111332-33 bk LaBoheme EU.qxd 2/11/08 13:23 Page 12
Also Available PUCCINI La bohème
IA CAL AR LA M S
8.111240-41
Mark Obert-Thorn
Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of 195 ing specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been 6 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 Maria Callas • Giuseppe Di Stefano • Rolando Panerai 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 Anna Moffo • Nicola Zaccaria with the greatest clarity. There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and Chorus and Orchestra 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 Antonino Votto 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. 8.111332-33 12 111332-33 bk LaBoheme EU.qxd 2/11/08 13:23 Page 2
Great Opera Recordings Rodolfo is sitting at the table trying to write. Rodolfo found her, exhausted and begging to be taken once has seen Musetta riding in a carriage and finely dressed, again to Rodolfo so that she may die near him. Mimì is and she has told him that she has no feeling of love: her happy now and embraces Rodolfo. Musetta asks what Giacomo finery is compensation enough. Marcello tries to force a they can give Mimì, but the friends have nothing, no laugh, but is upset. He tells Rodolfo that he has seen wine and no coffee. PUCCINI Mimì riding in a carriage, and dressed up like a queen. 6 Mimì complains of the cold: she has no feeling in her (1858-1924) Rodolfo is equally annoyed and curses his pen, which hands, which Rodolfo, as once before he had done, tries he throws onto the floor, as Marcello throws down his to warm in his own. Schaunard and Colline sit apart, brush and secretly takes out a bunch of ribbons that he sadly, while Musetta takes off her ear-rings and tells La bohème kisses. Marcello to go quickly and sell them, to buy medicine Opera in Four Acts 2 Rodolfo, to himself, laments the loss of Mimì, taking for Mimì and to pay for a doctor. out the bonnet that he keeps to remember her by. 7 Musetta and Marcello leave the room and Colline Libretto by Luigi Illica and Giuseppe Giacosa Marcello too is haunted by his memory of Musetta. philosophically plans to part with his coat to raise After Henry Murger’s Scènes de la vie de bohème 3 They wonder how soon Schaunard will be back. At money. He and Schaunard leave the lovers together. this point the latter comes in carrying bread and 8 Mimì opens her eyes and asks if the others have accompanied by Colline with a paper bag, from which gone: she has much to say to Rodolfo and embraces he takes out a herring. They all sit down at the table and him. She asks if she is still beautiful and he tells her that Rodolfo...... Giuseppe Di Stefano (tenor) pretend that they are at a banquet, water serving for she is as beautiful as dawn. Mimì ...... Maria Callas (soprano) champagne, the salted fish for salmon and the bread for 9 Together they recall their first meeting and their love Marcello ...... Rolano Panerai (baritone) parrots’ tongues. for one another, as she repeats his words to her, as he Schaunard...... Manuel Spatafora (baritone) 4 The mock banquet is to be followed by singing and first held her hand. Schaunard returns. Colline ...... Nicola Zaccaria (bass) dancing, as Schaunard announces, and the mock-ball 0 He is followed by Musetta, who asks if Mimì is Benoit ...... Carlo Badioli (bass) begins, leading to a feigned quarrel and duel with fire- sleeping. Marcello has brought medicine and Musetta Alcindoro...... Carlo Badioli (bass) irons between the musician and the philosopher. gives Mimì her muff, which she thinks is from Rodolfo. Musetta ...... Anna Moffo (soprano) 5 Their merriment is interrupted by the sudden arrival Mimì seems to sleep, while Musetta prepares the Parpignol...... Franco Ricciardi (tenor) of Musetta, who brings with her Mimì, now seriously ill medicine with a spirit lamp on the table and murmurs a Customs Officer ...... Eraldo Coda (bass) and unable to climb the stairs unaided. The men help prayer. Schaunard approaches Mimì and realises that Sergeant...... Carlo Forti (bass) her in and make her as comfortable as they can on a bed she is dead but Rodolfo is the last to see the truth, as he that they drag forward. Musetta explains to the others throws himself on Mimì’s body in his final grief. Chorus and Orchestra of La Scala, Milan how she had heard that Mimì had left her protector, the (Chorus Master: Norberto Mola) old viscount, and was destitute and dying. She has just Keith Anderson Antonino Votto
Recorded 20th-25th August and 3rd, 4th and 12th September, 1956 in the Teatro alla Scala, Milan First issued on Columbia 33CX 1464 and 1465
Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn Special thanks to Maynard F. Bertolet for providing source material
8.111332-33 211 8.111332-33 111332-33 bk LaBoheme EU.qxd 2/11/08 13:23 Page 10
followed by Marcello and Colline, carrying Musetta, who now lies asleep on a tavern bench. She breaks into CD 1 79:02 $ Viva Parpignol! 2:23 without her shoe, Rodolfo and Mimì, with Schaunard a fit of coughing again, to Marcello’s alarm, and tells (Chorus, Marcello, Mimì, Schaunard, Colline, blowing his new hunting-horn. Alcindoro comes back, him how Rodolfo has left her that night, telling her Act 1 Rodolfo) carrying a carefully wrapped pair of new shoes, to be everything is finished. 1 Questo “Mar Rosso” mi ammollisce greeted by the waiter with the bill. ¡ Mimì hides, as Rodolfo comes out, telling Marcello e assidera 2:38 % Oh! Musetta! 3:16 that he wants to leave Mimì, now that his love for her is (Marcello, Rodolfo) (Rodolfo, Schaunard, Colline, Marcello, Chorus, dead, only to revive when he looks into her eyes. Alcindoro, Musetta, Mimì) Act 3 Marcello advises separation, if love brings such misery 2 Aguzza l’ingegno 3:08 and jealousy. (Rodolfo, Marcello, Colline) ^ Quando men’ vo soletta 4:42 * The third act opens at the Barrière d’Enfer, by the ™ Rodolfo complains of Mimì’s behaviour, which (Musetta, Marcello, Alcindoro, Mimì, Rodolfo, toll-gate, with a tavern and streets leading off in either Marcello doubts. Rodolfo is bound to agree. 3 Legna! … Sigari! 3:41 Schaunard, Colline) direction. The tavern sign is Marcello’s painting, The £ He goes on to declare that he really loves her, (Rodolfo, Marcello, Colline, Schaunard) Passage of the Red Sea, with the title underneath At the explaining about her illness and increasing weakness & Chi l’ha richiesto? 2:25 Port of Marseilles. Light shines from the tavern window and approaching death. Mimì overhears all this. 4 Si può? … Chi è là? 4:22 (Colline, Schaunard, Rodolfo, Chorus, Marcello, into a gloomy February dawn. The ground is covered in Rodolfo blames himself for the poor conditions in (Benoit, Marcello, Schaunard, Colline, Rodolfo) Musetta, Mimì) snow and the trees are grey and gaunt. There is an which she must live with him. She is like a rare flower, occasional sound of revelry from the tavern. A gang of wilting in his poor room. Mimì is racked by another 5 Al Quartiere Latin ci attende Momus 2:01 Act 3 street-sweepers approaches the toll-gate, calling for spasm of coughing and Rodolfo anxiously rushes (Schaunard, Marcello, Rodolfo, Colline) * Ohè, là, le guardie! … Aprite! 3:44 admission into the city, and one of the guards stirs towards her. Musetta’s laughter is heard from the (Chorus, Customs Officer, Musetta) himself and goes to open the gate. The men pass tavern, as she flirts with the men there, and Marcello 6 Chi è là? 2:16 through and he closes the gate again. The sound of goes in. (Rodolfo, Mimì) ( Sa dirmi, scusi, qual’è l’osteria 1:32 merriment comes from the tavern, singing accompanied ¢ (Mimì, Sergeant, Customs Officer) Mimì bids Rodolfo farewell: she must die and now 7 by the clinking of glasses, followed by the voice of she asks him to send her the few possessions she has left Oh! sventata, sventata! 