Il Barbiere Di Siviglia 1957

While this 1957 recording of Il Barbiere di Siviglia is considered a classic, it has always puzzled me because it not only employs virtually all of the now now mostly ill reputed traditional cuts, but also uses the most corrupt orchestral text of any major stereo era recording known to me. Even in the days prior to the authentic Ricordi Urtext version of the score by Alberto Zedda (which dates from 1968 and was first recorded by Claudio Abbado in the early 1970's) it was possible to obtain reasonably accurate versions of the score. What is used here is an edition where the wind parts are often not only completely rewritten, but additional trombone and timpani are also added into the mix to reinforce the sound at certain points.It is interesting to note that Rossini's original scoring calls for in addition to the usual complement of strings, two piccolos, flute, oboe, bassoon, guitar, and pairs of clarinets, horns, and trumpets. Percussion consists of bass drum (which can imply cymbals) and a sistrum (a form of rattle). However, when the two piccolos are employed the flute and oboe are silent. When one piccolo is employed only one of either the oboe or flute is utilized... but never both. Obviously the flutist and oboist were also the piccolo players. This is analogous to some early Mozart symphonies where flutes are employed in some movements and oboes in others, but never together. In the version of the score used for this recording the two piccolos are never heard. Instead we get what sounds to my ears like newly written flute and oboe parts all of which gives a less brilliant presentation of the score. This especially effects Figaro's (in)famous entrance aria much to its detriment, not to mention the finale to the first act among other parts of the score. That a triangle is used in place of the sistrum was and is still often common practice as a substitute for that unconventional percussion instrument.Still, in spite of the orchestral issues, what is presented is indeed a Callas classic. Callas sings the part in the original mezzo keys even though on quite a few occasions she adds a number of high lying soprano embellishments as was the tradition at the time. There is indeed a special gleam and smile to her voice and most certainly during "Una voce poco fa". In summation this recording confirms that Callas could be just as adept at comedy as she was at tragedy. Furthermore Tito Gobbi as Figaro and Callas play off each other deliciously and especially in the recitative prior to their duet as well as the duet itself. I have never been overly fond of the sound of Gobbi's voice but here it has greater presence and more ping. One also gets to hear tenor Luigi Alva in youthful voice in a role that he would record twice more in his career. The Bartolo does not sound idiomatically Italian but gives a decent rendition of what is left of his much cut aria. The Basilio and Berta are fine.The sound of the new mastering is leaner and brighter than previous CD editions. The original 1986 CD release has somewhat dark sound. The 1997 version is a bit brighter and was transferred at a higher level. The newer version has been transferred at a even higher level. It as almost as if the aural equivalent of a scrim was lifted from the proceedings. Still the sound of the original 1986 version is in many ways the most pleasing of all... The difference being that it reflects a balcony seat in the theatre as opposed to a front and center location. As such the new version presents the voices with pristine clarity... the same for the orchestra... and especially since conductor Alceo Galliera seems to have made a special effort to emphasize precision and lucidity. If only the pristine original scoring had been utilized!!!! However, it is what it is and we must at least be grateful that it was recorded in stereo... the first opera that Callas recorded in the medium. Of course it was recorded stereophonically because the the recording was made in London. At the time EMI (a firm that lagged woefully behind the audiophile curve) was not set up for stereo recording in Italy. So one must be thankful for what was achieved and in fairness the casual listener might not even notice the orchestral issues.As a post script, it is worth noting that the discs are packaged in cardboard sleeves with paper inserts and the discs are designed to look like miniature LP's. An insert with brief notes is included, but no libretto. The packaging takes up minimal shelf space... Not a bad thing...

If you've found yourself on this page, you probably know who Maria Callas is already, so I will focus on the merits of this particular recording. First of all, the score is heavily cut. So if you're looking for a reference recording, this isn't it. I haven't compared this remastering to other CD issues, but I can tell you this one is fine. The voices are clear and present, and the overall sound is impressive for a 1950s era recording. The orchestra is a little muffled, and as other reviewers have mentioned the orchestration is not Rossini's original. Callas is in good voice for most of the performance. Overall she is charming and handles the coloratura with ease. Only a high, forte note or two sound less that beautiful. Not a first choice recording for the beginning collector. But if you're a Callas fan or you're looking for a second or third recording of Barber, this one will not disappoint.

This is the one - even with all the cuts!. A dream cast: Callas, of course, and Gobbi who should be on anyone's list of the five best operatic baritones of the last century. ( Listen to him and Callas in Lucia...) Add this to your desert island must-haves.

This is the dream Barbiere. The best Rossina and the best Figaro ever on records. Galliera conducts with flair and the Philharmonia Orchestra in top form. The recording nice and realistic. Highly recomended.

This CD set was a gift to a friend in Kansas, who thought it was great. He particularly likes "Una voce poco fa."

If you are a Maria Callas fan you should get this for your collection. Highly recommend.

This remastered 1950s recording holds up well in terms of general sound quality. Listening to Maria Callas sing "Una Voce Poco Fa" is as pleasurable now as it was when I first heard the recording on LP years ago.

The CD is OK but the CD case was broken, which I will have to replace. Most inconvenient.

Brilliant recording of two of the greatest opera singers of the twentieth century!

Excellent example of probably the best performance of the Barber of Seville I have heard.

La reedición remasterizada del "Barbero de Sevilla" por Callas-Gobbi es siempre bienvenida. Adquirí el artículo y llegó defectuoso (ruidos y saltos de pista). Amazon me cambió inmediatamente el artículo por aotro pero viene exactamente con los mismos problemas, lo que significa que debe afectar a una tirada defectuosa completa. Nada que objetar al servicio postventa de Amazon que atiende, informa y reembolsa el importe.

Opera eccellente purtroppo la qualità audio del cd 1 presenta degli errori in qualche punto sembra di ascoltare un vecchio vinile un vero peccato nonostante abbia chiesto la sostituzione presenta lo stesso problema