Tosca  (de Sabata;  Callas, Gobbi, di Stefano)   (2-Naxos 8.110256/57)
Item# OP1491
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Tosca  (de Sabata;  Callas, Gobbi, di Stefano)   (2-Naxos 8.110256/57)
OP1491. TOSCA, recorded 1953, Sabata Cond. La Scala Ensemble; Maria Callas, Giuseppe di Stefano, Tito Gobbi, etc. (E. U.) 2-Naxos 8.110256/57. Transfers by Mark Obert-Thorn. Final Copy! - 636943125625


“This is one of the most justly revered operatic recordings ever made - a dramatic and musical gold standard for TOSCA despite its advancing age and monophonic sound. It was the last major recording project for Victor de Sabata, one of opera's greatest, yet least often recorded conductors. He brought a distinctive rhythmic urgency to this performance that you can hear from the very first bars, and he wove the vocal and orchestral textures together so organically that they still sound vivid today. He deserves a lot of the credit for making this one of the rare studio recordings that captures the energy and dramatic tension of a live performance. Maria Callas is at the top of her game, and still very much in her vocal prime. Her dramatic approach to Tosca is arguably even better captured in the live recordings from Covent Garden a decade later, but at that point her voice had lost some of its bloom; depending on your tastes, this may be the better example of her doing the role.”

- Ned Ludd

"Callas, and all of [the participants], would need to be single-minded in their pursuit of perfection when they moved north to Milan to record what was clearly the headline project, Tosca onstage at La Scala. As well as solving the practical problems of finding a chorus and an orchestra, the La Scala connection was another marketing inspiration. Nothing 'said' Italian opera more clearly in North America than La Scala. By the first week of August 1953 Legge and his engineers were installed in the theatre. A recent revival of Tosca meant orchestra and chorus were already well inside the work. It had been conducted by Victor de Sabata, the formidable de facto music director of La Scala. His daughter Eleana calls him 'the brain and the heart of that theatre'. The first session was planned for August 10. Outside the theatre, and so inside too, the thermometer climbed relentlessly. It was the hottest summer Milan had known for over a decade. 'I remember my father always conducting in a suit as if he was going to an office and certainly not to sweat on the podium. He never changed the way he dressed even when he was rehearsing,' Eleana recalls, 'but that recording was different. It was so hot, I have a picture in my mind of my father wearing a shirt with short sleeves, which is unbelievable for him!'. For Callas, for Gobbi, for de Sabata himself, this TOSCA had been perhaps the most intensive recording project they would ever undertake. And yet, despite the heat, despite the extended recording schedule and the temperament, for once everything locked into place. Callas and her co-stars had set new performance standards for Puccini’s opera which many feel have yet to be surpassed on record. And for the soprano’s many fans, just about everything you need to know about her talent, her unique dramatic gifts and the interpretative power of a truly magnificent singing actress Is here on this recording."

- Christopher Cook, GRAMOPHONE, June, 2007

"In the special world of opera on disc, there are a handful of sets which by general consent are ideal….In this elite company belongs Sabata’s TOSCA. It is a complete theatrical experience, and within the architectural mastery of Sabata’s performance, Callas paints the Tosca which previously she has only sketched….This was Callas’ first Tosca to the Scarpia of Gobbi, a brief but celebrated operatic association….One plays to the other, draws strength from the other, and they exchange dramatic blows much like a pair of champions in a title bout. Actually, given Sabata’s mesmerizing influence, the match is a three-sided one. But opera being an arena which makes its own rules, the winner is none of the three but a fourth – Puccini."

- John Ardoin, THE CALLAS LEGACY, pp.69-70

“Tito Gobbi was an admired operatic baritone. He originally studied at Padua University for a career in law, but he eventually gave that up in favor of pursuing voice lessons in Rome with Giulio Crimi. He made his operatic début in the town of Gubbio in 1935, as Count Rodolfo in Bellini's LA SONNAMBULA. He was hired at La Scala for the 1935-1936 season as an understudy; his first appearance there was as the Herald in Ildebrando Pizzetti's ORESEOLO.

He won the international singing competition in Vienna in 1936, and as a result he began getting improved billing; he sang the rôle of Germont in LA TRAVIATA at the Teatro Reale in Rome in 1937. In the same year he sang Lelio in Ermanno Wolf-Ferrari's LE DONNE CURIOSE, and continued singing secondary rôles there through 1939. He was promoted to primary rôles and in 1941 sang Ford in Verdi's FALSTAFF during a visit by the company to Berlin in 1941. Meanwhile, in a guest appearance at Rieti he first sang the rôle of Scarpia in Puccini's TOSCA in 1940. This was to become his best-known part.

Gobbi made his La Scala début in a major rôle in 1942 as Belcore in L'ELISIR D'AMORE The performance that made him famous, however, was as Wozzeck in the first Italian performance of Alban Berg's opera in Rome in November, 1942. Fighting raged throughout Italy following the Allied invasions there in 1943, interrupting his career. After the war he began to include international appearances. He first appeared in Stockholm in 1947 as Rigoletto; in 1948 he went to Covent Garden in concerts and to San Francisco to début as Figaro in Rossini's BARBER OF SEVILLE. His London operatic début was at Covent Garden as Belcore when the La Scala Company toured there. He appeared in Chicago in 1954 as Rossini's Figaro, and débuted at the Metropolitan Opera as Scarpia, 13 January, 1956. He sang Don Giovanni in Salzburg in 1952 under von Karajan's direction.

He took up producing as well, often at Chicago, where he made regular appearances, and producing opera became an ever more important part of his career after 1965, which is when he produced a performance starring himself in the title rôle of Verdi's SIMON BOCCANEGRA in London.

Gobbi was an excellent actor, had a high degree of musicianship and intelligence, had a flexible, rich, but not large baritone voice, and was at home in a wide variety of parts. He also appeared in 26 movies. He was the brother-in-law of another eminent singer, Boris Christoff. Gobbi retired from the operatic stage in 1979. He published an autobiography (TITO GOBBI: MY LIFE, 1979) and TITO GOBBI AND HIS WORLD OF ITALIAN OPERA (1984). He left a significant legacy of recorded performances, mainly made in the 1950s and 1960s.”

- Joseph Stevenson,