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La Traviata (Santini, Turin Rai Orchestra, Callas) CD

4.2 out of 5 stars 4 customer reviews

Price: £10.28 & FREE Delivery in the UK on orders over £20. Details
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Product details

  • Orchestra: Turin RAI Orchestra
  • Conductor: Gabriele Santini
  • Composer: Giuseppe Verdi
  • Audio CD (3 Jan. 2005)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Format: CD
  • Label: Naxos Historical
  • ASIN: B0006OJPOW
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 38,257 in Music (See Top 100 in Music)

Track Listings

Disc: 1

  1. Prelude
  2. Dell' invito trascorsa e gia l' ora
  3. Liabiamo ne' lieti calici
  4. Che E Cio?
  5. Un Di, Felice, Eterea
  6. Ebben? Che Diavol Fate?
  7. Si ridesta in ciel l' aurora
  8. E strano! E strano!
  9. Ah, fors e lui
  10. Follie! Follie!
  11. Sempre Libera
  12. Lunge Da Lei
  13. De' Miei Bollenti Spiriti
  14. Annina, Donde Vieni?
  15. Alfredo?...Per Parigi or or partiva
  16. Pura Siccome Un Angelo
  17. Non Sapete Quale Affetto
  18. Un Di, Quando Le Veneri
  19. Ah! Dite Alla Giovine
  20. Imponete...Non Amarlo Ditegli
  21. Morro! La Mia Memoria
  22. Dammi Tu Forza, O Cielo!
  23. Che Fai?
  24. Ah, Vive Sol Quel Core All' Amor Mio!
  25. Di Provenza Il Mar

Disc: 2

  1. Avrem Lieta Maschere La Notte
  2. Noi Siamo Zingarelle
  3. Di Madride noi siami mattadori
  4. Alfredo! Voi!
  5. Invitato a Qui Seguirmi
  6. Ogni Suo Aver Tal Femmina
  7. Di Sprezzo Degno Se Stesso Rende
  8. Alfredo, Alfredo, Di Questo Core
  9. Prelude
  10. Annina?...Commandante?
  11. Teneste La Promessa
  12. Addio, Del Passato
  13. Largo Al Quadrupede
  14. Signora!...Che t' accadde?
  15. Parigi, O Cara
  16. Ah, Non Piu
  17. Prendi, quest' e l' immagine
  18. Se Una Pudica Vergine

Customer Reviews

4.3 out of 5 stars
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Top Customer Reviews

Format: Audio CD
It's astonishing how refined and intense a performance Callas gives here. I know about the many plaudits for her live recordings but this is still wonderful - another league to her contemporaries, though the recording by De Los Angeles under Serafin is another one to have, from a few years later.

This original Cetra recording has many cuts to the score but that's to be expected and the Naxos re-mastering is impressive. Some of you may dislike the foggy sound produced by both Savarese as Germont and Albanese as Alfredo, but I'm fond of both, and Savarese, in particular, demonstrates great control in his pianos during Di Provenza.

