111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 12
VERDI Il Trovatore
RIA CALL A AS Also available M
8.111278-79 8.111322-24 1 g 956 Recordin
Maria Callas • Giuseppe Di Stefano • Rolando Panerai Fedora Barbieri • Nicola Zaccaria Chorus and Orchestra of La Scala, Milan Herbert von Karajan
8.111280-81 12 111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 2
Great Opera Recordings prisoner, like a breath of hope (D’amor sull’ali rosee / No. 14 Last Finale ^ Manrico asks Azucena why she Vanne). does not sleep (Madre, non dormi?), and wonders if the ! The sound of the death knell is heard. Voices within cold troubles her, but she tells him that the air chokes Giuseppe sing the Miserere (Miserere d’un alma già vicina / Alla her: soon, though, she will be free, for the mark of death partenza che non ha ritorno!), praying for mercy on those is upon her. She sees in her mind the burning fire, and VERDI about to die. Leonora exclaims on the sound of these Manrico tries to comfort her, as she falls back in his (1813-1901) prayers. The voice of Manrico is heard from the tower, arms, and he lays her gently down on her mattress. bidding his Leonora farewell, as the chant goes on. Weariness comes upon her (Sì, la stanchezza @ Leonora declares that she will never forget him (Di te! m’opprime). Il Trovatore Di te! Scordarmi di te!). & Now she dreams of her home, the hills and the ancient peace. She falls asleep, Manrico kneeling by her Libretto by Salvatore Cammarano No. 13 Scena & Duetto. # A door opens and the Count side. The door opens and Leonora comes in. after a play by Antonio Garcia Gutiérrez and some of his followers come out. Leonora steps aside. * Manrico thinks that the light deceives him (Che! Non The Count now gives orders for the execution of the son m’inganna quel fioco lume?), but Leonora assures him and his mother (Udiste? Come albeggi, / La scure al figlio that now he will be safe: he can escape, but she must Manrico ...... Giuseppe Di Stefano (tenor) ed alla madre il rogo!), lamenting that he cannot find stay. Manrico has no desire for life without her and asks Leonora. At this she comes forward, telling him she has Leonora ...... Maria Callas (soprano) her what price she has paid for his freedom. She dare come, at the last moment, to ask for mercy, but he refuses Count di Luna ...... Rolando Panerai (baritone) not answer and he reproaches her (Parlar non vuoi?), her. The Count starts, as he hears Leonora’s voice. understanding what she must have done. She finds his Azucena ...... Fedora Barbieri (mezzo-soprano) $ She throws herself in desperation at his feet, pleading reproach unjustified, urging him to escape, while Ferrando ...... Nicola Zaccaria (bass) with him to have mercy on her tears (Mira, di acerbe Azucena is heard again in her sleep recalling her own Inez ...... Luisa Villa (mezzo-soprano) lagrime), but this only increases his thirst for revenge. country. Leonora falls at Manrico’s feet. Ruiz ...... Renato Ercolani (tenor) Now she offers him herself, if he will only release ( Manrico tells her to go (Ti scosta!), but she begs him An Old Gypsy ...... Giulio Mauri (bass) Manrico. He swears that he will do so, and she pledges not to blame her, falling to the ground and telling him at A Messenger ...... Renato Ercolani (tenor) herself to him. The Count now calls to a guard in the last that she is dying, the force of the poison quicker tower and speaks in his ear, while Leonora takes the than she had supposed. Manrico is now remorseful. At Chorus and Orchestra of La Scala, Milan poison secreted in her ring: the Count will have her, but this moment the Count comes in, as Leonora dies, (Norberto Mola, chorus master) she will be cold, not living. seeking the grace of heaven, and he realises he has been Herbert von Karajan, conductor % Leonora is now happy (Vivrà! Contende il giubilo / i deceived. He now orders Manrico to be taken to his detti a me, Signore): she will die, but Manrico will live. death, and the latter bids his mother farewell. The Count Recorded 3rd, 4th, and 6th - 9th August, 1956 in the Teatro alla Scala, Milan The Count seeks her assurance that she is his and she drags her to the window to see her son die, but Azucena pledges her faith. First issued on Columbia 33CX 1483s through 1485 tells him that Manrico was his brother (Egli era il tuo fratello!), as she falls to the ground, her revenge Scene 2. A wretched dungeon. There is a barred window achieved. Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn and a door in the background. A dim lamp hanging from a wall-ring sheds a pale light on the scene. Azucena is lying Keith Anderson Producer’s Note on a rough mattress and Manrico sits near her. This recording was transferred from the best portions of two first-edition British LP pressings, with one section (from the second verse of “Stride la vampa” to the end of “Il balen”) patched in from a later American pressing due to stamper defects on Side 2 of both of the copies I had of the earlier edition. Some overload distortion at the loudest passages appears to be inherent in the original master tape.
Mark Obert-Thorn
8.111280-81 211 8.111280-81 111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 10
CD 2 enemy through her suffering and avenge his dead brother. CD 1 68:02 @ Soli or siamo 1:01 At a sign from the Count his men, threatening her with the (Manrico, Azucena) Act III. The Gypsy’s Son fires of hell, drag her away, while he withdraws into his Act I: The Duel 27:11 tent, followed by Ferrando. # Condotta ell’era in ceppi 4:53 Scene 1. An encampment. On the right is the pavilion of Scene 1 (Azucena, Manrico) the Count di Luna, carrying the commander’s standard. Scene 2. A room adjacent to the chapel of Castellor, with The towers of Castellor are seen above. Soldiers are an open gallery in the background. 1 All’erta, all’erta! 3:03 $ Non son tuo figlio? 2:29 gambling, while some polish their weapons and others (Ferrando, Retainers, Soldiers) (Manrico, Azucena) 5 pass to and fro. Ferrando comes out of the Count’s No. 11 Scena & Aria Leonora seeks to know the 2 meaning of the warlike preparations (Quale d’armi fragor Di due figli vivea 6:18 % Mal reggendo 4:37 pavilion. (Ferrando, Retainers, Soldiers) poc’anzi intesi?). Manrico tells her of their imminent (Manrico, Azucena, Messenger) No. 9 Introductory Chorus 1 Some of the soldiers call for danger and the assault expected at dawn: he, however, is 3 Sull’orlo dei tetti alcun l’ha veduta! 1:20 ^ Perigliarti ancor languente 2:28 another game (Or co’dadi, ma fra poco / Giuocherem ben certain of victory, since his men are as brave as the enemy. (Ferrando, Retainers, Soldiers) (Azucena, Manrico) altro gioco), while others see the banner of the Balestrieri, Leonora thinks this bodes ill for their marriage. Manrico the reinforcements they had awaited. Ferrando assures sings of the strength his love gives him (Amor, sublime Scene 2 Scene 2 them of certain victory, when the new day dawns. amor). 2 The men await the call to arms (Squilli, echeggi la 6 He is hers, and she his and this will make him the 4 Che più t’arresti? 2:17 & Tutto è deserto 1:35 tromba guerriera), eager for the spoils of battle. stronger. If it is his fate to be killed, yet his thoughts will (Inez, Leonora) (Count, Ferrando) turn to her, for death will only mean that he will be in No. 10 Scena & Terzetto 3 The Count is tormented by heaven before her. 5 Tacea la notte placida 4:24 * Il balen del suo sorriso 3:16 the thought of Leonora in the arms of his rival (In braccio 7 The organ is heard from the nearby chapel. Now they (Leonora, Inez) (Count) al mio rival!). A tumult is heard and Ferrando comes in, must go there together, as the mystic sounds touch their 6 Di tale amor che dirsi 1:40 ( telling him that a gypsy woman has been caught by their hearts (L’onda de’ suoni mistici). Ruiz calls to Manrico, Quel suono! Oh, ciel! … Per me ora fatale 3:41 (Leonora, Inez) (Count, Ferrando, Retainers) men. The noise comes nearer and Azucena, her hands telling him of the capture and imminent death by burning bound, is dragged in, protesting at her treatment. The of Azucena. Scene 3 ) Ah! Se l’error t’ingombra 2:00 Count interrogates her, asking where she was going, and 8 Manrico now reveals to Leonora that he is the gypsy’s (Nuns, Count, Ferrando, Retainers) she tells him that gypsies wander aimlessly; she comes, son. He can already see the flames in which Azucena must 7 Tace la notte! 