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Giacomo Puccini (1858–1924) Lyric drama in three acts Libretto by and Renato Simoni, after Gozzi’s dramatic fairy-tale

Lebrecht Music Collection Music Lebrecht Princess Turandot...... Jane Eaglen soprano The Altoum, her father...... Nicolai Gedda tenor , the dispossessed King of Tartary...... Clive Bayley bass Calaf, his son...... Dennis O’Neill tenor Liù, a slave-girl ...... Mary Plazas soprano Ping, ...... Peter Sidhom baritone Pang, General Purveyor Ministers ...... Mark Le Brocq tenor Pong, Chief Cook } ...... Peter Wedd tenor A ...... Simon Bailey baritone Prince of Persia ...... Mark Le Brocq tenor The executioner (Pu-Tin-Pao)...... silent role Geoffrey Mitchell Choir New London Children’s Choir Ronald Corp musical director Philharmonia Orchestra David Parry Gareth Hancock assistant conductor

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COMPACT DISC ONE Time Page Time Page Act I Act II 1 ‘People of proud Peking’ 4:11 [p. 84] Scene 1 Mandarin, Crowd, Guards, Liù, Unknown Prince, Timur 13 ‘Hallo Pang! Hallo Pong!’ 3:10 [p. 96] 2 ‘When all was lost’ 1:21 [p. 85] 14 ‘I’ve a house in fair Honan’ 4:11 [p. 97] Timur, Unknown Prince, Liù, Crowd Ping, Pong, Pang 3 ‘Sharpen the axe!’ 2:27 [p. 86] 15 ‘Do you remember when the Royal Prince of Samarkand Crowd, Executioner’s Assistants came?’ 5:17 [p. 98] 4 ‘Is the moon never rising?’ 4:45 [p. 87] Ping, Voices within, Pong, Pang Crowd 5 ‘How young to die!’ 5:27 [p. 88] Scene 2 Crowd, Unknown Price, White Priests of the Procession 16 ‘With the three enigmas ready’ 4:26 [p. 101] 6 ‘Son, are you mad?’ 1:47 [p. 88] Crowd Timur, Unknown Prince, Liù, Prince of Persia, Crowd 17 ‘I am the pris’ner of a ghastly promise’ 4:20 [p. 101] 7 ‘What do you want? Who are you?’ 1:54 [p. 89] Emperor, Unknown Prince, Crowd Ping, Pong, Pang, Unknown Prince 18 ‘People of proud Peking!’ 1:50 [p. 102] 8 ‘Why so much noise?’ 1:45 [p. 91] Mandarin, Crowd Turandot’s Handmaidens, Ping, Pong, Pang, Unknown Prince, Timur 19 ‘Within this Palace a story lives forever’ 2:38 [p. 102] 9 ‘Nights without a gleam of starlight…’ 2:35 [p. 92] Turandot, Crowd Pang, Pong, Ping, Voices of the Shadows, Unknown Prince, Timur 20 ‘O Princes who in caravans of splendour’ 3:24 [p. 102] 10 ‘I beg you, hear me’ 2:29 [p. 93] Turandot, Unknown Prince, Crowd Liù 21 ‘O stranger, now listen!’ 7:54 [p. 103] 11 ‘’t cry for me, Liù’ 2:07 [p. 93] Turandot, Unknown Prince, Sages, Emperor, Crowd, Liù Unknown Prince, Liù, Timur 22 ‘Emp’ror and father! Son of !’ 3:01 [p. 104] 12 ‘Ah! How can you ignore us?’ 2:36 [p. 93] Turandot, Emperor, Crowd, Unknown Prince Timur, Liù, Ping, Pong, Pang, Unknown Prince, Crowd 23 ‘Three enigmas that you asked me’ 4:18 [p. 105] Raimondo, Lucia TT 78:13

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COMPACT DISC TWO Time Page Jane Eaglen as Turandot and Dennis O’Neill as Calaf Act III Scene 1 1 ‘The Princess Turandot commands’ 3:18 [p. 106] Heralds, Distant Voices 2 ‘None shall sleep now!’ 3:30 [p. 106] Unknown Prince, Women’s Voices, Ping, Pong, Pang 3 ‘These girls should please you!’ 4:07 [p. 107] Ping, Pong, Pang, Maidens, Unknown Prince, Crowd, Guards 4 ‘How pale you look, O stranger!’ 3:18 [p. 109] Turandot, Unknown Prince, Liù, Crowd, Ping, Timur 5 ‘Yes, I love him so deeply!’ 3:21 [p. 110] Liù, Turandot, Ping, Unknown Prince, Crowd 6 ‘You who with ice are shrouded’ 2:58 [p. 111] Liù, Crowd, Unknown Prince 7 ‘Liù!… Liù!… Wake up!’ 4:49 [p. 112] Timur, Ping, Crowd, Pong, Pang 8 ‘Deathly Princess, so heartless!’ 3:24 [p. 113] Unknown Prince, Turandot 9 ‘What have you done?’ 3:15 [p. 113] Turandot, Unknown Prince, Voices 10 ‘I never wept before’ 4:47 [p. 114] Turandot, Unknown Price

Scene 2 11 ‘Glory to our Emp’ror!’ 3:32 [p. 115] Crowd, Turandot TT 40:26

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Dennis O’Neill as Calaf

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probably Puccini’s idea. It would certainly duet with Turandot at the start of Act III). Turandot – Old and new be typical of one who thirty years before Hereby he created a problem whose solution had insisted on the need for a ‘luminous would elude him until the end. The ‘An opera really new for Puccini’ – such was minor distinction, neither of whom was figure’ with whom the audience can conversion of a glacial, vindictive Fury, the view of Andrea Della Corte, critic of the prepared to serve up conventional operatic sympathise. who has witnessed the self-sacrifice of an Turin paper La Stampa, reporting on the fodder in the manner of their nineteenth- The opera’s growth and gradual innocent victim without turning a hair, into a premiere of Turandot in 1926 at , century predecessors such as Piave or transformation can be briefly charted. At first warm, loving human being, is a task that ; and it was echoed in musical circles Ghislanzoni. It was Simoni who first put Act I comprised two scenes, the second of would have daunted the greatest musical throughout the world, nowhere more strongly forward the idea of Gozzi’s ‘fiaba’ at a which ended with the solving of the riddles. genius. Over the next two years Puccini was than in Britain, where its composer’s fame (or, meeting with Puccini in Milan early in 1920; Act II dealt with the frantic search for Calaf’s tireless in his demands for a suitable text for as was often the case, notoriety) rested on and he handed the composer a copy of identity, the bribes offered to him by his final duet; and there are some who believe La bohème, Tosca and Madam Butterfly. In fact Schiller’s adaptation of it in the translation Turandot’s ministers and the torture of Liù; that if only his librettists had managed to novelty had always been a preoccupation with by Andrea Maffei. Puccini bit at once. ‘I think Act III with the Princess’s final surrender. By supply it in time, he might have completed Puccini, as it had been with Verdi; hence his we should keep to this subject,’ he wrote September 1921 Puccini was demanding that the opera to his satisfaction. But that seems habitual readiness to take up a wide variety of back. ‘Altogether I think that Turandot is the the last two acts be amalgamated into one – to me unlikely. To misquote Shakespeare’s subjects only to drop them once he found most normal and human of all Gozzi’s but fortunately not for long. By the New Year Mark Antony, his heart was in the coffin himself unable to reduce them to his own theatrical works. So Turandot, then, by way of the present distribution had been arrived at, there with Liù. terms. The gestation of Turandot was a the modern mind, yours, Adami’s and my Act I ending with the ensemble in which Indeed the pure-hearted girl who dies for particularly long and tormented one, during own.’ The poets duly drew up a scheme Timur, Liù and the ministers try vainly to love is rightly held up as Turandot’s link with which he was at times tempted to abandon the which satisfied him in broad outline; but it dissuade the Prince from his enterprise. March its predecessors in the Puccini canon. But it is entire project and even, so he told his English would undergo drastic alterations over the 1922 saw the addition of the opening scene of by no means the only one, least of all on the confidante, Sybil Seligman, to adapt the next four years. Of particular interest here is a Act II, conceived as a kind of intermezzo (‘una musical level. More perceptive than Della music already written for it to a new plot letter from Puccini to Simoni written in chitarrara’, as Puccini called it), to be followed Corte, Giulio Cesare Paribene of L’ devised by Giovacchino Forzano (author of August, 1920: ‘Have you given much in August by the insertion of Turandot’s ‘In observed that ‘Turandot bears witness to the Suor Angelica and Gianni Schicchi) with a thought to the new introduction of the little questa reggia’ (Within this Palace), though this whole of its author’s life in music, in the sense similar Chinese ambience. His difficulties woman? I do beg you, make it succeed as would not be composed until April 1923. In that it sums up all the evolutionary phases of a were compounded by the literary pretensions wills – that is, excellently.’ So it would the meantime Puccini had taken the fateful composer who, while remaining true to of his two librettists, Renato Simoni and seem that the slave-girl Liù as substitute for decision for Liù to die during her torture (in himself, does not disdain to take note of all Giuseppe Adami, both of them playwrights of Gozzi’s scheming Princess Adelma was the original scheme she had been given a brief the discoveries of our present, restless age in

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the matter of form and expression.’ In other longing for another sight of their beloved. lively and strongly accented, the second Schoenberg, ‘This is a score with all absolutely words Puccini, like Verdi and unlike his Here tonality is virtually suspended, and with lyrically flowing. Turandot begins in much the original sound. Magnificent! Not a trace confrères of the ‘giovane scuola’, possessed the it all sense of motion. But a similar passage, same way; but here not only are the two ideas of Kitsch! And I’m speaking at first hand. secret of self-renewal through the assimilation more simply conceived, can be found in the internally expanded, but the harmonic I must say I enjoyed it enormously.’ He was of elements from the avant-garde of his time, off-stage chorus of exhausted revellers that distance between them has been immeasurably preaching to the converted. To Schoenberg into his own personal idiom. What is less Puccini added to the revision of his Edgar increased. The initial orchestral gesture Puccini was simply ‘a great man’ – no mean often pointed out is how soon that idiom was made in 1905, the year of Madam Butterfly. In followed by the Mandarin’s proclamation tribute from the inventor of the twelve-note established. Plain, diatonic melodies supported the same opera’s original version (1889) belong to the post-war age, while the melody system! by unusually rich and varied harmonies are to Puccini first discloses that fondness for a that directs our attention to Liù and Timur It remains to mention one further be found as early as 1884 in the youthful succession of parallel, often unrelated chords harks back to the Puccini of the 1890s with its characteristic of Puccini’s late . Beginning Le villi. Here too one notices a penchant for which would remain with him throughout his downward tending line, each phrase ending with Manon Lescaut he had organised his what might be called the ‘soft discord’ in career; it was merely that with the passage of with that hallmark of the composer’s style, acts through an underlying interplay of which the semitonal clash is avoided – not time these chords would become more evident since Le villi, namely the falling fifth. recurring motifs, often less specifically used as a special effect but simply as part of a elaborate, partly under the influence of Yet both ideas are juxtaposed without the referential than those of Wagner, whom he so straightforward musical discourse. This would composers such as Debussy and Stravinsky. slightest sense of incongruity. Nothing in the much admired. In the works that followed in due course put at his disposal a range of Another favourite procedure, likewise score illustrates more succinctly Puccini's La fanciulla these motifs persist; but there pentatonic (i.e. black-note) harmony which forestalled in Edgar, is the persistent ability to get the best of both worlds, old and is a growing tendency, especially noticeable would serve him well for the Japanese colours alternation of two chords as a way of screwing new. Nor amid all the daring modernisms of in Il tabarro, to subsume them in large of Madam Butterfly and the chinoiserie of up dramatic tension. An outstanding instance his swansong had he lost his ability to pull out blocks of contrasted material, which reaches Turandot, for both of which Puccini helped is the finale of Act I of Tosca where Scarpia of the hat a melody of enduring popular its peak in Turandot. One may search in vain himself to authentic folk-melodies. Eventually unveils his villainous intentions against the appeal: witness, ‘Nessun dorma’ (None shall for any precedent in Verdi or Rossini. To find his vocabulary would expand to take in the far background of a congregational Te Deum. sleep now). anything remotely similar one must go back sharper dissonances of his last opera; but their Nowhere is this device more powerfully used True, such moments become increasingly to the operas of Monteverdi. With his last roots can generally be traced to an earlier than in the ensemble that concludes the first rare after Madam Butterfly. But if the growing stage work, then, Puccini may be said to period. act of Turandot, where it conveys to perfection complexity of Puccini’s style would alienate have set his seal not only on a career of forty One of the boldest harmonic combinations the emotional tug-of-war between Calaf and the groundlings, it vastly enhanced his stature years, but on an Italian tradition that reaches in Turandot occurs at the point where the the bystanders. In Manon Lescaut, La bohème among the musical pioneers of his day. After back three centuries. ghosts of the princess’s beheaded suitors make and La rondine Puccini launches his opening hearing a performance of La fanciulla del West their shadowy appearance on the ramparts, scene with two contrasting themes, the first Anton Webern wrote to his teacher Arnold © Julian Budden

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Synopsis and Pong, try to stop him. 8 – 9 Turandot’s there are three riddles, death is one. Calaf 3 Ping, Pang and Pong offer him women, handmaidens call for silence but the ghosts of responds that life is one. wealth or glory if he will leave the Princess COMPACT DISC ONE her previous suitors urge him on. Nothing, 21 Turandot poses the first enigma: what alone. They are threatening him with torture neither the sight of Pu-Tin-Pao returning with rises at night, invoked by all the world, only to at the moment when the guards bring in Act I the head of the Prince of Persia, 10 – 12 nor die at dawn reborn in the heart? Calaf rightly Timur and Liù. 4 They summon Turandot, The walls of the great Violet City: the Imperial the entreaties of Liù, can dissuade him. Calaf answers: hope. The second riddle is what darts who watches as the slave-girl offers herself to City. The massive ramparts enclose almost the strikes the gong which signals his challenge. like a flame but is not a flame, that grows cold protect the old man, and yet refuses to yield whole stage in a semi-circle. with death yet blazes with dreams of conquest? under torture. 5 Asked what gives her such 1 The crowd listens to a decree that the Act II Turandot is furious when Calaf solves it with strength, Liù replies that it is love. Turandot is princess Turandot will marry only the prince Scene One the answer: blood. Thirdly she demands what moved for a moment and then orders her who solves her three riddles. Anyone who 13 Ping, Pang and Pong discuss the inflames you, white yet dark, that enslaves if it ministers to tear the secret from her. 6 Liù stands trial and fails will be executed. The preparations for what will be either a wedding wants you free, but in taking you captive commits suicide. 7 Timur curses the people people call for the executioner, and for the or a funeral. They compare their recollections makes you king? Calaf answers: Turandot. who have brought about her death. death of Turandot’s latest victim, the Prince of of all the princes who have died for Turandot, 22 The Emperor holds his daughter to her 8 Calaf now confronts Turandot, tears off Persia, at moonrise. 14 – 15 and grow nostalgic for the country solemn vow to marry the suitor who solved her veil and kisses her. 9 She is mortified, Timur, the exiled King of Tartary, is among retreats where they could retire if the decree her enigmas. 23 Triumphantly Calaf offers her believing that she has lost; Calaf proclaims the crowd. His son Calaf, who has also been did not hold them to their lugubrious duties. a last chance: if she can discover his name that this is only the beginning of their love. forced into exile, recognises him after years of Trumpets announce Calaf’s trial. before daybreak, he is prepared to die. The 10 Turandot begs him to leave with his secret separation, 2 – 3 and learns that Timur Emperor prays for his success. and Calaf replies that there is no mystery owes his life to a slave-girl, Liù, who Scene Two anymore – he is Calaf, the son of Timur. accompanies him. They are all unknown in 16 The Court assembles to hear Turandot’s COMPACT DISC TWO Turandot is thrilled that he is now in her Peking. latest suitor stand the trial of the riddles. power. 4 – 5 Pu-Tin-Pao leads the Prince of 17 – 18 Her father, the Emperor, in vain Act III Persia to execution. The crowd now calls upon entreats the Unknown Prince to stand down. Scene One Scene Two Turandot to appear and grant mercy, but she 19 Turandot begins the ceremony by telling 1 – 2 That night, enclosed within the palace 11 Before the people Turandot declares refuses. 6 Calaf is so overwhelmed at this first how her ancestor, the princess Lo-u-Ling, gardens, Calaf hears the Imperial heralds that she knows the stranger’s name, and sight of the princess that he resolves to try his was raped and murdered by Tartar invaders, searching the city for someone who can reveal that it is Love. fortune with Turandot’s enigmas. and how she is intent upon avenging this his identity. When dawn breaks, he knows that 7 The Imperial functionaries, Ping, Pang memory. 20 She warns Calaf that, although he will win. ©

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Nicola Majocchi the Bastille, Paris, andScottishOpera. Muti, forSeattle Opera, Los AngelesOpera, at attheRavenna Festivalperformances with was followed by criticallyacclaimed by thePetersupported Moores Foundation) as forScottishOpera (inaproduction Opera Pacific andScottishOpera. Her success ofBrünnhildeportrayals includethosefor Vienna gainedequallyfinereviews. Previous La Scala,Milan, inSan Francisco andin complete Lyric Opera ofChicagoandhersubsequent asBrünnhildeperformances ( earning spectacularreviews worldwide.Her dramatic sopranoofoutstandingachievement roles ofNorma andBrünnhilde, hersisa Enjoying uniquesuccessinthecontrasting on tosingatEnglish National Opera. Ring there, withRiccardo Muti at scholarship, andwent Moores Foundation by aPetersupported Music, where shewas Northern Collegeof studied attheRoyal Born inLincoln,she opera worldtoday. reputations inthe the mostformidable Jane Eaglen Siegfried has oneof ) forthe 16 engagements include Verdi’s National Opera. title role in the Cleveland Symphony Orchestra; andthe Colon inBuenos Aires, with andinconcert Tosca Bologna andattheBastille; thetitlerole in Paris; Amelia( Madrid, Seattle, BolognaandattheBastille, Opera withPavarotti, in Vienna, Turandot Munich andBologna;thetitlerole in for andinLosAngeles, –previously performed Chicago; Donna Anna( as LaGioconda fortheLyric Opera of Chicago toformidablereviews; herrole debut Metropolitan Opera andtheLyric Opera of include Isolde inSeattle, repeated atthe Edinburgh Festivals; Claudio Abbado attheSalzburg and Ravenna withRiccardo Muti; the BostonSymphony Orchestra; Götterdämmerung Symphony withKlaus Tennstedt; Act IIIof Symphony Orchestra; Mahler’s Eighth Simon RattleandtheCityofBirmingham Equally at home on the concert platform Equally athomeontheconcert Other memorableoperaticperformances for English National Opera, the Teatro at , the Ariadne aufNaxos Un balloinmaschera with Bernard Haitink and Norma in concert atthe in concert Requiem Gurrelieder for English ) in with ) atthe with in Edgardo ( ( have includedRodolfo ( Bruckner’s Mass, Symphony, Beethoven’s Ninth Symphony, by Strauss andMozart, Mahler’s Eighth arias by Wagner andBellini, anotherwitharias Orchestra. Barenboim andtheChicago Symphony Hall; andStrauss’s Tivoli Festival inCopenhagenandatCarnegie Sensibility the filmadaptationofJane Austen’s Foundation theaward-winning Moores Opera Rara,and,forChandos/Peter Rigoletto Jane Eaglen’s recordings includeadiscof . She alsofeatures onthesoundtrackof ), Pinkerton ( . Lucia diLammermoor Norma Four LastSongs Madama Butterfly La Bohème , where hismanyroles Covent Garden, Royal Opera House, association withthe He hasenjoyed along in theworks of Verdi. tenors andaspecialist of theworld’s leading Dennis O’Neill and Welshparents, Born in Wales ofIrish Medea inCorinto ), Macduff Tosca with Daniel ), theDuke Sense and , and ), is one for 17 title role in Lammermoor as well as followed production by of anew Munich, hisdebutin A frequent guestattheBayerische Staatsoper, Symphonies, andfortheCincinnatiFestival. Cleveland, Montreal, andOttawa withthePhiladelphia,Opera andconcerts Opera, San Francisco, San Diego, Vancouver engagements have includedChicagoLyric ( popular, andhehassubsequentlycompleted a television seriesfortheBBCwere enormously and hassungthroughout Europe. His own close relationship with . well asEnglish National Opera. He enjoys a Oviedo, theArena di and Turin, as Paris, Oslo, Brussels, Barcelona, Lisbon, , Hamburg, Munich, Nice, Zurich, opera housesof Vienna, Berlin, Bonn, Foresto ( d’Arco ( Canio ( ( appeared asAlfredo ( Aida Aida Dennis O’Neill artist isalsoabusyconcert For theMetropolitan Opera hehas ), Aroldo (in concert), Carlo( ), Aroldo (inconcert), ), Turiddu( ), andJacopo ( Pagliacci ), Gustavo ( Otello , ), Otello, ,Radames Simon Boccanegra ). Other North American Cavalleria rusticana . Elsewhere hehasvisitedthe I dueFoscari Un balloinmaschera La traviata Un balloinmaschera , Tosca , ), Radames Aida ). Il trovatore , Lucia di Giovanna ) and and the ), was , CHAN 3086BOOK.qxd21/5/075:36pmPage18

Simon Fowler Chandos/Peter Moores Foundation are Chandos/Peter television filmonCaruso. Recordings for Cavalleria rusticana Postillon deLongjumeau. the Royal Opera Stockholm in1952 has beenacclaimedforhiscommandofa as oneofthegreatest ofourtimeand artists Nicolai Gedda the CBEin2000New Year’s Honours list. Operatic Arias.Dennis O’Neill wasawarded La Bohème he madehisdebutatLaScala,Milan followed years ofrecording forNicolai Gedda. In 1953 B minorMass. Thus theyear 2002marks fifty engaged himtosinginhisrecording ofBach’s ,whoimmediately , Il trovatore is internationallyacknowledged , Pagliacci , andadiscofGreat professional débutat mother, he madehis bass andaSwedish the sonofaRussian works. song ororchestral oratorio, operetta, in thefieldofopera, styleandperiod every encompasses almost repertoire which In theaudiencewas Born inStockholm, , Tosca , Aida Le , 18 Gustavus IIIin returned to singBenvenuto Cellini,Alfredo, 1992 withEnglish National Opera asthe Musical Trust. She madeheroperatic debutin Foundation andtheCountessofMunster by thePeterwas supported Moores Royal Northern College ofMusic, where she PlazasMary Cellini. Duke ofMantua in Verdi’s debut with The Royal Opera in1965(asthe the titlerole ofGounod’s 1957 withhisMetropolitan Opera debut(in in 1954by hisdebutattheParis Opera andin Foundation), from theSeraglio of complete operaperformances recordings tohiscredit. These include most recorded tenorintheworldwith200 lieder. He alsohasthedistinctionofbeing regarded asanoutstandinginterpreter of Orff, Barber andMenotti, whileinrecital heis works ofHaydn andMozart toStravinsky, Last Savage roles inBarber’s Nemorino andLensky. He created leading His operatictriumphs have rangedfrom the , Manon at theMetropolitan Opera. studied withAva June atthe Guillaume Tell Un balloinmaschera , Vanessa (for Chandos/Peter Moores (for Chandos/Peter Così fantutte and Menotti’s Faust Rigoletto , La bohème and ). Since his The Abduction Benvenuto ) he , The , Faust , Madame Silberklang ( Factory); andEcho ( Anne Trulove (New Israeli Opera and Opera Donna Elvira (Glyndebourne Touring Opera); ( di Figaro Opera); Mimì, Susanna ( Cunning Little Vixen role forGlyndebourne Festival Opera. She Glyndebourne Touring Opera, repeating the Tina inJonathan Dove’s Pfitzner’s the Metropolitan Opera, New York in with The Royal Opera atCovent Garden and the Heavenly Voice, andin1997performed Promenade with Concerts The Royal Opera as for Garsington Opera. Il matrimoniosegreto In 1996shemadeherdebutattheBBC ), Tebaldo( Palestrina . She created therole of Don Carlos Ariadne aufNaxos ) forOpera North; (English National Der Schauspieldirektor Flight Le nozze title role in Dorabella andthe Lauretta, Oscar, Marzelline ( Nannetta, Micaëla, Leila, Adina, included Mimì, principal. Roles have currently acompany ( Heavenly Voice Don Carlos ) andElisetta for ), andis The Fidelio ) and ) ), 19 Aeneas d’Inghilterra d’Antiocchia The Promised Land Beethoven’s Symphony No. 9andSaint-Saëns’s Requiem 8, Mozart’s includeHaydn’sConcerts Cheltenham, AldeburghandChesterFestivals. Vienna. She atthe hasalsoperformed Hall, Purcell Room, andtheKarajanCentre in includingsolorecitalsconcerts atthe Wigmore Mimì, returning intherole in2002. made herdebutattheBregenz Festival as for Channel4television.In summer2001she Aldeburgh Festival, andalsorecorded therole Face sang theDuchess in Thomas Adès’s A Childofour Time opera companiesinarepertoire rangingfrom Clive Bayley Music, where hewasaPeter Moores Scholar, Trained attheRoyal Northern Collegeof Micaela. Marguerite in Moores Foundation, and, forChandos/Peter Recordings includeMercadante’s PlazasMary hasgiven manyrecitals and by forAlmeidaOpera andatthe for Chandos, , Shostakovich’s Symphony No 14, Requiem , andPacini’s (both forOpera Rara), sings regularly withthemajor Faust . , Adina, Zerlina and , Mahler’s Symphony No. , Brahms’s L’Enfant etlessortilèges Maria Regina Creation German , Tippett’s Emma Dido and Powder her , CHAN 3086 BOOK.qxd 21/5/07 5:36 pm Page 20

