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8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 16 Gian Carlo MENOTTI Also available The Consul • Amelia al ballo LO M CAR EN N OT IA T G I 8.669019 19 gs 50 din - 1954 Recor Patricia Neway • Marie Powers • Cornell MacNeil 8.669140-41 Orchestra • Lehman Engel Margherita Carosio • Rolando Panerai • Giacinto Prandelli Chorus and Orchestra of La Scala, Milan • Nino Sanzogno 8.112023-24 16 8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 2 MENOTTI CENTENARY EDITION Producer’s Note This CD set is the first in a series devoted to the compositions, operatic and otherwise, of Gian Carlo Menotti on Gian Carlo the occasion of his centenary in 2011. The recordings in this series date from the mid-1940s through the late 1950s, and will feature several which have never before appeared on CD, as well as some that have not been available in MENOTTI any form in nearly half a century. The present recording of The Consul, which makes its CD début here, was made a month after the work’s (1911– 2007) Philadelphia première. American Decca was at the time primarily a “pop” label, the home of Bing Crosby and Judy Garland, and did not yet have much experience in the area of Classical music. Indeed, this recording seems to have been done more because of the work’s critical acclaim on the Broadway stage than as an opera, since Decca had The Consul also recorded Arthur Miller’s Death of a Salesman with members of the original cast around the same time. Music Drama in Three Acts • Libretto by the Composer The recording venue was very dry and closely miked, with overloading common during loud passages, despite the engineers’ attempts at “gain riding”. In addition, the original recording sounds as though it had been made on lacquer discs, which had their own pops and clicks not related to the pristine 1960s pressings which were used for Magda Sorel . Patricia Neway (soprano) this transfer. When the lacquers were transferred to tape for LP release, the engineers apparently edited between The Mother . Marie Powers (contralto) alternate takes or backup lacquers with little regard for matching volume or surface hiss levels, even for passages The Secretary . Gloria Lane (mezzo-soprano) as short as a single word. Attempting to overcome all of these inherent flaws made for very difficult transfer work. John Sorel . Cornell MacNeil (baritone) No such problems were involved with the recording of Amelia al ballo, which was transferred from first edition The Secret Police Agent . Leon Lishner (bass) British LP pressings. Notwithstanding a couple instances of distortion during loud notes, it ranks with the Callas/Di Nika Magadoff . Andrew McKinley (tenor) Stefano recording of Pagliacci made three months later as one of the best sounding recordings EMI made at La Mr. Kofner . George Jongyans (bass-baritone) Scala. The Foreign Woman . Maria Marlo (soprano) A word is in order about cuts. Menotti was concerned that some passages involving primarily visual stage Vera Boronel . Lydia Summers (contralto) business would not translate well for the home listening audience, and had them cut from the recorded score in both Anna Gomez . Maria Andreassi (soprano) of the works featured here. The cuts are mostly innocuous and deal primarily with repetitive material. However, Assan . Francis Monachino (baritone) the one following “To this we’ve come” at the end of Act 2 of The Consul is dramatically significant, omitting as The Voice on the Record . Mabel Mercer (soprano) it does Magda’s fainting upon seeing the Secret Police Agent leaving the Consul’s office, and allowing the act to end on a note of defiant triumph at odds with what is actually happening in the story. Orchestra under the direction of Lehman Engel Mark Obert-Thorn Recorded in New York City in April 1950 First issued on Decca DX-101 8.112023-24 215 8.112023-24 8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 14 ¶ In a terzetto, all three reflect on the inexplicable ambulance. He then asks Amelia to explain what has CD 1 69:01 @ John, John, why did you bring me 4:04 happened. nature of love. What is right and what is wrong are (Magda, Mother) tricky questions to answer. No one knows why love º Amelia tells the chief of police that as she was comes and goes. Each calls upon their heart to guide preparing to go the ball a man (her lover) entered Act 1 them. Amelia asks her husband for the last time if he through the balcony with a pistol which he aimed at Scene 1 # It is the signal! 4:07 is going to take her to the ball. He says no, and her, demanding money. The lover denies this story 1 ‘Tu reviendras’ 3:15 (Magda, Mother, Secret Police Agent, Assan) furious, she smashes a vase on his head. The husband vigorously, and implores Amelia to speak of their (Voice on the Record, John, Magda, Mother) collapses, unconscious. Frightened at what she has love. She denies all knowledge of him. The lover is $ Mother! Why are you so still, Mother? 3:51 done, Amelia calls for help. The lover tries to revive handcuffed, while the ambulance-men arrive and take 2 Quick, John! The police! 