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Home > Classical Music > Featured Performers, A-Z > ( C ) (page 4) > Verdi Rigoletto Complete Opera Maria Callas Tito Gobbi Giuseppe di Stefano
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Verdi: Rigoletto (Complete Opera); Maria Callas; Tito Gobbi; Giuseppe di Stefano | |||||||||||||||
  | 80% Recommended by our customers. Label: EMI Classics Catalog: Music Release date: 1997-08-19 Media: Audio CD discs number: 2 Ean: 0724355632722 Upc: 724355632722  Tip: compare prices with similar classical music CDsArtists:
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| Professional Review: |
| Nobody steals the spotlight when Maria Callas is onstage, but Tito Gobbi never lets us forget that this show is called Rigoletto, not Gilda. Neither singer has one of the century's prettiest voices; both have dramatic presence, impact, and subtlety--based as much on their control of verbal nuance as on musicianship--that make their characters three-dimensional, the story meaningful, the emotions real, varied, and intense. His role is bigger and more complex than hers is. He is almost constantly onstage, and his music runs the whole gamut from fatherly tenderness, to regret at a life gone wrong, to explosive rage. Sparks fly when they sing together, and Tullio Serafin conducts with an exemplary grasp of the opera and a detailed knowledge of his cast's capabilities. --Joe McLellan |
| User Reviews: |
 Written on March 1, 2004 Summary: The most satisfying Rigoletto of them all! As a young singer studying Gilda let me tell you that, overall this is the best Rigoletto you can get. It has the most incredible Rigoletto in Tito Gobbi who beats such giants as Warren, Bastianini and Milnes easily. His portrait is of shocking intensity, listen to the anguish in "Cortigiani!", the agony in the finale.... And for Gilda it features the one and only Callas. This Gilda is one of the best sung ever and as a portrait it was never equalled. Finally not just a little sugary doll but a loving, ardent, yet gentle and innocent woman. Perfect, dreamy trills in "Caro nome", which, at last, is more than a showing off piece but a perfectly sung monologue. Callas, who sounds dark and commanding sounds light and gentle here while in the "Tutte le feste" we hear a voice full of tears. And finally in the finale she sings like an angel. Di Stefano delivers a vivid Duke, charming, with a voice like honey and perfect phrasing. Overall this is the greatest Rigoletto ever!!!!!! Written on June 7, 2003 Summary: The best? I think this should be regarded in the same class as the "Tosca" recording with the same lead cast. And to the person who said di stefano would not have made it past the choir: you never heard him live, at a concert. His recordings do not do him full justice at all. He was one of the greatest singers of the 20th century, and in his prime the greatest tenor in the world bar none.  Written on May 19, 2003 Summary: extremely disappointing How can the listeners say that Callas sang a good Gilda? To me, her voice is not only ugly, but her coloratura sloppy and lousy. Also her voice is dark and tired at the same time. She sounds at least 30 years too old to play Gilda. The quartet went ok because Callas had a large voice, and Gobbi and Di Stefano supported her. But it is a far cry from ideal. The caro nome was boring to the max. I don't find Callas's trill to be valid, nor her coloratura. Perhaps she should stick to Tosca or Gioconda. To be blunt, this is a big disappointment on all account except for Gobbi. I'm not too fond of Stefano either. And the sound is bland and colorless. I am returning this purchase. Written on January 8, 2003 Summary: This is a great Rigoletto I'd like to compare two of my favorite Rigoletto sets - this one (Serafin/Gobbi) and the Guilini/Cappuccilli one. First though, let me say, that I first heard rigoletto with the Pavarotti/Sutherland set, and I hated it. I didn't get into it at all, and didn't think it was a very good opera. Sure, the singing was great, but it was all very superficial, and frankly, gaudy. Then I heard the Serafin/Gobbi rigoletto, and it was like a revelation. I would advise you to stay away from the Pavarotti/Sutherland set. Anyway, Gobbi and cappuccilli are both great rigoletto's - i prefer Gobbi's interpretation, but both are marvelous singing-actors; they both give us an immensely tragic protrayal of the cursed jester. Contrubas (on the Guilini/Cappuccilli set) is an exquisite Gilda - her caro nome is divine and the last scene with rigoletto when she is dying is heartbreaking. That said, nothing can compare to Callas' Gilda - at the time of the recording (1956), she was in great voice, and she tackles caro nome beautifully - in callas' caro nome, I hear a vulnerable woman desperately in love, yet scared. in sutherland's, all I hear is bird calls. Also, the gilda-rigoletto duets are outstanding - callas and gobbi always worked very well off each other, and this is a wonderful example of their musical rapport. Both Domingo and di Stefano are wonderful duke's - domingo's portrayal is more affecting and while it is obvious the duke is a playboy, you get the feeling that it is possible he might have actually loved Gilda. Di Stefano's duke is just an all-out jerk, but wonderfully sung. As for the conducting - Guilini's is more dramatic and powerful, whereas Serafin's is more tragic and slower-paced. At times, the slow pace works well, like during the quartet, which is just magic. In other parts I found myself wishing serafin would give us a little more "thrust." Overall, Guilini is better. In other words, get both sets! But don't touch the Pavarotti/Sutherland set - not even with a ten-foot pole. If you buy it as your first set, t will ruin rigoletto for you. Written on March 19, 2002 Summary: questa o quella? This one? That one? Which 'Rigoletto'? One review sites power of high notes with Bastianini, another grumbles about the sound, a third hates all the principals. Callas inspired both love and contempt and this perform won't help.To the devoted fan they will hear her incredible artistry, to her detractors she will seem ungainly and far from the virginal creature Verdi intended. But as is usual with the great Diva..if you have ears to hear, then hear her fall from innocence into guilt and shame and finally feel her inspired to self sacrifice. Wonderful. There is much, much more to the role of Rigoletto than a rich voice and a brilliant top.Gobbi's vocal colouring is staggeringly versatile. Only possible criticism is that he may wear his heart too much on his sleeve..and if you really believe that then go to Merrill or Bastianini and good luck to you. Gobbi is superb. Di Stefano? Listen to his 'Questa o Quella' and you know the Duke inside out. Dangerous, predatory, shallow. La Donna goes less well with an ungainly cadenza and a flatconclusion. Forgivable after his glorious tones in the love duet and elswhere. The man has voice, 'face' and glorious tone. Serafin loved this score though the quartet seems to slow dangerously at one point. Only 4 stars? Well its not perfect! It's simply the best! |
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| Catalog | Music | Music | Music | Music | Music | Music |
| Release date | 1997-08-19 | 1998-03-17 | 1997-08-19 | 1997-08-19 | 1997-08-19 | 1997-08-19 |
| Media | Audio CD | Audio CD | Audio CD | Audio CD | Audio CD | Audio CD |
| discs number | 2 | 2 | 2 | 2 | 2 | 2 |
| Ean | 0724355632722 | 0724356645028 | 0724355629821 | 0724355628121 | 0724355631022 | 7243556295244 |
| Upc | 724355632722 | 724356645028 | 724355629821 | 724355628121 | 724355631022 | 724355629524 |
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