{"product_id":"maria-callas-the-puccini-opera-collection-studio-recordings-1953-1957-pabx047","title":"MARIA CALLAS The Puccini Opera Collection (studio recordings, 1953-1957) - PABX047","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;\"\u003eTosca\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e (r. 1953)\u003c\/span\u003e\u003cbr\u003e\u003cspan\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\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e (r. 1956)\u003c\/span\u003e\u003cbr\u003e\u003cspan\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\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e (r. 1955)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePUCCINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTurandot\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e (r. 1957)\u003c\/span\u003e\u003cbr\u003e\u003cspan\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\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e (r. 1957)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003eFive EMI studio opera recordings in Ambient Stereo XR remasters, recorded at La Scala, Milan\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO205.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCALLAS Puccini: Tosca (1953) - PACO080\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe legendary 1953 Maria Callas recording of Puccini's Tosca\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eTremendous improvements in sound quality lift this landmark recording into a new realm\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cbr\u003eThis recording has been issued and reissued so many\ntimes and on so many labels that it seemed futile to begin another\ntransfer unless something really special and new could be brought to it,\nsomething to distinguish it clearly and dramatically from all that have\ngone before. I believe that has been accomplished. Working from mint\nFrench LP pressings, Pristine's 32-bit XR remastering process has lifted\nthe veil of nearly 60 years to bring a dramatic new life and clarity to\nthe sound quality familiar to so many for so long.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe result of this process is truly astonishing to hear,\nand the sound quality revealed is ravishing. In its recommended Ambient\nStereo incarnation there's a real sense of space around the performers\nas well. Finally, analysis of electrical hum buried in the original\nrecording indicates an original performance pitch of A=444.78Hz, which\nhas been preserved for this release.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCALLAS Puccini: La Bohème (1956) - PACO102\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBringing fabulous new life to La Bohème - one of Maria Callas's finest recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"I found Callas’s Mimì one of the most moving I have ever heard\" - The Gramophone, 1958 \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThis classic recording of one of the most popular and oft-performed\noperas ever written was very well recorded for its day (though one can\nonly wish somewhat at headquarters in 1956 had pushed for stereo at this\npoint). Alas the current EMI issue, although generally clean and clear,\nis a rather dull, lifeless affair to listen to. This new transfer with\nXR remastering brings real life and sparkle to the production, with a\nsense of real space on the stage especially present in our Ambient\nStereo version.\u003c\/p\u003e\n\u003cp\u003eOn the basis of painstaking investigations of residual electrical\nhums found on the original recordings I've concluded that the orchestral\ntuning used here was around 445.5Hz, and this remaster has been tuned\naccordingly - taking into account, for the first time, tape speed drift\nand minor speed variations between tape machines over the course of the\nrecording. The result is, I hope, definitive.\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCALLAS Puccini: Madama Butterfly (1955) - PACO113\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe classic Callas - Karajan Butterfly: now sounds even better!