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Also available PUCCINI

O GOB TIT BI

8.111276-77 8.111278-79

1 g 955 Recordin

Tito Gobbi • Margaret Mas • Giacinto Prandelli Rome House Chorus and Orchestra

8.111280-81 8.111291-92 Vincenzo Bellezza

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Great Opera Recordings itinerant existence, with no life between the bed and go to bed. She tells him that she cannot sleep inside, the stove. She lived in Belleville, where Luigi tells her but he says the nights are cold and nothing has been the he was born too: Belleville is their country, their same since the death of their child. Once, he tells her, Giacomo world, living in a house, with friends, shops lit up, she would shelter under his cloak and rest her head on noise, the Bois de Boulogne. Luigi joins her in praising his shoulder, her mouth near his, in happiness: now his PUCCINI the life of the suburbs, of Paris. Frugola understands grey hairs seem an insult to her youth. She begs him that life is varied there and Talpa suggests they should not to go on. She pleads tiredness, but he knows she (1858-1924) will not sleep, and tries to draw her towards him. go to eat. Luigi, however, stays, to talk to Michele. ! Michele asks her to stay with him, remembering Talpa and Frugola leave, arm in arm, and their voices other nights, other skies, other moons, the time they Il tabarro are heard, dreaming of their country cottage. have spent together on the barge. He pleads with her to 7 Luigi and Giorgetta are left alone. They are in love, come back to him, but she tells him that they are older (The Cloak) but she is afraid of discovery and death. Luigi would now, she is not the same, and that he too has changed. Opera in One Act rather die than see her so tied down, and she wants A distant church sounds the hour and she wishes him Libretto by Giuseppe Adami after the play, La Houppelande, by Didier Gold them to be far away, always together. He makes good night. As she goes into the cabin, he utters the towards her, but Giorgetta, in fear, tells him to be single word Sgualdrina, whore! He sets the red, green careful, as Michele appears again from the hold. Luigi and white lights on the barge, while two lovers are seen passing on the bank. Michele, bargemaster ...... Tito Gobbi (baritone) tells him that he has been waiting for him, asking him to put him ashore in Rouen. Michele tells him that @ Michele slowly and cautiously approaches the Luigi, bargeman ...... Giacinto Prandelli () cabin, listening, knowing that Giorgetta is not Il Tinca (The Tench), bargeman ...... Piero De Palma (tenor) would be foolish, as it would be worse there, and Luigi agrees to stay working for him. Michele turns towards undressed, not sleeping but waiting. He wonders who Il Talpa (The Mole), bargeman ...... Plinio Clabassi () has changed her and come between them: Talpa? Too the cabin to prepare the lights, and Luigi wishes him old: Tinca? He drinks. Luigi? But he wanted to be left Giorgetta, wife of Michele ...... Margaret Mas (soprano) good night. La Frugola, wife of Il Talpa ...... Miriam Pirazzini (mezzo-soprano) in Rouen. Who then? He will kill the man, if he finds 8 Giorgetta asks Luigi why he has asked to be left in him. He sinks down, exhausted, as the night darkens. A song peddler ...... Renato Ercolani (tenor) Rouen, and he tells her that he cannot share her with Then he takes out his pipe and lights it. At that moment Two lovers ...... Sylvia Bertona (soprano) Michele. The lovers express their pain and their loves, Luigi, who has been waiting on the bank for Piero De Palma (tenor) endless kisses, oaths and promises, the two of them far Giorgetta’s signal, leaps onto the barge. Michele sees away. He agrees to come back in an hour’s time, and the shadow, starts up, lies in wait, then recognises Rome Opera House Chorus and Orchestra she will give him the same signal that all is safe, with Luigi. (Chorus Master: Giuseppe Conca) a light. Luigi is in love and jealous that another should # Michele seizes Luigi by the throat, asking if he is Vincenzo Bellezza touch her, his passion rising to a height, as she hurries there for his lover, telling him not to lie but to confess. him away. Luigi draws a knife, which Michele makes him drop, 9 accusing Luigi, who eventually admits he loves Recorded October, 1955 in the Teatro dell’Opera, Rome Giorgetta sighs that it is hard to be happy. Michele asks why she has not gone to bed: he will stay up. She Giorgetta, as he dies. Her voice is heard from the cabin First issued on HMV ALP 1355 thinks she has done well to prevent Luigi leaving, but and Michele quickly covers Luigi’s body in his cloak. he thinks that two men would have been enough for the Giorgetta, now seeks the comfort of his cloak, which, Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn work. He could let Tinca go, as he drinks too much, according to his saying, hides joy and sorrow. He tells Giorgetta suggests, but Michele adds that he drinks to her to come near, and opens the cloak to reveal the soothe his pain, as his wife is a whore: he drinks so as body of Luigi. She cries out in terror and Michele not to kill her. Giorgetta is troubled by this. seizes her, throwing her down, forcing her face against 0 Michele approaches her, asking why she no longer that of her dead lover. loves him. She coldly tells him that he is wrong: she loves him, and he is good and honest: now they should Keith Anderson

