VERDI Otello

Home , Elisabeth Rethberg, Emilia (Othello), Ettore Panizza, George Cehanovsky, Giovanni Martinelli, Lawrence Tibbett

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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

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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

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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. Cassio is summoned, courtesan that married Othello. He pushes her out of the while Lodovico questions Iago about Othello, who is as 8 Olà! Che avvien? 3:47 * Desdemona rea! 1:41 hall. he is, Iago tells him. The despatches recall Othello to (Otello, Iago, Cassio, Montano) (Otello, Iago) Venice, appointing Cassio in his place. Othello has 4 In despair he calls on God, who could have throughout spoken harshly to Desdemona, and 9 Già nella notte 2:10 ( Ora e per sempre addio 3:46 tormented him in any way but this; let her confess her Lodovico vainly asks him to comfort her. He, however, (Otello, Desdemona) (Otello, Iago) crime, then die. Iago enters, telling him Cassio is at seizes hold of her, and she falls. Iago picks up the hand and bidding him hide and watch. despatch that Othello has dropped and reads it, while 0 Quando narravi 3:23 ) Era la notte 4:36 Lodovico and Emilia help Desdemona up. (Desdemona, Otello) (Iago, Otello) 5 Iago leads Cassio into the seemingly empty hall, the latter expecting to find Desdemona. He tells him to talk 9 Desdemona expresses her grief and anguish, while ! Venga la morte! 7:01 ¡ Sì, pel ciel 6:11 of his love, Bianca, while Othello half overhears and Emilia, Cassio, Roderigo, and Lodovico express their (Otello, Desdemona) (Otello, Iago) misunderstands what is being said. Cassio tells of a own thoughts. Iago tells Othello that his revenge must strange gift, an embroidered handkerchief, the giver come soon, again assuring him that he will deal with unknown. Cassio shows it to Iago, who makes sure that Cassio. To Roderigo he suggests that any accident to Othello sees it. Cassio will mean that Othello and Desdemona will stay in Cyprus. Those present have expressed their pity for 6 Iago says that the handkerchief is a spider’s web Desdemona and their shock at Othello’s behaviour. 8.111018-19 10 3 8.111018-19 111018-19 bk Otello EU 15/07/2005 11:55am Page 4

CD 2 75:00 advises him to persuade Desdemona to intercede for * Distraught, Othello is now convinced of him; he will find her walking the garden in the Desdemona’s infidelity, while Iago resolves to hide the Act 3 41:23 Act 4 33:36 afternoon. As Cassio goes, Iago exults. handkerchief in Cassio’s lodgings, watching with approval Othello’s growing jealousy and anger. Othello 1 Introduction 1:18 0 Era più calmo? 4:11 # In his famous Credo Iago expounds his cynical blames Iago for revealing to him what he now thinks to (Orchestra) (Emilia, Desdemona) philosophy of life, evil his only aim, and life empty, be the truth. leading to Death, then Nothing, and Heaven a foolish 2 La vedetta del porto 1:21 ! Mia madre aveva una povera ancella 8:30 tale. ( He bids farewell now and for ever to his love and (Herald, Otello, Iago) [Willow Song] his victories, his glory ended. Turning to Iago, he orders (Desdemona, Emilia) $ Desdemona is seen walking in the garden with him to find proof of Desdemona’s guilt, seizing him and 3 Dio ti giocondi, o sposo 10:14 Iago’s wife Emilia, her confidante. Iago urges Cassio, throwing him to the ground. Iago, picking himself up, (Desdemona, Otello) @ Ave Maria 8:17 standing by the balcony adjoining the room, to approach declares that it is no use being honest, while Othello (Desdemona) her. He does so and then plans to bring Othello to see doubts. 4 Dio! Mi potevi scagliar 4:48 them together. At this moment Othello appears. (Otello, Iago) # Chi è là? 3:27 ) Iago tells Othello of Cassio talking of Desdemona (Desdemona, Otello) % Iago pretends not to see him, and remarks, as if to in his sleep, confessing their love. Othello is horrified, 5 Vieni, l’aula è deserta 3:50 himself, that he does not like what he sees. Othello but Iago now brings forward the matter of the (Iago, Cassio, Otello) $ Calma come la tomba 3:32 questions him, but Iago denies anything untoward, handkerchief, Desdemona’s, that he had seen Cassio (Otello, Emilia, Desdemona, Cassio, Iago, going on to insinuate that Cassio has known holding. 6 Questa è una ragna 1:48 Lodovico, Montano) Desdemona before her marriage. He continues to stir up (Iago, Cassio, Otello) Othello’s jealousy, something against which he finally ¡ Othello, in fury, swears revenge, while Iago pledges % Niun mi tema 5:40 warns him, once the mischief has been done. He goes on his faith to him. Together they swear to join in 7 Come la ucciderò? 1:13 (Otello, Cassio, Lodovico, Montano) to a clearer insinuation of Desdemona’s guilt, while vengeance. (Otello, Iago, Chorus) distant voices are heard. He tells Othello to watch.

