{"title":"Verdi","description":"\u003cstrong\u003eGiuseppe Fortunino Francesco Verdi\u003c\/strong\u003e (9 or 10 October 1813 – 27 January 1901) was an Italian opera composer. He was born near Busseto to a provincial family of moderate means, and developed a musical education with the help of a local patron. Verdi came to dominate the Italian opera scene after the era of Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini, whose works significantly influenced him.\u003cbr\u003e\u003cbr\u003eIn his early operas, Verdi demonstrated a sympathy with the Risorgimento movement which sought the unification of Italy. He also participated briefly as an elected politician. The chorus \"Va, pensiero\" from his early opera Nabucco (1842), and similar choruses in later operas, were much in the spirit of the unification movement, and the composer himself became esteemed as a representative of these ideals. An intensely private person, Verdi, however, did not seek to ingratiate himself with popular movements and as he became professionally successful was able to reduce his operatic workload and sought to establish himself as a landowner in his native region. He surprised the musical world by returning, after his success with the opera Aida (1871), with three late masterpieces: his Requiem (1874), and the operas Otello (1887) and Falstaff (1893).\u003cbr\u003e\u003cbr\u003eHis operas remain extremely popular, especially the three peaks of his 'middle period': Rigoletto, Il trovatore and La traviata, and the 2013 bicentenary of his birth was widely celebrated in broadcasts and performances.","products":[{"product_id":"paco127","title":"BJÖRLING Verdi: Aïda (1955) - PACO127","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI\u003c\/span\u003e\u003c\/b\u003e  \u003cspan class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eAïda\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1955\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eProducer and XR Remastering: Andrew Rose\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCover artwork based on a photograph of Jussi Björling\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 26:44 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eZinka Milanov\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e soprano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eFedora Barbieri\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e mezzo-soprano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eJussi Björling\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e tenor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeonard Warren\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e baritone\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBoris Christoff\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e bass\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRome Opera House Chorus and Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eConductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJonel Perlea \u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAnyone who loves Aida or grand opera should not be without this set. It is an essential part of any operatic collection, and has never sounded as good578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis 1955 recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAida \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehas\n rarely been out of print since its initial release, and is considered \nby many to be a true classic of the industry. Since it has been \navailable in many different RCA issues, why has Andrew Rose of Pristine \ntaken it on? I’m sure that its very status as a classic motivated him, \nto ensure that it would remain available and in the best possible sound.\n His XR process (a simulation of stereo without the directionality) has \nindeed given the sound some needed space without an artificial echo-like\n reverberance. Neither on LP nor various CD incarnations have I heard it\n sound as natural and rich as it does here. There is the proper space \naround voices and orchestra, and the perfect balance between them. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMESi\"\u003eAida \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehas been fortunate on disc. One would be a fool to say that any one recording is \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethe \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ebest.\n A case can be made for Callas\/Tucker\/Serafin, for Price\/Vickers\/Solti, \nCaballé\/Domingo\/Muti, and a few others as well. As I write this, I have \nnot yet heard the new Harteros\/Kaufmann\/Pappano Warner recording. But \nthere is something unique about this one. Actually, more than one thing \nthat is unique. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFirst, there is the matter of sheer \nvocal presence—voices that announce themselves immediately as voices of \nimportance. Every single principal here possesses that, starting with \nChristoff’s Ramfis at the opera’s outset. These are distinctive, \nimmediately identifiable voices that you will never mistake for anyone \nelse. Then there is a sense that these singers have all been steeped in \nthe idiom. Milanov was the mainstay of the Met’s Verdi wing for more \nthan a quarter century; Björling did not sing this taxing role at the \nMet (he did take it on in smaller European houses) but he certainly had \nbeen singing Verdi regularly since the 1930s. Barbieri was early in her \ncareer, but she was already one of the leading Verdi mezzos of her day, \nand of course Leonard Warren virtually defined the term “Verdi \nbaritone.” The often underrated Romanian conductor Jonel Perlea is \nanother asset here. This may not be the kind of electric conducting that\n we hear on the Solti set, but it yields virtually nothing in its \nunderstanding of the Verdian phrase-shaping to the more famous Italians \nsuch as Serafin. Only some crude brass playing in the ballet and march \ndetract from the otherwise fine orchestral performance, with Perlea \nbalancing lyricism and power equally. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBy 1955 Milanov was nearing the end of a very long career, and there are some \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003efortissimo \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003epassages\n that show a beat or a thinning of the tone. But they are few and far \nbetween, and the soft singing is ravishing. “O patria mia” is \nmiraculous—one of the great performances of that aria on disc, and her \nsoft singing and incredibly even legato at “La tra foreste vergine” and \n“O terra addio” is a master class for aspiring singers. Björling matches\n her in both of those duets, and overall produces his glorious sound \nevenly at all dynamic levels. It must be said that he does not exhibit \nthe imagination that we hear from Milanov, and his lower register seems \noverpowered by the music. Of all tenors, Björling could have given us \nthe ending of “Celeste Aida” as Verdi wrote it (and as I am told \nKaufmann does on the new recording); instead, we get a rather lumpish \nloud conclusion. Still, the voice itself is a miracle, he shapes most of\n the music with a completely natural feel, and that soft singing with \nMilanov will remain in your memory long after you have finished \nlistening. Warren too is short on imagination, but oh, what a sound. \nThis has to be the kind of baritone sound Verdi heard in his own mind \nwhen he wrote Amonasro’s music. Warren is not a complete cipher; he does\n inflect with some specificity, phrases with sensitivity, and he is \ncaught up in the drama. When one hears what a Gobbi can do with this \npart, one realizes what Warren doesn’t bring. But then again, no \nbaritone in the past 60 or 70 years has given us the richness of sound \nthat Warren has. As for the rest of the cast, Christoff may be a bit \nunidiomatic, but he is surely the most impressive Ramfis on disc, and \nPlinio Clabassi is a fine King. Mario Carlin and Bruna Rizzoli, as the \nMessenger and Priestess, round out a cast that has no weak links. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eYou can download from Pristine’s web \nsite, or order the two XR CDs; in order to fit the opera on two discs, \nPristine puts a break in the second act, but it is well chosen. Anyone \nwho loves \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAida\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e or\n grand opera should not be without this set. It is an essential part of \nany operatic collection, and has never sounded as good as it does here. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:4 (Mar\/Apr 2016) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe summer of 1955 was a fortuitous year for Verdi’s Egyptian opera \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAida\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Two recordings were produced, one from RCA conducted by Jonel Perlea \nand the other from EMI conducted by the great Tullio Serafin. Common to \nboth and lending both excitement was Italian mezzo Fedora Barbieri as \nAmneris. One always looks forward to listening to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAida\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e;\n after all, does it not have everything? There is not only great music, \nbut drama, singing and of course the spectacle, all of which are of such\n quality, you need great singers to handle their roles effectively and \neasily; and to an extent, our classic recording from RCA, now Sony, \nachieves this. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCroatian-born soprano Zinka Milanov \nplays the title role and by this stage of her career is the most \nfrustrating member of the cast. On the good side, as John Steane says in\n his survey on \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAida\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n she “has something in common with (Montserrat) Caballé, excelling in \nthe soft high notes which at best were pure velvet.” On the down side, \nPhilip Hope-Wallace in his original review for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n says, “even parts of ‘Ritorna vincitor’ are laboured: in her big scene \nwith her rival and again in the two strenuous duets by the Nile she is \novertaxing herself. Once she makes a mistake in the first part of ‘Su \ndunque’....” He continues rather cheekily, “... and her cries of horror \nwhen her father breaks the bad news to her are strange dowager hoots.” \nThere is something to both of these comments. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eJussi Björling as Radamès sings \nwonderfully throughout and certainly poetically, but he also sounds \nrelatively cautious with Perlea’s spacious approach. This is a noble and\n lyrical Radamès, but perhaps not as involved as some of his \ncontemporaries and successors in the form of Franco Corelli and Carlo \nBergonzi (or dare one say even Gigli, but only in a 1937 live \nperformance from Berlin, not the commercial set). Björling is correct, \nbut he also sings the Nile scene with much excitement and plenty of \nvoice. He also manages to attend to Verdi’s markings with a gorgeously \nfloated B♭at “il ciel de’nostri amori.” Perhaps the most exciting \nperformer is Barbieri. She certainly affects Jussi, with their scene \ntogether catching fire. She is also highly effective in her scene with \nRamfis where she pleads for Radamès, spitting out “infamia.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePristine as ever produce good sound, \nbut this XR ambient stereo version which gives a smidgen more space \naround the voices, especially on headphones, also to these ears, makes \nthe recording sound just a bit older, with the voices also seeming to \nsound a bit tinny on occasion. There is no libretto or information with \nthis latest release. Sony has also recently released this in straight \nmono, but on three discs with a fourth CD-ROM for the libretto. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIn the final scene, “O terra addio,” \nheaven does come forth with some gloriously poised singing. Here both \nsingers respond beautifully to Perlea’s conducting, with Björling \nmatching Milanov—as Stephen Hastings says in his well-researched book on\n Jussi, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Björling Sound\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—in\n every phrase and surpassing her “in the penultimate ascent to B-flat \nwhere unlike his partner, he adheres to Verdi’s dynamic markings in \nintroducing a blossoming crescendo after the piano attack.” This is both\n wonderful and heavenly and not beaten anywhere. For Jussi fans and fans\n of great singing, rush out and buy this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAida. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDavid Cutler\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:5 (May\/June 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO127.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMilanov and Björling in the legendary 1955 Victor recording of Aïda\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Some of the finest Verdi singing on record\" - MusicWeb International\u003cbr\u003e\"No complete version has ever equaled it\" - Fanfare\u003cbr\u003e\"Close to perfection as regards Verdian interpretation\" - Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eWidely regarded as one of, if not the finest \u003cem\u003eAïda\u003c\/em\u003e ever \nrecorded, this 1955 mono Rome recording certainly sits among the \ngreatest achievements of one of the greatest cast of soloists ever \nassembled to perform it. It is of course unfortunate that it missed out \non the stereo era by such a short time; the Ambient Stereo version \npresented here goes some small way to alleviating this, giving as it \ndoes a sense of breathing room and space around the centrally located \nperformers. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThese transfers were made from a near-mint set of original RCA Victor\n Red Seal LPs. Although the records were in amazing condition, they did \nhighlight the sonic variations of the original recordings, made over a \nperiod of just over two weeks in the Roman summer of 1955, and I've done\n what I can to alleviate this wherever possible. The Victor microphones \nregularly picked up traffic noise in the background - the sound of cars \naccelerating away from a junction outside the Teatro dell'Opera di Roma \nwas a regular feature of the recording, and again I've done my best to \ndigitally excise these wherever possible, without touching or harming \nthe frequencies occupied by music.\u003c\/p\u003e\u003cp\u003eThe entire recording has been fully XR-remastered, with careful \nre-equalisation and the very subtle use of convolution reverberation to \nhelp \"place the listener\" in the best seats in front of the stage of one\n of the finest opera houses in the world. The end result is, I hope, the\n best presentation yet of one of the great opera recordings of all time.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e  \u003cspan class=\"bodybigblue\"\u003eAïda\u003c\/span\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003eAida, an Ethiopian princess - \u003cb\u003eZinka Milanov\u003c\/b\u003e\u003cbr\u003eAmneris, daughter of the King of Egypt - \u003cb\u003eFedora Barbieri\u003c\/b\u003e\u003cbr\u003eRhadames, captain of the guard - \u003cb\u003eJussi Björling\u003c\/b\u003e\u003cbr\u003eAmonasro, King of Ethiopia - \u003cb\u003eLeonard Warren\u003c\/b\u003e\u003cbr\u003eRamfis, high priest - \u003cb\u003eBoris Christoff\u003c\/b\u003e\u003cbr\u003eThe King of Egypt - \u003cb\u003ePlinio Clabassi\u003c\/b\u003e\u003cbr\u003eA Messenger - \u003cb\u003eMario Carlin\u003c\/b\u003e\u003cbr\u003ePriestess - \u003cb\u003eBruna Rizzoli\u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eRome Opera House Chorus and Orchestra\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: x-small;\"\u003eRecorded 2-18 July, 1955, Teatro dell'Opera di Roma\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eTransfers from (and first issued as) RCA Victor LM-6122\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cb style=\"font-size: medium;\"\u003eJonel Perlea\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003e, conductor\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO127.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO127.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975391117,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975391181,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975391245,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975391309,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO127_a9b3ab46-09f1-4056-a433-059dcb50b7b8.jpg?v=1487681909"},{"product_id":"paco134","title":"BJÖRLING Verdi: Il Trovatore (1941, Met) - PACO134","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI\u003c\/span\u003e\u003c\/b\u003e  \u003cspan class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eIl Trovatore\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recording, 1941\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 16:13 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 16px;\"\u003eManrico - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJussi Björling\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeonora -\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Norina Greco\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eCount Di Luna - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFrank Valentino\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra \u0026amp; Chorus of the Metropolitan Opera\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eConductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFerruccio Calusio\u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fJussi announces himself as the great tenor he is, opening in his absolute best voice578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv id=\"article\"\u003e\n\u003cdiv id=\"BodyDiv\"\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAmong the record collecting fraternity,\n there is an eternal question over remastering. An interventionist \ntransfer to reduce the crackle, producing as modern a sound picture as \npossible? Or, reproduce the 78-rpm\/broadcast as faithfully as possible, \nleaving a fair amount of surface noise but maybe a brighter sound? This \nis the dilemma with the release of Pristine’s new version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIl trovatore\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, live from the Metropolitan with Swedish tenor Jussi Björling. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTrovatore is one of the few operas that\n spanned the whole of Björling’s long international career, and this \n1941 performance must be seen as one of his most rounded and dramatic \nportrayals, for which some credit must go to Argentinian conductor \nCalusio, who directs in a taut and lively fashion. The opening \nillustrates the drama in the reading, with the steady Greek bass Nicola \nMoscona as Ferrando and the chorus sparking well off each other in a \nfleet performance, emphasizing the sense of horror. Next is the American\n (though Italian-born) Norina Greco, who today we might be extremely \ngrateful for. She is both accurate and idiomatic and perhaps just a \nlittle light of tone for the role of Leonora. She is not always on \npitch, but there is no doubt that this is a true lyric-soprano of \nquality, just lacking that last ounce of power and presence in Zinka \nMilanov or even Stella Roman. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eJussi announces himself as the great \ntenor he is, opening in his absolute best voice with “Deserto sulla \nterra.” As Stephen Hastings says in his book on Jussi, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Björling Sound\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n it is “immaculately sung” and “the tone more urgent and authoritative. \nThe conductor gives him time to make a real feature of the climax, with a\n crescendo on the interpolated (and extended) B-flat.” Throughout Jussi \nis superb, offering light and shade—notably in his act III arias \nbeginning with the delicately sung “il presagio funesto” and a lovely \nsoft “al core.” The start of his aria “Ah si ben mio” is also sung \nlightly and delicately, until the insertion, during the final cadenza, \nof an extended “la morte.” Following the short duet with Leonora, Jussi \nhurls himself into “Di quella pira.” This is tremendous singing and \ndespite his ferocity, he still manages to sing the turns and ends up \nwith a mighty and long held B-natural. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBruna Castagna, the only Italian, is in\n splendid voice, despite the occasional chesty outburst. “Condotta \nall’era in ceppi” is dramatically and impulsively sung, as is the \nfollowing duet with the tenor. Frank Valentino, also USA born, can sound\n occasionally pressured, especially in his aria “Il balen” where he \ntends to lose the Bellini-like cantilena; however, we should be grateful\n for the lack of aitches and the ease of the high notes. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSo to the dilemma—just recently \nImmortal Performances released the same performance in very good sound \nand a pitch-perfect recording. However, Pristine says it has discovered a\n new high-quality source, and its version is scratch-free and sounds \nlike a 1940s commercial recording. The IP performance is brighter \nperhaps, and has more air around the voices, but still sounds like an \naircheck. Pristine is smoother, has more bass and is more accessible or \njust listenable, and so in the end the choice is up to the listener. \nEither way this is a great \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIl trovatore\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n with one of the 20th-century’s great tenors. It would be nice if this \nwas the last word on this performance. With all the unreleased \nperformances still out there, let us please have some new ones. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eDavid Cutler\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003eThis article originally appeared in Issue 40:3 (Jan\/Feb 2017) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO134.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBjörling's classic 1941 Met Opera Il Trovatore\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This is a great Il trovatore with one of the 20th-century’s great tenors - Fanfare\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan class=\"times\"\u003eWe return to our small but (almost) \nperfectly preserved cache of fabulously-preserved NBC Metropolitan Opera\n broadcasts from the early 1940s with this incredible performance of \nVerdi's \u003cem\u003eIl Trovatore\u003c\/em\u003e, broadcast live from the opera house on the afternoon of Saturday January 11, 1941.\u003c\/span\u003e\u003cbr\u003e\u003cdiv class=\"b\"\u003e\u003cspan class=\"times\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\u003cdiv class=\"b\"\u003e\u003cspan class=\"times\"\u003eJohn H. Haley's wonderful CD notes (\u003cem\u003esee tab\u003c\/em\u003e) describe far \nmore eloquently than I could why this is one of the all-time greatest \nrecordings of the opera, and so I'll keep to making a few technical \nobservations on the recording itself.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\u003cdiv class=\"b\"\u003e\u003cspan class=\"times\"\u003eAs with other recent Met recordings \nissued on Pristine, I've been given access to previously unheard (and \nbarely played) high quality 33rpm acetate disc records of the NBC \nbroadcast, made either in house or down a high quality line, as opposed \nto off air. The original records included lengthy introductions and \nintra-act discussions and talks which together added almost another full\n hour to the proceedings, and have accordingly been cut from this \nrelease - I've instead opted to leave an edited flavour of Milton \nCross's presentation at the beginning and end of the opera and as \nappropriate within the recording. Fascinating as the discussion may have\n been to historians I felt they would be superfluous to the performance \nand the majority of latter day listeners.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\u003cdiv class=\"b\"\u003e\u003cspan class=\"times\"\u003eAs is common with vintage acetate \ndiscs, it is the openings of sides which take the most punishment from \neven a small number of replays, and that was the case here, where I've \nhad to deal with short sections of unwanted surface noise intrusions. \nThereafter, and for the vast bulk of the opera, the discs were in near \nmint condition, with a remarkably wide frequency range and low noise \nfloor, making for some remarkably good sound quality for any recording \nof this era. There is some treble loss to the end of sides but again \nthis is barely noticeable more than perhaps once, where I've taken steps\n to disguise the change-over.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\u003cdiv class=\"b\"\u003eXR remastering has added another layer of life, body and \nrealism to the sound, with Ambient Stereo processing once again adding \njust a hint of space and air around the central mono sound. The sample \nfeatures three of the best-loved arias from the opera and more than \nadequately demonstrate just how good the performances and sound quality \nare throughout this fabulous recording.\u003c\/div\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e  \u003cspan class=\"bodybigblue\"\u003eIl Trovatore\u003c\/span\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003eManrico\u003cb\u003e - Jussi Björling\u003cbr\u003e\u003c\/b\u003eLeonora\u003cb\u003e - Norina Greco\u003cbr\u003e\u003c\/b\u003eCount Di Luna\u003cb\u003e - Frank Valentino\u003cbr\u003e\u003c\/b\u003eAzucena\u003cb\u003e - Bruna Castagna\u003cbr\u003e\u003c\/b\u003eFerrando\u003cb\u003e - Nicola Moscona\u003cbr\u003e\u003c\/b\u003eInes\u003cb\u003e - Maxine Stellman\u003cbr\u003e\u003c\/b\u003eRuiz\u003cb\u003e - Lodovico Oliviero\u003cbr\u003e\u003c\/b\u003eGypsy\u003cb\u003e - Arthur Kent\u003c\/b\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eOrchestra \u0026amp; Chorus of the Metropolitan Opera\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFerruccio Calusio,\u003c\/b\u003e conductor\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\u003cp\u003e\n\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eMatinee concert of 11 January 1941\u003cbr\u003eNBC Radio announcer: Milton Cross\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO134.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO134.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\" style=\"text-align: center;\"\u003e\u003cb\u003eIL TROVATORE AT ITS BEST\u003c\/b\u003e\u003cbr\u003eBy John H. Haley\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eOne of the conventions with virtually all 19\u003csup\u003eth\u003c\/sup\u003e century \noperas is that we--the audience--must learn to accept the incongruity of\n hearing large mature voices, often possessed by large, mature people, \nportraying very young leading men and women on stage. Operas may be \ndrama but they are also comprised of demanding music, and the music must\n be well served by performers who have the means to do so, or the \ndramatic experience will almost always go for little.\u003c\/p\u003e\u003cp\u003eWe really do not want to hear a fifteen year-old girl attempt to perform \u003cem\u003eMadama Butterfly\u003c\/em\u003e,\n and the best we can hope for is that the chosen soprano has found a way\n to portray youthfulness, both vocally and visually. The same can be \nsaid for the heroine in Strauss’ \u003cem\u003eSalome \u003c\/em\u003eand any number of other operas. And of course the great 19\u003csup\u003eth\u003c\/sup\u003e and 20\u003csup\u003eth\u003c\/sup\u003e\n century opera composers did not create their grand works for immature \nvoices, clearly anticipating maturity of the both the performers’ \nartistry and their vocal means. Listening to an operatic recording, we \nare greatly assisted by the “theater of the mind,” yet the particular \nqualities of the vocal portrayals still play a large part in our \npersonal recreation of the drama that is screening in our heads as we \nare listening.\u003c\/p\u003e\u003cp\u003eVerdi always paid enormous attention to the dramas that formed the \nbasis for his operas, but today’s stage directors, and consequently \naudiences, often ignore the needs of the dramas upon which his operas \nare constructed and focus instead on creating “entertainment” by some \nother means than a forthright presentation of the plot acted out \nconvincingly on stage. Among Verdi’s large output, \u003cem\u003eIl trovatore\u003c\/em\u003e\n has been especially ill-served as a stage drama, and it has come to be \nknown primarily as a work with a silly plot that is performed mainly for\n its glorious music. Failing that, it offers at least an evening of \nrobust singing.\u003c\/p\u003e\u003cp\u003eThis January 11, 1941 broadcast recording of Verdi’s \u003cem\u003eIl trovatore\u003c\/em\u003e\n undoubtedly stands above all other recordings of this great opera in \nits matching up the character of the voices we hear to the personalities\n of the characters in the drama, giving us, for once, a convincing sense\n of the drama and allowing us to appreciate this opera more completely \nas a music-drama than any other performances we are likely to encounter.\n That it is also gloriously performed, musically, by at least three of \nthe principals, all of whom offer up excellent Verdian style as well as \nvocalism, and is also quite well conducted by conductor Ferruccio \nCalusio, are almost rendered pleasing byproducts by the convincing \nnature of the whole enterprise. This was one great afternoon indeed at \nthe old Met.\u003c\/p\u003e\u003cp\u003eAdmittedly, the challenges presented in making the characters of \u003cem\u003eIl trovatore\u003c\/em\u003e\n come to life as living beings are formidable, even taking the opera as \npure melodrama. Consider Manrico, the eponymous troubadour. The opening \nscene of Act III reveals that the immolation of the infant boy by \nAzucena when attempting to extract revenge on the Count who had burned \nher mother at the stake, had occurred a mere fifteen years in the past, \nmeaning that Manrico is but a lad of sixteen to eighteen, depending on \nthe age of the two boys at the time of Azucena’s actions, which is not \nmade entirely clear. Yet somehow, in his few years he has become (1) a \nminstrel gifted enough to capture the heart of a fair maiden with his \nsinging (as Leonora discloses in her opening aria), (2) a warrior \nleading his own band of fighters, as part of an insurgent group, \nsufficiently belligerent to give real trouble to a reigning count, (3) \nan obviously talented jouster on horseback, skilled at knightly games \n(as also recalled by Leonora in her opening \u003cem\u003escena\u003c\/em\u003e), and (4) a \nlover capable of capturing the attentions of a maiden who is obviously a\n great lady. And all this, while having been raised by a band of roving \ngypsies. (For present purposes, we are ignoring the fact that he is \ngoing to be sung and portrayed by a large-voiced tenor capable of \nstentorian delivery, not to mention sustained high C’s.)\u003c\/p\u003e\u003cp\u003ePerhaps the most fully developed of the principal characters is the \nolder gypsy woman Azucena, Manrico’s putative mother, who should be sung\n by a large, deep female voice that can suggest great maturity. We do \nnot learn her age, but she was clearly of child-bearing age shortly \nbefore the immolation of the child fifteen years in the past. She drifts\n in and out of reality yet expresses genuine maternal love for Manrico, \nwhom she has raised as her son and who believes that he is her son. As \nso often occurs in Verdi’s operas, the dramatic relationship between a \nparent and an adult child is well exploited and developed, adding \ndramatic depth to both characters. Manrico must express dismay at his \nmother’s unintended revelation that he may not be her natural son, and \nhis maternal love for her lies at the center of several important \nscenes, including his most famous \u003cem\u003escena\u003c\/em\u003e where he must abandon \nhis new bride-to-be to race off and rescue his mother, who has been \ncaptured by the vengeful Count. While Azucena provides a dramatic mezzo \nor contralto with outstanding dramatic possibilities, Verdi has also \nmade her role quite demanding vocally, with the icing on the cake being a\n capricious high C written into a cadenza, published in the score \n(dramatic mezzos and contraltos suitable for the role can be forgiven \nfor eschewing it).\u003c\/p\u003e\u003cp\u003eThe dramatic duties of the Count, who is also Manrico’s romantic \nrival, are largely limited to establishing a ruthless character, his one\n overwhelming trait being his dark obsession to “possess” Leonora, with \nno apparent regard for her happiness or wellbeing. And he is allocated \nthe final dramatic reaction, as the curtain falls--the realization that \nhe has just murdered his own long-lost brother. Leonora herself is saved\n from being a stock character by a dramatically forceful last act, where\n her character springs to dramatic life, as she sacrifices her life to \nsave that of her beloved.\u003c\/p\u003e\u003cp\u003eAs indicated above, one will not likely encounter a single \nperformance elsewhere in which all of these dramatic requirements are as\n convincingly met as they are in this one. \u003cem\u003eIl trovatore\u003c\/em\u003e, as an \noperatic drama, is vividly and movingly brought to life by the \ncoincidence of at least three remarkable and believable \ncharacterizations by the principals.\u003c\/p\u003e\u003cp\u003eWe begin with the critical fact that both of the members of the \ncouple at the center of the drama sound convincingly young, in addition \nto meeting all the other substantial requirements of their roles, which \nis no mean feat. It is safe to say that no 20\u003csup\u003eth\u003c\/sup\u003e century tenor\n has fulfilled the almost impossibly diverse requirements of Manrico \nquite as fully as Jussi Björling, a Swede who arguably became the \ngreatest all-around Italian tenor of his time. Apart from possessing a \nmeltingly beautiful tone, one which can fairly be described as both \nItalianate and Nordic at the same time, what sets him apart from almost \nevery other Manrico on recordings (or encountered in person by this \nwriter), is the fact that early in his career, he achieved full \nconfidence in the power of his essentially lyric voice to project \nwithout forcing the tone or trying to sing with a larger tone than he \npossessed. Coupled with this vocal confidence was an obviously \nintelligent, well schooled mastery of true Verdian musical style. \u003cem\u003eIl trovatore\u003c\/em\u003e harks back to \u003cem\u003ebel canto\u003c\/em\u003e ideals of Verdi’s early period, which followed upon the great \u003cem\u003ebel canto\u003c\/em\u003e\n era of Rossini, Donizetti and Bellini, and Björling understood and \ndelivered the long line and generous legato that is the essence of good \u003cem\u003ebel canto\u003c\/em\u003e\n style. The result was his ability to essay a number of Verdi roles \nalmost always sung by heavier voices than his, including Manrico. There \nwas enough bright metal in his tone to portray the warrior, but at the \nsame time enough lyric beauty to succeed and convince with the lyrical \nphrases of the troubadour, the devoted son and the ardent lover, in a \nway that larger voiced Manrico’s do not seem to encompass (excepting \nperhaps Caruso, of whose Manrico we can hear only a few recorded \nsamples). We never get the sense that he is oversinging or compromising \nthe integrity of his voice with such a dramatic role, and further he \noffers a level of involvement in all the various aspects of the \ncharacter that is very rarely encountered—when we add up all the \nsuccessful elements of his portrayal, he actually moves us, in a role \nthat too often “reads” as pure cardboard.\u003c\/p\u003e\u003cp\u003eFortunately, we have a generally excellent commercial recording of \nBjörling’s Manrico, the 1952 RCA recording that also features Zinka \nMilanov, Fedora Barbieri and Leonard Warren, conducted by Renato \nCellini, and that recording has rightfully been regarded by many as the \n“gold standard” among commercial recordings of \u003cem\u003eIl trovatore\u003c\/em\u003e. \nAnd there are other live recordings of Björling’s Manrico, but as an \noverall experience of this opera, they are all surpassed by the present \none.\u003c\/p\u003e\u003cp\u003eThe little known soprano, Norina (Eleanora) Greco, is our Leonora, \nand the quality of her performance here makes one realize what a loss \nthe Met incurred by letting her go after only two seasons. Born in Italy\n in 1915 and transplanted as a young girl to Brooklyn (where her younger\n brother would be born—he was to become the Hollywood Spanish dancer \nJosé Greco), she was hired by the Met in the 1940-1941 season due to the\n absence of Stella Roman, whom no one would seriously contend today was a\n superior singer to Greco, on any level, although she was an established\n star. That means Greco was literally only 26 at the time of our 1941 \nbroadcast, but she was in fact already experienced in other companies, \nincluding the touring San Carlo Opera Company, in such roles as \nVioletta, Santuzza, Mimi and Aida, receiving fine reviews that one can \nfind on the internet. Operatic writers have not been as enthusiastic \nabout Greco as they should have been, but the undeniable evidence is \nbefore us in this stunning broadcast.\u003c\/p\u003e\u003cp\u003eOne can read unfavorable commentary regarding her \u003cem\u003eAida\u003c\/em\u003e broadcast at the Met in her second and last season there, but her rendition of “O patria mia” from her \u003cem\u003eAida\u003c\/em\u003e\n Met broadcast can be heard on You-Tube, and it is creditably done, if a\n little effortful, with a fine high C at the climax. The effort one \nhears bears no comparison to the heavy laboring of a great many later \nAida’s who struggle so mightily just to slog through the role. Leonora \nis obviously a more congenial role for Greco than Aida, and she meets \nall of its requirements with aplomb, including excellent musical style \n(surprising in such a young performer), fine and often quite beautiful \nvocalism, sophisticated sense of phrasing, excellent flexibility, \ndramatic fire that makes her Leonora genuinely exciting, and a young \ndramatic soprano voice of great appeal and promise. Her final act is \nespecially moving, and her interaction with Björling is outstanding. In \nshort, hers is a most winning and complete performance; she would be an \ninstant superstar today.\u003c\/p\u003e\u003cp\u003eAs much as we appreciate and honor the excellence of the \u003cem\u003eTrovatore\u003c\/em\u003e\n Leonora of Zinka Milanov, Björling’s partner in the fine RCA recording,\n in what could be argued to be her best recording of a Verdi role, there\n is no denying that her voice, despite her often beautiful tones, has a \nmatronly quality that militates against dramatic believability in this \nopera. She is quite obviously bested in this regard by Greco, whose \nyouthful Leonora is ultimately the more satisfying one. There is a \nsmaller issue as well, in that Greco’s Italian diction is impeccable, \nunlike Milanov’s, which includes some occasional oddities.