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Home , Antonino Votto, Elena Nicolai, Eugenia Ratti, Fedora (opera), Fedora Barbieri, Gina Cigna

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Maria Callas • Giuseppe Di Stefano • Tito Gobbi Fedora Barbieri • Eugenia Ratti Chorus and Orchestra of La Scala, Milan Antonino Votto

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Great Opera Recordings that rôle should be Ulrica’s. Renato, Samuel and Tom they had agreed, in blue cloaks and hoods, with red plan their costume for the ball and their password, sashes. Renato, in the same costume, comes slowly death. forward. They exchange the password, death. Oscar Giuseppe approaches Renato, whom he has recognised, and Scene 2 promises to follow him everywhere. He tells Renato VERDI that the Governor is there. (1813-1901) ^ In his finely appointed study Riccardo is writing, ) Oscar refuses to tell Renato what costume Riccardo regretting the heartbreak that honour and duty demand. is wearing, teasing him. They are separated by dancing He is writing an order for Renato to return to England, couples, after which Renato rejoins Oscar, pleading Un ballo in maschera where he will go, together with his wife, without saying urgent business with Riccardo. Oscar finally tells him goodbye. As he is about to sign the order, he drops his that the Governor is wearing a black cloak with a pink Opera in Three Acts pen, while the orchestra recalls his first aria of love. He ribbon on his chest. Libretto by Antonio Somma takes up the pen and signs the document, musing on his ¡ The dancers return, separating them once more. after Eugène Scribe’s libretto Gustave III, ou Le bal masqué sacrifice. ™ Riccardo comes forward, thoughtful, wearing a & Even if he must lose her for ever, he will always black cloak with a pink ribbon, followed by Amelia in a remember Amelia in his heart, yet he feels a white domino. Trying to avoid his recognition, she asks presentiment of death, as if this were the last hour of him why he is there and tells him to escape, since death Riccardo ...... Giuseppe Di Stefano (tenor) their love. threatens him. Riccardo is not afraid, but she urges Renato ...... Tito Gobbi (baritone) * Guests are arriving and he wishes to see her again flight. He wants to learn her name, but she cannot reveal Amelia ...... Maria Callas (soprano) and talk to her. Oscar comes in, bringing a message it. Why then, he asks, is she so concerned about his life? Ulrica ...... Fedora Barbieri (mezzo-soprano) from an unknown woman. Riccardo reads the paper that He recognises Amelia, who warns him as strongly as Oscar ...... Eugenia Ratti (soprano) Oscar has given him, telling him that an attempt will be she can to make his escape. He has no care for his own Silvano ...... Enzo Giordano (baritone) made on his life at the ball, yet if he does not go, people life, however, since Amelia loves him. He tells her of Samuel ...... Silvio Maionica (bass) will say that he is afraid. He tells Oscar to hurry to join his order for Renato’s return with her to England, Tom ...... Nicola Zaccaria (bass) the entertainment with him, while, alone for a moment, bidding her a last farewell. A Judge / A Servant of Amelia ...... Renato Ercolani (tenor) he looks forward to seeing Amelia once again. £ Renato, unobserved by them, now leaps forward and stabs Riccardo, while Amelia cries out for help, as Chorus and Orchestra of La Scala, Milan Scene 3 guards, officers and others rush in. They surround (Norberto Mola, chorus master) Renato, removing his mask, castigating him as a traitor. Antonino Votto, conductor The Masked Ball Riccardo, as he dies, calls on them to leave Renato. ¢ He tells Renato that Amelia is innocent, swearing the ( The scene is a richly decorated ballroom, brightly lit. truth of this, as he lies on his deathbed. He takes out the Recorded 4th-9th September, 1956 in the Teatro alla Scala, Milan The orchestra introduces music for the dance, as the order for the departure of Renato and Amelia for First released on Columbia 33CX 1472 through 1474 guests gather, the majority masked, some in dominos, England. Renato at once feels remorse, as Riccardo others in gala dress, with their faces covered. Among forgives him, dying, while those standing by praise his Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn the dancing couples are some young Creoles. There are generosity in a night of horror. black servants and everything breathes magnificence and gaiety. The company express their delight. They are Producer’s Note joined by Samuel, Tom and the conspirators, dressed, as Keith Anderson A few dropouts, noticeable edits and distortion in loud passages are inherent in the original master tapes, and are not a function of the LP sources used for the present transfer.

