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This is a would-be classic. The younger, pudgier Maria Callas sang the role of Turandot with a hurricane force that’s rarely been equaled. But by 1958–when this recording was made–the slimmer, wiser Callas had less of the vocal power required by the opera’s Act II shouting match (also known as “The Riddle Scene”), and the character’s simplistic motivation (beheading suitors as a way of not dealing with her sexual frigidity) offered little for her sophisticated theat… More >>
Puccini: Turandot Maria Callas; Elisabeth Schwarzkopf: Eugenio Fernandi; Tullio Serafin

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#1 by Rafael on June 1, 2010 - 11:26 pm
The conductor Serafin carry a distressing job. Schwarzkopf she’s the bad Liú recording. Fernandi he’s the bad Calaf imaginable. Callas she’s better but no muchs. The bad recording of Callas.
Rating: 1 / 5
#2 by Anonymous on June 2, 2010 - 12:44 am
To start, Callas has no business singing Turandot. She had a shrill, colorless sound that is unacceptable in Puccini’s passionate music. The title role belongs to Eva Marton, or Birgit Nilsson. The Liu here is bad as well. She sounds wirey and edgy. As for the tenor, he’s even worst. All and all, a pathetic recording ( I returned it ). May I suggest the VHS tape with Domingo and Marton? It’s visually splendid, and the singing is first class.
Rating: 1 / 5
#3 by Senza Rancor on June 2, 2010 - 3:36 am
Callas, in 1957, did not have the big voice to sing Turandot; in 1949, yes; in 1957, no! Schwarzkopf as Liù is unidiomatic. The tenor is inept. Only Serafin’s conducting saves this set. Callas is no Turandot on this recording. Just listen to Nilsson, Turner, and Dimitrova. EMI should have gone to Austria to look for Gertrud Grob Prandl, a hochdrammatisch sopran who had the chops to really sing Turandot and who did so frequently in Italy.
Rating: 2 / 5
#4 by Anonymous on June 2, 2010 - 6:04 am
This Turandot ROCKS! Absolutely thrilling! Buy it, it’s the best!
Rating: 5 / 5
#5 by Anonymous on June 2, 2010 - 8:59 am
Callas is magnificent in this early performance. She is accompanied and supported by a first rate cast; most notable is Eugenio Fernandi (a tenor whom she often chose to sing with). Fernandi brings extraordinary power and beauty to the character of Calaf. He was a tenor of the highest caliber and this performance provides a fine introduction to Fernandi’s artistry.
Rating: 4 / 5