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Home , Alexandru Agache, Anvil Chorus, Carlo Pedrotti, Carlo Rizzi (conductor), Di quella pira, Don Carlos discography

State

Giuseppe Verdi (1813–1901)

complete works in MP3-Format

- Verdi complete works –

Index 1. Page 1 3 2 4 3 5 4 7 5 8 6 10 7 11 8 Giovanna d'Arco 12 9 I due - Die two Foscari 14 10 I Lombardi - The Lombards (on the first crusade) 15 11 - The robbers 16 12 - The Corsair 17 13 - The Troubadour 18 14 Jerusalem 20 15 - The battle of Legnano 22 16 - The Force of Destiny 24 17 25 18 Les vepres siciliennes - The Sicilian Vespers 27 18 29 20 30 21 32 22 , Conte di San Bonifacio 34 23 35 24 36 25 38 26 39 27 - The Masked ball 41 28 - King for a day 43

2. Sacred works Page Page Messa da 45 Laudate Pueri in D 45 45 Quo Tollis in F 46 Messa solenna 45 Quattro Pezzi Sacre 46 Pater Noster 45 Tantum ergo in F & G 46 Ave Mariain b 45 Te deum 46

3. Chamber music, Cantatas Page Page Sring quartett in e 46 Album with 6 Romances 46 46 Songs with Piano accompaniment 46 2 - Verdi complete works –

Aida

Opera in 4 Acts

Total time ca. 2 1/4 hours

Premiere: 24 December 1871

Cast recording

London Symphony Orchestra - Erich Leinsdorf , Joyce Mathis, , Bruce Brewer, Plácido Domingo, Leontyne Price, , , Hans Sotin Recorded 1971

Libretto by Antonio Ghislanzoni, written by one of the Egyptologist Auguste Mariette Bey scenario.

Roles:

• Pharao Ramses, The King of Egypt () • Amneris, his daughter (Mezzo ) • Aida, Ethiopian slave (Soprano) • Radames, ägyptischer Feldherr () • Ramphis, High prist of Isis (Bass) • Amonasro, King of Ethiopia and father of Aida (Bariton) • A messenger (Tenor) • eine Tempelsängerin (Mezzo soprano) • Priests, Pandey, Minister, soldiers caught Ethiopians, slaves, people (Chor)

Synopsis:

Background

Aida, an Ethiopian princess, is captured and brought into slavery in Egypt. A military commander, Radames, struggles to choose between his love for her and his loyalty to the Pharaoh. To complicate the story further, Radames is loved by the Pharaoh’s daughter Amneris, although he does not return the feeling.

Act 1 Scene I: A hall in the King’s palace; through the rear gate the pyramids and temples of Memphis are seen. Aida, the daughter of the Ethiopian King Amonasro, lives at Memphis as a slave. Her Egyptian captors are unaware of her true identity. Her father has made an incursion into Egypt to deliver her from servitude. But since her capture, Aida has fallen in love with Radames, a young warrior (Romanza, Radames: “Heavenly Aïda”). She has a dangerous rival in Amneris, the daughter of the Egyptian king. (Duet, Radames and Amneris: “In thy visage I trace.”) Incited by Amneris, the high priest Ramfis (Terzett, Aïda, Amneris, and Radames: “Oh fate o’er Egypt looming”) declares that Radames has been selected by Isis to be the leader of the army against Amonasro. (Battle Hymn: “On! Of Nilus’ sacred river, guard the shores.”) Aida’s heart is torn between her love for her father and her love for Radames. (Scene, Aida: “Return a conqueror.”) Scene II: The Temple of Vulcan. In the center an altar illuminated by a mysterious light from above. Solemn ceremonies and dance of priestesses. (Chorus of priestesses: “O mighty Ptha.”) Installation of Radames to the office of commander-in-chief. (Prayer, Ramfis and chorus: “O mighty one, guard and protect!”)...

Act 2 Scene I: A hall in Amneris’ apartment. Amneris’ chamber. Festal dances and music. (Chorus of women: “Our songs his glory praising.”) Amneris receives her slave Aida and cunningly tricks her into professing her love for Radames by lying and declaring that Ramades has fallen in battle. Aida’s distress upon hearing this news betrays her love of Radames. (Scene and duet, Amneris, Aida: “The chances of war afflict thy people, poor Aida;” Aida: “O love, O joy tormenting.”) Scene II: Outside the city walls at the grand Gate of Thebes. Radames returns victorious. (Chorus, king and people: “Glory to Egypt, to Isis!”) Grand triumphal march. The Egyptian king decrees that on this day the triumphant Radames may have anything he wishes. The Ethiopian captives are marched in. Amonasro appears among them. Aida immediately rushes to her father, but their true identities are still unknown to the Egyptians. Amonasro declares that the Ethiopian king has been slain in battle. (Amonasro: “This my garment has told you already.”) Out of his love for Aida, Radames uses the King’s grant to release the prisoners. The grateful King of Egypt declares him his successor and the betrothed of his daughter. Aida and Amonasro remain as hostages to ensure that the Ethiopians do not avenge their defeat. 3 - Verdi complete works –

Act 3 Scene: On the banks of the Nile, near the Temple of Isis. (Chorus of priests and priestesses: “O thou who to Osiris art...”) Amneris enters the temple in preparation for her wedding. Outside, Aida waits to meet with Radames as he planned (Aria, Aida: “Oh, my dear country!”). Amonasro enters and he forces Aida to learn from Radames the position of the Egyptian army. (Duet, Aida and Amonasro: “Once again shalt thou gaze.”). Radames enters and affirms that he will only marry Aida, and she later convinces him to flee to the desert with her. As an excuse to ease their flight, Aida asks the position of the Egyptian army, which Radames tells and Amonasro hears. (Duet, Radames and Aida: “Again I see thee.”) When Amonasro reveals his identity, Radames is dishonored. At the same time Amneris exits the temple, and seeing the scene calls the guards. Amonasro flees with Aida, while the despairing Radames allows himself to be taken prisoner to give them time to flee. (Terzett, Amonasro, Aida, Radames: “I am dishonoured.”)...

Act 4 Scene I: A hall in the Temple of Justice. To one side is the door leading to Radames’ prison cell. Amneris (Scene, Amneris: “My hated rival has escaped me”) desires to save Radames, but he is repulsed by her (Duet, Amneris and Radames: “Now to the hall the priests proceed”). Radames’ trial takes place offstage; he will not speak in his own defense, and is condemned to death, while Amneris, who remains onstage, pleads with the priests to show him mercy. The sentence is that he shall be buried alive. Amneris curses the priests as Radames is taken away. (Judgment scene, Amneris, Ramfis, and chorus: “Heavenly spirit, descend.”) Scene II: The lower portion of the stage shows the burial place in the Temple of Vulcan; the upper portion represents the temple itself. Aida has hidden herself in the crypt to die with Radames. (Scene and duet, Radames and Aida: “The fatal stone now closes over me.”) They accept their terrible fate (Radames: “To die, so pure and lovely”), bid farewell to earth and its sorrows, and await the Dawn, while Amneris weeps and prays above their tomb in the midst of the priestly ceremonies, and the jubilant dance of the priestesses. (Finale, chorus of priests and priestesses: “Almighty Ptha.”)

Alzira

Opera in 2 Acts Total time ca. 1 1/2 hours

Premiere:12 August 1845

Cast recording

Münchner Rundfunkorchester & Chor des Bayerischen Rundfunks-, Jan-Hendrik Rootering [Alvaro], [Gusmano], Donald George [Zamoro], [Zamoro], Daniel Bonilla[Ataliba],Ileana Cotrubas [Alzira], Sofia Lis [Zuma], Alexandru Ionta [Otumbo] Recorded 1983

It is named after the almost eponymous play Alzire, ou Les Américaines of Voltaire. The Italian-language by Salvatore Cammarano.

Roles: • Alvaro, Governor of Peru (Bass) • Gusmano, his son (Bariton) • Ovando, Spanish military commander (Tenor) • Zamoro, Inca Chief (Tenor) • Ataliba, Ruler of the Incas (Bass) • Alzira, his daughter (Soprano) • Zuma, sister of Alzira (Mezzo soprano) • Otumbo, Inca warrior (Tenor) • Spanish officiers and soldiers • People oft he Inca

Synopsis:

Prologue - The Prisoner

Peruvian Indians drag the Spanish governor, Alvaro, into the square and are about to execute him. Suddenly Zamoro, an Inca, appears and asks them to release the man; they do so. Zamoro tells the Indians that he had been captured and tortured by Gusmano, the leader of the Spaniards (Un Inca, eccesso orribile / "An Inca..dreadful outrage!") to the point where everyone believed him to be dead. Otumbo tells Zamoro that Alzira, his beloved, along with her father Ataliba, are being held captive by the Spaniards, and he urges the Indian tribes to revolt: (Risorto fra le tenebre / "I emerged into the darkness ..."). 4 - Verdi complete works –

Act 1 - A Life for a Life

Scene 1: The main square of Lima Alvaro announces that, due to his age and infirmity, he is relinquishing the governorship and handing it over to his son, Gusmano who states that his first act will be to secure peace with the Incas. Ataliba gives him his support, but advises him that his daughter Alzira is not yet ready to marry Gusmano. He, while understanding (Eterna la memoria / "The eternal memory of a desperate love is weighing her down ..."), urges the older man to try to persuade her (Quanto un mortal può chiedere / "Whatever a mortal man can ask for..")

Scene 2: Ataliba's apartments in the governor's palace As her father enters, Alzira wakes but is still half dreaming of Zamoro. She recounts a more disturbing dream she has had of Gusmano (Da Gusman sul fragil barca / "I was fleeing from Gusman in a frail boat") but, although he is dead, she still believes that Zamoro loves her: Nell'astro che più fulgido / "On the star that gleams most brightly ... there lives Zamoro". Ataliba continues to try to persuade Alzira to marry Gusmano, without success, until suddenly Zamoro enters. Believing that it is his ghost, Alzira is skeptical, but realizes that he is still alive. They pledge their love together. Gusmano enters, sees the couple together, and orders that Zamoro be arrested and immediately executed. There follows the sextet Nella polve genuflesso in which each of the characters expresses his/her feelings: "Alvaro begs his son to show mercy; Gusman remains obdurate but uneasy, Alzira. ... ., laments the passing of her short-lived happiness; Zamoro expresses his faith in her constancy; Zuma and Ataliba their despair". As the Inca invasion of Lima is announced, Alvaro confirms that Zamoro has saved him from certain death; Gusmano orders him to be freed to go out to fight with the invading Incas: "I shall meet you in battle, hated rival".

Act 2 - The Vengeance of a Savage

Scene 1: The fortifications of Lima Zamoro has led a fresh attack against the conquistadores and has been captured. Gusmano condemns him to death, but, over Alzira's protests, forces her to agree to marry Gusmano promising that he will spare Zamoro. Reluctantly, she agrees (Gusmano: Colma di gioia ho l'anima! / "My heart is bursting with joy").

Scene 2: A cave, some distance from Lima The defeated Incas are downcast, but they hear that Zamoro has escaped, dressed as a Spanish soldier. He soon enters but is in despair: Irne lungi ancor dovrei / " Must I drag out my days as a fugitive, bowed down with shame?". When he hears from his followers that Alzira has agreed to marry Gusmano and that preparations are being made, vows to fight: Non di codarde lagrime / "This is not the time for cowardly tears, but for blood!". He rushes out to the palace

Scene 3: Large hall in the governor's palace As the wedding of Alzira and Gusmano is about to begin, a Spanish soldier leaps forward and fatally stabs Gusmano. To Alzira's surprise it is Zamoro. Before he dies, Gusmano tells him that Alzira only agreed to the marriage in order to secure his release. He forgives Zamoro, blesses his union with Alzira, and receives a final blessing from his father as he di.

Aroldo - Reworking of Stiffelio

Opera in 3 Acts

Total time ca. 2 hours 10 minutes

Premiere:18 August 1857

Cast recording

Opera Orchestra of New York-Eve Queler Oratorio Society of New York & Westminster Choral Society-Lyndon Woodside Gianfranco Cecchele [Aroldo], Montserrat Caballé [Mina], Marianna Busching [Elena], [Egberto], Louis Lebherz [Briano], Paul Rogers [Enrico], Vincenzo Manno [Godvino] Recorded 1990

Italian libretto by . Behind Aroldo hides the fashioned and completely redesigned Opera Stiffelio. 5 - Verdi complete works –

Roles

• Aroldo, a Saxon Knight (Tenor) • Mina, his wife, daughter of Egbert (Soprano) • Elena, Mina's cousin (Mezzo soprano) • Godvino, an adventurer, guest of Egberto (Tenor) • Egbert, a old Knight, Mina's father (Bariton) • Briano, a pious hermit (Bass) • Enrico, Mina‘s Cousin (Tenor) • Crusaders, servants, the Knights and their ladies and hunters, people (Choir and statists)

Synopsis:

Prehistory The Crusaders Aroldo is after the Third Crusade under Richard the Lionheart from Palestine in the castle of his father Egberto returned to Kent. Among his companions heard the pious hermit Briano who saved him at Ascalon in Palestine life and now is his spiritual counsel. During Aroldos absence, the adventurer Godvino, the guest was on Egbertos castle, Aroldos woman seduces Mina.

Act 1 Scene 1 - A hall in Egberto's castle in Kent People in his castle welcome Aroldo home. Mina enters and confesses her affair with another, in “Heavens, let me breathe…” Aroldo enters as she prays. Aroldo tells Mina that Briano saved his life. As he takes her hand in his, he notices that Mina is not wearing his mother’s ring. Briano comes in and tells them that guests have arrived. Both of the men leave. Scene 2: A suite of rooms in the castle Furtively, Godvino enters the room while a party is progressing in interior rooms. He laments that Mina has not contacted him in any way and, in a pre-arranged plan, leaves a letter within the pages of a book to which he has a key. However, unseen by Godvino, Briano has entered and observes Godvino's actions. He grows suspicious: "a friend of Aroldo?", he wonders. The guests flow into the room and Godvino is absorbed within the group. They all express their joy at Aroldo's return. Briano approaches Aroldo and explains what he has seen, pointing across the room to Enrico, Mina's cousin, as the one who planted the letter and who then picked up the book. But he is amongst the group and is dressed in the same way as Godvino, so there is some confusion. Suspicion falls on Enrico as Aroldo reveals that his honour has been betrayed. He tells of a similar situation in Palestine: Aria: Vi fu in Palestina / "In Palestine there was once a certain man....", and confronts Mina, since he knows that she has a key to the book and he believes that it too contains a secret letter. Mina's attempts to stall fail, and Aroldo breaks open the locked book and a letter drops from it to the floor. Quickly stepping forward, Egberto picks it up stating that no one shall see it. Aroldo is angry and Mina defends her father. Knowing the real culprit, Egberto confronts Godvino and demands that they meet in the churchyard.

Act 2 - The castle cemetery Alone in the churchyard, Mina sings “O Heaven. Where am I?” Godvino comes in but she wants to be left alone and have her ring returned. Godvino tells her he loves her. Mina says she hears her mother’s voice coming from her tomb, with “Ah, from the depths of that tomb there echoes a sinister trembling…” Egberto enters, sees the couple, then sends Mina off. He confronts Godvino with two swords in hand. Godvino won’t take one but Egberto sings “Are you dead to any sense of honor?” He accuses Godvino of being a coward and of being a bastard.

Act 3 - An anteroom in Egberto’s castle Egberto, feeling dishonored, cannot take his revenge on Godvino as he’s fled with Mina. He sheaths his sword and sings “O sword of honor…be gone from me.” He bemoans the loss of his daughter Mina, with “Mina, I thought through you, heaven had sent me an angel, a ray of pure love.” He writes a short note to Aroldo of farewell when Briano enters as he’s about to drink poison. The latter tells Egberto that Godvino has been caught and will be brought right to the castle. Egberto grabs his sword and is happy that one of them will die soon. He sings “Oh inexpressible joy…” then he leaves.

Act 4 - A valley close to Loch Lomond A group of huntsmen, shepherds and reapers are on the banks of Loch Lomond. They leave just as Briano and Aroldo appear. The latter confesses that he still loves Mina. They both pray as a storm starts up and the group of reapers and others return. A boat, caught up in the storm, is shipwrecked along with Mina and Egberto. Egberto knocks on a door and is surprised to see Aroldo, who is very angry. He and Briano thought they’d never see Mina or her father ever again in the remote place. 6 - Verdi complete works –

Attila

Opera in 3 Acts

Total time ca. 2 hours

Premiere:17 March 1845

Cast recording

Royal Philharmonic Orchestra-Lamberto Gardelli, -John McCarthy Finchley Children's Music group-Richard Andrewes, Ruggero Raimondi [Attila], Sherill Milnes [Ezio], [Obadella], [Foresto], Ricardo Cassinelli [Uldino], Jules Bastin [Leone] Recorded 1972

Italian libretto by Temistocle Solera, based on the play Attila, König der Hunnen by Zacharias Werner.

Roles

• Attila, King of the Huns, (Bass) • Ezio (Aetius), a Roman General, (Bariton) • Odabella, daughter of the Lord of Aquileia, (Soprano) • Foresto, a Knight of Aquileia, (Tenor) • Uldino, a Breton slave of Attila's, (Tenor) • Leone (Leo der Große), Bishop (Pope Leo I), (Bass) • Captains, Kings and Soldiers of the Huns, Priestesses, Aquileians, Roman Soldiers and populace of (Chorus)

Synopsis:

Prologue

Aquileia, , 452 A.D. Attila, “the scourge of God,” has invaded Italy. The Huns celebrate their victory as a group of captured Roman women is brought in. The Roman leader is Odabella, daughter of the Lord of Aquileia, who has been killed by Attila. She declares that Italian women will always defend their country. Impressed by her courage, Attila offers to grant her a favor and Odabella asks for a sword. When Attila gives her his own, she vows to use it against him to avenge her father’s death. After the women have left, Attila summons the Roman general Ezio, greeting him with respect as a worthy adversary. Ezio proposes a secret agreement: the entire Roman Empire shall be Attila’s if he leaves Italy to Ezio (Duet: “Tardo per gli anni”). Attila angrily rejects the offer and declares that he will raze Rome. A storm rages across a mudflat in the Adriatic lagoons. Once it has passed, the nobleman Foresto arrives with a group of Aquileian refugees. He is worried about Odabella, his fiancée (“Ella in poter del barbaro”). The refugees greet the sun as a sign of hope and Foresto urges them to build a new city there between sea and sky—the future .

Act 1

Odabella has stayed in Attila’s camp, which has been moved close to Rome, to find an opportunity to kill him. Looking at the night sky, she imagines seeing the faces of her father and of Foresto, whom she also believes dead (“Oh! nel fuggente nuvolo”). Suddenly Foresto appears. She is overjoyed but he rejects her and, having seen her with Attila, accuses her of betrayal. Odabella convinces him that all she wants is to have revenge, and the lovers are reconciled. In his tent at night, Attila recounts a terrifying dream: an old man confronted him at the gates of Rome and, in the name of the gods, denied him access (“Mentre gonfiarsi l’anima”). Recovering his composure, he calls on his troops to march on the city, as a procession approaches. It is led by the Roman bishop Leo—the old man of Attila’s dream, who now repeats the same words. Attila is horrified as the Christians praise the power of God.

