{"product_id":"callas-verdi-aida-1955-paco178","title":"CALLAS Verdi: Aïda (1955) - PACO178","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAïda\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1955\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003e2hr 24:40\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaria Callas\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Aïda\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRichard Tucker\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Radamès\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFedora Barbieri\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Amneris\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTito Gobbi \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Amonasro\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGiuseppe Modesti\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Ramfis\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNicola Zaccaria\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Il re d'Egitto\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eElvira Galassi\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Una sacerdotessa\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFranco Ricciardi\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Un messaggero\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus and Orchestra of the Teatro alla Scala, Milan\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTullio Serafin\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO178.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eEnter Aida: Callas is a great artist. I believe that at any time she would be so considered and having recently heard her \u003ci\u003eLucia \u003c\/i\u003efrom the second row of the stalls, I aver that faults or no faults, one is in the presence of a tremendous singing-artist whose will-power and art are brandished at you in such a way that faults \"mean\" nothing. Often in this Nile scene in the silence under the moon, she will \u003ci\u003ecaress \u003c\/i\u003ea phrase as lovingly as Kreisler or Mischa Elman, fining her voice, colouring it, giving the words a heartfelt meaning which - that hall-mark of his histrionic genius - \u003ci\u003esurprises \u003c\/i\u003eus. Just as in the sentence in the \u003ci\u003eForza \u003c\/i\u003emonastery scene, \"Vergin m ' assisti\" she gets far more out of the dramatic meaning than her rival Tebaldi, so here too there are dramatic points wonderfully brought off which Tebaldi, ever steady and appealing, hardly makes us notice. Yet Tebaldi is so much steadier, and produces tone which is so infinitely more sympathetic that one cannot in the long run and for repeated playing fail to prefer the suave Italian to the agitating American-Greek soprano. At least so say I, with my ears unable to rid themselves of the memory of the toppling yowl of Mme Callas's high A and high C, even if real tears stood in my eyes as she cried to Tito Gobbi: \"Padre, son maladirmi; schiava non son\": which is marvellous, like Lucia's \"Alfin son tui\". an artist, but how incomplete - to alternate ecstasy and irritation!\u003cbr\u003e\u003cbr\u003e\u003cb\u003eThe Gramophone\u003c\/b\u003e, January 1956 (\u003ci\u003eexcerpt\u003c\/i\u003e)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eAida was the final magnificent work of Verdi's second period, using every element of his art: sublime large-scale choruses and poignant arias, pageantry, dance, spectacle and exoticism are all here, confirming his status as one of the greatest musical dramatists. The theme is doomed love – Radames, a Captain of the Egyptian guard falls for Aida, an Ethiopian slave; he sings her one of the great tenor arias 'Celeste Aida'; other memorable moments are Aida's 'Ritorna vincitor' and 'O patria mia' and their duet before being entombed alive 'O terra, addio'.\u003cbr\u003e\u003cbr\u003eCallas’s Aida is an assumption of total understanding and conviction; the growth from a slave-girl torn between love for her homeland and Radames, to a woman whose feelings transcend life itself, represents one of the greatest operatic undertakings ever committed to disc. Alongside her is Fedora Barbieri, an Amneris palpable in her agonised mixture of love and jealousy – proud yet human. Tucker’s Radames is powerful and Gobbi’s Amonasro quite superb – a portrayal of comparable understanding to set alongside Callas’s Aida. \u003cbr\u003e\u003cbr\u003eTullio Serafin’s reading is in the central Italian tradition of its time. That’s to say, it’s unobtrusively right in matters of tempo, emphasis and phrasing, while occasionally passing indifferent ensemble in the choral and orchestral contribution. Although the recording can’t compete with modern versions (it was never, in fact, a model of clarity), nowhere can it dim the brilliance of the creations conjured up by this classic cast.