Santini does an able job with the Turin Radio band, but it's Callas that predictably impresses here. Her voice is secure, compared to some of her live recordings and she just knows where to put the pins. A must-have.
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Format: Audio CD
A wonderful historic performance well worth having in your collection. A commited performance by all the cast. No one sings "Di lagrime avenva d'uopo .. " with greater passion than than Stratas.
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Format: Audio CD Verified Purchase
Bargain. Excellent condition.
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Format: MP3 Download Verified Purchase
As it says above really, the total length of music is nowhere as long as it should be.
Although cheap, it was a waste of money.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: HASH(0x945fec9c) out of 5 stars 5 reviews
6 of 7 people found the following review helpful
HASH(0x9404a1a4) out of 5 stars $5 for these wonderful Traviata highlights is a steal. 7 Dec. 2000
By A Customer - Published on Amazon.com
Format: Audio CD
Both Ileana Cotrubas and Nicolai Gedda are in fine voice for this 1971 live performance from the Vienna Staatsoper. Cotrubas, in particular, was in the early spring of her career and had just signed a three year contract with the house. All the promise of a magnificent career can be heard in her already maturing artistry and dramatic emphasis, and that, combined with the youthful bloom and beauty of her lovely, evenly placed soprano, makes this a thrilling operatic introduction. We get a generous hour and a quarter of music and the particular joy of hearing Cornell Macneil's authentic Verdian baritone in it's prime. Josef Krips conducts with rather too much enthusiasm at times, and leaves his tenor, soprano and chorus behind for a moment or two in Act 1. It's interesting to hear them musically bumping into each other and the overall musical and dramatic effect is not badly spoiled. The recording quality is surprisingly, very good. This is a must buy, especially at the excellent price.
3 of 4 people found the following review helpful
HASH(0x9408d084) out of 5 stars A Callas classic I never before had 4 Feb. 2014
By John D. Truslow - Published on Amazon.com
Format: Vinyl Verified Purchase
If it were possible to give this record a higher rating, I'd give it one. Never have I seen a more lavish package. And the sound quality gets better and better as the opera approaches its heart-breaking end. -jdt
1 of 1 people found the following review helpful
HASH(0x946a9aec) out of 5 stars The Three Callas Traviatas 23 July 2015
By Stephen Grabow - Published on Amazon.com
Format: Audio CD
The Three Callas Traviatas
In Italian opera, Maria Callas was one of the greatest singing actresses of the 20th century, in spite of vocal production that consisted of a uniquely dark and distinctive timbre that was sometimes flawed by excessive vibrato and noticeable register breaks. Her deep understanding and devotion to musical scores was legendary and her performances often revelatory. However, because of growing vocal problems, her recording career of complete operas was quite short (1951-1964). One of her most important roles was Violetta in Verdi’s La Traviata (which she performed 63 times over a seven-year period). There are three commercially available recording: Rome, 1953 (Cetra and then Naxos), Milan, 1955 (EMI) and Lisbon, 1958 (EMI and then Myto).
The generally accepted view of the three different recordings is that the first one (the only studio recording) was early in her career, unrefined as an interpretation, and supported by merely adequate male singers; that the second one was at the dramatic peak of her career, with a stronger male supporting cast, a better conductor, but inadequate sound; and that the third was late in her career, after the voice started to fade but the interpretation had deepened, with excellent male support but mediocre sound with annoying stage noises from a live broadcast tape.
It is a misconception that the first, Cetra recording was too early in Callas’ career or that her interpretation was unrefined. By the time of this recording in 1953, Callas’ Traviata had already been the talk of the opera world. After her sensational debut as Violetta in Florence in January 1951, as Franco Zeffirelli recalled, “the audience went mad.” Later that year, Tito Gobbi recalled the Sao Paolo performance as “electrifyingly brilliant and magical.” In Parma in December, the great soprano Elizabeth Schwarzkopf went backstage to congratulate Callas and tell her that there was no point in her (Schwarzkopf) singing the role again. In Verona in August 1952 it was hailed as an unforgettable experience and the thrill of the season. And by January 1953 she performed in successfully in Rome with the conductor and cast that would make the Cetra studio recording eight months later in Turin. This can hardly be considered too early in Callas’ career or that she was not ready to give a refined interpretation. Since her first performance in Florence in January 1951, she had sung the role 28 more times under eight different conductors in ten different cities before making this first recording. And the male singers were definitely more than merely adequate. The tenor, Francesco Savarese, sang with her in the Florence premiere three times under the great conductor Tulio Serafin, then again twice in Venice and finally three times in Rome under Gabriele Santini before the recording session in Turin.
It is also a misconception that the interpretation had matured by the time of the second, La Scala recording in 1955 or that she was at the peak of her career. We are talking about a period of only one year and nine months between the two recordings. In fact, she only sang Traviata two times in Chicago prior to the second recording. Her voice may have changed somewhat between September 1953 and May 1955 because she lost over 60 pounds of body weight, but not her experience of the role. The greatest difference between the two recordings is the production and the cast. The La Scala performance in 1955 was directed by the filmmaker Luchino Visconti in an interpretation so controversial that the tenor, Giuseppe Di Stefano (who had only sung the role with Callas three times previously in 1951), left the stage before the final curtain call and withdrew from all subsequent performances (as would eventually the conductor, Carlo Maria Giulini). In all, there were 21 performances of the La Scala production, but only the first night was recorded for the EMI release. This is not a question of refinement or maturity; it is merely a different production, a different conductor, and a different (and dissatisfied) cast.
By the time of the third recording – Lisbon, 1958 – Callas had not sung Traviata for almost two years – with the exception of just two performances in New York in February 1958, the month before the Lisbon recording. The Lisbon Traviata was recorded from a live radio broadcast on March 27th. The conductor was Franco Ghione, the tenor was the excellent Alfredo Kraus and the baritone was a fine Mario Sereni. The Lisbon recording can be heard as evidence of a deepening of the emotional intensity of Callas’ interpretation of the role and finally, refinement and maturity after more than seven years since her Florence debut. It is also possible that the eventual deterioration of her vocal powers found its way into the interpretation of the role of a woman dying of tuberculosis. Regardless, the performance is regarded by many as one of the most poignant characterizations. There were only two performances in Lisbon and, following a difficult week in London in June and two more performances in Dallas in November, she never sang the opera again. In that sense, the Lisbon recording can be heard as somewhat valedictory.
The 1953 Cetra recording has recently been re-mastered by the award-winning sound restoration engineer Ward Marston for Naxos Historical in 2005. As a studio recording, it always had the best sound of the three and the performance reveals Callas at a very strong point in her career with a fine supporting cast in Albanese and Ugo Savarese. The conductor, Gabriele Santini, was a great Verdian and made a number of definitive recordings for EMI. This deserves 4 stars.
The 1955 La Scala recording was remastered by EMI in 1987 (and less satisfactorily in 1997) but has not been able to improve on the tendency for the sound to crumble at climaxes on the original master tape. Although Callas was comfortable with the Visconti production and sang well, with the conductor Giulini giving her plenty of encouragement, Di Stefano and Bastianini were not at their best. It is frustrating to listen to a great Callas interpretation in bad sound. This deserves no more than 3 stars.
Finally, the 1958 Lisbon recording has recently been re-mastered in 2008 by Myto from an excellent newly discovered original broadcast master. Although there are still some stage noises (as in most any live recording), the prompter is less noticeable and the overall difference between this and the 1987 EMI remastering (and especially the weaker 1997 remastering) is considerable. Regardless of which other Callas version one might have, the Myto should now be considered the must-have version and deserves 5 stars.
1 of 2 people found the following review helpful
HASH(0x9407f300) out of 5 stars Very interesting 14 Feb. 2005
By S. Greer - Published on Amazon.com
Format: Audio CD
Josef Krips is my favorite conductor of all time, especially of Mozart. I had never heard him conduct Verdi, and even though he would have been of an advanced age in 1971 (the year of this recording), I bought it anyway.

