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Giuseppe Verdi (1813–1901) An in three acts

AKG Libretto by Francesco Maria Piave English translation by James Fenton

The production Directed for the stage by

Rigoletto ...... John Rawnsley Gilda, his daughter ...... Helen Field soprano The ‘Duke’...... Arthur Davies tenor Sparafucile ...... John Tomlinson bass Maddalena, his sister ...... Jean Rigby mezzo-soprano Monterone...... Norman Bailey bass-baritone Marullo ...... Alan Opie baritone Giovanna ...... Shelagh Squires mezzo-soprano Borsa...... Terry Jenkins tenor Ceprano ...... Mark Richardson bass Ceprano’s wife...... Linda McLeod mezzo-soprano Henchman ...... Maurice Bowen bass Secretary ...... Linda Rands soprano , c. 1850 English National Opera Orchestra and Chorus Leslie Fyson chorus master

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COMPACT DISC ONE Time Page COMPACT DISC ONE Time Page 11 ‘Oh, dear Giovanna, guard my daughter’ 5:46 72 1 Prelude 2:34 63 Rigoletto, Gilda, Giovanna, ‘Duke’ [p. 00 Act I 12 ‘Giovanna, I should have told him’ 3:12 73 Scene One Gilda, Giovanna, ‘Duke’ 13 ‘Love is the source of life, love is our sunlight’ 5:27 74 2 ‘That pretty girl I’ve been seeing in the city’ 1:50 63 ‘Duke’, Gilda, Ceprano, Borsa, Giovanna ‘Duke’, Borsa 14 ‘Gualtier Maldè, you were the first to love me… 3 ‘If a woman should happen to catch my eye’ 2:06 63 Dearest name of my first love’ 6:20 75 ‘Duke’ Gilda, Borsa, Ceprano, Chorus, Marullo 4 ‘You’re going? That’s cruel’ 2:03 64 15 ‘I have returned. But why?’ 2:19 76 ‘Duke’, ‘Countess’, Rigoletto, Chorus Rigoletto, Borsa, Ceprano, Marullo 5 ‘It’s happened! It’s happened!’ 2:48 64 16 ‘Softly, softly we move in to get her’ 3:01 77 Marullo, Chorus, ‘Duke’, Rigoletto, Ceprano, Borsa, Courtiers All, Gilda, Chorus, Rigoletto 6 ‘I demand to see him’ 4:52 66 Monterone, ‘Duke’, Rigoletto, Borsa, Marullo, Ceprano, Courtiers TT 58:29 58

Scene Two 7 ‘The old man laid his curse on me!’ 5:10 68 Rigoletto, Sparafucile COMPACT DISC TWO Time Page 8 ‘We are equals’ 3:52 69 Rigoletto [p. 00 Act II 9 ‘Gilda! 2:03 70 1 ‘Somebody came and stole her but when?’ 2:30 78 45 Rigoletto, Gilda ‘Duke’ 10 ‘Ah, do not demand of one so sad’ 5:03 70 2 ‘Somewhere I see you weeping’ 3:055078 5:46 Rigoletto, Gilda, Giovanna ‘Duke’, All

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COMPACT DISC ONE Time Page COMPACT DISC ONE Time Page 3 ‘We went to look for her last night together’ 2:00 78 13 ‘When first I came to talk to you’ 1:33 85 78 All, ‘Duke’ ‘Duke’, Gilda, Maddalena, Rigoletto 4 ‘The power of love is calling’ 3:13 79 14 ‘If you want a faithful lover’ 4:40 86 58 ‘Duke’, All ‘Duke’, Maddalena, Gilda, Rigoletto 5 ‘Poor little Rigoletto…’ 3:35 79 15 ‘Eighty dollars you were asking’ 2:22 87 Marullo, Rigoletto, Chorus, Ceprano, Secretary, Borsa Rigoletto, Sparafucile, ‘Duke’, Maddalena 6 ‘Filthy rabble, you liars, you cowards’ 4:32 81 16 ‘He’s such a young man, handsome and friendly’ 2:33 88 Rigoletto Maddalena, ‘Duke’, Sparafucile 7 ‘My father!’ 1:29 81 17 ‘I cannot think clearly’ 6:22 89 Gilda, Rigoletto, All Gilda, Maddalena, Sparafucile 8 ‘Speak now. They’ve left us’ 7:21 82 18 ‘Now for my vengeance, now the moment is ready’ 2:53 92 Rigoletto, Gilda Rigoletto, Sparafucile 9 ‘I’ve one thing to do here before I am finished’ 1:13 83 19 ‘He’s there, murdered, oh yes’ 2:21 93 Rigoletto, Gilda, Henchman, Monterone Rigoletto, ‘Duke’ 10 ‘Old man, you’re mistaken’ 2:12 83 20 ‘But who can be inside here?’ 2:02 93 54 Rigoletto, Gilda Rigoletto, Gilda 21 ‘It’s all my fault’ 1:29 94 [p. 00 Act III Gilda, Rigoletto 11 ‘You love him?’ 2:24 84 22 ‘Ah, soon, in Heaven’ 3:22 94 Rigoletto, Gilda, ‘Duke’, Sparafucile Gilda, Rigoletto 12 ‘Women abandon us’ 3:04 84 TT 66:18 58 ‘Duke’, Sparafucile, Rigoletto

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When the Duke is back in his own territory passage of haunting recitative she Giuseppe Verdi: Rigoletto Verdi allows us a moment of sympathy for acknowledges that her feelings haven’t him: this hardened rake is momentarily prey changed. The Duke appears, sings his famous Rigoletto: A Timeless Drama been compared with a Shakespearean to sentiment, perhaps sentimentality, his mood ditty about fickle women – an even more Almost the most arresting aspect of all Verdi’s monologue. Once Gilda enters we sense the expressed in an energetic recitative and aria. accurate character portrait than those already mature is his ability to find exactly the relief of the jester at meeting his beloved But once his courtiers appear and describe heard – then flirts to elating music with the right colour and hue (what the Italians call daughter: the only joy in his otherwise bitter their misdeed to him, he reverts to type, sings seductive Maddalena, Sparafucile’s sister. He tinta), musically speaking, for each work. The life. At their meeting Verdi’s innate generosity a raffish cabaletta and rushes off to rape Gilda. begins the famous Quartet with an expansive Prelude to Rigoletto is as good an example as of spirit at last breaks through. This fleeting Rigoletto at once appears before the courtiers phrase that seems perfectly to encapsulate his any of what I mean. Its dark tints and louring moment of happiness, so memorably expressed, searching for his abducted child. Verdi catches aroused feelings, and all the while Verdi’s aspect immediately tell us of a tragic, fearsome is all-too-soon set aside by the action of the pathos of his situation in music of music manages, at one and the same time, to drama to follow, while the opening scene just Giovanna, Gilda’s companion, who is bribed sorrowful despair followed by bitter anger, encompass Maddalena’s banter, Rigoletto’s as unerringly places us in the licentious court by the Duke to acquiesce in Gilda’s downfall. then abject pity as he appeals to his bitterness and Gilda’s broken-hearted of the libidinous Duke of Mantua, agent of The Duke, disguised as Gualtier, a poor tormentors’ better side in paragraphs of searing incredulity. The Quartet is justifiably the unhappy events depicted within the work. student, declares his supposed love for Gilda in emotional power. At last his daughter appears, recognised as a number that epitomises opera’s The Duke’s opening solo immediately phrases that she – and we – find irresistible: the ruined and distressed, to tell her tale of woe in superiority to straight theatre: four emotions establishes him as a free-loving libertine while devil does indeed have the best tunes. empty, dragging phrases. Still, her love is not individually expressed at the same time and Rigoletto’s jesting, as Verdi intends, is just that Once he has departed, the infatuated girl quelled and she is horrified as Rigoletto turned by Verdi’s genius into a magnificently bit too hectic to have us believe in it – and in declares her love for the young man in a decides on revenge, his mood underlined by coordinated whole. his reaction to Monterone’s fearful curse we recitative and aria that exactly mirror her Monterone’s death-driven intervention. In this Gilda supposedly goes home, while realise his convoluted, insecure nature and deluded state of mind, yet they are so beautiful whole scene Verdi moves with uncanny Rigoletto secures his murderous intentions precarious position at court. How vividly the in themselves that once again we live Gilda’s mastery from one mood to the next in a with the assassin by means of payment; again a composer evinces these facets of his characters! own emotions and believe with her in the succession of separate numbers that coalesce mood is perfectly adumbrated, here one of The night-haunted introduction to the apparently honourable intentions of her suitor. into a convincing whole. dark, nocturnal conspiracy. Back in second scene at once conjures before us the The appearance of the music of the abducting Verdi crowns his achievement by an Sparafucile’s shack, Maddalena pleads with her saturnine world of Sparafucile, the professional courtiers may seem an anti-climax, but Verdi is inspired Act III in which the drama heads for brother to spare the handsome youth. He assassin, and also the lone world of Rigoletto surely telling us that these worthless, callous its inevitably tragic conclusion. Rigoletto refuses her appeals at first; money is involved himself. Rigoletto’s solo, in its blend of creatures deserve no better than a trashy brings Gilda to see her beloved attempt his and he’ll keep his bargain, but she persuades recitative and snatches of melody, has rightly chorus. next seduction at Sparafucile’s hideout. In a him to substitute for her loved one any

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traveller who knocks at their door. Gilda, success right from its premiere at the Teatro La James Fenton’s translation aptly fits the change atmosphere. The future may be just as returning in male disguise, overhears their Fenice in Venice on 11 March 1851 and has of milieu while never straying too far into slang. effective even if it happens to be one with intentions and decides to sacrifice her own life never faltered in public estimation. That is which the composer was unacquainted. The for the man she still adores. In one of the most hardly to be wondered at given the humanity © 2000 Alan Blyth only reliable test is one of internal consistency. frightening storms in all opera, she knocks, of its story and its characters – the rich Is there a revealing correspondence between enters, and is murdered, the music symbolic of contradictions in Rigoletto’s nature; the A Note on the Production the events which are represented in the opera the turmoil of feelings afflicting all the main inconsistencies in that of the Duke, as mobile The gangland limbo in which I’ve set this and the situation which one chooses as a characters. as the women who attract him; the production of Rigoletto is, of course, an setting? If such a correspondence can be found When Rigoletto returns the music tells us of combination of disobedience (to her father anachronism – critics who object to it keep there may be a great advantage in moving the his false sense of triumph as he receives the and eventually, in her self-destruction, to her telling me that Verdi knew nothing about the production out of its conventional setting and body – he voices his thoughts in a fine passage religion) and loyalty in Gilda’s makeup. Their 1950s. But the traditional setting is also an into one with which the audience can more of recitative. But what is that voice imposing action and interaction, in a series of arias, anachronism, and it’s one which becomes readily identify. That’s why I chose to set this on his consciousness? Surely it is his master’s! duets and ensembles that seem fresh at every more glaringly apparent as we recede from the production in the world of organised crime. Only music, and Verdi’s in particular, can new encounter, are the very essence of what a period in which the opera was composed. It’s easy to map an Italian Renaissance court indicate that it is indeed the Duke, as he is great opera should offer. After more than a hundred years, the musical onto a twentieth-century criminal-gang. Plus heard quietly reprising, from within, the close Moving the plot to New York in the 1950s idioms of a nineteenth-century score strike the ça change, etc. Meddlesome antics of this sort of his aria. Horror-struck, Rigoletto opens the as Jonathan Miller has done is an updating modern ear as being strangely at odds with the are just one of the ways in which posterity sack and discovers that it contains his dying that has worked so successfully that the sixteenth-century setting. In the modern guarantees an afterlife for works which were daughter. They exchange a last, forlorn production, now almost twenty years old, theatre this sort of discrepancy is often used written in the rapidly vanishing past. farewell as she dies in the arms of her refuses to be excised from the repertory. New quite deliberately in the effort to remind the distraught father. In just a few significant audiences continue to be drawn into the audience that it is in the presence of art rather Jonathan Miller phrases all the pathos of Gilda’s plight is gangland underworld of that city’s Little Italy, than reality. But there’s no reason to suppose Director of the original stage production expressed. As throughout, Verdi’s sense of and its relevance to Verdi’s original dramatic that this is what Verdi had in mind, or that timing is all, and the taut, unforgettable drama conception is made strikingly apparent. This is the traditional setting is a more effective way If it was necessary to change the names, then the ends as it began with crashing, tragic chords. one re-creation that justifies itself. of realising the opera than any other. locality had to be changed too, and a Duke or a Francesco Maria Piave’s libretto, derived In this classic recording we are reminded of Nineteenth-century composers were Prince of somewhere else introduced, for example from Victor Hugo’s play Le Roi s’amuse, the production’s original interpreters, all comparatively haphazard in their choice of a Pier Luigi Farnese; or the action could be put provided just the inspiration Verdi needed in excellent singing-actors, and of Mark Elder’s historical period, and putting the action in the back to the time before Louis XI when France burgeoning mid-career. The work was a empathy with Verdi’s melody and rhythms. distant past was one way of creating an exotic was not a united kingdom, and a Duke of

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Burgundy or of Normandy could be made of Scene 2 ‘Duke’ finds that Gilda has disappeared. He his victim. He gloats over the body in the sack him, in any case an absolute ruler… A dead-end street in Little Italy. The tenement now senses for the first time a feeling of love until the unmistakable sound of the ‘Duke’’s Verdi where Rigoletto lives faces Ceprano’s place on the and of great loss. But his mood changes when voice is heard. Horrified, Rigoletto tears open other side of the street. his gang tells him that they have brought her the sack to find his daughter stabbed and Synopsis Rigoletto is accosted by a professional assassin, to his bedroom. dying. Monterone’s curse has been fulfilled. In Jonathan Miller’s English National Opera Sparafucile, as he returns home. Sparafucile Rigoletto pretends indifference while he production of Rigoletto recorded here, it was felt warns him that he may need his services to deal desperately searches for some clue to where Reprinted with permission from the that the setting of the opera could be successfully with a rival. Rigoletto dismisses him with Gilda may be. The gang has reduced him to English National Opera Programme updated from an indeterminate Renaissance loathing but acknowledges to himself that he is abject pleading by the time Gilda herself period in Mantua to the Cosa Nostra world of no better than a paid killer. At home he is met appears. In a terrible rage he swears to be John Rawnsley trained at the Northern School the New York Mafia in the 1950s. The action is by his daughter Gilda. Although he keeps her revenged on the ‘Duke’ for dishonouring her; of Music and the Royal Northern College of set in Little Italy, that part of New York under hidden and in ignorance for her protection, she nothing she can do will dissuade him. Music, then joined the Glyndebourne Festival the control of the Mafia, in the 1950s. longs to see the city and to know more about Opera where his roles included Ford ( ), her family and situation. Rigoletto refuses to Act III Marcello (La bohème), Figaro (Il barbiere di Act I tell her and, as he leaves, he instructs his A dilapidated riverside bar outside the city. Siviglia) and Masetto (Peter Hall’s production Scene 1 housekeeper Giovanna to let no-one in. But About a month later. Night. of ). He made his debut at the A hotel where a San Gennaro party is in progress. the ‘Duke’, who has seen Gilda at church, is Rigoletto has hired Sparafucile to kill the Royal , Covent Garden in 1979 The ‘Duke’, a Mafia boss, boasts of his success able to bribe Giovanna to admit him. He ‘Duke’, who has made an assignation with the as Schaunard (La bohème) and with English with women. He makes advances to Ceprano’s describes himself as a student; when he declares killer’s sister Maddalena. Gilda, still in love, is National Opera in 1980 as Amonasro. Here he wife while Rigoletto, the barman, taunts her his love for Gilda, she quickly responds. brought by Rigoletto to see her lover’s true also sang the title role in Jonathan Miller’s husband. Another Mafioso, Marullo, has The kidnappers collect in the street. character displayed as he seduces another production of Rigoletto, which toured North discovered that Rigoletto keeps a woman Marullo tricks Rigoletto into joining the plot woman. Rigoletto sends her home to prepare America in 1984 and included performances hidden at home and suggests that they kidnap under the pretence that they intend to abduct to leave the city in disguise. But she returns to at the House in New her in revenge for his humiliating insults. Ceprano’s wife. Only after Gilda has been hear Maddalena persuade her brother not to York. He has performed in major opera houses Monterone, whose daughter has been seduced taken does Rigoletto realise the deception. murder the ‘Duke’ if anyone else should come in France, Italy, Spain, Germany, the by the ‘Duke’, interrupts the party. He returns in time for them to substitute one body for the Netherlands, Denmark, the Far East, the USA Rigoletto’s derision with a curse that strikes Act II other. She resolves to sacrifice herself for him. and Canada, playing roles as diverse as Tonio terror in the barman – for the woman he keeps The hotel, as in Act I. Next morning. At the climax of a violent storm she goes into ( at the Teatro alla Scala, Milan), Ezio hidden is not his mistress but his daughter. Returning on impulse to Rigoletto’s home the the bar. Rigoletto returns at midnight to collect (), Renato (Un ballo in maschera),

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Germont, Papageno and the title roles in include The Greek Passion (Martinu˚), A Village John Tomlinson studied music at the Royal Educated at the Royal Birmingham School of , Falstaff and Macbeth. Romeo and Juliet (Delius) and, for Manchester College of Music. He has sung Music and the , Jean Chandos/Peter Moores Foundation, Osud regularly with English National Opera, with Rigby has appeared with major opera The soprano Helen Field was educated at the (Janácˇek) with Sir Charles Mackerras. , Covent Garden and has companies and festivals both in Great Britain Royal Northern College of Music and the appeared at the every year and abroad and is a frequent soloist at the Royal College of Music, London. Her many After studies at the Royal Northern College of since 1988. His many Wagnerian roles include BBC Promenade Concerts. With English roles with British opera companies have Music Arthur Davies joined Welsh National Wotan/Wanderer, Titurel, Gurnemanz, King National Opera she has sung Penelope, included Mimì, Musetta, Gilda, Marenka, Opera where his roles included Nemorino Marke, Heinrich (Lohengrin), Hans Sachs, Jocasta, , Octavian, Lucretia, Rosina, Tatyana, the Vixen, Jenu˚fa, Desdemona and (L’elisir d’amore), Nadir (Les Pêcheurs de perles), Landgraf (Tannhäuser) and Hagen. In Great Helen of Troy (Tippett’s ) and Cio-Cio San for , Rodolfo (La bohème) and Don Jose (Carmen). Britain he has also appeared with Opera Hippolyta (Britten’s A Midsummer Night’s Susanna, Daphne, Manon and Magda (La He made his debut with The Royal Opera, North, Scottish Opera, Glyndebourne Festival Dream). She appeared as Nicklausse (Les rondine) for , Violetta, Donna Covent Garden in Henze’s We Come to the and Touring Operas and Kent Opera. He has Contes d’Hoffmann) with The Royal Opera, Anna, Pamina and Marguerite () for River and has since appeared there in Lucia di performed on major opera stages across Covent Garden and at San Diego Opera, as English National Opera, and roles in Tippett’s Lammermoor, , , Europe and North America in roles such as Idamante () and in the title role in La New Year and Birtwistle’s The Second Mrs Kong Jenu˚fa, and Verdi’s Attila Baron Ochs (Der Rosenkavalier), Moses (Moses cenerentola at Garsington Opera, as Charlotte at the Glyndebourne Festival. Among recent among others. Roles at English National und Aron), Rocco (), Philip II (Don (Werther) at Seattle Opera, in L’italiana in performances are The Governess (The Turn of Opera have included Gustavus (A Masked Carlos), Sarastro (Die Zauberflöte), Lindorf, Algeri at the Buxton Festival, and as Irene the Screw), Salome, Aithra (Die ägyptische Ball) and the title roles in Faust and Werther. Coppelius, Dr Miracle and Dapertutto in Les (Theodora), Genevieve (Pelléas et Mélisande) Helena) and the title role in James MacMillan’s With Opera North he has appeared in The Contes d’Hoffmann, Golaud (Pelléas et under Sir Andrew Davis and Edwige Ines de Castro. Bartered Bride, and Walton’s Mélisande) and the title roles in Boris Godunov (Rodelinda) under Sir Charles Mackerras at the A busy international career has taken Helen Troilus and Cressida and with Scottish Opera and Verdi’s Oberto and Attila. John Tomlinson Glyndebourne Festival. She has made several Field to Théâtre royal de la Monnaie, Deutsche in Tosca (Cavaradossi) and The Cunning Little appears in numerous sound and video recordings for Chandos, including Delius’s A Oper Berlin, The Metropolitan Opera and Vixen. His international career has taken him recordings, and his discography for Chandos Mass of Life and Lucretia in Britten’s Rape of De Nederlandse Opera, as well as to Cologne, to cities all over Europe and North and South includes roles in Mary Stuart and Julius Caesar Lucretia, both under . Dresden, Montpellier, Ludwigshafen, Barcelona, America, as well as to Australia, Russia and as well as highlights from Boris Godunov and Los Angeles, Santa Fé, Liège and Bonn. Israel. His discography with Chandos is Der Rosenkavalier and a solo recital of operatic Norman Bailey, renowned as a leading For the BBC she has appeared as Marzelline extensive and includes oratorios by Elgar and arias (to be released in autumn 2000), all international bass-baritone, is one of the most in Fidelio as well as in , The Cunning Mendelssohn and Troilus in the Gramophone recorded in association with the Peter Moores important Wagner singers of his generation, Little Vixen and New Year. Her recordings Award-winning Troilus and Cressida. Foundation. closely associated with the title role in Der

