Donizetti - Lucia di Lammermoor (Maria Callas, G.Di Stefano - Century's rec. H.V. Karajan 1955)

Gaetano Donizetti (1797-1848) Lucia di Lammermoor: Opera in three acts.
Click to activate the English subtitles for the presentation (00:00-03:33)
00:00 Preludio
ATTO PRIMO / Scena Prima
02:01 Percorrete le spiaggie vicine (Normanno/Coro)
04:29 Tu sei turbato!... E n'ho ben d'onde
07:21 Cruda, funesta smania... (Enrico/Raimondo/Normanno)
09:40 Il tuo dubbio è omai certezza... Come vinti da stanchezza
(Coro/Normanno/Enrico/Raimondo)
11:51 La pietade in suo favore (Enrico/Raimondo/Coro)
Scena seconda
13:53 Ancor non giunse!
18:15 Regnava nel silenzio… (Lucia/A/isa)
26:55 Egli s'avanza... Lucia, perdona se ad ora inusitata (Alisa/Edgardo/Lucia)
29:26 Sulla tomba che rinserra...
32:33 Qui di sposa eterna fede... Ah! Soltanto il nostro foco
35:03 Ah! Verranno a te sull'aure... (Edgardo/Lucia)
ATTO SECONDO / Scena prima
40:05 Lucia fra poco a te verrà... Tremante l'aspetto (Normanno/Enrico)
43:09 Appressati, Lucia (Enrico)
44:15 Il pallor funesto, orrendo
48:15 Soffriva nel pianto... Un folle t'accese
52:04 Che fia?... Suonar di giubilo
53:26 Se tradirmi tu potrai... Tu che vedi il pianto mio (Lucia/Enrico)
Scena seconda
55:33 Per te d'immenso giubilo... Per poco fra le tenebre (Coro/Arturo)
59:09 Dov'è Lucia?... Qui giungere or la vedrem (Arturo/Enrico)
1:00:59 Piange la madre estinta... (Enrico/Lucia/Arturo/Raimondo)
1:03:25 Chi mi frena in tal momento?
(Edgardo/Enrico/Lucia/Raimondo/Arturo/Alisa/Coro)
1:10:55 T’allontana, sciagurato...Rispettate in me di Dio...
(Arturo/Enrico/Coro/Edgardo/Raimondo)
1:12:11 Sconsigliato! ln queste porte chi ti guida?
(Enrico/Edgardo/Raimondo/Lucia/Coro)
1:14:13 Esci, fuggi, il furor che mi accende
(Arturo/Enrico/Coro/Raimondo/Lucia/Edgardo/Alisa)
ATTO TERZO / Scena prima
1:16:17 Per te d’immenso giubilo… s’innalzi un grido (Coro/Raimondo)
1:18:39 Dalle stanze ove Lucia (Raimondo)
1:21:30 Oh! Qual funesto avvenimento' (Coro/Raimondo)
1:24:58 Il dolce suono...Ardon gli incensi (Lucia/Raimondo/Normanno/Coro)
1:37:19 Spargi d'amaro pianto (Lucia/Raimondo/Coro/Enrico)
Scena seconda
1:41:26 Tombe degli avi miei
1:45:44 Fra poco a me ricovero darà negletto avello (Edgardo)
1:49:18 Oh meschina! Oh fato orrendo!
1:53:43 Tu che a Dio spiegasti l'ali (Coro/Edgardo/Raimondo)
Lucia MARIA CALLAS
Edgardo GIUSEPPE DI STEFANO
Enrico ROLANDO PANERAI
Raimondo NICOLA ZACCARIA
Arturo GIUSEPPE ZAMPIERI
Alisa LUISA VILLA
Normanno MARIO CARLIN
Coro del Teatro alla Scala di Milano
Chorus Master: Norberto Mola
RIAS Sinfonie-Orchester Berlin
conducted by HERBERT VON KARAJAN
Live recording in 1955, at Berlin
New mastering in 2021 by AB for CM//RR
🔊Find CMRR's recordings on Spotify : spoti.fi/3016eVr
🔊Download CMRR's recordings in High fidelity audio : bit.ly/2M1Eop2
This recording of a performance on 29 September, 1955, at the Berlin Staatsoper is released because of its importance as a document of the work of two great artists, Maria Callas and Herbert von Karajan. Re-mastering techniques have been used in preparing these post, but some variations in sound quality remain. Click to activate the English subtitles for the complete presentation (00:00-03:33)
Rossini - Il Barbiere Di Siviglia, Largo al factotum, Synopsis (Maria Callas,Alva,Gobbi - Cent.rec.) : • Rossini - Il Barbiere ...
Maria Callas - 90 Opera Arias, Carmen, Norma, Tosca, Traviata, Butterfly.. NEW MASTERING (Ct.rec.) : • Maria Callas - 90 Oper...

