GIORDANO Andrea Chénier

Home , Aureliano Pertile, La mamma morta, Maria Caniglia, Oliviero De Fabritiis, Umberto Giordano

110275-76 bk Giordano EC 22/08/2003 13:21 Page 12

Great Opera Recordings ADD 8.110275-76 Also available: 2 CDs GIORDANO Andrea Chénier

Beniamino Gigli Maria Caniglia Gino Bechi Giulietta Simionato

Chorus and Orchestra of La Scala, Milan 8.110262 Oliviero de Fabritiis

(Recorded in 1941) 8.110275-76 12 110275-76 bk Giordano EC 22/08/2003 13:21 Page 2

Great Opera Recordings

Umberto GIORDANO Also available: (1867 – 1948) Andrea Chénier Opera in Four Acts Libretto by L. Illica

Maddalena di Coigny ...... Maria Caniglia Andrea Chénier ...... Beniamino Gigli Carlo Gérard ...... Gino Bechi Countess di Coigny ...... Giulietta Simionato Madelon ...... Vittoria Palombini Bersi ...... Maria Huder Roucher ...... Italo Tajo Fouquier-Tinville ...... Giuseppe Taddei Mathieu ...... Leone Paci Fléville ...... Giuseppe Taddei The Abbé ...... Adelio Zagonara L’Incredibile ...... Adelio Zagonara Majordomo ...... Gino Conti Dumas ...... Gino Conti Schmidt ...... Gino Conti

Orchestra and Chorus of La Scala Opera House, Milan Conducted by Oliviero de Fabritiis 8.110096-97 Recorded in Milan by La voce del padrone on 26 sides, November 1941 Matrices: 2BA 4787-4812; catalogue: DB5423-35

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Producer’s Note CD 1 53:41 ! Calligrafia invero femminil! 2:14 (Roucher, Chénier) This recording of Andrea Chénier, made by Italian HMV during World War II, was first published on pressings Act I 28:14 manufactured in Italy specifically for the Italian market. Although these pressings are free of the crackle that often @ Ecco laggiù Gérard! 3:07 afflicts British HMV pressings, they yield too high a degree of surface hiss for them to be a good source for digital 1 Questo azzurro sofà 4:40 (La folla, Mathieu, L’Incredibile, Chénier, transfer. Several years after the war, this recording was published on English pressings that were amazingly quiet (Il Maestro di Casa, Gérard) Gérard, Roucher) and two mint condition sets of these pressings were used for the present edition. In order to preserve the sonic integrity of the performance, no excessive filtering and noise reduction techniques have been employed, and no 2 Il giorno intorno già s’insera lentamente! 2:12 # Non mi saluti? 2:49 artificial reverberation has been added. In remastering this recording, care has been taken to reproduce the music at (Maddalena, Gérard, Contessa, Bersi) (Bersi, Roucher, L’Incredibile, Chénier, Mathieu) proper score pitch since the original speeds are somewhat inconsistent from one side to another. In fact, the side containing the soprano aria La mamma morta was accidentally recorded 4rpm below the standard 78rpm speed. 3 Soffoco, moro tutta chiusa 4:55 $ Ecco l’altare 7:12 For this transfer, each side was checked against the score and adjusted accordingly. (Maddalena, Bersi, Contessa, Fléville, L’Abate, (Maddalena, Chénier, L’Incredibile) Coro) Ward Marston % Maddalena di Coigny! Gérard! 1:52 4 Passiamo la sera allegramente! 5:14 (Gérard, Maddalena, Chénier, L’Incredibile, (Fléville, L'Abate, Coro, Contessa, Chénier, Roucher, Mathieu, Coro) Maddalena)

5 Al mio dire perdono 1:51 (Maddalena, Chénier, Contessa, Coro) CD 2 00:00

6 Colpito qui m’avete… 5:08 Act III 37:48 Un dì all’azzurro spazio (Chénier) 1 Dumouriez traditore e giacobino 3:03 (Mathieu, Gérard, Coro) 7 Perdonatemi!…Creatura strana assai! 4:13 (Maddalena, Contessa, Coro, Gérard, 2 Lacrime e sangue dà la Francia! 2:04 Maestro di Casa) (Gérard, Madelon)