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fliegende Holländer and Hans Sachs in Die has sung with all the major British opera Mozart Players. In September 2000 he will House, Covent Garden, The Metropolitan Meistersinger von Nürnberg. During four years companies. Abroad he has appeared at the become Music Director of the Hallé Orchestra. Opera, the Opéra national de Paris-Bastille, as company member with English National opera houses of Bayreuth, Paris (Opéra He works regularly with leading orchestras Lyric Opera of Chicago, Glyndebourne Opera his roles included Prince Gremin national de Paris-Bastille), Amsterdam, throughout Europe and North America, Festival Opera and . (), Wotan (under Reginald Chicago, Milan (Teatro alla Scala), Munich including the Chicago Symphony Orchestra, Other guest engagements have taken him to Goodall), Father (Hansel and Gretel) and the (Bavarian State Opera), Berlin, and the Royal Concertgebouw Orchestra, the Los the Bayreuth Festival and to Amsterdam, Forester (). With The New York (The Metropolitan Opera). Angeles Philharmonic, the Orchestre de Paris Geneva, Berlin and Sydney. Royal Opera, Covent Garden he has appeared Recently he appeared as Beckmesser (Die and the Symphony Orchestra of North With English National Opera he made in , Salome (Jochanaan), Ariadne Meistersinger von Nürnberg) at Vienna State German Radio. acclaimed tours of the USA (including auf Naxos (Music Master), Falstaff (Ford), La Opera and was invited to return as Balstrode In the UK he enjoys close associations with performances at The Metropolitan Opera) and traviata (Germont) and (the King). His in Peter Grimes, a roll he also sang in Chandos’ both the London Philharmonic Orchestra and Russia (including performances at the Bolshoi extensive international career has taken him to Grammy Award-winning recording of the the Orchestra of the Age of Enlightenment Theatre in Moscow and the Mariinsky Theatre The Metropolitan Opera, New York, Teatro opera. Other appearances on Chandos include and has appeared annually at the BBC in St Petersburg). Most recently his operatic alla Scala, Milan, Vienna State Opera, the The Rape of Lucretia (Britten), Martin’s Lie Promenade Concerts. engagements have included productions of Paris Opéra, Hamburg State Opera, Deutsche (Menotti), Troilus and Cressida (Walton), as He conducts regularly in such prominent Mefistofele (Boito) and Otello at The Oper Berlin, Lyric Opera of Chicago and the well as Mary Stuart, , international opera houses as the Royal Opera Metropolitan Opera. Bayreuth and Spoleto Festivals, working with Pagliacci and La bohème (all in collaboration such conductors as Sir Colin Davis, Sir Georg with the Peter Moores Foundation). Solti, James Levine, Carlo Maria Giulini, Wolfgang Sawallisch and Claudio Abbado. Mark Elder, who was awarded the CBE in Recent roles include Oroveso (Norma), 1989, has held distinguished posts both in the Banquo (Macbeth), the Doctor (Wozzeck) and United Kingdom and abroad. These include Schigolch (Lulu). For Chandos he has Music Director of English National Opera recorded the title role in Tippett’s King Priam. (1979–93), Music Director of the Rochester Philharmonic Orchestra in the USA Born in Cornwall, Alan Opie studied at the (1989–94) and Principal Guest Conductor of Guildhall School of Music and the London the City of Birmingham Symphony Orchestra Opera Centre. He was Principal Baritone with (1992–5), a position he has also held with the English National Opera for many seasons and BBC Symphony Orchestra and the London

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Whilst still in his early twenties, Peter Moores had started giving financial support to various PETER MOORES, CBE, DL young artists, several of whom – , Colin Davis and the late Geraint Evans Peter Moores was born in Lancashire, the son of Sir John Moores, founder of the giant amongst them – were to become world-famous. In 1964 he set aside a substantial part of his Littlewoods mail order, chain store and football pools group. He was educated at Eton and inheritance to establish the Peter Moores Foundation, a charity designed to support those Christ Church, Oxford, where he read modern languages – he was already fluent in German causes dear to his heart: to make music and the arts more accessible to more people; to give and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne encouragement to the young and to improve race relations. Festival Opera before going up to university, and after Oxford he became a production student at the Vienna State Opera, combining this with a three-year course at the Vienna PETER MOORES FOUNDATION Academy of Music and Dramatic Art. In the field of music, the main areas supported by the Peter Moores Foundation are: By the end of his third year at the Academy Moores had produced the Vienna premiere of the recording of operas from the core repertory sung in English translation; the recording Britten’s The Rape of Lucretia, had worked as Assistant Producer at the San Carlo Opera or staging of rare Italian opera from the bel canto era of the early nineteenth century House, Naples, the Geneva Festival and Rome Opera, and seemed set for a successful operatic (repertoire which would otherwise only be accessible to scholars); the nurturing of career. At this point he received a letter from his father asking him to come home as he was promising young opera singers; new operatic work. needed in the firm. Family loyalty being paramount, he returned to Liverpool. The Foundation awards scholarships annually to students and post-graduates for furthering By 1977, he was Chairman of Littlewoods. Three years later their vocal studies at the Royal Northern College of Music. In addition, project awards may be he stepped down from the post, although still remaining on given to facilitate language tuition in the appropriate country, attendance at masterclasses or the Board. He was a director of a merchant bank from 1978 summer courses, specialised repertoire study with an acknowledged expert in the field, or to 1992. From 1981 to 1983 he was a Governor of the BBC, post-graduate performance training. and a Trustee of the Tate Gallery from 1978 until 1985; from The Foundation encourages new operatic work by contributing to recordings, the 1988 to 1992 he was a director of Scottish Opera. He received Christina Burton/PMF publication of scores and stage productions. the Gold Medal of the Italian Republic in 1974, an Honorary Since 1964 the Foundation has supported the recording of more than forty operas, many of MA from Christ Church, Oxford, in 1975, and was made an these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy opera Honorary Member of the Royal Northern College of Music in to the full, there must be no language barrier, particularly for newcomers and particularly in the 1985. In May 1992 he became Deputy Lieutenant of popular repertoire – hence the Opera in English series launched with Chandos in 1995. This Lancashire, and in the New Year’s Honours List for 1991, he includes many of the English language recordings funded by the Foundation in the 1970s and was made a CBE for his charitable services to the Arts. Peter Moores, CBE, DL 1980s and is now the largest recorded collection of operas sung in English.

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John Rawnsley as Rigoletto and Arthur Davies as the ‘Duke’ Clive Barda Clive Catherine Ashmore

John Rawnsley

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mit einem Rezitativ und einer Arie, die präzise als er mit Passagen voll emotionaler Inbrunst Giuseppe Verdi: Rigoletto ihren verwirrten Geisteszustand wiedergeben, an die Menschlichkeit seiner Peiniger jedoch so schön sind, daß wir wiederum an appelliert. Endlich erscheint seine Tochter, Rigoletto: ein zeitloses Drama zweiten Szene beschwört vor unseren Augen Gildas Emotionen teilhaben und mit ihr an um vernichtet und verzweifelt in leeren, Einer der bemerkenswertesten Aspekte aller unmittelbar die finstere Welt des die scheinbar ehrenhaften Absichten ihres schleppenden Phrasen ihr Leid zu klagen. reifen Opern Verdis ist seine Fähigkeit, für gewerbsmäßigen Mörders Sparafucile herauf, Freiers glauben. Das Einsetzen der Musik der Ihre Liebe ist jedoch immer noch nicht jedes Werk musikalisch genau das richtige und ebenso die einsame Welt des Rigoletto. Höflinge, die zu ihrer Entführung angetreten erloschen, und sie reagiert mit Entsetzen, als Kolorit und den angemessenen Ton zu treffen Solo mit seiner Verschmelzung von sind, mag danach enttäuschend wirken, aber Rigoletto Rache schwört, wobei seine (was die Italiener tinta nennen). Das Vorspiel Rezitativ und einzelnen Melodiefetzen ist zu Verdi will uns sicherlich mitteilen, daß diese Stimmung noch von Monterones zu Rigoletto ist ein besonders gutes Beispiel für Recht mit einem Shakespeare-Monolog nichtswürdigen, herzlosen Gesellen nichts mordlüsternen Einwürfen geschürt wird. In das, was ich meine. Seine düsteren Farbtöne verglichen worden. Als Gilda auftritt, spüren besseres verdienen als einen minderwertigen dieser ganzen Szene geht Verdi in einer Folge und bedrohlichen Anklänge lassen uns wir die Erleichterung des Hofnarren, seiner Chor. getrennter Nummern, die sich zum unmittelbar ein tragisches, furchterregendes geliebten Tochter zu begegnen, der einzigen Wenn wir den Herzog wieder in seiner überzeugenden Ganzen fügen, mit geradezu Drama erwarten; ebenso unfehlbar versetzt uns Freude seines ansonsten verbitterten Lebens. gewohnten Umgebung antreffen, gestattet uns unheimlicher Meisterschaft von einer die erste Szene an den Hof des zügellosen Bei ihrem Zusammentreffen kommt endlich Verdi, ihn einen Augenblick lang sympathisch Stimmung zur nächsten über. Herzogs von Mantua, der treibenden Kraft die Verdi eigene großzügige Gesinnung zum zu finden: Dieser hartgesottene Lebemann gibt Verdi krönt sein Werk mit einem brillianten hinter den unglückseligen Ereignissen, die in Tragen. Dieser so denkwürdig zum Ausdruck sich kurz dem Gefühl, ja geradezu der dritten Akt, in dem das Drama seinem der Oper dargestellt werden. Das erste Solo gebrachte Moment des Glücks wird allzu rasch Gefühlsduselei hin und bringt seine Stimmung unausweichlich tragischen Schluß zusteuert. des Herzogs etabliert ihn sofort als durch die Handlungen von Gildas in einem lebhaften Rezitativ samt Arie zum Rigoletto bringt Gilda in Sparafuciles ausschweifenden Libertin, während Rigolettos Gesellschafterin Giovanna aufgehoben – sie Ausdruck. Doch sobald seine Höflinge Unterschlupf, damit sie sieht, wie ihr Geliebter Späße ganz wie von Verdi beabsichtigt ein läßt sich vom Herzog bestechen, an Gildas auftreten und ihm ihre Missetat schildern, sich an seine nächste Verführung macht. In wenig zu hektisch ausfallen, um glaubhaft zu Untergang mitzuwirken. Als der arme Student schlägt sein Verhalten wieder um; er singt eine einem sehnsuchtsvollen Rezitativ bekennt sie, sein – und in seiner Reaktion auf Monterones Gualtier verkleidet erklärt der Herzog seine liederliche Cabaletta und eilt hinaus, um Gilda daß ihre Gefühle sich nicht geändert haben. schrecklichen Fluch erkennen wir seinen vermeintliche Liebe zu Gilda in Phrasen, die zu vergewaltigen. Gleich danach erscheint Der Herzog erscheint, singt seine berühmte komplizierten, unsicheren Charakter und seine sie – genau wie das Publikum – Rigoletto auf der Suche nach seiner entführten Weise von den trügerischen Frauen – ein noch prekäre Stellung bei Hofe. Wie lebendig der unwiderstehlich findet: Der Teufel hat Tochter vor den Höflingen. Verdi fängt das treffenderes Charakterporträt als jene, die wir Komponist diese Facetten seiner Figuren an wahrhaftig die besten Melodien. Elend seiner Lage in Musik voll trauriger schon gehört haben – und schäkert dann den Tag bringt! Als er gegangen ist, erklärt das betörte Verzweiflung ein, gefolgt von bitterer Wut und begleitet von aufrüttelnder Musik mit der Die nächtlich verhangene Einleitung zur Mädchen ihre Liebe zu dem jungen Mann schließlich unterwürfig geäußertem Jammer, verführerischen Maddalena, der Schwester des

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Sparafucile. Er beginnt das berühmte Quartett für den noch immer Angebeteten zu opfern. Roi s’amuse bot genau die Inspiration, die der Publikum läßt sich auf das Gangster-Milieu mit einer ausladenden Phrase, die seine In einem der furchterregendsten Gewitter der bereits mit einer blühenden Karriere gesegnete des New Yorker Stadtteils Little Italy ein, und Erregung perfekt einzufangen scheint, und Operngeschichte klopft sie an, tritt ein und Verdi brauchte. Das Werk war ab dem Tag dessen Bezug zu Verdis ursprünglichem derweil gelingt es Verdis Musik, zugleich auch wird ermordet – die Musik symbolisiert die seiner Uraufführung am 11. März 1851 im dramaturgischem Konzept wird ihm noch Maddalenas Koketterie, Rigolettos inneren Konflikte sämtlicher Hauptpersonen. Teatro La Fenice ein Erfolg und ist seither in einleuchtend klargemacht. Dies ist eine Verbitterung und Gildas zutiefst bekümmerte Als Rigoletto zurückkehrt, kündet die der Gunst des Publikums nicht wieder Neuschöpfung, die sich ohne weiteres Ungläubigkeit zu erfassen. Das Quartett wird Musik von seinem irregeleiteten Triumph bei gesunken. Das ist auch kaum verwunderlich, rechtfertigt. mit Recht als eine Nummer angesehen, die die der Übergabe der Leiche – er drückt seine wenn man das allgemein Menschliche der Mit der vorliegenden klassischen Aufnahme Überlegenheit der Oper gegenüber dem Gedanken in einem gelungenen Rezitativ aus. Fabel und ihrer Figuren bedenkt – da sind die werden wir an die ursprünglichen Interpreten Sprechtheater demonstriert: vier verschiedene Aber was für eine Stimme dringt da an sein umfassenden Widersprüche in Rigolettos der Inszenierung erinnert, die allesamt Gemütsverfassungen, die zugleich individuell Ohr? Das ist doch die seines Herrn! Nur Wesen, der unbeständige Charakter des ausgezeichnete Sänger und Darsteller sind, zum Ausdruck gebracht und durch Verdis Musik, und insbesondere die Musik Verdis, Herzogs, so trügerisch wie die Frauen, die er und an Mark Elders Einfühlung in Verdis Genie zu einem großartig verwobenen Ganzen kann zum Ausdruck bringen, daß es anziehend findet, die Kombination aus Melodien und Rhythmen. James Fentons geformt werden. tatsächlich der Herzog ist, den man drinnen Ungehorsam (gegenüber ihrem Vater und Übertragung ins Englische erweist sich als Gilda soll nach Hause gehen, während leise den Schluß seiner Arie wiederholen hört. schließlich in ihrer Selbstzerstörung gegenüber passend zum Milieuwechsel, ohne jemals Rigoletto durch eine Zahlung an den Von Entsetzen gepackt öffnet Rigoletto den ihrer Religion) und Loyalität in Gildas allzusehr in Slang abzugleiten. gedungenen Mörder seinen tödlichen Plan Sack und findet darin seine sterbende Tochter. Persönlichkeit. Wie diese Figuren in einer vorantreibt; erneut wird eine Stimmung genau Sie tauschen ein letztes verzweifeltes Lebewohl (auch bei wiederholtem Hören) unverbraucht © 2000 Alan Blyth umrissen, diesmal die finsterer nächtlicher aus, ehe sie in den Armen ihres verstörten klingenden Serie von Arien, Duetten und Verschwörung. In Sparafuciles Hütte fleht Vaters ihr Leben aushaucht. In wenigen Ensembles agieren und aufeinander reagieren, Eine Anmerkung zur Inszenierung Maddalena ihren Bruder an, den stattlichen bedeutungsvollen Phrasen drückt sich das das ist der Inbegriff dessen, was eine große Das freischwebende Gangster-Milieu, in dem Jüngling zu verschonen. Anfangs lehnt er ihr ganze Pathos von Gildas Schicksal aus. Wie in Oper bieten sollte. ich diese Rigoletto-Inszenierung angesiedelt Ansinnen ab; er hat Geld angenommen und der ganzen Oper bewährt sich auch hier Verdis Die Handlung ins New York der 1950er habe, ist natürlich ein Anachronismus – wird sich an seine Abmachung halten. Doch Gespür für wirkungsvolles Timing, und das Jahre zu versetzen, wie es der Regisseur Kritiker, die etwas dagegen einzuwenden sie überredet ihn, anstelle ihres Geliebten straff geführte, unvergeßliche Drama endet, Jonathan Miller tat, hat sich als derart haben, teilen mir immer wieder mit, daß Verdi einen beliebigen Reisenden zu töten, der an wie es begann: mit donnernden, tragischen erfolgreiche Aktualisierung erwiesen, daß die nichts über die 1950er Jahre gewußt haben ihre Tür kommt. Gilda ist in Männerkleidung Akkorden. inzwischen beinahe zwanzig Jahre alte kann. Aber der traditionelle Schauplatz ist zurückgekehrt, hört mit an, was die beiden Francesco Maria Piaves Libretto auf der Inszenierung bis heute nicht aus dem ebenso anachronistisch, was immer eindeutiger vorhaben, und beschließt, ihr eigenes Leben Grundlage von Victor Hugos Theaterstück Le Repertoire wegzudenken ist. Ein immer neues zutage tritt, je weiter wir uns von der Epoche

