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VERDI
Also Available
Simon Boccanegra
O GOBBI
T IT

8.111334-35 8.111240-41

19 5 7
R ec ord ing

Tito Gobbi • Boris Christoff

Victoria de los Angeles • Giuseppe Campora
8.111284-85 8.111332-33 Rome Opera House Chorus and Orchestra
Gabriele Santini

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Great Opera Recordings pleads for death and Amelia is moved by his great love, whom he had thought dead.
Boccanegra forgives him, seeking to heal old enmities. £ He returns, as a ghost, to avenge outrage. The lights
& Shouts are heard outside and calls to arms, the start of begin to go out in the piazza outside. Boccanegra,
Giuseppe the rebellion against the Doge, who bids Gabriele join his however, is relieved at Fiesco’s appearance and can
friends. The latter demurs, now loyal to Boccanegra and announce peace between them. He tells him that his own
VERDI rewarded with the hand of Amelia. daughter and Fiesco’s grand-daughter is Amelia
Grimaldi.
(1813 - 1901) Act 3 ¢ Fiesco weeps at the revelation. He hears in
Boccanegra’s words the voice of Heaven. Boccanegra
Simon Boccanegra * From the Doge’s palace Genoa can be seen,
illuminated as for a festival. The shouts of the crowd are
seeks to embrace him, the father of his beloved Maria.
Fiesco tells Boccanegra of the poison. The latter is
Opera in a Prologue and Three Acts heard, praising the Doge. growing weaker and collapses onto a seat, as Amelia,
Text by Franceso Maria Piave as modified by Arrigo Boito ( A captain of the bowmen gives Fiesco back his sword Gabriele, ladies, gentlemen, senators and pages with
and tells him he is free. Asked about the rest of the torches come in.
Guelph faction, he tells him that they have been defeated. – Amelia is surprised to see Fiesco, whom she has
Simon Boccanegra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tito Gobbi (baritone) Paolo is brought in, under guard, condemned to torture known as Andrea, but Boccanegra now reveals the latter
Jacopo Fiesco / Andrea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Boris Christoff (bass) and death. He tells Fiesco that Boccanegra too will die, as the father of Amelia’s mother, Maria. Amelia rejoices
Amelia Grimaldi / Maria Boccanegra . . . . . . . . . . . . . . . . . Victoria de los Angeles (soprano) poisoned by him, and to his horror hears the sound of at the end of old enmities, but Boccanegra tells her that
Gabriele Adorno . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Giuseppe Campora (tenor) wedding celebrations for Amelia and Gabriele. Paolo everything is coming to an end and that he is dying. With
Paolo Albiani . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Walter Monachesi (bass) further appals Fiesco by declaring his responsibility for Gabriele she kneels at his feet. He rises, lays his hands on
Pietro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paolo Dari (baritone) the abduction of Amelia. In anger Fiesco draws his their heads and raises his eyes to Heaven.
Captain of the Crossbowmen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paolo Caroli (tenor) sword, but then desists, as Paolo is destined for a worse § He calls for God’s blessing on them. Amelia pleads
Amelia’s Maidservant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Silvia Bertona (mezzo-soprano) fate. The guards drag him away. Fiesco resolves that the with him not to die and Gabriele joins her in lamenting
search for revenge is not ended yet and, as the Doge the swift passing of happiness. Boccanegra bids her
approaches, hides himself in the shadows. embrace him, as he dies.
Rome Opera House Chorus and Orchestra ) The captain enters, with a trumpeter, and announces to ¶ Turning to the senators, he commands them to make
(Chorus Director: Giuseppe Conca) the people that, by command of the Doge, lights should Gabriele Adorno the next Doge. His voice fails and he
Gabriele Santini be extinguished, in honour of the dead. can say no more, but stretches his hands out over Amelia
¡ Boccanegra enters, feverish and suffering the effects and Gabriele, as he dies. Fulfilling his final command,
of poison, cooled by the sea breeze. The sea reminds him Fiesco calls on the people of Genoa to acclaim their new
Recorded 25th – 30th September and 1st November, 1957 in the Opera House, Rome of his former life and there he would happily have died. Doge, Gabriele Adorno, and to pray for the one who has
First issued on HMV ALP 1634 through 1636 Fiesco emerges, threatening a better death. Boccanegra died.
calls for his guards, but no-one comes.
™ Fiesco reveals himself as the Doge’s old enemy, Keith Anderson
Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn

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2 Shouts are heard from outside. The disturbance is palace, mistress of Boccanegra. CD 1 62:12 ^ Vieni a me, ti benedico 2:18
watched from the window by Paolo and Pietro, and 9 Paolo hurries out, leaving Gabriele appalled at what (Andrea, Gabriele)
Boccanegra too looks out to see that the crowd are he has heard: Boccanegra has killed his father, stolen his Prologue & Il Doge vien 2:09
pursuing Gabriele Adorno. Pietro, in an aside, tells beloved Amelia. He is inflamed by jealousy and calls on 1 Allegro moderato 1:18 (Gabriele, Andrea, Simon, Paolo, Amelia)
Paolo to make his escape, since they are discovered. God to pity his suffering. He begs Heaven to give him (Orchestra) * Dinne, perché in quest’eremo 2:05
They are observed by Boccanegra, who orders none to Amelia again and that she remains his, in her purity.
2 Che dicesti? 4:01 (Simon, Amelia)
leave. There is discord in the council chamber, as the 0 Amelia comes into the room, surprised to find
plebeians call for the death of the nobles, who draw their Gabriele there. (Paolo, Pietro, Simon) ( Orfanella il tetto umile 4:40
swords, and the plebeians then do likewise, before there ! He is anxious to learn the reason for her presence, 3 All’alba tutti qui verrete? 1:56 (Amelia, Simon)
are shouts against the Doge himself, who orders the accusing her of faithlessness. She rejects his charges but (Pietro, Chorus, Paolo) ) Dinne, alcun là non vedesti? 1:22
doors of the palace to be opened to the people. The cannot give a fuller explanation. 4 L’altra magion vedere? 3:48 (Simon, Amelia)
herald’s trumpet quietens the mob, who have dragged in @ The Doge is heard approaching and she tells Gabriele (Paolo, Chorus, Pietro) ¡ Figlia! a tal nome palpito 3:44
Gabriele and Andrea. Gabriele has killed Lorenzino, to hide, begging him with increasing urgency, while he 5 A te l’estremo addio, palagio altero 2:15 (Simon, Amelia)
Pietro’s accomplice in the abduction of Amelia, and as still vows death on Boccanegra. Eventually he hides on (Fiesco) ™ Che rispose? 1:31
he died he had implicated Boccanegra, whom Gabriele the balcony.
6 Il lacerato spirito 4:12 (Paolo, Simon, Pietro)
now accuses and would kill, but for the intervention of # The Doge enters, reading a paper, and addressing her
Amelia, who now enters. The Doge asks Amelia what as daughter, and she him as father. She tells him the (Fiesco, Chorus)
happened. name of her lover, Adorno, his enemy, his name written 7 Suona ogni labbro il mio nome 3:58 CD 2 78:09
3 She tells him how she was abducted by Lorenzino’s on the paper he holds, listing those conspiring against (Simon, Fiesco)
men. Before she can reveal the name of the instigator of him. He cannot pardon Gabriele, in spite of Amelia’s 8 Del mar sul lido fra gente ostile 2:53 Act 1
the plot, the factions break out in recrimination, one of pleas. Boccanegra is in despair, having found his (Simon, Fiesco) Scene 2
the other. daughter only to have her stolen by his enemy. He tells 9 Oh de’ Fieschi implacata, orrida razza! 4:18 1 Messeri, il re di Tartaria voi porge 2:59
4 The tumult is quelled again by Boccanegra. her to go, although she wants to watch by his side.
(Simon, Fiesco, Chorus, Paolo, Pietro) (Simon, Chorus, Paolo)
5 Gabriele surrenders his sword to Boccanegra, who $ He must exercise clemency, unless it is weakness that
tells him he will be detained, until the matter is cleared motivates him. He pours the water Paolo has poisoned 2 Oh! … Qual clamor! 5:48
up. The Doge turns to Paolo, whose guilt he well knows, into a cup and drinks, ironically finding water Act 1 (Chorus, Pietro, Paolo, Simon, Gabriele, Amelia)
and forces him to join in cursing the villain behind the sometimes bitter to the lips of one who rules. He sits Scene 1 3 Nell’ora soave che all’estasi invita 2:40
plot, a curse in which all join. down and in a moment is overtaken by sleep, calling on 0 Lento assai 2:54 (Amelia, Chorus, Simon, Gabriele)
the name of Amelia. (Orchestra) 4 Plebe! Patrizi! Popolo! 5:26
Act 2 % Gabriele steals in from the balcony, held back from ! Come in quest’ora bruna 4:15 (Simon, Chorus, Amelia, Pietro, Paolo,
murdering the Doge either by respect or fear. He draws (Amelia) Gabriele, Fiesco)
6 Paolo and Pietro are together in a room in the Doge’s his dagger and is about to strike the sleeping man, when
@ Cielo di stelle orbato 2:06 5 Ecco la spada 4:11
palace. Paolo sees himself rejected by all, cursed, but Amelia intervenes. The Doge wakens and sees Gabriele
determines to take revenge on Boccanegra, through about to murder him, a defenceless victim. He asks who (Gabriele, Amelia) (Gabriele, Simon, Paolo, All)
poison and the dagger, as he empties a vial of poison opened the palace doors to him and threatens Gabriele # Vieni a mirar la cerula marina tremolante 2:57
into a jug of water on the table. with torture, to reveal the name of the traitor. Now (Amelia, Gabriele) Act 2
7 Fiesco and Gabriele Adorno are led in by Pietro and deprived of his dearest possession, his daughter, ample $ Ah! … Che fia! 1:08 6 Quei due vedesti? 2:49
Paolo tries to induce Fiesco to murder the Doge as he revenge for Gabriele, he reveals himself as Amelia’s (Amelia, Gabriele, Maidservant, Pietro) (Paolo, Pietro)
sleeps, a proposal he proudly rejects. father. % Propizio ei giunge! 2:27 7 Prigioniero in qual loco m’adduci? 2:01
8 He goes and Gabriele makes to follow him, but is ^ Gabriele begs Amelia’s forgiveness and offers his
(Gabriele, Andrea) (Fiesco, Paolo)
held back by Paolo, who tells him that Amelia is in the life to Boccanegra, as a would-be murderer. As Gabriele
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8 Udisti? … Vil disegno! 3:12 Act 3 Act 1 day of vengeance. Amelia and her attendants come out
(Paolo, Gabriele) * Evviva il Doge! 0:58 to receive Boccanegra, who now appears, attended by
9 Cielo, pietoso, rendila 2:13 (Chorus) Scene 1 Paolo and a following of huntsmen. The women and
(Gabriele) ( Libero sei; ecco la spada 4:07 Boccanegra’s followers withdraw, leaving the Doge and
0 Tu qui? … Amelia! 0:53 (Captain, Fiesco, Paolo, Chorus) 0 25 years have passed. The instrumental introduction Amelia alone. He tells her of his offer of pardon to the
(Amelia, Gabriele) ) Cittadini, per ordine del Doge 1:24 sets the scene, in the garden of the Grimaldi outside Grimaldi.
(Captain) Genoa. To the left is the palace, facing the sea. It is * Boccanegra asks why she hides her beauty in this
! Parla, in tuo cor virgineo 2:39
dawn. seclusion. Amelia tells him that she has a lover and finds
(Gabriele, Amelia) ¡ M’ardon le tempia! 3:41
! Amelia Grimaldi comes in, looking towards the sea the name of Paolo, as Boccanegra suggests, repulsive to
@ Il Doge vien 1:01 (Simon, Fiesco) and admiring the beauty of the place and recalling her her.
(Amelia, Gabriele) ™ Delle faci festanti al barlume 2:06 childhood and the night when the woman looking after ( She goes on to reveal to the Doge that she is not a
# Figlia! … Sì afflitto, padre mio? 3:51 (Fiesco, Simon) her died. Grimaldi but was left an orphan in Pisa. Boccanegra
(Simon, Amelia) £ Come un fantasima 2:01 @ She hears the voice of her lover, Gabriele, from the now hopes that he has at last found his daughter.
$ Doge, ancor proveran 3:06 (Fiesco, Simon) distance, as he approaches. Entering the garden, he ) In answer to his question, she remembers a visitor
¢ Piango perché mi parla 4:11 greets her, apologising for his delay. She has been afraid from the sea and the name of the woman who cared for
(Simon)
for him and for Andrea, the disguised Fiesco, whom she her. He takes out a miniature of her and is now certain
% Ei dorme! Quale sento ritegno? 2:43 (Fiesco, Simon)
loves as a father, as they have been plotting against the that she is his daughter, Maria.
(Gabriele, Amelia, Simon) ∞ Chi veggo! 2:04 Doge, together with Lorenzino and the others. ¡ They are both overjoyed at the discovery. They
^ Perdon, perdon, Amelia 3:03 (Maria, Simon, Gabriele, Fiesco) # They pause for a moment, to wonder at the beauty of embrace and she goes into the palace, leaving her father
(Gabriele, Simon, Amelia) § Gran Dio, li benedici 4:52 the sea around Genoa, not forgetting their enemies in the still overwhelmed by what he has learned.
& All’armi, all’armi, o Liguri! 1:16 (Simon, Maria, Gabriele, Fiesco, Chorus) city. ™ Paolo hurries in and asks the Doge what Amelia’s
(Chorus, Amelia, Gabriele, Simon) ¶ Senatori, sancite il voto estremo 2:57 $ They are interrupted by a servant announcing a answer has been to his proposal of marriage. As he goes
(Simon, Maria, Gabriele, Fiesco, Chorus) messenger from the Doge. Pietro enters, bringing news out, Boccanegra tells him to give up any idea of such a
that the Doge, returning from hunting, wishes to stay at match. Paolo is angry at this ingratitude. He is joined by
the palace. She knows that the Doge, Boccanegra, is Pietro and with him plots to abduct the girl.
seeking her marriage with Paolo. Amelia urges Gabriele
to seek permission from her guardian during Grimaldi’s CD 2
enforced exile, Andrea, for immediate marriage. The
lovers pledge their loyalty to each other. Amelia goes Act 1
into the palace and Gabriele is about to leave, when he Scene 2
meets Andrea. 1 The scene is now the council chamber in the Doge’s
% The appearance of Andrea is opportune and Gabriele palace. Boccanegra is seated, with twelve councillors
at once seeks his permission to marry Amelia. Andrea, from the nobility to one side and twelve plebeian
however, reveals Amelia’s apparently humble origins, councillors to the other. There are also four consuls of
adopted by the Grimaldi on the death of their own the sea and constables. Paolo and Pietro are on the last
daughter. seats of the plebeian representatives. The herald
^ Gabriele is undeterred and Andrea gives him his announces tribute and messages of peace from the King
blessing. of Tartary. The Doge reads out a message from Petrarch
& The approach of the Doge is heard and Gabriele and urging peace between Genoa and Venice, to which
Andrea take their departure, the latter glad at the coming Paolo foments opposition.