\u003c\/p\u003e\u003cp\u003eThis brings us to the superb Azucena of the very underrated Bruna \nCastagna. There are a number of fine recorded Azucena’s, but none of \nthem quite measures up to the level of this one, considering the \ntotality of all the elements she brings together in this memorable \nperformance. Her dramatic conception is quite imaginative, in fact \ncaptivating, and her vocalism very beautiful, easily meeting all the \nrequirements of this difficult role. The only real fault that can be \nregistered with her singing is her rather habitual tendency to bringing \nher chest tones up substantially higher than we normally hear in such \ngrand, dramatic mezzo voices of her size and caliber, resulting in some \nfairly dry tones here and there. One can find live performances where \nthis tendency can take over and spoil the beauty of her singing, turning\n it rather blatty, but here things remain well under control. The \npreservation of this broadcast goes a long way toward making up for her \nplainly unwarranted absence from commercial opera recordings. She was a \nmajor artist, and if her Leonora and Manrico were not also so \noutstanding, she would have stolen the honors in this performance.\u003c\/p\u003e\u003cp\u003eThe Count di Luna of Francesco Valentino at least offers the right \nsort of voice for the role, even if his performance is short on musical \ndistinction and polish. In short, he is adequate. Bass Nicola Moscona \nfills out the smaller part of Ferrando, including that character’s \nquirky but effective first act aria, quite well. Overall, we are \nunlikely to find \u003cem\u003eIl trovatore\u003c\/em\u003e better served than we find it here.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975392973,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975393037,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975393165,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO134_d7ef3efe-c058-4f4e-967b-09d93a4a3e0e.jpg?v=1487681911"},{"product_id":"paco090","title":"CALLAS Verdi: La Traviata (1953) - PACO090","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa Traviata\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1953 \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 2:07\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eVioletta Valéry - \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaria Callas\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e (\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlfredo Germont -\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Francesco Albanese\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e (\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003etenor\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eGiorgio Germont - \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eUgo Savarese\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e (\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003ebaritone\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCoro Cetra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra Sinfonica di Torino della RAI \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eConductor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Gabriele Santini\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAndrew Rose has done perhaps his finest work yet .. Callas’s voice benefits from this, as do all the other singers and, in particular, the orchestra578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis 1953 Cetra studio recording has \nnever sounded this good. Andrew Rose has done perhaps his finest work \nyet in restoring this to something much more gratifying than the \noriginal release (which I have on Cetra LPs, as well as a few different \nCD incarnations). The sound is less harsh, warmer, and much more open \nthan the close-in, almost claustrophobic original. Callas’s voice \nbenefits from this, as do all the other singers and, in particular, the \norchestra. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor Callas collectors this will be a \nvery important release, even perhaps a revelation. For the rest, even \nserious opera lovers who want in their collection at least one \nrepresentation of Callas in her greatest role, this is clearly \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enot \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethe\n one. My recommendation continues to be for the Covent Garden \nperformance with Valletti, Zanasi, and Rescigno, available on a number \nof labels (I wish Andrew Rose would have a go at that one). This is \nCallas’s first recorded \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003etraviata\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n and while the voice probably never sounded as secure and solid in any \nof the later ones, her ability to convey the drama—unusually strong here\n when compared with other sopranos—continued to grow far beyond what we \nhave here. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAnd then there is the problem of the \nartists with whom Cetra surrounded her. Santini’s conducting is often \npedestrian (particularly in the Germont-Violetta duet, where many \nconductors reflect so much more vividly the pathos of the situation but \nSantini plods along without inflection or real phrasing). Albanese’s \nAlfredo is decently sung, and gains much from the warmer sound of this \ntransfer; but it is singing without insight or coloring—mere \nnote-spinning. Savarese’s dry, throaty baritone begins to wear on the \nears. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe value here is Callas in her best \nvoice. Although she does not reduce “Dite alla giovine” to the mere \nthread of sound as she was to later in her live performances, it is \nstill magical enough. There is a pure vocal beauty that was not to \nremain long for Callas, and it is worth hearing this recording for that \naspect alone, particularly because it is married to an already \nintelligent dramatic portrayal, even if it is one that would be \nsurpassed a few years later. A few specifics: “Amami Alfredo” here is \nfull voiced and desperate, with a richness to the sound that was no \nlonger there even in 1958; but the lines leading up to that climactic \nmoment were to gain a sense of urgency, even panic, that is missing \nhere. And the last act outburst at the realization that she was to die \nso young, while certainly gripping here, lacks the utter horror and \nanguish of later Lisbon, La Scala, and Covent Garden performances, where\n the crescendo on “Ah…Morir” is shocking in its explosiveness. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs usual with Pristine, there is no \nlibretto, but there are interesting notes, including comments about the \ntransfer. I must admit that when I received this to review, my first \nthought was “why did Pristine bother with this recording?” After hearing\n the difference between the Cetra and this, and hearing just how much \nbetter Callas and all aspects of the performance sounded, I understand. \nIt still is primarily of value for Callas fans and serious students of \noperatic performance as an art form, an art form of which Maria Callas \nwas one of the unique and most important practitioners. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:1 (Sept\/Oct 2013) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO090.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\"There is addiction to the heroine...such art is priceless\" - Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"For Callas \u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ecollectors this will be a very important release, even perhaps a revalation\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eBefore signing a contract with Walter Legge at EMI, \nMaria Callas had already committed herself to recording four operas for \nCetra in Italy. Of these, only \u003cem\u003eLa Gioconda\u003c\/em\u003e in 1952 and \u003cem\u003eLa Traviata\u003c\/em\u003e in\n 1953 materialised; it remains unclear as to why the contract was not \ncompleted. Even though the Italian recording remained available on \nimport only outside Italy for a number of years, it meant that Legge \nnever commissioned an EMI studio recording of Callas in what was one of \nher most famous roles. And I'm afraid Cetra's recording facilities \nweren't up to those of EMI at the time.\u003c\/p\u003e\u003cp\u003eThus this classic recording of Callas (albeit with a \nsomewhat second-rate supporting cast) has long suffered from a rather \ninadequate sound quality which has a rather boxy, enclosed quality to \nit, with an unsympathetic acoustic and a tendency to peak distortion on \nthe voices. The combination of re-equalisation, distortion reduction, \nsubtle de-noising and the acoustic space of one of the world's finest \nopera houses that has made up this new 32-bit XR remastering goes a huge\n way to alleviate these issues, bringing significant sonic improvements \nthat breathe new life and colour into Maria Callas's wonderful \nperformance.\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eLa Traviata\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eLibretto: Francesco Maria Piave\u003cbr\u003e Recorded September 1953, Studio del RAI, Turin, Italy\u003cbr\u003e Originally issued in Italy. Issued by Cetra in the UK in 1958 as LPC1246\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/b\u003eVioletta Valéry -\u003cb\u003e Maria Callas (\u003cem\u003esoprano\u003c\/em\u003e) \u003cbr\u003e \u003c\/b\u003eAlfredo Germont -\u003cb\u003e Francesco Albanese (\u003cem\u003etenor\u003c\/em\u003e) \u003cbr\u003e \u003c\/b\u003eGiorgio Germont -\u003cb\u003e Ugo Savarese (\u003cem\u003ebaritone\u003c\/em\u003e) \u003cbr\u003e \u003c\/b\u003eFlora Bervoix -\u003cb\u003e Ede Marietti Gandolfo (\u003cem\u003emezzo-soprano\u003c\/em\u003e) \u003cbr\u003e \u003c\/b\u003eAnnina -\u003cb\u003e Ines Marietti (\u003cem\u003esoprano\u003c\/em\u003e) \u003cbr\u003e \u003c\/b\u003eIl Visconte Gaston De Letorières -\u003cb\u003e Mariano Caruso (\u003cem\u003etenor\u003c\/em\u003e) \u003cbr\u003e \u003c\/b\u003eIl Barone Douphol -\u003cb\u003e Alberto Albertini (\u003cem\u003ebass\u003c\/em\u003e) \u003cbr\u003e \u003c\/b\u003eIl Marchese d'Obigny\/Dottore Grenvil -\u003cb\u003e Mario Zorgniotti (\u003cem\u003ebass\u003c\/em\u003e) \u003cbr\u003e \u003c\/b\u003eGiuseppe -\u003cb\u003e Tommaso Soley (\u003cem\u003etenor\u003c\/em\u003e)\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eCoro Cetra\u003cbr\u003e Orchestra Sinfonica di Torino della RAI \u003cbr\u003e \u003c\/b\u003eConductor\u003cb\u003e Gabriele Santini\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO090.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO090.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32417047565,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417047693,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417047885,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO090.jpg?v=1756366463"},{"product_id":"paco131","title":"CALLAS Verdi: Rigoletto (1955) - PACO131","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRigoletto\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1955\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 1hr 57:57 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eRigoletto\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Tito Gobbi\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eGilda\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Maria Callas\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eDuca di Mantova\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Giuseppe di Stefano\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eSparafucile\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Nicola Zaccaria\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eTullio Serafin, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus and Orchestra of La Scala, Milan\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fStill the top choice even if you buy another more modern edition578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e“Once heard, this rendering is never \nlikely to be forgotten,” is the still the judgment of the majority of \nmusic critics, and there is no need to change this verdict yet. Here in \nthis freshly minted transfer, the reasons are if anything even clearer \nwhy this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRigoletto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eremains\n the standard by which all others must follow. That said, despite what \nused to be called the standard theatrical cuts and sound which—although \nmuch clearer than before—is still 60 years old and not even genuine \nstereo, the younger amongst you might still say, “Well, why choose this \nversion when Milnes, Cappuccilli, Domingo, and Pavarotti are all out \nthere?” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe reasons are immediately obvious: \nSerafin, Callas, and Gobbi. Serafin paces like he has done it all his \nlife, which of course he had—from the gentle accompaniment of “Piangi, \npiangi” to the quickening roar of “Si, vendetta.” All is right and \nproper. Next is Tito Gobbi in the title role. Just listen to the \ncontrast in the repetitions of “La ra la ra” and then to follow the \nsadness and desperation in “Dove l’avran nascosta?” (Where has she been \nhidden?) With plenty of vibrato when he finally admits the courtiers \nhave kidnapped his daughter—the frustration, the regret—it’s all there. \nThe violent beginning of “Cortigiani” and the pleading second half of \nthe aria all beautifully acted with the voice. One can “see” the emotion\n from one of the really great singers of the 20th century—a golden voice\n indeed. There are so many touches of individuality in this performance.\n “Un vindice avrai” is sung with an open and angry tone and you can see \nthe eyes glaring and the angry expression before coming down to the “Si,\n vendetta.” This is tremendous. To adapt Callas expert John Ardoin’s \nview—Gobbi and Callas draw strength from the text and do so with such \nmodel diction that “we all but taste Piave’s words.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMESi\"\u003eRigoletto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nwas recorded in 1955, during which Callas was at her absolute peak. She \nsings delicately throughout, honing down the voice to great effect in \n“Caro nome.” Her duets with Gobbi are just magical and “Tutte le feste” \nblends in. The tenderness she exhibits in the whole of the last scene \nwith her father beginning “V’ho ingannato” and for example the slight \nextension of “O mio padre” is acting with the voice of the highest \ncaliber. Is there another soprano who characterizes like this? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere is a but, and that but is Di \nStefano. By 1955, although he was still in fine voice, his singing had \nbecome more open and “Questa o quella” is charmless—try Gigli in 1938, \nlive from Covent Garden. “La donna e mobile” has a lovely diminuendo in \nthe middle but is hardly a classy piece of singing, despite the face and\n presence he undoubtedly supplies in abundance throughout. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis transfer, an ambient stereo \ntransfer from Pristine, opens up the orchestra successfully. The brass \nin the Overture shine out as they have not done before, lifting the \ntension; however, there is still some inherent distortion in the \nrecording. This package is on two CDs with an attractive picture of \nCallas on the cover. There is no libretto. For two towering vocal \nfigures from the last century and a conductor who knew everything about \npacing, this set is still the top choice even if you buy another more \nmodern edition. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDavid Cutler\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:1 (Sept\/Oct 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO131.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCallas and Gobbi's classic 1955 Rigoletto in a superb new XR remaster\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"That\n one recording should continue to hold sway over many other attractive \ncomers after so long is simply a tribute to Callas, Gobbi, Serafin and \nWalter Legge\" - Gramophone, 2015\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eBetween the summer of 1954 and September 1955, the legendary EMI \nproducer Walter Legge recorded no less than six full operas at La Scala,\n Milan, with Maria Callas in a leading role. Rigoletto was the sixth of \nthese. It is almost impossible to imagine such a productive work-rate \ntoday, and yet this amazingly productive period, with Callas at the \nheight of her powers, produced some of the defining recordings of the \noperatic canon - not least the present offering. The recording team were\n by now exceptionally familiar with the venue, and in an era of mono \nrecording where the primary concern was capturing the voices and \nbalancing them against the instruments, rather than the stereo \npresentation of a staged drama that would soon follow, it was no doubt \neasier to make these recordings than it would later become.\u003c\/p\u003e\u003cp\u003eNevertheless, it took 13 days to record \u003cem\u003eRigoletto\u003c\/em\u003e, and in \nthis restoration I've encountered minor differences in recordings made \non different days - slightly intrusive traffic noise here, peak \ndistortion there - which I've hopefully dealt with to the listener's \nsatisfaction.Some minor pitch discrepancies have been ironed out. But \nthe main contribution here has been to open out the sound and lift \nsomething of a veil from the performance, with Ambient Stereo XR \nremastering bringing a greater sense of life, clarity and immediacy to \nthe proceedings throughout. Can it really be 60 years since this \nrecording was first released?\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e  \u003cspan\u003eRigoletto\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003eRecorded 3-16 September 1955\u003cbr\u003eTeatro alla Scala, Milan\u003cbr\u003eRecording producer: Walter Legge\u003cbr\u003eRecording Engineer: Robert Beckett\u003c\/div\u003e\u003cdiv\u003e\n\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003eRigoletto - \u003cb\u003eTito Gobbi\u003c\/b\u003e\u003cbr\u003eGilda - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eDuca di Mantova -\u003cb\u003e Giuseppe di Stefano\u003c\/b\u003e\u003cbr\u003eSparafucile - \u003cb\u003eNicola Zaccaria\u003c\/b\u003e\u003cbr\u003eMaddalena - \u003cb\u003eAdriana Lazzarini\u003c\/b\u003e\u003cbr\u003eGiovanna - \u003cb\u003eGiuse Gerbino\u003c\/b\u003e\u003cbr\u003eMonterone - \u003cb\u003ePlinio Clabassi\u003c\/b\u003e\u003cbr\u003eMarullo - \u003cb\u003eWilliam Dickie\u003c\/b\u003e\u003cbr\u003eBorsa - \u003cb\u003eRenato Ercolani\u003c\/b\u003e\u003cbr\u003eConte di Ceprano - \u003cb\u003eCarlo Forti\u003c\/b\u003e\u003cbr\u003eContessa di Ceprano - \u003cb\u003eElvira Galassi\u003c\/b\u003e\u003cbr\u003eUn usciere - \u003cb\u003eVittorio Tatozzi\u003c\/b\u003e\u003cbr\u003eUn paggio - \u003cb\u003eLuisa Mandelli\u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003e \u003c\/div\u003e\u003cp\u003e\n\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCoro e Orchestra del Teatro alla Scala, Milano\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003eTullio Serafin\u003c\/b\u003e, conductor\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO131.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO131.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975442445,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975442509,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975442573,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO131.jpg?v=1756366555"},{"product_id":"pasc404","title":"DE SABATA Complete Berlin Philharmonic Recordings (1939) - PASC404","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4 in E minor\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDeath and Transfiguration\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTristan und Isolde: Prelude \u0026amp; Liebestod\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAïda: Prelude to Act 1\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eKODALY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDances of Galánta\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRESPIGHI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Feste Romane\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio Recordings · 1939\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 06:21\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVictor de Sabata\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 90px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fVery enthusiastically recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese recordings were made by Deutsche \nGrammophon in Berlin in April 1939, and we would probably be better off \njust not to think about the political context of an Italian conductor \nworking in Berlin in 1939, with an orchestra bereft of its Jewish \nplayers. Ironically, de Sabata’s mother was Jewish, which should have \nled the Nazis to ban him from the podium by 1939, and should have led \nhim to refuse to be there! \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAll of that is so complicated, and \nwould require knowledge that we (despite our clear 20–20 hindsight), \ndon’t really have, that it is better to just concentrate on the music. \nAfter all, isn’t that what we do when we listen to the music of Wagner? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI am familiar with almost all of this material from DG LPs; only the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAida \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ePrelude\n was not in the collection I owned. For those who know the recordings, \nthe only question will be about Pristine’s sound quality, and I believe \nthey have done some of their finest work here. The producer of the set \nis Mark Obert-Thorn, one of the most respected transfer engineers \nworking today. These were never great-sounding recordings. They were not\n made in a good hall, but rather in a recording studio on Alte \nJacobstrasse, with the lack of richness and resonance implied by that \nfact. In some cases, where richness of orchestral color is an essential \ningredient in the music (Strauss and Respighi) this is a flaw that \nlimits enjoyment of the performances. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBut what comes through in all cases is \nthe extraordinary conducting genius of de Sabata. Virtually all \ncollectors know of this from his work on the first Callas \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTosca\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n a classic that has never been out of print since its first release. \nOther collectors know of his fine Verdi Requiem. A handful may be \nfamiliar with Nuovo Era 013.6337, a New York Philharmonic 1951 Wagner \nconcert performed at a remarkable level of white heat, and featuring \nEileen Farrell. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFew conductors have understood as well \nas de Sabata does instinctively the principles of tension and release as\n an important element of performance. One creates that element through \ntempo, dynamic, and harmonic manipulation of the music. Holding back \nhere, accelerating there, carefully grading dynamic changes and relating\n them to tempo changes, and emphasizing certain harmonic shifts, all of \nthese are elements of tension and release. Overdo it and it becomes a \nmannerism, a tiresome trick that makes the listener feel manipulated. \nUnderplay it and the performance fails to engage. It is that element as \nmuch as anything that underlines that EMI \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTosca \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003efrom\n beginning to end, and de Sabata not only brings that knowledge to the \norchestra, but to Callas and Gobbi, and even to some extent to di \nStefano as well. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHere the conductor’s mastery of \ndramatic progression is evident throughout, never more so than in the \nmost dramatic (and many would say tragic) of Brahms’s symphonies. The \n1939 Berlin Philharmonic was not, in fact, the great instrument it had \nbeen before it was robbed of some of its most important players, let \nalone that it is today. Some of the string playing is not quite in \nperfect unison, and can be just a touch crude. But none of that is \nserious enough to detract from this wonderfully free, Romantic-styled \nperformance. If your ideal in this music is Weingartner, this is not \nlikely to appeal. De Sabata is free with rubato, uses a wide range of \ndynamics, and a strong degree of portamento, though always tasteful and \nalways very effective. His internal rhythmic pulse is unerring and firm,\n and this Brahms has a sense of inevitability, an inexorable momentum \nfrom beginning to end. Interestingly, the brief note included in the \njewel box by Pristine quotes a 1999 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ereview\n that says: “In all these performances, the string playing is \nphenomenal, as is de Sabata’s way of etching phrasing and dynamics into \nthe mind and imagination.” I agree with the second half of that \nsentence, but at least in the Brahms don’t quite find that unanimity in \nthe strings that the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ecritic did. But please do not over-react to that reservation; it is truly a minor one when viewed against the whole. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn the Wagner, however, suddenly the \nstrings are at a different level. The richness and beauty of sound \novercomes, for the most part, the dry acoustic of the recording studio, \nand de Sabata’s ability to create that big arch from beginning to end, \nthrough carefully judged dynamics, so that the one true climax comes \nnear the end of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLiebestod\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Here is a perfect example of tension and release. Wagner created it in \nthis music, and de Sabata brings it to life. The final release is not \neven that big climax, but rather the final chord of the Liebestod. Only \nthen do we let our breath out. De Sabata gives us a thrilling \nperformance of this music, one that doesn’t let up for a second. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePerhaps the biggest surprise is the \nKodály. I had not heard this in years, and forgot just how lively it \nwas, sparking with energy and rhythmic vitality, and a surprising range \nof orchestral color. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDeath and Transfiguration \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehas\n many of the same qualities as the Wagner, with beautifully sustained \nlong phrases. The performance of the Respighi is at the same level, but \nthat is music that requires a more modern stereophonic recording. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs indicated above, Pristine’s \ntransfer is superb, with a richness that I do not remember from the DG \nLPs or any prior release. Minimal notes with the disc, but more \navailable online, and you can order this from Pristine as a download or \nCD. Very enthusiastically recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:6 (July\/Aug 2014) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThomas Beecham, the saying used to go \nin London, conducted “red hot.” But Victor de Sabata was “white hot.” I \nthought of this as I listened to Mark Obert-Thorn’s excellent sonic \nrestorations of de Sabata’s Berlin Philharmonic recordings from 1939. \nThe very circumstances of the performances give anyone with a capacity \nfor irony a shiver. Here is a half-Jewish conductor, but a personal \nfriend of Mussolini’s (and predictably scorned by Toscanini), performing\n with Hitler’s largely de-Semitized Berlin Philharmonic under the gimlet\n eye of the authorities, and getting magnificent results just before the\n outbreak of the Second World War. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe genius of art and political \nrevisionism of conscience are seldom on the same page, so we do best \nhere to leave 1930s politics alone and make only musical judgments. The \nmore I listen to de Sabata, the more I conclude that his music making \nrepresents how the PR machine of the day suggested Toscanini was \nsupposed to sound—but didn’t. De Sabata has the sort of fire in pressing\n forward that we associate with Toscanini, but not the stiffness and \nseeming indifference to moments of expansion that so tarnish this \nconductor’s presumed greatness. Reiner might be a better comparison. And\n Carlos Kleiber, better still. Or Solti on a very good day. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOne of the compelling things about de \nSabata’s Brahms Fourth is the extensive and organic use of portamento. \nIt is a swiftish, slithery performance, and the string slides are as \nintuitive and natural as breathing. Portamento has now returned to \nmodern orchestral practice, but for a long time was derided as the \nsaccharin-sickly equivalent of “Home Sweet Home” needlepoint kitsch. But\n the symphony flows beautifully because of it, and the Berlin \nPhilharmonic strings are to die for, even in 1939. This is how \nportamento is surely supposed to work. All these recordings are studio \nproductions, and they unfortunately do not convey the hall reverberation\n we get from Willem Mengelberg’s 1939 Mahler Fourth, for example. \nFortunately, the recordings are dry without being distorted. Even the \ntape hiss sounds smooth and bright—as easily forgotten as the rain \noutside. Mark Obert-Thorn at Pristine is the engineer behind the \ntransfer, and compared to other pressings of these releases by de \nSabata, such as those on the Urania label, he achieves a more natural \nsounding orchestral balance, largely eliminating the blatty upper \nmidrange dominance which so dates recordings in our ears. Some things he\n can do nothing about. The timpani are consistently just barely audible,\n and in the scherzo nearly impossible to hear. This movement would be \ncalled “light,” except for the fact one that one suspects it wasn’t with\n a proper lower end. Obert-Thorn is a bit more conservative than \nPristine’s Andrew Rose, who frequently manages to inject helpful \nout-of-phase material into the restoration process. Even so, this is \nvery listenable. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTo my surprise, though, I find that \nthere exists a different restoration of the Brahms, the Strauss, and \nhalf of the Tristan music on the FONO label, remastered with the Cedar \nSound System. Cedar is a British manufacturer of mixing equipment, and \nits restoration process evidently features the addition of \nreverberation. There is so much back channel information here, that one \nalmost forgets that de Sabata’s performances are monaural, much less \nacoustically challenged. There are places in the Strauss where this \nturns slightly artificial and metallic—I would have used less—but \noverall, I find the added reverberation a natural and undistracting \nimprovement. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI only wish Pristine had done something similar with the Respighi \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFountains of Rome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n I am not as enthusiastic as I might be about this performance, whose \nopening sounds rushed to me in a frantic attempt to fill out dead spots \nin the sound—shades of Toscanini chasing non-existent echoes in Studio \n8H. But, this compilation of all the Berlin recordings under one \nacoustic roof is nonetheless valuable. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Strauss and Wagner performances are as intuitively right as the Brahms. I’m particularly struck by how human the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTristan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n music sounds. De Sabata manages to vary the dynamics moment for moment \nwith slight but very personal changes in mood, all the while building \nthe sonority as we would expect. And the music arches perfectly, not \njust towards the great “love-death” climax, but towards the last chord \nitself. Compared to Karajan in both pieces, one notices that the later \nconductor tends to terrace his dynamics a bit portentously and make the \nmusic sound institutional and less personal. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt should be no surprise to learn that \nde Sabata conducts the Verdi prelude beautifully and with real power. \nNor should we think the Kodály an eccentric choice: De Sabata is fully \nmaster of its compelling rhythms, if not perhaps able to convey the \ngorgeousness of color available on later recordings. (I’m thinking of \nOrmandy here). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThese two CDs represent the best \norchestral playing de Sabata had the good fortune to leave us as a \nrecord of his art, well collected in one place. And as usual with great \nconductors from the past, we are stuck with the realities of the day. \nGratitude and frustration mixed together....Music, after all, is a \nvanishing art. Its greatest moments vanish in two seconds. And great men\n of the baton live or die seemingly to shadow-box the air. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eSteven Kruger\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:6 (July\/Aug 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC404.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eDe Sabata's magnificent Berlin Philharmonic recordings together for the first time\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e“De Sabata’s account of the Kodaly is thrilling, and the Respighi is, quite simply, sensational: definitive.” - Gramophone, 1999\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003eAt the time Victor de Sabata made these recordings, his discography \nwas limited to eight sides of mainly short works recorded with an \nItalian radio orchestra in 1933. This was disproportionate to his rising\n international reputation as a conductor, both in the opera house (as \ndirector of La Scala since 1930 and a frequent guest at the theatres of \nVienna and Berlin) and as an interpreter of the symphonic repertoire.\u003cp\u003eAlthough he would go on to record two more series of orchestral works\n (with the London Philharmonic in 1946 and the Santa Cecilia Orchestra \nin 1947-48) as well as the Requiems of Mozart and Verdi and an \nunsurpassed version of Puccini’s Tosca with Maria Callas, the Berlin \nrecordings occupy a special place in his slim commercial discography. \nThey feature uniformly superb performances – boldly conceived, \nrhythmically flexible and executed with tremendous verve and a minute \nattention to detail. Never again would de Sabata work with an ensemble \nof this calibre for a symphonic commercial recording session. While all \nof the works have appeared before on compact disc, this is the first \ntime they have been assembled in one place (an earlier Pearl set having \nomitted the rare Aïda Prelude).\u003c\/p\u003e\u003cp\u003eThe sources for the transfers were yellow-label postwar DGG pressings\n for the Strauss, Verdi, Kodaly and Respighi items; picture-label \nGrammophon “Meisterklasse” pressings for the Brahms set and black-label \nGrammophon discs for the Wagner.\u003c\/p\u003e\u003cp class=\"western\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e  Symphony No. 4 in E minor, Op. 98\u003cbr\u003eRecorded 11, 13, 14 \u0026amp; 17 March 1939\u003cbr\u003eMatrix nos.: 1079\/80, 1057, 1061\/2, 1068\/9, 1059\/60, 1064 \u0026amp; 1070 GS 9\u003cbr\u003eFirst issued on Grammophon 67490\/5s\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cb\u003eR. STRAUSS\u003c\/b\u003e  Death and Transfiguration, Op. 24\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eRecorded 18 \u0026amp; 31 March and 6, 11 \u0026amp; 12 April 1939\u003cbr\u003eMatrix nos.: 1107, 1072, 1108, 1074, 1097 \u0026amp; 1076 GS 9\u003cbr\u003eFirst issued on Grammophon 67516\/8\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e  Tristan und Isolde – Prelude and Liebestod\u003cbr\u003eRecorded 7, 8, 11 \u0026amp; 12 April 1939\u003cbr\u003eMatrix nos.: 1096, 1098\/9, 1105\/6 GS 9\u003cbr\u003eFirst issued on Grammophon 67496\/7s \u0026amp; 67498\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eVERDI\u003c\/b\u003e  Aïda – Prelude \u003cbr\u003eRecorded 11 or 12 April 1939\u003cbr\u003eMatrix no.: 1104 GS 9\u003cbr\u003eFirst issued on Grammophon 68395\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eKODALY\u003c\/b\u003e  Dances of Galánta\u003cbr\u003eRecorded 7, 8, 11 \u0026amp; 12 April 1939\u003cbr\u003eMatrix nos.: 1100\/3 GS 9\u003cbr\u003eFirst issued on Grammophon 67525\/6\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eRESPIGHI \u003c\/b\u003e Feste Romane\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eRecorded 1, 5 \u0026amp; 6 April 1939\u003cbr\u003eMatrix nos.: 1087\/90 \u0026amp; 1094\/6\u003cbr\u003eFirst issued on Grammophon 67510\/3s\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003e\u003cbr\u003eBerlin Philharmonic Orchestra · Victor de Sabata\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Special thanks to Nathan Brown and Charles Niss for providing source material\u003c\/p\u003e\n\u003cp\u003eAll recordings made in the Alte Jacobstrasse Studio, Berlin\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC404.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC404.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":90080641050,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":90080673818,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC404.jpg?v=1501752114"},{"product_id":"paco054","title":"MOLAJOLI Verdi: Aida (1928) - PACO054","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAïda\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in Milan, 1928\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 17:19\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eGiannina Arangi-Lombardi\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaria Capuana\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eTancredi Pasero\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus of La Scala, Milan\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMilan Symphony Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eConducted by\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Lorenzo Molajoli\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fGiannina Arangi-Lombardi, ideal as Aida, with wonderful tone and legato and stunningly controlled moments of pianissimo singing578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe first two complete recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAida\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n both performed by La Scala forces, date from 1928. Lorenzo Molajoli’s, \nthe first, originally issued on Italian Columbia, now appears on \nPristine Audio in a restoration by Ward Marston that adds reverb to the \nrecording’s original dry acoustic and, I assume, provides the best \npossible sound. The orchestra sounds somewhat dim, but there’s a vivid \nand natural presence to the voices. Carlo Sabajno’s version, originally \nreleased on HMV, has been more frequently reissued than Molajoli’s \nperformance. In my opinion, no subsequent recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAida\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e are as musically satisfying as either of these authoritative versions made when the work was not yet 60 years old. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMolajoli paces the music with an \nadmirably unfussy combination of flexibility and vigor. Compared to \nSabajno, his conducting doesn’t draw attention to itself; the music \nproceeds with complete naturalness. Sabajno goes deeper, taking some \nslower tempos that result in greater intensity. He makes much more of \nthe opening prelude, for instance. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe finest performance for Molajoli is by Giannina Arangi-Lombardi, ideal as Aida. Trained as a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ebel canto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n soprano, she meets the role’s technical demands easily with wonderful \ntone and legato, a strong lower register, a feel for the drama, and \nstunningly controlled moments of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epianissimo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e singing. Her two arias are delivered almost at the level of Ponselle, of whom she reminds me. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMaria Capuana, like Irene \nMinghini-Cattaneo for Sabajno, is up to the demands of Amneris, with \nsoaring tone in the role’s many soprano-like passages and strength in \nits dramatic, lower range. Her caressing way with the opening phrase of \nact II, scene 1 (the duet with Aida), one of the most beautiful musical \nlines that Verdi ever wrote, surpasses my previous favorite performance \nof it by Rita Gorr in Solti’s excellent studio \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAida. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRadamès is sung by Aroldo Lindi, a \nhealthy-voiced Swedish tenor (born Gustav Harald Lindau). He doesn’t \nfully characterize the role—“Celeste Aida” ends crudely and he sounds \nuninvolved in the final duet—but he’s by no means bad. In fact, if he \nwere to step onstage today as Radamès, some might proclaim a bright, new\n era of Verdi singing. However, Lindi is far outshined by the Radamès of\n Aureliano Pertile, for Sabajno, a verismo-style performance that has \nits detractors, but is for me the greatest version of the role ever \nrecorded, emotionally volatile and vocally thrilling. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMolajoli’s Ramfis and King are well \nsung by two renowned basses, Tancredi Pasero and Salvatore Baccaloni, \ncaptured at the beginning of their careers. Armando Borgioli sings, \nrather than barks, the role of Amonasro with fine sound and phrasing. \nAll three are superior to their counterparts on the Sabajno recording. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eWhile I highly recommend this \nrecording, I can’t help but regret that HMV and Italian Columbia didn’t \njoin forces in 1928 to create what would have been an \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAida \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003efor\n the ages. Led by Sabajno, the cast could have consisted of \nArangi-Lombardi as Aida, Pertile as Radamès, and either Minghini-Cataneo\n or Capuana as Amneris, along with Borgioli, Pasero, Baccaloni and the \nimpressive, uncredited soprano who sings the Priestess for Molajoli. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003ePaul Orgel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 34:5 (May\/June 2011) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO054.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eColumbia's superb full recording of Aida - La Scala, Milan, 1928\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eAnother excellent new transfer by Ward Marston\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eIn the fall of 1928, His Master’s Voice and Columbia each embarked on recordings of Verdi’s \u003cem\u003eAida\u003c\/em\u003e,\n HMV in October followed by Columbia in November. Both were recorded in \nMilan, and each could boast a cast of singers with well-established \ncareers. Both were also in the hands of excellent conductors. About 12 \nyears ago, I produced a digitally remastered transfer of the HMV \nrecording for the Romophone CD label, but until now, the Columbia \nrecording has not had a proper digital reissue.\u003c\/p\u003e\u003cp class=\"body\"\u003eThis recording gives one a very clear idea of a typical 1920s \u003cem\u003eAida\u003c\/em\u003e\n performance which could have been heard at any number of Italian houses\n during the 1920s. It features the outstanding soprano, Giannina \nArangi-Lombardi, 1891- 1951. Having made her debut in 1921 as a mezzo, \nArangi-Lombardi was advised to switch to soprano roles, and she made her\n La scala debut in 1924 as Elena in Mefistofele. During the following 15\n years, she appeared throughout Europe and South America, though she \nnever sang in London or Paris. Fortunately, one can hear her in three \nother complete operas recorded by Columbia: \u003cem\u003eCavalleria Rusticana\u003c\/em\u003e, \u003cem\u003eMefistofile\u003c\/em\u003e, and \u003cem\u003eLa Gioconda\u003c\/em\u003e. \u003cem\u003eAida\u003c\/em\u003e\n was one of her most important roles, and she gives it a most individual\n approach. Her high C in “O patria mia” is lovely. Her only flaw is that\n she has some intonation difficulty at the top of her range during forte\n passages. She is joined by the equally renound mezzo, Maria Capuana who\n gives a sensational 1920s rendering of Amneris. The Radamès here is the\n Swedish tenor, Aroldo Lindi, born Gustav Harald Lindau, 1888-1944. The \npossessor of a loud dramatic voice, he sadly is not up to the rest of \nthis cast. The other singers all sing well, especially Tancredi Pasero \nas Ramfis. The conducting by Lorenzo Molajoli is up to his usual \nexcellent standard.\u003c\/p\u003e\u003cp class=\"body\"\u003eThis recording was made in what sounds like a rehearsal \nstudio with very dead acoustics. I have added a small amount of \nartificial reverberation in order to give it a bit of ambiance. The \norchestral and voices are usually well-balanced, although there is a \nnoticeable degradation of the sound at the ends of some of the longer \nsides. The voices are well-recorded except during the most intense \npassages where the recording equipment was simply incapable of handling \nthe high levels. During these moments, there occurs severe distortion \nwhich is only slightly remediable.\u003c\/p\u003e\u003cp class=\"body\"\u003eThis transfer was made using two excellent condition \nsets of American Columbia pressings, which yield quieter surfaces than \nany of the European editions. In order to achieve the best possible \nsound, each side was tested using a variety of stylus sizes and shapes. I\n used CEDAR de-clicking and de-crackling, but did not need to use any \ndigital de-noising software. It should be noted that in the American \nedition, side 27 is a dubbing and not the original master recording. For\n this side, I used an Italian pressing which was pressed from the \nmaster.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eWard Marston\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track and Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eVERDI \u003c\/b\u003e- Aida\u003cbr\u003e Aïda - \u003cb\u003eGiannina Arangi-Lombardi \u003c\/b\u003e\u003cbr\u003e Amneris - \u003cb\u003eMaria Capuana \u003c\/b\u003e\u003cbr\u003e Radamès - \u003cb\u003eAroldo Lindi \u003c\/b\u003e\u003cbr\u003e Amonasro - \u003cb\u003eArmando Borgioli \u003c\/b\u003e\u003cbr\u003e Ramfis - \u003cb\u003eTancredi Pasero \u003c\/b\u003e\u003cbr\u003e Il re - \u003cb\u003eSalvatore Baccaloni \u003c\/b\u003e\u003cbr\u003e Un messagero - \u003cb\u003eGiuseppe Nessi \u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eChorus of La Scala, Milan\u003c\/b\u003e\u003cbr\u003e Directed by \u003cb\u003eVittore Veneziani \u003c\/b\u003e\u003cbr\u003e \u003cb\u003e\u003cbr\u003e Milan Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e Conducted by \u003cb\u003eLorenzo Molajoli\u003c\/b\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eSource information:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded on 36 sides by Italian Columbia, Milan: 8, 10, 12-17, 19-21, 23, 26, 28 November, and 1 December 1928. \u003cbr\u003e \u003cbr\u003e \u003cb\u003eMatrices in side order\u003c\/b\u003e:\n WBX422, 398, 375, 384, 414, 385, 394, 410, 412, 411, 386, 387, 407, \n396, 391, 389, 392, 415, 413, 397, 393, 403, 400, 406, 408, 399, 416 \n402, 401, 423, 424, 404, 405, 390, 388, 395 \u003cbr\u003e \u003cbr\u003e \u003cb\u003eFirst issued on Italian Columbia 9726-9743\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO054.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO054.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":33978462349,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps mono MP3","offer_id":33978462413,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO054.jpg?v=1489394154"},{"product_id":"paco106","title":"TOSCANINI All-Verdi Concert (1943) - PACO106","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLuisa Miller - Don Carlo - Un ballo in maschera  -La forza del destino - Rigoletto excerpts\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recording · 1943\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 64:14 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGertrude Ribla, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNan Merriman, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003emezzo-soprano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJan Peerce, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003etenor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFrank Valentino, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ebaritone\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNicola Moscona, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ebass\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003cbr class=\"bodybigblue\" data_liveedit_tagid=\"000000000D776290\"\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fNever have I heard the entire broadcast in such excellent sound ... one of the greatest of all Toscanini concerts578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis, one of the greatest of all \nToscanini concerts, is finally presented here in outstanding quality \nsound. It has been floating around on various pirate issues for years, \nbut almost always in dry, boxy, cramped sound. (You can hear a typical \nexample of what it sounded like previously at \nyoutube.com\/watch?v=F5qQ2OAYi34.) In the brief liner notes, Andrew Rose \nstates that he was able to restore this concert “from a set of very high\n quality acetate dubs supplied to me by a donor who prefers to remain \nanonymous,” to which he gave “the notoriously dry 8H sound just the \nslightest bit of acoustic softening, retaining the directness Toscanini \ndesired whilst just slightly rounding out the voices and orchestra tone \nwith the merest hint of Sydney Opera House convolution reverb.” Thus \nthose of you who are Toscanini Purists, and only wish to hear his \nrecordings in their dead, cramped, airless original acoustic, are \nforewarned. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat makes this concert so wonderful to\n me is that it is not conducted in the taut, relatively uninflected \nstyle which came to characterize so many (but not all) Toscanini \nperformances of the period 1943–47. On the contrary, it is much closer \nin style and feeling to his New York Philharmonic performances of the \nearly-to-middle 1930s, which even such notorious Toscanini haters as \nJoseph Horowitz deem fit to rave about. Toscanini’s phrasing in “O don \nfatale,” “Eri tu” and “Pace, pace mio Dio” is expansive and elastic, \nsurprisingly so when one considers how tense he was over the events of \nthe war. (This was the broadcast during which Mussolini’s downfall was \nannounced, prompting Toscanini’s clutching his hands and looking \nheavenward while the NBC audience erupted in applause, but this came \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eafter \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehe had already performed the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLuisa Miller \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture and the various arias, and those were also relaxed and expansive performances.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAttention is drawn in this concert to \nsoprano Gertrude Ribla (birth name Ribler, 1914–1980), of whom this is \none of only two recordings known to me. (The other is a complete RCA \nVictor studio recording of Raffaello de Banfield’s obscure opera \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLord Byron’s Love Letter, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ein\n 1958.) This concert, which is the only example of her singing I’ve \nheard, reveals her to have been a remarkably fine vocalist and a \nfascinating interpreter. The voice is bright but also powerful, able to \nascend the scale to high Cs without apparent effort, and just youthful \nenough to make her a much more appropriate-sounding Gilda than Zinka \nMilanov, whom Toscanini used a year later in the much more famous \nreprise of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRigoletto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eact\n III at his famous Madison Square Garden concert using both the NBC \nSymphony and New York Philharmonic. Comparing the baritones, I won’t say\n that Frank Valentino is the equal of young Leonard Warren, who sang the\n title role in 1944, but he more than holds his own. In fact, Valentino \nin this act reveals a fine grasp of the character’s moods and feelings, \nchanging them at various points like a chameleon. The other three \nsingers—Peerce, Merriman, and Moscona—repeated their roles in 1944, and \nsound pretty much the same, but within these more flexible tempos \n(particularly in “La donna è mobile,” where Toscanini actually utilizes a\n slight rubato effect in the second half of each strophe, a performance \npractice that harks back to at least the era of Bonci and Caruso) his \nsinging is somewhat more relaxed and more engaging. There is any number \nof such touches throughout this performance, great and small, but the \nbottom line is that \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethis \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ebroadcast has the feel of an actual stage performance, like Toscanini’s 1937 Salzburg \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFalstaff, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewhereas the 1944 one has the feel of a “symphonic synthesis on themes from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRigoletto,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e” which is not the same thing. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs for the transfer, it is immaculate \nin sound quality. Never have I heard the entire broadcast in such \nexcellent sound, though to be honest the V-Disc issues of the “Pace, mio\n Dio” and “O don fatale” always had clearer, cleaner sound than the \ntransfers I’ve heard of the whole concert. The only glitch I noticed was\n a skip in the grooves at the 19-minute mark of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRigoletto, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewhich\n surprised me that it was not corrected. Otherwise, this is a fabulous \nreissue. Many years ago, when RCA finally issued the superior \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLucia \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003esextet\n that Caruso made with Luisa Tetrazzini on LP, the late critic Tom \nVillella suggested that the far inferior (but more famous) version with \nAmelita Galli-Curci be permanently retired. I would make the same \nsuggestion for the Milanov version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRigoletto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eact\n III. This is by far the greater and more impressive performance, and I \nfor one will never listen to the Milanov version again except to get a \ngood laugh from her clumsy, over-heavy, matronly Gilda. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eLynn René Bayley\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:2 (Nov\/Dec 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO106.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's historic 1943 all-Verdi War Bonds concert in fabulous sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLive on air as news of Mussolini's downfall came through - an electric moment in history\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis recording was restored from a set of very high quality acetate \ndubs supplied to me by a donor who prefers to remain anonymous. The \nsound quality of these is unprecendented and gave me a huge head start \nin preparing this release. For extended sections I was lucky enough to \nhave two different copies to choose from with different degrees of wear -\n each side lasted roughly a quarter of an hour. Wear and tear was uneven\n across the entire concert, with lengthy sections of the broadcast \nimmaculate, but elsewhere surface noise clearly in evidence and \nrequiring extensive restoration work.\u003c\/p\u003e\u003cp\u003eI have preserved the concert exactly as broadcast save for two cuts: \nthe long interval talk by short-wave radio has been faded out at the \nstart then back in at the end, and the look-ahead in Ben Grauer's \nclosing announcement has been cut. Elsewhere you'll hear evidence of a \nlack of communication between Grauer and Toscanini as the music cuts \nacross two of the announcements. I've also retained the newsroom \nannouncement of the end of Mussolini's reign over Italy as broadcast.\u003c\/p\u003e\u003cp\u003eThese are, however, mere historical details. What's most important is\n of course the music, which has been superbly preserved here. I've given\n the notoriously dry 8H sound just the slightest acoustic softening, \nretaining the directness Toscanini desired whilst just slightly rounding\n out the voices and orchestral tone with the merest hint of Sydney Opera\n House convolution reverb, an acoustic which seemed most sympathetic to \nthe performances.  \u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003eVERDI Luisa Miller:\u003c\/b\u003e Overture; “Quando le sere,” \u003cem\u003ewith Jan Peerce, tenor\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eVERDI Don Carlo:\u003c\/b\u003e “O don fatale,” \u003cem\u003ewith Nan Merriman, mezzo-soprano\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eVERDI La forza del destino:\u003c\/b\u003e “Pace, pace, mio Dio,” \u003cem\u003ewith Gertrude Ribla, soprano \u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eVERDI Un ballo in maschera:\u003c\/b\u003e “Eri tu,” \u003cem\u003ewith Frank Valentino, baritone\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eVERDI Rigoletto:\u003c\/b\u003e Act III, \u003cem\u003ewith all of the above and Nicola Moscona, bass\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003eGertrude Ribla\u003c\/b\u003e - soprano\u003cbr\u003e\u003cb\u003eNan Merriman\u003c\/b\u003e - mezzo-soprano\u003cbr\u003e\u003cb\u003eJan Peerce\u003c\/b\u003e - tenor\u003cbr\u003e\u003cb\u003eFrank Valentino\u003c\/b\u003e - baritone\u003cbr\u003e\u003cb\u003eNicola Moscona\u003c\/b\u003e - bass\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArturo Toscanini\u003c\/b\u003e - conductor\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eBroadcast recording from NBC Studio 8H\u003cbr\u003eNew York City, 25 July 1943\u003cbr\u003eBroadcast live by NBC, 5.00 - 6.15pm\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO106.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO106.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eA Moment In History\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eIt was during this broadcast that Mussolini’s downfall was announced. Harvey Sachs has described what occurred in the studio:\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cem\u003eToscanini and soprano Gertrude Ribla \nhad just left the stage when an announcement was broadcast into the hall\n and over the air: Benito Mussolini had been deposed. Toscanini, beside \nhimself, rushed back on the stage, clasped his hands and gazed \nheavenwards, in a sign of thanksgiving, while the audience, equally \nbeside itself, applauded, cheered, screamed, and all but tore the studio\n to pieces.\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eNone of this bedlam could have been apparent to those listening on \nthe radio. Two announcements of Mussolini’s deposition went over the \nair, the first in an intermission talk carried by shortwave from the \nPacific given by Admiral Harold R. Stark. It was probably during this \ntalk that the audience erupted. After Stark concluded, the broadcast \nswitched to the NBC newsroom, where a “roundup of the important events \nof the day from Italy” was given that included a second announcement of \nthe deposition. When Ben Grauer then returned to introduce Act III of \nRigoletto, no audience reaction was evident.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eFrom \u003cb\u003e\"Arturo Toscanini: The NBC Years\"\u003c\/b\u003e by\u003cb\u003e Mortimer H. Frank\u003c\/b\u003e, Amadeus Press\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31976025101,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976025229,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31976025357,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976025421,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO106_9648b042-63a5-4f69-b3e9-19c062253bcf.jpg?v=1487682678"},{"product_id":"paco035","title":"TOSCANINI Verdi: Falstaff (1937) - PACO035","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eFalstaff\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eSalzburg Festival, 9th August 1937\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Total duration: 122:25\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSoloists\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna State Opera Ballet \u0026amp; Chorus\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fRelaxed, detached yet in full control and able to extract the very essence of Verdi's operatic and dramatic intentions578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis \u003ci\u003eFalstaff\u003c\/i\u003e is not the Toscanini recording described\n                by \u003ci\u003eGramophone\u003c\/i\u003e as 'one of the greatest of all operatic\n                sets, and one of Toscanini's most perfect operatic recordings'.\n                It's a re-engineering of the full live performance staged in\n                August 1937 at the Salzburg Festival. That \u003ci\u003eFalstaff\u003c\/i\u003e was\n                actually the second of three remarkable performances by Toscanini\n                at the height of his powers … relaxed, detached yet in\n                full control and able to extract the very essence of Verdi's\n                operatic and dramatic intentions. This was the same year in which\n                the conductor had successes at Salzburg with \u003ci\u003eFidelio\u003c\/i\u003e, \u003ci\u003eZauberflöte\u003c\/i\u003e and \u003ci\u003eMeistersinger\u003c\/i\u003e. \u003cbr\u003e\n                \u003cbr\u003e\n                This \u003ci\u003eFalstaff\u003c\/i\u003e has been transferred by Andrew Rose - not\n                from the collection of selenophone film at the New York Public\n                Library - which was used for another recent CD - but from a series\n                of six LPs containing a 'private recording'. The same performance\n                (presumably from another source) was also previously issued on\n                Andante (AN3080) with a recording - for comparison - of the same\n                opera by Karajan from 20 years later with the same orchestra\n                but, frankly, a weaker cast of soloists. \u003cbr\u003e\n                \u003cbr\u003e\n                These CDs from French Pristine Audio come minimally packaged:\n                the two in a single jewel case with next to no liner-notes. The\n                recording is also available from the Pristine website as a zipped\n                MP3 download. Given the age and roughness of the mono source,\n                the sound quality - although by no means high fidelity - is more\n                than adequate for you to enjoy Verdi's last opera. \u003cbr\u003e\n                \u003cbr\u003e\n                Almost the first thing you'll notice is that this \u003cb\u003eis\u003c\/b\u003e a\n                stage recording. You're well aware not just the 'noises off'\n                (applause, coughing) but also of the movement, 'business' and\n                dialogue. In the end these actually add to the experience. The\n                action of \u003ci\u003eFalstaff\u003c\/i\u003e is concentrated and inward-looking:\n                these performers convey a sense of great immediacy. Just what\n                the work needs. This includes the orchestra, which is closely\n                recorded. To bring the comedy to life and make the deceptions,\n                characterisation and shifts in the players' fortunes as vivid\n                as possible there needs to be a sense of space. Space in which\n                to mirror the body language, for example, and illuminate the\n                way the personalities interact and react to the twists in their\n                (mis)fortunes. \u003cbr\u003e\n                \u003cbr\u003e\n                After all, Verdi described \u003ci\u003eFalstaff\u003c\/i\u003e as a \u003ci\u003ecommedia lirica\u003c\/i\u003e,\n                Toscanini's is more of a dramatic conception. Comedy is not missing:\n                the delivery of the principals (Stabile, Biasini, Borgioli and\n                Somigli, in particular) is forward, pressing and zesty. This\n                is particularly true, for example, towards the end of Act II\n                [CD.2 trs.1-3]: there is an almost tangible energy in the coming\n                and going, the bustle, and in the ways in which the mischief\n                is ever more deeply confounded. But - as later, more detached,\n                scenes show - there was never rush or busyness for their own\n                sake in this performance. \u003cbr\u003e\n                \u003cbr\u003e\n                With the exception, really, of the Fenton-Nannetta interest,\n                the plot of \u003ci\u003eFalstaff\u003c\/i\u003e is simple and linear. Toscanini elicits\n                from his players and singers an equally closely and clearly driven\n                account of the events of a few intense days in such a way that\n                their characters (foibles, weaknesses, constancy, self-deception)\n                are transparent - yet still… entertaining! Each action,\n                dialogue, solo and exchange somehow contributes to a greater\n                sense of their selves. \u003cbr\u003e\n                \u003cbr\u003e\n                As is often the case with Toscanini, it's the ensemble work (so\n                important in \u003ci\u003eFalstaff\u003c\/i\u003e) that strikes one. Not just a singleness\n                of purpose or sense of team-work; but also that the soloists\n                derive the life and interpretative impetus from a source - Shakespeare,\n                when all said and done - in which they all obviously believe. \u003cbr\u003e\n                \u003cbr\u003e\n                This is unlikely to be most people's first choice as a \u003ci\u003eFalstaff\u003c\/i\u003e.\n                Yet it's much more than a historical document. It has persuasive\n                performances … Stabile's Falstaff, Borgioli's Fenton and\n                Biasini's Ford in particular. Their interpretations suggested\n                (let's not say 'dictated') the approach for a generation or two.\n                The boxy sound and lack of libretto or background material are\n                minor drawbacks. \u003cbr\u003e\n                \u003cbr\u003e\n                If you appreciate the huge contribution which Toscanini made\n                to music-making in the first half of the last century; if you\n                want a valid and special \u003ci\u003eFalstaff\u003c\/i\u003e; if you want to get\n                to know the opera anew or see it in a new light after such performances\n                as those by Abbado with the Berlin Philharmonic on DG (471194)\n                or Solti with the RCA Italian Opera Chorus and Orchestra on Decca\n                (425002), this effective reissue is worth a look. \u003cbr\u003e\n                \u003cbr\u003e\n                \u003cb\u003e\u003ci\u003eMark Sealey\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv style=\"overflow: hidden; color: rgb(0, 0, 0); background-color: rgb(255, 255, 255); text-align: left; text-decoration: none; border: medium none;\"\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO035.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's superb 1937 Falstaff newly restored \u0026amp; remastered\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eOne of the greatest recordings, now given the full Pristine XR treatment\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis remarkable recording, made at a full, live stage \nperformance at the Salzburg Festival in August 1937, was the second of \nthree performances given by Toscanini during the festival, during which \ntime he also conducted Beethoven's \u003cem\u003eFidelio\u003c\/em\u003e, Mozart's\u003cem\u003e Die Zauberflöte\u003c\/em\u003e and Wagner's \u003cem\u003eDie Meistersinger von Nürnberg\u003c\/em\u003e.\n In deciding to remaster it from the particular source available to me -\n six LP sides in a \"private recording\" set of discs issued by \"Penzance \nRecords\", I was well aware of the potential inadequacies of the source \nmaterial and thus the possible limitation of results.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe main source for this recording exists as a \nselenophone film at the New York Public Library, and was the source for a\n recent CD issue (\u003cspan class=\"bodymidarial\"\u003eread more about the Selenophone in \u003ca href=\"https:\/\/web.archive.org\/web\/20150920000510\/http:\/\/www.nytimes.com\/1990\/01\/02\/arts\/racing-against-time-to-save-recordings-of-toscanini-s-work.html?pagewanted=all\" target=\"_blank\"\u003ethis 1990 NY Times article\u003c\/a\u003e\u003c\/span\u003e).\n With this unavailable to me, the decision to work from these LPs was \ntaken after considerable investigation into their sound quality, when \ncompared with both the newer transfers and other previous LP \nincarnations. It soon became clear that the Penzance transfers were \nactually very well made and apparently true to their source, with little\n or no filtering or other intervention, and thus provided an excellent \nsource from which to work (they remain the favoured transfers of this \nrecording for some Toscanini lovers).\u003c\/p\u003e\u003cp class=\"body\"\u003eEven so, it was only after a considerable amount of XR \nremastering work and careful comparisons with other releases that I \ndecided to go ahead and complete what has been a lengthy and difficult \nrestoration (and would have been so regardless of the source). This \nwould not have been contemplated had it not been clear to me that many \nsignificant sonic improvements might be had over all the previous issues\n I've been able to sample, something I believe has been achieved here.\u003c\/p\u003e\u003cp class=\"body\"\u003eMy aim was to really try and open out the sound - as \nwith the majority of recordings of this era, regardless of recording \nmedium, the frequency response was unbalanced and uneven. In some \nprevious transfers this has been exacerbated by excessive filtering, \nparticularly in the treble end, producing a distant and muffled sound.\u003c\/p\u003e\u003cp class=\"body\"\u003eBy contrast, the XR remastering approach has served to \nopen out the top end considerably, as well as firming up the bass and \ngiving the whole sound a much more solid dimension - something further \nenhanced in the Ambient Stereo version of this release. Naturally this \nalso revealed further flaws in the original recording which then had to \nbe tackled - hiss levels varied throughout the recording, from barely \naudible to quite intrusive, and I've tried to even these out as much as \npossible. I was also able to tackle a pitch variation which changed as \nthe recording progressed, dropping by almost a quarter tone by the end \nof the opera.\u003c\/p\u003e\u003cp class=\"body\"\u003eClearly this is a live recording - footsteps are heard \nfrom the stage, soloists move around , occasionally slipping outside the\n direct pick-up range of the microphone (or microphones - I don't know \nif this was a single or multiple microphone recording) and thus heard \nsomewhat distantly, though always audible.\u003c\/p\u003e\u003cp class=\"body\"\u003eIt's easy to underestimate the technical difficulties \nposed in recording such a performance today, let alone in 1937, just two\n years after the first commercial recording of an opera by Mozart - the \nfact that this incredible performance could be so well-captured is a \ntestament to the skills of the radio engineers of the time. I hope that \nthis new remastering will bring the listener a few steps closer to the \nimpression this performance must have given to those lucky enough to be \npresent for the performance.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eVERDI \u003c\/b\u003e- Falstaff\u003cbr\u003e \u003cbr\u003e Falstaff - \u003cb\u003eMariano Stabile\u003c\/b\u003e\u003cbr\u003e Ford - \u003cb\u003ePietro Biasini\u003c\/b\u003e\u003cbr\u003e Fenton - \u003cb\u003eDino Borgioli\u003c\/b\u003e\u003cbr\u003e Dr.Cajus - \u003cb\u003eAlfredo Tedeschi\u003c\/b\u003e\u003cbr\u003e Bardolph - \u003cb\u003eGiuseppe Nessi\u003c\/b\u003e\u003cbr\u003e Pistol - \u003cb\u003eVirgilio Lazzari\u003c\/b\u003e\u003cbr\u003e Mrs.Ford - \u003cb\u003eFranca Somigli\u003c\/b\u003e\u003cbr\u003e Nanette - \u003cb\u003eAugusta Oltrabella\u003c\/b\u003e\u003cbr\u003e Mrs.Page - \u003cb\u003eMita Vasari\u003c\/b\u003e\u003cbr\u003e Mrs.Quickly - \u003cb\u003eAngelica Cravcenco\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eScenic Designer - Guido Salvini\u003cbr\u003e Stage Director - Robert Kautsky\u003cbr\u003e Costumes - Ladislaus Czettel\u003cbr\u003e Choreography - Margarete Wallmann\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003cbr\u003eVienna Philharmonic Orchestra\u003cbr\u003e Vienna State Opera Ballet \u0026amp; Chorus \u003cbr\u003e conducted by Arturo Toscanini\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO035.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO035.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fSynopsis578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodymid\"\u003eSynopsis\u003c\/p\u003e\u003cdl\u003e\n\u003cdd\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eTime: The reign of Henry IV, 1399 to 1413\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/dd\u003e\n\u003cdd\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003ePlace: Windsor, England\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eAct 1\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eA room at the Garter Inn\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eFalstaff is surrounded by his servants Bardolph, \nPistola, and the innkeeper. Dr. Caius arrives and accuses him of \nrobbery, but the excited doctor is soon ejected. Falstaff hands two \nletters to each of his servants for delivery to Mistress Ford and to \nMistress Page, two wealthy married women. In these two identical \nletters, Falstaff professes his love for each of them, although it is \nreally their husbands’ money that he covets. His servants Bardolph and \nPistol refuse, claiming that 'honour' prevents them from obeying him. \nFalstaff sends the letters by a page instead. Falstaff then responds \nironically by confronting his honourable servants and shouts (\u003cem\u003eL'onore! Ladri! Voi state ligi all’honor vostro, voi!\u003c\/em\u003e \/ “Honor! You rogues! You are bound by your honor…”) and chases them out of his sight.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eFord's garden\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAlice and Meg have received Falstaff's identical \nletters. They exchange them, and in conjunction with Mistress Quickly, \nresolve to punish the knight. Meanwhile, Ford has been warned of the \nletters by Bardolph and Pistol. All three are thirsty for revenge. \nFinding themselves alone for once, a brief love duet between Fenton (an \nemployee of Ford) and Nannetta follows. The women return home and \nMistress Quickly is requested to invite Falstaff to a rendez-vous with \nAlice. The men also arrive at the scene, and Bardolph and Pistol are \npersuaded to introduce Ford to Falstaff, but under an assumed name.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eAct 2\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eA room at the Garter Inn\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eBardolph and Pistol (now in the pay of Ford), pretending\n to beg for forgiveness for past transgressions, announce to their \nmaster the arrival of Mistress Quickly, who delivers the invitation to \ngo to Alice's house that very day between the hours of two and three. \nShe also delivers an answer by Mistress Page and assures Falstaff that \nneither are aware of the other's invitaton. Falstaff celebrates his \npotential success (\"Va, vecchio John\" \/”Go, old Jack, go your own way”).\n Ford is now introduced as Signor Fontana; he offers money to the fat \nknight to intercede for him with Mistress Ford. Falstaff is puzzled at \nthe request, \"Fontana\" says that if Mistress Ford falls for him, it will\n be easier that she will fall for him too. Falstaff agrees with pleasure\n and reveals that he has already succeeded, because he has a rendez-vous\n with her at two; while he dresses in his most splendid array, Ford is \nconsumed with jealousy (\u003cem\u003eÈ sogno o realtà?\u003c\/em\u003e \/ \"Is it a dream or reality?\").\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eA room in Ford's house\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe three women plot their strategy (\"Gaie Comari di \nWindsor\" \/ “Merry wives of Windsor, the time has come!”. Nanetta also \nlearns that her father plans to marry her with Dr. Caius, but all the \nwomen declare that that will not happen. Mistress Quickly announces \nFalstaff's arrival, Mistress Ford has a large hamper placed in \nreadiness. Falstaff's attempts to seduce Alice with tales of his past \nglory (\"Quand'ero paggio del Duca di Norfolk\" \/ “When I page to the Duke\n of Norfolk I was slender”) are cut short, as Mistress Quickly reports \nthe arrival of Master Ford. When the angry Ford and his friends appear \nwith the aim of catching Falstaff red handed; he hides first behind a \nscreen and then the ladies hide the knight in the hamper. In the \nmeantime, Fenton and Nannetta have hidden behind the screen. Upon \nreturning from their search for Falstaff, the men hear the sound of a \nkiss behind the screen. They think that they will at last grab Falstaff,\n but instead find Fenton, who is ordered by Ford to leave, in the \nmeantime Falstaff has been complaining that he is sweating too much \ninside the hamper. When the men again proceed with the search, the women\n order the hamper to be thrown into the ditch through the window, where \nFalstaff is compelled to endure the jeers of the crowd.