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Synopsis drinks too much. Giorgetta says that she may be jealous 1 O Michele? Michele? 5:35 Appendix: Tito Gobbi – Opera Arias and asks her husband what is wrong. The song-vendor (Giorgetta, Michele, Bargemen, Luigi, 1 The scene is set on Michele’s barge in the Seine, is followed by a man carrying a little harp and they are Il Tinca, Il Talpa) $ PUCCINI: La fanciulla del West surrounded by a group of midinettes, leaving their Minnie, dalla mia casa son partito (Act 1) 2:48 with a gangway leading to the bank. Notre Dame can be 2 seen and buildings by the river, bordered by plane-trees. work. They call for a song, and the harpist sits on a stool Eccola la passata! 2:55 Orchestra conducted by Umberto Berrettoni (Luigi, Giorgetta, Il Talpa, Il Tinca) Recorded July, 1942 in Above the cabin is the helm, and inside everything is to play, while the vendor sings for them. Michele asks if he has treated Giorgetta badly, and she denies it, but Matrix no.: 0BA 5161 tidily set out, with pots of geraniums, washing hanging 3 Dunque, che cosa credi? 3:45 First issued on La Voce del Padrone DA 5430 to dry and on the cabin door a canary cage. It is sunset would prefer violence to silence. The singer continues his song to spring, the season for lovers, where one who (Giorgetta, Michele, Song peddler, Midinettes) and the fifty-year-old barge-owner Michele, his pipe % MOZART: Don Giovanni out, stands by the helm, watching the sunset, while his has lived for love dies for it. The girls buy the song, 4 while Giorgetta continues to ask Michele what is O eterni innamorati, buona sera 4:53 Deh, vieni alla finestra (Act 2) 2:08 young wife Giorgetta busies herself with the washing, (La Frugola, Giorgetta, Il Talpa, Michele, Orchestra conducted by Umberto Berrettoni waters the flowers and cleans the bird-cage. On the wrong. The musicians leave, while the midinettes, now Luigi, Il Tinca) Recorded July, 1942 in Milan bank stands a horse and cart, and dockers come and go, in the distance, are heard singing the last verse of the Matrix no.: 0BA 5149 song they have bought. 5 Hai ben ragione! … Per noi la vita 3:39 First issued on La Voce del Padrone DA 5430 carrying heavy sacks on their shoulders as they unload 4 the barge. Giorgetta calls out to her husband. The Talpa’s wife Frugola appears on the bank and (Luigi, Il Tinca, Giorgetta, Il Talpa, La Frugola) dockers have worked hard and the hold must be empty crosses the gangway onto the barge. She carries on her ^ MOZART: Le nozze di Figaro and tomorrow they can load again, she suggests, adding shoulders a sack full of all kinds of rags. She greets 6 È ben altro il mio sogno! 5:53 Non più andrai (Act 1) 3:37 that the men deserve a drink. The dockers are heard at them, and Michele leaves, to enter the cabin. Frugola (Giorgetta, La Frugola, Luigi, Il Talpa, Philharmonia Orchestra • James Robertson asks if her husband has finished work: that morning she Soprano Voice, Tenor Voice) Recorded 14th March, 1950 their work. Michele tells her she thinks of everything, in EMI Abbey Road Studio No. 1, London and approaches her affectionately: he does not drink, his had dealt with his aches and pains. She laughs and throws her sack down, rummages in it and produces a 7 O Luigi! Luigi! 3:10 Matrix no.: 0EA 14464-1 pipe is out, but his love still burns. He kisses her, but she (Giorgetta, Luigi, Michele) First issued on HMV DA 1946 turns her head, letting him kiss her cheek. He goes down comb, that she offers Giorgetta, delighted at what she into the hold. She exchanges words with the young has collected that day. From her sack she brings out lace 8 & and velvet, rags and jars, evidence of a thousand loves, Dimmi: perchè gli hai chiesto ROSSINI: Il barbiere di Siviglia docker Luigi, as the dockers finish their work. di sbarcarti a Rouen? 4:13 Largo al factotum (Act 1) 4:51 2 Led by Luigi, the other workmen gather round joys and torments, collected without distinguishing the (Giorgetta, Luigi) Royal Philharmonic Orchestra • Giorgetta, who gives them wine. Talpa, Tinca and Luigi rich from the common people, and, in a paper bag, a Recorded 2nd February, 1948 drink her health. Luigi calls out to a passing organ- beef-heart for her cat, who keeps her company, when 9 Come è difficile esser felici! 1:25 in EMI Abbey Road Studio No. 1, London grinder, but Giorgetta tells the men she knows only one her husband is out. Talpa comes up from the hold, (Giorgetta, Michele) Matrix no.: 2EA 12702-1 kind of music, the one for dancing. She dances with followed by Luigi. Michele emerges from the cabin, First issued on HMV DB 6626 asking Luigi for his help in loading the next day. Tinca 0 Perchè, perchè non m’ami più? 4:00 Tinca, while Luigi and Talpa stop their ears at the * discords of the barrel-organ. Luigi makes fun of Tinca, appears, with the other dockers, ready to go. Talpa asks (Michele, Giorgetta) VERDI: him if he is in a hurry, while Frugola chides the men for Urna fatale del mio destino 3:36 and takes his place, dancing with Giorgetta in his arms. ! Resta vicino a me! 4:39 Philharmonia Orchestra • James Robertson Michele enters, from the hold, and they stop dancing. wanting to drink. Tinca, however, tells her that drinking is better than thinking. He makes to leave, laughing, (Michele, Giorgetta, Two Lovers) Recorded 14th March, 1950 Luigi signs to the organ-grinder to stop and gives him in EMI Abbey Road Studio No. 1, London some money, before he and the others go down into the while Michele goes down into the hold. 5 Luigi says he is right: it is better not to think, with @ Nulla! Silenzio! 3:35 Matrix no.: 2EA 14462-1 hold to finish their work. (Michele) First issued on HMV DB 21071 3 Giorgetta, assuming an air of naturalness with life so hard, bread earned by sweat, head bowed and difficulty, asks Michele of their plans, and whether they back bent. Tinca tells him to follow his example and # T’ho colto! 4:17 ( VERDI: are to take Talpa, Tinca and Luigi with them, when they drink. He goes and Talpa tells his wife that they should (Michele, Luigi, Giorgetta) Vanne! … Credo in un Dio crudele 4:28 leave for Rouen. A song-vendor is heard, selling his last go, as he is dead tired. Frugola hopes that some day they Philharmonia Orchestra • James Robertson song. Giorgetta admires the September sunset, the sun, can buy a cottage in the country: she has always dreamt Recorded 14th March, 1950 of such a place, there with her husband and her cat. in EMI Abbey Road Studio No. 1, London like a great orange, dying in the Seine. She draws his 6 attention to Talpa’s wife, Frugola, who is coming to Giorgetta has quite another dream: it is Paris that Matrix no.: 2EA 14463-1 look for her husband - rightly, Michele suggests, as he brings her alive, if only Michele would give up this First issued on HMV DB 21071 8.111307 63 8.111307 111307 bk Tabarro EU 6/10/08 1:55 PM Page 4