Monteverdi to Verdi, BBC Promenade concerts and performances Comunale, Florence (Der Zwerg); San studies at the Puccini, Berg, Britten with Glyndebourne Festival and Touring Fransisco Opera (The Ring); Glyndebourne National Opera and Birtwistle. He Operas. Festival (Simon Boccanegra); Théâtre du Studio. made his debut with Recordings for Chandos include Troilus and Capitole, Toulouse (La bohème and Lohengrin); He was a Company The Royal Opera, Cressida, Billy Budd, and, for Chandos/Peter Staatstheater, (Tosca) Teatro Real de Principal with English Covent Garden, in the Moores Foundation Falstaff, Madam Butterfly, Madrid (Der Rosenkavalier); Teatro La Fenice National Opera, premiere of Harrison Don Giovanni, highlights, Don (Billy Budd ). He has sung leading and title where his many roles Birtwistle’s Gawain Pasquale and Il trovatore. roles with Welsh National Opera, English included Tamino (The and subsequently National Opera, Opera North and Scottish Magic Flute), Paris appeared as Colline in Peter Sidhom was Opera. (King Priam), Count La bohème, Hans Foltz in Die Meistersinger born in Egypt of a Equally at home on the concert platform, Almaviva (The Barber and Castro in La fanciulla del West. He has Maltese-Italian Peter Sidhom has appeared in all of the major of Seville), Narraboth (), Don Ottavio, had notable successes with Opera North in mother and an concert halls in England. He has worked with Monostatos, Rodriguez (Massenet’s Don Verdi’s Jerusalem, as Sparafucile (Rigoletto), the Egyptian father, and numerous conductors including Richard Quixote), Odoardo (Ariodante), Doctor Monk (Don Carlos), Raleigh (), the settled in England at Armstrong, David Atherton, Martyn Brabbins, Maxwell in The Silver Tassie, and Siward in Referee in Benedict Mason’s Playing Away, the age of ten. After James Conlon, Paul Daniel, Andrew Davis, A Better Place. Guest appearances have Ferrando (Il trovatore), Arkel (Pelléas and reading Modern Christoph von Dohnányi, Mark Elder, included roles for Opera Northern Ireland, Mélisande), Wurm (), the title role Languages at London Bernard Haitink, Richard Hickox, Oliver Garsington Opera and the Aix-en Provence in Le nozze di Figaro, the Doctor (Wozzeck); University, he studied Knussen, Sir , Antonio Festival. with Opera Factory in Don Giovanni; with singing with Hervey Pappano, Carlo Rizzi and Edo de Waart. His Mark Le Brocq has performed as a recital English National Opera in Billy Budd, Alan and Josephine Veasey. recordings include La traviata and Rigoletto, and oratorio soloist in the USA, France, Wozzeck, as Cadmus (Semele), the four Peter Sidhom has appeared at many of the the role of Pascoe in Ethel Smyth’s The , Spain and the Middle East, as well Villains in The Tales of Hoffmann, Ferrando world’s leading international opera houses Wreckers, and Carmina Burana. as all the major London venues. He has (Il trovatore), Collatinus (The Rape of Lucretia), including the Royal Opera House, Covent appeared with the Gabrieli Consort/Paul and Pistol in Falstaff. Abroad Clive Bayley has Garden (Schaunard in La bohème, Monterone Mark Le Brocq held a choral scholarship to McCreesh at festivals throughout Europe. appeared with Opera, Seattle in Rigoletto, Capulet in Roméo et Juliette, Paolo St. Catharine’s College, Cambridge where he Concert engagements have included the Opera, in Lisbon and Lausanne. Other in Simon Boccanegra, Donner in Das read English. He won an Entrance Scholarship Mozart and Verdi Requiems, Beethoven’s Mass engagements have included the Fisherman Rheingold ); Opéra Bastille, Paris; La Monnaie, to the Royal Academy of Music to Study with in C and Choral Fantasia, Messiah, and in Kurt Weill’s The Royal Palace at the Brussels (ll tabarro, Gianni Schicci); Teatro Kenneth Bowen and later continued his La resurezzione. Recordings include Il trovatore

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Christian Steiner the from season. Garden asaprincipaltenorinthe1999/2000 Opera. He joined The Royal Opera, Covent and Don José ( Garden, Federico ( lustige Witwe engagements have includedCascada( of Verdi’s Moores Foundation recording Chandos/Peter Tenor, Horn andStrings ( I WasGlad Samson Moores Foundation, for Chandos/Peter Cecilia Orphée auxenfers Peter Wedd’s repertoire wideconcert ranges Glagolitic Mass Messiah , Handel’s , Judas Maccabaeus Ernani . ) for The Royal Opera, Covent and Pergolesi’s . ) forOpera Holland Park, TeDeum L’Arlesiana and Britten’s ) for Welsh National . He appearsonthe Foundation. Operatic the Peter Moores received from support Studio, where he National Opera McAlpine andatthe Drama with William School ofMusic and at theGuildhall Peter Wedd , Purcell’s Magnificat ) andPluto Serenade for and Boyce’s Hail Bright studied Die to 22 He hasalsosungroles in Jeffrey Tate andthelateGiuseppe Sinopoli. worked withJames Conlon,Riccardo Muti, Naxos Apprentice ( d’amore production of Peter Stein atLascalaandsanghisfirstmajor world-premiere ofCoghi’s Un diregno giorno Jailer ( ( Oper Frankfurt whichwillincludePapagneno Rouen. He willappearinaseriesofroles for of roles includingSchaunard ( by theAcademy ofthe Teatro allaScala,Milan. Die Zauberflöte Simon Bailey recently madehisdebutinthe At Lascala Simon has sunganumber ) andHobson ( Dialogues desCarmelites ). Wozzeck Le nozze diFigaroLe nozze ) andDulcamara ( . ), Lakai( immediately accepted graduation Simon was scholar. Upon where hewasachoral College, Cambridge Scholar) andClare a Peter Moores Music (where hewas Northern Collegeof graduate oftheRoyal Simon Bailey Turandot Tat’jana Ariadne auf ), First La bohème for Opéra de ) andhas L’elisir and Verdi’s directed by is a ), the own singersandinturntotheestablishmentof the BBCledtoawiderinvolvement withhis Australasia. Earlyconducting experiencewith former Czechoslovakia, Canadaand taken himtoScandinavia,Germany, the musicandhas from earlytocontemporary encompassed aremarkably widerepertoire Geoffrey Mitchell’s singingcareer has The the Peter Moores Foundation. acclaimed Opera inEnglish seriessponsored by innumerous recordingsparticipated inthe For ChandostheGeoffrey Mitchell Choirhas BBC andinternationalrecording companies. growing reputation work from withfurther the recordings.thirty The Choirisenjoying a with Opera Raraforwhichithasmadeover resulted in theChoir’s long-terminvolvement and abroad, madedozens ofrecordings and collaborated withoperacompanies intheUK symphony orchestras andconductors, halls,worked withtheUK’sconcert finest Choir hasappeared inallthemajorLondon alltypesofmusic.Sinceperforming thenthe to thechallengesandfunofsinging in 1991withtheaimofintroducing children launched by itsMusical Director Ronald Corp Geoffrey Mitchell Choir New LondonChildren’s Choir . Earlyrecordings was 23 London where itisResident Orchestra atthe position inBritish musicallife,notonlyin the Orchestra hasconsolidateditscentral Leonard Slatkin asPrincipal Guest Conductor Conductor Christophvon Dohnanyi andwith Pekka Salonen. Under current Principal Andrew Davis, Vladimir AshkenazyandEsa- Giuseppe Sinopoli, CarloMaria Giulini, Sir Conductor), LorinMaazel, Riccardo Muti, have beenOtto Klemperer (firstPrincipal Associated mostcloselywiththeOrchestra twentieth century’s greatest conductors. Orchestra recording orchestra, the was establishedby Walter Leggeprimarilyasa From auspiciousbeginningsin1945,whenit premiered over works. new thirty Dream and Britten’s Mahler’s Symphony No. 3,Holst’s and Vaughan Williams’ Ivan the Terrible Shostakovich’s recordings of Tchaikovsky’s London Children’s Choirencompasses many majorfestivals. broadcasts, andbeeninvitedtoappearat The extensive discographyoftheNew . It hasalsomaderecordings forfilmand went ontoattractsomeofthe St Nicolas Song oftheForests , Rutland Boughton’s and Hugh theDrover Philharmonia A Midsummer Night’s Nutcracker , Prokofiev’s The Planets Bethlehem , , , CHAN 3086 BOOK.qxd 21/5/07 5:37 pm Page 24

Royal Festival Hall, but also in the wider Alastair Miles, Yvonne Kenny, Andrew Shore, 1996 the first Spanish production of The numerous discs for the Opera Rara label community through regional residencies. and two with John Tomlinson.) Rake’s Progress. He has appeared in Germany, which have won several awards, including the The Orchestra has received several major Sweden, The Netherlands, at the Pesaro Belgian Prix Cecilia for Donizetti’s Rosmonda awards and won critical acclaim for its vitality David Parry studied Festival in Italy, the Hong Kong International d’Inghilterra. For Chandos he has conducted and unique warmth of sound. It has been with Sergiu Celibidache Festival, in with a tour of Carmen and nine recordings of operatic arias (with Bruce praised as well for its innovative programming, and began his career as in Mexico with the UNAM Symphony Ford, Diana Montague, Dennis O’Neill, at the heart of which is a commitment to Sir John Pritchard’s Orchestra. Recent new productions he has Alastair Miles, Yvonne Kenny, John performing and commissioning new music by assistant. He made his conducted include Fidelio at the New Zealand Tomlinson, Andrew Shore and Della Jones), as the world’s leading living composers, among debut with English Festival, at Theater and well as Lucia of Lammermoor, Aida, Faust, them its current Visiting Composer James Music Theatre, then Lucia di Lammermoor at New Israeli Opera. Don Giovanni, Ernani, Don Pasquale, MacMillan. became a staff His work in the recording studio includes The Elixir of Love, La bohème, Cavalleria The Orchestra tours frequently abroad and conductor at Städtische the BBC Television production of Marschner’s rusticana, Pagliacci, Il trovatore the award- is the world’s most recorded symphony Bühnen Dortmund and Der Vampyr and twenty-one complete opera winning Tosca and highlights from orchestra with well over 1000 releases to its at Opera North. He recordings under the sponsorship of the Peter Der Rosenkavalier, all in association with the credit. Among these are, for Opera Rara, was Music Director of Opera 80 from 1983 to Moores Foundation. Among these are Peter Moores Foundation. several discs of operatic arias as well as eleven 1987 and since 1992 has been the founding complete operas (Donizetti’s Ugo, conte di Music Director of Almeida Opera. Parigi, Ne m’oubliez pas, Emilia di Liverpool, He works extensively in both opera and L’assedio di Calais, Rosmonda d’Inghilterra and concert, nationally and internationally. He has Maria de Rudenz, Meyerbeer’s Dinorah, Mayr’s conducted several productions at English Medea in Corinto, Mercadante’s Orazi e National Opera and appears regularly with the Curiazi, Pacini’s Maria, regina d’Inghilterra and Philharmonia Orchestra. In 1996 he made his Rossini’s Otello). The Orchestra has recorded debut at the Glyndebourne Festival with Così numerous discs for Chandos including, in the fan tutte, where in 1998 he conducted the Opera in English series sponsored by the Peter world premiere of Jonathan Dove’s Flight. Moores Foundation, The Elixir of Love, Faust, He is a frequent visitor to Spain where he La bohème, the award-winning Tosca and eight has given concerts with most of the major solo recital albums of operatic arias (with Spanish orchestras. He conducted the Spanish Bruce Ford, Diana Montague, Dennis O’Neill, premiere of Peter Grimes in Madrid and in Jane Eaglen as Turandot

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Jane Eaglen as Turandot and Dennis O’Neill as Calaf

Jane Eaglen as Turandot CHAN 3086 BOOK.qxd 21/5/07 5:37 pm Page 28

Whilst still in his early twenties, Peter Moores had started giving financial support to various PETER MOORES, CBE, DL young artists, several of whom – , and the late Geraint Evans amongst them – were to become world-famous. In 1964 he set aside a substantial part of his Peter Moores was born in Lancashire, the son of Sir John Moores, founder of the giant inheritance to establish the Peter Moores Foundation, a charity designed to support those Littlewoods mail order, chain store and football pools group. He was educated at Eton and causes dear to his heart: to make music and the arts more accessible to more people; to give Christ Church, Oxford, where he read modern languages – he was already fluent in German encouragement to the young and to improve race relations. and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne Festival Opera before going up to university, and after Oxford he became a production PETER MOORES FOUNDATION student at the Vienna State Opera, combining this with a three-year course at the Vienna In the field of music, the main areas supported by the Peter Moores Foundation are: Academy of Music and Dramatic Art. the recording of operas from the core repertory sung in English translation; the recording By the end of his third year at the Academy Moores had produced the Vienna premiere of or staging of rare Italian opera from the bel canto era of the early nineteenth century Britten’s The Rape of Lucretia, had worked as Assistant Producer (repertoire which would otherwise only be accessible to scholars); the nurturing of at the San Carlo Opera House, Naples, the Festival and promising young opera singers; new operatic work. Rome Opera, and seemed set for a successful operatic career. At The Foundation awards scholarships annually to students and post-graduates for furthering this point he received a letter from his father asking him to their vocal studies at the Royal Northern College of Music. In addition, project awards may be

come home as he was needed in the firm. Family loyalty being Cooper/PMF Bill given to facilitate language tuition in the appropriate country, attendance at masterclasses or paramount, he returned to Liverpool. summer courses, specialised repertoire study with an acknowledged expert in the field, or From 1981 to 1983 he was a Governor of the BBC, and post-graduate performance training. a Trustee of the Tate Gallery from 1978 until 1985; from The Foundation encourages new operatic work by contributing to recordings, the 1988 to 1992 he was a director of Scottish Opera. He received publication of scores and stage productions. the Gold Medal of the Italian Republic in 1974, an Honorary Since 1964 the Foundation has supported the recording of more than forty operas, many of MA from Christ Church, Oxford, in 1975, and was made these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy opera an Honorary Member of the Royal Northern College of to the full, there must be no language barrier, particularly for newcomers and particularly in the Music in 1985. In May 1992 he became Deputy Lieutenant popular repertoire – hence the Opera in English series launched with Chandos in 1995. This of Lancashire, and in the New Year’s Honours List for 1991, includes many of the English language recordings funded by the Foundation in the 1970s and he was made a CBE for his charitable services to the Arts. Peter Moores, CBE, DL 1980s, and is now the largest recorded collection of operas sung in English.

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Jane Eaglen as Turandot and Dennis O’Neill as Calaf CHAN 3086 BOOK.qxd 21/5/07 5:37 pm Page 32

des Fräuleins gemacht? Ich bitte Sie, lassen Sie um die Eröffnungsszene bereichert, eine Art Turandot – Alt und neu es nach Gottes Willen gelingen – will sagen, Intermezzo (“una chitarrara”, laut Puccini), und ausgezeichnet.” Offenbar war also die Sklavin im August folgte der Einschub von Turandots “Eine für Puccini wirklich neue Oper” – so Es half ihm nicht, dass die beiden Librettisten, Liù als Ersatz für die intrigenreiche Prinzessin Arie “In questa reggia” (Within this palace), die beschrieb Andrea Della Corte, der Kritiker der Renato Simoni und Giuseppe Adami, Adelma bei Gozzi ein Einfall Puccinis. allerdings erst im April 1923 komponiert Turiner Zeitung La Stampa, 1926 die literarische Ambitionen hatten und als Jedenfalls wäre dies typisch für den Mann, der wurde. Unterdessen hatte Puccini die Uraufführung von Turandot an der Mailänder einigermaßen bekannte Dramatiker davon dreißig Jahre zuvor auf einer “strahlenden folgenschwere Entscheidung getroffen, Liù in Scala. Es war ein Urteil, dem man sich in aller Abstand nahmen, konventionelle Opernstoffe Gestalt” bestanden hatte, um das Publikum der Folterszene sterben zu lassen (ursprünglich Welt anschloss und dies nirgendwo nach Art von Piave, Ghislanzoni oder anderen mitfühlen zu lassen. war ihr noch ein kurzes Duett mit Turandot zu emphatischer als in Großbritannien, wo der im 19. Jahrundert zu liefern. Es war Simoni, Das Wachstum und die allmähliche Beginn des 3. Akts zugedacht gewesen). Dies Komponist seinen guten (und häufig auch der Anfang 1920 in Mailand bei einer Transformation der Oper lässt sich in kurzen warf ein Problem auf, dessen Lösung ihm bis schlechten) Ruf solchen Werken wie Besprechung mit Puccini dessen Interesse auf Zügen umreißen. Anfänglich bestand der zum Ende versagt blieb. Die Transformation La bohème, Tosca und Madama Butterfly Gozzis “Fiaba” lenkte und ihm schließlich die 1. Akt aus zwei Szenen und endete mit der einer eiskalten, rachsüchtigen Furie, die ohne verdankte. Tatsächlich war Puccini, ebenso wie Version Schillers in einer Übersetzung von Beantwortung der Rätsel. Der 2. Akt drehte mit der Wimper zu zucken das Selbstopfer eines Verdi, aber schon immer um Neuerungen Andrea Maffei zugänglich machte. Puccini war sich um die hektischen Bemühungen, die unschuldigen Menschen hinnimmt, zu einem bemüht; so erklärt sich seine Angewohnheit, sofort einverstanden. “Ich glaube, bei diesem Identität Calafs in Erfahrung zu bringen, die warmen, liebevollen Wesen, war eine die verschiedensten Themen aufzugreifen und Thema sollten wir bleiben”, schrieb er zurück. ihm von den Ministern Turandots Schreckensaufgabe selbst für das größte ebenso schnell abzustoßen, wenn es ihm nicht “Alles in allem glaube ich, dass Turandot das vorgehaltenen Versprechungen und die Folter musikalische Genie. In den nächsten beiden gelang, sie seinen eigenen Vorstellungen zu normalste und menschlichste aller Liùs; der 3. Akt brachte die endgültige Jahren war Puccini unermüdlich in seinen unterwerfen. Die Entstehung von Turandot Bühnenwerke Gozzis ist. Also dann Turandot, Kapitulation der Prinzessin. Im September Forderungen nach einem geeigneten Text für erwies sich als besonders langwierig und im modernen Sinne, dem Ihrigen, Adamis und 1921 bestand Puccini darauf, die beiden letzten das Abschlussduett, und man hat argumentiert, qualvoll. Verschiedentlich war er versucht, das meinem.” Die Dramatiker entwarfen ein Akte zu einem zu verschmelzen – aber dass es Puccini vielleicht beschieden gewesen Projekt ganz aufzugeben, war sogar, wie er Handlungsgerüst, das Puccini prinzipiell glücklicherweise dachte er schnell wieder um. wäre, die Oper zu seiner Zufriedenheit zu seiner englischen Vertrauten Sybil Seligman zusagte, in den nächsten vier Jahren aber noch Zum Jahreswechsel hatte man sich auf die vollenden, wenn nur seine Librettisten ihre mitteilte, dazu bereit, die bereits geschriebene drastischen Änderungen unterzogen werden endgültige Grundstruktur geeignet, und der Aufgabe rechtzeitig erfüllt hätten. Aber diese Turandot-Musik für einen neuen Text von sollte. Von besonderem Interesse ist in diesem 1. Akt endete mit dem Ensemble, in dem These halte ich für unwahrscheinlich. In Giovacchino Forzano (dem Autoren von Suor Zusammenhang ein Brief, den Puccini im Timur, Liù und die Minister vergeblich Anlehnung an Shakespeares Mark Antony Angelica und Gianni Schicchi) mit einem August 1920 an Simoni schrieb: “Haben Sie versuchen, den Prinzen von seinem Vorhaben könnte man eher sagen, dass Puccini sein Herz ähnlichen chinesischen Milieu umzuarbeiten. sich viel Gedanken über die neue Einführung abzubringen. Im März 1922 wurde der 2. Akt mit Liù im Sarg verlor.