8 Evviva il Leon di San Marco! 6:03 ^ Desdemona is seen again in the garden, now (Lodovico, Otello, Desdemona, Emilia, Iago, surrounded by women and children, and by sailors, Roderigo, Chorus) bringing her gifts and praising her. The scene is one of happiness. Iago, in an aside, threatens to break the 9 A terra!…sì…nel livido fango 10:48 harmony, while Othello is enchanted. (Desdemona, Emilia, Cassio, Roderigo, Lodovico, Chorus, Iago, Otello) & Desdemona approaches, innocently urging Othello to pardon Cassio. He persistently refuses, and when his head seems to throb she tries to soothe his brow with her handkerchief, which Othello brushes aside, letting it fall to the ground. She pleads with him to know how she has offended him, while Iago forces Emilia to give him the handkerchief. Emilia suspects some evil afoot, but is told by her husband to say nothing. Desdemona and Emilia go, but Iago, seeming about to leave, lingers behind with Othello. 8.111018-19 4 9 8.111018-19 111018-19 bk Otello EU 15/07/2005 11:55am Page 8

Synopsis seeks Desdemona for himself. Giuseppe Verdi (1813-1901) CD 1 6 More wine is brought, and people gather round, as Otello Iago forces Cassio to drink more and more. His next Act I step is to suggest that Roderigo pick a quarrel with The broadcast of Verdi’s Otello on 12th February, consummate singing actor (he once appeared in King The scene is set in Cyprus at the end of the fifteenth Cassio, who is now drunk. 1938, documents the interwar Metropolitan Opera at its Lear on Broadway). His later career was clouded by century. A castle is seen, with sea-walls and the sea in peak. alcoholism. Here, in 1938, his swarthy baritone is the background, and an inn, with a pergola. There is a 7 They are interrupted by the arrival of Montano, who Giovanni Martinelli (1885-1969) began his Met prodigious in scale and yet remarkably pliable, as storm, with thunder and lightning. comes to summon Cassio to his duty on watch. Iago career under Arturo Toscanini in 1913. Over 32 impressive for its insinuating mezza voce phrases as for takes the opportunity to tell Montano that Cassio drinks seasons, he graduated from Rodolfo and Faust to the drinking-song. 2 People watching for the arrival of the General from in this way every night, behaviour that Montano heavier rôles. In 1936, at the age of 51, he tackled The German soprano Elisabeth Rethberg (1894- Venice greet the appearance of a sail, and Montano, promises to report to Othello. Cassio, drunkenly, makes Otello, which he had studied or discussed with the 1976), a Met mainstay beginning in 1922 in both Othello’s predecessor as Governor of Cyprus, sees the to go, but is provoked into attacking Roderigo, and librettist, Arrigo Boito, with Victor Maurel, who created German and Italian rôles, was greatly admired for her standard of Venice, the Lion of St Mark. Cassio, a draws his sword on Montano who intervenes and calls Iago, and with Toscanini, who played in the première purity of legato and tone. Her Desdemona, if cooler than captain in the Venetian forces, sees the boat struggling him a drunkard. Iago tells Roderigo to run and raise the under Verdi’s supervision. More than capping her partners’ performances, is both opulent and strong. with the waves, and the people pray for the ship’s alarm. Martinelli’s career, Otello became his signature legacy. No studio recordings of these three famous Verdians safety. Iago and Roderigo, however, reveal their The 1938 broadcast documents a complete portrayal, as convey the high voltage of this live stage performance, thoughts, hoping for disaster. The ship comes safely to 8 The affray is ended by Othello, who tells the two to lover, as madman, as penitent murderer, each not least because (the broadcast’s least anticipated port. drop their swords. Iago can offer no explanation. They component of which authenticates the impact of the revelation) of the incandescence of the Met orchestra are joined by Desdemona. Montano is wounded, and others. So realistic is Martinelli’s choked and and its conductor. 