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Saverio MERCADANTE 2 CDs Also Available Don Chisciotte alle nozze di Gamaccio Ugo Guagliardo • Domenico Colaianni • Laura Catrani Ricardo Mirabelli • Hans Ever Mogollon • Giulio Mastrototaro San Pietro a Majella Chorus, Naples Czech Chamber Soloists, Brno Antonino Fogliani

8.660191-92 8.660295-96

8.660284-85 8.660275-76

WORLD PREMIERE RECORDING 8.660312-13 16 8.660312-13 bk Mercadante SWR_EU_8.660312-13 bk Mercadante_EU 16/05/12 17.28 Pagina 2

Saverio Also Available MERCADANTE (1795-1870) Don Chisciotte alle nozze di Gamaccio

Melodramma giocoso in one act Libretto by Stefano Ferrero, after an episode in Don Quijote, by Miguel Cervantes

Don Chisciotte ...... Ugo Guagliardo, Bass Sancio Pansa ...... Domenico Colaianni, Buffo Chiteria ...... Laura Catrani, Soprano 8.660087-88 8.660207-08 Gamaccio ...... Ricardo Mirabelli, Tenor Basilio ...... Hans Ever Mogollon, Tenor Bernardo ...... Giulio Mastrototaro, Baritone Cristina ...... Marisa Bove, Soprano Don Diego ...... Filippo Polinelli, Bass

San Pietro a Majella Chorus, Naples (Chorus master: Elsa Evangelista) Czech Chamber Soloists, Brno (Leader: Ivan Matyáš) Harpsichord: Fausto Di Benedetto Antonino Fogliani

Recorded live at the Kursaal, Bad Wildbad, Germany, 17th, 18th and 21st July 2007 8.660189-90 8.660220-21 for the XIXth ROSSINI IN WILDBAD Festival (Artistic director: Jochen Schönleber) A Co-production with Südwestrundfunk

