EMI's generous compilation of 100 tracks from its archive of recordings by Maria Callas makes a fine introduction to her legacy. Callas' voice isn't consistent throughout, but when she's at her best, it's easy to hear the musical and dramatic power that made her the most legendary opera singer of the 20th century. She is impressive often enough that it's not hard to forgive the performances that are less than stellar. The six-disc collection is intelligently organized, with each disc dedicated to a particular composer (or several composers) or a theme: Bellini; Donizetti and Rossini; Verdi; Puccini; French operatic heroines; and dramatic heroines.
Ce volume contient les oeuvres suivantes : Le Cyclope - Alceste - Médée - Hippolyte - Les Héraclides - Andromaque - Hécube - La Folie d'Héraclès - Les Suppliantes - Ion - Les Troyennes - Iphigénie en Tauride - Électre - Hélène - Les Phéniciennes - Oreste - Les Bacchantes - Iphigénie à Aulis - Rhésos. Traduit du grec par Marie Delcourt-Curvers. Édition de Marie Delcourt-Curvers.
It is 40 years since Maria Callas died (16th September 1977), but she lives on as the epitome of the operatic diva. She has never lost her place among the top-selling classical artists. To mark this anniversary alongside the luxury boxset – 0190295844707 Maria Callas Live - Warner Classics also releases two compilations: 2CD Digipak 1LP Standard 180gr. These two collections benefit from the superb new remastering and convey thus Callas’ compelling genius as a singing actress with a new truthfulness and immediacy: Maria Callas Live and Alive! ü The passion and charisma of Maria Callas, performing live on the stages of the world’s greatest opera houses and concert halls, can now be experienced as never before – thanks to new audio remastering from the best available sources. These are performances that played a crucial part in creating the legend of Callas, La Divina, and which keep her thrilling art very much alive.
“The father of the symphony”; “bard of the Revolution”: these two phrases sufficed to describe Gossec from the beginning of the 19th century onwards and created a reputation for him that musicographers and music historians of the following century made almost unalterable. Gossec had, however, always been interested in the operatic stage, as can be seen from his works in the more modern genre of opéra comique as well as in the more traditional tragédie en musique. Appointed to provide music for the largest musical institutions of his time, Gossec created more than twenty theatrical works; these enjoyed varying degrees of success but nonetheless reveal a dramatic composer of the first water.