sign in sign up
<<
Home , Attila (opera), Don Carlos discography, Ernani, Falstaff (opera), Francesco Maria Piave, Il corsaro

I Vespri Verdiani VERDI

Olga Mykytenko

Bournemouth Symphony Orchestra Kirill Karabits AKG Images, / Fine Art Images / Heritage Images

Giuseppe Verdi, c. 1840 I vespri verdiani

Giuseppe Verdi (1813 – 1901)

1 From ‘’, Part II, Scene 1 (1847) 7:09 Amalia: ‘Dall’infame banchetto’. Allegro moderato – Andante – Allegro – ‘Tu del mio Carlo al seno’. Adagio – ‘Carlo vive?’. Allegro brillante

2 From ‘’, Act III, Scene 1 (1859) 4:13 Amelia: ‘Morrò, ma prima in grazia’. Andante

3 From ‘’, Part I ‘Il duello’, Scene 2 (1853) 6:28 Leonora: ‘Ne’ tornei! V’apparve’. Allegro – Andante – ‘Tacea la notte placida’. Andantino – Animando un poco – Poco più animato – ‘Versi di prece, ed umile’. [ ] – Animando un poco – Poco più animato – ‘Di tale amor’. Allegro giusto – Poco più mosso – Più mosso

3 4 From ‘’, Act IV (1855) 3:33 Elena: ‘Arrigo! ah! parli a un core’. Andante

5 From ‘I vespri siciliani’, Act V 4:07 Elena: ‘Mercé, dilette amiche’. Allegro

6 From ‘’, Act I, Scene 2 (1848) 5:05 Medora: ‘Egli non riede ancora!’. Andante – ‘Non so le tetre immagini’. Andante

7 From ‘’, Prologue, Scene 1 (1846) 4:52 Odabella: ‘Santo di patria’. [ ] – ‘Allor che i forti corrono’. Andantino – Allegro – ‘Da te questo or m’è concesso’. Allegro moderato – Poco più mosso

8 From ‘Attila’, Act I, Scene 1 5:11 Odabella: ‘Liberamente or piangi...’. Andante – ‘Oh! Nel fuggente nuvolo’. Andantino mosso

9 From ‘’, Act I, Scene 2 (1844) 7:10 Elvira: ‘Surta è la notte, e Silva non ritorna!...’. Andante sostenuto – ‘Ernani!... Ernani, involami’. Andantino – ‘(Tutto sprezzo, che d’Ernani…)’. Allegro con brio

4 10 From ‘’, Act I, Scene 2 (1847) 7:33 Lady Macbeth: ‘“Nel dì della vittoria io le incontrai...”’. Allegro – ‘Vieni! T’affretta! Accendere’. Andantino. Grandioso – Allegro – ‘Or tutti sorgete ~ ministri infernali’. Allegro maestoso

11 From ‘Macbeth’, Act IV, Scene 2 7:22 Lady Macbeth: ‘Una macchia è qui tuttora...’. Andante assai sostenuto

12 From ‘’, Act II, Scene 1 (1849) 2:56 Luisa: ‘Tu puniscimi, o signore’. Andante agitato

13 From ‘’, Act I (1853) 7:24 Violetta: ‘È strano!... è strano!... in core’. Allegro – ‘Ah, forse è lui’. Andantino – ‘A quell’amor ch’è palpito’. [ ] – ‘Follie!... follie!... delirio vano è questo!...’. Allegro – ‘Sempre libera’. Allegro brillante TT 74:04

Olga Mykytenko soprano Bournemouth Symphony Orchestra Amyn Merchant leader Kirill Karabits

5 I vespri verdiani

Introduction of tone to animate characters through text, Is there such a thing as a ‘Verdian soprano’? creating drama with the voice alone. Throughout his career Giuseppe Verdi (1813 – 1901) devised roles for a wide variety I masnadieri of singers, from the dramatic of The role of Amalia inI masnadieri (1847, Abigaille in his early triumph (1842, London) offers one of Verdi’s lightest prima ) to the part of Nannetta donna roles. Composed for the legendary in his final work, (1893, Milan). soprano , the part foreshadows Mothers, daughters, warriors, queens, Gilda in (1851, ) in its prostitutes, nuns, and virgins all populate demands for high-lying vocal agility while Verdi’s operatic works, giving voice to the still requiring the kind of long-breathed widest range of female experience across the lyricism familiar from Verdi’s earliest works. nineteenth century as well as being shaped to The ofI masnadieri was based on the skills of specific female performers. His Schiller’s Die Räuber, a play – previously career also witnessed a broader evolution in set by Verdi’s older contemporary Saverio the approach which Verdi took to operatic Mercadante, in 1836 – that explores a composition, as structures inherited from family rivalry centred upon Amalia, her Rossini were succeeded by less decorative outlawed lover, Carlo, and his jealous brother, vocal lines, more sophisticated orchestral Francesco. In the scene that opens Part II, writing, and more open-ended forms. Yet Amalia believes both Carlo and his father, certain qualities are constant across his Massimiliano, to be dead, and she mourns at soprano roles: the requirement to deliver the tomb of the latter in an arching melody, a sustained line, especially in the accompanied by harp, that would surely middle register; a wide vocal range that have showcased Lind’s capacity for pathos extends from floated high notes to a well- (‘Dall’infame banchetto... Tu del mio Carlo supported chest voice; and sufficient warmth al seno’). Informed by Arminio that both

6 men are in fact alive, Amalia bursts into a finally reveals the extent of her torment in bouncing C major (‘Carlo vive?’) a notorious that takes her from a characterised by trills and accents that convey high C flat down to a low A in the alto her exhilaration – a happiness that will be register – the despair of a mother who will sadly short lived as Francesco pursues his never see her children again. ignoble ends. Il trovatore Un ballo in maschera Il trovatore (1853, ) is often considered a A very different vocal profile is on display in return on Verdi’s part to an earlier style of bel the character Amelia in Un ballo in maschera canto composition, after the experimentation (1859, Rome), who laments her misfortune in Rigoletto with looser dramatic structures in ‘Morrò, ma prima in grazia’. Married to within individual movements. Leonora’s Renato, Amelia is secretly in love with his entrance certainly does largely conform best friend, Riccardo, who is the governor to an older formal pattern in the style of of colonial (a location changed I masnadieri: a preceding a lyrical for censorship reasons from the original reflection, a moment of dramatic action, and setting, the Swedish royal court). Renato has then a faster movement (the so-called solita discovered Amelia’s feelings for Riccardo forma). Yet, exemplifying a feature found by spying on the meeting between Amelia elsewhere in Il trovatore, Leonora’s scena and the fortune-teller Ulrica, and he now also reflects the compression and dramatic threatens to kill her for her betrayal. In her impetus that characterise many of Verdi’s Act III aria, she accepts her death but begs works. In an named after a singer, it to see her child one last time, in a halting is perhaps no surprise that the power of the movement that demonstrates Verdi’s skill at voice is both the subject of and the vehicle building up an aria from the development for the soprano’s aria. In the garden with and intensification of small melodic motives. her maid Ines, Leonora remembers how she A cello solo adds further poignancy to the rediscovered the man she loves by hearing him scene, underlying Amelia’s maturity as well as singing to his lute (‘Tacea la notte placida’), the soprano’s rich lower tones. One of Verdi’s a memory which she evokes in a melancholy most challenging soprano roles, Amelia two-stanza aria that twice opens up into the

7 major key as she recalls Manrico’s music. The Montfort, and he defends his father against movement is partly based on Verdi’s song ‘In attack in a moment of moral crisis. In her solitaria stanza’ from the 1830s, the repeated Act IV aria, ‘Arrigo! ah! parli a un core’, octave leaps as well as the sustained rising Elena reassures Arrigo, after understanding vocal line suggesting Leonora’s grandeur. In his reasons for saving Montfort, that she ‘Di tale amor’, however, Leonora dismisses will forgive him – expressing her grief to an Ines’s concerns in a cabaletta filled with accompaniment of woodwind. It is set in two leaps, pauses, trills, and scales that evoke her stanzas and, surprisingly, the mood warms at breathless excitement at seeing her lover: the the acceptance of tragedy halfway through girlish passion inside the noble princess. each stanza, the G minor lament shifting to the major; for this revolutionary figure, I vespri siciliani perhaps, there is always a better resolution His visits to Paris in the and 1850s in the afterlife. By Act V, Montfort briefly exposed Verdi to the extravagance of French appears to have achieved peace by wedding grand opéra – its visual opulence and lengthy the two lovers, an event Elena celebrates in historical plots – and brought about several her showpiece boléro, ‘Mercé, dilette amiche’. French commissions, including Les Vêpres The opera’s most frequently performed siciliennes (1855, Paris), a work more regularly excerpt, it offers a superb coloratura display as encountered in its Italian translation, I vespri Elena thanks the crowds for their support and siciliani. A story of political conflict set delights in the peace brought to Palermo. The during the French occupation of Palermo in poignancy of Act IV is now forgotten; tragedy the thirteenth century, it offers an especially looms, however, as the Sicilian rebels soon challenging role for the main soprano, who launch their massacre. must command an extraordinarily wide vocal range. A Sicilian whose brother has Il corsaro been executed, Elena has committed herself Il corsaro (1848, ) has long been one romantically to Arrigo, who is helping to of Verdi’s least frequently performed works. lead the revolutionary forces against the Medora’s entrance aria has nevertheless French. Arrigo has discovered that he is helped to keep the opera partly alive in actually the son of the occupying governor, the popular imagination. ‘Non so le tetre

