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MASCAGNI Overload Distortion 111025 bk CavalleriaEU 28/10/05 13:29 Page 8 Producer’s Note Cavalleria was Callas’s third opera recording for EMI, and only her second with the La Scala forces. It shares a number of sonic shortcomings with her recording of I Puritani which immediately preceded it, particularly MASCAGNI overload distortion. The original engineering (uncredited, but probably by the same Italian staff responsible for Puritani working in the same venue) imparts a harsh, unpleasant tone to the voices, a fault which cannot entirely be mitigated in remastering. Some portions, like the Turiddu/Santuzza duet, were so badly recorded that it is a Cavalleria Rusticana wonder the set was passed for issue. Just a month later, EMI’s British engineering team was able to achieve markedly superior results in Callas’s classic Tosca recording. IA CAL Mark Obert-Thorn AR LA M S Mark Obert-Thorn Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of 195 ing specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been 3 Record nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. He has found a way to combine all three in the transfer of historical recordings. Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike those who apply significant additions and make major changes to the acoustical qualities of old recordings. His philosophy is that a good transfer should not call attention to itself, but rather allow the performances to be heard Maria Callas • Giuseppe Di Stefano with the greatest clarity. There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and Rolando Panerai piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and Chorus and Orchestra of La Scala, Milan consistently achieves better results than restoration engineers working with the metal parts from the archives of the modern corporate owners of the original recordings. His transfers preserve the original tone of the old recordings, Tullio Serafin maximising the details in critical upper mid-range and lower frequencies to achieve a musical integrity that is absent from many other commercially released restorations. 8.111025 8 111025 bk CavalleriaEU 28/10/05 13:29 Page 2 surprised to see Santuzza waiting for him and unwilling inn. Men greet each other, and the women do the same, to talk to her. Santuzza asks him where he has been and ready to enjoy a day of rest from work. Lola and he tells her he has been to Francoforte, but she accuses Turiddu come out of the church together. He asks her him of lying, since Alfio saw him near his own house not to go away without a greeting, but she tells him that Great Opera Recordings early in the morning. Santuzza pleads with him, since she is going home to find her husband. He calls to his Lola has lured him away from her with her scheming. fellow villagers to join him in drinking, and they all He tells her that her jealousy is groundless, but she gather outside the inn. Pietro insists that, whatever happens, she will love him. $ Turiddu sings a drinking-song and toasts Lola and MASCAGNI 9 They break off, as Lola’s voice is heard, singing a her admirers, as they all join together in celebration, (1863 – 1945) little song in praise of an iris, more beautiful than the finally interrupted by the arrival of Alfio. angels in heaven. She comes into the square and suddenly stops, asking Turiddu if he has seen Alfio and % Alfio greets the company and Turiddu invites him Cavalleria Rusticana if he and Santuzza are having a service of their own in to join them, but Alfio refuses the proffered beaker, the square. Santuzza tells her, pointedly, that God sees which would be poison to him. Turiddu empties the Melodrama in One Act everything and only those free from sin should go to beaker on the ground, while Lola is persuaded by the Libretto by G. Targioni-Tozzetti and G. Menasci Mass. Lola is confident of her fitness and leaves other women to leave the men alone, and they go. Based on a short story by Giovanni Verga Santuzza and Turiddu alone again. Turiddu asks if Alfio has anything to say to him, but Alfio says there is nothing to say. Turiddu awaits Santuzza . Maria Callas (soprano) 0 Turiddu is angry, but Santuzza continues to plead Alfio’s invitation, and Alfio suggests an immediate Turiddu . Giuseppe Di Stefano (tenor) with him, begging him not to abandon her. He will not meeting. They embrace and Turiddu bites Alfio’s right Alfio . Rolando Panerai (baritone) listen and declares he will never forgive her. She ear, a sign that the challenge is accepted. Turiddu, Mamma Lucia . Anna Maria Canali (mezzo-soprano) threatens him and in fury he throws her down to the however, has regrets, for if he dies, Santuzza will be left Lola . Ebe Ticozzi (contralto) ground and goes into the church. Santuzza curses him in alone, but he will triumph. Alfio cuts short his talk and her anguish. tells him that he will wait for him behind the orchard. Chorus and Orchestra of Teatro alla Scala, Mila Vittore Veneziani, Chorus master ! She is joined by Alfio, happily unaware of the ^ Turiddu calls to his mother and when she comes Tullio Serafin situation. Santuzza tells him that Mass is nearly over out, he tells her that he has drunk too much and will take and that Lola is in the church with Turiddu. She goes on a walk in the open air. First, though, he seeks her Recorded 16th – 25th June and 3rd – 4th August, 1953 in the Basilica di Santa Eufemia, Milan to reveal that, while he has been working, Lola has been blessing and asks her, if he should not return, to look First issued on Columbia 33CX 1182 and 1183 with Turiddu, who had betrayed her. Alfio threatens after Santuzza, as if she were her own daughter. Lucia her, if she is lying, but Santuzza assures him that she is asks him what he means, but he makes his drinking the Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn telling the truth. Alfio swears to be revenged, his love excuse, still seeking her prayers and a kiss, before he for Lola turned to hate. As they go out, Santuzza goes. He runs out, and Lucia calls after him. Santuzza continues to express remorse for what she has done, enters, to be embraced by Mamma Lucia. She is while Alfio seeks vengeance. followed by villagers, anxious and agitated, until a cry is heard from the distance, announcing the death of @ The orchestral Intermezzo summarises what has Turiddu. Women come in, in fear, while Santuzza gone before and suggests what is to come. swoons and Lucia also faints, supported by the other women, as the curtain falls. # The people leave the church and Lucia goes into her Keith Anderson 8.111025 27 8.111025 111025 bk CavalleriaEU 28/10/05 13:29 Page 6 conventional and unconventional operas as well as HMV (1939) Verdi Requiem as well as both EMI 1 Introduction 2:35 9 Fior di giaggiolo 3:11 introducing a variety of new works and worked with [Columbia/Angel] Normas [1954 and 1960] with (Orchestra) (Lola, Turiddu, Santuzza) numerous famous singers, including Battistini, Callas. Chaliapin, Ponselle, Gigli, Callas and Sutherland. His Michael Scott 2 O Lola 6:03 0 Ah! lo vedi … No, no Turiddu 6:03 recording career was exhaustive and embraced the is the author of Maria Meneghini Callas (Turiddu) (Turiddu, Santuzza) 3 Gli aranci olezzano 8:34 ! Oh! Il Signore vi manda 5:25 (Women, Men) (Santuzza, Alfio) Synopsis carriage bells, as Alfio, the village carter, appears, happily praising his work, and joined now by a group of 4 Dite, mamma Lucia 4:37 @ Intermezzo 3:56 1 The Prelude presents three melodies that have later men who echo his sentiments. He goes on to celebrate (Santuzza, Lucia) (Orchestra) importance in the opera. After the opening, suggesting the beauty of his faithful wife, Lola, who loves him and the church, themes associated with Santuzza’s pleas to is faithful to him. The women enter, joining in Alfio’s 5 Il cavallo scalpita 4:04 # A casa, a casa 2:38 Turiddu are heard. joyful song. (Alfio, Chorus, Lucia, Santuzza) (Men, Women, Turiddu, Lola) 2 The introduction to the opera continues with the 6 The people disperse, some going into the church 6 Regina coeli, laetare 6:50 $ Intanto amici, qua 3:02 sound of Turiddu, with a harp accompaniment, daring and others leaving in different directions. Mamma (Chorus, Santuzza) (Turiddu, Lola, Chorus) to sing of his love for Lola, even if it brings his death. Lucia compliments Alfio on his happy temperament. He asks her if she has yet received the wine she was 7 Perchè m’hai fatto … Voi lo sapete 6:14 % A voi tutti salute! 5:09 3 The curtain rises to reveal a village square in Sicily. expecting, and she tells him that Turiddu has not yet (Lucia, Santuzza) (Alfio, Chorus, Turiddu, Lola, Women) To the right, in the background, is a church, and to the returned. Alfio, however, had seen Turiddu early in the left the inn and house of Mamma Lucia. It is Easter morning in the village, near his own house. Santuzza 8 Tu qui, Santuzza? 3:44 ^ Mamma, mamma! Quel vino è generoso 5:43 morning and the church bells are heard.
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