Audio CD review:
Ettore Bastianini, Nicola Zaccaria [singer], Virgilio Carbonari, Gaetano Donizetti, Antonino Votto, L'Orchestra del Teatro alla Scala, Michael Chertock, Franco Corelli, Giuseppe Morresi, Piero de Palma - Donizetti: Poliuto (complete opera live 1960) with Maria Callas, Franco Corelli, Antonino Votto, Orchestra & Chorus of La Scala, Milan

Ettore Bastianini, Nicola Zaccaria [singer], Virgilio Carbonari, Gaetano Donizetti, Antonino Votto, L'Orchestra del Teatro alla Scala, Michael Chertock, Franco Corelli, Giuseppe Morresi, Piero de Palma - Donizetti: Poliuto (complete opera live 1960) with Maria Callas, Franco Corelli, Antonino Votto, Orchestra & Chorus of La Scala, Milan

Band: Ettore Bastianini, Nicola Zaccaria [singer], Virgilio Carbonari, Gaetano Donizetti, Antonino Votto, L'Orchestra del Teatro alla Scala, Michael Chertock, Franco Corelli, Giuseppe Morresi, Piero de Palma Title: Donizetti: Poliuto (complete opera live 1960) with Maria Callas, Franco Corelli, Antonino Votto, Orchestra & Chorus of La Scala, Milan Rating: Release Date: 11 November, 2002 Media: Audio CD Tracks: 1: Poliuto: Sinfonia (con coro): O Nume pietoso 2: Poliuto: Act One - Scene One: Scendiam...scendiam...Silenzio 3: Poliuto: Act One - Scene One: Tu sei commosso! 4: Poliuto: Act One - Scene One: D'un'alma troppo fervido 5: Poliuto: Act One - Scene One: Ove m'inoltro? 6: Poliuto: Act One - Scene One: Fin che si compia il rito 7: Poliuto: Act One - Scene One: In fiamma quest'alma 8: Poliuto: Act One - Scene One: Di quai soavi lagrime 9: Poliuto: Act One - Scene One: Mira...Donna! 10: Poliuto: Act One - Scene One: Oggetto de' miei numi 11: Poliuto: Act One - Scene One: Omai de lunge 12: Poliuto: Act One - Scene One: Perche di stolto giubilo 13: Poliuto: Act One - Scene Two: Plausi all'inlito Severo 14: Poliuto: Act One - Scene Two: Decio, signor del mondo 15: Poliuto: Act One - Scene Two: Di tua beltade immagine 16: Poliuto: Act One - Scene Two: Come fausta e a noi l'aurora 17: Poliuto: Act One - Scene Two: No, l'acciar non fu spietato 18: Poliuto: Act Two - Scene One: Inoltra il pie 19: Poliuto: Act Two - Scene One: Donna...Che! Possente numi! 20: Poliuto: Act Two - Scene One: Il piu lieto dei viventi, ah! 21: Poliuto: Act Two - Scene One: Ah! chi ti quida, incauto? 22: Poliuto: Act Two - Scene One: Quest'alma e troppo debole 23: Poliuto: Act Two - Scene One: Veleno e l'aura ch'io respiro 24: Poliuto: Act Two - Scene One: Sfolgoro divino raggio 25: Poliuto: Act Two - Scene Two: Celeste un'aura pel tempio move! 26: Poliuto: Act Two - Scene Two: Magistrati, guerrieri, popolo 27: Poliuto: Act Two - Scene Two: La sacrilega parola 28: Poliuto: Act Two - Scene Two: Alla morte lo serbate 29: Poliuto: Act Two - Scene Two: Lasciami in pace morire 30: Poliuto: Act Three - Scene One: Ecco il sommo Pontefice 31: Poliuto: Act Three - Scene One: Alimento alla fiamma si porga 32: Poliuto: Act Three - Scene One: Donna! Malvagio! 33: Poliuto: Act Three - Scene One: Chi giunge! 34: Poliuto: Act Three - Scene One: Ah! fuggi da morte 35: Poliuto: Act Three - Scene One: La grazia nell'alma ti scende 36: Poliuto: Act Three - Scene One: Alle fiere chi oltraggia gli Dei... 37: Poliuto: Act Three - Scene One: Piu s'indugia? 38: Poliuto: Act Three - Scene One: Il suon dell'apre angeliche