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eAct 3\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eBefore the inn\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eIn a gloomy mood, Falstaff curses the sorry state of the\n world. However, some mulled wine soon improves his mood. The fat knight\n receives another invitation through Mistress Quickly, who blames the \nservants for what happened to him, the invitation consists of going to \nHerne's Oak dressed up as the Herne the Hunter, aka the Black Hunter. \nAlthough dubious at first, Falstaff promises to go. He enters the house \nwith Mistress Quickly, and the men and women concoct a plan for his \npunishment. Dr. Caius is promised Nannetta's hand in marriage and is \ntold how he may recognize her in her disguise, but the plot is overheard\n by Mistress Quickly.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eHerne's Oak in Windsor Park on a moonlit midnight\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eFenton arrives at the oak tree and sings of his \nhappiness (\"Dal labbro il canto estasiato vola\" \/ “From my lips, my song\n of ecstasy flies”) ending with “Lips that are kissed lose none of their\n allure”. Nanetta enters to finish the line with “Indeed, they renew it,\n like the moon”. The women arrive and disguise Fenton as a monk, telling\n him that they have arranged things so as to spoil Dr. Caius' plans. \nNanetta, playing the role of the Fairy Queen, instructs her helpers \n(\"Sul fil d'un soffio etesio\" \/ “On the breath of a fragrant breeze, \nfly, nimble spirits”) before all the characters arrive on the scene. \nFalstaff's attempted love scene with Mistress Ford is interrupted by the\n announcement that witches are approaching, and the men, who are \ndisguised as elves and fairies, soundly thrash Falstaff. Sir Falstaff \nrecognizes Bardolph in disguise and the joke is over, but he \nacknowledges that he has received his due. Ford announces that a wedding\n shall ensue (a second couple \"coincidentally\" asks to be married at \nthat time also) and Dr. Caius finds that instead of Nannetta, he has \nlanded Bardolph who is dressed in the same fairy queen outfit as Nanetta\n and Ford unwittingly has married Fenton and Nannetta. Falstaff, pleased\n to find himself not the only dupe, proclaims in a fugue, which the \nentire company sings, that all the world is folly and all are figures of\n fun (\u003cem\u003eTutto nel mondo è burla... Tutti gabbati!\u003c\/em\u003e \/ \"Everything in the world a jest...\").\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":32417942477,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417942669,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417942797,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":32417942989,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO035_d7de1ccd-c221-4c6f-986d-56ed3c0bd1f1.jpg?v=1487682706"},{"product_id":"paco098","title":"TOSCANINI Verdi: La Traviata (1946) - PACO098","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa Traviata\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast live from New York, 1946\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 1hr 43:18\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLicia Albanese\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJan Peerce\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRobert Merrill\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra and Choruses \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Pristine remastering is a significant improvement over any earlier incarnation I have heard578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs with other Pristine “XR Ambient \nStereo” remasterings, I list the recording as monaural in the headnote \nbecause what Andrew Rose does at Pristine does not turn it into a \nstereophonic recording, but rather creates (very effectively) a kind of \nstereophonic ambience around the original recorded sound. For those \nreaders who already know the RCA edition this recording (this is the \nactual broadcast, spread over two dates a week apart; it is not the \ndress rehearsal which was released by Music \u0026amp; Arts), you know how \nyou view it and will be most curious about the sound quality. The \nPristine remastering is a significant improvement over any earlier \nincarnation I have heard of this performance, on RCA LPs and CDs. Rose \nhas gotten a warmth out of the sound, and has created a perspective that\n offsets some of the horrible closeness and dryness of the 8H sound so \nbeloved by Toscanini and few others. In Rose’s own notes, he says “I’ve \nalso made judicious use of the reverberant profile of one of the world’s\n great opera houses, a technique which greatly aids the projection and \nenhances the enjoyment of the singers here who, as a result, probably \ndeserve something of a reappraisal.” One might think that a bit of \nself-serving puffing of the wares, but in fact it is a fair statement of\n his accomplishment. Anyone who loves this performance will want this \nedition of it. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhen this arrived from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eheadquarters\n I almost sent it back, since I am rarely sympathetic to Toscanini’s \nconducting despite many years of really trying. (I know it is not a \nprejudice, because if I turn on the radio in the midst of a Toscanini \nperformance without hearing the announcement identifying it, I generally\n don’t react well to it and only find out later who the conductor is). \nThere are exceptions, of course. And I recognize that so many great and \nimportant musicians and critics do react positively to Toscanini, and \ntherefore the problem is mine. Although I do own this performance I have\n not heard it in years, and so I decided to take on the review and give \nit a reappraisal. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor the most part, my reaction remains \nunchanged, though perhaps I gained a somewhat greater understanding of \nthose feelings. For me, music is first and foremost about \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esound—\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003emore\n than it is about any of the formal elements (harmony, melody, rhythm) \nthat make it up. Clearly all are important, and harmony is in particular\n a crucial component of sound, but the quality of orchestral, \ninstrumental, or vocal sound is a key determinant of my identification \nwith a performance. It is precisely in this area where Toscanini falls \nmost seriously short. The famed dry acoustic of Studio 8H, which we now \nknow that he liked and even tried to replicate on broadcasts and \nrecordings made at Carnegie Hall, is simply not a pleasant listening \nexperience. But Toscanini’s sonic ideal was the sound that he heard on \nthe podium directly in front of the orchestra. Almost every other \nconductor in history has understood the important difference between \non-the-podium sound and that heard by the audience out in the house. \nConductors will frequently go out into the house for a few moments of \nrehearsal to listen to the sound, and they also learn what a hall is \nlike by hearing other conductors’ concerts. I spent a great deal of my \nprofessional life working with great conductors and talking with them, \nand I never heard one express that the sound they were seeking to create\n either in a concert hall or a recording would duplicate what they heard\n on the podium. So it is impossible for me to blame RCA for this problem\n with 8H recordings: Toscanini had as much power as any conductor alive \nat the time, and he got the sound he wanted. It is not a sound I find \nappealing. It is not just recorded sound to which I am referring, though\n that is symbolic of the problem. I prefer orchestral sound built from \nthe bottom up, constructed on a foundation of basses and cellos. \nToscanini’s sonority seems to me more top-down. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBeyond quality of sound there is the \ndriven, intense quality to much of Toscanini’s music-making. It is not \njust a matter of fast tempos; in fact, tempo is a minuscule component of\n the quality. Some of it is rigidity of phrasing, much of it is the \nnature of orchestral attacks. It is apparent early on, in the opening \nPrelude, when the big tune comes. The strings bite into the first note \nof that tune, and over-articulate the entire melody. It is important to \nnote that there are many quite extraordinary qualities Toscanini brings \nto the score. The precision and commitment of the orchestral playing, \nthe unmistakable sense of momentum, the excitement of the big scenes, \nthe fact that there is not one measure that seems “phoned in,” these are\n all admirable qualities that are not always found in standard opera \nperformances. There is a sense of occasion about this whole performance \nthat one feels from beginning to end. But there is also, at least for \nme, the lack of some important elements of the score: charm, elegance, \nbeauty, and tenderness are a significant part of the makeup of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa traviata\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and they seem undervalued here. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt takes Albanese a bit to warm up, or \nperhaps to relax into the role, but when she does she gives a more \ncomplete portrayal than many. She manages the coloratura for “Sempre \nlibera” better than one might have expected, but fully comes into her \nown in the second act. She may lack the vocal richness of Ponselle, or \nthe range of color and inflection of Callas, but she brings Violetta to \nlife more convincingly than most. Her reading of the letter is \nparticularly touching, as is her singing of “Addio del passato.” Peerce \nis in good voice here, but there is very little variety of tone or \ndynamic shading in his performance; it lies mostly between \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emezzo-forte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eforte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n and there is a bumpy approach to what should be legato singing. It must\n be admitted that there was a shortage of quality lyric tenors in the \nItalian repertoire in the mid-1940s, but wouldn’t it have been wonderful\n if Toscanini and NBC had gotten Bjoerling for this recording? Merrill \nmay possess the most luscious, juicy baritone voice ever to record the \nrole of Giorgio Germont, and he sings with a natural and innate \nmusicality. In the end, this role needs characterization of the kind \nthat Gobbi gives it on the EMI recording (or even Zanasi on Callas’s \nCovent Garden recorded performance). The contrast between Albanese’s \ncomplete involvement in the character and Merrill’s gorgeous vocalism in\n the big scene between Violetta and Germont is not a comparison that \nfavors Merrill. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe remainder of the cast is good, and \nas indicated earlier the orchestra plays brilliantly. As usual, minimal \nnotes and no libretto are provided. This performance has been reviewed \ntwice previously in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e:\n Marc Mandel was even more negative in 15:4 than I am here, though we \nbasically hear the same faults, but Jon Tuska, in 16:1, entered it into \nthe Classical Hall of Fame. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe most interesting comparison for me\n was with the Music \u0026amp; Arts release not of this broadcast \nperformance, but of the dress rehearsal and other rehearsal material \nedited down to a complete performance (CD-4271). It is true that this \nrehearsal compilation is in many ways more relaxed than the broadcast; \nMerrill in particular seems more dramatically convincing here, and the \nconducting is a bit more relaxed (notably in the first act Prelude). But\n it remains a curiosity for most listeners, interspersed as it is with \nshouts of instruction or encouragement from the conductor. They are too \nfrequent and too loud for this to pass as a legitimate recording of the \nopera. The sound lacks the warmth and space that Pristine has given the \nbroadcast, but it is a bit less fierce than RCA’s sound for the \nbroadcast. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:4 (Mar\/Apr 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO098.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's Traviata - The electrifying 1946 NBC broadcasts\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eEven livelier in this new 32-bit XR Pristine remastering for Verdi's 200th birthday\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eToscanini's broadcast recordings of La Traviata spanned two live \ntransmissions a week apart in December 1946, and that is how we've split\n them here: first Act 1 and Act 2, Scene 1, then Act 2, Scene 2 and Act \n3.The pace is certainly brisk - some twenty minutes quicker than Callas \nunder Santini in 1953 - yet Toscanini's brilliantly-drilled musicians \nbring it off with aplomb.\u003c\/p\u003e\u003cp\u003eAs with most of Toscanini's NBC broadcasts of this era, the original \nsound has been well-preserved. It's no great surprise to find \nGramophone's reviewer baulking at the Studio 8-H acoustics; as a part of\n this remastering, which has greatly improved the overall sound quality,\n I've also made judicious use of the reverberant profile of one of the \nworld's great opera houses, a technique which greatly aids the \nprojection and enhances the enjoyment of the singers here who, as a \nresult, probably deserve something of a reappraisal.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eVERDI La Traviata \u003c\/b\u003e\u003cbr\u003eBroadcast performances\u003cbr\u003eCD1: 1 December, 1946\u003cbr\u003eCD2: 8 December, 1946\u003cbr\u003eNBC Studio 8-H\u003cbr\u003eNew York City\u003cbr\u003eFirst issued as RCA LM-6003\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eVioletta Valery\u003cb\u003e - Licia Albanese\u003cbr\u003e\u003c\/b\u003eAlfredo Germont\u003cb\u003e - Jan Peerce\u003cbr\u003e\u003c\/b\u003eGiorgio Germont\u003cb\u003e - Robert Merrill\u003cbr\u003e\u003c\/b\u003eFlora Bervoix\u003cb\u003e - Maxine Stellman\u003cbr\u003e\u003c\/b\u003eGastone \u003cb\u003e- John Garris\u003cbr\u003e\u003c\/b\u003eBaron Douphol \u003cb\u003e- George Cehanovsky\u003cbr\u003e\u003c\/b\u003eMarquis d'Obigny \u003cb\u003e- Paul Dennis\u003cbr\u003e\u003c\/b\u003eDr. Grenvil \u003cb\u003e- Arthur Newman\u003cbr\u003e\u003c\/b\u003eAnnina\u003cb\u003e - Johanne Moreland\u003cbr\u003e\u003cbr\u003eNBC Symphony Orchestra and Chorus\u003cbr\u003eChorus Director - Peter Wilhousky\u003cbr\u003e\u003cbr\u003eConductor - Arturo Toscanini\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO098.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO098.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32417946381,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417946445,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417946509,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417946573,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO098_b667fa7f-c227-47dc-9d3b-3d707bece61d.jpg?v=1487682709"},{"product_id":"paco033","title":"TOSCANINI Verdi: Otello (1947) - PACO033","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOtello\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast 1: 6th December, 1947 (Acts 1 \u0026amp; 2)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Broadcast 2: 13th December, 1947 (Acts 3 \u0026amp; 4)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Total duration: 2hrs 15min 58sec\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra and Choruses \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review - Recording of the Month578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a performance which every lover of the opera has to have578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis was one - or, more accurately, two - of the all-time\n                classic nights in American opera. Toscanini famously played the\n                cello\n                in the La Scala orchestra at the world\npremiere of \u003ci\u003eOtello\u003c\/i\u003e and his authority in this work has to be acknowledged,\neven by those who might not prefer his style. The merits of this performance\nhardly need rehearsing: it has been reviewed many times before on this site.\nSuffice it to say that Vinay’s Otello remains one of the great interpretations\nof the role, heroic yet vulnerable, while Nelli’s Desdemona manages to\ncombine beauty, strength and vulnerability in miraculous fashion. I’ve\nnever been as convinced by Valdengo’s Iago, not least for his mistimed\nentries in Acts 1 and 2 - can you imagine what Toscanini must have said to him\nat the end - but he certainly has character to spare. \u003cbr\u003e\n\u003cbr\u003e\nThe real interest here is in the remastering. Pristine Audio has been doing fantastic\nwork recently breathing new life into agèd recordings that are well loved.\nTheir \u003ca href=\"http:\/\/pristineclassical.com\/\" target=\"_blank\"\u003ewebsite\u003c\/a\u003e is\nwell worth a look and they also offer downloads of fabulous quality. Andrew Rose\nhas managed to\nachieve astonishing clarity with this issue. Yes, there are still occasional\nhisses and crackles, but how could there not be in a recording of this age? He\nhas managed to, as it were, strip away the varnish that has accumulated in other\nissues and there are plenty of things that are freshly audible here which may\nwell have passed the listener by before, such as the clarity of the big tuttis\nin the storm scene, or the bubbling woodwinds at the third verse of Iago’s\ndrinking song. Nelli’s top notes are captured without a hint of strain\nor interference, yet the passage at the beginning of Act 4 flows with openness\nand not a hint of congestion. Rose has used “a number of sources from various\navid Toscanini collectors” - how mysterious! His aim was to find the best\nrecording of each section of the opera and then edit them together to produce\nthe finest possible version of the performance. Without doubt he has succeeded\nmightily. To my ears at any rate it was impossible to hear the joins and the\nwhole performance flowed beautifully from one moment to the next. He finished\nhis note by saying “I am convinced that this release has succeeded in making\ngreat sonic advances over all previous issues, both on LP and CD.” I certainly\nhaven’t heard any other version to make me disagree. As a fun little extra\nwe’re also given the original radio commentary and audience applause. \u003cbr\u003e\n\u003cbr\u003e\nThis is a performance which every lover of the opera has to have. Love him or\nhate him, Toscanini has an unending ability to surprise: listen to the way he \u003ci\u003ebroadens\nout\u003c\/i\u003e the tempo for the climax of the storm yet \u003ci\u003espeeds up\u003c\/i\u003e for the conclusion\nof the love duet, and the way he plays around with the textures of the Willow\nSong is quite remarkable. Extraordinary, maybe: perverse, arguably: but effective?\nCertainly. This, to my mind, is the clearest version of this performance that\nyou’re likely to find, so if you’re choosing between versions then\nyou can pick this one with confidence.\u003cbr\u003e\n\u003cbr\u003e\n\u003cb\u003e\u003ci\u003eSimon Thompson\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO033.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's classic 1947 Otello newly restored \u0026amp; remastered\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePossibly the best recording of Otello ever made - now in stunning XR sound\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis recording, taken from two specially-lengthened broadcasts on 6th\n and 13th December, 1947, is widely regarded as perhaps the greatest \never made of Verdi's masterpiece, Otello. As NBC announcer Ben Grauer \nnotes in his introduction to the first broadcast, it has a special link \nto Toscanini, who as a young cellist had played in the world première of\n the piece, under Verdi's baton, in La Scala, Milan on 5th February, \n1887, some 60 years earlier.\u003cbr\u003e\u003cbr\u003eVerdi is regarded by many as \nespecially important to Toscanini, and this is among his greatest \nrecordings - Mortimer Frank writes: \"Of all the composers in Toscanini's\n repertory, Verdi was probably closest to him... what NBC preserved... \nif not necessarily representative of his staged performances or of his \nbest work, is often compelling. Given limitations such as occasionally \nweak casting, they are uneven. Bet when everything more or less fell \ninto place, as in the complete Otello, a performance of towering merit \nresulted.\"\u003cbr\u003e\u003cbr\u003eMeanwhile we see in the notes on this work at \nWikipedia: \"most music-guide reviewers contend that a recording made of a\n 1947 radio broadcast of the opera, conducted with thrilling verve and \nprecision by Arturo Toscanini and featuring such solid singers as Herva \nNelli, Ramón Vinay and Giuseppe Valdengo, is musically (if not in terms \nof sound quality) the best of these versions\".\u003cbr\u003e\u003cbr\u003eFor the \nrestoration and remastering engineer tackling this recording today it is\n the phrase in paratheses above which is in sore need of justified \nremoval. One discography of Toscanini lists sux separate releases of \nthis recording, and I'm reasonably confident that there are actually \nmore than this. Yet when I visited ardent Toscanini fan and collector \nChristophe Pizzutti earlier this year to take temporary charge of a \nlarge number of rare recordings for transfer and restoration, it was \nthis recording he repeatedly pressed me to work upon, convinced that my \nXR remastering technique could finally reveal the full sonic \nmagnificence of this immortal performance.\u003cbr\u003e\u003cbr\u003eAnd so, with sources \nprovided both by Christophe and by other collectors, I've endeavoured to\n assemble the very best quality material from which to assemble what I \nhope can be seen as a definitive recording of the two broadcasts (note \nthat some recordings switch between live and rehearsal material, others \ninclude sections of severly reduced fidelity, none has had the benefit \nof XR re-equalisation and the latest remastering techniques associated \nwith it).\u003cbr\u003e\u003cbr\u003eThe recording was made in the very end of the pre-tape \nera, and would have been preserved over a number of acetate discs. \nFortunately these have been remarkably well-preserved in various \nincarnations, and the results of careful selections of the best possible\n sources and the magic of both XR remastering and Ambient Stereo \nprocessing (direct mono is of course also available) makes a huge impact\n on the final overall sound quality of the recording. This is one of \nToscanini's greatest masterpieces, and it's never sounded better.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eVERDI \u003c\/b\u003e- Otello\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eRamón Vinay\u003c\/b\u003e (\u003cem\u003eOtello\u003c\/em\u003e)\u003cb\u003e\u003cbr\u003e Herva Nelli \u003c\/b\u003e(\u003cem\u003eDesdemona\u003c\/em\u003e)\u003cb\u003e \u003cbr\u003e Giuseppe Valdengo\u003c\/b\u003e (\u003cem\u003eIago\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Virginio Assandri \u003c\/b\u003e(\u003cem\u003eCassio\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Leslie Chabay\u003c\/b\u003e (\u003cem\u003eRoderigo\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Nicola Moscona \u003c\/b\u003e(\u003cem\u003eLodovico\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Arthur Newman\u003c\/b\u003e (\u003cem\u003eMontàno\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Nan Merriman\u003c\/b\u003e (\u003cem\u003eEmilia\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e \u003c\/b\u003eThe NBC Symphony Orchestra and Choruses \u003cbr\u003e conducted by Arturo Toscanini \u003c\/span\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO033.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO033.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":37144177613,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144177677,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144177741,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":37144177805,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO033.jpg?v=1494337508"},{"product_id":"paco038","title":"TOSCANINI Verdi: Requiem (1940) - PACO038","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eRequiem\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e - Overture to \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eAida\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCASTELNUOVO-TEDESCO\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e - Overture to \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Taming of the Shrew\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eRadio broadcasts from 1940\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 100.01 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eZinka Milanov, Bruna Castagna, Jussi Björling, Nicola Moscona\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Westminster Choir\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003cbr\u003e\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis new Pristine edition is the finest I have heard578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"TIMES\"\u003eEspecially compelling is his 1940 NBC broadcast of \nthe Verdi Requiem. This has, of course, received a good transfer from \nMusic \u0026amp; Arts, but this new Pristine edition is the finest I have \nheard, one that does full justice to Toscanini’s conception. Almost \nsonically competitive with his 1951 RCA edition, it features superior \nsoloists and somewhat greater flexibility.  \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eWant List for \u003cb\u003eMortimer H. Frank\u003c\/b\u003e [2010]\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003eThis article originally appeared in Issue 34:2 (Nov\/Dec 2010) of Fanfare Magazine.\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO038.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eNew source discovered for Toscanini's classic 1940 Verdi Requiem\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePlus Aida Overture première and an unreleased overture by Castelnuovo-Tedesco\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe discovery of a new source copy of Toscanini's 1940 Verdi \u003cem\u003eRequiem\u003c\/em\u003e\n will be of great interest to collectors. The tape appears to be a \nstraight dub of 16-inch acetate discs, with no editing between sides \nwhich (just) overlap sufficiently to create a seamless recording. \nItalian collector Luciano Crivello acquired the tapes recently and, in \naddition to making them available to online Toscanini groups in a \nstraight copy transfer, offered them to Pristine Audio for editing and \nrestoration, commenting: \"...of this Requiem several were the issues \n(Arturo toscanini Society, Music and Arts and many others, I have one \nalso with commentaries and the Deum, but the sound is not so good). The \nmaterial is really very rare and certainly has never been used even by \nprivate labels. This material has never been put in Commerce. It seems \nto me that the previous releases for sale do not have this sound so \ngood, although some were of excellent quality. But there are some points\n of this record that sound so natural and strong, as I had never heard \nbefore.\"\u003c\/p\u003e\u003cp class=\"body\"\u003eThe sound quality was indeed remarkably good, if at \ntimes a little strident and prone to overload distortion during some \nlouder passages. The treble is reasonably extended and it's been \npossible to remove some background noise as well as to extend and \nreinforce the bass. Various minor faults and flaws in the recording have\n been tackled, including occasional pitch instability and small disc \nsurface defects.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe other two recordings included here both date from \nearlier in 1940 and have been preserved in remarkably good sound quality\n - both are cleaner and have considerably higher treble response than \nthe \u003cem\u003eRequiem.\u003c\/em\u003e Whilst it is well known that Toscanini premièred Verdi's discarded overture to \u003cem\u003eAida\u003c\/em\u003e\n at the 1940 concert of March 30th, it has been impossible at the time \nof writing to find out much about the Castelnuovo-Tedesco overture.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe composer had been supporting of Toscanini in Italy \nwhen the conductor was under scrutiny by Mussolini, and eventually was \nforced to flee to the United States, where Toscanini sponsored his \nrelocation in 1939. The overture was played twice in concerts given by \nToscanini and the NBC Symphony Orchestra (the second performance, on 3rd\n March 1944, is also available on CD), and in 1945 Toscanini also gave a\n single performance of the Castelnuovo-Tedesco's overture \u003cem\u003eA Fairy Tale\u003c\/em\u003e. I have failed to locate any other recording of the present \u003cem\u003eTaming of the Shrew Overture\u003c\/em\u003e, nor any further information about the work.\u003c\/p\u003e\u003cp class=\"body\"\u003eAs such it is impossible to state whether this is the \noverture's world première, its broadcast première, its US première, or \nindeed, all three - or of course none of the above. Should this or any \nother pertinent information become available I will of course update \nthis page. Alas my recording of the work contained too little \nrapidly-faded applause to include here - suffice to say, therefore, that\n the audience response was certainly positive, and not the silence \nimplied by the present transfer.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eVERDI \u003c\/b\u003e- Missa da Requiem\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eVERDI\u003c\/b\u003e - Overture to Aida (world première performance)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eCASTELNUOVO-TEDESCO\u003c\/b\u003e - Overture to The Taming of the Shrew (previously unissued)\u003cbr\u003e \u003cbr\u003e \u003cb\u003eZinka Milanov\u003c\/b\u003e, soprano\u003cbr\u003e \u003cb\u003eBruna Castagna\u003c\/b\u003e, contralto\u003cbr\u003e \u003cb\u003eJussi Björling\u003c\/b\u003e, tenor\u003cbr\u003e \u003cb\u003eNicola Moscona\u003c\/b\u003e, bass\u003cbr\u003e \u003cb\u003eThe Westminster Choir\u003c\/b\u003e, director \u003cb\u003eJohn Finlay Williamson\u003c\/b\u003e\u003cbr\u003e \u003cb class=\"body\"\u003eThe NBC Symphony Orchestra\u003cbr\u003e conductor Arturo Toscanini\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eSource information:\u003c\/p\u003e\n\u003cp class=\"bodymidarial\"\u003e\u003cb\u003eREQUIEM\u003c\/b\u003e: The Alma Gluck Memorial concert, benefitting the Roosevelt Hospital\u003cbr\u003e Live broadcast from Carnegie Hall, 23rd November 1940 \u003cbr\u003e New source material courtesy of Luciano Crivello\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eOVERTURES\u003c\/b\u003e: Studio 8H, 30th March 1940\u003cbr\u003e Aida Overture: disc transfer from Penzance Records LP #37\u003cbr\u003e Taming of the Shrew Overture: tape transfer from the Pristine archives\u003cbr\u003e Transfers by Andrew Rose, January 2010\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO038.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO038.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":32417949645,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417949709,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417949837,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":32417949965,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO038_ca12fdad-9ef9-4f94-bbc5-cc2d1e50fb9c.jpg?v=1487682714"},{"product_id":"paco048","title":"TOSCANINI Verdi: Requiem (1951, stereo) - PACO048","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eRequiem\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27th January, 1951, Carnegie Hall, New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 77:45\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eHerva Nelli\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e - \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eFedora Barbieri \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e- mezzo-soprano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eGiuseppe di Stefano \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e- tenor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eCesare Siepi\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e - bass\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Robert Shaw Chorale\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e \u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003cbr\u003e\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIt is certainly fascinating, often riveting, and, considering its provenance, sonically amazing578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"body\"\u003eThis release is neither in synthetic stereo nor a \nduplication of RCA’s edition of the performance: To quote Pristine’s \ninsert it is “a stereo reconstruction using two separate mono recordings\n made by NBC and Carnegie Hall each from differently positioned \nmicrophones.” Skepticism was my initial response, but listening proved \notherwise. This is genuine stereo that adds significant realism to the \nsound. If it lacks the depth and dynamic range typical of today’s best \nengineering it nonetheless offers considerably more sonically than what \nRCA’s edition provides, not only in its stereo spread but also in \nincluding the passages that Toscanini objected to and insisted on being \nreplaced by rehearsal material before endorsing an “official” release. \nThose familiar with earlier Toscanini-NBC performances of this work, \nnotably those of 1940 and 1948, may find this one falls short of them. \nBoth are available from Music \u0026amp; Arts. The earlier one offers good \nsound, but it is not quite so full as that of a Pristine transfer (PACO \n038.) I have not heard the Music \u0026amp; Arts transfer of the 1948 \nconcert, which was not broadcast. Musically, this 1951 account does not \nquite match those earlier performances. But despite the blemishes that \nToscanini could not accept, its documentary value is indisputable. For \nthose with a special interest in the conductor it provides the \nopportunity to hear a celebrated performance as it has never been heard \nin a recording before. It is certainly a fascinating, often riveting, \nand, considering its provenance, sonically amazing. None of Ben Grauer’s\n commentary is included.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eMortimore H. Frank, Fanfare\u003c\/b\u003e, Issue 34:3 \u003cem\u003e(Jan\/Feb 2011)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO048.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's award-winning concert in stereo for the first time\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eAn astonishing milestone in 21st century digital remastering\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 12px;\"\u003eNB.\n The official mono LP release of this concert included sections spliced \nin from rehearsals to replace some sections of the live performance \nwhich didn't come up to Toscanini's high standards of approval. The \nnature of this stereo recording means that we cannot perform the same \nedits, and thus we present the unexpurgated live concert as performed - \nfluffs and all!\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\n\u003cbr\u003eIn the notes which accompany a current reissue of this \u003cem\u003eRequiem\u003c\/em\u003e recording, as displayed on one eminent retailer's website, there is an error of which perhaps the writer was unaware:\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003ci\u003e“Seven hundred hours of editing went into the original \nlp release of this recording, caused by the fact that only NBC's radio \nrecording was left from the performance in 1951. The balance was \nproblematic and the end result included the original NBC tape relayed \nfrom Carnegie Hall with some fillings in from the rehearsal takes. The \noriginal release was highly acclaimed and won the Grand Prix du Disque \nas well as the Preise der Deutschen Schallplatten Kritik.”\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe error is a simple one to make – you see, the NBC tape was \u003cem\u003enot\u003c\/em\u003e\n the only recording left from the performance. A second recording was \nmade inside the hall from a second microphone; it has been preserved \nthese past 59 years, and arrived in better shape than the \u003cem\u003eunedited\u003c\/em\u003e\n NBC recording. This fact, however, is somewhat secondary to the most \ncrucial, vital point about the second recording: it was made using a \nsecond microphone, positioned separately to the NBC's microphone. This \nmeans it is, in theory at least, possible to reconstruct a stereophonic \nrecording using the two sources – or at least stereo of a kind.\u003c\/p\u003e\u003cp class=\"body\"\u003eA normal stereo recording, at it's most simple level, is\n best made using two microphones carefully placed and directed in order \nto create the most naturalistic stereophonic effect. The two outputs are\n recorded onto two tracks or channels which run concurrently – in 1951 \nthis would have meant two tracks on one tape, had the technology been \navailable at the time. Because the two tracks are physically \nside-by-side on a single tape and read by a single head, any fluctuation\n in tape speed will not cause a divergence in the juxtaposition of the \ntwo channels and the stereo image will remain absolutely stable.\u003c\/p\u003e\u003cp class=\"body\"\u003eBy contrast, this Verdi recording begins with two \nmicrophones which have been placed independently of each other. Each was\n positioned to record the performance, but it's safe to assume both \naimed to record the entire ensemble, rather than concentrating on the \nleft or right hand side of the stage. As such we almost certainly don't \nhave what recording engineers term a 'coincident pair'. (Where they were\n actually positioned is anyone's guess.)\u003c\/p\u003e\u003cp class=\"body\"\u003eNext we have two independent recording machines, each \nwith its own minute speed fluctuations, something which will be further \nexacerbated on replay. Without some kind of time-code locking, no two \nanalogue recorders or replay machines will ever stay perfectly \nsynchronised, so our ideal of two channels on one tape and one replay \nhead is also lost.\u003c\/p\u003e\u003cp class=\"body\"\u003eTo add another complication to this already complex \npicture, one of the two recordings appears to be 'straight', whereas the\n other has had some kind of 'gain riding' – raising the volume levels of\n the quieter sections and attenuating the levels of the louder sections.\u003c\/p\u003e\u003cp class=\"body\"\u003eFinally, and unsurprisingly, both have different tonal \ncharacteristics (different microphones and recording equipment) and both\n have emerged in differing states of disrepair some six decades after \nthe event.\u003c\/p\u003e\u003cp class=\"body\"\u003eTo attempt to deal with all of these issues would have \nperhaps been an insurmountable task until very recently indeed. The key \ntechnologies which have made the present release possible are only \nrecently developed – and though no doubt further advances might at some \nday in the future make this kind of work simpler, and possibly produce \nbetter results, I think the results here are truly something to marvel \nat and savour. I try to remain modest here – I have been the mere \nmanipulator of tools I could not hope to construct.