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CHAN 3032 reat Operatic CHANDOS O PERA I N Alastair G ARIAS ENGLISH Miles Bill Rafferty Bill Rafferty Alastair Miles in the 1999 English National Opera production of Boito’s Mephistopheles PETE
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Alastair Miles as Jacopo Fiesco, with Phillip Joll as Boccanegra, in the 1997 Welsh National Opera production Clive Barda Clive of Verdi’s Simon Boccanegra Great Operatic Arias with Alastair Miles

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Giuseppe Verdi (1813–1901) Time Page Giuseppe Verdi Time Page from Nabucco (Nebuchadnezzar)* from Luisa Miller† Chorus of Hebrew Slaves and Zaccaria’s Prophecy Scena and Walter and Wurm’s Duet 1 ‘Speed your journey’ 5 ‘He will not listen’ (Va, pensiero) – (Egli delira) – ‘Why lament ye?’ 8:51 46] ‘It was for his sake and his alone’ 7:43 48] (Oh chi piange?) (L’alto retaggio non ho bramato) with Geoffrey Mitchell Choir with Clive Bayley bass

† Gioachino Rossini (1792–1868) from The Lombards at the First Crusade from Zelmira† Scena, Pagano’s Aria and Chorus Polidoro’s Cavatina 6 ‘Lord, grant us peace, we beg Thee’ 2 ‘Ah! One whole day has passed’ 3:31 47] (A te nell’ora infausta) – (Ah! già trascorse il di) ‘Wretched Woman! Did you imagine’ (Sciagurata! hai tu creduto) – from Mahomet II† ‘Only cowards would be frightened’ 10:17 50] Mahomet II’s Aria (Ni un periglio il nostro seno) 3 ‘Brave soldiers, arise and join me’ 6:37 47] with Clive Bayley bass • Geoffrey Mitchell Choir (Sorgete e in si bel giorno) with Geoffrey Mitchell Choir Carlos Gomes (1836–1896) from Salvator Rosa† from Moses in Egypt† The Duke of Arcos’s Recitative and Aria Prayer: Quartet 7 ‘And must I really sign?’ 4 ‘Look down on us from Heaven’ 3:32 47] (E il foglio io segnerò?) – (Dal tuo stellato soglio) ‘The pleasures of marriage’ 6:11 52] with Sandra Ford soprano • Antonia Sotgiu mezzo-soprano (Di sposo… di padre…) Barry Banks tenor • Geoffrey Mitchell Choir

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Vincenzo Bellini (1801–1835) Time Page Giuseppe Verdi Time Page from Norma† from The Sicilian Vespers† Chorus of Druids and Oroveso’s Aria Procida’s Recitative and Aria 8 ‘Grant her the gift of prophecy’ 10 ‘My homeland, beloved homeland’ (Dell’aura tua profetica) – (O patria, o cara patria) – ‘Here where the ancient oak tree grows’ 2:38 52] ‘Oh, my Palermo’ 7:14 54] (Si: parlerà terribile) (O tu Palermo) with Geoffrey Mitchell Choir Vincenzo Bellini Gioachino Rossini from The Puritans† from Moses in Egypt† Giorgio and Riccardo’s Duet Invocation and Quintet 11 ‘Save his life, though he’s your rival’ 12:36 54] 9 ‘Supreme judge and ruler’ (Il rival salvar tu dèi) (Eterno! Immenso!) – with Garry Magee baritone ‘O Thou who by Thy mercy’ 6:50 53] TT 76:47 [p. 44] (Celeste man placata!) * with Sandra Ford soprano • Barry Banks tenor • Dominic Natoli tenor premiere recording in English in this version †premiere recording in English Clive Bayley bass • Geoffrey Mitchell Choir

Alastair Miles bass Philharmonia Orchestra Gareth Hancock assistant conductor David Parry

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In ‘Supreme judge and ruler’ Moses in 1826 as The Siege of Corinth. The Great Operatic Arias appeals to God to end the plague of year is 1476: Negroponte, a Venetian darkness. At a wave of his rod daylight colony in Greece, is under siege by reappears in a brilliant passage Mehmet (Mahomet) II, the Ottoman Sad to say, the bass does not have the glorious as any of the more obvious reminiscent of Haydn’s The Creation, sultan who had captured popular appeal of the higher male voices. showstoppers. All the pieces are from the after which Moses leads off the quintet, Constantinople twenty-three years Where the tenor is associated with youth nineteenth-century Italian repertoire, in which he is joined in turn by Aaron, before. ‘Brave soldiers, arise and join and love, and the baritone with love, featuring the kind of voice that the Amaltea (Pharaoh’s wife), Osiris and, me’ he sings before praising his men in jealousy or at least bonhomie, the bass Italians call ‘basso cantante’ (singing finally, Pharaoh. a florid aria. The idea of a lumbering gets all the heavy parts. Whether in bass), of which the most notable recent After various vicissitudes the children bass singing coloratura, a rare Italian, German, French, Russian or exponents have been Ezio Pinza between of Israel are at last allowed to leave, but accomplishment nowadays, may seem English opera, if the basses are not the two world wars and, in our own day, they soon come up against the strange to us; but it would not have villains they tend to be fathers, gods, Ruggero Raimondi and Samuel Ramey. impassable Red Sea. In ‘Look down on raised an eyebrow in the early kings or priests: figures of authority with The three Rossini operas represented us from Heaven’, a number which nineteenth century. As ever, Rossini whom an audience is unlikely to identify. here were all written for the San Carlo Rossini added when the opera was shows his mastery of orchestration: just Think of Philip II in Verdi’s Don Carlos, opera house in Naples. Mosè in Egitto revived a year after the premiere, Moses as he featured the horn and harp who is both father and king, or the (1818) was for a long time eclipsed by asks God for help. His prayer is echoed respectively in the Moses ensembles, so Grand Inquisitor in the same opera. Moïse et Pharaon, a refashioning of the by the people and reinforced by Aaron, here he gives Mozartian gurgles to the Alternatively, they are figures of fun, earlier work to a new libretto, which Elcia’s confidante Amenosi, and Elcia clarinet. often duped by the younger generation; Rossini composed for Paris in 1827 (and herself. A new note of confidence comes We are still in Greece – ancient, this and indeed they rarely if ever get the girl which was usually performed, confusingly when the music turns into the major time, rather than medieval – for (unless, as the Finnish bass Martti enough, in an Italian translation). The key; and, sure enough, the waters of the Zelmira (1822). Polidoro, the deposed Talvela memorably said in a television story of Moses in Egypt is the Old Red Sea part to allow the Israelites to king of Lesbos, has been hidden away interview, ‘maybe after the performance’). Testament account of the exile in Egypt pass before closing again to engulf the by his daughter Zelmira. ‘Ah! One And yet, as this recital by Alastair of the children of Israel, with a love pursuing Egyptians. whole day has passed’ is a cavatina, an Miles demonstrates, arias and duets interest provided by Elcia, a Hebrew girl, Mahomet II (1820) was also entrance aria with, in this case, an written for the bass voice can be as and Pharaoh’s son Osiris. rewritten for the Paris stage, resurfacing abridged reprise of the singer’s opening

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music. A comparatively long orchestral widow of Charles I, to escape, leading became a symbol of the struggle for the Gilbert and Sullivan parodied so introduction gravely sets the scene for her away wearing Elvira’s wedding veil, unification of Italy, and it has since mercilessly, Pagano foresees his revenge; Polidoro lamenting the absence of his Elvira loses her reason. Riccardo, a achieved popularity as a concert piece. but instead of killing Arvino, he beloved daughter. Roundhead colonel who is in love with Less well known is what follows: the accidentally kills their father. Bellini’s Norma was first performed Elvira, announces that Arturo has been rallying-cry of Zaccaria the high priest, a Luisa Miller (1849), like the Rossini at the Teatro alla Scala, Milan, in 1831. condemned to death in absentia. spiritual descendant of both Moses and operas on this disc, was written for the The setting is Roman-occupied Gaul in The great duet that concludes the Oroveso, who foretells the destruction of San Carlo in Naples. Based on Kabale about 50 BC. In the opening scene second of the three acts is for Riccardo Babylon. The accompaniment at ‘Not a und Liebe by the German poet and Oroveso, head of the Druids, orders his and Giorgio, the Governor’s brother, sound but the cry of the screech-owl’ is playwright Friedrich Schiller and set in men to watch for the new moon and whom Elvira has earlier addressed as an early instance of Verdi’s characteristic the Tyrol in the seventeenth century, it strike the sacred bronze shield, at which ‘my beloved uncle, my second father’. ‘weeping’ figure. deals with the intrigue surrounding the point Norma, the high priestess, will Giorgio points out that Arturo’s death The Lombards at the First Crusade, love between Luisa, daughter of a appear. In ‘Grant her the gift of would bring about Elvira’s. Riccardo to give the opera its full title, appeared at retired soldier, and Rodolfo, son of prophecy’ they ask the god Irminsul to relents, unable to bear the thought of La Scala in 1843 as a follow-up to the Count Walter, and with the Count’s inspire her with hatred for the Romans. being pursued by her ghost, but in a success of Nabucco, the part of Pagano dynastic ambitions. All ends unhappily, It is a martial number, just the right side rousing, patriotic finale (‘Fearless and being taken by the first Zaccaria. Having with the death by poison of both lovers. of jauntiness, rather in the vein of the proud the trumpet call’) they agree that lost the girl he loved to his brother The duet in Act II is for Count choral contributions to the aria from Arturo must die if he is seen among the Arvino, Pagano attacked him at the Walter and Wurm, his villainous and Mahomet II. attacking royalist forces. wedding. Now, eighteen years later, aptly-named steward, who himself The Puritans was Bellini’s last opera, The four Verdi excerpts take us from although they are publicly reconciled, wishes to marry Luisa. They discuss first performed in Paris in 1835, the year Nabucco (1842), the earliest of his operas Pagano remains unforgiving. A chorus of their plot against Luisa, after which we of his early death. The action takes place still in the repertory, to The Sicilian nuns praying in the chapel within learn (at ‘It was for his sake’) that it is in a castle near Plymouth during the Vespers (1855), written after the great trio introduces the first part of his aria. The they who have murdered the old Count, English Civil War. Elvira, daughter of of Rigoletto, Il trovatore and La traviata. long-breathed nobility of the musical Walter’s cousin. The music becomes the Roundhead governor of the castle, is In Verdi’s day the chorus of Hebrew phrases belies the sentiment – ‘Wretched more agitated as Walter tells his steward due to marry Arturo, a Cavalier. When slaves aching with longing for their woman!’ – of the words. After a chorus that Rodolfo knows the truth and has Arturo helps Henrietta Maria, the homeland, from Act III of Nabucco, of his henchmen, of the kind that threatened to reveal it. Finally, to a

