The New Sound of Maria Callas

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The New Sound of Maria Callas 3:33:48 $22.98
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# Track Title Length Format Sample Rate Price
1 Bellini: Norma, Act 1: "Casta diva" (Norma, Chorus) 05:40 96/24 Album only
2 Puccini: La boheme, Act 1: "Si. Mi chiamano Mimi" (Mimi) 04:49 96/24 Album only
3 Puccini: La boheme, Act 3: "Donde lieta usci" (Mimi) 03:19 96/24 Album only
4 Puccini: Suor Angelica, 'Sister Angelica': "Senza mamma" (Sister Angelica) 05:33 96/24 Album only
5 Puccini: Gianni Schicchi, Act 1: "O mio babbino caro" (Lauretta) 02:34 96/24 Album only
6 Verdi: La traviata, Act 1: "E strano! E strano!" (Violetta) 01:20 96/24 Album only
7 Verdi: La traviata, Act 1: "Ah fors'e lui" (Violetta) 03:00 96/24 Album only
8 Verdi: La traviata, Act 1: "Sempre libera" (Violetta, Alfredo) 04:01 96/24 Album only
9 Verdi: La traviata, Act 3: "Addio, del passato" (Violetta) 03:26 96/24 Album only
10 Verdi: Il trovatore, Act 4: "D'amor sull'ali rosee" (Leonora) 04:02 96/24 Album only
11 Bizet: Carmen, Act 1: "L'amour est un oiseau rebelle" (Carmen, Chorus) (Habanera) 04:18 96/24 Album only
12 Massenet: Werther, Act 3: "Werther! Qui m'aurait dit la place.. Des cris joyeux" (Charlotte - Air des lettres) 07:05 96/24 Album only
13 Donizetti: Lucia di Lammermoor, Act 1: "Regnava nel silenzio alta la notte e bruna" (Lucia, Alisa) 04:05 96/24 Album only
14 Donizetti: Lucia di Lammermoor, Act 1: "Quando rapito in estasi" (Lucia, Alisa) 03:59 96/24 Album only
15 Rossini: La cenerentola, Act 2: "Nacqui all'affanno e al pianto..Non piu mesta" (Angelina) 06:19 96/24 Album only
16 Rossini: Il barbiere di Siviglia, Act 1: "Una voce poco fa" (Rosina) 06:19 96/24 Album only
17 Puccini: Tosca, Act 2: "Vissi d'arte" (Tosca) 03:00 96/24 Album only
18 Puccini: Tosca, Act 3: "Com'e lunga l'attesa!" (Tosca) 02:31 96/24 Album only
19 Puccini: La boheme, Act 1: "O soave fanciulla" (Schaunard, Colline, Marcello, Rodolfo, Mimi) 04:08 96/24 Album only
20 Puccini: Turandot, Act 1: "Signore, ascolta!" (Turandot) 02:29 96/24 Album only
21 Puccini: Turandot, Act 2: "In questa reggia" (Turandot) 06:24 96/24 Album only
22 Puccini: Turandot, Act 3: "Tu, che di gel sei cinta" (Turandot) 02:45 96/24 Album only
23 Puccini: Madama Butterfly, Act 2: "Un bel di vedremo" (Butterfly) 04:43 96/24 Album only
24 Bellini: La sonnambula, Act 1: "Compagne, temiri amici ..Come per me sereno" (Amina) 05:47 96/24 Album only
25 Meyerbeer: Dinorah, 'Le pardon de Ploermel', Act 2: "Ombre legere" (Dinorah - Shadow Song) Sung in Italian 05:41 96/24 Album only
26 Verdi: I vespri Siciliani, Act 5: "Merce, dilette amiche" (Elena) 03:59 96/24 Album only
27 Verdi: Aida, Act 1: "Ritorna vincitor" (Aida) 07:07 96/24 Album only
28 Delibes: Lakme, Act 2: "Ou va la jeune indoue" (Lakme) - Sung in Italian 08:05 96/24 Album only
29 Charpentier: Louise, Act 3: "Depuis le jour ou je me suis donnee" (Louise) 04:45 96/24 Album only
30 Gonoud: Faust, Act 3: "Il etait un Roi de Thule..O Dieu!que de bijoux..Ah! je ris" (Marguerite - Jewel Song) 11:36 96/24 Album only
31 Catalani: La Wally, Act 1: "Ebben?..Ne andro lontana" (Wally) 04:50 96/24 Album only
32 Verdi: Rigoletto, Act 1: "Gualtier Malde ..Caro nome" (Gilda, Borsa, Ceprano, Marullo) 07:26 96/24 Album only
33 Verdi: La forza del destino, Act 2: "Sono giunta! Grazie o Dio!" (Leonora, Chorus) 01:40 96/24 Album only
34 Verdi: La forza del destino, Act 2: "Madre, pietosa Vergine" (Leonora, Chorus) 05:12 96/24 Album only
35 Verdi: Macbeth, Act 2: "La luce langue" (Lady Macbeth) 04:11 96/24 Album only
36 Cilea: Adriana Lecouvreur, Act 1: "Ecco - respiro appena..Io son l'umile ancella" (Adriana Lecouvreur) 03:49 96/24 Album only
37 Cilea: Adriana Lecouvreur, Act 4: "Poveri fiori" (Adriana Lecouvreur) 03:12 96/24 Album only
38 Giordano: Andrea Chenier, Act 3: "La mamma morta" (Maddalena) 04:52 96/24 Album only
39 Gluck: Alceste, Wq. 44, Act 1: "Divinites du Styx" (Alceste) 04:26 96/24 Album only
40 Gluck: Orphee et Eurydice, Wq. 41, Act 4: "J'ai perdu mon Eurydice" (Orfeo) 04:28 96/24 Album only
41 Bizet: Carmen, WD 31, Act 1: "Pres des remparts de Seville" (Carmen, Jose) 04:32 96/24 Album only
42 Bizet: Carmen, WD 31, Act 2: "Les tringles des sistres tintaient" (Carmen, Frasquita, Mercedes) 04:17 96/24 Album only
43 Massenet: Manon, Act 2: "Je ne suis que faiblesse..Adieu, notre petite table" (Manon) 03:23 96/24 Album only
44 Saint Saens: Samson et Dalila, Op. 47, Act 1: "Printemps qui commence" (Dalila) 05:18 96/24 Album only
45 Saint- Saens: Samson et Dalila, Op. 47, Act 2: "Mon coeur s'ouvre a ta voix" (Dalila) 05:20 96/24 Album only
46 Gounod: Romeo et Juliette, Act 1: "Je veux vivre" (Juliet) (Waltz) 03:41 96/24 Album only

