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Home , Alto, Andrea Nozzari, Armida (Rossini), Barry Banks (tenor), Bruce Ford (tenor), David Parry (conductor)

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GREAT OPERATIC GREAT OPERATIC ARIAS CHAN 3112 CHANDOS O PERA IN ENGLISH sings ARIAS

PETER MOORES FOUNDATION CHAN 3112 BOOK.qxd 20/9/06 11:08 am Page 2 Christian Steiner

Barry Banks sings Bel canto Arias

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Time Page Time Page (1792–1868) Igor Stravinsky (1882–1971) from The Italian Girl in Algiers from The Rake’s Progress Lindoro’s (Languir per una bella) Tom Rakewell’s and 1 ‘In dreams of endless pleasure’ 7:16 [p. 46] 6 ‘Here I stand’ – ‘Since it is not by merit’ 2:40 [p. 48] London Philharmonic Orchestra London Philharmonic Orchestra from (Cujus animam) (1797–1848) 2 ‘Through her soul in endless grieving’ 6:25 [p. 46] London Philharmonic Orchestra from Ernesto’s Prelude and Aria (Cercherò lontana terra) from Count Ory 7 ‘Poor lost Ernesto’ – Count’s Cavatina (Que le destin prospère) 3 ‘I shall go, no more returning’ 9:47 [p. 48] ‘May destiny befriend you’ 4:38 [p. 46] London Philharmonic Orchestra London Philharmonic Orchestra from CHAN 3011(2) Don Pasquale from Moses in Egypt from The Elixir of Love Amenophis’ and Pharaoh’s Duet (Parla, spiegar non posso) Nemorino’s Romance (Una furtiva lagrima) 4 ‘The blow at last has fallen’ 7:10 [p. 46] 8 ‘Only one teardrop’ 5:14 [p. 49] with London Philharmonic Orchestra from CHAN 3027(2) The Elixir of Love

Wolfgang Amadeus Mozart (1756–1791) Gioachino Rossini from from Don Ottavio’s Recitative and Aria (Dalla sua pace) ’ and Pilades’ Recitative and Cavatina (Reggia abborrita) 5 ‘Could I ever believe’ – 9 ‘Palace of horrors!’ – ‘Ah, how can I hide the flames’ 7:07 [p. 49] ‘Her joy is my joy’ 4:52 [p. 47] with Alfred Boe tenor Philharmonia Orchestra London Philharmonic Orchestra

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Time Page from The Thieving Magpie Barry Banks as Nemorino in Giannetto’s Aria English National ’s production of Donizetti’s The Elixir of Love 10 ‘Darling! Darling, let me embrace you!’ 5:03 [p. 50] Geoffrey Mitchell • Philharmonia Orchestra from CHAN 3097(2) The Thieving Magpie from Trio of , Carlo and Ubaldo (In quale aspetto imbelle) 11 ‘I lost the will to action’ 3:22 [p. 51] with tenor and Dennis O’Neill tenor London Philharmonic Orchestra from CHAN 3100 Great Operatic Arias with Bruce Ford 2

Pietro Mascagni (1863–1945) from Our Friend Fritz Cherry Duet (Suzel, buon dì) 12 ‘Suzel, good morning!’ 8:33 [p. 51] with Janice Watson London Philharmonic Orchestra Gaetano Donizetti from Don Pasquale (Com’è gentil) Ernesto’s Serenade 13 ‘The night is calm’ 4:05 [p. 52] with Geoffrey Mitchell Choir • London Philharmonic Orchestra from CHAN 3011(2) Don Pasquale TT 77:05 Barry Banks tenor Bill Rafferty 6 7 CHAN 3112 BOOK.qxd 20/9/06 11:08 am Page 8

If the reader detects in this account an exercised in their usage. So far from this being Bel canto Arias undercurrent (I would hope it to be no more) a primitive stage of opera’s development, it is of amused indulgence, one can only plead that arguable that in these years the condition of This is a recital in rondo form, where the element, light in colour, precise in definition the habits of at least a century and a half opera as a form of art was particularly healthy. recurring theme is Rossini. The very good and moving easily in those high ranges of the cannot easily be shaken off. The composition Some such line of thought is implicit in reason for this is that Rossini wrote copiously voice which Rossini particularly loved to – Rossini’s and that of Angelo Anelli, his Stravinsky’s writing of his neo-Classical and to excellent effect for the light, high, exploit. librettist – is formulaic. We know in advance, morality, The Rake’s Progress (track 6 ). The flexible lyric tenor voice; and this in turn Lindoro’s cavatina from The Italian Girl in if not in detail, the kind of thing they are operatic world evoked is of the eighteenth reminds us that the recital can also be regarded Algiers (track 1 ) is typical. The essential proposing; we know also, in general if not in century rather than the nineteenth, but its spirit as the rondo movement of an (as yet) graces and accomplishments are on display in particulars, what is expected of the singer. is not remote from Rossini’s and the forms unfinished symphony. A symphony of singers, this solo which, in the opera as in this recital, Rossini was writing in 1813. He had, in , adopted are basically his. Tom Rakewell, for the ‘Great Arias’ series is designed to present, introduces the tenor to his audience. He plays two, perhaps three decades before the forces of instance, has a cavatina as does Lindoro in in each issue, not only the art of an individual a young lover whose presently unsatisfied state ‘progress’ would render such formulae The Italian Girl. The solo heard here is in the singer but also an exposition of a we hope to see remedied by the end of the irredeemably old-fashioned. Everybody would traditional recitative-and-aria form, and again a representative voice-type and of the repertoire opera (this being a comedy). An Italian captive say that a more highly developed, more pleasure for the informed listener lies in the that goes with it. Two have figured so in the palace of the Bey of Algiers, he is sophisticated art-form was evolving from the appreciation of Stravinsky’s art in its handling. far, Dennis O’Neill and Bruce Ford, both of missing his girlfriend. Of course, the mid-nineteenth century onwards. What they The recitative has full orchestral whom, incidentally, can be heard, with sentiments are put on a higher level than that did not see – and we ourselves in this present accompaniment with a dotted-note motif in the Barry Banks, in this latest addition. They too but he is (in the original Italian) ‘languishing’ generation have been slow to see – is that it style of the French . The aria is would be generally categorised as lyric tenors rather than in desperation and indeed is was in these rejected years that opera evolved infinitely subtle in its flexible setting of the though of different kinds, Ford having the determined to remain hopeful, cheering the form which was most truly its own; also regular ballad verses of his librettist. We note special qualities that enable him to undertake himself up with thoughts of her fidelity during that to enjoy an appreciation of the variants there is no , that being nineteenth- the heroic roles in Rossini and O’Neill his enforced absence. A smoothly flowing within its agreed forms (as the audiences of rather than eighteenth-century usage. Stravinsky developing in the latter part of his career the melody is followed by a faster, more excitable those times appear to have done) itself involves does, however, bestow a nod in that direction, weightier tone called for in the robust or passage, while, for the singer, opportunities to a fairly high degree of sophistication. ‘Progress’ whether wittily or by chance, in giving the heroic repertoire of the later nineteenth- show the quality of his voice and the elegance led to ever more naturalism and realism on the music its head, to gallop away (the word century Italian composers, especially Verdi. of his style lead on to the opening-up of his operatic stage. The audiences of Rossini’s time ‘cabaletta’ derives from the Spanish for a horse) In this present recital we hear the lyric voice more robust powers and the display of a recognised the conventions and delighted in at the suggestion of Auden’s last lines: ‘Come, in its purest form, without any baritonal brilliant technique. the art which composers and performers alike wishes, be horses, This beggar shall ride’.

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Meanwhile we have rather lost sight of the to be found within the compass of Rossini’s original Italian version of 1818 it was sung by known as the virtuoso-piece, ‘Dalla sua pace’ lyric tenor. His progress from Rossini to style. The entrance of Count Ory (track 3 ) is , a formidable tenor and the (‘Her joy is my joy’) is no easy option, and in Stravinsky is a somewhat surprising one, and a masterpiece of skittish solemnity; the arrival ‘creator’ of Rossini’s ; in the revision for this particular context makes the more indeed the role of Rakewell is usually taken by of Orestes and his friend in the palace Paris in 1827 the singer was Adolphe Nourrit, distinctive contribution. A tenor who has been a voice that has a few more decibels to of the abhorred King Pyrrhus (track 9 ) is a soon to be the first Arnold in put through his paces by one aria of Rossini summon than Rossini’s Lindoro. The line scene of tragic intensity. One thing the and renowned for his heroic top C. In this after another has no need to demonstrate does, however, take in the modest tenor-hero have in common is a plot which defies brief duet (track 4 ) it is not merely that the tenor further virtuosity. The sustained style of Mascagni’s Our Friend Fritz (track 12 ). The summary. Of Count Ory it will suffice to say has to encompass a wide with of this equably flowing melody calls for other ‘creator’ of this role in 1891 was the that in this opening scene the worldly Count dexterity and full dramatic force, but that skills, no less essential to the art of singing. Neapolitan tenor Fernando De Lucia, whose is disguised as an other-worldly hermit, and he has also to pit his voice against the full- The aria has also a disconcerting habit of fame and favour among collectors of old perhaps to quote the Rossini scholar Philip bodied -baritone of the Pharoah. In the dropping into the low register where the lyric recordings derive primarily from his singing of Gossett who asks ‘In what other opera does trio from Armida (track 11 ) the element of tenor is apt to find himself at a disadvantage. Count Almaviva’s music in The Barber of the confusion of identity and the resulting competition might seem to be intensified in For the listener this aria will be a welcome Seville. It must be added that he could also erotic vortex extend so far as to present a tenor that all three voices are tenors. Fortunately point of repose in an energetic programme; for command the vocal power to sing roles such as disguised as a woman who thinks he is making they are not (or should not be) singing tutta the singer, repose may not be quite the word. Lohengrin and Canio in . In Our love to a in the role of a man who forza throughout, and the orchestra (with a Of course no piece of written music ‘sings Friend Fritz he was the composer’s choice for takes the place of the soprano?’ Of Ermione let fine cello part) is supportive rather than itself’: there is nothing in the European so- the title-role, and, as his biographer Michael us say that Orestes has come to Epirus on a clamorous. called classical tradition that will allow a singer Henstock notes, he went back to sing in more diplomatic mission which in his mind takes Rossini nevertheless makes his tenors work to be entirely off-guard and, as people would performances of The Barber as soon as the second place to the more immediate interest of hard. Mozart and Donizetti are both, in their say, ‘just sing’. But after Rossini, Mozart, and initial run of the new opera was completed. his love for , who in turn loves different ways, more considerate. For instance, Stravinsky, you come much closer to it with Barry Banks also returns to Rossini, with Pyrrhus who loves another. in Don Giovanni Mozart provides his tenor Donizetti. ‘Only one teardrop glistened there’ arias from his Stabat Mater and the operas Vocally, Ory’s solo is all grace, and Orestes’ with two arias, the first (track 5 ) a meditative (‘Una furtiva lagrima’ track 8 ) from Count Ory and Ermione. The ‘Cujus all passion. Both call upon the skills of a solo of great tenderness, making no outlandish The Elixir of Love is often regarded as the animam’ (‘Through her soul’ track 2 ) is virtuoso tenor, but Orestes’ requires also a demands upon voice, technique or test-piece for the lyric tenor in the bel canto famous for its top D flat and for its bold declamatory force beyond the normal expressiveness yet providing opportunities for repertoire, and it does indeed call for a assumption that a good tune is not necessarily attributes of the typical . singing of quality, such as will always delight a beautiful voice and a well-trained one. Beyond out of place in Holy Week. As for the operatic Strenuous too is the role of Amenophis, discerning audience. In fact, though the other that, the difference between a distinguished arias there could hardly be two more different Pharoah’s son in Moses in Egypt. In the aria, the famous ‘Il mio tesoro’, is always performance and something less will lie mostly

