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Producer’s Note The transfer of the complete was made from the best portions of two 1950s-era British LP pressings, which BELLINI seemed to provide the most open and un-gimmicked sound of several editions I had from which to work. The original master tapes were problematic in the same respects as other early recordings Callas made with the Italian EMI team (, Lucia di Lammermoor) in that they contained overload distortion, electronic clicks and thump-like sounds during some of Callas’ louder passages. (These can also be heard on EMI’s own CD transfer of this recording.) Unlike every previous EMI CD reissue of this Norma, however, I have closed the gap of several seconds in the music that occurs at the transition from Track 4 to Track 5 of CD 2, which is supposed to be played without pause (as noted by Dr. Robert E. Seletsky in his article, “Callas at EMI: Remastering and Perception” in IA CAL the Spring 2000 issue of The Opera Quarterly). AR LA Mark Obert-Thorn M S

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 4 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 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 • Mario Filippeschi with the greatest clarity. There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and • Nicola Rossi-Lemeni 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 Chorus and Orchestra of , 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. 8.110325-27 12 110325-27 bk NormaUS 15/12/2004 12:02pm Page 2

@ Adalgisa, however, is ready only to take the war and the defeat of the Romans. children to Pollione and urge him to return to Norma, who should still hope. 4 Oroveso asks why Norma has not carried out the due sacrifice, she declares that the victim is at hand. Great Opera Recordings # She begs Norma to have pity for her children, Clotilde intervenes, declaring that a Roman has trying to dissuade her from her proposed course. desecrated the temple, caught among the virgin Vincenzo priestesses. Pollione is brought in, accused by Oroveso $ Adalgisa’s wish is to restore to Norma what is hers, of sacrilege, but proudly defiant, ready for death but not BELLINI and eventually Norma gives way, accepting Adalgisa’s for interrogation. The people call on Norma to strike, (1801–1835) true friendship. and she takes the dagger from Oroveso, but hesitates, unable to proceed, but suggesting that Pollione should Norma % Norma and Adalgisa are now united in purpose. be questioned. The others withdraw. An opera in two acts to a libretto by Felice Romani Scene 2 5 Pollione is in Norma’s power; she will let him live, ^ The scene is a lonely place, near the Druids’ sacred if he swears to give up Adalgisa. He refuses, but she grove. In the background is a lake, crossed by a stone threatens to kill him and their children. Norma ...... Maria Callas (soprano) bridge. The warriors discuss the departure of Pollione, Pollione ...... Mario Filippeschi () which seems to offer them opportunities. 6 Pollione charges her with cruelty, but she declares Adalgisa ...... Ebe Stignani (mezzo-soprano) that the Romans shall be killed and Adalgisa punished Oroveso ...... Nicola Rossi-Lemeni (bass) & Oroveso warns them that Pollione will be by fire. He begs for mercy, and she is resolved to make Flavio ...... Paolo Caroli (tenor) succeeded by a more cruel tyrant. him suffer as she suffers. He tells her to kill him. Clotilde ...... Rina Cavallari (soprano) * He angrily deplores the Roman yoke under which 7 He bids Norma give him the weapon, but she Chorus and Orchestra of Teatro alla Scala, Milan they suffer, but urges patience; their time will come. summons the priests and acolytes, promising them a Vittore Veneziani, Chorus Master new victim, a guilty priestess who has betrayed her Tullio Serafin, Conductor country and offended her god; it is she herself, she CD 3 announces, to the consternation of her followers. Recorded from 23rd April to 3rd May 1954 in the Cinema Metropol, Milan First issued as Columbia 33CX 1179 through 1181 Act II (continued) 8 Pollione has not escaped, and will die with her. He Scene 3 recognises her courage and accepts his fate, seeking Reissue Producer and Restoration Engineer: Mark Obert-Thorn 1 The scene is the temple of Irminsun. Norma hopes Norma’s pardon. Special thanks to Maynard F. Bertolet to learn of Pollione’s change of heart, but Clotilde tells her that Adalgisa’s quest was in vain, and that Pollione 9 Her people are unwilling initially to believe in her now plans to abduct her. guilt, but she asks her father to look after her children. Oroveso at first refuses. 2 Norma runs to the altar and beats three times on the shield of Irminsul, the signal for war. Oroveso, Druids, 0 Finally he gives way. Norma and Pollione, a bards and acolytes rush in, seeking the reason for this willing victim through his renewed love for her, are led signal. Norma declares war, destruction and death. to the sacrificial pyre.

3 Oroveso and his people join in the celebration of Keith Anderson 8.110325-27 2 11 8.110325-27 110325-27 bk NormaUS 15/12/2004 12:02pm Page 10

$ She prays to the god Irminsul for mercy. 5 Finally Norma asks Adalgisa for the name of her CD 1 62:34 # Sgombra è la sacra selva 4:13 lover. The latter reveals that he is a Roman. Norma is (Adalgisa) % Pollione enters, with Flavio, who immediately horrified to discover that it is Pollione, who now enters, Act I 62:34 makes off. He addresses Adalgisa, who begs him to approaching Adalgisa, but accused at once by Norma of $ Deh! Proteggimi, o Dio! 1:54 leave her. He has prayers to another god, the god of perfidy. Adalgisa covers her face, but Norma turns her Scene 1 (Adalgisa) love, but she tries to break away from him, dedicated as towards Pollione. 1 Sinfonia 5:57 she is to her own god. (Orchestra) % Eccola – va, mi lascia 1:39 6 She shows Adalgisa how she is a victim of this (Pollione, Adalgisa) ^ Pollione offers his very life-blood, for he cannot man, continuing her condemnation of him. 2 Ite sul colle, o Druidi! 5:29 leave her. She had once been promised to her god but (Oroveso, Chorus) ^ Va, crudele 5:18 now her heart is promised to him. She tells him of her 7 She castigates him as a traitor, telling him to be (Pollione, Adalgisa) dedication, but he urges her to go with him to . silent, while Adalgisa draws away from him. 3 Dell’aura tua profetica 4:37 (Oroveso, Chorus) & Vieni in Roma 3:21 & Tenderly he urges her further, while she is 8 Norma bids Pollione be gone, forgetting his (Pollione, Adalgisa) distressed at the conflict in her heart. She tells him she promises and his children and pursued by her 4 Svanir le voci! 2:45 cannot follow him, but he eventually persuades her. vengeance. Pollione protests the irresistible power of (Pollione, Flavio) love. The sound of the sacred bronze shield calling Norma to her holy duties is heard, and she tells Pollione 5 Meco all’altar di Venere 2:36 CD 2 62:06 CD 2 to be gone. (Pollione) Act I (continued) 27:59 Act I (continued) 6 Odi? I suoi riti a compiere 1:37 Scene 2 Act II (Flavio, Chorus, Pollione) Scene 2 1 The scene changes to Norma’s dwelling. Norma is 1 Vanne, e li cela entrambi 4:49 there with her confidante Clotilde and her two children. Scene 1 7 Me protegge, me difende 1:29 (Norma, Clotilde) Her attitude to them is ambiguous, a mixture of love and 9 The scene is again Norma’s dwelling. On one side (Pollione) hate, joy and sorrow. She tells Clotilde that Pollione has is a Roman bed, covered with a bearskin. Norma’s 2 Adalgisa! … (Alma, costanza) 3:23 been recalled to Rome, but nothing has been said of her children are asleep. 8 Norma viene 4:41 (Norma, Adalgisa) going with him. Someone is heard approaching, and she (Chorus) tells Clotilde to withdraw with the children. 0 Norma sees that the children are both asleep and 3 Oh, rimembranza! 5:26 will not be aware of the hand that strikes them. She 9 Sediziose voci 4:28 (Norma, Adalgisa) 2 It is Adalgisa, who has some secret to impart to hesitates, but remembers that they are Pollione’s (Norma, Oroveso, Chorus) Norma. She tells her that she is in love, tempted to leave children. She approaches the bed, holding a dagger, but 4 Ah sì, fa’ core, abbracciami 3:03 her sacred duties and her country, recounting her first cannot go on. Her cry wakens the children, whom she 0 Casta Diva 7:20 (Norma, Adalgisa) meeting with her lover, while she was praying. embraces, before calling Clotilde, telling her to fetch (Norma) Adalgisa. 5 Ma di’… l’amato giovane 3:03 3 Norma is reminded of her own situation, continuing ! Fine al rito, e il sacro bosco 1:41 (Norma, Adalgisa, Pollione) to remember, as Adalgisa proceeds with her story, ! Adalgisa answers Norma’s summons, dismayed at (Norma, Oroveso, Chorus) begging Norma to help her from temptation. her pallor, which Norma explains as the pallor of death. 6 Oh, di qual sei tu vittima 4:15 She makes Adalgisa swear to take her children, when @ Ah! Bello a me ritorna 3:30 (Norma, Adalgisa, Pollione) 4 Norma releases Adalgisa from her vows, wishing she has gone, and lead them to the Roman camp to (Norma, Oroveso, Chorus) her happiness, to the latter’s gratitude. Pollione and become his wife. 8.110325-27 10 3 8.110325-27 110325-27 bk NormaUS 15/12/2004 12:02pm Page 4