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entfernen, in der die Oper komponiert wurde. herkömmlichen Schauplatz an einen Ort und Inhaltsangabe Szene 2 Über hundert Jahre danach klingt das in eine Zeit zu verlegen, mit denen sich das In Jonathan Millers Inszenierung für die English Eine Gasse in Little Italy. Das Mietshaus, in dem musikalische Idiom einer Partitur des Publikum eher identifizieren kann. Darum National Opera, die hier aufgenommen wurde, Rigoletto wohnt, liegt dem von Ceprano auf der 19. Jahrhunderts seltsam unvereinbar mit der habe ich mich entschieden, diese Inszenierung ist der Schauplatz der Oper von Mantua zu anderen Straßenseite gegenüber. im 16. Jahrhundert angesiedelten Handlung. in der Welt des organisierten Verbrechens einer nicht näher definierten Zeit während der Bei seiner Heimkehr wird Rigoletto von dem Im modernen Theater wird diese Art anzusiedeln. Es ist kein Problem, einen Renaissance in die New Yorker Welt der Cosa Berufskiller Sparafucile angesprochen. Widerspruch oft ganz bewußt eingesetzt, um Fürstenhof der italienischen Renaissance auf Nostra während der 1950er Jahre verlegt Sparafucile warnt ihn, daß er möglicherweise das Publikum daran zu erinnern, daß es ein eine Verbrecherbande des zwanzigsten worden. Die Handlung spielt sich in Little Italy seine Dienste brauchen wird, um mit einem Kunstprodukt wahrnimmt und nicht Realität. Jahrhunderts zu übertragen. Plus ça change… ab, jenem Stadtteil von New York, der in den Rivalen fertigzuwerden. Rigoletto weist ihn Aber es gibt keine Anhaltspunkte dafür, daß usw. Spielerische Eingriffe dieser Art sind nur 50er Jahren von der Mafia kontrolliert wurde. verachtungsvoll ab, gesteht sich insgeheim Verdi etwas derartiges beabsichtigt hat, oder eine der Methoden, mit denen die Nachwelt jedoch ein, daß er kaum besser ist als ein daß der traditionelle Schauplatz sich zur Werken ein Fortleben garantiert, die in der I. Akt gedungener Mörder. Zu Hause begrüßt ihn Realisierung der Oper besser eignet als ein rasch verblassenden Vergangenheit geschaffen Szene 1 seine Tochter Gilda. Obwohl er sie zu ihrem irgendein anderer. Komponisten des 19. wurden. Ein Hotel, in dem eine Party zum San-Gennaro- eigenen Schutz verborgen und in Jahrhunderts wählten die geschichtliche Fest im Gange ist. Unwissenheit hält, sehnt sie sich danach, die Epoche ihrer Werke eher willkürlich aus; die Jonathan Miller Der “Duke”, ein Mafia-Boß, brüstet sich mit Stadt zu erkunden und mehr über ihre Familie Handlung in einer fernen Vergangenheit Regisseur der Originalinszenierung seinem Erfolg bei den Frauen. Er macht und ihre Situation in Erfahrung zu bringen. anzusiedeln, war eine Möglichkeit, eine Cepranos Frau Avancen, während der Rigoletto weigert sich, ihr etwas zu verraten, exotische Atmosphäre zu erzeugen. Die Sollte es nötig sein, die Namen zu ändern, müßte Barkeeper Rigoletto ihren Mann verhöhnt. und ehe er die Wohnung verläßt, weist er seine Zukunft könnte sich dafür genauso eignen, auch der Schauplatz gewechselt und ein Herzog Marullo, ein weiterer Mafioso, hat Haushälterin Giovanna an, niemanden selbst wenn der Komponist mit ihr nicht oder Fürst von irgendwo anders eingeführt herausgefunden, daß Rigoletto daheim eine einzulassen. Doch der “Duke”, der Gilda beim vertraut war. Das einzig verläßliche Kriterium werden, zum Beispiel ein Pier Luigi Farnese; Frau versteckt hält und schlägt vor, sie als Kirchgang erspäht hat, kann Giovanna ist das des inneren Zusammenhalts. Gibt es oder die Handlung könnte in eine Epoche vor Rache für seine schändlichen Beleidigungen zu bestechen, ihm die Tür zu öffnen. Er gibt sich eine aufschlußreiche Entsprechung zwischen Ludwig XI. zurück verlegt werden, ehe kidnappen. Monterone, dessen Tochter vom als Student aus; als er Gilda seine Liebe den in der Oper dargestellten Ereignissen und Frankreich ein vereinigtes Königreich war, und “Duke” verführt worden ist, unterbricht die gesteht, erwidert sie rasch seine Gefühle. der Situation, in die man die Handlung man könnte einen Herzog von Burgund oder der Party. Er erwidert Rigolettos Spott mit einem Die Kidnapper sammeln sich auf der Gasse. verlegt? Wenn eine solche Entsprechung Normandie aus ihm machen, in jedem Fall einen Fluch, der dem Barkeeper panische Angst Marullo bringt Rigoletto dazu, sich der vorliegt, könnte es von erheblichem Vorteil absoluten Herrscher… einjagt – denn die Frau, die er verborgen hält, Verschwörung anzuschließen, indem er ihm sein, die Inszenierung von ihrem Verdi ist nicht seine Geliebte, sondern seine Tochter. vorspiegelt, es gehe um die Entführung von

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Cepranos Frau. Erst nachdem Gilda Maddalena vereinbart hat, der Schwester des Music ausgebildet, ehe er der Glyndebourne Opernhäusern zählen Mimì, Musetta, Gilda, gefangengenommen worden ist, erkennt Killers. Gilda, die immer noch verliebt ist, wird Festival Opera beitrat, wo zu seinen Rollen Marenka, Tatjana, die Füchsin, Jenu˚fa, Rigoletto die Täuschung. von Rigoletto mitgebracht, damit sie mit Ford (Falstaff ), Marcello (La bohème), Figaro Desdemona und Cio-Cio San an der Welsh eigenen Augen sehen kann, wie ihr Geliebter (Il barbiere di Siviglia) und Masetto (in Peter National Opera, Susanna, Daphne, Manon II. Akt seine wahre Natur offenbart und eine andere Halls Inszenierung von Don Giovanni) und Magda (La rondine) an der Opera North, Das Hotel, wie ersten Akt. Am nächsten Morgen. Frau verführt. Rigoletto schickt sie wieder nach gehörten. Sein Debüt am , Violetta, Donna Anna, Pamina und Als er spontan zu Rigolettos Wohnung Hause – sie soll sich darauf vorbereiten, Covent Garden gab er 1979 als Schaunard Marguerite (Faust) an der English National zurückkehrt, stellt der “Duke” fest, daß Gilda verkleidet die Stadt zu verlassen. Doch sie kehrt (La bohème) und an der English National Opera sowie Partien in Tippetts New Year und verschwunden ist. Er verspürt nun zum ersten zurück und hört, wie Maddalena ihren Bruder Opera 1980 als Amonasro. Dort sang er in Birtwistles The Second Mrs Kong beim Mal wahre Liebe und einen großen Verlust. überredet, nicht den “Duke” zu ermorden, falls auch die Titelpartie in Jonathan Millers Glyndebourne Festival. Zu ihren jüngsten Doch seine Stimmung schlägt um, als die jemand anderes vorbeikommt, dessen Leiche Inszenierung von Rigoletto, die 1984 in den Rollen gehören die Gouvernante (The Turn of Gangster ihm mitteilen, daß sie Gilda in sein sich als die seine ausgeben läßt. Gilda beschließt, USA auf Tournee ging, unter anderem mit the Screw), Salome, Aithra (Die ägyptische Schlafzimmer gebracht haben. sich für ihn zu opfern. Auf dem Höhepunkt Aufführungen an der New Yorker Helena) und die Titelrolle in James Rigoletto täuscht Gleichmut vor, während eines heftigen Gewitters betritt sie die Bar. Metropolitan Opera. Er ist an bedeutenden MacMillans Ines de Castro. er verzweifelt einen Hinweis darauf zu Rigoletto kehrt um Mitternacht wieder, um sein Openhäusern in Frankreich, Italien, Eine arbeitsreiche internationale Karriere erhaschen sucht, wo Gilda sein mag. Die Opfer abzuholen. Er weidet sich solange an dem Spanien, Deutschland, den Niederlanden, hat Helen Field ans Théâtre de la Monnaie, an Gangster haben ihn dazu gebracht, sie Leichnam im Sack, bis die unverwechselbare Dänemark, den USA, Kanada und im Fernen die Deutsche Oper Berlin, die Metropolitan erbärmlich anzuflehen, als Gilda selbst Stimme des “Duke” zu hören ist. Entsetzt reißt Osten aufgetreten, in so unterschiedlichen Opera und die Nederlandse Opera geführt, erscheint. In einem Anfall schrecklicher Wut Rigoletto den Sack auf und findet darin seine Rollen wie Tonio (Pagliacci am Mailänder außerdem nach Köln, Dresden, Montpellier, schwört er, sich am “Duke” dafür zu rächen, Tochter mit einer tödlichen Stichwunde vor. Teatro alla Scala), Ezio (Attila), Renato (Un Ludwigshafen, Barcelona, Los Angeles, Santa daß der sie entehrt hat; nichts, was sie sagt, Monterones Fluch hat sich erfüllt. ballo in maschera), Germont, Papageno und Fé, Liège und Bonn. kann ihn davon abbringen. die Titelrollen in Nabucco, Falstaff und Für die BBC ist sie (als Marzelline) in Englische Fassung nachgedrückt mit Macbeth. Fidelio aufgetreten, daneben in Otello, III. Akt freundlicher Genehmigung aus dem Das schlaue Füchslein und New Year. Zu Eine heruntergekommene Bar am Flußufer Programmheft der English National Opera ihren Tonaufnahmen gehören Martinu˚s außerhalb der Stadt. Etwa einen Monat später. Übersetzung: Anne Steeb/Bernd Müller Die Sopranistin Helen Field wurde am Royal Griechische Passion, A Village Romeo and Juliet Nacht. Northern College of Music und am Londoner von Delius und, für Chandos/Peter Moores Rigoletto hat Sparafucile angeheuert, um den John Rawnsley wurde an der Northern School Royal College of Music ausgebildet. Zu ihren Foundation, Osud (Janáˇcek) mit Sir Charles “Duke” umzubringen, der ein Stelldichein mit of Music und am Royal Northern College of zahlreichen Rollen an britischen Mackerras.

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Nach dem Studium am Royal Northern regelmäßig an der English National Opera alle eingespielt in Verbindung mit der Peter Norman Bailey, der international berühmte College of Music trat Arthur Davies der Welsh sowie an der Royal Opera, Covent Garden Moores Foundation. Baßbariton, ist einer der bedeutendsten National Opera bei, wo Nemorino (L’elisir gesungen und ist seit 1988 jedes Jahr bei den Wagnersänger seiner Generation, dessen d’amore), Nadir (Les Pêcheurs de perles), Rodolfo Festspielen von Bayreuth aufgetreten. Zu Nach ihrer Ausbildung an der Royal Namen man mit der Titelrolle des Fliegenden (La bohème) und Don José (Carmen) zu seinen seinen zahlreichen Wagner-Partien zählen Birmingham School of Music und der Royal Holländers und der Partie des Hans Sachs in Rollen gehörten. Er gab sein Debüt am Royal Wotan/der Wanderer, Titurel, Gurnemanz, Academy of Music ist Jean Rigby mit Die Meistersinger von Nürnberg verbindet. Opera, Covent Garden in Henzes We Come to König Marke, Heinrich (Lohengrin), Hans bedeutenden Operntruppen und bei Festspielen Während seiner vier Jahre als the River und ist dort seither unter anderem in Sachs, der Landgraf (Tannhäuser) und Hagen. in Großbritannien und außerhalb des Landes Ensemblemitglied der English National Opera , La traviata, Der In Großbritannien war er außerdem an der aufgetreten und wirkt häufig als Solistin bei den sang er u.a. den Fürsten Gremin (Eugen Rosenkavalier, Jenu˚fa, Madama Butterfly und Opera North, der Scottish Opera, beim BBC Promenade Concerts. An der English Onegin), Wotan (unter Reginald Goodall), den Verdis Attila aufgetreten. Seine Partien an der Glyndebourne Festival und dessen Touring National Opera hat sie Penelope, Jokaste, Vater (in Hänsel und Gretel) und den Förster English National Opera haben Gustavus (Un Opera sowie an der Kent Opera tätig. In ganz Carmen, Octavian, Lucretia, Rosina, Helena (in (Das schlaue Füchslein). An der Royal Opera, ballo in maschera) und die Tirtelrollen in Faust Europa und Nordamerika haben ihn Tippetts King Priam) und Hippolyta (in Covent Garden ist er in Peter Grimes, Salome und Werther umfaßt. An der Opera North hat bedeutende Opernbühnen engagiert, u.a. Brittens A Midsummer Night’s Dream) (Jochanaan), Ariadne auf Naxos (Musiklehrer), er in Die verkaufte Braut, Luisa Miller und als Baron Ochs (Der Rosenkavalier), Moses gesungen. Zu ihren Rollen zählen außerdem Falstaff (Ford), La traviata (Germont) und Waltons Troilus and Cressida gesungen, an der (Moses und Aron), Rocco (Fidelio), Philipp II. Nicklausse (Les Contes d’Hoffmann) an der Aida (der König) aufgetreten. Seine Scottish Opera in Tosca (Cavaradossi) und Das (Don Carlos), Sarastro (Die Zauberflöte), Royal Opera, Covent Garden und an der San weitgespannte internationale Karriere hat ihn schlaue Füchslein. Seine internationale Karriere Lindorf, Coppelius, Le docteur Miracle und Diego Opera, Idamante (Idomeneo) und die an die New Yorker Metropolitan Opera, ans hat ihn in europäische ebenso wie nord- und Dapertutto (alle in Les Contes d’Hoffmann), Titelpartie in La cenerentola an der Garsington Teatro alla Scala in Mailand, an die Wiener südamerikanische Städte geführt, außerdem Golaud (Pélleas et Mélisande), für die Opera, Charlotte (Werther) an der Seattle Staatsoper, die Pariser Opéra, die Hamburger nach Australien, Rußland und Israel. Er hat Titelrollen in Boris Godunow sowie Verdis Opera, L’italiana in Algeri beim Buxton Festival Staatsoper, die Deutsche Oper Berlin, die zahlreiche Aufnahmen für Chandos Oberto und Attila. John Tomlinson ist an sowie Irene (Theodora), Genevieve (Pelléas et Lyric Opera of Chicago sowie zu den vorzuweisen, darunter Oratorien von Elgar und zahlreichen Ton- und Videoaufnahmen Mélisande) unter Sir Andrew Davis und Edwige Festspielen von Bayreuth und Spoleto geführt, Mendelssohn sowie den Troilus in der beteiligt gewesen, und seine Diskographie bei (Rodelinda) unter Sir Charles Mackerras beim wo er mit Dirigenten wie Sir Colin Davis, Sir Einspielung von Troilus and Cressida, die mit Chandos umfaßt Partien in Glyndebourne Festival. Sie hat für Chandos , James Levine, Carlo Maria dem Gramophone Award ausgezeichnet wurde. und Giulio Cesare ebenso wie Auszüge aus mehrmals auf Tonträger aufgenommen, zum Giulini, Wolfgang Sawallisch und Claudio Boris Godunow und Der Rosenkavalier sowie Beispiel Delius’ A Mass of Life und die Lucretia Abbado gearbeitet hat. Zu seinen jüngsten Nach seinem Studium am Royal Manchester eine Soloaufnahme mit Opernarien (die im in Brittens Rape of Lucretia, jeweils unter der Rollen gehören Oroveso (Norma), Banquo College of Music hat John Tomlinson Herbst 2000 zur Veröffentlichung ansteht), Leitung von Richard Hickox. (Macbeth), der Doktor (Wozzeck) und

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Schigolch (Lulu). Für Chandos hat er die Verbindung mit der Peter Moores Er ist an berühmten internationalen Mit der English National Opera Titelrolle in Tippetts King Priam Foundation). Opernhäusern wie dem Royal Opera House, hat er gefeierte Tourneen durch die USA aufgenommen. Covent Garden, der Metropolitan Opera, der (samt Aufführungen an der Metropolitan Mark Elder, der 1989 zum Commander of the Opéra national de Paris-Bastille, der Lyric Opera) und Rußland (mit Gastspielen am Der in Cornwall geborene Sänger Alan Opie Order of the British Empire ernannt wurde, Opera of Chicago, der Glyndebourne Festival Moskauer Bolschoi-Theater und am hat an der Guildhall School of Music und am hat sowohl in Großbritannien als auch Opera und der Bayerischen Staatsoper Petersburger Marientheater) unternommen. London Opera Centre studiert. Er war viele anderswo bedeutende Posten innegehabt. Er regelmäßig als Dirigent tätig. Weitere Zu seinen jüngsten Opernverpflichtungen Spielzeiten lang erster Bariton im Ensemble war u.a. Musikdirektor der English National Gastengagements haben ihn zu den gehörten Produktionen von Mefistofele der English National Opera und hat mit allen Opera (1979–1993), Musikdirektor des Bayreuther Festspielen sowie nach Amsterdam, (Boito) und Otello an der Metropolitan bedeutenden britischen Operntruppen Rochester Philharmonic Orchestra in den Genf, Berlin und Sydney geführt. Opera. gesungen. Außerhalb Großbritanniens ist er an USA (1989–1994) und Erster Gastdirigent des den Opernhäusern von Bayreuth, Paris (Opéra City of Birmingham Symphony Orchestra national de Paris-Bastille), Amsterdam, (1992–1995), eine Position, die er auch beim Chicago, Mailand (Teatro alla Scala), BBC Symphony Orchestra und den London München (Bayerische Staatsoper), Berlin, Mozart Players bekleidet hat. Im September Brüssel und New York (The Metropolitan 2000 wird er die Stelle des Musikdirektors Opera) aufgetreten. In jüngster Zeit hat er an beim Hallé Orchestra antreten. der Wiener Staatsoper den Beckmesser (Die Er arbeitet regelmäßig mit führenden Meistersinger von Nürnberg) gegeben und Orchestern in ganz Europa und Nordamerika wurde erneut dorthin eingeladen, um den zusammen, darunter das Chicago Symphony Balstrode in Peter Grimes zu singen – die Orchestra, das Royal Concertgebouw Orkest, gleiche Rolle, die er auch in der mit einem das Los Angeles Philharmonic Orchestra, das Grammy Award ausgezeichneten Chandos- Orchestre de Paris und das Sinfonieorchester Einspielung der Oper übernommen hatte. Zu des Norddeutschen Rundfunks. seinen Chandos-Aufnahmen gehören neben In Großbritannien pflegt er enge The Rape of Lucretia (Britten), Martin’s Lie Beziehungen mit dem London Philharmonic (Menotti), Troilus and Cressida (Walton) Orchestra ebenso wie mit dem Orchestra of außerdem Maria Stuarda, Il barbiere di the Age of Enlightenment und ist alljährlich Siviglia, Pagliacci und La bohème (alle in bei den BBC Promenade Concerts aufgetreten.

