AMICI e RIVALI

GIOACHINO ROSSINI 1792–1868

Il barbiere di Siviglia ACT I SCENE 7 (Figaro · Almaviva) Le Siège de CorintheCorinthe ACT III 1 “All’idea di quel metallo” 8.42 SCENE 3 (Néoclès) 12 “Grand Dieu, faut-il qu’un peuple” 4.49 RicciardoRicciardo e Zoraide SCENES 4 & 5 (Néoclès · Cléomène · Pamyra) ACT I SCENE 7 (Ricciardo · Ernesto) 13 “Cher Cléomène” 5.37 2 “S’ella mi è ognor fedele” 3.38 14 “Céleste providence” 5.31 3 “Qual sarà mai la gioia” 3.26 ACT II SCENE 2 (Agorante · Ricciardo) Armida ACT III SCENE 6 (Rinaldo · Carlo · Ubaldo) 4 “Donala a questo core” 5.57 15 “In quale aspetto imbelle” 8.57 5 “Teco or sarà” 3.27 7 9.02

LaLa donna del lago ACT II SCENE 1 (Elena · Uberto di Snowdon) LAWRENCE BROWNLEE tenor 6 “Nume! Se a’ miei sospiri” 4.10 Almaviva · Ricciardo · Uberto di Snowdon SCENE 2 (Elena · Uberto di Snowdon · Rodrigo di Dhu) Duke of Norfolk · Rodrigo · Néoclès · Ubaldo 7 “Qual pena in me già desta” 1.45 MICHAEL SPYRES tenor Figaro · Agorante · Rodrigo di Dhu ACT II SCENE 13 Elisabettta,Elisabettta, regina d’Inghilterra Earl of Leicester · Otello · Cléomène · Rinaldo (Earl of Leicester · Duke of Norfolk) 8 “Deh! Scusa i trasporti” 4.20 TARA ERRAUGHT mezzo-soprano Elena · Desdemona · Pamyra Otello ACT II NO.7 DUETTO (Otello · Iago) XABIER ANDUAGA tenor Ernesto · Iago · Carlo 9 “Non m’inganno: al mio rivale” 7.0 2 NO.8 TERZETTO (Rodrigo · Otello · Desdemona) 10 “Ah! vieni, nel tuo sangue vendicherò le offese” 4.47 I VIRTUOSI ITALIANI 11 “Che fiero punto e questo” 6.50 CORRADO ROVARIS o many the idea of more than one major tenor role in an opera significant rivalry – even when the casting policy switched with the T might seem unusual, if not downright profligate. As the 19th premiere of Ricciardo e Zoraide to having Nozzari play villains to century progressed, having a single star tenor as romantic lead David’s heroes. became the norm, as much as did the casting of the baritone as Such casting of both tenors was made dramatically viable rival or, occasionally, friend. The profusion of tenor roles in certain in large part by their markedly different vocal characteristics, Rossini operas – especially those composed for Naples in the reflected in Rossini’s writing for them. Nozzari began his career second half of the 1810s – can therefore strike modern listeners as as an archetypal tenore di grazia but lost some of the ease surprising; the challenges of casting them, meanwhile, remained in his higher register after an illness at the start of the century. prohibitive for a large part of the 20th century. He continued his career as a “baritonal tenor”, with a more Happily, there is today a wealth of tenors equipped to deal powerful lower range, no less agility, but without the same endless with Rossini’s writing for a voice type that, in the composer’s supply of effortless top notes. David, by contrast, was renowned time, was characterised by sweetness and supreme facility in for his brilliant top register and a florid style that, as his career both florid passagework and the delivery of top notes – sung developed, was even criticised for bordering on excess. in something closer to falsetto than the chest voice that later The nature of the relationships between the characters the two became standard. But, as the scenes on this album demonstrate, tenors played was restricted by the fact that Rossini’s works for even within the tenor category there existed a variety of voice Naples – despite the great variety in the time and place of their types, especially among the unparalleled collection of singers settings – were produced in compliance with the conventions at the disposal of legendary impresario Domenico Barbaja for of opera seria. This elicited from him a musical language that the Neapolitan theatres under his control, not least among them added grandeur and nobility to the irresistible élan that was the magnificent Teatro San Carlo. his trademark. But these were serious operas, which precluded For Rossini’s first opera for Naples, Elisabetta, regina d’Inghilterra – the knockabout, wise-cracking chumminess and informality composed in 1816 just months after the Rome premiere of we hear in the sparkling duet between Figaro and Almaviva in Il barbiere di Siviglia and even recycling certain passages from Il barbiere di Siviglia. the famous comedy – guest artists included Manuel García (who Friendships in opera seria are based instead on earnest bonds, had created the Count in Barbiere) as Norfolk. But the strength with characters united in lofty goals. Such is the relationship of the ensemble was astonishing. The major attraction was the heard in the duet between Ricciardo and the minor character great Isabella Colbran, Barbaja’s mistress and later Rossini’s wife, of Ernesto in Ricciardo e Zoraide, an opera described by Rossini but the cast also included a superb duo of contrasting tenors in biographer Richard Osborne as “an exotic blockbuster set amid Andrea Nozzari and Giovanni David. Asian potentates, Christian Knights and African emissaries”. Like Colbran, Nozzari sang in the premieres of all nine of Rossini’s Ricciardo, the Christian knight, was composed in florid style operas composed for Naples and appeared alongside David for David, with Nozzari as the “exotic” King Agorante, the rival in five of them including Otello (1816), Ricciardo e Zoraide (1818) for Zoraide’s affections: the two singers’ ranges and styles are and La donna del lago (1819). These two tenors seem to have perhaps nowhere better demonstrated than in their Act 2 duet, co-existed, if not necessarily as friends, then at least without where a disguised Ricciardo feigns friendship with the king.

3 This pattern of rivalry had been established in Otello, where the of Cléomène (sung by Nozzari at the Naples premiere of Maometto “baritonal” Nozzari created the role of the Moor with David cast II), while his son, Adolphe, sang Néoclès, adapted and somewhat as Rodrigo, a role expanded in the Marchese Berio di Salsa’s simplified from the original travesti role of Calbo. The action was much mocked libretto to become a conventional rival in love. The transplanted from Italy to Greece, thereby finding contemporary reduced role of Iago was sung by Giuseppe Ciccimarra, another resonance in the Greeks’ own struggle against Turkish rule, with “baritonal” tenor who had also been the first Ernesto in Ricciardo the heroine Pamyra torn between her love for the invading e Zoraide. Although praise for Otello is usually reserved for the Mohamet and her loyalty to her country. In this extract from remarkable final act, the consecutive Act 2 scenes featured here the opera’s tragic final act, Néoclès’s despairing appeal to demonstrate what a fine score it is throughout. In the first, Rossini God is followed by a moving trio in which Cléomène at first deftly presents Iago’s gentle but expert baiting of an increasingly renounces Pamyra, before the pair finds reconciliation in the face broken-hearted Otello (with the aid of the letter, which in Berio’s of their impending fates. libretto replaced Shakespeare’s handkerchief) before they join We conclude with Armida, a rich, grand and colourful setting in a driving vengeance duet. The second extract, singled out of a celebrated episode from Torquato Tasso’s Gerusalemme for praise in a review of the premiere, sees an angry exchange liberata. The work marked Rossini’s return to a Teatro San Carlo between Otello and Rodrigo, which a distraught Desdemona then hastily rebuilt after a fire (Otello had to be premiered in a different attempts to diffuse. theatre, the Teatro del Fondo). Though a vehicle for Colbran, who An extract from La donna del lago also features two perceived portrayed the lovelorn sorceress of the title, Armida featured an rivals: just as Uberto (sung by David at the premiere) renounces unprecedented six tenor roles, with Nozzari taking by far the most his romantic hopes to Elena, the pair are overheard by the hot- important, that of Rinaldo. In the stirring Act 3 trio featured here, headed Rodrigo (the role created by Nozzari), unleashing a thrilling we return to the camaraderie of knights: Armida has cast her spell trio and a series of events that culminates in Rodrigo’s death by on Rinaldo but he breaks out of the enchantment upon seeing his Uberto’s hand. In the extract from Act II of Elisabetta, meanwhile, image in the shield held up by Ubaldo and Carlo, the two knights a duplicitous Norfolk tries to lure an unjustly imprisoned Earl of sent to save him. Leicester to treachery, their exchange given urgency by a nagging Hugo Shirley descending figure in the strings. We conclude with more friendly relationships. For Le Siège de Corinthe, premiered in Paris in 1826, Rossini reworked his Maometto II (1820) and called upon the father and son duo of Louis and Adolphe Nourrit for the adaptation’s two tenor roles. Nourrit père took the role