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In der Tat sorgt die junge Frau mit dem vermeidet – nicht zur Erzielung gewollter Puccini auch erstmals seine Vorliebe für eine Orchestererklärung und die folgende reinen Herzen, die aus Liebe in den Tod geht, Effekte, sondern nur im Rahmen der Reihe von parallelen, oft nicht miteinander Proklamation des Mandarin gehören der für die Verknüpfung von Turandot mit den einfachen musikalischen Abhandlung. verwandten Akkorden zu erkennen, die ihn Nachkriegszeit an, während die Melodie, die vorausgegangenen Werken Puccinis. Es gibt Dies sollte ihm mit der Zeit die pentatonische sein Leben lang begleiten sollte; mit der Zeit unsere Aufmerksamkeit auf Liù und Timur auch noch andere Bindeglieder, vor allem in Harmonien (d.h. die schwarzen Noten) wurden diese Akkorde dann kunstvoller lenkt, an den Puccini vor der musikalischer Hinsicht. Mit tieferem Einblick erschließen, die er dann mit großem gearbeitet, nicht zuletzt unter dem Eindruck Jahrhundertwende erinnert, mit ihrer als der eingangs zitierte Della Corte bemerkte Erfolg bei der japanischen und chinesischen von Komponisten wie Debussy und Abwärtstendenz und der seit Le villi für den Giulio Cesare Paribene in L’Ambrosiano: Klangfärbung von Madama Butterfly Strawinsky. Ein weiteres bevorzugtes Mittel, Komponisten so typischen Beendigung jeder “Turandot zeugt vom ganzen Leben ihres und Turandot einsetzte – in beiden Fällen das sich in Edgar andeutet, ist die hartnäckige Phrase durch eine fallende Quinte. Und doch Schöpfers in der Musik, denn die Oper fasst unter Anlehnung an authentische Volksmusik. Abwechslung zweier Akkorde zur Steigerung stehen sich beide Ideen ohne den geringsten alle Entwicklungsphasen eines Komponisten Sein musikalisches Vokabular erfasste der dramatischen Spannung. Ein Widerspruch gegenüber. Nichts in der Partitur zusammen, der sich selbst stets treu blieb und schließlich auch die weitaus schärferen hervorragendes Beispiel hierfür ist das Finale veranschaulicht prägnanter die Fähigkeit dennoch nicht davor zurückschreckte, alle Dissonanzen, die in seiner letzten Oper im 1. Akt von Tosca, wo Scarpia seine Puccinis, sowohl der alten als auch der neuen Entdeckungen unserer heutigen, rastlosen Zeit zum Ausdruck kommen, aber ihre Wurzeln niederträchtigen Absichten vor dem Zeit das Beste abzugewinnen. Ebensowenig im Hinblick auf Form und Ausdruck zur lassen sich in eine frühere Zeit Hintergrund eines Te Deum enthüllt. verliert er in der gewagten Modernität seines Kenntnis zu nehmen.” Mit anderen Worten zurückverfolgen. Nirgendwo kommt dieses Mittel mächtiger Schwanengesangs die Fähigkeit, eine Melodie beherrschte Puccini, ganz so wie Verdi, aber Eine der gewagtesten harmonischen zum Einsatz als in dem Ensemble zum von unvergänglicher Schönheit im Gegensatz zu seinen Kollegen der “giovane Kombinationen ergibt sich in Turandot an der Abschluss des 1. Akts von Turandot, wo es das hervorzuzaubern: Man denke an “Nessun scuola”, das Geheimnis der Selbsterneurung Stelle, wo die Geister der enthaupteten Freier emotionale Tauziehen zwischen Calaf und den dorma” (None shall sleep now). durch die Assimilation von Elementen der auf den Stadtmauern ihren schemenhaften Beistehenden auf perfekte Weise illustriert. In Sicherlich trifft zu, dass solche Momente zeitgenössischen Avantgarde in sein eigenes, Auftritt haben, voller Sehnsucht nach dem Manon Lescaut, La bohème und La rondine nach Madama Butterfly seltener werden. Doch persönliches Idiom. Weniger häufig wird Anblick ihrer Geliebten. Hier ist die Tonalität leitet Puccini die Eröffnungsszene jeweils mit wenn die zunehmende Komplexität in hervorgehoben, wie rasch dieses Idiom Gestalt praktisch aufgehoben und mit ihr jegliches zwei Kontrastthemen ein, das erste lebhaft und Puccinis Stil die orthodoxen Kritiker vor den annahm. Einfache, diatonische Melodien, von Bewegungsgefühl. Eine ähnliche, wenn auch stark akzentuiert, das zweite lyrisch fließend. Kopf stieß, so verhalf sie ihm unter den ungewöhnlich reich- und vielfaltigen schlichtere Passage erlebt man aber auch schon Turandot beginnt auf ähnliche Weise, doch musikalischen Wegbereitern der Zeit zu Harmonien unterstützt, finden sich bereits bei dem Chor hinter der Bühne, den Puccini erfahren hier nicht nur die beiden Themen hohem Ansehen. Nach einer Aufführung von 1884 in seinem Frühwerk Le villi. Hier fällt 1905, dem Jahr von Madama Butterfly, bei der eine innere Erweiterung, sondern es wird auch La fanciulla del West schrieb Anton Webern auch schon ein Penchant für die “weiche letzten Überarbeitung von Edgar einfügte. In die harmonische Distanz zwischen ihnen seinem Lehrer Arnold Schönberg, die Partitur Diskordanz” auf, die Halbtonreibungen der Originalfassung dieser Oper (1889) gibt unermesslich vergrößert. Die anfängliche habe einen absolut neuartigen Klang.

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Hervorragend! Keine Spur von Kitsch! Und er Handlung 7 Die kaiserlichen Minister Ping, Pang unbekannten Prinzen, sein Vorhaben spreche aus eigener Erfahrung. Das Werk und Pong versuchen, ihn umzustimmen. aufzugeben. 19 Turandot beginnt mit einer habe ihm ungemein gefallen. Dabei rannte COMPACT DISC ONE 8 – 9 Die Kammerfrauen Turandots bitten Erläuterung ihrer Motive: Eine Vorfahrin, die Webern offene Türen ein. Für Schönberg war um Ruhe, doch die Schatten der Prinzessin Lo-u-Ling, wurde von tatarischen Puccini schlicht “ein großer Mann” – kein 1. Akt hingerichteten Freier spornen Calaf an. Eindringlingen geschändet und in den Tod schlechter Tribut von dem Erfinder des Vor den Mauern der großen “violetten Stadt”, der Nichts, weder der Anblick von Pu-Tin-Pao, getrieben. Dieses Schicksal will Turandot Zwölftonsystems! “Kaiserstadt”. Die mächtige Befestigung schließt der mit dem Haupt des Prinzen von Persien sühnen. 20 Sie warnt Calaf, er werde drei Ein letztes typisches Merkmal im Spätstil fast die gesamte Bühne halbkreisförmig ein. zurückkehrt, 10 – 12 noch das Flehen Liùs, Rätsel lösen müssen, und schon eine falsche Puccinis ist noch zu erwähnen. Seit Manon 1 Dem Volk wird verkündet, die Prinzessin kann ihn von seinem Vorhaben abbringen. Antwort bringe den Tod. Calaf erwidert, er Lescaut hatte er die Akte vor dem Hintergrund Turandot werde nur den Mann heiraten, der Calaf schlägt gegen den Gong, um sich im werde alle drei lösen. des Zusammenspiels wiederkehrender Motive ihre drei Rätsel lösen könne. Wer die Probe Palast anzumelden. 21 Turandot stellt die erste Frage: Welches durchorganisiert, oft weniger spezifisch nicht bestehe, verwirke sein Leben. Die Menge Phantom, das ein jeder fassen möchte, wird ehrerbietig als bei dem von ihm so ruft nach dem Henker, um das jüngste Opfer 2. Akt jede Nacht geboren, um jeden Tag zu sterben? bewunderten Wagner. Nach La fanciulla Turandots, den Prinzen von Persien, bei 1. Szene Calaf weiß die Antwort: die Hoffnung. Was bleiben diese Motive erhalten; aber es zeigt Mondaufgang hinrichten zu lassen. 13 Ping, Pang und Pong erörtern die lodert wie eine Flamme, ohne Flamme zu sein, sich – besonders in Il tabarro – eine Im Gedränge verbirgt sich Timur, der Vorbereitungen für das, was entweder eine erkaltet mit dem Zugrundegehen, glüht auf zunehmende Tendenz, sie in größere Blöcke vertriebene König der Tataren. Sein Sohn Hochzeit oder eine Beerdigung werden wird. beim Traum vom Sieg? Dass Calaf mit “Blut” von Kontrastmaterial zu integrieren, die mit Calaf, der ebenfalls auf der Flucht ist, erkennt Sie erinnern sich an all die Prinzen, die für auch auf die zweite Frage die richtige Antwort Turandot ihren Höhepunkt erreicht. ihn nach Jahren der Trennung wieder Turandot gestorben sind, 14 – 15 und sehnen gibt, versetzt Turandot in Wut, und sie stellt Vergeblich sucht man bei Verdi oder Rossini 2 – 3 und erfährt, dass Timur der jungen sich nach einem Ruhestand auf dem Lande, ihm das letzte Rätsel: Eis, das Dich entzündet nach Präzedenzfällen. Dazu müsste man schon Sklavin Liù, die ihn begleitet, sein Leben der ihnen durch ihre traurigen Pflichten und durch Dein Feuer noch mehr erstarrt. bis zu den Opern Monteverdis zurückgehen. verdankt. Niemand kennt die Drei in Peking. versagt bleibt. Trompeten verkünden den Wenn es Dich frei will, vertieft es Deine Mit seinem letzten Bühnenwerk hat Puccini 4 – 5 Pu-Tin-Pao führt den Prinzen von Beginn der Rätselprobe Calafs. Knechtschaft, aber wenn es Dich zum Knecht also nicht nur unter eine vierzig Jahre lange Persien zur Hinrichtungsstätte. Nun ruft die nimmt, wirst Du König. Wovon spricht sie? Schaffenszeit, sondern auch unter eine Menge nach Turandot: Sie soll Gnade walten 2. Szene Calaf erwidert: Turandot. italienische Tradition, die drei Jahrhunderte lassen. Die Prinzessin erscheint, ist aber 16 Der Hof versammelt sich, um dem Drama 22 Der Kaiser besteht darauf, dass seine weit zurückreicht, sein Siegel gesetzt. unerbittlich. 6 Ihr Anblick schlägt Calaf um Turandot und ihren neuen Freier Tochter ihr Versprechen einhält und den Freier sofort in Bann, und er beschließt, Turandot zu beizuwohnen. 17 – 18 Vergeblich appelliert heiratet, der ihre Rätsel gelöst hat. 23 Doch © Julian Budden gewinnen. der Kaiser, Turandots Vater, an den Calaf will keine Gewalt, sondern ihre Liebe,

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und so stellt er sie vor ein Rätsel: Wenn sie 8 Calaf konfrontiert nun Turandot, reißt weltweit spektakuläres Lob errungen hat. Metropolitan Opera (mit Pavarotti), in Wien, zum Morgengrauen seinen Namen nennen ihr den Schleier vom Gesicht und küsst sie. Ebenso hervorragende Kritiken bekam sie für Madrid, Seattle, Bologna und an der Opéra kann, will er sterben. Der Kaiser betet für 9 Sie kann sich mit ihrer Eroberung nicht ihre Auftritte als Brünnhilde (im Siegfried) an Bastille, Amelia (Un ballo in maschera) in seinen Erfolg. abfinden; Calaf erklärt, dies sei erst der Beginn der Lyric Opera of Chicago und dann für Bologna und an der Opéra Bastille, die ihrer Liebe. 10 Turandot bittet ihn zu gehen ihren kompletten Ring am gleichen Haus Titelrolle in Tosca an der English National COMPACT DISC TWO und sein Geheimnis mit sich zu nehmen. sowie mit Riccardo Muti an der Mailänder Opera, am Teatro Colon in Buenos Aires und Doch nun verrät er sich selbst – er ist Calaf, Scala, in San Francisco und in Wien. Zuvor als konzertante Aufführung mit dem 3. Akt der Sohn . Turandot ist berauscht von hatte sie die Brünnhilde schon an der Opera Cleveland Symphony Orchestra, außerdem die 1. Szene dem Gefühl, ihn in ihrer Macht zu haben. Pacific und der Scottish Opera gegeben. Ihrem Titelrolle der Ariadne auf Naxos für die 1 – 2 Während Calaf im Palastgarten den Erfolg als Norma an der Scottish Opera (in English National Opera. Morgen erwartet, durchstreifen die Ausrufer 2. Szene einer von der Peter Moores Foundation Jane Eaglen ist ebenso auf dem des Kaisers die Stadt. Alle müssen versuchen, 11 Vor dem Hof verkündet Turandot, sie unterstützten Produktion) folgten von der Konzertpodium zuhause, und zu ihren den Namen des Prinzen zu erfahren. Doch er kenne den Namen des Unbekannten. Sein Kritik gelobte Darbietungen bei den Engagements zählen Verdis Requiem mit weiß: Bei Tagesanbruch wird er gewinnen. Name sei Gemahl. Festspielen von Ravenna mit Muti, an der Simon Rattle und dem City of Birmingham 3 Ping, Pang und Pong versprechen ihm Seattle Opera, der Los Angeles Opera, an der Symphony Orchestra, Mahlers Achte Sinfonie erst den Himmel auf Erden, wenn er von der © English National Opera Opéra Bastille in Paris und der Scottish mit Klaus Tennstedt, der dritte Akt der Prinzessin ablasse, dann drohen sie ihm mit Übersetzung: Andreas Klatt Opera. Götterdämmerung mit Bernard Haitink und Folter. Plötzlich werden Timur und Liù von Zu ihren weiteren unvergesslichen dem Boston Symphony Orchestra, Nabucco in den Wachen herbeigeführt. 4 Um den alten Jane Eaglen genießt in der heutigen Opernauftritten gehören die Isolde in Seattle, Ravenna mit Riccardo Muti, die Gurrelieder Mann zu schützen, behauptet die Sklavin vor Opernwelt ein fast unvergleichliches die sie jüngst erneut an der Metropolitan mit Claudio Abbado bei den Festspielen von Turandot, sie allein kenne den Namen des Renommee. Geboren im englischen Lincoln, Opera und der Lyric Opera of Chicago sang und Edinburgh, Norma in einer Unbekannten, werde ihn aber selbst unter der studierte sie am Royal Northern College of (und dafür großartige Rezensionen bekam), konzertanten Aufführung beim Kopenhagener Folter nicht verraten. 5 Die Liebe mache sie Music, wo sie von einem Stipendium der Peter ihr Debüt in der Rolle der Gioconda an der Tivoli Festival und in der Carnegie Hall sowie stark. Turandot ist einen Moment lang Moores Foundation unterstützt wurde, und Lyric Opera of Chicago, Donna Anna (Don Strauss’ Vier letzte Lieder mit Daniel gerührt, bevor sie die Minister anweist, Liù sang dann an der English National Opera. Giovanni) an der Metropolitan Opera – die sie Barenboim und dem Chicago Symphony das Geheimnis zu entreißen. 6 Doch Liù Einzigartige Erfolge erzielte sie in den zuvor schon an der Wiener Staatsoper sowie in Orchestra. gelingt es, sich selbst zu töten. 7 Timur gegensätzlichen Rollen der Norma und der Los Angeles, München und Bologna gegeben Jane Eaglens Aufnahmen auf Tonträger verflucht die Menschen, die ihren Tod Brünnhilde – ihr dramatischer Sopran ist zu hatte –, die Titelrolle in Turandot am Royal umfassen eine CD mit Arien von Wagner und herbeigeführt haben. solch großen Leistungen fähig, dass sie sich Opera House Covent Garden, an der Bellini, eine weitere mit Arien von Strauss und

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Mozart, Mahlers Achte Sinfonie, Beethovens Konzert mit den Sinfonieorchestern von Nicolai Gedda ist international als einer der Recitals wird er als herausragender Lied- Neunte, Bruckners Messe, Norma, Medea in Philadelphia, Cleveland, Montreal und Ottawa größten Künstler unserer Zeit anerkannt und Interpret geschätzt. Außerdem zeichnet er sich Corinto für Opera Rara, und für aufgetreten, außerdem beim Cincinnati wurde für seine Beherrschung eines dadurch aus, mit 200 Einspielungen der Chandos/Peter Moores Foundation die Festival. Als häufiger Gast an der Bayerischen Repertoires gefeiert, das nahezu jeden Stil und meistaufgenommene Tenor zu sein. Hierzu preisgekrönte Tosca und Aida. Sie ist Staatsoper sang er in München nach seinem jede Epoche in Oper, Oratorium, Operette, zählen vollständige Opernaufführungen von außerdem auf dem Soundtrack der Debüt in Un ballo in maschera in einer Lied und Orchesterwerk umfaßt. The Abduction from the Seraglio (für Filmfassung von Jane Austens Sense and Neuinszenierung von Il trovatore sowie im Der in Stockholm gebürtige Sohn eines Chandos/Peter Moores Foundation), Sensibility zu hören. Rosenkavalier, in Tosca, Lucia di Lammermoor, russischen Bassisten und einer schwedischen Wilhelm Tell, La Bohème, Faust, Werther, Simon Boccanegra, Aida, ferner die Titelrolle Mutter feierte sein Debut 1952 an der Manon, Così fan tutte und Benvenuto Cellini. In Wales als Sohn irischer und walisischer des Otello. Zudem hat er an den Königlichen Oper Stockholm in Le Postillon de Eltern geboren, gehört Dennis O’Neill heute Opernhäusern von Wien, Berlin, Bonn, Köln, Longjumeau. Im Publikum befand sich damals Mary Plazas studierte bei Ava June am Royal als Spezialist für die Werke Verdis zu den Hamburg, München, Nizza, Zürich, Paris, Herbert von Karajan, der ihn umgehend für Northern College of Music, wo sie von der führenden Tenören der Welt. Er kann auf eine Oslo, Brüssel, Barcelona, Lissabon, Oviedo, in seine Aufnahme von Bachs H-Moll-Messe Peter Moores Foundation und dem Countess lange Verbindung zum Royal Opera House der Arena di Verona und in Turin sowie an der engagierte. Somit kann Nicolai Gedda 2002 auf of Munster Musical Trust unterstützt wurde. Covent Garden zurückblicken, und dort English National Opera gastiert. Daneben fünfzig Jahre Aufnahmetätigkeit zurückblicken. Ihr Operndebüt gab sie 1992 als Stimme vom gehörten zu seinen zahlreichen Rollen pflegt er eine enge Beziehung zur Welsh 1953 hatte er sein Debut an der Mailänder Himmel (Don Carlos) an der English National u.a. Rodolfo (La Bohème), der Herzog National Opera. Scala, gefolgt 1954 von ersten Auftritten an der Opera, wo sie derzeit Hauptsängerin ist. Zu (Rigoletto), Pinkerton (Madama Butterfly), Denis O’Neill ist auch als Konzertsänger Pariser Oper und 1957 an der Metropolitan ihren Rollen gehörten Mimì, Leila, Adina, Edgardo (Lucia di Lammermoor), Macduff gefragt und hat in ganz Europa gesungen. Opera (in der Titelrolle von Gounods Faust). Nannetta, Micaëla, Marzelline (Fidelio), (Macbeth), Gustavo (Un ballo in maschera), Seine eigene Fernsehserien für die BBC waren Seit seinem Debut an der Royal Opera 1965 Lauretta, Oscar, Dorabella und die Titelrolle Foresto (Attila), Otello, Don Carlos, Radames außerordentlich populär, und er hat seither (als Herzog von Mantua in Verdis Rigoletto) hat in Das schlaue Füchslein (English National (Aida), Aroldo (im Konzert), Carlo (Giovanna einen Fernsehfilm über Caruso fertig gestellt. er dort Benvenuto Cellini, Alfredo, Gustavus Opera); Mimì, Susanna (Le nozze di d’Arco) und Jacopo (I due Foscari). Seine Aufnahmen für Chandos/Peter Moores III in Un ballo in maschera, Nemorino und Figaro), Tebaldo (Don Carlos) und Elisetta Für die Metropolitan Opera hat er Alfredo Foundation umfassen Aida, Cavalleria Lensky gesungen. An der Metropolitan Opera (Il matrimonio segreto) an der Opera North; (La traviata), Radames (Aida), Turiddu rusticana, Pagliacci, Tosca, La bohème, Il schuf er führende Rollen in Barbers Vanessa und Donna Elvira (Glyndebourne Touring Opera); (Cavalleria rusticana) und Canio (Pagliacci) trovatore sowie eine CD mit Großen Menottis The Last Savage. Anne Trulove (New Israeli Opera und Opera gesungen. Des Weiteren ist er in Amerika an Opernarien. Dennis O’Neill wurde zu Neujahr Seine Operntriumphe erstrecken sich von Factory) sowie Echo (Ariadne auf Naxos) und der Lyric Opera of Chicago, in San Francisco, 2000 mit dem Orden Commander of the den Werken Haydns und Mozarts bis hin zu Madame Silberklang (Der Schauspieldirektor) San Diego, an der Vancouver Opera und im British Empire ausgezeichnet. Stravinsky, Orff, Barber und Menotti, und in an der Garsington Opera.

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1996 debütierte sie bei den BBC Maria Regina d'Inghilterra (beide für Opera (Il trovatore), Collatinus (The Rape of Lucretia) Paris; La Monnaie, Brüssel (ll tabarro, Promenade Concerts mit der Royal Opera als Rara), Dido and Aeneas für Chandos, L’Enfant und Pistol (Falstaff ). Im Ausland ist Clive Gianni Schicci); Teatro Comunale, Florenz Stimme vom Himmel, und 1997 trat sie an et les sortilèges und, für Chandos/Peter Moores Bayley an der Nederlandse Opera und der (Der Zwerg); San Fransisco Opera (Ring des der Royal Opera in Covent Garden und an der Foundation, Marguerite in Faust, Adina, Seattle Opera sowie in Lissabon und Lausanne Nibelungen); Glyndebourne Festival (Simon Metropolitan Opera, New York in Pfitzners Zerlina und Micaela. aufgetreten. Zu seinen weiteren Boccanegra); Théâtre du Capitole, Toulouse Palestrina auf. Sie schuf die Rolle der Tina in Verpflichtungen zählten Fischer in Kurt Weills (La bohème und Lohengrin); Staatstheater Jonathan Doves Flight für die Glyndebourne Clive Bayley war Stipendiat der Peter Moores Royal Palace bei den BBC Promenade Stuttgart (Tosca); Teatro Real de Madrid (Der Touring Opera und sang sie dann auch an der Foundation am Royal Northern College of Concerts sowie Auftritte an der Glyndebourne Rosenkavalier); Teatro La Fenice (Billy Budd ). Glyndebourne Festival Opera. Sie sang die Music und singt heute regelmäßig mit den Festival Opera und mit der Glyndebourne Er hat Haupt- und Titelrollen an der Welsh Duchess in Powder her Face von Thomas Adès großen Opernensembles. Sein Repertoire Touring Opera. National Opera, English National Opera, mit der Almeida Opera, beim Aldeburgh reicht von Monteverdi über Verdi, Puccini, Für Chandos hat er Troilus and Cressida und Opera North und Scottish Opera gesungen. Festival und in einer Fernsehaufnahme für Berg und Britten bis zu Birtwistle. Er Billy Budd und für Chandos/Peter Moores Seine ebenso erfolgreichen Konzertauftritte Channel 4. Im Sommer 2001 debütierte sie debütierte an der Royal Opera Covent Garden Foundation Falstaff, Madam Butterfly, Don haben ihn an alle wichtigen Veranstaltungsorte bei den Bregenzer Festspielen als Mimì, die sie in der Uraufführung von Harrison Birtwistles Giovanni, Boris Godunov (Auswahl), Don in England geführt. Zu den zahlreichen auch 2002 wieder singen sollte. Gawain und trat später als Colline in La Pasquale und Il trovatore aufgenommen. Dirigenten, mit denen er zusammengearbeitet Mary Plazas hat zahlreiche Recitals und bohème, Hans Foltz in Die Meistersinger und hat, gehören Richard Armstrong, David Konzerte gegeben, darunter Solorecitals in der Castro in La fanciulla del West auf. Beachtliche Peter Sidhom, in Ägypten als Sohn einer Atherton, Martyn Brabbins, James Conlon, Wigmore Hall, im Purcell Room und im Erfolge verzeichnete er mit der Opera North maltekisch-italienischen Mutter und eines Paul Daniel, Andrew Davis, Christoph von Karajan-Zentrum in Wien. Außerdem ist sie bei in Verdis Jerusalem, als Sparafucile (Rigoletto), ägyptischen Vaters geboren, übersiedelte mit Dohnányi, Mark Elder, Bernard Haitink, den Festspielen von Cheltenham, Aldeburgh Mönch (Don Carlos), Raleigh (Gloriana), zehn Jahren nach England. Er studierte Richard Hickox, Oliver Knussen, Sir Charles und Chester aufgetreten. Im konzertanten Referee in Benedict Masons Playing Away, zunächst neuere Sprachen an der London Mackerras, Antonio Pappano, Carlo Rizzi und Rahmen hat sie Haydns Schöpfung, Tippetts Ferrando (Il trovatore), Arkel (Pelléas et University, bevor er sein Gesangsstudium bei Edo de Waart. Seine Schallplattenaufnahmen A Child of our Time, Mahlers Sinfonie Nr. 8, Mélisande), Wurm (Luisa Miller), in der Hervey Alan und Josephine Veasey aufnahm. umfassen La traviata und Rigoletto, Pascoe in Mozarts Requiem, Ein deutsches Requiem von Titelrolle von Le nozze di Figaro und als Peter Sidhom ist an führenden Opernbühnen Ethel Smyths The Wreckers sowie Carmina Brahms, die Sinfonie Nr. 14 von Doktor (Wozzeck); mit der Opera Factory in der Welt aufgetreten: Royal Opera Covent Burana. Schostakowitsch, Beethovens Neunte und Don Giovanni; mit der English National Garden (Schaunard in The Promised Land von Saint-Saëns gesungen. Opera in Billy Budd, Wozzeck, als Cadmus La bohème, Monterone in Rigoletto, Capulet Mark Le Brocq war Chorstipendiat am Ihre Schallpattenaufnahmen umfassen (Semele), die vier dämonischen Gegenspieler in Roméo et Juliette, Paolo in Simon Boccanegra, St. Catharines College in Cambridge, wo er Mercadantes Emma d’Antiocchia und Pacinis (The Tales of Hoffmann), Ferrando Donner in ); Opéra Bastille, Anglistik studierte. Mit einem Entrance-