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martial accompaniment, Walter swears aria. The people of Naples, led by a the roles of Fiesco (Simon Boccanegra) Carlo Maria Giulini, Riccardo Muti, to protect Wurm or perish with him on fisherman and supported by Salvator and Philip II (Don Carlos) on British Sir Charles Mackerras, Sir John Eliot the scaffold. Rosa, the painter, are in revolt against opera stages. His many other notable Gardiner, Myung-Whun Chung, Like the better known Don Carlos, their Spanish overlords. The Spanish appearances in Great Britain include Sir Mark Elder, Sir Roger Norrington The Sicilian Vespers is a French grand viceroy, the Duke of Arcos, is obliged to Lord Sydney (Il viaggio a Rheims) at The and Kurt Masur. opera in five acts written for Paris. Like sign a treaty with the insurgents. A Royal Opera, Covent Garden, the title Alastair Miles appears in round forty Don Carlos, too, it is generally grandee to his fingertips, he is deeply role in Boito’s Mephistopheles at English recordings, among which are, for Opera performed in Italian translation. Set in ashamed of incurring the suspicion of National Opera and Fiesco, Rara, Donizetti’s Rosmonda d’Inghilterra, and around Palermo in 1282 it leads up his king and country. In his aria ‘The Mephistopheles (Faust), Silva (Ernani), Pacini’s Maria, regina d’Inghilterra, to the famous massacre by the Sicilians pleasures of marriage’ he contrasts his Zaccaria (Nabucco), Raimondo (Lucia di Mayr’s Medea in Corinto, Mercadante’s of their French rulers. In the second act apparent power with his actual Lammermoor) and Sparafucile (Rigoletto) Orazi e Curiazi, Rossini’s Ricciardo e Procida, leader of the Sicilians, secretly servitude. It is a noble piece, affording at Welsh National Opera, with which he Zoraide and four recital discs (A Hundred returns from exile. He greets his the singer an excellent opportunity to has enjoyed a particularly long Years of Italian Opera: 1820–1830; Bruce homeland in warm and lyrical tones convey the loneliness of ruling in a association. Ford – Romantic Heroes; Il salotto, Volume which give no hint of his later role as, in strange land. Abroad he has sung Giorgio 1: Mercadante – Les Soirées italiennes and Verdi’s words, ‘a common conspirator (I puritani) and the Prefect (Linda di Nelly Miricioiu – Rossini Gala), and for with the inevitable dagger in his hand’. © 2000 Richard Lawrence Chamounix) at Vienna State Opera, Chandos The Rape of Lucretia (Britten), His aria ‘Oh, my Palermo’ is basso Raimondo at L’Opéra national de Caractacus (Elgar), Faust and La bohème, cantante writing par excellence. Alastair Miles is recognised as one of Paris-Bastille and The Metropolitan the last two in the Opera in English The theme of insurrection continues this country’s leading international Opera, the title role in Oberto at series sponsored by the Peter Moores in Salvator Rosa, which was first singers, performing world-wide in opera L’Opéra de Nice, Giorgio at Deutsche Foundation. performed at the Teatro Carlo Felice in and concert and highly sought after as a Oper, Berlin, Figaro (Le nozze di Figaro) Genoa in 1874. Carlos Gomes was a recording artist. His recent debut at The at The Netherlands Opera, and Giorgio, David Parry studied with Sergiu Brazilian composer who worked in Italy Metropolitan Opera, New York, as Raimondo and Basilio (Il barbiere di Celibidache and began his career as for most of his life. On this recording Giorgio (I puritani) met with widespread Siviglia) at San Francisco Opera. In Sir John Pritchard’s assistant. He made the influence of Verdi can be clearly acclaim, and he garnered superlative concert Alastair Miles has performed his debut with English Music Theatre, heard in the recitative that precedes the reviews upon his recent assumption of under such distinguished conductors as then became a staff conductor at

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Städtische Bühnen Dortmund and at new productions he has conducted Opera North. He was Music Director of include Fidelio at the New Zealand Opera 80 from 1983 to 1987 and since Festival, Maria Stuarda at Theater Basel 1992 has been the founding Music and Lucia di Lammermoor at New Director of Almeida Opera. Israeli Opera. He works extensively in both opera His work in the recording studio and concert, nationally and includes the BBC Television production internationally. He has conducted of Marschner’s Der Vampyr and twenty-

several productions at English National one complete opera recordings under Opera Klotz/The Metropolitan Winnie Opera and appears regularly with the the sponsorship of the Peter Moores Philharmonia Orchestra. In 1996 he Foundation. Among these are numerous made his debut at the Glyndebourne discs for the Opera Rara label which Festival with Così fan tutte, where last have won several awards, including the year he conducted the world premiere Belgian Prix Cecilia for Donizetti’s of Jonathan Dove’s Flight. Rosmonda d’Inghilterra. For Chandos he He is a frequent visitor to Spain has conducted six recordings of operatic where he has given concerts with most arias (with Bruce Ford, Diana of the major Spanish orchestras. He Montague, Dennis O’Neill, Alastair conducted the Spanish premiere of Peter Miles, Yvonne Kenny and John Grimes in Madrid and in 1996 the first Tomlinson, the last two to be issued Spanish production of The Rake’s during 2000), as well as Faust, Don Progress. He has appeared in Germany, Pasquale, The Elixir of Love, La bohème, Sweden, The Netherlands, at the Pesaro Cavalleria rusticana, Pagliacci, the Festival in Italy, the Hong Kong award-winning Tosca and highlights Alastair Miles as International Festival, in Japan with a from Der Rosenkavalier, all in Giorgio in The tour of Carmen and in Mexico with the association with the Peter Moores Metropolitan Opera’s production of Bellini’s UNAM Symphony Orchestra. Recent Foundation. I puritani

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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 – Joan Sutherland, 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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in Egitto (1818) stand lange Zeit im Ägypten zu verlassen, doch schon bald Große Opernarien Schatten von Moïse et Pharaon, einer gelangen sie an das unpassierbare Rote Überarbeitung des früheren Stücks zu Meer. In “Look down on us from einem neuen Libretto, die Rossini 1827 Heaven” (Blicke vom Himmel auf uns Es ist eine traurige Tatsache, daß der selten, die Angebetete für sich zu für Paris komponierte (und die, um die herab), einer Nummer, die Rossini Baß sich nicht der gleichen Popularität gewinnen (es sei denn, wie der finnische Verwirrung komplett zu machen, anläßlich der Wiederaufnahme der erfreut wie die höheren männlichen Baß Martti Talvela in einem Fernseh- gewöhnlich in italienischer Übersetzung Oper ein Jahr nach der Premiere Stimmen. Während der Tenor mit interview zum besten gab, “vielleicht aufgeführt wurde). Die Handlung nachträglich einfügte, bittet Moses Gott Jugend und Liebe in Verbindung nach der Aufführung”). basiert auf der Erzählung des Alten um Hilfe. Sein Gebet wird vom Volk gebracht wird und der Bariton mit Und doch können, wie dieses Recital Testaments von dem ägyptischen Exil wiederholt und auch von Aaron, Liebe und Eifersucht oder zumindest von Alastair Miles zeigt, für die der Kinder Israels; die unabdingbare Amenosi (Elcias Vertrauter) und Elcia Jovialität, fallen dem Baß nur die Baßstimme geschriebene Arien und Liebesgeschichte liefern Elcia, ein selbst unterstützt. Der Wechsel in die schweren Partien zu. Ob in italienischer, Duette genauso prächtig sein wie die jüdisches Mädchen, und der Sohn Durtonart vermittelt den Eindruck deutscher, französischer, russischer oder üblichen Highlights einer Operngala. Pharaos, Osiris. neugewonnener Zuversicht, und englischer Oper, wenn die Bässe keine Alle hier eingespielten Stücke stammen In “Supreme judge and ruler” tatsächlich teilen sich die Fluten des Bösewichter sind, so sind sie meist aus dem italienischen Repertoire des (Oberster Richter und Herrscher) bittet Roten Meeres, um die Israeliten Väter, Götter, Könige oder Priester – 19. Jahrhunderts und demonstrieren die Moses Gott, er möge die Plage der passieren zu lassen, bevor sie sich wieder Autoritätsfiguren, mit denen das Art von Gesang, die die Italiener als Finsternis beenden. Auf einen Wink schließen und die nachfolgenden Publikum sich nur schwer identifizieren “basso cantante” (sanglicher Baß) seines Stabs hin kehrt das Tageslicht in Ägypter ertränken. kann. Man denke zum Beispiel an bezeichnen; die bekanntesten Vertreter einer brillianten Passage zurück, die an Maometto II (1820) wurde ebenfalls Philipp II. in Verdis Don Carlos, der dieser Gattung waren Ezio Pinza Haydns Schöpfung erinnert; hierauf für die Pariser Bühne überarbeitet, wo Vater und König zugleich ist, oder an zwischen den Weltkriegen und Ruggero eröffnet Moses das Quintett, in das die Oper 1826 unter dem Titel Le Siège den Großinquisitor in derselben Oper. Raimondi sowie Samuel Ramey in nacheinander Aaron, Amaltea (Pharaos de Corinthe (Die Belagerung von Andererseits sind es oft komische unserer Zeit. Frau), Osiris und schließlich Pharao Korinth) wieder auftauchte. Die Figuren, über die die jüngere Die drei hier repräsentierten Rossini- selbst einstimmen. Handlung spielt im Jahr 1476: Generation sich häufig lustig macht; Opern wurden sämtlich für das Teatro Nach einer Reihe von Plagen wird Negroponte, eine venezianische Kolonie tatsächlich gelingt es diesen Helden San Carlo in Neapel komponiert. Mosè den Kindern Israels schließlich erlaubt, in Griechenland, wird von Mehmet