7 Perfido! … Or basti! 1:24 CD 3 73:42 Synopsis 6 The sound of the sacred shield rings out, a sign for (Norma, Adalgisa, Pollione) the Druid rites to begin, as the moon has now appeared. Act II (continued) 36:32 CD 1 Flavio urges escape, as the chant of the Druids is heard. 8 Vanne, sì, mi lascia, indegno 2:36 (Norma, Pollione, Adalgisa, Chorus) Scene 3 Act I 7 Pollione, however, will stay, protected by a higher 1 Ei tornerà! Sì! 4:17 power and by the power of his beloved and of love. He (Norma, Clotilde) Scene 1 draws back into the forest. Act II 34:07 1 Sinfonia 2 Squilla il bronzo del Dio! 1:50 8 The voices of the Druids are heard, as they draw Scene 1 (Oroveso, Chorus, Norma) 2 The scene is a sacred forest of the Druids. In the near, announcing the approach of Norma. Oroveso is in middle is the oak of Irminsul, at the foot of which is a the midst of the priests, priestesses, warriors, bards and 9 Introduzione (Allegro assai moderato) 3:54 3 Guerra! Guerra! 2:13 stone altar. In the distance wooded hills are seen. It is sacrificers. They are followed by Norma and her (Orchestra) (Oroveso, Chorus) night and the light of fires appears through the bushes. acolytes. Her hair is loose and her head garlanded. In To the sound of a march the Gauls file in, followed by her hand she carries a gold sickle. She stands by the 0 Dormono entrambi! 5:35 4 Né compi il rito, o Norma? 4:12 the procession of Druids. Oroveso, the chief Druid, tells stone altar, and all are silent. (Norma, Clotilde) (Oroveso, Norma, Clotilde, Chorus, Pollione) them to go to the hills, and when they see the moon appear to strike the sacred bronze shield of Irminsul 9 Norma accuses them of preaching rebellion. ! Mi chiami, o Norma? 2:39 5 In mia man alfin tu sei 4:05 three times, the signal for the holy rites over which Oroveso supports revolt against the pollution of their (Adalgisa, Norma) (Norma, Pollione) Norma, his daughter, will preside. sacred woods with Roman eagles. Norma tells them that the time is not ripe and that the Romans are still @ Deh! Con te, con te li prendi 4:12 6 Ah, crudele! In sen del padre 4:09 3 The Druids call on their god, Irminsul, to inspire stronger. She goes on to explain that one day Rome will (Norma, Adalgisa) (Pollione, Norma) Norma with hatred for the Romans. They disperse into fall, but not through their agency, rather through its own the forest. faults. She cuts the sacred mistletoe, collected in # Mira, o Norma 4:00 7 Dammi quel ferro! 3:27 baskets by the priestesses. The moon shines and they all (Adalgisa, Norma) (Pollione, Norma, Oroveso, Chorus) 4 Pollione, the Roman proconsul of Gaul, and his bow down. friend Flavio enter, cautious in the forest, where Norma, $ Cedi, deh, cedi! 1:06 8 Qual cor tradisti 4:48 seemingly the mother of Pollione’s children, has told 0 Norma sings her prayer to the chaste goddess, the (Adalgisa, Norma) (Norma, Pollione, Oroveso, Chorus) Pollione that death dwells. He has been Norma’s lover, moon. but now admits to Flavio that he is in love with % Sì, fino all’ore estreme 2:08 9 Norma! Deh Norma! scòlpati 2:36 Adalgisa, a young servant at the temple of Irminsul. ! The rite draws to a close, and she prays that the (Norma, Adalgisa) (Chorus, Norma, Pollione, Oroveso) Flavio asks if he does not fear Norma’s anger, and sacred wood may be purified from the profane, and Pollione confides in his friend a terrible dream he has Oroveso declares that Pollione must be the first to fall. Scene 2 0 Deh! Non volerli vittime 4:54 had. ^ Non parti? 5:34 (Norma, Chorus, Oroveso, Pollione) @ The suggestion arouses Norma’s inner dilemma, the (Chorus) 5 Pollione had dreamed that he was in Rome with conflict between her love for Pollione and her duty, Adalgisa, by the altar of Venus. There was incense and while the rest look eagerly for the day of vengeance. & Guerrieri! A voi venire 1:52 the wedding chants and all was love. Suddenly a Norma goes out, followed by the others. (Oroveso, Chorus) shadow in a Druid mantle obscured the altar lights, Adalgisa was no longer by his side, and a terrible sound # Adalgisa is left alone, thinking of her love for * Ah! Del Tebro al giogo indegno 3:06 echoed through the temple, as Norma took revenge on Pollione. (Oroveso, Chorus) her faithless lover. 8.110325-27 4 9 8.110325-27 110325-27 bk NormaUS 15/12/2004 12:02pm Page 8

