La Forza Del Destino Who Is Dying, Killed by His Hand, Is Her Brother

Home , Carlo Tagliabue, Elena Nicolai, La forza del destino, Renato Capecchi, Richard Tucker

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2 Don Alvaro comes in, recognised at once by Don someone approaching, calling down a curse on whoever Carlo, who seeks revenge, while Don Alvaro tries to profanes the sacred place, as she retreats into her cave. resist the provocation offered, assuring him of the purity 5 The voice of Don Carlo is heard, calling for of Leonora, whom he still loves. confession and the last rites, as he dies. Don Alvaro VERDI 3 Eventually, after pleading with him, Don Alvaro can appears, his sword stained with blood. He casts it aside stand no more of Don Carlo’s insults and calls for a and approaches the hermitage, seeking help for the sword. Don Carlo strikes his enemy and now the two dying man. He is amazed when he finds that the hermit men fight. is his Leonora but now is forced to reveal that the man La forza del destino who is dying, killed by his hand, is her brother. Leonora Scene 2 goes out to tend her brother, but Don Carlo, as he dies, strikes her. She returns, wounded and supported by the 4 Padre Guardiano. Don Alvaro inveighs against this IA CAL The final scene is set in the inaccessible place where AR LA Leonora has her cell, with the bell provided for any vengeance of God. M S emergency. It is dusk and it grows darker, as the moon 6 The Padre Guardiano tells him not to blaspheme but rises. Leonora is heard from within and then comes out, to give in to the will of God. Leonora, now dying, pale and distraught, praying to God for peace from her promises God’s pardon: she will go before him to the sufferings and lamenting the fate that parted her from promised land, where they will meet again. She dies her lover. Now she would prefer death, but it is in vain with Alvaro’s name on her lips. that she seeks peace. She goes towards the rock where the Padre Guardiano has left her food and now hears Keith Anderson

1 g 954 Recordin Producer’s Note

The complete recording of Forza is presented as it was originally issued, without the brief “soup scene” between Maria Callas • Richard Tucker • Carlo Tagliabue Melitone, Guardiano and the beggars that opens Act 4. This segment, lasting about six minutes, was recorded but cut from the original release due to LP side timing limitations. Many years later, it was restored to the recording; Elena Nicolai • Nicola Rossi-Lemeni • Renato Capecchi but since it has not yet fallen into the public domain, we are not presenting it in this reissue. In its place, we are offering the complete 53-minute album of highlights from Forza that RCA Victor released Chorus and Orchestra of La Scala, Milan the year after the Callas recording was made. This was transferred from original, first edition American pressings, while the complete opera came primarily from first edition British LPs. Tullio Serafin

Mark Obert-Thorn

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Great Opera Recordings as to Don Alvaro’s true identity, suspecting that he may seems, to deliver a sermon, inveighing against their be his sister’s seducer. With the key, he opens the case behaviour and declaring them sewers of sin, with only and takes out a sealed paper, but his honour prevents the purging of this pitch able to bring peace, a pun that Giuseppe him from reading it. he repeats again and again, as the men seek to beat him. 9 His honour makes him hold back. ( Preziosilla intervenes, telling them to let Fra VERDI 0 He seeks, however, for further proof and finds in the Melitone go, and the act ends with the Rataplan chorus, (1813-1901) case a portrait of Leonora. Certain now of Don Alvaro’s imitating the sound of the drum in its rhythm. identity, he welcomes the news from the surgeon that Don Alvaro will survive, since now he can take CD 3 La forza del destino revenge, for his sister Leonora and his father. Act IV Opera in Four Acts Scene 3 Scene 1 Libretto by Francesco Maria Piave after the drama, Don Alvaro, o la fuerza del sino by Angelo Pérez de Saavedra, Duke of Rivas ! The scene is an army encampment, near Velletri. 