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(Mohammed) II. belagert, dem Cavatina, eine Auftrittsarie, die hier mit wurde 1835, im Jahr seines frühen ihrem Geist verfolgt zu werden, doch in ottomanischen Sultan, der einer verkürzten Reprise des Todes, in Paris uraufgeführt. Die einem erhebenden patriotischen Finale dreiundzwanzig Jahre zuvor einleitenden Vokalparts verbunden ist. Handlung spielt in einem Schloß nahe (“Fearless and proud the trumpet call” – Konstantinopel eingenommen hatte. Der Auftritt Polidoros, in dem er die Plymouth während des englischen Furchtlos und stolz der Trompete Ruf) Die Worte “Brave soldiers, arise and Abwesenheit seiner geliebten Tochter Bürgerkriegs. Elvira, die Tochter des beschließen sie, daß Arturo sterben join me” (Tapfere Soldaten, erhebt euch beklagt, wird von einer verhältnismäßig Gouverneurs, einem “Rundkopf” muß, wenn er unter den royalistischen und folgt mir) leiten eine prachtvolle langen Orchestereinleitung in düsteren (Anhänger der Parlamentspartei), steht Angreifern entdeckt wird. Arie ein, in der Mohammed das Lob Tönen vorbereitet. kurz vor ihrer Hochzeit mit dem Die vier Auszüge aus Verdi führen seiner Männer singt. Das heute selten Bellinis Norma wurde 1831 am Adligen Arturo. Nachdem Arturo der uns von Nabucco (1842), der frühesten anzutreffende Konzept eines Teatro alla Scala in Mailand Witwe von Karl I., Henrietta Maria, zur seiner heute noch gespielten Opern, bis schwerfälligen Basses, der Koloratur erstaufgeführt. Das Stück spielt etwa 50 Flucht verhilft und sie getarnt mit zu Les Vêpres siciliennes (1855), die nach singt, mag uns seltsam erscheinen, doch v. Chr. in dem von den Römern Elviras Hochzeitsschleier hinwegführt, den großen Dreien Rigoletto, Il trovatore im frühen 19. Jahrhundert war dies besetzten Gallien. In der Eröffnungs- verliert Elvira den Verstand. Riccardo, und La traviata entstand. Zu Verdis durchaus üblich. Wie auch sonst zeigt szene befiehlt Oroveso, der Anführer der ein Offizier der Rundköpfe, der in Zeit wurde der Chor der sich vor Rossini hier seine meisterhafte Druiden, seinen Männern, den Elvira verliebt ist, verkündet, daß Sehnsucht nach ihrer Heimat Beherrschung der Orchestrierung – Neumond abzuwarten und sodann das Arturo in Abwesenheit zum Tode verzehrenden jüdischen Sklaven aus während er in den Mosè-Ensembles das heilige Bronzeschild zu schlagen, als verurteilt wurde. dem dritten Akt von Nabucco zum Horn und die Harfe hervorhob, verleiht Zeichen, daß Norma, die Das große Duett, mit dem der zweite Symbol für den Kampf um die Einheit er hier der Klarinette Mozartsche Hohepriesterin, erscheinen möge. In von drei Akten schließt, wird von Italiens; seither ist er als Konzertstück Klänge. “Grant her the gift of prophecy” (Gebt Riccardo und Giorgio gesungen, dem populär geworden. Weniger bekannt ist Auch Zelmira (1822) spielt in ihr die Gabe der Prophezeiung) bitten Bruder des Gouverneurs, den Elvira das anschließende Stück – der Griechenland, diesmal in der Antike sie den Gott Irminsul, Norma mit Haß zuvor als “meinen geliebten Onkel, Schlachtruf des Hohepriesters Zaccaria, statt im Mittelalter. Polidoro, der auf die Römer zu erfüllen. Das Stück meinen zweiten Vater” bezeichnet hat. eines geistigen Nachkommen von Moses gestürzte König von Lesbos, wird von klingt kämpferisch, fast beschwingt, Giorgio weist darauf hin, daß Arturos wie auch Oroveso, der die Zerstörung seiner Tochter Zelmira versteckt. “Ah! und erinnert an die Choreinwürfe in Tod auch den Tod Elviras bedeuten Babylons weissagt. Die Begleitung bei One whole day has passed” (Ah! Ein der Arie aus Maometto II. würde. Riccardo gibt nach, da er den “Not a sound but the cry of the screech- ganzer Tag ist vergangen) ist eine I puritani war Bellinis letzte Oper; sie Gedanken nicht ertragen kann, von owl” (Kein Laut als der Schrei des

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Waldkauzes) ist ein frühes Beispiel von Pagano seine Rache an; anstatt jedoch mitteilt, daß Rodolfo die Wahrheit Erhebung wird in der 1874 am Teatro Verdis charakteristischer “weinender” Arvino umzubringen, tötet er ihren kennt und mit ihrer Enthüllung gedroht Carlo Felice in Genua uraufgeführten Figur. Vater. hat. Schließlich schwört Walter bei Oper Salvator Rosa fortgesetzt. Carlos I lombardi alla prima crociata, um Luisa Miller (1849) wurde wie alle kämpferischer Orchesterbegleitung, er Gomes war ein brasilianischer die Oper bei ihrem vollen Titel zu Rossini-Opern auf dieser CD für das werde Wurm beschützen oder Komponist, der die meiste Zeit seines nennen, erklang 1843 an der Scala als Teatro San Carlo in Neapel geschrieben. gemeinsam mit ihm am Galgen enden. Lebens in Italien wirkte. In der Folgestück zu dem überaus erfolg- Die Oper basiert auf Friedrich Schillers Wie der besser bekannte Don Carlos vorliegenden Einspielung ist der Einfluß reichen Nabucco; den Part des Pagano Kabale und Liebe und spielt im Tirol des ist auch Les Vêpres siciliennes eine für Verdis deutlich in dem der Arie übernahm dabei der erste Sänger des 17. Jahrhunderts; sie handelt von einer Paris komponierte französische Grand vorausgehenden Rezitativ zu hören. Zaccaria. Pagano hatte das von ihm Intrige um die Liebe zwischen Luisa, Opéra. Auch diese Oper wird Angeführt von einem Fischer und geliebte Mädchen an seinen Bruder der Tochter eines pensionierten gewöhnlich in italienischer Übersetzung unterstützt von dem Maler Salvator Arvino verloren und diesen während Soldaten, und Rodolfo, dem Sohn des aufgeführt. Das Stück spielt im Jahr Rosa erhebt sich das Volk von Neapel dessen Hochzeit angegriffen. Inzwischen Grafen Walter, sowie den dynastischen 1282 in Palermo und dessen Umgebung gegen seine spanischen Unterdrücker. sind achtzehn Jahre vergangen, und Ambitionen des Grafen. Das Stück und kulminiert in dem berühmten Der spanische Statthalter, Herzog von obwohl die Brüder sich öffentlich endet tragisch mit dem Gifttod der Massaker der Sizilianer an ihren Arcos, ist gezwungen, mit den wieder versöhnt zeigen, hat Pagano beiden Liebenden. französischen Beherrschern. Im zweiten Aufständischen einen Vertrag zu Arvino nie verziehen. Den ersten Teil Das Duett im zweiten Akt wird vom Akt kehrt Procida, der Anführer der unterzeichnen. Ein Edelmann bis in die seiner Arie eröffnet ein innerhalb der Grafen gesungen, zusammen mit Sizilianer, heimlich aus dem Exil Fingerspitzen, empfindet er es als große Kapelle erklingender Chor von Nonnen. Wurm, seinem hinterhältigen und zurück. Er begrüßt seine Heimat in Schmach, den Verdacht seines Königs Die edle Weiträumigkeit der treffend benannten Verwalter, der Luisa warmen, lyrischen Tönen, die noch und seines Landes auf sich zu ziehen. In musikalischen Phrasen straft die von selbst heiraten möchte. Die beiden keinen Hinweis auf seine spätere Rolle der Arie “The pleasures of marriage” den Worten – “Wretched woman!” besprechen ihre Intrige gegen Luisa, als, in Verdis Worten, “ein gemeiner (Die Freuden der Ehe) vergleicht er (Elendes Weib!) – implizierten woraufhin wir erfahren (bei “It was for Verräter mit dem unvermeidlichen seine scheinbare Macht mit seiner Empfindungen Lügen. Nach einem his sake” – Es geschah ihm zuliebe), daß Dolch in der Hand” geben. Seine Arie tatsächlichen Knechtschaft. Dies ist ein Chor seiner Anhänger – von der Art, sie gemeinsam den früheren Grafen, den “Oh, my Palermo” (O mein Palermo) nobles Stück, das dem Sänger eine die Gilbert und Sullivan so Cousin Walters, ermordet haben. Die ist Basso cantante par excellence. hervorragende Gelegenheit bietet, die erbarmungslos parodierten – kündet Musik wird bewegter, als Walter Wurm Das Thema der aufrührerischen Einsamkeit zu vermitteln, die mit dem

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Regieren in einem fremden Land (Nabucco), Raimondo (Lucia di d’Inghilterra, Pacinis Maria, regina international eine weitgespannte verbunden ist. Lammermoor) sowie Sparafucile d’Inghilterra, Mayrs Medea in Corinto, Tätigkeit in den Bereichen Oper und (Rigoletto) an der Welsh National Mercadantes Orazi e Curiazi, Rossinis Konzert aus, hat mehrere Produktionen © 2000 Richard Lawrence Opera, mit der er schon seit langem Ricciardo e Zoraide und vier Recital-CDs der English National Opera dirigiert Übersetzung: Stephanie Wollny verbunden ist. (A Hundred Years of Italian Opera: und tritt regelmäßig mit dem Zu seinen internationalen 1820–1830; Bruce Ford – Romantic Philharmonia Orchestra auf. 1996 gab Alastair Miles ist einer der führenden Verpflichtungen gehörten Giorgio Heroes; Il salotto, Volume 1: Mercadante – er sein Debüt beim Glyndebourne international bekannten englischen (I puritani) und der Präfekt (Linda di Les Soirées italiennes und Nelly Miricioiu Festival mit Così fan tutte und hat dort Sänger; er tritt weltweit als Opern- und Chamounix) an der Wiener Staatsoper, – Rossini Gala), sowie für Chandos The im vergangenen Jahr die Uraufführung Konzertsänger auf und wird zudem Raimondo an der Opéra national de Rape of Lucretia (Britten), Caractacus von Jonathan Doves Flight geleitet. häufig zu CD-Produktionen eingeladen. Paris-Bastille und der Metropolitan (Elgar), Faust und La bohème, wobei die Er ist häufig in Spanien zu Gast und Sein jüngstes Debüt als Giorgio Opera, die Titelrolle in Oberto an der beiden letzteren in der “Opera in hat mit den meisten bedeutenden (I puritani) an der Metropolitan Opera Opéra de Nice, Giorgio an der English”-Serie erschienen, die von der spanischen Orchestern Konzerte in New York wurde weithin gefeiert, Deutschen Oper Berlin, Figaro (Le nozze Peter Moores Foundation gefördert wird. gegeben. In Madrid hat er die spanische und seine kürzlich übernommenen di Figaro) an der Niederländischen Oper Erstaufführung von Peter Grimes Rollen als Fiesco (Simon Boccanegra) sowie Giorgio, Raimondo und Basilio David Parry hat bei Sergiu Celibidache dirigiert, und 1996 die erste spanische und Philipp II. (Don Carlos) auf (Il barbiere di Siviglia) an der San studiert und seine berufliche Laufbahn Inszenierung von The Rake’s Progress. Er britischen Opernbühnen brachten ihm Francisco Opera. Im Konzert ist Alastair als Assistent von Sir John Pritchard ist in Deutschland, Schweden und den überschwengliche Kritiken ein. Zu Miles unter solch bekannten Dirigenten begonnen. Er hat am English Music Niederlanden aufgetreten, bei den seinen zahlreichen weiteren aufgetreten wie Carlo Maria Giulini, Theatre debütiert und wurde dann Festspielen in Pesaro, beim Hong Kong bemerkenswerten Auftritten in Riccardo Muti, Sir Charles Mackerras, Dirigent mit Festvertrag an den International Festival, in Japan anläßlich Großbritannien zählen Lord Sydney Sir John Eliot Gardiner, Myung-Whun Städtischen Bühnen Dortmund und an einer Carmen-Tournee und in Mexiko (Il viaggio a Rheims) an der Royal Opera, Chung, Sir Mark Elder, Sir Roger der Opera North. Von 1983 bis 1987 mit dem UNAM Symphony Orchestra. Covent Garden, die Titelrolle in Boito’s Norrington und Kurt Masur. war er Musikdirektor der Opera 80 und Zu den Neuproduktionen, die er in Mefistofele an der English National Alastair Miles ist auf rund vierzig seit 1992 Gründungsmitglied und letzter Zeit dirigiert hat, zählen Fidelio Opera und Fiesco, Mephistopheles Einspielungen zu hören, darunter für Direktor der Almeida Opera. beim New Zealand Festival, Maria (Faust), Silva (Ernani), Zaccaria Opera Rara Donizettis Rosmonda Er übt in Großbritannien und Stuarda am Stadttheater Basel und Lucia

