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Wolfgang Amadeus Mozart (1756–1791) The Marriage of Figaro

Lebrecht Collection Lebrecht Opera buffa in four acts Libretto by Lorenzo Da Ponte, English translation by Jeremy Sams Count Almaviva...... William Dazeley baritone Countess Almaviva...... Yvonne Kenny soprano Susanna, her maid, betrothed to Figaro ...... Rebecca Evans soprano Figaro, valet to Count Almaviva ...... Christopher Purves baritone Cherubino, the Count’s page ...... Diana Montague mezzo-soprano Bartolo, a doctor from Seville...... Jonathan Veira bass-baritone Marcellina, Bartolo’s housekeeper ...... Frances McCafferty mezzo-soprano Don Basilio, music master ...... John Graham-Hall tenor Don Curzio, notary ...... Stuart Kale tenor Antonio, gardener, Susanna’s uncle ...... Graeme Danby bass Barbarina, Antonio’s daughter ...... Sarah Tynan soprano Girls...... Yvette Bonner soprano { Victoria Joyce soprano Geoffrey Mitchell Choir Philharmonia Orchestra Gareth Hancock assistant conductor Wolfgang Amadeus Mozart David Parry

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COMPACT DISC ONE Time Page Time Page 1 Overture 3:54 [p. 118] 16 ‘It’s outrageous! Search the castle’ 4:20 [p. 126] Count, Basilio, Susanna Act I (41:16) 17 ‘Basilio, run and tell Figaro to come here’ 1:01 [p. 128] 2 ‘Fifteen, sixteen, twenty, thirty’ 2:44 [p. 118] Count, Susanna, Cherubino, Basilio Figaro, Susanna 18 ‘Praise and adore him’ 1:09 [p. 129] 3 ‘What on earth are you measuring’ 0:50 [p. 118] Chorus 4 ‘Supposing one evening the Countess’ 2:35 [p. 119] 19 ‘So what is all this nonsense?’ 1:36 [p. 129] 5 ‘All right, shut up and listen’ 1:52 [p. 119] Count, Figaro, Susanna Susanna, Figaro 20 ‘Praise and adore him’ 1:01 [p. 130] 6 ‘Bravo, my lord and master!’ 0:54 [p. 120] Chorus 7 ‘So, little master, you’re dressed to go dancing’ 2:35 [p. 121] 21 ‘God bless you!’ 1:11 [p. 130] Figaro Figaro, Susanna, Basilio, Cherubino 8 ‘But why did you wait till the day of the wedding’ 1:05 [p. 121] 22 ‘Here’s and end to your life as a rover’ 3:51 [p. 131] Bartolo, Marcellina Figaro 9 ‘Now for vengeance, glorious vengeance!’ 2:59 [p. 121] TT 45:14 Bartolo COMPACT DISC TWO 10 ‘So all is not lost’ 0:47 [p. 122] 11 ‘I bow to your grace’ 2:10 [p. 122] Act II (46:21) Marcellina, Susanna 1 ‘Hear my prayer, humbly I beg you’ 3:40 [p. 131] 12 ‘Good riddance, you old spinster’ 2:09 [p. 123] Countess Susanna, Cherubino 2 ‘Come here, dear Susanna, and finish your story’ 3:06 [p. 131] 13 ‘I don’t know what it is that I’m feeling’ 2:54 [p. 124] Countess, Susanna, Figaro Cherubino 3 ‘How it grieves me, Susanna’ 1:22 [p. 133] 14 ‘Now I’m done for!’ 1:30 [p. 124] Countess, Susanna, Cherubino Cherubino, Susanna, Count, Basilio 4 ‘Tell me what love is’ 2:41 [p. 134] 15 ‘Susanna, heaven bless you!’ 2:03 [p. 125] Cherubino Basilio, Susanna, Count 5 ‘Bravo, your voice is lovely!’ 1:08 [p. 134] Countess, Susanna, Cherubino

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Time Page COMPACT DISC THREE Time Page 6 ‘Kneel down and let me look at you’ 2:54 [p. 135] Act III (40:29) Susanna 1 ‘This is very perplexing!’ 0:58 [p. 152] 7 ‘Enough of this nonsense!’ 3:00 [p. 135] Count Countess, Susanna, Cherubino, Count 2 ‘Don’t be afraid!’ 1:40 [p. 152] 8 ‘What does this mean?’ 1:25 [p. 137] Countess, Count, Susanna Count, Countess 3 ‘How could you be so cruel’ 2:29 [p. 153] 9 ‘Come out of there, Susanna!’ 3:00 [p. 138] 4 ‘But I don’t understand’ 0:39 [p. 154] Count, Countess, Susanna Count, Susanna 10 ‘So you’re proposing not to open it?’ 1:00 [p. 139] 5 ‘Hey, Susanna, how’s it going?’ 0:10 [p. 154] Count, Countess Figaro, Susanna 11 ‘Don’t worry, Cherubino’ 1:02 [p. 140] 6 ‘“You’ve won the case already”’ 1:28 [p. 154] Susanna, Cherubino 7 ‘Must I be made to suffer’ 3:11 [p. 155] 12 ‘Look at the little devil!’ 0:21 [p. 141] Count Susanna 8 ‘Come on, come on, Cherubino’ 0:43 [p. 155] 13 ‘Everything as I left it’ 1:24 [p. 141] Count, Countess Barbarina, Cherubino 9 14 ‘Out you come, you vile seducer’ 2:54 [p. 141] ‘And Susanna’s not here’ 1:53 [p. 155] Count, Countess 10 ‘I remember his love so tender’ 4:32 [p. 156] 15 ‘You called, sir?’ 1:21 [p. 143] Countess Susanna, Count, Countess 11 ‘The case is decided’ 2:04 [p. 156] 16 ‘I cannot believe it’ 3:31 [p. 143] Curzio, Marcellina, Figaro, Count, Bartolo Countess, Susanna, Count 12 ‘Darling boy, let me embrace you’ 4:49 [p. 157] 17 ‘The wedding procession is ready and waiting’ 3:13 [p. 145] Marcellina, Figaro, Bartolo, Curzio, Count, Susanna Figaro, Count, Susanna, Countess 13 ‘This is our little baby’ 1:18 [p. 160] 18 ‘Oh, my lord! My lord!’ 5:34 [p. 147] Marcellina, Bartolo, Susanna, Figaro Antonio, Count, Countess, Susanna, Figaro 14 ‘I must warn you, my lord’ 0:29 [p. 160] 19 ‘Noble lord, we come for justice’ 3:41 [p. 151] Antonio, Count Marcellina, Basilio, Bartolo, Count, Countess, Figaro, Susanna TT 46:21

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Time Page Time Page 15 ‘That’s amazing!’ 0:41 [p. 161] 28 ‘That’s Barbarina! Who goes there?’ 0:36 [p. 167] Countess, Susanna Figaro, Basilio, Bartolo 16 ‘…the breezes…’ 2:35 [p. 161] 29 ‘Everything’s ready; the hour of reckoning is at hand’ 1:28 [p. 168] 17 ‘That should do the trick!’ 0:26 [p. 161] 30 ‘You foolish slaves of Cupid’ 2:47 [p. 168] Susanna, Countess Figaro 18 ‘Gentle lady, may these presents’ 1:13 [p. 162] 31 ‘My lady, Marcellina says Figaro will be here’ 0:18 [p. 168] Girls Susanna, Marcellina 19 ‘Madam, with your permission’ 0:47 [p. 162] 32 ‘My lady, you are trembling’ 0:38 [p. 168] Barbarina, Countess, Susanna Susanna, Countess, Figaro 20 ‘Hey, what did I tell you!’ 1:07 [p. 162] 33 ‘At last, the moment I’ve longed for’ 1:21 [p. 169] Antonio, Countess, Susanna, Count, Cherubino 34 ‘Come quickly my beloved, I implore you’ 3:34 [p. 169] 21 ‘My lord, if you detain these lovely girls’ 1:13 [p. 163] Susanna Figaro, Count, Countess, Susanna, Antonio 35 ‘Treachery! Now I see how she has deceived me!’ 0:36 [p. 169] 22 ‘Now I can hear them’ 1:57 [p. 164] Figaro, Countess, Cherubino Figaro, Susanna, Count, Countess, Serving girls, Chorus 36 ‘I’ll approach her, oh so softly’ 1:11 [p. 170] 23 ‘As true-hearted lovers’ 4:07 [p. 165] Cherubino, Countess Chorus 37 ‘Here she is, my dear Susanna’ 1:48 [p. 170] Count, Susanna, Figaro, Cherubino, Countess Act IV (31:43) 38 ‘Now we’re alone together’ 2:38 [p. 171] 24 ‘I have lost it, I’m so stupid’ 1:32 [p. 165] Count, Countess, Figaro, Susanna Barbarina 39 ‘Night shrouds the world in mystery’ 3:43 [p. 172] 25 ‘Barbarina, what’s happened?’ 1:14 [p. 166] Figaro, Susanna Figaro, Barbarina, Marcellina 40 ‘I surrender, my love’ 1:57 [p. 173] 26 ‘Mother!’ 0:50 [p. 166] Figaro, Susanna, Count Figaro, Marcellina 41 ‘Quickly, bring your weapons!’ 4:52 [p. 174] 27 ‘The pavilion on the right’ 0:41 [p. 167] Count, Figaro, Basilio, Curzio, Antonio, Bartolo, Susanna, Barbarina Cherubino, Barbarina, Marcellina TT 72:22

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Christopher Purves as Figaro With this recording of The Marriage of Figaro with Scottish Opera BillCooper we have been able to fill an important gap in

Bill Cooper/PMFBill the Opera in English catalogue. I hope that the wit and wisdom of Mozart’s masterpiece, sung in English by a spirited cast, will bring fresh pleasures to all listeners – whether you are encountering Figaro for the first time, or re-visiting well-loved territory. I hope it will encourage you to dip further into our Opera in English catalogue – with over thirty-five recordings (and more in the pipeline) there is plenty to explore in what is now the world’s largest collection of operas recorded in English translation.

August 2004

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Too much can be made of the pre- determination in Act III and is the catalyst for Figaro’s Marriage revolutionary aspects of The Marriage of the drama in Act IV. The resolution brought Figaro. Figaro’s Act I cavatina ‘Se vuol ballare, about by the Countess’s forgiveness of her Figaro should be aged about thirty, if we are to through the ‘convenience’ of the room they signor contino’ (‘So, little master, you’re errant husband (‘I’m far more forgiving, and believe his inventor Caron de Beaumarchais. have been allotted and Count Almaviva’s plan dressed to go dancing’ in Jeremy Sams’s so I say yes’) and their, at least temporary, Mozart was also thirty in 1786, when the to take them with him on his embassy to translation) may seem like the tocsin for reconciliation form the emotional climax of opera was first performed. It is not too fanciful London. She reacts quickly enough to cover battle, and his confrontation with the Count the opera. to read an autobiographical element into up Cherubino’s escape from the Countess’s before the dances in Act III (‘Maybe so. I’m Peter Hall once memorably described in a Beaumarchais’s creation of his multi-talented closet. She finds the means to pay off Figaro’s not one to accuse when I don’t know’) may radio interview the healing effect of the great Barber of Seville. A step or two further finds debt to Marcellina. It is she who aborts his presage the collapse of the social order. But forgiveness ensemble involving the whole cast some parallels with Mozart as the rather too risky plan to dupe the Count by disguise in not yet. It is too facile to be wise after the after the Countess’s intervention, and able servant on rather too familiar terms with the garden at night, in favour of her cleverer event, as was Napoléon in describing Figaro’s especially the power of the short descending his social superiors. version of the plan. Susanna’s native wit incendiary challenge ‘You have taken the orchestral passage between that ensemble and It must therefore be a mistake to portray complements Figaro’s acquired ingenuity. trouble to be born, nothing more’ as ‘the the final chorus of jollification, a fleeting Figaro as the fall guy in this opera, as is Indeed, and despite the opera’s title, it is Revolution in action’. Beaumarchais in Paris, moment when all the characters stare into the sometimes the case. Admittedly, he is prone to easy to see Susanna as the central character of and Mozart after him in Vienna, are playing abyss of tragedy. Faithlessness and betrayal act and to speak even faster than he thinks, the opera. Hers is certainly the longest role, if with fire, but it is still a play. may so easily destroy these marriages. There is but starting the action is his function in the you count the notes, but it is not just the The counter-revolutionary argument, an awful realisation of self-knowledge, and plot. Figaro is the motor of this drama. It is quantity of notes that counts. One of the most eloquently put by Joseph Kerman in his Opera then they turn away, choosing to ignore it for his urgency which drives it forward, in spite of wonderful aspects of Mozart’s genius, and not as Drama, is that the true hero and heroine of the pleasures of the moment. The border the delaying and braking tactics of the other only in this opera, is his ability to draw and the opera are the Count and Countess. between tragedy and comedy is so narrow. characters. By contrast, the others are all colour women as convincingly as men. It is a Although his thesis does not entirely convince, This balance between the two is what makes relatively passive, awaiting the outturn of skill not shared by so many other male it is true that the opera is as much an Mozart supremely realistic and his operas so events. It is, after all, Figaro’s marriage, as the composers, nor by too many male writers for examination of their two-year-old marriage as believable. It is the special insight which is title of the opera reminds us. that matter. The idealized woman, Goethe’s of the marrying of Figaro and Susanna. The evident as early as La finta giardiniera, And Susanna’s, although you would not ‘Ewigweibliche’, is the bane of much Count, although he is ostensibly the ‘villain’ of composed when he was only eighteen, and know so from the title. It is Susanna, nineteenth-century opera and literature. In the the piece, should remain sympathetic. The which reaches its apogee with the three operas presumably a few years younger than her twentieth century, Janácˇek and Berg share Countess, despite her early passivity and written with Lorenzo da Ponte, of which The bridegroom, who shows him up. She sees Mozart’s precious gift, but not many more. weepiness, regains her strength and Marriage of Figaro is the first. The balance is

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most finely held at the drama’s resolution, but Walter Legge described the Act II finale According to Michael Kelly, the Irish tenor (‘You foolish slaves of Cupid’) and Susanna’s it is struck throughout the opera. It is most thus: ‘Musically this is the most masterly who played Basilio and Curzio in the original ambiguously directed love song (‘Come beautifully, half-humorously exposed in ensemble, not only in this opera but in all production, Mozart’s favourite number in the quickly my beloved’) are of course essential, Cherubino’s Act I aria ‘Non so più, cosa son, Mozart. For nearly twenty minutes the music opera was the sextet in Act III. It can certainly but Marcellina’s and Basilio’s simile arias can cosa faccio’ (‘I don’t know what it is that I’m flows unbroken, responding to every turn and be one of the funniest sections, with its appear marginal. In fact, they are interesting feeling’). And it should be there in the twist of the complicated and fast-moving surprise revelations and reversals; yet again, and revealing pieces. Marcellina’s number adolescent’s half-painful, half-pleasurable comedy, illuminating, reflecting, commenting Susanna’s fury and discomfiture are in deadly fleshes out her character with some of the reaction to Figaro’s military aria ‘Non più upon the action and the widely differing earnest. There is a beautiful touch after the feminist indignation of her great speech in andrai’ at the end of Act I (‘Here’s an end to emotions of the participants. Step by step with sextet has finished and the Count and Curzio Act III of Beaumarchais’s play. Basilio’s your life as a rover’). The glories Cherubino the action, the music intensifies the surprises, have retired in disarray. Susanna asks the ‘donkey’s hide’ anecdote is a more anticipates are not strictly martial. adds point to the subtleties, and yet casts over others who remain ‘Who could be happier conventional simile aria, but with a sadly Although The Marriage of Figaro is the whole rather sordid play of intrigue a than I am?’ and Figaro, Bartolo and ironic twist in its tail. Both add extra nominally in four acts, corresponding to its magical cloak of the most enchanting music Marcellina each reply ‘I am’. Then together dimensions to their characters and to the four locations, it is musically a two-act that, while it is always faithful to the and in close harmony the quartet sings richness of the drama, but they come too late. structure similar to those of the other Da incident, transmutes it into the purest gold of pianissimo ‘And if the Count is furious, well Towards the end of the evening, one is Ponte operas, Don Giovanni and Così fan tutte. beauty.’ that will serve him right!’ This moment should impatient for the plot to be resolved. So in Each half of each opera concludes with an Everyone will choose a favourite section of not be played only for comedy. performance, as on this recording, it is extended finale, a device for developing the this sublime finale. Mine is the temporary Act IV is the most difficult act to bring off pragmatic to cut them. action through music which Mozart pioneered truce between the combatants (albeit hardly in performance. After the three interior act This cut advances Figaro’s own moment of as early as La finta giardiniera but which he shared by the furiously plotting Count) before settings the garden should breathe the freedom tragic repose, when his optimistic nature for perfected in the Act II finale of Figaro. It is the incursion of Antonio with his broken and license of the open air. These secret places once threatens to be overwhelmed. Grander also the supreme example of Mozart’s sense of flower pots. The Countess, Susanna and under the pine trees are like Shakespeare’s still than his angry aria is the short section, balance. From the moment when the Count Figaro sing ‘Deh signor, noi contrastate’ wood outside Athens where sexual dreams may well into the finale, when the tempo broadens and Countess return to the bedroom and the (‘Heed my pleading, I implore you, be be realised. Once the finale proper begins with to larghetto in 3/4 time; bright G major gives finale proper starts, the outcome could as compassionate I pray’), and, as the Count Cherubino’s ‘I’ll approach her, oh so softly, way to E flat major (the key of the Countess’s easily be tragic as comic. In the event, the mentally searches for Marcellina, horns and seize the moment while I may’, all moves well, plaintive opening cavatina ‘Porgi amor’ – humour keeps surfacing, sometimes basses emphasize their plea forte. The brief but the first half of this act sees a build up of ‘Hear my prayer’); and the clarinets return. hilariously, even farcically, but it remains a moment of hoped-for reconciliation magically reflective arias which do nothing to progress Under the tranquil and placid night sky, with matter of life and death. anticipates the end of the opera. the action. Figaro’s diatribe against women Venus and Mars locked in embrace above,

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Figaro once more gathers the threads of the door to the right leads to the main hall of the be only too glad to revenge himself on page, Cherubino is revealed again. The Count drama and confronts his personal destiny. This castle, that in the centre to the Countess’s Figaro. then realises that Cherubino has overheard magical moment lasts only twelve bars, before apartments, and that to the left to those of the 10 – 11 Susanna returns, and as Marcellina everything he’s just been saying to Susanna. he is again pulled into the breathless Count. 1 After the overture, we see Susanna is leaving they exchange some barbed 18 – 20 Figaro now enters with his friends unravelling of the denouement. But despite preparing her wedding headdress. 2 Figaro compliments. to ask the Count to present Susanna with her what happens after and the Countess’s is measuring where their bed can go, 12 The page boy Cherubino comes to virginal bridal adornment, but the Count puts dramatic revelation, it is enough to give him 3 – 5 but when Susanna understands what appeal to Susanna for advice and assistance. this off until the official ceremony. 21 To get back his opera – and his marriage. Figaro is doing, she points out that this room The Count has caught him flirting with rid of Cherubino, the Count gives him a is out of the question! It is not only a general Barbarina, the gardener’s daughter, and unless commission in his own regiment and sends © 2004 Nicholas Payne passageway but more importantly, too easy of the Countess can be persuaded to intervene, him off to Seville. 22 Figaro mockingly wishes access to the Count who is pursuing her and he will be sent away, never more to see his Cherubino well in his future military career. Synopsis would like to revive the feudal rights of the dear Susanna or, for that matter, My Lady, A few years before the opera begins, the Count Lord of the Manor. Figaro is stunned to learn whom he worships from afar. When Susanna COMPACT DISC TWO Almaviva had wooed and wed Rosina. She was of the Count’s interest in her. She responds expresses her surprise at so many loves, the rich ward of a Dr Bartolo of Seville, who that Figaro surely did not think that the dowry 13 Cherubino tells her that he is in love with Act II had been planning to marry her himself to that the Count has promised was due to the Love and hands her a song which he has Act Two takes place in the Countess’s obtain her money. The Count now lives some Count’s feelings for him. 6 – 7 She is written for the Countess. apartment. The door on the right leads to the distance from Seville in his ancestral Manor, summoned by the Countess and Figaro 14 The Count enters, whereupon main staircase, that in the centre to Susanna’s with Figaro as his body-servant. Figaro himself expresses his jealous thoughts: if the Count Cherubino hides himself. The Count flirts room, and that on the left to a small dressing is to be married today to Susanna, lady’s maid tries to make love to Susanna, Figaro will use with Susanna but his advances are interrupted room. There is a window on the wall facing. to none other than Rosina, the Countess every trick to upset his plans. by Don Basilio, the music master. 15 The Susanna has just left the Countess’s morning Almaviva. 8 – 9 Dr Bartolo and his housekeeper Count then also hides. However, when he tray. Marcellina have come from Seville. Marcellina hears what Basilio has to say about 1 Rosina, now the Countess Almaviva, COMPACT DISC ONE has lent money to Figaro, with the proviso Cherubino’s attentions to the Countess he longs for the return of the love of her that if he is unable to pay it back, he will have emerges from his hiding place 16 – 17 and philandering lord. Act I to marry her. Obviously until the money can threatens to dismiss Cherubino. He recounts 2 Susanna comes back. She had been The first act takes place in the early morning be re-paid, Figaro is not in a position to get how he found the boy hiding under the telling the Countess of the Count’s in a small service room allotted to Figaro and married to anyone else. Marcellina asks tablecloth in Barbarina’s cottage. As he discomfiture and now adds that Figaro has Susanna as their future married quarters. The Dr Bartolo for his help; he replies that he will demonstrates how he managed to expose his sent an anonymous letter to the Count

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through Basilio, revealing that the Countess closet – Cherubino has knocked something Figaro and delivered by Basilio. He asks his COMPACT DISC THREE has an assignation this evening in the garden over. The Count demands to know who is in wife’s forgiveness. with a lover. This is a fabrication to distract there. The Countess says it is Susanna and the 17 Figaro enters to announce that Act III him from chasing Susanna. Count orders her to open up or speak but the preparations for the wedding are nearly Act Three is laid in the Great Hall where all The Countess points out that this doesn’t Countess forbids this. Susanna unnoticed complete but the Count asks him if he wrote may freely come and go. It is late afternoon. stop Marcellina’s threatened intervention. comes back into the room, realises what is the anonymous letter. Figaro of course denies 1 The Count is trying to puzzle out Susanna has a suggestion: she makes an happening and hides herself. this, in spite of prompting from Susanna and the contradictions of recent happenings. assignation with the Count herself but that 9 – 10 Since the Countess refuses to open the Countess. 2 – 4 The Countess sends Susanna to make Cherubino keeps it, disguised as Susanna. The the closet, the Count locks all the doors and 18 Antonio the gardener enters to complain an assignation with the Count for this Countess can surprise them and this will put goes to get tools to force the closet door, that someone has jumped out of the window evening. The Countess is planning to keep this the Count in such a position that he will have taking the Countess with him. 11 Susanna and spoilt his flowers. Figaro says it was he; herself in Susanna’s place, since Cherubino has to give his consent to the marriage. persuades Cherubino to open up. Finding all Antonio thinks it was Cherubino, but Figaro now left. On the pretext of borrowing his 3 – 4 Cherubino comes in to sing his the doors locked, he jumps out of the window. says he has already left for Seville. The Count smelling salts, Susanna approaches the Count song to the Countess. 12 Susanna locks herself into the closet. asks Figaro why he jumped. Figaro says he was and makes the assignation. 5 She confides 5 – 6 The plan is explained and Susanna 13 The Count and Countess return and the waiting for Susanna when he heard a rumpus, to Figaro as she leaves that she has won his arranges a dress rehearsal, first of all locking Countess admits that she was preparing a the Count shouting, and thinking of the case for him without the need of a lawyer. the door. As he is changing, Cherubino drops surprise for the evening, and that it is actually anonymous letter (which he has just denied 6 Unfortunately, the Count overhears her. his commission and the Countess remarks that Cherubino in the closet. This seems to the writing), he took fright and jumped out of the 7 He explodes, furious to find himself it hasn’t been sealed. Susanna starts to dress Count to confirm the anonymous letter. window. Antonio asks if the papers that were outwitted by his own servants. Cherubino as a girl. 14 The Count calls on Cherubino to come dropped are his then, but the Count seizes 8 Barbarina persuades Cherubino to join The Countess sends Susanna for one of her out. The Countess begs him not to be angry if them and asks Figaro to identify them. The her and the village girls in presenting flowers own bonnets. 7 There is a knock at the main he sees Cherubino a little dishevelled, he was Countess recognises Cherubino’s commission to the Countess. door; the Count has returned unexpectedly. getting dressed up as a girl. The Count and passes the information along to Figaro, 9 – 10 The Countess is waiting for Cherubino is bundled into the closet and locks denounces his wife as faithless and is going to who explains that it is the page’s commission Susanna and sings of wonderful moments with himself in. 8 The Countess unlocks the main attack the door 15 – 16 when Susanna opens which was left with him to be sealed. the Count in the past. 19 door and explains that she has been trying on it and steps out. Both the Count and Marcellina, Dr Bartolo and Don Basilio 11 The legal decision is that Figaro must a dress and talking to Susanna who has just Countess are dumbfounded, the Count finds enter to present Marcellina’s case against pay his debt or marry Marcellina. Figaro says left. The Count shows her Figaro’s anonymous this joke as cruel as that of the anonymous Figaro. The confusion this causes ends the that he cannot marry without his parents’ letter but at that point there is a clatter in the letter, which they reveal to him was written by act. permission and as he was a foundling this will 19 18 CHAN 3113 BOOK.qxd 20/9/06 11:24 am Page 20

be difficult to get. However, if anyone can The Count is going to punish Cherubino, but 31 – 32 Marcellina brings Susanna and the interrupts and the pretended Countess hides recognize the birthmark on his arm… Barbarina asks for pardon for him, and his Countess to the spot and hides in one of the in an arbour. 41 In front of Basilio, Bartolo Marcellina does – he is the child she had many hand in marriage, in return for her past arbours. 33 – 34 Susanna, conscious that and Antonio, the Count calls her out of the years ago who was stolen from her: his father kindnesses to the Count. Figaro is listening, revenges herself for his arbour. The first to emerge are Cherubino, is none other than Dr Bartolo. Her claim to 21 Figaro enters to announce the dancing. suspicions by pretending to be waiting for the Barbarina and Marcellina, and finally the marry Figaro thus collapses. 12 – 13 However, The Count tells him that Cherubino now Count. pretended Countess. The Count accuses her Susanna comes in, having persuaded the admits having jumped out of the window. 35 – 36 As the Countess slips into of unfaithfulness. She begs forgiveness, which Countess to advance the money necessary to Figaro replies that may be – if one man can Susanna’s place, Cherubino arrives to keep his he will not grant. Then the real Countess repay the debt. She finds Marcellina jump out so can two. assignation with Barbarina, but seeing, as he appears and intercedes. The Count now must embracing Figaro, and jumps to the wrong 22 – 23 The double wedding ceremony thinks, Susanna, he gives chase. 37 Cherubino beg her pardon, which she again gives him. conclusion, but soon joins in the proceeds, Figaro and Susanna, Marcellina and tries to kiss Susanna, but the Count So all ends well. reconciliation. Bartolo. During this Susanna slips the Count intervenes. He tries to box Cherubino’s ears, 14 Antonio tells the count that Cherubino the letter she has written. Figaro sees the Count but strikes Figaro who has also intervened. © 2004 Peter Moores has not left for Seville, but is at the gardener’s prick his finger on a pin sealing a note which he Cherubino hides in an arbour. house, and dressed as a woman! has been passed but is not aware who sent it. 38 The Count then woos his own wife, Christopher Purves 15 Susanna joins the Countess and reports believing her to be Susanna, and gives her a studied English at that the Count has accepted the assignation. Act IV diamond ring. Figaro tries to scare off the King’s College, 16 The Countess dictates a note to fix a The scene of Act Four is the moonlit garden. Count and the pretended Susanna hides in Cambridge before venue. 17 The note is sealed with a pin which There are several arbours. another arbour, while the Count retires to performing and the Count is to send back to show he accepts. 24 Barbarina has lost the pin which the rejoin her later. 39 Susanna, being dressed up recording with the 18 – 19 Barbarina leads in a group of Count had given her to take back to Susanna. as the Countess, now tests Figaro by highly innovative vocal village girls to present flowers to the Countess. 25 Figaro and Marcellina soon get the story pretending to flirt with him. Figaro recognises rock and roll group, The group includes Cherubino dressed as a out of her. 26 Figaro goes looking for his wife’s voice and decides to join in the Harvey and the girl. As the girls present their flowers, the revenge and Marcellina to warn Susanna. game. This earns him a smart slap. 40 He Wallbangers. With the Countess notices that one reminds her of 27 – 28 Figaro has asked Basilio, Antonio and explains and is forgiven. The Count returns group’s demise in 1988, somebody. 20 Antonio and the Count Bartolo to come and help him sort matters out. and Susanna tells Figaro that the Count has he resumed vocal training with David Keren, entering unexpectedly, unmask this girl. It is Barbarina comes back to keep an just been wooing his own wife in disguise. Diane Forlano and Janice Chapman. Cherubino. The Count asks the Countess for appointment with Cherubino, 29 – 30 while Figaro, for the benefit of the Count, now flirts His operatic engagements include Figaro an explanation, but she is as surprised as he is. Figaro, wild with jealousy, waits for Susanna. with the pretended Countess. The Count (Le nozze di Figaro) for Welsh National Opera,

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Scottish Opera and Opera North; Marcello with the Ulster Orchestra, Belshazzar’s Feast Zdenka (Arabella), Servilia (La clemenza di Rebecca Evans’s many recordings include (La Bohème) for Scottish Opera; Papageno with the English Northern Sinfonia under Tito), Ilia (Idomeneo) and Nanetta (Falstaff ). Ilia (Idomeneo) for Chandos’ Opera in English (The Magic Flute), Faninal (Der Rosenkavalier) Paul Daniel and with the Hallé, and Lucifer in Elsewhere she has sung Ilia for the series, Nanetta (Falstaff ) with Sir John Eliot for Welsh National Opera and Opera North; Handel’s La Resurrezione for Paul McCreesh in Netherlands Opera and Opera de Lausanne; Gardiner, a series of Gilbert and Sullivan Podesta (La gazza ladra) for Garsington Rome, Amsterdam and London. Christopher the title role in The Cunning Little Vixen for recordings with Sir Charles Mackerras and a Opera; Siegfried (Genoveva) and Dulcamara Purves gave his debut recital at the Aldeburgh Scottish Opera; Susanna, Ilia, Marzelline solo recording of Italian songs. (L’elisir d’amore) for Opera North. He created Festival in June 2004. His recordings include (Fidelio), Norina (Don Pasquale) and Hero the role of Executioner in James Macmillan’s Gottardo (The Thieving Magpie) for Chandos’ (Beatrice and Benedict) for Welsh National Yvonne Kenny was Ines de Castro and has performed Macmillan’s Opera in English series. Opera; Romilda (Xerxes) for English National born in Sydney and Parthenogenesis at the Edinburgh Festival, Opera; and Zerlina, Nanetta and Johanna made her London where he has also appeared as Cecil in Maria Rebecca Evans was born (Sweeney Todd ) at the Royal Opera House, debut in 1975 in Stuada under Sir Charles Mackerras. in South Wales and Covent Garden. Donizetti’s Rosmonda Concert engagements include Mozart’s Mass studied at the Guildhall Her extensive concert experience includes d’Inghilterra. After in C at Aix-en-Provence with the Sixteen, School of Music and appearances at the BBC Proms and Edinburgh winning the Kathleen Stravinsky’s Les Noces with Philippe Drama. She has Festival; Gala Concerts with Andrea Bocelli in Ferrier Competition she Herreweghe in Brussels, Monteverdi’s Vespers established a major Germany and with Luciano Pavarotti in joined the Royal Opera 1610 with Richard Hickox, Bach’s B Minor operatic career in America Britain. She has performed Bach’s Magnificat House Covent Garden, Mass at the La Chaise-Dieu Festival, Handel’s where she has sung with the San Francisco Symphony Orchestra where her roles have Judas Maccabeus in Nuremberg and Saul with Susanna (Le nozze di under Michael Tilson Thomas; Brahms’ included Pamina (Die Zauberflöte), Ilia the Gabrieli Consort at the Covent Garden Figaro) for Santa Fe German Requiem with the Boston Symphony (Idomeneo), Susanna (Le nozze di Figaro), and La Chaise-Dieu Festivals, John Tavener’s Opera; Adele (Die Fledermaus) for Chicago Orchestra at the Tanglewood and Ravinia Adina (L’elisir d'amore), Liù (Turandot), Apocalypse at the Proms with the City of Lyric Opera; Zerlina (Don Giovanni), Ann Festivals; and Mahler’s Fourth Symphony with Aspasia (Mitridate) and Donna Anna (Don London Sinfonia, the St John Passion with Paul Trulove (The Rake’s Progress) and Adina (L’elisir the Sapporo Symphony Orchestra under Giovanni). She has won international renown Goodwin in Madrid, Messiah with the Scottish d’amore) for San Franciso Opera; and both Tadaaki Otaka. She has also appeared in in the great Handel roles, notably Semele and Chamber Orchestra, Hallé and Ulster Susanna and Zerlina for the Metropolitan Australia at the Melbourne International Alcina (Covent Garden and La Fenice, Orchestras, Les Mamelles de Teresias with the Opera, New York. Festival and with the Australian Chamber Venice); Romilda (Xerxes) for English National London Sinfonietta under Sir Simon Rattle, In Europe, she is a regular guest at the Orchestra. In recital, she has sung at the Opera (in London and on tour to the USSR) Manoah (Samson) with Harry Christophers, Bayerische Staatsoper, Munich, where her roles Wigmore Hall, London; and the Barcelona, and the Bavarian State Opera; Alcina with Britten’s War Requiem and Haydn’s Creation have included Sophie (Der Rosenkavalier), Ravinia, Buxton and Belfast Festivals. Nicholas McGegan at the Göttingen Handel

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Festival; and both Cleopatra (Giulio Cesare) A Dinner Engagement and Dyson’s (Roméo et Juliette) at the Royal Opera House, William Dazeley gives recital performances and Armida (Rinaldo) in Sydney. The Canterbury Pilgrims. For Opera Rara she Covent Garden; the Count (The Marriage of at the Wigmore Hall, Purcell Room, St She has sung at the Vienna State Opera has recorded Ugo conte di Parigi, Robinson Figaro), Figaro (Il barbiere di Siviglia) and the George’s Bristol, and the Châtelet, and is (Countess (Capriccio) and Susanna); La Scala, Crusoe, Emilia di Liverpool, Il crociato in Egitto title role in Owen Wingrave for Glyndebourne regularly invited to sing at the Cheltenham, Milan (Pamina); Berlin Staatsoper (Countess and Medea in Corinto. Yvonne Kenny was Touring Opera; Figaro (Il barbiere di Siviglia) Aix en Provence and Saintes Festivals with (Capriccio)); Paris Opéra (Donna Elvira); made a Member of the Order of Australia for at the Deutsche Staatsoper Berlin; Dr Faust at such noted accompanists as Graham Johnson Zurich and Glyndebourne (Donna Elvira and Services to Music in 1989. the Salzburg Festival and at the Châtelet and Iain Burnside. Alice Ford (Falstaff )); Countess (Le nozze di conducted by Kent Nagano; and Scherasmin Figaro) in Washington and for the Bayerische William Dazeley was (Oberon) at the Châtelet under John Eliot Diana Montague was Staatsoper, Munich; the Marschallin (Der born in Warwickshire Gardiner, which was also presented in concert born in Winchester Rosenkavalier), Purcell’s The Fairy Queen and and is a graduate of at the Barbican. and studied at the Alice Ford for English National Opera; and Jesus College, Concert appearances have included the title Royal Northern the Marschallin (under Sir Charles Mackerras) Cambridge. He studied role in Schumann’s Faustszenen for a European College of Music. in her debut with San Francisco Opera. She singing at the Guildhall tour conducted by Philippe Herreweghe, Since her debut as returns frequently to her native Australia School of Music and Schumann’s Requiem for Mignon under John Zerlina with where she has sung Gilda (Rigoletto), Pamina, Drama, where he won Eliot Gardiner, Mahler’s Des Knaben Glyndebourne Touring Susanna, Alcina, Massenet’s Manon, Fiordiligi, several prizes including Wunderhorn with the Royal Flanders Opera she has Alice Ford, Governess (The Turn of the Screw), the prestigious Gold Philharmonic conducted by Herreweghe, appeared in venues Countess (Capriccio) and the title roles in Medal. He also won the Corigliano’s Dylan Thomas with the BBC such as the Royal Maria Stuarda and L’incoronazione di Poppea. 1989 Decca–Kathleen Ferrier Prize, the 1990 Symphony conducted by Leonard Slatkin, and Opera House, Covent Garden, the Yvonne Kenny has appeared in concert at Royal Overseas League Singing Competition, Bach’s Christmas Oratorio with the Berlin Metropolitan Opera in New York, the the Edinburgh, Salzburg and Aix-en-Provence the 1991 Richard Tauber Prize and the 1991 Philharmonic. Théâtre de la Monnaie in Brussels, the Opéra Festivals, in Carnegie Hall and at the BBC Walther Gruner International Lieder World premieres include the role of national de Paris-Bastille, Teatro Colón in Promenade concerts. Her recordings for Competition. Mahmoud in John Adams’ The Death of Buenos Aires and the Bayreuth and Salzburg Chandos include Alice Ford (Falstaff ), the Now established as one of the leading Klinghoffer with the BBC Symphony, and the Festivals. Marschallin (highlights from Der baritones of his generation, he has already lead role of Jesus in Harrison Birtwistle’s The Her repertory includes the major roles for Rosenkavalier) and two recital discs of Great appeared with many of the world’s important Last Supper at the Deutsche Staatsoper Berlin mezzo-soprano in operas by Mozart, Gluck, Operatic Arias, all as part of the Opera in opera houses: roles include Count (Cherubin), conducted by Daniel Barenboim, which was Strauss, Rossini, Bellini and Berlioz, and English series, as well as Lennox Berkeley’s Guglielmo (Così fan tutte) and Mercutio then repeated at the Glyndebourne Festival. engagements have included Benvenuto Cellini

