{"product_id":"maria-callas-arias-vol-1-puccini-verdi-1954-1958-paco225","title":"MARIA CALLAS Arias, Vol. 1: Puccini \u0026 Verdi (1954, 1958) - PACO225","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePUCCINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eManon Lescaut, Madama Butterfly, La bohème, Gianni Schicchi, Turandot\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMacbeth, Nabucco, Ernani\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eAmbient Stereo \u0026amp; Stereo studio recordings, 1954 \u0026amp; 1958\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 78:12\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaria Callas\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, soprano\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonia Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Tullio Serafin\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u0026amp; \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNicola Rescigno \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fOnce again, Pristine breathes new life into two established and indispensable recital classics578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003ePristine producer Andrew Rose has here combined two of Maria Callas’ greatest studio recital recordings, remastering the Puccini into Ambient Stereo and contributing a perceptive, eloquent and affectionate note of his own emphasising Callas’ unique ability to inhabit and animate an operatic role.\u003c\/p\u003e\u003cp\u003eFor my own part, if I wish to introduce anyone to Callas’s special gifts, I invariably turn to her mesmerising embodiment of Lady Macbeth, featured here in the second half of this programme, to which I make frequent exceptional references in my survey of the major recordings of Macbeth . My first task, however, on reviewing this disc, was to make a sonic comparison between this new release and the two discs in the Warner “big box” La Divina Maria Callas in all her roles ( review ). Being out of copyright, these recitals have been re-issued on various labels, major and minor, and multiply reviewed both on the archive MWI website and elsewhere, but it makes sense to go to the later incarnations of the source recordings. So let me say right away that there is simply no comparison between the two: the Warner remastering sounds thin, hissy, disembodied and distant; with Pristine’s transformation of it into Ambient Stereo, Callas steps forward into focus and we are swept away by the richness of both the sound and the artistry. This Pristine issue, then, is worth it purely for the enhancement of the Puccini recital.\u003c\/p\u003e\u003cp\u003eThe Verdi album was of course always in superior stereo sound so its transformation here will inevitably be less striking – but once again, there is much more space around the voice and if some slight ambient hiss remains, that is an indication of Andrew Rose’s reluctance to be too interventionist in his re-engineering. As with the Puccini, there is no doubt in my mind that this renovation of the sound is a bonus; I am really quite mystified by anyone who dislikes what he does to augment the listener’s pleasure.\u003c\/p\u003e\u003cp\u003eIt really is quite astonishing to reflect on the age of these recordings – as I write, nearly seventy-one years in the case of the Puccini and sixty-seven for the Verdi arias– and on how they still form a benchmark for so many opera lovers. Some critics have made much of the supposed wobble and deterioration in Callas’ soprano, manifested even as early as 1954, directly after her dramatic weight loss, but the occasional flaw of that nature is as nothing compared with the vocal and interpretative prowess Callas harnesses in every aria.\u003c\/p\u003e\u003cp\u003eShe was perhaps temperamentally better suited to portraying Verdi’s mostly stronger women than Puccini’s perpetual victims – and indeed she never performed any of these Puccini roles on stage except for the occasional radio broadcast and concert aria – but then we remember that two of her most celebrated recorded roles were the naïve, lovestruck Gilda and the feisty Tosca which rather reverse my generalisation– so she definitely had the range.