Puccini: Tosca
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Free Music Notes for Puccini: Tosca
Free Music Review: I am NOT a fan of Madame 5 Stars
...if you are, and don't want to be offended/mad, stop here [but note the five stars]. Blessed with massive God-given talent, she had a defective technique that she wouldn't change, made bad casting decisions, and ruined her voice at a young age. Difficult to the point of being unprofessional, rude to fans and colleagues alike [What does a performer owe the fans? Ted Williams said he only owed his base hits, but he sure owed that. A singer at least owes showing up, and hitting the right notes], she was a terror. She got some bad cards in the game of life, but dealt a lot of them to herself. But. But. Sometimes the stars line up just right....this is the Tosca for the ages, and MAYBE the greatest complete recording of an opera ever made. Listen to Callas' "Vissi d'arte"...listen when she kills Scarpia, and later, herself. That's pure magic. That's why, in spite of what I wrote above, I STILL listen to Callas. She was off a lot, but when she was on, look out. If there was ever a greater Tosca she was either [a] Maria Jeritza or [b] a girl who only existed in the mind of Puccini. {The first Tosca was Madame Hariclea Darclee...she is said to have been fabulous, and judging by the quality of her assignments, she must have been, but good luck finding a recording}.As to the rest...Maestro di Sabata carries the show...he makes great singers even greater. PERFECT orchestral playing in an opera where the orchestra has to set the mood [yes...I know that's true of others]. Giuseppe di Stefano may really have been more of a lyric tenor than Cavaradossi calls for, but he gave an absolutely wonderful performance, and meshed perfectly with Callas. If Tucker [or Caruso] is my ideal in this role, di Stefano is a good second choice. As for Maestro Gobbi, when was he ever other than perfect? When? Yes, there have been other great Scarpias...maybe they were equal, but none were better. Check out the story of the Scarpia costume he donated to a museum...and it's NOT funny.
OK, I've said enough, and offended Callas fans. I apologize for that. God rest her soul. And I do recognize her good points. When the opera house in Heaven runs Tosca, I want to see Jeritza on opening night. THEN, I want to see Callas. Then Madame Darclee. [and don't leave out Tebaldi]. But, I want di Sabata to conduct every night, with this orchestra. Well...Heaven is in the future; right now we have this, and it is absolutely the recording of the ages. Ten stars? Twenty? You HAVE to have this. Period. The End.
Addendum: You Tube has a 1:11 clip of Madame Darclee made, alas, when she was 62...at least you can get an idea of the voice. Madame Jeritza is, of course, readily available. The End. Again.
Free Music Review: The Tosca of the century
Hit: 5 Stars
This recording has been showered with accolades and praise by critics, operafans, reviewers etc. etc. And listening to it a whole world comes to life. In a time when Puccini's masterpieces are destroyed by arrogant "directors" this golden age recording is like a breath of fresh air. Callas is in her prime, sounding fresh, loving, passionate and fascinating. She became Tosca, all her jealousies, passions, moods, fears are so real, so sublime and natural that you'll forget that you're listening to a recording. She cleared Tosca of those veristic, fish-wife tears after "Egli ved ch'io piango!" and her tears and agony are heard through her voice alone. Listen to Tosca's ardent "A come la sai bene l'arte di farti amare!" ... She sounds so gorgeous, so lucid and passionate, it'll warm your heart. Then there is act II with the never equalled clash between Tosca and the evil Scarpia sung and acted to perfection by Callas (Whose high Cs will chill you!) and Gobbi. (The only Scarpia) Listen to Callas' tearful, beautiful "Vissi d'arte" sung with exquisite legato, velvety warmth and most tearful colours. Pleading "Why, oh lord dost thou repay me thus?" she will break your heart! The chilling murder of Scarpia with Callas/Tosca ROARING "M'ai assai TORTURATO!!!!!" is too thrilling to describe. And the final duet sung with di Stefano and Tosca's suicide are portrayed hauntingly. Di Stefano, her favourite partner and part of the greatest operatic trio of the century (Callas, di Stefano, Gobbi) sounds sunny, charming and passionate. In short: It's the best Tosca ever recorded.Free Music Review: Outstanding De Sabata! Most famous and controversial Tosca!
Hit: 5 Stars
This is one of the few recordings in which the conductor attracted my attention more than the singers. This is not to dismiss the singers but De Sabata's conducting makes this the most idiomatic Tosca recording I've ever heard.
All three protagonists are heard here in their short-lived prime. Callas in firm voice is a capricious, nervous and furious Tosca. Many accuse her of overacting but here she controls herself and most outbreaks sound sincere. You won't hear the grandness, dignity and beauty of Tebaldi's Tosca but Callas' Tosca is a unique creation. No need to argue which one is better, they both are legendary and besides, tastes differ.
Di Stefano is all ardour and tenderness in this most beloved tenor role. I can already hear the manners that eventually ruined his instrument but he nevertheless is a memorable Mario. Gobbi's Scarpia frightens Tosca not because of what he is but because of what he can do. Gobbi doesn't have the huge voice that made Bastianini or London so scary but he uses his to great effect and creates a sinister Baron Scarpia. Luise's Sagristano is most convincing.
One of the greatest virtues of this old Tosca recording is its vitality and chemistry between the performers. No wonder that since its release it's impossible to make and accurate historical evaluation of Puccini's Tosca without taking it into account. Finally released at budget price!
Free Music Review: Wow Wow Wow Wow Wow!!!!
Hit: 5 Stars
This is my first Callas recording. I was curious about her, of course, but I was always put off by descriptions of more or less horrendous audio problems on the famous recordings. Used to modern recordings, I didn't know how I'd react to such bad sound, so I put off trying.No more! This is a new (12/03) EMI Remaster of the famous de Sabata "Tosca" -- yes, THE definitive "Tosca" starring Callas, Di Stefano, and Gobbi. And I can tell you it sounds WONDERFUL!
Why is this set so affordable, then? I have no idea! There is no libretto included, only a slim booklet with a track list, a short synopsis of the action for each track, and one article about the opera and this performance. There is no cardboard case, and only a simple 2-part jewelcase, not the hefty one often provided with opera CD sets.
But it's enough!! It's more than enough! I'd buy these disks if they were sold loose in a paper bag. I am totally, permanently won over. This performance is simply electrifying! The music leaps out of the speakers and grabs you. Callas as Tosca had me in tears! Scarpia scared me! It's too good to believe it happened several decades ago.
All I can say is, Buy this now before they realize what a gem this is and raise the price! You won't regret it.
Free Music Review: Why 5... Find Out!
Hit: 5 Stars
When I first got this recording, it was my first Tosca. As such, I didn't know what to listen to (or what to listen for) and really at the time the only other soprano I had heard was Cecilia Bartoli in La Cenerentola. So bascially it was my first Tosca with my only soprano. Even so, I knew after listening to the second act that this would be the best Tosca I had ever heard. Callas gives an amazingly intuitive dramatic performance of Tosca, with di Stefano matching her wonderfully as Cavaradossi. Tito Gobbi, of course, is Scarpia and gives the role an extremely insightful flair. Spoletta is played by Angelo Mercuriali, who gives, if not the most dramatic, certainly a precise interpretation of the role. As with all of Callas's Tosca recordings, the second act (i.e. from "Tosca e un buon falco!" to "E qual via scegliete?") is perhaps the best interpretation of the music and the donna Tosca that I have heard. Behind the baton is Victor de Sabata, who provides a unique insight into the music. He brings out, as Toscanini says, "what Puccini intended for the audience to hear". 5 stars.