[@classicalmusicreference]

Gaetano Donizetti (1797-1848) Lucia di Lammermoor: Opera in three acts. Click to activate the English subtitles for the presentation (00:00-03:33) 00:00 Preludio ATTO PRIMO / Scena Prima 02:01 Percorrete le spiaggie vicine (Normanno/Coro) 04:29 Tu sei turbato!... E n'ho ben d'onde 07:21 Cruda, funesta smania... (Enrico/Raimondo/Normanno) 09:40 Il tuo dubbio è omai certezza... Come vinti da stanchezza (Coro/Normanno/Enrico/Raimondo) 11:51 La pietade in suo favore (Enrico/Raimondo/Coro) Scena seconda 13:53 Ancor non giunse! 18:15 Regnava nel silenzio… (Lucia/A/isa) 26:55 Egli s'avanza... Lucia, perdona se ad ora inusitata (Alisa/Edgardo/Lucia) 29:26 Sulla tomba che rinserra... 32:33 Qui di sposa eterna fede... Ah! Soltanto il nostro foco 35:03 Ah! Verranno a te sull'aure... (Edgardo/Lucia) ATTO SECONDO / Scena prima 40:05 Lucia fra poco a te verrà... Tremante l'aspetto (Normanno/Enrico) 43:09 Appressati, Lucia (Enrico) 44:15 Il pallor funesto, orrendo 48:15 Soffriva nel pianto... Un folle t'accese 52:04 Che fia?... Suonar di giubilo 53:26 Se tradirmi tu potrai... Tu che vedi il pianto mio (Lucia/Enrico) Scena seconda 55:33 Per te d'immenso giubilo... Per poco fra le tenebre (Coro/Arturo) 59:09 Dov'è Lucia?... Qui giungere or la vedrem (Arturo/Enrico) 1:00:59 Piange la madre estinta... (Enrico/Lucia/Arturo/Raimondo) 1:03:25 Chi mi frena in tal momento? (Edgardo/Enrico/Lucia/Raimondo/Arturo/Alisa/Coro) 1:10:55 T’allontana, sciagurato...Rispettate in me di Dio... (Arturo/Enrico/Coro/Edgardo/Raimondo) 1:12:11 Sconsigliato! ln queste porte chi ti guida? (Enrico/Edgardo/Raimondo/Lucia/Coro) 1:14:13 Esci, fuggi, il furor che mi accende (Arturo/Enrico/Coro/Raimondo/Lucia/Edgardo/Alisa) ATTO TERZO / Scena prima 1:16:17 Per te d’immenso giubilo… s’innalzi un grido (Coro/Raimondo) 1:18:39 Dalle stanze ove Lucia (Raimondo) 1:21:30 Oh! Qual funesto avvenimento' (Coro/Raimondo) 1:24:58 Il dolce suono...Ardon gli incensi (Lucia/Raimondo/Normanno/Coro) 1:37:19 Spargi d'amaro pianto (Lucia/Raimondo/Coro/Enrico) Scena seconda 1:41:26 Tombe degli avi miei 1:45:44 Fra poco a me ricovero darà negletto avello (Edgardo) 1:49:18 Oh meschina! Oh fato orrendo! 1:53:43 Tu che a Dio spiegasti l'ali (Coro/Edgardo/Raimondo) Lucia MARIA CALLAS Edgardo GIUSEPPE DI STEFANO Enrico ROLANDO PANERAI Raimondo NICOLA ZACCARIA Arturo GIUSEPPE ZAMPIERI Alisa LUISA VILLA Normanno MARIO CARLIN Coro del Teatro alla Scala di Milano Chorus Master: Norberto Mola RIAS Sinfonie-Orchester Berlin conducted by HERBERT VON KARAJAN Live recording in 1955, at Berlin New mastering in 2021 by AB for CM//RR 🔊Find CMRR's recordings on Spotify : spoti.fi/3016eVr 🔊Download CMRR's recordings in High fidelity audio : bit.ly/2M1Eop2 This recording of a performance on 29 September, 1955, at the Berlin Staatsoper is released because of its importance as a document of the work of two great artists, Maria Callas and Herbert von Karajan. Re-mastering techniques have been used in preparing these post, but some variations in sound quality remain. Click to activate the English subtitles for the complete presentation (00:00-03:33) Rossini - Il Barbiere Di Siviglia, Largo al factotum, Synopsis (Maria Callas,Alva,Gobbi - Cent.rec.) : kzbin.info/www/bejne/a2iVlIxuYsaJhKM Maria Callas - 90 Opera Arias, Carmen, Norma, Tosca, Traviata, Butterfly.. NEW MASTERING (Ct.rec.) : kzbin.info/www/bejne/jIaUdI2Net-EeqM

[@classicalmusicreference]