\u003c\/p\u003e\u003cp\u003eThe opening aria from Manon Lescaut displays several of Callas’ great gifts to perfection: her legato, her deployment of heart-breaking portamenti , her command of dynamics and her acuity with text. Alongside such an abundance of vocal prowess some slight pulse on top notes is a negligible blemish. For the second aria from that opera, she darkens her timbre and exploits the trenchancy of her lower register to intensify the drama of the plight of the dying Manon, lost in the desert. Her Mimì and Laura are delicately and lyrically delineated yet they did not form part of her stage repertoire. She is ineffably touching in “Donde lieta uscì” and her voice expands magnificently for the climax of the aria before defaulting into the tenderness of “Addio senza rancor”. She even manages to suggest something of the wiliness of the spoilt little girl in the famous, sentimental Gianni Schicchi aria. The two arias from Madama Butterfly – yet another role she did not perform but recorded in full with Karajan – see her less inclined to play the deceived teenager than to depict a woman of courage and resolve. Turandot as Ice Princess might seem more Callas’ bag but the contrast between the sweetness and yearning in her voice in Liù’s “Signore ascolta” and the power and imperiousness of her Turandot is striking, affirming her versatility. Nonetheless, while she hardly makes Turandot a Shrinking Violet, she does render her more human and even sympathetic than many a more leather-lunged exponent of that killer role.\u003c\/p\u003e\u003cp\u003eJust as Turandot might seem to be more truly within her Fach as a dramatic soprano, the Verdi items play to her strengths, even if by 1958 a little more vocal frailty had crept in – but she is still in great voice. Unlike the Puccini operas, Nabucco and Macbeth and featured within her stage repertoire but both only once, relatively early in 1949 and 1952 respectively. A studio recording of Macbeth with Gobbi never got off the ground, so we are left with a live performance in poor sound with Macbeth sung by Mascherini, who is estimable but not Tito and these three arias, which have become benchmark recordings for all Ladies since. Just Callas’ spoken delivery of Macbeth’s letter preceding the aria proper is an object lesson in dramatic stagecraft and what follows is a tour de force. She is chilling, domineering, yet her vocal recklessness is always suggestive of a certain hysteria, a loss of control precipitating her mental breakdown. Just as Serafin was her ideal accompanist for the Puccini arias, Rescigno – her preferred conductor in the late 50s – is wholly sympathetic and idiomatic, finding exactly the right tempo for each aria, while even the great de Sabata, for example, is too fast in the sleepwalking scene. The orchestral introduction with its whining woodwind and growling lower strings is so atmospheric and Callas’ plaintive chant and sudden plunges into her lower register are captivating – just the way she repeatedly enunciates the word “immaginar” in “Chi poteva in quel vegliardo\/Tanto sangue immaginar?” (Whoever could have imagined so much blood in that old man?) is gripping. This encapsulates the greatness of Callas the dramatic tragedienne singer and Pristine’s revitalisation allows us to hear it even more vividly. The last, pulsed, top D flat caps one of the greatest recordings I know.\u003c\/p\u003e\u003cp\u003eAfter such an embarras de richesses the two subsequent arias could be anticlimactic – but in them Callas displays the same command. Abigaille is scarcely less unhinged than Lady Macbeth and Callas throws herself into the wild octave leaps of the introduction with the same abandon, before singing the central cantilena section with a seamless sweetness.\u003c\/p\u003e\u003cp\u003eAfter such almost exhausting pyrotechnical displays of dramatic intensity, the Ernani aria is like a welcome bonus, the opera being one of the most consistently melodic in Verdi’s earlier output. Callas despatches its lilting waltz and tripping cabaletta with such musicality – and indeed ease. If you don’t have this music and love Callas’ voice, acquire this – and even if you do, you might still want it for its much enhanced sound.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRalph Moore\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eMusicWeb International\u003c\/i\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO225.