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CD 2 about the mysteries of sleep-walking. 7 Elvino is unwilling to believe what he is told, and the villagers Act 2 too find this incredible. Teresa now intervenes, with Lisa’s scarf, found in the Count’s bedroom. The BELLINI Scene 1 revelation of Lisa’s actions causes Elvino to let her 1 The scene is a wood. Some villagers come in, hand go. 8 The Count repeats his assurance of heading for the castle, where they hope to persuade the Amina’s innocence, while Elvino seeks proof. 9 At Count to defend Amina’s reputation, summoning up this moment Amina is seen, stepping from the mill La sonnambula their courage to speak to him. 2 Amina and Teresa window, in her sleep. She walks across the bridge over come onto the scene, as the others go, intent on the the mill-stream, in danger of her life, while they all same purpose, although Amina is affected by the place, watch her spellbound and terrified. Elvino is held back so near to Elvino’s farm. 3 He appears and he and from rushing to her by the Count. She walks along a IA CAL AR LA Amina speak together, Elvino still admant, she rotten beam by the side of the mill-wheel, still talking M S swearing her innocence. 4 Voices are heard praising of Elvino, the husband she fears she has lost, wishing the Count, who is coming to tell Elvino of Amina’s that she might see him again once more. She kneels, innocence. 5 Elvino cannot hate Amina, but is still praying for Elvino’s happiness, and looks at her hand, angry and takes from her the ring he had given her, as if searching for the ring that Elvino had given her. 0 leaving in despair, while Teresa and Amina go off in Taking from her breast flowers, withered after one day, another direction. she wonders that, like Elvino’s love, they have faded so soon. ! Elvino approaches her and puts the ring back Scene 2 on her finger. Amina asks her mother to embrace her, [Back in the village Alessio protests his love for Lisa, and the Count now signals to Teresa to approach and who still rejects him. He hopes to enlist the Count’s aid embrace her, while Elvino is prostrate at her feet. The in his cause, but now voices are heard welcoming Lisa outburst of the villagers wakes her and she asks where as Elvino’s bride, instead of Amina, to Lisa’s delight, she is. Elvino assures her that she is awake, not expressed in her gratitude for these good wishes.]6 In dreaming. @ In final rejoicing Amina finds that human a scene with Lisa, Elvino assures her of his love, thought cannot imagine her happiness, a happiness in seeking her pardon for deserting her. The Count arrives which all now join. in the nick of time, as Alessio observes, willing to guarantee Amina’s honesty. He goes on to explain Keith Anderson 1 g 957 Recordin

Maria Callas • Nicola Monti Fiorenza Cossotto • Nicola Zaccaria Chorus and Orchestra of La Scala, Milan Antonino Votto

8.111284-85 8 111284-85 bk Sonnambula EU.qxd 2/11/08 13:22 Page 2

Great Opera Recordings condemns her hypocrisy, when she talks of love Scene 2 ending in bitterness. The notary arrives. 8 The * The scene is a room in the inn, with a window at notary is followed by Elvino, delayed by a visit to his the back, a door at one side and on the other a closet, Vincenzo mother’s grave to seek a blessing on his wife. Now his with a small table and a sofa. The Count is alone and friends must witness the betrothal contract which the is later joined by Lisa. At first he expresses to himself BELLINI notary is preparing. Elvino offers her, as gifts to his his pleasure at staying in the village, and at the two (1801-1835) future bride, his farms and possessions, and she, in girls, Amina and his pretty inn-keeper, Lisa. To his return, offers her heart. 