110271 bk Gigli10 17/05/2005 09:14am Page 5
SCHUBERT: DE CRESCENZO: Matrix: 0EA 7910-2 Recorded 23nd January 1940 ADD 1 Ständchen 3:34 7 Notte d’amore 4:24 First issued on HMV DA 1711 in the Pro Salute Studios, Milan THE GIGLI EDITION • 10 Recorded 8th September 1938 Recorded 12th May 1939 Matrix: 2BA 3650-2 8.110271 in the Pro Salute Studios, Milan in Kingsway Hall, London DE YRADIER: First issued on HMV DB 5385 Matrix: 0BA 2746-2 Matrix: 2EA 7901-2 # La paloma 3:29 First issued on HMV DA 1657 First issued on HMV DB 3815 Recorded 17th July 1939 GIORDANO: Fedora: in the Pro Salute Studios, Milan ( Amor ti vieta (Act 2) 2:03 BIXIO: TOSTI: Matrix: 0BA 3334-2 Recorded 23nd January 1940 2 Desiderio 2:41 8 Aprile 4:02 First issued on HMV DA 1711 in the Pro Salute Studios, Milan Beniamino Recorded 8th September 1938 Recorded 12th May 1939 Matrix: 0BA 3651-2 in the Pro Salute Studios, Milan in Kingsway Hall, London DONAUDY: First issued on HMV DA 1722 Matrix: 0BA 2747-1 Matrix: 2EA 7902-2 $ O del mio amato ben 3:54 GIGLI First issued on HMV DA 1654 First issued on HMV DB 3815 Recorded 17th July 1939 BIXIO: in the Pro Salute Studios, Milan ) Mamma 3:36 BIXIO: VERDI: La traviata: Matrix: 2BA 3335-2 Recorded 29th November 1940 Milan and London 3 Dir nur gehört mein Herz (Desiderio) 2:33 9 Ah si! da un anno … Un dì felice (Act 1) 3:51 First issued on HMV DB 3895 in Milan Recorded 8th September 1938 with Maria Caniglia, Soprano Matrix: 0BA 4186-2 Recordings in the Pro Salute Studios, Milan Recorded 5th June 1939 DE CURTIS: First issued on HMV DA 5397 Matrix: 0BA 2748-2 in Kingsway Hall, London % Maria, tu sei per me la vita 2:39 1938-1940 First issued on HMV DA 1658 Matrix: 2EA 7908-2 Recorded 22nd January 1940 BIXIO: First issued on HMV DB 3811 in the Pro Salute Studios, Milan ¡ Se vuoi goder la vita 3:00 BRAHMS: Matrix: 0BA 3647-2 Recorded 29th November 1940 4 Wiegenlied, Op. 49, No. 4 1:50 VERDI: La traviata: First issued on HMV DA 1731 in Milan MOZART Recorded 8th September 1938 0 Oh! mia Violetta … Parigi, o cara (Act 3) 4:49 Matrix: 0BA 4187-2 in the Pro Salute Studios, Milan with Maria Caniglia, soprano BUZZI-PECCIA: First issued on HMV DA 5397 Matrix: 0BA 2749-3 Recorded 5th June 1939 ^ Lolita 3:07 First issued on HMV DA 1657 in Kingsway Hall, London Recorded 22nd January 1940 PUCCINI: Manon Lescaut: GIORDANO Matrix: 2EA 7907-2 in the Pro Salute Studios, Milan ™ Che avvien? … No! Pazzo son (Act 3) 3:16 CACCINI: First issued on HMV DB 3811 Matrix: 0BA 3648-2 with Giuseppe Noto, baritone 5 Amarilli 3:30 First issued on HMV DA 1722 Recorded 30th November 1940 BIXIO Recorded 12th May 1939 MOZART: Don Giovanni: in Milan in Kingsway Hall, London ! Il mio tesoro (Act 2) 4:12 PIETRI: Maristella: Matrix: 0BA 4189-1 Matrix: 2EA 7749-2 Recorded 5th June 1939 & Io conosco un giardino (Act 1) 2:54 First issued on HMV DA 5398 First issued on HMV DB 3895 in Kingsway Hall, London Recorded 23nd January 1940 CACCINI Matrix: 2EA 7909-2 in the Pro Salute Studios, Milan VERDI: Il trovatore: MOZART: Don Giovanni: First issued on HMV DB 3809 Matrix: 0BA 3649-2 £ Di quella pira (Act 3) 2:12 6 Dalla sua pace (Act 1) 4:35 First issued on HMV DA 1731 Recorded 30th November 1940 SCHUBERT Recorded 12th May 1939 DI CHIARA: in Milan in Kingsway Hall, London @ La spagnola 2:48 VERDI: Il trovatore : Matrix: 0BA 4190-2 Matrix: 2EA 7750-2 Recorded 5th June 1939 * Se m’ami ancor … Ai nostri monti (Act 4) 4:30 First issued on HMV DA 5398 First issued on HMV DB 3809 in Kingsway Hall, London with Cloe Elmo, Mezzo-soprano TOSTI 8.110271 5 6 8.110271 110271 bk Gigli10 17/05/2005 09:14am Page 2
Beniamino Gigli (1890-1957) my concert repertory’. He recorded the piece, to Azucena to Gigli’s Manrico at a revival in February: her Producer’s Note mesmeric effect, during his next sessions in January full-bodied, incisive singing here is a fit match for The Gigli Edition Vol. 10 • Milan and London Recordings 1938-40 1940. It is a perfect fit for Gigli’s voice. No wonder he Gigli’s. The present volume is the tenth in a series devoted to Beniamino Gigli’s “singles” - his song and aria recordings seized the chance to immortalise his rendering of it. In the final sessions included here, at the end of not issued as part of complete opera sets. The aim of the series is to include every Gigli