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in considerations of style and taste. It is easy important. A conscientious singer tries to Music where he was a Le Rossignol at New York’s . music – easy to listen to, easy to ‘pick up’. reconcile the differences, being careful to Peter Moores scholar, A committed concert artist Barry Banks has Similarly the solos from Don Pasquale: poor articulate the words clearly in the bel canto aria Barry Banks has sung Rossini’s with the Ernesto’s ‘I shall go, no more returning’ and to give as true a singing-quality as possible established himself as Royal Philhamonic Orchestra under Daniele (‘Cercherò lontana terra’ track 7 ) with its to the speech-song of the new opera. But a one of the finest tenors Gatti, Fidelio with the City of Birmingham melancholy cornet solo is the perennial fundamental difference of concept remains. of his generation for his Symphony Orchestra under Walter Weller, emigrant’s lament, and the Serenade, ‘The A young Italian tenor singing in London for outstanding appearances War with the Orchestre night is calm’ (‘Comè gentil’ track 13 ) is as the first time recently took this very aria, in opera and concert. In Philharmonique de Strasbourg under Jan near as maybe to a popular Neapolitan Nemorino’s romanza in The Elixir of Love, and much demand on the Latham-Koenig and also in Sao Paulo, canzonetta. That (given the voice and the art treated it naturalistically, with ‘realistic’ international opera stage Bruckner’s Requiem with the Scottish of its management) really does, very nearly, speech-emphasis. He won points, but lost the his roles include: Tom Rakewell for English Chamber Orchestra under Sir Charles ‘sing itself’. aria. The real bel canto artist does not National Opera; both Belfiore and Libenskof Mackerras, Rossini’s Armida at the Edinburgh So what is this bel canto of which people renounce or subordinate feeling and () at Teatro Communale di Festival under Carlo Rizzi and a critically talk, and talk so insistently that the phrase is expression but finds a way of so infusing the Bologna; Nemorino (L’elisir d’amore) at Oper acclaimed performance of Ermione at Carnegie one of the few musical terms that have lodged voice that emotion is communicated with Frankfurt & ; Oreste Hall. in the general vocabulary? Having posed the minimal disruption of the instrumental (Ermione) & (La belle Hélène) for the For Chandos’ series Barry question, I’m not sure that this is the place to singing-line. Those ‘brainless’ arias of ; Tamino (Die Zauberflöte) at Banks has recorded The Elixir of Love, Don attempt an answer. If (say) ‘Una furtiva Donizetti (as they have often been the , , Pasquale, Don Giovanni and The Thieving lagrima’ is a true example of the bel canto characterised) can become in performance Opera and Scottish Opera; Don Ramiro Magpie, and other recordings include La aria, then much about the style of bel canto something far more subtle than they appear to () at Basel Opera; for bohème under Kent Nagano and singing should be deducible from the nature of be on the printed page. Chicago Lyric Opera; Arnalta (L’incoronazione under Sir Charles Mackerras. Video releases the music written for it. That would tell us Meanwhile (track 10 ) our young hero di Poppea) at ; Edgardo include Billy Budd in the English National that the voice is being used as a singing Giannetto, welcomed by the villagers, is back () for production and Die Entführung aus instrument rather than as a vessel for from the wars, all his high notes intact. We are Opera; Aufidio (Lucio ) at the Salzburg dem Serail recorded at Buckingham Palace. conveying the sense of speech at musically back to Rossini, and the rondo-recital is Festival and Oper Frankfurt; Don Narciso pitched intervals. There then follows a kind of complete. () in Brussels, Paris and Geneva; David Parry studied with Sergiu Celibidache polarisation, at the further end being those L’Astrologue (Le Coq d’or) at the Châtelet, and and began his career as Sir John Pritchard’s Lieder specialists and modern schools of opera © 2004 John Steane in performances of Die Entführung aus assistant. He made his debut with English to whom, and in which, words are all- A graduate of The Royal Northern College of dem Serail, The Italian Girl in Algiers and Music Theatre, then became a staff conductor

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at Städtische at the Festival in Italy, the Hong Kong Bühnen, International Festival, in Japan with a tour of Barry Banks in the title role of Dortmund and at , and in Mexico with the UNAM Lyric Opera of Chicago’s production . He Symphony Orchestra. Recent new productions of Bernstein’s Candide was Music Director he has conducted include Fidelio at the New of Opera 80 from Zealand Festival, Lucia di Lammermoor at New 1983 to 1987 and Israeli Opera and Don Giovanni at Staatsoper

since 1992 has been Hannover. Rest/LyricDan of Chicago Opera the founding Music His work in the recording studio includes Director of Almeida the BBC Television production of Marschner’s Opera. Der Vampyr and twenty-eight complete opera He works recordings under the sponsorship of the Peter extensively in both Moores Foundation. Among these are opera and concert, nationally and numerous discs for the label internationally. He has conducted several which have won several awards, including the productions at English National Opera and Belgian Prix Cecilia for Donizetti’s Rosmonda Opera North and appears regularly with the d’Inghilterra. For Chandos he has conducted a Philharmonia and London Philharmonic series of recitals of operatic arias – with Bruce Orchestras. In 1996 he made his debut at the Ford, Diana Montague, Dennis O’Neill, Glyndebourne Festival conducting Così fan Alastair Miles, , John tutte, following it in 1998 with the world Tomlinson, and Andrew Shore – premiere of Jonathan Dove’s Flight. as well as , Carmen, The Thieving He is a frequent visitor to Spain where he Magpie, Don Giovanni, Don Pasquale, The has given concerts with most of the major Elixir of Love, Lucia of Lammermoor, Ernani, Spanish orchestras. He conducted the Spanish Il trovatore, Aida, , Cavalleria rusticana, premiere of in Madrid and in Pagliacci, La bohème, Turandot, the award- 1996 the first Spanish production of winning and highlights from Der The Rake’s Progress. He has appeared in Rosenkavalier, all in association with the Peter Germany, Switzerland, and The Netherlands, Moores Foundation.

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SIR PETER MOORES, CBE, DL youth, social and environmental projects. To date, because of his initiatives and life-long Sir Peter Moores was born in Lancashire and educated at Eton College commitment to these causes, he has disbursed more than £93 million through his charities ‘to get and Christ Church, Oxford, where he studied Italian and German. He things done and to open doors’.

Bill Cooper/PMF Bill had a ‘gap year’ at Glyndebourne working as a behind-the-scenes Projects to help the young have ranged from a scheme to encourage young Afro-Caribbeans to administrator before going to Oxford, then studied for three years at the stay on at school to the endowment of a Faculty Directorship and Chair of Management Studies at Vienna Academy of Music, where he produced the Austrian premiere of Oxford University (providing the lead donation in 1991 for the new School of Management 's The Rape of Lucretia and was a production assistant Studies). In 1994 a permanent Transatlantic Slave Trade Gallery, initiated by Peter Moores, opened with the working as assistant producer of at the Merseyside Maritime Museum, with the aim of fostering discussion about the heritage and performances by Viennese artists at the San Carlo , , true history of the slave trade. Substantial help was given to the Royal Liverpool Philharmonic at the Geneva Festival and at the Opera. Development Trust, whilst through annual PMF Scholarships established in 1971 well over In 1957 he joined his father’s business, Littlewoods, becoming two hundred young singers have received practical support at the outset of their careers, enabling a Vice-Chairman in 1976, Chairman from 1977 to 1980 and remaining a significant number to become international opera stars. director until 1993. His public appointments include from 1981 to 1983 Governor of the BBC, In 1993 the Foundation bought Compton Verney, a Grade 1 Georgian mansion in Trustee of the Tate Gallery from 1978 to 1985 and from 1988 to 1992 a Director of Scottish Warwickshire, designed by Robert Adam, with grounds by Capability Brown. Compton Verney Opera. He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from House Trust was set up by Sir Peter to transform the derelict mansion into a world-class art gallery Christ Church, Oxford in 1975, and was made an Honorary Member of the Royal Northern that would provide an especially welcoming environment for the ‘first-time’ gallery visitor. The College of Music in 1985. In 1992 he was appointed Deputy Lieutenant (DL) of Lancashire by gallery, which houses six permanent collections, a Learning Centre for all ages, and facilities for HM Queen Elizabeth II. He was appointed a Commander of the British Empire (CBE) in 1991 major visiting exhibitions, was opened in March 2004 by HRH the Prince of Wales. and received a Knighthood in the New Year’s Honours List for 2003 in recognition of his Opera has given the Foundation its most public ‘face’. Since Peter Moores initiated the live charitable services to the arts. recording of the ‘Goodall Ring’ at the London Coliseum in the 1970s, the Foundation has enabled more than eighty recordings to be produced: Chandos Records’ Opera in English series – ‘Opera PETER MOORES FOUNDATION that speaks your language’ – is now the largest recorded collection of operas sung in English whilst Peter Moores’ philanthropic work began with his passion for opera: in his twenties he identified Opera Rara’s recordings of rare bel canto operas have opened up an immensely rich repertory and helped a number of young artists in the crucial, early stages of their careers, several of whom – previously only accessible to scholars. In live performance, the Foundation has encouraged the Dame Joan Sutherland, Sir Colin Davis and the late Sir amongst them – became creation of new work and schemes to attract new audiences, financing the publication of scores, world-famous. He set up his eponymous Foundation in 1964 when he was thirty-two, in order to especially for world premieres of modern operas, and enabled rarely heard works to be staged by develop his charitable aims, not only in music and the visual arts, but also in education, health, British opera companies and festivals.

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gehoben, doch er “schmachtet” eher (so der Italien noch zwei, vielleicht drei Jahrzehnte Belcanto-Arien italienische Originaltext) als daß er verzweifelt Zeit haben, bevor die Kräfte des “Fortschritts” wäre, und tatsächlich ist er fest entschlossen, solche Formeln unwiederbringlich altmodisch Es handelt sich hier um ein Konzert in Laufe seiner Karriere den für das schwere die Hoffnung nicht aufzugeben, wobei er in wirken lassen würden. Jeder würde behaupten, Rondoform, wobei Rossini sozusagen das bzw. heroische Repertoire des späteren den Gedanken an ihre Treue während seiner daß ab der Mitte des 19. Jahrhunderts eine immer wiederkehrende Thema darstellt. Dieser 19. Jahrhunderts, und insbesondere für Verdi, erzwungenen Abwesenheit Trost findet. Einer weiter entwickeltere, raffiniertere Kunstform Umstand liegt in der Tatsache begründet, daß erforderlichen gewichtigeren Klang entwickelt sanft fließenden Melodie folgt eine schnellere, im Entstehen begriffen war. Was aber nicht Rossini ausgiebig und mit großer Wirkung für hat. In der hier vorliegenden Zusammen- aufgeregtere Passage, und über ausgiebige gesehen wurde – und was wir in der heutigen leichte, hohe und flexible lyrische stellung hören wir die lyrische Stimme in ihrer Gelegenheiten, sowohl stimmliche Qualität als Generation auch erst langsam erkannt haben Tenorstimmen schrieb; was wiederum daran reinsten Form, ohne jegliches baritonale auch stilistische Eleganz zu demonstrieren, –, ist, daß die Oper gerade in jenen erinnert, daß dieses Programm selbst als das Element und mit heller Farbe, präziser führt die Musik den Sänger zu einem mißachteten Jahren eine Form entwickelte, die Rondo einer (bislang) unvollendeten Definition und leichter Beweglichkeit in eben Aufblühen seiner robusteren Kräfte sowie ihr am ehesten eigen war; und daß die “Sinfonie” betrachtet werden kann. Als jenen hohen Stimmlagen, die Rossini so zur Zurschaustellung einer bravourösen Fähigkeit der Einschätzung der Varianten “Sänger-Sinfonie” angelegt, ist das Ziel der besonders gern benutzte. Technik. innerhalb der allgemein gültigen Formen (wie Reihe “Große Opernarien”, in jeder Ausgabe Die Kavatine des Lindoro aus The Italian Falls die Leserin oder der Leser hier einen sie dem damaligen Publikum anscheinend nicht nur die Kunst einer bestimmten Girl in Algiers (Band 1 ) ist ein typisches Hauch – und hoffentlich nicht mehr als einen möglich war) selbst ein hohes Maß an Sängerin oder eines bestimmten Sängers zu Beispiel. Der grundlegende stimmliche Hauch – amüsierter Nachsicht spüren sollte, Diffenzierungsfähigkeit voraussetzt. Der dokumentieren, sondern auch einen Charme und das Können des Sängers werden kann man nur darauf hinweisen, daß sich die “Fortschritt” führte zu immer mehr repräsentativen Stimmtypus mit dem in diesem Solo, das nicht nur in der Oper Gepflogenheiten von mindestens anderthalb Naturalismus und Realismus auf der dazugehörigen Repertoire vorzustellen. Bisher selbst sondern auch bei dieser Einspielung den Jahrhunderten nicht so leicht abschütteln Opernbühne. Rossinis Publikum verstand die gibt es in der Reihe zwei Tenöre, Dennis Tenor seinem Publikum vorstellt, dargeboten. lassen. Die Komposition – sowohl was Rossini Konventionen seiner Zeit und freute sich an O’Neill und Bruce Ford, die im übrigen auch Er spielt einen jugendlichen Liebhaber, dessen als auch was seinen Librettisten Angelo Anelli dem Können, mit dem sich Komponisten und beide zusammen mit Barry Banks in dieser momentan unbefriedigter Zustand, wie wir anbelangt – ist wie eine Formel. Wir wissen Interpreten ihrer gleichermaßen bedienten. neusten Einspielung zu hören sind. Auch sie hoffen, bis zum Ende der Oper behoben sein schon im voraus zwar nicht die Einzelheiten, Man könnte also behaupten, daß es sich hier werden allgemein als lyrische Tenöre wird – es handelt sich hier schließlich um eine aber doch was für eine Art von Stoff sie keineswegs um ein primitives Stadium in der eingestuft, allerdings von unterschiedlicher Komödie. Er wird als italienischer Gefangener anbieten werden; auch wissen wir, wenngleich Entwicklung der Oper gehandelt hat, sondern Art: Ford verfügt über genau jene Qualitäten, im Palast des Bey von Algier festgehalten und nicht im Detail, so doch im allgemeinen, was daß sich im Gegenteil die Oper als die es ihm ermöglichen, die heldischen vermißt seine Geliebte. Diese Gefühle werden dem Sänger abverlangt werden wird. Rossini Kunstgattung in besonderes gesundem Rossini-Partien anzugehen, wobei O’Neill im natürlich auf eine etwas höhere Ebene komponierte im Jahre 1813. Er sollte in Zustand befand.

