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replaces Ferrando’s miniature that she wears with a CD 3 locket of his own. As Guglielmo and Dorabella walk away, arm in arm, the other couple returns, Ferrando Scene 4 still pleading with Fiordiligi, and threatening suicide. % MOZART As he leaves, she expresses her changing feelings, ^ 1 The scene is now a richly decorated room. There begging pardon of the absent Guglielmo. & She walks is an orchestra in attendance. There is a table set for away, and Ferrando and Guglielmo re-appear. The four, with silver candlesticks, and four servants, richly Così fan tutte former delights Guglielmo with news of Fiordiligi’s dressed. Despina is giving orders for the candles to be apparent constancy, but is dismayed at what he learns of lit, while Don Alfonso expresses his delight. 2 The his Dorabella, who has evidently given away his chorus welcomes the couples, accompanied by the SCHW portrait, which Guglielmo now shows him. * orchestra, as they come in and take their places at the TH AR Guglielmo now expresses his doubts, ( while table 3 and start to eat. 4 Don Alfonso ushers in the BE Z A K Ferrando, returning, sings of his disillusionment, ) lawyer, Despina in disguise, with the marriage contracts S O I P betrayed, scorned. ¡ Don Alfonso applauds his misery which she intones through her nose. 5 At this moment L F and tells the relatively complacent Guglielmo to wait a the soldiers’ chorus of the first act is heard off-stage and E little longer. Don Alfonso announces the imminent return of the lovers from the war. The “Albanians” are hustled out, Scene 3 with Despina, 6 and the two men quickly return as themselves, 7 while Despina comes in again, without ™ The next scene is set in a room with a number of her lawyer’s hat, explaining that her costume was doors, a looking-glass and a little table. Despina tells intended for a masked ball. Don Alfonso allows the Dorabella that she has acted sensibly, when Fiordiligi marriage contracts that the girls, but not the men, had bursts in and announces that she loves her new wooer, signed, to fall to the floor. 8 Ferrando and Guglielmo but will still resist the temptation. £ Dorabella tells of pretend to find the papers and reproach their faithless the power of love, ¢ but Fiordiligi still will not give partners. 9 Don Alfonso then reveals the plot, as way, and tells Despina to bring down the young men’s Ferrando and Guglielmo retire for a moment and return uniforms and swords from upstairs, where they are wearing something of their old disguise. The girls stored, and to order horses so that she and her sister may realise at last what has happened and seek forgiveness, 195 ing join their old lovers at war. Guglielmo, overhearing all which is readily granted, 0 and all ends happily. 4 Record this, is full of admiration. ∞ She tells of her hope to join Guglielmo, but is interrupted by Ferrando, who Keith Anderson threatens to die of love, if she deserts him. § She gives in, and the two go out together, while Don Alfonso Elisabeth Schwarzkopf • Nan Merriman • Lisa Otto restrains Guglielmo with difficulty. ¶ When Ferrando retums, Don Alfonso suggests that the best thing to do is Léopold Simoneau • Rolando Panerai • Sesto Bruscantini to marry the girls that very evening. Women are fickle but they cannot he1p it; in fact Così fan tutte, they are all alike, a verdict heartily endorsed by the two young heroes. • Despina re-appears to say that the girls have agreed to the marriage.

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voyage, and with Don Alfonso speeding them on their CD 2 way. * Left alone, Don Alfonso can vent his cynicism. Scene 4 Scene 3 Great Recordings 1 The scene changes to the garden, where ( The scene changes to a room in the house. Fiordiligi and Dorabella still lament the departure of Wolfgang Amadeus Despina is preparing chocolate and complaining about their lovers. 2 Ferrando and Guglielmo come in, the drudgery of her life, lightened by an illicit sip of the apparently resolved to poison themselves for love; they MOZART drink she is making. Fiordiligli and Dorabella enter in drink and fall down prostrate on the grass. Despina is (1756-1791) evident despair, expressed in a dramatic accompanied summoned to he1p, recommends a doctor, 3 and re- recitative. ) Dorabella, in an aria, longs histrionically appears shortly afterwards so disguised, offering the for death. ¡ Despina, when the matter is explained to latest remedy with a large magnet to draw out the Così fan tutte her, offers her own common sense answer, ™ that there poison, a reference to the Mozarts’ friend Anton ossia are other men, echoing Don Alfonso’s view of women. Mesmer and his theories of animal magnetism. 4 The £ They go out, and Don Alfonso comes in, declaring two men are revived 5 and beg a kiss, but are again La scuola degli amanti his intention of bribing Despina to further the plot he rejected. Nevertheless the plotters see success in sight. has devised. ¢ Her agreement assured, he ushers in Opera in two acts Ferrando and Guglielmo, disguised as Albanians. Act II Libretto: Lorenzo da Ponte Despina does not recognise them but finds their foreign appearance grotesque, as Don Alfonso presents them to Scene 1 Fiordiligi ...... Elisabeth Schwarzkopf (soprano) the fair little Despina. ∞ He stands aside, as Fiordiligi Dorabella ...... Nan Merriman (mezzo-soprano) and Dorabella enter and tell Despina to dismiss the 6 The second act opens in a room in the house, Despina ...... Lisa Otto (soprano) unwanted visitors, who now protest their love. Don where Despina reasons with her two mistresses 7 and Ferrando ...... Léopold Simoneau (tenor) Alfonso and Despina are sure that the girls will give in, expresses her philosophy, explaining that any girl of Guglielmo ...... Rolando Panerai () while the young men are equally certain of their fifteen ought to know how to handle men. 8 Little by Don Alfonso...... Sesto Bruscantini (baritone) constancy, and now Don Alfonso comes forward, as if little the two girls decide that there is no harm in an newly arrived, and greets the two disguised lovers as innocent flirtation 9 and in a duet declare their Philharmonia Chorus and Orchestra old friends. § As they urge their love, Fiordiligi preference, Dorabella claiming the dark one and Herbert von Karajan dramatically proclaims her steadfastness, as firm as a Fiordiligi the fair-haired one. rock in her loyalty. ¶ The girls try to leave but the Recorded 13th July, 1954 in Kingsway Hall, ; lovers, supported by Don Alfonso, beg them to stay, • Scene 2 14th–16th and 19th–21st July and 6th November, 1954 in EMI Abbey Road Studio No. 1, London; and Guglielmo, whose attentions are directed to 0 Don Alfonso calls them into the garden. ! By and 14th, 17th and 19th July, 1954 in EMI Abbey Road Studio No. 3, London Dorabella, protests his love in an aria, going on to the landing-stage there is a boat decked with flowers First issued as Columbia 33CX 1262 through 1264 advertise his own good points. ª The girls withdraw and the two lovers have arranged a serenade, played by and Don Alfonso asks the young men what they are a wind band, while Ferrando and Guglielmo ask the Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn laughing at, as the comedy is not yet over. º They friendly breezes to convey their message of love. @ Special thanks to Maynard F. Bertolet for providing source material remain certain that they have won their bet. ⁄ Ferrando, Don Alfonso urges the reluctant young men on, taking now confident, sings of his love for Dorabella. ¤ Now Dorabella’s hand as Despina takes Fiordiligi’s, leading Despina takes a hand in the plot, and assures Don them forward. # The lovers are now left alone. $ Alfonso that she can bring about the desired result. Fiordiligi and Ferrando walk off together, and Guglielino protests further his love for Dorabella. He 8.111232-34 211 8.111232-34 111232-34 bk Cosi EU 19/5/06 12:51 Page 10

