RUGGERO LEONCAVALLO "PAGLIACCI" (HMV, 1917)

RUGGERO LEONCAVALLO "PAGLIACCI" 

La voce del Padrone, incisione acustica

Canio (Pagliaccio) - Luigi Bolis

Nedda (Colombina) - Anita Conti

Tonio (Taddeo) - Giuseppe Montanelli

Beppe (Arlecchino) - Augusto Prat

Silvio - Ernesto Badini

CORO E ORCHESTRA DEL TEATRO ALLA SCALA DI MILANO

Direttore - Carlo Sabajno

Milano, 1917

                               

Luigi Bolis

 

Anita Conti

 

Giuseppe Montanelli

Ruggero Leoncavallo's short verismo masterpiece "Pagliacci" is one of the most frequently recorded pieces in the history of operatic music. Its discography, comprising in itself more than 130 recordings, starts with the first complete version of the opera dating back to 1908, recorded by HMV in Milan with the starry cast from the La Scala theatre under the supervision of the composer, followed by the 1909 German-language Odeon version from the Königliche Hofoper Berlin. The third one comes the present 1917 HMV incision. Such and early and the third world recording of such a popular opera must seem a valuable treasure to lovers of historic recordings. But is it really so?

A bit of introduction first. These "Pagliacci", just like the 1908 version, were recorded by HMV with the orchestra of the Teatro alla Scala under the baton of maestro Sabajno and are included in the extensive acoustic series of complete opera recordings made in Milan from 1908 to 1921. What strikes a potential listener when he/she sees the cast lists of these incisions is the obscurity of most of the names. Almost none of the singers in this set were ever famous. Take, for example. Giorgina Ermolli, the Santuzza in the 1915 "Cavalleria rusticana", or Margherita Bevignani, the Violetta in "La traviata" of the same year. The 1917 "Pagliacci" are no exception. Almost all the principal roles are performed by forgotten singers who managed their careers in small opera houses and never appeared at the Teatro alla Scala whose orchestra they are singing to. Quite interesting, isn't it? Let us try to say what their singing is all about.

The role of Canio was given to Luigi Bolis (18..-1947), an Italian tenor of modest reputation whose uncle was a prominent tenor of the same name (also Luigi Bolis, who died in 1905). Junior Bolis studied in Milan and made his debut in the operetta, and later during his career combined it with singing in operas. His appearances were focused in provincial theatres, and only twice appeared at the Teatro Costanzi in Rome and the Teatro Regio di Torino in "La bohème", "Mefistofele" and "Rigoletto". His interpretation of Canio in the 1917 recording, however, definitely cannot be called provincial. His voice, a purely dramatic tenor, has an individually "ringing" timbre, perfectly suitable for highly emotional verismo roles. It is technically balanced, expressive and versatile. The "Vesti la giubba" is sung passionately and tragically, while "No, Pagliaccio non son" sounds expressively militant and pushy.

The Nedda is the forgotten Italian soprano Anita Conti (1889-1975). This performer, as I have found out, sang a wide repertoire of dramatic and lyric soprano roles in the Italian province from 1910 till 1938, and once, in 1920, appeared at the Teatro La Fenice in Venice in “Loreley” and “Tosca”. She obviously left no other recordings but these "Pagliacci". Judging from her only incision, she was generally a proper interpreter, using her well-cultured voice with style and dramatic understanding. However, there is something in her soprano that makes her interpretation of Nedda no more than acceptable and sometimes even turns annoying. While her upper notes sound polished and crystal-clear, her bass register is insipidly bleating and tremulous, which gravely spoils her otherwise well-sung balatella (“Qual fiamma… Stridono lassù”) and the duets with Tonio and Silvio, as well as all the other "binding" scenes.

The next goes the Tonio, Giuseppe Montanelli (1879-1963), a little-known singer who, unlike Bolis and Conti, apart from small provincial venues appeared in 1916 at the Teatro alla Scala in "Aida" and "Isabeau". An old-school bartione, he possesses (like Ettore Bastiniani) a high-timbred voice with a slight vibrato in the upper register. He is brilliantly passionate in the Prologue scene and maliciously sarcastic as the vindictive hunchback.