8 immagini’ offers a haunting, haunted lament adding staccati and other ornaments over a in triple time, as Medora ponders the fate wide range to outline Elvira’s confidence – of her pirate lover in a series of increasingly and also that of the soprano. ornamented variations accompanied by harp. Macbeth Attila Fearsome though Odabella is, few early Somewhat more successful from the point Verdi heroines are so self-possessed nor of view of repertoire is Attila (1846, Venice), so self-destructive as Lady Macbeth. A the heroic female character of which breakthrough work for the young Verdi, anticipates the military writing for Elena Macbeth (1847, ) pushed his (I vespri siciliani). With the dotted rhythms psychological characterisations to a new and aggressive vocal line of ‘Santo di patria’ level and reflected his growing interest in Odabella declares her readiness to battle theatrical realism. Lady Macbeth, Verdi for her country’s freedom. Her later scena, famously wrote, should be performed by a ‘Liberamente or piangi’, instead exposes her singer whose voice was ‘harsh, stifled, and fragility; delicate woodwind writing again dark’, a far cry from bel canto ideals of vocal reveals the sadness in the heart of this warrior beauty and smooth emission. In the Act I as she grieves for her dead father. letter scene she receives news of the witches’ prophecy and reveals her ambition in violent Ernani vocal writing rising in a fearsome series of Ernani (1844, Venice) was one of Verdi’s most sequences. The following cabaletta largely popular early works, one chosen to inaugurate intensifies this mood, running scales and many new opera houses during the 1850s, in couplets painting a portrait of manic glee as and abroad. As in the case of Il trovatore, the Lady hears that Duncan is on his way. By the entrance of the soprano portrays her the Act IV sleepwalking scene, however, a character’s romantic passion in a two-part wholly different voice emerges – one harking aria, the first half marked by wide leaps and back to Donizetti’s . roulades suggesting Elvira’s latent strength. Haunted by her crimes and the bloodstained The succeeding cabaletta reinforces that hands she cannot clean, Lady Macbeth impression by developing its melodic motifs, now frequently sings melodic fragments

9 rather than a sustained vocal line, while the in the upper middle register and eventually accompaniment echoes the rhythmic energy rising to a high B followed by vocal roulades of her earlier scenes, its unsettling chromatic down to the soprano’s lowest register on the writing evoking her mental unsteadiness. climactic ‘non lasciarmi in abbandono’ (do As she finally gives in to the abyss, her voice not abandon me). Even at her most abused, rises to an optional D flat in the scene’s final her operatic voice remains strong: Luisa moments: an otherworldly, vocally terrifying may be an alpine virgin, but she possesses effect that is perhaps also a plea for forgiveness extraordinary inner strength. (forty years later, Desdemona’s Ave Maria in would end with a similar effect). La traviata Perhaps none of Verdi’s soprano roles, Luisa Miller however, is as multifaceted as that of Violetta, Luisa Miller (1849, ), like I masnadieri, in La traviata (1853, Venice), nor have any is an adaptation of Schiller and again features been so widely prized by generations of a heroine characterised by her innocence. singers. Building on the domestic drama Indeed, the musicologist Emanuele Senici of Luisa Miller, Verdi aspired to set his has situated Luisa in a lineage of ‘alpine adaptation of Alexandre Dumas’s La Dame virgins’ that extends from Bellini’s Amina, aux camélias in the present day, before in La sonnambula, to Minnie, in Puccini’s censorship forced him to relocate the action La fanciulla del West. In love with Carlo – a century earlier. But even moving the drama really Rodolfo – Luisa has been trapped by into the eighteenth century can only partly the powerful Wurm, who is also in love with mute the scandalous nature of the plot of her and had her father imprisoned; Wurm La traviata, which frames the courtesan will free her father if she agrees to commit Violetta as a figure of moral purity, and the to him. In ‘Tu puniscimi, o signore’ Luisa bourgeois Germont in the morally ambiguous expresses her frustration at her fate, declaring position of both father and villain. In her that if anyone must be punished she would great Act I scena, Violetta first reflects on rather it were she. Her vocal line contrasts Alfredo’s declaration of love, considering strongly with the delicate staccati of her whether she should abandon her life of entrance scena, offering dramatic writing pleasure – one already overshadowed by

10 illness – and pursue a dream of romantic love. very revealing moments in my life, when I ‘Ah, forse è lui’ has a harmonic structure am still a little girl, not long since born, and apparently modelled on Isabelle’s aria ‘Robert, already singing the whole day, surprising toi que j’aime’ from Meyerbeer’s Robert everyone around me. Sometime later I found le diable, a work which Verdi would have that certain pieces of music already seemed encountered in Paris: a pathetic F minor to exist in my head. Step by step I began to lament that gradually opens up into the discover and recognise certain arias and, major as the vocal line rises higher, here also especially, very expressive musical moments repeating the melody from Violetta and which were somehow known to me, as if I Alfredo’s duet. Dismissing this dream as sheer had already sung them before. folly, Violetta then launches into a frenetic I must say that my birth involved, for me, cabaletta in 6 / 8 time, ‘Sempre libera’, which an almost mystic element, directly connected functions almost as a . Producing to music. It is a story I described in my book no fewer than ten top Cs and D flats, and Solo OM, published in Ukraine in 2017. In rapid scales that would tax many a lyric the last scene of the book my protagonist, coloratura, Violetta here is literally willing an opera singer who has journeyed to the herself to return to an earlier, more carefree mountains in order to find and re-establish vocal mode. Small wonder, then, that Violetta herself, encounters her own voice, in person, has attracted who have performed and realises that she was born to serve roles as varied as Gilda, Nannetta, Odabella, that voice, experienced as a high, vibrating and Lady Macbeth. Lyric, dramatic, tragic, substance. It completely alters the view defiant, and exhilaratingly brilliant, the role which the woman has of her own life, and offers a way in for every configuration of the determines her future decisions. ‘Verdian soprano’. The operaI vespri siciliani is a revolutionary opera by Verdi, ‘vespro’ © 2020 Ditlev Rindom meaning a mass sung at evening, and I try to draw a parallel between the duty to the A note by the performer church and the duty to serve the voice – to This debut CD,I vespri verdiani, is a very one’s self-actualisation – that each real singer special project for me. It connects my soul to has inside.

11 On this CD you will find some of the best Competition in Oslo in 2003. Recognised repertoire ever written for the soprano, music for her extraordinary musicality, solid vocal which perfectly suits my voice. technique, easy coloratura, and powerful The young Verdi was a real idealist and his expression, she was a soloist at the National heroes were mostly young people who broke Opera of Ukraine in Kyiv from 1995 till rules in the search for truth. It is the same 2003, a city in which she has also taken part goal as that of the protagonist in my book: in duo concerts with and upturning her whole life and discovering José Carreras. Since 2001 she has appeared a totally new self, then following her real on operatic stages across Europe, notably the mission – to sing. , Mariinsky Theatre in I selected Verdi’s best arias, which I have St Petersburg, Teatro dell’Opera di Roma, been singing for over twenty years, since I Großes Festspielhaus in Salzburg, Opéra royal started to learn music professionally. In the de Wallonie in Liège, Staatsoper Hamburg, chosen sequence of these arias, one can trace Savonlinna Opera Festival, Welsh National my gradual development as an opera singer. Opera, Staatsoper , and Den Norske Please, enjoy this musical trip with me! Opera, in such roles as Iolanta, Violetta In conclusion, I want to express my cordial (La traviata), Lucia (Lucia di Lammermoor), gratitude to Kinstellar, my sponsor, for Musetta and Mimì (La bohème), Gilda making this project possible! (Rigoletto), Nedda (), Liù (Turandot), and Micaëla ( ). In 2007, she made © 2020 Olga Mykytenko Carmen her debut at The in New York, singing Lauretta (), Among several prestigious awards, the and also appeared at Opéra national de Lyon Ukrainian soprano Olga Mykytenko won as Tatyana (Eugene Onegin). She made her the International Grand Prix debut at Oper Frankfurt in 2008, as Amalia in Athens in 1997, received the Second (I masnadieri), and sang Leïla (Les Pêcheurs Prize and Special Award at the Francisco de perles) and Fiordiligi (Così fan tutte) for Viñas International Singing Competition the first time respectively in 2010 and 2011, in Barcelona in 1997, and won First Prize both at the Aalto-Musiktheater Essen. at the Queen Sonja International Music In 2012 she made her debut at Bayerische

12 Staatsoper as Fiordiligi, immediately returning to perform all Tchaikovsky’s symphonies. More to sing Antonia (Les Contes d’Hoffmann). Her recently, it has worked with Sir Peter Maxwell repertoire also includes the Countess (Le nozze Davies, David Matthews, Rodion Shchedrin, di Figaro), Donna Anna (), Sir John Tavener, Sir Michael Tippett, Pamina (Die Zauberflöte), Luisa Miller, Sir James MacMillan, and Mark-Anthony and Francesca da Rimini. Olga Mykytenko Turnage. Succeeding such esteemed chief appears frequently on the concert platform, conductors as Sir Charles Groves, Constantin where she has sung the soprano part in Silvestri, Rudolf Schwarz, Paavo Berglund, Shostakovich’s Symphony No. 14 with the Andrew Litton, Yakov Kreizberg, and Marin Orchestre philharmonique de Radio France Alsop, Kirill Karabits continues to lead the under Kirill Petrenko, Berliner Philharmoniker Orchestra in a variety of exciting plans and under Neeme Järvi, Bournemouth Symphony events. Orchestra and Orchestre de chambre de The Orchestra and its various smaller Lausanne under Kirill Karabits, and The ensembles give more than 140 public Israel Camerata under Konstantin performances annually, touring widely Chudovsky. and making regular appearances at the BBC Proms. Abroad it has made notable Founded in 1893, the Bournemouth appearances at Carnegie Hall and Lincoln Symphony Orchestra remains at the forefront Center, New York, and at the Amsterdam of the orchestral scene in the UK, serving Concertgebouw, Wiener Musikverein and communities across the South and South West, Konzerthaus, Rudolfinum in Prague, and and extending its influence across the whole Berliner Philharmonie. Te Orchestra’s of the UK and internationally with regular musicians take part in an extensive portfolio festival appearances, an extensive catalogue of of learning and community projects, including recordings, and live broadcasts on BBC Radio 3. initiatives involving people living with During the tenure of its founder, Sir Dan dementia and the creation of a ground- Godfrey, it worked with such illustrious figures breaking disabled-led ensemble, BSO Resound. as Bartók, Elgar, Holst, Sibelius, Stravinsky, Since its pioneering beginnings in 1914, and Vaughan Williams; it gave numerous the Bournemouth Symphony Orchestra has premières and was the first orchestra in the UK amassed a discography of more than 300

