Constantine Orbelian, Conductor

CRESCENDO

STEFANO SECCO, TENOR Puccini Verdi Bizet Boito Halévy Gounod Donizetti

DE 3482 Constantine Orbelian, conductor

Kaunas1 City Symphony DELOS DE 3482 CRESCENDO crescendo DELOS DE 3482 CRESCENDO Stefano Secco, tenor

Arias from PUCCINI: Tosca • Madama Butterfly La Bohème VERDI: Un ballo in maschera • I Lombardi Rigoletto • Luisa Miller • Il Trovatore • STEFANO SECCO • STEFANO SECCO BIZET: Carmen • BOITO: Mefistofele HALÉVY: La Juive • GOUNOD: Faust DONIZETTI: Lucia di Lammermoor L’elisir d’amore

Constantine Orbelian, conductor Kaunas City Symphony Orchestra • Kaunas State Choir

STEFANO SECCO, tenor

1. Puccini: Tosca – E lucevan le stelle* 10. Boito: Mefistofele – Giunto sul (2:53) passo estremo (3:18)

2. Puccini: La Bohème – Che gelida 11. Gounod: Faust – Salut, demeure manina (5:08) chaste et pure (6:26)

3. Puccini: Madama Butterfly – Addio, 12. Verdi: Rigoletto – La donna è mobile fiorito asil (2:08) (2:22)

4. Verdi: Un ballo in maschera – Forse la 13. Verdi: Luisa Miller – Oh! fede soglia attinse (5:26) negar potessi (5:20)

5. Verdi: I Lombardi – La mia letizia in 14. Verdi: Il Trovatore – Ah, sì ben mio, fondere (2:06) coll’essere (3:18)

6. Bizet: Carmen – La fleur que tu 15. Verdi: Il Trovatore – Di quella pira (2:23) m’avais jetée (4:13)

7. Halévy: La Juive – Rachel, quand du Seigneur (5:56) Constantine orbelian, conductor Kaunas City Symphony Orchestra 8. Donizetti: L’elisir d’amore – Una furtiva lagrima (4:42) Kaunas State Choir *Clarinet solo: Andrius Bernotaitis 9. Donizetti: Lucia di Lammermoor – Fra poco a me ricovero (7:15)

