{"product_id":"toscanini-verdi-falstaff-1950-paco204","title":"TOSCANINI Verdi: Falstaff (1950) - PACO204","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 broadcast recordings, 1950\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003e1hr 57:32\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003eFalstaff - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGiuseppe Valdengo\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMistress Alice Ford - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHerva Nelli \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMistress Meg Page - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNan Merriman \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMistress Quickly - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCloë Elmo\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eFord - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFrank Guarrera \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRobert Shaw Chorale\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003edirected by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRobert Shaw\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony 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\/PACO204.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003eOf all the composers in Toscanini’s repertory, Verdi was probably closest to him. The conductor’s third appointment as music director of La Scala (1920—29) may have produced the most organic Verdi productions of the century. During that appointment the composer’s operas formed the core of Toscanini’s work. He directed a dozen in all, more than those of any other composer he led in the theater. The extraordinary integrity of Toscanini’s Verdi at La Scala was noted by the young Herbert von Karajan, who wrote after witnessing Toscanini’s production of \u003cem\u003eFalstaff\u003c\/em\u003e in 1929:\u003c\/p\u003e\u003cp style=\"margin-left: 50px;\"\u003e“From the first … I was completely disconcerted by the perfection which had been achieved … For the first time I grasped what “direction” meant. To be sure, Toscanini had employed a stage director; but basically the essential conception came from him. The agreement between the music and the stage performance was something totally inconceivable for us: instead of people senselessly standing around, here everything had its place and its purpose.”\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003eThe key word in Karajan’s comment is “agreement.” We know, for example, that Toscanini took great pains with all the details of production, even to the point of objecting to the shoes worn by the cast of \u003cem\u003eFalstaff\u003c\/em\u003e for being anachronistic. But, most significantly, such care suggests that the overall pacing and musical approach of Toscanini’s productions may have differed from his concert performances of Verdi’s opera at NBC. Even some surviving NBC evidence suggests that those productions were not necessarily typical of a specific interpretive view; the dress rehearsals for \u003cem\u003eLa traviata\u003c\/em\u003e and \u003cem\u003eFalstaff\u003c\/em\u003e, for example, were paced differently from their broadcast presentations. Then, too, the 1943 broadcast of the third act of \u003cem\u003eRigoletto\u003c\/em\u003e is often broader and more rhythmically inflected than the 1944 concert performance released by RCA. Similarly, the 1943 broadcast account of the aria “Eri tu” (from \u003cem\u003eBallo\u003c\/em\u003e) features far more \u003cem\u003erubato\u003c\/em\u003e than in the 1954 broadcasts of the complete opera released by RCA. In part this may be rooted in the different styles of the two singers, Frank in 1943 and Robert Merrill in 1954. Still, it would seem that with operatic works, as well as symphonic ones, Toscanini was constantly revising his views.\u003c\/p\u003e\n\n\u003cp style=\"margin-left: 25px;\"\u003eBut over and beyond this issue should be the obvious one that the exigencies of staging must affect the musical pacing of an opera. Consequently, some of the faster tempos in Toscanini’s broadcast performances may well have been at variance with what he did in the theater. It is interesting, for example, to compare a recording of his staged 1937 Salzburg production of \u003cem\u003eFalstaff\u003c\/em\u003e \u003cem\u003e[Pristine PACO 035]\u003c\/em\u003e to the 1950 NBC broadcasts released by RCA. Similarities not withstanding, the earlier version has greater breadth, wit, and (understandably) theatrical ambience. In short, although all of the conductor’s broadcasts of operas are valuable documents of his view of Verdi, they should not necessarily be taken as completely representative of how he may have performed the composer in the opera house.\u003c\/p\u003e\n\n\u003cp style=\"margin-left: 25px;\"\u003e\u003cb\u003eMortimer H. Frank\u003c\/b\u003e, “Arturo Toscanini, The NBC Years” (2002)\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBy 1950 the use of tape recording technology was widespread in the world of radio, something for which we have Bing Crosby to thank as much as anyone – but that’s another story! What it means for this recording and others of the era is that we’re no longer relying on direct-cut acetate discs to preserve broadcasts, and this is greatly to the benefit both of sound quality and relatively noise-free  backgrounds. That said, the two broadcast recordings which make up this 1950 \u003cem\u003eFalstaff\u003c\/em\u003e emanated from the acoustic dead-zone that was NBC’s Studio 8H, which can make the taped recordings seem even more arid than their predecessors. The combination here of both XR remastering, which compensates for inaccuracies in microphone frequency responses, and Ambient Stereo (with a little convolution reverb, bringing with it a sense of real-world opera-house acoustics), makes for a much more enjoyable listening experience – indeed the sound here would surely not be out of place in a studio recording made several decades later.