recording released at the This volume carries on the good work of recording, in undertake Ottavio simply cannot equal. They are, To these January sessions also belongs a typically November 1940, Gigli performs the much more taxing time, as well as every published alternate take and, wherever available, unpublished takes. The sides here are both senses, the glory of Gigli’s so-called third period incidentally, accompanied with great skill by Lawrance outgoing, ardent account of Amor ti vieta from Di quella pira. The performance may not be as trumpet- presented in the order in which they were recorded except for the two Traviata duets, which are presented in the noted on the previous issue covering 1936-38 Collingwood. Giordano’s Fedora, which only goes to confirm the like and stentorian as some, but, careful not to force his order in which they appear in the opera. (8.110270). Although war clouds were approaching, Also in those sessions, Gigli recorded more of his wisdom of the tenor’s decision not to retire. His singing fundamentally lyrical tone, Gigli sings with plenty of Gigli’s career continued in the autumn of 1938 as most winning performances of Italian song. The is as easy and rich-hued as it ever had been. On the same fire. Puccini’s Manon Lescaut had been in the tenor’s The selections in the current volume were originally issued in 2002 on Romophone 82023-2 (“Beniamino Gigli – though everything was normal. In September he classical Amarilli of Caccini, once so beloved of day, 23rd January, as he recorded this and the aria from repertory for far longer - he first undertook it at the The Complete HMV Recordings, 1938-40”). recorded four titles in Milan, including his charmingly recitalists, is sung plangently by Gigli in the tenor’s Maristella, he also joined Cloe Elmo in the last-act Metropolitan in 1922, and it remained a staple of his un-idiomatic versions of two of the most popular Lieder most persuasive mezza voce, in a style that would not be Azucena-Manrico duet from Il trovatore, a pretty vocal diet. He sings Des Grieux’s impassioned Act III Mark Obert-Thorn ever written. Then he was off to the United States for approved of today in music of the period. So much the satisfying day’s work. Manrico was a rôle he had outburst, from the dockside where Manon is being his last opera performances on that continent. worse for today’s views: it is a most seductive piece of undertaken for the first time at Rome the previous deported, with all his old fire. Delightful performances Tracks 1–4, 15–16 and 20-21 In his autobiography The World Is My Audience he singing. Even more attractive is the tenor’s warmly month. Admitting that it is a part for a true lirico spinto, of songs by the popular Bixio, so much enjoyed by Orchestra conducted by Dino Olivieri relates successes that autumn at the San Francisco projected, intimate account of Tosti’s Aprile, which Gigli comments that he did his best ‘not to shout it, but Gigli and his admirers, complete the 1940 discography. Opera and in recitals all over the United States, was chosen to represent Gigli at this stage of his career to sing it’, and that is how it sounds in this plaintive duet Tracks 5-12 preceding his triumphant return to the Metropolitan in in Volume 3 of EMI’s Record of Singing. with Azucena, his supposed mother, Elmo sang Alan Blyth Orchestra conducted by Lawrance Collingwood New York at the beginning of 1939. There, full of In October 1939, hostilities having broken out, nostalgia because he felt the house was his spiritual Gigh had returned to Italy, and in that month he Tracks 13-14 home, he won renewed plaudits for his appearances in celebrated his silver jubilee as a singer, at Rovigo, the Chamber orchestra conducted by Luigi Ricci (not Ruggero Ricci, as erroneously stated in some recording journals) four operas. Back in Europe, he recalled he had six or venue of his début. He sang Edgardo in Lucia di seven “normal” months, that is, performing in Lammermoor. Thoughts he had entertained of Tracks 17-19 and 22-23 European houses, before the outbreak of war confined retirement were put aside. As he comments in his Orchestra conducted by Umberto Berrettoni him to Italy and Germany, apart from a concert in autobiography: ‘I felt in full possession of my powers, Switzerland