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La Traviata
In the early 1950s, Mexico City became an unlikely epicenter for world-class Italian opera, thanks in no small part to the residency of a young Maria Callas and Giuseppe Di Stefano. Callas's interpretation of Violetta may have gained greater interpretive depth later in her career—most notably in the legendary 1958 Lisbon performance—but from a purely vocal standpoint, she may never have surpassed what she achieves here. Her fearless vocalism and dramatic spontaneity are on full display, capped by a jaw-dropping interpolated high E-flat at the end of the Act II concertante—an audacious gesture that, in her hands, feels completely justified by the drama. Giuseppe Di Stefano, in parallel with Callas, is heard in prime voice, free from the strain that would eventually affect his later performances. The ease and warmth of his singing, combined with natural Italianate style, elevate this performance to something truly special.
Track List
Act I
1. Preludio
2. Dell'invito trascorsa è già l'ora
3. Libiamo, ne' lieti calici
4. Un dì felice, eterea
5. Ebben? Che diavol fate?
6. Si ridesta in ciel l'aurora
7. È strano!... Ah, fors'è lui
8. Sempre libera
2. Dell'invito trascorsa è già l'ora
3. Libiamo, ne' lieti calici
4. Un dì felice, eterea
5. Ebben? Che diavol fate?
6. Si ridesta in ciel l'aurora
7. È strano!... Ah, fors'è lui
8. Sempre libera
Act II, Scene i
9. Lunge da lei... De' miei bollenti spiriti
10. Annina, donde vieni?
11. Alfredo?... Per Parigi or or partiva.
12. Madamigella Valéry?
13. Pura siccome un angelo
14. Ah! dite alla giovine
15. Morrò! La mia memoria
16. Dammi tu forza, o cielo!
17. Di Provenza il mar
18. Né rispondi d'un padre all'affetto?
10. Annina, donde vieni?
11. Alfredo?... Per Parigi or or partiva.
12. Madamigella Valéry?
13. Pura siccome un angelo
14. Ah! dite alla giovine
15. Morrò! La mia memoria
16. Dammi tu forza, o cielo!
17. Di Provenza il mar
18. Né rispondi d'un padre all'affetto?
Act II, Scene ii
19. Avrem lieta di maschere la notte
20. Noi siamo zingarelle
21. Di Madride noi siam matadori
22. Alfredo! Voi!
23. Qui desïata giungi.
24. Invitato a qui seguirmi
25. Ogni suo aver tal femmina
26. Di sprezzo degno sé stesso rende
20. Noi siamo zingarelle
21. Di Madride noi siam matadori
22. Alfredo! Voi!
23. Qui desïata giungi.
24. Invitato a qui seguirmi
25. Ogni suo aver tal femmina
26. Di sprezzo degno sé stesso rende
Act III
27. Preludio
28. Annina?... Comandate?
29. Teneste la promessa... Addio del passato
30. Signora!... Che t'accadde?
31. Parigo, o cara
32. Ah, non più, a un tempio
33. Ah! gran Dio! Morir sì giovine
34. Ah, Violetta!
35. Prendi, quest'è l'immagine
28. Annina?... Comandate?
29. Teneste la promessa... Addio del passato
30. Signora!... Che t'accadde?
31. Parigo, o cara
32. Ah, non più, a un tempio
33. Ah! gran Dio! Morir sì giovine
34. Ah, Violetta!
35. Prendi, quest'è l'immagine
BONUS
36. Addio del passato
Maria Callas, Violetta
Lisboa, 1958
Maria Callas, Violetta
Lisboa, 1958
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5.0
Based on 2 reviews
✓ Top Reviewer
United States
Correction to Below
There were five, not four, broadcasts from Mexico City in 1952: La Traviata,Tosca, Lucia di Lammermoor, Rigoletto, and I Puritani. Opera Depot has them all. If you're a Callas fan, you need all five. Despite sonic and performance flaws, they all show Callas in secure, confident voice and amply show why she became one of the greatest divas of all time.
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✓ Top Reviewer
United States
Exciting Performance in Very Good Sound!
Callas had already appeared as Violetta in Mexico City the year before this performance was given. That broadcast with Valletti and Taddei is also worth hearing (maybe Opera Depot will make it happen). In any case, here she is exploring her role again and already finding new insights into Verdi's exquisitely crafted heroine. She would continue to refine her interpretation, especially after working in detail with Visconti and Giulini on the La Scala production of 1955-56. She is in easy, secure voice, confidently soaring up to two interpolated E-flats, the traditional one at the end of "Sempre libera" and one to crown the Act 2 finale at Flora's party. As always with Callas even in her youngest days not every note is beautiful; it simply doesn't matter given how much of her own soul she invests in the role.Di Stefano has a few intonation issues here and there, but he brings Alfredo's passion and jealous nature to life. He and Callas had a unique chemistry and their portrayals complement each other completely. Campolonghi's rather wooly sound serves Germont and Verdi well. The supporting cast is quite good though an extra rehearsal would've helped everyone. Mugnai is more successful at keeping his forces together here than elsewhere in this particular season (Opera Depot has all four of the 1952 broadcasts in its catalog). The audience reaction is sometimes peculiar: lots of applause for Callas' Act 1 scena, but very little for the Violetta/Germont duet or her "Amami, Alfredo". The sound isn't bad (better than many other Mexico City broadcasts from this era) and is pitched correctly.All Callas fans should hear this even if they have other Callas Traviatas in their collections. She was always finding something new in the role and hearing her development is most illuminating.
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