2:04 however, from Biscay, information that disturbs the die (Di quella pira l’orrendo foco) and feel them: he must (Count) ¡ Perchè piangete? 2:18 Count and Ferrando. save her. The men are called to arms, to fight or die with (Leonora, Inez, Count, Nuns) 4 Azucena tells them of her poverty and contentment and Manrico, who rushes out, followed by Ruiz and his 8 Deserto sulla terra 3:30 how now she seeks her son (Giorni poveri vivea / Pur soldiers. The sound of battle is heard. (Manrico, Count, Leonora) ™ E deggio e posso crederlo? 4:48 contento del mio stato). The Count asks her if she (Leonora, Manrico, Count, Inez, Nuns, Ferrando, remembers a son of the family, kidnapped some fifteen Act IV. Torture 9 Di geloso amor sprezzato 2:35 Retainers, Ruiz, Soldiers) years before. She asks him who he is, and he tells her that (Count, Manrico, Leonora) he is that boy’s brother. Ferrando observes her reaction Scene 1. A wing of the palace of Alaferia. At the corner is CD 2 61:59 Act II: The Gypsy 40:51 and now accuses her of stealing the child. She tries to a tower with barred windows. It is deepest night. Two Act III: The Gypsy’s Son 21:36 quieten him, but he declares that this is the woman that people come forward, cloaked, Ruiz and Leonora. Scene 1 burned the child. She denies it, but the Count orders the Scene 1 men to tighten her bonds. In pain she calls on her son No. 12 Scena, Aria & Miserere. 9 Ruiz shows Leonora 0 Vedi! Le fosche notturne spoglie Manrico, and the Count now realises he has the mother of the cell where the prisoners are kept (Siam giunti, ecco la (Anvil Chorus) 3:01 1 Or co’ dadi 2:00 his hated rival in his power. Azucena bids them desist, torre). She tells him to leave her, since she may be able to (Gypsies) (Soldiers, Ferrando) warning them of the anger of God, who will punish the save Manrico. She looks at a jewel she holds in her hand. Count (Ah! Deh! Rallentate, o barbari). He reproaches Now she is near her lover, although he does not know it. ! Stride la vampa 4:45 2 Squilli, echeggi la tromba guerriera 2:29 her, a base gypsy, with that traitor. Now he can strike his 0 Love, she says, will bring comfort to the mind of the (Azucena, Gypsies, Manrico, an old Gypsy) (Soldiers) 8.111280-81 10 3 8.111280-81 111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 4
3 In braccio al mio rival! 2:12 ! Miserere d’un alma già vicina 4:56 vampa!), the sound of the flames and her mother’s cries, Scene 2. (Count, Ferrando, Soldiers, Azucena) (Monks, Leonora, Manrico) as she was burned. The gypsies find this a sad song The cloister of a convent near Castellor. There are trees (Mesta è la tua canzon!), but Azucena seeks from in the background. It is night. The Count, Ferrando and 4 Giorni poveri vivea 5:13 @ Di te, di te scordarmi! … Manrico one thing, vengeance (Mi vendica!). The some followers enter cautiously, wrapped in their (Azucena, Ferrando, Count, Soldiers) Tu vedrai che amore in terra 2:34 gypsies prepare to leave to seek food, and their song is cloaks. (Leonora) heard as they move away into the distance, leaving Scene 2 Manrico and Azucena alone. No. 7 Scena & Aria. & The Count finds all deserted # Udiste? 1:47 5 (Tutto è deserto), as he and his men make their way into Quale d’armi fragor poc’anzi intesi? 1:50 (Count, Leonora) No. 5 Scena & Racconto. @ Now they are alone, the convent, intent on abducting Leonora, who must be (Leonora, Manrico) $ Mira, di acerbe lagrime 3:35 Manrico seeks to hear Azucena’s story (Soli or siamo!). his alone. 6 Ah, sì, ben mio 3:07 (Leonora, Count) # Azucena tells him how her mother was led in chains * The Count sings of the light of her smile (Il balen del (Manrico) to her fate, followed by Azucena holding her son in her suo sorriso), which conquers reason, of his love and of % Vivrà! Contende il giubilo 2:23 arms (Condotta ell’era in ceppi). In vain she tried to the tempest that rages in his heart. 7 L’onda de’ suoni mistici 1:23 (Leonora, Count) stop and bless her daughter and her last words urged her ( He hears the bell that announces the coming (Manrico, Leonora, Ruiz) to vengeance. In reply to Manrico’s question she goes ceremony (Qual suono! ... Oh ciel! ... La squilla vicino Scene 2 on to tell how she seized the Count’s son, but in her il rito annunzia!), and tells his followers to hide 8 Di quella pira 3:23 frenzy threw her own child into the flames. Azucena themselves, while he himself observes secretly the (Manrico, Leonora, Ruiz, Soldiers) ^ Madre, non dormi 6:50 falls back in anguish, and Manrico is silent, struck with approach of Leonora. Ferrando and the Count’s (Manrico, Azucena) horror and surprise at what he has heard. followers conceal themselves, while the Count Act IV: The Ordeal 40:23 anticipates his joy in seizing Leonora, away from God, & Ai nostri monti 2:06 No. 6 Scena & Duetto. $ Manrico now asks who he is, if his rival. They hide among the trees. Scene 1 (Azucena, Manrico) he is not Azucena’s son (Non son tuo figlio?), but she tells ) 9 Siam giunti 3:07 * Che! Non m’inganna! 4:11 him that he is her son: did she not nurse him back to life No. 8 Second Finale. The voices of the nuns are (Ruiz, Leonora) (Manrico, Leonora, Azucena) when the Count di Luna left him for dead on the field of heard, preparing the daughter of Eve, Leonora, for her battle. vows (Ah! Se l’error t’ingombra, o figlia d’Eva). The 0 D’amor sull’ali rosee 4:09 ( Ti scosta 4:47 % Manrico goes on to recall how he was about to kill the Count exclaims that no God can take Leonora from him, (Leonora) (Manrico, Leonora, Count, Azucena) fallen Count, when a cry from heaven bade him hold (Mal while the ceremony continues. reggendo all’aspro assalto). Azucena finds no such ¡ Leonora and Ines come in, the former asking her mercy in the Count (Ma nell’alma dell’ingrato / Non confidante why she is crying (Perchè piangete?). parlò del cielo un detto!) and Manrico swears that another Leonora tells her that life now has nothing for her; she time he will take his revenge. The sound of a horn is heard has turned her thoughts to a life of penitence. At this the and Azucena again bids him avenge her. Manrico turns to Count rushes forward, vowing that it must be only the a messenger, who has appeared with written orders for altar of marriage that holds her. At this moment him to lead the defence of Castellor (Inoltra il più) urging Manrico appears. haste, while telling him that Leonora, thinking him dead, ™ Leonora is overjoyed (E deggio e posso crederlo?) is to take the veil that evening at the Convent of the Cross and can hardly believe her eyes, thinking that this must nearby. Azucena asks what troubles him and tries to hold be a dream. The Count is horrified, since he thought him back, but he insists on leaving at once. She again bids Manrico dead in battle. Ruiz and his men appear, Manrico stay (Ferma . . . Son io che parlo a te!), but he proclaiming the rebel Urgel, and Manrico, accompanied tells her that a moment’s delay may cost him his beloved. by Leonora, leaves in their company, once the Count, ^ She still insists that his blood is her blood, but he must who has drawn his sword, is disarmed, furious as he is. away.
