Maria Callas - The New Sound of Maria Callas '2016

Tracks list

Tracklist
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01. Norma, Act 1: Casta diva (Norma, Chorus)
02. La bohème, Act 1: Sì. Mi chiamano Mimì (Mimi)
03. La bohème, Act 3: Donde lieta uscì (Mimì)
04. Suor Angelica, Sister Angelica: Senza mamma, O bimbo (Sister Angelica)
05. Gianni Schicchi, Act 1: O mio babbino caro (Lauretta)
06. La traviata, Act 1: E strano! E strano! (Violetta)
07. La traviata, Act 1: Ah forse lui (Violetta)
08. La traviata, Act 1: Sempre libera (Violetta, Alfredo)
09. La traviata, Act 3: Addio, del passato (Violetta)
10. Il trovatore, Act 4: Damor sullali rosee (Leonora)
11. Carmen, Act 1: Lamour est un oiseau rebelle (Carmen, Chorus) [Habanera]
12. Werther, Act 3: Werther! Qui maurait dit la place... Des cris joyeux (Air
des lettres) [Charlotte]
13. Lucia di Lammermoor, Act 1: Regnava nel silenzio alta la notte e bruna
(Lucia, Alisa)
14. Lucia di Lammermoor, Act 1: Quando rapito in estasi (Lucia, Alisa)
15. La cenerentola, Act 2: Nacqui allaffanno e al pianto.....Non più mesta
(Angelina)
16. Il barbiere di Siviglia, Act 1: Una voce poco fa (Rosina)
17. Tosca, Act 2: Vissi darte (Tosca)
18. Tosca, Act 3: Comè lunga lattesa! (Tosca)
19. La bohème, Act 1: O soave fanciulla (Schaunard, Colline, Marcello,
Rodolfo, Mimì)
20. Turandot, Act 1: Signore, ascolta! (Turandot)
21. Turandot, Act 2: In questa Reggia (Turandot)
22. Turandot, Act 3: Tu, che di gel sei cinta (Turandot)
23. Madama Butterfly, Act 2: Un bel di vedremo (Butterfly)
24. La sonnambula, Act 1: Compagne, temiri amici ....Come per me sereno (Amina)
25. Dinorah, Le pardon de Ploërmel, Act 2: Ombre légère (Dinorah)
26. I vespri Siciliani, Act 5: Mercè, dilette amiche (Elena)
27. Aida, Act 1: Ritorna vincitor (Aida)
28. Lakmé, Act 2: Où va la jeune indoue (Lakmé)
29. Louise, Act 3: Depuis le jour où je me suis donnée ( Louise)
30. Faust, Act 3: Il était un Roi de Thulé... O Dieu! que de bijoux... Ah!
je ris (Jewel Song) [Marguerite]
31. La Wally, Act 1: Ebben?... Ne andrò lontana (Wally)
32. Rigoletto, Act 1: Gualtier Maldè ...Caro nome (Gilda, Borsa, Ceprano,
Marullo)
33. La forza del destino, Act 2: Sono giunta! Grazie o Dio! (Leonora, Chorus)
34. La forza del destino, Act 2: Madre, pietosa Vergine (Leonora, Chorus)
35. Macbeth, Act 2: La luce langue (Lady Macbeth)
36. Adriana Lecouvreur, Act 1: Ecco - respiro appena...Io son lumile ancella
(Adriana Lecouvreur)
37. Adriana Lecouvreur, Act 4: Poveri fiori (Adriana Lecouvreur)
38. Andrea Chénier, Act 3: La mamma morta (Maddalena)
39. Alceste, Act 1: Divinités du Styx (Alceste)
40. Orphée et Eurydice, Act 4: Jai perdu mon Eurydice (Orfeo)
41. Carmen, Act 1: Près des remparts de Séville (Carmen, José)
42. Carmen, Act 2: Les tringles des sistres tintaient (Carmen, Frasquita,
Mercédès)
43. Manon, Act 2: Je ne suis que faiblesse.... Adieu, notre petite table (Manon)
44. Samson et Dalila, Act 1: Printemps qui commence (Dalila)
45. Samson et Dalila, Act 2: Mon coeur souvre à ta voix (Dalila)
46. Roméo et Juliette, Act 1: Je veux vivre (Waltz) [Juliet]

Maria Callas was born to Greek parents in the USA and moved to Greece with her
mother at the age of 13. There she attended the Athens Conservatory, studying
with soprano Elvira de Hidalgo. She made her debut as Tosca at the Athens Opera
in 1941. After being heard by Zenatello in New York, she was engaged for La
Gioconda at the Arena in Verona, Italy, and her career was launched. She became
a very popular star of the Italian opera and performed many heavy roles such as
Aida, Isolde and Brünnhilde. She later went on to star at La Scala, Chicago
and New York. She had a reputation for being a temperamental and difficult
colleague. This was refuted by those closest to her and may have resulted from
her self-critical temperament and frequent vocal troubles which often forced her
to abstain from singing or to perform below her best form. These vocal troubles
stemmed from an inequality between registers, a harsh middle range and a tremolo
on high sustained notes. It is not known whether these flaws were due to a lack
of training or some physical problem. In spite of this, Maria Callas has been
compared to the work of Pasta and Schroeder-Derient. Her genius in her
authoritative performances and her richly colored voice by far outweigh any
imperfections in her voice.

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