{"product_id":"maria-callas-the-verdi-opera-collection-studio-recordings-1953-1956-pabx048","title":"MARIA CALLAS The Verdi Opera Collection (studio recordings, 1953-1956) - PABX048","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAïda \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;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eIl trovatore\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;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa forza del destino\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e (r. 1954)\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;\"\u003eLa traviata \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;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRigoletto\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;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eUn ballo in maschera\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e (r. 1956)\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003eSix studio opera recordings in Ambient Stereo XR remasters\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO181.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 Verdi: La Traviata (1953) - PACO090\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\u003e\"There is addiction to the heroine...such art is priceless\" - Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"For Callas \u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ecollectors this will be a very important release, even perhaps a revalation\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eBefore signing a contract with Walter Legge at EMI,\nMaria Callas had already committed herself to recording four operas for\nCetra in Italy. Of these, only \u003cem\u003eLa Gioconda\u003c\/em\u003e in 1952 and \u003cem\u003eLa Traviata\u003c\/em\u003e in\n1953 materialised; it remains unclear as to why the contract was not\ncompleted. Even though the Italian recording remained available on\nimport only outside Italy for a number of years, it meant that Legge\nnever commissioned an EMI studio recording of Callas in what was one of\nher most famous roles. And I'm afraid Cetra's recording facilities\nweren't up to those of EMI at the time.\u003c\/p\u003e\n\u003cp\u003eThus this classic recording of Callas (albeit with a\nsomewhat second-rate supporting cast) has long suffered from a rather\ninadequate sound quality which has a rather boxy, enclosed quality to\nit, with an unsympathetic acoustic and a tendency to peak distortion on\nthe voices. The combination of re-equalisation, distortion reduction,\nsubtle de-noising and the acoustic space of one of the world's finest\nopera houses that has made up this new 32-bit XR remastering goes a huge\nway to alleviate these issues, bringing significant sonic improvements\nthat breathe new life and colour into Maria Callas's wonderful\nperformance.\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\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 Verdi: Rigoletto (1955) - PACO131\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\u003eCallas and Gobbi's classic 1955 Rigoletto in a superb new XR remaster\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"That\none recording should continue to hold sway over many other attractive\ncomers after so long is simply a tribute to Callas, Gobbi, Serafin and\nWalter Legge\" - Gramophone, 2015\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eBetween the summer of 1954 and September 1955, the legendary EMI\nproducer Walter Legge recorded no less than six full operas at La Scala,\nMilan, with Maria Callas in a leading role. Rigoletto was the sixth of\nthese. It is almost impossible to imagine such a productive work-rate\ntoday, and yet this amazingly productive period, with Callas at the\nheight of her powers, produced some of the defining recordings of the\noperatic canon - not least the present offering. The recording team were\nby now exceptionally familiar with the venue, and in an era of mono\nrecording where the primary concern was capturing the voices and\nbalancing them against the instruments, rather than the stereo\npresentation of a staged drama that would soon follow, it was no doubt\neasier to make these recordings than it would later become.\u003c\/p\u003e\n\u003cp\u003eNevertheless, it took 13 days to record \u003cem\u003eRigoletto\u003c\/em\u003e, and in\nthis restoration I've encountered minor differences in recordings made\non different days - slightly intrusive traffic noise here, peak\ndistortion there - which I've hopefully dealt with to the listener's\nsatisfaction.Some minor pitch discrepancies have been ironed out. But\nthe main contribution here has been to open out the sound and lift\nsomething of a veil from the performance, with Ambient Stereo XR\nremastering bringing a greater sense of life, clarity and immediacy to\nthe proceedings throughout. Can it really be 60 years since this\nrecording was first released?