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with Rome Opera; Iphigénie en Tauride in Born in Edinburgh, and broadcast live on both BBC television and Opera Northern Ireland. His roles with them Buenos Aires, Madrid and with Welsh Frances McCafferty is a radio. Concert appearances include the RTE have included Banker/Theatre Director National Opera; Albert Herring, Le nozze di graduate of the Royal and National Orchestra of Ireland, the Ulster (Lulu), Dulcamara (L’elisir d’amore), Harasta Figaro and Andromaca in Rossini’s Ermione at Scottish Academy of Orchestra, the Singapore Symphony Orchestra (The Cunning Little Vixen), Kolenaty ´ (The Glyndebourne; Le Comte Ory in Lausanne, Music and Drama. and the BBC Concert Orchestra. Makropulos Case), Baron Mirko Zeta (The Rome and Glyndebourne; Proserpina in After a number of years She made her debut at La Fenice, Venice, Merry Widow), Tonio (Pagliacci), Leporello Monteverdi’s Orfeo in Amsterdam; Ariadne auf teaching singing, she singing Katisha (The Mikado) and has also (Don Giovanni), Varlaam (Boris Godunov), Naxos in Lisbon; Marguerite (La Damnation joined the D’Oyly sung Madame Popova (The Bear) for the Calchas (La Belle Hélène), Sharpless (Madam de Faust) in Geneva; Minerva (Il ritorno Carte Opera Company, Cerniers Festival, Switzerland, and the Nurse Butterfly), Sacristan (Tosca), Mustafa (L’italiana d’Ulisse in patria) in Amsterdam and Sydney; where she performed all (Boris Godunov) for the Royal Opera, Covent in Algeri) and Keçal (The Bartered Bride). Meg Page (Falstaff ); The Bartered Bride and the major contralto roles and recorded Garden. International engagements have included Die Meistersinger von Nürnberg at the Royal Patience, Orpheus in the Underworld and HMS The Doctor (Vanessa) for Opéra du Rhin; Opera House Covent Garden, Junon in Pinafore. Following studies at Schaunard (Leoncavallo’s La Bohème) at the Rameau’s Platée with The Royal Opera at the Performances include Katisha (The Mikado) London University and Wexford Festival; Leporello (Don Giovanni) Edinburgh Festival and in London, Octavian with English National Opera, Soloka Trinity College of and Papageno (The Magic Flute) for Opera Der Rosenkavalier at English National Opera, (Cherevichki) at Garsington, Auntie (Peter Music, Jonathan Veira New Zealand; Dr Bartolo (Le nozze di Figaro) in Bilbao and at the Teatro Real in Madrid; Grimes) at the Nationale Reis Oper, and Hata won the 1996 Sir Peter for Opéra de Nice, Zurich Opera, Marguerite in Vienna, and Le nozze di Figaro (The Bartered Bride) with Glyndebourne Pears Singing Glyndebourne Festival Opera and the Opéra at La Monnaie. Festival Opera. She has also sung with the Competition and was de Montpellier; and Claggart (Billy Budd ), Diana Montague’s many recordings include New Israeli Opera, Stuttgart Staatsoper, Opera sponsored in his studies Don Alfonso (Così fan tutte), and Falstaff for Monteverdi’s Orfeo, I Capuleti e i Montecchi, Theatre Company, Glyndebourne Touring at the National Opera the Royal Danish Opera. Norma, Lucia di Lammermoor, Iphigénie en Opera, as well as the Edinburgh International Studio by Tauride, for Opera Rara Rosmonda Festival and at festivals in Ireland and Glyndebourne Festival John Graham-Hall studied at King’s College, d’Inghilterra, Zoraida di Granata and Il crociato Switzerland. She is a regular guest artist at Opera and the Friends of Covent Garden. Cambridge and the Royal College of Music. in Egitto, and, as part of Chandos’ Opera in Opera North and the Royal Opera, Covent Jonathan Veira has appeared with the major He has sung with all the major British opera English series, Idomeneo, Cavalleria rusticana, Garden, where she created the role of Yeta UK opera companies including The Royal companies where roles include Albert Herring Octavian in Der Rosenkavalier (highlights), Zimmerman in the world premiere of Opera, English National Opera, (Royal Opera House, Covent Garden); Faust, and two recital discs of Great Operatic Nicholas Maw’s Sophie’s Choice, conducted by Glyndebourne Festival Opera, Scottish Opera, Vanya Kudrjas (Katya Kabanova), Flute Arias. Sir Simon Rattle, directed by Trevor Nunn Welsh National Opera, Garsington Opera and (A Midsummer Night’s Dream) and Bob Boles

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(Peter Grimes) for Rattle, Gardiner and Abbado. His concert Glyndebourne debut was as Antonio (Le nozze Phoenix Opera, and Barbarina for Opera Glyndebourne Festival career has taken him all over Europe, working di Figaro). Further UK engagements include Holland Park. Opera appearances at the RAM Opera; Don Basilio, with all the major British orchestras and Bartolo (Le nozze di Figaro) for Opera North include the title role in The Cunning Little Monostatos, Lysander appearing frequently at the Barbican and the and the Garsington Festival; Collatinus at the Vixen (conducted by Sir Charles Mackerras) (A Midsummer Night’s South Bank. Recordings for Chandos include Buxton Festival; and Bosun (Billy Budd ) and and Zerlina (Don Giovanni) (conducted by Sir Dream), Alwa (Lulu) Vaughan Williams’s The Poisoned Kiss, Peter Masetto (Don Giovanni) for Scottish Opera. Colin Davis). and Herod (Salome) Grimes, and, as part of the Opera in English Concert appearances include Beethoven’s Other engagements include her debut with for English National series, The Thieving Magpie and Berg’s Symphony No. 9 and Verdi’s Requiem at the Welsh National Opera as Iphis in Handel’s Opera; Cassio (Otello) Wozzeck. Royal Albert Hall, Mahler’s Eighth Symphony Jephtha; Eleanora in Salieri’s Prima la musica for Welsh National at the Royal Festival Hall, and Iolanthe at and Mlle Silberklang in Mozart’s Der Opera; Eisenstein, Schoolmaster (The Cunning Graeme Danby was Manchester’s Bridgewater Hall. Schauspieldirektor with the City of London Little Vixen) for Scottish Opera; and born in County Sinfonia/Richard Hickox; and the Mozart Aschenbach (Death in Venice), Lysander, Albert Durham and studied Sarah Tynan was Requiem conducted by Sir Roger Norrington Herring and Ferrando (Così fan tutte) for at the Royal Academy born in London and at the Spitalfields Festival. Sarah Tynan is Glyndebourne Touring Opera. of Music in London. studied at the Royal currently a member of the English National Other engagements have included Bob His long association Northern College of Opera Young Singers Programme. Boles (Netherlands Opera); Basilio (La with English National Music and the Royal Monnaie); the title role in Pascal Dusapin’s Opera includes Academy of Music Stuart Kale is internationally recognised as new opera Perela, l’Homme de fumée at the appearances as (with Penelope one of the most outstanding singing actors in Opéra de Paris-Bastille and in Montpellier. Lorenzo in Bellini’s Mackay). At the the operatic world. A consummate musician, Other roles at English National Opera, where The Capulets and the Montagues, Pimen (Boris RAM, she was his roles cover a huge range of repertoire from he was a Company Principal, have included Godunov), Don Basilio (The Barber of Seville), awarded the Queen’s Monteverdi to Messiaen. He began his career Sylvester (The Silver Tassie), Goro (Madam Dulcamara (The Elixir of Love), Somnus Commendation for Excellence. at Welsh National Opera before joining Butterfly), Triquet (Eugene Onegin), (Semele), Quince (A Midsummer Night’s Operatic engagements include Pretty Polly English National Opera, where he remained Monostatos (The Magic Flute), Mime Dream), Collatinus (The Rape of Lucretia), in Birtwistle’s Punch and Judy at the Teatro for eight years, singing roles such as Don (The Rhinegold ) and Alwa (Lulu). Arkel (Pelleas and Melisande) and Poo-Bah Nacional S. João in Porto, the Governess in Ottavio (Don Giovanni), Michael in Martinu˚’s John Graham-Hall has worked with many (The Mikado). Britten’s Turn of the Screw for a British Council Julietta, Alfred (Die Fledermaus) and Nanki- distinguished conductors including Haitink, His debut at the Royal Opera House, tour of Russia, Elsie Maynard (The Yeomen of Poo in Jonathan Miller’s production of The Harnoncourt, Boulez, Andrew Davis, Tate, Covent Garden was in La traviata, and his the Guard ) and Gianetta (The Gondoliers) for Mikado. In 1987 he began his flourishing

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freelance career Geoffrey Mitchell’s singing career has Director) and, currently, Kurt Sanderling (as Philharmonia Orchestra enjoys a worldwide singing Hauptmann encompassed a remarkably wide repertoire Conductor Emeritus), Vladimir Ashkenazy (as reputation. The discography includes, for (Wozzeck) at the from early to contemporary music and has Conductor Laureate) and Sir Charles Opera Rara, several recital discs as well as Opera du Rhin in taken him to Scandinavia, Germany, the Mackerras (as Principal Guest Conductor), eleven complete operas, and for Chandos, in Strasbourg and later former Czechoslovakia, Canada and besides such eminent figures as Wilhelm the Opera in English series sponsored by the in Nancy, returning to Australasia. Early conducting experience with Furtwängler, Richard Strauss, Arturo Peter Moores Foundation, The Thieving ENO to sing Herod the BBC led to a wider involvement with his Toscanini, Guido Cantelli, Herbert von Magpie, Wozzeck, Don Giovanni, The Elixir of (Salome). own singers and in turn to the establishment of Karajan and Carlo Maria Giulini. It continues Love, Lucia of Lammermoor, Faust, Carmen, Notable the Geoffrey Mitchell Choir. Early recordings to engage world-class conductors and soloists, Aida, La Bohème, Madam Butterfly, Turandot, engagements since resulted in the Choir’s long-term involvement and attracts Europe’s most talented young the award-winning Tosca and solo recital include the High Priest in Idomeneo at Covent with Opera Rara for which it has made over players to join its orchestral ranks. albums of operatic arias with Bruce Ford, Garden; Hauptmann (Wozzeck) in San thirty recordings. The Choir is enjoying a Resident Orchestra at the Royal Festival Diana Montague, Dennis O’Neill, Alastair Francisco, Geneva, Zurich, Montpellier, growing reputation with further work from the Hall, it maintains a central position in British Miles, Yvonne Kenny and John Tomlinson. Bordeaux and Bologna; Shuisky (Boris BBC and international record companies. For musical life also through regional residencies The Philharmonia Orchestra continues to Godunov) in Strasbourg, Bordeaux and Chandos the Geoffrey Mitchell Choir has which provide an ideal opportunity to expand consolidate its international renown through Montpellier; Quint (The Turn of the Screw) participated in numerous recordings in the a dynamic educational and community-based regular tours and through recent prestigious and Truffaldino (The Love for Three Oranges) acclaimed Opera in English series sponsored by programme. Winner of numerous awards, it residencies at the Châtelet Théâtre Musical in for English National Opera; Zinoviev (Lady the Peter Moores Foundation. has garnered unanimous critical acclaim for its Paris, the Megaron in Athens and the Lincoln Macbeth) in Toulouse and Marseille; Valzacchi innovative programming policy, at the heart of Center for the Performing Arts in New York. and the three tenor roles in Lulu at the One of the world’s great orchestras, the which is a commitment to performing and Châtelet; Aeghiste in Karlsruhe; Bob Boles at Philharmonia Orchestra is now in its sixth commissioning new music by today’s leading David Parry studied with Sergiu Celibidache the Munich State Opera, Covent Garden, season with renowned German maestro composers. and began his career as Sir John Pritchard’s Genova and Strasbourg; Captain Vere (Billy Christoph von Dohnányi as Principal An increasing number of the Orchestra’s assistant. He made his debut with English Budd ) in Cologne; and Gregor (The Conductor. That post was first held by Otto concerts are being broadcast by BBC Radio 3, Music Theatre, then became a staff conductor Makropoulos Case) and Herod in Strasbourg. Klemperer, and the Orchestra has since had including its annual performance at the BBC at Städtische Bühnen, Dortmund and at Recordings in Chandos’ Opera in English important collaborations with Lorin Maazel Proms. As the world’s most recorded Opera North. He was Music Director of series include Boris Godunov (highlights), (as Associate Principal Conductor), Riccardo symphony orchestra, with over 1000 releases Opera 80 from 1983 to 1987 and since 1992 Madam Butterfly, Otello, Falstaff, Wozzeck and Muti (as Principal Conductor and Music to its credit, among these a number of has been the founding Music Director of The Thieving Magpie. Director), Giuseppe Sinopoli (as Music television and feature film soundtracks, the Almeida Opera.

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He works extensively in both opera and Israeli Opera and Don Giovanni at Staatsoper concert, nationally and internationally. He has Hannover. Yvonne Kenny as Countess Almaviva

conducted several productions at English His work in the recording studio includes with Washington Opera Pratt Carol National Opera and Opera North and appears the BBC Television production of Marschner’s regularly with the Philharmonia and London Der Vampyr and twenty-eight complete opera Philharmonic Orchestras. In 1996 he made his recordings under the sponsorship of the Peter debut at the Glyndebourne Festival Moores Foundation. Among these are conducting Così fan tutte, following it in 1998 numerous discs for the Opera Rara label with the world premiere of Jonathan Dove’s which have won several awards, including the Flight. Belgian Prix Cecilia for Donizetti’s Rosmonda He is a frequent visitor to Spain where he d’Inghilterra. For Chandos he has conducted a has given concerts with most of the major series of recitals of operatic arias – with Bruce Spanish orchestras. He conducted the Spanish Ford, Diana Montague, Dennis O’Neill, premiere of Peter Grimes in Madrid and in Alastair Miles, Yvonne Kenny, John 1996 the first Spanish production of Tomlinson, Della Jones and Andrew Shore – The Rake’s Progress. He has appeared in as well as Idomeneo, Carmen, The Thieving Germany, Switzerland, and The Netherlands, Magpie, Don Giovanni, Don Pasquale, The at the Pesaro Festival in Italy, the Hong Kong Elixir of Love, Lucia of Lammermoor, Ernani, Il International Festival, in Japan with a tour of trovatore, Aida, Faust, Cavalleria rusticana, Carmen, and in Mexico with the UNAM Pagliacci, La bohème, Turandot, the award- Symphony Orchestra. Recent new productions winning Tosca and highlights from Der he has conducted include Fidelio at the New Rosenkavalier, all in association with the Peter Zealand Festival, Lucia di Lammermoor at New Moores Foundation.

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British philanthropist Sir Peter Moores established the Peter Moores Foundation in 1964 of a Faculty Directorship and Chair of Management Studies at Oxford University (providing to realise his charitable aims and, to fulfill one of these, the Compton Verney House Trust the lead donation which paved the way for the development of the Said Business School). in 1993 to create a new art gallery in the country. Through his charities he has disbursed more than £93 million to a wide variety of arts, environmental and social causes ‘to get In 1993 the Foundation bought Compton Verney, a Grade 1 Georgian mansion in things 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 Sir Peter’s philanthropic work began with his passion for opera: in his twenties he helped a world-class art gallery that would provide an especially welcoming environment for the number of young artists in the crucial, early stages of their careers, several of whom – ‘first-time’ gallery visitor. The gallery, which houses six permanent collections, a Learning Dame Joan Sutherland, Sir Colin Davis and the late Sir Geraint Evans amongst them – Centre for all ages, and facilities for major visiting exhibitions, was opened in March 2004 became world-famous. by HRH the 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 scholarships awarded through the Royal Northern College of Music, has made it possible Sir Peter Moores was born in Lancashire and educated at Eton College and Christ Church, for Chandos Records to issue the world’s largest catalogue of operas recorded in English Oxford. He was a student at the Vienna Academy of Music, where he produced the translation, and enabled Opera Rara to record rare bel canto repertoire which would Austrian premiere of Benjamin Britten’s The Rape of Lucretia, and worked as an assistant otherwise remain inaccessible to the general public. producer with Viennese artists in Naples, Geneva and Rome, before returning to England in 1957 to join his father’s business, Littlewoods. He was Vice-Chairman of Littlewoods in In live performance, the Foundation has encouraged the creation of new work and 1976, Chairman from 1977 to 1980 and remained a director until 1993. schemes to attract new audiences, financed the publication of scores, especially for world premieres of modern operas, and enabled rarely heard works to be staged by British opera He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from Christ companies and 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 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 encourage young Afro-Caribbeans ‘stay at school’ for further education, to the endowment his charitable services to the arts.

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Rebecca Evans as Susanna Diana Montague as Cherubino

with Welsh National Opera BillCooper with The Royal Opera Clive Barda/ArenaPALClive

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und auszuschmücken wie die von Männern. gemacht, geboren zu werden, weiter nichts” als Figaro’s Hochzeit Diese Begabung teilt er mit nur wenigen “die Revolution in Aktion” beschrieb. anderen männlichen Komponisten, und bei Beaumarchais in Paris und nach ihm Mozart Figaro müßte etwa dreißig Jahre alt sein, wenn der Titel der Oper uns ins Gedächtnis ruft. männlichen Schriftstellern verhält es sich in Wien spielen mit dem Feuer, aber noch ist wir seinem Erfinder Caron de Beaumarchais Und Susannas, auch wenn wir dies dem kaum anders. Die idealisierte Frau, das es Spiel. Glauben schenken. Auch Mozart war dreißig, Titel nicht entnehmen können. Susanna, die “Ewigweibliche” Goethes, ist der Fluch so Das von Joseph Kerman in seiner Studie als die Oper 1786 uraufgeführt wurde. Es wohl einige Jahre jünger ist als ihr Bräutigam, mancher Oper und manchen literarischen Opera as Drama eloquent formulierte wäre kaum zu weit hergeholt, in fällt die Rolle zu, sich als die Überlegenere zu Werks des neunzehnten Jahrhunderts. Im kontrarevolutionäre Argument besagt, daß die Beaumarchais’ Schöpfung seines vielbegabten erweisen. Sie erkennt, wie “geschickt” das zwanzigsten Jahrhundert teilen Janácˇek und wahren Helden dieser Oper der Graf und die Barbiers von Sevilla gewisse autobiographische ihnen zugeteilte Zimmer ausgewählt wurde, Berg Mozarts wertvolle Begabung, sonst Gräfin sind. Auch wenn diese These nicht Züge hineinzulesen. Geht man noch einen und durchschaut Graf Almavivas Plan, sie auf jedoch kaum jemand. ganz zu überzeugen vermag, ist doch oder zwei Schritte weiter, so findet man auch seine Reise nach London mitzunehmen. Sie Um die vorrevolutionären Elemente in zutreffend, daß die Oper ebenso eine Prüfung gewisse Parallelen mit Mozart selbst als dem reagiert schnell genug, um Cherubinos Die Hochzeit des Figaro wird leicht zuviel ihrer vor zwei Jahren geschlossenen Ehe ist wie allzu begabten Bediensteten, der mit den Entkommen aus der Kammer der Gräfin zu Aufhebens gemacht. Figaros Cavatina im der bevorstehenden Hochzeit von Figaro und oberen Gesellschaftsschichten einen allzu vertuschen. Sie findet die Mittel, Figaros Ersten Akt, “Se vuol ballare, signor contino” Susanna. Der Graf mag zwar vordergründig vertraulichen Umgang pflegte. Schulden bei Marcellina zu begleichen. Sie ist (“Will einst das Gräflein ein Tänzchen der “Bösewicht” des Stücks sein, sollte aber Es wäre daher falsch, Figaro als den Tölpel es auch, die seinen riskanten Plan, den Grafen wagen” – “So, little master, you’re dressed to doch als sympathische Figur dargestellt in dieser Oper darzustellen, wie es gelegentlich durch die nächtliche Verkleidung im Garten go dancing”) mag wie ein Schlachtruf klingen werden. Die anfänglich passive und geschieht. Zugegeben, er neigt dazu, schneller zu täuschen, verwirft und durch ihre eigene, und seine Konfrontation mit dem Grafen vor larmoyante Gräfin gewinnt im Dritten Akt zu handeln und noch schneller zu sprechen, klügere List ersetzt. Susannas angeborener den Tanzszenen im Dritten Akt (“Das mag ihre Kraft und Entscheidungsfähigkeit zurück als er denkt, aber schließlich ist es seine Verstand ergänzt Figaros erworbene Findigkeit. sein. Ich mache keine Vorwürfe, wo ich mir und fungiert bei den dramatischen Aufgabe, die Handlung in Gang zu bringen. In der Tat könnte man – trotz des Titels – meiner Sache nicht sicher bin” – “Maybe so. Entwicklungen des Vierten Akts als Figaro ist der Motor dieses Dramas. Sein leicht Susanna als die Hauptfigur dieser Oper I’m not one to accuse when I don’t know”) Katalysator. Die durch die ihrem irrenden Drängen treibt die Dinge voran, trotz der sehen. Jedenfalls fällt ihr die längste Rolle zu, könnte den Zusammenbruch der Gatten vergebende Gräfin (“Wie könnt ich dir Verzögerungs- und Bremstaktiken der übrigen geht man nach der Zahl der Noten, doch zählt gesellschaftlichen Ordnung vorausdeuten. zürnen? Mein Herz spricht für dich” – “I’m far Figuren. Im Gegensatz zu ihm sind die hier nicht die bloße Quantität. Einer der Aber noch ist es nicht so weit. Es ist zu leicht, more forgiving, and so I say yes”) herbei- anderen alle vergleichsweise passiv und warten wunderbarsten Aspekte von Mozarts Genie – im Nachhinein klug zu sein, wie es auch geführte Lösung des Konflikts und ihre – eher ab, wie die Dinge sich entwickeln. Und nicht nur in dieser Oper – ist seine Fähigkeit, Napoleon war, als er Figaros aufrührerische zumindest zeitweilige – Versöhnung bilden schließlich geht es ja um Figaros Hochzeit, wie Frauenrollen ebenso überzeugend zu entwerfen Herausforderung “Sie haben sich die Mühe den emotionalen Höhepunkt der Oper.

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Peter Hall hat einmal in einem Radio- erste ist. Am ausgewogensten zeigt sich diese herausragendes Beispiel des Mozartschen Sinns Jeder wird sich aus diesem sublimen Finale Interview in unvergeßlicher Weise die heilsame Balance in der Auflösung des Konflikts, doch für Ausgewogenheit vor. Von dem Moment seine Lieblingspassage auswählen. Meine ist Wirkung des großen Vergebungsensembles eigentlich durchzieht sie die gesamte Oper. an, als der Graf und die Gräfin in ihr die zeitweilige Waffenruhe zwischen den beschrieben, in dem sich alle Mitwirkenden Besonders deutlich und geradezu humorvoll Schlafzimmer zurückkehren und das Streitenden (allerdings kaum geteilt von dem nach dem Einschreiten der Gräfin erscheint sie in Cherubinos Arie im Ersten Akt eigentliche Finale beginnt, könnte die wild intrigierenden Grafen) vor dem zusammenfinden; besonders betonte er den “Non so più, cosa son, cosa faccio” (“Ich weiß Situation sich gleichermaßen zur Tragödie wie Auftauchen Antonios mit seinen zerbrochenen kraftvollen Effekt der kurzen nicht, was ich bin, was ich mache” – “I don’t zur Komödie entwickeln. Tatsächlich setzt sich Blumentöpfen. Die Gräfin, Susanna und abwärtsschreitenden Orchesterpassage know what it is that I’m feeling”). Zu spüren immer wieder der Humor durch – gelegentlich Figaro singen “Deh signor, noi contrastate” zwischen dem Ensemble und dem sein sollte sie auch in der teils schmerzvollen, voller Heiterkeit, manchmal possenhaft –, (“O Herr, widersetzt Euch nicht” – “Hear my abschließenden Chor, der die Lustbarkeiten teils erfreuten Reaktion auf Figaros trotzdem aber geht es um Leben und Tod. pleading, I implore you, be compassionate I eröffnet – ein flüchtiger Augenblick, in dem militärische Arie “Non più andrai” am Ende Walter Legge hat das Finale des Zweiten pray”), und während der Graf sich fragt, wo alle Figuren in den Abgrund des Tragischen des Ersten Akts (“Du wirst nicht mehr Akt wie folgt beschrieben: “Aus musikalischer Marcellina bleibt, wird ihr Flehen von blicken. Untreue und Verrat könnten diese umherstreichen” – “Here’s an end to your life Sicht ist dies das meisterhafteste Ensemble, Hörnern und Bässen im Forte verstärkt. Ehen so leicht zerstören. Es gibt einen as a rover”). Die Herrlichkeiten, die nicht nur in dieser Oper, sondern bei Mozart Dieser kurze Moment erhoffter Versöhnung furchtbaren Moment der Selbsterkenntnis, Cherubino erwarten, sind nicht eigentlich überhaupt. Nahezu zwanzig Minuten lang nimmt auf magische Weise das Ende der Oper dann wendet man sich ab und zieht es vor, militärischer Art. fließt die Musik ununterbrochen dahin, wobei vorweg. dieses Wissen um des vergänglichen Obwohl Die Hochzeit des Figaro offiziell aus sie auf jede Drehung und Wendung der Nach Meinung des irischen Tenors Michael Vergnügens willen zu ignorieren. Der Grat vier Akten besteht, die den vier Orten der komplexen, sich rasch entfaltenden Komödie Kelly, der in der Uraufführung den Basilio zwischen Tragödie und Komödie ist sehr Handlung entsprechen, ist das Werk aus reagiert und zugleich die Handlung und die und den Curzio spielte, war Mozarts schmal. musikalischer Sicht als Zweiakter konzipiert, verschiedensten Emotionen der Beteiligten Lieblingsnummer das Sextett im Dritten Akt. Es ist diese Balance zwischen den beiden ähnlich den anderen beiden Da-Ponte-Opern erhellt, reflektiert und kommentiert. Schritt In der Tat kann dieses Stück mit seinen Polen, die Mozart so überaus realistisch Don Giovanni und Così fan tutte. In diesen für Schritt die Handlung begleitend, überraschenden Enthüllungen und erscheinen lassen und seine Opern so Opern endet jede Hälfte mit einem intensiviert die Musik die Überraschungen Wendungen eine der komischsten Passagen der glaubwürdig machen. Sein besonderer ausgedehnten Finale – ein musikalisches und vertieft die Subtilitäten, zugleich aber gesamten Oper sein; doch auch hier sind Scharfblick zeigt sich bereits in La finta Mittel der Handlungsgestaltung, das Mozart wirft sie über das ganze recht niedere Susannas Wut und Verwirrung bitterer Ernst. giardiniera, die Mozart schon mit achtzehn zum ersten Mal bereits in La finta giardiniera Intrigenspiel ein magisches Gewand der Es gibt eine schöne Stelle nach dem Ende des Jahren schrieb, und erreicht ihren Gipfel mit einsetzte, im Finale des Zweiten Akts des bezauberndsten Klänge, die dem Geschehen Sextetts, als der Graf und Curzio sich hastig den drei Opern zu Libretti von Lorenzo Da Figaro jedoch zu höchster Perfektion zwar getreulich folgen, dieses aber in das zurückgezogen haben. Susanna fragt die Ponte, von denen Die Hochzeit des Figaro die entwickelte. Zugleich liegt hier ein reinste Gold der Schönheit transformieren.” Zurückbleibenden: “Wer könnte glücklicher

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sein als ich?”– “Who could be happier than I ausgerichtetes Liebeslied (“Komm schnell, Es-Dur weicht (der Tonart, in der zu Beginn Figaro selbst soll am heutigen Tage Susanna am?”, worauf Figaro, Bartolo und Marcellina zögere nicht, du schöne Freude” – “Come auch die klagende Cavatina “Porgi amor” – heiraten, die Kammerzofe Rosinas, der Gräfin jeder für sich antworten: “Ich” (“I am”). quickly my beloved”) sind natürlich von “Gewähre, Amor” (“Hear my prayer”) der Almaviva. Darauf singt das Quartett zusammen in zentraler Bedeutung, Marcellinas und Basilios Gräfin steht) und die Klarinetten dichter Harmonie und im Pianissimo: “Und Gleichnisarien hingegen könnten marginal zurückkehren. Unter dem stillen und COMPACT DISC ONE von mir aus kann der Graf vor Wut platzen” erscheinen. Eigentlich sind dies interessante gelassenen Nachthimmel, an dem eng (“And if the Count is furious, well that will und aufschlußreiche Stücke. Marcellinas Arie umschlungen Venus und Mars erscheinen, Erster Akt serve him right!”). In dieser Passage sollte man stattet ihren Charakter mit Zügen der nimmt Figaro ein weiteres Mal die Fäden des Der erste Akt spielt am frühen Morgen in nicht nur den komischen Effekt betonen. weiblichen Entrüstung ihrer großen Rede im Dramas in die Hand und stellt sich seinem einem kleinen Bedienstetenzimmer, das Figaro Der Vierte Akt ist in einer Aufführung am Dritten Akt von Beaumarchais’ Schauspiel aus. persönlichen Schicksal. Dieser magische und Susanna als ihr zukünftiges Ehegemach schwierigsten zu realisieren. Nach den drei im Bei Basilios “Eselshaut”-Anekdote handelt es Augenblick dauert nur zwölf Takte, bevor zugewiesen worden ist. Die rechte Türe führt Innern des Schlosses spielenden Akten sollte sich um eine eher konventionelle Figaro erneut in die atemberaubenden Wirren zum großen Saal des Schlosses, die mittlere zu der Garten die Freiheit und Freizügigkeit der Gleichnisarie, die jedoch zum Schluß noch der Auflösung verstrickt wird. Doch ganz den Privatgemächern der Gräfin und die linke frischen Luft atmen. Diese versteckten Plätze eine traurig-ironische Wendung nimmt. Beide gleich was sich danach abspielt und ungeachtet zu denen des Grafen. 1 Nach der Ouvertüre unter den Pinien sind wie Shakespeares Wald Stücke verleihen ihren Figuren zusätzliche der dramatischen Enthüllung durch die Gräfin sehen wir Susanna, die ihren hochzeitlichen vor den Toren Athens, wo erotische Träume Facetten und bereichern die dramatische – dieser Augenblick genügt, ihm seine Oper Kopfschmuck anfertigt. 2 Figaro ist damit wahr werden können. Sobald das eigentliche Handlung, doch sie kommen zu spät. Zum zurückzugeben und seine Ehe zu retten. beschäftigt, auszumessen, wo das Bett stehen Finale mit Cherubinos “Leise, ganz leise tret’ Ende des Abends wartet der Zuschauer könnte, 3 – 5 doch als Susanna sieht, was er ich ihr näher, die Zeit wird nicht verloren ungeduldig auf die Lösung des Konflikts. Bei © 2004 Nicholas Payne da tut, erklärt sie, der Raum käme keinesfalls sein” (“I’ll approach her, oh so softly, seize the Aufführungen ist es daher angebracht, diese in Frage! Nicht nur dient er als allgemeiner moment while I may”) beginnt, schreitet das beiden Arien zu streichen. Synopse Durchgang, sondern, wichtiger noch, das Geschehen problemlos fort, die erste Hälfte Diese Streichung betont Figaros eigenen Einige Jahre vor Beginn der Oper hat Graf Zimmer ist viel zu leicht zugänglich für den dieses Aktes hingegen besteht aus einer Moment tragischen Innehaltens, als sein Almaviva seine Rosina umworben und Grafen, der ihr nachstellt und gerne wie früher Anhäufung von kontemplativen Arien, die die optimistisches Naturell zum ersten Mal geheiratet. Sie war das reiche Mündel eines Anspruch auf sein Recht als Feudalherr Handlung in keiner Weise vorantreiben. überwältigt zu werden droht. Großartiger Dr. Bartolo aus Sevilla, der die Absicht gehegt erheben würde. Figaro ist baß erstaunt, als er Figaros Tirade gegen die Frauen (“Ach, öffnet noch als seine wütende Arie ist die schon hatte, sie selbst zu ehelichen, um an ihr Geld hört, daß der Graf sich für sie interessiert. Sie doch eure Augen, ihr unvorsichtigen und mitten im Finale stehende kurze Passage, wo zu kommen. Der Graf lebt nun in einiger erwidert, er habe doch wohl kaum geglaubt, torhaften Männer” – “You foolish slaves of das Tempo sich zum Larghetto im 3/4-Takt Entfernung von Sevilla auf seinem der Graf habe ihnen aus Zuneigung zu ihm Cupid”) und Susannas zweideutig verlangsamt, das helle G-Dur dem getragenen Familiensitz; Figaro ist sein Kammerdiener. eine Mitgift versprochen. 6 – 7 Während

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die Gräfin sie zu sich ruft, verleiht Figaro und überreicht ihr ein Lied, das er für die COMPACT DISC TWO Gräfin könnte dann die beiden überraschen, seinen eifersüchtigen Gedanken Ausdruck: Gräfin geschrieben hat. und damit geriete der Graf in eine Lage, in der Sollte der Graf versuchen, Susanna zu 14 Der Graf tritt auf, woraufhin Cherubino Zweiter Akt er der Heirat einfach zustimmen müsse. verführen, wird Figaro alles daransetzen, seine sich versteckt. Der Graf flirtet mit Susanna, Der zweite Akt spielt in den Gemächern der 3 – 4 Cherubino kommt herein, um der Pläne zu durchkreuzen. seine Avancen werden jedoch von dem Gräfin. Die rechte Tür führt zur Haupttreppe, Gräfin sein Lied vorzusingen. 8 – 9 Dr. Bartolo und seine Haushälterin Musiklehrer Don Basilio unterbrochen. die in der Mitte zu Susannas Zimmer und die 5 – 6 Der Plan wird ihm erläutert und Marcellina sind aus Sevilla eingetroffen. 15 Daraufhin versteckt sich auch der Graf. Als linke zu einer kleinen Ankleidekammer. In der Susanna arrangiert eine Generalprobe, wobei Marcellina hat Figaro Geld geliehen und damit er jedoch vernimmt, was Basilio über gegenüberliegenden Wand befindet sich ein sie als erstes die Tür verschließt. Während er die Bedingung verknüpft, daß er sie heiraten Cherubinos Aufmerksamkeiten gegenüber der Fenster. sich umzieht, läßt Cherubino seinen muß, wenn er das Geld nicht zurückzahlen Gräfin zu sagen hat, kommt er aus seinem Susanna hat der Gräfin soeben ihr Anstellungsbrief fallen und die Gräfin kann. Bevor dieses nicht erstattet ist, ist Figaro Versteck hervor 16 – 17 und droht, Frühstückstablett gebracht. bemerkt, daß dieser nicht versiegelt ist. daher offensichtlich nicht in der Lage, jemand Cherubino zu entlassen. Er erzählt noch 1 Rosina, jetzt Gräfin Almaviva, sehnt sich Susanna beginnt, Cherubino als Mädchen zu anderen zu heiraten. Marcellina bittet Dr. einmal, wie er den Jungen in seinem Versteck danach, die Liebe ihres treulosen Herrn verkleiden. Bartolo um Hilfe; dieser erwidert, daß er mehr unter der Tischdecke in Barbarinas Häuschen zurückzugewinnen. Die Gräfin schickt Susanna, eine ihrer als willens sei, sich an Figaro zu rächen. entdeckte. Indem er demonstriert, wie es ihm 2 Susanna kehrt zurück. Sie hat der Gräfin eigenen Hauben zu holen. 7 An der rechten 10 – 11 Susanna kehrt zurück und indem gelang, seinen Pagen ausfindig zu machen, von der Verlegenheit des Grafen berichtet und Tür ist ein Klopfen zu hören; der Graf ist Marcellina sich entfernt, tauschen die beiden wird Cherubino ein weiteres Mal entdeckt. fügt nun hinzu, daß Figaro ihm durch Basilio unerwartet zurückgekehrt. Cherubino wird noch einige geharnischte Komplimente aus. Der Graf begreift, daß Cherubino alles eben einen anonymen Brief hat zukommen lassen, rasch in die Ankleidekammer geschoben und 12 Der Pagenjunge Cherubino erscheint zu Susanna Gesagte mitangehört hat. der ihm verrät, daß die Gräfin heute Abend schließt sich ein. 8 Die Gräfin öffnet die und bittet Susanna um Rat und Hilfe. Der 18 – 20 Nun erscheint Figaro mit seinen im Garten ein Stelldichein mit einem rechte Türe und erklärt, sie habe gerade ein Graf hat ihn erwischt, als er mit der Freunden und bittet den Grafen, Susanna Liebhaber hat. Dabei handelt es sich um eine Kleid anprobiert und sich dabei mit Susanna Gärtnertochter Barbarina flirtete, und wenn ihren jungfräulichen Brautschmuck zu Finte, die ihn davon abhalten soll, Susanna unterhalten, die soeben hinausgegangen ist. die Gräfin nicht dazu gebracht werden kann, präsentieren, was dieser jedoch bis zur nachzustellen. Der Graf zeigt ihr Figaros anonymen Brief, in sich für ihn einzusetzen, soll er weggeschickt offiziellen Zeremonie aufschieben möchte. Die Gräfin weist darauf hin, daß damit aber diesem Augenblick ist jedoch aus der Kammer werden und wird nie mehr seine liebe Susanna 21 Um Cherubino loszuwerden, gibt der Graf noch nicht Marcellinas drohende Intervention ein Geräusch zu hören – Cherubino hat sehen und auch nicht die Herrin, die er doch im eine Stellung in seinem Regiment und abgewendet ist. Susanna hat eine Idee: Sie irgendetwas umgeworfen. Der Graf verlangt zu heimlich von ferne liebt. Als Susanna ihr schickt ihn nach Sevilla. 22 Figaro wünscht selbst wird mit dem Grafen ein Stelldichein wissen, wer dort drinnen ist. Die Gräfin Erstaunen über soviel Liebe äußert, 13 erklärt Cherubino spöttisch viel Glück in seiner vereinbaren, dann aber den als Susanna erwidert, das sei Susanna, woraufhin der Graf Cherubino ihr, daß er in die Liebe verliebt sei zukünftigen militärischen Laufbahn. verkleideten Cherubino hinschicken. Die dieser befiehlt, die Tür zu öffnen oder etwas

