TOSCA: Atto primo - Dammi i colori... Recondita armonia (Cavaradossi)
TOSCA: Atto prino - Voi! Cavaradossi! (Angelotti)
TOSCA: Atto primo - Mario! Mario! Mario! (Tosca)
TOSCA: Atto primo - E' buona la mia Tosca (Cavaradossi)
TOSCA: Atto primo - Sommo giubilo, Eccellenza! (Sagrestano)
TOSCA: Atto primo - Un tal baccano in chiesa! (Scarpia)
TOSCA: Atto primo - Or tutto e chairo (Scarpia)
TOSCA: Atto primo - Tre sbirri, una carrozza (Scarpia)
Track Listings (19) - Disc #2
TOSCA: Atto secondo - Tosca e un buon falco! (Scarpia)
TOSCA: Atto secondo - Ha piu forte sapore (Scarpia)
TOSCA: Atto secondo - O galantuomo, come ando la caccia? (Scarpia)
TOSCA: Atto secondo - Ov'e Angelotti? (Scarpia)
TOSCA: Atto secondo - Sciarrone, che dice il Cavalier? (Scarpia)
TOSCA: Atto secondo - Ors , Tosca, parlate (Scarpia)
TOSCA: Atto secondo - Foira... - Amore (Cavaradossi, Tosca)
TOSCA: Atto secondo - Vittoria! Vittoria! (Cavaradossi)
TOSCA: Atto secondo - Quanto? (Tosca)
TOSCA: Atto secondo - Vissi d'arte (Tosca)
TOSCA: Atto secondo - Chi e la? (Scarpia)
TOSCA: Atto secondo - Io tenni la promessa (Scarpia)
TOSCA: Atto terzo - Io de' sospiri (Un pastore)
TOSCA: Atto terzo - Mario Cavaradossi? (Carceriere)
TOSCA: Atto terzo - E lucevan le stelle (Cavaradossi)
TOSCA: Atto terzo - Ah! Franchigia a Floria Tosca (Cavaradossi)
TOSCA: Atto terzo - O dolci mani (Cavaradossi)
TOSCA: Atto terzo - Come e lunga l'attesa! (Tosca)
TOSCA: Atto terzo - Presto, su! Mario! Mario! (Tosca)
This 1962 recording is viewed as a type of classic. Conductor Herbert von Karajan elicits first-class symphonic playing from his Vienna forces, with great attention to every detail of Puccini's strong score, and Decca's pr... more »oducers have create a soundstage that is magnificent, with layer upon layer of sound, distant effects sounding distant, and a clarity that must be admired. Tempi tend to be broad, but the drama builds nonetheless. Leontyne Price sings with great potency and really acts the spoiled diva. Where she fails is in the details--Tosca's traits are generalized--and in her ugly, truck driver-like chest register she brings forth for emphasis every so often. Giuseppe di Stefano was, by '62, a vocal shadow of his former self: he's involved and interesting, but the sound ranges from weak to horrendous, and if you listen carefully, you'll hear one of the worst cracks on a high note ever, at the end of his last-act duet with Tosca. Giuseppe Taddei, too, was in vocal decline, but he overcomes his problems often enough and his Scarpia is truly a terrifying portrait. So, a mixed bag. Fans of Price and Karajan (and audiophiles) will need this; others are directed toward Callas and di Stefano from a decade earlier on EMI. --Robert Levine« less
This 1962 recording is viewed as a type of classic. Conductor Herbert von Karajan elicits first-class symphonic playing from his Vienna forces, with great attention to every detail of Puccini's strong score, and Decca's producers have create a soundstage that is magnificent, with layer upon layer of sound, distant effects sounding distant, and a clarity that must be admired. Tempi tend to be broad, but the drama builds nonetheless. Leontyne Price sings with great potency and really acts the spoiled diva. Where she fails is in the details--Tosca's traits are generalized--and in her ugly, truck driver-like chest register she brings forth for emphasis every so often. Giuseppe di Stefano was, by '62, a vocal shadow of his former self: he's involved and interesting, but the sound ranges from weak to horrendous, and if you listen carefully, you'll hear one of the worst cracks on a high note ever, at the end of his last-act duet with Tosca. Giuseppe Taddei, too, was in vocal decline, but he overcomes his problems often enough and his Scarpia is truly a terrifying portrait. So, a mixed bag. Fans of Price and Karajan (and audiophiles) will need this; others are directed toward Callas and di Stefano from a decade earlier on EMI. --Robert Levine
Trevor Gillespie | San Jose, California United States | 06/08/2000
(5 out of 5 stars)
"This is the Tosca. The orchestra is what makes this set so awesome. Karajan alternates between driving and charging the music with power and skillfully extracting the emotions and subtleties of the score. Translation: the big parts are big, grand, and powerful----the emotional parts are transparent, aching, and beautiful. The singing is top notch. Although Di Stefano was starting to decline a bit, he still offers a wonderful role. Ms. Price is incredible. The drama, singing, and beauty she brings to the table effectively fuse with Karajan's style of conducting. The most important thing to me that this set has over the Callas/Di Stefano recording on EMI is the sound. This is in stereo and remastered to sound incredible. The EMI is in mono and although remastered, it isn't able to bring out the orchestral clarity and brilliance that the Karajan recording does. For that reason, it is my obvious first choice."
