Search - Pietro Mascagni, Ruggero Leoncavallo, Tullio Serafin :: Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan
Pietro Mascagni, Ruggero Leoncavallo, Tullio Serafin
Mascagni: Cavalleria Rusticana & Leoncavallo: Pagliacci (complete operas) with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin, Chorus & Orchestra of La Scala, Milan
Genre: Classical
 

      
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OUTSTANDING IN EVERY WAY!
L. Mitnick | Chicago, Illinois United States | 10/19/2005
(5 out of 5 stars)

"There makes little sense in elaborating on the performances of these two little verismo shockers. These performances have been around for a long time and are justly acclaimed. They have SO much to offer (except for stereophonic sound, which I can easily accept, since the monophonic sound is perfectly listenable): a passionate and venerated Italian conductor (Tullio Serafin) whose life-blood flows into these operas; Maria Callas, in spectacular vocal condition, taking on a pair of roles few others, living or historical, would ever attempt; Giuseppe di Stefano in his all-too-brief youthful prime;and finally, the great Tito Gobbi creating a Tonio in "Pagliacci" that can make your skin crawl. All of these elements combined together make up something rarely encountered in recorded opera ------- truth through music. This is not merely for Callas fans -------- it's for anyone who wants to hear "verismo" opera the way it was supposed to be. Besides, at this price, you can't go wrong."
A real bargain
Exequiel Pitargue | 10/27/2005
(5 out of 5 stars)

"First of all these operas were not sang on stage by the La Divina during the height of her career. But as a young student she sang the role of Santuzza in Cavelleria rusticana. But sad as it may seem, this recording is a hallmark of acheivement.It would be almost impossible to realize the overall art and versitility of Callas without this recording. She is at home with versimo just like she is at home with Bel Canto. Listen to the track Inneggiamo, il Signor non è morto and you can feel the devotional heart of Santuzza praying to the almighty as if pleeding to change the heart of her unloyal husband. The role of Nedda in Pagliacci is exciting because it is vibrant and full of dynamism. Overall this recording is one of the best versions of Cavalleria rusticana and Pagliacci in the Market. Now I am happy that this masterpeice is available in a much cheaper price than the original black cover. You may get the libretto in the following link www.emiclassics.com/sungtexts/. So for those who have not purchased this said recording now is the time to buy this."
Stunningly beautiful
Emma de Soleil | On a holiday In Ibiza, then back to the UK for stu | 12/07/2005
(5 out of 5 stars)

"Verismo can sound positively sublime if sung with taste and no mannerisms. Maria Callas, in her short prime, transformed roles such as Floria Tosca, Santuzza, Nedda and Maddalena and gave them the elegance and simplicity they need to be acceptable. Be it the simple country girl Santuzza or the noble Maddalena, Callas finds the right tone for each and every character. Her Santuzza is tearful but never racked by fake sobs. Her "Io son dannata!" has to be heard to be believed. This is Santuzza in a nutshell. Her duet with Turridu (Giuseppe di Stefano in brilliant form) burns and soars so intensely, it will break your heart. With her even the old war-horses are so real and new that she spoils me for other recordings of these shockers. Another highlight is her outcry "O madre mia!" at Mamma Lucia in the end. I have never heard this sung with equal emotion and pathos.

Her Nedda on the other hand is a young woman desperately in love. Yearning to be free of her marriage to Canio she sings of freedom and she sounds so utterly charming, it's hard not to love her. Her Nedda isn't an innocent girl but an experienced young woman and her duets with Silvio and Tonio show this brilliantly. When her frustration at Canio turns to hatred in the scary final scene it's chilling and ravishing at the same time. Gobbi is her equal as Tonio, he set the bar very high and so far no other Tonio scared me like this. Di Stefano is a passionate Canio, sincere honest and passionate without sounding fussy or melodramatic. Tullio Serafin, this master among conductors, conducts brilliantly.

A bargain price, a brilliant recording, a clear winner."