4 ue la distribution d’un opéra comporte plusieurs grands rôles Il semble qu’il n’y ait pas eu de grande rivalité entre les deux Qde ténor semblera à beaucoup inhabituel, voire un gaspillage, hommes – bien qu’ils ne fussent pas forcément amis –, pas même tant la présence d’un ténor vedette par ouvrage est devenue la lorsque la politique qui consistait à confier les rôles de héros à norme au cours du XIXe siècle avec en face de ce protagoniste un Nozzari et ceux de méchants à David fut inversée à partir de baryton comme rival, ou parfois ami. La profusion de ténors dans Ricciardo e Zoraide. certaines partitions de Rossini – notamment celles composées Distribuer ces deux ténors conjointement était possible d’un pour Naples entre 1816 et 1820 – a ainsi de quoi surprendre le point de vue dramatique parce qu’ils avaient des caractéristiques public d’aujourd’hui et distribuer ces rôles a représenté une mission vocales foncièrement différentes, ce que reflète la manière dont presque impossible pendant une bonne partie du XXe siècle. Rossini a écrit à leur intention. Nozzari avait été le type même du Heureusement, nombreux sont de nos jours les ténors ayant les ténor di grazia au début de son parcours mais avait perdu en moyens vocaux requis par l’écriture de Rossini, c’est-à-dire une agilité dans l’aigu à la suite d’une maladie contractée au début voix douce, d’une suprême agilité dans les vocalises et aux aigus du siècle. Il poursuivit sa carrière comme ténor barytonant, avec faciles, lesquels étaient chantés avec un timbre plus proche du plus de puissance dans le registre grave, toujours de l’agilité, mais fausset que de la voix de poitrine qui deviendra la norme par la moins de facilité à décrocher n’importe quel aigu stratosphérique. suite. Mais comme le montrent les scènes réunies sur ce disque, David, en revanche, était célèbre pour son superbe aigu et ses il existait au sein même de la catégorie vocale des ténors une abondantes fioritures, dont il eut tendance à abuser au fil des ans, grande variété de types de voix, notamment parmi le groupe de s’attirant ainsi certaines critiques. chanteurs sans précédent dont disposait l’impresario légendaire La nature des relations entre les personnages qu’incarnèrent Domenico Barbaja pour fournir les théâtres napolitains dont il ces deux ténors sont circonscrites par le fait que les ouvrages de avait les commandes, en particulier le magnifique San Carlo. Rossini destinés à Naples, même s’ils s’inscrivent dans des cadres Pour le premier opéra de Rossini représenté à Naples, Élisabeth, temporels et spatiaux très variés, se plient aux conventions de reine d’Angleterre, composé en 1816, quelques mois seulement l’opera seria. D’où une certaine grandeur, une noblesse, qui s’ajoute après la première romaine du Barbier de Séville, et où sont à l’élan irrésistible caractéristique du langage du compositeur. Le réutilisés certains passages de cette fameuse partition, on avait sérieux du genre exclue la farce désinvolte, le copinage blagueur fait appel à un artiste invité, Manuel García, créateur du rôle qui se manifestent dans le duo éblouissant du Barbier de Séville du Comte dans le Barbier, pour le personnage de Norfolk. La entre Figaro et Almaviva. distribution puisait sinon dans les ressources impressionnantes Dans l’opera seria, l’amitié est fondée sur des liens solides et des lieux. Si la principale vedette était la grande Isabella Colbran, les personnages sont unis par un noble but. C’est ce que l’on entend maîtresse de Barbaja et plus tard épouse de Rossini, il y avait dans le duo entre Ricciardo et le personnage mineur d’Ernesto, aussi un superbe tandem de ténors aux voix contrastantes, Andrea dans Ricciardo e Zoraide, un ouvrage qualifié par le biographe Nozzari et Giovanni David. de Rossini Richard Osborne de « superproduction exotique Nozzari, comme Colbran, participa à la première représentation peuplée de potentats asiatiques, de chevaliers chrétiens et de chacun des neufs opéras écrits par Rossini pour Naples et d’émissaires africains ». À Ricciardo, chevalier chrétien, le style eut David comme partenaire dans cinq d’entre eux, dont Otello fleuri convenant à David, tandis que Nozzari incarnait l’« exotique » (1816), Ricciardo e Zoraide (1818) et La donna del lago (1819). roi Agorante, son rival cherchant à obtenir les faveurs de Zoraide.

5 Les différences de registre et de style des deux chanteurs Notre programme s’achève sur des relations plus amicales. n’apparaissent sans doute nulle part mieux que dans leur duo de Remaniement de Maometto II (1820), Le Siège de Corinthe, l’acte II où Ricciardo, déguisé, se prétend l’allié du roi. représenté pour la première fois à Paris en 1826, fit appel à Louis et Ce schéma de rivalité s’était affirmé dans Otello où le barytonant Adolphe Nourrit, père et fils, pour les deux parties de ténor. Le père Nozzari avait créé le rôle-titre et David celui de Rodrigo devenu, se chargea du personnage de Cléomène, gouverneur de Corinthe dans le livret fort moqué de Francesco Berio di Salsa, un simple (qui avait été chanté par Nozzari lors de la première de Maometto concurrent en amour. La partie de Iago, sensiblement réduite, avait II à Naples), tandis que le fils chanta Néoclès, officier grec, version été chantée par Giuseppe Ciccimarra, autre ténor barytonant qui quelque peu simplifiée du rôle original de travesti (Calbo). L’action fut aussi le premier Ernesto dans Ricciardo e Zoraide. Si cet Otello avait été transportée d’Italie en Grèce, se faisant ainsi l’écho de ne recueille en général des louanges que pour son remarquable la guerre d’indépendance contemporaine des Grecs contre la acte final, les scènes consécutives de l’acte II enregistrées ici Turquie. L’héroïne Pamyra, fille de Cléomène, est déchirée entre montrent que la superbe qualité de l’ouvrage vaut pour toute son amour pour Mahomet II, l’envahisseur, et sa loyauté envers la partition.Dans la première d’entre elles, Rossini présente son pays. Dans l’extrait du tragique dernier acte que l’on entend habilement la manière délicate et experte avec laquelle Iago ici, l’appel désespéré que Néoclès lance à Dieu est suivi d’un trio attire dans ses filets un Otello de plus en plus désespéré (à l’aide émouvant où Cléomène commence par répudier Pamyra, puis d’une lettre, qui remplace le mouchoir de Shakespeare dans le livret père et fille se réconcilient avant leur mort imminente. de Berio di Salsa), avant qu’ils unissent leur voix en un puissant En guise de conclusion a été retenue Armida, avatar riche, duo de vengeance. La deuxième scène, mise en exergue dans somptueux et haut en couleur d’un célèbre épisode de la un compte rendu de la première représentation, oppose Otello Jérusalem délivrée du Tasse, qui marque le retour de Rossini au et Rodrigo en un dialogue plein de tension que Desdémone, San Carlo, reconstruit à la hâte après un incendie (Otello avait désemparée, s’efforce d’apaiser. dû être représenté dans un autre lieu, le Teatro del Fondo). Un extrait de La donna del lago nous présente également deux Si cet ouvrage était destiné à faire briller la Colbran, qui incarna rivaux : au moment où Uberto (chanté par David lors de la première la magicienne enamourée du titre, il présentait un nombre sans représentation) abandonne l’espoir de se faire aimer d’Elena, leur précédent de rôles de ténor dans sa distribution : six, Nozzari se dialogue est épié par le bouillant Rodrigo (rôle créé par Nozzari), ce chargeant du plus important d’entre eux, celui de Rinaldo. Dans qui débouche sur un trio captivant et une série d’événements qui le vibrant acte III dont on entend ici un extrait, nous renouons culminera dans la mort de Rodrigo, tué par Uberto. Dans le passage avec l’amitié, plus précisément la camaraderie entre chevaliers : de l’acte II d’Elisabeth retenu ici, où le fourbe Norfolk tente d’amener le sort qu’Armida a jeté à Rinaldo est rompu lorsque celui-ci voit le comte de Leicester, injustement emprisonné, à trahir la reine, un son image reflétée dans le bouclier que lui présentent Ubaldo et motif descendant des cordes particulièrement insistant donne à leur Carlo, les deux chevaliers venus le sauver. dialogue une urgence palpitante. Hugo Shirley Traduction : Daniel Fesquet