1:33 ) Musetta. A group of milk-women approaches the gate, in his room, the presents he has given her. He can keep (Mimì, Rodolfo) Mimì! … Speravo di trovarvi qui 5:10 (Marcello, Mimì) which is opened for them, as the dawn grows lighter. the little bonnet that she has treasured as a souvenir of 8 They are followed by peasant-women, carrying baskets. Che gelida manina! 4:51 their love. (Rodolfo) ¡ The guards move their bench and brazier and at this ∞ Rodolfo sadly parts from her, and they tenderly Marcello. Finalmente. 1:13 (Rodolfo, Marcello, Mimì) moment Mimì appears. She reaches the first of the trees remember their love. 9 § Sì. Mi chiamano Mimì 4:57 and bursts out into a violent fit of coughing. There is the sound of breaking plates and glasses, (Mimì, Rodolfo) ™ ( Mimì approaches the sergeant and asks him the Mimì è una civetta 1:23 and Marcello is heard angrily quarrelling with Musetta. (Rodolfo, Marcello) name of the tavern where the painter is working. He The altercation between one pair of lovers accompanies 0 Ehi! Rodolfo! 0:44 shows her and as a serving-woman comes out of the the sorrowful parting of the other. Musetta’s quarrel (Schaunard, Colline, Marcello, Rodolfo, Mimì) £ Mimì è tanto malata! 3:11 tavern, she asks to speak to Marcello. Other people pass with Marcello ends in her fury, as she shouts angrily at (Rodolfo, Marcello, Mimì) through the toll-gate and the matins bell of the Hospice her lover and storms off, while he goes back into the ! O soave fanciulla 4:10 of Ste Thérèse is heard. It is day at last, a gloomy, tavern. The scene ends with the gentler parting of (Rodolfo, Marcello, Mimì) ¢ Addio … D’onde lieta uscì al tuo winter day. Rodolfo and Mimì. grido d’amore 3:30 ) Couples leave the tavern, followed by Marcello, who Act 2 (Mimì, Rodolfo) greets Mimì in surprise. He explains that he earns his @ Aranci, datteri! 2:56 money by painting and Musetta by teaching the CD 2 (Chorus, Schaunard, Colline, Rodolfo, Mimì, ∞ Dunque è proprio finita? 2:00 customers to sing. Mimì is looking for Rodolfo, who Marcello) (Rodolfo, Mimì) loves her but has left her, out of jealousy. Marcello Act 4 advises her to part from Rodolfo for good and explains # Chi guardi? 3:22 § Che facevi? Che dicevi? 3:53 how he and Musetta are united by their own good 1 The four friends are together again in the garret (Rodolfo, Colline, Mimì, Schaunard, Marcello, (Marcello, Musetta, Mimì, Rodolfo) humour. He will help her finally to part from Rodolfo, where they all live again. Marcello is painting and Chorus, Parpignol) 8.111332-33 10 3 8.111332-33 111332-33 bk LaBoheme EU.qxd 2/11/08 13:23 Page 4
CD 2 76:23 Appendix: winter, she can welcome the first light of spring. She asks Mimì what Rodolfo has bought for her and she Giuseppe Di Stefano and Rosanna Carteri: breaks off to apologise: she is just an importunate shows him her new bonnet. The others comment on Act 4 Love Duets neighbour. Rodolfo’s talents as a lover, but a remark by Mimì 1 In un coupé? 1:20 0 Rodolfo’s friends shout out to him from below in the briefly revives Marcello’s bitterness. They drink a toast, (Marcello, Rodolfo) ! VERDI: Otello (Act 1) 10:47 courtyard and he opens the window, allowing a few rays but as Marcello catches sight of his beloved Musetta, Già nella notte densa of moonlight into the room, and shouts down that he has followed by a fussy, over-dressed, pompous old 2 O Mimì, tu più non torni 3:10 nearly finished his work and will join them at the café gentleman, he calls instead for poison. (Rodolfo, Marcello) @ MASCAGNI: Iris (Act 2) 14:19 with a friend. % The old man, Alcindoro, follows Musetta Oh, come al tuo sottile ! He sings in praise of Mimì’s beauty, as she stands in breathlessly, like a servant, as he remarks, and Musetta 3 Che ora sia! … L’ora del pranzo 2:24 the moonlight: they are in love. takes the table next to the friends, where she makes her (Rodolfo, Marcello, Schaunard, Colline) # BIZET: Carmen (Act 1) 5:59 Lulu, as she calls him, sit down. They comment on her Parlez-moi de ma mère* Act 2 expensive clothes, while she tries to attract their 4 Gavotta … Minuetto … Pavanella 1:44 attention, with increasing irritation. She calls the waiter, (Colline, Marcello, Rodolfo, Schaunard) $ BIZET: Les pêcheurs de perles (Act 2) 8:19 @ The scene is a square in the Latin Quarter of Paris. complains that the plate smells and throws it on the Leila! Leila! … Dieu puissant, le voila!* ground, while Alcindoro tries to calm her. Marcello 5 C’è Mimì … c’è Mimì 3:00 Here many streets meet and here stands the Café % Momus. The square is crowded with people, soldiers, tells Mimì that the girl is called Musetta and that she is (Musetta, Rodolfo, Schaunard, Mimì, Marcello) GOUNOD: Faust (Act 3) 9:34 notoriously fickle. Alcindoro tries to keep Musetta quiet Il se fait tard, adieu!* servant-girls, children, students, working girls, 6 gendarmes and so on. There are street-vendors, and she complains that he is boring, while still seeking Ho tanto freddo. Se avessi un manicotto! 2:29 to attract the attention of Marcello. A group of working (Mimì, Rodolfo, Musetta, Marcello, Schaunard) Rosanna Carteri (soprano) hawking their wares. Rodolfo and Mimì walk together, Giuseppe Di Stefano (tenor) while Colline has a patch sewn on his old coat, girls see her with her old admirer and burst out 7 Vecchia zimarra 2:14 Schaunard bargains with a scrap-dealer for a pipe and laughing. Eventually she can restrain herself no longer (Colline, Schaunard) Milan Symphony Orchestra • Antonio Tonini horn, while Marcello wanders from one vendor to and addresses Marcello directly, to the delight of his Recorded 5th June, 1957 in Milan another. The shops are decorated with tiny lamps, while friends, although Rodolfo and Mimì remain 8 Sono andati? Fingevo di dormire 3:07 First issued on Columbia 33CX 1598 outside the Café Momus there is a huge lantern, with preoccupied with one another. (Mimì, Rodolfo) *Sung in Italian customers sitting at tables outside the café. We hear the ^ Musetta, gazing at Marcello, now tells of her life, sound of the crowd, the hawkers selling oranges, wandering along the street, admired by all the men. 9 Mi chiamano Mimì … il perchè non so 3:14 chestnuts and trinkets, the crowd exclaiming in Alcindoro is horrified. Musetta continues to celebrate (Mimì, Rodolfo, Schaunard) appreciation and street urchins adding their own noise her conquests and the old man becomes more and more to the din. Schaunard tries out the horn he has bought, agitated. Mimì realises that Musetta is really in love 0 Dorme? … Riposa 4:42 which he thinks out of tune; Colline examines the repair with Marcello. Schaunard and Colline stand up to watch (Musetta, Rodolfo, Marcello, Mimì, Schaunard, now made to his coat and Rodolfo and Mimì move the scene and Marcello too is about to go, while Colline) towards a bonnet shop, while Marcello delights in the Rodolfo and Mimì continue their own conversation. busy scene. Suddenly Musetta calls out, pretending to feel a violent # Mimì and Rodolfo talk together, while Marcello, pain in her foot, and sends Alcindoro off to find a pair of Schaunard and Colline ask a waiter for a table, which is boots for her instead of the tight shoes she is wearing. prepared for them. The voice of the hawker Parpignol is As soon as he goes, Musetta and Marcello fall into one heard, while Rodolfo