13 recordings, recent acclaimed releases including Cincinnati, Seattle, and Melbourne, and with works by Bartók, Bernstein, Dvořák, Finzi, the Wiener Symphoniker at the Musikverein, as Glazunov, Howells, Khachaturian, Mussorgsky, well as a return to Deutsche Oper Berlin. Prokofiev, Shostakovich, Tchaikovsky, Vaughan The 2019 / 20 season will include a number Williams, and Walton. www.bsolive.com of returns and debuts, in North America, on the European continent, in Australia, and In his eleventh year as its Chief Conductor, South Korea. It will also see him embark on Kirill Karabits enjoys an internationally a European and South American tour with celebrated relationship with the Bournemouth the Russian National Orchestra, which will Symphony Orchestra, with which he has made include performances at the Elbphilharmonie many critically acclaimed recordings and Hamburg and the Tonhalle Düsseldorf. A appeared regularly at the BBC Proms. He has prolific conductor of opera, Kirill Karabits worked with leading international ensembles has appeared at Deutsche Oper Berlin, Oper such as the Cleveland Orchestra, Philadelphia Stuttgart, Festival Opera, Orchestra, San Francisco Symphony, and Staatsoper Hamburg, , Chicago Symphony Orchestra, Münchner the Bolshoi Theatre, and Wagner Geneva Philharmoniker, Orchestre national de Festival, in a repertoire ranging from Mozart France, , Rotterdams to Britten. A champion of the next generation Philharmonisch Orkest, Yomiuri Nippon of bright musicians, he is Artistic Director Symphony Orchestra, Orchestra Filarmonica of the I, CULTURE Orchestra which he del Teatro , and BBC Symphony conducted on a European tour in August 2015, Orchestra. He enjoys a special relationship with with Lisa Batiashvili as soloist, and on a tour the Russian National Orchestra with which of summer festivals in 2018, which included he returned to the Edinburgh International concerts at the Concertgebouw in Amsterdam Festival in the 2018 / 19 season and more and the Montpellier Festival. Most recently, recently embarked on an extensive North in the course of a UK tour, he conducted the American tour with Mikhail Pletnev, which National Youth Orchestra of Great Britain included his New York debut at the Lincoln for the first time. The Royal Philharmonic Center. He also recently made his debuts Society named Kirill Karabits Conductor of with the symphony orchestras of Toronto, the Year in 2013.

14 I vespri verdiani

Einleitung Register – eine getragene cantabile Linie Gibt es das, den “Verdi-Sopran”? Während bieten zu können; ein großer stimmlicher seiner gesamten Laufbahn ersann Giuseppe Umfang, der sowohl eine leicht-schwebende Verdi (1813 – 1901) Partien für eine große Höhe als auch eine gut gestützte Bruststimme Vielfalt von Sängerinnen, vom dramatischen umfasst; und ausreichende Wärme des Tons, Koloratursopran der Abigaille in seinem um die Charaktere durch den Text mit Leben frühen Triumph Nabucco (Mailand 1842) zu erfüllen, wobei allein die Stimme das bis zur Soubrettenrolle der Nannetta in Drama entstehen lässt. seiner letzten Oper Falstaff (Mailand 1893). Mütter, Töchter, Kriegerinnen, Königinnen, I masnadieri Prostituierte, Nonnen und Jungfrauen Die Rolle der Amalia in I masnadieri bevölkern alle Verdis Opernwerke und geben (London 1847) ist eine von Verdis am der größtmöglichen Vielfalt der weiblichen leichtesten angelegten Prima-Donna-Partien. Erfahrungswelten des neunzehnten Sie entstand für die legendäre Sopranistin Jahrhunderts eine Stimme, sind aber auch Jenny Lind, und mit der für sie erforderlichen auf die Fähigkeiten einzelner Sängerinnen hoch liegenden stimmlichen Agilität – zugeschnitten. Verdis Werdegang zeugt während gleichzeitig auch die aus Verdis zudem von einer weitreichenderen frühesten Werken bekannte von langem Entwicklung seines Ansatzes in der Atem getragene Lyrik vonnöten ist – Opernkomposition, wobei von Rossini nimmt sie die Gilda in Rigoletto (Venedig übernommene Strukturen durch weniger 1851) vorweg. Das Libretto von I masnadieri dekorative Gesangslinien, komplexere basierte auf Schillers Die Räuber, einem Orchesterkomposition und offenere Formen Theaterstück (1836 bereits von Verdis abgelöst wurden. Einige Eigenschaften sind älterem Zeitgenossen jedoch all seinen Sopranpartien durchgängig vertont), in dem es um eine Familienrivalität eigen: der Anspruch – besonders im mittleren zwischen Amalias geächtetem Liebhaber

15 Carlo und dessen eifersüchtigem Bruder hat Amelias Gefühle für Riccardo entdeckt, Francesco geht, in deren Mittelpunkt Amalia da er ein Treffen zwischen ihr und der steht. In der ersten Szene des zweiten Teils Wahrsagerin Ulrika ausspioniert hatte, und glaubt sie, dass sowohl Carlo als auch dessen droht jetzt damit, sie für ihren Treuebruch zu Vater Massimiliano tot seien, und beweint töten. In ihrer Arie im dritten Akt akzeptiert sie an Massimilianos Grab in einer hoch sie ihren Tod, fleht jedoch ihr Kind noch ein geschwungenen, von der Harfe begleiteten letztes Mal sehen zu dürfen, und zwar mit Melodie, welche gewiss Linds Fähigkeit zum einer stockenden Musik, die Verdis Fähigkeit Pathos zur Geltung gebracht haben wird demonstriert, aus der Entwicklung und (“Dall’infame banchetto ... Tu del mio Carlo Intensivierung kleiner melodischer Motive al seno”). Als Arminio ihr mitteilt, dass die eine Arie aufzubauen. Ein Cello-Solo verleiht beiden Männer in Wirklichkeit am Leben der Szene zusätzliche Schmerzlichkeit und sind, bricht Amalia in eine lebhafte C-Dur- unterstreicht sowohl Amelias Reife als auch Cabaletta aus (“Carlo vive?”), welche durch die satten tieferen Töne des Soprans. In einer Triller und Akzente, die ihrer Begeisterung von Verdis anspruchsvollsten Sopranpartien Ausdruck verleihen, charakterisiert wird – offenbart Amelia schließlich das Ausmaß ein leider nur kurzlebiges Glück, denn ihrer Qual in einer berüchtigten Kadenz, die Francesco verfolgt weiter seine schändlichen sie von einem hohe Ces bis zu einem tiefen Ziele. A in Altlage führt – die Verzweiflung einer Mutter, die ihre Kinder nie wiedersehen wird. Un ballo in maschera Der Charakter der Amelia in Un ballo in Il trovatore maschera (Rom 1859), die in “Morrò, ma Il trovatore (Rom 1853) wird oft als Rückkehr prima in grazia” ihr Unglück beklagt, weist Verdis zu einem früheren Stil des Belcanto ein völlig anderes stimmliches Profil auf. Sie betrachtet, nachdem er im Rigoletto innerhalb ist mit Renato verheiratet, liebt aber heimlich individueller Abschnitte mit lockereren dessen besten Freund, Riccardo, Gouverneur dramatischen Strukturen experimentiert hatte. im kolonialen Boston (der Ort wurde aus Leonoras Auftrittsarie hält sich tatsächlich Gründen der Zensur geändert, ursprünglich weitgehend an ein älteres formales Muster war der schwedische Hof vorgesehen). Renato im Stil von I masnadieri: Einem Rezitativ

16 folgen eine lyrische Betrachtung, ein Moment I vespri siciliani dramatischer Aktion und dann ein schnellerer Bei seinen Reisen nach Paris in den Abschnitt (die sogenannte ). 1840ern und 1850ern lernte Verdi die Doch beispielhaft für eine Besonderheit, die Extravaganz der französischen grand opéra auch anderswo in Il trovatore zu finden ist, mit ihrer visuellen Üppigkeit und ihren spiegelt Leonoras scena auch die Verdichtung langatmigen historischen Handlungen und den dramatischen Impuls wider, die viele kennen, und es folgten mehrere französische von Verdis Werken kennzeichnen. In einer Kompositionsaufträge, unter ihnen Oper, die nach einem Sänger benannt ist, Les Vêpres siciliennes (Paris 1855), ein Werk, ist es vielleicht kein Wunder, dass die Macht welches man öfter in seiner italienischen der Stimme sowohl als Thema als auch als Übersetzung, I vespri siciliani, antrifft. Vehikel der Sopranarie dient. Im Garten Diese Geschichte politischen Konflikts, mit ihrer Gesellschafterin Ines erinnert sich die während der französischen Besatzung Leonora daran, wie sie den Mann, den sie liebt, von Palermo im dreizehnten Jahrhundert wiederfand, weil sie ihn zur Laute singen hörte spielt, bietet für die Sopran-Hauptpartie eine (“Tacea la notte placida”), eine Erinnerung, die besondere Herausforderung, da sie über einen sie in einer melancholischen, zweistrophigen außerordentlich großen stimmlichen Umfang Arie heraufbeschwört, welche sich zweimal verfügen muss. Elena, eine Sizilianerin, deren nach Dur öffnet, wenn sie an Manricos Musik Bruder hingerichtet wurde, ist Arrigo, der denkt. Die Musik basiert teils auf Verdis Lied dabei hilft, die Revolutionstruppen gegen die “In solitaria stanza” aus den 1830ern, wobei Franzosen zu führen, romantisch verbunden. die wiederholten Oktavsprünge sowie die Arrigo hat entdeckt, dass er in Wirklichkeit getragene, ansteigende Vokallinie Leonoras der Sohn von Monfort, dem Gouverneur der Grandezza andeuten. In “Di tale amor” weist Besatzungsmacht ist, und er verteidigt seinen Leonora jedoch Ines’ Bedenken mit einer Vater in einem Moment der moralischen Cabaletta voller Sprünge, Pausen, Triller und Krise gegen einen Angriff. In ihrer Arie im Tonleitern, die ihre atemlose Aufregung beim vierten Akt, “Arrigo! ah! parli a un core”, Anblick ihres Liebhabers darstellen, zurück: nachdem sie seine Gründe zur Rettung die mädchenhafte Leidenschaft im Inneren der Montforts verstanden hat, versichert Elena edlen Prinzessin. Arrigo, dass sie ihm verzeihen wird –

