Rossini: The Barber of Seville / Maria Callas

I'm not a Callas fan, i'm a Rossini fan. This recording is cut (like nearly all the Callas recording)in all places they could do it: the end of the Conte first aria and his entirely final rondo, the duet Figaro-Conte, the La Calunnia's Aria, the Bartolo Aria, the Recitatives. I hate cuts, because after them, the Opera remain like a Operetta or vaudeville. Nevertheless, Callas play the best soprano Rosina, joined to de los Angeles, and we encounter the funniest and most vigorous XXth century's Fígaro: Tito Gobbi, who also is the scariest Scarpia in the same century (for me and for many people). Luigi Alva is fresh in this recording, so you will enjoy his parts, but I enjoyed more Benelli in the Varviso recording (DECCA 1964), because he face succesfully all the music written for the Count, without cuts. The role of Bartolo doesn't work too much under this light german singer (Ollendorf) because you feel you are hearing a birdcatcher (Papageno)not a Old Physician: Dara and Corena are better. Nicola Zaccaria do his part with a elegant bass' timbre, but without power. The orchestration is excellent under Galliera. My final recmendation, buy this recording, but buy the Varviso 1964 recording too, which is very cheap and it has great singers- Berganza, Benelli, Corena and Ghiaurov-,so you will fill the hollow that this recording has, at less in the musical numbers (not recitatives).

This was a gift for my record-collector friend who had to part with his LP's. This was a set he particularly treasured, and he wanted it on CD. Imagine my delight at finding this set in virtually pristine condition! Thank you, Goodwill of LA. Somebody's loss is my gain, and my friend was delighted.

After purchase of a disappointing version of Rossini's Barber, I heard this recording. Historically definitive, we are fortunate to have this excellent version available.What is so great? The Philharmonia Orchestra, Luigi Avla as Almaviva, Callas as Rosina, and Gobbi as the Barber, along with the chorus, all brilliantly capture the Italian flavor of Rossini's genius. The EMI sound quality is perfect! One may listen over and over just to hear Luigi Alva's splendid interpretation. Quite funny as well!

IMAGINE AN 11 YEAR OLD IN CARACAS, VENEZUELA, WHO FINDS OUT THERE IS AN EARTH TREMOR BECAUSE THE NEEDLE SKIPS ON HIS CALLAS' LUCIA RECORDING! AN ADDICTION TO CALLAS CAN NEVER BE BROKEN, SHE SPOILS YOUR EAR FOREVER. THIS WAS THE LAST CALLAS COMPLETE OPERA I BOUGHT--SIMPLY BECAUSE I HAVE ALWAYS SHIED AWAY FROM OPERA BUFFA. WELL, HAVING HEARD IT, THE OLD MAGIC IS BACK IN FORCE. BUT IT'S NOT ONLY HER. LUIGI ALVA IS HEAVENLY, AND GOBBI, PEERLESS.

Arrived in good shape

This is the best Rosina I have ever heard! But it is not only Maria Callas at her best, but Tito Gobbi is also wonderful, mesmerizing in his Figaro role. The whole performance is magnificent. The CD recording is also good enough, delivering a clear stereo sound.I love these CDs and I play them over and over, and never get borred.

amazing music

Tito Gobbi is Brilliant, Fritz Ollendorf (a friend of long ago) is superb, Maria Callas should have her tonsils out!

Another to add to my collection

Neulich hat mich ein angeblich versierter selbstgenannter "Opernfan" besucht, hörte Netrebko als Lucia di Lammermoor (auf Youtube) und sagte, dass er Maria Callas nicht gut fände. Ich kritisierte Netrebko als Callas-Nachmacherin, er Callas als "ZU DRAMATISCH."*SEUFZ*Man braucht nur diese Einspielung zu hören -obwohl die Stimme schon 1957 eher dünner und ein bisschen schrill geworden war-, um Callas alles anderes als "zu dramatisch" zu bezeichnen. Sie betrachtet und spielt die Rolle als eine Kokette, die subtil aber -wenn nötig- gaaaaaanz böse ausspielen lassen könnte. Das explosive "MA!" in Una Voce poco fà ist legendär. Cheeky acting at its best. Dieses Set, zusammen mit Turco, zeigt, dass Maria eine Meisterin der Moods ist. Unübertroffen.

Für mich ist diese Einspielung nach wie vor die Referenzaufnahme. Callas und Tito Gobbi sind "unübertroffen, weil unübertrefflich", wie ein Rezensent an anderer Stelle sagte. Keine andere Sängerin hat die Rolle der Rosina so vielschichtig angelegt wie Callas (mädchenhaft keck, raffiniert, berechnend, listig). Allein die eine Silbe "Ma" in ihrer Kavatine "Una voce poco fa" spricht Bände.Eine Sternstunde der klassischen Oper!

Produit arrivé bien emballé dans’ les délais annoncés, conforme à la commande, parfait