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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 1 22/10/06/10/06 14:23:2614:23:26 Giuseppe Verdi (1813 –1901) Nabucco

Dramma lirico in four parts

© Lebrecht Music & Arts Library Photo Music © Lebrecht Libretto by Temistocle Solera after Cortesi’s ballet Nabuccodonosor and Anicet-Bourgeios’ and Cornu’s play Nabuchodonosor English translation by Norman Tucker and Tom Hammond

Nabucodonosor (Nabucco), King of Babylon ...... Alan Opie baritone Ismael, nephew of Sedecia, King of Jerusalem...... Leonardo Capalbo tenor Zachariah, High Priest of the Hebrews ...... Alastair Miles bass Abigail, slave, presumed to be Nabucodonosor’s eldest daughter ...... Susan Patterson soprano Fenena, daughter of Nabucodonosor ...... Jane Irwin mezzo-soprano High Priest of Baal ...... Dean Robinson bass Abdullah, elderly offi cer of the King of Babylon ...... Paul Wade tenor Anna, Zachariah’s sister ...... Camilla Roberts soprano

Opera North Orchestra and Chorus Charles Kraus chorus master David Parry Giuseppe Verdi Martin Pickard assistant conductor

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 2-32-3 22/10/06/10/06 14:23:2714:23:27 COMPACT DISC ONE Time Page Time Page

1 Overture 7:21 [p. 74] Chorus 10 ‘Have you seen him?’ 1:36 [p. 77] Part I: In Jerusalem Hebrew women, Elders, Levites, Soldiers, Zachariah Opening Chorus 2 ‘The glory of Israel is shattered and broken’ 5:23 [p. 74] Part I Finale Hebrews, Levites, Hebrew maidens 11 ‘Long live Nabucco!’ 2:05 [p. 78] Abigail, Chorus, Zachariah, Ismael Cavatina 12 ‘Profaner! You shall not enter!’ 1:11 [p. 78] 3 ‘Take heart, oh my children!’ 1:19 [p. 74] Zachariah, Nabucco 4 ‘When on the shores of Egypt’ 3:30 [p. 74] 13 ‘Tremble, you madmen’ 3:42 [p. 78] Zachariah, Chorus Nabucco, Fenena, Anna, Ismael, Zachariah, Hebrews, Levites, Abigail 5 ‘What a tumult’ 0:52 [p. 75] 14 ‘You slaves, bow down before me!’ 0:59 [p. 79] Chorus, Ismael, Zachariah Nabucco, Zachariah, Ismael 6 ‘As the shadows before the sunlight’ 3:00 [p. 75] 15 ‘Now my wrath, restrained no longer’ 2:57 [p. 79] Zachariah, Chorus Nabucco, Abigail, Anna, Fenena, Ismael, Zachariah, Hebrews

Recitative and Terzettino Part II: The Blasphemy 7 ‘Fenena! Oh, my beloved!’ 2:04 [p. 76] Scene and Aria Ismael, Fenena 16 ‘You have betrayed me, O king accursed…’ 3:47 [p. 80] 8 ‘Jehovah falls before us!’ 2:08 p. 76] 17 ‘The sweet fi re of love’s enchantment’ 3:28 [p. 81] Abigail. Fenena, Ismael Abigail 9 ‘Once I loved you’ 3:39 [p. 76] 18 ‘Who approaches?’ 1:16 [p. 81] Abigail, Ismael, Fenena Abigail, High Priest, Followers

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 4-54-5 22/10/06/10/06 14:23:2814:23:28 Time Page Time Page

19 ‘On the golden throne of Assyria’ 2:53 [p. 81] 28 ‘Who has stolen my crown and sceptre?’ 3:06 [p. 85] Abigail, Followers, High Priest Nabucco, Zachariah, Abigail TT 73:54 Prayer 20 ‘Come, stand beside me’ 2:58 [p. 82] COMPACT DISC TWO 21 ‘Through Thy servant Thou proclaimest Thy commandments’ 3:11 [p. 82] Zachariah Part III: The Prophecy Opening Chorus Chorus of Levites 1 ‘Great and mighty Queen of all Assyria’ 3:24 [p. 86] 22 ‘Who is there? Who comes to call us’ 1:02 [p. 82] Chorus 23 ‘Woe to the traitor, he is accursed’ 1:42 [p. 83] 2 ‘Most noble lady, mighty ruler of Assyria’ 3:10 [p. 86] Levites, Ismael High Priest, Abigail, Nabucco, Abdullah

Part II Finale Duet 24 ‘Stay your anger, oh my brothers!’ 0:25 [p. 83] 3 ‘Woman… Who are you?’ 3:25 [p. 86] Anna, Chorus of Levites, Zachariah Nabucco, Abigail 25 ‘But what means this disturbance?’ 1:45 [p. 83] 4 ‘Grey-haired and feeble, behold me’ 3:00 [p. 88] Fenena, Ismael, Zachariah, Levites, Abdullah, High Priest, Abigail, Nabucco 5 ‘Ah, that sound!’ 1:00 [p. 88] 26 ‘The moment approaches of man’s retribution’ 3:15 [p. 84] 6 ‘Oh, have pity on a father in his madness!’ 3:47 [p. 89] Nabucco, Abigail, All Nabucco, Abigail 27 ‘Hear your king!’ 2:52 [p. 84] Nabucco, Fenena, High Priest, Zachariah, Soldiers

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 6-76-7 22/10/06/10/06 14:23:2914:23:29 Time Page Time Page

Chorus of Hebrew Slaves Funeral March and Prayer 7 ‘Speed your journey’ 4:40 [p. 89] 14 ‘Go! The martyr’s crown of honour will be yours’ 2:39 [p. 92] Hebrews Zachariah 15 ‘Lo! The sky has opened above me!’ 2:10 [p. 92] Part III Finale Fenena 8 ‘Why lament thee? The wailing of women’ 0:52 [p. 90] Zachariah Part IV Finale 9 ‘In the darkness I see all the future’ 3:10 [p. 90] 16 ‘Long live Nabucco!’ 2:37 [p. 92] Zachariah, Chorus Chorus, High Priest, Nabucco, Anna, Fenena, Ismael, Zachariah, Hebrews 17 ‘Lord God of Israel…’ 2:40 [p. 93] Part IV: The Broken Idol Fenena, Ismael, Nabucco, Zachariah, Chorus Prelude, Scene and Aria 18 ‘My strength… is failing… my death is near…’ 3:30 [p. 94] 10 ‘Am I awake or dreaming?’ 5:10 [p. 90] Abigail, Hebrews, Zachariah Nabucco, Chorus TT 52:02 11 ‘Lord God of Judah!’ 3:23 [p. 91] Nabucco 12 ‘Open to me, you shall not stay me!’ 1:00 [p. 91] Nabucco, Abdullah, Soldiers 13 ‘The false, perfi dious enemy’ 2:05 [p. 92] Abdullah, Chorus, Nabucco

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 8-98-9 22/10/06/10/06 14:23:2914:23:29 If you only know the famous ‘Chorus of Hebrew Slaves’ from Verdi’s fi rst big success, Nabucco, then you are in for a treat with this complete recording by Opera North. The English translation by Norman Tucker and Tom Hammond, originally written for John Moody’s Welsh National Opera production in 1952, has remained hugely popular ever since. I hope you enjoy listening to it as much as I do.

Sir Peter Moores, CBE, DL November 2006

Sir Peter Moores with a portrait of Admiral Lord Nelson by Lemuel Francis Abbott, acquired for Compton Verney © Lyndon Parker 10 11

CCHANHAN 3136(2)3136(2) Book.inddBook.indd 10-1110-11 22/10/06/10/06 14:23:2914:23:29 it placed Verdi fi rmly on a new rung of the The chorus draws much of its effect from the The New Voice of Italian Opera ladder, in particular when it was revived at alternation of contrasting groups: a terrifi ed La Scala in the autumn season of 1842 and populace, a huddle of praying Levites, another Nabucco, fi rst performed at the Teatro alla beginning to acquire in a newly united Italy ran for a record fi fty-seven performances. of supplicant virgins; and all are presented Scala, Milan, on 9 March 1842, was a crucial eagerly searching out national monuments and Never again would he be uncertain about with an immediacy and directness that must event in the composer’s career, indeed in his other symbolic material. To achieve this, his where the next commission might come from, have seemed violent at the time. What is life story. Although two Verdi operas precede stories surrounding Nabucco constantly stressed particularly when, as happened very rapidly, equally important, though, is that Zachariah’s it – the fi rst (Oberto, conte di San Bonifacio) a compositional crisis after Un giorno di regno, the opera began to circulate around Italy, response, although set in the usual form of a a moderate success, the second (Un giorno di a period in which he refused all offers of new usually with a success comparable to that in two-movement aria, is more like a dynamic regno) a calamitous failure – the composer work; but then, in the depths of winter, a Milan. And so, even though we should remain dialogue with the masses surrounding stressed in recollections thirty years later how libretto is forced on him and the words of highly suspicious of what Nabucco became in him. In both movements, the chorus make Nabucco was the ‘true beginning’: the moment ‘Va, pensiero’ almost magically appear the later nineteenth century, there still lingers decisive interventions into his solo, invading in which he found his true voice and began before his eyes. Eventually, thoughts of how an important question: what was it about the Zachariah’s space, taking over his melody and to communicate his unique vision of Italian the chorus might sound lead him back to opera that made audiences in 1842 sit up and making it part of their expressive world. opera. Of course, quite a number of these later composition; the rest, as they say, is history. listen? What was new and distinctive about Later in the opera, this sense of a new choral recollections – produced when Verdi was an The reality was, inevitably, not quite so Verdi’s musical personality? ‘voice’ is built upon, not least in numbers international fi gure, and disseminated widely tidy. After Un giorno di regno there was indeed One answer comes in the very fi rst number, such as the ‘Coro e Profezia’ (‘Chorus and by the journalists who now gathered around something of a gap in Verdi’s compositional which takes place inside the temple of Prophecy’) in Part III, which show how him and clamoured for interviews – were career, but it was a gap fi lled in part by revivals Solomon. The Babylonian army has reached Verdi could bind the usual choral and solistic geared towards very defi nite ends. It was of Oberto – revivals that Verdi enthusiastically Jerusalem and is at the gates of the temple. elements into compelling scenic units. The important to Verdi’s projection of himself encouraged by supplying some important new The Israelites lament their fate in an opening choral writing of ‘Va, pensiero’ that begins the in later life that he was seen as a ‘self-man pieces for prominent soloists. What’s more, chorus, but the prophet Zachariah rallies scene is highly original, and seems again to man’ – that he was thought to have emerged when Nabucco fi nally arrived, there is no them, injecting them with a new, warlike command a new status for the masses (Rossini into the limelight after a period of relative evidence that ‘Va, pensiero’ was a particularly spirit. Although Italian opera of the period presciently called it ‘not so much a chorus as obscurity and intense personal struggle. What important piece for early audiences, still less almost always started with an opening chorus, a grand aria for sopranos, altos, tenors and is more, he was also keen to capitalise on the that it was a musical focal point so far as Verdi this one is like few others before it. Previous basses’); but its gentle, nostalgic vein is then iconic status that the most famous number was concerned. On the other hand, there is generations had seen plenty of chattering violently countered by the energetic prophesy in Nabucco, the chorus of Hebrew Slaves no arguing with the fact that Nabucco was in courtiers and celebratory vassals, but here we from Zachariah that follows, in particular by ‘Va, pensiero’ (‘Speed your journey’), was fact a crucial moment. In professional terms, get a sense of an altogether grander canvas. is closing cabaletta, in which a violent end is

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 12-1312-13 22/10/06/10/06 14:23:3114:23:31 promised for the enemy forces. But what is scene late in day), Verdi invented in Abigail a energy and sense of forward movement. There ‘Verdian’ baritone, of which Nabucco is most important here is that the two halves of new type of Italian dramatic soprano. is, in other words, none of that Donizettian the fi rst example. Nabucco is, from his fi rst the scene are intimately linked together by The accompanied recitative that introduces tendency to drift into ever looser rhythmic entrance, characterized by high tessitura, a shared rhythmic and melodic ideas: they are, in Abigail in Part I immediately fi xes her unusual periods as the aria progresses and gets more tendency towards intense declamation, and that sense, part of the same musical message, vocal character, which requires power in the fl orid. The cabaletta, ‘Salgo già del trono a relative absence of ornamental writing: a each gaining strength by its proximity to the lower register, agility above the staff and a aurato’ (‘On the golden throne of Assyria’), is very different animal from the mellifl uous other. Again, the chorus seems to become part forceful dramatic presence throughout. In the even more radical in this respect. It returns to ‘basso cantante’ (singing bass) of twenty of the expressive centre of the opera. context of the Donizettian norms current in the forceful tone of the recitative and, now in years earlier. The fi nale of Part II is probably However, the novelty of Nabucco cannot 1842, in which sopranos tended to be placed a far more dynamic context, again succeeds in Nabucco’s greatest moment in this respect. be restricted to numbers in which the in the ‘wilting female’ category, and were controlling the ornamental side of the music. The slow movement of the fi nale, ‘S’appressan chorus feature, and this no matter how above all prized for their delicate lyricism Far from ‘dissolving’ into vocal virtuosity at gl’istanti’ (‘The moment approaches’), gains impressive such moments are. No composer and fl ights of extravagant coloratura (Lucia the end, the aria, in other words, continues to its effect not from individual characterization of this period could have been so strikingly di Lammermoor is the classic case), these subordinate the ornamentation, containing (each of the principals sings the same melody) successful as Verdi without also writing were unusual features. Even more important, it within strictly controlled periods. Such but from an inexorable increase in textural in important new ways for the solo voice, though, is the full-scale aria Verdi wrote for examples, which could easily be multiplied, complexity and sonic power. But then Nabucco which remained at the core of how opera Abigail at the start of Part II. In its formal demonstrate at least a part of how that energy faces the crowd and declares himself not only communicated to its audiences. That exterior, this number seems very much so typical of Verdi’s early operas is created: their king but their God. A thunderbolt strikes Verdi was, from the start of his career, also along Donizettian lines, with a conventional through a tightening of form coupled with an him down for this blasphemy and the crowd markedly original in this respect has tended multi-movement format moving from lyrical intensifi cation of expressive content. murmurs in shocked response. Italian operatic to be obscured by concentration on the choral slow movement to more energetic cabaletta. The changes in vocal character between convention would then have suggested a fast elements, and is worth some investigation. But internally there are decisive changes. Abigail and Lucia could also be found in the concluding movement; but instead Verdi A good case in point in his novel treatment After an intense recitative Abigail’s thoughts other vocal principals of Nabucco: in all voice decided on a mad scene for Nabucco. Such of the character of Abigail, a role that was turn to love in the slow movement, ‘Anch’io ranges robustness and sheer volume began to scenes had, in the past, typically been the seemingly created for the German soprano dischiuso un giorno’ (‘The sweet fi re of love’s make inroads into vocal fl exibility, the new domain of sopranos (Lucia is again the classic Sophie Loewe, but was eventually performed enchantment’). This is, admittedly, highly immediacy and ‘realism’ in acting style going case); but the new emotional range of the male at the premiere by Giuseppina Strepponi, ornamental, with each two-bar phrase rounded hand-in-hand with a tendency to indulge voice is harnessed by Verdi. In a marvellous soon after to become the composer’s lifetime off by a vocal fl ourish; but the ornaments are, ever more intensely in vehement declamation scene, the stricken king distractedly moves companion. Inspired mostly by Loewe’s typically for Verdi, strictly contained, giving rather than seamless bel canto. We can see between two very different modes: on the one particular skills (Strepponi appeared on the their proliferation at the climax a compelling this most obviously in the emergence of the hand, furious declamation as he rails at his fate;

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 14-1514-15 22/10/06/10/06 14:23:3114:23:31 but then, in a sudden and repeated transition, Italian operatic scene: this was a voice that and Nabucco rides to the doors of the temple. COMPACT DISC TWO a much gentler side comes forward as he would develop in remarkable ways over the 14 Zachariah threatens to kill Fenena, but she questions his vulnerability and, fi nally, faints next forty years, but that would always retain is saved by Ismael. 15 Nabucco immediately Part III: The Prophecy away. something of the energy and force which orders the destruction of the Temple. In the Hanging Gardens of Babylon A month after Verdi’s death in 1901, before Nabucco so insistently proclaims. 1 The victorious Abigail has been crowned which he was universally thought of as the Part II: The Blasphemy Queen of Assyria. 2 Nabucco is led in and © 2006 Roger Parker greatest living Italian, a solemn procession The Royal Apartments in Babylon 3 Abigail dupes him into signing a decree, through Milan accompanied by hundreds of 16 – 17 Abigail, tormented by her unrequited condemning all Jews to death. 4 – 5 Too thousands of mourners assisted the transfer Synopsis love for Ismael, discovers that she is the late, he realises that he has been tricked and of his remains to their fi nal resting place daughter of slaves. 18 The High Priest of Baal has condemned his own daughter to death. in the Casa di Riposo, the home for retired COMPACT DISC ONE arrives with news that Fenena has freed the 6 He pleads in vain for Fenena’s life. musicians that he had built as a philanthropic Israelites. He says he has already begun to monument in old age. The procession was 1 Overture spread the rumour that Nabucco has been The banks of the Euphrates sent on its way by the orchestra and chorus of Part I: Jerusalem killed in battle, 19 and Abigail resolves to 7 The Hebrew slaves lament their captivity La Scala, who encouraged the crowd into a Inside the Temple of Solomon in Jerusalem assume power herself. in a chorus full of nostalgic yearning for rendition of ‘Va, pensiero’. The fact that this 2 – 6 The priests and people of Jerusalem their fatherland. 8 – 9 Zachariah, the High chorus from Nabucco, written some sixty years are lamenting the conquest of their country A room in the palace Priest, prophesies the downfall of Babylon. earlier, could express contemporary Italians’ by the Babylonian armies, led by Nabucco 20 – 23 Ismael is cursed by the Jews for his feelings for their departed hero demonstrated and his supposed elder daughter, Abigail. The betrayal of their cause. Part IV: The Broken Idol the extent to which Verdi’s music had been Jews have captured Nabucco’s other daughter, The royal apartments assimilated into the national consciousness. Fenena, and kept her as a hostage. 24 – 26 Abigail is declared queen and is about 10 Nabucco, a prisoner in his own palace, hears But that all happened a hundred years ago. to crown herself, when Nabucco appears and a funeral march and sees his daughter Fenena Nabucco should not be forever wrapped in 7 When Ismael and Fenena are left alone in takes the crown from her. 27 Nabucco turns led to her execution. 11 He prays to Jehovah, these nostalgic moments, in spite of the fact the temple we learn that they are in love. to the crowd and declares himself not only the God of Israel; 12 his sanity returns and that the gentle contours of ‘Va, pensiero’ will 8 Abigail enters, followed by Babylonian King, but God. There is a fl ash of lightning Abdullah appears with a band of soldiers, to free always encourage such attitudes. There are soldiers disguised as Hebrews. 9 – 11 Abigail and the crown is torn from his head by a his master. 13 They rush out to save Fenena. many other striking features of the opera, had also fallen in love with Ismael during his supernatural force. 28 Nabucco seems to be many other ways in which it announces the captivity in Babylon, and now taunts him mad. Abigail picks up the crown and places it The Hanging Gardens emergence of a vital new presence on the with her victory. Zachariah rushes in, 12 – 13 on her own head. 14 – 16 Fenena and the Israelites are being

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 16-1716-17 22/10/06/10/06 14:23:3214:23:32 led to their deaths when Nabucco appears Munich, Covent Garden, Cagliari, Tokyo, University to study Opera Company of Philadelphia, and Magda and the statue of the god falls in ruins. 17 Sumida and Beijing; Germont père in piano, but was (La rondine) with Opera Theatre of Saint Nabucco calls upon them all to praise the one La traviata (Covent Garden, English National encouraged to add Louis. true God, Jehovah. 18 Abigail (we learn) has Opera, Deutsche Oper Berlin); Falstaff voice studies to her She has performed frequently with the taken poison, and as she dies, calls on God for (English National Opera and Norwegian Bermingham Philip curriculum. She San Francisco Opera in roles including forgiveness. Opera); the Forester in The Cunning Little earned her master’s Angelica (Vivaldi’s Orlando furioso), Anne Vixen (English National Opera, Scottish degree at Florida Trulove (The Rake’s Progress), Constanze Alan Opie (Nabucco) Opera, Spoleto Festival and La Scala) State University, and (The Abduction from the Seraglio), Fiordiligi appears frequently and Rigoletto (English National and the studied voice with (Così fan tutte), and Helena (A Midsummer at the Royal Opera Canadian Opera, Toronto). Virginia Zeani at Night’s Dream). In Europe, she has performed House, Covent He has also sung in the world premieres of Indiana University. San Francisco Opera at La Scala, Milan and the Ravenna Festival Garden, English Berio’s Outis, in which he sang the title role made her an Adler Fellow for the 1986/87 in Cherubini’s Lodoïska, with the Netherlands National Opera, the both at La Scala in Milan and at the Châtelet season and she later made her name in the Opera in Le Comte Ory and Mitridate, in Metropolitan Opera, in Paris, Maw’s Sophie’s Choice at Covent opera world by singing La traviata there and Aix-en-Provence as Constanze, and with the La Scala, Bayerische Garden under Rattle and Sheng’s Madame for Welsh National Opera. Since then she has Cologne Opera and Paris Opéra-Comique in Staatsoper Munich, Mao at the Santa Fe Festival. sung the role in international venues over 150 L’occasione fa il ladro. Vienna State Opera He has participated in nearly twenty complete times. As part of Chandos’ Opera in English series and the Glyndebourne Festival. The roles opera recordings for Chandos singing the Susan Patterson has given highly successful she has recorded the roles of Amelia (A Masked with which he is most closely identifi ed roles of di Luna (Il trovatore), Enrico (Lucia di portrayals of Margarita/Helena in Boito’s Ball ), Elvira (Ernani ), and Electra in Idomeneo. include Beckmesser in Die Meistersinger von Lammermoor), Tonio (Pagliacci ), Marcello Mefi stofele, Dvorˇák’s Rusalka; a new production Other recordings include Le Comte Ory and Nürnberg which he has sung at Amsterdam, (La Bohème), Don Carlo (Ernani), and Figaro of Ernani with the Reisopera in the Netherlands; Il matrimonio segreto, as well as DVDs of Bayreuth, Munich, Turin, Vienna, Berlin (The Barber of Seville). He has won two Chimène (Le Cid ), Mme. de Tourvel (Dangerous L’occasione fa il ladro and Orlando furioso. (State Opera) and with the Chicago Grammies and has been nominated for the Liaisons) and Tosca with the Washington Opera Symphony Orchestra under Solti; Balstrode Olivier Award for ‘Outstanding achievement and the Opéra de Montréal; Mimì (La Bohème), Alastair Miles (Zachariah) is internationally in Peter Grimes (Saito Kinen Festival, Japan, in opera’ for his performance of Falstaff with Rosalinda (Die Fledermaus), Countess (Le nozze di recognised as one of the world’s leading basses. Paris Opéra Bastille, Vienna, Metropolitan, English National Opera. Figaro), and Aida with the Baltimore Opera; and He has sung at the Metropolitan English National Opera, Teatro Comunale Manon Lescaut at the Spoleto Festival USA. She Opera (Giorgio in I Puritani and Raimondo Florence, and Covent Garden); Sharpless Born in Birmingham, Alabama, Susan has also sung Donna Anna and the three heroines in Lucia di Lammermoor); Opéra National de (Madam Butterfl y) at the Metropolitan Opera, Patterson (Abigaille) entered Samford in Les Contes d’Hoffmann with the Paris-Bastille (Raimondo); Vienna (Philip II in

