Search - Alfredo Kraus, Mario Sereni, Laura Zanini :: Verdi: La Traviata (Complete opera); Maria Callas; Alfredo Kraus

The ONLY Other Traviata

The Cultural Observer | 05/01/2005

(5 out of 5 stars)

"When people mention the opera La Traviata, this recording usually comes up first in the opera conoisseur's list of Traviatas for sound, quality, and cast. Violetta, being Maria Callas' favorite role after Norma, allows her to explore the intricacies of her voice along with her dramatic prowess on stage. Although you can listen to the great La Scala Traviata of 1955 (inarguably the year of her prime), this Traviata has a lot to offer which that Traviata won't. First of all, this recording boasts excellent sound, something which you can't get from the recordings of that period. Second, the cast here is stronger than that of the first recording. While Giuseppe di Stefano and Ettore Bastianini were great partners, and Giulini was a great Verdian conductor, Ghione was great it in his own respect. Plus, the sound is infinitely better. You can hear every detail of Maria's Violetta in this recording. Alfredo Kraus is a more graceful Alfredo, and I believe Mario Sereni as Giorgio Germont is amazing as well. Alfredo's voice is more ideal for the role of...Alfredo! Callas' feel for the role has also developed, and I think she gives a much better performance here than she did in La Scala, the lighter quality of her voice favored for Violetta's condition as a moribundo. And, Maria follows everything in the score while giving this a lot of dramatic truth. Maria can do a triple piano, something only VERY VERY FEW sopranos can do. She truly is the Violetta of this century. Listen to the letter scene and Addio del Passato, which I believe are the most heart-breaking versions of the aria and recitativo I've ever heard. There's no arguing here that Callas is Violetta. Lovely coloratura, amazing pianissimo, great interpretation, beautiful woman, great looks, great stage presence rolled in one amazing package. As for the music, Ghione conducts the performance wonderfully, although I still like Giulini's handling of Verdi's score. This is THE Traviata to own.



"

A treasured performance

Mark Hite | Columbus, OH | 02/01/2004

(4 out of 5 stars)

"Those of us who first became acquainted with Maria Callas on LP will remember the frustration of there not being an EMI/Angel Callas Traviata. It was one of her greatest roles but was not recorded because of a contractual dispute with Cetra Records, who had recorded Callas' early go at the part. (Poor Antonietta Stella who DID make the EMI Traviata. Her recording became famous only for being the Traviata that Callas DIDN'T make.) Then, in 1980, there it was: Callas in Traviata on the ANGEL label! Filling that gap on the record shelf. It was a great thrill hard to imagine now that every note Callas ever taped is available everywhere.Oh, but then the performance..no EMI production here. It featured a laughably inept chorus, a rugged provincial orchestra and uninspired spporting cast. But all of this was swept aside by the go-for-broke intensity of Callas' Violetta. In the midst of all that mediocrity was this vivid prtrayal of the brave, angry, feverish Violetta created by Callas. An absolute treasure snatched from the mists of the recorded past.Now we also have the arguably superior La Scala performances, and even that old Cetra to complete our picture of Callas' Violetta. And the Lisbon itself is sounding much better (but, oddly, still, not available in the original stereo master recording from Portugese Radio). But, "Gran Dio!" nothing will erase the intensity of hearing this hair raising performance for the the first time. If you haven't heard it yet, don't wait.P.S. I don't know why some fans think that admiring one singer means that you have to "hate" another. Scotto, Cotrubas, Moffo, Caballe, Tebaldi, Sutherland, Sills, et al: They are all insanely gifted artists with something unique to tell us."