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Maria Callas – The Studio Recitals
CD1: Puccini Arias [45:14]
CD2: Lyric and Coloratura Arias
CD3 Callas at La Scala
CD4: Verdi Arias I [49:14]
CD5: Mad Scenes [47:23]
CD6: Callas à Paris I [49:08]
CD7: Callas á Paris II [43:04]
CD8: Verdi Arias II [39:53]
CD9: Mozart, Beethoven, Weber [44:23]
CD10: Rossini and Donizetti Arias [39:22]
CD11: Verdi Arias III [52:07]
CD12: The EMI Rarities 1953–1961 [63:28]
CD13: The EMI Rarities 1962–1989 [51:08]
Maria Callas (soprano)

EMI CLASSICS 0946 3 68033 2 6 [13 CDs: 45:14 + 49:00 + 41:50 + 49:14 + 47:23 + 49:08 + 43:04 + 39:53 + 44:23 + 39:22 + 52:07 + 63:28 + 51:08]
Full track details at the foot of the review

Here EMI have collected all the studio recitals Callas made for the company, including two discs with mop-up takes that were not issued until long after her death. All the discs have been available separately but it is convenient, and it saves shelf-space, to have them in a box with a width corresponding to less than four jewel-cases.

There will probably always be some controversy about the pros and cons of Callas as a singer and actress. It is true that the journey through these thirteen discs, admittedly not always very well-filled, exposed this listener to a fair share of heavy vibrato, squally high notes and throaty delivery, sometimes decidedly ugly. As a remedy there are also heavenly pianissimos, dramatic conviction and a constant identification with the different characters. Whatever she sings there is a face in the singing, no mere vocalizing. It can be argued that to find Callas in her true mettle one should turn to her complete recordings – and there are more than twenty sets in the EMI catalogue alone – where she also interacts with some great singing-actors, notably Tito Gobbi. Spreading the listening of this set over several weeks I found, however, that Callas on her own can illuminate so much of a role and, after all, most arias are outpourings of the characters’ innermost feelings and thoughts, interior monologues. Callas is of course not the only soprano to be thus illuminating and there are cases where her frayed tone or other deficiencies can be contra-productive to her dramatic intentions, where the regal tones of her greatest competitor Renata Tebaldi can be more telling. Still I never gave in to the temptation to indulge in excessive comparisons, which would have made my listening sessions eternal and this review probably interminable.

My conclusion when finishing listening was that Callas always has something personal to express in all these arias. Whether one likes what one hears or not is a personal matter but one thing is clear: she never becomes dull or indifferent.

I am not going to linger over every single aria in this review but rather give a general impression and pick some items that are special. For fuller reviews of the first two discs, the Puccini album and the "Lyric and Coloratura Arias" I can refer readers to my reviews a couple of years ago when they were issued on Regis with some additional material from complete operas or live concerts. I made some random comparisons between the Regis and EMIs but could find very little difference, even though I listened through headphones. Interestingly the timings show that most of the Regis transfers are a few seconds shorter and consequently should be marginally sharper in pitch but at least my ears couldn’t hear any difference. It should also be said that the Puccini recital on Regis excluded the two arias from Madama Butterfly. Instead that disc had substantial excerpts from the complete Butterfly with Karajan and Nicolai Gedda, including the two arias. The differences are minimal.

On CD3, recorded in 1955 but not released until three years later, the Medea aria offers a lot of acidulous singing but still more easy on the ear than in her complete recording. The three excerpts from Spontini’s La vestale are reminders of a role she sang at La Scala in 1954. Her first tone in Tu che invoco, after the beautifully played horn solo, has an inward lyrical quality that is touching, and this aria, so rarely heard, also finds her in unusually steady voice. Spontini’s dramatic orchestral writing can also be admired in this long scene. Her beautiful legato is shown at its best in both the following arias, of which Caro oggetto especially has a delicious melody. Clean tone and excellent coloratura mark the two Sonnambula arias, Ah! non credea mirarti, beautifully sung followed by a lively Ah! non giunge where she sports a fine trill.

