110300-01 Bk Traviataeu 15/07/2005 11:20Am Page 12

Home , Antonietta Stella, Francesco Albanese, Gabriele Santini, La Traviata, Tullio Serafin, Ugo Savarese

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Editorial Note CETRA documentation detailing the Traviata recording dates has not survived. However, the diaries of the tenor VERDI Francesco Albanese, kept at the Teatro Comunale, Piacenza, Italy, indicate that sessions began on 15th September 1953. Since the Turin Radio Symphony (Orchestra Sinfonica di Torino della RAI), which had been loaned by RAI to CETRA, resumed its regular broadcasts between 20th September and the end of the month, it is likely that the La Traviata CETRA Traviata sessions were concluded on September 19.

IA CAL AR LA M S

Ward Marston

In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender 195 ing loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him 3 Record ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov recordings, both winners of the Best Historical Album Grammy. Maria Callas • Francesco Albanese Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer Ugo Savarese • Ines Marietti in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. In the past, Ward Marston has produced records for a number of major and specialist record companies. Now he CETRA Chorus is bringing his distinctive sonic vision to bear on works released on the Naxos Historical label. Ultimately his goal is to make the music he remasters sound as natural as possible and true to life by ‘lifting the voices’ off his old 78 rpm Turin Radio Symphony Orchestra recordings. His aim is to promote the importance of preserving old recordings and make available the works of great musicians who need to be heard. Gabriele Santini 8.110300-01 12 110300-01 bk TraviataEU 15/07/2005 11:20am Page 2

) This he must give to his wife, when he marries, and with a look of radiant happiness on her face falls assuring them of her prayers. To the gentle sound of dead in her lover’s arms. music associated with her earlier days of happiness, Great Opera Recordings Violetta feels sudden relief from pain and weakness, Keith Anderson

Giuseppe VERDI (1813 – 1901) La Traviata

Violetta Valéry ...... Maria Callas (soprano) Flora Bervoix ...... Ede Gandolfo Marietti (mezzo-soprano) Annina ...... Ines Marietti (soprano) Alfredo Germont ...... Francesco Albanese (tenor) Giorgio Germont ...... Ugo Savarese (baritone) Gastone De Letorières ...... Mariano Caruso (tenor) Doctor Grenvil ...... Mario Zorgniotti (tenor) Baron Douphol ...... Alberto Albertini (bass) Marquis d’Obigny ...... Mario Zorgniotti (tenor) Giuseppe ...... Tommaso Soley (bass)

CETRA Chorus Giulio Mogliotti, Chorus Master Symphony Orchestra of Radio Italiana, Turin Tullio Serafin, Conductor

Recorded by CETRA in September 1953 at the Auditorium RAI, Turin and issued on LPC 1246

Reissue Producer and Restoration Engineer: Ward Marston Please thank Maynard F. Bertolet and J. Richard Harris The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings.

