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Home , Attila (opera), Giacomo Roppa, I due Foscari

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GIUSEPPE VERDI (1813 –1901) RARITIES (Tracks 1 –4 and 6 –8 revised by Pietro Spada) * Orchestra del Teatro alla Scala Claudio Abbado 1. 5. I due Preludio 2’46’’ Dal più remoto esilio 5’07’’ Scena and Cavatina, Atto I (with Antonio Savastano ) 2. 6. Odi il voto 4’40’’ Sì lo sento, Iddio mi chiama 4’14’’ Recitativo and , Atto II , Atto I (with Giuseppe Morresi and Alfredo Giacomotti ) 3. 7. Les Vêpres siciliennes Oh dolore! 3’37’’ Ô toi que j’ai chérie 3’54’’ Atto III Nouvelle Romance pour M. Villaret, Acte IV

4. Attila 8. Io la vidi 7’03’’ Sinfonia 11’02’’ Scena lirica for two and orchestra (with Antonio Savastano tenor)

* Luciano Pavarotti appears by kind permission of Decca Music Group Limited Recording location: CTC Studios, Milan, January 1978 and April 1980

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Editor: Artist: Art Director: Title: Cat. No.: Revision: Label: Warners Date & typesetter: Warners / Top Price / Standard booklet

GIUSEPPE VERDI (1813 –1901) RARITIES (Tracks 1 –4 and 6 –8 revised by Pietro Spada) Luciano Pavarotti * Orchestra del Teatro alla Scala Claudio Abbado 1. Simon Boccanegra 5. I due Foscari Preludio 2’46’’ Dal più remoto esilio 5’07’’ Scena and Cavatina, Atto I (with Antonio Savastano tenor) 2. Ernani 6. I due Foscari Odi il voto 4’40’’ Sì lo sento, Iddio mi chiama 4’14’’ Recitativo and Aria, Atto II Cabaletta, Atto I (with Giuseppe Morresi baritone and Alfredo Giacomotti bass) 3. Attila 7. Les Vêpres siciliennes Oh dolore! 3’37’’ Ô toi que j’ai chérie 3’54’’ Atto III Nouvelle Romance pour M. Villaret, Acte IV

4. Attila 8. Aida Io la vidi 7’03’’ Sinfonia 11’02’’ Scena lirica for two tenors and orchestra (with Antonio Savastano tenor)

* Luciano Pavarotti appears by kind permission of Decca Music Group Limited Recording location: CTC Studios, Milan, January 1978 and April 1980

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Editor: Artist: Art Director: Title: Cat. No.: Revision: Label: Warners Date & typesetter: Warners / Top Price / Standard booklet

n the early years of the twentieth century, in the original score. This recording, on which are grounds for suspecting that Verdi was not unsuitable for Ivanov, who — like Guasco and when the tendency to make Italian substitute or additional occupy a fitting initially very fond of the tenor voice and — even more than Guasco — went back to the more like German music drama was amount of space and, moreover, in a performance before — treated it rather clumsily. paradisial proto-romanticism of the Bellinian starting to emerge, the legend of a of which it is safe to say that it could set the The reason for this unease is perhaps to be found Giovanni Battista Rubini. Yet Ivanov was rigorous and intransigent Verdi was born, standard for others, also contains instrumental in the fact that the proto-romantic tenor, forged successful and this perhaps helped to endorse Isuch that not a single dot or comma he had pieces which have become neglected or have by Bellini and partly by Donizetti, had a voice the prevailing opinion for the following few years written could be altered without provoking never been tried out in official performances: which was very bright, very high, very stylised — that Ernani was a part for a tenore di grazia. thunderbolts and other forms of apocalyptic such as the brief Preludio from the first version and therefore rather artificial — and which could The cabaletta from I due Foscari “Sì lo sento, retribution. This legend grew and gathered of Simon Boccanegra , which fleetingly distantly recall the timbre of the alto castratos. Iddio mi chiama”, written for the tenor Mario to strength between the Twenties and the Fifties, introduces several of the opera’s melodies; or an Especially where male voices were concerned replace the one normally performed after the involving other opera composers: Bellini, overture which was intended for the first Verdi was in favour of realism (he preferred the cavatina “Dal più remoto esilio” (i.e. the allegro Donizetti and even Rossini, who was responsible performance of Aida at but was not most realistic of all, the baritone) and began to “Odio solo ed odio atroce”) has a very different for hundreds and hundreds of autograph variants performed. And here the sequence of the opera’s make proper use of the tenor only when more story behind it. For the premiere of the and scores of alternative arias for this or that fundamental themes is much lengthier and more masculine, ringing voices appeared at the end of opera Verdi finally had a tenore di forza at his singer. But Donizetti was pretty active in this elaborate. Among the vocal pieces, chronological the . Ernani had been the first opera disposal, , and this led him to field too. He personally changed keys and made order assigns first place to the lyrical scene “Io composed by Verdi for a tenor protagonist, but exhort Piave in a letter in May 1844 to take this alterations even to an aria such as “Una furtiva la vidi”, an exercise by a Verdi who had not yet the composer made some misjudgements and did into account in the cabaletta. And the allegro lagrima”; or on his own initiative he requested, made his debut in the theatre. Under the not sufficiently take into account that Carlo “Odio solo ed odio atroce”, although fairly from Naples, a colleague who was in Vienna influence of his most authoritative predecessors Guasco, for whom the part was written, was a central in tessitura, is indeed vigorous and (Mercadante) to “adjust” — for the bass (Bellini in primis , but also Donizetti) Verdi proto-romantic singer, all sweetness and grace. aggressive. But when it came to performing I due Lablache — a part which had been composed for expresses himself in a lyrical and tender mode Outcome: Guasco, one of the most celebrated Foscari in Paris two years later, the same another singer. In short, it was the practice to and, in specifically vocal terms, with an tenors of his day, was a disappointment. Apart considerations were no longer applicable. In aim, with the help of an electrifying performance orthodoxy from which he was later to free from this it is fairly clear that, in the customary Paris the singer was Matteo de’ Candia, known as from the singers, for success with the audience, himself: extremely cautious tessitura, very legato version, the part of Ernani is rather insignificant Mario, extremely handsome, supremely elegant, and Verdi, pragmatist that he was, wrote on more melody with no leaps, absolutely symmetrical for a protagonist. The insertion of a big aria with a local idol, much more famous than Roppa but, than one occasion that the only true measure of periods with a view to the performer’s intakes of choruses in the second-act finale was alas, of Rubinian lineage: sweet, graceful, bright, an opera’s success was the takings at the box breath. Certainly more historic than this, presumably — in addition to being a mark of extremely high and a lover — like Rubini — of office. And this is why, when he was asked for however, is the Andante “Odi il voto”, concluded respect towards Rossini, who pleaded the tenor falsetto top notes. Nothing could be denied to substitute or additional arias, he complied if it by the Allegro maestoso “Sprezzo la vita”. It is a Nicola Ivanov’s case — an attempt to give greater Mario, a fiery patriot and exile into the bargain. was worth the trouble. For example, it has come second-act finale for Ernani and, apart from its scope to Ernani. What nevertheless appears Verdi served him properly, with an allegro to light that, for an edition of in Paris, size and spectacularity, raises — like almost all strange is that a pleasant andante in pathetic moderato with a very high tessitura containing he provided an aria (“Prends pitié de sa the arias on this recording — the complex mode should be followed by a vigorous, taut and some passages of pure vocalisation and even a jeunesse”) for Maddalena, who has no aria at all question of the tenor’s place in early Verdi. There vehement allegro, which at least on paper looks couple of top E flats to be sung falsetto. It is a