Giacomo Puccini (1858 - 1924) made his American début at San Francisco in 1948, The following year he was alternating with Gigli in and in 1954 began a long association with he Chicago performances at the Rome Opera. By 1944 he was Il tabarro Lyric Opera as both a singer and stage director, a rôle active throughout Italy and sang with Toti dal Monte in Born in Lucca in 1858, Puccini showed early signs of French dramatist Didier Gold, La Houppelande, which which he assumed more in the later stages of his . He took part in the concert to mark the musical talent, and was an organist and choirmaster by Puccini had seen in Paris, where it had caused a career, when he also taught widely. The leading Italian reopening of , Milan, under Toscanini in 1946, the time he was only nineteen. With the aid of a grant sensation. By the time he composed Il trittico, Puccini baritone of his generation, he died in Rome in 1984. and between 1949 and 1961 appeared every year at the secured by his mother, he entered the Milan was acknowledged both as the world’s most popular The distinguished critic and Puccini scholar Edward Rome Opera. During the 1950s he also sang frequently Conservatory, where he studied under Amilcare opera composer, and as an expert in exploring in Greenfield has described his account of Michele as ‘by abroad, appearing with the in New Ponchielli, the composer of . With musical terms the inner thoughts of the characters far the most individual and compelling on record’. York (1951-53, 1954-55) and with the San Francisco Ponchielli’s encouragement, he entered his first opera whom he portrayed, such as those of Michele, the The soprano Margaret Mas was born in France in Opera Company (1954) and at the Colón in Buenos Le Villi into a competition for the composition of a one- central figure in Il tabarro. Puccini did not attend Il 1924, and studied with Madeleine Mathieu in Paris. Aires (1960). In 1956 he sang in the Verdi Requiem as act opera, organized by the publishers Sanzogno, but trittico’s world première at the Metropolitian Opera in She began her stage career in the South of France in the part of the season of opera given at the Stoll Theatre, was not successful. Le Villi was thought good enough, 1918 owing to the difficulties of travel in wartime. The numerous French provincial opera houses. In 1949 she London. A tall imposing figure on stage with red hair however, to be produced in Milan in 1884, and as a first performances, with a spectacular cast including made her début at the Paris Opéra, where she remained and a repertoire of more than fifty rôles, he also result of this, the publisher Ricordi commissioned Claudia Muzio (Il tabarro), Geraldine Farrar (Suor as a valued company member for the next twenty recorded extensively, for instance with the soprano Puccini to write another opera. This was to be Edgar, Angelica), and Giuseppe De Luca and Florence Easton years, appearing in addition at the Paris Opéra- Renata Tebaldi in another opera by Puccini, La which failed at its première, also in Milan, in 1889. (), were successful but the work as a Comique. From the early 1950s she was also active in bohème (Naxos 8.110252-53). Puccini’s next two were much more successful: whole was expensive and risky to produce compared Italy, especially at the San Carlo in Naples. In 1957 she Vincenzo Bellezza was a major conductor of both were first performed at Turin, Lescaut in with Puccini’s earlier successes, and so Il trittico took participated in the world première of Poulenc’s Italian opera. Born in 1888, he studied at the Naples 1893 and La bohème in 1896. Puccini’s first verismo longer to establish its place in the operatic repertoire. Dialogues des Carmélites at La Scala, Milan. She also Conservatory, and made his début with at the San opera (the term used to describe operas with a By contrast each of the three individual operas of Il sang at the Teatro Colón in Buenos Aires and the Carlo in 1908. He quickly developed his career in Italy supposedly ‘realistic’ character) had its première trittico proved to be of an ideal length for the long- Teatro Liceo in Barcelona, and was especially noted and from 1920 was chief conductor at the Teatro in Rome in 1900, once again to great popular success. playing record, introduced into the United States in for her interpretations of the works of the verismo Colón, Buenos Aires. Between 1926 and 1935 he With its combination of melody, drama, and vivid 1948 and to Great Britain shortly afterwards. The school of composers, particularly Zandonai and conducted at the Metropolitan Opera in New York and orchestral colour, it confirmed Puccini as the leading present recording was made by EMI in Rome during Giordano. in 1926 at Covent Garden, where he led Dame Nellie Italian composer of opera of the time. Madama October 1955, and was released shortly afterwards. The The tenor Giacinto Prandelli was born in 1914 in Melba’s farewell performance of La bohème. From Butterfly, first performed in Milan in 1904, had to be central figure in the recording is without question the the town of Lumezzane, near Brescia. He sang as a boy 1935 he was active predominantly in Rome, although recast before it gained the popularity of the earlier baritone Tito Gobbi, then at the height of his very in church choirs and studied with Grandini in Brescia he returned to London to conduct at the Stoll Theatre in operas, and took longer to establish itself, as did all of considerable powers. Born in 1913, Gobbi studied in and Fornarini in Rome. He made his début in 1938 in a 1957. His only other complete opera recording was Puccini’s later works. These included La fanciulla del Rome and made his stage début in the small town of Verdi concert at Bussetto, and followed this with also for EMI, of La traviata, made just after the Second West, first performed at the Metropolitan Opera in New Gubbio in 1935 as Rodolfo in La sonnambula. The appearances at the Teatro Donizetti in in World War. York in 1910, (Monte Carlo, 1917), and Il following year he won a singing competition in Vienna 1940 and 1942, when he sang Rodolfo in La bohème. David Patmore trittico (New York, 1918). Puccini’s last opera, and joined the Rome Opera as a principal baritone. Here was left unfinished at his death in 1924, and he sang the leading Verdi and Puccini rôles and made a was first performed in this state, conducted by particular impact with his interpretation of the title part Toscanini, at La Scala, Milan, in 1926. in Berg’s Wozzeck, in the opera’s Italian première of Il trittico is a triptych of one-act operas that together 1942. He made his début at La Scala, Milan (1942) and present a unique overview of the human experience. Il at the Royal Opera House, Covent Garden (1950) as tabarro is the first of the three works which make up Belcore in Donizetti’s L’elisir d’amore. Throughout the this trilogy, the other two being Suor Angelica and 1950s and 1960s he was an especial favourite of British Gianni Schicchi. The libretto for Il tabarro, or The audiences, who greatly admired the deep psychological Cloak in English, was written by Giuseppe Adami, who insight which, as a fine actor as well as singer, he also provided Puccini with the texts for La rondine and brought to his interpretations of parts such as Turandot. Adami based his drama on the play by the Boccanegra, Iago, , and Scarpia. He 8.111307 45 8.111307 111307 bk Tabarro EU 6/10/08 1:55 PM Page 4

