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░ ▓█████████▓▓█▀ [ J U S T F U N . P R E S E N T S ] ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
░ ▓████▓▌ ░ Artist.......: Maria Callas ▐▓▀▀
▓ ▐█████▓█ Album........: Callas α Paris II ▀ ░
▀█▄▓████▓▓▄█▀ Genre........: Opera ░▓ ▌
▄▀██▓██▓▓▀ Language.....: English ░▓░▐▓
▓▓▄▀█▓▓▓▀ Label........: EMI Classics ░▓░ █▓▌
▐█▓▓ ▀▓ Catnr........: 7243 5 66467 2 8 ░▓▓▓ ▐█▓▓
▓█▓▌ URL..........: n/a ▓░ ███▓▓[z0o]░
▐██░ ░ ░ ▄ ░▄▄▄▄▓▄▄▓████▓▓▄▄▄▄▓▄▄
▀▓█░▄ ▌ ░▓░ [ R E L E A S E . I N F O ] ▓░ ▓▀▓█████████████▓▓▓▀
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░▓▓░ ▐█▓▓ ░ ░▓▓░ source......: CDDA ░▓▓ ▐███████▓▓▌ ░
░░ ███▓▓ ▓▓░▓░ playtime....: 43:02 min ░▓▓░ ▓███▀ ▀▓█▓▓ ░
▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄▄ rip.date....: Mar-18-2003 ▓ ▐█▓▀ ░ ░▀█▓▌
▀▓█████████████▓▓▓▀ str.date....: 000-00-0000 ░▓░ █▀ ░░▓▓▓ ▀▓
░ ▀▓██████▓██▓▓▀ ▓░ ripper......: Just Team ▓▓ ▀░ ░ ░ ░▓░ ░▀
▀▓█████▓▓▓ ░░▓ grabber.....: EAC v.0.9 beta 4 ░▓▓░▓▓▓▓ ▓▓▓░
░ ▐███████▓▓▌░▓▓▓░ encoder.....: LAME v.3.93.1 ░▓▓▓▓▓ ▓░▓▓░░ ░
▓███▀ ▀▓█▓▓ ▓░░ size........: 59,2 MB ░▒░ ░▓░ ░
▐█▓▀ ░░ ▀█▓▌░ quality.....: 192kbps/44,1Hz/Full Stereo ░ ▒
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░ ▄█▒████████▓▓▀ ▀▓██▓███▓▄
▄▓██░██████▓▓█▀ [ T R A C K . L I S T I N G ] ▀▀▀▓██▓▌
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▓████▓▌ ░ track title time ▐▓▀▀
▓████▓▌ ▀ ░▌
▓████▓▌ 01. gluck- iphigΘnie en tauride - o malheureuse 04:30 ▓▌
▓████▓▌ iphigΘnie en tauride (acte ii) ▓▌
▓████▓▌ 02. berlioz- la damnation de faust - d'amour 08:08 ▓▌
▓████▓▌ l'ardente flamme (4e partie) ▓▌
▓████▓▌ 03. georges bizet- les pΩcheurs de perles - me 05:56 ▓▌
▓████▓▌ voilα sule ... comme autrefois (acte ii) ▓▌
▓████▓▌ 04. massenet- manon - je ne suis que faiblesse 03:16 ▓▌
▓████▓▌ ... adieu, notre petite table (acte ii) ▓▌
▓████▓▌ 05. massenet- manon - suis-je gentille ainsi 02:49 ▓▌
▓████▓▌ ... je marche sur tous les chemins (acte iii) ▓▌
▓████▓▌ 06. massenet- werther - werther! qui m'aurait 06:59 ▓▌
▓████▓▌ dit ... des cris joyeux (air des lettres) (act ▓▌
▓████▓▌ 07. gounod- faust - je voudrais bien savoir ... 11:24 ▓▌
▓████▓▌ il Θtait un roi de thulΘ ... ╘ dieu! que de bi ▓▌
▓████▓▌ ▓▌
▓████▓▌ [ A B O U T . T H i S . R E L E A S E ] ▓▌
▓████▓▌ ▓▌
▓████▓▌ When Maria Callas recorded her first recital of ▓▌
▓████▓▌ French arias in 1961, her career had considerably ▓▌
▓████▓▌ slowed down, for professional and personal reasons. ▓▌
▓████▓▌ In 1958 quarrels had set her against La Scala, ▓▌
▓████▓▌ Milan, and the Metropolitan in New York; the ▓▌
▓████▓▌ following year, after ten years of life together, ▓▌
▓████▓▌ she decided to separate from her husband (who was ▓▌
▓████▓▌ also her manager), Giovanni Battista Meneghini ▓▌
▓████▓▌ (1895-1981). Without really giving up singing, she ▓▌
▓████▓▌ wanted to take time out to "live": her career moved ▓▌
▓████▓▌ into second place, as she announced, perhaps more ▓▌
▓████▓▌ prophetically than she realized, in a television ▓▌
▓████▓▌ interview (BBC, 23 September 1958). To this was ▓▌
▓████▓▌ added the accumulated fatigue of a decade of ▓▌
▓████▓▌ prodigious activity. , which she had been feeling, ▓▌
▓████▓▌ by her own admission, since 1957. Physical and ▓▌
▓████▓▌ psychological exhaustion, vocal fatigue, and vocal ▓▌
▓████▓▌ problems as well, tiredness from a frenetic pace of ▓▌
▓████▓▌ work, the wish for respite after so many years ▓▌
▓████▓▌ ardently devoted to work: it is very hard to know ▓▌
▓████▓▌ which of these various elements were cause, and ▓▌
▓████▓▌ which consequence. Callas retired almost completely ▓▌
▓████▓▌ in 1960, singing only Norma at Epidaurus and ▓▌
▓████▓▌ Poliuto at La Scala. At Easter 1961, she recorded ▓▌
▓████▓▌ Callas a Paris, then gave a single concert in ▓▌
▓████▓▌ London; she sand Medea again at Epidaurus in August ▓▌
▓████▓▌ and in Milan in December. In 1962 she gave only six ▓▌
▓████▓▌ concerts, recorded Carmen's and Chimene's araias in ▓▌
▓████▓▌ Paris, made her definitive farewell appearances at ▓▌