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Ein ähnlicher Gedankengang liegt Strawinskys Inzwischen haben wir den lyrischen Tenor Das “Cujus animam” (Band 2 ) ist sowohl für kommt, was für ihn aber zweitrangig ist Komposition seiner neoklassizistischen Moralität jedoch etwas aus den Augen verloren. Seine sein hohes Des berühmt, als auch für seine gegenüber dem direkteren Anliegen seiner The Rake’s Progress (Band 6 ) zugrunde. Die Entwicklung von Rossini zu Strawinsky ist kühne Annahme, daß eine gute Melodie in der Liebe zu Hermione, die aber Pyrrhus liebt, der heraufbeschworene Opernwelt entstammt eher vielleicht etwas überraschender Natur, und Karwoche nicht unbedingt fehl am Platze ist. aber wiederum eine andere liebt. dem 18. als dem 19. Jahrhundert, doch ihr Geist tatsächlich wird die Partie des Rakewell in der Was die beiden Opernarien anbelangt, so Stimmlich gesehen ist Orys Solo ganz ist von dem Rossinis nicht weit entfernt, und die Regel von einer Stimme gesungen, die ein paar findet man wohl kaum zwei unterschiedlichere Anmut und Orests ganz Leidenschaft. In verwendeten Formen sind im Grunde die seinen. mehr Dezibel zu bieten hat, als Rossinis innerhalb der stilistischen Parameter Rossinis. beiden Fällen wird das Können eines virtuosen Tom Rakewell etwa hat eine Kavatine zu singen, Lindoro. Zu der verbindenden Linie zwischen Der Auftritt des Grafen Ory (Band 3 ) ist ein Tenors verlangt, wobei für den Orest genauso wie Lindoro in The Italian Girl. Das den beiden gehört aber auch der bescheidene Meisterstück an schelmischer Feierlichkeit; die zusätzliche deklamatorische Kraft, die über die hier erklingende Solo ist in der traditionellen Tenorheld aus Mascagnis Our Friend Fritz Ankunft des Orest und seines Freundes Pylades normalen Attribute eines typischen tenore di Rezitativ-und-Arie-Form angelegt, und wieder (Band 12 ). Der neapolitanische Tenor im Palast des verabscheuten Königs Pyrrhus grazia hinausgeht, erforderlich ist. Die Partie einmal liegt für den informierten Hörer ein Fernando De Lucia, der seinen Ruhm und (Band 9 ) dagegen stellt eine Szene voll des Amenophis, Sohn des Pharaos in Moses in besonderes Vergnügen in dem Wissen um seine Beliebtheit bei Sammlern alter tragischer Intensität dar. Eins haben die beiden Egypt ist ähnlich anstrengend. In der Strawinskys kunstvolle Behandlung dieser Aufnahmen größtenteils seiner Interpretation Opern allerdings gemein, und zwar eine italienischen Originalversion aus dem Jahr Gattung. Das Rezitativ wird vom vollen des Grafen Almaviva aus dem Barber of Seville Handlung, die eine kurze Zusammenfassung 1818 wurde sie von Andrea Nozzari Orchester mit einem doppelpunktierten Motiv verdankt, “kreierte” diese Partie im Jahre unmöglich macht. Was Count Ory angeht, übernommen, einem beeindruckenden Tenor im Stil einer französischen Ouvertüre begleitet. 1891. Es muß allerdings hinzugefügt werden, reicht es zu sagen, daß sich in dieser und dem “Schöpfer” von Rossinis Otello. In Die Arie ist in ihrem flexiblen Satz der daß er auch über die ausreichenden Eröffnungsszene der weltgewandte Graf als der revidierten Version für Paris 1827 sang regelmäßigen Balladen-Strophen des Librettisten stimmlichen Kräfte für Rollen wie Lohengrin weltabgewandter Eremit verkleidet hat, und Adolphe Nourrit, der bald den ersten Arnold unendlich subtil. Es gibt keine Cabaletta, da oder Canio in Pagliacci verfügte. Was Our weiter den Rossini-Experten mit in Guillaume Tell geben sollte und der für sein diese eher im 19. als im 18. Jahrhundert üblich Friend Fritz betraf, war er die erste Wahl des folgender Fragestellung zu zitieren: “In welcher heldenhaftes hohes C bekannt war, die Partie. war. Trotzdem zieht Strawinsky in diese Komponisten für die Titelrolle, und wie sein anderen Oper gehen die Verwirrungen der In diesem Duett (Band 4 ) geht es nicht nur Richtung seinen Hut – ob mit einem Biograph Michael Henstock anmerkt, sang er Identität und der daraus resultierende erotische darum, daß der Tenor mit Geschicklichkeit Augenzwinkern oder durch Zufall –, indem er weitere Aufführungen des Barbiere, sobald die Strudel so weit, daß ein als Frau verkleideter und voller dramatischer Kraft einen breiten die Musik durchgehen läßt, um, praktisch als erste Vorstellungsreihe der neuen Oper Tenor meint, er würde eine Altistin in der Stimmumfang zu bewältigen hat, sondern auch Reaktion auf Audens letzte Zeilen: “Come, abgespielt war. Rolle eines Mannes, die den Platz der daß seine Stimme es mit dem schweren Baß- wishes, be horses,/This beggar shall ride”, Auch Barry Banks kehrt zu Rossini zurück, Sopranistin einnimmt, umwerben?” Zu Bariton des Pharaos aufnehmen muß. In dem fortzugaloppieren. (Das Wort “cabaletta” kommt und zwar mit Arien aus dem Stabat Mater Ermione soll nur soviel gesagt sein, daß Orest Terzett aus Armida (Band 11 ) scheint dieses schließlich aus dem Spanischen für Pferd.) sowie den Opern Count Ory und Ermione. auf diplomatischer Mission nach Epirus Element der Konkurrenz noch intensiver zu

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sein, da es sich bei allen drei Stimmen um in der Gesangskunst nicht weniger wichtig sind. für die beiden Arien aus Don Pasquale: Bei “I Daraus folgt dann eine Art Polarisierung, am Tenöre handelt. Zum Glück singen sie nicht Die Arie hat auch die etwas beunruhigende shall go, no more returning” (“Cercherò lontana deren äußerem Ende jene Lieder-Spezialisten alle durchgehend tutta forza (zumindest sollten Eigenschaft, ins tiefe Register hinabzuwandeln, terra”) (Band 7 ) des armen Ernesto mit seinem und modernen Strömungen der Oper stehen, sie das nicht), und das Orchester (mit schöner wo der lyrische Tenor durchaus benachteiligt melancholischen Kornett-Solo handelt es sich denen der Text über alles geht. Ein Cellostimme) spielt eher eine unterstützende sein kann. Der Hörer wird diese Arie vielleicht um das immerwährende Klagelied des gewissenhafter Sänger versucht diese als eine lautstarke Rolle. als einen willkommenen Ruhepunkt in einem Emigranten, und die Serenade “The night is Differenzen miteinander zu versöhnen und Nichtsdestotrotz müssen Tenöre bei Rossini sonst sehr energiegeladenen Programm calm” (“Comè gentil”) (Band 13 ) ist einer gibt sich Mühe, den Text einer Belcanto-Arie Schwerstarbeit leisten. Mozart und Donizetti empfinden; für den Sänger ist “Ruhe” wohl populären neapolitanischen Canzonetta so möglichst gut zu artikulieren und ebenso dem sind beide auf ihre eigene Art und Weise nicht ganz das richtige Wort. ähnlich wie es nur eben geht. Und wenn man der modernen Oper so viel gnädiger. In Mozarts Don Giovanni etwa erhält Natürlich gibt es kein einziges Stück die Stimme dazu hat und die Kunst beherrscht, Sanglichkeit wie möglich abzugewinnen. Was der Tenor zwei Arien, die erste geschriebener Musik, das sich “von selbst” singt; richtig mit ihr umzugehen, dann singt sich diese das Konzept angeht, bleibt aber ein (Band 5 ) ein meditatives Solo von großer nichts in der sogenannten klassischen Musik schon fast “von selbst”. fundamentaler Unterschied. Ein junger Zärtlichkeit, das keine außergewöhnlichen europäischen Musiktradition erlaubt es einem Was ist also dieser Belcanto, von dem die italienischer Tenor, der kürzlich zum ersten stimmlichen, technischen oder expressiven Sänger, seine Aufmerksamkeit sozusagen Leute reden, und zwar so beharrlich, daß der Mal in London sang, nahm gerade diese Arie, Anforderungen stellt, und dennoch abzuschalten und, wie man so sagt, “einfach zu Begriff einer der wenigen aus der Nemorinos Romanza aus The Elixir of Love, Möglichkeiten des qualitativ hochwertigen singen”. Nach Rossini, Mozart und Strawinsky musikalischen Terminologie ist, die im und behandelte sie auf naturalistischer Art und Singens bietet, und zwar derart, daß ein kommt man jedoch mit Donizetti diesem allgemeinen Vokabular einen Platz gefunden Weise mit “realistischer” Sprachbetonung. anspruchsvolles Publikum immer große Freude Zustand am nächsten. “Only one terardrop haben? Auch wenn die Frage jetzt gestellt ist, Punkte mag er ja für diesen Ansatz gewonnen daran haben wird. Obwohl die andere Arie, das glistened there” (“Una furtiva lagrima”) bezweifele ich doch, ob hier der richtige Ort haben, die Arie ging ihm jedoch dabei berühmte “Il mio tesoro” als das Virtuosen- (Band 8 ) aus The Elixir of Love gilt oft als der ist, eine Antwort zu wagen. Wenn etwa “Una verloren. Der wahre Belcanto-Künstler Stück gilt, ist “Dalla sua pace” (“Her joy is my Belcanto-Prüfstein schlechthin für den lyrischen furtiva lagrima” ein echtes Beispiel der verzichtet nicht auf Gefühl und Ausdruck oder joy”) keineswegs die leichtere Wahl und im Tenor und verlangt in der Tat eine Belcanto-Arie darstellt, dann müßten viele ordnet sie unter, sondern er weiß seine Stimme vorliegenden Zusammenhang vielleicht sogar wunderschöne und gut ausgebildete Stimme. Stilmerkmale des Belcanto-Gesangs aus der so zu behandeln, daß Emotion mit möglichst der bedeutsamere Beitrag. Ein Tenor, der sein Ansonsten liegt der Unterschied zwischen einer Beschaffenheit der dafür geschriebenen Musik geringer Störung der instrumentalen Können in einer Rossini-Arie nach der anderen außergewöhnlichen und einer weniger zu schließen sein. Das würde uns lehren, daß Gesangslinie kommuniziert wird. Diese bewiesen hat, muß schließlich keine weitere überzeugenden Interpretation im Falle dieser die Stimme hier eher ein singendes Instrument “hirnlosen” Arien Donizettis (wie sie oft Virtuosität zur Schau stellen. Der gehaltene Arie vor allem in Fragen des Stils und des ist, als ein Vehikel, um sprachliche bezeichnet werden) können in der Aufführung cantabile-Stil dieser gleichmäßig fließenden Geschmacks. Es ist “leichte” Musik – leicht Sinnzusammenhänge mit Hilfe von zu etwas weit Subtilerem werden, als es die Melodie stellt andere Anforderungen, die aber anzuhören und leicht eingänglich. Ähnliches gilt musikalischen Intervallen zu vermitteln. gedruckte Seite vermuten läßt.