Giacomo Puccini (1858 - 1924) made his American début at San Francisco in 1948, The following year he was alternating with Gigli in and in 1954 began a long association with he Chicago performances at the Rome Opera. By 1944 he was Il tabarro Lyric Opera as both a singer and stage director, a rôle active throughout Italy and sang with Toti dal Monte in Born in Lucca in 1858, Puccini showed early signs of French dramatist Didier Gold, La Houppelande, which which he assumed more in the later stages of his Genoa. He took part in the concert to mark the musical talent, and was an organist and choirmaster by Puccini had seen in Paris, where it had caused a career, when he also taught widely. The leading Italian reopening of La Scala, Milan, under Toscanini in 1946, the time he was only nineteen. With the aid of a grant sensation. By the time he composed Il trittico, Puccini baritone of his generation, he died in Rome in 1984. and between 1949 and 1961 appeared every year at the secured by his mother, he entered the Milan was acknowledged both as the world’s most popular The distinguished critic and Puccini scholar Edward Rome Opera. During the 1950s he also sang frequently Conservatory, where he studied under Amilcare opera composer, and as an expert in exploring in Greenfield has described his account of Michele as ‘by abroad, appearing with the Metropolitan Opera in New Ponchielli, the composer of La Gioconda. With musical terms the inner thoughts of the characters far the most individual and compelling on record’. York (1951-53, 1954-55) and with the San Francisco Ponchielli’s encouragement, he entered his first opera whom he portrayed, such as those of Michele, the The soprano Margaret Mas was born in France in Opera Company (1954) and at the Colón in Buenos Le Villi into a competition for the composition of a one- central figure in Il tabarro. Puccini did not attend Il 1924, and studied with Madeleine Mathieu in Paris. Aires (1960). In 1956 he sang in the Verdi Requiem as act opera, organized by the publishers Sanzogno, but trittico’s world première at the Metropolitian Opera in She began her stage career in the South of France in the part of the season of opera given at the Stoll Theatre, was not successful. Le Villi was thought good enough, 1918 owing to the difficulties of travel in wartime. The numerous French provincial opera houses. In 1949 she London. A tall imposing figure on stage with red hair however, to be produced in Milan in 1884, and as a first performances, with a spectacular cast including made her début at the Paris Opéra, where she remained and a repertoire of more than fifty rôles, he also result of this, the publisher Ricordi commissioned Claudia Muzio (Il tabarro), Geraldine Farrar (Suor as a valued company member for the next twenty recorded extensively, for instance with the soprano Puccini to write another opera. This was to be Edgar, Angelica), and Giuseppe De Luca and Florence Easton years, appearing in addition at the Paris Opéra- Renata Tebaldi in another opera by Puccini, La which failed at its première, also in Milan, in 1889. (Gianni Schicchi), were successful but the work as a Comique. From the early 1950s she was also active in bohème (Naxos 8.110252-53). Puccini’s next two operas were much more successful: whole was expensive and risky to produce compared Italy, especially at the San Carlo in Naples. In 1957 she Vincenzo Bellezza was a major conductor of both were first performed at Turin, in with Puccini’s earlier successes, and so Il trittico took participated in the world première of Poulenc’s Italian opera. Born in 1888, he studied at the Naples 1893 and La bohème in 1896. Puccini’s first verismo longer to establish its place in the operatic repertoire. Dialogues des Carmélites at La Scala, Milan. She also Conservatory, and made his début with Aida at the San opera (the term used to describe operas with a By contrast each of the three individual operas of Il sang at the Teatro Colón in Buenos Aires and the Carlo in 1908. He quickly developed his career in Italy supposedly ‘realistic’ character) Tosca had its première trittico proved to be of an ideal length for the long- Teatro Liceo in Barcelona, and was especially noted and from 1920 was chief conductor at the Teatro in Rome in 1900, once again to great popular success. playing record, introduced into the United States in for her interpretations of the works of the verismo Colón, Buenos Aires. Between 1926 and 1935 he With its combination of melody, drama, and vivid 1948 and to Great Britain shortly afterwards. The school of composers, particularly Zandonai and conducted at the Metropolitan Opera in New York and orchestral colour, it confirmed Puccini as the leading present recording was made by EMI in Rome during Giordano. in 1926 at Covent Garden, where he led Dame Nellie Italian composer of opera of the time. Madama October 1955, and was released shortly afterwards. The The tenor Giacinto Prandelli was born in 1914 in Melba’s farewell performance of La bohème. From Butterfly, first performed in Milan in 1904, had to be central figure in the recording is without question the the town of Lumezzane, near Brescia. He sang as a boy 1935 he was active predominantly in Rome, although recast before it gained the popularity of the earlier baritone Tito Gobbi, then at the height of his very in church choirs and studied with Grandini in Brescia he returned to London to conduct at the Stoll Theatre in operas, and took longer to establish itself, as did all of considerable powers. Born in 1913, Gobbi studied in and Fornarini in Rome. He made his début in 1938 in a 1957. His only other complete opera recording was Puccini’s later works. These included La fanciulla del Rome and made his stage début in the small town of Verdi concert at Bussetto, and followed this with also for EMI, of La traviata, made just after the Second West, first performed at the Metropolitan Opera in New Gubbio in 1935 as Rodolfo in La sonnambula. The appearances at the Teatro Donizetti in Bergamo in World War. York in 1910, La rondine (Monte Carlo, 1917), and Il following year he won a singing competition in Vienna 1940 and 1942, when he sang Rodolfo in La bohème. David Patmore trittico (New York, 1918). Puccini’s last opera, and joined the Rome Opera as a principal baritone. Here Turandot was left unfinished at his death in 1924, and he sang the leading Verdi and Puccini rôles and made a was first performed in this state, conducted by particular impact with his interpretation of the title part Toscanini, at La Scala, Milan, in 1926. in Berg’s Wozzeck, in the opera’s Italian première of Il trittico is a triptych of one-act operas that together 1942. He made his début at La Scala, Milan (1942) and present a unique overview of the human experience. Il at the Royal Opera House, Covent Garden (1950) as tabarro is the first of the three works which make up Belcore in Donizetti’s L’elisir d’amore. Throughout the this trilogy, the other two being Suor Angelica and 1950s and 1960s he was an especial favourite of British Gianni Schicchi. The libretto for Il tabarro, or The audiences, who greatly admired the deep psychological Cloak in English, was written by Giuseppe Adami, who insight which, as a fine actor as well as singer, he also provided Puccini with the texts for La rondine and brought to his interpretations of parts such as Turandot. Adami based his drama on the play by the Boccanegra, Iago, Macbeth, Rigoletto and Scarpia. He 8.111307 45 8.111307 111307 bk Tabarro EU 6/10/08 1:55 PM Page 6