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Synopsis Gamaccio kommt hinzu und erfährt von der Einladung CD 1 62:42 ! Cavatina: Perdon ti chiedo, o donna 7:00 Don Chisciottes zu seiner Hochzeit. Schnell läßt er sich (Don Chisciotte, Coro, Cristina, Don Diego, Sancio) CD 1 Lektionen über ritterliches Benehmen erteilen. Basilio ist 1 Sinfonia: Allegro moderato 9:17 Scena decima entschlossen, alles zu unternehmen, um die Hochzeit (Orchestra) @ Recitativo: In bando, cavalier, le tristi idee 1:51 1 Ouvertüre. Die effektvolle Ouvertüre mit spanischen Chiterias mit Gamaccio zu verhindern. Scena prima: Cortile in casa Don Diego (Don Diego, Sancio, Don Chisciotte, Cristina) Tanzmotiven wurde später als Konzertstück „Sinfonia 2 No. 1 Introduzione: Per le nozze di Gamaccio 3:15 Scena undicesima: Piazza del villaggio caratteristica spagnuola“ bekannt. CD 2 (Coro, Sancio) # No. 5 Coro ed Aria: Hai veduto? Cosa è stato? 7:00 2 Nr. 1. Introduktion. Vor dem Haus Don Diegos finden Scena seconda (Coro, Gamaccio) die Vorbereitungen zur Hochzeit des reichen Gamaccio 1 Rezitativ. Basilio schwört, dass Gamaccio nie seine 3 Cavatina: Basta, basta, vi ringrazio 2:56 statt. Chiteria heiraten wird. (Sancio, Coro) CD 2 39:19 3 Kavatine und 4 Stretta. Sancio Pansa, der Knappe 2 Nr. 6. Duett. Im Hause Don Diegos hat Sancio alle 4 Stretta: Caro il mio Ruccio, povero ciuccio 2:26 des Ritters, kündigt die Ankunft Don Chisciottes an Mühe, Don Chisciotte zu beruhigen, den eine (Sancio, Coro) Scena dodicesima 5 Rezitativ. Er beklagt sich über die schlechte vermeintlich respektlose Bemerkung Sancios über Scena terza 1 Recitativo: Tutto tentar saprò 1:40 Behandlung durch die Landleute. Dulcinea in Rage versetzt hat. 5 Recitativo: Corpo di cento, mille molini a vento 0:58 (Basilio) 6 Nr. 2. Kavatine. In Bernardos Haus beklagt dessen 3 Rezitativ. Cristina bittet Gamaccio herein. Sancio (Sancio) Scena tredicesima: Camera in casa Don Diego Tochter Chiteria das Unglück, dass sie auf Befehl des bestätigt Gamaccio das Kommen Don Chisciottes. Don Scena quarta: Camera in casa di Chiteria Recitativo: Dove trovar potrassi uno scudier più fino? Vaters den reichen Gamaccio an Stelle ihres geliebten Diego befürchtet Ärger mit Basilio. 6 No. 2 Cavatina: Tutto sʼallegra intorno 8:38 (Sancio, Don Chisciotte) Basilio heiraten soll. 4 Nr. 7. Duett. Vor dem Hause Don Diegos gibt sich (Chiteria) 2 No. 6: Duetto: Ah parla, scudiero infame 8:17 7 7 Nr. 3. Szene und 8 Duett. Basilio erscheint und stellt Sancio seinem Traum hin, selbst ein Ritter zu sein. No. 3 Recitativo, Scena e Duetto 1:58 (Don Chisciotte, Sancio) Chiteria zur Rede. Diese bittet ihn, sie zu verlassen. Basilio, der ihn mit Don Chisciotte verwechselt, bittet Recitativo: Che far dovrò? Scena quattordicesima (Chiteria) 3 Recitativo: Entri, signor Gamaccio 3:28 9 Rezitativ. Bernardo bespricht mit Gamaccio die diesen um Hilfe bei der Verteidigung seiner Liebe. Sancio Scena quinta (Cristina, Gamaccio, Sancio) bevorstehende Hochzeit. Dieser fordert vorab aber entlarvt sich selbst, als er Basilio rät, Chiteria zu Scena: Chi veggo? Chi è mai costui? Scena quindicesima: Esterno rustico vergeblich einen Kuss von Chiteria. Bernardo fordert vergessen. Basilio bedroht ihn, Sancio bittet kleinlaut um (Chiteria, Basilio) Recitativo: Eppur da quel che intesi seine Tochter auf, Basilio zu vergessen. Gnade. 8 Duetto: Giura crudel che mia per sempre 10:44 (Don Diego) 5 Don Diego kündigt seiner Frau Cristina das Erscheinen Nr. 8. Chor und Finale. Im großen Gefolge kommen (Chiteria, Basilio) Scena sedicesima seines Freundes Don Chisciotte an, den sie zur Hochzeit alle Hochzeitsgäste zusammen und lassen das Brautpaar Scena sesta Recitativo: Io sfido tutti i sguatteri di Spagna Gamaccios einladen wollen. hoch leben (Chor). 9 Recitativo: Oh caro il mio Gamaccio 2:43 (Sancio) 0 Nr. 4. Chor und Kavatine. Die Landleute begrüßen 6 Basilio erscheint und täuscht einen Selbstmord vor. (Bernardo, Gamaccio, Chiteria, Don Diego, Cristina) Scena diciasettesima Don Chisciotte (Chor), der auf seinem Pferd Rosinante Nach einer Schrecksekunde (Concertato) bittet er „in Scena settima (omitted) Recitativo: Ecco lo trovo alfin angeritten kommt. extremis“ um die Hand Chiterias. Deren Vater willigt ein. Scena ottava (Don Diego, Sancio, Basilio) ! (Kavatine). Don Chisciotte trauert seiner Jugendliebe Kaum ist die Nottrauung vollzogen, stellt sich der Recitativo: Di poche ore ho preceduto 4 No. 7 Duetto: Cavalier, deh mʼascoltate 9:36 Dulcinea nach und wird darob von den Landleuten Selbstmord als Bluff heraus. Gamaccio will Basilio zum (Don Diego, Cristina, Coro) (Basilio, Sancio) verspottet. Vergeblich bittet Sancio diese, Don Chisciotte Duell fordern, doch Don Chisciotte rettet die Situation, 0 No. 4 Coro e Cavatina: Viva, viva, Don Chisciotte 3:57 Scena ultima: Amena campagna zumindest scheinbar Respekt zu zollen. indem er erklärt, dass im Krieg und in der Liebe jede (Coro, Don Chisciotte, Sancio, Cristina) 5 No. 8 Coro e Finale: Viva i sposi 6:03 @ Rezitativ. Don Diego stellt Cristina Don Chisciotte vor, Taktik erlaubt sei und sich Gamaccio eine andere Frau Scena nona (Coro, Tutti) der sich zum Verteidiger aller wahrhaft Liebenden kaufen möge. Überglücklich besingt Chiteria ihre Recitativo: Cielo, che miro? 6 Quanto imponi la sacra legge 10:14 deklariert. Verbindung mit Basilio (Rondo finale). (Don Chisciotte) (Basilio, Tutti) # Chor und Arie. Auf dem Dorfplatz kommentieren die Landleute den seltsamen Auftritt Don Chisciottes. © 2012 Michael Wittmann