\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 Verdi: La Forza del Destino (1954) - PACO172\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\u003cp\u003e\"PERHAPS THE STORY of “La Forza del Destino” is a bit lugubrious for Easter morning, but not this crackling performance straight from Milan’s La Scala. Tullio Serafin meets Verdi on his own ground in the pace he sets for Maria Meneghini Callas as Leonora, Richard Tucker as Don Alvaro, Nicola Rossi-Lemeni as Padre Guardiano, Carlo Tagliabue as Don Carlo, Elena Nicolai as Preziosilla, Renato Capecchi as Fra Melitone, and Gino del Signore as Trabuco [Angel 3531-C]. \u003cbr\u003e\u003cbr\u003eThis has the live sound of the Scala’s mellow yet brilliant acoustics, the virtuosity of its operatic stature. Orchestra and chorus are topflight, the pacing in the inn scenes is as chameleonic as the score. As always when they are together, Callas' and Rossi-Lemeni occupy a special plane. When they appear you are not just interested, you are involved. Tucker does some superb singing, and Tagliabue rescues himself from a stodgy start to make steely sparks fly from more than swords in their last encounter. Add Nicolai’s [the Italian, not the Greek Nicolaidi] volatile glint as the camp follower, Capecchi’s sulky drollery as the buffo monk, and the peddler’s slyness, and it adds up to a performance rich in characterization and in that reinforced, revitalized line that is the very pulse beat of Verdi. Interesting Benois sketches suggest furies and angels fighting it out.\"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eChicago Tribune\u003c\/b\u003e, 10 April 1955\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eThis recording was issued to mixed receptions in 1955. The review from the Chicago Tribune (above) is glowing, whilst \u003ci\u003eThe Gramophone\u003c\/i\u003e's critic in May 1955 moaned about \"some uneven singing here, most of it contributed by Callas. Her voice is not too steady, there is an occasional shrillness and insecurity of pitch, and often a definite wobble,\" though there is praise for the rest of the cast and the recording itself. Interestingly this attitude towards Maria Callas was also to be found in another British review in \u003ci\u003eThe Observer\u003c\/i\u003e.\u003cbr\u003e\u003cbr\u003eBy the time the recording was reissued on CD in 1987 it seems British critics had come round to a new way of thinking with regard to Maria Callas: \"Leonora was a role to which Callas was particularly well attuned. Leonora's ardour, sincerity, and desperate vulnerability are etched by this great artist into her every utterance. Forza begins with a subdued conversation and ends with the great trio and Callas is unforgettable in both.\" Interestingly the critic goes on to suggest: \"Callas is also helped by the new digital remastering, and by CD; her voice never really sat comfortably in 1950s vinyl which bucked and jabbered at her emissions are surely as any dyed-in-the wool canary-fancier. The sound is now clear and true.\" (\u003ci\u003eGramophone\u003c\/i\u003e)\u003cbr\u003e\u003cbr\u003eThis new Pristine XR remastering further improves on the sound of this classic recording, adding new layers of warmth, depth and complexity to the sound-stage and significantly rounding out the tone of both singers and orchestra.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\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 Verdi: Aïda (1955) - PACO178\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\u003cp\u003eEnter Aida: Callas is a great artist. I believe that at any time she would be so considered and having recently heard her \u003ci\u003eLucia \u003c\/i\u003efrom the second row of the stalls, I aver that faults or no faults, one is in the presence of a tremendous singing-artist whose will-power and art are brandished at you in such a way that faults \"mean\" nothing. Often in this Nile scene in the silence under the moon, she will \u003ci\u003ecaress \u003c\/i\u003ea phrase as lovingly as Kreisler or Mischa Elman, fining her voice, colouring it, giving the words a heartfelt meaning which - that hall-mark of his histrionic genius - \u003ci\u003esurprises \u003c\/i\u003eus. Just as in the sentence in the \u003ci\u003eForza \u003c\/i\u003emonastery scene, \"Vergin m ' assisti\" she gets far more out of the dramatic meaning than her rival Tebaldi, so here too there are dramatic points wonderfully brought off which Tebaldi, ever steady and appealing, hardly makes us notice. Yet Tebaldi is so much steadier, and produces tone which is so infinitely more sympathetic that one cannot in the long run and for repeated playing fail to prefer the suave Italian to the agitating American-Greek soprano. At least so say I, with my ears unable to rid themselves of the memory of the toppling yowl of Mme Callas's high A and high C, even if real tears stood in my eyes as she cried to Tito Gobbi: \"Padre, son maladirmi; schiava non son\": which is marvellous, like Lucia's \"Alfin son tui\". an artist, but how incomplete - to alternate ecstasy and irritation!