Total playing time: 63:05

24 iacomo Puccini’s Tosca (premiered in outpourings tempered by tender moments of 1900) is perhaps the most intensely confession. Gmelodramatic and (in its day) politically controversial of his great masterpieces. Set in In Puccini’s Madama Butterfly, first performed Rome at a time of political upheaval, it contains in 1904, the young Japanese geisha Ciocio-san graphic scenes depicting murder, torture, and has married the US naval officer Pinkerton, who suicide in an atmosphere of unchecked police then sails for home, leaving her behind in Japan. brutality. In the third act, Cavaradossi, the ti- She believes the arrangement is permanent, and tle heroine’s lover (and political dissident), has – for three years – patiently awaits his return. been imprisoned and is awaiting his execution. Pinkerton, after learning that she has borne him As dawn breaks over his prison, he surrenders a son, reappears with his American wife, who to his despair, singing of a passionate tryst with has agreed to raise the child as her own. Unable his beloved and dashed hopes in the famous to face Ciocio-san, Pinkerton sings of his shame romanza E lucevan le stelle, introduced by a and regret in Addio, fiorito asil, before the plaintive clarinet solo: the same theme (in more young mother – knowing she will lose both her dramatic guise) that precedes Tosca’s climactic beloved and her son – commits ritual suicide. suicide, leaping to her death from the prison’s ramparts after she realizes that Cavaradossi is Giuseppe Verdi’s Un ballo in maschera, com- dead. posed in 1857-58, is based on the true story of the 1792 assassination of Sweden’s King Gustav Puccini’s La Bohème premiered in Turin in 1896 III at a masked ball. At the time, Italian censors and has since become one of opera’s most be- balked at the work’s story of a murdered mon- loved works in its passionate portrayal of the arch, forcing delays in the opera’s premiere and lives of young and impoverished bohemians a more politically acceptable revision. The re- living in Paris. Che gelida manina is heard in vised libretto recounts the ill-fated Count Ric- the opera’s first act, after Rodolfo and Mimì cardo’s secret love for Amelia, the wife of his touch hands while the two are looking for her friend and advisor Renato, who comes to the room key, which she has dropped on the floor. false conclusion that Amelia and Riccardo are The aria begins with Rodolfo’s observation that having an adulterous affair and plots murder- Mimì’s hands are chilly – and, as he attempts ous revenge. In Act 3, Riccardo, torn between to warm them with his own, Rodolfo introduc- love and duty, decides – in the aria Forse la es himself, declaring “Who am I? A poet.” He soglia attinse – to renounce his feelings for goes on to declare his dreams and aspirations Amelia and send the couple away to England before asking Mimi to tell him about herself. and out of temptation’s way. Then he attends This deservedly famous piece is a high point of the masked ball, where he is fatally stabbed, but musical romanticism, with thickly scored lyrical pardons the conspirators before he dies. 2 I Lombardi – premiered in 1843 – is Verdi’s epic actual medieval history, it tells the tale of Eléa- tale of a fictional Italian family’s participation in zar, a Jewish goldsmith who had been banished the Crusades. The convoluted plot line centers by his nemesis, Count Brogni. By an ironic around a noble family’s two feuding brothers, twist of fate, Eléazar had found and raised the Arvino and Pagano. As the Crusade – led Count’s lost infant daughter as Rachel, his own by Arvino – unfolds, his daughter Giselda is child. Brogni – now a cardinal – has unknow- captured by Acciano, ruler of Antioch, and ingly had her imprisoned and condemned to imprisoned in his harem. Acciano’s son Oronte death for her affair with a Christian nobleman. and Giselda fall in love, and – in Act 2 – Oronte In his Act 4 aria, Rachel, quand du Seigneur, gives passionate voice to his devotion in his aria Eléazar laments that he has wanted only Ra- La mia letizia infondere. chel’s happiness, but has instead caused her condemnation – before giving voice to his de- Cast in a musically authentic Spanish setting, termination to save her by revealing her true Georges Bizet’s ever-popular Carmen (first identity. performed in 1875) was perhaps the most controversial opera of its day. It spins the sultry The exquisitely crafted Una furtiva lagrima tale of the wanton gypsy seductress Carmen is the standout aria sung by Nemorino in and her ultimately fatal affair with the hapless Gaetano Donizetti’s L’elisir d’amore, which soldier Don José. In the second act, after he premiered in Milan in 1832. In this aria, from the has been released from a month in detention opera’s second act, Nemorino finds his beloved for disobeying an order to arrest her, he meets Adina weeping after he has given her what he with Carmen after hours at a tavern, where believes to be a love potion, and he assumes she dances for him. As he is about to return that the potion has successfully won her heart. to the barracks, she mocks him. He responds Observing Adina’s apparent “enchantment,” by pulling out the wilted flower she had tossed Nemorino becomes increasingly intoxicated to him before his detention, and sings of how by his love, and his singing builds in romantic its undying fragrance sustained him during his fervor. The aria remains one of the most imprisonment – and of his tormented love for excerpted works for tenor from one of her – in his famous La fleur que tu m’avais Donizetti’s most popular operas. jetée (“Flower Song”), one of the loveliest tenor arias in all of opera. Donizetti’s Lucia di Lammermoor premiered in Naples in 1835. The opera conveys the tale Fromental Halévy’s La Juive (“The Jewess” – of Lucia, sister to the Lord of Lammermoor, 1835) was one of the nineteenth century’s most and her star-crossed love for Edgardo of the admired operas, widely considered an early Ravenwoods: a family with whom Lucia’s own plea for religious