Rossini: The Barber Of Seville with Maria Callas, Tito Gobbi, Alceo Galliera, Philharmonia Orchestra & Chorus
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Music CD Cover Edition: Music CD CD Release Date: 1997-08-19 Music Label: EMI Classics Soundtracks: Music CD 1
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Free Music Notes for Rossini: The Barber Of Seville with Maria Callas, Tito Gobbi, Alceo Galliera, Philharmonia Orchestra & Chorus Album
Free Music Review: The funniest, most touching performance of an Italian opera!
Hit: 5 Stars
This delightful 1957 'Barber' was the first opera recording I ever loved, so my profound adoration stands behind every word of this review. That said, you should investigate the recent EMI re-release as a Great Recording of the Century.
Galliera had been known for conducting Beethoven and Richard Strauss with the Philharmonia, but never 'Il barbiere di Siviglia' (except for its Overture). Walter Legge knew that he was the right conductor for the work. Rossini's brilliant creation is famous for its purely Italian, purely funny music, but perhaps not as famous as it should be for its wonderful sense of music as drama. 'Barber' is timeless; it is no less accessible than a sophisticated piece of musical theatre. Take the quintet near the end of Act One, "Ehi, di casa, buona gente," or the other quintet in Act Two, "Don Basilio! Cosa veggo!" (my favorite), for example, times when Rossini's music fits beautifully with the thoughts, actions, and emotions of the characters. These singers should be actors above all else. And who but Callas and Gobbi are better suited for this? Galliera leads them impeccably well.
Our fabulous threesome, Alva/Gobbi/Callas, are tremendous throughout. Alva's Count is a miracle: he is youthful, spontaneous, enormously funny, and in beautiful voice. He's even better here than he is on Abbado's highly acclaimed recording. As a young man new to the opera scene in 1957, his impetuousness is captured very effectively here. Gobbi is, as usual, terrific; only his 'Rigoletto' for Serafin can compare, and he's in better voice here. I can't imagine anyone else singing "Largo al factotum" but him, nor can any other baritone make me laugh and cry more when he exclaims, "E innamorato morto" to the shy Rosina. He's one of the best ensemble players I've ever heard, making everyone around him better, and no one portrays Figaro's propensity for mischief and adventure better than he.
Rosina's first real chance to show off is, of course, "Una voce poco fa" in Act One. It's one of Rossini's best creations, a gift to any Italian songbird. But Callas, as we all know, was no songbird. She made thoughtful characterizations, daring and controversial choices and more than the occasional vocal glitch. She is, in essence, what Rosina should be: a cunning, intelligent, sexy, amorous, beautiful and mischievous woman. Here her "Una Voce" is slightly below the high standard of her 1955 session with Serafin (also with the Philharmonia), but it's still worthwhile. Soon her Rosina becomes more developed when one contemplates her entire reading of the role. Her girlish tone and magnificent characterization in the recitatives is incredible. After her aria comes a series of unforgettable dialogues with Tito, then the spectacular duet, "Dunque io son," and she's utterly extraordinary for the rest of the opera. Callas's Rosina, both in interpretation and overall vocal performance, is the best account of the role and perhaps her most likable, and certainly her most modest, character reading. Her "Ecco qua! Sempre un'istoria..." is genuinely sorrowful, and her "Ah, qual colpo inaspettato" is, as the words describe, delirious with nervous happiness. Callas's voice can do so many special things. "Dunque io son," by the way, is still my favorite duet of all time: it's heartwarming, funny, and gorgeous to listen to all at once.
The supporting characters, Ollendorf (Bartolo), Zaccaria (Basilio), and Carturan (Berta), are just fine on this recording. Maybe they're not big names or even big voices, but they play the drama along with their outstanding leads quite well; they are all Rossini could have possibly imagined in characterization, comic timing, and sense of music drama. If one listens to these singers at the end of Act One or the "Buona sera" scene, for example, one quits hearing opera and starts hearing words and actions like in a good sound recording of a stage play. Ollendorf's "Pace e gioia sia con voi" with Alva is particularly charming and funny, and Zaccaria's thoroughly obnoxious first act dialogue with Bartolo makes him truly fun to hate.
The Philharmonia forces play like crazy, and the sound is excellent. Wonderful!