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di Lammermoor an der New Israeli d’Inghilterra. Für Chandos hat er die Opera. Aufzeichnung von sechs Programmen Grands airs d’opéra Seine Tätigkeit im Aufnahmestudio mit Opernarien geleitet (mit Bruce umfaßt die Produktion von Marschners Ford, Diana Montague, Dennis O’Neill, Der Vampyr fürs BBC-Fernsehen und Alastair Miles, Yvonne Kenny und John Les voix de basse, malheureusement, manière mémorable lors d’une interview einundzwanzig vollständige Tomlinson – die zwei letztgenannten n’ont pas le succès réservé aux voix pour la télévision “après la représentation Opernaufzeichnungen unter der kommen im Jahr 2000 heraus), d’homme plus hautes. Alors que le ténor peut-être”). Schirmherrschaft der Peter Moores außerdem Faust, Don Pasquale, L’elisir est associé à la jeunesse et à l’amour, et le Et cependant, comme en témoigne ce Foundation. Darunter befinden sich d’amore, La bohème, Cavalleria baryton, à l’amour, à la jalousie ou en récital de Alastair Miles, les arias et duos zahlreiche Aufnahmen des Labels Opera rusticana, Pagliacci, die preisgekrönte tout cas à la bonhomie, la basse se voit écrits pour les voix de basse peuvent être Rara, die mehrere Preise gewonnen Tosca und Highlights aus dem attribuer tous les rôles lourds. Que ce aussi merveilleux que n’importe quel haben, beispielsweise den belgischen Rosenkavalier, jeweils in Zusammen- soit dans l’opéra italien, allemand, autre air à succès. Toutes les pièces Prix Cecilia für Donizettis Rosmonda arbeit mit der Peter Moores Foundation. français, russe ou anglais, si les basses ne reprises ici appartiennent au répertoire sont pas des bandits, ils incarnent italien du dix-neuvième siècle et font souvent le père, les dieux, les rois ou les intervenir le type de voix que les Italiens prêtres: des personnages qui font appellent “basso cantante” (basse autorité, auxquels le public n’est pas chantante), dont les représentants susceptible de s’identifier. Pensons à récents les plus remarquables ont été Philippe II dans Don Carlos de Verdi, Ezio Pinza entre les deux guerres et, de qui est à la fois père et roi, ou au Grand nos jours, Ruggero Raimondi et Samuel Inquisiteur dans le même opéra. Parfois Ramey. encore, les basses sont des personnages Les trois opéras de Rossini repris ici qui prêtent à rire, souvent dupés par la furent tous composés pour l’opéra de jeune génération. Et, en fait, ils n’ont San Carlo à Naples. Mosè in Egitto que rarement, ou pas du tout, les faveurs (Moïse en Egypte, 1818) fut longtemps de l’héroïne (si ce n’est, comme la basse éclipsé par Moïse et Pharaon, une finlandaise Martti Talvela l’a souligné de version remaniée à partir d’un nouveau

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livret de l’œuvre précitée, que Rossini l’opéra fut repris un an après sa jours, peut nous paraître étrange; mais le chef de surveiller le moment de la composa pour Paris en 1827 (et qui fut création, Moïse implore l’aide de Dieu. elle n’aurait pas causé le moindre nouvelle lune et de frapper le bouclier généralement interprétée, très Le peuple fait écho à sa prière appuyée froncement de sourcils à l’aube du de bronze, instant auquel Norma, la curieusement, dans sa traduction par Aaron, Amenosi (la confidente de dix-neuvième siècle. Comme toujours, grande prêtresse, apparaîtra. Dans italienne). L’opéra s’inspire du récit de Elcia) et Elcia elle-même. Une nouvelle Rossini témoigne de sa maîtrise de “Grant her the gift of prophecy” l’exil en Egypte des enfants d’Israël dans note de confiance se fait jour alors que l’orchestration: tout comme il introduit (Accorde lui le don de prophétie), ils l’Ancien Testament et l’agrémente d’une la musique passe dans la tonalité le cor et la harpe respectivement, dans demandent au dieu Irminsul d’inspirer à intrigue amoureuse dont les héros sont majeure et, en effet, les eaux de la mer les ensembles de Mosè, il agrémente la Norma, la haine des Romains. C’est un Elcia, une jeune fille juive et le fils du Rouge s’ouvrent pour laisser le passage clarinette de gloussements mozartiens. air martial, à la limite de la désinvolture, pharaon, Osiris. aux Israélites, puis se referment pour Nous sommes à nouveau en Grèce – dans la ligne des contributions chorales Dans “Supreme judge and ruler” engloutir les Egyptiens qui sont à leur ancienne, cette fois, et non pas médiévale à l’aria de Maometto II. (Juge et gouverneur suprêmes), Moïse poursuite. – pour Zelmira (1822). Polidoro, roi L’opéra I puritani (Les Puritains) fut implore Dieu de mettre fin à la plaie des Maometto II (Mahomet II, 1820) fut destitué de Lesbos, a été caché par sa le dernier de Bellini et fut créé à Paris ténèbres. Sur un geste de sa main, la écrit aussi pour la scène parisienne et fille, Zelmira. “Ah! One whole day has en 1835, l’année de sa mort prématurée. lumière du jour réapparaît et ce, dans refit surface en 1826, sous le titre Le passed” (Ah! une journée entière s’est L’action se déroule dans un château près un passage brillant qui évoque Die Siège de Corinthe. Nous sommes en écoulée) est une cavatine, une aria de Plymouth au cours de la guerre civile Schöpfung de Haydn. Puis Moïse 1476: Negroponte, colonie vénitienne d’entrée avec, ici, une reprise abrégée. anglaise. Elvira, la fille du gouverneur entonne un quintette dans lequel Aaron, en Grèce, est assiégée par Mehmet Une introduction orchestrale des Têtes rondes du château doit Amaltea (l’épouse du pharaon), Osiris et (Mahomet) II, le sultan ottoman qui relativement longue plante avec gravité le épouser Arturo, un royaliste. le pharaon lui-même, se joignent à lui. avait conquis Constantinople vingt-trois décor de l’épisode dans lequel Polidoro Lorsqu’Arturo aide Henrietta Maria, la Après diverses vicissitudes, les enfants ans auparavant. “Brave soldiers, arise pleure l’absence de sa fille bien aimée. veuve de Charles Ier, à s’enfuir et d’Israël sont finalement autorisés à and join me” (Courageux soldats, levez- L’opéra Norma de Bellini fut créé au l’emmène coiffée du voile nuptial partir, mais ils sont bientôt confrontés à vous et joignez-vous à moi), chante-t-il Teatro alla Scala de Milan en 1831. d’Elvira, celle-ci perd la raison. l’infranchissable mer Rouge. Dans avant de faire l’éloge de ses hommes L’action se déroule en Gaule au temps Riccardo, colonel des Têtes rondes, qui “Look down on us from Heaven” (Du dans un aria très ornementé. L’idée de l’occupation romaine, vers 50 av. est amoureux d’Elvira, annonce haut des cieux, jette un regard vers d’une basse imposante chantant J.C. Dans la scène introductive, qu’Arturo a été condamné à mort in nous), air que Rossini ajouta quand coloratura, performance rare de nos Oroveso ordonne aux druides dont il est absentia.