17 dabei verleiht sie ihrer Trauer zu einer ist eine eindringliche, ruhelose Klage im Holzbläserbegleitung Ausdruck. Die Arie Dreiermetrum, in der Medora begleitet hat zwei Strophen, und in der Akzeptanz von der Harfe in einer Folge zunehmend der Tragödie erwärmt sich die Stimmung ausgezierter Variationen über das Schicksal überraschend jeweils gegen Mitte der Strophe, ihres Geliebten des Piraten nachsinnt. wenn sich die g-Moll-Klage nach Dur wendet; womöglich gibt es für diese revolutionäre Attila Figur im Jenseits immer eine bessere Lösung. Bezüglich ihres Platzes im Repertoire war Im fünften Akt scheint Montfort kurzzeitig die Oper Attila (Venedig 1846) um einiges Frieden erzielt zu haben, indem er die beiden erfolgreicher, und ihre heroische weibliche Liebenden miteinander vermählt, und Elena Hauptrolle nimmt die militärische Musik feiert dieses Ereignis in ihrer Vorzeigearie, der Elena (I vespri siciliani) vorweg. Mit den dem Bolero “Mercé, dilette amiche”. Dieser punktierten Rhythmen und der aggressiven am häufigsten aufgeführte Ausschnitt Gesangslinie der Arie “Santo di patria” der Oper bietet eine grandiose Koloratur- erklärt Odabella ihre Bereitschaft, für die Darbietung, wenn Elena der Menge für ihre Freiheit ihres Landes zu kämpfen. Ihre spätere Unterstützung dankt und sich des Friedens scena, “Liberamente or piangi” legt dagegen freut, der nun nach Palermo kommt. Der ihre Zerbrechlichkeit bloß – die Traurigkeit Schmerz des vierten Akts scheint vergessen – im Herzen dieser Kriegerin wird wieder doch die Tragödie bahnt sich bereits an, da einmal von zarten Holzbläsern offenbart, die sizilianischen Rebellen nun bald mit wenn sie um ihren toten Vater trauert. ihrem Massaker beginnen werden. Ernani Il corsaro Bei Ernani (Venedig 1844) handelt es sich um Il corsaro (Triest 1848) gehört schon lange eines von Verdis beliebtesten frühen Werken, zu Verdis am seltensten aufgeführten das im Laufe der 1850er für die Eröffnung Werken. Medoras Aufrittsarie hat jedoch so manch neuen Opernhauses in Italien und dazu beigetragen, die Oper im allgemeinen anderswo ausgewählt wurde. Wie auch in Bewusstsein wenigstens teilweise am Leben Il trovatore bildet der Auftritt der Sopranistin zu erhalten. “Non so le tetre immagini” die romantische Leidenschaft ihres

18 Charakters mit Hilfe einer zweiteiligen Arie der Prophezeiung der Hexen und offenbart ab, deren erster Teil von großen Sprüngen ihre Ambitionen in heftigem Gesang, und Rouladen gekennzeichnet wird, welche der in einer furchterregenden Reihe von auf Elviras versteckte Stärke hinweisen. Die Sequenzen ansteigt. Die folgende Cabaletta sich anschließende Cabaletta verstärkt diesen intensiviert weitgehend diese Stimmung, und Eindruck, indem die melodischen Motive laufende Tonleitern und Couplets zeichnen ausgearbeitet und staccati sowie andere ein Bild manischer Freude angesichts der Verzierungen über einen großen Umfang Neuigkeit, dass Duncan unterwegs ist. In hinweg hinzugefügt werden, um Elviras der Schlafwandlerszene im vierten Akt Selbstvertrauen darzustellen – ebenso wie kommt jedoch eine ganz andere Stimme zum jenes der Sängerin. Vorschein, und zwar eine, die an Donizettis Lucia di Lammermoor erinnert. Gequält von Macbeth ihren Verbrechen und den blutigen Händen, die So furchterregend Odabella auch sein mag, sie nicht reinigen kann, singt Lady Macbeth so ist doch kaum eine von Verdis frühen statt einer ausgehaltenen Gesangslinie nun Heldinnen weder so selbstbeherrscht noch oft melodische Fragmente, während in der so selbstzerstörerisch wie Lady Macbeth. Begleitung die rhythmische Energie ihrer Die Oper Macbeth (Florenz 1847) stellte früheren Szenen widerklingt, wobei die für den jungen Verdi einen Durchbruch beunruhigende Chromatik ihre mentale dar. In ihr erreicht seine psychologische Instabilität evoziert. Wenn sie schließlich Charakterisierung eine neue Ebene, und dem Abgrund nachgibt, erhebt sich ihre das Werk spiegelt sein wachsendes Interesse Stimme im letzten Moment der Szene zu einem am Realismus im Theater wider. Wie Verdi Des ad libitum: Ein überirdischer, stimmlich bekanntermaßen schrieb, sollte Lady beängstigender Moment, der vielleicht auch Macbeth von einer Sängerin dargestellt ein Flehen um Gnade darstellt (vierzig Jahre werden, deren Stimme “schroff, erstickt und später sollte Desdemonas Ave Maria im Otello dunkel” klang, also weit entfernt von den mit einem ähnlichen Effekt enden). Belcanto-Idealen stimmlicher Schönheit und geschmeidiger Darbietung. In der Briefszene Luisa Miller im ersten Akt erhält sie die Nachricht von Wie bereits bei I masnadieri handelt es sich

19 auch bei Luisa Miller (Neapel 1849) um La traviata die Adaption eines Schauspiels von Schiller, Wohl keine von Verdis Sopranrollen weist und auch hier wird die Heldin durch ihre jedoch so viele Facetten auf wie jene der Unschuld charakterisiert. Tatsächlich hat der Violetta in La traviata (Venedig 1853), und Musikwissenschaftler Emanuele Senici Luisa ebenso ist wohl keine von Generationen von in eine Ahnenlinie von “Alpenjungfrauen” Sängerinnen allgemein so geschätzt worden. eingereiht, die sich von Bellinis Amina in Auf das häusliche Drama von Luisa Miller La sonnambula bis hin zu Minnie in Puccinis aufbauend, wollte Verdi seine Adaption von La fanciulla del West erstreckt. Luisa ist in Alexandre Dumas’ La Dame aux camélias Carlo (in Wirklichkeit Rodolfo) verliebt, in der Gegenwart ansiedeln, die Zensur wird jedoch vom mächtigen Wurm in die zwang ihn jedoch dazu, die Handlung in Enge getrieben, der ebenfalls in sie verliebt ist das vorhergehende Jahrhundert zu verlegen. und ihren Vater ins Gefängnis gebracht hat; Doch selbst die Verlegung ins achtzehhnte Wurm wird ihren Vater befreien, wenn sie sich Jahrhundert kann nur teilweise die skandalöse ihm zuwendet. In “Tu puniscimi, o signore” Natur der Handlung von La traviata verleiht sie ihrer Verzweiflung angesichts ihres abdämpfen, welche die Kurtisane Violetta als Schicksals Ausdruck und erklärt, dass, wenn Figur von moralischer Reinheit darstellt, den schon jemand bestraft werden müsse, sie es spießbürgerlichen Germont dagegen in der dann lieber selber wäre. Ihre Gesangslinie moralisch uneindeutigen Position sowohl des steht in großem Kontrast zu den zarten Vaters als auch des Schurken. In ihrer großen staccati ihrer Auftrittsszene, mit dramatischer scena im ersten Akt denkt Violetta zunächst Musik in der oberen Mittellage, die sich über Alfredos Liebeserklärung nach und schließlich bis zu einem hohen H aufschwingt, darüber, ob sie ihr Leben des Genusses – das gefolgt von Vokalrouladen bis in die tiefsten bereits von Krankheit überschattet wird – Sopranlagen für das höhepunktartige “non aufgeben und einem Traum von romantischer lasciarmi in abbandono” (verlass mich Liebe folgen soll. Die harmonische Struktur nicht). Selbst in ihrer schwersten Stunde von “Ah, forse è lui” hat offenbar Isabellas bleibt ihre Opernstimme stark: Luisa mag Arie “Robert, toi que j’aime” aus Meyerbeers eine Alpenjungfrau sein, aber sie besitzt Robert le diable zum Vorbild, ein Werk das außerordentliche innere Stärke. Verdi wohl in Paris kennengelernt haben