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eGramophone,\u003c\/b\u003e May 2015\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eAïda\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. Preludio  (3:46)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT ONE, SCENE ONE\u003c\/b\u003e\u003cbr\u003e2. Sì: corre voce che l'Etiope ardisca  (1:33)\u003cbr\u003e3. Se quel guerrier io fossi!  (4:30)\u003cbr\u003e4. Quale insolito gioia nel tuo sguardo  (3:26)\u003cbr\u003e5. Vieni, o diletta, appressati  (2:56)\u003cbr\u003e6. Alta cagion v'aduna  (3:17)\u003cbr\u003e7. Su! del Nilo al sacro lido  (2:57)\u003cbr\u003e8. Ritorna vincitor  (6:41)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT ONE, SCENE TWO\u003c\/b\u003e\u003cbr\u003e9. Possente, possente Fthà  (3:09)\u003cbr\u003e10. Immenso, immenso Fthà!  (3:00)\u003cbr\u003e11. Nume, custode e vindice  (3:51)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT TWO, SCENE ONE\u003c\/b\u003e\u003cbr\u003e12. Chi mai fra gl'inni e i plausi  (2:59)\u003cbr\u003e13. Danza di piccoli schiavi mori  (3:11)\u003cbr\u003e14. Fu la sorte dell'armi a' tuoi funesta  (5:34)\u003cbr\u003e15. Pietà ti prenda del mio dolor  (4:26)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eACT TWO, SCENE TWO\u003c\/b\u003e\u003cbr\u003e16. Gloria all'Egitto, ad Iside  (3:25)\u003cbr\u003e17. Marchia trionfale  (1:39)\u003cbr\u003e18. Ballabile  (4:19)\u003cbr\u003e19. Vieni, o guerriero vindice  (2:14)\u003cbr\u003e20. Salvator della patria, io ti saluta  (2:09)\u003cbr\u003e21. Che veggo! Egli? Mio padre!  (1:16)\u003cbr\u003e22. Quest'assisa ch'io vesto vi dica  (2:10)\u003cbr\u003e23. Il dolor che in quel volto favella  (2:14)\u003cbr\u003e24. O Re: pei sacri Numi  (5:14)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eACT THREE\u003c\/b\u003e\u003cbr\u003e1. O tu che sei d'Osiride  (4:42)\u003cbr\u003e2. Qui Radamès verrà!  (7:03)\u003cbr\u003e3. Ciel! mio padre!  (8:07)\u003cbr\u003e4. Pur ti riveggo, mia dolce Aida  (3:04)\u003cbr\u003e5. Fuggiam gli ardori inospiti  (6:18)\u003cbr\u003e6. Ma dimmi: per qual via  (3:19)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT FOUR, SCENE ONE\u003c\/b\u003e\u003cbr\u003e7. L'aborrita rivale a me sfuggia  (3:08)\u003cbr\u003e8. Già i Sacerdoti adunansi  (6:38)\u003cbr\u003e9. Ohimè! morir mi sento!  (8:06)\u003cbr\u003e10. A lui vivo la tomba  (3:22)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT FOUR, SCENE TWO\u003c\/b\u003e\u003cbr\u003e11. La fatal pietra sovra me si chiuse  (5:18)\u003cbr\u003e12. Immenso, immenso Fthà  (5:42)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMaria Callas\u003c\/b\u003e - Aïda\u003cbr\u003e\u003cb\u003eRichard Tucker\u003c\/b\u003e - Radamès\u003cbr\u003e\u003cb\u003eFedora Barbieri\u003c\/b\u003e - Amneris\u003cbr\u003e\u003cb\u003eTito Gobbi \u003c\/b\u003e- Amonasro\u003cbr\u003e\u003cb\u003eGiuseppe Modesti\u003c\/b\u003e - Ramfis\u003cbr\u003e\u003cb\u003eNicola Zaccaria\u003c\/b\u003e - Il re d'Egitto\u003cbr\u003e\u003cb\u003eElvira Galassi\u003c\/b\u003e - Una sacerdotessa\u003cbr\u003e\u003cb\u003eFranco Ricciardi\u003c\/b\u003e - Un messaggero\u003cbr\u003e\u003cb\u003e\u003cbr\u003eChorus and Orchestra of the Teatro alla Scala, Milan\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eTullio Serafin\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR remastered by Andrew Rose\u003cbr\u003e\u003cbr\u003eRecorded 10-24 August 1955, Teatro alla Scala, Milan\u003cbr\u003eCover artwork based on a photograph of Maria Callas\u003cbr\u003e\u003cbr\u003eTotal duration: 2hr 24:40      CD1: 79:54  CD2: 64:46\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO178.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO178.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":55010084421998,"sku":"vna1789306498880","price":28.22,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55010084454766,"sku":"ygn1789306498881","price":18.64,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55010084487534,"sku":"ecx1789306498882","price":16.71,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/callas-verdi-aida-1955---paco178_1.jpg?v=1789306506","url":"https:\/\/www.harborviewgoods.shop\/products\/callas-verdi-aida-1955-paco178","provider":"My Store","version":"1.0","type":"link"}