his London début in 1960. With his vibrant voice and Mozart at the Glyndebourne Festival during the 1950s CD 1 63:35 @ O cielo, questo è il tamburo funesto 0:22 positive stage personality he was one of the most that endeared him to British audiences with his wit, (Ferrando, Don Alfonso, Fiordiligi, Dorabella) popular Italian of the 1950s and 1960s and humour and highly engaging stage presence. He sang 1 Overture 4:12 continued to appear regularly until the age of seventy. Malatesta in at the 1953 Salzburg (Orchestra) # Bella vita militar! 1:50 The Italian baritone Sesto Bruscantini was born in Festival. By the time of his American début in 1961 at (Chorus) Porto Civitanova in December 1919. Originally he the Lyric Opera in Chicago he had moved towards studied law but changed to singing, working with Luigi singing more Verdi dramatic parts such as Germont, Act I 59:23 $ Non v’è più tempo, amici 0:25 Ricci in . He made his début in 1946 in his native Renato, Ford and Iago. He then appeared as Taddeo in (Don Alfonso, Fiordiligi, Dorabella, Ferrando, town singing Colline in Puccini’s La Bohème. His Rossini’s L’Italiana in Algeri at the Metropolitan in Scene 1 Guglielmo) career progressed rapidly after become a prize-winner New York in 1983. Bruscantini had a repertory of over 2 La mia Dorabella capace non è 1:48 in a competition organised by Italian Radio in 1947. He 130 rôles to which he applied his fine sense of theatre (Ferrando, Guglielmo, Don Alfonso) % Muoio d’affanno! 2:43 first sang at , , in 1949, the rôle being and excellent diction. He died in Rome in May 2003. (Fiordiligi, Dorabella, Guglielmo, Ferrando, Don Geronimo in Cimarosa’s . It 3 Cessate di scherzar 0:50 Don Alfonso) was regular appearances in by Rossini and Malcolm Walker (Ferrando, Don Alfonso, Guglielmo) ^ Oh Dei, come veloce se ne va quella barca! 0:37 4 È la fede delle femmine 1:18 (Fiordiligi, Dorabella, Don Alfonso) (Don Alfonso, Ferrando, Guglielmo) Synopsis Scene 2 & Soave sia il vento 3:20 5 Scioccherie di poeti! 0:51 (Fiordiligi, Dorabella, Don Alfonso) CD 1 7 The second scene is set in the garden of the two (Don Alfonso, Guglielmo, Ferrando) sisters, leading down with a view of the Bay of Naples * Quante smorfie … quante buffonerie! 0:53 Act 1 in the distance. The girls sing to the gentle murmur of 6 Una bella serenata 2:23 (Don Alfonso) the music, gazing at the miniatures they hold in their (Ferrando, Guglielmo, Don Alfonso) Scene 1 hands. 8 In livelier music they swear to be true, and Scene 3 then seem ironically ready for some frivolity. 9 Don Scene 2 ( Che vita maledetta 0:53 After the Overture 1 the first act opens in a coffee- Alfonso comes in, apparently with bad news, bidding 7 Ah guarda, sorella 4:43 (Despina, Fiordiligi, Dorabella) house in Naples, 2 where Ferrando and Guglielmo are them prepare themselves: 0 the young men have been (Fiordiligi, Dorabella) in dispute with Don Alfonso. Ferrando claims that his called to the war. ! A quintet follows, as Ferrando and ) Ah, scostati! … 3:44 Dorabella would never be untrue, a protest in which Guglielmo come in, in evident despair, while the girls 8 Mi par, che stamattina 0:31 Smanie implacabili che m’agitate Guglielmo joins in defence of the honour of his declare that death is preferable to parting. The young (Fiordiligi, Dorabella, Don Alfonso) (Dorabella) Fiordiligi, while Don Alfonso maintains the contrary, men, in a brief aside to Don Alfonso, think they are which his experience of life has taught him. 3 They winning the bet, but he remains confident. The quintet 9 Barbaro fato! Vorrei dir, e cor non ho 0:44 ¡ Signora Dorabella, Signora Fiordiligi 1:06 nearly come to blows but Don Alfonso calms the two ends with a declaration of the bitterness of parting, and (Don Alfonso) (Despina, Fiordiligi, Dorabella) young men, 4 and goes on to proclaim his own view, after a brief declaration of love, there follows a short that the fidelity of women is as rare as the phoenix. The duet for the two lovers, claiming that love will he1p 0 Stelle! Per carità, Signor Alfonso 0:42 ™ In uomini, in soldati sperare fedeltà? 2:18 argument continues, 5 until Don Alfonso suggests a them. @ A drum is heard and the approaching march of (Fiordiligi, Don Alfonso, Dorabella) (Despina) wager to test the constancy of the two sisters. 6 In the soldiers, # praising the glory of battle. $ A boat sails following Terzetto Ferrando promises to pay for a fine to the landing-stage and to the tears of the sisters, the ! Sento, o Dio, che questo piede 4:38 £ Despinetta! … Che batte? 0:49 serenade, from his winnings, while Guglielmo will give two young men embark. % Write to me every day, sings (Guglielmo, Ferrando, Don Alfonso, Fiordiligi, (Don Alfonso, Despina) a banquet. Fiordiligi, and twice a day to me, echoes Dorabella. ^ Dorabella) The sisters wave goodbye, & wishing their lovers a safe 8.111232-34 10 3 8.111232-34 111232-34 bk Cosi EU 19/5/06 12:51 Page 4

¢ Alla bella Despinetta 4:38 3 Eccovi il medico, Signore belle 3:08 mostly in English. Alongside these appearances, near Québec in May 1916. He studied with Emile (Don Alfonso, Ferrando, Guglielmo, Despina, (Don Alfonso, Ferrando, Guglielmo, Despina, Schwarzkopf sang at the (1946- Larroche in his native city (1939-41) and then Salvatore Fiordiligi, Dorabella) Fiordiligi, Dorabella) 1964), La Scala, Milan (1948-1963), San Francisco Issaurel in Montréal (1941-44). His début was as Hadji (1955-1964) and, finally, the Metropolitan in New in Lakmé at the Variétés Lyriques, Montréal, in 1941. ∞ Oh ciel! Mirate 3:49 4 Dove son? Che loco è questo? 3:25 York in 1964. She was greatly admired in the rôles of He won the Prix Archambault in 1944 and then moved (Dorabella, Don Alfonso, Fiordiligi, Ferrando, (Ferrando, Guglielmo, Despina, Don Alfonso, the Marschallin, Fiordiligi, the Countess in Le nozze di to New York to work with Paul Althouse between 1945 Guglielmo, Despina) Fiordiligi, Dorabella) Figaro and Donna Elvira. She also had a distinguished and 1947. His European début was at the Opéra- parallel career as a Lieder singer in the concert hall. She Comique in Mireille in 1949. This was followed by § Come scoglio immoto resta 4:37 5 Dammi un bacio, o mio tesoro 3:46 was the wife of the impresario and recording producer appearances at the Aix-en-Provence Festival the (Fiordiligi) (Ferrando, Guglielmo, Fiordiligi, Dorabella, , whom she married in 1953. following year and the Glyndebourne Festival in 1951 Despina, Don Alfonso) The American mezzo-soprano Nan (named as as Idamante in Idomeneo. He then sang Tom Rakewell ¶ Ah, non partite! 0:28 Katherine-Ann) Merriman was born in Pittsburgh, in the French première of Stravinsky’s The Rake’s (Ferrando, Guglielmo, Don Alfonso, Dorabella) Act II 55:25 Pennsylvania in April 1920. She studied in Los Angeles Progress. His Italian début was at La Scala in Milan with Alexia Bassian, later with before with his first London appearance with the visiting • Non siate ritrosi 1:29 Scene 1 making her début as La Cieca in Ponchielli’s La to Covent Garden in 1954. After (Guglielmo) 6 Andate là, che siete due bizarre ragazze 0:15 Gioconda with Cincinatti Summer Opera in 1942. The singing Don Ottavio for his début (Despina, Fiordiligi) following year she first appeared with the conductor in New York in 1963, Simoneau retired from the stage ª E voi ridete? 1:00 Toscanini in concert, later taking part in broadcast the following year. His final concert performances were (Don Alfonso, Ferrando, Guglielmo) 7 Una donna a quindici anni 3:10 performances of , , and Gluck’s in 1970. He later taught in Montréal, San Francisco and (Despina) . Her European début was as Banff before settling in Victoria, British Columbia, º E avete ancora coraggio di fiatar? 