\u003cbr\u003e\u003cbr\u003e\u003cb\u003eThe Gramophone\u003c\/b\u003e, January 1956 (\u003ci\u003eexcerpt\u003c\/i\u003e)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eAida was the final magnificent work of Verdi's second period, using every element of his art: sublime large-scale choruses and poignant arias, pageantry, dance, spectacle and exoticism are all here, confirming his status as one of the greatest musical dramatists. The theme is doomed love – Radames, a Captain of the Egyptian guard falls for Aida, an Ethiopian slave; he sings her one of the great tenor arias 'Celeste Aida'; other memorable moments are Aida's 'Ritorna vincitor' and 'O patria mia' and their duet before being entombed alive 'O terra, addio'.\u003cbr\u003e\u003cbr\u003eCallas’s Aida is an assumption of total understanding and conviction; the growth from a slave-girl torn between love for her homeland and Radames, to a woman whose feelings transcend life itself, represents one of the greatest operatic undertakings ever committed to disc. Alongside her is Fedora Barbieri, an Amneris palpable in her agonised mixture of love and jealousy – proud yet human. Tucker’s Radames is powerful and Gobbi’s Amonasro quite superb – a portrayal of comparable understanding to set alongside Callas’s Aida. \u003cbr\u003e\u003cbr\u003eTullio Serafin’s reading is in the central Italian tradition of its time. That’s to say, it’s unobtrusively right in matters of tempo, emphasis and phrasing, while occasionally passing indifferent ensemble in the choral and orchestral contribution. Although the recording can’t compete with modern versions (it was never, in fact, a model of clarity), nowhere can it dim the brilliance of the creations conjured up by this classic cast.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eGramophone,\u003c\/b\u003e May 2015\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\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 Verdi: Il Trovatore (1956) - PACO181\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\"The role of Leonora is one in which I have much admired Mme Callas. Her assumption is that of a great lady, as it should be; and in the two big arias I have heard her phrase the music like a virtuoso violinist with a mastery which marked her off from most other Leonoras of the common sort. Most of that grandeur is evident in this recording. But to enjoy Mme Callas you have—if I may commit ah Irishism—to like her in the first place. If you can accept that half closed throat and the occasional curdling skirls and the sagging beat on the top notes, all will seem magical. She again brings to the most hackneyed music a gift of recreating it as if it were being sung for the first time. She feels the sense of words (as, for example, neither Tebaldi nor Milanov seem to sense them at all). On the other hand, considered from a purely tonal angle, the purely sensuous side of her singing offers little here to compare to the ravishing sounds which issue from the Leonoras of Tebaldi (in “Tacea la notte”) or Mme Milanov in the introduction to “D’amor sull’ ali”. But the actual spanning and placing of the phrases are lovely and in the rapid and difficult caballetta to the former aria Mme Callas, who is far more nippy with her shakes and gruppetti, though sticking to a fairly safe pace, shows up as a much more practised coloratura singer than either of her rivals. In the scene with the count which comes after the Miserere, Mme Callas is altogether astonishing in her realisation of the drama in her dynamic phrasing, making her rivals sound merely like also rans in a steeple chase. “Mira d’acerbe lagrime” and the vengeful glee of “Vivra! Contend il giubilo” are perfectly in character. Altogether, provided you like Mme Callas’s strange vocal production, you are likely to forget the other two “complete” Leonoras. Only in one place does she a little disappoint me; that is her moment of amazement in the Convent scene, “E deggio — e posso crederlo?”, not nearly as thrilling as expected. But the working up of the ensemble thereafter is exceptionally clear in this new issue. Indeed I do not recall a \u003ci\u003eTrovatore \u003c\/i\u003ein which so many of the words came through so clearly...\u003cbr\u003e\u003cbr\u003e...But what of Herbert von Karajan’s handling of the score as a whole? Well, I find it superior to Erede (Decca), who sounds laggard and cautious by comparison. But the excitements are not always of a very Verdian kind and von Karajan often seems to drive the singers without at the same time achieving that justifiable rightness that we associate with Toscanini’s Verdi. Cellini in the H.M.V. did one or two questionable things, but von Karajan often whips up the tempo in a way which seems to have no warrant in the score or the nature of the music, as if he simply felt that here was a place where the orchestra might as well assert itself. Equally some of the ralientandos sound, not natural, but grudgingly exaggerated, as if a concession to an absurd fashion. There are few untidy passages. Superficially at least it is a “hot” performance and I don’t expect most listeners to share my reserve in this matter of the true Verdian style not being achieved.