Maria Callas Remastered

Maria Callas - Puccini: La Boheme (1958/2014) [Official Digital Download 24/96]

Maria Callas - Puccini: La Bohème (1958) [Remastered 2014]
FLAC (tracks) 24-bit/96 kHz | Time - 105:55 minutes | 1,11 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

Callas never sang the role of Mimì on stage, but this did not prevent her recorded interpretation from being, as described by Philip Hope-Wallacein Gramophone, 'brilliantly realised… This Mimì comes alive and later haunts you in the most extraordinary way … one of the most moving I have ever heard.' Giuseppe di Stefano is anardent Rodolfo and the young Anna Moffomakes a delectable Musetta.
Maria Callas - Verdi: Un Ballo in Maschera (1957/2014) [Official Digital Download 24/96]

Maria Callas - Verdi: Un Ballo in Maschera (1957) [Remastered 2014]
FLAC (tracks) 24-bit/96 kHz | Time - 131:22 minutes | 1,36 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

Callas’s first stage appearances in Verdi’s Un ballo in maschera came at La Scala in 1957, a year in which Milan also saw her in La sonnambula and Anna Bolena. As in this recording, made the year before, she shared Verdi’s most spectacular soprano-tenor duet (in Act II) with Giuseppe di Stefano. This was the last time Callas and Di Stefano appeared together in opera, though they reunited in the 1970s to direct I vespri siciliani in Turin and to give a series of joint concerts in Europe, the USA, Canada,South Korea and Japan. Gramophone judged this recording of Ballo to be ‘one of Callas’s most compelling assumptions’.
Maria Callas - The First Recordings (1950/2014) [Official Digital Download 24/96]

Maria Callas - The First Recordings (1950) [Remastered 2014]
FLAC (tracks) 24-bit/96 kHz | Time - 24:01 minutes | 263 MB
Studio Master, Official Digital Download | Artwork: Digital booklet

Recorded in 1949 when Maria Callas was just 25, this debut recital encapsulates the young soprano's astonishing maturity, versatility and technical finesse. She had already sung all three roles showcased here - Wagner's Isolde and Bellini's Norma and Elvira (I puritani) - in the theatre. As Gramophone, which described the recital as 'incandescent and spellbinding', wrote: 'The Liebestod is a beautiful example of sustained interpretation, with a long line running through the whole piece, each phrase finding part-fulfilment in the next until the climax is reached,' concluding overall that: 'The eloquence of phrase and the technical control put at the service of a discerning heart and mind are obvious to hear'.
Maria Callas - Mad Scenes from Anna Bolena, Hamlet & Il Pirata (1959/2014) [24/96]

Maria Callas - Mad Scenes from Anna Bolena, Hamlet & Il Pirata (1959) [Remastered 2014]
FLAC (tracks) 24-bit/96 kHz | Time - 47:30 minutes | 993 MB
Studio Master, Official Digital Download | Artwork: Digital booklets

Callas did not make complete recordings of Donizetti's Anna Bolena and Bellini's Il pirata, though, as the queen of La Scala, she enjoyed triumphs in both roles in 1957-1958. The vocally and dramatically demanding final scenes of both operas feature in this recital with Ophélie's mad scene from Ambroise Thomas's Hamlet, another coloratura extravaganza. When this recital first appeared in 1959, Gramophone wrote: 'This is a most remarkable record, not only for its material… but for its astonishing vividness and dramatic poetry… It has been a thing of much wonder for me'.
Maria Callas - Callas at La Scala (1958/2014) [Official Digital Download 24/96]

Maria Callas - Callas at La Scala (1958) [Remastered 2014]
FLAC (tracks) 24-bit/96 kHz | Time - 41:51 minutes | 436 MB
Studio Master, Official Digital Download | Artwork: Digital booklet