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Tosca in 1964, which resulted in the project being Rome. He was the conductor of Don Carlo (Naxos Giuseppe Verdi (1813-1901):
aborted. Santini died in November that same year in 8.111132-34).
Malcolm Walker Simon Boccanegra
The first version of Simon Boccanegra comes between Gioconda) but in this instance as librettist. Verdi was
Les vêpres siciliennes and Aroldo. The text by keen to revise Boccanegra and employed Boito to
Francesco Maria Piave, set in the form of a prologue assist him. The revision, while a considerable
and three acts, is based on the drama by Antonío improvement in terms of the music, stopped short of
Garcia Gutiérrez who had earlier been the source for Il clarification of the plot. Boito’s main contribution was
trovatore. Verdi had prepared a prose version of the the inclusion of an entirely new scene in Act 1 with
Simon Boccanegra for Boccanegra. They disperse. drama, which he sent to Piave sometime in August the introduction of the Council Scene which became
Synopsis 5 Fiesco comes out of the palace, mourning the death of 1856. Also immediately Piave sent it to the directors the centrepiece of the opera.
his beloved daughter Maria. of the Teatro La Fenice in Venice to obtain their The revised version was first heard at the Teatro
CD 1 6 He inveighs against her seducer, Boccanegra, while acceptance and that of the Venetian police. The alla Scala, Milan on 24th March 1881 with Victor
the voices of mourners are heard from within the palace. theatre authorities returned the draft to Piave saying Maurel (later the first Iago) in the title-rôle, Francesco
Prologue Various people leave the palace and solemnly make their that the ‘scenario in prose’ was unacceptable on the Tamagno (the first Otello) as Gabriele Adorno,
1 The scene is a piazza in fourteenth-century Genoa. In way. grounds that it was considered a substitute for a Edouard de Reszke as Fiesco and D’Angeri as
the background is the Church of San Lorenzo, on the 7 Simon Boccanegra returns to the piazza, exultant at ‘libretto in verse’. Verdi was given the extension of a Maria/Amelia. The revision proved to be a success but
right the Fieschi Palace, with its great balcony, by the his popular success and hoping to be united with Maria. further month to produce what was required. On 1st the opera failed to gain international recognition. The
side of which, in the wall, is a statue of the Madonna, Fiesco accuses him and calls down the vengeance of October Piave forwarded the draft libretto to the American première did not take place until 1932, the
with a lamp burning before it. There are other houses and heaven upon him. Boccanegra tries to placate him, Venetian theatre for their comments and those of the British not until 1948 (in English), and the Covent
various streets leading into the piazza. It is night. addressing him as father and offering even his life, if police. Verdi then spent a period of time in Paris Garden one not until 1965 when Tito Gobbi both sang
2 As the curtain rises Pietro and Paolo Albiani, leading Fiesco will take it. between November 1856 and January 1857 for a the title-rôle and directed the production.
plebeians, are talking, discussing the election of a new 8 Boccanegra tells Fiesco of Maria’s daughter, left with variety of reasons. While there he sought the help of The opera makes considerable demands of its
Doge. Pietro suggests that Lorenzino should be chosen an old woman who, on Boccanegra’s return, was found to the exiled Italian patriot Giuseppe Montanelli to assist interpreters. Boccanegra is by turns nostalgic,
by the people, but Paolo prefers the man who has cleared have died and the child to have disappeared. Fiesco with various reworkings of the libretto. While Piave resigned, imperious (particularly in the Council
the sea of pirates, the corsair Boccanegra, whom Pietro, remains an implacable enemy, only to forgive, if he can may have been unhappy about a third hand working Scene) and regretful. His enemy Fiesco is dark,
in return for money and honours, will support. Left alone, see his grand-daughter. He makes to go, stopping, on the text he was busily employed on other projects moody, gloomy but heartful in his big aria “Il lacerato
Paolo eagerly awaits the downfall of the patricians. He is unseen, to watch Boccanegra. at the time. The first performance at the Teatro La spirito”, in which he laments the death of his dead
joined by Boccanegra, whom he has summoned to 9 Boccanegra expresses his hatred for the Fieschi, Fenice, Venice, on 12th March 1857 was deemed a daughter. The tenor rôle of Gabriele Adorno, while
Genoa, and offers him election as plebeian candidate for wondering how such beauty as Maria’s could have failure: it was felt that the Milanese or Roman not to the forefront, is important as is that of the dark
the position of Doge. Maria, daughter of the patrician appeared among them. He approaches the palace doors audience would have better appreciated the felicities Paolo. The part of Maria/Amelia demands singing of
Fiesco, has borne Boccanegra a daughter, but their and knocks. To his surprise he finds the doors open and of the score on a first hearing. It was rumoured, the highest quality as well as sympathetic portrayal.
relationship has been impossible under the patrician rule he goes in, appearing on the balcony to express his although never proved, that various Jewish factions, This recording of Simon Boccanegra, made in
of her father. They move apart, as the sound of people mystification at the palace, in darkness and seemingly led by the composer Samuele Levi, had planned 1957, was quite an enterprising choice for its time as
approaching is heard. deserted. He takes the lamp from the statue of the Virgin opposition to the opera. The Milanese première in the opera was little known in Britain, although it had
3 Sailors and workmen come in, accompanied by Pietro, and goes in again, calling for Maria, while Fiesco, February 1859, however, was a serious failure. Even been seen on a number of occasions at the
telling them how they must vote. Paolo comes forward, observing him, anticipates Boccanegra’s punishment. the composer himself later referred to this first version Metropolitan Opera House in New York. It is also true
declaring Simon Boccanegra, the corsair, the popular Voices are heard calling his name and Paolo and Pietro, as ‘cold and monotonous’. that the opera featured in the complete cycle of
candidate. with their following of workmen and sailors, excitedly After the success of Aida and the Messa da recordings, some of which are now believed to have
4 He gathers the people around him to explain how the enter the piazza, acclaiming Boccanegra as Doge, to the Requiem in the 1870s, Verdi had in his mind an opera been made under studio conditions and not live, as
based on Shakespeare’s Othello. In this he was to previously assumed, which Italian Radio undertook in
Fieschi keep the beautiful Maria prisoner in their gloomy anger of Fiesco, while Boccanegra discovers, in the
work with Arrigo Boito (the composer of La 1951 to mark the fiftieth anniversary of the
palace, exciting their prejudice and winning their support palace, the fate of Maria.
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composer’s death. The studio recordings, including traviata in 1939. He made his La Scala début in April Symphony and the Verdi Requiem. His first stage the Lucia of Maria Callas in the same house. He
Simon Boccanegra, were subsequently released on 1942 as Belcore in L’elisir d’amore. He sang the title- appearance there was in Don Carlo in 1960. Christoff returned to La Scala in 1958, again as Maurizio, and
disc by CETRA. From EMI’s point of view it marked rôle in Berg’s Wozzeck in Rome the same year to great sang widely throughout Europe for over thirty years during the following seasons sang Rodolfo,
