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ROSSINI Guillaume Tell ROSSINI 4 CDs Guillaume Tell FIRST RECORDING OF THE COMPLETE OPERA Andrew Foster-Williams • Michael Spyres • Judith Howarth Nahuel Di Pierro • Tara Stafford • Alessandra Volpe • Artavazd Sargsyan Camerata Bach Choir, Poznań • Virtuosi Brunensis Antonino Fogliani Gioachino CAST OF THE SUPPLEMENT ROSSINI (1792-1868) Guillaume Tell, Suisse conjuré ........................................ Marco Filippo Romano, Bass Arnold Melcthal, Suisse conjuré ................................................. Giulio Pelligra, Tenor Walter Furst, Suisse conjuré Guillaume Tell ..........Raffaele Facciolà, Bass Opéra in Four Acts Gesler, Gouverneur des cantons de Schwitz e d’Uri } Libretto by Victor Joseph Étienne de Jouy and Hippolyte Louis Florent Bis Jemmy, Fils de Guillaume Tell ................................................... Tara Stafford, Soprano after Schiller’s Wilhelm Tell and Claris de Florian’s Guillaume Tell Rodolphe, Chef des archers de Gesler ...............................Artavazd Sargsyan, Tenor Mathilde, Princesse de la maison de Hapsbourg ....................... Diana Mian, Soprano CAST OF THE OPERA Hedwige, Femme de Guillaume Tell .......................Alessandra Volpe, Mezzo-soprano ___________________________________________________________________________________ Guillaume Tell, Suisse conjuré ................................ Andrew Foster-Williams, Baritone Arnold Melcthal, Suisse conjuré ................................................Michael Spyres, Tenor Camerata Bach Choir, Poznań • Chorus-master: Ania Michalak Walter Furst, Suisse conjuré .................................................. Nahuel Di Pierro, Bass Virtuosi Brunensis (Karel Mitáš, Artistic Director) Melcthal, Père d’Arnold } Antonino Fogliani Jemmy, Fils de Guillaume Tell ................................................... Tara Stafford, Soprano Silvano Zabeo: Music Assistant and Project Coordinator Gesler, Gouverneur des cantons de Schwitz e d’Uri .............Raffaele Facciolà, Bass Rodolphe, Chef des archers de Gesler ....................................... Giulio Pelligra, Tenor Recorded live at the Trinkhalle, Bad Wildbad, Germany, 13th, 16th, 18th and 21st July 2013 Ruodi, Pêcheur .......................................................................Artavazd Sargsyan, Tenor for the XXV ROSSINI IN WILDBAD Festival (Artistic director: Jochen Schönleber) A Co-production with Südwestrundfunk Leuthold, Berger ............................................................Marco Filippo Romano, Bass Critical edition by M. Elizabeth C. Bartlet, edited by Fondazione Rossini, Pesaro Un chasseur } in collaboration with Universal Music Publishing, Ricordi S.r.l., Milano Mathilde, Princesse de la maison de Hapsbourg ................ Judith Howarth, Soprano Hedwige, Femme de Guillaume Tell .......................Alessandra Volpe, Mezzo-soprano CD 1 74:59 CD 2 55:10 CD 3 64:51 CD 4 58:01 1 Ouverture: Acte II Acte III Acte IV Andante – Allegro – Andantino – Allegro vivace 11:28 1 No. 8 Chœur: No. 13 Scène et Air: No. 18 Récitatif, Air et Chœur: Quelle sauvage harmonie 4:05 1 Arnold, d’où naît ce désespoir? – 1 Ne m’abandonne point – Acte I (Chœur, Un chasseur) Pour notre amour 5:42 Asile héréditaire 6:33 No. 1 Introduction: No. 9 Récitatif et Romance: (Mathilde, Arnold) (Arnold) 2 Quel jour serein 3:30 2 Ils s’éloignent enfin 3:04 2 Quel bruit 4:23 2 Vengeance! 5:15 (Chœur) 3 Sombre forêt 5:36 (Arnold, Mathilde) (Chœur, Arnold) 3 Accours dans ma nacelle 5:52 (Mathilde) No. 14 Marche et Chœur: 3 Récitatif: Où vas-tu? 2:10 (Ruodi, Guillaume, Hedwige, Jemmy) 4 Récitatif: Ma présence 2:43 3 Gloire au pouvoir suprême! 6:32 (Choeur, Hedwige, Jemmy) 4 On entend des montagnes 2:15 (Arnold, Mathilde) (Choeur, Gesler) No. 18bis Trio: (Chœur, Jemmy, Hedwige, Ruodi, Guillaume, No. 10 Duo: Récitatif: Que l’empire germain 4 Je rends à votre amour 4:40 Arnold, Melcthal) 5 Oui, vous l’arrachez à mon âme 3:15 (Gesler) (Mathilde, Jemmy, Hedwige) 5 Pasteurs, que vos accents s’unissent 5:16 (Mathilde, Arnold) Divertissement No. 19a Final IV: (Melcthal, Chœur) 6 Doux aveu 6:41 No. 15 Pas de trois et Chœur tyrolien I Récitatif, Prière et Chœur: No. 2 Récitatif et Duo: (Arnold, Mathilde) 4 Allegretto – À nos chants (Chœur) – 5 Quoi! Dans nos maux 4:57 6 Contre les feux du jour 3:53 7 Récitatif: On vient 2:57 Allegro vivace 4:04 (Hedwige, Mathilde, Jemmy, Chœur) (Guillaume, Melcthal, Arnold) (Arnold, Mathilde, Guillaume, Walter) 5 À nos chants 4:42 6 II Final: 7 Où vas-tu? 3:51 No. 11 Trio : (Chœur) Je l’ai vu! 4:07 (Guillaume, Arnold) 8 Quand l’Helvétie 6:23 No. 16 Pas de soldats: (Leuthold, Hedwige, Mathilde, Chœur, 8 Ah! Mathilde, idole de mon âme! 4:32 (Guillaume, Arnold, Walter) 6 Allegro brillante – Allegro vivace 5:41 Gesler, Guillaume, Jemmy) (Arnold, Guillaume) 