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

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. As the day interrupts to prevent Lucia saying more, while Alfio (Turiddu, Santuzza) (Turiddu, Lucia, Santuzza, A Woman) dawns, people gather, the church doors open and they leaves to prepare himself for church, from which voices enter. The voices of the women are heard welcoming are now heard singing the Regina coeli, while others, the orange-blossom and the coming of spring. They are outside the church, busy themselves with their own joined with those of the men, now resting from their devotions. They are joined by Santuzza and Lucia. labour in the fields. Finally those who are still outside in the square go into the church, leaving Santuzza and Lucia alone. Lucia 4 The square is now empty and Santuzza comes in, asks Santuzza why she told her to be silent. approaching the house of Mamma Lucia, calling to her to find out where her son Turiddu is. Mamma Lucia is 7 Santuzza tells Lucia of the situation, how Turiddu unwilling to tell her, but Santuzza begs her. Lucia tells was in love only with Lola, before he went to be a her that he has gone to fetch wine from Francofonte, but soldier and how, when he returned, Lola was married to Santuzza says that someone saw him in the village the Alfio. Turiddu had then turned to her for consolation night before. Lucia invites her in, but Santuzza refuses, and she returned his love. This excited Lola’s jealousy since she is an outcast, a sinner. Lucia asks if her son and she stole Turiddu’s affections, leaving Santuzza Turiddu is in any trouble, but Santuzza does not like to alone and desolate. She asks for Lucia’s prayers in her tell her what she knows. effort to persuade Turiddu to return to her.

5 The sound of the crack of a whip is heard and of 8 Lucia goes into the church, as Turiddu returns, 8.111025 63 8.111025 111025 bk CavalleriaEU 28/10/05 13:29 Page 4

