- Adriana Lecouvreur, Act 1: “Ecco – respiro appena…Io son l’umile ancella” (Adriana Lecouvreur)
- Adriana Lecouvreur, Act 4: “Poveri fiori” (Adriana Lecouvreur)
- Aida, Act 1: “Ritorna vincitor” (Aida)
- Alceste, Act 1: “Divinités du Styx” (Alceste)
- Andrea Chénier, Act 3: “La mamma morta” (Maddalena)
- Carmen, Act 1: “L’amour est un oiseau rebelle” (Habanera) [Carmen, Chorus]
- Carmen, Act 1: “Près des remparts de Séville” (Carmen, José)
- Carmen, Act 2: “Les tringles des sistres tintaient” (Carmen, Frasquita, Mercédès)
- Dinorah, ‘Le pardon de Ploërmel’, Act 2: “Ombre légère” (Dinorah)
- Faust, Act 3: “Il était un Roi de Thulé… O Dieu! que de bijoux… Ah! je ris” (Jewel Song) [Marguerite]
- Gianni Schicchi, Act 1: “O mio babbino caro” (Lauretta)
- I vespri Siciliani, Act 5: “Mercè, dilette amiche” (Elena)
- Il barbiere di Siviglia, Act 1: “Una voce poco fa” (Rosina)
- Il trovatore, Act 4: “D’amor sull’ali rosee” (Leonora)
- La bohème, Act 1: “O soave fanciulla” (Schaunard, Colline, Marcello, Rodolfo, Mimì)
- La bohème, Act 1: “Sì. Mi chiamano Mimì” (Mimi)
- La bohème, Act 3: “Donde lieta uscì” (Mimì)
- La cenerentola, Act 2: “Nacqui all’affanno e al pianto…..Non più mesta” (Angelina)
- La forza del destino, Act 2: “Madre, pietosa Vergine” (Leonora, Chorus)
- La forza del destino, Act 2: “Sono giunta! Grazie o Dio!” (Leonora, Chorus)
- La sonnambula, Act 1: “Compagne, temiri amici ….Come per me sereno” (Amina)
- La traviata, Act 1: “Ah, fors’è lui” (Violetta)
- La traviata, Act 1: “E strano! E strano!” (Violetta)
- La traviata, Act 1: “Sempre libera” (Violetta, Alfredo)
- La traviata, Act 3: “Addio, del passato” (Violetta)
- La Wally, Act 1: “Ebben? … Ne andrò lontana” (Wally)
- Lakmé, Act 2: “Où va la jeune indoue” (Lakmé)
- Louise, Act 3: “Depuis le jour où je me suis donnée” ( Louise)
- Lucia di Lammermoor, Act 1: “Quando rapito in estasi” (Lucia, Alisa)
- Lucia di Lammermoor, Act 1: “Regnava nel silenzio alta la notte e bruna” (Lucia, Alisa)
- Macbeth, Act 2: “La luce langue” (Lady Macbeth)
- Madama Butterfly, Act 2: “Un bel di vedremo” (Butterfly)
- Manon, Act 2: “Je ne suis que faiblesse…. Adieu, notre petite table” (Manon)
- Norma, Act 1: “Casta diva” (Norma, Chorus)
- Orphée et Eurydice, Act 4: “J’ai perdu mon Eurydice” (Orfeo)
- Rigoletto, Act 1: “Gualtier Maldè …Caro nome” (Gilda, Borsa, Ceprano, Marullo)
- Roméo et Juliette, Act 1: “Je veux vivre” (Waltz) [Juliet]
- Samson et Dalila, Act 1: “Printemps qui commence” (Dalila)
- Samson et Dalila, Act 2: “Mon coeur s’ouvre à ta voix” (Dalila)
- Suor Angelica, ‘Sister Angelica’: “Senza mamma, O bimbo” (Sister Angelica)
- Tosca, Act 2: “Vissi d’arte” (Tosca)
- Tosca, Act 3: “Com’è lunga l’attesa!” (Tosca)
- Turandot, Act 1: “Signore, ascolta!” (Turandot)
- Turandot, Act 2: “In questa Reggia” (Turandot)
- Turandot, Act 3: “Tu, che di gel sei cinta” (Turandot)
- Werther, Act 3: “Werther! Qui m’aurait dit la place… Des cris joyeux (Air des lettres)” [Charlotte]
Almost forty years ago the legendary Maria Callas died, and still today her worldwide fan community is growing. Again and again her recordings, which belong to the most important treasure of record history, experience new editions. But it wasn’t until 2014 that the Abbey Road Studios team achieved a breakthrough in remastering technology with state-of-the-art software.
The Callas Remastered project presented the diva’s legacy of the years 1949-69 in a completely new way. The album The New Sound of Maria Callas now combines highlights from opera recordings and recitals of the years 1953-64 on 3 CDs. It begins with the most famous Callas aria of all – Casta Diva from Bellini’s Norma and opens with a programme of scenes from the great Donizetti, Rossini, Verdi and Puccini operas (conducted by Herbert von Karajan, Tullio Serafin and Gabriele Santini)
The French repertoire also occupies a large space: it ranges from Meyerbeer’s Dinorah and Delibes’ Lakme to Massenet’s Werther and Manon, Gounod’s Faust and Bizet’s Carmen under the direction of the great French opera maestro Georges Pretre. Never before have these recordings been experienced in such fullness and purity of sound – unless you have heard them with your own ears in the recording studios in which they sounded at that time ….
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