Il Barbiere di Siviglia: Act I, Scene 1 - Piano, pianissimo, senza parlar - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - Ecco ridente in cielo - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - Ehi, Fiorello? - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - Mille grazie, mio signore - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - Gente indiscreta! (Figaro) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - La ran la le ra, la ran la la. Largo al factotum (Figaro) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - Ah, che bella vita! (Figaro) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - Se il mio nome saper voi bramate (Figaro, Rosina) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - Oh, cielo! - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 1 - All'idea di quel metallo (Figaro) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - Una voce poco fa (Rosina) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - Si, si, la vincero (Figaro, Rosina) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - Ah, disgraziato Figaro! (Rosina, Figaro) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - Ah! Barbiere d'inferno - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - La calunnia e un venticello - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - Ah! Che ne dite? - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - Ma bravi! Ma benone! - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - Dunque io son (Figaro, Rosina) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - Ora mi sento meglio (Rosina) - G. Rossini
Il Barbiere di Siviglia: Act I, Scene 2 - A un dottor della mia sorte - G. Rossini
Track Listings (22) - Disc #2
Il Barbiere di Siviglia: Finora in questa camera - Rossini
Il Barbiere di Siviglia: Ehi, di casa, buona gente - Rossini
Il Barbiere di Siviglia: Che cosa accadde, signori miei - Rossini
Il Barbiere di Siviglia: Fredda ed immobile - Rossini
Il Barbiere di Siviglia: Ma signor... ma un dottor - Rossini
Il Barbiere di Siviglia: Act II: Ma vedi il mio destino! - Rossini
Il Barbiere di Siviglia: Pace e giola sia con voi - Rossini
Il Barbiere di Siviglia: Insomma, mio signore, chi e lei? - Rossini
Il Barbiere di Siviglia: Venite, signorina - Rossini
Il Barbiere di Siviglia: Contro un cor che accende amore - Rossini
Il Barbiere di Siviglia: Bella voce! Bravissima! - Rossini
Il Barbiere di Siviglia: Quando mi sei vicina - Rossini
Il Barbiere di Siviglia: Bravo, signor barbiere, ma bravo! - Rossini
Il Barbiere di Siviglia: Don Basilio!... Cosa veggo! - Rossini
Il Barbiere di Siviglia: Che vecchio sospettoso! - Rossini
Il Barbiere di Siviglia: Il vecchiotto cerca moglie - Rossini
Il Barbiere di Siviglia: Temporale - Thunderstorm - Gewittermusik - Musique d'orage - Rossini
Il Barbiere di Siviglia: Alfine eccoci qua - Rossini
Il Barbiere di Siviglia: Ah, qual colpo inaspettato! - Rossini
Il Barbiere di Siviglia: Ah, disgraziati noi! - Rossini
Il Barbiere di Siviglia: Insomma io ho tutti i torti - Rossini
Il Barbiere di Siviglia: Di si felice innesto - Rossini
Maria Callas surprised some fans when this recording appeared in 1958 by singing some of Rosina's music in the mezzo-soprano range. Originally used by Rossini, the mezzo range helped Callas in characterizing Rosina not as ... more »a bird-brained, twittering, helpless ingenue but as a crafty, intelligent woman, smarter than any of the men around her (even the resourceful Figaro). Callas's Rosina knew exactly what she wanted and how she would get it. It is a brilliant performance, made even more enjoyable by the first-class contributions of Tito Gobbi, Luigi Alva, and Alceo Galliera. --Joe McLellan« less
Maria Callas surprised some fans when this recording appeared in 1958 by singing some of Rosina's music in the mezzo-soprano range. Originally used by Rossini, the mezzo range helped Callas in characterizing Rosina not as a bird-brained, twittering, helpless ingenue but as a crafty, intelligent woman, smarter than any of the men around her (even the resourceful Figaro). Callas's Rosina knew exactly what she wanted and how she would get it. It is a brilliant performance, made even more enjoyable by the first-class contributions of Tito Gobbi, Luigi Alva, and Alceo Galliera. --Joe McLellan
Great performances & excellent ADD Stereo sound for 1958
Spiff | Europe | 09/21/2001
(5 out of 5 stars)