3 Son la vecchia Madelon 4:05 Act II 25:27 (Madelon, Gérard, Coro)

8 Per l’ex inferno! 1:10 4 L’uccello è nella rete! 3:33 (Mathieu, Bersi, L’Incredibile) (L’Incredibile, Gérard)

9 Temer? Perché? 2:32 5 Nemico della Patria?! 5:05 The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best (Bersi, L’Incredibile) (Gérard) 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 0 Roucher! Chénier!... Credo a una possanza 4:32 6 Carlo Gérard?… Là! entrate! 4:51 in the field of historical recordings. (Chénier, Roucher) (Maddalena, Gérard)

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7 La mamma morta 6:05 Appendix: 9 He tells them how he has fought for his country of the first act and expressing the feelings of a poet near (Maddalena, Gérard) Arias from Andrea Chénier with the sword, and with the pen against hypocrites. to death. Roucher leaves him. The voice of Mathieu is sung by Various Artists heard in the distance, as Gérard approaches the prison, 8 Mamma Cadet! Presso alla sbarra, qui! 3:41 0 Fouquier-Tinville is about to condemn Chénier, with Maddalena. (Mercantine, Mathieu, Coro, Maddalena, Gérard, ^ Un dì all’azzurro spazio 4:04 when Gérard confesses that the indictment he has Fouquier-Tinville, Dumas, Chénier) Sung by Giacomo Lauri Volpi written is false and attacks the injustice of the whole # She exhorts Gérard to remember his promise, as she Recorded: July 1934 proceeding. His plea is in vain. bribes Schmidt to allow her to take the place of another 9 Sì, fui soldato 2:38 mat. 2W2533; cat. HMV DB2263 woman who is to be executed. Gérard begs her to save (Chénier) Act IV herself, as he moves away into the second courtyard. & Io non amato ancor 3:06 0 Udiamo i testimoni 2:43 Sung by Antonio Cortis ! Chénier is sitting by a lantern in the courtyard of the $ Chénier is brought in, now ready to die, having seen (Fouquier-Tinville, Gérard, Coro, Chénier, Recorded: 19th September 1930 prison of St Lazare, writing on a scrap of paper. Maddalena. She tells him that she will die with him. Dumas, Maddalena) mat. BF3455; cat. HMV DA1154 Roucher is near him, reminded by Schmidt that it is time to go. % They join together in a final declaration of love. * Nemico della Patria 3:47 Act IV 15:52 Sung by Cesare Formichi @ He finishes writing and in answer to Roucher’s Recorded: 1st September 1927 request reads the poem he has written, echoing his poem Keith Anderson ! Cittadino, men duol, ma è tardi assai 1:18 mat. WAX3037; cat. Columbia CQX16522 (Schmidt, Roucher, Chénier) ( La mamma morta 4:30 @ Come un bel dì di maggio 3:49 Sung by Claudia Muzio (Chénier, Mathieu, Gérard, Schmidt) Recorded: 5th June 1935 mat. CBX1360; cat. Columbia LCX28 # Il vostro giuramento vi sovvengo 3:22 (Maddalena, Schmidt, Gérard) ) Sì, fui soldato 2:50 Sung by Francesco Merli $ Vicino a te s’acqueta 3:45 Recorded: 6th March 1928 (Chénier, Maddalena) mat. WBX236; cat. Columbia D14705

% La nostra morte è il trionfo dell’amor! 3:40 ¡ Come un bel dì di maggio 2:56 (Chénier, Maddalena) Sung by Aureliano Pertile Recorded: 28th January 1930 mat. BM1448; cat. HMV DA1185

