Rossini: Il barbiere di Siviglia (1957 - Galliera) - Callas Remastered Maria Callas

• 1Rossini: Il barbiere di Siviglia: Overture06:42
• 2Rossini: Il barbiere di Siviglia, Act 1: Piano, pianissimo, senza parlar (Fiorello, Chorus, Count Almaviva)02:55
• 3Rossini: Il barbiere di Siviglia, Act 1: Ecco ridente in cielo (Count Almaviva)04:10
• 4Rossini: Il barbiere di Siviglia, Act 1: Ehi, Fiorelli?...Mio signore (Count Almaviva, Fiorello, Chorus)01:06
• 5Rossini: Il barbiere di Siviglia, Act 1: Mille grazie, mio signore (Count Almaviva, Fiorello, Chorus)01:57
• 6Rossini: Il barbiere di Siviglia, Act 1: Gente indiscreta! (Count Almaviva, Fiorello, Figaro)00:34
• 7Rossini: Il barbiere di Siviglia, Act 1: La ran la le ra...Largo al factotum (Figaro)04:41
• 8Rossini: Il barbiere di Siviglia, Act 1: Ah, che bella vita! (Figaro, Count Almaviva)03:44
• 9Rossini: Il barbiere di Siviglia, Act 1: Se il mio nome saper voi bramate (Count Almaviva, Rosina, Figaro)02:55
• 10Rossini: Il barbiere di Siviglia, Act 1: Oh cielo!...Nella stanza convien (Count Almaviva, Figaro)01:00
• 11Rossini: Il barbiere di Siviglia, Act 1: All'idea di quel metallo (Figaro, Count Almaviva)08:08
• 12Rossini: Il barbiere di Siviglia, Act 1: Una voce poco fa (Rosina)06:20
• 13Rossini: Il barbiere di Siviglia, Act 1: Si, si, la vincero (Rosina, Figaro)01:19
• 14Rossini: Il barbiere di Siviglia, Act 1: Ah, disgraziato Figaro! (Bartolo, Rosina, Berta, Ambrogio)00:54
• 15Rossini: Il barbiere di Siviglia, Act 1: Ah! Barbiere d'inferno (Bartolo, Basilio)01:52
• 16Rossini: Il barbiere di Siviglia, Act 1: La calunnia e un venticello (Basilio)03:38
• 17Rossini: Il barbiere di Siviglia, Act 1: Ah! Che ne dite? (Basilio, Bartolo)00:33
• 18Rossini: Il barbiere di Siviglia, Act 1: Ma bravi! Ma benone! (Figaro, Rosina)02:19
• 19Rossini: ll barbiere di Siviglia, Act 1: Dunque io son (Figaro, Rosina)05:07
• 20Rossini: Il barbiere di Siviglia, Act 1: Ora mi sento meglio (Rosina, Bartolo)01:23
• 21Rossini: Il barbiere di Siviglia, Act 1: A un dottor della mia sorte (Bartolo)04:58
• 22Rossini: Il barbiere di Siviglia, Act 1: Finora in questa camera (Berta, Count Almaviva)00:30
• 23Rossini: Il barbiere di Siviglia, Act 1: Ehi, di casa, buona gente (Count Almaviva, Bartolo)08:30
• 24Rossini: Il barbiere di Siviglia, Act 1: Che cosa accadde (Figaro, Bartolo, Count Almaviva, Rosina, Berta, Basilio, Chorus)03:39
• 25Rossini: Il barbiere di Siviglia, Act 1: Fredda ed immobile (Rosina, Count Almaviva, Bartolo, Figaro, Basilio, Berta)03:02
• 26Rossini: Il barbiere di Siviglia, Act 1: Ma signor...ma un dottor (Bartolo, Berta, Basilio, Rosina, Count Almaviva, Figaro, Chorus)04:43
• 27Rossini: Il barbiere di Siviglia, Act 2: Ma vedi il mio destino! (Bartolo)00:46
• 28Rossini: Il barbiere di Siviglia, Act 2: Pace e gioia sia con voi (Count Almaviva, Bartolo)02:27
• 29Rossini: Il barbiere di Siviglia, Act 2: Insomma, mio signore (Bartolo, Count Almaviva)02:19
• 30Rossini: Il barbiere di Siviglia, Act 2: Venite, signorina (Bartolo, Rosina, Count Almaviva)00:43
• 31Rossini: Il barbiere di Siviglia, Act 2: Contro un chor che accende amore (Rosina, Count Almaviva)05:55
• 32Rossini: Il barbiere di Siviglia, Act 2: Bella voce! Bravissima! (Count Almaviva, Rosina, Bartolo)00:35
• 33Rossini: Il barbiere di Siviglia, Act 2: Quando mi sei vicina (Bartolo)00:57
• 34Rossini: Il barbiere di Siviglia, Act 2: Bravo, signor barbiere (Bartolo, Figaro, Rosina, Count Almaviva)02:42
• 35Rossini: Il barbiere di Siviglia, Act 2: Don Basilio!...Cosa veggo! (Rosina, Count Almaviva, Figaro, Bartolo, Basilio)04:01
• 36Rossini: Il barbiere di Siviglia, Act 2: Buona sera, mio signore (Rosina, Count Almaviva, Figaro, Bartolo, Basilio)05:16
• 37Rossini: Il barbiere di Siviglia, Act 2: Che vecchio sospettoso! (Berta)00:29
• 38Rossini: Il barbiere di Siviglia, Act 2: Il vecchiotto cerca moglie (Berta)03:20
• 39Rossini: Il barbiere di Siviglia, Act 2: Thunderstorm02:49
• 40Rossini: Il barbiere di Siviglia, Act 2: Alfine eccoci qua (Figaro, Count Almaviva, Rosina)01:02
• 41Rossini: Il barbiere di Siviglia, Act 2: Ah, qual colpo inaspettato! (Figaro, Count Almaviva, Rosina)05:46
• 42Rossini: Il barbiere di Siviglia, Act 2: Ah, disgraziati noi! (Figaro, Count Almaviva, Rosina, Basilio, Bartolo, Official)01:31
• 43Rossini: Il barbiere di Siviglia, Act 2: Insomma io ho tutti i torti (Bartolo, Figaro, Basilio, Count Almaviva, Rosina)00:44
• 44Rossini: Il barbiere di Siviglia, Act 2: Di si felice innesto (Figaro, Berta, Bartolo, Basilio, Rosina, Count Almaviva, Chorus)02:06
• Total Runtime02:10:07

