This anthology (released in 1997) is a compilation of material from the vaults of EMI, some of it released for the very first time, and all, except the "Macbeth" Sleepwalking scene, after Callas had died. In other words, material that Callas did not approve for release. In the case of the "Macbeth" aria, it was discovered that the closing section on the mono vesrion differed slightly from the stereo version, and was interesting enough to publish separately. In this case the difference, is very slight. We do hear Lady Macbeth moving off into the distance in this version, but otherwise it is as excellent and inimitable as the stero version. Indeed, no other Lady Macbeth comes within a mile of Callas's dramatic insight and musical perspicacity.
For the rest, we have Callas in variable voice, not surprising as there is a 16 year gap between the first and last of these recordings. We have both test versions of Donna Anna's "Non mi dir" from "Don Giovanni". These were made just prior to her first studio recording of "Lucia di Lammermoor", and were made to give the engineers a feel for the voice. Differences between the two performance are again slight, the miking being slightly more becoming in the second version. In both versions, Callas sails through the aria as if it was the easiest thing in the world (it isn't) and gives the lie to people who say she couldn't sing Mozart. Her legato in the first part of the aria is, as usual, perfection, the breath control prodigious, and of course the coloratura of the second part holds no terrors for her whatsoever. Moreover, she invests the notes with a character lacking in many other versions of this aria. After all the words are "Perhaps someday Heaven will take pity on me", sentiments often forgotten by sopranos wishing to show off their technique.
The rest of this disc is taken up with alternative takes of material, that were released during Callas's lifetime. The majority is from sessions recorded between 1960 and 1961 with Antonio Tonini conducting. Though she is in fesher voice here, than she was when she re-recorded them with Nicola Rescigno, the later verions are often preferable, being more committed. However I do prefer the version of Cenerentola's aria published here to the one that eventually appeared on her Rossini/Donizetti Arias disc.
You will probably want to know about the "Aida" scene with Corelli. To be honest, I found this vocally rather trying, though certain things, like the insinuating way, she sings "se tu m'ami" are incomparable. Corelli is in terrific voice, making one regret that he wasn't used on Callas's complete set, recorded 10 years before. The biggest surprise is the last 3 arias, recorded in 1969, 4 years after Callas's last stage appearances. The "Vespri Siciliani" and "Attila" arias are actually preferable to the 1965 takes, both sung more smoothly and with lovely, gentle tone. The tessitura of the "Lombardi" troubles her more, and this is rather trying to listen to.
However, when genius is involved, as it most definitely is here, then we can make allowances. Callas's musical and dramatic instincts never let her down, even when her voice does. We will never hear her like again, and we are the richer for having these performances, even if the diva herself would have prefered us not to hear them.

I bought this CD as a gift for my opera buff son, who is a Callas fan. He said the CD had some tracks that he did not have and it was a valuable addition to his collection.

What year was this recording made ? She sings arias from great operas with the Paris Opera orchestra. EMI did much for distributing Callas records during the post World War II Era and culminating in the late 70's. Maria Callas continues to be a much talked about opera singer, and were she alive today, she'd revel in it, even in the mixed praises. For some, Callas had a big voice, no doubt, but it was "ugly" (actual quote), it was wobbly, it was choked, it was forced, as if she were dying. But that's only because Callas found that opera was a passion, and it was indeed a matter of life and death for her. Opera was her life and it was her death. She lost her voice in the 70's, her illustrious career, which read like that of a Hollywood movie star- complete with Audrey Hepburn image- ended in a disastrous concert in Japan. She died in 1977 in her Paris apartment, almost like Violetta in the last act of La Traviata. In this recording, we find her in great voice, though I'm no expert on Callas. Most collect the earliest recorded material- 40's and 50's. In concert in Paris, we find she has a vast repertoire and glorious dramatic technique. "Ocean, Thy Might Monster" she sings in its original English, with excellent English diction and powerful lungs. She sings "O Don Fatale" from Verdi's Don Carlo, a role that is usually given to dramatic mezzo-sopranos. But her interpretation takes the crown. An aria from Aida, "Non mi dir" from Don Giovanni, sounding graceful and tortured as Dona Ana pleads with her fiance to be patient with her, for she is still in mourning for her dead father. Everything on here is a string of pearls and all fans will not regret owning this album. Thank you EMI for giving us the great singers on record.