8.111280-81 4 9 8.111280-81 111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 8
Synopsis 6 In spite of the misgivings of Ines, Leonora goes on to Giuseppe Verdi (1813-1901) tell how she will live and, if she must, die for this love CD 1 (Di tale amor, che dirsi). They go together into the Il Trovatore palace. The present recording of Il Trovatore, produced at La Chicago. On this last occasion, the last time she would Act I. The Duel Scala, Milan, in August 1956, was the twelfth complete sing it on stage, Manrico was Jussi Björling (1911- No. 3 Scena, Romanza & Terzetto. 7 The Count comes opera recording Maria Callas took part in for EMI 1960); he called her ‘Leonora perfection, I have heard Scene 1. Courtyard in the palace of Aliaferia. There is a into the garden, observing the silence of the night (Tace [Columbia/Angel]. She had been singing it often since [it] sung often, but never was there a better one’. door to one side, leading to the apartments of the Count la notte) and telling of his love for Leonora, who still 1950 and with notable success. Although it may not Coming from him, a man not noted for loquacity and di Luna. watches. have been the title-rôle yet, as earlier live recordings one of the finest Manricos of the twentieth century, as 8 As he turns towards the steps, he hears the sound of indicate, unlike either Aida or Leonora in La forza del complete recordings confirm, a compliment indeed. No. 1 Introduction. 1 Ferrando, a captain of the guard the troubadour’s song, Deserto sulla terra (Nothing is destino, it perfectly suited her and did not expose her This recording followed nine months later. Throughout in the service of the Count di Luna, tells his companions left me on earth). The Count shudders in jealousy and vocal warts. When she sang it at Covent Garden, Callas’s singing of Leonora’s music, it is no to be alert (All’erta! All’erta!), since the Count is wraps his cloak around him, as he hears Leonora London, in the second season she appeared there in exaggeration to say, is superlative. In ‘D’amor sull’ali jealously watching for his unknown rival in the love of approaching. She, thinking him the troubadour, seeks to 1953, whatever caveats may have been made over her rosee’ her delivery is so musically authoritative she is Leonora, the mysterious troubadour. embrace him, while Manrico, the troubadour, exclaims Aida, and even her Norma, her Leonora earned golden able to make the maximum effect shaping the long 2 Ferrando goes on to explain how the old Count had on her apparent perfidy. The moon emerges from opinions. The Times critic considered the opera should phrases with subtle use of rubato and perfectly drawn two sons (Di due figli vivea padre beato) and how the behind the clouds and the troubadour, his face covered have been styled Leonora ‘[she] sang and acted portamenti, each differently weighted according to the younger, Garcia, had been kidnapped. One day a by a visor, comes forward. Leonora realises her mistake everyone off the stage. That she could dispense roulades dynamics, the interval accomplished, and the speed of swarthy gypsy woman had been found near the child’s (Qual voce!) and throws herself at the feet of Manrico, and fioriture was a foregone conclusion after Norma, the music. The trills, an integral part of the aria, are not cradle (Abbietta zingara, fosca vegliarda!) and had declaring her love for him, to the Count’s jealous rage. but that she was also able to make a vivid and touching only forwardly placed, clearly defined and correctly bewitched the boy, who fell ill. The old gypsy woman At the Count’s urging, Manrico reveals himself, known figure of Leonora, whether transported by tempests of resolved, but each is coloured differently, according to was seized and burned to death, but the woman’s as a follower of the rebel Urgel, and is challenged to a the heart, or racked with anguish outside the Aliaferia the weight of tone she deploys. daughter survived and seems to have stolen the child, duel. Palace, or calmly sinking into death, or calmly sinking This recording is conducted by Herbert von whose charred body was found where the witch had 9 The Count rages in jealousy (Di geloso amor into death. She is not an artist given to gesturing, but … Karajan; his symphonic style is carried out with been burned. The ghost of the gypsy still haunts the sprezzato). Leonora tries to deflect his anger, turning it when she moves an arm the audience sits forward, exemplary polish, even if his tempi do occasionally place, it is said, during the night. The bystanders agree. towards herself, while Manrico bravely declares his gripped by the stimulus of a dynamic personality in sound mannered. The company includes: Fedora 3 They claim that others have seen the apparition, in intention of killing his enemy. Leonora swoons, as the action. The beauty of her line, its plasticity, and its Barbieri’s Azucena, in such a gift of a rôle she gives a one form or another (Sull’orlo dei tetti alcun l’ha two rivals rush out, with drawn swords. strength, and the easy richness with which she unfolds big, brassy performance - but do not expect any trills in veduta). Midnight strikes and they disperse in fear. long phrases, was memorably shown in ‘Tacea la ‘Stride la vampa’; Giuseppe di Stefano, who is rather Act II. The Gypsy notte’, and especially in the last melody she sings, out of his depth as Manrico, a pint mix in a quart jar, but Scene 2. The palace gardens. To the right is a marble ‘Prima che d’altri vivere’, when her voice soared up the then he was deputising for Richard Tucker who cried staircase leading to the apartments. Thick clouds cover Scene 1. A poor dwelling in the foothills of a mountain scale of E flat with a breathtaking blend of tension and off because of Karajan’s Nazi associations; and the moon. in Biscay. In the background there burns a great fire. It effortlessness’. Stage director John Copley, who was Rolando Panerai, whose singing is effective though he is dawn. The old gypsy Azucena sits near the fire, while then working backstage, cannot forget ‘the way she was not a noted exponent of di Luna. Callas No. 2 Scena & Cavatina. 4 Ines, Leonora’s Manrico lies nearby on a mattress, wrapped in his cloak. sang the cadenza in ‘D’amor sull’ali rosee’. It was the demonstrates something that had been forgotten by her companion, urges her to come in and wait no longer His helmet is at his feet, his sword at his hand. The first time I ever heard a cadenza, or any of the scales and time: Leonora has a great deal of florid music in it, as (Che più t’arresti?), but Leonora remembers the gypsies are all around. arpeggios that made it mean something. Instead of a lot much if not more than either Gilda or Violetta. Whereas unknown knight whom once she had crowned of top notes, à la Milanov, Callas linked them together in the nineteenth century Adelina Patti (1843-1919), for champion of the tournament, but who had disappeared No. 4 Gypsy Chorus & Canzone. 0 The gypsies and phrased it so that it was completely expressive… It example, had sung all three rôles, by the middle of the when civil war broke out. welcome the break of day (Vedi! Le fosche notturne was not just the clarity and separation of the notes twentieth century, Leonora had become a part of the 5 Once, Leonora tells her, in the silence of the night, spoglie), as they start work, with their anvils, praising which was exemplary but she actually sang it as if it more dramatic repertory; florid music by then having the sound of a lute was heard from her garden and the the beauty of their women. really meant something.’ become unfashionable, with much of the more exacting sad song of a troubadour (Tacea la notte placida e bella ! They break off, however, as Azucena begins to Callas undertook it, earning similar receptions at music either cut or sketchily performed. in ciel sereno). This is the one she loves. recount the story of her mother’s death (Stride la Mexico City, Naples, Milan, Verona, Rome and Karajan’s presence may account for the restoration 8.111280-81 85 8.111280-81 111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 6
