111018-19 bk Otello EU 15/07/2005 11:55am Page 12 Producer’s Note Great Opera Performances ADD We are most fortunate that this broadcast performance of Verdi’s Otello was recorded and preserved, for it is now 8.111018-19 widely regarded as the quintessential recording of the opera. Despite its sonic shortcomings, and the brief cuts in acts two and three, this recording documents one of the most thrilling of all Metropolitan Opera broadcasts, in which the glorious singing of the principals is propelled and shaped by the magnificent conducting of Maestro Panizza. VERDI 2 CDs The sonic quality of recorded broadcasts from this period can range from excellent to very poor depending upon how the original source was recorded and how well the discs were preserved. Ideally, the optimum source for any Metropolitan Opera broadcast would be original NBC Network discs, but sadly, no such source for this Otello performance has ever surfaced. The only known source is a set of discs made for Lawrence Tibbett by a New York City recording studio from radio station WJZ. These discs probably sounded quite good when first played, but over Giovanni Martinelli the years, multiple playings and careless storage conditions resulted in serious sonic degradation. The discs are now unavailable and therefore, the source for this re-issue is a magnetic tape transfer of the original discs made Elizabeth Rethberg • Lawrence Tibbett during the 1950s. Many hours have been spent trying to improve the sound of this recording and to correct some of the more Chorus and Orchestra of the Metropolitan Opera, New York • Ettore Panizza egregious flaws. Not having access to the actual discs, however, has been a major disadvantage. I have carefully Recorded in 1938 removed hundreds of clicks and other disc noises, one by one, so as not to compromise the musical integrity of the performance. I also experimented with several computer based noise reduction programs, but ultimately, I decided against their use, since all such improvements produced undesirable sonic side effects that to me, were more disconcerting than the surface noise of the original source. Pitch stability has always been my chief concern in remastering. This recording had at least 15 pitch shifts occurring between sides which I have attempted to correct. Unfortunately, there are two serious flaws in the 1950s tape which I could not eliminate. First of all, the tape has been damaged in two spots which has resulted in two periods of sonic drop out, each of which lasts about five seconds. Secondly, at the very beginning and end of act four, one can hear another singer’s voice in the background, probably a result of poor erasure of previously tape recorded material. Every few years, a cache of new sources for Metropolitan Opera broadcasts is discovered, and one can hope that eventually, a superior recording of this great Otello performance will come to light. Until then, however, we must be grateful to Lawrence Tibbett for having the broadcast recorded so that we can enjoy what would only be a memory for those who heard it. Ward Marston 8.111018-19 12 111018-19 bk Otello EU 15/07/2005 11:55am Page 2 Eventually he turns on them in fury. Lodovico tries to candle, looking at Desdemona, and then extinguishing drag her away, but she insists on running to Othello, it. He makes a movement of anger, then approaches the who curses her. They all leave, with Iago watching the bed, drawing aside the curtains, looking at Desdemona progress of his poison, as Othello falls unconscious, as she sleeps, then awakening her with a kiss. He asks if Great Opera Performances while voices are heard praising the hero’s victory. Iago, she has prayed and tells her that she should now repent in final triumph, points to the prostrate body of Othello, of any sin, as he would not kill her soul. He accuses her Giuseppe with the words Ecco il Leone!, Behold the Lion! of loving Cassio, but she swears her innocence, telling him to call Cassio. Othello tells her that Cassio is dead. VERDI Act IV She pleads for her life, but in vain. Othello smothers (1813-1901) her. Knocking is heard at the door. The scene is Desdemona’s bed-chamber. There is a bed, a prie-dieu, a table, mirror and chairs. A lamp burns $ Othello looks at Desdemona, as quiet as the grave. Otello before the statue of the Madonna over the prie-dieu. There is further knocking, and Emilia calls out to speak Lyric Drama in 4 Acts There is a door to the right. It is night. to Othello, bringing news that Cassio has killed Roderigo. The voice of Desdemona is heard from the 0 Emilia is helping Desdemona prepare