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Editor: Artist: Art Director: Title: Cat. No.: Revision: Label: Warners Date & typesetter: Warners / Top Price / Standard booklet

n the early years of the twentieth century, in the original score. This recording, on which are grounds for suspecting that Verdi was not unsuitable for Ivanov, who — like Guasco and when the tendency to make substitute or additional arias occupy a fitting initially very fond of the tenor voice and — even more than Guasco — went back to the more like German music drama was amount of space and, moreover, in a performance before Luisa Miller — treated it rather clumsily. paradisial proto-romanticism of the Bellinian starting to emerge, the legend of a of which it is safe to say that it could set the The reason for this unease is perhaps to be found Giovanni Battista Rubini. Yet Ivanov was rigorous and intransigent Verdi was born, standard for others, also contains instrumental in the fact that the proto-romantic tenor, forged successful and this perhaps helped to endorse Isuch that not a single dot or comma he had pieces which have become neglected or have by Bellini and partly by Donizetti, had a voice the prevailing opinion for the following few years written could be altered without provoking never been tried out in official performances: which was very bright, very high, very stylised — that Ernani was a part for a tenore di grazia. thunderbolts and other forms of apocalyptic such as the brief Preludio from the first version and therefore rather artificial — and which could The cabaletta from I due Foscari “Sì lo sento, retribution. This legend grew and gathered of Simon Boccanegra , which fleetingly distantly recall the timbre of the alto castratos. Iddio mi chiama”, written for the tenor Mario to strength between the Twenties and the Fifties, introduces several of the opera’s melodies; or an Especially where male voices were concerned replace the one normally performed after the involving other opera composers: Bellini, overture which was intended for the first Verdi was in favour of realism (he preferred the cavatina “Dal più remoto esilio” (i.e. the allegro Donizetti and even Rossini, who was responsible performance of Aida at La Scala but was not most realistic of all, the baritone) and began to “Odio solo ed odio atroce”) has a very different for hundreds and hundreds of autograph variants performed. And here the sequence of the opera’s make proper use of the tenor only when more story behind it. For the Rome premiere of the and scores of alternative arias for this or that fundamental themes is much lengthier and more masculine, ringing voices appeared at the end of opera Verdi finally had a tenore di forza at his singer. But Donizetti was pretty active in this elaborate. Among the vocal pieces, chronological the 1840s. Ernani had been the first opera disposal, Giacomo Roppa, and this led him to field too. He personally changed keys and made order assigns first place to the lyrical scene “Io composed by Verdi for a tenor protagonist, but exhort Piave in a letter in May 1844 to take this alterations even to an aria such as “Una furtiva la vidi”, an exercise by a Verdi who had not yet the composer made some misjudgements and did into account in the cabaletta. And the allegro lagrima”; or on his own initiative he requested, made his debut in the theatre. Under the not sufficiently take into account that Carlo “Odio solo ed odio atroce”, although fairly from Naples, a colleague who was in Vienna influence of his most authoritative predecessors Guasco, for whom the part was written, was a central in tessitura, is indeed vigorous and (Mercadante) to “adjust” — for the bass (Bellini in primis , but also Donizetti) Verdi proto-romantic singer, all sweetness and grace. aggressive. But when it came to performing I due Lablache — a part which had been composed for expresses himself in a lyrical and tender mode Outcome: Guasco, one of the most celebrated Foscari in Paris two years later, the same another singer. In short, it was the practice to and, in specifically vocal terms, with an tenors of his day, was a disappointment. Apart considerations were no longer applicable. In aim, with the help of an electrifying performance orthodoxy from which he was later to free from this it is fairly clear that, in the customary Paris the singer was Matteo de’ Candia, known as from the singers, for success with the audience, himself: extremely cautious tessitura, very legato version, the part of Ernani is rather insignificant Mario, extremely handsome, supremely elegant, and Verdi, pragmatist that he was, wrote on more melody with no leaps, absolutely symmetrical for a protagonist. The insertion of a big aria with a local idol, much more famous than Roppa but, than one occasion that the only true measure of periods with a view to the performer’s intakes of choruses in the second-act finale was alas, of Rubinian lineage: sweet, graceful, bright, an opera’s success was the takings at the box breath. Certainly more historic than this, presumably — in addition to being a mark of extremely high and a lover — like Rubini — of office. And this is why, when he was asked for however, is the Andante “Odi il voto”, concluded respect towards Rossini, who pleaded the tenor falsetto top notes. Nothing could be denied to substitute or additional arias, he complied if it by the Allegro maestoso “Sprezzo la vita”. It is a Nicola Ivanov’s case — an attempt to give greater Mario, a fiery patriot and exile into the bargain. was worth the trouble. For example, it has come second-act finale for Ernani and, apart from its scope to Ernani. What nevertheless appears Verdi served him properly, with an allegro to light that, for an edition of Rigoletto in Paris, size and spectacularity, raises — like almost all strange is that a pleasant andante in pathetic moderato with a very high tessitura containing he provided an aria (“Prends pitié de sa the arias on this recording — the complex mode should be followed by a vigorous, taut and some passages of pure vocalisation and even a jeunesse”) for Maddalena, who has no aria at all question of the tenor’s place in early Verdi. There vehement allegro, which at least on paper looks couple of top E flats to be sung falsetto. It is a