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zu sagen, was die Gräfin jedoch verbietet. anonymen Brief, den, wie sie ihm gestehen, an Figaro weiter, der prompt erklärt, es 8 Barbarina überredet Cherubino, sich ihr Inzwischen kehrt Susanna unbemerkt in den Figaro geschrieben und Basilio überbracht hat. handele sich um den Kontrakt des Pagen, den und den Dorfmädchen anzuschließen, die der Raum zurück, begreift die Situation und Er bittet seine Frau um Vergebung. er noch versiegeln solle. Gräfin Blumen überreichen wollen. versteckt sich. 17 Figaro erscheint und verkündet, daß die 19 Marcellina, Dr. Bartolo und Don Basilio 9 – 10 Die Gräfin wartet auf Susanna und 9 – 10 Da die Gräfin sich weigert, die Hochzeitsvorbereitungen nun nahezu erscheinen, um Marcellinas Anklage gegen singt dabei von wundervollen Augenblicken, Kammer zu öffnen, verschließt der Graf abgeschlossen sind, doch der Graf fragt ihn, Figaro vorzubringen. Mit der hierdurch die sie in der Vergangenheit mit dem Grafen sämtliche Türen und geht Werkzeug holen, ob er den anonymen Brief geschrieben habe. gestifteten Verwirrung endet der Akt. erlebt hat. um die verschlossene Tür gewaltsam Figaro streitet dies natürlich ab, obwohl 11 Das Rechtsurteil bestimmt, daß Figaro aufzubrechen; die Gräfin nimmt er mit. Susanna und die Gräfin ihm die richtige COMPACT DISC THREE seine Schulden bezahlen oder Marcellina 11 Susanna überedet Cherubino, seine Tür zu Antwort zuflüstern. heiraten muß. Figaro entgegnet, er könne nicht öffnen. Da alle übrigen Ausgänge verschlossen 18 Der Gärtner Antonio tritt auf, um sich Dritter Akt ohne Zustimmung seiner Eltern heiraten, und sind, springt er aus dem Fenster. 12 Susanna darüber zu beklagen, daß jemand aus dem Der Dritte Akt spielt im großen Saal, wo alle die sei schwierig zu beschaffen, da er ein schließt sich in der Kammer ein. Fenster gesprungen ist und seine Blumen frei kommen und gehen können. Es ist später Findelkind gewesen sei. Wenn allerdings unter 13 Der Graf und die Gräfin kehren zurück zerstört hat. Figaro sagt, das sei er gewesen; Nachmittag. den Anwesenden jemand das Muttermal an und die Gräfin gesteht, daß sie für den Abend Antonio glaubt, daß es Cherubino war, aber 1 Der Graf versucht, sich die seinem Oberarm erkennen könnte … eine Überraschung geplant habe und daß sich der, sagt Figaro, ist bereits nach Sevilla Widersprüche der jüngsten Ereignisse zu Marcellina erkennt es – Figaro ist das Kind, das in Wirklichkeit der Cherubino in der Kammer abgereist. Der Graf fragt Figaro, warum er erklären. 2 – 4 Die Gräfin schickt Susanna ihr viele Jahre zuvor gestohlen wurde, und sein befinde. In den Augen des Grafen scheint dies gesprungen sei. Figaro erwidert, er habe auf zu ihm, um für den Abend ein Treffen zu Vater ist kein anderer als Dr. Bartolo. Ihr den anonymen Brief zu bestätigen. 14 Der Susanna gewartet, als er ein großes Getöse vereinbaren. Sie beabsichtigt, selbst an Anspruch, Figaro zu heiraten, wird damit Graf ruft Cherubino zu, er möge vernommen habe, der Grafen habe gebrüllt, Susannas Stelle zu erscheinen, da Cherubino ja nichtig. 12 – 13 Nun erscheint jedoch herauskommen. Die Gräfin bittet ihn, nicht und da ihm der anonyme Brief eingefallen sei inzwischen nicht mehr da ist. Susanna gibt Susanna, die die Gräfin überredet hat, das für verärgert zu sein, wenn Cherubino ein wenig (den zu schreiben er gerade noch abgestritten vor, sich das Riechsalz des Grafen borgen zu die Begleichung der Schulden notwendige Geld zerzaust aussehe, er sei dabei gewesen, sich als hat), habe er es mit der Angst bekommen und wollen und trifft bei dieser Gelegenheit vorzustrecken. Sie sieht, wie Marcellina Figaro Mädchen zu verkleiden. Der Graf klagt seine sei aus dem Fenster gesprungen. Antonio fragt, die Verabredung. 5 Beim Hinausgehen umarmt und zieht daraus die falschen Schlüsse, Frau der Untreue an und will sich gerade an ob die auf den Boden gefallenen Papiere denn vertraut sie Figaro an, daß sie seinen Fall wird aber bald in die Versöhnung einbezogen. der Tür zu schaffen machen, 15 – 16 als dann ihm gehören, doch der Graf greift nach auch ohne Advokaten gewonnen habe. 14 Antonio erzählt dem Grafen, daß Susanna diese öffnet und heraustritt. Graf und ihnen und fordert Figaro auf, sie zu 6 Unglücklicherweise überhört der Graf ihre Cherubino nicht nach Sevilla abgereist ist, Gräfin sind sprachlos; der Graf empfindet identifizieren. Die Gräfin erkennt Cherubinos Worte. 7 Er explodiert vor Wut darüber, daß sondern sich – als Mädchen verkleidet – im diesen Scherz als ebenso herzlos wie den Einstellungsbrief und gibt diese Information seine eigenen Diener ihn übertölpelt haben. Gärtenhaus befindet!

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15 Susanna nähert sich ihr und berichtet, 22 – 23 Die doppelte Hochzeitsfeier nimmt daß Figaro sie belauscht – rächt sich für seine flirtet Figaro nun mit der vermeintlichen der Graf habe der Verabredung zugestimmt. ihren Lauf – Figaro und Susanna, Marcellina Verdächtigung, indem sie vorgibt, auf den Gräfin. Der Graf mischt sich ein und die 16 Die Gräfin diktiert ihr eine Nachricht, um und Bartolo. Währenddessen steckt Susanna Grafen zu warten. falsche Gräfin versteckt sich in einer Laube. einem Treffpunkt zu verabreden. 17 Die Notiz dem Grafen den von ihr geschriebenen Brief 35 – 36 Indem die Gräfin an Susannas 41 In Gegenwart von Basilio, Bartolo und wird mit einer Brosche versiegelt, die der Graf zu. Figaro beobachtet, wie der Graf seinen Stelle schlüpft, taucht Cherubino auf, um Antonio befiehlt der Graf ihr, aus der Laube ihr als Zeichen seiner Zustimmung Finger an einer Brosche sticht, die den ihm seine Verabredung mit Barbarina einzuhalten; herauszukommen. Zuerst tauchen Cherubino, zurücksenden soll. zugesteckten Brief versiegelt, weiß aber nicht, als er jedoch – wie er glaubt – Susanna sieht, Barbarina und Marcellina auf, dann schließlich 18 – 19 Barbarina führt eine Gruppe von von wem dieser stammt. macht er sich davon. 37 Cherubino versucht die vermeintliche Gräfin. Der Graf klagt sie Dorfmädchen herein, um der Gräfin Blumen nun, Susanna zu küssen, doch der Graf der Untreue an. Sie erbittet seine Vergebung, zu überreichen. Unter diesen befindet sich auch Vierter Akt unterbricht ihn. Er will Cherubino eine die er ihr verweigert. Nun erscheint die der als Mädchen verkleidete Cherubino. Indem Schauplatz des Vierten Akts ist der im hellen Ohrfeige geben, erwischt jedoch Figaro, der wirkliche Gräfin und greift ein. Jetzt ist es an die Mädchen ihre Blumen darbieten, fällt der Mondlicht liegende Garten. In diesem ebenfalls eingreifen wollte. Cherubino dem Grafen, um Vergebung zu bitten, die sie Gräfin auf, daß eines von ihnen sie an befinden sich mehrere Lauben. versteckt sich in einer der Lauben. ihm ein weiteres Mal gewährt. Damit endet jemanden erinnert. 20 Antonio und der Graf 24 Barbarina hat die Brosche verloren, die 38 Der Graf macht nun seiner eigenen Frau alles im Guten. erscheinen unerwartet und entlarven dieses der Graf ihr gegeben hat, um sie Susanna den Hof, die er für Susanna hält, und gibt ihr Mädchen. Es ist Cherubino. Der Graf bittet die zurückzubringen. 25 Figaro und Marcellina einen Diamantring. Figaro versucht den Graf © 2004 Peter Moores Gräfin um eine Erklärung, doch sie ist ebenso erfahren von ihr schon bald die ganze zu vertreiben, und die angebliche Susanna Übersetzung: Stephanie Wollny überrascht wie er selbst. Der Graf will Geschichte. 26 Figaro sinnt auf Rache, versteckt sich in einer weiteren Laube, Cherubino bestrafen, doch Barbarina erbittet während Marcellina Susanna warnen will. während der Graf sich zurückzieht, um sich Christopher Purves studierte Anglistik am seine Vergebung und zugleich auch die 27 – 28 Figaro hat Basilio, Antonio und ihr später erneut zu nähern. 39 Die als Gräfin King’s College Cambridge, bevor er mit der Erlaubnis, Cherubino zu heiraten – als Bartolo um Unterstützung gebeten, wenn er gekleidete Susanna testet nun Figaro, indem innovativen Rockgruppe Harvey and the Gegenleistung für dem Grafen in der die Sache ins Reine bringt. sie mit ihm zu flirten beginnt. Figaro erkennt Wallbangers von sich reden machte. Als sich Vergangenheit erwiesene Gefälligkeiten. Barbarina kommt zurück, um ein die Stimme seiner Frau und beschließt, das die Gruppe 1988 auflöste, nahm er seine 21 Figaro tritt auf, um den Tanz anzukündigen. Stelldichein mit Cherubino wahrzunehmen, Spiel mitzuspielen. Das bringt ihm einen Gesangsausbildung bei David Keren, Diane Der Graf erklärt ihm, Cherubino habe nun 29 – 30 während Figaro wild vor Eifersucht kräftigen Hieb ein. 40 Er erklärt – und ihm Forlano und Janice Chapman wieder auf. zugegeben, aus dem Fenster gsprungen zu sein. auf Susanna wartet. wird vergeben. Der Graf kehrt nun zurück Hervorzuheben unter seinen Opernrollen Figaro erwidert, das möge schon so sein – wenn 31 – 32 Marcellina bringt Susanna und die und Susanna erzählt Figaro, daß er seiner sind Figaro (Le nozze di Figaro) an der Welsh ein Mann aus dem Fenster springen könne, so Gräfin in den Garten und versteckt sich in eigenen verkleideten Frau den Hof gemacht National Opera, Scottish Opera und Opera könnten es auch zwei. einer der Lauben. 33 – 34 Susanna – wissend, habe. Um den Grafen weiter zu täuschen, North, Marcello (La Bohème) an der Scottish

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Opera, Papageno (Die Zauberflöte), Faninal Requiem und Haydns Schöpfung mit dem die Titelrolle in Das schlaue Füchslein an der Chandos-Serie “Opera in English”, Nanetta (Der Rosenkavalier) an der Welsh National Ulster Orchestra, Belshazzar’s Feast mit der Scottish Opera, Susanna, Ilia, Marzelline (Falstaff ) mit Sir John Eliot Gardiner, eine Opera und Opera North, Podesta (La gazza English Northern Sinfonia unter Paul Daniel (Fidelio), Norina (Don Pasquale) und Héro Reihe von Gilbert-und-Sullivan-Aufnahmen ladra) an der Garsington Opera sowie und mit dem Hallé Orchestra sowie Lucifer in (Béatrice et Bénédict) an der Welsh National mit Sir Charles Mackerras und eine Siegfried (Genoveva) und Dulcamara (L’elisir Händels La Resurrezione für Paul McCreesh in Opera, Romilda (Xerxes) an der English Soloschallplatte mit italienischen Liedern d’amore) an der Opera North. Er schuf die Rom, Amsterdam und London. Christopher National Opera sowie Zerlina, Nanetta und aufgenommen. Rolle des Executioner in James Macmillans Purves gab sein Solodebüt beim Aldeburgh Johanna (Sweeney Todd ) an der Royal Opera Ines de Castro und ist in Macmillans Festival im Juni 2004. Für die Chandos-Serie Covent Garden. Die aus Sydney stammende Yvonne Kenny Parthenogenesis bei den Edinburgher “Opera in English” hat er die Partie des Zu ihren umfangreichen Konzert- gab ihr Londoner Operndebüt 1975 als Festspielen aufgetreten, wo man ihn auch als Gottardo (La gazza ladra) aufgenommen. verpflichtungen gehören die BBC Proms und Donizettis Rosmonda d’Inghilterra. Nachdem Cecil in Maria Stuarda unter der Leitung von die Edinburgher Festspiele, Galakonzerte mit sie den Kathleen Ferrier Wettbewerb Sir Charles Mackerras erlebt hat. Rebecca Evans wurde in Südwales geboren Andrea Bocelli in Deutschland und mit gewonnen hatte, kam sie an die Royal Opera Zu seinem Konzertprogramm gehörten und studierte an der Guildhall School of Luciano Pavarotti in Großbritannien. Sie hat Covent Garden, wo sie Pamina (Die Mozarts Messe C-Dur in Aix-en-Provence mit Music and Drama. Als Opernsängerin hat sie Bachs Magnificat mit dem San Francisco Zauberflöte), Ilia (Idomeneo), Susanna (Le The Sixteen, Strawinskys Les Noces mit besonders in Amerika viel Beachtung Symphony Orchestra unter Michael Tilson nozze di Figaro), Adina (L’elisir d’amore), Liù Philippe Herreweghe in Brüssel, Monteverdis gefunden, so etwa als Susanna (Le nozze di Thomas, das Requiem von Brahms mit dem (Turandot), Aspasia (Mitridate) und Donna Vespro della Beate Vergine mit Richard Hickox, Figaro) an der Santa Fe Opera, Adele Boston Symphony Orchestra bei den Anna (Don Giovanni ) sang. Internationalen Bachs Messe h-Moll beim Festival de la Chaise- (Die Fledermaus) an der Chicago Lyric Opera, Festspielen von Tanglewood und Ravinia und Ruhm errang sie in den großen Händel- Dieu, Händels Judas Maccabeus in Nürnberg Zerlina (Don Giovanni), Ann Trulove Mahlers Vierte mit dem Sapporo Symphony Rollen, vor allem Semele und Alcina (Covent und Saul mit dem Gabrieli Consort beim (The Rake’s Progress) und Adina (L’elisir Orchestra unter Tadaaki Otaka aufgeführt. In Garden und Teatro La Fenice), Romilda Covent Garden Festival und Festival de la d’amore) an der San Franciso Opera sowie Australien ist sie beim Melbourne (Xerxes) an der English National Opera (in Chaise-Dieu, John Taveners Apocalypse bei den Susanna und Zerlina an der Metropolitan International Festival und mit dem Australian London und auf Tournee durch die Proms mit der City of London Sinfonia, die Opera New York. In Europa gastiert sie Chamber Orchestra aufgetreten. Als Sowjetunion) und der Bayerischen Staatsoper, Johannespassion mit Paul Goodwin in Madrid, regelmäßig an der Bayerischen Staatsoper, wo Recitalkünstlerin hat sie in der Londoner Alcina mit Nicholas McGegan bei den Messiah mit dem Scottish Chamber Orchestra, sie Sophie (Der Rosenkavalier), Zdenka Wigmore Hall sowie bei den Festspielen von Händel-Festspielen Göttingen sowie Cleopatra Hallé Orchestra und Ulster Orchestra, Les (Arabella), Servilia (La clemenza di Tito), Ilia Barcelona, Ravinia, Buxton und Belfast (Giulio Cesare) und Armida (Rinaldo) in Mamelles de Teresias mit der London (Idomeneo) und Nanetta (Falstaff ) gesungen gesungen. Sydney. Sinfonietta unter Sir Simon Rattle, Manoah hat. Weitere Rollen waren Ilia an der Neben zahlreichen anderen Schallplatten Erfolge feierte sie auch an der Wiener (Samson) mit Harry Christophers, Brittens War Nederlandse Opera und Opéra de Lausanne, hat Rebecca Evans Ilia (Idomeneo) für die Staatsoper (Gräfin (Capriccio) und Susanna),

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Mailänder Scala (Pamina), Deutschen Emilia di Liverpool, Il crociato in Egitto und Théâtre Musical in Paris unter der Leitung Teilnahme an Festspielen wie Cheltenham, Staatsoper Berlin (Gräfin (Capriccio)), Pariser Medea in Corinto witgewirkt. 1989 wurde sie von Kent Nagano sowie als Scherasmin Aix-en-Provence und Saintes eingeladen, Opéra (Donna Elvira), in Zürich und in für ihre Verdienste um die Musik mit dem (Oberon) am Châtelet mit John Eliot Gardiner begleitet von Spitzenpianisten wie Graham Glyndebourne (Donna Elvira und Alice Ford Order of Australia geehrt. und in einer konzertanten Aufführung im Johnson und Iain Burnside. (Falstaff )), als Gräfin (Le nozze di Figaro) in Londoner Barbican. Washington und an der Bayerischen William Dazeley wurde in Warwickshire Konzerterfolge waren auch die Titelrolle in Diana Montague wurde in Winchester Staatsoper, Marschallin (Der Rosenkavalier), geboren und studierte am Jesus College Schumanns Faustszenen auf einer geboren und studierte am Royal Northern Purcells The Fairy Queen und Alice Ford an Cambridge. Im Rahmen seiner Europatournee mit Philippe Herreweghe, College of Music. Seit ihrem Debüt als Zerlina der English National Opera sowie als Gesangsausbildung an der Guildhall School of Schumanns Requiem für Mignon mit John mit der Glyndebourne Touring Opera ist sie Marschallin (unter der Leitung von Sir Charles Music and Drama wurde er unter anderem Eliot Gardiner, Mahlers Des Knaben an vielen namhaften Opernhäusern – Royal Mackerras) bei ihrem Debüt an der San mit der begehrten Goldmedaille ausgezeichnet. Wunderhorn mit Herreweghe und dem Opera Covent Garden, Metropolitan Opera Francisco Opera. Sie kehrt regelmäßig nach Darüber hinaus gewann er den Koninklijk Filharmonisch Orkest van New York, Théâtre de la Monnaie Brüssel, Australien zurück, wo sie Gilda (Rigoletto), Decca–Kathleen-Ferrier-Preis 1989, den Vlaanderen, Coriglianos Dylan Thomas mit Opéra national de Paris-Bastille, Teatro Colón Pamina, Susanna, Alcina, Massenets Manon, Gesangswettbewerb der Royal Overseas League Leonard Slatkin und dem BBC Symphony Buenos Aires – sowie bei den Bayreuther und Fiordiligi, Alice Ford, Governess (The Turn of 1990, den Richard-Tauber-Preis 1991 und den Orchestra sowie das Weihnachtsoratorium von Salzburger Festspielen aufgetreten. the Screw), Gräfin (Capriccio) und die internationalen Walther-Gruner- Bach mit den Berliner Philharmonikern. Ihr Repertoire umfasst die wichtigen Rollen Titelrollen in Maria Stuarda und Liederwettbewerb 1991. In Welturaufführungen hat er Mahmoud in für Mezzosopran in Opern von Mozart, L’incoronazione di Poppea gesungen hat. Als einer der führenden Baritone seiner der John-Adams-Oper The Death of Gluck, Strauss, Rossini, Bellini und Berlioz, Yvonne Kenny ist konzertant bei den Generation ist er inzwischen an vielen Klinghoffer mit dem BBC Symphony und zu ihren Verpflichtungen gehörten Festspielen von Edinburgh, Salzburg und Aix- berühmten Opernhäusern in aller Welt Orchestra und Jesus in Harrison Birtwistles Benvenuto Cellini in Rom, Iphigénie en Tauride en-Provence, in der Carnegie Hall und bei den aufgetreten, mit Rollen wie Comte (Cherubin), The Last Supper an der Deutschen Staatsoper in Buenos Aires, Madrid und an der Welsh BBC Proms aufgetreten. Für Chandos hat sie Guglielmo (Così fan tutte) und Mercutio Berlin unter der Leitung von Daniel National Opera, Albert Herring, Le nozze di Alice Ford (Falstaff ), die Marschallin (Auszüge (Roméo et Juliette) an der Royal Opera Covent Barenboim gesungen; mit letzterer Figaro und Andromaca in Rossinis Ermione in aus Der Rosenkavalier) und zwei Recitals mit Garden, als Graf (Le nozze di Figaro), Figaro Inszenierung kam er später auch nach Glyndebourne, Le Comte Ory in Lausanne, großen Opernarien aufgenommen, alle in der (Il barbiere di Siviglia) und Owen Wingrave Glyndebourne. Rom und Glyndebourne, Proserpina in Reihe “Opera in English”, sowie Lennox mit der Glyndebourne Touring Opera, als William Dazeley gibt Solokonzerte in der Monteverdis Orfeo in Amsterdam, Ariadne auf Berkeleys A Dinner Engagement und Dysons Figaro (Il barbiere di Siviglia) an der Wigmore Hall und dem Purcell Room Naxos in Lissabon, Marguerite (La Damnation The Canterbury Pilgrims. Für Opera Rara hat Deutschen Staatsoper Berlin, Dr. Faust bei den (London), St. George’s (Bristol) und am de Faust) in Genf, Minerva (Il ritorno d’Ulisse sie an Ugo conte di Parigi, Robinson Crusoe, Salzburger Festspielen und am Châtelet Châtelet, und er wird regelmäßig zur in patria) in Amsterdam und Sydney, Meg

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Page (Falstaff ), Die verkaufte Braut und Andere Rollen waren Katisha (The Mikado) Nach seinem Studium an der Universität und an der Opéra de Montpellier sowie als Die Meistersinger von Nürnberg an der Royal an der English National Opera, Soloka (Die London und am Trinity College of Music Claggart (Billy Budd ), Don Alfonso (Così fan Opera Covent Garden, Junon in Rameaus Pantöffelchen) in Garsington, Auntie (Peter gewann Jonathan Veira 1996 den Sir Peter tutte) und Falstaff an Den Kongelige Opera Platée mit der Royal Opera bei den Grimes) an der niederländischen Nationale Pears Gesangswettbewerb und wurde bei seiner Kopenhagen. Edinburgher Festspielen und in London, Reisopera und Hata (Die verkaufte Braut) in weiteren Ausbildung am National Opera Oktavian (Der Rosenkavalier) an der English Glyndebourne. Weitere Stationen waren die Studio durch die Glyndebourne Festival Opera John Graham-Hall studierte am King’s National Opera, in Bilbao und am Teatro Real New Israeli Opera, Staatsoper Stuttgart, Opera und die Friends of Covent Garden unterstützt. College Cambridge und am Royal College of in Madrid, Marguerite in Wien und Le nozze Theatre Company, Glyndebourne Touring Jonathan Veira ist an allen großen britischen Music. Er ist mit allen namhaften di Figaro an La Monnaie. Opera sowie die Edinburgher Festspiele und Opernhäusern aufgetreten: Royal Opera, Opernensembles Großbritanniens aufgetreten, Diana Montague hat zahlreiche Festivals in Irland und der Schweiz. Sie gastiert English National Opera, Glyndebourne so etwa als Albert Herring (Royal Opera Schallplatten aufgenommen, u.a. Monteverdis regelmäßig an der Opera North und der Festival Opera, Scottish Opera, Welsh Covent Garden), Kudrjásy ´ (Katja Kabanowa), Orfeo, I Capuleti e i Montecchi, Norma, Lucia Royal Opera Covent Garden, wo sie die National Opera, Garsington Opera und Opera Flute (A Midsummer Night’s Dream) und Bob di Lammermoor, Iphigénie en Tauride, für Rolle der Yeta Zimmerman in der Northern Ireland. Zu seinen Rollen gehörten Boles (Peter Grimes) in Glyndebourne, als Don Opera Rara Rosmonda d’Inghilterra, Zoraida di Welturaufführung von Nicholas Maws Sophie’s dabei Bankier/Theaterdirektor (Lulu), Basilio, Monostatos, Lysander (A Midsummer Granata und Il crociato in Egitto sowie für die Choice sang – eine von Simon Rattle dirigierte Dulcamara (L’elisir d’amore), Harasˇta (Das Night’s Dream), Alwa (Lulu) und Herodes Chandos-Serie “Opera in English” Idomeneo, Aufführung unter der Regie von Trevor Nunn, schlaue Füchslein), Dr. Kolenaty ´ (Die Sache (Salome) an der English National Opera, Cavalleria rusticana, Oktavian in Der die von der BBC als Funk- und Fernseh- Makropulos), Baron Mirko Zeta (Die lustige Cassio (Otello) an der Welsh National Opera, Rosenkavalier (Auszüge), Faust und zwei Livesendung ausgestrahlt wurde. Witwe), Tonio (Pagliacci), Leporello (Don Eisenstein, Lehrer (Das schlaue Füchslein) an Recitals mit großen Opernarien. Konzertauftritte hat sie mit dem RTE Concert Giovanni), Warlaam (Boris Godunow), Calchas der Scottish Opera sowie Aschenbach (Death Orchestra, National Symphony Orchestra of (La Belle Hélène), Sharpless (Madama in Venice), Lysander, Albert Herring und Frances McCafferty wurde in Edinburgh Ireland, Ulster Orchestra, Singapore Butterfly), Mesner (Tosca), Mustafa (L’italiana Ferrando (Così fan tutte) mit der geboren und studierte an der Royal Scottish Symphony Orchestra und BBC Concert in Algeri) und Keçal (Die verkaufte Braut). Glyndebourne Touring Opera. Academy of Music and Drama. Nach einigen Orchestra gegeben. International reüssierte er als Doctor Weitere Rollen waren Bob Boles Jahren als Gesangslehrerin trat sie der D’Oyly Am Teatro La Fenice in Venedig (Vanessa) an der Opéra du Rhin, Schaunard (Nederlandse Opera), Basilio (La Monnaie), Carte Opera Company bei, mit der sie alle debütierte sie als Katisha (The Mikado). (Leoncavallos La Bohème) beim Wexford die Titelrolle in Pascal Dusapins neuer Oper großen Altrollen in den Gilbert-und Sullivan- Sie hat Madame Popova (The Bear) beim Festival, Leporello (Don Giovanni) und Perela, l’Homme de fumée an der Opéra de Opern sang und Patience, Orpheus in the Festival von Cerniers in der Schweiz und Papageno (Die Zauberflöte) an der Opera New Paris-Bastille und in Montpellier. An der Underworld und HMS Pinafore auf Amme (Boris Godunow) an der Royal Opera Zealand, Dr. Bartolo (Le nozze di Figaro) an English National Opera, der er als erster Tenor Schallplatte aufnahm. Covent Garden gesungen. der Opéra de Nice, in Zürich, Glyndebourne angehörte, sang er auch Sylvester (The Silver

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Tassie), Goro (Madam Butterfly), Triquet Er debütierte an der Royal Opera Covent Titelrolle in Das schlaue Füchslein (mit er als Herodes (Salome) an der English (Eugen Onegin), Monostatos (Die Zauberflöte), Garden in La traviata und in Glyndebourne Sir Charles Mackerras) und Zerlina National Opera gastierte. Mime (Das Rheingold ) und Alwa (Lulu). als Antonio (Le nozze di Figaro). Weitere (Don Giovanni) (mit Sir Colin Davis). Bedeutende Rollen waren der Oberpriester John Graham-Hall hat mit vielen Rollen waren Bartolo (Le nozze di Figaro) an Sie debütierte an der Welsh National in Idomeneo an der Royal Opera Covent berühmten Dirigenten zusammengearbeitet, der Opera North und beim Garsington Opera als Iphis in Händels Jephtha, sang Garden, Hauptmann (Wozzeck) in San u.a. Haitink, Harnoncourt, Boulez, Andrew Festival, Collatinus beim Buxton Festival Eleanora in Salieris Prima la musica und Mlle. Francisco, Genf, Zürich, Montpellier, Davis, Tate, Rattle, Gardiner und Abbado. sowie Bosun (Billy Budd ) und Masetto Silberklang in Mozarts Der Schauspieldirektor Bordeaux und Bologna, Schuiski (Boris Seine Konzertkarrierie hat ihn durch ganz (Don Giovanni) an der Scottish Opera. mit der City of London Sinfonia/Richard Godunow) in Straßburg, Bordeaux und Europa geführt, er hat mit allen namhaften Konzertant ist er in Beethovens Neunter und Hickox und Mozarts Requiem mit Sir Roger Montpellier, Quint (The Turn of the Screw) britischen Orchestern konzertiert und ist in Verdis Requiem in der Royal Albert Hall Norrington beim Spitalfields Festival. Sarah und Truffaldino (The Love for Three Oranges) London häufig im Barbican und in der aufgetreten, in Mahlers Achter in der Royal Tynan wird von der National Opera im an der English National Opera, Sinowi Festival Hall aufgetreten. Zu seinen Festival Hall und in Iolanthe in der Rahmen des Nachwuchsförderprogramms (Lady Macbeth von Mzensk) in Toulouse und Schallplattenaufnahmen für Chandos gehören Bridgewater Hall Manchester. unterstützt. Marseille, Valzacchi und die drei Tenorrollen The Poisoned Kiss von Vaughan Williams, Peter von Lulu am Châtelet Théâtre Musical in Grimes und, in der Reihe “Opera in English”, Sarah Tynan wurde in London geboren und Stuart Kale gilt auf der internationalen Paris, Aeghiste in Karlsruhe, Bob Boles in The Thieving Magpie und Bergs Wozzeck. studierte am Royal Northern College of Music Opernszene als einer der besten singenden München, Covent Garden, Genua und und an der Royal Academy of Music (bei Schauspieler. Das Repertoire dieses Straßburg, Captain Vere (Billy Budd ) in Köln Graeme Danby wurde in County Durham Penelope Mackay), wo sie mit der Queen’s Vollblutmusikers ist denkbar breit gefächert sowie Gregor (Die Sache Makropulos) und geboren und studierte an der Royal Academy Commendation for Excellence ausgezeichnet und reicht von Monteverdi bis Messiaen. Er Herodes in Straßburg. of Music in London. Seine langjähriges wurde. begann seine Karriere an der Welsh National Für die Chandos-Serie “Opera in English” Wirken an der English National Opera fand Zu ihren Opernrollen gehören Pretty Polly Opera, bevor er der English National Opera hat er Boris Godunov (Auszüge), Madam Ausdruck in Rollen wie Lorenzo in Bellinis in Birtwistles Punch and Judy am Teatro beitrat, wo er in seinen acht Jahren u.a. Don Butterfly, Otello, Falstaff, Wozzeck und I Capuleti e i Montecchi, Pimen (Boris Nacional S. João in Porto, Governess in Ottavio (Don Giovanni), Michael in Martinu˚s The Thieving Magpie aufgenommen. Godunow), Don Basilio (Il barbiere di Siviglia), Brittens Turn of the Screw auf einer Russland- Julietta, Alfred (Die Fledermaus) und Nanki- Dulcamara (L’elisir d’amore), Somnus (Semele), Tournee der Kulturorganisation British Poo in Jonathan Millers Inszenierung von Geoffrey Mitchells Gesangskarriere hat ihm Quince (A Midsummer Night’s Dream), Council, Elsie Mainard (The Yeomen of the The Mikado sang. 1987 leitete er seine ein bemerkenswert breitgefächertes Repertoire Collatinus (The Rape of Lucretia), Arkel Guard) und Gianetta (The Gondoliers) an der blühende Karriere als freischaffender Sänger von der alten bis zur neuen Musik beschert (Pelléas et Mélisande) und Poo-Bah (The Phoenix Opera sowie Barbarina an der Opera mit dem Hauptmann (Wozzeck) an der Opéra und ihn nach Skandinavien, Deutschland, in Mikado). Holland Park. An der RAM sang sie die du Rhin in Straßburg und in Nancy ein, bevor die ehemalige Tschechoslowakei, nach Kanada

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und Australasien geführt. Nachdem er bei der Zusammenarbeit mit Wilhelm Furtwängler, größte Orchesterdiskographie der Welt, die Opera 80 und seit 1992 Gründungsmitglied BBC erste Dirigiererfahrungen gesammelt Richard Strauss, Arturo Toscanini, Guido auch Fernseh- und Filmmusik beinhaltet, und und Direktor der Almeida Opera. hatte, begann er mit eigenen Sängern zu Cantelli, Herbert von Karajan und Carlo genießt weltweit höchstes Ansehen. Das Er übt in Großbritannien und international arbeiten und gründete den Geoffrey Mitchell Maria Giulini einbezog. Das Orchester Orchester hat für Opera Rara mehrere Recitals eine weitgespannte Tätigkeit in den Bereichen Choir. Aus ersten Aufnahmen entwickelte sich verpflichtet weiterhin Gastdirigenten und sowie elf komplette Opern eingespielt und in Oper und Konzert aus, hat mehrere eine langfristige Zusammenarbeit des Chors Solisten von Weltrang, während einige der der Reihe “Opera in English” für Chandos mit Produktionen der English National Opera und mit Opera Rara, für die er über dreißig größten europäischen Nachwuchstalente in Unterstützung durch die Peter Moores der Opera North dirigiert und tritt regelmäßig Tonträger aufgenommen hat. Der Chor seine Reihen aufgenommen werden. Foundation The Thieving Magpie, Wozzeck, mit dem Philharmonia Orchestra und dem genießt wachsendes Ansehen und ist bei der Das Philharmonia Orchestra ist in der Don Giovanni, The Elixir of Love, Lucia of London Philharmonic Orchestra auf. 1996 gab BBC und internationalen Plattenfirmen Royal Festival Hall ansässig und nimmt eine Lammermoor, Faust, Carmen, Aida, La Bohème, er sein Debüt beim Glyndebourne Festival mit gefragt. Für Chandos hat der Geoffrey zentrale Position im Musikleben Madam Butterfly, Turandot, die preisgekrönte Così fan tutte und hat dort 1998 die Mitchell Choir an zahlreichen Aufnahmen der Großbritanniens ein, nicht nur durch seine Tosca und Opernarien in Solorecitals mit Bruce Uraufführung von Jonathan Doves Flight hervorragend kritisierten Reihe Opera in Londoner Konzerte, sondern auch durch feste Ford, Diana Montague, Dennis O’Neill, geleitet. English unter der Schirmherrschaft der Peter Kontakte mit Aufführungsstätten in anderen Alastair Miles, Yvonne Kenny und John Er ist häufig in Spanien zu Gast und hat mit Moores Foundation teilgenommen. Teilen des Landes, die eine ideale Gelegenheit Tomlinson aufgenommen. Das Philharmonia den meisten bedeutenden spanischen für die Erweiterung seines dynamischen und Orchestra untermauert seinen internationalen Orchestern Konzerte gegeben. In Madrid hat er Das Philharmonia Orchestra, eines der bevölkerungsnahen musikpädagogischen Rang durch regelmäßige Tourneen und die spanische Uraufführung von Peter Grimes großen Orchester der Welt, steht nun bereits Programms bieten. Das Orchester ist mit Gastauftritte an berühmten Häusern wie dem dirigiert, und 1996 die erste spanische im sechsten Jahr unter der Leitung seines zahlreichen Preisen ausgezeichnet worden und Châtelet Théâtre Musical in Paris, dem Inszenierung von The Rake’s Progress. Er ist in berühmten deutschen Chefdirigenten hat beispiellose kritische Unterstützung für Megaron in Athen und dem Lincoln Center Deutschland, der Schweiz und den Christoph von Dohnányi. Er setzt eine seine innovative Programmpolitik gewonnen, for the Performing Arts in New York. Niederlanden aufgetreten, bei den Festspielen in Tradition fort, die mit Otto Klemperer begann die in ihrem Kern der Bestellung und Pesaro, beim Hong Kong International Festival, und über Lorin Maazel (Erster Gastdirigent), Darbietung neuer Musik von führenden David Parry hat bei Sergiu Celibidache studiert in Japan anläßlich einer Carmen-Tournee und Riccardo Muti (Chefdirigent und Komponisten unserer Zeit verpflichtet ist. und seine berufliche Laufbahn als Assistent von in Mexiko mit dem UNAM Symphony Musikalischer Leiter), Giuseppe Sinopoli Die Konzerte des Orchesters werden immer Sir John Pritchard begonnen. Er hat am English Orchestra. Zu den Neuproduktionen, die er in (Musikalischer Leiter) bis zu Kurt Sanderling häufiger von BBC Radio 3 übertragen, nicht Music Theatre debütiert und wurde dann letzter Zeit dirigiert hat, zählen Fidelio beim (Emeritierter Dirigent), Vladimir Ashkenazy zuletzt im Rahmen der jährlichen BBC Proms. Dirigent mit Festvertrag an den Städtischen New Zealand Festival, Lucia di Lammermoor an (Ehrendirigent) und Sir Charles Mackerras Mit über 1000 Schallplattenaufnahmen Bühnen Dortmund und an der Opera North. der New Israeli Opera und Don Giovanni an (Hauptgastdirigent) führt, aber auch die verfügt das Philharmonia Orchestra über die Von 1983 bis 1987 war er Musikdirektor der der Staatsoper Hannover.