Listening to CD4 makes one regret than she never recorded Lady Macbeth or Abigaille complete, since these excerpts are so spine-chillingly good - two evil characters who probably haven’t been better performed. "The New Callas", as was the epithet applied to Elena Suliotis when she was the great sensation in the mid-1960s, recorded both but when it came to Macbeth her voice was already more or less wrecked, while her record debut in Nabucco a handful of years earlier was possibly the most fabulous dramatic singing of the entire decade. Callas back in 1958 had also started her decline vocally but Verdi wouldn’t have minded and her identification is total. The first act aria is a thriller, La luce langue is inwardly menacing and the bleak sleepwalking scene has one sitting on the edge of the chair. Besides the singing the expert instrumentation is also a great asset to this opera, which can’t always be said about Nabucco which is arguably the crudest, most primitive of the galley operas. This however serves to bring out the personalities of the main protagonists. Callas is formidable but also sings with serene beauty, only occasionally disfiguring a phrase but the final note is one to seek shelter from.

A master of florid singing she also negotiates the coloratura of Elvira’s aria from Ernani and sings with admirable lightness. As Elisabetta in Don Carlo, a role she never undertook on stage, she is still masterly, contrasting lyrical girlish tones with high-strung drama, contralto chest notes versus ethereal pianissimo.

"Mad Scenes" is the collective title of CD5. Such scenes tend to be long indeed–the madder the longer–and this well-filled disc (47 minutes was indeed over average for an LP in the late 50s) only finds room for three. The longest is the act 2 scene from Anna Bolena and I wouldn’t have minded some more cue points for easier access to favourite passages, for example the heavenly simple and beautiful rendering (at 13:40) of the melody that is best known as Home, sweet home. Elsewhere she has her shrill moments but many more of serene beauty and deep insight and the four other soloists make good contributions.

For Ofelia she lightens her voice and wavers between sadness and gaiety. She shows her fine trill in the ballad Pâle et blonde (6:05), based on the Swedish folk song Näckens polska and inserted in the opera as a tribute to Swedish soprano Kristina Nilsson who was the first Ofelia. "Näcken" is an evil water-sprite in Nordic mythology.

Callas also makes the most of the scene from Il pirata, seventeen minutes long but with an orchestral introduction of four minutes.

With the two volumes entitled "Callas à Paris" (CDs 6-7) we are already well into the 1960s but her singing is still more or less unimpaired. When she sings softly she can spin those thin silken threads, when giving an aria – like the one from Alceste – the full dramatic treatment, the voice still has the power and intensity and only occasionally it turns wobbly and shrill–at least not much more so than a decade earlier. Her Orphée is warm toned with romantic inflexions, her Carmen is Carmen – remember the EMI slogan when the complete opera arrived some years later - her Dalila challenges almost any other version. She is lively and joyful in Je veux vivre and the polonaise from Mignon is light and airy.

The aria from Le Cid is a relative rarity – as is the whole opera. CBS recorded it in the 1970s with Domingo and Bumbry and it contains some grand music but it is not on a par with Massenet’s more established masterpieces. There is no denying the dramatic potential of Pleurez, mes yeux!, however, especially when sung with the intensity and lyrical mournfulness of Callas. Depuis le jour in contrast is restrained and beautiful with the tone fairly concentrated even in fortissimo. Ô malheureuse Iphigénie! is arguably the noblest and most tragic Gluck aria, sung here with Callas’s inward glow, but it has to be said that during the two years that had elapsed since the previous recital, her voice had deteriorated, become more shrill, more frayed. Her pianissimo singing is as marvellous as ever but under pressure and when singing above the stave it is harder, more grating on the ear.