Act 2

Alone in his camp, Ezio muses on Rome’s former glory (“Dagl’immortali vertici”). Slaves of Attila appear and invite him and the Roman captains to a banquet. One is Foresto, who suggests a plan for a surprise attack on Attila during the feast. Ezio is excited at the thought of avenging his country. The King of the Huns welcomes Ezio and the Romans to his camp. Priestesses sing and amazons prepare to entertain the guests. Ezio repeats his suggestion to share power with Attila but is refused again. Meanwhile Foresto tells Odabella that Attila’s cup of wine has been poisoned. Feeling cheated out of her revenge, she warns the King as he is about to drink. Furious, Attila demands to know who is responsible. When Foresto steps forward, Odabella asks that the right to punish him be given to her in return for saving the King (Ensemble: “Lo spirto de’ monti”). Attila agrees and declares that as a sign of gratitude he will marry Odabella the next day. 7 - Verdi complete works –

Act 3 Foresto awaits news of Odabella’s marriage, lamenting her apparent treachery (“Che non avrebbe il misero”). Ezio arrives and tells Foresto that his men are ready to attack the Huns at his signal. As the wedding procession is heard in the distance, Odabella suddenly appears, distracted and begging her father’s ghost for forgiveness for marrying the man who killed him. Foresto confronts her, but she protests that she always loved him, and soon everything is explained between them. When Attila, searching for his bride, finds Odabella with Foresto and Ezio, he accuses them of disloyalty and ingratitude (Quartet: “Tu, rea donna”). All three answer with hatred, and as distant cries signal the beginning Roman attack on the unsuspecting Huns, Odabella stabs Attila.

Don Carlos

Opera in 5 Acts (5 Acts: 1.Version in french, 4 Acts: Version in ital.)

Total time ca. 4 hours

Premiere: 11 March 1867

Cast recording

This recording is a mix of the best parts of all versions with French text. Coro e Orchestra del Teatro alla Scala Milano - Plácido Domingo [Don Carlos], [Elisabeth], [Eboli], Ruggero Raimondi [Philippe II], [Rodrigue], [Inquisiteur], Ann Murray [Thibault], Arleen Auger, Nikita Storojev, Antonio Savastano Recorded 1962

Opera in 4 Acts (new Version in ital.) Chorus and Orchestra of - Yannick Nézet-Séguin [Elisabeth de Valois], Anna Smirnova [Eboli], Yonghoon Lee [Don Carlo], [Rodrigo], Giorgio Giuseppini [Philip II], Eric Halfvarson [Inquisitor] New York, Metropolitan Opera, 18. Dezember 2010

French-language libretto by Joseph Méry and Camille du Locle, based on the dramatic play Don Carlos, Infant von Spanien (Don Carlos, Infante of Spain) by Friedrich Schiller Roles

• King Philipp II. (Bass) • Don Carlos, Infant of Spain, his son (Tenor) • Rodrigues (Rodrigo), Marquis of Posa, later Duke of Posa, Don Carlos' friend (Bariton) • Elisabeth von Valois, Daughter of the king of France, later Queen of Spain (Soprano) • Prinzessin Eboli, maid of Elizabeth (Mezzo soprano) • The inquisitor of the kingdom, an old man of ninety years and blind (Bass) • A monk, formerly Emperor Charles V. (Bass) • Der Graf von Lerma, Grande from Spain (Tenor) • Thibault, Page of the Queen (Soprano) • Voices from above (Soprano) • Six envoys from Flanders (Basses) • Emissary of Flanders and other Spanish provinces, lords and ladies of the, Spanish court, people, pages, guards of the king, monks, servants of the Inquisition, soldiers, magistrates, etc.

Synopsis:

Act 1 - The forest of Fontainebleau

Don Carlo, Infante of Spain, has come secretly to France to see Elisabetta de Valois, to whom he is betrothed but whom he has never met. In the wintry forest of Fontainebleau the two young people meet by chance and fall in love. But when Lerma, the Spanish ambassador, arrives, he tells them that as a condition of the peace treaty between France and Spain, Elisabetta's father has given her not to Carlo but to his father, Filippo.

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Act 2

Part 1: The Queen’s gardens in Carlo, in his misery, visits the cloister of the monastery of St. Just, where his grandfather, Carlo V, became a friar and retreated from the cares of the throne. When Carlo confesses to his friend Rodrigo, Marquis of Posa, his love for his father's wife, Rodrigo urges him to devote himself instead to the cause of Flemish independence from Spanish oppression. The two men pledge friendship and devotion to liberty.

Part 2: A garden outside the monastery gates The queen's ladies are gathered. The Princess of Eboli, accompanied by the page Thibaut, sings a song. When the queen appears the Marquis of Posa is announced. Along with letters from France he gives her a letter from Carlos. As she reads it he is engaged in polite conversation with Eboli. Posa then begs the queen to intercede with the king for Carlos, who is suffering from his displeasure. Carlos appears and all withdraw to allow him to be alone with the queen. He begins quietly, asking for her help with the king, but becomes more emotional, lamenting his lost love and collapses at her feet. She is distressed and he recovers and wildly declares that he loves her. She answers indignantly, as becomes the wife of his father, and he rushes from her presence in self-loathing and despair. The king arrives and, angry at finding the queen alone, dismisses the lady who should have been with her and orders her to return to France. Elisabeth takes an affectionate farewell of her and leaves. The king detains Posa, who is about to go, and asks why he has never sought favor from the king, though he has deserved it. Posa answers that he wants nothing for himself, but begs for peace for the people of Flanders. The king offers peace brought about by the sword, pointing to Spain as an example, but Posa cries out that this is the peace of the grave. Philip pardons his freedom fo speech but warns him against the grand inquisitor. He confides his fears that his wife and son are betraying him and authorises Posa to visit the queen at any time to investigate this suspicion.

Act 3

Part 1: The Queen’s gardens in Madrid Carlo goes to the queen's gardens at midnight to see Elisabetta but instead is met by the masked Eboli, who is in love with him. When he realizes who she is and shows his disappointment, Eboli threatens to bring about his downfall. To protect him, Rodrigo takes incriminating papers from the Infante.

Part 2: A large square in front of Valladolid Cathedral In the square before the cathedral, a crowd gathers to witness an auto-da-fé. Carlo leads a delegation of Flemish deputies to plead for clemency for the heretics. When the king refuses, Carlo raises his sword against his father. To his astonishment, Rodrigo disarms him. As the condemned are led to the stake, a voice from heaven announces the salvation of their souls.

Act 4

Part 1: The King’s study in Madrid Alone in his study, Filippo laments his wife's indifference. He then calls in the aged Grand Inquisitor, who urges the death penalty for both Carlo and Rodrigo. After the implacable old priest has left, Elisabetta bursts in, crying that her jewel casket has been stolen. The king produces it, and when he forces it open, Carlo's portrait falls out. He accuses his wife of adultery. The queen faints, and Filippo summons Eboli and Rodrigo for help. When the men withdraw, Eboli confesses responsibility for Elisabetta's betrayal - it was she who stole the jewel casket - and when she goes on to confess that she once was the king's mistress, the queen banishes her to a convent. Eboli, cursing her own fatal beauty, vows to save Carlo.

Part 2: Carlos’s prison In Carlo's prison cell, Rodrigo explains that he has allowed Carlo's incriminating papers to be found on his person and thus taken the blame for the Flemish insurrection. As he takes his leave, he is shot to death by a soldier of the Inquisition. The Infante is given his freedom by his father as a mob storms into the cell to defy the monarch. Filippo is protected from the throng by the arrival of the Inquisitor.

Act 5

Back in the cloister of St. Just, Elisabetta waits to bid farewell to Carlo. The lovers are surprised by Filippo and the Inquisitor, but the Infante is saved from them when Carlo V emerges from the shadows and draws him into the tomb.

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Ernani

Opera in 4 Acts

Total time ca. 2 1/4 hours

Premiere:19 March 1844

Cast recording

RCA Italiana Opera Orchestra & Chorus - Carlo Bergonzi (Tenor) - Ernani, Leontyne Price (Sopranoo) - Donna Elvira, Mario Sereni (Bariton) - Don Carlo, Ezio Flagello (Bass) - Don Ruy Gomez de Silva, Fernando Iacopucci (Tenor) - Don Riccardo, Hartje Mueller (Bass) - Jago, (Mezzo-Sopranoo) – Giovanna Recorded 1968

Italian libretto by Francesco Maria Piave, it’s based on the play by Victor Hugo, called Hernani.

Roles • Ernani, a bandit (Tenor) • Don Carlos, King of Spain, later Charles V, Holy Roman Emperor (Bariton) • Don Ruy Gómez de Silva, spanish Grande (Bass) • Elvira, his niece and fiance (Soprano) • Giovanna, her nurse (Soprano) • Don Riccardo, Don Carlo's equerry (Tenor) • Jago, Don Ruy's equerry (Bass)

Synopsis:

Act 2 Setting: Mountains of Aragon Bandits surround Ernani in their camp and want to know why Ernani is so gloomy, and they sing “To you we drink…” and “Ernani, why so gloomy? Why, oh strong one, does care sit on your brow?” Ernani tells them after noting their concern “Thanks, dear friends…As the flower turns to the sun”, and he also says that he really loves Elvira. Unfortunately, she’s to marry an old man, Gomez de Silva, against her will – which throws a large roadblock in the way of his plans. Ernani wants the bandits to kidnap her so he can be with his true love.

Act 2 Setting: A hall in Silva’s palace Ernani conceals himself as a pilgrim and asks for shelter. Silva lets him stay and that man tells Ernani that Elvira thinks Ernani is dead. Ernani reveals himself to her and she says she had planned to die on the altar by her own hand, singing “Ah, if I could die now…” Silva walks in and finds them together. He says he promised to protect Ernani from the king and will do so. Ernani will then owe him a perpetual debt. They all sing “No, I want to keep a greater revenge”. Carlos arrives and wants to find out why the castle is barred. Silva won’t surrender Ernani and sings “We shall see, you bold old man…” The Don’s men cannot locate Ernani.

Act 3 Setting: Charles the Great’s burial vault at Aachen Carlos decides to visit Charlemagne’s grave. The latter’s successor is the Holy Roman Emperor and being elected by delegates from several countries. Carlos says that if he’s crowned, he’ll change his life. He sings “Oh, the dreams & deceits of my youth…” He hides and overhears Silva and others and Ernani talking. The latter says he will murder Carlos. The latter’s followers enter and the conspirators are surprised.

Act 4 Setting: Ernani’s Castle Ernani and Elvira are now married. Ernani hears a bugle call. Silva comes in and gives Ernani a dagger. Before he kills himself he asks to “sip from the cup of love…” and sings “Listen, just one word…” but he’s cursed by a masked Silva who says he’s just a coward. Ernani does keep his oath by stabbing himself in his heart. Before he dies that he sings “Your weeping is in vain, woman…” He dies in her arms, asking her not to kill herself. Ernani’s real name is Don Juan of Aragon. The very first and complete recording of any opera was this one, done in 1904 and forty single-sided discs were used. HMV in England did it.

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Falstaff

Opera in 3 Acts

Total time ca. 2 3/4 hours

Premiere: 09 February 1893

Cast recording

Los Angeles Philharmonic Orchestra & Master Chorale[Roger Wagner]- Renato Bruson [Falstaff], Lucia Valentini Terrani [Mrs.Quickly], Katja Ricciarelli [Alice], Brenda Boozer [Meg], Leo Nucci [Ford], Michael Sells [Dr.Cajus], Dalmacio Gonzalez [Fenton], William Wildermann [Pistola] Recorded 1980

Italian libretto by , after Shakespeare's The Merry Wives of Windsor.

Roles

• Sir John Falstaff , A fat and vain knight (Bariton) • Ford, A wealthy merchant (Bariton) • Fenton, in love with Nannetta (Tenor) • Dr. Cajus, A French physician (Tenor) • Bardolfo, in Falstaff's services (Tenor) • Pistola, also in Falstaff's services (Bass) • Mrs. Alice Ford, Another lady of Windsor and wife of Ford (Soprano) • Nannetta, Ford's daughter (Soprano) • Mrs. Quickly, Friend of Alice Ford (Mezzo soprano) • Mrs. Meg Page, Friend of Alice Ford (Mezzosopran) • Robin (Tenor) - a Page at Ford (Tenor) • silent roles - The landlord, Falstaff's Page • Citizens of Windsor (Chorus)

Synopsis:

Verdi's Falstaff takes place in Windsor, England, at the end of the 14th century.

Act 1 Scene 1: Inside the Garter Inn Falstaff is writing letters. Dr Caius enters and complains of various outrages committed against him by Falstaff and his followers, Pistola and Bardolfo. Falstaff unrepentantly admits to the accusations against him, but Pistola and Bardolfo deny the charges, claiming that Caius was so drunk at the time he didn't know what was going on. Counting his money, Falstaff laments his impecunious state and announces his intention of repairing his fortunes by beginning affairs with the wives of two wealthy men who, he claims, are already smitten with his corpulent charms. He tells Pistola and Bardolfo to take the letters to the two ladies, Alice Ford and Meg Page, but they refuse, saying that such errands are contrary to their sense of honor. Falstaff derides their notions of honor and chases them off angrily, entrusting the letters to a page.

Scene 2: A garden outside Ford's house Alice and Meg meet, each bursting with news of a letter from Falstaff. They compare letters and find them identically phrased. Their amusement turns to indignation and they decide on vengeance. Nannetta, Alice's daughter, and Fenton, her sweetheart, seize the opportunity to exchange stealthy kisses. In another part of the garden, Pistola and Bardolfo tell Ford of Falstaff's intentions. He arranges to be introduced to Falstaff under the name of Brook, so that he can keep an eye on him. The ladies decide to send Mistress Quickly to Falstaff, giving him an assignation with Alice. They plan to play a trick on him, but Ford, whose jealousy is a burden to his wife, is not to know.

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Act 2 Scene 1: Inside the Garter Inn Falstaff is drinking. Pistola and Bardolfo pretend to be penitent for refusing to take the letters. Quickly brings the mesage that Alice will be waiting for Falstaff between two and three o'clock, when her husband is always absent. She tells him that both Alice and Meg are pining with love for him and that neither knows of his letter to the other. Ford, disguised, is introduced to Falstaff, spinning a tale that he has long pursued Alice in vain, and asking for Falstaff's help, as a man of the world, to win her, suggesting that if Falstaff can break down her resistance, he will be able to follow suit. Falstaff replies that nothing could be easier - he already has an assignation with her. Ford seethes with rage and jealousy, but has to contain himself.

Scene 2: A room in Ford's house The ladies set the scene, with particular attention to a big laundry basket. Nannetta tells her mother that her father insists she marry Dr Caius. Alice tells her not to worry, she will look after the matter. Alice takes up a lute while the others hide within earshot. Falstaff's advances are interrupted when Meg rushes in to warn Alice that her husband is coming. They hide Falstaff behind a screen. Ford, Fenton, Caius, Pistola and Bardolfo search for Falstaff, beginning with the laundry basket. When they turn their attention elsewhere, the ladies bundle Falstaff into the basket. Hearing sounds behind the screen, the searchers pull it aside, revealing Nannetta and Fenton exchanging a kiss. Ford is furious. Alice calls her servants and orders them to tip the basket, with Falstaff inside it, into the Thames.

Act 3 Scene 1:Outside the Garter Inn The disconsolate Falstaff calls for wine to wash away the water of the Thames, becoming more cheerful as the wine takes effect. At first he refuses to listen to Quickly, who comes again as messenger from Alice, but relents when she assures him it was all a misunderstanding and Alice is desolated . He is given another assignation, in Windsor Park at midnight, where he is to dress up as Herne the Hunter. The ladies, along with Ford, who has now been admitted to the conspiracy, listen and continue to plot. They plan to dress up as goblins, fairies and witches and take advantage of the legend that the park is haunted to frighten Falstaff. Ford takes Caius aside and tells him to wear an easily identifiable costume, so that he can be married to Nannetta. But Quickly has overheard the plot.

Scene 2: Windsor Park Fenton sings a serenade. Alice instructs him to put on a costume identical to that prescribed by Ford for Caius. They all hide as Falstaff appears. Alice meets him, but then runs away, claiming that Meg is following her. The witches and fairies appear, with Nannetta as fairy queen. They surround Falstaff, pinching and poking him, demanding that he repent of his wicked ways, but finally he recognises Bardolfo and the masquerade is over. The ladies reprove him for even thinking they would have accepted him as a lover and Ford reveals himself as Alice's husband, not the lovelorn Brook. He announces the marriage of the queen of the fairies, but two couples, similarly attired, step forward and he performs a double wedding. Unveiling reveals that Caius has been married to Bardolfo and Nannetta to Fenton. Ford has to accept this with good grace, as Falstaff has accepted his humiliation. Falstaff is forgiven and all agree to dine together.

Giovanna d´Arco

Opera in 3 Acts

Total time ca. 2 hours

Premiere: 15 February 1845

Cast recording

Ambrosian Opera Chorus [John McCarthy] & Symphony Orchestra-Montserrat Caballé Plácido Domingo, Sherrill Milnes, , Keith Erwen Recorded 1973

Italian libretto by Temistocle Solera. The work partly reflects the story of Joan of Arc and appears to be loosely based on the play Die Jungfrau von Orleans by Friedrich von Schiller.

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Roles

• Giovanna d’Arco, Daughter of Giacomo (Soprano) • Carlo VII, King of France (Tenor) • Giacomo, shepherd and father of Giovanna (Bariton) • Delil, a French officer (Tenor) • Talbot, an English Commander (Bass) • French and English soldiers, French courtiers, villagers, nobles, angels, demons (Chorus)

Synopsis:

Prologue

Scene 1: The French village of Domrémy Charles (the not-yet-crowned King of France) describes to his officers and the villagers his vision of the Virgin Mary commanding him to surrender to the invading English army and laying down his weapons at the foot of a giant oak tree. (Aria: Sotto una quercia parvemi – "Beneath an oak I seemed"). Later, he expresses his frustration with the limitations of being a ruler. (Aria: Pondo è letal, martirio – "A deadly burden, a torment").

Scene 2: A forest By a giant oak tree, Giacomo prays for the safety of his daughter Giovanna, who before she falls asleep by a nearby shrine offers prayers to be chosen to lead the French forces. (Aria: Sempre all'alba ed alla sera – "always at dawn and in the evening"). Suddenly, Charles arrives, prepared to lay down his arms at the base of the tree. Meanwhile, the sleeping Giovanna has visions in which angels ask her to become a soldier and lead France to victory (Tu sei bella, the Demons' Waltz). She cries out that she is ready to do so. Charles overhears her and thrills at her courage. Her father Giacomo weeps, believing that his daughter has given her soul to the Devil out of her devotion to the future King.

Act 1

Scene 1: Near Reims Commander Talbot of the English army tries to convince his discouraged soldiers that their imminent surrender to the French is not due to forces of evil. Giacomo arrives and offers up his daughter, believing her to be under the influence of the Devil: Franco son io – "I am French, but in my heart ..." and So che per via dei triboli – "I know that original sin ...".

Scene 2: The French court at Reims Preparations are under way for Charles' coronation. Giovanna longs for her simple life back home. (Aria: O fatidica foresta – "O prophetic forest ..."). Charles confesses his love for Giovanna. She withdraws despite her feelings toward the King, because her voices have warned her against earthly love. Charles is taken to the Cathedral at Reims for his coronation.

Act 2 - The Cathedral square

The villagers of Reims have gathered in the Cathedral square to celebrate Giovanna's victory over the English army. The French soldiers lead Charles into the Cathedral. Giacomo has decided he must repudiate his daughter who, he believes, has entered a pact with the Devil. (Aria: Speme al vecchio era una figlia – "An old man's hope was a daughter"). He denounces her to the villagers (Aria: Comparire il ciel m'ha stretto – "Heaven has forced me to appear") and they are persuaded, although the King refuses to listen. Charles pleads with Giovanna to defend herself, but she refuses.