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2 Eventually he asks Renato to escort Amelia, veiled 8 As she goes, he turns in anger to the portrait of CD 1 70:01 # Su, fatemi largo, saper vo’ il mio fato 3:26 and her identity unknown to him, back to the city. This Riccardo, the one on whom he should take revenge. (Silvano, Ulrica, Riccardo, Chorus, Servant) Renato swears to do. 9 Renato accuses Riccardo of bringing dishonour on 1 Prelude 4:19 3 In agitation Amelia hears Riccardo’s enemies Amelia, betraying him and poisoning the world for him. (Orchestra) $ Che v’agita così? 1:27 approaching and begs him to escape. Renato, looking He recalls his love for Amelia, in her beauty, now (Ulrica, Amelia, Riccardo) towards the approaching conspirators, adds his urgent turned to hatred and death. Act I pleas to hers. Riccardo, faced by traitors, sees himself as % Della città all’occaso 1:30 a traitor to Renato. Eventually he hurries away. Conspiracy Scene 1 (Ulrica, Amelia, Riccardo) 4 Renato bids Amelia follow him, as Samuel, Tom and 2 ^ 0 Posa in pace, a’ bei sogni ristora 1:35 Consentimi, o Signore 2:29 the conspirators draw near. They are challenged by Joined by the conspirators, Renato makes it clear that (Officers, Gentlemen, Samuel, Tom, Henchmen) (Amelia, Ulrica, Riccardo, Chorus) Renato, disappointed to find Riccardo not there, but he knows their plans to murder Riccardo, showing them ready to unveil the woman standing there, as Amelia papers that reveal this. To their surprise, however, he 3 S’avanza il Conte 1:36 & Su, profetessa, monta il treppiè 0:49 cries to heaven for help. Renato draws his sword to agrees to join them, assuring them of his change of (Oscar, Riccardo) (Chorus, Oscar, Riccardo) defend her, but Amelia drops her veil, to the heart, in spite of their incredulity. astonishment of her husband and the others. ! Together with them Renato demands vengeance. 4 La rivedrà nell'estasi 1:58 * Di’ tu se fedele 3:21 5 The conspirators find Renato’s apparent assignation @ He asks them the favour of allowing him to be the (Riccardo, Oscar, Officers, Gentlemen, Samuel, (Riccardo, Chorus) with his own wife ridiculous, while Renato is angry at assassin. They disagree, but Renato takes a vase from Tom, Henchmen) Riccardo’s betrayal of him and deeply distressed, as he the mantelpiece and Samuel writes their names on ( Chi voi siate, l'audace parola 2:27 has saved Riccardo, the man who has dishonoured his pieces of paper, throwing them into the vase. At this 5 Il cenno mio di là con essi attendi 2:34 (Ulrica, Riccardo, Samuel, Oscar, Chorus) wife. He invites the conspirators to his house the next moment Amelia comes in, telling Renato that Oscar is (Riccardo, Oscar, Renato) day. They disperse, their voices heard from a distance as there with an invitation from the Governor. Renato sees ) È scherzo od è follia 3:27 6 Alla vita che t’arride 2:50 (Riccardo, Ulrica, Samuel, Tom, Oscar, Chorus) they go their various ways. Renato tells Amelia to come her presence as a good omen, as he draws her towards (Renato) with him, as his voice has for her the sound of death. the table and tells her to take a paper from the vase. She ¡ Finisci il vaticinio 4:22 is apprehensive, suspecting some violent result. Under 7 Il primo giudice 1:31 (Riccardo, Ulrica, Chorus, Samuel, Tom, Renato, Act III Renato’s threatening gaze, she approaches the table, (Oscar, Riccardo, Judge) Silvano, Oscar, Henchmen) trembling, and draws out a paper, which her husband Scene 1 passes to Samuel. 8 Volta la terrea 2:38 Act II # Renato asks whose name is on the paper, and Samuel (Oscar, Riccardo, Judge, Renato, Samuel, 6 The scene is a study in Renato’s house. On a sadly admits that it is Renato’s, to the latter’s delight. Tom, Henchmen) ™ Prelude 2:31 mantelpiece to one side stand two bronze vases and Amelia realises that there is a plan to murder Riccardo, (Orchestra) opposite there is a bookcase. In the background there is as they join together, expressing their various thoughts. 