This performance–one of several during January, 1964–marked Maria Callas’ return to the stage after a period of vocal re-study and hard work. To be sure there are problems–the very highest notes tend to go wildly astray, flapping in the wind like flags, losing and regaining the pitch. But how many of them are there? 10? 20? Taken in context, it’s a mere handful (albeit a highly audible handful), and the performance as a whole does not suffer from them. In short, Callas is otherwise brilliant, acting with her voice to beat the band, and presenting us with a great portrait of Tosca the diva and Tosca the woman. Tito Gobbi, her frequent partner in this opera, is stunning as Scarpia, the incarnation of evil. Renato Cioni’s Cavaradossi is unsubtle and forgettable and he mewls enough to make himself a nuisance. Carlo Cillario’s leadership is tight and sympathetic, and this release is welcome–even if you already own a Callas Tosca, with her in fresher voice.
