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La Sonnambula VINCENZO BELLINI MARIA CALLAS VINCENZO BELLINI La Sonnambula OPERA IN TWO ACTS La Sonnambula LIBRETTO BY FELICE ROMANI KING’S THEATRE Amina Maria Callas EDINBURGH August 26, 1957 Elvino Nicola Monti Il conte Rodolfo Nicola Zaccaria NEVER BEFORE Teresa Fiorenza Cossotto AVAILABLE Lisa Edith Martelli COMPLETE OPERA LIVE RECORDING Alessio Dino Mantovani Un notaro Franco Ricciardi Orchestra and Chorus of the Piccola Scala, Milan Antonino Votto KING’S THEATRE ˜ EDINBURGH Recorded live, August 26, 1957 Piccola Scala XI Festival Internazionale di Edimburgo. Chorus master Norberto Mola. Stage designer Luchino Visconti. Stage director Nicola Benois. Costume designer Piero Tosi. Assistant master Giuseppe di Luggo. Prompter master Vasco Naldini. Scenery painted by Luigi Brilli, Vincenzo Pignataro and Gino Romei. COLLECTION COLLECTION www.divinarecords.com | [email protected] Track List | Notes | Libretto in Italian | Hand Program | Synopsis | Reviews | Photographs La Sonnambula • Edinburgh, August 26, 1957 Back to Home Divina Records • DVN~6 • Page 1 Track List COMPACT DISC 1 [57.18] 16 • A fosco cielo, a notte bruna [3.45] 10 • Vedi, o madre... È afflitto e mesto [3.24] ACT I Chorus / Rodolfo / Teresa / Amina / Elvino Amina / Elvino 1 • Viva! Viva Amina! [2.51] 17 • Basta così [1.38] 11 • Viva il conte! [1.21] Chorus Rodolfo / Teresa / Chorus / Elvino Chorus / Elvino / Amina / Teresa 2 • Tutto è gioia, tutto è festa [2.34] 18 • Elvino! E me tu lasci [2.11] 12 • Ah perchè non posso odiarti [1.49] Lisa / Alessio / Chorus Amina / Elvino Elvino / Teresa / Chorus 3 • In Elvezia non v’ha rosa [3.29] 19 • Son geloso del zefiro errante [7.24] 13 • E fia pur vero, Elvino [2.07] Chorus / Lisa / Alessio Elvino / Amina Lisa / Elvino / All / Rodolfo / Alessio 4 • Care compagne ( Amina / Chorus ) [2.07] 20 • Radio announcer [2.16] 14 • Signor conte, agli occhi miei [2.09] 5 • Come per me sereno [3.01] Elvino / Rodolfo / Chorus / Lisa Amina / all COMPACT DISC 2 [66.36] 15 • Piano, amici: non gridate [2.08] 6 • Sovra il sen la man mi posa [2.45] ACT I (cont.) Teresa / Chorus / Lisa Amina / Chorus 1 • Davver, non mi dispiace [3.38] 16 • Signor?... che creder deggio? [2.28] 7 • Io più di tutti, o Amina [2.17] Rodolfo / Lisa Elvino / Rodolfo / Chorus / Teresa Alessio / Amina / Lisa / Teresa / Notaro / Chorus 2 • Che veggio? [2.22] 17 • Oh! se una volta sola [5.34] 8 • Perdona o mia diletta [2.38] Rodolfo / Amina Amina / Rodolfo / Teresa / all Elvino / Amina / all / Notaro 3 • Oh ciel! Che tento? [4.07] 18 • Ah, non credea mirarti [5.09] 9 • Prendi: l’anel ti dono [5.37] Rodolfo / Amina Amina / Elvino Elvino / Amina / Chorus 4 • Osservate: L’uscio è aperto [3.21] 19 • No più non reggo [2.05] 10 • Ah, vorrei trovar parole [2.47] Chorus Elvino / Amina / Rodolfo / all Amina / Elvino / all / Lisa 5 • E’ menzogna! [1.57] 20 • Ah! non giunge uman pensiero [4.19] 11 • Domani, appena aggiorni [0.42] Elvino / Chorus / Lisa / Amina Amina / all Elvino / all / Amina 6 • D’un pensiero e d’un accento [5.24] 21 • Radio announcer [0.58] 12 • Come noioso e lungo [1.08] Amina / Elvino / Chorus / Alessio / Teresa Rodolfo / Lisa / all 7 • Non più nozze [1.56] 13 • Vi ravviso, o luoghi ameni [2.29] Elvino / Amina / Chorus / Lisa / Alessio / Teresa Rodolfo / all ACT II 14 • Ma fra voi, se non mi inganno [2.22] 8 • Qui la selva è più folta ed ombrosa [5.48] Rodolfo / all / Lisa / Elvino Chorus 15 • Contezza del paese [3.07] 9 • Reggimi, o buona madre [4.15] Elvino / Rodolfo / Teresa / Lisa / Chorus Amina / Teresa La Sonnambula • Edinburgh, August 26, 1957 Back to Home Divina Records • DVN~6 • Page 2 Callas’ Second Sonnambula Broadcast from Edinburgh by Milan Petkovic In the summer of 1957, Maria Callas was serious strain in her relations with La Scala. fuller and stronger than in the recording of invited to perform Bellini’s La Sonnambula (The last Edinburgh Sonnambula, performed the Cologne performance. The interpretation with the La Piccola Scala ensemble at the and broadcast on 3 September, featured the is also more inspiringly and delicately shaded Eleventh Edinburgh International Festival. young Renata Scotto in the title role; it was an at many points. Callas exudes grace, charm, On 7 August, however, Callas’ doctor found important event in the early stage of Scotto’s and agility. Lovely and expressive diminuendi her in a state of nervous exhaustion and fa- remarkable career.) This event, as well as the are present throughout (such as one on the tigue caused by a strenuous work schedule notorious Rome walkout of 2 January 1958 climactic B-flat in the cavatina’s cadenza, and prescribed at least thirty days of complete (DVN~7), ultimately led to a break between not attempted in the complete commercial rest. Despite his advice, Callas agreed