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825646289851.Pdf Giuseppe Verdi 1813–1901 I lombardi (Solera) 1 O madre, dal cielo soccorri (Act II) 4.03 Attila (Solera) 2 Liberamente or piangi…Oh! nel fuggente nuvolo (Act I) 5.23 Il corsaro (Piave) 3 Egli non riede ancora…Non so le tetre immagini (Act I)* 5.18 4 Né sulla terra…Vola talor dal carcere (Act II)* 4.01 Il trovatore (Cammarano) 5 Tacea la notte placida…Di tale amor (Act I) 6.05 I vespri siciliani (Scribe & Duveyrier) 6 Arrigo! ah, parli a un core (Act IV) 4.32 Un ballo in maschera (Somma) 7 Ecco l’orrido campo…Ma dell’arido stelo divulsa (Act II) 9.17 8 Morrò, ma prima in grazia (Act III) 4.26 Aida (Ghislanzoni) 9 Ritorna vincitor! (Act I) 7.09 Maria Callas soprano Orchestre de la Société des Concerts du Conservatoire *Orchestre du Théâtre National de l’Opéra de Paris Nicola Rescigno 2 Verdi Arias III This album represents the final solo recital that Maria Callas worked on at the end of her recording career. After completing the main sessions for the Rossini and Donizetti Arias in December 1963, Callas returned to the composer whose music she found most congenial and which allowed her to exploit her musical and dramatic talents to the full: Giuseppe Verdi. She began what was to be her third Verdi album to include arias from operas in which she had triumphed on the stage like Il trovatore and I vespri siciliani as well as others that she was tackling for the first time, including Attila and I lombardi . There were sessions spread throughout the early part of 1964 and she returned to the project at the beginning of 1965. Throughout this period Callas’s voice was in a fragile state and she had to work exceptionally hard to control it and get the results that her perfectionism demanded. But despite the artistic stimulation she found in singing Verdi she was not satisfied with the recordings, and further remake sessions in 1969 proved unproductive. Eventually in 1972 she approved five of the tracks from the earlier sessions for inclusion in an LP called Callas by Request . It wasn’t until after her death that the remaining tracks, despite their shortcomings, were issued in tribute to her unique artistry. Perhaps the most successful track on the album is ‘Ritorna vincitor!’, which was not in the original plan, but when Callas heard a playback of a recording recently made by another soprano she exclaimed: ‘This is not Verdi or Aida !’ When told that the orchestral parts were still in the studio she said to Rescigno: ‘Come on Nicola, let’s sing it!’ and, in a single take, she rekindled all the vocal passion and fire of former days in an electrifying performance. Ꭿ TONY LOCANTRO , 2014 3 Verdi-Arien III Dieses Album enthält das letzte Solo-Recital, an dem Maria Callas am Ende ihrer Aufnahmekarriere arbeitete. Nachdem sie die Hauptsitzungen für die Rossini- und Donizetti-Arien im Dezember 1963 abgeschlossen hatte, wandte sich Callas wieder dem Komponisten zu, dessen Musik ihr am meisten lag und der es ihr erlaubte, ihr musikalisches und dramatisches Talent voll auszuschöpfen: Giuseppe Verdi. Sie begann mit der Arbeit an ihrem dritten Verdi-Album, das Arien aus Opern wie Il trovatore und I vespri siciliani enthielt, in denen sie auf der Bühne triumphiert hatte, sowie aus anderen Opern, die sie zum ersten Mal in Angriff nahm, darunter Attila und I lombardi . Es gab Aufnahmesitzungen im gesamten Frühjahr 1964, und sie wandte sich dem Projekt erneut Anfang 1965 zu. Während dieses Zeitraums befand sich Callas’ Stimme in einem fragilen Zustand, und es kostete sie allergrößte Anstrengung, sie unter Kontrolle zu halten und die Ergebnisse zu erzielen, die ihr Perfektionismus ihr gebot. Obwohl sie Verdi als künstlerische Herausforderung empfand, war sie mit den Aufnahmen nicht zufrieden, und weitere Sitzungsversuche im Jahre 1969 erwiesen sich als unproduktiv. Schließlich erklärte sie sich 1972 einverstanden, fünf der Titel aus den früheren Sitzungen auf einer LP zu veröffentlichen, die Callas by Request hieß. Erst nach ihrem Tod wurden die verbliebenen Titel trotz ihrer Mängel herausgebracht, um ihrer einzigartigen Kunst Tribut zu zollen. Das vielleicht gelungenste Stück auf dem Album ist „Ritorna vincitor!“, das zwar nicht ursprünglich auf dem Aufnahmeplan stand, jedoch aufgezeichnet wurde, nachdem Callas eine Aufnahme gehört hatte, die kurz zuvor von einer anderen Sopranistin gemacht worden war. Sie rief aus: „Das ist nicht Verdi und auch nicht Aida !“ Als sie erfuhr, dass das Orchestermateriel immer noch im Studio vorhanden war, sagte sie zu Rescigno: „Los geht’s, Nicola, Zeit zu singen!