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Dö”Œyô$G]J‰ €†¹Kûd 111242-43 bk Rigoletto EU 11/10/06 2:12 PM Page 8 opens the sack and in a flash of lightning sees the face ^ As she dies, she promises to pray for her father, of his daughter Gilda. She tells him of the sacrifice that leaving him to realise that Monterone’s curse has now she has made and seeks his forgiveness. fallen on Rigoletto. VERDI Keith Anderson Rigoletto LAS • T AL ITO C G IA O R B A B I M Mark Obert-Thorn Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of 19 ing specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been 55 Record nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. He has found a way to combine all three in the transfer of historical recordings. Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike Tito Gobbi • Maria Callas • Giuseppe Di Stefano those who apply significant additions and make major changes to the acoustical qualities of old recordings. His philosophy is that a good transfer should not call attention to itself, but rather allow the performances to be heard Nicola Zaccaria • Adriana Lazzarini with the greatest clarity. There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and Orchestra and Chorus of La Scala, Milan piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and consistently achieves better results than restoration engineers working with the metal parts from the archives of the Tullio Serafin modern corporate owners of the original recordings. His transfers preserve the original tone of the old recordings, maximising the details in critical upper mid-range and lower frequencies to achieve a musical integrity that is absent from many other commercially released restorations. 8.111242-43 8 111242-43 bk Rigoletto EU 11/10/06 2:12 PM Page 2 Great Opera Recordings @ As the Duke goes, Gilda muses on his dear name. Act III # The courtiers, masked and armed, now set about their plan, joined by Rigoletto, masked and unable to 8 The third act opens by the banks of the River Mincio, Giuseppe see or hear clearly, who thinks they are abducting the outside a two-storey house. There is a tavern below and Countess Ceprano for the Duke’s pleasure. rough stairs leading to the grain-store above. In the wall VERDI $ As Gilda is carried off by the courtiers, she drops her is a door, facing the street, and there are cracks in the (1813-1901) scarf. When they have gone, Rigoletto tears off the wall through which it is possible to see what is blindfold and realises what has happened. This is the happening in the house. The district is deserted. It is Rigoletto curse of Monterone. night. In the tavern Sparafucile sits by the table, Opera in Three Acts cleaning his sword-belt, while Rigoletto and Gilda wait outside. She assures him that she loves the Duke, but Libretto by Francesco Maria Piave CD 2 Rigoletto seeks revenge. The Duke appears, disguised after Victor Hugo’s Le Roi s’amuse as an ordinary officer. He enters the house, asking Act II Sparafucile for wine and for a room. 9 As he drinks, he is heard singing his most famous Rigoletto . Tito Gobbi (baritone) 1 The second act opens in the palace once more. The song on the fickleness of women. Gilda . Maria Callas (soprano) Duke is upset, thinking that Gilda has been wrested 0 The Duke is joined by Sparafucile’s sister Duke of Mantua . Giuseppe Di Stefano (tenor) from him and imagining her distress. Maddalena, while Sparafucile leaves them together, Maddalena . Adriana Lazzarini (contralto) 2 His jubilant courtiers burst in, eager to reassure him, going out into the street to ask Rigoletto if this is the Sparafucile . Nicola Zaccaria (bass) telling him they have taken Rigoletto’s mistress. The man. Count Monterone . Plinio Clabassi (bass) Duke is delighted and hurries out, realising that Gilda is ! The Duke declares his love for Maddalena, while Cavaliere Marullo . William Dickie (baritone) now his. Gilda, observing the scene from outside, is heart-broken Matteo Borsa . Renato Ercolani (tenor) 3 When Rigoletto appears, the courtiers mock him, at her lover’s faithlessness. Rigoletto plots revenge and Count Ceprano . Carlo Forti (bass) while he feigns indifference, trying to guess where tells his daughter to go home and disguise herself in Countess Ceprano . Elvira Galassi (mezzo-soprano) Gilda has been taken. Eventually he understands that man’s clothes, ready to leave the city. Giovanna . Giuse Gerbino (mezzo-soprano) the girl who has been abducted and is now with the @ Sparafucile comes out and is paid half his fee for the Page of the Duchess . Luisa Mandelli (mezzo-soprano) Duke