introduces Mimì to his friends, to another’s arms. Producer’s Note their amusement. & A waiter brings the bill and the friends hand it round, $ Parpignol approaches pushing a barrow of toys, as a march is heard in the distance. They feel for money, The principal source for the complete recording of La bohème was a first edition British LP set, with some patches decorated with flowers and paper lanterns. He is but have nothing. Musetta calls for her bill, as the taken from later American pressings. The album of love duets was transferred from Italian LPs. Both recordings followed by an enthusiastic crowd of urchins. Mothers marching patrol draws nearer, and tells the waiter to put feature occasional pops and distortion during loud passages that appear to be inherent to the original master tapes. of children attempt to drag them away, but the children the two together and give it to her friend Alcindoro, Mark Obert-Thorn resist. The friends loudly order food and wine and who will pay. The patrol marches into the square, led by Parpignol moves on, followed by the children. Marcello a stalwart drum-major, and as they pass on they are 8.111332-33 49 8.111332-33 111332-33 bk LaBoheme EU.qxd 2/11/08 13:23 Page 8
Synopsis interested in the provisions Schaunard has brought. He Giacomo Puccini (1858 - 1924) suggests that they should drink first at home and then go La bohème CD 1 out to celebrate. Rodolfo locks the door and they go to the table and pour out wine. From its composition Puccini’s La bohème, which Leonora in Il trovatore with Karajan, and would later Act 1 4 There is a knock at the door and their landlord Benoit had its première in 1896, quickly established itself as record Amelia in Un ballo in maschera, before announces himself. After a brief consultation they let one of the most popular operas. By August 1956, making her New York début at the Met as Norma. The scene is a garret in the artists’ quarter of Paris. him in and offer him a glass of wine. He has come for when it became the thirteenth complete recording Mimì, like Liù, is one of the least taxing leading rôles There is a large window, from which the roofs of houses the quarter’s rent, but the young men constantly fill his that Callas took part in for Columbia/Angel and the in the popular repertory; by Callas’s lights there is can be seen, covered with snow. In the room there is a glass and jest with him over his supposed amatory twelfth with the company at La Scala, Milan, in the nothing much for her to do. The tessitura, range of fireplace, a table, a small cupboard, a bookcase, four conquests. Benoit confesses his liking for a buxom girl, preceding sixty years Mimì had been undertaken by expression, and dramatic devices, are all modest. The chairs, an easel, a bed, two candlesticks and many packs and at this point Marcello pretends to be angry, countless sopranos too numerous to mention. At this particular beauty of tone which Puccini’s music of cards. Rodolfo, a young poet, is looking out of the accusing him of immorality, and they push him towards time it was a favourite of Renata Tebaldi (1922- requires, and Mimì calls for, is not naturally suited to window, while Marcello is at work on his painting, The the door, ironically wishing him a happy Christmas. 2004) and Victoria de los Angeles (1923-2005), both her. She shuts her voice down to half-cock using only Passage of the Red Sea. His hands are cold, and he 5 Now the friends make ready to leave for the Café of whom also recorded it. Callas, however, never about as much as she would for Amina in La blows on them from time to time, to warm them. Momus. Rodolfo, however, must stay behind to finish sang it, at La Scala, or anywhere else. The record sonnambula, although once or twice the real Callas 1 Marcello complains of the cold, but jokingly an article, which will only take five minutes, and he company’s principal concern was to add it, not so slips out - or rather dribbles out. Nevertheless the suggests revenge by drowning Pharaoh in the Red Sea. holds a candle for the others to go down the stairs. much to her repertory, as its own. refinement of her singing is obvious throughout. Rodolfo admires the view from the window, the smoke Coming in again he shuts the door, clears a corner of the The company with her includes what should have Take one example: in Act II, in the Caffè Momus from the chimneys, although their own stove is cold. table and prepares to write, breaking off from time to been the perfect Rodolfo, Giuseppe di Stefano. His scene, when she sings ‘Amare e dolce ancora più del time for thought, finding himself not in the mood for Marcello continues his complaints about the cold and was one of the most beautiful lyric tenor voices of the miele’ (‘Love is sweeter than honey’) there is her writing. about the falseness of Musetta, and Rodolfo points out 6 There is a timid knock at the door and their twentieth century, in a tradition that includes Caruso rhythmic mastery to admire. It is the sensitivity of that love is like a stove that needs fuel. Marcello neighbour Mimì comes in, seeking a light for her (1873-1921), Gigli (1890-1957), Björling (1911- her musicianship that makes her phrasing so telling. suggests burning one of the chairs. candle. She has a fit of coughing and is about to faint. 1960) and Pavarotti (1935-2007). Unfortunately, If Callas’s Mimì is not one of her greatest 2 Rodolfo has a better idea: he will burn the play he Rodolfo makes her sit down and brings water to revive only the same month he had been persuaded to record assumptions it is still stamped throughout with her has written, and the two sit warming themselves in front her. He offers her wine, which she reluctantly accepts Manrico, in place of Richard Tucker (1913-1975), inimitability. of the burning pages. The door opens and their friend, and then makes to leave. She thanks Rodolfo and but it was too strenuous for him. In Bohème the effect U.S. born Anna Moffo (1932-2006) was of the philosopher Colline, comes in, stamping his feet. He wishes him good evening. of his undertaking it is all too apparent at the top, in Italian extraction. After beginning music studies at throws a bundle of books on the table and complains 7 As she is leaving, Mimì finds she has dropped the ‘Che gelida manina’ and ‘O soave fanciulla’, where home, in 1953 she went to Italy to Perugia, where that he has been unable to pawn anything because it is key to her room. Her candle, which Rodolfo had lit for his tone becomes open and forced sounding. The initially she took piano lessons. But her voice, as well Christmas Eve, and the three of them joke about her, is blown out, and Rodolfo runs to bring his own Musetta of Anna Moffo gives a very pleasingly sung as her attractive appearance, soon encouraged her to burning the play, as the second act goes on the fire. from the table, but that too is blown out by the draught interpretation; if not especially characteristic, it is take up vocal study with Luigi Ricci and Mercedes Rodolfo laments the end of his play and Colline from the stairway. The room is in darkness. Rodolfo altogether without the shrill overacting too familiar Llopart. Her début took place at the Rome Opera in moralises. The third act goes the way of the rest, as the shuts the door and the two of them search for Mimì’s in the rôle. In Marcello and Colline Rolando Panerai 1956; thereafter her progress was very rapid. During key, which Rodolfo finds and pockets. flames die down. 8 and Nicola Zaccaria both give performances worthy the next few years she appeared at the Aix-en- 3 While they are still