This is good collection of highlights: it is over 70 minutes long and includes pretty much every major aria and ensemble in the opera. The conducting of Krips is, as I expected, logical and elegant in his Viennese fashion. As another reviewer has noted, there are a few beats where the singers and orchestra aren't in the same groove - but it's a live performance, and the performers are on their toes and are back together in no time. These mistakes are merely ripples and no energy is lost.

Nicolai Gedda annd Ileana Cotrubas (who is to me the most splendid of all Violettas), are no-brainers. They sparkle together in as Alfredo and Violetta should, and sink together properly later on as well.

The recording quality is merely decent; but for a budget label, such is hardly unexpected. Get this if you like Krips, or great conducting in general, and certainly if you enjoyed Cotrubas in the Kleiber set.
1 of 3 people found the following review helpful
HASH(0x9403fde0) out of 5 stars A great performance marred by the poor recording quality 15 Dec. 2006
By William L. Maddox - Published on Amazon.com
Format: Audio CD
A very stirring performance of La Traviata, highlighted by a great cast, Sutherland, Pavarotti, Milnes and Von Stade, all in their primes and in great voice. By 1970 Sutherland's interpretation of Violetta had grown tremendously from her first studio recording. Pavarotti and Milnes sing Alfredo and Germont beautifully. This CD sounds like a pirated recording and at times everything sounds like it is coming from the bottom of a barrel, with the audience's noices being front and center at times. Also, the recording level balance favors Pavarotti in his duets with Sutherland; his voice is crystal clear and I assume do to the immense size of her soprano, her voice is awash in distortion. If you can find it cheap, it may be worth it to either Sutherland or Pavarotti fans.
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