Synopsis drinks too much. Giorgetta says that she may be jealous 1 O Michele? Michele? 5:35 Appendix: Tito Gobbi – Opera Arias and asks her husband what is wrong. The song-vendor (Giorgetta, Michele, Bargemen, Luigi, 1 The scene is set on Michele’s barge in the Seine, is followed by a man carrying a little harp and they are Il Tinca, Il Talpa) $ PUCCINI: La fanciulla del West surrounded by a group of midinettes, leaving their Minnie, dalla mia casa son partito (Act 1) 2:48 with a gangway leading to the bank. Notre Dame can be 2 seen and buildings by the river, bordered by plane-trees. work. They call for a song, and the harpist sits on a stool Eccola la passata! 2:55 Orchestra conducted by Umberto Berrettoni (Luigi, Giorgetta, Il Talpa, Il Tinca) Recorded July, 1942 in Milan Above the cabin is the helm, and inside everything is to play, while the vendor sings for them. Michele asks if he has treated Giorgetta badly, and she denies it, but Matrix no.: 0BA 5161 tidily set out, with pots of geraniums, washing hanging 3 Dunque, che cosa credi? 3:45 First issued on La Voce del Padrone DA 5430 to dry and on the cabin door a canary cage. It is sunset would prefer violence to silence. The singer continues his song to spring, the season for lovers, where one who (Giorgetta, Michele, Song peddler, Midinettes) and the fifty-year-old barge-owner Michele, his pipe % MOZART: Don Giovanni out, stands by the helm, watching the sunset, while his has lived for love dies for it. The girls buy the song, 4 while Giorgetta continues to ask Michele what is O eterni innamorati, buona sera 4:53 Deh, vieni alla finestra (Act 2) 2:08 young wife Giorgetta busies herself with the washing, (La Frugola, Giorgetta, Il Talpa, Michele, Orchestra conducted by Umberto Berrettoni waters the flowers and cleans the bird-cage. On the wrong. The musicians leave, while the midinettes, now Luigi, Il Tinca) Recorded July, 1942 in Milan bank stands a horse and cart, and dockers come and go, in the distance, are heard singing the last verse of the Matrix no.: 0BA 5149 song they have bought. 5 Hai ben ragione! … Per noi la vita 3:39 First issued on La Voce del Padrone DA 5430 carrying heavy sacks on their shoulders as they unload 4 the barge. Giorgetta calls out to her husband. The Talpa’s wife Frugola appears on the bank and (Luigi, Il Tinca, Giorgetta, Il Talpa, La Frugola) dockers have worked hard and the hold must be empty crosses the gangway onto the barge. She carries on her ^ MOZART: Le nozze di Figaro and tomorrow they can load again, she suggests, adding shoulders a sack full of all kinds of rags. She greets 6 È ben altro il mio sogno! 5:53 Non più andrai (Act 1) 3:37 that the men deserve a drink. The dockers are heard at them, and Michele leaves, to enter the cabin. Frugola (Giorgetta, La Frugola, Luigi, Il Talpa, Philharmonia Orchestra • James Robertson asks if her husband has finished work: that morning she Soprano Voice, Tenor Voice) Recorded 14th March, 1950 their work. Michele tells her she thinks of everything, in EMI Abbey Road Studio No. 1, London and approaches her affectionately: he does not drink, his had dealt with his aches and pains. She laughs and throws her sack down, rummages in it and produces a 7 O Luigi! Luigi! 