\u003c\/p\u003e\u003cp class=\"body\"\u003eWork began on the project in much the same way as I \nwould normally proceed. The recordings were re-pitched to a standard \nA440 following basic de-clicking. The issues of tonal differences \nbetween them become irrelevant during the XR process, as each is \nre-equalised to a common reference, and then to each other, in order \nproduce as close a tonal match as possible. This is done using high \nresolution computer analyses of the average frequency responses of each \nrecording across its entirety and using very precise equalisation tools \nto match the two.\u003c\/p\u003e\u003cp class=\"body\"\u003eNext comes the tricky part – mixing the two halves into a\n single 'stereo' track. I used an educated guess as to the relative \nposition of the microphones in order to determine which was left and \nwhich was right. Then began the painstaking task of lining the two up. \nSpeed fluctuations on each track meant that synchronisation was forever \nbeing lost: the two tracks went in and out of tune with each other, one \ngalloped ahead as the other fell behind, and so on. After hundreds of \nedits and endless re-pitching and fine-tuning of short sections, often \ncorresponding to a handful of notes or a few short seconds of music, \nsome kind of result was achieved.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe resulting “stereo” mix was rather wild – voices and \ninstruments lurched from one side to another thanks to the gain-riding \napplied to one track only. An automated procedure to centre the tracks \nseemed the best solution here, adjusting the two channels simultaneously\n in volume to balance out the discrepancies between them. This is \ninevitably a compromise, but it seems to work.\u003c\/p\u003e\u003cp class=\"body\"\u003eNow began the fine-tuning – thousands of manual \ncorrections to deal with pops, clicks, crackles, slight shifts in \nsynchronisation previously missed and so forth. One particular brass \nentry, for just two notes, suddenly diverged in pitch – for a moment the\n glass-like clarity NBC brass section became more like the sound of a \ndrunken Oom-Pah band at the tail-end of a Munich beer festival.\u003c\/p\u003e\u003cp class=\"body\"\u003eGradually these flaws were addressed and things began to\n fall together, and I was able to unleash another new 'secret weapon' – \nthe automatic phase corrector. This analyses the two channels and looks \nfor similarities and phase discrepancies between them, constantly \nadjusting their relative position in order to further fine-tune \nsynchronisation. (A coarser version of the same would have saved me a \nhuge amount of work, but this operates in the realms of milli- and \nmicro-seconds.) The result is a further marriage of the two halves and a\n highly integrated stereo image – at least for much of the time.\u003c\/p\u003e\u003cp class=\"body\"\u003eNow although an 'accidental stereo' recording such as \nthis cannot match an intentional one, it is clear by switching between \nthe two individual mono channels and the stereo hybrid that a massive \nleap has been made on behalf of the listener. At its best, and this is \ntrue for long sections of the recording, the stereo is remarkably \nconvincing and adds hugely to the experience of the listener. At its \nlesser moments there is some blurring of the picture, some apparent \nwandering of the image, but although the fine detail of soundstage is \nlost, the impact rarely diminishes.\u003c\/p\u003e\u003cp class=\"body\"\u003eOne can but hope that the discovery of these two \nindependent recordings of this concert may lead to other similar \ninstances coming to light. In the meantime one can only marvel at the \ngood fortune that such an important concert recording turned out to have\n a long-hidden partner, ready to be reconstructed into the dramatic and \nthrilling musical document we present here. My thanks again go out to \nthose who have freely contributed source recordings for this project, \nwho discovered that such a reconstruction was possible, and took the \nfirst experimental steps in the realisation of this project.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003cspan\u003eRequiem\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 27th January, 1951, Carnegie Hall, New York City\u003cbr\u003e \"Accidental stereo\" reconstruction from NBC and Carnegie Hall recordings\u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, June-July 2010\u003cbr\u003e Cover artwork based on a photograph of Toscanini\u003cbr\u003eTotal duration: 77:45\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eHerva Nelli\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e - \u003c\/span\u003e\u003cspan class=\"body\"\u003esoprano\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Fedora Barbieri \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e- mezzo-soprano\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Giuseppe di Stefano \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e- tenor\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Cesare Siepi\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e - bass\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003c\/span\u003e The Robert Shaw Chorale\u003cbr\u003e NBC Symphony Orchestra \u003cbr\u003e \u003c\/b\u003econductor\u003cb\u003e Arturo Toscanini\u003c\/b\u003e \u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO048.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO048.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":32417952781,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":32417952909,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":32417953037,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO048_816bf8f8-a9e5-4761-babc-bf52fc2c4854.jpg?v=1487682717"},{"product_id":"paco032","title":"TOSCANINI Verdi: Un Ballo in Maschera (1954) - PACO032","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eUn Ballo in Maschera\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live at Carnegie Hall, 17th January 1954 (Act 1) \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e and 24th January 1954 (Acts II and III)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 121:55 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRobert Shaw Chorale \u0026amp; Soloists\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe sheer urgency with which Toscanini drives the NBC Symphony Orchestra is tremendous578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eIt is a never-ending source of wonder to find modern audio technology \n                giving new life to recordings originally made many decades ago. \n                The best technicians – usually those with a strong musical background \n                - can remove not only clicks, crackles and pops but, indeed, the \n                whole opaque fuzziness that we had always assumed to be inherent \n                in “primitive” recording processes. And now, thanks to the application \n                of even more advanced technologies, we can hear sounds that, while \n                certainly captured at the time of the original recording, have \n                never since – thanks to relatively poor playback mechanisms – \n                been suspected to have been there at all. \u003cbr\u003e \n              \u003cbr\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"margin-bottom:0cm;margin-bottom:.0001pt;text-align:\njustify;line-height:normal\"\u003eThus, \n                    last year Music \u0026amp; Arts’s re-release of the best known \n                    of Furtwängler’s Bruckner recordings, “digitally remastered \n                    ... by Aaron Z. Schnyder, using the revolutionary new harmonic \n                    balancing technique”, offered striking new clarity to those \n                    classic accounts. And now I have in front of me Pristine Audio’s \n                    reissue of Toscanini’s incandescent account of Ballo, \n                    originally recorded over two sessions in January 1954 and \n                    newly remastered in the “XR” process. \n                  \n              \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"margin-bottom:0cm;margin-bottom:.0001pt;text-align:\njustify;line-height:normal\"\u003eMost \n                technological developments these days are beyond my limited understanding, \n                but there is a lucid and very helpful – as well as thought-provoking \n                – explanation of XR on Pristine Audio’s \u003ca href=\"http:\/\/www.pristineclassical.com\/More\/NaturalSound.html\" target=\"_blank\"\u003ewebsite\u003c\/a\u003e. \n                And I can certainly confirm that, on the basis of this release, \n                the results of applying XR technology can be very striking.  \n              \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"margin-bottom:0cm;margin-bottom:.0001pt;text-align:\njustify;line-height:normal\"\u003eUn \n                    Ballo in Maschera \n                    is my personal favourite of Verdi’s operas and Toscanini’s \n                    account has always been my first choice of recordings. Of \n                    all the 71 volumes in RCA’s collected Arturo Toscanini \n                    Collection, it – volume 59 in case you are wondering – \n                    is probably the one I take most frequently from my shelves. \n                    The star of the whole show is Toscanini himself displaying \n                    unrivalled passion, drive and fervour. “This”, the conductor \n                    observed after making the recording, “was my last opera performance. \n                    I began by hearing a performance of Un Ballo in Maschera \n                    at the age of four (his memory was playing him false: \n                    he had actually been just three years old!) up in the gallery, \n                    and I’ve finished by conducting it at 87”. \n                  \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"margin-bottom:0cm;margin-bottom:.0001pt;text-align:\njustify;line-height:normal\"\u003eThe \n                    sheer urgency with which Toscanini drives the NBC Symphony \n                    Orchestra is tremendous – and must have been tremendously \n                    challenging – but the players respond as if their lives depended \n                    on it - their careers quite possibly did. Thanks to the survival \n                    of a great deal of filmed material, notably the famous pioneering \n                    “TV concerts” of the late 1940s, we are quite familiar with \n                    the conductor’s baton technique and, as one listens to these \n                    discs, it is quite easy in the mind’s eye to see him slashing \n                    away with a degree of energy more appropriate to a man half \n                    his age. XR technology successfully and strikingly uncovers \n                    a great deal of orchestral detail – notably among some especially \n                    plangent woodwinds – that has hitherto remained largely hidden. \n                  \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"margin-bottom:0cm;margin-bottom:.0001pt;text-align:\njustify;line-height:normal\"\u003eIt \n                    has sometimes been suggested that Toscanini preferred working \n                    with less than top rank singers as they were more likely to \n                    be amenable to his strict disciplinary style and less likely \n                    to have minds of their own. There is some evidence to contradict \n                    that idea – notably the fact that, for this very recording, \n                    the stellar Jussi Björling had actually been scheduled to \n                    sing Riccardo (yes, we are in Boston, not Stockholm) and was only prevented \n                    from doing so by last minute indisposition. Nevertheless, \n                    the way in which Toscanini exercised psychological domination \n                    over many singers can easily be seen in the 1949 televised \n                    concert performance of Aida where soprano Herva Nelli \n                    resembles at times nothing so much as a terrified rabbit caught \n                    in the headlights of an approaching sports car - the maestro \n                    eventually made amends to some extent by leaving her his baton \n                    in his will. \n                  \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"margin-bottom:0cm;margin-bottom:.0001pt;text-align:\njustify;line-height:normal\"\u003eHere \n                    the conductor has assembled a strong and dependable vocal \n                    team, many of whom – Nelli, Peerce, Moscona, Scott – he worked \n                    with repeatedly in this final stage of his career. It is, \n                    if you like, a sort of “in-house” company and, as such, the \n                    various voices here are well known, though, with XR’s apparent \n                    ability to draw the ear to sounds that can, no matter how \n                    familiar you are with previous incarnations of this recording, \n                    come as something of a surprise, Nelli’s voice emerges here \n                    as notably stronger in its lower registers. As her noble paramour, \n                    Jan Peerce, never the most subtle of singers, delivers a forthright \n                    account fully in accordance with Toscanini’s high voltage \n                    approach: the Act 2 love duet between Riccardo and Amelia, \n                    Teco io sto, is a real show-stopper and an undoubted \n                    highlight of the whole performance. \n                  \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"margin-bottom:0cm;margin-bottom:.0001pt;text-align:\njustify;line-height:normal\"\u003eThe \n                    late Verdi from Toscanini that is most often singled out for \n                    special praise – and rightly so – is his unrivalled Falstaff \n                    but this new remastering of Ballo - marred only \n                    by disappointingly dreary artwork, inadequate packaging and \n                    the fact that full notes can only be accessed online – may \n                    well help it achieve the equal recognition it deserves as \n                    a definitive account of a wonderful score.\u003cbr\u003e\n                    \u003cbr\u003e\n                    \u003cb\u003e\u003ci\u003e\u003cspan style=\"font-size:12.0pt;font-family:\" times new roman\u003eRob \n                    Maynard\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e \n                  \n              \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO032.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's 1954 operatic farewell newly restored \u0026amp; remastered\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eOne of the finest recordings of this opera in a stunning XR makeover\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eToscanini's final opera performance took place over two \nconcerts at Carnegie Hall, both broadcast live on radio in \nspecially-extended programmes. The original cast included the tenor \nJussi Björling, replaced at short notice by Jan Peerce. This performance\n uses the 'censored text' version of the opera (see below), which moves \nthe setting from Sweden to Massachusetts.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe source discs for this transfer were six LP sides \nissued as promotional gifts by \"the makers of Mobilgas and Mobiloil\", \nwho had sponsored the broadcasts. Packaged in an album reminiscent more \nof typical US 78rpm sets than their LP equivalents, the set includes \nsleevenotes by NBC announcer Ben Grauer and a montage of press cuttings \n(see below) reviewing the concerts.\u003c\/p\u003e\u003cp class=\"body\"\u003eEach of the disc labels includes the words \"Air Check\" \non it, which does raise the outside possibility that the discs do not \ninclude retakes Toscanini recorded in June 1954 at his final recording \nsessions, also in Carnegie Hall, and which are present in RCA's \ncommercial issue. However, this seems unlikely - there is no radio \nannouncer or applause on the recording, and clearly some efforts would \nhave been made to produce the finest quality discs. Without catalogue \nnumbers or further details it is difficult to know exactly when these \ndiscs were pressed and to whom they were sent, or indeed how many sets \nwere ever made.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe sides themselves proved to be in excellent condition\n with the exception of the fifth, which was slightly scratched during \nthe final four minutes or so, some remnants of which may still be \napparent. Sound quality is excellent throughout - the close-up \nmicrophone technique, whilst holding back much of the ambience of \nCarnegie Hall, does allow for excellent clarity in both voices and \norchestra.\u003c\/p\u003e\u003cp class=\"body\"\u003eFurthermore, this new transfer has benefitted enormously\n from XR remastering, bringing fabulous new depth and clarity to the \nsound and opening it out tremendously, something further enhanced when \nlistening to the Ambient Stereo version, which helps create the sense of\n space lacking in the original by drawing out ambience from the \nrecording and spreading it subtly across the soundstage.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003e- Un Ballo in Maschera \u003c\/span\u003e(A Masked Ball)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eCD One\u003cbr\u003e1. Act 1 - Prelude  (4:14)\u003cbr\u003e2. Posa in pace  (1:47)\u003cbr\u003e3. Amici miei...soldati - La rivedrà nell' estasi  (3:20)\u003cbr\u003e4. Il cenno mio de là  (2:13)\u003cbr\u003e5. Alla vita che t'arride  (2:21)\u003cbr\u003e6. Il primo giudice  (1:28)\u003cbr\u003e7. Cavatina: Volta la terrea...  (1:40)\u003cbr\u003e8. Signori oggi d'Ulrica...Orni cura (2:55)\u003cbr\u003e9. Zitti, l'incanto non dessi turbare  (3:45)\u003cbr\u003e10. Arrivo il primo...Villano, dà indietro  (2:26)\u003cbr\u003e11. Su fatemi largo  (3:20)\u003cbr\u003e12. Che v'agita cosi  (4:51)\u003cbr\u003e13. Su profetessa monta il treppiè  (3:38)\u003cbr\u003e14. Chi voi siate l'audace parola  (5:43)\u003cbr\u003e15. Finale - Finisci il vaticinio  (4:14)\u003cbr\u003e16. Act II - Prelude - Ecco l'orrido campo  (8:41)\u003cbr\u003e17 Teco io sto...Gran Dio...  (8:05)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eCD Two\u003cbr\u003e1. Ahimè!...s'appressa alcun!...  (4:44)\u003cbr\u003e2. Seguitemi!...Mio Dio!  (7:07)\u003cbr\u003e3. Act III - A tal colpo è nulla il pianto  (5:53)\u003cbr\u003e4. Alzati! Là tuo figlio a te concede riveder...  (5:53)\u003cbr\u003e5. Siam soli...udite...  (8:11)\u003cbr\u003e6. Alle danze questa sera  (4:01)\u003cbr\u003e7. Forse la soglia attinse...  (4:58)\u003cbr\u003e8. Ah! Dessa è là (Festa de Ballo e Coro)  (5:24)\u003cbr\u003e9. Fervono amori e danze...  (1:46)\u003cbr\u003e10. Ah! Perchè qui!.. fuggite...  (5:02)\u003cbr\u003e11. Finale - Ella è pura, in braccio a morte...  (4:15)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eJan Peerce\u003c\/b\u003e (Riccardo), \u003cbr\u003e \u003cb\u003eHerva Nelli \u003c\/b\u003e(Amelia), \u003cbr\u003e \u003cb\u003eRobert Merrill \u003c\/b\u003e(Renato), \u003cbr\u003e \u003cb\u003eClaramae Turner\u003c\/b\u003e (Ulrica), \u003cbr\u003e \u003cb\u003eVirginia Haskins\u003c\/b\u003e (Oscar), \u003cbr\u003e \u003cb\u003eGeorge Cehanovsky \u003c\/b\u003e(Silvano), \u003cbr\u003e \u003cb\u003eNicola Moscona\u003c\/b\u003e (Samuel), \u003cbr\u003e \u003cb\u003eNorman Scott \u003c\/b\u003e(Tom), \u003cbr\u003e \u003cb\u003eJohn Carmen Rossi\u003c\/b\u003e (Judge, Servant of Amelia)\u003cbr\u003e \u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e Robert Shaw Chorale\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e\u003cb\u003econducted by Arturo Toscanini\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded live at Carnegie Hall, 17th January 1954 (Act 1)\u003cbr\u003eand 24th January 1954 (Acts II and III)\u003cbr\u003eTransfer from Air Check discs \"presented by the makers of MobilGas and MobilOil\" No catalogue numbers, matrix numbers E4RP8241-6\u003cbr\u003eDiscs provided from the private collection of Christophe Pizzutti\u003cbr\u003eTransfer and XR remastering by Andrew Rose at Pristine Audio, August 2009\u003cbr\u003eCover artwork based on a photograph of Arturo Toscanini conducted at Carnegie Hall\u003c\/p\u003e\u003cp\u003eTotal duration:  2hr 01:55\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO032.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO032.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":32417954701,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417954765,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417954829,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":32417954893,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO032_1c0b5db8-dfa1-43bd-aa45-32c4c710f86c.jpg?v=1586772921"},{"product_id":"pasc404-cd","title":"DE SABATA Complete Berlin Philharmonic Recordings (1939) - 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PASC214","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eTHE MAGIC KEY OF RCA\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMarian Anderson \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- contralto \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e José Iturbi \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- conductor, solo piano \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e The Philadelphia Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e Charles O'Connell\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - conductor, arranger \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e Eugene Ormandy \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- conductor \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e Leopold Stokowski\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - conductor, arranger \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1937\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 59:36 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC214.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eA stellar line-up for a truly \"Magic\" hour of radio\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eLaunching the Pristine Audio \"SI\" - Special Interest - historic series\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe Magic Key of RCA ran as an hour-long musical variety\n programme on an almost-weekly basis for 204 episodes over four years, \nbetween 29th September 1935 and 18th September 1939. The broadcasts went\n out on Sunday afternoons between 2pm and 3pm on NBC's Blue network, and\n featured a very wide range of artists and guests - the very first \nbroadcast, for example, included contributions not only from conductor \nWalter Damrosch and singer Paul Whiteman, but also Walt Disney and radio\n comedians Amos 'n' Andy.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe 79th broadcast of 18th April 1937 came live from the\n Philadelphia Academy of Music, on the eve of the Philadelphia \nOrchestra's five-week \"coast-to-coast tour of 11,000 miles with stops at\n twenty-four cities\" under Ormandy and Iturbi, travelling on a \"special \nde-luxe 9-car Pullman train\". The broadcast carefully promotes not only \nthe tour, but also RCA Victor's long association with the orchestra, and\n of course RCA's own electrical products.\u003c\/p\u003e\u003cp class=\"body\"\u003eIn fact the \"Magic Key\" series came about as a means of \npromoting an electronic tuning aid developed by RCA for its radios in \n1935, and was one of a number of 'magic' references dreamed up by RCA's \nPR department, as this excerpt from a technical website makes clear:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" style=\"margin-left: 25px;\"\u003eRCA registered their first electron-ray tube, the 6E5, \non June 27, 1935. This tube initially appeared in RCA’s console-model \nproduct line that same year. RCA was fearing a loss of market share to \ncompetitors’ new lines of very small and midget radios, many of which \nwere designed and produced in Los Angeles. RCA’s promotion touted the \n\"Magic Eye\" as an elegant feature of their upper product line - where \nprofit margins were greatest. Not surprisingly, the 6E5 wouldn’t fit \ninside the competitors’ smallest sets. The name \"Magic Eye\" quickly \ngained acceptance with the public as the standard identity for the \nelectron ray tube and tuning eye feature in consumer radio sets, \nregardless of manufacturer.\u003c\/p\u003e\n\u003cp class=\"body\" style=\"margin-left: 25px;\"\u003eRCA’s marketing department went on a bit of a binge with\n the \"Magic\" theme as it popped up in a variety of other radio features.\n This included the \"Magic Brain\" tuning unit, the \"Magic Voice\" sound \nsystem, the \"Magic Wave\" antenna, and the \"Magic Key\" station \nprogramming system. Two of RCA’s 1936 model year console sets introduced\n in late 1935, Models 9K and 13K, were really \"Magic\". Along with the \n\"Magic Eye\", they were equipped with a combination of the other \"Magic\" \nfeatures. The public however was not as impressed with these other \n\"Magic\" promotions as none of them gained the lasting familiarity of the\n \"Magic Eye.\"\u003cbr\u003e \u003c\/p\u003e\u003ca href=\"http:\/\/home.pacbell.net\/philbert\/tuning_eye\/eyeintro.htm\"\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/a\u003e\u003cp\u003e\u003ca href=\"http:\/\/home.pacbell.net\/philbert\/tuning_eye\/eyeintro.htm\"\u003e\u003cem\u003e\n\u003cbr\u003e\u003c\/em\u003e\u003c\/a\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eA Pristine Audio SI Release:\u003ci\u003e Technical Note\u003c\/i\u003e\u003c\/p\u003eThe\n source recording for this release, supplied to me by Edward Johnson of \nthe Stokowski Society, appeared to have originated from an AM broadcast \nrecording captured on acetate discs.However, it had already received some quite strong noise\n processing which I was unable to undo, hence the release's designation \nas an \"SI\" release, meaning of \"Special Interest\" - but of reduced \nfidelity.\u003cbr\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eIt has been fully restored and XR-remastered, greatly \nimproving the sound quality over the original as supplied, but several \naspects of the audio had already been compromised beyond restoration. We\n believe that, for many collectors, this will prove secondary to simply \nhaving this remarkable recording available to listen to.\u003c\/p\u003e\u003cp class=\"body\"\u003ePristine Audio SI releases, although processed at 32-bit\n or higher resolution, are not available as 24-bit downloads as there is\n no sonic improvement possible over the standard 16-bit versions of \nthese issues.\u003c\/p\u003e\u003cem\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eIntroduction (Milton Cross)\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eBACH\u003c\/strong\u003e (arr. Cailliet) \u003cstrong\u003ePrelude \u0026amp; Fugue in F minor\u003c\/strong\u003e (cond. \u003cstrong\u003eOrmandy\u003c\/strong\u003e)\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eDEBUSSY\u003c\/strong\u003e \u003cstrong\u003eNocturnes\u003c\/strong\u003e - \u003cem\u003eFêtes\u003c\/em\u003e (cond. \u003cstrong\u003eIturbi\u003c\/strong\u003e)\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003e\u003c\/strong\u003eBen Grauer speaks for RCA Victor\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eBIZET\u003c\/strong\u003e \u003cstrong\u003eCarmen\u003c\/strong\u003e - \u003cem\u003ePrelude\u003c\/em\u003e (cond. \u003cstrong\u003eO'Connell\u003c\/strong\u003e)\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eFRANCK\u003c\/strong\u003e (arr. O'Connell) \u003cstrong\u003eGrand Pièce Symphonique\u003c\/strong\u003e - \u003cem\u003eAndante\u003c\/em\u003e (cond. \u003cstrong\u003eO'Connell\u003c\/strong\u003e)\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003eBen Grauer on the Orchestra's tour\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eStokowski\u003c\/strong\u003e on sound reproduction and Bach and Debussy\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eBACH\u003c\/strong\u003e (arr. Stokowski) \u003cstrong\u003eMy Jesus in Gethsemane\u003c\/strong\u003e (cond. \u003cstrong\u003eStokowski\u003c\/strong\u003e)\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eDEBUSSY\u003c\/strong\u003e (arr. Stokowski) \u003cstrong\u003eClair de Lune\u003c\/strong\u003e (cond. \u003cstrong\u003eStokowski\u003c\/strong\u003e)\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eVERDI\u003c\/strong\u003e \u003cstrong\u003eDon Carlos\u003c\/strong\u003e - \u003cem\u003eO don fatale\u003c\/em\u003e (\u003cstrong\u003eMarian Anderson\u003c\/strong\u003e, cond. \u003cstrong\u003eOrmandy\u003c\/strong\u003e)\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eCHOPIN\u003c\/strong\u003e \u003cstrong\u003eWaltz No. 2 in A flat\u003c\/strong\u003e, Op. 34, No. 1 (\u003cstrong\u003eIturbi\u003c\/strong\u003e)\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eWAGNER\u003c\/strong\u003e \u003cstrong\u003eDie Walküre\u003c\/strong\u003e - \u003cem\u003eRide of the Valkyries \u003c\/em\u003e(cond. \u003cstrong\u003eOrmandy\u003c\/strong\u003e)\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003eBen Grauer on the tour and Victor\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003eClosing - Cross and Grauer over \u003cstrong\u003eBACH\u003c\/strong\u003e \u003cstrong\u003eSuite No 3\u003c\/strong\u003e - \u003cem\u003eAria\u003c\/em\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eThe Philadelphia Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMarian Anderson\u003c\/strong\u003e - contralto\u003cbr\u003e \u003cstrong\u003eJosé Iturbi\u003c\/strong\u003e - conductor, solo piano\u003cbr\u003e \u003cstrong\u003eCharles O'Connell\u003c\/strong\u003e - conductor, arranger\u003cbr\u003e \u003cstrong\u003eEugene Ormandy\u003c\/strong\u003e - conductor\u003cbr\u003e \u003cstrong\u003eLeopold Stokowski\u003c\/strong\u003e - conductor, arranger\u003c\/p\u003e\n\u003cp\u003eProgramme introduced by Milton Cross and Ben Grauer\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003eBroadcast from The Philadelphia Academy of Music, 2-3pm EST, Sunday 18th April, 1937, on NBC Blue Network\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, February 2010\u003cbr\u003e Cover artwork based on photographs of Ormandy, Stokowski, Iturbi \u0026amp; Andersom\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 59:36 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC214.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC214.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":34452302861,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34452302925,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34452303053,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC214.jpg?v=1490032473"},{"product_id":"pasc077","title":"TOSCANINI War Bonds Concert: Mendelssohn, Schubert, Barber, Verdi (1942) - PASC077","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELSSOHN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture to A Midsummer Night's Dream\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 8, 'Unfinished', in B minor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eEssay for Orchestra No. 1\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture to I Vespri Siciliani\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1942\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eDuration 51:09\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e \u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC077.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f \u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan class=\"bodybig\"\u003e\u003cspan style=\"font-size: 17px;\"\u003eSamuel Barber's \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 17px;\"\u003eEssay for Orchestra\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 17px;\"\u003eNo. 1\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003enotes by Andrew Rose \u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eBarber's \u003cem\u003eEssay for Orchestra No. 1\u003c\/em\u003e is the natural partner to his most famous work, the \u003cem\u003eAdagio for Strings\u003c\/em\u003e, and both are intrinsically linked to Toscanini. During the summer of 1937, as he began his tenure conducting the NBC Symphony Orchestra, Toscanini asked the orchestra's supervisor, Rodziński, for suggestions of American works to perform. The suggestion of something by Barber was raised, but rather than play an existing composition, Toscanini decided to ask for a new piece to review.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThus Barber, still a young composer, excitedly got to work on his \u003cem\u003eEssay for Orchestra\u003c\/em\u003e, which was submitted alongside the \u003cem\u003eAdagio for Strings\u003c\/em\u003e. Then for several months nothing appeared to happen, and the scores were returned to the composer without comment. Discouraged, Barber started to seek alternative performances.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eDuring the summer of 1938 Barber had been invited to Toscanini's summer home in Italy, but piqued by his apparent rejection, refused to go, instead sending a friend with news of an illness. This ruse was quickly seen through by Toscanini, who stated that Barber had no need to be angry with him - he was planning to perform both works, and had returned the scores as a courtesy having already memorised both.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThus the première performance of both works was conducted by Toscanini on 5th November 1938 in an NBC Symphony Orchestra Concert. To the best of my knowledge this release is the only recording of Toscanini conducting the \u003cem\u003eEssay\u003c\/em\u003e to be issued.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eMusically it is perhaps the ideal partner to the \u003cem\u003eAdagio for Strings\u003c\/em\u003e. Although scored for full orchestra and piano it appears to inhabit the same musical world, certainly at the outset. The piece is essentially in two sections, beginning with a broad, lyrical, brooding \u003cem\u003eAndante sostenuto\u003c\/em\u003e, which is eventually interrupted by the \u003cem\u003eAllegro molto\u003c\/em\u003e of the second section, a quasi-scherzo of new material in triple time which builds up to a climax in which themes from the first part are recalled. Finally the piece dies down, first with near-canonical writing in the trumpets, before ending with the violins restating the original theme, which is left hanging in mid-air.\u003c\/p\u003e\n\n\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 17px;\"\u003eOn Toscanini's War Bonds Concerts \u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003eAn edited discussion from the Yahoo Toscanini group \u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e\u003cstrong\u003eBB:\u003c\/strong\u003e \"The Verdi was issued by RCA originally on LM 6041 (Verdi and Toscanini 2 lp set); the Barber was taken into the studio and recorded in a regular session. The 1941-42 War Bond Concerts (the first was on December 6, 1941 and was a Treasury Bond concert though Pearl Harbor was only hours a away!) were without audience. There were five altogether and served in the end to bring about a rapprochement between Toscanini and NBC.  Stokowski had become the orchestra's Principal Conductor in 1941-42.\"\u003cbr\u003e \u003cbr\u003e \u003cem\u003e\u003cstrong\u003eAK:\u003c\/strong\u003e \"Right. But only the \"\u003c\/em\u003eAdagio for Strings\u003cem\u003e\" was given a session recording.\"\u003c\/em\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eBB:\u003c\/strong\u003e \"Re. that particular War Bond concert, the Verdi, as I said, was eventually issued. The Barber was recorded separately. RCA was engaged in doing the complete Mendelssohn MSND  music with Toscanini and the Philadelphia Orchestra; not released as it turned out because of RCA's technical screw ups but still \"in prep\" in 1942; and RCA did not need to release or record the Schubert \u003cem\u003eUnfinished\u003c\/em\u003e interpretation at that time because, frankly, they already had a fully serviceable version in their catalogue with Koussevitsky and the Boston Symphony (M-319) plus a black label recording by Walter and the VPO on set G-9.\"\u003c\/p\u003e\n\n\u003cp align=\"left\"\u003e *Although this concert has never been commercially released before, the recording of Verdi's \u003cem\u003eOverture to I Vespri Siciliani\u003c\/em\u003e was issued by RCA. We cannot trace any issue of the other recordings - indeed this appears to be the first release of Barber's \u003cem\u003eEssay for Orchestra\u003c\/em\u003e as conducted by Toscanini.\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eOverture to A Midsummer Night's Dream\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eSymphony No. 8, 'Unfinished', in B minor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBARBER \u003c\/b\u003eEssay for Orchestra No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eOverture to I Vespri Siciliani\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra\u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eBroadcast live with no audience, 24th January 1942, Studio 8H \u003cbr\u003e Pristine Audio XR remastering by Andrew Rose, June 2007\u003cbr\u003e \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000; font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eDuration 51:09\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC077.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC077.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":36279630349,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205561762126,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC077.jpg?v=1492700871"},{"product_id":"pasc077-cd","title":"TOSCANINI War Bonds Concert: Mendelssohn, Schubert, Barber, Verdi (1942) - 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PACO140","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eUn Ballo in Maschera\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1940\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  2hr 10:18    \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eAmelia \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Zinka Milanov\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eRiccardo \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Jussi Björling\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eRenato \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Alexander Sved\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eUlrica \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Bruna Castagna\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eOscar \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Stella Andreva\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMetropolitan Opera Orchestra and Chorus\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Ettore Panizza\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO140.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eWe present here the 1940 broadcast matinee performance given on 14 December from the Metropolitan Opera of Verdi's \u003cem\u003eUn Ballo in Maschera\u003c\/em\u003e, an opera which, at the time, had been somewhat neglected.