6 ehr als nur eine große Tenorpartie in einer Oper mag Wie auch Colbran wirkte Nozzari in sämtlichen neun Premieren Mmanchem ungewöhnlich erscheinen, wenn nicht sogar der für Neapel entstandenen Opern Rossinis mit und stand etwas verschwenderisch. Im Verlauf des 19. Jahrhunderts war gemeinsam mit David in fünf davon auf der Bühne, darunter Otello der einzelne Startenor als romantischer Held zur Norm geworden, (1816), Ricciardo e Zoraide (1818) und La donna del lago (1819). Die so wie gleichfalls die Partie des Baritons im Allgemeinen dem beiden Tenöre scheinen, wenn auch nicht eigentlich als Freunde, Rivalen, seltener auch dem Freund, zugedacht war. Die Fülle an so doch zumindest ohne nennenswerte Rivalität, gut miteinander Tenorpartien in bestimmten Opern Rossinis – namentlich in jenen ausgekommen zu sein, sogar als mit der Premiere von Ricciardo für Neapel in der zweiten Hälfte der 1810er Jahre entstandenen – e Zoraide die Rollen getauscht wurden und Nozzari auf einmal mag heutige Hörer überraschen; und die Herausforderung, Schurken geben musste, während David die Helden singen durfte. diese entsprechend zu besetzen, sollte über weite Teile des Die Möglichkeit, beide Tenöre zu besetzen, verdankte 20. Jahrhunderts meist unerschwinglich bleiben. sich dramaturgisch ihren stark voneinander abweichenden Glücklicherweise sind wir heute mit genügend Tenören gesegnet, Stimmcharakteristika, ein Umstand, dem auch Rossini stilistisch die mit Rossinis Art, für den geforderten Stimmtyp zu schreiben, Rechnung trug. Nozzari begann seine Karriere als archetypischer umzugehen wissen; einem Stimmtyp, der zu Rossinis Zeiten sowohl Tenore di grazia, verlor Anfang des Jahrhunderts infolge einer durch eine gewisse Lieblichkeit, auch aber durch ein Höchstmaß Erkrankung allerdings etwas an Leichtigkeit in der Höhe. So setzte virtuoser Geläufigkeit und der Fähigkeit, Spitzentöne zu liefern, er seine Karriere als „baritonaler Tenor“ fort, mit einer kraftvolleren gekennzeichnet war und eher im Falsett gesungen wurde, als mit tieferen Lage, nicht weniger Beweglichkeit, aber ohne die schier der später sich durchsetzenden Bruststimme. Wie man in den hier endlos zu Gebote stehenden Spitzentöne. David hingegen war aufgenommenen Szenen aber auch hören kann, gab es auch berühmt für seine brillante hohe Lage und seine Geläufigkeit, für im Tenorfach eine ganze Reihe unterschiedlicher Stimmtypen, die er im weiteren Verlauf seiner Karriere sogar kritisiert werden namentlich unter jener unvergleichlichen Auswahl an Sängern, die sollte, da er sie wohl etwas exzessiv einsetzte. dem legendären Impresario Domenico Barbaja an den unter seiner Die Art des Verhältnisses der von den beiden Tenören verkörperten Kontrolle stehenden Theatern Neapels zur Verfügung standen, Charaktere war freilich dadurch eingeschränkt, dass Rossinis Opern darunter auch das prachtvolle Teatro San Carlo. für Neapel – der großen Vielfalt von Handlungsorten und -zeiten Bei Rossinis erster Oper für Neapel, Elisabetta, regina d’Inghilterra – zum Trotz – grundsätzlich den Konventionen der Opera seria 1816, nur wenige Monate nach der Römer Premiere von Il barbiere folgten. Dies hatte eine musikalische Sprache zur Folge, die dem di Siviglia entstanden, weshalb es auch zur Wiederverwertung unwiderstehlichen Elan, der von jeher seine Musik auszeichnete, bestimmter Abschnitte dieser berühmten Komödie kommt – zählte eine gewisse Erhabenheit und Pracht hinzufügte. Dies aber waren auch Manuel Garcia als Norfolk zu den Gastsolisten(er hatte ernste Opern, was alles Possenhafte, Flachsig-Kumpelhafte und zuvor die Partie des Grafen im Barbiere gesungen). Die Güte Ungezwungene, wie man es etwa im spritzigen Duett zwischen des Ensembles war aber auch sonst erstaunlich. Hauptattraktion Figaro und Almaviva in Il barbiere di Siviglia kennt, ausschloss. war die große Isabella Colbran, Barbajas Geliebte und Rossinis Freundschaft in der Opera seria gründete auf ernsthaften spätere Frau. Dazu gab es mit Andrea Nozzari und Giovanni David Bindungen, mit Charakteren, die edle Ziele miteinander ein hervorragendes Duo kontrastierender Tenorstimmen. verbanden. Dieser Art etwa ist das Verhältnis, das man im Duett

7 zwischen Ricciardo und der Nebenrolle des Ernesto in Ricciardo von Nozzari) belauscht, was nicht nur ein mitreißendes Trio e Zoraide hören kann, einer Oper, die der Rossini-Biograph entfesselt, sondern auch eine Reihe von Ereignissen in Gang Richard Osborne als „exotischen Blockbuster, der zwischen setzt, an deren Ende Rodrigo durch Ubertos Hand stirbt. Im asiatischen Potentaten, christlichen Rittern und afrikanischen Ausschnitt aus dem 2. Akt von Elisabetta versucht derweil ein Gesandten spielt“, beschrieb. Ricciardo, der christliche Ritter, heuchlerischer Norfolk den zu Unrecht inhaftierten Grafen von war auf den geläufigen Stil Davids zugeschnitten, wobei Nozzari Leicester zum Verrat zu verlocken, wobei ihr Wortwechsel durch den „exotischen“ König Agorante gab, den Rivalen um die die scharfen absteigenden Figurationen in den Streichern noch Gunst Zoraides: Stimmumfang und -stilistik der beiden Sänger an Dringlichkeit gewinnt. werden wohl nirgends besser repräsentiert als im Duett des Gegen Ende kommen wir zu freundlicheren Beziehungen. Für Le 2. Aktes, in dem der verkleidete Ricciardo Freundschaft zum Siège de Corinthe, erstmals 1826 in Paris gespielt, überarbeitete König vortäuscht. Rossini Maometto secondo (1820) und ergänzte das Ensemble Das Muster der Rivalität hatte sich mit Otello etabliert, wo um Louis und Adolphe Nourrit, Vater und Sohn, für die Adaption der „baritonale“ Nozzari den Moor gab, und David als Rodrigo der beiden Tenorpartien. Vater Nourrit übernahm dabei die besetzt war, eine Rolle, die im Libretto des Marchese Berio di Rolle des Cléomène (die Nozzari bei der Premiere von Maometto Salsa (das manchem Spott ausgesetzt war) stark erweitert und secondo in Neapel gesungen hatte), während sein Sohn Adolphe zum konventionellen Liebesrivalen wurde. Die reduzierte Rolle die Partie des Néoclès übernahm, die auf der etwas simplifizierten des Jago wurde von Giuseppe Ciccimarra gesungen, einem ursprünglichen Hosenrolle des Calbo basiert. Die Handlung wurde weiteren „baritonalen“ Tenor, der zuvor schon den ersten Ernesto von Italien nach Griechenland verlegt, was einen zeitgemäßen in Ricciardo e Zoraide gegeben hatte. Obwohl man Otello Bezug zum Aufstand der Griechen gegen die Türken ermöglichte, gemeinhin vor allem seines bemerkenswerten letzten Aktes wobei der Konflikt der Heldin Pamyra (Tochter des Statthalters wegen lobt, zeigt doch auch die hier eingespielte Szenenfolge von Korinth, Cléomène) im Mittelpunkt stand, die zwischen ihrer aus dem 2. Akt die Qualitäten der Partitur als Ganzes. In der ersten Liebe zu Mahomet II., dem Anführer der Türken, und der Loyalität zu Szene schildert Rossini geschickt Jagos ebenso behutsames wie ihrem Vaterland hin- und hergerissen ist. In diesem Ausschnitt aus gekonntes Ködern des zunehmend niedergeschlagenen Otello dem tragischen letzten Akt der Oper schließt sich der verzweifelten (unter Zuhilfenahme eines Briefes, der im Libretto Berios das Anrufung Gottes durch Néoclès ein bewegendes Trio an, in dem Taschentuch bei Shakespeare ersetzt), ehe sie gemeinsam ein Cléomène sich anfänglich von Pamyra distanziert, ehe die beiden Rache-Duett anstimmen. Der zweite Ausschnitt, der schon in sich angesichts des ihnen drohenden Schicksals schließlich doch der Rezension der Premiere lobend erwähnt wurde, zeigt einen miteinander versöhnen. wütenden Austausch zwischen Otello und Rodrigo, den eine Zum Schluss dann Armida, eine ebenso üppig-prachtvolle verzweifelte Desdemona zu schlichten versucht. wie abwechslungsreiche Adaption jener berühmten Episode Auch im Ausschnitt aus La donna del lago treffen zwei ausTorquato Tassos Epos La Gierusalemmeliberata. Das Werk Rivalen aufeinander: Just als Uberto (bei der Premiere von markierte Rossinis David gesungen) seinen romantischen Hoffnungen auf Elena Rückkehr ans Teatro San Carlo, das nach der überwiegenden abschwört, wird das Paar vom hitzköpfigen Rodrigo (gespielt Zerstörung durch einen Brand eilends wieder instand gesetzt worden