20 wird: eine ergreifende Klage in f-Moll, die hier regelrecht, zu einer früheren, sorglosen sich nach und nach ins Dur öffnet, während Gesangsart zurückzukehren. Kein Wunder die Gesangslinie höher steigt und hier auch also, dass die Rolle der Violetta Soprane die Melodie aus dem Duett Violettas und mit so verschiedenen Rollenerfahrungen Alfredos wiederholt. Diesen Traum als reine wie Gilda, Nannetta, Odabella und Lady Torheit verwerfend, setzt Violetta zu einer Macbeth angezogen hat. Lyrisch, dramatisch, frenetischen Cabaletta in 6 / 8 an, “Sempre tragisch, trotzig und beglückend brillant libera”, die fast als Wahnsinnsszene fungiert. bietet die Rolle einen Zugang für jede Spielart Mit nicht weniger als zehn hohen Cs und des “Verdi-Soprans”. Des sowie rasanten Tonleitern, die so manchen lyrischen Koloratursopran auf die © 2020 Ditlev Rindom Probe stellen würden, zwingt sich Violetta Übersetzung: Bettina Reinke-Welsh

21 I vespri verdiani

Introduction aiguës flottantes à une voix de poitrine bien Y a-t-il une voix de “soprano verdien”? soutenue; et une certaine chaleur de timbre Tout au long de sa carrière, Giuseppe pour animer les personnages au travers du Verdi (1813 – 1901) a conçu des rôles pour texte, en créant le drame avec la voix seule. une grande diversité de chanteuses, de la colorature dramatique d’Abigaille dans I masnadieri Nabucco, son triomphe de jeunesse (1842, Le rôle d’Amalia dans I masnadieri Milan), au rôle de soubrette de Nannetta dans (“Les Brigands”, 1847, Londres) constitue Falstaff, sa dernière œuvre (1893, Milan). Des l’un des rôles de prima donna les plus légers de mères, des filles, des guerrières, des reines, Verdi. Composé pour la légendaire soprano des prostituées, des religieuses et des vierges Jenny Lind, ce rôle annonce Gilda dans Rigoletto peuplent toutes les ouvrages lyriques de Verdi, (1851, Venise) par la très grande agilité vocale incarnant une très large gamme d’expériences qu’elle requiert tout en exigeant le genre de féminines au cours du dix-neuvième siècle, lyrisme ample déjà présent dans les premières et modelées sur des qualités d’interprètes œuvres de Verdi. Le livret d’I masnadieri repose féminines spécifiques. Sa carrière connut sur Die Räuber de Schiller, une pièce – déjà mise aussi une très grande évolution dans son en musique en 1836 par Saverio Mercadante, approche de la composition lyrique, lorsque un contemporain et aîné de Verdi –­ qui les structures héritées de Rossini firent place explore une rivalité familiale centrée sur à des lignes vocales moins décoratives, à une Amalia, son amant banni, Carlo, et son écriture pour orchestre plus sophistiquée et à frère jaloux, Francesco. Dans la scène qui des formes plus ouvertes. Pourtant certaines ouvre la deuxième partie, Amalia croit que qualités sont constantes dans ses rôles de Carlo et son père, Massimiliano, sont morts; soprano: le besoin d’émettre une ligne elle pleure sur la tombe de ce dernier dans cantabile soutenue, surtout dans le médium; une mélodie en forme d’arche, accompagnée un registre vocal étendu allant des notes par la harpe, qui servit sûrement de tremplin

22 au sens du pathétique de Lind (“Dall’infame l’intensification de petits motifs mélodiques. banchetto... Tu del mio Carlo al seno”). Un solo de violoncelle rend cette scène Informée par Arminio que les deux hommes encore plus poignante, soulignant la maturité sont en fait vivants, Amalia se met à chanter d’Amelia ainsi que les riches couleurs de la une cabaletta bondissante en ut majeur soprano dans le grave. Le rôle d’Amelia est (“Carlo vive?”) caractérisée par des trilles et l’un des rôles de soprano les plus difficiles des accents qui traduisent sa joie intense – un de Verdi; elle révèle finalement l’étendue de bonheur qui sera malheureusement de courte son tourment dans une cadence célèbre qui durée car Francesco poursuit ses ignobles la mène d’ut bémol aigu à un la grave dans le desseins. registre d’alto – le désespoir d’une mère qui ne reverra jamais ses enfants. Un ballo in maschera Le personnage d’Amelia dans Un ballo in Il trovatore maschera (“Un bal masqué”, 1859, Rome) Il trovatore (“Le Trouvère”, 1853, Rome) est correspond à un profil vocal très différent. souvent considéré comme un retour de la part Elle pleure son malheur dans “Morrò, ma de Verdi à un style antérieur d’écriture bel prima in grazia”. Mariée à Renato, Amelia est canto, après avoir expérimenté dans Rigoletto secrètement amoureuse de son meilleur ami, des structures dramatiques plus lâches au Riccardo, gouverneur de la Boston coloniale sein de mouvements isolés. Certes, l’air (lieu changé pour des raisons de censure; d’entrée de Leonora correspond en grande c’était, dans la version originale, la cour royale partie à un modèle formel plus ancien, dans de Suède). Renato a découvert les sentiments le style d’I masnadieri: un récitatif précédant d’Amelia pour Riccardo en épiant la une réflexion lyrique, un moment d’action rencontre entre Amelia et la diseuse de bonne dramatique, puis un mouvement plus rapide aventure Ulrica; il menace alors de la tuer (ce qu’on appelle la solita forma). Pourtant, pour l’avoir trahi. Dans son aria de l’acte III, dans la ligne d’une caractéristique que l’on elle accepte sa mort, mais supplie de voir son retrouve ailleurs dans Il trovatore, la scena enfant une dernière fois, dans un mouvement de Leonora reflète aussi la concision et l’élan saccadé qui montre le talent de Verdi pour dramatique qui caractérisent beaucoup créer une aria à partir du développement et de d’œuvres de Verdi. Dans un opéra dont le titre

23 désigne un poète chanteur, il n’y a peut-être françaises, notamment Les Vêpres siciliennes rien de surprenant à ce que la puissance de (1855, Paris), ouvrage présenté plus souvent la voix soit à la fois le sujet et le véhicule dans sa traduction italienne, I vespri siciliani. de l’aria de la soprano. Dans le jardin, avec Sur un fond de conflit politique à l’époque de sa confidente Ines, Leonora se souvient l’occupation française de Palerme au treizième comment elle a redécouvert l’homme qu’elle siècle, cet opéra offre un rôle particulièrement aime en l’entendant chanter accompagné difficile à la principale soprano, qui doit de son luth (“Tacea la notte placida”), maîtriser une étendue vocale extrêmement un souvenir qu’elle évoque dans une aria large. Sicilienne dont le frère a été exécuté, mélancolique de deux strophes qui vire à deux Elena s’est engagée romantiquement reprise dans la tonalité majeure lorsqu’elle envers Arrigo, qui aide à mener les forces se remémore la musique de Manrico. Le révolutionnaires contre les Français. Arrigo mouvement repose en partie sur “In solitaria a découvert qu’il est en réalité le fils du stanza”, une mélodie composée par Verdi dans gouverneur occupant, Montfort, et il défend les années 1830, les sauts d’octave répétés son père contre l’attaque à un moment de ainsi que la ligne vocale ascendante soutenue crise morale. Dans son aria de l’acte IV, suggérant la grandeur de Leonora. Toutefois, “Arrigo! ah! parli a un core”, Elena rassure dans “Di tale amor”, Leonora écarte les Arrigo, une fois qu’elle a compris pour inquiétudes d’Ines dans une cabaletta truffée quelle raison il a sauvé Montfort: elle lui de sauts, de points d’orgue, de trilles et de pardonnera – exprimant son chagrin sur gammes qui évoquent son excitation extatique un accompagnement des bois. C’est une à l’idée de voir son amoureux: une passion de aria en deux strophes et, chose étonnante, jeune fille chez une noble princesse. l’atmosphère se réchauffe à l’acceptation de la tragédie au milieu de chaque strophe, la I vespri siciliani complainte en sol mineur passant au majeur; Au cours de ses séjours à Paris dans les pour ce personnage révolutionnaire, il y a années 1840 et 1850, Verdi fut confronté au peut-être toujours une meilleure résolution luxe du “grand opéra” français – son opulence dans l’au-delà. À l’acte V, Montfort semble visuelle et ses longues intrigues historiques – brièvement avoir instauré la paix en mariant ce qui donna lieu à plusieurs commandes les deux amoureux, événement qu’Elena

24 célèbre dans son “boléro”, “Mercé, dilette agressive de “Santo di patria”, Odabella amiche”, un modèle du genre. C’est l’extrait déclare être prête à se battre pour la liberté de le plus souvent exécuté de cet opéra et il offre son pays. Sa scena ultérieure, “Liberamente une superbe démonstration de colorature or piangi”, révèle plutôt sa fragilité; une lorsqu’Elena remercie les foules pour leur écriture délicate pour les bois met en lumière à soutien et se réjouit de la paix apportée à nouveau la tristesse de cœur de cette guerrière Palerme. Le caractère poignant de l’acte IV lorsqu’elle pleure la mort de son père. est maintenant oublié; pourtant la tragédie menace car les rebelles siciliens lancent Ernani bientôt leur massacre. Ernani (1844, Venise) fut l’un des premiers ouvrages de Verdi qui connut le plus grand Il corsaro succès; il fut choisi pour l’inauguration de Il corsaro (“Le Corsaire”, 1848, Trieste) a été nombreux nouveaux théâtres lyriques dans les longtemps l’une des œuvres les plus rarement années 1850, en Italie et dans d’autres pays. représentées de Verdi. L’aria d’entrée de Comme dans le cas du Trovatore, l’entrée de Medora a néanmoins contribué à ce que cet la soprano dépeint la passion romantique du opéra reste un peu en vie dans l’imagination personnage dans une aria en deux parties, populaire. “Non so le tetre immagini” est la première moitié marquée par de larges une complainte lancinante, tourmentée, sauts et roulades suggérant la force latente de rythme ternaire, où Medora réfléchit au d’Elvira. La cabaletta suivante renforce destin de son amant pirate dans une série cette impression en développant ses motifs de variations de plus en plus ornementées mélodiques, ajoutant des staccatos et d’autres accompagnées à la harpe. ornements sur une vaste tessiture pour souligner l’assurance d’Elvira – et aussi celle Attila de la soprano. Attila (1846, Venise) a connu un peu plus de succès sur le plan du répertoire; son Macbeth personnage féminin héroïque y préfigure Aussi effrayante soit-elle, rares sont les l’écriture militaire d’Elena (I vespri siciliani). premières héroïnes de Verdi aussi maîtresses Avec les rythmes pointés et la ligne vocale d’elles-mêmes ou autodestructrices que