9 As Teresa and the annoyance, Lisa has recognised him as the Count and witnesses sign the contract, Elvino gives Amina a tells him that the villagers are gathering to pay him La sonnambula ring. 0 All, except Lisa, are happy at these events. ! proper respects. He goes on to joke with her, praising Opera in Two Acts Elvino tells Amina that the next morning they will be her beauty. A sound is heard and she runs into the married, but the sound of an approaching horse is other room, dropping her scarf. The Count throws it Libretto by Felice Romani heard and a stranger appears. @ Count Rodolfo, onto the sofa. ( Amina appears, entering the room accompanied by two servants, complains of the tiring slowly, sleep-walking. The Count now understands journey. Lisa tells him that he is still three miles away the nature of the ghost that haunts the village. Amina, Amina...... Maria Callas (soprano) from the castle and should spend the night at the in her sleep, calls on Elvino, worried in her dreams by village inn, which he claims he already knows, with his jealousy and assuring him of her love. The Count Teresa...... Fiorenza Cossotto (mezzo-soprano) the mill, the stream, the woods and the nearby farm. goes to shut the window, while Lisa, from the closet, Count Rodolfo ...... Nicola Zaccaria (bass) He remembers earlier days he had spent here, days oberves what is happening and, realising the chance Elvino ...... Nicola Monti (tenor) now gone beyond recall. The villagers tell him of the she now has of discrediting her rival, slips away Lisa ...... Eugenia Ratti (soprano) betrothal and he finds Amina lovely and attractive, unseen. ) The Count makes to run towards Amina, Alessio ...... Giuseppe Morresi (bass) remembering his own love of old. The villagers then stops. She dreams of her wedding and her A Notary...... Franco Ricciardi (tenor) remark on this gallantry, less acceptable to Lisa and, beloved Elvino, tempting the Count’s resistance. She above all, to Elvino. # In answer to Elvino’s question raises her hand and swears faithfulness to her Chorus and Orchestra of La Scala, Milan the Count explains that he had been there before with husband. The Count is about to go, but hearing people (Chorus Master: Norberto Mola) the lord of the castle. Teresa recalls how the old lord, approach, leaves through the window, which he shuts. Antonino Votto who had died four years ago, once had a son, but he Amina lies on the sofa, still sleeping. ¡ The villagers had vanished. The Count tells her that the son is still approach and, finding the door of the room open, go Recorded 3rd – 9th March, 1957 in the Basilica di Santa Eufemia, Milan alive and promises that one day they shall all see him. in. They see a figure on the sofa and realise that this is ™ First issued on Columbia 33CX 1469 through 1471 The sound of a bagpipe is heard, calling the flocks in, not the Count but a woman. Now Teresa, Elvino and Teresa warns the villagers that night is drawing and Lisa come in, he refusing to believe what Lisa has in. $ This is the time, they all explain, when the told him and then horrified to see Amina lying there. Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn ghost appears, a figure in white, with long hair and She wakes, to be immediately rejected by Elvino, Special thanks to Maynard F. Bertolet for providing source material burning eyes. % The Count is sceptical but tells them turning for comfort to her mother. £ Amina is that the time will come when such phantoms will no innocent in thought and word, as she assures him, but longer be seen, but now he will rest, and he goes with no-one will believe her, except Teresa, who picks up Lisa into the inn, after bidding Amina farewell. ^ Lisa’s scarf and puts it round Amina’s throat, thinking Amina and Elvino are left alone, and he is about to it is hers. ¢ Elvino tells her that there will be no leave her without saying goodbye. He is annoyed at wedding and Amina is distressed at his distrust of her, the attention she has received from the stranger, but declaring her innocence, while he reproaches her begs her pardon. & He explains that he is jealous faithless heart. As the others go, Amina falls into the even of the breeze that stirs her hair. They are arms of Teresa. reconciled, banishing any doubts, and promising to think and dream of each other until the morning. 8.111284-85 27 8.111284-85 111284-85 bk Sonnambula EU.qxd 2/11/08 13:22 Page 6

