Zinka Milanov • Jussi Björling Fedora Barbieri • Leonard Warren • Boris Christoff

111042-44 bk Aida EU 4/4/06 2:20 PM Page 16

the temple above, praying to great Phthà, a sad song, 3 Together they bid the earth farewell, while the Aida says, the triumph of the priests, their hymn of priests continue their chant, and Amneris, dressed in death. Radamès tries to move the stone that seals the mourning, appears in the temple, throwing herself upon chamber, but in vain. the stone that seals the underground vault. In the crypt VERDI below Aida dies in the arms of her lover, while Amneris prays to Isis for them and the priests still call on the great god Phthà. Aida Keith Anderson A MILA NK NO ZI V

1 955 Recording

The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best Rome Opera House Chorus and Orchestra and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards Jonel Perlea in the field of historical recordings.

8.111042-44 16 111042-44 bk Aida EU 4/4/06 2:20 PM Page 2

Ethiopians, to be rewarded by the hand of Aida. At this Amneris, now alone, sits, in despair, wishing to save point Amneris, Ramfis, priests and guards emerge from Radamès and blaming herself for his capture. She turns the temple. Amneris declares Radamès a traitor, while and sees the priests crossing to enter the subterranean Aida recognises the power of her rival. Amonasro court, exclaiming on these inexorable ministers of Great Opera Recordings threatens Amneris with his dagger, but is prevented death. She covers her face with her hands, blaming from killing her by Radamès. Ramfis calls the guards, herself for the arrest of Radamès. Ramfis and the priests Giuseppe while Radamès tells Aida and her father to escape, seek divine guidance, while Amneris prays for the prepared himself to stay. release of Radamès, who is now taken down to the VERDI court, to her increased dismay. (1813-1901) Act IV * Accused by the priests, Radamès makes no answer. The accusers renew their demands and Amneris her Aida Scene 1 prayers for mercy, while Radamès remains silent and is The scene is a hall in the palace of the King. To the left condemned to be immured, living, in the tomb. Amneris Libretto by Antonio Ghislanzoni after a story by Mariette Bey a great door leads to a subterranean court of justice, pleads for him, but in vain, and she ends by cursing while a passage on the right leads to the prison of them, as they go out. Aida ...... Zinka Milanov (soprano) Radamès. Radamès ...... Jussi Björling (tenor) CD 3 Amneris ...... Fedora Barbieri (mezzo-soprano) % Amneris crouches by the door, regretting the escape Amonasro ...... Leonard Warren (baritone) of her rival: Radamès will be condemned as a traitor, Scene 2 Ramfis ...... Boris Christoff (bass) although he is not, but yet he wanted to escape with The scene is divided into two levels, the upper The King of Egypt ...... Plinio Clabassi (bass) Aida: she would save him, if she could. representing the interior of the temple of Vulcan, A Messenger ...... Mario Carlin (tenor) splendid in its gold and light. The lower reveals an Priestess ...... Bruna Rizzoli (soprano) ^ Radamès is brought in by the guards, and Amneris underground chamber, with long arcades disappearing foresees his condemnation by the priests: yet he can still into the darkness. There are great statues of Isis and Rome Opera House Orchestra and Chorus save himself and she will intercede with her father for Osiris with crossed hands, supporting the pillars of the Giuseppe Conca, Chorus master him. Radamès vows he will say nothing in his defence. court above. Radamès is there, on the steps leading to Jonel Perlea Amneris tells him that if he does not defend himself, he the chamber. Two priests above are sealing the entrance must die, but he would welcome death. She urges him with a stone. Recorded 2nd – 18th July, 1955 in the Opera House, Rome to choose life, through her love: she will sacrifice First issued as RCA Victor LM-6122 country, throne and life for him. He, however, sacrificed 1 Radamès prepares for death in the tomb, never to his country and his honour for Aida, who is now dead. see the light again or his beloved Aida. At this moment Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn Amneris assures him that Aida is still alive: her father Aida reveals herself. was killed, but she survived. She asks him to abjure his love for Aida, if she is to save him, but that he cannot 2 Aida explains how she has hidden herself there, do, preferring to die. Angry, she threatens revenge, if he anticipating his death, and here she too will die, in his rejects her love, but he declares death a great good: he arms. Radamès is overcome with emotion, that she, so has no fear of human anger. Amneris, however, still pure and beautiful, will die for love of him and perish in threatens revenge. the flower of her youth. Almost in a trance, she tells him to see the angel of death drawing near: Heaven now & Radamès is taken away, escorted by the guards. awaits them. The voices of the priests are heard from 8.111042-44 215 8.111042-44 111042-44 bk Aida EU 4/4/06 2:20 PM Page 14

