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Donizetti: Lucia di Lammermoor

Box Set, Import, Remastered

Gaetano Donizetti (Composer), Herbert von Karajan (Conductor), Berlin RIAS-Symphonie-Orchester (Orchestra), Format: Audio CD
4.7 4.7 out of 5 stars 40 ratings
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Audio CD, Box set, Original recording remastered, March 17, 1998
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Track Listings

Disc: 1

1 Lucia di Lammermoor: Act One: Scene One: Preludio - Rias SO Berlin
2 Lucia di Lammermoor: Act One: Scene One: Percorrete...Percorriamo le spiagge vicine - Carlin/Chor
3 Lucia di Lammermoor: Act One: Scene One: Tu sei turbato!... E n'ho ben d'onde - Carlin/Panerai/Zaccaria
4 Lucia di Lammermoor: Act One: Scene One: Cruba, funesta smania - Carlin/Panerai/Zaccaria
5 Lucia di Lammermoor: Act One: Scene One: II tuo dubbio e omai certezza...Come vinti da stanchezza - Chor/Carlin/Panerai/Zaccaria
6 Lucia di Lammermoor: Act One: Scene One: La pietade in suo favore - Panerai/Zaccaria/Chor
7 Lucia di Lammermoor: Act One: Scene Two: Ancor non giunse? - Callas/Villa
8 Lucia di Lammermoor: Act One: Scene Two: Regnava nel silenzio alta la notte e bruna - Callas/Villa
9 Lucia di Lammermoor: Act One: Scene Two: Quando rapito in estasi - Callas
10 Lucia di Lammermoor: Act One: Scene Two: Egli s'avanza...Lucia, perdona se ad ora inusitata - Villa/Stefano/Callas
11 Lucia di Lammermoor: Act One: Scene Two: Sulla tomba che rinserra il tradito genitore - Stefano/Callas
12 Lucia di Lammermoor: Act One: Scene Two: Qui di sposa eterna fede...Ah, soltanto il nostro foco - Stefano/Callas
13 Lucia di Lammermoor: Act One: Scene Two: Ah, talor del tuo pensiero venga un foglio messaggero - Stefano/Callas
14 Lucia di Lammermoor: Act One: Scene Two: Verranno a te sull'aure i miei sospiri ardenti - Stefano/Callas

Disc: 2

1 Lucia di Lammermoor: Act Two: Scene One: Lucia fra poco a te verra...Tremante l'aspetto - Carlin/Panerai
2 Lucia di Lammermoor: Act Two: Scene One: Appressati, Lucia...II pallor funesto, orrendo - Panerai/Callas
3 Lucia di Lammermoor: Act Two: Scene One: Soffriva nel pianto...Un folle t'accese - Panerai/Callas
4 Lucia di Lammermoor: Act Two: Scene One: Che fia?...Suonar di giubilo - Panerai/Callas
5 Lucia di Lammermoor: Act Two: Scene One: Se tradirmi tu potrai...Tu che vedi il pianto mio - Panerai/Callas
6 Lucia di Lammermoor: Act Two: Scene Two: Pre te d'immenso giubilo...Per poco fra le tenebre spari... - Chor/Zampieri
7 Lucia di Lammermoor: Act Two: Scene Two: Dov'e Lucia?... Qui giungere or la vedrem - Zampieri/Panerai/Chor
8 Lucia di Lammermoor: Act Two: Scene Two: Piange la madre estinta - Panerai/Callas/Zampieri/Zaccari
9 Lucia di Lammermoor: Act Two: Scene Two: Chi mi frena in tal momento - Stefano/Panerai/Callas/Zaccaria/Zampieri/Villa/Chor
10 Lucia di Lammermoor: Act Two: Scene Two: T'allontana, sciagurato...Rispettate in me di Dio - Zampieri/Panerai/Chor/Zaccaria
11 Lucia di Lammermoor: Act Two: Scene Two: Sconsigliato! In queste porte chi ti guida? - Panerai/Stefano/Zaccaria/Callas/Chor
12 Lucia di Lammermoor: Act Two: Scene Two: Esci, fuggi, il furor che m'accende - Zampieri/Panerai/Chor/Zaccaria/Callas/Stefano
13 Lucia di Lammermoor: Act Three: Scene One: D'immenso giubilo s'innalzi un grido - Chor/Zaccaria
14 Lucia di Lammermoor: Act Three: Scene One: Balle stanze ove Lucia tratta avea col suo consorte - Zaccaria
15 Lucia di Lammermoor: Act Three: Scene One: Oh! Qual funesto avvenimento! - Chor/Zaccaria
16 Lucia di Lammermoor: Act Three: Scene One: II dolce suono mi colpi di sua voce!...Ardon gli incensi - Callas/Zaccaria/Carlin/Chor
17 Lucia di Lammermoor: Act Three: Scene One: Spargi d'amaro pianto - Callas/Zaccaria/Chor/Panerai
18 Lucia di Lammermoor: Act Three: Scene Two: Tombe degli avi miei - Stefano
19 Lucia di Lammermoor: Act Three: Scene Two: Fra poco a me ricovero dara negletto avello - Stefano
20 Lucia di Lammermoor: Act Three: Scene Two: Oh, meschina! Oh, fato orrendo! - Chor/Stefano
21 Lucia di Lammermoor: Act Three: Scene Two: Tu che a Dio spiegasti l'ali - Stefano/Zaccaria/Chor