Cherubini’s Médée. Her career took her to major opera rôles such as Zaccaria in Nabucco, Silva in Ernani, CD 1 77:40 # Contezza del paese 3:17 houses throughout the world, with effective Rodolfo in La sonnambula and Sarastro in Zauberflöte. (Elvino, Rodolfo, Teresa, Chorus) performances in rôles that included those of Azucena, For EMI he appears with Callas in recordings of Aida, Act 1 Amneris, Eboli and Adalgisa. Un ballo in maschera, Il trovatore, La bohème, Il Scene 1 $ A fosco cielo, a notte bruna 3:57 Nicola Monti (b.1920) made his début in Florence barbiere di Siviglia, La sonnambula and Norma. 1 Viva! Viva Amina! 2:49 (Chorus, Rodolfo, Teresa, Amina, Elvino) in 1941, but his operatic début took place only in 1951 Born at Piacenza, Antonino Votto (1896-1985) (Chorus) at the San Carlo in Naples, when he appeared as Elvino was a student at the Conservatorio San Pietro a Majella, % Basta così. Ciascuno si attenga 1:44 in La sonnambula, a rôle with which he remained Naples. Following army service in World War I, in 2 Tutto è gioia, tutto è festa 2:47 (Rodolfo, Teresa, All, Elvino) associated throughout his career, repeating it at 1919 he commenced his career, as pianist giving recitals (Lisa, Chorus, Alessio) Wexford in 1952 and recording it both with Callas and, there and in Rome. The same year he began teaching the ^ Elvino! E me tu lasci 2:04 later, with Joan Sutherland. piano in Trieste, where he also made his début as a 3 In Elvezia, non v’ha rosa 3:29 (Amina, Elvino) Born in Athens, after studying at the Conservatory, conductor. In 1921 Ettore Panizza engaged him to (Chorus, Lisa, Alessio) Nicola Zaccaria (1923-2007), made his début in 1949 conduct at the Colón, Buenos Aires. Back in Europe & Son gelosa del zefiro errante 5:54 as Raimondo in Lucia di Lammermoor. Four years later again in 1923 he joined the company at La Scala, Milan, 4 Care compagne 2:10 (Elvino, Amina) he appeared at La Scala, Milan, as Sparafucile in conducting Manon Lescaut; thereafter he acted as (Amina, Chorus) Rigoletto. Throughout the 1950s and 1960s he appeared Toscanini’s assistant until 1929. Throughout the 1930s Scene 2 in many leading Italian opera seasons: at Florence, he appeared at Covent Garden and elsewhere in Europe 5 Come per me sereno … * Davver, non mi dispiace 4:11 Verona and Rome in the typical Italian repertory. In as well as still giving occasional piano recitals in Italy. Sempre, o felice Amina 3:02 (Rodolfo, Lisa) 1956 he was a guest at the Vienna Staatsoper and at the After World War II he began to conduct regularly at La (Amina, All) festival in Salzburg; and in 1957 at Covent Garden with Scala, Milan. His complete recordings made for EMI, ( Che veggio? 2:30 Callas’s Norma he was Oroveso and in 1959 Creon with Cetra and DGG include Gioconda, La bohème, Un 6 Sovra il sen la man mi posa 2:38 (Rodolfo, Amina, Lisa) her Medea. His career was wide and embraced Cologne, ballo in maschera, La sonnambula and La traviata. (Amina, All) Brussels, Ghent, Moscow, Mexico City, Rio de Janeiro, ) O ciel! che tento? 3:39 Monte Carlo, Berlin and Dallas, which he returned to Michael Scott 7 Il più di tutti, o Amina 2:04 (Rodolfo, Amina) often until the 1980s, as well as festivals at Aix-en- Author of Maria Meneghini Callas (Alessio, Amina, Lisa, Teresa, Notary) Provence, Edinburgh, Orange and Athens. He sang ¡ Osservate: l’uscio è aperto 3:56 8 Perdona, o mia diletta 3:02 (Chorus) (Elvino, Amina, All, Notary) Synopsis the celebrations, by the unwelcome attentions of the ™ È menzogna 2:05 villager Alessio, who accuses her of avoiding him. 9 Prendi: l’anel ti dono 5:16 (Elvino, Chorus, Lisa, Amina) CD 1 She, however, has no time for him, angry that her (Elvino) rival Amina has captured the heart of Elvino. The £ D’un pensiero e d’un accento 5:21 Act 1 villagers continue to sing the praises of Amina and 0 Scritti nel ciel già sono … (Amina, Elvino, Chorus, Alessio, Teresa) her betrothed, Elvino. 4 Amina joins the villagers, Ah! vorrei trovar parole 3:16 Scene 1 addressing her dear companions and thanking them (All, Elvira, Amina, Lisa) ¢ Non più nozze 1:44 1 The scene is set in a Swiss village. Teresa’s mill is for their words. She is grateful above all to her (Elvino, All, Amina, Lisa, Alessio, Chorus, seen in the background, with the mill-stream. The mother, the woman who adopted her as an orphan. 5 ! Domani, appena aggiorni 0:23 Teresa) sounds of celebration are heard, with instruments She welcomes the day and the people wish her (Elvino, All, Amina) echoing from the distance and villagers shouting happiness. 