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Great Opera Recordings ADD 8.110273-74 Also available: 2 CDs BOITO Mefistofele
Nazzareno de Angelis Mafalda Favero Antonio Melandri Giannina Arangi-Lombardi
Chorus and Orchestra of La Scala, Milan 8.110117-18 Lorenzo Molajoli
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Ward Marston Great Opera Recordings In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him Arrigo ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also BOITO served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov (1842-1918) recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. Mefistofele In the past, Ward Marston has produced records for a number of major and specialist record companies. Now he Opera in 4 Acts and a Prologue is bringing his distinctive sonic vision to bear on works released on the Naxos Historical label. Ultimately his goal is to make the music he remasters sound as natural as possible and true to life by ‘lifting the voices’ off his old 78 rpm recordings. His aim is to promote the importance of preserving old recordings and make available the works of great Margherita ...... Mafalda Favero musicians who need to be heard. Elena ...... Giannina Arangi-Lombardi Faust ...... Antonio Melandri Mefistofele ...... Nazzareno de Angelis Pantalis ...... Rita Monticone Wagner ...... Giuseppe Nessi Nereo ...... Emilio Venturini Marta ...... Ida Mannarini
Chorus and Orchestra of La Scala, Milan Orchestra conducted by Lorenzo Molajoli Chorus conducted by Vittore Veneziani
Recorded in Milan by Italian Columbia on 34 sides 19th November - 27th December 1931
Matrices: WBX 1130/1163 Catalogue: GQX 10619/10635 The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best 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 in the field of historical recordings.
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Producer’s Note CD 1 78:53 Scene 2: The Pact
This recording of Boito’s Mefistofele, the only one to appear during the 78rpm era, was originally released by Prologue in Heaven 23:27 ! Dai campi, dai prati 4:31 Italian Columbia in 1932 and three years later by Columbia’s American counterpart. I began to work on this project Faust, Mefistofele using three sets of Italian pressings and four sets pressed in America which I carefully compared. I soon found that 1 Prelude 4:53 although the American discs played with less surface noise than those pressed in Italy, the sound was so distorted Orchestra @ Son lo Spirito che nega sempre tutto 3:29 as to render them totally useless. Apparently, the American sets were all pressed from defective metal stampers. Mefistofele This defect also mars the American Columbia pressings of Il trovatore and Andrea Chenier. This transfer had to 2 Ave, Signor degli angeli 3:23 be made, therefore, exclusively from the somewhat noisier Italian Columbia pressings. The original recording was Falangi celesti # Strano figlio del Caos 0:57 made in a studio with no acoustic ambiance. Therefore, I have taken the liberty of adding a slight amount of Faust, Mefistofele artificial digital reverberation in order to give the voices a sense of space and to soften the effects of the often too 3 Ave, Signor 3:57 close microphone placement. I have, likewise, added reverberation to the group of De Angelis solo recordings at Mefistofele $ Se tu mi doni un’ora di riposo 1:03 the end of CD two. Faust, Mefistofele 4 T’è noto Faust? 3:19 Ward Marston Chorus mysticus, Mefistofele, Falangi celesti % Fin da stanotte 2:32 Faust, Mefistofele 5 Siam nimbi volanti dai limbi 2:05 Cherubini, Mefistofele Act 2 29:24
6 Salve, Regina! 5:51 Scene 1: The Garden Le Penitenti, Cherubini, Falangi celesti ^ Cavaliero illustre e saggio 4:43 Act 1 26:02 Margherita, Faust, Mefistofele, Marta
Scene 1: Sunday & Dimmi se credi, Enrico, nella religione? 4:16 Margherita, Faust 7 Perché di là? 3:46 Chorus * Dio clemente, nuova, ignara son del mondo 1:40 Margherita, Faust, Marta, Mefistofele 8 Al soave raggiar 1:52 Faust, Wagner Scene 2: Walpurgis Night
9 Juhé! Juhé! Juheisa! Juhé! 2:41 ( Su, cammina, cammina, cammina 2:49 Chorus Mefistofele, Chorus
0 Sediam sovra quel sasso 5:11 ) Folleto!...Folletto! 4:48 Faust, Wagner, Chorus Faust, Mefistofele, Streghe, Stregoni
¡ Popoli! E scettro e clamide 2:23 Mefistofele, Streghe, Stregoni
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™ Ecco il mondo, vuoto e tondo 3:14 0 Forma ideal purissima della bellezza eterna 7:35 5 She prepares to meet her death, praying to Heaven Epilogue Mefistofele, Streghe, Stregoni Faust, Elena, Mefistofele, Pantalis, Nereo, Coretidi and the angels, and rejecting Faust, who leaves with Mephistopheles, while the executioner approaches. The Death of Faust £ Stupor! Stupor! 5:29 Epilogue: The Death of Faust 12:10 Faust, Mefistofele, Streghe, Stregoni Act IV ! The scene is again Faust’s study, now marked by ! Cammina, cammina…superbo pensier 4:11 the passing of time. There are voices in the air, as Faust CD 2 75:04 Mefistofele, Faust The Night of the Classical Sabbath meditates, sitting in his chair. Behind him stands Mephistopheles. It is night and the book stands, as Act 3: The Death of Margherita 18:15 @ Giunto sul passo estremo 3:33 6 The scene is set in the vale of Tempe. There are before, on the lectern. Mephistopheles urges Faust on Mefistofele, Faust limpid streams and thickets of laurel and oleander, lit by his journey, as death draws near. Faust has experienced 1 L’altra notte in fondo al mare 7:20 the light of the moon. Helen and Pantalis call on the real and ideal love, but the real was sorrow and the ideal Margherita, Faust, Mefistofele # All’erta! All’erta! 4:26 sirens and nymphs to sing to them. Faust calls out to a mere dream. Mefistofele, Faust, Falangi celesti, Cherubini Helen. 