searching, Rodolfo touches Two boys come in, one of them carrying food, wine Mimì’s hand, which he holds, telling her to wait until of La Scala; the conducting too by Antonino Votto, if Provence Festival, San Carlo, Naples, La Scala, and cigars and the other wood for the fire. The three the moon shines brightly enough for them to see again. not exactly exceptional, is certainly unexceptionable. Milan, the Paris Opéra, Chicago, as Zerlina, friends seize on the provisions and Colline adds wood to While they wait, he will tell her who he is, a poet and a At La Scala, Milan that year Callas had been Nannetta, Pamina and Mélisande, and by 1959 she the fire. The musician Schaunard comes in and throws writer, a man of imagination. singing Violetta, Rosina, and Giordano’s Fedora, as made her bow at the Met as Violetta (which I saw). down some coins, telling them of his good luck, how an 9 Mimì tells her own story. Her real name is Lucia and well as appearing as Lucia at the San Carlo, Naples Already she was not only singing too often but English nobleman has employed him to play and sing to she is a seamstress, embroidering flowers like the and at the Staatsoper, Vienna, where she undertook it undertaking too mature a repertory. She appears in his parrot. The others interrupt his story, more flowers of poets: she lives alone in a garret, where, after under Karajan. That summer she also recorded numerous recordings, among the many, by 8.111332-33 85 8.111332-33 111332-33 bk LaBoheme EU.qxd 2/11/08 13:23 Page 6
Columbia/Angel of Le nozze di Figaro, Capriccio, progress was rapid and extensive; in 1947 he Silva in Ernani, Rodolfo in La sonnambula and Aires. Back in Europe again in 1923 he joined the Carmen and Falstaff; by Eurodisc, as Micaela and appeared at the San Carlo, Naples; in 1952 at La Sarastro in Zauberflöte. For EMI he appears with company at La Scala, Milan, conducting Manon Lucia; by RCA of Madama Butterfly, La serva Scala, Milan; in 1957 at the Salzburg Festival; in Callas in recordings of Aida, Un ballo in maschera, Il Lescaut; thereafter he acted as Toscanini’s assistant padrona, Luisa Miller, Rigoletto and Thaïs; and by 1958 at San Francisco and in 1960 at Covent Garden, trovatore, La bohème, Il barbiere di Siviglia, La until 1929. Throughout the 1930s he appeared at Ariola/Eurodisc of Iphigenie in Aulis. Hardly London. He sang elsewhere throughout Italy, and in sonnambula and Norma. Covent Garden and elsewhere in Europe as well as surprisingly by the mid-1970s she had a vocal crisis Austria, Germany and France. His substantial Born at Piacenza, Antonino Votto (1896-1985) still giving occasional piano recitals in Italy. After from which her career never properly recovered. She repertory included Apollo in Gluck’s Alceste, the was a student at the Conservatorio San Pietro a World War II he began to conduct regularly at La was married first to stage director Mario Lanfranchi, High Priest in Samson et Dalila, Mozart’s and Majella, Naples. Following army service in World Scala, Milan. His complete recordings made for EMI, and then to Robert W. Sarnoff, Director of RCA. Rossini’s Figaro, Masetto in Don Giovanni, War I, in 1919 he commenced his career, as a pianist Cetra and DGG include Gioconda, La bohème, Un Giuseppe Di Stefano (1921-2008), born near Guglielmo in Così fan tutte, Paolo in Simon giving recitals there and in Rome. The same year he ballo in maschera, La sonnambula and La traviata. Catania, Sicily, had a brilliant but short career. His Boccanegra, Marcello in La bohème, di Luna in Il began teaching the piano in Trieste, where he also was one of the most beautiful lyric tenor voices of the trovatore, Silvio in Pagliacci, Germont in La made his début as a conductor. In 1921 Ettore Michael Scott last century. He began singing light music then, traviata and in 1962 at La Scala he created the title- Panizza engaged him to conduct at the Colón, Buenos Author of Maria Meneghini Callas following a brief period of study with the baritone rôle in Turchi’s Il buon soldato Svejk. Later in his Luigi Montesanto, made his opera début in 1946 as career, in traditional fashion, he graduated from Ford Des Grieux in Massenet’s Manon at Reggio Emilia, to Falstaff and undertook Don Pasquale, and after which his rise to fame was rapid. In 1947 he Dulcamara in L’elisir d’amore. In a 1950 RAI appeared at La Scala, Milan, also as Des Grieux, and broadcast he is Amfortas in Parsifal with Callas’s in 1948 at the Metropolitan, New York, as the Duke Kundry and, nearly half a century later, Germont in a in Rigoletto. At first his repertory included Fenton in telecast of La traviata conducted by Mehta. His voice Falstaff, Almaviva in Il barbiere di Siviglia, was an attractive sounding but lyric instrument. For Rinuccio in Gianni Schicchi, Alfredo in La traviata EMI [Columbia/Angel] with Callas, he recorded, as and Faust, but it did not take long before he began well as di Luna, Silvio in Pagliacci, Alfio and undertaking heavier rôles, such as Cavaradossi, Don Marcello. José in Carmen, Radames in Aida, Canio in Pagliacci Born in Athens, after studying at the and even Alvaro in La forza del destino. Sadly the Conservatory, Nicola Zaccaria (1923-2007), made great years of his career were soon over, and by 1961, his début in 1949 as Raimondo in Lucia di trying to make more out of his voice than nature had Lammermoor. Four years later he appeared at La put in, he made his last appearance at La Scala. From Scala, Milan, as Sparafucile in Rigoletto. Throughout 1944 for HMV he recorded songs and arias, and from the 1950s and 1960s he appeared in many leading 1953 for Angel/Columbia, with Callas, Edgardo, Italian opera seasons: at Florence, Verona and Rome Arturo, Cavaradossi, Turiddu in Cavalleria in the typical Italian repertory. In 1956 he was a guest rusticana, Canio, the Duke, Manrico in Il trovatore, at the Vienna Staatsoper and at the festival in Rodolfo, Riccardo in Un ballo in maschera and Des Salzburg; and in 1957 at Covent Garden with Grieux in Puccini’s Manon Lescaut. Callas’s Norma he was Oroveso and in 1959 Creon The baritone Rolando Panerai (b.1924), born at with her Medea. His career was wide and embraced Campi Bisenzio near Florence, had a long and Cologne, Brussels, Ghent, Moscow, Mexico City, distinguished career. After completing his studies in Rio de Janeiro, Monte Carlo, Berlin and Dallas, Florence and Milan with Armani and Tess, he made which he returned to often until the 1980s, as well as his début at the Comunale, Florence, in 1946 as festivals at Aix-en-Provence, Edinburgh, Orange and Enrico in Lucia di Lammermoor. Thereafter his Athens. He sang rôles such as Zaccaria in Nabucco, 8.111332-33 6 7 8.111332-33 111332-33 bk LaBoheme EU.qxd 2/11/08 13:23 Page 6