tolerance. Loosely based on has been embroiled in a generations-long 3 dispute. The aria Fra poco a me ricovero is Marguerite. After having been demurely turned sung by Edgardo in the opera’s third act. The away by her in Act 2, Faust and Méphistophélès aria embodies Edgardo’s utter despair at the enter the garden adjoining Marguerite’s house, thought of his own doom amid the “tombs of and Faust sends the tempter away to find her my ancestors.” Edgardo, thinking that Lucia is a gift. He then sings the lovely romance Salut, alive and newly married to his rival, gives voice demeure chaste et pure, in which he rhap- to his wish that she will never visit his tomb with sodizes about the home of such a pure and her new husband. When he learns that Lucia chaste child of nature. has died, his grief is tempered by his resolve to reunite with her in the afterlife. After Lucia’s La donna è mobile is one of the foremost bier passes by, Edgardo stabs himself and joins workhorses in any operatic tenor’s repertoire. her in death. Featured twice in the third act of Giuseppe Verdi’s 1851 opera Rigoletto, the aria is sung Among the many romantic-era musical treat- by the Duke of Mantua as he recounts the fickle ments of Goethe’s immortal two-part drama nature of women. The opera’s title character Faust, the composer-librettist Arrigo Boito’s Me- serves as court jester to the Duke and suffers fistofele (first performed in 1868) and Gounod’s numerous humiliations at the Duke’s hands. like-titled Faust (see following selection) are Knowing the Duke’s nature, Rigoletto hopes the two best-known operatic versions. Boito’s to keep Gilda, his daughter, hidden from the sprawling score – encompassing a Prologue, Duke’s philandering eye. The Duke’s jolly and an Epilogue, and four acts in between – is per- light-hearted aria is then all the more chilling formed much less frequently than Gounod’s, but in its reprise at the end of the third act, when its plot covers more details of the original story. it is overheard by Rigoletto, signaling that the The devil Mefistofele – after transforming the old Duke – whom he had plotted to kill – still lives. scholar Faust into a young gentleman – has ex- Spurred by this discovery, Rigoletto searches posed him to repeated worldly temptations. But the bag he believed to contain the Duke’s the Epilogue finds Faust restored to his original lifeless body – only to find, to his horror, that it elderly self and facing imminent death. Amid the contains the body of his beloved Gilda. devil’s further attempts at unholy distractions, Faust sings of a redeeming vision in Giunto sul Based on a famous Schiller play, Luisa Mill- passo estremo before seizing his bible and er tells of the ill-fated love between the young finding salvation as he dies. nobleman Rodolfo and Luisa, a village girl. In the opera’s complex course of villainous deceit Gounod’s treatment of the Faust story is some- and intrigue, Luisa – believing that her father’s what simpler, revolving mainly around the hero’s life is at stake – is coerced by his villainous rival affair with the beautiful and innocent maiden into writing a letter to Rodolfo declaring her 4 love for another. As the second act draws to E lucevan le stelle a close, Rodolfo reads the letter and – in Oh! ed olezzava la terra, fede negar potessi – he bitterly laments her stridea l’uscio dell’orto, apparent treachery, recalling their happy times e un passo sfiorava la rena... together. But he ultimately takes his revenge by Entrava ella, fragrante, poisoning them both. mi cadea fra le braccia... O dolci baci, o languide carezze, One of Verdi’s most captivating operatic heroes mentr’io fremente is Manrico, the knight-troubador protagonist le belle forme disciogliea dai veli! of Il Trovatore. As he meets his doom, he Svani per sempre emerges in the end as the long-lost brother of il sogno mio d’amore... the villainous Count di Luna, whose amorous L’ora è fuggita... designs upon the heroine Leonora (also E muoio disperato! Manrico’s beloved) also lead to her demise. In E muoio disperato... his aria Ah, sì ben mio, coll`essere – sung in E non ho amato mai tanto la vita. Act 3 as he and Leonora are about to take their tanto la vita! marriage vows – he sings tenderly of his love for her, knowing that he is about to die as well. The stars were shining, and the earth was sweetly scented. Upon being told that Azucena, his mother, The garden gate creaked is about to be burned at the stake, Manrico and a footstep touched the ground... sings Di quella pira – a stirring call-to-arms – Fragrant, she entered, declaring that he and his soldiers will rescue her, and fell into my embrace. or perish in the attempt. Oh! Amid sweet kisses and languid caresses, madly, I stripped the beautiful form of its veils! –Lindsay Koob My dream of love has forever vanished. That moment is past, and, in desperation, I die. I perish in desperation! Yet never before have I loved life so much, so very much. • Che gelida manina, se la lasci riscaldar. Cercar che giova? Al buio non si trova. Ma per fortuna è una notte di luna, e qui la luna l’abbiamo vicina. Aspetti, signorina, le dirò con due parole 5 chi son, e che faccio, come vivo. Vuole? and my lovely dreams of habit Chi son? Sono un poeta. have suddenly vanished. Che cosa faccio? Scrivo. But the theft does not anger me, E come vivo? Vivo. for hope has been left in their place. In povertà mia lieta scialo da gran signore Now that you know me, you speak – rime ed inni d’amore. Ah, speak! Who are you? Per sogni e per chimere e per castelli in aria, Say you will! l’anima ho milionaria. Talor dal mio forziere ruban tutti i gioelli • due ladri, gli occhi belli. Addio, fiorito asil di letizia e d’amor! V’entrar con voi pur ora, ed i miei sogni usati Sempre il mite tuo sembiante e i bei sogni miei, tosto si dileguar! con strazio atroce vedrò. Ma il furto non m’accora, Addio, fiorito asil… poichè, poichè v’ha preso stanza la speranza! Non reggo al tuo squallor! Or che mi conoscete, Ah, non reggo al tuo squallor. parlate voi, deh! Parlate. Chi