of a short cut made in Act III between Leonora and the most beautiful lyric tenor voices of the last century. d’amore. In a 1950 RAI broadcast he is Amfortas in festival in Salzburg; and in 1957 at Covent Garden with Manrico, and in Act IV, after the Miserere, when He began singing light music then, following a brief Parsifal with Callas’s Kundry and, nearly half a century Callas’s Norma he was Oroveso and in 1959 Creon with Leonora completes the scene adding one verse of the period of study with the baritone Luigi Montesanto, later, Germont in a telecast of La traviata conducted by her Medea. His career was wide and embraced Cologne, cabaletta, ‘Tu vedrai che amore’. However it is made his opera début in 1946 as Des Grieux in Mehta. His voice was an attractive sounding but lyric Brussels, Ghent, Moscow, Mexico City, Rio de Janeiro, indicative that this recording was made only months Massenet’s Manon at Reggio Emilia, after which his instrument. For EMI [Columbia/Angel] with Callas, he Monte Carlo, Berlin and Dallas, which he returned to after the Decca album with Tebaldi and del Monaco was rise to fame was rapid. In 1947 he appeared at La Scala, recorded, as well as di Luna, Silvio in Pagliacci, Alfio often until the 1980s, as well as festivals at Aix-en- published in which they were first included. The move Milan, also as Des Grieux, and in 1948 at the and Marcello. Provence, Edinburgh, Orange and Athens. He sang towards complete recordings was started by John Metropolitan, New York, as the Duke in Rigoletto. At Born in Athens after studying at the Conservatory, rôles such as Zaccaria in Nabucco, Silva in Ernani, Culshaw of Decca. first his repertory included Fenton in Falstaff, Almaviva Nicola Zaccaria (1923-2007), made his début in 1949 Rodolfo in Sonnambula and Sarastro in Zauberflöte. Possessing a big voice, although she used it in Il barbiere di Siviglia, Rinuccio in Gianni Schicchi, as Raimondo in Lucia di Lammermoor. Four years later For EMI he appears with Callas in recordings of Aida, somewhat coarsely, the Triestine Fedora Barbieri Alfredo in La traviata and Faust, but it did not take long he appeared at La Scala, Milan, as Sparafucile in Un ballo in maschera, Il Trovatore, La Bohème, Il (1918-2003) was one of a number of front-ranking before he began undertaking heavier rôles, such as Rigoletto. Throughout the 1950s and 1960s he appeared barbiere di Siviglia, La Sonnambula and Norma. Italian mezzo-sopranos active in the 1950s and 1960s, Cavaradossi, Don José in Carmen, Radames in Aida, in many leading Italian opera seasons: at Florence, including Ebe Stignani (1903-1974), Giulietta Canio in Pagliacci and even Alvaro in La forza del Verona and Rome in the typical Italian repertory. In Michael Scott Simionato (b.1910), Elena Nicolai (1912-1993) and destino. Sadly the great years of his career were soon 1956 he was a guest at the Vienna Staatsoper and at the Author of Maria Meneghini Callas Fiorenza Cossotto (b.1935). In her home town she over, and by 1961, trying to make more out of his voice studied with Federico Bugamelli and Luigi Toffolo, and than nature had put in, he made his last appearance at La in Milan with Giulia Tess. In 1940 she made her début Scala. From 1944 for HMV he recorded songs and arias, at the Comunale, Florence as Fidalma in Il matrimonio and from 1953 for Angel/Columbia, with Callas, segreto, then in 1943 married the Director of the Edgardo, Arturo, Cavaradossi, Turiddu in Cavalleria Florence May Festival. Although the war did interrupt rusticana, Canio, the Duke, Manrico in Il Trovatore, her career, in those years she appeared in Poland, Rodolfo, Riccardo in Un ballo in maschera and Des Czechoslovakia, Germany, Belgium, Hungary, The Grieux in Puccini’s Manon Lescaut. Netherlands and Austria. No sooner was peace declared The baritone Rolando Panerai (b.1924), born at than her international progress was rapid: she first Campi Bisenzio near Florence, had a long and appeared at La Scala, Milan in 1946, and the following distinguished career. After completing his studies in year she travelled to the Teatro Colón, Buenos Aires; in Florence and Milan with Armani and Tess, he made his 1950 to Covent Garden, London and the Metropolitan, début at the Communale, Florence, in 1946 as Enrico in New York, and also to San Francisco and Chicago. Her Lucia di Lammermoor. Thereafter his progress was repertory in her palmy days included rôles such as rapid and extensive; in 1947 he appeared at the San Dalila, Azucena, Amneris and Eboli, which she sang Carlo, Naples; in 1952 at La Scala, Milan; in 1957 at the under de Sabata and Giulini. She created Dariola in the Salzburg Festival; in 1958 at San Francisco and in 1960 première of Alfano’s Don Giovanni di Manara at the at Covent Garden, London. He sang elsewhere May Festival in 1941 and in 1942 was Telemaco in throughout Italy, and in Austria, Germany and France. Dallapiccola’s revision of Monteverdi’s Il ritorno di His substantial repertory included Apollo in Gluck’s Ulisse in Patria. In Siena that year she sang Giustina in Alceste, the High Priest in Samson et Dalila, Mozart’s Pergolesi’s Flaminio, and in 1943 at Cremona, Orfeo in and Rossini’s Figaro, Masetto in Don Giovanni, Vito Frazzi’s edition of Monteverdi’s opera. She Guglielmo in Così fan tutte, Paolo in Simon undertook a number of rôles with Callas, including Boccanegra, Marcello in La Bohème, di Luna in Il Brangania in Tristano, Adalgisa, Amneris, Neris in Trovatore, Silvio in Pagliacci, Germont in La traviata Medea and with her recorded as well as Amneris, Laura and in 1962 at La Scala he created the title-rôle in in La Gioconda, Azucena and Ulrica. Turchi’s Il buon soldato Svejk. Later in his career, in Giuseppe di Stefano, born in 1921 near Catania, traditional fashion, he graduated from Ford to Falstaff Sicily, had a brilliant but short career. His was one of and undertook Don Pasquale, and Dulcamara in L’elisir 8.111280-81 67 8.111280-81 111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 6
of a short cut made in Act III between Leonora and the most beautiful lyric tenor voices of the last century. d’amore. In a 1950 RAI broadcast he is Amfortas in festival in Salzburg; and in 1957 at Covent Garden with Manrico, and in Act IV, after the Miserere, when He began singing light music then, following a brief Parsifal with Callas’s Kundry and, nearly half a century Callas’s Norma he was Oroveso and in 1959 Creon with Leonora completes the scene adding one verse of the period of study with the baritone Luigi Montesanto, later, Germont in a telecast of La traviata conducted by her Medea. His career was wide and embraced Cologne, cabaletta, ‘Tu vedrai che amore’. However it is made his opera début in 1946 as Des Grieux in Mehta. His voice was an attractive sounding but lyric Brussels, Ghent, Moscow, Mexico City, Rio de Janeiro, indicative that this recording was made only months Massenet’s Manon at Reggio Emilia, after which his instrument. For EMI [Columbia/Angel] with Callas, he Monte Carlo, Berlin and Dallas, which he returned to after the Decca album with Tebaldi and del Monaco was rise to fame was rapid. In 1947 he appeared at La Scala, recorded, as well as di Luna, Silvio in Pagliacci, Alfio often until the 1980s, as well as festivals at Aix-en- published in which they were first included. The move Milan, also as Des Grieux, and in 1948 at the and Marcello. Provence, Edinburgh, Orange and Athens. He sang towards complete recordings was started by John Metropolitan, New York, as the Duke in Rigoletto. At Born in Athens after studying at the Conservatory, rôles such as Zaccaria in Nabucco, Silva in Ernani, Culshaw of Decca. first his repertory included Fenton in Falstaff, Almaviva Nicola Zaccaria (1923-2007), made his début in 1949 Rodolfo in Sonnambula and Sarastro in Zauberflöte. Possessing a big voice, although she used it in Il barbiere di Siviglia, Rinuccio in Gianni Schicchi, as Raimondo in Lucia di Lammermoor. Four years later For EMI he appears with Callas in recordings of Aida, somewhat coarsely, the Triestine Fedora Barbieri Alfredo in La traviata and Faust, but it did not take long he appeared at La Scala, Milan, as Sparafucile in Un ballo in maschera, Il Trovatore, La Bohème, Il (1918-2003) was one of a number of front-ranking before he began undertaking heavier rôles, such as Rigoletto. Throughout the 1950s and 1960s he