Act III He withdraws and hides among the palm-trees. CD 1 57:50 ! Fu la sorte dell’armi 7:38 (Amneris, Aida) Introduction ! Radamès now joins Aida. She asks him what he 1 Prelude 3:29 By the banks of the Nile granite rocks are seen, from wants, since he is to marry Amneris. He assures her that (Orchestra) @ Su! Del Nilo al sacro lido 2:48 which palm-trees grow. Above the rocks is seen the he loves her alone: she must not doubt his love. She (Soldiers, People, Amneris, Aida) temple of Isis, half hidden by foliage. It is a starry night asks how he can defy the King and brave the anger of and the moon shines brightly. the priests, but Radamès tells her that danger threatens, Act I 37:47 for the Ethiopians have again invaded Egypt: he will 8 The voices of priests and priestesses are heard from earn the gratitude of the King and the reward he wants. Scene 1 CD 2 79:49 the temple, singing to Isis, immortal mother and wife of Aida warns him to beware the vengeful fury of 2 Sì: corre voce che l’Etiope 1:49 Osiris. A boat comes to the shore and Amneris Amneris, which will fall on her, her father and (Ramfis, Radamès) Act II (concluded) 22:02 disembarks, with Ramfis, some of the court women, everyone. Radamès promises to defend her, but Aida veiled, and guards. Ramfis addresses Amneris, bidding tells him he cannot: one way is open to him, flight. 3 Se quel guerrier io fossi! . . . Celeste Aida 4:56 Scene 2 her to the temple on the eve of her marriage, to seek (Radamès) 1 Gloria all’Egitto, ad Iside 3:27 divine favour. She says that she will pray that Radamès @ Aida tells Radamès that they must escape together (People, Women, Priests, Men) give her his whole heart, as she gives hers to him. They to a new country, where they can love each other. 4 Quale insolita gioia nel tuo sguardo! 6:27 enter the temple, as the priests and priestesses continue (Amneris, Radamès, Aida) 2 Triumphal March 5:56 their hymn. # He exclaims on the idea of seeking refuge in a (Orchestra) foreign land, abandoning his own country, the altars of 5 Alta cagion v’aduna, o fidi egizii 3:08 9 Aida enters cautiously, apparently summoned by his gods, the land where he won glory. She accuses him 3 Vieni, o guerriero, vindice 2:09 Radamès and wondering what he will say to her, since of not loving her, if he will not join her in flight: he must 6 Su! Del Nilo al sacro lido 3:00 (People, Priests) this must be their last farewell. She remembers the blue go to the altar with Amneris. Radamès gives way: let (King, Messenger, Radamès, Ramfis, Priests, skies, the sweet breezes, green hills and flowing rivers them fly together from these walls to the desert, where Ministers, Captains, Aida, Amneris) 4 Salvator della patria, io ti saluto 3:01 of her own country, which she will never see again. stars will shine upon their love. Aida adds her nostalgic (King, Radamès, Ramfis, Priests, Aida, Amonasro) memories of her native land, where they can be happy 7 Ritorna vincitor! 6:43 0 To Aida’s surprise, Amonasro approaches and tells together. Together they dream of escape. As they are (Aida) 5 Quest’assisa ch’io vesto vi dica 4:49 her he knows of her troubles, with the daughter of about to hurry away, Aida pauses. She asks him the (Amonasro, Aida, Slaves, Prisoners, Ramfis, Pharaoh, ruler of their hated enemies, her rival in love. route to be taken by the Egyptian armies, apparently so Scene 2 Priests, King, People) She laments that she is in their power, but Amonasro that they may avoid them in their flight. He tells her that 8 Possente, possente Phthà 6:16 assures her that she can again have country, throne and the approach chosen will remain unguarded that night (High Priestess, Priestesses, Ramfis, Priests) 6 O re, pei sacri numi 2:41 love: their people are ready to attack and Aida herself and she elicits from him the information that the army (Radamès, King, Amneris, Priests, People, Ramfis) can discover from Radamès the route of the Egyptian will attack through the gorges of Napata. 9 Mortal, diletto ai numi 5:27 armies. She is horrified at the suggestion that she should (Ramfis, Priests, Radamès, Priestesses) 7 Gloria all’Egitto, ad Iside 2:59 betray Radamès. Amonasro calls on the cohorts of $ Amonasro emerges from hiding, announcing that (King, People, Slaves, Prisoners, Ramfis, Priests, Egypt then to destroy his people and country. Aida begs his men will be there waiting. In reply to the question of Aida, Radamès, Amneris, Amonasro) him to pity her, but he continues to tell her of the horrors Radamès, he reveals his identity as Aida’s father, Act II 10:29 of war that her country will suffer and from which she Amonasro, King of Ethiopia. Radamès is aghast and can save her people: otherwise she will have the curse cannot believe what he has heard. When assured by Scene 1 Act III 33:15 of her mother and be disowned by her father, to remain Aida of the truth of the claim, he is horrified at his own 0 Chi mai fra gl’inni e i plausi 6:09 an Egyptian slave. Aida begs again for pity, but he tells treachery. Amonasro declares this the work of fate and (Slaves, Amneris) 8 O tu che sei d’Osiride 4:26 her that she must have the courage to help her country. invites Radamès to cross the Nile with him and join the (Priests, Priestesses, Ramfis, Amneris) 8.111042-44 14 3 8.111042-44 111042-44 bk Aida EU 4/4/06 2:20 PM Page 4