Columbia/Angel of Le nozze di Figaro, Capriccio, progress was rapid and extensive; in 1947 he Silva in Ernani, Rodolfo in La sonnambula and Aires. Back in Europe again in 1923 he joined the Carmen and Falstaff; by Eurodisc, as Micaela and appeared at the San Carlo, Naples; in 1952 at La Sarastro in Zauberflöte. For EMI he appears with company at La Scala, Milan, conducting Manon Lucia; by RCA of Madama Butterfly, La serva Scala, Milan; in 1957 at the Salzburg Festival; in Callas in recordings of Aida, Un ballo in maschera, Il Lescaut; thereafter he acted as Toscanini’s assistant padrona, Luisa Miller, Rigoletto and Thaïs; and by 1958 at San Francisco and in 1960 at Covent Garden, trovatore, La bohème, Il barbiere di Siviglia, La until 1929. Throughout the 1930s he appeared at Ariola/Eurodisc of Iphigenie in Aulis. Hardly London. He sang elsewhere throughout Italy, and in sonnambula and Norma. Covent Garden and elsewhere in Europe as well as surprisingly by the mid-1970s she had a vocal crisis Austria, Germany and France. His substantial Born at Piacenza, Antonino Votto (1896-1985) still giving occasional piano recitals in Italy. After from which her career never properly recovered. She repertory included Apollo in Gluck’s Alceste, the was a student at the Conservatorio San Pietro a World War II he began to conduct regularly at La was married first to stage director Mario Lanfranchi, High Priest in Samson et Dalila, Mozart’s and Majella, Naples. Following army service in World Scala, Milan. His complete recordings made for EMI, and then to Robert W. Sarnoff, Director of RCA. Rossini’s Figaro, Masetto in Don Giovanni, War I, in 1919 he commenced his career, as a pianist Cetra and DGG include Gioconda, La bohème, Un Giuseppe Di Stefano (1921-2008), born near Guglielmo in Così fan tutte, Paolo in Simon giving recitals there and in Rome. The same year he ballo in maschera, La sonnambula and La traviata. Catania, Sicily, had a brilliant but short career. His Boccanegra, Marcello in La bohème, di Luna in Il began teaching the piano in Trieste, where he also was one of the most beautiful lyric tenor voices of the trovatore, Silvio in Pagliacci, Germont in La made his début as a conductor. In 1921 Ettore Michael Scott last century. He began singing light music then, traviata and in 1962 at La Scala he created the title- Panizza engaged him to conduct at the Colón, Buenos Author of Maria Meneghini Callas following a brief period of study with the baritone rôle in Turchi’s Il buon soldato Svejk. Later in his Luigi Montesanto, made his opera début in 1946 as career, in traditional fashion, he graduated from Ford Des Grieux in Massenet’s Manon at Reggio Emilia, to Falstaff and undertook Don Pasquale, and after which his rise to fame was rapid. In 1947 he Dulcamara in L’elisir d’amore. In a 1950 RAI appeared at La Scala, Milan, also as Des Grieux, and broadcast he is Amfortas in Parsifal with Callas’s in 1948 at the Metropolitan, New York, as the Duke Kundry and, nearly half a century later, Germont in a in Rigoletto. At first his repertory included Fenton in telecast of La traviata conducted by Mehta. His voice Falstaff, Almaviva in Il barbiere di Siviglia, was an attractive sounding but lyric instrument. For Rinuccio in Gianni Schicchi, Alfredo in La traviata EMI [Columbia/Angel] with Callas, he recorded, as and Faust, but it did not take long before he began well as di Luna, Silvio in Pagliacci, Alfio and undertaking heavier rôles, such as Cavaradossi, Don Marcello. José in Carmen, Radames in Aida, Canio in Pagliacci Born in Athens, after studying at the and even Alvaro in La forza del destino. Sadly the Conservatory, Nicola Zaccaria (1923-2007), made great years of his career were soon over, and by 1961, his début in 1949 as Raimondo in Lucia di trying to make more out of his voice than nature had Lammermoor. Four years later he appeared at La put in, he made his last appearance at La Scala. From Scala, Milan, as Sparafucile in Rigoletto. Throughout 1944 for HMV he recorded songs and arias, and from the 1950s and 1960s he appeared in many leading 1953 for Angel/Columbia, with Callas, Edgardo, Italian opera seasons: at Florence, Verona and Rome Arturo, Cavaradossi, Turiddu in Cavalleria in the typical Italian repertory. In 1956 he was a guest rusticana, Canio, the Duke, Manrico in Il trovatore, at the Vienna Staatsoper and at the festival in Rodolfo, Riccardo in Un ballo in maschera and Des Salzburg; and in 1957 at Covent Garden with Grieux in Puccini’s Manon Lescaut. Callas’s Norma he was Oroveso and in 1959 Creon The baritone Rolando Panerai (b.1924), born at with her Medea. His career was wide and embraced Campi Bisenzio near Florence, had a long and Cologne, Brussels, Ghent, Moscow, Mexico City, distinguished career. After completing his studies in Rio de Janeiro, Monte Carlo, Berlin and Dallas, Florence and Milan with Armani and Tess, he made which he returned to often until the 1980s, as well as his début at the Comunale, Florence, in 1946 as festivals at Aix-en-Provence, Edinburgh, Orange and Enrico in Lucia di Lammermoor. Thereafter his Athens. He sang rôles such as Zaccaria in Nabucco, 8.111332-33 6 7 8.111332-33 111332-33 bk LaBoheme EU.qxd 2/11/08 13:23 Page 8
Synopsis interested in the provisions Schaunard has brought. He Giacomo Puccini (1858 - 1924) suggests that they should drink first at home and then go La bohème CD 1 out to celebrate. Rodolfo locks the door and they go to the table and pour out wine. From its composition Puccini’s La bohème, which Leonora in Il trovatore with Karajan, and would later Act 1 4 There is a knock at the door and their landlord Benoit had its première in 1896, quickly established itself as record Amelia in Un ballo in maschera, before announces himself. After a brief consultation they let one of the most popular operas. By August 1956, making her New York début at the Met as Norma. The scene is a garret in the artists’ quarter of Paris. him in and offer him a glass of wine. He has come for when it became the thirteenth complete recording Mimì, like Liù, is one of the least taxing leading rôles There is a large window, from which the roofs of houses the quarter’s rent, but the young men constantly fill his that Callas took part in for Columbia/Angel and the in the popular repertory; by Callas’s lights there is can be seen, covered with snow. In the room there is a glass and jest with him over his supposed amatory twelfth with the company at La Scala, Milan, in the nothing much for her to do. The tessitura, range of fireplace, a table, a small cupboard, a bookcase, four conquests. Benoit confesses his liking for a buxom girl, preceding sixty years Mimì had been undertaken by expression, and dramatic devices, are all modest. The chairs, an easel, a bed, two candlesticks and many packs and at this point Marcello pretends to be angry, countless sopranos too numerous to mention. At this particular beauty of tone which Puccini’s music of cards. Rodolfo, a young poet, is looking out of the accusing him of immorality, and they push him towards time it was a favourite of Renata Tebaldi (1922- requires, and Mimì calls for, is not naturally suited to window, while Marcello is at work on his painting, The the door, ironically wishing him a happy Christmas. 2004) and Victoria de los Angeles (1923-2005), both her. She shuts her voice down to half-cock using only Passage of the Red Sea. His hands are cold, and he 5 Now the friends make ready to leave for the Café of whom also recorded it. Callas, however, never about as much as she would for Amina in La blows on them from time to time, to warm them. Momus. Rodolfo, however, must stay behind to finish sang it, at La Scala, or anywhere else. The record sonnambula, although once or twice the real Callas 1 Marcello complains of the cold, but jokingly an article, which will only take five minutes, and he company’s principal concern was to add it, not so slips out - or rather dribbles out. Nevertheless the suggests revenge by drowning Pharaoh in the Red Sea. holds a candle for the others to go down the stairs. much to her repertory, as its own. refinement of her singing is obvious throughout. Rodolfo admires the view from the window, the smoke Coming in again he shuts the door, clears a corner of the The company with her includes what should have Take one example: in Act II, in the Caffè Momus from the chimneys, although their own stove is cold. table and prepares to write, breaking off from time to been the perfect Rodolfo, Giuseppe di Stefano. His scene, when she sings ‘Amare e dolce ancora più del time for thought, finding himself not in the mood for Marcello continues his complaints about the cold and was one of the most beautiful lyric tenor voices of the miele’ (‘Love is sweeter than honey’) there is her writing. about the falseness of Musetta, and Rodolfo points out 6 There is a timid knock at the door and their twentieth century, in a tradition that includes Caruso rhythmic mastery to admire. It is the sensitivity of that love is like a stove that needs fuel. Marcello neighbour Mimì comes in, seeking a light for her (1873-1921), Gigli (1890-1957), Björling (1911- her musicianship that makes her phrasing so telling. suggests burning one of the chairs. candle. She has a fit of coughing and is about to faint. 