Tosca (de Sabata 1953)

Tosca ist eine Gesamtaufnahme der Oper Tosca von Puccini. Sie entstand 1952 bei EMI unter der musikalischen Leitung Victor de Sabatas mit Maria Callas, Giuseppe Di Stefano und Tito Gobbi, zusammen mit dem Chor und Orchester des Teatro alla Scala di Milano. Die Aufnahme wird von vielen Kritikern als eine der bedeutendsten Opernaufnahmen der 1950er Jahre angesehen. Sie wurde 1953, am Höhepunkt von Callas Popularität, veröffentlicht und stieß umgehend auf großes Lob seitens der Kritiker. Sie war zudem kommerziell sehr erfolgreich und wird noch immer als meistverkaufte Opernaufnahme aller Zeiten angesehen, wenngleich auch die Aufnahme von Puccinis Oper La Bohème unter der Leitung Herbert von Karajans mit Luciano Pavarotti und Mirella Freni von Decca um diesen Titel konkurriert.[1][2]

Der notorisch anspruchsvolle de Sabata war mit Callas Leistungen durchgehend zufrieden, außer an der Stelle "E avanti a lui tremava tutta Roma". Der Produzent Walter Legge hielt fest, dass de Sabata Callas daraufhin in seine "Feinmühle" nahm, was aus Legges Sicht aber gut investierte Zeit war.[3] Hans Lauterslager, der als Techniker an der Aufnahme beteiligt war, verzeichnete, dass Callas bald Anzeichen von Enerviertheit zeigte.[4]

Obwohl Maria Callas der Star der Aufnahme blieb, erfuhren die beiden Sänger Tito Gobbi und Giuseppe di Stefano, als auch das Dirigat de Sabatas kritische Wertschätzung.[5] Die Aufnahme wurde zu einer der beliebtesten Klassikaufnahmen.[6] Leontyne Price nannte sie als ihre Lieblingsaufnahme dieser Oper.[7]

Einzelnachweise

Opera: an encyclopedia of world premieres and significant ... - Page 85 Franklin Mesa - 2007 "His 1952 performance on EMI of Tosca with Maria Callas, Giuseppe di Stefano and Tito Gobbi remains the best-selling opera recording of all time."
Classic CD. 1994 "La Boheme Freni, Pavarotti et al. Berlin PO/Karajan. The best-selling opera recording of all time!"
On and off the record: a memoir of Walter Legge Page 197 ed. Elisabeth Schwarzkopf - 1982 "Only for "E avanti a lui tremava tutta Roma" was she put through de Sabata's grinding mill for half an hour — time well spent. We used miles of tape, and when the recording was finished I warned de Sabata that I needed him for a few days to ..."
The Gramophone - Volume 85, Num 1019 - Page 41 2007 "Callas's musicianship would have come as no surprise to de Sabata but, when it came to Tosca's great aria, even he must have been thrilled by her total concentration, the way in which she seemed to live every bar of "Vissi d'arte". None the less, Walter Legge wrote about her being "put through de Sabata's grinding mill for half an hour until he was satisfied with her line at the end of Act 2, 'E avanti a lui tremava tutta Roma'." It's hard to believe that tempers didn't continue ...... According to the now retired engineer Hans Lauterslager, who worked on the recording, Callas displayed signs of nerves."
The Penguin guide to recorded music Page 963 ed. Ivan March, Edward Greenfield, Robert Layton - 2008 "Gobbi makes the unbelievably villainous police chief into a genuinely three-dimensional character, and Di Stefano as the ... The conducting of De Sabata is spaciously lyrical as well as sharply dramatic, and the mono recording is superbly balanced in Walter Legge's fine production."
Russell Miller, Jacques Lowe, Roger Boar The incredible music machine 1982 Page 212 " ... recorded with Tito Gobbi and Giuseppe di Stefano, conducted by Victor de Sabata and produced by Legge at La Scala in 1953 remains one of the most celebrated classical recordings of all time."
BBC Music Magazine - Volume 4 - Page 49 British Broadcasting Corporation - 1996 "… for years this has been nearly everyone's preferred Tosca. Leontyne Price, the soprano who comes closest to rivalling Callas as Tosca on disc (in the 1962 Karajan recording), chose the de Sabata as her favourite opera recording of all time."

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[1] Opera: an encyclopedia of world premieres and significant ... - Page 85 Franklin Mesa - 2007 "His 1952 performance on EMI of Tosca with Maria Callas, Giuseppe di Stefano and Tito Gobbi remains the best-selling opera recording of all time."

[2] Classic CD. 1994 "La Boheme Freni, Pavarotti et al. Berlin PO/Karajan. The best-selling opera recording of all time!"

[3] On and off the record: a memoir of Walter Legge Page 197 ed. Elisabeth Schwarzkopf - 1982 "Only for "E avanti a lui tremava tutta Roma" was she put through de Sabata's grinding mill for half an hour — time well spent. We used miles of tape, and when the recording was finished I warned de Sabata that I needed him for a few days to ..."

[4] The Gramophone - Volume 85, Num 1019 - Page 41 2007 "Callas's musicianship would have come as no surprise to de Sabata but, when it came to Tosca's great aria, even he must have been thrilled by her total concentration, the way in which she seemed to live every bar of "Vissi d'arte". None the less, Walter Legge wrote about her being "put through de Sabata's grinding mill for half an hour until he was satisfied with her line at the end of Act 2, 'E avanti a lui tremava tutta Roma'." It's hard to believe that tempers didn't continue ...... According to the now retired engineer Hans Lauterslager, who worked on the recording, Callas displayed signs of nerves."

[5] The Penguin guide to recorded music Page 963 ed. Ivan March, Edward Greenfield, Robert Layton - 2008 "Gobbi makes the unbelievably villainous police chief into a genuinely three-dimensional character, and Di Stefano as the ... The conducting of De Sabata is spaciously lyrical as well as sharply dramatic, and the mono recording is superbly balanced in Walter Legge's fine production."

[6] Russell Miller, Jacques Lowe, Roger Boar The incredible music machine 1982 Page 212 " ... recorded with Tito Gobbi and Giuseppe di Stefano, conducted by Victor de Sabata and produced by Legge at La Scala in 1953 remains one of the most celebrated classical recordings of all time."

[7] BBC Music Magazine - Volume 4 - Page 49 British Broadcasting Corporation - 1996 "… for years this has been nearly everyone's preferred Tosca. Leontyne Price, the soprano who comes closest to rivalling Callas as Tosca on disc (in the 1962 Karajan recording), chose the de Sabata as her favourite opera recording of all time."