9 Qui Radamès verrà! . . . O patria mia 7:15 CD 3 68:05 her life is a desert and she can only die. Amneris bids 5 Amonasro tells the King that he is Aida’s father and (Aida) her follow, since she will teach her to struggle with her. has fought for his king and country, but his king was Act IV (continued) 12:01 The people demand war and death to foreigners. Left killed in battle: if it is a crime to love their country, then 0 Ciel! Mio padre! 8:20 alone, Aida calls on the gods to pity her suffering. they all must die. He asks the King for mercy, for today (Aida, Amonasro) Scene 2 they are defeated, but tomorrow it may be the Egyptians 1 La fatal pietra sovra me si chiuse 2:41 CD 2 who suffer. Aida joins the prayer for mercy, while the ! Pur ti riveggo, mia dolce Aida 3:18 (Radamès, Aida) prisoners echo Amonasro’s words. Ramfis and the Scene 2 priests seek the death of the prisoners, while Amneris @ Fuggiam gli ardori inospiti 4:25 2 Presago il core della tua condanna 4:00 In the foreground are palm-trees, to the right the temple watches Aida and Radamès, who finds Aida more (Radamès, Aida) (Aida, Radamès, Priests, Priestesses) of Ammon and to the left a throne with a purple canopy beautiful in her distress. The King and the people are above it. In the background is a triumphal gateway. inclined to mercy, but the priests remain adamant. # Aida! . . . Tu non m’ami. Va! 2:54 3 O terra, addio; addio, valle di pianti 5:20 (Radamès, Aida, Amonasro) (Aida, Radamès, Priests, Priestesses, Amneris) 1 The people crowd round as the King enters, 6 Radamès now asks the King to grant his request, followed by ministers, priests, captains, fan-bearers, which the King promises. He asks for life and freedom $ Tu! Amonasro! 2:36 standard-bearers, then Amneris with Aida and her for the prisoners, a request that surprises Amneris and is (Radamès, Aida, Amonasro, Amneris, Ramfis) Appendix: slave-girls. The King takes his seat on the throne and opposed by the priests. Ramfis warns the King not to Highlights from Amneris takes up her position on the left of the King. listen, since these prisoners have vengeance in their The people sing glory to Egypt and to Isis and their hearts. Radamès claims that now Amonasro the warrior Act IV 16:58 Verdi: Un Ballo in Maschera King. The women promise a laurel wreath for the brow king is dead, the defeated have no hope. Ramfis of the victor and Ramfis, with his priests, offers thanks suggests that at least Aida’s father, in fact Amonasro, Scene 1 Riccardo ...... Jan Peerce (tenor) to the gods. should be kept as a hostage, and the King agrees to this. Amelia ...... Zinka Milanov (soprano) As a reward the King grants Radamès the hand of his % L’aborrita rivale a me sfuggia 3:22 Renato ...... Leonard Warren (baritone) 2 The Egyptian troops march in, preceded by daughter Amneris in marriage, to the latter’s triumphant (Amneris) Ulrica ...... Marian Anderson (contralto) fanfares, passing before the King. There follow war delight. Oscar ...... Roberta Peters (soprano) chariots, standards, sacred vessels and statues of the ^ Già i sacerdoti adunansi 6:47 gods. Dancing girls follow, bearing the spoils of 7 King and people join in proclaiming glory to Egypt, (Amneris, Radamès) Metropolitan Opera Orchestra victory. while the slaves and prisoners praise the clemency of Dimitri Mitropoulos the King. Aida wonders what is now left for her, only & Ohimè! Morir mi sento 4:26 3 The people sing the praises of the conquerors. the tears of disappointed love, and Radamès, appalled Recorded 9th and 21st January, 1955 Radamès enters under a canopy held by twelve officers. by this turn of fate, declares that the land of Egypt is no * Radamès! Radamès! Radamès! 2:24 in Manhattan Center, New York City recompense for the love of Aida. Amneris, meanwhile, (Amneris, Ramfis, Priests) First issued as RCA Victor LM-1911 4 The King descends from the throne to embrace is delighted at the apparent fulfilment of her dreams and Radamès, who bows to Amneris, as she offers him the Ramfis prays that the fates be propitious over Egypt. Act I crown of victory. The King promises him whatever he Amonasro takes the chance to tell Aida to take courage, wants, but he asks first for the prisoners to be brought since revenge is at hand. 4 Prelude 4:31 in. These now enter, escorted by guards, with Amonasro (Orchestra) at the end, dressed as an officer. Aida recognises her father and embraces him, but he whispers to her not to 5 Alla vita che t’arride 3:36 betray him. The King bids him come forward. (Renato)

