Artist	Song
Maria Callas, Orchestra del Maggio Musicale Fiorentino & Tullio Serafin	Lucia di Lammermoor, Atto Primo, Scena seconda: Quando rapito in estasi (Lucia/Alisa)
from Donizetti: Lucia di Lammermoor (2005)
Maria Callas, Orchestra del Teatro alla Scala di Milano, Richard Tucker & Tullio Serafin	La Forza Del Destino: Act Four: Scene Two: Pace, Pace Mio Dio! (Leonora)
from Verdi: La Forza Del Destino (1997)
Georges Prêtre, Maria Callas & Orchestre National de la Radiodiffusion Française	Samson Et Dalila, Op. 47: Mon Coeur S'ouvre … Ta Voix
from La Divina 1/2/3+interview (1995)
Maria Callas	I Puritani: "Son vergin vezzosa"
from Callas 2003 Edizione Speciale (2003)
Maria Callas, Georges Pretre & Orchestra National de la Radiodiffusion Francaise	Roméo et Juliette, 'Romeo and Juliet': Je veux vivre (Waltz)
from 50 Best Callas (2010)
Maria Callas, Orchestra del Teatro alla Scala di Milano, Richard Tucker & Tullio Serafin	La Forza Del Destino: Act Two: Scene Two: Madre, Pietosa Vergine (Leonora)
from Verdi: La Forza Del Destino (1997)
Gianandrea Gavazzeni, Gianni Raimondi, Giulietta Simionato, Maria Callas & Nicola Rossi-Lemeni	Anna Bolena: Piangete Vio? Donde Tal Pianto?...
from Anna Bolena (2001)
Maria Callas	Louise: Depuis Le Jour (Acte III)
from Callas À Paris - Vol. 1 (1997)
Maria Callas	Don Giovanni K. 527, Act Two: Mi Tradì Quell' Alma Ingrata
from Maria Callas - The Platinum Collection (2009)
Maria Callas	Vieni T'affretta (Macbeth)
from Maria Callas Grandes Arias (The Best Arias) (2006)
Maria Callas & Orchestre de la Société des concerts du Conservatoire	Mignon: Ah, pour ce soir...Je suis Titania (Polonaise)
from Callas: La Divina 2 (1993)
Georges Prêtre, Maria Callas & Orchestre national de la Radiodiffusion-Télévision française	Samson Et Dalila: Printemps Qui Commence (Acte I)
from Maria Callas: The Voice of the Century (1997)
Gianandrea Gavazzeni & Orchestra del Teatro alla Scala di Milano	Anna Bolena: Act Two - Scene One: Ba, Infelice, E Teco Reca (Giovanna, Anna)
from Donizetti: Anna Bolena (1998)
Maria Callas & Orchestre de la Société des concerts du Conservatoire	Adriana Lecouvreur: Ecco: respiro appena...Io son l'umile ancella
from Callas: La Divina 2 (1993)
Maria Callas, Orchestra del Teatro alla Scala di Milano & Tullio Serafin	La Vestale: "O nome tutelar"
from Great Recordings of the Century - Callas: Lyric and Coloratura Arias (2006)
Fiorenza Cossotto, Giulio Fioravanti, Giuseppe di Stefano, Giuseppe Morresi, Maria Callas, Orchestra del Teatro alla Scala di Milano & Tullio Serafin	Manon Lescaut: Act One - Vedet? Lo Son Dedele Alla Parola Mia (Manon - Des Grieux - Lescaut)
from Puccini: Manon Lescaut (1997)
Maria Callas	Dinorah : "Ombra Leggera" (Shadow Song) (Act II)
from The Very Best Of Maria Callas (2005)
Ebe Ticozzi, Maria Callas, Orchestra del Teatro alla Scala, Milano & Tullio Serafin	Cavalleria Rusticana: Voi Lo Sapete, O Mamma
from La Divina 1/2/3+interview (1995)
Orchestra del Teatro alla Scala di Milano & Victor De Sabata	Macbeth: Act Four: Scene Two - Una Macchia E Qui Tuttora (Lady Macbeth)
from Verdi: Macbeth (1997)
Maria Callas & Orchestre de la Société des concerts du Conservatoire	Don Carlo: O don fatale
from Callas: La Divina 2 (1993)
Maria Callas	Orphee Et Eurydice: Act IV: J'ai Perdu Mon Eurydice
from Callas: The Legend (2000)
Maria Callas	Ernani: Surta E La Notte... Ernani, Ernani, Involami
from Verdi Arias I : Callas - Rescigno (2005)
Maria Callas & Orchestre de la Société des concerts du Conservatoire	I vespri Siciliani, '(The) Sicilian Vespers': Mercè, dilette amiche (Bolero)
from Callas: La Divina 2 (1993)
Maria Callas & Orchestre de la Société des concerts du Conservatoire	Alceste: Divinités du Styx
from Callas: La Divina 2 (1993)
Maria Callas, Philharmonia Orchestra & Tullio Serafin	la Wally: Ebben... Ne Andro Lontana
from La Divina 1/2/3+interview (1995)

Comment:

Maria Callas lived a life that was filled with almost as much drama and intensity as her music, but decades after her death, it’s her amazing instrument that cements her legend. Listen to the airy acrobatics she seems to approach so effortlessly in Romeo and Juliet’s “Je veux vivre,” and the rich, radiant tone she achieves on the long, elegant lines of Samson Et Dalila’s “Printemps Qui Commence” — how many sopranos could master either one, let alone both? And when she unveils her natural dramatic gifts as Lady Macbeth on Macbeth’s “Una Macchia E Qui Tuttora,” her sheer vocal presence tempts you to imagine Callas finding success as an actress even if she never sang a note.

Feedback: