Scala by Example

First recordings of unpublished instrumental works by a master of verismo.

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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’.

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’.

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’.

Like Lucia di Lammermoor and Elvira (I puritani), Amina, the gentle heroine of La sonnambula,was a role that had become associated with light-voiced coloratura sopranos. Callas brought both a new substance and subtlety to the role when Luchino Visconti staged it for her at La Scala in 1955. This recording was made two years later, when the production was revived.