Editorial Reviews

Amazon.com

Lucia was another one of Callas's signature roles; in fact, one might argue that she made people listen to it in a manner they had neglected since its inception. Long the territory of canary-like high sopranos with no interest in drama (e.g., Lily Pons), Callas brought the role into the same dramatic focus it had been created for. At its premiere in 1835, members of the audience wept audibly at Lucia's lunacy. With her darker tone and psychological probing, Callas made us hear what was in the poor girl's soul--she was an innocent, tricked, abandoned, and driven mad. This live performance, in so-so sound (but absolutely worth it), is staggering in its musical and dramatic potency; something between Callas and Karajan was in the air that made them think, breathe, and create music as one. Callas ducks the first big E-flat in the Mad Scene for dramatic effect; the second one is all the more special for making us wait for it. And elsewhere Callas's "rightness" within the role is never in doubt. Costar Giuseppe di Stefano, too, is at his best, singing with ardor and gorgeous streams of sound, and the ensemble work is so spectacular that the audience demands--and gets--an encore of the 2nd Act sextet. Any collection of great opera recordings without this set is incomplete. --Robert Levine

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • Product Dimensions ‏ : ‎ 5.75 x 5 x 1 inches; 9.87 ounces
  • Manufacturer ‏ : ‎ EMI Classics
  • Date First Available ‏ : ‎ December 17, 2006
  • Label ‏ : ‎ EMI Classics
  • ASIN ‏ : ‎ B00000630V
  • Number of discs ‏ : ‎ 2
  • Customer Reviews:
    4.7 4.7 out of 5 stars 40 ratings

