Cheap Verdi: Un Ballo In Maschera (Music) (Giuseppe Verdi, Gianandrea Gavazzeni, Maria Callas, Ettore Bastianini, Angelo Mercuriali, Giuseppe Morresi, Eugenia Ratti, Giulietta Simionato) Price
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| ARTIST: | Giuseppe Verdi, Gianandrea Gavazzeni, Maria Callas, Ettore Bastianini, Angelo Mercuriali, Giuseppe Morresi, Eugenia Ratti, Giulietta Simionato |
| CATEGORY: | Music |
| MANUFACTURER: | Emi Classics |
| FEATURES: | Original recording remastered |
| TYPE: | Classical, Opera / Operetta / Oratorio |
| MEDIA: | Audio CD |
| TRACKS: | Preludio, Act One, Scene One: Posa In Pace, E Bei Sogni Ristora, Act One, Scene One: S'avanza Il Conte, Act One, Scene One: La Rivedra Nell'estasi, Act One, Scene One: Il Cenno Mio Di La Con Essi Attendi, Act One, Scene One: Alla Vita Che T'arride, Act One, Scene One: Il Primo Giudice, Act One, Scene One: Volta La Terrea, Act One, Scene One: Ogni Cura Si Doni Al Diletto, Act One, Scene Two: Zitti...L'incanto Non Dessi Turbare...Re Dell'abisso, Affrettati, Act One, Scene Two: Arrivo Il Primo!...E Lui, E Lui!, Act One, Scene Two: Su, Fatemi Largo, Saper Vo' Il Mio Fato, Act One, Scene Two: Rallegrati Omai, Act One, Scene Two: Che V'agita Cosi?, Act One, Scene Two: Della Citta All'occaso, Act One, Scene Two: Consentimi, O Signore, Act One, Scene Two: Figlia D'averno, Schiudi La Chiostra, Act One, Scene Two: Su, Profetessa, Monta Il Treppie, Act One, Scene Two: Di' Tu Se Fedele, Act One, Scene Two: Chi Voi Siate, L'audace Parola, Act One, Scene Two: E Scherzo Od E Follia, Act One, Scene Two: Finisci Il Vaticinio, Act Two: Preludio, Act Two: Ecco L'orrido Campo Ove S'accoppia, Act Two: Ma Dall'arido Stelo Divulsa, Act Two: Teco Io Sto, Act Two: Non Sai Tu Che Se L'anima Mia, Act Two: Oh, Qual Soave Brivido, Act Two: Ahime! S'appressa Alcun, Act Two: Amico, Gelosa T'affido Una Cura, Act Two: Odi Tu Come Fremono Cupi, Act Two: Seguitemi, Act Two: Ve', Se Di Notte Qui Colla Sposa, Act Three, Scene One: A Tal Colpa E Nulla Il Pianto, Act Three, Scene One: Morro, Ma Prima In Grazia, Act Three, Scene One: Alzati! La Tuo Figlio, Act Three, Scene One: Eri Tu Che Macchiavi Quell'anima...O Dolcezze Perdute! O Memorie, Act Three, Scene One: Siam Soli. Udite, Act Three, Scene One: Dunque L'onta Di Tutti Sol Una, Act Three, Scene One: D'una Grazia Vi Supplico, Act Three, Scene One: Qual E Dunque L'eletto?...Ah! Del Conte La Morte Si Vuole!, Act Three, Scene One: Il Messaggio Entri, Act Three, Scene One: Ah! Di Che Fulgor, Che Musiche, Act Three, Scene Two: Forse La Soglia Attinse, Act Three, Scene Two: Ma Se M'e Forza Perderti, Act Three, Scene Two: Ah! Dessa E La, Act Three, Scene Three: Fervono Amori E Danze, Act Three, Scene Three: Saper Vorreste Di Che Si Veste, Act Three, Scene Three: Fervono Amori E Danze, Act Three, Scene Three: Ah! Perche Qui! Fuggite, Act Three, Scene Three: E Tu Ricevi Il Mio!, Act Three, Scene Three: Ella E Pura: In Braccio A Morte |
| UPC: | 724356791824 |
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Customer Reviews of Verdi: Un Ballo In Maschera
The one and only! I have several recordings of "Un ballo in maschera" in my collection and I love almost all of them. But only two move me, only those two are the essence. The first being the live-broadcast from the Met 1944 with Zinka Milanov and Jussi Björling and this live-recording with Callas and di Stefano. Callas only sang one run of Amelias in her career so we have to be thankful for this broadcast and her studio-recording. Where to begin when so much beauty is before you? The torment before the love-duet when Amelia wants to renounce Riccardo for ever? The gleaming, GLOWING passion in "Si! T'amo!" (YES! I love you!) Amelia, a victim, a suffering woman and a heroine has never been brought to life like this. The tenderness and grandeur of "Morro, ma prima in grazia" is devastating. She KNOWS who she is and doesn't surrender. This "simple" woman is brought to life by an artist of the greatest kind. Vocal colouring, passion, true Verdian style! Ecco un artista! Di Stefano was one of the most acclaimed Riccardos ever and here you'll hear why. A mezzavoce like honey, DELIRIOUS passion and brilliant phrasing. Bastianini COMMANDS in the role of the betrayed friend and husband who recognizes his error too late. His "Eri tu" is one of the greatest, most beautiful recordings ever. A voice like dark velvet. One of Callas' most amazing evenings at La Scala!