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Flora. Alfredo remains at the gaming-table where he is Annina how much money is left and tells her to give it CD 1 67:57 winning. Douphol, in jealousy, challenges Alfredo in a to the poor and then see if there are any letters for her. contest, which, at Violetta’s urging, takes place at the Act I 31:45 Act II 36:12 table. Alfredo continues his winning streak against the ! Alone, she takes out a letter she has had from rich Douphol, who had hoped to beggar him. Supper is Germont, telling her that Douphol was wounded in his 1 Prelude 4:33 Scene 1 announced and the guests move out, leaving Alfredo duel with Alfredo but is recovering, while Alfredo has (Orchestra) @ Lunge da lei 2:02 and Douphol to follow them. left the country. Now, however, having learned from Germont of Violetta’s sacrifice, he is coming back 2 Dell’invito trascorsa è già l’ora 5:11 # De’ miei bollenti spiriti 2:10 5 Violetta returns in agitation, rejoined by Alfredo. again to beg her forgiveness. (Coro, Violetta, Flora, Marchese, Gastone, (Alfredo) She asks him to leave and, having promised Germont Alfredo) that she will not reveal the true reason for her desertion @ She looks at her changed features in the glass and $ Annina, donde vieni? 0:48 of her lover, she is obliged to admit to a feigned love for realises that in spite of Dr Grenvil’s assurance she is 3 Libiamo ne’ lieti calici 3:11 (Alfredo, Annina) Douphol. near to death. 4 Che è ciò? 2:37 % Alfredo?…Per Parigi or or partiva 3:44 6 Alfredo throws open the door and calls the others # The sound of carnival is heard from the street (Alfredo, Tutti, Violetta) (Violetta, Annina, Giuseppe, Germont) in. Reproaching her, he throws his winnings at her feet, outside, in ironic contrast to the scene in Violetta’s to the general disapproval. room. 5 Un dì, felice, eterea 3:31 ^ Pura siccome un angelo 1:45 (Alfredo, Violetta) 7 At this juncture old Germont appears and $ Annina announces a visitor, Alfredo, who embraces & Non sapete quale affetto 2:20 reproaches Alfredo for his behaviour. The young man is Violetta passionately. Each now seeks the pardon of the 6 Ebben? Che diavol fate? 1:29 sorry for what he has done, while the others try to other. (Gastone, Violetta, Alfredo) * Un dì, quando le veneri 2:44 comfort Violetta. % Alfredo suggests that they should make a new life 7 Si ridesta in ciel l’aurora 1:50 ( Ah! Dite alla giovine 4:24 8 She declares her love for Alfredo a greater love than for themselves away from Paris. Violetta will soon be (Tutti) he can ever understand. Germont leads his son away, better and they will live together in happiness. ) Imponete…Non amarlo ditegli 1:11 while Douphol offers his rival a final challenge. 8 È strano! È strano! 1:21 ^ Annina tries to help her mistress dress, but Violetta ¡ Morrò! La mia memoria 3:30 falls back, weakened by her illness and unable to stir. 9 Ah, fors’è lui 3:00 (Violetta, Germont)

Act III & She realises that death is approaching, as Alfredo, 0 Follie! Follie! 1:06 ™ Dammi tu forza, o cielo! 1:47 distraught, begs her to calm herself. If Alfredo’s return (Violetta) (Violetta, Annina) 9 The last act is set in the poor quarter of Paris where cannot make her better, nothing will. They both lament Violetta now lives. She is asleep and seated near her, her cruel early death that is so near. ! Sempre libera 3:56 £ Che fai? 2:33 dozing, is Annina. There are various medicine bottles (Violetta, Alfredo) (Alfredo, Violetta) on the side-table. The music of the Prelude recalls the * Annina, who has been to fetch the doctor, returns opening of the opera, a contrast to the artificial gaiety of with him and with Germont, who now understands his ¢ Ah, vive sol quel core all’amor mio! 2:25 Violetta’s old life. own responsibility for Violetta’s approaching death. (Alfredo, Giuseppe, Commissionario, Germont)

0 Waking, she calls to Annina, asking for water. It is ( She gives Alfredo a medallion with her likeness as ∞ Di Provenza il mar 4:50 dawn and now Dr Grenvil arrives, making his daily visit she once was. (Germont, Alfredo) to a patient who is now very near to death. Violetta asks 8.110300-01 10 3 8.110300-01 110300-01 bk TraviataEU 15/07/2005 11:20am Page 4