Prêtre’s interlude in Berlioz’s D’amour l’ardente flame (after ca. 3:00) is so self-indulgent that one could suspect Bernstein to be at the helm and the Callas reading is unique in its nervous intensity. There are recorded versions that are more beautiful and fall more easily on the ear – Janet Baker and Frederica von Stade come to mind – but Callas has more face. Her personification of Leila in Bizet’s Les Pêcheurs de perles is another example of an aria that can be pretty enough in a well sung performance but in Callas’ hands becomes something much more important. Sung mostly at mezzaforte or below it also sounds comfortable and she demonstrates at the end that her trill is still in good shape. Her Manon, Charlotte and Marguerite are all superb; three clearly differentiated characters speaking to us through the loudspeakers and we forget the odd squally note when these women of flesh and blood reveal their innermost feelings.

Up till then Walter Legge had produced all her recitals, except "Callas at La Scala", where Walter Jellinek was the producer. The rest of them were made under the supervision of Michel Glotz during an intense period from December 1963 to April 1964 resulting in four records. Added to this on CD11 are the two arias from Il corsaro, recorded in 1969 with Peter Andry in charge. These are the last official recordings Callas made and they were not released until after her death.

Do I detect a more incipient beat in the voice on the Verdi recital (CD8) than on previous discs? Partly, yes, but her Desdemona is still marvellous and one need only listen to the third "salce" (track 1, ca 1:05) to realize that the old magician is still at work. She is a forceful Odabella in Attila and the intensity is never in question but here she is far too strained and shrieky to invite repeated listening. The same goes for Elisabetta’s second act aria from Don Carlo: much involved and considered singing but too much compromised voice production. Her O don fatale from the same opera is much more enjoyable with impressive chest notes and she is indeed one of the most formidable Ebolis on records.

CD9 finds her in repertoire one normally doesn’t associate with Callas, but remembering her early recording of Isolde’s Liebestod it comes as no surprise that she can make the most of Beethoven’s long concert aria Ah! perfido where she differentiates well between the furious and sorrowful moods. Some unsteadiness is noticeable but at this stage of her career that is only what can be expected. The aria from Oberon is sung in the original English and the opening "Ocean! thou mighty monster" is delivered with the force of a tsunami. One still cringes at her final note though.

Callas singing Mozart poses some problems. Of course her Figaro Contessa is sad, her Donna Anna properly furious and Donna Elvira more dangerously angry than any other I have heard but one misses the beauty and smoothness of tone that one expects in Mozart. The music must not offend the ear, Mozart said, however dramatic the situation. Well, it does here and I think the composer would have complained. On the other hand he was a man of the theatre and whatever aspects one can have on Callas’s singing it is never bland.

On CD10 she returns a last time to the bel canto repertoire and her Angelina in La Cenerentola is properly girlish with some beautiful soft notes only nudged at. Mathilde in Guglielmo Tell is a warm hearted creature – as she should be – the aria proper is among Callas’ loveliest creations, apart from a couple of sour high notes, but she makes amends with some delicious soft pianissimos and the long diminuendo on the final note is perfectly controlled. The Semiramide aria is fiery, her Marie in La figlia del reggimento is light and sprightly, Lucrezia Borgia is sung with feeling and she is a charming Adina in L’elisir d’amore.

CD 11 is yet another all-Verdi recital. What is immediately noticeable is the sharper sound and since most of the titles were recorded at roughly the same time as the previous disc I suspect that this is due to the digital remastering, done by Paul Baily, whereas Simon Gibson was responsible for most of the others. This is mostly for the good, not least do we hear more of Verdi’s often delicious orchestration. The Attila aria is one fine example. The singing in general has the same characteristics as on the previous discs but it is interesting to note that on the two arias from Il corsaro, recorded as late as 1969, Callas’s voice is actually freer from the disfiguring beat on high sustained notes and she phrases with her customary elegance and has some ravishing pianissimos. On the other hand she seems more distanced and it is hard to know whether this is a result of the recording balance or if she actually had lost volume. At the end of track 4 she is seriously over-parted by the orchestra. Tacea la notte from Il trovatore is more forceful than on the complete set with Karajan, recorded almost a decade earlier. Her tone is also shriller than in 1969. The cabaletta is fiery but a little unsubtle. The aria from I vespri siciliani is better controlled but the real gems are the two arias from Un ballo in maschera.

On CDs 12 and 13 we are treated to recordings covering her whole career but in the main never issued during her lifetime. Most of these she recorded at other times and thus it is fascinating to compare. There are even alternative takes from the same sessions. Most interesting is probably the third act duet from Aïda with Franco Corelli as Radamès. The two stars sang together on Callas’ second Norma recording a few years earlier and sparks are flying here too. Corelli obviously tries to out-sing Callas in a glorious but mainly unsubtle reading, where Callas is the one who takes care of the nuances but she also lets herself be carried away by Corelli’s histrionics and produces some ugly bleating sounds. Still it is good to have them together in roles they both recorded with other partners: Callas with Richard Tucker and Corelli a couple of years later with Birgit Nilsson where he is more nuanced. On disc 13 we also find Leonora’s act 4 aria from Il trovatore, recorded, I believe, at the same session as Tacea la notte. That it took more time for EMI to release it – not until 1992 – can be explained by some ugly unfocused singing near the end, but as always with Callas there are many subtle and beautiful moments too. Just when I am writing this I am listening to the wonderful singing in the originally discarded Attila aria and as so often I am totally overwhelmed and can’t continue writing until the aria is over and here now is Te Virgin santa from I Lombardi–the last title of the last disc–and I have to interrupt my writing again. Silence has settled upon my room but in my head Callas’s voice can still be heard. My advice is that every reader who still hasn’t acquired these recitals in one form or other buys this box and gets access to one of the most fascinating voices in recorded history. No texts are included but with Callas they are not necessary – her message comes through anyway.

Göran Forsling

Maria Callas – The Studio Recitals
CD1: Puccini Arias [45:14]
Giacomo PUCCINI (1858–1924)

Manon Lescaut (1893):
1. In quelle trine morbide [2:56];
2. Sola, perduta, abbandonata [5:53];
Madama Butterfly (1904):
3. Un bel di, vedremo [4:34];
4. Con onor muore [3:44];
La bohème (1896):
5. Si. Mi chiamano Mimi [4:48];
6. Donde lieta usci [3:32];
Suor Angelica (1918):
7. Senza mamma [5:35];
Gianni Schicchi (1918):
8. O mio babbino caro [2:34];
Turandot (1926):
9. Signore, ascolta [2:30];
10. In questa reggia [6:24];
11. Tu che di gel sei cinta [2:50]
Maria Callas (soprano); Philharmonia Orchestra/Tullio Serafin
rec. at Watford Town Hall, 15–18 September 1954
CD2: Lyric and Coloratura Arias [49:00]
Francesco CILEA (1866–1950)

Adriana Lecouvreur (1902)
1. Ecco: respire appena. Io son l’umile ancella [3:49];
2. Poveri fiori [3:12]
Umberto GIORDANO (1867–1948)

Andrea Chenier (1896)
3. La mamma morta [4:52];
Alfredo CATALANI (1854–1893)

La Wally (1892)
4. Ebben? ne andrò lontana [4:52];
Arrigo BOITO (1842–1918)

Mefistofele (1868)
5. L’altra notte in fondo al mare [7:28];
Gioachino ROSSINI (1792–1864)

Il barbiere di Siviglia (1816)
6. Una voce poco fa [6:52];
Giacomo MEYERBEER (1791–1864)

Dinorah (1859)
7. Ombra leggera (Shadow Song) [5:42];
Léo DELIBES (1836–1891)

Lakmé (1883)
8. Dov’è l’indiana bruna? (Bell Song) [8:06];
Giuseppe VERDI (1813–1901)

I vespri siciliani (1855)
9. Mercé, dilette amiche [4:02]
Maria Callas (soprano); Philharmonia Orchestra/Tullio Serafin
rec. at Watford Town Hall 17, 18, 20 and 21 September 1954
CD3 Callas at La Scala [41:50]
Luigi CHERUBINI (1760–1842)

Medea (1797)
1. Dei tuoi figli [4:46];
Gasparo SPONTINI (1774–1851)

