La Traviata: Act One: Dell'invito trascorsa e gia l'lora
La Traviata: Act One: Libiamo, ne' lieti calici
La Traviata: Act One: Che e cio (coro/Violetta/Flora/Marchese/Barone/Dottore/Gaston/Alfredo)
La Traviata: Act One: Un di felice, eterea (Alfredo/Violetta)
La Traviata: Act One: Ebben? Che diavol fate? (Gastone/Violetta/Alfredo)
La Traviata: Act One: Si ridesta in ciel l'aurora (Flora/Gastone/Barone/Dottore/Marchese/Coro)
La Traviata: Act One: E strano! E strano!
La Traviata: Act One: Ah, fors'e lui che l'anima
La Traviata: Act One: Follie! follie! Delirio vano e questo! (Violetta)
La Traviata: Act One: Sempre libera (Violetta - Alfredo)
La Traviata: Act Two: Scene One: Lunge da lei
La Traviata: Act Two: Scene One: De' miei bollenti spiriti (Alfredo)
La Traviata: Act Two: Scene One: Annina, donde vieni?...Alfredo?...Per Parigi or or partiva (Alfredo/Annina/Violetta/Germont)
La Traviata: Act Two: Scene One: Pura siccome un angelo
La Traviata: Act Two: Scene One: Non sapete quale affetto
La Traviata: Act Two: Scene One: Un di, quando le veneri
La Traviata: Act Two: Scene One: Ah! dite alla giovine
La Traviata: Act Two: Scene One: Imponete...Non amarlo ditegli
La Traviata: Act Two: Scene One: Morro! La mia memoria (Germont/Violetta)
La Traviata: Act Two: Scene One: Dammi tu forza, o cielo! (Violetta/Annina)
La Traviata: Act Two: Scene One: Che fai?...Nulla (Alfredo/Violetta)
La Traviata: Act Two: Scene One: Ah, vive sol quel core all'amore mio! (Alfredo/Commissionario/Germont)
La Traviata: Act Two: Scene One: Di Provenza il mar (Germont /Alfredo)
Track Listings (20) - Disc #2
La Traviata: Act Two: Scene Two: Avram lieta di maschere la notte (Flora/Marchese/Dottore)
La Traviata: Act Two: Scene Two: Noi siamo zingarelle (Coro/Flora/Marchese/Dottore)
La Traviata: Act Two: Scene Two: Di Madride noi siam mattadori (Coro/Gastone/Flora/Dottore/Marchese)
La Traviata: Act Two: Scene Two: Alfredo! Voi!
La Traviata: Act Two: Scene Two: Invitato a qui seguirmi
La Traviata: Act Two: Scene Two: Ogni suo aver tal femmina (Flora/Gastone/Barone/Dottore/Marchese/Coro)
La Traviata: Act Two: Scene Two: Di sprezzo degno se stesso rende (Germont/Alfredo/Flora/Gastone/Barone/Dottore/Marchese/Coro)
La Traviata: Act Two: Scene Two: Alfredo, Alfredo, di questo core (Violetta/Germont/Alfredo/Gastone/Barone/Dottore/Marchese/Coro)
La Traviata: Act Three: Preludio (Orchestra)
La Traviata: Act Three: Annina? ...Comandate? (Violetta/Annina/Dottore)
La Traviata: Act Three: Teneste la promessa
La Traviata: Act Three: Addio, del passato (Violetta)
La Traviata: Act Three: Largo al quadrupede (Coro)
La Traviata: Act Three: Signora!... Che t'accadde?
La Traviata: Act Three: Parigi, o cara (Annina/Violetta/Alfredo)
La Traviata: Act Three: Ah, non piu, a un tempio
La Traviata: Act Three: Ah! gran Dio! Morir si giovine (Violetta/Alfredo)
La Traviata: Act Three: Ah! Violetta...Voi, signor!
La Traviata: Act Three: Prendi, quest'e l'immagine (Germont/Violetta/Alfredo)
La Traviata: Act Three: Se una pudica vergine (Violetta/Germont/Alfredo/Annina/Dottore)
This live recording of the 1955 Visconti production at La Scala is the best of the available Maria Callas Traviatas. Aside from a minor pitch problem or two, she's in great voice, coloring phrases to reveal character and... more » investing the coloratura with variety and passion. Her "Addio del passato" is heart-breaking. She fully captures Violetta's pride and vulnerability in the scene with Germont, though her partner, Ettore Bastianini, sings insensitively, if beautifully. Giuseppe Di Stefano is all one could ask for as Alfredo. Carlo Giulini conducts a performance that delivers all the lyricism and drama of the score. The recorded sound is primitive, but in EMI's latest transfer you can listen through it to a wondrous performance. --Dan Davis« less
This live recording of the 1955 Visconti production at La Scala is the best of the available Maria Callas Traviatas. Aside from a minor pitch problem or two, she's in great voice, coloring phrases to reveal character and investing the coloratura with variety and passion. Her "Addio del passato" is heart-breaking. She fully captures Violetta's pride and vulnerability in the scene with Germont, though her partner, Ettore Bastianini, sings insensitively, if beautifully. Giuseppe Di Stefano is all one could ask for as Alfredo. Carlo Giulini conducts a performance that delivers all the lyricism and drama of the score. The recorded sound is primitive, but in EMI's latest transfer you can listen through it to a wondrous performance. --Dan Davis
CD Reviews
This is what opera is all about!