8 war (weshalb Otello im Teatro del Fondo seine Premiere feiern musste). Obwohl die Oper in erster Linie ein Vehikel für die Colbran war, und die Partie der titelgebenden liebeskranken Zauberin auf sie zugeschnitten war, kann das Werk doch darüber hinaus mit der beispiellosen Zahl von gleich sechs Tenorpartien aufwarten, wobei Nozzari die wichtigste darunter übernahm, jene des Rinaldo. Im ergreifenden Trio aus dem 3. Akt, das hier erklingt, kehren wir zur Kameradschaft unter Rittern zurück: Armida hat Rinaldo mit einem Zauber belegt, von dem er sich allerdings befreien kann, als er sein Spiegelbild im Schild erblickt, das Ubaldo und Carlo halten, jene beiden Ritter, die man sandte, ihn zu retten. Hugo Shirley Übersetzung: Matthias Lehmann

Corrado Rovaris Tara Erraught Xabier Anduaga Il barbiere di Siviglia ACT I SCENE 7 FIGARO FIGARO CONTE COUNT 1 All’idea di quel metallo At the idea of this metal Ubbriaco? Ma perchè? Drunk? But why? portentoso, onnipossente, portentious, omnipotent, FIGARO FIGARO un vulcano la mia mente a volcano within me Perchè d’un ch’è poco in sè Because the guardian, believe me, incomincia a diventar. commences to erupt. (imitando moderatamente i moti d’un ubbriaco) (discreetly imitating the gestures of a drunkard) CONTE COUNT che dal vino casca già, the guardian would less distrust, Su, vediam di quel metallo Come, let’s see what effect il tutor, credete a me, a man not quite himself, qualche effetto sorprendente this metal will have on you, il tutor si fiderà. but overcome with wine. del vulcan della tua mente some real demonstration A DUE TOGETHER qualche mostro singolar. of this volcano within you, yes. Che invenzione prelibata! Isn’t it a fine idea! FIGARO FIGARO Bravo, bravo, / Bella, bella, Happy thought, Voi dovreste travestirvi, You should disguise yourself… in verità! in very truth! per esempio da soldato. for instance… as a soldier… CONTE COUNT CONTE COUNT Dunque. Well, then? Da soldato? As a soldier? FIGARO FIGARO FIGARO FIGARO All’opra. To business. Sì, signore. Yes, sir. CONTE COUNT CONTE COUNT Andiamo. Let’s go. Da soldato? e che si fa? As a soldier, and for what purpose? FIGARO FIGARO FIGARO FIGARO Da bravo. Bravo. Oggi arriva un reggimento. Today a regiment is expected here. CONTE COUNT CONTE COUNT Vado. Oh, il meglio mi scordavo! I’m going… but the most important thing Sì, è mio amico il Colonnello. Yes, the colonel is a friend of mine. Dimmi un po’, la tua bottega per trovarti, dove sta? I forgot to ask: tell me, where do I find your shop? FIGARO FIGARO FIGARO FIGARO Va benon. Excellent! La bottega? Non si sbaglia; My shop? You cannot mistake it… CONTE COUNT guardi bene; eccola là. look yonder… there it is…. Eppoi? And then? (additando fra le quinte) (gesturing offstage) Numero quindici a mano manca number fifteen, on the left hand, FIGARO FIGARO quattro gradini, facciata bianca, with four steps, a white front, Cospetto! Look! cinque parrucche nella vetrina five wigs in the window, Dell’alloggio col biglietto By menas of a billet sopra un cartello “Pomata fina”, on a placard, “Pomade Divine”, quella porta s’aprirà. that door will soon open. mostra in azzurro alla moderna, a show-glass, too, of the latest fashion, Che ne dite, mio signore? What do you say to this, sir? v’è per insegna una lanterna. and my sign is a lantern… Non vi par? Non l’ho trovata? Don’t you think I’ve hit it right?? Là senza fallo mi troverà. There, without fail, you will find me. A DUE TOGETHER CONTE COUNT Che invenzione prelibata! Isn’t it a fine idea! Ho ben capito. I understand. Bravo, bravo, / Bella, bella, Happy thought, in verità! in very truth! FIGARO FIGARO Or vada presto. You had better go now. FIGARO FIGARO Piano, piano, un’altra idea! Softly, softly… another thought! CONTE COUNT Veda l’oro cosa fa. See the power of your gold! Tu guarda bene. And you watch out… Ubbriaco sì, ubbriaco, Drunk, yes, drunk. FIGARO FIGARO mio signor, si fingerà. You must pretend to be drunk. Io penso al resto. I’ll take care of everything. CONTE COUNT CONTE COUNT Ubbriaco? Drunk? Di te mi fido. I have faith in you… FIGARO FIGARO FIGARO FIGARO Sì, signore. Even so, sir. Colà l’attendo. I shall wait for you yonder…

11 CONTE COUNT Ricciardo e Zoraide Mio caro Figaro. My dear Figaro. ACT I SCENE 7 FIGARO FIGARO RICCIARDO RICCIARDO Intendo, intendo. I understand, I understand… 2 S’ella mi è ognor fedele, If she should still be faithful, CONTE COUNT Se l’amistà mi è guida, If friendship yet may guide me, Porterò meco. I will bring with me… Quest’alma non diffida This soul shall not relinquish FIGARO FIGARO Di possederla ancor. The dream that she might be mine. La borsa piena. A purse well filled. ERNESTO ERNESTO CONTE COUNT All’amistà ti affida, Yes, you can trust in friendship, Sì, quel che vuoi, ma il resto poi. Yes, all you want, but do your part… T’affida a questo cor. Trust in this heart of mine. FIGARO FIGARO RICCIARDO RICCIARDO Oh non si dubiti, che bene andrà. Oh, have no doubt, all will go well. Trionferemo insieme We’ll overcome together Di sì tiranna sorte, this fate so cruel and ruthless, CONTE COUNT Le barbare ritorte The shackles that have bound us Ah, che d’amore Oh, what a flame Saprà spezzare amor. Now love will cast aside. la fiamma io sento, of love divine, nunzia di giubilo of hope and joy RICCIARDO RICCIARDO e di contento! auspicious sign! 3 Qual sarà mai la gioia How greater still my joy will be Ecco propizia Oh, glorious moment Allor che a lei d’accanto, When finally I draw near her che in sen mi scende; which inspires my heart! Versando un dolce pianto, And, shedding gentle teardrops, d’ardore insolito With fire unknown D’amor le parlerò, I speak to her of love, quest’alma accende, my soul is burning, Se nel pensarlo solo, If now the merest thought of it e di me stesso and fills my spirit ogni più acerbo duolo Makes all of the bitterest sorrow maggior mi fa. with will to dare. Già nel mio sen cessò? Cease instantly in my heart? FIGARO FIGARO ERNESTO ERNESTO Delle monete I almost can hear Dividerò tua sorte, I’ll share in your good fortune, il suon già sento! the clinking coin. O vinto, o vincitor. The vanquished, the victor, too. L’oro già viene, Gold is coming, Ti frena, ti calma. Hold on. Keep calm. viene l’argento; silver is coming, RICCIARDO RICCIARDO eccolo, eccolo filling the pockets… Qual sarà mai la gioia, ecc. How greater still my joy will be, etc. che in tasca scende; Already it’s here, e di me stesso filling my spirit maggior mi fa. with will to dare.