Act 3 - At the stake

Giovanna has been captured by the English army and is awaiting her death at the stake. She has visions of battlefield victories and begs God to stand by her, explaining how she has shown her obedience by forsaking her worldly love for the King as the voices had commanded. Giacomo overhears her pleas and recognizes his error. He loosens his daughter's bonds and she escapes. She rushes to the battlefield to turn French defeat into victory once more. Giacomo pleads with the King, first for punishment and then for forgiveness, which Charles grants. Charles learns of the French victory on the battlefield but also of Giovanna's death. (Aria: Quale al più fido amico – "Which of my truest friends"). As her body is carried in, Giovanna suddenly revives. Giacomo reclaims his daughter, and the King professes his love. The angels sing of salvation and victory, as Giovanna dies and ascends into heaven.

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I due Foscari –

Opera in 3 Acts

Total time ca. 1 3/4 hours

Premiere: 03 November 1844

Cast recording

ORF Symphony Orchestra & Chor Wien(Gottfried Preinfalk)-Lomberto Gardelli Piero Cappucilli [Doge], Losé Carreras [Jacopo], Katia Ricciarelli [Lucrezia], [Loredano], Voncenzo Bello[Barbarigo], [Pisana], Franz Handlos[ Servo], Mieczyslaw Antoniak [Fante] Recorded 1976/77

The Italian Libretto by Francesco Maria Piave based on the play The two Foscari by .

Roles • , Doge of Venice (Bariton) • Jacopo Foscari, his son (Tenor) • Lucrezia Contarini, Jacopo Foscari's wife (Soprano) • Jacopo Loredano, Member of the Council of Ten (Bass) • Barbarigo, a Senator (Tenor) • Pisana, Friend and confidant of Lucrezia (Mezzo soprano) • Attendant on the Council of Ten (Tenor) • Servant of the Doge (Bass) • Members of the Council of Ten and the Junta, Maidservants of Lucrezia, Venetian Ladies, crowd and masked men and women; Jailors, Gondoliers, Pages, and the two sons of Jacopo Foscari (Chorus) • Synopsis:

History of Performances The first production in the UK was in 1847, at Her Majesty’s Theatre in London. It was put on in Boston in 1847, also. The opera was performed in during 1846, at Theatre des Italiens and after that, several big houses mounted productions. In our times, this opera has had some productions. did it in 1988 and there’s a version of this on DVD. Teatro San Carlo mounted a version in in 2000 and also put it on DVD. In 1995 it was done at the Royal and the did it in Florida in 2008 as an integral part of their Verdi Cycle. La Scala mounted the show during 2008 and 2009 and the Bilbao Assn. of Lovers of Opera did it the same season. Concert performances are fairly common and Opera Orchestra of NY did 4 concert versions – 1981, 1992 and in 2007. Act 1 Scene 1 setting: Exterior of the Council Chamber in the Doge’s Palace Council of Ten members wait to enter the council chamber because they are to try the case of the son of a doge, Jacopo Foscari. He’s an accused murderer. Jacopo’s sworn enemy, Loredano, arrives. The latter’s friend Barbarigo lends his support. Since the doge has entered the trial chamber, they all go in as well. Jacopo had recently returned from exile so he’s taken from prison for the trial and hopes to see his beloved Venice again, when he sings “From the most distant place of exile…” He’s summoned to the chamber and told that the council may be merciful. Jacopo is livid. He sings “Only hatred, cruel hatred, is locked within their breasts…” He goes in. Act 2 Scene 1: Setting – the state prison Jacopo is in solitary and is sad he’s there. He envisions he’s being attacked by a famous condottiere soldier, Carmagnola, who was executed in Venice. He sings “Mighty warrior do not curse me…” He faints after that. When he’s still in a delirious state, Lucrezia visits. She tells him that the council has decided to give him further exile. She says that if necessary, she’ll join him there. Act 3 Scene 1: Setting – Piazetta of San Marco Gathered citizens express their joy because they are together, while Barbarigo & Loredano wait to see the galley which will transport Jacopo away into exile. Led out, he’s followed by Pisana and his wife. Pisana expresses his feelings for Lucrezia. He sings “Unhappy woman, unhappy through me alone.” In a large chorus number, Pisano, Lucrezia, Jacopo, Loredano, Barbarigo and the Venetian people express their feelings. Jacopo starts with “Father, children, wife, I bid you a last farewell.” Jacopo is escorted onto the ship and Lucrezia faints dead away, held in Pisana’s arms. 14 - Verdi complete works –

I Lombardi alla prima crociata - The Lombards (on the first crusade)

Opera in 4 Acts

Total time ca. 2,5 hours

Premiere: 11 February 1843

Cast recording Metropolitan Opera Orchestra & Chorus - , Richard Leech [Arvino], Samuel Ramey [Pagano], [Viclinda], [Giselda], Ildebrando D'Arcangelo [Pirro], Anthony Dean Griffey [Priore], Yanni Yannissis [Acciano], [Oronte], Jane Shaulis [Sofia] Recorded 1997

The Libretto is by Temistocle, based on an epic poem by Tommaso Grossi, which was "very much a child of its age; a grand historical novel with a patriotic slant".

Roles • Arvino, son of Lord Folco (Tenor) • Pagano, son of Lord Folco (Bass) • Viclinda, wife of Arvino (Soprano) • Giselda, daughter of Arvino (Soprano) • Pirro, Arvino's squire (Bass) • Prior of (Tenor) • Acciano, ruler of Antioch (Bass) • Oronte, son of Acciano ruler of Antioch (Tenor) • Sofia, wife of Acciano (Soprano) • Villagers of Milan, palace guards, crusaders, pilgrims, nuns, cut-throats, harem women, warriors (Chorus)

Synopsis:

Act 1 In Milan, on the square outside the basilica of St. Ambrogio, the brothers Arvino and Pagano are reconciled. They were once fighting over a woman and Pagano has returned after 18 years of exile. Although he says he is penitent, he is secretly plotting to murder his brother. Arvino is then proclaimed leader of the Lombard crusaders. Near Arvino's house, while the nuns of the nearby convent pray for God's blessing, Pagano is plotting his brother's death.Inside Arvino's house, Viclinda and her daughters pray to the Virgin Mary for mercy and promises to make a pilgrimage to the Holy Sepulcher. Pagano sets fire to the house but instead of killing his brother, he kills his father by mistake. Giselda prevents Arvino from taking revenge on Pagano, who is then banished from the city forever. Act 2 In the palace of Antioch, Acciano resolves to protect his city from the crusaders outside the city. Giselda is then taken prisoner and held in the harem where Oronte falls in love with her. His mother, secretly a Christian, approves of the relationship.Pagano is outside a cave in the rocks. He longs for the crusaders so that he can join their ranks. He is living like a hermit as punishment and is regarded as a saint. Arvino asks him how he can find his daughter and goes to Antioch. The hermit promises to aid him. Inside the harem in the Antioch palace, the jealous slave girls pretend to praise Giselda's beauty. The city has fallen and the crusaders make their way into the palace. Acciano has died during the battle and it appears that Oronte has died too. Giselda shrinks away with her father, stating it cannot be God's will that there should be so much bloodshed. Upon hearing this, Arvino tries to kill his daughter. Act 3 The crusaders are camped in the valley of Jehoshaphat, just outside of Jerusalem. The pilgrims follow the crusaders. Giseld flees from her father and is reunited with Oronte. They renounce everything in the past and vow to find their own home together. In Arvino's tent, Arvino curses his daughter and the hermit has disappeared. Giselda is in a cave with Oronte, who is mortally wounded. The hermit appears and baptizes the dying Oronte. Act 4 Giselda, in the cave, has a vision in which Oronte tells her that the spring of Siloim will provide water. The Lombards, weakened from the lack of water, remember their homeland. Giselda and the hermit appear and tell them of the miracle of the spring. Upon hearing this, the Lombards declare they are ready to conquer Jerusalem. In Arvino's tent, the hermit is dying from a wound he acquired in the fighting. The hermit reveals that he is Pagano, and the two brothers are reconciled. 15 - Verdi complete works –

I Masnadieri - The robbers

Opera in 3 Acts

Total time ca. 2 1/4 hours

Premiere:22 July 1847

Cast recording

New Philharmonia Orchestra & Ambrosian Singers - Lamberto Gardelli Caballé, Bergonzi, Cappucilli, Raimondi Recorded 1983

Italian libretto by Andrea Maffei after Schiller’s drama "Die Räuber/The robbers ".

Roles

• Amalia, orphaned niece of Massimiliano (Soprano) • Carlo (Karl) elder son of Massimiliano (Tenor) • Francesco (Franz), younger son of Massimiliano (Bariton) • Massimiliano (Maximilian) Count Moor (Bass) • Arminio (Hermann), servant to the Count (Tenor) • Moser, a priest (Bass) • Rolla (Roller), senior member of the band of robbers (Bariton) • chorus of robbers

Synopsis:

Act 1 Scene 1: Tavern – the borders of . Carlo, the favorite and eldest son of Count Massimiliano Moor, on a break from his studying at Dresden University, falls in amongst thieves. He becomes a member of a gang of highwaymen who terrorize local citizens by extortion, robbery, and rowdy singing. The latter is done at all hours of the night and day. Carlo has rapidly become tired of living this life of depravity and wants to return home because he loves his lifelong sweetheart and gentle cousin, Amalia. He sings “O castle of my fathers”. He sends a letter to his father begging forgiveness, and waits for a reply.

Act 2 Scene 1: Graveyard near the castle. Quite a few months go by and Amalia goes to pray at Count Massimiliano’s tomb. She sings “Blessed spirit, you have flown to the bosom of my Carlo.” A festive banquet is heard in the distance and this is hosted by Francesco, who is the new count. Arminio follows Amalia from the castle. He’s riddled with guilt over his part in Francesco’s scheming. He does reveal that the old Count and Carlo are both still alive. This provokes Amalia’s , “Carlo lives?….O sweet words…” He’s been disturbed by the arrival of Francesco, and is forced to run from the scene. Also searching for Amalia, is Francesco. He wants to ask her to marry him. She scorns him which makes him fly into a rage where he becomes violent. Amalia fakes a change of heart so she can embrace him and seize his dagger. She’s able to fend him off and make her escape into the forest.

Act 3 Scene 1: Clearing in Franconian forest. Robbers have gathered and sing about the pleasures of criminal activity. Amalia is in the same area of the forest. She doesn’t recognize her betrothed as he approaches. Carlo does reveal who he is, but doesn’t mention his comrades. There’s a joyous reconciliation. Carlos is horrified as he learns about his brother’s, unsuccessful, attack on Amalia’s virtue.

Act 4 Scene 1: Another room – Count Moor’s castle. Francesco awakens after a night of terrifying and guilt ridden nightmares. He sings “I fancied that, having risen from a sumptuous banquet, I was sleeping…” He asks for the local priest, who won’t absolve him for his heinous crimes. Brigands are heard storming the castle, & Francesco runs out, saying that he will defy the fires of hell.

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Il Corsaro - The Corsair

Opera in 3 Acts

Total time ca. 2 hours

Premiere: 25 October 1848

Cast recording New Philharmonia Orchestra & Choir - Lamberto Gardelli Montserrat Caballé, Jessye Norman, José Carreras, John Noble, Alexander Oliver, Clifford Grant,Gianpiero Mastromei Recorded 2005

Italian libretto by Francesco Maria Piave, based on Lord Byron's poem The Corsair.

Roles • Corrado, captain of the Pirates (Tenor) • Medora, Corrado's young lover (Soprano) • Gulnara, Seid's favorite slave (Soprano) • Pasha Seid, Pasha of Coron (Bariton) • Giovanni, a pirate (Bass) • Aga Selimo, Official of the Pasha (Tenor) • A Black Eunuch (Tenor) • A Slave (Tenor) • Eunuchs, slaves, pirates, soldiers, Turks, maids (Chorus and Statists)

Synopsis:

Place: A Greek island in the Aegean and the Turkish city of Corone. Time: The early 1800s

Act 1 – A Greek Island Scene 1: Corrado's ship The island is controlled by the corsairs, or pirates. A chorus introduces Corrado, the chief corsair, who is in exile. He laments his present condition. But he receives a letter containing military intelligence about the Turkish Pasha, Seid. It convinces him to set sail with his comrades, and he immediately starts rallying the troops. Scene 2: Medora's home Medora is alone, and anxious for Corrado's return. She picks up her harp and sings a beautiful, but vaguely sinister aria; some sixth sense seems to be telling her that things are bound to turn out badly. When Corrado finally arrives, the two sing a duet that captures both the serenity of their love and the uncertainty of their future. Medora pleads with Corrado not to leave, but finally he departs to confront the Pasha.

Act 2 - Corone Scene 1: The harem The slave girls in Pasha Seid's harem are looking after Gulnara, the Pasha's favorite. However, Gulnara is unhappy about the Pasha's attentions. She chafes at life in the harem, and longs for freedom and true love: Vola talor dal carcere / "At times my thought flies free from its prison". A eunuch brings Gulnara an invitation to a celebratory banquet anticipating the Pasha's victory in the impending sea battle with the corsairs. She expresses a hope of something better awaiting her in life: Ah conforto è sol la speme / "Ah, comfort lies only in hope for this lost soul" and the ladies of the harem tell her that "you are everyone's hope". Scene 2: The banquet Seid and his men express their feelings that Allah will protect them: Salve, Allah! tutta quanta / "Hail Allah! All the earth resounds with his mighty name". A slave asks the Pasha if a Dervish who has apparently escaped from the corsairs might be admitted. Seid grants an audience and questions him. Suddenly everyone notices flames at sea: the Pasha's fleet is burning. As the Dervish whips off his disguise and reveals himself to be Corrado, his corsairs invade the banquet, and a battle takes place. At first, it seems that Corrado and his men will win, but he makes a fatal mistake. Seeing that the harem is burning, Corrado decides to rescue Gulnara and the other women. This gives the Pasha and his men time to regroup. They take Corrado prisoner and Seid confronts him - Audace cotanto, mostrarti pur sai? / "Yet so bold do you stand before me" - as he condemns Corrado to a grisly death, in spite of pleas from Gulnara and the harem to spare him for saving their lives.

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Act 3 Scene 1: Seid's quarters Seid is enjoying his victory, but he is not entirely satisfied: Cento leggiadre vergini / "A hundred lissom virgins asked love of me" he says, but "my heart beats only for Gulnara". He is afraid she has fallen for the dashing Corrado. Sending for her, he proclaims his basic credo of revenge: S'avvicina il tuo momento / "Your moment approaches, dread thirst for vengeance". When she enters, he challenges her and she tells him that he is right; he threatens Gulnara, but she defies him and the Pasha storms out of the room. Scene 2: The prison Corrado is in prison and assumes that he is doomed: Eccomi prigionero! / "Here am I a prisoner". Having bribed a guard to let her into his cell, Gulnara vows to help him, handing him a knife to kill Seid. Corrado rejects her offer, citing his honor as a combatant. He also senses her deep feelings for him, and tells her that he is in love with Medora. Gulnara leaves, saying that she will kill Seid. In a brief interlude, the stormy music, which opened the Prelude, is heard again; this time, it accompanies a murder. On her return Gulnara reports that she takes all the blame for killing the Pasha: Sul capo mio discenda, fiero Iddio / "Upon my head, grim God, let your dread lightning fall". With their enemy gone, she and Corrado resolve to escape together to the corsairs' island. Scene 3: The Greek island Near death after taking poison, Medora is convinced that she will never see Corrado again. The ship carrying Gulnara and Corrado appears in the distance and, when they arrive, Corrado and Medora throw themselves into each other's arms. In a trio with each character expressing his/her feelings, Corrado begins by explaining how he and Gulnara became free: Per me infelice vedi costei / "Unhappy for my sake you see this woman; she risked her life to save mine". However, their joy does not last for long, for Medora dies. With his men trying to stop him, Corrado leaps from a cliff to his death as the opera ends.

Il Trovatore - The Troubadour

Opera in 4 Acts

Total time ca. 2 1/2 hours

Premiere: 06 March 1853

Cast recording Orchestre e Coro del Teatro dell'Opera di Roma - Thomas Schippers [Il Conte di Luna], [Leonora], Giuletta Simionata [Azucena], [Manrico], Ferruccio Mazzoli [Ferrando], Luciana Moneta [Ines], Angelo Mercuriali[Ruiz],Mario Rinaudo[Zingaro] Recorded 1964

Italian libretto by , based on the play El trovador (1836) by Antonio García Gutiérrez.

Roles • Manrico (The Troubadour), a troubadour and officer in the army of the Prince of Urgel (Tenor) • Count di Luna, a nobleman in the service of the Prince of Aragon (Bariton) • Leonora, noble lady, in love with Manrico and courted by Di Luna (Soprano) • Azucena, a gypsy, supposedly Manrico's mother (Mezzo soprano or Alto) • Ferrando, Luna's officer (Bass) • Ines, Leonora's confidante (Soprano) • Ruiz, Manrico's henchman (Tenor) • An old gypsy (Bass) • A messenger (Tenor) • Leonora's friends, nuns, the Count's lackeys, warriors, Gypsies (Chorus)

Synopsis:

Act 1 - The Duel Scene 1: The guard room in the castle of Luna (The Palace of Aljafería, Zaragoza, Spain) Ferrando, the captain of the guards, orders his men to keep watch while Count di Luna wanders restlessly beneath the windows of Leonora, lady-in-waiting to the Princess. Di Luna loves Leonora and is jealous of his successful rival, the troubadour Manrico. In order to keep the guards awake, Ferrando narrates the history of the count (Aria: Di due figli vivea padre beato / "The good Count di Luna lived happily, the father of two sons"): many years ago, a gypsy was wrongfully accused of having bewitched the youngest of

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the di Luna children; the child had fallen sick and for this the gypsy had been burnt alive as a witch, her protests of innocence ignored. Dying, she had commanded her daughter Azucena to avenge her, which she did by abducting the baby. Although the burnt bones of a child were found in the ashes of the pyre, the father refused to believe in his son's death; dying, he commanded his firstborn, the new Count di Luna, to seek Azucena. Scene 2: Garden in the palace of the princess Leonora confesses her love for Manrico to her confidante, Ines (Tacea la notte placida / "The peaceful night lay silent"... Di tale amor / "A love that words can scarcely describe"). When they have gone, Count di Luna hears the voice of his rival, Manrico, in the distance: (Deserto sulla terra / "Alone upon this earth"). While Leonora in the darkness mistakes the count for her lover, Manrico himself enters the garden, and she rushes to his arms. The count recognises Manrico as his enemy, who has also been condemned to death due to his political affiliations, and challenges him to a duel over their common love. Leonora tries to intervene, but cannot stop them from fighting (Trio: Di geloso amor sprezzato / "The fire of jealous love" ).

Act 2: The Gypsy Woman Scene 1: The gypsies' camp The gypsies sing the Anvil Chorus: Vedi le fosche notturne / "See! The endless sky casts off her sombre nightly garb...". Azucena, the daughter of the Gypsy burnt by the count, is still haunted by her duty to avenge her mother (Aria: Stride la vampa / "The flames are roaring!"). The Gypsies break camp while Azucena confesses to Manrico that after stealing the di Luna baby she had intended to burn the count's little son along with her mother, but overwhelmed by the screams and the gruesome scene of her mother's execution, she became confused and threw her own child into the flames instead (Aria: Condotta ell'era in ceppi / "They dragged her in bonds"). Manrico realises that he is not the son of Azucena, but loves her as if she were indeed his mother, as she has always been faithful and loving to him. Manrico tells Azucena that he defeated di Luna in their duel, but was held back from killing him by a mysterious power (Duet: Mal reggendo / "He was helpless under my savage attack"). A messenger arrives and reports that Leonora, who believes Manrico dead, is about to enter a convent and take the veil that night. Although Azucena tries to prevent him from leaving in his weak state (Ferma! Son io che parlo a te! / "I must talk to you"), Manrico rushes away to prevent her from carrying out this intent. Scene 2: In front of the convent Di Luna and his attendants intend to abduct Leonora and the Count sings of his love for her (Aria: Il balen del suo sorriso / "The light of her smile" ... Per me ora fatale / "Fatal hour of my life"). Leonora and the nuns appear in procession, but Manrico prevents di Luna from carrying out his plans and takes Leonora away with him.

