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Tosca Comp

Giacomo Puccini Audio CD
4.6 out of 5 stars  See all reviews (11 customer reviews)

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Product Details


Disc: 1
1. TOSCA: Act One - Ah! Finalmente! (Angelotti, Sagrestano, Cavaradossi)
2. TOSCA: Act One - Dammi i colori...Recondita armonia (Cavaradossi, Sagrestano)
3. TOSCA: Act One - Gente lÓ dentro! (Cavaradossi, Angelotti, Tosca)
4. TOSCA: Act One - Mario! Mario! Mario!
5. TOSCA: Act One - Ah, quegli occhi... Quale occhio al mondo pu˛ star di paro (Tosca, Cavaradossi)
6. TOSCA: Act One - E' buona la mia Tosca (Cavaradossi, Angelotti, Sagrestano, Coro)
7. TOSCA: Act One - Un tal baccano in chiesa! (Scarpia, Sagrestano, Spoletta)
8. TOSCA: Act One - Or tutto Ŕ chiaro...Tosca? Che non mi veda... Mario! Mario! (Scarpia, Tosca, Sagrestano)
9. TOSCA: Act One - Ed io venivo a lui tutta dogliosa (Tosca, Scarpia)
10. TOSCA: Act One - Tre sbirri, una carrozza (Scarpia, Spoletta, Coro)
Disc: 2
1. TOSCA: Act Two - Tosca Ŕ un buon falco! (Scarpia, Sciarrone)
2. TOSCA: Act Two - Ha pi¨ forte (Scarpia, Sciarrone, Spoletta)
3. TOSCA: Act Two - Meno male! (Scarpia, Sciarrone, Cavaradossi)
4. TOSCA: Act Two - Dov'Ŕ dunque Angelotti? (Scarpia, Cavaradossi, Spoletta, Tosca)
5. TOSCA: Act Two - Ed or fra noi parliam da buoni amici...Sciarrone, che dice il Cavalier? (Scarpia, Tosca, Sciarrone, Cavaradossi)
6. TOSCA: Act Two - Ors¨, Tosca, parlate (Scarpia, Tosca, Cavaradossi)
7. TOSCA: Act Two - Nel pozzo... nel giardino (Scarpia, Sciarrone, Tosca, Cavaradossi)
8. TOSCA: Act Two - Se la giurata fede debbo tradir (Scarpia, Tosca)
9. TOSCA: Act Two - Vissi d'arte (Tosca)
10. TOSCA: Act Two - Vedi, le man giunte io stendo a te! (Tosca, Scarpia, Spoletta)
See all 19 tracks on this disc