2 Dio di pietà! Son essi…eccoli…aita! 3:47 @ He wishes only for the good of humanity, the Margherita, Faust Appendix: 7 Mephistopheles declares this the night of the happiness of mankind, and Heaven, as he journeys Selected Arias Sung by Nazzareno De Angelis classical Sabbath. Faust, entranced, goes out, while towards life’s end. 3 Lontano, lontano, lontano 2:16 Mephistopheles too seems under the spell of the place, Margherita, Faust $ ROSSINI: Barbiere di Siviglia: La calunnia 3:53 so unlike his familiar Harz mountains, with their # Mephistopheles seeks to exert his power, but Faust Rec. 5th November 1927 witches. seems to hear the celestial choir. The tempter does his 4 Sorge il dì! 1:48 mat.wbx 190; cat. English Columbia D 18042 utmost, but Faust falls, leaning on the sacred volume Mefistofele, Margherita, Faust 8 He leaves, as dancers enter, praising Helen. before him, as the heavenly vision appears to him. % ROSSINI: Mosè: Invocazione 4:29 Mephistopheles finally sinks down, under the flowers 5 Spunta…l’aurora pallida… 3:05 Rec. 4th October 1929 9 Helen, however, recalls the horrors of the fall of scattered by the celestial beings, as Heaven finally Margherita, Faust, Mefistofele, Falangi celesti mat. wbx 662; cat. English Columbia GQX 10207 Troy. Faust enters, dressed as a knight of the fifteenth prevails. century. He kneels to Helen, protesting his love, Act 4: The Night of the Classical Sabbath 20:52 ^ VERDI: Nabucco: Sperate o figli 3:48 observed by fauns and sirens, and by Mephistopheles, Rec. 1st October 1928 in some wonder at the sight. Keith Anderson 6 La luna immobile innonda 3:27 mat. wbx 334; cat. English Columbia D 18059 Elena, Pantalis, Faust & VERDI: Nabucco: Tu sul labbro dei veggenti 4:20 7 Ecco la notte del classico Sabba 2:29 Rec. 2nd October 1928 Mefistofele, Faust mat. wbx 341; cat. English Columbia D 18059
8 Ah! Trionfi ad Elena 2:50 * VERDI: Don Carlo: Ella giammai m’amò 7:16 Coretidi Rec. 7th and 8th November 1927 mats. wbx 193-194; cat. English Columbia L2071 9 Notte cupa, truce, senza fine, funebre! 4:31 Elena, Coretidi Thanks to: Michael Gray, Lawrence Holdridge, R. Peter Munves, Norbeck, Peters & Ford
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Act II world, in all its wickedness, laughing at the human Arrigo BOITO (1842-1918) predicament. He dashes the glass orb to the ground, and Meifstofele Scene 1: The Garden the witches celebrate the shattering of the world. When the introduction of electrical recording in Europe other Italian opera houses, so the work was in no way ^ Faust, now under the name of Enrico, Margherita, £ Faust seems to see a girl, pale and in chains, his began in the latter half of 1925 the Columbia unfamiliar. Nevertheless to record such an opera, Mephistopheles and Martha walk in couples in a Margherita. Mephistopheles tells him it is only a dream, Graphophone Company started a big push to make new especially the very dramatic Prologue must have country garden. Margherita asks Faust to tell her why he but Faust still sees her tears and the mark on her neck. recordings with this system. They began recording in presented great problems from the technical point of loves her, while Mephistopheles makes overtures to The witches continue their celebration in a round dance Italy in March 1926 with the new Westrex electrical view. The venue regularly used by Columbia was Martha. and fugue. system and adopted the prefixes WBX for 12-inch and situated in Via San Antonio. An internal EMI report, WB for 10-inch matrices. Virtually all of the early dated November 1931, stated “the room has proved far & Margherita asks Faust if he believes in religion. CD 2 recordings were devoted to singers then appearing in from satisfactory as it is too small, and the acoustics are Faust’s reply stresses his love for her. He gives her a Milan, principally at the city’s world famous opera bad”. Its use was discontinued after March 1932. phial, a sleeping draught for her mother, so that they Act III house, the Teatro alla Scala. However, by the latter part may be together in secret. of 1928 the British-owned company felt confident to The protagonist in the title rôle was the bass The Death of Margherita undertake the recording of complete operas. The first Nazzareno de Angelis, who was born in Rome in 1881 * The two couples, Martha and Mephistopheles in a three were Verdi’s La Traviata, Aida and Puccini’s and died there in 1962. As a boy he had sung in the whisper, express their supposed feelings, and all is of 1 The scene is a prison. Margherita is lying on a heap La Bohème, all made during November of that year. The Choir of the Sistine Chapel in Rome. His début took love, as the scene ends. of straw, distracted and singing. It is night and there is a initial artistic and commercial success of this enterprise place in 1903 and his career continued until 1939 when lighted lamp against the wall. At the back is a grating. was such that it was decided to continue