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Währenddessen (Band 10 ) ist unser junger an der Oper Basel; Candide an der Chicago Für die Chandos-Reihe “Opera in English” mit Così fan tutte und hat dort 1998 die Held Giannetto, von den Dorfbewohnern Lyric Opera; Arnalta (L’incoronazione di hat Barry Banks The Elixir of Love, Don Uraufführung von Jonathan Doves Flight willkommen geheißen und mit allen hohen Poppea) an der San Francisco Opera; Edgardo Pasquale, Don Giovanni und The Thieving geleitet. Tönen intakt, aus den Kriegen zurückgekehrt. (Lucia di Lammermoor) an der Welsh National Magpie eingespielt; zu weiteren Aufnahmen Er ist häufig in Spanien zu Gast und hat mit Wir sind zu Rossini zurückgekehrt, und damit Opera; Aufidio (Lucio Silla) bei den Salzburger gehören La Bohème unter Kent Nagano und den meisten bedeutenden spanischen hat sich der Kreis dieses Rondo- Festspielen und an der Oper Frankfurt; Don Trial by Jury unter Sir Charles Mackerras. Auf Orchestern Konzerte gegeben. In Madrid hat er Konzertprogramms geschlossen. Narciso (Il turco in Italia) in Brüssel, Paris und Video ist Barry Banks u.a. in Billy Budd in der die spanische Uraufführung von Peter Grimes Genf; L’Astrologue (Le Coq d’or) am Pariser Inszenierung der English National Opera dirigiert, und 1996 die erste spanische © 2004 John Steane Théâtre du Châtelet; außerdem wirkte er bei sowie in der im Buckingham Palast gedrehten Inszenierung von The Rake’s Progress. Er ist in Übersetzung: Bettina Reinke-Welsh Aufführungen von Die Entführung aus dem Entführung aus dem Serail zu sehen. Deutschland, der Schweiz und den Serail, L’italiana in Algeri und Le Rossignol an Niederlanden aufgetreten, bei den Der Tenor Barry Banks, Absolvent des Royal der New Yorker Metropolitan Opera mit. David Parry hat bei Sergiu Celibidache Festspielen in Pesaro, beim Hong Kong Northern College of Music wo er Peter Ebenso ist Barry Banks auf dem studiert und seine berufliche Laufbahn als International Festival, in Japan anläßlich einer Moores Stipendiat war, hat sich sowohl auf der Konzertpodium zu Hause: Mit dem Royal Assistent von Sir John Pritchard begonnen. Er Carmen-Tournee und in Mexiko mit dem Opernbühne als auch im Konzertsaal als einer Philharmonic Orchestra unter der Leitung von hat am English Music Theatre debütiert und UNAM Symphony Orchestra. Zu den der herausragendsten Tenöre seiner Generation Daniele Gatti sang er Rossinis Petite Messe wurde dann Dirigent mit Festvertrag an den Neuproduktionen, die er in letzter Zeit etabliert. Er ist international in der Opernwelt solennelle; weiterhin Fidelio mit dem City of Städtischen Bühnen Dortmund und an der dirigiert hat, zählen Fidelio beim New Zealand äußerst gefragt, und zu seinen Partien gehören: Birmingham Symphony Orchestra unter der Opera North. Von 1983 bis 1987 war er Festival, Lucia di Lammermoor an der New Tom Rakewell (The Rake’s Progress) an der Leitung von Walter Weller; Benjamin Brittens Musikdirektor der Opera 80 und seit 1992 Israeli Opera und Don Giovanni an der English National Opera; Belfiore und War Requiem mit dem Orchestre Gründungsmitglied und Direktor der Almeida Staatsoper Hannover. Libenskof (Il viaggio a Reims) am Teatro Philharmonique de Strasbourg unter Jan Opera. Seine Tätigkeit im Aufnahmestudio umfaßt Communale di Bologna; Nemorino (L’elisir Latham-Koenig sowie in São Paulo, das Er übt in Großbritannien und international die Produktion von Marschners Der Vampyr d’amore) an der Oper Frankfurt und an der Requiem von Anton Bruckner mit dem eine weitgespannte Tätigkeit in den Bereichen fürs BBC-Fernsehen und achtundzwanzig English National Opera; Oreste (Ermione) und Scottish Chamber Orchestra unter Sir Charles Oper und Konzert aus, hat mehrere vollständige Opernaufzeichnungen unter der Menelaus (La Belle Hélène) an der Santa Fe Mackerras; Rossinis Armida beim Edinburgh Produktionen der English National Opera und Schirmherrschaft der Peter Moores Opera; Tamino (Die Zauberflöte) bei den Festival unter Carlo Rizzi; außerdem eine von der Opera North dirigiert und tritt regelmäßig Foundation. Darunter befinden sich zahlreiche Salzburger Festspielen, an der Brüsseler Oper der Kritik sehr gut aufgenommene konzertante mit dem Philharmonia Orchestra und dem Aufnahmen der Reihe Opera Rara, die “La Monnaie”, an der Oper Leipzig sowie der Darbietung von Ermione in der Carnegie London Philharmonic Orchestra auf. 1996 mehrere Preise gewonnen haben, beispielsweise Scottish Opera; Don Ramiro (La Cenerentola) Hall. gab er sein Debüt beim Glyndebourne Festival den belgischen Prix Cecilia für Donizettis

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Rosmonda d’Inghilterra. Für Chandos hat er die Don Giovanni, Don Pasquale, The Elixir of Aufzeichnung einer Serie von Programmen Love, Lucia of Lammermoor, Ernani, mit Opernarien geleitet (mit Bruce Ford, Il trovatore, Aida, Faust, Cavalleria rusticana, Diana Montague, Dennis O’Neill, Alastair Pagliacci, La bohème, Turandot, die Dominic Zoë Miles, Yvonne Kenny, John Tomlinson, Della preisgekrönte Tosca und Highlights aus dem Jones und Andrew Shore), außerdem Rosenkavalier, jeweils in Zusammenarbeit mit Idomeneo, Carmen, The Thieving Magpie, der Peter Moores Foundation.

Barry Banks in the title role of Glyndebourne Touring Opera’s production Mike Hoban Mike of Rossini’s Count Ory

Barry Banks as Fenton in English National Opera’s production of Verdi’s

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son style le conduit à déployer des talents plus réalisme toujours croissants sur la scène Arias bel canto robustes et une technique brillante. opératique. L’auditoire à l’époque de Rossini Si ce commentaire laisse deviner une reconnaissait les conventions et se délectait du Ceci est un récital en forme de rondo dans particulièrement. Ce récital nous fait découvrir complaisance amusée (et rien de plus, je génie avec lequel les compositeurs, tout comme lequel le thème récurrent est Rossini. La raison la voix lyrique dans sa forme la plus pure, sans l’espère), on ne peut que plaider qu’il est les interprètes, les intégraient. Cette époque évidente en est que Rossini a écrit de très aucun élément rappelant le baryton, une voix difficile de se débarrasser des habitudes qui ont donc, loin de représenter le stade primitif du nombreuses œuvres, particulièrement réussies, au coloris délicat, à la définition précise et très eu cours pendant un siècle et demi au moins. développement de l’opéra, fut probablement pour la voix légère, haute et flexible du ténor fluide dans ces registres élevés que Rossini La composition – œuvre de Rossini et d’Angelo celle où la condition de l’opéra en tant que lyrique. Et ceci, à son tour, nous rappelle que le aimait tout particulièrement exploiter. Anelli, le librettiste – répond à une formule. forme d’art fut la plus saine. récital peut aussi être considéré comme le La cavatina de Lindoro dans The Italian Nous savons à l’avance, sans peut-être en Cette réflexion est implicitement présente mouvement rondo d’une symphonie (à l’heure Girl in Algiers (plage 1 ) est caractéristique. connaître le détail, quel est le genre de chose dans la conception par Stravinski de l’opéra qu’il est) inachevée. Symphonie de chanteurs, la Grâce et talents se déploient dans ce solo qui, qu’ils vont proposer. Nous savons aussi, dans The Rake’s Progress (plage 6 ), une moralité série des “Grands Arias” a non seulement pour dans l’opéra et dans ce récital, présente le l’ensemble si pas par le menu, ce qui est néo-classique. L’univers qui y est évoqué but de faire découvrir, dans chaque ténor à son auditoire. Il interprète le rôle d’un attendu du chanteur. Rossini écrivait en 1813. appartient au dix-huitième siècle plutôt qu’au enregistrement, le talent d’un chanteur, mais jeune homme amoureux et insatisfait, une Il avait en Italie, deux, peut-être trois décennies dix-neuvième, mais son esprit n’est guère d’illustrer aussi un type de voix particulier et le insatisfaction que nous espérons voir dissipée à devant lui avant que les forces du “progrès” éloigné de celui de Rossini et les formes répertoire qui lui est destiné. Deux ténors ont la fin de l’opéra (qui est une comédie). rendent ces formules irrémédiablement adoptées sont fondamentalement les siennes. été présentés jusqu’à présent, Denis O’Neill et Lindoro est italien et est captif au palais du désuètes. Une forme d’art plus développée, plus Tom Rakewell chante par exemple une Bruce Ford, et les deux, incidemment, peuvent bey d’Alger. La jeune fille qu’il aime lui sophistiquée s’est mise en place à partir de cavatine, tout comme Lindoro dans The être entendus avec Barry Banks dans cette manque. Bien sûr, les sentiments sont portés à 1850, tel serait l’avis unanime. Ce qu’on ne vit Italian Girl in Algiers. Le solo, ici, revêt la nouvelle parution. L’un et l’autre pourraient, un niveau plus élevé que celui-là, mais il pas – et nous-mêmes, à notre génération, avons forme traditionnelle du “récitatif et aria”, et globalement, être classés parmi les ténors “languit” (dans le texte original italien) plus été lents à le comprendre –, c’est qu’au cours une fois encore, l’auditeur averti appréciera lyriques, mais ils sont de types différents. En qu’il ne désespère et est décidé à rester plein de ces années dépréciées l’opéra a acquis ses beaucoup le talent avec lequel Stravinski le effet, Ford possède les qualités particulières qui d’espoir; il se donne du courage en songeant à véritables contours et, aussi, que le fait traite. Le récitatif est accompagné par tout permettent d’interpréter les rôles héroïques dans la fidélité de sa bien aimée au cours de son d’apprécier les variantes au sein même des l’orchestre avec un motif de notes pointées Rossini et O’Neill, lui, a développé tardivement absence obligée. Une mélodie d’une délicate formes établies (comme semble l’avoir fait le dans le style de l’ouverture à la française. L’aria ce plus imposant qu’appelle le répertoire fluidité est suivie d’un passage plus rapide et public en ces années) implique en soi un degré est d’une infinie subtilité par la mise en robuste ou héroïque des compositeurs italiens animé; pour le chanteur, l’opportunité de relativement élevé de sophistication. Le musique très souple des vers réguliers de la de la fin du dix-neuvième siècle, Verdi montrer la qualité de sa voix et l’élégance de “progrès” mena vers un naturalisme et un ballade de son librettiste. Remarquons qu’il n’y