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Editor: Artist: Art Director: Title: Cat. No.: Revision: Label: Warners Date & typesetter: Warners / Top Price / Standard booklet

strange aria, but also an attractive one. If the chérie” has the flow, the candour, the elegiac omissions: it can however be presumed that they New York. It was used, and contributed greatly to singer who tackles it has the appropriate abandon of proto-romantic effusions and also a were discarded due to dramatic rather than the singer’s success, in 1844 in the Parma technique, the melody seems light and elegant. slight flavour of French melody: something that musical considerations. Verdi, being an edition of Ernani which closely followed the The Adagio “Oh dolore” from Attila is another can be compared, in its heartfelt simplicity, with extremely shrewd man of the theatre, had a overwhelming success of the premiere in . story of mistaken tenorial assessment. Once “Rachel, quand du Seigneur” from Halévy’s profound and infallible sensitivity to the We owe the romanza “Oh dolore” to a star again Verdi, composing for the suave and elegant La Juive . It would be interesting to know how demands of the stage and knew how to prune singer, namely Napoleone Moriani: it was Guasco, had given him un unsuitable character, Villaret coped with it, since he seems to have every superfluous moment from an opera’s composed for a performance of Attila at La Scala this time Foresto, seething alternately with been more a rough tenore di forza than a singer of development. The Prelude from Simon in the carnival season 1846 –47. The autograph patriotism and jealousy. The aria which is elegies. But that, at this stage, is a very difficult Boccanegra belongs to the first version of the in full score is in La Scala’s Museo Teatrale, even usually performed, “Che non avrebbe il misero”, thing to establish. opera and was thus first performed in Venice, at though the work was published in an edition for is in fact reasonably mournful and quite smooth Rodolfo Celletti , in 1857, but Verdi replaced it with voice and piano by the publishers Lucca, and and legato in its vocal line. But for Napoleone another piece in the second version. Although later by Ricordi. This is a valuable aria, lyrically Moriani, the Foresto in the Scala premiere the composition is of modest dimensions it is of expansive, with melodic breadth and great (1846/47 season), something softer and with o speak nowadays about considerable interest: it contains no thematic emotional tension: the harp, dear to Verdi, more pathos was needed. Although the unperformed works by Giuseppe development, but it makes extensive use of the provides the background from which, as was Florentine Moriani was the rather heartless Verdi seems absurd, since he has “rebellion” theme and also that from the duet often to happen subsequently, arise the sensuous father of the two children of Giuseppina enjoyed such uninterrupted “Figlia a tal nome io palpito”. The edition used melodic meanderings of a taut tenor voice. Strepponi, the future Signora Verdi, he was also popularity and circulation as to by Claudio Abbado is based on two “Io la vidi”, the first in chronological order of “The Swan of the Arno”, “the tenor of sadness” Tmake it almost incredible that there should be contemporary copies, substantially concordant, the pieces on this disc, is a fragment of an opera, and “the tenor of the bella morte”, so harrowing compositions, however minor, that are still one in the Biblioteca del Conservatorio di San in all probability incomplete, to a text by Calisto were his death throes on stage. So Verdi wrote for completely unknown. But Verdi was, at least for Pietro a Majella in Naples and the other in the Bassi: Il solitario ed Eloisa , which was also set to him the Adagio “Oh dolore”, impassioned, a certain period of his life, sensitive to the Library of Congress in Washington D.C. (USA). music by other composers including Giovanni melancholy, supremely romantic, in which “the demands of great singers, who could often decree “Odi il voto”, a recitative and aria which is Pacini. The date of composition was around swan” suffered to the sound of chaste harps. the success or failure of an opera, and, as a mark part of the “Aria con cori” for Ernani , an 1835. It is certainly an immature work, but Finally, one of the gems of the collection, the of recognition, he wrote additional or substitute extensive piece which actually amounts to a lyrically expansive, with Bellinian bel canto Largo “Ô toi que j’ai chérie”, written for the tenor pieces for several of them — essentially the different finale to Act II of the opera, was writing unusual even in the earliest Verdi: the François Villaret, who sang in the revival of Les pieces presented here, for the first time ever on a commissioned from Verdi by Rossini for the autograph, tormented and uncertain, almost like Vêpres siciliennes at the Paris Opéra in 1863. By recording. In contrast, the orchestral pieces Russian tenor Nicola Ivanov; this “Aria con cori” a first draft, is also in the Mary Flager Cary then Verdi had long since overcome his awkward included here were put aside by the composer dedicated to the tenor, as can be read on the first Collection in the Pierpont Library in New York. relationship with the tenor voice, and for the and were not included in the final editions of the page of the score, was not included in the current We have the celebrated Mario, Conte di Candia, Paris premiere (1855) had written the fine works for which they were conceived. It is now edition until its recent reappearance in the to thank for Jacopo’s cabaletta from Act I of I due Andante mosso “Ô jour de peine” (“Giorno di difficult to establish with certainty the reasons autograph collection of the Mary Flager Cary Foscari which follows the cavatina “Dal più pianto” in Italian). But the Largo “Ô toi que j’ai which led Verdi to make these substitutions or Collection in the Pierpont Morgan Library in remoto esilio”. This piece was completely

