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Anna De Amicis Teodora Gheorghiu Les Talens Lyriques Direction Christophe Rousset Arias for Anna De Amicis AP021-i01LA12BXXA-.indd 1 29/08/11 10:38 Enregistré en novembre 2010 à / Recorded in November 2010 at: Eglise Saint Pierre, Paris Directeur artistique / Artistic director: Nicolas Bartholomée Prise de son / Sound recording: Nicolas Bartholomée, Koichiro Hattori, Emilie Ruby Montage et mixage / Editing and mixing: Emilie Ruby Remerciements à / Thanks to: Koichiro Hattori, Clément Spiess & Pan Foundation for Music Photos © Caroline Doutre Traduction en Anglais / Translation in English: Mary Pardoe Les Ta lens Lyriques sont soutenus par le ministère de la Culture et de la Communication, la Ville de Paris et le Cercle des Mécènes. Le mécène principal est la Fondation Annenberg - Grégory et Regina Annenberg Weingarten. Aparte - Little Tribeca 1, rue Paul Bert 93500 Pantin, France © 2011 Aparté AP021 � Pan Foundation for Music, Switzerland Fabriqué en France / Made in France AP021-i01LA12BXXA-.indd 2 29/08/11 10:39 Teodora Gheorghiu Les Talens Lyriques Direction Christophe Rousset Arias for Anna De Amicis Nicolò Jommelli (1714-1774), Armida abbandonata (1770) 1. « Miser’Armida… Odio, furor, dispetto » 6’38 Wolfgang Amadeus Mozart (1756-1791), Lucio Silla (1772) 2. « Vanne. T’affretta… Ah se il crudel » 9’12 3. « In un istante… Parto, m’affretto » 7’28 4. « Sposo… mia vita… Fra i pensier » 6’23 5. « Dalla sponda tenebrosa » 6’35 Christoph Willibald Gluck (1714-1787), Orfeo ed Euridice (1762) 6. « Qual vita è questa mai… Che fiero momento » 4’34 Giovanni Battista Borghi (1738-1796), Il trionfo di Clelia (1773) 7. « Tanto avvezza alle sventure » 9’45 Josef Myslive ˇcek (1737-1781), Romolo ed Ersilia (1773) 8. « Sorprender mi vorresti » 5’00 9. « Basta così vincesti » 4’46 Johann Christian Bach (1735-1782), Zanaida (1763) 10. « Tortorella abbandonata » 5’07 11. « Mentre volgo intorno il piede » 3’26 Pasquale Cafaro (1716-1787), Antigono (1770) 12. « E fra tante tempeste… Se balena » 12’42 Total 77’14 AP021-i01LA12BXXA-.indd 3 29/08/11 10:39 mesure » pour chaque chanteur. Il l’avait Anna-Lucia entendue en 1770, dans le rôle éponyme De Amicis-Buonsolazzi d’Armida abbandonata de Jommelli, à Naples, d’où il rapporte : « Sigra De (1733-1816) Amicis a chanté à merveille2.» Mais c’est en sa présence qu’il voulait composer, de manière à ajuster ses interventions à ses Prima Donna qualités vocales et dramatiques « comme et femme des Lumières un costume bien taillé3 .» « La più completa Buffa che mai l’Italia Naître au pied du Vésuve en 1733 et abbia prodotto4 » au sein d’une famille de chanteurs d’opéra, voilà qui donne le ton : Anna De Amicis Le musicographe Charles Burney embrassera la carrière de cantatrice. rapporte qu’elle était l’élève de Vittoria Tesi5 mais Domenico, son père, ténor À Naples, c’est possible, comme buffo, fut probablement un actif dans la plupart des villes de la péninsule, pédagogue. D’après Castil-Blaze6, elle contrairement à Rome, où l’église interdit chanta La Serva padrona de Pergolesi à la scène aux femmes. Elle intègre donc ses côtés à Paris en 1758. Domenico fonda l’une des rares corporations de l’époque ensuite une compagnie d’opera buffa, avec dans laquelle talent et professionnalisme ses trois enfants, qui sillonna l’Europe de leur sont reconnus au même titre 1759 à 1761. Durant la saison 1762-63, Anna qu’aux hommes. La correspondance de est engagée au King’s Theatre à Londres, Leopold Mozart montre même que la où elle obtient un immense succès pour sa composition d’un opéra – pour son fils, grâce et le raffinement de son chant : « ella en tous cas – dépend de la prima donna. costituì l’attrazione principale della stagione Wolfgang ne peut s’impliquer totalement di burlette7 .» Il est évident que cette dans l’élaboration de Lucio Silla, à Milan, à la fin de l’année 1772, avant son arrivée : 2 W. A. Mozart, lettre à sa sœur, 27 mai 1770. « Aujourd’hui la De Amicis quitte Venise et 3 W. A. Mozart, lettre à son père, 28 février 1778. 4 Lettre d’A. Bimolle in F. C. Petty, Italian Opera in Lon- sera donc ici dans quelques jours. Le travail don 1760-1800, Ann Arbor 1980, p. 98 : « la chanteuse d’opéra commencera alors sérieusement car jusqu’à buffa la plus complète que l’Italie a produit » . 5 C. Burney, De l’état présent de la musique en Allemagne, maintenant, il ne s’est pas passé grand- dans les Pays-Bas et les Provinces Unies, Gênes, 1810, p. 277. chose1 .» 6 F. H. J. Castil Blaze, L’Opéra-italien de 1548 à 1856, Paris Mozart disait lui-même écrire « sur 1856, p. 155. 7 Bimolle, Ibid. : «elle était l’attraction principale de la 1 L. Mozart, lettre à sa femme, 28 novembre 1772. saison des opéras légers .» 