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Stipendium ging er an die Royal Academy of Peter Wedd studierte an der Guildhall School of Leitung von Dirigenten wie James Conlon, Mitchell Choir an zahlreichen Aufnahmen der Music, um bei Kenneth Bowen zu studieren, Music and Drama bei William McAlpine und Riccardo Muti, Jeffrey Tate und Giuseppe hervorragend kritisierten Reihe Opera in bevor er seine Ausbildung am National Opera am , wo er von der Peter Sinopoli. Außerdem hat er Rollen in Turandot English unter der Schirmherrschaft der Peter Studio fortsetzte. Moores Foundation unterstützt wurde. Zu und Verdis Un giorno di regno gesungen. Moores Foundation teilgenommen. Als Hauptsänger an der English National seinen Opernauftritten gehörten Cascada Simon Bailey sang vor kurzem in der Opera sang er u.a. Tamino (The Magic Flute), (Die lustige Witwe) an der Royal Opera Covent Welturaufführung von Coghis Tat’jana unter Der New London Children’s Choir wurde Paris (King Priam), Count Almaviva (The Garden, Federico (L’Arlesiana) und Pluto (Orphée der Leitung von Peter Stein an der Scala und 1991 von seinem musikalischen Leiter Ronald Barber of Seville), Narraboth (Salome), Don aux enfers) an der Opera Holland Park und Don in seiner ersten wichtigen Inszenierung von Corp gegründet, um Kindern die Ottavio, Monostatos, Rodriguez (Massenets José (Carmen) an der Welsh National Opera. In Le nozze di Figaro an der Opéra de Rouen. Herausforderungen und die Freuden des Don Quixote), Odoardo (Ariodante), Doctor der Spielzeit 1999/2000 trat er als Haupttenor An der Oper Frankfurt wird er u.a. Papageno Singens und der Darbietung von Musik in Maxwell in The Silver Tassie und Siward in der Royal Opera Covent Garden bei. (Die Zauberflöte) und Dulcamara (L’elisir jeder Form zu vermitteln. Dies führte zu A Better Place. Außerdem gastierte er an der Sein breit gefächertes Konzertrepertoire d’amore) singen. Auftritten in allen wichtigen Konzertsälen Opera Northern Ireland, Garsington Opera reicht von Messiah und Pergolesis Magnificat Londons, der Zusammenarbeit mit den besten und bei den Festspielen von Aix-en-Provence. bis zur Glagolitischen Messe und Brittens Geoffrey Mitchells Gesangskarriere hat ihm Sinfonieorchestern und Dirigenten Mark Le Brocq ist mit Recitals und als Serenade for Tenor, Horn und Strings. Für ein bemerkenswert breitgefächertes Repertoire Großbritanniens sowie Opernensembles im Oratoriumssolist in den USA, Frankreich, Chandos/Peter Moores Foundation hat er von der alten bis zur neuen Musik beschert In- und Ausland, zahlreichen Schallplatten- Deutschland, Spanien und Nahost sowie in Verdis Ernani aufgenommen. und ihn nach Skandinavien, Deutschland, in aufnahmen und Rundfunkkonzerten sowie allen namhaften Konzertsälen Londons die ehemalige Tschechoslowakei, nach Kanada Einladungen zu vielen wichtigen Festivals. aufgetreten. Mit dem Gabrieli Consort unter Simon Bailey war Stipendiat der Peter Moores und Australasien geführt. Nachdem er bei der Die umfangreiche Diskografie des Chors der Leitung von Paul McCreesh hat man ihn Foundation am Royal Northern College of BBC erste Dirigiererfahrungen gesammelt umfasst Tchaikowskis Nussknacker, bei Festspielen in ganz Europa erlebt. Zu Music, und er studierte am Clare College in hatte, begann er mit eigenen Sängern zu Schostakowitschs Lied von den Wäldern, seinen Konzertverpflichtungen gehörten u.a. Cambridge, wo er Chorstipendiat war. Nach arbeiten und gründete den Geoffrey Mitchell Prokofjews Iwan der Schreckliche, Rutland die Requiems von Mozart und Verdi, seinem Abschluss wurde er sofort an die Choir. Aus ersten Aufnahmen entwickelte sich Boughtons Bethlehem und Hugh the Drover Beethovens Messe C-Dur und Chorfantasie, Akademie der Mailänder Scala aufgenommen. eine langfristige Zusammenarbeit des Chors von Vaughan Williams, Mahlers Sinfonie Messiah und La resurezzione. Seine Diskografie An der Scala hat er u.a. Schaunard mit Opera Rara, für die er über dreißig Nr. 3, Die Planeten von Holst und Brittens umfasst Il trovatore für Chandos/Peter Moores (La bohème), Kerkermeister (Dialogues des Tonträger aufgenommen hat. Der Chor St. Nicolas und A Midsummer Night’s Dream. Foundation, Samson, Judas Maccabaeus, Carmelites), Erster Handwerksbursche genießt wachsendes Ansehen und ist bei der Außerdem hat der Chor Filmmusik Purcells Hail Bright Cecilia, Händels Utrecht (Wozzeck), Lakai (Ariadne auf Naxos) und BBC und internationalen Plattenfirmen aufgenommen und über dreißig neue Werke Te Deum und Boyces I Was Glad. Hobson (Peter Grimes) gesungen, unter der gefragt. Für Chandos hat der Geoffrey zur Aufführung gebracht.

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Seit seinen vielversprechenden Anfängen Gastkomponisten James MacMillan, zu spielen Music Theatre debütiert und wurde dann Orchestra. Zu den Neuproduktionen, die er in 1945, als es von Walter Legge hauptsächlich und in Auftrag zu geben. Dirigent mit Festvertrag an den Städtischen letzter Zeit dirigiert hat, zählen Fidelio beim für Schallplattenaufnahmen gegründet wurde, Das Orchester unternimmt oft Bühnen Dortmund und an der Opera North. New Zealand Festival, Maria Stuarda am hat das Philharmonia Orchestra einige der Auslandstourneen und kann als das am Von 1983 bis 1987 war er Musikdirektor der Stadttheater Basel und Lucia di Lammermoor bedeutendsten Dirigenten des zwanzigsten häufigsten aufgenommene Sinfonieorchester Opera 80 und seit 1992 Gründungsmitglied an der New Israeli Opera. Jahrhunderts für sich gewonnen. Besonders der Welt über tausend Einspielungen für sich und Direktor der Almeida Opera. Seine Tätigkeit im Aufnahmestudio umfaßt enge Beziehungen zu dem Orchester haben verbuchen. Darunter befinden sich (für die Er übt in Großbritannien und international die Produktion von Marschners Der Vampyr Otto Klemperer (der erste Chefdirigent), Reihe Opera Rara) mehrere Aufnahmen mit eine weitgespannte Tätigkeit in den Bereichen fürs BBC-Fernsehen und einundzwanzig Lorin Maazel, Riccardo Muti, Giuseppe Opernarien und elf vollständige Oper und Konzert aus, hat mehrere vollständige Opernaufzeichnungen unter der Sinopoli, , Sir Andrew Opernaufzeichnungen (Donizettis Ugo, conte Produktionen der English National Opera Schirmherrschaft der Peter Moores Davis, Vladimir Ashkenazy und Esa-Pekka di Parigi, Ne m’oubliez pas, Emilia di Liverpool, dirigiert und tritt regelmäßig mit dem Foundation. Darunter befinden sich zahlreiche Salonen unterhalten. Unter seinem L’assedio di Calais, Rosmonda d’Inghilterra und Philharmonia Orchestra auf. 1996 gab er Aufnahmen des Labels Opera Rara, die derzeitigen Chefdirigenten Christoph von Maria de Rudenz, Meyerbeers Dinorah, Mayrs sein Debüt beim Glyndebourne Festival mit mehrere Preise gewonnen haben, beispielsweise Dohnanyi und mit Leonard Slatkin als Medea in Corinto, Mercadantes Orazi e Così fan tutte und hat dort 1998 die den belgischen Prix Cecilia für Donizettis Erstem Gastdirigenten hat das Orchester Curiazi, Pacinis Maria, regina d’Inghilterra und Uraufführung von Jonathan Doves Flight Rosmonda d’Inghilterra. Für Chandos hat er die seine zentrale Position im britischen Rossinis Otello). Das Orchester hat für geleitet. Aufzeichnung von neun Programmen mit Musikleben gefestigt, und zwar nicht nur in Chandos zahlreiche Aufnahmen auf Tonträger Er ist häufig in Spanien zu Gast und hat mit Opernarien geleitet (mit Bruce Ford, Diana London, wo es als Hausorchester der Royal vorgenommen, beispielsweise für die Reihe den meisten bedeutenden spanischen Montague, Dennis O’Neill, Alastair Miles, Festival Hall fungiert, sondern mit Hilfe Opera in English unter der Schirmherrschaft Orchestern Konzerte gegeben. In Madrid hat Yvonne Kenny, John Tomlinson, Andrew regionaler Gastspiele auch für ein breiteres der Peter Moores Foundation L’elisir d’amore, er die spanische Erstaufführung von Peter Shore und Della Jones), außerdem Lucia of Publikum. Faust, La bohème, die preisgekrönte Tosca und Grimes dirigiert, und 1996 die erste spanische Lammermoor, Aida, Don Giovanni, Ernani, Das Orchester hat mehrere bedeutende acht Soloalben mit Opernarien (mit Bruce Inszenierung von The Rake’s Progress. Er ist in Faust, Don Pasquale, The Elixir of Love, Preise gewonnen und mit seiner Vitalität und Ford, Diana Montague, Dennis O’Neill, Deutschland, Schweden und den Niederlanden La bohème, Cavalleria rusticana, Pagliacci, seinem einzigartig warmen Klang den Beifall Alastair Miles, Yvonne Kenny, Andrew Shore, aufgetreten, bei den Festspielen in Pesaro, beim Il trovatore, die preisgekrönte Tosca und der Kritik gefunden. Außerdem wurde es für und zwei mit John Tomlinson). Hong Kong International Festival, in Japan Highlights aus dem Rosenkavalier, jeweils in seine innovative Programmgestaltung anläßlich einer Carmen-Tournee und in Zusammenarbeit mit der Peter Moores gepriesen, in deren Kern die Zielsetzung steht, David Parry hat bei Sergiu Celibidache studiert Mexiko mit dem UNAM Symphony Foundation. neue Stücke der weltweit führenden lebenden und seine berufliche Laufbahn als Assistent von Komponisten, zum Beispiel seines derzeitigen Sir John Pritchard begonnen. Er hat am English

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succès, comme Dieu le veut – c’est-à-dire de Turandot, qui ne fut toutefois composé Turandot – Ancien et nouveau excellent.” Ce serait donc Puccini qui aurait eu qu’en avril 1923. Entre temps, Puccini avait l’idée de substituer la jeune esclave Liù à pris la décision fatidique de faire mourir Liù “Un opéra vraiment innovateur pour Puccini” librettistes, Renato Simoni et Giuseppe Adami, l’intrigante princesse Adelma. Et cela semble pendant qu’on la torturait (dans le plan – telle fut l'appréciation d'Andrea Della Corte, tous deux des dramaturges de peu de talent en effet caractéristique de quelqu’un qui trente original, elle chantait un bref duo avec critique du journal turinois La Stampa, lors de nullement préparés à répondre à la demande ans auparavant avait insisté sur la nécessité Turandot au début de l’Acte III). Il créait ainsi la création de Turandot en 1926 à La Scala de de l’opéra conventionnel à la manière de leurs d’une “figure lumineuse” avec laquelle le un problème dont la solution allait lui Milan. Cette opinion fut répercutée dans les prédécesseurs du dix-neuvième siècle tels Piave public pouvait sympathiser. échapper jusqu’à la fin. Convertir en un être cercles musicaux à travers le monde, et tout ou Ghislanzoni. C’est Simoni qui le premier Le développement de l’opéra et sa graduelle humain chaleureux et aimant une Furie particulièrement en Grande-Bretagne où la avança l’idée de la “fable” de Gozzi lors d’une transformation peuvent être esquissés en vindicative et de marbre qui, sans sourciller, a renommée de son compositeur (ou sa réunion avec Puccini à Milan au début de quelques mots. A l’origine l’Acte I comprenait regardé une innocente victime faire le sacrifice notoriété, comme c’était souvent le cas) 1920, et il remit au compositeur une copie de deux scènes dont la seconde se terminait par la de sa personne est une tâche qui aurait reposait sur La bohème, Tosca et Madama la traduction d'Andrea Maffei de l’adaptation résolution des énigmes. L’Acte II évoquait la découragé le plus grand génie musical. Pendant Butterfly. Comme Verdi, Puccini avait toujours qu’en avait faite Schiller. Puccini mordit recherche frénétique de l’identité de Calaf, les les deux années qui suivirent, Puccini demanda eu le souci d’innover; de là son habituelle aussitôt. “Je crois que nous devrions nous en pots-de-vin que lui offraient les ministres de inlassablement que lui soit fourni un texte propension à aborder des sujets très divers tenir à ce sujet” lui répondit-il par courrier. Turandot et la torture de Liù; l’Acte III, la approprié pour ce duo final; et certains pensent pour les abandonner aussitôt qu’il se trouvait “Dans l’ensemble, je pense que Turandot est la capitulation finale de la princesse. En qu’il aurait suffi que ses librettistes le lui incapable de les réduire en ses propres termes. plus normale et humaine de toutes les œuvres septembre 1921, Puccini demandait que les remettent à temps pour qu’il termine l’opéra La gestation de Turandot fut un processus théâtrales de Gozzi. Ce sera donc Turandot, deux derniers actes soient fondus en un seul – comme il l’entendait. Mais cela me semble particulièrement long et tourmenté au cours dans une conception moderne, la vôtre, celle pas pour longtemps heureusement. Au Nouvel improbable. Pour évoquer un peu mal à propos duquel le compositeur était très tenté d’Adami et la mienne.” Les poètes établirent An, la distribution actuelle était adoptée, l’Acte Marc-Antoine dans Shakespeare, son cœur était d’abandonner le projet et en arriva même, un plan en temps voulu qui plut à Puccini I se terminant par l’ensemble dans lequel enseveli, là, avec Liù. comme il le dit à sa confidente anglaise Sybil dans les grandes lignes, mais il allait subir des Timur, Liù et les ministres tentent en vain de En effet, la jeune fille au cœur pur qui Seligman, à adapter la musique déjà composée modifications drastiques au cours des quatre dissuader le prince de s’engager dans meurt d’amour est à juste titre considérée à une nouvelle intrigue imaginée par années qui suivirent. Une lettre de Puccini à l’entreprise envisagée. En mars 1922, la scène comme le lien de Turandot avec ses Giovacchino Forzano (auteur de Suor Angelica Simoni écrite en août 1920 est d’un intérêt introductive de l’Acte II, conçue comme une prédécesseurs selon les critères de Puccini. et Gianni Schicchi) baignant dans une même tout particulier ici: “Avez-vous bien réfléchi à sorte d’intermezzo (“una chitarrara”, comme Mais ce n’est nullement le seul, et ambiance chinoise. Ses difficultés furent la nouvelle présentation de la petite femme? Je l’appelait Puccini) fut ajoutée, puis en août fut certainement pas sur le plan musical. Plus aggravées par les prétentions littéraires de ses vous en supplie, faites en sorte que ce soit un inséré le “In questa reggia” (Within this Palace) perspicace que Della Corte, Giulio Cesare

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Paribene de L’Ambrosiano fit remarquer que Turandot, pour lesquels Puccini puisa à la deux accords pour accroître la tension le meilleur parti des deux mondes, l’ancien et le “Turandot témoigne de l’ensemble de la vie source des mélodies folkloriques authentiques. dramatique. Un exemple exceptionnel est le nouveau. Et en dépit des nombreux et musicale de son auteur, en ce sens qu’il résume Finalement son vocabulaire allait s’étendre finale de l’Acte I de Tosca où Scarpia dévoile ses audacieux modernismes de son chant du cygne, toutes les phases de l’évolution d’un jusqu’à intégrer les dissonances beaucoup plus intentions infâmes avec en toile de fond un Te il n’a pas perdu non plus son habileté à faire compositeur qui, tout en restant fidèle à lui- marquées de son dernier opéra; mais leurs Deum chanté par l’assemblée des fidèles. Ce apparaître comme par magie une mélodie au même, ne dédaigne pas de tenir compte des racines se retrouvent généralement dans une procédé n’a nulle part un impact aussi puissant succès durable: “Nessun dorma” (None shall découvertes de l’époque actuelle, très époque antérieure. que dans l’ensemble qui conclut le premier acte sleep now) en est le témoin. tumultueuse, en matière de forme et L’une des combinaisons harmoniques les de Turandot où il traduit à la perfection le Pareils moments deviennent de plus en plus d’expression.” En d’autres termes, Puccini plus audacieuses dans Turandot apparaît au conflit émotionnel acharné entre Calaf et son rares, il est vrai, après Madam Butterfly. Mais si comme Verdi, et contrairement à ses confrères moment où les fantômes des prétendants entourage. Dans Manon Lescaut, La bohème et par la complexité croissante de son style, de la “giovane scuola”, détenait le secret de sa décapités de la princesse font leur sombre La rondine, Puccini lance la scène introductive Puccini s’aliénait une grande partie de son propre régénération par l’assimilation dans son apparition sur les remparts dans l’espoir avec deux thèmes contrastés, le premier animé auditoire habituel, il rehaussait son prestige idiome personnel d’éléments de l’avant-garde de d’apercevoir une fois encore leur bien-aimée. et très rythmé, le second, d’un lyrisme fluide. auprès des pionniers de la musique du moment. son temps. Le fait que ce langage ait pris forme Ici, la tonalité est comme suspendue, et avec Turandot commence d’une manière très Après avoir entendu une exécution de La précocement est moins souvent souligné. On elle toute impression de mouvement. Mais un similaire, mais ici outre le fait que les deux idées fanciulla del West, Anton Webern écrivit à son trouve des mélodies simples, diatoniques que passage similaire, conçu de manière plus sont intrinsèquement développées, la distance maître Arnold Schoenberg: “Ceci est une supportent des harmonies exceptionnellement limpide, se retrouve dans le chœur des noceurs harmonique entre elles a été démesurément partition dont toute la sonorité est d’une riches et variées dès 1884 dans son opéra de épuisés qui chantent en coulisse, que Puccini augmentée. L’envolée orchestrale initiale suivie originalité absolue. Magnifique! Pas trace de jeunesse Le villi. Ici aussi, on remarque une ajouta dans la révision d’Edgar faite en 1905, de la proclamation du Mandarin appartiennent kitsch! Et mon opinion est de première main. Je inclination pour ce qu’on pourrait appeler la l’année de Madama Butterfly. Dans la version à l’époque de l’après-guerre tandis que la dois dire que cela m’a plu énormément.” Il “douce discordance” dans laquelle le choc des originale de ce même opéra (1889), Puccini mélodie qui nous invite à porter le regard sur prêchait un converti. Pour Schoenberg, Puccini demi-tons est évité, n’étant pas utilisé pour créer dévoile sa prédilection pour les successions Liù et Timur se rattache au Puccini des années était tout simplement “un grand homme” – un un effet particulier, mais uniquement comme d’accords parallèles, souvent sans lien aucun, 1890 avec sa ligne qui fléchit, chaque phrase hommage non négligeable de la part de élément d’un discours musical franc et direct. qui fut présente tout au long de sa carrière. portant pour terminer le sceau stylistique du l’inventeur de la musique dodécaphonique! Le moment venu, ceci allait mettre à sa Mais avec le temps, ces accords se sont faits compositeur, manifeste depuis Le villi, soit la Il reste à mentionner une autre disposition une palette harmonique plus élaborés, partiellement sous l’influence de quinte descendante. Les deux idées, toutefois, caractéristique du style tardif de Puccini. pentatonique (c’est-à-dire les clefs noires) d’une compositeurs tels Debussy et Stravinski. Un sont juxtaposées sans que perce la moindre Commençant dans Manon Lescaut, il avait grande utilité pour restituer les coloris japonais autre procédé qu’affectionne Puccini, annoncé incongruité. Rien dans la partition n’illustre organisé ses actes autour d’une interaction de Madam Butterfly et la “chinoiserie” de aussi dans Edgar, est l’alternance constante de aussi succinctement l’aptitude de Puccini à tirer sous-jacente de motifs récurrents, aux

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références souvent moins spécifiques que celles proposera la princesse Turandot pourra Acte II rayonne comme une flamme mais n’est de Wagner qu’il admirait tant. Dans les œuvres l’épouser. Quiconque se présentera à l’épreuve Première scène pas une flamme, ce qui refroidit avec la qui suivirent La fanciulla, ces motifs sont et échouera sera exécuté. La foule réclame le 13 Ping, Pang et Pong discutent des mort mais brûle de rêves de conquête? toujours présents, mais on remarque une bourreau et exige la mort de la dernière préparatifs de ce qui sera ou noces ou Turandot est furieuse lorsque Calaf résout tendance de plus en plus nette, victime de Turandot, le prince de Perse, au funérailles. Ils comparent leurs souvenirs l’énigme en répondant: le sang. Elle pos particulièrement manifeste dans Il tabarro lever de la lune. des princes qui sont morts pour Turandot enfin la troisième question: ce qui vous et qui culmine dans Turandot, à les subsumer Timur, roi des Tartares en exil, est parmi la 14 – 15 et sont emplis de nostalgie en pensant enflamme, blanche et sombre cependant, ce en large blocs de matériau contrasté. C'est en foule. Son fils Calaf qui a aussi été condamné aux coins reculés où ils pourraient se retirer si qui asservit si elle vous veut libre, mais vous vain que l'on chercherait un quelconque à l’exil le reconnaît après des années de le décret ne les astreignait pas à leur lugubre tenant captif vous fait roi? Calaf répond: précédent chez Verdi ou Rossini. Pour séparation 2 – 3 et apprend que Timur mission. Des trompettes annoncent l’épreuve Turandot. trouver un procédé tant soit peu similaire, doit sa vie à une jeune esclave, Liù, qui de Calaf. 22 L’Empereur veille au respect de il faut retourner aux opéras de Monteverdi. On l'accompagne. Ils sont tous inconnus à Pékin. l’engagement solennel de sa fille d’épouser peu donc prétendre qu’avec cette 4 – 5 Pu-Tin-Pao mène le prince de Perse Deuxième scène le prétendant qui a résolu ses énigmes. dernière œuvre scénique, Puccini a marqué au supplice. La foule implore Turandot 16 La Cour se réunit pour voir le dernier 23 D’un ton triomphant, Calaf lui offre une de son sceau une carrière de quarante ans, mais d’apparaître et de le gracier, mais elle refuse. prétendant de Turandot affronter l’épreuve des dernière chance: si Turandot peut découvrir aussi une tradition italienne de trois siècles. 6 Calaf est tellement bouleversé par cette énigmes. 17 – 18 L’Empereur, son père, incite son nom avant le lever du jour, il est première vision de la princesse qu’il se résout à en vain le prince inconnu à renoncer au défi. préparé à mourir. L’Empereur prie pour son © 2002 Julian Budden tenter sa chance en essayant de répondre aux 19 Turandot ouvre la cérémonie en contant succès. énigmes de Turandot. comment son ancêtre la princesse Lo-u-Ling Synopsis 7 Les fonctionnaires impériaux, Ping, Pang fut enlevée et assassinée par les envahisseurs COMPACT DISC TWO et Pong essayent de l’en dissuader. 8 – 9 Les tartares et combien elle est soucieuse de venger COMPACT DISC ONE servantes de Turandot demandent le silence, sa mémoire. 20 Elle avertit Calaf que la mort Acte III mais les fantômes de ses anciens soupirants est l’une des trois épreuves. Calaf répond que Première scène Acte I incitent Calaf à affronter l’épreuve. Rien, la vie en est une. 1 – 2 Cette nuit-là, enfermée dans les Les murs de la grande cité violette: la cité ni le spectacle de Pu-Tin-Pao qui réapparaît 21 Turandot lui soumet la première énigme: jardins du palais, Calaf entend les hérauts impériale. Les remparts massifs entourent presque avec la tête du prince de Perse, 10 – 12 ni ce qui ne naît la nuit, invoqué par l’univers impériaux parcourir la ville à la recherche de toute la scène, en hémicycle. les supplications de Liù ne peuvent le entier, que pour s’éteindre à l’aube ressuscité quelqu’un qui peut révéler son identité. 1 La foule écoute un décret édictant que seul dissuader. Calaf frappe le gong qui annonce dans le cœur? Calaf répond correctement: Quand pointe le jour, il sait que l’attend la le prince qui résoudra les trois énigmes que son défi. l’espoir. La seconde énigme est celle-ci: ce qui victoire.