a change of producer in that Victor Olof (formerly of acclaim. Gobbi’s first appearance in the United States in mainly Russian and Italian (especially in Verdi) Pinkerton, Orombello in Beatrice di Tenda opposite
Decca) had joined the Company as a producer the was as Figaro in Rossini’s opera at San Francisco in parts in addition to Hagen, Gurnemanz and King Joan Sutherland, concluding with Pinkerton in 1972.
previous year. He was widely respected and had 1948. He then appeared at the 1950 Salzburg Festival Marke. His voice, though not large, was smooth, He continued to appear in the United States, mainly
undertaken the supervision of a considerable number as Don Giovanni, before making his first stage round and well projected. He possessed great in Philadelphia during the 1960s and 1970s. After
of complete operas for his former employer. He was appearance in Britain with the visiting La Scala dramatic powers and was a very compelling singing retiring from the stage he taught singing.
assisted by the highly experienced engineer Harold company at Covent Garden as Belcore and Ford. He actor. He can be heard in Aida (Naxos 8.111042-44) The baritone Walter Monachesi was born in
Davidson, who had been assigned operas in Rome later became a regular guest at this house, singing and Don Carlo (Naxos 8.111132-34). Macerata in 1922 and was taught singing by Gino
from 1954. EMI, however, unlike Decca, continued to Renato, Iago, Scarpia, Rigoletto, Gianni Schicchi, The Spanish soprano Victoria de los Angeles Berardi. He sang the rôle of Paolo in Simon
record in mono sound only, but 1957 marked the last Rodrigo, Falstaff and Boccanegra over the next (1923-2005) was born in Barcelona and later studied Boccanegra in the 1951 RAI broadcast performance
occasion that operas were recorded in that manner. twenty years. He sang at the Chicago Lyric Opera for in that city. Her formal début was in 1945 as the and during the following year sang in Parma as
Simon Boccanegra was an opera greatly admired ten seasons from 1954. His appearances were more Countess in Le nozze di Figaro. After winning the Giorgio Germont and Marcello (La bohème), with
by Tito Gobbi and the resultant recording proved one irregular at the Metropolitan in New York where he Geneva International Singing Competition in 1947 Silvano in Un ballo in maschera at La Scala in 1956.
of his finest performances in the recording studio. He sang between 1956 and 1976, his rôles there including she was invited the following year by the BBC in He also sang Marcello during the centenary
was joined by his brother-in-law Boris Christoff as Scarpia, Iago, Rigoletto and Falstaff. In the early part London to take part in studio broadcast performances celebration of Puccini’s birth at Torre del Lago. He
Fiesco and Victoria de los Angeles as Boccanegra’s of his career he had appeared in a number of films and of Falla’s La vida breve, an event which aroused continued to appear in Italy until the late 1970s.
long lost daughter Maria/Amelia. The tenor part was after retiring from singing became a stage producer to great interest and much critical acclaim. She then The conductor Gabriele Santini (1886-1964)
assigned to the Italian singer Giuseppe Campora, who considerable acclaim in addition to giving master- appeared at the Paris Opéra, Covent Garden in was born in Perugia, where he undertook his musical
had become know in the United States through his classes. Gobbi was a superb singing actor who created London, La Scala in Milan and the Metropolitan, studies before continuing at Bologna Conservatorio.
appearance at the Metropolitan in New York. many memorable characterisations both on stage and New York, in three successive years from 1949 He made his conducting début in 1906 but soon
When this recording first appeared in December for recording, especially in the Verdian rôles. He can onwards. She later sang at Bayreuth in 1961 but moved to South America where he was employed at
1958 the reviewer in The Gramophone commented: also be found in many operas which Maria Callas thereafter began to confine her appearances to the the Teatro Colón in Buenos Aires for eight seasons
‘Gobbi is … a masterly singing-actor and here he has recorded during the 1950s in addition to Don Carlo concert hall. Her voice was one of great lyrical before appearing in Rio de Janeiro and Chicago. He
one of his greatest rôles, one that deploys his full (Naxos 8.111132-34) and Madama Butterfly (Naxos beauty and conveyed infinite tonal contrasts with an then assisted Toscanini at La Scala in Milan between
range as a singing tragedian. Christoff adds a 8.111291-92). unusually warm lower register. She recorded 1925 and 1929, conducting Aida, Madama Butterfly,
dimension of every view of Fiesco [sic]. Victoria de The Bulgarian bass Boris Christoff (1914-1993) extensively in both opera and song, particularly in the Der Freischütz, Carmen, Gianni Schicchi, Tosca and
los Angeles is an inspired choice for the girlish, ardent was born in Plovdiv. He sang in the celebrated Gusla latter area, Spanish music of many centuries. She Il tabarro. He then worked at the Opera in Rome
heroine, and has so much glorious music to sing’. The Choir before being helped by King Boris with funds to continued to appear in concert until her mid-sixties. during the years 1929-33. He returned to La Scala in
contribution of the conductor Gabriele Santini ‘gives a study in Rome with Riccardo Stracciari, later studying She can be heard as Nedda in Pagliacci (Naxos 1934 to conduct eight operas during the year. Santini
momentous, carefully paced and constantly in Salzburg. His delayed début took place in a concert 8.110258), Madama Butterfly (Naxos 8.111291-92) conducted the première of Mascagni’s Il re in Rome
illuminating reading of the score’. in Rome in 1946, before stage appearances as Colline and La bohème (Naxos 8.111249-50). in 1930. He returned to La Scala in 1943 to conduct
Originally planning to be a lawyer and studying at in La bohème. He was engaged by La Scala the The tenor Giuseppe Campora (1923-2004) was La Wally. He was music and artistic director of the
Padua University, the baritone Tito Gobbi (1913- following June as Pimen in Boris Godunov, and in born in Tortona and made his début as Rodolfo in La Rome Opera between 1944 and 1948 and then was
1984) was born at Bassano del Grappa. He then 1949 he sang the title-rôle at Covent Garden, where he bohème in Bari in 1949. Four years later he sang music director until 1962. He directed the première
changed to singing, studying with Giulio Crimi. His would appear regularly for the next quarter century. Maurizio in Adriana Lecouvreur opposite Renata of Alfano’s Dottor Antonio in Rome in 1949, in
début took place at Gubbio, when he sang the bass His Metropolitan début was cancelled in 1950 because Tebaldi at the Teatro alla Scala. He also sang in an addition to conducting the first Italian performances
rôle of Conte Rodolfo in La sonnambula in 1935. The of his Bulgarian nationality and it was a further six Italian-made filmed version of Aida made late that of L’heure espagnole (Rome, 1929) and Milhaud’s
following year he won first prize in an international years before he sang in San Francisco and later year with Sophia Loren acting the title-rôle. His Christophe Colomb (Rome, 1954). Santini recorded a
competition held in Vienna that resulted in his Rome Chicago (1957-63). He sang at the 1949 Salzburg American début was as Rodolfo at the Metropolitan number of complete operas between the years 1952
début at the Teatro Adriano as Giorgio Germont in La Festival under Karajan in Beethoven’s Choral in New York in 1954. He also sang Edgardo opposite and 1964. Sadly he collapsed during a recording of

