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…Ôôe>XY Xà .Ƒà¦}Ñuãł 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 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 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.
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