Info zu Rossini: Il barbiere di Siviglia (1957 - Galliera) - Callas Remastered

As she demonstrated in both Il barbiere di Siviglia and Il turco in Italia, Callas, the great tragedienne, could also turn her skills to comedy. As it happened, the 1956 La Scala production of Rossini’s most popular opera did not prove a great success with audiences, but its stars – Callas, Tito Gobbi and Luigi Alva – reassembled in London the following year for this recording. Callas sang the role of Rosina at its original mezzo-soprano pitch and her version of ‘Una voce poco fa’ – punctuated by an unforgettable ‘ma’ (‘but’) in the cabaletta – is a miracle of both elegance and wit.

Maria Callas, soprano (Rosina)
Tito Gobbi, baritone (Figaro)
Luigi Alva, tenor (Almaviva)
Fritz Ollendorf, bass (Bartolo)
Nicola Zaccaria, bass (Basilio)
Gabriella Carturan, mezzo-soprano (Berta)
Mario Carlin, tenor (Fiorello)
Philharmonia Orchestra and Chorus
Alceo Galliera, conductor

Digitally remastered

Maria Callas
was born to a Greek family in New York in 1923. Her vocal training took place in Athens, where her teacher was the coloratura soprano Elvira de Hidalgo, who had sung with Enrico Caruso and Feodor Chaliapin. After early performances in Greece, Callas’s international career was launched in 1947 when she performed the title role in Ponchielli’s La Gioconda at the Arena di Verona in Italy.

Her voice defied simple classification and her artistic range was extraordinary. In her early twenties she sang such heavy dramatic roles as Gioconda, Turandot, Brünnhilde and Isolde, but over the course of her career her most famous roles came to be: Bellini’s Norma and Amina (La sonnambula); Verdi’s Violetta (La traviata); Donizetti’s Lucia di Lammermoor and Anna Bolena, Cherubini’s Medea and Puccini’s Tosca. Though her timbre was not always conventionally beautiful, Callas’s musicianship and phrasing were in a class of their own. She brought characters to vivid life with her skill in colouring her tone and making insightful use of the text.

She is credited with changing the history of opera: by placing a perhaps unprecedented emphasis on musical integrity and dramatic truth, and by transforming perceptions – and reviving the fortunes – of the bel canto repertoire, particularly Bellini and Donizetti.

The 1950s marked the height of Callas’s career. Its base lay in the opera houses of Italy, and she became the prima donna assoluta of Milan’s legendary La Scala – notably in the productions of Luchino Visconti – but her operatic appearances also encompassed London’s Royal Opera House, the New York Metropolitan Opera, Paris Opéra, the Vienna State Opera, and the opera houses of Chicago, Dallas, Houston, Lisbon, and, in the early 1950s, Mexico City, São Paolo and Rio de Janeiro.

From 1959, when she started a life-changing love affair with the Greek shipping magnate Aristotle Onassis, her performing career slowed down and her voice became more fragile. Her final stage performances came in 1965, when she was only 42.

There were many plans for a return to the stage – and for further complete recordings – but they never reached fruition, though in 1974 she gave a series of concerts in Europe, North America and Japan with the tenor Giuseppe di Stefano; he had partnered her frequently in the opera house and in the studio, not least in the 1953 La Scala Tosca under Victor de Sabata, considered a landmark in recording history. Callas died alone in her Paris apartment in September 1977.

Booklet für Rossini: Il barbiere di Siviglia (1957 - Galliera) - Callas Remastered