Rossini: The Barber Of Seville with Maria Callas, Tito Gobbi, Alceo Galliera, Philharmonia Orchestra & Chorus

While many tend to think Callas as a soprano, she is, specifically, a soprano sfogato who usually graduates from a mezzo by force of an extended top. One singer of this kind, Maria Malibran, was a celebrated Rosina. Perhaps more than a piping and pretty coloratura, Rossini demands an expressive mezzo.

Callas's voice does not have the sensual roundness of a Berganza or a Sutherland--so one cannot luxuriate or relax in her singing. Yet, Rosina is hardly another docile and sweet Amina. So, the edge and points in her voice furnish witticism, archness and coquetry. In her "Dunque io son," one hears that tone of banter and pertness with Figaro and detects even a hint of smile in the voice. I absolutely love her middle range, so colorful and energetic in this recording, and ditto for her precise coloratura and fine diction.

The Gobbi-Callas partnership has been as fine as ever. Even though Gobbi aspirates a few of the florid passages, he makes such a clever singing actor and hence a worthy partner of Callas. I have heard richer-sounding Figaros, but none has such inspired phrasing, accents and colors like Gobbi, not to mention his sympathy with Callas in singing and acting. In fact, both belong to the category of singers whose singing makes the listeners see their acting.

The rest of the ensemble have their strengths and weaknesses. Fritz Ollendorf strikes me as a sluggish and imprecise Bartolo, but Nicola Zaccaria fares better in his role. Luigi Alva, a tenorino still at this time, adds smoothness, charm and gallantry to the role of the amorous (and later libertine, as in The Marriage of Figaro) Count Almaviva. His serenade under the windows of Rosina certainly makes a good case for elopement.

I am particularly grateful for the intelligent and humorous conducting of Alceo Galliera, whose apt rhythms whip up the comedy without becoming repetitive, as Rossini's music can be in the hands of an unimaginative maestro. The suavity and felicity of his delivery not only serve Rossini well, but also conjures up wittiness worthy of Beaumarchais's original plays.

The recording can introduce listeners uncomfortable with acidulous high notes to Callas, who do have those problems in some of her soprano recordings. Without exposing her defects, it shows off her brilliance--a rich middle range, a command of coloratura and an insightful musicianship--so that people can understand and appreciate her better before they encounter the famed and feared wobble in other CDs.