Verdi: La Traviata

ica classics: ICAC5006

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Verdi: La Traviata

Catalogue No:

ICAC5006

Series:

Legacy

Discs:

2

Release date:

7th Feb 2011

Barcode:

5060244550063

Length:

2 hours 1 minute

Medium:

CD (download also available)
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Verdi: La Traviata

Royal Opera House, Covent Garden, 20 June 1958


Maria Callas (Violetta), Cesare Valletti (Alfredo), Mario Zanasi (Giorgio Germont), Marie Collier (Flora), Forbes Robinson (Barone Douphol), Ronald Lewis (Marchese d'Obigny), Leah Roberts (Annina), Dermot Troy (Gastone), David Kelly (Dottore Grenvil)

Royal Opera House Orchestra & Chorus, Nicola Rescigno

CD - 2 discs

$23.00

(also available to download from $20.75)

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Maria Callas (1923-1977) needs no introduction as she was quite simply one of the greatest singers of the 20th century. Any recording is of major importance and this Traviata from 1958 given in London’s Royal Opera House, Covent Garden is no exception.

Peter Heyworth in the Observer commented, ‘it was a performance of outstanding distinction and musicality, full of details that illuminated again and again the part as though for the first time’.

Opera News said, ‘there must have been many Verdi lovers who felt at last that they had come face to face with Violetta herself...’

John Ardoin in his book The Callas Legacy was very enthusiastic about the performance, not only Callas but also the Germont of Mario Zanasi for example, ‘Zanasi’s intrinsic musicality combined with Callas’s wealth of insights to bring the lengthy second act scene between Germont and Violetta to a living realisation. This duet is a study in contrasts, tensions and releases on the highest expressive level’.

Of Callas herself, Ardoin went on to say ‘it is in the final Act that Callas makes the tragedy of Violetta most immediate. The opening recitatives and “Addio del passato” are from another world…Callas’ Violetta is summed up in the strain “Se una pudica vergine” sung in a half-lit legato of breathtaking eloquence’. Ardoin praised the conductor Nicola Rescigno who ‘brings sanity and song to the performance and was remarkably at one with Callas in the ends she sought’.

This recording drawn from private tapes has been remastered by Paul Baily using ICA’s Ambient Mastering process which has enhanced and widened the sound considerably. Here is his description: “Our Ambient Remastering process creates a sense of space and width to a mono, or very narrow stereo, recording. No artificial reverberation is added in this process, so that it remains faithful to the natural acoustic of the original”.

Giuseppe Verdi: La traviata

Act I: Prelude

Act I: Dell'invito trascorsa e gia l'ora (Chorus, Violetta, Flora, Marchese, Barone, Dottore, Gastone, Alfredo)

Act I: Libiamo ne' lieti calici (Alfredo, Violetta, Flora, Marchese, Barone, Dottore, Gastone, Chorus)

Act I: Che e cio? (Chorus, Violetta, Alfredo, Flora, Marchese, Barone, Dottore, Gastone)

Act I: Un di, felice, eterea (Alfredo, Violetta)

Act I: Ebben? Che diavol fate? (Gastone, Violetta, Alfredo)

Act I: Si ridesta in ciel l'aurora (Gastone, Flora, Marchese, Barone, Dottore, Chorus)

Act I: E' strano! E' strano! (Violetta)

Act I: Ah, fors' e lui (Violetta)

Act I: Follie! Follie! (Violetta)

Act I: Sempre libera (Violetta, Alfredo)

Act II Scene 1: Lunge da lei (Alfredo)

Act II Scene 1: De' miei bollenti spiriti (Alfredo)

Act II Scene 1: Annina, donde vieni? (Alfredo, Annina, Violetta, Giuseppe, Germont)

Act II Scene 1: Pura siccome un angelo (Germont, Violetta)

Act II Scene 1: Non sapete quale affetto (Violetta, Germont)

Act II Scene 1: Un di, quando le veneri (Germont, Violetta)

Act II Scene 1: Ah! Dite alla giovine (Violetta, Germont)

Act II Scene 1: Imponete … Non amarlo ditegli (Violetta, Germont)

Act II Scene 1: Dammi tu forza, o cielo! (Violetta, Annina)

Act II Scene 1: Che fai? (Alfredo, Violetta)

Act II Scene 1: Ah, vive sol quel core all’ amor mio! (Alfredo, Giuseppe, Germont, Commissionario)

Act II Scene 1: Di Provenza il mar (Germont, Alfredo)

Act II Scene 2: Avrem lieta maschere la notte (Flora, Marchese, Dottore)

Act II Scene 2: Noi siamo zingarelle (Chorus, Flora, Marchese)

Act II Scene 2: Di Madride noi siam mattadori (Gastone, Chorus, Flora, Dottore, Mattadori)

Act II Scene 2: Alfredo! Voi! (Flora, Violetta, Marchese, Dottore, Gastone, Barone, Alfredo, Chorus)

Act II Scene 2: Invitato a qui seguirmi (Violetta, Alfredo, Flora, Marchese, Dottore, Gastone, Barone, Chorus)

Act II Scene 2: Ogni suo aver tal femmina (Alfredo, Flora, Marchese, Dottore, Gastone, Barone, Chorus)

Act II Scene 2: Di sprezzo degno se stesso rende (Germont, Alfredo, Barone, Flora, Gastone, Dottore, Marchese, Chorus)

Act II Scene 2: Alfredo, Alfredo, di questo core (Violetta, Flora, Gastone, Dottore, Marchese, Alfredo, Barone, Germont, Chorus)

Act III: Prelude

Act III: Annina? … Comandate? (Violetta, Annina, Dottore)

Act III: Teneste la promessa (Violetta)

Act III: Addio, del passato (Violetta)

Act III: Largo al quadrupede (Coro di Maschere)

Act III: Signora! … Che t'accadde? (Annina, Violetta, Alfredo)

Act III: Parigi, o cara (Alfredo, Violetta)

Act III: Ah, non piu (Violetta, Alfredo)

Act III: Ah! Gran Dio! (Violetta, Alfredo)

Act III: Ah, Violetta (Germont, Violetta, Alfredo)

Act III: Prendi, quest' e l'immagine (Alfredo, Violetta, Germont)

Act III: Se una pudica vergine (Violetta, Germont, Annina, Dottore, Alfredo)

BBC Music Magazine

May 2011

*****

“though it has been issued on various labels, this ICA Classics recording is the best I have heard...after Act 1, in which [Callas] still does many wonderful things, her performance is on a level which no other soprano compares with. The scene with Germont is overwhelming, and her immense affirmation of love to Alfredo is almost unbearably intense...This is art at its absolute limit, and a unique document.”

The Observer

20th March 2011

“Maria Callas's Violetta was one of the wonders of our age: scarily elemental, supernaturally brilliant...Callas sounds less full-voiced, more restrained, than in her 1958 Lisbon performance, but the combination of vocal depth and fragile, eloquent virtuosity is unbeatable and the emotional collapse across the three acts is heartbreaking...Nicola Rescigno's conducting lifts the performance to the highest level. A classic indeed.”

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