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Saverio Mercadante (1795-1870) Tatsächlich ist etwa der Auftritt Don Chisciottes mit Bei der Uraufführung in Cádiz war Don Chisciotte alle „Tempo di mancieca“ überschrieben und verwendet nozze di Gamaccio sehr erfolgreich. Eine weitere Don Chisciotte alle nozze di Gamaccio Elemente der seguidilla manchega. Die Einleitung zum Aufführung läßt sich 1841 für Madrid nachweisen. Finale wird mit Tempo di Bolero bezeichnet und für die Letztmalig wurde das Werk 1869 in Madrid am Teatro de Saverio Mercadante (1795-1870) was one of Italyʼs most engagement in Madrid in 1826 signalled a successful Cavatina Chiterias bzw. das Schlußrondo läßt sich sogar la Zarzuela in spanischer Übersetzung gegeben. Damals productive composers of the nineteenth century. new beginning for the cultivation of Italian opera in die genaue Vorlage identifzieren, der 1812 gedruckte vermerkte die Kritik allerdings, dass es dem Stück trotz Instrumental and church music stand alongside 57 Spanish territory. Bolero Cuanta veces mis ojas. der inhärenten Qualitäten der Musik nicht gelungen sei, operas in his output. From 1808 to 1816 he studied violin In view of the difficult working conditions – at that In der Entwicklung von Mercadantes Personalstil die Qualitäten von Cervantes unsterblichem Meisterwerk and composition at the Conservatorio di San Sebastiano time Madrid did not even have its own opera house – it is stellt Don Chisciotte alle nozze di Gamaccio eine auf der Bühne sichtbar zu machen. Der vorliegende in Naples and, like Vincenzo Bellini, was a pupil of no surprise that even as early as 1827 Mercadante gelungene Synthese Rossiniʼscher Neuerungen mit Mitschnitt aus Bad Wildbad stellt demnach die moderne Niccoló Zingarelli. In 1819 he made his début as a decided on the far better endowed and more prestigious neapolitanischer Tradition dar, die zudem schon auf die Erstaufführung dar und dürfte geeignet sein, in einer mehr composer at the Teatro San Carlo with the opera post of chief conductor at the Teatro São Carlos in psychologisch feinfühlige Personencharakteristik seiner international als nationalistisch geprägten Zeit das Werk Lʼapoteosi di Ercole and in 1821 in Milan gained Lisbon. Presumably he had prepared himself for a longer späteren „Reformopern“ vorausweist, aber auch auf seine einer angemesseneren Beurteilung zu unterziehen. European fame with Elisa e Claudio. From 1823 to 1825 stay in Portugal, but Dom Miguelʼs coup dʼétat and the Falstaff-Oper von 1834 neugierig macht. In der Der Edition zu Grunde liegt die autographe Partitur he was Rossiniʼs successor as the house composer at subsequent closure of the opera house forced Verwendung spanischer Folklore geht sie noch über I due Mercadantes, die dieser 1831 nach Italien mitgebracht hat the Teatro San Carlo in Naples and from 1826 to 1831 he Mercadante and his singing company to relocate to the Figaro (Madrid 1826) hinaus, in der Mercadante erstmals und die 1895 zusammen mit dem übrigen Nachlaß worked as a composer and conductor in the Iberian Spanish city of Cádiz at the beginning of 1829. What was mit diesen Möglichkeiten gespielt hatte. Prototypisch stellt Mercadantes vom italienischen Staat erworben wurde und peninsula. From 1833 to 1840 he held the office of at first thought to be just a guest engagement led to the Don Chisciotte alle nozze di Gamaccio das Model einer heute im Konservatorium in Neapel aufbewahrt wird. maestro di cappella at Novara Cathedral in Italy. He owed companyʼs being hired on a permanent basis, resulting in dezidiert „spanischen“ Oper dar, die freilich erst hundert a stay in Paris in 1835/36 to his knowledge of French the lasting cultivation of Italian opera in Cádiz. The Jahre später von dem aus Cádiz stammenden Manuel de grand opera, whose principal elements he adapted for marriage of the Spanish king Francisco Vll to a princess Falla realisiert wurde. © 2012 Michael Wittmann the conditions of Italian theatrical practice in his “reform from Naples led to Mercadanteʼs being invited once again operas”, above all in Il giuramento (Milan 1837) and Il to be the opera director in Madrid for the 1830/1 season. bravo (Milan 1839). Long before Verdi Mercadante At the beginning of 1830 a one-act melodramma giocoso, transformed pure bel canto opera into real music drama. Don Chisciotte alle nozze di Gamaccio, was given its In 1840 he succeeded his teacher Zingarelli as director of première in the main theatre as a farewell gift to Cádiz, a the Naples Conservatory and in 1843 was appointed city in which, according to his letters, Mercadante had felt chief conductor at the Teatro San Carlo. With the onset of at ease and whose operatic activity he followed from Italy blindness in 1862 his public activities ceased but he in the following years. remained active as a composer and teacher right up to The libretto of Don Chisciotte alle nozze di Gamaccio the end, when he taught composition by dictating new was provided by one of the theatreʼs house singers, works to his pupils. Stefano Ferrero, and he sang the title-rôle of Don Quixote From the eighteenth century onwards it was not at the first performance. The work was based on the unusual for Neapolitan composers (such as Cimarosa twentieth chapter of Miguel de Cervantesʼs Don Quixote, and Paisiello) to work outside Italy, and Mercadante too in which Don Quixote prevents the poor farm girl Quiteria spent part of his career abroad. Conditions between from being forced to marry the wealthy Camacho instead Spain and Portugal were very different: while in Portugal of her poor lover Basilio. Within Cervantesʼs novel this Italian opera was firmly established as high culture, in simple story serves as a parable on the reprehensible Spain, which had its own important singing and theatrical power of money, the corruptibility of men and the traditions, it was only rarely practised and in 1797 was (apparently) unworldly idealism of Don Quixote. In the even completely forbidden. 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Erzählung auf, indem sie das Potential der Erzählung hörbar zu veranschaulichen. Ein ähnliches Kabinettstück background of the story, while paying more attention to must deploy all the Neapolitan arts of parlando to soothe weniger in Richtung Situationskomik denn in Richtung stellt das Duett (Don Chisciotte-Sancio, CD 2 2) dar, in the potential of the storyʼs individual characters than to its Don Quixote after his angry outburst. That Don Quixote Personencharakteristik lenken. Bezeichnenderweise wird dem Sancio – halb Diener, halb Krankenwärter - alle situation comedy. Tellingly the opera is called a nonetheless is no fool is shown in the following duet die Oper auch nicht als Farsa sondern als Melodramma neapolitanischen Parlando-Künste aufbieten muß, den melodramma giocoso rather than a farsa. (Sancho-Basilio) [CD 2 4]: Sancho takes Don Quixoteʼs giocoso betitelt. cholerischen Anfall Don Chisciottes zu besänftigen. Dass The opera comprises an overture, which later cloak and sword and cherishes the illusion of omnipotence Der Oper vorangestellt ist eine