Mefistofele, Alvaro in , Radames, Weber’s Franco Cacciatore, Dulcamara, Selim in Appendix: Cavaradossi, Gernando and Ubaldo in Rossini’s Rossini’s Il turco in Italia, Becket in Pizzetti’s Highlights from Norma Armida. The last four of which he sang with Callas and Assassino nella cattedrale and Lazaro di Jorio in La performed by Legendary Singers of the last two a recording survives of a broadcast. For figlia di Jorio, Lunardo in Wolf-Ferrari’s Quatro Historical Recordings 1927-1936 Cetra he recorded Arnoldo in Guglielmo Tell, for HMV, Rusteghi, Cerevek in Mussorgsky’s La fiesta di Don Carlo, and for Philips, Amenofi in Rossini’s Mosè Sorocinzi, and Bloch’s Macbeth. He appeared in several Act I Act II in Egitto. world premières and after 1965 became a stage director. Following World War II Nicola Rossi-Lemeni For Columbia he recorded Giorgio, Oroveso and Selim ! Ite sul colle, o Druidi! 4:24 % Mira, o Norma 7:14 (1920-1991) was one of three important basses in , with Callas, for Cetra, Filippo, and for Philips, , Bass , Soprano with and Cesare Siepi. Half Russian and Rossini’s Mosé. The Orchestra and Chorus Marion Telva, Contralto born in Istanbul, he made his début in 1946 at La Fenice Tullio Serafin (1878-1968), born at Rottanova di conducted by Giulio Setti The Metropolitan Opera Orchestra in Venice, as Varlaam in Boris Godunov. In 1947 he Cavarzere, near Venice, was one of the great conductors Recorded 3rd December 1927 conducted by Giulio Setti went to the United States to appear with a new company of Italian opera. After studying at the Milan Mat. CVE 41097-2; Victor 8158 Recorded 30th January 1929 in Chicago as Timur in , and there met Callas, Conservatory at first he was a violinist in the orchestra Mats: CVE 49703-2 & CVE 49704-1; Victor 8110 who was to sing the title rôle. It folded, however, before at La Scala, Milan, then in 1900 at Ferrara began a @ Meco all’altar di Venere… Me protegge! 5:29 it began. In New York they auditioned with the tenor career as conductor. Engagements followed in Turin , Tenor ^ Ah! Del Tebro al giogo indegno 3:03 Giovanni Zenatello, then retired, who was Artistic and Rome. Through more than half a century he Recorded 1936 Ezio Pinza, Bass Director at arena. As a result in August Callas appeared at Covent Garden, (1907, 1931, 1959- Mat. CB 7709/10; Italian Columbia GQ 7197 The Metropolitan Opera Orchestra and Chorus made her Italian début, as Gioconda, and Rossi-Lemeni 60), La Scala, Milan (1910-1914, 1917, 1918, 1940, conducted by Giulio Setti was Alvise. In 1948 he sang at La Scala Milan and the 1946-7), Colón, (1914, 1919, 1920, 1928, # Sediziose voci … Casta diva… 7:57 Recorded 8th April 1929 San Carlo Naples. In 1949, again with Callas, he 1937, 1938, 1949, 1951), San Carlo, Naples (1922-3, Ah! bello a me ritorna Mat. BVE51134-1; Victor 1753 appeared at the Colón in Buenos Aires. In the early 1940-1, 1949-58), Metropolitan, New York (1924-34), Rosa Ponselle, Soprano 1950s his career took him to Covent Garden, London, the Rome Opera (1934-43, 1962), Lyric Opera, Chicago The Metropolitan Opera Orchestra and Chorus & Deh! Non volerli vittime 4:43 , the Metropolitan New York, the (1955, 1957-58), and numerous other opera houses in conducted by Giulio Setti , Soprano Paris Opéra and, again with Callas, to the Lyric Italy and abroad. His repertory was vast. He conducted Recorded 30th January 1929 , Bass Chicago. His stage personality was addressed yet he did conventional and unconventional as well as and 31st December 1928 Giovanni Breviario, Tenor not establish himself at any of these. His voice had no introducing a variety of new works and worked with Mats. CVE 49031-3; CVE 49032-2; Victor 8125 with E.I.A.R. Orchestra & Chorus ring on the tone and was not properly supported; air numerous famous singers, including Battistini, conducted by escaped through it like leaking gas. Although at first he Chaliapin, Ponselle, Gigli, Callas and Sutherland. His $ Sgombra è la sacra selva 4:19 Recorded from 25th August to 7th September 1937 sang Boris, , Méphistophélès in , recording career was exhaustive and embraced the Minghini-Cattaneo, Mezzo-Soprano at the Teatro Nuovo, Turin Boito’s , Filippo in Don Carlo, Guardiano in HMV (1939) Verdi as well as both Orchestra of La Scala Mat. 2-70039/40; Parlophone R 20366 La forza del destino, Basilio in Il barbiere di Siviglia, Angel/Columbia Normas (1954 and 1960) with Callas. conducted by Carlo Sabajno Colline in La bohème, Ramfis in , Oroveso in Recorded 31st October 1929 Reissue Producer and Restoration Engineer: Norma, Giorgio in I puritani, by the mid-1950s he was Michael Scott Mat. CM 1195-1; cat. HMV DB 1749 Ward Marston undertaking buffo and character rôles: Caspar in is the author of Maria Meneghini Callas

