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900328-CD-Due Foscari Itunes.Indd I DUE FOSCARI GIUSEPPE VERDI Leo Nucci | Guanqun Yu Ivan Magrì | Bernadett Fodor István Horváth | Miklós Sebestyén Chor des Bayerischen Rundfunks Münchner Rundfunkorchester IVAN REPUŠIC´ GIUSEPPE VERDI 1813–1901 I due Foscari Tragedia lirica in drei Akten / Tragedia lirica in three acts Libretto: Francesco Maria Piave CD 1 73:00 AKT 1 / ACT 1: 01 Nr. 1 Preludio / Vorspiel / Prelude 2:28 02 Nr. 2 Introduzione / Introduktion / Introduction 4:55 „Silenzio, mistero” (Szene 1–2) (Chor / Chorus) 03 Nr. 3 Scena e Cavatina / Szene und Kavatine / Scene and Cavatina 7:17 „Qui ti rimani alquanto” (Szene 3) „Dal più remoto esiglio” (Szene 4) „Del Consiglio alla presenza – Odio solo, ed odio atroce” (Szene 5) (Jacopo, Fante) 04 Nr. 4 Scena ed Aria / Szene und Arie / Scene and Aria 8:43 „No… mi lasciate – Resta: quel pianto accrescere – Tu al cui sguardo onnipos- sente” (Szene 6) „Che mi rechi?.. favella… – O patrizi, tremate (Szene 7) (Lucrezia, Pisana, Chor / Chorus) 05 Nr. 5 Coro / Chor / Chorus 2:12 „Tacque il reo” (Szene 8) 06 Nr. 6 Scena e Romanza / Szene und Romanze / Scene and Romance 4:03 „Eccomi solo alfi ne – O vecchio cor, che batti” (Szene 9) (Doge) 07 Nr. 7 Scena e Duetto – Finale I / Szene und Duett – Finale I / Scene and Duet – Finale I 8:34 „L’illustre dama Foscari – Tu pur lo sai che giudice – Di sua innocenza dubiti? – Se tu dunque potere non hai” (Szene 10) (Servo, Doge, Lucrezia) Giuseppe Verdi AKT 2 / ACT 2: LEO NUCCI Bariton / baritone (Francesco Foscari, Doge von Venedig / 08 Nr. 8 Preludio, Scena e Preghiera / Vorspiel, Szene und Gebet / Doge of Venice) Prelude, Scene and Prayer 5:31 GUANQUN YU Sopran / soprano (Lucrezia Contarini, Frau von Jacopo Foscari / „Notte!.. perpetua notte – Non maledirmi, o prode” (Szene 1) Jacopo Foscari’s wife) (Jacopo) BERNADETT FODOR Mezzosopran / mezzosoprano (Pisana, Freundin 09 Nr. 9 Scena e Duetto / Szene und Duett / Scene and Duet 10:19 „Ah sposo mio – No, non morrai – Tutta è calma la laguna – Speranza dolce und Vertraute Lucrezias / Friend and confidant of Lucrezia) ancora” (Szene 2) IVAN MAGRÌ Tenor / tenor (Jacopo Foscari, Sohn des Dogen Francesco Foscari / (Lucrezia, Jacopo, Chor / Chorus) Son of the Doge Francesco Foscari) 10 Nr. 10 Scena, Terzetto e Quartetto / Szene, Terzett und Quartett / ISTVÁN HORVÁTH Tenor / tenor (Barbarigo, Senator / a Senator) Scene, Trio and Quartet 8:13 MIKLÓS SEBESTYÉN Bassbariton / bass baritone (Jacopo Loredano, Mitglied des „Ah padre!.. Figlio!.. Nuora!.. – Nel tuo paterno amplesso” (Szene 3) Rates der Zehn / Member of the Council of Ten) „Addio… Parti?.. Conviene…” (Szene 3–4) MOON YUNG OH Tenor / tenor (Fante del Consiglio, ein Diener des Rates „Ah! sì, il tempo che mai non s’arresta” (Szene 4) der Zehn und des Senats / Attendant on the Council of Ten)* (Lucrezia, Jacopo, Doge) MATTHIAS ETTMAYR Bass / bass (Servo del Doge, ein Diener des Dogen / 11 Nr. 11 Finale II 10:45 Servant of the Doge)* „Che più si tarda?” (Szene 5) „O patrizi… il voleste” (Szene 6–8) *Chorsolisten „Queste innocenti lacrime – Parti, t’è forza cedere” (Szene 8) (Lucrezia, Pisana, Jacopo, Barbarigo, Doge, Loredano, Chor / Chorus) CHOR DES BAYERISCHEN