Ouvertüre, die als Don Chisciotte gleichwohl kein Narr ist, zeigt sich in dem achieved currency as a purely instrumental piece known that he himself is a knight. Basilio, who mistakes Sancho Sinfonia caratteristica spagnuola später auch als reines folgenden Duett (Sancio-Basilio, CD 2 4): Sancho nimmt as Sinfonia caratteristica spagnuola, followed by six for Don Quixote, asks him for help. Sancho reveals himself Instrumentalstück Verbreitung gefunden hat. Es folgen Umhang und Schwert Don Chisciottes und gibt sich der scenes containing eight musical numbers: while he advises Basilio simply to forget about Quiteria. sechs Bilder mit insgesamt acht musikalischen Nummern: Allmachtsfantasie hin, selbst ein Ritter zu sein. Basilio, der When Basilio threatens him as a result, he reveals himself Sancio für Don Chisciotte hält, bittet diesen um Hilfe. Sinfonia to be Sancho. This is also represented musically at the Sinfonia Sancio entlarvt sich selbst, indem er Basilio rät, Chiteria Introduction: Chorus and Cavatina (Sancho) [Buffo] start of the duet: Sancho tries to imitate Don Quixoteʼs Introduzione: Coro e Cavatina (Sancio) [Buffo] einfach zu vergessen. Als Basilio ihn daraufhin bedroht, Cavatina (Quiteria) [Soprano] singing style but at the end he lapses once more into his Cavatina (Chiteria) [Soprano] gibt er sich als Sancio erkennen. Das wird auch Scene and Duet (Quiteria, Basilio) [Soprano, Tenor] customary parlando, whereas at the beginning Basilio, Scena e Duetto (Chiteria, Basilio) [Soprano, Tenore] musikalisch umgesetzt: Versucht Sancio zu Beginn des Chorus and Cavatina (Don Quixote) [Bass] feigning obsequiousness, changes from parlando into the Coro e Cavatina (Don Chisciotte) [Basso] Duettes den Gesangsstil Don Chisciottes zu imitieren, so Chorus and Aria (Camacho) [Tenor] heroic mode of opera seria and thereby reveals his true Coro ed Aria (Gamaccio) [Tenore] verfällt er am Schluß wieder in dem ihm gemäßen Duet (Don Quixote, Sancho) [Bass, Buffo] nature. Duetto (Don Chisciotte, Sancio) [Basso, Buffo] Parlando-Ton, wohingegen der zu Beginn Unterwürfigkeit Duet (Basilio, Sancho) [Tenor, Buffo] Naturally a Rossinian crescendo in an opera of this Duetto (Basilio, Sancio) [Tenore, Buffo] vortäuschende Basilio vom Parlando-Ton in den Finale: Chorus, Pezzo concertato [a 8], Rondo finale period cannot fail; the Pezzo concertato for eight solo Finale: Coro, Pezzo concertato [a 8], Rondo finale heroischen Ton der Seria- Oper wechselt und damit seine (Quiteria) [Soprano] voices a cappella in the Finale [CD 2 5] originates from (Chiteria) [Soprano] wahre Natur zu erkennen gibt. the Neapolitan tradition which is intended to represent the Naturgemäß kann in einer Oper dieser Zeit das Taking into consideration the limited familiarity of the performance capability of the assembled ensemble as a Mit Rücksicht auf die geringe Vertrautheit des Rossiniʼsche Crescendo nicht fehlen; ganz der Spanish public with Italian opera, for the most part whole in Cádiz. What is worthy of further mention is the Publikums mit der italienischen Oper verzichtete der neapolitanischen Tradition entspringt dann wieder das Mercadante avoided complex musical forms and prominent rôle given to the chorus, which here has the Komponist großteils auf musikalisch komplexe Formen Pezzo concertato im Finale für acht Solostimmen a depended entirely on the possibility, stemming from function of a dramatis persona. The most noticeable und verläßt sich ganz auf die aus der neapolitanischen cappella (CD 2 5), das wohl auch dazu dienen sollte, die Neapolitan tradition, of characterisation through the feature of the opera is its use of Spanish folklore, which is Tradition stammenden Möglichkeit der Leistungsfähigkeit des in Cádiz versammelten Ensembles varying elements of the prevailing singing styles. Sanchoʼs referred to specifically in the libretto of the first Personencharakteristik durch die unterschiedliche als Ganzes darzustellen. Erwähnenswert ist ferner die entrance aria [CD 1 3] for instance is a parlando part in performance: Habiendo tomado á su cargo el Maestro Stilhöhe des jeweiligen Gesanges. Die Auftrittsarie des prominente Rolle des Chores, der hier durchaus die the best Neapolitan buffo tradition while on the other hand Mercadante el aplicar la música á esta composicion de Sancio (CD 1 3) etwa ist eine Parlando-Partie in bester Funktion einer dramatis personae hat. Das auffälligste the following cavatina sung by Quiteria [CD 1 6] and the carácter espanol, creyó conveniente servirse de varios neapolitanischer Buffo-Tradition, wohingegen die Charakteristikum der Oper aber ist die Verwendung duet between Quiteria and Basilio [CD 1 8] clearly have motivos de las mejores canciones de la nación, para hacer folgende Kavatine (Chiteria, CD 1 6) bzw. das Duett spanischer Folklore, zu der im Uraufführungslibretto their roots in opera seria. The unusual feature of the opera todavia mas caracteristica su obra (With his intention to set (Chiteria-Basilo, CD 1 8) hörbar aus der Sphäre der eigens angemerkt wird: and Mercadanteʼs own brainchild, however, is not the a Spanish subject, it seemed appropriate to maestro Seria-Opern stammt. Die Besonderheit der Oper und „Habiendo tomado á su cargo el Maestro Mercadante sequence of serious and lighter numbers, but the Mercadante to use motifs from the most beautiful Spanish Mercadantes eigene Erfindung ist jedoch nicht die Abfolge el aplicar la música á esta composicion de carácter amalgamation of both spheres in the same number. So in songs in order to make his work more characteristic.) ernster und heiterer Nummern, sondern die espanol, creyó conveniente servirse de varios motivos de Don Quixoteʼs entrance aria [CD 1 !], in which Don Indeed under Don Quixoteʼs entrance is the instruction Durchmischung beider Sphären in ein- und derselben las mejores canciones de la nación, para hacer todavia Quixote is lost in thoughts of memories of Dulcinea without in the score Tempo di mancieca and it uses elements of Nummer. So gelingt es Mercadante etwa in der mas caracteristica su obra.“ (Bei seinem Vorhaben, ein being aware of the ridicule and laughter which surrounds the seguidilla manchega. The introduction to the Finale is Auftrittsarie des Don Chisciotte (CD 1 !) der spanisches Sujet zu vertonen, schien es dem Maestro him, Mercadante succeeds in illustrating audibly the marked tempo di bolero and Quiteriaʼs cavatina and gedankenverloren in Erinnerungen an Dulcinea schwelgt Mercadante angemessen, Motive der schönsten tragicomic element of this character. The duet between closing rondo are modelled exactly on the bolero Cuanta ohne den Spott und das Gelächter wahrzunehmen, das spanischen Lieder zu verwenden, um sein Werk Don Quixote and Sancho [CD 2 2] represents a similar veces mis ojas, which was published in 1812. ihn umgibt, das tragik-komische Element dieser Figur charakteristischer zu gestalten.) master-stroke, in which Sancho – half squire, half orderly – Don Chisciotte alle nozze di Gamaccio represents a 8.660312-13 12 5 8.660312-13 8.660312-13 bk Mercadante SWR_EU_8.660312-13 bk Mercadante_EU 16/05/12 17.28 Pagina 6