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John Tomlinson as Clive Barda Clive Sparafucile Barda Clive

John Rawnsley and Helen Field as Gilda

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cette musique est si belle en elle-même que de sa fille apparaît, anéantie et bouleversée, et Giuseppe Verdi: Rigoletto nouveau, nous vivons les émotions de Gilda et raconte son malheur en des phrases vides et nous croyons avec elle aux intentions trainantes. Pourtant, son amour n’est pas Rigoletto: Un drame intemporel L’introduction hantée par la nuit de la apparemment honorables de son prétendant. mort, et elle est horrifiée quand Rigoletto L’aspect presque le plus frappant de tous les deuxième scène installe immédiatement devant Si l’irruption de la musique des courtisans décide de se venger, la fureur de ce dernier opéras de la maturité de Verdi est la capacité nous l’univers sombre de Sparafucile, le tueur ravisseurs peut sembler être un anti-point étant accrue par la menace de mort de qu’il a de trouver exactement la couleur et la à gages, et également l’univers solitaire de culminant, Verdi veut probablement nous dire Monterone. Pendant toute cette scène, Verdi teinte appropriées (ce que les italiens nomment Rigoletto lui-même. Le solo de Rigoletto, avec que ces créatures viles et dénuées de passe avec une maîtrise étonnante d’une tinta), musicalement parlant, pour chaque son mélange de récitatif et de lambeaux de sentiments ne méritent pas autre chose qu’un humeur à l’autre en une succession de œuvre. Le Prélude de Rigoletto est un bon mélodies, a été comparé avec pertinence à un vulgaire chœur. numéros séparés qui fusionnent pour former exemple de ce que je veux dire. Ses teintes monologue de Shakespeare. Quand Gilda Quand le Duc revient sur son propre un ensemble convaincant. sombres et son aspect menaçant nous informent entre, nous ressentons le soulagement du territoire, Verdi nous accorde un moment de Verdi couronne sa réussite avec un Acte III dès l’abord du drame effroyable qui va suivre, bouffon en présence de sa fille adorée: elle est compassion pour lui: ce débauché endurci est inspiré dans lequel le drame se dirige vers sa tandis que la première scène nous introduit de la seule joie de son existence amère. A leur momentanément la proie des sentiments, de la conclusion inéluctablement tragique. Rigoletto manière infaillible dans le cadre de la cour rencontre, la générosité d’esprit innée de Verdi sentimentalité peut-être, son humeur amène Gilda pour qu’elle puisse voir son bien- licencieuse du libidineux Duc de Mantoue, transparaît enfin. Ce rapide moment de joie, s’exprimant dans un récitatif et une aria aimé séduire sa nouvelle conquête dans la responsable des événements malheureux décrits exprimé de manière si mémorable, est bien énergiques. Mais une fois que ses courtisans cachette de Sparafucile. Dans un passage dans l’œuvre. Le premier solo du Duc le vite balayé par l’acte de Giovanna, la apparaissent et lui décrivent leur méfait, son récitatif lancinant, elle reconnait que ses présente immédiatement comme un libertin, compagne de Gilda, qui est soudoyée par le naturel reprend le dessus, et il se met à chanter sentiments n’ont pas changé. Le Duc apparaît, tandis que les bouffonneries de Rigoletto, Duc pour collaborer à la chute de Gilda. Le une cabalette libertine avant de se précipiter chante sa fameuse chanson sur l’inconstance comme le veut Verdi, sont juste un peu trop Duc, déguisé sous les traits de Gualtier, un pour aller violer Gilda. Rigoletto apparaît des femmes – un portrait de caractère encore exagérées pour que l’on puisse vraiment y croire pauvre étudiant, déclare à Gilda son amour out de suite devant les courtisans à la plus précis que ceux entendus auparavant – – et lors de sa réaction à la terrible malédiction prétendu en des phrases qu’elle trouve – et recherche de sa fille enlevée. Verdi saisit le puis se met à flirter sur une musique exaltée lancée contre lui par Monterone, nous nous aussi – irrésistibles: vraiment, le diable pathétique de sa situation avec une musique avec Maddalena, la sœur aguichante de prennons conscience de l’ambiguïté et de possède les meilleures mélodies. chargée d’un désespoir douloureux suivi Sparafucile. Il commence le célèbre Quatuor l’insécurité de sa nature, ainsi que de la précarité Dès qu’il est parti, la jeune fille entichée d’une colère amère, puis d’un apitoiement par une longue phrase qui semble parfaitement de sa position à la cour. Et avec quel panache le déclare son amour pour le jeune homme dans abject quand il fait appel au bon cœur de résumer son excitation, et tout du long, la compositeur met-il en évidence les différentes un récitatif et une aria qui reflètent exactement ses bourreaux en des paragraphes d’une musique de Verdi parvient à contenir facettes de ses personnages! l’égarement dans lequel elle se trouve, mais puissance émotionnelle fulgurante. Enfin, simultanément le badinage de Maddalena,

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l’amertume de Rigoletto et l’incrédulité du quand il reçoit le corps – il exprime ses histoire et de ses personnages – les convient parfaitement au changement de cœur brisé de Gilda. Le Quatuor est à juste pensées au cours d’un remarquable passage contradictions riches de la nature de Rigoletto, milieu sans jamais aller trop loin dans l’usage titre considéré comme un numéro qui illustre en récitatif. Mais quelle est cette voix qui l’inconstance du Duc qui est aussi mobile que de l’argot. la supériorité de l’opéra sur le théâtre parlé: vient déranger sa conscience? Sûrement, les femmes qui l’attirent, le mélange de quatre émotions sont exprimées c’est celle de son maître! Seule la musique, désobéissance (à son père et finalement, dans © 2000 Alan Blyth individuellement et en même temps, et grâce et celle de Verdi en particulier, peut indiquer son auto-destruction, à sa religion) et de au génie de Verdi, elles sont transformées en que c’est en effet celle du Duc, tandis qu’on loyauté du caractère de Gilda. Leurs actions et un magnifique tout coordonné. l’entend de l’intérieur reprendre doucement interactions, en une série d’arias, de duos et Une remarque concernant la production Gilda est sensée rentrer à la maison tandis la fin de son aria. Frappé d’horreur, d’ensembles qui paraissent toujours nouveaux Le milieu de gangsters dans lequel j’ai situé que Rigoletto s’assure les services du tueur par Rigoletto ouvre le sac et découvre qu’il à chaque audition, sont l’essence même de ce cette production de Rigoletto est, bien entendu, le moyen d’une somme d’argent; ici encore, un contient sa fille mourante. Ils échangent qu’un grand opéra devrait offrir. un anachronisme – les critiques qui s’y climat est parfaitement préfiguré, celui d’une un dernier adieu désespéré tandis qu’elle Déplacer l’action dans le New York des opposent ne cesse de me dire que Verdi ne conspiration noire et nocturne. De retour dans expire dans les bras de son père bouleversé. années 1950 comme le fit Jonathan Miller est connaissait rien des années 1950. Mais le lieu la cabane de Sparafucile, Maddalena supplie Avec seulement quelques phrases significatives, une modernisation dont le succès fut tel que la de l’action traditionnel est également un son frère d’épargner le beau jeune homme. Il toute la douleur de la situation de Gilda est production, qui a aujourd’hui presque vingt anachronisme, et ce fait devient de plus en refuse d’abord de lui céder: de l’argent est en exprimée. Comme pendant tout l’opéra, le ans, refuse de quitter le répertoire. De plus évident au fur et à mesure que nous nous jeu, et il tiendra son marché; cependant, elle le sens de l’à-propos de Verdi est tout, et le nouveaux publics continuent à être attirés dans éloignons de l’époque où l’opéra fut composé. persuade de substituer son amant avec le drame tendu et inoubliable s’achève comme il le milieu des truands du quartier de Little Après plus de cent ans, le langage musical premier voyageur qui frappera à leur porte. a commencé, par des accords fracassants et Italy, et sa correspondance avec la conception d’une partition du XIXe siècle frappe les Gilda, revenue déguisée en homme, surprend tragiques. dramatique originale de Verdi est mise en oreilles modernes comme étant étrangement leur conversation et décide de se sacrifier pour Le livret de Francesco Maria Piave, inspiré lumière de manière frappante. C’est une en porte-à-faux avec le décor du XVIe siècle. l’homme qu’elle adore encore. Au cours de de la pièce de Victor Hugo, Le Roi s’amuse, recréation qui se justifie elle-même. Dans le théâtre moderne, ce genre de l’une des tempêtes les plus effrayantes de toute fournit exactement l’inspiration dont avait Dans cet enregistrement maintenant devenu désaccord est souvent utilisé de manière l’histoire de l’opéra, elle frappe à la porte, besoin Verdi au milieu d’une carrière en plein classique, il nous est donné de réentendre les totalement délibérée dans un effort pour entre et est assassiné, la musique symbolisant essor. L’œuvre rencontra un succès immédiat interprètes de la production originale, tous rappeler à l’auditoire qu’il se trouve en le trouble des sentiments affectant tous les dès sa création au Teatro La Fenice de Venise d’excellents chanteurs-acteurs, ainsi que la présence d’une œuvre d’art plutôt que de la personnages principaux. le 11 mars 1851, et depuis, elle n’a jamais profonde compréhension de Mark Elder réalité. Cependant, il n’y a aucune raison de Quand Rigoletto revient, la musique nous faibli dans l’estime du public. Et cela n’est pas pour les mélodies et les rythmes de Verdi. supposer que c’est là ce que Verdi avait à avertit de son faux sentiment de triomphe étonnant si l’on songe à l’humanité de son La traduction anglaise de James Fenton l’esprit, ou que le décor traditionnel est un

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moyen plus efficace de réaliser l’opéra S’il était nécessaire de changer les noms, alors il Un autre Mafioso, Marullo, a découvert que à l’église, parvient à soudoyer Giovanna pour qu’aucun autre. Les compositeurs du XIXe faudrait également changer le lieu, et introduire Rigoletto garde une femme cachée chez lui, et le laisser entrer. Il se présente comme étant un siècle choisissaient un peu au hasard telle ou un Duc ou un Prince d’ailleurs, par exemple un suggère de la kidnapper pour se venger de ses étudiant, et quand il fait sa déclaration telle période de l’histoire, et le fait de situer Pier Luigi Farnese; ou bien l’action pourrait être insultes et humiliations. Monterone, dont la d’amour à Gilda, elle ne tarde pas à lui l’action dans un passé lointain était une reculée à l’époque d’avant Louis XI quand la fille a été séduite par le “Duc”, interrompt la répondre de la même manière. manière de créer une atmosphère exotique. Le France n’était pas un royaume unifié, et il fête. Il répond aux sarcasmes de Rigoletto par Les ravisseurs se réunissent dans la rue. futur peut être aussi efficace même s’il se pourrait devenir un Duc de Bourgogne ou de une malédiction qui frappe de terreur le Marullo dupe Rigoletto en le convaincant de produit que le compositeur ne le connaissait Normandie, dans tous les cas un chef absolu… barman – car la femme qu’il garde cachée n’est se joindre à eux sous le prétexte qu’ils ont pas. Le seul test valable est celui de la Verdi pas sa maîtresse, mais sa fille. l’intention d’enlever la femme de Ceprano. cohérence interne. Existe-t-il un rapport C’est seulement après l’enlèvement de Gilda révélateur entre les événements qui sont Argument Scène 2 que Rigoletto comprend qu’il a été trompé. représentés dans l’opéra et la situation que l’on Dans la production de Rigoletto de Jonathan Une rue en impasse dans Little Italy. L’immeuble choisit comme décor? S’il est possible de Miller réalisée pour l’English National Opera où vit Rigoletto fait face à celui de Ceprano situé Acte II trouver un tel rapport, il y a peut-être un enregistrée ici, il a semblé possible de transposer de l’autre côté de la rue. L’hôtel, comme à l’Acte I. Le lendemain matin. grand avantage à déplacer la production de son avec succès le lieu de l’action de l’opéra d’une En rentrant chez lui, Rigoletto est accosté par Retournant subitement chez Rigoletto, le décor habituel pour la situer dans un cadre période indéterminée de la Renaissance à Sparafucile, un tueur professionnel. Sparafucile “Duc” découvre que Gilda a disparu. Il prend avec lequel l’auditoire peut s’identifier plus Mantoue dans le milieu de la Cosa Nostra de la l’avertit qu’il pourrait avoir besoin de ses alors conscience pour la première fois d’un immédiatement. C’est pourquoi j’ai choisi de Mafia New-Yorkaise des années 1950. L’action se services pour traiter avec un rival. Rigoletto sentiment amoureux et d’une grande perte. situer cette production dans le milieu du crime situe dans Little Italy, ce quartier de New York l’envoie sur les roses avec dédain, mais Mais son humeur change quand les membres organisé. Il est facile de transposer une cour de sous le contrôle de la Mafia, dans les années reconnait en lui-même qu’il ne vaut pas mieux de son gang viennent lui annoncer qu’ils ont la Renaissance italienne dans un milieu de 1950. qu’un tueur à gages. Rentré chez lui, il amené Gilda dans sa chambre. truands du XXe siècle. Plus ça change, etc. Ce retrouve sa fille Gilda. Bien qu’il la garde Rigoletto fait semblant d’être indifférent genre de procédé est juste l’un des moyens par Acte I cachée et ignorée de tous pour la protéger, elle tandis qu’il cherche désespérément un indice lesquels la postérité assure une survie à des Scène 1 voudrait bien voir la ville et avoir plus de pouvant lui indiquer où se trouve sa fille. Le œuvres qui furent écrites dans un passé Un hôtel où se déroule une fête de San Gennaro détails concernant les membres de sa famille et gang l’a réduit à implorer de manière abjecte s’évanouissant rapidement. Le “Duc”, un chef de la Mafia, se vante de ses sa situation. Rigoletto refuse de lui répondre, au moment où Gilda apparaît. Emporté par succès auprès des femmes. Il fait des avances à et en la quittant, il donne comme instruction une terrible colère, Rigoletto jure de se venger Jonathan Miller la femme de Ceprano tandis que Rigoletto, le à Giovanna, sa gouvernante, de ne laisser du “Duc” pour avoir déshonoré sa fille. Gilda Metteur en scène de la production originale barman, se moque cruellement de Ceprano. entrer personne. Mais le “Duc”, qui a vu Gilda tente vainement de l’en dissuader.

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Acte III John Rawnsley fit ses études à la Northern Londres. Parmi les nombreux rôles qu’elle a Osud (Janáˇcek) sous la direction de Sir Charles Un bar délabré en bordure de rivière hors de la School of Music et au Royal Northern College chantés avec des compagnies d’opéra Mackerras. ville. Environ un mois plus tard. Il fait nuit. of Music de Manchester, puis il devint britanniques figurent Mimì, Musetta, Gilda, Rigoletto a engagé Sparafucile pour tuer le membre du Glyndebourne Festival Opera où il Marenka, Tatyana, la Renarde, Jenu˚fa, Après avoir fait ses études au Royal “Duc” qui a pris rendez-vous avec Maddalena, a chanté les rôles de Ford (Falstaff ), Marcello Desdemona et Cio-Cio San au Welsh Northern College of Music de Manchester, la sœur du tueur. Gilda, toujours amoureuse, (La bohème), Figaro (Il barbiere di Siviglia) et National Opera, Susanna, Daphne, Manon et Arthur Davies entra au Welsh National est amenée par Rigoletto qui veut lui faire Masetto (dans la production de Peter Hall de Magda (La rondine) à l’Opera North, Violetta, Opera où il chanta les rôles de Nemorino découvrir le véritable caractère de son amant Don Giovanni). Il fit ses débuts au Royal Donna Anna, Pamina et Marguerite (Faust) à (L’elisir d’amore), Nadir (Les Pêcheurs de quand il séduit une autre femme. Rigoletto la Opera, Covent Garden de Londres en 1979 l’English National Opera, et des rôles dans perles), Rodolfo (La bohème) et Don José renvoie à la maison pour qu’elle se prépare à dans le rôle de Schaunard (La bohème), et à New Year de Tippett et dans The Second (Carmen). Il fit ses débuts au Royal Opera, quitter la ville sous un déguisement. Mais elle l’English National Opera en 1980 dans celui Mrs Kong de Birtwistle au festival de Covent Garden dans We Come to the River de revient et entend Maddalena convaincre son d’Amonasro. Dans cette maison, il chanta Glyndebourne. Parmi ses récentes prestations, Henze, et depuis s’y est produit notamment frère de ne pas tuer le “Duc” si quelqu’un également le rôle titre dans la production de on citera La Gouvernante (The Turn of the dans Lucia di Lammermoor, La traviata, d’autre arrive à temps pour qu’ils puissent Jonathan Miller de Rigoletto, production qui Screw), Salomé, Aithra (Die ägyptische Helena) Der Rosenkavalier, Jenu˚fa, Madama Butterfly et substituer le corps de l’un pour l’autre. Gilda partit en tournée en Amérique du Nord en et le rôle titre de Ines de Castro de James Attila de Verdi. A l’English National Opera, il décide alors de se sacrifier pour lui. Au point 1984, passant notamment par le Metropolitan MacMillan. a chanté le rôle de Gustavus (Un ballo in culminant d’une violente tempête, elle entre Opera de New York. John Rawnsley s’est L’importante carrière internationale d’Helen maschera) et les rôles titres de Faust et Werther. dans le bar. Rigoletto revient à minuit pour produit dans les grands salles d’opéra en Field l’a conduite à chanter au Théâtre royal A l’Opera North, il s’est produit dans La prendre sa victime. Il jubile à la vue du corps France, Italie, Espagne, Allemagne, Pays-Bas, de la Monnaie, au Deustche Oper Berlin, au Fiancée vendue, Luisa Miller et Troilus and enfermé dans le sac jusqu’au moment où il Danemark, l’Extrême-Orient, aux USA et au Metropolitan Opera de New York et au Cressida de Walton; au Scottish Opera dans entend le son reconnaissable de la voix du Canada, dans des rôles aussi divers que Tonio Nederlandse Opera, ainsi qu’à Cologne, Tosca (Cavaradossi) et La Petite renarde rusée. “Duc”. Horrifié, Rigoletto déchire le sac et (Pagliacci au Teatro alla Scala de Milan), Ezio Dresde, Montpellier, Ludwigshafen, Barcelone, Sa carrière internationale l’a mené à travers découvre sa fille poignardée et mourante. La (Attila), Renato (Un ballo in maschera), Los Angeles, Santa Fé, Liège et Bonn. toute l’Europe, l’Amérique du Nord, malédiction de Monterone se voit ainsi réalisée. Germont, Papageno et les rôles titres de Pour la BBC, Helen Field s’est produite l’Amérique du Sud, en Australie, en Russie Nabucco, Falstaff et Macbeth. dans Fidelio (Marzelline), Otello, La Petite et en Israël. Sa discographie avec Chandos Version anglaise reproduit avec la gracieuse renarde rusée et New Year. Parmi ses est importante, et comporte des oratorios autorisation de l’English National Opera La soprano Helen Field a fait ses études au enregistrements figurent La Passion grecque d’Elgar et de Mendelssohn, et Troilus dans Royal Northern College of Music de (Martinu˚), A Village Romeo and Juliet (Delius) Troilus and Cressida qui remporta un Traduction: Francis Marchal Manchester et au Royal College of Music de et, pour Chandos/Peter Moores Foundation, Gramophone Award.