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Vincenzo BELLINI (1801-1835) passage of descending semi-quavers like some Italian opera. Norma articulate cello. No such effect is attempted before on The mezzo-soprano Ebe Stignani (1903-1974) was records of (1877-1947), Russ, a Neapolitan. A typical singer, possessor of one This recording, first published in November 1954 in the voices and used a vehement declamatory style better Ponselle or Rosa Ralsa (1893-1963), nor since on of the most powerful dramatic voices of her day, she United States by Angel and in Britain by Columbia, and fitting Ponchielli’s composed 45 years records of Sutherland, Caballé, Scotto or Sills, yet when began her career at the top in February 1925 at the age made at the end of April and beginning of May, was the later. Their principal concern was conveying the drama we read the score phrase-markings indicate it. As Callas of 21 at the San Carlo, Naples, as Amneris. In that first second in the series under the aegis of La Scala, Milan, and they were careless executing florid music, herself was always stressing, everything she sang was in season alone she sang Maddalena in , with its orchestra and chorus. Like the first, another aspirating it and crashing vocal gears. The German Lilli the score, and so it was too, but the point is how Glorianda in Marinuzzi’s Jacquerie, Meg in Falstaff Bellini opera, I Puritani, it was not made at the opera Lehmann (1848-1929) and the American Rosa Ponselle completely she could sing it. and Adalgisa. In only six years her repertory came to house but at Cinema Metropol; the season was still (1897-1981) sang Norma more accurately (at least as In the first act duet, Ah! Si, fa, core, there is the include Azucena, the Principessa in Adriana going on, and Tebaldi was singing . recorded) and enjoyed successes with it, but did so only limpid tone she employs with Adalgisa in the Lecouvreur, Santuzza, Leonora in La favorita, Laura in Norma is the only bel canto opera to have been outside Italy and were not part of the tradition. consolatory passages, then, as her suspicions are La Gioconda, Orfeo, Eboli in Don Carlo, Dalila in given almost continuously through the years at major There are many demanding rôles in the soprano aroused, ‘Roma! ed è?’, how she deploys different vocal Sansone e Dalila, Ulrica, Preziosilla in La forza del theatres in Italy, and under Italian sway in the United repertory, but few more so than Norma, and certainly registers to colour her tone. In ‘Ah! non tremare’, the destino, Rubria in Boito’s Nerone and La gran vestale in States and Britain, since its first performance at La none as rewarding. As well as voice it requires the two firmly marked rhythm she uses to express indignation; Spontini’s , as well as several Wagner rôles, Scala, Milan, in 1831. In the days before recording there basic constituents of a great soprano: an accomplished and in, ‘trema per te, fellon’, how furiously and Gutruna in Il crepuscolo degli dei, Brangania in was a tradition of nineteenth-century Normas, including technique so her musicianship can be sufficiently accurately she accelerates through the rapid downward Tristano and Ortruda in . She appeared at all its creator , Giuseppina Ronzi de Begnis, responsive. What makes Callas a great Norma is the roulades before leaping from F at the bottom of the the leading Italian opera houses, as well as Covent Maria Malibran, Giulia Grisi, Jenny Lind, Antonietta range and variety of expression she is able to bring to stave more than an octave and a half to high C. In the Garden, London, the Colón, Buenos Aires, San Fricci, Teresa Tietjens, Maria Vilda, Euphrosyne the music. As she shows from Norma’s first recitative, last act, as she rages against Pollione, ‘Si sovr’essi alzar Francisco Opera and the Lyric Chicago (though not the Parepa and Maria Peri. How their styles may have Sediziose voci, if the voice is correctly trained, then she la punta’ through to ‘Mi poss’io dimenticar’ how Met). When she made this recording, although her voice developed, in response to the then ever-changing will be able to bring all the necessary colour, nuance perfectly she realises Bellini’s instruction a piacere remains powerful, inevitably time has rubbed off the repertory, we can only guess. By the first decades of the and variety to the declamation. In the aria, Casta Diva abbandonandosi; the rhythm becomes freer until, at the bloom and she sounds her age. Unfortunately Norma last century recordings of the aria Casta Diva were Callas shapes the longest phrases with security and end, the accompaniment almost disappears. She addresses Adalgisa as ‘giovinetta’ (little girl), for made by (1872-1922) and Giannina poise as they ascend to repeated climactic B flats; we reminds us of the difference between, as Garcia Bellini wrote Adalgisa for a lyric soprano, not a Russ (1873-1951), both of whom undertook it at La note her subtle use of portamento and how she is explains, ‘accelerando and rallentando which require dramatic mezzo. Stignani sounds fine in 1939 and 1946 Scala, Milan, and Ester Mazzoleni (1883-1982), who mistress of messa di voce, the art that reflects the that the accompaniment and voice are together and slow in complete HMV recordings of the Verdi Requiem and did so at the San Carlo, Naples. Their singing is more an pulsating yet unbroken flow of the breath. Since it is down or speed up the music as a unity, and tempo Aida with Gigli. impression than an actual account of the notes, not natural when the voice is correctly produced rubato, which accords the liberty only to the voice’. At Mario Filippeschi (1907-1979) began studying the perhaps because they could not have sung it more spontaneously it gives singing light and shade. The aria the beginning of the finale, Qual cor tradesti how clarinet, but not until 1937 at Busseto did he make his accurately but because they were trying to inform music is a prayer to the moon so it is not too fanciful to hear in telling is her execution of three groups of semi-quavers first appearances as Edgardo in Lucia di Lammermoor whose style was by then old-fashioned with one better the accuracy of Callas’s downward chromatic runs how on the words ‘Tu sei con me’, ‘In vita e in morte’ and and the Duke in Rigoletto. His was a good size typical suiting their own time. Their tone is often overly Bellini composes a musical metaphor for the moonlight ‘Sarò con te’. Then, in the final scene, Deh! Non volerli Italian tenor with firm high notes. He sang throughout anguished with excessive recourse to at odds slanting through the leaves of the oak tree. Garcia states vittime, on the repeated triplets, ‘abbi di lor’, each time Italy, at the San Carlo, Naples, La Scala, Milan, with the basis of bel canto, a suave, shapely and limpid ‘it retains the gravity of the legato style but continually she utters them more intensely until eventually they Comunale and the Rome Opera, and travelled legato, as we read in singing manuals like Manuel changes by borrowing from the florid style, juxtaposing become plaintive devices, which she accomplishes to the Colón in Buenos Aires and the Bellas Artes in Garcia’s L’art du chant (1847). By the second quarter sustained notes, with brilliant passages’. Callas shows musically without disrupting the legato - easier said Mexico City. His repertory included, Maurizio in of the twentieth century, when not only singers but their this off to perfection in her singing of the cabaletta, Ah! than sung. By so doing she shows it is through the Adriana Lecouvreur, Alfredo in La traviata, Pinkerton teachers too were reared on verismo, Normas such as bello a me ritorna, when she sweeps up from middle D singing, that Norma works its magic. It is here in the in , Faust, Rodolfo, Arnoldo in (1894-1948), Gina Cigna (1900-2001) to high A in one breath with the most adept use of final scene that Bellini rises to the greatest heights of Guglielmo Tell, Radames, Andrea Chénier, Calaf in and (1905-1979) all had big vibratory portamento and then lets her voice fall again in a musical invention, one without parallel - pace Verdi - in Turandot, Arrigo in , Manrico, Faust in 8.110325-27 6 7 8.110325-27 110325-27 bk NormaUS 15/12/2004 12:02pm Page 6