appeared barbiere di Siviglia, La Sonnambula and Norma. Italian mezzo-sopranos active in the 1950s and 1960s, Cavaradossi, Don José in Carmen, Radames in Aida, in many leading Italian opera seasons: at Florence, including Ebe Stignani (1903-1974), Giulietta Canio in Pagliacci and even Alvaro in La forza del Verona and Rome in the typical Italian repertory. In Michael Scott Simionato (b.1910), Elena Nicolai (1912-1993) and destino. Sadly the great years of his career were soon 1956 he was a guest at the Vienna Staatsoper and at the Author of Maria Meneghini Callas Fiorenza Cossotto (b.1935). In her home town she over, and by 1961, trying to make more out of his voice studied with Federico Bugamelli and Luigi Toffolo, and than nature had put in, he made his last appearance at La in Milan with Giulia Tess. In 1940 she made her début Scala. From 1944 for HMV he recorded songs and arias, at the Comunale, Florence as Fidalma in Il matrimonio and from 1953 for Angel/Columbia, with Callas, segreto, then in 1943 married the Director of the Edgardo, Arturo, Cavaradossi, Turiddu in Cavalleria Florence May Festival. Although the war did interrupt rusticana, Canio, the Duke, Manrico in Il Trovatore, her career, in those years she appeared in Poland, Rodolfo, Riccardo in Un ballo in maschera and Des Czechoslovakia, Germany, Belgium, Hungary, The Grieux in Puccini’s Manon Lescaut. Netherlands and Austria. No sooner was peace declared The baritone Rolando Panerai (b.1924), born at than her international progress was rapid: she first Campi Bisenzio near Florence, had a long and appeared at La Scala, Milan in 1946, and the following distinguished career. After completing his studies in year she travelled to the Teatro Colón, Buenos Aires; in Florence and Milan with Armani and Tess, he made his 1950 to Covent Garden, London and the Metropolitan, début at the Communale, Florence, in 1946 as Enrico in New York, and also to San Francisco and Chicago. Her Lucia di Lammermoor. Thereafter his progress was repertory in her palmy days included rôles such as rapid and extensive; in 1947 he appeared at the San Dalila, Azucena, Amneris and Eboli, which she sang Carlo, Naples; in 1952 at La Scala, Milan; in 1957 at the under de Sabata and Giulini. She created Dariola in the Salzburg Festival; in 1958 at San Francisco and in 1960 première of Alfano’s Don Giovanni di Manara at the at Covent Garden, London. He sang elsewhere May Festival in 1941 and in 1942 was Telemaco in throughout Italy, and in Austria, Germany and France. Dallapiccola’s revision of Monteverdi’s Il ritorno di His substantial repertory included Apollo in Gluck’s Ulisse in Patria. In Siena that year she sang Giustina in Alceste, the High Priest in Samson et Dalila, Mozart’s Pergolesi’s Flaminio, and in 1943 at Cremona, Orfeo in and Rossini’s Figaro, Masetto in Don Giovanni, Vito Frazzi’s edition of Monteverdi’s opera. She Guglielmo in Così fan tutte, Paolo in Simon undertook a number of rôles with Callas, including Boccanegra, Marcello in La Bohème, di Luna in Il Brangania in Tristano, Adalgisa, Amneris, Neris in Trovatore, Silvio in Pagliacci, Germont in La traviata Medea and with her recorded as well as Amneris, Laura and in 1962 at La Scala he created the title-rôle in in La Gioconda, Azucena and Ulrica. Turchi’s Il buon soldato Svejk. Later in his career, in Giuseppe di Stefano, born in 1921 near Catania, traditional fashion, he graduated from Ford to Falstaff Sicily, had a brilliant but short career. His was one of and undertook Don Pasquale, and Dulcamara in L’elisir 8.111280-81 67 8.111280-81 111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 8
Synopsis 6 In spite of the misgivings of Ines, Leonora goes on to Giuseppe Verdi (1813-1901) tell how she will live and, if she must, die for this love CD 1 (Di tale amor, che dirsi). They go together into the Il Trovatore palace. The present recording of Il Trovatore, produced at La Chicago. On this last occasion, the last time she would Act I. The Duel Scala, Milan, in August 1956, was the twelfth complete sing it on stage, Manrico was Jussi Björling (1911- No. 3 Scena, Romanza & Terzetto. 7 The Count comes opera recording Maria Callas took part in for EMI 1960); he called her ‘Leonora perfection, I have heard Scene 1. Courtyard in the palace of Aliaferia. There is a into the garden, observing the silence of the night (Tace [Columbia/Angel]. She had been singing it often since [it] sung often, but never was there a better one’. door to one side, leading to the apartments of the Count la notte) and telling of his love for Leonora, who still 1950 and with notable success. Although it may not Coming from him, a man not noted for loquacity and di Luna. watches. have been the title-rôle yet, as earlier live recordings one of the finest Manricos of the twentieth century, as 8 As he turns towards the steps, he hears the sound of indicate, unlike either Aida or Leonora in La forza del complete recordings confirm, a compliment indeed. No. 1 Introduction. 1 Ferrando, a captain of the guard the troubadour’s song, Deserto sulla terra (Nothing is destino, it perfectly suited her and did not expose her This recording followed nine months later. Throughout in the service of the Count di Luna, tells his companions left me on earth). The Count shudders in jealousy and vocal warts. When she sang it at Covent Garden, Callas’s singing of Leonora’s music, it is no to be alert (All’erta! All’erta!), since the Count is wraps his cloak around him, as he hears Leonora London, in the second season she appeared there in exaggeration to say, is superlative. In ‘D’amor sull’ali jealously watching for his unknown rival in the love of approaching. She, thinking him the troubadour, seeks to 1953, whatever caveats may have been made over her rosee’ her delivery is so musically authoritative she is Leonora, the mysterious troubadour. embrace him, while Manrico, the troubadour, exclaims Aida, and even her Norma, her Leonora earned golden able to make the maximum effect shaping the long 2 Ferrando goes on to explain how the old Count had on her apparent perfidy. The moon emerges from opinions. The Times critic considered the opera should phrases with subtle use of rubato and perfectly drawn two sons (Di due figli vivea padre beato) and how the behind the clouds and the troubadour, his face covered have been styled Leonora ‘[she] sang and acted portamenti, each differently weighted according to the younger, Garcia, had been kidnapped. One day a by a visor, comes forward. Leonora realises her mistake everyone off the stage. That she could dispense roulades dynamics, the interval accomplished, and the speed of swarthy gypsy woman had been found near the child’s (Qual voce!) and throws herself at the feet of Manrico, and fioriture was a foregone conclusion after Norma, the music. The trills, an integral part of the aria, are not cradle (Abbietta zingara, fosca vegliarda!) and had declaring her love for him, to the Count’s jealous rage. but that she was also able to make a vivid and touching only forwardly placed, clearly defined and correctly bewitched the boy, who fell ill. The old gypsy woman At the Count’s urging, Manrico reveals himself, known figure of Leonora, whether transported by tempests of resolved, but each is coloured differently, according to was seized and burned to death, but the woman’s as a follower of the rebel Urgel, and is challenged to a the heart, or racked with anguish outside the Aliaferia the weight of tone she deploys. daughter survived and seems to have stolen the child, duel. Palace, or calmly sinking into death, or calmly sinking This recording is conducted by Herbert von whose charred body was found where the witch had 9 The Count rages in jealousy (Di geloso amor into death. She is not an artist given to gesturing, but … Karajan; his symphonic style is carried out with been burned. The ghost of the gypsy still haunts the sprezzato). Leonora tries to deflect his anger, turning it when she moves an arm the audience sits forward, exemplary polish, even if his tempi do occasionally place, it is said, during the night. The bystanders agree. towards herself, while Manrico bravely declares his gripped by the stimulus of a dynamic personality in sound mannered. The company