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Le grand duo qui conclut le en tant que morceau de concert. Ce qui exprimé par les mots “Wretched apprenons ensuite (à ces mots: “It was deuxième des trois actes est chanté par suit est moins connu: le cri de woman!” (Maudite femme!). Après le for his sake” – C’était pour son bien), Riccardo et Giorgio, le frère du ralliement de Zaccaria, le grand prêtre, chœur de ses partisans, un chœur du que c’est eux qui ont assassiné le vieux gouverneur, auquel Elvira s’est adressé descendant spirituel de Moïse et genre de ceux parodiés si comte, le cousin de Walter. La musique plus tôt en ces termes: “mon oncle d’Oroveso, qui annonce la destruction impitoyablement par Gilbert et Sullivan, devient plus tourmentée tandis que bien-aimé, mon second père”. Giorgio de Babylone. L’accompagnement de Pagano imagine sa revanche. Mais au Walter dit à son intendant que Rodolfo souligne que la mort d’Arturo “Not a sound but the cry of the screech- lieu de tuer Arvino, il tue sait la vérité et a menacé de la révéler. entraînerait celle d’Elvira. Riccardo owl” (Pas un son excepté le cri de accidentellement leur père. Finalement sur un accompagnement cède, incapable d’accepter l’idée d’être l’effraie) est un premier exemple Luisa Miller (1849), comme les martial, Walter promet de protéger poursuivi par son fantôme, mais dans d’accompagnement instrumental opéras de Rossini repris dans cet Wurm ou de périr avec lui sur un finale vibrant et patriotique, plaintif caractéristique de Verdi. enregistrement, fut composé pour le l’échafaud. “Fearless and proud the trumpet call” I lombardi alla prima crociata, pour San Carlo à Naples. Il s’inspire de Comme Don Carlos, plus célèbre, Les (Intrépide et fière, la trompette retentit), donner à l’opéra son titre complet, fut Kabale und Liebe du poète et Vêpres siciliennes est un grand opéra ils s’accordent à dire qu’Arturo doit représenté à La Scala en 1843 dans la dramaturge allemand Friedrich Schiller. français en cinq actes composé pour mourir s’il est surpris parmi les foulée du succès de Nabucco, le rôle de L’action se déroule au Tyrol au Paris. Comme Don Carlos aussi, il est assaillants royalistes. Pagano étant repris par l’interprète du dix-septième siècle et évoque à la fois généralement représenté dans sa Les quatre extraits de Verdi nous rôle de Zaccaria. La jeune fille qu’aimait l’intrigue qui entoure l’amour de traduction italienne. L’action se déroule mènent de Nabucco (1842), le premier Pagano l’a quitté pour son frère Arvino Luisa, la fille d’un soldat retraité et dans et autour de Palerme en 1282 et de ses opéras repris dans le répertoire, et Pagano s’oppose donc à lui lors de Rodolfo, le fils du comte Walter, et relate le fameux massacre par les aux Vêpres siciliennes (1855) composé son mariage. A présent, dix-huit ans les ambitions dynastiques du compte. Siciliens des occupants français. Dans le après le grand trio d’opéras: Rigoletto, Il plus tard, bien qu’ils soient Tout se termine tragiquement, deuxième acte, Procida, chef de file des trovatore (Le Trouvère) et La traviata. A officiellement réconciliés, Pagano ne par la mort par empoisonnement des Siciliens, revient secrètement d’exil. Il l’époque de Verdi, le chœur des esclaves peut se résoudre à pardonner. Un chœur amants. salue sa patrie en des accents chaleureux hébreux pleurant leur pays natal, dans de religieuses priant dans la chapelle, Le duo de l’acte II est chanté par le et lyriques qui ne laissent pas présager l’acte III de Nabucco, devient un hors scène, introduit la première partie comte Walter et par Wurm, son infâme son rôle futur que Verdi évoque en ces symbole du combat pour l’unification de son aria. La noblesse profonde des intendant qui porte bien son nom et termes: “un conspirateur ordinaire avec, de l’Italie et il est depuis devenu célèbre phrases musicales dément le sentiment voudrait lui-même épouser Luisa. Nous à la main, l’inévitable poignard”. Son

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aria “Oh, my Palermo” (O, mon est le lot de celui qui gouverne en pays (Ernani), Zaccaria (Nabucco), Pacini, Medea in Corinto de Mayr, Orazi Palerme) est une “basso cantante” par étranger. Raimondo (Lucia di Lammermoor) et e Curiazi de Mercadante, Ricciardo e excellence. Sparafucile (Rigoletto) au Welsh Zoraide de Rossini et quatre Le thème de l’insurrection réapparaît © 2000 Richard Lawrence National Opera, auquel il est resté enregistrements de récitals (A Hundred dans Salvator Rosa qui fut créé au Traduction: Marie-Françoise de Meeûs associé particulièrement longtemps. Years of Italian Opera: 1820–1830; Teatro Carlo Felice à Gênes en 1874. A l’étranger, il a interprété les rôles de Bruce Ford – Romantic Heroes; Il salotto, Carlos Gomes est un compositeur Alastair Miles est réputé comme l’un Giorgio (I puritani) et du Préfet (Linda Volume 1: Mercadante – Les Soirées brésilien qui travailla en Italie pendant des chanteurs de renommée di Chamounix) à l’Opéra d’Etat de italiennes et Nelly Miricioiu – Rossini la plus grande partie de sa vie. Dans cet internationale les plus éminents de ce Vienne, de Raimondo à l’Opéra Gala) pour Opera Rara, et pour enregistrement, l’influence de Verdi se pays: il se produit dans le monde entier national de Paris-Bastille et au Chandos, à The Rape of Lucretia perçoit nettement dans le récitatif qui en opéra et en concert et est très Metropolitan Opera, le rôle titre dans (Britten), Caractacus (Elgar), Faust et précède l’aria. Le peuple de Naples, demandé pour les enregistrements. Ses Oberto à l’Opéra de Nice, Giorgio au La bohème, ces deux derniers dirigé par un pêcheur et soutenu par récents débuts au Metropolitan Opera à Deutsche Oper à Berlin, Figaro enregistrements dans la série Opera in Salvator Rosa, le peintre, est révolté New York dans le rôle de Giorgio (Le nozze di Figaro) à l’Opéra English sponsorisé par la Peter Moores contre ses chefs espagnols. Le vice-roi (I puritani) ont été très largement néerlandais et Giorgio, Raimondo et Foundation. d’Espagne, le duc d’Arcos, est obligé applaudis et il a été l’objet de critiques Basilio (Il barbiere di Siviglia) au San de signer un traité avec les insurgés. dithyrambiques pour ses récentes Francisco Opera. En concert, Alastair Après avoir étudié avec Sergiu C’est un grand d’Espagne jusqu’au interprétations des rôles de Fiesco Miles s’est produit sous la baguette de Celibidache, David Parry commença sa bout des ongles et il est donc très (Simon Boccanegra) et Philippe II (Don chefs de renom tels Carlo Maria carrière comme assistant de Sir John ennuyé de s’attirer la suspicion du roi et Carlos) sur les scènes d’opéra anglaises. Giulini, Riccardo Muti, Sir Charles Pritchard. Il fit ses débuts avec l’English de son pays. Dans son aria “The Citons aussi parmi ses nombreuses et Mackerras, Sir John Eliot Gardiner, Music Theatre avant de devenir l’un des pleasures of marriage” (Les plaisirs du importantes productions en Grande- Myung-Whun Chung, Sir Mark Elder, chefs d’orchestre au Städtische Bühnen mariage), apparaît le contraste entre son Bretagne: Lord Sydney (Il viaggio a Sir Roger Norrington et Kurt Masur. à Dortmund et à Opera North. apparente puissance et sa servitude Rheims) au Royal Opera, Covent Alastair Miles a participé à une Directeur musical d’Opera 80 de 1983 à effective. C’est un air plein de noblesse, Garden, le rôle titre dans Mefistofele de quarantaine d’enregistrements parmi 1987, il est directeur musical d’Almeida offrant à l’interprète une excellente Boito au English National Opera et lesquels Rosmonda d’Inghilterra de Opera depuis sa fondation en 1992. opportunité de suggérer la solitude qui Fiesco, Méphistophélès (Faust), Silva Donizetti, Maria, regina d’Inghilterra de Sa carrière, nationale et

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internationale, est extrêmement remplie, Nouvelle-Zélande, Maria Stuarda au aussi bien sur la scène lyrique qu’en Théâtre de Bâle et Lucia di Lammermoor Grandi arie operistiche concert. Il a dirigé plusieurs productions avec le New Israeli Opera. de l’English National Opera et collabore En studio, il a participé entre autres à régulièrement avec le Philharmonia la production de la BBC Television de Rincresce a dirlo, ma il basso non Martti Talvela – “magari dopo Orchestra. C’est avec Così fan tutte qu’il Der Vampyr de Marschner, dirigeant possiede la popolare attrazione delle voci la recita”). fit ses débuts au Festival de aussi vingt et une intégrales d’opéras maschili più alte. Mentre il tenore Eppure, come viene dimostrato in Glyndebourne en 1996, une scène qu’il financées par la Peter Moores s’identifica con la giovinezza e l’amore e questo recital di Alastair Miles, arie e retrouva l’an dernier pour diriger la Foundation. Plusieurs de ces intégrales il baritono con la passione, la gelosia o duetti scritti per il basso possono essere création mondiale de Flight de Jonathan furent enregistrées pour Opera Rara et perlomeno la bonhomie, al basso toccano tanto splendidi quanto qualsiasi dei più Dove. primées, Rosmonda d’Inghilterra de tutti i ruoli pesanti. Tanto nell’opera ovvi pezzi di grande effetto. Tutti i brani Il séjourne fréquemment en Espagne Donizetti recevant en Belgique le Prix italiana quanto in quella tedesca, provengono dal repertorio italiano où il a dirigé en concert la plupart des Cecilia. Pour Chandos, Parry a dirigé six francese, russa o inglese, i bassi, quando dell’Ottocento, composti per quel grands orchestres espagnols. C’est lui qui enregistrements d’airs d’opéra (avec non sono dei malvagi, tendono ad essere genere di voce che gli italiani chiamano dirigea la première espagnole de Peter Bruce Ford, Diana Montague, Dennis padri, dei, re o sacerdoti: figure “basso cantante”; genere in cui i Grimes à Madrid et en 1996 la première O’Neill, Alastair Miles, Yvonne Kenny d’autorità, con le quali il pubblico non maggiori esponenti sono stati Ezio Pinza production espagnole de The Rake’s et John Tomlinson, les deux derniers s’identifica facilmente. Si pensi a fra le due guerre e, ai giorni nostri, Progress. Il a dirigé en Allemagne, en devant paraître durant 2000) de même Filippo II, nel Don Carlos di Verdi, che Ruggero Raimondi e Samuel Ramey. Suède, aux Pays-Bas, au Festival de que Faust, Don Pasquale, L’elisir d’amore, appare contemporaneamente come Le tre opere di Rossini che qui Pesaro en Italie, au Festival international La bohème, Cavalleria rusticana, padre e re, o al Grande Inquisitore figurano furono tutte scritte per il de Hong-Kong, au Japon pour une Pagliacci, l’enregistrement primé de nella stessa opera. Oppure sono Teatro San Carlo di Napoli. Mosè in tournée de Carmen et au Mexique avec Tosca et des extraits de Der personaggi ridicoli, spesso messi alla Egitto (1818) venne per molto tempo l’Orchestre symphonique d’UNAM. Il a Rosenkavalier, tous ces enregistrements berlina dalla più giovane generazione; eclissato da Moïse et Pharaon, una récemment dirigé plusieurs nouvelles étant réalisés en collaboration avec la in verità, a loro la ragazza non tocca rielaborazione dell’opera precedente con productions dont Fidelio au Festival de Peter Moores Foundation. mai, o quasi mai (a meno che non sia – un nuovo libretto, composta da Rossini come disse memorabilmente in per Parigi nel 1827 (e che fu di solito un’intervista televisiva il basso finlandese eseguita, destando certe perplessità,