CD 2 54:20 wasting his money on his mistress. She explains to him ¢ Alfredo, alone, sits down and opens a book. Just as the true state of affairs, showing him the bill of sale for he is wondering whether he will see his father, a servant Act II 22:33 Act III 31:47 her Paris property. announces Violetta’s departure for Paris. He is given a letter and now learns of Violetta’s decision to leave Scene 2 9 Prelude 4:41 ^ Germont, however, insists that she must part from him. He is heart-broken and his father, who has re- 1 Avrem lieta maschere la notte 1:04 (Orchestra) Alfredo, since the relationship between her and Alfredo appeared, tries to comfort him. (Flora, Marchese, Dottore, Tutti) stands in the way of a good marriage for his daughter. 0 Annina?…Commandate? 4:40 Violetta supposes a short separation is called for but is ∞ Germont urges him to return home and tries to offer 2 Noi siamo zingarelle 2:53 (Violetta, Annina, Dottore) appalled at the possibility of the parting on which him what consolation he can, but in vain. Alfredo is (Zingare, Coro, Flora, Marchese) Germont insists. even more agitated when he catches sight of Flora’s ! Teneste la promessa 1:53 invitation to Violetta and he rushes away to find her. 3 Di Madride noi siami mattadori 3:05 & She explains to him the strength of her love and (Gastone, Mattadori, Tutti) @ Addio, del passato 3:26 how she would rather die than part from Alfredo. He is (Violetta) calling for a great sacrifice and one that at first she is 4 Alfredo! Voi! 4:47 reluctant to make. CD 2 (Tutti, Alfredo, Flora, Violetta, Barone, Gastone, # Largo al quadrupede 0:46 Coro) (Coro di Maschere) * Germont tells her that love can fade and that Act II Alfredo may change his mind as her beauty fades, and 5 Invitato a qui seguirmi 2:39 $ Signora!…Che t’accadde? 2:00 this is a more convincing argument. Scene 2 (Violetta, Alfredo, Tutti) % Parigi, o cara 4:07 ( Eventually she gives way, asking only that 1 The scene is set in the richly furnished house of 6 Ogni suo aver tal femmina 1:40 (Annina, Violetta, Alfredo) Alfredo’s sister be told of the sacrifice she is making, Flora Bervoix. Flora herself, the Marquis, Dr Grenvil (Alfredo, Tutti) one that will surely bring her death. and other guests are present. She has invited Violetta ^ Ah, non più 1:57 and Alfredo, but the Marquis tells the company that 7 Di sprezzo degno se stesso rende 1:52 ) He tries to comfort her, as she bids farewell for ever they have now separated and she has gone to seek the (Germont, Alfredo, Tutti, Barone) & Ah! Gran Dio! 1:48 to her true love. protection of Baron Douphol. (Violetta, Alfredo) 8 Alfredo, Alfredo, di questo core 4:34 ¡ For Violetta nothing now remains, although 2 The evening’s entertainment begins with a group of (Violetta, Tutti, Alfredo, Barone, Germont) * Ah, Violetta 1:59 Germont praises her generosity, which surely will be masqueraders disguised as gypsy dancers, boasting of rewarded. She bids Germont farewell and he leaves their prowess at fortune-telling. One of them reads ( Prendi, quest’è l’immagine 0:57 through the door leading to the garden. Flora’s palm and pretends to see there infidelity. (Germont, Violetta, Alfredo) ™ Now alone, Violetta sits down to write a note, 3 The gypsies are followed by a group of ) Se una pudica vergine 3:34 which Annina is to deliver, making an assignation with masqueraders disguised as Spanish matadors and (Violetta, Germont, Alfredo, Dottore, Annina) Baron Douphol. She then writes a note for Alfredo, picadors, victorious in the arena and in love, led by searching for words to express her feelings. Gaston.

£ He comes in and she hides the letter, telling him 4 Alfredo enters alone, to the surprise of the again of her love and begging him never to stop loving company, but they soon turn their attention to gambling. her, as she runs into the garden. At this point Violetta appears, on the arm of the Baron. She is alarmed to see Alfredo there but goes to sit with 8.110300-01 4 9 8.110300-01 110300-01 bk TraviataEU 15/07/2005 11:20am Page 8