and a few operas in the, then, Yugoslavia. far more so than on that October night in 1914. His next recordings took place while he was Moreover I had received no hint that my audiences Tracks 1 and 4 sung in German appearing at Covent Garden in the Spring-Summer thought otherwise’. With no possibility of travel abroad season of 1939. While there, he sang Alfredo to Maria he contented himself with performances in opera Track 3 sung in Italian and German Caniglia’s Violetta, and the chance was taken to record houses all over Italy, singing with most of his famous the pair in the characters’ Acts I and III duets. These Italian contemporaries. All other tracks sung in Italian may not be the most stylish versions of these often- His recording sessions now all took place in Milan. recorded pieces, but both artists, as was their wont, sing In July he recorded more songs, including a ravishing with such conviction that critical concern can be safely account of Donaudy’s lyrical O del mio amato ben. In laid to one side. More questionable is Gigli’s approach April 1940, he had taken part in the first performances to Don Ottavio’s two arias from Don Giovanni, also at La Scala of Maristella, a little-known opera by the committed to disc at the time in London. With their contemporary composer Giuseppe Pietri. Gigli writes: The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best slidings and sobs they are typical of the Gigli manner at ‘I found the tenor rôle extremely congenial to my voice, and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards this time but remain irresistible because of his full of beautiful melodic phrases and with one lovely in the field of historical recordings. wonderfully golden tone, something most tenors who aria (Io conosco un giardino) that I promptly added it to
8.110271 2 3 8.110271 4 8.110271 110271 bk Gigli10 17/05/2005 09:14am Page 2
Beniamino Gigli (1890-1957) my concert repertory’. He recorded the piece, to Azucena to Gigli’s Manrico at a revival in February: her Producer’s Note mesmeric effect, during his next sessions in January full-bodied, incisive singing here is a fit match for The Gigli Edition Vol. 10 • Milan and London Recordings 1938-40 1940. It is a perfect fit for Gigli’s voice. No wonder he Gigli’s. The present volume is the tenth in a series devoted to Beniamino Gigli’s “singles” - his song and aria recordings seized the chance to immortalise his rendering of it. In the final sessions included here, at the end of not issued as part of complete opera sets. The aim of the series is to include every Gigli recording released at the This volume carries on the good work of recording, in undertake Ottavio simply cannot equal. They are, To these January sessions also belongs a typically November 1940, Gigli performs the much more taxing time, as well as every published alternate take and, wherever available, unpublished takes. The sides here are both senses, the glory of Gigli’s so-called third period incidentally, accompanied with great skill by Lawrance outgoing, ardent account of Amor ti vieta from Di quella pira. The performance may not be as trumpet- presented in the order in which they were recorded except for the two Traviata duets, which are presented in the noted on the previous issue covering 1936-38 Collingwood. Giordano’s Fedora, which only goes to confirm the like and stentorian as some, but, careful not to force his order in which they appear in the opera. (8.110270). Although war clouds were approaching, Also in those sessions, Gigli recorded more of his wisdom of the tenor’s decision not to retire. His singing fundamentally lyrical tone, Gigli sings with plenty of Gigli’s career continued in the autumn of 1938 as most winning performances of Italian song. The is as easy and rich-hued as it ever had been. On the same fire. Puccini’s Manon Lescaut had been in the tenor’s The selections in the current volume were originally issued in 2002 on Romophone 82023-2 (“Beniamino Gigli – though everything was normal. In September he classical Amarilli of Caccini, once so beloved of day, 23rd January, as he recorded this and the aria from repertory for far longer - he first undertook it at the The Complete HMV Recordings, 1938-40”). recorded four titles in Milan, including his charmingly