includes: Fedora 3 They claim that others have seen the apparition, in intention of killing his enemy. Leonora swoons, as the action. The beauty of her line, its plasticity, and its Barbieri’s Azucena, in such a gift of a rôle she gives a one form or another (Sull’orlo dei tetti alcun l’ha two rivals rush out, with drawn swords. strength, and the easy richness with which she unfolds big, brassy performance - but do not expect any trills in veduta). Midnight strikes and they disperse in fear. long phrases, was memorably shown in ‘Tacea la ‘Stride la vampa’; Giuseppe di Stefano, who is rather Act II. The Gypsy notte’, and especially in the last melody she sings, out of his depth as Manrico, a pint mix in a quart jar, but Scene 2. The palace gardens. To the right is a marble ‘Prima che d’altri vivere’, when her voice soared up the then he was deputising for Richard Tucker who cried staircase leading to the apartments. Thick clouds cover Scene 1. A poor dwelling in the foothills of a mountain scale of E flat with a breathtaking blend of tension and off because of Karajan’s Nazi associations; and the moon. in Biscay. In the background there burns a great fire. It effortlessness’. Stage director John Copley, who was Rolando Panerai, whose singing is effective though he is dawn. The old gypsy Azucena sits near the fire, while then working backstage, cannot forget ‘the way she was not a noted exponent of di Luna. Callas No. 2 Scena & Cavatina. 4 Ines, Leonora’s Manrico lies nearby on a mattress, wrapped in his cloak. sang the cadenza in ‘D’amor sull’ali rosee’. It was the demonstrates something that had been forgotten by her companion, urges her to come in and wait no longer His helmet is at his feet, his sword at his hand. The first time I ever heard a cadenza, or any of the scales and time: Leonora has a great deal of florid music in it, as (Che più t’arresti?), but Leonora remembers the gypsies are all around. arpeggios that made it mean something. Instead of a lot much if not more than either Gilda or Violetta. Whereas unknown knight whom once she had crowned of top notes, à la Milanov, Callas linked them together in the nineteenth century Adelina Patti (1843-1919), for champion of the tournament, but who had disappeared No. 4 Gypsy Chorus & Canzone. 0 The gypsies and phrased it so that it was completely expressive… It example, had sung all three rôles, by the middle of the when civil war broke out. welcome the break of day (Vedi! Le fosche notturne was not just the clarity and separation of the notes twentieth century, Leonora had become a part of the 5 Once, Leonora tells her, in the silence of the night, spoglie), as they start work, with their anvils, praising which was exemplary but she actually sang it as if it more dramatic repertory; florid music by then having the sound of a lute was heard from her garden and the the beauty of their women. really meant something.’ become unfashionable, with much of the more exacting sad song of a troubadour (Tacea la notte placida e bella ! They break off, however, as Azucena begins to Callas undertook it, earning similar receptions at music either cut or sketchily performed. in ciel sereno). This is the one she loves. recount the story of her mother’s death (Stride la Mexico City, Naples, Milan, Verona, Rome and Karajan’s presence may account for the restoration 8.111280-81 85 8.111280-81 111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 4
3 In braccio al mio rival! 2:12 ! Miserere d’un alma già vicina 4:56 vampa!), the sound of the flames and her mother’s cries, Scene 2. (Count, Ferrando, Soldiers, Azucena) (Monks, Leonora, Manrico) as she was burned. The gypsies find this a sad song The cloister of a convent near Castellor. There are trees (Mesta è la tua canzon!), but Azucena seeks from in the background. It is night. The Count, Ferrando and 4 Giorni poveri vivea 5:13 @ Di te, di te scordarmi! … Manrico one thing, vengeance (Mi vendica!). The some followers enter cautiously, wrapped in their (Azucena, Ferrando, Count, Soldiers) Tu vedrai che amore in terra 2:34 gypsies prepare to leave to seek food, and their song is cloaks. (Leonora) heard as they move away into the distance, leaving Scene 2 Manrico and Azucena alone. No. 7 Scena & Aria. & The Count finds all deserted # Udiste? 1:47 5 (Tutto è deserto), as he and his men make their way into Quale d’armi fragor poc’anzi intesi? 1:50 (Count, Leonora) No. 5 Scena & Racconto. @ Now they are alone, the convent, intent on abducting Leonora, who must be (Leonora, Manrico) $ Mira, di acerbe lagrime 3:35 Manrico seeks to hear Azucena’s story (Soli or siamo!). his alone. 6 Ah, sì, ben mio 3:07 (Leonora, Count) # Azucena tells him how her mother was led in chains * The Count sings of the light of her smile (Il balen del (Manrico) to her fate, followed by Azucena holding her son in her suo sorriso), which conquers reason, of his love and of % Vivrà! Contende il giubilo 2:23 arms (Condotta ell’era in ceppi). In vain she tried to the tempest that rages in his heart. 7 L’onda de’ suoni mistici 1:23 (Leonora, Count) stop and bless her daughter and her last words urged her ( He hears the bell that announces the coming (Manrico, Leonora, Ruiz) to vengeance. In reply to Manrico’s question she goes ceremony (Qual suono! ... Oh ciel! ... La squilla vicino Scene 2 on to tell how she seized the Count’s son, but in her il rito annunzia!), and tells his followers to hide 8 Di quella pira 3:23 frenzy threw her own child into the flames. Azucena themselves, while he himself observes secretly the (Manrico, Leonora, Ruiz, Soldiers) ^ Madre, non dormi 6:50 falls back in anguish, and Manrico is silent, struck with approach of Leonora. Ferrando and the Count’s (Manrico, Azucena) horror and surprise at what he has heard. followers conceal themselves, while the Count Act IV: The Ordeal 40:23 anticipates his joy in seizing Leonora, away from God, & Ai nostri monti 2:06 No. 6 Scena & Duetto. $ Manrico now asks who he is, if his rival. They hide among the trees. Scene 1 (Azucena, Manrico) he is not Azucena’s son (Non son tuo figlio?), but she tells ) 9 Siam giunti 3:07 * Che! Non m’inganna! 4:11 him that he is her son: did she not nurse him back to life No. 8 Second Finale. The voices of the nuns are (Ruiz, Leonora) (Manrico, Leonora, Azucena) when the Count di Luna left him for dead on the field of heard, preparing the daughter of Eve, Leonora, for her battle. vows (Ah! Se l’error t’ingombra, o figlia d’Eva). The 0 D’amor sull’ali rosee 4:09 ( Ti scosta 4:47 % Manrico goes on to recall how he was about to kill the Count exclaims that no God can take Leonora from him, (Leonora) (Manrico, Leonora, Count, Azucena) fallen Count, when a cry from heaven bade him hold (Mal while the ceremony continues. reggendo all’aspro assalto). Azucena finds no such ¡ Leonora and Ines come in, the former asking her mercy in the Count (Ma nell’alma dell’ingrato / Non confidante why she is crying (Perchè piangete?). parlò del cielo un detto!) and Manrico swears that another Leonora tells her that life now has nothing for her; she time he will take his revenge. The sound of a horn is heard has turned her thoughts to a life of penitence. At this the and Azucena again bids him avenge her. Manrico turns to Count rushes forward, vowing that it must be only the a messenger, who has appeared with written orders for altar of marriage that holds her. At this moment him to lead the defence of Castellor (Inoltra il più) urging Manrico appears. haste, while telling him that Leonora, thinking him dead, ™ Leonora is overjoyed (E deggio e posso crederlo?) is to take the veil that evening at the Convent of the Cross and can hardly believe her eyes, thinking that this must nearby. Azucena asks what troubles him and tries to hold be a dream. The Count is horrified, since he thought him back, but he insists on leaving at once. She again bids Manrico dead in battle. Ruiz and his men appear, Manrico stay (Ferma . . . Son io che parlo a te!), but he proclaiming the rebel Urgel, and Manrico, accompanied tells her that a moment’s delay may cost him his beloved. by Leonora, leaves in their company, once the Count, ^ She still insists that his blood is her blood, but he must who has drawn his sword, is disarmed, furious as he is. away.