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a pas de cabaletta: celle-ci était en usage au remarquer son biographe Michael Henstock, il jusqu’à présenter un ténor déguisé en femme d’Armida (plage 11 ), l’élément de compétition dix-neuvième siècle plutôt qu’au dix-huitième. retourna chanter dans d’autres représentations qui croit faire l’amour avec une contralto dans paraît plus présent sans doute du fait qu’il Stravinski y fait une allusion, malicieusement du Barbier de Séville dès que le nouvel opéra le rôle d’un homme occupant la place de la s’agit de trois voix de ténor. Heureusement, ils ou fortuitement, en lâchant la bride à la fut mis sur les rails. soprano?” A propos d’Ermione, notons ne chantent pas (ou ne devraient pas chanter) musique qui part au galop (le mot “cabaletta” Barry Banks retourne aussi à Rossini, avec qu’Oreste est arrivé à Epire en mission tutta forza tout le temps, et l’orchestre (la vient du terme espagnol désignant le “cheval”) des arias de son Stabat Mater et les opéras diplomatique et que celle-ci lui paraît partie violoncelle y est très belle) plutôt que de comme le suggèrent les dernières lignes de Count Ory et Ermione. Le “Cujus animam” accessoire au regard de l’ intérêt plus immédiat vociférer se contente d’un rôle de support. Auden: “Come, wishes, be horses, This beggar (“Through her soul” plage 2 ) est réputé pour de son amour pour Hermione qui, elle, aime Rossini est cependant exigeant pour ses shall ride”. son ré bémol très élevé et pour l’hypothèse Pyrrhus qui en aime une autre. ténors. A leur manière, Mozart et Donizetti Entre temps, nous avons quelque peu perdu audacieuse selon laquelle une mélodie de Vocalement, le solo d’Ory est tout en grâce manifestent plus de considération à leur égard. de vue le ténor lyrique. Son évolution de qualité n’est pas nécessairement hors de propos et celui d’Oreste, tout en passion. Tous deux Dans Don Giovanni, Mozart confie deux arias Rossini à Stravinski est assez étonnante, et le pendant la Semaine sainte. Quant aux arias font appel au génie du ténor virtuose, mais à son ténor. Le premier (plage 5 ) est un solo rôle de Rakewell est généralement chanté en opératiques, il n’est guère possible d’en trouver celui d’Oreste exige des talents déclamatoires méditatif d’une grande tendresse dont les effet par une voix d’une puissance supérieure à deux qui soient aussi différents dans l’éventail supérieurs à ceux du tenore di grazia type. Le exigences sur le plan de la voix, de la celle de Lindoro chez Rossini. Cette des styles de Rossini. L’entrée du Comte Ory rôle d’Aménophis, le fils du Pharaon dans technique et de l’expression dramatique ne progression inclut cependant le modeste héros- (plage 3 ) est un chef-d’œuvre de solennité Moses in Egypt, est ardu aussi. Dans la sont pas extravagantes, mais qui permet une ténor de Our Friend Fritz (plage 12 ) de parodique et l’arrivée d’Oreste et de son ami version italienne originale de 1818, il était qualité d’interprétation qui ravit en tout temps Mascagni. Le “créateur” de ce rôle en 1891 fut Pylade au palais de l’abhorré roi Pyrrhus chanté par Andrea Nozzari, un ténor les auditoires avertis. En fait, bien que l’autre le ténor napolitain Fernando De Lucia dont la (plage 9 ) est une scène d’une tragique extraordinaire, “créateur” de l’Otello de aria, le célèbre “Il mio tesoro” (“Allez, célébrité tout comme la faveur dont il jouissait intensité. Les opéras ont un point commun: Rossini. Dans la version révisée destinée à une cependant, consoler ma bien aimée) soit auprès des collectionneurs d’anciens leur intrigue ne peut se résumer en quelques exécution à Paris en 1827, le rôle était assuré toujours considéré comme le morceau de enregistrements proviennent principalement de mots. A propos du Count Ory, il suffit de par Adolphe Nourrit qui fut bientôt le premier virtuosité par excellence, “Dalla sua pace” son interprétation du rôle du Comte Almaviva préciser que dans cette scène introductive, le Arnold dans Guillaume Tell et était réputé (“Her joy is my joy”) n’est pas une option dans Le barbier de Séville. Il convient d’ajouter Comte, attaché aux biens de ce monde, est pour son do élevé héroïque. Dans ce duo facile, et dans ce contexte particulier, il qu’il pouvait aussi développer la puissance déguisé en ermite, créature d’un autre monde, (plage 4 ), le ténor doit non seulement couvrir représente la contribution la plus vocale nécessaire à l’interprétation de rôles tels et de citer peut-être Philip Gosset, spécialiste avec dextérité et une intense force d’expression caractéristique. Un ténor qui a été mis à Lohengrin et Canio dans Pagliacci. Dans Our de Rossini, qui pose cette question: “Dans dramatique un large registre vocal, mais il doit l’épreuve par une série d’arias de Rossini n’a Friend Fritz, il interprétait, choisi par le quel autre opéra la confusion des identités et le aussi se mesurer à la voix de baryton-basse du pas besoin de montrer plus de virtuosité compositeur, le rôle-titre et, comme le fait tourbillon érotique qui en résulte vont-ils Pharaon qui a beaucoup de corps. Dans le trio encore. Le style cantabile qui imprègne tout du

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long cette mélodie tranquille exige d’autres par le cornet est l’éternelle lamentation et la bel canto et de donner au chant conçu comme Diplômé du Royal Northern College of talents, non moins essentiels à l’art du chant. Sérénade “The night is calm” (“Com’è gentil”), discours, dans le nouvel opéra, la meilleure Music où il étudia grâce à une bourse de la L’aria a aussi une tendance déconcertante à (plage 13 ), est aussi proche que possible d’une qualité mélodique qui soit. Mais une Peter Moores Fondation, Barry Banks s’est plonger dans le registre grave dans lequel le canzonetta napolitaine populaire. Ceci (compte divergence fondamentale de conception placé au rang des meilleurs ténors de sa ténor lyrique peut se trouver désavantagé. Pour tenu de la voix et de l’art de la manier), persiste. Un jeune ténor italien se produisant à génération par ses remarquables productions à l’auditeur, cet aria sera un havre de repos dans vraiment, “se chante” presque. Londres récemment, pour la première fois, l’opéra et en concert. Très demandé sur la un programme dynamique; pour le chanteur, Mais qu’est donc ce bel canto dont on parle chanta la romanza de Nemorino dans The scène internationale de l’opéra, il a interprété “repos” n’est peut-être pas le terme adéquat. et reparle à tel point que l’expression est l’une Elixir of Love et traita cet aria de manière les rôles suivants: Tom Rakewell pour Aucune pièce vocale ne “se chante”: rien des rares du vocabulaire musical à être entrée naturaliste, en donnant au discours des accents l’English National Opera; Belfiore et dans la tradition européenne dite classique ne dans l’usage courant. La question est posée, “réalistes”. Il marqua des points, mais l’aria lui Libenskof (Il viaggo a Reims) au Teatro permet à un interprète de ne pas être tout à mais je ne suis pas certain que ce soit le échappa. Le véritable artiste bel canto ne Communale di Bologna; Nemorino (L’elisir fait vigilant et, comme on pourrait le moment, ici, de tenter une réponse. Si (par renonce pas, ou ne subordonne pas les d’amore) à l’Oper Frankfurt et à l’ENO; prétendre, de “se contenter de chanter”. Mais exemple) “Una furtiva lagrima” est sentiments et l’expression à une autre cause, Oreste (Ermione) et Ménélas (La Belle Hélène) après Rossini, Mozart et Stravinski, nous véritablement représentatif de l’aria dans le mais il essaye que les inflexions de la voix pour le Santa Fe Opera; Tamino (Die approchons de cette éventualité avec style bel canto, ce style pourrait en grande communiquent l’émotion en évitant autant Zauberflöte) au Salzburg Festival, à La Donizetti. “Only one teardrop glistened there” partie être défini à partir de la nature de la que possible que soit perturbée la ligne Monnaie, au et au Scottish (“Una furtiva lagrima”) (plage 5 ), dans The musique écrite pour ce type de chant. Cela mélodique instrumentale. Ces arias “vides de Opera; Don Ramiro (La Cenerentola) au Basel Elixir of Love est souvent considéré comme la nous apprendrait que la voix est utilisée sens” (ainsi les a-t-on souvent qualifiés) de Opera; Candide pour le Chicago Lyric Opera; pièce-test pour le ténor lyrique dans le comme un instrument de musique plutôt que Donizetti peuvent devenir, lorsqu’ils sont Arnalta (L’incoronazione di Poppea) au San répertoire du bel canto, et elle exige, il est vrai, comme un réceptacle destiné à transmettre le interprétés, beaucoup plus subtils que ne le Francisco Opera; Edgardo (Lucia di une voix magnifique et bien entraînée. Mais la sens du discours à des intervalles musicalement laisse apparaître la partition. Lammermoor) pour le Welsh National Opera; différence entre une interprétation de qualité définis. Suit alors une sorte de polarisation, et Entre temps (plage 10 ), notre jeune héros Aufidio (Lucio Silla) au Salzburg Festival et à et une autre qui l’est moins relèvera souvent de la position extrême est celle qu’adoptent ces Giannetto, accueilli par les villageois, est l’Oper Frankfurt; Don Narciso (Il turco in considérations de style et de goût. C’est de la spécialistes du Lieder et les écoles modernes revenu du combat, et ses notes hautes sont Italia) à Bruxelles, Paris et Genève; musique facile – facile à écouter, facile à d’opéra pour lesquels, et dans lesquelles, les toutes intactes. Nous retrouvons Rossini, et le L’Astrologue (Le Coq d’or) au Châtelet. Il a assimiler. Il en est de même des solos de mots sont de prime importance. Tout chanteur rondo du récital voit sa boucle bouclée. aussi interprété différents rôles dans Don Pasquale: celui d’Ernesto “I shall go, no consciencieux tentera de concilier les Die Entführung aus dem Serail, The Italian more returning” (“Cercherò lontana terra”), différences de point de vue: il se souciera © 2004 John Steane Girl in Algiers et Le Rossignol au Metropolitan (plage 7 ), avec son solo mélancolique joué d’articuler clairement les mots dans l’aria Traduction: Marie-Françoise de Meeûs Opera à New York.

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Artiste de concert très actif, Barry Banks a avec l’English Music Theatre avant de devenir de Nouvelle-Zélande, Lucia di Lammermoor d’enregistrements d’airs d’opéra (avec Bruce participé aux productions suivantes: la Petite l’un des chefs d’orchestre au Städtische avec le New Israeli Opera et Don Giovanni a Ford, Diana Montague, Dennis O’Neill, Messe solennelle avec le Royal Philharmonic Bühnen à Dortmund et à Opera North. l’Opéra d’état de Hannover. Alastair Miles, Yvonne Kenny, John Tomlinson, Orchestra dirigé par Daniele Gatti, Fidelio Directeur musical d’Opera 80 de 1983 à 1987, En studio, il a participé entre autres Della Jones et Andrew Shore) de même que avec le City of Birmingham Symphony il est directeur musical d’Almeida Opera à la production de la BBC Television de Idomeneo, Carmen, The Thieving Magpie, Don Orchestra dirigé par Walter Weller, depuis sa fondation en 1992. Der Vampyr de Marschner, dirigeant aussi Giovanni, Don Pasquale, The Elixir of Love, War Requiem à la fois avec l'Orchestre Sa carrière, nationale et internationale, est vingt-huit intégrales d’opéras financées par la Lucia of Lammermoor, Ernani, Il trovatore, Philharmonique de Strasbourg sous la baguette extrêmement remplie, aussi bien sur la scène Peter Moores Foundation. Plusieurs de ces Aida, Faust, Cavalleria rusticana, Pagliacci, de Jan Latham-Koenig et à Sao Paulo, le lyrique qu’en concert. Il a dirigé plusieurs intégrales furent enregistrées pour Opera Rara La bohème, Turandot, l’enregistrement primé de Requiem de Bruckner avec le Scottish productions de l’English National Opera et de et primées, Rosmonda d’Inghilterra de Donizetti Tosca et des extraits de , tous Chamber Orchestra dirigé par sir Charles l’Opera North et collabore régulièrement avec recevant en Belgique le Prix Cecilia. Pour ces enregistrements étant réalisés en Mackerras, Armida de Rossini à l’Edinburgh le Philharmonia Orchestra et le London Chandos, David Parry a dirigé une série collaboration avec la Peter Moores Foundation. ua carriera comeFestival assistente sous ladi direction Sir John dePritchard. Carlo Rizzi et Philharmonic Orchestra. C’est avec Così fan Ermione dans une production très appréciée tutte qu’il fit ses débuts au Festival de au Carnegie Hall. Glyndebourne en 1996, une scène qu’il Pour Chandos’ Opera in English series, retrouva en 1998 pour diriger la création Barry Banks a enregistré The Elixir of Love, mondiale de Flight de Jonathan Dove. Don Pasquale, Don Giovanni et The Thieving Il séjourne fréquemment en Espagne où il a Magpie. Il a aussi enregistré La bohème sous la dirigé en concert la plupart des grands baguette de Kent Nagano et Trial by Jury sous orchestres espagnols. C’est lui qui dirigea la la direction de sir Charles Mackerras. Quant à première espagnole de Peter Grimes à Madrid ses productions vidéo, citons Billy Budd dans et en 1996 la première production espagnole l’exécution de l’English National Opera et de The Rake’s Progress. Il a dirigé en Allemagne, Die Entfürung aus dem Serail enregistré au en Suisse, aux Pays-Bas, au Festival de Pesaro Buckingham Palace. en Italie, au Festival international de Hong- Kong, au Japon pour une tournée de Carmen Après avoir étudié avec Sergiu Celibidache, et au Mexique avec l’Orchestre symphonique David Parry commença sa carrière comme d’UNAM. Il a récemment dirigé plusieurs assistant de Sir John Pritchard. Il fit ses débuts nouvelles productions dont Fidelio au Festival

