Callas Verdi Opera

Maria Callas - Verdi: Un Ballo in Maschera (1957/2014) [Official Digital Download 24/96]

Maria Callas - Verdi: Un Ballo in Maschera (1957) [Remastered 2014]
FLAC (tracks) 24-bit/96 kHz | Time - 131:22 minutes | 1,36 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

Callas’s first stage appearances in Verdi’s Un ballo in maschera came at La Scala in 1957, a year in which Milan also saw her in La sonnambula and Anna Bolena. As in this recording, made the year before, she shared Verdi’s most spectacular soprano-tenor duet (in Act II) with Giuseppe di Stefano. This was the last time Callas and Di Stefano appeared together in opera, though they reunited in the 1970s to direct I vespri siciliani in Turin and to give a series of joint concerts in Europe, the USA, Canada,South Korea and Japan. Gramophone judged this recording of Ballo to be ‘one of Callas’s most compelling assumptions’.
Maria Callas - Verdi: Aida (1956/2014) [Official Digital Download 24/96]

Maria Callas - Verdi: Aida (1956) [Remastered 2014]
FLAC (tracks) 24-bit/96 kHz | Time - 144:42 minutes | 1,43 GB
Studio Master, Official Digital Download | Artwork: Digital booklets

One of the legendary moments in Callas's career came in 1950 in Mexico City, when she interpolated a stupendous top E flat at the end of the Triumphal Scene in Act II of Aida. In this recording under Serafin she abided by the score, but still prompted Gramophone to speak of her 'fascinating art and prodigious personality', observing the way she was 'rapt in imaginative intensity in the significance of the words'.
Maria Callas - Verdi: Rigoletto (1956/2014) [Official Digital Download 24/96]

Maria Callas - Verdi: Rigoletto (1956) [Remastered 2014]
FLAC (tracks) 24-bit/96 kHz | Time - 118:04 minutes | 1,23 GB
Studio Master, Official Digital Download | Artwork: Digital booklets

Callas only sang Gilda in Rigoletto in one run of performances, in Mexico City in 1952, and she recorded the role three years later. She moves beyond the girlish tone and sparkling coloratura of the character's first scenes to create a figure of tragic stature as events unfold. 'Once heard, this rendering is never likely to be forgotten,' was Gramophone's judgement on her interpretation, and the same could apply to Tito Gobbi's, embodying every aspect of the accursed court jester.
Maria Callas - Verdi: La Traviata (1954/2014) [Official Digital Download 24/96]

Maria Callas - Verdi: La Traviata (1954) [Remastered 2014]
FLAC (tracks) 24-bit/96 kHz | Time - 160:26 minutes | 1,65 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

Violetta, the most complex and fully-rounded of Verdi's heroines, was one of the roles that defined Maria Callas as an artist. She performed it more than 60 times between 1951 and 1958, most famously in Luchino Visconti's production at La Scala in 1955/56. It is often said that the role demands a different kind of voice for each act, and, when she made this recording for the Cetra label in 1953, Callas offered youthful, ringing power complemented by coloratura prowess and the capacity for great delicacy. More than 60 years on, her characterisation, in its subtlety and truth, still sets the standard for La traviata.
Maria Callas - Verdi: Il Trovatore (1957/2014) [Official Digital Download 24/96]

Maria Callas - Verdi: Il Trovatore (1957) [Remastered 2014]
FLAC (tracks) 24-bit/96 kHz | Time - 129:39 minutes | 1,37 GB
Studio Master, Official Digital Download | Artwork: Digital booklets

The role of Leonora in Verdi's Il trovatore was one that Maria Callas performed some 20 times in the theatre, and this recording was her leave-taking of it. Callas's Leonora was praised by the critics for its vocal and dramatic artistry. Cecil Smith in Opera magazine said: "For once we heard the trills fully executed, the scales and arpeggios tonally full-bodied but rhythmically bouncing and alert, the portamentos and long-breathed phrases fully supported and exquisitely inflected".
Maria Callas - Verdi: La Forza Del Destino (1955/2014) [Official Digital Download 24/96]

Maria Callas - Verdi: La Forza Del Destino (1955) [Remastered 2014]
FLAC (tracks) 24-bit/96 kHz | Time - 165:32 minutes | 1,79 GB
Studio Master, Official Digital Download | Artwork: Digital booklets