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Editor: Artist: Art Director: Title: Cat. No.: Revision: Label: Warners Date & typesetter: Warners / Top Price / Standard booklet

strange aria, but also an attractive one. If the chérie” has the flow, the candour, the elegiac omissions: it can however be presumed that they New York. It was used, and contributed greatly to singer who tackles it has the appropriate abandon of proto-romantic effusions and also a were discarded due to dramatic rather than the singer’s success, in 1844 in the Parma technique, the melody seems light and elegant. slight flavour of French melody: something that musical considerations. Verdi, being an edition of Ernani which closely followed the The Adagio “Oh dolore” from Attila is another can be compared, in its heartfelt simplicity, with extremely shrewd man of the theatre, had a overwhelming success of the premiere in Venice. story of mistaken tenorial assessment. Once “Rachel, quand du Seigneur” from Halévy’s profound and infallible sensitivity to the We owe the romanza “Oh dolore” to a star again Verdi, composing for the suave and elegant La Juive . It would be interesting to know how demands of the stage and knew how to prune singer, namely Napoleone Moriani: it was Guasco, had given him un unsuitable character, Villaret coped with it, since he seems to have every superfluous moment from an opera’s composed for a performance of Attila at La Scala this time Foresto, seething alternately with been more a rough tenore di forza than a singer of development. The Prelude from Simon in the carnival season 1846 –47. The autograph patriotism and jealousy. The aria which is elegies. But that, at this stage, is a very difficult Boccanegra belongs to the first version of the in full score is in La Scala’s Museo Teatrale, even usually performed, “Che non avrebbe il misero”, thing to establish. opera and was thus first performed in Venice, at though the work was published in an edition for is in fact reasonably mournful and quite smooth Rodolfo Celletti La Fenice, in 1857, but Verdi replaced it with voice and piano by the publishers Lucca, and and legato in its vocal line. But for Napoleone another piece in the second version. Although later by Ricordi. This is a valuable aria, lyrically Moriani, the Foresto in the Scala premiere the composition is of modest dimensions it is of expansive, with melodic breadth and great (1846/47 season), something softer and with o speak nowadays about considerable interest: it contains no thematic emotional tension: the harp, dear to Verdi, more pathos was needed. Although the unperformed works by Giuseppe development, but it makes extensive use of the provides the background from which, as was Florentine Moriani was the rather heartless Verdi seems absurd, since he has “rebellion” theme and also that from the duet often to happen subsequently, arise the sensuous father of the two children of Giuseppina enjoyed such uninterrupted “Figlia a tal nome io palpito”. The edition used melodic meanderings of a taut tenor voice. Strepponi, the future Signora Verdi, he was also popularity and circulation as to by Claudio Abbado is based on two “Io la vidi”, the first in chronological order of “The Swan of the Arno”, “the tenor of sadness” Tmake it almost incredible that there should be contemporary copies, substantially concordant, the pieces on this disc, is a fragment of an opera, and “the tenor of the bella morte”, so harrowing compositions, however minor, that are still one in the Biblioteca del Conservatorio di San in all probability incomplete, to a text by Calisto were his death throes on stage. So Verdi wrote for completely unknown. But Verdi was, at least for Pietro a Majella in Naples and the other in the Bassi: Il solitario ed Eloisa , which was also set to him the Adagio “Oh dolore”, impassioned, a certain period of his life, sensitive to the Library of Congress in Washington D.C. (USA). music by other composers including Giovanni melancholy, supremely romantic, in which “the demands of great singers, who could often decree “Odi il voto”, a recitative and aria which is Pacini. The date of composition was around swan” suffered to the sound of chaste harps. the success or failure of an opera, and, as a mark part of the “Aria con cori” for Ernani , an 1835. It is certainly an immature work, but Finally, one of the gems of the collection, the of recognition, he wrote additional or substitute extensive piece which actually amounts to a lyrically expansive, with Bellinian bel canto Largo “Ô toi que j’ai chérie”, written for the tenor pieces for several of them — essentially the different finale to Act II of the opera, was writing unusual even in the earliest Verdi: the François Villaret, who sang in the revival of Les pieces presented here, for the first time ever on a commissioned from Verdi by Rossini for the autograph, tormented and uncertain, almost like Vêpres siciliennes at the Paris Opéra in 1863. By recording. In contrast, the orchestral pieces Russian tenor Nicola Ivanov; this “Aria con cori” a first draft, is also in the Mary Flager Cary then Verdi had long since overcome his awkward included here were put aside by the composer dedicated to the tenor, as can be read on the first Collection in the Pierpont Library in New York. relationship with the tenor voice, and for the and were not included in the final editions of the page of the score, was not included in the current We have the celebrated Mario, Conte di Candia, Paris premiere (1855) had written the fine works for which they were conceived. It is now edition until its recent reappearance in the to thank for Jacopo’s cabaletta from Act I of I due Andante mosso “Ô jour de peine” (“Giorno di difficult to establish with certainty the reasons autograph collection of the Mary Flager Cary Foscari which follows the cavatina “Dal più pianto” in Italian). But the Largo “Ô toi que j’ai which led Verdi to make these substitutions or Collection in the Pierpont Morgan Library in remoto esilio”. This piece was completely

