Detailinformationen

Puccini-Arien aus Manon Lescaut, Madame Butterfly, La Boheme,
Suor Angelica, Gianni Schicchi, Turandot
+Arien von Cilea, Giordano, Catalani, Boito

  • Künstler: Maria Callas, Philharmonia Orchestra, Tullio Serafin
  • Label: Naxos, ADD/m, 1954
  • Bestellnummer: 1546110
  • Erscheinungstermin: 4.1.2008
  1. 1 Maria Callas: Manon Lescaut: Act II: In quelle trine morbide Start
  2. 2 Maria Callas: Manon Lescaut: Act IV: Sola, perduta, abbandonata Start
  3. 3 Maria Callas: Madama Butterfly: Act II: Un bel di vedremo Start
  4. 4 Maria Callas: Madama Butterfly: Act Iii: Con Onor Muore - Tu, Tu Piccolo Iddio Start
  5. 5 Maria Callas: La boheme: Act I: Si, mi chiamano Mimi Start
  6. 6 Maria Callas: La Boheme: Act Iii: Donde Lieta Usci Start
  7. 7 Maria Callas: Suor Angelica: Senza mamma Start
  8. 8 Maria Callas: Gianni Schicchi: O mio babbino caro Start
  9. 9 Maria Callas: Turandot: Act I: Signore, ascolta! Start
  10. 10 Maria Callas: Turandot: Act II: In questa reggia Start
  11. 11 Maria Callas: Turandot: Act Iii: Tu Che Di Gel Sei Cinta Start
  12. 12 Maria Callas: Adriana Lecouvreur: Act I: Ecco: Respiro appena - Io son l'umile ancella Start
  13. 13 Maria Callas: Adriana Lecouvreur: Act IV: Poveri fiori Start
  14. 14 Maria Callas: Andrea Chenier, Act Iii: La Mamma Morta Start
  15. 15 Maria Callas: La Wally, Act I: Ebben? Ne andro lontana Start
  16. 16 Maria Callas: Mefistofele, Act Iii: L'altra Notte In Fondo Al Mare Start

Produktinfo

1954 was for Callas an exceptionally busy year. As well as appearing regularly at La Scala, Milan, and elsewhere in Italy, she made her American début at the Chicago Lyric in November. Her September 1954 Watford Town Hall sessions featured on this recording were released on two albums, one devoted to Puccini arias, not without blemishes, and the second featuring a selection entitled Coloratura Lyric Arias, which remains justly famous to this day. In the two arias from Cilea's Adriana Lecouvreur, Callas' interpretation benefits from her remarkably expansive breath span. In Boito's L'altra notte Callas revolutionises performance practice: she not only correctly sings all the written notes, but she understands implicitly what the dramatic situation calls for in her treatment of the cadenzas at the end of each verse. Throughout the remarkable length of her phrases, her choice of vocal colours, her command of rubato and her dynamic range reveal much more than one had thought the music contained.

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