\" \u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e -\u003ci\u003e The Gramophone\u003c\/i\u003e, November 1957\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\"That Callas\/Karajan \u003ci\u003eIl trovator\u003c\/i\u003ee has long been one of the great Verdi recordings\" - so wrote Richard Osbourne in Gramophone in 2014, and yet until now it has remained the case that the sound quality EMI\/Colombia were offering from these mid-50s mono opera recordings was still significantly behind that of their chief rival, Decca. Once again in this critically-acclaimed series, Pristine's Ambient Stereo XR remastering has significantly transformed the sound quality and listening experience of one of the great Callas opera recordings, bringing to it new life and the wonderfully rich and vibrant sound that was too often lacking in the original. \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 Verdi: Un Ballo In Maschera (1956) - PACO187\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\"This reissue of \u003ci\u003eBallo \u003c\/i\u003eis a welcome reminder of the special qualities of its principals . As JBS intimated when it last appeared on LP (6\/79), Votto has been under-rated as its conductor: his direction has a truly Verdian \u003ci\u003eélan\u003c\/i\u003e. This is one of Callas's most compelling assumptions. Certain phrases, such as when she sings \"Son di lui\", - \"I am his\" meaning her husband's to Riccardo - remain uniquely accented and convincing. Her Amelia does have more character, presence and sheer \u003ci\u003espinto \u003c\/i\u003equality than that of either soprano on the rival sets. Gobbi is a very different Renato than Bruson, who appears for both Solti (Decca) and Abbado (DG); more incisive, more threatening, but by the same token, rather less smooth in his vocalization; for an ideal \"Eri tu\", I would want to go far further back in recorded history, to Amato and de Luca. Where Riccardo is concerned, I suppose di Stefano is closer to Pavarotti (SoJti) than to Domingo (Abbado) in giving face to the role. He hasn't so secure a top register as either of his rivals, but my goodness, in the ballata and the love duet he does surpass them both in the involvement and daring of his performance; indeed, I think all three principals are superior to their successors in creating the tension of a live performance as against a studio one. In that respect this is the recording! have always turned to most often, even though in my heart I would have to admit that the Abbado is the more finished and better-produced set. I should add that Barbieri makes a vivid and resourceful Ulrica and Ratti a smiling, pert, if sometimes shrill Oscar.\u003cbr\u003e\u003cbr\u003eThe DG is, of course, also the more comfortably recorded, although I would suggest that, in its CD manifestation, the EMI is more than respectable in terms of sound. Callas enthusiasts will want this version in any case. Others may find the choice more difficult depending on whether they value the character of individual performances over all-round finish . My own preference is clear; it is for this EMI set.\" \u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003eA.B., \u003ci\u003eThe Gramophone\u003c\/i\u003e, September 1987, review of EMI CD reissue\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAs we continue our journey through the studio opera recordings made by Maria Callas in the 1950s, in \u003ci\u003eUn ballo in maschera\u003c\/i\u003e we reach the last of a continuous run of mono opera studio recordings - presented here in Pristine's Ambient Stereo format which, whilst maintaining the central mono sound image, brings space, air and ambience around that image for a more realistic and comfortable listening experience.\u003cbr\u003e\u003cbr\u003eWhere its major rival, Decca, had pioneered the stereo format, beginning in 1954 despite no domestic reproduction equipment yet offering the new sound, EMI was once again a couple of years or more behind its British counterpart. And whilst the standard of sound engineering was audibly better with each visit to Milan's La Scala Theatre for the annual round of Maria Callas recordings, it still lagged behind the pioneering work of Kenneth Wilkinson and his colleagues at Decca.\u003cbr\u003e\u003cbr\u003eThis recording nevertheless resides at the sonic peak of the end of the mono era, greatly easing my own work in transforming its sound, through the XR remastering process, into the truly beautiful artefact presented here.