Act 3: The Son of the Gypsy Woman Scene 1: Di Luna's camp Di Luna and his army are attacking the fortress where Manrico has taken refuge with Leonora (Chorus: Or co' dadi ma fra poco / "Now we play at dice"). Ferrando drags in Azucena, who has been captured wandering near the camp. When she hears di Luna’s name, Azucena’s reactions arouse suspicion and Ferrando recognizes her as the murderer of the count’s brother. Azucena cries out to her son Manrico to rescue her and the count realizes that he has the means to flush his enemy out of the fortress. He orders his men to build a pyre and burn Azucena before the walls. Scene 2: A chamber in the castle Inside the castle, Manrico and Leonora are preparing to be married. She is frightened; the battle with di Luna is imminent and Manrico’s forces are outnumbered. He assures her of his love (Aria, Manrico: Ah sì, ben mio, coll'essere / "Ah, yes, my love, in being yours"), even in the face of death. When news of Azucena’s capture reaches him, he summons his men and desperately prepares to attack (Stretta: l'orrendo foco / "The horrid flames of that pyre"). Leonora faints.

Act 4: The Punishment Scene 1: Before the dungeon keep Manrico has failed to free Azucena and has been imprisoned himself. Leonora attempts to free him (Aria: D'amor sull'ali rosee / "On the rosy wings of love"; Chorus & Duet: Miserere / "Lord, thy mercy on this soul") by begging di Luna for mercy and offers herself in place of her lover. She promises to give herself to the count, but secretly swallows poison from her ring in order to die before di Luna can possess her (Duet: Mira, d'acerbe lagrime / "See the bitter tears I shed"). Scene 2: In the dungeon Manrico and Azucena are awaiting their execution. Manrico attempts to soothe Azucena, whose mind wanders to happier days in the mountains (Duet: Ai nostri monti ritorneremo / "Again to our mountains we shall return"). At last the gypsy slumbers. Leonora comes to Manrico and tells him that he is saved, begging him to escape. When he discovers she cannot accompany him, he refuses to leave his prison. He believes Leonora has betrayed him until he realizes that she has taken poison to remain true to him. As she dies in agony in Manrico's arms she confesses that she prefers to die with him than to marry another (Trio: Prima che d'altri vivere / "Rather than live as another's"). The count has heard Leonora's last words and orders Manrico's execution. Azucena awakes and tries to stop di Luna. Once Manrico is dead, she cries: Egli era tuo fratello! Sei vendicata, o madre. / "He was your brother... You are avenged, oh mother!". 19 - Verdi complete works –

Jérusalem – Reworking of I Lombardi

Opera in 4 Acts

Total time ca. 3 hours

Premiere: 26 November 1847

Cast recording: Choeur du Grand Théâtre de Genève & L'Orchestre - Fabio Luisi Marina Mescheriakova [Hélène], [Gaston], Roberto Scandiuzzi [Roger], Philippe Rouillon [Comte de Toulouse], Daniel Borowski [Le Légat], Simon Edwards [Raymond], Hélène Le Corre [Isaure] Recorded 2001

Verdi’s first French Opera. The libretto was to be an adaptation and partial translation of the composer's original 1843 Italian opera, I Lombardi alla prima crociata. It was the one opera which he regarded as the most suitable for being translated into French and, taking Scribe's advice, Verdi agreed that a French libretto was to be prepared by Alphonse Royer and Gustave Vaëz.

Roles

• The Count of Toulouse (Comte) (Bariton) • Hélène, the Count's daughter (Soprano) • Isaura her companion (Soprano) • Gaston, Viscount of Béarn (Tenor) • Roger, the Count's brother (Bass) • Raymond, Gaston's squire (Tenor) • Emir of Ramla (Bass) • An officer of the Emir (Tenor) • A Soldier (Bass) • A Herald (Bass) • Adhémar de Monteil, Papal Legate (Bass) • Knights, ladies, pages, soldiers, pilgrims, penitents, and executioner, Arab sheiks, women of the harem, and people of Ramla (Chorus, Statists and Balet).

Synopsis:

Time: 1095 and 1099 AD Place: Toulouse (Act 1); Palestine, near Jerusalem (Acts 2 - 4)

Act 1

Scene 1: The palace of the Count of Toulouse Late at night Hélène is with her lover, Gaston. His family and hers have long been in conflict, but on the following day and prior to Gaston's departure for the First Crusade, it has been agreed that there will be a solemn reconciliation between the two families. (Duet: Adieu, mon bien-aimé / "Farewell, my beloved!"). After he leaves, Hélène and her companion, Isaure, pray for Gaston's safety.

Scene 2: The following morning outside the chapel The Count proclaims the reconciliation and gives Gaston Hélène's hand in marriage. However, standing to one side, Roger, the Count's brother is quietly furious, since he is in love with Hélène. He leaves, after which the Papal Legate announces that the Pope has appointed Gaston to lead the Crusade, Gaston swears to follow him and he is awarded the Count's white cloak as a symbol of his loyalty. They enter the chapel. Returning, Roger proclaims his hatred of Gaston (Aria: Oh dans l'ombre, dans la mystère / "Oh! In darkness and mystery remain hidden, guilty passion") and approaches a soldier with whom he has plotted to kill his rival. He instructs the soldier to kill the man who will not be wearing the white cloak. (Aria: Ah! Viens, démon, esprit du mal / "Ah, come, demon, spirit of evil"). From inside the chapel the sound of uproar is heard. The soldier-murderer rushes out pursued by others while Roger gloats in his triumph. But it is Gaston who emerges, announcing that the Count has been struck down. The captured murderer is brought in before Roger; quietly Roger arranges for him to point to Gaston as the one who instigated the murder. Although protesting his innocence, Gaston is cursed by all and ordered into exile by the Papal Legate. 20 - Verdi complete works –

Act 2

Scene 1: A cave near Ramla in Palestine Remorseful, Roger has been wandering for years in the desert and he cries out for forgiveness. (Aria: Ô jour fatal, ô crime / "O dreadful day, o my crime!"). Unexpectedly, Raymond, Gaston's squire, appears in a state of exhaustion and he begs Roger, whom he believes to be a holy man, for help, telling him that others of his Crusader group are lost. Roger hurries off to help them. Hélène and Isaure come down the pathway seeking the hermit who they think can tell them of Gaston's fate. They are surprised to find Raymond, who tells them that Gaston is still alive but held captive in Ramla. While expressing her joy, Hélène and Isaure are led towards the town by Raymond (Aria: Quell'ivresse, bonheur suprême / "What rapture! Supreme happiness! God has protected the man I love ..."). A group of distraught pilgrims climbs down from the hills around the cave. They are met by a band of newly arrived Crusaders led by the Count, who praises God for saving him from the assassin's dagger, and the Papal Legate. Roger appears requesting that he may be allowed to join them in their battle and the three proclaim their anticipated victory (Trio and chorus: Le Seigneur nous promet la victoire! O bonheur! / "The Lord promises us victory! Oh joy!"). Scene 2: The palace of the Emir of Ramla Gaston is admitted and expresses his desire to be close to Héléne again. He begins to plan his escape (Aria: Je veux encore entendre.. / "I want to hear your voice again") when the Emir arrives and advises him that escape will result in his death. At that moment, Hélène, having been captured in the city, is brought in. The couple pretends not to know one another, but the Emir is suspicious. However, they are left alone and are joyous in their reunion, until Gaston attempts to dissuade Hélène from associating with him in his dishonor (Aria: Dans la honte et l'épouvante / "You cannot share in the horror and shame of my wandering life!"). She remains firmly resolved to remain with him. From a window, they see the approaching Crusaders and, in the chaos, determine to escape but are thwarted by the arrival of the Emir's soldiers.

Act 3

Scene 1: The harem gardens Hélène is surrounded by the ladies of the harem who express some sympathy with her plight. But, when the Emir enters and is told that the Christians are close to attacking the city, he orders that if the invaders are successful, Hélène's head should be thrown to the Count. In despair, she considers the uselessness of her life (Aria: Que m'importe la vie / "What does life matter to me in my extreme unhappiness" and Mes plaintes mes plaintes sont vaines / "My laments are in vain"). Gaston has escaped and rushes in to find Hélène, but their joy is short-lived as the Crusaders, led by the Count, burst into the room and demand Gaston's death, still believing that he was responsible for the attempt on the Count's life. Defiantly, Hélène challenges the Crusaders (Aria: Non ... non votre rage / "No ... no, your anger, your unworthy outrage") as well as her father ("The shame and crime are yours!"). The Count drags her away.

Scene 2: A scaffold in a public square in Ramla Gaston is brought in and the Legate tells him that he has been condemned by the Pope and, following his public disgrace that day, he will be executed the following day. Gaston pleads for his honor to remain intact (Aria: O mes amis, mes frères d'armes / "O my friends, my brothers-in-arms"), but the smashing of his helmet, shield, and sword take place.

Act 4

Scene 1: The edge of the Crusaders' camp The hermit Roger is alone near the camp. A procession of Crusaders and women arrives, Hélène amongst them. The procession continues on, although Hélène hangs back as the Legate approaches Roger and asks him to give some comfort to the condemned man who is then brought out. Gaston is brought out, but Roger refuses to give him his blessing. Instead, he hands his sword to Gaston urging him to place his hands on its hilt where it forms a cross and then to go off and fight for the Lord.

Scene 2: The Count's tent Hélène and Isaure wait for news of the outcome of the battle for Jerusalem. They hear shouts of victory from outside and the Count, the Legate, and Crusaders enter followed by Gaston with the visor of his helmet closed. Praised for his bravery and asked to reveal his identity, Gaston announces that he is now prepared to be executed. Just then, the mortally wounded Roger is brought in and reveals himself as the Count's brother. He begs for mercy for Gaston and confesses to being the one who planned the murder which almost resulted in his brother's death. All rejoice at the restoration of Gaston's honor and position, as Roger takes one final look at Jerusalem and he dies.

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La battaglia di Legnano - The battle of Legnano

Opera in 4 Acts

Total time ca. 2 hours

Premiere: 27 January 1849

Cast recording ORF Sinfonie-Orchester & Chor Wien - Lamberto Gardelli Katia Riccarelli, José Carreras, Matteo Manunguerra, Recorded 1978

Italian libretto by Salvadore Cammarano. It was based on the play La Bataille de Toulouse by Joseph Méry, later the co-librettist of Don Carlos.

Roles

• Federico Barbarossa, German emperor (Bass) • Rolando, Milanese leader (Bariton) • Lida, his wife (Soprano) • Imelda, Lida's servant (Mezzo soprano) • Arrigo, Veronese Warrior (Tenor) • Marcovaldo, German prisoner (Bariton) • First Consul of Milan (Bass) • Second Consul of Milan (Bass) • Mayor of Como (Bass) • Arrigo's squire (Tenor) • A Herald (Tenor) • Knights of Death, Magistrates and leaders of Como, Milanese people and Senators, Warriors of , Brescia, Novara, and Milan, and the German Army (Chorus and Statists)

Synopsis:

Time: 1176, Place: Northern Italy

Act 1 - "He is Alive!"

Scene 1: Milan, not far from the city walls Outside the city walls, people have gathered in support of the Lombard League whose troops are about to go into battle against the occupying German Emperor Federico Barbarossa. Among them is Arrigo, a young soldier whom all had thought dead, but he has now re-joined the army and he recounts how his mother had nursed his wounds (La pia materna mano / "A mother's kindly hand") after he was left for dead. Having recovered and before leaving again, he wants to see Lida, his sweetheart. Rolando, Arrigo's friend and leader of the troops from Milan, arrives and he is amazed to see that Arrigo alive. Joyously, he embraces his friend (Ah m'abbraccia d'esultanza / "Ah! Come to my arms..."). The gathered troops and the consuls of Milan all swear to defend the city against tyranny.

Scene 2: Beside the ramparts of the city Rolando's wife Lida, who has lost her parents and brothers and who is downcast at the prospect of further war, also mourns the loss of her former love, Arrigo. She is unable to share in the general excitement of the upcoming battles. A German prisoner, Marcovaldo, who has been given some degree of freedom by Rolando, declares his love for Lida, but she is outraged and refuses him. As Rolando returns home, bringing with him Arrigo, Lida is angry (A frenarti o cor nel petto / "My heart, no longer have I the power..."). When Arrigo arrives, he is clearly upset to see Lida married to his best friend. But with Rolando suddenly called away to the Senate by the news that Barbarossa's troops are on the move, Arrigo and Lida are left alone. She tries to explain that her father encouraged her to marry Rolando after all believed that Arrigo had been killed in battle. But Arrigo will not listen and does not believe her. He declares her a "faithless one", and hurries away, wishing only to die in the forthcoming battle.

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Act 2 - "Barbarossa!"

The town hall of Como The city fathers of Como have gathered to await the arrival of Rolando and Arrigo as ambassadors of the League from Milan. Como has been forced to come to terms with the invaders, and when the two men arrive, they announce that a new army has invaded from the north, that Barbarossa is having problems in Padua, and they seek Como's help, pointing out that the city lies between Milan and the invaders. They hope that Como will intervene to help the Italian cause. Suddenly, Barbarossa himself appears, proclaiming that "I am Italy's great destiny". His troops have surrounded Como and now further threaten Milan. He demands that Arrigo and Rolando return to Milan and seek its submission.

Act 3 - "Infamy!"

Scene 1: The Basilica of Sant' Ambrogio In the subterranean vaults of the Basilica, Arrigo is inducted into the Knights of Death, warriors who have pledged to fight to the death rather than suffer defeat or imprisonment. All unite to swear an oath to support the cause of Italy (Giuriam d'Italia por fine ai danni / "We swear to put an end to Italy's wrongs") and to drive the foreign forces back across the Alps.

Scene 2: Rolando's castle Lida has heard that Arrigo has joined the Knights of Death, and desperately tries to contact him via a note to be conveyed by her maid, Imelda. As Imelda is about to leave, Rolando suddenly enters to say farewell to Lida and to their son, whom he has brought to him. Imelda hides the note, then quickly leaves. Rolando tells Lida to convey his love of country to their son, and to bring the boy up to love the fatherland (Digli ch'è sangue italico / "Tell him he is of Italian blood"). Arrigo enters, summoned by Rolando, who does not know that his friend has joined the Knights of Death. Thinking that Arrigo has been ordered to remain to guard Milan, Rolando begs him to take care of his wife and son in the event of his death (Se al nuovo dì pugnando /"If when we fight on the morrow"). The two men part company, Rolando moved by grief, Arrigo with embarrassment. Just as Rolando is about to leave, Marcovaldo delays him, telling him that his honour has been betrayed and presents him with Lida's note to Arrigo, which he has intercepted. Rolando is enraged and proclaims that he will obtain double vengeance on his wife and his friend (Mi scoppa il cor / "My heart is bursting").

Scene 3: A room in the tower Having received no response to her note, Lida goes to see Arrigo in his room in the tower, where he is writing a farewell letter to his mother. Although they declare their love for each other, he tells her that he has not received any note. Lida tries to persuade him to abandon his suicidal quest while he distraughtly recounts his dismay at finding her married. Finally, Lida says that they must separate for the sake of her husband and child. Then Rolando is heard at the door and, before he enters, Lida hides on the balcony. Rolando confronts Arrigo, telling him that he now knows about his vow to the Knights of Death and encourages him to depart. Then he opens the balcony door and discovers Lida. Rolando is in a rage while Arrigo confesses his love for Lida but asks for death. Lida then declares that she is the guilty one. Still raging, Rolando storms out to lead the Milanese troops into battle, but as he leaves, he locks the tower door on Arrigo and Lida, declaring that Arrigo will suffer a fate worse than death: the infamy of being absent from the battle in which he had promised to fight, and so will lose his honour. As trumpets signal the beginning of the battle, Arrigo, in desperation, leaps from the tower into the moat, shouting "Long Live Italy!". Lida remains in anguish.

Act 4 - "To Die For the Fatherland!"

A square in Milan The assembled people sing a prayer for victory. Imelda assures Lida that Arrigo survived his leap from the tower and Lida prays for the safety of both Arrigo and her husband (Ah se di Arrigo e Rolando / "Ah! If I recommend to Thy care the lives of Arrigo and Rolando".) As the people begin a hymn of victory, city officials enter the church to confirm the defeat of Barbarossa's troops by the Lombard League, declaring that Barbarossa was wounded by Arrigo. But, in the middle of the victory celebrations, a group of Knights of Death enter bearing the mortally wounded Arrigo. Rolando receives Arrigo's assurance that Lida is innocent and that she had always acted honourably. Reconciling with Lida, he forgives Arrigo, who with his last breath, proclaims that "Italy is saved!"

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La Forza Del Destino - The Force of Destiny

Opera in 4 Acts

Total time ca. 3 1/2 hours

Premiere: 10 November 1862

Cast recording Ambrosian Opera Chorus & Philharmonia Orchestra of London - Giuseppe Sinopoli, José Carreras, , Jean Rigby, John Tomlinson, Juan Pons, Mark Curtis, , Petteri Salomaa, Renato Bruson, , Rosalind Plowright Recorded 1987

The libretto was written by Francesco Maria Piave (1.Version) based on a Spanish drama, Don Álvaro o la fuerza del sino (1835), by Ángel de Saavedra, 3rd Duke of Rivas, with a scene adapted from Friedrich Schiller's Wallensteins Lager. Verdi made other revisions, with additions by Antonio Ghislanzoni. This version, which premiered at La Scala, Milan, on 27 February 1869, has become the "standard" performance version.

Roles • The Marquis of Calatrava (Bass) • Leonora de Vargas; his daughter (Soprano) • Don Carlo de Vargas, his son (Bariton) • Don Alvaro, Leonora's suitor (Tenor) • Preziosilla, a young gipsy (Mezzo soprano) • Padre Guardiano, a Franciscan (Bass) • Fra Melitone, a Franciscan (Bariton) • Curra, Leonora's maid (Soprano) • An alcalde, (Bass) • Mastro Trabuco, a muleteer and peddler (Tenor) • A surgeon in the Spanish army (Tenor) • Peasants, servants, pilgrims, soldiers, vivandières and friars (Chorus)

Synopsis:

Place: Spain and Italy, Time: around 1750

Ouverture: The music begins with the famous "Fate" Motif, an ominous three Eb unison in the brass.

Act 1 The mansion of Leonora's family, in Seville Don Alvaro is a young nobleman from South America (presumably Peru) who is part Indian and who has settled in Seville where he is not very well thought of. He falls in love with Donna Leonora, the daughter of the Marquis of Calatrava, who is determined that she shall marry only a man of the highest origin. Despite knowing her father’s aversion to Alvaro, Leonora is deeply in love with him, and determines to give up her home and country in order to elope with him. In this endeavor, she is aided by her confidante, Curra. (Me pellegrina ed orfana – "Exiled and orphaned far from my childhood home"). However, the Marquis unexpectedly enters and discovers Leonora and Alvaro together. He threatens Alvaro with death, but, in order to remove any suspicion as to Leonora’s purity, Alvaro surrenders himself. He flings down his pistol, which goes off and mortally wounds the Marquis who dies cursing his daughter.