Vincenzo BELLINI (1801-1835) passage of descending semi-quavers like some Italian opera. Norma articulate cello. No such effect is attempted before on The mezzo-soprano Ebe Stignani (1903-1974) was records of Celestina Boninsegna (1877-1947), Russ, a Neapolitan. A typical verismo singer, possessor of one This recording, first published in November 1954 in the voices and used a vehement declamatory style better Ponselle or Rosa Ralsa (1893-1963), nor since on of the most powerful dramatic voices of her day, she United States by Angel and in Britain by Columbia, and fitting Ponchielli’s La Gioconda composed 45 years records of Sutherland, Caballé, Scotto or Sills, yet when began her career at the top in February 1925 at the age made at the end of April and beginning of May, was the later. Their principal concern was conveying the drama we read the score phrase-markings indicate it. As Callas of 21 at the San Carlo, Naples, as Amneris. In that first second in the series under the aegis of La Scala, Milan, and they were careless executing florid music, herself was always stressing, everything she sang was in season alone she sang Maddalena in Rigoletto, with its orchestra and chorus. Like the first, another aspirating it and crashing vocal gears. The German Lilli the score, and so it was too, but the point is how Glorianda in Marinuzzi’s Jacquerie, Meg in Falstaff Bellini opera, I Puritani, it was not made at the opera Lehmann (1848-1929) and the American Rosa Ponselle completely she could sing it. and Adalgisa. In only six years her repertory came to house but at Cinema Metropol; the season was still (1897-1981) sang Norma more accurately (at least as In the first act duet, Ah! Si, fa, core, there is the include Azucena, the Principessa in Adriana going on, and Tebaldi was singing Tosca. recorded) and enjoyed successes with it, but did so only limpid tone she employs with Adalgisa in the Lecouvreur, Santuzza, Leonora in La favorita, Laura in Norma is the only bel canto opera to have been outside Italy and were not part of the tradition. consolatory passages, then, as her suspicions are La Gioconda, Orfeo, Eboli in Don Carlo, Dalila in given almost continuously through the years at major There are many demanding rôles in the soprano aroused, ‘Roma! ed è?’, how she deploys different vocal Sansone e Dalila, Ulrica, Preziosilla in La forza del theatres in Italy, and under Italian sway in the United repertory, but few more so than Norma, and certainly registers to colour her tone. In ‘Ah! non tremare’, the destino, Rubria in Boito’s Nerone and La gran vestale in States and Britain, since its first performance at La none as rewarding. As well as voice it requires the two firmly marked rhythm she uses to express indignation; Spontini’s La vestale, as well as several Wagner rôles, Scala, Milan, in 1831. In the days before recording there basic constituents of a great soprano: an accomplished and in, ‘trema per te, fellon’, how furiously and Gutruna in Il crepuscolo degli dei, Brangania in was a tradition of nineteenth-century Normas, including technique so her musicianship can be sufficiently accurately she accelerates through the rapid downward Tristano and Ortruda in Lohengrin. She appeared at all its creator Giuditta Pasta, Giuseppina Ronzi de Begnis, responsive. What makes Callas a great Norma is the roulades before leaping from F at the bottom of the the leading Italian opera houses, as well as Covent Maria Malibran, Giulia Grisi, Jenny Lind, Antonietta range and variety of expression she is able to bring to stave more than an octave and a half to high C. In the Garden, London, the Colón, Buenos Aires, San Fricci, Teresa Tietjens, Maria Vilda, Euphrosyne the music. As she shows from Norma’s first recitative, last act, as she rages against Pollione, ‘Si sovr’essi alzar Francisco Opera and the Lyric Chicago (though not the Parepa and Maria Peri. How their styles may have Sediziose voci, if the voice is correctly trained, then she la punta’ through to ‘Mi poss’io dimenticar’ how Met). When she made this recording, although her voice developed, in response to the then ever-changing will be able to bring all the necessary colour, nuance perfectly she realises Bellini’s instruction a piacere remains powerful, inevitably time has rubbed off the repertory, we can only guess. By the first decades of the and variety to the declamation. In the aria, Casta Diva abbandonandosi; the rhythm becomes freer until, at the bloom and she sounds her age. Unfortunately Norma last century recordings of the aria Casta Diva were Callas shapes the longest phrases with security and end, the accompaniment almost disappears. She addresses Adalgisa as ‘giovinetta’ (little girl), for made by Eugenia Burzio (1872-1922) and Giannina poise as they ascend to repeated climactic B flats; we reminds us of the difference between, as Garcia Bellini wrote Adalgisa for a lyric soprano, not a Russ (1873-1951), both of whom undertook it at La note her subtle use of portamento and how she is explains, ‘accelerando and rallentando which require dramatic mezzo. Stignani sounds fine in 1939 and 1946 Scala, Milan, and Ester Mazzoleni (1883-1982), who mistress of messa di voce, the art that reflects the that the accompaniment and voice are together and slow in complete HMV recordings of the Verdi Requiem and did so at the San Carlo, Naples. Their singing is more an pulsating yet unbroken flow of the breath. Since it is down or speed up the music as a unity, and tempo Aida with Gigli. impression than an actual account of the notes, not natural when the voice is correctly produced rubato, which accords the liberty only to the voice’. At Mario Filippeschi (1907-1979) began studying the perhaps because they could not have sung it more spontaneously it gives singing light and shade. The aria the beginning of the finale, Qual cor tradesti how clarinet, but not until 1937 at Busseto did he make his accurately but because they were trying to inform music is a prayer to the moon so it is not too fanciful to hear in telling is her execution of three groups of semi-quavers first appearances as Edgardo in Lucia di Lammermoor whose style was by then old-fashioned with one better the accuracy of Callas’s downward chromatic runs how on the words ‘Tu sei con me’, ‘In vita e in morte’ and and the Duke in Rigoletto. His was a good size typical suiting their own time. Their tone is often overly Bellini composes a musical metaphor for the moonlight ‘Sarò con te’. Then, in the final scene, Deh! Non volerli Italian tenor with firm high notes. He sang throughout anguished with excessive recourse to vibrato at odds slanting through the leaves of the oak tree. Garcia states vittime, on the repeated triplets, ‘abbi di lor’, each time Italy, at the San Carlo, Naples, La Scala, Milan, with the basis of bel canto, a suave, shapely and limpid ‘it retains the gravity of the legato style but continually she utters them more intensely until eventually they Comunale Florence and the Rome Opera, and travelled legato, as we read in singing manuals like Manuel changes by borrowing from the florid style, juxtaposing become plaintive devices, which she accomplishes to the Colón in Buenos Aires and the Bellas Artes in Garcia’s L’art du chant (1847). By the second quarter sustained notes, with brilliant passages’. Callas shows musically without disrupting the legato - easier said Mexico City. His repertory included, Maurizio in of the twentieth century, when not only singers but their this off to perfection in her singing of the cabaletta, Ah! than sung. By so doing she shows it is through the Adriana Lecouvreur, Alfredo in La traviata, Pinkerton teachers too were reared on verismo, Normas such as bello a me ritorna, when she sweeps up from middle D singing, that Norma works its magic. It is here in the in Madama Butterfly, Faust, Rodolfo, Arnoldo in Bianca Scacciati (1894-1948), Gina Cigna (1900-2001) to high A in one breath with the most adept use of final scene that Bellini rises to the greatest heights of Guglielmo Tell, Radames, Andrea Chénier, Calaf in and Maria Caniglia (1905-1979) all had big vibratory portamento and then lets her voice fall again in a musical invention, one without parallel - pace Verdi - in Turandot, Arrigo in I vespri siciliani, Manrico, Faust in 8.110325-27 6 7 8.110325-27 110325-27 bk NormaUS 15/12/2004 12:02pm Page 8

