Violetta, the most complex and fully-rounded of Verdi's heroines, was one of the roles that defined Maria Callas as an artist. She performed it more than 60 times between 1951 and 1958, most famously in Luchino Visconti's production at La Scala in 1955/56. It is often said that the role demands a different kind of voice for each act, and, when she made this recording for the Cetra label in 1953, Callas offered youthful, ringing power complemented by coloratura prowess and the capacity for great delicacy. More than 60 years on, her characterisation, in its subtlety and truth, still sets the standard for La traviata.

Recorded in 1949 when Maria Callas was just 25, this debut recital encapsulates the young soprano's astonishing maturity, versatility and technical finesse. She had already sung all three roles showcased here - Wagner's Isolde and Bellini's Norma and Elvira (I puritani) - in the theatre. As Gramophone, which described the recital as 'incandescent and spellbinding', wrote: 'The Liebestod is a beautiful example of sustained interpretation, with a long line running through the whole piece, each phrase finding part-fulfilment in the next until the climax is reached,' concluding overall that: 'The eloquence of phrase and the technical control put at the service of a discerning heart and mind are obvious to hear'.