La vestale (1807)
2. Tu che invoco [10:50];
3. O Nume tutelar [2:30];
4. Caro oggetto [3:44]
Vincenzo BELLINI (1801–1835)

La sonnambula (1831)
5. Compagne teneri amici … Come per me sereno [5:49]
6. Oh! se una volta sola … Ah! non credea mirarti … Ah! non giunge [13:58];
Maria Callas (soprano); Orchestra del Teatro alla Scala, Milano/Tullio Serafin
rec. at Teatro alla Scala, Milano 9–12 June 1955
CD4: Verdi Arias I [49:14]
Giuseppe VERDI

Macbeth (1847)
1. Nel di della vittoria … Vieni! t’affretta [7:44];
2. La luce langue [4:07];
3. Una macchia è qui tuttora [11:09];
Nabucco (1842)
4. Ben io t’invenni … Anch’io dischiuso un giorno [9:06];
Ernani (1844)
5. Surta è la notte … Ernani, Ernani, involami [6:10];
Don Carlo (1867)
6. Tu che le vanità [10:36];
Maria Callas (soprano); Philharmonia Orchestra/Nicola Rescigno
rec. at No. 1 Studio, Abbey Road, London 19, 21 and 24 September 1958
CD5: Mad Scenes [47:23]
Gaetano DONIZETTI (1797–1848)

Anna Bolena (1830)
1. Piangete voi? … Al dolce guidami castel nation [19:57];
Ambroise THOMAS (1811–1896)

Hamlet (1869)
2. À vos jeux … Partagez-vous mes fleurs … Et maintenant écoutez ma chanson [10:23];
Vincenzo BELLINI (1801–1835)

Il pirata (1827)
3. O! s’io potessi … Col sorriso d’innocenza [17:02];
Maria Callas (soprano); Monica Sinclair (contralto), John Lanigan (tenor), Joseph Rouleau (bass), Duncan Robertson (tenor)(1); Philharmonia Orchestra and Chorus/Nicola Rescigno ;
rec. at Kingsway Hall, London, 24 and 25 September 1958
CD6: Callas à Paris I [49:08]
Christoph Willibald GLUCK (1714–1787)

Orphée et Eurydice (1774)
1. J’ai perdu mon Eurydice [4:25];
Alceste (1767)
2. Divinités du Styx [4:24];
Georges BIZET (1838–1875)

Carmen (1875)
3. L’amour est un oiseau rebelle (Habanera) [4:03];
4. Près des ramparts de Séville (Séguedille) [2:04];
Camille SAINT-SAËNS (1835–1921)

Samson et Dalila (1877)
5. Printemps qui commence [5:14];
6. Samson, recherchant ma présence … Amour! viens aider ma faiblesse! [4:10];
7. Mon Coeur s’ouvre à ta voix [5:15];
Charles GOUNOD (1818–1893)

Roméo et Juliette (1867)
8. Ah! Je veux vivre dans ce rêve [3:38];
Ambroise THOMAS

Mignon (1866)
9. Ah, pour ce soir … Je suis Titania (Polonaise) [5:08];
Jules MASSENET (1842–1912)

Le Cid (1885)
10. De cet affreux combat … Pleurez, mes yeux! [6:05];
Gustave CHARPENTIER (1860–1956)

Louise (1900)
11. Depuis le jour [4:39];
Maria Callas (soprano); Orchestre National de la Radiodiffusion Française/Georges Prêtre;
rec. at Salle Wagram, Paris, 28–31 March and 4, 5 April 1961
CD7: Callas á Paris II [43:04]
Christoph Willibald GLUCK

Iphigénie en Tauride (1779)
1. Ô malheureuse Iphigénie![4:30];
Hector BERLIOZ (1803–1869)

La Damnation de Faust (1854-56)
2. D’amour l’ardente flame [8:08];
Georges BIZET

Les Pêcheurs de perles (1863)
3. Me voilà seule … Comme autrefois [5:56];

