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ORC60 Il Paria Book Rediscovering, restoring, recording and performing the forgotten operatic heritage of the 19th century Gaetano Donizetti IL PARIA ORC60 Opposite: Gaetano Donizetti (1797-1848) as a young man 1 ORC60_Il_Paria_book (FINAL).indd 1 25/02/2020 16:09:27 Gaetano Donizetti IL PARIA Melodramma in two acts Libretto by Domenico Gilardoni Critical edition by Roger Parker and Ian Schoeld AKEBARE, high priest and leader of the Brahmins, Neala’s father ............ Marko Mimica NEALA, priestess in the cult of the sun, Akebare’s daughter .......... Albina Shagimuratova ZARETE, Idamore’s father .................................................................................... Misha Kiria IDAMORE, leader of the army and Zarete’s son ............................................. René Barbera EMPSAELE, Brahmin and Akebare’s condant ........................................... omas Atkins ZAIDE, priestess .............................................................................................. Kathryn Rudge Chorus of Brahmins, Priests, Priestesses, Bayadères, Trumpeters, Warriors, People, Guardians of the Temple, Fakirs ........................ Opera Rara Chorus Stephen Harris, chorus director Britten Sinfonia omas Gould, leader Sir Mark Elder, conductor Recorded at BBC Maida Vale Studios, London, 1-6 June 2019 2 ORC60_Il_Paria_book (FINAL).indd 2 25/02/2020 16:09:27 Assistant conductor Essay, synopsis and libretto translation Martin Fitzpatrick Roger Parker Répétiteurs Photo credits Nicholas Ansdell-Evans, John Shea, Opera Rara archive (inside cover, p.14, Stephen Westrop p.16, p.18), Naples National Library (p.22), British Library (p.26), Russell Italian language coach Duncan (session photography and curtain Matteo Dalle Fratte call), Groves Artists (p.88), Anna Barbera (p.90), Sera Dzneladze (p.91), Simon Producer Pauly (p.92), Sussie Ahlburg (p.93), Jeremy Hayes Simon Johns (p.94), Conservatorio di Musica San Pietro a Majella (p.96) Recording engineer Steve Portnoi Box set design C&CO Design Assistant engineer Niall Gault Opera Rara acknowledges the generous contribution from the Fondation Caris Editing towards the creation of the new edition of Mark Elder, Jeremy Hayes, Il Paria which was used for this recording. Steve Portnoi e orchestral, vocal and choral material Production manager for Il Paria was prepared by Roger Parker Aurelie Baujean and Ian Schoeld and may be hired from Casa Ricordi (www.ricordi.com). 3 ORC60_Il_Paria_book (FINAL).indd 3 25/02/2020 16:09:27 Britten Sinfonia First violins Violas Piccolo Trombones omas Gould Clare Finnimore Fergus Davidson Douglas Coleman Marcus Barcham Stevens Ásdís Valdismottir Ross Johnson Katherine Shave Bridget Carey Oboes Fiona McCapra Rachel Byrt Alun Darbyshire Bass Trombone Martin Gwilym-Jones Ursula John Emma Feilding Simon Minshall Cecily Ward Georgina Payne Lucy Jeal Elisa Bergerson Clarinets Cimbasso Alexandra Raikhlina Daniel Shilladay Joy Farrall Jonathan Rees Kate Lindon Stephen Williams Ellie Consta Cellos Timpani Eleanor Mathieson Caroline Dearnley Bassoons Scott Bywater Hiroki Kasai Ben Chappell Sarah Burnett Joy Hawley Graham Hobbs Percussion Second violins Julia Vohralik Joe Cooper Miranda Dale Juliet Welchman Horns Chris Blundell Nicola Goldscheider Max Ruisi Alex Wide Bobby Ball Suzanne Loze David McQueen Oliver Butterworth Judith