The part of Anna was written for those dramatic-agile sopranos who dominated the scene in the early nineteenth century, of whom Callas today revives, with ancient wisdom and modern taste, the glories and successes. Authentic queen in the whole opera, because of the suggestive phrasing and the dazzling vocal resolutions, in the last scene she exceeded herself: with that breathing of the infinite which really anticipated the black desert of death. Her “Al dolce guidami/ castel natio” with those prodigious echoes of mezza-voce already by itself impalpable, with those fading “diminuendos”, is a piece of anthology. And thus the invocation “Cielo, a miei lunghi spasimi”, where in delirium the sojourn of the dead is longed for as a promised land. In sum, interpretation to set aside without a doubt among the most significant and profound of this peerless artist.
Review by Eugenio Cara at L’europeo April 21, 1957
...And since we came to talk about the stage intelligence of the interprets, allow me to express my personal appreciation regarding Maria Meneghini Callas, who will surely make of her character of Anna Bolena one of the most admirable interpretations. To listen to her in rehearsal is a real enjoyment, which evidences the degree of vocal maturity attained by this singer.
In the final aria, in which Anna Bolena, before going to the scaffold, evokes the places of her happy youth: “Al dolce guidami castel natio…” no one could sing better than her. In fact, every time that we arrive at that great page of the opera, I go sit in a corner to listen to her in religious concentration.
Review by Giulietta Simionato at Rotosei April 19, 1957