recitalists, is sung plangently by Gigli in the tenor’s Maristella, he also joined Cloe Elmo in the last-act Metropolitan in 1922, and it remained a staple of his un-idiomatic versions of two of the most popular Lieder most persuasive mezza voce, in a style that would not be Azucena-Manrico duet from Il trovatore, a pretty vocal diet. He sings Des Grieux’s impassioned Act III Mark Obert-Thorn ever written. Then he was off to the United States for approved of today in music of the period. So much the satisfying day’s work. Manrico was a rôle he had outburst, from the dockside where Manon is being his last opera performances on that continent. worse for today’s views: it is a most seductive piece of undertaken for the first time at Rome the previous deported, with all his old fire. Delightful performances Tracks 1–4, 15–16 and 20-21 In his autobiography The World Is My Audience he singing. Even more attractive is the tenor’s warmly month. Admitting that it is a part for a true lirico spinto, of songs by the popular Bixio, so much enjoyed by Orchestra conducted by Dino Olivieri relates successes that autumn at the San Francisco projected, intimate account of Tosti’s Aprile, which Gigli comments that he did his best ‘not to shout it, but Gigli and his admirers, complete the 1940 discography. Opera and in recitals all over the United States, was chosen to represent Gigli at this stage of his career to sing it’, and that is how it sounds in this plaintive duet Tracks 5-12 preceding his triumphant return to the Metropolitan in in Volume 3 of EMI’s Record of Singing. with Azucena, his supposed mother, Elmo sang Alan Blyth Orchestra conducted by Lawrance Collingwood New York at the beginning of 1939. There, full of In October 1939, hostilities having broken out, nostalgia because he felt the house was his spiritual Gigh had returned to Italy, and in that month he Tracks 13-14 home, he won renewed plaudits for his appearances in celebrated his silver jubilee as a singer, at Rovigo, the Chamber orchestra conducted by Luigi Ricci (not Ruggero Ricci, as erroneously stated in some recording journals) four operas. Back in Europe, he recalled he had six or venue of his début. He sang Edgardo in Lucia di seven “normal” months, that is, performing in Lammermoor. Thoughts he had entertained of Tracks 17-19 and 22-23 European houses, before the outbreak of war confined retirement were put aside. As he comments in his Orchestra conducted by Umberto Berrettoni him to Italy and Germany, apart from a concert in autobiography: ‘I felt in full possession of my powers, Switzerland and a few operas in the, then, Yugoslavia. far more so than on that October night in 1914. His next recordings took place while he was Moreover I had received no hint that my audiences Tracks 1 and 4 sung in German appearing at Covent Garden in the Spring-Summer thought otherwise’. With no possibility of travel abroad season of 1939. While there, he sang Alfredo to Maria he contented himself with performances in opera Track 3 sung in Italian and German Caniglia’s Violetta, and the chance was taken to record houses all over Italy, singing with most of his famous the pair in the characters’ Acts I and III duets. These Italian contemporaries. All other tracks sung in Italian may not be the most stylish versions of these often- His recording sessions now all took place in Milan. recorded pieces, but both artists, as was their wont, sing In July he recorded more songs, including a ravishing with such conviction that critical concern can be safely account of Donaudy’s lyrical O del mio amato ben. In laid to one side. More questionable is Gigli’s approach April 1940, he had taken part in the first performances to Don Ottavio’s two arias from Don Giovanni, also at La Scala of Maristella, a little-known opera by the committed to disc at the time in London. With their contemporary composer Giuseppe Pietri. Gigli writes: The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best slidings and sobs they are typical of the Gigli manner at ‘I found the tenor rôle extremely congenial to my voice, and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards this time but remain irresistible because of his full of beautiful melodic phrases and with one lovely in the field of historical recordings. wonderfully golden tone, something most tenors who aria (Io conosco un giardino) that I promptly added it to