Customer Reviews a voice teacher and early music fan He was fortunate enough to study with Johannes Simon Mayr, whose operas and sacred music were at that time performed throughout Italy and beyond, and probably because of his influence, Donizetti focused his ambition on making his mark as an opera composer. MARIA CALLAS: THE GREATEST 'DIVA' OF THEM ALL!!!! Gaetano Donizetti(1797-1848)was born in Bergamo,Italy, a town with strong musical traditions. The opera "Poliuto" was based on a play 'Polyeucte' by Corneille, but when Donizetti presented it to the 'censors', the King of Naples deemed it not an appropriate subject(because it presented the martyrdom of a Christian saint upon the stage), and prohibited the production. Therefore, Donizetti decided to go to Paris, not only because of this, but because Paris offered several advantages such as: fees were bigger, rehearsal time more generous, the censorship less restrictive, and the protection of copyright more circumspect. There is really much to be told about the overall process of getting this opera started and completed. However, suffice it to say that in 1848 the San Carlo finally welcomed 'Poliuto', restored to its original form and language; it had taken ten years for it to get there. There is no question that the tenor (Franco Corelli) is the strong lead in this opera, but who can completely set aside the WONDERFUL, MARVELOUS performance of Callas. What a star!!! What a drama queen!!!And what a truly amazing voice!!!Past her prime???Oh yes, but even past her prime she was greater than anyone at that time in overall dramatic impression, and while all her notes were not equally PERFECT,I don't really care, because one must focus on the entire being when dealing with a talent like Callas!!!This recording is truly a treasure. Well Rounded production 1960 Artists: Franco Corelli, Maria Callas, Ettore Bastianini, Nicola Zaccaria et al. Source: "Live" recording from La Scala, Milan, 7th Dec. Franco Corelli is in magnificent form - reminiscent of Lauri-Volpi in the 1920-1930s. As with his Pollione in Norma, he is the ideal exponent as Poliuto. His voice has all the power of Mario del Monaco, his rival in the dramatic repertoire, but he uses much more shading and, despite some whooping and sobbing, he has a better grasp of the bel-canto style - although he is not exactly subtle. He benefits from being heard in the theatre acoustic. Bastianini had an exciting and often very exciting baritone that suits his role down to the ground. Callas' role is not large - not compared to her other Donizetti roles such as Lucia di Lammermoor, Anna Bolena etc - but it proves ideal for her at this point of her career. She was at her best 'live' and she is in good form - although her high notes do not compare very well with her younger self - she is very experienced and shows it. Nicola Zaccaria figured in Callas' second recording of Norma and is a powerful presence here as well, his excellent bass suggesting the excellent artists available for La Scala in this period and its subsequent superiority over nearly all of the lyric theatres in the world today - which could only dream of collecting a cast such as this. Antonio Votto could be a reliable if rather heavy-handed conductor and, more often than not, appeared inferior to Serafin and several other conductors of the period. However, like her recordings of Gioconda, Callas and the cast seem to have inspired him to greater things and this is a superbly paced performance. The sound is by no means bad for 1960 and in many ways captures the voices in a far more natural way than most recordings from this period- the sound being mono doesn't detract a jot. Magnificent Highly recommended D. Bennett . Very exciting One can't really judge the opera from this recording, as it was quite a bit longer in its original French version. This is truly an exciting recording, even if the opera is heavily cut and many of the arias sort of chopped up. It is true, Donizetti began it for Italy, but the censors wouldn't have allowed it, so he rethought the entire thing for the Grand Opera of Paris. One has to admit, this IS a tenor opera, and that is understandable, as it was created for a great, maybe the greatest tenor, of that day. However, if the truth be told, most people by this recording for Callas. I have to state right out that the three principle singers are all wonderful, but in their own unique way. Bastianini sings divinely and makes much of his role. His baritone is actually quite beautiful, and for me, actually made me long to hear him sing. Most baritone roles don't do that for me, and his role is not that spectacular nor that well written, if the truth be told, but he makes something wonderful of it. Corelli is incredible with all his super clarion high notes, and it seems that the power they have is equal to none, and the ring, well, one certainly seldom hears that today in the opera house. There is a great energy behind his performance, and he even manages to sing a few lines in a musical fashion. There are many places where his "standard sobbing" ruins the legato line, not to mention the musical phrase. He is often well ahead of his accompaniment (which makes things really bad when the orchestra is playing the exact line he is singing), and his bad habit of "scooping" up to high notes at times is irritating. However, that said, he is exciting and truly enjoyable to listen to. It is Callas that everyone expects to sound horrible, brittle, and, well, way past her prime. She is past her prime in some ways, but her musicality shines through as always. Her high notes are even good, and for the most part, dead on (though in some of Pauline's very difficult arias many of the difficult runs and high C's are cut, no matter, the arias hold together well even with those cuts). It is her interpretation that leaves one in awe. Once again, Callas is able to make something of essentially a very DULL role. When one looks at the score (which I followed along with), of all the major roles in this work, Pauline's is by far the weak link. Yet, even with this "little" that Callas had to work with, she created something memorable. Her touching vulerability is enchanting, and her conversion at the end of the opera is astounding. The final duet and scene is simply moving, and I have to say, she brings things out of Corelli he doesn't normally often do -- more exactness to the written note and to the tempi of the piece. Though everyone thinks of Callas with Di Stephano, I really think Corelli was a better match for her vocally. His voice was near perfection, that is true, but he had "that special something" in his delivery, and even with the mistakes and musical lapses, it is a jewel to behold. Callas was that way all the time, and her musicality and exactness is wondrous. Her voice may have been very imperfect in quality, but she shared something with Corelli, and that is that special "ring" to the voice. There is also that important element required for all opera to work, and that is chemistry. They mesh with a oneness in their scenes that is simple breathtaking. The real drawback with this recording, at least for me, is the sound. It is actually very good, but there are times it sounds "Boxy" and sort of mushy. Overall, though, it is well worth the money. What is really wonderful is the booklet that comes with the recording. It gives a detailed account of the opera, which is great for those who have never heard of it, and it sets the stage preparing our minds to listen and experience a wonderfully moving performance, even if that performance has its flaws. I recommend it to anyone, especially Corelli or Callas fans. . . You can see a complete list of all Ettore Bastianini, Nicola Zaccaria [singer], Virgilio Carbonari, Gaetano Donizetti, Antonino Votto, L'Orchestra del Teatro alla Scala, Michael Chertock, Franco Corelli, Giuseppe Morresi, Piero de Palma discography, or go back to the Ettore Bastianini, Nicola Zaccaria [singer], Virgilio Carbonari, Gaetano Donizetti, Antonino Votto, L'Orchestra del Teatro alla Scala, Michael Chertock, Franco Corelli, Giuseppe Morresi, Piero de Palma tabs