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CD 2 Umberto Giordano (1867-1948) 0 Chénier is joined by his friend Roucher, who has a Andrea Chénier passport for him to leave Paris. Chénier, however, is Act III confident in his own destiny, compelled now by his The Italian tenor Beniamino Gigli (1980-1957) made Pagliacci. He sang throughout Europe and South vision of a woman from whom he has received letters. 1 The Committee of Public Safety is in session. commercial studio recordings over a period of 37 years America and continued to make stage appearances until Mathieu is reading out a list of traitors, appealing to the (1918-1955). He was also the first international singer 1953. In 1955 he made a farewell tour of both Britain ! He shows one of them and Roucher looks crowd for money. Gérard enters, now recovered from to record a whole series of complete operas in the studio and the United States, in addition to making his final quizzically at it, with its signature ‘Speranza’. He his injury. between 1934 and 1946. He began with Pagliacci in studio recordings at the age of 65. During the 1930s and presses Chénier to leave Paris and forget the letters. 1934 [Naxos 8.110155], followed by La Bohème 1940s he also appeared in over fifteen films. Anything 2 He appeals for money and for men to fight against [8.11072-73] and Tosca [8.11096-97] in 1938, Madama he may have lacked in acting ability was more than @ The mob gathers, cheering Robespierre, with their enemies. Butterfly (1939) [8.110183-84], Cavalleria rusticana compensated by the sheer beauty of his voice. Gérard, and L’Incredibile asks Gérard about the woman (1940) [8.110714-15], Andrea Chénier (1941), Un ballo The lyrico-spinto soprano Maria Caniglia (1905- he is looking for. He describes Maddalena to him. 3 An old blind woman offers her only remaining in maschera (1943) [8.110178-79] and Aida in 1946 1979) was born and studied in Naples, making her début grandson to the service of the country. There is the [8.110156-57]. The three made during the years of the in Turin in 1930 as Chrysothemis in Elektra. The same # Bersi approaches Roucher, observed by sound of popular celebration off-stage. Second World War are noteworthy in that no country year she appeared at the Teatro alla Scala as Maria in L’Incredibile. Chénier is about to leave, but Bersi tells other than Italy during this period undertook complete Pizzetti’s Lo straniero, a house where she would sing him that Speranza, the woman who has written to him 4 L’Incredibile approaches Gérard, telling him that recordings of operas for commercial release. regularly until 1943 and again from 1948-1951. Her and is in danger, wishes to see him. the bird is in the net. Chénier has now been arrested, and Furthermore, these recordings were made purely for the international career took flight in 1935 when she sang Maddalena is certain to come looking for him. He tells Italian market as all direct contact with EMI’s head Alice in Falstaff under Toscanini at the Salzburg $ Watched by L’Incredibile, Maddalena approaches, Gérard to prepare the accusation against Chénier. office in England had been severed with the outbreak of Festival. Caniglia appeared at Covent Garden in 1937, hoping to meet Chénier. She reminds him of his words hostilities between Italy and Britain in the summer of 1939 and again in 1950 with the visiting La Scala at the château, revealing herself as Maddalena, 5 Gérard has qualms of conscience about denouncing 1940. In the case of Andrea Chénier, the recording was Company. She visited Buenos Aires in 1937 and her recognised by the watchful L’Incredibile as the woman Chénier, his personal rival. Nevertheless, spurred on by not released in Britain until 1949, and then only to single season at the Metropolitan in New York was that Gérard is seeking. She explains her situation, jealousy, he writes the indictment, as L’Incredibile special order, and in the United States only in 1954 on during 1938-39. She also created a variety of rôles followed by spies, and relying only on Bersi and now approaches again. LP. including Respighi’s Lucrezia in Milan in 1937. She seeking his love and protection. Chénier promises both, The rôle of the revolutionary poet suited Gigli to retired during the late 1950s. Never the most finished or until death. 6 Maddalena seeks an audience with him and is perfection: it was always one of his favourite parts. polished of performers she always conveyed a dramatic alarmed at his declaration of his own feelings and Furthermore, it was this opera which introduced the excitement and commitment to her interpretations. % Gérard rushes in, warned by L’Incredibile, but motives. She offers herself to him as the price of tenor to London in 1931. There is a splendid ardour and Caniglia appeared in a single film Il vento mi a cantato Chénier protects her, draws his sword, and Gérard falls Chénier’s release. passion in his singing. His career had taken wing when una canzone in 1947. She recorded Tosca, Un ballo in wounded, warning Chénier to fly, as his name is on the he won first prize in an international contest in Parma in maschera and Aida with Gigli. She was married to the list of those proscribed. Mathieu and the crowd with 7 Maddalena goes on to recount the death of her 1914, the year he also made his début in Rovigo as Enzo Italian composer Pino Donati (1907-1975). him seek to know who has attacked him, but Gérard mother in the flames of the burning château. Gérard in La Gioconda. Four years later Gigli appeared at the The baritone Gino Bechi (1913-1993) was born tells them that the name of the assassin is unknown, promises to do what he can, although Chénier is already Teatro alla Scala as Faust in Mefistofele, the rôle in and studied in Florence before making his début in while they call for his death. condemned. which he would make his début at the Metropolitan Empoli as Germont père in La traviata in 1936. He was Opera in 1920. The tenor would continue to sing at the then engaged by the Teatro Reale in Rome in 1938, 8 The tribunal is in session and various New York house every season until 1932 when he left appearing regularly until 1952, and at La Scala from condemnations are confirmed. Chénier is brought in, in protest against salary cuts. He would return in 1938- 1939 to 1953. He became the leading Italian dramatic the proceedings watched by Maddalena. He angrily 39. Gigli sang at Covent Garden in the years 1930-31 baritone during these years, especially in Verdi and denies treachery. and 1938-39 and in 1946 sang with the visiting San verismo rôles, as can be witnessed by the complete Carlo Opera with his daughter Rina in La Bohème and recordings alongside Gigli in the 1940s. Bechi’s 8.110275-76 8 5 8.110275-76 110275-76 bk Giordano EC 22/08/2003 13:21 Page 6