Customer reviews

4.7 out of 5 stars
4.7 out of 5
40 global ratings

Top reviews from the United States

a music fan
5.0 out of 5 stars Haunting
Reviewed in the United States on August 16, 2007
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I am a firm believer that without Callas there would not be too much Bel Canto opera being performed today.
This recording is an outstanding example why. I relistened to it as I am going to see the Met production in September had not heard it for a while.
I have other versions that are beautiful, with Sutherland and Sills. Callas made this rather absurd woman so believable that I hung on to every word sung and kept wanting more. With her I am not waiting for the high notes and the fanfare, its like watching a great play unfold.
Admittedly some of the high notes are screechy etc but its singing like this that resurrected this opera and made it more than a showcase for trilling.
Di Stefano is great as is Karajan's conducting.
For anyone reading this who has not heard the opera before...buy this recording before any others.
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JerryL87
5.0 out of 5 stars you can find better production value but not a better performance
Reviewed in the United States on August 7, 2015
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I'm probably not the first to say it, but this might be the definitive Callas performance of one of her signature roles, ably abetted by Karjan.Yes, you can find better production value than on this live recording, but I doubt you'll find a better performance.
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Johan
5.0 out of 5 stars La Divina at her best
Reviewed in the United States on July 26, 2003
I came, I read, and was so exasperated by the petty diva wars currently being perpetuated between supporters of Callas, Sutherland and Sills. It is clear that the individual merit of these artists matter little to those who have declared war. I had decided not to write anyting, because I admire all three of them, but when I realised that this recording, along with many other Callas recordings (as well as those of Sutherland and Sills), became the target of ill informed partisans, I was compelled to write.
You might ask why I chose to review a Callas recording, and in particular, this recording. There are three reasons: Firstly, I have already written a very positive review of Sutherland's second Lucia, in which I also praised Sills's recording. Second, it is time for someone to respond to some of the degrading critique regarding Callas's singing, which to me has now become very, very tedious. Thirdly, Callas was an operatic phenomenon - a unique singer with an exceptional range and impact which made her legendary even before her death.
This recording captures Callas in excellent voice, even though it is live and at some stages deteriorates a little (the general quality is actually quite good). At times the recording also has a "thin" or "sharp" quality to it. These, however, are of little concern if you focus on the music and what happens artistically. Callas sings "Regnava nel silenzio" with haunting intensity, the melody and musical line accentuated. Other singers add (excessive) fioritura at this point in an attempt to convey the drama of the narrative, but Callas never approved of unnecessary embellishments. This is part of the reason why her art is so readily misunderstood. To her, the drama of the opera was always more important than the fireworks. People tend to equate "bel canto" with vocal pyrotechnics or mere "beautiful singing", when in fact it is (in Callas's own words) "a schooling". It is a way of singing, a method through which one learns to sing. It is therefore very easy to listen to various recordings of the Mad Scene of this opera, search out the singer with the best display of vocal fireworks, and then hail her as the "queen" of bel canto and of opera.
What makes Callas different? What makes her approach unique? This very difficult to answer. One would tend to give complicated answers. When Callas was asked what she felt was the most important facet of performing music, she made a caressing gesture and answered: "You must make love to it." In this simple declarative sentence lies the essence of Maria's art. She created, through her voice and her devotion, a myriad of intensely involved emotions and colours. Bellini once proclaimed a "weeping in sound" as ideal for his tragic romantic operas. This suited Callas perfectly. But more than this, she could perfectly create an outraged tone. She could portray hatred, anxiety and pure madness. May I remind you that in this recording, Callas remained mainly motionless in the middle of the stage for the whole of the Mad Scene! She blew the audience away with her voice, gestures and her dramatic facial expressions! When you understand what she wants to do, what she wants to portray, you'd understand why she omits the first high e - flat in the Mad Scene. You will also cease your tiresome comments about her voice, because one cannot divorce the voice with what she did with it. It is true that listening to her is like listening to no other. She was like no other. Comparing her voice to others is futile. But if you can learn to love it, learn to recognise its beauty, the various timbres, you will be amazed by this rendition of Lucia.
I have also noticed that so many people proclaim their favourite soprano as the "Prima Donna Assoluta" or "Soprano Assoluta", thereby proclaiming her as the best. This title is often misunderstood and misused. Tulio Serafin once said of Callas: "That woman can sing anything written for the female voice". This embodies what was origanally meant by the categorization of "Soprano Assoluta" - a singer that transcended the traditional boundries and categories implictly and explicitly set for different female vocalists - someone who could sing both Kundry and Lucia, Norma and Anna Bolena, Medea and Violetta. In the previous century this was achieved by Callas alone. Her voice was characteristic of a forgotten age- that of the "soprano sfogato" or "soprano drammatico d'agilita". Of course she had her faults and vocal deficiencies, but she was the only soprano to sucessfully juxtapose roles that are (vocally speaking) worlds apart. Bruce Saxon made the following comments in this regard: "There are even a few sopranos that command vocal ranges as wide as that of Callas in her prime, and at least two command florid techniques which equal and at times surpass hers: Sutherland and Beverly Sills. All the notes are there, but the theoretical casting of Sills as Gioconda or Brunnhilde, Sutherland as Kundry or Carmen would be inappropriate, if not preposterous. Nor would Monserrat Caballé or Leontyne Price succeed on equal ground with Callas within the breadth of her repertoire. In these cases, vocal color, technical agility and approach would prove disappointing or unsuitable. Callas stands apart in that she was capable of actually changing the timbre of her voice from role to role, register to register, and make this peculiar vocal alchemy succeed (it's a long, long way from the requisites of Medea to those of La Sonambula)...Callas' voice type is no more, and as such she was an anachronism."
She could sing an unbelievable, technically brilliant Lucia, followed by a fierce Lady MacBeth... an example of a feat that no other soprano after her could replicate. She was the "Prima Donna Assoluta" of the previous century. There is no doubt about that.
Get this recording and indulge yourself in the art of an operatic genius - one who offered herself to her art.
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M. Wakefield
5.0 out of 5 stars A little bit of this...a little bit of that.
Reviewed in the United States on August 12, 2005
Recordings of opera are always tricky things--primarily because opera is a theatrical event more than it is a purely musical one...it exists of course beyond the notes of the score, but also beyond the sounds of any given recording. I believe it is the "more than the music" element of opera that immortalized Callas as "La Divina"--and, truly, what gives this recording its own place in the opera firmament. I have to say that I do not like Callas' voice because it is not beautiful. As voices go, I think there are many singers who are far superior. That said, a performance is more than just beauty of sound--and in this arena, Callas is difficult to beat. For that reason, though I do not find the sound of her voice pleasing in general, I must nonetheless add my praise to her performing abilities--particularly in her earlier works, before the strain has set in and where her truly stunning technical abilities are, I feel, at their best.