12 ACT II SCENE 2 AGORANTE AGORANTE AGORANTE AGORANTE 4 Donala a questo core, Unto my heart now yield her, 5 Teco or sarà. Meet her; now’s the time. Serena i suoi bei rai: Bring light into her eyes: RICCIARDO RICCIARDO Contento allor sarai, And then you’ll know contentment, Che giubilo!… How wonderful!… Te vendicar saprò. I will make vengeance yours. AGORANTE AGORANTE RICCIARDO RICCIARDO Sulla tua fé… You gave your word… Furor, rispetto, amore Let love, respect and fury Saranno a me di guida: Abide in me and guide me: RICCIARDO RICCIARDO Amar dovrà chi fida, She’ll love one who is faithful, Riposa. I meant it. L’alma per lei serbò. I’ll pledge my soul to her. AGORANTE AGORANTE AGORANTE AGORANTE Dille che m’ami. Tell her to love me. Ah! dille, sì, che m’ami… Implore her, please, to love me… RICCIARDO RICCIARDO RICCIARDO (sospirando) RICCIARDO (sighing) Che t’ami le dirò. To love you, yes, I will. Che t’ami le dirò. To love you, yes, I will. AGORANTE AGORANTE AGORANTE AGORANTE Teco or sarà, ecc. Meet her; now’s the time, etc. Spiegale le mie pene… Share with her all my yearning… AGORANTE AGORANTE RICCIARDO RICCIARDO (Come potrò reprimere, (How will I hide from everyone Le pene io spiegherò. Your yearning, I’ll let her know. La smania tormentosa The all-consuming frenzy Che amor mi desta in sen!…) Love rouses in my heart!…) RICCIARDO e AGORANTE RICCIARDO and AGORANTE (Qual dolce speme or sorgere (What light of sweet hope is glimmering? RICCIARDO RICCIARDO Sento nell’alma mia! I feel it dawn within me! (Come potrò reprimere, (How will I hide from everyone, Essa incomincia a spegnere Slowly beginning to counteract Come tenere ascosa Simply go on keeping secret Di fiera gelosia The bitter dose of poison La fiamma ch’io ho nel sen!…) The passion in my heart!…) Il barbaro velen.) That jealousy prescribed.) RICCIARDO e AGORANTE RICCIARDO and AGORANTE (Gioco d’amor, quest’alma (These games of love, bewilder, Pace trovar non sa. Giving my soul no peace. Il suo dolor fra’ palpiti The troubles taking hold of it Sempre maggior si fa.) With every heartbeat grow.)

13 La donna del lago ACT II SCENE 1

ELENA ELLEN SCENE 2 6 (Nume! Se a’ miei sospiri (O God! If you cannot ELENA E UBERTO ELLEN and HUBERT pace donar non sai, respond to my sighs, almen de’ suoi martiri 7 (Qual pena in me già desta (What distress at least put an end la mia fatalità!) these misfortunes bring me!) deh! calma la crudeltà!) to this man’s turbulence!) RODRIGO RODERICK UBERTO HUBERT (Io del suo cor tiranno? (Misere mie pupille! (Oh, wretched eyes of mine, (Could it be that I Che più a mirar vi resta? what more can you show me? Farla infelice io stesso? have woulnded her despotic heart? Ah no… di amore a danno Oh gelosia funesta! Oh, corrosive jelousy, Ah, no. Virtue will triumph Oh ria fatalità!) oh, evil fortune.) virtù trionferà.) over love and despair.) UBERTO HUBERT Vincesti… addio!… You have won. I bid you goodbye. rispetto gli affetti tuoi… (Ah! basta al mio tormento (If I can stir pity in you I shall respect your feelings. destar la tua pietà, sì! that will be enough. ELENA ELLEN Qual pena in me già desta What distress Ten vai? You’re leaving? la mia fatalità!) these misfortunes bring me!) UBERTO HUBERT ELENA ELLEN A che mirar quei rai What else does your severity (E il mio rigor contento (Am I too inflexible severi ognor per me? towards me call for? renderti… oh Dio! non sa, no? to pacify you? ELENA ELLEN Qual pena in me già desta What distress Se de’ tuoi giusti lai If you believe in all sincerity la mia fatalità, sì!) these misfortunes bring me!) la rea cagione son io, that I am the cause of your discontent, squarciami un cor che mai if I cannot show you mercy, darti saprà mercé! then tear out my heart. UBERTO HUBERT No, cara: anzi desio No my dearest. Instead, I wish pegno di mia costanza to leave you a pledge of my fidelity lasciarti in rimembranza, so that you may always remember che sacro io sono a te. that I am for ever dedicated to you. ELENA ELLEN E qual? What pledge? UBERTO HUBERT Da rio periglio Once I rescued the King of Scotland salvai di Scozia il Re. from certain death. Il suo gemmato anello He rewarded me egli mi diè: tel dono. with this jewel-encrusted ring. (le mette al dito il suo anello) (he places his ring on her finger) Se mai destin rubello I give it to you. If ever adversity te, il genitor, l’amante should befall you, sa minacciar, dinante your father or your lover, ti rendi al Re: la gemma go to the king. appena mostrerai, Show him this gem, grazia per tutti avrai; and he will pardon you all. e ad appagarti intento His intention will always be sempre il suo cor sarà. to gratify you. ELENA ELLEN E il mio rigor contento Am I too inflexible renderti… oh Dio! non sa? to pacify you? UBERTO HUBERT Ah! basta al mio tormento If I can stir pity in you destar la tua pietà. that will be enough.

14 Elisabetta, regina d’Inghilterra ACT II SCENE 13 LEICESTER LEICESTER LEICESTER LEICESTER 8 Deh! Scusa i trasporti Ah! Excuse the emotions Che ascolto! What do I hear! d’un misero oppresso; of an unfortunate, oppressed man; NORFOLK NORFOLK errai, lo confesso; I was mistaken, I confess it; La sorte per te cangierà. Your destiny shall change. pentito son già. I am already repentant. LEICESTER LEICESTER NORFOLK NORFOLK Non sia! Va… Let it not happen! Go… (Costui di vendetta (This one opens the way NORFOLK mi schiuda la via; for vengeance to me; NORFOLK But listen… poi vittima sia: later let him be a victim; Ma senti… estinto cadrà.) he shall fall dead.) LEICESTER LEICESTER Rebellious to the throne!… LEICESTER LEICESTER Ribelle del soglio!… Non parli? You do not speak? NORFOLK NORFOLK Help in moments… NORFOLK NORFOLK Soccorso a momenti… L’offesa a te condonai. This soul, LEICESTER LEICESTER quest’anima è accesa burning with oure friendship, Non curo, non voglio; I do not care about it, I do not want it; di pura amistà. pardons your offence. orrore mi fa! I am horror-struck! LEICESTER e NORFOLK LEICESTER and NORFOLK NORFOLK NORFOLK Ritorna al mio seno, Return to my breast Al fato crudele To harsh fate confortami/ti appieno; comfort yourself/me completely; soccombi, infelice, you succumb, unhappy man, felice mi / ti renda my/your fidelity se troppo fedele if too faithful la tua / mia fedeltà. makes you/me happy. quell’alma sarà. that soul shall be. NORFOLK NORFOLK LEICESTER LEICESTER Unita alle schiere, Combined with the soldiers, Il fato crudele Harsh fate la plebe dolente, the sorrowful people, può farmi infelice; can make me unhappy; attorno fremente raging about ma sempre fedele but always faithful scorrendo sen va. are running here. quest’alma sarà. this soul shall be. LEICESTER LEICESTER Che narri!… E pretende? What are you saying? What do they expect? NORFOLK NORFOLK Troncar sue ritorte. To break your bonds. Suo duce t’attende… They await their general in you…