SYNOPSIS. The action takes place in Ravenswood Castle and its grounds, set in a mountainous district of Scotland, about the year 1700. The atmospheric Prelude is introduced by a timpani roll and sombre chords first for horns, then trombones, leading to three climactic dissonances and ending with a mournful trombone ostinato. ACT ONE. Scene 1: The castle grounds Enrico, lord of Ravenswood, together with his chaplain Raimondo, his head forester Normanno and other retainers, is searching the woods for traces of a mysterious stranger who has been recently sighted there. Enrico explains to Normanno that he fears the stranger is in fact Edgardo, true heir to the former owner of Ravenswood, whose title and estates he (Enrico) has usurped. In addition, he is concerned because his sister Lucia is refusing the hand of the only man whose influence could now save him from disgrace. Then Normanno voices the suspicion that Lucia is in love with Edgardo and has been meeting him secretly in the park every morning. Enrico, in an outbreak of fury, launches into a diatribe against Lucia. The retainers come back to say they have confirmed that Edgardo has been identified as the stranger they have been searching for. Enrico swears vengeance on Lucia and Edgardo, refusing to listen to Raimondo's pleas on Lucia's behalf. Scene 2: By a fountain in the park Lucia is waiting with Alisa, her confidante, to meet Edgardo. Alisa warns that it is dangerous to come here now that Enrico suspects it is their meeting place, and Lucia admits her fear too, for a girl had been killed by her jealous lover by this fountain. Lucia recounts to Alisa how she had once seen the murdered girl's host appear from the water and beckon to her before sinking back again, leaving the previously clear water tinged with blood. Alisa interprets this as a bad omen, but Lucia declares the ecstasy of her love overcomes all her fears. Edgardo arrives, and Alisa withdraws to keep watch. Edgardo apologises for asking Lucia to meet him at this unusual hour, explaining that he is being sent to France the following day on matters of state. He tells her that before leaving he wants to present himself to Enrico, offer him friendship and ask for her hand. When Lucia begs him to keep their love a secret from her brother, Edgardo bursts out into anger against the man who has deprived him of his heritage. Edgardo tells her that he had sworn an endless war on Enrico, and that only when he saw her, Enrico's sister, did his anger abate but it might yet be rekindled. Lucia begs him to yield instead to love, Bidding Lucia swear evermore to be his true and faithful wife, Edgardo places a ring on her finger, joining his fate with hers. She gives him a ring in return, pledging herself his wife. As they part, Lucia says that when her sighs reach him on the breeze he must then drop a tear of remembrance on the ring she has given him. Finally Edgardo reminds her of her promise. ACT TWO. Scene 1: Enrico's apartments in the castle Enrico, who is awaiting Lucia, confides to Normanno that he is afraid lest she will still refuse to marry Arturo, the influential nobleman whose support he needs and who is expected to arrive for the wedding at any moment. Normanno assures him that Edgardo's letter to Lucia has been intercepted and a forged letter prepared that suggests he is in love with another woman. When Lucia arrives Enrico sends Normanno to meet the bridegroom and then reproaches his sister for her woeful looks on the eve of her wedding. She in reply accuses him of causing her suffering by his harshness towards her. He tries to cheer her by declaring he is no longer angry with her, which prompts her to declare that she cannot marry Arturo because she is already plighted to another. Enrico then shows her the forged letter, which he says proves that Edgardo is heartless and false to hen Completely deceived, Lucia laments that Edgardo has indeed betrayed her. Sounds of rejoicing, heralding the arrival of the bridegroom, reach them from below, and Enrico plays his last card. As a loyal sister she must marry Arturo, who alone can save him from a traitor's death. Scene 2: The great hall of the castle Wedding guests congratulate Arturo on his imminent marriage, and in return he promises to restore the fortunes of their clan, which have recently been under a cloud. He offers Enrico his friendship and protection. When Arturo asks for Lucia, Enrico assures him that she will arrive in a moment, adding that if she appears sad it is because she is still grieving for their mother, who died only a short time before. Impatiently, Arturo asks if there is any truth in the rumour that couples Lucia's name with that of Edgardo. Enrico repeats the excuse of family mourning just as Lucia enters in an obvious state of despondency. When Arturo is presented to her, she flinches momentarily, at which Enrico whispers a warning to her. Offering vows of love Arturo leads her forward to sign the marriage contract. As they do so there are sounds of a disturbance in the hall. It is Edgardo who breaks upon the scene, checking his anger only when he sees Lucia faint. Enrico is torn between his hatred of Edgardo and sudden pity for Lucia. Lucia regains consciousness only to fall into deep despair, which arouses the sympathy of Arturo and Raimondo amidst the general confusion of the wedding guests. Enrico and Arturo then draw their swords and threaten Edgardo, who prepares to fight them. Raimondo steps between them, telling them to set aside their weapons. When Enrico demands to know what has brought Edgardo so rashly to the castle of his enemies, the latter replies that he has come to claim Lucia, who is pledged to him. When he is shown the marriage contract, Edgardo asks Lucia if the signature on it is hers. When she admits it, Edgardo gives back to her the ring she had given him, demanding his own in return. Refusing to listen to her remonstrances he curses the moment he came to love her. Enrico, Arturo and the guests urge Edgardo to leave, but he throws aside his sword and invites them to kill him. Raimondo also urges him to leave, as Lucia sighs there is no hope for her and calls upon God to protect Edgardo, so he finally departs. ACT THREE . Scene 1: The great hall of the castle Arturo and Lucia having retired, the wedding festivities are continuing in full swing until Raimondo rushes in calling for silence. He has terrible news. El He relates how, hearing a cry of pain from the room into which the bridal couple had retired, he hastened there to find Arturo lying dead on the floor steeped in blood. Lucia, clutching a dagger, was wildly asking for her husband. It was clear that she had lost her reason. The guests cry out in horror at what they have just heard. In a moment Lucia appears, dishevelled and distraught. In her delirium she first imagines she is with Edgardo once more, then speaks of the apparition at the fountain, which she fears has come to separate them. Next she imagines they are about to be married and anticipates their happiness together. Still lost in her visions, she recalls Edgardo's cursing of her. and begs him not to forsake her. The guests voice their pity for her, while Enrico, who has returned, first denounces her until Raimondo draws his attention to her sad condition. Finally she promises to pray for Edgardo in heaven, where she will await him. Scene 2: The tombs of the Ravenswoods At the nearby castle of Wolf's Crag, Edgardo is waiting to fight a duel with Enrico among the tombs of his forefathers. He has no wish to continue living parted from Lucia, and longs only to run upon his enemy's sword. He rails against the faithless Lucia. He gloomily thinks of the neglected grave in which he will soon lie. Some people of Lammermoor pass by, lamenting that there is no hope that Lucia will live more than a few hours. Edgardo questions them, to be told she has been driven out of her mind, and now as she is dying calls out his name. As a funeral bell begins to toll Edgardo decides to go to Lucia, but Raimondo arrives in time to stop him. Lucia is i dead, he announces.

[@sagecade5819]

I realize Im quite randomly asking but do anybody know a good site to stream new movies online?

[@andersramon4207]

@Sage Cade i would suggest flixzone. You can find it by googling :)

[@tateharlan4207]

@Anders Ramon Yup, I've been watching on flixzone for years myself =)

[@sagecade5819]

@Anders Ramon Thank you, signed up and it seems like a nice service :) Appreciate it!