Mefistofele, Alvaro in La forza del destino, Radames, Weber’s Franco Cacciatore, Dulcamara, Selim in Appendix: Cavaradossi, Gernando and Ubaldo in Rossini’s Rossini’s Il turco in Italia, Becket in Pizzetti’s Highlights from Norma Armida. The last four of which he sang with Callas and Assassino nella cattedrale and Lazaro di Jorio in La performed by Legendary Singers of the last two a recording survives of a broadcast. For figlia di Jorio, Lunardo in Wolf-Ferrari’s Quatro Historical Recordings 1927-1936 Cetra he recorded Arnoldo in Guglielmo Tell, for HMV, Rusteghi, Cerevek in Mussorgsky’s La fiesta di Don Carlo, and for Philips, Amenofi in Rossini’s Mosè Sorocinzi, and Bloch’s Macbeth. He appeared in several Act I Act II in Egitto. world premières and after 1965 became a stage director. Following World War II Nicola Rossi-Lemeni For Columbia he recorded Giorgio, Oroveso and Selim ! Ite sul colle, o Druidi! 4:24 % Mira, o Norma 7:14 (1920-1991) was one of three important basses in Italy, with Callas, for Cetra, Filippo, and for Philips, Ezio Pinza, Bass Rosa Ponselle, Soprano with Boris Christoff and Cesare Siepi. Half Russian and Rossini’s Mosé. The Metropolitan Opera Orchestra and Chorus Marion Telva, Contralto born in Istanbul, he made his début in 1946 at La Fenice Tullio Serafin (1878-1968), born at Rottanova di conducted by Giulio Setti The Metropolitan Opera Orchestra in Venice, as Varlaam in Boris Godunov. In 1947 he Cavarzere, near Venice, was one of the great conductors Recorded 3rd December 1927 conducted by Giulio Setti went to the United States to appear with a new company of Italian opera. After studying at the Milan Mat. CVE 41097-2; Victor 8158 Recorded 30th January 1929 in Chicago as Timur in Turandot, and there met Callas, Conservatory at first he was a violinist in the orchestra Mats: CVE 49703-2 & CVE 49704-1; Victor 8110 who was to sing the title rôle. It folded, however, before at La Scala, Milan, then in 1900 at Ferrara began a @ Meco all’altar di Venere… Me protegge! 5:29 it began. In New York they auditioned with the tenor career as conductor. Engagements followed in Turin Francesco Merli, Tenor ^ Ah! Del Tebro al giogo indegno 3:03 Giovanni Zenatello, then retired, who was Artistic and Rome. Through more than half a century he Recorded 1936 Ezio Pinza, Bass Director at . As a result in August Callas appeared at Covent Garden, London (1907, 1931, 1959- Mat. CB 7709/10; Italian Columbia GQ 7197 The Metropolitan Opera Orchestra and Chorus made her Italian début, as Gioconda, and Rossi-Lemeni 60), La Scala, Milan (1910-1914, 1917, 1918, 1940, conducted by Giulio Setti was Alvise. In 1948 he sang at La Scala Milan and the 1946-7), Colón, Buenos Aires (1914, 1919, 1920, 1928, # Sediziose voci … Casta diva… 7:57 Recorded 8th April 1929 San Carlo Naples. In 1949, again with Callas, he 1937, 1938, 1949, 1951), San Carlo, Naples (1922-3, Ah! bello a me ritorna Mat. BVE51134-1; Victor 1753 appeared at the Colón in Buenos Aires. In the early 1940-1, 1949-58), Metropolitan, New York (1924-34), Rosa Ponselle, Soprano 1950s his career took him to Covent Garden, London, the Rome Opera (1934-43, 1962), Lyric Opera, Chicago The Metropolitan Opera Orchestra and Chorus & Deh! Non volerli vittime 4:43 San Francisco Opera, the Metropolitan New York, the (1955, 1957-58), and numerous other opera houses in conducted by Giulio Setti Gina Cigna, Soprano Paris Opéra and, again with Callas, to the Lyric Italy and abroad. His repertory was vast. He conducted Recorded 30th January 1929 Tancredi Pasero, Bass Chicago. His stage personality was addressed yet he did conventional and unconventional operas as well as and 31st December 1928 Giovanni Breviario, Tenor not establish himself at any of these. His voice had no introducing a variety of new works and worked with Mats. CVE 49031-3; CVE 49032-2; Victor 8125 with E.I.A.R. Orchestra & Chorus ring on the tone and was not properly supported; air numerous famous singers, including Battistini, conducted by Vittorio Gui escaped through it like leaking gas. Although at first he Chaliapin, Ponselle, Gigli, Callas and Sutherland. His $ Sgombra è la sacra selva 4:19 Recorded from 25th August to 7th September 1937 sang Boris, Don Giovanni, Méphistophélès in Faust, recording career was exhaustive and embraced the Minghini-Cattaneo, Mezzo-Soprano at the Teatro Nuovo, Turin Boito’s Mefistofele, Filippo in Don Carlo, Guardiano in HMV (1939) Verdi Requiem as well as both Orchestra of La Scala Mat. 2-70039/40; Parlophone R 20366 La forza del destino, Basilio in Il barbiere di Siviglia, Angel/Columbia Normas (1954 and 1960) with Callas. conducted by Carlo Sabajno Colline in La bohème, Ramfis in Aida, Oroveso in Recorded 31st October 1929 Reissue Producer and Restoration Engineer: Norma, Giorgio in I puritani, by the mid-1950s he was Michael Scott Mat. CM 1195-1; cat. HMV DB 1749 Ward Marston undertaking buffo and character rôles: Caspar in is the author of Maria Meneghini Callas