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3 Ping, Pang et Pong lui offrent des femmes, Jane Eaglen possède l’une des réputations les reprise au Metropolitan Opera de New York et de Tivoli à Copenhague et au Carnegie Hall la richesse et la gloire s’il laisse la princesse en plus extraordinaires dans le monde de l’opéra au Lyric Opera de Chicago et recevant chaque de New York; et dans les Quatre derniers lieder paix. Ils le menacent de le torturer au moment aujourd’hui. Né à Lincoln, elle a étudié au fois des critiques extraordinaires; ses débuts de Strauss avec Daniel Barenboim et le où les gardes introduisent Timur et Liù. 4 Ils Royal Northern College of Music de dans le rôle de La Giaconda au Lyric Opera de Chicago Symphony Orchestra. font venir Turandot qui assiste au spectacle de la Manchester grâce au soutien d’une bourse de Chicago; Donna Anna (Don Giovanni) au Parmi les enregistrements de Jane Eaglen, on jeune esclave s’offrant pour protéger le vieil la Peter Moores Foundation, puis elle est Metropolitan Opera – prècèdemment chantè au citera un disque d’arias de Wagner et de Bellini, homme et refusant cependant de céder sous la entrée à l’English National Opera. Staatsoper de Vienne, à Los Angeles, à Munich un autre consacré à des arias de Strauss et de torture. 5 A la question de savoir ce qui lui Rencontrant un succés sans précédent dans les et à Bologne; le rôle titre dans Turandot au Mozart, la Huitième Symphonie de Mahler, la donne tant de courage, Liù répond: l’amour. rôles contrastés de Norma et de Brünnhilde, sa Royal Opera de Covent Garden à Londres, au Neuvième Symphonie de Beethoven, la Messe Après quelques secondes d'émotion, Turandot voix est celle d’une soprano dramatique Metropolitan Opera de New York aux côtés de de Bruckner, Norma, Medea in Corinto pour donne ordre à ses ministres de lui arracher son exceptionnelle recevant des critiques Pavarotti, à Vienne, Madrid, Seattle, Bologne et Opera Rara, et pour Chandos et la Peter secret. 6 Liù se suicide. 7 Timur maudit la sensationnelles dans le monde entier. Ses à l’Opéra-Bastille à Paris; Amelia (Un ballo in Moores Foundation l’enregistrement primé de foule qui l’a conduite à la mort. interprétations de Brünnhilde (Siegfried ) au maschera) à Bologne et à l’Opéra-Bastille; le rôle Tosca, et Aida. Elle figure également sur la 8 Calaf affronte maintenant Turandot, Lyric Opera de Chicago, ses prestations dans le titre dans Tosca à l’English National Opera, au bande sonore de l’adaptation pour le cinéma de déchire son voile et l’embrasse. 9 Elle est Ring intégral donné ensuite dans ce même Teatro Colon à Buenos Aires, et en version de Sense and Sensibility de Jane Austin. mortifiée, pensant qu’elle est vaincue. Calaf théâtre, sous la direction de Riccardo Muti à concert avec le Cleveland Symphony Orchestra; proclame qu’il s’agit seulement de l’aube de leur La Scala de Milan, à San Francisco et à Vienne et le rôle titre dans Ariadne auf Naxos à Né au Pays de Galles de parents irlandais et amour. 10 Turandot le prie de partir avec son lui ont valu également les critiques les plus l’English National Opera. gallois, Dennis O’Neill est un des plus grands secret et Calaf répond qu’il n’y a plus de enthousiastes. Auparavant, elle chanta le rôle Egalement familière des salles de concert, tènors du monde, et un spécialiste des œuvres mystère – il est Calaf, le fils de Timur. Turandot de Brünnhilde à l’Opera Pacific et au Scottish Jane Eaglen s’est produite dans le Requiem de de Verdi. Il a entretenu une longue association est transportée d’émotion à l’idée qu’il soit Opera. Son succés dans le rôle-titre de Norma Verdi avec Simon Rattle et City of avec le Royal Opera de Covent Garden à maintenant en son pouvoir. au Scottish Opera (dans une production Birmingham Symphony Orchestra; dans la Londres où ses nombreux rôles ont inclus soutenue par la Peter Moores Foundation) fut Huitième Symphonie de Mahler avec Klaus Rodolfo (La Bohéme), le Duc (Rigoletto), Deuxième scène suivi par des interprétations acclamées par la Tennstedt; dans l’Acte III de Götterdämmerung Pinkerton (Madama Butterfly), Edgardo (Lucia 11 Face à la foule, Turandot déclare qu’elle critique au Festival de Ravenne avec Muti, à avec Bernard Haitink et le Boston Symphony di Lammermoor), Macduff (Macbeth), Gustavo connaît le nom de l’étranger, c’est: l’Amour. l’Opéra de Seattle, à l’Opéra de Los Angeles, à Orchestra; dans Nabucco à Ravenne avec (Un ballo in maschera), Foresto (Attila), Otello, l’Opéra-Bastille à Paris, et au Scottish Opera. Riccaro Muti; dans les Gurrelieder avec Don Carlos, Radames (Aïda), Aroldo (en © English National Opera Parmi d’autres interprétations mémorables Claudio Abbado au Festival de Salzbourg et au version de concert), Carlo (Giovanna d’Arco), Traduction: Marie-Françoise de Meeûs de Jane Eaglen, on citera Isolde à Seattle, Festival d’Edimbourg; dans Norma au Festival et Jacopo (I due Foscari).

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Aux Etats-Unis, Dennis O’Neill s’est produit figurent Aida, Cavalleria rusticana, Pagliacci, Benvenuto Cellini, Alfredo, Gustavus III dans rusé (English National Opera); Mimì, Susanna au Metropolitan Opera de New York dans le Tosca, La bohème, Il trovatore, et un disque de Un ballo in maschera, Nemorino et Lensky. Il (Le nozze di Figaro), Tebaldo (Don Carlos) et rôle d’Alfredo (La traviata), Radames (Aida), Grands airs d’opéra. En l’an 2000, Dennis créa des rôles importants dans Vanessa de Elisetta (Il matrimonio segreto) à l’Opera Turiddu (Cavalleria rusticana) et Canio O’Neill a été décoré du titre de commandeur Barber et dans The Last Savage de Menotti au North; Donna Elvira (Glyndebourne Touring (Pagliacci). Il a également chanté au Chicago de l’Ordre de l’empire britannique (CBE). Metropolitan Opera de New York. Opera); Anne Trulove (Nouvel Opéra d’Israël Lyric Opera, à San Francisco, à San Diego, à Ses triomphes à l’opéra sont allés des œuvres et Opera Factory); l’Echo (Ariadne auf Naxos), l’Opéra de Vancouver; il a donné des concerts Nicolai Gedda est reconnu dans le monde de Haydn et de Mozart à celles de Stravinsky, et Madame Silberklang (Der Schauspieldirektor) avec les orchestres de Philadelphie, Cleveland, entier comme l’un des plus grands artistes de Orff, Barber et Menotti. En récital, il est au Garsington Opera. Montréal, Ottawa, et au Festival de Cincinnati. notre temps, et il a été acclamé pour sa considéré comme un interprète exceptionnel En 1996, Mary Plazas a fait ses débuts au Souvent invité à se produire au Bayerische maîtrise d’un immense répertoire couvrant de lieder. Il est également le ténor le plus BBC Promenade Concerts de Londres avec le Staatsoper de Munich, ses débuts dans Un ballo presque tous les styles et les périodes dans les enregistré au monde avec 200 disques à son Royal Opera de Covent Garden dans le rôle de in maschera furent suivis par une nouvelle domaines de l’opéra, de l’oratorio, du lied et actif. Parmi ceux-ci figurent des opéras la Voix céleste, et en 1997, elle s’est produite production de Il trovatore, ainsi que par du chant avec orchestre. complets tels que The Abduction from the au Royal Opera de Covent Garden et au Der Rosenkavalier, Tosca, Lucia di Lammermoor, Né à Stockholm d’un père russe (chanteur Seraglio (pour Chandos/Peter Moores Metropolitan Opera de New York dans Simon Boccanegra, Aïda et le rôle titre dans basse) et d’une mère suédoise, Nicolai Gedda Foundation), Guillaume Tell, La Bohème, Palestrina de Pfitzner. Elle a créé le rôle de Otello. Dennis O’Neill a par ailleurs chanté dans fit ses débuts professionnels à l’Opéra royal de Faust, Werther, Manon, Così fan tutte et Tina dans Flight de Jonathan Dove avec le les théâtres lyriques de Vienne, Berlin, Bonn, Stockholm en 1952 dans Le Postillon de Benvenuto Cellini. Glyndebourne Touring Opera, puis a repris ce Cologne, Hambourg, Munich, Nice, Zurich, Longjumeau. Herbert von Karajan se trouvait rôle au Festival de Glyndebourne. Elle a Paris, Oslo, Bruxelles, Barcelone, Lisbonne, dans la salle, et l’engagea immédiatement pour Mary Plazas a étudié au Royal Northern incarné la Duchesse dans Powder her Face Oviedo, dans les Arènes de Vérone, à Turin, et à chanter dans son enregistrement de la Messe College of Music de Manchester grâce au de Thomas Adès à l’Almeida Opera et au l’English National Opera. Il entretient des liens en si mineur de J.S. Bach. Ainsi, l’année 2002 soutien de la Peter Moores Foundation et du Festival d’Aldeburgh, et a également enregistré étroits avec le Welsh National Opera. marque cinquante ans d’enregistrement pour Countess of Munster Musical Trust. Elle a fait ce rôle pour la chaîne de télévision anglaise Dennis O’Neill donne également de Nicolai Gedda. Il fit ses débuts à La Scala de ses débuts lyriques en 1992 à l’English Channel 4. Elle a fait ses débuts au Festival de nombreux concerts, et s’est ainsi produit à Milan en 1953, à l’Opéra de Paris en 1954, et National Opera dans le rôle de la Voix céleste Bregenz dans le rôle de Mimì au cours de l’été travers toute l’Europe. Ses propres séries pour au Metropolitan Opera de New York (dans le (Don Carlos), et y est actuellement “Company 2001, et y chante à nouveau ce rôle en 2002. la BBC Television ont été très populaires, et il rôle titre de Faust de Gounod) en 1957. Après Principal”. Elle a incarné des rôles tels que Mary Plazas a donné de nombreux récitals a ensuite terminé un film télévisé consacré à ses débuts au Royal Opera de Covent Garden Mimì, Leila, Adina, Nannetta, Micaëla, et concerts, notamment au Wigmore Hall et à Caruso. Parmi ses enregistrements pour en 1965 (dans le rôle du Duc de Mantoue Marzelline (Fidelio), Lauretta, Oscar, la Purcell Room de Londres, et au Centre Chandos et la Peter Moores Foundation dans Rigoletto de Verdi), il revint y chanter Dorabella et le rôle titre dans Le Petit Renard Karajan de Vienne. Elle s’est également

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produite en Grande-Bretagne dans les festivals Nürnberg, et Castro dans La fanciulla del West. Né en Egypte d’une mère malto-italienne et d’Angleterre. Il a travaillé avec de nombreux de Cheltenham, Aldeburgh et Chester. Au Il a remporté d’importants succès à l’Opera d’un père égyptien, Peter Sidhom est venu chefs d’orchestre tels que Richard Armstrong, concert, elle a chanté dans Die Schöpfung de North dans Jerusalem de Verdi, dans des rôles s’installer en Angleterre à l’âge de dix ans. David Atherton, Martyn Brabbins, James Haydn, A Child of our Time de Tippett, la tels que Sparafucile (Rigoletto), le Moine (Don Après avoir étudié les langues modernes à Conlon, Paul Daniel, Andrew Davis, Huitième Symphonie de Mahler, le Requiem Carlos), Raleigh (Gloriana), le Referee dans l’Université de Londres, il a poursuivi des Christoph von Dohnányi, Mark Elder, de Mozart, Ein deutsches Requiem de Brahms, Playing Away de Benedict Mason, Ferrando études de chant avec Hervey Alan et Josephine Bernard Haitink, Richard Hickox, Oliver la Quatorzième Symphonie de Chostakovitch, (Il trovatore), Arkel (Pelléas et Mélisande), Veasey. Knussen, Sir Charles Mackerras, Antonio la Neuvième Symphonie de Beethoven, et Wurm (Luisa Miller), le rôle titre dans Le Peter Sidhom s’est produit dans de Pappano, Carlo Rizzi et Edo de Waart. Parmi La Terre promise de Saint-Saëns. nozze di Figaro, le Docteur (Wozzeck); à nombreux grand théâtres lyriques dans le ses enregistrements, on citera La traviata, Parmi les enregistrements de Mary Plazas l’Opera Factory dans Don Giovanni; à monde entier, notamment au Royal Opera de Rigoletto, le rôle de Pascoe dans The Wreckers figurent Emma d’Antiocchia de Mercadante et l’English National Opera dans Billy Budd, Covent Garden (Schaunard dans La bohème, d’Ethel Smyth, et Carmina Burana. Maria Regina d’Inghilterra de Pacini (pour Wozzeck, le rôle de Cadmus (Semele), les Monterone dans Rigoletto, Capulet dans Roméo Opera Rara), Dido and Aeneas pour Chandos, quatre mauvais génies dans The Tales of et Juliette, Paolo dans Simon Boccanegra, Mark Le Brocq a été boursier en chant choral L’Enfant et les sortilèges, et pour Chandos et la Hoffmann, Ferrando (Il trovatore), Collatinus Donner dans Das Rheingold ); à Paris à l’Opéra au St. Catharine College de Cambridge où il a Peter Moores Foundation, les rôles de (The Rape of Lucretia), et Pistol (Falstaff ). A Bastille; au théâtre de La Monnaie de Bruxelles étudié la littérature anglaise. Il a obtenu une Marguerite (Faust), Adina, Zerlina et Micaëla. l’étranger, Clive Bayley s’est produit à l’Opéra (Il tabarro, Gianni Schicci); au Teatro bourse d’entrée à la Royal Academy of Music des Pays-Bas, au Seattle Opera, à Lisbonne et à Comunale de Florence (Der Zwerg); à l’Opéra de Londres pour y étudier avec Kenneth Clive Bayley a fait ses études musicales au Lausanne. Parmi ses autres engagements, on de San Francisco (Der Ring des Nibelungen); au Bowen, puis a poursuivi sa formation au Royal Northern College of Music de citera le rôle du Fisherman dans The Royal Festival de Glyndebourne (Simon Boccanegra); National Opera Studio de Londres. Manchester où il a bénéficié d’une bourse de Palace de Kurt Weill aux BBC Promenade au Théâtre du Capitole de Toulouse (La Il a été “Company Principal” à l’English la Peter Moores Foundation. Il se produit Concerts de Londres, et des prestations au bohème et Lohengrin); au Staatstheater de National Opera où il a incarné de nombreux régulièrement sur les grandes scènes lyriques Glyndebourne Festival et avec le Stuttgart (Tosca); au Teatro Real de Madrid rôles, notamment Tamino (The Magic Flute), dans un répertoire s’étendant de Monteverdi Glyndebourne Touring Opera. (Der Rosenkavalier); au Teatro La Fenice de Paris (King Priam), le Comte Almaviva jusqu’à Verdi, Puccini, Berg, Britten et Pour Chandos, Clive Bayley a enregistré Venise (Billy Budd ). Il a chanté des rôles (The Barber of Seville), Narraboth (Salome), Birtwistle. Il a fait ses débuts au Royal Opera Troilus and Cressida et Billy Budd, et pour importants et des rôles titre au Welsh National Don Ottavio, Monostatos, Rodriguez (dans de Covent Garden de Londres dans la création Chandos et la Peter Moores Foundation Opera, à l’English National Opera, à l’Opera Don Quixote de Massenet), Odoardo mondiale de Gawain de Harrison Bitwistle, Falstaff, Madam Butterfly, Don Giovanni, des North et au Scottish Opera. (Ariodante), le Docteur Maxwell (The Silver puis y chanté les rôles de Colline dans La extraits de Boris Godunov, Don Pasquale et En concert, Peter Sidhom s’est produit dans Tassie), et Siward (A Better Place). Il s’est bohème, Hans Foltz dans Die Meistersinger von Il trovatore. toutes les grandes salles de concert également produit à l’Opera Northern Ireland,

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au Garsington Opera et au Festival d’Aix-en- Le vaste répertoire de concert de Peter produira prochainement dans plusieurs rôles à chanter tous les genres de musique, et ainsi Provence. Wedd s’étend du Messie de Haendel et du l’Opéra de Franckfort, notamment dans celui leur faire écouvrir les exigences et les joies du Mark Le Brocq s’est produit en récital et dans Magnificat de Pergolèse à la Messe glagolitique de Papageno (Die Zauberflöte) et Dulcamara chant. Depuis, le Chœur s’est produit dans des oratorios aux USA, en France, en de Janácˇek et la Sérénade pour ténor, cor et (L’elisir d’amore). toutes les grandes salles de concert de Londres, Allemagne, en Espagne, au Proche-Orient, et cordes de Britten. Peter Wedd figure dans il a travaillé avec les plus importants chefs et dans toutes les grandes salles de Londres. Il a l’enregistrement d’Ernani de Verdi réalisé par Durant sa carrière de chanteur, Geoffrey orchestres symphoniques de Grande-Bretagne, chanté avec le Gabrieli Consort sous la Chandos et la Peter Moores Foundation. Mitchell aborda un répertoire et a collaboré avec des théâtres lyriques en direction de Paul McCreesh dans des festivals à remarquablement varié, depuis la musique Grande-Bretagne et à l’étranger. Il a réalisé de travers l’Europe. En concert, il s’est produit Simon Bailey est diplômé du Royal Northern ancienne jusqu’à la musique contemporaine, se très nombreux enregistrements et s’est produit dans des œuvres telles que le Requiem de College of Music de Manchester, où il a produisant en Scandinavie, en Allemagne, fréquemment à la radio et dans de nombreux Mozart et celui de Verdi, la Messe en ut et la bénéficié d’une bourse de la Peter Moores dans l’ancienne Tchécoslovaquie, au Canada et festivals importants. Fantaisie Chorale de Beethoven, le Messie et Foundation, et du Clare College de en Australasie. Après avoir fait ses premières La vaste discographie du New London La resurezzione. Parmi ses enregistrements, on Cambridge où il a été boursier en chant armes de chef d’orchestre avec la BBC, il Children’s Choir compte entre autres Casse- citera Il trovatore pour Chandos et la Peter choral. Après avoir obtenu ses diplômes, décida de prendre une part active dans ce Noisette de Tchaïkovski, les Chants de la forêt Moores Foundation, Samson, Judas Maccabaeus, Simon Bailey fut immédiatement accepté par domaine avec ses propres chanteurs et fonda le de Chostakovitch, Ivan le Terrible de Prokofiev, Hail Bright Cecilia de Purcell, Utrecht Te Deum l’Académie du Teatro alla Scala de Milan. Geoffrey Mitchell Choir. L’ensemble travaille Bethlehem de Rutland Boughton, Hugh the de Haendel et I Was Glad de Boyce. A l’Academie de La Scala, il a chanté des depuis longtemps avec Opera Rara pour qui il Drover de Vaughan Williams, la Troisième rôles tels que Schaunard (La bohème), Jailer a réalisé plus de trente enregistrements. Ce Symphonie de Mahler, Les Planètes de Holst, Peter Wedd a étudié à la Guildhall School of (Dialogues des Carmélites), le Premier Ouvrier Chœur ne cesse d’élargir sa réputation, St Nicolas et A Midsummer Night’s Dream de Music and Drama de Londres avec William (Wozzeck), Lakai (Ariadne auf Naxos), Hobson travaillant avec la BBC et plusieurs maisons de Britten. Il a également enregistré pour le McAlpine, et au National Opera Studio où il a (Peter Grimes), et a travaillé avec James Conlon, disques internationales. Pour Chandos, le cinéma et assuré la création de plus de trente bénéficié du soutien de la Peter Moores Riccardo Muti, Jeffrey Tate et Giuseppe Geoffrey Mitchell Choir a participé à plusieurs partitions contemporaines. Foundation. Il a chanté des rôles tels que Sinopoli. Il a également chanté des rôles dans enregistrements pour Opera in English, une Cascada (Die lustige Witwe) au Royal Opera de Turandot et dans Un giorno di regno de Verdi. série de disques très prisés financée par la Peter Depuis ses excellents débuts en 1945, lorsqu’il Covent Garden, Federico (L’Arlésiana) et Pluto Simon Bailey a récemment fait ses débuts Moores Foundation. fut fondé par Walter Legge essentiellement (Orphée aux enfers) avec l’Opera Holland Park, dans la création mondiale de Tat’jan de Coghi pour jouer dans des enregistrements, le et Don José (Carmen) au Welsh National Opera. mis en scène par Peter Stein à La Scala, et a Le New London Children’s Choir a été fondé Philharmonia Orchestra n’a cessé d’attirer Pendant la saison 1999/2000, il a été ténor chanté sa première production importante des en 1991 par son directeur musical Ronald certains des plus grands chefs d’orchestre du principal au Royal Opera de Covent Garden. Nozze di Figaro à l’Opéra de Rouen. Il se Corp dans le but de permettre à des enfants de XXe siècle. Certains furent associés de près à