6 She embraces Teresa, the woman who ‘Viva! Amina!’, happy at her betrothal. 2 Lisa comes has brought her up, takes her hand and puts it over her @ Come noioso e lungo il cammin … Vi ravviso, o out of the inn, complaining that this is no happy day heart. 7 Alessio congratulates her, he more than luoghi ameni … È gentil, leggiadra molto 6:25 for her. While all is joy and merriment, she suffers. anyone, for he has written the song for her and (Rodolfo, Lisa, All) She is interrupted by the appearance of fellow- assembled the musicians. She thanks him, grateful for villagers, with their instruments and flowers. She his kindness, hoping that he too will soon be happy resumes her song. 3 Lisa is further troubled, amid with Lisa. Lisa, however, demurs, and Teresa 8.111284-85 63 8.111284-85 111284-85 bk Sonnambula EU.qxd 2/11/08 13:22 Page 4

CD 2 65:17 9 Oh! se una volta sola 5:43 Vincenzo Bellini (1801 - 1835) (Amina, Rodolfo, Teresa, All) Act 2 La sonnambula Scene 1 0 Ah! non credea mirarti 4:34 Unlike many of the other complete operas that Callas wanted to sing it. By this stage of her career, when 1 Qui la selva è più folta ed ombrosa 5:55 (Amina, Elvino) had hitherto made under the aegis of La Scala, Milan, Callas reduced her appearances considerably, her voice (Chorus) this recording is of a production of La sonnambula that is ideally suited to it, because, unlike Turandot, which ! No, più non reggo 2:16 actually took place there at that time. It was by the great would be her next recording, it demands from her no 2 Reggimi, o buona madre 4:41 (Elvino, Amina, Rodolfo, Chorus) stage director Luchino Visconti. First mounted two more than the natural size of her voice. Whatever (Amina, Teresa) years earlier Visconti conceived it to give an impression reservations may have been made about her Maddalena @ Ah! non giunge uman pensiero 4:10 of turning the leaves of an album of old prints. He had in Andrea Chénier, Madama Butterfly and Fedora, all 3 Vedi, o madre … è afflitto e mesto 3:20 (Amina, All) Callas arrayed as those legendary Aminas, Maria of which she sang on stage, and in which she was (Amina, Elvino) Malibran (1808-1836) or Giulietta Grisi (1811-1869) intentionally, or otherwise, competing with Renata Appendix: Callas Sings Arias from might have been; dressed as a simple village maiden, Tebaldi (1922-2004), her voice was exactly suited to 4 Viva il Conte! 1:28 Medea and La Vestale but with a diva’s diamonds. Before the second verse of Amina. She reveals the perfect placement of her (Distant Voices, Elvino, Amina, Teresa, Chorus) Amina’s final scena, Ah! non giunge, he had her come instrument, the kind of felicity that disguises art: her CHERUBINI: Medea down to the front of the stage and, with the house lights voice is easily produced, her tone effortlessly supported 5 Ah! perché non posso odiarti 1:55 # Dei tuoi figli (Act 1) 4:54 turned on, give an exhibition of virtuosity - the lavish and her phasing a model. She differentiates lucidly (Elvino, Teresa, Chorus) variants she interpolated were unheard of then before between chromatic and diatonic scale passages and her SPONTINI: La Vestale the bel canto revival was underway and they certainly trills are exactly responsive in tones and semitones. It is Scene 2 $ Tu che invoco (Act 2) 10:52 raised critical eye-brows. After the final curtain, in early not necessary for us to know these details precisely but 6 E fia pur vero, Elvino 1:56 % O Nume, tutelar (Act 2) 2:27 nineteenth-century style, the evening was completed the musical finish of her singing is obvious. One (Lisa, Elvino, Rodolfo, Alessio, All) ^ Caro oggetto (Act 3) 3:45 with two short ballets. stunning effect comes between the verses of Ah non The sensation created by the whole production giunge where she interpolates a cadenza ascending to E 7 Signor Conte, agli occhi miei 4:33 Maria Callas caused it to be given ten times in 1955 and led to the flat above top C. On this stratospheric note, remarkably, (Elvino, Rodolfo, Chorus, Lisa, Teresa) Orchestra of La Scala, Milan • Tullio Serafin revival in 1957 of a further six performances, during she contrives to execute a diminuendo, a feat unrivalled which time this recording was made at Milan’s Basilica in the history of the gramophone. 