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Toy in Like-New Condition. Great Condition- Adult owned. The generally accepted view of the three different recordings is that the first one the only studio recording was early in her career, unrefined as an interpretation, and supported by merely adequate male singers; that the second one was at the dramatic peak of her career, with a stronger male supporting cast, a better conductor, but inadequate sound; and that the third was late in her career, after the voice started to fade but the interpretation had deepened, with excellent male support but mediocre sound with annoying stage noises from a live broadcast tape.
In Verona in August it was hailed as an unforgettable experience and the thrill of the season. And by January she performed in successfully in Rome with the conductor and cast that would make the Cetra studio recording eight months later in Turin. Since her first performance in Florence in January , she had sung the role 28 more times under eight different conductors in ten different cities before making this first recording. And the male singers were definitely more than merely adequate.
The tenor, Francesco Savarese, sang with her in the Florence premiere three times under the great conductor Tulio Serafin, then again twice in Venice and finally three times in Rome under Gabriele Santini before the recording session in Turin.
It is also a misconception that the interpretation had matured by the time of the second, La Scala recording in or that she was at the peak of her career. We are talking about a period of only one year and nine months between the two recordings. In fact, she only sang Traviata two times in Chicago prior to the second recording. Her voice may have changed somewhat between September and May because she lost over 60 pounds of body weight, but not her experience of the role.
The greatest difference between the two recordings is the production and the cast. The La Scala performance in was directed by the filmmaker Luchino Visconti in an interpretation so controversial that the tenor, Giuseppe Di Stefano who had only sung the role with Callas three times previously in , left the stage before the final curtain call and withdrew from all subsequent performances as would eventually the conductor, Carlo Maria Giulini.
In all, there were 21 performances of the La Scala production, but only the first night was recorded for the EMI release. This is not a question of refinement or maturity; it is merely a different production, a different conductor, and a different and dissatisfied cast. The Lisbon Traviata was recorded from a live radio broadcast on March 27th. It is also possible that the eventual deterioration of her vocal powers found its way into the interpretation of the role of a woman dying of tuberculosis.
Regardless, the performance is regarded by many as one of the most poignant characterizations. There were only two performances in Lisbon and, following a difficult week in London in June and two more performances in Dallas in November, she never sang the opera again.
In that sense, the Lisbon recording can be heard as somewhat valedictory. The Cetra recording has recently been re-mastered by the award-winning sound restoration engineer Ward Marston for Naxos Historical in As a studio recording, it always had the best sound of the three and the performance reveals Callas at a very strong point in her career with a fine supporting cast in Albanese and Ugo Savarese. This deserves 4 stars. The La Scala recording was remastered by EMI in and less satisfactorily in but has not been able to improve on the tendency for the sound to crumble at climaxes on the original master tape.
Although Callas was comfortable with the Visconti production and sang well, with the conductor Giulini giving her plenty of encouragement, Di Stefano and Bastianini were not at their best.
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La traviata, Act 2 Scene 1: "De' miei bollenti spiriti" Alfredo. La traviata, Act 2 Scene 2: "Annina, donde vieni? La traviata, Act 2 Scene 5: "Ah!
Dite alla giovine" Violetta, Germont. La mia memoria" Violetta, Germont. La traviata, Act 2 Scene 6: No. La traviata, Act 2 Scene 6: "Che fai? La traviata, Act 2 Scene 7: No. La traviata, Act 2 Scene 9: No. La traviata, Act 2 Scene No. La traviata, Act 2 Scene "Alfredo! La traviata, Act 3 Scene 1: No. La traviata, Act 3 Scene 4: "Addio, del passato" Violetta.
La traviata, Act 3 Scene 4: No. La traviata, Act 3 Scene 5: No. La traviata, Act 3 Scene 6: "Ah, gran Dio! La traviata, Act 3 Scene 7: No. La traviata, Act 3 Scene 7: "Prendi, quest'e I'immagine! Sold by Amazon. Na afloop van het feest kijkt Violetta terug op haar leven en denkt aan een beter leven met Alfredo in de toekomst. Violetta en Alfredo wonen samen in een huis op het Franse platteland. Violetta heeft haar verleden achter zich gelaten en leidt nu een eenvoudiger leven met Alfredo.
Echter, zonder haar inkomsten als courtisane is het leven erg duur en zij besluit om al haar bezittingen te laten verkopen teneinde het huidige leventje voort te zetten. Als Alfredo hierachter komt, vertrekt hij terstond naar Parijs om dit te beletten. Na zijn vertrek krijgt Violetta bezoek van de vader van Alfredo. Deze smeekt haar om bij Alfredo weg te gaan daar hun 'zondige' relatie een huwelijk van de zus van Alfredo in de weg staat.
By all accounts, neither Bjerling not Milanov made much of an effort at physical acting BUT the way they use their voices and phrase the words, one easily knows what emotions are being conveyed.
I'll take great stand up and sing performers to those so called singing-actors who dance on stilts and sing like dogs.
Bruna Castagna has a warm, large voice and creates an ominous character as Ulrica. Alexander Sved as Renato is appropriately hurt and angry but his tone is a bit dry and lacking ring. The Oscar sings with ease and brio. Bjoerling omits an aria in Act III. A major disappointment. The conducting is idiomatic and exciting. The sound on the Eklipse CDs is atrocious, obviously taken from discs recorded off-the-air.
How Eklipse could have misidentified this performance is difficult to fathom, since Fehenberger bears no resemblance to Rosvaenge whatsoever. One person found this helpful.La Traviata ( Digital Remaster): Alfredo! Di Questo Core Maria Callas/Silvana Zanolli/Ettore Bastianini/Giuseppe Zampieri/Arturo La Porta/Silvio Maionica/Antonio Zerbini/Giuseppe Di Stefano/Coro Del Teatro Alla Scala, Milano/Orchestra Del Teatro Alla Scala, Milano/Carlo Maria Giulini.