These two concerts, from very early in Maria Callas’ career, are of the if-you’ve-got-it-flaunt-it school of singing. At these points in her performing life there was little Callas couldn’t do: almost three octaves were at her command; she was fearless (and reckless) with her resources; and her innate dramatic sense was, if not quite in full-bloom, then at least in mid-blush.
The first concert alternates two murderous–and voice-murdering–Verdi heroines, Abigaille and Lady Macbeth, with two coloratura shrinking violets, Lucia and Lakmé. The alternation of heavy and light, brutal and fragile, is astonishing, the variations in tone consistently remarkable, the singing itself absolutely secure. From 1954 we get light coloratura (Dinorah) enchantingly sung; dramatic coloratura (Konstanze) with a vengeance; lovely lyric (Louise) almost convincing but not quite “pretty” enough; and the nearly-overwhelming fireworks of Armida. The sound is acceptable-to-good. This is a must-have.
