I Puritani: Act One, Scene One: O Di Cromvel Guerrieri
I Puritani: Act One, Scene One: A Festa!
I Puritani: Act One, Scene One: Or Dove Fuggo Io Mai
I Puritani: Act One, Scene One: Ah! Per Sempre Io Ti Perdei
I Puritani: Act One, Scene One: Tappellan Le Schiere... Bel Sogno Beato Di Pace E Contento
I Puritani: Act One, Scene Two: O Amato Zio, O Mio Secondo Padre!
I Puritani: Act One, Scene Two: Sai Com'arde In Petto Mio
I Puritani: Act One, Scene Two: Odi... Qual Suon Si Desta?
I Puritani: Act One, Scene Three: Ad Arturo Onore
I Puritani: Act One, Scene Three: A Te, O Cara, Amor Talora
I Puritani: Act One, Scene Three: Il Rito Augusto Si Compia Senza Me
I Puritani: Act One, Scene Three: Com'io, Vi Unisca
I Puritani: Act One, Scene Three: Son Vergin Vezzosa
I Puritani: Act One, Scene Three: Sulla Virginea Testa
I Puritani: Act One, Scene Three: Ferma, Invan Rapir Pretendi
I Puritani: Act One, Scene Three: E Gia Al Ponte - Passa Il Forte
I Puritani: Act One, Scene Three: Oh Vieni Al Tempio - Fedele Arturo
I Puritani: Act One, Scene Three: Ma Tu Gia Mi Fuggi?
Track Listings (21) - Disc #2
I Puritani: Act Two: Ah... Dolor! Ah, Terror!
I Puritani: Act Two: Qual Novella?
I Puritani: Act Two: Cinta Di Fiori E Col Bel Crin Disciolto
I Puritani: Act Two: E Di Morte Lo Stral Non Sara Lento
I Puritani: Act Two: O Rendetemi La Speme... Qui La Voce Sua Soave Mi Chiamava
I Puritani: Act Two: Vien, Diletto, E In Ciel La Luna!
I Puritani: Act Two: Il Rival Salvar Tu Dei
I Puritani: Act Two: Se Tra Il Buio Un Fantasma Vedrai
I Puritani: Act Two: Riccardo! Riccardo!
I Puritani: Act Two: Suoni La Tromba
I Puritani: Act Three: Son Salvo, Alfin Son Salvo
I Puritani: Act Three: A Una Fonte Affitto E Solo
I Puritani: Act Three: Qual Suon! Alcun S'Appressa
I Puritani: Act Three: Son Gia Lontani!
I Puritani: Act Three: Fini... Me Lassa!
I Puritani: Act Three: Ch'ei Provo Lontan Da Me?
I Puritani: Act Three: Vieni Fra Queste Braccia
I Puritani: Act Three: Alto La! Fedel Drappello
I Puritani: Act Three: Cavalier, Ti Colse Il Dio
I Puritani: Act Three: Credeasi, Misera!
I Puritani: Act Three: Suon D'Araldi?
This dates from near the beginning of Maria Callas's recording career. It was for many fans their first encounter with her, and it contains some of the most beautiful singing she ever did before a recording microphone. Set... more » in 17th-century England, during the struggle between the Puritan supporters of Oliver Cromwell and the Cavalier royalists who supported the Stuart dynasty, this opera focuses on the problems of Elvira, a young Puritan woman in love with Arturo, a member of the Cavalier faction. Complications arise, Elvira believes she has been betrayed by Arturo, and she loses her mind. Her mad scene (a kind of music for which Callas developed a formidable technique) is the opera's musical and dramatic climax, but by no means the only reason for getting to know it. While the role of Elvira towers over the others, ensemble singing is a strong part of I Puritani's appeal. Callas's voice was in its top form for this recording, and her superb acting skills convey many subtle shades of anguish. She dominates the performance, but her supporting cast is better than those she usually got before becoming a major international star, and they work well together. --Joe McLellan« less
This dates from near the beginning of Maria Callas's recording career. It was for many fans their first encounter with her, and it contains some of the most beautiful singing she ever did before a recording microphone. Set in 17th-century England, during the struggle between the Puritan supporters of Oliver Cromwell and the Cavalier royalists who supported the Stuart dynasty, this opera focuses on the problems of Elvira, a young Puritan woman in love with Arturo, a member of the Cavalier faction. Complications arise, Elvira believes she has been betrayed by Arturo, and she loses her mind. Her mad scene (a kind of music for which Callas developed a formidable technique) is the opera's musical and dramatic climax, but by no means the only reason for getting to know it. While the role of Elvira towers over the others, ensemble singing is a strong part of I Puritani's appeal. Callas's voice was in its top form for this recording, and her superb acting skills convey many subtle shades of anguish. She dominates the performance, but her supporting cast is better than those she usually got before becoming a major international star, and they work well together. --Joe McLellan
CD Reviews
CALLAS SHINES IN THIS "PURITANI" RECORDING
10/01/1999
(5 out of 5 stars)
"I am getting really sick of reading those appalling remarks about the voice of Callas. I'm a voice student, and even though I can easily find fault with some of Callas' voice production methods, I find her art so compelling and so musically "right" that I can easily dismiss the rest. Callas may not have had a "beautiful" voice in the usual sense of the word, but she had something much better ------ complete command and authority grafted onto a voice that was expressive, moving, and thrillingly intense. I would give half my life to have the gift she had, and her performance on this "Puritani" recording only makes me more convinced of her greatness.She was, at the time of this recording, a dramatic soprano with the ability to sing florid music, and this was no mean feat. I have read that Callas during her lifetime told an interviewer: "There are those who love my voice and those who don't and think that I'm a great big lie. That is their opinion and their right. They don't have to bother with me, since I myself don't bother with those I don't like". I couldn't say it better myself. If you don't like Callas, don't listen. You probably don't know what you're hearing anyway!"