9 Ogni cura si doni al diletto 2:18 a magnificent portrait of Riccardo and in the middle of $ Oscar comes in, inviting Amelia to the ball that (Riccardo, Renato, Oscar, Samuel, Tom, £ Ecco l’orrido campo ove s’accoppia 1:31 the room a table. Renato, the door shut, lays his sword Riccardo is to hold that evening. Amelia refuses, but Henchmen, Officers, Gentlemen) (Amelia) on the table. He cannot forgive Amelia, with death the Renato, learning that a masked ball is planned, accepts Scene 2 ¢ only possible outcome. He tells her to be quiet and seek for them both. Ma dall’arido stelo divulsa 5:14 (Amelia) mercy from the Lord. She pleads innocence, but he tells % Oscar is enthusiastic about the entertainment to be 0 Zitti … l’incanto non dèssi turbare 2:03 her she must die. She admits that she loved Riccardo for offered, with lights and music, while Renato, aside, (Women, Children) ∞ Teco io sto 1:33 a moment but never sullied Renato’s name. He is voices his own thoughts at this opportunity for revenge, (Riccardo, Amelia) determined, however, that she must die. She begs him echoed by Samuel and Tom, who see the coming ! Re dell’abisso, affrettati 1:59 for one last favour. success of their plot. Amelia, meanwhile, realises her (Ulrica) § Non sai tu che se l’anima mia 3:39 7 Amelia begs to be allowed to see her child before she own part in the planned murder, as the one who drew (Riccardo, Amelia) dies, killed by the boy’s father. Renato agrees to let her the paper from the vase, wishing that she could frustrate @ Arrivo il primo! 2:30 see her son, in darkness and silence hiding her their designs, without betraying her husband. Oscar tells (Riccardo, Women, Ulrica) ¶ M’ami, m’ami! … Oh, qual soave brivido 4:23 dishonour and his shame. her that she will be the queen of the ball, but she thinks (Riccardo, Amelia) 8.111278-79 10 3 8.111278-79 111278-79 bk Ballo Maschera_EU 11/12/07 1:22 PM Page 4

CD 2 62:01 # Qual’è dunque l’eletto? 1:15 $ Amelia enters in some agitation, replying to Ulrica’s praise of Riccardo, while the principal characters (Renato, Samuel, Amelia, Tom) question by telling her that she is tormented by a secret express their own views, Ulrica repeating her deadly 1 Ahimè! S’appressa! 2:13 love and seeks peace. Riccardo is overjoyed at what he prophecy, the conspirators frustrated for the moment. (Amelia, Riccardo, Renato) $ Il messaggio entri 1:06 hears. (Renato, Oscar, Amelia, Samuel, Tom) % Ulrica tells her of a magic herb to quench her secret Act II 2 Amico, gelosa t’affido una cura 0:55 % passion, only to be gathered at night by the gallows. In (Riccardo, Renato) Ah! Di che fulgor, che musiche 2:42 spite of her horror, Amelia is willing to go alone to find ™ The scene is a lonely field outside Boston, at the foot (Oscar, Amelia, Renato, Samuel, Tom) 3 the herb, although Riccardo is resolved to go with her. of a steep hill. To the left are two pillars, white in the Odi tu come fremono cupi 1:57 moonlight. The music of the Prelude makes use of (Amelia, Renato, Riccardo) Scene 2 ^ Amelia prays that she may be cured of her love, comforted by Ulrica, while Riccardo is encouraged in Amelia’s theme from the terzetto of the first act, in 4 Seguitemi 2:40 ^ Forse la soglia attinse 2:42 his own love for her. Voices are heard outside, calling Ulrica’s hut. Amelia appears on the hill, then kneels and (Renato, Amelia, Chorus, Samuel, Tom) (Riccardo) for Ulrica, who urges Amelia away, with Riccardo prays, before coming slowly down. determined to follow. £ She is afraid, as she approaches the gallows, with the 5 Ve’, se di notte qui colla sposa 5:01 & Ma se m’è forza perderti 2:42 & Ulrica opens the main door and Samuel, Tom and plant growing at its foot, fearful at every sound. (Samuel, Tom, Renato, Amelia, Chorus) (Riccardo) their followers come in, with Oscar, gentlemen and ¢ Once she has taken the magic herb, her love will go, officers dressed in different ways, and now joined by and she steels herself to