1 The fourth act opens in the monastery of Our Lady of There are hawkers’ stalls, selling food and drink. It is the Angels, on the mountainside near Hornachuelos. night and the place is deserted. A patrol enters The Padre Guardiano passes, reading his breviary, and cautiously, exploring the camp. beggars of all kinds are seen, holding their bowls and Donna Leonora ...... Maria Callas (soprano) @ They go and, as dawn breaks, They go and, as dawn plates and seeking charity. They have been waiting for Don Alvaro ...... Richard Tucker (tenor) breaks, Don Alvaro is seen, hoping and praying for an hour and are hungry. [Fra Melitone emerges, wearing Don Carlo di Vargas ...... Carlo Tagliabue (baritone) peace of mind in his difficulties. Don Carlo approaches, an apron and helped by a lay-brother to carry a great Preziosilla ...... Elena Nicolai (mezzo-soprano) hoping that the other is now cured of his wounds, but cooking-pot. The beggars press around him, seeking Padre Guardiano ...... Nicola Rossi-Lemeni (bass) now reveals his recognition of the Don Alvaro as his food, and he reproaches them with their fecundity, Fra Melitone ...... Renato Capecchi (baritone) enemy. At the same time he tells Don Alvaro that breeding instead of saying the rosary, as he loses his Marchese di Calatrava ...... Plinio Clabassi (bass) Leonora is still alive. patience. The beggars regret the absence of Padre Curra ...... Rina Cavallari (mezzo-soprano) # Don Alvaro can hope for the bonds of marriage with Raffaele, but Fra Melitone has had quite enough of the Mastro Trabucco ...... Gino Del Signore (tenor) his beloved, while Don Carlo declares his constant poor and soup. The Padre Guardiano intervenes, while Mayor of Hornachuelos / Surgeon ...... Dario Caselli (bass) enmity and desire for revenge for the death of his father. the beggars praise Padre Raffaele, a holy man, a true Soldier / Gambler ...... Giulio Scarinci (tenor) He swears that his sister must die. saint, who treats them so well. Fra Melitone kicks the Soldier / Gambler ...... Ottorino Bagalli (tenor) $ Trumpets and drums are heard. The camp comes to cooking-pot over and tells them to go, while they life, with Spanish and Italian soldiers leaving their tents, continue to praise the absent Padre Raffaele. He takes a Chorus and Orchestra of La Scala, Milan taking their swords and weapons. Boys and soldiers white handkerchief from his sleeve and wipes his brow, play at dice and camp-followers sell food and drink. once they have all gone. The Padre Guardiano urges (Vittore Veneziani, chorus master) Preziosilla emerges, happy to tell fortunes and prophesy humility and Fra Melitone goes on to comment on the Tullio Serafin, conductor good luck in battle. The soldiers drink to the health of strange behaviour of Padre Raffaele and wonders about their leaders. his origin. The Padre Guardiano explains that Padre Recorded 17th-21st, 23rd-25th and 27th August, 1954 in the Teatro alla Scala, Milan % Trabuco now appears, hawking his cheap wares, Raffaele, now to be clearly identified with Don Alvaro, First issued as Columbia 33CX 1258 through 1260 scissors, brooches, soap and the like, and buying from is disillusioned with the world, from which he seeks the men. refuge in prayer and vigils.] The bell sounds. Fra ^ Peasants appear, begging for bread. The women Melitone opens to Don Carlo, who seeks Padre hawkers join a band of new recruits in a dance, a Raffaele. He is told that there are two, one fat and deaf, Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn tarantella. the other dark in complexion. Don Carlo realises that he Special thanks to Maynard F. Bertolet for providing source material & They declare, with Preziosilla, that war brings folly. has found his quarry and now only Don Alvaro’s blood * As the dance ends, Fra Melitone appears, coming can cleanse the stain on his honour. from Spain to heal the wounded and seek alms, and, it 8.111322-24 211 8.111322-24 111322-24 bk Forza Destino_EU 14/11/07 11:59 Page 10

Scene 2 CD 2 CD 1 75:58 $ Sta bene 3:00 (Mayor, Carlo, Preziosilla, Chorus) % The scene is a steep mountainside. On one side are Act III 1 Overture precipitous rocks, by the façade of the Church of Our Scene 1 (Orchestra) 7:29 Scene 2 Lady of the Angels and its adjacent monastery. There is a bell-rope and the door of the monastery is shut. At one 1 The third act is set in Italy near Velletri. It is a dark Act I % Sono giunta! Grazie, O Dio! 1:40 side is a weather-beaten stone cross. A light can be seen night and the scene is a wood. Voices are heard, the (Leonora) inside the monastery, while the scene itself is lit by sound of gambling. 2 Buona notte, mia figlia 2:27 moonlight. Donna Leonora approaches, dressed as a 2 Don Alvaro, who has enlisted in the Spanish (Marchese, Leonora) ^ Madre, pietosa Vergine 5:10 (Leonora) man, wearing a greatcoat, a hat and heavy boots. She regiment fighting in Italy, laments his fate, the loss of 3 thanks God that she has reached sanctuary, although she Leonora and the events that led to it. He tells of his Temea restasse qui fino a domani 1:41 (Curra, Leonora) & Chi siete? 