the series of he retired. He was one of the most distinguished Italian Scene 2: Walpurgis Night She sings of the drowning of her baby, which they say popular operas over the coming years. The world basses of his era and was particularly admired for his was her doing. Her soul seems to fly, as she calls for economic situation following the Wall Street crash in portrayal of Mefistofele, a rôle he sang over five ( The scene is a wild and lonely place in the valley of pity. Her mother had died, and she was accused of 1929, however, brought about a dramatic downturn in hundred times between 1906 and 1938. He had a the Schirk, by the hill of the witches. The moon is killing her. Faust, outside, asks Mephistopheles to save the fortunes of the recording industry. One result of this repertoire of 57 rôles and made over 1500 appearances. rising. On one side is a cavern, and on the other the peak her, and the latter, with some reluctance, gives him the was the amalgamation of both the Columbia and Other than singing in Chicago during the years 1910-11 of Rosstrappe is seen. The wind blows, as key. Gramophone companies in April 1931 to form Electric and 1915-20, de Angelis’s career was based in Europe. Mephistopheles helps Faust to climb ever higher up the and Musical Industries, now known as EMI Recorded He was also admired as Rossini’s Mosè and in the devil’s mountain. 2 Faust enters the prison, and Margherita calls on him Music. principal Verdi and Wagner rôles. His recording of to help her, remembering, in her delusion, their first Naturally existing commitments had to be Mefistofele was his sole complete recording, although ) Flames appear and one of them seems to lead them meetings. She tells him that she has murdered her honoured, either by making the agreed recordings or by he recorded a considerable number of arias for both on, guiding them ever higher. They reach a peak and mother and drowned her baby, and he must dig graves paying off the artists from their contracts. Happily the Fonotipia and Columbia. hear the sound of witches approaching from below. for them and for her. He urges her to fly with him. demand for Italian opera remained relatively buoyant, Antonio Melandri (1891-?) was born in Bologna They draw near and Mephistopheles calls on them to so that the Italian branch of Columbia recorded and first studied oboe at the city’s conservatorio. bow down before their king. 3 They embrace, imagining the distant haven to Puccini’s Manon Lescaut, Giordano’s Fedora (in Discovering his voice in his late twenties, he made his which they will escape together. abbreviated form), Ponchielli’s La Gioconda and début in Novara in 1924. Melandri’s Scala début was as ¡ He calls impatiently for his sceptre and robe, and, Boito’s Mefistofele during 1931. Then, during 1932, Calaf in Puccini’s Turandot in 1926 and the following donning the latter, proclaims his ambition to dominate 4 Mephistopheles appears, announcing the dawn and Verdi’s Falstaff and Bizet’s Carmen would be made. year he sang in Buenos Aires. In addition to the world. The witches circle round a cauldron and offer her coming execution. Margherita recognises Satan and After this the series came to an end. appearances in Holland in 1937-38, Melandri also sang Mephistopheles what he wants. prays to be saved from him. Mephistopheles moves to Mefistofele had been performed at La Scala during in Germany, Belgium, and Switzerland and throughout look at the grating, while Margherita lies fainting in the the 1923-24, 1924-25 and 1927-28 seasons on eight Italy. His other recordings included Cavalleria ™ In the Ballad of the World Mephistopheles, holding arms of Faust. occasions each year but did not re-appear until 1934-35. Rusticana and abridged versions of Ernani and Fedora. a glass orb in his hand, sings of his power over the The opera was presented fairly regularly, however, in 8.110273-74 8 5 8.110273-74 110273-74 bk Boito EC 02/06/2003 09:04 Page 6
The soprano Mafalda Favero (1903-1981) studied Nessi sang at La Scala from 1921 for 38 years, creating Synopsis 8 Faust and Wagner observe the scene. Wagner has in Bologna and made her début at Cremona in 1926 there the rôle of Pong in Turandot in 1926 and Gobrias reservations about what he sees, walking with his under the name of Maria Bianchi. Her second début in Boito’s Nerone. He appeared at Covent Garden in the CD 1 master. using the name Favero was as Liù in Turandot in Parma 1927-29, 1931 and 1937 seasons, returning with La the following year. Success was swift so that she Scala Company in 1950. Nessi’s farewell performance Prologue in Heaven 9 A crowd of peasants dance in celebration of the appeared at La Scala in 1928, remaining there until was as Pinellio in Gianni Schicchi in 1959 in his festival. 1943 and returning once again during the years 1946- seventieth year. He was a fine actor with considerable 1 In the Prelude trumpets are heard off-stage. 50. Favero sang the rôles of Liù, Norina in stage personality. 