[@giuseppecuscani-gp4pj]

Il pubblico a sempre amato Di Stefano più di ogni altro per la sua unicità il suo fraseggio puntuale il colore della sua voce unico ed inimitabile!

[@rolandoborchi6870]

Quando l'opera lirica fu creata alla fine del 500, il Caccini disse: dovrà essere un recitar cantando, e Di Stefano eseguiva così le opere che cantava!

[@ThePressingMatters]

Do Stefano was the biggest surprise for me. I loved his beautiful voice throughout this performance. I will be looking for his name going forward.

[@Mahlerweber]

Stefano and Callas are too amazing to describe with words.

[@МинаГруман]

Какое счастье ,что мы имеем возможность услышать это непревзойденное исполнение божественной оперы.не было и не будет лучшей Лючии.

[@orion8835]

Everything about this Berlin Lucia is extraordinary. An incredible audio recorded document on how an Italian opera that was relegated a vehicle for canary sopranos, wailing tenors and gruff baritones was played vibrant and full and reached stronger levels of interpretation in a live performance. From the orchestra, chorus and soloists the phrasing/accents were unified in characterful way. This performance tilts towards Lucias mad scene and beyond to Edgardos suicide in an incredibly convincing way. In so many other recordings/performances before this and after, the opera can feel like a romantic, almost silly drama that plays soapy and shrill. Here it’s plangent, throbbing and explosive with just the right amount of elegiac lyricism. One of the best compositions of musical works to ever come out of Italy captured here forever.

[@rosernabona9364]

Di Stefano ... magistral

[@paologasperini2998]

Callas divina! Pippo Di Stefano inarrivabile!

[@eberlinpascal2837]

Une Lucia superlative .Dans le premier air et la cabalette " quando rapita in estasi " : une précision incroyable dans les nuances ,les couleurs ,avec des trilles extrêmement précis , un phrasé ,une dynamique ,des notes aiguës sûres ,avec le contre ré final superbe .Une Lucia incomparable !

[@SteveODonnell25]

A Lucia for the ages which will never be surpassed.

[@celesteaida48]

Pippo ….what to say about him! Just the one and only Pippo! Quanto eri magnifico Pippo!

[@soulisoikonomou5798]

Superhuman Callas !!! Maria the breath of God !!!

[@giuseppecuscani-gp4pj]

Maria e Pippo Di Stefano sono stati i più grandi interpreti di questa opera di tutti i tempi!

[@ThePressingMatters]

I will take your word on it! They are superb.

[@rosernabona9364]

Donizetti amb Lucia es .....beautiful ❤

[@BellaFirenze]

A great performance. Bravissimi tutti!

[@paullewis2413]

R.I.P. Rolando Panerai Oct. 2019 last of the great baritones of the golden age. Legendary performance. "The action takes place in Ravenswood Castle and its grounds, set in a mountainous district of Scotland, about the year 1700". That is providing you don't go to most current opera house productions where it's more likely to take place in a car factory or supermarket the product of some upstart director who thinks he/she knows better than the composer. Maria predicted the death of opera way back in the 70's and boy was she so right.

[@lanelederer175]

I guess you didn't get to St Pete, FL in March for 3 riotous sold out performances of Turandot? We'll try again in June with our Lucia. Callas and Panerai sadly will not be there, but Opera will be, and truly alive.

[@paullewis2413]

@@lanelederer175 Well if you have any singers that can come within light years of Callas, di Stefano or Panerai then you’re very lucky indeed and I wish you every success. The Met and La Scala can’t manage it these days 😊

[@RichardWagner-hi4zn]

@@lanelederer175 Nowadays you can go to the opera only after forgetting the old times and by greatly lowering your expectations.

[@fredsharp7419]

Breathtaking at times - even though Karajan is often to heavy-handed for my taste. A thousand thanks for this brilliant re-mastering. You cannot know how deeply appreciated this is by real opera fanatics...

[@celesteaida48]

Agree about Karajan

[@AGMundy]

Your comment about Karajan made me smile. He can be somewhat ponderous.

[@yehweita]

This is the best Lucia recording ever imo… everyone was on fire for the night…

[@birsengulcakir9768]

@@yehweita kpoopo

[@marquefan1]

Don't forget this is the RIAS Symphony Orchestra, very good but not La Scala or Wiener Staatsoper.

[@道-p2e]

Wow! The best pair and the conductor....unbeatable. Bravo!

[@jenylogan1]

Sublime, the definitive Lucia !

[@Skits10]

Потрясающе!Величие Каллас отчетливо видно при сравнении её пения даже с современниками,не говоря о нынешних.Лючию,Норму никто никогда так не пел.

[@SuzanaAffonso-b8z]

Maravilha!!!! Amo esta Opera!!!! Cresci ouvindo!!!!

[@rubyperkins]

Wow. I've listened to the old edition of this opera dozens of times, and I've never heard the clarity of sound like this. Thanks

[@rosernabona9364]

La Callas ... sensacional

[@gaddovarzi6980]

Non c'è niente da fare, quando ascolti una registrazione di Karajan, anche della più conosciuta e ascoltata delle opere, scopri sempre qualcosa di nuovo, ti sembra sempre in qualche modo diversa. Grandissimo genio.

[@claudiopersi9925]

Pippo e Maria indimenticabili, la storia dell'interpretazione del bel CANTO lirico. Cast eccezionale...

[@vector8310]

Hands down my favorite recording of Lucia.