2:10 fears discovery, after her brother’s revelations. She now parentage, his father’s hopes in union with an Inca (Melitone, Leonora) knows Don Alvaro is alive, but imagines him, as her princess and his own misfortunes. 4 Me, pellegrina ed orfana 3:43 brother had said, in South America once more. 3 He prays to the spirit of Leonora, whom he imagines (Leonora) * Chi mi cerca? 3:41 ^ In her aria Madre, pietosa Vergine, she prays to the dead, to help him in his ignominious exile. (Guardiano, Leonora, Melitone) Blessed Virgin for forgiveness, resolving to expiate her 4 A cry of ‘treachery’ is heard and Don Alvaro rushes 5 M’aiuti, Signorina 5:35 sin in this place. The voices of the friars are heard within, to the source of the noise. The clash of swords is heard (Curra, Leonora, Alvaro) ( Guai per chi si lascia illudere 6:10 as she continues her anxious prayer. She rings the bell. and some officers are seen running in disorder. Don (Guardiano, Leonora) & Fra Melitone opens the little window in the door and Alvaro now returns with Don Carlo, whose life he has 6 Seguirti fino agli ultimi 2:03 questions her. Leonora asks for the Father Superior, but saved and who has just joined the regiment. Don Carlo (Leonora, Alvaro, Curra) ) Sull’alba il piede all’eremo 2:27 Fra Melitone is reluctant to give way. He shuts the gives his name as Don Felice de Bornos and Don (Guardiano, Leonora) window and leaves Leonora in doubt. Alvaro replies, giving his name as Don Federico 7 Vil seduttor! Infame figlia! 1:59 ¡ * The Padre Guardiano, summoned by Fra Melitone, Herreros. They declare friendship in life and in death. (Marchese, Leonora, Alvaro) Il santo nome di Dio Signore 8:03 now seeks to know Leonora’s business, which she will 5 Trumpets call the men to arms and Don Alvaro and (Guardiano, Chorus) Act II not divulge in the presence of Fra Melitone, now Don Carlo are resolved to compete on the field of Scene 1 ™ La Vergine degli Angeli 3:40 dismissed by the Padre Guardiano. honour. It is morning and the sounds of battle are heard. (Chorus, Leonora) ( When they are alone, Leonora reveals that she is a An army surgeon looks out of the window to watch the 8 Holà, holà, holà! Ben giungi, o mulattier 1:23 woman, sent by Padre Cleto, and the Padre Guardiano fighting. He sees Don Alvaro fall wounded but helped (Chorus) now realises that she is Leonora di Vargas, bidding her by Don Carlo. CD 2 56:59 kneel before the cross. She seeks refuge in a hermit’s 9 La cena è pronta 2:07 cave, as another penitent has done before her, there to Scene 2 (Mayor, Carlo, Chorus, Leonora, Trabuco, Act III find peace from her father’s spirit. Preziosilla) Scene 1 ) The Padre Guardiano agrees to allow her to occupy 6 Don Alvaro is carried in by four stretcher-bearers, the hermitage and he will bring her food each day. She followed by Don Carlo, covered with the dust of battle. 0 Al suon del tamburo 2:40 1 Attenti al gioco 3:48 will see no-one, but there will be a bell she may ring in A soldier brings in a case, which he leaves on a table. (Preziosilla, Chorus, Carlo) (Voices) case of danger. As she enters, they pray for God’s help. The Spaniards have been victorious and Don Carlo now ! 2 ¡ The doors of the great church now open and the reveals to Don Alvaro, who seems mortally wounded, Padre Eterno Signor 3:47 La vita è inferno 3:12 (Chorus of Pilgrims, Chorus, Mayor, Leonora) (Alvaro) sound of the organ is heard, as the friars enter, carrying his true identity, to the latter’s dismay. candles, and the Padre Guardiano leads out Leonora, 7 Don Alvaro gives Don Carlo the keys to a case in @ Viva la buona compagnia! 2:32 3 O tu che in seno agli angeli 3:35 now dressed in a friar’s habit. He tells the community of which there are papers that must be burned, if he dies. (Carlo, Chorus, Trabuco, Mayor) (Alvaro) Leonora’s decision, forbidding anyone to go near the The latter swears to carry out this charge and they bid hermit’s cell, on pain of damnation. each other farewell. # Son Pereda, son ricco d’onore 2:30 4 Al tradimento! 2:17 ™ The community prays for the protection of the 8 The soldiers carry Don Alvaro into the adjacent (Carlo, Chorus) (Voices, Alvaro, Carlo) Blessed Virgin over Leonora. room, leaving Don Carlo alone, but he now has doubts 8.111322-24 10 3 8.111322-24 111322-24 bk Forza Destino_EU 14/11/07 11:59 Page 4