1960) and Pavarotti (1935-2007). Unfortunately, If Callas’s Mimì is not one of her greatest 2 Rodolfo has a better idea: he will burn the play he Rodolfo makes her sit down and brings water to revive only the same month he had been persuaded to record assumptions it is still stamped throughout with her has written, and the two sit warming themselves in front her. He offers her wine, which she reluctantly accepts Manrico, in place of Richard Tucker (1913-1975), inimitability. of the burning pages. The door opens and their friend, and then makes to leave. She thanks Rodolfo and but it was too strenuous for him. In Bohème the effect U.S. born Anna Moffo (1932-2006) was of the philosopher Colline, comes in, stamping his feet. He wishes him good evening. of his undertaking it is all too apparent at the top, in Italian extraction. After beginning music studies at throws a bundle of books on the table and complains 7 As she is leaving, Mimì finds she has dropped the ‘Che gelida manina’ and ‘O soave fanciulla’, where home, in 1953 she went to Italy to Perugia, where that he has been unable to pawn anything because it is key to her room. Her candle, which Rodolfo had lit for his tone becomes open and forced sounding. The initially she took piano lessons. But her voice, as well Christmas Eve, and the three of them joke about her, is blown out, and Rodolfo runs to bring his own Musetta of Anna Moffo gives a very pleasingly sung as her attractive appearance, soon encouraged her to burning the play, as the second act goes on the fire. from the table, but that too is blown out by the draught interpretation; if not especially characteristic, it is take up vocal study with Luigi Ricci and Mercedes Rodolfo laments the end of his play and Colline from the stairway. The room is in darkness. Rodolfo altogether without the shrill overacting too familiar Llopart. Her début took place at the Rome Opera in moralises. The third act goes the way of the rest, as the shuts the door and the two of them search for Mimì’s in the rôle. In Marcello and Colline Rolando Panerai 1956; thereafter her progress was very rapid. During key, which Rodolfo finds and pockets. flames die down. 8 and Nicola Zaccaria both give performances worthy the next few years she appeared at the Aix-en- 3 While they are still searching, Rodolfo touches Two boys come in, one of them carrying food, wine Mimì’s hand, which he holds, telling her to wait until of La Scala; the conducting too by Antonino Votto, if Provence Festival, San Carlo, Naples, La Scala, and cigars and the other wood for the fire. The three the moon shines brightly enough for them to see again. not exactly exceptional, is certainly unexceptionable. Milan, the Paris Opéra, Chicago, as Zerlina, friends seize on the provisions and Colline adds wood to While they wait, he will tell her who he is, a poet and a At La Scala, Milan that year Callas had been Nannetta, Pamina and Mélisande, and by 1959 she the fire. The musician Schaunard comes in and throws writer, a man of imagination. singing Violetta, Rosina, and Giordano’s Fedora, as made her bow at the Met as Violetta (which I saw). down some coins, telling them of his good luck, how an 9 Mimì tells her own story. Her real name is Lucia and well as appearing as Lucia at the San Carlo, Naples Already she was not only singing too often but English nobleman has employed him to play and sing to she is a seamstress, embroidering flowers like the and at the Staatsoper, Vienna, where she undertook it undertaking too mature a repertory. She appears in his parrot. The others interrupt his story, more flowers of poets: she lives alone in a garret, where, after under Karajan. That summer she also recorded numerous recordings, among the many, by 8.111332-33 85 8.111332-33 111332-33 bk LaBoheme EU.qxd 2/11/08 13:23 Page 4
CD 2 76:23 Appendix: winter, she can welcome the first light of spring. She asks Mimì what Rodolfo has bought for her and she Giuseppe Di Stefano and Rosanna Carteri: breaks off to apologise: she is just an importunate shows him her new bonnet. The others comment on Act 4 Love Duets neighbour. Rodolfo’s talents as a lover, but a remark by Mimì 1 In un coupé? 1:20 0 Rodolfo’s friends shout out to him from below in the briefly revives Marcello’s bitterness. They drink a toast, (Marcello, Rodolfo) ! VERDI: Otello (Act 1) 10:47 courtyard and he opens the window, allowing a few rays but as Marcello catches sight of his beloved Musetta, Già nella notte densa of moonlight into the room, and shouts down that he has followed by a fussy, over-dressed, pompous old 2 O Mimì, tu più non torni 3:10 nearly finished his work and will join them at the café gentleman, he calls instead for poison. (Rodolfo, Marcello) @ MASCAGNI: Iris (Act 2) 14:19 with a friend. % The old man, Alcindoro, follows Musetta Oh, come al tuo sottile ! He sings in praise of Mimì’s beauty, as she stands in breathlessly, like a servant, as he remarks, and Musetta 3 Che ora sia! … L’ora del pranzo 2:24 the moonlight: they are in love. takes the table next to the friends, where she makes her (Rodolfo, Marcello, Schaunard, Colline) # BIZET: Carmen (Act 1) 5:59 Lulu, as she calls him, sit down. They comment on her Parlez-moi de ma mère* Act 2 expensive clothes, while she tries to attract their 4 Gavotta … Minuetto … Pavanella 1:44 attention, with increasing irritation. She calls the waiter, (Colline, Marcello, Rodolfo, Schaunard) $ BIZET: Les pêcheurs de perles (Act 2) 8:19 @ The scene is a square in the Latin Quarter of Paris. complains that the plate smells and throws it on the Leila! Leila! … Dieu puissant, le voila!* ground, while Alcindoro tries to calm her. Marcello 5 C’è Mimì … c’è Mimì 3:00 Here many streets meet and here stands the Café % Momus. The square is crowded with people, soldiers, tells Mimì that the girl is called Musetta and that she is (Musetta, Rodolfo, Schaunard, Mimì, Marcello) GOUNOD: Faust (Act 3) 9:34 notoriously fickle. Alcindoro tries to keep Musetta quiet Il se fait tard, adieu!* servant-girls, children, students, working girls, 6 gendarmes and so on. There are street-vendors, and she complains that he is boring, while still seeking Ho tanto freddo. Se avessi un manicotto! 