Customer Reviews

4.6 out of 5 stars
4.6 out of 5 stars
Most helpful customer reviews
3.0 out of 5 stars Vocally Proplematic April 13 2003
By A Customer
Format:Audio CD
Maria Callas always had trouble keeping her high notes under control. By the time of this recording, they were REALLY all over the map. Yes, she is dramatic but the singing is so wild! One of my biggest complaints of Callas is her vowels. The vowel E becomes Euh. Oddly enough, she turned that around in the 70's for her recital tours. I bought her last North American recital (with Di Stefano) from Amazon and was quite surprised. E, became E, thankfully. The wobble shows up a little less that it had in the past, too. There is a great one, though, on the high note in Suicidio! It's hysterical.
I just can't stomach the voice at this time in her career. Other soprano's with long careers, such as Freni and Sutherland, also had wobbles late in life, but the voice was still beautiful. Go for Carmen if you want to hear late Callas. There are few high notes and she is wonderfully dramatic. Get the Freni Toscas if you want a really great recording.
The rest of the cast is great!
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4.0 out of 5 stars Not the Best but... June 21 2001
Format:Audio CD
This soundtrack is all that remains of a failed Zefirelli project to film Callas in "Tosca". This accounts for the drama and immediacy of this recording. Yes, the voices were younger and more secure in the earlier De Sabata recording but the advantages in the stereo set balance nicely with that one. Maria Callas voice by this point was so forward that she has difficulty with the top notes but also manages to put forth the drama with an intensity that she never could before. The stereo sound also compensates for her intrusive wobble. What a shame that her career did not coincide more with the stereo age! She still is the Tosca of all times. Carlo Bergonzi's voice is pure gold even though he does not give a particularly vividly dramatic portrait of Cavaradossi. Tito Gobbi still has all the nuances of Scarpia's character even if his voice has more of a bark in it than his previous recording. He and Callas also had the advantage of working with Zefirelli in his London/Paris production at this time and were able to sharpen their characterizations. Pretre allows Puccini's melodies space to breathe and doesn't propel them the way De Sabata does. Vocally, there are better recordings of this opera but, from a dramatic standpoint, this bears away the laurels.
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Format:Audio CD
This was one of my first purchases of a recording with Maria Callas and 15 years later this is still my number one recording.
The voice of Callas conveys the feelings of the woman in love, a woman jealous, the woman in pain. Callas does that in a way that no other voice or any other of her recordings (or for that matter any other Tosca recording) has ever been able to convey.
Tito Gobbi as Scarpia has remained unsurpassed and in this recording he has managed to capture the role as no other baritone has done before or ever since.
Carlo Bergonzi, equally good works together with Callas and Gobbi to create an atmosphere that you can "feel" through this recording. Just close your eyes and you will be there.
I could not recommend a recording more highly. Listen to it and you will not forget it. Every second of it is an experience. Even to the last minute when the last act Callas when she sings "Presto, su Mario!" will make you feel the hair at the back of your neck rise as she discovers Mario dead.
Simply an experience not to be missed.
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5.0 out of 5 stars AN UNDERRATED GEM July 4 2001
Format:Audio CD
It's common to talk about the 1953 de Sabata recording at the expense of this one. I would not do without either. This one has several advantages: 1) Though Callas's voice has deteriorated, she is in her skinny Callas voice here, not the fat Callas voice (where she sounds like she's singing into a bottle.) I like both, but if you prefer thin Callas, this is the Tosca for you; 2) This is a more histrionic TOSCA -- that doesn't make it better or worse, but it's definitely different enough to set it apart; 3) Her Vissi D'arte is her best, ever, and she recorded it many times; 4) The stereo sound is gorgeous; 5) I prefer De Stefano, but Bergonzi brings something special to this, too; 6) Gobbi, in the spirit of this production, pulls out the dramatic stops. This is the melodramatic TOSCA, and the '53 is the dramatic TOSCA. Two versions, both great.
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5.0 out of 5 stars Callas is amazing! Nov. 17 1999
Format:Audio CD
Callas' 1953 Tosca will always be my favorite, but this one is almost as good. I know that a lot of people say it's not nearly as good as the 1953 recording, but I disagree. Callas' voice was certainly in better condition in 1953, but I think her interpretation had strengthened and deepened since then. She gives an emotional, intense performance here. And she sings the greatest "Vissi d'arte" ever! I love the one on the 1953 recording, but this one is even more emotional and moving.
Gobbi is probably the greatest Scarpia ever, and I think his interpretation has also strengthened since 1953. Bergonzi gives a wonderful performance as Mario. I love di Stefano in the 1953 recording, but Bergonzi is also great. This recording is definitely one of my favorites.
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5.0 out of 5 stars Perche signore, me ne rimuneri cosi? June 12 2003
Format:Audio CD
Just an anecdote. There was a coincidence of my acquisition of this record and a personal love disappointment. The day before some friends were talking to me about Tebaldi's Vissi d'arte in a contemporary record. The night in question I listened for the first time to Tebaldi's one and suddnly I feel the need to listen again to the Callas' one. It was midnight and I listened to it over and over, up to 17 times in a row. No one else has the capacity and the charm to transmit so much power, so much pain, so much beauty at the same time. Listening to Maria's Vissi d'arte leaves you exhausted, bringing up all the love and all the grief you keep inside. The last note from 'cosi' is the key to your heart.
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