25 Lady Macbeth. Macbeth (1847, Florence), qui écriture chromatique troublante évoquant représente une avancée chez le jeune Verdi, son instabilité mentale. Lorsqu’elle finit par pousse la manière de camper les personnages s’abandonner à l’abîme, sa voix s’élève à un sur le plan psychologique à un autre niveau et ré bémol optionnel dans les derniers moments reflète son intérêt croissant pour le réalisme de la scène: un effet d’outre-tombe terrifiant dramatique. Lady Macbeth, dont on sait sur le plan vocal qui est peut-être aussi une ce que Verdi écrivit à son sujet, doit être demande de pardon (quarante ans plus tard, interprétée par une chanteuse dont la voix l’Ave Maria de Desdémone dans Otello se est “dure, étouffée et sombre”, très éloignée terminera sur un effet analogue). des idéaux de beauté vocale et d’émission posée du bel canto. Dans la scène de la lettre Luisa Miller de l’acte I, elle reçoit des nouvelles de la Comme I masnadieri, Luisa Miller (1849, prophétie des sorcières et révèle son ambition Naples) est une adaptation de Schiller et dans une écriture vocale violente qui s’élève présente à nouveau une héroïne caractérisée dans une redoutable série de séquences. par son innocence. En effet, le musicologue La cabaletta suivante développe largement Emanuele Senici situe Luisa dans la lignée cette atmosphère, avec des gammes rapides des “vierges alpines” qui s’étend d’Amina de et des couplets qui peignent un portrait de Bellini dans La sonnambula à Minnie dans jubilation hystérique lorsque Lady Macbeth La fanciulla del West de Puccini. Amoureuse apprend l’arrivée imminente de Duncan. de Carlo – en réalité Rodolfo – Luisa est prise Mais, avec la scène de somnambulisme de au piège par le puissant Wurm, qui est aussi l’acte IV, c’est une voix totalement différente amoureux d’elle et a fait emprisonner son qui apparaît – une voix qui évoque Lucia di père; Wurm libérera son père si elle accepte Lammermoor de Donizetti. Hantée par ses de s’engager envers lui. Dans “Tu puniscimi, crimes et ses mains tâchées de sang qu’elle o signore”, Luisa exprime sa frustration quant ne peut nettoyer, Lady Macbeth chante à son destin, déclarant que si quelqu’un doit alors souvent des fragments mélodiques être puni, elle préférerait que ce soit elle. au lieu d’une ligne vocale soutenue, tandis Sa ligne vocale contraste fortement avec les que l’accompagnement rappelle l’énergie délicats staccatos de sa scena d’entrée, offrant rythmique de ses scènes antérieures, son une écriture dramatique dans le registre aigu

26 médian pour monter finalement à un si aigu si elle devrait renoncer à sa vie de plaisir – déjà suivi de roulades vocales qui descendent assombrie par la maladie – et poursuivre un jusqu’au registre le plus grave de soprano sur rêve de passion romantique. “Ah, forse è lui” l’impressionnant “non lasciarmi in abbandono” a une structure harmonique apparemment (ne m’abandonne pas). Même lorsqu’elle est modelée sur l’aria d’Isabelle “Robert, toi que le plus maltraitée, sa voix lyrique reste forte: j’aime” de Robert le diable de Meyerbeer, Luisa est peut-être une vierge alpine, mais elle ouvrage que Verdi avait dû découvrir à Paris: possède une extraordinaire force intérieure. une complainte pathétique en fa mineur qui vire au majeur lorsque la ligne vocale monte La traviata dans l’aigu, reprenant ici aussi la mélodie du Cependant aucun rôle de soprano de Verdi duo de Violetta et Alfredo. Violetta renonce n’a peut-être autant de facettes que celui de à ce rêve comme pure folie et se lance alors Violetta, dans La traviata (1853, Venise), dans une cabaletta frénétique à 6 / 8, “Sempre ni n’a été aussi largement prisé par des libera”, qui fonctionne presque comme une générations de chanteuses. Tirant parti du scène de folie. Produisant au moins une drame familial de Luisa Miller, Verdi aspirait dizaine d’ut et de ré bémol aigus ainsi que des à mettre en musique son adaptation à sa gammes rapides qui mettraient à l’épreuve propre époque de La Dame aux camélias bien des coloratures lyriques, Violetta est d’Alexandre Dumas, avant que la censure littéralement disposée à retourner à un mode ne l’oblige à resituer l’intrigue un siècle plus vocal antérieur, plus insouciant. Il n’est tôt. Mais même le fait de déplacer le drame donc guère étonnant que ce rôle attire des au dix-huitième siècle ne peut qu’atténuer sopranos qui ont incarné des personnages partiellement la nature scandaleuse de aussi divers que Gilda, Nannetta, Odabella l’intrigue de La traviata, qui présente la et Lady Macbeth. Lyrique, dramatique, courtisane Violetta comme un personnage tragique, provocant et étonnamment brillant, de pureté morale et le bourgeois Germont ce rôle offre un point de départ pour toute dans la position moralement ambiguë de configuration de la “soprano verdienne”. père et de méchant. Dans sa grande scena de l’acte I, Violetta commence par réfléchir à la © 2020 Ditlev Rindom déclaration d’amour d’Alfredo, se demandant Traduction: Marie-Stella Pâris

27 © BSO Bournemouth Symphony Orchestra, with its Chief Conductor, Kirill Karabits 1 From ‘I masnadieri’, Part II, Scene 1 From ‘I masnadieri’, Part II, Scene 1 Amalia Amalia Dall’infame banchetto io m’involai, I fled the hateful banquet, padre, e qui mi rifuggo, all’obliato father, and here I take shelter, in your sepolcro tuo che sola forgotten sepulchre, comforted la furtiva mia lagrima consola. only by my secret tears.

Oh! ma la pace Oh! You cannot torment him che nella vita gli rapisti, in morte in death as you did funestar non gli puoi! No! non penétra while he was alive! No! Your detested voice l’esecrata tua voce in quella pietra. cannot penetrate the stone.

Tu del mio Carlo in seno Your blessed soul flew volasti, alma beata, towards Carlo’s bosom, e il tuo soffrir terreno and your earthly sorrows or si fa gioia in ciel. are now heavenly pleasures. Sol io qui vivo in pianto Only I live here in tears, deserta sconsolata; abandoned and disconsolate; oh quanto invidio! oh quanto, oh, how, oh, how I envy il tuo felice avel! your happy tomb!

Carlo vive?... O caro accento, Carlo lives?... Sweet words, melodia di paradiso! heavenly melody! Dio raccolse il mio lamento, God heard my lament, fu pietoso al mio dolor. had pity on my grief. Carlo vive?... Or terra e cielo Carlo lives?... Heaven and Earth si riveston d’un sorriso; are now smiling; gli astri, il sol non han più velo, the stars, the Sun no longer hidden, l’universo è tutto amor. the whole universe is love. (1847, London) (1798 – 1885) afterDie Räuber (1781) by Friedrich von Schiller (1759 – 1805)

29 2 From ‘Un ballo in maschera’, Act III, From ‘Un ballo in maschera’, Act III, Scene 1 Scene 1 Amelia Amelia Morrò, ma prima in grazia I shall die, but I beg you, deh! mi consenti almeno let me at least l’unico figlio mio clasp to my breast avvincere al mio seno. my only son. E se alla moglie nieghi You may deny this last favour quest’ultimo favor, to your wife, non rifiutarlo ai prieghi but do not refuse the prayer del mio materno cor. of a mother’s heart. Morrò ­ ma queste viscere I shall die­ but may his kisses consolino i suoi baci, comfort me into the beyond, or che l’estrema è giunta now that the last of my dell’ore mie fugaci. fleeting hours arrives. Spenta per man del padre, He will reach out his hand la man ei stenderà to close the eyes of his mother su gli occhi d’una madre struck down by his father, che mai più non vedrà! and he will never again see her! (1859, Rome) (1809 – 1864) afterGustave III, ou Le Bal masqué (1833) by Augustin Eugène Scribe (1791 – 1861)

3 From ‘Il trovatore’, Part I ‘Il duello’, From ‘Il trovatore’, Part I ‘The Duel’, Scene 2 Scene 2 Leonora Leonora Ne’ tornei! V’apparve In tournaments appeared bruno le vesti ed il cimier, lo scudo an unknown warrior in dark robes, helmet, bruno e di stemma ignudo a dark shield with no coat of arms. sconosciuto guerrier, che dell’agone He won the competition:

30 gli onori ottenne: al vincitor sul crine I myself put the laurels il serto io posi! Civil guerra intanto on the victor’s hair! Then came civil war: arse: no ’l vidi più, come d’aurato I never saw him again, he was the picture sogno fuggente imago, ed era volta of a fleeting, golden dream, and many lunga stagion... ma poi... Ascolta. seasons passed... but then... Listen.

Tacea la notte placida The night was calm and silent e bella in ciel sereno with a clear sky in which la luna il viso argenteo a lovely full moon showed mostrava lieto e pieno; its silvery face; quando suonar per l’aere, when, ringing through the air, infino allor sì muto... that had been so still... dolci s’udiro e flebili a lute’s chords were heard, gli accordi d’un lïuto, sweet and delicate, e versi melanconici and a sang un trovator cantò. in mournful verse.