Synopsis Giuseppe VERDI (1813-1901) 8 Violetta is left alone and now begins to feel the La Traviata CD 1 power of true love, after a life of superficial pleasure. At the beginning of October 1951 Callas stopped off in coloratura, the beauty, the sheer magic of that sound 1 The Prelude to La Traviata opens in a mood of 9 Perhaps Alfredo is the one that she truly loves. New York, on her way back from Rio de Janeiro to which she poured out then. And with it perfect diction, sadness and includes music that is to appear with Milan, and signed a contract with Dario Soria, President colour, inflection and feeling.’ Then Violetta was particular poignancy later in the opera. 0 She dismisses the thought as folly. of CETRA-Soria, an Italo-American company, to take performed by sopranos whose looks may have been part in recordings of La Gioconda, La traviata, Manon fitting, like Mafalda Favero (1903-1981), or had voices Act I ! She has always been free to take her pleasure where Lescaut and Mefistofele. By the beginning of 1953, of impressive size, like Adriana Guerrini (1907-1970) she will. Although the voice of Alfredo is heard from however, Soria had moved to Angel Records and set up and Maria Caniglia (1905-1979), or of notable quality, 2 The first act opens with a scene of particular the garden below, she pays no heed to his declaration. a new outlet for EMI in the United States (its like Renata Tebaldi (b.1922) and Antonietta Stella brilliance, Violetta Valéry, a woman of great elegance, relationship with RCA Victor having come to an end), (b.1929); but for singers in those days, brought up in the but a courtesan, is holding a party at her house. She is and whither Soria went so went Callas. In September age of verismo, it did not matter how Sempre libera was seated on a divan talking with Dr Grenvil and some Act II 1952 she had recorded Gioconda for CETRA but was executed, few cared what key they sang it in, or had friends. Guests arriving include the Marquis d’Obigny still contracted to make Violetta in La traviata the technique enough to cope easily with the florid and Flora Bervoix, with the Baron Douphol. Some of Scene 1 following September. Like La Gioconda, La traviata measures. those present jokingly rebuke the new arrivals for their was recorded in Turin. It was published in Italy and the In the course of the next three seasons Callas sang lateness. Gaston, Vicomte de Letorières, arrives, @ The second act opens in a country-house near Paris. United States in September 1954, but as CETRA did not Violetta at Bergamo, Parma, Catania, Mexico City, accompanied by his friend Alfredo Germont, a distant The room is on the ground floor, with doors opening have an outlet in Britain, the recording did not become Verona, Venice and Rome. Elisabeth Schwarzkopf was admirer of Violetta. She invites the company to take onto the garden. Alfredo, who has been out shooting, available there for several years. I remember how at a performance at Parma with her husband Walter their places for supper and Alfredo is asked to propose a considers the happiness of the last three months disappointing and frustrating that was. Legge, EMI’s record producer. ‘We ... witnessed a toast. together with Violetta. In the course of her career Callas sang Violetta 63 major victory for Callas. As everyone knows, there is no times; it ranks next after Norma as the rôle she sang victory in Italy like being acclaimed in Parma in a Verdi 3 This he does, introducing a Brindisi, a drinking- # He considers the calm that Violetta’s love has most often. Through the eight years it was in her rôle! ... I went backstage [and told her] there [was] no song, in which all join. brought him. repertory her interpretation changed and developed, point in my singing this rôle again. ... And I didn’t.’ rapidly and prodigiously. The first time she undertook Still, in 1955 when Legge arranged an EMI recording of 4 The sound of dance-music is heard from another $ Annina, Violetta’s maid comes in, returning from it, in January 1951 at the Comunale, Florence, she was a Traviata, he could not have thought Callas’s Violetta room and Violetta suggests that her guests dance. They Paris, and in reply to Alfredo’s questions explains that very bulky lady and weighed nearly ninety kilos. Hardly sufficiently a victory to wait only another two years, go through, but Violetta falters for a moment, in a her mistress has had to sell all her property in town to surprisingly there was nothing tubercular about her until her CETRA contract enabled her to make it again, sudden attack of faintness. She sees Alfredo, who has pay for the house. He is horrified and filled with conception, and the emphasis then was all on voice. but booked Stella as Violetta. Recordings of Callas’s stayed behind. remorse for his thoughtlessness and rushes out, resolved Zeffirelli, who was present on that occasion, recalled in Violetta from Mexico City survive from 1951 and 1952 to prevent the sale. an interview, ‘how the audience went mad ... it was and both show her a vocal powerhouse. In the first, at 5 He tells her that he has loved her since he first saw sensational, vocally and musically’. In September she the end of Sempre libera, she makes a sweeping her, but she warns him not to think of her, since she has % Violetta, returning, enters with some papers in her sang it in Brazil in São Paulo in company with what portamento to the high E flat. In the second, perhaps only light-hearted friendship to offer. hands. She asks Annina where Alfredo has gone and is would later become familiar figures in EMI’s because the performance is a bit of a mess and the told that he has gone to the city, but will be back in the recordings: Giuseppe di Stefano (Alfredo), Tito Gobbi conductor lacks any authority, at the end of the act three 6 They are briefly interrupted by Gaston and Alfredo evening. A manservant enters with a letter for her, an (Germont) and conductor Tullio Serafin. More than ensemble, Alfredo, di questo core, she takes the takes his leave, but is invited to come back the next day. invitation from her friend Flora Bervoix to a ball that thirty years later, in his autobiography, Gobbi had not opportunity of completing the upward arpeggio to evening, but she no longer has any interest in such forgotten her performance: ‘I cannot believe anyone another high E flat. When she sang it next in Verona 7 The guests return and now that morning is near take things. Now a visitor is shown in, Giorgio Germont, ever sang that first act as Callas sang it ... I find it that summer Peter Dragadze in Opera called it, ‘the leave of their hostess, thanking her for her hospitality. Alfredo’s father, who suspects that his son has been impossible to describe the electrifying brilliance of the greatest thrill of the season ... an unforgettable 8.110300-01 8 5 8.110300-01 110300-01 bk TraviataEU 15/07/2005 11:20am Page 6