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Callas\nand Karajan raise what is so often a mere tear-jerker into the deep\ntragedy Puccini surely intended ... the performance is quite tremendous\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThe 1955 Callas\/Karajan EMI recording of Madama Butterfly is rightly\nregarded as one of the all-time classics. As the legendary Alan Blyth\npointed out in his 1976 review of an LP reissue, it finds Callas at\ntheir \"absolute peak of her vocal form\" with taut, through-conceived\nsupport from Karajan \"at every turn of the drama\". However, Blyth also\nnoted a number of technical short-comings: \"recorded sound that is less\nthan lustrous\", a \"confined\" acoustic, \"the occasional sound of studio\nmovement\" and \"some momentary signs of overloading\".To these I would add\ninconsistent tape speeds leading to drifting pitch, background rumble\ninterspersed with accelerating traffic, and a general sense of a thin\nveil hanging over the sound.\u003c\/p\u003e\n\u003cp\u003eAll of these are as present in the most recent 24-bit Callas box set\ntransfers as they were in 1976, or in 1955 - and each has been addressed\nfor this new Pristine XR release. The enclosed acoustic has opened out\nbeautifully here, with a clarity and openness that brings new life to\nthe recording. Ambient Stereo, coupled with the lightest touch of\nconvolution reverberation, which models the real acoustic of one of the\nworld's foremost opera houses, adds a final sprinkle of magic to a sound\nthat might now indeed be called \"lustrous\". Never has this classic\nButterfly ever sounded as good! \u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCALLAS \u0026amp; SCHWARZKOPF Puccini - Turandot (1957) - PACO198\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\nIt is fascinating to look back at the earliest reviews of what is generally\nacknowledged today as one of the great Turandot recordings. In writing\nthese notes I had expected to bring you extensive quotes from \u003ci\u003eThe\nGramophone\u003c\/i\u003e’s ecstatic review of September 1958. But instead what do I find?\nSomething of an evisceration:\n\u003c\/p\u003e\n\u003cp\u003e\n“The timbre [of Callas] is sometimes hollow and plummy in the easier\npositions; the emission is wavering and sounds both strained and ill\nsupported in the upper reaches; and her Turandot is here, to my ear,\ntotally unsatisfying – no matter how often elsewhere I may applaud this and\nthat stroke of dramatic truth and imagination.\n\u003c\/p\u003e\n\u003cp\u003e\n“Next, what about Mme Schwarzkopf? I hear this German Liu with gratitude –\nand I find her final song before her suicide, “Thou who art girt in ice”,\nmost moving and beautiful, with a true legato and some lovely floated tone,\nperfectly supported. Sad therefore to report that she throws away her\nchance in the first song – the lovely \u003cem\u003emorendo\u003c\/em\u003e ending could so\neasily have been sostenuto, but goes wisping away in a ladylike gasp. This\nLiu sounds a bit out of it in an otherwise all Italianate cast…”\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eBut this opinion seems to have been quickly side-lined and forgotten by\nother critics, as opinions shifted to regard the recording as a classic. By\n1979 the same magazine (albeit the pen of a different reviewer) writes, of\nan LP reissue:\n\u003c\/p\u003e\n\u003cp\u003e“One thinks of this as Callas’s \u003cem\u003eTurandot\u003c\/em\u003e, and so it is, with the\nstart of “In questa reggia” bringing a sudden generation of electricity\nthat has one gasping, but hearing this riveting performance afresh has\nbrought it home too how much it is Serafin’s \u003cem\u003eTurandot \u003c\/em\u003e as well.\nOne might in principle feel that a more reticent manner was more faithful\nto the score, but Serafin has one on the edge of one’s seat.\n\u003c\/p\u003e\n\u003cp\u003e\n“I remember originally finding the obvious stylistic contrast between\nSchwarzkopf and the other singers rather obtrusive, and some may still find\nit so, but what I note now are such heavenly moments as the end of “Signore\nascolta” when the control of tone and legato in the rising octaves in the\ncodetta is ravishing, ending with an immaculate \u003cem\u003emesa di voce\u003c\/em\u003e. This\ntoo is a classic performance, finely contrasted with that of the princess.”