3 Othello enters, mounting the steps from the shore to Cassio deprived of his command. Othello tells Iago to debilitated projection of grief at the opera’s close that By the time James Levine took over in the 1970s, it the ramparts, followed by his soldiers and sailors. He go through the town quietening the people, while others his ability actually to sing “Desdemona!” is nothing was a pardonable assumption that singers at the Met had tells the people to rejoice, entering the castle, followed help Montano. short of miraculous. always suffered indifferent, dull, or inept support, but by Cassio, Montano, and the soldiers. As the storm One priority of Edward Johnson’s regime as the Anton Seidl, Gustav Mahler, and Toscanini, an fades, Iago advises Roderigo to bide his time, as 9 Alone with Desdemona Othello is calm again, Met’s general manager (1935-50), amid much penny- astonishing phalanx of chief conductors at the Met Desdemona will soon tire of her Moorish husband. comforted by his great love. pinching and belt-tightening, was Americanizing the before World War I, could not have tolerated the sorry Meanwhile the ship is being unloaded, and people vocal roster. Events conspired to make this not only playing I remember hearing in the 1960s and 1970s. gather wood for a bonfire in celebration. Iago expresses 0 She recalls the stories he used to tell her of his possible, but necessary. Lower fees cost him some of The orchestra Arthur Bodanzky is heard conducting in his hatred of the Moor and his ill-feeling towards exploits in war, and their love. his high-priced foreign talent, most notably Beniamino German opera in the broadcasts of the 1930s lacks the Cassio, promoted above him. As the bonfire starts to Gigli. World War II curtailed transatlantic glow of a great Wagner band, but the playing is burn, Iago and Roderigo move away, their words lost. ! The sky is now calm, and Othello calls on death to transportation, and the Met’s Depression deficits wonderfully firm and fiery. In Verdi, the same group is come, sealing the ecstasy of their embrace. They kiss as pressured the house to be less aloof, elitist, and tied to an Italian powderkeg. And why not? The membership 4 Soldiers gather round the tables of the inn, and the the Pleiades sink into the sea, and move together Europe. Never before had the Met seen so much native was overwhelmingly Italian, including a few, such as people celebrate, drinking and talking. towards the castle. talent. the principal oboist Giacomo Del Campo, who had Lawrence Tibbett (1896-1960), Martinelli’s usual played under Toscanini in the Met pit. With Toscanini’s 5 By one of the tables stand Iago, Roderigo, and Act II Met partner as Iago, was a sheriff’s son from departure, the Met’s Italian wing was entrusted to Cassio, with some soldiers. Iago presses his two The scene changes to a large room in the castle, divided Bakersfield, California, who discovered music in the superior leaders: first Tullio Serafin, then Ettore companions to drink. Cassio demurs, but then from the gardens by glazed arches and a terrace. local Methodist church. Tibbett is the first and most Panizza. The latter (today not even a name), was born reluctantly drinks, as Iago urges, to the health of complete in a line of distinguished American Verdi in Buenos Aires and trained in Milan. From 1921 to Desdemona. As he praises her, Iago, aside, tells @ Iago is pretending to comfort the disgraced Cassio, baritones. Unlike Leonard Warren, Robert Merrill, 1931 he conducted at La Scala, where Toscanini Roderigo to beware of him, a dangerous rival, if he who will soon find solace with his mistress, Bianca. He Sherrill Milnes, or Cornell MacNeill, he was a esteemed him, as did Richard Strauss, who arranged for 8.111018-19 8 5 8.111018-19 111018-19 bk Otello EU 15/07/2005 11:55am Page 6

