Eugenia Burzio: Verismo Soprano
Complete Recorded Operatic Repertoire

52020-2 (2 CDs)  | $ 36.00
VOCAL

 

Eugenia Burzio: Verismo Soprano
Eugenia Burzio is known as one of the most famous female interpreters of verismo. She was an actress of gripping intensity whose career centered in Italy and whose recorded legacy closely mirrored her stage career in time and repertoire. Her voice was rich, dramatic and passionate. Like some singers who lived and performed at the cusp of the century, Burzio harkened to the past, using an emphatic open chest voice. This two CD set contains at least one recording of every aria and ensemble recorded by Burzio. It also contains an unpublished test pressing of “Non fui da un padre” from Loreley as well as other rarities on Fonotipia and Pathé. Liner notes are presented by William Ashbrook.
CD 1 (78:17)
Fonotipia, Milano, 1905-1910
1. L'AFRICANA: Figlia del sol (Meyerbeer) 2:46
22 January 1910; (xph 4271) 62510
2. IL TROVATORE: Tacea la notte (Verdi) 3:04
19 December 1906; (xph 2281) 39934
3. IL TROVATORE: Mira, d'acerbe... Vivrà, contende il giubilo (Verdi) 6:22
with Antonio Magini-Coletti, baritone
16 December 1905; (xph 1534/35) 39439/40
4. UN BALLO IN MASCHERA: Ma dall'arido stelo divulsa (Verdi) 5:20
18 December 1905; (xph 1543/44) 39513/14
5. UN BALLO IN MASCHERA: Non sai tu... O qual soave brivido (Verdi) 6:10
with Giovanni Zenatello, tenor
23 April 1906; (xph 1829/30) 39665/66
6. LA FORZA DEL DESTINO: Me pellegrina ed orfana (Verdi) 4:03
21 January 1910; (xph 4267) 62417
7. LA FORZA DEL DESTINO: Madre, madre pietosa vergine (Verdi) 3:39
20 January 1910; (xph 4266) 62416
8. LA FORZA DEL DESTINO: Pace, pace, mio Dio (Verdi) 4:54
18 December 1906; (xxph 2279) 74036
9. AIDA: O patria mia (Verdi) 3:07
21 January 1910; (xph 4268) 62414
10. OTELLO: A terra! Sì... nel livido fango (Verdi) 2:34
21 January 1910; (xph 4270) 62419
11. OTELLO: Piangea cantando (Verdi) 3:30
22 January 1910; (xph 4273-2) 62418
12. LA GIOCONDA: Così mantieni il patto? (Ponchielli) 4:28
with Giuseppe De Luca, baritone
31 January 1907; (xxph 2391) 74043
13. MEFISTOFELE: Spunta l'aurora pallida (Boito) 2:50
22 January 1910; (xph 4272) 62415
14. Bacio Vivo: Bettinelli) (2:20
20 January 1910; (xph 4264) 62420
15. Lontananza: Bettinelli) (2:50
20 January 1910; (xph 4265) 62421
16. CAVALLERIA RUSTICANA: Voi lo sapete (Mascagni) 3:41
17 March 1908; (xph 3091) 92160
 
Columbia, Pathé and Phonodisc Mondial, Milano, 1912-1916
17. ADRIANA LECOUVREUR: Io son l'umile ancella (Cilea) 3:25
Columbia (74723) D17529
18. ADRIANA LECOUVREUR: Poveri fiori (Cilea) 3:10
Columbia (11361) D9290
19. LORELEY: Non fui da un padre (Catalani) 2:39
Columbia (11038) unpublished
20. ZULMA: Da tanto tempo (Romani) 2:32
Columbia (11050) D4292
21. ZULMA: Oh! Si ricordiamo (Romani) 1:56
Columbia (11051) D4292
22. LA FANCIULLA DEL WEST: Laggiù nel Soledad (Puccini) 2:46
Columbia (11368) D9290
Tracks 1-15 accompanied by piano; Tracks 16-22 accompanied by orchestra
All tracks are sung in Italian
 