5:48 (Magda, Mother) the husband. The two maids rush in, see what has away the husband on a stretcher. (Magda, Mother, Secret Police Agent) happened, fetch bandages and a basin, and place a ⁄ The chief of police tells her not to despair: her % Interlude 1:30 compress on the husband’s head. Amelia continues to husband will recover soon. But Amelia asks who will 3 Don’t move yet 3:09 (Orchestra) call for help. take her to the ball? The chief of police gallantly (Magda, Mother, John) • During an orchestral interlude neighbours and offers to do so. Realising that no-one can refuse the Scene 2 strangers, having heard Amelia’s cries, rush in, chief of police, Amelia begins once again to dress for 4 Now, O lips say goodbye 4:18 ^ What did you say your name was? 1:37 demanding to know what has happened. Seeing a the ball, as the lover is taken away by two policemen. (Magda, John, Mother) (Secretary, Anna Gomez, Vera Boronel, ¤ The chorus sings that Amelia will go to the ball body on the floor, they think Amelia must have Kofner) after all, and that the moral of the story is that if a committed a murder. 5 ª The chief of police enters. At first he thinks woman sets her heart on going to the ball, that is Interlude 1:02 Amelia’s lover is her husband, but the chorus corrects where she will go. Magnificently dressed, Amelia (Orchestra) & My charming ma’moiselle 7:13 him. He asks who is the man on the floor. Amelia leaves for the ball on the arm of the chief of police, to (Magician, Secretary, Anna Gomez, whispers to him, and, amazed by what she has said, he the cheers of the onlookers. Scene 2 Vera Boronel, Kofner, Foreign Woman) stands to attention and tells the chorus to summon an Keith Anderson 6 Next. Yes, what can I do for you? 2:14 (Secretary, Kofner) * Any news for me? 2:19 (Magda, Secretary) 7 Next … Buon giorno 3:40 (Secretary, Foreign Woman, Kofner) ( To this we’ve come 7:43 (Magda, Vera Boronel, Kofner, Secretary) 8 Next … May I speak to the Consul? 4:14 (Secretary, Magda) CD 2 75:18 9 In endless waiting rooms 3:36 (Vera Boronel, Anna Gomez, Magda, Act 3 Magician, Kofner) Scene 1 1 How often must I tell you, Mrs. Sorel 4:21 Act 2 (Secretary, Vera Boronel, Assan, Magda) Scene 1 0 What is the matter, little lamb? 2:01 2 Don’t forget to sign 2:22 (Mother) (Secretary, Vera Boronel, Magda, Assan) ! I shall find for you 3:19 3 Oh, those faces! 1:47 (Mother) (Secretary) 8.112023-24 14 3 8.112023-24 8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 4 4 Who are you? How did you get in? 2:12 7 Lo, death’s frontiers are open 4:42 Amelia al ballo (Amelia goes to the Ball) • Synopsis ( Amelia tells her husband that her lover is the (Secretary, John, Secret Police Agent) (Foreign Woman, Kofner, Anna Gomez, gentleman with the moustache who lives in the CD 2 apartment above. She sees him only at night when her Vera Boronel, Mother, John, Secretary, Magician, husband is asleep. Outraged her husband puts on his 5 Don’t be afraid, Mr. Sorel 2:44 Magda) 9 Orchestral prelude. top-hat and cloak, and tells Amelia that before going (Secretary) 0 The setting is the luxurious bedroom of Amelia, the to the ball he is going to have a chat with their 8 Mother, John, wait 2:34 wife of a wealthy citizen. Amelia stands in front of a neighbour with a pistol, and if Amelia still wants to Scene 2 (Magda, Mother, John, Magician, Chorus) mirror, while her two maids tighten her corset and go to the ball, they will go dancing while their 6 I never meant to do this 2:33 search for her fichu. Her beautiful ball dress lies on a neighbour nurses a broken skull. He leaves with his (Magda, Foreign Woman, Kofner, Anna Gomez, chair. A friend is sitting impatiently nearby. Amelia pistol at the ready, locking the door after him. Vera Boronel, Mother, John, Secretary) scolds the chambermaids, who offer her a necklace ) Amelia unsuccessfully tries to open the door.
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  • Lps-Vocal Recitals All Just About 1-2 Unless Otherwise Described

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    LPs-Vocal Recitals All just about 1-2 unless otherwise described. Single LPs unless otherwise indicated. Original printed matter with sets should be included. 4208. LUCINE AMARA [s]. RECITAL. With David Benedict [pno]. Music of Donaudy, De- bussy, de Falla, Szulc, Turina, Schu- mann, Brahms, etc. Cambridge Stereo CRS 1704. $8.00. 4229. AGNES BALTSA [ms]. OPERA RECITAL. From Cenerentola, Il Barbiere di Siviglia, La Favorita, La Clemenza di Tito , etc. Digital stereo 067-64-563 . Cover signed by Baltza . $10.00. 4209. ROLF BJÖRLING [t]. SONGS [In Swedish]. Music of Widéem, Peterson-Berger, Nord- qvist, Sjögren, etc. The vocal timbre is quite similar to that of Papa. Odeon PMES 552. $7.00. 3727. GRACE BUMBRY [ms]. OPERA ARIAS. From Camen, Sappho, Samson et Dalila, Dr. Frieder Weissmann and Don Carlos, Cavalleria Rustican a, etc. Sylvia Willink-Quiel, 1981 Deut. Gram. Stereo SLPM 138 826. Sealed . $7.00. 4213. MONTSERAAT CABALLÉ [s]. ROSSINI RARITIES. Orch. dir. Carlo Felice Cillario. From Armida, Tancredi, Otello, Stabat Mater, etc. Rear cover signed by Caballé . RCA Victor LSC-3015. $12.00. 4211. FRANCO CORELLI [t] SINGS “GRANADA” AND OTHER ROMANTIC SONGS. Orch. dir Raffaele Mingardo. Capitol Stereo SP 8661. Cover signed by Corelli . $15.00. 4212. PHYLLLIS CURTIN [s]. CANTIGAS Y CANCIONES OF LATIN AMERICA. With Ryan Edwards [pno]. Music of Villa-Lobos, Tavares, Ginastera, etc. Rear cover signed by Curtin. Vanguard Stereolab VSD-71125. $10.00. 4222. EILEEN FARRELL [s]. SINGS FRENCH AND ITALIAN SONGS. Music of Respighi, Castelnuovo-Tedesco, Debussy. Piano acc. George Trovillo. Columbia Stereo MS- 6524. Factory sealed. $6.00.