Stowe Double basses Matthew Gunner Jo Godden Stephen Williams Jacob Bagby Harps Kirsty Lovie Lucy Shaw Lindsay Kempley Lucy Wakeford Elizabeth Neil Peter Smith Catherine Derrick Eluned Pritchard David Ayre Trumpets Fran Richards Sophie Barrett Roper Jonathan Clarke Djumash Poulsen Irene Haberli Flutes Neil Brough* Alena Walentin Rebecca Crawshaw* Sarah O’Flynn Jo Harris* Charlotte Buchanan* * o-stage 4 ORC60_Il_Paria_book (FINAL).indd 4 25/02/2020 16:09:27 Opera Rara Chorus Sopranos Tenors Jo Appleby Allan Adams Helen Bailey Phillip Brown Celeste Gattai Robert Carlin Kathryn Jenkin Simon Haynes Susan Jiwey Graeme Lauren Katherine Liggins Stuart McDermott Claire Mitcher David Newman Claire Pendleton Huw Rhys-Evans Susan Rann James Scarlett Jane Read Julian Smith Hannah Sawle Pablo Strong Nicola Wydenbach Adam Sullivan Mezzo-sopranos Basses Morag Boyle Matthew Duncan Rhonda Browne Timothy Hamilton Tamsin Dalley Tom Kennedy Deborah Davison Dawid Kimberg Amanda Floyd Paul Napier-Burrows Vanessa Heine Martin Nelson Susanne Holmes David Porter-omas Melanie Lodge Christopher Speight Deborah Miles-Johnson Danny Standing Rebecca Stockland Lawrence Wallington Kate Warshaw Jon Wood Sidonie Winter 5 ORC60_Il_Paria_book (FINAL).indd 5 25/02/2020 16:09:27 EVERY PROJECT that Opera Rara undertakes is made possible by the generosity of our supporters, who believe in our mission to rediscover, restore, record and perform the forgotten operatic heritage of the 19th century. We would like to take this opportunity to thank our current supporters and those who have contributed towards our work during the period of this recording. Circle Members Patrons Charles Alexander Sir David Bean Carlo Grosso David Bernstein Michael Hartnall Roger Bramble Glenn Hursteld Michael Buckley Costas and Evi Kaplanis Anthony Bunker Trifon and Despina Natsis John Chichester Stefan Sten Olsson and John Tierney Sir Anthony Cleaver Sir Simon and Virginia Robertson Edward Gasson Islée Oliva Salinas Patrick and Marian Griggs Malcolm Herring Trusts and Foundations Alan Jackson e Monument Trust Hal Lindburg Foyle Foundation Simon Lyell e Vernon Ellis Foundation Chris and Dominique Moore Fondation Caris Simon Mortimore QC Alison Nicol Patrick Radclie Peter Rosenthal Imogen Rumbold Martin and Patricia Spiro Gerry Wakelin and Ivor Samuels Mark Walker 6 ORC60_Il_Paria_book (FINAL).indd 6 25/02/2020 16:09:27 Friends Opera Rara is particularly grateful to the Claus Ambos late Sir Peter Moores who, through the Peter Martin Boyle Moores Foundation, supported our work Jennifer Bryant-Pearson from 1978 to 2010. David Buchler David Castles Colin Craig Mark Field Paul Foss Marian Gilbart Read Alan Godfrey David Grant Julien Herveau Edward Herzog Yvonne Horsfall-Turner Sophie Ibbotsen Richard Jacques Douglas Jones Chris Knight Eric Leynes Barry Lock John Nickson Alex Reinhard Jeremy Roberts Andrew Simmons Kenneth Stampp Richard Williams 7 ORC60_Il_Paria_book (FINAL).indd 7 25/02/2020 16:09:27 Title page of the libretto of Il Paria for the premiere in Naples, 12 January 1829 8 ORC60_Il_Paria_book (FINAL).indd 8 25/02/2020 16:09:27 CONTENTS Track listing Page 10 Il Paria emerges from the shadows. Essay by Roger Parker Page 12 e Story Page 23 Argument Page 25 Die Handlung Page 29 Trama Page 31 Libretto Page 35 Singers’ biographies Page 88 9 ORC60_Il_Paria_book (FINAL).indd 9 25/02/2020 16:09:27 CD1 60:24 ACT I Duration Page [1] Preludio 00:56 35 [2] ‘In questa a te sacrata antica selva’ (Coro di Sacerdoti) 02:39 35 [3] ‘Oggi ei riede!’ (Akebare, Coro di Bramani, Sacerdoti e 03:29 36 Sacerdotesse) [4] ‘Il Pontice degna’ (Coro di Sacerdoti, Akebare) 02:12 37 [5] ‘Orrendo sogno!’ (Neala, Akebare) 00:43 38 [6] ‘Parea che mentre l’àloe’ (Neala, Akebare, Coro) 03:13 40 [7] ‘O tu, luce del vero’ (Coro, Akebare, Neala) 02:20 41 [8] ‘Ah, che un raggio di speranza’ (Neala, Akebare, Coro) 04:38 42 [9] ‘Gemina pompa nel gran tempio’ (Akebare) 00:56 43 [10] ‘Sì, decisi...’ (Neala, Zaide) 02:38 43 [11] ‘Tergi, o Dio’ (Zarete, Neala, Zaide) 01:41 44 [12] ‘Qual tu ti sia, qui t’inoltra’ (Neala, Zarete, Empsaele, Zaide) 03:49 46 [13] ‘Ah no, che il core’ (Zarete) 02:51 50 [14] ‘Là dove al ciel s’estolle’ (Idamore) 05:13 50 [15] ‘Lontano, io più l’amai’ (Idamore) 04:02 51 [16] ‘Fin dove sorgono’ (Idamore) 03:32 52 [17] ‘Ma chi è colui?’ (Idamore, Zarete) 03:41 52 [18] ‘D’un Akebar la glia?’ (Zarete) 03:56 56 [19] ‘Salvi, o Nume’ (Coro di Sacerdoti e Sacerdotesse, Zarete, 02:40 59 Idamore) [20] ‘Non m’obliasti?’ (Zarete, Idamore) 00:46 60 [21] ‘Lascerò colei che adoro?’ (Idamore, Zarete) 04:29 60 10 ORC60_Il_Paria_book (FINAL).indd 10 25/02/2020 16:09:27 CD2 50:58 ACT II Duration Page [1] ‘Discendi’ (Empsaele, Akebare, Idamore, Neala) 06:28 62 [2] ‘A un culto barbaro’ (Idamore, Neala) 01:19 69 [3] ‘La mano tua’ (Idamore, Neala) 02:30 69 [4] ‘Tu? Mia?’ (Idamore, Neala) 01:27 70 [5] ‘Sarai tu sempre, o caro’ (Neala, Idamore) 03:49 72 [6] ‘Notte, ch’eterna a me parevi’ (Zarete) 05:48 72 [7] ‘Qui pel glio una madre gridava’ (Zarete) 03:08 73 [8] ‘Mai fulgido così’ (Coro di Sacerdoti, Zarete) 03:18 74 [9] ‘Questa adunque, o glio ingrato’ (Zarete) 03:04 76 [10] ‘Brama, autor dell’universo’ (Coro di Sacerdoti e Sacerdotesse) 04:09 76 [11] ‘Quanto di lieto’ (Idamore, Akebare, Neala) 03:42 77 [12] ‘Da sì caro e dolce istante’ (Idamore, Neala, Akebare, 04:14 78 Empsaele, Coro di Sacerdoti e Sacerdotesse) [13] ‘Ma tu, sommo Bramano’ (Zarete, Akebare, Neala, Idamore) 02:30 81 [14] ‘Deh un folle ardir’ (Neala, Akebare, Zarete, Idamore, Coro di 02:13 83 Sacerdoti e Sacerdotesse) [15] ‘La sorte di noi miseri’ (Idamore, Zarete, Neala, Akebare) 03:19 85 11 ORC60_Il_Paria_book (FINAL).indd 11 25/02/2020 16:09:27 IL PARIA EMERGES FROM THE SHADOWS One newspaper report underlines the levels of overt sycophancy such occasions FIRST PERFORMED AT the Teatro San required, reporting that the royal guests, Carlo in Naples on 12 January 1829, Il Paria led by Francesco I of Naples, ‘received in was always going to be a special case among the repeated and enthusiastic applause of Donizetti’s works: the rst opera he wrote in the greatest possible number of spectators the prestigious post of Director of the Royal gathered there yet another testimony of eatres in Naples; a royal gala premiere universal respect and love’. What is more, in Naples; an exceptional cast of principal protocol dictated that no one was allowed singers; the rst time he experimented with to applaud until the king himself gave the an ‘exotic’ ambience; and his rst opera with signal, a stipulation creating a stilted, formal a tragic ending. atmosphere that oen proved anathema to No wonder he took particular care the torrid world of operatic drama and its with the score, and no wonder that he was reception.
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