experience ... she appears to make no effort to dramatize her powers and her instrument matched the size of her Gabriele Santini (1886-1964) was born in Perugia EMI, including Don Carlo, Simon Boccanegra, L’elisir the situation physically ... [it is] the colour of her voice figure. It shows her Violetta boldly, brilliantly, as well and studied there and at Bologna before his conducting d’amore, Andrea Chénier, and with artists like Victoria [that] clearly depicts every emotion and sensation she is as dramatically sung. career began. He took part in seasons at La Scala, Milan de los Angeles, Gobbi and Christoff. experiencing.’ In Rome in January 1953, according to Francesco Albanese (b. 1912) was born at Torre (1925-9), Teatro Colón, Buenos Aires (1922, 1924-6), Cynthia Jolly in Opera,. ‘in the first act [she] succeeded del Greco near Naples. He was a lyric tenor and made San Carlo, Naples (1934-5, 1941-2, 1948-57, 1959-61), Michael Scott admirably if untraditionally, when one remembers the appearances after 1941 at many of Italy’s leading and at the Rome Opera (1929-32) where he was music is the author of Maria Meneghini Callas bird-like coloratura Violetta is used to receiving’, but in theatres, the San Carlo Naples, the Rome Opera, La director (1944-62). He made a number of recordings for later acts, some in the audience were ‘enchanted by her Fenice in Venice, the Comunale Florence, La Scala, sheer [vocal] expertise ... other[s were] shocked by her Milan, and abroad at the São Carlos, Lisbon, Covent lack of feeling ... and la voce troppo forte.’ But what she Garden, London, the Colón, Buenos Aires, and Kiralyi did was take the trouble to look at the score and sing all in Budapest. For twenty years he sang Almaviva in of what is written, as well as add embellishments and Il barbiere di Siviglia, Ramiro in La Cenerentola, sing different cadenzas in different performances. As Nemorino in L’elisir d’amore, Jeník in Smetana’s La we can hear today in this recording, made in September sposa venduta, Fenton in Falstaff, Ernesto in Don that year with the Rome cast, Francesco Albanese Pasquale, Ismael in Nabucco, Faust, Rodolfo, Giuliano (Alfredo), Ugo Savarese (Germont) and conductor in Charpentier’s Luisa, Wolfgang Capito in Gabriele Santini. Hindemith’s Mathis il pintore, Avito in Montemezzi’s A year later in Chicago when Callas sang it next, in L’amore dei tre re, Faust, Giasone in Cherubini’s her first season in the United States, she had reduced her Medea, Pilade in Gluck’s Ifigenia in Tauride and weight by more than 25 kilos. Violetta was the second Rinaldo in Rossini’s Armida, the last three of which he rôle she undertook after making her début as Norma. sang opposite Callas; of the last two recordings survive James Hinton in Opera thought ‘the idea of Callas of broadcasts. mounting a pyre whose construction and lighting she Albanese’s contemporary baritone Ugo Savarese has herself ordered [and] travelling about in a chariot (1912-1997) was also a Neapolitan. After studying at drawn by dragons ... is quite believable [but] lying poor the Conservatory there he appeared at the San Carlo in and neglected in a furnished room is too much to ask of 1940 as Schaunard in La Bohème. Like Albanese he any audience’. Not until her next Violetta in May 1955 sang at many important Italian opera houses. His at La Scala, Milan, when she took part in Visconti’s repertory included Germont, Enrico in Lucia di famous production in two seasons 21 times, did the new Lammermoor, Rigoletto, Tonio in Pagliacci, Marcello, svelte Callas metamorphose her dramatic conception. Gerard in Andrea Chénier, Don Carlo in La forza del Thereafter she sang it in New York, Lisbon, London destino, Amonasro, Escamillo, Valentin, Alfio, di Luna, and Dallas. I saw her Violetta in June 1958 in London, Telramondo in Lohengrin, David in L’amico Fritz, by which time her voice, like her physique, had become Alfonso in La favorita, Carlo in Verdi’s Giovanna thinner and less substantial than it was three years d’Arco, Barnaba in La Gioconda, Zurga in I pescatori di before. Whether this was of its own volition or because perle, the carpenter in Mascagni’s Il piccolo Marat, she sought deliberately to use the minimum of voice Belcore in L’elisir d’amore, Sharpless, Giacomo in who can say, but inevitably there soon came a point Verdi’s Giovanna d’Arco and Simone in Paisiello’s Il beyond which it was impossible for her to support her duello comico. He made a number of other recordings voice sufficiently; she sang only two more Violettas in for CETRA, including Rolando in Verdi’s La battaglia Dallas at the end of that year. Happily this recording di Legnano. dates from 1953, when she was still in the plenitude of 8.110300-01 6 7 8.110300-01 110300-01 bk TraviataEU 15/07/2005 11:20am Page 6