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 18-1918-19 22/10/06/10/06 14:23:3314:23:33 Don Carlos, Zachariah and the world’s most prestigious orchestras. As a concert and recital singer Jane Irwin and Macduff (Macbeth) in Nabucco, Cardinal His discography currently stands at over fi fty has appeared regularly in Britain, Europe and for Opera Holland Park. Sheila Rock Sheila

Brogni in Halévy’s recordings including Mendelssohn’s Elijah, America, making her Carnegie Hall debut with Berisha Fadil Leonardo Capalbo La Juive, de Silva in Verdi’s Requiem, and Handel’s Saul and the Pittsburgh Symphony conducted by Mariss made his European Ernani, and Giorgio); Agrippina. For Chandos’ Opera in English Jansons. She has sung Mahler’s Lieder eines Operatic debut in 2004 Bayerische Staatsoper, series he has recorded Mephistopheles (Faust), fahrenden Gesellen at the BBC Proms and the singing Paco in de Falla’s Munich (title role in Ramfi s (Aida), Colline (La Bohème) and a disc Berlin Festival, Handel’s Lucrezia and Mozart’s La vida breve, for Opera Saul ); San Francisco of Great Operatic Arias. Coronation Mass with the San Francisco North, returning for (Giorgio, Raimondo Symphony, Beethoven’s Missa Solemnis with performances as Luigi and Basilio in Il Jane Irwin (Fenena) the Berlin Symphony Orchestra, Mahler’s Das (Il tabarro), Ismael barbiere di Siviglia); Amsterdam (Figaro in Le studied at Lancaster Lied von der Erde for the Deutsche Symphonie- (Nabucco), Narraboth (Salome) and Juan (Weill’s nozze di Figaro); Teatro Real, Madrid (Philip Barr John University and at Orchester Berlin and with the BBC Philharmonic. Der Kuhhandel ). He has also performed with II and Raimondo); Palermo (Walter in Luisa the Royal Northern She has worked with the Orchestre de Paris, the Israeli Opera (Alfredo in La traviata). Miller); Seville (Mephistopheles in Faust); College of Music, Rotterdam Philharmonic, the Seattle Symphony, English National Opera (the title role in Boito’s where she was a Peter the Swedish Chamber Orchestra, Spanish Camilla Roberts Mephistopheles, Zachariah, de Silva, and Ford in Moores Scholar. Her National Orchestra, Finnish Radio Symphony, (Anna) was born in Sir John in Love); and the Royal Opera, Covent many prizes include Academia di Santa Cecilia in Rome, and has given Tarr Brian Wrexham. Having Garden (Rodolfo in La Sonnambula, Elmiro the 1993 Singers’ recitals at the Châtelet in Paris, and in London, graduated from the in Otello, Frère Laurent in Roméo et Juliette, Competition at the Geneva, Aix-en-Provence and Japan. Guildhall School of Banquo in Macbeth and concert performances Geneva International Music Competition and Music and Drama, she of Donizetti’s Dom Sebastien (also recorded the 1991 Decca Kathleen Ferrier Prize. The young Italian – American tenor, Leonardo subsequently attended by Opera Rara)); and Mephistopheles in In 1995 she made her debut at the Royal Capalbo (Ismael) is already garnering the Guildhall Opera La Damnation de Faust in concerts with the Opera House and has since sung Suzuki international critical acclaim. He trained at The Course, studying with London Symphony Orchestra and Sir Colin (Madam Butterfl y). For Scottish Opera she has Juilliard School of Music, the Music Academy Laura Sarti, sponsored Davis in London and New York. sung Suzuki, Maddalena (Rigoletto), Waltraute of the West in Santa Barbara, California and by The Arts Council of Wales and the Countess His highly successful concert career has taken (Götterdämmerung), Fatima (Weber’s Oberon), L’Academie Musicale de Villecroze in France. Past of Munster Trust. She completed further studies him worldwide to perform with conductors and Thea (Tippett’s The Knot Garden). For roles include Dino Corelli (Bolcom’s A Wedding), at London’s National Opera Studio, sponsored including Giulini, Mehta, Muti, Chung, English National Opera she has sung Brangäne Fadinard (Rota’s Il cappello di paglia di Firenze), by Welsh National Opera. In June 2004 Camilla Masur, Gergiev, Gardiner and Sir Colin Davis (Tristan und Isolde). Lenski (Eugene Onegin) and Rodolfo (La Bohème), won the Welsh Singers Competition.

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 20-2120-21 22/10/06/10/06 14:23:3414:23:34 In 2003, she joined Welsh National Opera Operatic engagements include Pluto (Orfeo), at its inception and has performed over forty Achievement in Opera, Manchester Evening as an Associate Artist where her roles included Passauf in the world premiere of Dr Ox’s roles, most notably the Narrator (Threepenny News Theatre Award for Opera). Micäela (Carmen), Diane (Iphigenie en Tauride) Experiment and Colline (La Bohème) for English Opera), Dancairo (Carmen), Mr Leonard Opera North is a vibrant, lively and Laura (Iolanta). Other recent engagements National Opera; Sparafucile (Rigoletto) and (Maskerade), Father Paul (The Duenna, also organisation, which actively challenges include Anna (Nabucco) for Opera North, Sarastro (Die Zauberfl öte) for Scottish Opera; recorded for Chandos), Monostatos, Bardolph conventional perceptions of opera. Breathing Tatyana (Eugene Onegin) for Opera Holland Colline, Mr Ratcliffe (Billy Budd ) and Angelotti (Falstaff ), Guillot de Morfontaine (Manon) new life into the classics, the company is Park, and Anna (Le villi) for Chelsea Opera. (Tosca) for Welsh National Opera. For the and most recently Isacco (The Thieving also a strong advocate of lesser-known works Camilla Roberts has appeared at the Queen Royal Opera he has performed a number of Magpie), before retiring from the company and a champion of musical theatre. Opera Elizabeth Hall, St John’s Smith Square and supporting roles. Recordings include Masetto in 2004. He is now established as a highly North collaborates with artists and companies St David’s Hall. She has toured Australia (Don Giovanni) for Chandos and Duca d’Argile regarded singing teacher and vocal coach. working in a variety of media, including and New Zealand, and her concert repertoire (Prigione d’Edimborgo) for Opera Rara. fi lm and visual art. Its versatile Chorus includes Verdi’s Requiem and and Vaughan Opera North is England’s national opera and Orchestra also perform independently, Williams’ Sea Symphony. Recordings include Paul Wade company in the North, and one of Europe’s constantly revitalising their approaches to a CD of Viennese arias with the Royal (Abdullah) was born leading arts organisations. The company is music-making. Opera North Education Philharmonic Orchestra. in Huddersfi eld and committed to producing work of the highest is one of the best-respected arts education studied there before quality that excites, challenges and entertains. departments in the country. The team uses Dean Robinson (High going to the Royal It tours not only throughout the North of opera to inspire and develop artistic creativity Priest) was born and College of Music. He England and to London, but also to opera not only for children but also for young educated in Australia, joined the English houses on the continent in cities such as people, as well as those with disabilities and and moved to the UK Opera Group with Prague and Barcelona, and performs at major the wider community. to continue his vocal whom he sang many international festivals including Edinburgh studies at the Royal of Britten’s operas, and Ravenna. An innovative approach to David Parry studied with Sergiu Celibidache Northern College of and toured Australia performing the Church programming and performance style has and began his career as Sir John Pritchard’s Music in Manchester, Parables. been widely acknowledged through a number assistant. He made his debut with English where he was the He has sung at all the major European of prestigious awards, including four for its Music Theatre, then became a staff conductor recipient of several festivals, San Francisco Opera, Covent Eight Little Greats season in 2004 (Royal at Städtische Bühnen, Dortmund and at Opera awards and prizes, which included the Robin Garden, Welsh National Opera, and made his Philharmonic Society Opera and Music North. He was Music Director of Opera 80 Kaye prize for Opera and several awards from English National Opera debut as Monostatos Theatre Award, The South Bank Show Opera from 1983 to 1987 and since 1992 has been the the Peter Moores Foundation. (The Magic Flute). He joined Opera North Award, TMA Theatre Award for Outstanding founding Music Director of Almeida Opera.

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 22-2322-23 22/10/06/10/06 14:23:3614:23:36 He works extensively Fidelio at the New Zealand Festival, Lucia di On session: Alan Opie in both opera and Lammermoor at New Israeli Opera and Don concert, nationally and Giovanni at Staatsoper Hannover. internationally. He His work in the recording studio includes has conducted several the BBC Television production of Marschner’s productions at English Der Vampyr and twenty-eight complete National Opera and opera recordings under the sponsorship of Opera North and the Peter Moores Foundation. Among these appears regularly with are numerous discs for the Opera Rara label the Philharmonia and which have won several awards, including the London Philharmonic Orchestras. In 1996 he Belgian Prix Cecilia for Donizetti’s Rosmonda made his debut at the Glyndebourne Festival d’Inghilterra. For Chandos he has conducted conducting Così fan tutte, following it in 1998 a series of recitals of operatic arias – with with the world premiere of Jonathan Dove’s Sir Thomas Allen, Bruce Ford, Alan Opie, Flight. Diana Montague, Dennis O’Neill, Alastair He is a frequent visitor to Spain where he Miles, Yvonne Kenny, John Tomlinson, Barry has given concerts with most of the major Banks, Della Jones and Andrew Shore– as Spanish orchestras. He conducted the well as Fidelio, The Flying Dutchman, The Spanish premiere of Peter Grimes in Madrid Marriage of Figaro, A Masked Ball, Idomeneo, and in 1996 the fi rst Spanish production Carmen, The Thieving Magpie, Don Giovanni, of The Rake’s Progress. He has appeared in Don Pasquale, The Elixir of Love, Lucia of Germany, Switzerland, and The Netherlands, Lammermoor, Ernani, Il trovatore, Aida, at the Pesaro Festival in Italy, the Hong Faust, Cavalleria rusticana, Pagliacci, La Kong International Festival, in Japan with bohème, Turandot, the award-winning Tosca a tour of Carmen, and in Mexico with the and highlights from Der Rosenkavalier, UNAM Symphony Orchestra. Recent all in association with the Peter Moores new productions he has conducted include Foundation.

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 24-2524-25 22/10/06/10/06 14:23:3814:23:38 British philanthropist Sir Peter Moores established the Peter Moores Foundation in 1964 to of a Faculty Directorship and Chair of Management Studies at Oxford University (providing realise his charitable aims and, to fulfi ll one of these, the Compton Verney House Trust in the lead donation which paved the way for the development of the Said Business School). 1993 to create a new art gallery in the country. Through his charities he has disbursed more than £104 million to a wide variety of arts, environmental and social causes ‘to get things In 1993 the Foundation bought Compton Verney, a Grade I Georgian mansion in done and open doors for people’. Warwickshire, designed by Robert Adam, with grounds by Capability Brown. Compton Verney House Trust was set up by Sir Peter to transform the derelict mansion into a world- Sir Peter’s philanthropic work began with his passion for opera: in his twenties he helped a class art gallery that would provide an especially welcoming environment for the ‘fi rst-time’ number of young artists in the crucial, early stages of their careers, several of whom – Dame gallery visitor. The gallery, which houses six permanent collections, a Learning Centre for all Joan Sutherland, Sir Colin Davis and the late Sir Geraint Evans amongst them – became ages, and facilities for major visiting exhibitions, was opened in March 2004 by HRH the world-famous. Prince of Wales. The Compton Verney website can be found at: www.comptonverney.org.uk

Today, the Peter Moores Foundation supports talented young singers with annual Sir Peter Moores was born in Lancashire and educated at Eton College and Christ Church, scholarships awarded through the Royal Northern College of Music, has made it possible Oxford. He was a student at the Vienna Academy of Music, where he produced the Austrian for Chandos Records to issue the world’s largest catalogue of operas recorded in English premiere of Benjamin Britten’s The Rape of Lucretia, and at the same time was an assistant translation, and enabled Opera Rara to record rare bel canto repertoire which would producer with the Vienna State Opera, working with Viennese artists in Naples, Geneva and otherwise remain inaccessible to the general public. Rome, before returning to England in 1957 to join his father’s business, Littlewoods. He was Vice-Chairman of Littlewoods in 1976, Chairman from 1977 to 1980 and remained a In live performance, the Foundation has encouraged the creation of new work and schemes director until 1993. to attract new audiences, fi nanced the publication of scores, especially for world premieres of modern operas, and enabled rarely heard works to be staged by British opera companies and He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from Christ festivals. Church, Oxford, in 1975, and was made an Honorary Member of the Royal Northern College of Music in 1985. In 1992 he was appointed a Deputy Lieutenant of Lancashire by Projects supported by the Foundation to help the young have ranged from a scheme to HM the Queen. He was appointed CBE in 1991 and received a Knighthood in 2003 for his encourage young Afro-Caribbeans ‘stay at school’ for further education, to the endowment charitable services to the arts.

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 26-2726-27 22/10/06/10/06 14:23:3914:23:39 dass “Va, pensiero” dem Publikum anfangs die Pforten des Tempels erreicht. Die Israeliten Die neue Stimme der italienischen Oper besonders bedeutsam erschien, als Nabucco beklagen ihr Schicksal in einem einleitenden schließlich aufgeführt wurde, geschweige Chor, doch der Hohepriester Zaccaria muntert Nabucco, uraufgeführt am Mailänder Teatro alla von dem ikonischen Status zu profi tieren, denn, dass Verdi selbst die Nummer für einen sie auf und verleiht ihnen neuen, kriegerischen Scala am 9. März 1842, war das entscheidende den der Sklavenchor “Va, pensiero”, die musikalischen Brennpunkt hielt. Andererseits Mut. Obwohl italienische Opern jener Zeit fast Ereignis in der Karriere Verdis, ja sogar in berühmteste Nummer aus Nabucco, im ist die Tatsache nicht zu leugnen, dass es immer mit einem einleitenden Chor begannen, seiner gesamten Lebensgeschichte. Obwohl neuerlich vereinigten, eifrig nach nationalen sich bei Nabucco um einen entscheidenden gleicht dieser kaum einem vorangegangenen. ihr zwei andere Opern des Komponisten Monumenten und anderem Symbolträchtigem Moment handelte. Aus berufl icher Sicht Frühere Generationen hatten jede Menge vorausgehen – die erste (Oberto, conte di suchenden Italien anzunehmen begann. Aus etablierte das Werk Verdi eindeutig auf einem schwatzender Höfl inge oder feiernder Vasallen San Bonifacio) ein bescheidener Erfolg, die diesem Grund stellten seine Geschichten um höheren professionellen Niveau, insbesondere zu sehen bekommen, aber hier wird uns das zweite (Un giorno di regno) ein katastrophaler Nabucco stets die kompositorische Krise nach nachdem es in der Herbstsaison 1842 an der Gefühl eines höheren Anspruchs vermittelt. Misserfolg –, betonte er dreißig Jahre später in der Entstehung von Un giorno di regno in den Mailänder Scala wieder aufgenommen wurde Der Chor bezieht seinen Effekt vorwiegend seinen Erinnerungen, Nabucco sei der “wahre Vordergrund, in einem Zeitraum, als er alle und mit siebenundfünfzig Aufführungen einen aus dem Abwechseln kontrastierender Anfang” gewesen, der Moment, in dem er Arbeitsangebote ablehnt; doch dann wird ihm neuen Rekord aufstellte. Nie wieder musste Chorgruppen: verängstigtes Volk, eine Gruppe seine eigene Stimme fand und begann, seine mitten im Winter ein Libretto aufgedrängt, er sich fragen, woher sein nächster Auftrag betender Leviten, eine andere jungfräulicher einzigartige Vision der italienischen Oper zu und der Text von “Va pensiero” erscheint wie kommen würde, besonders da die Oper rasch Bittstellerinnen; und alle werden mit einer vermitteln. Natürlich waren viele dieser späteren magisch vor seinen Augen. Allmählich führt mit Inszenierungen in ganz Italien bedacht Unmittelbarkeit und Direktheit dargestellt, Erinnerungen – entstanden, als Verdi eine ihn der Gedanke an eine mögliche Vertonung wurde, die sich meist als ähnlich erfolgreich die seinerzeit gewaltsam gewirkt haben muss. Gestalt von internationaler Bedeutung war, des Chors zum Komponieren zurück; der Rest erwiesen wie in Mailand. Und obwohl wir Ebenso bedeutsam ist jedoch, dass Zaccarias und weithin verbreitet von den Journalisten, ist Geschichte, wie man so sagt. gegenüber dem, was aus Nabucco im späteren Reaktion, obwohl in der üblichen Form einer die sich nun um ihn versammelten und Die Realität war natürlich nicht ganz so neunzehnten Jahrhundert wurde, nach wie vor zweiteiligen Arie gehalten, mehr von einem lautstark um Interviews buhlten – auf ganz unkompliziert. Nach Un giorno di regno höchst skeptisch sein sollten, bleibt doch eine dynamischen Dialog mit den umgebenden bestimmte Zwecke ausgerichtet. Es war im gab es tatsächlich eine Lücke in Verdis wichtige Frage: Was hatte die Oper an sich, Massen hat. In beiden Teilen greift der späteren Leben für Verdis Selbstdarstellung kompositorischem Schaffen, doch wurde sie das 1842 die Aufmerksamkeit des Publikums Chor entschieden in sein Solo ein, bedrängt wichtig, dass man ihn als “Selfmademan” teils durch Wiederaufnahmen von Oberto erregte? Was war neu und einzigartig an Verdis Zaccaria, übernimmt seine Melodie und macht anerkannte – als jemanden, der nach Jahren gefüllt – und Verdi unterstützte diese musikalischer Persönlichkeit? sie zum Bestandteil seiner Ausdruckswelt. relativer Unbekanntheit und intensivem enthusiastisch, indem er bedeutende neue Eine Antwort darauf gibt uns die allererste Später in der Oper wird dieses Gefühl einer persönlichem Streben ins Rampenlicht getreten Stücke für prominente Solisten beitrug. Nummer, die im Tempel Salomos spielt. Das neuen “Stimme” des Chors weiter ausgeführt, war. Darüber hinaus war er darauf bedacht, Außerdem gibt es keine Beweise dafür, babylonische Heer steht vor Jerusalem und hat nicht zuletzt in Nummern wie dem “Coro e