“. Es bedurfte nur eines einzigen Takes, und sie entfachte mit einer elektrisierenden Darbietung erneut all die stimmliche Leidenschaft und das Feuer früherer Tage. TONY LOCANTRO Übersetzung: Leandra Rhoese 4 Airs de Verdi III Le programme présenté ici est le dernier récital solo auquel travaillait Maria Callas à la fin de sa carrière discographique. Après avoir terminé les principales séances d’enregistrement consacrées à son disque d’airs de Rossini et de Donizetti, en décembre 1963, elle revint vers le compositeur dont la musique lui était la plus proche et lui permettait d’exploiter au maximum ses talents musicaux et dramatiques : Giuseppe Verdi. Elle commença ainsi à graver son troisième disque Verdi sur lequel devaient figurer des airs tirés d’opéras dans lesquels elle avait triomphé sur scène, comme Il trovatore et I vespri siciliani , mais aussi des extraits d’œuvres auxquelles elle s’attelait pour la première fois, notamment Attila et I lombardi . Les séances s’étalèrent sur les premiers mois de 1964, et elle poursuivit le projet début 1965. Au cours de cette période, sa voix était fragile et elle devait travailler très dur pour la maîtriser et obtenir des résultats à la hauteur de ses exigences de perfectionniste. Mais malgré la stimulation que lui procurait le fait de chanter Verdi, elle n’était pas satisfaite des prises. On projeta de nouvelles séances, en 1969, qui s’avérèrent improductives. Finalement, en 1972, elle donna son accord pour que cinq des airs enregistrés durant les premières séances soient publiées sur un disque intitulé Callas by Request . Ce n’est qu’après sa mort que furent publiés les autres plages, malgré leurs défauts, en hommage à son art unique. La plus grande réussite de cet album est peut-être « Ritorna vincitor ! », qui n’était pas prévu au départ. Mais Callas entendit durant les séances un enregistrement d’une autre soprano qui lui fit s’exclamer : « Ce n’est ni du Verdi ni Aida ! » Lorsqu’elle apprit que les parties orchestrales étaient encore dans le studio, elle dit à Rescigno : « Allez Nicola, viens, faisons-le ! » et en une seule prise elle raviva toute la fougue et la passion vocales du passé en une interprétation électrisante. TONY LOCANTRO 5 Arie di Verdi III Questo album rappresenta l’ultimo recital solistico realizzato da Maria Callas al termine della sua carriera discografica. Una volta completate le sessioni di registrazione principali per le arie di Rossini e Donizetti, nel dicembre 1963, la Callas tornò a dedicarsi a Giuseppe Verdi, ovvero al compositore che a lei risultava più congeniale in assoluto e che le consentiva di dare il massimo con il suo talento musicale e drammatico. Ebbe inizio così il lavoro a quello che sarebbe poi diventato il suo terzo album verdiano, che doveva includere le arie delle opere con cui aveva riscosso i successi più memorabili sulla ribalta, ad esempio Il trovatore e I vespri siciliani , ma anche altre opere che stava affrontando per la prima volta, fra cui Attila e I lombardi . Le prime registrazioni furono distribuite attraverso i primi mesi del 1964. La Callas tornò quindi a occuparsi del progetto all’inizio del 1965. Durante tutto questo periodo la sua voce si trovava in uno stato piuttosto fragile e dovette impegnarsi a fondo per controllarla e ottenere il livello di perfezionismo che lei pretendeva. Ma nonostante lo stimolo artistico che ottenne cantando Verdi, non rimase soddisfatta delle incisioni. Ulteriori sessioni in cui le registrazioni furono ripetute, nel 1969, si rivelarono inutili. Infine, nel 1972, approvò cinque tracce realizzate durante alcune registrazioni precedenti, che vennero incluse in un LP intitolato Callas by Request . Fu soltanto dopo la sua morte che le tracce rimanenti furono pubblicate, malgrado i difetti, come tributo alla sua eccezionale abilità artistica. Forse il brano di maggiore successo dell’album è “Ritorna vincitor!”. Non era previsto nel programma originale, ma quando ascoltò un’incisione realizzata di recente da un altro soprano, la Callas esclamò: “Questo non è Verdi e questa non è l’ Aida !” Quando apprese che le parti orchestrali si trovavano ancora nello studio, disse a Rescigno: “Dai, Nicola, cantiamola!” e, con un’unica registrazione, riuscì a far ridestare tutta la sua passione e lo slancio vocale del passato in un’elettrizzante esecuzione. TONY LOCANTRO Traduzione: Claudio Maria Perselli 6 Amelia in Un ballo in maschera . La Scala, December 1957 Photo: Erio Piccagliani Ꭿ Teatro alla Scala Recorded: I & IV.1964 (7); II.1964 & IV.1965 (6); IV.1964 (2, 8 & 9); IV.1964 & I.1965 (1 & 5); II & III.1969 (3 & 4) Producers: Michel Glotz & *Peter Andry · Balance engineer: Paul Vavasseur ൿ 1972 (1, 2, 6, 7 & 9) & 1978 (3–5 & 8) Warner Classics, Warner Music UK Ltd. A Warner Music Group Company. Newly remastered from the original tapes at Abbey Road Studios. Digital remastering ൿ 2014 Warner Classics, Warner Music UK Ltd. A Warner Music Group Company. Ꭿ 2014 Warner Classics, Warner Music UK Ltd. A Warner Music Group Company. www.warnerclassics.com.
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