8.111280-81 4 9 8.111280-81 111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 10
CD 2 enemy through her suffering and avenge his dead brother. CD 1 68:02 @ Soli or siamo 1:01 At a sign from the Count his men, threatening her with the (Manrico, Azucena) Act III. The Gypsy’s Son fires of hell, drag her away, while he withdraws into his Act I: The Duel 27:11 tent, followed by Ferrando. # Condotta ell’era in ceppi 4:53 Scene 1. An encampment. On the right is the pavilion of Scene 1 (Azucena, Manrico) the Count di Luna, carrying the commander’s standard. Scene 2. A room adjacent to the chapel of Castellor, with The towers of Castellor are seen above. Soldiers are an open gallery in the background. 1 All’erta, all’erta! 3:03 $ Non son tuo figlio? 2:29 gambling, while some polish their weapons and others (Ferrando, Retainers, Soldiers) (Manrico, Azucena) 5 pass to and fro. Ferrando comes out of the Count’s No. 11 Scena & Aria Leonora seeks to know the 2 meaning of the warlike preparations (Quale d’armi fragor Di due figli vivea 6:18 % Mal reggendo 4:37 pavilion. (Ferrando, Retainers, Soldiers) poc’anzi intesi?). Manrico tells her of their imminent (Manrico, Azucena, Messenger) No. 9 Introductory Chorus 1 Some of the soldiers call for danger and the assault expected at dawn: he, however, is 3 Sull’orlo dei tetti alcun l’ha veduta! 1:20 ^ Perigliarti ancor languente 2:28 another game (Or co’dadi, ma fra poco / Giuocherem ben certain of victory, since his men are as brave as the enemy. (Ferrando, Retainers, Soldiers) (Azucena, Manrico) altro gioco), while others see the banner of the Balestrieri, Leonora thinks this bodes ill for their marriage. Manrico the reinforcements they had awaited. Ferrando assures sings of the strength his love gives him (Amor, sublime Scene 2 Scene 2 them of certain victory, when the new day dawns. amor). 2 The men await the call to arms (Squilli, echeggi la 6 He is hers, and she his and this will make him the 4 Che più t’arresti? 2:17 & Tutto è deserto 1:35 tromba guerriera), eager for the spoils of battle. stronger. If it is his fate to be killed, yet his thoughts will (Inez, Leonora) (Count, Ferrando) turn to her, for death will only mean that he will be in No. 10 Scena & Terzetto 3 The Count is tormented by heaven before her. 5 Tacea la notte placida 4:24 * Il balen del suo sorriso 3:16 the thought of Leonora in the arms of his rival (In braccio 7 The organ is heard from the nearby chapel. Now they (Leonora, Inez) (Count) al mio rival!). A tumult is heard and Ferrando comes in, must go there together, as the mystic sounds touch their 6 Di tale amor che dirsi 1:40 ( telling him that a gypsy woman has been caught by their hearts (L’onda de’ suoni mistici). Ruiz calls to Manrico, Quel suono! Oh, ciel! … Per me ora fatale 3:41 (Leonora, Inez) (Count, Ferrando, Retainers) men. The noise comes nearer and Azucena, her hands telling him of the capture and imminent death by burning bound, is dragged in, protesting at her treatment. The of Azucena. Scene 3 ) Ah! Se l’error t’ingombra 2:00 Count interrogates her, asking where she was going, and 8 Manrico now reveals to Leonora that he is the gypsy’s (Nuns, Count, Ferrando, Retainers) she tells him that gypsies wander aimlessly; she comes, son. He can already see the flames in which Azucena must 7 Tace la notte! 2:04 however, from Biscay, information that disturbs the die (Di quella pira l’orrendo foco) and feel them: he must (Count) ¡ Perchè piangete? 2:18 Count and Ferrando. save her. The men are called to arms, to fight or die with (Leonora, Inez, Count, Nuns) 4 Azucena tells them of her poverty and contentment and Manrico, who rushes out, followed by Ruiz and his 8 Deserto sulla terra 3:30 how now she seeks her son (Giorni poveri vivea / Pur soldiers. The sound of battle is heard. (Manrico, Count, Leonora) ™ E deggio e posso crederlo? 4:48 contento del mio stato). The Count asks her if she (Leonora, Manrico, Count, Inez, Nuns, Ferrando, remembers a son of the family, kidnapped some fifteen Act IV. Torture 9 Di geloso amor sprezzato 2:35 Retainers, Ruiz, Soldiers) years before. She asks him who he is, and he tells her that (Count, Manrico, Leonora) he is that boy’s brother. Ferrando observes her reaction Scene 1. A wing of the palace of Alaferia. At the corner is CD 2 61:59 Act II: The Gypsy 40:51 and now accuses her of stealing the child. She tries to a tower with barred windows. It is deepest night. Two Act III: The Gypsy’s Son 21:36 quieten him, but he declares that this is the woman that people come forward, cloaked, Ruiz and Leonora. Scene 1 burned the child. She denies it, but the Count orders the Scene 1 men to tighten her bonds. In pain she calls on her son No. 12 Scena, Aria & Miserere. 9 Ruiz shows Leonora 0 Vedi! Le fosche notturne spoglie Manrico, and the Count now realises he has the mother of the cell where the prisoners are kept (Siam giunti, ecco la (Anvil Chorus) 3:01 1 Or co’ dadi 2:00 his hated rival in his power. Azucena bids them desist, torre). She tells him to leave her, since she may be able to (Gypsies) (Soldiers, Ferrando) warning them of the anger of God, who will punish the save Manrico. She looks at a jewel she holds in her hand. Count (Ah! Deh! Rallentate, o barbari). He reproaches Now she is near her lover, although he does not know it. ! Stride la vampa 4:45 2 Squilli, echeggi la tromba guerriera 2:29 her, a base gypsy, with that traitor. Now he can strike his 0 Love, she says, will bring comfort to the mind of the (Azucena, Gypsies, Manrico, an old Gypsy) (Soldiers) 8.111280-81 10 3 8.111280-81 111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 2