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Seine Tätigkeit im Aufnahmestudio umfaßt Diana Montague, Dennis O’Neill, die Produktion von Marschners Der Vampyr Alastair Miles, Yvonne Kenny, John fürs BBC-Fernsehen und achtundzwanzig Tomlinson, Della Jones und Andrew Shore), vollständige Opernaufzeichnungen unter der außerdem Idomeneo, Carmen, The Thieving Schirmherrschaft der Peter Moores Magpie, Don Giovanni, Don Pasquale,

Foundation. Darunter befinden sich zahlreiche The Elixir of Love, Lucia of Lammermoor, Cooper Bill Aufnahmen der Reihe Opera Rara, die Ernani, Il trovatore, Aida, Faust, Cavalleria mehrere Preise gewonnen haben, beispielsweise rusticana, Pagliacci, La bohème, Turandot, den belgischen Prix Cecilia für Donizettis die preisgekrönte Tosca und Highlights Rosmonda d’Inghilterra. Für Chandos hat er die us dem Rosenkavalier, jeweils in Aufzeichnung einer Serie von Programmen Zusammenarbeit mit der Peter Moores mit Opernarien geleitet (mit Bruce Ford, Foundation.

William Dazeley as Count Almaviva with Opera North

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caractères féminins avec autant de conviction Selon Joseph Kerman qui défend avec Les Noces de Figaro que les caractères masculins. C’est un talent éloquence l’argument contre-révolutionnaire que partagent à vrai dire peu d’hommes qu’ils dans Opera as Drama, les véritables héros et Figaro aurait une trentaine d’années, si l’on en Et de Susanna, bien que le titre ne le précise soient compositeurs ou auteurs. La femme héroïne de l’opéra sont le Comte et la croit Caron de Beaumarchais qui a imaginé le pas. C’est Susanna, un peu plus jeune sans idéalisée, l’“Ewigweibliche” de Goethe est le Comtesse. Bien que sa thèse ne soit pas tout à personnage. Lorsque l’opéra fut créé en 1786, doute que son futur époux, qui ouvre la voie fléau de nombreux opéras et œuvres littéraires fait convaincante, il est vrai que l’opéra est Mozart avait aussi trente ans. Voir un élément au personnage. Elle perçoit d’emblée la au dix-neuvième siècle. Au vingtième siècle, ce autant une interrogation sur leurs deux années autobiographique dans la création par “commodité” de la chambre qui leur a été talent précieux qu’avait Mozart ne s’est de mariage que sur le futur mariage de Figaro et Beaumarchais de son Barbier de Séville, cédée et voit clair dans le projet du comte manifesté pour ainsi dire que chez Janácˇek et Susanna. Le Comte, s’il est ostensiblement le personnalité aux talents multiples, n’est guère Almaviva de les prendre avec lui en mission à Berg. “scélérat” dans cette œuvre, devrait rester un caprice de l’imagination. Et si l’on y Londres. Elle réagit avec la rapidité voulue Trop d’importance peut être accordée aux sympathique. La Comtesse, en dépit d’un regarde de plus près, quelques similitudes avec pour couvrir Cherubino contraint de se sauver aspects pré-révolutionnaires des Noces de Figaro. épisode de passivité et de pleurnicheries, Mozart apparaissent dans la personnalité de ce par le cabinet attenant à la chambre de la La cavatine de Figaro dans l’Acte I “Si vous retrouve force et détermination dans l’Acte III sujet trop talentueux et un peu trop familier Comtesse. Elle trouve les moyens nécessaires voulez danser, mon petit comte” (“So, little et est le catalyseur du drame dans l’Acte IV. avec ses supérieurs en termes sociaux. pour que soit acquittée la dette de Figaro master, you’re dressed to go dancing”) peut La résolution amenée par la clémence de la C’est sans doute une erreur donc de envers Marcellina. C’est elle qui fait avorter le apparaître comme le tocsin annonçant le Comtesse face au comportement dévoyé de son présenter Figaro dans cet opéra, et tel est le cas plan risqué qu’il conçoit afin de duper le combat et sa confrontation avec le Comte avant époux (“Plus docile que vous, je vous l’accorde” parfois, comme le bouc émissaire. Il est vrai Comte la nuit dans le jardin en se déguisant, les danses dans l’Acte III (“Et pourquoi pas? – “I’m far more forgiving, and so I say yes”.) et qu’il a tendance à agir et à parler plus vite qu’il pour le remplacer par son propre projet, plus Je ne dispute pas de ce que j’ignore.” – “Maybe leur réconciliation, temporaire du moins, ne pense, mais son rôle dans l’intrigue est de ingénieux. Le bon sens naturel de Susanna so. I’m not one to accuse when I don’t know”) forment le climax émotionnel de l’opéra. lancer l’action. Figaro est le moteur du drame. complète l’ingéniosité acquise par Figaro. pourrait présager du démantèlement de l’ordre Peter Hall décrivit de façon mémorable, lors C’est l’urgence qui l’anime qui le fait En effet, et en dépit du titre de l’œuvre, social. Mais ce n’est pas le moment encore. Il d’une interview à la radio, l’effet lénifiant du progresser, en dépit des intrigues des autres Susanna pourrait aisément être considérée est trop facile de faire preuve de sagesse quand a grand ensemble du pardon qui regroupe tous protagonistes qui le retardent ou le freinent. comme le personnage central de l’opéra. Son eu lieu l’événement, comme Napoléon lorsqu’il les protagonistes du drame et suit Et, par contraste, ces derniers sont tous rôle est le plus long sûrement, en termes de décrivit le défi incendiaire de Figaro “Vous avez l’intervention de la Comtesse, et tout relativement passifs, attendant de voir le cours notes, mais il n’y a pas que le nombre de notes pris la peine de naître” comme “la Révolution spécialement la force du bref passage orchestral que prendront les événements. Ce sont les qui importe. L’un des plus merveilleux aspects en action”. Beaumarchais à Paris, et Mozart descendant entre cet ensemble et le chœur noces de Figaro après tout, comme nous le du génie de Mozart, dans cet opéra et ailleurs, ensuite à Vienne, jouent avec le feu, mais cela final de réjouissance, instant fugace lorsque rappelle le titre de l’opéra. est son habileté à dessiner et à colorer les reste du drame. tous contemplent les abysses de la tragédie. Par

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la perfidie et la trahison, ces unions peuvent si Si formellement Les Noces de Figaro est une réfléchissant, commentant l’action et la large l’Acte III. Ce passage pourrait certes être l’un facilement être anéanties. Une terrifiante prise œuvre en quatre actes correspondant aux palette d’émotions des participants. Emboîtant des plus comiques avec ses révélations-surprises de conscience a lieu, puis les acteurs du drame quatre lieux où se déroule l’action, le pas à l’action, la musique amplifie les effets et ses revirements, mais une fois encore, la se détournent, choisissant d’oublier pour musicalement nous avons à faire à une de surprise, souligne les subtilités et revêt furie et la déconvenue de Susanna sont d’un profiter des plaisirs du moment. La frontière structure en deux actes similaire à celle des cependant l’ensemble de ce jeu d’intrigues sérieux absolu. Il y a un moment superbe après entre tragédie et comédie est si fragile. deux autres opéras Da Ponte, Don Giovanni et assez sordide d’une houppelande magique aux la fin du sextuor et le départ du Comte et de C’est l’équilibre que Mozart établit entre ces Così fan tutte. Chacune des deux parties de ces sonorités les plus enchanteresses qui, tout en Curzio dans la confusion. Susanna demande à deux pôles qui le rend suprêmement réaliste et opéras se termine par un long finale, un restant fidèles à l’action, la transmutent en la ceux qui sont restés: “Qui connaît bonheur qui confère tant de crédibilité à ses opéras. procédé de développement de l’action par la plus pure merveille qui soit.” semblable au mien?” – “Who could be happier C’est cette vision particulière manifeste déjà musique dont Mozart fut le pionnier dans Dans ce finale sublime, chacun aura son than I am?” et Figaro, Bartolo et Marcellina dans La finta giardiniera, composé lorsqu’il La finta giardiniera déjà, mais qu’il passage d’élection. Le mien est la trêve répondent chacun “Moi” (“I am”) Puis n’avait que dix-huit ans et qui atteint un perfectionna dans le finale de l’Acte II de temporaire entre les combattants (bien que le ensemble et en parfaite harmonie, le quatuor sommet dans les trois opéras écrits avec Figaro. L’œuvre est aussi l’exemple suprême du Comte aux folles intrigues ne soit guère dans chante pianissimo “Et que le comte crève de Lorenzo da Ponte dont le premier est Les Noces sens de l’équilibre de Mozart. A partir du cet état d’ esprit) avant l’incursion d’Antonio ma joie!” (“And if the Count is furious, well de Figaro. Cet équilibre est maintenu avec une moment où le Comte et la Comtesse avec les débris de ses pots de fleurs. La that will serve him right!”). L’interprétation de particulière délicatesse dans la résolution du retournent dans la chambre et où le finale Comtesse, Susanna et Figaro chantent “Deh ce moment ne devrait pas être teinté de drame, mais il est assuré tout au long de proprement dit commence, l’issue pourrait signor, noi contrastate” (“Ah, Monseigneur, comédie seulement. l’opéra. Il est merveilleusement illustré, avec aussi bien être tragique que comique. En consentez: couronnez donc mes (leurs) désirs.” L’Acte IV est le plus difficile à mener à bien une touche d’humour, dans l’aria de l’occurrence, l’humour émerge sans cesse, – “Heed my pleading, I implore you, be lors de l’exécution de l’oeuvre. Après trois actes Cherubino dans l’Acte I “Non so più, cosa parfois de manière désopilante, et même compassionate I pray”) et, tandis que le Comte se déroulant à l’intérieur du château, le jardin son, cosa faccio” (“Je ne sais qui je suis, ce que grotesque, mais la situation reste une question part en pensée à la recherche de Marcellina, devrait exhaler un parfum de liberté. Les je fais” – “I don’t know what it is that I’m de vie ou de mort. cors et contrebasses soulignent leur plaidoyer recoins sous les pins évoquent la forêt de feeling”). Et il imprègne sans doute la réaction Walter Legge décrivit en ces termes le finale forte. Ce bref moment de réconciliation Shakespeare, hors d’Athènes, où peuvent se mi-douloureuse, mi-satisfaite de l’adolescent à de l’Acte II: “Musicalement c’est l’ensemble le espérée est une anticipation magique de la fin réaliser des rêves voluptueux. Lorsque le finale l’aria militaire de Figaro “Non più andrai” à la plus magistral, non seulement de cet opéra, de l’opéra. proprement dit commence sur les paroles de fin de l’Acte I (“Plus n’iras” – “Here’s an end mais dans tout Mozart. Pendant près de vingt Selon Michael Kelly, le ténor irlandais qui Cherubino: “Je l’approcherai, oh si to your life as a rover”). Les gloires minutes, la musique s’épanche en un flux interpréta les rôles de Basilio et de Curzio dans doucement, et saisirai le moment tant que je le qu’escompte Cherubino ne sont pas continu, épousant chaque sinuosité de cette la production originale, Mozart avait une peux” (“I’ll approach her, oh so softly, seize the strictement martiales. comédie complexe et précipitée, illuminant, prédilection, dans cet opéra, pour le sextuor de moment while I may”), tout avance bien, mais

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la première moitié de cet acte voit se du finale, dans laquelle le tempo prend de non loin de Séville dans son manoir ancestral, pour lui. 6 – 7 Susanna est appelée par la développer des arias méditatifs qui ne l’ampleur sous forme d’un larghetto en 3/4 est et Figaro est son valet. Figaro quant à lui va Comtesse. Figaro exprime sa jalousie: si le contribuent en rien au progrès de l’action. La plus magnifique encore que son aria vibrant de célébrer aujourd’hui ses noces avec Susanna, Comte tente de conter fleurette à Susanna, il diatribe de Figaro contre les femmes (“Oh colère; le lumineux sol majeur cède la place à qui n’est autre que la chambrière de Rosina, la usera de tous les mauvais tours possibles pour vous folles esclaves de Cupidon” – “You un mi bémol majeur (la tonalité de la cavatine comtesse Almaviva. déjouer ses plans. foolish slaves of Cupid”) et la mélodie plaintive que chante la Comtesse losqu’elle 8 – 9 Le docteur Bartolo et sa d’amour quelque peu ambiguë de Susanna apparaît pour la première fois “Porgi amor” – COMPACT DISC ONE gouvernante Marcellina arrivent de Séville. (“Ah, viens, ne tarde plus, mon beau plaisir” – “Prête, Amour, quelque confort” – “Hear my Marcellina a prêté de l’argent à Figaro à la “Come quickly my beloved”) sont prayer”), et les clarinettes réapparaissent. Sous Acte I condition qu’il l’épouse s’il ne peut la évidemment essentiels, mais les arias di un ciel obscurci par la nuit, tranquille et serein, Le premier acte se déroule au petit matin dans rembourser. Tant qu’il n’a pu lui restituer la paragone de Marcellina et Basilio peuvent sous Vénus et Mars unis en une étreinte une chambrette cédée à Figaro et à Susanna somme, Figaro n’est évidemment pas en sembler marginaux. En fait, ce sont des airs passionnée, Figaro rassemble une fois encore les comme futur logement. La porte de droite mesure d’envisager un autre mariage. intéressants et révélateurs. L’air de Marcellina fils du drame et affronte sa destinée. Ce mène à la salle principale du château, la porte Marcellina demande de l’aide au Docteur étoffe son caractère en faisant apparaître un moment magique ne durent que douze centrale aux appartements de la Comtesse et la Bartolo; celui-ci répond qu’il ne sera que trop peu de cette indignation féministe perçue dans mesures, puis il se trouve à nouveau précipité porte de gauche à ceux du Comte. 1 Après heureux de se venger sur Figaro. son importante intervention dans l’Acte III de dans l’haletant dénouement. Mais ceci suffit, en l’ouverture de l’opéra, nous trouvons Susanna 10 – 11 Susanna réapparaît, et lorsque la pièce de Beaumarchais. L’anecdote “peau dépit de ce qui survient ensuite et de la préparant son chapeau de mariée. 2 Figaro Marcellina quitte la pièce, elles échangent d’âne” de Basilio est une aria di paragone plus révélation dramatique de la Comtesse, à lui mesure la chambrette pour y placer le lit, quelques phrases acerbes. conventionnel, mais assombri par une note rendre son opéra – et son mariage. 3 – 5 mais comprenant les intentions de 12 Le page Cherubino vient demander tristement ironique. Tous deux ajoutent une Figaro, Susanna précise qu’il est hors de conseil et assistance à Susanna. Le Comte l’a dimension aux caractères et à la richesse du © 2004 Nicholas Payne question de s’installer là! Cette pièce est non surpris flirtant avec Barbarina, la fille du drame, mais ils arrivent trop tard. En fin de seulement un lieu de passage, mais elle est jardinier, et à moins que l’on persuade la soirée, on est impatient de voir l’intrigue se Synopsis surtout trop facile d’accès pour le Comte qui Comtesse d’intervenir, il sera congédié et ne dénouer. Et les supprimer lors des exécutions Quelques années avant que débute l’opéra, le la poursuit et voudrait rétablir les privilèges verra plus jamais sa chère Susanna, ni d’ailleurs est donc plus pragmatique. comte Almaviva avait courtisé Rosina et l’avait féodaux du seigneur du château. Figaro est la Comtesse qu’il vénère à distance. Lorsque Du fait de cette suppression, c’est plut tôt épousée. Elle était la riche pupille d’un certain abasourdi d’apprendre que le Comte s’intéresse Susanna exprime sa surprise face à ses amours que Figaro lui-même vit un moment tragique, docteur Bartolo de Séville qui avait lui-même à Susanna. Celle-ci lui répond qu’il devait se multiples, 13 Cherubino lui dit qu’il est lorsque sa nature optimiste menace pour une envisagé de se marier avec elle afin de mettre la douter que la dot promise par le Comte n’était amoureux de l’Amour et il lui remet une petite fois d’être submergée. La brève section, au cœur main sur sa fortune. Le comte Almaviva vit pas à la mesure des sentiments qu’il éprouvait chanson qu’il a écrite pour la Comtesse.

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14 Le Comte entre, et Cherubino se cache. Comtesse. La porte, à droite, mène à l’escalier fait un essai de déguisement. Elle ferme tout 11 Susanna persuade Cherubino d’ouvrir. Le Comte fait la cour à Susanna, mais ses principal, la porte du fond à la chambre de d’abord la porte. Pendant qu’il se dévêtit, Trouvant toutes les portes fermées, il saute par avances sont interrompues par Don Basilio, le Susanna et une porte, à gauche, à un petit Cherubino laisse tomber son brevet et la la fenêtre. 12 Susanna s’enferme dans le maître de musique. 15 Le Comte se cache cabinet. Le mur qui lui fait face est percé Comtesse remarque qu’il n’a pas été cacheté. cabinet. aussi. Toutefois, lorsqu’il entend ce que Basilio d’une fenêtre. Susanna habille Cherubino en fille. 13 Le Comte et la Comtesse réapparaissent. a à dire au sujet de l’intérêt que porte Susanna vient de déposer chez la Comtesse La Comtesse envoie Susanna chercher un de La Comtesse admet qu’elle préparait une Cherubino à la Comtesse, il émerge de sa le plateau du petit déjeuner. ses bonnets. 7 On frappe à la porte surprise pour la soirée. Elle admet aussi que cachette 16 – 17 et menace de congédier 1 Rosina, devenue la comtesse Almaviva, principale; le Comte est rentré à l’improviste. c’est Cherubino, qui se trouve dans le cabinet. Cherubino. Il raconte qu’il a trouvé le page espère retrouver l’amour de son époux qui Cherubino se précipite dans le cabinet Ceci, aux yeux du Comte, semble éclaircir la caché sous la nappe du guéridon chez court la prétentaine. attenant à la chambre et s’y enferme. 8 La question du billet anonyme. 14 Le Comte Barbarina. Au moment où il montre comment 2 Susanna réapparaît. Elle avait raconté à Comtesse ouvre la porte principale fermée à intime Cherubino de sortir. La Comtesse le il a réussi à trouver son page, Cherubino est la Comtesse la déconvenue du Comte; elle clef et explique au Comte qu’elle essayait une supplie de ne pas se fâcher s’il voit Cherubino découvert dans sa cachette, une fois encore. Le ajoute maintenant que Figaro a envoyé une robe et parlait à Susanna qui vient de quitter. un peu débraillé: il se travestissait en fille. Comte se rend compte que Cherubino a lettre anonyme au Comte par l’entremise de Le Comte lui montre la lettre anonyme de Le Comte accuse son épouse d’infidélité, entendu ce qu’il vient de dire à Susanna. Basilio, disant que la Comtesse a un rendez- Figaro, et c’est à ce moment qu’un bruit 15 – 16 puis ouvre la porte du cabinet et 18 – 20 Figaro entre avec ses amis pour vous galant en soirée, dans le jardin. Ceci est fracassant provient du cabinet – Cherubino Susanna paraît sur le seuil. Le Comte et la demander au Comte de revêtir Susanna de sa une invention pure et simple pour empêcher doit avoir renversé quelque chose. Le Comte Comtesse sont tous deux ahuris et le Comte robe de mariée, symbole de candeur, mais le qu’il poursuive Susanna. veut savoir qui s’y trouve. C’est Susanna, aux trouve cette plaisanterie aussi cruelle que celle Comte désire attendre la cérémonie officielle. La Comtesse souligne que ceci n’évitera pas dires de la Comtesse; le Comte lui donne de la lettre anonyme qui, lui révèlent-elles, a 21 Pour se débarrasser de Cherubino, le Comte l’intervention que menace de faire Marcellina. l’ordre d’ouvrir ou de répondre, mais la été écrite par Figaro et délivrée par Basilio. Il lui donne une charge dans son propre régiment Susanna a une idée: elle donnera elle-même Comtesse le lui interdit. A ce moment, demande pardon à son épouse. et l’envoie à Séville. 22 Ironiquement, Figaro rendez-vous au Comte, mais y enverra à sa Susanna revient subrepticement dans la 17 Figaro entre pour annoncer que les souhaite un destin heureux à Cherubino dans sa place Cherubino, travesti. La Comtesse les chambre; elle se rend compte de ce qui se préparatifs de la noce sont presque terminés. future carrière militaire. surprendra et ceci mettra le Comte dans une passe et se cache. Le Comte lui demande s’il est l’auteur de la situation telle qu’il devra donner son 9 – 10 Comme la Comtesse refuse de lui lettre anonyme. Figaro le nie bien sûr, malgré COMPACT DISC TWO consentement au mariage. donner accès au cabinet, le Comte ferme que Susanna et la Comtesse l’incitent à 3 – 4 Cherubino entre pour chanter sa toutes les portes à clef et va chercher des outils l’admettre. Acte II petite chanson à la Comtesse. pour forcer la serrure de celle du cabinet; 18 Antonio, le jardinier, entre pour se L’acte II se déroule dans les appartements de la 5 – 6 Le plan est mis au point et Susanna il veut que la Comtesse l’accompagne. plaindre que quelqu’un a sauté par la fenêtre et

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a abîmé ses fleurs. Figaro avoue être le Comtesse envoie Susanna fixer un rendez-vous persuadé la Comtesse de lui avancer la somme 21 Figaro entre pour annoncer la danse. Le coupable. Antonio pense qu’il s’agit plutôt de au Comte dans la soirée. 2 – 4 La Comtesse nécessaire au remboursement de la dette de Comte lui dit que Cherubino reconnaît Cherubino, mais Figaro le prétend déjà parti a l’intention, comme Cherubino est parti, d’y Figaro. Elle trouve Marcellina embrassant maintenant qu’il a sauté par la fenêtre. Figaro pour Séville. Le Comte demande à Figaro aller à la place de Susanna. Sous prétexte de lui Figaro et en tire une conclusion hâtive et répond que c’est possible – si lui a sauté, un pourquoi il a fait cela. Figaro prétend qu’il emprunter son flacon de sels, Susanna adresse erronée; peu après, elle participe toutefois à ces autre a pu le faire aussi. attendait Susanna quand il a entendu des la parole au Comte et lui fixe rendez-vous. moments de réconciliation. 22 – 23 La double cérémonie de noces – bruits étouffés, le Comte qui criait, et pensant 5 En quittant, elle confie à Figaro qu’elle 14 Antonio dit au Comte que Cherubino celles de Figaro et Susanna, et celles de au billet anonyme (qu’il vient de dire qu’il n’a lui a fait gagner son procès, sans avocat. n’est pas parti par Séville, mais qu’il se trouve Marcellina et Bartolo – commence. Pendant pas écrit), il a pris peur et a sauté par la 6 Malheureusement, le Comte l’entend. dans la maison du jardinier, travesti en fille! celles-ci, Susanna remet furtivement au Comte fenêtre. Antonio demande si donc les papiers 7 Il est furieux de se trouver dupé par ses 15 Susanna rejoint la Comtesse et l’informe le billet qu’elle a écrit. Figaro voit le Comte se trouvés au sol lui appartiennent, mais le propres sujets. que le Comte a accepté le rendez-vous. piquer le doigt avec l’épingle qui scelle le feuillet Comte s’en empare et demande à Figaro de 8 Barbarina persuade Cherubino de se 16 La Comtesse lui dicte une note pour en qui lui a été donné, mais dont il ignore l’auteur. quoi il s’agit. La Comtesse reconnaît le brevet joindre à elle et aux jeunes filles du village fixer le lieu. 17 Le billet est scellé avec une de Cherubino et en avertit Figaro qui explique pour offrir des fleurs à la Comtesse. épingle que le Comte devra renvoyer pour Acte IV que c’est le brevet du page qui lui a été confié 9 – 10 La Comtesse attend Susanna et montrer qu’il accepte de s’y rendre. Le jardin, au clair de lune, sert de décor au pour être cacheté. chante les moments merveilleux qu’elle a vécus 18 – 19 Barbarina fait entrer un groupe de quatrième acte. On y voit plusieurs pavillons. 19 Marcellina, le Docteur Bartolo et Don avec le Comte naguère. jeunes paysannes désireuses d’offrir des fleurs à 24 Barbarina a perdu l’épingle que le Basilio entrent pour soutenir la cause de 11 La sentence veut que Figaro paye sa la Comtesse. Parmi elles se trouve Cherubino Comte lui a demandé de remettre à Susanna. Marcellina contre Figaro. La confusion que dette ou épouse Marcellina. Figaro dit qu’il ne travesti. Au moment où les jeunes filles lui 25 Figaro et Marcellina lui font bientôt ceci engendre clôture l’acte. peut se marier sans l’assentiment de ses remettent les fleurs, la Comtesse a l’impression raconter toute l’histoire. 26 Figaro cherche à parents, et vu son statut d’enfant trouvé, ce de reconnaître l’une d’entre elles. 20 Antonio prendre sa revanche et Marcellina à prévenir COMPACT DISC THREE sera difficile à avoir. Toutefois si quelqu’un et le Comte rentrent à l’improviste et Susanna. 27 – 28 Figaro a demandé à Basilio, reconnaît l’hiéroglyphe imprimé sur son démasquent la jeune fille. Elle n’est autre que Antonio et Bartolo de venir l’aider à Acte III bras… Marcellina reconnaît la marque – il est Cherubino. Le Comte exige une explication de débrouiller l’affaire. L’acte III se déroule dans la Grande salle où l’enfant qu’elle a eu il y a bon nombre la Comtesse, qui est aussi surprise que lui. Le Barbarina revient pour aller au rendez-vous tous peuvent aller et venir. Il est tard dans d’années et qui lui a été volé; son père n’est Comte est sur le point de châtier Cherubino fixé avec Cherubino, 29 – 30 tandis que l’après-midi. autre que le Docteur Bartolo. Marcellina lorsque Barbarina l’implore de lui pardonner Figaro, fou de jalousie, attend Susanna. 1 Le Comte essaye d’élucider les n’exige donc plus d’épouser Figaro. et lui demande de pouvoir l’épouser en 31 – 32 Marcellina arrive avec Susanna et la contradictions des récents événements. La 12 – 13 Mais Susanna entre, après avoir échange des faveurs qu’elle lui a accordées. Comtesse et elle se cache dans un des

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pavillons. 33 – 34 Susanna, consciente que et la prétendue Comtesse se cache dans un Rosenkavalier) au Welsh National Opera et à Christophers, le War Requiem de Britten et Figaro les écoute, se venge de ses soupçons en pavillon. 41 Devant Basilio, Bartolo et l’Opera North, Podesta (La gazza ladra) au Die Schöpfung de Haydn avec l’Orchestre prétendant qu’elle attend le Comte. Antonio, le Comte lui demande de sortir du Garsington Opera, Siegfried (Genoveva) et d’Ulster, Belshazzar’s Feast avec l’English 35 – 36 Tandis que la Comtesse se glisse à pavillon. Les premiers à apparaître sont Dulcamara (L’elisir d’amore) à l’Opera North. Northern Sinfonia sous la direction de Paul la place de Susanna, Cherubino arrive pour Cherubino, Barbarina et Marcellina, et enfin Il a créé le rôle du Bourreau dans Ines de Daniel et avec le Hallé Orchestra, et Lucifer retrouver Barbarina. Mais voyant, comme la soi-disant Comtesse. Le Comte l’accuse Castro de James Macmillan. Il s’est produit dans La Resurrezione de Haendel sous la il le croit, Susanna, il lui donne la chasse. d’infidélité. Elle lui demande pardon, mais le dans Parthenogenesis de Macmillan au Festival direction de Paul McCreesh à Rome, 37 Cherubino tente d’embrasser Susanna, Comte refuse ses excuses. La véritable d’Édimbourg, où il a également chanté le rôle Amsterdam et Londres. Christopher Purves a mais le Comte intervient. Il veut donner un Comtesse apparaît alors et intercède en sa de Cecil dans Maria Stuarda sous la direction fait ses débuts en récital au Festival soufflet à Cherubino, mais il frappe Figaro qui faveur. Le Comte doit maintenant lui de Sir Charles Mackerras. d’Aldeburgh en juin 2004. Ses enregistrements s’est approché. Cherubino se cache dans un demander pardon à elle, ce qu’il obtient une En concert, Christopher Purves s’est produit incluent le rôle de Gottardo (La gazza ladra) des pavillons. fois encore. Tout est bien qui finit bien. dans la Messe en ut mineur de Mozart à Aix- pour la série Opera in English de Chandos. 38 Le Comte fait alors la cour à sa propre en-Provence avec l’ensemble Sixteen, Les Noces épouse qu’il prend pour Susanna et il lui © 2004 Peter Moores de Stravinski sous la direction de Philippe Née dans le Sud du Pays de Galles, Rebecca donne une bague ornée d’un brillant. Figaro Traduction: Marie-Françoise de Meeûs Herreweghe à Bruxelles, les Vêpres de 1610 de Evans a étudié à la Guildhall School of Music essaye de faire fuir le Comte et la soi-disant Monteverdi sous la direction de Richard and Drama de Londres. Elle poursuit une Susanna se cache dans un autre pavillon tandis Christopher Purves a étudié la littérature Hickox, la Messe en si mineur de Bach au importante carrière lyrique aux États-Unis où que le Comte se retire pour la rejoindre plus anglaise au Kings College de Cambridge avant Festival de La Chaise-Dieu, Judas Maccabeus elle a chanté Susanna (Le nozze di Figaro) au tard. 39 Susanna qui a revêtu les vêtements de de se produire et d’enregistrer avec le groupe de Haendel à Nuremberg, Saul avec le Gabrieli Santa Fe Opera, Adele (Die Fledermaus) au la Comtesse met maintenant Figaro à l’épreuve vocal de rock and roll très innovateur, Harvey Consort à Covent Garden et à La Chaise- Chicago Lyric Opera, Zerlina (Don Giovanni), en essayant de lui faire la cour. Figaro and the Wallbangers. À la suite de la dissolution Dieu, l’Apocalypse de John Tavener aux BBC Ann Trulove (The Rake’s Progress) et Adina reconnaît la voix de Susanna et décide d’entrer du groupe en 1988, il reprit ses études vocales Proms de Londres avec le City of London (L’elisir d’amore) au San Franciso Opera, et les lui aussi dans le jeu. Ceci lui vaut une belle avec David Keren, Diane Forlano et Janice Sinfonia, la Passion selon saint Jean sous la rôles de Susanna et de Zerlina au Metropolitan gifle. 40 Il explique l’affaire et est pardonné. Chapman. direction de Paul Goodwin à Madrid, le Messie Opera de New York. Le Comte réapparaît et Susanna dit à Figaro Il a chanté des rôles tels que Figaro avec le Scottish Chamber Orchestra, le Hallé En Europe, elle est régulièrement invitée au que le Comte vient de conter fleurette à sa (Le nozze di Figaro) au Welsh National Opera, Orchestra et l’Orchestre d’Ulster, Les Mamelles Bayerische Staatsoper de Munich où elle s’est propre épouse, travestie. Figaro, faisant ainsi au Scottish Opera et à l’Opera North, de Tirésias avec le London Sinfonietta sous la produite dans les rôle de Sophie (Der l’affaire du Comte, fait la cour maintenant à le Marcello (La Bohème) au Scottish Opera, direction de Sir Simon Rattle, Manoah Rosenkavalier), Zdenka (Arabella), Servilia (La prétendue Comtesse. Le Comte les interrompt Papageno (Die Zauberflöte), Faninal (Der (Samson) sous la direction de Harry clemenza di Tito), Ilia (Idomeneo), et Nanetta

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(Falstaff ). Elle a également chanté le rôle d’Ilia inclut le rôle d’Ilia (Idomeneo) pour la série La Scala de Milan (Pamina), au Berlin Parigi, Robinson Crusoe, Emilia di Liverpool, à l’Opéra des Pays-Bas et à l’Opéra de Opera in English de Chandos, Nanetta Staatsoper (la Comtesse (Capriccio)), à l’Opéra Il crociato in Egitto et Medea in Corinto. En Lausanne, le rôle titre dans Le Petit Renard (Falstaff ) sous la direction de Sir John Eliot de Paris (Donna Elvira), à Zurich et à 1989, Yvonne Kenny a été créée Member of rusé au Scottish Opera, Susanna, Ilia, Gardiner, plusieurs opéras de Gilbert et Glyndebourne (Donna Elvira et Alice Ford the Order of Australia pour ses services rendus Marzelline (Fidelio), Norina (Don Pasquale) et Sullivan sous la direction de Sir Charles (Falstaff )), la Comtesse (Le nozze di Figaro) à à la musique. Hero (Béatrice et Bénédict) au Welsh National Mackerras, et un album de mélodies italiennes. Washington et au Bayerische Staatsoper de Opera, Romilda (Xerxes) à l’English National Munich, la Maréchale (Der Rosenkavalier), Né dans le Warwickshire, William Dazeley fit Opera, Zerlina, Nanetta and Johanna (Sweeney Née à Sydney, Yvonne Kenny a fait ses débuts The Fairy Queen de Purcell et Alice Ford à ses études à Jesus College à Cambridge. Il Todd ) au Royal Opera de Covent Garden. à Londres en 1975 dans Rosmonda l’English National Opera, la Maréchale (sous étudia le chant à la Guildhall School of Music Très demandée en concert, Rebecca Evans d’Inghilterra de Donizetti. Après avoir la direction de Sir Charles Mackerras) pour ses and Drama où il remporta plusieurs prix dont s’est produite aux BBC Proms de Londres et remporté le Concours Kathleen Ferrier, elle est débuts au San Francisco Opera. Elle retourne la prestigieuse Médaille d’Or. Il remporta au Festival d’Édimbourg, dans des concerts de devenue membre du Royal Opera de Covent fréquemment en Australie où elle a chanté les également le Prix Decca–Kathleen Ferrier en gala avec Andrea Bocelli en Allemagne et avec Garden où elle a chanté les rôles de Pamina rôles de Gilda (Rigoletto), Pamina, Susanna, 1989, le Concours de chant de la Royal Luciano Pavarotti en Angleterre. Elle a chanté (Die Zauberflöte), Ilia (Idomeneo), Susanna (Le Alcina, Manon de Massenet, Fiordiligi, Alice Overseas League en 1990, le Prix Richard dans le Magnificat de Bach avec le San nozze di Figaro), Adina (L’elisir d’amore), Liù Ford, la Gouvernante (The Turn of the Screw), Tauber en 1991 et le Concours international Francisco Symphony Orchestra sous la (Turandot), Aspasia (Mitridate) et Donna la Comtesse (Capriccio) et les rôles titres dans de Lieder Walther Gruner également en 1991. direction de Michael Tilson Thomas, Ein Anna (Don Giovanni). Elle s’est faite une Maria Stuarda et L’incoronazione di Poppea. Reconnu comme l’un des plus grands deutsches Requiem de Brahms avec le Boston réputation internationale pour ses Yvonne Kenny s’est produite en concert barytons de sa génération, il a déjà chanté avec Symphony Orchestra au Festival de interprétations des grands rôles haendéliens, dans les festivals d’Édimbourg, Salzburg et les plus grandes compagnies lyriques du Tanglewood et au Festival de Ravinia, et dans notamment Semele et Alcina (à Covent Aix-en-Provence, au Carnegie Hall de New monde. Il fut entre autres le Comte la Quatrième Symphonie de Mahler avec Garden et à La Fenice de Venise), Romilda York et aux BBC Proms de Londres. Ses (Cherubin), Guglielmo (Così fan tutte) et l’Orchestre symphonique de Sapporo sous la (Xerxes) à l’English National Opera (à Londres enregistrements dans la série Opera in English Mercutio (Roméo et Juliette) au Royal Opera direction de Tadaaki Otaka. Elle s’est et en tournée en URSS) et au Bayerische de Chandos incluent Alice Ford (Falstaff ), la House, Covent Garden; le Comte (Les Noces également produite en Australie au Festival de Staatsoper de Munich, Alcina sous la direction Maréchale (extraits de Der Rosenkavalier) et de Figaro), Figaro (Il barbiere di Siviglia) et le Melbourne et avec l’Australian Chamber de Nicholas McGegan au Festival Haendel de deux récitals dans la série Great Operatic rôle-titre d’Owen Wingrave pour le Orchestra. En récital, elle a chanté au Göttingen, Cleopatra (Giulio Cesare) et Arias. Elle a également enregistré A Dinner Glyndebourne Touring Opera; Figaro (Il Wigmore Hall de Londres, et dans les festivals Armida (Rinaldo) à Sydney. Engagement de Lennox Berkeley et barbiere di Siviglia) au Deutsche Oper à de Barcelone, Ravinia, Buxton et Belfast. Yvonne Kenny a chanté au Staatsoper de The Canterbury Pilgrims de Dyson. Pour la Berlin; Dr Faust au Festival de Salzbourg et au La très riche discographie de Rebecca Evans Vienne (la Comtesse (Capriccio) et Susanna), à série Opera Rara, elle a enregistré Ugo conte di Châtelet sous la baguette de Kent Nagano; et