[@jaburadvocacia261]

Chilling, compelling, mesmerizing, alluring, enchanting.........perfect, just perfect. Sounds and voices that flow and dance perfectly like the waves of the sea.

[@gaynomadic]

No one has ever been a better Lucia in my experience. And I’ve listened to so many times. This is the perfect recording. I can’t hear it often enough. La Divina

[@SuperLeonardo40]

Shuterland maybe?

[@gaynomadic]

@@SuperLeonardo40 you mean Sutherland? No. I’m Australian, and loved Dame Joan, she was amazing. I saw her in Lucia. Loved it. But Callas was the best.

[@Xelth4]

whwy is callas a better lucia than sutherland? @@gaynomadic

[@gaynomadic]

@@Xelth4 It’s a debatable preference, but Callas in the live recording conducted by Leonard Bernstein is incredible. I’ve never heard the mad scene sung so well, she just has such amazing control, the way she and the flautist communicate like two perfectly balanced instruments. It’s quite amazing. Even Callas was surprised and said later she doesn’t quite know how she did it.

[@Xelth4]

bernstein? you meant karajan? 1955 lucia And Sutherland sang it worse? or less good? @@gaynomadic

[@ТатьянаБугрова-ь9ш]

Какое счастье, что есть ТАКИЕ таланты! И эти голоса сохранились для нас. Таких певцов можно слушать бесконечно. Столько экспрессии! Какая виртуозность! 🌹🌹🌹🌹🌹🌹🌹💖💖💖👏👏👏👏

[@canman5060]

Divina Callas !

[@legrandmaitre7112]

I've owned this electrifying performance from a pirate vinyl box, to a pirate CD set, to the first EMI 2 CD issue, to the magnificent La Divina 2 CD edition from Pablo in Argentina. This is opera at its very very best. Callas is immortal - her star shines ever brighter.

[@notaire2]

Wunderschöne und dramatische live Aufführung dieser romantischen und perfekt komponierten Oper mit herrlichen Stimmen aller unvergleichlichen Solisten und gut harmonisierten Stimmen des ausgezeichneten Chors sowie gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der ebenso unvergleichliche Maestro dirigert das perfekt trainierte Orchester im lebhaften Tempo und mit möglichst effektiver Dynamik. Die verbesserte Tonqualität ist auch erstaunlich hoch als eine originale live Aufnahme von sechsundsechzig Jahren vor. Alles ist wunderbar!

[@agellalalaouni]

Με υπερηφάνεια τραγούδησα κι εγώ Lucia και ευχαριστώ που μ,αυτή την ηχογράφηση εκλαψα από υπερηφάνεια για την μοναδική Μαρία μας κι όλους τους άλλους υπέροχους καλλιτέχνες έχοντας μέσα στην ψυχή μου την μορφή της Μαρίας μας στην Επίδαυρο Norma που εγώ παιδί ακόμα ήμουν στην χορωδία και μου έχει γραφτεί στην ψυχή μου αυτό το Θεϊκό πλάσμα η Μαρία μας( τα μάτια μου είναι δακρυσμένη) Αγγέλα Λαλαούνη υψηφωνος κολορατουρα Λυρικής και πολλών Λυρικών σκηνων

[@gr__msk]

υπάρχει περίπτωση να βρεθεί η ηχογράφηση της Κάλλας στην Επίδαυρο;;; ή έχει χαθεί για πάντα; δεν μπορώ ούτε να διανοηθώ πόσο συγκινητική και αξέχαστη είναι η εμπειρία σας!

[@ИгорьТрошков-ч9ч]

Тебе спасибо дивная Италия. За дар богов, за эти голоса. Что будут вечно петь на небосклоне. Там будет жить моя душа.

[@pugh.joseph]

And the Greeks (Callas is Greek)

[@annabelej8021]

Karajan came from a family of Austrian, Romanian and Greek descent. He was born when the Austro-Hungarian Empire still existed. Donizetti and di Stefano were Italians.

[@alfredsong6841]

Miles Grazies! Magnifico!!! Bravo!!! The One and Only Maria Callas could sing 'Lucia' !!!

[@johnwarner8569]

Panerai is fabuco !! Best recording of t his great opera

[@seanmchugh840]

This is one of Karajan’s series of extraordinary operas from the fifties, a live recording from Berlin, providing security but along with buffa declamation and the spirits of the idiom; passion and ensemble guide the strong cast, justice done to the Donizetti fizz if through the Germanic angle and the inexorable culmination as in Karajan’s second Aida. This performance is also Callas at her technical peak with great immediacy and flexibility coupled with cutting intelligence investing every moment and every number’s shaping, soaring Wagnerian power brought to Italian light opera. Stafano consistently and small-mindedly over-dramatizes but he can sing with fullness and accuracy. The traditional cuts however make for relentless results and making it more of a froth-fest; all in superb remastering here.

[@RichardTaylor1630]

It's a drama about madness, delirium, betrayal, love, power and intrigue. I see no reason to complain about "over-dramatizing."

[@robertb7636]

This is fenomenal performance, love it, I think 2022 will be my year of listening to more of great operas.

[@johnamaral1786]

Sublime...and the way opera was meant to be performed - live before a full house! Nothing else like it! You can feel the electricity in the performance from this exceptional recording. Callas, Di Stefano, Von Karajan...sublime. L854C62V34781/:-)

[@ivanscotton6163]

Com respeito às grandes sopranos, mas a voz da Callas é inconfundível ❤.