Manon (1884)
4. Jen e suis que faiblesse … Adieu, notre petite table [3:16];
5. Suis-je gentile ainsi? … Je marche sur tous les chemins [2:49];
Werther (1892)
6. Werther! Qui m’aurait dit … Des cris joyeux [6:59];
Charles GOUNOD

Faust (1859)
7. Je voudrais bien savoir … Il était un Roi de Thulé … Ô Dieu! que de bijoux … Ah! je ris (Jewel Song) [11:24];
Maria Callas (soprano); Orchestre de la Société des Concerts du Conservatoire/Georges Prêtre;
rec. at Salle Wagram, Paris, 2–8 May 1963
CD8: Verdi Arias II [39:53]
Giuseppe VERDI

Otello (1887)
1. Mi parea … Mia madre aveva una povera ancella [5:04];
2. Piangea cantando [7:12];
3. Ave Maria piena di grazie [4:45];
Aroldo (1857)
4. Ciel, ch’io respire! … Salvami, salvami tu, gran Dio! [3:26];
5. O Cielo! Dove son io [9:40];
Don Carlo (1867)
6. Non pianger, mia compagna [4:52];
7. O don fatale [4:41];
Maria Callas (soprano); Orchestre de la Société des Concerts du Conservatoire/Nicola Rescigno;
rec. at Salle Wagram, Paris, 17–27 December, 1963 and 20, 21 February, 1964
CD9: Mozart, Beethoven, Weber [44:23]
Ludwig van BEETHOVEN (1770–1827)

1. Scena and Aria: Ah! perfido Op. 65 (1795-96) [14:18];
Carl Maria von WEBER (1786–1826)

Oberon (1826)
2. Ocean! thou mighty monster [9:03];
Wolfgang Amadeus MOZART (1756–1791)

Le nozze di Figaro (1786)
3. Porgi, amor [4:14];
Don Giovanni (1787)
4. Or sai chi l’onore [3:14];
5. Crudele?... Non mi dir [5:52];
6. In quail eccessi, o Numi! …Mi tradi quell’alma ingrate [6:26];
Maria Callas (soprano); Orchestre de la Société des Concerts du Conservatoire/Nicola Rescigno;
rec. at Salle Wagram, Paris, 6–23 December 1963 and 8 January 1964
CD10: Rossini and Donizetti Arias [39:22]
Gioachino ROSSINI (1792–1868)

La Cenerentola (1817)
1. Naqui all’affanno … Non più mesta [6:18];
Guglielmo Tell (1829)
2. S’allontanano alfine … Selva opaca [8:32];
Semiramide (1823)
3. Bel raggio lusinghier [8:34];
Gaetano DONIZETTI (1797–1848)

La figlia del reggimento (1840)
4. Convien partir [4:05];
Lucrezia Borgia (1833)
5. Tranquillo ei posa … Com’è bello [8:15];
L’elisir d’amore (1832)
6. Prendi, prendi; per me sei libero [3:33];
Maria Callas (soprano); Orchestre de la Société des Concerts du Conservatoire/Nicola Rescigno;
rec. at Salle Wagram, Paris, 4–23 December, 1963 and 13–24 April 1964
CD11: Verdi Arias III [52:07]
Giuseppe VERDI

I lombardi (1843)
1. O Madre, dal cielo soccorri [3:59];
Attila (1846)
2. Liberamente or piangi … Oh! nel fuggente nuvolo [5:24];
Il corsaro (1848)
3. Egli non riede ancor … Non so le tetre immagini [5:16];
4. Né sulla terra …Vola talor dal carcere … Verró … Ah conforto è sol la speme [5:57];
Il trovatore (1853)
5. Tacea la notte placida … Di tale amor [6:07];
I vespri siciliani (1855)
6. Arrigo! ah, parli a un core [4:32];
Un ballo in maschera (1859)
7. Ecco l’orrido campo … Ma dell’arido stelo diculsa [9:16];
8. Morrò, ma prima in grazia [4:26];
Aida (1871)
9. Ritorna vincitor [7:06];
Maria Callas (soprano); Orchestre de la Société des Concerts du Conservatoire; Orchestre du Théâtre National de l’Opéra de Paris (3, 4)/Nicola Rescigno
rec. January and April, 1964 (7), February 1964 and April 1985 (6), April 1964 (2, 8, 9), April 1964 and January 1985 (1, 5), February and March 1969 (3, 4)
CD12: The EMI Rarities 1953–1961 [63:28]
The 1953 Test:
Wolfgang Amadeus MOZART