3:10 Matrix no.: 0EA 14464-1 pipe is out, but his love still burns. He kisses her, but she (Giorgetta, Luigi, Michele) First issued on HMV DA 1946 turns her head, letting him kiss her cheek. He goes down comb, that she offers Giorgetta, delighted at what she into the hold. She exchanges words with the young has collected that day. From her sack she brings out lace 8 & and velvet, rags and jars, evidence of a thousand loves, Dimmi: perchè gli hai chiesto ROSSINI: Il barbiere di Siviglia docker Luigi, as the dockers finish their work. di sbarcarti a Rouen? 4:13 Largo al factotum (Act 1) 4:51 2 Led by Luigi, the other workmen gather round joys and torments, collected without distinguishing the (Giorgetta, Luigi) Royal Philharmonic Orchestra • Alberto Erede Giorgetta, who gives them wine. Talpa, Tinca and Luigi rich from the common people, and, in a paper bag, a Recorded 2nd February, 1948 drink her health. Luigi calls out to a passing organ- beef-heart for her cat, who keeps her company, when 9 Come è difficile esser felici! 1:25 in EMI Abbey Road Studio No. 1, London grinder, but Giorgetta tells the men she knows only one her husband is out. Talpa comes up from the hold, (Giorgetta, Michele) Matrix no.: 2EA 12702-1 kind of music, the one for dancing. She dances with followed by Luigi. Michele emerges from the cabin, First issued on HMV DB 6626 asking Luigi for his help in loading the next day. Tinca 0 Perchè, perchè non m’ami più? 4:00 Tinca, while Luigi and Talpa stop their ears at the * discords of the barrel-organ. Luigi makes fun of Tinca, appears, with the other dockers, ready to go. Talpa asks (Michele, Giorgetta) VERDI: La forza del destino him if he is in a hurry, while Frugola chides the men for Urna fatale del mio destino 3:36 and takes his place, dancing with Giorgetta in his arms. ! Resta vicino a me! 4:39 Philharmonia Orchestra • James Robertson Michele enters, from the hold, and they stop dancing. wanting to drink. Tinca, however, tells her that drinking is better than thinking. He makes to leave, laughing, (Michele, Giorgetta, Two Lovers) Recorded 14th March, 1950 Luigi signs to the organ-grinder to stop and gives him in EMI Abbey Road Studio No. 1, London some money, before he and the others go down into the while Michele goes down into the hold. 5 Luigi says he is right: it is better not to think, with @ Nulla! Silenzio! 3:35 Matrix no.: 2EA 14462-1 hold to finish their work. (Michele) First issued on HMV DB 21071 3 Giorgetta, assuming an air of naturalness with life so hard, bread earned by sweat, head bowed and difficulty, asks Michele of their plans, and whether they back bent. Tinca tells him to follow his example and # T’ho colto! 4:17 ( VERDI: Otello are to take Talpa, Tinca and Luigi with them, when they drink. He goes and Talpa tells his wife that they should (Michele, Luigi, Giorgetta) Vanne! … Credo in un Dio crudele 4:28 leave for Rouen. A song-vendor is heard, selling his last go, as he is dead tired. Frugola hopes that some day they Philharmonia Orchestra • James Robertson song. Giorgetta admires the September sunset, the sun, can buy a cottage in the country: she has always dreamt Recorded 14th March, 1950 of such a place, there with her husband and her cat. in EMI Abbey Road Studio No. 1, London like a great orange, dying in the Seine. She draws his 6 attention to Talpa’s wife, Frugola, who is coming to Giorgetta has quite another dream: it is Paris that Matrix no.: 2EA 14463-1 look for her husband - rightly, Michele suggests, as he brings her alive, if only Michele would give up this First issued on HMV DB 21071 8.111307 63 8.111307 111307 bk Tabarro EU 6/10/08 1:55 PM Page 2