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John Tomlinson fit ses études musicales au 2000). Tous ces enregistrements ont été réalisé Lucretia dans The Rape of Lucretia de Britten, James Levine, Carlo Maria Giulini, Wolfgang Royal Manchester College of Music. Il a en association avec la Peter Moores tous les deux sous la direction de Richard Sawallisch et Claudio Abbado. Norman Bailey chanté régulièrement à l’English National Foundation. Hickox. a récement chanté les rôles de Oroveso Opera, au Royal Opera, Covent Garden, et se (Norma), Banquo (Macbeth), le Docteur produit chaque année au Festival de Bayreuth Jean Rigby fit ses études à la Royal Célèbre dans le monde entier pour son (Wozzeck) et Schigolch (Lulu). Pour Chandos, depuis 1988. Ses nombreux rôles wagnériens Birmingham School of Music et à la Royal exceptionelle voix de basse-bariton, Norman il a enregistré le rôle titre dans King Priam de incluent Wotan/Wanderer, Titurel, Academy of Music de Londres, et s’est Bailey est l’un des plus grands chanteurs Tippett. Guernemanz, le Roi Mark, Heinrich produite avec les grandes compagnies d’opéra wagnériens de sa génération. Il est étroitement (Lohengrin), Hans Sachs, Landgraf et dans festivals de Grande-Bretagne et à associé avec le rôle titre dans Der fliegende Né en Cornouailles, Alan Opie étudia à la (Tannhäuser) et Hagen. En Grande-Bretagne, l’étranger. Elle se produit souvent dans le cadre Holländer, et celui de Hans Sachs dans Die Guildhall School of Music and Drama de il a également chanté à l’Opera North, au des BBC Promenade Concerts de Londres. Meistersinger von Nürnberg. Pendant les quatre Londres et au London Opera Centre. Il fut Scottish Opera, au Festival de Glyndebourne, Avec l’English National Opera, elle a chanté années qu’il passa à l’English National Opera, bariton principal à l’English National Opera avec le Glyndebourne Touring Opera et au Penelope, Jocasta, Carmen, Octavian, Lucretia, il se produisit dans les rôles du Prince Gremin pendant de nombreuses saisons, et a chanté Kent Opera. Il s’est produit sur les grandes Rosina, Helen of Troy (King Priam de Tippett) (Eugène Onéguine), de Wotan (sous la avec tous les grandes compagnies d’opéra scènes lyriques d’Europe et d’Amérique du et Hippolyta (A Midsummer Night’s Dream de direction de Reginald Goodall), du Père anglaises. A l’étranger, il s’est produit à Nord dans des rôles tels que celui du Baron Britten). Elle a chanté le rôle de Nicklausse (Hänsel und Gretel) et du Forestier (La Petite Bayreuth, Paris (Opéra national de Paris- Ochs (Der Rosenkavalier), Moses (Moses und (Les Contes d’Hoffmann) au Royal Opera, renarde rusée). Au Royal Opera, Covent Bastille), Amsterdam, Chicago, Milan (Teatro Aron), Rocco (Fidelio), Philippe II (Don Covent Garden et à l’Opéra de San Diego, Garden, il a chanté dans Peter Grimes, Salome alla Scala), Munich (Opéra d’Etat de Bavière), Carlos), Sarastro (Die Zauberflöte), Lindorf, Idamante (Idomeneo) et le rôle titre dans (Jochanaan), Ariadne auf Naxos (le Maître de Berlin, Bruxelles et New York (The Coppelius, Dr Miracle et Dapertutto dans Les La cenerentola au Garsington Opera, Charlotte Musique), Falstaff (Ford), La traviata Metropolitan Opera). Plus récemment, il a Contes d’Hoffman, Golaud (Pelléas et (Werther) à l’Opéra de Seattle, dans L’italiana (Germont) et Aida (le Roi). Son importante chanté le rôle de Beckmesser (Die Meistersinger Mélisande), et les rôles titres dans Boris in Algeri au Festival de Buxton, Irene carrière internationale l’a conduit au von Nürnberg) à l’Opéra d’Etat de Vienne où il Godounov et dans Oberto et Attila de Verdi. (Theodora), Genevieve (Pelléas et Mélisande) Metropolitan Opera de New York, au Teatro a été réinvité à se produire dans Balstrode John Tomlinson figure dans de nombreux sous la direction de Sir Andrew Davis, et alla Scala de Milan, à l’Opéra d’Etat de (Peter Grimes), un rôle qu’il a également disques et vidéos, et sa discographie pour Edwige (Rodelinda) sous la direction de Sir Vienne, à l’Opéra de Paris, à l’Opéra d’Etat de chanté dans l’enregistrement réalisé par Chandos comporte des rôles dans Maria Charles Mackerras au Festival de Hambourg, au Deutsche Oper Berlin, au Lyric Chandos qui remporta un Grammy Award. Ses Stuarda et Giulio Cesare, des extraits de Boris Glyndebourne. Jean Rigby a réalisé plusieurs Opera de Chicago, et aux festivals de Bayreuth autres enregistrements pour Chandos incluent Godounov et du Rosenkavalier, et un récital enregistrements pour Chandos, notamment et de Spoleto. Il a travaillé sous la direction de The Rape of Lucretia (Britten), Martin’s Lie solo d’arias d’opéras (à paraître à l’automne A Mass of Life de Delius et le rôle de chefs tels que Sir Colin Davis, Sir Georg Solti, (Menotti), Troilus and Cressida (Walton),

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Maria Stuarda, Il barbiere di Siviglia, Pagliacci En Grande-Bretagne, il collabore et La bohème (tous réalisés en association avec étroitement avec le London Philharmonic la Peter Moores Foundation). Orchestra et l’Orchestra of the Age of

Enlightenment, et il se produit tous les ans Barda Clive Mark Elder, qui a été fait Commandeur de dans le cadre des Promenade Concerts de la l’Empire Britannique (CBE) en 1989, a tenu BBC. des postes prestigieux en Grande-Bretagne et à Mark Elder dirige régulièrement dans des l’étranger. Ainsi, il fut directeur de l’English salles lyriques internationales aussi importantes National Opera (1979–1993), directeur que celles du Royal Opera House, Covent musical du Rochester Philharmonic Orchestra Garden, du Metropolitan Opera de New aux Etats-Unis (1989–1994), et chef principal York, de l’Opéra national de Paris-Bastille, invité du City of Birmingham Symphony du Lyric Opera de Chicago, du Glyndebourne Orchestra (1992–1995), un poste qu’il a Festival Opera et de l’Opéra d’Etat de également assuré à la tête du BBC Symphony Bavière. Il a également dirigé au Festival de Orchestra et des London Mozart Players. En Bayreuth, et à Amsterdam, Genève, Berlin septembre 2000, il deviendra le directeur et Sydney. musical du Hallé Orchestra. Avec l’English National Opera, Mark Elder Mark Elder dirige régulièrement de grands a effectué des tournées triomphales aux USA orchestres en Europe et en Amérique du Nord, (en passant par le Metropolitan Opera) et en notamment le Chicago Symphony Orchestra, Russie (notamment au Bolchoï à Moscou et au l’Orchestre Royal du Concertgebouw, le Los Théâtre Mariinski de Saint-Pétersbourg). Très Angeles Philharmonic, l’Orchestre de Paris récemment, il a dirigé des productions de et l’Orchestre symphonique de la Radio Mefistofele (Boito) et d’Otello au Metropolitan d’Allemagne du Nord. Opera de New York.

Helen Field and Arthur Davies

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intrinsica bellezza che ci fanno rivivere le stesse di vendetta di Rigoletto che Monterone incita Giuseppe Verdi: Rigoletto emozioni di Gilda, e crediamo con lei nelle all’assassinio. In tutta questa scena Verdi si intenzioni, apparentemente onorevoli, del suo sposta con sovrannaturale bravura da Rigoletto: un dramma senza tempo La notturna introduzione alla seconda scena spasimante. L’arrivo della musica dei cortigiani un’emozione all’altra in una sequenza di E’ l’aspetto quasi più stupefacente delle opere fa subito apparire ai nostri occhi il mondo incaricati del rapimento può produrre un tono numeri separati che si amalgamano in un composte da Verdi nella sua maturità quella fosco di Sparafucile, il sicario di professione, e più dimesso, ma indubbiamente Verdi ci sta insieme avvincente. sua capacità di trovare esattamente il colore quello solitario di Rigoletto. L’aria di dicendo che queste infime e grossolane Verdi corona la felice impresa con l’ispirato giusto, quella sfumatura in senso musicale che Rigoletto, nel suo amalgama di recitativo e creature non si meritano niente di meglio che Atto III in cui il dramma si avvia alla sua gli italiani chiamano “tinta”, per ognuna delle frammenti di melodia, è stata giustamente un coro pacchiano. inevitabilmente tragica conclusione. Rigoletto sue composizioni. Il Preludio del Rigoletto vale paragonata ad un monologo shakespeariano. Quando il Duca è rientrato nel suo conduce Gilda a scoprire il suo amante quanto ogni altro ad esempio di quello che Al momento in cui Gilda entra avvertiamo il territorio, Verdi ci consente un istante di impegnato nella sua prossima seduzione nel intendo. Le sue tinte buie ed il suo aspetto conforto del buffone all’incontro con l’amata simpatia per questo libertino incallito che covo di Sparafucile. In un passaggio di minaccioso ci fanno immediatamente figlia, sua unica gioia in una vita altrimenti momentaneamente si abbandona al angosciato recitativo Gilda riconosce che i suoi presentire il dramma tragico e spaventevole amara. Al loro incontro l’innata generosità di sentimento (o al sentimentalismo) esprimendo sentimenti non sono mutati. Il Duca appare, che seguirà mentre la prima scena ci insedia in spirito di Verdi alfine trapela. Questo i suoi sentimenti in un energico recitativo e canta la sua famosa canzonetta sulla volubilità modo altrettanto infallibile nella corte fuggevole momento di felicità, espresso tanto aria. Ma non appena rientrano i suoi cortigiani delle donne – un ritratto del suo carattere licenziosa del dissoluto Duca di Mantova, memorabilmente, è ben presto disperso che gli raccontano il loro malfatto, il Duca ancora più accurato di quello che abbiamo agente dei calamitosi eventi descritti nel corso dall’intervento della governante di Gilda, torna in se stesso, canta una salace cabaletta e scorto in precedenza – poi amoreggia in toni dell’opera. La prima aria del Duca conferma Giovanna, che il Duca ha assoldato come corre a sedurre Gilda. Rigoletto subito esultanti con la seducente Maddalena, sorella subito la sua natura di scostumato libertino, complice nella seduzione della ragazza. Il compare davanti ai cortigiani in cerca della di Sparafucile. Comincia il famoso Quartetto mentre i lazzi di Rigoletto hanno – come Verdi Duca, fingendosi uno studente povero, figlia rapita. Verdi coglie il patos della con una frase espansiva che sembra incapsulare intende – quel tanto di concitazione eccessiva Gualtier, dichiara a Gilda il suo presunto situazione in note di cocente disperazione, poi alla perfezione i suoi eccitati sentimenti; e che c’impedisce di prenderli interamente sul amore in frasi che Gilda (e noi pure) trova di amara furia, infine umiliandosi a chiedere tutto il tempo la musica di Verdi riesce a serio e nella sua reazione alla tremenda irresistibili: il diavolo ha davvero le note più pietà facendo appello all’umanità dei suoi cingere, singolarmente e contemporaneamente, maledizione di Monterone ci rendiamo conto belle. aguzzini in frasi di struggente forza emotiva. i motteggi di Maddalena, l’amarezza di della sua natura insicura e contorta e della Partito il Duca l’infatuata fanciulla dichiara Alla fine appare sua figlia, disonorata e Rigoletto e l’infelice incredulità di Gilda. Il precarietà della sua posizione a Corte. Con il suo amore per il giovane pretendente in un distrutta, che racconta la sua disgrazia in frasi Quartetto è giustamente riconosciuto come quanta vivezza il compositore mette in luce le recitativo ed aria che rispecchiano esattamente vuote e stentate. Eppure il suo amore non è una scena che riassume la superiorità sfaccettature del suo carattere! il suo illuso stato d’animo, eppure tale è la loro del tutto estinto, ed è sconvolta dal proposito dell’opera sul dramma convenzionale: quattro

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stati d’animo espressi individualmente al voce che s’impone alla sua consapevolezza? combinazione di disobbedienza (al padre ed in Una nota sull’allestimento medesimo tempo e realizzati dal genio Senz’ombra di dubbio è quella del suo seguito alla religione, nel suo suicidio) e di Il limbo mafioso in cui ho ambientato questo verdiano in un unico insieme magnificamente padrone. Solo la musica, e quella di Verdi in fedeltà nell’indole di Gilda. La loro azione ed allestimento del Rigoletto è naturalmente un coordinato. particolare, può indicare che è proprio il interazione, in una serie di arie, duetti e anacronismo – i critici che lo contestano Si suppone che Gilda vada a casa mentre Duca, la cui voce si sente, affievolita concertati che risultano freschi ad ogni ascolto, continuano a dirmi che Verdi era all’oscuro di Rigoletto suggella i suoi delittuosi propositi dall’interno, ripetere le ultime note della sua sono la quintessenza di quello che un quello che sarebbe accaduto negli anni con un pagamento al sicario; ancora una volta canzonetta. In preda all’orrore Rigoletto apre il capolavoro operistico dovrebbe offrire. cinquanta del Novecento. Ma anche lo spirito viene colto alla perfezione in sacco e scopre che contiene la figlia morente. Spostando la trama a New York alla l’ambiente tradizionale è un anacronismo: e un’atmosfera di fosca congiura notturna. Si scambiano un ultimo doloroso addio e metà del nostro secolo, così come ha fatto più che ci allontana dal periodo in cui l’opera Rientrata nella capanna di Sparafucile, Gilda muore fra le braccia del padre disperato. Jonathan Miller, ha prodotto un venne composta, più la cosa balza agli occhi. Maddalena scongiura il fratello a risparmiare In poche frasi significative viene espresso tutto aggiornamento così funzionante che Dopo oltre un secolo, gli idiomi musicali la vita del bel giovane. Egli dapprima rifiuta il patos della tragedia di Gilda. Come in tutta l’allestimento, dopo quasi ventanni di vita, dell’opera ottocentesca appaiono all’orecchio ci va di mezzo del danaro e Sparafucile l’opera la tempestività di Verdi è suprema rifiuta di lasciarsi estromettere dal repertorio. di oggi stranamente in contrasto con intende stare ai patti, ma Maddalena lo e il convulso, indimenticabile dramma termina Nuovi ascoltatori continuano ad essere l’ambiente cinquecentesco. Nel teatro persuade a sostituire il suo amante con un così com’era cominciato con accordi tragici trascinati nei bassifondi della malavita moderno questa specie di discrepanza è spesso qualsiasi viandante che venga a bussare alla e schiaccianti. newyorkese del quartiere di Little Italy, e la usata, del tutto deliberatamente, nel tentativo porta. Gilda ritorna in abito maschile, Il libretto di Francesco Maria Piave, tratto sua rispondenza alla concezione verdiana di ricordare al pubblico che ci si trova di ascolta inosservata le loro intenzioni e dal dramma di Victor Hugo, Le Roi s’amuse, originale è resa in modo straordinariamente fronte all’arte piuttosto che alla realtà. Ma non decide di sacrificare la propria vita per fornì esattamente l’ispirazione che occorreva a evidente. Questa è una ricreazione che si c’è ragione di supporre che fosse questa la l’uomo che tuttora adora. In una delle Verdi nel mezzo della sua sbocciante carriera. giustifica da sola. ragione che Verdi si era posta; nè che tempeste più orrende di tutta la storia L’opera fu un successo immediato sin dalla sua Questa classica registrazione ci ricorda gli l’ambiente tradizionale sia più efficace di operistica, Gilda bussa, entra e viene uccisa, prima rappresentazione al Teatro La Fenice a interpreti della produzione originaria, tutti qualsiasi altro a realizzare l’opera. I la musica simboleggiando il tumulto di Venezia l’11 marzo 1851 e non ha mai eccellenti cantanti-attori e l’identificazione di compositori dell’Ottocento erano emozioni che travagliano tutti i personaggi vacillato nella sua popolarità. Cosa che non Mark Elder con la melodia e il ritmo della relativamente disinvolti nella loro scelta del principali. desta meraviglia data l’umanità della sua storia musica verdiana. La traduzione di James Fenton periodo storico, e la collocazione dei fatti in Quando torna Rigoletto la musica ci e dei suoi personaggi – le abbondanti abilmente si adatta al cambiamento di ambiente un lontano passato era un modo di creare descrive il suo falso senso di trionfo mentre contraddizioni nella natura di Rigoletto; le senza mai sconfinare nel gergo volgare. un’atmosfera esotica. Il futuro può essere riceve il cadavere – esprime i suoi pensieri in inconsistenze in quella del Duca, tanto altrettanto efficace anche se capita che sia un un bel passaggio di recitativo. Ma qual’è quella “mobile” quanto le donne che lo attraggono; la © 2000 Alan Blyth futuro sconosciuto al compositore. L’unica

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prova affidabile è quella di una coerenza potrebbe esser messo al suo posto, ma comunque Rigoletto con una maledizione che agghiaccia di Ceprano, Marullo riesce ad abbindolare interna. C’è una corrispondenza rivelante un monarca assoluto…. il barista, giacché la donna che egli tiene Rigoletto ad unirsi alla loro impresa. Solo fra gli avvenimenti rappresentati nell’opera Verdi nascosta non è la sua amante ma sua figlia. dopo che Gilda è stata portata via, Rigoletto si e la situazione in cui si sceglie di ambientarli? accorge dell’inganno. Se questa corripondenza esiste allora si può La trama Scena 2 trarre grande vantaggio dallo spostare Nell’allestimento del Rigoletto prodotto da Una strada senza sfondo in Little Italy. L’alloggio Atto II l’allestimento dal suo ambiente convenzionale Jonathan Miller per l’English National Opera di Rigoletto è dirimpetto alla casa di Ceprano L’albergo, come nell’Atto I. La mattina dopo. a quello con il quale il pubblico trova più qui inciso, fu ritenuto che l’ambientazione sull’altro lato della strada. Tornando d’impulso alla casa di Rigoletto, il facile identificarsi. È perciò che ho scelto dell’opera potesse essere felicemente trasportata da Rigoletto, entrando in casa, viene accostato da “Duca” scopre che Gilda è scomparsa. Per la d’ambientare questa produzione nel mondo un indeterminato periodo rinascimentale a Sparafucile, un sicario di professione, il quale prima volta avverte un sentimento d’amore e della criminalità organizzata. È facile Mantova al mondo di Cosa Nostra della Mafia lo avvisa che potrebbe aver bisogno di lui per la sensazione di una grande perdita. Ma riconoscere una Corte rinascimentale nel di New York alla metà del nostro secolo. L’azione sbarazzarsi di un rivale. Rigoletto lo licenzia cambia d’umore quando i suoi accoliti gli mondo della moderna delinquenza; Plus ça si svolge nel quartiere di Little Italy, quella parte con disgusto ma riconosce a se stesso di non dicono che gliel’hanno portata in camera. change, ecc. Intromettenze di questa sorta sono di New York che negli anni cinquanta era sotto il essere migliore di un killer prezzolato. Quando Rigoletto finge indifferenza mentre una delle tante maniere con le quali i posteri controllo della Mafia. entra in casa gli viene incontro la figlia Gilda. disperatamente cerca indizi sulla sorte di possono garantire un domani ad opere Nonostante il padre, per proteggerla, la tenga Gilda. La banda lo ha ridotto a raccomandarsi composte in un passato che sta rapidamente Atto I nascota in casa ed ignara del mondo, Gilda ha vilmente quando la stessa Gilda appare. Fuori scomparendo. Scena 1 una gran voglia di vedere la città e di di se dall’ira Rigoletto giura di vendicarsi del Un albergo in cui si sta svolgendo una festa di conoscere qualcosa di più della sua famiglia e “Duca” che l’ha disonorata. Gilda non può far Jonathan Miller San Gennaro. della sua situazione. Rigoletto si rifiuta di dirle nulla per dissuaderlo. Direttore dell’allestimento originale Il “Duca”, un capomafia, si vanta dei suoi qualcosa e, uscendo, dice alla donna, successi con le donne. Circuisce la moglie di Giovanna, di non lasciare entrare nessuno in Atto III Se fosse necessario cambiare i nomi, allora si Ceprano mentre Rigoletto, il barista, si beffa casa. Ma il “Duca” che ha visto Gilda in chiesa Una taverna diroccata in riva al fiume, fuori dovrebbe cambiare anche la località e introdurre di lui. Un altro mafioso, Marullo, ha scoperto riesce a corrompere Giovanna che lo lascia città. Circa un mese dopo. Notte. un Duca o un Principe di altre parti, per che Rigoletto tiene una donna celata in casa entrare. Si presenta come studente e quando Rigoletto ha ingaggiato Sparafucile per esempio, un Pier Luigi Farnese; o l’azione sua e propone di rapirla per vendicarsi dei dichiara a Gilda il suo amore questa uccidere il “Duca” che ha un appuntamento potrebbe essere anticipata al tempo prima di commenti ingiuriosi di Rigoletto. Monterone, prontamente lo corrisponde. con la sorella del killer, Maddalena. Gilda, Luigi XI quando la Francia non era un reame la cui figlia è stata sedotta dal “Duca”, I rapitori si radunano nella strada. tuttora innamorata, viene condotta da unito, e un Duca di Borgogna o di Normandia interrompe la festa. Ricambia i sarcasmi di Pretendendo di esser venuti a rapire la moglie Rigoletto a vedere con i propri occhi il vero