15 Otello ACT II NO.7 DUETTO OTELLO OTHELLO IAGO IAGO 9 Non m’inganno; al mio rivale I am not deceived; the false woman Ed oserai?… And will you have the courage?… l’infedel vergato ha il foglio; has written this letter to my rival; OTELLO OTHELLO più non reggo al mio cordoglio! I can no longer restrain my grief! Lo giuro. I swear it. Io mi sento lacerar. I feel my bosom rent. IAGO IAGO IAGO (a stesso) IAGO (to himself) E l’amor… And your love… (Già la fiera gelosia (Already fierce jelousy versò tutto il suo veleno, has poured out all its poison; OTELLO OTHELLO tutto già gl’inonda il seno, already it inundates his heart completely Io più nol curo. I no longer care. e mi guida a trionfar.) and leads to my triumph.) IAGO IAGO OTELLO (legge) OTHELLO (reading) T’affida, i tuoi nemici Be confident; I shall “Caro bene”… e ardisci, ingrata? “Dearest love”… and did you dare, ungrateful one? io dunque abbatterò. soon overthrow your enemies. IAGO IAGO OTELLO OTHELLO (Nel suo ciglio il cor gli veggo.) (His heart written on his brow.) L’ira d’avverso fato I shall no longer fear io più non temerò. OTELLO OTHELLO the wrath of adverse fate. “Ti son fida”… Ahimè! Che leggo? “I am faithful to you”… Alas! What do I read? IAGO IAGO Quali smani io sento al cor! What frenzies I feel in my heart! (L’ira d’avverso fato (I need no longer fear temer più non dovrò.) IAGO IAGO the wrath of adverse fate.) (Quanta gioia io sento al cor!) (What joy I feel in my heart.) OTELLO OTHELLO Morrò, ma vendicato. OTELLO I shall die, but avenged. OTHELLO Sì, dopo lei morrò. “Di mia chioma un pegno”… Oh Cielo! “From my hair a pledge…” Oh heaven! Yes… after her I shall die. IAGO IAGO IAGO IAGO (Di lui trionferò.) (Cresce in lui l’atroce affetto.) (Terrible emotion grows in him.) (I shall triumph over him.) IAGO OTELLO IAGO OTHELLO Ed oserai?… ecc. Dov’è mai l’offerto pegno? Where is the offered pledge? And will you have the courage?… etc. IAGO IAGO NO.8 TERZETTO Ecco… il cedo con orror! Behold… I yield it with horror! RODRIGO OTELLO RODERIGO OTHELLO 10 Ah vieni, nel tuo sangue No, più crudele un’anima… Ah come, your blood No, a soul more cruel, vendicherò le offese: No, che giammai si vide! will pay the offence: no, was never known! Se un vano amor t’accese, Il cor mi si divide if a hopeless love inflames you My heart is torn distruggerlo saprò. per tante crudeltà . by so much cruelty. I know how to extinguish it. OTELLO IAGO OTHELLO IAGO Or or vedrai qual chiudo (No, più contenta un’anima… Now you shall see what righteous fury (No, a soul more contented… giusto furor nel seno: Propizio il ciel m’arride: I hold in my breast: Propitious heaven smiles on me: Sì, vendicarmi appieno L’indegna ah! si, cadrà.) ah! yes, the worthless woman shall fall.) yes, I must be fully avenged di lei, di te dovrò. on her and on you. OTELLO OTHELLO A DUE Che far degg’io? What must I do? TOGETHER Qual gioia! all’armi! all’armi! What joy! to arms! to arms! IAGO IAGO Il traditor già a parmi Already I see the traitor Ti calma. Be calm. veder traffito al suol. lying stabbed on the ground. OTELLO OTHELLO (Desdemona giunge) (Desdemona joins them) Lo speri invano. Your hope is in vain. DESDEMONA (arrestandoli) DESDEMONA (stopping them) IAGO IAGO Ahimè! fermate, udite… Alas! stop, hear me… Che dici? che dici? What do you say? What do you say? Solo il mio cor ferite, Strike only at my heart, cagion di tanto duol. OTELLO OTHELLO the cause of so much woe. Spinto da furie ultrici By avenging furies punirla alfin saprò. I shall know how to punish her finally.

16 RODRIGO e OTELLO TOGETHER DESDEMONA DESDEMONA 11 Che fiero punto è questo! What a dreadful moment this is! Ah per pietà! Ah, for pity’s sake! L’indegna a me d’innante! The failthless woman before me! OTELLO OTHELLO Pinta ha sul reo sembiante All her infidelity is depicted Mi lascia. Let me alone. tutta l’infedeltà. on her guilty countenance. DESDEMONA DESDEMONA DESDEMONA DESDEMONA Ma che ti feci mai? But what have I done to you? Che fiero punto è questo! What a dreadful moment this is! L’ingrato a me d’innante! The ungrateful man before me! OTELLO OTHELLO Non cangia di sembiante, His countenance does not change; Vedrai, vedrai. You shall see. You shall see. non sente ancor pietà. still he feels no pity. (Ah, finge l’indegna ancor!) (Ah, the worthless woman is still feigning!) OTELLO OTHELLO RODRIGO RODERIGO Deh sieguimi. Ah, follow me. Tra tante smanie e tante Torn among so many emotions quest’alma mia delira, this soul of mine is going mad. RODRIGO RODERIGO vinto è l’amor dall’ira, Love is vanquished by wrath: Ti sieguo. I follow you. spira vendetto il cor. my heart aspires to vengeance. OTELLO OTHELLO DESDEMONA DESDEMONA Son pago alfin. I am satisfied at last. Quest’alma che delira My delirious soul DESDEMONA DESDEMONA sui labbri miei già spira: expires already on my lips. T’arresta. Stop. Sento mancarmi il cor! I feel my heart stop! OTELLO OTHELLO OTELLO, RODRIGO OTHELLO, RODERIGO Vanne. Be gone. Tra tante smanie e tante, ecc. Torn among so many emotions, etc. DESDEMONA DESDEMONA DESDEMONA DESDEMONA Che pena è questa! What anguish this is! Quest’ alma che delira, ecc. My delirious soul, etc. Che fiera crudeltà! What dreadful cruelty! RODRIGO RODERIGO Perchè da te mi sacci?… Why do you drive me from you?… All’armi! To arms! Qual barbaro furore, What savage fury così ti accende il core, Has so imbued your heart DESDEMONA DESDEMONA che vaneggiar ti fa? that it makes you rave thus? Fermate! Stop! OTELLO OTHELLO OTELLO OTHELLO Ah perfida? E ardisci… Ah perfidious woman! And did you dare… Che gioia! che gioia! What joy! What joy! RODRIGO RODERIGO DESDEMONA DESDEMONA T’affretta. Hasten. Ah fermate, ah fermate! Ah, stop, ah stop! deh sentite almen pietà! Please at least have pity! DESDEMONA DESDEMONA Che mai sento! What do I hear! OTELLO, RODRIGO OTHELLO, RODERIGO Tra tante smanie e tante, ecc. Torn among so many emotions, etc. A TRE ALL THREE Più barbaro tormento More barbarous torment DESDEMONA DESDEMONA di questo non si dà. than this cannot be inflicted. Quest’ alma che delira, ecc. My delirious soul, etc. DESDEMONA DESDEMONA Ah per pietà! Ah, for pity’s sake! OTELLO OTHELLO Mi lascia. Leave me. DESDEMONA DESDEMONA Ma che ti feci mai? But whatever have I done to you? OTELLO OTHELLO Or ora lo saprai… Soon you will know… RODRIGO RODERIGO Mi siegui. Follow me. OTELLO OTHELLO Ti sieguo. I follow you.