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Editor: Artist: Art Director: Title: Cat. No.: Revision: Label: Warners Date & typesetter: Warners / Top Price / Standard booklet

unknown until the discovery of a manuscript Gardens with the Orchestra dell’Accademia di Ernani Ernani copy, perhaps unique, in the Bibliotèque Santa Cecilia conducted by Bernardino Molinari. Odi il voto Hear the vow Nationale in Paris by the eminent British scholar Subsequently all trace of these public Iago Iago . The piece, although it was never presentations was destroyed and a thick layer of D’Ernani i fidi chiedono Ernani’s faithful supporters ask officially approved by Verdi, concerned him dust settled on the work once again. But the parlare al duce lor to speak to their leader. enough to make him write a letter with detailed original tape of Toscanini’s performance was still instructions about how it should be performed, in the Recorded Sound Archives at the Lincoln Silva Silva with a complete transcription of the text: it offers Center in New York: study of this, together with Or ben fa che s’avanzino Very well, let them come, the interpreter, who must be a virtuoso of the the contemporary manuscript copy, was the basis infiamma loro ardor foment their devotion. highest rank, an outstanding vehicle for of this edition, which had its first public displaying his brilliance. The “Nouvelle performance at La Scala on 2 November 1977, Ernani Ernani Romance pour Villaret” concludes in chro- conducted by Claudio Abbado. It is thus possible Padre con essi intrepido Father, with these my fellows nological terms the series of pieces inspired by to have a clear conception of this last Verdi m’avrai vendicator I shall fearlessly avenge your death. Odi il voto, o grande Iddio Almighty God, hear the vow the great tenors: it replaces the aria “O jour de overture, which reveals a thoughtful and perhaps che al tuo soglio un cor ti porta. this heart lays at your door. peine” and was motivated by the wish to give a too abstract Verdi, engaged in the effort of Deh ti piaccia il brando mio Ah, may it please you to quench special chance to the tenor Villaret who had had superimposing the various melodic ideas which di quel sangue dissetar. my sword with my enemy’s blood. an outstanding success at the Paris Opéra in characterise the various characters in Aida , Nell’angoscia del mio core The only thought to console Rossini’s Guillaume Tell . seeking dramatic contrast — rather than questo è sol che mi conforta my tormented heart It is well known that Verdi composed an counterpoint — whose true musical del trafitto genitore is that of laying to rest at last overture in 1872 for the Milan premiere of Aida , effectiveness is only occasionally realised. l’ombra inulta alfin placare, my murdered father’s unavenged shade, in which he perhaps secretly invested artistic Nevertheless the resulting “effect” is still l’ombra inulta io vo’ placar. his unavenged shade I would lay to rest. hopes, it is well known that he rehearsed it powerful today. behind closed doors at La Scala, it is well known Although Verdi’s sense of frustration at his first that he immediately withdrew it, judging it with and only hearing of the work was probably sincere Attila Attila Oh dolore! Oh, sorrow! harsh and decisive words, and it is well known and certainly based more on considerations of that he stubbornly resisted gentle pressure from overall dramatic balance than on musical grounds, Foresto Foresto musicians who wished to know the work. But it is he was aware that the aims he had set himself Oh dolore! ed io vivea Oh, sorrow! And I have lived less well known that in 1940 Arturo Toscanini, were too ambitious. This, it seems to me, should sol pensando alla spergiura by thinking only of her treachery, having somehow come into possession of the not prevent this creation from taking its place — fin l’esilio a me parea until even exile seemed to me autograph, gave a performance of it in New York with the added attraction of its special men deserto e men crudel less solitary and less cruel. with the NBC Symphony Orchestra. And it is circumstances — among the other overtures ogni colpo di sventura Each blow misfortune dealt also less well known that the Accademia d’Italia which Verdi’s genius has bequeathed to us. mi feria ma non nel cor did wound me, but not my heart, organised a performance of it in the Farnesina Pietro Spada ah fui beato in quell’amore ah, in that love I was blessed come un angelo nel cielo. like an angel in heaven. 8 9