Another Issue of An Indispensible Classic
William T. Clegg | Pocatello, Idaho United States | 07/03/2000
(5 out of 5 stars)
"This is at least the third CD issue of the Karajan/Price TOSCA, an essential recording for anyone interested in this opera. Although included in the Decca Legends series, this recording was originally issued on LP in the United States by RCA as part of its Soria series. In any case, it's a testament to its calibre that this performance of Puccini's classic has been through so many incarnations.This particular issue betters the first two by including pertinent commentary on both the opera and recording, a feature especially valuable to the opera initiate. The sound is a little exaggerated in comparison to the last two editions, but this is really a trivial point. No one should be uncertain about purchasing this recording. It's a breath-taking, inspired performance that makes the work live, something that can't be said for every recording of this much-recorded opera. For those who'd like to know a little more about the performance itself, click on my name above. My review of this recording's life as a London "Double-Decker" contains my opinion of the artists involved and their performances."
Fabulous sound, too bad about Di Stefano
J. Buxton | Waltham, MA United States | 05/01/2000
(4 out of 5 stars)
"The two most positive aspects of this recording are the amazing Leontyne Price and the glorious playing and sound of the Vienna Philharmonic. Price is simply stunning and her voice is nimble and fresh and she is completely absorbed in her character. Karajan too is to be credited with sensitive conducting. There are some drawbacks however. Di Stefano, although still a fine Cavaradossi, has really passed his prime and sounds really strained on some higher notes. Taddei also has been better. The earlier Di Stefano with Callas and Gobbi remains my favorite account of this wonderful opera. If you are looking for a cheaper investment, you might try Jose Carreras and Monserrat Caballe with Colin Davis conducting on Phillips Duo series, another fine account."
This is one of those 10 Desert Island Recordings
Drewry F. Wofford III | Raleigh, NC USA | 12/12/2004
(5 out of 5 stars)
"Flat out, this is one of the 10 recordings you would take with you to a desert island. The only problem would be finding nine others of the same quality. Much has been written about the recording of Maria Callas (deservedly), but as good as her Tosca was, it does not compare to this one. This studio recording was a rare assembling of great artists in their prime. There simply can be no better Tosca than the one Leontyne Price creates in this recording. Price may be the most under valued star soprano in history - her spinto voice range through the Verdi roles with a clarion intensity that seems hard to find any more. She brings that same quality of voice to Tosca. The voice soars over the orchestra and every note is thrilling. Her "Visi d'arte" is a model for others; her confrontation with Scarpia spell binding; and duets with Mario (Giuseppe Di Stefano) almost ethereal.
She is pared with the incomparable Giuseppe Di Stefano - the quintessential Italian tenor of his day. Di Stefano lives this music. While other tenors of the day learned to excel (such as say Corelli or Tucker), Di Stefano was simply born to sing the great Italian roles. The qualities of expression and style and simply innate - they are a natural, not acquired, part of the voice. There simply can be no better pairing in this work.
Had I not heard this recording (and I have quite literally grown up with it since LP days), I would have said that Giuseppe Taddei was the weak link. But his is clearly a case where a perhaps not quite first rate talent rose to great heights and achieved great things. While I will always cherish Tito Gobbi's Scarpia, in this recording, Taddei rises to great heights and achieves a Scarpia of menacing proportions. This is a Scarpia to be reckoned with, both vocally and dramatically.
There simply is no weak link here. The supporting cast lead by Fernando Corena and Piero de Palma are world class; the orchestra playing by the Vienna Philharmonic unsurpassed. And the conductor, Herbert von Karajan - while not your immediate choice of a Puccini conductor - is outstanding.
"
SUPERB SOUND
William T. Clegg | 01/05/2004
(5 out of 5 stars)
"AT LONG LAST!! The remastered version!!! Much much much better in sound quality than the fragile, glassy CD version before. Now more than ever before we hear Leontyne Price in her full glory!!!!"
Track Listings (10) - Disc #1
![Delibes - Lakmé / Mesplé, Burles, Soyer, Millet, Opéra-Comique, Lombard [highlights]](https://nationalbookswap.com/cd//m/63/8663/6008663.jpg)