siete? Fuggo, fuggo, ah, son vil! Vi piaccia dir! Addio, non reggo al tuo squallor, Ah! son vil, ah son vil! How cold your little hand is; here, let me warm it for you. Farewell, flowery haven It’s no use looking for it here in the dark. of happiness and love! But what luck … it is a moonlit night, I shall always be tormented and here, the moon is near to us. by visions of your sweet face. Wait, Miss – if you like, I will tell you in two Farewell, flowery haven, words: I cannot bear your misery! Who I am, what I do, and how I live. Ah, I cannot bear your misery. Who am I? A poet. I must go, I must go, ah, how I hate myself! What do I do? I write. Farewell, I cannot bear your misery. How do I live? I live. Ah, how I hate myself, Though poor, I happily squander ah, how I despise myself! rhymes and songs of love like a prince. For dreams and visions and castles in the air, • I have the soul of a millionaire. Forse la soglia attinse, But two thieves – eyes of such beauty – e posa alfin. L’onore now rob the jewels in my safe. ed il dover nei nostri petti han rotto They entered with you just now, 6 l’abisso. Ah sì, Renato, But, O light of my life, rivedrà l’Inghilterra – e la sua sposa if you are lost to me forever, lo seguirà. Senza un addio, l’immenso wherever you are, my love will follow you oceàn ne sepàri – e taccia il core. once the memories of you Esito ancor? ma, oh ciel, non lo degg’io? are locked within my heart. Ah, l’ho segnato il sacrifizio mio! And what dark doubts Ma se m’è forza perderti now storm my heart, per sempre, o luce mia, with the deadly desire a te verrà il mio palpito to see you once again – Sotto qual ciel tu sia, as if this were our love’s last hour? chiusa la tua memoria nell’intimo del cor. Ah! She is there – Could I see her, speak to her Ed or qual reo presagio one last time? But no: because now, Lo spirito m’assale, everything has wrenched us apart. Che il rivederti annunzia quasi un desio fatale – • Come se fosse l’ultima La mia letizia infondere vorrei ora del nostro amor? nel suo bel core! Vorrei destar co’ palpiti Ah! dessa è là – potrei vederla – del mio beato amore ancora, Riparlarle potrei – tante armonie nell’etere Ma no: ché tutto or mi strappa da lei. quanti pianeti egli ha: Ah! Ir seco al cielo, ed ergermi Perhaps she’s back home now dove mortal, mortal non va! and finally safe. Ir seco al cielo, ed ergermi Honor and duty have removed the chasm dove mortal, mortal non va! between us. Ah yes, Renato will return to England – I wish I could instill my joy and with him, his wife. into your lovely heart. Let the great ocean stand between us, I wish to awaken to the throbbing with no farewell – of my blessed love and let the heart keep silent. with as much harmony in the heavens As it has planets Do I still vacillate? Ah! To go with her to heaven, But O heaven, mustn’t I? to rise up where no mortal goes! Ah, I have signed my sacrifice! 7 • to detesting you, to saying to myself: La fleur que tu m’avais jetée, Why did destiny have to dans ma prison m’était restée. put you there on my path? Flétrie et sèche, cette fleur But then I blamed myself for blasphemy gardait toujours sa douce odeur; and I felt only one desire: et pendant des heures entières, The single hope of seeing you again; sur mes yeux, fermant mes paupières, Oh Carmen, just to see you again! de cette odeur je m’enivrais For you had only to appear, et dans la nuit je te voyais! only to toss a glance at me Je me prenais à te maudire, to grab my whole being! à te détester, à me dire: And, oh my Carmen, I was yours… Pourquoi faut-il que le destin Carmen, I love you! l’ait mise là sur mon chemin? • Puis je m’accusais de blasphème, et je ne sentais en moi-même, Rachel, quand du Seigneur je ne sentais qu’un seul désir, la grâce tutélaire un seul désir, un seul espoir: a mes tremblantes mains confia Te revoir, ô Carmen, ou, te revoir! ton berceau, j’avais à ton bonheur Car tu n’avais eu qu’à paraître, voué ma vie entière. qu’à jeter un regard sur moi, Et c’est moi qui te livre au bourreau! pour t’emparer de tout mon être, J’avais à ton bonheur Ô ma Carmen! voué ma vie entière, Et j’étais une chose à toi et c’est moi qui te livre au bourreau. Carmen, je t’aime! Mais j’entends une voix qui me crie: I kept the flower that you tossed to me Sauvez-moi de la mort qui m’attend! with me during my imprisonment. Je suis jeune et je tiens à la vie, Though withered and dried, ô mon père épargnez votre enfant, it never lost its sweet fragrance, je suis jeune et je tiens à la vie; and during all of the hours ô mon père, ô mon père, I spent with my eyes closed, épargnez votre enfant! its odor intoxicated me, and visions of you Rachel, when the Lord’s saving grace came to me in the night! entrusted your cradle into my hands, I got used to cursing you, I made your happiness 8 the avowed aim of my whole life – • and it is I who am now sending you Tombe degli avi miei, l’ultimo avanzo to your execution! d’una stirpe infelice.-deh! raccogliete voi. Cessò dell’ira-il breve foco; But I can hear a voice calling to me: sul nemico acciaro abbandonar mi vo’. save me from the death which awaits me! Per me la vita - è orrendo peso! I am young and I cling to life! L’universo intero è un deserto per me – O my father, spare your child! senza Lucia!