Maria Callas : French Operas

Maria Callas : French Operas

16.50

Maria Callas sings great arias from french operas : Gluck, Bizet, Saint- Saëns , Thomas, Massenet, Charpentier

George Prêtre, Orchestre National de la Radio Television Francaise

EMI SAX 2410

Testament Records : LP 180 gram

Brand New and Sealed Record

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Christoph Ritter von Gluck (1714 - 1787) :
A1 - Orphée et Eurydice : J'ai perdu mon Eurydice
A2 - Alceste : Divinités du Styx
Georges Bizet (1838 - 1875) :
A3 - Carmen : L'Amour est un oiseau rebelle
A4 - Carmen : Près des remparts de Séville
Camille Saint-Saëns (1835 - 1921) :
A5 - Samson et Dalila : Printemps qui commence
Camille Saint-Saëns (1835 - 1921) :
A6 - Samson et Dalila : Amour! viens aider ma faiblesse!
Charles Gounod (1818 - 1893) :
B1 - Roméo et Juliette : Valse - Je veux vivre
Ambroise Thomas (1811 - 1896) :
B2 - Mignon : Polonaise - Je suis Titania -
Jules Massenet (1842 - 1912) :
B3 - Le Cid : Pleurez, mes yeux (Air de Chimène)
Gustave Charpentier (1860 - 1956) :
B4 - Louise : depuis le jour

Recorded in 1961 at Salle Wagram, Paris.

Maria Callas (1923 - 1977) never sang a role in French on stage, though she had studied French repertoire as a student and one of her most famous roles, Cherubini’s Medea, had originally been written in French as Médée. From the early 1960s she made her home in Paris, where in 1961 she recorded this recital of French-language arias for both soprano and mezzo-soprano, composed in the 18th, 19th and 20th centuries. “The recital … is a tour de force of sympathetic interpretation,” wrote Gramophone after her death. “The range is astounding, so much so that hearing the record is both an inspiring and upsetting experience; not merely because of the sense of the early loss of so great an artist, but because the plights of these great human archetypes – Orpheus, Alceste, Carmen, Dalila, Chimène and Juliet – are themselves so uplifting and disturbing as Callas presents them to us… Records like this change people’s lives.”

The "golden age" of recordings was roughly from 1955 to 1965, at the beginning of the stereo era, where pure vacuum tube amplification helped produce recordings demonstrating unparalleled fidelity and warmth, lifelike presence and illumination.

Testament Records has revived these classic titles from the EMI-Columbia catalogue, using only the original master tapes, cut onto lacquer at EMI's Abbey Road Studios, and mastered using full analogue techniques throughout production.