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7 Perfido! … Or basti! 1:24 CD 3 73:42 Synopsis 6 The sound of the sacred shield rings out, a sign for (Norma, Adalgisa, Pollione) the Druid rites to begin, as the moon has now appeared. Act II (continued) 36:32 CD 1 Flavio urges escape, as the chant of the Druids is heard. 8 Vanne, sì, mi lascia, indegno 2:36 (Norma, Pollione, Adalgisa, Chorus) Scene 3 Act I 7 Pollione, however, will stay, protected by a higher 1 Ei tornerà! Sì! 4:17 power and by the power of his beloved and of love. He (Norma, Clotilde) Scene 1 draws back into the forest. Act II 34:07 1 Sinfonia 2 Squilla il bronzo del Dio! 1:50 8 The voices of the Druids are heard, as they draw Scene 1 (Oroveso, Chorus, Norma) 2 The scene is a sacred forest of the Druids. In the near, announcing the approach of Norma. Oroveso is in middle is the oak of Irminsul, at the foot of which is a the midst of the priests, priestesses, warriors, bards and 9 Introduzione (Allegro assai moderato) 3:54 3 Guerra! Guerra! 2:13 stone altar. In the distance wooded hills are seen. It is sacrificers. They are followed by Norma and her (Orchestra) (Oroveso, Chorus) night and the light of fires appears through the bushes. acolytes. Her hair is loose and her head garlanded. In To the sound of a march the Gauls file in, followed by her hand she carries a gold sickle. She stands by the 0 Dormono entrambi! 5:35 4 Né compi il rito, o Norma? 4:12 the procession of Druids. Oroveso, the chief Druid, tells stone altar, and all are silent. (Norma, Clotilde) (Oroveso, Norma, Clotilde, Chorus, Pollione) them to go to the hills, and when they see the moon appear to strike the sacred bronze shield of Irminsul 9 Norma accuses them of preaching rebellion. ! Mi chiami, o Norma? 2:39 5 In mia man alfin tu sei 4:05 three times, the signal for the holy rites over which Oroveso supports revolt against the pollution of their (Adalgisa, Norma) (Norma, Pollione) Norma, his daughter, will preside. sacred woods with Roman eagles. Norma tells them that the time is not ripe and that the Romans are still @ Deh! Con te, con te li prendi 4:12 6 Ah, crudele! In sen del padre 4:09 3 The Druids call on their god, Irminsul, to inspire stronger. She goes on to explain that one day Rome will (Norma, Adalgisa) (Pollione, Norma) Norma with hatred for the Romans. They disperse into fall, but not through their agency, rather through its own the forest. faults. She cuts the sacred mistletoe, collected in # Mira, o Norma 4:00 7 Dammi quel ferro! 3:27 baskets by the priestesses. The moon shines and they all (Adalgisa, Norma) (Pollione, Norma, Oroveso, Chorus) 4 Pollione, the Roman proconsul of Gaul, and his bow down. friend Flavio enter, cautious in the forest, where Norma, $ Cedi, deh, cedi! 1:06 8 Qual cor tradisti 4:48 seemingly the mother of Pollione’s children, has told 0 Norma sings her prayer to the chaste goddess, the (Adalgisa, Norma) (Norma, Pollione, Oroveso, Chorus) Pollione that death dwells. He has been Norma’s lover, moon. but now admits to Flavio that he is in love with % Sì, fino all’ore estreme 2:08 9 Norma! Deh Norma! scòlpati 2:36 Adalgisa, a young servant at the temple of Irminsul. ! The rite draws to a close, and she prays that the (Norma, Adalgisa) (Chorus, Norma, Pollione, Oroveso) Flavio asks if he does not fear Norma’s anger, and sacred wood may be purified from the profane, and Pollione confides in his friend a terrible dream he has Oroveso declares that Pollione must be the first to fall. Scene 2 0 Deh! Non volerli vittime 4:54 had. ^ Non parti? 5:34 (Norma, Chorus, Oroveso, Pollione) @ The suggestion arouses Norma’s inner dilemma, the (Chorus) 5 Pollione had dreamed that he was in Rome with conflict between her love for Pollione and her duty, Adalgisa, by the altar of Venus. There was incense and while the rest look eagerly for the day of vengeance. & Guerrieri! A voi venire 1:52 the wedding chants and all was love. Suddenly a Norma goes out, followed by the others. (Oroveso, Chorus) shadow in a Druid mantle obscured the altar lights, Adalgisa was no longer by his side, and a terrible sound # Adalgisa is left alone, thinking of her love for * Ah! Del Tebro al giogo indegno 3:06 echoed through the temple, as Norma took revenge on Pollione. (Oroveso, Chorus) her faithless lover. 8.110325-27 4 9 8.110325-27 110325-27 bk NormaUS 15/12/2004 12:02pm Page 10

$ She prays to the god Irminsul for mercy. 5 Finally Norma asks Adalgisa for the name of her CD 1 62:34 # Sgombra è la sacra selva 4:13 lover. The latter reveals that he is a Roman. Norma is (Adalgisa) % Pollione enters, with Flavio, who immediately horrified to discover that it is Pollione, who now enters, Act I 62:34 makes off. He addresses Adalgisa, who begs him to approaching Adalgisa, but accused at once by Norma of $ Deh! Proteggimi, o Dio! 1:54 leave her. He has prayers to another god, the god of perfidy. Adalgisa covers her face, but Norma turns her Scene 1 (Adalgisa) love, but she tries to break away from him, dedicated as towards Pollione. 1 Sinfonia 5:57 she is to her own god. (Orchestra) % Eccola – va, mi lascia 1:39 6 She shows Adalgisa how she is a victim of this (Pollione, Adalgisa) ^ Pollione offers his very life-blood, for he cannot man, continuing her condemnation of him. 2 Ite sul colle, o Druidi! 5:29 leave her. She had once been promised to her god but (Oroveso, Chorus) ^ Va, crudele 5:18 now her heart is promised to him. She tells him of her 7 She castigates him as a traitor, telling him to be (Pollione, Adalgisa) dedication, but he urges her to go with him to Rome. silent, while Adalgisa draws away from him. 3 Dell’aura tua profetica 4:37 (Oroveso, Chorus) & Vieni in Roma 3:21 & Tenderly he urges her further, while she is 8 Norma bids Pollione be gone, forgetting his (Pollione, Adalgisa) distressed at the conflict in her heart. She tells him she promises and his children and pursued by her 4 Svanir le voci! 2:45 cannot follow him, but he eventually persuades her. vengeance. Pollione protests the irresistible power of (Pollione, Flavio) love. The sound of the sacred bronze shield calling Norma to her holy duties is heard, and she tells Pollione 5 Meco all’altar di Venere 2:36 CD 2 62:06 CD 2 to be gone. (Pollione) Act I (continued) 27:59 Act I (continued) 6 Odi? I suoi riti a compiere 1:37 Scene 2 Act II (Flavio, Chorus, Pollione) Scene 2 1 The scene changes to Norma’s dwelling. Norma is 1 Vanne, e li cela entrambi 4:49 there with her confidante Clotilde and her two children. Scene 1 7 Me protegge, me difende 1:29 (Norma, Clotilde) Her attitude to them is ambiguous, a mixture of love and 9 The scene is again Norma’s dwelling. On one side (Pollione) hate, joy and sorrow. She tells Clotilde that Pollione has is a Roman bed, covered with a bearskin. Norma’s 2 Adalgisa! … (Alma, costanza) 3:23 been recalled to Rome, but nothing has been said of her children are asleep. 8 Norma viene 4:41 (Norma, Adalgisa) going with him. Someone is heard approaching, and she (Chorus) tells Clotilde to withdraw with the children. 0 Norma sees that the children are both asleep and 3 Oh, rimembranza! 5:26 will not be aware of the hand that strikes them. She 9 Sediziose voci 4:28 (Norma, Adalgisa) 2 It is Adalgisa, who has some secret to impart to hesitates, but remembers that they are Pollione’s (Norma, Oroveso, Chorus) Norma. She tells her that she is in love, tempted to leave children. She approaches the bed, holding a dagger, but 4 Ah sì, fa’ core, abbracciami 3:03 her sacred duties and her country, recounting her first cannot go on. Her cry wakens the children, whom she 0 Casta Diva 7:20 (Norma, Adalgisa) meeting with her lover, while she was praying. embraces, before calling Clotilde, telling her to fetch (Norma) Adalgisa. 5 Ma di’… l’amato giovane 3:03 3 Norma is reminded of her own situation, continuing ! Fine al rito, e il sacro bosco 1:41 (Norma, Adalgisa, Pollione) to remember, as Adalgisa proceeds with her story, ! Adalgisa answers Norma’s summons, dismayed at (Norma, Oroveso, Chorus) begging Norma to help her from temptation. her pallor, which Norma explains as the pallor of death. 6 Oh, di qual sei tu vittima 4:15 She makes Adalgisa swear to take her children, when @ Ah! Bello a me ritorna 3:30 (Norma, Adalgisa, Pollione) 4 Norma releases Adalgisa from her vows, wishing she has gone, and lead them to the Roman camp to (Norma, Oroveso, Chorus) her happiness, to the latter’s gratitude. Pollione and become his wife. 8.110325-27 10 3 8.110325-27 110325-27 bk NormaUS 15/12/2004 12:02pm Page 2