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Scherasmin (Oberon) au Châtelet sous la Née à Winchester, Diana Montague a étudié Festival d’Édimbourg et à Londres, Octavian et Hata (La Fiancée vendue) au Festival de baguette de John Eliot Gardiner, une œuvre au Royal Northern College of Music de (Der Rosenkavalier) à l’English National Glyndebourne. Elle s’est également produite également proposée dans une version de Manchester. Depuis ses débuts dans le rôle de Opera, à Bilbao et au Teatro Real de Madrid, au Nouvel Opéra d’Israël, au Staatsoper de concert au Barbican. Zerlina avec le Glyndebourne Touring Opera, Marguerite à Vienne, et Le nozze di Figaro au Stuttgart, à l’Opera Theatre Company, avec le En concert, il a chanté entre autres le rôle- elle s’est produite dans des théâtres tels que le Théâtre de la Monnaie de Bruxelles. Glyndebourne Touring Opera, ainsi qu’au titre de Faustszenen de Schumann dans le cadre Royal Opera de Covent Garden de Londres, le Parmi les nombreux enregistrements de Festival d’Édimbourg et dans des festivals en d’une tournée européenne dirigée par Philippe Metropolitan Opera de New York, le Théâtre Diana Montague, on citera l’Orfeo de Irlande et en Suisse. Elle est régulièrement Herreweghe, le Requiem pour Mignon de de la Monnaie de Bruxelles, l’Opéra national Monteverdi, I Capuleti e i Montecchi, Norma, invitée par l’Opera North et par le Royal Schumann sous la baguette de John Eliot de Paris-Bastille, le Teatro Colón de Buenos Lucia di Lammermoor et Iphigénie en Tauride. Opera de Covent Garden où elle a créé le rôle Gardiner, Des Knaben Wunderhorn de Mahler Aires, ainsi qu’aux festivals de Bayreuth et Elle a enregistré Rosmonda d’Inghilterra, de Yeta Zimmerman dans la première avec le BBC Symphony Orchestra dirigé par Salzburg. Zoraida di Granata et Il crociato in Egitto pour mondiale de Sophie’s Choice de Nicholas Maw, Leonard Slatkin et le Christmas Oratorio de Son répertoire inclut les grands rôles de Opera Rara, Idomeneo, Cavalleria rusticana, sous la direction de Sir Simon Rattle, dans une Bach avec la Philharmonie de Berlin. mezzo-soprano dans les opéras de Mozart, Octavian dans Der Rosenkavalier (extraits) et mise en scène de Trevor Nunn et retransmis en Parmi ses créations mondiales, notons le Gluck, Strauss, Rossini, Bellini et Berlioz. Elle Faust dans la série Opera in English, et deux direct à la Télévision et à la Radio de la BBC. rôle de Mahmoud dans The Death of s’est produite dans Benvenuto Cellini à l’Opéra récitals dans la série Great Operatic Arias. Elle s’est produite en concert avec le RTE et Klinghoffer de John Adams avec le BBC de Rome, Iphigénie en Tauride à Buenos Aires, l’Orchestre national d’Irlande, l’Orchestre Symphony Orchestra ainsi que le rôle Madrid et au Welsh National Opera, Albert Née à Édimbourg, Frances McCafferty est d’Ulster, le Singapore Symphony Orchestra et principal de Jésus dans The Last Supper de Herring, Le nozze di Figaro et dans le rôle diplômée de la Royal Scottish Academy of le BBC Concert Orchestra. Harrison Birtwistle au Deutsche Oper de d’Andromaca dans Ermione de Rossini à Music and Drama. Après avoir enseigné le Frances McCafferty a fait ses débuts à Berlin sous la baguette de Daniel Barenboïm, Glyndebourne, Le Comte Ory à Lausanne, chant pendant plusieurs années, elle est La Fenice de Venise dans le rôle de Katisha opéra repris ensuite dans le cadre du Festival Rome et Glyndebourne, Proserpina dans devenue membre de la D’Oyly Carte Opera (The Mikado), et elle a également chanté de Glyndebourne. l’Orfeo de Monteverdi à Amsterdam, Company avec laquelle elle a interprété tous Madame Popova (The Bear) en Suisse au William Dazeley se produit en récital au Ariadne auf Naxos à Lisbonne, Marguerite les grands rôles de mezzo-soprano, et Festival de Cerniers, et la Nourrice (Boris Wigmore Hall, à la Purcell Room, à (La Damnation de Faust) à Genève, Minerva enregistré Patience, Orphée aux Enfers, et Godounov) au Royal Opera de Covent Garden. St George’s à Bristol et au Châtelet. Il est (Il ritorno d’Ulisse in patria) à Amsterdam et HMS Pinafore. régulièrement invité à chanter aux Festivals de Sydney, Meg Page (Falstaff ); La Fiancée Elle a chanté des rôles tels que Katisha Après avoir étudié à l’Université de Londres et Cheltenham, Aix-en-Provence et Saintes, avec vendue et Die Meistersinger von Nürnberg au (The Mikado) avec l’English National Opera, au Trinity College of Music, Jonathan Veira a des accompagnateurs aussi distingués que Royal Opera de Covent Garden, Junon dans Soloka (Cherevichki) au Garsington Opera, remporté en 1996 le Concours de chant Sir Graham Johnson et Iain Burnside. Platée de Rameau avec le Royal Opera au Auntie (Peter Grimes) au Nationale Reis Oper Peter Pears, puis a bénéficié du soutien

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financier du Festival de Glyndebourne et des Alfonso (Così fan tutte), et Falstaff à l’Opéra (Madam Butterfly), Triquet (Eugene Onegin), Covent Garden dans La traviata, et à Amis de Covent Garden pour poursuivre sa royal du Danemark. Monostatos (The Magic Flute), Mime Glyndebourne dans le rôle d’Antonio formation au National Opera Studio de (The Rhinegold ) et Alwa (Lulu). (Le nozze di Figaro). Parmi ses autres Londres. John Graham-Hall a fait ses études au King’s John Graham-Hall a chanté sous la engagements en Grande-Bretagne, on peut Il s’est produit avec les grandes compagnies College de Cambridge et au Royal College of direction de nombreux chefs éminents tels que citer Bartolo (Le nozze di Figaro) à l’Opera lyriques en Grande-Bretagne, notamment au Music de Londres. Il s’est produit avec toutes Haitink, Harnoncourt, Boulez, Andrew Davis, North et au Garsington Festival, Collatinus au Royal Opera de Covent Garden, à l’English les grandes compagnies lyriques de Grande- Tate, Rattle, Gardiner et Abbado. Il s’est Buxton Festival, Bosun (Billy Budd ) et National Opera, au Festival de Glyndebourne, Bretagne dans des rôles tels que Albert Herring produit en concert à travers toute l’Europe, Masetto (Don Giovanni) au Scottish Opera. au Scottish Opera, au Welsh National Opera, (Covent Garden), Vanya Kudrjas (Katya travaillant avec tous les grands orchestres En concert, Graeme Danby s’est produit au Garsington Opera et à l’Opéra d’Irlande du Kabanova), Flute (A Midsummer Night’s britanniques, et se produisant fréquemment à dans la Neuvième Symphonie de Beethoven et Nord, dans des rôles tels que le Directeur de Dream) et Bob Boles (Peter Grimes) au Festival Londres au Barbican Centre et au South Bank. le Requiem de Verdi au Royal Albert Hall de théâtre (Lulu), Dulcamara (L’elisir d’amore), de Glyndebourne, Don Basilio, Monostatos, Ses enregistrements pour Chandos incluent Londres, dans la Huitième Symphonie de Harasta (Le Petit Renard rusé), Kolenaty ´ Lysander (A Midsummer Night’s Dream), Alwa The Poisoned Kiss de Vaughan Williams, Mahler au Royal Festival Hall de Londres, et (L’Affaire Makropoulos), le Baron Mirko Zeta (Lulu) et Hérode (Salomé) à l’English National Peter Grimes de Britten, et dans la série Opera dans Iolanthe au Bridgewater Hall de (Die lustige Witwe), Tonio (Pagliacci), Opera, Cassio (Otello) au Welsh National in English, The Thieving Magpie et Wozzeck Manchester. Leporello (Don Giovanni), Varlaam (Boris Opera, Eisenstein, l’Instituteur (Le Petit de Berg. Godounov), Calchas (La Belle Hélène), Renard rusé) au Scottish Opera, Aschenbach Sarah Tynan est née à Londres et a fait ses Sharpless (Madama Butterfly), Sacristan (Death in Venice), Lysander, Albert Herring et Né dans le comté de Durham, Graeme Danby études au Royal Northern College of Music et (Tosca), Mustafa (L’italiana in Algeri) et Keçal Ferrando (Così fan tutte) avec le Glyndebourne a étudié à la Royal Academy of Music de à la Royal Academy of Music (avec Penelope (La Fiancée vendue). Touring Opera. Londres. Il est associé depuis longtemps avec Mackay) où elle a reçu the Queen’s Jonathan Veira s’est produit à l’étranger Parmi les autres engagements de John l’English National Opera où il a incarné des Commendation for Excellence. dans des rôles tels que le Docteur (Vanessa) à Graham-Hall, on citera Bob Boles (Opéra des rôles tels que Lorenzo dans I Capuleti e i Parmi ses rôles à l’opéra, notons Pretty Polly l’Opéra du Rhin, Schaunard (dans La Bohème Pays-Bas), Basilio (Théâtre de la Monnaie de Montecchi de Bellini, Pimen (Boris Godounov), dans Punch and Judy de Birtwistle au Teatro de Leoncavallo) au Wexford Festival, Leporello Bruxelles), le rôle titre dans le nouvel opéra de Don Basilio (Il barbiere di Siviglia), Dulcamara Nacional S. João à Porto, la gouvernante dans (Don Giovanni) et Papageno (Die Zauberflöte) Pascal Dusapin, Perela, l’Homme de fumée, à (L’elisir d’amore), Somnus (Semele), Quince The Turn of the Screw de Britten lors d’une à l’Opera New Zealand, Bartolo (Le nozze di l’Opéra de Paris-Bastille et à Montpellier. (A Midsummer Night’s Dream), Collatinus tournée du British Council en Russie, Elsie Figaro) à l’Opéra de Nice, à l’Opéra de Zurich, À l’English National Opera, où il a été (The Rape of Lucretia), Arkel (Pelléas et Maynard (The Yeomen of the Guard ) et au Festival de Glyndebourne et à l’Opéra de “Company Principal”, il a également incarné Mélisande) et Poo-Bah (The Mikado). Gianetta (The Gondoliers) pour Phoenix Opera Montpellier, Claggart (Billy Budd ), Don les rôles de Sylvester (The Silver Tassie), Goro Il a fait ses débuts au Royal Opera de ainsi que Barbarina pour Opera Holland Park.

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A la Royal Academy of Music, elle a tenu le Ottavio (Don Giovanni ), Michael dans Julietta Durant sa carrière de chanteur, Geoffrey (au poste de chef principal assistant), Ricardo rôle-titre de La Petite Renarde rusée (sous la de Martinu˚, Alfred (Die Fledermaus) et Nanki- Mitchell aborda un répertoire Muti (chef principal et directeur musical), direction de Sir Charles Mackerras) et le rôle Poo dans le Mikado mis en scène par Jonathan remarquablement varié, depuis la musique Giuseppe Sinopoli (directeur musical), une de Zerlina (Don Giovanni) (sous la direction Miller. En 1987, il commença une carrière ancienne jusqu’à la musique contemporaine, se tradition qui se poursuit aujourd’hui avec Kurt de Sir Colin Davis). florissante en indépendant, chantant produisant en Scandinavie, en Allemagne, Sanderling (chef émérite), Vladimir Ashkenazy Elle a également été Iphis dans Jephtha de Hauptmann (Wozzeck) à l’Opéra du Rhin à dans l’ancienne Tchécoslovaquie, au Canada et (chef lauréat) et Sir Charles Mackerras (chef Haendel pour ses débuts avec le Welsh Strasbourg puis à Nancy, retrouvant la scène en Australasie. Après avoir fait ses premières principal invité). L’ensemble a également été National Opera; Eleanora dans Prima la de l’English National Opera sous les traits de armes de chef d’orchestre avec la BBC, il associé à des personnalités aussi éminentes que musica de Salieri et Mlle Silberklang dans Hérode (Salome). décida de prendre une part active dans ce Wilhelm Furtwängler, Richard Strauss, Arturo Der Schauspieldirektor de Mozart avec le City Depuis, il a été notamment le Grand Prêtre domaine avec ses propres chanteurs et fonda le Toscanini, Guido Cantelli, Herbert von of London Sinfonia sous la baguette de dans Idomeneo à Covent Garden, Hauptmann Geoffrey Mitchell Choir. Par suite de ses Karajan et Carlo Maria Giulini. L’Orchestre Richard Hickox; elle a chanté le Requiem de (Wozzeck) à San Francisco, Genève, Zurich, premiers enregistrements l’ensemble travaille continue à collaborer avec des chefs et des Mozart sous la baguette de Sir Roger Montpellier, Bordeaux et Bologne; Chouiski depuis longtemps avec Opera Rara pour qui il solistes de stature mondiale et recrute les jeunes Norrington dans le cadre du Festival de (Boris Godounov) à Strasbourg, Bordeaux et a réalisé plus de trente enregistrements. Ce instrumentistes les plus talentueux d’Europe. Spitalfields. Montpellier; Quint (The Turn of the Screw) et Chœur ne cesse d’élargir sa réputation, Orchestre résident au Royal Festival Hall, il Sarah Tynan est membre de l’English Truffaldino (The Love for Three Oranges) pour travaillant avec la BBC et plusieurs maisons de joue également un rôle central dans la vie National Opera Young Singers Programme, l’English National Opera; Zinovi (Lady disques internationales. Pour Chandos, le musicale britannique en choisissant des programme mis sur pied pour aider les jeunes Macbeth) à Toulouse et Marseille; Valzacchi et Geoffrey Mitchell Choir a participé à plusieurs résidences régionales qui sont l’occasion idéale talents. les trois rôles de ténor dans Lulu au Châtelet; enregistrements pour Opera in English, une de développer un programme éducatif Aeghiste à Karlsruhe; Bob Boles à l’Opéra de série de disques très prisés financée par la Peter dynamique centré sur la communauté. Lauréat Stuart Kale est reconnu sur la scène Munich, Covent Garden, Genève et Moores Foundation. de nombreux prix, l’ensemble a été salué internationale comme l’un des chanteurs- Strasbourg; Captain Vere (Billy Budd ) à unanimement par les critiques pour ses acteurs les plus remarquables du monde Cologne; et Gregor (L’Affaire Makropoulos) et Reconnu comme l’un des plus grands programmes innovateurs dont l’un des opératique. Musicien accompli, ses rôles Hérode à Strasbourg. orchestres du monde, le Philharmonia objectifs principaux est l’interprétation et la recouvrent un large répertoire allant de Il a enregistré entre autres pour Orchestra a depuis plus de cinq ans le grand commande d’œuvres nouvelles des plus grands Monteverdi à Messiaen. Il commença sa Chandos dans la série Opera in English maestro allemand Christoph von Dohnányi compositeurs d’aujourd’hui. carrière avec le Welsh National Opera avant de Boris Godunov (extraits), Madam Butterfly, pour chef principal. Le premier à avoir tenu ce Un nombre croissant de concerts de rejoindre les rangs de l’English National Opera Otello, Falstaff, Wozzeck et The Thieving poste fut Otto Klemperer et l’Orchestre depuis l’Orchestre sont retransmis par BBC Radio 3, où il resta huit ans, tenant des rôles tels Don Magpie. lors a collaboré avec succès avec Lorin Maazel entre autres sa participation annuelle aux

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Promenade Concerts de la BBC. L’orchestre l’un des chefs d’orchestre au Städtische avec le New Israeli Opera et Don Giovanni a d’enregistrements d’airs d’opéra (avec Bruce symphonique le plus enregistré au monde, avec Bühnen à Dortmund et à Opera North. l’Opéra d’état de Hannover. Ford, Diana Montague, Dennis O’Neill, plus de mille disques à son actif, parmi lesquels Directeur musical d’Opera 80 de 1983 à 1987, En studio, il a participé entre autres Alastair Miles, Yvonne Kenny, John Tomlinson, plusieurs bandes originales pour le cinéma et la il est directeur musical d’Almeida Opera à la production de la BBC Television de Della Jones et Andrew Shore) de même que télévision, le Philharmonia Orchestra est réputé depuis sa fondation en 1992. Der Vampyr de Marschner, dirigeant aussi Don Giovanni, Don Pasquale, L’elisir d’amore, dans le monde entier. Sa discographie Sa carrière, nationale et internationale, est vingt-huit intégrales d’opéras financées par la Lucia di Lammermoor, Ernani, Il trovatore, comprend, pour Opera Rara, plusieurs disques extrêmement remplie, aussi bien sur la scène Peter Moores Foundation. Plusieurs de ces Aida, Faust, Cavalleria rusticana, Pagliacci, de récitals ainsi que onze intégrales d’opéras et, lyrique qu’en concert. Il a dirigé plusieurs intégrales furent enregistrées pour Opera Rara La bohème, Turandot, l’enregistrement primé de pour Opera in English chez Chandos, série productions de l’English National Opera et de et primées, Rosmonda d’Inghilterra de Donizetti Tosca et des extraits de Der Rosenkavalier, tous financée par la Peter Moores Foundation, l’Opera North et collabore régulièrement avec recevant en Belgique le Prix Cecilia. Pour ces enregistrements étant réalisés en The Thieving Magpie, Wozzeck, Don Giovanni, le Philharmonia Orchestra et le London Chandos, David Parry a dirigé une série collaboration avec la Peter Moores Foundation. ua carriera comeThe assistenteElixir of Love di Sir, Lucia John of Pritchard. Lammermoor, Faust, Philharmonic Orchestra. C’est avec Così fan Carmen, Aïda, La Bohème, Madam Butterfly, tutte qu’il fit ses débuts au Festival de Turandot, une version primée de Tosca ainsi Glyndebourne en 1996, une scène qu’il que plusieurs récitals solistes d’airs lyriques avec retrouva en 1998 pour diriger la création Bruce Ford, Diana Montague, Dennis O’Neill, mondiale de Flight de Jonathan Dove. Alastair Miles, Yvonne Kenny et John Il séjourne fréquemment en Espagne où il a Tomlinson. Le Philharmonia Orchestra dirigé en concert la plupart des grands consolide constamment sa réputation orchestres espagnols. C’est lui qui dirigea la internationale grâce à des tournées régulières et première espagnole de Peter Grimes à Madrid récemment de prestigieuses résidences au et en 1996 la première production espagnole Châtelet Théâtre Musical à Paris, au Megaron à de The Rake’s Progress. Il a dirigé en Allemagne, Athènes et au Lincoln Center for the en Suisse, aux Pays-Bas, au Festival de Pesaro Performing Arts à New York. en Italie, au Festival international de Hong- Kong, au Japon pour une tournée de Carmen Après avoir étudié avec Sergiu Celibidache, et au Mexique avec l’Orchestre symphonique David Parry commença sa carrière comme d’UNAM. Il a récemment dirigé plusieurs assistant de Sir John Pritchard. Il fit ses débuts nouvelles productions dont Fidelio au Festival avec l’English Music Theatre avant de devenir de Nouvelle-Zélande, Lucia di Lammermoor

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compositori, né da molti scrittori. La donna dell’opera siano il Conte e la Contessa. Per Le nozze di Figaro idealizzata, la “Ewigweibliche” di Goethe, è la quanto non sia completamente convincente, è maledizione di gran parte dell’opera e della vero che l’opera è un esame dei due anni del Secondo il suo creatore, Caron de E di Susanna, anche se il titolo non lo letteratura dell’Ottocento. Nel Ventesimo loro matrimonio quanto delle nozze di Figaro Beaumarchais, Figaro dovrebbe avere circa farebbe pensare. È Susanna, presumibilmente secolo a condividere il prezioso dono di e Susanna. Il Conte, sebbene sia trent’anni. Mozart aveva la stessa età nel 1786, qualche anno più giovane del suo sposo, a Mozart saranno Janácˇek e Berg, ma non molti apparentemente il “cattivo” dell’opera, deve anno in cui l’opera venne eseguita per la prima dimostrare i limiti di lui. È lei a non lasciarsi altri. rimanere simpatico. La Contessa, per quanto volta. Non è completamente fuori luogo ingannare dalla “comodità” della camera da Si può leggere anche troppo negli aspetti inizialmente passiva e lacrimosa, ritrova la leggere un elemento autobiografico letto assegnata a lei e a Figaro e dal progetto protorivoluzionari delle Nozze di Figaro. La propria forza e determinazione nell’Atto III ed nell’eclettico personaggio del barbiere di del Conte Almaviva di portarli con sé alla sua cavatina di Figaro nell’Atto I, “Se vuol ballare, è il catalizzatore del dramma nell’Atto IV. La Siviglia creato da Beaumarchais. Basta fare ambasciata di Londra. È lei a reagire con signor contino” (“So, little master, you’re soluzione che nasce dal perdono della Contessa ancora qualche passo avanti per trovare alcuni sufficiente tempestività per occultare la fuga di dressed to go dancing” nella traduzione inglese nei confronti dell’errore del marito (“Più paralleli con Mozart, servitore anche troppo Cherubino dallo studio della Contessa. È lei a di Jeremy Sams) può sembrare il segnale docile io sono, e dico di sì” – “I’m far more abile e in rapporti di confidenza anche trovare il modo di ripagare il debito di Figaro d’allarme e il suo scontro con il Conte prima forgiving, and so I say yes”) e la loro eccessiva con i suoi superiori. a Marcellina. È lei a troncare sul nascere il delle danze nell’Atto III (“Perché no? Io non riconciliazione, almeno temporanea, È errato quindi descrivere Figaro come il rischioso piano di lui di ingannare il Conte impugno mai quel che non so” – “Why not. costituiscono il culmine emotivo dell’opera. capro espiatorio di quest’opera, come talvolta con un travestimento nel giardino di notte, in I’m not one to accuse when I don’t know”) Durante un’intervista radiofonica, il regista accade. È vero che il personaggio ha la favore della propria versione, più astuta. può far presagire il crollo dell’ordine sociale. Peter Hall ha proposto una descrizione tendenza ad agire e a parlare senza riflettere, L’ingegno innato di Susanna è complementare Ma è presto ancora. È troppo facile vedere le memorabile dell’effetto risanatore del grande ma la sua funzione nella vicenda è proprio all’ingenuità acquisita di Figaro. cose col senno di poi, come fece di Napoleone concertato del perdono che coinvolge l’intero quella di dare l’avvio all’azione. Figaro è il Anzi, e a dispetto del titolo dell’opera, è nel definire l’accesa sfida di Figaro – “Voi vi cast dopo l’intervento della Contessa, e motore di questo dramma. È la sua insistenza facile vedere in Susanna il personaggio centrale siete preso il disturbo di nascere, null’altro” – soprattutto il potere del breve passaggio a portarlo avanti, a dispetto delle tattiche di dell’opera. Il suo è certamente il ruolo più come “rivoluzione in atto”. Beaumarchais a discendente orchestrale tra questo concertato e dilazione a cui fanno ricorso gli altri lungo, se si contano le note, ma non solo per Parigi e Mozart dopo di lui a Vienna il festoso coro finale, un fugace momento in personaggi per rallentare la vicenda. Per questo. Uno degli aspetti più meravigliosi del scherzano con il fuoco, ma si tratta pur sempre cui tutti i personaggi confrontano l’abisso della contro, gli altri si dimostrano tutti genio di Mozart, e non solo in quest’opera, è di una commedia. tragedia. L’infedeltà e il tradimento possono relativamente passivi e attendono l’esito degli la capacità di ritrarre e colorare le donne in La tesi controrivoluzionaria, distruggere così facilmente questi matrimoni. eventi. Dopo tutto si tratta delle nozze di maniera convincente quanto gli uomini. È una eloquentemente espressa da Joseph Kerman in C’è un terribile momento di autocoscienza e Figaro, come ci ricorda il titolo dell’opera. qualità non condivisa da tanti altri Opera as Drama, è che il vero eroe e l’eroina poi tutti distolgono lo sguardo, scegliendo di

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ignorarlo per i piaceri del momento. Il confine un espediente per sviluppare l’azione attraverso Tutti avranno il loro momento preferito in quartetto canta pianissimo “E schiatti il signor tra tragedia e commedia è molto tenue. la musica di cui Mozart fu pioniere già ne La questo sublime finale. Il mio è la tregua Conte al gusto mio!” (“And if the Count is È proprio l’equilibrio tra i due generi a finta giardiniera ma che perfezionò nel finale temporanea tra i combattenti (per quanto non furious, well that will serve him right!”) rendere Mozart estremamente realistico e le sue dell’Atto II del Figaro. È anche il supremo condivisa dal Conte che complotta Questo momento non dovrebbe essere opere così credibili. È la profondità particolare esempio del senso di equilibrio mozartiano. furiosamente) prima dell’ingresso di Antonio eseguito solo per il suo effetto comico. già evidente ne La finta giardiniera, composta Dal momento in cui il Conte e la Contessa con i suoi vasi rotti. La Contessa, Susanna e L’Atto IV è il più difficile da eseguire bene ad appena diciott’anni, che raggiunge il proprio ritornano nella camera da letto e inizia il vero e Figaro cantano “Deh signor, noi contrastate” in una rappresentazione teatrale. Dopo le tre apogeo con la trilogia realizzata in proprio finale, l’esito potrebbe essere (“Hear my pleading, I implore you, be ambientazioni all’interno, il giardino dovrebbe collaborazione con Lorenzo da Ponte, di cui Le ugualmente tragico o comico. L’umorismo compassionate I pray?”) e, mentre il Conte comunicare la libertà e la licenza dell’aria nozze di Figaro è la prima opera. L’equilibrio continua ad emergere in momenti ora cerca mentalmente Marcellina, corni e aperta. I nascondigli sotto i pini sono come il migliore si ritrova nel momento della divertenti ora addirittura farseschi, ma si tratta contrabbassi sottolineano con un forte la loro bosco di Shakespeare nei dintorni di Atene, risoluzione del dramma, ma viene raggiunto in pur sempre di una questione di vita e di morte. preghiera. Il breve momento di sperata dove le fantasie sessuali sono realizzabili. Una tutta l’opera. Viene splendidamente e in parte Walter Legge ha descritto così il finale riconciliazione anticipa magicamente la fine volta iniziato il finale vero e proprio con “Pian umoristicamente esposto nell’aria di Cherubino dell’Atto II: “Dal punto di vista musicale dell’opera. pianin le andrò più presso, tempo perso non nell’Atto I “Non so più, cosa son, cosa faccio” questo è il concertato più magistrale, non solo Secondo Michael Kelly, il tenore irlandese sarà”– “I’ll approach her, oh so softly, seize the (“I don’t know what it is that I’m feeling”). E in quest’opera ma in tutta la produzione di che interpretò Basilio e Curzio moment while I may” di Cherubino, tutto dovrebbe essere presente nella reazione a metà Mozart. Per quasi venti minuti la musica nell’allestimento originale, il brano preferito di procede bene, ma la prima metà di questo atto tra dolore e piacere dell’adolescente all’aria fluisce ininterrotta, rispondendo a tutte le Mozart nell’opera era il sestetto dell’Atto III. vede un accumularsi di arie di riflessione che militare di Figaro “Non più andrai” (“Here’s an alternanze e ai colpi di scena della complicata Può essere indubbiamente una delle sezioni nulla fanno per portare avanti la vicenda. La end to your life as a rover”) alla fine dell’Atto I. e rapida vicenda, illuminando, riflettendo, più divertenti, con le sue rivelazioni e i diatriba di Figaro contro le donne (“Aprite un Le glorie che Cherubino pregusta non sono commentando l’azione e le emozioni capovolgimenti a sorpresa, eppure ancora una po’ quegl’occhi” – “You foolish slaves of solo marziali. enormemente diverse dei partecipanti. Passo volta l’ira e la frustrazione di Susanna sono Cupid”.) e l’ambiguo canto d’amore di Sebbene Le nozze di Figaro sia per passo con l’azione, la musica intensifica le realissime. C’è un bellissimo tocco dopo la fine Susanna (“Deh, vieni, non tardar” – “Come nominalmente in quattro atti, che sorprese, aggiunge senso alle sottigliezze e però del sestetto, dopo la disordinata ritirata del quickly my beloved”) sono naturalmente corrispondono alle sue quattro ambientazioni, copre l’intera e piuttosto sordida vicenda di Conte e di Curzio. Susanna chiede a quelli che indispensabili, ma le arie di similitudine di musicalmente si tratta di una struttura in due intrigo con il magico manto della musica più sono rimasti “Chi al par di me contenta!” Marcellina e Basilio possono sembrare atti simile a quelle delle altre opere di da Ponte, incantevole che, per quanto sempre fedele alla (“Who could be happier than I am?”) e Figaro, marginali. In realtà sono brani interessanti e Don Giovanni e Così fan tutte. Ciascuna metà vicenda, la tramuta in una bellezza purissima, Bartolo e Marcellina rispondono ognuno “Io” rivelatori. Quello di Marcellina dà corpo al suo di ogni opera si conclude con un vasto finale, aurea.” (“I am”). Poi insieme e in stretta armonia il personaggio con l’indignazione femminista del

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suo grande discorso nell’Atto III dell’opera sufficiente per restituirgli l’opera e il suo 3 – 5 ma Susanna va su tutte le furie sorpreso con Barbarina, la figlia del teatrale di Beaumarchais. L’aneddoto del matrimonio. quando capisce ciò che sta facendo l’uomo. giardiniere; se non riuscirà a convincere la “cuoio d’asino” di Basilio è un’aria di Oltre a essere una sala di passaggio, è troppo Contessa a intercedere per lui, sarà cacciato via similitudine più convenzionale, ma con un © 2004 Nicholas Payne accessibile al Conte che le fa la corte e e non potrà più vedere la sua cara Susanna o la colpo di scena tristemente ironico. Entrambe vorrebbe riesumare l’antico ius primae noctis Signora che venera da lontano. Quando le arie aggiungono una dimensione ulteriore ai Synopsis feudale. Figaro rimane sbalordito quando Susanna manifesta la propria sorpresa per le personaggi e alla ricchezza del dramma, ma Antefatto dell’opera: il Conte Almaviva si è viene a sapere che il Conte si interessa alla sua sue tante avventure, 13 Cherubino le rivela di arrivano troppo tardi. Verso la fine della serata, innamorato di Rosina, pupilla del Dottor fidanzata. La donna ribatte che Figaro pecca di essere innamorato dell’Amore e le consegna si è impazienti di arrivare all’epilogo. Quindi Bartolo di Siviglia, e l’ha sposata a dispetto del ingenuità se pensa che la dote promessa dal una canzone da lui composta per la Contessa. nelle rappresentazioni è più pratico tagliarli. tutore, che avrebbe preferito impalmare lui la Conte sia solo una dimostrazione del suo 14 Entra il Conte e Cherubino si nasconde. Questo taglio anticipa il momento di ragazza e assicurarsi la sua dote. Il Conte si è affetto per il servitore. 6 – 7 Susanna viene Il Conte corteggia Susanna ma viene interrotto tragico riposo di Figaro, quando la sua natura poi trasferito lontano da Siviglia nella sua villa chiamata dalla Contessa e Figaro manifesta la dal maestro di musica, Don Basilio. 15 A ottimista per una volta minaccia di essere di famiglia, dove vive, e Figaro è diventato suo sua gelosia: se il Conte cerca di sedurre la questo punto anche il Conte si nasconde. sopraffatta. Ancora più grande della sua aria servitore. Oggi sono previste le nozze di Figaro fidanzata, Figaro utilizzerà ogni espediente per Tuttavia quando sente quello che Basilio ha da incollerita è la sezione breve, inserita nel finale, e Susanna, cameriera di Rosina, ormai mandare all’aria i suoi piani. dire a proposito delle attenzioni di Cherubino in cui il tempo si amplia in un larghetto in tre diventata la Contessa Almaviva. 8 – 9 Da Siviglia sono arrivati il Dottor nei confronti della Contessa esce dal suo quarti; la vivace tonalità di sol maggiore lascia Bartolo e la sua governante Marcellina. nascondiglio 16 – 17 e minaccia di licenziare il posto al mi bemolle maggiore (la chiave COMPACT DISC ONE Quest’ultima ha concesso un prestito a Figaro il paggio. Racconta di aver trovato il ragazzo della piangente cavatina di esordio della a condizione che, se non riuscirà a pagarlo, nascosto sotto il tavolo nella casa di Barbarina Contessa “Porgi amor” – “Hear my prayer”); e Atto I dovrà sposarla. Naturalmente finché il prestito e, mentre dimostra come è riuscito a ritornano i clarinetti. Sotto il tranquillo e Il primo atto si svolge di mattina presto in non viene restituito Figaro non può sposare smascherarlo, scopre nuovamente Cherubino. placido cielo notturno dove Venere e Marte quella che sarà la camera nuziale assegnata a un’altra donna. Marcellina chiede l’aiuto del Il Conte quindi si rende conto che Cherubino osservano abbracciati, Figaro riunisce ancora Figaro e Susanna. La porta a destra conduce Dottor Bartolo il quale si dichiara ben lieto di ha sentito la sua precedente conversazione con una volta le fila del dramma e affronta il suo alla sala principale del castello, quella centrale vendicarsi di Figaro. Susanna. destino personale. Questo magico momento alle stanze della Contessa e quella di sinistra a 10 – 11 Ritorna Susanna e mentre 18 – 20 Adesso entra Figaro con i suoi dura solo dodici battute, prima di reinseirsi quelle del Conte. 1 A conclusione Marcellina se ne va le due donne si scambiano amici e chiede al Conte di offrire a Susanna la nello svolgimento affannoso dell’epilogo. Ma dell’ouverture vediamo Susanna che prepara il degli acidi convenevoli. veste bianca delle nozze, ma il Conte rimanda nonostante quanto accade dopo e la cappello per le nozze. 2 Figaro prende le 12 Entra il paggio Cherubino per chiedere fino alla cerimonia ufficiale. 21 Per liberarsi di drammatica rivelazione della Contessa, è misure per vedere dove sistemare il letto, consigli e l’aiuto di Susanna. Il Conte lo ha Cherubino, il Conte gli dà un incarico presso

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il proprio reggimento e lo spedisce a Siviglia. appuntamento con il Conte, ma invierà 9 – 10 Dal momento che la Contessa rifiuta 18 Entra Antonio, il giardiniere, per 22 Figaro esprime un comico augurio a Cherubino, vestito da donna. La Contessa di aprire l’armadio, il Conte chiude a chiave lamentarsi: qualcuno è uscito dalla finestra e Cherubino per la sua futura carriera militare. potrà sorprenderli e questo costringerà il tutte le porte ed esce con la moglie per prendere ha rotto i vasi con i fiori. Figaro dice che è Conte a dare il proprio consenso alle nozze. degli attrezzi e forzare la porta. 11 Susanna stato lui; Antonio è convinto che si trattasse di COMPACT DISC TWO 3 – 4 Cherubino entra per cantare la sua convince Cherubino ad aprire. Trovando tutte Cherubino, ma Figaro dice che è già partito canzone alla Contessa. le porte chiuse, il ragazzo scappa dalla finestra. per Siviglia. Il Conte chiede a Figaro perché è Atto II 5 – 6 Viene spiegato il piano e Susanna 12 Susanna si chiude nell’armadio. saltato dalla finestra e Figaro risponde che Il secondo atto si svolge nell’appartamento organizza una prova generale, chiudendo per 13 Ritornano il Conte e moglie. La stava aspettando Susanna quando ha sentito della Contessa. La porta di destra conduce alla prima cosa la porta a chiave. Mentre si cambia, Contessa ammette che stava preparando una un diverbio, il Conte che gridava, e pensando scala principale, quella al centro alla camera di Cherubino lascia cadere la sua patente per sorpresa per la sera e che nell’armadio si trova alla lettera anonima (che ha appena negato di Susanna e quella di sinistra a un piccolo l’esercito e la Contessa vede che non è stata in realtà Cherubino. Questo sembra aver scritto) si è spaventato ed è saltato fuori spogliatoio. Sulla parete dirimpetto si vede una sigillata. Susanna inizia a vestire Cherubino da confermare il contenuto della lettera anonima. dalla finestra. Antonio chiede se le carte che finestra. donna. 14 Il Conte chiede a Cherubino di uscire. La sono cadute sono sue, ma il Conte le prende e Susanna ha appena lasciato il vassoio con la La Contessa manda Susanna a prendere una Contessa lo supplica di non prendersela se vede chiede a Figaro di identificarle. La Contessa colazione della Contessa. delle sue cuffie. 7 Qualcuno bussa al portone Cherubino un po’ in disordine, dal momento riconosce la patente di Cherubino e passa 1 Rosina, oggi Contessa Almaviva, si d’ingresso: il Conte è tornato all’improvviso. che si stava vestendo da donna. Il Conte accusa l’informazione a Figaro, il quale spiega che augura di riconquistare l’amore del suo Cherubino viene spinto nell’armadio e si la moglie di infedeltà e sta per buttare giù la il paggio l’aveva lasciata a lui perché la donnaiolo consorte. chiude dentro. 8 La Contessa apre e spiega porta 15 – 16 quando esce Susanna. Il Conte e sigillasse. 2 Ritorna Susanna. Aveva rivelato alla che stava provando un abito e parlava con la Contessa sono stupefatti, il Conte considera 19 Entrano Marcellina, il dottor Bartolo e Contessa la sconfitta del Conte e adesso Susanna, che è appena uscita. Il Conte le questo uno scherzo crudele come la lettera don Basilio per rivendicare il contratto di aggiunge che Figaro ha inviato una lettera mostra la lettera anonima di Figaro, ma in anonima e le donne gli rivelano che è stata Marcellina e Figaro e il secondo atto si anonima al Conte tramite Basilio, in cui gli quel momento si sente un rumore proveniente scritta da Figaro e consegnata da Basilio. Il conclude tra la confusione generale. rivela che la Contessa ha un appuntamento dall’armadio – Cherubino ha rovesciato Conte chiede perdono alla moglie. quella sera con un amante nel giardino. Si qualcosa. Il Conte esige di sapere chi si trova lì 17 Entra Figaro per annunciare che i COMPACT DISC THREE tratta di una bugia per impedirgli di dentro. La Contessa dice che si tratta di preparativi delle nozze sono quasi terminati, perseguitare Susanna. Susanna e il Conte le ordina di aprire o ma il Conte gli chiede se è stato lui a scrivere Atto III La Contessa fa notare che questo non ferma parlare, ma la Contessa glielo proibisce. Senza la lettera anonima. Figaro nega naturalmente, Il Terzo atto si svolge nel salone dove tutti il minacciato intervento di Marcellina. farsi vedere, Susanna rientra nella stanza, nonostante le imbeccate di Susanna e della possono andare e venire liberamente. È il tardo Susanna ha un’idea: fisserà lei stessa un capisce quello che sta accadendo e si nasconde. Contessa. pomeriggio.