Act 2 Scene 1: An inn in the village of Hornachuelos The Alcalde, several peasant muleteers, and Don Carlo of Vargas, the brother of Donna Leonora, are gathered in the kitchen of an inn. Don Carlo, disguised as a student of Salamanca, under the fictitious name of Pereda, is seeking revenge against Alvaro and Leonora (Son Pereda son ricco d'onore – "I am Pereda, of honorable descent"). During the supper, Preziosilla, a young gypsy, tells the young men’s fortunes and exhorts them to enlist in the war (Al suon del tamburo – "When side drums rattle") for Italy’s freedom, which all agree to do. Having become separated from Alvaro, Leonora arrives in male attire, but slips away without being discovered by Carlo.

Scene 2: A monastery nearby Leonora takes refuge in the monastery (Sono giunta! ... Madre, pietosa Vergine – "I've got here! Oh, thank God!") where she tells the abbot, Padre Guardiano, her true name and that she intends to spend the remainder of her life in a hermitage. The abbot recounts the trials she will have to undergo. Leonora, Padre Guardiano, Fra Melitone, and the other monks join in prayer. 24 - Verdi complete works –

Act 3 Scene 1: A forest near Velletri, in Italy Meanwhile Don Alvaro has joined the Spanish army under the name of Don Federico Herreros. One night he saves the life of Don Carlo who is serving in the same army under the name of Don Felix Bornos. They become close friends and go into the Battle of Velletri (which occurred historically in 1744) side by side. Scene 2: The officers' quarters In one of these engagements Don Alvaro is, as he supposes, mortally wounded, and entrusts to Don Carlo’s care a valise containing a bundle of letters which he is to destroy as soon as Don Alvaro dies. Don Carlo has sworn not to look at the contents of the letters; but he becomes suspicious of his friend. He opens the valise, finds his sister’s picture, and realizes Alvaro's true identity. At that moment a surgeon brings word that Don Alvaro may recover. Don Carlo is overjoyed at the idea of avenging his father’s death. Scene 3: A camp near the battleground Alvaro, having recovered, is confronted by Carlo. They begin to duel but are pulled away from each other by the soldiers. As they restrain Carlo, the anguished Don Alvaro vows to enter a monastery. The soldiers gather. Trabucco, the peddler, tries to sell them his wares; Fra Melitone chastises them for their godless ways; and Preziosilla leads them in a chorus in praise of the military life (Rataplan, rataplan, della gloria – "Rum-tum-tum on the drum is the music that makes a soldier's martial spirit rise"). Act 4 Scene 1: The monastery Don Alvaro has entered the monastery at Hornachuelos, near which is Leonora’s cave, under the name of Father Raphael. Don Carlo arrives and forces him to fight. Scene 2: A desolate spot near Leonora's hermitage Leonora prays that she may find peace in death (Pace, pace mio Dio! – "Peace, O mighty Father, give me peace!"). Alvaro runs in, calling for help, having mortally wounded Carlo in their duel. The two lovers recognize each other. Leonora runs offstage to see her brother, who, when she bends over him, stabs her in the heart. Leonora returns with Padre Guardiano; he and Alvaro pray to heaven as she dies. [Original version: Overcome by the guilt at having killed or caused the death of all the Calatravas, Alvaro jumps to his death into the nearby ravine, cursing humankind, over the protests of Father Guardiano].

La Traviata - The Fallen Woman

Opera in 3 Acts

Total time ca. 2 1/2 hours

Premiere: 06 March 1853

Cast recording

Wiener Staatsopernchor-Rupert Huber,Wiener Philharmoniker - Carlo Rizzi [Violetta Valéry, soprano], Helene Schneiderman [Flora Bervoix, mezzo-soprano], Diane Pilcher [Annina], Rolando Vilazón [Alfredo Germont], [Giorgio Germont], Salvatore Cordella [Gastone], Paul Gay [Barone Douphol], Herman Wallén [Marchese], [Dottore Grenvil], Dritan Luca [Giuseppe], Wolfram Igor Derntl [Domestico], Friedrich Springer [Commissionario] Recorded August 2005, Live, Grosses Festspielhaus, Salzburg, Austria

Italian libretto by Francesco Maria Piave. It is based on La dame aux Camélias (1852), a play adapted from the novel by Alexandre Dumas, fils.

Roles • Violetta Valery, a courtesan (Soprano) • Flora Bervoix, Violetta's friend (Mezzo soprano) • Annina, Violetta's maid (Soprano) • Alfredo Germont, a young bourgeois from a provincial family (Tenor) • Giorgio Germont, Alfredo's father (Bariton) • Gastone, Alfredo's friend (Tenor) • Barone Douphol, Violetta's lover, a rival of Alfredo (Bariton) • Marchese d'Obigny, Violetta's friend (Bass) • Dottore Grenvil, Violetta's doctor (Bass) • Giuseppe, Violetta's servant (Tenor) • Flora's servant, (Bass) • Commissioner (Bass) • Friends of Violetta and Flora, bullfighters, gypsies, Masked among others (Chorus) 25 - Verdi complete works –

Synopsis:

Act 1 A room in Violetta's house in Paris. A brilliant party is in progress and Violetta is receiving her guests. One of them begs leave to introduce a friend, Alfredo Germont, who has long admired her from afar. Baron Douphol, Violetta's current protector, takes a dislike to Alfredo and refuses to propose the toast when the wine is poured. Instead Alfredo proposes the toast - to love. Violetta answers that love, like all things, must fade: it is best to enjoy the pleasures of the fleeting moment. The guests move into another room to dance but Violetta, who had been ill, suddenly feels faint and begs them to go on without her. Only Alfredo remains, anxious about her. He tells her he has loved her from the moment he first saw her a year ago. Violetta warns him not to look to her for love, since she has never experienced it. She tells him to leave and think of her no more, but gives him a flower with permission to return it when it has faded. "That will be tomorrow!" exclaims Alfredo, and she agrees. Alfredo goes, followed shortly afterwards by the other guests. Left alone, Violetta begins to wonder whether she could love Alfredo, but rejects the possibility. A woman in her position cannot afford such luxuries. She will keep her place in the social whirl of Paris and forget about serious affairs of the heart. Under the balcony Alfredo's voice can be heard repeating his declaration of love.

Act 2 Scene 1: A country house near Paris. Alfredo's passion has won the day. Three months later he and Violetta, deeply in love, have cut themselves off completely from fashionable. life. Alfredo's joy is disturbed one morning when he learns from Violetta's maid Annina that Violetta has had to sell her last possessions, because they have been living on her money which is now all gone. He rushes off to Paris to see what he can do to raise some money, leaving a message for Violetta. She comes in with an invitation from Flora, one of her fashionable friends, which she puts aside laughing, not intending to accept. Alfredo's father suddenly appears and accuses her of having ruined his son. When she proves to him that all the money spent has been hers he is more polite, but goes on to ask her to give up Alfredo because the liaison is spoiling his daughter's marriage prospects. Broken-hearted, she agrees - thereby winning his deep admiration. They agree that the only way she can convince Alfredo that their idyll is at at end is to tell him she no longer loves him. Telling Germont to wait in the garden to be ready to comfort Alfredo, she begins a letter to him telling him of her decision. He arrives back before she has finished. Somewhat to his astonishment she bids him a tearful farewell, telling him to love her always as she loves him. A few minutes after her departure he receives her note by a messenger and understands that she has left for ever. His father appears and tries to comfort him, reminding him of his happy childhood in far Provence. Alfredo refuses to be comforted and, seeing Flora's invitation, assumes that Violetta will be returning to her former life and to the baron. He determines to follow her. Scene 2: A room in Flora's house. Another party is taking place. Dancers dressed as matadors and Spanish gypsies entertain the company and tell their fortunes. Alfredo arrives alone, followed shortly afterwards by Violetta accompanied by the jealous baron who forbids her to speak a word to Alfredo. The men begin to play cards and Alfredo wins, remarking bitterly that he is unlucky at love but lucky at cards. Drawn by their mutual antagonism he and the baron begin to play against each other. Their rivalry increases as Alfredo continues to win. Violetta watches, full of anguish. When the guests retire to another room for supper she begs Alfredo to stay for a moment and entreats him not to anger the baron. Alfredo refuses to believe that her concern is for him rather than the baron, particularly when she refuses his request to leave at once with him. She tells him she has sworn to avoid him and he assumes that only the baron could have had the power to extort such a promise from her. To avoid telling him the truth she says she loves the baron. Desperate, Alfredo calls the others back and throws his winnings at Violetta, calling them to witness that he has now repaid all his debts to her. Everyone turns on him for his unkindness to Violetta and even his father, who comes in at this point, reproves him for insulting a lady. Coming to his senses Alfredo himself is horrified by what he has done. The baron challenges him to a duel for his discourtesy. Violetta, overcome by weakness and emotion, assures Alfredo that she does not deserve his scornful treatment; she still loves him and one day he will be filled with remorse at what he has done.

Act 3 Violetta's bedroom. Violetta is alone except for her maid Annina. She is practically penniless and dying of the consumption which has been racking her. A carnival is taking place in the streets outside while she lies in bed. She has had a letter from Germont which she reads through again: Alfredo has wounded the baron in a duel and had to leave the country for a while. Germont has told him of Violetta's sacrifice and he is coming back to ask her forgiveness. But Violetta knows that she has little time left and that her days of love with Alfredo are over. He arrives and they have an ecstatic reunion. Their love is stronger than ever and they declare their intention of leaving Paris forever. But all this emotion is too much for Violetta and she collapses. Alfredo, looking at her closely for the first time, realises the terrible truth that she is dying. She tries to pretend that this is not so by getting up and dressing, but she is too weak and falls to the floor, crying out bitterly against the cruel fate of dying so young just when her hopes had been about to be fulfilled. Germont arrives with the doctor, ready to embrace her as a daughter. When he too realises her real condition he is struck by remorse at having caused her so much unhappiness. She gives Alfredo a portrait of herself as a keepsake and tells him to marry some pure young girl and be happy. She rises to her feet, feeling a strange new strength, but it is only the last remission of her illness which precedes death. She collapses lifeless, surrounded by those she holds dearest in the world. 26 - Verdi complete works –

Les vepres siciliennes - The Sicilian Vespers

Opera in 5 Acts

Total time ca. 3 hours 20 minutes

Premiere: 13 June 1855

Cast recording Orchestra & Chorus of Teatro Comunale - Erich Kleiber (live ), [Elena], [Procida], Bruno Carmassi [Bethune], Enzo Mascherini[Monforte], Gino Sarri [Danieli], Giorgio Kokolios Bardi [Arrigo], Mario Frosini[Vaudemont] Recorded 1961

French libretto by Eugène Scribe and Charles Duveyrier from their work Le duc d'Albe. The French Opera was first performed at the Théâtre Impérial de l'Opéra premiered at the Paris World Exhibition.

Roles • Hélène (Elena), sister of Duke Frederick of Austria (Soprano) • Ninetta, her maid (Mezzo soprano) • Henri (Arrigo), a young Sicilian (Tenor) • Guy de Montfort (Monforte), Governor of Sicily under Charles d'Anjou, King of Naples (Bariton) • Jean de Procida (Giovanni da Procida), a Sicilian doctor (Bass) • Daniéli, a Sicilian, Ninetta’s servant (Tenor) • Mainfroid (Manfredo), a Sicilian, adherent of Procida (Tenor) • Sire de Béthune, a French officer (Bass) • Le Comte de Vaudemont, a French officer (Tenor) • Thibault (Tebaldo), a French soldier (Tenor) • Robert, a French soldier (Bass) • Courtiers and guests of Montfort, French soldiers, monks, people (Chor) • Ballet

Synopsis:

Place: , Italy, Time: 1282 Verdi's has had relatively little success in its original form and was translated for performance in Italy, where censorship continued to cause difficulties. Verdi himself expressed dissatisfaction with Scribe's libretto, complaining about the portrayal of Procida as a common conspirator, and about the fate of the French in the final massacre, matters which seemed to reflect badly on both French and .

Prior to the events of the opera, Procida, a leading Sicilian patriot, was wounded by French troops during their invasion of Sicily, and was forced into exile. Montfort, leader of the French troops, raped a Sicilian woman who later gave birth to a son, Henri. Montfort became governor of Sicily, while the Sicilian woman brought up her son to hate him, without revealing to Henri that Montfort was his father.

Act 1

Palermo's main square Thibault, Robert and other French soldiers have gathered in front of the Governor's palace. As they offer a toast to their homeland, they are observed by the local Sicilians, unhappy with the occupation. Hélène, who is being held hostage by the French governor, Montfort, enters dressed in mourning for her brother, Duke Frédéric of Austria, who had been executed by the French exactly a year before and whose death remains unavenged. Somewhat drunk, Robert, a French soldier of low rank, demands that she sing and she agrees. Her song, about the perils of seamen and God's cry of "let dangers be scorned", (Viens à nous, Dieu tutélaire / "Pray, O mighty God, calm with thy smile both sky and sea"), ends with a rallying- cry (Courage!...du courage!) to the Sicilians to rebel against the occupiers. When the governor enters, the crowd calms down. Henri, just released from prison, assures Hélène how deeply he despises the governor. Overhearing this, Montfort orders Hélène to leave and then, alone with Henri, offers him a powerful position with his men as long as he stays away from Hélène. He refuses, and immediately follows Hélène into the palace.

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Act 2

Beside the sea Procida lands on the shore from a small fishing boat. It is clear that he is returning from exile and he expresses his joy at returning to his native land and city: Et toi, Palerme / "O thou Palermo, adored land ...". He is surrounded by Manfroid and other companions and he quickly orders his men to bring Hélène and Henri to him: (Dans l'ombre et le silence/ "In darkness and in silence"). The three make plans for an uprising during the impending festivities leading to the marriages of a group of young people. After Procida leaves, Hélène asks Henri what reward he seeks. Swearing that he will avenge her brother's death, he asks for nothing but her love. Béthune arrives with an invitation from Montfort to attend a ball. Henri refuses and is arrested and dragged off. Led by Robert, a group of French soldiers arrive and Procida returns and sees that it is too late to save Henri, since the young people have come into the square and have begun to dance. As the dance becomes more lively, Robert signals to his men, who seize many of the young women, dragging them off in spite of the protests of the young Sicilian men. The dejected young men witness a passing boat filled with French nobles and Sicilian women, all bound for the ball. Procida and others determine to gain entrance to the ball and seek their revenge.

Act 3

Scene 1: Montfort's palace Montfort reads a paper from the woman whom he abducted, which reveals that Henri is his son: Si, m'abboriva ed a ragion! / "Yes, she despised me, and rightly!". Béthune tells him that Henri has been brought by force, but Montfort exalts in the fact that his son is close by: / "Au sein de la puissance" / Given over to riches, surrounded by honors, an immense, horrid void ...". The two men confront one another and Henri is somewhat puzzled by the way he is being treated. Finally, Montfort reveals the letter written by Henri's mother. Taken aback but still defiant, Henri insults his father who reacts in anger as the younger man rushes out: "Fatal word!, Mortal insult! The joy has vanished ...".

Scene 2: A ball at Montfort's palace When Montfort enters, he gives the signal for the ballet to begin.[23] In the crowd, but disguised, are Hélène, Henri, and Procida. Henri is surprised when the two reveal themselves and they declare that their purpose is to save the young man. However, he is disturbed to hear that they intend to kill Montfort and when the father approaches the son, there is a hint of warning given. As approaching assassins close in, Henri leaps in front of his father just as Hélène approaches. The Sicilians are horrified to see that Henri is being spared as the ensemble contemplates the situation. Hélène, Procida, Daniéli and the Sicilians curse Henri as they are dragged away, while he wants to follow, but is restrained by Montfort.

Act 4

A prison Henri arrives at the prison gate and, on Montfort's orders, waits to be admitted. He contemplates the situation that his friends are in: "O jour de peine"/ Day of weeping, of fierce sorrow!". Hélène is brought out and confronts him. Finally, he admits that Montfort is his father and she begins to be willing to sympathise: Henri! Ah, parli a un core ... / "Henri! Ah, you speak to a heart already prepared to forgive." Not seeing Henri, Procida approaches Hélène and reveals a letter telling him of awaiting freedom. But Montfort arrives and orders a priest and the execution of the prisoners while Procida is amazed to discover the truth of Henri's situation. Henri begs for mercy for his friends and Montfort confronts him with one thing: Dimme sol, di "Mio padre / "Say to me only, say "My father ...". Henri says nothing as the executioner appears and the couple are led away, followed by Henri. Montfort steps in to prevent him from joining them. As Hélène is led towards the executioner, Montfort steps in and announces a pardon for the Sicilians. Furthermore, he agrees to the marriage of Hélène and Henri and announces to the crowd: "I find a son again!". There is general rejoicing.

Act 5

The gardens of Montfort's palace As knights and maidens gather, Hélène gives thanks to all: "Merci, jeunes amies" /"Thank you, beloved friends". Henri arrives, exclaiming his joy: "La brise souffle au loin" / "The breeze hovers about ...". He leaves to find his father, but Procida arrives, announcing a plan to outwit his enemies with their massacre to take place at the foot of the altar after the vows have been said. She is torn, the more so following Henri's return, between her love and her duty: Sorte fata! Oh, fier cimento! / "Fatal destiny! Oh, fierce conflict!". Finally, she can go no further and she tells Henri that they cannot be married. Both men are furious with her for her seeming betrayal. Then Montfort arrives, takes the couple's hands, joins them together, and pronounces them married as the bells begin to ring. This is the signal for the Sicilians to rush in and hurl themselves upon Montfort and the French.

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Luisa Miller

Opera in 3 Acts

Total time ca. 2 1/4 hours

Premiere: 02 December 1849

Cast recording Chorus & Orchestra of huose Covent Garden - Katia Riciarelli [Luisa], Placido Domingo [Rodolfo], Elena Obrztsova [Federica], Renate Brusan[Miller], [Conte di Walter], Wladimiro Ganzarolli [Wum], Audrey Michael [Laura], Luigi de Carato [Contadino] Recorded 2009

Italian libretto by Salvatore Cammarano after "Kabale und Liebe (Intrigue and Love)" by Friedrich Schiller.

Roles • Count Walter (Bass) • Rodolfo, his son (Tenor) • Federica di Ostheim, Duchess of Ostheim, Walter's niece (Alto) • Wurm, Walter's steward (Bass) • Miller, a retired soldier (Bariton) • Luisa, his daughter (Soprano) • Laura, a village girl (Mezzo Soprano) • A peasant (Tenor) • Damigelle di Federica, Paggi, Famigliari, Arcieri, Abitanti del villaggio (Chorus)

Synopsis:

Act 1: Love The action takes place in the Tyrol, during the first half of the eighteenth century. Luisa, the daughter the aging soldier Miller, is in love with Rodolfo, whom they know only as the peasant Carlo. Miller has a premonition that their relationship is doomed, and his fears are confirmed when Wurm (who also loves Luisa) informshim that Carlo is Rodolfo - the son of his employer Count Walter. The duchess Federica, Count Walter's niece, arrives at the castle. She was once in love with Rodolfo, and now that her husband has died she has been invited by Count Walter as a suitor for his son. Wurm tells the count that his son loves Luisa Miller. This elicits a furious response from the count, who vows to bring their reltionship to an end. Rodolfo tells Federica that he is in love with Luisa, and then reveals his true identity to Luisa and her father. Unable to dissuade his son, the count imprisons the Millers, thus provoking Rodolfo into threatening to reveal how his father obtained his title by killing his predecessor. Luisa and her father are then released.

