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110300-01 Bk Traviataeu 15/07/2005 11:20Am Page 12 110300-01 bk TraviataEU 15/07/2005 11:20am Page 12 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. 8.110300-01 2 11 8.110300-01 110300-01 bk TraviataEU 15/07/2005 11:20am Page 10 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.
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