… • Di faci tuttavia-splende il castello! Ah! Scarsa fu la notte al tripudio! Una furtiva lagrima Ingrata donna! negli occhi suoi spunto: Mentre io me struggo - in disperato pianto, Quelle festose giovani tu ridi, esulti accanto - al felice consorte! invidiar sembro. Tu delle gioie in seno, - Io della morte! Che piu ceracando io vo? M’ama, lo vedo. Fra poco a me ricovero-darà negletto avello… Un solo instante i palpiti una pietosa lagrima-non scenderà su quello! del suo bel cor sentir! Ah! Fin degli estinti, ahi, misero! I miei sospir, confondere Manca il conforto a me! per poco a’ suoi sospir! Tu pur, tu pur dimentica-que marmo dispregiato: Cielo, si puo morir! Mai non passarvi, o barbara,-del tuo consorte Di piu non chiedo. a lato; Ah! Rispetta almen le ceneri-di chi moria per te. I see a furtive tear in her eye; Mai non passarvi, tu lo dimentica, she seems envious of those rispetta almeno chi muore per te. festive youths. O barbara! Io moro per te. Need I search further? She loves me – I see it! Ah, ancestral tombs, receive me: the last of an ill-fated lineage. Oh, to feel her heartbeat, My anger’s flash is extinguished; if only for an instant! I now abandon myself to the enemy’s sword. Oh, to feel my sighs Life is a horrendous burden. as if they were her own! Without Lucia, the entire universe is a desert, Heavens, I could die; though the torches still shine as they light the castle. I cannot ask for more. 9 Ah, ungrateful woman, how fleeting Dell’esistenza mia. was the night of jubilation. Voglio che questo sogno While I languish in tearful desperation, Sia la santa poesia you laugh merrily at the side Dell’esistenza! of your lucky husband as your very joy kills me. Nearing the utmost limit of life’s most extreme goal, Shelter me soon, neglected tomb. my soul wandered forth No tear of pity will fall on you! into a delightful vision. Ah, misery! Not even in death will I find comfort. King of a placid world, As you, oh cruel one, forget this lowly marble, unknown to care and strife, never pass by it at your husband’s side. I found a faithful people — Respect, at least, the remains and wished to improve their lives. of he who gave his life for you. Under wise administration, Oh, savage one, I die for you! I saw new towns arising; a happy, prosperous nation, • with a thousand homes Giunto sul passo estremo and fields and villas. Della più estrema, età, In un sogno supremo Ah! If only this fair vision Sì bea l’anima già, could be my final dream; the ultimate earthly mission Re d’un placido mondo, of life’s most sacred purpose. D’una landa infinita, • A un popola fecondo Voglio donar la vita Quel trouble inconnu me pénètre? Sotto una savia legge Je sens l’amour s’emparer de mon être! Vo’che surgano a mille Ô Marguerite, à tes pieds me voici! A mille e genti e gregge E case e campi e ville. Salut, demeure chaste et pure; salut, demeure chaste et pure, Ah! Voglio où se devine la présence Che questo sogno d’une âme innocente et divine! Sia la santa poesia Que de richesse en cette pauvreté! E l’ultimo bisogno En ce réduit, que de félicité 10 que de richesse It is here that your breath que de richesse en cette pauvreté enveloped her soul, en ce réduit, que de félicité! lovingly making the woman blossom O Nature, into such a heavenly angel! c’est là que tu la fis si belle! It’s here! Yes, it is here! c’est là que cette enfant Greetings, O home chaste and pure, a dormi sous ton aile, where is revealed the presence a grandi sous tes yeux. of a divinely innocent soul! Là que de ton haleine enveloppant son âme, • tu fis avec amour La donna è mobile epanouir la femme qual piuma al vento, en cet ange des cieux. muta d’accento C’est là ! Oui ! C’est là! e di pensiero. Salut, demeure chaste et pure; Sempre un amabile, Salut, demeure chaste et pure, leggiadro viso, où se devine la présence In pianto o in riso, d’une âme innocente et divine! è menzognero. Salut ! La donna è mobile , ecc. What strange trouble assails me? I feel love taking hold of me! È sempre misero O Marguerite, here – at your feet – I stand! chi a lei s’affida, chi le confida I greet you, O home chaste and pure, mal cauto il cuore! where is revealed the presence Pur mai non sentesi of a divinely innocent soul! felice appieno How rich is this poverty! chi su quel seno How happy is this retreat! non liba amore! How precious, how rich is this poverty! La donna è mobile, ecc. Here, O nature – it is here that you made her so beautiful! Woman moves It is here that this child like a feather in the wind. slept under your wing, and She changes her accents grew up under your gaze. and her thoughts. 11 Always sweet, Ah! mi tradia! pretty face, Allor, ch’io muto, estatico In tears or in laughter, da’labbri suoi pendea, she is always lying. ed ella in suon angelico amo te sol, dicea, Woman moves, etc. tal che sembrò l’empireo aprirsi all’alma mia! Always miserable Ah! mi tradia! is he who trusts her, he who confides Oh! If only I could doubt his unwary heart! the evidence my own eyes reveal! Yet one never feels Should heaven and earth, fully happy mortals and angels alike, who on that bosom assure me that she’s innocent, does not drink love! lies! I would have to answer: You all lie! This is her writing! Such treachery! A soul Woman moves, etc. so black, so deceitful! My father knew her well! • But what of the vows, the hopes, Oh! fede negar potessi agl’occhi miei! the joy, the tears, the suffering? Se cielo e terra, se mortali ed angeli All lies, perfidy, deceit! attestarmi volesser ch’ella non è rea... Mentite! Io risponder dovrei, When under the serene tutti mentite...Son cifre sue! light of night’s starry sky Tanta perfidia! Un’alma sì nera! we gazed lovingly together Si mendace! Ben la conobbe il padre! into the heavens, Ma dunque i giuri, le speranze la gioja, and I held her hand le lagrime, l’affano? warmly in mine... Tutto è menzogna, tradimento inganno! And I held her hand warmly in mine... Quando le sere al placido Ah! she betrayed me! chiaror d’un ciel stellato meco figgea nell’etere Then as I ecstatically lo sguardo innamorato, listened in silence to her words e questa mano stringermi as she, with an angel’s voice, dalla sua man sentia... said “I love only you,” 12 it seemed that paradise • opened to my soul! Di quella pira l’ orrendo foco With an angel’s voice, tutte le fibre m’ arse, avvampò!... she said “I love only you.” Empi spegnetela, od io fra poco Ah! she betrayed me! col sangue vostro la spegnerò... • Era già figlio prima d’ amarti, non può frenarmi il tuo martir. Ah, sì ben mio, coll’ essere Madre infelice, corro a salvarti, Io tuo, tu mia consorte, o teco almeno corro a morir! avrò più l’ alma intrepida, il braccio avrò più forte; That terrible pyre’s flames ma pur se nella pagina set me afire and consumed all my being… de’ miei destini è scritto Merciless men, put it out, ch’ io resti fra le vittime or I will soon