do what she must. Midnight Act III * Ah! Dessa è la 1:54 Riccardo. A group of knights calls on Ulrica to tell the sounds, bringing with it terrifying spectres, a head with (Riccardo, Oscar) future, while Riccardo secretly makes himself known to glaring eyes rises from the ground, staring at her in Scene 1 Oscar. anger. She falls to her knees, calling on the Lord for Scene 3 * He asks the witch about his own future and if his help. 6 A tal colpa è nulla il pianto 2:23 ∞ ( beloved is true to him, while he braves the dangers of Riccardo suddenly appears, telling her not to be (Renato, Amelia) Fervono amori e danze 1:55 afraid, but Amelia bids him leave her, which he refuses (Chorus, Samuel, Renato, Tom, Oscar) the sea. 7 Morrò, ma prima in grazia 4:34 ( Riccardo gives Ulrica his hand, claiming the right to to do. She pleads for mercy, but he declares again his (Amelia) ) Saper vorreste 2:03 go first. She sees that he is a great man, born under the love, while she reminds him that she is the wife of his (Oscar) sign of Mars, but breaks off, unwilling to go on. Forced closest friend. 8 Alzati! Là tuo figlio 1:35 to continue, she tells him he will soon die, not on the § Riccardo continues to declare his love, seeking (Renato) ¡ Fervono amori e danze 1:29 field of battle but by the hand of a friend, so it is written. mercy from her. Amelia calls heaven to her aid and begs (Chorus, Renato, Oscar) The onlookers are horrified. Riccardo to leave her. 9 Eri tu che macchiavi quell’anima 4:38 ) Riccardo seeks to know whether this is a joke or ¶ He induces her, at last, to admit her love for him, to (Renato) ™ Ah! Perchè qui! Fuggite 4:41 madness. Ulrica turns to Tom and Samuel, who are not his great delight. He wants to hear her say the same (Amelia, Riccardo) laughing at her prediction, which Riccardo rejects. words again, his love now the greater. Where Amelia 0 Siam soli. Udite 2:38 ¡ had hoped to quench her own passion, it has now grown £ He asks who is to kill him and is told that it will be (Renato, Tom, Samuel) E tu ricevi il mio! 1:15 the first now to take his hand, which he now offers to the greater. They declare again their love for one (Renato, Riccardo, Amelia, Oscar, Chorus) another. ! Dunque l’onta di tutti sol una 0:55 those by him, all of whom refuse to take it. At this (Renato, Samuel, Tom) ¢ Ella è pura: in braccio a morte 4:42 moment Renato appears at the door, runs to Riccardo (Riccardo, Amelia, Oscar, Renato, Chorus) and takes his hand. The conspirators are relieved, Oscar CD 2 @ D'una grazia vi supplico 4:06 accuses Ulrica of lying and Riccardo assures her that (Renato, Samuel, Tom, Amelia) Renato is his closest friend. She recognises the 1 The moon now shines more brightly, as they hear Governor, who now pardons her and throws a purse to someone approaching. It is Renato, and Amelia at once her. She praises his generosity, but warns him that there lowers her veil in fear. He has come to warn Riccardo of may be more than one traitor. Voices of people outside the plotting of the conspirators. He gives Riccardo his are heard, led by Silvano, praising Riccardo, and they cloak to escape his enemies who know he is with an now enter. unknown woman. Amelia secretly urges Riccardo to go, The people sing a martial hymn of patriotic fervour in but he is unwilling to leave her. 8.111278-79 4 9 8.111278-79 111278-79 bk Ballo Maschera_EU 11/12/07 1:22 PM Page 8