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l’Orchestre: Otto Klemperer (son tout premier Rara ainsi que onze intégrales d’opéras productions de l’English National Opera et En studio, il a participé entre autres à chef principal), Lorin Maazel, Riccardo Muti, (Ugo, conte di Parigi, Ne m’oubliez pas, Emilia collabore régulièrement avec le Philharmonia la production de la BBC Television de Giuseppe Sinopoli, Carlo Maria Giulini, Sir di Liverpool, L’assedio di Calais, Rosmonda Orchestra. C’est avec Così fan tutte qu’il fit ses Der Vampyr de Marschner, dirigeant aussi Andrew Davis, Vladimir Ashkenazy et Esa- d’Inghilterra et Maria de Rudenz de Donizetti, débuts au Festival de Glyndebourne en 1996, vingt et une intégrales d’opéras financées Pekka Salonen. Sous la direction de leur chef Dinorah de Meyerbeer, Medea in Corinto de une scène qu’il retrouva en 1998 pour diriger la par la Peter Moores Foundation. Plusieurs principal actuel, Christoph von Dohnanyi, et Mayr, Orazi e Curiazi de Mercadante, Maria, création mondiale de Flight de Jonathan Dove. de ces intégrales furent enregistrées pour celle de Leonard Slatkin, souvent invité à regina d’Inghilterra de Pacini et Otello de Il séjourne fréquemment en Espagne où il a Opera Rara et primées, Rosmonda d’Inghilterra prendre sa relève, l’Orchestre s’est fermement Rossini). L’Orchestre a fait de nombreux dirigé en concert la plupart des grands de Donizetti recevant en Belgique le Prix installé au cœur de la vie musicale britannique, disques pour Chandos, en particulier, dans la orchestres espagnols. C’est lui qui dirigea la Cecilia. Pour Chandos, Parry a dirigé neuf non seulement à Londres puisqu’il est série Opera in English financée par la Peter première espagnole de Peter Grimes à Madrid et enregistrements d’airs d’opéra (avec Bruce orchestre en résidence au Royal Festival Hall, Moores Foundation, L’elisir d’amore, Faust, en 1996 la première production espagnole de Ford, Diana Montague, Dennis O’Neill, mais aussi en province où il se produit La bohème, cette version primée de Tosca et The Rake’s Progress. Il a dirigé en Allemagne, en Alastair Miles, Yvonne Kenny, John régulièrement. huit récitals solistes d’airs d’opéra (avec Bruce Suède, aux Pays-Bas, au Festival de Pesaro en Tomlinson, Andrew Shore et Della Jones) Le Philharmonia Orchestra a remporté Ford, Diana Montague, Dennis O’Neill, Italie, au Festival international de Hong-Kong, de même que Lucia of Lammermoor, Aida, plusieurs prix importants et soulevé Alastair Miles, Yvonne Kenny, Andrew Shore, au Japon pour une tournée de Carmen et au Don Giovanni, Ernani, Faust, Don Pasquale, l’enthousiasme des critiques pour la vitalité et et deux avec John Tomlinson.) Mexique avec l’Orchestre symphonique The Elixir of Love, La bohème, Cavalleria la chaleur exceptionnelle de son jeu. On a d’UNAM. Il a récemment dirigé plusieurs rusticana, Pagliacci, l’enregistrement primé aussi fait l’éloge de ses programmes novateurs Après avoir étudié avec Sergiu Celibidache, nouvelles productions dont Fidelio au Festival de Tosca et des extraits de Der Rosenkavalier, dans lesquels l’ensemble s’engage à interpréter David Parry commença sa carrière comme de Nouvelle-Zélande, Maria Stuarda au tous ces enregistrements étant réalisés en et commander des œuvres nouvelles par les assistant de Sir John Pritchard. Il fit ses débuts Théâtre de Bâle et Lucia di Lammermoor avec collaboration avec la Peter Moores plus grands compositeurs contemporains, avec l’English Music Theatre avant de devenir le New Israeli Opera. Foundation. sua carriera comecomme assistente James di MacMillan, Sir John Pritchard. son actuel l’un des chefs d’orchestre au Städtische compositeur en résidence. Bühnen à Dortmund et à Opera North. L’Orchestre fait souvent des tournées Directeur musical d’Opera 80 de 1983 à 1987, internationales; aucun autre orchestre il est directeur musical d’Almeida Opera symphonique dans le monde ne possède une depuis sa fondation en 1992. discographie aussi importante, avec plus de Sa carrière, nationale et internationale, est mille disques à son actif. Notons entre autres extrêmement remplie, aussi bien sur la scène plusieurs disques d’airs d’opéra pour Opera lyrique qu’en concert. Il a dirigé plusieurs

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Puccini a Simoni nell’agosto 1920, in cui gli 1922 vide l’aggiunta della scena di Turandot – Il vecchio e il nuovo chiedeva se aveva avuto tempo di pensare apertura dell’Atto Secondo, concepita come all’introduzione della nuova giovane, una sorta di intermezzo (“una chitarrara”, “Un’opera veramente nuova per Puccini”: difficoltà incontrate da Puccini peggiorarono pregandolo di renderla in maniera eccellente. come la definì Puccini), e a cui fece seguito questo fu il commento di Andrea Della Corte, anche a causa delle pretese letterarie dei suoi Di conseguenza, sembrerebbe che la schiava in agosto l’inserimento di “In questa critico del quotidiano di Torino La Stampa, due librettisti, Renato Simoni e Giuseppe Liù, inserita al posto dell’astuta principessa reggia” (Within this Palace) di Turandot, riguardo alla prima di Turandot, allestita nel Adami, entrambi commediografi di minore Adelma di Gozzi, fu probabilmente un’idea sebbene questa non sarebbe stata composta 1926 al Teatro La Scala di Milano; un importanza e nient’affatto pronti ad adattarsi dello stesso Puccini. E sarebbe certamente fino all’aprile del 1923. Nel frattempo Puccini commento subito ripetuto nei circoli musicali alle convenzioni operistiche di Piave o tipica di un compositore che trent’anni aveva preso la decisione risolutiva di far morire di tutto il mondo, e soprattutto in Gran Ghislanzoni, i loro predecessori del prima aveva insistito sulla necessità di una Liù durante le torture (nello schema originale Bretagna, dove la fama (o la notorietà, come diciannovesimo secolo. Fu Simoni a suggerire “figura luminosa” in cui il pubblico potesse le era stato dato un breve duetto con Turandot era spesso il caso) del suo compositore si per primo l’idea della “fiaba” di Gozzi in ritrovarsi. all’inizio dell’Atto Terzo). Ciò creò un basava su La bohème, Tosca e Madama occasione di un incontro con Puccini a Milano La crescita e la graduale trasformazione problema la cui soluzione avrebbe eluso Butterfly. In effetti Puccini aveva sempre all’inizio del 1920; e in seguito consegnò al dell’opera può essere tracciata brevemente. In l’autore fino alla fine. La conversione in un mostrato una certa preoccupazione riguardo compositore una copia dell’adattamento di origine l’Atto Primo comprendeva due scene, essere umano dolce e amorevole da parte di alle novità, come era già successo a Verdi; da Schiller, nella traduzione di Andrea Maffei. la seconda delle quali terminava con la una Furia glaciale e vendicativa, che ha appena qui la sua abituale sollecitudine a trattare Puccini rispose immediatamente, dicendo che risoluzione degli enigmi. L’Atto Secondo assistito al sacrificio personale di una vittima un’ampia varietà di soggetti per poi sarebbe stato meglio attenersi a quel trattava la ricerca disperata dell’identità di innocente senza battere ciglio, è un compito abbandonarli quando si rendeva conto della particolare soggetto perché, tutto sommato, Calaf, i doni a lui offerti per corromperlo dai che avrebbe spaventato il più grande genio propria incapacità nell’adattarli al suo modo di secondo lui Turandot era la più umana e ministri di Turandot e le torture di Liù; l’Atto musicale. Nel corso dei due anni seguenti interpretare le cose. Quella di Turandot fu una normale tra le opere teatrali di Gozzi. Si decise Terzo si chiudeva con la resa finale della Puccini non si stancò mai di chiedere un gestazione particolarmente lunga e tormentata, per Turandot, quindi, passando attraverso principessa. Nel settembre 1921 Puccini testo adeguato per il suo duetto finale; e c’è tanto da spingere Puccini ad abbandonare più l’interpretazione della mente moderna, quella richiese che gli ultimi due atti venissero chi crede persino che, se solo i suoi librettisti volte l’intero progetto e, come confidò alla sua dello stesso Simoni, quella di Adami e, trasformati in uno, ma fortunatamente non lo avessero consegnato in tempo, Puccini amica inglese Sybil Seligman, persino ad concluse Puccini, la sua. I poeti prepararono insistette a lungo. Entro il Nuovo Anno si era avrebbe completato l’opera nel modo in adattare le musiche già scritte ad una nuova subito uno schema che lo soddisfò a grandi arrivati all’attuale ripartizione, in cui l’Atto cui voleva. Ma questo mi sembra poco trama, ideata da Giovacchino Forzano (autore linee, ma che era destinato a subire profonde Primo terminava con l’ensemble in cui Timur, probabile. Parafrasando il Marco Antonio di Suor Angelica e Gianni Schicchi) servendosi alterazioni nei quattro anni seguenti. Di Liù e i ministri cercano invano di dissuadere il di Shakespeare, il suo cuore era lì, nella di una simile ambientazione cinese. Le particolare interesse è una lettera inviata da principe dall’intraprendere la sfida. Marzo bara, con Liù.

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In verità, la giovane innocente che muore semplicemente come parte di un chiaro collegati, destinata a rimanere con lui nel corso melodia che dirige la nostra attenzione per amore è giustamente considerata il legame discorso musicale. Ciò metterà a sua di tutta la sua carriera; con il passare del verso Liù e Timur ritorna al Puccini del 1890, di Turandot con le opere precedenti di Puccini. disposizione a tempo debito una gamma di tempo, questi accordi diventeranno più con la sua linea in discesa e ogni frase che Ma non si tratta certamente dell’unico, tanto armonie pentatoniche (per esempio, i tasti elaborati, in parte sotto l’influenza di termina con quel segno caratteristico dello meno a livello musicale. Dimostrando una neri) che gli sarà molto utile per i colori compositori come Debussy e Stravinsky. Un stile del compositore, noto già in Le villi, maggiore sensibilità di Della Corte, Giulio giapponesi di Madama Butterfly e la chinoiserie altro metodo da lui preferito, e anticipato allo ovvero la quinta decrescente. Eppure Cesare Paribene de L’Ambrosiano commentò di Turandot, per entrambe le quali Puccini si stesso modo in Edgar, è il persistente alternarsi entrambe le idee risultano giustapposte senza che Turandot testimonia l’intera vita del suo servì di melodie folk autentiche. Alla fine il di due accordi come modo per serrare la il benché minimo senso di incongruenza. autore nella sua musica, nel senso che riassume suo vocabolario si allargherà fino a includere le tensione drammatica. Un esempio eccellente è Nulla, nella partitura, illustra più tutte le fasi evolutive di un compositore che, dissonanze molto più intense della sua ultima il finale del Primo Atto della Tosca, nel succintamente la capacità di Puccini di pur rimanendo sempre fedele ai propri opera; ma le loro radici possono essere momento in cui Scarpia rivela le sue crudeli cogliere il meglio dei due mondi, il vecchio principi, fece tesoro anche di tutte le scoperte, generalmente fatte risalire a molto tempo intenzioni sullo sfondo di un Te Deum della e il nuovo. E tra tutti gli audaci modernismi in fatto di forma ed espressione, relative ai prima. congregazione. In nessun altro momento del suo canto del cigno, dimostrò di non tormenti dell’epoca moderna. In altre parole Una delle combinazioni armoniche più questo espediente è più potentemente aver perso neppure la sua capacità di estrarre Puccini, come già Verdi, e a differenza dei suoi audaci di Turandot appartiene al momento in utilizzato che nell’ensemble che conclude il dal cappello una melodia dal fascino popolare colleghi della “giovane scuola”, possedeva il cui i fantasmi dei pretendenti uccisi della primo atto di Turandot, nel punto in cui e duraturo, come nel caso di “Nessun dorma” segreto del rinnovamento interiore attraverso principessa appaiono come ombre sui bastioni, comunica alla perfezione lo scambio emotivo (None shall sleep now). l’assimilazione nel suo linguaggio personale di cercando disperatamente di cogliere un’altra tra Calaf e gli spettatori. In Manon Lescaut, È vero che tali momenti diventano sempre elementi tratti dall’avant-garde del suo tempo. visione della loro amata. Qui la tonalità è La bohème e La rondine Puccini lancia la sua più rari dopo Madama Butterfly. Ma se la Ciò che viene sottolineato meno di frequente è quasi sospesa, e con essa qualsiasi senso di scena d’apertura con due temi contrastanti: il crescente complessità dello stile di Puccini la velocità con cui quel linguaggio fu istituito. movimento. Ma un simile passaggio, primo vivace e fortemente accentuato, il avrebbe finito con l’allontanare i meno colti, Melodie semplici, diatoniche, accompagnate concepito in maniera più semplice, può essere secondo fluido da un punto di vista lirico. lo rese molto più rispettato tra i pionieri da armonie insolitamente ricche e varie trovato nel coro fuori scena dei festaioli Turandot inizia pressoché nello stesso modo; musicali della sua epoca. Dopo aver ascoltato possono essere riscontrate fin dal 1884 nel stanchi, aggiunti da Puccini alla revisione del ma qui non solo le due idee vengono ampliate una performance de La fanciulla del West, giovanile Le villi. Anche qui si può notare la suo Edgar realizzata nel 1905 – lo stesso anno internamente: la distanza armonica che le Anton Webern scrisse al suo maestro Arnold propensione verso ciò che potrebbe essere di Madama Butterfly. Nella versione originale separa viene aumentata in maniera Schoenberg, “Questa è una partitura con un definita una “morbida dissonanza”, in cui della stessa opera (1889) Puccini dapprima incommensurabile. Il gesto orchestrale iniziale, suono assolutamente originale. Magnifico! viene evitato lo scontro tra semitoni – non rivela quella sua propensione per una seguito dal proclama del Mandarino, Nessuna traccia di kitsch! E parlo da fonte utilizzato come effetto speciale ma successione di accordi paralleli, spesso non appartiene all’era del dopoguerra, mentre la diretta. Devo dire di averla apprezzata

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moltissimo.” Ma stava predicando ai Sinossi 7 I tre ministri imperiali Ping, Pang e ceremonia raccontando che la sua antenata, la convertiti. Per Schoenberg Puccini era Pong cercano di fermarlo. 8 – 9 Le ancelle principessa Lo-u-Ling, subì violenza e fu semplicemente “un grande” – un omaggio COMPACT DISC ONE di Turandot chiedono che si faccia silenzio, ma assassinata dagli invasori tartari. Ora è sua nient’affatto modesto da parte dell’inventore i fantasmi dei pretendenti uccisi esortano Calaf intenzione vendicarne la memoria. 20 Poi del sistema delle dodici note! Atto primo alla sfida. Nulla, neppure la vista di Pu-Tin- avverte Calaf che, sebbene gli enigmi siano Rimane da menzionare un’ulteriore Le mura della grande Città Violetta: la Città Pao che torna con la testa recisa del Principe di tre, la morte è una. Calaf risponde che una caratteristica dello stile dell’ultimo periodo di Imperiale. Gli enormi bastioni racchiudono in Persia, 10 – 12 o le preghiere di Liù, riescono è la vita. Puccini. Iniziando con Manon Lescaut, aveva un semicerchio quasi tutto il palcoscenico. a dissuaderlo. Calaf colpisce il gong che dà 21 Turandot propone il primo enigma: organizzato i suoi atti attraverso l’interazione 1 La folla ascolta un editto secondo cui la inizio alla sua sfida. cosa si leva in volo ogni notte, invocato da basilare di motivi ricorrenti, spesso con principessa Turandot sposerà solo il principe tutto il mondo, e con l’aura sparisce per riferimenti meno specifici di quelli di Wagner, che riuscirà a risolvere tre enigmi da lei Atto Secondo rinascere nel cuore? La risposta di Calaf è da lui così tanto ammirato. Nelle opere che proposti. Coloro che si sottoporranno alla Scena Prima quella giusta: la speranza. Il secondo enigma seguirono La fanciulla questi motivi prova ma falliranno verranno giustiziati. La 13 Ping, Pang e Pong discutono riguardo ai è il seguente: cosa si muove come una persistono; ma c’è una crescente tendenza, folla invoca il boia e attende l’esecuzione preparativi di ciò che si risolverà in un fiamma senza esserlo, e si raffredda nella che si nota soprattutto in Il tabarro, a dell’ultima vittima di Turandot, il Principe di matrimonio o in un funerale. Ricordano i notte, eppure avvampa se si sogna la vittoria? includerli in enormi blocchi di materiale Persia, che sarà giustiziato al sorgere della luna. principi morti per Turandot 14 – 15 ed Turandot è furiosa quando Calaf lo risolve contrapposto, tendenza che raggiunge il suo Timur, re dei Tartari in esilio, si trova tra la esprimono tutta la loro nostalgia per i dandole la risposta giusta: il sangue. Poi apice in Turandot. Casi simili si cercherebbero folla. Suo figlio Calaf, anche lui costretto luoghi di campagna in cui potrebbero gli propone il terzo enigma: cosa ti infiamma, invano nelle opere di Verdi o di Rossini. all’esilio, lo riconosce dopo anni di lontananza ndare a vivere se l’editto non li costringesse bianco eppure scuro, ti pone in schiavitù Per trovare qualcosa di anche lontanamente 2 – 3 e viene a sapere che Timur deve la sua ad eseguire i loro lugubri doveri. Le se ti vuole libero, ma nel farti prigioniero ti fa simile, occorre tornare alle opere di vita alla schiava Liù, che lo accompagna. A trombe annunciano l’inizio della prova re? E Calaf risponde: Turandot. Monteverdi. Con la sua ultima opera per il Pechino i due sono del tutto sconosciuti. di Calaf. 22 L’Imperatore sollecita la figlia a palcoscenico, quindi, si può dire che Puccini 4 – 5 Pu-Tin-Pao conduce il Principe di rispettare il suo voto solenne di sposare il abbia messo il proprio sigillo non solo Persia verso il luogo dell’esecuzione. La folla Scena Seconda pretendente che avrebbe risolto i suoi enigmi. su quarant’anni di carriera, ma anche su ora chiama a gran voce Turandot affinchè 16 La Corte è riunita per assistere alla prova 23 Trionfante, Calaf le offre un’ultima una tradizione italiana che risale a tre secoli conceda la grazia, ma lei rifiuta. 6 Calaf è degli enigmi dell’ultimo pretendente di possibilità: se la principessa scoprirà il suo prima. talmente sopraffatto dalla visione della Turandot. 17 – 18 Suo padre, l’Imperatore, nome prima dell’alba, sarà pronto a morire. principessa da voler tentare la fortuna con gli prega invano il Principe Straniero affinché L’Imperatore prega per il successo del © Julian Budden enigmi. rinunci alla sfida. 19 Turandot dà inizio alla principe.

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COMPACT DISC TWO è elettrizzata dal fatto che il principe è in suo precedenza all’Opera Pacific e alla Scottish Requiem di Verdi con Simon Rattle e la City potere. Opera. Il suo successo nelle vesti di Norma per of Birmingham Symphony Orchestra; l’Ottava Atto Terzo la Scottish Opera (in un allestimento sinfonia di Mahler con Klaus Tennstedt; Scena Prima Scena Seconda finanziato con l’appoggio della Peter Moores il III atto di Götterdämmerung con Bernard 1 – 2 Quella notte, nei giardini del palazzo, 11 Dinanzi al popolo Turandot dichiara di Foundation) si è ripetuto al Festival di Haitink e la Boston Symphony Orchestra; Calaf ode gli araldi imperiali che perlustrano la conoscere l’identità dello sconosciuto: il suo Ravenna con Muti, all’Opera di Seattle e di Nabucco a Ravenna con Riccardo Muti; i città alla ricerca di qualcuno che sia in grado nome è Amore. Los Angeles, all’Opéra Bastille di Parigi e alla Gurrelieder con Claudio Abbado ai festival di di rivelare la sua identità. All’alba, sa di aver Scottish Opera. Salisburgo e di Edimburgo; Norma in concerto vinto. © English National Opera Altre interpretazioni memorabili al Tivoli Festival di Copenaghen e al Carnegie 3 Ping, Pang e Pong gli offrono donne, Traduzione: Emily Stefania Coscione comprendono Isolde a Seattle, riproposta di Hall; Vier letzte Lieder di Strass con Daniel ricchezze e gloria se lascerà in pace la recente alla Metropolitan Opera e alla Lyric Barenboim e la Chicago Symphony Orchestra. principessa. E minacciano di torturarlo Jane Eaglen ha una reputazione formidabile Opera di Chicago con spettacolare successo; La discografia di Jane Eaglen comprende una quando le guardie arrivano trascinando Timur nel mondo della lirica di oggi. Nata a Lincoln, l’esordio nel ruolo di Gioconda per la registrazione di arie di Wagner e Bellini, una di e Liù. 4 Chiamano Turandot, che osserva la ha studiato presso il Royal Northern College Lyric Opera di Chicago; Donna Anna arie di Strauss e Mozart, l’Ottava sinfonia di schiava mentre offre se stessa in sacrificio per of Music, con una borsa di studio della Peter (Don Giovanni) alla Metropolitan Opera, Mahler, la Nona sinfonia di Beethoven, la proteggere il vecchio, eppure rifiuta di cedere Moores Foundation, e poi è entrata all’English interpretata in precedenza all’Opera di Vienna Messa di Bruckner, Norma, Medea in Corinto sotto tortura. 5 Quando le viene chiesto cosa National Opera. Ha riscosso un successo e a Los Angeles, Monaco e Bologna; il ruolo di per Opera Rara e, per Chandos/Peter Moores sia a darle una tale forza, Liù risponde: straordinario nei ruoli molto diversi di Norma protagonista nella Turandot al Covent Garden, Foundation una registrazione premiata di Tosca, l’amore. Turandot si commuove per un attimo e Brünnhilde, con il suo straordinario soprano alla Metropolitan Opera con , e Aida. La sua voce compare anche nella ma poi ordina ai ministri di strapparle il drammatico si è conquistata spettacolari a Vienna, Madrid, Seattle, Bologna e all’Opéra colonna sonora di Ragione e sentimento, segreto. 6 Liù si suicida. 7 Timur maledice recensioni in tutto il mondo. La sua Bastille di Parigi; Amelia (Un ballo in maschera) adattamento cinematografico del romanzo di coloro che hanno causato la sua morte. interpretazione del ruolo di Brünnhilde a Bologna e all’Opéra Bastille; il ruolo di Jane Austen. 8 Calaf ora confronta Turandot, le strappa (Siegfried ) per la Lyric Opera di Chicago e la protagonista in Tosca per English National il velo e la bacia. 9 Lei si sente umiliata e successiva partecipazione al ciclo completo del Opera, al Teatro Colón di Buenos Aires e in Nato in Galles da padre irlandese, Dennis crede di aver perso; Calaf dichiara che ciò è Ring nello stesso teatro, con Riccardo Muti concerto con la Cleveland Symphony O’Neill è uno dei principali tenori del mondo solo l’inizio del loro amore. 10 Turandot lo alla Scala di Milano, a San Francisco e a Orchestra; il ruolo di protagonista in Ariadne ed è specializzato nel repertorio verdiano. Ha supplica di andarsene con il suo segreto e Vienna hanno riscosso unanimi consensi da auf Naxos per English National Opera. al suo attivo una lunga collaborazione con la Calaf risponde che non c’è più alcun mistero – parte della critica. Sempre nel ruolo di Jane Eaglen si trova altrettanto a proprio Royal Opera House, Covent Garden, dove ha il suo nome è Calaf, figlio di Timur. Turandot Brünnhilde, la cantante era apparsa in agio nelle sale da concerto. Ha interpretato il interpretato numerosi ruoli, tra cui Rodolfo