17 Le Siège de Corinthe ACT III SCENE 3 NÉOCLÈS NEOCLES NÉOCLÈS NEOCLES 12 Grand Dieu, faut-il qu’un peuple qui t’adore Great God, now must a people who adore you Sa douleur … Her pain… Quitte à jamais les foyers paternels ? flee and relinquish their forefathers’ halls? CLÉOMÈNE CLEOMENES Tout l’abandonne … il t’appelle … il t’implore … All this abandon… invokes you… implores you… Et la mienne ! … And mine!… Laisseras-tu renverser tes autels ? Will your divine altars be overturned? Non, non, j’en crois ta parole immortelle ; No, no, I’ve faith in your undying promise; NÉOCLÈS NEOCLES Contre ta loi l’enfer conspire en vain ; Hell seeks to subvert your law, but in vain; Un père … Her father… Nous périrons ; mais la race infidèle Perish we may; but the infidels surely CLÉOMÈNE CLEOMENES Paîtra bientôt son triomphe inhumain. Soon will endure their own ugly defeat. Plus de grâce. No more forgiveness. De Pamyra j’ai pu briser la chaîne, Pamira’s chains I was able to sever, Ciel ! Que vois-je ? Heavens! What is this? Et du tyran mépriser le courroux ; And treat the wrath of the tyrant with scorn; Ah ! c’est le Ciel qui dans ces lieux l’amène Oh, it is Heaven that brings it upon us SCENE 5 Pour triompher ou mourir avec nous. That it might triumph or die by our hand. PAMYRA PAMIRA C’est toi, grand Dieu, qui des bords de l’abîme Great God, it’s you who the innocent victim Elle expire à vos pieds qu’elle embrasse. She expires at your feet, clutching them. Daignes sauver l’innocente victime, Deigns to reprieve from the abyss’s edge, Par toi l’espérance en mon cœur se ranime By your act the hope in my heart is rekindled CLÉOMÈNE CLEOMENES Des bords de l’abîme sauvant la victime By saving the lamb from the brink of the chasm Que me veux-tu, perfide ? et quel est ton dessein ? What do you want from me? What are you after? Tu daignes combler mes vœux. You deign to answer my prayers. PAMYRA PAMIRA Près de l’urne de sa mère Near the ashes of her mother Mon père ! … My father!… En ce séjour ténébreux, In a darkened place detained, CLÉOMÈNE CLEOMENES Soumise aux lois d’un père, At the mercy of her father, Quelle est ta famille ? Where is your family? Elle fuit d’horribles nœuds. She escapes from fearsome bonds. Je fus père autrefois ; mais je n’ai plus de fille, I was once a father; I no longer have a daughter. C’est toi, grand Dieu, qui des bords de l’abîme, etc. Great God, it’s you who the innocent victim, etc. Dans le camp d’un barbare, elle a porté ses pas. She left for a barbarian’s camp. PAMYRA PAMIRA SCENE 4 Elle est à vos genoux. She is here at your knees. NÉOCLÈS NEOCLES CLÉOMÈNE CLEOMENES 13 Cher Cléomène … Dear Cleomenes… Je ne l’aperçois pas. I don’t see her. CLÉOMÈNE CLEOMENES Je n’y vois qu’un objet, dont l’impure faiblesse, I see but a thing, whose weak impurity Ô toi, que je croyais perdu, O you, whom I thought lost; D’une honte éternelle a couvert ma vieillesse, Has stained my old age with eternal shame, À notre dernier jour tu nous es donc rendu ! On our last day you are returned to us! Et qui, pour me fléchir, feignant un vain remords, And who to hurt me, feigning vain remorse, Un fils me reste encor pour essuyer mes larmes. I’ve one son left to wipe away my tears. Vient jusqu’en ces tombeaux Comes to these very crypts Déshonorer ma mort. To dishonour my death. NÉOCLÈS NEOCLES Fuis ; nos tyrans te redemandent, Run along; our oppressors want you back, Pamyra ! cet objet de vos tendres alarmes ! … Pamira! The reason for your furrowed brow!… Au sérail du vainqueur les voluptés t’attendent. Luxuries await you in the conqueror’s seraglio. CLÉOMÈNE CLEOMENES Embrasés par nos mains, nos palais, nos tombeaux, Ablaze by our own hand, our palaces and tombs L’infidèle a brisé nos plus sacrés liens ; The faithless one broke our most sacred bonds; À ton affreux hymen serviront de flambeaux ; Will shed light on your wretched hymen; Qu’elle épargne à mon cœur sa présence ennemie. May she spare my heart her treacherous presence. Et ton regard, demain, dans la pompe des fêtes, And your eyes, tomorrow, watching the parade, NÉOCLÈS NEOCLES Au bout d’un fer sanglant, verra passer nos têtes ; Will see our heads pass by on bloodied spears; Elle a sauvé mes jours ! She saved my life! Va couronner ton front d’un opprobre éclatant, Go furrow your brow with glaring scorn, Fuis ! quitte ces tombeaux, ou j’en sors à l’instant. Run along! Leave this crypt or I will right now. CLÉOMÈNE CLEOMENES Elle a flétri les miens. She’s withered mine away. PAMYRA PAMIRA Je descends au tombeau tout chargé d’infamie ! I go to my grave under a cloud of infamy! Mon père ! … My father!… NÉOCLÈS NEOCLES NÉOCLÈS NEOCLES Si conduite à vos pieds par un remords soudain … If she appeared at your feet, suddenly remorseful… Ayez pitié de sa douleur mortelle. Have pity on her mortal suffering. CLÉOMÈNE CLEOMENES CLÉOMÈNE CLEOMENES Ce poignard, à tes yeux, lui percerait le sein. You’d see this dagger pierce her breast. Loin de ces murs sacrés qu’elle porte ses pas. May her feet take her far from these sacred walls.

18 PAMYRA PAMIRA NÉOCLÈS NEOCLES Qui vient pour y mourir ne les quittera pas. Those who come here to die never leave them. 14 Céleste providence ! O providence celestial! CLÉOMÈNE CLEOMENES J’implore ta puissance : I ask your higher power: Y mourir ! la patrie exile une infidèle ! Here to die! A nation exiles a traitor! Termine la souffrance Bless this unhappy nation Il faut pour le trépas des âmes dignes d’elle. Only souls worthy of it may pass away here. D’un peuple malheureux ; And end its suffering ; Esclave d’un tyran, de quel front osais-tu Tyrant’s slave, how on earth do you dare Jamais de l’innocence An innocent beseeching Réclamer les honneurs gardés à la vertu ? Claim the honours reserved for the virtuous? Tu n’as trompé les vœux, non, jamais ! You never could ignore, never, no! Ton exécrable amour … Your profane love… J’implore ta puissance : I ask your higher power: Ah ! daigne écouter nos vœux ! Have mercy, deign to hear our prayers! PAMYRA PAMIRA Il expire en mon âme. It receeds in my soul. PAMYRA et NÉOCLÈS PAMIRA and NEOCLES La patrie, en mourant, m’épure de sa flamme. Our nation, in death, purifies me by its flame. Céleste providence ! etc. O providence celestial! etc. NÉOCLÈS NEOCLES PAMYRA, NÉOCLÈS et CLÉOMÈNE PAMIRA, NEOCLES and CLEOMENES Hé bien ! Well! Céleste providence ! etc. O providence celestial! etc. Ô ciel ! Ah ! daigne écouter nos vœux ! O heaven! Have mercy, deign to hear our prayers! CLÉOMÈNE CLEOMENES S’il était vrai … si digne encor de moi, If it were true… to be worthy of me still, PAMYRA PAMIRA Tu jurais d’étouffer ta flamme criminelle … You’d swear to extinguish your criminal flame. Mon père ! My father! PAMYRA PAMIRA CLÉOMÈNE CLEOMENES Devant la tombe maternelle, On my mother’s grave, Il faut partir … Now I must go… À Néoclès je viens donner ma foi. I come to pledge my faith to Neocles. NÉOCLÈS NEOCLES NÉOCLÈS NEOCLES Ah ! reçois nos adieux ! Ah, receive our farewells! Ciel ! Heavens! PAMYRA, CLÉOMÈNE et NÉOCLÈS PAMIRA, NEOCLES and CLEOMENES PAMYRA PAMIRA Nous nous reverrons dans les cieux. In the heavens we’ll meet again. Trompons un tyran dans sa fureur jalouse. Let’s catch a tyrant in a jealous rage. CLÉOMÈNE CLEOMENES Mes enfants ! … My children!… NÉOCLÈS NEOCLES Pamyra ! … Pamira! PAMYRA PAMIRA Sans autels, ni flambeaux, Without altars or flames, Que j’emporte au cercueil le nom de ton épouse. May I go to my grave with the name of your wife. NÉOCLÈS NEOCLES Que le char du vainqueur passe entre nos tombeaux. May the victor’s chariot ride between our tombs. CLÉOMÈNE CLEOMENES Venez, venez tous deux ; que ma main vous bénisse. Come, come, you two, that my hand might bless you. Ce tombeau pour autel … qu’un père vous unisse. With this tomb for an altar… let a father wed you.