8.111042-44 4 13 8.111042-44 111042-44 bk Aida EU 4/4/06 2:20 PM Page 12

cannot wish Radamès victorious over her own father, Act II Act II Act III who fights to set her free and restore her to her rightful place: Radamès would be victor over her brothers, Scene 1 6 Re dell’abisso, affrettati 7:02 @ Morrò, ma prima in grazia 4:33 stained with their blood, her father brought in chains The scene is a room in the quarters of Amneris in the (Ulrica, Riccardo) (Amelia) behind the conqueror’s chariot: she begs the gods not to palace. hear her mad words but to let the enemies of her people 7 Ecco l’orrido campo 3:54 # Alzati! Là tuo figlio … Eri tu 6:20 perish, but then what of her love? How can she wish the 0 Amneris is surrounded by slaves, preparing her for (Renato) death of Radamès? She dare not utter the names of the triumphal feast. The slaves sing of a bold warrior, 8 Ma dall’arido stelo divulsa 5:14 father and lover and trembles in confusion: only death victorious and to be rewarded with love, while Amneris (Amelia) $ Forse la soglia attinse … 5:10 can end her dilemma. wishes for her lover, to intoxicate her and make her Ma se m’è forza perderti happy. The slaves continue their song of victory and 9 Teco io sto 5:03 (Riccardo) Scene 2 love and there is a dance of little Moorish slaves to The interior of the temple of Vulcan at Memphis is lit entertain the princess. While the slave-girls sing, 0 M’ami, m’ami 3:56 % Saper vorreste 2:04 by a mysterious light from above. There are long rows Amneris expresses her secret thoughts, but is silent (Riccardo, Amelia) (Oscar) of columns and statues of various gods. In the middle, when she sees Aida approach, carrying the victor’s above a platform covered with carpet, is an altar, garland. Amneris still harbours jealous suspicions in her ! Ahimè! S’appressa alcun 4:41 surmounted by sacred emblems. The smoke of incense heart. (Amelia, Riccardo, Renato) rises from golden tripods. Priests and priestesses stand with Ramfis at the foot of the altar. ! Feigning kindness, Amneris turns to Aida, promising to be her friend and telling her to be happy, 8 A priestess within the temple prays to the powerful but Aida cannot be happy, far from her own country, god Phthà, her voice soon joined by those of her with the fate of her father and brothers unknown. Time priestesses, while Ramfis and his priests, before the will heal her sorrows, and a powerful god, love, altar, invoke the god, father and son, source of light, life Amneris assures her. This is more disturbing to Aida, of the universe. Radamès enters, unarmed. While he divided in her loyalties between joy and torment, while approaches the altar, the priestesses carry out a sacred Amneris looks at her closely in suspicion. She asks her dance. A silver veil is placed over his head. to reveal her secret thoughts and tell her of her love: does she love some hero in the battle? By some quirk of 9 Ramfis addresses Radamès, entrusting him with the fate the leader of the Egyptians has fallen in battle. destiny of Egypt. He gives him the sacred sword, Aida, believing what she has been told, is distraught, Producer’s Note tempered by the god, to be a terror to their enemies. promising to mourn Radamès for ever, only for Ramfis turns again to the altar, seeking the protection of Amneris to reveal that the news was false: now, The Aida recording was transferred from the best portions of three American LP pressings, while the Ballo the gods over the soil of Egypt, a prayer echoed by however, she is certain that Aida is her rival. Aida highlights came from an Italian LP. In both recordings, some electronic clicks and distortion (principally during Radamès. While he is invested in his sacred armour, the openly admits her love for Radamès, but Amneris some of Milanov’s louder notes) are inherent in the original tapes. I have chosen not to filter the tape hiss too priests and priestesses chant their prayer and perform threatens her, since this love can only bring death to her: much, in an effort to preserve the highs in the original recording. their mystic dance. she has power over Aida and has in her heart feelings of The Ballo highlights album seemed an apt filler for this set, featuring as it does two of the principals of the hatred and revenge. Aida cast in another recording of a middle-period Verdi opera made in the same year for the same label. It is also noteworthy as a memento of Marian Anderson’s long-delayed Met début, as well as the only operatic rôle the @ Amneris commands Aida to be with her at the contralto essayed on stage. triumphal celebration, while the voices of the people are Mark Obert-Thorn heard celebrating victory. For Aida nothing remains, 8.111042-44 12 5 8.111042-44 111042-44 bk Aida EU 4/4/06 2:20 PM Page 6