[@samitobribiesca6320]

MAGNIFIQUE , MERVEILLEUSEMENT , OPERA, TRAGIQUE, PRODIGUX MERCI

[@CaroleHoldem-lh4np]

Donizetti,Lucia Di Lammermoor ,⭐️Bravo ,Just Wonderful to listen to .🎶🎶✨✨🌹🎶@Classical Music /Reference =7-10pm⭐️

[@yoanadineva4824]

Arturo is perfect ! Bravo 🎵

[@celesteaida48]

La mia condanna ho scritto….heartbreaking! No one like her ever again…OMG!

[@PainKillersHell]

1:24:58 is in the movie "The Fifth Element", Both versions are incredible!

[@annabelej8021]

Mad scene

[@Dlmr457]

Superb, one of those exquisitely rare occasions! A big boo however to those members of the audience, then as now, who cannot refrain from coughing out loud. It is incredibly inconsiderate to both the performers as well as other audience members. I have attended over the last 45 years around 350+ live performances and even when feeling under the weather, never felt the compulsion to belt out my germs over those around me while also disturbing the very magic of the musical moment. An arm sleeve or a handkerchief suffices to muffle coughing yet too many still live in their own hemisphere depleted of self awareness.

[@classicalmusicreference]

SYNOPSIS. The action takes place in Ravenswood Castle and its grounds, set in a mountainous district of Scotland, about the year 1700. The atmospheric Prelude is introduced by a timpani roll and sombre chords first for horns, then trombones, leading to three climactic dissonances and ending with a mournful trombone ostinato. ACT ONE. Scene 1: The castle grounds Enrico, lord of Ravenswood, together with his chaplain Raimondo, his head forester Normanno and other retainers, is searching the woods for traces of a mysterious stranger who has been recently sighted there. Enrico explains to Normanno that he fears the stranger is in fact Edgardo, true heir to the former owner of Ravenswood, whose title and estates he (Enrico) has usurped. In addition, he is concerned because his sister Lucia is refusing the hand of the only man whose influence could now save him from disgrace. Then Normanno voices the suspicion that Lucia is in love with Edgardo and has been meeting him secretly in the park every morning. Enrico, in an outbreak of fury, launches into a diatribe against Lucia. The retainers come back to say they have confirmed that Edgardo has been identified as the stranger they have been searching for. Enrico swears vengeance on Lucia and Edgardo, refusing to listen to Raimondo's pleas on Lucia's behalf. Scene 2: By a fountain in the park Lucia is waiting with Alisa, her confidante, to meet Edgardo. Alisa warns that it is dangerous to come here now that Enrico suspects it is their meeting place, and Lucia admits her fear too, for a girl had been killed by her jealous lover by this fountain. Lucia recounts to Alisa how she had once seen the murdered girl's host appear from the water and beckon to her before sinking back again, leaving the previously clear water tinged with blood. Alisa interprets this as a bad omen, but Lucia declares the ecstasy of her love overcomes all her fears. Edgardo arrives, and Alisa withdraws to keep watch. Edgardo apologises for asking Lucia to meet him at this unusual hour, explaining that he is being sent to France the following day on matters of state. He tells her that before leaving he wants to present himself to Enrico, offer him friendship and ask for her hand. When Lucia begs him to keep their love a secret from her brother, Edgardo bursts out into anger against the man who has deprived him of his heritage. Edgardo tells her that he had sworn an endless war on Enrico, and that only when he saw her, Enrico's sister, did his anger abate but it might yet be rekindled. Lucia begs him to yield instead to love, Bidding Lucia swear evermore to be his true and faithful wife, Edgardo places a ring on her finger, joining his fate with hers. She gives him a ring in return, pledging herself his wife. As they part, Lucia says that when her sighs reach him on the breeze he must then drop a tear of remembrance on the ring she has given him. Finally Edgardo reminds her of her promise. ACT TWO. Scene 1: Enrico's apartments in the castle Enrico, who is awaiting Lucia, confides to Normanno that he is afraid lest she will still refuse to marry Arturo, the influential nobleman whose support he needs and who is expected to arrive for the wedding at any moment. Normanno assures him that Edgardo's letter to Lucia has been intercepted and a forged letter prepared that suggests he is in love with another woman. When Lucia arrives Enrico sends Normanno to meet the bridegroom and then reproaches his sister for her woeful looks on the eve of her wedding. She in reply accuses him of causing her suffering by his harshness towards her. He tries to cheer her by declaring he is no longer angry with her, which prompts her to declare that she cannot marry Arturo because she is already plighted to another. Enrico then shows her the forged letter, which he says proves that Edgardo is heartless and false to hen Completely deceived, Lucia laments that Edgardo has indeed betrayed her. Sounds of rejoicing, heralding the arrival of the bridegroom, reach them from below, and Enrico plays his last card. As a loyal sister she must marry Arturo, who alone can save him from a traitor's death. Scene 2: The great hall of the castle Wedding guests congratulate Arturo on his imminent marriage, and in return he promises to restore the fortunes of their clan, which have recently been under a cloud. He offers Enrico his friendship and protection. When Arturo asks for Lucia, Enrico assures him that she will arrive in a moment, adding that if she appears sad it is because she is still grieving for their mother, who died only a short time before. Impatiently, Arturo asks if there is any truth in the rumour that couples Lucia's name with that of Edgardo. Enrico repeats the excuse of family mourning just as Lucia enters in an obvious state of despondency. When Arturo is presented to her, she flinches momentarily, at which Enrico whispers a warning to her. Offering vows of love Arturo leads her forward to sign the marriage contract. As they do so there are sounds of a disturbance in the hall. It is Edgardo who breaks upon the scene, checking his anger only when he sees Lucia faint. Enrico is torn between his hatred of Edgardo and sudden pity for Lucia. Lucia regains consciousness only to fall into deep despair, which arouses the sympathy of Arturo and Raimondo amidst the general confusion of the wedding guests. Enrico and Arturo then draw their swords and threaten Edgardo, who prepares to fight them. Raimondo steps between them, telling them to set aside their weapons. When Enrico demands to know what has brought Edgardo so rashly to the castle of his enemies, the latter replies that he has come to claim Lucia, who is pledged to him. When he is shown the marriage contract, Edgardo asks Lucia if the signature on it is hers. When she admits it, Edgardo gives back to her the ring she had given him, demanding his own in return. Refusing to listen to her remonstrances he curses the moment he came to love her. Enrico, Arturo and the guests urge Edgardo to leave, but he throws aside his sword and invites them to kill him. Raimondo also urges him to leave, as Lucia sighs there is no hope for her and calls upon God to protect Edgardo, so he finally departs. ACT THREE . Scene 1: The great hall of the castle Arturo and Lucia having retired, the wedding festivities are continuing in full swing until Raimondo rushes in calling for silence. He has terrible news. El He relates how, hearing a cry of pain from the room into which the bridal couple had retired, he hastened there to find Arturo lying dead on the floor steeped in blood. Lucia, clutching a dagger, was wildly asking for her husband. It was clear that she had lost her reason. The guests cry out in horror at what they have just heard. In a moment Lucia appears, dishevelled and distraught. In her delirium she first imagines she is with Edgardo once more, then speaks of the apparition at the fountain, which she fears has come to separate them. Next she imagines they are about to be married and anticipates their happiness together. Still lost in her visions, she recalls Edgardo's cursing of her. and begs him not to forsake her. The guests voice their pity for her, while Enrico, who has returned, first denounces her until Raimondo draws his attention to her sad condition. Finally she promises to pray for Edgardo in heaven, where she will await him. Scene 2: The tombs of the Ravenswoods At the nearby castle of Wolf's Crag, Edgardo is waiting to fight a duel with Enrico among the tombs of his forefathers. He has no wish to continue living parted from Lucia, and longs only to run upon his enemy's sword. He rails against the faithless Lucia. He gloomily thinks of the neglected grave in which he will soon lie. Some people of Lammermoor pass by, lamenting that there is no hope that Lucia will live more than a few hours. Edgardo questions them, to be told she has been driven out of her mind, and now as she is dying calls out his name. As a funeral bell begins to toll Edgardo decides to go to Lucia, but Raimondo arrives in time to stop him. Lucia is i dead, he announces.