him to conduct Elektra in Vienna. His Met years were suddenly to the end of a scorching musical sentence; Verdi’s Otello the play, set in Venice, with something of the necessary 1934 to 1943. Given his extensive European career, like Toscanini’s, his musicians are lightning information about Othello’s wooing of Desdemona which also included Covent Garden, it bears emphasis respondents. And Panizza is a master of controlling the It was not until 1886 that Giuseppe Verdi, now 73 years given in a duet after Cassio’s dismissal from his that he considered the Met’s “as fine a theater orchestra show while show-casing his cast; calibrating old, completed his version of Shakespeare’s drama captaincy. The decision to start the opera with Act II of as I have seen in the world”. He was greeted by Martinelli’s titanic climaxes and magisterial breadth of Othello, a play that, as Bernard Shaw was to point out, the play, as Othello’s arrival in Cyprus is awaited, Martinelli as an old friend and colleague. phrase, he achieves a unity. Encountering this memento had all the ingredients of an Italian opera. In 1871 Aida makes a highly dramatic opening. Operatic convention In the Met’s 1938 Otello, it is Panizza who of times past is a humbling experience. had had its first performance at the opera house in of the time is settled with the final concertato ensemble stylistically binds the polyglot cast. Compared to Cairo, and three years later Verdi had conducted the of Act III, followed by Othello’s fainting fit, from the Toscanini, he favours a broader play of tempo, but the Adapted from Classical Music in America: first performance of his Requiem, written to mark the first scene of Act IV. Various other abridgements and velocity and precision, the taut filaments of tone, the A History of Its Rise and Fall death of Manzoni. Some care, however, needed to be adjustments were made by Boito, in consultation with keen timbres, the clipped, attenuated phrasings are all by Joseph Horowitz exercised to induce him to tackle a new opera. The idea Verdi, and careful attention was given to the varied Toscanini trademarks. Like Toscanini, Panizza will bolt (Norton, 2005) of such a work came from the young Giulio Ricordi, Italian versification. By the start of November 1886 the who had taken over much of the business of the whole work was finished. publishing house founded by his grandfather. The Shakespeare’s play was based on the story of matter was discussed with the composer and librettist Othello as recounted in the Hecatommithi of Giraldi Arrigo Boito, and Verdi was gradually tempted with Cinthio, published in Venice in 1566, with a French Boito’s version of Shakespeare’s play, a work that translation published in Paris in 1584. No English would challenge and defeat Rossini’s version of the source is known. In Cinthio, as in the opera, Iago is evil, drama, with its difficulties of casting and cavalier no mere jealous, disgruntled soldier, and it is of interest treatment of the original work by Rossini’s librettist. that it was at one time suggested that the opera should Verdi had great respect for Shakespeare. In 1847 he bear the name of its villain. Verdi, however, insisted on had, with the librettist Francesco Maria Piave, created the title Otello. Presumably Boito would have had no his opera Macbeth. For his last opera, Falstaff, he was need to consult Cinthio, whose narrative goes on to to return, with Boito, to Shakespeare. diverge very considerably from the rather short version In adapting spoken drama to the needs of opera of the plot sanctified by Shakespeare. certain changes are inevitable. Boito cut the first act of

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Ward Marston

8.111018-19 12 CMYK N 8.111018-19 Giuseppe ADD AXOS Historical 2 CDs VERDI Playing DISC PROHIBITED. BROADCASTING AND COPYING OF THIS COMPACT TRANSLATIONS RESERVED. UNAUTHORISED PUBLIC PERFORMANCE, RIGHTS IN THIS SOUND RECORDING, ARTWORK, TEXTS AND ALL (1813-1901) Time &

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8.111018-19 Otello 2005 Naxos Rights International Ltd.

With incandescent performances Otello ...... Giovanni Martinelli from the principal singers, orchestra Desdemona ...... Elizabeth Rethberg and conductor, this February 1938 live broadcast of Verdi’s Iago ...... Lawrence Tibbett Otello documents the interwar Metropolitan Opera at its peak. Cassio ...... Nicholas Massue Giovanni Martinelli, for whom Emilia ...... Thelma Votipka Otello became his signature legacy, portrays his rôle of lover, madman Roderigo ...... Giovanni Paltrinieri and penitent murderer so completely that each component authenticates VERDI:

Otello Lodovico ...... Nicola Moscona the impact of the others. Lawrence Tibbett, the first and most complete Montano ...... George Cehanovsky in a line of distinguished American Chorus and Orchestra of the Metropolitan Opera, New York Verdi baritones, is as impressive for his insinuating mezza voce phrases as Conducted by Ettore Panizza for the drinking-song. The German Otello VERDI: soprano Elisabeth Rethberg, a Met Metropolitan Opera broadcast mainstay in both German and 12th February 1938 Italian rôles, was greatly admired for her purity of legato and tone. CD 1 75:00 CD 2 75:00 1 Opening announcement by Milton Cross 1:58 1-9 Act III 41:23 2-! Act I 33:34 0-% Act IV 33:36 MADE IN @-¡ Act II 39:27 THE EU

Archivist & Restoration Producer: Ward Marston 8.111018-19 Special thanks to Michael Gray, Lawrence F. Holdridge and Peter Munves www.naxos.com A detailed track list can be found in the booklet

AXOS Historical Cover Image: Stage design by Carlo Ferrario for Act IV of the 1887

N La Scala, Milan world première performance of Otello (Private Collection)