.jpg?v=1789304762","url":"https:\/\/vestorawear.shop\/products\/callas-donizetti-lucia-di-lammermoor-first-studio-recordings-19531949-paco084","provider":"My Store","version":"1.0","type":"link"}