Synopsis brings papers to be signed, condemning Ulrica, a black Giuseppe Verdi (1813-1901) sorceress, to exile. CD 1 8 Oscar defends Ulrica for her foretelling of the future. Un ballo in maschera The judge repeats his condemnation. Riccardo decides that 1 The Prelude to the opera includes elements of the he and his followers, in disguise, will visit the sorceress, a Un ballo in maschera is the fourteenth complete opera inimitable way with the cadenza. In this she goes opening chorus that is to follow, a fugato associated course of which Oscar approves but that Renato finds recording that Callas undertook for EMI beyond what is written in the score. She was altogether with the conspirators and the theme of Riccardo’s first imprudent. He tells Oscar to find a fisherman’s costume, [Columbia/Angel] in September 1956. Like Madama too modest when she told a critic: ‘It is all there for brief aria. while the conspirators, who have gathered again, see a Butterfly it was made before she undertook it on stage anyone who cares to understand or wishes to know what chance for their plots to come to fruition. and like Butterfly she appeared in it in only one season. I was about.’ Well, the notes may be there, but her Act I 9 For Riccardo this is an opportunity for pleasure, But whereas critical opinion confirms that even in rhythmic elasticity and vitality, elegant and expressive while Renato continues to warn of the dangers Chicago, following her first triumphant American phrasing, balancing and weighting of the musical line Scene 1 threatening him. Riccardo, however, will try out the appearances, her Butterfly had not been an unequivocal and subtle breaths, are all things that cannot be notated. fortune-teller, supported by his followers, while the success, Amelia was; although she only sang it in five In the last bars of this aria there is an ascent to top C Introduction conspirators still murmur among themselves. performances of Un ballo in maschera at the beginning accompanied by the orchestra fortissimo, which she of the 1957/8 season at La Scala, Milan. The conductor manages surprisingly smoothly. When Verdi writes a 2 The scene is a hall in the house of the Governor of Scene 2 Gianandrea Gavazzeni remembers ‘[how] she had this top C in ‘O patria mia’ in Aida it is accompanied Boston, Riccardo. It is morning and deputies, strange, burning, singular talent; she was always herself pianissimo, as we can hear in her recording, where the C gentlemen, officers and others are in attendance, Invocation and yet always different in every rôle. A voice of more does not soar so much as see-saw. together with Samuel, Tom and their fellow- even quality could not have imparted the tension, or In the Oath Quartet, in Act III, at the end of a phrase conspirators. The two groups are contrasted, the first 0 The scene is Ulrica’s dwelling. There is a fire Amelia’s desperation so effectively. Had she sought ‘ah! qual lampo balena’, after a sustained high B flat, expressing their loyalty and the second plotting against burning and a cauldron on a tripod. The people less wide a range, fewer colours then perhaps she might we note how dazzlingly accurate she is as she whips the Governor. assembled there await in awe the words of the sorceress. have achieved a more homogeneous sound, but she through a passage of triplets descending to low D and E 3 Riccardo enters and greets his friends, soldiers and ! She calls on the King of the Abyss as she pronounces preferred richness of colour and play of lightness and flat - it would not be possible to imagine them sung the delegates, whose petition he receives. The page her spells. shade in recreating the character.’ more accurately. Later in the scene, when Oscar enters Oscar shows him the list of guests to the ball to be held @ Riccardo enters, dressed as a fisherman, pushing his The recording is conducted dutifully by Antonino and sings a passage of brilliant music, ‘Ah! Di che by the Governor and Riccardo at once notices the name way through the crowd, but seeing none of his followers Votto and includes the Riccardo of Giuseppe di Stefano fulgor’, inviting Amelia, Renato, Samuel and Tom to of his beloved Amelia, the wife of his loyal secretary, there. The people push him back and he stands aside, who is perfectly typecast, bringing much of the light the masked ball, Verdi underlines the ironic effect by the Creole Renato. laughing, while the scene grows darker. Ulrica cries out, touch and style appropriate to the rôle, and his voice is a having Amelia echo Oscar’s fioritura in the minor. 