quench it with your own blood… dal ferro ostil trafitto, I was your son fra quegli estremi aneliti before I began to love you; a te il pensier verrà your torments won’t stop me. e solo in ciel precederti Unhappy mother, I run to la morte a me parrà! save you, or I shall die with you! Oh, my love! When I am yours and you’re my bride, my soul will be fearless, my arm will be stronger; but if it is my fate that I should fall victim to enemy swords, then in my final moments my thoughts will fly to you and my death will only seem to go before you to Heaven!

13 “Secco’s voice soared beautifully…moreover, in Torre Del Lago, and at Teatro Comunale in he played the first act with charm – which any Florence; Edgardo in Lucia di Lammermoor at Pinkerton must have to entrance Butterfly. Deutsche Oper Berlin and in Liège; Roberto De- Chicago Tribune vereux in Oviedo and at the Vienna State Op- era; Arturo in I Puritani at Teatro Bellini in Cata- nia (conducted by maestro Kuhn and recorded Stefano Secco began his singing and piano by BMG); Gualtiero in Il Pirata in Amsterdam, studies with Alberto Soresina, worked privately Nemorino in L’Elisir d’Amore at Teatre Liceu in with such maestri as Franco Corelli and Franca Barcelona and at Royal Opera House in Lon- Mattiucci, and attended master classes led by don; De Grieux in Massenet’s Manon at Grand Leyla Gencer and Renata Scotto, among oth- Theatre of Geneve and at Liceu in Barcelona; ers. Following his debut, he sang the role of and Gabriele in Simon Boccanegra at Opéra Fenton in Falstaff at Teatro Verdi in Sassari and Bastille in Paris, at La Scala and in Cagliari. Of was engaged by Teatro dell’Opera in Rome as special note was his performance in the difficult the tenor soloist for Puccini’s Messa di Gloria role of Osiride in Rossini’s Mosè in Egitto at Te- and Berlioz’s Te Deum. He also sang the role atro Filarmonico in Verona – a role for which he of Rodolfo in Teatro dell’Opera’s production of received particular acclaim. La Bohème. Other notable appearances on the world stage In the following years, Secco was then cast in have included Rossini’s Stabat Mater at Teatro important roles on major opera stages across dell’Opera in Rome, Berlioz’s Roméo et Juliette the globe, including the Duke of Mantua in at the Auditorium Parco della Musica (in a live Rigoletto at Teatro Regio in Turin, the Vien- radio broadcast under Myung-whun Chung), na State Opera, Theatre of Toulouse, Oper La Bohème at Teatro Regio in Parma, Rigoletto Frankfurt, Teatro Massimo in Palermo, Venezia, and the role of Don Carlo at Opéra Bastille (a Baltimore, Coruna, Arena of Avenches, Stock- production directed by Graham Vick), La Tra- holm and Opéra Bastille in Paris; Rodolfo in viata in Tokyo, Luisa Miller – in an acclaimed La Bohème at Teatro Regio in Parma, Teatro debut – at the Staatsoper in Munich, Lucia di dell’Opera in Rome, Opéra Bastille in Paris, as Lammermoor at Teatro Comunale in Florence, well as at the Puccini Festival in Torre Del Lago Macbeth at Opéra Bastille in Paris, and Werther and with Angela Gheorghiu in a Gala in Wies- at Oper Frankfurt. baden; Alfredo in La Traviata in Venice, Tokyo, Barcelona, Hamburg, Frankfurt, Florence, and He has also performed in La Traviata at La under the baton of Riccardo Muti at La Scala Fenice in Venice and at Teatro Regio in Turin, in Milan; Pinkerton in Madama Butterfly at Te- in Madama Butterfly (as Pinkerton) for San atro dell’Opera in Rome, at the Puccini Festival Francisco Opera, in La Bohème in Munich and 14 15 Rome, in I due Foscari in Trieste, in Macbeth Grammy-nominated conductor Constantine and Simon Boccanegra in Bilbao, in Rigoletto at Orbelian “stands astride two great societies, Montecarlo Opera, in Verdi’s Requiem in Frank- and finds and promotes synergistic harmony furt, in Un ballo in maschera at Macerata Festi- from the best of each.” (Fanfare) For over 20 val, in Roméo et Juliette at Arena di Verona, and years the brilliant American pianist /conductor in Roberto Devereux in Marseille. has been a central figure in Russia’s musical life — first as Music Director of the Moscow Secco has earned praise from both critics and Chamber Orchestra and the Philharmonia of audiences for his singing in Verdi’s Messa da Russia, and more recently as guest conductor Requiem in Moscow with La Scala on the occa- with a number of illustrious Russian orchestras. sion of the Bolshoi Theatre’s opening and in St. Currently Chief Conductor of the Kaunas City Petersburg with Teatro Regio di Parma, in Simon Symphony Orchestra in Lithuania, Orbelian Boccanegra with Placido Domingo in the title leads concerts and recordings there with some role in Los Angeles, in I Masnadieri in Naples, of the world’s greatest singers, in projects such Madama Butterfly in Seattle and Berlin, Carmen as a recording of Simon Boccanegra, with Dmitri in Venice, Roméo et Juliette at Arena di Verona, Hvorostovsky in the title role. Les Contes d’Hoffmann at Opéra Bastille, Mac- beth in Madrid and at La Scala, Don Carlo in Opera News calls Orbelian “the singer’s dream Oviedo, and La Bohème in Zürich and Bilbao, as collaborator,” and commented that he conducts well as at Festival Pucciniano in Torre del Lago. vocal repertoire “with the sensitivity of a lieder pianist.” The California-based conductor tours More recently, he has appeared in Nabucco, and records with American stars such as Son- Roméo et Juliette, and Un ballo in maschera at dra Radvanovsky and Lawrence Brownlee, and