4 AP021-i01LA12BXXA-.indd 4 29/08/11 10:39 expérience de la scène à partir du genre contribuer à mettre à jour les fameuses léger, actif et plein de rebondissements, notes piquées et l’exceptionnel aigu contribua à faire d’elle la comédienne que d’Anna ? Burney la cite comme la première les Mozart appréciaient : « Elle chante et à accéder « au contre-mi avec la puissance joue comme un ange 8.» d’une voix de poitrine lumineuse et claire .» « Bach a donné à Amicis les airs les L’œuvre la propulse définitivement au plus magistraux qu’un homme puisse firmament des prime donne et entérine son écrire9 » choix pour l’opéra seria. Cette démarche implique une technicité et une culture Remarquée par Johann Christian spécifiques au niveau de la colorature Bach, alors directeur du King’s Theatre, et de l’ajout d’ornements, les fameux elle est engagée comme prima donna pour abbellimenti - roulades, trilles, ports de la saison suivante dans ses opéras Orione voix, appoggiatures…- de la maîtrise du et Zanaida. souffle telles que la demandent les arie di Les deux airs choisis ici, « Tortorella portamento. abbandonata » et « Mentre volgo » expriment l’infinie tristesse de Zanaida « Io vi son mallevadore che voi (fille de Soliman et prisonnière de rappresenterete divinamente la Severa Tamasse) pour le premier, et son angoisse Ersilia in teatro11 » pour le second. Ils tiennent de l’aria concertante avec hautbois – probablement Dès lors, elle rejoint les scènes dans la symbolique décrite par Grétry : européennes les plus prestigieuses, créant « Le hautbois champêtre et gai, sert aussi l’opéra Romolo ed Ersilia de Hasse en à indiquer un rayon d’espoir au milieu des 1765, lors des noces de l’archiduc Leopold tourmens 10» récurrente dans les scènes d’Autriche avec l’infante Maria-Luisa, qui d’emprisonnement. Alter ego de la voix, lui vaut d’être couverte de fleurs. il met en abîme son traitement quasi C’est donc au faîte de sa gloire que instrumental usant des mêmes trilles, Mozart l’entend, au printemps 1770, dans gammes ou tierces, de la même légèreté Armida abbandonata de Jommelli. Le plus de staccato si typiquement hautboïstique. célèbre des airs « Odio, furor, dispetto » Est-ce que ces vocalises ailées, figurant le – dans lequel elle invoque le tonnerre chant et le vol de la tourterelle, ont pu 8 L. Mozart, lettre à sa femme, 26 décembre 1772. 11 P. Metastasio, Tutte le opere, Milan 1954, IV, p. 396, 9 Burney, Ibid. lettre à Anna De Amicis : « je suis garant que vous repré- 10 A. Grétry, Mémoires ou Essais sur la musique, Paris, senterez d’une façon divine la sévère Ersilia sur les planches 1796-97, T.VII, p. 238. du théâtre. » 5 AP021-i01LA12BXXA-.indd 5 29/08/11 10:39 pour détruire son palais et s’envole sur C’est encore cette verve virtuose un char attelé de dragons – s’inscrit dans que Mysliveˇcek lui réserve en 1773 dans la grande tradition de l’aria di furore : Romolo ed Ersilia, lorsqu’elle affirme interjections convulsives entrecoupées de son courage dans l’air « Sorprender .» silences ; colorature déferlantes figurant La tradition figurative reste liée à la l’hystérie et projetant quinze fois la voix virtuosité en tant que transcription jusqu’au contre-ut… Maillon entre « Furie sonore des qualités morales et physiques terribili » d’Armida de Haendel (Rinaldo, implicites dans la source latine de virtus : 1711) et « D’Oreste d’Ajace » d’Elettra de valeur, mérite, maîtrise de soi. Mozart (Idomeneo, 1780), « Odio, furor, Mais l’air « Basta così, vincesti » dispetto » galvanise l’auditoire et donne repose sur la simplicité d’expression et tout pouvoir au personnage maléfique la précision de l’articulation. Son beau – ce qui n’est pas le moindre des paradoxes cantabile ne sollicite ni les colorature, de l’opéra des Lumières. ni les extrêmes de la tessiture. Comme Quelques mois plus tard, toujours à le décrit Metastasio, Anna De Amicis Naples, Anna tient le rôle de Bérénice, dans avait cette capacité d’empathie avec Antigono de Cafaro. L’air « Se balena » suit les personnages dont on peut constater un grand recitativo accompagnato expressif qu’elle l’a conduite jusqu’au sacrifice de dans lequel elle expose son tourment pour la technique qui la faisait briller. C’est Demetrius, son amant exilé par Antigono. probablement ce qui lui vaut d’interpréter La monumentale introduction d’orchestre les œuvres dites « réformées » de Gluck : annonce l’exceptionnelle dimension la première italienne d’Alceste en 1778 à d’un air d’une dizaine de minutes. Portée Bologne et la reprise d’Orfeo, à Naples, en par l’énergie des battues de cordes, la 1774, dans laquelle elle chante le désarroi tessiture vocale s’élargit jusqu’au contre- d’Euridice dans sa « noble simplicité .» ré et affiche un saut de deux octaves du C’est également cette couleur que la 3 au la 5.
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