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unknown until the discovery of a manuscript Gardens with the Orchestra dell’Accademia di Ernani Ernani copy, perhaps unique, in the Bibliotèque Santa Cecilia conducted by Bernardino Molinari. Odi il voto Hear the vow Nationale in Paris by the eminent British scholar Subsequently all trace of these public Iago Iago Julian Budden. The piece, although it was never presentations was destroyed and a thick layer of D’Ernani i fidi chiedono Ernani’s faithful supporters ask officially approved by Verdi, concerned him dust settled on the work once again. But the parlare al duce lor to speak to their leader. enough to make him write a letter with detailed original tape of Toscanini’s performance was still instructions about how it should be performed, in the Recorded Sound Archives at the Lincoln Silva Silva with a complete transcription of the text: it offers Center in New York: study of this, together with Or ben fa che s’avanzino Very well, let them come, the interpreter, who must be a virtuoso of the the contemporary manuscript copy, was the basis infiamma loro ardor foment their devotion. highest rank, an outstanding vehicle for of this edition, which had its first public displaying his brilliance. The “Nouvelle performance at La Scala on 2 November 1977, Ernani Ernani Romance pour Villaret” concludes in chro- conducted by Claudio Abbado. It is thus possible Padre con essi intrepido Father, with these my fellows nological terms the series of pieces inspired by to have a clear conception of this last Verdi m’avrai vendicator I shall fearlessly avenge your death. Odi il voto, o grande Iddio Almighty God, hear the vow the great tenors: it replaces the aria “O jour de overture, which reveals a thoughtful and perhaps che al tuo soglio un cor ti porta. this heart lays at your door. peine” and was motivated by the wish to give a too abstract Verdi, engaged in the effort of Deh ti piaccia il brando mio Ah, may it please you to quench special chance to the tenor Villaret who had had superimposing the various melodic ideas which di quel sangue dissetar. my sword with my enemy’s blood. an outstanding success at the Paris Opéra in characterise the various characters in Aida , Nell’angoscia del mio core The only thought to console Rossini’s Guillaume Tell . seeking dramatic contrast — rather than questo è sol che mi conforta my tormented heart It is well known that Verdi composed an counterpoint — whose true musical del trafitto genitore is that of laying to rest at last overture in 1872 for the Milan premiere of Aida , effectiveness is only occasionally realised. l’ombra inulta alfin placare, my murdered father’s unavenged shade, in which he perhaps secretly invested artistic Nevertheless the resulting “effect” is still l’ombra inulta io vo’ placar. his unavenged shade I would lay to rest. hopes, it is well known that he rehearsed it powerful today. behind closed doors at La Scala, it is well known Although Verdi’s sense of frustration at his first that he immediately withdrew it, judging it with and only hearing of the work was probably sincere Attila Attila Oh dolore! Oh, sorrow! harsh and decisive words, and it is well known and certainly based more on considerations of that he stubbornly resisted gentle pressure from overall dramatic balance than on musical grounds, Foresto Foresto musicians who wished to know the work. But it is he was aware that the aims he had set himself Oh dolore! ed io vivea Oh, sorrow! And I have lived less well known that in 1940 Arturo Toscanini, were too ambitious. This, it seems to me, should sol pensando alla spergiura by thinking only of her treachery, having somehow come into possession of the not prevent this creation from taking its place — fin l’esilio a me parea until even exile seemed to me autograph, gave a performance of it in New York with the added attraction of its special men deserto e men crudel less solitary and less cruel. with the NBC Symphony Orchestra. And it is circumstances — among the other overtures ogni colpo di sventura Each blow misfortune dealt also less well known that the Accademia d’Italia which Verdi’s genius has bequeathed to us. mi feria ma non nel cor did wound me, but not my heart, organised a performance of it in the Farnesina Pietro Spada ah fui beato in quell’amore ah, in that love I was blessed come un angelo nel cielo. like an angel in heaven. 8 9