Giuseppe Verdi (1813-1901) Synopsis goddess has chosen the leader of the Egyptian army, Aida and he might be the one. Amneris seeks to know CD 1 whether he has not had another more tender dream. It was during the summer of 1869 that Verdi was Egyptians have defeated the Ethiopians in battle, the Radamès wonders if she has guessed his secret, while approached about writing a hymn for the forthcoming opera is really centred around the four principals. On Prelude she expresses her own strong suspicion. He catches celebrations to mark the opening of the Suez Canal in the one hand we have the doomed lovers Aida and sight of Aida. Amneris sees his look, but then turns to November that year. The new Opera House is Cairo was Radamès, on the other the Egyptian Princess Amneris 1 The Prelude presents material characteristic of her slave, greeting her not as a slave but as a sister. Aida also inaugurated with a performance of Verdi’s (who also loves Radamès) and the Ethiopian King Aida, contrasted with the opposing chant of the priests. fears the approaching war, anxious for her unhappy Rigoletto. He declined and advised the authorities of Amonasro (Aida’s father). It is the power of father over country, but Amneris asks if this is really the reason for dissatisfaction with the quoted fee. He eventually daughter that eventually brings about the downfall and Act I her anxiety. Aside, she bids her slave tremble, and began, however, to have a change of heart, so that by eventual death of Radamès for treachery. Musically the Radamès notices her anger, fearing her suspicious February 1870 he was suggesting the possibility of opera reveals many sides of Verdi’s genius and has Scene 1 jealousy, while Aida expresses her own misgivings. accepting, now that his interest in composition was rightly remained one of the composer’s most popular The scene is set in a hall in the palace of the King at slowly returning. The idea of a work encompassing an works. The composer later extended the Ballet Music in Memphis. On the left and right there is a colonnade with 5 The King enters, preceded by his guards and Egyptian historical subject certainly interested him. The Act 2 by some ninety bars for the opera’s Paris première statues and flowering shrubs. At the back is a great gate, followed by Ramfis, ministers, priests and captains. He Khedive of Egypt, aided by the French Egyptologist (in French) in 1880. Additionally, his publisher Ricordi through which are seen temples, the palaces of addresses his nobles. A messenger steps forward and Auguste Mariette, was determined to commission an suggested that the composer write a full-length Memphis and the pyramids. tells how the sacred soil of Egypt has been invaded by opera specially composed for the new house. Mariette Overture for the Milan première in February 1872 but barbarous Ethiopians, destroying fields and crops, soon sent it to Camille du Locle, who had been one of the this was discarded even before the Italian first 2 Radamès, Captain of the Guards, and the Chief ready to attack Thebes itself. The Ethiopian army is led librettists of Don Carlos, a scenario he had devised. If it performance. The music remained unperformed until Priest Ramfis are in conversation. Ramfis tells of the by a fierce warrior, Amonasro, their king, Aida’s father, was somewhat conventional in plot, it contained enough the Italian conductor Arturo Toscanini, who had made rumour that the Ethiopians are again on the warpath, as she exclaims in an aside. Now, the King declares, is local character and scenic possibilities. When shown to his conducting début with this opera in Buenos Aires in threatening Thebes and the Nile Valley. Radamès asks the time for war and Isis has declared the name of the Verdi he was immediately attracted, seeking advice on 1887, performed the Overture in New York in 1940. Ramfis if he has consulted Isis and Ramfis tells him that Egyptian leader, Radamès. He is delighted at this Egyptian history and cultural backgrounds to music, The American RCA Company had begun recording the goddess has decided the name of the supreme answer to his prayers, while Aida is troubled. The religion and geography. Du Locle constructed a French complete operas in Rome in 1954, having found the cost Egyptian commander. He looks fixedly at Radamès and ministers and captains shout the name of Radamès in prose libretto under Verdi’s close supervision that was of such undertakings in the United States prohibitive by adds that the man chosen is brave and young: now he acclamation. The King bids him to the temple of later converted into Italian by Antonio Ghislanzoni. The that time. Not only did they have a suitable venue but must tell the King of the decision of Isis. Vulcan, there to receive his weapons. composer worked on his four-act opera during the also the resources of an opera chorus and orchestra to months from July to November 1870. The première was hand. Another benefit was that the smaller rôles could 3 Left alone, Radamès wonders if he is the chosen 6 Egyptian heroes, the King goes on, will arise to scheduled for January 1871 but was delayed because be cast with local Italian-based singers, as can be man. This, after all, is his ambition, to lead soldiers to wreak death on the foreign aggressors. Ramfis Paris, where the scenery that was being built, became witnessed in this recording. The main problem was the victory to the acclaim of all Memphis. Then he might proclaims glory to the gods, who rule everything and engulfed in the Franco-Prussian War of that year. heat of a Roman summer in the days before air return, garlanded with laurels, to his beloved Aida. He hold the fate of the warrior in their hands. Aida, in her Incidentally, Verdi contributed part of his fee for Aida conditioning meant the recording sessions either took sings in praise of his heavenly Aida, the queen of his mind, is divided whether to pray for her lover or for her for the benefit of the French wounded in the war. The place before midday or in the early evening. The thoughts. Victorious, he will set her free to breathe own country, while Radamès has no doubts about the eventual first night occurred on 24th September 1871 at logistics were considerable in that all the recording again the air of her own land. glory that awaits him. Amneris gives him the glorious the Opera House in Cairo under Giovanni Bottesini, equipment had to be shipped by sea from the United banner, to guide and protect him on the path of glory. best remembered today as a double-bass virtuoso and States together with the production and engineering 4 He is joined by the Egyptian princess, Amneris, The assembled ministers and captains shout their composer. staff. The recording of Aida was recorded in ten days who notices the unusual joy that now appears in his defiance of the enemy, for Radamès will return as While Verdi wrote a number of spectacular over a period of two weeks. regard. She feels jealousy of the woman who has been victor. passages in his opera, most notably the magnificent The title-rôle was assigned to the Croatian-born but able to bring him such happiness. Radamès tells her that Triumphal Scene and Ballet Music in Act 2 after the American naturalised soprano Zinka Milanov (1906- his heart has been filled with a dream of fame: the 7 Aida is left alone, haunted by these last words. She 8.111042-44 6 11 8.111042-44 111042-44 bk Aida EU 4/4/06 2:20 PM Page 10

