Track Listing

Disc 1:

1. Preludio
2. Act One: Dell'invito trascorsa è già l'ora
3. Act One: Libiamo, ne' lieti calici
4. Act One: Che è ciò?
5. Act One: Un di felice, eterea
6. Act One: Ebben? Che diavol fate?
7. Act One: Si ridesta in ciel l'aurora
8. Act One: È strano! È strano!
9. Act One: Ah, fors'è lui che l'anima
10. Act One: Follie! follie! Delirio vano è questo!
11. Act One: Sempre libera
12. Act Two - Scene One: Lunge da lei
13. Act Two - Scene One: De' miei bollenti spiriti
14. Act Two - Scene One: Annina, donde vieni?...Alfredo?...Per Parigi or or partiva
15. Act Two - Scene One: Pura siccome un angelo
16. Act Two - Scene One: Non Sapete quale affetto
17. Act Two - Scene One: Un di, quando le veneri
18. Act Two - Scene One: Ah! dite alla giovine
19. Act Two - Scene One: Imponete...Non amarlo ditegli
20. Act Two - Scene One: Morrò! La mia memoria
21. Act Two - Scene One: Dammi tu forza, o cielo!
22. Act Two - Scene One: Che fai?...Nulla
23. Act Two - Scene One: Ah, vive sol quel core all'amor mio!
24. Act Two - Scene One: Di Provenz il mar

Disc 2:

1. Act Two - Scene Two: Avram lieta di maschere la notte
2. Act Two - Scene Two: Noi siamo zingarelle
3. Act Two - Scene Two: Di Madride noi siam mattadori
4. Act Two - Scene Two: Alfredo! Voi!
5. Act Two - Scene Two: Invitato a qui seguirmi
6. Act Two - Scene Two: Ogni suo aver tal femmina
7. Act Two - Scene Two: Di sprezzo degno sé stesso rende
8. Act Two - Scene Two: Alfredo, Alfredo, di questo core
9. Act Three: Preludio
10. Act Three: Annina/...Comandate?
11. Act Three: Teneste la promessa
12. Act Three: Addio, del passato
13. Act Three: Largo al quadrupede
14. Act Three: Signora!...Che t'accadde?
15. Act Three: Ah, non più, a un tempio]
16. Act Three: Ah! gran Dio! Morir si giovine
17. Act Three: Ah, Violetta!...Voi, signor!
18. Act Three: Prendi, quest'è l'immagine
19. Act Three: Se una pudica vergine

Product Details

• Amazon Sales Rank: #5801 in Music
• Released on: 1998-03-17
• Number of discs: 2

Amazon.com essential recording
This live recording of the 1955 Visconti production at La Scala is the best of the available Maria Callas Traviatas. Aside from a minor pitch problem or two, she's in great voice, coloring phrases to reveal character and investing the coloratura with variety and passion. Her "Addio del passato" is heart-breaking. She fully captures Violetta's pride and vulnerability in the scene with Germont, though her partner, Ettore Bastianini, sings insensitively, if beautifully. Giuseppe Di Stefano is all one could ask for as Alfredo. Carlo Giulini conducts a performance that delivers all the lyricism and drama of the score. The recorded sound is primitive, but in EMI's latest transfer you can listen through it to a wondrous performance. --Dan Davis

Customer Reviews

This is what opera is all about!
If ever the was an opera recording that deserved the highest praise despite its technical deficiencies, this is it. Many reviewers below complain about this recording's sonics -- it is a live, mono recording from 1955. But focusing on sonic problems in the face of Callas's magnificent performance is like deprecating the *Mona Lisa* because there are a few cracks in the paint. Callas gives here the ultimate opera performance: she not only has complete command of the music, but she works within it to create a living, breathing character who develops during the course of, and as a result of, the drama. What she does is better than acting while singing; it is acting *by means of* singing. (And, I should add, the other principals are excellent.)

If you have not yet listened to a lot of opera, or if you just want a recording that will sound pretty in the background, then you will probably not appreciate this set. As your tastes become more educated, however, return to this. You will be blown away.

THE BEST TRAVIATA
This was one of Callas's signature rolls. I have many recordings of Callas performing Traviata ('51,'52,'53,'55,'56,'58 Lisbon, '58 Covent Garden), but this is the best. The sound quality is a problem -- but not THAT big a problem. It's not in the realm of historical document; it's a recording that can easily be enjoyed just for pleasure. (The '51 Mexico is a BAD recording.) The '55 has it over on the others for several reasons: 1) Callas was in her best voice -- the first few years after her weight loss; so she has the distinct Callas sound, and at its strongest. 2) Her attack on the role is fierce and hair-raising in its passion and depth of feeling. Listen to her saying goodbye to Alfredo. Then compare that moment to anyone else's recording. No one, with the exception of Alagna's wife (her name escapes me) comes CLOSE. The Lisbon recording has better sound but slightly weaker passion, and this La Scala recording also has the advantage of de Stefano as Alfredo. Do not miss this.

Beautiful but...
No one seems to deny that Callas is a definitive Violetta but there seems to be some arguement about the sound quality of her recordings of Traviata which are, unfortunately, all live.

On this 1955 set, for me, the terrible recording quality of the third act does undermine my full enjoyment. I would advise a person new to Callas, Traviata or Opera in general to only purchase this version as a second or third supporting set to a set they already know & love.

Altho also a live recording, the Callas 1958 Lisbon set is much improved (but not perfect) on the above 1955 set in terms of recording quality. I also like Te Kanawa's version from the early 1990's if you want to go stereo & digital. There are numerous others of great quality, by great singers depending on the style of singing & acting you like.

Once you have another set to fall back on when you are not in the mood for the extremely poor sound mentioned above, then buy this 1955 Callas set & sit back and enjoy Callas's extremely moving virtuoso performance. It is worth it for that.