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(La Bohème), il Duca (Rigoletto), Pinkerton Dennis O’Neill svolge inoltre una ricca Opera nel 1965 (con il duca di Mantova nel principali. I suoi ruoli più importanti (Madama Butterfly), Edgardo (Lucia di attività concertistica e si è esibito in tutta Rigoletto di Verdi) e vi ha fatto ritorno per comprendono Mimì, Leila, Adina, Nannetta, Lammermoor), Macduff (Macbeth), Gustavo Europa. Le sue serie televisive per la BBC cantare Benvenuto Cellini, Alfredo, Gustavo Micaëla, Marzelline (Fidelio), Lauretta, Oscar, (Un ballo in maschera), Foresto (Attila), Otello, hanno riscosso enorme successo e sono state III in Un ballo in maschera, Nemorino e Dorabella e il ruolo di protagonista in The Don Carlos, Radamès (Aida), Aroldo (in seguite da un originale televisivo su Caruso. Lenski. Ha creato ruoli di protagonista in Cunning Little Vixen (English National concerto), Carlo (Giovanna d’Arco) e Jacopo Le registrazioni per Chandos/Peter Moores Vanessa di Barber e The Last Savage di Menotti Opera); Mimì, Susanna (Le nozze di Figaro), (I due Foscari). Foundation comprendono Aida, Cavalleria al Metropolitan. Tebaldo (Don Carlos) ed Elisetta (Il Per la Metropolitan Opera ha indossato le rusticana, Pagliacci, Tosca, La bohème, I suoi trionfi operistici vanno dalle opere di matrimonio segreto) per la Opera North; vesti di Alfredo (La traviata), Radamès (Aida), Il trovatore e un disco di Grandi arie Haydn e Mozart a Stravinskij, Orff, Barber e Donna Elvira (Glyndebourne Touring Opera); Turiddu (Cavalleria rusticana) e Canio operistiche. Nel 2000 Dennis O’Neill è stato Menotti, mentre in recital viene considerato Anne Trulove (New Israeli Opera e Opera (Pagliacci). Altri impegni in Nordamerica lo insignito della carica di CBE. uno straordinario interprete di lieder. Inoltre è Factory); ed Echo (Ariadne auf Naxos) e hanno visto alla Lyric Opera di Chicago, a San uno dei tenori con la discografia più ricca del Madame Silberklang (Der Schauspieldirektor) Francisco, San Diego, all’opera di Vancouver e Nicolai Gedda è uno dei più grandi artisti del mondo. Il 2002 segna il cinquantesimo per la Garsington Opera. in concerto con le orchestre sinfoniche di nostro tempo ed è apprezzato per la sua anniversario della sua prima registrazione e Nel 1996 ha debuttato in occasione dei BBC Philadelphia, Cleveland, Montreal e Ottawa, padronanza di un repertorio che abbraccia oggi l’artista ha al suo attivo 200 titoli Promenade Concerts con la Royal Opera nel oltre che al Festival di Cincinnati. Frequente quasi tutti gli stili e le epoche nel campo discografici, comprendenti versioni integrali ruolo di Voce del Paradiso, e nel 1997 si è ospite dell’Opera di Monaco, ha esordito qui dell’opera, dell’oratorio, dell’operetta, del lied e delle opere The Abduction from the Seraglio esibita con la Royal Opera di Covent Garden e in Un ballo in maschera e ha interpretato delle composizioni per orchestra. (per Chandos/Peter Moores Foundation), la Metropolitan Opera di New York in successivamente un nuovo allestimento del Nato a Stoccolma da padre russo e madre Guillaume Tell, La Bohème, Faust, Werther, Palestrina di Pfitzner. Ha creato il ruolo di Tina Trovatore, oltre a Der Rosenkavalier, Tosca, svedese, ha esordito come professionista alla Manon, Così fan tutte e Benvenuto Cellini. in Flight di Jonathan Dove per la Glyndebourne Lucia di Lammermoor, Simon Boccanegra, Aida Royal Opera di Stoccolma nel 1952 con Le Touring Opera, esibendosi poi nello stesso e il ruolo di protagonista in Otello. Inoltre è Postillon de Longjumeau. Tra il pubblico si Mary Plazas ha studiato con Ava June presso il ruolo anche con la Glyndebourne Festival comparso nei teatri lirici di Vienna, Berlino, trovava Herbert von Karajan, che lo ingaggiò Royal Northern College of Music, dove ha Opera. Ha cantato nel ruolo della Duchessa in Bonn, Colonia, Amburgo, Monaco, Nizza, immediatamente per la registrazione della ricevuto il sostegno della Peter Moores Powder her Face di Thomas Adès, per l’Almeida Zurigo, Parigi, Oslo, Bruxelles, Barcellona, Messa in si minore di Bach. Nel 1953 Nicolai Foundation e del Countess of Munster Opera e all’Aldeburgh Festival, e ha interpretato Lisbona, Oviedo, all’Arena di Verona e a Gedda esordiva alla Scala di Milano, nel 1954 Musical Trust. Il suo debutto operistico è il ruolo anche per la rete televisiva britannica Torino, oltre che all’English National Opera. all’Opéra di Parigi e nel 1957 con il avvenuto nel 1992 con la English National Channel 4. Nell’estate 2001 ha debuttato presso Ha uno stretto rapporto di collaborazione con Metropolitan (nel ruolo di protagonista del Opera nella parte della Voce del Paradiso (Don il Bregenz Festival nella parte di Mimì, la Welsh National Opera. Faust di Gounod). Ha esordito con la Royal Carlos), ed attualmente ne è tra gli artisti ritornando con lo stesso ruolo anche nel 2002.

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Mary Plazas si è esibita in numerosi recital e seguito si è esibito nella parte di Colline in Peter Sidhom è nato in Egitto da madre James Conlon, Paul Daniel, Andrew Davis, concerti, tra cui recital da solista presso la La bohème, Hans Foltz in Die Meistersinger e maltese-italiana e padre egiziano, e si è Christoph von Dohnányi, Mark Elder, Bernard Wigmore Hall e la Purcell Room di Londra, e Castro in La fanciulla del West. Ha avuto trasferito in Inghilterra all’età di dieci anni. Haitink, Richard Hickox, Oliver Knussen, Sir il Karajan Centre di Vienna. Si è esibita anche considerevole successo con l’Opera North nella Dopo aver studiato Lingue Moderne presso la Charles Mackerras, Antonio Pappano, Carlo in occasione dei festival di Cheltenham, Jerusalem di Verdi, e nei ruoli di Sparafucile London University, ha studiato canto con Rizzi ed Edo de Waart. Le sue incisioni Aldeburgh e Chester. Le sue esibizioni (Rigoletto), il Monaco (Don Carlos), Raleigh Hervey Alan e Josephine Veasey. comprendono La traviata e Rigoletto, il ruolo di concertistiche includono Creation di Haydn, (Gloriana), l’Arbitro in Playing Away di Peter Sidhom si è esibito nei principali teatri Pascoe in The Wreckers di Ethel Smyth, e A Child of our Time di Tippett, Sinfonia no 8 Benedict Mason, Ferrando (Il trovatore), Arkel operistici del mondo, tra cui la Royal Opera Carmina Burana. di Mahler, Requiem di Mozart, German (Pelléas and Mélisande), Wurm (Luisa Miller), il House di Covent Garden (Schaunard in La Requiem di Brahms, Sinfonia no 14 di Medico (Wozzeck) e nel ruolo di protagonista bohème, Monterone in Rigoletto, Capulet in Mark Le Brocq è stato borsista nel coro del Shostakovich, Sinfonia no 9 di Beethoven e in Le nozze di Figaro; con l’Opera Factory in Roméo et Juliette, Paolo in Simon Boccanegra, St. Catharine’s College di Cambridge, dove ha The Promised Land di Saint-Saëns. Don Giovanni; con la English National Opera Donner in Das Rheingold); l’Opéra Bastille di studiato Letteratura Inglese. Ha vinto una Le sue incisioni comprendono Emma in Billy Budd, Wozzeck, nel ruolo di Cadmus Parigi; La Monnaie di Bruxelles (ll tabarro, borsa di studio per accesso alla Royal Academy d’Antiocchia di Mercadante e Maria Regina (Semele), nei quattro Villani in The Tales of Gianni Schicchi); il Teatro Comunale di Firenze of Music, dove ha studiato con Kenneth d’Inghilterra di Pacini (entrambe per Opera Hoffmann, Ferrando (Il trovatore), Collatinus (Der Zwerg); la (The Bowen, e in seguito ha continuato i suoi studi Rara), Dido and Aeneas per Chandos, L’Enfant (The Rape of Lucretia), e Pistol in Falstaff. Ring); il Festival di Glyndebourne (Simon presso il National Opera Studio. et les sortilèges, e, per la Chandos/Peter Moores All’estero Clive Bayley si è esibito con la Boccanegra); il Théâtre du Capitole di Tolosa È stato tra le voci principali della English Foundation, Marguerite in Faust, Adina, Netherlands Opera, la Seattle Opera, a Lisbona (La bohème e Lohengrin); il Staatstheater di National Opera, con ruoli come Tamino Zerlina e Micaela. e a Losanna. Altre performance includono la Stoccarda (Tosca), il Teatro Real di Madrid (Der (The Magic Flute), Paris (King Priam), Conte parte del Pescatore in The Royal Palace di Kurt Rosenkavalier); il Teatro La Fenice di Venezia Almaviva (The Barber of Seville), Narraboth Clive Bayley ha studiato presso il Royal Weill, in occasione dei concerti della BBC (Billy Budd ). Si è esibito in ruoli da (Salome), Don Ottavio, Monostatos, Northern College of Music, valendosi di una Promenade, ed esibizioni al Festival di protagonista presso la Welsh National Opera, Rodriguez (Don Quixote di Massenet), borsa della Peter Moores Foundation, e ora si Glyndebourne e con la Touring Opera. l’English National Opera, l’Opera North e la Odoardo (Ariodante), Doctor Maxwell in esibisce regolarmente con le principali Le sue incisioni per la Chandos Scottish Opera. The Silver Tassie, e Siward in A Better Place. compagnie operistiche in un repertorio che comprendono Troilus and Cressida, Billy Budd, Perfettamente a suo agio anche in concerto, Altre esibizioni hanno incluso ruoli per la spazia da Monteverdi a Verdi, Puccini, Berg, e, per la Chandos/Peter Moores Foundation, Peter Sidhom si è esibito in tutti i principali Opera Northern Ireland, la Garsington Opera Britten e Birtwistle. Ha debuttato con la Royal Falstaff, Madam Butterfly, Don Giovanni, auditori britannici. Ha collaborato con e il Festival di Aix-en Provence. Opera, Covent Garden, in occasione della estratti da Boris Godunov, Don Pasquale e numerosi direttori d’orchestra, tra cui Richard Mark Le Brocq si è esibito come solista in prima di Gawain di Harrison Birtwistle e in Il trovatore. Armstrong, David Atherton, Martyn Brabbins, recital e oratori negli USA, in Francia,

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Germania, Spagna e nei paesi del Medio Horn and Strings di Britten. Ha partecipato La carriera di cantante di Geoffrey Mitchell Regno Unito; ha collaborato con varie Oriente, così come nei principali teatri di all’incisione dell’Ernani di Verdi realizzata racchiude un repertorio notevole che spazia compagnie operistiche in Gran Bretagna e Londra. È apparso con il Gabrieli Consort/Paul dalla Chandos/Peter Moores Foundation. dalla musica antica a quella contemporanea e all’estero; ha partecipato a numerose incisioni McCreesh nei festival di tutta Europa. I suoi che l’ha portato in Scandinavia, Germania, e trasmissioni radio-televisive, ed è stato impegni concertistici hanno incluso i Requiem Simon Bailey si è laureato presso il Royal nella ex Cecoslovacchia, in Canada e invitato dai festival più prestigiosi. di Mozart e di Verdi, Missa in C e Choral Northern College of Music (valendosi di una Australasia. L’esperienza di direzione degli inizi La vasta discografia del New London Fantasia, Messiah e La resurrezione di borsa della Peter Moores Foundation) e il con la BBC lo ha condotto ad un maggiore Children’s Choir include incisioni dello Beethoven. Le sue incisioni comprendono Clare College, Cambridge, in qualità di coinvolgimento con i suoi stessi cantanti e Schiaccianoci di Chaikovsky, Song of the Forests Il trovatore per la Chandos/Peter Moores borsista per il coro. Terminati gli studi, Simon inoltre alla creazione del Geoffrey Mitchell di Shostakovich, Ivan the Terrible di Prokofiev, Foundation, Samson, Judas Maccabaeus, Hail è stato immediatamente accettato Choir. Le prime registrazioni sono sfociate nel Bethlehem di Rutland Boughton e Hugh the Bright Cecilia di Purcell, Utrecht Te Deum di dall’Accademia del Teatro La Scala di Milano. coinvolgimento a lungo termine del Coro con Drover di Vaughan Williams, Sinfonia no 3 di Handel e I Was Glad di Boyce. Presso La Scala Simon si è esibito in vari Opera Rara, per la quale ha inciso più di Mahler, The Planets di Holst, e St Nicolas e ruoli, compreso Schaunard (La bohème), il trenta registrazioni. Il Coro gode di una fama A Midsummer Night’s Dream di Britten. Ha Peter Wedd ha studiato presso la Guildhall Carceriere (Dialogues des Carmelites), Primo sempre maggiore con ulteriore lavoro dalla inciso anche per il cinema e ha presentato in School of Music and Drama con William Apprendista (Wozzeck), Lakai (Ariadne auf BBC e da case discografiche internazionali. Per anteprima oltre trenta opere nuove. McAlpine e presso il National Opera Studio, Naxos) e Hobson (Peter Grimes), oltre a la Chandos il Geoffrey Mitchell Choir ha dove ha ricevuto sostegno finanziario dalla collaborare con James Conlon, Riccardo Muti, partecipato a numerose registrazioni nelle Dai buoni auspici degli inizi nel 1945, quando Peter Moores Foundation. I suoi impegni Jeffrey Tate e il defunto Giuseppe Sinopoli. Si applaudite serie di Opera in English con il fu creata da Walter Legge principalmente operistici hanno incluso Cascada (Die lustige è esibito anche nella Turandot e in Un giorno patrocinio della Peter Moores Foundation. come orchestra di registrazione, la Witwe) per la Royal Opera di Covent Garden, di regno di Verdi. Philharmonia Orchestra ha continuato ad Federico (L’Arlesiana) e Pluto (Orphée aux Recentemente Simon Bailey ha debuttato Il New London Children’s Choir è stato attirare alcuni fra i direttori più importanti del enfers) per la Opera Holland Park, e Don José nella prima mondiale della Tat’jana di Coghi, fondato dal suo Direttore Musicale Ronald ventesimo secolo. Hanno collaborato più (Carmen) per la Welsh National Opera. Nella diretta da Peter Stein a La Scala, e si è esibito Corp nel 1991 con lo scopo di permettere ai frequentemente con l’Orchestra Otto stagione 1999/2000 è diventato tenore nel suo primo importante allestimento di bambini di conoscere gli elementi di sfida e Klemperer (primo Direttore Principale), principale presso la Royal Opera di Covent Le nozze di Figaro per l’Opéra de Rouen. divertimento insiti nel canto e nell’esibizione Lorin Maazel, Riccardo Muti, Giuseppe Garden. Presto apparirà in una serie di ruoli per la per quanto riguarda tutti i tipi di musica. Da Sinopoli, Carlo Maria Giulini, Sir Andrew Il vasto repertorio concertistico di Peter Oper Frankfurt, che includeranno Papagneno allora il Coro si è esibito nei principali auditori Davis, Vladimir Ashkenazy e Esa-Pekka Wedd spazia da Messiah e Magnificat di (Die Zauberflöte) e Dulcamara (L’elisir di Londra; ha cantato con le orchestre Salonen. Attualmente diretta dal Direttore Pergolesi al Glagolitic Mass e Serenade for Tenor, d’amore). sinfoniche e i direttori più importanti del Principale Christoph von Dohnanyi e con

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Leonard Slatkin in qualità di Direttore d’Inghilterra di Pacini e l’Otello di Rossini). È un frequente visitatore della Spagna dove Der Vampyr di Marschner nonché ventuno Ospite Principale, l’Orchestra ha L’Orchestra ha registrato numerosi dischi per si è esibito in concerto con la maggior parte registrazioni operistiche complete con il consolidato la sua posizione centrale nella la Chandos, tra cui, nelle serie di Opera in delle maggiori orchestre spagnole. Ha diretto patrocinio della Peter Moores Foundation. Tra vita musicale britannica, non solo a Londra English con il patrocinio della Peter Moores la prima spagnola di Peter Grimes a Madrid e questi vi sono numerosi dischi per l’etichetta dove è Orchestra Residente al Royal Foundation, L’elisir d’amore, Faust, La bohème, nel 1996 la prima produzione spagnola di Opera Rara che hanno vinti parecchi premi, tra Festival Hall, ma anche nella società in Tosca vincitrice di un premio e otto album con The Rake’s Progress. È apparso in Germania, cui il belga Prix Cecilia per la Rosmonda senso più ampio attraverso soggiorni sul recital da solista di arie d’opera (con Bruce Svezia, Paesi Bassi, al Festival di Pesaro in d’Inghilterra di Donizetti. Per Chandos ha territorio. Ford, Diana Montague, Dennis O’Neill, Italia, al Festival Internazionale di Hong Kong, diretto nove registrazioni di arie d’opera (con L’Orchestra ha ricevuto diversi premi Alastair Miles, Yvonne Kenny, Andrew Shore in Giappone con una tournée della Carmen e Bruce Ford, Diana Montague, Dennis O’Neill, importanti ed ha conquistato il plauso della et due con John Tomlinson). in Messico con la UNAM Symphony Alastair Miles, Yvonne Kenny, John Tomlinson, critica grazie alla sua vitalità e al calore unico Orchestra. Recenti nuove produzioni da lui Andrew Shore e Della Jones), nonché Lucia of del suono. È stata lodata sia per la sua David Parry ha studiato con Sergiu dirette comprendono il Fidelio al Festival della Lammermoor, Aida, Don Giovanni, Ernani, programmazione innovativa, al centro della Celibidache ed ha cominciato la sua carriera Nuova Zelanda, Maria Stuarda al Teatro di Faust, Don Pasquale, The Elixir of Love, quale vi è un impegno ad interpretare e come assistente di Sir John Pritchard. Basilea e Lucia di Lammermoor alla New Israeli La Bohème, Cavalleria rusticana, Pagliacci, Tosca commissionare una musica nuova dei Ha debuttato all’English Music Theatre, Opera. (vincitrice di un premio) e brani scelti da principali compositori viventi al mondo, tra i quindi è diventato direttore d’orchestra Il suo lavoro in studio di registrazione Der Rosenkavalier, tutte in collaborazione con quali l’attuale Compositore in Visita James presso la Städtische Bühnen Dortmund e la comprende la produzione della BBC di la Peter Moores Foundation. MacMillan. Opera North. È stato Direttore Musicale di L’Orchestra si reca frequentemente all’estero Opera 80 dal 1983 al 1987 e dal 1992 è stato in tournée ed è l’orchestra sinfonica più Direttore Musicale fondatore dell’Opera di registrata al mondo con ben più di 1000 Almeida. incisioni all’attivo. Tra queste vi sono, per Lavora copiosamente in opere e concerti, a Opera Rara, parecchi dischi di arie d’opera livello nazionale ed internazionale. Ha diretto nonché undici opere complete (Ugo, conte di diverse produzioni presso la English National Parigi, Ne m’oubliez pas, Emilia di Liverpool, Opera e appare regolarmente con la L’assedio di Calais, Rosmonda d’Inghilterra e Philharmonia Orchestra. Nel 1996 ha Maria de Rudenz di Donizetti, Dinorah di debuttato con Così fan tutte al Glyndebourne Meyerbeer, Medea in Corinto di Mayr, Orazi e Festival, dove nel 1998 ha diretto la prima Curiazi di Mercadante, Maria, regina mondiale di Flight di Jonathan Dove.

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Peter Moores, Nicolai Gedda and Brian Couzens during recording sessions Mary Plazas and Jane Eaglen during recording sessions CHAN 3086 BOOK.qxd 21/5/07 5:37 pm Page 82

Mary Plazas during recording sessions

Nicolai Gedda during recording sessions CHAN 3086 BOOK.qxd 21/5/07 5:37 pm Page 84

COMPACT DISC ONE Mandarin Liù (looking round imploringly) (The crowd moves muttering and protesting. The Because the Prince of Persia has not been Who will help me, guards push the people back and disperse them.) Act I favoured by fortune, the law says after moonrise help me lift up my master here? Timur The walls of the great Violet City: the City of the the axe must slice his head off! My poor master has fallen… Are you living, son, truly? . The stage is almost entirely enclosed (The Mandarin withdraws and the crowd breaks Be kind, be kind! by a semi-circle of massive bastions. On the right the up into increasing tumult.) The Unknown Prince curve is interrupted by a high covered portico The Unknown Prince (runs up, recognises his Quiet! sculptured all over with monsters, unicorns, phoenix, The Crowd father and cries out) He who robbed you of your kingdom with pillars rising from the backs of huge tortoises. Kill him! Yes, kill him! Father! My father! has set out to pursue us! Someone call the executioner! At the foot of the portico, a heavy bronze gong is The Guards There’s no refuge for either of us, father! suspended from two arches. Quickly, quickly! Kill him! Get back there! Timur On the bastions have been erected poles bearing Give him torture! Kill him! Kill him! I imagined, my dearest son, the heads of victims. On the left and in the Quickly! Quickly! The Unknown Prince that you had perished! background three gigantic gates open from the If you are sleeping, we shall wake you up! O father, yes, I have found you! walls. The curtain rises on a glorious sunset. In the Pu-Tin-Pao, Pu-Tin-Pao! The Unknown Prince The Crowd distance, bathed in golden light, Peking is seen. To the palace, the palace! I’ve missed you, father… For God’s sake! The square is thronged with a picturesque (The crowd rushes towards the Palace. The guards and now I kiss your saintly hands! Chinese crowd, motionless and listening to the push back the crowd. Many are knocked down in Liù Timur words of a Mandarin. From the heights of the the clash. A confused din of frightened people. Is it you here? O son, at last I’ve found you! bastions, flanked by Tartar guards in black and red, Shrieks, protests, pleadings) he reads a tragic decree. Guards The Unknown Prince The Crowd Look at me! Let us watch the beheading! Mandarin Get back, you vermin! You’re not dreaming. Kill him! Kill him! Kill him! Kill him! 1 People of proud Peking! Get back, you vermin! The law is this: The Crowd The Crowd (Twelve executioner’s assistants come out two by Turandot the pure will marry the man who, Oh, for God’s sake! Don’t be so cruel! Why beat us so cruelly? two. A certain space between the couples.) born of royal lineage, solves the three riddles she O mother, help me! Ah! Spare my children! Why beat us so cruelly? Alas! Be kind! will let him hear. Timur Liù (in despair) The Unknown Prince 2 When all was lost and I was forced to flee from But if he cannot answer all the riddles, then his My poor master has fallen! fine head will at once be chopped off! Father! Please listen! Father! I’m here! my throne and my kingdom, The Crowd Our grief is sanctified… I heard someone beside me softly saying: The Crowd For God’s sake! Aren’t you human? if God so full of mercy brings us joy as great as ‘Come with me, and I will guide you!’ Ah! Ah! Oh, do not molest us! this! It was Liù!