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 28-2928-29 22/10/06/10/06 14:23:3914:23:39 Profezia” [Chor und Prophezeiung] im dritten eindrucksvoll diese Momente auch sein mögen. Im Kontext der Donizettischen Norm, die nichts von der Donizettischen Tendenz, mit Akt, die aufzeigen, wie es Verdi gelang, die Kein Komponist jener Epoche hätte so enorm 1842 vorherrschte und in der Soprane meist dem Fortschreiten der zunehmend blumigen üblichen chorischen und solistischen Elemente erfolgreich sein können wie Verdi, wenn er nicht in die Kategorie “dahinwelkende Dame” Arie in immer lockerere rhythmische Perioden in zwingende szenische Einheiten zu binden. auch bedeutende neue Wege gefunden hätte, für einzuordnen waren, vor allem geschätzt abzugleiten. Die Cabaletta “Salgo già del trono Die Chorführung von “Va, pensiero”, mit die Solostimmen zu komponieren, die nach wie für ihren zarten Lyrismus und Anfl üge aurato” [Auf des Thrones goldene Stufen] ist dem die Szene beginnt, ist höchst originell vor im Zentrum der Kommunikation zwischen extravaganter Koloratur (das klassische in dieser Hinsicht noch radikaler. Sie kehrt und scheint wiederum den Massen einen der Oper und ihrem Publikum standen. Dass Beispiel ist Lucia di Lammermoor), waren zum eindringlichen Tonfall des Rezitativs neuen Rang zuzusprechen (Rossini meinte Verdi vom Anbeginn seiner Karriere auch in dies außergewöhnliche Anforderungen. zurück und es gelingt ihr wiederum, wenn weitblickend, es handele sich “nicht so sehr dieser Hinsicht bemerkenswerte Originalität Noch wichtiger ist jedoch die groß angelegte auch in einem viel dynamischeren Kontext, um einen Chor als vielmehr eine große Arie bewies, ist häufi g durch die Betonung des Arie, die Verdi für Abigaille zum Anfang den ornamentalen Aspekt der Musik unter für Soprane, Alte, Tenöre und Bässe”); doch Choranteils verdeckt worden und ist eine des zweiten Akts schrieb. Von der äußeren Kontrolle zu halten. Weit davon entfernt, sich der sanften nostalgischen Stimmung wird Betrachtung wert. Ein gutes Beispiel ist seine Form her scheint sich die Nummer recht gegen Ende in vokale Virtuosität “aufzulösen”, dann gewaltsam die energische Prophezeiung neuartige Umsetzung der Figur der Abigaille in eng ans Donizettische Vorbild zu halten, ordnet die Arie die Ornamentik weiterhin Zaccarias entgegengesetzt – insbesondere Nabucco – die Rolle war wohl ursprünglich für mit einem konventionellen mehrsätzigen unter und beschränkt sie auf streng gebundene in der abschließenden Cabaletta wird den die deutsche Sopranistin Sophie Loewe gedacht, Aufbau, der vom lyrischen langsamen Satz zur Perioden. Derartige Beispiele ließen sich feindlichen Heerscharen ein blutiges Ende wurde aber schließlich bei der Uraufführung energischeren Cabaletta fortschreitet. Doch beliebig anführen – sie demonstrieren vorhergesagt. Doch von besonderer Bedeutung von Giuseppina Strepponi gesungen, die bald intern fi nden sich entscheidende Änderungen. zumindest ansatzweise, wie die für Verdis frühe ist, dass die beiden Hälften der Szene durch darauf zur Lebensgefährtin des Komponisten Nach einem intensiven Rezitativ wenden Opern so typische Energie erzeugt wurde: gemeinsame rhythmische und melodische wurde. Vorwiegend inspiriert von den besonderen sich Abigailles Gedanken im langsamen Satz durch Straffung der Form, verbunden mit Motive eng miteinander verbunden sind: Fähigkeiten der Loewe (Strepponi trat erst “Anch’io dischiuso un giorno” [Auch mein Intensivierung der Ausdruckskraft. Sie werden diesbezüglich zum Bestandteil spät auf den Plan), erfand Verdi mit Abigaille Herz war der Freud’ einst offen] der Liebe Die Unterschiede im Stimmtypus von der gleichen musikalischen Aussage und einen neuen Typ von dramatischem Sopran im zu. Diese Nummer ist zugegebenermaßen Abigaille und Lucia lassen sich auch bei gewinnen jeweils durch die unmittelbare italienischen Stil. stark ornamentiert, und jede der zwei Takte den anderen Hauptrollen in Nabucco Nähe zum anderen Teil. Auch hier scheint der Das begleitete Rezitativ, mit dem sich langen Phrasen endet mit einer vokalen nachweisen: In allen Stimmregistern setzen Chor am expressiven Schwerpunkt der Oper Abigaille im ersten Akt einführt, etabliert Ausschmückung; doch sind die Ornamente, sich Robustheit und schieres Stimmvolumen teilzuhaben. sofort ihren ungewöhnlichen Stimmtypus, wie es für Verdi typisch ist, rigoros eingegrenzt, allmählich gegen vokale Flexibilität durch, Doch die Neuartigkeit von Nabucco ist der Kraft im tiefen Register, Wendigkeit hoch so dass ihre Zunahme zum Höhepunkt wobei die neue Direktheit und “realistische” nicht auf jene Nummern beschränkt, an über dem Liniensystem und durchweg eine bezwingend energisch und vorantreibend Darstellungsweise Hand in Hand gehen denen der Chor beteiligt ist, ganz gleich, wie überzeugende dramatische Präsenz erfordert. wirkt. Hier fi ndet sich, mit anderen Worten, mit einer Tendenz, immer intensiver

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 30-3130-31 22/10/06/10/06 14:23:4014:23:40 auf leidenschaftliche Deklamation statt Szenen waren in der Vergangenheit meist den Nabucco die Gefühle zeitgenössischer Italiener Im Tempel Salomos zu Jerusalem nahtloses Belcanto zu bauen. Wir erkennen Sopranen vorbehalten (das klassische Beispiel für ihren verstorbenen Helden zum Ausdruck 2 – 6 Die Priester und das Volk Jerusalems das am deutlichsten am Hervortreten des ist wiederum Lucia), doch Verdi weiß die neue bringen konnte, ließ erkennen, in welchem beklagen die Eroberung ihres Landes durch die “Verdischen” Baritons, für den Nabucco das emotionale Bandbreite der Männerstimme für Ausmaß Verdis Musik ins Bewusstsein babylonischen Heerscharen, angeführt von erste Exempel ist. Von seinem ersten Auftritt sich zu nutzen. In dieser begeisternden Szene der Nation eingegangen war. Doch all das Nabucco und seiner vermeintlichen älteren an ist Nabuccos Rolle von hoher Tonlage, wechselt der schmerzerfüllte König ganz außer geschah vor hundert Jahren. Nabucco sollte Tochter Abigaille. Die Juden haben Nabuccos einer Tendenz zu intensiver Deklamation sich zwischen zwei völlig unterschiedlichen nicht für alle Zeiten von diesen nostalgischen andere Tochter Fenena gefangen genommen und dem weitgehenden Fehlen ornamentaler Stimmungen: Einerseits verfällt er in wütende Momenten bestimmt sein, auch wenn die und halten sie als Geisel. Stimmführung gekennzeichnet, ganz im Deklamation, wenn er mit seinem Schicksal sanften Konturen von “Va pensiero” solche Unterschied zum zarten Schmelz des zwanzig hadert, doch dann tritt in einer unvermittelten Attitüden stets befördern werden. Die Oper 7 Als Ismaele und Fenena allein im Tempel Jahre zuvor herrschenden “Basso cantante”. und wiederholten Wandlung ein viel sanfterer weist viele weitere bemerkenswerte Merkmale zurückbleiben, erfahren wir, dass sie sich Das Finale des zweiten Teils ist in dieser Aspekt in den Vordergrund, wenn er seine auf, zahlreiche andere Eigenarten, die das lieben. 8 Abigaille tritt auf, gefolgt von Hinsicht wohl Nabuccos krönender Moment. Schutzlosigkeit hinterfragt und schließlich in Hervortreten einer vitalen neuen Präsenz im babylonischen Soldaten, die als Hebräer Der langsame Satz des Finales, “S’appressan Ohnmacht fällt. italienischen Opernleben ankündigen: Diese verkleidet sind. 9 – 11 Auch Abigaille hat sich gl’istanti” [Weh! Heut ist ein Tag erschienen], Einen Monat nach Verdis Tod im Jahre Stimme sollte sich über die folgenden vierzig während seiner babylonischen Haft in Ismaele erzielt seine Wirkung nicht mit individueller 1901, als er allgemein als größter Italiener Jahre hin auf erstaunliche Weise entwickeln, verliebt und verspottet ihn nun mit ihrem Sieg. Charakterisierung (alle Hauptfi guren singen die seiner Epoche angesehen wurde, wurden seine behielt aber stets etwas von der Energie Zaccaria eilt herbei, 12 – 13 als Nabucco auf gleiche Melodie), sondern mit unerbittlicher sterblichen Überreste mittels einer feierlichen und Kraft, die Nabucco so nachdrücklich die Pforten des Tempels zureitet. 14 Zaccaria Zunahme an satztechnischer Komplexität Prozession durch Mailand in Begleitung von proklamiert. droht Fenena zu töten, doch Ismaele rettet sie. und klanglicher Eindringlichkeit. Doch dann hunderttausenden Trauernden zu ihrer letzten 15 Nabucco befi ehlt sofort die Zerstörung des © 2006 Roger Parker wendet sich Nabucco an die Menge und erklärt Ruhestätte in der Casa di Riposo überführt– er Tempels. Übersetzung: Bernd Müller sich nicht nur zu ihrem König, sondern zu hatte sich im Alter das Heim für Musiker im ihrem Gott. Ein Blitzschlag streckt ihn ob Ruhestand als philanthropisches Denkmal Zweiter Teil: Der Frevler seiner Blasphemie nieder, und die Menge errichtet. Die Prozession wurde vom Orchester Synopse Die königlichen Gemächer in Babylon reagiert mit schockiertem Gemurmel. Die und Chor der Mailänder Scala auf den Weg 16 – 17 Gepeinigt von ihrer unerwiderten Konventionen der italienischen Oper würden gebracht, von denen die Menge zu einer COMPACT DISC ONE Liebe zu Ismaele erfährt Abigaille, dass sie die daraufhin einen schnellen Schlusssatz erwarten Darbietung von “Va, pensiero” ermuntert Tochter von Sklaven ist. 18 Der Oberpriester lassen, doch stattdessen entschied sich Verdi wurde. Die Tatsache, dass dieser um die 1 Ouvertüre des Baal kommt mit der Nachricht, dass für eine Wahnsinnsszene des Nabucco. Solche sechzig Jahre zuvor entstandene Chor aus Erster Teil: Jerusalem Fenena die Israeliten befreit hat. Er sagt, er

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 32-3332-33 22/10/06/10/06 14:23:4014:23:40 habe bereits das Gerücht verbreitet, Nabucco und seine eigene Tochter zum Tode verdammt wir erfahren) Gift genommen, und noch im Opera, Spoleto Festival und La Scala) sowie sei im Kampf gefallen, 19 und Abigaille hat. 6 Vergebens fl eht er um Fenenas Leben. Sterben fl eht sie Gott um Vergebung an. Rigoletto (English National Opera und die beschließt, selbst die Macht zu ergreifen. Canadian Opera in Toronto). Übersetzung: Bernd Müller An den Ufern des Euphrat Daneben gab er die Uraufführungen von Ein Gemach im Palast 7 Die hebräischen Sklaven beklagen Berios Outis, dessen Titelrolle er sowohl an 20 – 23 Ismaele wird von den Juden wegen ihre Gefangenschaft in einem Chor voll Alan Opie (Nabucco) tritt regelmäßig am der Mailänder Scala als auch am Théâtre seines Verrats an ihrer Sache verfl ucht. nostalgischer Sehnsucht nach ihrem Royal Opera House Covent Garden, an der Châtelet in Paris gesungen hat, Maws Sophie’s Heimatland. 8 – 9 Der Hohepriester English National Opera, der Metropolitan Choice in Covent Garden unter Simon Rattle 24 – 26 Abigaille wird zur Königin erhoben Zaccaria prophezeit den Niedergang Babylons. Opera, an der Mailänder Scala, der Bayerischen and Shengs Madame Mao beim Santa Fe und will sich gerade selbst krönen, da erscheint Staatsoper München, der Wiener Staatsoper Festival. Nabucco und entwendet ihr die Krone. Vierter Teil: Das zerbrochene Götzenbild und beim Glyndebourne Festival auf. Zu Er ist an fast zwanzig kompletten 27 Nabucco wendet sich an die Menge und Die königlichen Gemächer den Rollen, mit denen er am häufi gsten in Opernaufzeichnungen für Chandos beteiligt erklärt sich nicht nur zu ihrem König, sondern 10 Nabucco, ein Gefangener in seinem eigenen Verbindung gebracht wird, zählen Beckmesser gewesen, wobei er die Rollen von di Luna zu ihrem Gott. Mit einem Blitzschlag reißt Palast, hört einen Trauermarsch und sieht, wie in Die Meistersinger von Nürnberg, den er in (Il trovatore), Enrico (Lucia di Lammermoor), ihm eine übernatürliche Macht die Krone seine Tochter Fenena zu ihrer Hinrichtung Amsterdam, Bayreuth, München, Turin, Tonio (Pagliacci), Marcello (La Bohème), vom Kopf. 28 Nabucco scheint in geistige geführt wird. 11 Er betet zu Jehovah, dem Gott Wien, Berlin (an der Staatsoper) und mit dem Don Carlo (Ernani), und Figaro (Il barbiere Umnachtung zu verfallen. Abigaille hebt die Israels; 12 sein Geist erhellt sich wieder, und Chicago Symphony Orchestra unter Solti di Siviglia) interpretierte. Er wurde mit zwei Krone auf und setzt sie sich aufs eigene Haupt. Abdallo erscheint mit einer Truppe Soldaten, gesungen hat; Balstrode in Peter Grimes (Saito Grammy-Preisen ausgezeichnet und ist für um seinen Herrn zu befreien. 13 Sie eilen Kinen Festival in Japan, Pariser Opéra-Bastille, seine Darstellung des Falstaff an der COMPACT DISC TWO hinaus in der Hoffnung, Fenena retten zu Wien, Metropolitan Opera, English National English National Opera für einen Olivier können. Opera, Teatro Comunale Florenz und Covent Award in der Kategorie “Überragende Dritter Teil: Die Prophezeiung Garden); Sharpless (Madama Butterfl y) an der Leistung auf dem Gebiet der Oper” In Babylons hängenden Gärten Die hängenden Gärten Metropolitan Opera, in München, Covent nominiert worden. 1 Die siegreiche Abigaille ist zur Königin 14 – 16 Fenena und die Israeliten werden Garden, Cagliari, Tokio, Sumida und Beijing; Assyriens gekrönt worden. 2 Nabucco wird zum Richtplatz geleitet, als Nabucco Germont père in La traviata (Covent Garden, Susan Patterson (Abigaille) wurde in hereingeführt 3 und lässt sich von Abigaille erscheint und das Götzenbild des Baal in English National Opera, Deutsche Oper Birmingham in Alabama geboren; sie übertölpeln, ein Dekret zu unterzeichnen, das sich zusammenbricht. 17 Nabucco ruft alle Berlin); Falstaff (English National Opera, begann an der Samford University ein sämtliche Juden zum Tode verurteilt. 4 – 5 Anwesenden auf, den einzig wahren Gott Norwegische Oper); der Förster in Das schlaue Klavierstudium, wurde jedoch ermutigt, ihren Zu spät erkennt er, dass er getäuscht wurde Jehovah zu preisen. 18 Abigaille hat (wie Füchslein (English National Opera, Scottish Lehrplan um Stimmbildung zu erweitern.

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 34-3534-35 22/10/06/10/06 14:23:4114:23:41 Nach dem Studienabschluss an der Florida State (Die Entführung aus dem Serail), Fiordiligi in Le nozze di Figaro), am Teatro Real in Jane Irwin (Fenena) absolvierte ihre University setzte sie ihre Gesangsausbildung (Così fan tutte) und Helena (A Midsummer Madrid (Philipp II. und Raimondo), in Ausbildung an der Universität Lancaster und an der Indiana University bei Virginia Zeani Night’s Dream). In Europa stand sie an der Palermo (Walter in Luisa Miller) und Sevilla am Royal Northern College of Music im fort. Als Stipendiatin der Adler Fellowship wirkte Mailänder Scala in Cherubinis Lodoïska, an (Mephisto in Faust), an der English National Rahmen eines Peter-Moores-Stipendiums. Zu sie in der Saison 1986/87 an der San Francisco der Nederlandse Opera in Le Comte Ory und Opera (die Titelrolle in Boitos Mephistopheles, ihren zahlreichen Auszeichnungen gehören Opera; mit ihrer Interpretation von La traviata Mitridate, in Aix-en-Provence als Constanze Zaccaria, de Silva sowie Ford in Sir John in der Gesangspreis beim Internationalen Genfer dort und an der Welsh National Opera machte und am Opernhaus Köln und der Pariser Love) und am Royal Opera House Covent Musikwettbewerb im Jahre 1993 und der sie sich einen Namen in der Opernwelt. Seither Opéra-Comique in L’occasione fa il ladro auf Garden (Rodolfo in La Sonnambula, Elmiro Decca–Kathleen-Ferrier-Preis 1991. hat sie die Rolle mehr als einhundertfünfzigmal der Bühne. in Otello, Frère Laurent in Roméo et Juliette, Im Jahre 1995 gab sie ihr Debüt am Royal gesungen. Im Rahmen der Chandos-Reihe “Opera Banquo in Macbeth und Konzertdarbietungen Opera House und hat dort seither die Suzuki Susan Patterson hat höchst erfolgreiche in English” hat sie die Rollen der Amelia von Donizettis Dom Sebastien (auch von (Madama Butterfl y) gesungen. Für Scottish Darbietungen als Margarita/Helena in (A Masked Ball ), der Elvira (Ernani ) und der Opera Rara aufgenommen)); hinzu kommt Opera hat sie Suzuki, Maddalena (Rigoletto), Boitos Mefi stofele und als Dvorˇáks Rusalka, Electra in Idomeneo aufgenommen. Zu ihren sein Mephistopheles in konzertanten Waltraute (Götterdämmerung), Fatima (Webers in einer Neuinszenierung von Ernani an der weiteren Einspielungen gehören Le Comte Ory Aufführungen von La Damnation de Faust Oberon), und Thea (in Tippetts The Knot niederländischen Reisopera, als Chimene und Il matrimonio segreto. mit dem London Symphony Orchestra unter Garden) gegeben. An der English National (Le Cid), Mme de Tourvel (Dangerous Liaisons) Sir Colin Davis in London und New York. Opera hat sie als Brangäne (Tristan und Isolde) und Tosca an der Washington Opera, Mimì Alastair Miles (Zaccaria) ist international Seine höchst erfolgreiche Konzertkarriere auf der Bühne gestanden. (La Bohème) und Aida an der Baltimore Opera als einer der weltweit führenden Bassisten hat ihn in alle Welt geführt, zu Aufführungen Als Konzert- und Recitalsängerin ist sowie Manon Lescaut beim Spoleto Festival in anerkannt. Er hat am Metropolitan Opera mit Dirigenten wie Giulini, Mehta, Muti, Jane Irwin regelmäßig in Großbritannien, den USA aufzuweisen. Sie hat außerdem die House (Giorgio in I Puritani und Raimondo Chung, Masur, Gergiew, Gardiner und Sir Kontinentaleuropa und Amerika zu Gast; Donna Anna sowie die drei Protagonistinnen in Lucia di Lammermoor) gesungen, an der Colin Davis sowie den weltweit führenden ihr Debüt in der New Yorker Carnegie in Les Contes d’Hoffmann mit der Opera Opéra National de Paris-Bastille (Raimondo), Orchestern. Seine Diskographie umfasst Hall gab sie mit der Pittsburgh Symphony Company von Philadelphia und Magda in Wien (Philipp II. in Don Carlos, Zaccaria derzeit mehr als fünfzig Einspielungen, unter der Leitung von Mariss Jansons. Bei (La rondine) am Opera Theatre in Saint in Nabucco, Kardinal Brogni in Halévys darunter Mendelssohns Elias, Verdis Requiem den BBC-Promenadenkonzerten und den Louis gesungen. La Juive, de Silva in Ernani und Giorgio), sowie Händels Saul and Agrippina. Für die Berliner Festspielen hat sie Mahlers Lieder Regelmäßig ist sie an der San Francisco an der Bayerischen Staatsoper München Chandos-Reihe “Opera in English” hat er eines fahrenden Gesellen, Händels Lucrezia Opera aufgetreten, u.a. in den Rollen der (die Titelrolle in Saul ), in San Francisco Mephisto (Faust), Ramfi s (Aida), Colline und Mozarts Krönungsmesse mit der San Angelica (Vivaldis Orlando furioso), Anne (Giorgio, Raimondo und Basilio in Il (La Bohème) und eine CD mit Großen Francisco Symphony, Beethovens Missa Trulove (The Rake’s Progress), Constanze barbiere di Siviglia), in Amsterdam (Figaro Opernarien aufgenommen. Solemnis mit den Berliner Symphonikern,