CD 2 (79:04)
Columbia, Pathé and Phonodisc Mondial, Milano, 1912-1916
1. SAFFO: L'amo ognor (Pacini) 3:10
Columbia (11369) D4422
2. NORMA: Casta diva... Ah! Bello a me ritorna (Bellini) 5:53
Columbia (74722/11370) D16325/ D4388
3. NORMA: Qual cor tradisti (Bellini) 2:42
Columbia (11392) D4388
4. NORMA: Deh! Non volerli vittime (Bellini) 4:46
Columbia (11393/94) D4387
5. LA FAVORITA: Pietoso al par (Donizetti) 3:08
Pathé 86380
6. LA FAVORITA: O mio Fernando (Donizetti) 3:52
Pathé 86427
7. LA FAVORITA: Ah! L'alto ardor (Donizetti) 2:48
with Taurino Parvis, baritone
Pathé 86445
8. IL TROVATORE: D'amor sull'ali rosee (Verdi) 3:40
Columbia (74714) D16325
9. UN BALLO IN MASCHERA: Morrò, ma prima in grazia (Verdi) 3:47
Pathé 86381
10. OTELLO: Ave Maria (Verdi) 3:26
Columbia (74715) D17526
11. MEFISTOFELE: L'altra notte (Boito) 4:16
Columbia (74716) D17526
12. LA GIOCONDA: Suicidio (Ponchielli) 3:33
Pathé 86424
13. LA GIOCONDA: Ecco la barca... Addio (Ponchielli) 3:12
Pathé 86425
14. CAVALLERIA RUSTICANA: Tu qui Santuzza (Mascagni) 7:19
with Giuseppe Acerbi, tenor
Phonodisc Mondial 711/12
15. TOSCA: O dolci mani (Puccini) 2:24
with Giuseppe Acerbi, tenor
Phonodisc Mondial 708
16. TOSCA: Amaro sol per te (Puccini) 5:22
with Giuseppe Acerbi, tenor
Phonodisc Mondial 709/10
17. Solvejg's Song (Grieg) 3:28
Pathé 84482
18. Madrigale (Simonetti) 2:46
Pathé 84483
19. Visione (Tosti) 2:43
Pathé 84484
20. Torna (Denza) 3:42
Pathé 84485
21. Ave Maria (Bach/Gounod) 2:58
Columbia (11052) D8076
 
Tracks 1-16 accompanied by orchestra; Tracks 17-20 accompanied by violin (Virgilio Ranzato), harp and organ; Tracks 21 accompanied by violin and piano
Tracks 1-20 are sung in Italian; Track 21 is sung in Latin

Photographs: Lawrence F. Holdridge, Charles Mintzer, and the Stuart-Liff Collection

Producers: Scott Kessler and Ward Marston

Audio Conservation: Ward Marston

CD1, Track 2 is re-mastered from a copy in the collection of Mr. and Mrs. Laurence C. Witten II in the Yale Collection of Historical Sound Recordings, Yale University Library
CD1, Track 19 is re-mastered by Richard Bebb from a test pressing in his private collection

Marston would like to thank David Contini, Marco Contini, Sir Paul Getty K.B.E., Dan Hladik, Lawrence F. Holdridge, Peter Lack, Jeffrey Miller and William Shaman

Booklet Design: Takeshi Takahashi


La Burzio may not be the ideal singer for everyone. J. B. Steane, in his book The Grand Tradition, allows Burzio some points, but not without some reservation: “Her recordings show a vibrant voice and a passionate style, which was imaginative and exciting at best but open to many criticisms.” But, those who can find pleasure in over-the-top commitment and intensity will find much that is admirable, even awesome, in Burzio’s artistry.