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nella traduzione italiana). La storia del Elcia, Amenosi e da Elcia se stessa. Una Siamo tuttora in Grecia – antica dose di baldanza che nella vena Mosè in Egitto è basata sul racconto nel nuova nota di fiducia è data dalla anziché medievale, questa volta – per alquanto si riferisce ai contributi corali Vecchio Testamento dell’esilio in Egitto modulazione nel tono maggiore; e Zelmira (1822). Polidoro, deposto re di del Maometto II. dei figli d’Israele, con un intreccio immancabilmente le acque del Mar Lesbo, è stato nascosto dalla figlia I Puritani fu l’ultima opera di Bellini; amoroso fornito da Elcia, una fanciulla Rosso si dividono per lasciar passare gli Zelmira. “Ah! One whole day has la prima ebbe luogo a Parigi nel 1835, ebraica, e il figlio del Faraone, Osiris. Israeliti, per poi richiudersi passed” (Ah! già trascorse il di) è una anno della sua prematura morte. In “Supreme judge and ruler” (Eterno! inghiottendo gli inseguitori egizi. cavatina, un’aria di ingresso con, in L’azione si svolge in un castello vicino a Immenso!) Mosè si appella a Dio Maometto II (1820) fu pure riscritto questo caso, una ripresa abbreviata della Plymouth durante la guerra civile affinché revochi la piaga dell’oscurità. Di per Parigi, per riapparire nel 1826 come musica introduttiva del cantante. inglese. Elvira, figlia del Governatore colpo ad un suo cenno la luce del giorno Le Siège de Corinthe. L’anno è il 1476; Un’introduzione orchestrale, Puritano del castello, sta per sposare riappare in un brillante passaggio che Negroponte, colonia veneta in Grecia, è paragonabilmente lunga, fissa con Arturo, un Cavaliere. Quando Arturo ricorda la Schöpfung di Haydn, dopo di assediata da Mehmet (Maometto) II, il gravità la scena per Polidoro che assiste la vedova di Carlo I, Henrietta che Mosè dà inizio al quintetto; a lui si sultano ottomano che ha conquistato lamenta l’assenza dell’amata figlia. Maria, a fuggire portandola in salvo aggiungono a turno Aaron, Amaltea Costantinopoli ventitre anni prima. Egli La Norma di Bellini venne celata sotto il velo nuziale di Elvira, (moglie del Faraone), Osiris ed infine il canta “Brave soldiers, arise and join me” rappresentata per la prima volta al quest’ultima impazzisce. Riccardo, Faraone. (Sorgete e in sì bel giorno) prima di Teatro alla Scala nel 1831. È ambientata colonnello dei Puritani, innamorato di Dopo varie vicissitudini ai figli lodare i suoi uomini in una florida aria. nella Gallia occupata dai Romani Elvira, annuncia che Arturo è stato d’Israele viene finalmente concesso di L’idea di un ponderoso basso che canta intorno al 50 BC. Nella prima scena condannato a morte in absentia. partire, ma non tardano a trovarsi di un brano di coloratura, una rara Oroveso, capo dei Druidi, ordina ai suoi Il grande duetto che conclude il fronte l’insormontabile Mar Rosso. In prodezza oggidì, può ora sembrarci uomini di restare in attesa della nuova secondo dei tre atti è per Riccardo e “Look down on us from Heaven” (Dal strana, ma nel primo Ottocento non luna e di colpire il sacro scudo bronzeo. Giorgio, fratello del Governatore, a cui tuo stellato soglio), un pezzo aggiunto avrebbe destato meraviglia. Come A questo punto Norma, la gran Elvira si era rivolta in precedenza da Rossini quando l’opera venne ripresa sempre Rossini dimostra la sua maestria sacerdotessa, apparirà. In “Grant her the chiamandolo “il mio amato zio, mio un anno dopo la premiere, Mosè nell’orchestrazione: così come aveva gift of prophecy” (Dell’aura tua secondo padre”. Giorgio dichiara che la implora l’aiuto divino. La sua preghiera usato corno ed arpa rispettivamente nei profetica) essi chiedono al dio Irminsul morte di Arturo causerà la morte di trova eco nel suo popolo e viene concertati del Mosè, qui aggiunge dei d’inspirarle l’odio per i Romani. È un Elvira. Riccardo si placa, non potendo rinforzata da Aaron, dalla confidente di gorgogli mozartiani al clarinetto. pezzo marziale, con una ben piazzata reggere al pensiero di essere perseguitato

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dal fantasma di Elvira, ma in un finale I lombardi alla prima crociata (titolo Schiller, e ambientata nel Tirolo nel Parigi. Come Don Carlos, è anch’essa di irruente e patriottico, “Fearless and intero dell’opera) apparve alla Scala nel secolo diciassettesimo, concerne gli solito eseguita nella traduzione italiana. proud the trumpet call” (Suoni la 1843, quale continuazione del successo intrighi intorno agli amori di Luisa, Ambientata a Palermo e suoi dintorni tromba, e intrepido), i due concordano di Nabucco, il ruolo di Pagano essendo figlia di un soldato in pensione, e nel 1282, conduce al famoso massacro che Arturo dovrà morire se verrà scorto assunto dal primo Zaccaria. Avendo Rodolfo, figlio del Conte Walter, e con degli occupanti francesi da parte dei in mezzo agli attaccanti monarchici. dovuto cedere al fratello Arvino la le ambizioni dinastiche del Conte. Tutto siciliani. Nel secondo atto Procida, I quattro brani verdiani ci portano da donna che ama, Pagano si era scagliato finisce male, con la morte per comandante dei siciliani, ritorna Nabucco (1842), la più giovanile delle contro Arvino alle sue nozze. Adesso, avvelenamento dei due amanti. dall’esilio. Saluta la patria in toni esaltati sue opere tuttora in repertorio, a Les diciotto anni dopo, sebbene i due si Il duetto nell’Atto II è per il Conte e lirici che non lasciano presagire il suo Vêpres siciliennes (1855) scritta dopo il siano pubblicamente riconciliati, Pagano Walter e il suo malvagio castaldo, Wurm successivo ruolo – nelle parole di Verdi grande terzetto di Rigoletto, Il trovatore e rimane implacabile. Un coro di suore, (Verme, nome assai appropriato), il stesso – “di volgare cospiratore con La traviata. All’epoca, il coro degli che pregano nella cappella all’interno, quale desidera di sposare lui stesso l’inevitabile daga in pugno”. La sua aria, schiavi israeliti che si struggono di introduce la prima parte dell’aria. Luisa. Insieme discutono il loro “Oh, my Palermo” (O tu Palermo) è nostalgia per la patria, dall’Atto III di L’espansiva nobiltà delle frasi musicali complotto ai danni di Luisa, dopo di una composizione per basso cantante Nabucco, divenne un simbolo della smentisce il sentimento – “Wretched che veniamo informati (“It was for his par excellence. lotta per l’unità d’Italia, e si è da allora woman!” (Sciagurata!) – delle parole. sake” – L’alto retaggio) che sono loro Il tema dell’insurrezione continua in affermato come pezzo da concerto. Dopo un coro dei suoi sgherri, del che hanno ucciso il vecchio Conte, Salvator Rosa, la cui prima Meno noto è quanto segue: il richiamo genere che Gilbert e Sullivan cugino di Walter. La musica si fa più rappresentazione avvenne al Teatro al raduno di Zaccaria, l’alto sacerdote, parodiarono senza misericordia, Pagano agitata quando Walter confida al suo Carlo Felice a Genova nel 1874. Carlos discendente spirituale di Mosè e di prevede la sua vendetta; ma anziché castaldo che Rodolfo è al corrente della Gomes era un compositore braziliano Oroveso, che profetizza la caduta di uccidere Arvino, accidentalmente uccide verità e che ha minacciato di rivelarla. che lavorò in Italia per gran parte della Babilonia. L’accompagnamento a quello il loro padre. Alla fine, Walter, con marziale sua vita. In questo disco l’influenza di che “Not a sound but the cry of the Luisa Miller (1849), come le opere di accompagnamento, giura che proteggerà Verdi è chiaramente udibile nel screech-owl” (Solo il gufo suoi tristi Rossini incluse in questo disco, venne Wurm o perirà con lui sulla forca. recitativo che precede l’aria. Il popolo lamenti) è un esempio giovanile della composta per il Teatro San Carlo di Come il più famoso Don Carlos, Les napoletano, guidato da un pescatore e caratteristica “piangente” immagine Napoli. Basata su Kabale und Liebe del Vêpres siciliennes è una spettacolare sostenuto dal pittore Salvator Rosa, è in verdiana. poeta e drammaturgo tedesco Friedrich opera francese in cinque atti, scritta per rivolta contro gli oppressori spagnoli. Il

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Duca di Arcos, Vicere spagnolo, è recensioni per le sue recenti Francisco. In concerto Alastair Miles ha carriera come assistente di Sir John costretto a firmare un trattato con gli interpretazioni dei ruoli di Fiesco cantato con i più famosi direttori, quali Pritchard. Ha debuttato all’English insorti. Un grande di Spagna al cento (Simon Boccanegra) e di Filippo II (Don Carlo Maria Giulini, Riccardo Muti, Music Theatre, quindi è diventato per cento, Arcos si vergogna Carlos) sulle scene liriche britanniche. Sir Charles Mackerras, Sir John Eliot direttore d’orchestra presso la Städtische profondamento dei sospetti che ciò può Altri suoi molti notevoli contributi alla Gardiner, Myung-Whun Chung, Bühnen Dortmund e la Opera North. suscitare nel suo re e nel suo paese. stagione operistica in Gran Bretagna Sir Mark Elder, Sir Roger Norrington e È stato Direttore Musicale di Opera 80 Nella sua aria, “The pleasures of hanno incluso: Lord Sydney (Il viaggio a Kurt Masur. dal 1983 al 1987 e dal 1992 è stato marriage” (Di sposo… di padre…) egli Rheims) alla Royal Opera, Covent Alastair Miles appare in una Direttore Musicale fondatore dell’Opera mette a confronto il suo apparente Garden, il ruolo di protagonista in quarantina di dischi, fra i quali: per di Almeida. potere con la sua reale servitù. È un Mefistofele (Boito) per l’English National Opera Rara, Rosmonda d’Inghilterra di Lavora copiosamente in opere e pezzo nobile, che offre al cantante Opera, e Fiesco, Mefistofele (Faust), Donizetti, Maria, regina d’Inghilterra di concerti, a livello nazionale ed un’eccellente occasione per esprimere la Silva (Ernani), Zaccaria (Nabucco), Pacini, Medea in Corinto di Mayr, Orazi internazionale. Ha diretto diverse solitudine di chi governa in terra Raimondo (Lucia di Lammermoor) e e Curiazi di Mercadante, Ricciardo e produzioni presso la English National straniera. Sparafucile (Rigoletto) per la Welsh Zoraide di Rossini; in quattro dischi di Opera e appare regolarmente con la National Opera, con la quale ha avuto recital (A Hundred Years of Italian Philharmonia Orchestra. Nel 1996 ha © 2000 Richard Lawrence lunghi e felici rapporti. Opera: 1820–1830; Bruce Ford – debuttato con Così fan tutte al Traduzione: Marcella Barzetti All’estero ha cantato Giorgio Romantic Heroes; Il salotto, Volume 1: Glyndebourne Festival, dove l’anno (I puritani) e il Prefetto (Linda di Mercadante – Les Soirées italiennes e scorso ha diretto la prima mondiale di Alastair Miles si è affermato come uno Chamounix) all’Opera di Stato di Nelly Miricioiu – Rossini Gala). Per la Flight di Jonathan Dove. dei principali cantanti internazionali del Vienna, Raimondo all’Opéra national Chandos ha inciso The Rape of Lucretia È un frequente visitatore della Spagna suo paese. Ha cantato in tutto il mondo de Paris-Bastille e al Metropolitan (Britten), Caractacus (Elgar), Faust e dove si è esibito in concerto con la in opera ed in concerto, ed è in grande Opera; il ruolo di protagonista in La bohème, queste ultime due opere per maggior parte delle maggiori orchestre richiesta nel campo discografico. Il suo Oberto all’Opera di Nizza, Giorgio alla la serie Opera in English sponsorizzata spagnole. Ha diretto la prima spagnola recente debutto al Metropolitan Opera Deutsche Oper di Berlino, Figaro dalla Peter Moores Foundation. di Peter Grimes a Madrid e nel 1996 la di New York nella parte di Giorgio (Le nozze di Figaro) all’Opera dei Paesi prima produzione spagnola di The Rake’s (I puritani) ha incontrato generale Bassi, e Giorgio, Raimondo e Basilio David Parry ha studiato con Sergiu Progress. È apparso in Germania, Svezia, entusiasmo, ed ha avuto superlative (Il barbiere di Siviglia) all’Opera di San Celibidache ed ha cominciato la sua Paesi Bassi, al Festival di Pesaro in Italia,

