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Bellini: La Sonnambula complete opera with Maria Callas, Fiorenza Cossotto, Antonino Votto, Chorus & Orchestra of La Scala, Milan

Box Set

Vincenzo Bellini (Performer), Orchestra e Coro del Teatro alla Scala (Performer), Maria Callas (Performer), Format: Audio CD
4.0 4.0 out of 5 stars 15 ratings
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Audio CD, Box set, August 19, 1997
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Track Listings

Disc: 1

1 Act One, Scene One: Viva! Viva Amina!...Tutto E Gioia, Tutto E Festa - Coro Del Teatro Alla Scala, Milano/Norberto Mola
2 Act One, Scene One: In Elvezia Non V'ha Rosa - Coro Del Teatro Alla Scala, Milano/Norberto Mola/Eugenia Ratti/Giuseppe Morresi
3 Act One, Scene One: Care Compagne - Maria Callas/Coro Del Teatro Alla Scala, Milano/Norberto Mola
4 Act One, Scene One: Come Per Me Sereno...Sempre, O Felice Amina - Maria Callas/Eugenia Ratti/Giuseppe Morresi/Coro Del Teatro Alla Scala, Milano/Norberto Mola
5 Act One, Scene One: Sovra Il Sen La Man Mi Posa - Giuseppe Morresi/Maria Callas/Eugenia Ratti/Fiorenza Cossotto/Coro Del Teatro Alla Scala, Milano...
6 Act One, Scene One: Il Piu Di Tutti, O Amina - Giuseppe Morresi/Maria Callas/Eugenia Ratti/Fiorenza Cossotto/Coro Del Teatro Alla Scala, Milano...
7 Act One, Scene One: Perdona, O Mia Diletta - Nicola Monti/Maria Callas/Eugenia Ratti/Giuseppe Morresi/Franco Ricciardi
8 Act One, Scene One: Prendi: L'Anel Ti Dono - Nicola Monti
9 Act One, Scene One: Scritti Nel Ciel Gia Sono...Ah! Vorrei Trovar Parole - Coro Del Teatro Alla Scala, Milano/Norberto Mola/Nicola Monti/Maria Callas/Eugenia Ratti
10 Act One, Scene One: Domani, Appena Aggiorni - Nicola Monti/Coro Del Teatro Alla Scala, Milano/Norberto Mola/Maria Callas/Eugenia Ratti
11 Act One, Scene One: Come Noioso E Lungo Il Cammin... Vi Ravviso, O Luoghi Ameni... E Gentil... - Nicola Zaccaria/Eugenia Ratti/Maria Callas/Fiorenza Cossotto/Nicola Monti/Giuseppe Morresi...
12 Act One, Scene One: Contezza Del Paese - Nicola Monti/Nicola Zaccaria/Fiorenza Cossotto/Eugenia Ratti/Coro Del Teatro Alla Scala, Milano...
13 Act One, Scene One: A Fosco Cielo, A Notte Bruna - Nicola Monti/Nicola Zaccaria/Fiorenza Cossotto/Eugenia Ratti/Coro Del Teatro Alla Scala, Milano...
14 Act One, Scene One: Basta Cosi. Ciascuno Si Attenga - Nicola Zaccaria/Fiorenza Cossotto/Maria Callas/Eugenia Ratti/Nicola Monti
15 Act One, Scene One: Elvino! E Me Tu Lasci - Maria Callas/Nicola Monti
16 Act One, Scene One: Son Geloso Del Zefiro Errante - Maria Callas/Nicola Monti
17 Act One, Scene Two: Davver, Non Mi Dispiace - Nicola Zaccaria/Eugenia Ratti
18 Act One, Scene Two: Che Veggio? - Nicola Zaccaria/Maria Callas/Eugenia Ratti
19 Act One, Scene Two: O Ciel! Che Tento? - Nicola Zaccaria/Maria Callas
20 Act One, Scene Two: Osservate: L'uscio E Aperto - Coro Del Teatro Alla Scala, Milano/Norberto Mola
21 Act One, Scene Two: E Menzogna - Nicola Monti/Coro Del Teatro Alla Scala, Milano/Norberto Mola/Eugenia Ratti/Maria Callas
22 Act One, Scene Two: D'un Pensiero E D'un Accento - Maria Callas/Nicola Monti/Coro Del Teatro Alla Scala, Milano/Norberto Mola/Giuseppe Morresi...
23 Act One, Scene Two: Non Piu Nozze - Nicola Monti/Maria Callas/Eugenia Ratti/Giuseppe Morresi/Fiorenza Cossotto