RUNDFUNKS HOWARD ARMAN Einstudierung / chorus master CD 2 28:40 AKT 3 / ACT 3: 01 Nr. 12 Introduzione e Barcarola / Introduktion und Barkarole / MÜNCHNER RUNDFUNKORCHESTER Introduction and Barcarola 4:42 IVAN REPUŠIC´ Leitung / conductor „Alla gioia, alle corse, alle gare” (Szene 1) „Ve’! come il popol gode – Tace il vento, è queta l’onda” (Szene 2) (Chor / Chorus, Barbarigo, Loredano) 02 Nr. 13 Scena e Aria / Szene und Arie / Scene and Aria 6:25 „La giustizia del Leone!” (Szene 3–4) „All’infelice veglio – Messer, a che più indugiasi? – Ah padre, figli, sposa” (Szene 4) (Loredano, Jacopo, Lucrezia, Pisana, Barbarigo, Chor / Chorus) 03 Nr. 14 Recitativo ed Aria Lucrezia / Rezitativ und Arie Lucrezia / Recitative and Aria Lucrezia 6:42 „Egli ora parte!” (Szene 5–7) Live-Aufnahme / live recording: München, Prinzregententheater, 23./25.11.2018 and Budapest, Müpa, „Più non vive!.. l’innocente” (Szene 7) 27.11.2018 · Executive Producers: Veronika Weber and Ulrich Pluta · Tonmeister / Recording Producer: (Doge, Barbarigo, Lucrezia) Torsten Schreier (23./25.11.2018) · Tonmeister / Recording Producer: Ádám Matz (27.11.2018) 04 Nr. 15 Scena ed Aria – Finale III / Szene und Arie – Finale III / Toningenieur / Recording Engineer: Gerhard Gruber · Schnitt / Editing: Torsten Schreier Mastering Engineer: Christoph Stickel Scene and Aria – Finale III 10:51 In Kooperation mit Müpa Budapest/ „Signor, chiedon parlarti i Dieci…” (Szene 8–9) in cooperation with Müpa Budapest „Questa è dunque l’iniqua mercede” (Szene 9) „Che venga a me, se lice” (Szene 9–10) Publisher: Ricordi, Mailand (Kalmus) · Fotos / Photography: Leo Nucci (Cover) © Roberto Ricci reproduced „Quel bronzo feral” (Szene 10) by kind permission of Teatro Regio di Parma; Ivan Repušic’ © Lisa Hinder; Leo Nucci © leonucci.net; Guanqun Yu © arsis-artists.com; Bernadett Fodor, Ivan Magrì, István Horváth, Miklós Sebestyén © privat; (Servo, Doge, Loredano, Barbarigo, Lucrezia, Chor / Chorus) Münchner Rundfunkorchester © Felix Broede; Foto Konzert © Attila Nagy, Müpa Budapest, 27.11.2018 Artwork: Barbara Huber CC.CONSTRUCT · Editorial: Thomas Becker · Lektorat: Dr. Doris Sennefelder Eine CD-Produktion der BRmedia Service GmbH. ℗ + © 2019 BRmedia Service GmbH DER DOGENPALAST ALS ZWISCHENSTATION Szenen vorbereitet, sowie die hochfahrend aufgewühlte (wie auf La forza del BEWÄHRTES UND ZUKUNFTSWEISENDES IN VERDIS I DUE FOSCARI destino vorausweisende) Einleitung zu Lucrezias Auftritten und die tieferen, sanft wogenden Streicherklänge für die Sphäre des Dogen. Mit Nabucco hatte Verdi 1842 seinen Durchbruch gefeiert; mit Ernani war er Von den musikalischen Visitenkarten der Hauptfiguren als „Leitmotiven“ zu zwei Jahre darauf vollends zu einer festen Größe im internationalen Opern- sprechen, wäre aber unangebracht, da Verdi sie anders als Richard Wagner betrieb avanciert. Die von ihm später selbst so bezeichnete Phase der „Ga- nicht strukturgebend einsetzt und verarbeitet, sondern beinahe in Vorwegnah- leerenjahre“ bis Ende der 1850er war dabei gar nicht so sehr von ökonomi- me filmischer Mittel schnittartig und zur Überblendung zwischen den Auftritten schen Zwängen bestimmt. Vielmehr dokumentieren insbesondere die zehn (!) verwendet. Bemerkenswert ist dieses