particular empathy for contemporary operatic scores. works. A conducting competition was later named after 1989) who possessed one of the most beautiful voices of later life, caused by heart problems. His complete He conducted without a baton in a somewhat agitated him. her time. She studied singing in her native Zagreb with operatic recordings include Il trovatore (Naxos and nervous manner but invariably achieved highly Milka Ternina and then Fernando Carpi before making 8.110240-41), Cavalleria rusticana (Naxos 8.110261), expressive interpretation. He also appeared as a pianist her début in 1927 at Ljubljana as Leonora in Il Pagliacci (Naxos 8.110258) and Manon Lescaut and was a composer who wrote symphonic and operatic Malcolm Walker trovatore. A member of the Zagreb Opera between (Naxos 8.111030-31). 1928 and 1935, she also appeared as a guest with the When the recording of Aida was released in Britain, Deutsches Theater in Prague and Dresden before being the November 1956 edition of The Gramophone selected by Toscanini as the soprano soloist in Verdi’s thought the end result was ‘the best complete Aida to Requiem at the 1937 Salzburg Festival. Later that year date’ . The reviewer thought that ‘at her best Milanov Milanov joined the Metropolitan Opera, singing 424 sings superbly’ , Barbieri ‘was the best of current performances during her career in that house prior to her interpreters of the rôle’, Björling ‘the most musicianly retirement in 1966. She sang at the Teatro Colón in Radamès since Martinelli’, Warren ‘solid and sturdy’ Buenos Aires between 1940 and 1942 in addition to and Christoff ‘an immensely dramatic Ramfis’. appearances in San Francisco and Chicago. She Fedora Barbieri (1919-2003) was born in Trieste, returned to sing in Europe when engaged by the Teatro where she studied with Federico Bugatti and later Luigi alla Scala in 1950 and Covent Garden in 1956 as Tosca. Toffolo before moving to the school of the Teatro Her other rôles included Norma, Donna Anna (Don Comunale in Florence to work wuth Giulia Tess. Her Giovanni), and Maddalena (Andrea Chénier). Her début was as Fidalma in Cimarosa’s Il matrimonio complete recordings include Il trovatore (Naxos segreto in Florence in November 1941, soon followed 8.110240-41), Cavalleria rusticana (Naxos 8.110261), by Azucena. She then appeared in Rome (1941-2) and Tosca, La Gioconda and La forza del destino. Milanov at La Scala in 1943 as Meg Page in Verdi’s Falstaff. possessed a voice of translucent tonal beauty and Later that same year she sang in Belgium, Germany and considerable vocal power and her exquisite pianissimo Holland. Having married Luigi Bartoletti, then artistic singing was greatly admired in Bellini, Puccini and director of the Florence May Festival she retired Verdi. temporarily but returned in 1945. She visited Buenos The Swedish tenor Jussi Björling (1911-1960) was Aires to sing at the Teatro Colón in 1947 in addition to born in Borlänge in the district of Dalarna, and as a boy singing Brangäne to Maria Callas’s Isolde. For her New toured with the family quartet in Sweden, in addition to York début at the Metropolitan Opera she sang Eboli in the United States where the three Björling brothers also Don Carlos at the start of Rudolf Bing’s reign as recorded. His adult teachers were the baritone John General Manager of the house in November 1950. Forsell and the Scottish tenor Joseph Hislop. He joined When the La Scala Company visited London in 1950 the Royal Opera in Stockholm in 1930. An international she sang Mistress Quickly in Falstaff as well as a Verdi career began in earnest with appearances in Vienna Requiem under Victor de Sabata. She was later engaged (1936), Germany (1937) and New York (1937). The by the San Francisco Opera in 1952 and continued to war years were largely spent in Sweden but he soon appear in New York between 1951-4, 1956-7 and 1967 returned to New York where he sang until 1959. when her rôles included Adalgisa, Carmen, Amneris, Björling was highly regarded in both the French and Azucena amd Laura. She sang Eboli in the famous Italian repertoire, being respected for his artistic Visconti production of Don Carlos to celebrate the qualities, even if his acting was conventional and centenary of the Royal Opera House at Covent Garden. somewhat stiff. He recorded extensively from 1929 By the late 1960s Barbieri changed to singing character until 1960. He suffered, however, from poor health in parts and continued to do so until her retirement in 8.111042-44 10 7 8.111042-44 111042-44 bk Aida EU 4/4/06 2:20 PM Page 8