Relentlessly pursued by Fate, Leonora in La forza del destino is a haunted heroine whose passions and fears are expressed on a grand scale. Callas’s stage experience of Forza was limited to her early career in Italy – in fact, Leonora was her first Verdi role – but, as Lord Harewood, founder of Opera magazine, observed, her recorded assumption exhibited ‘an unparalleled musical sensibility and imagination and a grasp of the musico-dramatic picture which is unique’. She took her place in a powerful cast conducted by her mentor Tullio Serafin.
Best of Verdi Opera Choruses - Aida • Nabucco • Il trovatore • La traviata • Otello (2014) [Blu-ray]

Best of Verdi Opera Choruses - Aida • Nabucco • Il trovatore • La traviata • Otello (2014)
Blu-ray | BDMV | MPEG-4 AVC 21940 kbps / 1920*1080i / 29.970 fps / 16:9 / High Profile 4.1 | 21.05 GB
Audio: Italian DTS-HD MA 5.1 / 48 kHz / 3594 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit);
Italian LPCM 2.0 / 48 kHz / 2304 kbps / 24-bit | Subtitles: Italian, English, German, French, Spanish, Chinese, Korean, Japanese
Classical, Opera, Choral | Length: 01:34:59 | Nitroflare/Uploadable

Ghena Dimitrova: Puccini Verdi Opera Arias  

Posted by dakszhund at Sept. 17, 2009
Ghena Dimitrova: Puccini Verdi Opera Arias

Ghena Dimitrova: Puccini Verdi Opera Arias
Classical | CD | MP3 192kbps | NO BOOKS NO COVERS | 109 MB
EMI Classic B0013GE2WM | Release Date: 2008

We are very blessed to have had Ghena Dimitrova in the modern era, when technology had advanced enough to catch her in excellent sound. She indeed was the last of the great Italianate dramatic soprano voices. Similarly Susan Dunn was the last of the great Verdi stylists. Do other sopranos sing Verdi, yes, and quite well. Do others also have big voices, yes, indeed!!! But the open and natural vocality, the MASTERY OF THE CHEST TONE, the refined use of the head tone, and natural feeling for the word were in totality, lost when Ghena Dimitrova died. I don't blame the singers though, but the milieu. I can GUARANTEE that there EXIST TODAY singers in the Dimitrova mold, who have not and are not being encouraged, guided, appreciated, and least of all understood. Their time will come and the strong will survive.
Verdi - Un ballo in maschera (Riccardo Chailly) (2013) [Full Blu-ray]

Verdi - Un ballo in maschera (Riccardo Chailly) (2013)
BluRay | BDMV | MPEG-4 AVC Video / 27492 kbps / 1080i / 29,970 fps | 137 min | 35,6 GB
Audio1: Italian / LPCM Audio / 2.0 / 48 kHz / 2304 kbps / 24-bit
Audio2: Italian / DTS-HD MA 5.1 / 48 kHz / 2976 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)
Classical | EuroArts | Sub: Italian, English, German, French, Spanish

In this recording Riccardo Chailly directs Verdi’s Un ballo in maschera for the first time in his function as General Music Director of the Leipzig Oper on the 2nd of November 2005. Un ballo in maschera is as exciting as a thriller, but with a passion that can only be experienced in a Verdi opera. It stands to reason that only a man of equal passion would have the ability of bringing this spectacle to the stage adequately.
Verdi: Messa da Requiem / Gheorghiu, Barcellona, Alagna, Konstantinov, Berliner Philharmoniker, Abbado (2001)

Verdi: Messa da Requiem / Gheorghiu, Barcellona, Alagna, Konstantinov, Berliner Philharmoniker, Abbado (2001)
EAC rip | APE, log, cue, covers | RAR Rec. 3% | 406 MB | hotfile, filesonic
Classical | Label: EMI Classics | 2CD

Verdi's Requiem–certainly one of his most moving, eloquent masterpieces–was written in honor of the great Italian poet Alessandro Manzoni, whom he admired enormously both for his writings and his political outlook. Though its text is the Latin liturgy, it has been called Verdi's greatest opera because of its basically dramatic character, as well as his own ambivalent attitude toward organized religion. Thus, interpretations tend to emphasize its secular or its sacred aspect, though, naturally, the soloists are trained in the Verdi opera tradition.