\u003cbr\u003e\u003cbr\u003eI've\n had the privilege of working from sonically excellent, \npreviously-unused source material which, despite some higher than usual \nsurface noise, has preserved the voices and orchestra superbly for a \nrecording of this vintage.\u003cbr\u003e\u003cbr\u003eThis continues our recent series of \nnew transfers of Met Opera broadcasts from the early 1940s in \nunprecedented sound quality, recorded onto 16-inch transcription discs \nby NBC from a direct line feed. I'm sure it won't be the last!\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003eAmelia - Zinka Milanov\u003cbr\u003eRiccardo - Jussi Björling\u003cbr\u003eRenato - Alexander Sved\u003cbr\u003eUlrica - Bruna Castagna\u003cbr\u003eOscar - Stella Andreva\u003cbr\u003eSamuel - Norman Cordon\u003cbr\u003eTom - Nicola Moscona\u003cbr\u003eSilvano - Arthur Kent\u003cbr\u003eJudge - John Carter\u003cbr\u003eServant - Lodovico Oliviero\u003cbr\u003e\u003cbr\u003eDance - Douglas Coudy\u003cbr\u003eDance - Alexis Kosloff\u003cbr\u003eDance - Josef Levinoff\u003cbr\u003eDance - Mary Smith\u003cbr\u003eDance - Lillian Moore\u003cbr\u003eDance - Mary Sigler\u003cbr\u003eDance - Paul Sweeney\u003cbr\u003eDance - Lilla Volkova\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMetropolitan Opera Orchestra and Chorus\u003cbr\u003e\u003c\/b\u003econducted by\u003cb\u003e Ettore Panizza\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBroadcast performance of 14 December, 1940\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Jussi Björling\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eCD 1\u003c\/p\u003e\u003cp\u003e1 RADIO Introduction  (0:23)\u003cbr\u003e\u003cbr\u003e2 Act 1, Scene 1 - Prelude  (3:52)\u003cbr\u003e3 Posa in pace  (1:33)\u003cbr\u003e4 Amici miei...soldati - La rivedrà nell' estasi  (3:51)\u003cbr\u003e5 Il cenno mio de là  (2:16)\u003cbr\u003e6 Alla vita che t'arride  (3:00)\u003cbr\u003e7 Il primo giudice  (1:26)\u003cbr\u003e8 Cavatina: Volta la terrea  (1:55)\u003cbr\u003e9 Signori oggi d'Ulrica...Orni cura si doni al diletto  (2:59)\u003cbr\u003e\u003cbr\u003e10 Act 1, Scene 2 - Zitti, l'incanto non dessi turbare  (3:38)\u003cbr\u003e11 Arrivo il primo...Villano, dà indietro  (2:45)\u003cbr\u003e12 Su fatemi largo  (3:17)\u003cbr\u003e13 Che v'agita cosi  (5:20)\u003cbr\u003e14 Su profetessa monta il treppiè  (4:07)\u003cbr\u003e15 Chi voi siate l'audace parola  (6:14)\u003cbr\u003e16 Finale - Finisci il vaticinio  (4:11)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eCD 2\u003c\/p\u003e\u003cp\u003e1 Act 2 - Prelude - Ecco l'orrido campo  (9:28)\u003cbr\u003e2 Teco io sto...Gran Dio  (9:08)\u003cbr\u003e3 Ahimè!...s'appressa alcun!  (4:54)\u003cbr\u003e4 Seguitemi!...Mio Dio!  (7:42)\u003c\/p\u003e\u003cp\u003e5 Act 3, Scene 1  - A tal colpo è nulla il pianto  (6:41)\u003cbr\u003e6 Alzati! Là tuo figlio a te concede riveder  (6:58)\u003cbr\u003e7 Siam soli...udite  (8:14)\u003cbr\u003e8 Alle danze questa sera  (6:03)\u003cbr\u003e9 Forse la soglia attinse  (2:28)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e10  Act 3, Scene 2 - Ah! Dessa è là (Festa de Ballo e Coro)  (5:37)\u003cbr\u003e11  Fervono amori e danze  (1:24)\u003cbr\u003e12  Ah! Perchè qui!.. fuggite  (5:16)\u003cbr\u003e13  Finale - Ella è pura, in braccio a morte  (5:36)\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO140.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO140.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNotes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    If fortune had smiled on us we would have two very good recordings of Jussi\n    Björling in \u003cem\u003eUn Ballo in Maschera\u003c\/em\u003e. He was scheduled to appear in\n    the 1954 radio broadcast with Toscanini and the NBC Symphony Orchestra but\n    had to pull out due to laryngitis. Illness also forced him to pull out of\n    the Decca recording in Rome in the summer of 1960 opposite Birgit Nilsson.\n    Just a few months later he was dead. Opera fans were thus denied the chance\n    to hear Jussi Björling in one of his signature roles. The Decca recording\n    in particular would have captured him in excellent stereo. Yet all is not\n    lost. This broadcast from the Metropolitan Opera in December 1940 captures\n    Björling at his youthful best, not yet 30 years old, singing with all the\n    passion one could want in a live performance.\n\u003c\/p\u003e\n\u003cp\u003e\n    Although Björling had sung his first \u003cem\u003eBallo\u003c\/em\u003e in Sweden in 1934, this\n    was actually only his 6\u003csup\u003eth\u003c\/sup\u003e performance as Riccardo. The Met\n    mounted a new production of the opera, having neglected to perform it for\n    the previous 24 years, and granted it the honour of opening night. This was\n    the first of Björling’s eleven Met broadcasts, and therefore the large\n    domestic broadcast audience of more than ten million (plus the\n    international audience listening via shortwave in Latin America and\n    Europe), heard not only an unfamiliar opera, but also a new tenor. The\n    reviews following opening night were complimentary, praising Björling’s\n    ‘lyricism’ and ‘style’, and indeed the role suits his bright instrument\n    perfectly. He is reserved where the role requires it, but often vocally\n    impassioned in a way that belies his undeserved reputation as ‘cold’. His\n    Amelia is Zinka Milanov, well-known to the Met audience and regularly\n    partnered with Björling by record companies in the 1950s. The two\n    occasionally sang together in concerts and Toscanini had used them as\n    soloists in the Verdi \u003cem\u003eRequiem\u003c\/em\u003e less than a month before this\n    broadcast of \u003cem\u003eBallo\u003c\/em\u003e. Her strong vibrant soprano provides a lovely\n    counterpoint to Björling’s burnished tone, and the big duet in act 3 is a\n    particular highlight (N.B. this Met production split \u003cem\u003eBallo\u003c\/em\u003e into 5\n    acts).\n\u003c\/p\u003e\n\u003cp\u003e\n    Singing Renato is Hungarian baritone Alexander Sved, indeed the opening\n    night performance was his Met debut. His ‘Eri tu’ is large-voiced and nobly\n    sung. He had performed with Björling in Vienna in 1936 and 1937 and\n    recordings of part of those performances survive. Italian mezzo, Bruna\n    Castagna, sings Ulrica and was heard often at the Met as Carmen, Amneris\n    and Azucena. She retired in 1945 at the age of just 48. English soprano\n    Stella Andreva, singing Oscar, appeared at the Met in a variety of light\n    soprano roles such as Musetta, Papagena, and the Woodbird between 1937 and\n    1942. She sang similar roles at Covent Garden, but in Stockholm she sang\n    Gilda to Björling’s Duke, Rosina to his Almaviva, and sang Juliette in his\n    very first \u003cem\u003eRomeo et Juliette\u003c\/em\u003e. In 1946 she performed on Broadway in\n    Lehar’s \u003cem\u003eYours is my heart\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp\u003e\n    Conductor Ettore Panizza performed all over the world and was a house\n    conductor at the Met between 1934 and 1942. More than 40 of his Met\n    performances were broadcast including the 1935 \u003cem\u003eLa Traviata\u003c\/em\u003e with\n    Rosa Ponselle, and the same year’s \u003cem\u003eSimon Boccanegra\u003c\/em\u003e with Lawrence\n    Tibbett.\n\u003c\/p\u003e\n\u003cp\u003e\n    The broadcast was recorded onto 16-inch transcription discs by NBC from a\n    direct line feed. The quality of materials used had clearly improved since\n    the early days of NBC transcription discs and every single broadcast from\n    this 1940-41 season, the first sponsored by the Texas Company, is\n    preserved.\n\u003c\/p\u003e\n\u003cbr\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fFirst night review578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eReview of \u003cb\u003eOscar Thompson\u003c\/b\u003e in the \u003cb\u003eNew York Sun\u003c\/b\u003e:\u003cbr\u003e\u003cbr\u003eAn able and elaborate, if scarcely distinguished, revival of Verdi's \"Masked Ball\" opened the Metropolitan Opera's fifty-sixth season of opera last night. The house was full, with the limit in standees. Because of new revenue derived from the boxes and from additional seats in what was formerly the grand tier, receipts were reported higher than on any recent opening night.\u003cbr\u003e\u003cbr\u003eIn the attention given to the singers and the stage there was nothing to bear out the legend that on opening nights it is chiefly the audience that matters, not the opera. \"Un Ballo in Maschera\" is not the best nor the most exciting of Verdi's twenty-seven stage works, but it has its points. They were recognized and applauded, if not tumultously. The one demonstration of consequence was that which greeted Alexander Sved, the company's new Hungarian baritone, after his singing of \"Eri tu\".\u003cbr\u003e\u003cbr\u003eMr. Sved doubtless caused some genuine commotion-he is the first big-voiced baritone the Metropolitan has had since Titta Ruffo departed. Last night he presented some slight resemblances to Ruffo, not only in weight of the upper tones, but in the \"growl\" of his production. \"Eri tu\" was his best achievement. Elsewhere-and even there-he was not always mindful of the melodic line and was given to a variety of explosive utterances that often blurred both the quality and the pitch. As an actor he was elementary but virile. The railbirds will probably like him immensely in the more stentorian parts. Those who admire refined singing may have their reservations.\u003cbr\u003e\u003cbr\u003eMr. Björling was the more consistently good vocalist of the evening, exhibiting just those qualities of legato lyricism that Mr. Sved sacrificed in his quest of strenuous emphasis.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":40049963533,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205554684238,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205554717006,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO140_8b956779-1761-4eb2-bf70-63570072a895.jpg?v=1498831535"},{"product_id":"paco143","title":"BJÖRLING in Verdi's Rigoletto (1945) - PACO143","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRigoletto\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive performance, 1945\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration 1hr 58:51\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003eRigoletto - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeonard Warren\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eGilda - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBidú Sayão\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eDuke of Mantua - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJussi Björling\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaddalena - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMartha Lipton\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSparafucile - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNorman Cordon\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra \u0026amp; Chorus of the Metropolitan Opera\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCesare Sodero\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis one from the Met has to be counted as one of the very greatest, and Pristine has given it its best treatment to date578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv id=\"BodyDiv\"\u003e\n\u003cspan class=\"TIMES\"\u003eI reviewed this historic 1945 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRigoletto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eas part of a big Sony box, issued in cooperation with the Metropolitan Opera, in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e37:4.\n I noted its long history on many labels (including Music \u0026amp; Arts, \nGrammofono 2000, Melodram, and Naxos), and commented that the Naxos \nversion had been the best restoration but that Sony’s was an \nimprovement. Now comes Andrew Rose’s XR remastering for Pristine, and it\n is yet a further improvement. It is only fair to note, however, that \nthe degree of improvement, while noticeable, is not great. If you \nalready own either the Naxos or Sony, it would be hard to make the case \nthat this is an essential purchase. But if you love the performance (and\n you should) and want the very best version, then go ahead. Pristine’s \nXR process adds a nice touch of hall ambience without sounding phony, \nand there is additional clarity and focus to the voices. A monaural \nbroadcast from the end of World War II could hardly sound better.  \u003c\/span\u003e\n\n\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe performance itself represents one of those afternoons on a Saturday from the Met where the entire cast was \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eon\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n and everyone seemed to be inspiring everyone else. Too bad that the \ngreat Ettore Panizza had left the Met’s conducting roster in 1942, as \nthe rather routine conducting of Cesare Sodero is the only limiting \nfactor here. Sodero is by no means awful—he just lacks that final degree\n of white heat and variety of inflection that Panizza brought to his \nVerdi at the Met between 1934 and 1942. Some of the minor\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e comprimario\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e roles are no better than adequate. Yet where it counts, this performance has nothing but remarkable singers.  \u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn the title role, Leonard Warren is triumphant. \nWarren’s magnificent rich baritone was so special that it is easy to \nforget that he was also an intelligent and caring vocal actor. This was \nalways more true of his staged performances than his studio recordings. \nHe takes risks onstage that he doesn’t on disc. The wonderful \ndecrescendo as Warren begins “Si, vendetta” perfectly depicts the \nbuild-up of fury in Rigoletto as the full weight of what has happened to\n his daughter settles in. The snarling tone he brings to “Pari siamo” \nand the note of horror as Rigoletto first learns of Gilda’s \nkidnapping—all of these moments are vividly conveyed with a dramatic \nspecificity that few baritones could muster. At the same time, the voice\n is the Verdi baritone of one’s dreams. It rings out all the way up to \nthe top; it is even throughout the range; and when Warren sings softly \nhis voice retains its fullness of tone. If you only know Warren’s \nRigoletto from his RCA studio recording, you really don’t know it at \nall. This is a far more completely characterized rendering of the role, \nwhich can be described in a single word, overwhelming.  \u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eEven more of an improvement over the RCA studio \nrecording is the Duke of Jussi Björling. RCA’s Jan Peerce sang with keen\n musicianship but a monochromatic and rather nasal timbre. Björling, \nagain showing more dramatic involvement than he did on studio \nrecordings, is as good as it gets as the Duke. His shaping of the music \n(listen to the opening of the Quartet for a model in Verdi phrasing), \nhis outpouring of glorious tone, the vocal beauty in his seduction of \nGilda (her succumbing is quite understandable)—all of these are examples\n of the art of operating singing at its highest.  \u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Brazilian soprano Bidú Sayão was a Met \naudience favorite for 15 seasons (1937–1952), and one can understand \nwhy. Her silvery voice, sensitive dramatic instincts, impeccable \nintonation, and limpid phrasing all served her well in a wide range of \nrepertoire: Mozart, Massenet, Gounod, Puccini, Verdi, and of course \nVilla-Lobos. Sayão’s is among the most beautifully sung Gildas on disc, \nand as with the men, dramatic interactions that come more strongly in \nstaged performances give her performance real urgency. Sayão may not \nmatch the remarkable imagination of Callas’s EMI recording, but she \nsurprises with the requisite coloratura technique in “Caro nome,” which \nis the equal of any other recorded Gilda. In secondary roles Norman \nCordon’s black basso is effective for Sparafucile, and Martha Lipton is a\n well-above-average Maddalena. Some of the smaller roles are no better \nthan adequate, but none of this really matters. The performance utilizes\n the traditional cuts of the period.  \u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMESi\"\u003eRigoletto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehas received\n many fine recordings, starting in 1930 with Riccardo Stracciari’s \nclassic La Scala set. This one from the Met has to be counted as one of \nthe very greatest, and Pristine has given it its best treatment to date.\n A few snippets of Milton Cross’s broadcast announcements are included, \nbringing back lovely memories from my youth. Pristine provides a minimal\n program note, which makes the interesting point that Warren was born a \ncouple of months after Björling, in 1911, and the tenor died a few \nmonths after Warren’s dramatic onstage death in 1960, both of them \nbefore their 50th birthdays. I hadn’t really focused on that fact, and \nit did cause me to think about what we sadly missed. Such a loss \nunderlines the importance of this remarkable performance. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eHenry Fogel  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\n\n      \n    \u003c\/div\u003e\n  \n  \u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eThis article originally appeared in Issue 41:4 (Mar\/Apr 2018) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 10px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 10px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO143.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eAs Gramophone magazine explain, this classic matinee performance of Rigoletto is rightly regarded as one of the greatest ever recorded:\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e\"This performance marked the return of Bjorling to the Met after a \nwartime break of four years spent mostly in his native Sweden. And what a\n return: at 34 he was at the absolute peak of his powers and sings a \nDuke of Mantua imbued with supreme confidence and tremendous brio – try \nthe start of the Quartet to hear what I mean. He and the house revel in \nhis display of tenor strength, yet that power is always tempered by \ninnate artistry. If not a subtle interpreter, he is always a thoughtful \none, and never indulges himself or his audience.\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003eSimilarly, Warren \nwas at the time at the zenith of his career. Vocally he is in total \ncommand of the role and the house. His reading, though slightly \nextroverted, evinces a firm tone, a secure line and many shades of \ncolour. He is at his very best in his two duets with Gilda (sadly and \nheinously cut about) and no wonder, given the beautiful, plangent \nsinging of Sayao, whose ‘Care nome’ is so delicately phrased, touching \nand keenly articulated. ‘Tutte le feste’ is still better, prompting Paul\n Jackson (who in general is unjustifiably hard on the performance in \u003ci\u003eSaturday Afternoons at the old Met\u003c\/i\u003e,\n Duckworth: 1992) to comment that Sayao’s ‘lovely, pliant, fully rounded\n tones are immediately affecting’. Indeed, in spite of the merits of the\n two male principals, it is her truly memorable interpretation that \nmakes this set essential listening.\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003eAll round, there are few \nrecordings that match this one for vocal distinction – perhaps only the \nSerafin\/Callas\/Gobbi on EMI (2\/56R) and the \nGiulini\/Cotrubas\/Cappuccilli on DG (11\/85). They are much more expensive\n but, of course, boast superior sound (there are moments of distortion \nhere, though not too many). Bjorling and Warren both made later studio \nsets, but neither matches his live contribution here, off the stage.\"\u003c\/p\u003e\u003cp\u003eI had four different source recordings to work from, the best of which was an open-reel copy of the original broadcast, including some of the radio announcements. what do survive I have included as much as possible.\u003c\/p\u003e\u003cp\u003eThe source wasn't perfect, however. Significant work was required, particularly in the last act, to correct pitch problems that had caused a gradual lowering of almost a complete tone across the end of the act. Elsewhere wow was also an issue that I've resolved as much as possible. The tape also suffered several gaps, some more obvious than others, and these have been patched from the other sources and blended to appear seamless to the listener. \u003c\/p\u003e\u003cp\u003eI should at this point state that none of the other sources was perfect either - each had its own flaws. However the overall sound quality from the tape reels gave them a clear edge over my other options. The frequency range here is limited to about 8kHz, and whilst voices are clear throughout and the balance with the orchestra well managed it will never resemble a true high fidelity recording. My role was to squeeze as much as possible out of what was available to me and to improve on previous issues, something I hope I've achieved.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eRigoletto\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eCAST \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRigoletto - \u003cb\u003eLeonard Warren\u003cbr\u003e\u003c\/b\u003eGilda - \u003cb\u003eBidú Sayão\u003cbr\u003e\u003c\/b\u003eDuke of Mantua - \u003cb\u003eJussi Björling\u003cbr\u003e\u003c\/b\u003eMaddalena - \u003cb\u003eMartha Lipton\u003cbr\u003e\u003c\/b\u003eSparafucile - \u003cb\u003eNorman Cordon\u003cbr\u003e\u003c\/b\u003eMonterone - \u003cb\u003eWilliam Hargrave\u003cbr\u003e\u003c\/b\u003eBorsa -\u003cb\u003e Richard Manning\u003cbr\u003e\u003c\/b\u003eMarullo - \u003cb\u003eGeorge Cehanovsky\u003cbr\u003e\u003c\/b\u003eCount Ceprano -\u003cb\u003e John Baker\u003cbr\u003e\u003c\/b\u003eCountess Ceprano - \u003cb\u003eMaxine Stellman\u003cbr\u003e\u003c\/b\u003eGiovanna - \u003cb\u003eThelma Altman\u003cbr\u003e\u003c\/b\u003ePage - \u003cb\u003eThelma Altman\u003cbr\u003e\u003cbr\u003eOrchestra \u0026amp; Chorus of the Metropolitan Opera\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eCesare Sodero\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eMatinee performance of 29 December 1945\u003cbr\u003eMetropolitan Opera House, New York City\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eXR remastering by Andrew Rose\u003cbr\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eLeonard Warren \u003c\/b\u003eas Rigoletto\u003cbr\u003e\u003cbr\u003eTotal duration:  1hr 58:51\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO143.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO143.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fSleevenotes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    Jussi Björling and Leonard Warren shared a remarkably similar career path.\n    Both were born in 1911, Björling in Borlänge, Sweden and Warren a couple of\n    months later in New York. Both had the major part of their careers at the\n    Metropolitan Opera House, Björling making his debut in November 1938,\n    Warren in January 1939. Warren died on stage at the Met during a\n    performance of \u003cem\u003eLa Forza del Destino\u003c\/em\u003e in March 1960, Björling died\n    at home in Sweden a few months later. Neither reached fifty years old.\n    Although it is tempting to muse on opportunities lost and roles never sung,\n    it is better to focus on what both artists achieved both individually and\n    together.\n\u003c\/p\u003e\n\u003cp\u003e\n    Warren appeared at the Met more than 600 times in his 21-year career, but\n    was partnered with Björling only twenty-six times. He was heard as\n    Rigoletto by the radio audience in nine matinee broadcasts between 1943 and\n    1959, but this is the only one with Björling. Warren was, without doubt,\n    the supreme Verdi baritone of his generation. His warm, velvet voice was\n    capable of conveying subtleties of emotion and had the power to reach to\n    the back of the Old Met with ease. His high notes, and Verdi wrote plenty,\n    were unstrained and he could reach a high G or even A-flat without ever\n    losing the baritonal grounding of his voice. His portrayal of Rigoletto\n    focused on the paternal relationship with Gilda, and less on the court\n    jester. He recorded the role commercially with RCA in 1950.\n\u003c\/p\u003e\n\u003cp\u003e\nJussi Björling’s last Met performance before the war had been in    \u003cem\u003eRigoletto\u003c\/em\u003e on 27 February 1941. He spent the next four years in his\n    native Sweden and his first Met performance on his return, on 29 November\n    1945 was once again \u003cem\u003eRigoletto\u003c\/em\u003e. Björling was 34 in 1945, and\n    although he recorded the opera commercially in 1956 with Robert Merrill in\n    the title role, this broadcast captures him as the ideal Duke with the\n    added excitement of a live performance. His bright youthful tone seems just\n    right for the Duke’s callous playboy image, and his arias in the first and\n    last acts are wonderfully carefree.\n\u003c\/p\u003e\n\u003cp\u003e\n    Gilda is sung by Brazilian soprano Bidú Sayão. Sayão was older than both\n    Warren and Björling and would live to be 96. She made her major\n    international name as a lyric-coloratura soprano in Milan and Paris in the\n    early 1930s before arriving in the US in 1935. Sayão sang at the Met\nbetween 1937 and 1952, most notably as Massenet’s \u003cem\u003eManon\u003c\/em\u003e, Mimì in    \u003cem\u003eLa Bohème\u003c\/em\u003e and Susanna in \u003cem\u003eLe Nozze di Figaro \u003c\/em\u003eand was heard\n    on matinee broadcasts thirty-seven times\u003cem\u003e. \u003c\/em\u003eShe only sang Gilda on\n    seven occasions at the Met, two of which were broadcast, but judging from\n    this broadcast she had a touching vulnerability that was well-suited to the\nrole. She would partner Björling in broadcasts of \u003cem\u003eLa Bohème\u003c\/em\u003e and    \u003cem\u003eRoméo et Juliette\u003c\/em\u003e but the only other broadcast with Warren was a\n    1943 \u003cem\u003eLa Traviata\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp\u003e\n    Italian-born Cesare Sodero conducts the opera. Sodero had come to the US in\n    1906 as a twenty-year-old and spent most of his career conducting opera and\n    concerts on the radio. In 1942 he joined the conducting staff the Met and\n    would conduct more than two hundred performances before his death in 1947.\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fContemporary Reviews578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eOPENING NIGHT REVIEWS - 29 NOVEMBER 1945\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n        \u003cu\u003e\u003ci\u003e\u003cb\u003eReview of Noel Straus in The New York Times\n        \u003c\/b\u003e\u003c\/i\u003e\u003c\/u\u003e\u003cbr\u003e\n        \u003cbr\u003e\n        \u003cspan style=\"font-size: 20px;\"\u003e'RIGOLETTO' GIVEN AT METROPOLITAN\n        \u003c\/span\u003e\u003cbr\u003e\n        \u003cbr\u003e\n        \u003cb\u003eBjörling Returns After 4-Year Absence - Warren Sings Title Role, Bidu\n        Sayao is Gilda\n        \u003c\/b\u003e\u003cbr\u003e\n        \u003cbr\u003e\n        Verdi's \"Rigoletto,\" the first Italian work presented this season at\n        the. Metropolitan Opera House, received a performance that aroused\n        fervent enthusiasm from the large audience gathered to hear this\n        ever-popular masterpiece. Jussi Björling, the Swedish tenor, who\n        returned recently to this country after a four-year absence, made his\n        reappearance with the company at this presentation, and special\n        interest centered in his portrayal of the Duke.\n        \u003cbr\u003e\n        \u003cbr\u003e\n        This role was not one in which Mr. Björling was particularly well cast\n        and failed to set forth his gifts in the brightest light. It demands a\n        graceful, suave type of approach less congenial to his temperament than\n        parts asking a more robust and vigorous style. He could bring warmth\n        and vibrancy to his delivery of the music, but not a sufficient degree\n        of the elegance and finesse that are its prime requisites.\n        \u003cbr\u003e\n        \u003cbr\u003e\n        The deficiency was at once noticed in the tenor's treatment of his\n        [first] aria, \"Questa o quella,\" and again in the \"Parmi veder le\n        lagrime.\" Both were too heavily projected to convey the essential\n        characteristics of the nobleman's nature as Verdi has depicted them in\n        these solos.\n        \u003cbr\u003e\n        \u003cbr\u003e\n        \u003cb\u003eVoice Retains Volume\n        \u003c\/b\u003e\u003cbr\u003e\n        \u003cbr\u003e\n        Mr. Björling's tones had lost none of their volume since last heard\n        here, but last night there was less velvetness to the voice than of\n        old, and the top had a wiry quality not formerly in evidence. But he\n        must be heard in a role more suited to him before his present vocal\n        state can be fully judged, one in which he can more legitimately employ\n        the upper register in the full-throated manner he used too often in\n        this opera.\n        \u003cbr\u003e\n        \u003cbr\u003e\n        In the title role Mr. Warren showed a definite step forward in his\n        interpretation. This was markedly the case in the first two acts, which\n        had gained in dramatic intensity and vividness of detail. The duet with\n        Gilda in the second act evinced a far deeper feeling of tenderness and\n        paternal affection than in the past and the fluctuating moods of the\n        \"Pari siamo\" outburst were handled with a new skill.\n        \u003cbr\u003e\n        \u003cbr\u003e\n        At its best Mr. Warren's singing was remarkable in its tonal richness\n        and solidity. But there were times when it became breathy, as in the\n        second half of the \"Cortigiani\" aria, which did not match the first\n        half either tonally or in effectiveness of interpretation. The first\n        half had great power and appeal and in it, as in most of the rest of\n        his work, there was definite strength and conviction.\n        \u003cbr\u003e\n        \u003cbr\u003e\n        \u003cb\u003eMiss Sayao the Heroine\n        \u003c\/b\u003e\u003cbr\u003e\n        \u003cbr\u003e\n        Miss Sayao sang with her usual skill and expressiveness as Gilda. But\n        the role makes too great demands on her light voice. The \"Caro nome\"\n        was admirably clean and secure in its every phrase, but could not\n        achieve real brilliance, nor was it possible for the artist to lend her\n        tones the weightiness wanted for such an outburst as the final duet of\n        the third act.\n        \u003cbr\u003e\n        \u003cbr\u003e\n        The Monterone of William Hargrave was vocally acceptable, although his\n        voice, too, was not big enough to lend his malediction of the jester in\n        the first act its full need of impressiveness. All the other roles were\n        in capable hands. Notably the Sparafucile, Nicola Moscona, who made\n        much of his first and most important contribution. The performance\n        moved along smoothly under Mr. Sodero's direction.\n        \u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cu\u003e\u003cb\u003eReview of Robert Bagar in the World-Telegram\n        \u003c\/b\u003e\u003c\/u\u003e\u003c\/i\u003e\u003cbr\u003e\n        \u003cbr\u003e\n        \u003cspan style=\"font-size: 20px;\"\u003eJussi Bjoerling Returns with \"Rigoletto\" at Met\n        \u003c\/span\u003e\u003cbr\u003e\n        \u003cbr\u003e\n        The return of Jussi Bjoerling, Swedish tenor, after an absence of four\n        years was a provocative aspect of last night's \"Rigoletto\" at the\n        Metropolitan. Mr. Bjoerling, it was quite plain, has lost none of his\n        freedom in singing. His voice is a mite less luscious than formerly,\n        though he let out beautiful tones many times during the evening. But\n        the effortless quality of his work was again a major attribute of it.\n        \u003cbr\u003e\n        \u003cbr\u003e\n        It may be that the Duke of Mantua is not entirely in his grasp at the\n        moment. For some of the subtler sides of the part escaped him - and,\n        naturally, the listener. However, his delivery of \"Parmi veder le\n        lagrime\" in Act III and some of the music in the previous scene added\n        up to as fine a bel canto style as you'll hear at the Metropolitan this\n        season. And maybe better.\n        \u003cbr\u003e\n        \u003cbr\u003e\n        At any rate, Mr. Bjoerling's Duke is a boyish, prankish philanderer,\n        and who finds the chaos more absorbing than consummation, or\n        thereabouts. And the unwonted energy of his singing, the spontaneous\n        quality, the warmth, provided compensation enough for any lacks.\n        \u003cbr\u003e\n        \u003cbr\u003e\n        \u003cb\u003eMiss Sayao as Gilda\n        \u003c\/b\u003e\u003cbr\u003e\n        \u003cbr\u003e\n        A familiar Gilda appeared in the person of Bidu Sayao. And like before,\n        Miss Sayao artfully built up the character of the young girl as the\n        opera wore on, until suddenly one realized she had been a true Gilda\n        all the while. Her coloratura was precise and believable as something\n        symbolizing very young youth. Her voice , not always at its best, she\n        firmly controlled. Of course, she sang \"Caro nome\" very musically, and\n        it was all pleasing and enjoyable to hear, even if she chose to forgo\n        the high E at the end, as well as the traditional passage leading up to\n        it.\n        \u003cbr\u003e\n        \u003cbr\u003e\n        In the way \"La Traviata\" is Violetta's opera, \"Rigoletto\" virtually\n        belongs to the tragic jester. So Leonard Warren, disclosing an\n        improved, dramatically mature characterization, took the proceedings\n        away from his colleagues. In the first place, he was generous, but not\n        extravagant with the gold that lies in his tones. He used the voice\n        mostly as an interpretive medium, and in so doing got right down to\n        fundamentals.\n        \u003cbr\u003e\n        \u003cbr\u003e\n        There were some exciting contrasts in \"Pari siamo\" that he had never\n        made before, and with time he'll be sure to make them all. If Mr.\n        Warren had not been tempted to hold the [first] note of \"Ah, si\n        vendetta!\" too long, the song would have had more effect.\n        \u003cbr\u003e\n        \u003cbr\u003e\n        One of the special pleasures of the evening was Nicola Moscona's\n        Sparafucile, an impersonation whose villainy eluded no one, nor whose\n        musical side could be questioned. Also worthy, operatically speaking,\n        were the efforts of William Hargrave, the Monterone; Alessio de Paolis,\n        the Borsa; and George Cehanovsky, the Maurillo.\n        \u003cbr\u003e\n        \u003cbr\u003e\n        It would have added a lot in the Quartet to hear Martha Lipton sing out\n        the \"Ha ha's,\" which, by the way, comprise the anchorage of the piece.\n        As she did them, weakly and casually, that number lost a good deal of\n        the four-square solidity it is supposed to possess. Otherwise she was\n        an acceptable Maddalena. The cast also held Thelma Altman, Giovanna;\n        John Baker, Ceprano; Maxine Stellman, the Countess; and Miss Altman,\n        again, the Page.\n        \u003cbr\u003e\n        \u003cbr\u003e\n        As a whole the performance was commendable for its drive, constant\n        fluency and frequent scintillating moments, all of which were owing to\n        the masterly conducting of Cesare Sodero. With him in the pit Verdi's\n        melodies always avoid the barrel-organ conventionality that they seem\n        to get in some other hands. And furthermore, he conducts the work as a\n        complete thing and not as a series of ear-wooing episodes.\n        \u003cbr\u003e\n        \u003cbr\u003e\n        There was a huge audience and, you've guessed it, a highly enthusiastic\n        one.\n\n\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":3478905716762,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205550293326,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205550326094,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO143_156cbba9-2932-4857-bfd5-2c4b8353d40c.jpg?v=1516714380"},{"product_id":"paco143-cd","title":"BJÖRLING in Verdi's Rigoletto (1945) - 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Good Friday Spell\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTe Deum\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAlto Rhapsody\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMONTEVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMagnificat\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHANDEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eXerxes - Largo\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 1\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHINDEMITH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eConcert Music For Strings And Brass\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast concerts, 1956\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  2hr 15:36\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMartha Lipton, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ealto\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRudolf Firkušný\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNew York Philharmonic-Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eConducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGuido Cantelli\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf you love great conducting of great music, make this absolutely a priority, must-have acquisition578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eThis set brings us the last two concerts that Guido Cantelli conducted with the New York Philharmonic—indeed, the final concerts he gave in the USA—before his tragic death on November 24, 1956 in a plane crash. The Brahms Concerto and the Handel and Hindemith selections were performed on April 8, and the other works on April 1. This set is also valuable because only the Handel and Monteverdi works have other performances surviving in Cantelli’s discography; indeed, these were the conductor’s first performances ever of the works by Brahms and Verdi, while he had conducted the Wagner only once before, in 1945. The sound quality throughout the set is excellent; Andrew Rose obviously had access to excellent original sources even before applying his trademark XR sound processing to them. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eEven more importantly, with only one exception they are performances of the very front rank. The exception occurs right at the start of the first CD: the Good Friday Spell from Parsifal is prosaic and businesslike, technically well played but completely lacking in atmosphere. After that, Cantelli moves from strength to strength. Both the Verdi Te Deum and the Brahms Alto Rhapsody receive impassioned renditions—the Verdi shows what a grievous loss Cantelli’s premature death was to the opera world—with excellent work by the Westminster Choir matching the instrumentalists of the New York Philharmonic. In the Brahms, Martha Lipton is a very capable soloist, though she lacks the unique vocal profiles and interpretive insights of such great contemporaries as Marian Anderson and Kathleen Ferrier. An unexpectedly fine surprise is provided by Giorgio Federico Ghedini’s arrangement for orchestra of Monteverdi’s Magnificat. A previous performance with identical forces was given on January 6, 1952 and issued in a 12-CD set of Cantelli performances by Music \u0026amp; Arts; there the much inferior recorded sound and more ragged playing and singing made the work something of a trial. Here, it springs vividly to life; if hardly in line with present-day HIP standards for Baroque music, the modern forces make a visceral impact with suitable grandeur. I do wish that the fine solo soprano in the opening lines had been identified. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eIn the second concert, the ever-popular Largo from Handel’s Xerxes has competition in the Cantelli discography from a December 27, 1953 NBC Symphony broadcast. While the NBC version has more sonic presence and attains an extra degree of rapt intensity, this one is still quite fine on its own terms (although both versions milk the closing bars for overly Romanticized emotion). The Brahms and Hindemith works that follow receive interpretations that are pinnacles of excellence. Cantelli brings both a fiery intensity and passionate lyricism to the orchestral part that far surpasses the somewhat stolid accompaniment that William Steinberg and the Pittsburgh Symphony would provide for Firkušný in an October 1956 studio recording. For his part, the Czech pianist is inspired by his partner to great heights, balancing high drama with ardent songfulness and technically clean execution. This is one of the truly great accounts of this score that belongs in every collector’s library. The Hindemith Concert Music is well-nigh miraculous. I had never expected to hear anyone equal Leonard Bernstein’s fabled 1961 New York Philharmonic studio recording, but Cantelli actually aces him with a stunningly perfect command of Hindemith’s musical rhetoric. He brings out an extra degree of febrile tension in the score by crisp accentuation of rhythms and articulation and keenly balanced contrasts in the often discordant brass harmonies, while the strings have an almost serpentine menace to them. This is now my go-to version for a performance of this marvelous, too little appreciated masterpiece. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eAs usual with Pristine, only minimal notes are provided. While Andrew Rose has issued many fine releases over the years, this one in my estimation ranks in the top 10 percent. If you love great conducting of great music, make this absolutely a priority, must-have acquisition; urgently recommended. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cspan style=\"font-weight: bold; font-style: italic;\"\u003eJames A. Altena \u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC523.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003eThese two CDs preserve Guido Cantelli's programmes of his last subscription concerts and are valuable for two reasons. First, they contain Cantelli's very last concerts which he gave in America, but second and more importantly three of the compositions - both of the Brahms and the Verdi - were the first time that the conductor had performed these works. Additionally, Cantelli had only conducted the Wagner and Hindemith once: the Wagner was given in Italy during 1945 so it is unlikely that it was recorded but,fortunately, the Hindemith - a new addition to Cantelli's repertoire - was broadcast with the NBC Symphony Orchestra and is available on a Pristine Audio CD, PASC 111. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eKeith Bennnett\u003c\/b\u003e (author of \"\u003ci\u003eGuido Gantelli, Just Eight Years of Fame\u003c\/i\u003e\")\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003eThese two final broadcast concerts conducted by Guido Cantelli were sourced from high quality mono FM radio recordings and offer excellent sound quality throughout. That said, there were some issues with wow and flutter which I was able to deal with using Capstan pitch stabilisation software, and other minor sonic technical issues were easily overcome. Commentaries were quite long between most works, and these have been trimmed down  - at times considerably. I chose, however, to leave the very final closing as broadcast - it was the last time Cantelli would appear on US radio and on a US concert platform. The following month he headed to London for recording sessions with the Philharmonia Orchestra, and for the rest of the year conducted in London, Milan, Johannesburg, Modena and, finally, in Brescia, Italy on 15 November 1956. Nine days later he was to lose his life in a fatal plane crash in Paris, France, having just a week earlier been named Musical Director of La Scala, Milan.\u003c\/p\u003e\u003cp\u003eNB. The arrangement of Handel's \u003ci\u003eLargo \u003c\/i\u003efrom \u003ci\u003eXerxes\u003c\/i\u003e is attributed by the commentator to the Italian composer Bernadino Molinari, whereas the New York Philharmonic Orchestra's official archive suggests the more common arrangement by Arthur Luck. An examination of the printed concert programme for the evening is of no help - there is no mention here of the arranger (by contrast the Monteverdi arrangement is properly attributed to Ghedini). An examination of the recording indicates that Cantelli does not, in fact, use the Luck arrangement - Luck begins with strings, Cantelli with wind; Luck proceeds with solo violin and harp, Cantelli with solo violin and other orchestral instruments, and so forth. We have been unable to verify 100% that a Molinari arrangement is used here but have no reason to doubt it, despite this contradicting the \"official\" record.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. Radio Introduction, 1 April 1956  (1:01)\u003cbr\u003e2. \u003cb\u003eWAGNER \u003c\/b\u003eParsifal - Good Friday Spell  (11:06)\u003cbr\u003e3. \u003cb\u003eVERDI \u003c\/b\u003eTe Deum  (14:32)\u003cbr\u003e4. \u003cb\u003eBRAHMS \u003c\/b\u003eAlto Rhapsody  (16:11)\u003cbr\u003e\u003cb\u003eMartha Lipton\u003c\/b\u003e, alto\u003cbr\u003e5. \u003cb\u003eMONTEVERDI \u003c\/b\u003e(arr. Ghedini) Magnificat for 6 voices (from \u003cspan class=\"st\"\u003eVespro della Beata Vergine, SV 206)\u003c\/span\u003e (21:22)\u003cbr\u003e6. Radio Ending, 1 April 1956  (1:29)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWestminster Choir\u003c\/b\u003e\u003cbr\u003eDirector: John \u003cb\u003eFinlay Williamson\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. Radio Introduction, 8 April 1956  (1:08)\u003cbr\u003e2. \u003cb\u003eHANDEL \u003c\/b\u003e(arr. B. Molinari) Xerxes - Largo  (6:17)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Concerto No. 1 in D minor, Op. 15\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Maestoso  (21:15)\u003cbr\u003e4. 2nd mvt. - Adagio  (12:51)\u003cbr\u003e5. 3rd mvt. - Rondo. Allegro non troppo  (11:42)\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e     piano\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e6. \u003cb\u003eHINDEMITH \u003c\/b\u003eConcert Music for Strings and Brass  (15:55)\u003cbr\u003e7. 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\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eZinka Milanov\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRadamès - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMario Del Monaco\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAmneris - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBlanche Thebom\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAmonasro - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGeorge London\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRamfis - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJerome Hines\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eKing - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLuben Vichey\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra and Chorus of the Metropolitan Opera\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFausto Cleva\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO147.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eTo say that \u003ci\u003eAïda \u003c\/i\u003eis a staple of the Metropolitan Opera broadcasts would be an understatement. It was heard no less than thirty times between the inception of the weekly broadcasts in December 1931 and the closure of the old Met in April 1966. This was more than \u003ci\u003eTristan \u003c\/i\u003e(28), \u003ci\u003eBohème \u003c\/i\u003e(26), \u003ci\u003eCarmen \u003c\/i\u003e(26), \u003ci\u003eTraviata \u003c\/i\u003e(25) and \u003ci\u003eWalküre \u003c\/i\u003e(23). Verdi’s popular Egyptian love story has all the elements for grand opera: show-stopping arias for the soloists, intricate ensembles, and a major role for the chorus in the Triumphal scene.\u003cbr\u003e\u003cbr\u003eThe cast for this Met broadcast was among the finest that could be assembled in 1953. Croatian Zinka Milanov was a Met favourite, making her debut in late 1937 and remaining until the old house closed in 1966. She dominated the core Italian repertoire especially in\u003ci\u003e Il Trovatore\u003c\/i\u003e, \u003ci\u003eLa Gioconda\u003c\/i\u003e, \u003ci\u003eTosca\u003c\/i\u003e, \u003ci\u003eOtello \u003c\/i\u003eand \u003ci\u003ePagliacci\u003c\/i\u003e. This broadcast is the 5th of 7 she made as Aïda stretching between 1938 and 1955 and captures her at the height of her powers. She is able to elicit sympathy for Aïda’s plight while conquering the more dramatic aspects with ease.\u003cbr\u003e\u003cbr\u003eMario Del Monaco’s Met career was far shorter than Milanov’s, but he brought an excitement to the Italian tenor roles that has rarely been matched since. Heard in only his second Met broadcast, he is an ideal Radames with a clarion voice able to cut through any competition from orchestra or chorus. Often criticised for his lack of nuance he certainly attempts in this broadcast to limit his instrument to suit the mood, particularly in the final scene.\u003cbr\u003e\u003cbr\u003eMaking his Met broadcast debut is George London as Amonasro. London would go on to become a leading Wagnerian baritone and his large and tightly controlled voice is fully capable of dealing with all of Verdi’s demands.\u003cbr\u003e\u003cbr\u003eThe present broadcast recording was very well captured and preserved from the matinée performance of 24th January 1953, the fourth of thirteen performances given by the Met of \u003ci\u003eAïda \u003c\/i\u003ein the first half of 1953 (including four touring performances). The clear voices throughout are well complemented by rich and detailed orchestral playing, enhanced by this XR remastering, which includes a very small amount of convolution reverberation derived from one of the world's great opera houses to fill the Ambient Stereo field out ever so slightly.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eAïda\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCD One\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e1. \u003cb\u003ePreludio\u003c\/b\u003e  (3:33)\u003c\/p\u003e\u003cp\u003e2. \u003cb\u003eAct 1, Scene 1\u003c\/b\u003e - Sì: corre voce che l'Etiope ardisca  (1:18)\u003cbr\u003e3. Se quel guerrier io fossi!  (4:45)\u003cbr\u003e4. Quale insolito gioia nel tuo sguardo  (3:14)\u003cbr\u003e5. Vieni, o diletta, appressati  (2:44)\u003cbr\u003e6. Alta cagion v'aduna  (3:15)\u003cbr\u003e7. Su! del Nilo al sacro lido  (2:59)\u003cbr\u003e8. Ritorna vincitor  (6:32)\u003c\/p\u003e\u003cp\u003e9. \u003cb\u003eScene 2\u003c\/b\u003e - Possente, possente Fthà  (3:09)\u003cbr\u003e10. Immenso, immenso Fthà!  (3:14)\u003cbr\u003e11. Nume, custode e vindice  (3:55)\u003c\/p\u003e\u003cp\u003e12. \u003cb\u003eAct 2, Scene 1\u003c\/b\u003e - Chi mai fra gl'inni e i plausi  (2:49)\u003cbr\u003e13. Danza di piccoli schiavi mori  (3:02)\u003cbr\u003e14. Fu la sorte dell'armi a' tuoi funesta  (5:38)\u003cbr\u003e15. Pietà ti prenda del mio dolor  (4:30)\u003c\/p\u003e\u003cp\u003e16.\u003cb\u003e Scene 2\u003c\/b\u003e - Gloria all'Egitto, ad Iside  (3:18)\u003cbr\u003e17. Marchia trionfale  (1:34)I Ballabile  (4:21)\u003cbr\u003e18. Vieni, o guerriero vindice  (2:13)\u003cbr\u003e19. Salvator della patria, io ti saluta  (2:06)\u003cbr\u003e20. Che veggo! Egli? Mio padre!  (1:03)\u003cbr\u003e21.M Quest'assisa ch'io vesto vi dica  (2:36)\u003cbr\u003e22. Il dolor che in quel volto favella  (2:31)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCD Two\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e1. O Re: pei sacri Numi  (5:27)\u003c\/p\u003e\u003cp\u003e2. \u003cb\u003eAct 3\u003c\/b\u003e - O tu che sei d'Osiride  (4:24)\u003cbr\u003e3. Qui Radamès verrà!  (7:15)\u003cbr\u003e4. Ciel! mio padre!  (7:47)\u003cbr\u003e5. Pur ti riveggo, mia dolce Aida  (2:57)\u003cbr\u003e6. Fuggiam gli ardori inospiti  (6:15)\u003cbr\u003e7. Ma dimmi: per qual via  (3:04)\u003c\/p\u003e\u003cp\u003e8. \u003cb\u003eAct 4, Scene 1\u003c\/b\u003e - L'aborrita rivale a me sfuggia  (3:00)\u003cbr\u003e9. Già i Sacerdoti adunansi  (6:34)\u003cbr\u003e10. Ohimè! morir mi sento!  (7:28)\u003cbr\u003e11. A lui vivo la tomba  (3:08)\u003c\/p\u003e\u003cp\u003e12. \u003cb\u003eScene 2\u003c\/b\u003e - La fatal pietra sovra me si chiuse  (5:25)\u003cbr\u003e13. Immenso, immenso Fthà  (5:19)\u003c\/p\u003e\u003cp\u003e14. Radio ending commentary  (2:13)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eZinka Milanov\u003c\/b\u003e as Aïda in the 1951 Met production\u003cbr\u003e\u003cbr\u003eMetropolitan Opera House, New York City\u003cbr\u003eJanuary 24, 1953 Matinee Broadcast\u003c\/p\u003e\u003cp\u003eTotal duration:  \u003cb\u003e2hr 24:33  \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO147.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO147.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":7051454087229,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205548097870,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205548130638,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO147_b8e35fc2-380c-4cfe-9bc8-0f2de3c4aaa4.jpg?v=1521204798"},{"product_id":"paco147-cd","title":"MILANOV Verdi - Aïda (Met Opera, 1953) - PACO147 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO147.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs with case \u0026 artwork (+MP3)","offer_id":6947575660605,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205548065102,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO147.jpg?v=1658496730"},{"product_id":"paco148","title":"SABAJNO Verdi: Requiem (La Scala, 1929) - PACO148","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRequiem\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe 1929 World Première Recording\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1929\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 77:34\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaria Luisa Fanelli\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (soprano)\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eIrene Minghini-Cattaneo\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (mezzo-soprano)\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eFranco Lo Giudice\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (tenor)\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eEzio Pinza \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e(bass)\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus and Orchestra of La Scala, Milan\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCarlo Sabajno\u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO148.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    This world première recording of the Verdi Requiem stood unchallenged in\n    the catalog for ten years until the Serafin version with Gigli superseded\n    it. It never appeared on an “official” LP or CD reissue; and its last new\n    transfer, released nearly 30 years ago, is long out of print.\n\u003c\/p\u003e\n\u003cp\u003e\n    Those familiar with the 78s will be aware of the myriad technical problems\n    associated with the original recording: hum, microphonic tonal resonances,\n    rumble, car horns outside La Scala, pitch differences on nearly every side,\n    and peak distortion (primarily during the soprano’s high notes). Modern\n    advances in transfer technology have enabled all of these to be cleared up,\n    save for the occasional distortion, and even this has been ameliorated\n    somewhat.\n\u003c\/p\u003e\n\u003cp\u003e\n    The sources for the present transfer were pre-war American Victor “Z” and\n    “Gold” label pressings, save for the final record, which came from an\n    Italian Disco Grammofono pressing.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI: Requiem\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eRequiem e Kyrie\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. Requiem aeternam (4:49)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e6 September 1929 ∙ CM 1062-2A (HMV D 1751)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    2. Kyrie eleison (3:39)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e7 September 1929 ∙ CM 1064-2A (D 1751)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cbr\u003eSequence (Dies irae)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    3. Dies irae (2:07)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e4 September 1929 ∙ CM 1058-2 (D 1752)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    4. Tuba mirum (2:13)\u003cbr\u003e5. Mors stupebit (1:12)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e5 September 1929 ∙ CM 1059-2 (D 1752)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    6. Liber scriptus\/*Dies irae (5:23)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e6 and *12 September 1929 ∙ CM 1061-1A and *1072-1A [part] (D 1753)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    7. Quid sum miser (3:01)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e12 September 1929 ∙ CM 1072-1A [part] (D 1753)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    8. Rex tremendae (3:32)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e3 September 1929 ∙ CM 1056-1A (D 1754)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    9. Recordare (3:33)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e12 September 1929 ∙ CM 1073-2A (D 1754)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    10. Ingemisco (3:39)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e8 September 1929 ∙ CM 1066-1A (D 1755)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    11. Confutatis\/Dies irae (4:35)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e5 September 1929 ∙ CM 1060-1A (D 1755)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    12. Lacrymosa (4:40)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e7 September 1929 ∙ CM 1057-3A (D 1756)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cbr\u003eOffertorio\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    13. Domine Jesu (4:45)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e10 September 1929 ∙ CM 1069-2A (D 1756)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    14. Hostias (5:25)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e10 \u0026amp; 7 September 1929 ∙ CM 1070-1 and 1063-1 [part] (D 1757)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cbr\u003e15. \u003cstrong\u003eSanctus\u003c\/strong\u003e (2:43)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e7 September 1929 ∙ CM 1063-1 [part] (D 1757)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cbr\u003e16. \u003cstrong\u003eAgnus Dei\u003c\/strong\u003e (4:24)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e13 September 1929 ∙ CM 1078-1A (D 1758)\n\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    17. \u003cstrong\u003eLux aeterna\u003c\/strong\u003e (4:51)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e8 September 1929 ∙ CM 1065-2 (D 1758)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cbr\u003eLibera me\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    18. Libera me\/Dies irae (4:28)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e12 September 1929 ∙ CM 1071-2A (D 1759)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    19. Requiem aeternam (2:58)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e13 September 1929 ∙ CM 1079-3A (D 1759)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    20. Libera me (5:37)\u003cbr\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e9 September 1929 ∙ CM 1067-1 \u0026amp; 1068-3 (D 1760)\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cbr\u003e\u003cb\u003eMaria Luisa Fanelli\u003c\/b\u003e (soprano)\u003cbr\u003e\u003cb\u003eIrene Minghini-Cattaneo\u003c\/b\u003e (mezzo-soprano)\u003cbr\u003e\u003cb\u003eFranco Lo Giudice\u003c\/b\u003e (tenor)\u003cbr\u003e\u003cb\u003eEzio Pinza \u003c\/b\u003e(bass)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eChorus and Orchestra of La Scala, Milan\u003c\/b\u003e\u003cbr\u003e(Chorus Master: Vittore Veneziani)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eCarlo Sabajno\u003c\/b\u003e (conductor)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded in the Opera House, La Scala, Milan\n\u003c\/p\u003e\n\u003cp\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\n\u003c\/p\u003e\u003cp\u003eCover artwork based on Michelangelo's \u003cb\u003eThe Last Judgement \u003c\/b\u003e (1536–1541, detail), The Sistine Chapel, Vatican City\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing: 77:34\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO148.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO148.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cstrong\u003eReissue Review\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    [The present recording] is at least valuable as a historic document: after\n    all, it is pretty amazing that so soon after the introduction of the\n    electrical process such a faithful recording of a large choral work could\n    have been made. Carlo Sabajno, who was HMV’s house conductor in Italy and\n    an underrated musician, directs a fierily intense performance that sounds\n    convincing on these CD transfers, apart from the distortion found on the\n    originals. The chorus and orchestra are in many ways superior to their\n    successors on the Columbia Scala set under de Sabata (nla) made 25 years\n    later. The former in particular sing with brio in the \u003cem\u003eDies irae\u003c\/em\u003e\n    and with lightness in the \u003cem\u003eSanctus\u003c\/em\u003e. It is a raw, somewhat\n    unvarnished performance, not wholly accurate, because in those days retakes\n    were out of the question.\n\u003c\/p\u003e\n\u003cp\u003e\n    Two of the soloists achieve a high level of conviction. Indeed, neither\n    Minghini-Cattaneo a much underrated mezzo, nor Ezio Pinza have been\n    surpassed on record in this music. The mezzo sings throughout with opulent\n    tone, biting attack and consistent steadiness, and she never forgets to\n    convey the meaning of what she is interpreting. She isn’t over-subtle\n    concerning dynamics. In that respect she is given a lesson by Pinza, who is\n    at all times responsive to what Verdi wrote as regards note values and\n    emphases. Everything he does here is exemplary. Franco Lo Giudice has\n    precisely the right Verdian tang for the tenor’s music and sings with total\n    conviction, but his contribution is spoilt by an over-effusive style,\n    particularly in the “Ingemisco”. The soprano is frankly very bad, singing\n    without a trace of sensibility and in a consistently loud and piercing\n    tone. In spite of her and other failings, I always enjoy this old\n    performance, but it could never be recommended as a first choice.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eAlan Blyth\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        \u003cem\u003eGramophone\u003c\/em\u003e\n        review of a previous CD reissue (May, 1990)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":7181801717821,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205547934030,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO148_15945251-d2d6-4f60-b4ec-a3a878e0c070.jpg?v=1521868013"},{"product_id":"paco148-cd","title":"SABAJNO Verdi: Requiem (La Scala, 1929) - PACO148 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO148.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":7114077077565,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205547901262,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO148_53c003a6-9f74-4ae5-9939-13187b33d3af.jpg?v=1658496766"},{"product_id":"paco154","title":"VERDI Otello - Del Monaco, de los Angeles, Warren, Cleva (Met Opera, 1958) - PACO154","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOtello\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast performance, 1958\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2 hr 13:32 (including radio announcements)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003eOtello - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMario Del Monaco\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eDesdemona -\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Victoria de los Angeles\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eIago - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeonard Warren\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra \u0026amp; Chorus of the Metropolitan Opera\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFausto Cleva\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO154.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fSleevenotes578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \n        Verdi’s penultimate opera, as Milton Cross notes in his introductory\n        comments, requires three principals of the highest calibre. Drawn from\n        Shakespeare’s play, and with the playwright’s complex characterisation\n        underpinning the opera, \u003cem\u003eOtello\u003c\/em\u003e needs a tenor who is both\n        heroic yet capable of tenderness, a soprano who is a paragon of virtue\n        yet also strong when confronted with false accusations levelled against\n        her, and a baritone whose inner monologue stands in complete contrast\n        to his public face. On the stage the singers convey these emotions\n        visually and vocally, but, as we can judge from this radio broadcast,\n        the very best singers can do it by voice alone.\n   \n\u003c\/p\u003e\n\u003cp\u003e\n    Mario Del Monaco was pre-eminent Otello in the world’s leading opera houses\n    between the mid 1950s and the early 1960s. His bright and virile tone\n    possesses just the right amount of heroism for the dramatic parts of the\n    score, and the listener is quickly confident that he will deliver all the\n    role’s show-stopping high notes with ease. Yet for a tenor with something\n    of a reputation for a ‘stand and deliver’ style, he is evidently capable of\n    scaling back his voice to suit the various moods of the role. The Act 1\n    love duet contains some very restrained singing as he blends his voice with\n    our Desdemona, Victoria de los Angeles, and the anguish of the final\n    moments of Act 4 are beautifully conveyed. Otello was one of Del Monaco’s\n    favourite roles, he starred in many European productions and made two\n    commercial recordings for Decca. At the Met he featured in three matinee\n    broadcasts of the opera.\n\u003c\/p\u003e\n\u003cp\u003e\n    This broadcast is a very rare appearance as Desdemona for Spanish soprano\n    Victoria de los Angeles. She sang the role only four times at the Met,\n    being far more commonly heard as Mimì, Butterfly and Marguerite, and this\n    is the only known broadcast of her in the role. Yet her liquid and creamy\n    soprano is ideally suited to Desdemona, infusing the role with a touching\n    sense of injured innocence. The heart of the role is the \u003cem\u003eAve Maria\u003c\/em\u003e\n    at the start of Act 4 and rarely has it been sung with more beauty of tone\n    and tenderness.\n\u003c\/p\u003e\n\u003cp\u003e\n    Iago was one of Leonard Warren’s signature roles. He featured in no less\n    than seven matinee broadcasts in the role between 1946 and 1958, as well as\n    an opening night telecast in 1948. Iago cannot simply be a scheming\n    villain, the singer has to also be a credible friend and confidant to\n    Otello, and Warren is able to use his flexible instrument to great effect\n    in the role. His whispering into Otello’s ear in Act 2 is a masterclass in\n    intelligent singing. Warren was the Met’s leading baritone in Italian opera\nfrom his debut in 1939 to his sudden death on stage during a performance of    \u003cem\u003eLa Forza del Destino\u003c\/em\u003e in 1960.\n\u003c\/p\u003e\n\u003cp\u003e\n    Conductor Fausto Cleva was born in Italy but emigrated to the US as a young\n    man. He joined the musical staff of the Metropolitan Opera in 1931 as\n    chorus-master and répétiteur, and eventually graduated to become one of the\n    house conductors in 1950. From then, until his death in 1971, he conducted\n    almost one thousand Met performances, concentrating on Italian opera.\n    Perhaps because of his long association with singers behind the scenes,\n    Cleva is able to create just the right musical fabric with the orchestra\n    (who play such an integral part in this opera) to give the singers the\n    support they need.\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast \u0026amp; Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eOtello\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eOtello - \u003cb\u003eMario Del Monaco\u003c\/b\u003e\u003cbr\u003eDesdemona - \u003cb\u003eVictoria de los Angeles\u003c\/b\u003e\u003cbr\u003eIago - \u003cb\u003eLeonard Warren\u003c\/b\u003e\u003cbr\u003eEmilia - \u003cb\u003eRosalind Elias\u003c\/b\u003e\u003cbr\u003eCassio - \u003cb\u003ePaul Franke\u003c\/b\u003e\u003cbr\u003eLodovico - \u003cb\u003eNicola Moscona\u003c\/b\u003e\u003cbr\u003eMontàno - \u003cb\u003eClifford Harvuot\u003c\/b\u003e\u003cbr\u003eRoderigo - \u003cb\u003eCharles Anthony\u003c\/b\u003e\u003cbr\u003eHerald - \u003cb\u003eCalvin Marsh\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eOrchestra \u0026amp; Chorus of the Metropolitan Opera\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eFausto Cleva\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003eCD One\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e1. RADIO Introduction  (1:39)\u003c\/p\u003e\u003cp\u003e2. \u003cb\u003eAct 1\u003c\/b\u003e - Una vela!  (4:00)\u003cbr\u003e3. Esultate!  (4:33)\u003cbr\u003e4. Fuoco di gioia!  (2:35)\u003cbr\u003e5. Roderigo, beviam!  (1:14)\u003cbr\u003e6. Innaffia l'ugola!  (3:54)\u003cbr\u003e7. Capitano, v'attende  (1:21)\u003cbr\u003e8. Olà! che avvien?  (2:58)\u003cbr\u003e9. Gia nella notte  (2:20)\u003cbr\u003e10. Quando narravi  (3:01)\u003cbr\u003e11. Venga la morte!  (4:02)\u003c\/p\u003e\u003cp\u003e12. \u003cb\u003eAct 2\u003c\/b\u003e - Non ti crucciar  (3:09)\u003cbr\u003e13. Credo in un Dio crudel  (4:22)\u003cbr\u003e14. Eccola  (1:13)\u003cbr\u003e15. Ciò m'accora  (4:13)\u003cbr\u003e16. Dove guardi splendono  (4:13)\u003cbr\u003e17. D'un uom che geme  (4:47)\u003cbr\u003e18. Desdemona rea!  (1:41)\u003cbr\u003e19. Ora e per sempre addio  (3:22)\u003cbr\u003e20. Era la notte  (4:43)\u003cbr\u003e21. Sì, pel ciel  (2:36) [\u003ci\u003eaudio sample track\u003c\/i\u003e]\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eCD Two\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e1. \u003cb\u003eAct 3\u003c\/b\u003e - Introduction  (1:09)\u003cbr\u003e2. La vedetta del porto  (1:11)\u003cbr\u003e3. Dio ti giocondi, o sposo  (9:12)\u003cbr\u003e4. Dio! mi potevi scagliar  (3:55)\u003cbr\u003e5. Vieni, l'aula è deserta  (3:22)\u003cbr\u003e6. Questa è una ragna  (1:50)\u003cbr\u003e7. Come la ucciderò?  (1:04)\u003cbr\u003e8. Viva il Leon di San Marco!  (4:52)\u003cbr\u003e9. A terra!... sì... nel livido fango  (7:50)\u003c\/p\u003e\u003cp\u003e10. \u003cb\u003eAct 4\u003c\/b\u003e - Era più calmo?  (3:39)\u003cbr\u003e11. Mia madre aveva una povera ancella  (7:29) [\u003ci\u003eaudio sample track\u003c\/i\u003e]\u003cbr\u003e12. Ave Maria  (4:39) [\u003ci\u003eaudio sample track\u003c\/i\u003e]\u003cbr\u003e13. Chi è là?  (5:26)\u003cbr\u003e14. Calma come la tomba  (3:09)\u003cbr\u003e15. Niun mi tema  (5:09)\u003c\/p\u003e\u003cp\u003e16. RADIO Outro  (3:41)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eMario Del Monaco\u003c\/b\u003e as Otello\u003cbr\u003eLive broadcast performance from the Metropolitan Opera House, New York, 8 March, 1958\u003cbr\u003e\u003cbr\u003eTotal duration: \u003cb\u003e 2 hr 13:32  \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO154.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO154.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fContmemporary Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eReview of Ronald Eyer in the March 1958 issue of Musical America\u003c\/b\u003e\u003cbr\u003e(Performance of 27 February 1958, not broadcast)\u003cbr\u003e\u003cbr\u003eRevived after an absence of two seasons, Verdi's monumental Shakespearean drama received a galvanic performance thanks to a near-perfect roster of principals and one of the most resourceful conducting jobs of the season. Unlike much of Verdi, \"Otello\" is not an opera that will play itself regardless of who is singing. With a minimum of thrice-familiar arias, ensembles and other stock paraphernalia, it leans heavily upon the individual dramatic and vocal abilities of the main protagonists. It demands of the title part, of Iago and of Desdemona vivid, probing, full-dimensional characterizations - plus voices and a singing style of heroic proportions. These the Metropolitan happily was able to provide.\u003cbr\u003e\u003cbr\u003eMario Del Monaco has grown astonishingly in the role of the Moor. From the moment of his appallingly difficult \"cold\" entrance on the \"Esultate!,\" with its high A, he is the alternatingly regal, brooding, tender, sickly jealous, ferocious Moor of Shakespeare's creation. And he has brought an added dignity to his performance -a restraint in the frenetic moments and a vocal refinement and nuance which are highly commendable.\u003cbr\u003e\u003cbr\u003eLeonard Warren, too, as Iago, seemed to have improved upon what long has been one of his most sensitive, carefully detailed portraits. His vitriolic declamation of the \"Credo\" and the sinuous, reptilian mezza voce with which he enflames Otello over Cassio's dream were peaks in a performance sustained throughout at high altitudes. In her Desdemona, Victoria de los Angeles emphasized the qualities of sweetness, misinterpreted goodness of heart and religious piety which came naturally to their fullest fruition in the \"Willow Song\" and the \"Ave Maria\" of the last act, providing the opportunity for Miss de los Angeles' most beautiful singing of the evening. A bit more spirited conception would have been appropriate in the earlier acts.\u003cbr\u003e\u003cbr\u003eSupport of a high order was provided by Rosalind Elias as Emilia, Paul Franke as Cassio, and Nicola Moscona as Lodovico, as well as by Clifford Harvuot and Calvin Marsh in lesser roles. The chorus, the orchestra and Fausto Cleva at the conductor's desk shared equally with the soloists in the perfection of the performance. Mr. Cleva revealed an ultimate knowledge of the music coupled with a gratifying awareness of the special nature of the late Verdi music dramas (as distinguished from the earlier conventional operas) in such matters as continuity, the long line and the new significance of the orchestra in the over-all design and fabric of the work. The result was a \"chef d'oeuvre.\"\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":13200573956157,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205544493390,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205544526158,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO154_8bf6bf7d-0056-45c8-9b75-d5f6c4124afd.jpg?v=1540460051"},{"product_id":"paco154-cd","title":"VERDI Otello - Del Monaco, de los Angeles, Warren, Cleva (Met Opera, 1958) - PACO154 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO154.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs with case \u0026 artwork (+MP3)","offer_id":13194400006205,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205544460622,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO154_0bc4a53f-795e-4aba-b455-90d2917e3b13.jpg?v=1658496958"},{"product_id":"paco169","title":"RICCARDO STRACCIARI in Verdi's Rigoletto (1930) - PACO169","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eRigoletto\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording 1930\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 1hr 49:17\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRiccardo Stracciari \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e- Rigoletto\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMercedes Capsir\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Gilda\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDino Borgioli\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Duke of Mantua\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus and Orchestra of La Scala, Milan\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLorenzo Molajoli\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO169.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cem\u003e\n        [A]nyone who wants to hear one of the greatest Verdian baritones ever,\n        who had already made his debut when Verdi was still alive, will be\n        rewarded. Stracciari’s co-singers are distinguished: refined, bright,\n        but powerful lyric tenor Dino Borgioli and brilliant Spanish coloratura\n        soprano Mercedes Capsir, who specialised in roles such as Gilda. The\n        rest of the cast are Milanese regulars and uniformly fine [. . .]\n    \u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003e \u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003e\n        Stracciari had an especially rich, sonorous quality to his baritone –\n        it really was a unique, miraculous sound of extraordinary resonance; no\n        other Rigoletto except Titta Ruffo approaches its depth and power. He\n        was already a veteran performer in his early fifties here, having sung\n        professionally for thirty years but the voice is still in marvelous\n        condition and he uses the text so expressively. Sadly, the only other\n        complete recording he made (in 1929 with the same two co-singers and\n        conductor as here) was of his other signature role, Figaro, which he\n        sang over a thousand times.\n    \u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003e \u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003e\n        What little we know about Molajoli is through the excellence of the\n        recordings he made for Columbia; everything about his conducting is\n        right here. You will not hear a better assumption of the eponymous\n        leading role and he is more than adequately partnered.\n    \u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        Ralph Moore, Verdi’s \u003cem\u003eRigoletto\u003c\/em\u003e – A Discographical Conspectus\n    \u003c\/strong\u003e\n    (MusicWeb International, July, 2019)\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    The present release is a follow-up to our earlier, critically-acclaimed\n    reissue of Stracciari’s \u003cem\u003eBarber of Seville\u003c\/em\u003e (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco161\" target=\"_blank\"\u003ePACO 161\u003c\/a\u003e), the\n    baritone’s only other complete opera recording. Despite their importance,\n    these sets have never received satisfactory new transfers during the CD\n    era, with the last “official” transfer of \u003cem\u003eRigoletto\u003c\/em\u003e from EMI\n    having been made as long ago as 1954 (reissued from those tapes for a 1979\n    LP edition).