2000. She had a repertoire of over a hundred rôles and Fiesco in Simon Boccanegra during the years 1958-74. contemporaneous recording of Un ballo in maschera before he made his stage début as the Duke in Rigoletto was in the classic line of Italian mezzo-sopranos. His justly acclaimed interpretation of Philip was seen at are offered. This was made following the belated début in Philadelphia during 1938. This was followed by a Leonard Warren (1911-1960) was born in New the 1960 and 1961 Salzburg Festival. His long career as Ulrica at the Metropolitan Opera of the famous solo appearance in New York City the following year York of Russian immigrant parents and began his continued until 1980. Christoff was a charismatic stage American Afro-Caribbean contralto Marian Anderson and in 1941 he joined the Metropolitan Opera where he career in the chorus of Radio City Music Hall. After performer with fine vocal control and a powerful (1897-1993) on 7th January 1955 to become the first sang Alfredo in La traviata. He would sing 205 winning the Metropolitan Opera Auditions of the Air in feeling for words. He excelled in the Russian repertory coloured singer to appear in that house. This historic performances over 26 seasons of eleven rôles that 1938, he then studied briefly in Italy, before his formal but also in the bass rôles of Verdi. He was the brother- event made possible the breakthrough for similar artists would include Edgardo, Cavaradossi, Riccardo, début as Paolo in Simon Boccanegra in January 1939. in-law of the baritone Tito Gobbi (1913-1984). in the future. Rodolfo, Ottavio, Faust and Turiddu. In 1956 he During 22 seasons at the Met, Warren sang in over six The Romanian conductor Jonel Perlea (1900- Marian Anderson had by this time become an became the first American singer to appear at the hundred performances with the company, with whom 1970) was born in Ograda of a German mother and American legend even icon but her career had suffered Bolshoy Theatre in Moscow since the end of the Second he became the principal in the Italian repertoire. His Romanian father. After studying in Munich and Leipzig greatly from racial prejudice hitherto. Born in World War. He also visited Austria, Australia, Japan, overseas appearances included Rio de Janeiro (between he made his début as a conductor of one of his own Philadelphia she studied first with Giuseppe Boghetti New Zealand, South Africa and Sweden. Leaving a full- 1942 and 1946), Mexico City (1948-49), Milan (1953- compositions in Bucharest in 1923. The following year and later Frank LaForge in New York. She made her time association at the Met in 1966, he made his 54) and a concert tour of the Soviet Union in addition Perlea served as an assistant conductor in Rostock. first recordings in Camden, New Jersey in 1924, before farewell appearance in the house two years later. He to three operatic appearances. He collapsed on stage Then followed a period of obligatory military service in winning first competition in 1925, which which enabled subsequently appeared as Tevye in Fiddler on the Roof during a performance of La forza del destino in March his native country before joining the staff of the Royal her to sing with the New York Philharmonic at the on Broadway before failing eyesight and physical 1960 and died in the wings almost immediately. His Opera in Bucharest. Four years later he became music Lewisohn Stadium on 27th August. In 1928 she went to problems forced his retirement. Although small of huge, resonant voice with easy ringing upper register director of the opera, with appointments at the Royal Europe and made her first recordings in London before stature he possessed a strong vocal technique and was ideally suited to the music of Verdi, a number of Academy of Music and Bucharest Philharmonic making her Carnegie Hall début the following year. metallic ringing top register despite a somewhat dry whose operas he recorded, including Rigoletto (Naxos Orchestra. During his ten years in Bucharest he During the 1930s she sang in Austria, England, France, tone. He is best remembered for the complete 8.110148-49) and Il trovatore (Naxos 8.110240-41). conducted the local premières of Der Rosenkavalier, Germany and Scandinavia, culminating in a recital recordings of La bohème, La traviata, Fidelio and Un Boris Christoff (1914-1993) was born in Plovdiv, Falstaff and Die Meistersinger von Nürnberg. In 1944 engagement at the Salzburg Festival in 1935, the year ballo in maschera that were conducted by Toscanini. Bulgaria, and first obtained a law degree while singing the Nazis interned him, after he had made an abortive Anderson sang at the Town Hall in New York. In 1939 Athens-born Dimitri Mitropoulos (1896-1960) as an amateur in the Gulsa Choir in Sofia. King Boris attempt to escape to France. The following years were she was refused permission by the Daughters of the studied in his native city and then with Busoni in Berlin then made financial arrangements for the young bass to spent in Italy including engagements at La Scala in American Revolution to sing at Constitution Hall in between 1921-24, where he became a répétiteur under study in Rome with the baritone Riccardo Stracciari. Milan conducting Samson et Dalila, Così fan tutte, Washington DC. On 4th April she sang in an outdoor Erich Kleiber. Returning to Greece in 1924 he worked Moving to Salzburg in 1943, Christoff was later Orfeo ed Euridice, Boris Godunov, Salome, Werther concert at the Lincoln Memorial in the American capital with the orchestra of the Athens Conservatory. He interned in a labour camp by the Germans. After a and Fidelio between 1947 and 1950. He was then to an audience of 75,000 people. In 1957 she was worked with the Paris Symphony Orchestra in the years period of further study he made his concert début engaged at the Metropolitan Opera in New York during appointed a delegate to the United Nations by the 1932-36. After he was engaged by the Boston singing Wotan’s Farewell from Die Walküre in Rome the 1950-51 season, conducting Tristan, La traviata, American Government. Anderson retired from singing Symphony Orchestra in 1936 he settled in the United where he would make his first stage appearance as Rigoletto and Carmen. In 1952 Perlea returned to in 1965, two years after she had been awarded the States, later becoming a naturalised citizen. He worked Colline in La bohème. He later sang Pimen in Rome, a Romania as a guest. He taught conducting at the United States Medal of Freedom. Her long career was with the Minneapolis orchestra (1937-49), followed by rôle which he repeated at La Scala in 1947. His London Manhattan School of Music between 1955 and 1970, spent in the concert hall in the fields of oratorio, song the New York Philharmonic between 1949 and 1958. début was in the title-rôle of Boris Godunov at Covent also serving as conductor of the Connecticut Symphony and Lieder. Her large, well-produced contralto voice He returned to Europe in 1950 to conduct Elektra at the Garden. He was then engaged to sing King Philip at the Orchestra in 1955. In 1957 he suffered a heart attack possessed a velvet-like quality. Florence May Festival where he would also appear in Metropolitan in New York in November 1950 but was and the following year a stroke which forced him to Jacob Pincus Perelmuth, known professionally as 1954 and 1957. His Metropolitan début was conducting refused a visa. His first American engagement was conduct with his left hand. Perlea recorded a Jan Peerce (1904-84), was New York-born. Originally Salome in December 1954 and he later conducted there delayed until 1956 when he repeated Boris in San considerable amount of purely orchestral music for the he sang in synagogues, played the violin in dance bands Boris Godunov, Tosca, Die Walküre, Cavalleria Francisco. Christoff sang regularly at the Chicago Lyric Vox label: in addition he also directed Manon Lescaut and appeared as a popular singer in cabaret before rusticana and Pagliacci as well as the première of Opera between 1957 and 1963. He returned to Covent (Naxos 8.111030-31). studying singing with Giuseppe Boghetti. Between Samuel Barber’s Vanessa. He appeared regularly during Garden to repeat his Boris, adding King Philip and As a valuable appendix to Aida, highlights from a 1933 and 1938 he sang at the Radio City Music Hall the 1950s at the Salzburg Festival. Mitropoulos had a 8.111042-44 8 9 8.111042-44 111042-44 bk Aida EU 4/4/06 2:20 PM Page 8