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 36-3736-37 22/10/06/10/06 14:23:4214:23:42 Mahlers Lied von der Erde mit dem Deutschen Narraboth (Salome) und Juan (in Weills Der Tourneen durch Australien und Neuseeland Paul Wade (Abdallo) wurde im englischen Symphonie-Orchester Berlin und mit dem Kuhhandel ) zurückkehrte. Daneben ist er unternommen, und ihr Konzertrepertoire Huddersfi eld geboren, wo er auch studierte, BBC Philharmonic Orchestra gesungen. (als Alfredo in La traviata) an der Israelischen umfasst Verdis Requiem sowie Vaughan ehe er nach London ans Royal College of Sie hat mit dem Orchestre de Paris, dem Oper aufgetreten. Williams’ Sea Symphony. Zu ihren Einspielungen Music ging. Er trat der English Opera Group Rotterdams Philharmonisch Orkest, der Seattle auf Tonträger gehört eine CD mit Wiener Arien bei, mit der er viele von Benjamin Brittens Symphony, dem Schwedischen Kammerorchester, Camilla Roberts (Anna) wurde im englischen mit dem Royal Philharmonic Orchestra. Opern gesungen hat, und im Rahmen einer dem Spanischen Nationalorchester, der Wrexham geboren. Nachdem sie die Guildhall Australientournee trat er in den Church Finnischen Radiosymphonie und der Academia School of Music and Drama absolviert hatte, Dean Robinson (Gran Sacerdote) wurde Parables auf. di Santa Cecilia in Rom zusammengearbeitet und nahm sie am Guildhall Opera Course teil, in Australien geboren und ausgebildet; Er hat bei allen bedeutenden europäischen Recitals am Châtelet in Paris sowie in London, wo sie bei Laura Sarti studuerte, fi nanziell er siedelte nach England über, um seine Festivals gesungen, außerdem an der San Genf, Aix-en-Provence und Japan gegeben. unterstützt vom Arts Council of Wales Gesangsstudien am Royal Northern College Francisco Opera, in Covent Garden, an der und dem Countess of Munster Trust. of Music in Manchester fortzuseztzen, wo er Welsh National Opera, und sein Debüt an der Der junge italienisch – amerikanische Tenor Weiterführende Studien führten sie ans mehrere Auszeichnungen und Preise gewann, English National Opera gab er als Monostatos Leonardo Capalbo (Ismaele) erwirbt sich Londoner National Opera Studio, gefördert darunter der Robin-Kaye-Preis für Oper und (The Magic Flute). Der Opera North trat er bereits hohes Lob bei Kritikern in aller Welt. von der Welsh National Opera. Im Juni 2004 mehrere Auszeichnungen der Peter Moores bei ihrer Gründung bei und hat dort mehr Er absolvierte seine musikalische Ausbildung gewann Camilla Roberts den Walisischen Foundation. als vierzig Rollen gesungen, insbesondere den an der Juilliard School of Music, der Music Gesangswettbewerb. Zu seinen Opernengagements zählen Pluto Ausrufer (in der Dreigroschenoper), Dancairo Academy of the West im kalifornischen Santa Im Jahre 2003 trat sie der Welsh National (Orfeo), Passauf in der Uraufführung von (Carmen), Mr. Leonard (Maskerade), Vater Barbara und in Frankreich an der Academie Opera als außerordentliches Mitglied bei, Dr Ox’s Experiment und Colline (La Bohème) Paul (Roberto Gerhards The Duenna, auch für Musicale de Villecroze. Zu seinen bisherigen und dort sang sie u.a. die Rollen der Micäela an der English National Opera; Sparafucile Chandos eingespielt), Monostatos, Bardolph Rollen gehören Dino Corelli (Bolcoms (Carmen), Diana (Iphigénie en Tauride) und (Rigoletto) und Sarastro (Die Zauberfl öte) an (Falstaff ), Guillot de Morfontaine (Manon) und A Wedding), Fadinard (Rotas Il cappello di Laura (Iolanta). Weitere Engagements in letzter der Scottish Opera; Colline, Mr Ratcliffe jüngstens Isacco (The Thieving Magpie), ehe er paglia di Firenze), Lenski (Eugen Onegin) Zeit umfassten Anna (Nabucco) an der Opera (Billy Budd) und Angelotti (Tosca) an sich 2004 aus dem Ensemble zurückzog. Er ist und Rodolfo (La Bohème), sowie Macduff North, Tatjana (Eugen Onegin) an der Opera der Welsh National Opera. Für die Royal heute als hoch angesehener Gesangslehrer und (Macbeth) an der Opera Holland Park. Holland Park sowie Anna (Le villi ) an der Opera Covent Garden hat er eine Reihe von Stimmbildner etabliert. Leonardo Capalbo gab sein europäisches Chelsea Opera. Nebenrollen gesungen. Seine Aufnahmen Operndebüt 2004 als Paco in de Fallas Camilla Roberts ist in der Queen auf Tonträger umfassen u.a. Masetto (Don Opera North ist als staatliches Opernensemble La vida breve an der Opera North, wohin Elizabeth Hall, in St John’s Smith Square Giovanni ) für Chandos Records und Duca für Nordengland eine der führenden er als Luigi (Il tabarro), Ismaele (Nabucco), und der St David’s Hall aufgetreten. Sie hat d’Argile (Prigione d’Edimborgo) für Opera Rara. Kunstinstitutionen Europas. Das Ensemble

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 38-3938-39 22/10/06/10/06 14:23:4214:23:42 ist der aufregenden, herausfordernden und auf, unter ständiger Revitalisierung ihres Er ist häufi g in Spanien zu Gast und hat der Schirmherrschaft der Peter Moores unterhaltsamen Arbeit auf höchstem Niveau musikalischen Selbstverständnisses. Opera mit den meisten bedeutenden spanischen Foundation. Darunter befi nden sich verpfl ichtet. Seine Tourneen führen nicht North Education ist eines der angesehensten Orchestern Konzerte gegeben. In Madrid zahlreiche Aufnahmen der Reihe Opera nur durch den englischen Norden, sondern Bildungszentren Englands im künstlerischen hat er die spanische Uraufführung von Rara, die mehrere Preise gewonnen haben, auch nach London und auf den Kontinent, Bereich, das mit Hilfe der Oper die Peter Grimes dirigiert, und 1996 die erste beispielsweise den belgischen Prix Cecilia zu Veranstaltungen in Städten wie Prag und künstlerische Kreativität der Mitbürger fördert spanische Inszenierung von The Rake’s für Donizettis Rosmonda d’Inghilterra. Für Barcelona, aber auch zu großen internationalen und entwickelt. Progress. Er ist in Deutschland, der Schweiz Chandos hat er die Aufzeichnung einer Serie Festspielen wie Edinburgh und Ravenna. Ein und den Niederlanden aufgetreten, bei den von Programmen mit Opernarien geleitet (mit innovativer Ansatz zur Programmgestaltung David Parry hat bei Sergiu Celibidache Festspielen in Pesaro, beim Hong Kong Sir Thoms Allen, Bruce Ford, Alan Opie, Diana und zum Interpretationsstil ist mit studiert und seine berufl iche Laufbahn als International Festival, in Japan anläßlich Montague, Dennis O’Neill, Alastair Miles, verschiedenen begehrten Auszeichnungen Assistent von Sir John Pritchard begonnen. einer Carmen-Tournee und in Mexiko mit Yvonne Kenny, John Tomlinson, Barry Banks, anerkannt worden, allein vier davon für die Er hat am English Music Theatre debütiert dem UNAM Symphony Orchestra. Zu Della Jones und Andrew Shore), außerdem Saison “Eight Little Greats” 2004 (Royal und wurde dann Dirigent mit Festvertrag den Neuproduktionen, die er in letzter Fidelio, The Flying Dutchman, The Marriage of Philharmonic Society Opera and Music an den Städtischen Bühnen Dortmund und Zeit dirigiert hat, zählen Fidelio beim New Figaro, A Masked Ball, Idomeneo, Carmen, Theatre Award, The South Bank Show Opera an der Opera North. Von 1983 bis 1987 Zealand Festival, Lucia di Lammermoor an der The Thieving Magpie, Don Giovanni, Don Award, TMA Theatre Award for Outstanding war er Musikdirektor der Opera 80 und seit New Israeli Opera und Don Giovanni an der Pasquale, The Elixir of Love, Lucia of Lammermoor, Achievement in Opera, Manchester Evening 1992 Gründungsmitglied und Direktor der Staatsoper Hannover. Ernani, Il trovatore, Aida, Faust, Cavalleria News Theatre Award for Opera). Almeida Opera. Seine Tätigkeit im Aufnahmestudio umfaßt rusticana, Pagliacci, La bohème, Turandot, die Opera North ist eine dynamische, lebhafte Er übt in Großbritannien und die Produktion von Marschners Der Vampyr preisgekrönte Tosca und Highlights aus dem Organisation, die herkömmliche Vorstellungen international eine weitgespannte Tätigkeit fürs BBC-Fernsehen und achtundzwanzig Rosenkavalier, jeweils in Zusammenarbeit mit der von der Oper aktiv in Frage stellt. Sie in den Bereichen Oper und Konzert aus, hat vollständige Opernaufzeichnungen unter Peter Moores Foundation. erweckt Klassiker zu neuem Leben, setzt sich mehrere Produktionen der English National energisch für weniger bekannte Werke ein Opera und der Opera North dirigiert und und tritt als Fürsprecher des Musiktheaters tritt regelmäßig mit dem Philharmonia auf. Opera North pfl egt die Zusammenarbeit Orchestra und dem London Philharmonic mit Künstlern und Ensembles in den Orchestra auf. 1996 gab er sein Debüt beim verschiedensten Medien, wie Film und Glyndebourne Festival mit Così fan tutte und bildende Kunst. Seine vielseitigen Chor- und hat dort 1998 die Uraufführung von Jonathan Orchesterkräfte treten auch unabhängig Doves Flight geleitet.

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 40-4140-41 22/10/06/10/06 14:23:4314:23:43 On session: Susan Patterson On session: Alan Opie

CCHANHAN 3136(2)3136(2) Book.inddBook.indd 42-4342-43 22/10/06/10/06 14:23:4414:23:44 jour, rien ne prouve que “Va, pensiero” fut un Israélites se plaignent de leur sort dans un La nouvelle voix de l’opéra italien numéro particulièrement déterminant pour chœur initial, mais le prophète Zaccharie les les premiers auditoires, d’autant moins que, rassemble et leur insuffl e un nouvel esprit Nabucco, créé au Teatro alla Scala de Milan, emblématique que le plus célèbre numéro dans l’esprit de Verdi, c’était un point focal belliqueux. Même si l’opéra italien de l’époque le 9 mars 1842, fut l’événement déterminant de Nabucco, le chœur des esclaves hébreux musical. D’autre part, personne ne discute le commençait presque toujours par un chœur de la carrière du compositeur, en fait de “Va, pensiero”, commençait à acquérir dans fait que Nabucco fut effectivement un moment initial, rares sont ceux qui ressemblent à l’histoire de sa vie. Bien que cet ouvrage une Italie nouvellement unifi ée à la recherche essentiel. En termes professionnels, cet ouvrage celui-ci dans les ouvrages antérieurs. Les ait été précédé de deux autres opéras – le de chefs-d’œuvre nationaux et autres éléments permit à Verdi de gravir avec assurance un générations précédentes avaient vu beaucoup premier (Oberto, conte di San Bonifacio) un symboliques. Pour y parvenir, il ne cessa nouvel échelon de l’échelle professionnelle, de courtisans bavards et de vassaux en train succès limité, le second (Un giorno di regno) de souligner, dans ce qu’il raconta à propos en particulier lors de la reprise à la Scala à de faire la fête, mais ici on a un panorama un échec catastrophique –, le compositeur de Nabucco, qu’il avait traversé une crise de l’automne 1842 qui atteignit le nombre record beaucoup plus grandiose. Le chœur tire une souligna dans ses souvenirs, trente ans plus composition après Un giorno di regno, période de cinquante-sept représentations. C’en était grande partie de son effet de l’alternance de tard, comment Nabucco fut son “véritable au cours de laquelle il refusa toute offre d’œuvre fi ni des interrogations pour savoir d’où pourrait groupes choraux constrastés: un peuple terrifi é, début”: le moment où il trouva sa véritable nouvelle; mais ensuite, dans les profondeurs bien venir la prochaine commande, notamment un groupe de Lévites en prière, un autre de voix et commença à communiquer sa vision de l’hiver, un livret lui fut imposé et les lorsque son opéra commença à circuler dans vierges suppliantes; et tous sont présentés unique de l’opéra italien. Bien sûr, un grand paroles du “Va, pensiero” apparurent de façon toute l’Italie, ce qui se produisit très vite, avec d’une manière directe et immédiate qui a nombre de ces souvenirs tardifs – qui datent presque magique à ses yeux. Finalement, c’est un succès généralement comparable à celui dû surprendre par sa violence à l’époque. d’une époque où Verdi était devenu une en pensant à la façon dont le chœur pourrait qu’il avait connu à Milan. Ainsi, même si nous Toutefois, il y a un autre élément tout aussi personnalité internationale et qui furent sonner qu’il revint à la composition; et, comme devons continuer à beaucoup nous méfi er de important: la réponse de Zaccharie, même propagés par les journalistes qui l’entouraient chacun sait, tout le monde connaît la suite. ce qu’est devenu Nabucco à la fi n du XIXème si elle revêt la forme habituelle de l’aria en alors et se bousculaient pour avoir des Mais la réalité n’est pas si nette, ce qui est siècle, il reste encore une question importante: deux mouvements, ressemble davantage à interviews – visaient un objectif bien défi ni. inévitable. Après Un giorno di regno, il y a qu’y avait-il donc dans cet opéra pour que les un dialogue dynamique avec les masses qui Il était important pour l’image que Verdi bien eu une sorte de trou dans la carrière de auditeurs de 1842 se redressent et écoutent? l’entourent. Dans les deux mouvements, le voulait donner de lui-même à un âge avancé compositeur de Verdi, mais ce trou fut comblé Qu’y avait-il de nouveau et de caractéristique chœur intervient de manière décisive dans son qu’il soit considéré comme un self-made en partie par des reprises d’Oberto – reprises dans la personnalité musicale de Verdi? solo, envahissant l’espace imparti à Zaccharie man – qu’on pense de lui qu’il était devenu que Verdi encouragea avec enthousiasme On trouve une réponse dans le tout premier et reprenant sa mélodie qu’il intègre à son une vedette après une période de relative en écrivant quelques numéros nouveaux et numéro, qui se déroule à l’intérieur du temple propre univers expressif. obscurité et de lutte personnelle intense. Qui importants pour des solistes éminents. Qui de Salomon. L’armée babylonienne a atteint Plus loin dans l’ouvrage, Verdi tire parti plus est, il tenait à tirer partie de la notoriété plus est, lorsque Nabucco vit fi nalement le Jérusalem et est aux portes du temple. Les de cette notion de nouvelle “voix” chorale,

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 44-4544-45 22/10/06/10/06 14:23:4514:23:45 notamment dans des numéros comme le “Coro des nouveautés importantes dans l’écriture des “femmes languissantes” et on appréciait au fur et à mesure que l’aria progresse et e profezia” (“Chœur et prophétie”) à l’acte III, pour la voix soliste, voix qui restait au cœur avant tout leur lyrisme délicat et leurs devient plus fl eurie. La cabalette, “Salgo già qui montre comment le musicien savait relier de la façon dont l’opéra se transmettait à ses envolées de coloratura extravagantes (Lucia del trono aurato” (“Je monte déjà du trône les éléments choraux et solistes traditionnels auditoires. Le fait que Verdi ait fait preuve di Lammermoor est l’exemple classique), doré”) est encore plus radicale à cet égard. Elle dans des entités scéniques fascinantes. L’écriture aussi, dès le début de sa carrière, d’une extrême ces caractéristiques sortaient de l’ordinaire. revient au caractère énergique du récitatif et, chorale de “Va, pensiero”, qui ouvre la scène, originalité à cet égard a été relégué au second Toutefois, l’aria de grande envergure que maintenant dans un contexte beaucoup plus est très originale et semble une fois encore plan par l’importance accordée aux éléments Verdi a écrite pour Abigaille au début de dynamique, réussit une fois encore à contrôler imposer un nouveau statut aux masses (Rossini choraux; mais elle mérite qu’on s’y attarde. On l’acte II est encore plus importante. Par ses le côté ornemental de la musique. Loin de en disait avec prescience qu’il ne s’agissait “pas en trouve un exemple typique dans le nouveau apparences formelles, ce numéro semble “se dissoudre” dans la virtuosité vocale à la tant d’un chœur que d’une grande aria pour traitement du personnage d’Abigaille que l’on vraiment s’inscrire dans les lignes fi xées par fi n, cette aria continue, en d’autres termes, à sopranos, altos, ténors et basses”); mais sa veine trouve dans Nabucco, rôle créé apparemment Donizetti, avec une structure conventionnelle subordonner l’ornementation, qu’elle contient douce et nostalgique est ensuite violemment pour la soprano allemande Sophie Loewe, en plusieurs parties allant du mouvement lent au sein de périodes strictement contrôlées. De contrée par la prophétie énergique de Zaccharie mais fi nalement interprété à la création par lyrique à la cabalette plus énergique. Mais, tels exemples, que l’on pourrait facilement qui lui succède, en particulier par sa cabalette Giuseppina Strepponi, qui allait devenir peu sur le plan interne, il y a des changements multiplier, démontrent au moins en partie conclusive qui promet une fi n violente aux après la compagne du compositeur pendant déterminants. Après un récitatif intense, les d’où provient cette énergie si caractéristique forces ennemies. Ce qui importe le plus ici c’est toute sa vie. Surtout inspiré par les compétences pensées d’Abigaille se tournent vers l’amour des premiers opéras de Verdi: par le biais que les deux parties de la scène sont intimement spécifi ques de Loewe (Strepponi n’est arrivée dans le mouvement lent, “Anch’io dischiuso d’un resserrement de la forme associé à une liées par des idées rythmiques et mélodiques qu’assez tard dans cette affaire), Verdi inventa un giorno” (“Aussi, moi, aux jours passes”). intensifi cation du contenu expressif. partagées : en ce sens, elles font partie du même dans le rôle d’Abigaille un nouveau type de Il est vrai qu’il est très ornementé, chaque On pourrait aussi trouver dans les message musical, chacune trouvant dans la soprano dramatique italienne. phrase de deux mesures étant conclue par autres principaux rôles vocaux de Nabucco proximité de l’autre l’occasion de se raffermir. Le récitatif accompagné qui marque l’entrée une fi oriture vocale; mais, ce qui est typique les changements de caractère vocal qui Une fois encore, le chœur semble devenir un en scène d’Abigaille à l’acte I affi rme d’emblée de Verdi c’est la manière stricte dont sont surviennent entre Abigaille et Lucia: dans élément du noyau expressif de l’opéra. son caractère vocal inhabituel, qui requiert contenus les ornements, ce qui donne à leur toutes les tessitures, la fermeté et le volume Toutefois, la nouveauté de Nabucco ne puissance dans le registre grave, agilité dans prolifération au point culminant de cet air même commencent à faire une avancée dans saurait se limiter à des numéros qui font l’aigu et une solide présence dramatique dans une énergie fascinante et une impression de la fl exibilité vocale, la nouvelle immédiateté appel au chœur, même si ces moments sont l’ensemble de l’ouvrage. Dans le contexte des mouvement en avant. Autrement dit, on ne et le “réalisme” du style de jeu allant de pair très impressionnants. Aucun compositeur de normes défi nies par Donizetti qui étaient en retrouve aucunement cette tendance propre avec une tendance à se livrer toujours plus cette époque n’aurait pu remporter un succès vigueur en 1842, selon lesquelles on avait à Donizetti qui consiste à sombrer dans des intensément à une déclamation véhémente aussi remarquable que Verdi sans apporter tendance à placer les sopranos dans la catégorie périodes rythmiques toujours plus lâches plutôt qu’à un bel canto sans heurts. Cela

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 46-4746-47 22/10/06/10/06 14:23:4514:23:45 ressort de façon très manifeste dans exploite la nouvelle gamme émotionnelle de Nabucco ne devrait pas rester éternellement 7 Lorsque Ismaël et Fenena sont seuls dans le l’émergence du baryton “verdien”, dont la voix masculine. Dans une merveilleuse immergé dans ces moments de nostalgie, temple, on apprend qu’ils s’aiment. 8 Abigaille Nabucco est le premier exemple. Dès sa scène, le roi frappé oscille d’un air égaré entre même si les doux contours de “Va, pensiero” entre, suivie de soldats babyloniens déguisés première entrée, Nabucco se caractérise deux modes très différents: la déclamation encourageront toujours de telles attitudes. Il y en Hébreux. 9 – 11 Abigaille est aussi tombée par une tessiture élevée, une tendance à la furieuse lorsqu’il s’insurge contre son destin, a beaucoup d’autres éléments caractéristiques amoureuse d’Ismaël au cours de la captivité déclamation intense et une absence relative d’une part; mais ensuite, dans une transition de l’opéra, beaucoup d’autres aspects par de ce dernier à Babylone et lui jette alors sa d’écriture ornementale : un animal très soudaine et répétée, c’est un aspect beaucoup lesquels il annonce l’émergence d’une nouvelle victoire à la face. Zaccharie entre en courant différent du mélodieux “basso cantante” plus doux qui survient lorsqu’il s’interroge sur présence vitale sur la scène lyrique italienne: 12 – 13 et Nabucco se rend aux portes du (basse chantante) à la mode vingt ans plus sa vulnérabilité avant de fi nir par s’évanouir. une voix qui allait se développer de façon temple. 14 Zaccharie menace de tuer Fenena, tôt. Le fi nale de la deuxième partie est Un mois après la mort de Verdi en 1901, remarquable au cours des quarante années mais Ismaël la sauve. 15 Nabucco ordonne probablement le plus grand moment de alors que le monde entier le considérait suivantes mais qui allait toujours conserver immédiatement la destruction du temple. Nabucco à cet égard. Le mouvement lent du comme le plus grand Italien de l’époque, quelque chose de cette énergie et de cette force fi nale, “S’appressan gl’istanti” (“L’heure de la une procession solennelle traversa Milan que Nabucco proclame avant tant d’insistance. Deuzième partie: L’impie colère fatale s’approche”) ne tire pas son effet accompagnée par un cortège funèbre de Les appartements du Palais royal à Babylone © 2006 Roger Parker d’une caractérisation individuelle (chacun plusieurs centaines de milliers de personnes 16 – 17 Abigaille, tourmentée par son amour des principaux rôles chante la même mélodie) qui assistèrent au transfert de ses cendres à sans retour pour Ismaël, découvre qu’elle mais d’une augmentation inexorable de la leur dernier lieu de repos, la Casa di Riposo, Synopsis est la fi lle d’esclaves. 18 Le Grand-Prêtre de complexité de la texture et de la puissance maison de retraite pour musiciens qu’il avait Baal survient et annonce que Fenena a libéré sonore. Mais ensuite Nabucco fait face à la fondée dans un élan philanthropique au cours COMPACT DISC ONE les Israélites. Il dit avoir déjà commencé à foule et se déclare non seulement son roi mais des dernières années de sa vie. Le départ de répandre la rumeur selon laquelle Nabucco son Dieu. La foudre s’abat sur lui pour ce la procession fut accompagné par le chœur 1 Ouverture aurait été tué au combat 19 et Abigaille décide blasphème et la foule murmure une réponse et l’orchestre de la Scala, qui poussèrent la Première partie: Jérusalem d’assumer elle-même le pouvoir. consternée. Les conventions lyriques italiennes foule à chanter “Va pensiero”. Le fait que ce À l’intérieur du Temple de Salomon, à Jérusalem auraient alors suggéré un mouvement chœur de Nabucco, écrit quelque soixante 2 – 6 Les prêtres et le peuple de Jérusalem Une salle du palais conclusif rapide; mais Verdi a plutôt opté ans plus tôt, put exprimer les sentiments des se lamentent sur la conquête de leur pays par 20 – 23 Les Juifs maudissent Ismaël pour avoir pour une scène de folie pour Nabucco. Dans Italiens de l’époque pour leur héros disparu les armées babyloniennes sous la conduite de trahi leur cause. le passé, de telles scènes étaient généralement montra à quel point la musique de Verdi avait Nabucco et de sa fi lle aînée supposée, Abigaille. l’apanage des sopranos (Lucia en constitue été assimilée dans la conscience nationale. Les Juifs ont capturé l’autre fi lle de Nabucco, 24 – 26 Abigaille est proclamée reine et est sur à nouveau l’exemple classique); mais Verdi Mais tout ceci s’est déroulé il y a un siècle. Fenena, et la gardent en otage. le point de se couronner elle-même lorsque