to sing Callas and the La Scala management, resulting recording). The bravura passages in “Sovra four performances, given that her participation in the soprano’s thirty-month absence from the il sen” are executed with Callas’ accustomed at the Festival was of the utmost importance Milan stage. brilliance, the interpolated E-flat in alt is in to La Scala. She arrived in Edinburgh on 17 Harold Rosenthal wrote about Callas’ Edin- focus compared with the off-center note heard August as planned, and sang La Sonnambula burgh performances in Musical America: “Ac- in the 21 August performance. The following on four evenings; the second (DVN~9) and cording to reports, opening night [19 August] recitatives with Alessio and Lisa are sung in a third (DVN~6) performances were broadcast found her in far from good voice. The second disarmingly simple and natural conversational by the BBC radio. Because the performances and third performances ... displayed the singer manner. The amorous sentiments this Amina enjoyed great success, the Scala management at her very best and very worst; in the fourth, feels for her fiancé shine through the phrase exerted pressure on Callas to give an additional which I heard, the soprano was in excellent “Caro Elvino, alfin tu giungi!”, whilst “Il cor one. Furthermore, they announced Callas’ voice...” Whatever the state of Callas’ health soltanto” is colored with a touch of regret and participation in a fifth Sonnambula without and the opinions of the public and critics may melancholy but also hushed ardor. With Cal- consulting her first. Given the precarious state have been, her voice does sound captivating las, silence often has as much importance as of Callas’ health at that time, which was further and fresh in this second broadcast; it is hardly the notes themselves; the effect of the slight aggravated by the cold climate, she declined white or threadbare, as some critics have re- pause between “Oh...” and “...tenera parola” to give the uncontracted fifth performance marked. Whether it is because of the recorded in the following duet is telling in that regard, and departed on 30 August, thus creating a sound or closer miking, her voice sounds enhancing the word “tenera” in a highly expres- La Sonnambula • Edinburgh, August 26, 1957 Back to Home Divina Records • DVN~6 • Page 3 sive manner. In contrast to the commercial phrase “Mal rispondi a tanto amor” at the end The second verse is more open and energetic, recording, Elvino’s lines at the conclusion of of the introductory solo and the line soaring to conveying the heroine’s final acceptance of the “Ah vorrei trovar parole” are omitted; Callas a high B-flat toward the ensemble’s conclusion; bliss sorely denied her since her awakening in alone caps the duet with a full, prolonged both include wonderful diminuendi that are the Count’s room. A-flat. The only awkward moment in this better realized than on the commercial record- Sadly, this recording is Maria Callas’ final recording is the abrupt break in the cadenza ing. Furthermore, Amina’s pain and frustration complete Sonnambula documented in sound. at the end of “A fosco cielo, a notte bruna,” in the following section (“Deh! m’ascolta! ... After the Edinburgh performance of 29 Au- probably a memory lapse or misjudgment of Non è questa, ingrato core”) are rendered with gust 1957, Callas never sang Amina on the breath on Callas’ part. In the subsequent duet less dark and dramatic accentuation than on stage again, returning to this music only for a with Elvino, Callas endows Amina’s lines with EMI, therefore flowing more naturally and televised concert of May 1965, where she sang a wide spectrum of emotions – from the sor- convincingly. the final cavatina and its preceding recitative. row and hurt of “Ingrato! e dir mel puoi?” to Callas continues effectively in the recitatives The present recording of 26 August 1957, the the loving tenderness and delicacy of “Amo at the beginning of Act II, and her cry of “Ah, last recorded performance of one of Callas’ il rio, perchè l’onda ti da.” Trills and fioriture il mio anello! Oh madre!” would melt a heart greatest roles, has never been released before are impeccably executed, top notes rock-solid, of stone. The concluding Sleepwalking Scene in its entirety. and the volume of Callas’ voice covers that of is sung as hauntingly as ever. “E pur... rea non c Milan Petkovic, 2000 Nicola Monti in several places. son io” is particularly touching, and a better In the Sleepwalking scene of the Act I, effect than on EMI is achieved at “Ancor ti her phrasing is memorable and deeply felt: bacio, ancor ti bacio,” with less pressure put on “Prendi... la man ti stendo”, “Oh madre mia”, the voice. As in the recording of the 21 August or “Non mi sostiene il pie”.
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