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1 Il Conte sta cercando di spiegarsi le Bartolo. La sua pretesa di sposare Figaro di essere saltato fuori dalla finestra. Figaro ascolta, si vendica per i suoi sospetti facendo contraddizioni degli ultimi avvenimenti. quindi crolla. 12 – 13 Però entra Susanna che risponde che è possibile: se può saltare una finta di attendere il Conte. 2 – 4 La Contessa invia Susanna a prendere ha convinto la Contessa ad anticipare il denaro persona, possono saltare anche due. 35 – 36 Mentre la Contessa prende il posto appuntamento con lui per questa sera. Adesso necessario per ripagare il debito. Nel vedere 22 – 23 Procede la doppia cerimonia di Susanna, arriva Cherubino per il suo che Cherubino è partito, la donna pensa di Marcellina che abbraccia Figaro arriva alla nuziale per Figaro e Susanna, Marcellina e appuntamento con Barbarina ma, credendo di andare lei all’appuntamento al posto di conclusione sbagliata, ma ben presto si unisce Bartolo. Durante il suo svolgimento Susanna vedere Susanna, 37 la segue e cerca di baciarla; Susanna. Con la scusa di chiedergli in prestito anche lei alla riconciliazione. consegna di nascosto al Conte la lettera che ha interviene il Conte, che cerca di dare uno i sali, Susanna si avvicina al Conte e consegna 14 Antonio rivela al Conte che Cherubino scritto. Figaro vede il conte pungersi il dito schiaffo a Cherubino e colpisce invece Figaro il biglietto. 5 Uscendo, confida a Figaro che non è partito per Siviglia, ma si trova nella con una spilla che sigilla un biglietto che gli è che è intervenuto anche lui. Cherubino si ha vinto la sua causa senza bisogno di casa del giardinere ed è vestito da donna. stato consegnato, ma non sa chi l’abbia nasconde in un cespuglio. avvocato. 6 Purtroppo il Conte la sente. 15 Arriva Susanna e riferisce che il Conte inviato. 38 Il Conte quindi corteggia la moglie, 7 Esplode, furioso nel trovarsi ingannato dai ha accettato l’appuntamento. 16 La Contessa credendo che si tratti di Susanna, e le dà un suoi stessi servitori. detta un biglietto per fissare il posto. Atto IV anello di brillanti. Figaro cerca di spaventare il 8 Barbarina convince Cherubino ad 17 Il biglietto viene chiuso con una spilla che Il quarto atto si svolge nel giardino illuminato Conte e la finta Susanna si nasconde in un andare con lei e con le ragazze del villaggio a il Conte deve rimandare per dimostrare che dalla luna, dove si trovano diversi cespugli. altro cespuglio, mentre il Conte si ritira per offrire fiori alla Contessa. accetta. 24 Barbarina ha perso la spilla che le aveva raggiungerla più tardi. 39 Susanna, che porta 9 – 10 La Contessa aspetta Susanna e 18 – 19 Entra Barbarina con le ragazze del dato il Conte perché la riportasse a Susanna. gli abiti della Contessa, adesso mette alla prova rievoca il passato e i suoi meravigliosi villaggio. Nel gruppo si trova Cherubino 25 Figaro e Marcellina ben presto si fanno Figaro fingendo di flirtare con lui. Figaro momenti d’amore con il Conte. vestito da donna. Mentre le ragazze le offrono i raccontare la storia. 26 Figaro vuole vendetta riconosce la voce della moglie e decide di 11 Il giudizio legale in merito alla lite tra fiori, la Contessa nota che una di esse le ricorda e Marcellina va ad avvisare Susanna. stare al gioco. Così ci rimedia uno schiaffo. Figaro e Marcellina è che l’uomo debba pagare qualcuno. 20 L’ingresso improvviso di Antonio 27 – 28 Figaro ha chiesto a Basilio, Antonio e 40 Spiega e viene perdonato. Ritorna il Conte il proprio debito o sposarla. Figaro sostiene e del Conte la smaschera: si tratta di Bartolo di andare ad aiutarlo a sistemare le e Susanna dice a Figaro che il Conte ha che non può sposarsi senza il consenso dei suoi Cherubino. Il Conte chiede spiegazioni alla cose. corteggiato la propria moglie travestita. Adesso genitori e, dal momento che è un trovatello, la Contessa, ma la donna è sorpresa quanto lui. Il Barbarina ritorna per un appuntamento con Figaro, a beneficio del Conte, flirta con la cosa sarà difficile, a meno che qualcuno non Conte decide di punire Cherubino, ma Cherubino 29 – 30 mentre Figaro, fuori di sé finta contessa. Il Conte lo interrompe e la finta riconosca il segno sul suo braccio… È una Barbarina lo supplica di perdonarlo e chiede di dalla gelosia, aspetta Susanna. Contessa si nasconde in un cespuglio. rivelazione per Marcellina: Figaro è il bambino sposarlo, in cambio delle sue passate gentilezze. 31 – 32 Marcellina conduce Susanna e la 41 Davanti a Basilio, Bartolo e Antonio, il da lei avuto molti anni prima e che le era stato 21 Entra Figaro per annunciare la danza. Il Contessa sul posto e si nasconde in uno dei Conte le chiede di venire fuori dal cespuglio. I rapito. Suo padre non è altri che il Dottor Conte gli dice che Cherubino adesso ammette cespugli. 33 – 34 Susanna, sapendo che Figaro primi a uscire sono Cherubino, Barbarina e

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Marcellina, e alla fine la finta contessa. Il Parthenogenesis di Macmillan al Festival di discografia comprende Gottardo (The Thieving La sua intensa attività concertistica Conte la accusa di essere infedele. La donna Edimburgo, dove è comparso anche nelle vesti Magpie) per la serie Opera in English di comprende apparizioni ai Prom della BBC e al chiede di essere perdonata e lui rifiuta. A di Cecil nella Maria Stuarda diretta da sir Chandos. Festival di Edimburgo; concerti di gala con questo punto entra la vera Contessa a Charles Mackerras. Andrea Bocelli in Germania e con Luciano intercedere per lei. Adesso è il Conte a dover Gli impegni concertistici comprendono la Rebecca Evans è nata nel Galles del sud e ha Pavarotti in Gran Bretagna. Ha interpretato il chiedere perdono; la moglie glielo concede Messa in do maggiore di Mozart a Aix-en- studiato presso la Guildhall School of Music Magnificat di Bach con la San Francisco ancora una volta. Così tutto finisce bene. Provence con i Sixteen, Les Noces di Stravinskij and Drama. Ha un’importante carriera teatrale Symphony Orchestra diretta da Michael con Philippe Herreweghe a Bruxelles, i Vespri in America dove ha cantato Susanna (Le nozze Tilson Thomas; il Requiem di Brahms con la © 2004 Peter Moores del 1610 di Monteverdi con Richard Hickox, di Figaro) per la Santa Fe Opera; Adele Boston Symphony Orchestra ai festival di Traduzione: Emanuella Guastella la Messa in re minore di Bach al festival di La (Die Fledermaus) per la Chicago Lyric Opera; Tanglewood e Ravinia; la quarta Sinfonia di Chaise-Dieu, Judas Maccabeus di Handel a Zerlina (Don Giovanni), Ann Trulove Mahler con la Sapporo Symphony Orchestra Christopher Purves ha studiato inglese presso Norimberga e Saul con il Gabrieli Consort ai (The Rake’s Progress) e Adina (L’elisir d’amore) diretta da Tadaaki Otaka. È inoltre comparsa il King’s College di Cambridge prima di festival del Covent Garden e di La Chaise- per la San Franciso Opera; Susanna e Zerlina in Australia al Melbourne International esibirsi e registrare con l’innovativo complesso Dieu, Apocalypse di John Tavener ai Prom con per la Metropolitan Opera di New York. Festival e con la Australian Chamber rock Harvey and the Wallbangers. Quando il la City of London Sinfonia, la Passione secondo In Europa è ospite regolare della Bayerische Orchestra. Si è esibita in recital alla Wigmore gruppo si è sciolto nel 1988 ha ripreso gli San Giovanni con Paul Goodwin a Madrid, il Staatsoper di Monaco, per cui ha interpretato, Hall di Londra e ai festival di Barcellona, studi di canto con David Keren, Diane Messiah con la Scottish Chamber Orchestra, la tra l’altro, Sophie (Der Rosenkavalier), Zdenka Ravinia, Buxton e Belfast. Forlano e Janice Chapman. Hallé e la Ulster Orchestra, Les Mamelles de (Arabella), Servilia (La clemenza di Tito), Ilia La ricca discografia di Rebecca Evans I suoi impegni operistici comprendono Tirésias di Poulenc con la London Sinfonietta (Idomeneo) e Nannetta (Falstaff ). Inoltre ha comprende Ilia (Idomeneo) per la serie Opera Figaro (Le nozze di Figaro) per la Welsh diretta da sir Simon Rattle, Manoah (Samson) cantato Ilia per la Netherlands Opera e in English di Chandos, Nanetta (Falstaff ) con National Opera, la Scottish Opera e Opera con Harry Christophers, War Requiem di l’Opera de Lausanne; il ruolo di protagonista sir John Eliot Gardiner, una serie di North; Marcello (La Bohème) per la Scottish Britten e la Creazione di Haydn con la Ulster in The Cunning Little Vixen per la Scottish registrazioni di opera di Gilbert and Sullivan Opera; Papageno (Il flauto magico), Faninal Orchestra, Belshazzar’s Feast di Walton con la Opera; Susanna, Ilia, Marzelline (Fidelio), con sir Charles Mackerras e un disco solistico (Der Rosenkavalier) per Welsh National Opera English Northern Sinfonia diretta da Norina (Don Pasquale) e Hero (Beatrice and di brani italiani. e Opera North; il Podestà (La gazza ladra) per Paul Daniel e con la Hallé, e Lucifero ne Benedict) per la Welsh National Opera; la Garsington Opera; Siegfried (Genoveva) e La Resurrezione di Handel per Paul McCreesh Romilda (Xerxes) per la English National Yvonne Kenny è nata a Sydney e ha esordito a Dulcamara (L’elisir d’amore) per Opera North. a Roma, Amsterdam e Londra. Christopher Opera; Zerlina, Nanetta e Johanna (Sweeney Londra nel 1975 nella Rosmonda d’Inghilterra Ha creato il ruolo del Boia in Ines de Castro di Purves ha svolto il suo primo recital Todd ) alla Royal Opera House, Covent di Donizetti. Dopo aver vinto il concorso James Macmillan e ha interpretato all’Aldeburgh Festival nel giugno 2004. La Garden. intitolato a Kathleen Ferrier entrava alla Royal

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Opera House, Covent Garden, dove i suoi Ford, la Governante (The Turn of the Screw), la 1991 e il concorso internazionale liederistico Le prime mondiali comprendono il ruolo di ruoli hanno compreso Pamina (Die Contessa (Capriccio) e il ruolo di protagonista Walther Gruner nello stesso anno. Mahmoud in The Death of Klinghoffer di John Zauberflöte), Ilia (Idomeneo), Susanna (Le in Maria Stuarda e L’incoronazione di Poppea. Considerato uno dei principali baritoni Adams con la BBC Symphony, e il ruolo nozze di Figaro), Adina (L’elisir d’amore), Liù Yvonne Kenny è comparsa in concerto ai della sua generazione, è già apparso in molti principale di Jesus in The Last Supper di (Turandot), Aspasia (Mitridate) e Donna Anna festival di Edimburgo, Salisburgo e Aix-en- importanti teatri lirici di tutto il mondo. Harrison Birtwistle alla Deutsche Staatsoper di (Don Giovanni). Ha conquistato fama Provence, alla Carnegie Hall e ai Prom della I ruoli comprendono il Conte (Cherubin), Berlino, diretto da Daniel Barenboim, internazionale con i grandi ruoli handeliani, BBC. La discografia per Chandos comprende Guglielmo (Così fan tutte) e Mercutio replicato poi al Glyndebourne Festival. soprattutto Semele e Alcina (Covent Garden e Alice Ford (Falstaff ), la Marescialla (Der (Roméo et Juliette) alla Royal Opera House, William Dazeley si esibisce in recital presso La Fenice); Romilda (Xerxes) per English Rosenkavalier, momenti salienti) e due dischi Covent Garden; il Conte (Le nozze di Figaro), la Wigmore Hall, la Purcell Room, St George’s National Opera (a Londra e in tournée in di arie operistiche (Great Operatic Arias), tutti Figaro (Il barbiere di Siviglia) e il ruolo di a Bristol e lo Châtelet, e viene regolarmente URSS) e l’Opera di Stato della Baviera; Alcina nell’ambito della serie Opera in English, oltre protagonista in Owen Wingrave per la invitato a cantare ai festival di Cheltenham, con Nicholas McGegan al Festival di Handel a a registrare A Dinner Engagement di Lennox Glyndebourne Touring Opera; Figaro Aix en Provence e Saintes con accompagnatori Göttingen; Cleopatra (Giulio Cesare) e Armida Berkeley e The Canterbury Pilgrims di Dyson. (Il barbiere di Siviglia) alla Deutsche Staatsoper illustri quali Graham Johnson e Iain (Rinaldo) a Sydney. Per Opera Rara ha registrato Ugo conte di di Berlinp; Dr Faust al festival di Salisburgo e Burnside. Ha cantato con l’opera di Vienna (Contessa Parigi, Robinson Crusoe, Emilia di Liverpool, Il allo Châtelet per la direzione di Kent Nagano; (Capriccio) e Susanna), La Scala di Milano crociato in Egitto e Medea in Corinto. Per il suo Scherasmin (Oberon) allo Châtelet diretto da Diana Montague è nata a Winchester e ha (Pamina); la Staatsoper di Berlino (Contessa contributo alla musica Yvonne Kenny è stata John Eliot Gardiner, presentato anche in studiato presso il Royal Northern College of (Capriccio)); l’Opéra di Parigi (Donna Elvira); insignita dell’onorificenza Member of the concerto al Barbican. Music. Dopo il suo esordio nelle vesti di Zurigo e Glyndebourne (Donna Elvira e Alice Order of Australia. Le apparizioni in concerto comprendono il Zerlina con la Glyndebourne Touring Opera è Ford (Falstaff )); Contessa (Le nozze di Figaro) ruolo di protagonista in Faustszenen di comparsa alla Royal Opera House, Covent a Washington e per l’Opera di Monaco; ha William Dazeley è nato nel Warwickshire e ha Schumann in una tournée europea diretta da Garden, alla Metropolitan Opera di New York, interpretato la Marescialla (Der Rosenkavalier), conseguito la laurea a Cambridge, presso il Philippe Herreweghe, Requiem per Mignon di al Théâtre de la Monnaie di Bruxelles, The Fairy Queen di Purcell e Alice Ford per Jesus College. Ha studiato canto presso la Schumann diretto da John Eliot Gardiner, all’Opéra national de Paris-Bastille, al Teatro English National Opera; è stata la Marescialla Guildhall School of Music and Drama, dove si Des Knaben Wunderhorn di Mahler con la Colón di Buenos Aires e ai Festival di (per la direzione di sir Charles Mackerras) nel è aggiudicato diversi premi, tra cui la Royal Flanders Philharmonic diretta da Bayreuth e Salisburgo. suo debutto con la San Francisco Opera. prestigiosa Gold Medal. Ha vinto inoltre il Herreweghe, Dylan Thomas di Corigliano con Il suo repertorio riunisce i principali ruoli Ritorna spesso nel suo paese, l’Australi, dove premio Decca–Kathleen Ferrier Prize del la BBC Symphony diretta da Leonard Slatkin, per mezzosoprano nelle opere di Mozart, ha cantato Gilda (Rigoletto), Pamina, Susanna, 1989, il concorso di canto Royal Overseas e l’Oratorio di Natale di Bach con i Berliner Gluck, Strauss, Rossini, Bellini e Berlioz, e i Alcina, Manon (Massenet), Fiordiligi, Alice League del 1990, il premio Richard Tauber nel Philharmoniker. suoi impegni hanno compreso Benvenuto

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Cellini con l’Opera di Roma; Iphigénie en Nata a Edimburgo, Frances McCafferty si è Frances McCafferty ha esordito al Teatro I suoi impegni internazionali hanno Tauride a Buenos Aires, Madrid e con la Welsh diplomata presso la Royal Scottish Academy of La Fenice di Venezia nelle vesti di Katisha compreso The Doctor (Vanessa) per Opéra du National Opera; Albert Herring, Le nozze di Music and Drama. Dopo diversi anni come (The Mikado); ha inoltre cantato Madame Rhin; Schaunard (La Bohème di Leoncavallo) Figaro e Andromaca nell’Ermione di Rossini a insegnante di canto è entrata alla D’Oyly Popova (The Bear) per il festival svizzero di al festival di Wexford; Leporello (Don Glyndebourne; Le Comte Ory a Losanna, Carte Opera Company, dove ha interpretato i Cerniers e la nutrice (Boris Godunov) per la Giovanni) e Papageno (The Magic Flute) per Roma e Glyndebourne; Proserpina nell’Orfeo principali ruoli per contralto e ha registrato Royal Opera, Covent Garden. Opera New Zealand; Dr Bartolo (Le nozze di di Monteverdi ad Amsterdam; Ariadne auf Patience, Orpheus in the Underworld e HMS Figaro) per l’Opéra de Nice, l’opera di Zurigo, Naxos a Lisbona; Marguerite (La Damnation Pinafore. Dopo i suoi studi presso la London University la Glyndebourne Festival Opera e l’Opéra de de Faust) a Ginevra; Minerva (Il ritorno I suoi ruoli comprendono Katisha e il Trinity College of Music, Jonathan Veira ha Montpellier; Claggart (Billy Budd ), Don d’Ulisse in patria) ad Amsterdam e Sydney; (The Mikado) con la English National Opera, vinto nel 1996 il concorso di canto intitolato a Alfonso (Così fan tutte) e Falstaff per la Royal Meg Page (Falstaff ); The Bartered Bride e Soloka (Cherevichki) a Garsington, Auntie Sir Peter Pears e ha ottenuto una borsa di Danish Opera. Die Meistersinger von Nürnberg alla Royal (Peter Grimes) alla Nationale Reis Oper e Hata studio dalla Glyndebourne Festival Opera e Opera House Covent Garden, Junon nel (The Bartered Bride) con la Glyndebourne dall’associazione Friends of Covent Garden per John Graham-Hall ha studiato presso il King’s Platée di Rameau con la Royal Opera al Festival Opera. Ha inoltre cantato con la New il National Opera Studio. College di Cambridge e il Royal College of Festival di Edimburgo e a Londra, Octavian in Israeli Opera, l’Opera di Stoccarda, l’Opera Jonathan Veira è comparso con le principali Music di Londra. Ha cantato con le principali Der Rosenkavalier alla English National Opera, Theatre Company, la Glyndebourne Touring compagnie liriche del Regno Unito: The Royal compagnie teatrali britanniche, interpretando a Bilbao e al Teatro Real di Madrid; Opera, oltre a comparire al Festival Opera, English National Opera, Glyndebourne ruoli tra cui Albert Herring (Royal Opera Marguerite a Vienna e Le nozze di Figaro al internazionale di Edimburgo e quelli Festival Opera, Scottish Opera, Welsh National House, Covent Garden); Vanya Kudrjas teatro La Monnaie. dell’Irlanda e della Svizzera. È regolarmente Opera, Garsington Opera e Opera Northern (Katá Kabánova), Flute (A Midsummer Night’s Le ricca discografia di Diana Montague ospite di Opera North e della Royal Opera, Ireland. I suoi ruoli hanno compreso il Dream) e Bob Boles (Peter Grimes) per la comprende Orfeo di Monteverdi, I Capuleti e i Covent Garden, dove ha creato il ruolo di Yeta banchiere/direttore teatrale (Lulu), Dulcamara Glyndebourne Festival Opera; Don Basilio, Montecchi, Norma, Lucia di Lammermoor, Zimmerman alla prima mondiale di Sophie’s (L’elisir d’amore), Harasta (La volpe astuta), Monostato, Lysander (A Midsummer Night’s Iphigénie en Taurine; per Opera Rara Choice di Nicholas Maw diretta da sir Simon Kolenaty ´ (L’affare Makropulos), il barone Mirko Dream), Alwa (Lulu) e Herod (Salome) per la Rosmonda d’Inghilterra, Zoraida di Granata e Il Rattle, per la regia di Trevor Nunn, trasmessa Zeta (La vedova allegra), Tonio (Pagliacci), English National Opera; Cassio (Otello) per la crociato in Egitto, e per la serie Opera in dal vivo in radio e televisione dalla BBC. Nel Leporello (Don Giovanni), Varlaam (Boris Welsh National Opera; Eisenstein, il maestro English di Chandos, Idomeneo, Cavalleria Regno Unito ha svolto concerti con la RTE e Godunov), Calchas (La Belle Hélène), Sharpless di scuola (La volpe astuta) per la Scottish rusticana, Octavian in Der Rosenkavalier la National Orchestra of Ireland, l’Orchestra (Madama Butterfly), il sagrestano (Tosca), Opera; Aschenbach (Death in Venice), (momenti salienti), Faust, e due dischi di dell’Ulster, la Singapore Symphony Orchestra Mustafà (L’italiana in Algeri) e Keçal (La sposa Lysander, Albert Herring e Ferrando (Così fan Great Operatic Arias. e la BBC Concert Orchestra. venduta). tutte) per la Glyndebourne Touring Opera.

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Altri impegni hanno compreso Bob Boles Opera è comparso nelle vesti di Lorenzo ne I suoi impegni operistici comprendono repertorio estremamente vasto che va da (Netherlands Opera); Basilio (La Monnaie); il I Capuleti e i Montecchi di Bellini, Pimen Pretty Polly in Punch and Judy di Birtwistle al Monteverdi a Messiaen. Ha iniziato la sua ruolo di protagonista nella nuova opera di (Boris Godunov), Don Basilio (The Barber of Teatro Nacional S. João di Porto, la carriera alla Welsh National Opera prima di Pascal Dusapin, Perela, l’Homme de fumée Seville), Dulcamara (The Elixir of Love), Governante in The Turn of the Screw di Britten entrare alla English National Opera, dove è all’Opéra de Paris-Bastille e a Montpellier. Per Somnus (Semele), Quince (A Midsummer per una tournée del British Council in Russia, rimasto per otto anni, interpretando, fra la English National Opera, di cui è stato Night’s Dream), Collatinus (The Rape of Elsie Maynard (The Yeomen of the Guard ) e l’altro, il ruolo di Don Ottavio (Don solista, ha interpretato Sylvester (The Silver Lucretia), Arkel (Pelleas and Melisande) e Gianetta (The Gondoliers) per la Phoenix Giovanni), Michael nella Julietta di Martinu˚, Tassie), Goro (Madam Butterfly), Triquet Poo-Bah (The Mikado). Opera, e Barbarina per Opera Holland Park. Alfred (Die Fledermaus) e Nanki-Poo (Eugene Onegin), Monostatos (The Magic Ha debuttato alla Royal Opera House, Le apparizioni teatrali alla Royal Academy of nell’allestimento del Mikado per la regia di Flute), Mime (The Rhinegold ) e Alwa (Lulu). Covent Garden ne La traviata, e a Music comprendono il ruolo di protagonista Jonathan Miller. Nel 1987 iniziava una John Graham-Hall ha lavorato con molti Glyndebourne nelle vesti di Antonio (Le nozze in The Cunning Little Vixen (diretta da sir carriera indipendente di successo cantando illustri direttori d’orchestra, tra cui Bernanrd di Figaro). Altri impegni nel Regno Unito Charles Mackerras) e Zerlina (Don Giovanni) Hauptmann (Wozzeck) all’Opéra du Rhin e a Haitink, Nikolaus Harnoncourt, Pierre comprendono Bartolo (Le nozze di Figaro) per (diretta da sir Colin Davis). Nancy e facendo ritorno alla English National Boulez, Andrew Davis, Jeffrey Tate, Simon Opera North e per il Garsington Festival; Altri impegni comprendono il suo debutto Opera per interpretare Herod (Salome). Rattle, John Eliot Gardiner e Claudio Abbado. Collatinus al festival di Buxton; Bosun con la Welsh National Opera nel ruolo di Tra i suoi principali impegni vanno ricordati La sua carriera concertistica lo ha portato in (Billy Budd ) e Masetto (Don Giovanni) per la Iphis in Jephtha di Handel; Eleanora in Prima l’Alto Sacerdote in Idomeneo al Covent tutta Europa a lavorare con le principali Scottish Opera. la musica di Salieri, Mlle Silberklang in Der Garden; Hauptmann (Wozzeck) a San orchestre britanniche con apparizioni frequenti Le apparizioni in concerto comprendono la Schauspieldirektor di Mozart con la City of Francisco, Ginevra, Zurigo, Montpellier, negli auditori del Barbican e del South Bank. Sinfonia N. 9 di Beethoven e la Messa da London Sinfonia/Richard Hickox; e il Bordeaux e Bologna; Sciuiski (Boris Godunov) La discografia per Chandos comprende Requiem di Verdi alla Royal Albert Hall, Requiem di Mozart diretto da sir Roger a Strasburgo, Bordeaux e Montpellier; Quint The Poisoned Kiss di Vaughan Williams, Peter l’ottava Sinfonia di Mahler alla Royal Festival Norrington al Festival di Spitalfields. Sarah (The Turn of the Screw) e Truffaldino (The Grimes e, per la serie Opera in English, Hall e Iolanthe alla Bridgewater Hall di Tynan attualmente partecipa allo Young Love for Three Oranges) per English National The Thieving Magpie di Rossini e Wozzeck di Manchester. Singers Programme della English National Opera; Zinovij (La lady Macbeth del distretto Berg. Opera. di Mzensk) a Tolosa e Marsiglia; Valzacchi e i Sarah Tynan è nata a Londra e ha studiato tre ruoli per tenore nella Lulu allo Châtelet; Graeme Danby è nato in Irlanda, nella contea presso il Royal Northern College of Music e la Stuart Kale ha una reputazione a livello Bob Boles (Peter Grimes) all’Opera di Monaco, di Durham e ha studiato presso la Royal Royal Academy of Music (con Penelope internazionale come uno dei più notevoli al Covent Garden, a Genova e a Strasburgo; Academy of Music di Londra. Nel corso della Mackay), dove ha ricevuto la Queen’s cantanti-attori del mondo della lirica. È un Captain Vere (Billy Budd ) a Colonia; Gregor sua lunga collaborazione con English National Commendation for Excellence. eccellente musicista; i suoi ruoli coprono un (L’affare Makropoulos) e Herod a Strasburgo.

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Le registrazioni per la serie Opera in English Direttore Principale. In precedenza questa I concerti dell’Orchestra sono trasmessi David Parry ha studiato con Sergiu di Chandos comprendono Boris Godunov carica era appartenuta a Otto Klemperer e da sempre più frequentemente da BBC Radio 3, Celibidache ed ha cominciato la sua carriera (brani salienti), Madam Butterfly, Otello, allora l’Orchestra ha collaborato con nomi di incluso l’apparizione annuale in occasione dei come assistente di Sir John Pritchard. Ha Falstaff, Wozzeck e The Thieving Magpie. prestigio come Lorin Maazel (Direttore BBC Proms. La Philharmonia Orchestra gode debuttato all’English Music Theatre, quindi è Principale Associato), Riccardo Muti (Direttore di una reputazione a livello mondiale ed è diventato direttore d’orchestra presso la La carriera di cantante di Geoffrey Mitchell Principale e Direttore Musicale), Giuseppe l’orchestra sinfonica che ha inciso di più in Städtische Bühnen di Dortmund e la Opera racchiude un repertorio notevole che spazia Sinopoli (Direttore Musicale) e, attualmente, tutto il mondo, con un catalogo di oltre North. È stato Direttore Musicale di Opera 80 dalla musica antica a quella contemporanea e Kurt Sanderling (Direttore Emerito), Vladimir 1000 incisioni, tra cui una serie di colonne dal 1983 al 1987 e dal 1992 è stato Direttore che l’ha portato in Scandinavia, Germania, Ashkenazy (Direttore Laureato) e Sir Charles sonore per film e televisione. La sua Musicale fondatore dell’Opera di Almeida. nella ex Cecoslovacchia, in Canada e Mackerras (Direttore Principale Ospite), oltre discografia include, per Opera Rara, numerosi Lavora copiosamente in opere e concerti, a Australasia. L’esperienza di direzione degli inizi che con artisti importanti come Wilhelm dischi di recital, oltre a undici opere livello nazionale ed internazionale. Ha con la BBC lo ha condotto ad un maggiore Furtwängler, Richard Strauss, Arturo Toscanini, complete, e nella serie Opera in English per diretto diverse produzioni presso la English coinvolgimento con i suoi stessi cantanti e Guido Cantelli, Herbert von Karajan e Carlo Chandos, sponsorizzata dalla Peter Moores National Opera e la Opera North e appare inoltre alla creazione del Geoffrey Mitchell Maria Giulini. L’Orchestra continua a Foundation, The Thieving Magpie, Wozzeck, regolarmente con la Philharmonia Orchestra e Choir. Le prime registrazioni sono sfociate nel collaborare con direttori e solisti di fama Don Giovanni, The Elixir of Love, Lucia of la London Philharmonic Orchestra. Nel 1996 coinvolgimento a lungo termine del Coro con mondiale, oltre ad attrarre nelle sue fila i Lammermoor, Faust, Carmen, Aida, ha debuttato con Così fan tutte al Opera Rara, per la quale ha inciso più di giovani musicisti europei di maggiore talento. La Bohème, Madam Butterfly, Turandot, la Glyndebourne Festival, dove nel 1998 ha trenta registrazioni. Il Coro gode di una fama Orchestra Residente presso la Royal Festival Tosca, vincitrice di un premio, e vari album diretto la prima mondiale di Flight di Jonathan sempre maggiore con ulteriore lavoro dalla Hall di Londra, occupa una posizione centrale di recital, con assoli di arie d’opera eseguite Dove. BBC e da case discografiche internazionali. Per nella vita musicale britannica anche attraverso da Bruce Ford, Diana Montague, Dennis È un frequente visitatore della Spagna dove la Chandos il Geoffrey Mitchell Choir ha residenze regionali che offrono un’opportunità O’Neill, Alastair Miles, Yvonne Kenny e si è esibito in concerto con la maggior parte partecipato a numerose registrazioni nelle ideale per espandere il suo dinamico John Tomlinson. La Philharmonia Orchestra delle maggiori orchestre spagnole. Ha diretto applaudite serie di Opera in English con il programma educativo, basato sulle comunità. continua a consolidare la sua fama la prima spagnola di Peter Grimes a Madrid e patrocinio della Peter Moores Foundation. Vincitrice di numerosi premi, è stata lodata internazionale con frequenti tournèe e nel 1996 la prima produzione spagnola di all’unanimità dai critici per la sua politica di attraverso le recenti, prestigiose residenze The Rake’s Progress. È apparso in Germania, La Philharmonia Orchestra, una delle più programmazione particolarmente innovativa e presso il Châtelet Théâtre Musical di Svizzera, Paesi Bassi, al Festival di Pesaro in grandi orchestre del mondo, è diretta per la fortemente incentrata sull’impegno ad eseguire Parigi, il Megaron di Atene e il Lincoln Italia, al Festival Internazionale di Hong Kong, sesta stagione consecutiva dal famoso maestro e commissionare musiche nuove firmate dai Center for the Performing Arts di New in Giappone con una tournée della Carmen e tedesco Christoph von Dohnányi, in qualità di maggiori compositori contemporanei. York. in Messico con la UNAM Symphony

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Orchestra. Recenti nuove produzioni da lui d’Inghilterra di Donizetti. Per Chandos ha dirette comprendono il Fidelio al Festival della diretto una serie di registrazioni di arie d’opera Nuova Zelanda, Lucia di Lammermoor alla (con Bruce Ford, Diana Montague, Dennis Mike Hoban Mike New Israeli Opera e Don Giovanni alla O’Neill, Alastair Miles, Yvonne Kenny, John Staatsoper di Hannover. Tomlinson, Della Jones e Andrew Shore), Il suo lavoro in studio di registrazione nonché Idomeneo, Carmen, The Thieving comprende la produzione della BBC di Magpie, Don Giovanni, Don Pasquale, The Der Vampyr di Marschner nonché ventotto Elixir of Love, Lucia of Lammermoor, Ernani, registrazioni operistiche complete con il Il trovatore, Aida, Faust, Cavalleria rusticana, patrocinio della Peter Moores Foundation. Tra Pagliacci, La bohème, Turandot, Tosca questi vi sono numerosi dischi per l’etichetta (vincitrice di un premio) e brani scelti da Opera Rara che hanno vinti parecchi premi, Der Rosenkavalier, tutte in collaborazione con tra cui il belga Prix Cecilia per la Rosmonda la Peter Moores Foundation.