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 48-4948-49 22/10/06/10/06 14:23:4614:23:46 apparaît Nabucco qui lui arrache la couronne. entend une marche funèbre et voit sa fi lle Bayreuth, Munich, Turin, Vienne, Berlin Carlo (Ernani ), Balstrode (Peter Grimes) et 27 Nabucco se tourne vers la foule et se déclare Fenena conduite à son exécution. 11 Il prie (Staatsoper) et avec l’Orchestre symphonique Figaro (Le Barbier de Séville). Il a remporté non seulement roi, mais Dieu. Un coup de Jéhovah, le Dieu d’Israël, 12 et recouvre son de Chicago sous la direction de Solti; deux Grammies et sa prestation dans le rôle de tonnerre éclate et une force surnaturelle arrache équilibre mental; Adballo survient avec une Balstrode dans Peter Grimes (Festival Saito Falstaff à l’English National Opera lui a valu la couronne de son front. 28 Nabucco semble bande de soldats pour libérer son maître. 13 Ils Kinen au Japon, Opéra national de Paris- une nomination à l’Olivier Award pour ses devenu fou. Abigaille s’empare de la couronne se précipitent dehors pour sauver Fenena. Bastille, Vienne, Metropolitan Opera de “remarquables réalisations dans le domaine de et la place sur sa propre tête. New York, English National Opera, Teatro l’opéra”. Les jardins suspendus Comunale de Florence et Covent Garden); COMPACT DISC TWO 14 – 16 Alors que Fenena et les Israélites sont Sharpless (Madama Butterfl y) au Metropolitan Née à Birmingham, dans l’Alabama, Susan conduits vers la mort, Nabucco apparaît et la Opera, à Munich, Covent Garden, Cagliari, Patterson (Abigaille) est entrée à Samford Troisième partie: La prophétie statue du dieu tombe en ruines. 17 Nabucco Tokyo, Sumida et Pékin; Germont père University pour y travailler le piano, mais a Dans les jardins suspendus de Babylone leur demande à tous de ne louer que le seul dans La traviata (Covent Garden, English été encouragée à ajouter des études vocales 1 Abigaille victorieuse a été couronnée reine Dieu véritable, Jéhovah. 18 Abigaille (nous National Opera, Deutsche Oper Berlin); à sa formation. Elle a obtenu sa maîtrise à d’Assyrie. 2 Nabucco est introduit devant elle l’apprenons) a avalé un poison et, au moment Falstaff (English National Opera et Opéra de l’Université d’État de Floride et a travaillé 3 et Abigaille l’amène par la ruse à signer un de mourir, elle implore Dieu de lui accorder Norvège); le Forestier dans La Petite Renarde le chant avec Virginia Zeani à l’Université décret condamnant à mort tous les Hébreux. Son pardon. rusée (English National Opera, Scottish Opera, d’Indiana. Elle a reçu le titre d’Adler Fellow

4 – 5 Il réalise trop tard qu’il a été dupé et Festival de Spoleto et Scala) ainsi que Rigoletto à l’Opéra de San Francisco pour la saison Traduction: Marie-Stella Pâris qu’il a condamné à mort sa propre fi lle. 6 Il (English National et Canadian Opera à 1986/1987 avant de se faire un nom dans le implore en vain Abigaille de sauver Fenena. Toronto). monde de l’opéra en chantant La traviata dans Alan Opie (Nabucco) se produit souvent au Il a aussi créé Outis de Berio, dont il a cet établissement ainsi qu’au Welsh National Les rives de l’Euphrate Royal Opera House de Covent Garden, à chanté le rôle-titre à la Scala de Milan et au Opera. Depuis lors, elle a interprété ce rôle 7 Les esclaves hébreux déplorent leur captivité l’English National Opera, au Metropolitan Châtelet à Paris, Le Choix de Sophie de Maw à plus de cent cinquante fois. dans un chœur qui traduit leur désir nostalgique Opera de New York, à la Scala de Milan, Covent Garden sous la direction de Rattle et Susan Patterson a remporté un immense de retrouver leur patrie. 8 – 9 Zaccharie, le à l’Opéra d’État de Bavière à Munich, à Madame Mao de Sheng au Festival de Santa Fe. succès dans les rôles de Margarita et Helena du grand-prêtre, prophétise la chute de Babylone. l’Opéra d’État de Vienne et au Festival de Il a participé à une vingtaine d’enregistrements Mefi stofele de Boito et dans Rusalka de Dvorˇák, Glyndebourne. Parmi les rôles auxquels il intégraux d’opéras pour Chandos dans lesquels dans une nouvelle production d’Ernani Quatrième partie: L’idole brisée s’est le plus étroitement identifi é fi gurent il a incarné les rôles du Comte di Luna au Reisopera des Pays-Bas, dans Chimène Les appartements royaux Beckmesser dans Les Maîtres chanteurs de (Il trovatore), Enrico (Lucia di Lammermoor), (Le Cid), Mme de Tourvel (Les Liaisons 10 Nabucco, prisonnier dans son propre palais, Nuremberg, qu’il a chanté à Amsterdam, Tonio (Pagliacci ), Marcello (La Bohème), Don dangereuses) et Tosca à l’Opéra de Washington,

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 50-5150-51 22/10/06/10/06 14:23:4714:23:47 dans Mimì (La Bohème) et Aida à l’Opéra de New York (Giorgio dans Les Puritains et comme Giulini, Mehta, Muti, Chung, Masur, Au concert et en récital, Jane Irwin s’est de Baltimore, ainsi que dans Manon Lescaut Raimondo dans Lucia di Lammermoor), à Gergiev, Gardiner, Sir Colin Davis et avec les produite régulièrement en Grande-Bretagne, au Festival américain de Spoleto. Elle a aussi l’Opéra national de Paris-Bastille (Raimondo), plus prestigieux orchestres de la planète. Sa en Europe et aux États-Unis, faisant ses débuts chanté Donna Anna et les trois héroïnes des à Vienne (Philippe II dans Don Carlos, discographie dépasse à ce jour la cinquantaine à Carnegie Hall avec l’Orchestre symphonique Contes d’Hoffmann à l’Opéra de Philadelphie Zaccaria dans Nabucco, le Cardinal Brogni d’enregistrements, notamment Elias de de Pittsburgh sous la direction de Mariss ainsi que Magda (La Rondine) à l’Opéra- dans La Juive de Halévy, De Silva dans Ernani Mendelssohn, le Requiem de Verdi, Saul et Jansons. Elle a chanté les Lieder eines fahrenden Théâtre de Saint Louis. et Giorgio), à l’Opéra d’État de Bavière à Agrippina de Haendel. Dans la série Opera in Gesellen de Mahler aux Proms de la BBC et Elle s’est produite fréquemment à l’Opéra de Munich (rôle-titre de Saul ), à San Francisco English de Chandos, il a enregistré les rôles au Festival de Berlin, Lucrezia de Haendel San Francisco dans des rôles comme Angelica (Giorgio, Raimondo et Basilio dans Le Barbier de Méphisto (Faust), Ramfi s (Aida), Colline et la Messe du couronnement de Mozart avec (Orlando furioso de Vivaldi), Anne Trulove de Séville), à Amsterdam (Figaro dans (La Bohème) ainsi qu’un disque de grands airs l’Orchestre symphonique de San Francisco, la (The Rake’s Progress), Constanze (L’Enlèvement Les Noces de Figaro), au Teatro Real de d’opéra. Missa solemnis de Beethoven avec l’Orchestre au sérail), Fiordiligi (Così fan tutte) et Helena Madrid (Philippe II et Raimondo), à Palerme symphonique de Berlin, Le Chant de la terre de (Le Songe d’une nuit d’été ). En Europe, elle (Walter dans Luisa Miller), à Séville (Méphisto Jane Irwin (Fenena) a fait ses études à Mahler avec le Deutsches Symphonie-Orchester a chanté à la Scala de Milan dans Lodoïska dans Faust), à l’English National Opera (le l’Université du Lancaster et au Royal Northern Berlin et avec l’Orchestre philharmonique de de Cherubini, à l’Opéra néerlandais dans rôle-titre du Mefi stofele de Boito, Zaccaria, College of Music, où elle a bénéfi cié d’une la BBC. Le Comte Ory et Mitridate, à Aix-en-Provence De Silva et Ford dans Sir John in Love), ainsi bourse de la Peter Moores Foundation. Parmi Elle s’est produite avec l’Orchestre de Paris, où elle a incarné Constanze, ainsi qu’à l’Opéra qu’au Royal Opera de Covent Garden (Rodolfo les nombreux prix qu’elle a remportés fi gurent l’Orchestre philharmonique de Rotterdam, de Cologne et à l’Opéra-Comique à Paris dans dans La Somnambule, Elmiro dans Otello, le prix de chant du Concours international l’Orchestre symphonique de Seattle, l’Orchestre L’Occasion fait le larron. Frère Laurent dans Roméo et Juliette, Banquo d’exécution musicale de Genève en 1993 et le de chambre suédois, l’Orchestre national Dans la série Opera in English de dans Macbeth, et des versions de concert Prix Decca Kathleen Ferrier en 1991. d’Espagne, l’Orchestre symphonique de la radio Chandos, elle a enregistré les rôles d’Amelia du Dom Sebastien de Donizetti, également En 1995, elle a fait ses débuts au Royal fi nlandaise, l’Académie Sainte-Cécile de Rome (Un bal masqué ), Elvira (Ernani ) et Electra enregistrées par Opera Rara). Il a aussi incarné Opera House de Covent Garden où elle et a donné des récitals au Châtelet, à Paris, ainsi dans Idoménée. Ses autres enregistrements Méphistophélès dans La Damnation de Faust a chanté depuis Suzuki (Madama Butterfl y). qu’à Londres, Genève, Aix-en-Provence et au comprennent Le Comte Ory et Le Mariage en concert avec l’Orchestre symphonique de Au Scottish Opera, elle a chanté Suzuki, Japon. secret. Londres sous la direction de Sir Colin Davis à Maddalena (Rigoletto), Waltraute Londres et à New York. (Le Crépuscule des dieux), Fatima (Obéron Le jeune ténor italo – américain Leonardo Alastair Miles (Zaccaria) est reconnu dans le Il mène une très brillante carrière de de Weber) et Thea (The Knot Garden de Capalbo (Ismaele) est déjà couvert de louanges monde entier comme l’une des grandes voix concertiste qui l’a conduit dans le monde Tippett). A l’English National Opera, elle par la critique internationale. Il a fait ses études de basse. Il a chanté au Metropolitan Opéra entier pour chanter avec des chefs d’orchestre a interprété Brangäne (Tristan et Isolde). à la Juilliard School of Music de New York, à la

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 52-5352-53 22/10/06/10/06 14:23:4714:23:47 Music Academy of the West à Santa Barbara, tenu des rôles comme Micäela (Carmen), Diane enchantée) au Scottish Opera, Colline, récemment Isacco (La Pie voleuse), avant en Californie, et à l’Académie musicale de (Iphigénie en Tauride) et Laura (Yolantha). M. Ratcliffe (Billy Budd) et Angelotti de quitter cette troupe en 2004. Il s’est Villecroze en France. Parmi les rôles qu’il a Ses autres engagements récents lui ont permis (Tosca) au Welsh National Opera. Au Royal maintenant affi rmé comme un professeur de chantés fi gurent Dino Corelli (A Wedding de chanter Anna (Nabucco) à l’Opera North, Opera, il a interprété un certain nombre de chant et répétiteur vocal très recherché. de Bolcom), Fadinard (Il cappello di paglia di Tatiana (Eugène Onéguine) à l’Opera Holland seconds rôles. Parmi ses enregistrements, Firenze de Rota), Lenski (Eugène Onéguine) Park et Anna (Le villi) à l’Opéra de Chelsea. on peut citer Masetto (Don Giovanni ) chez Opera North est la companie lyrique nationale et Rodolfo (La Bohème), ainsi que Macduff Camilla Roberts s’est produite au Queen Chandos Records et Duca d’Argile (Prigione anglaise basée dans le nord du pays et l’une (Macbeth) à l’Opera Holland Park. Elizabeth Hall, à St John’s Smith Square et d’Edimborgo) chez Opera Rara. des grandes institutions artistiques d’Europe. Leonardo Capalbo a fait ses débuts à St David’s Hall. Elle a fait des tournées La companie travaille au plus haut niveau et européens à l’opéra en 2004 dans Paco de La en Australie et en Nouvelle-Zélande et son Paul Wade (Abdullah) est né à Huddersfi eld, cherche à passionner, stimuler et divertir. Ses Vie brève de Manuel de Falla à l’Opera North, répertoire de concert comprend le Requiem de où il a fait ses études avant d’aller au Royal tournées l’entraînent non seulement dans le nord où il a été réinvité pour y chanter Luigi Verdi ainsi que la Sea Symphony de Vaughan College of Music de Londres. Il est entré de l’Angleterre et à Londres mais aussi dans les (Il tabarro), Ismaele (Nabucco), Narraboth Williams. Parmi ses enregistrements fi gure un à l’English Opera Group où il a chanté théâtres européens comme ceux de Prague ou (Salomé) et Juan (Der Kuhhandel de Kurt CD d’airs viennois avec le Royal Philharmonic beaucoup d’opéras de Britten et avec lequel Barcelone; Opera North participe aux grands Weill). Il s’est aussi produit à l’Opéra d’Israël Orchestra. il est parti en tournée en Australie, où il a festivals internationaux comme Edimbourg (Alfredo dans La traviata). interprété les Church Parables. et Ravenne. Son approche novatrice de la Dean Robinson (Gran Sacerdote) est né et a Il a chanté dans tous les grands festivals programmation et de l’interprétation lui a valu Camilla Roberts (Anna) est née à Wrexham. fait ses études en Australie avant de s’installer européens, à l’Opéra de San Francisco, à de remporter de nombreux prix prestigieux, Diplômée de la Guildhall School of Music and au Royaume-Uni pour poursuivre sa formation Covent Garden, au Welsh National Opera et a dont quatre pour sa saison de 2004 intitulée Drama, elle a ensuite suivi le Guildhall Opera vocale au Royal Northern College of Music fait ses débuts à l’English National Opera dans Eight Little Greats (Royal Philharmonic Society Course, étudiant avec Laura Sarti, grâce au de Manchester. Il y a reçu plusieurs prix et le rôle de Monostatos (La Flûte enchantée). Opera and Music Theatre Award, The South mécénat de l’Arts Council du Pays de Galles distinctions honorifi ques, notament le prix Il est entré dans la troupe d’Opera North Bank Show Opera Award, the TMA Theatre et du Countess of Munster Trust. Le Welsh d’opéra Robin Kaye et plusieurs distinctions de dès sa création et y a interprété plus de Award for Outstanding Achievement in Opera, National Opera lui a permis de compléter ses la Peter Moores Foundation. quarante rôles, notamment le Narrateur the Manchester Evening News Theatre Award études par la suite au London’s National Opera Parmi ses engagements lyriques fi gurent (L’Opéra de quat’ sous), le Dancaïre (Carmen), for Opera). Studio. En juin 2004, Camilla Roberts a Pluto (Orfeo), Passauf lors de la création M. Léonard (Masquarade), Frère Paul (La Opera North est une organisation pleine remporté la Welsh Singers Competition. mondiale de Dr Ox’s Experiment et Colline Duègne, qu’il a également enregistrée chez de vie et d’énergie qui n’hésite pas à remettre En 2003, elle a intégré la troupe du Welsh (La Bohème) à l’English National Opera, Chandos), Monostatos, Bardolph (Falstaff ), en question une vision conventionnelle de National Opera comme artiste associée. Elle y a Sparafucile (Rigoletto) et Sarastro (La Flûte Guillot de Morfontaine (Manon) et très l’opéra. Insuffl ant une vie nouvelle aux grands

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 54-5554-55 22/10/06/10/06 14:23:4814:23:48 classiques de l’opéra, la companie se fait aussi Philharmonic Orchestra. C’est avec Così d’opéra (avec Sir Thomas Allen, Bruce Ford, Don Giovanni, Don Pasquale, L’elisir d ’amore, le défenseur d’œuvres moins connues et du fan tutte qu’il fi t ses débuts au Festival de Alan Opie, Diana Montague, Dennis O’Neill, Lucia di Lammermoor, Ernani, Il trovatore, théâtre musical. Opera North collabore avec Glyndebourne en 1996, une scène qu’il Alastair Miles, Yvonne Kenny, John Tomlinson, Aida, Faust, Cavalleria rusticana, Pagliacci, des artistes et des companies issus de médias retrouva en 1998 pour diriger la création Barry Banks, Della Jones et Andrew Shore) de La bohème, Turandot, l’enregistrement primé les plus divers, comme le cinéma et les arts mondiale de Flight de Jonathan Dove. même que Fidelio, The Flying Dutchman, de Tosca et des extraits de Der Rosenkavalier, plastiques. Son Choeur et son Orchestre Il séjourne fréquemment en Espagne où The Marriage of Figaro, A Masked Ball, tous ces enregistrements étant réalisés en fort talentueux se produisent également il a dirigé en concert la plupart des grands Idomeneo, Carmen, The Thieving Magpie, collaboration avec la Peter Moores Foundation. indépendamment et cherchent sans cesse à orchestres espagnols. C’est lui qui dirigea la se renouveler musicalement parlant. Opera première espagnole de Peter Grimes à Madrid North Education est un organisme fort estimé et en 1996 la première production espagnole dans le pays pour son travail éducatif dans de The Rake’s Progress. Il a dirigé en Allemagne, le domaine artistique, utilisant l’opéra pour en Suisse, aux Pays-Bas, au Festival de Pesaro inspirer et développer la création artistique en Italie, au Festival international de Hong- dans l’ensemble de la communauté. Kong, au Japon pour une tournée de Carmen et au Mexique avec l’Orchestre symphonique Après avoir étudié avec Sergiu Celibidache, David d’UNAM. Il a récemment dirigé plusieurs Parry commença sa carrière comme assistant de nouvelles productions dont Fidelio au Festival Sir John Pritchard. Il fi t ses débuts avec l’English de Nouvelle-Zélande, Lucia di Lammermoor Music Theatre avant de devenir l’un des chefs avec le New Israeli Opera et Don Giovanni a d’orchestre au Städtische Bühnen à Dortmund et l’Opéra d’état de Hannover. à Opera North. Directeur musical d’Opera 80 de En studio, il a participé entre autres à la 1983 à 1987, il est directeur musical d’Almeida production de la BBC Television de Der Opera depuis sa fondation en 1992. Vampyr de Marschner, dirigeant aussi vingt- Sa carrière, nationale et internationale, est huit intégrales d’opéras fi nancées par la Peter extrêmement remplie, aussi bien sur la scène Moores Foundation. Plusieurs de ces intégrales lyrique qu’en concert. Il a dirigé plusieurs furent enregistrées pour Opera Rara et primées, productions de l’English National Opera et Rosmonda d’Inghilterra de Donizetti recevant en de l’Opera North et collabore régulièrement Belgique le Prix Cecilia. Pour Chandos, David avec le Philharmonia Orchestra et le London Parry a dirigé une série d’enregistrements d’airs

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 56-5756-57 22/10/06/10/06 14:23:4814:23:48 On session: David Parry On session: Alastair Miles