successful synthesis of Rossiniʼs innovations with Zarzuela in Madrid. On that occasion it was censured Saverio Mercadante (1795-1870) Neapolitan tradition in the development of Mercadanteʼs because, in spite of the inherent qualities of the music, it Don Chisciotte alle nozze di Gamaccio personal style. It already echoes the psychological and was felt that the piece had not succeeded in bringing to sensitive character development of his later “reform the stage the essential qualities of Cervantesʼs immortal Saverio Mercadante gehörte zu den produktivsten italienischen Opernpflege auf spanischem Territorium. operas” and makes one curious about his Falstaff opera masterpiece. The present recording from Bad Wildbad Komponisten Italiens im 19. Jahrhundert. Angesichts der schwierigen Arbeitsbedingungen – of 1834. In its use of Spanish folklore it outdoes even I represents the first modern performance and ought, in Instrumentalmusik und Kirchenmusik stehen in seinem Madrid verfügte damals noch über kein eigenes due Figaro (Madrid 1826) in which Mercadante had first these more internationally than nationally characteristic Schaffen seinen 57 Opern gleichwertig gegenüber. Von Opernhaus – ist es nicht verwunderlich, dass Mercadante played with these possibilities. Don Chisciotte alle nozze times, to be subject to a more reasoned evaluation.The 1808 bis 1816 studierte er Violine und Komposition am bereits 1827 auf den weitaus besser dotierten und di Gamaccio represents the prototype model of a edition used here is based on Mercadanteʼs autograph Conservatorio di San Sebastiano in Neapel; wie Vincenzo prestigeträchtigeren Posten eines Chefdirigenten am decidedly “Spanish” opera, a concept which, however, score which the composer brought with him to Italy in Bellini war er Schüler Niccoló Zingarellis. Er debütierte Teatro São Carlos in Lissabon wechselte. Vermutlich would not be fully realised until a hundred years later with 1831 and which, along with the rest of Mercadanteʼs 1819 am Teatro San Carlo mit Lʼapoteosi di Ercole. Zu hatte er sich auch auf einen längeren Aufenthalt in Manuel de Falla, who hailed from Cádiz. Don Chisciotte estate, was purchased by the Italian state in 1895 and is europäischer Berühmtheit gelangte er mit Elisa e Claudio Portugal eingestellt, der Putsch Dom Miguels und die alle nozze di Gamaccio was a great success at its first housed today in the conservatory in Naples. (Milano 1821). Von 1823-1825 war er als Nachfolger folgende Schließung des Opernhauses zwangen performance in Cádiz. A further performance was Rossinis Hauskomponist am Teatro San Carlo in Neapel. Mercadante und seine Sängerkompagnie jedoch, schon arranged for Madrid in 1841. Finally, in 1869, the work © 2012 Michael Wittmann 1826-1831 wirkte er als Komponist und Dirigent auf der Anfang 1829 in das spanische Cádiz auszuweichen. Was was given in a Spanish translation at the Teatro de la English translation by David Stevens iberischen Halbinsel. 1833-1840 bekleidete er das Amt zunächst nur als Gastspiel gedacht war, führte zu einem eines Domkapellmeisters im oberitalienischen Novara. festen Engagement der Compagnie und der dauerhaften Einem Aufenthalt in Paris 1835/36 verdankte er die Pflege der italienischen Oper auch in Cádiz. Die Hochzeit Kenntnis der französischen Grand opéra, deren des spanischen Königs Francisco VII mit einer wesentliche Elemente er in seinen „Reformopern“, allen neapolitanischen Prinzessin hatte zur Folge, dass voran Il giuramento (Milano 1837) und Il bravo (Milano Mercadante in der Saison 1830/31 noch einmal zum 1839) für die Gegebenheiten der italienischen Operndirektor in Madrid berufen wurde. Das Anfang 1830 Theaterpraxis adaptierte. Lange vor Verdi transformierte am Teatro principal uraufgeführte einaktige Melodramma er damit die reine Belcanto-Oper zu einem wirklichen giocoso Don Chisciotte alle nozze di Gamaccio ist sein Musikdrama. 1840 wurde er Nachfolger seines Lehrers Abschiedsgeschenk für Cádiz, einer Stadt, in der er sich als Direktor des Konservatoriums in Neapel; 1843 auch ausweislich seiner Briefe sehr wohl gefühlt hatte und Chefdirigent am Teatro San Carlo. Seine Erblindung deren Opernbetrieb er auch in den folgenden Jahren von setzte 1862 seinem öffentlichen Wirken ein Ende; als Italien aus noch verfolgte. Komponist und Lehrer blieb er jedoch bis zuletzt tätig: er Das Libretto zu der Oper stammt von Stefano Ferrero, unterrichtete, indem er Schülern eigene Werke diktierte. der von Haus aus Sänger war und bei der Uraufführung Wie seit dem 18. Jahrhundert für neapolitanische auch die Partie des Don Chisciotte sang. Als Vorlage Komponisten nicht unüblich (Cimarosa, Paisiello) hat diente das 20. Kapitel aus Miguel de Cervantes Don auch Mercadante einen Teil seiner Karriere im Ausland Quijote, in dem Don Quijote verhindert, dass das arme absolviert. Die Bedingungen waren dabei in Spanien und Bauernmädchen Chiteria gezwungen wird, den reichen Portugal sehr unterschiedlich: während die italienische Camacho an Stelle ihres armen Geliebten Basilio zu Oper in Portugal als Hofkultur fest etabliert war, wurde heiraten. Innerhalb von Cervantes Roman dient diese diese in Spanien, das ja über eine eignen bedeutende einfache Geschichte als Parabel über die verwerfliche Sing- und Schauspieltradition verfügte, nur Macht des Geldes, der Korrumpierbarkeit der Menschen ausnahmsweise gepflegt, 1797 war sie sogar gänzlich und den (scheinbar) weltfremden Idealismus Don verboten worden. Mercadantes Engagement in Madrid Quijotes. 