\n\u003c\/p\u003e\n\u003cp\u003e\nAnd the revisions get better – more recently, again from \u003ci\u003eGramophone\u003c\/i\u003e:\n\u003c\/p\u003e\n\u003cp\u003e“To have Callas, the most flashing-eyed of all sopranos as Turandot, is—on\nrecord at least—the most natural piece of casting. Other sopranos may be\ncomparably icy in their command, but Callas with her totally distinctive\ntonal range was able to give the fullest possible characterization. With\nher Turandot was not just an implacable man-hater but a highly provocative\nfemale. One quickly reads something of Callas's own underlying\nvulnerability into such a portrait, its tensions, the element of\nbrittleness. Equally in the final arioso of Alfano's completion, ''Del\nprimo pianto'', the chesty way she sings ''Straniero'' in the opening\nphrase, addressing Calaf, is unforgettable in its continuing threat. With\nher the character seems so much more believably complex than with others.\n\u003c\/p\u003e\n\u003cp\u003e\nIt was sad that, except at the very beginning of her career, she felt\nunable to sing the role in the opera house, but this 1957 recording is far\nmore valuable than any memory of the past, for me one of the most\nthrillingly magnetic of all her recorded performances, the more so when\nSchwarzkopf as Liu provides a comparably characterful and distinctive\nportrait, far more than a Puccinian 'little woman', sweet and wilting. Even\nmore than usual one regrets that the confrontation between princess and\nslave is so brief. Though for some Schwarzkopf's observance of markings in\nLiu's two arias may seem to meticulous, the extra detail reinforces the\nfine-spun Straussian quality, notably in the rising and falling octaves of\n''Signore ascolta''.\"\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis XR remastering of what is today acknowledged as one of the great\nrecordings of \u003cem\u003eTurandot\u003c\/em\u003e helps lift a sonic veil from the original\nrecording – in all of its subsequent reissues – as well as providing a\nsense of space and dimension to the staging that is particularly welcome in\nthe ensemble and chorus sections. It is tragic that still Walter Legge was\nresisting stereo recording at La Scala in 1957 – Ambient Stereo processing\ncan only go so far in this respect – but nevertheless I hope you’ll find a\nconsiderable improvement here over previous issues.\n\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCALLAS Puccini - Manon Lescaut (1957) - PACO205\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cem\u003e\u003cb\u003eREVIEW\u003c\/b\u003e (1959)\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eManon Lescaut\u003c\/em\u003e is something more than a historical curiosity framing a few famous solos. It was written \u003cem\u003econ amore\u003c\/em\u003e and also \u003cem\u003econ slancio\u003c\/em\u003e. The very beginning of the first act catches you up in its hand and sweeps you forward to the arrival of the and poor Manon sitting all by herself in a corner of the hotel yard waiting to be taken off to a convent, where she would have made Sister Angelica and even Casanova's nuns look like paragons of virtue. Once Manon arrives, \u003cem\u003eamore\u003c\/em\u003e, not to say \u003cem\u003epassione disperata\u003c\/em\u003e, takes over; and, given a Manon who can present the gay, fatal \u003cem\u003eingénue\u003c\/em\u003e, you can be kept on tenterhooks for the rest of the evening. The difference between this and La Bohème is that three years later [Puccini] was able to convey the \u003cem\u003eslancio\u003c\/em\u003e in more memorable, flexible themes, and observe the \u003cem\u003eamore\u003c\/em\u003e with amusement as well as passion.