9 Il est donc vrai? 3:38 No. 16bis Final du Divertissement: 5:12 7 En vain il veut nous fuir 3:21 No. 3 Marche, Récitatif et Chœur: (Arnold, Walter, Guillaume) 7 Allegro (Chœur, Gesler, Hedwige, Jemmy, Walter, 9 Sur nos têtes 4:58 No. 12 Final II: No. 17 Final III: Arnold, Mathilde) (Hedwige, Arnold, Melcthal, Guillaume, Chœur) 0 Des profondeurs du bois 3:19 8 Ia Récitatif: Audacieux, incline-toi! 1:43 8 Tout change et grandit en ces lieux 3:12 0 Des antiques vertus 3:20 (Guillaume, Arnold, Walter, Chœur) (Rodolphe, Guillaume, Chœur, Gesler) (Guillaume, Hedwige, Jemmy, Mathilde, (Melcthal, Guillaume, Arnold, Hedwige, Jemmy) ! En ces temps de malheurs 4:01 9 II Quatuor: C’est là cet archer redoutable 2:59 Arnold, Walter, Chœur) No. 4 Chœur dansé: (Chœur, Guillaume, Arnold, Walter) (Chœur, Gesler, Guillaume, Rodolphe, Jemmy) ! Hyménée, ta journée 5:17 @ Qui vient 5:08 0 III Récitatif: Rejoins ta mère 3:37 Supplément (Chœur) (Guillaume, Chœur, Walter, Arnold) (Guillaume, Gesler, Jemmy) No. 5bis Pas de deux: No. 5 Pas de six # Serment: Jurons, jurons 4:20 ! IIIbis Air: Ah, que ton âme se rassure 9 I Andante 1:15 @ Allegretto 4:56 (Guillaume, Chœur, Arnold, Walter) (Jemmy) 6:28 0 II Andante maestoso 3:30 No. 6 Chœur dansé: IV Récitatif et Air: ! I [suite] Allegretto 4:15 # Gloire, honneur au fils de Tell 3:44 @ Je te bénis – Sois immobile 5:03 (Chœur, Jemmy, Hedwige) (Guillaume, Gesler, Jemmy, Chœur) No. 15a Pas de trois et Chœur tyrolien $ Recitatif: Pâle et tremblant 2:59 V Récitatif et Final: (version originale): (Jemmy, Ruodi, Leuthold, Hedwige, Melcthal, # Victoire! 5:20 @ Allegretto – À nos chants (Chœur) – Guillaume, Chœur) (Chœur, Jemmy, Guillaume, Gesler, Allegro vivace – À nos chants (Chœur) 10:16 No. 7 Final I: Mathilde, Rodolphe) % Dieu de bonté 5:24 $ Quand l’orgueil les égare 3:26 No 17 Va Nouveau Final (Paris 1831): (Chœur, Rodolphe, Jemmy, Hedwige, (Les mêmes) # Quel tumulte – Dieu vengeur – Melcthal, Ruodi) Des bois, des monts, de la cité 4:32 ^ Comme lui nous aurions dû faire 3:44 (Gesler, Rodolphe, Jemmy, Hedwige, Guillaume, (Les mêmes) Chœur, Mathilde, Arnold, Walter) Gioachino Rossini (1792-1868): orchestral parts, and demanded that the terms of his pension Independently of the composition of these operas and of his for life be redrafted precisely as he stipulated. Rossini did not place of domicile the contract awarded him a lifelong pension of Guillaume Tell release the score until Charles X had appended his signature to 6,000 francs per annum – the point on which from the beginning The Myth of Rossini’s Silence Jean-Pierre Claris de Florian (1755-1794), whose impressive the correctly-worded version of the contract. Rossini placed the greatest value and an issue on which he and superior literary prose accounts of the representation of It is this event which is fundamental to understanding even clashed with the king. The amount of 15,000 francs which When Rossini seized on the subject of Guillaume Tell, it wasn’t nature and of numerous episodes (such as the archery contest, Rossini’s mysterious silence, a silence which is usually Rossini brokered for a new opera acted as a strong argument simply a case of portraying a sort of “Swissness” but rather of Tell’s genuflection before Gesler or the torching of the house associated with his final opera. Biographers believed that for him not to rest on his laurels. On 4th May 1830 while staying representing the liberation of an oppressed people which had as a signal of the uprising) and several verbatim passages criticisms and the subsequent cuts in Guillaume Tell had in Bologna he wrote seven letters to influential figures in Paris occurred a long time ago in an “exotic” land. It had been no and expressions, which were integral and just as important as offended Rossini so much that he stopped composing. in which he explicitly voiced his desire for the promised libretto. different with his two earlier serious operas which he had written Schiller. The ailing Jouy entrusted alterations that Rossini and Musicologists contended that compositional flaws and In the letters he also explained that he expected to be back in for the Paris Opéra: in Le Siège de Corinthe (1826) the Greeks circumstances demanded to his collaborator Hippolyte Louis internal contradictions in this opera showed Rossini’s creative Paris by October. The poet who was in default because of other liberate themselves from their Turkish conquerors through an Florent Bis. Bis also took into account the newest pieces put on limitations. Doctors unceremoniously shifted his medical reports commissions was Eugène Scribe, and the selected subject was act of mass suicide; in Moïse et Pharaon (1827) the Jews rescue by rival theatres, which were quick to present this subject before of the 1840s and 1850s
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