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℗ 2016 Parlophone Records Limited, a Warner Music Group Company
© 2016 Parlophone Records Limited, a Warner Music Group Company

THIS ALBUM DOWNLOAD FEATURES HIGH RESOLUTION COVER ART ONLY. LINER NOTES ARE NOT AVAILABLE.

The New Sound of Maria Callas Opera singers come and go, but just a few – the legends – live on. And Maria Callas was the great­est legend of them all, though not just for the wonder of her voice. She changed the way people thought about opera, but she also became famous as the glamorous celebrity who fell in love with Aristotle Onassis, leaving her elderly husband to live with him on his yacht Christina and enjoy the high life with the international jet set. Of course it ended badly. She lived her life like one of her own tragic heroines who (as women tend to do in opera) sing, suffer and die. And her own death came at just 53, after a dazzling but short career that took in heavy roles alongside decorative, nightingale-like ones – ignoring the established rules of vocal health and probably explaining why her voice finally gave out as it did. But in that time she did extraordinary things, using the muscle of those heavy heroines to em­power the nightingales with strength and depth of feeling nobody had thought to offer them be­fore. She gave them credibility as drama. Her performances were absolute and self-exposing: she held nothing back. And she was even tougher on herself than she could be on others – which is why her voice was never quite the flawless instrument singers are meant to cultivate. Her personality was far too volatile and too self-sacrificing in its love affair with risk. In the mythology of opera, though, that’s what the audience demands. We want the diva to be both a goddess and a slave: to give her life for art. We thrill to the dimension of that sacrifice. And Callas dutifully obliged. (Michael White, 2014)