CCHANHAN 3136(2)3136(2) Book.inddBook.indd 58-5958-59 22/10/06/10/06 14:23:4914:23:49 “Va, pensiero” fosse considerato un pezzo Zaccaria li rincuora, infondendo in loro La nuova voce dell’opera italiana particolarmente apprezzato dal pubblico dei un nuovo spirito bellicoso. Sebbene l’opera primi allestimenti o che fosse un momento italiana di quel periodo iniziasse quasi sempre Nabucco, allestito per la prima volta al Teatro vantaggio anche dallo status iconico che musicale determinante per Verdi. D’altra con un coro di apertura, questo è simile a alla Scala di Milano il 9 marzo 1842, fu l’inno più famoso del Nabucco, il coro degli parte, non esistono invece dubbi sul fatto che pochi. Le generazioni precedenti avevano un evento cruciale non solo nella carriera schiavi ebrei “Va, pensiero”, stava iniziando Nabucco fu in effetti un momento cruciale. ascoltato cortigiani chiacchieroni e vassalli di Verdi, ma in tutta la sua vita. Sebbene ad acquisire in un’Italia da poco unita e alla In termini professionali, riuscì a piazzare adulatori in abbondanza, ma qui si assiste a un preceduto da altre due opere – la prima ricerca affannosa di monumenti nazionali e fermamente Verdi su un gradino più alto, canovaccio ben più grandioso. Il coro ricava (Oberto, Conte di San Bonifacio) ebbe un di altro materiale simbolico. Per questo, le in particolare quando fu riproposto alla gran parte del suo effetto dall’alternarsi di moderato successo; la seconda (Un giorno storie che raccontava sul Nabucco si riferivano Scala nella stagione autunnale del 1842, gruppi contrastanti: un popolo terrorizzato, un di regno) si rivelò invece un fallimento costantemente a una crisi compositiva che proseguendo per un numero record di gruppo di Leviti in preghiera, un altro gruppo disastroso – Nabucco fu, secondo quanto avrebbe fatto seguito a Un giorno di regno, un 57 spettacoli. Verdi non avrebbe mai più di vergini supplicanti; tutti sono presentati tenne a ricordare trent’anni dopo nelle sue periodo in cui Verdi rifi utò qualsiasi offerta avuto incertezze sulla provenienza di future con un’immediatezza e una schiettezza che memorie lo stesso compositore, “un vero di lavoro. Il libretto dell’opera gli fu mostrato, commissioni, particolarmente quando l’opera all’epoca deve essere sembrata alquanto brutale. inizio”: il momento in cui Verdi trovò la però, proprio quando si trovava nel colmo iniziò a circolare con rapidità in tutta Italia, Egualmente importante è, tuttavia, la risposta sua vera voce e iniziò a comunicare la sua della disperazione e fu allora che le parole di riscontrando un livello di successo solitamente di Zaccaria che, nonostante sia proposta nel visione, unica e originale, dell’opera italiana. “Va, pensiero” gli apparsero in modo quasi paragonabile a quello di Milano. Quindi, solito stile di un’aria in due movimenti, si Naturalmente, le sue memorie – prodotte magico, riconducendolo verso la composizione nonostante la notevole diffi denza riguardo avvicina di più a un dinamico dialogo con quando il compositore era già una fi gura nota attraverso l’idea di un coro. Il resto, si sa, a ciò che Nabucco diventò sul fi nire del le masse che lo circondano. In entrambi i a livello internazionale e diffuse ampiamente appartiene ormai alla storia. diciannovesimo secolo, la domanda importante movimenti, il coro si intromette in maniera dai giornalisti che ora gli si raccoglievano Tuttavia, la realtà non era così semplice. è la seguente: cosa portò il pubblico nel 1842 risoluta nel suo assolo, invadendo lo spazio attorno e lo tartassavano con richieste di Dopo Un giorno di regno ci fu davvero una ad ascoltare quest’opera? Cosa aveva di nuovo di Zaccaria, assumendo il controllo della sua interviste – avevano in gran parte un fi ne sorta di vuoto nella carriera compositiva di e di particolare la personalità musicale di Verdi? melodia e rendendola parte del proprio mondo ben preciso. Per Verdi era importante, in Verdi, ma si trattò di un vuoto occupato Una risposta è offerta nella prima parte espressivo. età avanzata, dare un’immagine di se stesso in parte da un revival di Oberto. E fu lo dell’opera, che ha luogo all’interno del tempio Più avanti nell’opera, questa sensazione come di un “uomo che si è fatto da sé”: una stesso Verdi a incoraggiarlo con entusiasmo, di Solomone. L’esercito babilonese è arrivato di una nuova “voce” corale viene sviluppata personalità diventata celebre in seguito a un offrendo alcuni pezzi nuovi e importanti a Gerusalemme ed è stazionato alle porte del ulteriormente, per esempio in “Coro e periodo di relativa oscurità e di un’intensa per solisti famosi. Per di più, all’arrivo del tempio. Il popolo israeliano lamenta la sua Profezia”, nella terza Parte, che mostra come lotta interiore. Inoltre, desiderava trarre Nabucco, non esistono prove sul fatto che triste sorte nel coro d’apertura, ma il profeta Verdi fosse in grado di unire elementi corali

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 60-6160-61 22/10/06/10/06 14:23:5014:23:50 e solistici in unità di scena avvincenti. La fatto che in questo Verdi era stato, dall’inizio erano caratteristiche inusuali. Cosa ancora più subordinare l’abbellimento, limitandolo in scrittura corale di “Va, pensiero”, che dà della sua carriera, incredibilmente originale importante, però, è l’aria completa che Verdi periodi strettamente controllati. Tali esempi, inizio alla scena, è altamente originale e risulta spesso oscurato dalla concentrazione compose per Abigaille all’inizio dell’Atto II. che potrebbero essere facilmente moltiplicati, sembra di nuovo imporre un nuovo status per sugli elementi corali, e ora merita qualche Nella sua esteriorità formale, questa frase dimostrano almeno in parte come quell’energia le masse (con preveggenza Rossini lo defi nì rifl essione. Un ottimo esempio ne è il suo sembra attenersi più o meno alle direttive così tipica delle prime opere di Verdi venisse “non tanto un coro quanto una grande aria inedito trattamento del personaggio di donizettiane, con un formato a movimento creata: attraverso un consolidamento della cantata da soprani, contralti, tenori e bassi”); Abigaille nel Nabucco, un ruolo che pare fosse multiplo convenzionale, spostandosi da forma accompagnato a un’intensifi cazione del ma la sua vena gentile e nostalgica è poi stato creato per il soprato tedesco Sophie un movimento lirico lento a una cabaletta contenuto espressivo. duramente contrastata dall’energica profezia Loewe, e che fu invece interpretato alla più energetica. Ma all’interno si verifi cano I cambiamenti nel carattere vocale tra di Zaccaria che ne fa seguito, e in particolare prima da Giuseppina Strepponi, destinata a cambiamenti decisivi. Dopo un intenso Abigaille e Lucia possono essere ritrovati dalla sua cabaletta di chiusura, in cui alle diventare presto la compagna del compositore, recitativo, i pensieri di Abigaille si volgono anche in altri protagonisti vocali del Nabucco: forze nemiche viene promesso un destino rimanendolo per tutta la vita. Ispirato all’amore in “Anch’io dischiuso un giorno”, in tutte le estensioni, robustezza e volume violento. Qui, però, l’aspetto più importante soprattutto dal particolare talento della Loewe un movimento lento notevolmente adornato iniziarono a far incursione nella fl essibilità è dato dall’intimo collegamento delle due (Strepponi apparse più tardi sulla scena), con fi oriture vocali aggiunte al termine di della voce, mentre la nuova immediatezza parti della scena attraverso idee ritmiche e Verdi inventò in Abigaille un nuovo tipo di ognuna delle frasi a due battute. Ma gli e il “realismo” nello stile della recitazione si melodiche condivise: fanno, in questo senso, soprano drammatico italiano. ornamenti sono, nel caso tipico di Verdi, associavano a una tendenza ad abbandonarsi parte dello stesso messaggio musicale, ognuna Il recitativo accompagnato che introduce strettamente contenuti, conferendo loro, al ancora più intensamente in un’ardente guadagnando forza dalla sua vicinanza con Abigaille nell’Atto I impone immediatamente punto culminante, un’energia irresistibile e un declamazione, piuttosto che in un bel l’altra. Di nuovo, il coro sembra diventare il suo insolito carattere vocale, che richiede senso di movimento in progresso. Non vi è, in canto. Ciò può essere verifi cato soprattutto parte del centro espressivo dell’opera. potenza nel registro più basso, agilità sul altre parole, nulla della tendenza donizettiana nell’emergere del baritono “verdiano”, di cui Tuttavia, la novità del Nabucco non può pentragramma e una presenza fortemente a spostarsi in periodi ritmici ancora più lenti quest’opera è il primo esempio. Nabucco essere limitata a frasi in cui il coro è presente, drammatica dal principio alla fi ne. Nel man mano che l’aria procede e diventa più è caratterizzato, già dalla sua entrata, da indipendentemente dall’incredibile qualità contesto delle norme donizettiane, in fi orita. La cabaletta “Salgo già del trono aurato” un’alta tessitura, una tendenza verso la di questi momenti. Nessun compositore di vigore nel 1842 e in base alle quali i soprani è ancora più radicale da questo punto di vista. declamazione intensa e un’assenza relativa questo periodo avrebbe potuto riscontrare il tendevano a essere posti nella categoria Ritorna al tono vigoroso del recitativo e, ora di composizione ornamentale: molto diverso grande successo di Verdi senza comporre in di “donne deperite”, ed erano soprattutto in un contesto molto più dinamico, di nuovo dal soave “basso cantante” di venti anni maniera nuova e all’avanguardia per la voce apprezzati per il loro liricismo delicato e riesce a controllare l’aspetto ornamentale prima. Da questo punto di vista, il fi nale solista, che rimaneva al centro del modo di voli di una coloratura stravagante (Lucia di della musica. Anziché “dissolversi” alla fi ne dell’Atto II è probabilmente il momento più comunicare dell’opera al suo pubblico. Il Lammermoor ne è un caso classico), queste in una virtuosità vocale, l’aria continua a importante del Nabucco. Il movimento lento

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 62-6362-63 22/10/06/10/06 14:23:5014:23:50 del fi nale, “S’appressan gl’istanti”, ottiene il accompagnando le sue spoglie nella Casa di Sinossi Parte II: L’empio suo effetto non tanto dalla caratterizzazione Riposo, la residenza per musicisti in pensione La reggia di Babilonia individuale (ognuno dei personaggi canta la che il compositore aveva costruito in tarda COMPACT DISC ONE 16 – 17 Abigaille, tormentata dal suo amore stessa melodia) quanto piuttosto dall’aumento età come monumento fi lantropico. L’inizio non corrisposto per Ismaele, scopre di essere inesorabile in fatto di complessità strutturale della processione fu segnato dall’orchestra e fi glia di schiavi. 18 Il gran sacerdote di Belo 1 Sinfonia acustica. Ma poi Nabucco affronta la folla e dal coro della Scala, che incoraggiò la folla a arriva con la notizia che Fenena sta liberando Parte I: Gerusalemme si dichiara non solo il loro re ma anche il loro cantare “Va, pensiero”. E il fatto che questo tutti gli schiavi Ebrei. Dice di aver già iniziato All’interno del Tempio di Salomone a Dio. Una blasfemia punita da un fulmine che coro, composto circa sessant’anni prima, fosse a spargere la voce che Nabucco è stato ucciso Gerusalemme lo colpisce, tra i mormorii scioccati della folla. in grado di esprimere il sentimento degli in battaglia e 19 Abigaille decide di salire lei 2 – 6 I sacerdoti e il popolo di Gerusalemme La convenzione operistica italiana avrebbe poi italiani contemporanei per la morte del loro stessa sul trono. lamentano la conquista della loro patria da parte suggerito un veloce movimento conclusivo; eroe dimostrò fi no a che livello la musica dell’esercito babilonese guidato da Nabucco invece Verdi optò per una scena di pazzia per di Verdi era stata assimilata nella coscienza Una stanza nel palazzo e da Abigaille, supposta fi glia maggiore di Nabucco. Scene simili erano state, in passato, nazionale. Ma questo successe cento anni 20 – 23 Ismaele viene maledetto dagli Ebrei per quest’ultimo. Gli Ebrei hanno catturato un’altra dominio tipico dei soprani (Lucia ne è di fa e, nonostante i contorni gentili di “Va, aver tradito la loro causa. fi glia di Nabucco, Fenena, e la tengono come nuovo un caso classico), ma Verdi sfrutta la pensiero” incoraggeranno sempre un tale ostaggio. nuova estensione emotiva della voce maschile. modo di pensare, il Nabucco non dovrebbe 24 – 26 Abigaille viene dichiarata regina e sta In una scena meravigliosa, il re colpito si rimanere per sempre avvolto in un momento per porsi sul capo la corona, quando giunge muove distrattamente tra due modalità molto nostalgico. L’opera, in realtà, possiede 7 Quando Ismaele e Fenena vengono lasciati Nabucco e gliela toglie dalle mani. 27 Nabucco diverse: da un lato, una furiosa declamazione, moltissime altre qualità e annuncia in molti soli nel tempio, veniamo a sapere che i due si gira verso la folla e si dichiara non solo che lo porta a inveire contro il suo destino; ma altri modi l’emergere di una nuova, vitale sono innamorati. 8 Giunge Abigaille, al re, ma anche dio. Un fulmine improvviso lo poi, in una transizione improvvisa e ripetuta, presenza nella scena operistica italiana: una comando di soldati babilonesi travestiti da colpisce e una forza soprannaturale gli fa cadere ecco emergere un lato molto più soave, che voce che si sarebbe sviluppata ulteriormente Ebrei. 9 – 11 Anch’essa si è innamorata la corona dal capo. 28 Nabucco sembra come lo porta ad analizzare la sua vulnerabilità e, nei quarant’anni seguenti, ma che avrebbe di Ismaele durante la prigionia di questi impazzito. Abigaille si pone sul capo la corona. fi nalmente, a svanire. sempre mantenuto parte di quell’energia e di a Babilonia, e ora lo schernisce con la sua Un mese dopo la scomparsa di Verdi, nel quella potenza che Nabucco manifesta con vittoria. Arriva Zaccaria 12 – 13 e Nabucco COMPACT DISC TWO 1901, in un periodo in cui era considerato così grande risoluzione. irrompe alle porte del tempio. 14 Zaccaria universalmente come il più grande italiano minaccia di uccidere Fenena, ma la giovane Parte III: La profezia vivente, una solenne processione di centinaia © 2006 Roger Parker viene salvata da Ismaele. 15 Nabucco ordina Orti pensili nella reggia di Babilonia di migliaia di persone attraversò Milano Traduzione: Emanuela Guastella immediatamente la distruzione del tempio. 1 Abigaille, vittoriosa, è stata incoronata

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 64-6564-65 22/10/06/10/06 14:23:5114:23:51 Regina di Assiria. 2 Nabucco viene portato (veniamo a sapere) si è avvelenata e, morente, Si è esibito anche in occasione delle prime cantando La traviata sia per loro che per la al suo cospetto 3 e Abigaille lo convince con chiede perdono a Dio. mondiali di Outis di Berio, in cui ha interpretato Welsh National Opera. Da allora ha interpretato l’inganno a fi rmare un decreto che condanna a il ruolo di protagonista sia al Teatro alla Scala il ruolo più di 150 volte. Traduzione: Emanuela Guastella morte tutti gli Ebrei. 4 – 5 Nabucco si rende di Milano che allo Châtelet di Parigi; Sophie’s Susan Patterson è stata molto acclamata per la conto troppo tardi di essere stato ingannato e Choice di Maw a Covent Garden, sotto la sua interpretazione dei ruoli di Margarita/Helena di aver condannato a morte anche sua fi glia. Alan Opie (Nabucco) si esibisce con frequenza direzione di Rattle; e Madame Mao di Sheng al nel Mefi stofele di Boito, Rusalka di Dvorˇák; una 6 Invano implora la salvezza di Fenena. in teatri come Royal Opera House, Covent Santa Fe Festival. nuova produzione di Ernani con la Reisopera in Garden, English National Opera, Metropolitan, Ha contribuito a circa venti incisioni Olanda; Chimène (Le Cid ), Mme. de Tourvel Le sponde dell’Eufrate Teatro alla Scala, Bayerische Staatsoper di operistiche complete per Chandos, interpretando (Dangerous Liaisons) e Tosca con la Washington 7 Gli schiavi Ebrei lamentano la loro prigionia Monaco, Vienna State Opera e il Glyndebourne i ruoli di Luna (Il trovatore), Enrico (Lucia di Opera; Mimì (La Bohème) e Aida con la in un coro in cui invocano la loro patria Festival. Tra i ruoli interpretati fi gurano Lammermoor), Tonio (Pagliacci), Marcello Baltimore Opera; e Manon Lescaut allo Spoleto lontana. 8 – 9 Zaccaria, il gran sacerdote, Beckmesser in Die Meistersinger von Nürnberg, (La Bohème), Don Carlo (Ernani), Balstrode Festival USA. Ha interpretato anche Donna profetizza la caduta di Babilonia. che ha cantato ad Amsterdam, Bayreuth, (Peter Grimes) e Figaro (The Barber of Seville). Anna e le tre eroine in Les Contes d’Hoffmann, Monaco, Torino, Vienna, Berlino (State Opera) Ha vinto due premi Grammy e ha ricevuto una con la Opera Company of Philadelphia, e Magda Parte IV: L’idolo infranto e con la Chicago Symphony Orchestra, sotto nomination all’Olivier Award nella categoria (La rondine) con Opera Theatre of Saint Louis. La reggia la direzione di Solti; Balstrode in Peter Grimes “Outstanding achievement in opera” per la sua Si è esibita frequentemente con la San 10 Nabucco, prigioniero nel proprio palazzo (Saito Kinen Festival, Giappone, Opéra Bastille performance in Falstaff con la English National Francisco Opera in ruoli come Angelica reale, ode una marcia funebre e vede la fi glia di Parigi, Vienna, Metropolitan, English Opera. (Orlando furioso di Vivaldi), Anne Trulove Fenena mentre viene condotta sul luogo National Opera, Teatro Comunale di Firenze (The Rake’s Progress), Constanze (The Abduction dell’esecuzione. 11 Prega Geova, Dio di Israele, e Covent Garden); Sharpless (Madama Butterfl y) Nata a Birmingham, in Alabama, Susan from the Seraglio), Fiordiligi (Così fan tutte) 12 e risavisce. Abdallo arriva con un gruppo di al Metropolitan e a Monaco, Covent Garden, Patterson (Abigaille) ha studiato pianoforte e Helena (A Midsummer Night’s Dream). In soldati per liberare il suo re. 13 Si precipitano Cagliari, Tokyo, Sumida e Beijing; Germont presso la Samford University, dove fu Europa, ha cantato al Teatro alla Scala di Milano tutti a salvare Fenena. père in La traviata (Covent Garden, English incoraggiata ad aggiungere anche studi vocali in Lodoïska di Cherubini; con la Netherlands National Opera, Deutsche Oper Berlin); Falstaff al suo programma. Conseguito un master alla Opera in Le Comte Ory e Mitridate; in Aix- Orti pensili (English National Opera e Norwegian Opera); Florida State University, ha studiato canto con en-Provence nel ruolo di Constanze; e con la 14 – 16 Fenena e gli Ebrei stanno per essere Forester in The Cunning Little Vixen (English Virginia Zeani all’Indiana University. La San Cologne Opera e Paris Opéra-Comique in condotti a morte quando arriva Nabucco e la National Opera, Scottish Opera, Festival di Francisco Opera le ha assegnato il prestigioso L’occasione fa il ladro. statua del dio cade rompendosi. 17 Nabucco li Spoleto e Teatro alla Scala) e Rigoletto (English titolo di Adler Fellow per la stagione 1986/87 Come parte della serie Opera in English di invita a lodare un solo Dio, Geova. 18 Abigaille National e Canadian Opera, Toronto). e in seguito si è distinta nel mondo dell’opera Chandos ha inciso i ruoli di Amelia (A Masked

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 66-6766-67 22/10/06/10/06 14:23:5214:23:52 Ball ), Elvira (Ernani) ed Electra in Idomeneo. Londra e New York con la London Symphony Per la English National Opera ha interpretato L’Academie Musicale de Villecroze in Francia. Altre incisioni includono Le Comte Ory e Orchestra e Sir Colin Davis. Brangäne (Tristan und Isolde). Ruoli passati includono Dino Corelli Il matrimonio segreto. Una carriera concertistica di grande Jane Irwin si è esibita frequentemente (A Wedding di Bolcom), Fadinard (Il cappello successo gli ha permesso di esibirsi in tutto il in Europa e in America come interprete di paglia di Firenze di Rota), Lenski (Eugene Alastair Miles (Zaccaria) è riconosciuto a livello mondo con direttori come Giulini, Mehta, concertistica e di recital, debuttando alla Onegin), Rodolfo (La Bohème) e Macduff internazionale come uno dei migliori bassi del Muti, Chung, Masur, Gergiev, Gardiner e Sir Carnegie Hall con la Pittsburgh Symphony (Macbeth) per Opera Holland Park. mondo. Si è esibito alla Metropolitan Opera Colin Davis, oltre che con le orchestre più diretta da Mariss Jansons. Ha interpretato Leonardo Capalbo ha fatto il suo debutto House (Giorgio in I Puritani e Raimondo in prestigiose. Attualmente la sua discografi a Lieder eines fahrenden Gesellen di Mahler ai operistico in Europa nel 2004, interpretando Lucia di Lammermoor); all’Opéra National de vanta oltre cinquanta incisioni, tra cui Elijah BBC Proms e al Festival di Berlino, Lucrezia Paco in La vida breve di De Falla, per Opera Paris-Bastille (Raimondo); a Vienna (Philip II di Mendelssohn, Requiem di Verdi, e Saul di Handel e La Messa dell’Incoronazione North, ritornandovi per esibirsi poi nei ruoli nel Don Carlos, Zaccaria nel Nabucco, Cardinal e Agrippina di Handel. Per la serie Opera in di Mozart con la San Francisco Symphony, di Luigi (Il tabarro), Ismaele (Nabucco), Brogni in La Juive di Halévy, de Silva in Ernani, English di Chandos ha inciso Mephistopheles Missa Solemnis di Beethoven con l’Orchestra Narraboth (Salome) e Juan (Der Kuhhandel di e Giorgio); alla Bayerische Staatsoper, Monaco (Faust), Ramfi s (Aida), Colline (La Bohème) e Sinfonica di Berlino, Das Lied von der Erde di Weill). Si è esibito anche con la Israeli Opera (nel ruolo di protagonista in Saul ); a San un disco di Grandi Arie Operistiche. Mahler per la Deutsche Symphonie-Orchester (Alfredo in La traviata). Francisco (Giorgio, Raimondo e Basilio in Berlin e con la BBC Philharmonic. Il barbiere di Siviglia); ad Amsterdam (Figaro Jane Irwin (Fenena) ha studiato presso la Ha collaborato con Orchestre de Paris, Camilla Roberts (Anna) è nata a Wrexham, in Le nozze di Figaro); al Teatro Real di Madrid Lancaster University e il Royal Northern Rotterdam Philharmonic, Seattle Symphony, nel Galles. Diplomatasi presso la Guildhall (Philip II e Raimondo); a Palermo (Walter College of Music, dove ha ricevuto una borsa Swedish Chamber Orchestra, Orchestra School of Music and Drama, ha poi frequentato in Luisa Miller); a Siviglia (Mephistopheles di studio della Peter Moores Foundation. Tra i Nazionale Spagnola, Finnish Radio Symphony, il Guildhall Opera Course, studiando con in Faust); con la English National Opera (nel tanti premi che le sono stati assegnati fi gurano Accademia di Santa Cecilia di Roma. Si è Laura Sarti, grazie a una sponsorizzazione degli ruolo di protagonista nel Mephistopheles di il Singers’ Competition del 1993, al Concorso inoltre esibita in recital allo Châtelet di Parigi, enti The Arts Council of Wales e Countess of Boito, Zaccaria, de Silva e Ford in Sir John in Internazionale di Ginevra, e il Premio Decca oltre che a Londra, Ginevra, Aix-en-Provence e Munster Trust. Ha poi compiuto studi ulteriori Love); e presso la Royal Opera, Covent Garden Kathleen Ferrier del 1991. Giappone. presso il National Opera Studio di Londra, con (Rodolfo in La Sonnambula, Elmiro in Otello, Ha debuttato alla Royal Opera House nel un fi nanziamento della Welsh National Opera. Frère Laurent in Roméo et Juliette, Banquo in 1995, interpretandovi poi il ruolo di Suzuki Il giovane tenore italo – americano Leonardo Nel giugno 2004 Camilla Roberts ha vinto il Macbeth e in performance concertistiche del (Madama Butterfl y). Per la Scottish Opera ha Capalbo (Ismaele) si è già guadagnato le lodi concorso “Welsh Singers”. Dom Sebastien di Donizetti, inciso anche per interpretato Suzuki, Maddalena (Rigoletto), della critica internazionale. Ha studiato presso Nel 2003 è entrata a far parte della Welsh Opera Rara); e nel ruolo di Mephistopheles Waltraute (Götterdämmerung), Fatima (Weber’s la Juilliard School of Music, la Music Academy National Opera in qualità di Artista Associato, in La Damnation de Faust, in concerti tenuti a Oberon) e Thea (The Knot Garden di Tippett). of the West a Santa Barbara, in California, e interpretando ruoli come Micäela (Carmen),