Pietro Mascagni (1863-1945) and Covent Garden, London [1964], show through the Campi Bisenzio near Florence, had a long and Cavalleria rusticana years, notwithstanding declining vocal resources, how distinguished career. After completing his studies in her Tosca became increasingly more assured, an Florence and Milan, with Armani and Tess, he made his Mascagni’s Cavalleria Rusticana was the third became increasingly concerned with the production of assumption – nevertheless were these the only debut at the Comunale, Florence in 1946 as Enrico in complete opera recording for EMI [Columbia/Angel] more powerful voices and more telling chest registers. souvenirs of her we possessed, how little of her art Lucia di Lammermoor. Thereafter his progress was that Callas took part in, and the second under the aegis Noted exponents included sopranos like Giannina would have survived! There have been many great rapid and extensive: in 1947 he appeared at the San of La Scala, Milan. Sessions took place at the beginning Arangi-Lombardi [1891-1951], Giuseppina Cobelli Toscas, too many to list here, but only one Callas. Like Carlo, Naples; 1952 at La Scala, Milan; 1957 at the of August 1953 at the Basilica of Santa Euphemia, the [1898-1948], Iva Pacetti [1898-1981] and Lina Bruna Caruso and Chaliapin, whose recordings testify to their Salzburg Festival; 1958 at San Francisco and 1960 at theatre being shut in the summer. The recording was Rasa [1907-1995], and mezzos like Ebe Stignani [1903- greatness, her art had no precedent; she was not the Covent Garden, London. He sang elsewhere throughout first published in April 1954. Like others she had 1974], Giulietta Simionato [born 1910] and Fiorenza consummation of tradition, but something new and Italy, and in Austria, Germany and France. His already made, La Gioconda [Cetra], Lucia di Cossotto [born 1935]. Although there is in Callas’s different that suddenly appeared, breaking all the rules. substantial repertory included Apollo in Gluck’s Lammermoor [EMI] and Elvira in I Puritani [EMI], deployment of her registers something of their style; at Now she has been dead more than a quarter of a century Alceste, the High Priest in Samson e Dalila, Mozart’s Santuzza she sang in the theatre, although she had not the beginning, for example, as Santuzza laments to and her stage career over more than forty years, yet and Rossini’s Figaro, Masetto in Don Giovanni, done so since her Athens days before World War II, Mamma Lucia her being excommunicated, ‘sono there are more of her records available today than there Guglielmo in Così fan tutte, Paolo in Simon when she made her first appearance on stage in the rôle scomunicata’, the first six of the seven syllables are all have ever been. Boccanegra, Marcello in La Bohème, di Luna in Il at the age of fourteen in 1938. In the 1954/5 La Scala set on middle E; in these she uses chest voice, then Giuseppe Di Stefano, born in 1921 near Catania, Trovatore, Silvio, Germont in La Traviata and in 1962 Season it was announced that she would do so again, gradually, as she lightens the tone, and the tessitura rises Sicily, had a brilliant but short career. His was one of at La Scala he created the title rôle in Turchi’s Il buon under Leonard Bernstein, but in fact she did not, nor to top A, she is able to shift almost imperceptibly into the most beautiful lyric tenor voices of the last century. soldato Svejk. Later in his career, in traditional fashion, would she ever undertake it again. middle voice, and does not have to indulge in crashing He began singing light music then, following a brief he graduated from Ford to Falstaff and undertook Don Although Boito’s Mefistofele [1868] and gears and those obtrusive register breaks so beloved of period of study with the baritone Luigi Montesanto, Pasquale and Dulcamara in L’elisir d’amore. In a 1950 Ponchielli’s La Gioconda [1876] (with libretto by many Santuzzas. made his opera début in 1946 as Des Grieux in RAI broadcast he is Amfortas in Parsifal with Callas’s Boito), contain some ingredients of verismo, Cavalleria She sings the aria Voi lo sapete, in which Santuzza Massenet’s Manon at Reggio Emilia, after which his Kundry and, nearly half a century later, Germont in a rusticana, a one act work first given at the Costanzi, tells her tearful tale of how Turiddu has deserted her for rise to fame was rapid. In 1947 he appeared at La Scala, telecast of Traviata conducted by Mehta. His voice was Rome in 1890, was archetypal of the new style. A swift Lola, Alfio’s wife, in verismo style imbuing it with a Milan, also as Des Grieux, and in 1948 at the an attractive sounding but lyric instrument. For EMI moving passionate tale of betrayal and revenge it characteristic vocal plangency; but she does not forget it Metropolitan, New York, as the Duke in Rigoletto. At [Columbia/Angel] with Callas, as well as Alfio, he remained for the next century, with its twin, is the singer’s business to indulge her listeners, and not first his repertory included Fenton in Falstaff, Almaviva recorded Silvio, di Luna and Marcello. Leoncavallo’s Pagliacci [1892], one of the most herself. In so doing she renders the aria with such in Il barbiere di Siviglia, Rinuccio in Gianni Schicchi, Tullio Serafin (1878-1968), born at Rottanova di popular operas. Santuzza was created by Gemma exactitude and precision that she makes it, one could Alfredo in La traviata and Faust, but it did not take long Cavarzere, near Venice, was one of the great conductors Bellincioni [1864-1950], whose repertory in her youth say, almost classical. Towards the end of the first part before he began undertaking heavier rôles, such as of Italian opera. After studying at the Milan included Lucia and Elvira in I Puritani and later there is an impeccably attacked fortissimo high A, and Cavaradossi, Don José in Carmen, Radames in Aida, Conservatory at first he was a violinist in the orchestra Giordano’s Fedora and even Strauss’s Salome, the then the same perfection in her delivery of the piano F Canio in Pagliacci and even Alvaro in La forza del at La Scala, Milan, then in 1900 at Ferrara began a variety of which suggests she had something in sharp at the beginning of the phrase ‘Priva dell’onor destino. Sadly the great years of his career were soon career as conductor. Engagements followed in Turin common with Callas. Although photographs of her in mio’. Her effects are never at the expense of the music. over, and by 1961, trying to make more out of his voice and Rome. Through more than half a century he the Dance of the Seven Veils testify to her terpsichorean On the G, on the word ‘piango’ [I weep], she contrives than nature had put in, he made his last appearance at La appeared at Covent Garden, London (1907, 1931, 1959- skill, her voice, records leave little doubt, was nothing a lachrymose effect not by gasping or by an uneasy self- Scala. From 1944 for HMV he recorded songs and arias, 60), La Scala, Milan (1910-1914, 1917, 1918, 1940, remarkable. She was a noted dramatic soprano, but the indulgent lurch in the line, but by making an almost and from 1953 for Angel/Columbia, with Callas, 1946-7), Colón, Buenos Aires (1914, 1919, 1920, 1928, term did not then refer, as it does today, to the size of a acciacatura from the register break an octave below. Edgardo, Arturo, Cavaradossi, Turiddu in Cavalleria 1937, 1938, 1949, 1951), San Carlo, Naples (1922-3, voice, rather to her histrionic prowess. On all her records there is her musical accuracy to rusticana, Canio, the Duke, Manrico in Il trovatore, 1940-1, 1949-58), Metropolitan, New York (1924-34), In the course of time, as the verismo style became admire. Rodolfo, Riccardo in Un ballo in maschera and Des the Rome Opera (1934-43, 1962), Lyric Opera, Chicago more popular, reputable Santuzzas, with the The only surviving films of Callas, as Tosca in Act Grieux in Puccini’s Manon Lescaut. (1955, 1957-58), and numerous other opera houses in increasingly intemperate playing of the orchestra, II (at the Met, New York [1956], the Paris Opéra [1958] The baritone Rolando Panerai [b.1924], born at Italy and abroad. His repertory was vast. He conducted 8.111025 45 8.111025 111025 bk CavalleriaEU 28/10/05 13:29 Page 4