John P. | Kennett Square, PA USA | 02/13/2003
(5 out of 5 stars)
"If ever the was an opera recording that deserved the highest praise despite its technical deficiencies, this is it. Many reviewers below complain about this recording's sonics -- it is a live, mono recording from 1955. But focusing on sonic problems in the face of Callas's magnificent performance is like deprecating the *Mona Lisa* because there are a few cracks in the paint. Callas gives here the ultimate opera performance: she not only has complete command of the music, but she works within it to create a living, breathing character who develops during the course of, and as a result of, the drama. What she does is better than acting while singing; it is acting *by means of* singing. (And, I should add, the other principals are excellent.)If you have not yet listened to a lot of opera, or if you just want a recording that will sound pretty in the background, then you will probably not appreciate this set. As your tastes become more educated, however, return to this. You will be blown away."
THE BEST TRAVIATA
anonymous | san francisco, ca United States | 11/05/2000
(5 out of 5 stars)
"This was one of Callas's signature rolls. I have many recordings of Callas performing Traviata ('51,'52,'53,'55,'56,'58 Lisbon, '58 Covent Garden), but this is the best. The sound quality is a problem -- but not THAT big a problem. It's not in the realm of historical document; it's a recording that can easily be enjoyed just for pleasure. (The '51 Mexico is a BAD recording.) The '55 has it over on the others for several reasons: 1) Callas was in her best voice -- the first few years after her weight loss; so she has the distinct Callas sound, and at its strongest. 2) Her attack on the role is fierce and hair-raising in its passion and depth of feeling. Listen to her saying goodbye to Alfredo. Then compare that moment to anyone else's recording. No one, with the exception of Alagna's wife (her name escapes me) comes CLOSE. The Lisbon recording has better sound but slightly weaker passion, and this La Scala recording also has the advantage of de Stefano as Alfredo. Do not miss this."
Beautiful but...
Mr. Jeffrey Belcher | Melbourne, Victoria Australia | 11/11/2002
(4 out of 5 stars)
"No one seems to deny that Callas is a definitive Violetta but there seems to be some arguement about the sound quality of her recordings of Traviata which are, unfortunately, all live.On this 1955 set, for me, the terrible recording quality of the third act does undermine my full enjoyment. I would advise a person new to Callas, Traviata or Opera in general to only purchase this version as a second or third supporting set to a set they already know & love. Altho also a live recording, the Callas 1958 Lisbon set is much improved (but not perfect) on the above 1955 set in terms of recording quality. I also like Te Kanawa's version from the early 1990's if you want to go stereo & digital. There are numerous others of great quality, by great singers depending on the style of singing & acting you like.Once you have another set to fall back on when you are not in the mood for the extremely poor sound mentioned above, then buy this 1955 Callas set & sit back and enjoy Callas's extremely moving virtuoso performance. It is worth it for that."
Absolutely perfect!!
harrmor | Athens, Greece | 06/19/2002
(5 out of 5 stars)
"This is a definitive recording!
Although the performance is live and the sound may be not so good (it is also mono) ehat we hear is perfect. I believe this is the most beautiful Traviata on record musically, artistically and dramatically.
First of all, Callas! We are in 1955 and her voice is still beautiful. There are no problems with it and her colour is not yet ruined (many have said that Callas had an ugly voice, but this occured later). She sings gloriously and perfectly (Just listen "Sempre Libera" at the end of the first axct). Also she makes our heart break when she says Germont that Alfredo is the only person she has in the world ("Non sapete...")
in the second act. But I think that the most moving point is her separation with Alfredo in the same act. Listen to "Saro la...tra qui fior...presso a te sempre, sempre, sempre presso a te" and you won't remain with dry eyes. This is certainly the reason that when she leaves we can hear an uproarious applaud from the audience.
Di Stefano is a match for Callas at least where voice is concerned. He was not a tremendous actor but he was an adequate one. His performance here is great, he hits all the high notes perfectly (at one point when he pays Violetta for her services in the second act he is given a tremendous applaud that can be heard over the orchestra and the chorus).
Bastianini's Germont is also a diamond. He may not get inside the role but his voice is very beautiful and he uses it excellently. I believe that he is one of the best baritones ever.
Finally, I have nothing to say about Giulini's conduction but one word: SUBLIME!So, I must reccommend this set not only for Callas fans but for all the fans of Verdi's masterpiece."
I don't hear Callas, but I hear Violetta!
The Cultural Observer | 11/03/2004
(5 out of 5 stars)
"Time and time again, a great singer with the command of an immense operatic range would study and attempt to sing the role of Violetta Valery. Time and time again though, there is an incompleteness in the genius these singers exude in the singing of such an incredible opera. More often than not, I find a ton of Violettas on the market bland and unmoving. Yes, they are beautiful vocally, but is beauty simply the calibre for the execution of an opera? I don't believe so!
The great Violettas of our day-Joan Sutherland, Anna Moffo, Beverly Sills, etc., have all displayed a great sense of vocal discipline in their respective performance of this Verdi opera. However, none (even with their amazing flutelike voices) have gone as far as achieving what Maria Callas had achieved in this live recording of La Traviata. Supported by the great voices of Giuseppe di Stefano and Ettore Bastianini, along with the baton of Carlo Maria Guilini, this Verdi opera surely is a classic among classics. With its excellent cast of singers, the lead soprano being the highlight of the entire recording of course, this undoubtedly should belong in the collection of a serious opera lover. The sound quality may falter in some areas, but all in all, it was a heart-wrenching performance.
From the electrifying Sempre Libera (Callas' version was the best so far in years) to the depressing Addio del Passato (my favorite aria in the whole opera), no one else could have injected a myriad of colors into her voice if she were not the great Callas herself. If you really are intent in vocal beauty (in which Callas was good, by the way in this record) and dramatic intensity, add this Traviata to your collection."
Track Listings (24) - Disc #1