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 68-6968-69 22/10/06/10/06 14:23:5214:23:52 Diane (Iphigenie en Tauride) e Laura (Iolanta). Budd) e Angelotti (Tosca) per Welsh National Opera North è la compagnia lirica di comunicazione diversi, tra cui fi lm e Altri impegni recenti includono Anna Opera. Per la Royal Opera ha interpretato dell’Inghilterra del nord e una delle principali arte visiva. Il versatile Coro e l’Orchestra (Nabucco) per Opera North, Tatyana (Eugene numerosi ruoli secondari. Tra le sue incisioni, organizzazioni artistiche europee, impegnata della compagnia si esibiscono in maniera Onegin) per Opera Holland Park, e Anna Masetto (Don Giovanni) per Chandos e Duca al massimo nell’allestimento di opere di indipendente e rinnovano costantemente (Le villi) per Chelsea Opera. d’Argile (Prigione d’Edimborgo) per Opera stimolare, interessare e intrattenere. Oltre a il proprio approccio nei confronti del far Camilla Roberts si è esibita presso la Queen Rara. svolgere tournée nell’Inghilterra del nord e a musica. Opera North Education è uno dei Elizabeth Hall e St John’s Smith Square a Londra, compare nei teatri lirici europei in dipartimenti di educazione artistica più Londra, e nella St David’s Hall di Cardiff. Paul Wade (Abdallo) è nato a Huddersfi eld, in città quali Praga e Barcellona e si esibisce rispettati a livello nazionale e utilizza l’opera Ha cantato in tournèe in Australia e Nuova Inghilterra, dove ha studiato prima di recarsi in importanti festival internazionali tra cui come mezzo per ispirare e sviluppare la Zelanda e il suo repertorio concertistico include al Royal College of Music. È poi entrato a far quelli di Edimburgo e di Ravenna. Il suo creatività artistica nell’intera comunità. il Requiem di Verdi e Sea Symphony di Vaughan parte dell’English Opera Group, con cui ha approccio innovativo nei confronti della Williams. Tra le sue incisioni fi gura un CD di interpretato molte opere di Britten, e si è esibito programmazione e dello stile di esecuzione è David Parry ha studiato con Sergiu arie viennesi realizzato in collaborazione con la in tournèe in Australia con le Church Parables. stato apprezzato e ricompensato con alcuni Celibidache ed ha cominciato la sua carriera Royal Philharmonic Orchestra. Ha preso parte ai principali festival europei, prestigiosi riconoscimenti, tra cui quattro come assistente di Sir John Pritchard. Ha si è esibito con la San Francisco Opera, per la stagione Eight Little Greats del 2004 debuttato all’English Music Theatre, quindi Dean Robinson (Gran Sacerdote) è nato e ha Covent Garden e Welsh National Opera, e ha (Royal Philharmonic Society Opera and è diventato direttore d’orchestra presso la studiato in Australia. Si è trasferito in Gran debuttato all’English National Opera nel ruolo Music Theatre Award, The South Bank Städtische Bühnen di Dortmund e la Opera Bretagna per continuare i suoi studi di canto di Monostatos (The Magic Flute). È entrato Show Opera Award, TMA Theatre Award North. È stato Direttore Musicale di Opera 80 presso il Royal Northern College of Music a far parte di Opera North fi n dai suoi inizi e for Outstanding Achievement in Opera, dal 1983 al 1987 e dal 1992 è stato Direttore di Manchester, dove ha ricevuto numerosi vi ha interpretato oltre quaranta ruoli, tra cui Manchester Evening News Theatre Award for Musicale fondatore dell’Opera di Almeida. premi e onorifi cenze, tra cui il Robin Kaye per il Narratore (Threepenny Opera), Dancairo Opera). Lavora copiosamente in opere e concerti, a Opera e numerosi premi dalla Peter Moores (Carmen), Mr Leonard (Maskerade), Father Opera North è un’organizzazione vivace livello nazionale ed internazionale. Ha diretto Foundation. Paul (The Duenna, inciso anche per Chandos), e dinamica, che ha il coraggio di mettere diverse produzioni presso la English National I suoi impegni operistici includono Pluto Monostatos, Bardolph (Falstaff ), Guillot de in discussione la percezione convenzionale Opera e la Opera North e appare regolarmente (Orfeo), Passauf nella prima mondiale di Morfontaine (Manon) e, più recentemente, dell’opera per dare nuova vita ai classici. con la Philharmonia Orchestra e la London Dr Ox’s Experiment e Colline (La Bohème) Isacco (The Thieving Magpie), prima di lasciare La compagnia si è inoltre fatta paladina Philharmonic Orchestra. Nel 1996 ha per English National Opera; Sparafucile la compagnia nel 2004. Attualmente si dedica delle opere meno note e del teatro musicale. debuttato con Così fan tutte al Glyndebourne (Rigoletto) e Sarastro (Die Zauberfl öte) per all’insegnamento del canto con una carriera di Opera North collabora con artisti e Festival, dove nel 1998 ha diretto la prima Scottish Opera; Colline, Mr Ratcliffe (Billy grande prestigio. compagnie impegnati utilizzando mezzi mondiale di Flight di Jonathan Dove.

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 70-7170-71 22/10/06/10/06 14:23:5314:23:53 È un frequente visitatore della Spagna dove si Tra questi vi sono numerosi dischi per è esibito in concerto con la maggior parte delle l’etichetta Opera Rara che hanno vinti maggiori orchestre spagnole. Ha diretto la prima parecchi premi, tra cui il belga Prix Cecilia spagnola di Peter Grimes a Madrid e nel 1996 per la Rosmonda d’Inghilterra di Donizetti. Per la prima produzione spagnola di The Rake’s Chandos ha diretto una serie di registrazioni Progress. È apparso in Germania, Svizzera, Paesi di arie d’opera (con Sir Thomas Allen, Bruce Bassi, al Festival di Pesaro in Italia, al Festival Ford, Alan Opie, Diana Montague, Dennis Internazionale di Hong Kong, in Giappone O’Neill, Alastair Miles, Yvonne Kenny, con una tournée della Carmen e in Messico John Tomlinson, Barry Banks, Della Jones con la UNAM Symphony Orchestra. Recenti e Andrew Shore), nonché Fidelio, The Flying nuove produzioni da lui dirette comprendono Dutchman, The Marriage of Figaro, A Masked il Fidelio al Festival della Nuova Zelanda, Lucia Ball, Idomeneo, Carmen, The Thieving Magpie, di Lammermoor alla New Israeli Opera e Don Don Giovanni, Don Pasquale, The Elixir Giovanni alla Staatsoper di Hannover. of Love, Lucia of Lammermoor, Ernani, Il suo lavoro in studio di registrazione Il trovatore, Aida, Faust, Cavalleria rusticana, comprende la produzione della BBC di Pagliacci, La bohème, Turandot, Tosca Der Vampyr di Marschner nonché ventotto (vincitrice di un premio) e brani scelti da registrazioni operistiche complete con il Der Rosenkavalier, tutte in collaborazione patrocinio della Peter Moores Foundation. con la Peter Moores Foundation.

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 72-7372-73 22/10/06/10/06 14:23:5314:23:53 COMPACT DISC ONE and let all Thy children rejoice once again. out of the house of bondage He brought us back Chorus O hear us, we pray Thee, in humble entreaty, home once again… Have mercy, oh, God! 1 Overture forgive our transgressions and comfort our pain. Who in affl iction or sorrow has called on Him, Rebuke Thou the heathen who cry out against has called in vain? Zachariah 6 Part I: In Jerusalem Thee… Hope once again is dawning, hope of a bright As the shadows before the sunlight, as the storm- In Jerusalem. Inside the Temple of Solomon ‘Who is this God Who leaveth His people in tomorrow. cloud before the whirlwind, danger?’ so the heathen before Jehovah shall be scattered and overthrown. Opening Chorus O let not Thy children be left to the mercy Chorus God of Abraham, protect us, stand and fi ght of madmen defying the pow’r of their Lord. Hope once again is dawning, with us against the tyrant, Hebrews, Levites and Hebrew Maidens Protect, in Thy wisdom, the Temple of David: hope of a brighter tomorrow. 2 send destruction upon the stranger, give us The glory of Israel is shattered and broken, let all who defi le it be slain by the sword! Hope once again is dawning, courage to win the day, the doom of the people of Judah is spoken. O Lord we pray, O Lord we pray, O Lord we pray. hope of a brighter day. give us courage in the battle. Appointed by God to accomplish His vengeance, (All rise.) A brighter day, has dawned! the King of Assyria is come with the sword. 5 What a tumult! Chorus The fi erce exulting clamour of savage battalions Cavatina As the dark before the sunlight, as the cloud resounds through the shrine of Jehovah the Lord. Zachariah (leads Fenena forward) Ismael before the whirlwind, 3 Take heart, oh my children! heathen gods before Jehovah will be shattered Levites The Lord, in token of His mercy has placed Fiercely raging, from Assyria, from Assyria the and overthrown, O daughters of Israel, your garments now rend ye, within my keeping this most precious hostage; King advances; all the false gods of the heathen will be scattered and lift up your voices in humble entreaty. the daughter of Nabucco (pointing to Fenena) will all the nations and the people bow their heads and o’erthrown. The pure supplication of lips that are blameless, bring us peace again. and fl y before him! arises to heav’n and is pleasing to God. Zachariah Chorus So pray then ye maidens that God in his mercy, Chorus As the shadows before the sunlight, as the storm- We will die fi rst! may vanquish the foe man and keep you from Oh, may this night of sorrow turn to a brighter cloud before the whirlwind, harm. day. so the heathen before Jehovah shall be scattered (All kneel.) Zachariah and overthrown. Zachariah May Jehovah be moved to punish the impious God of Abraham, protect us, stand and fi ght Hebrew Maidens Banish your fear! traitor: with us against the tyrant. Jehovah Who ridest the wind in its fury, Banish your fear and trust ye the pow’r of the on the holy land of Zion ne’er shall heathen foot Who makest the lightning to fl ash from the Almighty. be set. Chorus and Zachariah storm-cloud, 4 When on the shores of Egypt, we called on Him Take the daughter of Nabucco, safely guard her. Send destruction upon the stranger, give us O vanquish and scatter the ranks of the heathen to save us; (gives Fenena into the care of Ismael) courage to win the day.

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 74-7574-75 22/10/06/10/06 14:23:5414:23:54 Oh, give us courage, give us strength to vanquish Ismael Yet this love of mine drives me to madness, life or Fenena the foe. Fear not! Remember that you dared all for me! destruction, lie in my pow’r. Oh, protect my brother and condemn me to Come, then, with my life I will protect you, from Ah, if you love me, I still may save your people weep alone! a thousand dangers! from their fate. Oh, protect him in this hour, hear I implore Recitative and Terzettino Thee. (Abigail enters, sword in hand, followed by Ismael Ismael Babylonian soldiers disguised as Hebrews. She stops Ismael 7 Ah, no! I yield to you my life, my honour, my Fenena! Oh, my beloved! with a mocking smile before the two lovers.) May my pray’r have pow’r to move you, pow’r to devotion I cannot give you. save my native land. With my fortune I die contented, for myself I Fenena Abigail have no fear. Your country is in danger and you would speak 8 Jehovah falls before us! Chorus of love! Fenena Abigail Hebrew Women (enter hurriedly) Abigail! Yes, I loved you! 10 Have you seen him? Fiercely riding, he advances Ismael Yet this longing drives me to madness. upon the city. Cruel one! To me you are fairer than on the day Ismael (confounded) Yes, I loved you! when fi rst I saw you, Abigail! Elders when in great Babylon I came to plead for Judah. Ever onward, his spear uplifted, red with blood There, in peril of your life, you rescued us from Abigail Fenena of the men of Judah! prison, heeding no danger, braving the jealousy Bravest of the brave! Ah! Hear my pleading, Oh, Jehovah, mighty and wrath of your sister who tried in vain to win The warrior in love alone victorious! Lord and God of Israel: Levites me and gain my love. (to Fenena) in this hour of peril, hear me, pity those I love Naught availeth and none withstand him in A daughter of Assyria his victim! so well. defence of our holy temple. Fenena O shameful conquest! Can I forget it? I am now the captive! (angrily) Ismael Women What God can save you? May my pray’r have pow’r to move you, pow’r to Our entreaties in vain we utter. God is deaf unto Death and foul dishonour your sentence shall be! all our pleading! Ismael save my native land. My hour of triumph is come at last, on you my But I am here to save you and set you free again. venegance shall fall! All (She goes up to Ismael.) Abigail Oh, how blessed they who died! Fenena 9 Once I loved you, for your devotion, crown and Ah, if you love me I still may save, Ah! save your Oh, how blessed they who died ere they saw this Ismael! Would you then be false to your vow? heart would I have given! people from their fate. fatal hour!

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 76-7776-77 22/10/06/10/06 14:23:5514:23:55 (enter Hebrew soldiers, disarmed) Ismael (pointing to the disguised Babylonians) rebellious Zion shall pay for her folly in blood Where is the God you worship? These cursed traitors! and tears! To you He gives no answer! Soldiers He dare not come! See the tyrant in his chariot to the temple Abigail Fenena Against my pow’r no God or man can ever proudly riding! Your anger is useless… the king approaches! Father, have pity, Father have mercy! Death prevail! Rushing onward like a storm-cloud, spreading hovers near me, save me, oh father, oh, father, ruin and destruction! (Babylonian soldiers pour into the temple. Nabucco hear me, for you I die. Zachariah appears on horseback at the temple entrance.) Blasphemer, silence! Anna, Ismael, Zachariah, Hebrews and Levites Zachariah (enters quickly) (raising his dagger above Fenena) Zachariah Oh, Thou who knowest the hearts of princes, Oh, what bold, presumptuous daring fi lls the You have called aloud for blood and vengeance, 12 Profaner! You shall not enter! mighty Jehovah, tyrant’s cruel heart! look on your daughter! (barring his way) protect us now, look down from heaven, from She shall die by my own hand, before you! This is the house of God! heav’n above. Zachariah and Chorus All is over! Nabucco Abigail Nabucco Who will save the holy temple of the Lord! Who speaks of God? With ev’ry moment my fury is rising! Seize him! Day of terror! hope of revenge again is dawning; All is over! (Zachariah runs quickly and seizes Fenena, raising for he, the madman who dares to scorn me, Zachariah (menacing Fenena) Who will save the holy temple of the Lord? his dagger.) shall fall a victim unto my rage! She dies! Victim to my vengeance shall fall! Part I Finale Zachariah (Ismael suddenly intervenes and releases Fenena who Abigail comes forward with her soldiers. E’er you desecrate our temple, fi rst you shall see Anna, Ismael, Zachariah, Hebrews and Levites throws herself into her father’s arms.) this dagger plunged in your daughter’s heart. Make Lord Thy presence to shine upon us. Comfort Thy children in exile and give them faith. Abigail Ismael 11 Long live Nabucco! Nabucco (dismounts) (aside) (I’ll humour him... but I will show him that I am Fenena Stay your hand! My love shall buy her life! master here.) Father, oh father, your daughter implores you, Chorus (off-stage) 13 Tremble, you madmen, yes, tremble before my death hovers near me, oh father, for you I die. Nabucco (ferociously) Nabucco! anger! 15 Now my wrath, restrained no longer, burns with You are my victims, my victims for evermore! Nabucco ever-growing fury; Zachariah Your blood shall fl ow in torrents, your tears shall 14 You slaves, bow down before me! In me behold sack and plunder (to the Babylonians) burn the Who let this woman enter? fall unheeded, your master temple, show no pity or remorse.

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 78-7978-79 22/10/06/10/06 14:23:5514:23:55 Abigail Zachariah and Hebrews The daughter of Nabucco, the people believe me. High Priest Race of heathens, be accursed, from this earth Traitor vile, be thou rejected and dishonoured by What then am I? Less than a slave-girl! The Hebrew slaves are freed by order of Fenena! you all shall perish! thy brothers! The king has left Fenena on the throne as his regent. Though the love that burns within me, ne’er For thy sin be thou accursed by thy people He goes to battle vowing to spread destruction Abigail shall lose its bitter pain. evermore. among the land of Judah! Ah! If that love still be denied me, then my hatred he Cast away the wretch accursed, earth and heav’n That I should live to see another usurping my shall know. will cry aloud. rightful place! High Priest They have all betrayed me, yet what folly is theirs… This accursed race of heathens, will they never Anna, Fenena and Ismael the pow’r within me, how little do they know it! be subdued? Anna and Fenena I beseech you, do not curse him, but have pity My vengeance, my wrath and vengeance shall fall Crown and sceptre both await you… Ardent, unavailing passion, in his heart is fi ercely on his fate. upon them! burning, Yes! Fall on Fenena, on him I thought my Abigail (eagerly) yet the love that guides his spirit on his name will Abigail father… How so? bring disgrace. Though the love etc. this empire… on myself, too… destruction! We beseech you do not curse him, but have pity Yes, here I swear it! High Priest on his fate. Nabucco 17 The sweet fi re of love’s enchantment The way is all prepared. Sack and plunder etc. once in my heart was glowing; then all on earth around me Followers Ismael Zachariah and Hebrews repeated the tale of love o’er-fl owing; We have spread abroad the rumour that the king Ardent, unavailing passion, in my heart is fi ercely Cast away etc. I wept another’s grief to know, has fallen in battle. burning, I suffered with others in their woe; As their ruler all salute you. As their ruler the yet the love that guides my spirit on his name ah, who can restore me the joy of love forever lost? people salute you, will bring disgrace. Part II: The Blasphemy Another’s grief could move me and they call on you to save them. We beseech you do not curse him, but have pity In the royal apartments to weep for all their sorrow, Take the step and the deed is accomplished! on his fate. who can restore me the joy of love forever lost? Have no fear. Scene and Aria 18 Who approaches? Abigail (enters quickly with a parchment in her Abigail (to the High Priest) Nabucco hand ) High Priest With you, I stand Sack and plunder, burn the temple, show no pity 16 You have betrayed me, O king accursed… I bring you tidings of a deed that will appal you! Oh, my friends, you’ll fi nd my courage will not or remorse! this writing, so long but vainly hidden, tells me fail you in this hour! Tear the children from their mothers, all shall my birth was so shameful. Abigail 19 On the golden throne of Assyria, perish by the sword! I am the child of slaves – a slave… so be it! Ah! What mean you? red with blood of conquered heathen,

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 80-8180-81 22/10/06/10/06 14:23:5614:23:56 there shall burn the fi res of vengeance God, this day commands me, in wond’rous Levites Chorus of Levites with a fi erce undying fl ame. revelation; Begone! Traitor! Fly! Speak, what mean you? Crown and sceptre shall be mine alone, he bids His servant to show an unbeliever the all shall know their rightful ruler, ah!… holy light of truth, for Israel’s glory. Ismael Zachariah 21 Mighty kings shall bow before me, Through Thy servant Thou proclaimest Thy Some pity show me! Praise ye the Lord God Almighty! all shall tremble before my pow’r. commandments, oh, Lord God almighty! her words are true. On this day, with voice of thunder, to Assyria Levites Thou by heaven art accursed. Followers Thou hast spoken! Fenena 23 Woe to the traitor, he is accursed, Now the wrath of Baal the mighty on the And with hymns of praise to Thee, Jehovah, ev’ry 25 friendless he wanders and shunned by his people! But what means this disturbance? heathen slave shall fall, temple shall resound; Tho’ he may utter pray’rs and entreaties, yes, the wrath of our god on the slave shall fall. o’er the shattered gods of the heathen, Thou, Jehovah, shalt arise again. none will console him and none show him pity. Ismael, Zachariah and Levites See on his forehead, burning and livid, Oh, Heav’n, protect us! Abigail blazes the shameful mark of the damned. On the golden throne of Assyria, etc. (He goes into Fenena’s apartment followed by the Levite.) Vainly he seeks by poison to perish (The aged Abdullah enters, much distressed.) and all in vain begs for death by the sword. High Priest Thou forever art accursed by the living God in Chorus of Levites Abdullah (to Fenena) Now the vengeance of our god, the mighty Baal, heav’n. thro’ thee, on heathen slave shall fall. Ismael enters. My noble lady… you must fl y now! out there, the men are shouting: Ismael (despairingly) ‘Nabucco is killed in battle!’ Prayer Levites For the love of God above us, do not curse me, 22 Who is there? Who comes to call us in this place I implore you, A room in the palace of gloomy shadows? terror fi lls my soul with madness, oh, in mercy Fenena At the back a communicating door giving access to let me die! My father! other apartments. Right, a door leading to a gallery. Ismael Have pity! Left, another door leading to the Royal Apartments. Zachariah bids me call you! Abdullah It is evening. A lamp is burning. Part II Finale Hasten! The populace acclaims your rival, Levites Abigail, and denounces Fenena! Zachariah (enters, followed by a Levite carrying the Ismael! Anna (entering from Fenena’s apartments followed Tables of the Law) by Zachariah and Fenena) Fenena 24 20 Come, stand beside me, the word of God set Ismael Stay your anger, oh, my brothers! He has brought I cannot stay here, out there lies my duty! before me. My brothers! a soul to God! At once to that mad crowd of rebels will I go.