0:24 Dorabella at the 1953 Aix-en-Provence Festival, the where he founded Canada Opera Piccola in 1986. He (Guglielmo, Don Alfonso, Guglielmo, Ferrando) 8 Sorella, cosa dici? 0:57 year in which she appeared at the Edinburgh Festival as was a most elegant and stylish singer who was (Fiordiligi, Dorabella) Baba the Turk in the British première of Stravinsky’s considered the finest Mozart tenor of his day. He ⁄ Un’aura amorosa del nostro tesoro 4:35 The Rake’s Progress. She also sang her Dorabella with married the soprano Pierrette Alarie. (Ferrando) 9 Prenderò quel brunettino 3:09 Schwarzkopf at the Piccola Scala under Cantelli in The Italian baritone Rolando Panerai was born in (Dorabella, Fiordiligi) January 1956. She appeared in Brussels, , Campi Bisenzio in October 1924. He studied in ¤ E come credi che l’affar finirà? 0:55 the Vienna State Opera, the Paris Opéra and San Florence and later Milan before winning first prize in a (Don Alfonso, Despina) Scene 2 Francisco. She retired in 1965. vocal competition in Spoleto in 1947. His début had 0 Secondate, aurette amiche 3:07 The soprano Lisa Otto was born in Dresden in taken place the previous year as Enrico in Lucia di (Ferrando, Guglielmo, Chorus) 1919. Educated at that city’s Hochschule für Musik, she Lammermoor in Florence. This was followed by CD 2 74:05 made her operatic début as Sophie in 1941 at the Faraone in Rossini’s Mosè in Naples. His first ! Cos’è tal mascherata? 0:35 Landestheater in Beuthen. During the years 1945-1946 appearance at La Scala, Milan, was in 1952 as the High Act I (continued) 18:40 (Fiordiligi, Dorabella, Despina, Ferrando, she sang with the Opera but returned to her Priest in Samson et Dalila and he later sang at the Aix- Guglielmo, Don Alfonso) native city from 1946 to 1951 where she was a member en-Provence Festival (1953) and in Barcelona and Scene 4 of the Dresden State Opera. In 1952 she joined the Lisbon. Panerai appeared in the first stage performance 1 Ah, che tutto in un momento 3:11 @ La mano a me date 2:36 Städtische Oper. From 1953 she also sang in of Prokofiev’s The Fiery Angel in Venice in 1955. He (Fiordiligi, Dorabella) (Don Alfonso, Ferrando, Guglielmo, Despina) Salzburg, and made tours of the , South later created the title rôle in the Italian première of America, and Japan. She was made a Kammersängerin Hindemith’s Mathis der Maler in 1957. His Salzburg 2 Si mora, sì, si mora 5:10 # Oh, che bella giornata! 1:38 in 1963. Lisa Otto became best known for her rôles in Festival début was as Ford in Falstaff in 1957 under (Ferrando, Guglielmo, Don Alfonso, Fiordiligi, (Fiordiligi, Ferrando, Dorabella, Guglielmo) Mozart’s operas. Karajan. Panerai made his first American appearance as Dorabella) The Canadian tenor Léopold Simoneau was born Rossini’s Figaro at San Francisco, a rôle he repeated for 8.111232-34 4 9 8.111232-34 111232-34 bk Cosi EU 19/5/06 12:51 Page 8

made in the summer of 1935 with members of the aria “Ah lo veggio quell’anima bella”) and their $ Il core vi dono 4:21 ¶ Tutti accusan le donne 1:01 Glyndebourne Festival production of that year. The preceding recitatives. Some other recitatives have also (Guglielmo, Dorabella) (Don Alfonso, Ferrando, Guglielmo) admirable performance conducted by Fritz Busch, is been shortened available on Naxos (8.110280-81). Two other attempts The Austrian-born conductor Herbert von % Ei parte … senti … ah no! 1:40 • Vittoria, padroncini! 0:26 in early 1952 failed to do justice to the score, so with the Karajan (1908-1989) studied first in Salzburg and then (Fiordiligi) (Despina, Ferrando, Guglielmo, Don Alfonso) impending two hundredth anniversary of Mozart’s in Vienna under Franz Schalk. He made his début in birth, the field was clear for a carefully prepared Italian- Ulm in 1929 and remained there for five years, moving ^ Per pietà, ben mio, perdona 7:33 sung version. to Aachen between 1935 and 1937. A much-praised (Fiordiligi) CD 3 63:07 The recording impresario and producer Walter Berlin début conducting Tristan und Isolde led to his Legge (1906-1979) put together such a recording to be international career. Banned from conducting in public & Amico, abbiamo vinto! 2:53 Act II (continued) 22:31 made in July 1954. It was recorded in three different from 1945 to 1947, he made his first London (Ferrando, Guglielmo) venues, the secco recitatives being undertaken in EMI’s appearance in 1948 and became a regular visitor for the Scene 4 small and intimate No. 3 Studio at Abbey Road. At the next decade with further appearances with the * Donne mie, la fate a tanti a tanti 3:01 1 Fate presto, o cari amici 1:45 time neither Schwarzkopf nor Rolando Panerai had yet Philharmonia Orchestra. Karajan was appointed (Guglielmo) (Despina, Chorus, Don Alfonso) sung their rôles on stage. The soprano many years later conductor of the Orchestra in 1955 recalled her unbounded admiration for the contribution and continued until his death. He also appeared during ( In qual fiero contrasto 1:37 2 Benedetti i doppi coniugi 5:17 of the Canadian tenor Léopold Simoneau. “It was the same period both in Vienna and at the Salzburg (Ferrando) (Chorus, Fiordiligi, Dorabella, Ferrando, incredible singing, of tonal beauty, of expression in Festival in July and August in addition to the Salzburg Guglielmo) everything, really of the utmost elegance and Easter Festival that he inaugurated in 1967. His prestige ) Tradito, schernito 2:03 knowledge” (Elisabeth Schwarzkopf: Her career on and influence were enormous and he became the most (Ferrando) 3 E nel tuo, nel mio bicchiero 2:02 record: Duckworth: 1995) significant conductor during the second half of the (Fiordiligi, Dorabella, Ferrando, Guglielmo) When the finished result was first released in twentieth century. In addition Karajan also conducted at ¡ Bravo, questa è costanza 1:21 Britain in September 1955, The Gramophone reviewer La Scala in Milan and made a number of visits to Japan. (Don Alfonso, Ferrando, Guglielmo) 4 Miei Signori, tutto è fatto 2:00 felt “the casting is ideal”. He also commented that He left a large number of filmed recordings of his (Don Alfonso, Fiordiligi, Dorabella, Ferrando, “Schwarzkopf is in splendid voice as the sentimental conducting. As an interpreter he is thought to have Scene 3 Guglielmo, Despina) Fiordiligi, Merriman equally good as the practical made more recordings than any other classical ™ Ora vedo che siete una donna di garbo 1:21 Dorabella, and Otto is a good Despina and very musician. (Despina, Dorabella, Fiordiligi) 5 Bella vita militar 1:53 amusing in her assumed voices”. On the male side The rôle of Fiordiligi is taken by the German (Chorus, Fiordiligi, Dorabella, Despina, Ferrando, Bruscantini’s Don Alfonso offered “a subtle and soprano Elisabeth Schwarzkopf (b. 1915). She studied £ È amore un ladroncello 3:08 Guglielmo, Don Alfonso) convincing characterisation, Simoneau surpasses at the Berlin Hochschule für Musik and later with the (Dorabella) himself in lovely tone and phrasing, and Panerai soprano Maria Ivogün, making her début as one of the 6 Sani e salvi agli amplessi amorosi 2:09 subdues his powerful voice to the needs of the Flowermaidens in Parsifal with the Städtische Oper, ¢ Come tutto congiura a sedurre il mio cor! 1:46 (Ferrando, Guglielmo, Don Alfonso, Fiordiligi, occasion”. The orchestral playing of the Philharmonia Berlin in 1938. Originally a lyrical soprano she (Fiordiligi, Guglielmo, Despina) Dorabella) Orchestra under Karajan was deemed to be “of the undertook rôles such as Adele in , finest quality” and the engineers “are to be Musetta in La Bohème and Zerbinetta in Ariadne auf ∞ Fra gli amplessi in pochi istanti 6:26 7 No Signor, non è un notaio 1:21 congratulated on the admirable balance” between Naxos when she joined the Vienna State Opera under (Fiordiligi, Ferrando) (Despina, Ferrando, Guglielmo, Fiordiligi, voices and orchestra. Fifty years later this recording Karl Böhm in 1943. Her first overseas appearance was Dorabella, Don Alfonso) continues to exemplify all the best qualities of Mozart with this company on their visit to London in 1947 § Ah, poveretto me 1:23 singing at that time. Incidentally, the recording omits when she sang Donna Elvira and Marzelline in . (Gugliemo, Don Alfonso, Ferrando) 8 Ah, Signor, son rea di morte 1:21 No. 7 (the Duettino “Al fato dan legge quegli occhi” She then joined the fledgling Covent Garden Company, (Fiordiligi, Dorabella, Ferrando, Guglielmo, with Ferrando and Guglielmo) and No. 24 (Ferrando’s where for five seasons she sang a variety of rôles, Don Alfonso) 8.111232-34 8 5 8.111232-34 111232-34 bk Cosi EU 19/5/06 12:51 Page 6