2:29 to attract the attention of Marcello. A group of working (Mimì, Rodolfo, Musetta, Marcello, Schaunard) Rosanna Carteri (soprano) hawking their wares. Rodolfo and Mimì walk together, Giuseppe Di Stefano (tenor) while Colline has a patch sewn on his old coat, girls see her with her old admirer and burst out 7 Vecchia zimarra 2:14 Schaunard bargains with a scrap-dealer for a pipe and laughing. Eventually she can restrain herself no longer (Colline, Schaunard) Milan Symphony Orchestra • Antonio Tonini horn, while Marcello wanders from one vendor to and addresses Marcello directly, to the delight of his Recorded 5th June, 1957 in Milan another. The shops are decorated with tiny lamps, while friends, although Rodolfo and Mimì remain 8 Sono andati? Fingevo di dormire 3:07 First issued on Columbia 33CX 1598 outside the Café Momus there is a huge lantern, with preoccupied with one another. (Mimì, Rodolfo) *Sung in Italian customers sitting at tables outside the café. We hear the ^ Musetta, gazing at Marcello, now tells of her life, sound of the crowd, the hawkers selling oranges, wandering along the street, admired by all the men. 9 Mi chiamano Mimì … il perchè non so 3:14 chestnuts and trinkets, the crowd exclaiming in Alcindoro is horrified. Musetta continues to celebrate (Mimì, Rodolfo, Schaunard) appreciation and street urchins adding their own noise her conquests and the old man becomes more and more to the din. Schaunard tries out the horn he has bought, agitated. Mimì realises that Musetta is really in love 0 Dorme? … Riposa 4:42 which he thinks out of tune; Colline examines the repair with Marcello. Schaunard and Colline stand up to watch (Musetta, Rodolfo, Marcello, Mimì, Schaunard, now made to his coat and Rodolfo and Mimì move the scene and Marcello too is about to go, while Colline) towards a bonnet shop, while Marcello delights in the Rodolfo and Mimì continue their own conversation. busy scene. Suddenly Musetta calls out, pretending to feel a violent # Mimì and Rodolfo talk together, while Marcello, pain in her foot, and sends Alcindoro off to find a pair of Schaunard and Colline ask a waiter for a table, which is boots for her instead of the tight shoes she is wearing. prepared for them. The voice of the hawker Parpignol is As soon as he goes, Musetta and Marcello fall into one heard, while Rodolfo introduces Mimì to his friends, to another’s arms. Producer’s Note their amusement. & A waiter brings the bill and the friends hand it round, $ Parpignol approaches pushing a barrow of toys, as a march is heard in the distance. They feel for money, The principal source for the complete recording of La bohème was a first edition British LP set, with some patches decorated with flowers and paper lanterns. He is but have nothing. Musetta calls for her bill, as the taken from later American pressings. The album of love duets was transferred from Italian LPs. Both recordings followed by an enthusiastic crowd of urchins. Mothers marching patrol draws nearer, and tells the waiter to put feature occasional pops and distortion during loud passages that appear to be inherent to the original master tapes. of children attempt to drag them away, but the children the two together and give it to her friend Alcindoro, Mark Obert-Thorn resist. The friends loudly order food and wine and who will pay. The patrol marches into the square, led by Parpignol moves on, followed by the children. Marcello a stalwart drum-major, and as they pass on they are 8.111332-33 49 8.111332-33 111332-33 bk LaBoheme EU.qxd 2/11/08 13:23 Page 10
followed by Marcello and Colline, carrying Musetta, who now lies asleep on a tavern bench. She breaks into CD 1 79:02 $ Viva Parpignol! 2:23 without her shoe, Rodolfo and Mimì, with Schaunard a fit of coughing again, to Marcello’s alarm, and tells (Chorus, Marcello, Mimì, Schaunard, Colline, blowing his new hunting-horn. Alcindoro comes back, him how Rodolfo has left her that night, telling her Act 1 Rodolfo) carrying a carefully wrapped pair of new shoes, to be everything is finished. 1 Questo “Mar Rosso” mi ammollisce greeted by the waiter with the bill. ¡ Mimì hides, as Rodolfo comes out, telling Marcello e assidera 2:38 % Oh! Musetta! 3:16 that he wants to leave Mimì, now that his love for her is (Marcello, Rodolfo) (Rodolfo, Schaunard, Colline, Marcello, Chorus, dead, only to revive when he looks into her eyes. Alcindoro, Musetta, Mimì) Act 3 Marcello advises separation, if love brings such misery 2 Aguzza l’ingegno 3:08 and jealousy. (Rodolfo, Marcello, Colline) ^ Quando men’ vo soletta 4:42 * The third act opens at the Barrière d’Enfer, by the ™ Rodolfo complains of Mimì’s behaviour, which (Musetta, Marcello, Alcindoro, Mimì, Rodolfo, toll-gate, with a tavern and streets leading off in either Marcello doubts. Rodolfo is bound to agree. 3 Legna! … Sigari! 3:41 Schaunard, Colline) direction. The tavern sign is Marcello’s painting, The £ He goes on to declare that he really loves her, (Rodolfo, Marcello, Colline, Schaunard) Passage of the Red Sea, with the title underneath At the explaining about her illness and increasing weakness & Chi l’ha richiesto? 2:25 Port of Marseilles. Light shines from the tavern window and approaching death. Mimì overhears all this. 4 Si può? … Chi è là? 4:22 (Colline, Schaunard, Rodolfo, Chorus, Marcello, into a gloomy February dawn. The ground is covered in Rodolfo blames himself for the poor conditions in (Benoit, Marcello, Schaunard, Colline, Rodolfo) Musetta, Mimì) snow and the trees are grey and gaunt. There is an which she must live with him. She is like a rare flower, occasional sound of revelry from the tavern. A gang of wilting in his poor room. Mimì is racked by another 5 Al Quartiere Latin ci attende Momus 2:01 Act 3 street-sweepers approaches the toll-gate, calling for spasm of coughing and Rodolfo anxiously rushes (Schaunard, Marcello, Rodolfo, Colline) * Ohè, là, le guardie! … Aprite! 3:44 admission into the city, and one of the guards stirs towards her. Musetta’s laughter is heard from the (Chorus, Customs Officer, Musetta) himself and goes to open the gate. The men pass tavern, as she flirts with the men there, and Marcello 6 Chi è là? 2:16 through and he closes the gate again. The sound of goes in. (Rodolfo, Mimì) ( Sa dirmi, scusi, qual’è l’osteria 1:32 merriment comes from the tavern, singing accompanied ¢ (Mimì, Sergeant, Customs Officer) Mimì bids Rodolfo farewell: she must die and now 7 by the clinking of glasses, followed by the voice of she asks him to send her the few possessions she has left Oh! sventata, sventata! 1:33 ) Musetta. A group of milk-women approaches the gate, in his room, the presents he has given her. He can keep (Mimì, Rodolfo) Mimì! … Speravo di trovarvi qui 5:10 (Marcello, Mimì) which is opened for them, as the dawn grows lighter. the little bonnet that she has treasured as a souvenir of 8 They are followed by peasant-women, carrying baskets. Che gelida manina! 4:51 their love. (Rodolfo) ¡ The guards move their bench and brazier and at this ∞ Rodolfo sadly parts from her, and they tenderly Marcello. Finalmente. 1:13 (Rodolfo, Marcello, Mimì) moment Mimì appears. She reaches the first of the trees remember their love. 9 § Sì. Mi chiamano Mimì 4:57 and bursts out into a violent fit of coughing. There is the sound of breaking plates and glasses, (Mimì, Rodolfo) ™ ( Mimì approaches the sergeant and asks him the Mimì è una civetta 1:23 and Marcello is heard angrily quarrelling with Musetta. (Rodolfo, Marcello) name of the tavern where the painter is working. He The altercation between one pair of lovers accompanies 0 Ehi! Rodolfo! 0:44 shows her and as a serving-woman comes out of the the sorrowful parting of the other. Musetta’s quarrel (Schaunard, Colline, Marcello, Rodolfo, Mimì) £ Mimì è tanto malata! 3:11 tavern, she asks to speak to Marcello. Other people pass with Marcello ends in her fury, as she shouts angrily at (Rodolfo, Marcello, Mimì) through the toll-gate and the matins bell of the Hospice her lover and storms off, while he goes back into the ! O soave fanciulla 4:10 of Ste Thérèse is heard. It is day at last, a gloomy, tavern. The scene ends with the gentler parting of (Rodolfo, Marcello, Mimì) ¢ Addio … D’onde lieta uscì al tuo winter day. Rodolfo and Mimì. grido d’amore 3:30 ) Couples leave the tavern, followed by Marcello, who Act 2 (Mimì, Rodolfo) greets Mimì in surprise. He explains that he earns his @ Aranci, datteri! 2:56 money by painting and Musetta by teaching the CD 2 (Chorus, Schaunard, Colline, Rodolfo, Mimì, ∞ Dunque è proprio finita? 2:00 customers to sing. Mimì is looking for Rodolfo, who Marcello) (Rodolfo, Mimì) loves her but has left her, out of jealousy. Marcello Act 4 advises her to part from Rodolfo for good and explains # Chi guardi? 3:22 § Che facevi? Che dicevi? 3:53 how he and Musetta are united by their own good 1 The four friends are together again in the garret (Rodolfo, Colline, Mimì, Schaunard, Marcello, (Marcello, Musetta, Mimì, Rodolfo) humour. He will help her finally to part from Rodolfo, where they all live again. Marcello is painting and Chorus, Parpignol) 8.111332-33 10 3 8.111332-33 111332-33 bk LaBoheme EU.qxd 2/11/08 13:23 Page 2
