Track Listing

Disc 1:

1. Macbeth, opera
2. Macbeth, opera
3. Macbeth, opera
4. Macbeth, opera
5. Macbeth, opera
6. Macbeth, opera
7. Macbeth, opera
8. Macbeth, opera
9. Macbeth, opera
10. Macbeth, opera
11. Macbeth, opera
12. Macbeth, opera
13. Macbeth, opera
14. Macbeth, opera
15. Macbeth, opera
16. Macbeth, opera
17. Macbeth, opera
18. Macbeth, opera
19. Macbeth, opera
20. Macbeth, opera
21. Macbeth, opera
22. Macbeth, opera
23. Macbeth, opera
24. Macbeth, opera
25. Macbeth, opera
26. Macbeth, opera
27. Macbeth, opera
28. Macbeth, opera
29. Macbeth, opera

Disc 2:

1. Macbeth, opera
2. Macbeth, opera
3. Macbeth, opera
4. Macbeth, opera
5. Macbeth, opera
6. Macbeth, opera
7. Macbeth, opera
8. Macbeth, opera
9. Macbeth, opera
10. Macbeth, opera
11. Macbeth, opera
12. Macbeth, opera
13. Macbeth, opera
14. Macbeth, opera
15. Macbeth, opera
16. Macbeth, opera

Product Details

• Amazon Sales Rank: #126259 in Music
• Released on: 1998-03-17
• Number of discs: 2
• Dimensions: .48 pounds

Customer Reviews

Callas & Lady Macbeth: A Perfect Match
This is an opera that EMI should have recorded with Callas in the studio, but it never happened, so we are lucky to have this recording of the 1952 live performance from La Scala. While the sound is boxy, dry, and lacking in range, it remains listenable and the ear quickly adjusts. Callas is an Amazonian Lady Macbeth, and it's a thrill a minute. Her voice, as heard here, is huge, powerful, and completely steady as she spews venom at every turn. The effects achieved by Callas on this performance are easier heard and experienced than discussed. Not surprisingly, the Macbeth of Enzo Mascherini is not on this level, but he manages a creditable performance in a role that should have been cast with Tito Gobbi (the only Macbeth who would have met Callas on equal ground). Victor de Sabata conducts a dramatic and searing performance. For Callas fans, this set is an absolute must.

Verdi�s Lady Macbeth!
The opera should be called �Lady Macbeth� when the Lady is Maria Callas! I�m not a huge Callas fan since I can never find much beauty in her voice but indisputably this role was written for Maria Callas. It needs a rough, ... sound with much coloratura and powerful both high and lower notes. This is, to me, Callas� greatest role! However besides Callas, the less famous Elena Soulioti is also great, even if her studio recording does not represent her Lady well. Back to Callas, it is really sad that the diva never recorded the opera in studio, though she did record the famous aria and caballeta. This is, therefore, the only complete testament we have with Callas in this role and despite the terrible sound it�s a must.

Macbeth here is Enzo Mascherini who does a fine job but I much prefer others who have recorded the role in studio (Warren, Milnes for example). I also prefer sopranos in the title role, that�s why my recommendation for a studio version goes to the RCA: Warren/Rysanek/Bergonzi. Last but not least here, the underrated conductor De Sabata is superb!

Concluding, even though the bad sound should prevent me from giving 5stars, I do give them because of Maria Callas: the definite Lady Macbeth.

An Observation of Gino Penno's Macduff!
A great historical Macduff, Penno is available on two recordings in this role; very rare for this role and even more rare that his career lasted less then 8 years. I never "got" the role of Macduff, even though many famous tenors have spoken of its importance, they never have seemed to imbue this character with the excruciating pain and bereavement he endures. That was before I heard Gino Penno.

Penno's sound had been a mystery to me because it seemed too vacuous and throaty. I did not like it then, but I found out that he had one of the largest voices, if not the THE largest voice on the stage at that time, not just among tenors but all voices. Gruadually, I understood the unique timbre and grew to respect his tendency to hold back his voice and protect his musicality, which is quite careful and delicate.

In this performance, he brings Macduff to a Shakespearean level. His "innigkeit" is a surpassing experience. His plea "O figli, miei" is a sympathetic outpouring of pure pity and affection. He says it the way a real man and father would do. It is touching, of course, as it should be.

Penno is easy to ignore, especially when the Callasian volcano is erupting about him, but listen intently with a libretto in one hand and a hankerchief in the other ... to dry your tears.