"Callas sung this after her 5 unhappy performances at the La Scala. Her Rosina was described by critics to have "excessive nervous energy and unsuitable vocal color". Today, I've still seen a surprising number of comments stating that this was far from Callas' best performance. But I don't agree at all! At the centre of the performance is the combination of Gobbi and Callas. They're delightful. Galliera was a fortunate choice, the orchestra excels. Zaccaria is a very good Basilio. Fritz Ollendorff is not my favorite Bartolo, he lacks a bit of that evil comic villainy I've seen in others, but in any case, his performance is still excellent and others might find it perfect. The young Luigi Alva was also brilliant, and was probably very helped by his great performance in this recording.This version of Il Barbiere was one of the factors that ignited my interest in opera to levels I never expected before. The others were perhaps a few excellent live performances I had the privilege to hear. That's why I recommend this version to my opera-hating friends now, together with some tickets to a good live opera; Great libretto, wonderful music, a riotous romantic comedy, funny, fast action, top quality performances - Not bad for a start.Most people I know consider "Una voce poco fa" Callas greatest moment in this opera; They might be right, but to my ears, Callas excels in her second duet with Gobbi: "Dunque io son" remains one of my favourite all time duets in opera buffa. You can find Calla's sweet and innocent Rosina at her most here. Incredibly satisfying. Gobbi and Callas are amazing in these 5 minutes. Bliss! I remember hitting "previous track" quite a few times on the player when I first heard it. Couldn't get enough. Well, still can't. :-)Finally, a small note to those who are worried about the almost 50 years old ADD recording: Fear not! Yes, this was recorded in studio in 1958, while stereo technology was still fairly new, but the sound quality is surprisingly good. I am rather picky with audio quality and sometimes regret not being able to fully enjoy some of the old classics, I just can't fully appreciate the music if the sound quality isn't a good challenge to my ears and equipment. This version was obviously well recorded back in 58 and EMI's remastering in 1997 improved it. Stereo separation is excellent, soundstage is wide. Obviously, don't expect it to match today's cutting edge sound engineering, but vocals are very clear and well defined.. I can only complain of the usual tape hiss (quite subtle in this case) and the usual overload clipping in a few more intense areas, but those are never too irritating (even with headphones). I've often seen many modern ADD and even DDD recordings put to shame by this quality. Not the only good Barbiere I've heard, but definitely my favourite so far. Get it, chances are you won't regret it at all. Ever."
Pure fun!
Ivy Lin | Ithaca, NY | 05/09/2001
(5 out of 5 stars)
"I admit to being very skeptical of this recording. I couldn't picture Callas, the queen of Grand Noble Heroines, in a comedy. But I'm very happy to say I was oh-so-wrong. This recording is pure fun and energy from start to finish.Callas is delightful here, as is the rest of the cast. Today this role is usually taken by a mezzo-soprano, but Callas sounds very mezzo-like and uses much of the mezzo score. I really can't believe her voice would be shot within a year -- here she sounds amazingly young, fresh and agile. She shows off a lot -- high notes (she holds the high B of "Una voce poco fa" until you're afraid her lungs will burst), trills, ornamentations, but that's part of the fun. She tosses in high notes here and there too, just to remind people that she can. Her Rosina is equal parts "dolce, amorosa" and "vipera." I never knew Tito Gobbi could sound so lighthearted. I particularly love the way he sings his recitatives -- hilarious. Luigi Alva makes his Count slightly silly-sounding, which is very funny, particularly when he pretends to be the music teacher. Galliera leads the Philharmonia orchestra in a spirited, lighthearted rendtion of the score.This recording is just too fun to pass up. Occasionally, you need to hear an opera where people don't die. Some caveats: there are the traditional cuts, and sound is early stereo, so sometimes the balance isn't quite right between orchestra and voices -- you know its not balanced when you have a hard time hearing Gobbi and Callas! But try this -- you'll like it!"
Signore e signori, Il Barbiere!