\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eRiccardo Stracciari\u003c\/strong\u003e\n    (1875 - 1955) was born near Bologna and made his professional debut there\n    in 1899. He first sang at La Scala in 1904, and his international career\n    began the following year with appearances at Covent Garden in 1905 and the\n    Metropolitan Opera in 1906. He sang widely throughout Europe and the\n    Americas before retiring in 1944. He was best known for his portrayal of\n    Figaro in \u003cem\u003eIl barbiere di Siviglia\u003c\/em\u003e, which he reportedly sang 1000\n    times, and for Rigoletto. No less an authority than Rosa Ponselle admired\n    his singing, and he is still considered one of the finest Italian baritones\n    of his era.\n\u003c\/p\u003e\n\u003cp\u003e\n    Coloratura \u003cstrong\u003eMercedes Capsir\u003c\/strong\u003e (1895 – 1969) was born in\n    Barcelona and made her debut in 1913 as Gilda in \u003cem\u003eRigoletto\u003c\/em\u003e. Her\n    Italian debut was as Rosina in \u003cem\u003eIl barbiere\u003c\/em\u003e, and she first appeared\n    at La Scala in 1924. In addition to her two recordings with Stracciari, she\n    also recorded \u003cem\u003eLa Traviata\u003c\/em\u003e and \u003cem\u003eLucia di Lammermoor \u003c\/em\u003eunder\n    Molajoli. She retired from performing in 1949.\n\u003c\/p\u003e\n\u003cp\u003e\nFlorence-born lyric \u003cem\u003etenore di grazie\u003c\/em\u003e    \u003cstrong\u003eDino Borgioli\u003c\/strong\u003e (1891 – 1960) was most associated with\n    Mozart and the \u003cem\u003ebel canto\u003c\/em\u003e roles of Rossini and Donizetti. He made\n    his debut in 1914, first sang at La Scala in 1918, toured Australia with\n    Melba in 1924, and appeared at Covent Garden the following year and, during\n    the 1930s, at the Glyndebourne Festival. He also sang in Paris, Salzburg,\n    San Francisco, Chicago and at the Metropolitan. Following his performing\n    career, he taught in London.\n\u003c\/p\u003e\n\u003cp\u003e\n    Little is known about conductor \u003cstrong\u003eLorenzo Molajoli\u003c\/strong\u003e (1868 –\n    1939) – so little, in fact, that until recently, it was thought by some\n    that he was another conductor working under a \u003cem\u003enom de disque\u003c\/em\u003e for\n    contractual purposes. His early career was spent conducting in the\n    Americas, South Africa and provincial Italian theatres. In 1926, he became\n    Italian Columbia’s house conductor, under which guise he recorded twenty\n    complete or abridged operas between 1928 and 1932. His tight control of the\n    ensemble and fast tempi often produced dramatic and exciting performances.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"left\"\u003e\n    \u003cspan style=\"font-size: 36px;\"\u003eVerdi - Rigoletto\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\n    \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e (52:13)\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eAct 1, Scene 1\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. Prelude (2:24)\u003cbr\u003e2. Della mia bella incognita borghese (1:43)\u003cbr\u003e3. Questa o quella (4:43)\u003cbr\u003e4. Gran nuova! gran nuova! (2:36)\u003cbr\u003e5. Ch’io gli parli (4:08)\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eAct 1, Scene 2\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    6. Quel vecchio maledivami! (4:04)\u003cbr\u003e7. Pari siamo! (3:47)\u003cbr\u003e8. Figlia! . . . Mio padre! (7:25)\u003cbr\u003e9. Ah! veglia, o donna (1:53)\u003cbr\u003e10. Giovanna, ho dei rimorsi (2:45)\u003cbr\u003e11. È il sol dell’anima (5:10)\u003cbr\u003e12. Gualtier Maldè . . . Caro nome (6:22)\u003cbr\u003e13. Riedo! perchè? (2:11)\u003cbr\u003e14. Zitti, zitti (3:01)\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e (57:05)\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eAct 2\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. Ella mi fu rapita! . . . Parmi veder (5:29)\u003cbr\u003e2. Duca, Duca! (2:03)\u003cbr\u003e3. Povero Rigoletto (3:14)\u003cbr\u003e4. Cortigiani, vil razza dannata (4:16)\u003cbr\u003e5. Mio padre! (1:52)\u003cbr\u003e6. Tutte le feste (8:01)\u003cbr\u003e7. No, vecchio t’inganni . . . Sì, vendetta (2:33)\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eAct 3\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    8. E l’ami? (1:48)\u003cbr\u003e9. La donna è mobile (3:10)\u003cbr\u003e10. Un dì, se ben rammentomi (1:39)\u003cbr\u003e11. Bella figlia dell’amore (4:30)\u003cbr\u003e12. Venti scudi (3:41)\u003cbr\u003e13. È amabile in vero (5:58)\u003cbr\u003e14. Della vendetta (4:11)\u003cbr\u003e15. Chi è mai? (2:52)\u003cbr\u003e16. Lassù in cielo (1:48)\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cb\u003eCAST\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eRiccardo Stracciari\u003c\/strong\u003e\n    \u003cem\u003ebaritone\u003c\/em\u003e\n(Rigoletto); \u003cstrong\u003eMercedes Capsir\u003c\/strong\u003e \u003cem\u003esoprano\u003c\/em\u003e (Gilda);\u003cstrong\u003eDino Borgioli\u003c\/strong\u003e \u003cem\u003etenor\u003c\/em\u003e (Duke of Mantua);\u003cstrong\u003eErnesto Dominici\u003c\/strong\u003e \u003cem\u003ebass\u003c\/em\u003e (Sparafucile);\u003cstrong\u003eAnna Masetti Bassi\u003c\/strong\u003e \u003cem\u003econtralto\u003c\/em\u003e (Maddalena);\u003cstrong\u003eDuilio Baronti\u003c\/strong\u003e \u003cem\u003ebaritone\u003c\/em\u003e (Monterone);    \u003cstrong\u003eIda Mannarini\u003c\/strong\u003e \u003cem\u003emezzo-soprano\u003c\/em\u003e (Countess Ceprano,\nGiovanna); \u003cstrong\u003eAristide Baracchi\u003c\/strong\u003e \u003cem\u003ebaritone\u003c\/em\u003e (Marullo);\u003cstrong\u003eGuido Uxa\u003c\/strong\u003e \u003cem\u003etenor\u003c\/em\u003e (Borsa);\u003cstrong\u003eEugenio Dall’Argine\u003c\/strong\u003e \u003cem\u003ebass\u003c\/em\u003e (Count Ceprano);    \u003cstrong\u003eAnna Novi\u003c\/strong\u003e \u003cem\u003emezzo-soprano\u003c\/em\u003e (Page)\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eChorus and Orchestra of La Scala, Milan\u003c\/strong\u003e\u003cbr\u003e(Vittore Veneziani, chorus master)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eLorenzo Molajoli\u003c\/strong\u003e\n    , conductor\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 12px;\"\u003eRecorded 22 August 1927 (Pari siamo) \u0026amp; 17 – 27 May 1930 in Milan\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eMatrix nos.: WBX 137 (Pari siamo) and WBX 833\/844, 846\/852 \u0026amp; 854\/863\n\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eFirst issued on Italian Columbia GQX 10028\/42\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003eAct 1, Scene 1:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n        WBX 836-2, 837-2, 833-2, 834-2\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eAct 1, Scene 2:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n        WBX 844-2, 137-1, 855-2, 857-2, 860-2, 861-2, 859-2, 846-1, 839-2,\n        835-2\n    \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eAct 2:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n        WBX 838-2, 863-2, 840-2, 841-1, 842-2, 843-2, 862-2, 847-2\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eAct 3: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n        WBX 858-2, 848-1, 849-2, 850-2, 851-2, 852-1, 856-2, 854-2\n    \u003c\/span\u003e\n    \u003cbr\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\n    material\n\n\u003cbr\u003eCover artwork based on a photograph of Riccardo Stracciari as Rigoletto\u003cbr\u003e\u003cbr\u003eTotal duration:\u003cb\u003e 1hr 49:17 \u003c\/b\u003e   \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO169.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO169.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine 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(+MP3)","offer_id":31493940478013,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205535678798,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO169.jpg?v=1658497337"},{"product_id":"paco170","title":"GIULINI Verdi: Falstaff (1961) - PACO170","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eFalstaff\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive performance, 1961\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 8:13\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGeraint Evans\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  Sir John Falstaff\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRobert Bowman\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  Bardolph\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMichael Langdon \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Pistol\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRegina Resnik\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  Mistress Quickly\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMirella Freni\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  Anne Ford\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLuigi Alva\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  Fenton\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCovent Garden Opera Chorus\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eCovent Garden Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCarlo Maria Giulini\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO170.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    Verdi’s last opera stands apart. For one thing it’s his only well-known\n    comic opera and after numerous betrayals, sacrifices, doomed heroes and\n    heroines that comes as something of a shock. It also continues Verdi’s\nmusical evolution away from showpiece arias and duets (think    \u003cem\u003eRigoletto\u003c\/em\u003e or \u003cem\u003eIl Trovatore\u003c\/em\u003e) towards musical continuity and\n    ensemble pieces.\n\u003c\/p\u003e\n\u003cp\u003e\n    Geraint Evans was an experienced Falstaff and provides us with a warm yet\n    intensely human characterisation of the knight, inviting our empathy. His\n    operatic home was Covent Garden, though he sang all over the world, and\n    aside from Falstaff he was particularly noted for Italian roles such as Don\nPasquale, Mozart’s Figaro and Leporello, as well as Beckmesser in    \u003cem\u003eDie Meistersinger\u003c\/em\u003e and the title role in \u003cem\u003eWozzeck\u003c\/em\u003e. Evans’s\n    characterful yet powerful bass-baritone, combined with his excellent acting\n    skills, made him ideally suited to these parts.\n\u003c\/p\u003e\n\u003cp\u003e\n    Joining Evans are a blend of home-grown Covent Garden regulars (Veasey,\n    Lanigan, Langdon) and imported stars. The formidable Mistress Quickly is\n    sung by Regina Resnik. The American had made her Met debut as a soprano in\n    1944 but by the mid-1950s had moved into mezzo-soprano roles. A versatile\n    singer who was comfortable in a variety of languages and styles, Resnik is\nperhaps best known as Carmen, Klytemnestra, The Countess (    \u003cem\u003eQueen of Spades) \u003c\/em\u003eand Orlovsky, and made regular appearances at\n    Covent Garden in the 1950s and 1960s. Alice Ford is sung by the\n    little-known Mariella Angioletti in her only role at Covent Garden, while\n    Australian John Shaw, a noted Rigoletto, Iago and Scarpia at Covent Garden\n    in the 1960s, is heard as Ford.\n\u003c\/p\u003e\n\u003cp\u003e\n    The two young lovers are beautifully portrayed by Mirella Freni and Luigi\n    Alva. Thirty-three-year-old Alva was already a well-established tenor\n    specialising in Mozart and Rossini, having recorded Fenton, Don Ottavio and\n    Count Almaviva for EMI in the 1950s. Freni, just twenty-five, was at the\n    start of her career and this production marked her Royal Opera debut. The\n    critics were enamoured. \u003cem\u003eThe Times\u003c\/em\u003e declared that ‘never can the\nlovers have looked younger or sounded more in love’ while    \u003cem\u003eOpera Magazine\u003c\/em\u003e thought them to be ‘most adorable pair of young\n    lovers this opera has ever had’.\n\u003c\/p\u003e\n\u003cp\u003e\n    This was the first production of \u003cem\u003eFalstaff\u003c\/em\u003e at Covent Garden and the\n    management hired Carlo Maria Giulini to conduct and Franco Zeffirelli to\n    direct. The reception was universally positive with the run of seven\n    performances almost sold out. \u003cem\u003eThe Times\u003c\/em\u003e gushed over an\n‘ultra-sophisticated’ production while the editor of    \u003cem\u003eOpera Magazine\u003c\/em\u003e enjoyed it so much, he saw no less than three\n    performances. This live BBC broadcast of the second performance of the run\n    lets us all enjoy Verdi’s sparkling comedy once more.\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eFalstaff\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDisc One\u003c\/b\u003e\u003cbr\u003e1. RADIO Introduction to Falstaff  (1:27)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eAct 1, Scene 1 \u003c\/b\u003e\u003cbr\u003e2. Falstaff! Ola!  (5:12)\u003cbr\u003e3. Sei polli: sei scellini...So che andiam, la notte  (2:57)\u003cbr\u003e4. Ma è tempo d'assottigliar l'ingegno...V'è noto un tal, qui del paese  (3:53)\u003cbr\u003e5. L'Onore! Ladri!  (4:21)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eAct 1, Scene 2 \u003c\/b\u003e\u003cbr\u003e6. Alice. Meg. Nannetta  (1:24)\u003cbr\u003e7. Fulgida Alice! amor t'offro...Quell'otre! quel tino!  (4:02)\u003cbr\u003e8. In due parole  (1:33)\u003cbr\u003e9. Pst, pst, Nannetta... Labbra di foco!  (5:46)\u003cbr\u003e10. Udrai quanta egli sfoggia  (3:43)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eAct 2 Scene 1 \u003c\/b\u003e\u003cbr\u003e11. Siam pentiti e contriti... Reverenza!  (6:34)\u003cbr\u003e12. Alice è mia!... Va, vecchio John  (1:57)\u003cbr\u003e13. Signore, v'assista il cielo!  (2:43)\u003cbr\u003e14. C'è a Windsor una dama  (7:06)\u003cbr\u003e15. È sogno? o realtà  (6:19)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDisc Two\u003cbr\u003eAct 2 Scene 2\u003c\/b\u003e\u003cbr\u003e1. Presentereno un bill...Giunta all'Albergo della Giarrettiera  (4:10)\u003cbr\u003e2. Gaie comari di Windsor!  (1:51)\u003cbr\u003e3. Alfin t'ho colto, faggiante fior  (3:24)\u003cbr\u003e4. Quand'ero paggio  (1:00)\u003cbr\u003e5. Mia signora!  (2:50)\u003cbr\u003e6. Vien qua. Che Chiasso!  (1:40)\u003cbr\u003e7. C'è. C'è. Se t'agguanto! Se ti piglio!  (5:27)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eAct 3 Scene 1\u003c\/b\u003e \u003cbr\u003e8. Ehi! Taverniere! Mondo ladro  (6:40)\u003cbr\u003e9. Reverenza. La bella Alice...Quando il rintocco della mezzanotte  (5:39)\u003cbr\u003e10. Brava. Quelle corna saranno la mia gioia!  (5:24)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eAct 3 Scene 2\u003c\/b\u003e\u003cbr\u003e11. Dal labbro il canto estasiato volla  (5:25)\u003cbr\u003e12. Una, due, tre, quattro  (4:07)\u003cbr\u003e13. Ninfe! Elfi! Silfi!... Sul fin d'un soffio etesio  (6:32)\u003cbr\u003e14. Alto là!...Pizzica, pizzica  (6:20)\u003cbr\u003e15. Ogni sorta di gente dozzinale  (3:59)\u003cbr\u003e16. Facciamo il parentado... Tutto nel mando è burla  (3:28)\u003cbr\u003e\u003cbr\u003e17. RADIO Applause and final commentary  (1:21)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCovent Garden Opera Chorus\u003c\/b\u003e\u003cbr\u003eChorus-master: Douglas Robinson\u003cbr\u003e\u003cb\u003eCovent Garden Orchestra\u003c\/b\u003e\u003cbr\u003eLeader: Charles Taylor\u003cbr\u003econducted by \u003cb\u003eCarlo Maria Giulini\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGeraint Evans\u003c\/b\u003e \u003ci\u003ebaritone \u003c\/i\u003e(Sir John Falstaff)\u003cbr\u003e\u003cb\u003eRobert Bowman\u003c\/b\u003e \u003ci\u003etenor \u003c\/i\u003e(Bardolph)\u003cbr\u003e\u003cb\u003eMichael Langdon\u003c\/b\u003e \u003ci\u003ebass \u003c\/i\u003e(Pistol)\u003cbr\u003e\u003cb\u003eJohn Lanigan\u003c\/b\u003e \u003ci\u003etenor \u003c\/i\u003e(Dr. Caius)\u003cbr\u003e\u003cb\u003eJohn Shaw\u003c\/b\u003e \u003ci\u003ebaritone \u003c\/i\u003e(Ford)\u003cbr\u003e\u003cb\u003eMariella Angioletto\u003c\/b\u003e \u003ci\u003esoprano \u003c\/i\u003e(Alice Ford)\u003cbr\u003e\u003cb\u003eMirella Freni\u003c\/b\u003e \u003ci\u003esoprano \u003c\/i\u003e(Anne Ford)\u003cbr\u003e\u003cb\u003eJosephine Veasey\u003c\/b\u003e \u003ci\u003emezzo-soprano\u003c\/i\u003e (Meg Page)\u003cbr\u003e\u003cb\u003eRegina Resnik\u003c\/b\u003e \u003ci\u003emezzo-soprano\u003c\/i\u003e (Mistress Quickly)\u003cbr\u003e\u003cb\u003eLuigi Alva\u003c\/b\u003e \u003ci\u003etenor \u003c\/i\u003e(Fenton)\u003cbr\u003e\u003cbr\u003eXR remastered by Andrew Rose\u003cbr\u003e\u003cbr\u003eCover artwork based on a photograph of Regina Resnik and Geraint Evans in Falstaff, Covent Garden, 1961\u003cbr\u003eLive BBC radio broadcast from Covent Garden, London, 12 May 1961\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration: 2hr 8:13   \u003c\/b\u003e  \u003cbr\u003eCD1: 58:57     \u003cbr\u003eCD2: 69:17\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO170.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO170.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31528411136061,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205535383886,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205535416654,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO170.jpg?v=1580833196"},{"product_id":"paco170-cd","title":"GIULINI Verdi: Falstaff (1961) - PACO170 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO170.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs with case \u0026 artwork (+MP3)","offer_id":31528409333821,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205535351118,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO170_e044522c-64c5-41d9-a287-8b511d5bfdc2.jpg?v=1658497386"},{"product_id":"pasc588","title":"TOSCANINI Philharmonic-Symphony Orchestra of New York Complete Recordings ∙ Volume 2 (1926-36) - PASC588","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDUKAS \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eL’apprenti sorcier\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eOvertures and excerpts:\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGLUCK \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eOrfeo ed Eurydice\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELSSOHN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eA Midsummer Night’s Dream\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eIl barbiere di Siviglia\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eL’Italiana in Algeri\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSemiramide\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa traviata\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and Live recordings, 1926-36\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  2hr 24:19\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNew York Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC588.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    The present release completes Pristine’s survey of Arturo Toscanini’s\n    recordings with the Philharmonic-Symphony Orchestra of New York begun with\n    \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc575\"\u003ePASC 575\u003c\/a\u003e, featuring every take published on 78 rpm as well as several items\n    never released in that format. This volume presents a take of the Prelude\n    to Act 3 of Verdi’s \u003cem\u003eLa Traviata\u003c\/em\u003e which has not been available since\n    the shellac era, as well as the first release of the finale of the\n    Beethoven Fifth Symphony from an otherwise unissued live performance.\n\u003c\/p\u003e\n\u003cp\u003e\n    Toscanini’s first recordings with the ensemble then known as the New York\n    Philharmonic were made during his earliest appearances as guest conductor\n    in 1926. The Brunswick label assembled 74 players from the orchestra in a\n    small venue (unidentified on the ledgers, but said to be the fifth-floor\n    Chapter Room within Carnegie Hall) to record two excerpts from\n    Mendelssohn’s incidental music for \u003cem\u003eA Midsummer Night’s Dream\u003c\/em\u003e using\n    their proprietary “Light-Ray” electrical process. The resulting sound was\n    clear (even preserving a player’s cough during the Scherzo), if a bit\n    overloaded at climaxes.\n\u003c\/p\u003e\n\u003cp\u003e\n    Three years later, Toscanini, who was now co-conductor of the orchestra\n    which had in the interim been merged with Damrosch’s New York Symphony,\n    revisited the Mendelssohn Scherzo to produce a supercharged reading which\n    shaved a half-minute off his earlier running time for this short piece, a\nclear demonstration of the virtuoso ensemble he had honed. A    \u003cem\u003eSorceror’s Apprentice\u003c\/em\u003e recorded during these later sessions had a\n    similar breathless excitement; yet the broader tempi and more elastic\n    phrasing that characterized the Maestro’s conducting style during this\n    period was well documented in his recordings of the \u003cem\u003eOrfeo\u003c\/em\u003e Dance,\n    the two \u003cem\u003eTraviata\u003c\/em\u003e Preludes, and the \u003cem\u003eBarber of Seville\u003c\/em\u003e\n    Overture.\n\u003c\/p\u003e\n\u003cp\u003e\n    A word is in order at this point about the alternate takes. In the early\n    days of electrical recording, it was common for the Victor label to make at\n    least three takes of each side. One would be chosen as the master, with the\n    others marked to be held or destroyed. During the early 1940s, Victor\n    replaced the originally-issued takes on many of its best-selling recordings\n    due to wear on the metal mothers which were used to grow new stampers.\n    Several Toscanini recordings experienced substitutions of this nature, some\n    (as seen in this volume) having more than one alternate take published.\n    While the alternates are usually fairly similar to the originally-published\n    versions, some noticeable differences occasionally appear.\n\u003c\/p\u003e\n\u003cp\u003e\n    After frustrating experiences in 1929 with the frequent stops and starts of\n    recording on limited-duration 78s, Toscanini vowed never again to make\n    records. Victor, however, was keen on preserving his interpretation of the\n    Beethoven Fifth Symphony. In March of 1931, two live performances were each\n    recorded directly onto nine 78 rpm matrices. The first attempt was deemed\n    unusable, and the second was subjected to sonically-compromising dubbings\n    for all but the last two sides. The end of the first matrix was further\n    degraded with a muffled-sounding insert from the first performance. Not\n    surprisingly, it was rejected by Toscanini. Modern restoration tools have\n    allowed this performance finally to be heard without special pleading for\n    the sound, while the concluding side from the earlier performance is\n    presented here for the first time.\n\u003c\/p\u003e\n\u003cp\u003e\n    Toward the end of his final season as music director of the Philharmonic in\n    1936, RCA was able to reach a compromise with the Maestro. Recordings would\n    be made during studio sessions, which would allow for retakes; but they\n    would be taken down without fully stopping after each side. Instead, at\n    pre-arranged points in the score, the conductor would pause momentarily\nwhile the next side was begun on a second cutter. The overtures to    \u003cem\u003eL’Italiana in Algeri\u003c\/em\u003e and \u003cem\u003eSemiramide\u003c\/em\u003e were done in this\n    manner, preserving the forward momentum of a live performance in vivid,\n    almost high fidelity sound. \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cstrong\u003e\n\u003cspan style=\"font-size: 24px;\"\u003eArturo Toscanini and the Philharmonic-Symphony Orchestra of New York\n    \u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eComplete Recordings ∙ Volume 2\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cbr\u003e\u003cdiv\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n\u003cstrong\u003eCD 1 (67:06)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eGLUCK: Orfeo ed Eurydice\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1.  Dance of the Blessed Spirits (\u003ci\u003eoriginally issued\n    Take 4\u003c\/i\u003e) (5:01)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 November 1929 ∙ Matrix: CVE 48956-4. First issued on Victor\n    7138 in album M-65\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    2. Dance of the Blessed Spirits (\u003ci\u003efirst substitute Take 1\u003c\/i\u003e) (4:59)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 April 1929 ∙ Matrix: CVE 48956-1. First issued on Victor 7138 in\n    album M-65\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    3. Dance of the Blessed Spirits (\u003ci\u003esecond substitute Take 3\u003c\/i\u003e) (4:53)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 April 1929 ∙ Matrix: CVE 48956-3. First issued on Victor 7138 in\n    album M-65\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eBEETHOVEN: Symphony No. 5 in C minor, Op. 67\u003c\/strong\u003e\u003cbr\u003e4. 1st Mvt.: Allegro con brio (6:16)\u003cbr\u003e5. 2nd Mvt.: Andante con moto (9:59)\u003cbr\u003e6. 3rd Mvt.: Allegro (4:58)\u003cbr\u003e7. 4th Mvt.: Allegro (9:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live 6 March 1931 ∙ Matrices: CVE 67520-1R, 67521-2R, 67522-1R,\n    67523-1R, 67524-2R, 67525-2R, 67526-1R, 67527-2 and 67528-2 ∙ Unissued on\n    78 rpm\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    8. 4th Mvt.: Allegro - conclusion (3:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live 4 March 1931 ∙ Matrix: CVE 67528-1 ∙ \u003cb\u003ePreviously unpublished\n\n\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMENDELSSOHN: A Midsummer Night’s Dream (Incidental Music), Op. 61\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    9. No. 1 - Scherzo (4:49)\u003cbr\u003e10. No. 7 - Nocturne (5:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 4 February 1926 ∙ Matrices: XE 17797 and between 17798 and 17801 ∙\n    First issued on Brunswick 50074\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    11. No. 1 - Scherzo (\u003ci\u003eoriginally issued\n    Take 3\u003c\/i\u003e) (4:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 March 1929 ∙ Matrix: CVE 48948-3 ∙ First issued on Victor 7080\n    in album M-57\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    12. No. 1 - Scherzo (\u003ci\u003esubstitute Take 1\u003c\/i\u003e)\n    (4:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 March 1929 ∙ Matrix: CVE 48948-1 ∙ First issued on Victor 7080\n    in album M-57\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 (77:14)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eROSSINI: Il barbiere di Siviglia\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. Overture (\u003ci\u003eoriginally issued Take 3 for first side\u003c\/i\u003e) (7:30)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 November 1929 ∙ Matrices: CVE 56802-3 and 56803-3 ∙ First\n    issued on Victor 7255\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    2. Overture (\u003ci\u003efirst substitute Take 4 for first side\u003c\/i\u003e) (7:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 November 1929 ∙ Matrices: CVE 56802-4 and 56803-3 ∙ First\n    issued on Victor 7255\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    3. Overture (\u003ci\u003esecond substitute Take 2 for first side\u003c\/i\u003e) (7:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 November 1929 ∙ Matrices: CVE 56802-2 and 56803-3 ∙ First\n    issued on RCA Victor 11-9229 in album M-1063\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eROSSINI: L’Italiana in Algeri\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    4. Overture (7:36)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 April 1936 ∙ Matrices: CS 101218-1 and 101219-1 ∙ First issued\n    on Victor 14161\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eROSSINI: Semiramide\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    5. Overture (12:32)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 April 1936 ∙ Matrices: CS 101214-1, 101215-1, 101216-1 and\n    101217-1 ∙ First issued on Victor 14632\/3 in album M-408\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVERDI: La traviata\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    6. Prelude to Act 1 (3:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18 March 1929 ∙ Matrix: CVE 48936-3 ∙ First issued on Victor 6994\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    7. Prelude to Act 3 (\u003ci\u003eoriginally issued Take 4\u003c\/i\u003e) (4:07)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 March 1929 ∙ Matrix: CVE 48942-4 ∙ First issued on Victor 6994\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    8. Prelude to Act 3 (\u003ci\u003esubstitute Take 3\u003c\/i\u003e) (4:06)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 March 1929 ∙ Matrix: CVE 48942-3 ∙ First issued on Victor 6994\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    9. Prelude to Act 3 (\u003ci\u003ealternate unpublished take\u003c\/i\u003e) (3:59)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18 March 1929 ∙ Matrix: CVE 48937-3 ∙ Unpublished on 78 rpm\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e10.     \u003cstrong\u003eDUKAS: L’apprenti sorcier \u003c\/strong\u003e\n    (\u003ci\u003eoriginally issued Take 2 for second side\u003c\/i\u003e) (9:18)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18 March 1929 ∙ Matrices: CVE 48938-3 and 48939-2 ∙ First issued\n    on Victor 7021\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e11. \u003cstrong\u003eDUKAS: L’apprenti sorcier \u003c\/strong\u003e(\u003ci\u003esubstitute Take 1 for\n    second side\u003c\/i\u003e) (9:13)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18 March 1929 ∙ Matrices: CVE 48938-3 and 48939-1 ∙ First issued\n    on Victor 7021\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eArturo Toscanini ∙ Philharmonic-Symphony Orchestra of New York\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eNew York Philharmonic Orchestra (CD 1, Tracks 9 and 10)\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBruno Jaenicke\u003c\/b\u003e, solo horn (CD 1, Track 10)\u003cbr\u003e\u003cb\u003eJohn Amans\u003c\/b\u003e, solo flute (CD 1, Tracks 1 - 3, 9, 11 \u0026amp; 12)\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003ePitch stabilisation and equalisation matching (Beethoven): Andrew Rose\n\n\u003c\/p\u003e\u003cp\u003e\n    Recorded in Carnegie Hall, New York City. (CD 1, Tracks 9 and 10 recorded\n    in the Chapter Room of Carnegie Hall)\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTotal duration: \u003cb\u003e 2hr 24:19   \u003c\/b\u003e  \u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD1: 67:06\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD2: 77:13\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC588.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC588.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":31553858502717,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205535023438,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC588_3858b9b9-f299-4416-aae3-0421219b60c5.jpg?v=1582269305"},{"product_id":"pasc588-cd","title":"TOSCANINI Philharmonic-Symphony Orchestra of New York Complete Recordings ∙ Volume 2 (1926-36) - 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\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRichard Tucker\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eDon Carlo di Vargas - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCarlo Tagliabue\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eIl Padre Guardiano - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNicola Rossi-Lemeni\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePreziosilla - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eElena Nicolai\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus \u0026amp; Orchestra of La Scala, Milan\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTullio Serafin\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO172.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\"PERHAPS THE STORY of “La Forza del Destino” is a bit lugubrious for Easter morning, but not this crackling performance straight from Milan’s La Scala. Tullio Serafin meets Verdi on his own ground in the pace he sets for Maria Meneghini Callas as Leonora, Richard Tucker as Don Alvaro, Nicola Rossi-Lemeni as Padre Guardiano, Carlo Tagliabue as Don Carlo, Elena Nicolai as Preziosilla, Renato Capecchi as Fra Melitone, and Gino del Signore as Trabuco [Angel 3531-C]. \u003cbr\u003e\u003cbr\u003eThis has the live sound of the Scala’s mellow yet brilliant acoustics, the virtuosity of its operatic stature. Orchestra and chorus are topflight, the pacing in the inn scenes is as chameleonic as the score. As always when they are together, Callas' and Rossi-Lemeni occupy a special plane. When they appear you are not just interested, you are involved. Tucker does some superb singing, and Tagliabue rescues himself from a stodgy start to make steely sparks fly from more than swords in their last encounter. Add Nicolai’s [the Italian, not the Greek Nicolaidi] volatile glint as the camp follower, Capecchi’s sulky drollery as the buffo monk, and the peddler’s slyness, and it adds up to a performance rich in characterization and in that reinforced, revitalized line that is the very pulse beat of Verdi. Interesting Benois sketches suggest furies and angels fighting it out.\"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eChicago Tribune\u003c\/b\u003e, 10 April 1955\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eThis recording was issued to mixed receptions in 1955. The review from the Chicago Tribune (above) is glowing, whilst \u003ci\u003eThe Gramophone\u003c\/i\u003e's critic in May 1955 moaned about \"some uneven singing here, most of it contributed by Callas. Her voice is not too steady, there is an occasional shrillness and insecurity of pitch, and often a definite wobble,\" though there is praise for the rest of the cast and the recording itself. Interestingly this attitude towards Maria Callas was also to be found in another British review in \u003ci\u003eThe Observer\u003c\/i\u003e.\u003cbr\u003e\u003cbr\u003eBy the time the recording was reissued on CD in 1987 it seems British critics had come round to a new way of thinking with regard to Maria Callas: \"Leonora was a role to which Callas was particularly well attuned. Leonora's ardour, sincerity, and desperate vulnerability are etched by this great artist into her every utterance. Forza begins with a subdued conversation and ends with the great trio and Callas is unforgettable in both.\" Interestingly the critic goes on to suggest: \"Callas is also helped by the new digital remastering, and by CD; her voice never really sat comfortably in 1950s vinyl which bucked and jabbered at her emissions are surely as any dyed-in-the wool canary-fancier. The sound is now clear and true.\" (\u003ci\u003eGramophone\u003c\/i\u003e)\u003cbr\u003e\u003cbr\u003eThis new Pristine XR remastering further improves on the sound of this classic recording, adding new layers of warmth, depth and complexity to the sound-stage and significantly rounding out the tone of both singers and orchestra.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eVERDI La Forza del Destino\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDisc One\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. Sinfonia  (7:32)\u003cbr\u003e\u003cbr\u003eACT ONE\u003cbr\u003e2. Buona notte, mia figlia  (2:25)\u003cbr\u003e3. Temea restasse qui fino a domani!  (1:42)\u003cbr\u003e4. Me pellegrina ed orfano  (3:43)\u003cbr\u003e5. M'aluti, signorina  (0:27)\u003cbr\u003e6. Ah, per sempre  (7:13)\u003cbr\u003e7. Vil seduttor! Infame figlia!  (2:09)\u003cbr\u003e\u003cbr\u003eACT TWO, SCENE ONE\u003cbr\u003e8. Holà, holà, holà!  (1:18)\u003cbr\u003e9. La cena è pronta  (0:35)\u003cbr\u003e10. Che vdedo! Mio fratello!  (0:34)\u003cbr\u003e11. Viva la guerra!  (0:59)\u003cbr\u003e12. Al suon del tamburo  (2:41)\u003cbr\u003e13. Padre Eterno Signor  (3:48)\u003cbr\u003e14. Viva la buona compagnia!  (1:52)\u003cbr\u003e15. Poich'è imberbe l'incognito  (0:41)\u003cbr\u003e16. Son Pereda, son ricco d'onore  (2:30)\u003cbr\u003e17. Sta bene  (3:01)\u003cbr\u003e\u003cbr\u003eACT TWO, SCENE TWO\u003cbr\u003e18. Sono giunta! Grazie, o Dio!  (1:41)\u003cbr\u003e19. Madre, pietosa Vergine  (5:15)\u003cbr\u003e20. Chi siete?  (2:07)\u003cbr\u003e21. Chi mi cerca?  (1:10)\u003cbr\u003e22. Infelice, delusa, rejetta  (11:15)\u003cbr\u003e23. Il santo nome di Dio Signore  (8:05)\u003cbr\u003e24. La Vergine degli Angeli  (3:49)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDisc Two\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eACT THREE, SCENE ONE\u003cbr\u003e1. Attenti al gioco  (4:14)\u003cbr\u003e2. La vita è inferno all'infelice  (3:00)\u003cbr\u003e3. O tu che in seno  (3:18)\u003cbr\u003e4. Al tradimento!  (2:18)\u003cbr\u003e5. All' armi!  (2:19)\u003cbr\u003e\u003cbr\u003eACT THREE, SCENE TWO\u003cbr\u003e6. Piano ... qui posi  (1:36)\u003cbr\u003e7. Solenne in quest' ora  (4:07)\u003cbr\u003e8. Morir! Tremenda cosa!  (2:08)\u003cbr\u003e9. Urna fatale del mio destino  (2:38)\u003cbr\u003e10. E s'altra prova rinvenir potessi?  (2:26)\u003cbr\u003e\u003cbr\u003eACT THREE, SCENE THREE\u003cbr\u003e11. Compagni, sostiamo  (3:08)\u003cbr\u003e12. Né gustare m'è dato  (8:40)\u003cbr\u003e13. Lorché pifferi e tamburi  (1:50)\u003cbr\u003e14. Qua, vivandiere, un sorso  (0:31)\u003cbr\u003e15. A buon mercato chi vuol comprare?  (2:17)\u003cbr\u003e16. Pane, pan per carità!  (3:01)\u003cbr\u003e17. Nella guerra è la follia  (2:12)\u003cbr\u003e18. Toh! Toh! Poffare il mondo!  (3:59)\u003cbr\u003e19. Rataplan, rataplan, della gloria  (3:26)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDisc Three\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eACT FOUR, SCENE ONE\u003cbr\u003e1. Fate la carità  (6:19)\u003cbr\u003e2. Giunge qualcuno, aprite  (1:10)\u003cbr\u003e3. Invano Alvaro, ti celasti al mondo  (3:26)\u003cbr\u003e4. Le minaccie, i fieri accenti  (5:30)\u003cbr\u003e\u003cbr\u003eACT FOUR, SCENE ONE\u003cbr\u003e5. Pace, pace mio Dio!  (6:19)\u003cbr\u003e6.  Io muoio! Confessione!  (3:08)\u003cbr\u003e7.  Non imprecare, umiliati a Lui  (5:35)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCAST \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eDonna Leonora - \u003cb\u003eMaria Callas\u003c\/b\u003e\u003cbr\u003eDon Alvaro - \u003cb\u003eRichard Tucker\u003c\/b\u003e\u003cbr\u003eDon Carlo di Vargas -\u003cb\u003e Carlo Tagliabue\u003c\/b\u003e\u003cbr\u003eIl Padre Guardiano - \u003cb\u003eNicola Rossi-Lemeni\u003c\/b\u003e\u003cbr\u003ePreziosilla - \u003cb\u003eElena Nicolai\u003c\/b\u003e\u003cbr\u003eFra Melitone - \u003cb\u003eRenato Capecchi\u003c\/b\u003e\u003cbr\u003eIl marchese di Calatrava - \u003cb\u003ePlinio Clabassi\u003c\/b\u003e\u003cbr\u003eCurra - \u003cb\u003eRina Cavallari\u003c\/b\u003e\u003cbr\u003eMastro Trabuco - \u003cb\u003eGino del Signore\u003c\/b\u003e\u003cbr\u003eUn alcade\/Un chirurgo - \u003cb\u003eDaro Caselli\u003c\/b\u003e\u003cbr\u003eSoldati\/Giuscatari -\u003cb\u003e Giulio Scarinci, Ottorino Bagalli\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eChorus \u0026amp; 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