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Attila Attila Quand’Ella andasse a stringere When she enters into Io la vidi I saw her un detestato imene a hateful marriage, tu sol potrai le lagrime you alone will be able I tenore Tenor I dividere con me to share in my tears. Io la vidi e a quell’aspetto I saw her, and at that sight, lagnarmi teco e gemere With you I shall lament dolce ahi quanto! e tutto amore alas, so sweet, and full of love, potrò di tante pene and bemoan all my sorrows, un violento ignoto affetto a violent and unknown emotion il duol con te dividere share my pain with you, s’avventò s’apprese al core. flared up and overwhelmed my heart. parlar di lei con te speak with you of her, Da quel dì più mio non sono Since then I have not been my own man; finché non giunga a prendermi until death, with icy step, sol di lei penso e ragiono I think only of her, and believe morte col freddo pié. comes to claim me. un sospir che suo non sia I shall never welcome mai s’accoglie mai per me any sigh that is not hers. II tenore Tenor II l’alma ell’è dell’alma mia She is the soul of my soul, Deh cessa il pianto Ah, stop, tears cannot tutto in terra ell’è per me everything on earth is she to me. vincere possibile non è be conquered. II tenore Tenor II Ti trasporti ? Have you lost your reason? I due Foscari I due Foscari Dal più remoto esilio From furthest exile I tenore Tenor I Oh taci, taci, tu non sai Oh, silence, silence; you know Fante Guard qual vita io vivo nothing of the life I am leading. Qui ti rimani alquanto, Stay here a while, le speranze son fallaci Hope is treacherous, finché il Consiglio te until the Council d’ogni ben il ciel m’ha privo heaven has taken from me all I love, di nuovo appelli. summons you again. l’anatema di vendetta A god has cast upon my head sul capo mio un Dio scagliò. the anathema of vengeance. Jacopo Jacopo Ah sì, ch’io senta ancora, Ah yes, let me once more feel II tenore Tenor II ch’io respiri aura non mista and breathe air that is free Ma da Elodia che ne speri? What do you hope for from Elodia? a gemiti e sospiri. from sighs and groaning. Brezza del suo natio Breeze of my native land, I tenore Tenor I il volto a baciar voli fly here to kiss the face Nulla, nulla Nothing, nothing, all’innocento!… of an innocent man!... eppur vendetta io bramo and yet I long for vengeance. Ecco la mia Venezia!… Behold, my Venice!... le dirò ch’io l’amo I shall tell her I love her, ecco il suo mare!… behold, her sea!... che a lei vivo le dirò. that I live for her sake, shall I say. Regina dell’onde, Queen of the waves, E ove ciò mi torni invano And wherever I go in vain Io ti saluto!… io ti saluto!… I salute you!... nel tuo sen conforto avrò. I shall find solace on your breast. Sebben meco crudele, Despite your cruelty to me,

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Attila Attila Quand’Ella andasse a stringere When she enters into Io la vidi I saw her un detestato imene a hateful marriage, tu sol potrai le lagrime you alone will be able I tenore Tenor I dividere con me to share in my tears. Io la vidi e a quell’aspetto I saw her, and at that sight, lagnarmi teco e gemere With you I shall lament dolce ahi quanto! e tutto amore alas, so sweet, and full of love, potrò di tante pene and bemoan all my sorrows, un violento ignoto affetto a violent and unknown emotion il duol con te dividere share my pain with you, s’avventò s’apprese al core. flared up and overwhelmed my heart. parlar di lei con te speak with you of her, Da quel dì più mio non sono Since then I have not been my own man; finché non giunga a prendermi until death, with icy step, sol di lei penso e ragiono I think only of her, and believe morte col freddo pié. comes to claim me. un sospir che suo non sia I shall never welcome mai s’accoglie mai per me any sigh that is not hers. II tenore Tenor II l’alma ell’è dell’alma mia She is the soul of my soul, Deh cessa il pianto Ah, stop, tears cannot tutto in terra ell’è per me everything on earth is she to me. vincere possibile non è be conquered. II tenore Tenor II Ti trasporti ? Have you lost your reason? I due Foscari I due Foscari Dal più remoto esilio From furthest exile I tenore Tenor I Oh taci, taci, tu non sai Oh, silence, silence; you know Fante Guard qual vita io vivo nothing of the life I am leading. Qui ti rimani alquanto, Stay here a while, le speranze son fallaci Hope is treacherous, finché il Consiglio te until the Council d’ogni ben il ciel m’ha privo heaven has taken from me all I love, di nuovo appelli. summons you again. l’anatema di vendetta A god has cast upon my head sul capo mio un Dio scagliò. the anathema of vengeance. Jacopo Jacopo Ah sì, ch’io senta ancora, Ah yes, let me once more feel II tenore Tenor II ch’io respiri aura non mista and breathe air that is free Ma da Elodia che ne speri? What do you hope for from Elodia? a gemiti e sospiri. from sighs and groaning. Brezza del suo natio Breeze of my native land, I tenore Tenor I il volto a baciar voli fly here to kiss the face Nulla, nulla Nothing, nothing, all’innocento!… of an innocent man!... eppur vendetta io bramo and yet I long for vengeance. Ecco la mia Venezia!… Behold, my Venice!... le dirò ch’io l’amo I shall tell her I love her, ecco il suo mare!… behold, her sea!... che a lei vivo le dirò. that I live for her sake, shall I say. Regina dell’onde, Queen of the waves, E ove ciò mi torni invano And wherever I go in vain Io ti saluto!… io ti saluto!… I salute you!... nel tuo sen conforto avrò. I shall find solace on your breast. Sebben meco crudele, Despite your cruelty to me,