4 Riccardo sings of his delight at seeing Amelia again as the Devil appears to her, with the whole future in his beautiful instrument. Tito Gobbi’s Renato is also a Here, not surprisingly, Callas’s echo is clearer than and hearing her voice, while Oscar and the loyal hand, unable to hide anything from her. The people notable assumption, his adroit use of vocal colour in Ratti’s original. One still sometimes finds Callas gentlemen and officers add their own comments and the waiting are delighted, but she calls for silence. ‘Eri tu’ particularly baleful. In them we hear the best described as a singing actress, a demeaning expression; conspirators plot their future action. # Silvano, a sailor, breaks through the crowd, seeking kind of Verdi singing half-a-century ago. Unfortunately it is her greatness as a singer that makes her so 5 He dismisses the assembled gathering and Oscar, as his future: he has served the Governor and risked his Eugenia Ratti’s Oscar shows us a less attractive side. exceptional. How else can one explain the continuing he goes out, meets Renato, who remarks to himself on life, but has had no promotion in fifteen years service. She produces a typical steam-whistle like scream: she demand for her records and more than half-a-century Riccardo’s sadness, while the latter thinks of Amelia, Ulrica promises him money and promotion, as Riccardo was one of the last of the so-called coloraturas whose has passed since they were made? Renato’s wife. Riccardo tells Renato that he has private slips a paper he has signed into Silvano’s pocket. voice was pinched so as to be able to hold on tightly - Eugenia Ratti (b.1933) made her début at Sestri anxieties, to which Renato answers that he knows all. Silvano thanks Ulrica for her favourable prophecy and literally, in company with the big guns of the generation Levante in 1954. The following year she joined the Riccardo thinks Renato has discovered his secret then finds his promotion papers in his pocket, to the before Callas, such as Maria Caniglia (1905-1979), company at La Scala, Milan, as Lisa in Visconti’s passion for Amelia, but it is, in fact, the news of a plot enthusiastic amazement of the onlookers. There is a Gina Cigna (1898-2002) and Iva Pacetti (1898-1981). famous production of Bellini’s Sonnambula in which against Riccardo that Renato brings. Riccardo is knock at a small, hidden side-door. Ulrica goes to open Throughout the rôle Callas chooses an appropriate Callas sang. Thereafter, through the rest of the 1950s, a confident, however, of the people’s loyalty. it and a servant enters, recognised by Riccardo as an plangent vocal colour so characterizing Amelia. In the typical soubrette, she progressed through rôles such as 6 Renato stresses the importance of Riccardo’s safety emissary from Amelia. It seems she seeks a private Act II aria ‘Ecco l’orrido campo’, her singing shows the the Priestess in Aida, Oscar and Zerlina, and took part in to the country and its future. meeting and Ulrica sends the crowd away, while kind of detail redolent of her best work: the perfection the first performances at La Scala of Milhaud’s David 7 Oscar returns, ushering in the Chief Justice, who Riccardo hides, to observe the scene. of the repeated triplets, her shaping and control, and her and Poulenc’s Dialogues des Carmélites. She made a 8.111278-79 85 8.111278-79 111278-79 bk Ballo Maschera_EU 11/12/07 1:22 PM Page 6