London début was with the visiting La Scala Company His Covent Garden début was in 1960 and he returned Festival with the visiting San Carlo Opera conducting also conducted Gigli in recordings of Tosca and in 1950 and he also appeared in the title-rôle of regularly until 1967, while his belated introduction to Adriana Lecouvreur and he appeared at Covent Garden Madama Butterfly. Rossini’s Guglielmo Tell in the Theatre Royal, Drury New York was in 1985 in the title-rôle of Falstaff. two years later directing the first performances of Simon Lane, in 1958. The baritone’s American appearances Renowned as a memorable interpreter of all the main Boccanegra in that house. In 1971 de Fabriitis was Malcolm Walker were confined to Chicago and Buenos Aires. Sadly, Verdi baritone rôles, Taddei was a much-admired appointed artistic adviser to the Vienna Festival. He much of the beauty of his voice had diminished by the Mozartian and also excelled as Hans Sachs, Wolfram in 1950s and he then moved into films, making in all a Tannhäuser and the Dutchman. He also sang buffo parts total of ten. He retired in 1965, later teaching and also to great effect. directing operas. The bass Italo Tajo (1915-1993) studied in Turin, The mezzo-soprano Giulietta Simionato (born making his début there as Fafner in Das Rheingold in Synopsis 5 It is only at the express desire of Maddalena that 1910) studied in both Rovigo and Padua. She won a 1935, the same year he appeared at the fledgling Chénier is willing to recite. singing competition in Florence in 1933 before making Glyndebourne Festival. After singing in various CD 1 her début in Florence in Pizzetti’s Orsèolo in 1935. Her provincial Italian houses, he was engaged in Rome in 6 All listen to Chénier’s poem, in which he contrasts first appearance at the Teatro alla Scala in Milan was as 1942 as the Doctor in a famous wartime production of Act I the beauty of nature with the wretchedness that man Beppe in L’amico Fritz in 1939. Her international Berg’s Wozzeck. After his début at La Scala in 1946, creates, inveighing against the clergy and the nobility, career began when she sang at the first Edinburgh Tajo soon made his American début in Chicago, and 1 In the château of the de Coigny family preparations to the disapproval of the company. Festival in 1947. This was followed by engagements within two years was singing Basilio in Il barbiere di are being made for an evening reception. The throughout Europe before singing at Covent Garden in Siviglia at the Metropolitan Opera in New York, a majordomo supervises arrangements, as Gérard and 7 Maddalena seeks his pardon, while the Countess 1953 as Adalgisa in Norma and Amneris in Aida house in which he would appear until 1950. The bass other servants bring in a heavy blue sofa. Gérard mocks changes the subject and calls the guests to dance. This is opposite Callas; she would return again during the years returned to Britain in 1947, singing Figaro in Le nozze the behaviour and conventions of the aristocracy, angry interrupted by sounds from without and then by a group 1963-65. Simionato was a regular performer at the di Figaro and the title-rôle in Don Pasquale at the and menacing when he sees his old father struggling to of beggars, led by Gérard, who introduces them as ‘His Salzburg Festival between 1957 and 1963 before Edinburgh Festival. He also appeared in San Francisco carry in more furniture, sixty years old