Callas sings Rossini & Donizetti Arias - Callas Remastered Maria Callas

• 1 Rossini: La cenerentola, Act 2: Nacqui all'affanno e al pianto.....Non piu mesta (Angelina) 06:20
• 2 Rossini: Guglielmo Tell, Act 2: S'allontanano alfin... (Matilde) 08:39
• 3 Donizetti: La figlia del reggimento, Act 1: Convien partir (Maria) 04:08
• 4 Rossini: Semiramide, Act 1: Bel raggio lusinghier (Semiramide) 08:42
• 5 Donizetti: Lucrezia Borgia, Act 1: Tranquillo di posa...Com'e bello (Lucrezia Borgia) 08:24
• 6 Donizetti: L'elisir d'amore, Act 2: Prendi, per me sei libero (Adina) 03:39
• Total Runtime 39:52

Info zu Callas sings Rossini & Donizetti Arias - Callas Remastered

Although the bel canto repertoire was crucial to Callas’s career, and she played a significant part in reviving its fortunes, she never sang any of the roles – from both serious and comic operas – that are represented in this recital. Gramophone said: ‘It is extraordinary how the whole quality and colour of Callas’ voice changes as she moves from one character to another – for example, from the grand manner appropriate to the Babylonian queen [Semiramide] to the passion of the spoilt Italian duchess [Lucrezia Borgia] and thence to the simple charm of the countrywoman Adina [L’elisir d’amore].’

Maria Callas, soprano
Paris Conservatoire Orchestra
Nicola Rescigno, conductor

Digitally remastered

Maria Callas
was born to a Greek family in New York in 1923. Her vocal training took place in Athens, where her teacher was the coloratura soprano Elvira de Hidalgo, who had sung with Enrico Caruso and Feodor Chaliapin. After early performances in Greece, Callas’s international career was launched in 1947 when she performed the title role in Ponchielli’s La Gioconda at the Arena di Verona in Italy.

Her voice defied simple classification and her artistic range was extraordinary. In her early twenties she sang such heavy dramatic roles as Gioconda, Turandot, Brünnhilde and Isolde, but over the course of her career her most famous roles came to be: Bellini’s Norma and Amina (La sonnambula); Verdi’s Violetta (La traviata); Donizetti’s Lucia di Lammermoor and Anna Bolena, Cherubini’s Medea and Puccini’s Tosca. Though her timbre was not always conventionally beautiful, Callas’s musicianship and phrasing were in a class of their own. She brought characters to vivid life with her skill in colouring her tone and making insightful use of the text.

She is credited with changing the history of opera: by placing a perhaps unprecedented emphasis on musical integrity and dramatic truth, and by transforming perceptions – and reviving the fortunes – of the bel canto repertoire, particularly Bellini and Donizetti.

The 1950s marked the height of Callas’s career. Its base lay in the opera houses of Italy, and she became the prima donna assoluta of Milan’s legendary La Scala – notably in the productions of Luchino Visconti – but her operatic appearances also encompassed London’s Royal Opera House, the New York Metropolitan Opera, Paris Opéra, the Vienna State Opera, and the opera houses of Chicago, Dallas, Houston, Lisbon, and, in the early 1950s, Mexico City, São Paolo and Rio de Janeiro.

From 1959, when she started a life-changing love affair with the Greek shipping magnate Aristotle Onassis, her performing career slowed down and her voice became more fragile. Her final stage performances came in 1965, when she was only 42.

There were many plans for a return to the stage – and for further complete recordings – but they never reached fruition, though in 1974 she gave a series of concerts in Europe, North America and Japan with the tenor Giuseppe di Stefano; he had partnered her frequently in the opera house and in the studio, not least in the 1953 La Scala Tosca under Victor de Sabata, considered a landmark in recording history. Callas died alone in her Paris apartment in September 1977.

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