9 A voi s’inchina bella damina 3:05 % Dove sono i bei momenti (Act 3) 4:56 (1756-1791) (Ferrando, Guglielmo, Fiordiligi, Dorabella, (The Countess) Così fan tutte Despina, Don Alfonso) Recorded 9th September, 1952 Così fan tutte was the last of the three operas on which also living in Naples, and Despina, their chambermaid. 0 Fortunato l’uom che prende 1:38 ^ Giunse alfin il momento … 5:17 Mozart collaborated with the librettist Lorenzo da Ponte On the male side are Gugliemo, an officer, in love with (All) Deh, vieni, non tardar (Act 4) (1749-1838). Very little is known regarding Fiordiligi, Ferrando, also an officer, in love with (Susanna) of the work other than that its commission is thought to Dorabella, and Don Alfonso, an old philosopher, Appendix: Recorded 2nd July, 1952 have occurred following a successful revival of twelve together with the chorus who portray soldiers, servants, Elisabeth Schwarzkopf performances of Le nozze di Figaro between August sailors, townspeople and wedding guests. It is the : and September 1789. The composer and librettist cynical Don Alfonso who challenges the male lovers, sings Mozart Opera Arias & Batti, batti o bel Masetto (Act 1) 3:31 worked on the new opera between September and suggesting that the respective sweethearts will fall for (Zerlina) December the same year with the première taking place the advances of other men. The wager is accepted, and Idomeneo: Recorded 1st July, 1952 on 26th January 1790 at the Burgtheater in Vienna, they lose, but everything turns out happily for all ! Zeffiretti lusinghieri (Act 3) 5:56 three days before Mozart’s 34th birthday. Unfortunately concerned by the very end. (Ilia) * Vedrai, carino (Act 2) 3:35 the death of the Emperor Joseph II the following month Mozart was thoroughly familiar with the Recorded 16th September, 1952 (Zerlina) interrupted the series of performances but a second run capabilities of the singers who sang in the première and Recorded 2nd July, 1952 took place between June and August of that year. wrote the various parts with their voices in mind. The Le nozze di Figaro: Following Mozart’s death in December 1791 the composer had earlier written five concert arias for the @ Non so più cosa son (Act 1) 2:39 ( Crudele? … Non mi dir (Act 2) 7:24 opera soon disappeared from the repertory. True, there two women and the tenor and baritone had sung in the (Cherubino) (Donna Anna) was an English première in London in May 1811, but first Vienna performance of Don Giovanni. Recorded 2nd July, 1952 Recorded 4th July, 1952 the work was not revived in its original form. The first The year 1954 was a particularly busy one for American performance did not occur until March 1922. Elisabeth Schwarzkopf in the studio. She began with # Porgi, amor (Act 2) 4:18 Philharmonia Orchestra • John Pritchard The reasons for the work’s disappearance were seven days in January on a mixed Lieder recital with (The Countess) numerous. The work was deemed frivolous and Gerald Moore, with nine more on an unpublished Recorded 4th July, 1952 Recorded in Kingsway Hall, London immoral, quite unworthy and wholly unrepresentative selection from Wolf’s Italienisches Liederbuch, also First issued on Columbia 33CX 1069 of Mozart’s genius. Thus, attempts were made in the with Moore, made in the unusual venue of the Wigmore $ Voi che sapete (Act 2) 2:59 nineteenth century to ‘improve’ da Ponte’s libretto and Hall in London during April, June, July and September. (Cherubino) Mozart’s score was ‘arranged’ by various nonentities. She also took part in complete recordings of Johann Recorded 1st July, 1952 Public morality during the nineteenth century was Strauss’s Der Zigeunerbaron, Wiener Blut and Eine blinkered, intolerant, humourless and straight-laced. Nacht in Venedig, with Richard Strauss’s Ariadne auf Little wonder that that da Ponte’s description of Così Naxos and highlights from Arabella, Verdi’s Messa da fan tute as a “school for lovers” and Mozart’s “thus do , Leonore’s “Abscheulicher” aria from Fidelio all women” appalled the public. It also revealed the lack and the concert aria Ah! perfido, both by Beethoven, in Producer’s Note of awareness in the public perception that the story of a addition to Così fan tutte. The appendix here consists of lover approaching a wife or lover in disguise to test her various other Mozart arias Schwarzkopf recorded in the The source for the transfer of Così fan tutte was a single set of British LP pressings. The final disc has been filled fidelity went back to mythical times. Happily, a more summer of 1952 that eventually appeared on LP as a out with the complete Mozart Opera Arias album that Schwarzkopf recorded two years earlier, re-sequenced here enlightened attitude over the past hundred years now Mozart recital. She never sang the rôles of Ilia or Donna in order by aria within each opera. This has been transferred from a French LP copy. Both recordings feature some accepts that Mozart and da Ponte’s opera revealed the Anna on stage. The examples show the change in distortion during loud passages, electronic clicks, thumps, etc. which are inherent to the original master tapes and hidden psychological truth through Mozart’s genius. quality that occurred in Schwarzkopf’s vocal colour in are not a function of the LP pressings. The characters in the opera are Fiordiligi, a lady the early 1950s. Mark Obert-Thorn from Ferrara, living in Naples, Dorabella, her sister, The first ‘complete’ recording of Così fan tutte was 8.111232-34 6 7 8.111232-34 111232-34 bk Cosi EU 19/5/06 12:51 Page 6

9 A voi s’inchina bella damina 3:05 % Dove sono i bei momenti (Act 3) 4:56 Wolfgang Amadeus Mozart (1756-1791) (Ferrando, Guglielmo, Fiordiligi, Dorabella, (The Countess) Così fan tutte Despina, Don Alfonso) Recorded 9th September, 1952 Così fan tutte was the last of the three operas on which also living in Naples, and Despina, their chambermaid. 