visit to the Holland Festival in 1955 and appeared in rise to fame was rapid. In 1947 he appeared at La Scala, 1950. Although his stage presence was imposing, his début as a conductor. In 1921 Ettore Panizza engaged 1959 at San Francisco and Dallas, where she deputised Milan, also as Des Grieux, and in 1948 at the recordings reveal his singing was not stylish. Over the him to conduct at the Colón, Buenos Aires. Back in for Callas’s Rosina in Zeffirelli’s production of Il Metropolitan, New York, as the Duke in Rigoletto. At years inevitably his voice became less responsive and in Europe again in 1923 he joined the company at La barbiere di Siviglia. first his repertory included Fenton in Falstaff, Almaviva the upper range not infrequently he sang flat. As more Scala, Milan, conducting Manon Lescaut; thereafter he Possessing a big voice, although she used it in Il barbiere di Siviglia, Rinuccio in Gianni Schicchi, than twenty films he made show, he was a good-looking acted as Toscanini’s assistant until 1929. Throughout somewhat coarsely, the Triestine Fedora Barbieri Alfredo in La traviata and Faust, but it did not take long man with considerable histrionic skill. His recording the 1930s he appeared at Covent Garden and elsewhere (1918-2003) was one of a number of front-ranking before he began undertaking heavier rôles, such as career lasted from 1942 and his first 78s for HMV, to in Europe as well as still giving occasional piano Italian mezzo-sopranos active in the 1950s and 1960s, Cavaradossi, Don José in Carmen, Radames in Aida, LP sets for EMI, Enrico in Lucia di Lammermoor, recitals in Italy. After World War II he began to conduct including Ebe Stignani (1903-1974), Giulietta Canio in Pagliacci and even Alvaro in La forza del Scarpia, Amonasro, Rigoletto, Renato and Figaro, with regularly at La Scala, Milan. A typical routinier he was Simionato (b.1910), Elena Nicolai (1912-1993) and destino. Sadly the great years of his career were soon Callas, and Falstaff under Karajan, to 1978, when for both unexceptionable and unexceptional. His complete Fiorenza Cossotto (b.1935). In her home town she over, and by 1961, trying to make more out of his voice Decca, he sang Chim-Fen in Leoni’s L’oracolo. recordings made for EMI, Cetra and DGG include studied with Federico Bugamelli and Luigi Toffolo, and than nature had put in, he made his last appearance at La Born at Piacenza, Antonino Votto (1896-1985) Gioconda, La Bohème, Un ballo in maschera, La in Milan with Giulia Tess. In 1940 she made her début Scala. From 1944 for HMV he recorded songs and arias, was a student at the Conservatorio San Pietro a Majella, sonnambula and La traviata. at the Comunale, Florence as Fidalma in Il matrimonio and from 1953 for Angel/Columbia, with Callas, Naples. Following army service in World War I, in segreto, then in 1943 married the Director of the Edgardo, Arturo, Cavaradossi, Turiddu in Cavalleria 1919 he commenced his career, as a pianist giving Michael Scott Florence May Festival. Although the war did interrupt rusticana, Canio, the Duke, Manrico in Il trovatore, recitals there and in Rome. The same year he began Author of Maria Meneghini Callas her career, in those years she appeared in Poland, Rodolfo, Riccardo in Un ballo in maschera and Des teaching the piano in Trieste, where he also made his Czechoslovakia, Germany, Belgium, Hungary, The Grieux in Puccini’s Manon Lescaut. Netherlands and Austria. No sooner was peace declared The career of Tito Gobbi (1913-1984), born at than her international progress was rapid: she first Bassano di Grappa in the Veneto, lasted more than forty appeared at La Scala, Milan in 1946, and the following years. His was a first-class Italian baritone with a year she travelled to the Teatro Colón, Buenos Aires; in characteristic timbre in the Titta Ruffo style. He made 1950 to Covent Garden, London and the Metropolitan, his début in 1935 at Gubbio singing a bass rôle, Rodolfo New York, and also to San Francisco and Chicago. Her in La sonnambula, but this was a one off, and by the repertory in her palmy days included rôles such as next year at La Scala, he became a baritone. Within a Dalila, Azucena, Amneris and Eboli, which she sang few years his repertory embraced Germont in La under de Sabata and Giulini. She created Dariola in the traviata, Silvio in Pagliacci, Lescaut, Marcello in La première of Alfano’s Don Giovanni di Manara at the Bohème, Sharpless in Madama Butterfly, Ford in May Festival in 1941 and in 1942 was Telemaco in Falstaff, De Siriex in Fedora, Baldassare