0 Dusk draws on, and Faust suggests that they sit and Don Pasquale and Zerlina in Don Giovanni at Covent 2 An invisible mystical chorus of angels is heard, admire the scene. For Wagner evening is a time for Garden in the 1937 and 1939 seasons. Her American Emilio Venturini (1878-1952) was another lyric through the clouds and mist. ghosts. The grey friar is seen again and turns towards début was in 1938 in San Francisco, with two tenor who changed to comprimario parts after his début Faust, approaching and seeming to leave a track of fire, performances of Mimì in La Bohème at the in 1900. After appearances in Paris (1905), Covent 3 Mephistopheles is seen, addressing the angels, as he circles round. They go out, followed by the friar, Metropolitan in New York. Considered an attractive Garden (1907), and Chicago (1910-17) he joined excusing his appearance and declaring the folly of while the distant sound of the celebration is heard. singer with a vibrant and appealing style, Favero was La Scala in 1921, remaining until 1948. Like Giuseppe mankind. greatly admired as Manon, Thaïs, Adriana Lecouvreur Nessi he was also a fine actor with a keen knowledge of Scene 2: The Pact and Zazà. She also took part in the premières of singing and singers. 4 In a dramatic interlude the angels ask if he knows Il Campiello (1936) and La dama boba (1939), both by Faust. Mephistopheles certainly is aware of Faust’s ! The scene is Faust’s study. Distant voices are heard, Wolf-Ferrari. The facts surrounding the career of the conductor insatiable search for knowledge and proposes a wager as Faust comes in, followed by the friar, who hides in Lorenzo Molajoli are obscure. He was born in Rome in that he can lure him into his power. the study alcove. Faust sees good in his love for Giannina Arangi-Lombardi (1891-1951) studied 1868 and studied there at the Accademia di Santa mankind, intending meditation on sacred texts. He puts in her native Naples before first appearing as a mezzo- Cecilia. His career began in 1891 and it would appear 5 A chorus of cherubims sings a vocal scherzo, flying a book on the lectern, but is interrupted by a loud cry, as soprano. The singer’s first appearance as a soprano took that much of his career prior to the First World War was in joy to Heaven, but dreaded by Mephistopheles. the friar comes out of the alcove, greeted by Faust. The place at La Scala in 1924 where she would perform spent in both North and South America, South Africa friar throws off his disguise, revealing himself as regularly until 1930. Her rôles there included Santuzza, and various provincial Italian opera houses. Claims 6 In a final psalm a chorus of penitents sings a Salve Mephistopheles, dressed as a knight and carrying a Aida, La Gioconda, Leonora in Il Trovatore and Donna have been made that Molajoli conducted at La Scala in Regina and Ave Maria, unseen and joined in song by the black cloak. Faust seeks to know the identity of his Anna in Don Giovanni, the last also sung at the the inter-war years but there is no published cherubim. visitor. Salzburg Festival in 1935. Her sole American season documentation to substantiate this assumption. What was in Buenos Aires in 1926. Although Arangi- can be established is that he served with considerable Act I @ Mephistopheles declares himself the spirit that Lombardi possessed a large and beautiful voice, it was distinction as the house conductor in Milan for denies everything, his aim universal ruin. thought that she lacked dramatic fire in her singing. Columbia, accompanying a large number of singers in Scene 1: Easter Sunday After retiring she taught first in Milan (1938-47) and addition to making recordings of a number of operatic # Faust sees him as the son of Chaos, and then in Ankara until shortly before her death. overtures. Molajoli conducted twenty complete or 7 The scene opens by the city gates and ramparts of Mephistopheles proposes a bargain: he will serve Faust abridged operas for Columbia between 1928 and 1932, Frankfurt. Bells ring out for Easter. Students, citizens in every way, until their positions are reversed below. Giuseppe Nessi (1889-1961) studied at the a number of which have already been released on and huntsmen take their ways, girls pass by, singing. Bergamo Conservatorio before making his début at Naxos. He died in Milan on 4th April 1939. Town criers appear with a proclamation, heralded by $ Faust consents, in return for one hour in which he Saluzzo in 1910. After a short career as a lyric tenor, he trumpets, while on the other side a quack-doctor is seen. may satisfy his desire by seizing the fleeting moment. began to specialise in comprimario rôles and became Men gather round a beer-seller, while a grey friar passes Now Mephistopheles promises to obey. one of the leading Italian exponents of his generation. Malcolm Walker by. There is a procession of knights, led by the Elector, followed by his court ladies, pages and attendants. % Mephistopheles will lead Faust on his new course that very night.
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The soprano Mafalda Favero (1903-1981) studied Nessi sang at La Scala from 1921 for 38 years, creating Synopsis 8 Faust and Wagner observe the scene. Wagner has in Bologna and made her début at Cremona in 1926 there the rôle of Pong in Turandot in 1926 and Gobrias reservations about what he sees, walking with his under the name of Maria Bianchi. Her second début in Boito’s Nerone. He appeared at Covent Garden in the CD 1 master. using the name Favero was as Liù in Turandot in Parma 1927-29, 1931 and 1937 seasons, returning with La the following year. Success was swift so that she Scala Company in 1950. Nessi’s farewell performance Prologue in Heaven 9 A crowd of peasants dance in celebration of the appeared at La Scala in 1928, remaining there until was as Pinellio in Gianni Schicchi in 1959 in his festival. 1943 and returning once again during the years 1946- seventieth year. He was a fine actor with considerable 1 In the Prelude trumpets are heard off-stage. 50. Favero sang the rôles of Liù, Norina in stage personality. 0 Dusk draws on, and Faust suggests that they sit and Don Pasquale and Zerlina in Don Giovanni at Covent 2 An invisible mystical chorus of angels is heard, admire the scene. For Wagner evening is a time for Garden in the 1937 and 1939 seasons. Her American Emilio Venturini (1878-1952) was another lyric through the clouds and mist. ghosts. The grey friar is seen again and turns towards début was in 1938 in San Francisco, with two tenor who changed to comprimario parts after his début Faust, approaching and seeming to leave a track of fire, performances of Mimì in La Bohème at the in 1900. After appearances in Paris (1905), Covent 3 Mephistopheles is seen, addressing the angels, as he circles round. They go out, followed by the friar, Metropolitan in New York. Considered an attractive Garden (1907), and Chicago (1910-17) he joined excusing his appearance and declaring the folly of while the distant sound of the celebration is heard. singer with a vibrant and appealing style, Favero was La Scala in 1921, remaining until 1948. Like Giuseppe mankind. greatly admired as Manon, Thaïs, Adriana Lecouvreur Nessi he was also a fine actor with a keen knowledge of Scene 2: The Pact and Zazà. She also took part in the premières of singing and singers. 4 In a dramatic interlude the angels ask if he knows Il Campiello (1936) and La dama boba (1939), both by Faust. Mephistopheles certainly is aware of Faust’s ! The scene is Faust’s study. Distant voices are heard, Wolf-Ferrari. The facts surrounding the career of the conductor insatiable search for knowledge and proposes a wager as Faust comes in, followed by the friar, who hides in Lorenzo Molajoli are obscure. He was born in Rome in that he can lure him into his power. the study alcove. Faust sees good in his love for Giannina Arangi-Lombardi (1891-1951) studied 1868 and studied there at the Accademia di Santa mankind, intending meditation on sacred texts. He puts in her native Naples before first appearing as a mezzo- Cecilia. His career began in 1891 and it would appear 5 A chorus of cherubims sings a vocal scherzo, flying a book on the lectern, but is interrupted by a loud cry, as soprano. The singer’s first appearance as a soprano took that much of his career prior to the First World War was in joy to Heaven, but dreaded by Mephistopheles. the friar comes out of the alcove, greeted by Faust. The place at La Scala in 1924 where she would perform spent in both North and South America, South Africa friar throws off his disguise, revealing himself as regularly until 1930. Her rôles there included Santuzza, and various provincial Italian opera houses. Claims 6 In a final psalm a chorus of penitents sings a Salve Mephistopheles, dressed as a knight and carrying a Aida, La Gioconda, Leonora in Il Trovatore and Donna have been made that Molajoli conducted at La Scala in Regina and Ave Maria, unseen and joined in song by the black cloak. Faust seeks to know the identity of his Anna in Don Giovanni, the last also sung at the the inter-war years but there is no published cherubim. visitor. Salzburg Festival in 1935. Her sole American season documentation to substantiate this assumption. What was in Buenos Aires in 1926. Although Arangi- can be established is that he served with considerable Act I @ Mephistopheles declares himself the spirit that Lombardi possessed a large and beautiful voice, it was distinction as the house conductor in Milan for denies everything, his aim universal ruin. thought that she lacked dramatic fire in her singing. Columbia, accompanying a large number of singers in Scene 1: Easter Sunday After retiring she taught first in Milan (1938-47) and addition to making recordings of a number of operatic # Faust sees him as the son of Chaos, and then in Ankara until shortly before her death. overtures. Molajoli conducted twenty complete or 7 The scene opens by the city gates and ramparts of Mephistopheles proposes a bargain: he will serve Faust abridged operas for Columbia between 1928 and 1932, Frankfurt. Bells ring out for Easter. Students, citizens in every way, until their positions are reversed below. Giuseppe Nessi (1889-1961) studied at the a number of which have already been released on and huntsmen take their ways, girls pass by, singing. Bergamo Conservatorio before making his début at Naxos. He died in Milan on 4th April 1939. Town criers appear with a proclamation, heralded by $ Faust consents, in return for one hour in which he Saluzzo in 1910. After a short career as a lyric tenor, he trumpets, while on the other side a quack-doctor is seen. may satisfy his desire by seizing the fleeting moment. began to specialise in comprimario rôles and became Men gather round a beer-seller, while a grey friar passes Now Mephistopheles promises to obey. one of the leading Italian exponents of his generation. Malcolm Walker by. There is a procession of knights, led by the Elector, followed by his court ladies, pages and attendants. % Mephistopheles will lead Faust on his new course that very night.
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Act II world, in all its wickedness, laughing at the human Arrigo BOITO (1842-1918) predicament. He dashes the glass orb to the ground, and Meifstofele Scene 1: The Garden the witches celebrate the shattering of the world. When the introduction of electrical recording in Europe other Italian opera houses, so the work was in no way ^ Faust, now under the name of Enrico, Margherita, £ Faust seems to see a girl, pale and in chains, his began in the latter half of 1925 the Columbia unfamiliar. Nevertheless to record such an opera, Mephistopheles and Martha walk in couples in a Margherita. Mephistopheles tells him it is only a dream, Graphophone Company started a big push to make new especially the very dramatic Prologue must have country garden. Margherita asks Faust to tell her why he but Faust still sees her tears and the mark on her neck. recordings with this system. They began recording in presented great problems from the technical point of loves her, while Mephistopheles makes overtures to The witches continue their celebration in a round dance Italy in March 1926 with the new Westrex electrical view. The venue regularly used by Columbia was Martha. and fugue. system and adopted the prefixes WBX for 12-inch and situated in Via San Antonio. An internal EMI report, WB for 10-inch matrices. Virtually all of the early dated November 1931, stated “the room has proved far & Margherita asks Faust if he believes in religion. CD 2 recordings were devoted to singers then appearing in from satisfactory as it is too small, and the acoustics are Faust’s reply stresses his love for her. He gives her a Milan, principally at the city’s world famous opera bad”. Its use was discontinued after March 1932. phial, a sleeping draught for her mother, so that they Act III house, the Teatro alla Scala. However, by the latter part may be together in secret. of 1928 the British-owned company felt confident to The protagonist in the title rôle was the bass The Death of Margherita undertake the recording of complete operas. The first Nazzareno de Angelis, who was born in Rome in 1881 * The two couples, Martha and Mephistopheles in a three were Verdi’s La Traviata, Aida and Puccini’s and died there in 1962. As a boy he had sung in the whisper, express their supposed feelings, and all is of 1 The scene is a prison. Margherita is lying on a heap La Bohème, all made during November of that year. The Choir of the Sistine Chapel in Rome. His début took love, as the scene ends. of straw, distracted and singing. It is night and there is a initial artistic and commercial success of this enterprise place in 1903 and his career continued until 1939 when lighted lamp against the wall. At the back is a grating. was such that it was decided to continue the series of he retired. He was one of the most distinguished Italian Scene 2: Walpurgis Night She sings of the drowning of her baby, which they say popular operas over the coming years. The world basses of his era and was particularly admired for his was her doing. Her soul seems to fly, as she calls for economic situation following the Wall Street crash in portrayal of Mefistofele, a rôle he sang over five ( The scene is a wild and lonely place in the valley of pity. Her mother had died, and she was accused of 1929, however, brought about a dramatic downturn in hundred times between 1906 and 1938. He had a the Schirk, by the hill of the witches. The moon is killing her. Faust, outside, asks Mephistopheles to save the fortunes of the recording industry. One result of this repertoire of 57 rôles and made over 1500 appearances. rising. On one side is a cavern, and on the other the peak her, and the latter, with some reluctance, gives him the was the amalgamation of both the Columbia and Other than singing in Chicago during the years 1910-11 of Rosstrappe is seen. The wind blows, as key. Gramophone companies in April 1931 to form Electric and 1915-20, de Angelis’s career was based in Europe. Mephistopheles helps Faust to climb ever higher up the and Musical Industries, now known as EMI Recorded He was also admired as Rossini’s Mosè and in the devil’s mountain. 2 Faust enters the prison, and Margherita calls on him Music. principal Verdi and Wagner rôles. His recording of to help her, remembering, in her delusion, their first Naturally existing commitments had to be Mefistofele was his sole complete recording, although ) Flames appear and one of them seems to lead them meetings. She tells him that she has murdered her honoured, either by making the agreed recordings or by he recorded a considerable number of arias for both on, guiding them ever higher. They reach a peak and mother and drowned her baby, and he must dig graves paying off the artists from their contracts. Happily the Fonotipia and Columbia. hear the sound of witches approaching from below. for them and for her. He urges her to fly with him. demand for Italian opera remained relatively buoyant, Antonio Melandri (1891-?) was born in Bologna They draw near and Mephistopheles calls on them to so that the Italian branch of Columbia recorded and first studied oboe at the city’s conservatorio. bow down before their king. 3 They embrace, imagining the distant haven to Puccini’s Manon Lescaut, Giordano’s Fedora (in Discovering his voice in his late twenties, he made his which they will escape together. abbreviated form), Ponchielli’s La Gioconda and début in Novara in 1924. Melandri’s Scala début was as ¡ He calls impatiently for his sceptre and robe, and, Boito’s Mefistofele during 1931. Then, during 1932, Calaf in Puccini’s Turandot in 1926 and the following donning the latter, proclaims his ambition to dominate 4 Mephistopheles appears, announcing the dawn and Verdi’s Falstaff and Bizet’s Carmen would be made. year he sang in Buenos Aires. In addition to the world. The witches circle round a cauldron and offer her coming execution. Margherita recognises Satan and After this the series came to an end. appearances in Holland in 1937-38, Melandri also sang Mephistopheles what he wants. prays to be saved from him. Mephistopheles moves to Mefistofele had been performed at La Scala during in Germany, Belgium, and Switzerland and throughout look at the grating, while Margherita lies fainting in the the 1923-24, 1924-25 and 1927-28 seasons on eight Italy. His other recordings included Cavalleria ™ In the Ballad of the World Mephistopheles, holding arms of Faust. occasions each year but did not re-appear until 1934-35. Rusticana and abridged versions of Ernani and Fedora. a glass orb in his hand, sings of his power over the The opera was presented fairly regularly, however, in 8.110273-74 8 5 8.110273-74 110273-74 bk Boito EC 02/06/2003 09:04 Page 4
™ Ecco il mondo, vuoto e tondo 3:14 0 Forma ideal purissima della bellezza eterna 7:35 5 She prepares to meet her death, praying to Heaven Epilogue Mefistofele, Streghe, Stregoni Faust, Elena, Mefistofele, Pantalis, Nereo, Coretidi and the angels, and rejecting Faust, who leaves with Mephistopheles, while the executioner approaches. The Death of Faust £ Stupor! Stupor! 5:29 Epilogue: The Death of Faust 12:10 Faust, Mefistofele, Streghe, Stregoni Act IV ! The scene is again Faust’s study, now marked by ! Cammina, cammina…superbo pensier 4:11 the passing of time. There are voices in the air, as Faust CD 2 75:04 Mefistofele, Faust The Night of the Classical Sabbath meditates, sitting in his chair. Behind him stands Mephistopheles. It is night and the book stands, as Act 3: The Death of Margherita 18:15 @ Giunto sul passo estremo 3:33 6 The scene is set in the vale of Tempe. There are before, on the lectern. Mephistopheles urges Faust on Mefistofele, Faust limpid streams and thickets of laurel and oleander, lit by his journey, as death draws near. Faust has experienced 1 L’altra notte in fondo al mare 7:20 the light of the moon. Helen and Pantalis call on the real and ideal love, but the real was sorrow and the ideal Margherita, Faust, Mefistofele # All’erta! All’erta! 4:26 sirens and nymphs to sing to them. Faust calls out to a mere dream. Mefistofele, Faust, Falangi celesti, Cherubini Helen. 2 Dio di pietà! Son essi…eccoli…aita! 3:47 @ He wishes only for the good of humanity, the Margherita, Faust Appendix: 7 Mephistopheles declares this the night of the happiness of mankind, and Heaven, as he journeys Selected Arias Sung by Nazzareno De Angelis classical Sabbath. Faust, entranced, goes out, while towards life’s end. 3 Lontano, lontano, lontano 2:16 Mephistopheles too seems under the spell of the place, Margherita, Faust $ ROSSINI: Barbiere di Siviglia: La calunnia 3:53 so unlike his familiar Harz mountains, with their # Mephistopheles seeks to exert his power, but Faust Rec. 5th November 1927 witches. seems to hear the celestial choir. The tempter does his 4 Sorge il dì! 1:48 mat.wbx 190; cat. English Columbia D 18042 utmost, but Faust falls, leaning on the sacred volume Mefistofele, Margherita, Faust 8 He leaves, as dancers enter, praising Helen. before him, as the heavenly vision appears to him. % ROSSINI: Mosè: Invocazione 4:29 Mephistopheles finally sinks down, under the flowers 5 Spunta…l’aurora pallida… 3:05 Rec. 4th October 1929 9 Helen, however, recalls the horrors of the fall of scattered by the celestial beings, as Heaven finally Margherita, Faust, Mefistofele, Falangi celesti mat. wbx 662; cat. English Columbia GQX 10207 Troy. Faust enters, dressed as a knight of the fifteenth prevails. century. He kneels to Helen, protesting his love, Act 4: The Night of the Classical Sabbath 20:52 ^ VERDI: Nabucco: Sperate o figli 3:48 observed by fauns and sirens, and by Mephistopheles, Rec. 1st October 1928 in some wonder at the sight. Keith Anderson 6 La luna immobile innonda 3:27 mat. wbx 334; cat. English Columbia D 18059 Elena, Pantalis, Faust & VERDI: Nabucco: Tu sul labbro dei veggenti 4:20 7 Ecco la notte del classico Sabba 2:29 Rec. 2nd October 1928 Mefistofele, Faust mat. wbx 341; cat. English Columbia D 18059
8 Ah! Trionfi ad Elena 2:50 * VERDI: Don Carlo: Ella giammai m’amò 7:16 Coretidi Rec. 7th and 8th November 1927 mats. wbx 193-194; cat. English Columbia L2071 9 Notte cupa, truce, senza fine, funebre! 4:31 Elena, Coretidi Thanks to: Michael Gray, Lawrence Holdridge, R. Peter Munves, Norbeck, Peters & Ford
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Producer’s Note CD 1 78:53 Scene 2: The Pact
This recording of Boito’s Mefistofele, the only one to appear during the 78rpm era, was originally released by Prologue in Heaven 23:27 ! Dai campi, dai prati 4:31 Italian Columbia in 1932 and three years later by Columbia’s American counterpart. I began to work on this project Faust, Mefistofele using three sets of Italian pressings and four sets pressed in America which I carefully compared. I soon found that 1 Prelude 4:53 although the American discs played with less surface noise than those pressed in Italy, the sound was so distorted Orchestra @ Son lo Spirito che nega sempre tutto 3:29 as to render them totally useless. Apparently, the American sets were all pressed from defective metal stampers. Mefistofele This defect also mars the American Columbia pressings of Il trovatore and Andrea Chenier. This transfer had to 2 Ave, Signor degli angeli 3:23 be made, therefore, exclusively from the somewhat noisier Italian Columbia pressings. The original recording was Falangi celesti # Strano figlio del Caos 0:57 made in a studio with no acoustic ambiance. Therefore, I have taken the liberty of adding a slight amount of Faust, Mefistofele artificial digital reverberation in order to give the voices a sense of space and to soften the effects of the often too 3 Ave, Signor 3:57 close microphone placement. I have, likewise, added reverberation to the group of De Angelis solo recordings at Mefistofele $ Se tu mi doni un’ora di riposo 1:03 the end of CD two. Faust, Mefistofele 4 T’è noto Faust? 3:19 Ward Marston Chorus mysticus, Mefistofele, Falangi celesti % Fin da stanotte 2:32 Faust, Mefistofele 5 Siam nimbi volanti dai limbi 2:05 Cherubini, Mefistofele Act 2 29:24