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composer’s death. The studio recordings, including traviata in 1939. He made his La Scala début in April Symphony and the Verdi Requiem. His first stage the Lucia of Maria Callas in the same house. He
Simon Boccanegra, were subsequently released on 1942 as Belcore in L’elisir d’amore. He sang the title- appearance there was in Don Carlo in 1960. Christoff returned to La Scala in 1958, again as Maurizio, and
disc by CETRA. From EMI’s point of view it marked rôle in Berg’s Wozzeck in Rome the same year to great sang widely throughout Europe for over thirty years during the following seasons sang Rodolfo,
a change of producer in that Victor Olof (formerly of acclaim. Gobbi’s first appearance in the United States in mainly Russian and Italian (especially in Verdi) Pinkerton, Orombello in Beatrice di Tenda opposite
Decca) had joined the Company as a producer the was as Figaro in Rossini’s opera at San Francisco in parts in addition to Hagen, Gurnemanz and King Joan Sutherland, concluding with Pinkerton in 1972.
previous year. He was widely respected and had 1948. He then appeared at the 1950 Salzburg Festival Marke. His voice, though not large, was smooth, He continued to appear in the United States, mainly
undertaken the supervision of a considerable number as Don Giovanni, before making his first stage round and well projected. He possessed great in Philadelphia during the 1960s and 1970s. After
of complete operas for his former employer. He was appearance in Britain with the visiting La Scala dramatic powers and was a very compelling singing retiring from the stage he taught singing.
assisted by the highly experienced engineer Harold company at Covent Garden as Belcore and Ford. He actor. He can be heard in Aida (Naxos 8.111042-44) The baritone Walter Monachesi was born in
Davidson, who had been assigned operas in Rome later became a regular guest at this house, singing and Don Carlo (Naxos 8.111132-34). Macerata in 1922 and was taught singing by Gino
from 1954. EMI, however, unlike Decca, continued to Renato, Iago, Scarpia, Rigoletto, Gianni Schicchi, The Spanish soprano Victoria de los Angeles Berardi. He sang the rôle of Paolo in Simon
record in mono sound only, but 1957 marked the last Rodrigo, Falstaff and Boccanegra over the next (1923-2005) was born in Barcelona and later studied Boccanegra in the 1951 RAI broadcast performance
occasion that operas were recorded in that manner. twenty years. He sang at the Chicago Lyric Opera for in that city. Her formal début was in 1945 as the and during the following year sang in Parma as
Simon Boccanegra was an opera greatly admired ten seasons from 1954. His appearances were more Countess in Le nozze di Figaro. After winning the Giorgio Germont and Marcello (La bohème), with
by Tito Gobbi and the resultant recording proved one irregular at the Metropolitan in New York where he Geneva International Singing Competition in 1947 Silvano in Un ballo in maschera at La Scala in 1956.
of his finest performances in the recording studio. He sang between 1956 and 1976, his rôles there including she was invited the following year by the BBC in He also sang Marcello during the centenary
was joined by his brother-in-law Boris Christoff as Scarpia, Iago, Rigoletto and Falstaff. In the early part London to take part in studio broadcast performances celebration of Puccini’s birth at Torre del Lago. He
Fiesco and Victoria de los Angeles as Boccanegra’s of his career he had appeared in a number of films and of Falla’s La vida breve, an event which aroused continued to appear in Italy until the late 1970s.
long lost daughter Maria/Amelia. The tenor part was after retiring from singing became a stage producer to great interest and much critical acclaim. She then The conductor Gabriele Santini (1886-1964)
assigned to the Italian singer Giuseppe Campora, who considerable acclaim in addition to giving master- appeared at the Paris Opéra, Covent Garden in was born in Perugia, where he undertook his musical
had become know in the United States through his classes. Gobbi was a superb singing actor who created London, La Scala in Milan and the Metropolitan, studies before continuing at Bologna Conservatorio.
appearance at the Metropolitan in New York. many memorable characterisations both on stage and New York, in three successive years from 1949 He made his conducting début in 1906 but soon
When this recording first appeared in December for recording, especially in the Verdian rôles. He can onwards. She later sang at Bayreuth in 1961 but moved to South America where he was employed at
1958 the reviewer in The Gramophone commented: also be found in many operas which Maria Callas thereafter began to confine her appearances to the the Teatro Colón in Buenos Aires for eight seasons
‘Gobbi is … a masterly singing-actor and here he has recorded during the 1950s in addition to Don Carlo concert hall. Her voice was one of great lyrical before appearing in Rio de Janeiro and Chicago. He
one of his greatest rôles, one that deploys his full (Naxos 8.111132-34) and Madama Butterfly (Naxos beauty and conveyed infinite tonal contrasts with an then assisted Toscanini at La Scala in Milan between
range as a singing tragedian. Christoff adds a 8.111291-92). unusually warm lower register. She recorded 1925 and 1929, conducting Aida, Madama Butterfly,
dimension of every view of Fiesco [sic]. Victoria de The Bulgarian bass Boris Christoff (1914-1993) extensively in both opera and song, particularly in the Der Freischütz, Carmen, Gianni Schicchi, Tosca and
los Angeles is an inspired choice for the girlish, ardent was born in Plovdiv. He sang in the celebrated Gusla latter area, Spanish music of many centuries. She Il tabarro. He then worked at the Opera in Rome
heroine, and has so much glorious music to sing’. The Choir before being helped by King Boris with funds to continued to appear in concert until her mid-sixties. during the years 1929-33. He returned to La Scala in
contribution of the conductor Gabriele Santini ‘gives a study in Rome with Riccardo Stracciari, later studying She can be heard as Nedda in Pagliacci (Naxos 1934 to conduct eight operas during the year. Santini
momentous, carefully paced and constantly in Salzburg. His delayed début took place in a concert 8.110258), Madama Butterfly (Naxos 8.111291-92) conducted the première of Mascagni’s Il re in Rome
illuminating reading of the score’. in Rome in 1946, before stage appearances as Colline and La bohème (Naxos 8.111249-50). in 1930. He returned to La Scala in 1943 to conduct
Originally planning to be a lawyer and studying at in La bohème. He was engaged by La Scala the The tenor Giuseppe Campora (1923-2004) was La Wally. He was music and artistic director of the
Padua University, the baritone Tito Gobbi (1913- following June as Pimen in Boris Godunov, and in born in Tortona and made his début as Rodolfo in La Rome Opera between 1944 and 1948 and then was
1984) was born at Bassano del Grappa. He then 1949 he sang the title-rôle at Covent Garden, where he bohème in Bari in 1949. Four years later he sang music director until 1962. He directed the première
changed to singing, studying with Giulio Crimi. His would appear regularly for the next quarter century. Maurizio in Adriana Lecouvreur opposite Renata of Alfano’s Dottor Antonio in Rome in 1949, in
début took place at Gubbio, when he sang the bass His Metropolitan début was cancelled in 1950 because Tebaldi at the Teatro alla Scala. He also sang in an addition to conducting the first Italian performances
rôle of Conte Rodolfo in La sonnambula in 1935. The of his Bulgarian nationality and it was a further six Italian-made filmed version of Aida made late that of L’heure espagnole (Rome, 1929) and Milhaud’s
following year he won first prize in an international years before he sang in San Francisco and later year with Sophia Loren acting the title-rôle. His Christophe Colomb (Rome, 1954). Santini recorded a
competition held in Vienna that resulted in his Rome Chicago (1957-63). He sang at the 1949 Salzburg American début was as Rodolfo at the Metropolitan number of complete operas between the years 1952
début at the Teatro Adriano as Giorgio Germont in La Festival under Karajan in Beethoven’s Choral in New York in 1954. He also sang Edgardo opposite and 1964. Sadly he collapsed during a recording of