Ernesto Badini (1876-1937), the most prominent singer on this recording, with his exceptional baritone is an ardent and charming  Silvio, equally good as in the 1908 version. However, Augusto Prat (dates unknown) who sings Beppe performs Harlequin’s serenade in a languid and chaotic way, and his final C sounds uglily tense. 

Maestro Carlo Sabajno leads the orchestra of the Teatro alla Scala di Milano professionally and with exquisite taste, just like he does in the 1908 version. The horns in the Prologue sound heart-breakingly tragic and the rich strings in the Intermezzo are sublimely emotional. The Scala chorus is sometimes too quiet, being “oversounded” by the orchestra, but it still (as always) performs at a dignified level.

To sum up, the third complete world edition of Ruggero Leoncavallo’s “Pagliacci” presents to its listener a generally good and professional performance, which might even seem more attractive because of its rarity and the obscure names of the singers. Despite some disadvantages and its obvious inferiority (especially in the role of Nedda) to the starry 1908 “Pagliacci” (with the brilliant names of Antonio Paoli, Giuseppina Huguet and Francesco Cigada), but is quite listeanable and can even be enjoyed.

GIUSEPPE VERDI "AIDA" (Columbia Records, 1912)

GIUSEPPE VERDI "AIDA" 

Columbia, incisione acustica

Aida - Lia Remondini / Ester Toninello / Teresa Chelotti / ? De Perez / Lia Moglia 

Radamès - Giuseppe Armanini / Edigio Cunego / Gaetano Tommasini

Amneris - Andreina Beinat / Fanny Anitùa / Eugenia López-Nuñes / Dolores Frau

Amonasro - Cesare Formichi

Ramfis - Vincenzo Bettoni / Giovanni Martino

Il Re d'Egitto - Luigi Baldassare 

Sacerdotessa - Ester Toninello 

GRANDE CORO E ORCHESTRA DI MILANO

Direttore d'orchestra - ?

Milano, 1912 

This 100-year-old incision of Giuseppe Verdi’s renowned archeological fable could very well be acknowledged as a precious set from the initial recording era ( the first quarter of the 20th century). It is definitely worth listening to and keeping as a valuable object in one’s collection. There are, however, some remarks I am eager to make about this recording.

This is an abridged version of “Aida”, the third one ever to be made, and it was recorded by the Columbia company in Milan in 1912 and in many matters is shrouded in mystery. All the key moments of the opera are recorded, though some "binding" fragments are omitted. It is a group set, which means that almost each part is shared by several singers who perform different scenes of the opera. Before this “Aida” one more group version of the opera was recorded in Milan by HMV two years before, with the orchestra and chorus of the La Scala theatre under the direction of Carlo Sabajno. The 1912 “Aida” , unlike the 1909/1910 version, lacks any indication of conductor, the orchestra with the chorus and the first name of one of the Aidas (? De Perez) because the papers of the original box with 78RMPs were lost. Thankfully the rest of the cast are known. To sum up, there are five Aidas, three Radamèses, four Amnerises, two Ramfises, one Amonasro and one King. I would like to devote some words to each of them.

Logically let's start with the five performers of the principal role.
The first goes the main and presumably the best soprano on the recording - Lia Remondini (1883-1926). This singer, in addition to this "Aida", has a couple of stand-alone recordings and a complete "Tosca" (1917-1918) to her credit. She must have been an experienced performer of the role of the enslaved Ethiopian princess, as she often sang this part during her career, several times in important Italian theatres (including the Teatro Carlo Felice in Genoa and the Teatro Massimo di Palermo). Judging from the 1912 "Aida", Remondini had a powerful dramatic soprano voice, with a good sense of style, correct in phrasing and very rich with inflections. She is exquisitely vulnerable in the duet with Amneris ("Fu la sorte...") and heart-rendingly expressive in "O patria mia". Sometimes her voice, however, sounds hysterical in the bass register (as in on “Pietà! Perdono!.. Pietà vi prenda…” and “Non rivedrò mai più...") but this is not a trait of insipidity and produces a positive impression on the listener.
Almost the same can be said about the second Aida - Ester Toninello (1886-19..), an Italian soprano who had a modest career in the province but also sang Aida frequently. Her "Ritorna vincitor" and also the part of the Priestess are sung with admirable nobility and style.
The other Aidas are not that flawless, however. Teresa Chelotti (1861-1927), who, quite interestingly, recorded another complete "Aida" in 1908, is shaky and insipidly shrill in the duet with Amonasro. The unnamed soprano De Perez (dates unknown), who sings in the duet with Radamès in the third act, is somewhat better, being more less adequate vocally (despite her voice's annoying vibrato), but still leaves a negative impression of banality and provinciality. Lia Moglia (dates unknown), who performs a couple of lines in the final scene of the second act, is blurry and feeble.