19 Armida ACT III SCENE 6 RINALDO RINALDO RINALDO RINALDO 15 In quale aspetto imbelle In that timid reflection Vi seguo… (Oh dio! I’ll follow… (Oh heavens! Io mi ravviso, oh stelle!… I see myself, oh heavens!… Lasciarla mai poss’io!) I’ll never go without her!) Qual di viltade oggetto!… I am that wretched creature!… CARLO e UBALDO CARLO and UBALDO Oh immenso mio rossor! What great and utter shame! A che t’arresti? Why have you stopped, now? CARLO CARLO RINALDO RINALDO (Sospira, langue, geme. (He signs, he moans, he whimpers, Armida! Armida! D’onor già sente i moti. as honour stirs within him. Per te mi manca il cor… For you I’m losing heart… O nume! i nostri voti O gods, your blessings on him! Secondi il tuo favor.) May ours join in as well.) CARLO e UBALDO CARLO and UBALDO Severa omai ti sgrida By now the call to honour RINALDO RINALDO La voce dell’onor. Is screaming in your ear. In quale aspetto imbelle, ecc. In that timid reflection, etc. RINALDO RINALDO UBALDO e CARLO UBALDO and CARLO Unitevi a gara Join up in the struggle, (Sospira, langue, geme), ecc. (He signs, he moans, he whimpers), etc. Virtude, valore, O virtue, and valour, RINALDO RINALDO Per vincere amore This striving for true love In quale aspetto imbelle, ecc. In that timid reflection, etc. Che affanno mi dà. What trouble it brings. UBALDO (a Rinaldo) UBALDO (to Rinaldo) Ma un raggio improvviso But suddenly daylight Vedi qual reo governo See how your guilty conscience Quest’alma rischiara… illumines my spirit… Di te fa un empio affetto. Has cast its spell upon you. Ah! sì, ti ravviso Ah yes, now I see you: Celeste bontà. The goodness of heaven. CARLO CARLO S’hai cor bastante in petto, If you have any heart left CARLO e UBALDO CARLO and UBALDO Resisti a tant’orror. You’ll fight against the fright. Splendor degli eroi, O hero of heroes T’invola con noi; Come fly now with us; RINALDO (seguitando a guardarsi nello scudo) RINALDO (still looking at himself in the shield) Del ciel si dichiara The heavens declare it: Qual di viltade oggetto!… I am that wretched creature!… Per te la pietà. All blessings on you. Oh immenso mio rossor! What great and utter shame! RINALDO RINALDO CARLO CARLO Ma un raggio improvviso, ecc. But suddenly daylight, etc. Il tuo dover ti chiama. Your duty now is calling. UBALDO e CARLO UBALDO and CARLO UBALDO UBALDO Splendor degli eroi, ecc. O hero of heroes, etc. Gloria a pugnar t’invita. Glory awaits your efforts. CARLO poi UBALDO CARLO then UBALDO La tromba della fama The bugle call to exploits Ridesti il tuo valor. Awakens your resolve. RINALDO RINALDO Cessate… oimè! cessate… Oh stop it… please! Just stop it… Che barbaro tormento! What cruel and wicked torture! Io vile?… No: rammento Me wretched?… No: remember, Che son Rinaldo ancor. You are Rinaldo still! (si squarcia e getta ogni fregio di mollezza) (tears himself away and loses all sign of fear) CARLO e UBALDO CARLO and UBALDO Or sì, che in te rimiro At last now I behold you, L’eroe qual fosti ognor. The hero you always were. RINALDO RINALDO (Ah! qual contrasto io provo (Ah, what a change I’m feeling Di duol, di gloria e amor!) from pain, to glory and love!) CARLO poi UBALDO CARLO then UBALDO Vieni. Come on.

20 This special project was made possible by contributions from some of my extraordinary There are so many people to thank for their work in bringing this amazing project friends to whom I am eternally grateful. Thank you to Ann Ziff, Guillermo Martínez, together. For his enthusiasm and generous patronage I thank Guillermo Martínez without Jamie Rigler, Peter Leone, Peter Vandamme and a very special anonymous donor for whom this project would not have been possible. Let me also thank my dear friends from your financial support. I would like to thank my PR team, Unison Media, for their tireless Belgium, Peter Vandamme and Mignon Graafland. A very special thank you to work and support. Another special thank you to David Devan and Opera Philadelphia David Devan and Opera Philadelphia for all their efforts bringing this project to fruition. for their massive efforts in handling the many logistics of this project. An immense thank you to Alain Lanceron and all of the team at Erato for believing Let me also thank Alain Lanceron and the entire team at Erato for taking on this in us and trusting us to make an album for which there is no comparison. I must also project. Thank you to our sensational producer Daniel Zalay and engineer thank our incredible producer Daniel Zalay and Olivier Rosset the sound engineer Olivier Rosset for their professionalism and expertise. A huge thank you to for their acute ears and beautiful attention to detail throughout the long recording Alberto Martini and I Virtuosi Italiani for their masterful playing, their high level of hours. Huge thanks as well go to our rehearsal pianist and diction coach Loris di Leo. preparedness, professionalism and discipline during the entire recording process. We also could not have asked for a better orchestra and concertmaster than I Virtuosi To our reharsal pianist and diction coach, Loris di Leo, mille grazie di tutto. Italiani and Alberto Martini. I am truly amazed and delighted with just how much we all Also to Justina Lee for her help in my preparation. accomplished during our recording and I am so grateful that this orchestra agreed to Thank you Tara Erraught and Xabier Anduaga for your very important contributions to come with us on our incredible musical journey. the album. Lastly, to my partners Michael and Corrado, thank you for your hard work, I would like to thank Tara Erraught and Xabier Anduaga immensely for their magnificent artistry and dedication in creating this special album. magnificent work on the album. Finally, I would like to thank my dear partners I will cherish the experience forever. Thank you to all! Larry and Corrado, of whom I’ve grown so fond during the years it took to make LAWRENCE BROWNLEE this album. I could not have asked for better colleagues or friends, and these past years have truly been inspiring to me. You both are two of the most consummate and well-rounded artists I have ever met, and I feel so lucky to call you both my friends. Bravi tutti! Viva l’Italia e viva Rossini! MICHAEL SPYRES

Recorded: 30.VII–3.VIII.2019, Teatro Ristori, Verona, Italy Executive Producers: Alain Lanceron & Lawrence Brownlee Recording Producer: Daniel Zalay Sound Engineer: Olivier Rosset Repetiteur & Diction Coach: Loris di Leo Critical editions: C Casa Ricordi, Milano – A. Zedda, ed. (1). C Fondazione Rossini in cooperation with Casa Ricordi – F. Agostinelli & G. Gravagna, eds. (2–5); H. Colin Slim, ed. (6–7); V. Borghetti, ed. (8); M. Collins, ed. (9–11); D. Colas, ed. (12–14); C.S. Brauner & P.B. Brauner, eds. (15). Sung text translations: C Capitol Records, 1952 (1); C Ray Granlund (2–5, 12–15); C William A. Packer & M. Cecile Stratta, 1984 (6–7); C David Stivender, 1971 (8) Photography: C Sharvin Lainez; except p.9 C Gabello Studios (Rovaris) & p.10 C Kristin Hoebermann (Erraught), C Elena Cherkashyna (Anduaga) Design: Paul Marc Mitchell for WLP Ltd A Warner Classics/Erato release, P 2020 Parlophone Records Limited C 2020 Parlophone Records Limited lawrencebrownlee.com · michaelspyres.com · ivirtuosiitaliani.eu · warnerclassics.com

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