▓████▓▌ La Scala and appeared on 4 November at a gala at ▓▌
▓████▓▌ Covent Garden (video released by EMI), among other ▓▌
▓████▓▌ guests including Giuseppe di Stefano, Micha Elman ▓▌
▓████▓▌ and Juliette Greco. That is very little compared ▓▌
▓████▓▌ with the great years of her international career ▓▌
▓████▓▌ (1948-1958). Serious sinusitis, a problem with her ▓▌
▓████▓▌ health which was clearly pre-existing and which ▓▌
▓████▓▌ was, moreover, audible (particularly in her upper ▓▌
▓████▓▌ register, which was threatened by a tight vibrato ▓▌
▓████▓▌ and an obviously painful emission), hit her with ▓▌
▓████▓▌ full force at the same time as a problem with the ▓▌
▓████▓▌ stomach muscles, which are so essential for ▓▌
▓████▓▌ breath-control. ▓▌
▓████▓▌ Enchanted by her new life but necessarily ▓▌
▓████▓▌ dissatisfied with the part music had in it, Callas, ▓▌
▓████▓▌ seeing clearly what was needed but hesitant about ▓▌
▓████▓▌ making the choice, really felt that her voice was ▓▌
▓████▓▌ deserting her. Unable to content herself with an ▓▌
▓████▓▌ approximation unworthy of what she had previously ▓▌
▓████▓▌ been able to attain, she decided to work on her ▓▌
▓████▓▌ voice again "like a student". The recordings she ▓▌
▓████▓▌ made in London between 1960 and 1962 with Antonio ▓▌
▓████▓▌ Tonini were thus to have as their aim the ▓▌
▓████▓▌ consolidation both of the instrument itself and of ▓▌
▓████▓▌ her own confidence. When she recorded her second ▓▌
▓████▓▌ Callas a Paris from 2 to 7 May 1963, she was still ▓▌
▓████▓▌ in the middle of reconstructing her vocal and ▓▌
▓████▓▌ psychological potential - but her confidence never ▓▌
▓████▓▌ really returned. The album opens with the only role ▓▌
▓████▓▌ in this programme which she had tackled in the ▓▌
▓████▓▌ theatre (in Italian): Iphigenie, going back to La ▓▌
▓████▓▌ Scala (1957) with Visconti - their last ▓▌
▓████▓▌ collaboration (tape of the premiere released by ▓▌
▓████▓▌ EMI, an exciting source of comparison). "D'amour ▓▌
▓████▓▌ l'ardente flamme" gives an idea of what an ▓▌
▓████▓▌ interpreter of Berlioz Callas would have been on ▓▌
▓████▓▌ stage. With her perfect diction and feeling of the ▓▌
▓████▓▌ words, innate classical grandeur, cantabile and ▓▌
▓████▓▌ precision of rhythm in the grand tradition, Callas ▓▌
▓████▓▌ breathed the French language as easily as Italian. ▓▌
▓████▓▌ Each of her recitals seems like a gallery of ▓▌
▓████▓▌ portraits subtly differentiated in timbre and ▓▌
▓████▓▌ spirit, the contrast of prodigiously moving ▓▌
▓████▓▌ insights springing here from pure genious, despite ▓▌
▓████▓▌ the trials to which Callas is clearly a prey, ▓▌
▓████▓▌ vocally at rock bottom (despite having their ▓▌
▓████▓▌ limitations, some later recordings show the ▓▌
▓████▓▌ benefits of the grip she voluntarily took on her ▓▌
▓████▓▌ interpretative destiny) but of an unequalled, ▓▌
▓████▓▌ captivating eloquence. She adds Leila to Carmen, ▓▌
▓████▓▌ poetry and melancholy to drama. This same duality ▓▌
▓████▓▌ comes out in the Massenet, which is among the ▓▌
▓████▓▌ highlights if this recital: Manon and Charlotte ▓▌
▓████▓▌ (which she would sing again, stunningly, in concert ▓▌
▓████▓▌ in Paris on 5 July), two ways of conveying in song ▓▌
▓████▓▌ pain and passion, lived and felt again in ways as ▓▌
▓████▓▌ different as are the characters. The last triumph ▓▌
▓████▓▌ is the scene from Faust with its double revelation. ▓▌
▓████▓▌ The steady rhythm, quiet and peaceful, in ▓▌
▓████▓▌ Marguerite's ballad at the spinning wheel, matches ▓▌
▓████▓▌ the charming, light-hearted astonishment of the ▓▌
▓████▓▌ girl feeling herself to be "like a king's ▓▌
▓████▓▌ daughter", and awakening to love. At her best - ▓▌
▓████▓▌ with precise, fluent scales, fioriture full of ▓▌
▓████▓▌ spirit and modest laughter - Callas is as radiant ▓▌
▓████▓▌ as ever, in perfect harmony in the suvereign fusion ▓▌
▓████▓▌ of music and theatre. ▓▌
▓████▓▌ ▓▌
░ ▓████▓▌ ▓▌
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