[@sakuntalabasu1493]

Wonderful music, fantastic remastering, many many thanks

[@mhercilia.tarlatarla2869]

Bravooo! Grazie.

[@ivanscotton6163]

Uma coisa é certa. Estavam no auge da carreira.

[@ramonduarte6893]

Esta versión de la Ópera Lucia de Lammermoor dirigida por el Maestro Herberth Von Karajan y cantado por la Soprano Maria Callas y el Tenor Giuseppe Di Stefano es una de las mejores versiones de la Ópera y donde Maria Callas emite los agudos mas brillantes y mas bellos de la Ópera. Es de recordar que esa noche por culpa de los aplausos a Callas. Di Stefano se molesto y no salio a saludar al Publico. BELLEZAS DE LA ÓPERA

[@giuseppecuscani-gp4pj]

La coppia del secolo, cmq Di Stefano nel fraseggio spesso e stato più puntuale della Callas pur riconoscendone le sue capacita artistiche ed essendo suo ammiratore!

[@fabriziogarzi9892]

​@@giuseppecuscani-gp4pjcosa intendi per "puntuale" piu' della Callas?

[@classicalmusicreference]

This recording of a performance on 29 September, 1955, at the Berlin Staatsoper is released because of its importance as a document of the work of two great artists, Maria Callas and Herbert von Karajan. Re-mastering techniques have been used in preparing these post, but some variations in sound quality remain. Click to activate the English subtitles for the complete presentation (00:00-03:33)

[@somersetuk525]

And Di Stefano !!!

[@ilirllukaci5345]

Incredible even for Karajan.

[@lublondon]

What that supposed to mean?😮

[@ilirllukaci5345]

​@@lublondonEven by his standards. He actually found Maria Callas easy to deal with.

[@lublondon]

God and Goddess in heaven of music … Jahrhundertkünstler

[@ilirllukaci5345]

@@lublondon I think she was too human, too much of a woman, to be a goddess. Which from me is a compliment. Granted I was never one to swoon when I heard the name Callas. She was a great artist and a quintessential woman. Which is to say crazy. I'm a chauvinist I admit. I think she was in love with Distefano. I think she was Onassis' b*tch. But I think she worshipped Karajan, as some men have to be. (Ahem!) In that way they had a symbiotic relationship of mutual respect. Eugen Jochum famously said that there was no place for Democracy in symphonic music. As unpopular as this may sound, I am personally am not of the opinion that there is in the opera house either. Psychiatrically speaking if you will, I think that it is obviously no coincidence that Karajan simultaneously calmed Maria Callas and brought out her artistic best and most intelligent. Note that I allow for the technical supremacy of Tullio Serafin with Callas. But I always looked for the artistic personality in operatic voice, and left the rest to technicians. Cheers!

[@rosernabona9364]

Congratulations

[@rosernabona9364]

Anirem al Palau de la Musica que hi ha ....la nostra Boheme , serem tots els melomans del Liceu amb la Boheme ❤

[@loicrenier7619]

Magique du début à la fin!

[@dejanstevanic5408]

Superb. Thank you.

