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Product details

  • Audio CD
  • Number of Discs: 2
  • Label: RCA
  • ASIN: B00000JMHB
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 226,011 in Music (See Top 100 in Music)

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Customer Reviews

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Most Helpful Customer Reviews

4 of 4 people found the following review helpful By Kenneth F. Mcara VINE VOICE on 5 May 2011
Format: Audio CD
Too often this 1957 Rome recording is overlooked in favour of the Callas/Gobbi/di Sabata set from 1953, and yet it has much to commend it.

The clear recording has come up as fresh as paint in the current 'Living Stereo' release, and there is an excellent cast. NY Metropolitan Opera diva Zinka Milanov commits one of her finest performances to record in the title role, tussling with the menacing dark tones of Leonard Warren as Scarpia (and just listen to his fantastic rendition of the Te Deum at the end of Act 1!). The undoubted star of the set, however, is Jussi Bjorling as Cavaradossi, who was in magnificent voice at this point in his career and performs dramatically AND with wonderful musicality. The proceedings are directed by Erich Leinsdorf, in his first stereophonic opera recording, who would go on to make the equally impressive Puccini: Turandot recording a couple of years later.

If you've already got the 1953 recording, why not give this a whirl?
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2 of 2 people found the following review helpful By Per Arne Rudberg on 6 Aug. 2011
Format: Audio CD
To be honest - there is only one reason to buy this recording, but it is a VERY good reason. The reason is Jussi Björling as a superb Cavaradossi. His voice was perfect for this part and he knows how to add drama. Just liten to his "Vittoria", where he is one of the very few that is singing it as it is written.
Unfortunately Milanov is not to her advantage in this recording. Even a conductor as Leinsdorf that seldom does a bad work is lacking in inspiration here.
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By Dr R TOP 500 REVIEWER on 7 Nov. 2014
Format: Audio CD
Were it not for the incandescent 1953 Callas/di Stefano/Gobbi recording of this opera with La Scala forces under Victor de Sabata then this performance from 1957 would probably be top of a great many music lovers’ list.

The Chorus and Orchestra of Rome Opera is conducted by Erich Leinsdorf, 1912-93, a musician whose reputation has waned somewhat in the two decades since his death. The three leading soloists are vastly experienced, Zinka Milanov, 1906-89 [as Tosca], Jussi Björling, 1911-60 [Cavaradossi] and Leonard Warren, 1911-60 [Scarpia]. All three were regular performers at the Metropolitan Opera House and this recording reminds us of the tragically early deaths of the two male soloists. Leonardo Monreale sings the role of Angelotti.

Björling sings with an ardour and exuberance that few other singers could match and his tone beguiles the listener. Milanov, slightly too old for her lover, uses her experience and vocal control to bring out the various emotions that overwhelm her character. ‘Vissi d’Arte’ is appropriately radiant but it is her scorching Act scene with Warren that provides the emotional peak of this performance. Warren’s performance, albeit slightly too loud, reeks throughout of malevolence, lechery and treachery which, like that of Milanov, was complemented by a fine on-stage presence. Björling had no such theatrical pretentions and his voice was his strength. The experience that the three soloists gained by singing together in New York comes through in their passionate interactions and exchanges.

Leinsdorf controls the orchestra and chorus, who are suitably passionate and enthusiastic, with great flexibility but he slightly holds back in the Tosca/Scarpia confrontation.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 18 reviews
16 of 17 people found the following review helpful
Great voices 24 Mar. 2005
By Queen Margo - Published on Amazon.com
Format: Audio CD
Even though Callas/di Stefano/Gobbi remains my number one Tosca, this one is a must-have for the beautiful voices of the lead singers. Some have complained about Milanov being "matronly" or "poor" actress. I disagree. She just creates a different Tosca. Who says they all have to be the same? I surely am glad to have several Toscas to schoose from as the mood strikes. This one is beautiful and well worth the money.
6 of 7 people found the following review helpful
By mangiafrani - Published on Amazon.com
Format: Audio CD
Best Caravaradossi on record. Oh, what a "VICTORIA"! Milanov floats her usual beautiful pianissmo's at you. Warren is a very cunning and sly Scarpia. Conductor, Leinsdorf right on the money. Great recording! Thanks go to RCA to re-issue this as a "LIVING STEREO" series is a definite plus. The sound is great.
7 of 9 people found the following review helpful
Primarily Jussi Bjoerling's show 26 Mar. 2010
By Robert T. Martin - Published on Amazon.com
Format: Audio CD
This recording belongs to Bjoerling's Cavaradossi. He provides a multifaceted performance, heroic, tender and touching. His Cavaradossi neither screams nor blubbers and retains a dignity even in the face of the degradation suffered at the hands of Scarpia's henchmen. Lovely touches are everywhere, anxious to get back to work in the first act he may be, yet his voice smiles when he sings "giura" to calm the jealous Tosca. His "vittoria" is as thrilling as one would want yet he saves his best work for the last act where emotions shift from phrase to phrase. His interaction with the jailer ("Io lascio mondo) is heartbreaking and "e lucevan le stele" is astounding-inexorably building to a desperate "e non ho amato mai tanto la vita."
His voice is in generally fine shape yet there is some tightness in the upper registers and he resorts to little hops to reach the highest notes ("vittoria" is an obvious example). Nevertheless this must be one of the finest Cavaradossi performances ever recorded.

