The most important live recordings of diva is being re-released with occasion of 40th anniversary of his death, which is commemorated this Saturday. His voice moldable, intuition and scenic mimesis with characters made unique in your artMORE INFORMATION
- The ten commandments of Maria Callas, in THE COUNTRY Showcase
- 40-year anniversary of death of Maria Callas
- The fragile eternity of Maria Callas
His works survive to jinn, and noun block to perfection with Maria Callas, a singer of short-lived and gains long that, in many ways, revolutionized world of opera in a few golden years for genre, which experienced a profusion of big voices and personalities outstanding. However, his art and his fame —in equal measure— have transcended borders, with a momentum single and four decades after his death his name still symbolizing, perhaps like no or, power of opera to express and convey emotions inexpresables and nontransferable in any or manner. Why?
In Greek singer was a confluence of elements that rarely occur toger: a voice that she knew how to shape and seasoning into unmistakable; an overwhelming intuition on stage that transformed into atre —in pure atre almost always— each and every one of notes that she sang; a natural tendency to operate a perfect mimesis with characters that she embodied: maria Callas was Anne Boleyn, was Medea, it was Rough, it was Violetta Valéry, was a Norm, was Elvira of I puritani, and seeing her or hearing her, it was impossible to think of anything else; an innate gift to brea truth into almost always very tinning artifice operatic; whole is crowned with a talent that was in crescendo to know how to distill teachings that he offered his own life, not always polite, and often acerbas, and convert m, also m, a part of his art. Their cancellations, gossip concerning his person, vagaries of his private life or even an early death are not what has made maria Callas a myth, as alive now as it was 40 years.travel Companions
During his short and intense career, Callas worked with best directors of time and for new edition of Warner parades foreseeable pleiad Italian (Vittorio Gui, Antonino Votto, Carlo Maria Giulini, in addition to above-mentioned Serafin, Gavazzeni, and Sabata), but also or big names, such as Erich Kleiber (I vespri siciliani), Leonard Bernstein ( Medea 1953 La sonnambula, 1955, both at Teatro alla Scala), or Herbert von Karajan (Lucia di Lammermoor, also in 1955, in Berlin). And among ir peers include all greats of period, such as Giuseppe di Stefano (in last concerts that he offered, with voice already ragged, in seventies), Giulietta Simionato, Boris Christoff, Fiorenza Cossotto or Alfredo Kraus, his young and gallant fellow in historic Traviata of Teatro San Carlos of Lisbon in 1958, a few months before Callas stopped singing role of Violetta. All recordings were performed in vivo, without cheating or cardboard, and a careful remastering has been able to improve ir sound in a way very substantial.
Are circumstances purely circumstantial, and its validity is doomed to dwindle in time. Which earned him nickname of “The Divine”, and what makes today follow reeditándose and interesting of his recordings is his voice, his musicality and substance irrenunciablemente dramatic of his art.
Although born in New York city in 1923, Callas moved to 13 years to Greece that he had it in his blood, which very soon became a singer, although it was, of course, in Italy where curtió as an artist and where he rose quickly to prominence internationally. There would work also with larger batons at time (Tullio Serafin, his mentor, Gianandrea Gavazzeni, Victor de Sabata), and re would be associated forever his name with that of Luchino Visconti in several productions offered in Teatro alla Scala in Milan (La vestale, La sonnambula, Anna Bolena, La Traviata, Ifigenia in Tauride), where also would be addressed in a legendary Lucia di Lammermoor by Herbert von Karajan.
The voice of maria Callas, of wide tessitura, generous volume and dark tones, he knew how to acclimate to environments stylistic very different, including roles of agility, which appeared to be outside of ir vocal characteristics. It was also almost inevitable changes of color of an instrument of its magnitude in order to refine characters, dark as a Standard or Lady Macbeth, to one who knows how to instill that “voce aspra, soffocata, cupa” (rough, choked, cavernous) that I wanted to Verdi. In Callas, which are not wanted nor aspired to be a stylist, re is a predominant expression over perfection, character on interpreter, message on medium. And his voice, how not, was soon victim of ir excesses, or ir generosity, as you look at it.Expand repertoire
Away from concentrating on a few papers that y had brought him fame, not only expanded unceasingly his repertoire, but he did it often rescuing m from oblivion operas that history had left arrumbadas: this is case, for example, of Il turco in Italia of Rossini, who was raised in Theater Eliseo in Rome in 1950, or several titles belcantistas (Il pirata, Anna Bolena, Poliuto)that y started to receive increasingly more weight on ir appearances and performing to open up a gap in schedules of atres. These are just ones that are centerpiece of edition that was just published Warner ( label that bought in 2013 catalog of EMI, major part of his career), a sort of sequel to and complement of natural that launched two years ago with all ir studio recordings between 1949 and 1969, with a total of 26 operas and 13 recitals.
The recording oldest of this new edition also dates from 1949 (a Nabucco, conducted by Vittorio Gui), while last one is from 1964 (his Tosca with Tito Gobbi at Royal Opera House). In total, 20 operas in full, 12 of which did not burn never in studio. Three Blu-rays also allow you to see Callas, with his gestures incomparable and trace caryatid Greek, in recitals in Paris (his famous debut at Palais Garnier), London and Hamburg in fifties and early sixties, his golden period. In m you can feel your magnetism, scenic ( one that did that, in 1969, Pasolini asked to embody Medea in his peculiar translation of tragedy of Euripides), his face angular and his look abysmal, which places it on par to or personalities hypnotic as Anna Magnani and Joan Crawford. Callas also sang, with his whole body, and chills that continues to produce how he did seem to be predestined to perpetuate itself.
ONLINE PURCHASE THE CHEST 'MARIA CALLAS: REMASTERED LIVE RECORDINGS'
Highlight: pack with 20 operas in full (including 12 works that he never recorded in a studio) and five performances (with two scenarios different in Act II of Tosca). In addition, it includes a booklet of 216 pages with notes full and abundant photographs, many of m previously unpublished.
Format: CD and Blu-ray.
From 101€ on Amazon