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al Festival Internazionale di Hong Kong, in l’etichetta Opera Rara che hanno vinti Giappone con una tournée della Carmen e parecchi premi, tra cui il belga Prix Alastair Miles as Jacopo in Messico con la UNAM Symphony Cecilia per la Rosmonda d’Inghilterra di Fiesco in the 1998 Orchestra. Recenti nuove produzioni da lui Donizetti. Per Chandos ha diretto sei Glyndebourne Festival dirette comprendono il Fidelio al Festival registrazioni di arie d’opera (con Bruce Catherine Ashmore Opera production of della Nuova Zelanda, Maria Stuarda al Ford, Diana Montague, Dennis O’Neill, Verdi’s Simon Boccanegra Teatro di Basilea e Lucia di Lammermoor Alastair Miles, Yvonne Kenny e John alla New Israeli Opera. Tomlinson, le ultime due usciranno nel Il suo lavoro in studio di registrazione 2000), nonché Faust, Don Pasquale, comprende la produzione della BBC di L’elisir d’amore, La bohème, Cavalleria Der Vampyr di Marschner nonché ventuno rusticana, Pagliacci, Tosca (vincitrice di registrazioni operistiche complete con il un premio) e brani scelti da Der patrocinio della Peter Moores Foundation. Rosenkavalier, tutte in collaborazione Tra questi vi sono numerosi dischi per con la Peter Moores Foundation.

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Alastair Miles as Philip II, with Lori Phillips as Elisabeth Alastair Miles as Mephistopheles in of Valois, in the 1998 Opera North production of Verdi’s the 1996 Welsh National Opera Don Carlos production of Gounod’s Faust Bill Cooper Bill Cooper Bill CHAN 3032 BOOK.qxd 22/8/07 1:52 pm Page 46

from Nabucco (Nebuchadnezzar) In the darkness I see all the future, from Zelmira Chorus when the fetters that bind us are broken, Our voices let us raise in your eternal praise. On the banks of the Euphrates Polidoro and the wrath of the Lion of Judah C. della Valle, 2 Ah! One whole day has passed Chorus on the land of the heathen will fall. translation © 2000 David Parry bringing another dawn. 1 Speed your journey, my thoughts and my Chorus I pray for your return, longings, Mighty vision! speed your journey to mountain and valley, Zelmira, beloved. from Moses in Egypt Zaccaria If I must spend my days where the sweet-scented air breathes a Prayer: Quartet fragrance O’er the ruins of temple and palace, far from the child I love, ah, o’er the homes that we knew long ago! there will wander hyenas and serpents, may cruel fate close my eyes Moses To the waters of Jordan bear greeting, o’er the dust lightly stirred by the breezes, to end my suff’ring. 4 Look down on us from Heaven, to the downfallen temples of Sion. desolation will reign evermore. A.L. Tottola, after Dormont de Belloy, Lord God, and guide Thy children, Oh, my country so fair and so wretched, Not a sound but the cry of the screech-owl translation © 2000 David Parry give ear to them and lead them oh, remembrance of joy and of woe! will be heard thro’ the shadows and silence, that trust in Thee alone. not a stone will declare to the stranger Golden harps of the Prophets, oh, tell me, from Mahomet II Elcia, Amenosi, Aaron, Moses and Chorus where the altars/shrines of the heathen were why so silent ye hang from the willow? of Israelites set. Mahomet II Once again sing the songs of our homeland, Give ear to their entreaty/Give ear to them 3 Brave soldiers, arise and join me sing again of the days that are past. Chorus and lead them my proud and trusty warriors; We have drunk from the cup of affliction Oh, what courage within him is burning, O hear Thy people groan, this is a day of triumph: and have shed bitter tears of repentance, on his lips the word of the Lord is revealed. Lord God. oh, inspire us, Jehovah, with courage, Through his servant Jehovah the mighty be happy and celebrate. Aaron so that we may endure to the last. speaks to us, oh, hearken! Chorus When storms at last are over, For the fetters that bind us shall be broken, The Prophecy Our voices let us raise in your eternal then guide us into harbour, the Lion of Judah will rise, praise. from shipwreck and disaster, Zaccaria once again the Lion of Judah will rise up lead faithful Israel home. Why lament ye? on high, Mahomet II The wailing of women rises up to the once again the Lion of Judah will arise. Leading so many, so many heroes All throne of th’ Almighty. T. Solera, translated by Norman Tucker and whole empires fall before me! Then guide us into harbour, Oh, take courage, my brothers in affliction, Tom Hammond, reproduced by permission of With men like you to help me that land for which we long, ’tis Jehovah who speaks to you through me. English National Opera Benevolent Fund the world shall be my prize. Lord God.

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Amenosi My plan must be accomplished, nothing Duet Wurm O Thou revered of all men must stay my purpose; if I relented, he The past is over, try to forget it. Walter on earth and in the heavens, would live to curse me. The guilty deed in darkest oblivion It was for his sake and his alone O hear my humble pray’r then What news! for evermore securely is buried? that I usurped my cousin’s position, and save us ere we die! Wurm it was to give my son rank and fortune Walter All All is prepared, our design is succeeding. that I conspired against the life of your Is buried?… O Thou revered of all men, master. Wurm O hear us when we cry, Walter Wurm Your cousin was foully murdered Lord God. And Luisa, what of her? For me ’twas easy, his trusted servant, by wand’ring gipsies, Look down on us from Heaven, to learn his secrets without suspicion. so runs the story and all men believe it. Wurm Lord God, and guide Thy children, In me alone he always confided, It happened as we thought, distressed give ear to them/us and bring them and thus I heard of the plans for his marriage. Walter an end to all their pain, and frightened at the news of her father, she Not all. Lord God. soon gave way, ’twas all too easy; she will Walter The sound of the shooting was heard by come to the castle by the path we know I could not bear to lose all I had lived for. my son Rodolfo. Elcia well… He found my cousin scarcely breathing. O God, behold our chains! Wurm If he had children, then you were ruined. L. Balocchi and E. de Jouy, after A.L. Tottola, after Walter Wurm F. Ringhieri, translated by Nell and John Moody, And the letter? Walter (Rodolfo!) © 2000 The Burra-Moody Archive To gain my purpose we planned together What happened? Wurm a shameful deed. Oh, tell me?… A man I trust has gone to take it to Wurm from Luisa Miller Rodolfo; our victory is certain! Walter One night your cousin homeward returning And yet tho’ our plan is working, I can see As he lay at the point of death two names Scena passed through the forest… you are troubled; what is the reason? he uttered… Walter We lay in waiting and… Wurm 5 He will not listen; led astray by youthful Walter Walter Whose? passion, he goes his own way, nothing can An unexpected danger… Say no more… stop him. Rodolfo still defies me… My blood runs cold at these awful memories Walter It seems that I must save him from this folly! Yet he should thank me. and all my soul is filled with dread. His assassins’.

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Wurm from The Lombards at the First Crusade Chorus of Nuns any shadow can be brightened Then I am ruined. Grant us Thy peace through the darkness. by the blades of daggers flashing. Scena We’ll go in alert and ready; Aria Walter every footstep will be steady; Chorus of Nuns Just you? Remember we both are bound by Pagano and among the lamentations 6 Lord, grant us peace, we beg Thee, ties of bloodshed. we shall make our celebrations: at this uncertain moment, Wretched woman! with a single blow it’s good to send our Wurm and hear the pious prayers Did you imagine time would dampen the victims to their rest, Then, I am ruined. of Thy beloved convent; flames of my passion? then, our daggers soaked in blood, we can send us who serve Thee faithfully At the moment of your triumph I am sit down and start the feast! Walter visions of heav’nly joy. broken by despair. Remember you and I are bound by ties of Just as steel glowing hot from the furnace Thou, whose eternal mysteries Chorus of Nuns bloodshed. move through the hours of darkness, gains its strength when it’s plunged into water, so my love grew ever greater far away from Wilt Thou confound all our wickedness… Wurm wilt Thou confound our wickedness, your embrace. Pagano Then, I am ruined, I am ruined. and banish mortal weakness, so that tomorrow’s sunrise Pirro I have triumphed! Walter may herald a better day. All your followers are hiding here and In a moment I shall have revenge in my Come, you will be safe with me, waiting for your orders. power. I give my promise, Pagano Through my exile I lived in torment, or on the scaffold Virgins! Pagano dreaming only of this hour, we both shall die. The ears of Heaven for now are deaf to your Let me see them… of the day when I would reclaim you and pleading; They shall set fire to every corner of the your beauty would be mine, ah! Wurm no, your prayers will be useless: castle. Now it’s over. (Danger surrounds me, I am safe no longer, For it is certain that this night of my The campaign is fraught with danger! I come to claim you! my life is forfeit if the truth should be vengeance will see the fatal blow struck by For Arvino’s well protected; known.) my dagger! but whoever serves me truly shall be Pirro and Chorus of Henchmen S. Cammarano, after Schiller, translated by Oh, Pirro, my soul was gentle and not handsomely rewarded. Give the order: we shall obey you! Norman Tucker and Tom Hammond, born to be wicked! reproduced by permission of The love I bore her should have been Chorus of Henchmen Pagano English National Opera Benevolent Fund sacred, the traitress! Only cowards would be frightened You are mine, yes you are mine and blood by the fate of the assassin; will flow.