Versi di prece, ed umile They were words of humble prayer qual d’uom che prega iddio; like a man praying to God; in quella ripeteasi and a name was un nome... il nome mio... repeated... my name... Corsi al veron sollecita... I quickly ran to the balcony... egli era, egli era desso!... he was there, it was he!... Gioia provai che agli angeli I felt such joy as only angels solo è provar concesso! are allowed to feel! Al core, al guardo estatico To my heart, to my ecstatic eyes la terra un ciel sembrò. Earth looked like heaven.

Di tale amor che dirsi With such love that words mal può dalla parola, can ill express, d’amor che intendo io sola, with that love I alone know about, il cor s’inebriò! my heart was intoxicated!

31 Il mio destino compiersi My destiny can only be fulfilled non può che a lui dappresso... by being near him... S’io non vivrò per esso, If I cannot live for it, per esso morirò! I’ll die for it! (1853, Rome) (1801 – 1852) afterEl trovador (1836) by Antonio García Gutiérrez (1813 – 1884)

4 From ‘I vespri siciliani’, Act IV From ‘I vespri siciliani’, Act IV Elena Elena Arrigo! ah! parli a un core Arrigo! ah! You speak to a heart Già pronto a perdonare; already willing to forgive; Il mio più gran dolore my greatest sorrow Era doverti odiar! was having to hate you! Un’aura di contento A breath of joy Or calma il mio martîr now soothes my suffering. Io t’amo! e quest’accento I love you! And these words Fa lieto il mio morir! bring rapture to my death!

Gli odi fur già fatali Hatred has already been deadly Al cor che indarno spera: to a heart hoping in vain: Di sangue i tuoi natali your birth set a barrier Poser tra noi barriera! of blood between us! Addio! m’attende il cielo! Farewell! Heaven awaits us! Addio! mi serba fé! Farewell! Be true to me! Io muoio! e il mortal velo I die! And my mortal veil Spoglio, pensando a te. I shed, thinking of you.

32 5 From ‘I vespri siciliani’, Act V From ‘I vespri siciliani’, Act V Elena Elena Mercé, dilette amiche, Thank you, dear friends, Di quei leggiadri fior; for the delightful flowers; Il caro dono è immagine this cherished gift is the image Del vostro bel candor! of your lovely innocence! Oh! fortunato il vincol Oh! Lucky is the bond Che mi prepara amore, that love is preparing for me; Se voi recate pronube if you, my match-makers, bring Voti felici al core! joyful wishes to my heart! Mercè del don! Thank you for your gift, Ah, si! Ah, si! Oh yes! Oh yes! O caro sogno, o dolce ebbrezza! Happy dream, beloved folly! D’ignoto amor mi balza il cor! An unknown love makes my heart leap! Celeste un’aura già respiro The heavenly air I breathe here Che tutti i sensi inebbriò. has already exhilarated my senses.

O piaggie di Sicilia, O shores of Sicily, Risplenda un dì seren; may a serene day shine; Assai vendette orribili many horrible feuds Ti laceraro il sen! tore your bosom apart! Di speme colma e immemore I’m filled with hope and forgetful Di quanto il cor soffrì, of the ways in which my heart has suffered. Il giorno del mio giubilo May my day of jubilation Sia di tue glorie il dì. be the day of your glory. Gradisco il don di questi fior, I accept your gift of flowers, Ah, si! Ah, si! Oh yes! Oh yes! (1855, Paris, as Les Vêpres siciliennes) Augustin Eugène Scribe (1791 – 1861) and Charles Duveyrier (1803 – 1866) afterLe Duc d’Albe (1838) by the same authors, translated by Arnaldo Fusinato (1817 – 1888)

33 6 From ‘Il corsaro’, Act I, Scene 2 From ‘Il corsaro’, Act I, Scene 2 Medora Medora Egli non riede ancora! He has not returned! Oh come lunghe, eterne, How long, eternal, quando lungi è da me, l’ore mi sono! are the hours when he is away from me! (Prende l’arpa.) (She takes her harp.) Arpa che or muta giaci, vieni, O harp now lying silent, come, ed i miei sospiri seconda, sì, and accompany my sighs, so that, che più veloce giunga il flebile lamento on the wings of the wind, my feeble lament al cor del mio fedel sull’ali al vento. can faster reach the heart of my beloved.

Non so le tetre immagini I cannot dismiss the baleful images fugar del mio pensiero, from my thoughts, sempre dannata a gemere always condemned to groan all’ombra d’un mistero: in the shadow of a mystery: e se di speme un pallido and if a pallid ray of hope raggio su me traluce, shines over me, è passeggiera luce it’s a traitorous flash di lampo ingannator. of fleeting light.

Meglio è morir! Se l’anima ’Tis better to die! If my soul sen voli in seno a Dio; goes flying to God; se il mio Corrado a piangere if my Corrado will come verrà sul cener mio: and weep over my ashes: premio una cara lagrima I only ask love chieggo all’amor soltanto, for a sweet tear, virtù non niega il pianto virtue does not deny tears per chi moria d’amor. to those who die of love. (1848, Trieste) (1810 – 1876) afterThe Corsair (1814) by George Gordon Lord (1788 – 1824)

34 7 From ‘Attila’, Prologue, Scene 1 From ‘Attila’, Prologue, Scene 1 Odabella Odabella Santo di patria indefinito amor! O sacred love of my motherland!

Allor che i forti corrono When the strong run Come leoni al brando like lions to the sword Stan le tue donne, o barbaro, your women, O barbarian, Sui carri lagrimando. are crying on the carts. Ma noi, donne italiche, But we, Italian women, Cinte di ferro il seno, with swords tied to our breast, Sul fumido terreno shall always be seen fighting Sempre vedrai pugnar. on the smoky ground.

Fammi ridar la spada! Oh acciar! Return to me my sword! Ah steel!

Da te questo or m’è concesso, By you, high, divine justice, O giustizia alta, divina! I now am granted this! L’odio armasti dell’oppresso You armed the hatred of the oppressed Coll’acciar dell’oppressor. with the sword of the oppressor. Empia lama, l’indovina Wicked sword, can you tell Per qual petto è tua punta? for which breast your point was made? Di vendetta l’ora è giunta... The hour of vengeance has come... Fu segnata dal Signor. it was marked by the Lord.

8 From ‘Attila’, Act I, Scene 1 From ‘Attila’, Act I, Scene 1 Odabella Odabella Liberamente or piangi... Cry freely now... Sfrenati, o cor. La queta ora, in che posa have no inhibitions, my heart. In the quiet hour Han pur le tigri, io sola when even tigers rest, I alone Scorro di loco in loco. wander from place to place. Eppur sempre quest’ora attendo e invoco. Still I keep waiting and calling for this hour.

35 Oh! Nel fuggente nuvolo Oh! Father, are you not stamped Non sei tu, padre, impresso?... in the running clouds?... Cielo! Ha mutato immagine! Heavens! The image has changed! Il mio Foresto è desso. That is my own Foresto. Sospendi, o rivo, il murmure, Stop your murmuring, river, Aura, non più fremir, breeze, no longer blow, Ch’io degli amati spiriti that I might hear the voice Possa la voce udir. of my beloved ghosts. (1846, Venice) (1815 – 1878) afterAttila, König der Hunnen (1809) by Friedrich Ludwig Zacharias Werner (1768 – 1823)

9 From ‘Ernani’, Act I, Scene 2 From ‘Ernani’, Act I, Scene 2 Elvira Elvira Surta è la notte, e Silva non ritorna!... It is now night and Silva has not returned!... Ah, non tornasse ei più!... I wish he’d never come back!... Questo odiato veglio, The hateful old man, che quale immondo spettro ognor m’insegue who keeps following me like a foul ghost col favellar d’amore, prattling about love, più sempre Ernani mi configge in core. puts Ernani more firmly in my heart.

Ernani!... Ernani, involami Ernani!... Ernani, take me away all’aborrito amplesso. from that abhorrent embrace. Fuggiam... se teco Let us flee... if Love allows me mi sia d’amor concesso, to live with you, per antri e lande inospite my feet will follow you ti seguirà il mio piè. into caves and inhospitable lands. Un Eden di delizia A paradise of pleasure saran quegli antri a me. shall those caves be for me.

36 (Tutto sprezzo, che d’Ernani (I despise all that does not speak of Ernani non favella a questo core, to this heart of mine, non v’ha gemma che in amore there is no gem that can possa l’odio tramutar. transform hatred into love. Ah! Vola, o tempo, e presto reca Fly, time, and hasten di mia fuga il lieto istante, the happy moment of my escape, vola, o tempo, al core amante fly, time, for to a loving heart è supplizio l’indugiar.) tarrying is torture.) (1844, Venice) Francesco Maria Piave (1810 – 1876) afterHernani (1830) by (1801 – 1885)

10 From ‘Macbeth’, Act I, Scene 2 From ‘Macbeth’, Act I, Scene 2 Lady Macbeth Lady Macbeth “Nel dì della vittoria io le incontrai... ‘I met them on the day of victory... Stupito io n’era per le udite cose; I was stunned at what I heard; quando i nunzi del re mi salutaro when the King’s messengers hailed me sir di Caudore vaticinio uscito Thane of Cawdor, it fulfilled a prophecy dalle veggenti stesse those seers had made, che predissero un serto al capo mio. predicting a crown for my head. Racchiudi in cor questo segreto. Addio.” Keep this secret in your heart. Farewell.’ Ambizioso spirto You are an ambitious soul, tu sei, Macbetto... Alla grandezza aneli, Macbeth... You long for greatness, ma sarai tu malvagio? but can you be wicked? Pien di misfatti è il calle The road to power is filled della potenza, e mal per lui che il piede with crimes, and woe to him who sets on it dubitoso vi pone e retrocede. shakily and then retreats!

