MARIA CALLAS
MARIA CALLAS - LUCIA DI LAMMERMOOR • BERLIN 1955 - 3x REEL TAPES
3X REEL TAPES
MARIA CALLAS
LUCIA DI LAMMERMOOR • BERLIN 1955
648,00€
TAPE 1 - DONIZETTI: LUCIA DI LAMMERMOOR: ACTE I
- Prelude
- Percorrete... Percorriamo le spiagge vicine
- Tu sei turbato!... E n’ho ben d’onde
- Cruda, funesta smania
- Il tuo dubbio è omai certezza.... Come vinti da stanchezza
- La pietade in suo favore
- Ancor no giunse?
- Regnava nel silence alta la notete e bruna
- Quando rapito in estasi
- Egli s’avanza...Lucia, perdona se ad ora inusitata
- Sulla tomba che rinserra il tradito genitore
- Qui di sposa eterna fede... Ah, soltanto il nostro foco
- Ah, talor del tuo pensiero venga un foglio messaggero
- Verranno a la te sull'aure i miei sospiri ardenti
TAPE 2 - DONIZETTI: LUCIA DI LAMMERMOOR: ACTE II
- Lucia fra poco a te verà... Tremante l'aspetto
- Appressati, Lucia... Il pallor funesto, orrendo
- Soffriva nel pianto... Un folle t'accese
- Che fia?... Suonar di giubilo
- Se tradirmi tu potrai... Tu che vedi il pianto mio
- Per te d’immenso giubilo...Per poco fra le tenebre sparì la vostra stella
- Dov'è Lucia?... Qui giungere or la vedrem
- Piange la madre estinta
- Chi mi frena in tal momento
- T'allontana, sciagurato... Rispettate in me di Dio
- Sconsigliato! In queste porte chi ti guida?
- Esci, fuggi, il furor che mi accende
TAPE 3 - DONIZETTI: LUCIA DI LAMMERMOOR: ACTE III
- D'immenso giubilo s'innalzi un grido
- Dalle stanze ove Lucia tratta avea col suo consorte
- Oh! Qual funesto avvenimento!
- Il dolce suono mi colpì di sua voce!...
- Ardon gli incensi
- Spargi d’amaro pianto
- Tombe of the avi miei
- Fra poco a me ricovero darà negletto avello
- Oh, meschina! Oh, fato orrendo!
- Tu che a Dio spiegasti l'ali
It was in May 2022, while we were working in the RBB archives, that
we discover the original tapes of this legendary recording from 1955 –
which is, without a doubt, one of the most important lyrical testimonies of the 20th century
century: the Lucia di Lammermoor , captured in concert, September 29, 1955
at the Städtische Oper Berlin, bringing together Di Stefano, Panerai, von Karajan and
Callas.
Although we note that the first measurements of the band n°1 have been deteriorated, the minutes which follow reveal a richness of timbres and dynamics incomparable with the editions known until this day.
Four months of meticulous work were necessary to make all its brilliance to the orchestra, to the choir of La Scala and to the legendary voices of this moving piece of history and music.
He was close to our hearts to be able to present to you our first vinyl edition limited to 5,000 copies on the occasion of the centenary of the birth of Maria Callas.
We thank the RBB for its trust and the Maria Callas Endowment Fund as well and Mr. Tom Volf for their assistance and the photos that accompany the booklet.
Frédéric D'Oria-Nicolas
Founder and Director of The Lost Recordings
Maria Callas declared that she "hated" the studios and that only the recordings of her concerts could demonstrate the extent of his talent. During the last years throughout her life, she collected her own concert recordings (often pirate recordings) and listened to them. The best story comes to us from Robert Sutherland – his pianist, during Callas' last tour in 1973-74. This is how he remembers the evenings spent in the apartment Parisian by Maria Callas, avenue Georges Mandel:
“We listened to a pirate recording of the Lucia from Berlin. She remembered how of which Karajan had provoked the anger of the soloists by violating the sextet during representation, without warning them. As we listened to the second version they had given, she said: "You can hear how I was angry ! And I still looked crazy singing! During the dinner that followed, I told Karajan that he never does it again, otherwise he would be in trouble! » Then came the tune in question – an interpretation prodigious. She was obviously impressed herself. "I don't know how I did it. I just don't know how - and to think I have cried after my performance because I thought I was so far from my ideal. " I have had difficulty finding the right words: such a combination of mastery technique and artistic imagination was simply genius. I am tried with a “It’s wonderful…” “Wonderful? Wonderful ? » me she retorted, sitting up on the sofa – “Isn’t it wonderful, It’s simply miraculous! »
At this time, the pirated recordings circulated among passionate admirers under the form of more or less artisanal LPs, like those published by the BJR label which is probably the one Callas was listening to that evening with Robert Sutherland. Today, however, we must congratulate Frédéric D'Oria-Nicolas and The Lost Recordings for finding the original tapes in Berlin and having them meticulously restored with sound quality that surpasses all previous versions, giving us the most authentic interpretation of this piece of history. It is therefore quite natural that the Endowment Fund Maria Callas was associated with this publication, providing texts and images to illustrate the booklet and honor the memory of Maria Callas at through this magnificent edition celebrating its 100th anniversary.
Tom Volf
President of the Maria Callas Endowment Fund
Prelude
Percorrete... Percorriamo le spiagge vicine
Tu sei turbato!... E n’ho ben d’onde
Cruda, funesta smania
Your dubbio is now certain... Comes to the moment
La pietade in suo favore
Ancor no giunse?