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carattere del suo amante il quale si accinge a Peter Hall). Ha debuttato alla Royal Opera Opera, ruoli nell’opera di Tippett New Year e Garden, in We Come to the River, di Henze, e sedurre un’altra donna. Rigoletto la spedisce a House, Covent Garden nel 1979 nella parte di The Second Mrs Kong di Birtwistle al Festival da allora è apparso in Lucia di Lammermoor, casa perché si prepari a lasciare, travestita, la Schaunard (La bohème) e con l’English di Glyndebourne. Fra le sue recenti La traviata, Der Rosenkavalier, Jenu˚fa, Madama città. Ma Gilda ritorna per sentire Maddalena National Opera nel 1980 nella parte di interpretazioni vi sono La Governante (The Butterfly e Attila di Verdi, ed in altre opere. I che persuade suo fratello a non uccidere il Amonasro. Sempre per l’English National Turn of the Screw), Salome, Aithra (Die suoi ruóli per l’English National Opera hanno “Duca” se qualcuno arriverà in tempo per Opera ha cantato la parte di protagonista in ägyptische Helena) e la parte di protagonista in incluso Gustavo (Un ballo in maschera) e la sostituire un cadavere per l’altro. Gilda risolve Rigoletto, nell’allestimento di Jonathan Miller, Ines de Castro di James MacMillan. parte di protagonista in Faust ed in Werther. di sacrificarsi per lui. Al culmine di una successivamente portato nel Nord America in Un’intensa attività internazionale ha portato Con la compagnia di Opera North ha cantato violenta tempesta entra nella taverna. Rigoletto tournée nel 1984, tournée che ha incluso Helen Field a Théâtre royal de la Monnaie, in La sposa venduta, Luisa Miller e Troilus and torna a mezzanotte per raccogliere la sua rappresentazioni al Metropolitan Opera di Deutsche Oper Berlin, The Metropolitan Cressida, di Walton; con la Scottish Opera è vittima. Si china giubilante sul cadavere nel New York. John Rawnsley ha cantato nei Opera e De Nederlandse Opera, ed a Colonia, apparso in Tosca (Cavaradossi) ed in L’astuta sacco quando sente il suono inconfondibile principali teatri lirici in Francia, Italia, Spagna, Dresda, Montpellier, Ludwigshafen, piccola volpe. La sua carriera internazionale si è della voce del “Duca”. Raccapricciato, Germania, Olanda, Danimarca, Estremo Barcellona, Los Angeles, Santa Fé, Liegi e estesa a città di tutta l’Europa, Nord e Sud Rigoletto squarcia il sacco e vi trova sua figlia, Oriente, Stati Uniti e Canada, in ruoli così Bonn. America, così come all’Australia, Russia e pugnalata e morente. La maledizione di diversi come Tonio (Pagliacci) al Teatro alla Per la BBC è apparsa in Fidelio (nella parte Israele. La sua discografia con la Chandos è Monterone si è avverata. Scala, Ezio (Attila), Renato (Un ballo in di Marzelline) e in Otello, L’astuta piccola volpe vasta ed include oratori di Elgar e maschera), Germont, Papageno ed in Nabucco, e New Year. La sua discografia include La Mendelssohn, nonchè Troilus nel disco di Traduzione dalla ristampa autorizzata del Falstaff e Macbeth nei ruoli di protagonista. Passione greca (Martinu˚), A Village Romeo and Troilus and Cressida, vincitore di un premio programma della English National Opera Juliet (Delius) e, per Chandos/Peter Moores Gramophone. Traduzione: Marcella Barzetti Il soprano Helen Field ha studiato al Royal Foundation, Osud (Janáˇcek) con Sir Charles Northern College of Music e al Royal College Mackerras. John Tomlinson ha studiato musica al Royal John Rawnsley ha studiato alla Northern of Music di Londra. I suoi numerosi ruoli per Manchester College of Music. Ha cantato School of Music, e al Royal Northern College compagnie liriche britanniche hanno incluso Dopo i suoi studi al Royal Northern College regolarmente con le compagnie dell’English of Music, dopo di che è entrato a far parte Mimì, Musetta, Gilda, Marenka, Tatyana, la of Music Arthur Davies è entrato a far parte National Opera e della Royal Opera, Covent della compagnia della Glyndebourne Festival Volpe, Jenu˚fa, Desdemona e Cio-Cio San per della compagnia della Welsh National Opera Garden, ed è apparso al festival di Bayreuth Opera dove i suoi ruoli hanno incluso Ford la Welsh National Opera, Susanna, Daphne, dove i suoi ruoli hanno incluso Nemorino ogni anno dal 1988. I suoi numerosi ruoli (Falstaff ), Marcello (La bohème), Figaro Manon e Magda (La rondine) per Opera (L’elisir d’amore), Nadir (Les Pêcheurs de perles), wagneriani includono Wotan/Viandante, (Il barbiere di Siviglia) e Masetto North, Violetta, Donna Anna, Pamina e Rodolfo (La bohème) e Don Jose (Carmen). Ha Titurel, Gurnemanz, Re Marco, Heinrich (nell’allestimento del Don Giovanni diretto da Marguerite (Faust) per l’English National debuttato con la Royal Opera, Covent (Lohengrin), Hans Sachs, Landgraf

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(Tannhäuser) e Hagen. In Gran Bretagna ha Opera ha cantato Penelope, Jocasta, Carmen, Reginald Goodall, direttore), il Padre (Hänsel Bastille), Amsterdam, Chicago, Milano (Teatro cantato inoltre per Opera North, Scottish Ottavio, Lucrezia, Rosina, Elena di Troja (King und Gretel) e il Guardiaboschi (L’astuta piccola alla Scala), Monaco di Baviera (Bayerische Opera, Glyndebourne Festival e Touring Priam, di Tippett) e Ippolita (A Midsummer volpe). Per la Royal Opera, Covent Garden, è Staatsoper), Berlino, Brusselle e New York Opera e Kent Opera. E’ apparso sulla scena Night’s Dream, di Britten). E’ apparsa nei ruoli apparso in Peter Grimes, Salome (Jochanaan), (The Metropolitan Opera). Recentemente ha dei maggiori teatri lirici in Europa e nel Nord di Nicklausse (Les Contes d’Hoffmann) alla Ariadne auf Naxos (Maestro di musica), Falstaff cantato Beckmesser (Die Meistersinger von America in ruoli quali Baron Ochs (Der Royal Opera House, Covent Garden e alla San (Ford), La traviata (Germont) e Aida (il Re). Nürnberg) per la Staatsoper di Vienna ed è Rosenkavalier), Mosè (Moses und Aron), Rocco Diego Opera, d’Idamante (Idomeneo) e nella La sua estesa carriera internazionale lo ha stato invitato a tornarvi nel ruolo di Balstrode (Fidelio), Filippo II (Don Carlos), Sarastro (Die parte di protagonista ne La cenerentola per la portato al Metropolitan Opera di New York, al in Peter Grimes, una parte che ha pure cantato Zauberflöte), Lindorf, Coppelius, Dr. Miracle e Garsington Opera, nei ruoli di Charlotte Teatro alla Scala, alla Staatsoper di Vienna, nel disco Chandos dell’opera che ha vinto il Dapertutto (Les Contes d’Hoffmann), Golaud (Werther) per la Seattle Opera, L’italiana in all’Opera di Parigi, Staatsoper di Amburgo, premio Grammy. Altre sue incisioni per la (Pelléas et Mélisande); ha inoltre cantato le Algeri al festival di Buxton, Irene (Theodora) e Deutsche Oper, Berlino, Lyric Opera di Chandos includono The Rape of Lucretia parti di protagonista in Boris Godunov, Genevieve (Pelléas et Mélisande), sotto la Chicago e ai festival di Bayreuth e Spoleto, (Britten), Martin’s Lie (Menotti), Troilus and nell’Oberto e Attila di Verdi. John Tomlinson direzione di Sir Andrew Davis, ed Edwige cantando sotto la direzione di Sir Colin Davis, Cressida (Walton), nonchè, Maria Stuarda, appare in numerosi dischi e videoregistrazioni; (Rodelinda), diretta da Sir Charles Mackerras al Sir Georg Solti, James Levine, Carlo Maria Il barbiere di Siviglia, Pagliacci e La bohème la sua discografia per la Chandos include ruoli festival di Glyndebourne. Per la Chandos ha Giulini, Wolfgang Sawallisch e Claudio (tutte in collaborazione con la Peter Moores in Maria Stuarda e Giulio Cesare, selezioni del inciso vari dischi, fra i quali A Mass of Life, di Abbado. I suoi ruoli recenti includono Foundation). Boris Godunov e Der Rosenkavalier, ed un Delius, The Rape of Lucretia, di Britten Oroveso (Norma), Banquo (Macbeth), il recital di arie operistiche che verrà lanciato (Lucrezia), ambedue diretti da Richard Hickox. Dottore (Wozzeck) e Schigolch (Lulu). Per la Mark Elder, che è stato insignito della Croce nell’autunno del 2000: tutti questi dischi sono Chandos ha inciso il ruolo di protagonista in di Commendatore (CBE) nel 1989, ha stati incisi in collaborazione con la Peter Norman Bailey, noto come basso-baritono di King Priam, di Tippett. ricoperto importati cariche nel Regno Unito Moores Foundation. rango internazionale, è uno dei più apprezzati ed in altri paesi: fra queste, la carica di cantanti wagneriani della sua generazione. Il Nato in Cornovaglia, Alan Opie ha studiato Direttore Musicale dell’English National Jean Rigby, cha ha studiato presso la Royal suo nome è strettamente legato al ruolo di alla Guildhall School of Music e al London Opera (1979–93) e della Rochester Birmingham School of Music e la Royal protagonista in Der fliegende Holländer ed a Opera Centre. E’ stato baritono principale Philharmonic Orchestra negli Stati Uniti Academy of Music, ha cantato con le principali quello di Hans Sachs ne Die Meistersinger von nella compagnia dell’English National Opera (1989–94) e di Direttore Principale Ospite compagnie liriche ed in festivals in Gran Nürnberg. Durante i quattro anni in cui ha per molte stagioni ed ha cantato per tutte le della City of Birmingham Symphony Bretagna e all’estero; è inoltre apparsa fatto parte della compagnia dell’English principali compagnie liriche britanniche. Orchestra (1992–95), carica che ha tenuto frequentemente come solista nei Promenade National Opera i suoi ruoli hanno incluso il All’estero è apparso nei teatri lirici di inoltre presso la BBC Symphony Orchestra e Concerts della BBC. Per l’English National Principe Gremin (Eugene Onegin), Wotan (con Bayreuth, Parigi (Opéra national de Paris- London Mozart Players. Nel settembre 2000

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diventerà Direttore Musicale della Hallé Royal Opera House, Covent Garden, The Orchestra. Metropolitan Opera, Opéra national de Paris-

Mark Elder lavora regolarmente con Bastille, la Lyric Opera di Chicago, Barda Clive orchestre d’alto rango in tutta l’Europa e nel Glyndebourne Festival Opera e Bayerische Nord America: fra queste, la Chicago Staatsoper. Altri ingaggi l’hanno portato al Symphony Orchestra, la Royal Concertgebow festival di Bayreuth e ad Amsterdam, Ginevra, Orchestra, la Los Angeles Philharmonic, Berlino e Sydney. l’Orchestre de Paris e l’Orchestra sinfonica Con la compagnia dell’English National della Radio Tedesca (Nord Deutscher Opera ha compiuto acclamate tournées negli Rundfunk). Stati Uniti (che hanno incluso Nel Regno Unito Mark Elder è strettamente rappresentazioni alla Metropolitan Opera) ed legato sia alla London Philharmonic Orchestra in Russia (che hanno compreso sia all’Orchestra of the Age of Enlightenment; rappresentazioni al Teatro Bolshoi di Mosca e appare inoltre ogni anno nella stagione dei al Teatro Mariinsky di Pietroburgo). Più Promenade Concerts della BBC. recentemente i suoi impegni operistici hanno Mark Elder dirige regolarmente in distinti compreso rappresentazioni del Mefistofele di teatri lirici di rango internazionale quali la Boito e dell’Otello per la Metropolitan Opera.

Helen Field

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John Rawnsley Catherine Ashmore

Jean Rigby as Maddalena and Arthur Davies Richard H.Richard Smith CHAN 3030 BOOK.qxd 24/7/07 5:10 pm Page 62

COMPACT DISC ONE Borsa Come take a look! A beauty. 1 Prelude ‘Duke’ Act I Lucky Ceprano, his wife is really charming. Scene One

Catherine Ashmore Borsa (quietly) A hotel in New York under the control of a Don’t let him hear you say that. criminal gang. A party is in progress. ‘Ladies’ and ‘Gentlemen’, and waiters. ‘Duke’ So what’s the problem? (Enter the ‘Duke’ and Borsa) Borsa ‘Duke’ He could mention to someone… 2 That pretty girl I’ve been seeing in the city, what say we bring the matter to a climax? ‘Duke’ Let him say what he wants. Borsa I’m not too worried. That little thing you hang about at mass for? 3 If a woman should happen to catch my eye, ‘Duke’ it’s always a pleasure to love her. Seen her praying every Sunday. Do not tell her but let her discover, Borsa when I’m loving there’s no guarantee So have you traced her? for her beauty should hold me enraptured. Who can tell what the future is holding. ‘Duke’ Though today she seems utterly charming, I know where she is living. still tomorrow perhaps we will see. This strange man goes in there every evening. Obligations and vows of devotion, Borsa I detest them as cruel diseases. Has she no notion who her lover is yet? Let the faithful keep faith if he pleases. There’s no point in love if a man is not free. ‘Duke’ For the husband, the slave of emotion, No notion. John Rawnsley for the passions of rivals – I scorn them. (A group of ‘Ladies’ and ‘Gentlemen’ crosses the As for Argos and his brothers I warn them, stage.) They’re no terror or no worry for me.

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(Enter Ceprano, watching his wife, who is followed (To the crowd ) Chorus ‘Duke’ (to Rigoletto) by a henchman, at a distance. ‘Ladies’ and He’s angry. You saw that? Come on then, impress us! Ceprano’s a nuisance. ‘Gentlemen’ enter from all sides. At the back there is He won’t let us be. Chorus Marullo dancing.) His lovely young wife seems an angel to me! What a party! Ha! Ha!… Rigoletto… ‘Duke’ (approaching Ceprano’s wife and speaking Rigoletto Rigoletto Chorus to her, with much gallantry) The fool? Get off with her. 4 You’re going? That’s cruel. I know. ‘Duke’ Chorus Marullo ‘Countess’ It’s revolting! You’ve said it. But how to? My husband is leaving. He’s after the wife of Ceprano. I have to go with him. Rigoletto Chorus Rigoletto It’s always the same here. A new operation? This evening. ‘Duke’ They’ve made him look normal? Oh stay a little longer. And part of the game here. ‘Duke’ Your place is among us, the star of the party. The gambling, the drinking, Marullo And what of her husband? the parties, the dances, For you every heart here will long for possession. It’s stranger than fiction! Rigoletto the shooting, the eating, For you have a power, for you have a passion, The hunchback is hiding… Preventive detention. it’s all fine for him. destructive, alluring, a fatal attraction. Chorus And now there’s a lady, ‘Duke’ Is hiding? (He kisses her hand.) he’s making advances. Not that. ‘Countess’ The husband goes off Marullo with his head in a spin. A lover… Rigoletto Don’t talk like that… Well then… retirement. ‘Duke’ (Exit) Chorus ‘Duke’ For you have a passion, etc. A lover? You’re lying! (Enter Marullo, in excitement) Come on now, you’re joking. ‘Countess’ Marullo Don’t talk like that… Marullo From hunchback to Cupid in three simple lessons! Rigoletto (gesturing to suggest decapitation) 5 It’s happened! It’s happened! All right… so then he goes missing. (Enter Rigoletto, who meets Ceprano and the crowd) Chorus Chorus The hunchback, a cupid? Ceprano (to himself ) Rigoletto Marullo, what is it? There’s hope for us all then! (He means what he’s saying.) What’s this that I see on your forehead, Ceprano? (The ‘Count’ makes an impatient gesture and Marullo (Enter the ‘Duke’, followed by Rigoletto, afterwards ‘Duke’ (tapping the ‘Count’ on the shoulder) follows the ‘Duke’.) You’ll never believe it… Ceprano) Our friend here goes missing?

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Rigoletto Borsa, Marullo and Courtiers Monterone (entering) Rigoletto An easy solution. Is he so important? But how to? How dare you! A madman! What use is he living? Ceprano All Borsa, Marullo and Ceprano Ceprano (reaching for his knife, in a fury) Tomorrow at my place. Monterone! He’s finished! You bastard! You’d better come armed. Monterone (proudly addressing the ‘Duke’) Monterone (to the ‘Duke’ and Rigoletto) At nightfall. ‘Duke’ (to the ‘Count’ ) Yes, Monteron… You and this joker, hear how I curse you. My voice will strike like thunder shaking your Lay off him! Borsa, Marullo and Courtiers Borsa, Marullo, Ceprano and Courtiers Yes. heart’s foundations. Rigoletto Ah! Rigoletto (to the ‘Duke’, mimicking Monterone’s I laugh in his face! Borsa, Ceprano, Marullo and Courtiers voice) Monterone Revenge upon the hunchback… Borsa, Marullo and Courtiers (to themselves) I demand to see him. You set your jackal on the dying lion. We all have every reason He’s angry and dangerous! (walking up to Monterone with mock gravity) How I despise you… For hating him for what he’s done to put our You were discovered in your plot against me. (to Rigoletto) ‘Duke’ (to Rigoletto) lives in danger. But we took pity and forgave your treachery. and you, you serpent. You idiot, come here. Now vendetta! Are you out of your mind now… You who can laugh at this father’s sorrow, Now vendetta! Borsa, Marullo and Courtiers (to themselves) to come here raving about your daughter my curse upon you! He’s angry and dangerous! ‘Duke’ and Rigoletto and her beloved honour? Rigoletto (aside) Let’s have music, let’s have women. (He cursed me. Oh horror.) ‘Duke’ Monterone (looking at Rigoletto contemptuously) You always are pushing the joke to the limit. (The dancers fill the stage.) You dare insult me! ‘Duke’, Borsa, Marullo, Ceprano and Courtiers The anger you challenge could turn and destroy (to the ‘Duke’) You dare to break in on today’s celebration, you. All I’ll always be here to plague your banquets. a monster from Hell with a voice of damnation. Let’s have music, let’s have women, I’ll come and shout here, Rigoletto Let’s have dancing through the day! I will torment you until I’m given a proper Rigoletto I have your protection. These people don’t scare Keep the couples always turning, vengeance and satisfaction of our lost honour. Oh horror! me. Dance and dance our lives away! And if you torture me as well you may do You vowed to protect me. I will not come to harm. ‘Duke’, Borsa, Marullo, Ceprano and Courtiers you’ll see me come again to haunt your table. Your words are all vain, do not speak any longer. Monterone (offstage) I will return here until I’m given a proper Ceprano (to the Courtiers) 6 I demand to see him. Go tremble old man, go in fear of our anger. Revenge on the hunchback. vengeance from the world and Heaven. You dared to provoke us. We all have a reason for hating the fool. ‘Duke’ ‘Duke’ Your hopes are all through. Vendetta. No. Enough. Get rid of him. Your curse will be fatal to no one but you.

