Search - Gaetano Donizetti, Tullio Serafin, Philharmonia Orchestra of London :: Donizetti: Lucia Di Lammermoor with Maria Callas, Ferruccio Tagliavini, Tullio Serafin, Philharmonia Orchestra & Chorus

A maiden Lucia

Cornelia | 07/13/2004

(5 out of 5 stars)

"Sometimes I wonder at those who listen to Lucia di Lammermoor merely to collect vocal tricks, gimmicks and use- as well as senseless fireworks. I hear Sills and repeat a critic: "Full of notes, empty of sense!". Sutherland's matronly sound never quite fit this delirious maiden either. Callas' voice in 1959 was fragile, yet surprisingly accurate and brilliant. However stupid must one be not to notice it? When has the phrase "Alfin son tua, alfin sei mio!" been sung with such meaning and longing, a moment all other Lucias wreck with their tweeting? And actually I find more beauties here than in all other Lucias. Her voice has an airy, soft quality here, reducing all other Lucias to lifeless, bloodless unfeeling robots in my opinion. This is a REVELATION by a genius, an artist who knew better than tweeting. And her trills? Pitch-perfect! Get yourself a pitch-pipe and try! And the cadenza? Beautifully done! I also love young Cappuccilli as Enrico, what an amazing voice! Serafin is, well, Serafin. The greatest Belcanto conductor, reducing all others to pupils. Do yourself a favour and buy this Lucia, for Callas, Serafin, the amazing sound and the TRUEST meaning of Lucia. We are indebted to La Divina who gave us everything she had! Long may she reign!"

Terrific!

figaro | Eugene, OR United States | 02/10/2007

(5 out of 5 stars)

"I have played this recording three times since I got it two days ago and I am absolutely thrilled with it. I have had the 1953 mono Callas Lucia for a few years now plus I have a couple live Callas Lucias. This one is wonderful for the great sound, plus Callas' co-workers on this recording are the best bunch.



I do really enjoy di Stefano on the 1953 set, but Tagliavini is just as great of a singer in my opinion - the voice is sweet enough, the focus is tight and the high notes are thrilling. He seems to hold back a little in the first act, possibly to let Callas shine, but in the sextet and the last act, he is dripping with enthusiasm and pathos.



Capuccilli is a better sounding Enrico - Gobbi sounds ugly and wooden in the older recording. Either the Bel Canto demands or perhaps the mono recording emphasize the negative aspects of Gobbi's voice in the older recording. Capuccilli has a pleasant, but still somewhat sinister sound.



The bass - Bernard Ladysz had an unusually beautiful voice and is one more lovely aspect to sweeten this already terrific recording.



Callas herself, sounds more appropriate to the role in this recording. Her voice is much less dark and more frail - not frail compared to other sopranos but compared to her earlier voice, she sounds lighter and more agile. Her coloratura is a bit more accurate in this recording. I love it. Don't be put off by it being a somewhat 'late' recording of Callas. She made the most of the studio setting and brought astounding drama to her studio recordings, plus, even when her voice was giving her some trouble, she was able to command it well in the studio setting. This is a wonderful Lucia. I am sorry I did not buy it earlier, however, I would not consider parting with the old mono. They are both an indispensable part of a Callas lover's collection, but generally, this is the one I play."

Beautilfully sung by Tagliavini

Marcus Aurelius | PA USA | 08/21/2007

(5 out of 5 stars)

"I was taken by the clarity of Tagliavini's performance. There's not much of it on the disc, but I'm so glad there's a recording of him with Callas."