8.110271 2 3 8.110271 4 8.110271 110271 bk Gigli10 17/05/2005 09:14am Page 2
Beniamino Gigli (1890-1957) my concert repertory’. He recorded the piece, to Azucena to Gigli’s Manrico at a revival in February: her Producer’s Note mesmeric effect, during his next sessions in January full-bodied, incisive singing here is a fit match for The Gigli Edition Vol. 10 • Milan and London Recordings 1938-40 1940. It is a perfect fit for Gigli’s voice. No wonder he Gigli’s. The present volume is the tenth in a series devoted to Beniamino Gigli’s “singles” - his song and aria recordings seized the chance to immortalise his rendering of it. In the final sessions included here, at the end of not issued as part of complete opera sets. The aim of the series is to include every Gigli recording released at the This volume carries on the good work of recording, in undertake Ottavio simply cannot equal. They are, To these January sessions also belongs a typically November 1940, Gigli performs the much more taxing time, as well as every published alternate take and, wherever available, unpublished takes. The sides here are both senses, the glory of Gigli’s so-called third period incidentally, accompanied with great skill by Lawrance outgoing, ardent account of Amor ti vieta from Di quella pira. The performance may not be as trumpet- presented in the order in which they were recorded except for the two Traviata duets, which are presented in the noted on the previous issue covering 1936-38 Collingwood. Giordano’s Fedora, which only goes to confirm the like and stentorian as some, but, careful not to force his order in which they appear in the opera. (8.110270). Although war clouds were approaching, Also in those sessions, Gigli recorded more of his wisdom of the tenor’s decision not to retire. His singing fundamentally lyrical tone, Gigli sings with plenty of Gigli’s career continued in the autumn of 1938 as most winning performances of Italian song. The is as easy and rich-hued as it ever had been. On the same fire. Puccini’s Manon Lescaut had been in the tenor’s The selections in the current volume were originally issued in 2002 on Romophone 82023-2 (“Beniamino Gigli – though everything was normal. In September he classical Amarilli of Caccini, once so beloved of day, 23rd January, as he recorded this and the aria from repertory for far longer - he first undertook it at the The Complete HMV Recordings, 1938-40”). recorded four titles in Milan, including his charmingly recitalists, is sung plangently by Gigli in the tenor’s Maristella, he also joined Cloe Elmo in the last-act Metropolitan in 1922, and it remained a staple of his un-idiomatic versions of two of the most popular Lieder most persuasive mezza voce, in a style that would not be Azucena-Manrico duet from Il trovatore, a pretty vocal diet. He sings Des Grieux’s impassioned Act III Mark Obert-Thorn ever written. Then he was off to the United States for approved of today in music of the period. So much the satisfying day’s work. Manrico was a rôle he had outburst, from the dockside where Manon is being his last opera performances on that continent. worse for today’s views: it is a most seductive piece of undertaken for the first time at Rome the previous deported, with all his old fire. Delightful performances Tracks 1–4, 15–16 and 20-21 In his autobiography The World Is My Audience he singing. Even more attractive is the tenor’s warmly month. Admitting that it is a part for a true lirico spinto, of songs by the popular Bixio, so much enjoyed by Orchestra conducted by Dino Olivieri relates successes that autumn at the San Francisco projected, intimate account of Tosti’s Aprile, which Gigli comments that he did his best ‘not to shout it, but Gigli and his admirers, complete the 1940 discography. Opera and in recitals all over the United States, was chosen to represent Gigli at this stage of his career to sing it’, and that is how it sounds in this plaintive duet Tracks 5-12 preceding his triumphant return to the Metropolitan in in Volume 3 of EMI’s Record of Singing. with Azucena, his supposed mother, Elmo sang Alan Blyth Orchestra conducted by Lawrance Collingwood New York at the beginning of 