5 All’armi! 2:19 ^ Pane, pan per carità! 3:00 Synopsis Act II (Voices, Alvaro, Carlo, Surgeon) (Peasants, Recruits, Vivandières, Preziosilla) Scene 1 CD 1 Scene 2 & Nella guerra è la follia 2:10 8 The second act is set in the village of Hornachuelos (All) 1 The Overture opens with the repeated three-note and the surrounding area. In the great kitchen of an inn 6 Piano … qui posi … approntisi il mio letto 1:36 Fate motif that is to return in the opera. Other elements the landlord and landlady are preparing a meal. The (Carlo, Surgeon, Alvaro) * Toh! Toh! Poffare il mondo! Che tempone! 3:58 are taken from the final duet of Alvaro and Carlo, from mayor is sitting by the fire and a student at the table. (Melitone, Soldiers, Preziosilla) 7 Leonora’s second act prayer Madre, pietosa Vergine There are villagers and muleteers, among these last Solenne in quest’ora 4:07 and from her duet with the Padre Guardiano. Trabuco. A servant-girl is dancing with one of the (Alvaro, Carlo) ( Rataplan, rataplan, della Gloria 3:17 (Preziosilla, Chorus) muleteers. The three strokes of fate are heard and the 8 Morir! Tremenda cosa! 2:08 Act 1 dance of villagers and muleteers begins. (Carlo) CD 3 78:37 9 Supper is ready and the landlady calls the company 2 The curtain rises on a room in the house of the to table. The student, in fact Don Carlo in disguise, 9 Urna fatale del mio destino 2:37 Act IV Marchese di Calatrava in Seville. His daughter Leonora reveals, in an aside, that he is searching for his sister and (Carlo) Scene 1 is preoccupied, as the Marchese enters to bid her her seducer. He says grace and the hostess serves the goodnight. He asks why she is so sad, but she cannot food, while a single couple continues to dance. 0 E s’altra prova rivenir potessi? 2:27 1 Giunge qualcuno, aprite 1:14 answer, as he goes to his own room. Leonora, disguised as a man, now makes her hesitant (Carlo, Surgeon) (Guardiano, Carlo, Melitone) 3 Her maid, Curra, urges her not to hesitate in her entrance and, alarmed to see her brother, withdraws. planned elopement, since any failure will bring mortal The gypsy girl Preziosilla makes her lively entrance, Scene 3 2 Invano Alvaro ti celasti al mondo 3:25 danger to her lover, Don Alvaro. offering to tell fortunes and urging the young men to (Carlo, Alvaro) 4 In her aria Me, pellegrina ed orfana, she sings of her join the war in Italy against the Germans. ! Compagni, sostiamo 3:12 0 3 future, far away from her own country and family. She finds the very idea of war inspiring, as does her (Chorus) Le minaccie, i fieri accenti 5:28 5 (Alvaro, Carlo) Midnight has struck and they hear the sound of a audience, but breaks off her song to tell Don Carlo’s @ Ne gustare m’è dato un’ora di quiete 4:15 rider approaching. Now Don Alvaro makes his fortune, which will be unlucky, realising that he is no (Alvaro, Carlo) Scene 2 entrance, climbing over the balcony to hold his beloved student. She resumes her cheerful encouragement to Leonora in his arms. In a duet he urges her to make her conflict. # No, d’un imene il vincolo 4:18 4 Pace, pace, mio Dio! 6:19 escape from her father’s house, since all is ready for ! A group of pilgrims passes by, praying for divine (Alvaro, Carlo, Chorus) (Leonora) their marriage. mercy and observed by Leonora, who prays for her own 6 Leonora continues to hesitate, but finally decides to safety. $ Lorchè pifferi e tamburi 2:26 5 Io muoio! Confessione! 3:07 elope with her lover. As they are about to make their @ Don Carlo, watched by Leonora, questions the (Chorus, Preziosilla, Soldiers) (Carlo, Alvaro, Leonora) escape, Curra warns them that someone is coming. muleteer Trabuco as to the identity of the person he has 7 The Marchese enters, his sword drawn and followed brought with him, who has not joined them at supper. % A buon mercato chi vuol comprare? 2:17 6 Non imprecare; umiliati 5:36 by two servants, accusing Don Alvaro and Leonora. He Trabuco tells him little. Don Carlo has his suspicions (Trabuco, Soldiers, All) (Guardiano, Leonora, Alvaro) tells his men to seize Don Alvaro, who draws his pistol, and goes on to tell his own supposed story. but then assures the Marchese of the innocence of his # He is a student, he tells them, Pereda by name, from daughter. Refusing a duel, he throws his pistol down, Salamanca, and is following his friend Vargas, whose but as it hits the floor it goes off, mortally wounding the father was murdered by his sister’s seducer. The girl is Marchese, who curses his daughter, as he dies. Don now dead and the seducer fled to South America. Alvaro and Leonora make their escape. $ Preziosilla clearly realises the identity of the student, but the mayor says it is late, and the company bid one another goodnight, while some renew the dance.