Great Opera Recordings itinerant existence, with no life between the bed and go to bed. She tells him that she cannot sleep inside, the stove. She lived in Belleville, where Luigi tells her but he says the nights are cold and nothing has been the he was born too: Belleville is their country, their same since the death of their child. Once, he tells her, Giacomo world, living in a house, with friends, shops lit up, she would shelter under his cloak and rest her head on noise, the Bois de Boulogne. Luigi joins her in praising his shoulder, her mouth near his, in happiness: now his PUCCINI the life of the suburbs, of Paris. Frugola understands grey hairs seem an insult to her youth. She begs him that life is varied there and Talpa suggests they should not to go on. She pleads tiredness, but he knows she (1858-1924) will not sleep, and tries to draw her towards him. go to eat. Luigi, however, stays, to talk to Michele. ! Michele asks her to stay with him, remembering Talpa and Frugola leave, arm in arm, and their voices other nights, other skies, other moons, the time they Il tabarro are heard, dreaming of their country cottage. have spent together on the barge. He pleads with her to 7 Luigi and Giorgetta are left alone. They are in love, come back to him, but she tells him that they are older (The Cloak) but she is afraid of discovery and death. Luigi would now, she is not the same, and that he too has changed. Opera in One Act rather die than see her so tied down, and she wants A distant church sounds the hour and she wishes him Libretto by Giuseppe Adami after the play, La Houppelande, by Didier Gold them to be far away, always together. He makes good night. As she goes into the cabin, he utters the towards her, but Giorgetta, in fear, tells him to be single word Sgualdrina, whore! He sets the red, green careful, as Michele appears again from the hold. Luigi and white lights on the barge, while two lovers are seen passing on the bank. Michele, bargemaster ...... Tito Gobbi (baritone) tells him that he has been waiting for him, asking him to put him ashore in Rouen. Michele tells him that @ Michele slowly and cautiously approaches the Luigi, bargeman ...... Giacinto Prandelli (tenor) cabin, listening, knowing that Giorgetta is not Il Tinca (The Tench), bargeman ...... Piero De Palma (tenor) would be foolish, as it would be worse there, and Luigi agrees to stay working for him. Michele turns towards undressed, not sleeping but waiting. He wonders who Il Talpa (The Mole), bargeman ...... Plinio Clabassi (bass) has changed her and come between them: Talpa? Too the cabin to prepare the lights, and Luigi wishes him old: Tinca? He drinks. Luigi? But he wanted to be left Giorgetta, wife of Michele ...... Margaret Mas (soprano) good night. La Frugola, wife of Il Talpa ...... Miriam Pirazzini (mezzo-soprano) in Rouen. Who then? He will kill the man, if he finds 8 Giorgetta asks Luigi why he has asked to be left in him. He sinks down, exhausted, as the night darkens. A song peddler ...... Renato Ercolani (tenor) Rouen, and he tells her that he cannot share her with Then he takes out his pipe and lights it. At that moment Two lovers ...... Sylvia Bertona (soprano) Michele. The lovers express their pain and their loves, Luigi, who has been waiting on the bank for Piero De Palma (tenor) endless kisses, oaths and promises, the two of them far Giorgetta’s signal, leaps onto the barge. Michele sees away. He agrees to come back in an hour’s time, and the shadow, starts up, lies in wait, then recognises Rome Opera House Chorus and Orchestra she will give him the same signal that all is safe, with Luigi. (Chorus Master: Giuseppe Conca) a light. Luigi is in love and jealous that another should # Michele seizes Luigi by the throat, asking if he is Vincenzo Bellezza touch her, his passion rising to a height, as she hurries there for his lover, telling him not to lie but to confess. him away. Luigi draws a knife, which Michele makes him drop, 9 accusing Luigi, who eventually admits he loves Recorded October, 1955 in the Teatro dell’Opera, Rome Giorgetta sighs that it is hard to be happy. Michele asks why she has not gone to bed: he will stay up. She Giorgetta, as he dies. Her voice is heard from the cabin First issued on HMV ALP 1355 thinks she has done well to prevent Luigi leaving, but and Michele quickly covers Luigi’s body in his cloak. he thinks that two men would have been enough for the Giorgetta, now seeks the comfort of his cloak, which, Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn work. He could let Tinca go, as he drinks too much, according to his saying, hides joy and sorrow. He tells Giorgetta suggests, but Michele adds that he drinks to her to come near, and opens the cloak to reveal the soothe his pain, as his wife is a whore: he drinks so as body of Luigi. She cries out in terror and Michele not to kill her. Giorgetta is troubled by this. seizes her, throwing her down, forcing her face against 0 Michele approaches her, asking why she no longer that of her dead lover. loves him. She coldly tells him that he is wrong: she loves him, and he is good and honest: now they should Keith Anderson

