This album is included in the following sets:
This set contains the following albums:
Sabajno's classic 1929 Tosca - one of the all-time greats
Superb new high-quality transfer by Ward Marston
This recording of Puccini’s Tosca features the
highly regarded dramatic soprano, Carmen Melis (1885-1957) in her only
electric recording, and her only complete opera on disc. She studied
with Jean de Reszke and made her operatic debut in 1905 as Thais. Over
her 30 year career, Tosca was one of her most important roles, and one
for which she was duly praised. Heard here also is the incomparable
Apollo Granforte (1886-1975) as Scarpia, whose portrayal of the role is
still considered perhaps the best on record. The conducting of Carlo
Sabajno, 1874-1938, is up to his usual high standard of excellence.
Tenor, Piero Pauli, is sadly this recording’s only disappointment. His
unattractive treatment of Cavaradossi’s music is all too evident, and
his unappealing vocal timbre is often accentuated by his proximity to
the microphone. The sonic quality of the recording is amazingly vivid
for its time, especially for the orchestra. The voices too are
well-recorded except during the most intense passages where the
recording equipment was not capable of handling the high levels. During
these moments, there occurs severe distortion which is only slightly
The present transfer was made using three excellent condition sets, pressed during the mid-1930s on quiet Z-shellac by U.S. RCA Victor. For each side, I chose the best of the three, but often patched short problematic passages from the other two copies.
Since this recording was made over a number of sessions spanning four months, the sound obtained on some days was definitely superior to sound from other sessions. In order to achieve the best possible sound, each side was tested using a variety of stylus sizes and shapes. I used CEDAR declicking and decrackling, but did not use any digital denoising.
PUCCINI - Tosca
Tosca - Carmen Melis [s]
Cavaradossi - Piero Pauli [t]
Scarpia - Apollo Granforte [b]
Angelotti - Giovanni Azzimonti [b]
Il Sagrestano - Antonio Gelli [bs]
Spoletta - Nello Palai [t]
Sciarrone - Giovanni Azzimonti [b]
Shepherd Boy - Uncredited
Orchestra and Chorus of La Scala, Milan
Conducted by Carlo Sabajno
Chorus Master, Vittore Veneziani
(Two sides were conducted by Gino Nastrucci)
Recorded Milan, 1929-1930, by Italian HMV on 28 sides, issued HMV Plum Label C1902-1915
Matrices: CM 1244-2, 21 November 1929; CM 1222-2, 12 November 1929 CM 1229-2, 15 November 1929 CM 1213-2, 7 november 1929 CM 1216-3, 14 January 1930 CM 1232-2, 18 November 1929 CM 1230-2, 15 November 1929 CM 1234-2, 19 November 1929 CM 1203-2, 5 November 1929 CM 1204-4, 22 November 1929 CM 1223-2, 12 November 1929 CM 1267-2, 27 November 1929 CM 1268-3, 27 November 1929 CM 1249-1, 22 November 1929 CM 1240-1, 20 November 1929 CM 1241-2, 20 November 1929 CM 1242-2, 20 November 1929 CM 1212-5, 28 February 1929 (Nastrucci cond.) CM 1217-1, 9 November 1929 CM 1243-1, 21 November 1929 CM 1235-3, 19 November 1929 CM 1261-3, 26 November 1929 CM 1226-4, 24 March 1930 CM 1224-3, 14 November 1929 CM 1227-1, 14 November 1929 CM 1219-1, 11 November 1929 CM 1221-4, 14 January 1930 CM 1250-2, 22 November 1929
MusicWeb International Review
You could hardly hear clearer recording today. I urge readers to give this issue a listen!
As always with re-masterings from Pristine Audio – this time
Ward Marston has done the job – one marvels at the lifelike
sound. Just imagine: the 28 shellac sides were recorded over
80 years ago! Marston has worked with three sets of records
in mint condition and discriminatingly chosen the best side
in each specific case. He also patched in passages from the
other sets when necessary. One expects revelations when he is
in charge and once again the results in terms of dynamics and
detailed orchestral picture will impress. Having been fascinated
by and listened to historical recordings in various transfers
for more than forty years I have long since come to grips with
dim recordings, crackly surfaces and limited frequency range.
That said, I can honestly say that hearing this set should be
no problem for even moderately experienced listeners. Naturally
enough the result can’t compare with today’s state-of-the-art
recordings but most lovers of opera must have listened at least
occasionally to recordings of Björling and Callas from the 1950s
and quite possibly been able to enjoy them from a sonic point
of view; the sound here is roughly comparable. Just listen to
the harp and the pizzicato strings in the third act. You could
hardly hear clearer recording today. The timpani at the end
are also stunningly realistic. I urge readers to give this issue
Sonics being no problem there still remains the question of musical quality. With La Scala forces under HMV’s house conductor Carlo Sabajno, those of us who have heard a number of his complete sets already know that we can rely on high professionalism and a sense of authenticity. He was born in 1874 and thus was 26 when Tosca was premiered. This means that he belonged to a generation who assimilated this opera from the sources. For several years he was Toscanini’s assistant and he was also one of the most frequently employed conductors of complete operas during the pre- and inter- war years. His first recording was Ernani as early as 1904 followed by Pagliacci 1907 (though some sources say that the composer himself may have been the conductor). During the next 25 years he committed no less than 24 operas to disc, recording Tosca a first time in 1918-1919. Until 1932, when he recorded Otello, he was the house conductor for the Gramophone Company and evidently conducted very little in opera houses. The present recording is a fine example of his art with sensible tempos and dramatic flair.
The singing is also mostly good with a strong but rather anonymous Angelotti, and a light-voiced but expressive Sacristan. Spoletta is no more than ordinary and the shepherd boy is a liability. Of the three central characters Cavaradossi is, unfortunately, rather weak. He has a good legato but the tone is pinched and very forwardly produced. The best thing is in fact E lucevan le stele, which is marred by the climactic note being sadly out of tune.
No such problems with the real protagonists. Apollo Granforte (1886–1975) was one of the great Italian baritones during the inter-war years. He was the possessor of a magnificent voice, rounded and vibrant. With his mix of authority and malice he was ideally suited to the role of Scarpia. The Te Deum scene in act I is grandiose with a punchy chorus adding extra weight. The second act, which is in effect a drawn-out mental combat between two strong personalities, must alongside Callas-Gobbi and Price-Taddei rank among the foremost recorded versions ever. Carmen Melis may not be a household name today but hers was a voice of superb quality and with dramatic ability to match. She is a grand Tosca in the Tebaldi mould with ravishing beauty of tone and a thrillingly irresistible expansiveness at climaxes. Poor Piero Pauli, her Cavaradossi, only reaches this Tosca to the waist and is totally out-sung in the big duet in act I. In act II she has a worthy partner in Granforte. In the midst of this high-octane fight she delivers a magical and silvery toned Vissi d’arte. It is such a pity that there wasn’t a better tenor available. With a singer of the calibre of Pertile this could have been a definitive recording of Tosca.
Even as things stand it is a version well worth owning and I will return to it in particular for the second act at least as frequently as to the two versions mentioned above.