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San Pietro a Majella Chorus, Naples Synopsis Camacho arrives and finds out about Don Quixoteʼs The Chorus of the Naples San Pietro a Majella Conservatory is made up of singers from the Conservatory, whether invitation to his wedding. Quickly he gives some lessons vocal students or instrumentalists, with a repertoire that ranges from the baroque to the contemporary. Important CD 1 in knightly behaviour. Basilio determines to do everything appearances have included the festival concert at the dedication of the Sala Scarlatti in the Conservatory itself, and possible to prevent the marriage of Quiteria to Camacho. at the Cologne Philharmonic. There was a notable performance of church music with works by Duke Ellington and 1 Overture. The effective overture, based on Spanish in 2003 a performance at the Vatican, televised internationally. The chorus director Elsa Evangelista studied music, motives, was known later as the concert piece Sinfonia CD2 composition and conducting in Naples and has at her command a rich repertoire, notably of polyphonic music. She caratteristica spagnuola. has a special interest in ethnomusicology. Her considerable reputation has brought invitations to numerous singing 2 No 1. Introduction: Chorus. Preparations for the 1 Recitative. Basilio swears that Camacho shall never festivals wedding of the wealthy Camacho are taking place in front marry his Quiteria. of Don Diegoʼs house. 2 No. 6. Duet. In Don Diegoʼs house Sancho has made 3 Cavatina and 4 Stretta. Sancho Panza, the knightʼs every effort to pacify Don Quixote, who is in a rage over Czech Chamber Soloists, Brno squire, announces the arrival of Don Quixote. an alleged disrespectful remark made by Sancho about 5 The Czech Chamber Soloists, a chamber ensemble from the Brno State Philharmonic, can look back on more than forty Recitative. He complains about his bad treatment by Dulcinea. 3 years of successful performance. It is now directed by Ivan Matyáš, whose father was its founder and early artistic the farmers. Recitative. Cristina invites Camacho in. Sancho 6 director. The ensemble has undertaken concert tours throughout Europe and in the United States, Canada and South No. 2. Cavatina. In Bernardoʼs house his daughter confirms to Camacho that Don Quixote has arrived. Don America, its achievement exemplified in numerous broadcasts, television appearances and recordings. Between 2000 Quiteria bemoans her fate; on her fatherʼs orders she has Diego is afraid of trouble with Basilio. 4 and 2007 the ensemble served regularly as orchestra in residence at the Rossini in Wildbad Festival, its activity there been forced to marry Camacho instead of her lover No. 7. Duet. In front of Don Diegoʼs house Sancho involving recordings under Alberto Zedda, Alessandro De Marchi, Gabriele Bellini and Brad Cohen. Basilio. tells of his dream of becoming a knight. Basilio, who 7 No. 3. Scena and 8 Duet. Basilio appears and confuses him for Don Quixote, asks him for help in confronts Quiteria. She asks him to leave her alone. declaring his love. Sancho reveals his true identity and 9 Recitative. Bernardo discusses the forthcoming advises Basilio to forget about Quiteria. Basilio threatens Antonino Fogliani marriage with Camacho. In advance he demands, in vain, him and Sancho sheepishly begs for mercy. Born in Messina in 1976, Antonino Fogliani studied the piano at the G.B. Martini Conservatory in a kiss from Quiteria. Bernardo advises his daughter to 5 No 8. Chorus and Finale. All the wedding guests Bologna and conducting at the Giuseppe Verdi Conservatory in Milan, at the Accademia Chigiana in forget about Basilio. Don Diego informs his wife Cristina come together in a great crowd and wish the bridal pair a Siena and at the Arts Department of Bologna University. From 1997 he studied with Gianluigi Gelmetti of the arrival of his friend Don Quixote whom they want to long life. in Siena, serving as the latterʼs assistant in Rome, Venice, London and Munich. His many conducting invite to Camachoʼs wedding. 6 Basilio appears and feigns his own suicide. After a engagements have taken him to leading international opera houses and concert halls. For Rossini in 0 No. 4. Chorus and Cavatina. The farmers greet Don moment of shock (Concertato) and “in extremis” he asks Wildbad he has directed Ciro in Babilonia, Lʼoccasione fa il ladro, Mosè in Egitto, La scala di seta, Il Quixote (chorus), who has arrived on his horse for the hand of Quiteria. Her father agrees. Scarcely has signor Bruschino and Otello, as well as Vaccajʼs La sposa di Messina. Rocinante. the marriage ceremony been completed than the suicide ! Cavatina. Don Quixote pines for the love of his youth, is revealed as a bluff. Camacho challenges Basilio to a Dulcinea, and is mocked by the farmers for it. Sancho duel, but Don Quixote saves the situation by explaining asks in vain that the people should at least appear to that in love and war every tactic is allowed and that show Don Quixote some respect. Camacho should get himself another woman. Overjoyed, @ Recitative. Don Diego introduces Cristina to Don Quiteria sings of her union with Basilio (Rondo finale). Quixote who declares himself to be the champion of all true lovers. © 2012 Michael Wittmann # Chorus and Aria. On the village square the farmers English translation by David Stevens comment on the strange arrival of Don Quixote.