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\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;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eFalstaff\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003edisc one\u003c\/b\u003e (54:54)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eact one scene 1\u003c\/b\u003e\u003cbr\u003e1. Falstaff! Ola!  (5:08)\u003cbr\u003e2. Sei polli: sei scellini...So che andiam, la notte  (2:47)\u003cbr\u003e3. Ma è tempo d'assottigliar l'ingegno...V'è noto un tal, qui del paese  (3:48)\u003cbr\u003e4. L'Onore! Ladri!  (4:07)\u003cbr\u003e\u003cbr\u003e\u003cb\u003escene 2\u003c\/b\u003e\u003cbr\u003e5. Alice. Meg. Nannetta  (1:22)\u003cbr\u003e6. Fulgida Alice! amor t'offro...Quell'otre! quel tino!  (3:56)\u003cbr\u003e7. In due parole  (1:30)\u003cbr\u003e8. Pst, pst, Nannetta... Labbra di foco!  (5:16)\u003cbr\u003e9. Udrai quanta egli sfoggia  (3:29)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eact two scene 1\u003c\/b\u003e\u003cbr\u003e10. Siam pentiti e contriti... Reverenza!  (6:19)\u003cbr\u003e11. Alice è mia!... Va, vecchio John  (1:56)\u003cbr\u003e12. Signore, v'assista il cielo!  (2:43)\u003cbr\u003e13. C'è a Windsor una dama  (6:46)\u003cbr\u003e14. È sogno? o realtà  (5:47)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003edisc two\u003c\/b\u003e (62:37)\u003cbr\u003e\u003cbr\u003e\u003cb\u003escene 2\u003c\/b\u003e\u003cbr\u003e1. Presentereno un bill...Giunta all'Albergo della Giarrettiera  (4:02)\u003cbr\u003e2. Gaie comari di Windsor!  (1:44)\u003cbr\u003e3. Alfin t'ho colto, faggiante fior  (3:20)\u003cbr\u003e4. Quand'ero paggio  (0:59)\u003cbr\u003e5. Mia signora!  (2:48)\u003cbr\u003e6. Vien qua. Che Chiasso!  (1:34)\u003cbr\u003e7. C'è. C'è. Se t'agguanto! Se ti piglio!  (5:08)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eact three scene 1\u003c\/b\u003e\u003cbr\u003e8. Ehi! Taverniere! Mondo ladro  (5:48)\u003cbr\u003e9. Reverenza. La bella Alice...Quando il rintocco della mezzanotte  (4:55)\u003cbr\u003e10. Brava. Quelle corna saranno la mia gioia!  (4:40)\u003cbr\u003e\u003cbr\u003e\u003cb\u003escene 2\u003c\/b\u003e\u003cbr\u003e11. Dal labbro il canto estasiato volla  (4:30)\u003cbr\u003e12. Una, due, tre, quattro  (3:49)\u003cbr\u003e13. Ninfe! Elfi! Silfi!... Sul fin d'un soffio etesio  (5:45)\u003cbr\u003e14. Alto là!...Pizzica, pizzica  (6:13)\u003cbr\u003e15. Ogni sorta di gente dozzinale  (3:38)\u003cbr\u003e16. Facciamo il parentado... Tutto nel mando è burla  (3:47)\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003eCAST\u003cbr\u003e\u003c\/b\u003eFalstaff \u003cb\u003e- Giuseppe Valdengo \u003c\/b\u003e\u003ci\u003e(baritone)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eMistress Alice Ford\u003cb\u003e - Herva Nelli \u003c\/b\u003e\u003ci\u003e(soprano)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eMistress Meg Page\u003cb\u003e - Nan Merriman \u003c\/b\u003e\u003ci\u003e(mezzo-soprano)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eMistress Quickly\u003cb\u003e - Cloë Elmo \u003c\/b\u003e\u003ci\u003e(mezzo-soprano)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eFord \u003cb\u003e- Frank Guarrera \u003c\/b\u003e\u003ci\u003e(baritone)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eNannetta\u003cb\u003e - Teresa Stich-Randall \u003c\/b\u003e\u003ci\u003e(soprano)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eFenton \u003cb\u003e- Antonio Madasi \u003c\/b\u003e\u003ci\u003e(tenor)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eDr. Caius\u003cb\u003e - Gabor Carelli \u003c\/b\u003e\u003ci\u003e(tenor)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eBardolph \u003cb\u003e- John Carmen Rossi\u003c\/b\u003e\u003ci\u003e (tenor)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003ePistol \u003cb\u003e- Norman Scott \u003c\/b\u003e\u003ci\u003e(bass)\u003c\/i\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003eRobert Shaw Chorale\u003cbr\u003e\u003c\/b\u003edirected by \u003cb\u003eRobert Shaw\u003cbr\u003e\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eArturo Toscanini\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003eNBC broadcast perfomances, 1 \u0026amp; 8 April 1950\u003cbr\u003eStudio 8H, Radio City, New York.\u003cbr\u003e\u003cbr\u003eXR remastering by: Andrew Rose\u003cbr\u003eFront cover artwork: Arturo Toscanini\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003eTotal duration:  1hr 57:32\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\/PACO204.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO204.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":55010112045422,"sku":"xkh1789306710267","price":28.96,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55010112078190,"sku":"vkq1789306710268","price":20.17,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55010112110958,"sku":"bvh1789306710269","price":16.09,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/toscanini-verdi-falstaff-1950---paco204_1.jpg?v=1789306717","url":"https:\/\/www.harborviewgoods.shop\/products\/toscanini-verdi-falstaff-1950-paco204","provider":"My Store","version":"1.0","type":"link"}