Giacomo Puccini Georges Precirctre Maria Callas - Puccini Tosca complete opera with Maria Callas Carlo Bergonzi Tito Gobbi Georges Pretre (29 tracks) +Album Reviews

AN UNDERRATED GEM

anonymous | san francisco, ca United States | 07/05/2001

(5 out of 5 stars)

"It's common to talk about the 1953 de Sabata recording at the expense of this one. I would not do without either. This one has several advantages: 1) Though Callas's voice has deteriorated, she is in her skinny Callas voice here, not the fat Callas voice (where she sounds like she's singing into a bottle.) I like both, but if you prefer thin Callas, this is the Tosca for you; 2) This is a more histrionic TOSCA -- that doesn't make it better or worse, but it's definitely different enough to set it apart; 3) Her Vissi D'arte is her best, ever, and she recorded it many times; 4) The stereo sound is gorgeous; 5) I prefer De Stefano, but Bergonzi brings something special to this, too; 6) Gobbi, in the spirit of this production, pulls out the dramatic stops. This is the melodramatic TOSCA, and the '53 is the dramatic TOSCA. Two versions, both great."

Callas is amazing!

Vicki J. Kondelik | 11/17/1999

(5 out of 5 stars)

"Callas' 1953 Tosca will always be my favorite, but this one is almost as good. I know that a lot of people say it's not nearly as good as the 1953 recording, but I disagree. Callas' voice was certainly in better condition in 1953, but I think her interpretation had strengthened and deepened since then. She gives an emotional, intense performance here. And she sings the greatest "Vissi d'arte" ever! I love the one on the 1953 recording, but this one is even more emotional and moving.Gobbi is probably the greatest Scarpia ever, and I think his interpretation has also strengthened since 1953. Bergonzi gives a wonderful performance as Mario. I love di Stefano in the 1953 recording, but Bergonzi is also great. This recording is definitely one of my favorites."

Most Underrated Recording Ever

John Atherton | CINCINNATI, OHIO United States | 08/27/2004

(5 out of 5 stars)

"This 1965 Tosca has been reviled by virtually every critic, including the most fervent admirers of Maria Callas. They'll steer you to the classic 1953 recording. I have both, but find myself more often turning to this one.

Callas in 1953 had a healthier and more secure voice, but if she was shrill a dozen years later, her middle register and soft notes were, to my ears, lovelier and more touching.

De Sabata's feverish conducting on the mono set is a memento of a genius who made too few recordings, but Pretre gives more breadth to this opera's stately Roman lines.

By the same token, Bergonzi -- that prince among tenors -- is more elegant than Di Stefano, whose robust voice matches De Sabata's conception and Maria's earlier vocal (and physical) heft.

The critics say Gobbi was sub-par in '65, but for me he is still... Gobbi.

In sum, buy both if you can -- and if you like early Callas and Di Stefano, note that they were even more thrilling in Mexico City in 1952 -- but don't be surprised if you find yourself loving this neglected gem."

If you are to own a copy of Tosca ...this is the one.

A. Avgoustis | Greece | 11/07/1998

(5 out of 5 stars)

"This was one of my first purchases of a recording with Maria Callas and 15 years later this is still my number one recording. The voice of Callas conveys the feelings of the woman in love, a woman jealous, the woman in pain. Callas does that in a way that no other voice or any other of her recordings (or for that matter any other Tosca recording) has ever been able to convey.Tito Gobbi as Scarpia has remained unsurpassed and in this recording he has managed to capture the role as no other baritone has done before or ever since. Carlo Bergonzi, equally good works together with Callas and Gobbi to create an atmosphere that you can ?feel? through this recording. Just close your eyes and you will be there.I could not recommend a recording more highly. Listen to it and you will not forget it. Every second of it is an experience. Even to the last minute when the last act Callas when she sings ?Presto, su Mario!? will make you feel the hair at the back of your neck rise as she discovers Mario dead.Simply an experience not to be missed."

Not the Best but...

Paul A. Dunphy | Bogota, New Jersey USA | 06/21/2001

(4 out of 5 stars)

"This soundtrack is all that remains of a failed Zefirelli project to film Callas in "Tosca". This accounts for the drama and immediacy of this recording. Yes, the voices were younger and more secure in the earlier De Sabata recording but the advantages in the stereo set balance nicely with that one. Maria Callas voice by this point was so forward that she has difficulty with the top notes but also manages to put forth the drama with an intensity that she never could before. The stereo sound also compensates for her intrusive wobble. What a shame that her career did not coincide more with the stereo age! She still is the Tosca of all times. Carlo Bergonzi's voice is pure gold even though he does not give a particularly vividly dramatic portrait of Cavaradossi. Tito Gobbi still has all the nuances of Scarpia's character even if his voice has more of a bark in it than his previous recording. He and Callas also had the advantage of working with Zefirelli in his London/Paris production at this time and were able to sharpen their characterizations. Pretre allows Puccini's melodies space to breathe and doesn't propel them the way De Sabata does. Vocally, there are better recordings of this opera but, from a dramatic standpoint, this bears away the laurels."

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