Act 2: Intrigue

Luisa is desperate to save her father, and so writes a letter falsely claiming that her pursuit of Rodolfo was motivated solely by his rank and estates. She also convinces Federica that she is no threat to her union with Rodolfo. When the count and Wurm show Rodolfo Luisa's letter, he agrees to marry Federica.

Act 3: Poison A room in Miller's home. In the distance echoes of the celebration of Rodolfo and Federica's wedding can be heard. Old Miller, freed from prison, comes back home. He enters his house and embraces his daughter, then reads the letter she has prepared for Rodolfo. Luisa is determined to take her own life, but Miller manages to persuade her to stay with him. (Duet: La figlia, vedi, pentita / "Your child, see, repentant"). Alone now, Luisa continues praying. Rodolfo slips in and unseen pours poison into the water jug on the table. He then asks Luisa if she really wrote the letter in which she declared her love for Wurm. "Yes," the girl replies. Rodolfo drinks a glass of water and passes a glass to Luisa, inviting her to drink. Then he tells her that they are both condemned to die. Before she dies, Luisa has time to tell Rodolfo the truth about the letter (Duet: Ah piangi; il tuo dolore / "Weep your sorrow is more justified"). Miller returns and comforts his dying daughter; together the three say their prayers and farewells. As she dies, peasants enter with Count Walter and Wurm and before he too dies, Rodolfo runs his sword through Wurm's breast declaring to his father La pena tua mira / "Look on your punishment".

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Macbeth

Opera in 4 Acts

Total time ca. 2 3/4 hours

Premiere: 14 March 1847

Cast recording Metropolitan Opera Orchestra and Chorus - Erich Leinsdorf [MacBeth], Leonie Rysanek [Lady MacBeth], [Banquo], Carlo Bergonzi [MacDuff], William Olvis [Malcom], Charlotta Ordassy, Gerhard Pechner, Osie Hawkins, Calvin Marsh, Emilia Cundari, Mildred Allen, Harold Sternberg Recorded 1964

Italian libretto by Francesco Maria Piave and Andrea Maffei after the drama Macbeth by William Shakespeare.

Roles • Duncan, King od Scottland (silent role) • Macbeth, General in King Duncan‘s Army (Bariton) • Banquo, General in King Duncan‘s Army (Bass) • Lady Macbeth, wife of Macbeth (Soprano) • Dame of Lady Macbeth (Mezzosoprano) • Macduff, Scottish nobleman, Lord of Fife (Tenor) • Malcolm, Duncan‘s son (Tenor) • Fleance, Banquo’s son (silent role) • Doctor (Bass) • Sevant of Macbeths (Bass) • Murderer (Bass) • A Herald (Bass) • three apparitions (Bariton, Soprano, Soprano) • Hecate, Queen oft he night (silent role) • Witches, envoy of the king, Scottish nobleman and refugees, murderers, British soldiers, bards (Chorus) • Witches and spirits of the air (Ballet)

Synopsis: Note: there are several differences between the 1847 and the 1865 versions which are noted below in indented text in brackets Place: Scotland, Time: 11th century Act 1 Scene 1: A heath Groups of witches gather in a wood beside a battlefield, exchanging stories of the evils they have done. The victorious generals Macbeth and Banco enter. The witches hail Macbeth as Thane of Glamis (a title he already holds by inheritance), Thane of Cawdor, and king "hereafter." Banco is greeted as "lesser than Macbeth, but greater", never a king himself, but the progenitor of a line of future kings. The witches vanish, and messengers from the king appear naming Macbeth Thane of Cawdor. Macbeth protests that the holder of that title is still alive, but the messengers reply that the former Thane has been executed as a traitor. Banco, mistrusting the witches, is horrified to find that they have spoken the truth. In a duet, Macbeth and Banco muse that the first of the witches' prophecies has been fulfilled. Macbeth ponders how close he is to the throne, and whether fate will crown him without his taking action, yet dreams of blood and treachery: while Banco ponders on whether the minions of Hell will sometimes reveal an honest truth in order to lead one to future damnation. Scene 2: Macbeth's castle Lady Macbeth reads a letter from her husband telling of the encounter with the witches. She is determined to propel Macbeth to the throne - by fair means or foul. [Revised version: Vieni! t'affretta! - "Come! Hurry!"]. Lady Macbeth is advised that King Duncan will stay in the castle that night; she is determined to see him killed (Or tutti, sorgete - "Arise now, all you ministers of hell"). When Macbeth returns she urges him to take the opportunity to kill the King. The King and the nobles arrive and Macbeth is emboldened to carry out the murder (Mi si affaccia un pugnal? - "Is this a dagger which I see before me?"), but afterwards is filled with horror. Disgusted at his cowardice, Lady Macbeth completes the crime, incriminating the sleeping guards by smearing them with Duncan's blood and planting on them Macbeth's dagger. Macduff arrives for an appointment with the King, while Banco stands guard, only for Macduff instead to discover the murder. He rouses the castle while Banco also bears witness to the fact of Duncan's murder. The chorus calls on God to avenge the killing (Schiudi, inferno, . . - "Open wide thy gaping maw, O Hell"). 30 - Verdi complete works –

Act 2 Scene 1: A room in the castle Macbeth is now king: Duncan's son Malcolm has fled the country, suspicion having conveniently fallen on him for his father's murder: but Macbeth is still disturbed by the prophecy that Banco, not he, will found a great royal line. To prevent this he tells his wife that he will have both Banco and his son murdered as they come to a banquet. [Revised version only: In her aria, La luce langue - "The light fades", Lady Macbeth exults in the powers of darkness] Scene 2: Outside the castle A gang of murderers lie in wait. Banco is apprehensive (Come dal ciel precipita - "O, how the darkness falls from heaven"). He is caught, but enables his son Fleanzio to escape. Scene 3: A dining hall in the castle Macbeth receives the guests and Lady Macbeth sings a brindisi. The assassination is reported to Macbeth, but when he returns to the table the ghost of Banco is sitting in his place. Macbeth raves at the ghost and the horrified guests believe he has gone mad. Lady Macbeth manages to calm the situation once - and even mocks it by calling for a toast to the absent Banco (whose death is not yet public knowledge), only for the ghost to appear a second time and terrify Macbeth into insanity again. Macduff resolves to leave the country, saying it is ruled by a cursed hand and only the wicked may remain: the other guests are terrified by Macbeth's talk of ghosts, phantoms and witches. The banquet ends abruptly with their hurried, frightened departure. Act 3 The witches' cave The witches gather around a cauldron in a dark cave. Macbeth enters and they conjure up three apparitions for him. The first advises him to beware of Macduff. The second tells him that he cannot be harmed by a man 'born of woman'. The third that he cannot be conquered till Birnam Wood marches against him. (Macbeth: O lieto augurio - "O, happy augury! No wood has ever moved by magic power") Macbeth is then shown the ghost of Banco and his descendants, eight future Kings of Scotland, verifying the original prophecy. (Macbeth: Fuggi regal fantasima - "Begone, royal phantom that reminds me of Banco"). He collapses, but regains consciousness in the castle. [Original version: The act ends with Macbeth recovering and resolving to assert his authority: Vada in fiamme, e in polve cada - "Macduff's lofty stronghold shall / Be set fire....".] A herald announces the arrival of the Queen. Macbeth tells his wife of his encounter with the witches and they resolve to track down and kill Banco's son, and Macduff (who they do not yet know has already fled the country) and his family (Duet: Ora di morte e di vendetta - "Hour of death and of vengeance"). Act 4 Scene 1: Near the border between England and Scotland Scottish refugees stand near the English border (Chorus: Patria oppressa - "Down-trodden country"): [Original version: While each version uses the same libretto, the music of this chorus is different. It begins with a less ominous, much shorter orchestral introduction and is sung straight through by the entire chorus.] [Later version: the music is divided into sections for the male and female members, then it unites them towards the end. The revised version is 2 minutes longer than the original.] In the distance lies Birnam Wood. Macduff is determined to avenge the deaths of his wife and children at the hands of the tyrant. He is joined by Malcolm, the son of King Duncan, and the English army. Malcolm orders each soldier to cut a branch from a tree in Birnam Wood and carry it as they attack Macbeth's army. They are determined to liberate Scotland from tyranny (Chorus: La patria tradita - "Our country betrayed"). Scene 2: Macbeth's castle A doctor and a servant observe the Queen as she walks in her sleep, wringing her hands and attempting to clean them of blood . She raves about the deaths of both Duncan and Banco, and even about the deaths of Macduff's family, and that all the perfumes of Arabia would not clean the blood off her hands: things that the horrified witnesses would never dare to repeat to any living man. Scene 3: The battlefield Macbeth has learned that an army of Scottish rebels backed by England is advancing against him, but is reassured by remembering the words of the apparitions, that no man born of woman can harm him. However in an aria (Pietà, rispetto, amore - "Compassion, honour, love") he contemplates the fact that he is already hated and feared - there will be no compassion, honour and love for him in his old age even if he wins this battle, nor kind words on a royal tomb, only curses and hatred. He receives the news of the Queen's death with indifference. Rallying his troops he learns that Birnam Wood has indeed come to his castle. Battle is joined. [Ending of the original version: Macduff pursues and fights Macbeth who falls. He tells Macbeth that he was not "born of woman" but "ripped" from his mother's womb. Fighting continues. Mortally wounded, Macbeth, in a final aria - Mal per me che m'affidai - "Trusting in the prophecies of Hell" - proclaims that trusting in the prophecies of hell caused his downfall. He dies on stage, while Macduff's men proclaim Malcolm to be the new King.] Macduff pursues and fights Macbeth who falls wounded. He tells Macbeth that he was not "born of woman" but "ripped" from his mother's womb. Macbeth responds in anguish (Cielo! - "Heaven") and the two continue fighting, then disappear from view. Macduff returns indicating to his men that he has killed Macbeth: then turns to Malcolm, hailing him as King. The scene ends with a hymn to victory sung by bards, soldiers, and Scottish women (Salve, o re! - "Hail, oh King!). Malcolm as King, and Macduff as hero, together swear to restore the realm to greatness. 31 - Verdi complete works –

Nabucco (Nebuchadnezzar)

Opera in 4 Acts

Total time ca. 2 1/4 hours

Premiere: 09 March 1842

Cast recording Philharmonia Orchestra-,Ambrosian Opera Chorus - John McCarthy Matteo Manuguerra [Nabucco], Veriano Luchetti [Ismaele], Nicolai Ghiaurov [Zarracia], [Abigaille], Elena Obraztsova [Fenena], Robert Lloyd [Sacerdote], Kenneth Collins [Abdallo], Anne Edwards [Anna] Recorded 1978, 1986, digital remastered

Italian libretto by Temistocle Solera. The libretto is based on biblical stories from the Book of Jeremiah and the Book of Daniel and the 1836 play by Auguste Anicet-Bourgeois and Francis Cornue.

Roles • Nabucco (Nabukodonozor), King of Babylon (Bariton) • Abigaille, supposedly his elder daughter (Soprano) • Fenena, his daughter (Mezzosoprano) • Ismaele, nephew of the King of Jerusalem (Tenor) • Zaccaria, high priest of the Jews (Bass) • Anna, Zaccaria's sister (Soprano) • Abdallo, Babylonian soldier (Tenor) • High priest of Baal (Bass) • People, soldiers (Chorus)

Synopsis:

Time: 587 BC, Place: Jerusalem and Babylon

Act 1 - Jerusalem

Thus saith the Lord: Behold I will give this city into the hands of the king of Babylon: he will burn it with fire.

The interior of the Temple of Solomon The Hebrews are taking refuge in the temple from the wrath of the Assyrians, who are advancing under the command of their king, Nabucco (Nebuchadnezzar). As they are praying for their danger to be averted, the high priest, Zaccaria, brings in a captive, Fenena, the daughter of Nabucco, who, he says, will bring them peace. Ismaele, the nephew of the king of Jerusalem, comes in with further news of the advance of Nabucco, who is now close at hand. Uttering a prayer that heaven may yet strike him down and save them, Zaccaria leaves, followed by his flock, entrusting Fenena to the charge of Ismaele. They are then able to speak of their love for each other, dating from Ismaele's visit to Babylon as ambassador, where Fenena had rescued him from prison and from the impassioned advances of her sister Abigaille. The reunion is interrupted by Abigaille herself, sword in hand, with an advance band of Assyrians who overpower the Hebrew guards and disguise themselves in their unifroms. Abigaille upbraids Fenena for her lack of patriotism in loving one of the enemy and then falls into the same fault herself, telling Ismaele that she can still save him if he will love her. Naturally he rejects her advances. The confrontation is ended by the inrushing Hebrews, full of alarm at the destruction outside and hoping to find refuge in the temple - to no avail, as Nabucco strides in with his war-band, undeterred by Zaccaria's warning that this is the house of God. Zaccaria makes it clear how he intends to use Fenena as a peacemaker by threatening to kill her. Nabucco is only momentarily restrained by this challenge, but when Zaccaria shows that he intends to carry out his theatre, the dagger is struck from his hand by Ismaele who is immediately overcome by remorse as well as being overwhelmed by the curses of the Hebrews. The advantage thus rests with the Assyrians.

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Act 2 - The Wicked Man Behold the whirlwind of the Lord goeth forth with fury; it shall fall upon the head of the wicked.

Scene 1: The royal apartments in Nabucco's palace in Babylon Abigaille enters with a secret document she has managed to steal from Nabucco. It reveals that she is not, as she had been brought up to believe, the elder daughter of Nabucco, but of slave birth. She rages at this and at the fact that Fenena has been made regent while Nabucco is absent fighting. The high priest of Bel brings the news that Fenena is setting free the Hebrews, who had been carried off into captivity in Babylon after the fall of Jerusalem. They strike up an alliance. The priest has already spread the rumor that Nabucco has been killed in battle and is prepared to support Abigaille in her attempt to win the throne.

Scene 2: A hall in the palace Zaccaria, entering with a Levite carrying the Tables of the Law, pauses to pray. He reveals that he has a mission from God to convert a heathen soul and casts fulminations on the people of Babylon. When he has gone, the rest of the Levites assemble, waiting to find out why they have been summoned. When Ismaele joins them they turn on him with imprecations for his treachery. His prayers for mercy fall on deaf ears until Anna, the sister of Zaccaria, followed by Zaccaria himself, brings the news that Fenena is now converted to the Hebrew faith, so Ismaele can be forgiven for saving her life. Abdallo, the loyal retainer of Nabucco, rushes in with the news that Nabucco has been killed and that Abigaille is being acclaimed by the people. Abigaille appears and demands the crown, which Fenena is wearing. Before this confrontation can develop further, Nabucco himself, reports of whose death have been greatly exaggerated, enters and seizes the crown himself. He proclaims himself not only still king, but also God. He is struck down by a thunderbolt, and goes mad on the spot. Abigaille picks up the fallen crown and claims it

Act 3 - The Prophecy The wild beasts of the desert shall dwell in Babylon, together with owls and hoopoes shall dwell therein.

Scene 1: The Hanging Gardens Abigaille has consolidated her position on the throne and, in consultation with the priests of Bel, is about to order the execution of the Hebrews and of Fenena. Nabucco, still mad, dishevelled and dressed in rags, breaks through the guards and confronts her. In answer to his rage at finding her on the throne she answers that he is not well and then tricks him into signing the death warrant. When he realises that he has been made to condemn his own daughter to death he tries to threaten Abigaille with the paper proving her low birth. But she has already stolen it and produces it only to tear it to pieces before his eyes. She mocks his entreaties for Fenena's life and threatens him with imprisonment.

Scene 2. The banks of the Euphrates The Hebrews, working as slaves, lament their exiled state. They are joined by Zaccaria who upbraids them for their weakness and stirs them with the stern prophecy that Babylon the proud will soon fall and not a stone will be left. Their spirits are raised.

Act 4 - The Broken Idol Bel is confounded: his idols are broken in pieces.

Scene 1: An apartment in the palace Nabucco has been confined by order of Abigaille. He is still mad. Hearing shouts outside announcing that Fenena is about to be executed he looks out and sees a procession of Hebrews, with his daughter, being led off in chains. Unable to burst out of his prison he turns to the God of the Hebrews, praying for forgiveness and promising to cast down the false idols of Babylon. The faithful Abdallo comes in and discovers, to his joy, that Nabucco has gone sane. He restores his sword to his master and they set off to rescue Fenena.

Scene 2: The Hanging Gardens The high priest of Bel is ready beside his sacrificial altar when Fenena and the Hebrews are led in. Fenena kneels before Zaccaria and he gives her his blessing. She is preparing calmly for her death when Nabucco, at the head of his loyal soldiers, bursts in and orders the idols of Bel to be pulled down. Before anyone can move the idol crashes to the ground. Nabucco proclaims the might of Jehovah, sets the Hebrews free and promises them a safe return to their own land. As further proof of the power of Jehovah he informs them that Abigaille has been so struck by the wickedness of her ways that she has taken poison. She staggers in, dying, in penitential black, full of remorse and begging forgiveness all round. She gives her blessing to the marriage of Fenena and Ismaele and dies, praying to God for mercy. Nabucco and the Hebrews together proclaim the might of God and Zaccaria promises greatness to the newly-converted Nabucco.

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Oberto, Conte di San Bonifacio - Conte di San Bonifacio

Opera in 2 Acts Total time ca. 2 1/2 hours

Libretto by Antonio Piazza and Temistocle Solera, it was Verdi's first opera. Premiere: 17 November 1839

Cast recording Münchner Rundfunkorchester & Chor des Bayerischen Rundfunks - Lamberto Gardelli Ruza Baldani [Cuniza], Ghena Dimitrova [Leonora], Carlo Bergonzi [Riccardo], Roland Panerai[Oberto], Alison Browner [Imelda] Recorded 1984

Roles • Oberto, Count of San Bonifacio (Bass) • Leonora, his daughter (Soprano) • Cuniza, sister of Ezzelino da Romano (Soprano) • Imelda, Cuniza's confident (Mezzosopran) • Riccardo, Count of Salinguerra (Tenor) • Lords, ladies, vassals, Officiers, Soldiers, Servants (Chorus and Statists).

Synopsis:

Time: 1228, Setting: Northern Italy A battle has already taken place between the Salinguerra and Count Oberto. The Salinguerra are led by Ezzelino da Romana. Oberto lost and then retreated to Mantura. His daughter Leonora was seduced and then abandoned by Riccardo, the Count of Salinguerra. His marriage to Cuniza, who is Ezzelino’s sister, is imminent. Leonora goes to Bassano and wants to confront Riccardo on his wedding day.

Act 1 Scene 1: The countryside near Bassano Riccardo is welcomed by a chorus as he is about to enter Ezzelino's palace. He sings of his joy at being close to Cuniza. They enter the castle. Leonora arrives swearing to avenge Riccardo's desertion and she sings of the love which she had and a hope of recovering those innocent days. She leaves to go towards the village. Scene 2: Near Bassano castle Meanwhile her father, Oberto, arrives, pleased to be back in his home country but unsure of Leonora's whereabouts. When Leonora returns, each is aware of the other's presence and father and daughter are reunited. They express amazement at having found each other again. But, Oberto's initial anger at Leonora's actions quickly turns to fatherly affection as the pair makes plans to disrupt the wedding. Scene 3: A room in Ezzelino's palace The chorus sings a welcome to the happy bride but, alone with Riccardo, Cuniza expresses some forebodings in spite of expressing her love for him. After the couple leaves, Leonora enters and is questioned by Imelda. Leonora tells her that her father, Oberto, is also in the palace and, when he enters, she tells Cuniza about her betrayal by Riccardo. Cuniza agrees to help them. She then hides Oberto in a nearby room and invites Riccardo and his guests to join her. Upon entering, Cuniza reveals Leonora's presence and accuses her lover of infidelity. Riccardo's accusations against Leonora prompt her father to enter and challenge Riccardo to a duel.