Giuseppe VERDI (1813 – 1901) La Traviata

CETRA Chorus Giulio Mogliotti, Chorus Master Symphony Orchestra of Radio Italiana, Turin Tullio Serafin, Conductor

Recorded by CETRA in September 1953 at the Auditorium RAI, Turin and issued on LPC 1246

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IA CAL AR LA M S

Ward Marston

CMYK N N AXOS Historical 8.110300-01 Giuseppe Playing AXOS Historical Time ADD VERDI 2:02:17 (1813– 1901) h and copying of this compact disc prohibited. broadcasting Unauthorised public performance, texts and translations reserved. artwork, All rights in this sound recording, &

g La Traviata 05NxsRgt nentoa t.Made in the EU 2005 Naxos Rights International Ltd.

Violetta Valéry ...... Maria Callas This recording of La Traviata was made at the beginning of Callas’ career. Although Flora Bervoix ...... Ede Gandolfo Marietti the great soprano was not yet at the peak Annina ...... Ines Marietti of her vocal and dramatic powers, the Alfredo Germont ...... Francesco Albanese characteristic passion, immediacy and Giorgio Germont ...... Ugo Savarese empathy in her portrayal of Violetta are ever present. Franco Zeffirelli, VERDI: Gastone De Letorières ...... Mariano Caruso who attended the 1951 Florence VERDI: Doctor Grenvil ...... Mario Zorgniotti performance, her first, recalled ‘how the Baron Douphol ...... Alberto Albertini audience went mad … it was sensational, vocally and musically’. Tito Gobbi wrote Marquis d’Obigny ...... Mario Zorgniotti of a performance later that same year in La Traviata Giuseppe ...... Tommaso Soley São Paulo, Brazil:‘I cannot believe anyone La Traviata ever sang that first act as Callas sang it … I find it impossible to describe the CETRA Chorus • Giulio Mogliotti, Chorus Master electrifying brilliance of the coloratura, Turin Radio Symphony Orchestra the beauty, the sheer magic of that Gabriele Santini, Conductor sound which she poured out then. And with it perfect diction, colour, inflection Recorded September 1953 at the Auditorium RAI,Turin and feeling’. CD 1 67:57 CD 2 54:20

1-! Act I 31:45 1-8 Act II, Scene 2 22:33 @-∞ Act II, Scene 1 36:12 9-) Act III 31:47 8.110300-01 8.110300-01

Producer and Audio Restoration Engineer:Ward Marston Special thanks to Maynard F. Bertolet and J. Richard Harris Cover image: Maria Callas (Tully Potter Collection) www.naxos.com