Why such a lengthy diatribe on the virtues of Maria Callas before touching the nature of this particular recording? Hopefully to give readers some perspective on my opinions--particularly those who have not before heard Callas sing and are expecting something perhaps different than is delivered.

Insofar as this recording is concerned, Callas officially recorded Lammermoor three times, and though each has its own remarkable qualities, the Karajan version wins out slightly for me. Callas brings a passion and immediacy to Lucia that few other sopranos have equalled for me--either in recording or on stage. (While I also own Sutherland and Sills versions of this opera and while I find that both S&S have far more beautiful voices than Callas does, I am simply not convinced that either are "Lucia." Particularly in Sutherland's case--while "stupendous" in the vibrant quality of her tone, textual meaning is glossed over a bit too much for me. We lose the theatricality that is so intrinsic to opera. But, I digress.) Callas in this recording really hits the center of the opera for me--the emotional nature and mental collapse of the title character. Lucia di Lammermoor is for me a character opera much like a character play or novel--all of the plot machinations, etc, are really points of characterization for Lucia. The genesis of Callas' Lucia is breathtaking.

I can sympathize that some reviewers are perhaps disappointed that Callas did not take the first high e-flat that appears to be so contentious, but I believe her choice works well. Too many Lucias use the opera as a vehicle for coloratura fireworks and lose the real core of the character. While Callas, like Caballe, might limit some of the ornamentation, I think the reading nonetheless effective. (A question/note on ornamentation in general: If it is acceptable to change the original score by adding embellishments, why is it not similarly acceptable to alter the score by removing embellishments? There are many approaches to singing various passages of any Donizetti opera--some traditionally flashy, others less so. It is a matter of the conductor's and singer's choice. I do not personally see why Callas' choice re: the high note is so apparrently contemptible. I think it logical given how operas of this period are treated.)