\u003c\/p\u003e\n\n\u003cp\u003eSerafin, in the new recording, manages the \u003cem\u003eslancio\u003c\/em\u003e all right, the impetus, the bright lights, the charm, the gathering of students whose name is youth and whose god is hope. The opening scene is more neatly, but much less irresistibly, handled in the Decca set. Di Stefano does not make a strong impression at his entrance; too close to the mike to give a suggestion of stage effect, he is vocally awkward too, with his shifts of vocal placing in mid-phrase. He leaves the impress of “Tra voi, belle” to Serafin whose accompaniment is rhythmically superb. In the Decca set Del Monaco sings the piece more engagingly (once you can persuade your gramophone to get over the raw, wiry noise that his microphone placing emphasizes — when will tenors understand that their voices sound less faulty when slightly removed from the mike?) but is poorly supported by the orchestra. There is time to observe that the Lescaut and Geronte are vocally well differentiated and characterized in the new set (and here, by the way, may I correct a misapprehension recently committed to print? Geronte is, as his name implies, an old man, not a coeval rival for Des Grieux); and then Manon is upon us, and a promising set becomes a really stimulating one.\u003c\/p\u003e\n\n\u003cp\u003eIt is the old story again. Maria Callas’s high notes, not so much in the first act as later, are acid in quality and develop what is a beat if not a wobble. But her singing of Manon’s more vivacious passages (I am chiefly thinking of “L’ora, o Tirsi”) is beautifully poised and dazzling; she characterizes Manon in every mood—the gentle, rather preoccupied girl in her first meeting with Des Grieux (“Manon Lescaut mi chiamol”, and a caressing portamento on that last word so as to bring home the thematic importance of the phrase), the spoiled darling at the beginning of the second act, the woman knowing herself in the wrong but still promising to do better next time though everybody else knows she won’t, the kept woman throwing scorn at her protector (“this is the love you offer me”, as she plants a looking glass in front of his face, and Callas’s inflexions make both it and him as visible as the ring and fine clothes with which the old Croesus has adorned her). And so her performance continues, through the slightly comic quick trio in which she tries to collect all her treasures before decamping, through the forlorn degraded convict of the third act, to the death in the American desert which Puccini had the creative audacity to make an act for two characters alone, a symbol of solitude which makes its point on the gramophone more impressively than any proscenium-bounded stage can ever do. Comparison with Tebaldi is here unkind, because Tebaldi is always herself, warm and opulent and slightly fuller toned (if only because “L’ora, o Tirsi” is beyond her reach, Manon is not her part). She makes a really lovely noise in all Manon’s expansive cantabile music, and that in turn is beyond Callas’s reach; but opera is more than vocal euphony, and the much more is where Callas displays herself at every moment of this opera a great artist of the gramophone, an interpreter who removes veils from our eyes, and a singing actress who, like all great singers of this century, transforms a gramophone from a wooden box into an experience.\u003c\/p\u003e\n\n\u003cp\u003eI must mention that Di Stefano makes a most enjoyable impression in the second and third acts, singing his A minor solo “Ah, Manon, mi tradisce il tuo folle pensier” with genuine ardour, and sustaining with the tension of the third act which explodes in “Guardate, pazzo son”. Fiorenza Cossotto, at present the young singer for whom I can envisage the brightest future among her contemporaries, makes a show-stopping moment of the Madrigal in act two. Serafin gives a disappointing account of the third act intermezzo, strangely exaggerated and heavy. There is a short cut in the last act, from figures 20 to 21. The recorded atmosphere is dull, much less vivid and theatrical than that of the Decca set. I am in no doubt that the new records (which will not appear in stereo form) are musically and dramatically more desirable, though; and for that we have to thank Callas and the conductor who has done so much to make her the artist she is. I am fairly sure that Puccini would thank them too.