She was a belcantista with a verista’s emotional instincts. She can sail not quite imperturbably through complicated gruppetti, yet her attention to the significance of the text is exceptionally insightful. It seems as though she is always singing in italics. Listen, for example, how she varies that freighted and thrice-repeated word “Fatalità!” in the piano-accompanied Fonotipia recording of “Pace, pace”. (CD1, Track 8)

Eugenia Burzio was born in Poirino near Turin in what may well have been 1879, but a date as early as 1872 has also been suggested. Her musical aptitude made itself apparent when she was still a child, beginning with serious study of the violin. When she determined to become a singer, she gained a scholarship to the Milan Conservatorio. She made her first stage appearance at the Teatro Vittorio Emmanuele in Turin as Santuzza in 1899, when she was perhaps twenty or maybe twenty-seven. Following on the heels of Gemma Bellincioni and Emma Carelli, Burzio found the overt emotionalism and the more specific diction of such operas as Tosca, Adriana Lecouvreur, and Fedora congenial to her temperament. She was also an actress of gripping intensity, as I learned from Max de Schauensee, who told me that during the first decade of the twentieth century his parents would never dream of missing a Burzio performance at Florence’s Teatro Communale.

Burzio suffered from nervousness and became addicted to substances to help her sleep. On one occasion, according to reports, some combination of drugs caused her to lose her voice for a time. To put this artist in better perspective, it is important to recognize that she was capable of grandeur. The majesty with which she utters the word “Suicidio!” at the beginning of La Gioconda’s Act 4 aria and, indeed, the aura of tragic dignity she lends this whole monologue put other renditions of this aria in the shade. (CD 2, Track 12) The same tragic afflatus endows her Columbia two-sided version of Norma’s “Deh! Non volerli vittime” with a sense of sublime vulnerability. (CD 2, Track 4)

In March 1906, Burzio bowed at La Scala as Katiusha in Alfano’s Risurrezione, when that opera was first mounted there. The conductor on that occasion was Leopoldo Mugnone, and appearing with her were the tenor Piero Schiavazzi and the baritone Riccardo Stracciari. Her next role there was Loreley in Catalani’s eponymous opera, but only for one performance as she had been recruited into what was optimistically hoped would be the salvaging of Franchetti’s La Figlia di Jorio. Four days after the short-circuited Loreley she scored a personal triumph as Mila di Codra in La Figlia di Jorio, that opera based upon D’Annunzio’s overcharged drama of peasant life in Abruzzi.

The following year Burzio returned to La Scala, where Toscanini, a returnee himself that season, ushered her into her major repertory. After her early encounters with veristic roles, she moved into more traditional, classic parts, but lavishing upon them the same intensity and immediacy of response that won her her first laurels. Burzio sang Gioconda in what was the first performance of Ponchielli’s opera at La Scala in eighteen years for want of an adequate soprano. Toscanini directed her there in Aida, La Wally, and Cavalleria Rusticana. In December 1907 she sang an enthusiastically received Tosca, also led by Toscanini, and the following February 1908 she enjoyed another successful run of Giocondas. That fall the conductor went to the Met in New York, and Burzio, after visits to Buenos Aires for Gli Ugonotti, returned to La Scala, now with Tullio Serafin at the helm, in Pacini’s Saffo (20 January 1911). She opened the following season as Gluck’s Armida, and three months later she introduced a triumphant Norma.

On 12 June 1911 at the Teatro Costanzi in Rome she sang in the Italian premiere of Pucini’s La Fanciulla del West conducted by Toscanini. It has been reported that the Maestro was worried about Burzio’s health at the time and considered replacing her with Carmen Melis, but Burzio sang the entire run of those Roman Fanciullas (nine performances). Later, under Vittorio Gui’s baton, she introduced Fanciulla’s Minnie to the Teatro Regio in Turin and later sang the same role at the San Carlo, also with Gui. During that Neapolitan season, she further appeared in the title role of Cataloni’s La Wally and as Fleana in Leoncavallo’s Zingari. Her last performances at La Scala were in a well-received series of Loreleys, compensation for the single outing precipitated by the crisis over La Figlia di Jorio nine years earlier.

Subsequently, her health deteriorated and caused her to interrupt her career. Her final appearances were in Ponchielli’s Marion Delorme in 1919. She died prematurely on 18 May 1922, not yet fifty, of kidney failure, a consequence of her addiction to sleep-inducing drugs, and also, it has been rumored, from complications of a venereal origin.