Bogdan Iliescu | Houston, TX USA | 07/15/2004
(5 out of 5 stars)
"What a recording this is! Witty, funny, grabs you, puts you in the middle of the action and doesn't let you go all the way to the end. You will find yourself cheering happily when it is over and you will think that these are the actual characters coming all the way from Seville to sing for you.Everybody is in excellent shape but the real difference is made by the unity and the flawless unfolding of the intrigue. Every single role is convincing and consistent throughout the opera, the orchestra plays beautifully and supports with such energy and humour the voices. Callas is in perfect mood and in excellent voice. Her Rossina is the best available. Listen to "Una voce pocco fa" and be amazed by all the nuances you can find there. Mr. Gobbi is again the voice and the actor in one of his best recorded performances. I must agree with one of the reviewers in saying that his Figaro is the best on disc. He displays too a very beautiful voice and an amazing characterization of Figaro. Their duet in the first act is a glorious moment of recorded opera. They tell so much besides what their words are actually communicating. The rest of the cast comes nearly as equals and everybody seemed to understand the in the same way what this opera is about and what each and all of them have to say in it.All in all it is a great recording. Great music making, solid and expressive characters, good and entertaining drama, good loughs everything the Barbiere should be in my opinion."
It's not just the stars, but the drama...
Moray McConnachie | Oxford, England | 12/21/2004
(5 out of 5 stars)
"Others have written of the undoubtedly great individual performances of most of the soloists in this recording. The most important feature of this opera in general, though, is the drama - it just doesn't work as highlights. At conveying the drama, this recording absolutely excels, primarily through the quality of the ensemble singing of the soloists. The finale of Act I is the finest piece of dramatic singing anywhere in my collection outside live recordings, and one I return to much more than the "lollipops". The timing is perfect, and the balance exceptional.
I suppose it is obligatory to mention a couple of negatives: firstly there is what sounds like some odd balance or microphone placement in some scenes (although my recording predates the nineties mastering mentioned by someone else here, so I'd be interested to see whether that has changed there). Secondly Callas' singing style doesn't really fit the Rosina part, for me. However, that is more than made up for the brilliance of her coloratura, evident particularly to my ears in the Finaletto to Act II. Could do with a bit more subtlety from the chorus in places, too, but the Chorus is often a weakness in recordings from this period.
This was the first opera I ever bought on CD, and therefore it must have been one of the first reissued on CD. I don't think it's been off the shelves ever since, so if you haven't got it, buy it."
The best Il Barbiere ever!
harrmor | Athens, Greece | 08/20/2002
(5 out of 5 stars)
"Here we have a masterpiece of a recording. This Barbiere di Siviglia is the best on record and hasn't been surpassed by the modern recordings and will not easily be surpassed.
It is true that Callas sang the role of Rosina on stage rarely and she didn't have a success with it. Her performances of the role at La Scala were not at all successful. She overplayed the part making nervous movements and gestures all the time and she was described as "an excitable, nervous, overpowering Rosina". Her voice was not in good form then either. To make you understand just how bad were these performances, I need to mention that after them the conductor Giulini severed his connections with the Theatre and its production team.
Yet, in this recording Callas shines! She is magnificent and her voice is in very fine shape. Her recent success then at Covent Garden as Norma probably helped her a lot psychologically. She gives us a willful Rosina, cunning and smart and surely a "vipera". Just listen to "Una voce poco fa", how gloriously it is sung and acted. To mention but one point: the word "ma" after "mi fo guidarrrrrrr" with that repetitive `r'. Absolutely thrilling.
Her Figaro is Tito Gobbi. We cannot probably imagine Tito Gobbi in a funny role, when we have in mind his Scarpia or his Iago. But here he is magnificent, comical, humorous and absolutely singing AND acting the part.
Luigi Alva still young and in his prime gives us a spectacular account of Almaviva's part and he is quite memorable.
The rest of the cast and the conductor, Alceo Galliera, were all picked up by the famous EMI producer Walter Legge and make a wonderful team. The Philarmonia Orchestra under Galliera's conducting plays skillfully and full of life and give a magic touch to the score.
All in all, a fabulous recording! Get it and you will not miss!!"