Disc: 2

1 Act Two, Scene One: Qui La Selva E Piu Folta Ed Ombrosa - Coro Del Teatro Alla Scala, Milano/Norberto Mola
2 Act Two, Scene One: Reggimi, O Buona Madre - Maria Callas/Fiorenza Cossotto
3 Act Two, Scene One: Vedi, O Madre... E Afflitto E Mesto - Maria Callas/Nicola Monti
4 Act Two, Scene One: Viva Il Conte! - Nicola Monti/Maria Callas/Fiorenza Cossotto/Coro Del Teatro Alla Scala, Milano/Norberto Mola
5 Act Two, Scene One: Ah! Perche Non Posso Odiarti - Nicola Monti/Fiorenza Cossotto/Coro Del Teatro Alla Scala, Milano/Norberto Mola
6 Act Two, Scene Two: E Fia Pur Vero, Elvino - Eugenia Ratti/Nicola Monti/Nicola Zaccaria/Giuseppe Morresi/Maria Callas/Fiorenza Cossotto...
7 Act Two, Scene Two: Signor Conte, Agli Occhi Miei - Nicola Monti/Nicola Zaccaria/Coro Del Teatro Alla Scala, Milano/Norberto Mola/Eugenia Ratti...
8 Act Two, Scene Two: Signor?...Che Creder Deggio? - Nicola Monti/Nicola Zaccaria/Fiorenza Cossotto/Coro Del Teatro Alla Scala, Milano/Norberto Mola
9 Act Two, Scene Two: Oh! Se Una Volta Sola - Maria Callas/Nicola Zaccaria/Fiorenza Cossotto/Coro Del Teatro Alla Scala, Milano/Norberto Mola
10 Act Two, Scene Two: Ah! Non Credea Mirarti - Maria Callas/Nicola Monti
11 Act Two, Scene Two: No, Piu Non Reggo - Nicola Monti/Maria Callas/Nicola Zaccaria/Coro Del Teatro Alla Scala, Milano/Norberto Mola
12 Act Two, Scene Two: Ah! Non Giunge Uman Pensiero - Maria Callas/Fiorenza Cossotto/Nicola Zaccaria/Nicola Monti/Eugenia Ratti/Giuseppe Morresi...

Editorial Reviews

Amazon.com

You can hear the vocal troubles of Maria Callas's later years just beginning to appear in this 1957 recording. Callas is usually identified with larger-than-life tragic heroines quite different from the simple bride-to-be Amina, whose wedding plans are nearly destroyed by her sleepwalking into compromising situations. But she makes the melodramatic plot emotionally credible, and she rises to the challenges of Bellini's expressively elaborate writing. --Joe McLellan

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • Product Dimensions ‏ : ‎ 5.75 x 5 x 1 inches; 7.84 ounces
  • Manufacturer ‏ : ‎ EMI Classics
  • Date First Available ‏ : ‎ December 9, 2006
  • Label ‏ : ‎ EMI Classics
  • ASIN ‏ : ‎ B000002RXR
  • Number of discs ‏ : ‎ 2
  • Customer Reviews:
    4.0 4.0 out of 5 stars 15 ratings

Customer reviews

4 out of 5 stars
4 out of 5
15 global ratings

Top reviews from the United States

Gilbert Bittman
5.0 out of 5 stars Five Stars
Reviewed in the United States on November 20, 2016
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No problems
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loren biagi
2.0 out of 5 stars A boring performance!!
Reviewed in the United States on November 27, 2016
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I really love Belcanto opera however I can't get through somnambula!! Maria Callas is wonderful and I do have a a problem with the tenor Nicola Monty he's just too light for me the other principles are very good I sis once again I'm this is the one I print it just puts me to sleep however there are moments in the score but I do really love but as a whole I have 7-Eleven Pavarotti version and I do like that so I don't know if it's at the conducting of
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LES
4.0 out of 5 stars EVERYONE'S A CRITIC!!!
Reviewed in the United States on October 12, 2008
Some of the "reviews" on this recording amaze me. This 1957 EMI studio recording of "La Sonnambula" represents Callas' art as graphically as does her Norma, Medea, Traviata, or any of her other great operatic impersonations. No ---- I do not put this studio recording on the same level as her live performances of this opera at La Scala in 1955, or in Cologne in 1957 (five months after this recording was made), but there are a lot of very beautiful things here. Callas is in, for the most part, very good voice. She sings with great beauty, lyricism, sensitivity, and awesome musicianship. Her tenor, Nicola Monti, is actually quite good, and was moreover the only tenor of his time who could have undertaken this tenor assignment, which is that of a tenor di grazia (today, Juan Diego Florez fills the bill perfectly). Cesare Valletti partnered Callas in this opera at La Scala in 1955, but had been recording for RCA Victor at the time of this recording. Antonino Votto's orchestral execution is rather subdued here, which gives this entire performance somewhat of a pallid demeanor (Votto was much more lively when he conducted Callas in this opera five months later in Cologne). Prior to the emergence and releases of the two live Callas "Sonnambula" performances, THIS was the recording that stood alone for five years as the only recording of this opera (prior to the release of the first Joan Sutherland recording on London/Decca in 1962). It was considered a perfectly valid recording of this rarely-heard opera, and it has brought joy to many through the years.
The sound is state-of-the-art mono. Don't let anyone tell you any different.
9 people found this helpful
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L. E. Cantrell
2.0 out of 5 stars This one's a dog. Seek Callas' Amina elsewhere
Reviewed in the United States on December 31, 2005
Source: Studio recording made March 3-9, 1957 at the Basilica di San Eufemia in Milan.