is his own daughter planned murder of the man in the house, whose identity Court Usher . Vittorio Tatozzi (tenor) 4 and curses this vile race of courtiers. is not known to him. Rigoletto is to return at midnight 5 Suddenly Gilda emerges in agitation from the for his victim. A storm draws near. Orchestra and Chorus of La Scala, Milan Duke’s inner room, falling into her father’s arms. # Maddalena, seeing the Duke sleeping, begs her (Norberto Mola, chorus master) 6 Left alone with her father, she explains how she met brother not to harm him and he agrees to kill any other Tullio Serafin the supposed student. Rigoletto accepts the dishonour as man who may come there before midnight. Gilda has his own and tries to comfort his daughter. Monterone is now returned, dressed as a man, and overhears the plan. Recorded 3rd, 5th, 8th - 14th and 16th September, 1955 in the Teatro alla Scala, Milan brought in, being escorted to prison, and thinks that his She enters the house, resolved to sacrifice herself for First issued on Columbia 33CX 1324s through 1326 curse has had no effect on the Duke. her lover. 7 He is escorted out by the guards but Rigoletto, aside, $ Rigoletto returns, ready to receive the body of his allows that Monterone’s curse shall have its effect and victim, and as the storm passes, takes the murdered Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn swears bitter vengeance. body in a sack, prepared to throw it into the nearby Special thanks to Maynard F. Bertolet for providing source material river. % At this moment he hears the voice of the Duke from within the house, and realises he has been tricked. He 8.111242-43 27 8.111242-43 111242-43 bk Rigoletto EU 11/10/06 2:12 PM Page 6 conventional and unconventional operas as well as HMV (1939) Verdi Requiem as well as both CD 1 56:18 CD 2 61:54 introducing a variety of new works, and worked with Angel/Columbia Normas (1954 and 1960) with Callas. numerous famous singers, including Battistini, Act I 56:18 Act II 28:24 Chaliapin, Ponselle, Gigli, Callas and Sutherland. His Michael Scott 1 Ella mi fu rapita! … Parmi veder 5:26 recording career was exhaustive and embraced the is the author of Maria Meneghini Callas Scene 1 (Duke) 1 Prelude 2:23 (Orchestra) 2 Duca, Duca! 2:25 (Borsa, Marullo, Ceprano, Courtiers, Duke) 2 Della mia bella incognita borghese 1:46 (Duke, Borsa) 3 Povero Rigoletto! 4:00 (Marullo, Rigoletto, Borsa, Ceprano, Courtiers, Page) 3 Synopsis Scene 2 Questa o quella 4:19 4 (Duke, Countess Ceprano, Rigoletto, Borsa, Courtiers) Cortigiani, vil razza dannata 4:25 (Rigoletto) CD 1 6 The scene changes to a blind alley in the city. On the 4 Gran nuova! gran nuova! 2:32 5 Mio padre! 1:50 left is a modest house, with a small walled courtyard. (Marullo, Borsa, Courtiers, Duke, Rigoletto, Ceprano) (Gilda, Rigoletto, Borsa, Marullo, Ceprano, Courtiers) Act I There is a door in the wall, leading to the street. A door 5 in the first floor of the house gives onto a balcony above Ch’io gli parli 4:26 6 Tutte le feste 7:56 (Monterone, Duke, Rigoletto, Borsa, Marullo, (Gilda, Rigoletto, Usher, Monterone) Scene 1 the wall, to which steps lead from below. On the right Ceprano, Courtiers) of the street is a very high garden wall and the side of 7 No, vecchio t’inganni … Sì, vendetta 2:22 1 Verdi’s Rigoletto has, as its central theme, the curse Count Ceprano’s house. It is night. As he approaches Scene 2 (Rigoletto, Gilda) 6 Quel vecchio maledivami! 4:37 of a father on the father of the title. The theme his house, thinking of Monterone’s curse, Rigoletto is Act III 33:30 associated with the curse is heard in the opening accosted by the ruffian Sparafucile, who offers his (Rigoletto, Sparafucile) 8 Prelude. services as an assassin, if required. 7 Pari siamo! 4:01 E l’ami? 2:11 2 The first act opens with a ball at the court of the 7 As he goes, Rigoletto reflects on the meeting, since (Rigoletto) (Rigoletto, Gilda, Duke, Sparafucile) Duke of Mantua. A band is heard from the inner rooms they are alike: Sparafucile’s weapon is a dagger and 9 La donna è mobile 3:13 8 Figlia! … Mio padre! 6:27 (Duke) of the palace. The Duke confides in Borsa, one of his Rigoletto’s his tongue. (Rigoletto, Gilda, Giovanna, Duke) courtiers, his plan to bring to a head his affair with an 8 In his garden, Rigoletto talks to his daughter Gilda, 0 Un dì, se ben rammentomi 1:35 unknown girl, although he now has his eye on the recently returned from her convent school, and 9 Ah! veglia, o donna 5:07 (Duke, Gilda, Maddalena, Rigoletto) (Rigoletto, Gilda) Countess Ceprano.
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