Great Opera Recordings prisoner, like a breath of hope (D’amor sull’ali rosee / No. 14 Last Finale ^ Manrico asks Azucena why she Vanne). does not sleep (Madre, non dormi?), and wonders if the ! The sound of the death knell is heard. Voices within cold troubles her, but she tells him that the air chokes Giuseppe sing the Miserere (Miserere d’un alma già vicina / Alla her: soon, though, she will be free, for the mark of death partenza che non ha ritorno!), praying for mercy on those is upon her. She sees in her mind the burning fire, and VERDI about to die. Leonora exclaims on the sound of these Manrico tries to comfort her, as she falls back in his (1813-1901) prayers. The voice of Manrico is heard from the tower, arms, and he lays her gently down on her mattress. bidding his Leonora farewell, as the chant goes on. Weariness comes upon her (Sì, la stanchezza @ Leonora declares that she will never forget him (Di te! m’opprime). Il Trovatore Di te! Scordarmi di te!). & Now she dreams of her home, the hills and the ancient peace. She falls asleep, Manrico kneeling by her Libretto by Salvatore Cammarano No. 13 Scena & Duetto. # A door opens and the Count side. The door opens and Leonora comes in. after a play by Antonio Garcia Gutiérrez and some of his followers come out. Leonora steps aside. * Manrico thinks that the light deceives him (Che! Non The Count now gives orders for the execution of the son m’inganna quel fioco lume?), but Leonora assures him and his mother (Udiste? Come albeggi, / La scure al figlio that now he will be safe: he can escape, but she must Manrico ...... Giuseppe Di Stefano (tenor) ed alla madre il rogo!), lamenting that he cannot find stay. Manrico has no desire for life without her and asks Leonora. At this she comes forward, telling him she has Leonora ...... Maria Callas (soprano) her what price she has paid for his freedom. She dare come, at the last moment, to ask for mercy, but he refuses Count di Luna ...... Rolando Panerai (baritone) not answer and he reproaches her (Parlar non vuoi?), her. The Count starts, as he hears Leonora’s voice. understanding what she must have done. She finds his Azucena ...... Fedora Barbieri (mezzo-soprano) $ She throws herself in desperation at his feet, pleading reproach unjustified, urging him to escape, while Ferrando ...... Nicola Zaccaria (bass) with him to have mercy on her tears (Mira, di acerbe Azucena is heard again in her sleep recalling her own Inez ...... Luisa Villa (mezzo-soprano) lagrime), but this only increases his thirst for revenge. country. Leonora falls at Manrico’s feet. Ruiz ...... Renato Ercolani (tenor) Now she offers him herself, if he will only release ( Manrico tells her to go (Ti scosta!), but she begs him An Old Gypsy ...... Giulio Mauri (bass) Manrico. He swears that he will do so, and she pledges not to blame her, falling to the ground and telling him at A Messenger ...... Renato Ercolani (tenor) herself to him. The Count now calls to a guard in the last that she is dying, the force of the poison quicker tower and speaks in his ear, while Leonora takes the than she had supposed. Manrico is now remorseful. At Chorus and Orchestra of La Scala, Milan poison secreted in her ring: the Count will have her, but this moment the Count comes in, as Leonora dies, (Norberto Mola, chorus master) she will be cold, not living. seeking the grace of heaven, and he realises he has been Herbert von Karajan, conductor % Leonora is now happy (Vivrà! Contende il giubilo / i deceived. He now orders Manrico to be taken to his detti a me, Signore): she will die, but Manrico will live. death, and the latter bids his mother farewell. The Count Recorded 3rd, 4th, and 6th - 9th August, 1956 in the Teatro alla Scala, Milan The Count seeks her assurance that she is his and she drags her to the window to see her son die, but Azucena pledges her faith. First issued on Columbia 33CX 1483s through 1485 tells him that Manrico was his brother (Egli era il tuo fratello!), as she falls to the ground, her revenge Scene 2. A wretched dungeon. There is a barred window achieved. Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn and a door in the background. A dim lamp hanging from a wall-ring sheds a pale light on the scene. Azucena is lying Keith Anderson Producer’s Note on a rough mattress and Manrico sits near her. This recording was transferred from the best portions of two first-edition British LP pressings, with one section (from the second verse of “Stride la vampa” to the end of “Il balen”) patched in from a later American pressing due to stamper defects on Side 2 of both of the copies I had of the earlier edition. Some overload distortion at the loudest passages appears to be inherent in the original master tape.
Mark Obert-Thorn
8.111280-81 211 8.111280-81 111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 12
VERDI Il Trovatore
RIA CALL A AS Also available M
8.111278-79 8.111322-24 1 g 956 Recordin
Maria Callas • Giuseppe Di Stefano • Rolando Panerai Fedora Barbieri • Nicola Zaccaria Chorus and Orchestra of La Scala, Milan Herbert von Karajan
8.111280-81 12 NAXOS Historical VERDI: Il Trovatore 8.111280-81 critic Time 2:10:01 Playing D’amor sull’ali The Times and perfectly drawn and perfectly rubato ADD Act 1:The DuelAct 1I :The Gypsy 27:11 40:51 Act 1I I:The Son Gypsy’s Act 1V:The Ordeal 21:36 40:23 8 ( 9 ™ - - - - 8.111280-81 CD 11 0 CD 2 68:02 1 9 61:59 , at La Scala, Milan, she had been singing it often since Il Trovatore :‘[she] sang and acted everyone off the stage’… The beauty of her :‘[she] off the stage’… and acted everyone sang Leonora Giuseppe (1813-1901) VERDI Herbert von Karajan Herbert von Il Trovatore in the Teatro alla Scala,Teatro Milan in the Chorus and Orchestra of La Scala,Chorus and Orchestra Milan ’.Throughout this recording Callas’s singing of Leonora’s music is superlative. is music singing of Leonora’s ’.Throughout Callas’s this recording In, example, for , to the dynamics, according weighted each differently the interval accomplished, and the speed of the music. Recorded 3rd,Recorded 4th,August, and 6th – 9th 1956 her delivery is so musically authoritative she shapes the long phrases with subtle use of she shapes authoritative her delivery is so musically Manrico...... Giuseppe Di Stefano Leonora ...... Callas Maria Count di Luna ...... Rolando Panerai Azucena ...... Barbieri Fedora Ferrando ...... Nicola Zaccaria Ruiz ...... Renato Ercolani www.naxos.com Reissue Producer and Restoration Engineer:Reissue Producer Mark Obert-Thorn photo:Cover Maria Callas (Private Collection) Before Maria Callas made this August 1956 recording of August 1956 recording this Maria Callas made Before 1950 and with notable success. opinions. earned golden performances Garden Her 1953 Covent been styled the opera should have considered line, its plasticity, and its strength, long phrases, and the easy richness with which she unfolds in shown was memorably la notte Tacea portamenti rosee
All rights in this sound recording, artwork, texts and translations reserved.
Unauthorised public performance, broadcasting and copying of this compact disc prohibited. & 2008 Naxos Rights International Ltd. Made in Germany
NAXOS Historical Callas • Di Stefano • Panerai • Karajan 8.111280-81