The Radamèses, Giuseppe Armanini (1874-1915), Edigio Cunego (1882-1952) and Gaetano Tommasini (1883-19..), are generally good. Armanini performs the romance “Celeste Aida”  with tenderness and passion, and the final Bb sounds technically solid and crystal-clear. Cunego is a masculine Egyptian general with a profound dramatic tenor, sounding impressively in the duet with Amneris and especially the duet with Aida, where he his stylish singing fully compensates for the annoying mediocrity of De Perez. Tommasini gives an adequate performance, although sometimes his mighty tenor, so flawless in his other recordings, sounds shrill and worn-out, what is particularly visible in the first-act terzetto ("Un sogno venturoso...").

The role of the princess Amneris, despite being shared between 4 mezzosopranos, is almost entirely sung by Andreina Beinat (dates unknown). Very little is known about this singer: she was probably of Spanish origin and sang in the Italian province as well as big theatres in Spain, Portugal and South America, and Amneris was one of her principal roles on stage. Beinat’s singing is one of the best features of this recording and deserves very high praise. She possesses a rich mezzosoprano voice embroidered with a good command of style, perfect intonation and strong characterization which leaves an unforgettable impression. She is flawless both vocally and dramatically in the duet with Aida ("Fu la sorte..."), where she perfectly shows Amneris's transformation from a sympathetic (of course, hypocritically) person (“Ebben: qual nuovo fremito t'assal, gentil Aida?..”) into a furious beast ("…Figlia dei faraoni!..") However the best example of Beinat's singing in this set is the Judgment Scene, which fully shows the emotional power of her voice and its impressive technical command (as in "Numi, pietà...", "Sacerdoti, compiste un delitto..." and "Empio razza...").

Not much can be said about the other Amnerises. Fanny Anitùa (1887-1969), a prominent contralto of that day, only sings one duet with Cunego, where she gives a well-balanced performance. Eugenia López-Nuñes (1883-1946) possesses a magically beautiful velvet alto, but unfortunately she only sings a couple of insignificant lines in two small scenes. The same can be said about Dolores Frau (1882-1964), whose contribution to the recording (only several phrases in the final scene of the second act) is very small and can hardly be evaluated.

As far as four remaining males are concerned, they all live up to a listener's expectations. Cesare Formichi (1883-1949) is predictably a noble Amonasro, with a very well-cultured and balanced baritone. Vincenzo Bettoni (1881-1954) with his dark bass voice proves to be an ideal Ramfis, and he is particularly good in the Judgment Scene with Amneris. Giovanni Martino (1884-19..), who sings only a few lines in the ensemble, substituting Bettoni, is by no means adequate. Finally, the King, Luigi Baldassare (dates unknown), also leaves a good impression, especially in "Su del Nilo...", where his strongly characterized bass makes a very positive contribution to the performance.

The uknown orchestra sounds perfect taking into account the age of the recording: it is even possible to hear life-like percussions and trumpets in the dance of the Moorish slaves as well as in the Gloria Scene. The chorus is in very good shape, making a perfect collaboration with the orchestra, sounding balanced and clear.

To conclude, not taking into account the mediocre perofrmancd of three second-cast Aidas and some vocal failures of Tommasini, the 1912 Columbia recording of Giuseppe Verdi's "Aida" can be considered a diamond in one's collection of rare historical opera recordings, offering us dignified old-school operatic singing and an unimaginably good (for 1912) sound.