Herbert von Karajan's 1956 studio recording of Verdi's Il trovatore is a fine all-around production, but it will be of special interest to fans of the conductor and Maria Callas, both of whom are at their best here. Under Karajan's baton, not a single moment goes to waste: every articulation, every transition, every tempo and mood seems exactly right; he takes time when the score needs room to breathe, and races forward when it needs to build toward a climax. The result is a genuinely riveting studio recording that rarely ...
Read More
Herbert von Karajan's 1956 studio recording of Verdi's Il trovatore is a fine all-around production, but it will be of special interest to fans of the conductor and Maria Callas, both of whom are at their best here. Under Karajan's baton, not a single moment goes to waste: every articulation, every transition, every tempo and mood seems exactly right; he takes time when the score needs room to breathe, and races forward when it needs to build toward a climax. The result is a genuinely riveting studio recording that rarely tempts you to skip to the next highlight. Callas has to be considered a nearly ideal Leonora. The range of color, phrasing, and expression she finds in the score should be a lesson to any singer who thinks Verdi is all about volume. She is also unusually faithful to Verdi's text, articulating each turn and trill with exceptional clarity and purpose. Her "Tacea la notte placida" and "Di tale amor" from the second scene of Act One are fantastic. Fedora Barbieri is a husky and imposing...
Read Less