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Ugo Guagliardo Hans Ever Mogollon Born in Palermo, Ugo Guagliardo studied singing and piano, and also philosophy. His repertoire Winner of various important competitions, the Columbian born tenor Hans Ever Mogollon earned includes standard classical as well as contemporary rôles. He has appeared in major Italian opera recognition as Almaviva in Il barbiere di Siviglia at the Madrid Teatro Real, where he also sang Ernesto houses, including Turin, Rome, Bologna and Palermo, as well as in international houses and festivals, (Don Pasquale) in 2009. He has sung Tonio (La fille du régiment) in Las Palmas, Pavia and Ravenna, including the Mozart Festival in La Coruña, the Belcanto Festival in Dordrecht and Rossini in Wildbad. Dorvil (Il viaggio a Reims) in Pesaro and Dorvil (La scala di seta) in Valencia. Other rôles have included He has also sung principal Rossini rôles in Paris, Geneva and Tel Aviv, and many bel canto rôles in Don Ramiro (La Cenerentola) in Santa Cruz and Teneriffe and Tybald (Roméo et Juliette) in Trieste. European theatres under the baton of distinguished conductors.

Giulio Mastrototaro Domenico Colaianni Giulio Mastrototaro was born in Riva del Garda and studied in Bolzano, making his operatic début Domenico Colaianni studied at the Piccini Conservatory of his hometown Bari. In 1989 he won the in 2000, at the age of nineteen, as Martino in Rossiniʼs Lʼoccasione fa il ladro. His career has As.Li.Co competition and made his operatic début with Picciniʼs Mengotto and Mozartʼs brought performances throughout Italy and the rest of Europe, including Don Magnifico and Papageno. His successful career has continued with appearances at La Scala, Milan in Tosca and Dulcamara in various French theatres, Don Prosdocimo in Leipzig, and in Gianni Schicchi and La bohème, at the Teatro Regio, Turin in Don Pasquale, and at the Teatro dellʼOpera, Rome in Iphigénie en Aulide under Riccardo Muti in Rome. His other rôles have included Taddeo, Dandini, Gianni Schicchi. His rôles include Dandini (La Cenerentola), Bartolo (Il barbiere di Siviglia) and Figaro and Malatesta. In 2004 he won the Concorso Internazionale As.Li.Co for his interpretation Dulcamara (Lʼelisir dʼamore). of Belcore in Lʼelisir dʼamore.