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 82-8382-83 22/10/06/10/06 14:23:5614:23:56 Ismael, Abdullah, Zachariah and Levites All Our God is quick to anger, He will destroy your Nabucco Stay here! They will kill you! The moment approaches etc. kingdom… 28 Who has stolen my crown and sceptre? What accursed phantom haunts me? High Priest Nabucco Nabucco See, he holds me, alas and drags me… 27 Glory to Abigail! Hear your king! You would defy me? He will choke me… He will kill me! Death to the Hebrews! You men of Babylon, I reject your god for ever; (to the soldiers) Why? Oh! my daughter, do you too reject me… Baal has made your hearts rebellious and disloyal Then seize him! for your father have you no pity? to my kingdom! Come drag him to the temple and slay him on Fiends of hell are all around me, Abigail (to Fenena) Race of slaves, your God, Jehovah, I have the altar! tongues of fl ame torment and burn me, Give me the crown of empire! trodden under foot! Yes, all the Jews shall die with him! and above me, the sky is livid… Hearken all to my decree! There is but one god, raining blood upon my head! Ah! Fenena he is your King. Fenena Ah! But why… but why this weeping… No! First I die! With them, I too will die! Why these tears that fall upon my burning Fenena (overcome) cheek? (Nabucco and his attendants force their way Father! Nabucco (with fury) Why, of, why these tears that fall, these burning through the crowd. He stands between Abigail and Oh, traitress, bow down before me, adore your tears upon my cheek? Fenena, seizes the crown and puts it on his own High Priest god, Nabucco! I am fainting… oh, help me… head.) He’s raving! Fenena Zachariah Nabucco Zachariah My God is Jehovah! The wrath of the Lord has fall’n upon him! From my own head, then take it. The madman! (general consternation) Nabucco (taking hold of her arm) Abigail (picking up the crown which has fallen 26 The moment approaches of man’s retribution, Chorus of Soldiers Bow down to me! Your king no more… but God! from Nabucco’s head) in silence and terror all tremble in fear Long live Nabucco! Yet our god, the mighty Baal, reigns triumphant with fury increasing, the tempest is rising, (A fl ash of lightning and a thunderbolt. The in his might… the day of destruction and sorrow is near. Nabucco crown is torn from Nabucco’s head by supernatural Upon your knees bow down before me! force. His features are distorted by madness. The Abigail as god, you all shall adore me! commotion is followed by a profound silence.) COMPACT DISC TWO The moment approaches of man’s retribution, in silence and terror all tremble in fear Zachariah All Part III: The Prophecy with fury increasing, the tempest is rising, Blasphemer! In fear and terror you shall repent The vengeance of our mighty God has fallen on The Hanging Gardens of Babylon the day of destruction and sorrow is near. this madness… his head! Abigail enthroned, surrounded by her court.

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 84-8584-85 22/10/06/10/06 14:23:5714:23:57 The High Priest and his retinue assembled near Who has dared to free him and disobey my orders! Abigail Nabucco the altar on which stands the golden statue of Baal. Guards, take this old man back to his prison. I stand here as guardian of your kingdom. Be silent! Babylonian women, populace and soldiers. Nabucco (still demented ) Nabucco Abigail Opening Chorus Who dares to speak before Nabucco? You… its guardian? Impostor! Trembling in craven terror, Nabucco hides his head! Chorus Have I renounced my sceptre? Nabucco 1 Great and mighty Queen of all Assyria, Abdullah (with devotion) Oh, traitress! ’Tis false! Baal, our god has sent thee to guide us; Come with me, sire, I beg you… So be it, so be it; death to the tribes of Israel! no invader dare defy thee, Abigail Give it me! mighty empires fall before thee. Nabucco While you lay helpless, the multitude cried out (seals the document and gives it to Abigail ) Fair and glorious be thy future, Where would you take me? Stand aside! against the Hebrews. Here is the council chamber, here, before me, You must obey their wishes and sign this just reward to thee from the god. Abigail (joyfully) I see my people. decree… May thy days with love and peace be crowned, Blessed hour of triumph! Release me… I need no hand to guide me, (showing him the edict) ev’ry pleasure, ev’ry joy be ever thine. (Two guards enter at a sign from Abigail.) (I know that I am failing, but they must never Obey your people, ah! Blessed hour of triumph! know. Obey them and sign it now. Recitative I fear her pow’r no longer! I would have my people think me strong as of Death to the tribes of Israel… High Priest old.) 2 Most noble lady, mighty ruler of Assyria, oh, hear Nabucco Leave me! I can fi nd my throne without your Nabucco thy people who call upon thee! Ah! But Fenena? guidance. What do you mean? Let all the tribes of Israel perish by the sword, (goes towards the throne) and fi rst among them, that evil woman I dare not Abigail Who is this woman? Abigail call your sister! Traitress! She serves the God of Isreal! Impious presumption! Sign it! She has betrayed our god. (as if going) She dies now! Abigail (She descends from the throne.) Nabucco (gives the edict to Abigail ) My people, I pray you leave us. (An evil thought.) Nabucco She is my daughter! Abigail (feigning surprise) (general exit) Abigail What are you asking? But, who approaches? You will not? Abigail (Nabucco appears. He is unkempt and dishevelled. Duet Ye Jews, arise in triumph and glorify your (She gives the edict to the guards, who exit The guards, with Abdullah at their head, Nabucco Jehovah! immediately.) respectfully let him pass.) 3 Woman… who are you? Your mighty Jehovah! No one can save her!

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 86-8786-87 22/10/06/10/06 14:23:5714:23:57 Nabucco (covering his face) Abigail Nabucco I care naught for your entreaties; Ah, no! Day of revenge and triumph, Ho! You guards! This slave betrays me! Ho! all my shame and my dishonour moment so long awaited! There! by your torment are avenged. Abigail Your other daughter… Nabucco Abigail (a number of guards enter) Nabucco Ah! woe is me! You madman! Oh, have pity on a father in his madness! You still defy me? Oh, restore my only daughter, do not leave me Nabucco Abigail King no longer, you are my pris’ner, you shall all alone. Kneel to me, you slave before your king! Although I lose a father, I win a crown, and gain stay here under guard! As the ruler of Assyria, let the people acclaim an empire! you; Abigail The people shall bow before me, Nabucco I am old and all I ask you is the life of my child. Madman! You bid me to kneel to you! A slave before the slave all men shall fall! Under guard? am I? Abigail Abigail No, never! I care naught for your entreaties… (Nabucco searches for the proof of Abigail’s lowly birth.) Nabucco Yes! Of that slave-girl who despises your Leave me! Madman! A slave am I? Gone is my ancient glory, commands! All shall see if I, the slave cannot wear the royal naught but a shadow remains, mantle! Nabucco of him who was once king! I have the proof! Nabucco all shall see that I am worthy to uphold the royal Under guard? power. Abigail All shall see, then, that I am worthy to uphold Abigail All men shall fall at my feet, Abigail the splendour I give you back, ah, the people in homage before the slave shall fall! Yes! Yes! of Assyria’s royal power. (produces the parchment and tears it to pieces) Your prayers are useless! yes, I give you the false proof of my birth! Nabucco Nabucco you ask in vain, your pleading is all in vain! No! No more am I a king, ah, misery! 6 Oh, have pity on a father in his madness! You ask in vain. No! Nabucco I am no more a king! Oh, restore to me my daughter, do not leave me 4 Grey-haired and feeble, behold me, (trumpets in the distance) all alone. Chorus of Hebrew Slaves brought to disgrace and ruin. 5 Ah, that sound! As the ruler of Assyria, let them all acclaim you; On the banks of the Euphrates In vain this cold and trembling hand I am old and all I ask you is the life of my child. feels for the sword once feared by all! Abigail Hebrews Gone is my ancient glory, no more am I a king, It sends to death the Hebrew slaves that you have Abigail 7 Speed your journey, my thoughts and my naught but a shadow of him who once was king! sentenced. Leave me! In vain you ask for mercy, longings,

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 88-8988-89 22/10/06/10/06 14:23:5814:23:58 speed your journey to mountain and valley, Zachariah Out there, the soldiers are gathering! 11 Lord God of Judah! Hear the vow I make to Thee. where the sweet-scented air breathes a fragrance O’er the ruins of temple and palace, Where is my sword? Altars and temples once again shall rise to o’er the homes that we knew long ago! there will wander hyenas and serpents, My trusty steed that longs for the battle as honour Thee… To the waters of Jordan bear greeting, o’er the dust lightly stirred by the breezes, maidens long for dancing. only release me from my torment… to the downfallen temples of Sion. desolation will reign evermore. Come, my brave warriors! Behold the lofty oh, release me from my torment and Thee I’ll On, my country so fair and so wretched, Not a sound but the cry of the screech owl citadel of Zion tow’ring above us! worship according to Thy law. oh, remembrance of joy and of woe! will be heard thro’ the shadows and silence, Destroy it! burn it to ashes! Thou dost hear me,… clouds are lifting Golden harps of the Prophets, oh tell me, not a stone will declare to the stranger from the mind so sick and ailing, ah!… why so silent ye hang from the willow? where the altars of the heathen were set. Chorus (off-stage) Mighty Lord and God Jehovah, I will worship Once again sing the songs of our homeland Fenena! Thee evermore. sing again of the days that are past. Chorus (He rises and tries to force the door open.) We have drunk from the cup of affl iction Oh, what courage within him is burning, Nabucco 12 Open to me, you shall not stay me! and have shed bitter tears of repentance, on his lips, the word of the Lord is revealed. Ah, now my people, faithful to their sovereign, oh, inspire us, Jehovah, with courage Through his servant, Jehovah the mighty speaks call the name of my daughter! (Enter Abdullah and soldiers.) so that we may endure to the last. to us, oh, hearken! (He goes to balcony.) For the fetters that bind us shall be broken, Look there. I can see her escorted by soldiers! Abdullah the Lion of Judah will rise, Ah, no! it cannot be… why are her hands so My lord, whither go you? Part III Finale once again the Lion of Judah will rise. closely bound and fettered? She’s weeping… Nabucco Zachariah Let me pass! 8 Why lament ye? The wailing of women rises up to Part IV: The Broken Idol Chorus (off-stage) the throne of th’ Almighty. A room in the palace, as in Part II Fenena must perish! Abdullah Oh, take courage, my brothers in affl iction, ’tis If they should see you, the people would mock Jehovah who speaks through my words. Prelude, Scene and Aria (Nabucco’s features take on a new expression; you in your madness. 9 In the darkness I see all the future, Nabucco on a couch in deep sleep he rushes to the door but fi nds that it is barred.) when the fetters that bind us are broken, Soldiers and the wrath of the Lion of Judah, Nabucco (awakes, panting for breath) Nabucco We are here to defend you and protect you. 10 on the land of the heathen will fall. Am I awake or dreaming? Ah! they have made me a prisoner! I thought that in the forest I ran before the (He goes back to the balcony, stares at the street and Nabucco (to Abdullah) hunters like a wild beast at bay. then puts his hand to his head.) Nay, hear your king! My mind is sick and ill no Chorus No, it was a dream, a dream full of terror. God of Israel, have pity! longer. Mighty vision! (distant trumpets) (He kneels.) Abdullah, my sword… give me my sword.

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 90-9190-91 22/10/06/10/06 14:23:5814:23:58 Abdullah (with surprise and joy) of the temple, near a sacrifi cial altar, beside which High Priest All If you would save your empire, then take your are two priests armed with halberds. Funereal music The victim awaits you! 17 Lord God of Israel… sword. announces the arrival of Fenena, together with the Hebrews who have been condemned to death; (Nabucco runs on with drawn sword, followed by Fenena, Ismael, Nabucco and Zachariah Nabucco Fenena kneels before Zachariah in the centre of the soldiers and Abdullah.) All bow before Thee… I go to save Fenena! stage. Nabucco All Abdullah and Chorus Zachariah Stay, I command you! Vain is the pow’r of man… 13 14 The false, perfi dious enemy Go! The martyr’s crown of honour will be yours, The false god you worship, the heathen idol, shall fall before us and cry for mercy! oh, gentle maiden; shall be destroyed! Fenena, Ismael, Nabucco and Zachariah The glory of Assyria, hard and long has been your exile, heav’n will In Thy dread sight. with you to lead us, will rise again. give you your reward! (The idol falls suddenly in ruins.) Have courage! Zachariah Nabucco Oh God of Israel, we bow before Thee! My valiant hearts, come follow me Fenena Anna, Fenena, Ismael, Zachariah and Chorus strength is reviving within me. 15 Lo! The sky has opened above me! of Hebrews All See me, with ardour new inspired, For the Lord my spirit is yearning. The Lord has spoken! Praise to Thee! Ah! king once again of Assyria. He is calling me to heaven, Jehovah, praise to Thee! The false, perfi dious enemy to His joy and bliss eternal. Nabucco shall fall before us and cry for mercy! Oh, ye stars farewell for ever! Return home, Israel, home to your country and Once more my royal diadem By the light of God my steps are guided, the joys of your own native land. Fenena, Ismael, Nabucco and Zachariah will shine resplendent upon this land. I am free from earthly torment. There to Jehovah, rebuild your temple, If Thou but smile on us, sorrow is banished,… Soon my spirit shall fi nd rest for He alone is mighty, the Righteous, the Living Abdullah and Chorus with God on high. God. All With you to lead, Assyria shall rise again. He made me mad when I defi ed him, But when Thy thunder rolls, vain is earthly We go with you to lead, we’ll rise again. Part IV Finale when I repented, he gave me peace. might. Lead on, with you we rise again triumphant our The cruel Abigail He drives to madness Praise to Thee! Praise to Thee! might. Anna, Fenena, Ismael, Zachariah and Chorus and in her terror she’s taken poison! Who dares to intrude here? He alone is mighty, He alone is God, Nabucco Funeral March and Prayer let us adore Him on bended knee. Oh, what do I see? The Hanging Gardens, as in Part II Chorus (off-stage) The High Priest of Baal stands under the peristyle 16 Long live Nabucco! (All kneel.) (Abigail enters, supported by two soldiers.)

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 92-9392-93 22/10/06/10/06 14:23:5914:23:59 Chorus Abigail What brings the wretched woman to this place? I call Thee, Lord, do not reject me… On session do not reject me now, ah!…

Abigail (to Fenena) Hebrews 18 My strength… is failing… my death is near… Oh, Lord have mercy. oh, tell me… that you forgive me! Fenena! the crime was mine alone… Abigail in anguish I make atonement. Do not reject me in this my hour of death! (to Ismael ) Guard her! (She falls dead.) (to Nabucco) Their love is pure and faithful, Hebrews bless them, they trust in you! ’Tis over! But who can save me in this dread hour, save me from my damnation? Zachariah Yet… you have told us, oh, Israel; Jehovah’s servant now art thou, Oh, King of ‘Jehovah is merciful,… Kings! English translation by Norman Tucker Abigail and Hebrews and Tom Hammond He pardons our transgressions.’ © Ricordi & Co (London) Ltd

Clockwise from top left: Susan Patterson, Alan Opie, Camilla Roberts and David Parry with Leonardo Capalbo

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 94-9594-95 22/10/06/10/06 14:23:5914:23:59 The Opera In English Series Great Operatic Arias

CHAN 3011(2) Donizetti: Don Pasquale CHAN 3079(2) Verdi: Falstaff CHAN 3103(2) Mozart: Idomeneo CHAN 3127 Christine Brewer CHAN 3027(2) Donizetti: The Elixir of Love CHAN 3116(2) Verdi: A Masked Ball CHAN 3113(3) Mozart: The Marriage of Figaro CHAN 3096 Elizabeth Futral CHAN 3083(2) Donizetti: Lucia of Lammermoor CHAN 3068(2) Verdi: Otello CHAN 3121(2) Mozart: The Magic Flute CHAN 3035 Yvonne Kenny CHAN 3017(2) Donizetti: Mary Stuart CHAN 3030(2) Verdi: Rigoletto CHAN 3022 Strauss: Der Rosenkavalier (The CHAN 3099 Yvonne Kenny 2 CHAN 3073 Janet Baker sings scenes from Mary CHAN 3023(2) Verdi: La traviata Knight of the Rose, highlights) CHAN 3049 Della Jones Stuart CHAN 3036(2) Verdi: Il trovatore (The Troubadour) CHAN 3119(2) Wagner: The Flying Dutchman CHAN 3010 Diana Montague CHAN 3003 Leoncavallo: Pagliacci (The Touring CHAN 3067 A Verdi Celebration CHAN 3054(3) Wagner: The Rhinegold CHAN 3093 Diana Montague 2 Company) CHAN 3091(2) Bizet: Carmen CHAN 3038(4) Wagner: The Valkyrie CHAN 3112 Barry Banks CHAN 3004 Mascagni: Cavalleria rusricana CHAN 3014(3) Gounod: Faust CHAN 3045(4) Wagner: Siegfried CHAN 3006 Bruce Ford (Rustic Chivalry) CHAN 3089(2) Gounod: Faust (abridged) CHAN 3060(5) Wagner: Twilight of the Gods CHAN 3100 Bruce Ford 2 CHAN 3005(2) Pagliacci & Cavalleria rusticana CHAN 3033(2) Massenet: Werther CHAN 3065(16) Wagner: Complete Ring Cycle CHAN 3088 Bruce Ford sings Viennese Operetta CHAN 3008(2) Puccini: La bohème CHAN 3134(2) Poulenc: The Carmelites CHAN 3133 Bartók: Bluebeard’s Castle CHAN 3013 Dennis O’Neill CHAN 3070(2) Puccini: Madam Butterfl y CHAN 3130(3) Berg: Lulu CHAN 3101(2) Janácˇek: The Cunning Little Vixen CHAN 3105 Dennis O’Neill 2 CHAN 3000(2) Puccini: Tosca CHAN 3094(2) Berg: Wozzeck CHAN 3029(2) Janácˇek: Osud (Fate) CHAN 3085 Alan Opie CHAN 3066 Jane Eaglen sings Tosca CHAN 3019(3) Handel: Julius Caesar CHAN 3106(2) Janácˇek: Jenu˚fa CHAN 3077 Andrew Shore CHAN 3086(2) Puccini: Turandot CHAN 3072 Janet Baker sings scenes from Julius CHAN 3007 Mussorgsky: Boris Godunov CHAN 3032 Alastair Miles CHAN 3025(2) Rossini: The Barber of Seville (highlights) Caesar CHAN 3044 John Tomlinson CHAN 3097(2) Rossini: The Thieving Magpie CHAN 3128(2) Smetana: The Bartered Bride CHAN 3081(2) Mozart: The Abduction from the CHAN 3076 John Tomlinson 2 CHAN 3074(2) Verdi: Aida Seraglio CHAN 3042(2) Tchaikovsky: Eugene Onegin CHAN 3118 Sir Thomas Allen CHAN 3052(2) Verdi: Ernani CHAN 3057(3) Mozart: Don Giovanni CHAN 3078 Baroque Celebration

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 96-9796-97 22/10/06/10/06 14:24:0114:24:01 Also AvailableOn session: Richard Farnes and Brian Couzens

Vocal and language consultant: Ludmilla Andrew Staging direction, diction and pronunciation: Charles Kilpatrick Translation research: Henrietta Bredin Music hire: Ricordi

Session photos by Bill Cooper

Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineers Michael Common, Jonathan Cooper and John Benton Editor Jonathan Cooper Operas administrator Sue Shortridge Recording venue Leeds Town Hall; 19 – 22 September 2005 and 13, 14 & 16 July 2006 Front cover Photograph of ‘The Hanging Gardens of Babylon’, 1886 (colour litho) by Ferdinand Knab (1834–1902) © Bridgeman Art Library Back cover Photo of David Parry by Russell Duncan Design and typesetting Cassidy Rayne Creative Booklet editor Kara Reed Copyright G Ricordi & Co. (London) Ltd

CHAN 3074(2) P 2006 Chandos Records Ltd C 2006 Chandos Records Ltd

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CCHANHAN 3136(2)3136(2) Book.inddBook.indd 98-9998-99 22/10/06/10/06 14:24:0214:24:02 CHAN 3136(2) 100 101

CCHANHAN 3136(2)3136(2) Book.inddBook.indd 100-101100-101 22/10/06/10/06 14:24:0214:24:02 GIUSEPPE VERDI: NABUCCO SOLOISTS / CHANDOS DIGITAL CHAN 3136(2)

Giuseppe Verdi (1813 –1901) Printed in the EU LC 7038 DDD TT 125:56

Nabucco Recorded in 24-bit/96kHz PARRY NORTH / DAVID OPERA Dramma lirico in four parts Libretto by Temistocle Solera after Cortesi’s ballet Nabuccodonosor and Anicet-Bourgeios’ and Cornu’s play Nabuchodonosor English translation by Norman Tucker and Tom Hammond

Nabucodonosor (Nabucco), King of Babylon ...... Alan Opie baritone Ismael, nephew of Sedecia, King of Jerusalem...... Leonardo Capalbo tenor Zachariah, High Priest of the Hebrews ...... Alastair Miles bass Abigail, slave, presumed to be Nabucodonosor’s eldest daughter ...... Susan Patterson soprano Fenena, daughter of Nabucodonosor ...... Jane Irwin mezzo-soprano High Priest of Baal ...... Dean Robinson bass Abdullah, elderly offi cer of the King of Babylon ...... Paul Wade tenor Anna, Zachariah’s sister ...... Camilla Roberts soprano

COMPACT DISC ONE CHAN 3136(2) CHANDOS Opera North Orchestra and Chorus TT 73:54 COMPACT DISC TWO David Parry TT 52:02

p 2006 Chandos Records Ltd c 2006 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England

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