in Cilea’s Dallapiccola’s revision of Monteverdi’s Il ritorno di L’Arlesiana and Michonnet in Adriana Lecouvreur, and Ulisse in Patria. In Siena that year she sang Giustina in he also sang Melot in Wagner’s Tristano (Tristan und Pergolesi’s Flaminio, and in 1943 at Cremona, Orfeo in Isolde) and Gunther in Il crepuscolo degli dei Vito Frazzi’s edition of Monteverdi’s opera. She (Götterdämmerung), Jochanaan in Strauss’s Salome undertook a number of rôles with Callas, including and Wozzeck, as well as a sizeable repertory of then Brangania in Tristano, Adalgisa, Amneris, Neris in modern operas. His international career began after Medea and with her recorded as well as Amneris, Laura World War II at leading theatres throughout the opera in La Gioconda, Azucena and Ulrica. world, undertaking many of what were then famous Giuseppe Di Stefano, born in 1921 near Catania, impersonations, including Rigoletto, Posa, Iago, Sicily, had a brilliant but short career. His was one of Renato, Macbeth, Nabucco, Simon Boccanegra, Rance the most beautiful lyric tenor voices of the last century. in La fanciulla del west, Scarpia, Falstaff and Michele He began singing light music then, following a brief in Il tabarro and Gianni Schicchi, both of which he sang period of study with the baritone Luigi Montesanto, on more than one occasion the same evening. In earlier made his opera début in 1946 as Des Grieux in music, as Figaro in Il barbiere di Siviglia or Don Massenet’s Manon at Reggio Emilia, after which his Giovanni, he appeared in Salzburg under Furtwängler in 8.111278-79 67 8.111278-79 111278-79 bk Ballo Maschera_EU 11/12/07 1:22 PM Page 6

Mark Obert-Thorn 8.111278-79 211 8.111278-79 111278-79 bk Ballo Maschera_EU 11/12/07 1:22 PM Page 12

VERDI Un ballo in maschera

RIA CALL A AS Also available M

8.111280-81 8.111322-24 1 g 956 Recordin

Maria Callas • Giuseppe Di Stefano • Tito Gobbi Fedora Barbieri • Eugenia Ratti Chorus and Orchestra of La Scala, Milan Antonino Votto

8.111278-79 12 NAXOS Historical VERDI: Un ballo in maschera 8.111278-79 Time , her singing Playing 2:12:02 Ecco l’orrido campo ADD PreludeAct 1Act 1I (beginning) 18:50 4:19 46:52 Act 1I (conclusion)Act 1I I 12:46 49:15 ¢ ¡ ¶ 5 - - - - 8.111278-79 CD 11 2 ™ CD 2 70:01 1 6 62:01 was made before Maria Callas undertook Maria it on stage.was made before performances Of her Giuseppe (1813-1901) VERDI Antonino Votto Un ballo in maschera in the Teatro alla Scala,Teatro Milan in the Recorded 4th-9th September,Recorded 1956 Chorus and Orchestra of La Scala,MilanChorus and Orchestra Un ballo in maschera ballo Un at the beginning of the 1957/8 season at La Scala,at the beginning of the 1957/8 Milan, remembers Gavazzeni Gianandrea the conductor Riccardo ...... Di Stefano Giuseppe Renato...... Tito Gobbi Amelia...... Maria Callas Ulrica...... Barbieri Fedora Oscar...... Ratti Eugenia Samuel ...... Silvio Maionica Tom ...... Nicola Zaccaria www.naxos.com Un ballo shows the kind of detail redolent of her best work: the kind of detail redolent shows triplets, repeated of the the perfection and control, her shaping and with the cadenza. her inimitable way ‘[how] she had this strange,‘[how] burning, rôle. in every singular talent; different always herself and yet she was always A voice imparted the tension, quality could not have desperation so effectively. even of more Amelia’s or Had she sought less wide a range, homogeneous sound, a more achieved she might have colours then perhaps fewer but she preferred the rôle Callas chooses an Throughout the character.’ of lightness and shade in recreating richness of colour and play Amelia. colour to characterize plangent vocal appropriate In, example, for Act II aria the of This 1956 recording of This 1956 recording Reissue Producer and Restoration Engineer:Reissue Producer Obert-Thorn Mark photo:Cover Maria Callas (Private Collection)

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NAXOS Historical Callas • Di Stefano • Gobbi • Votto 8.111278-79