0 Fortunato l’uom che prende 1:38 ^ Giunse alfin il momento … 5:17 Mozart collaborated with the librettist Lorenzo da Ponte On the male side are Gugliemo, an officer, in love with (All) Deh, vieni, non tardar (Act 4) (1749-1838). Very little is known regarding the creation Fiordiligi, Ferrando, also an officer, in love with (Susanna) of the work other than that its commission is thought to Dorabella, and Don Alfonso, an old philosopher, Appendix: Recorded 2nd July, 1952 have occurred following a successful revival of twelve together with the chorus who portray soldiers, servants, Elisabeth Schwarzkopf performances of Le nozze di Figaro between August sailors, townspeople and wedding guests. It is the Don Giovanni: and September 1789. The composer and librettist cynical Don Alfonso who challenges the male lovers, sings Mozart Opera Arias & Batti, batti o bel Masetto (Act 1) 3:31 worked on the new opera between September and suggesting that the respective sweethearts will fall for (Zerlina) December the same year with the première taking place the advances of other men. The wager is accepted, and Idomeneo: Recorded 1st July, 1952 on 26th January 1790 at the Burgtheater in Vienna, they lose, but everything turns out happily for all ! Zeffiretti lusinghieri (Act 3) 5:56 three days before Mozart’s 34th birthday. Unfortunately concerned by the very end. (Ilia) * Vedrai, carino (Act 2) 3:35 the death of the Emperor Joseph II the following month Mozart was thoroughly familiar with the Recorded 16th September, 1952 (Zerlina) interrupted the series of performances but a second run capabilities of the singers who sang in the première and Recorded 2nd July, 1952 took place between June and August of that year. wrote the various parts with their voices in mind. The Le nozze di Figaro: Following Mozart’s death in December 1791 the composer had earlier written five concert arias for the @ Non so più cosa son (Act 1) 2:39 ( Crudele? … Non mi dir (Act 2) 7:24 opera soon disappeared from the repertory. True, there two women and the tenor and baritone had sung in the (Cherubino) (Donna Anna) was an English première in London in May 1811, but first Vienna performance of Don Giovanni. Recorded 2nd July, 1952 Recorded 4th July, 1952 the work was not revived in its original form. The first The year 1954 was a particularly busy one for American performance did not occur until March 1922. Elisabeth Schwarzkopf in the studio. She began with # Porgi, amor (Act 2) 4:18 Philharmonia Orchestra • John Pritchard The reasons for the work’s disappearance were seven days in January on a mixed Lieder recital with (The Countess) numerous. The work was deemed frivolous and Gerald Moore, with nine more on an unpublished Recorded 4th July, 1952 Recorded in Kingsway Hall, London immoral, quite unworthy and wholly unrepresentative selection from Wolf’s Italienisches Liederbuch, also First issued on Columbia 33CX 1069 of Mozart’s genius. Thus, attempts were made in the with Moore, made in the unusual venue of the Wigmore $ Voi che sapete (Act 2) 2:59 nineteenth century to ‘improve’ da Ponte’s libretto and Hall in London during April, June, July and September. (Cherubino) Mozart’s score was ‘arranged’ by various nonentities. She also took part in complete recordings of Johann Recorded 1st July, 1952 Public morality during the nineteenth century was Strauss’s Der Zigeunerbaron, Wiener Blut and Eine blinkered, intolerant, humourless and straight-laced. Nacht in Venedig, with Richard Strauss’s Ariadne auf Little wonder that that da Ponte’s description of Così Naxos and highlights from Arabella, Verdi’s Messa da fan tute as a “school for lovers” and Mozart’s “thus do Requiem, Leonore’s “Abscheulicher” aria from Fidelio all women” appalled the public. It also revealed the lack and the concert aria Ah! perfido, both by Beethoven, in Producer’s Note of awareness in the public perception that the story of a addition to Così fan tutte. The appendix here consists of lover approaching a wife or lover in disguise to test her various other Mozart arias Schwarzkopf recorded in the The source for the transfer of Così fan tutte was a single set of British LP pressings. The final disc has been filled fidelity went back to mythical times. Happily, a more summer of 1952 that eventually appeared on LP as a out with the complete Mozart Opera Arias album that Schwarzkopf recorded two years earlier, re-sequenced here enlightened attitude over the past hundred years now Mozart recital. She never sang the rôles of Ilia or Donna in order by aria within each opera. This has been transferred from a French LP copy. Both recordings feature some accepts that Mozart and da Ponte’s opera revealed the Anna on stage. The examples show the change in distortion during loud passages, electronic clicks, thumps, etc. which are inherent to the original master tapes and hidden psychological truth through Mozart’s genius. quality that occurred in Schwarzkopf’s vocal colour in are not a function of the LP pressings. The characters in the opera are Fiordiligi, a lady the early 1950s. Mark Obert-Thorn from Ferrara, living in Naples, Dorabella, her sister, The first ‘complete’ recording of Così fan tutte was 8.111232-34 6 7 8.111232-34 111232-34 bk Cosi EU 19/5/06 12:51 Page 8

made in the summer of 1935 with members of the aria “Ah lo veggio quell’anima bella”) and their $ Il core vi dono 4:21 ¶ Tutti accusan le donne 1:01 Glyndebourne Festival production of that year. The preceding recitatives. Some other recitatives have also (Guglielmo, Dorabella) (Don Alfonso, Ferrando, Guglielmo) admirable performance conducted by Fritz Busch, is been shortened available on Naxos (8.110280-81). Two other attempts The Austrian-born conductor Herbert von % Ei parte … senti … ah no! 1:40 • Vittoria, padroncini! 0:26 in early 1952 failed to do justice to the score, so with the Karajan (1908-1989) studied first in Salzburg and then (Fiordiligi) (Despina, Ferrando, Guglielmo, Don Alfonso) impending two hundredth anniversary of Mozart’s in Vienna under Franz Schalk. He made his début in birth, the field was clear for a carefully prepared Italian- Ulm in 1929 and remained there for five years, moving ^ Per pietà, ben mio, perdona 7:33 sung version. to Aachen between 1935 and 1937. A much-praised (Fiordiligi) CD 3 63:07 The recording impresario and producer Walter Berlin début conducting Tristan und Isolde led to his Legge (1906-1979) put together such a recording to be international career. Banned from conducting in public & Amico, abbiamo vinto! 2:53 Act II (continued) 22:31 made in July 1954. It was recorded in three different from 1945 to 1947, he made his first London (Ferrando, Guglielmo) venues, the secco recitatives being undertaken in EMI’s appearance in 1948 and became a regular visitor for the Scene 4 small and intimate No. 3 Studio at Abbey Road. At the next decade with further appearances with the * Donne mie, la fate a tanti a tanti 3:01 1 Fate presto, o cari amici 1:45 time neither Schwarzkopf nor Rolando Panerai had yet Philharmonia Orchestra. Karajan was appointed (Guglielmo) (Despina, Chorus, Don Alfonso) sung their rôles on stage. The soprano many years later conductor of the Berlin Philharmonic Orchestra in 1955 recalled her unbounded admiration for the contribution and continued until his death. He also appeared during ( In qual fiero contrasto 1:37 2 Benedetti i doppi coniugi 5:17 of the Canadian tenor Léopold Simoneau. “It was the same period both in Vienna and at the Salzburg (Ferrando) (Chorus, Fiordiligi, Dorabella, Ferrando, incredible singing, of tonal beauty, of expression in Festival in July and August in addition to the Salzburg Guglielmo) everything, really of the utmost elegance and Easter Festival that he inaugurated in 1967. His prestige ) Tradito, schernito 2:03 knowledge” (Elisabeth Schwarzkopf: Her career on and influence were enormous and he became the most (Ferrando) 3 E nel tuo, nel mio bicchiero 2:02 record: Duckworth: 1995) significant conductor during the second half of the (Fiordiligi, Dorabella, Ferrando, Guglielmo) When the finished result was first released in twentieth century. In addition Karajan also conducted at ¡ Bravo, questa è costanza 1:21 Britain in September 1955, The Gramophone reviewer La Scala in Milan and made a number of visits to Japan. (Don Alfonso, Ferrando, Guglielmo) 4 Miei Signori, tutto è fatto 2:00 felt “the casting is ideal”. He also commented that He left a large number of filmed recordings of his (Don Alfonso, Fiordiligi, Dorabella, Ferrando, “Schwarzkopf is in splendid voice as the sentimental conducting. As an interpreter he is thought to have Scene 3 Guglielmo, Despina) Fiordiligi, Merriman