Maria Callas, Cherubini, Lsc, Bernstein - Cherubini: Medea (complete opera live 1953) with Maria Callas, Fedora Barbieri, Leonard Bernstein, Orchestra & Chorus of La Scala, Milan

Leonard Bernstein learned the score to Medea in five days after another conductor fell ill. It was also the first time he worked with Maria Callas. The result is electrifying. Bernstein hardly sees the score as the "classical" composition it had been considered, and Callas agrees--this is high drama, as close to verismo as possible. The performance, taped live in 1953, is a whirlwind of emotions. Callas, at her vocal best, with high notes blazing and solid and chest voice so dangerously pushed that it's a wonder her career lasted as long as it did, is an utterly malignant Medea, spitting out her rage in a way that is almost visible. The rest of the cast is good enough (or better than that), and the La Scala forces are in a controlled frenzy. EMI has cleaned up the sound of this (previously) "private" recording and eliminated much of the applause (after her first aria, Callas received a 10-minute standing ovation). Even if you own the old, studio-recorded Callas Medea, this will open your ears to the opera anew. Simply staggering--and midprice. --Robert Levine Amazon.com

Callas Great - Sound Quality Lousy

Cherubini's Medea is most likely one of the most beautiful and powerful operas ever written, and Maria Callas sure knows how to sing it. Bernstein does a typical Bernstein job to conduct it, and it is life. However, I personally didn't like the recording, and find the sound quality too bad. There is another recording out there conducted by Tullio Serafin, with much better sound quality and at least the same drama. Do not make the mistake and mistake one for the other. In particular, you can try to buy the Serafin version on Amazon, and you might just get the Bernstein version (this is how I ended up with my version). December 19, 2007

Why 5?... Find Out!

As is often the case with me, this Medea is my favorite but not my first. I purchased the Serafin Medea (Picchi + Scotto) just in time for summer break. I became very, very closely acquainted with a very, very traditional version of the opera. Then, a month later, intrigued, I purchased this one. I was completely blown away! This recording is one of the few Callas recordings where no one in the cast is bad. Everyone (especially, as Berger puts it, "good old Gino Penno") sings wonderfully, and Callas provides a stunning example of what she dubbed in her later years as "bloody miraculous" singing. The dramatic aspects of her voice are completely overshadowed by the fact that she sang OUT! Callas herself said that Medea is "a role for moderation". As is stated in the libretto, if this recording has been somehow moderated or toned down, it makes one wonder what an UN-moderated performance might sound like. This thrilling Medea has certainly earned its five stars! December 28, 2006

A classic

While the performance is first rate, the quality of the recording leaves a lot to be desired; some cases of "static" on Disk 2. August 30, 2006

Great performance - terrible mastering

This great recording is totally sabotaged by the mastering EMI used. This was one of the recordings issued by EMI in conjunction with Callas' horendous sister Jackie, who claimed ownwership of Callas' live material (and EMI believed her????) Anyway this is a copy of old Verona CDs but the sound is muffled - if you want this performance in better sound, try and find the original Verona CDs 27088/9; also the Melodram is supposed to be OK. But avoid this set. March 27, 2006

The Mighty Medea

This EMI recording will never dare get out of print. Recorded at La Scala in the 50's it finds Maria Callas in her prime, singing with bite, feral power and dramatic commitment in a role that equalled her greater performance as Bellini's Norma. This would be her second greatest role. The rest of the cast sings well and supports her with harmonic and dramatic integrity, particularly Fedora Barbieri, one of the few mezzo-sopranos who could raise her chest voice above the orchestra. Leonard Bernstein, ranking high in the list of quality conductors of the 20th century, takes the baton in a powerful, visceral interpretation of Cherubini's originally classical/Gluckian score. Bernstein was the one conductor who stood out by pulling out all the stops and delivering tricks that were innovative. His conducting was bombastic and modern and usually strayed from the mainstream, orthodox, old-school way of conducting that such famous names as Toscanini, Stokowski and Karajan conducted. Bernstein works well with Callas, bringing out more passion and dynamics than even De Sabata or Tullio Serafin, her champion conductors, ever did. Bernstein knows that Callas was at this time at the top of the opera scene and he wholly supports her temperament and bravura in a sublime performance. Medea is based on the old Greek legend of the wife of Jason, leader of the Golden Fleece-searching Argonauts. When Jason was unfaithful, Medea became crazed with jealousy and even murders her own children. The intensity of the opera lies in Medea's emotional downward spiral, which Callas, with terrific musicianship and vocal ability gets into easily. This is a must have for fans of the diva and while I don't much care for all her roles I think that Norma, Medea and Tosca are his best roles. November 2, 2005

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