Arena di Verona; in Madama Butterfly in Bar- with Hvorostovsky and other renowned Russian celona, Dresden, Chicago, Tokyo, and Florence; singers in European, North American, and Rus- Carmen in Venice and Seoul; Simon Boccanegra sian music centers, extending these splendid at the Vienna State Opera; La Traviata in Paler- collaborations to tours in Japan, Korea, and mo; La Bohème at Opéra Bastille; and Simon other international music destinations. Boccanegra in Munich. “Orbelian has star quality, and his orchestra His current plans include Madama Butterfly in plays with passion and precision,” The Audio Hamburg and Toronto, Tosca in Seattle and Critic wrote of his acclaimed series of over 30 Palermo, Un ballo in maschera at La Monnaie recordings on Delos. Among his concert and in Brussels, and L’Elisir d’Amore at the Vienna televised appearances are collaborations with State Opera. stars Renée Fleming and Dmitri Hvorostovsky, and with Van Cliburn in Cliburn’s sentimental 16 17 return to Moscow, the great pianist’s last per- Orbelian’s appointment in 1991 as Music Di- formance. Orbelian’s frequent collaborations rector of the Moscow Chamber Orchestra was with Hvorostovsky include repertoire from their a breakthrough event: he is the first American Delos recordings of universal sentimental songs ever to become music director of an ensemble Where Are You, My Brothers? and Moscow in Russia. A tireless champion of Russian-Amer- Nights, as well as their 2015 recording in the ican cultural exchange and international am- same series, Wait for Me. On several occasions bassadorship through his worldwide tours, he Orbelian has conducted historic live telecasts was awarded the coveted title “Honored Art- from Moscow’s Red Square, the most recent ist of Russia” in 2004, a title never before be- of which took place in 2013, with Hvorostovsky stowed on a non-Russian citizen. In May 2010, and Anna Netrebko. Orbelian led the opening Ceremonial Concert for the Cultural Olympics in Sochi — the first Recently Orbelian has turned to film to create event setting the stage for Russia’s hosting of more of his unique American/Russian collabo- the Olympic Games in 2014. In 2012 the Rus- rations. His first such production, “Renée Flem- sian Consulate in San Francisco awarded him ing and Dmitri Hvorostovsky: An Odyssey in St. the Russian Order of Friendship Medal, whose Petersburg,” was filmed in St. Petersburg’s most illustrious ranks include pianist Van Cliburn and glorious palaces, and stars Fleming and Hvoros- conductor Riccardo Muti, and which singles out tovsky in opera scenes and arias. The production non-Russians whose work contributes to the is in some ways a culmination of Orbelian’s ef- betterment of international relations with the forts in St. Petersburg, since he is founder and Russian Federation and its people. Music Director of the annual Palaces of St. Pe- tersburg International Music Festival. From his 1995 performance at the 50th An- niversary Celebration of the United Nations Born in San Francisco to Russian and Armenian in San Francisco, to his 2004 performance at emigré parents, Constantine Orbelian made his the U.S. State Department commemorating 70 debut as a piano prodigy with the San Francis- years of diplomatic relations between Washing- co Symphony at the age of 11. After gradu- ton and Moscow, and a repeat State Depart- ating from Juilliard in New York, he embarked ment appearance in 2007, all with the Moscow on a career as a piano virtuoso that included Chamber Orchestra, Orbelian continues to use appearances with major symphony orchestras his artistic eminence in the cause of interna- throughout the United States, United King- tional goodwill. He and his orchestras have also dom, Europe, and Russia. His recording of the participated in cultural enrichment programs Khachaturian piano concerto with conductor for young people, both in Russia and the U.S. Neeme Järvi won Best Concerto Recording of In 2001 Orbelian was awarded the Ellis Island the Year award in the United Kingdom. Medal of Honor, an award given to immigrants, 18 or children of immigrants, who have made out- oriented concerts. Many famous Lithuanian standing contributions to the United States. as well as foreign soloists and conductors have collaborated with the orchestra – which The Kaunas City Symphony Orchestra grew organizes and appears in around 50 concerts from the Kaunas Chamber Orchestra, which per year. A highly versatile ensemble, the was founded in 1988 and since 2000 has orchestra specializes in various genres of classical been managed by Algimantas Treikauskas. and contemporary music, including cross-over Its previous principal conductors were Pavel projects with such groups as The Scorpions, Berman, Modestas Pitrenas, and Imants Resnis; Smokie, and the Electric Light Orchestra, to the position now belongs to American maestro name a few. Constantine Orbelian. The orchestra also appeared at the opera The Kaunas City Symphony Orchestra gives contest show Arc of Triumph for two years concerts at home in Lithuania and abroad – on Lithuanian National Television. Among the including Latvia, Estonia, Norway, Switzerland, group’s prominent highlights in the 2012/2013 Germany, Finland, and Italy. It appears regularly season were its collaboration with famous at various international festivals, presents baritone Dmitri Hvorostovsky and Maestro special concert projects, and gives theme- Orbelian, as well as its appearance at the

