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Talitha Kumi! La Passione • Otto Cori Rainer Trost • Joan Martín-Royo Coro El León De Oro • Oviedo Filarmonía Friedrich Haider

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Talitha Kumi! La Passione • Otto Cori Rainer Trost • Joan Martín-Royo Coro El León De Oro • Oviedo Filarmonía Friedrich Haider Ermanno WOLF-FeRRARI TALITHA KUMI! La Passione • Otto cori Rainer Trost • Joan Martín-Royo Coro El León de Oro • Oviedo Filarmonía FRIEDRICH HAIDER WORLD PREMIERE RECORDINGS Ermanno Wolf-Ferrari (1876–1948) love of Italian Renaissance music and are probably among the testify to his consummate ability to portray characters. Quartina most beautiful works penned by the composer, who was still features music that displays a wistful melancholy which gives Talitha Kumi! (‘Jairus’s Daughter’), Op. 3 • La Passione, Op. 21 · Otto cori, Op. 2 very young at the time. Their counterpoint, which is profoundly voice to the deep attachment he felt throughout his life to his inspired and never academic (Madrigale, Due canti), their grace home city of Venice and the great Carlo Goldoni. At the turn of the 20th century, Ermanno Wolf-Ferrari (1876– tipped the balance in favour of him composing smaller- and (Stornello), their bucolic melancholy (Rispetto), but also their 1948) developed a new and individual musical language that larger-scale choral works: in 1897, at the age of 21, he took humour, with its elegant touch of irony (Frottola, Die Lehre), Translation: Susan Baxter revived and regenerated tradition and historical stylistic features. over the direction of a mixed-voice choir in Milan, and probably Throughout his life Wolf-Ferrari, the son of a German father and about the same time he made the acquaintance, in Venice, Rainer Trost an Italian mother, would cling to the power of melody and tonality, of Monsignor Lorenzo Perosi, the director of the Cappella and at a time when modernism was the order of the day, he was Marciana, who would go on to become the ‘Maestro Perpetuo’ The internationally distinguished Mozart tenor Rainer Trost, studied with not afraid to write music that was songlike, lyrical and, in a word, of the choir of the Sistine Chapel. The two musicians developed Adalbert Kraus in Munich and has sung at all the leading opera-houses melodious. This side of him was a natural result of his Venetian an unusually close friendship, which expressed itself in their of the world, including the Vienna State Opera, the Royal Opera House upbringing. At the same time, his work is built, formally speaking, playing new compositions to each other and discussing them. Covent Garden, the Opéra Bastille, the Bavarian and Hamburg State on the foundations of an education in strict counterpoint – This explains the kinship between the music of Wolf-Ferrari and Operas, the Palais Garnier and the Metropolitan Opera in New York, as well from 1892 onwards, he spent three years studying with Josef Perosi, as well as the fact that in 1898 they set two Biblical as the Salzburg and Bregenz Festivals. He is a regular guest at the Munich Rheinberger at the Königliche Akademie der Tonkunst in Munich. subjects with similar content to music: Perosi La risurrezione Opera Festivals, singing Arbace in Idomeneo in summer 2009, the Painter Despite his first opera, Cenerentola, failing spectacularly di Lazzaro (‘The Resurrection of Lazarus’) and Wolf-Ferrari in Berg’s Lulu at the Bavarian State Opera, Pylades in Gluck’s Iphigénie en when it was performed at La Fenice in Venice in 1900, Wolf- Talitha Kumi! (Die Tochter des Jairus), (‘Jairus’s Daughter’). Tauride at the Theater an der Wien and Alfred in Die Fledermaus in Tokyo. Ferrari’s cantata La vita nuova (after Dante) attracted attention For all that, a comparison of the two works clearly shows how His concert calendar has included Simon Mayr’s Samuele, Mendelssohn’s as early as 1903, and the sensational premiere of his opera much more creative than his colleague Wolf-Ferrari was; this is Elias and Handel’s Messiah. He has appeared widely in concerts and Le donne curiose at the Residenztheater in Munich just a few particularly evident in the expressiveness of his characterisation recitals, including performances of Simon Mayr’s Samuele, Mendelssohn’s months later brought the 27-year-old composer international and in his poetic deployment of thematic material. While in Elias and Handel’s Messiah. His recordings range from Così fan tutte to fame. Wolf-Ferrari did not only succeed in giving the comedies of many passages Perosi proceeds with a certain non-committal Mendelssohn’s Paulus and, for Naxos, Volume 28 of the Complete Schubert the Venetian dramatist Carlo Goldoni (1707–1793) a new lease of formulaism, his compatriot and his junior by three years is in Lieder series [8.557567] and Mayr’s Samuele [8.572721-22]. artistic life, he also began a fundamental renewal of opera buffa, every respect an artist who displays originality and has his own offering an alternative to post-Wagnerian pathos and showing authentic compositional voice. the absurdity of the discussion about progressiveness in art. By The title Talitha Kumi! is Aramaic (Ta’ali, takumi!) and the time this work was written, he had found his own ‘tone of means ‘Arise!’ or ‘Get up!’ It is a quotation from Mark’s Gospel Joan Martín-Royo voice’ and musical ‘physiognomy’. The years that followed were (chapter 5 vv.22–43), where the story of Jairus’s daughter perhaps his most productive period as a composer: I quattro is recorded. She is dying, and in desperation Jairus goes Joan Martín-Royo graduated in art history and studied composition, piano, rusteghi, Il segreto di Susanna, and the verismo-inspired I gioielli in search of Jesus of Nazareth to ask for help. When Jesus violin and bassoon at the Conservatori del Liceu in Barcelona in addition della Madonna conquered the world’s stages. The First World reaches Jairus’s house, people are already mourning the girl’s to his vocal studies. He was awarded third prize at the 2003 Francisco War plunged Wolf-Ferrari, who was a humanist, into depression death. Jesus brings her back to life. Viñas Competition, and the ‘Preisträger’ at Salzburg’s Mozarteum. He has and left him unable to work. As a citizen of two nations at war with The voice of an Evangelist carries the narrative of the work; performed the principal baritone opera roles of Figaro, Guglielmo, Papageno, each other, he felt he had lost his identity and become incapable Jairus and Jesus are, by contrast, given relatively little to do. Dandini, Lescaut, Marcello, Belcore, Malatesta, Taddeo, Mercutio and Albert, of creating works of art. He spent five years living in Zollikon in The orchestra provides the subtext, but also indulges in tone among others and is a reputable oratorio and Lied singer. He has sung Switzerland in the inter-war years, he wrote two operas – Sly and painting to depict the action. From time to time, in interludes, it is with many renowned orchestras including the National Orchestra of Spain, Il campiello – while during the Second World War his creative even given a contemplative role, interpreting the situations that Orchestra of the Age of Enlightenment, Al Ayre Español, La Grande Écurie et abilities reached their final apogee in the composition of hisViolin arise during the action from an emotional perspective. This may la Chambre du Roy, Ensemble Matheus, Orchestre du Théâtre du Capitole Concerto, Op. 26, a heartfelt gift to the young American violinist suggest that the piece should be performed in a sacred context. de Toulouse, the Barcelona Symphony Orchestra, the Hungarian Radio Guila Bustabo. Wolf-Ferrari died in 1948 in Venice, the city of 1906 saw the composition of La Passione, Op. 21, a Orchestra, and has performed at some of the most iconic concert venues and his birth. ‘hymn for mixed choir a cappella’ based on early Italian folk opera houses in Europe. After finishing his studies in Munich, Wolf-Ferrari had poetry. It is dedicated to ‘my dear friend Don Lorenzo Perosi’ initially returned to Italy in 1895 to devote himself to an intensive and was not published until three decades later. personal study of Italian early music – Monteverdi, Palestrina, It is no exaggeration to describe the Otto cori, Op. 2 as a Pergolesi, Paisiello and Galuppi. Two events may then have jewel among choral works. They testify to Wolf-Ferrari’s great Friedrich Haider Ermanno Wolf-Ferrari (1876–1948) Friedrich Haider, an Austrian conductor with Italian ancestry, was trained Talitha Kumi! (Die Tochter des Jairus), Op. 3 · La Passione, Op. 21 · Otto cori, Op. 2 at the Vienna Music Academy. At the age of 29 he was appointed music director of the Strasbourg Opéra National du Rhin. With a repertoire of some Am Übergang vom 19. in das 20.Jahrhundert entwickelt Herzensgeschenk an die junge amerikanische Geigerin 60 operas he has appeared at leading European opera houses, including Ermanno Wolf-Ferrari (1876-1948) eine Musiksprache, die Guila Bustabo. 1948 stirbt Wolf-Ferrari in seiner Geburtsstadt Vienna, Munich, Berlin, Dresden, Barcelona, Amsterdam and Venice. In sich in ihrem erneuernden Umgang mit der Tradition und ihrer Venedig. 2006 he made his debut at the New York Metropolitan Opera with Rigoletto. Wiederbelebung historischer Stilistiken als individuell und Nach Beendigung seiner Ausbildung in München war He has conducted the Czech Philharmonic, the London Symphony neuartig erweist. Zeit seines Lebens sollte der Sohn eines Wolf-Ferrari 1895 vorerst wieder nach Italien zurückgekehrt um Orchestra and the Camerata Salzburg, among others. From 2004 to 2010 deutschen Vaters und einer italienischen Mutter an der Kraft sich privat einem intensiven Studium alter italienischer Musik he was principal conductor of the Oviedo Filarmonía and in 2017, was von Melos und Tonalität festhalten, und sich in einer Zeit zu widmen – Monteverdi, Palestrina, Pergolesi, Paisiello, appointed chief conductor of the Musicae Antiquae Collegium Varsoviense, des Modernismus nicht scheuen, Liedhaftes und Arioses, Galuppi. Zwei Ereignisse dürften sodann den Ausschlag für Poland’s most renowned period instruments orchestra.
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