Act 2 Scene 1: Princess’s apartments Imelda and Cuniza are by themselves when a servant comes in and announces that Riccardo wants to speak with Cuniza. The latter sings “Oh, who can turn my fevered thoughts…” She informs Imelda that she wants her to tell Riccardo to go to Leonora. Cuniza sings “More persuasive to my conscience…” and feels she’s made the right and the correct decision. Scene 2: Remote area close to the castle gardens Courtiers have gathered and are expressing their sympathy for Leonora’s predicament. They leave and Oberto enters. He’s waiting for his rival to appear. He states that he seeks vengeance and sings “The horror of his betrayal…” The courtiers return with a message. Cuniza has intervened and Oberto has nothing to be afraid of with Riccardo, they tell him. Oberto is tightly focused on revenge, still. When Riccardo gets there they fight. Cuniza stops them as she arrives with Leonora. Cuniza wants Riccardo to confess his fidelity and marry Leonora. Oberto still insists on a fight and he and Riccardo will meet in the woods to do so. All leave. A duel is in progress but it’s offstage. Riccardo arrives back on the scene. He knows he’s killed Oberto and sings “Heavens, what have I done?” He feels repentant and guilty. Cuniza and Imelda enter and tell him that Leonora is devastated over her father’s death. Riccardo sends a letter saying that he’s gone off into exile and has left his possessions to Leonora. She’s too distraught and says she’ll go off somewhere and become a hermit. 34 - Verdi complete works –

Otello -

Total time ca. 2 1/2 hours

Opera in 4 Acts

Premiere:05 February 1887

Cast recording English National Philharmonic Orchestra-James Levine,Ambrosian Opera Chorus - John McCarthy Plácido Domingo [Otello], Renata Scotto [Desdemona], Frank Little [Cassio], Paul Crook [Roderico] Sherrill Milnes [Iago], [Lodovico], Malcolm King [Montano], [Emilia], Melcom King [Montano] Recorded: August 1978, London

Italian libretto by Arrigo Boito, based on Shakespeare's play Othello. Ballet: In 1894, Verdi composed a short ballet for a French production of Otello, which takes place during the third act that precedes the entrance of Lodovico. It is rarely performed as part of the opera.

Roles

• Otello, a Moorish general, (Tenor) • Jago, Otello's ensign, (Bariton) • Cassio, Otello's captain, (Tenor) • Rodrigo, a gentleman of Venice, (Tenor) • Lodovico, ambassador of the Venetian Republic, (Bass) • Montano, former Governor of Cyprus, (Bass) • A Herald (Bass) • Desdemona, Otello‘s wife, (Soprano) • Emilia, wife of Iago and maid of Desdemona, (Mezzo soprano) • Venetian soldiers and sailors and Cypriot townsfolk and children (Chorus)

Synopsis:

Act 1: A seaport in Cyprus. It is night and a storm rages.

It is night and a storm is raging. The people of the island are looking out to sea, anxious for Otello's ship. It arrives safely and he greets the crowd with a shout of triumph: the storm which has spared him has completed the destruction of the Turkish fleet begun by him. Frustrated in his love of Desdemona, Roderigo is ready to drown himself, but Iago counsels him to be sensible. He hates Otello for having appointed Cassio captain over his head and will help Roderigo and have his own revenge at the same time. As the islanders celebrate, Iago invites Cassio to drink the health of Otello and Desdemona, knowing that he has no head for liquor. Prompted by Iago, Roderigo begins a quarrel with the intoxicated Cassio, and when Montano tries to stop them, Cassio attacks him. Iago urges Roderigo to rouse the town. Otello interrupts the fight and, discovering that Montano is wounded and angry because Desdemona's sleep has been disturbed, demotes Cassio. He orders Iago to calm the population. Otello and Desdemona, left alone, remember the days of their courtship.

Act 2: A hall in the castle with a garden in the background.

Iago suggests to Cassio that he try to regain favor by asking Desdemona to intercede for him and exults in his inborn capacity for evil. He watches as Cassio approaches Desdemona and, noting the arrival of Otello, pretends to be worried about Cassio's manner, going on to suggest the possibility of a relationship between him and Desdemona. He then warns Otello to beware of jealousy and advises him to observe his wife. After groups of Cypriots have sung a welcome to Desdemona she begins to plead for Cassio, but Otello puts her off, complaining of a headache. When she tries to bind his forehead with a handkerchief, he throws it to the ground, where it is picked up by Emilia. Desdemona begs her husband to forgive her if she has unconsciously offended him and he broods that she may have ceased to love him because of his color and age. Iago snatches the handkerchief from Emilia, intending to leave it in Cassio's lodging. Otello orders Desdemona to leave and Iago continues to undermine Otello's faith in her. Lamenting that his peace of mind has gone, Otello demands proof of her infidelity, so Iago claims to have overheard Cassio in his sleep betraying his love for her. He also says that he has seen the handkerchief, Otello's first love-token to Desdemona, in Cassio's hand. Otello vows vengeance and Iago vows to dedicate himself to this cause.

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Act 3: The great hall of the castle.

A herald announces the arrival of a galley from Venice. Iago promises to induce Cassio to betray his love for Desdemona in Otello's hearing. When Desdemona again tries to speak of Cassio, Otello asks her to bind his forehead with the handkerchief. Becoming agitated when she is unable to produce it, he warns her that its loss will bring misfortune and accuses her of infidelity, driving her away, unmoved by her tears and protestations of innocence. His grief at this affliction which has been sent to try him turns to rage as Iago gets him to hide while he talks to Cassio -a cunningly contrived conversation partly about Desdemona and partly about the courtesan Bianca, who is madly in love with Cassio. Otello, unable to hear everything, misinterprets Cassio's amusement, particularly when Cassio produces the handkerchief, expressing puzzlement as to how it appeared in his lodging, and he and Iago laugh. As trumpets proclaim the arrival of the Venetian ship, Otello resolves to kill Desdemona and Iago promises to take care of Cassio. Everyone gathers to welcome the ambassador. As Otello reads the despatches brought by Lodovico, he hears Desdemona express sympathy for Cassio and strikes her. He announces that he has been recalled to Venice and Cassio appointed in his place. Lodovico tries to make peace between him and Desdemona, but he throws her to the ground. Furious at Cassio's promotion, Iago incites Roderigo to murder him, as a means of keeping Otello and Desdemona in Cyprus. Otello orders everyone to leave, cursing Desdemona when she tries to approach him. As he falls to the ground in a fit, Iago gloatingly places his foot on him.

Act 4: Desdemona's bedroom.

As Desdemona prepares for bed, assisted by Emilia, her heart is full of foreboding and she remembers a girl called Barbara, who died of unrequited love, singing "a song of willow." Bidding Emilia good night, she prays, then goes to bed. Otello enters, wakes her with a kiss and tells her to pray for forgiveness for any unabsolved sins. She begs for her life, denying his accusations of infidelity with Cassio. He strangles her. Emila brings the news that Cassio has killed Roderigo, but is unharmed. Hearing Desdemona's dying protestations of innocence, Emilia calls for help. She reveals the truth about the handkerchief and Montano says that Roderigo had revealed what he knew of the plot before dying. Iago flees, refusing to exculpate himself. Lodovico takes Otello's sword, but he draws a knife and kills himself, kissing Desdemona as he dies.

Rigoletto

Opera in 3 Acts

Total time ca. 2 hours

Premiere: 11 March 1851

Cast recording

Wiener Staatsopernchor, Wiener Philharmoniker - Carlo Maria Guilini; Placido Domingo [Il Duca di Mantova], Piero Cappucilli [Rigoletto], Ileana Cotrubas [Gilda], Nicolai Ghiaurov [Sparafucile], Elena Obraztsova [Maddelena], Hanna Schwarz [Giovanna], Kurt Moll, Luigi de Corato, Walter Gullino, Dirk Sagemüller, Olive Fredricks, Anton Scharinger, Audrey Michael Recorded 1980

The Italian libretto was written by Francesco Maria Piave based on the play Le roi s'amuse by Victor Hugo.#

Roles • Duke of Mantua (Tenor) • Rigoletto, the Duke's jester (Bariton) • Gilda, his daughter (Soprano) • Giovanna, Gilda's Nurse (Alto) • Count Monterone (Bass) • Count Ceprano (Bariton) • Countess Ceprano, his wife (Soprano) • Marullo, a cavalier (Bariton) • Matteo Borsa, a courtier (Tenor) • Sparafucile, an assassin (Bass) • Maddalena, his sister (Mezzo soprano) • Towns people (Male Chorus) 36 - Verdi complete works –

Synopsis:

Act 1

Scene 1: The grand hall of the palace of the Duke of Mantua At a ball at the ducal court of Mantua, the hunchbacked jester Rigoletto mocks the courtiers cuckolded by the profligate Duke, stirring them to plans of vengeance. Count Monterone appeals to the Duke for the return of his dishonoured daughter, but is cruelly mocked by Rigoletto. Enraged, Monterone calls down a father's curse on the terrified jester.

Scene 2: A street with Rigoletto's house on one side and Ceprano's palace on the other Brooding on the curse, Rigoletto is accosted by Sparafucile, a killer for hire, offering his services and (like the courtiers, thinking that Rigoletto keeps a mistress) pointing out that Rigoletto has a rival. Rigoletto dismisses him, but takes note of where he may be found if needed. He reflects that he is no better than Sparafucile, who kills with the sword, as he does with his tongue. A deformed man, forced to amuse others for his existence, he blames the duke and the court for his own wickedness. Only in his home is he another, better man. He tenderly embraces his daughter Gilda. He evades her questions about his life and family, remembring the dead wife who had loved him despite his deformity. He tells Gilda that she is everything to him and is terrfiied when she begs to be allowed to leave the house. He summons her duenna Giovanna and instructs her to look to his daughter's safety He goes outside to investigate a noise and the duke slips in and hides, throwing a purse to Giovanna to ensure her silence. Having found no one, Rigoletto bids his daugther farewell - to the surprise of the duke, who had been unaware that Gilda was his jester's daughter. Gilda confesses to Giovanna that she feels guilty that she has not told her father of the handsome young man she has seen at church. She muses about her love for the stranger, but is alarmed when he suddenly emerges and professes his love. He calms her fears and she admits to her love. He tells her he is a poor student called Gualtier MaldË. Hearing sounds outside he leaves and she reflects on the name of her beloved as she prepares to go to bed. In the street the courtiers are planning her abduction. Rigoletto, unaccountably nervous, reappears and they pretend they are carrying off Countess Ceprano, enlisting his help to hold the ladder, after blindfolding him. It is only when they have broken into his house and carried off Gilda that he tears off the bandage and realises what has happened, blaming Monterone's curse for his misfortune.

Act 2

A room in the duke's palace Like Rigoletto, the duke had gone back to the house to find Gilda gone. His concern for her convinces him that this time he is really in love. The courtiers describe their exploit to him and he soon realises it is Gilda they have carried off, and rushes to comfort her with the revelation of his true identity. When Rigoletto comes in search of Gilda, the courtiers feign indifference. Realising that she is with the duke he first abuses the courtiers, then begs them to restore his daughter. As she emerges in a state of disarray from the duke's bedroom, he orders the courtiers to leave. Gilda tells him about the young man at church and about how she had been abducted, though making no reference to what has occurred just now. Rigoletto comforts her and promises they will leave Mantua. Monterone, led by on his way to prison, laments that the duke is still untouched by his curse. Rigoletto swears that Monterone will be avenged by him, as Gilda pleads in vain for mercy.

Act 3

A tumbledown inn in a deserted spot on the banks of the River Mincio Rigoletto has brought Gilda to Sparafucile's dwelling in an effort to convince her that the duke, whom she still loves, is faithless. They watch as, after proclaiming his belief in the fickleness of women, he makes advances to Sparafucile's sister Maddalena, who, while pretending disbelief in his extravagant protestations, is not indifferent to him. Rigoletto sends Gilda home to change into men's clothes and set off for Verona, where he will follow her the next day. Sparafucile collects half his fee - the rest is to be paid when he hands over the duke's body at midnight. Gilda returns as a storm begins, and listens as Maddalena pleads with her brother to spare the duke - even insulting his professional pride by suggesting he murder his client, Rigoletto, instead. He agrees that if anyone arrives before midnight he will kill him instead, and Gilda determines to sacrifice herself for the duke. She knocks on the door, is killed and her body thrust into a sack and handed to Rigoletto when he returns. Refusing Sparafucile's offer of help, Rigoletto exults in his revenge, only to hear the duke singing in the distance as he leaves. Tearing open the sack, he discovers Gilda on the point of death. She begs his forgiveness for disobeying him, explaining that she is dying to save the duke. Promising to pray for him in heaven with her mother, she dies, leaving Rigoletto to the realisation that the curse has been fulfilled.

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Simon Boccanegra

Opera in 3 Acts

Premiere: 12 March 1857

Total time ca. 2 1/2 hours

Cast recording RCA Orchestra e Coro - [Simon Boccanegra], Ruggero Raimondi [Jocopo Fiesco], Katia Ricciarelli [Amelia], Gian Piero Mastromei [Paolo Albiani], Placido Domingo [Gabriele Adorno], Maurizio Mazzieri [Pietro] Piero de Palma [Capitano], Ornella Jachetti [Ancella], Gianandrea Gavazzeni Recorded 1973

Italian libretto by Francesco Maria Piave, based on the play Simón Bocanegra (1843) by Antonio García Gutiérrez, (1. Version). Italian libretto by Arrigo Boito (2. Version), the revised version of Simon Boccanegra, with the now- famous Council Chamber scene, was first performed at La Scala in Milan on 24 March 1881. It is this version which is the one frequently performed today.

Roles • Simon Boccanegra, a corsair, later the first Doge of (Bariton) • Jacopo Fiesco, a Genoese nobleman, known as Andrea Grimaldi (Bass) • Maria Boccanegra, his daughter, known as Amelia Grimaldi (Soprano) • Gabriele Adorno, a Genoese gentleman (Tenor) • Paolo Albiani, a goldsmith and the Doge's favourite courtier (Bass) • Pietro, a Genoese popular leader and courtier (Bariton) • Captain of the Crossbowmen (Tenor) • Amelia's maid (Mezzo soprano) • Soldiers, sailors, people, senators, the Doge's court, prisoners (Chorus)

Synopsis:

Time: The middle of the 14th century. Place: In and around Genoa

Prologue A piazza in front of the Fieschi palace Simon Boccanegra has been nominated to succeed Fiesco as Doge. Boccanegra hopes that he will be reunited with Fiesco’ daughter, Maria. Fiesco (who knows that his daughter, Maria, is dead) says he will forgive Simon for the past if he were to give up his beloved Amelia. Amelia is Maria’s missing daughter that she had with Boccanegra. Simon discovers Maria’s body. Cheers are heard, as Simon is elected as Doge.

Act 1 Scene 1: A garden in the Grimaldi palace, before sunrise A quarter-century later, Gabriele (Amelia’s lover) and Andrea, (Fiesco) Amelia’s guardian, are conspiring against Simon Boccanegra. Paolo, a courtier, is in love with Amelia and plans on abducting her. Amelia reveals to Simon that she is an orphan. Scene 2: The council chamber Boccanegra recognizes her as his lost daughter. Amelia suspects that Simon wants her to marry Paolo. Simon tells Paolo to abandon hope of being with Amelia. Gabriele attempts to murder Simon. Amelia stops him. Simon restores order.

Act 2 The Doge's apartments Paolo has put poison in Simon’s water. He has also convinced Gabriele that Amelia is Boccanegra’s mistress and enlists his help in killing Boccanegra. Amelia denies to Gabriele that she is having an affair with Simon. Boccanegra drinks the poisoned drink and falls asleep. Gabriele is about to kill Simon. Gabriele learns that Boccanegra is actually Amelia’s father and begs for forgiveness. Gabriele pledges loyalty to Simon. Simon blesses his wedding to Amelia.

Act 3 Inside the Doge's palace Paolo has joined the rebel army. They are defeated and he is led to his execution. He makes the confession that he abducted Amelia and that he had tried to kill Boccanegra. Amelia and Gabriele are wed. Simon recognizes Andrea as Fiesco. Boccanegra reconciles with his enemy. He dies in the arms of Fiesco from the poison that Paulo had given him. Simon proclaims that Gabriele will be his successor.

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Stiffelio

Premiere: 16 November 1850

Opera in 3 Acts

Total time ca. 2 hours

Cast recording Chor & Orchester der Wiener Staatsoper - Michael Pollas José Cura [Stiffelio], Ui Peé [Lina], Antony Mikels Moore [Stanka], Gergey Nemeti [Raffaele], Alexandru Moisiuk [Jörg], Benedict Hobel [Fererico], Elisabetha Marin [Dorothea] Recorded 1993

Italian libretto by Francesco Maria Piave, based on the French play Le pasteur, ou L'évangile et le foyer by Émile Souvestre and Eugène Bourgeois

Roles • Stiffelio (Rodolfo Müller), a Protestant minister (Tenor) • Lina, his wife, daughter of Stankar (Soprano) • Dorotea, Lina's cousin (Mezzo soprano) • Count Stankar, an elderly colonel (Bariton) • Jorg, an elderly minister (Bass) • Raffaele, Lina's lover (Tenor) • Federico von Frengel, Dorotea's lover (Tenor) • Servant Fritz (silent role) • Friends of the count, followers of Stiffelio (chorus and statists)

Synopsis:

Place: Count Stankar's castle by the River Salzbach, , Time: Early 19th Century

Act 1 Scene 1: A hall in Count Stankar's castle Stiffelio, a minister, is expected to return from a mission. His wife Lina, her father Stankar, and her cousins Dorotea and Federico are waiting for him. In addition, there is Raffaele who, unknown to all, is Lina's lover. Stiffelio arrives and recounts how the castle's boatman has told him the strange story of having seen a man and a woman escaping from a castle window and, as they did so, dropping a packet of letters, which Stiffelio now holds. Refusing to learn by opening the package who was involved, he throws the letters into the fire, much to the relief of Lina and Raffaele. Secretly, Raffaele communicates to Lina that he will leave instructions as where they may next meet inside a locked volume in the library. After he has been greeted by friends, Lina and Stiffelio are left alone (Non ha per me un accento – "She has no word for me, not a glance"). He tells her of the sin he has witnessed (Vidi dovunque gemere – "Everywhere I saw virtue groan beneath the oppressor's yoke") and then notices that her wedding ring is not on her finger. Angrily, he demands to know why (Ah v'appare in fronte scritto – "Ah, clearly written on your brow is the shame that wages war in your heart"), but Stankar arrives to escort him to the celebrations being arranged by his friends. Alone, Lina is filled with remorse (A te ascenda, O Dio clemente - "Let my sighs and tears ascend to thee, O merciful God"). Scene 2: The same, later Deciding to write a confession to Stiffelio, Lina begins to write, but her father enters and grabs the letter, which he reads aloud. Stankar rebukes her (Dite che il fallo a tergere - "Tell him that your heart lacks the strength to wash away your sins", but is determined to preserve family honor and cover up his daughter's behavior (Ed io pure in faccia agli uomini - "So before the face of mankind I must stifle my anger"). In their duet, father and daughter come to some resolve (O meco venite - "Come now with me; tears are of no consequence") and they leave. Now Raffaele enters to place the note in the volume, which has been agreed to. Jorg, the elderly preacher, observes this just as Federico arrives to take the volume away. Jorg's suspicions fall upon Federico and he shares what he knows with Stiffelio. Seeing the volume and realizing that it is locked, he is told that Lina has a key. She is summoned, but when she refuses to unlock it, Stiffelio grabs it and breaks it open. The incriminating letter falls out, but it is quickly taken up by Stankar and torn into many pieces, much to the fury of Stiffelio. 39 - Verdi complete works –

Act 3 A graveyard near the castle Lina has gone to her mother's grave at the cemetery to pray (Ah dagli scanni eterei - "Ah, from among the ethereal thrones, where, blessed, you take your seat"), but Raffaele joins her. She immediately asks him to leave. He laments her rejection (Lina, Lina! Perder dunque voi volete - "Lina, then you wish to destroy this unhappy, betrayed wretch" and refuses to go (Io resto - "I stay").

