Wednesday, 12 August 2015

Callas's superb Puccini recital





This is the first recital record I ever owned , and for some time the only recital record I owned. As such it has quite a lot of sentimental value for me. Most of the music was new to me at that time and I played it constantly. I got to know it so well that I can even now listen without libretto and mime the words. However, as I got older, my tastes changed. I got to love the music of Verdi, Bellini and Donizetti. I felt Callas’s gifts were wasted on Puccini, and so my first love got rather pushed aside. I tended not to listen to this recital quite so often.

To listen to it again now, in this fantastic new re-mastering from Warner (one almost feels as if Callas were in the room with you), was a moving experience and, from the first note, she had me riveted.
Most Puccini recitals tend to the samey, but Callas presents us with a different voice character in each opera. Of the roles represented here, she had at that time only sung Turandot on stage, though she would go on to sing Butterfly in Chicago in 1955. She also went on to record complete performances of Madama Butterfly, La Boheme, and Manon Lescaut, as well as Turandot (though a little late in her career. 

As usual Callas is the mistress of vocal characterisation. Manon, Butterfly, Mimi, Angelica, Lauretta, Liu and Turandot all emerge as completely different characters, but, even within a single aria, she can reveal some hidden depth within the character. Manon, tenderly regretful in In quelle trine moribide, gives way to passion and despair in Sola perduta abbandonata, a despair already hinted at in her voicing of un freddo che m’agghiaccia in the first aria. Butterfly’s wistful imagining of the return of Pinkerton is brilliantly charted, her death scene almost unbearably intense. Mimi is shy and withdrawn, but the warmth which Callas brings to the Ma quando vien lo sgelo section reveals Mimi’s capacity for selfless love.  Angelica’s resigned sadness gives way to a surprisingly sweet and cajoling Lauretta. 

Quite the biggest contrast comes when she sings both Liu and Turandot. Liu’s arias are sung feelingly, but possibly with a bit too much muscle, and the ending of Signore ascolta doesn’t eclipse memories of Caballe or Schwarzkopf in the same piece, but Turandot’s In questa reggia is surely one of the best ever recorded. Callas at this time still had the power and security on top to ride its high-lying phrases; and please note she actually sings the words Gli enigmi sono tre on the phrase that takes her up to a top C. Most sopranos, Eva Turner included, reduce them to a vocalise. Furthermore the aria is filled with little details overlooked by most; the almost mystical way she launches the section beginning Principessa Lou-u- Ling, singing with mounting ardour until she vocally points her finger at Calaf with the phrase Un uomo como te. Almost regretful on the section O principe che a lunghe carovane, she strengthens her resolve again at io vendico su voi till her voice cries out with conviction at quell grido e quella morte. Would that she had recorded her complete Turandot at the same time. This is the greatest prize on the recital.

The one uncomfortable moment I remember from the recital (Angelica’s final floated high A) for some reason sounds far less wobbly here than it ever did before, and the voice in this re-mastering has enormous presence. Serafin, as ever, provides invaluable support. 

A classic of the gramophone.

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