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Tebaldo E Isolina

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Tebaldo E Isolina Francesco Morlacchi (1784–1841) Tebaldo e Isolina Laura Polverelli • Sandra Pastrana • Anicio Zorzi Giustiniani Raúl Baglietto • Gheorghe Vlad • Annalisa D’Agosto Camerata Bach Choir, Poznań • Virtuosi Brunensis Antonino Fogliani CD1 78:11 * Ecco i bellici concenti 5:46 (Geroldo, Coro, Isolina, Ermanno, Francesco 1 Sinfonia Andantino scherzoso – Allegro 7:02 Tebaldo, Boemondo, Clemenza) MORLACCHI Act I CD2 64:47 (1784–1841) 2 No. 1. Introduzione: Da’ tuoi figli, dagli amici 7:56 Act II (Coro, Clemenza, Geroldo, Ermanno) 3 Recitativo: Cavalieri, oh! di quanto 2:12 No. 8. Scena ed Aria: Tebaldo e Isolina (Ermanno, Geroldo, Clemenza) 1 Oh, Sigerto!… Sigerto! 5:44 No. 2. Coro e Cavatina: (Isolina, Clemenza) Melodramma romantico in two acts (1822–25) (Dresden version, 1825) 4 Bella stella mattutina – 4:01 2 Ah! che intesi! me infelice!... 5:09 Libretto by Gaetano Rossi (1774–1855) Oh! come lieto il cor (Isolina, Clemenza, Coro, Ermanno) (Coro, Isolina) 3 Cara figlia!... 5:55 5 Ah lusinghiera imagine 5:01 (Ermanno, Isolina, Coro) Boemondo .......................................................................................... Anicio Zorzi Giustiniani, Tenor (Isolina, Coro) No. 9. Scena, Coro ed Aria: 6 Recitativo: Cavalieri, una figlia 2:50 4 Oh sposa!... Oh figlia!... – 4:09 ............................................................................................ Tebaldo Laura Polverelli, Mezzo-soprano (Isolina, Ermanno, Clemenza, Geroldo) Volto è all’occaso il dì Ermanno ................................................................................................Raúl Baglietto, Bass-baritone No. 3. Coro e Cavatina: (Boemondo, Coro) 7 Di tanti prodi al vincitore – 5 Fido a voi le mie vendette 4:40 Geroldo ..................................................................................................................... Gheorghe Vlad, Tenor Sì, ravvisa quel guerriero 3:58 (Boemondo, Coro) Isolina .............................................................................................................Sandra Pastrana, Soprano (Coro, Ermanno, Knight, Isolina, Tebaldo) 6 Ecco il primier momento 4:18 8 Questo brando, questo serto 4:07 (Boemondo, Coro) Clemenza ................................................................................................. Annalisa D’Agosto, Soprano (Isolina, Tebaldo, Coro) 7 Recitativo: Io più non reggo 1:50 9 Recitativo: Oh! torna a questo seno 2:13 (Isolina, Ermanno, Tebaldo) (Ermanno, Tebaldo, Isolina) No. 10. Scena e Duetto: Camerata Bach Choir, Poznań (Ania Michalak, Tomasz Potkowski, Chorus Masters) 0 No. 4. Terzettino: In quel soggiorno 3:37 8 Che dici?… Ah! no – Ah! t’intendo, (Tebaldo, Isolina, Ermanno) a me non lice 5:07 Virtuosi Brunensis (Karel Mitáš, Artistic Director) No. 5. Scena e Cavatina: (Isolina, Tebaldo, Clemenza) ! Tutto è silenzio... – Isolato sulla terra 5:59 9 La dolce immagine 5:09 Silvano Zabeo, Music Assistant and Fortepiano (Boemondo) (Tebaldo, Isolina) @ Recitativo: Per le segrete sotterranee vie 1:28 No. 11. Scena e Romanza: Antonino Fogliani (Boemondo, Tebaldo) 0 Notte, tremenda, orribil notte! (Tebaldo) 4:12 No. 6. Scena e Duetto: ! Lo conosco (Tebaldo) 3:55 Recorded: 25 and 27 July 2014 at the Trinkhalle, Bad Wildbad, Germany # Che fa egli!… e che mai?... 2:16 @ Vittoria! Vittoria! 5:18 during the XXVI ROSSINI IN WILDBAD Festival (Jochen Schönleber, Artistic Director) $ Questo acciaro, che del sangue 5:25 (Coro, Tebaldo, Ermanno, Boemondo, (Boemondo, Tebaldo) Isolina, Knights) A co-production with SWR % Padre!... 5:13 # Pera omai, pera l’indegno 3:55 Producer: Siegbert Ernst • Engineers: Norbert Vossen, Siggi Mehne (Tebaldo, Boemondo) (Coro, Ermanno, Isolina, Boemondo, Tebaldo) Editor: Dr Anette Sidhu-Ingenhoff • Booklet notes: Michael Wittman, Reto Müller ^ Recitativo: O padre, tu mi rendi 2:02 $ No. 12. Finale II: Come più dolce al core 4:44 New edition from the manuscripts by Florian Bauer for ROSSINI IN WILDBAD (Isolina, Ermanno, Geroldo, Clemenza, Tebaldo) (Ermanno, Boemondo, Tebaldo, Isolina, Coro) No. 7. Scena e Finale I: & Ed io… che orror! 