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io ti son pur de’ figli I remain the most loyal Les Vêpres siciliennes Les Vêpres siciliennes il più fedele. of your sons. Ô toi que j’ai chérie (The Sicilian Vespers) Dal più remoto esilio, From furthest exile, Nouvelle Romance composée pour M. Villaret O you whom I so loved sull’ali del desio on wings of desire, a te sovente rapido my thoughts did often Ô toi que j’ai chérie O you whom I so loved, volava il pensier mio. fly swiftly to you; toi qui charmais ma vie you who enchanted my life, Come adorata vergine as if for a beloved maiden, hélas, es tu ravie alas, you have been snatched te vagheggiando il core, my heart did yearn for you, à mon bonheur à mon amour ah. from my happiness, from my love, ah. l’esilio ed il dolore and for me grief and exile Rêve douce flamme Dream, gentle flame quasi sparìano per me. would almost melt away. qui berce mon amour that lulls my love, faut il te perdre must I lose you et sans retour. for ever? I due Foscari I due Foscari Ah la voix du ciel Ah, the voice of heaven Sì lo sento Iddio mi chiama Yes, I hear God calling me parle et m’ordonne speaks and orders me, Cabaletta di Jacopo sauve le père que tu chéris “Save the father you cherish!” je l’ai sauvé ! I have saved him! Sì lo sento, Iddio mi chiama Yes, I hear God calling me, Tout m’abandonne All abandons me. de’ mal miei alfin pietoso taking pity at last on my woes. grâce Hélène pardonne Mercy, Hélène, forgive me, quest’ingrata a chi più l’ama The ingrate whom he loves more mon Hélène pardonne my Hélène, forgive me, un sospir, un sospir non mi darà. will not sigh for me, for me. ah grâce plutôt la mort ah, mercy, better death Cara donna, figli amati Dear wife, beloved children, qu’un regard de mépris. than a look of scorn. voi perdete padre e sposo husband and father you will lose, ma sottrarvi a que’ spietati but he will be better able in heaven than più che in terra in ciel potrà. on earth to save you from those pitiless men.

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io ti son pur de’ figli I remain the most loyal Les Vêpres siciliennes Les Vêpres siciliennes il più fedele. of your sons. Ô toi que j’ai chérie (The Sicilian Vespers) Dal più remoto esilio, From furthest exile, Nouvelle Romance composée pour M. Villaret O you whom I so loved sull’ali del desio on wings of desire, a te sovente rapido my thoughts did often Ô toi que j’ai chérie O you whom I so loved, volava il pensier mio. fly swiftly to you; toi qui charmais ma vie you who enchanted my life, Come adorata vergine as if for a beloved maiden, hélas, es tu ravie alas, you have been snatched te vagheggiando il core, my heart did yearn for you, à mon bonheur à mon amour ah. from my happiness, from my love, ah. l’esilio ed il dolore and for me grief and exile Rêve douce flamme Dream, gentle flame quasi sparìano per me. would almost melt away. qui berce mon amour that lulls my love, faut il te perdre must I lose you et sans retour. for ever? I due Foscari I due Foscari Ah la voix du ciel Ah, the voice of heaven Sì lo sento Iddio mi chiama Yes, I hear God calling me parle et m’ordonne speaks and orders me, Cabaletta di Jacopo sauve le père que tu chéris “Save the father you cherish!” je l’ai sauvé ! I have saved him! Sì lo sento, Iddio mi chiama Yes, I hear God calling me, Tout m’abandonne All abandons me. de’ mal miei alfin pietoso taking pity at last on my woes. grâce Hélène pardonne Mercy, Hélène, forgive me, quest’ingrata a chi più l’ama The ingrate whom he loves more mon Hélène pardonne my Hélène, forgive me, un sospir, un sospir non mi darà. will not sigh for me, for me. ah grâce plutôt la mort ah, mercy, better death Cara donna, figli amati Dear wife, beloved children, qu’un regard de mépris. than a look of scorn. voi perdete padre e sposo husband and father you will lose, ma sottrarvi a que’ spietati but he will be better able in heaven than più che in terra in ciel potrà. on earth to save you from those pitiless men.

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All rights of the producer and of the owner of the work reproduced reserved. Unauthorised copying, hiring, lending, public performance and broadcasting of this record prohibited. Made in the EU.

Editor: Artist: Art Director: Title: Cat. No.: Revision: Label: Warners Date & typesetter: Warners / Top Price / Standard booklet

All rights of the producer and of the owner of the work reproduced reserved. Unauthorised copying, hiring, lending, public performance and broadcasting of this record prohibited. Made in the EU.

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LUCIANO PAVAROTTI CLAUDIO ABBADO ORCHESTRA DEL TEATRO ALLA SCALA

Recording location: CTC Studios, Milan January 1978 and April 1980 Publishers: Boccaccini & Spada (1, 8) Suvini Zerboni (2–4, 6, 7) G. Ricordi & C. (5) Photos: Lorenzo Capellini Introductory notes from the original LP Fonit Cetra LIC 9001 (1980) Note translation: Nigel Jamieson Sung text translation: Susannah Howe Original graphic design: Fabio Berruti www.infinitestudio.it adapted by WLP Ltd Remastering 2012: AUDIOMASTER (Cologno Monzese) GIUSEPPE VERDI RARITIES