equally good as the practical made more recordings than any other classical ™ Ora vedo che siete una donna di garbo 1:21 Dorabella, and Otto is a good Despina and very musician. (Despina, Dorabella, Fiordiligi) 5 Bella vita militar 1:53 amusing in her assumed voices”. On the male side The rôle of Fiordiligi is taken by the German (Chorus, Fiordiligi, Dorabella, Despina, Ferrando, Bruscantini’s Don Alfonso offered “a subtle and soprano Elisabeth Schwarzkopf (b. 1915). She studied £ È amore un ladroncello 3:08 Guglielmo, Don Alfonso) convincing characterisation, Simoneau surpasses at the Berlin Hochschule für Musik and later with the (Dorabella) himself in lovely tone and phrasing, and Panerai soprano Maria Ivogün, making her début as one of the 6 Sani e salvi agli amplessi amorosi 2:09 subdues his powerful voice to the needs of the Flowermaidens in Parsifal with the Städtische Oper, ¢ Come tutto congiura a sedurre il mio cor! 1:46 (Ferrando, Guglielmo, Don Alfonso, Fiordiligi, occasion”. The orchestral playing of the Philharmonia Berlin in 1938. Originally a lyrical soprano she (Fiordiligi, Guglielmo, Despina) Dorabella) Orchestra under Karajan was deemed to be “of the undertook rôles such as Adele in Die Fledermaus, finest quality” and the engineers “are to be Musetta in La Bohème and Zerbinetta in Ariadne auf ∞ Fra gli amplessi in pochi istanti 6:26 7 No Signor, non è un notaio 1:21 congratulated on the admirable balance” between Naxos when she joined the Vienna State Opera under (Fiordiligi, Ferrando) (Despina, Ferrando, Guglielmo, Fiordiligi, voices and orchestra. Fifty years later this recording Karl Böhm in 1943. Her first overseas appearance was Dorabella, Don Alfonso) continues to exemplify all the best qualities of Mozart with this company on their visit to London in 1947 § Ah, poveretto me 1:23 singing at that time. Incidentally, the recording omits when she sang Donna Elvira and Marzelline in Fidelio. (Gugliemo, Don Alfonso, Ferrando) 8 Ah, Signor, son rea di morte 1:21 No. 7 (the Duettino “Al fato dan legge quegli occhi” She then joined the fledgling Covent Garden Company, (Fiordiligi, Dorabella, Ferrando, Guglielmo, with Ferrando and Guglielmo) and No. 24 (Ferrando’s where for five seasons she sang a variety of rôles, Don Alfonso) 8.111232-34 8 5 8.111232-34 111232-34 bk Cosi EU 19/5/06 12:51 Page 10

his London début in 1960. With his vibrant voice and Mozart at the Glyndebourne Festival during the 1950s CD 1 63:35 @ O cielo, questo è il tamburo funesto 0:22 positive stage personality he was one of the most that endeared him to British audiences with his wit, (Ferrando, Don Alfonso, Fiordiligi, Dorabella) popular Italian baritones of the 1950s and 1960s and humour and highly engaging stage presence. He sang 1 Overture 4:12 continued to appear regularly until the age of seventy. Malatesta in Don Pasquale at the 1953 Salzburg (Orchestra) # Bella vita militar! 1:50 The Italian baritone Sesto Bruscantini was born in Festival. By the time of his American début in 1961 at (Chorus) Porto Civitanova in December 1919. Originally he the Lyric Opera in Chicago he had moved towards studied law but changed to singing, working with Luigi singing more Verdi dramatic parts such as Germont, Act I 59:23 $ Non v’è più tempo, amici 0:25 Ricci in Rome. He made his début in 1946 in his native Renato, Ford and Iago. He then appeared as Taddeo in (Don Alfonso, Fiordiligi, Dorabella, Ferrando, town singing Colline in Puccini’s La Bohème. His Rossini’s L’Italiana in Algeri at the Metropolitan in Scene 1 Guglielmo) career progressed rapidly after become a prize-winner New York in 1983. Bruscantini had a repertory of over 2 La mia Dorabella capace non è 1:48 in a competition organised by Italian Radio in 1947. He 130 rôles to which he applied his fine sense of theatre (Ferrando, Guglielmo, Don Alfonso) % Muoio d’affanno! 2:43 first sang at La Scala, Milan, in 1949, the rôle being and excellent diction. He died in Rome in May 2003. (Fiordiligi, Dorabella, Guglielmo, Ferrando, Don Geronimo in Cimarosa’s Il matrimonio segreto. It 3 Cessate di scherzar 0:50 Don Alfonso) was regular appearances in operas by Rossini and Malcolm Walker (Ferrando, Don Alfonso, Guglielmo) ^ Oh Dei, come veloce se ne va quella barca! 0:37 4 È la fede delle femmine 1:18 (Fiordiligi, Dorabella, Don Alfonso) (Don Alfonso, Ferrando, Guglielmo) Synopsis Scene 2 & Soave sia il vento 3:20 5 Scioccherie di poeti! 0:51 (Fiordiligi, Dorabella, Don Alfonso) CD 1 7 The second scene is set in the garden of the two (Don Alfonso, Guglielmo, Ferrando) sisters, leading down with a view of the Bay of Naples * Quante smorfie … quante buffonerie! 0:53 Act 1 in the distance. The girls sing to the gentle murmur of 6 Una bella serenata 2:23 (Don Alfonso) the music, gazing at the miniatures they hold in their (Ferrando, Guglielmo, Don Alfonso) Scene 1 hands. 8 In livelier music they swear to be true, and Scene 3 then seem ironically ready for some frivolity. 9 Don Scene 2 ( Che vita maledetta 0:53 After the Overture 1 the first act opens in a coffee- Alfonso comes in, apparently with bad news, bidding 7 Ah guarda, sorella 4:43 (Despina, Fiordiligi, Dorabella) house in Naples, 2 where Ferrando and Guglielmo are them prepare themselves: 0 the young men have been (Fiordiligi, Dorabella) in dispute with Don Alfonso. Ferrando claims that his called to the war. ! A quintet follows, as Ferrando and ) Ah, scostati! … 3:44 Dorabella would never be untrue, a protest in which Guglielmo come in, in evident despair, while the girls 8 Mi par, che stamattina 0:31 Smanie implacabili che m’agitate Guglielmo joins in defence of the honour of his declare that death is preferable to parting. The young (Fiordiligi, Dorabella, Don Alfonso) (Dorabella) Fiordiligi, while Don Alfonso maintains the contrary, men, in a brief aside to Don Alfonso, think they are which his experience of life has taught him. 3 They winning the bet, but he remains confident. The quintet 9 Barbaro fato! Vorrei dir, e cor non ho 0:44 ¡ Signora Dorabella, Signora Fiordiligi 1:06 nearly come to blows but Don Alfonso calms the two ends with a declaration of the bitterness of parting, and (Don Alfonso) (Despina, Fiordiligi, Dorabella) young men, 4 and goes on to proclaim his own view, after a brief declaration of love, there follows a short that the fidelity of women is as rare as the phoenix. The duet for the two lovers, claiming that love will he1p 0 Stelle! Per carità, Signor Alfonso 0:42 ™ In uomini, in soldati sperare fedeltà? 2:18 argument continues, 5 until Don Alfonso suggests a them. @ A drum is heard and the approaching march of (Fiordiligi, Don Alfonso, Dorabella) (Despina) wager to test the constancy of the two sisters. 6 In the soldiers, # praising the glory of battle. $ A boat sails following Terzetto Ferrando promises to pay for a fine to the landing-stage and to the tears of the sisters, the ! Sento, o Dio, che questo piede 4:38 £ Despinetta! … Che batte? 0:49 serenade, from his winnings, while Guglielmo will give two young men embark. % Write to me every day, sings (Guglielmo, Ferrando, Don Alfonso, Fiordiligi, (Don Alfonso, Despina) a banquet. Fiordiligi, and twice a day to me, echoes Dorabella. ^ Dorabella) The sisters wave goodbye, & wishing their lovers a safe 8.111232-34 10 3 8.111232-34 111232-34 bk Cosi EU 19/5/06 12:51 Page 4