Sound: Fairly good 1950s mono. The orchestra is generally caught fairly well. For some odd reason, the chorus, except for the few scattered bits in which they bellow over-lustily, are nearly inaudible. It is next to impossible to catch the words they are singing, even with libretto in hand.

Cast: Amina - Maria Callas; Elvino - Nicola Monti; Il Conte Rodolfo - Nicola Zaccaria; Lisa - Eugenia Ratti; Teresa - Fiorenza Cossotto; Alessio - Giuseppe Morresi; Un Notario - Franco Ricciardi. Conductor: Antonino Votto with the Orchestra and Chorus of La Scala in Milan.

Maria Callas must, by any reasonable standards, be absolutely the greatest singer ever to appear in so many truly lousy operatic performances. This recording offers a fine case in point. Callas sings very well here, not perfectly, to be sure, but impressively, nonetheless. She has skillfully reduced her voice into the small container that is Amina. It's a tight fit and a listener might be forgiven for occasionally worrying whether she is about to explode suddenly and forcefully into Norma or Medea in full flight. Despite that, Callas pulls off her own performance successfully enough.

Unfortunately, she can't do the same for her tenor or her baritone, nor can she wield the baton in front of the La Scala band. Nicola Monti, Nicola Zaccaria and Antonino Votto all seem to have prepared for the 1957 recording sessions by drinking deeply from the Fountain of Uninspiration. None of the three is exactly awful, but all three are throughly blah and uninspired, each in his own way. Worst of the bunch is Monti, the tenor. He simply can't pull his weight in the several duets with Callas. They become no more than soprano solos blurred by an irrelevant and increasingly annoying male voice. Zaccaria, the bass-baritone, seems not to be entirely present in this "Sonnambula." He offers a fine example of a telephoned in performance. Votto's conducting is relentlessly humdrum--emphasis on the "hum" over the "drum." Of the well-known names in the cast, only Fiorenza Cossotto offers the support Callas deserves, but her part is short and peripheral.

I find that Amazon carries two additional live performances of "La Sonnambula" in which Callas stars. One was made at about the same time as this studio version. It, alas, again unites her with the useless Monti and Votto. Nevertheless, critical opinion holds that it is a better performance than this studio version. It could hardly be worse. Some years earlier, Callas had sung "La Sonnambula" with Leonard Bernstein in the pit and with a real tenor, Cesare Valletti, on stage. The sound on that set is a bit questionable, but it is definitely the performance to choose if you want Callas as Amina.
10 people found this helpful
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Melanie White
5.0 out of 5 stars confused reviews here
Reviewed in the United States on August 28, 2013
Some of the reviews on this page are referring to a DIFFERENT RECORDING. This page is about the 1957 recording with Votto directing. Several of the reviews are for the 1955 recording with Leonard Bernstein directing. I don't know how this happened, but if you are looking for the recording mentioned in those reviews, THIS IS NOT IT.
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daniel vasquez
5.0 out of 5 stars unfortunate to read the other reviews
Reviewed in the United States on February 27, 2001
there are only two reviews here and none are particularly encouraging. one reviewer cannot believe that callas, one of the formost belcantists of the last century, had "the nerve" to sing this. the other only thinks that callas is the only reason for this set. what is one to say. the idea of what bel canto is has been so shaken from its original roots that you get people thinking that sutherland is bel canto. thats almost like thinking that Native Americans are from INDIA because they are called "indians". (i.e. "bel canto MEANS beautiful singing") silly isnt it? perhaps some research should be done. figure out what kind of singers bellini wrote for, what their range was, what their VOLUME was like. take a look at the orchestration and then think about "is this something that should be sung by a big wagnerian voice like sutherland's?" also think about what kind of soprano callas is. forget about what you have read before. forget the "dramatic coloratura" tag that has been placed on her. read what rossini thought of full toned high notes, should the voice really be even through all the scales and all registers? or is the composer exploiting the sound of each different tone? ('madame pasta's voice is made of a wide variety of metalo'). consider that pasta, malibran, and viardot were NOT sopranos, but pushed up mezzos.....
then, after you do all that, tell me what you think of bel canto, and of this recording, which is perhaps one of the greatest testaments of callas' art.
daniel
23 people found this helpful
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Top reviews from other countries

Amazon Customer
5.0 out of 5 stars Five Stars
Reviewed in the United Kingdom on March 3, 2015
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Very pleased with purchase. As described. Many thanks
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Staffan Lindström
3.0 out of 5 stars Disappointing
Reviewed in the United Kingdom on February 14, 2017
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The singers are as good as you would expect, but the opers itself is frankly boring. It could not hold my attention which was the last thing I had expected from an opera with Maria Callas and Eugenia Ratti in it. Disappointing.
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