Eugenia Burzio’s recorded legacy is one of the most revealing of any Italian soprano of her generation. The Fonotipias, mostly with piano-accompaniment, date from her first period at La Scala. Her Columbias date from the time she was appearing as Saffo and Norma with Serafin. The Pathé and Phonodisc Mondial recordings were all made by 1916. Conceding the earliest date conjectured for her birth, 1872, this means she was only 44 at most when she made her last batch of recordings.

Her emphatic use of the open chest voice—ugly to some ears, exciting to others—harkens back to the nineteenth century, when large-voiced Italian sopranos emphasized the voce di petto register for dramatic and emotional effect, and were expected to do so. Celestina Boninsegna, who belonged to this tradition, referred to her chest voice straightforwardly: “Era la mia gloria” she declared. We find a similar emphasis on this vocal resource in Burzio’s recording of Gioconda’s “Ecco la barca.” At the repetition of La Cieca’s words when she first gives the rosary to Laura (here at the same pitches), the ease and richness with which Burzio sings the low B-flat (on the final syllable of “E le preghiere aduna”) suggest that her vocal orientation was rather that of a falcon. (CD 2, Track 13) (Her recordings from La Favorita in particular seem to bear this out. Her top C was sometimes skittish.

What to some listeners sounds like an unevenly equalized scale is for a singer of Burzio’s effusive temperament just one of many colors in a rich palette. For instance, the voluptuous tints she lavishes on her Italian version of Grieg’s ‘Solvejg’s Song’ make it sound more like an amorous summons to an Apennine tryst rather than the lilt of some Norse girl gaily caroling on her Scandinavian heights. (CD 2, Track 17)

Her dramatic instincts are particularly apparent in the duet from La Gioconda, where she is joined by Giuseppe De Luca. Her first words, “Sí, il patto mantengo,” are grimly fatalistic, but when she begins her pseudoseduction of Barnaba, “T’arresta!,” the voice begins to glow suggestively. As she asks God’s forgiveness for turning the knife on herself, “Dio mi perdoni 1’immenso peccato,” we hear a soul’s despair. (CD 1, Track 12) In the duet from Il Trovatore with Antonio Magini-Coletti, she is properly dolorous in the “Mira, d’acerbe lagrime,” where the emphasis she gives the word “svenami” is itself hyperbolic, but she sounds overtaxed in the hurdles of the cabaletta, “Vivrà! Contende il giubilo.” (CD 1, Track 3) On the other hand, in the aria from Mefistofele, “L’altra notte in fondo al mare,” Burzio takes the volati perfectly in stride. This finely wrought performance, unusually deliberate in its pacing, shows Burzio plumbing the depths of grief when she refers to her sad soul at “mesta l’anima mia”. (CD 2, Track 11) The Slumber aria from Africana has some gracefully handled fioritura, but her way with Norma’s ....“Ah, bello a me ritorna” is plucky rather than completely immaculate. (CD 1, Track 1) (CD 2, Track 2)

Burzio’s recording of Minnie’s Act 1, “Laggiù nel Soledad” from Fanciulla is of particular interest. As reported above, she participated in the Italian premiere, conducted by Toscanini, who had also led the world premiere at the Met the previous December. One of the most regrettable lacunae in phonograph history is the relative scarcity of examples from this score by the first generation of its interpreters. Burzio’s performance is a marvel of variegated details, particularly in the expansive tenderness she lends to the phrase, “S’amavan tanto!” (CD 1, Track 22) Listening to this endearing performance with the elastic way she contours certain phrases, one cannot help wondering if this really reproduces the way she sang it at the Costanzi with the formidable martinet Toscanini in the pit. The odds and ends of musicians recruited into a recording studio were there to accompany a vocal star, not necessarily to serve a composer scrupulously. It is this resulting sense of untrammeled interpretative freedom that makes Burzio’s records such a particularly engrossing experience because she involved herself so intensely in the emotions of the characters she was representing. She was not a perfect singer with her lack of a trill and her occasional glottal bump or some attenuated portamenti, but such blemishes can easily be forgiven in a singer who, in my estimation, never made an uninteresting recording and also bequeathed us some unforgettable ones.

© William Ashbrook, 1999