¢ Alla bella Despinetta 4:38 3 Eccovi il medico, Signore belle 3:08 mostly in English. Alongside these appearances, near Québec in May 1916. He studied with Emile (Don Alfonso, Ferrando, Guglielmo, Despina, (Don Alfonso, Ferrando, Guglielmo, Despina, Schwarzkopf sang at the Salzburg Festival (1946- Larroche in his native city (1939-41) and then Salvatore Fiordiligi, Dorabella) Fiordiligi, Dorabella) 1964), La Scala, Milan (1948-1963), San Francisco Issaurel in Montréal (1941-44). His début was as Hadji (1955-1964) and, finally, the Metropolitan in New in Lakmé at the Variétés Lyriques, Montréal, in 1941. ∞ Oh ciel! Mirate 3:49 4 Dove son? Che loco è questo? 3:25 York in 1964. She was greatly admired in the rôles of He won the Prix Archambault in 1944 and then moved (Dorabella, Don Alfonso, Fiordiligi, Ferrando, (Ferrando, Guglielmo, Despina, Don Alfonso, the Marschallin, Fiordiligi, the Countess in Le nozze di to New York to work with Paul Althouse between 1945 Guglielmo, Despina) Fiordiligi, Dorabella) Figaro and Donna Elvira. She also had a distinguished and 1947. His European début was at the Paris Opéra- parallel career as a Lieder singer in the concert hall. She Comique in Mireille in 1949. This was followed by § Come scoglio immoto resta 4:37 5 Dammi un bacio, o mio tesoro 3:46 was the wife of the impresario and recording producer appearances at the Aix-en-Provence Festival the (Fiordiligi) (Ferrando, Guglielmo, Fiordiligi, Dorabella, Walter Legge, whom she married in 1953. following year and the Glyndebourne Festival in 1951 Despina, Don Alfonso) The American mezzo-soprano Nan (named as as Idamante in Idomeneo. He then sang Tom Rakewell ¶ Ah, non partite! 0:28 Katherine-Ann) Merriman was born in Pittsburgh, in the French première of Stravinsky’s The Rake’s (Ferrando, Guglielmo, Don Alfonso, Dorabella) Act II 55:25 Pennsylvania in April 1920. She studied in Los Angeles Progress. His Italian début was at La Scala in Milan with Alexia Bassian, later with Lotte Lehmann before with his first London appearance with the visiting • Non siate ritrosi 1:29 Scene 1 making her début as La Cieca in Ponchielli’s La Vienna State Opera to Covent Garden in 1954. After (Guglielmo) 6 Andate là, che siete due bizarre ragazze 0:15 Gioconda with Cincinatti Summer Opera in 1942. The singing Don Ottavio for his Metropolitan Opera début (Despina, Fiordiligi) following year she first appeared with the conductor in New York in 1963, Simoneau retired from the stage ª E voi ridete? 1:00 Toscanini in concert, later taking part in broadcast the following year. His final concert performances were (Don Alfonso, Ferrando, Guglielmo) 7 Una donna a quindici anni 3:10 performances of Otello, Falstaff, Rigoletto and Gluck’s in 1970. He later taught in Montréal, San Francisco and (Despina) Orfeo ed Euridice. Her European début was as Banff before settling in Victoria, British Columbia, º E avete ancora coraggio di fiatar? 0:24 Dorabella at the 1953 Aix-en-Provence Festival, the where he founded Canada Opera Piccola in 1986. He (Guglielmo, Don Alfonso, Guglielmo, Ferrando) 8 Sorella, cosa dici? 0:57 year in which she appeared at the Edinburgh Festival as was a most elegant and stylish singer who was (Fiordiligi, Dorabella) Baba the Turk in the British première of Stravinsky’s considered the finest Mozart tenor of his day. He ⁄ Un’aura amorosa del nostro tesoro 4:35 The Rake’s Progress. She also sang her Dorabella with married the soprano Pierrette Alarie. (Ferrando) 9 Prenderò quel brunettino 3:09 Schwarzkopf at the Piccola Scala under Cantelli in The Italian baritone Rolando Panerai was born in (Dorabella, Fiordiligi) January 1956. She appeared in Brussels, Amsterdam, Campi Bisenzio in October 1924. He studied in ¤ E come credi che l’affar finirà? 0:55 the Vienna State Opera, the Paris Opéra and San Florence and later Milan before winning first prize in a (Don Alfonso, Despina) Scene 2 Francisco. She retired in 1965. vocal competition in Spoleto in 1947. His début had 0 Secondate, aurette amiche 3:07 The soprano Lisa Otto was born in Dresden in taken place the previous year as Enrico in Lucia di (Ferrando, Guglielmo, Chorus) 1919. Educated at that city’s Hochschule für Musik, she Lammermoor in Florence. This was followed by CD 2 74:05 made her operatic début as Sophie in 1941 at the Faraone in Rossini’s Mosè in Naples. His first ! Cos’è tal mascherata? 0:35 Landestheater in Beuthen. During the years 1945-1946 appearance at La Scala, Milan, was in 1952 as the High Act I (continued) 18:40 (Fiordiligi, Dorabella, Despina, Ferrando, she sang with the Nuremberg Opera but returned to her Priest in Samson et Dalila and he later sang at the Aix- Guglielmo, Don Alfonso) native city from 1946 to 1951 where she was a member en-Provence Festival (1953) and in Barcelona and Scene 4 of the Dresden State Opera. In 1952 she joined the Lisbon. Panerai appeared in the first stage performance 1 Ah, che tutto in un momento 3:11 @ La mano a me date 2:36 Berlin Städtische Oper. From 1953 she also sang in of Prokofiev’s The Fiery Angel in Venice in 1955. He (Fiordiligi, Dorabella) (Don Alfonso, Ferrando, Guglielmo, Despina) Salzburg, and made tours of the United States, South later created the title rôle in the Italian première of America, and Japan. She was made a Kammersängerin Hindemith’s Mathis der Maler in 1957. His Salzburg 2 Si mora, sì, si mora 5:10 # Oh, che bella giornata! 1:38 in 1963. Lisa Otto became best known for her rôles in Festival début was as Ford in Falstaff in 1957 under (Ferrando, Guglielmo, Don Alfonso, Fiordiligi, (Fiordiligi, Ferrando, Dorabella, Guglielmo) Mozart’s operas. Karajan. Panerai made his first American appearance as Dorabella) The Canadian tenor Léopold Simoneau was born Rossini’s Figaro at San Francisco, a rôle he repeated for 8.111232-34 4 9 8.111232-34 111232-34 bk Cosi EU 19/5/06 12:51 Page 2

voyage, and with Don Alfonso speeding them on their CD 2 way. * Left alone, Don Alfonso can vent his cynicism. Scene 4 Scene 3 Great Opera Recordings 1 The scene changes to the garden, where ( The scene changes to a room in the house. Fiordiligi and Dorabella still lament the departure of Wolfgang Amadeus Despina is preparing chocolate and complaining about their lovers. 2 Ferrando and Guglielmo come in, the drudgery of her life, lightened by an illicit sip of the apparently resolved to poison themselves for love; they MOZART drink she is making. Fiordiligli and Dorabella enter in drink and fall down prostrate on the grass. Despina is (1756-1791) evident despair, expressed in a dramatic accompanied summoned to he1p, recommends a doctor, 3 and re- recitative. ) Dorabella, in an aria, longs histrionically appears shortly afterwards so disguised, offering the for death. ¡ Despina, when the matter is explained to latest remedy with a large magnet to draw out the Così fan tutte her, offers her own common sense answer, ™ that there poison, a reference to the Mozarts’ friend Anton ossia are other men, echoing Don Alfonso’s view of women. Mesmer and his theories of animal magnetism. 