and still a Highness Misery’. The Countess tells them to go, and making her belated American début in New York in between 1948 and 1952. In 1966 Tajo was appointed servant. Gérard with them. His father kneels to beg pardon, but October 1959 as Azucena in Il trovatore, a house to ‘basso in residence’ at the University of Cincinatti Gérard urges him away, casting off his livery, while the which she returned in 1960 and 1962. Simionato retired College-Conservatory. Then in 1976 he returned to the 2 The Countess gives orders to the majordomo, while Countess, having sunk down on the sofa, pulls herself from the stage in 1966. She was among the finest Metropolitan to sing character parts, continuing until Maddalena and her maid Bersi come forward. Gérard together and tries to save the social situation. mezzos of her time, being a much-admired interpreter 1982. He was also much admired for his performances admires the beauty of Maddalena. The countess busies of the principal Bellini, Donizetti, Rossini and Verdi in contemporary works by Malipiero, Milhaud, Nono herself with the arrangements for the evening and urges Act II rôles. and Pizzetti. her daughter to make herself ready. The baritone Giuseppe Taddei (born 1916) was The conductor and composer Oliviero de Fabriitis 8 The scene is Paris. To the right is an altar dedicated born and initially studied in Genoa and later Rome. His (1902-1982) studied composition and conducting with 3 Maddalena complains about the restrictions of her to Marat and to the left the Café Hottot, with the début was as the Herald in Lohengrin in 1936. After war Refice and Setaccioli in his home city of Rome, before dress. The guests are heard arriving, the writer Fléville, Perronet bridge over the Seine in the background. By service in the Italian army, he first appeared in Vienna making his début at the Teatro Adriano in 1920. Created the poet Chénier and an Italian musician, introduced by the altar stand Mathieu, a sans-culottes, and Orazio between 1946 and 1948, before singing in London with Artistic Secretary to the Rome Opera in 1934, a post he Fléville. They are followed by the Abbé, from Paris Coclite, demolishing the bust of Marat. Chénier is the New London Opera Company at the Cambridge would hold until 1943, he also continued to conduct at with the latest gossip. sitting alone at a table in the café. Bersi is with the spy, Theatre as Rigoletto and Scarpia in 1947. The following this house until 1961. He also inaugurated the summer L’Incredibile, who asks her if she is afraid. year he was engaged as Figaro in Le nozze di Figaro at seasons at the outdoor Baths of Caracalla in Rome in 4 Fléville looks forward to an agreeable evening, as the Salzburg Festival. Taddei’s first appearances at the 1937. During these years de Fabriitis also conducted singers dressed as shepherds and shepherdesses come in 9 Bersi has nothing to fear, as a true daughter of the Teatro alla Scala took place in the autumn of that year throughout Europe in addition to seasons in Mexico to entertain the company. The Countess urges Chénier Revolution, glad of her freedom and of the executions and he would continue to sing at this house until 1961. City. His British début was at the 1963 Edinburgh to recite one of his poems, but he demurs. she sees. L’Incredibile is suspicious of her, however, and of Chénier. 8.110275-76 6 7 8.110275-76 110275-76 bk Giordano EC 22/08/2003 13:21 Page 6