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Also available PUCCINI Il tabarro

O GOB TIT BI

8.111276-77 8.111278-79

1 g 955 Recordin

Tito Gobbi • Margaret Mas • Giacinto Prandelli Rome Opera House Chorus and Orchestra

8.111280-81 8.111291-92 Vincenzo Bellezza

8.111307 8 NAXOS Historical PUCCINI: Il tabarro 8.111307 Time 73:25 Playing MONO Il tabarroAppendix:Tito GobbiOpera Arias PUCCINI:West La fanciulla del 21:28 Minnie, son partito dalla mia casa 51:57 MOZART: Don Giovanni Deh, vieni alla finestra MOZART: nozze di Figaro Le Non più andrai ROSSINI: di Siviglia Il barbiere al factotum Largo VERDI: del destino La forza destino del mio Urna fatale VERDI: Otello in un Dio crudele … Credo Vanne! 8.111307 # - ADD 1 $ % ^ & * ( (The Cloak), up Puccini’s which make one-act operas the first of the three Il tabarro Giacomo (1858-1924) PUCCINI Vincenzo Bellezza Il tabarro Opera in One Act Opera in One Vincenzo Bellezza, a stalwart of opera houses in Rome,York. New London and Rome Opera House Chorus and Orchestra Rome Opera House Chorus the part of Michele is sung by Tito Gobbi,the part of Michele is sung by greatly and years Italian baritone of the post-war the foremost maestro Recorded October, 1955 in the Teatro dell’Opera,Teatro Rome October,Recorded 1955 in the Michele ...... Tito Gobbi Giorgetta...... Mas Margaret Luigi ...... Giacinto Prandelli La Frugola ...... Miriam Pirazzini TincaIl ...... De Palma Piero TalpaIl ...... Plinio Clabassi www.naxos.com Reissue Producer and Restoration Engineer:Reissue Producer Obert-Thorn Mark photo:TitoCover Gobbi (Private Collection) In this legendary recording of In this legendary recording the deep psychological insight which, international audiences for by admired as singer, as well as a fine actor he brought to his interpretations. Singing opposite Gobbi, far ‘by an eminent critic as by has been described whose performance on record’,the most individual and compelling French Italian tenor Giacinto Prandelli and the the distinguished are Mas,soprano Margaret major operatic rôle on record, in her only wife.The the veteran cast is conducted by as Michele’s Italian Il trittico,

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NAXOS Historical Gobbi • Mas • Prandelli • Bellezza 8.111307