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eW.S.M.\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, December 1959\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\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\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCALLAS Puccini: Tosca (1953) - PACO080\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003ePUCCINI \u003c\/b\u003eTosca\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e Text: Luigi Illica \u0026amp; Guiseppe Giacosa from La Tosca by Victorien Sardou \u003cbr\u003e Producer: Walter Legge \u003cbr\u003e Engineer: Robert Beckett \u003cbr\u003e Recorded 10-21 August, 1953 Teatro alla Scala, Milan\u003cbr\u003e Transfers from EMI box set 2 C 163-000410\/1 \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eTHE CAST\u003cbr\u003e \u003cb\u003eMaria Callas\u003c\/b\u003e - Tosca\u003cbr\u003e \u003cb\u003eGiuseppe di Stefano\u003c\/b\u003e - Cavaradossi\u003cbr\u003e \u003cb\u003eTito Gobbi\u003c\/b\u003e - Scarpia\u003cbr\u003e \u003cb\u003eFranco Calabrese\u003c\/b\u003e - Angelotti\u003cbr\u003e \u003cb\u003eAngelo Mercuriali\u003c\/b\u003e - Spoletta\u003cbr\u003e \u003cb\u003eMelchiorre Luise\u003c\/b\u003e - Sacrestan\u003cbr\u003e \u003cb\u003eDario Caselli\u003c\/b\u003e - Sciarrone\/Gaoler\u003cbr\u003e \u003cb\u003eAlvaro Cordova\u003c\/b\u003e - Shepherd\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cbr\u003e Chorus and Orchestra of La Scala, Milan \u003cbr\u003e \u003c\/b\u003eChorus Master \u003cb\u003eVittore Veneziani \u003cbr\u003e \u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003eConductor\u003cb\u003e Victor de Sabata \u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCALLAS Puccini: La Bohème (1956) - PACO102\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003ePUCCINI La Bohème\u003c\/b\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eMimì - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eRodolfo - \u003cb\u003eGiuseppe di Stefano\u003c\/b\u003e\u003cbr\u003eMarcello - \u003cb\u003eRolando Panerai\u003c\/b\u003e\u003cbr\u003eSchaunard - \u003cb\u003eManuel Spatafora\u003c\/b\u003e\u003cbr\u003eColline - \u003cb\u003eNicola Zaccaria\u003c\/b\u003e\u003cbr\u003eBenoît\/Alcindoro - \u003cb\u003eCarlo Badioli\u003c\/b\u003e\u003cbr\u003eMusetta - \u003cb\u003eAnna Moffo\u003c\/b\u003e\u003cbr\u003eParpignol - \u003cb\u003eFranco Ricciardi\u003c\/b\u003e\u003cbr\u003eCustom House Officer - \u003cb\u003eEraldo Coda\u003c\/b\u003e\u003cbr\u003eSergeant - \u003cb\u003eCarlo Forti\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eChorus \u0026amp; Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003eChorus Master: \u003cb\u003eNorberto Mola\u003c\/b\u003e\u003cbr\u003eConductor: \u003cb\u003eAntonino Votto\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cbr\u003eOriginally issued as UK Columbia LPs 33CX.1464-5\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCALLAS Puccini: Madama Butterfly (1955) - PACO113\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003ePUCCINI  \u003c\/b\u003eMadama Butterfly\u003cb\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eMaria Callas - \u003cem\u003eButterfly\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eNicolai Gedda - \u003cem\u003ePinkerton\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eMario Borriello - \u003cem\u003eSharpless\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eLucia Danieli - \u003cem\u003eSuzuki\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eRenato Ercolani - \u003cem\u003eGoro\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eMario Carlin - \u003cem\u003eYamadori\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003ePlinio Clabassi - \u003cem\u003eLo zio Bonzo\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eEnrico Campi - \u003cem\u003eIl commissario imperiale\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eLuisa Villa - \u003cem\u003eKate Pinkerton\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eChorus and Orchestra, La Scala, Milan\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHerbert von Karajan\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded Teatro alla Scala, Milan, 1-6 August, 1955\u003cbr\u003eProducer: Walter Legge\u003cbr\u003eEngineer: Robert Beckett\u003cbr\u003eOriginally issued as Columbia 33CX1296-8\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCALLAS \u0026amp; SCHWARZKOPF Puccini - Turandot (1957) - PACO198\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003ePUCCINI Turandot\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (76:58)\u003cbr\u003e\u003cbr\u003eACT ONE\u003cbr\u003e1. Popolo di Pekino!  (4:20)\u003cbr\u003e2. Perduta la battaglia  (1:11)\u003cbr\u003e3. Gira la cote, gira, gira!  (2:34)\u003cbr\u003e4. Perch  (4:54)\u003cbr\u003e5. O giovinetto!  (5:07)\u003cbr\u003e6. Figlio, che fai?  (3:48)\u003cbr\u003e7. Silenzio!  (4:08)\u003cbr\u003e8. Signore, ascolta!  (2:25)\u003cbr\u003e9. Non piangere, Li  (2:16)\u003cbr\u003e10. Ah! per l'ultima volta!  (2:28)\u003cbr\u003e\u003cbr\u003eACT TWO, SCENE ONE\u003cbr\u003e11. Ol  (3:31)\u003cbr\u003e12. Ho una casa nell'Honan  (3:16)\u003cbr\u003e13. O mondo, pieno di pazzi innamorati!  (4:14)\u003cbr\u003e14. Udite trombe! Altro che pace!  (4:33)\u003cbr\u003e\u003cbr\u003eACT TWO, SCENE TWO\u003cbr\u003e15. Un giuramente atroce mi costringe  (4:34)\u003cbr\u003e16. Popolo di Pekino!  (1:45)\u003cbr\u003e17. In questa Reggia  (2:50)\u003cbr\u003e18. O Principi, che a lunghe caravane  (3:29)\u003cbr\u003e19. Straniero, ascolta!  (4:46)\u003cbr\u003e20. Gelo che ti d  (3:24)\u003cbr\u003e21. Figlio del cielo!  (2:54)\u003cbr\u003e22. Tre engmi m'hai proposto  (4:31)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (41:02)\u003cbr\u003e\u003cbr\u003eACT THREE, SCENE ONE\u003cbr\u003e1. Cosi comanda Turandot  (3:20)\u003cbr\u003e2. Nessun dorma!  (2:53)\u003cbr\u003e3. Tu che guardi le stelle  (3:48)\u003cbr\u003e4. Principessa divina  (2:44)\u003cbr\u003e5. Quel nome!  (2:18)\u003cbr\u003e6. Tanto amore segreto  (2:21)\u003cbr\u003e7. Tu che di gel sei cinta  (3:07)\u003cbr\u003e8. Li  (5:22)\u003cbr\u003e9. Principessa di morte!  (3:40)\u003cbr\u003e10. O mio fio mattutino  (8:03)\u003cbr\u003e\u003cbr\u003eACT THREE, SCENE TWO\u003cbr\u003e11. Diecimila anni al nostro Imperatore!  (3:25)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eLa principessa Turandot - \u003cb\u003eMaria Callas\u003c\/b\u003e (soprano)\u003cbr\u003eL’imperatore Altoum - \u003cb\u003eGiuseppe Nessi\u003c\/b\u003e (tenor)\u003cbr\u003eTimur - \u003cb\u003eNicola Zaccaria\u003c\/b\u003e (bass)\u003cbr\u003eIl principe ignoto (Calaf) - \u003cb\u003eEugenio Fernandi\u003c\/b\u003e (tenor)\u003cbr\u003eLiù - \u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e (soprano)\u003cbr\u003ePing - \u003cb\u003eMario Borriello\u003c\/b\u003e (tenor)\u003cbr\u003ePang - \u003cb\u003eRenato Ercolani\u003c\/b\u003e (tenor)\u003cbr\u003ePong - \u003cb\u003ePiero de Palma\u003c\/b\u003e (tenor)\u003cbr\u003eUn mandarino - \u003cb\u003eGiulio Mauri\u003c\/b\u003e (bass)\u003cbr\u003eIl principino di Persia - \u003cb\u003ePiero de Palma\u003c\/b\u003e (tenor)\u003cbr\u003ePrima voce - \u003cb\u003eElisabetta Fusco\u003c\/b\u003e (soprano)\u003cbr\u003eSeconda voce - \u003cb\u003ePinuccia Perotti\u003c\/b\u003e (soprano)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eOrchestra e Coro del Teatro alla Scala, Milano\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin \u003c\/b\u003e\u003cbr\u003echorus master: \u003cb\u003eNorberto Mola\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eLibretto by Adami and Simoni, based on Friedrich Schiller's adaptation of the play Turandot by Carlo Gozzi\u003cbr\u003eRecorded 9-13, 15 July 1957, Teatro alla Scala, Milan\u003cbr\u003e\u003cbr\u003eAmbient Stereo XR remastering by: Andrew Rose\u003cbr\u003eFront cover artwork: Maria Callas \u0026amp; Elisabeth Schwarzkopf at La Scala, Milan\u003cbr\u003e\u003cbr\u003eTotal duration:  1hr 58:00\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eCALLAS Puccini - Manon Lescaut (1957) - PACO205\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003ePUCCINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003eManon Lescaut\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (76:25)\u003cbr\u003e\u003cbr\u003eACT ONE\u003cbr\u003e1. Ave, sera gentile  (4:48)\u003cbr\u003e2. L'amor? l'amor?  (1:01)\u003cbr\u003e3. Tra voi, belle, brune e bionde  (1:18)\u003cbr\u003e4. Ma bravo!  (1:52)\u003cbr\u003e5. Descendono, vediam! Viaggiatori eleganti, galanti!  (2:10)\u003cbr\u003e6. Cortese damigella, il priego mio acettate  (4:15)\u003cbr\u003e7. Donna non vidi mai simile a questa!  (2:27)\u003cbr\u003e8. La tua ventura , ci rassicura  (5:41)\u003cbr\u003e9. Vecchietto amabile  (2:55)\u003cbr\u003e10. Vedete? Io son fedele alla parola mia  (4:01)\u003cbr\u003e11. Non c’è più vino? E che? Vuota è la botte?  (1:45)\u003cbr\u003e12. Di sedur la sorellina è il momento!  (4:21)\u003cbr\u003e\u003cbr\u003eACT TWO\u003cbr\u003e13. Despettosetto questo riccio!  (4:58)\u003cbr\u003e14. In quelle trine morbide  (2:15)\u003cbr\u003e15. Poiché tu vuoi saper, Des Grieux  (2:56)\u003cbr\u003e16. Che ceffi son costor? Ciarlatani o speziali?  (2:14)\u003cbr\u003e17. Paga costor!  (1:19)\u003cbr\u003e18. Minuetto  (8:36)\u003cbr\u003e19. Oh, sarò la più bella!  (8:19)\u003cbr\u003e20. Ah! Affè, madamigella  (2:17)\u003cbr\u003e21. Senti, di qui partiamo  (3:30)\u003cbr\u003e22. Lescaut! Tu qui?  (3:28)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003edisc two\u003c\/b\u003e (44:09)\u003c\/p\u003e1. Intermezzo  (5:19)\u003cbr\u003e\u003cbr\u003eACT THREE\u003cbr\u003e2. Ansia eterna, crudel  (4:30)\u003cbr\u003e3. E Kate rispose al Re  (2:57)\u003cbr\u003e4. All'armi!  All'armi!  (1:49)\u003cbr\u003e5. Rosetta! Eh! Che aria!  (3:59)\u003cbr\u003e6. Presto! In fila! Marciate!  (3:44)\u003cbr\u003e\u003cbr\u003eACT FOUR\u003cbr\u003e7. Tutta su me ti posa  (3:09)\u003cbr\u003e8. Manon, senti, amor mio!  (2:13)\u003cbr\u003e9. Sei tu che piangi?  (5:19)\u003cbr\u003e10. Sola, perduta, abbandonata  (4:09)\u003cbr\u003e11. Fra le tue braccia, amore, l'ultima volta!  (7:01)\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003eManon Lescaut - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eChevalier des Grieux - \u003cb\u003eGiuseppe di Stefano\u003c\/b\u003e\u003cbr\u003eLescaut - \u003cb\u003eGiulio Fioravanti\u003c\/b\u003e\u003cbr\u003eGeronte di Ravoir - \u003cb\u003eFranco Calabrese\u003c\/b\u003e\u003cbr\u003eEdmondo - \u003cb\u003eDino Formichini\u003c\/b\u003e\u003cbr\u003eL'oste - \u003cb\u003eCarlo Forti\u003c\/b\u003e\u003cbr\u003eIl maestro di ballo - \u003cb\u003eVito Tatone\u003c\/b\u003e\u003cbr\u003eUn musico - \u003cb\u003eFiorenza Cossotto\u003c\/b\u003e\u003cbr\u003eUn sergente - \u003cb\u003eGiuseppe Morresi\u003c\/b\u003e\u003cbr\u003eUn lampionaio -\u003cb\u003e Franco Ricciardi\u003c\/b\u003e\u003cbr\u003eUn comandante - \u003cb\u003eFranco Ventriglia\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eOrchestra e Coro del Teatro alla Scala, Milano\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin \u003c\/b\u003e\u003cbr\u003echorus master:\u003cb\u003e Norberto Mola\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eLibretto by Domenico Oliva, Giulio Ricordi, Luigi Illica, Giuseppe Giacosa \u0026amp; Marco Praga\u003cbr\u003eRecorded 18-27 July 1957, Teatro alla Scala, Milan\u003cbr\u003e\u003cbr\u003eAmbient Stereo XR remastering by: Andrew Rose\u003cbr\u003eFront cover artwork: Maria Callas\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 0:35\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\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_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_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":44064742670426,"sku":"qjw1789304185007","price":148.52,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064742703194,"sku":"kkn1789304185008","price":97.0,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064742735962,"sku":"hyi1789304185009","price":83.54,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/maria-callas-the-puccini-opera-collection-studio-recordings-1953-1957---pabx047_1.jpg?v=1789304191","url":"https:\/\/vestorawear.shop\/products\/maria-callas-the-puccini-opera-collection-studio-recordings-1953-1957-pabx047","provider":"My Store","version":"1.0","type":"link"}