4 The £ They go out, and Don Alfonso comes in, declaring two men are revived 5 and beg a kiss, but are again La scuola degli amanti his intention of bribing Despina to further the plot he rejected. Nevertheless the plotters see success in sight. has devised. ¢ Her agreement assured, he ushers in Opera in two acts Ferrando and Guglielmo, disguised as Albanians. Act II Libretto: Lorenzo da Ponte Despina does not recognise them but finds their foreign appearance grotesque, as Don Alfonso presents them to Scene 1 Fiordiligi ...... Elisabeth Schwarzkopf (soprano) the fair little Despina. ∞ He stands aside, as Fiordiligi Dorabella ...... Nan Merriman (mezzo-soprano) and Dorabella enter and tell Despina to dismiss the 6 The second act opens in a room in the house, Despina ...... Lisa Otto (soprano) unwanted visitors, who now protest their love. Don where Despina reasons with her two mistresses 7 and Ferrando ...... Léopold Simoneau (tenor) Alfonso and Despina are sure that the girls will give in, expresses her philosophy, explaining that any girl of Guglielmo ...... Rolando Panerai (baritone) while the young men are equally certain of their fifteen ought to know how to handle men. 8 Little by Don Alfonso...... Sesto Bruscantini (baritone) constancy, and now Don Alfonso comes forward, as if little the two girls decide that there is no harm in an newly arrived, and greets the two disguised lovers as innocent flirtation 9 and in a duet declare their Philharmonia Chorus and Orchestra old friends. § As they urge their love, Fiordiligi preference, Dorabella claiming the dark one and Herbert von Karajan dramatically proclaims her steadfastness, as firm as a Fiordiligi the fair-haired one. rock in her loyalty. ¶ The girls try to leave but the Recorded 13th July, 1954 in Kingsway Hall, London; lovers, supported by Don Alfonso, beg them to stay, • Scene 2 14th–16th and 19th–21st July and 6th November, 1954 in EMI Abbey Road Studio No. 1, London; and Guglielmo, whose attentions are directed to 0 Don Alfonso calls them into the garden. ! By and 14th, 17th and 19th July, 1954 in EMI Abbey Road Studio No. 3, London Dorabella, protests his love in an aria, going on to the landing-stage there is a boat decked with flowers First issued as Columbia 33CX 1262 through 1264 advertise his own good points. ª The girls withdraw and the two lovers have arranged a serenade, played by and Don Alfonso asks the young men what they are a wind band, while Ferrando and Guglielmo ask the Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn laughing at, as the comedy is not yet over. º They friendly breezes to convey their message of love. @ Special thanks to Maynard F. Bertolet for providing source material remain certain that they have won their bet. ⁄ Ferrando, Don Alfonso urges the reluctant young men on, taking now confident, sings of his love for Dorabella. ¤ Now Dorabella’s hand as Despina takes Fiordiligi’s, leading Despina takes a hand in the plot, and assures Don them forward. # The lovers are now left alone. $ Alfonso that she can bring about the desired result. Fiordiligi and Ferrando walk off together, and Guglielino protests further his love for Dorabella. He 8.111232-34 211 8.111232-34 111232-34 bk Cosi EU 19/5/06 12:51 Page 12

replaces Ferrando’s miniature that she wears with a CD 3 locket of his own. As Guglielmo and Dorabella walk away, arm in arm, the other couple returns, Ferrando Scene 4 still pleading with Fiordiligi, and threatening suicide. % MOZART As he leaves, she expresses her changing feelings, ^ 1 The scene is now a richly decorated room. There begging pardon of the absent Guglielmo. & She walks is an orchestra in attendance. There is a table set for away, and Ferrando and Guglielmo re-appear. The four, with silver candlesticks, and four servants, richly Così fan tutte former delights Guglielmo with news of Fiordiligi’s dressed. Despina is giving orders for the candles to be apparent constancy, but is dismayed at what he learns of lit, while Don Alfonso expresses his delight. 2 The his Dorabella, who has evidently given away his chorus welcomes the couples, accompanied by the SCHW portrait, which Guglielmo now shows him. * orchestra, as they come in and take their places at the TH AR Guglielmo now expresses his doubts, ( while table 3 and start to eat. 4 Don Alfonso ushers in the BE Z A K Ferrando, returning, sings of his disillusionment, ) lawyer, Despina in disguise, with the marriage contracts S O I P betrayed, scorned. ¡ Don Alfonso applauds his misery which she intones through her nose. 5 At this moment L F and tells the relatively complacent Guglielmo to wait a the soldiers’ chorus of the first act is heard off-stage and E little longer. Don Alfonso announces the imminent return of the lovers from the war. The “Albanians” are hustled out, Scene 3 with Despina, 6 and the two men quickly return as themselves, 7 while Despina comes in again, without ™ The next scene is set in a room with a number of her lawyer’s hat, explaining that her costume was doors, a looking-glass and a little table. Despina tells intended for a masked ball. Don Alfonso allows the Dorabella that she has acted sensibly, when Fiordiligi marriage contracts that the girls, but not the men, had bursts in and announces that she loves her new wooer, signed, to fall to the floor. 8 Ferrando and Guglielmo but will still resist the temptation. £ Dorabella tells of pretend to find the papers and reproach their faithless the power of love, ¢ but Fiordiligi still will not give partners. 9 Don Alfonso then reveals the plot, as way, and tells Despina to bring down the young men’s Ferrando and Guglielmo retire for a moment and return uniforms and swords from upstairs, where they are wearing something of their old disguise. The girls stored, and to order horses so that she and her sister may realise at last what has happened and seek forgiveness, 195 ing join their old lovers at war. Guglielmo, overhearing all which is readily granted, 0 and all ends happily. 4 Record this, is full of admiration. ∞ She tells of her hope to join Guglielmo, but is interrupted by Ferrando, who Keith Anderson threatens to die of love, if she deserts him. § She gives in, and the two go out together, while Don Alfonso Elisabeth Schwarzkopf • Nan Merriman • Lisa Otto restrains Guglielmo with difficulty. ¶ When Ferrando retums, Don Alfonso suggests that the best thing to do is Léopold Simoneau • Rolando Panerai • Sesto Bruscantini to marry the girls that very evening. Women are fickle but they cannot he1p it; in fact Così fan tutte, they are Philharmonia Orchestra all alike, a verdict heartily endorsed by the two young heroes. • Despina re-appears to say that the girls have Herbert von Karajan agreed to the marriage.

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MOZART L E Philharmonia Orchestra Così fan tutte Così Elisabeth Schwarzkopf • Nan Merriman • Lisa Otto • Nan Merriman Elisabeth Schwarzkopf Léopold Simoneau • Rolando Panerai • Sesto Bruscantini Léopold Simoneau • Rolando Panerai I S E E E P R T R R R A A C G G D N O O 3 CDs

NAXOS Historical MOZART: Così fan tutte 8.111232-34 NAXOS Historical Schwarzkopf • Karajan 8.111232-34 The Così fan Time Playing 3:20:47 reviewer felt “the casting is felt reviewer Act II continuedAppendix: 22:31 40:36 0 ( - - CD 31 ! 63:07 Elisabeth Schwarzkopf sings Elisabeth Schwarzkopf Arias Mozart Opera , studio only Karajan’s Herbert von Fifty years on this 1954 taping of on this 1954 taping Fifty years tutte the opera, of recording to continues of Mozart all the best qualities exemplify that time.singing at In 1955 Gramophone ideal”, is in “Schwarzkopf that commenting as the sentimental Fiordiligi, splendid voice as the practical good equally Merriman Dorabella, Despina and and Otto is a good in her assumed voices”. very amusing “a subtle offered Alfonso Don Bruscantini’s characterisation,and convincing Simoneau tone and surpasses himself in lovely phrasing, and Panerai subdues his powerful to the needs of the occasion”.voice The was of the Philharmonia Orchestra playing “of the finest quality”. deemed to be (1756-1791) MOZART Act I continuedAct 1I 18:40 55:25 Wolfgang Amadeus Wolfgang Così fan tutte Così 5 • - - CD 21 6 74:05 Herbert von Karajan Herbert von Philharmonia Chorus and Orchestra Philharmonia Chorus and ADD Recorded in July and November, in July Recorded 1954 London OvertureAct 1 4:12 59:23 8.111232-34 ¤ 1 www.naxos.com Reissue Producer and Restoration Engineer:Reissue Producer Mark Obert-Thorn F.Special thanks to Maynard Bertolet Collection) Potter photo:Cover Tully (The Elisabeth Schwarzkopf - Fiordiligi ...... Fiordiligi Schwarzkopf Elisabeth Dorabella ...... Merriman Nan Despina...... Lisa Otto Ferrando...... Léopold Simoneau Guglielmo...... Rolando Panerai AlfonsoDon ...... Sesto Bruscantini CD 1 63:35 2

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NAXOS Historical MOZART: Così fan tutte 8.111232-34