1939. There, full of In October 1939, hostilities having broken out, nostalgia because he felt the house was his spiritual Gigh had returned to Italy, and in that month he Tracks 13-14 home, he won renewed plaudits for his appearances in celebrated his silver jubilee as a singer, at Rovigo, the Chamber orchestra conducted by Luigi Ricci (not Ruggero Ricci, as erroneously stated in some recording journals) four operas. Back in Europe, he recalled he had six or venue of his début. He sang Edgardo in Lucia di seven “normal” months, that is, performing in Lammermoor. Thoughts he had entertained of Tracks 17-19 and 22-23 European houses, before the outbreak of war confined retirement were put aside. As he comments in his Orchestra conducted by Umberto Berrettoni him to Italy and Germany, apart from a concert in autobiography: ‘I felt in full possession of my powers, Switzerland and a few operas in the, then, Yugoslavia. far more so than on that October night in 1914. His next recordings took place while he was Moreover I had received no hint that my audiences Tracks 1 and 4 sung in German appearing at Covent Garden in the Spring-Summer thought otherwise’. With no possibility of travel abroad season of 1939. While there, he sang Alfredo to Maria he contented himself with performances in opera Track 3 sung in Italian and German Caniglia’s Violetta, and the chance was taken to record houses all over Italy, singing with most of his famous the pair in the characters’ Acts I and III duets. These Italian contemporaries. All other tracks sung in Italian may not be the most stylish versions of these often- His recording sessions now all took place in Milan. recorded pieces, but both artists, as was their wont, sing In July he recorded more songs, including a ravishing with such conviction that critical concern can be safely account of Donaudy’s lyrical O del mio amato ben. In laid to one side. More questionable is Gigli’s approach April 1940, he had taken part in the first performances to Don Ottavio’s two arias from Don Giovanni, also at La Scala of Maristella, a little-known opera by the committed to disc at the time in London. With their contemporary composer Giuseppe Pietri. Gigli writes: The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best slidings and sobs they are typical of the Gigli manner at ‘I found the tenor rôle extremely congenial to my voice, and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards this time but remain irresistible because of his full of beautiful melodic phrases and with one lovely in the field of historical recordings. wonderfully golden tone, something most tenors who aria (Io conosco un giardino) that I promptly added it to
8.110271 2 3 8.110271 4 8.110271 110271 bk Gigli10 17/05/2005 09:14am Page 5
SCHUBERT: DE CRESCENZO: Matrix: 0EA 7910-2 Recorded 23nd January 1940 ADD 1 Ständchen 3:34 7 Notte d’amore 4:24 First issued on HMV DA 1711 in the Pro Salute Studios, Milan THE GIGLI EDITION • 10 Recorded 8th September 1938 Recorded 12th May 1939 Matrix: 2BA 3650-2 8.110271 in the Pro Salute Studios, Milan in Kingsway Hall, London DE YRADIER: First issued on HMV DB 5385 Matrix: 0BA 2746-2 Matrix: 2EA 7901-2 # La paloma 3:29 First issued on HMV DA 1657 First issued on HMV DB 3815 Recorded 17th July 1939 GIORDANO: Fedora: in the Pro Salute Studios, Milan ( Amor ti vieta (Act 2) 2:03 BIXIO: TOSTI: Matrix: 0BA 3334-2 Recorded 23nd January 1940 2 Desiderio 2:41 8 Aprile 4:02 First issued on HMV DA 1711 in the Pro Salute Studios, Milan Beniamino Recorded 8th September 1938 Recorded 12th May 1939 Matrix: 0BA 3651-2 in the Pro Salute Studios, Milan in Kingsway Hall, London DONAUDY: First issued on HMV DA 1722 Matrix: 0BA 2747-1 Matrix: 2EA 7902-2 $ O del mio amato ben 3:54 GIGLI First issued on HMV DA 1654 First issued on HMV DB 3815 Recorded 17th July 1939 BIXIO: in the Pro Salute Studios, Milan ) Mamma 3:36 BIXIO: VERDI: La traviata: Matrix: 2BA 3335-2 Recorded 29th November 1940 Milan and London 3 Dir nur gehört mein Herz (Desiderio) 2:33 9 Ah si! da un anno … Un dì felice (Act 1) 3:51 First issued on HMV DB 3895 in Milan Recorded 8th September 1938 with Maria Caniglia, Soprano Matrix: 0BA 4186-2 Recordings in the Pro Salute Studios, Milan Recorded 5th June 1939 DE CURTIS: First issued on HMV DA 5397 Matrix: 0BA 