....For this definitive 24/96 remastering, accomplished at the famed Abbey Road Studios with monitoring performed on Bowers & Wilkins 800 series loudspeakers, Warner Classics' three sound engineers returned, whenever possible, to the original master tapes. Though re-equalization was occasionally employed—Robert Gooch, balance engineer for the original LPs of Callas' Il barbiere di Siviglia and stereo Norma recordings, acknowledges that the mastering monitors he used at the time were "rubbish...some commercial speakers"—virtually all of the post-production digital doctoring that degraded previous remasterings was jettisoned. Where mastering instructions were included with the original tapes (often concerning the reduction of overly intrusive street noise), they were respected. [You can view a video that includes Gooch and remastering engineers Andy Walter, Allan Ramsey, and Simon Gibson here .
The results are ear-opening. In advance of the 69-disc box set's release, and staggered release of its individual components, Warner supplied members of the press with a CD that compares the last 16/44.1 remastering of five arias with the new 24/96 versions downsampled to 16/44.1. Even on the Liebestod from Wagner's Tristan und Isolde, released on 78 shellac in 1949 when Callas was not yet 26 years old, the change of source results in far better sound. Callas may not have sung Wagner onstage past 1950, but when you hear the core of her voice open fully toward the end of Isolde's rapture, you will experience as never before the unforgettable fusion of love and suffering that was Callas' art and life.
Once we get to material remastered from the analog tape masters, the restoration of the treble edge of Callas' voice and high-frequency extension of the orchestra, combined with palpably greater richness and body, sounds as though a previously clouded window on Callas' artistry has been scrubbed clean. The differences are astoundingly evident on an excerpt from the 1952 recording of Ponchielli's La Gioconda, and quite noticeable on her 1953 Tosca (one of the greatest opera recordings ever made), 1954 I Pagliacci, and even the 1961 stereo Callas à Paris recital....
各片的發行時間:
23/9/2014:
Complete Box Set + Pure 1-CD Compilation
Bellini: I Puritani (1953)
Bellini: La Sonnambula (1957)
Bellini: Norma (1954)
Bizet: Carmen (1964)
Donizetti: Lucia di Lammermoor (1953)
Ponchielli: La Gioconda (1952)
Puccini: La bohème (1956)
Puccini: Tosca (1953)
Puccini: Madama Butterfly (1955)
Puccini: Manon Lescaut (1957)
Verdi: Aida (1955)
Verdi: Rigoletto (1955)
Verdi: Il Trovatore (1956)
Puccini Arias (1954)
Verdi Arias I (1958)
Mad Scenes (1958)
Lyric and coloratura arias (1954)
Callas at La Scala (1955)
21/10/2014:
1 LP Vinyl Compilation
Leoncavallo: Pagliacci (1954)
Mascagni: Cavalleria Rusticana (1953)
Rossini: Il barbiere di Siviglia (1957)
Rossini: Il Turco in Italia (1954)
Verdi: Un ballo in maschera (1956)
Verdi: La traviata (1953)
Mozart, Beethoven, Weber recital (1963–1964)
Rossini & Donizetti Arias (1963–1964)
Callas à Paris I (1961)
Verdi Arias II (1963–1964)
11/11/2014:
Bellini: Norma (1960)
Cherubini: Medea (1957)
Donizetti: Lucia di Lammermoor (1959)
Ponchielli: La Gioconda (1959)
Puccini: Tosca (1965)
Verdi: La Forza del destino (1954)
The First Recital (1949)
The Callas Rarities (1953–1969)
Callas à Paris II (1963)
Verdi Arias III (1964–1969)
Maria Callas是學聽歌劇的最好partner, 幾乎所有唱過的劇目都會變良品. 她是一個好演員, 有自已一套手法演譯...情況有點像karajan 一樣. 可惜是她一生獨自一人為藝術, 而身邊/自已沒有任何很好的待遇....
同時期有不少對手, 如Renata Tebaldi, Victoria de los Angeles 諸等. 要對比唱功/唱法的話可以由此入手.
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樓主
發表於 2014-9-26 10:34