Great Opera Recordings Rodolfo is sitting at the table trying to write. Rodolfo found her, exhausted and begging to be taken once has seen Musetta riding in a carriage and finely dressed, again to Rodolfo so that she may die near him. Mimì is and she has told him that she has no feeling of love: her happy now and embraces Rodolfo. Musetta asks what Giacomo finery is compensation enough. Marcello tries to force a they can give Mimì, but the friends have nothing, no laugh, but is upset. He tells Rodolfo that he has seen wine and no coffee. PUCCINI Mimì riding in a carriage, and dressed up like a queen. 6 Mimì complains of the cold: she has no feeling in her (1858-1924) Rodolfo is equally annoyed and curses his pen, which hands, which Rodolfo, as once before he had done, tries he throws onto the floor, as Marcello throws down his to warm in his own. Schaunard and Colline sit apart, brush and secretly takes out a bunch of ribbons that he sadly, while Musetta takes off her ear-rings and tells La bohème kisses. Marcello to go quickly and sell them, to buy medicine Opera in Four Acts 2 Rodolfo, to himself, laments the loss of Mimì, taking for Mimì and to pay for a doctor. out the bonnet that he keeps to remember her by. 7 Musetta and Marcello leave the room and Colline Libretto by Luigi Illica and Giuseppe Giacosa Marcello too is haunted by his memory of Musetta. philosophically plans to part with his coat to raise After Henry Murger’s Scènes de la vie de bohème 3 They wonder how soon Schaunard will be back. At money. He and Schaunard leave the lovers together. this point the latter comes in carrying bread and 8 Mimì opens her eyes and asks if the others have accompanied by Colline with a paper bag, from which gone: she has much to say to Rodolfo and embraces he takes out a herring. They all sit down at the table and him. She asks if she is still beautiful and he tells her that Rodolfo...... Giuseppe Di Stefano (tenor) pretend that they are at a banquet, water serving for she is as beautiful as dawn. Mimì ...... Maria Callas (soprano) champagne, the salted fish for salmon and the bread for 9 Together they recall their first meeting and their love Marcello ...... Rolano Panerai (baritone) parrots’ tongues. for one another, as she repeats his words to her, as he Schaunard...... Manuel Spatafora (baritone) 4 The mock banquet is to be followed by singing and first held her hand. Schaunard returns. Colline ...... Nicola Zaccaria (bass) dancing, as Schaunard announces, and the mock-ball 0 He is followed by Musetta, who asks if Mimì is Benoit ...... Carlo Badioli (bass) begins, leading to a feigned quarrel and duel with fire- sleeping. Marcello has brought medicine and Musetta Alcindoro...... Carlo Badioli (bass) irons between the musician and the philosopher. gives Mimì her muff, which she thinks is from Rodolfo. Musetta ...... Anna Moffo (soprano) 5 Their merriment is interrupted by the sudden arrival Mimì seems to sleep, while Musetta prepares the Parpignol...... Franco Ricciardi (tenor) of Musetta, who brings with her Mimì, now seriously ill medicine with a spirit lamp on the table and murmurs a Customs Officer ...... Eraldo Coda (bass) and unable to climb the stairs unaided. The men help prayer. Schaunard approaches Mimì and realises that Sergeant...... Carlo Forti (bass) her in and make her as comfortable as they can on a bed she is dead but Rodolfo is the last to see the truth, as he that they drag forward. Musetta explains to the others throws himself on Mimì’s body in his final grief. Chorus and Orchestra of La Scala, Milan how she had heard that Mimì had left her protector, the (Chorus Master: Norberto Mola) old viscount, and was destitute and dying. She has just Keith Anderson Antonino Votto
Recorded 20th-25th August and 3rd, 4th and 12th September, 1956 in the Teatro alla Scala, Milan First issued on Columbia 33CX 1464 and 1465
Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn Special thanks to Maynard F. Bertolet for providing source material
8.111332-33 211 8.111332-33 111332-33 bk LaBoheme EU.qxd 2/11/08 13:23 Page 12
Also Available PUCCINI La bohème
IA CAL AR LA M S
8.111240-41
Mark Obert-Thorn
Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of 195 ing specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been 6 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 Maria Callas • Giuseppe Di Stefano • Rolando Panerai 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 Anna Moffo • Nicola Zaccaria with the greatest clarity. There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and Chorus and Orchestra 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 Antonino Votto 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. 8.111332-33 12 G R E A T
O P E R A
R E C O R D I N G S
2 CDs NAXOS Historical PUCCINI: La bohème 8.111332-33 Time Playing 2:35:25 MONO Act 1Act 1IAct 1I I 34:22 19:05 Act 1V 25:35 Appendix: Giuseppe Di Stefano and Rosanna Carteri: DuetsLove 27:25 48:58 0 ADD ! & § % - - - - - 8.111332-33 CD 11 @ * CD 2 79:02 1 ! 76:23 was Callas’s twelfth complete opera recording with La complete opera recording twelfth was Callas’s La bohème Giacomo (1858-1924) Antonino Votto PUCCINI La bohème La Chorus and Orchestra of La Scala,Chorus and Orchestra Milan Recorded 20th-25th August and 3rd, 20th-25th Recorded 4th and 12th September, 1956 in the Teatro alla Scala,Teatro Milan and 12th September, in the 1956 www.naxos.com Rodolfo...... Di Stefano Giuseppe Mimì ...... Maria Callas Marcello...... Rolando Panerai Musetta...... Anna Moffo Colline...... Nicola Zaccaria Schaunard ...... Spatafora Manuel Scala, Milan, else.While or anywhere rôles, on stage here demanding than many less live sang it though she never Mimì and musicianship sensitive her uniquely by singing marked refined some highly Callas to showcase nonetheless allows of Musetta and, very pleasing interpretation Anna Moffo’s in the rôle cast also features mastery.The admirable rhythmic of Rodolfo, Giuseppe Di Stefano, century. of the twentieth tenor voices one of the most beautiful lyric This 1956 recording of Puccini’s perennially popular perennially of Puccini’s This 1956 recording 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)
All rights in this sound recording, artwork, texts and translations reserved.
Unauthorised public performance, broadcasting and copying of this compact disc prohibited. & 2009 Naxos Rights International Ltd. Made in Germany
NAXOS Historical Callas • Di Stefano • Panerai • Moffo • Votto 8.111332-33