Opera Arias

~ Release by Maria Callas (see all versions of this release, 1 available)

Tracklist

1▼CD
#TitleRatingLength
1The Barber of Seville: Act I. “Una voce poco fa”
soprano vocals:
Maria Callas (soprano) (in 1958)
orchestra:
Philharmonia Orchestra (London orchestra, known as New Philharmonia Orchestra from 1964–1976) (in 1958)
conductor:
Alceo Galliera (organist, conductor and composer) (in 1958)
recording of:
Il barbiere di Siviglia: Atto I, N°5a. Cavatina “Una voce poco fa” … “Io sono docile” (Rosina) (in 1958)
composer:
Gioachino Rossini (composer)
librettist:
Cesare Sterbini
part of:
Il barbiere di Siviglia: Atto I
6:24
2La Cenerentola: Act II. “Non più mesta”
soprano vocals:
Maria Callas (soprano)
orchestra:
Philharmonia Orchestra (London orchestra, known as New Philharmonia Orchestra from 1964–1976)
conductor:
Antonio Tonini (conductor)
partial recording of:
La Cenerentola: Atto II, scena 3. Finale II, coro e scena “Della Fortuna instabile” … “Nacqui all’affanno” … “Non più mesta” (Coro, Cenerentola, Ramiro, Dandini, Alidoro, Clorinda, Tisbe, Magnifico)
composer:
Gioachino Rossini (composer)
librettist:
Jacopo Ferretti
part of:
La Cenerentola: Atto II
2:39
3The Marriage of Figaro: Act II. “Porgi amor”
soprano vocals:
Maria Callas (soprano) (in 1964)
orchestra:
Orchestre du Conservatoire de Paris (in 1964)
conductor:
Nicola Rescigno (conductor) (in 1964)
recording of:
Le nozze di Figaro, K. 492: Atto II, Scena I. (no. 11) Cavatina “Porgi, amor qualche ristoro” (La Contessa) (in 1964)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte
part of:
Le nozze di Figaro, K. 492: Atto II (The Marriage of Figaro, K. 492: Act II)
4:12
4L'Elisir d'amore: Act II. “Prendi, per me sei libero”
soprano vocals:
Maria Callas (soprano) (in 1965)
orchestra:
Orchestre du Conservatoire de Paris (in 1965)
conductor:
Nicola Rescigno (conductor) (in 1965)
recording of:
L’elisir d’amore: Atto II. Aria “Prendi, per me sei libero” (Adina, Nemorino) (in 1965)
composer:
Gaetano Donizetti (Italian opera composer)
part of:
L’elisir d’amore: Atto II
3:41
5Lucia di Lammermoor: Act III. “Ardon gli incensi”
soprano vocals:
Maria Callas (soprano) (in 1960)
orchestra:
Philharmonia Orchestra (London orchestra, known as New Philharmonia Orchestra from 1964–1976) (in 1960)
conductor:
Tullio Serafin (conductor) (in 1960)
recording of:
Lucia di Lammermoor: Atto III, Scena 1. no. 14. “Ardon gli incensi” (Lucia, Raimondo) (in 1960)
composer:
Gaetano Donizetti (Italian opera composer)
librettist:
Salvadore Cammarano (Italian librettist)
part of:
Lucia di Lammermoor: Atto III
5:11
6Macbeth: Act I. “Nel dì della victoria … Vieni! t'affreta”
soprano vocals:
Maria Callas (soprano) (in 1959)
orchestra:
Philharmonia Orchestra (London orchestra, known as New Philharmonia Orchestra from 1964–1976) (in 1959)
conductor:
Nicola Rescigno (conductor) (in 1959)
recording of:
Macbeth: Atto I. N°3a Scena “Nel dì della vittoria io le incontrai” … “Ambizioso spirto” (Lady) (in 1959)
composer:
Giuseppe Verdi (Italian opera composer)
additional librettist:
Andrea Maffei (19th century poet, translator and librettist)
librettist:
Francesco Maria Piave
part of:
Macbeth: Atto I
part of:
Macbeth: Atto I
7:47
7Don Carlo: Act IV. “Tu che le vanità”
soprano vocals:
Maria Callas (soprano) (in 1959)
orchestra:
Philharmonia Orchestra (London orchestra, known as New Philharmonia Orchestra from 1964–1976) (in 1959)
conductor:
Nicola Rescigno (conductor) (in 1959)
recording of:
Don Carlo: Atto IV. N°15 “Tu che le vanità” – “O Francia, nobile suol” (Elisabetta) (in 1959)
composer:
Giuseppe Verdi (Italian opera composer)
librettist:
Camille du Locle and Joseph Méry
part of:
Don Carlo: Atto IV (V)
10:43
8Otello: Act IV. “Ave Maria“
soprano vocals:
Maria Callas (soprano) (in 1964)
orchestra:
Orchestre du Conservatoire de Paris (in 1964)
conductor:
Nicola Rescigno (conductor) (in 1964)
recording of:
Otello: Atto IV. “Ave Maria” (Desdemona) (in 1964)
composer:
Giuseppe Verdi (Italian opera composer) (from 1884 until 1886-11-01, in 1887)
librettist:
Arrigo Boito (librettist, composer)
part of:
Otello: Atto IV
4:37
9The Damnation of Faust: Act IV. « D'amour l'ardente flamme »
soprano vocals:
Maria Callas (soprano) (in 1963)
orchestra:
Orchestre du Conservatoire de Paris (in 1963)
conductor:
Georges Prêtre (French conductor) (in 1963)
recording of:
La Damnation de Faust : Quatrième Partie, scène 15. « D'amour l'ardente flamme » … « Au son des trompettes » (Marguerite, Chœur) (in 1963)
composer:
Hector Berlioz (French composer)
librettist:
Hector Berlioz (French composer) and Almire Gandonnière (librettiste français)
part of:
La Damnation de Faust, op. 24: Quatrième Partie
part of:
La Damnation de Faust, op. 24: Quatrième Partie
8:13
10Carmen: Act I. « Quand je vous aimerai ? » … « L'amour est un oiseau rebelle »
choir vocals:
Chœurs de l’Opéra national de Paris (Paris National Opera Chorus) (in 1964) and Chœurs René Duclos (in 1964)
soprano vocals:
Maria Callas (soprano) (in 1964)
conductor:
Georges Prêtre (French conductor) (in 1964)
recording of:
Carmen : Acte I. No. 5 Habanera « L’amour est un oiseau rebelle » (Carmen, chœur) (in 1964)
composer:
Georges Bizet (French composer)
librettist:
Ludovic Halévy (French librettist) and Henri Meilhac
is based on:
El arreglito
part of:
Carmen : Acte I
4:54
11The Pearl Fishers: Act II. « Me voilà seule» … « Comme autrefois »
soprano vocals:
Maria Callas (soprano) (in 1963)
orchestra:
Orchestre du Conservatoire de Paris (in 1963)
conductor:
Georges Prêtre (French conductor) (in 1963)
recording of:
Les Pêcheurs de perles : Acte II. No. 7 Récit et cavatine « Me voilà seule dans la nuit » (Leïla) (in 1963)
composer:
Georges Bizet (French composer) (from 1863-04 until 1863-08)
librettist:
Michel Carré (librettist) and Eugène Cormon
part of:
Les Pêcheurs de perles : Acte II
6:01
12Samson and Delilah: Act I. « Printemps qui commence »
soprano vocals:
Maria Callas (soprano) (in 1961)
orchestra:
Orchestre national de France (National Orchestra of France, RTF / ORTF / Radio France) (in 1961)
conductor:
Georges Prêtre (French conductor) (in 1961)
recording of:
Samson et Dalila : Acte I, scène 6. « Printemps qui commence » (Dalila, un vieillard hébreu) (in 1961)
composer:
Camille Saint‐Saëns (composer)
part of:
Samson et Dalila : Acte I
5:17
13Manon: Act III. « Je marche sur tous les chemins »
soprano vocals:
Maria Callas (soprano) (in 1963)
orchestra:
Orchestre du Conservatoire de Paris (in 1963)
conductor:
Georges Prêtre (French conductor) (in 1963)
recording of:
Manon: Acte III, Scène I. “Je marche sur tous les chemins” (Manon) (in 1963)
composer:
Jules Massenet (French Romantic composer)
part of:
Manon: Acte III
2:47