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standard repertory, Gioconda, Cavalleria rusticana, in Weber’s Franco Cacciatore, Dulcamara, Selim in Appendix: Act IV Pagliacci and L’amico Fritz, but also in Italian Rossini’s Il turco in Italia, Becket in Pizzetti’s & Invano Alvaro ti celasti al mondo 3:24 performances of Tannhauser, Lohengrin and Parsifal. Assassino nella cattedrale, and Lazaro di Jorio in La Highlights from La Forza del Destino (Carlo, Alvaro) At Rome in 1934 he created Basilio in Respighi’s figlia di Jorio, Lunardo in Wolf-Ferrari’s Quattro with Milanov, Peerce and Warren Fiamma. As was the way then he also took part in a Rusteghi, Cerevek in Mussorgsky’s La fiesta di * number of new operas, such as Lattuada’s Sandra, Sorocinzi and Bloch’s Macbeth. He appeared in several Le minaccie, i fieri accenti 5:22 Pizzetti’s Lo straniero and Rocca’s Morte di Frine. His world premières and after 1965 became a stage director. Act I (Alvaro, Carlo) last appearance at La Scala was in 1955 deputising for For EMI [Columbia/Angel] he recorded Giorgio, 7 Me, pellegrina ed orfana 3:46 Bastianini as Germont in a performance of Visconti’s Oroveso and Selim with Callas, for Cetra, Filippo, and, (Leonora) ( Pace, pace, mio Dio!* 5:23 legendary Traviata with Callas. for Philips, Rossini’s Mosé. He was married to the (Leonora) Following World War II Nicola Rossi-Lemeni distinguished soprano Virginia Zeani. Act II (1920-1991) was one of the three important basses in Tullio Serafin (1878-1968), born at Rottanova di 8 Sono giunta! Grazie, O Dio! 1:50 ) Io muoio! Confessione! 2:56 Italy, with Boris Christoff and Cesare Siepi. Half Cavarzere, near Venice, was one of the great conductors Russian and born in Istanbul, he made his début in 1946 of Italian opera. After studying at the Milan (Leonora) (Carlo, Alvaro, Leonora) at La Fenice in Venice as Varlaam in Boris Godunov. In Conservatory, at first he was a violinist in the orchestra 1947 he went to the United States to appear with a new at La Scala, Milan, then in 1900 at Ferrara began a 9 Madre, pietosa Virgine 4:40 @ Non imprecare; umiliati 5:13 company in Chicago as Timur in Turandot, and there career as conductor. Engagements followed in Turin (Leonora) (Guardiano, Leonora, Alvaro) met Callas, who was to sing the title rôle. It folded, and Rome. Through more than half a century he however, before it began. In New York they auditioned appeared at Covent Garden, London (1907, 1931, 1959- 0 La Vergine degli Angeli 3:20 Leonora Zinka Milanov (soprano) with the tenor Giovanni Zenatello, then retired, who 60), La Scala, Milan (1910-1914, 1917, 1918, 1940, (Chorus, Leonora) Don Alvaro Jan Peerce (tenor) was Artistic Director at Verona Arena. As a result in 1946-7), Colón, Buenos Aires (1914, 1919, 1920, 1928, August Callas made her Italian début, as Gioconda, and 1937, 1938, 1949, 1951), San Carlo, Naples (1922-3, Don Carlo Leonard Warren (baritone) Rossi-Lemeni was Alvise. In 1948 he sang at La Scala, 1940-1, 1949-58), Metropolitan, New York (1924-34), Act III Padre Guardiano Nicola Moscona (bass) Milan, and the San Carlo, Naples. In 1949, again with the Rome Opera (1934-43, 1962), Lyric Opera, Chicago ! La vita è inferno* 3:09 Surgeon Raymond Keast (baritone) Callas, he appeared at the Colón in Buenos Aires. In the (1955, 1957-58), and numerous other opera houses in (Alvaro) early 1950s his career took him to Covent Garden, Italy and abroad. His repertory was vast. He conducted Robert Shaw Chorale (Robert Shaw, director) London, San Francisco Opera, the Metropolitan New conventional and unconventional operas as well as @ O tu che in seno agli angeli* 3:14 RCA Victor Orchestra • Renato Cellini York, the Paris Opéra and, again with Callas, to the introducing a variety of new works, and worked with (Alvaro) *RCA Victor Orchestra • Jonel Perlea Lyric, Chicago. His stage personality was impressive, numerous famous singers, including Battistini, yet he did not establish himself at any of these. His Chaliapin, Ponselle, Gigli, Callas and