That’s a legitimate question. The answer is a combination of curiosity and perseverance. I have the Callas recording more by circumstance than intent. I had no intention of replacing my long-discarded LP of this performance. I got the CD version as part of Warner’s “Callas Live” box set. I listened to this edition for the first, and likely only, time whilst preparing this article. I remembered that I enjoyed the old Cetra set, so I picked up a copy of it when Warner reissued these recordings back in the early 2000s. On reconsideration, I may return to this again. I bought the recording conducted by Gustav Kuhn for two reasons: It was the first commercial recording of the work and it’s sung in the original French. It’s too bad that is so soporifically dull and so poorly sung. If I remember correctly, I picked up the Muti recording for less than €10 at La Feltrinelli in Rome several years ago. I didn’t go out looking for it, but I found it cheap on the sale rack. Having heard the Bru Zane recording twice – at the start and conclusion of my preparation for this article – I can say that my curiosity is satisfied and my perseverance at an end. I found that, on a second hearing, my appreciation for the opera increased. This recording really is superb in all aspects. I remember that I had to exercise similar perseverance before I began to appreciate Cherubini’s Medea for the masterpiece that it is. I hope that Bru Zane will turn their attention to Médée and give it the recording it deserves. ![]() A genuine question....considering your lack of enthusiasm for the work why did you acquire four sets of it to keep in your collection if they only act as dust-magnets? I have the old Cetra set (re-issued on Everest) but I decided that one was quite enough and only kept it as a point of reference. ![]() Indeed, until I heard the Bru Zane recording, I never found much interest in this work, full stop. I’m sure I’ll return to the Bru Zane set. The others will probably languish on a shelf, to be touched again only by a duster. |
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