5 The sound of the crack of a whip is heard and of 8 Lucia goes into the church, as Turiddu returns, 8.111025 63 8.111025 111025 bk CavalleriaEU 28/10/05 13:29 Page 2

Producer’s Note

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 NAXOS Historical MASCAGNI: Cavalleria Rusticana 8.111025 Time 77:48 critic Philip Playing sung without Di Stefano and . oi lo sapete V The Gramophone Easter Hymn , ecourse to self-indulgent histrionics, ecourse to self-indulgent orm. When this recording was first released was first When this recording in 1954 Hope-Wallace wrote,Hope-Wallace I think “What is that in the you strikes instantly opening rather unconventional you distress Santuzza’s passage of the for music seem to be hearing the first time. Callas is an exceptional artistry…”.artist in this creative are highlights vocal Among the many the affecting r and Callas’ thrilling transformation of the Panerai lend superb support, while Serafin, of Italian one of the greatest opera conductors, is in inspirational f IntermezzoPart II 3:56 16:33 ^ - @ # Pietro (1863 – 1945) (1863 MASCAGNI Cavalleria Rusticana Cavalleria ullio Serafin T Vittore Veneziani,Vittore Chorus Master in the Basilica di Santa Eufemia, Milan ADD Chorus and Orchestra of Teatro alla Scala,Teatro Milan of Chorus and Orchestra PreludePart I 2:35 54:45 8.111025 Recorded 16th-25th June and 3rd-4th August, and 3rd-4th 16th-25th June Recorded 1953 uriddu...... Di Stefano Giuseppe ! Santuzza...... Callas Maria T Alfio...... Panerai Rolando Mamma Lucia...... Anna Maria Canali Lola ...... Ticozzi Ebe Reissue Producer and Restoration Engineer:Reissue Producer Mark Obert-Thorn photo:Cover Maria Callas, 1954 June (Gina Guandalini Collection, used with kind permission) be accessed at www.naxos.com/libretti may A libretto www.naxos.com - 1 2

All rights in this sound recording, artwork, texts and translations reserved.

Unauthorised public performance, broadcasting and copying of this compact disc prohibited. & 2006 Naxos Rights International Ltd. Made in the EU

NAXOS Historical MASCAGNI: Cavalleria Rusticana 8.111025