Vorgehen (zumal erst ein Jahr nach der Opern Verdis in den fünf Jahren bis zur Revolution von 1848 eine ungezü- wenig Furore machenden Uraufführung von Wagners Fliegendem Holländer) gelte Experimentierfreude, was das Aufgreifen und Abwandeln der tradier- allemal. Weiteren musikalischen Zusammenhalt stiften die häufigen Dreier- ten italienischen Opernmuster betrifft. Davon sind auch I due Foscari nach rhythmen bzw. der Barcarolen-typische 6/8-Takt. Die „tinta“, (Grund-)Farbe Lord Byron (1788−1824) geprägt, mit denen Verdi eine textliche Vorlage seines der Oper, war Verdi selbst bald nach der Uraufführung nicht abwechslungs- Jahrhunderts aufgriff. Anregungen zur europäischen Literatur erhielt Verdi reich genug. Dennoch erzeugt sie beim Hören einen Sog, der den Untergang immer wieder vom Freund und Übersetzer Andrea Maffei. Wenn auch nicht der Foscari in seiner Unausweichlichkeit mitempfinden lässt. im Venedig des 15. Jahrhunderts angesiedelt, sollte ein ähnlicher Stoff Ver- Dadurch freilich eher hervorgehoben und letztlich ungelöst bleibt die bei di und sein Publikum später nochmals beschäftigten. Bekanntlich steht das Byron angelegte Statik: zwischen dem langsamen, aber beharrlichen Mahlwerk Schicksal eines Dogen, den die Macht und politischen Notwendigkeiten das des venezianischen Rates, den erst am Ende gebrochenen Protagonisten und private Glück und schließlich das Leben kosten, in Simon Boccanegra erneut der kämpferischen Lucrezia. Kaum mehr erkennbar ist ihr fast furienhafter Zu- im Zentrum – dann indes in Genua spielend. Neben dem „Bühnennachfolger“ schnitt in der Vorlage, in der sie Marina heißt und nach beharrlichen Beschimp- – historisch gesehen spielt Simon Boccanegra vor I due Foscari – verdient aber fungen Loredanos ganz zum Schluss des Stücks noch eine regelrechte Tirade auch ein Vorgänger im venezianischen Dogenpalast Erwähnung: Marino Falie- an den Rat richtet. Piave und Verdi haben dies klugerweise zu dem Bild einer ro von Gaetano Donizetti war 1835, ebenfalls nach Byron, aber vermischt mit ihren Ehemann bedingungslos liebenden, vor allem aktiv für diese Liebe ein- einer Vorlage des französischen Dramatikers Delavigne, in der Opernmetro- tretenden Frau verdichtet. In ihrem Fall noch positiv und einleuchtend genutzt pole Paris uraufgeführt worden. Bei aller Bewunderung für den englischen erscheint das gängige zweisätzige Arienschema von langsamem Cantabile und Romantiker Byron erkannten die Komponisten früh, dass dessen Stärke eher erregter Cabaletta, mit dem die Eheleute im I. Akt vorgestellt werden. Bei Ja- in der Sprache und Figurenzeichnung als in der Dramaturgie lag. copo mutet das Beschwören seiner trügerischen Hoffnung dagegen bereits in Gerade bezüglich der Charaktere griff Verdis Librettist Francesco Maria sich erschöpft an. Bei Francescos erstem Auftritt weicht Verdi vom erwähnten Piave auch in I due Foscari deutlich ein – nicht zuletzt auf die Aufforderung des Arienschema dahingehend ab, dass der Romanze statt eines schnellen Teils Komponisten hin, „etwas zu finden, das ein bisschen Effekt macht, besonders das mehrsätzige Duett mit Lucrezia folgt, das klar eine wichtige Zwischensta- im I. Akt“. Piave hielt sich
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