6:14 (Tebaldo, Isolina, Ermanno, Boemondo, Clemenza, Coro) Francesco Morlacchi (1784–1841) after his second tour of Italy Morlacchi only presented to give him his due, he certainly did his best to do so. Tebaldo e Isolina serious topics on the Italian operatic stage. It is also We have a visible example in the case of the renaming of worth noting that of the seven operas he wrote for Italy, Tebaldo e Isolina, with a libretto by Gaetano Rossi, from a Francesco Morlacchi: a case for revising musical engaged as deputy music director in 1810. Following the Morlacchi only published two of them, Gianni di Parigi and melodramma eroico in Venice to a melodramma romantico in history? success of his Raoul de Crequi in 1811, he was appointed Colombo, in unchanged form in Germany. Tebaldo e Isolina Dresden. This was far more than a mere case of relabelling. music director for life. This meant that he found himself (1822–25) and I Saraceni in Sicilia (1828 and subsequently In Venice the opera was very deliberately customised for In 1836 the following entry could be read in the Damen in the well-nigh ideal position for an Italian composer of 1832 as Il rinnegato) were subjected to major revisions, the last of the great castrato, Giovanni Battista Velluti. In Conversations Lexikon (‘Ladies’ Conversation Lexicon’), operas of being excused the obligation of mass production while Boadicea, Donna Aurora and Ilda d’Avenel were Dresden circumstances inevitably dictated that this role be published by Carl Herloßsohn in Leipzig: ‘Morlacchi, and having largely free rein to compose as he chose. It is ultimately never performed in Germany at all. One look rewritten for a contralto. The retention of secco recitatives Francesco, principal Royal Saxon Kapellmeister. Born in therefore understandable that he remained in the post for at the performances of his own works in Dresden – ten was another typically Venetian element. This was less of a Perugia, Italy on 14 June 1784, educated there and having the rest of his life, even though he had the opportunity to productions over 21 years – shows moreover that Morlacchi, problem in Dresden, where audiences were familiar with the been decorated with the first blossoms of fame, he found succeed Rossini in Naples in 1822. for all Weber’s complaints, certainly never abused his own German Singspiel tradition and its spoken dialogue. The a second home in Germany, and was granted honorary The latter phase of the Napoleonic Wars proved in the position in the city to make himself the centre of attention. storyline is set in medieval times, in the region of Altenburg citizenship for his contributions to German art. M. was one meantime to be less than propitious for the production Carl Maria von Weber, alongside Rossini, was the other and Meissen: exotic places from a Venetian perspective, of the major opera composers of his homeland before the of operas in Dresden, with the result that there followed of the two rocks, so to speak, between which Morlacchi but in Dresden a story based near home. The plot of the age of Rossini, Bellini and Donizetti, but his intellect was a five-year period during which Morlacchi distinguished was necessarily obliged to manoeuvre his output. Older opera can be swiftly told: the story of Romeo and Juliet with less suited to ushering in a new era than to continuing an himself exclusively as a composer of sacred music. It was biographies of Weber tend to exaggerate the personal a happy ending. This latter, it should be said, is only made earlier one until the time was ripe for a new era. M’s talent not until 1816 that he resumed his composition of operas. animosity between the two composers. In reality, early possible by both family patriarchs Boemondo and Ermanno, was active in a number of areas; his compositions are Whereas in the 18th century the maintenance of an Italian difficulties between Morlacchi and the newly engaged as well as Tebaldo in a difficult inner struggle, having to evidence of his learned taste, and reveal the education of opera company would have been seen as an element no German Kapellmeister Weber gave way to a more than overcome their hatred and thirst for vengeance. A large the older, dignified Italian school, that rejected the frivolous, absolutist court could have been seen without, after the tolerable working relationship. Besides, any problems had part of this opera is therefore taken up by the depiction of ephemeral trends of the present while proving not quite Congress of Vienna this looked like an anachronism. Added nothing to do with personal rivalries: Saxony, thanks to the these inner struggles, and it says a great deal for Morlacchi’s capable of pursuing the supreme heights of its genius...’. to this was the shift in the reputation of ‘Italian opera’ in alliance with Napoleon, was one of the chief losers of the talent for characterisation that he took on this challenge. What is formulated here in condescending terms is in fact Germany, to a large extent caused by the works of Rossini, Congress of Vienna. Not only did the region lose large parts At the end all protagonists renounce their vendetta and a crushing verdict – Morlacchi, in accordance with the which was no longer viewed as a model to follow among of its territory, but the dominant position of the king was celebrate the family reconciliation. This resolution – and this prevailing aesthetic of artistic genius in the 19th century, is the musically educated, more as a caricature
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