Orchestre de la Société des Concerts du Conservatoire de Paris
Choeur d'enfants de l'Opéra National de Paris
Wolfgang Amadeus Mozart
Giuseppe Verdi
Gioachino Rossini
Gaetano Donizetti
Vincenzo Bellini
Carl Maria von Weber
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Recording & Production
The first two tracks on this album are test recordings made by producer Walter Legge to understand working with Maria Callas in the studio and to find optimal microphone placement for a subsequent recording session.
Recording & Production
From the 1960 'working' sessions, only the scene from Act I of Il pirata was approved by Maria Callas for commercial release on the LP Callas by Request.
Performer Biography
Maria Callas formed a strong musical relationship with conductor Georges Prêtre during her French aria recitals in Paris in 1961 and 1963; Prêtre later conducted most of her final live performances and 1964 recordings of Carmen and Tosca.
Recording & Production
A planned recording of operatic duets in June 1964 with Maria Callas, tenor Franco Corelli, and conductor Georges Prêtre yielded only one salvageable duet, 'Pur ti riveggo' from Aida, due to an "explosive" chemistry between Corelli and Prêtre.
Recording & Production
The concluding Verdi arias on this album, recorded in Paris in 1964-65 and 1969 with conductor Nicola Rescigno for a planned third Verdi album, were not approved by Maria Callas but are released as an important part of her recorded legacy.
Recording & Production
In the mono version of the Sleepwalking Scene from Macbeth, the character's voice is heard moving into the distance as specified in the score, unlike the stereo version where the voice remains center stage.
Performer Biography
Maria Callas began a series of 'working' sessions in London in 1960 with conductor Antonio Tonini to retrain her voice after vocal problems she experienced in the late 1950s.
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