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Tosca in 1964, which resulted in the project being Rome. He was the conductor of Don Carlo (Naxos Giuseppe Verdi (1813-1901):
aborted. Santini died in November that same year in 8.111132-34).
Malcolm Walker Simon Boccanegra
The first version of Simon Boccanegra comes between Gioconda) but in this instance as librettist. Verdi was
Les vêpres siciliennes and Aroldo. The text by keen to revise Boccanegra and employed Boito to
Francesco Maria Piave, set in the form of a prologue assist him. The revision, while a considerable
and three acts, is based on the drama by Antonío improvement in terms of the music, stopped short of
Garcia Gutiérrez who had earlier been the source for Il clarification of the plot. Boito’s main contribution was
trovatore. Verdi had prepared a prose version of the the inclusion of an entirely new scene in Act 1 with
Simon Boccanegra for Boccanegra. They disperse. drama, which he sent to Piave sometime in August the introduction of the Council Scene which became
Synopsis 5 Fiesco comes out of the palace, mourning the death of 1856. Also immediately Piave sent it to the directors the centrepiece of the opera.
his beloved daughter Maria. of the Teatro La Fenice in Venice to obtain their The revised version was first heard at the Teatro
CD 1 6 He inveighs against her seducer, Boccanegra, while acceptance and that of the Venetian police. The alla Scala, Milan on 24th March 1881 with Victor
the voices of mourners are heard from within the palace. theatre authorities returned the draft to Piave saying Maurel (later the first Iago) in the title-rôle, Francesco
Prologue Various people leave the palace and solemnly make their that the ‘scenario in prose’ was unacceptable on the Tamagno (the first Otello) as Gabriele Adorno,
1 The scene is a piazza in fourteenth-century Genoa. In way. grounds that it was considered a substitute for a Edouard de Reszke as Fiesco and D’Angeri as
the background is the Church of San Lorenzo, on the 7 Simon Boccanegra returns to the piazza, exultant at ‘libretto in verse’. Verdi was given the extension of a Maria/Amelia. The revision proved to be a success but
right the Fieschi Palace, with its great balcony, by the his popular success and hoping to be united with Maria. further month to produce what was required. On 1st the opera failed to gain international recognition. The
side of which, in the wall, is a statue of the Madonna, Fiesco accuses him and calls down the vengeance of October Piave forwarded the draft libretto to the American première did not take place until 1932, the
with a lamp burning before it. There are other houses and heaven upon him. Boccanegra tries to placate him, Venetian theatre for their comments and those of the British not until 1948 (in English), and the Covent
various streets leading into the piazza. It is night. addressing him as father and offering even his life, if police. Verdi then spent a period of time in Paris Garden one not until 1965 when Tito Gobbi both sang
2 As the curtain rises Pietro and Paolo Albiani, leading Fiesco will take it. between November 1856 and January 1857 for a the title-rôle and directed the production.
plebeians, are talking, discussing the election of a new 8 Boccanegra tells Fiesco of Maria’s daughter, left with variety of reasons. While there he sought the help of The opera makes considerable demands of its
Doge. Pietro suggests that Lorenzino should be chosen an old woman who, on Boccanegra’s return, was found to the exiled Italian patriot Giuseppe Montanelli to assist interpreters. Boccanegra is by turns nostalgic,
by the people, but Paolo prefers the man who has cleared have died and the child to have disappeared. Fiesco with various reworkings of the libretto. While Piave resigned, imperious (particularly in the Council
the sea of pirates, the corsair Boccanegra, whom Pietro, remains an implacable enemy, only to forgive, if he can may have been unhappy about a third hand working Scene) and regretful. His enemy Fiesco is dark,
in return for money and honours, will support. Left alone, see his grand-daughter. He makes to go, stopping, on the text he was busily employed on other projects moody, gloomy but heartful in his big aria “Il lacerato
Paolo eagerly awaits the downfall of the patricians. He is unseen, to watch Boccanegra. at the time. The first performance at the Teatro La spirito”, in which he laments the death of his dead
joined by Boccanegra, whom he has summoned to 9 Boccanegra expresses his hatred for the Fieschi, Fenice, Venice, on 12th March 1857 was deemed a daughter. The tenor rôle of Gabriele Adorno, while
Genoa, and offers him election as plebeian candidate for wondering how such beauty as Maria’s could have failure: it was felt that the Milanese or Roman not to the forefront, is important as is that of the dark
the position of Doge. Maria, daughter of the patrician appeared among them. He approaches the palace doors audience would have better appreciated the felicities Paolo. The part of Maria/Amelia demands singing of
Fiesco, has borne Boccanegra a daughter, but their and knocks. To his surprise he finds the doors open and of the score on a first hearing. It was rumoured, the highest quality as well as sympathetic portrayal.
relationship has been impossible under the patrician rule he goes in, appearing on the balcony to express his although never proved, that various Jewish factions, This recording of Simon Boccanegra, made in
of her father. They move apart, as the sound of people mystification at the palace, in darkness and seemingly led by the composer Samuele Levi, had planned 1957, was quite an enterprising choice for its time as
approaching is heard. deserted. He takes the lamp from the statue of the Virgin opposition to the opera. The Milanese première in the opera was little known in Britain, although it had
3 Sailors and workmen come in, accompanied by Pietro, and goes in again, calling for Maria, while Fiesco, February 1859, however, was a serious failure. Even been seen on a number of occasions at the
telling them how they must vote. Paolo comes forward, observing him, anticipates Boccanegra’s punishment. the composer himself later referred to this first version Metropolitan Opera House in New York. It is also true
declaring Simon Boccanegra, the corsair, the popular Voices are heard calling his name and Paolo and Pietro, as ‘cold and monotonous’. that the opera featured in the complete cycle of
candidate. with their following of workmen and sailors, excitedly After the success of Aida and the Messa da recordings, some of which are now believed to have
4 He gathers the people around him to explain how the enter the piazza, acclaiming Boccanegra as Doge, to the Requiem in the 1870s, Verdi had in his mind an opera been made under studio conditions and not live, as
based on Shakespeare’s Othello. In this he was to previously assumed, which Italian Radio undertook in
Fieschi keep the beautiful Maria prisoner in their gloomy anger of Fiesco, while Boccanegra discovers, in the
work with Arrigo Boito (the composer of La 1951 to mark the fiftieth anniversary of the
palace, exciting their prejudice and winning their support palace, the fate of Maria.
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8 Udisti? … Vil disegno! 3:12 Act 3 Act 1 day of vengeance. Amelia and her attendants come out
(Paolo, Gabriele) * Evviva il Doge! 0:58 to receive Boccanegra, who now appears, attended by
9 Cielo, pietoso, rendila 2:13 (Chorus) Scene 1 Paolo and a following of huntsmen. The women and
(Gabriele) ( Libero sei; ecco la spada 4:07 Boccanegra’s followers withdraw, leaving the Doge and
0 Tu qui? … Amelia! 0:53 (Captain, Fiesco, Paolo, Chorus) 0 25 years have passed. The instrumental introduction Amelia alone. He tells her of his offer of pardon to the
(Amelia, Gabriele) ) Cittadini, per ordine del Doge 1:24 sets the scene, in the garden of the Grimaldi outside Grimaldi.
(Captain) Genoa. To the left is the palace, facing the sea. It is * Boccanegra asks why she hides her beauty in this
! Parla, in tuo cor virgineo 2:39
dawn. seclusion. Amelia tells him that she has a lover and finds
(Gabriele, Amelia) ¡ M’ardon le tempia! 3:41
! Amelia Grimaldi comes in, looking towards the sea the name of Paolo, as Boccanegra suggests, repulsive to
@ Il Doge vien 1:01 (Simon, Fiesco) and admiring the beauty of the place and recalling her her.
(Amelia, Gabriele) ™ Delle faci festanti al barlume 2:06 childhood and the night when the woman looking after ( She goes on to reveal to the Doge that she is not a
# Figlia! … Sì afflitto, padre mio? 3:51 (Fiesco, Simon) her died. Grimaldi but was left an orphan in Pisa. Boccanegra
(Simon, Amelia) £ Come un fantasima 2:01 @ She hears the voice of her lover, Gabriele, from the now hopes that he has at last found his daughter.
$ Doge, ancor proveran 3:06 (Fiesco, Simon) distance, as he approaches. Entering the garden, he ) In answer to his question, she remembers a visitor
¢ Piango perché mi parla 4:11 greets her, apologising for his delay. She has been afraid from the sea and the name of the woman who cared for
(Simon)
for him and for Andrea, the disguised Fiesco, whom she her. He takes out a miniature of her and is now certain
% Ei dorme! Quale sento ritegno? 2:43 (Fiesco, Simon)
loves as a father, as they have been plotting against the that she is his daughter, Maria.
(Gabriele, Amelia, Simon) ∞ Chi veggo! 2:04 Doge, together with Lorenzino and the others. ¡ They are both overjoyed at the discovery. They
^ Perdon, perdon, Amelia 3:03 (Maria, Simon, Gabriele, Fiesco) # They pause for a moment, to wonder at the beauty of embrace and she goes into the palace, leaving her father
(Gabriele, Simon, Amelia) § Gran Dio, li benedici 4:52 the sea around Genoa, not forgetting their enemies in the still overwhelmed by what he has learned.
& All’armi, all’armi, o Liguri! 1:16 (Simon, Maria, Gabriele, Fiesco, Chorus) city. ™ Paolo hurries in and asks the Doge what Amelia’s
(Chorus, Amelia, Gabriele, Simon) ¶ Senatori, sancite il voto estremo 2:57 $ They are interrupted by a servant announcing a answer has been to his proposal of marriage. As he goes
(Simon, Maria, Gabriele, Fiesco, Chorus) messenger from the Doge. Pietro enters, bringing news out, Boccanegra tells him to give up any idea of such a
that the Doge, returning from hunting, wishes to stay at match. Paolo is angry at this ingratitude. He is joined by
the palace. She knows that the Doge, Boccanegra, is Pietro and with him plots to abduct the girl.
seeking her marriage with Paolo. Amelia urges Gabriele
to seek permission from her guardian during Grimaldi’s CD 2
enforced exile, Andrea, for immediate marriage. The
lovers pledge their loyalty to each other. Amelia goes Act 1
into the palace and Gabriele is about to leave, when he Scene 2
meets Andrea. 1 The scene is now the council chamber in the Doge’s
% The appearance of Andrea is opportune and Gabriele palace. Boccanegra is seated, with twelve councillors
at once seeks his permission to marry Amelia. Andrea, from the nobility to one side and twelve plebeian
however, reveals Amelia’s apparently humble origins, councillors to the other. There are also four consuls of
adopted by the Grimaldi on the death of their own the sea and constables. Paolo and Pietro are on the last
daughter. seats of the plebeian representatives. The herald
^ Gabriele is undeterred and Andrea gives him his announces tribute and messages of peace from the King
blessing. of Tartary. The Doge reads out a message from Petrarch
& The approach of the Doge is heard and Gabriele and urging peace between Genoa and Venice, to which
Andrea take their departure, the latter glad at the coming Paolo foments opposition.