for bed, and bed, unjustly killed and dying, pleading still her Otello . Giovanni Martinelli asks if Othello is calmer. Desdemona tells her that he innocence, but not accusing Othello. He, however, Desdemona . Elizabeth Rethberg seemed so. She tells Emilia to lay out her white claims that it was his own action, killing a woman who Iago . Lawrence Tibbett wedding-gown, and tells her after death to put on her was Cassio’s whore, as Iago would testify. Emilia cries Cassio . Nicholas Massue one of those veils. out at his folly in believing Iago, summoning help, as Emilia . Thelma Votipka she breaks away from Othello. Lodovico, Cassio and Roderigo . Giovanni Paltrinieri ! She is sad, and recalls her mother’s maid Barbara, Iago come in, followed by Montano and some men. Lodovico . Nicola Moscona abandoned by her lover, and her song of the green Iago’s duplicity is finally revealed, but Othello seizes Montano . George Cehanovsky willow. She seems to hear a knock at the door, but it is his sword. the wind. She bids Emilia farewell. Chorus and Orchestra of the Metropolitan Opera, New York • Ettore Panizza % Othello declares that he is now at the end of his @ Kneeling at the prie-dieu, Desdemona, recites the journey. He drops his sword, and approaches the bed, Recorded at the New York Metropolitan Opera, 12th February 1938 Ave Maria, asking that she pray for Othello, in his grief, gazing at Desdemona, then drawing a dagger from his and for all at the hour of their death. She continues in robe and stabbing himself, dying with the words ‘un Reissue Producer and Restoration Engineer: Ward Marston prayer, then rises and goes to bed. bacio … un bacio ancora … ah! .. un’altro bacio …’, ‘a kiss … a kiss again … ah! .. another kiss’, as the curtain # Othello appears, entering through a secret door. He falls. lays his scimitar on the table, and hesitates before the Keith Anderson 8.111018-19 2 11 8.111018-19 111018-19 bk Otello EU 15/07/2005 11:55am Page 10 CD 2 that will ensnare Cassio, who takes it back, admiring the CD 1 75:00 handiwork, while Othello, still looking on, is incensed. Act III Trumpets in the distance announce the arrival of the 1 Opening announcement by Milton Cross 1:58 Venetian trireme, and Iago tells Cassio to go, avoiding The scene is set in the great hall of the castle. To the Othello. Act 1 33:34 Act 2 39:27 right is a colonnade, next to a smaller hall. There is a terrace in the background. 7 Left with Iago, Othello seeks to know how to kill 2 Una vela! 3:44 @ Non ti cruciar 2:49 Desdemona, now convinced of her guilt. Iago suggests (Chorus, Montano, Cassio, Iago, Roderigo) (Iago, Cassio) 2 A herald announces the arrival of ambassadors that he should suffocate her in the bed where she had from Venice. Othello signals to the herald to go and sinned, while he himself, now promoted captain, will 3 Esultate! 4:43 # Credo in un Dio crudel [Iago’s Credo] 5:10 turns to Iago, who promises to bring Cassio where see to Cassio. He leaves, while Othello goes to receive (Otello, Chorus, Iago, Roderigo) (Iago) Othello can watch his behaviour, reminding the latter of the ambassadors. He soon returns with the Venetian the handkerchief, as Desdemona appears. ambassador Lodovico and other dignitaries from 4 Fuoco di gioia! 2:20 $ Eccola 1:15 Venice. They are joined by Desdemona and Emilia, (Chorus) (Iago) 3 She greets her husband, but Othello hints darkly at ladies and gentlemen, soldiers, trumpeters and, finally, her perfidy. She wants to intercede for Cassio, but he Cassio. 5 Roderigo, beviam! 1:27 % Ciò m’accora 4:52 asks her for the handkerchief that he had given her, (Iago, Cassio, Chorus, Roderigo) (Iago, Otello) something enchanted, the loss of which would bring 8 There are cheers for the Lion of St Mark, and disaster. He insists that she fetch the handkerchief, Othello receives documents from Venice, which he 6 Inaffia l’ugola! 3:38 ^ Dove guardi splendono 3:58 while she still urges pardon for Cassio. He seizes hold reads. Lodovico cannot see Cassio, and Desdemona (Iago, Cassio, Roderigo, Chorus) (Chorus, Iago, Desdemona, Otello) of her and demands that she damn herself by swearing suggests that he may soon be in favour again. Othello fidelity. She pleads her innocence, asking what wrong tells her to be silent and eventually is only prevented 7 Capitano, v’attende 1:21 & D’un uom che geme 5:08 she has done. From extreme anger his mood changes to from striking her by the intervention of Lodovico, (Montano, Cassio, Iago, Roderigo, Chorus) (Desdemona, Otello, Iago, Emilia) one of ironic calm, as he seeks her hand, the hand of a appalled at what he has seen.