Some recordings in which Callas appears can seem to be unbalanced merely because it is difficult to create a supporting cast with enough weight to counterbalance her. It's no act of God or Congress that Callas and di Stefano were so frequently paired; here, he has the weight and ring to ground her Lucia nicely. Karajan also works well with the orchestra to support her.

A big detractor--other than the beauty of Lucia's voice if that's what you enjoy in opera--is the mono sound quality. I personally do not mind it, but it might be a reason to choose another recording of the opera if such things matter to you.

My advice, of course, is not even worth two cents, but if you're looking to buy a recording of any opera, I think you need to first think about your tastes in listening choices and why you're listening to the recording. Arguments over which diva is better and for what reasons are largely irrelevant. If you love a beautiful sound--great. Choose a singer that you like (whether or not that singer is well-liked by others). If you prefer acting ability and theater that is really grounded in the text (including diction that is clear and unmuddied)--great. Choose a recording whose cast follows that philosophy of performing. For me, this recording follows the latter of the two types of recordings. I own other recordings of Lucia because I happen to like beautiful singing. As I also happen to like passionate singing, a real understanding of the text (and an ability to convey that understanding), and a wholly fleshed-out character, I also have purchased this recording. The choice of which recording happens to make it into my CD player depends entirely on my mood and preferences of the moment--as your choice of which recording to buy should be for you.

(End sanctimonius report)
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Top reviews from other countries

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clive evenett
5.0 out of 5 stars stunning live performance
Reviewed in the United Kingdom on August 8, 2020
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Better quality sound than the old open reel tape I have had for many years
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Elena
5.0 out of 5 stars Perfezione
Reviewed in Italy on February 28, 2020
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Beh cosa si può dire?

La perfezione.
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rosa mund
5.0 out of 5 stars wahnsinnig gut
Reviewed in Germany on October 10, 2008
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die beste lucia- einspielung, die ich kenne, wahrscheinlich überhaupt, und das, obwohl sie schon über 50 jahre alt ist und ein live- mitschnitt!

Ich bin nun kein besonderer callas- fan, aber nach dem anhören dieser aufnahme könnte man es werden. so ausdrucksstark jeder auftritt (auch wenn es "nur" zu hören ist), so eine wahnsinnige fähigkeit der stimm-modulation in allen lautstärken, vom fortissimo bis zum pianissimo, einfach unglaublich. ein genuß.

neben der callas sind die stimmen der hauptrollen ebenso unglaublich gut besetzt. im ersten akt scheint mir monaco stellenweise etwas überdreht über das ziel hinausschießen zu wollen (siehe auch ein problem bei villazon), aber im letzten akt wiederum ist er grandios.

nicht unerwähnt sollte bleiben, dass die sogenannte wahnssinnsszene oder -arie nicht nur die schauspielerischen, sondern auch die stimmlichen qualitäten der sängerin stark fordert- und hier beweißt die callas ihre klasse und zeigt es dem donizetti, der sich die filetstückchen seiner oper bis zum schluß aufgehoben hat. das ist nur etwas für wirkliche könner.

zum schluß: wer keine live- aufnahmen mag (nicht wenige der zuhörer scheinen an chronischem husten gelitten zu haben im september 55, und es gibt nicht gerade selten jubelnden szenenapplaus), wer als purist sich an der tonqualität stößt ( man bedenke das aufnahmejahr und die technischen möglichkeiten damals, es scheint nicht einmal bekannt zu sein, wer die aufnahme eigentlich im original produziert hat, ab und zu klingt die nicht immer angenehme stimme der callas in den hohen tönen und im forte recht schrill und scheppernd), der sollte seine finger von dieser aufnahme lassen.-- aber es entgeht ihm etwas großartiges.

im textbuch finden sich kluge kurze aufsätze über die oper und die callas sowie das komplette textbuch in mehreren sprachen- was will man eigentlich mehr-- für diesen preis??
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franco ciccocelli
5.0 out of 5 stars 🤩
Reviewed in Italy on September 21, 2019
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Fantastica 🤩
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