37 Vieni! T’affretta! Accendere Come! Rouse yourself! I wish ti vo’ quel freddo core! to fire up that cold heart of yours! L’audace impresa a compiere I shall give you the courage io ti darò valore; to carry out this bold undertaking; di Scozia, a te promettono the prophetesses promise you le profetesse il trono... the throne of Scotland... Che tardi? Accetta il dono, Why delay? Accept the gift, ascendivi a regnar. ascend the throne and reign.

Duncano sarà qui?... Qui?... Qui la notte? Duncan will be here?... Here?... Here tonight?

Or tutti sorgete ~ ministri infernali, Arise, all you agents of hell che al sangue incorate, ~ spingete i mortali! who rouse mortals to bloody acts! Tu, notte, ne avvolgi ~ di tenebra immota; Night, wrap us in motionless ; qual petto percota ~ non vegga il pugnal. may the knife not see the breast it strikes.

11 From ‘Macbeth’, Act IV, Scene 2 From ‘Macbeth’, Act IV, Scene 2 Lady Macbeth Lady Macbeth Una macchia è qui tuttora... Here is still a spot... via, ti dico, o maledetta!... out, I say, damned spot!... Una... due... gli è questa l’ora! One... two... it is time! Tremi tu!... Non osi entrar? You tremble!... Dare you not enter? Un guerrier così codardo? A soldier and so cowardly? Oh vergogna!... Orsù t’affretta!... For shame!... Come on, rouse yourself!... Chi poteva in quel vegliardo Who would have thought that tanto sangue immaginar? the old man had so much blood in him?

Di Fiffe il sire Was not the lord of Fife sposo e padre or or non era? a husband and father a moment ago? Che n’avvenne?... E mai pulire What happened to him?... And will I ever queste mani io non saprò?... be able to clean these hands?...

38 Di sangue umano The scent of human blood sa qui sempre... Arabia intera always lingers... the whole of Arabia rimondar sì piccol mano with her perfumes cannot sweeten co’ suoi balsami non può. this little hand. Ohimè!... Alas!...

I panni indossa Wear your della notte... or via ti sbratta!... sleep clothes… now get yourself cleaned!... Banco è spento, e dalla fossa Banquo was killed and no dead man chi morì non surse ancor. has ever come back from his grave.

A letto, a letto... To bed, to bed... Sfar non puoi la cosa fatta... What is done cannot be undone... Batte alcuno!... Andiam, Macbetto, Someone is knocking!... Come, Macbeth, non t’accusi il tuo pallor. do not let your pallor betray you. (1847, Florence) Francesco Maria Piave (1810 – 1876) and Andrea Maffei (1798 – 1885) afterMacbeth (1606) by (1564 – 1616)

12 From ‘Luisa Miller’, Act II, Scene 1 From ‘Luisa Miller’, Act II, Scene 1 Luisa Luisa Tu puniscimi, o signore, Punish me, Lord, se t’offesi, e paga io sono, if I offended you, and I will accept it, ma de’ barbari al furore but do not abandon me non lasciarmi in abbandono. to the wrath of the wicked.

39 A scampar da fato estremo In order to save from a dire fate innocente genitor my innocent father chieggon essi... ~ a dirlo io fremo! ~ they demand... ~ I tremble to say this! ~ della figlia il disonor! the dishonour of his daughter! (1849, Naples) Salvadore Cammarano (1801 – 1852) afterKabale und Liebe (1784) by Friedrich von Schiller (1759 – 1805)

13 From ‘La traviata’, Act I From ‘La traviata’, Act I Violetta Violetta È strano!... è strano!... in core How strange!... how strange!... his words scolpiti ho quegli accenti! are carved into my heart! Sarìa per me sventura un serio amore?... Could true love be my undoing?... Che risolvi, o turbata anima mia?... What do you decide, oh my agitated soul?... Null’uomo ancora t’accendeva... O gioia No man ever ignited my soul… A joy Ch’io non conobbi, essere amata amando!... which I have never known, loving, being loved!... E sdegnarla poss’io And can I refuse it in favour per l’aride follie del viver mio? of the arid folly of my present life?

Ah, forse è lui che l’anima Ah, perhaps he is the one whom my soul, solinga ne’ tumulti lonely at parties, godea sovente pingere often loved to paint de’ suoi colori occulti!... in secret colours!... Lui che modesto e vigile Watchful and modest, all’egre soglie ascese, he came here, e nuova febbre accese, awakening a new fever, destandomi all’amor. awakening me to love.

40 A quell’amor ch’è palpito That love which is the very breath dell’universo intero, of the entire universe, misterioso, altero, mysterious and noble, croce e delizia al cor. both cross and ecstasy of the heart.

(Resta concentrata un istante, poi dice.) (She reflects for a second, then speaks.)

Follie!... follie!... delirio vano è questo!... Madness!... All madness!... this vain delirium!... Povera donna, sola A poor woman, alone, abbandonata in questo lost in this popoloso deserto crowded desert che appellano Parigi, called Paris, che spero or più?... che far degg’io?... Gioire, what can I hope for?... what should I do?... Revel, di voluttà nei vortici perir. drown in the whirlpool of earthly pleasures.

Sempre libera degg’io Forever free, I must folleggiare di gioia in gioia, fly from joy to joy, vo’ che scorra il viver mio for my life’s course must be pei sentieri del piacer. forever in the paths of pleasure. Nasca il giorno, il giorno muoia, Whether it be dawn or dusk, Sempre lieta ne’ ritrovi; I shall always be happy at gatherings; a diletti sempre nuovi dee may my thoughts always fly volare il mio pensier. to renewed pleasures. (1853, Venice) Translation: Emanuela Guastella Francesco Maria Piave (1810 – 1876) afterLa Dame aux camélias (novel 1848; play 1852) by Alexandre Dumas fils (1824 – 1895)

41 You can purchase Chandos CDs or download MP3s online at our website: www.chandos.net

For requests to license tracks from this CD or any other Chandos discs please find application forms on the Chandos website or contact the Royalties Director, Chandos Records Ltd, direct at the address below or via e-mail at [email protected].

Chandos Records Ltd, Chandos House, 1 Commerce Park, Commerce Way, Colchester, Essex CO2 8HX, UK. E-mail: [email protected] Telephone: + 44 (0)1206 225 200 Fax: + 44 (0)1206 225 201

www.facebook.com/chandosrecords www.twitter.com/chandosrecords

Chandos 24-bit / 96 kHz recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 24-bit / 96 kHz recording. In order to reproduce the original waveform as closely as possible we use 24-bit, as it has a dynamic range that is up to 48 dB greater and up to 256 times the resolution of standard 16-bit recordings. Recording at the 44.1 kHz sample rate, the highest frequencies generated will be around 22 kHz. That is 2 kHz higher than can be heard by the typical human with excellent hearing. However, we use the 96 kHz sample rate, which will translate into the potentially highest frequency of 48 kHz. The theory is that, even though we do not hear it, audio energy exists, and it has an effect on the lower frequencies which we do hear, the higher sample rate thereby reproducing a better sound.

42 This recording has been generously supported by

Exective producer Ralph Couzens Recording producer Adrian Peacock Sound engineer Ben Connellan Editor Ben Connellan Chandos mastering Jonathan Cooper A & R administrator Sue Shortridge Recording venue 02 Guildhall, Southampton; 19 – 23 May 2019 Front cover Photograph of Olga Mykytenko © Mischa Blank Back cover Photograph of Kirill Karabits © Denis Manokha Design and typesetting Cap & Anchor Design Co. (www.capandanchor.com) Booklet editor Finn S. Gundersen P 2020 Chandos Records Ltd C 2020 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Country of origin UK

43 I VESPRI VERDIANI – Mykytenko / Bournemouth SO / Karabits CHAN 20144

England • Essex •

Chandos Records Ltd Chandos Records leader 2020 Chandos Records Ltd 2020 Chandos Records Ltd 2020 Chandos Records CHAN 20144 Colchester p c This recording has been has recording This generously supported by generously Orchestra Kirill Karabits Olga Mykytenko soprano Bournemouth Symphony Merchant Amyn 7:10 7:09 4:13 7:22 3:33 6:28 2:56

TT 74:04 4:07 (1849)

5:11 DIGITAL (1847) (1859) (1846) 4:52 (1855) from ‘Macbeth’ from

from ‘Luisa Miller’ ‘Luisa from (1853) from ‘Attila’ from

(1813 – 1901) from ‘I vespri siciliani’ ‘I vespri from notte placida – Di – tale amor placida notte (1853) 7:24 (1848) 5:05 CHANDOS

(1847) 7:33

(1844)

from ‘Attila’ ‘Attila’ from from ‘I masnadieri’ ‘I masnadieri’ from Carlo vive? vive? Carlo Nel dì della vittoria – Or tutti sorgete dì vittoria della Nel tuttora è qui macchia Una puniscimi, o signore Tu Dall’infame banchetto – Tu del mio Carlo al seno – al seno Carlo mio del – Tu Dall’infame banchetto in grazia prima ma Morrò, a un core ah! parli Arrigo! amiche dilette Mercé, immagini – Non so le tetre ancora! riede non Egli di patria Santo or piangi Liberamente d’Ernani che sprezzo, – Tutto Surta è la notte from ‘Il corsaro’ from from ‘Ernani’ from ‘Macbeth’ from libera – Follie!... – Sempre è lui follie! forse – Ah, È strano! ‘La traviata’ from from ‘Un ballo in maschera’ ballo ‘Un from la Ne’ tornei! – Tacea ‘Il trovatore’ from siciliani’ ‘I vespri from Giuseppe Verdi Giuseppe Verdi I vespri verdiani I vespri

1 2 3 4 5 6 8 9

10 13

7

12 11

I VESPRI VERDIANI – Mykytenko / Bournemouth SO / Karabits CHAN 20144