ONE TO TREASURE
MOVIE MAVEN | New York, NY USA | 03/03/2002
(5 out of 5 stars)
"I am not a huge fan of Maria Callas; that is, I appreciate her voice in her best recordings and always appreciate her dramatic artistry. But I am not one of those fans who find nothing wrong with the screeching and sour notes--the scooping and absolutely ugly sounds which certainly do appear in many recordings. The fans who give Callas their endless, non-judgemental love find excuses everywhere for these "mistakes." Frankly, in this kind of bel canto music, I'd rather hear a great voice teamed along with great artistry...and in a pinch, a little less of the artistry and more of the gorgeous singing. This recording of Bellini's I PURITANI supplies the voice and artistry in great amounts. Absolutely no excuses need be made here for the leading lady, her co-stars and supporting cast, the orchestra or its conductor.Callas was obviously in terrific voice during this recording of Bellini's second most popular opera, which I find in every way, superior to his NORMA. Both stories are rather silly, but in I PURITANI we only have to smirk while the leading lady goes through two mad scenes rather than try to put away our dramatic disbelief during the story of a Druid priestess and her infidelity and ultimate self-immolation. (Although, I'll admit that if it's NORMA you wish to hear, there is no better way to hear it than with Callas and conductor Tullio Serafin.) I PURITANI's gorgeous melodies, the dramatic arc of the story, and the way the story is told in libretto and score in a compact form are all first rate. For me, this is not one of those operas that goes on endlessly repeating what has been sung before. I PURITANI deserves a much wider audience.Serafin is the conductor here as he is on many of Callas's recordings, among them her unforgettable, unbeatable TOSCA along with tenor Giuseppe di Stefano who is brilliant in both operas.The sound on this 1953 recording from La Scala, Milan is rich and bright. The set of 2 CD's is one to treasure. HIGHLY RECOMMENDED"
One of the greatest opera recordings of all time.
08/08/1999
(5 out of 5 stars)
"This recording was rated in Opera News of August 1977 as one of the 20 milestone recordings in the first half century of recorded opera history (1908~1958). The cast of Callas, Di Stefano, Panerai, and Rossi-Lemeni is superb and all in their prime. Callas is in a class by herself, Di Stefano sings with robust passion, and Tulio Serafin conducts magnificently. This is a performance that is well worth purchasing, it is a piece of opera history."
The first and best Puritani record
Genady Sigal | Qiryat Ono Israel | 03/31/2004
(5 out of 5 stars)
"Before this record, Puritani wasn't even performed because of the lack of voices that could cope with that extremely difficult opera. Mind you that at the time Bellini wrote the opera, it was written to suit the great voices of that time, like Maria Malibran. The opera itself is great - in my opinion Bellini's best. Callas makes a good Elvira, however the coloratura she does is very suitable for Lucia, but her voice is too dramatic and large for characters like Elvira and Amina in Somnambula. Di Stefano makes a very poor Arturo. That role requires vocal and technical qualities that he does not possess. When you hear him sing the famous aria, he runs out of air, trying to shout the notes. After hearing that aria performed by Lauri-Volpi and Del Monaco it is impossible to recognize Di Stefano even as a moderate Arturo. The bass, Rossi-Lemeni is dissappointing. His voice seems to be "off balance", empty of emotion, as if he makes a speech. But the one thing that I admired most about this particular recording is the baritone. Rolando Panerai makes a trully magnificent Richard. His performance is second only to Battistini. It is amazing how a 50's baritone could possess the same kind of technique as the baritones of the beginning of the century, like De Luca. Panerai's legato is amazing. His voice expression and colours are marvalous. His performance is both lyrical and dramatical. His voice can be powerfull and metallic at one moment, and soft, full of passion at the next. That was the most pleasant surprise I got from this record.Overall *****"
Hauntingly beautiful music and superb interpretations!
Armindo | Greece | 12/20/2002
(5 out of 5 stars)
"I Puritani is one of Bellini's three greatest operas (the other two being Norma and Sonnambula). Its melodies are extremely moving. Under the baton of the great Serafin they can easily make one cry, especially when you have artists like M. Callas and G. di Stefano singing the main roles. I'm not a fan of these singers but this is by far their most effective performance on disc!The feeling Maria Callas injects into Elvira's words (Qui la voce...o rendete mi) is unbelievable! I usually prefer her in exciting cabalettas but here she is superb! M. Caballe is the only other soprano I can thing of, who could ever be so moving in Bellini's music (she recorded the opera with Kraus but unfortunately, a bit late in her career). In the faster, "firework", sections, Callas is exciting if not as brilliant as J. Sutherland. Di Stefano is heard here in his short-lived prime with a voice of exceptional warmth and beauty! The "a te, o cara" fully epitomises this legendary tenor. His uncovered high notes annoy sometimes but after all, these belonged to his style of singing. Panerai also had a beautiful voice and he definitely is a plus in this recording.Should this be your only Puritani recording? No because it's incomplete, in monophonic sound and the second Sutherland recording, complete and with an all-star, bel-canto expert cast is available. On the other hand, Serafin's reading of the score, the young Callas and Di Stefano are a marvel to listen to and make this EMI set a must!"
Track Listings (20) - Disc #1