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Rigoletto Sparafucile Rigoletto Sparafucile Oh horror! A man who’ll help you to dispose of any (A devil!) Not from this side. rivals. And how, at your place? Rigoletto Monterone And you’ve a rival. See how I curse you! Sparafucile Just tell me, where can I find you? Rigoletto Oh easily. (Monterone is taken away by two henchmen; all Rival? My sister is my partner… Sparafucile the others follow the ‘Duke’ into another room.) Here every evening. Sparafucile She’s a beauty, dancing and flirting. (The curtain falls for a short time so that the set You keep a woman in there. She lures them homeward… and then… Rigoletto may be changed.) Go. Rigoletto Rigoletto (He’s seen her.) I follow. Sparafucile Scene Two Sparafucil, Sparafucil. A run-down street in the poorer section of the city. What would the charge be like. Sparafucile The tenement, where Rigoletto lives, is on the left; If it was someone important? No one notices. Rigoletto next to it, in a disused open space where a building Sparafucile Rigoletto Go, go, go, go. has been pulled down, is a net-ball court. Ceprano’s That would of course be extra… I follow. Rigoletto (looking after Sparafucile) place is on the opposite side of the street. Night. 8 We are equals. Rigoletto Sparafucile (showing his weapon) Enter Rigoletto, followed by Sparafucile. I have language, he has a dagger, And how would you be paid? You see how sharp the blade is. Rigoletto (to himself ) I’m the man who mocks men, Sparafucile You need it? 7 (The old man laid his curse on me!) he’s the one who kills them… Half in advance is usual, Rigoletto The old man laid his curse on me! Sparafucile the balance when I’ve done… Not for the moment. Heredity, human contact, you made me evil, Signor? it was all your doing! Rigoletto Sparafucile My destiny, always a hunchback. Rigoletto (A devil!) Worse luck for you. My destiny, always a joker. Go, I have nothing. And when you’re working can you be sure you’re safe? Rigoletto Every day, every night, playing the fool again. Sparafucile Who knows? Other men find relief in weeping. Sparafucile I cannot. I’m not begging. Sparafucile You see before you a man prepared to kill. Usually I kill them here in town, or even back at This is my young employer, happy, attractive, my place. Sparafucil, remember me, influential, handsome. Rigoletto Wait for the man at nightfall… Rigoletto When he’s bored he will tell me, A murderer? One cut from this thing, he dies. A stranger? ‘Make me laugh, Rigoletto’.

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I grit my teeth and do so… Gilda She had an angel’s pity, a pity for my suffering. Rigoletto Oh how I loathe him! Oh, how I love you, dearest father. I was a hunchback, penniless, Homeland, my family and friendship? How I hate you, all you flatterers and courtiers. You seem distracted. she gave me all her love. (with passion) With delight I taunt and sting you! What makes you worried? Ah, she died. Country, my family, my universe is in you If my heart is cold, Why can’t you confide in your loving daughter? The earth is kind to her. alone! you’re the ones who changed me. If there’s a mystery, please just allow me… It covers her so gently. Gilda But in my own home I feel as a father. Let me know something… about my family. You’re all that’s left me… If I could make you happy when you come home, The old man laid a curse on me. You’re all that’s left your father. Rigoletto that’s all that I want. Oh that thought, why must it still return (sobbing) There is only me. to haunt my conscience? Oh God be thanked I have you! Rigoletto Is it an evil omen? Gilda Gilda Country, my family, etc. Ah no, that is madness. Tell me your real name. Oh, sorrow and pain… Gilda (He unlocks the gate and enters the courtyard.) Rigoletto How hard to tell such bitter loss of love. The days are passing and I remain here. Is it important? I’m really longing to see the city. (Enter Gilda) Rigoletto Gilda You’re all that’s left, etc. If you allow it, perhaps I could… Rigoletto Just tell me something. Gilda Rigoletto 9 Gilda! One thing about you… For I’m the only one that you have… No, no! Gilda Rigoletto (interrupting her) You hurt me with your sorrow. And tell me, have you been outside? My father! You’ve not been out. You hurt me so badly. Gilda Why won’t you let me know your name Gilda No. Rigoletto and something of your sorrow. Here in your presence always I find some cure Only to mass. Rigoletto Rigoletto for my sorrow. Rigoletto Sure? Why should I tell you? It’s useless! Then all is well. Gilda I am your father only. Gilda Oh, how I love you! Gilda Perhaps the world’s afraid of me, (Oh I’m lying.) Rigoletto If I’ve no sister, if I’ve no brother, there may be old resentments. Rigoletto My one possession! please tell me something about my mother. Someone has laid a curse on me! Keep to your promise. (sighing) Rigoletto Gilda (They could go after her, capture her and rape If you were gone from me what would I live for? 10 Ah, do not demand of one so sad Tell me your homeland and where your friends her. If they discovered she was the hunchback’s Gilda, my daughter. what was his former happiness. and family live now. daughter. How they would laugh and…)

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Oh God! Gilda Giovanna Gilda (towards the building) Such affection, such a sorrow! Even if they know you? 12 Giovanna, I should have told him. Giovanna! Ah my father look to Heaven. Rigoletto Giovanna There’s a God, he watches over, (Enter Giovanna) Just do what I tell you. What do you mean? and a guardian angel there. My daughter, goodbye. Giovanna We are sheltered by my mother. Gilda You called? We are hidden from all anger. ‘Duke’ I should have told him how I have been She will keep us from all fear (His daughter!) followed. Rigoletto with a holy loving prayer. Gilda This evening, did someone see me? Giovanna Rigoletto Goodbye, dear Father. Tell me the truth now. Do you really mean that… Ah, dear Giovanna, guard my daughter. Rigoletto the handsome stranger who followed us on She is tender as a…. Giovanna Oh, dear Giovanna, etc. Sunday? Ah no, how could they? (The ‘Duke’, disguised as a student, enters the street.) Gilda Gilda Rigoletto There’s someone listening. Such affection, etc. No. He is far too beautiful. I think he loves me. All right. (Rigoletto opens the courtyard gate and, as he goes Rigoletto The door to the downstairs entrance. out to check the street, the ‘Duke’ slips and hides; he Giovanna, she’s tender. Giovanna You always lock it? throws a purse to Giovanna to keep her quiet.) You’re fond of her I know, etc. And he seems such a kind man and very wealthy. Giovanna Gilda Gilda Gilda It’s locked all day. Always, always a new suspicion. My mother’s holy prayer I do not want his wealth. will keep us safe from fear, etc. His love is plenty. Rigoletto Rigoletto (turning to Giovanna) Last Sunday, was she followed home from mass? Rigoletto If he were penniless, Tell me the truth. I’d be contented. 11 Gilda, my Gilda, my daughter. Oh, dear Giovanna, guard my daughter. Giovanna Deep in my heart of hearts She is tender as a flower. No. Gilda still dreaming of him You are fond of her, you know her. ‘Duke’ Father, my father, my father. I long to talk to him, You will hold her safe and sure. (Rigoletto!) tell him I love… From the wind that tears the blossom, (They embrace and Rigoletto, as he leaves, shuts the street gate behind him.) from the tempest in its anger, Rigoletto ‘Duke’ (appearing, signalling to Giovanna to leave keep her safely from all danger. Do not leave the latch off. (Gilda, Giovanna and the ‘Duke’ in the courtyard, them) Keep her innocent and pure. And open up to no one… afterwards Ceprano and Borsa in the street) Love me!

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Love me, repeat the words, His voice is heard when the heart is beating. ‘Duke’ (Exit the ‘Duke’ into the street with Giovanna. oh how you move me. Fame and prosperity, power, position, Gualtier Maldè… Gilda follows the Duke with her eyes.) You’ll open Heaven for me if you’ll love me. they last a moment, their life is fleeting. A simple student, quite penniless. Gilda Gilda One thing’s important, one thing worth having, 14 Gualtier Maldè, you were the first to love me the love the angels know, the Heaven of loving. Giovanna (returning frightened) Giovanna, Giovanna, oh where is she? I think there’s someone coming. any my heart will be true to you for ever. Is there no answer? If you will come with me, woman of Heaven, Dearest name of my first love Am I alone with him? I shall be envied by all the world. Gilda I’ll remember till I die Giovanna, where are you? Gilda It’s my father… all the pleasure that you gave, (In every fantasy, and all my dreaming, all the longing and the sighs, ‘Duke’ ‘Duke’ he speaks to me. how my heart beats with desire You know me. (If I could lay my hands upon the bastard who His voice of tenderness, he speaks to me.) and to you my love shall fly. I’ll answer you with all devotion. interrupts me.) And you love me. Oh the name, so dear to me, I’ll remember till I When two are lovers what harm then can happen? ‘Duke’ Gilda (to Giovanna) die. Gilda By all the world, etc. You take him down and open the street door. (As she walks along the balcony and goes into the Tell me what’s happening. And you love me. Please go now. building, her voice gradually fades away.) Who let you in? Gualtier Maldè! Oh, tell me once more that you love me. ‘Duke’ (Marullo, Ceprano, Borsa, henchmen, masked and You’ll always be mine. ‘Duke’ Gilda armed. Gilda on the balcony) Angel or devil what’s that to you? You know it. Gilda Dearest name, etc. I love you. ‘Duke’ And you? Borsa (to the Chorus, indicating Gilda) Gilda I can’t believe it! ‘Duke’ She’s there. Please leave me now. Gilda For ever after. Ceprano ‘Duke’ I have one thing to ask of you… Then… Just look at her. You think I can leave you? Please tell me what your name is. Gilda Chorus Now that I’ve heard you say how much you love Ceprano (to Borsa, from the street) No more, no more, please go now. The purest beauty. me? I think she’s here. No one can stop us now. ‘Duke’ and Gilda Marullo Some kind of destiny has bound your fate ‘Duke’ (thinking) Addio, my hope and happiness. Some sort of vision. I’ll tell you then. to mine for ever after. For you are mine for ever. Chorus 13 Love is the source of life, Borsa (to Ceprano, leaving) My heart will never turn away The secret mistress of Rigoletto, love is our sunlight. Alright. from you. I need you. so sweet and gentle.

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(Enter Rigoletto, in thought) Marullo They have not seen her.) Gently, gently we’ll capture his mistress Don’t bite my head off. It’s… His place is that one. and tomorrow we’ll laugh him to scorn. Rigoletto I’ll come and help you. Softly. Gently. 15 (I have returned. But why?) Rigoletto Be careful now and not a sound. Who? Borsa Marullo (Some go up on to the balcony, break down the first No talking. To business. Marullo Do you want one of these things? floor door, then go down and open the street gate to Stay close to me. Marullo. Rigoletto the others, who enter and draw away Gilda, who is Rigoletto Rigoletto I’d better mask myself. gagged with a handkerchief. Crossing the courtyard (How the old man cursed me… It’s black as pitch here. Come on, let me have one. she loses a scarf.) Oh how he cursed me.) I did not see you. Marullo Gilda (from a distance) Ceprano Marullo I’ve got one here. Oh help me, father, help me… Who is there? Why don’t you join us? You hold the ladder. Chorus It might amuse you. Borsa (to his companions) We’ve got her! We’re going after Ceprano’s woman. (He puts a mask on Rigoletto’s face, and at the same Be quiet. It’s Rigoletto. time binds it with a handkerchief; he leads him to Rigoletto Gilda (farther still ) Ceprano hold steady a ladder which they have placed against Oh help me! Let’s kill the hunchback. (Thank God, Ceprano!) the tenement balcony.) Let’s get it done. So what’s the plan then? Rigoletto Rigoletto Haven’t you found her yet? Marullo (to Ceprano) Borsa It’s even darker now. I’m tired of waiting. You’ve got your key? Wait till tomorrow. We want our fun. (touching his eyes) (to Rigoletto) Marullo (to his companions) What have they done to me? Marullo No need to worry. The mask will make him both deaf and blind. Gilda! Gilda! Leave this to me now. The plan is foolproof. (He snatches off the handkerchief and mask, and It’s working smoothly. All Rigoletto recognises the scarf, sees the open door, enters, and (He gives him the keys obtained from Ceprano.) 16 Softly, softly we move in to get her. (I know that voice.) drags out a frightened Giovanna; he stares at her, Here is his door key. Now’s the moment for our vendetta. and after many efforts to speak, he exclaims:) Marullo He would mock us and put us in danger. Ah! How the old man cursed me! Hey, Rigoletto… say? Rigoletto (feeling the keys) He would laugh at us. I’ve seen it on him. Now it’s his turn. Curtain Rigoletto (in a terrifying voice) (breathing more freely) (Who is there?) (So I was wrong then.

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COMPACT DISC TWO Nothing would be too hard for me to bear Ceprano’s woman, it made him grin, ‘Duke’ to find my dearest love. and so we got him to hold the ladder The power of love, etc. Act II and wear a blindfold and help us in. The hotel, as in Act I. Next morning. (Enter Marullo, Ceprano, Borsa and other All It took a minute then to get his lover members of the gang) You see the way his face, etc. ‘Duke’ and take her off beneath his very nose. All 1 Somebody came and stole her, but when? You can imagine, when he discovered, (Exit ‘Duke’, quickly) Listen, listen! By God… he cursed the world for all his woes. (Marullo, Ceprano, Borsa and other members of Just in that moment, ‘Duke’ ‘Duke’ (to himself ) the gang; then Rigoletto enters, from the right, as I began to fear some danger. What’s that? singing softly and trying to conceal his grief ) I hurried back there (It can’t be! They’ve found her, All to find out what had happened. they’ve found my loved one!) Marullo We’ve got the secret mistress of Rigoletto! 5 The door was open, the house was deserted. (aloud ) Poor little Rigoletto… And where can they have hidden my dear angel? ‘Duke’ What have you done with her, where can I find her? Rigoletto (offstage) No other woman has ever had such power How? Where was she? La rà, la rà, la rà, la rà… to make me feel that I could love her for ever. All All Chorus She was so innocent, so modest in manner, We brought her with us for you to see. I could almost have believed myself a new man. Hidden safely. Be quiet, he’s coming. Somebody came and stole her! ‘Duke’ ‘Duke’ (to himself ) (Rigoletto appears, pretending indifference.) But who would dare to? Ha! Ha! Tell me. (So fortune still is good to me. Ah, I’ll not hesitate to have my vengeance. What do you mean? 4 The power of love is calling, All Oh, if she’s weeping, she must have my Tell me quickly, what do you mean? I cannot disobey it. Oh good morning, Rigoletto. comfort. I’d give my wealth away to win my lover’s hand. Rigoletto 2 Somewhere I see you weeping All It may be she will have to know (They’re all in it together.) and calling in desperation, 3 We went to look for her last night together exactly who I am now. crying in doubt and terror a little after the sun had set. She’ll have to know that all men Ceprano you face an unknown danger. We’d heard about her, about her beauty. are slaves to Love’s command.) What’s the latest with you? We made a plan, and there we met. Maybe my name occurs to you. Rigoletto (imitating him) She was the lover of Rigoletto. All (among themselves) You call on your Gualtier. What’s the latest with you? We saw her once and then she disappeared. (You see the way his face has changed. I could not find you anywhere, That you’re more boring than usual. beauty I love so dearly, And we were wondering just how to get her What can it mean? though I’d have given anything, when all at once her man was there. There’s something going on. All anything for your safety. But when we told him that we were after What can it be?) Ha! Ha! Ha!

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Rigoletto (looking round uneasily) All But I will get her back now. Ah, I know it, all against me. La rà… Yes, he is sleeping. She’s up there. No pity, heartless! Everyone! (Where would they keep her hidden?) (weeping) (Enter a secretary) All If your mistress has vanished, go and find another. Ah, see I am weeping… All Secretary Marullo… signore, (He’s looking for his lover.) Where’s the boss? Rigoletto you’re a kind man at heart, surely you’ll help me. Give me my daughter. Let me know where you’ve hidden my daughter… Rigoletto I’ve a message from his lawyer. Marullo… signore. La rà… All Ceprano She’s there. Will you tell me. I’m so happy you didn’t catch a fever out late in She’s his daughter! He’s sleeping. You’re silent. Oh no! such bad weather. Secretary Rigoletto Oh my friends, Marullo Why, I thought I saw him with you. Yes, she’s my daughter. I am sorry, forgive me. Such bad weather. Such a noble victory. I’m an old man, I need my daughter. Borsa Eh? Why don’t you laugh your heads off? Is it so much to ask you to see her? Rigoletto Well, he’s busy. She’s up there. Let me see her. She is nothing to you now, It was quite an evening! Oh, give her back now. she is all that I have in the world. Secretary (He runs towards the door, but henchmen prevent Forgive me my friends, forgive me my friends. Marullo I’ve a message. It’s urgent. him leaving.) Oh let me see her, for she is all that I have in the I must have slept right through it. All 6 Filthy rabble, you liars, you cowards. world. Rigoletto He’s left his orders. How much money did my daughter bring you? She’s all to me. Ah, you were sleeping. He cannot be disturbed for any reason. Is there nothing too precious for money? Your hearts must have some pity, for she is all I Well perhaps I was dreaming. She’s my daughter, my only joy. have. La rà… Rigoletto (who has listened attentively, suddenly Let me see her. exclaims:) Though I know I’ve no weapons, (Enter Gilda, who throws herself into her father’s (He walks away and, seeing a scarf on the table, Ah, she is with him then! with my hands I will tear you to pieces. arms) scrutinises it.) She is up there! There’s no trace of a fear in a father when Gilda defending his daughter’s good name. All All 7 My father! Let me through now. (Look, look, searching for his lover.) Who? Let me see her. Rigoletto Rigoletto (throwing it away) Rigoletto I must see my daughter. Gilda, my daughter! (It’s not Gilda’s.) The girl you stole last night when you tricked (He goes again to the door, but he is prevented from You see her, my daughter, Is the ‘Duke’ still asleep? me into helping. opening it; after a struggle he returns centrestage.) my Gilda is all I have now.