@ Adalgisa, however, is ready only to take the war and the defeat of the Romans. children to Pollione and urge him to return to Norma, who should still hope. 4 Oroveso asks why Norma has not carried out the due sacrifice, she declares that the victim is at hand. Great Opera Recordings # She begs Norma to have pity for her children, Clotilde intervenes, declaring that a Roman has trying to dissuade her from her proposed course. desecrated the temple, caught among the virgin Vincenzo priestesses. Pollione is brought in, accused by Oroveso $ Adalgisa’s wish is to restore to Norma what is hers, of sacrilege, but proudly defiant, ready for death but not BELLINI and eventually Norma gives way, accepting Adalgisa’s for interrogation. The people call on Norma to strike, (1801–1835) true friendship. and she takes the dagger from Oroveso, but hesitates, unable to proceed, but suggesting that Pollione should Norma % Norma and Adalgisa are now united in purpose. be questioned. The others withdraw. An opera in two acts to a libretto by Felice Romani Scene 2 5 Pollione is in Norma’s power; she will let him live, ^ The scene is a lonely place, near the Druids’ sacred if he swears to give up Adalgisa. He refuses, but she grove. In the background is a lake, crossed by a stone threatens to kill him and their children. Norma ...... Maria Callas (soprano) bridge. The warriors discuss the departure of Pollione, Pollione ...... Mario Filippeschi (tenor) which seems to offer them opportunities. 6 Pollione charges her with cruelty, but she declares Adalgisa ...... Ebe Stignani (mezzo-soprano) that the Romans shall be killed and Adalgisa punished Oroveso ...... Nicola Rossi-Lemeni (bass) & Oroveso warns them that Pollione will be by fire. He begs for mercy, and she is resolved to make Flavio ...... Paolo Caroli (tenor) succeeded by a more cruel tyrant. him suffer as she suffers. He tells her to kill him. Clotilde ...... Rina Cavallari (soprano) * He angrily deplores the Roman yoke under which 7 He bids Norma give him the weapon, but she Chorus and Orchestra of Teatro alla Scala, Milan they suffer, but urges patience; their time will come. summons the priests and acolytes, promising them a Vittore Veneziani, Chorus Master new victim, a guilty priestess who has betrayed her Tullio Serafin, Conductor country and offended her god; it is she herself, she CD 3 announces, to the consternation of her followers. Recorded from 23rd April to 3rd May 1954 in the Cinema Metropol, Milan First issued as Columbia 33CX 1179 through 1181 Act II (continued) 8 Pollione has not escaped, and will die with her. He Scene 3 recognises her courage and accepts his fate, seeking Reissue Producer and Restoration Engineer: Mark Obert-Thorn 1 The scene is the temple of Irminsun. Norma hopes Norma’s pardon. Special thanks to Maynard F. Bertolet to learn of Pollione’s change of heart, but Clotilde tells her that Adalgisa’s quest was in vain, and that Pollione 9 Her people are unwilling initially to believe in her now plans to abduct her. guilt, but she asks her father to look after her children. Oroveso at first refuses. 2 Norma runs to the altar and beats three times on the shield of Irminsul, the signal for war. Oroveso, Druids, 0 Finally he gives way. Norma and Pollione, a bards and acolytes rush in, seeking the reason for this willing victim through his renewed love for her, are led signal. Norma declares war, destruction and death. to the sacrificial pyre.

3 Oroveso and his people join in the celebration of Keith Anderson 8.110325-27 2 11 8.110325-27 110325-27 bk NormaUS 15/12/2004 12:02pm Page 12

Producer’s Note The transfer of the complete opera was made from the best portions of two 1950s-era British LP pressings, which BELLINI seemed to provide the most open and un-gimmicked sound of several editions I had from which to work. The original master tapes were problematic in the same respects as other early recordings Callas made with the Italian EMI team (I Puritani, Lucia di Lammermoor) in that they contained overload distortion, electronic clicks and thump-like sounds during some of Callas’ louder passages. (These can also be heard on EMI’s own CD transfer Norma of this recording.) Unlike every previous EMI CD reissue of this Norma, however, I have closed the gap of several seconds in the music that occurs at the transition from Track 4 to Track 5 of CD 2, which is supposed to be played without pause (as noted by Dr. Robert E. Seletsky in his article, “Callas at EMI: Remastering and Perception” in IA CAL the Spring 2000 issue of The Opera Quarterly). AR LA Mark Obert-Thorn M S

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 4 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 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 Maria Callas • Mario Filippeschi with the greatest clarity. There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and Ebe Stignani • Nicola Rossi-Lemeni 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 Chorus and Orchestra of La Scala, Milan 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 Tullio Serafin absent from many other commercially released restorations. 8.110325-27 12 NAXOS Historical Callas • Orchestra of La Scala • Serafin 8.110325-27 Time Playing 3:18:22 ]. enguin Guide to Opera P Act II, Scene 3 NormaHighlights from 37:10 36:32 0 & - - erformed by Legendary by erformed Singers P Historical Recordings, 1927-1936 CD 31 ! 73:42 eplicate in the later stereo re- stereo eplicate in the later [ ecording’ There are few more technically more few are There soprano rôles than demanding that of Norma. studio In this 1954 of one Maria Callas gives taping intense,her most dramatically yet performances nuanced delicately on record, demonstrating an variety of astonishing range and not quite that she did expression r make. ‘A classic,r irreplaceable on Compact Disc Vincenzo (1801–1835) Norma BELLINI Act I, Scene 2Act II, Scene 1 & 2 34:07 27:59 8 * - - CD 21 9 62:06 ullio Serafin, Conductor T in the Cinema Metropol, Milan Vittore Veneziani,Vittore Chorus Master Recorded from 23rd April to 3rd May 1954 May to 3rd April 23rd from Recorded ADD Chorus and Orchestra of Teatro alla Scala,Teatro Milan of Chorus and Orchestra Act I, Scene 1 62:34 8.110325-27 ollione...... Mario Filippeschi & Reissue Producer and Restoration Engineer:Reissue Producer Mark Obert-Thorn (complete opera) Marston (highlights) Ward and and F.Special thanks to Maynard Bertolet image:Cover Collection) Potter Maria Callas (Tully www.naxos.com - Norma ...... Maria Callas P Adalgisa ...... Ebe Stignani ...... Oroveso Nicola Rossi-Lemeni Flavio ...... Caroli Paolo Clotilde ...... Rina Cavallari CD 1 62:34 1

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