Don Giovanni (1787)
1. Non mi dir (Take 1) [5:26];
2. Non mi dir (Take 2) [5:04];
Orchestra del Maggio Musicale Fiorentino/Tullio Serafin;
rec. at Teatro Comunale, Florence, 17 January 1953
The Mono Version of the Sleepwalking Scene from Macbeth:
Giuseppe VERDI

Macbeth (1847)
3. Una macchia è qui tuttora [11:12];
Philharmonia Orchestra/Nicola Rescigno;
rec. at No. 1 Studio, Abbey Road, London, September 1958
The 1960 and 1961 Tonini Sessions:
Gioachino ROSSINI

Semiramide (1823)
4. Bel raggio lusinghier [5:34];
Giuseppe VERDI

I vespri siciliani (1855)
5. Arrigo! ah parli a un core [4:04];

Lucrezia Borgia (1833)
6. Tranquillo ei posa … Com’è bello [8:03];
Gioachino ROSSINI

Guglielmo Tell (1829)
7. S’allontanano alfine … Selva opaca [8:25];
Semiramide (1823)
8. Bel raggio lusinghier [5:22];
Vincenzo BELLINI (1801–1835)

Il Pirata (1827)
9. Sorgete … Lo sognai ferito, esangue [9:23];
Monica Sinclair (contralto), Alexander Young (tenor)(9); Philharmonia Orchestra and Chorus/Antonio Tonini
rec. at Kingsway Hall, London, nov. 1961
Maria Callas (soprano)
CD13: The EMI Rarities 1962–1989 [51:08]
The 1962 Tonini Sessions:
Giuseppe VERDI

Don Carlo (1867)
1. O don fatale [4:27];
Gioachino ROSSINI

La Cenerentola (1817)
2. Naqui all’affanno … Non più mesta [6:11];
Carl Maria von WEBER

Oberon (1826)
3. Ocean! thou mighty monster [8:02];
Philharmonia Orchestra/Antonio Tonini
rec. at Kingsway Hall, London, April 1962
The 1964 Prêtre Sessions:
Giuseppe VERDI

Aida (1871)
4. Pur ti riveggo, mia dolce Aida [9:32];
Franco Corelli (tenor); Orchestre du Théâtre National de l’Opéra de Paris/Georges Prêtre
rec. at Salle Wagram, Paris, June 1964
The 1964/5 Rescigno Sessions:
Giuseppe VERDI

I lombardi alla prima crociata (1843)
5. Te, Vergin santa [3:46];
Il trovatore (1853)
6. Vanne … D’amor sull ali rosee [6:27];
Orchestre de la Société des Concerts du Conservatoire/Nicola Rescigno
rec. at Salle Wagram, Paris, April 1954 and January 1965
The 1969 Rescigno Sessions:
Giuseppe VERDI

I vespri siciliani (1855)
7. Arrigo! ah parli a un core [3:38];
Attila (1846)
8. Liberamente or piangi! [4:45];
I lombardi alla prima crociata (1843)
9. Te, Vergin santa [3:21];
Orchestre de la Société des Concerts du Conservatoire/Nicola Rescigno
rec. at Salle Wagram, Paris, February and March 1969
Maria Callas (soprano)

EMI CLASSICS 0946 3 68033 2 6 [13 CDs: 45:14 + 49:00 + 41:50 + 49:14 + 47:23 + 49:08 + 43:04 + 39:53 + 44:23 + 39:22 + 52:07 + 63:28 + 51:08]



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