Callas first sang at Milan's legendary La Scala for the opening of the 1951-1952 season (in Verdi's I vespri siciliani) and she became closely identified with the theatre, notably in productions directed by Luchino Visconti and his protégé Franco Zeffirelli. Spontini's La vestale was staged for her there in 1954, Bellini's Lasonnambula in 1955, and her final La Scala performances came in 1962 with Cherubini's Medea. 'This wonderful record gives us… Callas at her most spell-binding and enthralling,' wrote Gramophone. 'Callas at La Scala… shows the diva at her most exciting and most beautiful'.
Maria Callas - Puccini: Tosca (1953/2014) [Official Digital Download 24/96]

Maria Callas - Puccini: Tosca (1953) [Remastered 2014]
FLAC (tracks) 24-bit/96 kHz | Time - 108:55 minutes | 1,12 GB
Studio Master, Official Digital Download | Artwork: Digital booklets

This Tosca, made in 1953 with the forces of La Scala, is a landmark in recording history.Conducted with searing intensity by Victor de Sabata, it teams Callas with two of her closest colleagues, the tenor Giuseppe di Stefano and the baritone Tito Gobbi - a performer who could rival Callas in dramatic finesse and power. Tosca's aria 'Vissi d'arte' (I lived for art) has come to be seen as Callas's personal manifesto.
Maria Callas - Verdi: Aida (1956/2014) [Official Digital Download 24/96]

Maria Callas - Verdi: Aida (1956) [Remastered 2014]
FLAC (tracks) 24-bit/96 kHz | Time - 144:42 minutes | 1,43 GB
Studio Master, Official Digital Download | Artwork: Digital booklets

One of the legendary moments in Callas's career came in 1950 in Mexico City, when she interpolated a stupendous top E flat at the end of the Triumphal Scene in Act II of Aida. In this recording under Serafin she abided by the score, but still prompted Gramophone to speak of her 'fascinating art and prodigious personality', observing the way she was 'rapt in imaginative intensity in the significance of the words'.
Maria Callas - Puccini: Madama Butterfly (1955/2014) [Official Digital Download 24/96]

Maria Callas - Puccini: Madama Butterfly (1955) [Remastered 2014]
FLAC (tracks) 24-bit/96 kHz | Time - 139:02 minutes | 1,36 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

A famous backstage photo was taken in Chicago after one of just three performances that Callas gave of Madama Butterfly; it shows the soprano in her Japanese costume, snarling furiously at a bailiff who had served a writ on her - the very image of the tempestuous diva. By contrast, in her recording of the role, 'it is, miraculously,' as the critic John Osborne observed, 'the 15-year old girl and not the great Callas who stands before us.' Her genius for vocal characterization finds an apt complement in Herbert von Karajan's conducting: 'a wholly sympathetic rendering [that]brings out more of the detail of the score than I have ever heard before', wrote Gramophone.
Maria Callas - Verdi: Rigoletto (1956/2014) [Official Digital Download 24/96]

Maria Callas - Verdi: Rigoletto (1956) [Remastered 2014]
FLAC (tracks) 24-bit/96 kHz | Time - 118:04 minutes | 1,23 GB
Studio Master, Official Digital Download | Artwork: Digital booklets

Callas only sang Gilda in Rigoletto in one run of performances, in Mexico City in 1952, and she recorded the role three years later. She moves beyond the girlish tone and sparkling coloratura of the character's first scenes to create a figure of tragic stature as events unfold. 'Once heard, this rendering is never likely to be forgotten,' was Gramophone's judgement on her interpretation, and the same could apply to Tito Gobbi's, embodying every aspect of the accursed court jester.
Maria Callas - Bellini: La Sonnambula (1957/2014) [Official Digital Download 24/96]

Maria Callas - Bellini: La Sonnambula (1957) [Remastered 2014]
FLAC (tracks) 24-bit/96 kHz | Time - 120:56 minutes | 1,26 GB
Studio Master, Official Digital Download | Artwork: Digital booklets

Like Lucia di Lammermoor and Elvira (I puritani), Amina, the gentle heroine of La sonnambula,was a role that had become associated with light-voiced coloratura sopranos. Callas brought both a new substance and subtlety to the role when Luchino Visconti staged it for her at La Scala in 1955. This recording was made two years later, when the production was revived.