2748-2 in Kingsway Hall, London % Maria, tu sei per me la vita 2:39 1938-1940 First issued on HMV DA 1658 Matrix: 2EA 7908-2 Recorded 22nd January 1940 BIXIO: First issued on HMV DB 3811 in the Pro Salute Studios, Milan ¡ Se vuoi goder la vita 3:00 BRAHMS: Matrix: 0BA 3647-2 Recorded 29th November 1940 4 Wiegenlied, Op. 49, No. 4 1:50 VERDI: La traviata: First issued on HMV DA 1731 in Milan MOZART Recorded 8th September 1938 0 Oh! mia Violetta … Parigi, o cara (Act 3) 4:49 Matrix: 0BA 4187-2 in the Pro Salute Studios, Milan with Maria Caniglia, soprano BUZZI-PECCIA: First issued on HMV DA 5397 Matrix: 0BA 2749-3 Recorded 5th June 1939 ^ Lolita 3:07 First issued on HMV DA 1657 in Kingsway Hall, London Recorded 22nd January 1940 PUCCINI: Manon Lescaut: GIORDANO Matrix: 2EA 7907-2 in the Pro Salute Studios, Milan ™ Che avvien? … No! Pazzo son (Act 3) 3:16 CACCINI: First issued on HMV DB 3811 Matrix: 0BA 3648-2 with Giuseppe Noto, baritone 5 Amarilli 3:30 First issued on HMV DA 1722 Recorded 30th November 1940 BIXIO Recorded 12th May 1939 MOZART: Don Giovanni: in Milan in Kingsway Hall, London ! Il mio tesoro (Act 2) 4:12 PIETRI: Maristella: Matrix: 0BA 4189-1 Matrix: 2EA 7749-2 Recorded 5th June 1939 & Io conosco un giardino (Act 1) 2:54 First issued on HMV DA 5398 First issued on HMV DB 3895 in Kingsway Hall, London Recorded 23nd January 1940 CACCINI Matrix: 2EA 7909-2 in the Pro Salute Studios, Milan VERDI: Il trovatore: MOZART: Don Giovanni: First issued on HMV DB 3809 Matrix: 0BA 3649-2 £ Di quella pira (Act 3) 2:12 6 Dalla sua pace (Act 1) 4:35 First issued on HMV DA 1731 Recorded 30th November 1940 SCHUBERT Recorded 12th May 1939 DI CHIARA: in Milan in Kingsway Hall, London @ La spagnola 2:48 VERDI: Il trovatore : Matrix: 0BA 4190-2 Matrix: 2EA 7750-2 Recorded 5th June 1939 * Se m’ami ancor … Ai nostri monti (Act 4) 4:30 First issued on HMV DA 5398 First issued on HMV DB 3809 in Kingsway Hall, London with Cloe Elmo, Mezzo-soprano TOSTI 8.110271 5 6 8.110271 110271 bk Gigli10 17/05/2005 09:14am Page 5
SCHUBERT: DE CRESCENZO: Matrix: 0EA 7910-2 Recorded 23nd January 1940 ADD 1 Ständchen 3:34 7 Notte d’amore 4:24 First issued on HMV DA 1711 in the Pro Salute Studios, Milan THE GIGLI EDITION • 10 Recorded 8th September 1938 Recorded 12th May 1939 Matrix: 2BA 3650-2 8.110271 in the Pro Salute Studios, Milan in Kingsway Hall, London DE YRADIER: First issued on HMV DB 5385 Matrix: 0BA 2746-2 Matrix: 2EA 7901-2 # La paloma 3:29 First issued on HMV DA 1657 First issued on HMV DB 3815 Recorded 17th July 1939 GIORDANO: Fedora: in the Pro Salute Studios, Milan ( Amor ti vieta (Act 2) 2:03 BIXIO: TOSTI: Matrix: 0BA 3334-2 Recorded 23nd January 1940 2 Desiderio 2:41 8 Aprile 4:02 First issued on HMV DA 1711 in the Pro Salute Studios, Milan Beniamino Recorded 8th September 1938 Recorded 12th May 1939 Matrix: 0BA 3651-2 in the Pro Salute Studios, Milan in Kingsway Hall, London DONAUDY: First issued on HMV DA 1722 Matrix: 0BA 2747-1 Matrix: 2EA 7902-2 $ O del mio amato ben 3:54 GIGLI First issued on HMV DA 1654 First issued on HMV DB 3815 Recorded 17th July 1939 BIXIO: in the Pro Salute Studios, Milan ) Mamma 3:36 BIXIO: VERDI: La traviata: Matrix: 2BA 3335-2 Recorded 29th November 1940 Milan and London 3 Dir nur gehört mein Herz (Desiderio) 2:33 9 Ah si! da un anno … Un dì felice (Act 1) 3:51 First issued on HMV DB 3895 in Milan Recorded 8th September 1938 with Maria Caniglia, Soprano Matrix: 0BA 4186-2 Recordings in the Pro Salute Studios, Milan Recorded 5th June 1939 DE CURTIS: First issued on HMV DA 5397 Matrix: 0BA 2748-2 in Kingsway Hall, London % Maria, tu sei per me la vita 2:39 1938-1940 First issued on HMV DA 1658 Matrix: 2EA 7908-2 Recorded 22nd January 1940 BIXIO: First issued on HMV DB 3811 in the Pro Salute Studios, Milan ¡ Se vuoi goder la vita 3:00 BRAHMS: Matrix: 0BA 3647-2 Recorded 29th November 1940 4 Wiegenlied, Op. 49, No. 4 1:50 VERDI: La traviata: First issued on HMV DA 1731 in Milan MOZART Recorded 8th September 1938 0 Oh! mia Violetta … Parigi, o cara (Act 3) 4:49 Matrix: 0BA 4187-2 in the Pro Salute Studios, Milan with Maria Caniglia, soprano BUZZI-PECCIA: First issued on HMV DA 5397 Matrix: 0BA 2749-3 Recorded 5th June 1939 ^ Lolita 3:07 First issued on HMV DA 1657 in Kingsway Hall, London Recorded 22nd January 1940 