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8.660312-13 Bk Mercadante SWR EU 8.660312-13 Bk Mercadante EU 16/05/12 17.28 Pagina 16 8.660312-13 bk Mercadante SWR_EU_8.660312-13 bk Mercadante_EU 16/05/12 17.28 Pagina 16 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 8.660312-13 215 8.660312-13 8.660312-13 bk Mercadante SWR_EU_8.660312-13 bk Mercadante_EU 16/05/12 17.28 Pagina 14 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 8.660312-13 14 3 8.660312-13 8.660312-13 bk Mercadante SWR_EU_8.660312-13 bk Mercadante_EU 16/05/12 17.28 Pagina 4 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.
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