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The great castrato of the Napoleonic era
Ann Hallenberg (mezzo)
Stile Galante, Stefano Aresi
There is perhaps no singer better able to meet this challenge than Swedish mezzo-soprano Ann Hallenberg: her rich timbre, the evenness of her register and the precision of her intonation evoke... — More…
Gino Penno (Giasone), Maria Callas (Medea), Maria Luisa Nache (Glauce), Fedora Barbieri (Neris), Giuseppe Modesti (Creonte), Enrico Campi (Capitano), Angela Vercelli (Prima Ancella), Maria Amadini (Seconda Ancella)
Teatro alla Scala, Leonard Bernstein
Chamber Orchestra of Philadelphia, Ignat Solzhenitsyn
Recorded at the Studio of Slovak Philharmonic Orchestra, Bratislava, September 2014
Dagmar Pecková (mezzo)
Slovak Philharmonic Orchestra, Aleksandar Markovic
Dagmar Peckova's voice has evolved from strong and stylish Mozartian into a richly powerful instrument whose darkly sensuous hues are ideally suited to the lusher late Romantics…her hollow-toned,... — More…
Remastered Recordings 1949–1964
Maria Callas (soprano), Gino Bechi (Nabucco), Maria Callas (Abigaille), Amalia Pini (Fenena), Gino Sinimberghi (Ismaele), Iginio Riccò (Gran Sacerdote), Luciano della Pergola (Abdallo), Silvana Tenti (Anna), Rolando Panerai (Amfortas), Africo Baldelli (Parsifal), Maria Callas (Kundry), Boris Christoff...
Perhaps the most thrilling of all the sets is the performance from Berlin of Donizetti’s Lucia di Lammermoor…The encored Sextet is phenomenal, the Mad Scene even more so…Callas was a passionate... — More…