The Callas smiles

Maria Callas was not exactly known for her comic talent. All the more impressive is her Rosina: A young, quite emancipated woman with hair on their chests, no soubrette sugar dolls, as in this role was still common - when she sings, she could be the "Viper", you believe her immediately , And sovereignty with which they not only mastered Rossini coloratura cascades, but dominated the elegance of her cadences can regret one that she - has recorded in the studio not more Rossini - - except this barber and a Turco in Italia. Eg a Semiramide.

Your Figaro in this recording is Tito Gobbi, with Callas had already supplied so many struggles -. Often to the death, for example, as Tosca and Scarpia, here is the last word and the next point. Here too, the baritone proves equal opponents. Although he is not technically perfect Rossini singer - his coloratura he has partially sing in a low voice, high-pitched sounds are partially "honked" out. On the other hand Gobbis comic talent is unmatched, his Figaro a Hallodri of flesh and blood, which is simply fun, more than in many technically more perfect representation.

Too bad that the EMI has these two representational war horses provided no equivalent Count Almaviva aside such. B. Nicolai Gedda or Cesare Valetti. Luigi Alva is somewhat lightweight in comparison, and to be a little whining, very bright timbre you have to get used to as well. Nevertheless, he is a stylistically confident Rossini singer, who was therefore very searched with this repertoire.

They are joined by Nicola Zaccaria as gloomy Don Basilio and Fritz Ollendorf as vain-aufgeplustertem Dottore Bartolo two very different basses, but sing their respective roles very convincingly - in particular Ollendorf surprised in this native language Ensemble positive.

Alceo Galliera conducts a very flexible, fine, and yet spirited Rossini, and is so many more notable colleagues in every way.

The only criticism that I have of this unusual but very convincing Rossini recording (maybe apart from Alvas Timbre) is the fact that the tenor aria "Cessa di più resistere" missing. But that was formerly customary, and does not change the fact that this Barbiere is much more than a Callas-vehicle.

The recording itself, there are, of course, been around for decades in various editions. Here now Warner has remixed the original EMI bands 1957 new CD, with convincing for my taste Result: The sound is warmer, more natural than previous overdubs, the slightly stronger noise, I accept it gladly.