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\nIn the pantheon of twentieth-century opera, Maria Callas reigns not only as\na voice of unrepeatable individuality but as a dramatic force who redefined\nthe interpretative scope of the soprano repertory. These landmark\nrecordings — drawn from two celebrated sessions with the Philharmonia\nOrchestra in London, in 1954 and 1958 — capture her at the height of her\nvocal powers and at the peak of her insight into two composers who formed\ncornerstones of her stage career: Puccini and Verdi.\n\u003c\/p\u003e\n\u003cp\u003e\nThe Puccini arias, recorded in 1954 under the baton of Tullio Serafin,\nshowcase Callas’s uncanny ability to illuminate the emotional core of each\nheroine. In \"Un bel dì, vedremo\" from \u003cem\u003eMadama Butterfly\u003c\/em\u003e, she\npresents Cio-Cio-San not as a passive victim but as a woman clinging to\nhope with tragic clarity. There is no self-pity here — just controlled\ntension and aching resolve, delivered with extraordinary subtlety of\nphrasing and colour.\n\u003c\/p\u003e\n\u003cp\u003e\nIn \"In questa reggia\" from \u003cem\u003eTurandot\u003c\/em\u003e, Callas’s voice takes on a\nglittering, imperious tone. Her Turandot is not merely cold but deeply\nwounded, and the central monologue becomes a chilling declaration of power\nand pain. The partnership with Serafin draws out the music’s latent drama\nand psychological depth. Few interpretations have so convincingly conveyed\nthe blend of myth and trauma in Puccini’s last great enigma.\n\u003c\/p\u003e\n\u003cp\u003e\nThe arias from \u003cem\u003eLa Bohème\u003c\/em\u003e and \u003cem\u003eManon Lescaut\u003c\/em\u003e reveal a\ndifferent Puccinian world: youthful vulnerability and lyrical yearning. In\n\"Sì, mi chiamano Mimì\", Callas floats the phrases with touching simplicity,\nwhile in \"In quelle trine morbide\" from \u003cem\u003eManon Lescaut\u003c\/em\u003e, the voice\ndarkens and slows, evoking a woman trapped between luxury and longing. Her\nuse of legato and finely shaded dynamics gives each phrase narrative\nweight.\n\u003c\/p\u003e\n\u003cp\u003e\nThe Verdi arias, recorded in 1958 with Nicola Rescigno conducting, showcase\nCallas’s dramatic imagination in its most uncompromising form. From\n\u003cem\u003e\nMacbeth\n\u003c\/em\u003e\n, her Lady Macbeth is elemental. In \"Nel dì della vittoria… Vieni!\nt’affretta!\", she hurls the lines with ruthless energy, her tone sharpened\ninto a weapon. In \"La luce langue\", the voice dims with the dying light,\ncreating an atmosphere of eerie, controlled malevolence. Finally, in the\nsleepwalking scene, \"Una macchia è qui tuttora\", Callas strips the\ncharacter to her haunted core. Her voice becomes disembodied — fragmented,\nspectral — the descent into madness chillingly real.\n\u003c\/p\u003e\n\u003cp\u003e\nIn \u003cem\u003eNabucco\u003c\/em\u003e, \"Ben io t’invenni… Anch’io dischiuso un giorno\" finds\nCallas as the tormented Abigaille, expressing regret with regal control and\naching introspection. Her mastery of Verdian line and tone colours this\naria with complexity and tragic grandeur, far beyond mere vocal brilliance.\nEven in an excerpt, she finds a complete psychological portrait.\n\u003c\/p\u003e\n\u003cp\u003e\nFrom \u003cem\u003eErnani\u003c\/em\u003e, \"Surta è la notte… Ernani! Ernani, involami\" becomes\na miniature operatic scene. Elvira’s urgency, her longing and desperation,\nare etched into every phrase. Callas dispatches the florid writing with\nease, but it is the emotional immediacy — her ability to bring the\ncharacter to life in minutes — that lingers. She transforms the\nconventional tropes of early Verdi into something intimate and urgent.\n\u003c\/p\u003e\n\u003cp\u003e\nIn these Verdi roles, Callas uses every facet of her voice as a dramatic\ntool. Ornament becomes expression; silence carries weight. These are not\nsimply arias but distilled dramas — entire acts condensed into a few\nminutes. Her theatrical instinct shapes the structure of every phrase,\nturning vocal technique into storytelling.