---
product_id: 14840949
title: "Il Barbiere Di Siviglia 1957"
brand: "rossini / callas"
price: "€ 29.35"
currency: EUR
in_stock: true
reviews_count: 12
url: https://www.desertcart.it/products/14840949-il-barbiere-di-siviglia-1957
store_origin: IT
region: Italy
---

# Il Barbiere Di Siviglia 1957

**Brand:** rossini / callas
**Price:** € 29.35
**Availability:** ✅ In Stock

## Quick Answers

- **What is this?** Il Barbiere Di Siviglia 1957 by rossini / callas
- **How much does it cost?** € 29.35 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.it](https://www.desertcart.it/products/14840949-il-barbiere-di-siviglia-1957)

## Best For

- rossini / callas enthusiasts

## Why This Product

- Trusted rossini / callas brand quality
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## Description

2014 Maria Callas re-mastered series reissue. With this Abbey Road 24-bit 96kHz re-master, engineers returned to the original master tapes, bringing new clarity & brilliance to her legendary studio recordings. As she demonstrated in both Il barbiere di Siviglia and Il turco in Italia, Callas, the great tragedienne, could also turn her skills to comedy. As it happened, the 1956 La Scala production of Rossini's most popular opera did not prove a great success with audiences, but it's stars - Callas, Tito Gobbi and Luigi Alva - reassembled in London the following year for this recording. Callas sang the role of Rosina at it's original mezzo-soprano pitch and her version of 'Una voce poco fa' - punctuated by an unforgettable 'ma' ('but') in the cabaletta - is a miracle of both elegance and wit.

## Images

![Il Barbiere Di Siviglia 1957 - Image 1](https://m.media-amazon.com/images/I/51C3ekki-ZL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ 







  
  
    Another Callas Classic
  

*by M***B on Reviewed in the United States 🇺🇸 on November 13, 2014*

While this 1957 recording of Il Barbiere di Siviglia is considered a classic, it has always puzzled me because it not only employs virtually all of the now now mostly ill reputed traditional cuts, but also uses the most corrupt orchestral text of any major stereo era recording known to me.  Even in the days prior to the authentic Ricordi Urtext version of the score by Alberto Zedda (which dates from 1968 and was first recorded by Claudio Abbado in the early 1970's) it was possible to obtain reasonably accurate versions of the score.  What is used here is an edition where the wind parts are often not only completely rewritten, but additional trombone and timpani are also added into the mix to reinforce the sound at certain points.It is interesting to note that Rossini's original scoring calls for in addition to the usual complement of strings, two piccolos, flute, oboe, bassoon, guitar, and pairs of clarinets, horns, and trumpets.  Percussion consists of bass drum (which can imply cymbals) and a sistrum (a form of rattle).  However, when the two piccolos are employed the flute and oboe are silent.  When one piccolo is employed only one of either the oboe or flute is utilized... but never both.  Obviously the flutist and oboist were also the piccolo players.  This is analogous to some early Mozart symphonies where flutes are employed in some movements and oboes in others, but never together.  In the version of the score used for this recording the two piccolos are never heard.  Instead we get what sounds to my ears like newly written flute and oboe parts all of which gives a less brilliant presentation of the score.  This especially effects Figaro's (in)famous entrance aria much to its detriment, not to mention the finale to the first act among other parts of the score.  That a triangle is used in place of the sistrum was and is still often common practice as a substitute for that unconventional percussion instrument.Still, in spite of the orchestral issues, what is presented is indeed a Callas classic.  Callas sings the part in the original mezzo keys even though on quite a few occasions she adds a number of high lying soprano embellishments as was the tradition at the time.  There is indeed a special gleam and smile to her voice and most certainly during "Una voce poco fa".  In summation this recording confirms that Callas could be just as adept at comedy as she was at tragedy.  Furthermore Tito Gobbi as Figaro and Callas play off each other deliciously and especially in the recitative prior to their duet as well as the duet itself.  I have never been overly fond of the sound of Gobbi's voice but here it has greater presence and more ping.  One also gets to hear tenor Luigi Alva in youthful voice in a role that he would record twice more in his career.  The Bartolo does not sound idiomatically Italian but gives a decent rendition of what is left of his much cut aria.  The Basilio and Berta are fine.The sound of the new mastering is leaner and brighter than previous CD editions.  The original 1986 CD release has somewhat dark sound.  The 1997 version is a bit brighter and was transferred at a higher level.  The newer version has been transferred at a even higher level. It as almost as if the aural equivalent of a scrim was lifted from the proceedings.  Still the sound of the original 1986 version is in many ways the most pleasing of all... The difference being that it reflects a balcony seat in the theatre as opposed to a front and center location.  As such the new version presents the voices with pristine clarity... the same for the orchestra... and especially since conductor Alceo Galliera seems to have made a special effort to emphasize precision and lucidity.  If only the pristine original scoring had been utilized!!!!  However, it is what it is and we must at least be grateful that it was recorded in stereo... the first opera that Callas recorded in the medium.  Of course it was recorded stereophonically because the the recording was made in London.  At the time EMI (a firm that lagged woefully behind the audiophile curve) was not set up for stereo recording in Italy.  So one must be thankful for what was achieved and in fairness the casual listener might not even notice the orchestral issues.As a post script, it is worth noting that the discs are packaged in cardboard sleeves with paper inserts and the discs are designed to look like miniature LP's. An insert with brief notes is included, but no libretto. The packaging takes up minimal shelf space... Not a bad thing...

### ⭐⭐⭐⭐ 







  
  
    A classic Callas performance
  

*by S***D on Reviewed in the United States 🇺🇸 on January 3, 2017*

If you've found yourself on this page, you probably know who Maria Callas is already, so I will focus on the merits of this particular recording. First of all, the score is heavily cut. So if you're looking for a reference recording, this isn't it. I haven't compared this remastering to other CD issues, but I can tell you this one is fine. The voices are clear and present, and the overall sound is impressive for a 1950s era recording. The orchestra is a little muffled, and as other reviewers have mentioned the orchestration is not Rossini's original. Callas is in good voice for most of the performance. Overall she is charming and handles the coloratura with ease. Only a high, forte note or two sound less that beautiful. Not a first choice recording for the beginning collector. But if you're a Callas fan or you're looking for a second or third recording of Barber, this one will not disappoint.

### ⭐⭐⭐⭐⭐ 







  
  
    Dream cast
  

*by F***Y on Reviewed in the United States 🇺🇸 on July 7, 2021*

This is the one - even with all the cuts!. A dream cast: Callas, of course, and Gobbi who should be on anyone's list of the five best operatic baritones of the last century. ( Listen to him and Callas in Lucia...) Add this to your desert island must-haves.

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*Product available on Desertcart Italy*
*Store origin: IT*
*Last updated: 2026-03-07*