John Graham-Hall as Don Basilio with Glyndebourne Festival Opera

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On session: On session:

Christopher Purves Cooper Bill Rebecca Evans Cooper Bill

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On session: On session:

William Dazeley Cooper Bill Yvonne Kenny Cooper Bill

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On session: On session:

Diana Montague Cooper Bill Graeme Danby and Cooper Bill Jonathan Veira

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On session: On session:

Frances McCafferty Cooper Bill John Graham-Hall Cooper Bill

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On session: On session:

Stuart Kale Cooper Bill Sarah Tynan Cooper Bill

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On session: On session;

Christopher Purves Cooper Bill David Parry Cooper Bill and Rebecca Evans

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COMPACT DISC ONE Figaro Figaro Susanna It will make a great sensation Why so unreasonable? Supposing one morning the Count were to call you, 1 Overture when the nuptial knot is tied. our sweet little Count were to call you. Act I Susanna Ding ding! Ding ding! Susanna and Figaro An incompletely furnished room, with an armchair I have reasons enough. And to send you a long way away. Yes, it is our wedding morning, in the middle. Figaro has a ruler in his hand, Ding ding! Dong dong! and to crown all the joy we are sharing Figaro Susanna is seated at a mirror, trying on a small, If he wants me he knows where to find me; he’ll your/my Susanna will be wearing Then why can’t you tell me what they are? flowered hat. be there behind me. such a beautiful hat for a bride. Susanna Duettino Figaro Figaro ’Cos I don’t want to! Stop bossing me around! Take care what you say. Figaro Susanna, you’re so clever. Figaro 2 Fifteen, sixteen, twenty, thirty, thirty-seven by What a beautiful hat for a bride. Susanna I can’t believe it. How can you look this gift forty-three. Then listen! Susanna horse in the mouth when it’s the best room in Susanna Susanna, I’m so clever. the palace? Figaro Oh, this hat is simply lovely, What a beautiful hat for a bride. I’m listening. everything a hat should be. Susanna Take a look, my darling Figaro. Recitative Because I’m Susanna and you’re a half-wit! Susanna If you want the story, I will wear it at the wedding. Susanna Figaro 3 then don’t be suspicious – it’s grossly unfair. Take a look, my darling Figaro, What on earth are you measuring, my darling Flattery will get you nowhere. But, Susanetta, see at my lovely new creation. Figaretto? if you can find a bedroom which is better. Figaro Figaro Figaro I do want the story: It will make a great sensation: I’m seeing if the bed that the Count said he’ll Duettino my nagging suspicions are too much to bear. everything a hat should be. give us would fit inside our beautiful new home. Figaro Recitative Susanna Susanna 4 Supposing one evening the Countess should Susanna Look, my love. You don’t mean this room? need you. 5 All right, shut up and listen. Ding ding! Ding ding! Figaro Figaro Then she won’t have to ring more than twice. Figaro Yes, I’ve seen it. And yes, it’s charming. Certainly, and it’s a very generous gift from his And then it might happen my master should I’m listening. Tell me the worst. Susanna lordship. want me. Susanna We will make a lovely couple Susanna Dong dong! Dong dong! Our noble Count, weary of chasing all the pretty when the nuptial knot is tied. You can sleep on your own then! I’d be there by his side in a trice. girls in the neighbourhood, has decided to try

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his luck just a bit nearer home. And it’s not with Susanna Now I’m beginning to see how you’ve planned it. Recitative his wife the Countess, more’s the pity. He’s lost And you imagine that it was thanks to your It’s all very simple when you start to understand it. his appetite for her. good looks that I got such a handsome dowry? We’re off to London, you as minister, me as Bartolo 8 messenger, But why did you wait till the day of the Figaro Figaro and my Susanna to succour and support you. wedding to appoint me your adviser? Well then, who is it? I hoped I had a hand in it. Well, if that’s what you’re up to, Figaro has Marcellina Susanna Susanna caught you! I’m very confident, dear doctor, you can break It’s your very own Susanna! Well, so did he, and soon he’ll want to get his Cavatina up any couple, even at the altar: all you need is a hands on me, to claim his feudal rights. Figaro Figaro pretext. I have one here. According to this What, you? Figaro 7 So, little master, you’re dressed to go dancing, contract he must pay back my money or else… Never! I thought he’d abolished that shameful dressed in your best to go strutting and prancing. Listen… Only Susanna stands in our way. We Susanna tradition. I’ll put an end to your fun pretty soon; must be certain that she continues to reject the Well, who else? And when he needs me he won’t you may go dancing but I’ll call the tune, yes, Count’s advances. He’ll want to get his own have far to wander. Susanna I’ll call the tune. back, so he’ll act in my favour and Figaro will Proximity makes the heart grow fonder. He regrets the abolition and now he’s keen to have to be my husband. reinstate it with me. If you want dancing, I’ll be your master; Figaro faster and faster, Bartolo Bravo! I get the picture. Figaro dance till you drop. Splendid, delighted to help. You will instruct Splendid! That’s perfect! So, Count Almaviva, Susanna You’ll see, you’ll see, be careful, Figaro, be careful! me; don’t omit any detail. you are looking for some fun? We can provide (aside) So much for all his charity and all his kindness, it… Who’s ringing? It’s your mistress. Stay under cover, then you’ll discover what he’s so attentive to our every need. I’d be delighted to fob him off with my old about. housemaid Marcellina, as revenge for robbing Susanna I will be cunning, slyly deceiving, Figaro No time for a farewell kiss, I must be running. me of my Rosina! Oh yes, I see. That’s charity indeed! cutting and running, ducking and weaving. Figaro He may be clever but he’s met his match. Aria Susanna Be brave, my dearest darling. I can undo any scheme he can hatch. Wait a bit, it gets better. Don Basilio, who Bartolo So, little master, you’re dressed to go dancing; 9 teaches me singing, acts as his agent, Susanna Now for vengeance, glorious vengeance! And you be cunning! dressed in your best to go strutting and prancing. Vengeance has the sweetest flavour, so instead of singing pretty phrases he only sings I’ll put an end to your fun pretty soon; his master’s praises. one that connoisseurs can savour. (Exit Susanna.) you may go dancing but I’ll call the tune, yes, He who lets a crime go unpunished is twice as Figaro Figaro I’ll call the tune. guilty and doubly base. What, Basilio? He’s disgusting! 6 Bravo, my lord and master! (Exit Figaro, enter Bartolo and Marcellina.) I will beat him, I’ll unseat him,

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I will fight him, I’ll defeat him. Susanna Susanna Cherubino Yes, I swear it, yes, I swear that I will beat him, I’d better go. Quantity… The Count! Yesterday he caught me alone with It won’t be easy, but I’m sure to win the case. Barbarina; he dismissed me on the spot, and if Marcellina Marcellina the Countess (my beautiful Countess) doesn’t I’d better stop her! Your status. With ingenuity and with acuity plead for my reinstatement then I am done for. I’ll study law and I’m happy to do it. Duettino Susanna Ah, never more to see my dear Susanna! If I can outwit him with some ambiguity, Your age! where there’s a will there must be a way. Marcellina Susanna I’m well respected, I’m Doctor Bartolo! 11 I bow to your grace – after you, I implore you. Marcellina Never more to see me? Typical! What about your That bastard Figaro, I’ll make him pay. Oh, this is unbearable! I’m bursting with rage! passion for the Countess? You used to worship Susanna her, used to revere her. (Exit Bartolo, enter Susanna.) But I know my place so I won’t go before you. Susanna You gaudy old parakeet, go back in your cage! Cherubino Recitative Marcellina Ah! If only I dared to come near her! You’re so Oh no, I implore you. (Exit Marcellina.) lucky, you see her whenever you want to: you Marcellina dress her in the morning, undress her in the 10 So all is not lost, I can still live in hope. If it isn’t Susanna Recitative No, no, after you. evening, always fiddling with her ribbons and Susanna! Let’s test the water… Pretend I haven’t Susanna her laces… Can’t we swap places? What’s that? seen her… So that’s the little jewel Figaro thinks Susanna and Marcellina 12 Good riddance, you old spinster, frustrated old Let me see it! he’ll marry! I know what is proper to say and to do. schoolmarm! Just because you taught my lady, Susanna don’t start thinking you can lord it over me. Susanna Marcellina Ah, that’s a ribbon from her favourite bonnet, What’s that she’s saying? The spotless madonna. (Enter Cherubino.) the one she goes to bed in. Marcellina Susanna Cherubino Cherubino (snatching the ribbon) You’d think he could do better, but you know The matron of honour. Oh, thank heavens it’s you. Oh, give it me, I beg you; give it for pity’s sake! the old proverb: ‘l’argent fait tout’. Susanna Marcellina Susanna Give it back! Susanna The Count’s little treasure. It’s me. What do you want? How dare you! Who would waste tuppence Cherubino (covering the ribbon with kisses) ha’penny on you! Susanna Cherubino O sweetest, o fairest, o most divine of ribbons! I The lady of pleasure. Ah, my darling, it’s appalling! Marcellina will wear it till the day I die! Well done! The fair Susanna – such an innocent Marcellina Susanna Susanna manner, so demure and so proper, so virginal… Your quality… Your darling? What’s the matter? That’s disgraceful behaviour!

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Cherubino All through the day I’m yearning, Count Susanna Now don’t be angry, I’ve something here for you: all through the night I’m burning. Just be patient. You know the King has What, and leave you alone here? a little song I’ve been writing. I sing to shadows, to seas and mountains, appointed me ambassador to London. I have Basilio (entering) to echoes, to fountains, decided Figaro will go with me. He will be with the Countess. I’ll go and find him. Susanna so all the world can share it. Well, what am I supposed to do with it? Susanna And then the breeze may bear it May I say something? Count into the wide unknown. I’ll hide behind the chair. Cherubino Count Read it to the Countess, read it to yourself, read And when there’s no one near me, Say it, my darling, for you must claim the rights Susanna it to Barbarina, to Marcellina – if every woman no, not a soul to hear me, which are yours today and always. Ask me, No, don’t do that! read it I’d be glad. I sing it all alone. compel me, command me. Count Susanna Recitative Susanna Quiet! Get rid of him quickly! Poor little Cherubino, have you gone mad? Cherubino (seeing the Count) What do you mean by rights? I don’t claim Susanna 14 them, I don’t want them, I don’t expect them. Aria Now I’m done for! I’m so unhappy! Oh no, it’s useless! Susanna Cherubino What’s the matter? Count (The Count hides behind the chair as Cherubino 13 I don’t know what it is that I’m feeling, Ah yes, Susanna, but I can make you happy! You runs round to hide in it; Susanna covers Cherubino why my brain and my senses are reeling; know how much I love you – at least I’m sure Cherubino.) every woman I see makes me tremble, It’s the Count! What shall I do? Basilio has told you. So listen: if you’d grant me Basilio makes me tremble with pleasure and pain. (Cherubino hides. Enter the Count.) a moment’s bliss in the garden later on this 15 Susanna, heaven bless you! I suppose you Speak of love and my heart is a-flutter, Count evening… you would see that I know how to be wouldn’t have seen the Count? say the word and I turn into butter. grateful. Susanna, you are looking rather nervous and Susanna Goaded by passion I’m driven to utter flustered. Basilio (offstage) And why should I have seen the Count? Sorry, words of longing I cannot explain. Susanna I think he’s just gone out. can’t help you. All through the day I’m yearning, My lord, I beg your pardon, but, if someone Count Basilio all through the night I’m burning; should see us – I beg you leave at once. Who’s that? Just a moment, it seems that Figaro wants to see I serenade the mountains, Count Susanna him. the trees, the glade, the fountains, I’ll leave when I’m ready. Listen. Oh heavens! so all the world can share it, Susanna and then the breeze may bear it Susanna Count (Oh heavens!) To see the man who hates him into the wide unknown. Why should I listen? Go out there – send them away! more than you do.

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Count Susanna Susanna Susanna (Let’s see if he betrays me.) (Whoever could have told him?) I am ruined, I am done for, Pure invention, pay no attention; I am faint with pain and fear! not a word of it is true; it is not true. Basilio Basilio Well, that’s a thing I’ve never heard before, that By the way, you should teach him to behave Count Count if you love someone’s wife you have to hate the more discreetly; that rather frank way he stares at Go and find him, the rascal! Find him, find the dirty rascal! husband. Which is to say his lordship loves you. her at meal times, devouring her completely. I Basilio and Count Susanna and Basilio hope the Count hasn’t noticed. You know what Susanna Ah, she’s fainted, the little darling, Ah, forgive him! he’s like: a tiger when he is roused… How vile to be the agent of another man’s lust! I this is more than her heart can bear; Count spit on your sermons, they mean nothing to me. Susanna feel it beating, it’s hardly there. Find him, find the dirty rascal! I don’t want the Count, I don’t want his love. You snake! Spreading gossip and inventing Basilio (approaching the armchair to sit her down Basilio iniquitous rumours! Susanna and Basilio in it) He’s a baby! Well, suit yourself then. No accounting for taste. Basilio Have this chair, you’ll feel much better. But I can’t believe that you’re any different from No, you misjudge me. I’m very strict with Count the others; when it comes to a lover you’d prefer rumours: I repeat what people are saying, I never Susanna He’s a baby? someone fine and aristocratic to some page boy embellish. Ah, where am I? That’s as maybe; but I know much more than you. in the attic! Ah, how dare you! He’s a baby; not as much as you might think. Count (emerging) Go away and let me be, Susanna Really? And what are people saying? oh go away and let me be! Susanna To Cherubino? Basilio Tell us! What? Basilio Basilio Oh heavenly! Do not worry, I will not hurt you, Basilio Yes, Cherubino, our little household Cupid. I What? Tell us? saw him here this morning, he was sniffing Susanna and your virtue is safe with me, round your doorway; very stupid. Oh hellish! yes, your virtue is safe with me. Count It happened yesterday. Barbarina’s door was Susanna Terzetto Count locked so I knock, then she opens it, blushing You’re disgusting, spying on all the servants! Do not worry, I won’t hurt you, Count rather sweetly; this arouses my suspicions, so I 16 It’s outrageous! Search the castle, do not worry, you’re safe with me, Basilio little darling, you’re safe with me. search the room completely. Then I gently raise I don’t think I’m disgusting, I’m just observant! find the rascal and bring him here. the cover from the table and then discover that And what about that love song? I wouldn’t want Basilio Basilio damned pageboy… to pry, but I’m your friend, I can keep a secret. My intrusion brought confusion, Cherubino’s reputation, (discovering Cherubino) Was it for you or for my lady? I’m not wanted, I’ll disappear. merely gossip and speculation. I don’t believe it!

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Susanna Count Basilio Count Heavens, how frightful! One moment. Why so fearless? You’re plainly Be careful, someone’s coming. Those rights have been abolished, as well you guilty, so let’s hear your excuses. know. Basilio Count (pulling Cherubino out of the armchair) Ah, how delightful! Susanna And you, you little snake – I’ll deal with you later! Figaro Virtue like mine needs no excuses. Count (Enter Figaro and vassals.) And we are the first to reap the fruit of your Oh, the virtuous Susanna! Count enlightened position. To celebrate the passing of Chorus But how long had he been here? this tradition, will you present this white and Susanna Vassals spotless garment? It was made to adorn the pure Susanna It’s the worst that could have happened. 18 Praise and adore him, bow down before him, Susanna, as a symbol of her virtue and of her He was already here when you entered; he’d mighty and merciful, our noble lord. honour. Count come to beg me to intercede with my lady on his He has protected, he has respected Now I see that it was true. behalf. He was alarmed by your sudden Count this fairest flower of all womankind. intrusion so he hid by the chair in his confusion. (He’s cunning as the devil! I can hardly refuse). Susanna Honour and virtue sweetly combined. I’m very grateful for this thoughtful gesture, but God in heav’n, what shall I do? Count Praise and adore him, bow down before him. I’m hardly worthy to receive such an honour. It’s the worst that could have happened. But I sat in the chair as soon as I came in! Most wise and merciful, our noble lord! When I abolished that shameful tradition I was Basilio Cherubino Recitative and Chorus merely restoring natural order. That’s the way with pretty women, I ran round the back and hid behind it. All her behaviour’s nothing new. Count (to Figaro) Count 19 So what is all this nonsense? God bless you, God bless you, God bless you! Count And when I went behind it? Susanna Now I see that it was true. Figaro (aside, to Susanna) Cherubino What restraint! Oh, the virtuous Susanna! Here’s where the fun starts. Think quickly, my Then I ran round the front and hid inside it. Susanna. Figaro Recitative Count Susanna And what virtue! Count My God! He’s heard every word of our We haven’t a hope. Count 17 Basilio, run and tell Figaro to come here. conversation! Figaro As I have promised I’ll perform the marriage (indicating Cherubino) Cherubino My lord, in our own humble way we bring a ceremony, but first let me crave your indulgence: I want him to see this. I tried to hear as little as possible. fitting tribute to your enlightened attitude; we give me time to gather my faithful subjects, so Susanna Count wish to express our gratitude for not enforcing our jubilation and your joy will be all the greater. And I want him to hear this; go quickly! I bet you did! the rights of long ago. (I must find Marcellina.) My friends, till later.

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Vassals Cherubino (softly, to Cherubino) and the bullets will be humming 20 Praise and adore him, bow down before him. Your lordship, please forgive me. (I need a word with you before you go.) all around your pretty head. Mighty and merciful, our noble lord. Farewell, dear little Cherubino. Say goodbye to Count Here’s an end to airs and graces, He has protected, he has respected the past, look to the future! You don’t deserve it. pretty hats, pretty laces. This fairest flower of all womankind. Aria Here’s an end to perfection, Honour and virtue sweetly combined. Susanna to your face, your girlish complexion. Praise and adore him, bow down before him, He is only a baby. Figaro Most wise and merciful, our noble lord. 22 Here’s an end to your life as a rover, You may live to tell the story Count here’s an end to the young Casanova. and I rather hope you do, (Exeunt vassals.) Well, he’s growing up fast. It was fun for a while, but it’s over; for it’s off to death and glory, Recitative Cherubino we will soon wipe the smile off your face. it’s a soldier’s life for you. I’ve behaved very badly; but I can keep a Figaro Here’s an end to our proud little peacock, secret… COMPACT DISC TWO 21 God bless you! scrubbed and powdered and primped to Count perfection. Act II Susanna All right, I will pardon you – and I will go one Here’s an end to your girlish complexion, A luxurious room with san alcove and three doors God bless you! better: there is a vacancy for an officer in my to your ribbons and satins and lace. Basilio regiment. You’ve got the job, congratulations, We will soon wipe the smile off your face. Cavatina God bless you! leave at once! Here’s an end to airs and graces, pretty laces, Countess your perfection, your girlish complexion. 1 Figaro (to Cherubino) Susanna and Figaro Hear my prayer, humbly I beg you, Why aren’t you joining in? Please let him stay today! Off you go to join the fighting! soothe my sorrow, my lonely sigh. You may find it quite exciting. Oh, may his love be reawakened, Susanna Count Wearing armour may not suit you, or, forsaken, let me die. He doesn’t feel like singing because the Count Those are my orders! but it’s handy when they shoot you. Hear my prayer, I humbly beg you, has dismissed him. All around you the battle rages; Cherubino soothe my sorrow, heed my cry. Figaro My lord and master speaks, and I obey. think of fame, not of the wages. What? Today of all days! Not your usual exertions Recitative Count but alarums and excursions. Susanna For the very last time you may kiss your Countess After twenty days of marching On the day of our wedding! Susanna. (Well, that was rather brilliant!) 2 Come here, dear Susanna, and finish your story. you will wish that you were dead, Figaro Figaro and all the trumpeting and drumming Susanna When the world is rejoicing! Hey, gallant soldier, one final embrace. means the enemy is coming, No more to tell you.

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Countess Countess Figaro Figaro But he tried to seduce you. Possible? So much the better. And then… I’ll put an end to your fun pretty soon; Susanna Susanna Susanna you may go dancing No, not exactly; he wouldn’t waste compliments Natural? But we still have to deal with Marcellina. but I’ll call the tune, yes, I’ll call the tune. on a girl of my position. It was more a financial Figaro Figaro proposition. (Exit Figaro.) Perfectly natural! And if Susanna wants it, I want you to tell his lordship that this evening Countess perfectly possible. he’s to meet you in the garden; and little Countess You see, he no longer loves me. Cherubino, if he’s taken my advice he won’t have 3 How it grieves me, Susanna, to think that Susanna left yet. We’ll dress him as a woman, then he can Cherubino heard all that nonsense my husband Susanna Will you get to the point. take your place in the garden; the Monsieur will has told you. Ah, you can’t know… Why didn’t Then why on earth is he jealous? Figaro relent – he’ll have to, of course, for when Cherubino come to me for protection? Where’s Countess This is the point. When he goes off to London, Madama finds him in the grounds she’ll have the song he gave you? That is the way with all modern husbands – he’ll take me as his courier and my Susanna as grounds for divorce. Susanna they’re unfaithful on principle, by nature his personal assistant for his personal enjoyment. Countess Here it is. As soon as he comes in let’s make him capricious. It’s only pride that makes them all And when Susanna refuses this offer of What d’you think? sing it. Quiet, someone’s coming. It’s him! jealous. But if Figaro loves you, then he’s the one employment, then he’ll threaten to support (Cherubino enters.) to… Marcellina. That is all there is to say. Susanna Look who it is, it’s our handsome young officer! It might work. (Enter Figaro.) Susanna Cherubino Countess Figaro How can you take the whole thing so lightly? It’s Ah, do not call me by that hateful title. It just It’s very risky… La la la la la… a serious matter. reminds me that I am forced to leave her, my Susanna Countess Almaviva. Susanna Figaro If we can convince him… but we must hurry. Here he is. Come and help us. My lady is anxious. I may be joking, but I’m taking it seriously. Susanna Here’s how I’ve planned it: I’m going to send the Figaro Isn’t she lovely? Figaro Count an anonymous letter (via Don Basilio), His lordship’s out hunting, and won’t be back for Cherubino No need to worry, it’s all going smoothly and informing him of a secret assignation, that an hour or two. I’m off now; I’ll send Cherubino Ah yes, she is! this is the position: it seems that his lordship has tonight while we’re feasting you’ll be meeting a straight to you. When he comes you can dress intentions towards my Susanna; with cunning Susanna (mocking him) lover. him at your leisure. and with duplicity he hopes to reinstate his Ah yes, she is! You great hypocrite! Remember traditional rights. The whole thing’s very possible Countess Countess the song you gave me this morning? Sing it to and very natural. Oh no, you mustn’t! You know he’s so jealous! And then? the Countess.

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Countess Recitative Cherubino Splendid! That fits the bill! Tell me who wrote it. My commission. (While Susanna is dressing his hair, Cherubino Countess regards the Countess tenderly.) Susanna 5 Bravo, your voice is lovely! I never knew that Countess Why can’t you keep you eyes on me? He did. And he’s so modest – look, he’s blushing you could sing so sweetly. Well, they don’t waste much time! Stop looking over there. like a schoolgirl. Susanna Cherubino You know it’s rude to stare. Countess Oh, he’s so good at anything he chooses to do. It was sent via Basilio. (Continuing to dress his hair, Susanna places the Take my guitar, Susanna, and play it with him. Come along, handsome soldier – has Figaro bonnet on him.) Countess explained? Stop fidgeting; why can’t you try to concentrate? Cherubino In their hurry they’ve forgotten to seal it. Stop looking over there. But will my lady accept this humble gift I’m Cherubino Susanna (returning) Try not to fidget, let’s have a look at you. bringing? Yes, he’s explained. Forgotten to seal what? Please concentrate – thank you. Susanna Susanna We’ll do this up more neatly… Countess Of course she will, of course; stop talking and Then let me have a look; oh yes, that’s perfect, Now drop your eyes discreetly… His commission. start singing. you’re the same height as me. Take your coat off. Now try and smile more sweetly. Susanna You’ll spoil it all completely Arietta Countess They don’t waste much time! Here is your bonnet. with that ungracious frown. What are you doing? Cherubino Countess Let’s have you on your feet, please; 4 Tell me what love is; what can it be? Susanna Quickly now, at the double! If the Count were try walking up and down. What is this yearning burning in me? Don’t be nervous. to see us then there’d be trouble! He’s really rather charming Can I survive it, will I endure? he’s thoroughly disarming. This is my sickness; is there a cure? Countess Aria A little bit unsteady, First this obsession seizing my brain, But someone might come in. Susanna but loving it already. 6 If all the women fall for him, starting in passion, ending in pain; Susanna Kneel down and let me look at you – I see the reason why. I start to shiver, then I’m on fire, Let them. It’s not illegal. I’ll just lock the door. (Susanna takes Cherubino and makes him kneel a He’s got a certain something you can’t deny; then I’m a-quiver with seething desire. What on earth shall we do with his hair? slight distance from the Countess, who has seated Who knows the secret, who holds the key? herself.) all women seem to love him and I see why, I long for something – what can it be? Countess for Heaven’s sake keep still. I see the reason why. My brain is reeling; I wonder why. Fetch me a bonnet from my dressing room, Stop wriggling, stop giggling; Recitative And then the feeling I’m going to die. quickly! be quiet and keep still. By day it haunts me, haunts me by night, (Susanna goes to fetch a bonnet.) (She combs his hair.) Countess this tender torment tinged with delight. What is that paper? Now let me take a look at you. 7 Enough of this nonsense!

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Susanna Countess Countess (much moved) (Cherubino hides.) It may be nonsense, but it’s making me jealous! Can’t you ever be serious? Go into my dressing You’re crying… Countess You little monkey, how dare you be so pretty? room. On the little desk you’ll find a bandage. Cherubino Father in Heaven, please protect me! It’s outrageous! As for this ribbon, who knows… I like the Oh God! I wish that I was dying! As I colour, I’d be sorry to part with it. She unlocks the door to admit the Count, who enters. Countess approached my final moment, you’d bend down That’s quite enough of that… Susanna and you’d kiss me. Count The bandage. But how shall we tie it up? 8 What does this mean? It was never your custom Now, will you help me roll up his sleeves past Countess (drying his eyes with a handkerchief) to lock yourself in your bedroom. the elbow. That way the dress will sit more Countess Don’t be silly – you know this is madness. Who’s comfortably on his shoulders. Another ribbon; bring it here. Oh yes, and bring knocking at the door? Countess my dress. That’s true… but I was… yes, I was in here Susanna (doing so) Count (outside) trying… This way. Cherubino Why is this locked? No! With that one it’ll heal all the quicker. Count Countess Countess Trying what? No, higher, like this. Countess It’s my husband – God help us! He’ll kill me, (discovering a ribbon tied around Cherubino’s arm) But why? This one is better. and you, without your breeches – just look at Countess Now what’s this ribbon? Cherubino you! He will have read the letter, and he can be Trying clothes on; trying clothes on with so jealous… Susanna. She’s gone back to her room. Susanna Yes, but a ribbon which has touched the hair, or The one he stole from me. even touched the flesh of someone… Count Count Countess (interrupting him) Why are you waiting? Nevertheless, you seem to be distracted. I’ve just Countess Someone else, then it heals you straight away? received this letter. But it’s blood-stained. Countess Does it really? Well, you learn something new I’m alone… Yes, alone. Countess every day! Cherubino Heavens! The letter that Figaro wrote him. Count It’s blood-stained? But how can that be? Oh, I Cherubino To whom were you speaking? (Cherubino knocks something over.) remember… Yes, of course; I slipped and fell How can you tease me? You know I have to leave and cut myself, so I bandaged the wound with you. Countess Count this ribbon. Countess To you, only to you. What’s making that noise? I could have sworn something fell over. Susanna Who’s a poor wounded soldier! Cherubino Just show me. You’ll survive! Amazing, his arm’s Cherubino After all that has happened he’ll be furious, and Countess even whiter than mine. It’s just like a girl’s! I’m so unhappy! certain to suspect me. I didn’t hear anything.

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Count Count Count Countess Because you’ve got something else on your mind. Well, that’s as may be, and as she’s in there let’s Susanna! My lord, we must be careful; see her. a scandal is unthinkable, it must not be allowed. Countess Countess Like what? (Susanna enters and hides.) Be sensible! Count Terzetto My lady, do be careful; Count Count a scandal is unthinkable, it must not be allowed. Somebody’s in there! Count Come out this minute! 9 Susanna Countess Come out of there, Susanna! Countess Come out of there, I say! There’s bound to be a scandal – And who might that be? I beg you! it’s sure to happen now. Countess Count Count There’s bound to be a scandal: She can’t come out, believe me, I’m asking you; I’ve only just arrived. This minute! a terrible catastrophe is sure to happen now. she can’t do what you say. Countess Countess Recitative Susanna Oh yes, Susanna… Susanna… Be sensible! But where is Cherubino? Count 10 So you’re proposing not to open it? Count How did he get away? Count Come out, I say! Who’s gone back, or so you said, to her own room. Count Countess How dare you even ask me to open the door? Countess You dare to contradict me? Why? Countess Why should the girl obey? To her room, or mine, I can’t remember. Countess Count Her manners Count Well, suit yourself. Why waste time with keys? Count Come quickly? Susanna? So why this over-anxious manner? shame your own: Give me at least an answer, She’s trying on her wedding dress, yes, speak to me Susanna. Countess What’s this? How dare you impugn the honour Countess she needs to be alone. Countess of a lady? That’s your imagination. Count No, no, I say you’re not to; Count Her lover’s in there hiding, I order you, be silent! Count You’re right. Excuse me; any noise of disturbance I may be wrong, but you looked all hot and oh yes, I should have known. Count bothered. will provoke all sorts of gossip among the Countess My lady, do be careful. servants. But don’t you worry, I’ll do it single Countess An uglier situation I’ve never ever known. Susanna handed. You will wait for me here, but before I Normally it’s you who gets all hot and bothered Susanna There’s bound to be a scandal; go I’ll make absolutely sure. I think I’ll lock over Susanna! A trickier situation I’ve never ever known. a terrible catastrophe is sure to happen now! every single door.

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(The Count does so.) Cherubino (Cherubino jumps.) Countess I mustn’t meet the master. Oh God, Cherubino! No, someone else altogether, someone who Countess (aside) could never give you cause for concern. You see, What behaviour! Susanna Recitative for this evening we were trying out a game – a Yes, that would be disaster. Count Susanna charade – and I swear nothing immodest, Would you condescend to come with me, my Cherubino 12 Look at the little devil! How he’s running, nothing bad, nothing wrong… lady? Will you do me the honour? Here’s my There’s only one solution: I’ll jump into the disappearing in the distance. Right, no time for Count arm. garden. me to waste. He’ll be back here any minute, Who is it? Tell me, I will kill him! Countess Susanna and when he comes into the room guess who’ll Countess Here’s mine. You’ll only break your ankle – don’t do it! be in it! Please listen! (What can I say?) Come back for pity’s sake. Count (indicating the dressing room) (Enter the Count and Countess. The Count brings Count Don’t you worry about Susanna; she’ll be fine. Cherubino a hammer and a crow-bar. He examines all the You’ll tell me. I mustn’t meet the master. doors.) (Exit the Count and Countess.) Countess Susanna Count Duettino He’s just a boy. Don’t do it, Cherubino! 13 Everything as I left it. For the last time, will you Susanna open it or shall I? Count Cherubino 11 Don’t worry, Cherubino, (He prepares to force open the door.) Just a boy? That would be a disaster. it’s only me, Susanna. Countess Don’t worry, but hurry, yes hurry. Countess Susanna Wait a minute and allow me to speak. Do you Yes. Cherubino. We’ll get you out of here. It’s far too high to risk it – think I’ve betrayed you? Do you think I’ve been Count come back, for pity’s sake! Cherubino lying? (Why is it my misfortune to bump into that boy I’m absolutely petrified, at every turning?) Really? He hasn’t gone yet? Cherubino Count I’m paralysed with fear. He’s disobeyed me? Now the light starts to Let me go! Let me go! Just as you wish, when I can look inside and see dawn, I can see things much better. Now I Susanna For my lady I would jump from even higher – the truth for myself. Oh dear, the doors are locked and bolted, I’d even jump through fire. understand the meaning of that letter. oh dear, we’ll never ever get you out of here. I’m ready, this is goodbye. Countess Finale Yes, you can see, but you must be prepared. Cherubino Susanna Count The doors are locked and bolted, You’ll only break your ankle – ah! what a way to Count 14 Out you come, you vile seducer, oh dear, you’ll never ever get me out of here. die! So it isn’t Susanna? wretched boy, come out of there!

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Countess Countess Count Count Do not hurt him, I beseech you; He has done nothing! He has dared to stain my honour, It can’t be! I hardly believe what I see. he is innocent, I swear. he has dared to debase my noble name. Count Countess (aside) This is more than I can bear. Now I know you… Bring the key here! Susanna was in there, but how could that be? Count Countess Susanna (aside) Yet again you dare refuse me! Countess No, you wrong me. He has done nothing. They simply refuse to believe what they see. Countess Count Count Will you hear me? Count And you are shameless! I know nothing! Wanton woman, get you hence – Who’s with you? Count Countess don’t compound your foul offence. Susanna Well, I’m waiting! I am blameless! Must you denigrate my name? There’s no one, but do go and see. Countess Must you cover me with shame? Count Count Well, it might arouse suspicion, groundless I will kill him! Countess There’s someone, he’s in there; where else could suspicion, He has dared to stain my honour, Husband… yes… but… he be? when you see him in this condition, he has dared to debase my noble name. all dishevelled, with his hair down… Count Countess (The Count goes to look for himself.) No, it’s useless. Count Jealous rage has fired his passion, Countess All dishevelled, with his hair down? Countess full of anger and of shame. 16 I cannot believe it – Susanna, where is he? Do continue! But… (Susanna emerges.) Susanna Countess Count Count He jumped from the window and managed to He was wearing women’s clothing… No excuses. Susanna! flee. Count Countess Count (comes out of the dressing room in confusion) I have always thought you shameless, Countess I am blameless! Susanna! I don’t understand it – but how could you stoop so low? I hardly believe it – Susanna Countess Count if I have offended, forgive me, I beg you. 15 You called, sir? I protest that I am blameless, Your face betrays you! I will kill him! Your joke was a cruel one, You seem quite appalled, sir. you are wrong to doubt me so! though you’ve had your fun. Countess (ironically) Count Jealous rage has fired his passion, The guilty offender has come to surrender; Susanna and Countess Bring the key here! full of anger and of shame. It’s not Cherubino, it’s just little me. How can we forgive you the wrong you have done?

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Count Count Count Count and Countess I love you! I’m sorry I hurt you, The traitors, I’ll teach them. This bitter experience may teach us to love one made light of your virtue. another again. Countess Countess and Susanna Ah, forgive me, my lady, We will learn to love each other again. Don’t say that! The way you’ve behaved you can hardly complain. and love me again. (Enter Figaro.) Count Forgive me and love me again. Count I swear it! I’m sure you’ll forgive me, my darling Rosina. Figaro Susanna Let’s hope no resentment, no anger remains. 17 The wedding procession is ready and waiting. Countess He’s sorry he hurt you, You hear the musicians How can you? You called me unfaithful, you made light of your virtue, Countess so with your permission doubted my honour. forgive him, my lady, You see, my Susanna, I’m so tender-hearted, we’ll follow our friends who await us to fête us and love him again. Is this the reward we deserve for our pains? and dance at our wedding, our glorious day. Count Forgive him and love him again. Come help me, Susanna, to steady her nerve. Susanna So with your permission we’ll hurry away. Countess They always get round us, so much for our Susanna Count So cruel! So cruel to laugh at my sorrow, to freedom; Mistrust and suspicion is all we deserve. There’s no need to hurry. laugh at my pain. there’s always a man who is holding the reins. Countess Ah, now you laugh at my pain. So much for our freedom, so much for our Figaro freedom; They’re getting impatient. Was ever a woman more wrongly accused? Count Was ever a heart more disdainfully used? we think we are free but we’re always in chains. You swore he was in there. Count Count There’s no need to worry; Count Countess Please look at me. before you rush off I have something to say. Come help me, Susanna, she’s rather confused. But only to test you. Countess Susanna, Countess and Figaro Susanna Count Ungrateful! Who knows what will happen, or what he will A husband who’s jealous cannot be excused. So why were you panicking? My lady… say? Count Countess Please look at me, I wronged you; and I’m sorry. Count Count To trick you, to tease you. Rosina! There’re one or two cards that I still have to play. Susanna Count Countess This bitter experience may teach them to love Count Well, whose was that letter then? Rosina? No, not any longer. one another again. Let me try to jog your memory. For now you neglect me, despise and reject me, Countess and Susanna They will love one another again, (shows him the letter) delight in my misery and laugh at my pain. Invented by Figaro and sent by Basilio. they will learn to love each other again. Have you seen this note before?

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Figaro (pretending to examine it) Count Heed my pleading, I implore you, be some of which I would rather not mention. Never seen it. There’s no point in your denying – compassionate I pray. But it didn’t escape my attention you may think you’re good at lying, When a man came a-tumbling down. Susanna Susanna but your face gives you away. Never seen it? Heed our pleading, I implore you, be Count Figaro compassionate I pray. From the window? Figaro Then appearances deceive you. No! Countess Antonio Countess and Susanna Heed their pleading, I implore you, be On top of my hydrangea. Susanna, Countess and Count If you lie he won’t believe you; compassionate I pray. Never seen it? he knows all about the letter, Count Count there is nothing you can say. Into the garden? Figaro Where the hell is Marcellina? What is keeping No! Count her away? Antonio You deny it? Yes! Susanna (Enter Antonio with a pot of trampled geraniums.) But you gave it to Basilio… Figaro Countess and Susanna (to Figaro) Countess I’ll stay quiet. Antonio Now we’re in danger! To deliver… 18 Oh, my lord! My lord! Count Count Count What’s the answer? Count What is happening? You remember? What do you want? Figaro Countess, Susanna and Figaro (aside) Figaro What’s the question? Antonio Who knows what will happen? Afraid I don’t. Bloody man, bloody nerve, bloody cheek! (aloud ) Susanna and Countess Why on earth is this drunkard in here? Susanna Can’t you see the fun has ended Count, Countess, Susanna and Figaro The disguise for Cherubino… and the curtain has descended? What is this, what has happened? Count When there’s nothing more to say, Antonio Where’s the man who fell into the garden? Countess it’s the end of any play. And the meeting in the garden… Won’t you listen? Antonio Figaro Count, Countess, Susanna and Figaro Buggered off, that’s begging your pardon, like a Count But a play should end in jollity, You mind how you speak! shot and he got clean away. You can tell me. in theatrical tradition; Figaro so you’ll grant us your permission Antonio Susanna (to Figaro) Afraid I can’t. to enjoy our wedding day. You chuck all kinds of stuff out the window, Cherubino…

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Figaro (to Susanna) Count Figaro Countess and Susanna (aside) I know, ’cos I saw him. Pray continue. You saw what he looked like? Well, you always look small when you fall. What on earth can we do? (laughing aloud ) Antonio Antonio Count (to Figaro) Ha, ha, ha, ha! No, I didn’t. Well, I never! It was you? Count Susanna and Countess Countess and Susanna (aside) Figaro That will do! Look out, Figaro, listen! Will he never stop talking? Yes, it’s true. Antonio Count (to Antonio) Count What’s so funny? Figaro (to Antonio) You’re boring us rigid for hours, What do you think? Tell me why. for the sake of a few tatty flowers. Count Antonio Figaro And I don’t see why I should deny it, That will do! Well, it looked like the page boy. I was scared… that the man in the window was me. Count Antonio Count Scared of what? What’s so funny? Count Cherubino? What? You’re joking! Figaro Figaro Countess and Susanna (aside) I was in there – I was waiting for my Susanetta, We can hardly believe what you say Countess and Susanna (aside) Cherubino, now we’re done for! when you’re drunk as a skunk every day. Now that was ingenious. and I heard these peculiar noises… Figaro (ironically) You were shouting – I thought of that letter… Count Figaro Cherubino? Yes, that’s brilliant. so I jumped full of fear and confusion; Tell me slowly, tell me everything: he jumped No I’m not. He rode back from Seville like the clappers; when I landed I twisted my knee. from the window? he rode back from Seville, but of course! (He pretends that he is hurt.) Antonio Antonio It was you, then? Antonio Antonio From the window. No, the bloke who fell down wasn’t riding, Well then, these are your papers. You dropped Figaro ’cos I’m sure I’d have noticed the horse. them in the garden. Count Yes, why not? Count Count To the garden? Count Give me patience! Aha! Give them to me! Antonio It’s hard to believe it. Countess and Susanna (aside) Figaro To the garden. Antonio Give us strength! Now he’s cornered me. Countess, Susanna and Figaro Then explain why you seem to be taller. Count Countess and Susanna (softly, to Figaro) Can’t you tell, can’t you smell, he’s been drinking? When you jumped you were nowhere as tall. Enough of this nonsense! You must be careful, crafty and careful!