Sutherland. His voice had no ring on the tone and was not properly recording career was exhaustive and embraced the # Solenne in quest’ora 3:49 Recorded in Manhattan Center, New York City supported; air escaped through it like leaking gas. HMV (1939) Verdi Requiem (Naxos 8.110159) as well (Alvaro, Carlo) on 16th February, 1950 (Tracks 14 - 16), Although at first he sang Boris, Don Giovanni, as both Angel/Columbia Normas (1954 and 1960) with 21st April, 1953 (Tracks 8 - 10), Méphistophélès in Faust, Boito’s Mefistofele, Filippo in Callas. $ Morir! Tremenda cosa! 1:54 18th May, 1953 (Track 19), Don Carlo, Guardiano in La forza del destino, Basilio in (Carlo) 28th February, 1955 (Tracks 11 and 12), and on Il barbiere di Siviglia, Colline in La Bohème, Ramfis in Michael Scott 7th April, 1955 (Tracks 13, 17, 18, 20 and 21). Aida, Oroveso in Norma, and Giorgio in I puritani, by % the mid-1950s he was undertaking buffo rôles: Caspar Author of Maria Meneghini Callas Urna fatale del mio destino 3:07 The recording date for track 7 is unknown. (Carlo) First issued on RCA Victor LM-1916 ^ E s’altra prova rivenir potessi? 2:23 (Carlo, Surgeon) Special thanks to Mike Gray for discographic research.

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Giuseppe Verdi (1813-1901) expressive as either of her other two more celebrated (1918-2003) and Fiorenza Cossotto (b.1936), and by arias, ‘Madre, pietosa Vergine’ and ‘Pace, pace, mio then her voice was past its best. Although she appeared La forza del destino Dio’, yet, as is often the way in mid-period Verdi, it with Callas on stage in Gioconda, Tristano e Isotta, The present recording of La forza del destino was made The stylish quality of her singing comes in marked calls for a mastery of florid technique. Later in Act I in Aida and Norma, this is the only recording they made by EMI [Columbia/Angel] under the imprimatur of La contrast to Elena Nicolai’s blown-out and strident-toned the duet with Alvaro beginning ‘Ah no, dividerci il together. Scala, Milan, in the opera house during August 1954 Preziosilla; Richard Tucker’s Alvaro with his fato’, we hear the difference between her fluency, her One of America’s favourite tenors Richard Tucker and sessions were directed by Walter Legge. Callas unattractive tone and pedantic sounding Italian - why, rhythmically exact and clean execution of dotted (1913-1975), born Reuben Ticker, was only six when sang Leonora on stage on six occasions only: four times we may ask, did Legge not engage Franco Corelli? quavers and semi-quavers, and Tucker’s aspirated he began singing in a New York synagogue choir. After in 1948 at Trieste and twice in 1954 at Ravenna. Even if he had never heard him, Callas had already sung heffalumping. In Act III, in the duet with Padre studying with a reputable tenor Paul Althouse, then Although on that first occasion Il Lavoratore acclaimed with him, and at this stage of Corelli’s career he had no Guardiano, ‘Più tranquilla’, again she shows her just Martino, Borghetti and Wilhousky, his first appearance her acting and, as she remembers, baritone Benvenuto exclusive recording contract. Carlo Tagliabue stepped rendition of note values; each of them sung as Verdi in concert in New York took place in 1943. At first he Franci (1891-1985), who sang Don Carlo, in at the last moment to replace Tito Gobbi’s Don Carlo, specifies: contained within a perfect legato and yet she joined a touring troupe, the Salmaggi Opera Company, complimented her, ‘[h]e said no one in Italy sings Verdi and sounds every day of his 56 years. It tells us injects the subtlest rubato so giving it life. Under making his début as Alfredo. His Metropolitan début like me,’ yet it did not become one of her popular rôles. something of Legge’s knowledge of Italian opera - or Serafin’s direction she sings the two famous arias with followed in 1945 as Enzo in La Gioconda. In the course La forza del destino, although performed in Italy lack of it, that he should have supposed that Gobbi appropriate grandeur, on a tragic scale, underlining of more than a quarter of a century based there he sang fairly regularly since the days of its composition, did would have been prepared to sing a rôle requiring so Verdi’s indications ‘come un lamento’ and ‘con dolore’. 