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But I see you’re frightened. Rigoletto Ah, weep now, my daughter. Give me a chance, I’ll make things even. My little angel… 8 Speak now. They’ve left us. Tell me, burden my heart Then I’ll have the chance to punish. don’t worry, they were teasing. Gilda with your sorrow and pain, etc. Then the fatal storm will sound. (to the crowd) Then the lightning will flash from Heaven. (Ah God, give me courage.) Gilda I was so frightened. It’s over. Then the fool will strike you down. I was in church on Sunday as is my sacred duty. Father, you are my comfort. (to Gilda) He turned around and gazed at me, Oh, console my shame, etc. Gilda But why are you weeping? he had a fatal beauty. Rigoletto Oh, my father, your eyes are blazing Gilda Silently as our eyes would meet with a fierce desire for vengeance. 9 I’ve one thing to do here before I am finished; our hearts were joined in one. The shame that I am suffering! as soon as it’s over we’ll go from the city. Yesterday night he came to me, Rigoletto Rigoletto spoke with a deep emotion: Gilda I’ll kill him! Tell me, what happened? ‘I am a student, penniless’ – Yes. Gilda Gilda told me of his devotion. Rigoletto Oh, I beg you, for my sake save him. How can I tell you; Wooed by his loving vows and sighs (A day is enough to do all that I need.) Oh, my father, father, forgive. these people make me frightened. our love had just begun. He left. He left. (Enter a henchman with Monterone, crossing the Rigoletto Rigoletto (to the assembled crowd, in a Then my heart was filled with love. stage surrounded by other henchmen) I’ll kill him! commanding manner) I could not help believing him. Henchman Gilda Leave us alone together All of a sudden those men appeared Move back there. Oh forgive him. Please forgive him. and if the ‘Duke’ himself should dare to and forced me to go with them. Monterone must go to his death. approach us They tied me up and brought me here Rigoletto tell him not to disturb us. in terror for my life. Monterone No! No! That is my order. I see that my curse could not harm or destroy you. Gilda Rigoletto Your life bears a charm He betrayed me. Still I love him. (He throws himself onto the chair.) Ah, I prayed to bear the shame alone. which protects you from vengeance. Oh, father, father, forgive. All (aside) God gave me all the sorrow. You’ll always be happy and I shall have lost. God let my daughter rise to Heaven. Rigoletto (Rigoletto’s going crazy. (Exeunt) We’ll pretend to play his game. Now that her father’s fallen, Then the lightning, etc. we need to pray to God above Rigoletto We can watch from the next room. Gilda when we are near the gallows. 10 Old man, you’re mistaken. Let us leave him to his shame.) Oh, father, etc. The future, everything’s hollow. You’ll have your revenge. (Exeunt, shutting the door behind them) My altar is overthrown. Yes. Revenge, revenge is coming. Curtain

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Act III Gilda when it’s all over? (Sparafucile moves away from the building along A dilapidated riverside bar with a plate-glass Yes. Women make fools of us, the river. Gilda and Rigoletto in the road. window. In front, the road and the river; in the Rigoletto laugh in our faces, Maddalena and the ‘Duke’ in the bar) distance, the city. It is night. Well, then, just watch a moment. cover their traces… take a new lover. ‘Duke’ (Gilda and Rigoletto are in the road.) 13 Gilda Women are liars, When first I came to talk to you I thought you very lovely… Rigoletto There’s someone coming! cunning little demons – I followed you and asked your name; 11 You love him? What is a woman? Rigoletto you told me that you lived here. Keep watching closely. Why should men care? Gilda And from that moment onward Always. (The ‘Duke’, disguised as a soldier, enters the bar.) Think of your liberty. my heart was yours for ever. Those who forget it, Rigoletto Gilda (surprised ) live to regret it Gilda But you’ve had all this time to recover. Oh father, help me! and very badly. You liar! Though we have need of them, ‘Duke’ (to Sparafucile) Maddalena Gilda those who confide in them Come on now. Get moving. Ah! Ah! And all your other women? I love him. lose all their pride in them, You must have quite forgotten… Sparafucile finish up sadly. Rigoletto You look the sort of lover Well then. Women are liars, Just like a trusting woman. who’s had a lot of others. The lying coward. ‘Duke’ cunning little demons – But I’ll have my vengeance, Gilda. Bring some wine here, and your sister. What is a woman? ‘Duke’ Why should men care? True, I’m such a rogue. Gilda Rigoletto Oh, not for my sake. (His usual directness.) Sparafucile (He enters with a bottle of wine and Gilda two glasses, which he places on the table. The Oh father help me! Rigoletto Sparafucile ‘Duke’ rushes to embrace Maddalena as she enters, And if you were shown for certain that he was A Casanova. but she avoids him. Meanwhile, Sparafucile has Maddalena lying, could you still adore him? Control yourself, you madman! (He enters the next room.) gone out on the road and says to Rigoletto:) Gilda He’s here, your victim. ‘Duke’ ‘Duke’ Maybe. I know he loves me. You’ve decided… shall I kill him? Now what’s the matter? 12 Women abandon us. Rigoletto Why should it hurt them Rigoletto Maddalena Loves you? if we desert them… I’ll tell you what I want when I return. Be patient.

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‘Duke’ Maddalena Gilda Gilda And you be kind to me, my dear. I’ll keep you to your promise. All my sorrow and my sighing. Come with me now… Don’t keep me waiting. ‘Duke’ (ironically) Maddalena Rigoletto Cast all your inmost fears away. I’m absolutely honest. Men are easily discovered I must stay here. Surrender to joy and passion. when they do not tell the truth. (He takes her by the hand.) Rigoletto (to Gilda, who has seen and understood Gilda Your hand is pale and beautiful. all ) ‘Duke’ Help me. Is this enough for you? Have some pity, you’ll discover how Maddalena my heart is beating fast. Rigoletto You’re teasing me, you’re joking. Gilda If you want a faithful lover, etc. Go. You told me you were true. ‘Duke’ Gilda (Exit Gilda) ‘Duke’ No, no. Ah, I believed you. Liar and traitor. 14 If you want a faithful lover, (During this and the following scene, the ‘Duke’ Now my heart will break. I am waiting to embrace you. and Maddalena talk, laugh and drink. After Maddalena All my sorrow, etc. I’m ugly. Just a word is all I ask Gilda’s departure Rigoletto goes behind the and I promise to be true. Maddalena building, then returns, talking with Sparafucile ‘Duke’ Have some pity. You’ll discover You’re a lying sort of lover, etc. and giving him money.) Make love to me. Now tell the truth. how my heart beats so fast. Rigoletto Gilda Maddalena Rigoletto 15 Eighty dollars you were asking. You liar! You’re a lying sort of lover, Now you are certain he was lying. Here there are forty. all these compliments are easy. There’s no virtue now in crying. The rest I’ll give you later. Maddalena (laughing) I will strike the traitor down. He’s staying here, then? Drunkard. Gilda There’s no virtue now in crying. How could I believe your lying. I will have revenge for you. Sparafucile ‘Duke’ Yes. I’m drunk with passion. Maddalena Yes, yes! Let it come. If you think you can deceive me Yes, yes! Let it come. Rigoletto Maddalena I must tell you I’m no fool. I myself will see it through. Good. I’ll be back at midnight to collect the Listen. You must go home now… You don’t know what you’re saying. Gilda body. Take some money, pack all your things, Is this some kind of joke? Oh! I thought you were my lover. dress yourself up as a man and leave the town. Sparafucile ‘Duke’ Rigoletto I’ll follow you tomorrow… No need to. No, no, I want a wife. Softly! You see he is no lover. Go back to our old home. I’ll get rid of him quietly in the river.

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Rigoletto Why don’t you sleep in the storeroom or That’s no problem. (Maddalena goes upstairs, and admires the sleeping No, no, I myself will do it. somewhere? I will take it. figure. She shades him from the light and returns I’m going to stay here. downstairs.) Sparafucile Sparafucile Fine. What’s his name? Sparafucile Sleep well and God be with you. (Gilda disguised as a man, slowly approaches the You’re welcome. ‘Duke’ bar, while Sparafucile continues to drink. Thunder Rigoletto and lightning) His and mine go together. Maddalena (aside to the ‘Duke’ ) Let me sleep just a while. He is ‘Transgression’, (For God’s sake, leave us.) I’m quite exhausted. Gilda Women abandon us. I am ‘Retribution’. 17 I cannot think clearly. ‘Duke’ Why should it hurt them (In this weather?) My love brings me back here… (Exit Rigoletto. It grows dark and thunders.) if we desert them… Oh father, forgive me. when it’s all over… Sparafucile Sparafucile (to Maddalena) (thunder) You’ll cost us eighty dollars. Now women are liars, The night is so fearful… Now that storm’s coming closer. what is a woman? The night is growing darker. (to the ‘Duke’ ) But what will it bring? I’m delighted to offer you a room, sir… Why should men care? ‘Duke’ (trying to take hold of her) it’s not a palace. (He throws himself on the bed and soon falls asleep. Maddalena (She returns with the ‘Duke’’s gun.) Maddalena! Still I can show you up there. Maddalena downstairs stands sentry near the table, Just listen. (He goes to the staircase.) and Sparafucile finishes the bottle left by the Maddalena (avoiding him) Gilda (looking through the bar window) ‘Duke’. They both remain some time in silence and Wait a moment. ‘Duke’ Who’s speaking? apparently in deep thought.) If my brother sees us… Thank you. I’ll follow you. Quickly, let’s see it. Maddalena Sparafucile ‘Duke’ (He whispers a word to Maddalena, and follows He’s really a good-looking fellow that stranger. Get out of my way. No problem. Sparafucile.) Sparafucile Maddalena Maddalena (hearing the thunder) Maddalena Oh yes, eighty dollars is worth all the danger. He looks like an angel, that guest of ours. Thunder? 16 (He’s such a young man, handsome and friendly.) Maddalena I love him. Sparafucile (entering) (It thunders.) Just eighty! You’re joking. He loves me… And soon it will be raining. (God! the air is heavy!) He’s worth so much more. Don’t touch him… He’s too good to murder. ‘Duke’ ‘Duke’ (having been upstairs, and seen the window Sparafucile All the better. without shutters) Go up there. He’s sleeping. Gilda (listening) (to Sparafucile) You sleep here in the open? Go get me his gun. To murder!

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Sparafucile (throwing her a sack) Sparafucile Maddalena Maddalena Just shut up, get working. What murder the hunchback? The night is so daunting. There’s someone. Is that what you’re saying? The storm will be breaking. Sparafucile Maddalena You think I’m a robber? If nobody comes here the young man is dead. The wind. But why? Or some kind of bandit? Just tell me if ever I’ve cheated a client. Gilda Maddalena (Further knocking is heard.) Sparafucile Could this be my duty? A sack for your angel to bundle him in and The hunchback employed me. There’s someone, I tell you. I’ll finish the job. To die for my lover? throw him in the river. Oh, father, forgive me! Sparafucile Gilda Maddalena I come here in dread. At this time? Who’s there? Oh, show him some mercy! He must be the devil! Sparafucile Gilda Sparafucile Maddalena I’ll leave him alone, etc. I’m down on my luck, sir. He has to be murdered… I need food and shelter for one evening only. The question is money. Maddalena I think we could keep it and not kill the stranger. Maddalena (about to go upstairs) The night is so daunting, etc. Maddalena I’ll go and wake him. May that night be a long one! Sparafucile Gilda Gilda It’s out of the question. Oh, father, etc. Sparafucile She’s trying to save him. Just wait for a moment. Maddalena Sparafucile (holding her back) (Clocks strike the half hour.) Maddalena Believe me. We’ll lose all the money. There’s an easy solution on offer. Sparafucile Come on, get it over. You already have what the hunchback has paid Maddalena That leaves thirty minutes. Be quick. Let him in there. you. That’s true! The death of the stranger will save that young man. He’ll come with the rest when the job has been Maddalena (weeping) Sparafucile Sparafucile finished. Oh, please do not kill him… If you dare to… All right then, I’m ready. You murder the hunchback – Maddalena Gilda We’ll open the door now. Gilda I won’t have him murdered. No, she too is weeping… I’ll still get the money. My father! My father! I won’t let him die. I must go to save him. That’s all that I want. Despite all his lies and his heartless betrayal, Maddalena Sparafucile I’ll sacrifice my life if his can be saved. Gilda – Take all of his money. I’ll leave him alone till the first stroke of midnight. Oh Heaven, I beg you, forgive all these sinners! You’ll have eighty dollars and maybe some more. If anyone else comes I’ll kill them instead. (She knocks at the door.) My life now is over, forgive me this deed.

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Oh father, forgive me, I must disobey you. He’s locked it… I’m early… Careful where you throw him. No! No! He’s alive then! My lover’s in danger… There’s still some minutes left. The water’s far too shallow here. (looking towards the building) I go to save his life. I'll wait here. Quickly. I have been cheated by you, by you, you Maddalena A night so full of mystery! Don’t let anyone see you. devil! 20 Come on, get it over, etc. There is a storm in Heaven! Buona notte. But who can be inside here? On Earth there is a murder! (opening the sack) (He re-enters the house.) Sparafucile Oh how it fills me, this feeling of power! I’m trembling. A human body! All right then, I’m ready, etc. (Midnight strikes.) Rigoletto (The sky lightens.) Maddalena Now it’s midnight. 19 He’s there, murdered, oh yes, My daughter! I want to see him! God! Not my daughter! Hurry up. (Enter Sparafucile) But no matter. I believe it. Oh no… it’s impossible, Sparafucile Sparafucile It has to be him. she has left the city… Open. Who’s there? Oh, if the world could see me… (kneeling) Maddalena I am the joker. It’s a dream! My daughter! Rigoletto (about to go in) Come in then. He is the man of power! Oh my Gilda, my daughter, You know me. Now the joker has crushed him! tell me what happened. Gilda I stand here victorious! (He knocks desperately at the door.) Heaven, grant them your pardon. Sparafucile I’ve done it. So now I have it, a vengeance for my sorrow! Tell me who can have hurt you… (Maddalena opens the door for Gilda and, in the (He leaves and returns dragging a sack.) The waves will be his coffin, Olà! No answer. darkness, Sparafucile knifes her as she enters. The Here’s the man you were wanting. his shroud is a piece of sacking. They’ve gone. My daughter. thunder and lightning begin again and then the The river, the river. My Gilda, oh my daughter! storm gradually eases.) Rigoletto Thank Heaven! Now show me. (He tries to drag the sack towards the bank, when Gilda (Rigoletto approaches the bar. The worst of the he hears the voice of the ‘Duke’, crossing the back of Who is calling? storm is over and there are only occasional flashes of Sparafucile the stage.) lightning and claps of thunder.) The body? No, where’s the money? Rigoletto Rigoletto (Rigoletto gives him the money.) ‘Duke’ She’s talking. She’s not dead. Help me. It’s deeper further down. 18 Now for my vengeance, now the moment is ready. Women abandon us, etc. She’s breathing. Thank God! Thirty long days I’ve waited in secret sorrow and Rigoletto Ah, my one possession. Rigoletto Just look at me and know me. miserable weeping, playing the fool for all No, I will do it. That voice! around. Sparafucile It’s a mad hallucination… Gilda (looking at the bar) It’s up to you. (startled) My dearest father!

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Rigoletto Rigoletto Who has hurt you? And how? No, no not die, do not leave me in sorrow. Where are you wounded? Tell me – Pity your father, don’t leave me alone. John Rawnsley and Helen Field Barda Clive Gilda Gilda (pointing to her heart) Ah, soon in Heaven, etc. It’s here, here, here, I’ve been stabbed. Rigoletto Rigoletto Oh my Gilda! Who dared to strike you? Do not leave me alone! Do not die! Gilda If you go, I have nothing, nothing on earth. 21 It’s all my fault. If you die, I must die here with you. I tried to deceive you. Oh my daughter. Oh my Gilda. But I love him. Do not leave me alone. Now I’m dying for him. Gilda Rigoletto (to himself ) No more. Forgive him, my father. God of vengeance, has my daughter been Addio. murdered, by the blow that was aimed at my Ah, soon in Heaven, etc. enemy? Rigoletto (to Gilda) Do not die, etc. Dearest angel, oh, look at your father. (She dies.) Speak, oh, speak to me, beloved daughter! Gilda, my Gilda, she’s dead! Ah, ah, the old man cursed me! Gilda Oh let me rest now! (He collapses in despair beside his daughter’s body.) For me, for my sake, forgive him. Final curtain I’m your daughter, give your blessing, oh my father. English translation © 1982 James Fenton 22 Ah, soon, in Heaven, Note: This translation was made for Jonathan I’ll be with my mother, Miller’s 1982 English National Opera in eternity, I’ll pray for you. production and subsequently revised for the revival in 1983 and for this recording.

94 CHAN 3030 BOOK.qxd 24/7/07 5:10 pm Page 96 Irene Fawkes Irene

Helen Field Arthur Davies

John Rawnsley

96 97 CHAN 3030 BOOK.qxd 24/7/07 5:10 pm Page 98 Irene Fawkes Irene Robert Workman Robert Robert Carpenter Turner Carpenter Robert

John Tomlinson Jean Rigby Norman Bailey Alan Opie

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Opera in English on Chandos Opera in English on Chandos CHAN 3000(2) CHAN 3004 CHAN 7023/4 CHAN 3003 CHAN 3008(2) CHAN 3014(3) CHAN 3029

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Opera in English on Chandos Opera in English on Chandos CHAN 3019(3) CHAN 3017(2) CHAN 3006 CHAN 3010 CHAN 3023(2) CHAN 3013

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Opera in English on Chandos Opera in English on Chandos

CHAN 3027(2)

CHAN 3011(2)

CHAN 3005(2)

104 105 CHAN 3030 BOOK.qxd 24/7/07 5:10 pm Page 106 Catherine Ashmore

You can now purchase Chandos CDs directly from us. For further details please telephone +44 (0) 1206 225225 for Chandos Direct. Fax: +44 (0) 1206 225201. Ltd, Chandos House, Commerce Way, Colchester, Essex CO2 8HQ, UK. E-mail: [email protected] Website: www.chandos.net

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Stage assistants: Phillip Thomas and Peter Robinson

Recording producer Suvi Raj Grubb Sound engineer Stuart Eltham Recording venue No. 1 Studio, Abbey Road, London; 28–30 July, 1, 6, 7, 14, 28 August and 4 September 1983 Front cover Montage of photograph by Bill Rafferty and Man with Gun and Chain © Photonica/ Jim Goldsmith Back cover Photograph of Mark Elder by Sally Soames Design Cass Cassidy Booklet typeset by Dave Partridge Booklet editor Finn S. Gundersen Copyright Copyright Control P 2000 Chandos Records Ltd, digitally remastered from a P 1984 recording C 2000 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, Printed in the EU Jonathan Miller

106 SOLOISTS/ENGLISH NATIONAL OPERA ORCHESTRA & CHORUS/ELDERCHAN 3030(2) ) 2 ( 1984 recording DDD Printed in the EU p TT 66:18 TT 58:29 DISC ONE COMPACT COMPACT DISC TWO CHAN 3030 2000 Chandos Records Ltd c bass tenor -disc set soprano baritone baritone 2 bass-baritone mezzo-soprano DIGITAL 2000 Chandos Records a from Ltd digitally remasterd p CHANDOS (1813–1901) chorus master ...... Bailey Norman ...... Arthur Davies ...... Tomlinson John , his sister...... Jean Rigby ...... JohnRawnsley ...... Opie Alan

, his daughter ...... Field Helen bit 20 digitally re-mastered Leslie Fyson Leslie Fyson Elder Mark Giuseppe Verdi Giuseppe Rigoletto acts An opera in three Piave Maria Francesco by Libretto Fenton James translation by English production Opera National The English Miller Jonathan for the stage by Directed Rigoletto and Chorus Orchestra Opera National English Gilda The ‘Duke’ Sparafucile Maddalena Monterone Marullo CHANDOS RECORDS LTD Colchester . Essex . England

VERDI: RIGOLETTO CHANDOS CHAN 3030 INLAY BACK.qxd 24/7/07 5:13 pm Page 1 24/7/07 5:13 pm INLAY BACK.qxd CHAN 3030