A detailed and passionate delivery
I have long heard of this performance, and I cannot say how happy and impressed I am to finally have experienced it myself on EMI's edition.
John Ardoin once said that there was always a gap between Callas's stage performances and studio recordings. Indeed. For example, her recital of Anna Bolena's Mad Scene, however refined, does not match the stage one in poignancy, delirium, despair and anguish. In the Ballo live performance, Callas is more energetic, spontaneous and passionate than in her recording with Votto, as though she needed not to search for the right way to say a phrase, but rather it just found her at the right moment.
Some scenes are just unforgettable. In her "Consentimi, O Signore" in the Act I, Scene II, Callas begins with a quiet prayer and then soars on a legato line. Or take her "Ma Dall'arido Stelo Divulsa," a mix of fear and pathos. Listen to how she molds each word and punctuates each phrase. In the last line, "misere d'un povero cor," she shapes the word "misere" with the elegiac sonority of a cello and lets the sound linger. The high point of Act II is, without a doubt, the love duet between Amelia and Riccardo, so rapturously sung by Callas and di Stefano. On one side, one has Riccardo passionately professing his love, and opposite him, Amelia vacillates. In just one line "Ebben, si, t'amo," Callas expresses the hesitation and tenderness with pauses between the words and a strong, almost declamatory, accent on "t'amo," and then follows the phrase with a loving "ma tu, nobile, mi difendi dal mio cor."
Those are just the big moments. Some details, however, are also worth noticing, such as Callas's singing in the recitative and dialogues. These are what distinguishes Callas from other sopranos, no matter how mesmerizing they are, because Callas does not rely solely on beautiful arias to flesh out her character. John Steane once wrote that the role Amelia, with its elegiac passages recoursing to the lower region of the voice and ample use of legato, could have well been tailored to the voice of Callas. And Callas lives up to the demands of the role.
For other reasons this version is preferable to the studio recording. Giuseppe di Stefano, whose tenor is a blend of lyricism and sensuality, sounds fresher and freer in his delivery. As for Renato, Ettore Bastianini has the vocal beauty for a Verdian baritone and gives a solid performance here, but Tito Gobbi in the recording is a finer vocal actor. Nothing to lose with either. More important, though, is the role of the conductor, and I rate Gavazzeni, who fires up the music, above Votto.
Because this is a remastered MONO recording, the sound is not so immaculate as a studio recording. On the up side, the "live" atmosphere of a premiere at La Scala excites me more than the sterile studio environment.
LA SCALA'S 1957 "BALLO" A MUST FOR VERDI FANS
This electric performance of Verdi's "Un Ballo in Maschera" is arguably one of the greatest performances of a Verdi opera ever preserved. The sound is excellent, considering that it came from a mono broadcast. There is none of the distortion that mars some of the other EMI-Callas-live recordings.
Callas is in spectacular form here, and even more exciting than she is on the EMI studio recording made a year before. The voice is full of color, expression, and urgency ---- a great performance from a great artist. But Callas doesn't stand alone here. Giuseppe di Stefano is in splendid voice (as he was on the EMI studio recording), and both he and Callas soar into the heights of passion in the Act II love duet (perhaps it was the fact that this was a LIVE performance and allowed them to shake off any inhibitions) in a manner not even hinted at on their studio recording. Ettore Bastianini is a vocally sonorous Renato, and in the great library scene, delivers an "Eri Tu" that ranks with the best of them. The Ulrica of Giuletta Simionato dominates the scene in which she appears (which she should), and is superbly sung. Giandrea Gavazzeni conducts a much more fiery and explosive "Ballo" than did Votto on the studio recording.
This is a GREAT, GREAT performance, and it is admirable that EMI has finally made it available. The sound is superior to any of the previous releases of this performance.