PUCCINI: Manon Lescaut: GIORDANO Matrix: 2EA 7907-2 in the Pro Salute Studios, Milan ™ Che avvien? … No! Pazzo son (Act 3) 3:16 CACCINI: First issued on HMV DB 3811 Matrix: 0BA 3648-2 with Giuseppe Noto, baritone 5 Amarilli 3:30 First issued on HMV DA 1722 Recorded 30th November 1940 BIXIO Recorded 12th May 1939 MOZART: Don Giovanni: in Milan in Kingsway Hall, London ! Il mio tesoro (Act 2) 4:12 PIETRI: Maristella: Matrix: 0BA 4189-1 Matrix: 2EA 7749-2 Recorded 5th June 1939 & Io conosco un giardino (Act 1) 2:54 First issued on HMV DA 5398 First issued on HMV DB 3895 in Kingsway Hall, London Recorded 23nd January 1940 CACCINI Matrix: 2EA 7909-2 in the Pro Salute Studios, Milan VERDI: Il trovatore: MOZART: Don Giovanni: First issued on HMV DB 3809 Matrix: 0BA 3649-2 £ Di quella pira (Act 3) 2:12 6 Dalla sua pace (Act 1) 4:35 First issued on HMV DA 1731 Recorded 30th November 1940 SCHUBERT Recorded 12th May 1939 DI CHIARA: in Milan in Kingsway Hall, London @ La spagnola 2:48 VERDI: Il trovatore : Matrix: 0BA 4190-2 Matrix: 2EA 7750-2 Recorded 5th June 1939 * Se m’ami ancor … Ai nostri monti (Act 4) 4:30 First issued on HMV DA 5398 First issued on HMV DB 3809 in Kingsway Hall, London with Cloe Elmo, Mezzo-soprano TOSTI 8.110271 5 6 8.110271 K Y M C
NAXOS Historical GIGLI EDITION Vol. 10: Milan and London Recordings 8.110271 . Aprile ime , by the T 77:29 Playing Playing Io conosco un Maristella ) that I promptly added to ) that I promptly ecordings not issued as part of ecordings not ecording released at the time, as ecording released Also included is an aria from a little from Also included is an aria known opera, well as every published alternative well as every wherevertake and, this The sides on available, unpublished takes. in the order presented disc are in This tenth recorded. which they were most some of Gigli’s volume features of Italian winning performances projected, song, notably his warmly Tosti’s intimate account of complete opera sets. The aim of the sets. complete opera include every Gigli series is to r This volume is the tenth in a series tenth in a is the This volume Beniamino Gigli’s devoted to ‘singles’aria - his song and r contemporary composer Giuseppe in Pietri, which Gigli performed the rôle to 1940. Gigli himself found full of be ‘congenial to my voice, and with beautiful melodic phrases one lovely aria ( giardino my concert repertory’. Beniamino Gigli Beniamino The Gigli Edition, Vol. 10 Vol. Edition, Gigli The Che avvien?… No! Pazzo son Dalla sua pace Dalla sua pace Il mio tesoro Amor ti vieta Se m’ami ancor… Ai nostri monti Ai nostri Se m’ami ancor… Milan and London Recordings 1938-1940 Recordings and London Milan Di quella pira Oh! mia Violetta… Parigi, o cara Parigi, Violetta… Oh! mia Ah si! da un anno… Un dì felice Ah si! da un anno… Un Io conosco un giardino Notte d’amore Notte d’amore Lolita La paloma La spagnola Maria, tu sei per me la vita Ständchen iegenlied, Op. 49, No. 4 iegenlied, Op. O del mio amato ben W Amarilli Aprile Mamma Se vuoi goder vita la Desiderio Dir nur Herz [Desiderio] gehört mein ADD STI: 8.110271 DE YRADIER: DONAUDY: DE CURTIS: BUZZI-PECCIA: PIETRI: Maristella: : VERDI: Il trovatore GIORDANO: Fedora: BIXIO: BIXIO: PUCCINI: Manon Lescaut: VERDI: Il trovatore: SCHUBERT: SCHUBERT: BIXIO: BIXIO: BRAHMS: CACCINI: Don Giovanni: MOZART: DE CRESCENZO: TO VERDI: La traviata: VERDI: La traviata: Don Giovanni: MOZART: DI CHIARA: complete track list can be found in the booklet Producer and Audio Restoration Engineer: Mark Obert-Thorn Audio Producer and Holdridge and Mark Ricaldone Special thanks to Lawrence F. Previously released on Romophone A in the opera Cover image: Beniamino Gigli in the rôle of Giovanni Raida MARISTELLA by Giuseppe Pietri. Gigli) (from the Mark Ricaldone photographic collection of Beniamino www.naxos.com # $ % ^ & * ( ) ¡ ™ £ 1 2 3 4 5 6 7 8 9 0 ! @
All rights in this sound recording, artwork, texts and translations reserved. Unauthorised public performance,
broadcasting and copying of this compact disc prohibited. & 2005 Naxos Rights International Ltd.
THE EU MADE IN
AXOS Historical AXOS N 8.110271 GIGLI EDITION Vol. 10: Milan and London Recordings London and Milan 10: Vol. EDITION GIGLI 110271 rr Gigli10 EU 13/05/2005 09:58am Page 1 09:58am 13/05/2005 EU rr Gigli10 110271