This performance was once considered a myth, like the Callas/Bjoerling Chicago Trovatore or the Callas/Corelli La Scala Fedora that have been rumored to exist for years (some opera lovers STILL hope they'll turn up!) Lo and behold, Alfredo Kraus had a copy of the broadcast tape and he used it to get EMI to record him in an entire series of operas from the late 70's through the 80's. EMI always felt terrible that they never got to record a Callas Traviata in the studio. A contract prevented her from recording it again until 1959 (she recorded the opera for Cetra in 1952) and by that time EMI already had a studio Traviata with Stella. There was talk of her recording it in 1968 or '69 (with either Domingo or Pavarotti as Alfredo), but that never happened. Besides, Callas was always better in front of an audience and there are a number of extant Traviata broadcasts from which to choose. This one was near the end of her prime and finds her in excellent voice. The coloratura in Act One is fleet and effortless and she caps "Sempre libera" with an exciting E-flat. She is simply marvelous in this role; Violetta may have been her greatest achievement. Kraus is an ardent Alfredo who interpolates a top C in his offstage singing in Act One and Sereni is a true bel canto Germont. The supporting cast is also great. Ghione leads a memorable performance.The sound is excellent. All Callas fans should own this performance in one form or another.

If not for the great American dramatist I might never have known about "The Lisbon Traviata" and the hours of visceral pleasure it has afforded me. There is something in the juxtaposition of Callas, nearing the end of her meteoric career, and Kraus, just beginning to attract international attention that for me amplifies the pathos of the last act. I put this recording (along with the Naples "Adriana Lecouvreur" with Olivero) in my list of the five greatest live recordings of an opera. If you do not have this recording, get it.

So pleased to have found Opera Depot!

There are many recordings available of this well known performance, so the deciding factor in choosing a version isthe sound. The the sonics on this Opera Depot version are excellent and comparable to the Myto edition, using direct master tape transfers, so favorably reviewed on Amazon.

Great sound ... the prompter adds authenticity! Has to be one of Callas’ best and most representative performances ... love it!

Ghione is in control all the time. The Portuguese orchestra and chorus are good. Kraus is missing tenderness and passion and not knowing the plot his voice does not reveal the range of sentiments. Sereni`s Papa Germont performance is lacking class despite his beautiful voice. Callas provides one of her best performances. She is in fantastic vocal form and the attention to the dramatic content is superb. Her exigence with herself is evident every minute. I favor this performance over the Covent Garden one.

The “Lisbon Traviata” was among Callas’ final performances as Violetta, followed by Covent Garden and Dallas during the same season. “La Divina” is at the height of her vocal and interpretive powers. She is steady of line and pitch precise, in full command of dynamics and imbued emotion, ringing true up to a sonic Eb! Kraus is youthful, impassioned, elegant, achieving a personal caliber of style he would sustain over the next 35 years. Sereni’s timbre possesses an individual gruffness, appropriate for a gentleman defending family honor, but he lacks nothing in pathos and bel canto line. Ghione is attentive to every Verdian detail. Mono recording favors vocals slightly (happily).

Maria was none of the best!! Wish I could get cd of Maria as Tosca, with De Stefano.