Stankar arrives, demands that his daughter leave, and then challenges Raffaele to a duel. Stiffelio arrives, and announces that no fighting can take place in a cemetery. There is an attempt at conciliation whereby the priest takes Stankar's hand and then Raffaele's, joining them together. However, Stankar reveals that Stiffelio has touched the hand of the man who betrayed him!

Not quite understanding at first, Stiffelio demands that the mystery be solved. As Lina returns demanding her husband's forgiveness, Stiffelio begins to comprehend the situation (Ah, no! E impossibile - "It cannot be! Tell me at least that it is a lie"). Demanding an explanation, he challenges Raffaele to fight but, as he is about to strike the younger man.

Jorg arrives to summon the priest to the church from which the sound of the waiting congregation can be heard. Filled with conflicting emotions, Stiffelio drops his sword, asks God to inspire his speech to his parishioners, but, at the same time, curses his wife.

Act 3 Scene 1: A room in Count Stankar's Castle Alone in his room, Stankar reads a letter which tells him that Raffaele has fled and that he seeks to have Lina join him. He is in despair over his daughter's behaviour (Lina pensai che un angelo in te mi desse il cielo - "Lina, I thought that in you an angel brought me heavenly bliss"). For a moment, he resolves to commit suicide and begins to write a letter to Stiffelio. But Jorg enters to give him the news that he has tracked down Raffaele who will be returning to the castle. Stankar rejoices (O gioia inesprimibile, che questo core inondi! - "Oh, the inexpressible joy that floods this heart of mine!"), as he sees revenge being within reach. He leaves.

Stiffelio confronts Raffaele and asks him what he would do if Lina were free, offering him a choice between "a guilty freedom" and "the future of the woman you have destroyed". The younger man does not respond, and the priest tells him to listen to his encounter with Lina from the other room. Stiffelio lays out the reason that their marriage can be annulled (Opposto è il calle che in avvenire - "Opposite are the paths that in future our lives will follow"). Lina's reaction, when presented with the divorce decree, is to swear an on-going love for her husband ("I will die for love of you"). Appealing to Stiffelio more as a priest than as a husband, Lina confesses that she has always loved him and she still does. Stankar enters to announce that Raffaele is dead and Jorg tries to convince Stiffelio to come to the church service (Ah sì, voliamo al tempio - "Ah, yes, let us flee to the church").

Scene 2: A church In the church, Stiffelio mounts the pulpit and opens the Bible to the story of the adulterous woman (John 7:53-8:11. As he reads the words of forgiveness (perdonata) he looks at Lina and it is clear that she too is forgiven.

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Un ballo in maschera - A Masked ball

Opera in 3 Acts

Total time ca. 2 1/2 hours

Premiere: 17 February 1859

Cast recording Orchestra e Coro del Teatro alla Scala di Milano feat - Maria Callas, Giuseppe di Stefano, Otsm Recorded 1964

Italian libretto by , based on the five act libretto which playwright Eugène Scribe had written for 's 1833 opera, Gustave III, ou Le bal masqué. The original version plays in Boston (BO). There is a second version that plays in Stockholm, (SW). The Stockholm version has only other role names, text and music are identical.

Roles • BO: Riccardo, Earl of Warwick and governor of Boston SW: Gustavo, King of Sweden (Tenor) • BO: Renato, husband of Amelia and Riccardo's secretary, best friend and confidant SW: Count Anckarström, husband of Amelia and Gustavo's secretary, best friend and confidant (Bariton) • BO: Amelia, wife of Renato, in love with Riccardo SW: Amelia, wife of Anckarström, in love with Gustavo (Soprano) • BO: Ulrica SW: Madame Arvidson, a fortune-teller (Mezzo soprano) • BO: Oscar, Riccardo's page SW: Oscar, Gustavo's page (Soubrette) • BO: Silvano, sailor SW: Cristiano, sailor (Bariton) • BO: Tom SW: Count Horn Conspirator in the fight against the king (Bass) • BO: Samuel SW: Count Ribbing (Bass) • A judge (Tenor) • Amelia's servant (Tenor) • Courtiers, ambassadors, military officers, politicians, artists, scholars, conspirators, servants, Masked, dancers, dancers, soldiers, citizens, farmers, sailors, boatmen, people (Chorus)

Synopsis:

Place, Stockholm, Sweden or Boston, Massachusetts. Time, Sweden: March 1792, or Boston: the end of the 17th century.

Act 1

Scene 1: A public audience at Riccardo's palace, attended by his supporters, but also by his enemies who hope for his downfall Riccardo (Gustavo) reviews the list of guests who will attend an upcoming masked ball. He is elated to see on the list the name of the woman he loves – Amelia, the wife of his friend and advisor, Renato (Count Anckarström). (Aria: La rivedrà nell'estasi / "With rapture I shall look upon her"). When Renato arrives, he tries to warn Riccardo about the growing conspiracy against him (aria: Alla vita che t'arride / "To the life with which you are favoured"), but Riccardo refuses to listen to his words. Next, Riccardo is presented with a complaint against a fortune-teller named Ulrica (Madame Arvidson), accused of witchcraft. A magistrate calls for her banishment, but Oscar the page defends her (Aria: Volta la terrea / "That tense countenance"). Riccardo resolves to investigate for himself and tells the members of the court to disguise themselves and to meet him at Ulrica's lodging later that day.

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Scene 2: At Ulrica's dwelling Ulrica summons her magical powers: Re dell'abisso, affrettati / "King of the abyss make haste". Disguised as a fisherman, Riccardo arrives before the others. He makes the fortune of a sailor named Silvano come true by spiriting a document of promotion into his pouch, convincing the crowd of the truth of Ulrica's powers. When he realizes that Amelia is coming to see Ulrica, he hides and watches. Alone with Ulrica, Amelia confesses that she is tormented by her love for Riccardo, and asks for a means to bring peace to her heart. Ulrica tells her to gather a certain herb with magical powers; Riccardo resolves to be there when she does so. Amelia leaves. Now Riccardo presents himself again, along with all of the courtiers, and asks to have his fortune told. (Aria: Di' tu se fedele / "Say whether the sea Awaits me faithfully"). Ulrica reveals that he will be killed by the next man who shakes his hand. He laughingly dismisses her prophecy and offers his hand to the courtiers, who refuse to take it. Renato arrives and shakes Riccardo's hand in greeting. Riccardo's true identity is now revealed and he is acclaimed by the people.

Act 2

On the outskirts of the town, at the gallows-place. Midnight Amelia, conquering her fears, has come here alone to pick the herb of which Ulrica told her (Aria: Ma dall'arido stelo divulsa / " If through the arid stalks"). She is surprised by Riccardo, who has come to meet her, and the two finally declare their love for each other. Unexpectedly, Renato arrives, and Amelia covers her face with her veil before he can recognize her. Renato explains to Riccardo that the conspirators are pursuing him, and his life is in danger. Riccardo leaves, making Renato promise to escort the veiled woman safely back to town, not asking her identity. When the conspirators arrive, they confront Renato; in the struggle, Amelia's veil drops. Renato assumes that Amelia and Riccardo have been involved in an adulterous love affair. He asks the two leaders of the conspiracy, Samuel and Tom, to meet him the next day.

Act 3

Scene 1: Renato's house / Anckarstroem's study Renato informs Amelia that she must die to wash away her infamous sins. She asks permission to embrace her son for the last time (aria with cello obbligato: «Morrò, ma prima in grazia»). Renato takes pity on her, realizing that it is not her that he must strike, but the man who has betrayed his long and loyal friendship (aria: «Eri tu che macchiavi quell’anima»). The conspirators now enter and Renato sides with them. It only remains to decide who shall kill Riccardo. After casting their three names (Samuel, Tom and Renato) into a vase, they draw lots and Amelia herself is appointed to carry out the macabre task, her innocent hand having drawn precisely the name of her own husband, who exults with joy at his approaching revenge. At that moment Oscar arrives with the invitations for the masked ball, which will afford the ideal setting in which to commit the deed.

Scene two – The governor’s study. In the meantime Riccardo has taken the painful decision never to see Amelia again, and has signed a decree promoting Renato, who is to be accompanied by his wife, to a new post abroad. But still he cannot shake off his memories of Amelia (romanza: «Ma se m’è forza perderti»). From behind the scenes the music of the masked ball, which has already begun, can be heard. Oscar enters and hands Riccardo a note, warning him not to attend the ball, for it is known that an attempt on his life will be made there. Determined not to show cowardice in the face or danger, but most of all in order to see Amelia for the last time, the governor decides to go to the ball.

Scene three – Ballroom in the governor’s house. The festivities are in full swing with music and dancing and a throng of guests. Renato tries to get Oscar to tell him what costume the governor is wearing (Oscar’s song: «Saper vorreste»). The page reveals Riccardo’s identity to him. Meanwhile Amelia has recognized Riccardo and beseeches him to save his life (duettino: «Ah! Perché qui! fuggite...»). He tells her that she and her husband are to go to England and that this is their last farewell. But Renato now approaches and, to everyone’s dismay, stabs Riccardo. Before dying the governor declares Amelia’s innocence and forgives everyone.

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Un Giorno di Regno , ossia il finto Stanislao - King for a day, or The Pretend Stanislaus

Opera in 2 Acts

Total time ca. 2 hours

Premiere: 15 September 1840

Cast recording

Ambrosian Singers & Royal Philharmonic Orchestra - Lamberto Gardelli Jessye Norman, Jose Carreras, Ricardo Cassinelli, , William Elvin, Wladimiro Ganzarolli, Vincenzo Sardinero Recorded 2005

Italian libretto by , based on the play Le faux Stanislas written by the Frenchman Alexandre Vincent Pineu-Duval in 1808..

Roles

• Cavaliere di Belfiore, a French officer impersonating Stanislao of Poland (Bariton) • Barone di Kelbar, the usurper (Bassbuffo) • Giulietta di Kelbar, the Baron's daughter (Mezzo soprano) • The Marchesa del Poggio, a young widow, the Baron's niece, in love with Belfiore (Soprano) • Edoardo di Sanval, a young official, la Rocca's nephew (Tenor) • La Rocca, Treasurer to the Estates of Brittany (Bass) • Count Ivrea, Commandant of Brest, engaged to the Marchesa (Tenor) • Delmonte, esquire to the false Stanislao (Bass) • Servants, chambermaids, vassals of the Baron (Chorus and Statists)

Synopsis:

The Polish monarch, King Stanisław Leszczyński, an historical figure during the War of Succession, lost his throne after the Saxon invasion at the Battle of Poltav in 1709. He regained it in 1733, but was again deposed in 1736 and went into exile in France. The opera is set in 1733 when Stanislaw returned to Poland leaving a French officer, the Cavaliere di Belfiore, to impersonate him in France.

Time: 1733, Place: Baron Kelbar's castle near Brest, France

Act 1

Scene 1: A gallery in the home of Baron Kelbar Belfiore, impersonating the Polish king Stanislaus, is a guest at the home of Baron Kelbar and he comments to himself on his change of fortune: Compagnoni di Parigi...Verrà purtroppo il giorno / "If only my old comrades in Paris could see me now, the most dissolute officer in the regiment turned philosopher king." The Baron has recently arranged a political alliance by betrothing his daughter, Giulietta, to La Rocca, the Brittany Treasurer, but Giulietta prefers La Rocca's nephew, Edoardo. Another undesired marriage involves the Baron's niece, the Marchesa del Poggio, a young widow who is in love with Belfiore. She has become engaged to the Count of Ivrea because Belfiore has been unable to commit himself to marrying her, in spite of the fact that he does love her. Knowing of the Marchesa's imminent arrival and concerned that she might reveal his false identity as the King, Belfiore writes to Stanislaw and asks to be released from his commitment. Edoardo reveals his predicament to the "King" and begs to be taken to Poland with him in order to forget about the woman he loves. In addition, when the Marchesa arrives and, upon being introduced to Belfiore as "the King", she pretends not to recognize him. Likewise, he pretends not to recognize her, but she is determined to test him by proclaiming her love for the Count: Grave a core innamorato...Se dee cader la vedova / " ".

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Scene 2: The Garden of Kelbar's castle Giulietta is alone with her attendants and expresses unhappiness in having to marry an old man: ’Non san quant'io nel petto...Non vo' quel vecchio / " “. When the Count and La Rocca arrive, followed in succession by Belfiore and Edoardo and then the Marchesa (who was planning to help the lovers), Belfiore draws the Count and La Rocca away on the pretext of discussing state business, leaving the young lovers alone with the Marchesa.

Scene 3: The gallery of Kelbar’s castle Maintaining his role as the King, Belfiore makes the Treasurer an offer of advancement which would include marriage to a rich widow. By accepting, he agrees not to marry Giulietta. When the treasurer tells the Baron that he refuses to marry his daughter, the Baron is affronted and challenges him to a duel. To add to the confusion all around, the Marchesa immediately proposes that Giulietta and Edoardo be married immediately. However, the false King returns and proposes that he will decide on a solution that will satisfy everyone.

Act 2

Scene 1: The gallery of Kelbar’s castle Following the "King's" pronouncement, the servants are mystified and they sing a carefree chorus which leads to Edoardo seeking their support and announcing his hope of still be able to marry Giulietta: Pietoso al lungo pianto...Deh lasciate a un alma amante / " ". Belfiore, the Treasurer, and Giulietta enter discussing the reasons for the Baron's opposition to his daughter's marriage to Eduardo. Giulietta explains that the young man's poverty is the main objection and so Belfiore immediately rules that the Treasurer must give up one of his castles and give over a sum of money to the young man, and then all will be well. The latter is somewhat reluctant to disobey his sovereign, but seeks a way out of his duel with the Baron.

Scene 2: A veranda overlooking the castle gardens Belfiore and the Marchesa meet on the veranda, the former still unable to reveal who he really is. This incenses the lady, who boldly states that it is her intention to marry the Count of Ivrea. However, she cannot understand why Belfiore is taking so long to reveal himself and still hopes for his change of heart: (andante) Si mostri a chi l'adora... / " ". When Count Ivrea is announced, she takes a defiant stand (cabaletta): Si, scordar saprò l'infido / " ". Since Eduardo has pledged to join the "King" when he goes to Poland, Giulietta is determined to get the King to rescind the commitment. The Count enters and the Marchesa once again states that she will marry the Count. However, Belfiore immediately forbids the marriage for 'reasons of state' and announces that he and the Count must leave for Poland to deal with state business. All express their feelings, but things come to a halt when a letter arrives for Belfiore. It is from King Stanislaw announcing his safe arrival in Warsaw and releasing Belfiore from his task of impersonating him. In return, the king has created him Marshall of France. Before dropping the disguise, the "King" proclaims that Giulietta and Eduardo are to be married and, having received the Baron's consent, reads the true king's letter and reveals his true rank. He expresses his love for the Marchesa and all ends happily with the prospect of two weddings.

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Messa da Requiem

Mass Total time ca. 1 hour 25 minutes Cast recording Berliner Philharmoniker - Claudio Abado, Swedish Radio Chorus - Bo Wannefors, Orfeón Donostiarr - Chor - José Alfaro (Soprano), (Mezzo Soprano), (Tenor), (Bass) Recorded 2001 live Berliner Philharmonie

Messa per Rossini

Mass (in honor of Gioachino Rossinis (1792-1868) – for the first year day of his death) Total time ca. 1 hour 55 minutes Cast recording Stuttgart Radio Symphony Orchester - Helmuth Rilling, Prager Philharmonischer Chor, Gächinger Kantorei Stuttgart , , Aage Haugland, Gabriela Benackova-Cap, James Wagner, Carlo Pedrotti, Antonio Buzzolla, Antonio Bazzini, , , Alessandro Nini, Raimondo Boucheron, Carlo Coccia, Gaetano Gaspari, Pietro Platania, , Teodulo Mabellini Recorded 2007

Messa solenne

Mass Total time ca. 1 hour 10 minutes Cast recording Orchestra Sinfonica & Coro di Milano - Juan Diego Flórez (Tenor), Kenneth Tarver (Tenor), Elisabetta Scano (Soprano), Cristina Gallardo-Domas (Soprano), Eldar Aliev (Bass) Recorded 2000

Pater Noster for 5-voices Men choir Total time ca. 6,5 minutes Cast recording Singakademie Tsukuba 1995 Quattro Pezzi Sacre Orchestre Révolutionaire et Romantique - Luba Orgonazova (Soprano), Donna Brown (Sopranoo), Anne Sofie von Otter (Mezzo Soprano), Luca Canonici (Tenor), Alastair Miles (Bass)

Ave Maria in b for Soprano and String quartett Total time ca. 5,5 minutes Cast recording Verdi Grand Symphonic Orchestra Milan & Verdi Chorus Milan-Riccardo Chailly Recorded 2000

Laudate pueri in D

Total time ca. 6,5 minutes Cast recording Orchestra Sinfonica di Milano - Riccardo Chailly Eldar Aliev (Bass), Juan Diego Flórez (Tenor), Kenneth Tarver (Tenor) Recorded 2000

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Quattro Pezzi Sacre

Reqiuem Total time ca. 40 minutes Cast recording Orchestre Revolutionnaire et Romantique & Monteverdi Choir - John Eliot Gardiner Luba Orgonazova (Soprano), Donna Brown (Soprano),Anne Sofie von Otter (Mezzo Soprano), Luca Canonici (Tenor), Alastair Miles (Bass) Recorded 1983

Qui Tollis in F major

Total time ca. 6 minutes Cast recording Verdi Grand Symphonic Orchestra Milan & Verdi Chorus Milan - Riccardo Chailly Juan Diego Flórez (Tenor)

Inno dello nationi - Die Internationale

Secular cantata for the World Exhibition London 1862, historical recording Total time ca. 15 minutes Cast recording NBC Symphony Orchestra - , Westminster Choir - J.F. Williamson (Tenor) Recorded 1943

Tantum ergo in F, Tantum ergo in g

Total time ca. 11 minutes Orchestra Sinfonica di Milano Giuseppe Verdi - Riccardo Chailly Eldar Aliev (Bass), Juan Diego Flórez (Tenor), Kenneth Tarver (Tenor) Recorded 2000

Te deum

Total time ca. 1,5 minutes Cast recording Berliner Philharmonie-Ricardo Muti,Stockholmer Kammerchor, Rundfunkchor Stockholm Recorded 1983

String quartett in e

Total time ca. 25 minutes Cast recording Wiener Philharmoniker-André Previn Recorded 2000

Album with 6 Romances

Total time ca. 21 minutes Cast recording Vincenzo Scalera-Piano, Renata Scotto (Soprano), Paolo Washington (Bass) Recorded 1998

Songs with Piano accompaniment

Total time ca. 80 minutes Cast recording Vincenzo Scalera-Piano, Renata Scotto (Soprano), Paolo Washington (Bass) Recorded 1998

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