600-odd performances of more than thirty rôles, not enter the international repertory until the famous little histrionic skill and yet be so demanding vocally. Though she secures from the music the maximum of including among many Radames, Alvaro, Manrico, revival at the Metropolitan, New York, in 1918 with a On stage Nicola Rossi-Lemeni looked well as Padre passion, this is not achieved without her voice Cavaradossi and Canio. Elsewhere in the United States cast that included Enrico Caruso (1873-1921) and Rosa Guardiano, as I remember having seen him in the rôle, becoming unsteady and the tone acidulous, especially he appeared with companies in Chicago, San Francisco Ponselle (1897-1981), the latter in fact making her and his delivery has appropriate authority, but there is on the many exposed sustained high phrases. A and Los Angeles. He made occasional visits to Western début in opera. Notwithstanding the contrast in pitch little resonance in his tone and his voice does not sound comparison with Zinka Milanov is interesting, since it Europe. In 1947 he sang Enzo with Callas’s Gioconda between Ponselle’s more mezzo, even contralto-like securely supported. was she who succeeded Ponselle as the most famous at the Verona Arena. Subsequently he appeared at La timbre, there is something in common in the quality of It is true that although Callas casts her Leonora in Leonora at the Met. Her voice, a full lyric dramatic Scala, Milan, Covent Garden, the Vienna Staatsoper Callas’s and Ponselle’s voices; Ponselle is one of the the grand manner and her breath spans are of a truly soprano, has a singular beauty and smoothness of and Comunale, Florence, and sang concerts in Italy, few sopranos Callas is known to have admired. As a notable length, she was not able to sustain slow tempi emission which commend her, particularly in ‘Pace, Israel and South America. Towards the end of his child in her New York days she no doubt heard some of without an obtrusive wobble becoming obvious. pace, mio Dio’. Elsewhere in more difficult measures, career, in 1973, he added Eléazar in Halévy’s La Juive Ponselle’s Met broadcasts and may have been trying, Nevertheless she makes us conscious of every section of like ‘Me, pellegrina ed orfana’, her singing is without to his repertory. His most celebrated recording is his albeit unconsciously, to imitate her. In the early part of Leonora’s music, setting off the first scene in Act I with the fluency and rhythmic exactitude which make first, as Radames in a radio performance of Aida (1949), her career she undertook a number of Ponselle rôles, fitting simplicity. As Leonora bids her father good- Callas’s Leonora, notwithstanding obvious flaws, so but less on his account than Toscanini, who conducts. including Gioconda, Giulia in Spontini’s La vestale, night, knowing it to be farewell, her voice exactly musically telling. He was also to have sung Manrico in the EMI/Angel Elisabetta in Don Carlo, Maddalena in Giordano’s mirrors the music’s minor tonality, rising on ‘Ah, padre Although born in Bulgaria Elena Nicolai (1905- Trovatore opposite Callas’s Leonora but declined Andrea Chénier and Norma, as well as Leonora in mio’ from middle E to E flat at the top of the stave with 1993) studied at the Milan Conservatory and made her because of Karajan’s Nazi associations. Forza. Legge encouraged her to record Leonora, for he untrammelled assurance. She reminds us of something début in 1938 at the San Carlo Naples as Annina in Born in Mariano Comense near Milan Carlo had no interest in those then rarer works in which, by written three quarters of a century ago by W.J. Rosenkavalier but was soon undertaking leading rôles. Tagliabue (1898-1978) studied in Milan with Gennai the time this recording was made, she had already Henderson, dean of New York critics, in