Regnava nel silence alta la notete e browna
When the speed is up in this situation
Egli advanced... Lucia, perdona se ad ora unusual
Then it will rinse the traditional genitour.
Qui di sposa eterna fede... Ah, soltanto il nostro foco
Ah, the thought of you comes with a foglio messaggero
Verranno a la te sull'aure i miei sospiri ardenti
Lucia fra poco a te verà... Tremante l'aspetto
Appressati, Lucia... Il pallor funesto, orrendo
Soffriva nel pianto... A madwoman accesees you
Che fia?... Suonar di giubilo
Se tradirmi tu potrai... Tu che vedi il pianto mio
Loss of immenso giubilo... Per poco fra le tenebre sparì lavos tra
stella
Dov'è Lucia?... Who is there or the night?
Piange la madre estinta
Chi mi brake in tal momento
T'allontana, sciagurato... Rispettate in me di Dio
Sconsigliato! In queste porte chi ti guida?
Here, fuggi, he furor che mi accende
D'immenso giubilo s'innalzi un grido
Slab stanze ove Lucia tratta avea col suo consorte
Oh! What a terrible event!
Il dolce suono mi colpì di sua voce!...
Ardon gli incensi
Spargi d’amaro pianto
Tomb of the avi miei
Fra poco a me ricovero darà negletto avello
Oh, meschina! Oh, fato orrendo!
You che a Dio spiegasti l'ali
Remastered by ℗ & © 2017 FONDAMENTA
Made and printed in Austria
Although we note that the first measurements of the band n°1 have been deteriorated, the minutes which follow reveal a richness of timbres and dynamics incomparable with the editions known until this day.
Four months of meticulous work were necessary to make all its brilliance to the orchestra, to the choir of La Scala and to the legendary voices of this moving piece of history and music.
He was close to our hearts to be able to present to you our first vinyl edition limited to 5,000 copies on the occasion of the centenary of the birth of Maria Callas.
We thank the RBB for its trust and the Maria Callas Endowment Fund as well and Mr. Tom Volf for their assistance and the photos that accompany the booklet.
Frédéric D'Oria-Nicolas
Founder and Director of The Lost Recordings
Maria Callas declared that she "hated" the studios and that only the recordings of her concerts could demonstrate the extent of his talent. During the last years throughout her life, she collected her own concert recordings (often pirate recordings) and listened to them. The best story comes to us from Robert Sutherland – his pianist, during Callas' last tour in 1973-74. This is how he remembers the evenings spent in the apartment Parisian by Maria Callas, avenue Georges Mandel:
“We listened to a pirate recording of the Lucia from Berlin. She remembered how of which Karajan had provoked the anger of the soloists by violating the sextet during representation, without warning them. As we listened to the second version they had given, she said: "You can hear how I was angry ! And I still looked crazy singing! During the dinner that followed, I told Karajan that he never does it again, otherwise he would be in trouble! » Then came the tune in question – an interpretation prodigious. She was obviously impressed herself. "I don't know how I did it. I just don't know how - and to think I have cried after my performance because I thought I was so far from my ideal. " I have had difficulty finding the right words: such a combination of mastery technique and artistic imagination was simply genius. I am tried with a “It’s wonderful…” “Wonderful? Wonderful ? » me she retorted, sitting up on the sofa – “Isn’t it wonderful, It’s simply miraculous! »
At this time, the pirated recordings circulated among passionate admirers under the form of more or less artisanal LPs, like those published by the BJR label which is probably the one Callas was listening to that evening with Robert Sutherland. Today, however, we must congratulate Frédéric D'Oria-Nicolas and The Lost Recordings for finding the original tapes in Berlin and having them meticulously restored with sound quality that surpasses all previous versions, giving us the most authentic interpretation of this piece of history. It is therefore quite natural that the Endowment Fund Maria Callas was associated with this publication, providing texts and images to illustrate the booklet and honor the memory of Maria Callas at through this magnificent edition celebrating its 100th anniversary.
Tom Volf
President of the Maria Callas Endowment Fund
STEP 1 - DONIZETTI: LUCIA DI LAMMERMOOR: ACT I
STEP 2 - DONIZETTI: LUCIA DI LAMMERMOOR: ACT II
STEP 3 - DONIZETTI: LUCIA DI LAMMERMOOR: ACT III
- Maria Callas, Lucia
- Giuseppe Di Stefano, Edgardo
- Rolando Panerai, Enrico
- Nicola Zaccaria, Raimondo
- Giuseppe Zampieri, Arturo
- Luisa Villa, Alisa
- Mario Carlin, Normanno
- Coro del Teatro alla Scala, Milan
- RIAS Symphony-Orchester
- Herbert von Karajan, Conductor
Recorded on 29.IX.1955 at the Städtische Oper Berlin, Germany
MONO
© 1955 RBB
Remastered ℗ & © 2023 THE LOST RECORDINGS
Remastered by ℗ & © 2017 FONDAMENTA
Made and printed in Austria
Duration: 1h 59min 47s
Band Type: RTM LPR90
Format: 1/4 inch - 2 channels - stereo
Recording level: 320 nWb/m
Track separation: 0.75mm
Recording speed: 38cm/sec - 15 IPS
Equalization curve: CCIR
1/4" TAPES TECHNICAL DETAILS
DELIVERY & WARRANTY
"To me, the art of music is magnificient and I cannot bear to see it treated in a shabby way"
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