% La nostra morte è il trionfo dell’amor! 3:40 ¡ Come un bel dì di maggio 2:56 (Chénier, Maddalena) Sung by Aureliano Pertile Recorded: 28th January 1930 mat. BM1448; cat. HMV DA1185

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5 Al mio dire perdono 1:51 (Maddalena, Chénier, Contessa, Coro) CD 2 00:00

3 Son la vecchia Madelon 4:05 Act II 25:27 (Madelon, Gérard, Coro)

8 Per l’ex inferno! 1:10 4 L’uccello è nella rete! 3:33 (Mathieu, Bersi, L’Incredibile) (L’Incredibile, Gérard)

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Great Opera Recordings

Umberto GIORDANO Also available: (1867 – 1948) Andrea Chénier Opera in Four Acts Libretto by L. Illica

8.110275-76 2 11 8.110275-76 110275-76 bk Giordano EC 22/08/2003 13:21 Page 12

Great Opera Recordings ADD 8.110275-76 Also available: 2 CDs GIORDANO Andrea Chénier

Beniamino Gigli Maria Caniglia Gino Bechi Giulietta Simionato

Chorus and Orchestra of La Scala, Milan 8.110262 Oliviero de Fabritiis

(Recorded in 1941) 8.110275-76 12 N

8.110275-76 Umberto ADD AXOS Historical 2 CDs GIORDANO Playing h DISC PROHIBITED. BROADCASTING AND COPYING OF THIS COMPACT TRANSLATIONS RESERVED. UNAUTHORISED PUBLIC PERFORMANCE, RIGHTS IN THIS SOUND RECORDING, ARTWORK, TEXTS AND ALL (1867-1948)

2003 HNH International Ltd. Time 2:08:34

8.110275-76 Andrea Chénier

Maddalena di Coigny ...... Maria Caniglia Gigli not only made commercial studio recordings over a period of 37 years Andrea Chénier ...... Beniamino Gigli (1918-1955) but was also the first Carlo Gérard ...... Gino Bechi international singer to record a Countess di Coigny ...... Giulietta Simionato substantial series of complete operas in the studio. Made during the Second Chénier GIORDANO: Andrea Madelon ...... Vittoria Palombini World War, this recording of Andrea

2003 HNH International Ltd. Roucher ...... Italo Tajo since no country other than Italy Fouquier-Tinville ...... Giuseppe Taddei during this period undertook complete recordings of operas for commercial Mathieu ...... Leone Paci purposes. Due to the outbreak of Fléville ...... Giuseppe Taddei hostilities between Italy and Britain in The Abbé, L’Incredibile ...... Adelio Zagonara 1940, this 1941 Andrea Chénier was not released in Britain until 1949. The Majordomo, Dumas, Schmidt ...... Gino Conti rôle of the revolutionary poet Andrea Chorus and Orchestra of La Scala, Milan Chénier suited Gigli’s voice and Oliviero de Fabritiis temperament to perfection. It was Recorded November 1941 in Milan always one of his favourite parts, to which he brought a splendid ardour Matrices:2BA 4787-4812; catalogue: DB5423-35 and dramatic commitment. CD 1 53:41 CD 2 74:53 GIORDANO: Andrea GIORDANO: Andrea Chénier 1-7 Act I 28:14 1-0 Act III 37:48 8-% Act II 25:27 !-% Act IV 15:52 ^-¡ Appendix: A Selection of Arias 21:12 MADE IN Sung by Various Artists E.C.

Producer and Audio Restoration Engineer: Ward Marston 8.110275-76 Special thanks to Michael Gray and Lawrence Holdridge www.naxos.com A complete track list can be found in the booklet Cover Image: Benjiamino Gigli as Andrea Chénier AXOS Historical (Lebrecht Collection) N