111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 12 VERDI Il Trovatore RIA CALL A AS Also available M 8.111278-79 8.111322-24 1 g 956 Recordin Maria Callas • Giuseppe Di Stefano • Rolando Panerai Fedora Barbieri • Nicola Zaccaria Chorus and Orchestra of La Scala, Milan Herbert von Karajan 8.111280-81 12 111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 2 Great Opera Recordings prisoner, like a breath of hope (D’amor sull’ali rosee / No. 14 Last Finale ^ Manrico asks Azucena why she Vanne). does not sleep (Madre, non dormi?), and wonders if the ! The sound of the death knell is heard. Voices within cold troubles her, but she tells him that the air chokes Giuseppe sing the Miserere (Miserere d’un alma già vicina / Alla her: soon, though, she will be free, for the mark of death partenza che non ha ritorno!), praying for mercy on those is upon her. She sees in her mind the burning fire, and VERDI about to die. Leonora exclaims on the sound of these Manrico tries to comfort her, as she falls back in his (1813-1901) prayers. The voice of Manrico is heard from the tower, arms, and he lays her gently down on her mattress. bidding his Leonora farewell, as the chant goes on. Weariness comes upon her (Sì, la stanchezza @ Leonora declares that she will never forget him (Di te! m’opprime). Il Trovatore Di te! Scordarmi di te!). & Now she dreams of her home, the hills and the ancient peace. She falls asleep, Manrico kneeling by her Libretto by Salvatore Cammarano No. 13 Scena & Duetto. # A door opens and the Count side. The door opens and Leonora comes in. after a play by Antonio Garcia Gutiérrez and some of his followers come out. Leonora steps aside. * Manrico thinks that the light deceives him (Che! Non The Count now gives orders for the execution of the son m’inganna quel fioco lume?), but Leonora assures him and his mother (Udiste? Come albeggi, / La scure al figlio that now he will be safe: he can escape, but she must Manrico . Giuseppe Di Stefano (tenor) ed alla madre il rogo!), lamenting that he cannot find stay. Manrico has no desire for life without her and asks Leonora. At this she comes forward, telling him she has Leonora . Maria Callas (soprano) her what price she has paid for his freedom. She dare come, at the last moment, to ask for mercy, but he refuses Count di Luna . Rolando Panerai (baritone) not answer and he reproaches her (Parlar non vuoi?), her. The Count starts, as he hears Leonora’s voice. understanding what she must have done. She finds his Azucena . Fedora Barbieri (mezzo-soprano) $ She throws herself in desperation at his feet, pleading reproach unjustified, urging him to escape, while Ferrando . Nicola Zaccaria (bass) with him to have mercy on her tears (Mira, di acerbe Azucena is heard again in her sleep recalling her own Inez . Luisa Villa (mezzo-soprano) lagrime), but this only increases his thirst for revenge. country. Leonora falls at Manrico’s feet. Ruiz . Renato Ercolani (tenor) Now she offers him herself, if he will only release ( Manrico tells her to go (Ti scosta!), but she begs him An Old Gypsy . Giulio Mauri (bass) Manrico. He swears that he will do so, and she pledges not to blame her, falling to the ground and telling him at A Messenger . Renato Ercolani (tenor) herself to him. The Count now calls to a guard in the last that she is dying, the force of the poison quicker tower and speaks in his ear, while Leonora takes the than she had supposed. Manrico is now remorseful. At Chorus and Orchestra of La Scala, Milan poison secreted in her ring: the Count will have her, but this moment the Count comes in, as Leonora dies, (Norberto Mola, chorus master) she will be cold, not living. seeking the grace of heaven, and he realises he has been Herbert von Karajan, conductor % Leonora is now happy (Vivrà! Contende il giubilo / i deceived. He now orders Manrico to be taken to his detti a me, Signore): she will die, but Manrico will live. death, and the latter bids his mother farewell. The Count Recorded 3rd, 4th, and 6th - 9th August, 1956 in the Teatro alla Scala, Milan The Count seeks her assurance that she is his and she drags her to the window to see her son die, but Azucena pledges her faith. First issued on Columbia 33CX 1483s through 1485 tells him that Manrico was his brother (Egli era il tuo fratello!), as she falls to the ground, her revenge Scene 2. A wretched dungeon. There is a barred window achieved. Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn and a door in the background. A dim lamp hanging from a wall-ring sheds a pale light on the scene. Azucena is lying Keith Anderson Producer’s Note on a rough mattress and Manrico sits near her. This recording was transferred from the best portions of two first-edition British LP pressings, with one section (from the second verse of “Stride la vampa” to the end of “Il balen”) patched in from a later American pressing due to stamper defects on Side 2 of both of the copies I had of the earlier edition. Some overload distortion at the loudest passages appears to be inherent in the original master tape. Mark Obert-Thorn 8.111280-81 211 8.111280-81 111280-81 bk Trovatore_EU 11/12/07 1:24 PM Page 10 CD 2 enemy through her suffering and avenge his dead brother. CD 1 68:02 @ Soli or siamo 1:01 At a sign from the Count his men, threatening her with the (Manrico, Azucena) Act III. The Gypsy’s Son fires of hell, drag her away, while he withdraws into his Act I: The Duel 27:11 tent, followed by Ferrando. # Condotta ell’era in ceppi 4:53 Scene 1. An encampment. On the right is the pavilion of Scene 1 (Azucena, Manrico) the Count di Luna, carrying the commander’s standard. Scene 2. A room adjacent to the chapel of Castellor, with The towers of Castellor are seen above. Soldiers are an open gallery in the background. 1 All’erta, all’erta! 3:03 $ Non son tuo figlio? 2:29 gambling, while some polish their weapons and others (Ferrando, Retainers, Soldiers) (Manrico, Azucena) 5 pass to and fro. Ferrando comes out of the Count’s No. 11 Scena & Aria Leonora seeks to know the 2 meaning of the warlike preparations (Quale d’armi fragor Di due figli vivea 6:18 % Mal reggendo 4:37 pavilion. (Ferrando, Retainers, Soldiers) poc’anzi intesi?). Manrico tells her of their imminent (Manrico, Azucena, Messenger) No. 9 Introductory Chorus 1 Some of the soldiers call for danger and the assault expected at dawn: he, however, is 3 Sull’orlo dei tetti alcun l’ha veduta! 1:20 ^ Perigliarti ancor languente 2:28 another game (Or co’dadi, ma fra poco / Giuocherem ben certain of victory, since his men are as brave as the enemy. (Ferrando, Retainers, Soldiers) (Azucena, Manrico) altro gioco), while others see the banner of the Balestrieri, Leonora thinks this bodes ill for their marriage. Manrico the reinforcements they had awaited. Ferrando assures sings of the strength his love gives him (Amor, sublime Scene 2 Scene 2 them of certain victory, when the new day dawns. amor). 2 The men await the call to arms (Squilli, echeggi la 6 He is hers, and she his and this will make him the 4 Che più t’arresti? 2:17 & Tutto è deserto 1:35 tromba guerriera), eager for the spoils of battle. stronger. If it is his fate to be killed, yet his thoughts will (Inez, Leonora) (Count, Ferrando) turn to her, for death will only mean that he will be in No. 10 Scena & Terzetto 3 The Count is tormented by heaven before her. 5 Tacea la notte placida 4:24 * Il balen del suo sorriso 3:16 the thought of Leonora in the arms of his rival (In braccio 7 The organ is heard from the nearby chapel. Now they (Leonora, Inez) (Count) al mio rival!). A tumult is heard and Ferrando comes in, must go there together, as the mystic sounds touch their 6 Di tale amor che dirsi 1:40 ( telling him that a gypsy woman has been caught by their hearts (L’onda de’ suoni mistici). Ruiz calls to Manrico, Quel suono! Oh, ciel! … Per me ora fatale 3:41 (Leonora, Inez) (Count, Ferrando, Retainers) men. The noise comes nearer and Azucena, her hands telling him of the capture and imminent death by burning bound, is dragged in, protesting at her treatment. The of Azucena. Scene 3 ) Ah! Se l’error t’ingombra 2:00 Count interrogates her, asking where she was going, and 8 Manrico now reveals to Leonora that he is the gypsy’s (Nuns, Count, Ferrando, Retainers) she tells him that gypsies wander aimlessly; she comes, son. He can already see the flames in which Azucena must 7 Tace la notte! 2:04 however, from Biscay, information that disturbs the die (Di quella pira l’orrendo foco) and feel them: he must (Count) ¡ Perchè piangete? 2:18 Count and Ferrando. save her. The men are called to arms, to fight or die with (Leonora, Inez, Count, Nuns) 4 Azucena tells them of her poverty and contentment and Manrico, who rushes out, followed by Ruiz and his 8 Deserto sulla terra 3:30 how now she seeks her son (Giorni poveri vivea / Pur soldiers.