6 Salve, Regina! 5:51 Scene 1: The Garden Le Penitenti, Cherubini, Falangi celesti ^ Cavaliero illustre e saggio 4:43 Act 1 26:02 Margherita, Faust, Mefistofele, Marta
Scene 1: Sunday & Dimmi se credi, Enrico, nella religione? 4:16 Margherita, Faust 7 Perché di là? 3:46 Chorus * Dio clemente, nuova, ignara son del mondo 1:40 Margherita, Faust, Marta, Mefistofele 8 Al soave raggiar 1:52 Faust, Wagner Scene 2: Walpurgis Night
9 Juhé! Juhé! Juheisa! Juhé! 2:41 ( Su, cammina, cammina, cammina 2:49 Chorus Mefistofele, Chorus
0 Sediam sovra quel sasso 5:11 ) Folleto!...Folletto! 4:48 Faust, Wagner, Chorus Faust, Mefistofele, Streghe, Stregoni
¡ Popoli! E scettro e clamide 2:23 Mefistofele, Streghe, Stregoni
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Ward Marston Great Opera Recordings In 1997 Ward Marston was nominated for the Best Historical Album Grammy Award for his production work on BMG’s Fritz Kreisler collection. According to the Chicago Tribune, Marston’s name is ‘synonymous with tender loving care to collectors of historical CDs’. Opera News calls his work ‘revelatory’, and Fanfare deems him Arrigo ‘miraculous’. In 1996 Ward Marston received the Gramophone award for Historical Vocal Recording of the Year, honouring his production and engineering work on Romophone’s complete recordings of Lucrezia Bori. He also BOITO served as re-recording engineer for the Franklin Mint’s Arturo Toscanini issue and BMG’s Sergey Rachmaninov (1842-1918) recordings, both winners of the Best Historical Album Grammy. Born blind in 1952, Ward Marston has amassed tens of thousands of opera classical records over the past four decades. Following a stint in radio while a student at Williams College, he became well-known as a reissue producer in 1979, when he restored the earliest known stereo recording made by the Bell Telephone Laboratories in 1932. Mefistofele In the past, Ward Marston has produced records for a number of major and specialist record companies. Now he Opera in 4 Acts and a Prologue is bringing his distinctive sonic vision to bear on works released on the Naxos Historical label. Ultimately his goal is to make the music he remasters sound as natural as possible and true to life by ‘lifting the voices’ off his old 78 rpm recordings. His aim is to promote the importance of preserving old recordings and make available the works of great Margherita ...... Mafalda Favero musicians who need to be heard. Elena ...... Giannina Arangi-Lombardi Faust ...... Antonio Melandri Mefistofele ...... Nazzareno de Angelis Pantalis ...... Rita Monticone Wagner ...... Giuseppe Nessi Nereo ...... Emilio Venturini Marta ...... Ida Mannarini
Chorus and Orchestra of La Scala, Milan Orchestra conducted by Lorenzo Molajoli Chorus conducted by Vittore Veneziani
Recorded in Milan by Italian Columbia on 34 sides 19th November - 27th December 1931
Matrices: WBX 1130/1163 Catalogue: GQX 10619/10635 The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best 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 in the field of historical recordings.
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Great Opera Recordings ADD 8.110273-74 Also available: 2 CDs BOITO Mefistofele
Nazzareno de Angelis Mafalda Favero Antonio Melandri Giannina Arangi-Lombardi
Chorus and Orchestra of La Scala, Milan 8.110117-18 Lorenzo Molajoli
Recorded in 1931 8.110273-74 12 N
8.110273-74 Arriga ADD AXOS Historical BOITO Playing
h DISC PROHIBITED. BROADCASTING AND COPYING OF THIS COMPACT TRANSLATIONS RESERVED. UNAUTHORISED PUBLIC PERFORMANCE, RIGHTS IN THIS SOUND RECORDING, ARTWORK, TEXTS AND ALL (1842-1918)
2003 HNH International Ltd. Time Mefistofele 2:33:57 8.110273-74
Made at the end of 1931 in Milan, this Margherita ...... Mafalda Favero recording of Boito’s Mefistofele was Elena ...... Giannina Arangi-Lombardi the first complete commercial Faust ...... Antonio Melandri recording and the only one to appear during the 78rpm era. Its cast Mefistofele ...... Nazzareno de Angelis included some of the finest singers Pantalis ...... Rita Monticone then appearing at La Scala, under the baton of the renowned Lorenzo © Wagner ...... Giuseppe Nessi Molajoli, Italian Columbia’s house 2003 HNH International Ltd. Nereo ...... Emilio Venturini conductor who made twenty complete BOITO: or abridged opera recordings for the Marta ...... Ida Mannarini company. The protagonist in the title Chorus and Orchestra of La Scala, Milan • Lorenzo Molajoli rôle, Nazzareno de Angelis, was particularly admired for his Mefistofele Chorus master Vittore Veneziani portrayal of Mefistofole, a part he Recorded in Milan by Italian Columbia on 34 sides sang over five hundred times between 1906 and 1938. Not only was he Mefistofele 19th November - 27th December 1931 considered one of the leading Italian Matrices: WBX 1130/1163 basses of his generation but he Catalogue: GQX 10619/10635 possessed considerable stage
BOITO: presence. CD 1 78:53 CD 2 75:04 1-6 Prologue 23:27 1-5 Act III 18:15 7-% Act I 26:02 6-0 Act IV 20:52 ^-£ Act II 29:24 !-# Epilogue 12:10 $-* Appendix: A selection of arias 23:47 MADE IN sung by Nazzareno De Angelis E.C.
Archivist & Restoration Producer: Ward Marston 8.110273-74 Special thanks to Michael Gray, Lawrence Holdridge, R. Peter Munves, Norbeck, Peters & Ford www.naxos.com A detailed track list can be found in the booklet Cover Image: Costume design by G. Palanti for the opera Mefistofele
AXOS Historical by Boito, for a production at La Scala N The Art Archive / Museo Teatrale alla Scala Milan / Dagli Orti (A)