Laura Catrani Marisa Bove The soprano Laura Catrani studied at the Giuseppe Verdi Conservatory in Milan. Her operatic Born in Pozzuoli, the soprano Marisa Bove studied at the San Pietro a Majella Conservatory in début took place in 2006 at the Rossini in Wildbad festival with Balducciʼs I gelosi, and in 2007 she Naples, where she was a member of the choir and received vocal training in master-classes with took a principal rôle in the first modern concert performance of Mercadanteʼs Don Chisciotte. She Sonia Prina, Luciana Serra, Raúl Giménez and others. She has won first prize in competitions in sang La serva padrona at the Turin Teatro Regio and Papagena in Cremona, Como and Brescia. Pompeii and Bacoli and specialises in the Neapolitan repertoire of the eighteenth century, as well

For festivals including Milano Musica she has appeared in world premières of works by Matteo Photo: Cristina Burns as in French and nineteenth-century opera. Franceschini, Alessandro Solbiati, Michele Tadini and Giacomo Manzoni.

Ricardo Mirabelli Filippo Polinelli The baritone Filippo Polinelli was born at Tortona in 1984, studying first as a bass. He made his Ricardo Mirabelli was born in Argentina and studied at the National University of Mendoza. He professional début in 2006 at the Teatro alla Scala in Massenetʼs Manon Lescaut, with was a finalist in competitions including the Belvedere and Alfredo Kraus. His operatic début was in appearances in Verdiʼs Otello throughout Italy. He made his début in 2007 at the Teatro Regio in 1990 with Mozartʼs Bastien und Bastienne. His rôles have included Tamino, Arnold (Guillaume Parma in Rossiniʼs La pietra del paragone. In 2009 he made his début at La Scala, Milan, in a Tell) and Almaviva (Il barbiere di Siviglia) in various houses in Italy and Peru. In Turin he sang series of principal baritone Rossini rôles, with other engagements including appearance in a gala Lindoro (LʼItaliana in Algeri) and he has appeared in Pesaro and in Wexford. in Tokyo with Plácido Domingo.

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Saverio Also Available MERCADANTE (1795-1870) Don Chisciotte alle nozze di Gamaccio

Melodramma giocoso in one act Libretto by Stefano Ferrero, after an episode in Don Quijote, by Miguel Cervantes

San Pietro a Majella Chorus, Naples (Chorus master: Elsa Evangelista) Czech Chamber Soloists, Brno (Leader: Ivan Matyáš) Harpsichord: Fausto Di Benedetto Antonino Fogliani

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CMYK

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CMYK NAXOS NAXOS A contemporary of Rossini and Donizetti, Saverio Mercadante was one of Italy’s most productive 19th century operatic composers. Don Chisciotte alle nozze di Gamaccio was written during the composer’s stay in Spain, and is based on a chapter of Cervante’s Don Quixote in which the hero prevents the forced marriage of a poor farm girl to the wealthy Camacho. Magnificently entertaining and dramatically innovative, Don Chisciotte combines fashionable Neapolitan style with Spanish folk music elements in an MERCADANTE: DDD MERCADANTE: unforgettable melodramma giocoso. It is heard on this recording in its first modern performance. 8.660312-13 Saverio MERCADANTE Playing Time (1795-1870) 1:42:01 Don Chisciotte alle nozze di Gamaccio Melodramma giocoso in one act by Stefano Ferrero, after Don Quijote, by Miguel Cervantes Don Chisciotte alle nozze di Gamaccio WORLD PREMIERE RECORDING Don Chisciotte alle nozze di Gamaccio Don Chisciotte ...... Ugo Guagliardo, Bass Sancio Pansa ...... Domenico Colaianni, Buffo Chiteria ...... Laura Catrani, Soprano Gamaccio ...... Ricardo Mirabelli, Tenor Basilio ...... Hans Ever Mogollon, Tenor www.naxos.com Made in Germany Kommentar und Inhaltsangabe auf Deutsch Booklet notes and synopsis in English ൿ Bernardo ...... Giulio Mastrototaro, Baritone &

Cristina ...... Marisa Bove, Soprano Ꭿ

Don Diego ...... Filippo Polinelli, Bass 2012 Naxos Rights International Ltd.

San Pietro a Majella Chorus, Naples (Chorus master: Elsa Evangelista) Czech Chamber Soloists, Brno (Leader: Ivan Matyáš) Harpsichord: Fausto Di Benedetto Antonino Fogliani CD 1 CD 2 1-# Scenes 1-11 62:42 1-6 Scenes 12-18 39:19 8.660312-13 8.660312-13 Recorded live at the Kursaal, Bad Wildbad, Germany, 17th, 18th and 21st July 2007 for the XIXth ROSSINI IN WILDBAD Festival (Artistic director: Jochen Schönleber) A Co-production with Südwestrundfunk • Producer: Siegbert Ernst • Engineer: Norbert Vossen Assistant Engineer: Siegbert Ernst • Editor: Dr. Anette Sidhu-Ingenhoff • Booklet Notes: Michael Wittmann Cover collage: Paolo Zeccara • Edition: Florian Bauer, Tübingen / penso-pr The Italian libretto may be accessed at www.naxos.com/libretti/660312.htm