Ironically Bjoerling creates a problem. Can a recording of this opera be completely successful if Cavaradossi's performance outshines Tosca's? Probably not which brings us to Ms. Milanov. Tosca is a woman who can be petulant and jealous in the first act; by turns outraged, frightened, defiant, despairing and capable of murder or at least justifiable homicide in the second; susceptible to false hope and finally suicide in the third. Zinka Milanov's singing is heartfelt but her voice just doesn't summon anywhere near the range of emotions that a successful Tosca must exhibit during the course of this opera. Her vocalism for the most part is secure and at ease but she does encounter problems. In "vissi d'arte" she sounds labored; her famous pianos are there but are not always attractively sustained; intonation (a problem with her) is generally good but she does slip off pitch on occasion. This recording, dating from 1957, might have caught her a few years past her prime and frankly she sounds a bit "matronly" particularly when compared with Bjoerling's youthful energy.

Leonard Warren sings well, his Scarpia insinuates rather than rants and thus displays a frightening nobility. Still, a bit more vocal malevolence might have added some bite and shading to his interpretation.

Leinsdorf's conducting is generally alert, sympathetic to his singer's needs, detailed and undistinguished. His segmented, episodic approach in the first act robs it of momentum and his "Te Deum" is underpowered. He supplies some tension in the second act-his best work. There seems to be some ensemble problems (and scrawny strings) in the third act's interlude leading to "e lucevan le stele" but things go reasonably well after that.

This recording is in early (1957) stereo. There is good separation but it is very closely miked and very dry leading to some unattractive sounds in the louder passages. A full libretto, synopsis and track information is provided.

Not a first choice Tosca but worth considering for Bjoerling's sterling effort.
6 of 8 people found the following review helpful
A Tosca For the ages. 6 April 2011
By Peter Dietrich - Published on Amazon.com
Format: Audio CD
All ,I have read about Callas and Milanov Tosca's I will write it short.
1.Jussi Bjorling is the best Cavaradosisi in all of the complete sets.His voice ia much more beautiful than Giuseppe di Stefano,whose voice is almost some what strain on the top.Both artists are completely involved in their roles.
2.Leonard Warren as Baron Scarpia is also much better singer than Tito Gobbi ,who does not have a great top.Gobbi on the other hand is a better actor ,but the difference between him and Warren could be visible only on the stage.In recordings both are acting
Very well with their voices.
3.Callas and Milanov: Two great sopranos with outstanding vocal qualities .Callas in Bel canto operas and Lucia di Lammermoor,
Milanov ,unbeatable as Aida.Leonora in Il Trovatore and Giocondq with her most beautiful high B flat you can only imagine.Callas
More popular because of her acting outside of the opera .The orchestras and conductors and the rest of the cast? They Great!
This is my experience after listening to the recordings of Tosca for almost 60 years.
Both recordings are highly recommended to every music lover ,experienced or not ,because they certaintly will satisfy almost every taste.
10 of 14 people found the following review helpful
Milanov Admittedly Flawed Here. 26 Nov. 2006
By Edward R. O'Neill - Published on Amazon.com
Format: Audio CD Verified Purchase
This is a wonderful recording, but those complaining about Milanov have a point.

I love the woman's singing, but this is simply not her best recording. She can be shrill and wobbly in spots. It can be exciting--a high-wire act, will she make it?--exciting. But it can also be a bit painful.

Her vocal acting is also not the greatest here. Her delivery after killing Scarpia is just flat. Maybe it's understatement. But after seeing and hearing Callas do it, it's hard to accept Milanov's version as great acting.

Mind you, her Aida and other recordings are, I think, sublime. No doubt.

But this was not, shall we say, her finest hour.

But it is in general a recording of a very high quality--typical of the artists, studio and period, who are often hard to beat. Bjoerling is pretty amazing, as usual. Did the guy ever have a bad day? Not in the recording studio, it seems.
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