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Se in questo commento il lettore dovesse Rossini riconosceva le convenzioni e amava Arie belcanto rilevare una sottile vena (mi auguro che non l’arte che compositori e interpreti esercitavano sia più di questo) di divertita indulgenza, nell’utilizzarle. Quindi questa situazione era Questo recital è un po’ come un rondò con un forma più pura, scevra di ogni elemento l’unica difesa sta nell’affermare che non è facile ben lungi dall’essere uno stadio primitivo dello tema ricorrente – Rossini – per un’ottima baritonale, leggera per colore, precisa per mettere da parte le abitudini di almeno un sviluppo del ; anzi, si può dire ragione. Rossini fu autore di numerose e definizione e dotata dell’agilità nei registri secolo e mezzo. La composizione – quella che in quegli anni l’opera come forma d’arte riuscitissime composizioni per la voce lirica alti che Rossini amava particolarmente sfruttare. musicale di Rossini e quella del suo librettista, godesse di ottima salute. leggera, alta e flessibile del tenore; e questo a sua La cavatina di Lindoro dall’Italian Girl in Angelo Anelli, – è convenzionale. Sappiamo in Una teoria simile è implicita nella volta ci ricorda che il recital può anche essere Algiers (traccia 1 ) è tipica. Le grazie e le qualità anticipo, se non nei dettagli, l’argomento che composizione di Stravinskij del suo “morality considerato il rondò di una sinfonia (ancora) essenziali sono in evidenza in questo brano che, entrambi propongono; sappiamo anche, in play” neoclassico The Rake’s Progress (traccia incompiuta. La sinfonia di cantanti che è la nell’opera come in questo recital, presenta il generale se non nei particolari, cosa si pretende 6 ). Il mondo operistico evocato è quello del serie “Great Arias” serve a presentare, in tenore al suo pubblico. Il ruolo è quello di un dal cantante. Rossini componeva nel 1813. Settecento anziché dell’Ottocento, ma lo ciascuna registrazione, non solo l’arte di un giovane innamorato attualmente insoddisfatto, Sarebbero trascorsi due, forse tre decenni spirito non è lontano da quello di Rossini e le cantante individuale, ma anche un tipo una situazione a cui si spera venga posto rimedio prima che in Italia le forze del “progresso” forme adottate sono sostanzialmente le sue. particolare di voce e il suo relativo repertorio. alla fine dell’opera (che è infatti una commedia). rendessero tali formule irrimediabilmente Tom Rakewell, per esempio, ha una cavatina Finora la serie ha proposto due tenori, Dennis Prigioniero italiano nel palazzo del Bey di Algeri, superate. Tutti avrebbero detto che come Lindoro nell’Italian Girl in Algiers. Il O’Neill e Bruce Ford, presenti entrambi, il giovane sente la mancanza della fidanzata. l’evoluzione di una forma artistica più brano registrato qui è nella tradizionale forma incidentalmente, con Barry Banks, in Naturalmente questi sentimenti vengono sviluppata e sofisticata iniziasse dalla metà di recitativo seguito da un’aria e anche in quest’ultima registrazione. Anche loro si espressi in un linguaggio più elevato, ma dell’Ottocento. Quello che non si era notato – questo caso è un piacere per l’ascoltatore ben potrebbero genericamente classificare come nell’italiano originale il giovane si limita a e che anche noi della generazione attuale informato apprezzare l’arte di Stravinskij nel tenori lirici, anche se di tipo diverso: Ford ha “languire” e anzi è deciso a non perdere la abbiamo colto con lentezza – è che proprio in modo in cui viene affrontato. Il recitativo ha qualità particolari che gli consentono di speranza, traendo conforto dal pensiero che la questi anni sottovalutati il melodramma un accompagnamento orchestrale completo affrontare i ruoli eroici di Rossini, mentre fanciulla gli sia rimasta fedele durante la sua sviluppò la sua vera forma; inoltre, apprezzare con un motivo di note puntate che segue lo O’Neill ha sviluppato nell’ultima parte della sua forzata assenza. Una melodia fluida viene seguita le variazioni all’interno delle forme stile dell’ouverture francese. L’aria è carriera il tono più corposo richiesto dal da un più rapido, vivace, mentre per il convenzionali (come sembra aver fatto il infinitamente abile nell’accompagnamento repertorio drammatico o eroico dei compositori cantante le opportunità di dimostrare la qualità pubblico dell’epoca) comporta un elevato flessibile delle normali strofe da ballata del italiani della seconda metà dell’Ottocento, della propria voce e l’eleganza del proprio stile grado di sofisticatezza. Il “progresso” condusse librettista. Manca la cabaletta, utilizzata soprattutto Verdi. In questo recital ascoltiamo la portano a un’emissione più potente e allo a un naturalismo e realismo ancora maggiori nell’Ottocento piuttosto che nel Settecento. voce lirica nella sua sfoggio di una tecnica brillante. sulla scena teatrale. Il pubblico dell’epoca di Però Stravinskij vi allude, per caso o di

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proposito, nel dare alla musica briglia sciolta (traccia 2 ) è famoso per il re bemolle e Entrambi richiedono da un tenore tecniche un brano meditativo di grande tenerezza, senza per galoppar via sullo spunto degli ultimi versi per l’audace presupposto che una bella virtuosistiche, ma quello di Oreste richiede pretese eccessive sulla voce, la tecnica o di Auden: “Come, wishes, be horses, This melodia non sia necessariamente fuori posto anche una forza declamatoria al di là di l’espressività, ma offre l’opportunità per un beggar shall ride”. durante la Settimana Santa. Per quanto normali attributi del tipico tenore di grazia. canto di qualità, delizia costante per un Ma abbiamo perso di vista il tenore lirico. Il riguarda i melodrammi, non potrebbero Strenuo è inoltre il ruolo di Amenofi, il figlio pubblico che se ne intende. Anzi, sebbene suo progresso da Rossini a Stravinskij è esisterne due più diversi nello stile di Rossini. di Faraone nel Moses in Egypt. Nella versione l’altra famosa aria, “Il mio tesoro”, sia da alquanto sorprendente e anzi il ruolo di L’ingresso del conte Ory (traccia 3 ) è un originale in italiano del 1818 fu interpretato sempre considerata brano virtuosistico, “Dalla Rakewell viene generalmente interpretato da capolavoro di vivace solennità; l’arrivo di da Andrea Nozzari, un tenore formidabile e sua pace” (“Her joy is my joy”) non è una voce con qualche decibel in più rispetto al Oreste e del suo amico Pilade nel palazzo “creatore” dell’Otello rossiniano; nella un’alternativa facile e in questo particolare Lindoro di Rossini. Il progresso comunque dell’aborrito re Pirro (traccia 9 ) è una scena revisione per Parigi del 1827 il cantante fu contesto offre un contributo più originale. Un include il modesto tenore protagonista di tragica intensità. Una cosa che le opere Adolphe Nourrit, che sarebbe stato ben presto tenore che si è allenato con un’aria di Rossini dell’Our Friend Fritz di Mascagni. Il ruolo fu hanno in comune è una trama impossibile da il primo Arnold nel Guillaume Tell e famoso dopo l’altra non ha bisogno di dimostrare altro creato nel 1891 dal napoletano Fernando riassumere in breve. Del Count Ory basterà per il suo eroico do di petto. In questo duetto virtuosismo. Il sostenuto stile cantabile di De Lucia, la cui fama e il cui favore presso i dire che in questa scena iniziale il mondano (traccia 4 ) oltre ad affrontare una vasta questa altrettanto scorrevole melodia richiede collezionisti di registrazioni d’epoca sono legati Conte veste i panni di un eremita di un altro gamma vocale con destrezza e grande forza altre capacità, non meno indispensabili per soprattutto alla sua interpretazione del Conte mondo; viene in mente Philip Gosset, studioso drammatica, il tenore deve anche creare un l’arte del cantante. L’aria inoltre ha una di Almaviva nel Barbiere di Siviglia. Va di Rossini, che si chiede “In quale altra opera contrasto con la sua voce al baritono basso del sconcertante tendenza a scendere nel registro aggiunto che la aveva una voce la confusione di identità e il conseguente Faraone. Nel trio dall’Armida (traccia 11 ) basso in cui il tenore lirico in genere si trova sufficientemente potente da cantare ruoli come vortice erotico arrivano al punto di presentare l’aspetto della gara può sembrare intensificato svantaggiato. Per l’ascoltatore il brano sarà un Lohengrin e Canio nei Pagliacci. Per Our un tenore travestito da donna, convinto di in quanto tutte e tre le voci sono tenorili. Per gradito riposo in un programma vivace; per il Friend Fritz la scelta del compositore cadde su corteggiare un contralto che interpreta un fortuna non cantano (o non dovrebbero tenore forse non si può dire altrettanto. di lui per la parte di protagonista e, come uomo e che prende il posto del soprano?” cantare) sempre a tutta forza e l’orchestra (con Naturalmente nessun brano di musica scritta rileva il suo biografo Michael Henstock, il Di Ermione diciamo che Oreste è arrivato una bella parte di violoncello) serve a dare si canta da sé: non c’è nulla nella cosiddetta tenore ritornò a interpretare altri allestimenti nell’Epiro per una missione diplomatica che sostegno, senza sovrastare. tradizione classica europea che consenta a un del Barbiere non appena le rappresentazioni nella sua mente è secondaria rispetto al suo Comunque Rossini costringe i suoi tenori a cantante di abbassare completamente la guardia iniziali dell’opera furono terminate. amore per Ermione, che a sua volta ama Pirro, lavorare parecchio. Mozart e Donizetti sono e, per così dire, “cantare e basta”. Ma dopo Anche Barry Banks ritorna a Rossini, con il quale è innamorato di un’altra. entrambi più riguardosi, in maniera diversa. Rossini, Mozart e Stravinskij, Donizetti si alcune arie dallo Stabat Mater e dalle opere Dal punto di vista vocale, il brano di Ory è Per esempio, nel Don Giovanni Mozart offre avvicina molto di più a questo. “Una furtiva Count Ory ed Ermione. Il “Cujus animam” pieno di grazia, e quello di Oreste di passione. al suo tenore due arie; la prima (traccia 5 ) è lagrima” (“Only one teardrop glistened there”),