The Art of From 1941, when she sang the Principessa in Adriana and Guidotti and made his début at Lodi in 1922 as enjoyed tumultuous successes, Verdi’s Vespri siciliani Singing: “The vocal music of today is not embroidered Lecouvreur at La Scala, Milan, for the next generation, Amonasro. During the 20s he appeared in provincial and Macbeth, Rossini’s Armida, and Cherubini’s with runs, trills and ornaments, as the operas of the late she was established throughout Italy and its operatic seasons, in Florence, Palermo and Verona Arena, before Medea. In these revivals she was the precursor in the 17th century were, but it does contain thousands of dependencies in Spain and South America, as Amneris, making his debut at La Scala, Milan in 1930, as change in taste. progressions which can be executed with perfect Azucena, Adalgisa, Santuzza, and in translation, as Kurvenal in Wagner’s Tristano e Isotta. He remained Legge is quoted telling us, in On and Off the Record smoothness and fluency by the agile voice, but by the Eboli, Carmen, Dalila, Ortrud in Lohengrin, once even with the company for twenty-three years and sang under by Elisabeth Schwarzkopf (1915-2006), how he was singer untrained in coloratura only awkwardly and venturing Brunilde in Valchiria (Die Walküre). By the de Sabata, Serafin, Guarnieri, Votto, Marinuzzi and made almost sea-sick over Callas’s tremulousness in uncertainly”. 1950s and 1960s there were a number of other mezzo- Böhm in thirty-nine operas, including not only principal Forza. It was a pity he did not attend more assiduously After Leonora’s father retires she sings the aria sopranos active in Italy, including Ebe Stignani (1903- Verdi rôles in Nabucco, Rigoletto, Traviata, Trovatore, to much of the rest of the ensemble he offers beside her. ‘Me, pellegrina ed orfana’. It is as attractive and 1974), Giulietta Simionato (b.1910), Fedora Barbieri Vespri siciliani and Forza del destino, and in the 8.111322-24 67 8.111322-24 111322-24 bk Forza Destino_EU 14/11/07 11:59 Page 6

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1 g 954 Recordin Producer’s Note

Mark Obert-Thorn

8.111322-24 12 NAXOS Historical Callas • Tucker • Tagliabue • Serafin 8.111322-24 come 53:28 Madre, , Callas and yet Time 3:31:34 Playing legato Più tranquilla ADD OvertureAct 1Act 1I 7:29 Act 1I I 17:27 51:02 Act 1VVerdi: del destino • Highlights La forza with Milanov, and Peerce 56:59 Warren 25:09 ( 7 ™ 6 ¡ - - - - - 8.111322-24 CD 11 2 8 CD 21 75:58 CD 31 7 56:59 78:37 is not without flaws, Callas casts her Donna Leonora in the grand ,‘ grandeur, indications with appropriate on a tragic scale,Verdi’s underlining La forza del destino La forza so giving it life. famous arias, she sings the two direction inspired Under Serafin’s Giuseppe (1813-1901) Tullio Serafin Tullio VERDI ’. rubato in the Teatro alla Scala,Teatro Milan in the Pace, pace mio Dio con dolore and La forza del destino forza del La Chorus and Orchestra of La Scala,Chorus and Orchestra Milan ’ and ‘ ’ and Recorded 17th-21st,Recorded August, and 27th 23rd-25th 1954 Donna Leonora...... Maria Callas AlvaroDon ...... Tucker Richard Vargas ...... Don Carlo di Tagliabue Carlo Preziosilla ...... Elena Nicolai GuardianoPadre ...... Rossi-Lemeni Nicola Fra Melitone...... Capecchi Renato www.naxos.com Reissue Producer and Restoration Engineer:Reissue Producer Obert-Thorn Mark F. material source Special thanks to Maynard Bertolet providing for photo:Cover Maria Callas (Private Collection) she injects the subtlest pietosa vergine un lamento Although this 1954 recording of Although this 1954 recording length. notable of a truly spans are manner and her breath music, section of Leonora’s us conscious of every She makes Act I with fitting simplicity. Guardiano, Act III duet with Padre setting off the first scene in the In specifies,values; of note rendition her just Verdi shows contained within a perfect of them is sung as each

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NAXOS Historical VERDI: La forza del destino 8.111322-24