Legendary Performances Vol.2

All of these are live recordings so the sound is quite variable. The standard square box contains separate soft plastic sleeves in which the cds are inserted. The advantage is that the cds are well protected (minor risk for scrapes compared to cardboard), but there is no information printed on the sleeve since it is made of plastic. There is some basic information printed on each cd (name, composer, cd #, the act/s and the date of the recording). There is also a small 24pg booklet that introduces the box including some photos as well as content description for each disc (opera, singers, time and location as well as a list of the separate tracks). I have been collecting these boxes for a while and always find it worthwhile as there are gems nicely interspersed in these collections. Callas is amazing and her live recordings are splendid (although the sound varies). The live recording can be muddy at times and involves applauds as well as stage sounds. My ears adjust after a little bit accommodating for the sound. These are definitely not at all like the studio recordings, but they have a different energy and a sense of spirit. I thoroughly enjoyed the previous collection from Bravissimo Legendary Performances of Callas [Box Set ]. If you are new to Callas you need to experience the collection from EMI which included all her studio recordings Maria Callas ~ Complete Studio Recordings which can be acquired very cheaply from a third party vendor. Another great collection is Maria Callas: 30 Complete Operas Box Set . Hundreds of amazing hours of opera with Callas awaits you! CHERUBINI Medea Maria Callas (Medea), Nicolai Ghiaurov (Creonte), Giulietta Simionato (Neris), Ivana Tosini (Glauce), Jon Vickers (Giasone), Alfredo Giacomotti (Capitano), Edith Martelli (Prima Ancella), Maddalena Bonifaccio (Seconda Ancella) Orchestra and Chorus of the Teatro alla Scala, Thomas Schippers (live on 14th December 1961) DONIZETTI Anna Bolena Maria Callas (Anna Bolena), Nicola Rossi-Lemeni (Enrico), Giulietta Simionato (Giovanna Seymour), Gianni Raimondi (Percy), Plinio Clabassi (Rochefort), Gabriella Carturan (Smeton), Luigi Rumbo (Hervey) Orchestra and Chorus of the Teatro alla Scala, Gianandrea Gavazzeni (live on 14th April 1957) ROSSINI Armida Maria Callas (Armida), Francesco Albanese (Rinaldo), Alessandro Zilliani (Goffredo), Gianni Raimondi (Eustazio), Mario Filippeschi (Gernando), Antonio Salvarezza (Ubaldo), Mario Frosini (Idradote), Marco Stefanoni (Astarotte) Orchestra and Chorus of the Maggio Musicale Fiorentino, Tullio Serafin (live on 26th April 1952) ROSSINI Il barbiere di Siviglia Maria Callas (Rosina), Tito Gobbi (Figaro), Luigi Alva (Il Conte Almaviva), Melchiorre Luise (Dr Bartolo), Nicola Rossi-Lemeni (Don Basilio), Anna Maria Canali (Berta), Pier Luigi Latinucci (Fiorello), Giuseppe Nessi (Un Ufficiale) Orchestra and Chorus of the Teatro alla Scala, Carlo Maria Giulini (live on 16th February 1956) VERDI Aida Maria Callas (Aida), Mario Del Monaco (Radamès), Oralia Domínguez (Amneris), Giuseppe Taddei (Amonasro), Roberto Silva (Ramphis), Ignacio Ruffino (Il Re di Egitto), Rosa Rodríguez (Una Sacerdotessa), Carlos Sagarminaga (Un Messaggero) Orchestra and Chorus of the Palacio de las Bellas Artes, Oliviero De Fabritiis (live on 3rd July 1951) VERDI Il Trovatore Maria Callas (Leonora), Kurt Baum (Manrico), Giulietta Simionato (Azucena), Leonard Warren (Il Conte di Luna), Nicola Moscona (Ferrando), Ana María Feuss (Ines), Carlos Sagarminaga (Ruiz) Orchestra and Chorus of the Palacio de las Bellas Artes, Guido Picco (recorded live on 20th June 1950) VERDI La Traviata Maria Callas (Violetta), Giuseppe di Stefano (Alfredo), Piero Campolonghi (Germont), Cristina Trevi (Flora), Edna Patoni (Annina), Francisco Tortolero (Gastone), Ignacio Ruffino (Dottore Grenvil), Gilberto Cerda (Baron Douphol), Alberto Herrera (Marchese d'Obigny) Orchestra and Chorus of the Palacio de las Bellas Artes, Umberto Mugnai (live on 3rd June 1952)

I have a extensive collection of recording by Callas but I find that listening to her can become addictive. Here we have ( among others) a live recording of Armida that just takes your breath away. In 1952 Callas was at the top of her game. This is a vivid testament of her uncanny ability to portray character and to transport you back in time; this time in Florence on that fateful evening where she mesmerized her audience with the beauty and the stunning power of her voice. Aida, Anna Bolena and Medea were new to me but nevertheless grab my attention. Barbier, Trovatore,Traviata are also interesting for they allow you to discover yet again a different side of Callas. She is well supported by a great cast of tenors, baritones etc... All in all it is a outstanding buy, one I would recommend to anyone.

A great buy, and we get the Il Trovatore from Mexico with all of those high notes and a rawness to Maria's voice that is breathtaking. The Aida fom Mexico is here with the high e flat in the Triumphal Scene, and Maria's incomporable performance..a slave, but wild with anxiety throughout, as the arias state. Callas knew the truth. Anna Bolena, so riveting the way Maria faces Death all the way through it..and as it gets closer her madness begins to overtake her, until the last cabaletta, Coppia Iniqua here she tries to maintain stability, but is finally enveloped in the nightmare that had been her companion since the disatrous marriage to Henry VIII. Armida (how does she sail through the colatura?), La Traviata (electric), Medea ( Scary and wonderful) Buy this and quit work.

These recordings of Aida, Traviata, Trovatore and Armida really are what the love for opera is all about. In the 50's, Callas sang like every performance could be her last which made for some fantastic performances and a very short career. Everyone in these four best performances from the early 50's sound great and the sound quality is good enough to hear the voices clearly. Only the 1961 Medea finds Callas past her prime.

Good price. Prompt shipping.