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(traccia 8 ), dall’Elixir of Love spesso è come mezzo per trasmettere il senso del parlato villaggio, ritorna dalla guerra, con tutti i suoi (Il turco in Italia) a Bruxelles, Parigi e Ginevra; considerata il banco di prova del tenore lirico attraverso intervalli musicali. Ne consegue una acuti intatti. Siamo tornati a Rossini e il L’Astrologue (Le Coq d’or) allo Châtelet. nel repertorio del belcanto, e infatti richiede sorta di polarizzazione, che colloca a un rondò-recital è completo. Inoltre è comparso in allestimenti di una bellissima voce e una buona preparazione. estremo gli specialisti di lieder e le moderne Die Entführung aus dem Serail, L’italiana in Al di là di ciò, la differenza tra scuole del melodramma per cui e in cui le © 2004 John Steane Algeri e Le Rossignol alla Metropolitan Opera un’interpretazione brillante e qualcosa di meno parole sono importantissime. Un cantante di New York. si basa soprattutto su considerazioni di stile e coscienzioso cerca di conciliare le differenze, Diplomato presso il Royal Northern College Barry Banks svolge un’intensa attività gusto. Si tratta di musica facile da ascoltare, da facendo attenzione ad articolare con chiarezza of Music con una borsa di studio della Peter concertistica e ha cantato la Petite Messe ricordare. Lo stesso vale per i due brani dal le parole nell’aria di belcanto e a dare una vera Moores Foundation, Barry Banks si è Solennelle di Rossini con la Royal Don Pasquale: “Cercherò lontana terra” (“I qualità cantante il più possibile al della affermato tra i migliori tenori della sua Philhamonic Orchestra diretta da Daniele shall go, no more returning”), (traccia 7 ) del nuova opera. Ma rimane una fondamentale generazione per le sue straordinarie Gatti, Fidelio con la City of Birmingham povero Ernesto, con il suo malinconico assolo differenza di concetto. Un giovane tenore interpretazioni in teatro e in concerto. Molto Symphony Orchestra diretta da Walter Weller, di cornetta, è l’eterno lamento dell’emigrante, e italiano che si esibiva a Londra per la prima richiesto nei teatri lirici internazionali, ha il War Requiem con l’Orchestre la Serenata “Com’è gentil” (“The night is volta ultimamente ha scelto proprio quest’aria, cantato tra l’altro: Tom Rakewell per English Philharmonique de Strasbourg diretta da Jan calm”), (traccia 13 ), si avvicina moltissimo a la romanza di Nemorino nell’Elixir of Love, e National Opera; Belfiore e Libenskof Latham-Koenig e anche a Saõ Paulo, il una canzonetta popolare napoletana e questa l’ha trattata in maniera naturalistica, con enfasi (Il viaggio a Reims) al Teatro Comunale di Requiem di Bruckner con la Scottish (data la voce e l’arte del suo utilizzo) si canta “realistica” sul parlato. Ha conquistato Bologna; Nemorino (L’elisir d’amore) all’Opera Chamber Orchestra diretta da sir Charles quasi davvero da sé. l’attenzione, ma l’aria è andata perduta. Il vero di Francoforte e alla English National Opera; Mackerras, Armida di Rossini al Festival di Insomma, che cos’è il belcanto di cui si è artista di belcanto non rinuncia o subordina il Oreste (Ermione) e Menelaus (La Belle Edimburgo per la direzione di Carlo Rizzi e ha dibattuto tanto da fare entrare il termine nel sentimento e l’espressione, ma trova il modo di Hélène) all’Opera di Santa Fe; Tamino al suo attivo anche un’interpretazione di vocabolario musicale di tante lingue? Avendo infondere nella voce l’emozione, in maniera da (Die Zauberflöte) al festival di Salisburgo, al Ermione apprezzata dai critici al Carnegie sollevato la domanda, non sono sicuro che comunicarla disturbando al minimo il motivo teatro La Monnaie, all’Opera di Lipsia e alla Hall. questa sia la sede giusta per tentare di cantabile strumentale. Queste arie “spensierate” Scottish Opera; Don Ramiro (La Cenerentola) Per la serie Opera in English di Chandos, rispondere. Se (per esempio) l’aria “Una furtiva di Donizetti (come sono state spesso definite) all’Opera di Basilea; Candide alla Lyric Opera Barry Banks ha registrato The Elixir of Love, lagrima” ne è un vero esempio, allora molto possono diventare nell’interpretazione qualcosa di Chicago; Arnalta (L’incoronazione di Poppea) Don Pasquale, Don Giovanni e The Thieving sullo stile del belcanto dovrebbe essere di molto più intricato di quanto possano all’Opera di San Francisco; Edgardo (Lucia di Magpie. Altre registrazioni comprendono deducibile dalla natura di questa musica. apparire sulla pagina stampata. Lammermoor) alla Welsh National Opera; La bohème con Kent Nagano e Trial by Jury Questo ci direbbe che la voce viene utilizzata Nel frattempo (traccia 10 ) il nostro giovane Aufidio (Lucio Silla) al Festival di Salisburgo e con sir Charles Mackerras. La videografia come strumento per il canto piuttosto che eroe Giannetto, accolto dagli abitanti del all’Opera di Francoforte; Don Narciso comprende Billy Budd nell’allestimento

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della English National Opera e Die in Germania, Svizzera, Paesi Bassi, al Festival di Entführung aus dem Serail registrata a Pesaro in Italia, al Festival Internazionale di

Buckingham Palace. Hong Kong, in Giappone con una tournée della Rafferty Bill Carmen e in Messico con la UNAM Symphony David Parry ha studiato con Sergiu Orchestra. Recenti nuove produzioni da lui Celibidache ed ha cominciato la sua carriera dirette comprendono il Fidelio al Festival della come assistente di Sir John Pritchard. Ha Nuova Zelanda, Lucia di Lammermoor alla New debuttato all’English Music Theatre, quindi è Israeli Opera e Don Giovanni alla Staatsoper di diventato direttore d’orchestra presso la Hannover. Städtische Bühnen di Dortmund e la Opera Il suo lavoro in studio di registrazione North. È stato Direttore Musicale di comprende la produzione della BBC di Opera 80 dal 1983 al 1987 e dal 1992 è stato Der Vampyr di Marschner nonché ventotto Direttore Musicale fondatore dell’Opera di registrazioni operistiche complete con il Almeida. patrocinio della Peter Moores Foundation. Tra Lavora copiosamente in opere e concerti, a questi vi sono numerosi dischi per l’etichetta livello nazionale ed internazionale. Ha diretto Opera Rara che hanno vinti parecchi premi, diverse produzioni presso la English National tra cui il belga Prix Cecilia per la Rosmonda Opera e la Opera North e appare regolarmente d’Inghilterra di Donizetti. Per Chandos ha con la Philharmonia Orchestra e la London diretto una serie di registrazioni di arie d’opera Philharmonic Orchestra. Nel 1996 ha (con Bruce Ford, Diana Montague, Dennis debuttato con Così fan tutte al Glyndebourne O’Neill, Alastair Miles, Yvonne Kenny, John Festival, dove nel 1998 ha diretto la prima Tomlinson, Della Jones e Andrew Shore), mondiale di Flight di Jonathan Dove. nonché Idomeneo, Carmen, The Thieving È un frequente visitatore della Spagna Magpie, Don Giovanni, Don Pasquale, dove si è esibito in concerto con la maggior The Elixir of Love, Lucia of Lammermoor, Richard Suart as Ko-Ko parte delle maggiori orchestre spagnole. Ha Ernani, Il trovatore, Aida, Faust, Cavalleria and Barry Banks as Nanki-Poo in English diretto la prima spagnola di Peter Grimes a rusticana, Pagliacci, La bohème, Turandot, Tosca National Opera’s Madrid e nel 1996 la prima produzione (vincitrice di un premio) e brani scelti da production of Gilbert and spagnola di The Rake’s Progress. È apparso Der Rosenkavalier, tutte in collaborazione con Sullivan’s

42 43 CHAN 3112 BOOK.qxd 20/9/06 11:08 am Page 44 stage Carl Rosegg © Donald Cooper/Photo© Donald

Barry Banks as Tom Rakewell in Glyndebourne Barry Banks in the title Touring Opera’s role of production of Opera’s production of Stravinsky’s Rossini’s Ermione The Rake’s Progress

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from The Italian Girl in Algiers from Count Ory I’d rather die than marry her. Pharaoh Count’s Cavatina The gods are all against me. Whatever strange confusion Lindoro’s Cavatina How can I bear this cruel pain, so disturbs his troubled mind, Count Lindoro this torment and this pain? whatever strange confusion 3 May destiny befriend you 1 In dreams of endless pleasure so disturbs his troubled mind? and fortune here attend you, Pharaoh I find the one I treasure: may heav’n in mercy send you The gods who seem unyielding Amenophis but when I wake, what torment peace and joy unconfined, yes. will soon forget their anger. But I defy the gods who are against me, to live without her all day! Maidens or lonely matrons And soon I hope that heav’n will grant you defy them all. Like a mirage her image who pine in desolation, a life of calm and joy again. I’ll fight against them all. seems to just fade away, come seek for consolation, And then we hope your spirits may revive, Pharaoh like a mirage it seems to fade away. you will learn fate is kind. they may revive again. Confide in me your father, I’ll banish all resentment Domestic strife I vanquish. you should not fear to tell me all. amid this pain and anguish Amenophis For ladies fair who languish The secret you are hiding, and dream in contentment No, please forgive my silence! a prey to cupid’s anguish, the cause of all your hate. of her for whom I languish: a husband I will find. Pharaoh A.L. Tottola after Ringhieri, translation by Nell and John I know she is faithful Delay no more, come one, come all. Won’t you try to explain it. Moody, reprinted by permission of English National to me, her lover from afar. Come to me, fair maidens, Opera Benevolent Fund I know it, she is faithful, Amenophis who pine in desolation, yes, faithful from afar. Father, I can’t explain it. from Don Giovanni oh, come to me, fair maidens, A. Anelli, translation by David Parry a husband I will find. Pharaoh Don Ottavio’s Recitative and Aria E. Scribe & C.G. Delestre-Poirson, from Stabat Mater Tell me! Don Ottavio translation by Tom Hammond, 5 2 Could I ever believe that a nobleman committed Through her soul in endless grieving reprinted by permission of English National Amenophis such a cold-blooded murder! Ah, I must seek bowed with anguish, racked with weeping, Opera Benevolent Fund Oh God! This wretched secret I’ll keep until I die. now the bitter sword has passed. further to uncover the truth: it is my duty as a Pharaoh There she waited, sorrow-laden, lover and a friend to do all that I can: either I’ll from Moses in Egypt What on earth are you hiding? blessed mother, blessed maiden, disabuse her or I’ll avenge her! You surely can explain. mother of the only one. Amenophis’ and Pharaoh’s Duet Her joy is my joy, Tell me, my son, tell me, tell me. There in ceaseless, silent mourning, Amenophis now and for ever. body trembling, eyes unturning 4 The blow at last has fallen, Amenophis When she is happy from her suff’ring, glorious son. yet still I dare not tell him. If only all I suffer I am in heaven. translation by Stephen Hogger I cannot bear it, it will destroy me, could make you understand. Her grief and suff’ring

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darken the sun. While if she be not, why, To a wretched existence No more I need to know. When she is sighing The wealth I might gain destiny calls me, Plainly she loves me. her sighs are my sighs, For a time by my toil would far from her lovely presence. I see it, she loves me. her pain, her anger, At last be in vain. Could I but hold her close to me, I shall go, no more returning, reflect in my eyes. Till I die, then, of fever, hold her as mine alone, to some desert undiscovered, I have no pleasure Or by lightning am struck, for just one moment’s ecstasy there to spend my days in mourning when she has none Let me live by my wits her heart against my own. for the loss of my beloved. Lorenzo da Ponte, And trust to my luck. So close to me, so close to me alone, But, though mountains and seas lie between us, translation by Amanda Holden My life lies before me, what ecstasy were then my very own! though cruel fortune tears us apart, The world is so wide: Heavens, then I could die, there’s no power on earth, my sweetest, from The Rake’s Progress Come, wishes, be horses, should fate decree it. can erase you from my heart. This beggar shall ride. Ah! Heavens, then I could surely die. Tom Rakewell’s Recitative and Aria And if ever you encounter I wish I had money. Should fate decree it, could die. Tom Rakewell W.H.Auden and Chester Kallman, one who awakens new emotion, after Scribe, 6 Here I stand, my constitution sound, my frame The Rake’s Progress – Stravinsky/Auden/Kallman if you ever find the enchanter English version by Arthur Jacobs not ill favoured, my wit ready, my heart light. I, © Copyright 1951 by Hawkes & Son (London) Ltd. who can replace your old devotion, © -BMG Ricordi S.p.A. play the industrious apprentice in a copybook? I, Reproduced by permission of never fear that, in resentment, submit to the drudge’s yoke? I, slave through a Boosey & Hawkes Music Publishers Ltd. I’d accuse you of breaking your faith: lifetime to enrich others, and then be thrown if, at last, you find contentment, from Ermione away like a gnawed bone? Not I! Have not grave from Don Pasquale full of gladness I’ll wait for death. doctors assured us that good works are of no Ernesto’s Prelude and Aria I shall go, no more returning, Orestes’s Cavatina avail, for Heaven predestines all? In my fashion, to some desert undiscovered etc. I may profess myself of their party and herewith Ernesto Giovanni Ruffini and Gaetano Donizetti after Anelli, Orestes 7 9 entrust myself to Fortune. Poor, lost Ernesto! translation by David Parry Palace of horrors! I tremble with loathing when I Banished by my uncle, see you! Since it is not by merit with no one left to help me, from The Elixir of Love We rise or we fall, still I thought I had one friend: Pilades Nemorino’s Romance But the favour of Fortune and yet he, I discover, consumed by hatred, Calm yourself! That governs us all, was plotting my destruction. Nemorino Orestes 8 Why should I labour But my Norina… Oh heaven! Only one teardrop glistened there, You hide a woman, the tyrant of my soul… For what in the end I did the right thing there in her lovely eye. She will give me for nothing to tell her in a letter Jealous of all who courted me Pilades If she be my friend? all that has happened. she could not help but cry. Be silent! Be silent!