[@LLB-wg5xt]

Amazing ❤Thank you 🙏

[@rosernabona9364]

Aquesta Lucia ...... tambe es de les meves predilectes. ❤

[@litoralnorteweb8476]

Callas & Di Stefano.... a perfeição existe

[@somersetuk525]

Finest yet Lucia recording 1954, like her Norma in 1955, Di Stefano better than Pavarotti in Lucia aria's. No yelling or overdoing as Donizetti would admire.

[@somersetuk525]

Remember Callas had her weight in the 50's. ?

[@somersetuk525]

Wonderful opera days and time to enjoy a full life.

[@trainklipp]

....the best Lucia👌

[@hectorprieto2136]

Que dificil elección entre María Callas -Joan Sutherland/Giusepe Di Stefano- Luciano Pavarotti. Ambas versiones , insuperables

[@rubenramirez8706]

La Divina Callas.

[@carloandriollo6210]

Karajan divino!

[@rosernabona9364]

sensacional

[@alfredsong6841]

Forgot to mention the Great 'Maestro', Herbert Von Karajan, who is one to come to this World in 100 years!

[@aka_massi]

Gosh this is just perfect 🥺❤️

[@jkphonix]

Riferimento irraggiungibile 🙏

[@ilonapetru8626]

Wonderful

[@hansrichardnohrer2834]

Sehr gute besetzung

[@liguten]

La plus grande LUCIA.

[@cristianaguilar8032]

unbeliveable!

[@222mozart]

Eterna

[@rosernabona9364]

lucia di lammeroor es una opera de les meves predilectes de Donizzetti ❤

[@RichardTaylor1630]

Di Stefano is absolutely stunning here. I'm sorry if he felt that the audience got carried away with its response to Callas and would not have accorded him adequate respect at his turn. I would rather listen to him than her, and would have worn my hands out applauding him. E.g., at 1:15:48 she is a bit shrill, but that adjective never applies to him.

[@carlnuernberg3273]

No doubt...in whatever sense...a Masterpiece... WOW...1955 Callas and di Stefano... they were kids...!

[@canman5060]

Not quite !

[@carlnuernberg3273]

@@canman5060 I respect your perception.

[@ir3356]

Kids???? they were already at the top of their art lmao. Maria Callas was already "La Divina, queen of Alla Scala"

[@fabiohall]

Bravi!

[@petrus2803]

This is the reason why I love OPERA. Questo e il motivo.

[@mauriziosoverchia6651]

10 thumbs up for the best recording of Lucia until now

[@samuelhectornissinmann5018]

cada día canta mejor

[@trainklipp]

1954 Berlin: The Best Lucia ❤

[@JULIESIMONSOPRANO]

Callas is so far above Di Stefano. it makes moments of this recordings just weird. But Callas is other worldly. Orchestra glorious

[@tonyypolito]

I don't even know how to begin to say how unfair and, above all, unnecessary your comment is. Callas certainly didn't need it. And, perhaps because of ignorance, you don't know how much Di Steffano's interpretation, in this opera - even though he is not, in fact, among the top performers of the golden age - was really above average, overcoming, with artistic sensibility, the eventual technical deficiencies that, in fact, he had (but not so many...)

[@RichardTaylor1630]

@@JULIESIMONSOPRANO Fine. I disagree. I find DiStefano's performance here fantastic.

[@ЛюбовьПанычева-ь6э]

Ди Стефано великолепен!

[@ИльяЗакриевский-с4р]

Шикарный контент!

[@tenor_musictree]

1:12:48 Favorite

[@ИльяЗакриевский-с4р]

О.... то что нужно дяде Джону!

[@randazzo404]

Anyone who wants to know what La Callas was all about, forget all the hype and listen.

[@parkch1123]

1:24:58 Il dolce suono...Ardon gli incensi Oh my Lucia~~

[@sergiooliva5892]

Inarrivabili interpretazione di assoluto riferimento

[@sngsculture291]

Les Divins 🌹🌞

[@davidwei5908]

What a amazing performance of Maria Callas, Stefano & Karajan. Like 70 years later, always with someone coughing during the recording, Bad behaviour all the time. Is that the symbole of live recording?

[@BaroneVitellioScarpia1]

This is opera!

[@tomnob6030]

We have different years here. It was actually in 1955. And not in the Staatsoper but in Theater des Westens.

[@fernandoobregon6746]

La Opera más presiaza que he escuchado MN

[@milicaivanovic9459]

She was divina 🌹

[@ivanscotton6163]

Ainda não ouvi. Tenho a gravação dela com Ferruchio Tagliavini que é uma maravilha.

[@horiaganescu3948]

Gaetano Donizetti (not Donizetto)...

[@sedenyay4696]

Kendimi alıyorum kızgın kumlardan serin sulara bırakıyorum.. Derin sulardan çıkıp göğün mavisine doğru kanat çırpıyorum...ruhumu eşsiz hissediyorum muhteşem bir akış eşsiz bir seda...

[@kallasmarker3319]

Although this performance is highly praised among us, Callas fans, I much prefer the Lucia from the previous year at La Scala. Unfortunately the sound is really bad but in my opinion, Callas was in much better vocal shape in the 1954 performance. Her voice was much clearer and seemed to have much more high frequencies. On this one, her voice seemed to be more opaque and heavier (rounder. I personally prefer Squillo Callas) I still love 1955 but if I were to choose, I would definitely choose the 1954 in Milan, followed by her unbelievably dreamy, ethereal, floaty 1957 in Rome (although she was already struggling with the D and E flats) and then this one from 1955. It's just my personal choice.

[@folgoredasangimignano2422]

Yes its true, Callas voice 1954 has more superior frequency, at the end of 1955 the voice is less brilliant, even the singing art is spectacular

[@theurbangentry]

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