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\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 Verdi: La Traviata (1953) - PACO090\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eLa Traviata\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eLibretto: Francesco Maria Piave\u003cbr\u003e Recorded September 1953, Studio del RAI, Turin, Italy\u003cbr\u003e Originally issued in Italy. Issued by Cetra in the UK in 1958 as LPC1246\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/b\u003eVioletta Valéry -\u003cb\u003e Maria Callas (\u003cem\u003esoprano\u003c\/em\u003e) \u003cbr\u003e \u003c\/b\u003eAlfredo Germont -\u003cb\u003e Francesco Albanese (\u003cem\u003etenor\u003c\/em\u003e) \u003cbr\u003e \u003c\/b\u003eGiorgio Germont -\u003cb\u003e Ugo Savarese (\u003cem\u003ebaritone\u003c\/em\u003e) \u003cbr\u003e \u003c\/b\u003eFlora Bervoix -\u003cb\u003e Ede Marietti Gandolfo (\u003cem\u003emezzo-soprano\u003c\/em\u003e) \u003cbr\u003e \u003c\/b\u003eAnnina -\u003cb\u003e Ines Marietti (\u003cem\u003esoprano\u003c\/em\u003e) \u003cbr\u003e \u003c\/b\u003eIl Visconte Gaston De Letorières -\u003cb\u003e Mariano Caruso (\u003cem\u003etenor\u003c\/em\u003e) \u003cbr\u003e \u003c\/b\u003eIl Barone Douphol -\u003cb\u003e Alberto Albertini (\u003cem\u003ebass\u003c\/em\u003e) \u003cbr\u003e \u003c\/b\u003eIl Marchese d'Obigny\/Dottore Grenvil -\u003cb\u003e Mario Zorgniotti (\u003cem\u003ebass\u003c\/em\u003e) \u003cbr\u003e \u003c\/b\u003eGiuseppe -\u003cb\u003e Tommaso Soley (\u003cem\u003etenor\u003c\/em\u003e)\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eCoro Cetra\u003cbr\u003e Orchestra Sinfonica di Torino della RAI \u003cbr\u003e \u003c\/b\u003eConductor\u003cb\u003e Gabriele Santini\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\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 Verdi: Rigoletto (1955) - PACO131\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cdiv\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e  \u003cspan\u003eRigoletto\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eRecorded 3-16 September 1955\u003cbr\u003eTeatro alla Scala, Milan\u003cbr\u003eRecording producer: Walter Legge\u003cbr\u003eRecording Engineer: Robert Beckett\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003eRigoletto - \u003cb\u003eTito Gobbi\u003c\/b\u003e\u003cbr\u003eGilda - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eDuca di Mantova -\u003cb\u003e Giuseppe di Stefano\u003c\/b\u003e\u003cbr\u003eSparafucile - \u003cb\u003eNicola Zaccaria\u003c\/b\u003e\u003cbr\u003eMaddalena - \u003cb\u003eAdriana Lazzarini\u003c\/b\u003e\u003cbr\u003eGiovanna - \u003cb\u003eGiuse Gerbino\u003c\/b\u003e\u003cbr\u003eMonterone - \u003cb\u003ePlinio Clabassi\u003c\/b\u003e\u003cbr\u003eMarullo - \u003cb\u003eWilliam Dickie\u003c\/b\u003e\u003cbr\u003eBorsa - \u003cb\u003eRenato Ercolani\u003c\/b\u003e\u003cbr\u003eConte di Ceprano - \u003cb\u003eCarlo Forti\u003c\/b\u003e\u003cbr\u003eContessa di Ceprano - \u003cb\u003eElvira Galassi\u003c\/b\u003e\u003cbr\u003eUn usciere - \u003cb\u003eVittorio Tatozzi\u003c\/b\u003e\u003cbr\u003eUn paggio - \u003cb\u003eLuisa Mandelli\u003c\/b\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e \u003c\/div\u003e\n\u003cp\u003e\n\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCoro e Orchestra del Teatro alla Scala, Milano\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003eTullio Serafin\u003c\/b\u003e, conductor\u003c\/span\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 Verdi: La Forza del Destino (1954) - PACO172\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eVERDI La Forza del Destino\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDisc One\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. Sinfonia  (7:32)\u003cbr\u003e\u003cbr\u003eACT ONE\u003cbr\u003e2. Buona notte, mia figlia  (2:25)\u003cbr\u003e3. Temea restasse qui fino a domani!  (1:42)\u003cbr\u003e4. Me pellegrina ed orfano  (3:43)\u003cbr\u003e5. M'aluti, signorina  (0:27)\u003cbr\u003e6. Ah, per sempre  (7:13)\u003cbr\u003e7. Vil seduttor! Infame figlia!  (2:09)\u003cbr\u003e\u003cbr\u003eACT TWO, SCENE ONE\u003cbr\u003e8. Holà, holà, holà!  (1:18)\u003cbr\u003e9. La cena è pronta  (0:35)\u003cbr\u003e10. Che vdedo! Mio fratello!  (0:34)\u003cbr\u003e11. Viva la guerra!  (0:59)\u003cbr\u003e12. Al suon del tamburo  (2:41)\u003cbr\u003e13. Padre Eterno Signor  (3:48)\u003cbr\u003e14. Viva la buona compagnia!  (1:52)\u003cbr\u003e15. Poich'è imberbe l'incognito  (0:41)\u003cbr\u003e16. Son Pereda, son ricco d'onore  (2:30)\u003cbr\u003e17. Sta bene  (3:01)\u003cbr\u003e\u003cbr\u003eACT TWO, SCENE TWO\u003cbr\u003e18. Sono giunta! Grazie, o Dio!  (1:41)\u003cbr\u003e19. Madre, pietosa Vergine  (5:15)\u003cbr\u003e20. Chi siete?  (2:07)\u003cbr\u003e21. Chi mi cerca?  (1:10)\u003cbr\u003e22. Infelice, delusa, rejetta  (11:15)\u003cbr\u003e23. Il santo nome di Dio Signore  (8:05)\u003cbr\u003e24. La Vergine degli Angeli  (3:49)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDisc Two\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eACT THREE, SCENE ONE\u003cbr\u003e1. Attenti al gioco  (4:14)\u003cbr\u003e2. La vita è inferno all'infelice  (3:00)\u003cbr\u003e3. O tu che in seno  (3:18)\u003cbr\u003e4. Al tradimento!  (2:18)\u003cbr\u003e5. All' armi!  (2:19)\u003cbr\u003e\u003cbr\u003eACT THREE, SCENE TWO\u003cbr\u003e6. Piano ... qui posi  (1:36)\u003cbr\u003e7. Solenne in quest' ora  (4:07)\u003cbr\u003e8. Morir! Tremenda cosa!  (2:08)\u003cbr\u003e9. Urna fatale del mio destino  (2:38)\u003cbr\u003e10. E s'altra prova rinvenir potessi?  (2:26)\u003cbr\u003e\u003cbr\u003eACT THREE, SCENE THREE\u003cbr\u003e11. Compagni, sostiamo  (3:08)\u003cbr\u003e12. Né gustare m'è dato  (8:40)\u003cbr\u003e13. Lorché pifferi e tamburi  (1:50)\u003cbr\u003e14. Qua, vivandiere, un sorso  (0:31)\u003cbr\u003e15. A buon mercato chi vuol comprare?  (2:17)\u003cbr\u003e16. Pane, pan per carità!  (3:01)\u003cbr\u003e17. Nella guerra è la follia  (2:12)\u003cbr\u003e18. Toh! Toh! Poffare il mondo!  (3:59)\u003cbr\u003e19. Rataplan, rataplan, della gloria  (3:26)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDisc Three\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eACT FOUR, SCENE ONE\u003cbr\u003e1. Fate la carità  (6:19)\u003cbr\u003e2. Giunge qualcuno, aprite  (1:10)\u003cbr\u003e3. Invano Alvaro, ti celasti al mondo  (3:26)\u003cbr\u003e4. Le minaccie, i fieri accenti  (5:30)\u003cbr\u003e\u003cbr\u003eACT FOUR, SCENE ONE\u003cbr\u003e5. Pace, pace mio Dio!  (6:19)\u003cbr\u003e6.  Io muoio! Confessione!  (3:08)\u003cbr\u003e7.  Non imprecare, umiliati a Lui  (5:35)\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCAST \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eDonna Leonora - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eDon Alvaro - \u003cb\u003eRichard Tucker\u003c\/b\u003e\u003cbr\u003eDon Carlo di Vargas -\u003cb\u003e Carlo Tagliabue\u003c\/b\u003e\u003cbr\u003eIl Padre Guardiano - \u003cb\u003eNicola Rossi-Lemeni\u003c\/b\u003e\u003cbr\u003ePreziosilla - \u003cb\u003eElena Nicolai\u003c\/b\u003e\u003cbr\u003eFra Melitone - \u003cb\u003eRenato Capecchi\u003c\/b\u003e\u003cbr\u003eIl marchese di Calatrava - \u003cb\u003ePlinio Clabassi\u003c\/b\u003e\u003cbr\u003eCurra - \u003cb\u003eRina Cavallari\u003c\/b\u003e\u003cbr\u003eMastro Trabuco - \u003cb\u003eGino del Signore\u003c\/b\u003e\u003cbr\u003eUn alcade\/Un chirurgo - \u003cb\u003eDaro Caselli\u003c\/b\u003e\u003cbr\u003eSoldati\/Giuscatari -\u003cb\u003e Giulio Scarinci, Ottorino Bagalli\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eChorus \u0026amp; Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR remastered by Andrew Rose\u003cbr\u003eRecorded 17-24 August 1954, Teatro alla Scala, Milan\u003cbr\u003eCover artwork based on a photograph of Maria Callas\u003c\/p\u003e\n\u003cp\u003eDownloads include full score, vocal score \u0026amp; Italian\/English libretto\u003cbr\u003e\u003cbr\u003eTotal duration:\u003cb\u003e  2hr 45:00     \u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD1: 76:28     \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD2: 57:06    \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD3: 31:26\u003c\/span\u003e\u003cbr\u003e\u003cbr\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 Verdi: Aïda (1955) - PACO178\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eAïda\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. Preludio  (3:46)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT ONE, SCENE ONE\u003c\/b\u003e\u003cbr\u003e2. Sì: corre voce che l'Etiope ardisca  (1:33)\u003cbr\u003e3. Se quel guerrier io fossi!  (4:30)\u003cbr\u003e4. Quale insolito gioia nel tuo sguardo  (3:26)\u003cbr\u003e5. Vieni, o diletta, appressati  (2:56)\u003cbr\u003e6. Alta cagion v'aduna  (3:17)\u003cbr\u003e7. Su! del Nilo al sacro lido  (2:57)\u003cbr\u003e8. Ritorna vincitor  (6:41)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT ONE, SCENE TWO\u003c\/b\u003e\u003cbr\u003e9. Possente, possente Fthà  (3:09)\u003cbr\u003e10. Immenso, immenso Fthà!  (3:00)\u003cbr\u003e11. Nume, custode e vindice  (3:51)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT TWO, SCENE ONE\u003c\/b\u003e\u003cbr\u003e12. Chi mai fra gl'inni e i plausi  (2:59)\u003cbr\u003e13. Danza di piccoli schiavi mori  (3:11)\u003cbr\u003e14. Fu la sorte dell'armi a' tuoi funesta  (5:34)\u003cbr\u003e15. Pietà ti prenda del mio dolor  (4:26)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eACT TWO, SCENE TWO\u003c\/b\u003e\u003cbr\u003e16. Gloria all'Egitto, ad Iside  (3:25)\u003cbr\u003e17. Marchia trionfale  (1:39)\u003cbr\u003e18. Ballabile  (4:19)\u003cbr\u003e19. Vieni, o guerriero vindice  (2:14)\u003cbr\u003e20. Salvator della patria, io ti saluta  (2:09)\u003cbr\u003e21. Che veggo! Egli? Mio padre!  (1:16)\u003cbr\u003e22. Quest'assisa ch'io vesto vi dica  (2:10)\u003cbr\u003e23. Il dolor che in quel volto favella  (2:14)\u003cbr\u003e24. O Re: pei sacri Numi  (5:14)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eACT THREE\u003c\/b\u003e\u003cbr\u003e1. O tu che sei d'Osiride  (4:42)\u003cbr\u003e2. Qui Radamès verrà!  (7:03)\u003cbr\u003e3. Ciel! mio padre!  (8:07)\u003cbr\u003e4. Pur ti riveggo, mia dolce Aida  (3:04)\u003cbr\u003e5. Fuggiam gli ardori inospiti  (6:18)\u003cbr\u003e6. Ma dimmi: per qual via  (3:19)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT FOUR, SCENE ONE\u003c\/b\u003e\u003cbr\u003e7. L'aborrita rivale a me sfuggia  (3:08)\u003cbr\u003e8. Già i Sacerdoti adunansi  (6:38)\u003cbr\u003e9. Ohimè! morir mi sento!  (8:06)\u003cbr\u003e10. A lui vivo la tomba  (3:22)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT FOUR, SCENE TWO\u003c\/b\u003e\u003cbr\u003e11. La fatal pietra sovra me si chiuse  (5:18)\u003cbr\u003e12. Immenso, immenso Fthà  (5:42)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e - Aïda\u003cbr\u003e\u003cb\u003eRichard Tucker\u003c\/b\u003e - Radamès\u003cbr\u003e\u003cb\u003eFedora Barbieri\u003c\/b\u003e - Amneris\u003cbr\u003e\u003cb\u003eTito Gobbi \u003c\/b\u003e- Amonasro\u003cbr\u003e\u003cb\u003eGiuseppe Modesti\u003c\/b\u003e - Ramfis\u003cbr\u003e\u003cb\u003eNicola Zaccaria\u003c\/b\u003e - Il re d'Egitto\u003cbr\u003e\u003cb\u003eElvira Galassi\u003c\/b\u003e - Una sacerdotessa\u003cbr\u003e\u003cb\u003eFranco Ricciardi\u003c\/b\u003e - Un messaggero\u003cbr\u003e\u003cb\u003e\u003cbr\u003eChorus and Orchestra of the Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR remastered by Andrew Rose\u003cbr\u003e\u003cbr\u003eRecorded 10-24 August 1955, Teatro alla Scala, Milan\u003cbr\u003eCover artwork based on a photograph of Maria Callas\u003cbr\u003e\u003cbr\u003eTotal duration: 2hr 24:40      CD1: 79:54  CD2: 64:46\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 Verdi: Il Trovatore (1956) - PACO181\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003eIl Trovatore\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cbr\u003e\u003c\/span\u003eDisc One\u003cbr\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003cbr\u003e1.\u003ci\u003e Scene 1\u003c\/i\u003e - All'erta! All'erta!   (2:59)\u003cbr\u003e2. Di due figli vivea padre beato  (0:45)\u003cbr\u003e3. Abbietta zingara, fosca vegliarda!  (3:35)\u003cbr\u003e4. Brevi e tristi giorni visse  (1:57)\u003cbr\u003e5. Sull'orlo dei tetti  (1:22)\u003cbr\u003e\u003cbr\u003e6. \u003ci\u003eScene 2\u003c\/i\u003e - Che più t'arresti?  (2:16)\u003cbr\u003e7. Tacea la notte placida  (3:34)\u003cbr\u003e8. Quanto narrasti di turbamento m'ha piena l'alma!  (0:50)\u003cbr\u003e9. Di tale amor  (1:40)\u003cbr\u003e10. Tace la notte!  (1:49)\u003cbr\u003e11. Il Trovator! Io fremo! Deserto sulla terra  (1:42)\u003cbr\u003e12. Anima mia! Più dell'usato  (2:02)\u003cbr\u003e13. Di geloso amor sprezzato  (2:44)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003cbr\u003e14. \u003ci\u003eScene 1\u003c\/i\u003e - Vedi! le fosche notturne spoglie  (2:57)\u003cbr\u003e15. Stride le vampa!  (2:40)\u003cbr\u003e16. Mesta è la tua canzon!  (2:01)\u003cbr\u003e17. Sol or siamo  (1:01)\u003cbr\u003e18. Condotta ell'era in ceppi  (4:51)\u003cbr\u003e19. Non son tuo figlio!  (2:28)\u003cbr\u003e20. Mal reggendo all'aspro assalto  (3:08)\u003cbr\u003e21. L'usato messo Ruiz invia!  (1:26)\u003cbr\u003e22. Perigliarti ancor languente  (2:33)\u003cbr\u003e\u003cbr\u003e23. \u003ci\u003eScene 2\u003c\/i\u003e - Tutto è deserto  (1:35)\u003cbr\u003e24. Il balen del suo sorriso  (3:15)\u003cbr\u003e25. Qual suono! Oh ciel!  (0:51)\u003cbr\u003e26. Per me ora fatale  (2:51)\u003cbr\u003e27. Ah! se l'error t'ingombra  (2:02)\u003cbr\u003e28. Perchè piangete? O dolci amiche  (2:16)\u003cbr\u003e29. E deggio e posso crederlo?  (4:47)\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDisc Two\u003cbr\u003e\u003cb\u003eACT THREE\u003c\/b\u003e\u003cbr\u003e1. \u003ci\u003eScene 1\u003c\/i\u003e - Or co' dadi, ma fra poco  (4:26)\u003cbr\u003e2. In braccio al mio rival!  (2:12)\u003cbr\u003e3. Giorni poveri vivea  (3:08)\u003cbr\u003e4. Deh! rallentate, o barbari  (2:10)\u003cbr\u003e\u003cbr\u003e5. \u003ci\u003eScene 2\u003c\/i\u003e - Quale d'armi fragor  (2:02)\u003cbr\u003e6. Ah sì, ben mio, coll'essere io tuo  (2:53)\u003cbr\u003e7. L'onda de' suoni mistici pura discenda al cor!  (1:29)\u003cbr\u003e8. Di quella pira, l'orrendo foco  (3:23)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT FOUR\u003c\/b\u003e\u003cbr\u003e9. \u003ci\u003eScene 1\u003c\/i\u003e - Siam giunti; oecco la torre  (3:04)\u003cbr\u003e10. D'amor sull'ali rosee  (4:02)\u003cbr\u003e11. Misere, Quel suon, quelle preci  (7:26)\u003cbr\u003e12. Udiste?  (1:47)\u003cbr\u003e13. Mira, d'acerbe lagrime  (2:19)\u003cbr\u003e14. Conte! Né basti!  (1:13)\u003cbr\u003e15. Colui vivrà, Vivrà! Contende il giubilo  (2:28)\u003cbr\u003e\u003cbr\u003e16. \u003ci\u003eScene 2\u003c\/i\u003e - Madre, no dormi?  (5:29)\u003cbr\u003e17. Sì, la stanchezza m'opprime  (1:18)\u003cbr\u003e18. Ai nostri monti ritorneremo  (2:05)\u003cbr\u003e19. Che! Non m'inganna  (1:08)\u003cbr\u003e20. Parlar non vuoi? Ha quest'infame l'amor venduto  (3:00)\u003cbr\u003e21. Ti scosta!  (1:06)\u003cbr\u003e22. Prima che d'altri vivere  (3:33)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e - Leonora        \u003cbr\u003e\u003cb\u003eRolando Panerai\u003c\/b\u003e - Il Conte Di Luna\u003cbr\u003e\u003cb\u003eFedora Barbieri\u003c\/b\u003e - Azucena        \u003cbr\u003e\u003cb\u003eGiuseppe Di Stefano\u003c\/b\u003e - Manrico\u003cbr\u003e\u003cb\u003eNicola Zaccaria\u003c\/b\u003e - Ferrando        \u003cbr\u003e\u003cb\u003eLuisa Villa\u003c\/b\u003e - Ines\u003cbr\u003e\u003cb\u003eRenato Ercolani\u003c\/b\u003e - Ruiz\/Un messo    \u003cbr\u003e\u003cb\u003eGiulio Mauri\u003c\/b\u003e - Uno zingaro\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCoro e Orchestra de Teatro alla Scala, Milano\u003c\/b\u003e\u003cbr\u003eChorus master: Norberto Mola\u003cbr\u003e\u003cbr\u003econducted by \u003cb\u003eHerbert von Karajan\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Maria Callas as Leonora in 1950\u003cbr\u003e\u003cbr\u003eProducer: Walter Legge\u003cbr\u003eEngineer: Robert Beckett\u003cbr\u003eRecorded 3-9 August, 1956, Teatro alla Scala, Milan\u003cbr\u003e\u003cbr\u003eTotal duration: 2hr 9:37  \u003cbr\u003eCD1: 67:56\u003cbr\u003eCD2: 61:41 \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cbr\u003e\u003c\/span\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 Verdi: Un Ballo In Maschera (1956) - PACO187\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eVERDI Un ballo in maschera\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e (50:52)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003cbr\u003e1. Prelude  (4:13)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSCENE ONE\u003c\/b\u003e\u003cbr\u003e2. Posa in pace  (1:35)\u003cbr\u003e3. S'avanza il Conte  (3:38)\u003cbr\u003e4. Il cenno mio de là  (2:28)\u003cbr\u003e5. Alla vita che t'arride  (2:49)\u003cbr\u003e6. Il primo giudice  (1:30)\u003cbr\u003e7. Cavatina: Volta la terrea  (1:47)\u003cbr\u003e8. Signori oggi d'Ulrica...Orni cura si doni al diletto  (3:09)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSCENE TWO\u003c\/b\u003e\u003cbr\u003e9. Zitti, l'incanto non dessi turbare  (4:01)\u003cbr\u003e10. Arrivo il primo...Villano, dà indietro  (2:29)\u003cbr\u003e11. Su fatemi largo  (3:25)\u003cbr\u003e12. Che v'agita cosi  (5:24)\u003cbr\u003e13. Su profetessa monta il treppiè  (4:07)\u003cbr\u003e14. Chi voi siate l'audace parola  (5:50)\u003cbr\u003e15. Finale - Finisci il vaticinio  (4:27)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e (79:46)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT TWO\u003c\/b\u003e \u003cbr\u003e1. Prelude - Ecco l'orrido campo  (9:04)\u003cbr\u003e2. Teco io sto...Gran Dio  (9:27)\u003cbr\u003e3. Ahimè!...s'appressa alcun!  (5:03)\u003cbr\u003e4. Seguitemi!...Mio Dio!  (7:39)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT THREE, SCENE ONE \u003c\/b\u003e\u003cbr\u003e5. A tal colpo è nulla il pianto  (6:46)\u003cbr\u003e6. Alzati! Là tuo figlio a te concede riveder  (6:09)\u003cbr\u003e7. Siam soli...udite  (8:47)\u003cbr\u003e8. Il messaggio entri  (3:48)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT THREE, SCENE TWO \u003c\/b\u003e\u003cbr\u003e9. Forse la soglia attinse  (5:20)\u003cbr\u003e10. Ah! Dessa è là  (1:38)\u003cbr\u003e11. Fervono amori e danze  (5:39)\u003cbr\u003e12. Ah! Perchè qui!.. fuggite  (5:52)\u003cbr\u003e13. Finale - Ella è pura, in braccio a morte  (4:34)\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eAmelia - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eRiccardo - \u003cb\u003eGiuseppe Di Stefano\u003c\/b\u003e\u003cbr\u003eRenato - \u003cb\u003eTito Gobbi\u003c\/b\u003e\u003cbr\u003eUlrica -\u003cb\u003e Fedora Barbieri\u003c\/b\u003e\u003cbr\u003eOscar - \u003cb\u003eEugenia Ratti\u003c\/b\u003e\u003cbr\u003eSilvano - \u003cb\u003eEzio Giordano\u003c\/b\u003e\u003cbr\u003eSamuel - \u003cb\u003eSilvio Maionica\u003c\/b\u003e\u003cbr\u003eTom - \u003cb\u003eNicola Zaccaria\u003c\/b\u003e\u003cbr\u003eGiudice\/Servo - \u003cb\u003eRenato Ercolani\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCoro e Orchestra del Teatro alla Scala, Milano\u003c\/b\u003e\u003cbr\u003echorus master: \u003cb\u003eNorberto Mola\u003c\/b\u003e\u003cbr\u003econductor: \u003cb\u003eAntonino Votto\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by Andrew Rose\u003cbr\u003e\u003cbr\u003eCover artwork based on a photograph of Maria Callas and Giuseppe Di Stefano in Un Ballo In Maschera, 1957\u003cbr\u003eRecorded at Teatro alla Scala, Milan, 4 - 9 September 1956\u003cbr\u003e\u003cb\u003e\u003cbr\u003eTotal duration:  2hr 10:38\u003c\/b\u003e\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":44064762658906,"sku":"kbi1789304335427","price":173.76,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064762691674,"sku":"wfr1789304335428","price":131.08,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064762724442,"sku":"zzc1789304335429","price":108.61,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/maria-callas-the-verdi-opera-collection-studio-recordings-1953-1956---pabx048_1.jpg?v=1789304342","url":"https:\/\/vestorawear.shop\/products\/maria-callas-the-verdi-opera-collection-studio-recordings-1953-1956-pabx048","provider":"My Store","version":"1.0","type":"link"}