8 Signor? … che creder deggio? 2:47 Recorded 10th – 12th June, 1955 of Santa Eufemia, after which the complete production, Eugenia Ratti (b.1933) made her début at Sestri (Elvino, Rodolfo, Teresa, Chorus) in the Teatro alla Scala, Milan together with singers and orchestra, travelled abroad Levante in 1954. The following year she joined the First issued on Columbia 33CX 1540 and gave two performances at Cologne and four at company at La Scala, Milan, as Lisa in Visconti’s Edinburgh. A fifth La sonnambula announced at famous production of Bellini’s La sonnambula in which Edinburgh took place but with Renata Scotto (b. 1934). Callas sang. Thereafter, through the rest of the 1950s, a Much fuss was made that Callas had capriciously typical soubrette, she progressed through rôles such as cancelled, but Meneghini, in Maria Callas mia moglie the Priestess in Aida, Oscar and Zerlina, and took part in later disputes this, telling how Robert Ponsonby, the the first performances at La Scala of Milhaud’s David festival Director, knew her contract was for only four and Poulenc’s Dialogues des Carmélites. She made a Producer’s Note performances; certainly it seems more than a visit to the Holland Festival in 1955 and appeared in coincidence that Scotto should have just happened to 1959 at San Francisco and Dallas, where she deputised The principal source for the complete recording of La sonnambula was a first edition British LP pressing, have been there. But then Callas was Callas and the for Callas’s Rosina in Zeffirelli’s production of Il supplemented by patches from a later edition. There are several instances of distortion, thumps, pops and other media loves a story, whether this one was true or not is barbiere di Siviglia. extraneous noises inherent in the original master tape (they can also be heard in EMI’s own CD transfer) and are irrelevant. The mezzo-soprano Fiorenza Cossotto (b.1935) not a function of the LP source used here. The arias in the appendix were taken from a first edition British LP Elvira de Hidalgo (1888-1980), a coloratura made her début at La Scala in 1957 as Sister Mathilde in pressing. soprano, remembers when Callas was a girl and she was Dialogues des Carmélites, making regular appearances Mark Obert-Thorn studying with her, how she heard another of her pupils in the same house until 1973. She made her Covent in an excerpt from Amina’s music and declared that she Garden début in 1959 when she appeared with Callas in 8.111284-85 45 8.111284-85 111284-85 bk Sonnambula EU.qxd 2/11/08 13:22 Page 4

Maria Callas • Nicola Monti Fiorenza Cossotto • Nicola Zaccaria Chorus and Orchestra of La Scala, Milan Antonino Votto

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2 CDs NAXOS Historical BELLINI: La sonnambula 8.111284-85 21:58 Time Playing 2:22:57 Medea MONO La Vestale Act 1 77:40 Act 1IAppendix: Maria Callas Sings Arias from and 43:19 @ ADD ¢ ^ - - - 8.111284-85 on a stratospheric E-flat, unrivalled a feat CD 11 CD 2 77:40 1 # 65:17 diminuendo for La Scala, La for Milan, later. years two and recorded was revived La sonnambula in which she executes a remarkable a remarkable in which she executes Vincenzo (1801-1835) Antonino Votto BELLINI La sonnambula La Recorded 3rd – 9th March, 3rd Recorded 1957 Ah non giunge in the Basilica di Santa Eufemia, Milan Chorus and Orchestra of La Scala,Chorus and Orchestra Milan Amina ...... Callas Maria Teresa...... Cossotto Fiorenza Elvino ...... Nicola Monti Count Rodolfo ...... Nicola Zaccaria Lisa ...... Eugenia Ratti www.naxos.com As a girl,Amina; with the rôle of Callas had fallen in love perfectly, as an adult it suited her voice her interpretation and equalled. have set a benchmark that few is satisfying performance profoundly highlights of Callas’s Among the many her cadenza for in the history of the gramophone.This a classic recording. standards any is by Visconti’s sensational 1955 production of production sensational 1955 Visconti’s Reissue Producer and Restoration Engineer:Reissue Producer Obert-Thorn Mark F. material source Special thanks to Maynard Bertolet providing for photo:Cover Maria Callas (Private Collection)

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NAXOS Historical Callas • Monti • Cossotto • Zaccaria • Votto 8.111284-85