\n\u003c\/p\u003e\n\u003cp\u003e\nXR-remastered with new clarity, these recordings reaffirm Callas not just\nas a voice of legend but as a singular interpreter of character, mood, and\nmusical structure. Whether navigating the lyrical sweep of Puccini or the\npsychological rigour of Verdi, she brings to each phrase an intelligence\nand emotional force that continue to astonish. Her voice was never about\nbeauty alone — it was about meaning, tension, fire. In these Philharmonia\nsessions, we are reminded not just of Callas’s artistry, but of her\nunshakeable presence — as vivid and unsettling now as it was over half a\ncentury ago.\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_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\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMARIA CALLAS\u003c\/b\u003e Arias, Vol. 1\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePUCCINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eManon Lescaut\u003c\/span\u003e\u003cbr\u003e1. In quelle trine morbide (Act 2)  (2:55)\u003cbr\u003e2. Sola, perduta, abbandonata (Act 4)  (5:52)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePUCCINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMadama Butterfly\u003c\/span\u003e\u003cbr\u003e3. Un bel dì vedremo (Act 2)  (4:34)\u003cbr\u003e4. Con onor muore (Act 2)  (3:43)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePUCCINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa bohème\u003c\/span\u003e\u003cbr\u003e5. Sì. Mi chiamano Mimì (Act 1)  (4:50)\u003cbr\u003e6. Donde lieta usci (Act 3)  (3:22)\u003cbr\u003e\u003cbr\u003e7. \u003cb\u003ePUCCINI \u003c\/b\u003eGianni Schicchi - O mio babbino caro  (2:34)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePUCCINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTurandot\u003c\/span\u003e\u003cbr\u003e8. Signore, ascolta! (Act 1)  (2:31)\u003cbr\u003e9. In questa reggia (Act 2)  (6:24)\u003cbr\u003e10. Tu che di gel sei cinta (Act 3)  (2:50)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMacbeth\u003c\/span\u003e\u003cbr\u003e11. Nel dì della vittoria ... Vieni! t'affretta (Act 1)  (7:48)\u003cbr\u003e12. La luce langue (Act 2)  (4:12)\u003cbr\u003e13. Una macchia è qui tuttora (Act 4)  (11:13)\u003cbr\u003e\u003cbr\u003e14. \u003cb\u003eVERDI \u003c\/b\u003eNabucco - Ben io t' invenni ... Anch'io dischiuso un giorno (Act 2)  (9:10)\u003cbr\u003e15. \u003cb\u003eVERDI \u003c\/b\u003eErnani - Surta è la notte ... Ernani, Ernani, involami (Act 1)  (6:14)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMaria Callas\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, soprano\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePhilharmonia Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTullio Serafin\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e (Puccini) and \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eNicola Rescigno\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e (Verdi)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Maria Callas\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePuccini\u003c\/b\u003e\u003cbr\u003eRecorded 17, 18, 20, 21 September 1954, Watford Town Hall\u003cbr\u003ePresented in Ambient Stereo\u003cbr\u003e\u003cbr\u003e\u003cb\u003eVerdi\u003c\/b\u003e\u003cbr\u003eRecorded 19, 20, 24 October 1958, Abbey Road Studio 1, London\u003cbr\u003ePresented in stereo\u003cbr\u003e\u003cbr\u003eOriginal recording producer: Walter Legge\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  78:12\u003c\/b\u003e\u003cbr\u003e\u003cbr\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\/PACO225.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO225.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo \u0026 Ambient Stereo 24-bit FLAC","offer_id":44064756400218,"sku":"mjz1789304257298","price":14.48,"currency_code":"USD","in_stock":true},{"title":"Stereo \u0026 Ambient Stereo 16-bit FLAC","offer_id":44064756432986,"sku":"wlg1789304257299","price":9.95,"currency_code":"USD","in_stock":true},{"title":"320kbps Stereo \u0026 Ambient Stereo MP3","offer_id":44064756465754,"sku":"uuo1789304257300","price":8.35,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/maria-callas-arias-vol-1-puccini-verdi-1954-1958---paco225_1.jpg?v=1789304264","url":"https:\/\/vestorawear.shop\/products\/maria-callas-arias-vol-1-puccini-verdi-1954-1958-paco225","provider":"My Store","version":"1.0","type":"link"}