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Orestes Orestes Giannetto from Our Friend Fritz …Who, deaf to my sad story, Ah, how can I hide the flames Yes, even in the battle Cherry Duet my sighs of burning passion, of passion that burn me? your love was there to guide me, would break me for her glory, For she is my only love and now you’re here beside me, Fritz rejoice in heartless fashion and yet she would spurn me I swear we’ll never part. 12 Suzel, good morning! A nightingale was singing and watch my love consume me, and render me powerless No, no, no, no! And now you’re here beside me, and woke me from my sleep. yet grant no ray of hope. with madness and grief. I swear we’ll never part. Suzel Pilades Pilades and Orestes Villagers What do you mean, sir? My fears for you consume me. He is sadly mistaken, A loving oath has bound them both Fritz I can but pray and hope. the man who believes still forever heart to heart. Bless them! Your singing is delightful! Orestes that love’s bitter token Giovanni Gherardini after Badouin and Caigniez, translation by Jeremy Sams Ah, how can I hide the flames can bring some reward Suzel of passion that burn me? Tottola after Racine, Oh, Mister Fritz, I only sing what my poor heart translation by David Parry from Armida For she is my only love has taught me. and yet she would spurn me Trio of Rinaldo, Carlo and Ubaldo Fritz and render me powerless from The Thieving Magpie Rinaldo These flowers are meant for me? with madness and grief. Giannetto’s Aria 11 I lost the will to action, Suzel Pilades Giannetto (to Ninetta) gave way to love’s distraction: They are for you, sir. And I have found you a I cannot be silent, 10 Darling! Darling, let me embrace you – I have become a coward, nice surprise as well… your brave countrymen need you. to my unending shame! and clasp you to my breast. Fritz Their future is in your hands For thus is my love expressed, and reason must guide you. Carlo and Ubaldo An early fruit for certain. the language of my longing. He weeps and sighs in anguish, Put passion behind you now Even in doubt and danger, Suzel and let duty speak. for honour’s voice is calling. Yes, some cherries. still you were by my side. Oh, heav’n, do not let him languish: Orestes You were my angel and guide, restore his glorious name! Fritz What tortures confront me! filling me with courage, valour, honour, Schmidt after Tasso, Some cherries! Can they be ripe already? She never will relent. with courage and with pride. translation by David Parry Suzel Pilades Villagers and Servants You’ll see how plump they are, I offer you, Orestes, Bravo! Bravo! purple and shining, the love of a friend. You must stay and never part! so sweet and succulent!

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Fritz Suzel Ernesto For when my life is over you will cry (Fresh as a flower when the spring sun is shining, They seem to speak to me The heav’ns above to think that for your hard heart I did die. charming and delicate!) and to salute the shining dawn breathe the mystery of love; Chorus in harmony with nature’s glory. my sweet, say how For when his life is over, then you will cry Suzel you can deny me now! Fritz to think that for your hard heart, yes, he did I’ll pick some out for you if you would like that The breeze’s whispering voice Silence reigns here, yet how eloquent a silence! die. and throw them down to you. is love replying, On this earth where else to find such peace, such the river’s murmuring play Ernesto Fritz radiance? my secret sighing. Forever faithful, still burning with desire, Yes, little nightingale, I’d really like that: Oh how glorious, oh how opulent the spring is, my heartless Nina, my heartless love. I’ll wait to catch them here. reawakening thoughts of love, of tender kisses! Chorus Forever true, still burning with desire, They glow so brilliantly: the early morning Reawakening thoughts of passion! Ah! My sweet, say how my heartless love, for your sake I expire. dew still envelops them. you can deny me now. But are they the branches where, Suzel And when my life is over, then you will cry when day is dawning, What enchantment in the opening of each Ernesto to think that for your hard heart, yes, I did die. the sparrow sings to us? blossom! My sweet, say how, Giovanni Ruffini and Gaetano Donizetti after Anelli, Tears or laughter, every moment full of passion! you can deny me now! translation by David Parry Suzel Look, the meadow is a carpet bright with colour! Yes, in those branches there. Every creature gives a hymn to our creator! P. Suardon after Erckmann-Chatrian, Fritz translation by David Parry When he is singing, you understand it all? from Don Pasquale Suzel Ernesto’s Serenade I hear him telling us when he is singing Ernesto how happy life can be, 13 The night is calm, how on the branches his young chicks are waiting, the April air like balm; patiently, cheerfully, the moon is high, fluttering, twittering, playfully fighting its radiance fills the sky. among the hawthorn flowers. Chorus Fritz The moon is high, How well you understand their tuneful story! its radiance fills the sky.

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CHAN 3099 CHAN 3096

CHAN 3049 CHAN 3035 Opera inEnglish onChandos

CHAN 3093 CHAN 3010

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Opera in English on Chandos Opera in English on Chandos CHAN 3013 CHAN 3076 CHAN 3105 CHAN 3044 CHAN 3077 CHAN 3032 CHAN 3085 CHAN 3088 CHAN 3112 BOOK.qxd 20/9/06 11:08 am Page 58

The complete Opera in English series: CHAN 3057(3) Mozart: Don Giovanni Artistic consultant to the Peter Moores Foundation: Patric Schmid CHAN 3011(2) Donizetti: Don Pasquale CHAN 3103(2) Mozart: Idomeneo Staging co-ordinator: Charles Kilpatrick CHAN 3027(2) Donizetti: The Elixir of Love CHAN 3022 Strauss: Der Rosenkavalier (The Knight Vocal and language consultant: Ludmilla Andrew CHAN 3083(2) Donizetti: Lucia of Lammermoor of the Rose, highlights) CHAN 3017(2) Donizetti: Mary Stuart CHAN 3054(3) Wagner: The Rhinegold Translation research by Henrietta Bredin CHAN 3073 Janet Baker sings scenes from Mary Stuart CHAN 3038(4) Wagner: The Valkyrie Music librarian: Jacqui Compton CHAN 3003 Leoncavallo: Pagliacci (The Touring CHAN 3045(4) Wagner: Siegfried Company) CHAN 3060(5) Wagner: Twilight of the Gods Recording producer Brian Couzens CHAN 3004 Mascagni: Cavalleria rusricana (Rustic CHAN 3065(16) Wagner: Complete Ring Cycle Sound engineers Jonathan Cooper (tracks 1, 6, 11 & 12), Ralph Couzens (other tracks) Chivalry) CHAN 3101(2) Janácˇek: The Cunning Little Vixen Assistant engineers Matthew Walker (tracks 1, 6, 10, 11 & 12), Christopher Brooke and CHAN 3005(2) Pagliacci & Cavalleria rusticana CHAN 3029(2) Janácˇek: Osud (Fate) CHAN 3008(2) Puccini: La bohème CHAN 3106(2) Janácˇek: Jenu˚fa Michael Common (tracks 2–4 & 9), David O’Carroll (track 5), Peter Newble and Richard CHAN 3070(2) Puccini: Madam Butterfly CHAN 3007 Mussorgsky: Boris Godunov (highlights) Smoker (tracks 7 & 13), & Richard Smoker (track 8) CHAN 3000(2) Puccini: Tosca CHAN 3042(2) Tchaikovsky: Eugene Onegin Editors Peter Newble (tracks 7 & 13) and Jonathan Cooper (other tracks) CHAN 3066 sings Tosca Operas administrator Sue Shortridge CHAN 3086(2) Puccini: Turandot Great Operatic Arias Recording venue Blackheath Halls, London; 3–7 March 2003 (tracks 1, 11, 12); 24–27 CHAN 3025(2) Rossini: CHAN 3096 Elizabeth Futral September 2001 (tracks 2–4, 5 & 9); 22–27 August 2000 (track 6); 15, 17, 18, 20 & 21 CHAN 3097(2) Rossini: The Thieving Magpie CHAN 3035 Yvonne Kenny CHAN 3074(2) Verdi: Aida CHAN 3099 Yvonne Kenny 2 Novemer 1997 (tracks 7 & 13); 7–11 February 1999 (track 8); 21–23 & 27–28 September CHAN 3052(2) Verdi: Ernani CHAN 3049 Della Jones 2002 (track 10) CHAN 3079(2) Verdi: Falstaff CHAN 3010 Diana Montague Front cover Photograph of Barry Banks by Christian Steiner CHAN 3068(2) Verdi: Otello CHAN 3093 Diana Montague 2 Back cover Photograph of David Parry by Russell Duncan CHAN 3030(2) Verdi: CHAN 3006 Bruce Ford Design Sean Coleman CHAN 3023(2) Verdi: La traviata CHAN 3100 Bruce Ford 2 Booklet typeset by Dave Partridge CHAN 3036(2) Verdi: Il trovatore (The Troubadour) CHAN 3088 Bruce Ford sings Viennese Operetta CHAN 3067 A Verdi Celebration CHAN 3013 Dennis O’Neill Booklet editor Kara Reed CHAN 3091(2) Bizet: Carmen CHAN 3105 Dennis O’Neill 2 Copyright Boosey & Hawkes Music Publishers Ltd (track 6), © 1979 for the critical edition and CHAN 3014(3) Gounod: Faust CHAN 3085 Alan Opie © 1996 for the English version by Arthur Jacobs: CASA-Ricordi BMG-Ricordi S.p.A. (track 8) CHAN 3089(2) Gounod: Faust (abridged) CHAN 3077 Andrew Shore Publisher BMG Ricordi S.P.A., /U.M.P. (tracks 2–4 & 8–11) & Concord (track 12) CHAN 3033(2) Massenet: Werther CHAN 3032 Alastair Miles p 1998, 1999, 2001, 2003, 2004 Chandos Records Ltd, CHAN 3094(2) Berg: Wozzeck CHAN 3044 John Tomlinson This compilation p 2004 Chandos Records Ltd CHAN 3019(2) Handel: Julius Caesar CHAN 3076 John Tomlinson 2 c CHAN 3072 Janet Baker sings scenes from Julius Caesar CHAN 3078 Baroque Celebration 2004 Chandos Records Ltd CHAN 3081(2) Mozart: The Abduction from the Seraglio Chandos Records Ltd, Colchester, Essex CO2 8HQ, UK. Printed in the EU

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60 CHAN 3112 Inlay.qxd 20/9/06 11:04 am Page 1 GREAT OPERATIC ARIAS: Barry Banks/Parry GREAT OPERATIC ARIAS: Barry Banks/Parry GREAT OPERATIC ARIAS CHANDOS DIGITAL CHAN 3112

BARRY BANKS sings BEL CANTO arias

Gioachino Rossini Gioachino Rossini from The Italian Girl in Algiers from Ermione 1 ‘In dreams of endless pleasure’ 7:16 ‘Palace of horrors!’ – 9 ‘Ah, how can I hide the flames’ 7:07 from Stabat Mater with Alfred Boe tenor 2 ‘Through her soul in endless grieving’ 6:25 from The Thieving Magpie 10 from Count Ory ‘Darling! Darling, let me embrace you!’ 5:03 3 ‘May destiny befriend you’ 4:38 with Geoffrey Mitchell Choir from Armida from Moses in Egypt 11 4 ‘The blow at last has fallen’ 7:10 ‘I lost the will to action’ 3:22 with Alan Opie baritone with Bruce Ford tenor and Dennis O’Neill tenor from Mascagni’s Our Friend Fritz from Mozart’s Don Giovanni 12 5 ‘Could I ever believe’ – ‘Her joy is my joy’ 4:52 ‘Suzel, good morning!’ 8:33 with Janice Watson soprano from Stravinsky’s The Rake’s Progress from Donizetti’s Don Pasquale ‘Here I stand’ – 13 6 ‘Since it is not by merit’ 2:40 ‘The night is calm’ 4:05 with Geoffrey Mitchell Choir TT 77:05 from Donizetti’s Don Pasquale ‘Poor lost Ernesto’ – Barry Banks tenor 7 ‘I shall go, no more returning’ 9:47 London Philharmonic Orchestra (tracks 1–4, 6, 7, 9, & 11–13) Philharmonia Orchestra (tracks 5, 8 & 10) HN3112 CHAN HN3112 CHAN CHANDOS CHANDOS from Donizetti’s The Elixir of Love 8 ‘Only one teardrop’ – 5:14 David Parry

p 1998, 1999, 2001, 2003, 2004 Chandos Records Ltd CHANDOS RECORDS LTD This compilation p 2004 Chandos Records Ltd c 2004 Chandos Records Ltd Colchester . Essex . England LC 7038 DDD Printed in the EU