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Pirro and Chorus of Henchmen distrust, the distrust of my country, in a Oroveso Amaltea, Aaron, Osiris, Pharaoh and Just give the order: we’ll obey you, and strange land, abandoned to an infamous Here where the ancient oak tree grows Chorus of Israelites we know what we must do. death, I’m cursed and hated! he will pronounce his sentence: Ah! Ah! Ah! Gaul shall regain her freedom, See! The sky! Pagano Aria our foes shall feel his vengeance. Wonder of wonders! I have triumphed! etc. For the day is returning! T. Solera, after T. Grossi, Duke of Arcos Oroveso and Chorus of Druids translation © 2000 David Parry The pleasures of marriage, the joys of a Smiting their swords asunder, Quintet father, his mighty shield like thunder, such tender emotions are no longer mine. even as far as Rome itself, Moses from Salvator Rosa They say I am pow’rful; a slave am I rather: shall echo evermore. O Thou who by Thy mercy, Recitative a king’s spectre haunts me and urges me on. F. Romani, gave light to end their darkness, If far in the distance the voices of pity translation © 2000 David Parry tho’ great Thy pow’r and glory, Duke of Arcos cry out for those in torment and soften yet greater far Thy grace. 7 And must I really sign? my resolve, from Moses in Egypt Aaron Because the help from Spain is late in ‘No mercy! No mercy!’ a voice shouts Invocation O Thou who by Thy mercy, coming, be forced to give way entirely within me. gave light to end their darkness, and to accept a truce? ‘The tools of the ruler are terror and the Moses 9 tho’ great Thy pow’r and glory, Make a pact with the rebels? sword!’ Supreme judge and ruler, the Lord of all yet greater far Thy grace. The Duke of Arcos! A. Ghislanzoni, creation! O Thou almighty God whom we honour Oh! When will the day come that I may translation © 2000 David Parry Amaltea and worship, who chastises the guilty, yet clear my name of an action so deeply O Thou who by Thy mercy, saves the pure in heart, Thou who reigned shameful? from Norma gave light to end their darkness, King of kings, before the birth of time, What is this? tho’ great Thy pow’r and glory, fount of eternal truth, a just God, a divine Why am I haunted by such terrible dreams? Chorus of Druids yet greater far Thy grace. Horrible visions of vile crimes and of 8 Grant her the gift of prophecy, God, a one God, who has punished the bloodshed! god of immortal terror; sins of this obdurate race, o hear my Osiris Is there no pity for my relentless suff’ring? great Irminsul, come fire her: supplication, and pardon their transgression, Yet woe to those who wrong Him, And no relief from endless worries, hatred her dagger inspire, once again pierce the gloom of the for all must yield before Him, from this remorse and sorrow? hatred of Roman tyranny cavernous dark, once again bathe their eyes but silently I curse Him, Worn to a shadow by my pow’r, the King’s shatter this woeful peace, yes! in a torrent of light! His glory and His grace.

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Pharaoh As I kneel to kiss the ground my heart is Giorgio rebels’ bold defiance through Arturo might O Thou who by Thy mercy, overflowing No? You don’t want to. be crushed. I don’t hate him, nor do I fear gave light to end my darkness, And I render to you my strength and my Riccardo him, but he’s worthless and must die. tho’ great Thy pow’r and glory, courage. No. Giorgio yet greater far Thy grace. Oh, my Palermo, my one beloved, No! land I have treasured deep in my heart, ah! Giorgio For guilt and anguish fill your spirit and Amaltea and Aaron Lift up your head so weary and bloodied: You must save him! blind you… Yet woe to those who wrong Him, Reclaim the splendour that once was yours! Riccardo Be careful!… lest in future your life be for all must yield before Him, I have wandered from country to country, No, ah! No, the wretch shall die. clouded by the shadow of remorse and tho’ great Thy glory, I have begged them for aid in our cause. dread. If you cause your rival’s downfall, yet greater far Thy grace. My pleas are urgent but no one will help us; Giorgio there’s another who’ll soon be dead. they say instead: I am certain that you remember how the Moses Queen escaped from prison? Yet woe to those who wrong Thee, ‘Where is Sicilian bravery gone? Riccardo tho’ great Thy pow’r and glory, Fight with courage! Riccardo Who? Fight with vigour! Yes… yet greater far Thy grace. Giorgio Fight for honour! Giorgio Just consider: two victims of your actions! Pharaoh Fight to win!’. Was Arturo the only culprit? And no matter where you travel, they will We all bow before Thy face. Oh, my Palermo, etc. haunt your ev’ry step! L. Balocchi and E. de Jouy, after A.L. Tottola, E. Scribe and C. Duveyrier, Riccardo If the depths of the night bring a phantom, after F. Ringhieri, translation © 2000 David Parry What you say is too… pale and shrouded, that’s groaning and translated by Nell and John Moody, Giorgio © 2000 The Burra-Moody Archive sighing, it’s Elvira come to haunt you, from The Puritans I’m truthful! always crying: ‘You have murdered me too’. Riccardo Duet When amid the shrill roar of the tempest from The Sicilian Vespers Then speak plainly… howls a voice full of anger and hatred, Giorgio it’s Arturo whose ghost is impatient. Procida Giorgio 11 Save his life, though he’s your rival; Yes, Arturo will pursue you 10 My homeland, beloved homeland, I’ve said enough! save his life: you can, you can, you have to! and will threaten eternal revenge. at last, at last I greet you, Riccardo a wanderer returning from his long years of Riccardo If he mounts the dreaded scaffold, it was Riccardo exile. No, I cannot… surely Parliament that willed it, that the If the sorrowful shade of Elvira

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comes to haunt me in pitiful fury, maybe they will attack… pain and longing will consume me If he is there… Alastair Miles as Mephistopheles, and persuade her to pardon my sin. Giorgio with Janice Watson as Marguerite, in If the ghost of the hated Arturo If he is there?… Then he will die. the 1996 Welsh National Opera should escape the abyss for a moment, production of Gounod’s Faust he’ll return there, forever in torment: Riccardo I’ll destroy him with the force of my scorn. Then he will die… yes, he will die… If Elvira, the sorrowful shade of Elvira comes to haunt me in pitiful fury, Giorgio pain and longing will consume me My spirit is not broken yet! and persuade her loving soul to pardon Beside you I shall fight, yes, yes! my sin. Riccardo If he should take up arms, Giorgio then by this hand the wretch will die… It’s Elvira, whose spirit comes to haunt you, always crying: you murdered me too… Giorgio Yes, Arturo, full of hate and anger, Let terror strike their hearts… will threaten and pursue, he will threaten Fatherland and victory and honour are yours! eternal revenge. Giorgio and Riccardo Riccardo! Riccardo! You see how much I Fearless and proud the trumpet call: suffer; give way to kindness and sympathy. fills me with righteous anger; Riccardo ready for mortal danger, Your tears have served to conquer me… we’re fighting to be free. Look, I am weeping with you. For our beloved fatherland Giorgio and Riccardo may we be crowned with laurels The man who loves his country will and may the battle’s horrors honour mercy too. give way to peace and love.

Tomorrow! Cooper Bill Riccardo C. Pepoli, Sunrise may bring the enemy: translation © 2000 David Parry

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CHAN 3000(2) CHAN 3025(2) CHAN 3008(2) CHAN 3014(3) CHAN 3006 CHAN 3010 CHAN 3013 CHAN 3032BOOK.qxd22/8/071:52pmPage60

CHAN 3007 CHAN 3004

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Chandos 20-bit Recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 20-bit recording. 20-bit has a dynamic range that is up to 24dB greater and up to 16 times the resolution of standard 16-bit recordings. These improvements now let you the listener enjoy more of the natural clarity and ambience of the ‘Chandos sound’.

Music hire (tracks 2, 3, 6, 7 and 8): BMG RICORDI SpA

Vincent Woodstock pipe chamber organ supplied by Abinger Organs

Repertoire Consultant: Tony Legge

Recording producer Brian Couzens CHAN 3011(2) CHAN 3027(2) Sound engineer Ralph Couzens CHAN 3005(2) CHAN 3029 Assistant engineer Richard Smoker Editor Peter Newble Operas administrator Sue Shortridge Recording venue The Colosseum, Watford; 31 May–3 June 1999 Front cover Illustration of Alastair Miles by Designer Back cover Photograph of David Parry by Russell Duncan Design Cass Cassidy Booklet typeset by Dave Partridge Booklet editor Finn S. Gundersen Copyright English National Opera (tracks 1 and 5), Copyright Control (tracks 4 and 9) P 2000 Chandos Records Ltd C 2000 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU

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GREAT OPERATIC ARIAS - Miles/Philharmonia Orchestra/Parry ARIAS - Miles/Philharmonia OPERATIC GREAT bit Orchestra/Parry ARIAS - Miles/Philharmonia OPERATIC GREAT CHANDOS DIGITAL CHAN 3032 20

Giuseppe Verdi (1813–1901) Vincenzo Bellini (1801–1835) from Nabucco (Nebuchadnezzar)* from Norma† 1 Chorus of Hebrew Slaves and Zaccaria’s 8 Chorus of Druids and Oroveso’s Aria 2:38 Prophecy 8:51 Gioachino Rossini Gioachino Rossini (1792–1868) from Moses in Egypt† from Zelmira† 9 Invocation and Quintet 6:50 2 Polidoro’s Cavatina 3:31 Giuseppe Verdi from Mahomet II† from The Sicilian Vespers† 3 Mahomet II’s Aria 6:37 10 Procida’s Recitative and Aria 7:14 from Moses in Egypt† Vincenzo Bellini 4 Prayer: Quartet 3:32 from The Puritans† 11 Giorgio and Riccardo’s Duet 12:36 Giuseppe Verdi TT 76:47 from Luisa Miller† 5 Scena and Walter and Wurm’s Duet 7:43 *premiere recording in English in this version †premiere recording in English from The Lombards at the First Crusade† 6 Scena, Pagano’s Aria and Chorus 10:17 Alastair Miles bass Philharmonia Orchestra Carlos Gomes (1836–1896) Gareth Hancock assistant conductor from Salvator Rosa† HN3032 CHAN HN3032 CHAN CHANDOS CHANDOS 7 The Duke of Arcos’s Recitative and Aria 6:11 David Parry DDD

CHANDOS RECORDS LTD p 2000 Chandos Records Ltd c 2000 Chandos Records Ltd Colchester . Essex . England Printed in the EU