8.111042-44 4 13 8.111042-44 111042-44 bk Aida EU 4/4/06 2:20 PM Page 14

1 955 Recording

Zinka Milanov • Jussi Björling Fedora Barbieri • Leonard Warren • Boris Christoff

8.111042-44 16 NAXOS Historical Milanov • Björling • Perlea 8.111042-44

V O

N g n

A i d

L r o

e M

5 A

5 Aida K 9

Jonel Perlea Jonel N

I VERDI Z Zinka Milanov • Jussi Björling • Jussi Zinka Milanov Rome Opera House Chorus and Orchestra Rome Opera House Chorus and Fedora Barbieri • Leonard Warren • Boris Christoff • Boris Warren Barbieri • Leonard Fedora I S E E E P R T R R R A A C G G D N O O 3 CDs

NAXOS Historical VERDI: Aida 8.111042-44 CMYK NAXOS Historical NAXOS Historical 8.111042-44 Giuseppe Playing Time ADD VERDI 3:25:44 (1813-1901) and copying of this compact disc prohibited. broadcasting Unauthorised public performance, texts and translations reserved. artwork, All rights in this sound recording, &

Aida 06NxsRgt nentoa t.Made in the EU 2006 Naxos Rights International Ltd. Aida ...... Zinka Milanov This July 1955 recording, hailed in 1956 by Radamès ...... Jussi Björling The Gramophone as ‘the best complete Aida recorded to date’, features some of the Amneris ...... Fedora Barbieri greatest operatic singers of the day at the Amonasro ...... Leonard Warren peak of their form. The Gramophone reviewer Ramfis ...... Boris Christoff thought that Zinka Milanov, renowned for Milanov • Björling Perlea possessing a voice of translucent tonal beauty The King of Egypt ...... Plinio Clabassi and considerable vocal power,‘at her best… A Messenger ...... Mario Carlin sings superbly’, Björling was ‘the most VERDI: Priestess ...... Bruna Rizzoli musicianly Radamès since Martinelli’, Barbieri ‘the best of the current interpreters [of Rome Opera House Chorus and Orchestra Amneris]’, Warren ‘solid and sturdy’ and Giuseppe Conca, Chorus master ‘Christoff an immensely dramatic Ramfis’.The Aida Jonel Perlea Ballo highlights form a valuable filler as a memento both of Marian Andersen’s long Recorded in July 1955 at the Opera House, Rome delayed January 1955 Met début, and the only operatic rôle, Ulrica, she undertook on stage. CD 1 57:50 CD 2 79:49 CD 3 68:05 1 Prelude 3:29 1-7 Act II concluded 22:02 1-3 Act IV concluded 12:01 2-9 Act 1 37:47 8-$ Act 1II 33:15 4-% Appendix: Highlights from Un Ballo 0-@ Act 1I 16:34 %-* Act 1V 16:58 in Maschera with Milanov and Andersen, conducted by Dimitri Mitropoulos 56:04 8.111042-44 8.111042-44 Reissue Producer and Restoration Engineer: Mark Obert-Thorn Cover photo: Zinka Milanov (The Tully Potter Collection)