19 Murten Classics festival in Switzerland under The Kaunas State Choir was founded in the baton of Kaspar Zehnder. The orchestra’s 1969 by Petras Bingelis, a graduate of the discography includes several CDs. A number Lithuanian Music and Theatre Academy. Having of recent projects were recorded for Delos successfully appeared in Lithuania, the choir with several of today’s most famous voices, met with international success very quickly. It conducted by Maestro Orbelian. The complete began giving concerts in the major cities of Simon Boccanegra, with Dmitri Hvorostovsky in Russia and soon was invited to participate in the title role (DE 3457), was released by Delos in famous festivals, such as Russian Winter and 2015. Tenor Lawrence Brownlee stars in a Delos Moscow Stars, and to give concerts in the 2014 release showcasing Rossini arias (DE prestigious concert halls of Moscow and Saint 3455), which received a Grammy nomination. Petersburg. Its performances have also won

20 acclaim in Hungary, Germany, Spain, Italy, violinist and conductor Yehudi Menuhin (1916– France, Norway, and elsewhere. 1999) – the Kaunas State Choir’s concert life became particularly active and purposeful. Since 1989 the Kaunas State Choir has been Conducted by the maestro, the choir toured regularly invited to important international many countries and recorded a number of music festivals, including the Turku Music CDs. The choir also developed an especially Festival (Finland); the Bordeaux Spring and meaningful artistic friendship with revered cellist Mediterranean Sea festivals, Reims (France); and conductor Mstislav Rostropovich (1927– the New and Old Ways to India (Spain); the 2007), who had a high regard for the choir’s Schleswig–Holstein Festival and the Festival of professional mastery – calling it one of the finest Middle European Countries (Germany). The choir musical ensembles with which he had worked. has delivered concerts in many of the world’s most famous concert venues – including Notre The Kaunas State Choir has given over 3,000 Dame Cathedral and Pleyel Hall in Paris and the concerts, including a memorable concert at the Auditorium Parco della Musica in Rome. It has Berlin Stadium, where, upon performing Carl appeared successfully at Buenos Aires’ Colón Orff’s cantata Carmina Burana, it was heartily Theater and the opera houses of Santiago, Cairo, applauded by an audience of 75,000. The Genoa, Bologna, Munich, and Warsaw. choir often performs in honor of distinguished visitors to Lithuania. Such occasions have The ensemble’s excellent reputation has included Pope John Paul II ’s apostolic visit and prompted invitations to perform with many the opening ceremony of the Palace of the of the finest symphony orchestras: the BBC Grand Dukes of Lithuania, where the choir sang Symphony Orchestra, the Colón Theatre for the gathering of monarchs and political Orchestra, the orchestras of Paris and Bordeaux, leaders of nations across Europe. the Moscow and Saint Petersburg Philharmonic orchestras, and the Philharmonia of the The Kaunas State Choir has a vast repertoire Nations. Together with the latter orchestra, the that includes more than 150 classical vocal- Kaunas State Choir took part in a gala concert instrumental compositions: oratorios, cantatas, celebrating the UNESCO decision to include masses, passions, and operas. the manuscript of Beethoven’s Symphony No. 9 in the catalogue of documentary heritage Memory of the World.

Following Lithuania’s restoration of independence – and particularly after the choir began its collaboration with the legendary 20th-century 21 Recorded at Kaunas Philharmonic in December 2014 (Kaunas, Lithuania)

Executive Producer: Carol Rosenberger Producer: Aleksandra Suchova Engineer: Vilius Keras Booklet Editor: Anne Maley Art Design/Layout: Lonnie Kunkel Photos of Stefano Secco: John Vicory

Special thanks to Algimantas Treikauskas — General Director of the Kaunas City Symphony Orchestra — for his invaluable help in producing this recording.

DE 3457 Critic’s Choice, Opera News “Constantine Orbelian leads Dmitri Hvorostovsky and a stellar cast in Verdi’s Simon Boccanegra… captures the intimacy and grandeur… Hvorostovsky’s authority and dramatic maturity are out in full force.” 23