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2 Shouts are heard from outside. The disturbance is palace, mistress of Boccanegra. CD 1 62:12 ^ Vieni a me, ti benedico 2:18
watched from the window by Paolo and Pietro, and 9 Paolo hurries out, leaving Gabriele appalled at what (Andrea, Gabriele)
Boccanegra too looks out to see that the crowd are he has heard: Boccanegra has killed his father, stolen his Prologue & Il Doge vien 2:09
pursuing Gabriele Adorno. Pietro, in an aside, tells beloved Amelia. He is inflamed by jealousy and calls on 1 Allegro moderato 1:18 (Gabriele, Andrea, Simon, Paolo, Amelia)
Paolo to make his escape, since they are discovered. God to pity his suffering. He begs Heaven to give him (Orchestra) * Dinne, perché in quest’eremo 2:05
They are observed by Boccanegra, who orders none to Amelia again and that she remains his, in her purity.
2 Che dicesti? 4:01 (Simon, Amelia)
leave. There is discord in the council chamber, as the 0 Amelia comes into the room, surprised to find
plebeians call for the death of the nobles, who draw their Gabriele there. (Paolo, Pietro, Simon) ( Orfanella il tetto umile 4:40
swords, and the plebeians then do likewise, before there ! He is anxious to learn the reason for her presence, 3 All’alba tutti qui verrete? 1:56 (Amelia, Simon)
are shouts against the Doge himself, who orders the accusing her of faithlessness. She rejects his charges but (Pietro, Chorus, Paolo) ) Dinne, alcun là non vedesti? 1:22
doors of the palace to be opened to the people. The cannot give a fuller explanation. 4 L’altra magion vedere? 3:48 (Simon, Amelia)
herald’s trumpet quietens the mob, who have dragged in @ The Doge is heard approaching and she tells Gabriele (Paolo, Chorus, Pietro) ¡ Figlia! a tal nome palpito 3:44
Gabriele and Andrea. Gabriele has killed Lorenzino, to hide, begging him with increasing urgency, while he 5 A te l’estremo addio, palagio altero 2:15 (Simon, Amelia)
Pietro’s accomplice in the abduction of Amelia, and as still vows death on Boccanegra. Eventually he hides on (Fiesco) ™ Che rispose? 1:31
he died he had implicated Boccanegra, whom Gabriele the balcony.
6 Il lacerato spirito 4:12 (Paolo, Simon, Pietro)
now accuses and would kill, but for the intervention of # The Doge enters, reading a paper, and addressing her
Amelia, who now enters. The Doge asks Amelia what as daughter, and she him as father. She tells him the (Fiesco, Chorus)
happened. name of her lover, Adorno, his enemy, his name written 7 Suona ogni labbro il mio nome 3:58 CD 2 78:09
3 She tells him how she was abducted by Lorenzino’s on the paper he holds, listing those conspiring against (Simon, Fiesco)
men. Before she can reveal the name of the instigator of him. He cannot pardon Gabriele, in spite of Amelia’s 8 Del mar sul lido fra gente ostile 2:53 Act 1
the plot, the factions break out in recrimination, one of pleas. Boccanegra is in despair, having found his (Simon, Fiesco) Scene 2
the other. daughter only to have her stolen by his enemy. He tells 9 Oh de’ Fieschi implacata, orrida razza! 4:18 1 Messeri, il re di Tartaria voi porge 2:59
4 The tumult is quelled again by Boccanegra. her to go, although she wants to watch by his side.
(Simon, Fiesco, Chorus, Paolo, Pietro) (Simon, Chorus, Paolo)
5 Gabriele surrenders his sword to Boccanegra, who $ He must exercise clemency, unless it is weakness that
tells him he will be detained, until the matter is cleared motivates him. He pours the water Paolo has poisoned 2 Oh! … Qual clamor! 5:48
up. The Doge turns to Paolo, whose guilt he well knows, into a cup and drinks, ironically finding water Act 1 (Chorus, Pietro, Paolo, Simon, Gabriele, Amelia)
and forces him to join in cursing the villain behind the sometimes bitter to the lips of one who rules. He sits Scene 1 3 Nell’ora soave che all’estasi invita 2:40
plot, a curse in which all join. down and in a moment is overtaken by sleep, calling on 0 Lento assai 2:54 (Amelia, Chorus, Simon, Gabriele)
the name of Amelia. (Orchestra) 4 Plebe! Patrizi! Popolo! 5:26
Act 2 % Gabriele steals in from the balcony, held back from ! Come in quest’ora bruna 4:15 (Simon, Chorus, Amelia, Pietro, Paolo,
murdering the Doge either by respect or fear. He draws (Amelia) Gabriele, Fiesco)
6 Paolo and Pietro are together in a room in the Doge’s his dagger and is about to strike the sleeping man, when
@ Cielo di stelle orbato 2:06 5 Ecco la spada 4:11
palace. Paolo sees himself rejected by all, cursed, but Amelia intervenes. The Doge wakens and sees Gabriele
determines to take revenge on Boccanegra, through about to murder him, a defenceless victim. He asks who (Gabriele, Amelia) (Gabriele, Simon, Paolo, All)
poison and the dagger, as he empties a vial of poison opened the palace doors to him and threatens Gabriele # Vieni a mirar la cerula marina tremolante 2:57
into a jug of water on the table. with torture, to reveal the name of the traitor. Now (Amelia, Gabriele) Act 2
7 Fiesco and Gabriele Adorno are led in by Pietro and deprived of his dearest possession, his daughter, ample $ Ah! … Che fia! 1:08 6 Quei due vedesti? 2:49
Paolo tries to induce Fiesco to murder the Doge as he revenge for Gabriele, he reveals himself as Amelia’s (Amelia, Gabriele, Maidservant, Pietro) (Paolo, Pietro)
sleeps, a proposal he proudly rejects. father. % Propizio ei giunge! 2:27 7 Prigioniero in qual loco m’adduci? 2:01
8 He goes and Gabriele makes to follow him, but is ^ Gabriele begs Amelia’s forgiveness and offers his
(Gabriele, Andrea) (Fiesco, Paolo)
held back by Paolo, who tells him that Amelia is in the life to Boccanegra, as a would-be murderer. As Gabriele
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Great Opera Recordings pleads for death and Amelia is moved by his great love, whom he had thought dead.
Boccanegra forgives him, seeking to heal old enmities. £ He returns, as a ghost, to avenge outrage. The lights
& Shouts are heard outside and calls to arms, the start of begin to go out in the piazza outside. Boccanegra,
Giuseppe the rebellion against the Doge, who bids Gabriele join his however, is relieved at Fiesco’s appearance and can
friends. The latter demurs, now loyal to Boccanegra and announce peace between them. He tells him that his own
VERDI rewarded with the hand of Amelia. daughter and Fiesco’s grand-daughter is Amelia
Grimaldi.
(1813 - 1901) Act 3 ¢ Fiesco weeps at the revelation. He hears in
Boccanegra’s words the voice of Heaven. Boccanegra
Simon Boccanegra * From the Doge’s palace Genoa can be seen,
illuminated as for a festival. The shouts of the crowd are
seeks to embrace him, the father of his beloved Maria.
Fiesco tells Boccanegra of the poison. The latter is
Opera in a Prologue and Three Acts heard, praising the Doge. growing weaker and collapses onto a seat, as Amelia,
Text by Franceso Maria Piave as modified by Arrigo Boito ( A captain of the bowmen gives Fiesco back his sword Gabriele, ladies, gentlemen, senators and pages with
and tells him he is free. Asked about the rest of the torches come in.
Guelph faction, he tells him that they have been defeated. – Amelia is surprised to see Fiesco, whom she has
Simon Boccanegra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tito Gobbi (baritone) Paolo is brought in, under guard, condemned to torture known as Andrea, but Boccanegra now reveals the latter
Jacopo Fiesco / Andrea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Boris Christoff (bass) and death. He tells Fiesco that Boccanegra too will die, as the father of Amelia’s mother, Maria. Amelia rejoices
Amelia Grimaldi / Maria Boccanegra . . . . . . . . . . . . . . . . . Victoria de los Angeles (soprano) poisoned by him, and to his horror hears the sound of at the end of old enmities, but Boccanegra tells her that
Gabriele Adorno . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Giuseppe Campora (tenor) wedding celebrations for Amelia and Gabriele. Paolo everything is coming to an end and that he is dying. With
Paolo Albiani . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Walter Monachesi (bass) further appals Fiesco by declaring his responsibility for Gabriele she kneels at his feet. He rises, lays his hands on
Pietro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paolo Dari (baritone) the abduction of Amelia. In anger Fiesco draws his their heads and raises his eyes to Heaven.
Captain of the Crossbowmen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paolo Caroli (tenor) sword, but then desists, as Paolo is destined for a worse § He calls for God’s blessing on them. Amelia pleads
Amelia’s Maidservant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Silvia Bertona (mezzo-soprano) fate. The guards drag him away. Fiesco resolves that the with him not to die and Gabriele joins her in lamenting
search for revenge is not ended yet and, as the Doge the swift passing of happiness. Boccanegra bids her
approaches, hides himself in the shadows. embrace him, as he dies.
Rome Opera House Chorus and Orchestra ) The captain enters, with a trumpeter, and announces to ¶ Turning to the senators, he commands them to make
(Chorus Director: Giuseppe Conca) the people that, by command of the Doge, lights should Gabriele Adorno the next Doge. His voice fails and he
Gabriele Santini be extinguished, in honour of the dead. can say no more, but stretches his hands out over Amelia
¡ Boccanegra enters, feverish and suffering the effects and Gabriele, as he dies. Fulfilling his final command,
of poison, cooled by the sea breeze. The sea reminds him Fiesco calls on the people of Genoa to acclaim their new
Recorded 25th – 30th September and 1st November, 1957 in the Opera House, Rome of his former life and there he would happily have died. Doge, Gabriele Adorno, and to pray for the one who has
First issued on HMV ALP 1634 through 1636 Fiesco emerges, threatening a better death. Boccanegra died.
calls for his guards, but no-one comes.
™ Fiesco reveals himself as the Doge’s old enemy, Keith Anderson
Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn

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VERDI
Also Available
Simon Boccanegra
O GOBBI
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19 5 7
R ec ord ing

Tito Gobbi • Boris Christoff

Victoria de los Angeles • Giuseppe Campora
8.111284-85 8.111332-33 Rome Opera House Chorus and Orchestra
Gabriele Santini

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NAXOS Historical Gobbi • de los Angeles • Christoff • Santini 8.110119-20

NAXOS Historical
8.110119-20 Playing
Giuseppe Time
ADD MONO 2:20:21
VERDI
(1813 - 1901)
 &  2009 Naxos Rights International Ltd. Made in Germany
and copying of this compact disc prohibited.
Unauthorised public performance, broadcasting
All rights in this sound recording, artwork, texts and translations reserved.
Simon Boccanegra CD 1 62:12
1-9 Prologue 28:40
Simon Boccanegra . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tito Gobbi
0-™ Act I - Scene I 33:32
Jacopo Fiesco / Andrea . . . . . . . . . . . . . . . . . . . . . Boris Christoff
Amelia Grimaldi / Maria Boccanegra . . . . Victoria de los Angeles
Gabriele Adorno . . . . . . . . . . . . . . . . . . . . . . Giuseppe Campora

VERDI: Simon Boccanegra

Paolo Albiani . . . . . . . . . . . . . . . . . . . . . . . . . . . Walter Monachesi
Pietro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paolo Dari CD 2 78:09
1-5 Act I - Scene 2 21:04
Rome Opera House Chorus and Orchestra 6-& Act II 28:45
Gabriele Santini *-¶ Act III 28:20
Recorded 25th – 30th September and 1st November, 1957
in the Opera House, Rome

Featuring a near-ideal cast, this recording of Verdi’s darkly dramatic Simon Boccanegra drew high
praise from The Gramophone: “Gobbi is…a masterly singing actor and here he has one of his
greatest rôles, one that deploys his full range as a singing tragedian. Victoria de los Angeles is an
inspired choice for the girlish, ardent heroine, and has so much glorious music to sing…[Gabriele
Santini] gives a momentous, carefully paced and constantly illuminating reading of the score of
one of Verdi’s most powerful treatments of the fatal entanglements between political intrigue and
family history”. Last but not least, Christoff gives an unforgettable portrayal of the complex and
powerful character of Fiesco.

8.110119-20
Reissue Producer and Restoration Engineer: Mark Obert-Thorn
Cover photo: Tito Gobbi (Private Collection)

www.naxos.com