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Count Countess (to Susanna) Figaro let me listen to your plea. Then you’ll know what these papers might be? Oh God, Cherubino’s commission! When it’s signed it is usual to seal it. I will act as referee. Figaro Susanna (to Figaro) Count (aside) Marcellina Just a moment – these papers, let me see… Cherubino’s commission! Once again he has slipped through my clutches. This man signed a binding contract joining both of us in marriage. Count Susanna and Countess (aside) Antonio I have come to claim the forfeit I’m waiting… If my nerve can survive such a nightmare, It is probably a list of his creditors. or the promise made to me. I will never be frightened again. Figaro Figaro Countess, Susanna and Figaro I’m so stupid, I’d forgotten. Figaro No, your bills from the boozer. Forfeit? Promise? It’s just the commission; I will always know how to outwit him, Count (to Figaro) Cherubino had left it with me. he is storming and stamping in vain. Count I’m waiting. Enough, be silent! The decision rests with me. (to Antonio) Count Count That’s enough from you. Why was that, then? He will drive me insane. Bartolo I have come as her adviser, Figaro (confused) (Enter Marcellina, Basilio and Bartolo) Countess, Susanna and Figaro as her counsel and supporter. It needed… Off with you and leave us! Marcellina, Basilio and Bartolo All the papers are in order, Count 19 Noble lord, we come for justice, as I’m sure you will agree. Antonio It needed? will you listen to our plea? I will go, but if ever I catch you… Countess, Susanna and Figaro Countess (to Susanna) Count (aside) It’s outrageous! Count, Countess and Susanna Needed sealing. They have come here to work my vengeance. Count Off with you! Ah, what a comfort they are to me. Susanna (to Figaro) Enough! Be silent! The decision rests with me. Figaro Countess, Figaro and Susanna Needed sealing. Basilio Run along, I’m not frightened of you. They have come for retribution; As a man of reputation Count what solution can there be? Count, Countess and Susanna Do tell me. I come to join the deputation Off with you, and don’t come back! Figaro for the proper compensation Figaro Have you noticed rogues and half-wits in the payment of a fee. (Exit Antonio) Well, it’s usual… always come in groups of three? Countess, Susanna and Figaro Count Count Count This is madness, it’s complete and utter Well then? Now don’t be embarrassed! Hold your tongue and let me hear them; madness!

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Count insulted her, her self-respect would never allow Count Susanna Enough! Be silent! it. And then my honour, my reputation, where What do you want? I thought that it was settled. Let me take a look at the contract… is it now? Gone to damnation! Susanna Count Yes, it all seems in order to me. Countess (entering with Susanna, and keeping out Your lordship’s looking angry. Yes, if you’d agreed to my little proposition. Countess, Susanna and Figaro of sight) Count Susanna Rage and sorrow and vexation, 2 Don’t be afraid! Tell him to wait for you in the Just tell me what you want. To please your lordship is my duty and my driving me to desperation. garden. desire. I have no higher ambition. They have plotted with the devil, Susanna Count bringing sadness to my heart. It’s just… it’s just my lady, she’s got a slight Duet I must know if Cherubino really went to Seville. headache and she sent me to ask you for her Marcellina, Basilio, Count and Bartolo I’ll send Basilio to find out the truth. Count smelling salts. What an ending to the story, 3 How could you be so cruel, making me suffer so? Susanna now we smell the scent of glory. Count You were so cruel, making me suffer so. My lady, if Figaro… God in Heaven has smiled upon us, Here, take them. Susanna bringing gladness to my heart. Countess Susanna A girl needs time to ponder, should it be yes or Don’t breathe a word to Figaro; leave it to me, I I will return them. no? COMPACT DISC THREE will go in your place. Count Count Count Act III Er, no, for maybe you will need them for yourself. Then you’ll be there this evening? A richly decorated hall prepared for a wedding By this evening Basilio should be back. Susanna Susanna festivity, with two thrones Susanna What, me? Women of my class don’t suffer from You speak and I obey. My lady, I dare not! Recitative headaches! Count Count (walking up and down) Countess Count Swear you’ll be there to meet me. 1 This is very perplexing! That anonymous letter, Remember, my peace of mind depends on you. Not even if they lose their fiancé on the day of then Susanna locked inside the dressing room, their wedding? Susanna Count How could I stay away? my wife getting flustered, a man who jumps What of Susanna? Who knows, maybe she’s from the window to the garden, and then Susanna already let the cat out of the bag. If she’s We’ll pay off Marcellina with the dowry which Count another, who claims he was the first one. I don’t betrayed me, I’ll make him marry that old hag. You’ll meet me? know what to think. Or could it be that another you so kindly promised. of my lackeys has got ideas above his station? Susanna Count Susanna Worst of all, the Countess; I doubted her, I Marcellina! My lord! Which I promised? Really? Yes!

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Count Susanna How could he? He’s got no money. And then Cherubino You will not cheat me? You should have known it was a trick, so that we Antonio won’t allow his beloved niece Susanna Ah, but the Count thinks I’m in Seville, in the Susanna could be alone. to marry such a nobody as Figaro. I will work army. If he finds that I’m still here, he’ll go barmy. on Antonio and swell his bloated pride. It will No! Count Barbarina work in my favour. I have decided. Count You’re wonderful! Oh, don’t be such a spoilsport! If he finds you 7 Must I be made to suffer with a girl, it won’t be the first time. Listen… You will not cheat me? Susanna while servants take their pleasure? We’re all getting dressed up for the wedding; you Susanna Someone’s coming! He dares to steal my treasure, I will be there; you speak and I obey. could come in disguise and join us giving flowers Count she should be mine by right. to the Countess. I’ll show you how it’s done; Count She will be mine! Must passion still torment me, come on, it’ll be fun. With passion I am dying; must I stand by and bless her? feel how my heart is aflame. Susanna Must Figaro possess her, (Exit Barbarina and Cherubino. You shouldn’t count your chickens before they’re Enter the Countess.) Susanna caress her in my sight? hatched! I see no harm in lying, you have to play the game. Must this be so? Recitative and Aria Ah, no, I will not spare you, A tiny little lie is no cause for shame. Figaro (entering) Countess 5 I’ll teach you to betray me! Hey, Susanna, how’s it going? 9 And Susanna’s not here; I’m so anxious to Recitative Impudent slave, how dare you! discover if the Count accepted her proposal. Susanna Is this how you repay me? Count Perhaps our project is a little too rash when I’ve 4 Quiet! We don’t need a lawyer, you’ve won the You have the gall But I don’t understand: this morning you were a husband so impetuous and jealous. But case already! to laugh at me in my unhappy plight. so distant. where’s the harm? That I should change my Only the thought of vengeance Susanna Figaro clothes and wear instead Susanna’s while she for all the grief you cause me The page boy could have heard us. What has happened? wears mine, under cover of darkness… Oh, consoles me and restores me, heaven! So these are the mis’rable depths I am Count Exeunt Figaro and Susanna. and fills me with delight. reduced to by a husband’s neglect. What an What of Basilio? You can always talk to him. Recitative and Aria (Exit Count, enter Barbarina and Cherubino.) unpredictable mixture of passions rages in his Susanna Count Recitative heart: he is disdainful, he’s jealous – first he Do you think that we need a Basilio? 6 ‘You’ve won the case already.’ What does that Barbarina woos me, then rejects me, and then betrays me. Count mean? They are out to deceive me. Treachery! 8 Come on, come on, Cherubino; I’ve got a Ah, he has forced me to conspire with servants. You’re right: and you have given your word. But I’ll teach them to presume to attack me. They secret: all of the prettiest girls in the palace are 10 I remember his love so tender, if you disappoint me… What of the Countess? shall be punished; I’ll enjoy passing sentence. gathering in my house. But, frankly, very few are all those sweet lies I longed to hear. She’s waiting for her smelling salts. What if he’s managed to pay off Marcellina? prettier than you are. Yes, he loved me, but, ah, how quickly

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so much love can disappear. Bartolo Marcellina Bartolo But my faith was my undoing, What a wonderful sentence! Kidnapped? Kidnapped by gypsies? and my joy has turned to woe; Figaro Bartolo Figaro still I can’t forget his wooing Wonderful for whom? Can you prove it? Yes, near a castle. and the love of long ago. Oh, I hope my love will save me Bartolo Curzio Bartolo from this wilderness of pain, Punishment and repentance! And prove it legally? This is your mother. and the tender love he gave me Figaro will be made to live again. Figaro Figaro She’ll never be my wife. The gold and jewels, and rich embroidered My wet nurse? I remember how he would love me, garments which were found in my cradle and may his passion live again. Bartolo were taken by the gypsies. All this is proof Bartolo (Exit the Countess.) Oh, yes, she will. enough of my noble birth. But most important, No, your mother. I have a hieroglyph upon my arm… Curzio Curzio Count and Curzio You must pay her or marry her. Those are the His mother? 11 The case is decided; he must pay her or marry Marcellina terms on which she lent you all the money. Not a mark stamped on your right arm? her. That is the verdict. Figaro Figaro Figaro Marcellina I can’t believe it! I’m a patrician; I may not be married without Who told you that? What a relief! my parents’ permission. Marcellina Marcellina This is your father. Figaro Count Oh heavens! It’s him then! What a nightmare. But where are they? Do we know them? Figaro Sextet Marcellina Figaro Well yes, it’s me… Marcellina (embracing Figaro) At last the man I love will be my husband. 12 To be honest, I’m still searching. Give me ten Curzio Darling boy, let me embrace you. Figaro years or so, then I will have found them. Who? Oh, what joy that we’re together. I appeal to your lordship… Bartolo Count Figaro (to Bartolo) Count You mean you were a foundling? Who? Come to me, my dearest father. The motion is carried, you pay up or get Figaro Bartolo Can’t you see I’m moved to tears? married. Thank you, Don Curzio. Not quite, more like a lostling. I was kidnapped. Who? Bartolo (embracing Figaro) Curzio Count Marcellina Son and father reunited And thank you to your lordship. Kidnapped? Rafaello! after all these lonely years.

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Curzio Figaro Susanna (to Bartolo) Susanna (to the Count) That’s his father? And that’s his mother? No, Susanna! His mother? His father? Then the banns cannot proceed. Susanna Bartolo Count Count Don’t you touch me! His mother. His father. No, it can’t be… don’t believe it. Figaro That’s the last thing that I need. Susanna (to the Count) Susanna (to Don Curzio) Listen, my darling… I will leave them here together, His mother? His father? this is very odd indeed. Susanna Count I’ll give you darling! Curzio Marcellina His mother. His father. Marcellina and Bartolo I’m your mother! Susanna (to Don Curzio) Such devotion, such emotion. Susanna (to Marcellina) Kiss your mother! His mother? Don’t you think it’s rather sweet? His father? Bartolo Curzio Figaro Marcellina, Curzio, Count and Bartolo I am your father! His mother. Such devotion, such emotion. His father! Figaro My Susanna is so sweet. Susanna (to Marcellina) Beloved father! Beloved mother! Susanna (to Figaro) Count His mother? Your father? Susanna (entering) All the cards are stacked against me; Marcellina, Curzio, Count and Bartolo Noble sir, where are you going? but I won’t admit defeat. His mother! Figaro Here’s the money that is owing. Curzio And this is my mother I have come to pay for Figaro, He is so angry, all the cards are stacked against Susanna (to Figaro) who swears it is so; I have come to set him free. him, Your mother? my father, who swears it is so. but he won’t admit defeat. Count and Curzio Figaro Susanna, Marcellina, Bartolo and Figaro God alone knows what is happening, Susanna And this is my father This wonderful moment, this joyous reunion, we had better wait and see. I’m so angry I am bursting, who swears it is true. it’s almost too much for my poor heart to bear. but I won’t admit defeat. Susanna (turning and seeing Figaro embracing Susanna (to Bartolo) Curzio and Count Marcellina (runs to embrace Susanna) Marcellina) His father? Such anger and torment are burning within me, He’s embracing Marcellina! Try not to be angry, my own dearest daughter; unbearable, this fury of rage and despair. Lying toad! You filthy cheat! if I am his mother, I’m your mother too, Bartolo You’re a scoundrel! a mother to him and a mother to you. His father. (The Count and Curzio retire.)

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Recitative Marcellina Countess Susanna I am! 15 That’s amazing! But how did the Count react? …blowing through the trees tonight. Marcellina 13 This is our little baby, the sweet memento of a Susanna, Marcellina, Figaro and Bartolo Susanna Countess love that has vanished. And if the Count is furious, well that will serve His face was a picture and the varnish was cracked! You can feel them in the pinewood. him right! Bartolo Countess Susanna That’s in the past, and it’s over and done with: (Exeunt Susanna, Marcellina, Figaro and Bartolo. Careful! If we enrage him, we may not defeat You can feel them in the pinewood. but since I am his father, and since you are his Enter the Count and Antonio, with a hat in his him. Now what have you arranged? Where are Countess mother, I suppose we should get married to each hand.) you going to meet him? That is all we need to write. other. Recitative Susanna Susanna Marcellina In the garden. Antonio That is all we need to write. Today? We’ll have a double wedding. 14 I must warn you, my lord, that Cherubino is Countess (to Figaro) Susanna and Countess still lurking round the castle. If you’re looking Let’s fix a place. Write to him. Take this; it is the contract for the money you That is all we need to write. for proof, I’ve got his hat. owed me; it is your dowry. Susanna Recitative Count My lady, I wouldn’t dare. Susanna (throws a purse to the ground) Susanna (folds the letter) How could that be, tell me, how? He should be Countess Take this from my lady. 17 That should do the trick! What’s the best way to in Seville by now. I’ll take the blame. Yes, we’ll disguise it as a seal it? Bartolo (does the same) poem. Let’s say, a song to the breezes. And one from me. Antonio Countess Well, in that case Seville is in my house. There (Susanna sits down and writes.) I know, let’s use this pin. It will do for a seal. I Figaro he’s dressed as a woman, and there he left all his Duettino have it. We can write on the back: ‘return seal to Thank you. All contributions gratefully received. other clothes. Susanna sender’. Susanna Count 16 …the breezes… Susanna We’d better tell my lady and my uncle of this Treachery! Yes, that’s ideal, that makes it sound mysterious. unexpected delight. Who could be happier than Countess (dictating) I am? Antonio Would you feel the gentle breezes… Countess Someone’s coming: things are getting serious! Figaro Come with me, and you will see what you will Susanna I am! see. feel the gentle breezes… (Susanna puts the note in her bosom.) Bartolo (Exeunt Count and Antonio. Enter the Countess Countess (Enter a group of girls including Barbarina, with I am! and Susanna.) …blowing through the trees tonight. Cherubino in disguise.)

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Chorus Won’t you come here? Count Count (She takes Cherubino’s flowers and kisses him on And why are you still here? You’re dancing? As much as your knee will allow! Girls the forehead.) 18 Gentle lady, may these presents Cherubino Figaro (pretends to straighten his leg, then tries to Give me your bouquet. Don’t be afraid; she’s bring us favour in your sight. My lord… dance) blushing. But Susanna, doesn’t she remind you Pray accept these simple posies, It’s feeling better now. Let’s join the celebration. of someone? Count roses red and roses white. You will be punished, how dare you disobey me! Countess (to Susanna) Susanna For a simple village maiden This is a tricky situation! The spitting image! Barbarina may not come with flowers laden; Dearest master, you remember what you say Susanna (to the Countess) may the little that we give you Antonio (entering with the Count and pulling when you come into my bedroom to hug me Leave everything to him. bring you pleasure and delight. off Cherubino’s hat, replacing it with his officer’s and to kiss me: ‘If you love me, Barbarina, I will cap) Count Recitative grant your every wish.’ 20 Hey, what did I tell you! Here’s your missing You’re very lucky, those vases were only clay. Barbarina soldier! Count Figaro 19 Madam, with your permission, some girls from That’s what I say? Countess You’ll excuse me, but we must be on our way. the village, we’ve come to see you, and hope that Oh heavens! Barbarina you’ll allow us to present to you this humble gift Oh yes. Well now, I have a wish, to marry Antonio of flowers. Susanna Cherubino. But don’t forget, I’ll always be your But what about the page boy? Was he galloping Just our luck! Countess little pussy cat. back from Seville? Oh thank you, they’re enchanting! Count Countess (to the Count) Well, my lady! Figaro Susanna Well fancy, what do you say to that? He was galloping, maybe trotting, why should Yes they are, they’re lovely. Countess Antonio you worry? Come on girls, we must hurry. Countess My lord, I can assure you that I’m as surprised Bravo, my daughter! She has remembered Count But tell me, who’s this? This little girl who’s and as angry as you are. everything I’ve taught her. And in your pocket was Cherubino’s commission? blushing so shyly? Count Count Barbarina But this morning? I’m in a trap, the devils, they’ve caught me! The Figaro What’s all this? The Spanish Inquisition? She is one of my cousins; she came to visit and Countess whole world’s been plotting to thwart me. to be here for the wedding. This morning we decided we would dress him Figaro (entering) Antonio Countess up as a girl, just for a game: they’ve simply done 21 My lord, if you detain these lovely girls any No point in waving, Susanna, he’s not looking. Let us make our charming stranger welcome. the same. longer, there’ll be no party, no dancing. Here’s someone who will prove that Figaro’s a liar.

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Figaro Countess our virtuous lord. pin, finds it and sticks it in his lapel.) Cherubino! How can I bear it? Since his abolition Silly fool, now he’s dropped it, of shameful tradition, ah, now he’s found it. Antonio Count our pride and our honour Got it in one! My lady! Count are safely restored. This joyous evening, this double celebration Figaro Countess Vassals must finish, as befits any wedding, full of joy What has he told you? No time for talking, we must bless the couples; We all sing the praise and jubilation. My dearest friends, I invite you Count our duty must be done. of our virtuous lord, to a banquet with music, with fireworks; there’ll He’s told the truth; he says that he was the one Remember, one bride has your special protection. our pride and our honour be dancing, there’ll be laughter. And may all who jumped into the garden. Be seated. are safely restored. those dear to my heart live happy ever after. Figaro Count (Susanna, kneeling during the duet, plucks the Vassals 23 What a copycat! Really! Since I jumped from the By all means. Count’s sleeve, shows him the note, then reaches to As true-hearted lovers window, I presume that’s what he did! I’ll sit and plan my vengeance. her head in a manner visible to the audience, and we praise and applaud while the Count pretends to adjust her bonnet, she the pillar of justice, Count (The Count and Countess seat themselves on gives him the note. The Count quickly hides it, and our virtuous lord. What, both of you? thrones. Enter Figaro, Susanna, Marcellina, Susanna rises and curtseys. Figaro comes to receive Since his abolition Figaro Barbarina, Bartolo, Antomio, hunters with guns, her, and they dance the Fandango. Marcellina rises of shameful tradition, Maybe so. I’m not one to accuse when I don’t court attendants and country people. Country girls a little later. Bartolo receives her from the Countess.) our pride and our honour know. bring the bridal hat with white plumes, two others are safely restored. Count (takes the note and pricks his finger with a white veil, and two others gloves and a nosegay. We all sing the praise Finale the pin as he opens it. He throws the pin to the They are followed by Figaro with Marcellina. Two of our virtuous lord, ground.) Figaro other girls carry a similar hat for Susanna, and our pride and our honour 22 Ah! That’s typical of women: Now I can hear them, the musicians. followed are safely restored. You pretty maidens must take up your positions. by Bartolo with Susanna. Bartolo leads Susanna to they never know the right place to stick a pin in. Ah! I understand now. You take my arm, Susanna. the Count, and she kneels to receive from him the Act IV hat etc. Figaro leads Marcellina to the Countess for Susanna Figaro (sees it all and says to Susanna) A garden the same purpose.) He is reading a letter which Here I am. Cavatina Two serving girls some floozy has handed him discreetly. (All exit, except the Count and Countess.) As true-hearted lovers The silly girl has sealed it with a needle. Barbarina (looking for something on the floor) Count we praise and applaud Look, I think he’s pricked his finger. 24 I have lost it, I’m so stupid, I will kill them! the pillar of justice, (The Count reads the note, kisses it, looks for the ah, wherever can it be?

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I can’t find it; used to seal a letter. See, I know all about it. My son! Recitative cousin Susanna, and the Count, Barbarina Figaro Barbarina what will he say? Why do you ask, if you already know? I’m dying! 27 The pavilion on the right, Cherubino told me. Is it this one or that one? Suppose he doesn’t (Enter Figaro and Marcellina.) Figaro Marcellina come? They’ve all been very generous; they’ve I just wanted to see what he told you, when he You must learn to be patient. given me an orange, an apple, a tangerine, ‘a Recitative sent you on his errand. little gift for someone’: yes, they know who it’s Figaro Figaro Barbarina meant for, it’s an open secret! My master hates 25 No use, it’s over. Barbarina, what’s happened? Nothing unusual: ‘Here, Barbarina, take this him, but I think he’s gorgeous. This cost me a Barbarina needle to the lovely Susanna, and tell her that it Marcellina kiss: it doesn’t matter, I’ll get it back, and with Oh my cousin, I’ve lost it. points to the pinewood.’ Patience, patience, and still more patience. This interest! Figaro is serious, so let’s take one thing at a time. For (She enters the pavilion on the left.) Figaro instance, are you sure that you know who’s Lost what? Ah, yes, the pinewood! (Enter Figaro in a cloak, and carrying a lantern. playing tricks on whom? Then Basilio, Bartolo, a group of workmen etc.) Barbarina Marcellina That’s right, but that’s not all: ‘Careful that no Figaro Yes, what? Figaro one sees you’, but you won’t say a word. But what about the needle? Oh mother, it’s the 28 That’s Barbarina! Who goes there? same one I saw the Count fingering earlier. Barbarina Figaro The needle that his lordship gave me to give Basilio No, you can trust me. Marcellina back to Susanna. For heaven’s sake, you asked us to join you. That’s true, that gives you the right to be Barbarina cautious, to be suspicious; but not in your rage Bartolo Figaro It’s hardly your business. To Susanna, a needle. Little girls are all the same, and confusion to jump to a conclusion. Why are you growling? You sound like a playing clever little games; bet you know every Figaro pantomime villain! What is the meaning of this Figaro trick in the book. Oh no, hardly. ludicrous meeting? Oh, I’ll be watching: I know where they are Barbarina Barbarina (leaving) meeting, so I’ll know where to hide! Figaro What’s wrong? How angry you look! Bye-bye; nice to have seen you. I’m off to All will soon be revealed. For in this very spot Susanna, and then to Cherubino. Marcellina we’re to celebrate the union of my honest wife Figaro Where are you going, my son? Figaro and our noble lord. Can’t you see that I’m joking? Here we are! Here 26 Mother! Figaro is the needle, the one which the Count gave to Basilio My revenge for all husbands has begun. you to give back to Susanna; I presume it was Marcellina Oh, that is excellent, now I begin to see, (and

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they’ve managed the whole thing without me). these leeches that cling to us, 32 My lady, you are trembling. Are you too cold here? 34 Come quickly my beloved, I implore you. Figaro these roses that prick us, Countess All of my being is waiting, aching for you. Just be patient and stay in our positions, and these vixens that trick us, The night is rather chilly. I’ll go inside. Do you not hear the voice of nature calling? when I whistle, come rushing out together. these daughters of Circe Share my secret delight as night is falling. Figaro (aside) who show us no mercy, Caressing breezes make the treetops shiver. Recitative and Aria Now comes the climax of the drama. the monkeys that cheat us, Night is whispering softly to the river. 29 Everything’s ready; the hour of reckoning is at the spiders that eat us, Susanna A breathless hush descends on all creation; hand. There’s someone coming… Susanna? No these witches, the bitches, I’d prefer to stay here, if your ladyship will allow nature trembles in rapt anticipation. one there. Darkness surrounds me… and I have pretending to love us, it; I want to take the air a while, to cool down. Come, my beloved, while all the world reposes. begun to understand how painful it is to be a you know it is true. Come, beloved, and I will crown your head with husband. How shameless to betray me on the I see that you know what I’m saying, Figaro roses. day of our wedding. He was reading that letter I see that it’s happened to you. Cool down! Yes, you need to! and I was watching, little knowing I was You foolish slaves of Cupid, Countess (hides herself) Recitative laughing at myself. Oh, Susanna, Susanna, what how can you be so stupid? Stay, and take your time then. a blow you have dealt me! With all your girlish Just see them as they really are: Figaro 35 glances and your innocent laughter… who the devil in disguise. (Exit the Countess.) Treachery! Now I can see how she has deceived would not have believed you? Why, it’s mad to me! Am I awake, or dreaming? (Exit Figaro. Enter the Countess and Susanna, Susanna trust women, they’ll all deceive you. disguised, and Marcellina.) He doesn’t know I know, which is doubly delicious. (The Countess enters, followed by Cherubino, who 30 You foolish slaves of Cupid, Now I’ll teach him to be so damn suspicious! is singing.) how can you be so stupid? Recitative Recitative and Aria Just look at what these women are, Susanna Countess (disguised as Susanna) you won’t believe your eyes. 31 My lady, Marcellina says Figaro will be here. Susanna It’s Cherubino. Slavishly we adore them, 33 At last, the moment I’ve longed for, when I lose Marcellina Cherubino prostrate ourselves before them. myself completely in the arms of my beloved. He’s here already: you’d better keep your voice There’s someone there; I’ll go in and join We’re worshipping the devil in disguise. Yes, I have scruples, but I will keep them hidden. down. Barbarina. Oh God, it’s a woman! They wheedle and chivvy us until we give in, Are not pleasures much sweeter when forbidden? Susanna perverse and lascivious, they drive us to sin; This enchanted place, the silken touch of evening, Countess One lover’s listening, the other’s on his way to these tigresses, pawing us and clawing us so mirror my secret desire, this fire that burns This is impossible! seduce me. The scene is set. sweetly; inside me. these comets that shine on us and blind us Marcellina (leaving) See how the moon has shrouded its light to hide Cherubino completely; I’ll hide myself in here. me. That’s funny! I know it’s dark, but that cloak – I could swear it was Susanna’s. these sirens that sing to us, Susanna

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Why this cold and haughty manner? Count Countess Cherubino Here is my hand, my darling. If my husband appears, shame and dishonour! Countess Oh heavens, his lordship! Finale I will scream if you don’t leave me! Countess Cherubino (Exit Cherubino.) And here is mine. Cherubino First you’ll kiss me, and then I’ll leave you. Figaro Count 36 I’ll approach her, oh so softly, I must see what’s happening here. My angel! seize the moment while I may. Countess What an utter scandal this is! Count Figaro Countess I will teach you better manners ‘My angel!’ Ah, my husband, if he saw us, Susanna, Count and Figaro with a clip around the ear. there’d be hell, yes, hell to pay. Ah, this chills me to the marrow, Count for another man is here, Figaro Your skin so white and tender, Cherubino (to the Countess) and it sounds like Cherubino. This will teach me to be curious, your hand so slight and slender, Susannetta! doesn’t answer, I was rash to interfere. they thrill my heart with ecstasy, Cherubino she pretends she hasn’t seen me. fill me with wild desire! Count Very well, then! Are you saving up your kisses Serves him right for interfering, Susanna, Countess and Figaro That’s a game that two can play. so the Count can have his share? he’s no business being here. This mad infatuation (He takes her hand and caresses it.) Don’t be so prudish, it doesn’t suit you. Don’t you remember I was there behind the chair? has robbed him of his reason, Susanna and Countess Countess (tries to free herself, disguising her voice) his senses are on fire He deserved that, Don’t you touch me! Countess and he is blinded by desire. and this will teach him to be curious, Little rascal, will you get away from here? You are shameless! he was rash to interfere. Count Susanna, Count and Figaro Cherubino Darling, do not be cruel, He is shameless! Count (to the Countess) So flighty, high and mighty, accept this little jewel. 38 Now we’re alone together, but I know why you are here. (He gives the Countess a ring.) Susanna, Countess, Count and Figaro come closer, my beloved. Heavens, how can we get rid of him, See how it burns and glows Count (entering) he will spoil the whole affair. Countess like my heart within my breast. 37 Here she is, my dear Susanna. I swear to do whatever you desire, my lord. Cherubino Countess Susanna and Figaro It is Susanna’s duty Let me kiss you. Figaro Here’s the hawk to catch the sparrow. to yield to your request. Countess I have always loved and trusted her Susanna, Count and Figaro Cherubino Oh heavens, his lordship! and this is my reward!

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Although the plan is working, That’s Figaro! I’ll hide. Her anger grows apace! we’ve yet to see the best. (goes into the right pavilion) Figaro Countess, let’s find revenge together. Susanna Countess (to the Count) Count I have the strong desire to strike him, My lord, I see a light, I’ll follow shortly, Susanna to strike his stupid face! I fear that people may be near. you go inside. He thinks that I’m deceiving him, Count (disappears among the bushes) and I will play along. Figaro Come on my Aphrodite, Figaro Figaro Her anger grows apace. 39 let us hide ourselves in here. Night shrouds the world in mystery She wants to set a trap for me, Susanna (disguising her voice slightly) as Venus in her majesty What passion makes you woo me? Susanna and Figaro and I will play along. draws Mars to share her lechery; Observe, you foolish husbands, Figaro Vulcan will foil their treachery Figaro and shed a silent tear. The anger coursing through me! and punish their deceit. Ah, if Madama wants to… Let’s waste no time, my darling, Countess give me your hand, my lady, It’s very dark inside here. Susanna (disguised as the Countess) Susanna Hey, Figaro, be quiet! Come on, what are you saying? and let me feel… Count Come on, no more delaying. That’s why we want to hide here; Figaro Susanna you’ll find the light is bright enough The Countess makes her entrance Figaro I’ll let you feel this! and times it to perfection. for what I have in hand. Humbly I kneel before you, Figaro A crime requires detection, to worship and adore you. Don’t hit me! Susanna and Countess your husband and my Susanna, The plot is working perfectly, remember he betrayed you the thief and his accomplice, Susanna exactly what we planned. in this accursed place. the villain and the cheat. You want it, then take it, Figaro Susanna and here’s another! She’s following him quite willingly, Susanna (forgetting to change her voice) Oh, how I’d love to punish him!… Be quiet, or they’ll hear you. I’ll teach you I begin to understand. if this is what you wanted, I’ll stay till I have caught them, Figaro I’ll gladly give you this! Count and vengeance will be sweet. This is turning out delightfully! Who’s there? Figaro Figaro Figaro Susanna (Susanna!) You want vengeance? Be gentle I beseech you. Why should you care? . . . to strike his stupid face! These blows are bliss and ecstasy. Countess Susanna Figaro as sweet as any kiss! Yes!

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Susanna Marcellina and Susanna.) Your shameless infidelity! Figaro (Exit Susanna.) The page boy! Who? I’ll punish you for this! Figaro (pretending great fear) Antonio Figaro (kneels) Susanna Ah, my master! My daughter! 40 I surrender, my love, The Countess! Count Figaro for your voice was so loving and tender Quickly, someone help me! My mother! that I knew all along it was you. Figaro Susanna (surprised ) The Countess? Basilio, Curzio, Antonio and Bartolo (entering) Basilio, Curzio, Antonio and Bartolo Did you really? Susanna What has happened? The mistress! Precisely! Count Count Figaro Now I will show you She’s everyone’s mistress; Susanna and Figaro How could I mistake it? how he’s cheated and betrayed me, she stands on display Now the play will be rounded off nicely just you wait and you will see! for all the world to see. Susanna and Figaro if we play on his innermost fears. I surrender, my love, Basilio, Curzio, Antonio and Bartolo Susanna (kneels before the Count, holding her Figaro (falls at Susanna’s feet) I’m astounded, to a love that is tender and true! Ah, my lady, be mine I implore you. handkerchief before her face) quite dumbfounded. Forgive me, forgive me! Count (entering) Count Who in heaven can it be? Count I have lost her, It’s my wife! I have come without my weapon! Figaro I must have gone past her. No, don’t even ask it! Figaro I’m astounded, Susanna and Figaro I am bursting with longing before you! quite dumbfounded. Figaro They will have to wait and see. Forgive her, forgive her! Heaven help us, Susanna that sounds like the master. I am yours, for you know I adore you. (Enter Susanna (disguised as the Countess), Count followed by Cherubino, Barbarina and Marcellina.) No, no forgiveness! Count (turns towards the pavilion in which the Count Countess has hidden, and opens it) Ah, the traitors! Count Susanna, Cherubino, Barbarina, Basilio, Hey, Susanna! No point in resisting, Susanna and Figaro Curzio, Figaro, Bartolo and Antonio Where are you? you treacherous woman, We’ll be happy hereafter, Forgive her! Do you hear me? so much for insisting love and laughter will dry all our tears. you’re faithful to me! Count Susanna Count (The Count reaches into the left pavilion and pulls No! Good, she’s managed to fool him completely. 41 Quickly, bring your weapons! out a resisting Cherubino, then Barbarina,

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Countess (comes out of the pavilion and is about My lady, forgive me! the kneel when the Count prevents her) Countess Jonathan Veira as Bartolo with Glyndebourne Festival Opera I beg your forgiveness for them, not for me. I’m far more forgiving and so I say yes. Hoban Mike Basilio, Curzio, Count, Antonio and Bartolo Oh this is delusion All and utter confusion; The voice of forgiveness I do not believe what I see. shall end all distress. What a day of grief and sadness; Count (supplicatingly) what a day of mirth and madness; love has turned it into gladness, love alone has won the day. Lovers who revel in dancing and laughter will be happy ever after. Do you hear the happy music playing for their/our wedding day? Yes, it is their/our wedding day. We must hurry, for it is their/our wedding day. © Jeremy Sams

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Opera in English on Chandos Opera in English on Chandos

CHAN 3099

CHAN 3103(2) CHAN 3057(3)

CHAN 3035

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

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Sir Peter Moores and Yvonne Kenny

Bill Cooper Bill at the recording sessions

Piano provided by Steinway & Sons

Artistic consultant to the Peter Moores Foundation: Patric Schmidt Vocal and language consultant: Ludmilla Andrew Staging director: Charles Kilpatrick Translation research: Henrietta Bredin Music librarian: Jacqui Compton Repetiteur: William Relton

Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Michael Common Editor Jonathan Cooper Operas administrator Sue Shortridge Recording venue Blackheath Halls, London; 1–7 September 2003 Front cover Photograph of Christopher Purves by Clive Barda Back cover Photograph of David Parry by Bill Cooper Design Sean Coleman Booklet typeset by Dave Partridge Booklet editor Kara Reed Publisher Faber Music Limited (on behalf of Alkor-Edition-Kassel GmbH) p 2004 Chandos Records Ltd c 2004 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HQ, UK Printed in the EU

182 183 SOLOISTS/PHILHARMONIA ORCHESTRA/PARRY CHAN 3113(3) ONE TWO THREE CHAN 3113(3) Printed in the EU ACT I TT 45:14 ACT II TT 46:21 COMPACT DISC COMPACT DISC COMPACT DISC LC 7038 DDD TT 163:57 ACTS III & IV TT 72:22 Recorded in 24-bit/96kHz Recorded bass 3-disc set tenor tenor soprano soprano soprano baritone baritone bass-baritone mezzo-soprano mezzo-soprano Stuart Kale Stuart Graeme Danby Graeme Sarah Tynan Sarah DIGITAL Rebecca Evans Rebecca Yvonne Kenny Yvonne John Graham-Hall John William Dazeley William Jonathan Veira Jonathan Christopher Purves Christopher (1756–1791) Diana Montague Diana Frances McCafferty Frances England • CHANDOS Essex • 2004 Chandos Records Ltd c ...... Colchester ...... • , notary...... in four acts , music master...... , the Count’s page...... , the Count’s , Bartolo’s housekeeper...... , Bartolo’s , Antonio’s daughter, Antonio’s ...... , gardener, Susanna’s uncle...... Susanna’s , gardener, , her maid, betrothed to Figaro, her maid, betrothed ...... , a doctor from Seville...... , a doctor from , valet to Count Almaviva, valet ...... 2004 Chandos Records Ltd Figaro Cherubino p Geoffrey Mitchell Choir Mitchell Geoffrey Orchestra Philharmonia Parry David Countess Almaviva Susanna Opera buffa Opera Wolfgang Amadeus Mozart Wolfgang Sams Jeremy by translation English Ponte, Da Lorenzo by Libretto Count Almaviva Bartolo Marcellina Chandos Records Ltd Ltd Chandos Records Barbarina Don Curzio Don Antonio Don Basilio Don

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