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The Unknown Prince The Executioner’s Assistants (savagely) Tender lovers come hurry forward! How they long for you, devoted lover, brooding Blessings upon her! Fiery spitting, bloody spurting, At the crash of the gong over graveyards! make it sharper! heads will go crashing! O gleam of horror! Timur Turn the grinder! What can you gain See over there a glimmer! Whenever I was downcast, Sharp’ning, turning, grinding, oiling, never without fortune as a lover? Come out quickly, wake up! she dried my tears and cheered me, ceasing, always busy, thanks to Princess Three enigmas none can solve, Head with no body, wake up! even begged alms for me! Turandot! so death must follow! Hasten! The Unknown Prince Head with no body, come out! The Crowd All Liù… Who are you? Show yourself, resplendent radiance! Never slack’ning… Fiery spitting, bloody spurting, O, will no face appear? thanks to Princess Turandot! make it sharper, turn the grinder, Liù Bloodless, pale and bodiless! Tender lovers, hurry forward! sharp’ning, turning! Grinding, oiling! Just a slave girl… nothing more, sir, just a slave Hasten, devoted lover of graveyards! girl… O tender lovers, hurry forward! Never ceasing, never slack’ning thanks to Princess Turandot! Come, come out, wake up! The Crowd (outside) The Executioner’s Assistants Kill him! Kill him! Kill him! Kill him! Devoted lover of graveyards! Speed up the grinder! With our hooks and knives and scalpels. Ah! See over there a glimmer across the , deathly radiance shining! Pu-Tin-Pao! The Unknown Prince The Crowd (While the assistants go off to carry the sharpened The moon is high now! And why did you choose to share such We’re waiting for you! sword to the executioner, the crowd watches the sky, Pu-Tin-Pao! Pu-Tin-Pao! anguish? We are ready to adorn your pretty body! which has gradually darkened.) He who strikes the gong will see Children (outside, coming nearer) The Crowd (entering) Princess Turandot appear! The Crowd High in the hills of the East, 4 Speed up the grinder! Speed up the grinder! Is the moon never rising? storks sang songs of the spring; The Executioner’s Assistants Will no face appear? Liù but in April no flow’rs bloomed, Yes, the Princess will appear, Lighten the shadows! and the snow refused to thaw. Just because… in the palace, pale and icy, white as crystal, Quickly! Hasten! Wake up! you smiled on me! All across the land from desert to sea, cold and cruel as a scalpel, O gleam of horror! hear how a thousand voices sigh: The Crowd lovely Princess Turandot! O bodiless! Princess, won’t you come down to me! 3 Hasten! Wake up! Sharpen the axe, sharpen the axe. The Crowd Then the flow’rs will smile, Lighten the shadows! Sharpen! Sharpen! Sharpen! Sharpen! Yes the Princess will appear, ev’rything will shine! Ah! Head with no body! pale and icy, white as crystal, (A group of executioner’s assistants enter, preceded O bloodless! Bloodless and bodiless! (The golden hue of the background has changed to cold and cruel as a scalpel, by those bearing the whetstone for sharpening the O silent lover! silver. The procession, leading the young Prince of lovely Princess Turandot! big sword.) Devoted lover of graveyards! Persia to the scaffold, appears.)

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(At the sight of the victim advancing so pale and Be kind! Be kind! Be kind! Be kind, and spare Timur The Unknown Prince dreamy, the ferocity of the crowd is turned to his life, oh spare him, cruel Princess! No! No! Hold on to me! No, father, through her beauty I shall pity.) Liù, make him hear you! triumph! The Unknown Prince (dazzled at the sight of It’s so dangerous here! The Crowd Turandot) Keep his hand in your own hand, safe from Timur (holding him back) 5 How young to die! Most divine of all beauties, O dream of glory! danger! Must you perish like this? Spare him! Spare him! O rapture! Glorious wonder! O most divine of The Unknown Prince How determined his footsteps! Spare him! beauties! Liù I shall triumph, through her beauty I shall And how gentle his expression! O marvel, O joyous wonder, O vision of rapture, My lord, let’s flee this torture! triumph! In his eyes, exaltation! Be kind! O dream of glory! Timur In his eyes rapture gleaming! Be kind! White Priests of the Procession Take refuge far away! (He is about to throw himself on the gong; the three Oh, have pity! grotesque Ministers (masks) bar his way. They O great Koungtzè! The Unknown Prince Oh, spare his life! Princess, spare him! May the soul of the departing surround the Unknown Prince and hold him back.) Be kind and spare his life! Be kind! No, father, I must stay here! rise up high to you! The Ministers Mighty Princess, spare him! Timur 7 What do you want? Who are you? Save him! Be kind to him! (The procession has passed out along the walls. Take refuge far away! In the dim light of the deserted square, only the You’d better stop at once! The Unknown Prince Unknown Prince, Timur and Liù remain. The The Unknown Prince Away now! Off! The gate is meant for those Oh, have pity! father approaches his son anxiously and tries to I’m suff’ring, father, suff’ring! who go to be butchered! Let me see you, for I would curse your cruelty! rouse him from his abstraction.) Madman, away now! Timur O Princess, I would curse your cruelty! Timur It is dangerous here! Ping 6 Son, are you mad? Here they choke you! The Crowd The Unknown Prince Be kind! Be kind! The Unknown Prince No, father, I must stay! Pong and Pang Cruel Princess! Cruel Princess! That perfume! Can you not sense her sweet Turandot! Turandot! Turandot! Flagellate you! Be kind to him! perfume, Oh spare his life! that fills the air? The Prince of Persia (as in final invocation) Ping (The crowd has turned towards the portico, where Turandot! And spike you! Turandot is to appear. Illuminated by the moon’s Timur You’re crazy! The Crowd (sharp cry) Pong and Pang rays and like a vision, Turandot appears. The crowd Ah! And skin you! falls on its faces and only the young Prince of The Unknown Prince Persia, the huge executioner and the Unknown Most divine of all beauties, dream of glory! Timur Ping Prince remain standing.) I’m suff’ring, father, suff’ring! Must you perish like this! And slice you and chop your head off!

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Pong and Pang Pong and Pang Suppose you had a hundred Ping (crossly, to the maidens) Away! Just for a Princess, all this! wives to play with, you’d have two hundred arms, Go away, tittle-tattling women! and fleshy bosoms… Ping Pah! (The maidens withdraw.) You’d better quickly run away, Pong Pong and Pang The Ministers get back to where you came from, What is she? …fleshy bosoms… Go away! and find a wall to bang your head on Watch for the gong! if you must, but not here, Pang Ping no, not here! Just a female …keeping a hundred beds warm… The Unknown Prince who’s born with a crown on her head! How the scent of her perfume fills the air! Pong and Pang Ping, Pong and Pang Away! Get back to where you came from! Pong …a hundred beds warm! Pang What do you want? And frills around her shoulders! (They burst out laughing.) Look at him, Pong! Away! Away! Ping Ha, ha, ha! Pong The Ministers But if you strip her naked… (still holding the Prince back) Look at him, Ping! Ha, ha, ha, ha, ha, ha, ha! No, not here! Pong Ping Madman, away, away! You’ll find… The Unknown Prince (violently) Look at him, Pang! The Unknown Prince (trying to break through) Don’t try to hold me back! Pang Pang No, no, you cannot stop me! She’s only raw flesh… The Ministers Catatonic! Pong The Ministers Madman, away, away! The cemet’ries are totally Pong That can’t be eaten! Quite demented! occupied here! Ha, ha, ha! (A group of handmaidens leans over the balustrade of the Imperial loggia and with raised hands Pang The Unknown Prince (violently) Ping reprimands the disturbance.) No shortage of home-grown lunatics! No, no, you cannot stop me. Get back, I say! Hallucinated! Ping Ping (with calm and dignity) Handmaidens Timur We do not want any foreign imports! Give up all women! Or take at least a hundred, 8 Why so much noise? He does not hear them, alas! for even the matchless Princess Why all this shouting? Pong and Pang The Ministers Turandot has nothing more than one face Be silent! Be silent! Escape, or else prepare for your own funeral! Come! Let all of us try! and two arms and two legs! Be quiet for the hour of sweetest slumber! The Unknown Prince Very, very pretty, yes, yes, lovely, Sleep is descending on her eyelids, on Turandot. (The Ministers surround the Prince in grotesque Don’t try to hold me back! but always the same ones! How the scent of her perfume fills the air! attitudes.)

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Pang The Unknown Prince (strenuously resisting) The Unknown Prince (shaking off the ministers) The Unknown Prince (approaching Liù, much 9 Nights without a gleam of starlight… No! No! It’s I who love her! No, I’ll be the victor! moved ) And she will love me! 11 Don’t cry for me, Liù! Pong The Ministers Chimneys shut off from the daylight… (He is about to dart up to the gong, when the If once so long ago Love her? You’re joking! Her? my smile entranced you, Ping Turandot? Ha, ha, ha! executioner appears on the top of the rampart, holding up the Prince of Persia’s severed head.) then in return, now, gentle as you are, Liù, …are more lucid than the riddles of Turandot! please hear me: your master Pong The Ministers may be after tomorrow all alone in the wide Pang Silly boy, you’re demented! Bronze and iron, flint and granite… Stupid! That is what love brings! world… The deathly moon will be the one who’ll kiss you! Pang Please do not leave him, stay with him come Pong what may! …or your head, you stubborn blockhead… Turandot’s non-existent! Timur (entreating him in despair) O son, do you want me to carry alone the Liù Ping Ping unbearable weight of my tortured old age We shall die on the lonely road of exile! …are not half as hard as the riddles of Turandot! The abyss that will claim you through the whole world? Timur is all that’s existent! Pang Oh help me! Can no human voice make We shall die! your inhuman heart show some feeling? So be off now and good riddance! Pong and Pang The Unknown Prince Pong Turandot’s non-existent, non-existent! Liù (approaching the Unknown Prince and Make the road for him sweeter by your kindness! Cross the mountains, swim the rivers! tearfully beseeching him) This then, this then, by the love in your heart, Ping 10 I beg you, hear me, Ah, my lord, I beg you! your resolute devotion, this I ask you! Ping Turandot! Just like you, Liù can bear no more! But keep far away from the riddles of Turandot! Please do not fail me, like you and all other idiots! Her heart will break alas, alas! who now can smile no more! (The shadows of those who died for Turandot flit to And us as well! How far I’ve wandered, and fro on the ramparts.) Man! The Ego! God! your name always within my soul, Timur (desperately) 12 Even Emp’rors! Pu-Tin-Pao! Ah! How can you ignore us? Shadows (offstage, mysteriously, as though from far your name always upon my lips! But if tomorrow Liù away, with drawling sound and hands curved Pang Break away from this sorcery! round the mouth) your fate should be decided, You will kill yourself like all the idiots who loved we shall die on the lonely road of exile! (The Ministers, who had retired, draw near again.) Hurry and call her! her, you will kill yourself! She will appear then, He will no longer have a son, The Ministers she who brings dreams to her buried lovers. Pong I’ll lack the shadow of a smile! To live is such a blessing! Let us all hear her, hear her voice speaking! Just like you and all other idiots, Liù can bear no more! Don’t be harsh! Timur I love her! I love her! I love her! nothing real except the Tao! (She falls to the ground, sobbing and spent.) Have you no thought for me?

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Liù Ping The Ministers All Will you not pity Liù? Let us try once more to drag the madman off! You’re looking at death and destruction! Destruction! …It’s a ghastly delusion! The Unknown Prince The Ministers The Ministers The risk you are running is frightful! Turandot! To live is such a blessing! Try to drag him off! Try to drag him off! Your head will be chopped off! Timur The Unknown Prince How gloomy the shade of the axe-man, (The Unknown Prince sounds the gong three times.) Have you no thought, no heart, no love for me? Leave hold of me! I’ve suffered too deeply! how darkly, how bleakly it looms! The Ministers I cannot be parted from you! I seek greater glory, it waits over there! The Crowd (within) We shall have to give up! Be kind! Be kind! We’ve dug a yawning grave for you It’s useless to go on I kneel here before you, imploring! Timur who risk your life for love! in any language, Sanskrit, Chinese, who knows Have you no heart? You spurn the poor heart of a father, And gloomy darkness shrouds, alas, what! Don’t condemn me to die here! a heart vainly grieving, a heart vainly bleeding for you! your horrible cruel fate! At the crash of the gong, heads will go crashing! The Unknown Prince Liù Ha, ha, ha, ha! No, I’m the one asking for love! The Ministers We must flee now, dear master! The Crowd I no longer hear you! The face that you see’s an illusion! We have dug a grave for you I still see her beauty before me! The light that is shining is fatal! Timur who risk your life for love! I see her! She calls me! She is there! I kneel here before you! (A light is thrown on the gong.) Don’t condemn me to die here! He asks you pardon (The Prince has remained in ecstasy at the foot of the whose smile shall never, shall never shine again! The Unknown Prince The Ministers gong. Timur and Liù cling to each other in despair.) No one human can hold me or stop me! Liù You’re heading straight for disaster! Remorseless fate has called me! Act II Have mercy, my lord! Will you not pity Liù? Do not risk your one and only life! I’m all in a fever, I am all a-quiver! Scene 1 Have mercy, lord, be kind to Liù! All my senses are driving me insane! (shouting) A Pavilion, formed by a huge curtain curiously The Ministers Timur The Unknown Prince decorated with fantastic and symbolical Chinese Why throw your life away? No man has succeeded, no, no one! Ev’ry strand of my being with one voice figures. The scene is laid on the first floor and has Grab hold of him! Take him away! The heads of the suitors have all been cut off! is screaming! Turandot! three entrances: one in the centre and two at the Grab hold of that lunatic madman. sides. All Take him away! Come, take him away, that Liù Ping peeps through the middle opening: looks Destruction! madman! Have mercy! Be kind to us! right and left and calls his companions. They enter, Grab hold of that crazy fanatic! As if he’d not quite enough suff’ring, The Unknown Prince followed by three servants, one of whom carries a You’re raving mad! To live is a blessing! but now, lord, we’re doomed altogether with you! Turandot! red lantern, one a green and one a yellow. These

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they repair symmetrically in the middle of the stage Pong Pang by a lake serene and blue, on a low table surrounded by three stools. The A canopy of scarlet for the bridegroom! …and then three riddles. all encircled with bamboo. servants then withdraw to the back where they But I’m here, the best years of my life all wasted, Pang Ping remain squatting. wearing out my heart and brain on sacred And for the corpse a fine spacious coffin! …and the chopping… scripture… Ping Pong Pong 13 Hallo Pang! Hallo Pong! With priests who can sing so well… …of a head off! Pang and Pong (deeply impressed ) (mysteriously) …on sacred scripture. Because the dreadful gong Pang Ping is rousing the palace and stirring up the town, And priests who can groan so well… …of a head off! Ping (confirming) be ready for ev’ry outcome: … on sacred scripture. (All three sit down next to the little table on which a wedding if the stranger answers rightly, Pong and Pang And I long to see that view… the servants have laid the scrolls and, as they but if he loses, another jolly funeral. And ev’ry other damned thing demanded by the ritual… enumerate, they search through the scrolls.) Pang and Pong Pong (gaily) ev’ry tiny little detail! Pang …to see that view! Why don’t I do the wedding! Ping (raising his arms on high) The year of the rat there were six. Ping Pang O , O China, Pong …of my lake serene and blue… And I the funeral! how out of sorts and disturbed and uneasy, The year of the dog there were eight. Pong you were so happy sleeping, Pang and Pong The red festive lanterns for weddings! bloated with seven millions years of The Ministers …serene and blue… peacefulness! And now in the current year of the tiger, Pang the terrible tiger, Pong The white sombre lanterns for funerals! The Ministers (They count on their fingers.) All encircled with bamboo! Life was bound and determined we have had so far thirteen… Pong by the world’s oldest rules and regulations, Pong The incense and offerings… We have had thirteen, including this latest! till the birth of… the birth of… It’s so boring! So annoying! I have forests close to Tsiang, Pang the birth of Turandot… Look at what we have become now! there are none more beautiful. The incense and offerings… Ping Executionary servants! How I miss their cooling shade! Just servants of the axeman! Pong And ever since then all our celebrations Pang The sanctity of gold paper money… are reduced to identical amusements: Ping (His face clears up and he gazes into the I’ve a garden close to Kiù Pang Pong distance with a homesick expression.) which I left when I came here, Of sugar, tea-leaves and nutmegs! Three strokes on the gong… 14 I’ve a house in fair Honan and which I’ll see no more.

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Ping (They remain motionless, in ecstasy, then rise, with make it sharper, Ping How I long to see that view a sweeping gesture of despair.) grinding, oiling, They were all destroyed! of my lake serene and blue! sharp’ning, turning, The Ministers Pang All encircled with bamboo! make it sharper, O China! So full of wild and crazy lovers! Destroy them! But I’m here wearing out heart and brain turn the grinder! Pong and Pang on sacred scripture! Pong Pong We’ve seen so many And the jewel-laden Prince who came from India, All slaughtered! Pang and Pong hopeful Princes face the trial! And me! the one who wore the little bell-like earrings? Ping …on sacred scripture! Ping He asked for love, but she chopped his head off! Destroy them! So many! Pong Pang The Ministers How I long to be in Tsiang… Pang The one from Burma! All dead and slaughtered! So many! Ping Pong Farewell to love throughout all China! How I long to see that view… Ping The Prince of the Kirghisi! Abandon hope, all you lovers! So many hopeful All butchered! All slaughtered! Our divine race is done for! Pang Princes face the trial! How I long to be in Kiù… Pong and Pang (Pong and Pang sit. Ping remains standing, to Pang All butchered! All slaughtered! make his invocation more effective.) Ping So many lovers! …of my lake serene and blue… Ping Ping (like an invocation) Pong The Tartar with his bow of seven cubits, O tigress! Tigress! Pong So many! arrayed in priceless ermine! Tsiang… The Ministers Ping Voices Within O mighty Queen who marshals the heavens! Pang O China, so full of wild and crazy lovers! Fiery spitting, Grant that soon we see that night long awaited, Kiù… 15 Do you remember when the Royal Prince of bloody spurting, the supreme night of surrender! Samarkand came? make it sharper! Ping Thanks to Princess Turandot, Ping Honan… All encircled with bamboo! Rashly he stood the trial and Turandot with gracious never ceasing, never slack’ning! Let me make sure the bridal bed is perfect! Pong pleasure chopped his head off! Pong Pong (with a descriptive gesture) How I long to be in Tsiang! And please let me plump up her downy pillows! Voices Within All butchered! Pang Fiery spitting, Pang Pang (as though scattering perfume) How I long to be in Kiù! bloody spurting, All slaughtered! And let me fill her bridal room with perfume!

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Ping Pong Pang (The white and yellow standards of the Emperor pass I’ll lead the couple in, and hold the lantern! To the silky and soft yellow bedspread, The trial is now beginning! through the clouds of incense. The standards of war silent witness of kisses and sighs! pass. The incense slowly disperses. At the head of the The Ministers The Ministers (They go off comically.) staircase, seated on a big ivory throne, is the Emperor The Ministers And then we three in the garden will sing a Let’s go now and relish the latest execution! Altoum. He is very old, quite white, venerable, In the garden hear how the golden song… sacred, like a god appearing through the clouds.) campanulas are whisp’ring their love… Scene 2 Glory to our Emp’ror! Oh may you live forever! Pong How they tinkle with amorous rapture… The big square in front of the Palace. In the centre (The crowd falls prostrate in an attitude of deep We shall sing songs of love until the morning… Ping is an enormous marble staircase, which ends at the respect. The square is bathed in a rosy light. The top under a triple arch. The staircase has three big Ping Ev’ry petal is gleaming with dew! Unknown Prince stands at the foot of the staircase. landings. Like this: Timur and Liù are on the left among the crowd, The Ministers Numerous servants place variously coloured but visible to the audience.) (Ping is standing on his stool, the other two are Glory and joy to her fine naked body, lanterns everywhere. The crowd gradually fills the Glory and praise! seated at his feet and turning towards an imaginary tasting mysteries not known before! square. balcony.) Glory to capture and passion victorious, The Emperor (with the weary voice of a very old bringing China to peace evermore! (Mandarins arrive dressed in ceremonial garments man) The Ministers of blue and gold. The eight wise men pass, very tall 17 I am the pris’ner of a ghastly promise: (But from within, the growing clamour in the and pompous. They are old, very much alike, huge honour obliges me to keep it. China is free of the madness of women Palace recalls the three Ministers to the sad who reject all the pleasures of love! and massive. They move slowly and simultaneously. This holy sceptre I carry grows far too bloody! eality. Ping, jumping down from his stool Each one carries three sealed silken scrolls, which Too much blood spilled! She who once was so icy and frigid exclaims:) now is flaming with raging desire! contain the answers to Turandot’s enigmas.) Prince, go away! Ping Turandot, you are ruler of China The Crowd The Unknown Prince (resolutely) from Tse-Kiang to the mighty Yangtze! We were dreaming! See the palace, how it 16 With the three enigmas ready, Offspring of heaven, I ask swarms with eight wise men advance now gravely, to face the fateful trial! Ping servants and lanterns and soldiers assembling! heavy with the enigmas’ myst’ry… But your bedroom, so gorgeously furnished, The booming of the drum The Emperor (almost beseeching him) (Incense begins to rise from the tripods at the top of now has a master who rules over you! in the temple calls them! Can’t you let me expire without the staircase. The three Ministers appear through The clattering of thousands of slippers, another cruel young death weighing down my The Ministers the incense; they are now dressed in ceremonial can’t you hear it? aged conscience? How his kisses have made you submissive, coats of yellow.) how their aroma has softened your heart! Pong Look at Ping! The Unknown Prince (still more insistently) Glory, glory to secret fulfilments, The blaring trumpets! Look at Pong! Offspring of heaven! I ask making nuptials a marvel of joy! Peace? You’re joking! Look at Pang! to face the fateful trial!

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The Emperor Turandot (She takes up her place at the foot of the I will avenge on you, I will avenge that Princess All the world invokes it, Do not seek yet again to fill with pain throne. Beautiful, impassive as a golden image, she her cry of death and torture, her cry, her savage and all the world implores it! and grief this palace and empire! gives the Prince a cold glance and says solemnly:) murder! But the ghost always flies away at sunrise 19 Within this Palace a story lives forever. (resolutely) and is born within the heart, The Unknown Prince (with increasing strength) A cry of anguish rang out years ago, I would rather die! reborn with every nightfall Offspring of heaven! I ask cry of anguish that travelled through the ages, I shall never, never yield! but dead with ev’ry morning!’ to face the fateful trial! cries that darkened and froze my inmost soul! Her horrid murder lingers The Emperor (with anger, but majestically) Gentle Princess Lo-u-Ling, deep in my heart and soul! The Unknown Prince O stranger, drunk with a death wish! So be it! pure, serene and so gentle, she who reigned here No, no! I would rather die! Yes! Reborn! Reborn as exultation Prepare to meet your fate! in seclusion, so peaceful and in silence, Ah, it lives now in me, with wings to lift me high: meeting firmly and proudly ev’ry vile and the glory and pureness of Lo-u-Ling! Turandot, it is Hope. (The crowd rises from its knees. A gay procession of insolent onslaught, you are alive in me! (menacingly to the Prince) The Sages (they open the first scroll rhythmically) women scatters flowers on the big staircase.) O stranger, do not challenge your fortune! The Crowd (It is Hope!) Three enigmas must be solved or death will The Crowd It happened when the King of Tartar Glory to our Emperor! follow! Turandot (angrily) taunted China with his seven flags! Yes, it is. Oh may you live forever! The Unknown Prince Turandot (evoking distant memories) Hope that will delude you always. No! No! Three enigmas I shall solve, and life will (The Mandarin steps forth with the decree.) Who can forget the horror and the terror, (She nervously comes halfway down the staircase.) follow! who not hear still the roar and clash of conflict? ‘Blazing just like a fire, yet it is not fire! The Mandarin (among the general silence, Sometimes hot as a fever! A fever proclaims:) Her reign was over! Her reign was over! The Crowd And Lo-u-Ling, noble princess, was abducted Come, let the royal stranger fierce and remorseless! 18 People of proud Peking! and by a man like you, just like you, O stranger, now face the dang’rous trial, Inertia soon reduces it to languor! The law is this. Turandot the pure And the moment you lose your life, it freezes! will marry the man, who born of royal lineage, till in a night of horror, O Turandot! Turandot! her fresh enchanting voice was cruelly stifled! But dreams of conquest quickly set it flaming! solves the three riddles she will let him hear. (The trumpets sound. Silence. Turandot proclaims It can speak with a voice that makes you tremble. But if he cannot answer all the riddles, The Crowd the first enigma.) Its colour glows like the setting of the sun!’ then his fine head will at once be chopped off! Through century after century Turandot The Emperor in her vast tomb she slumbered! 21 Children (offstage but audible) O stranger, now listen! ‘Through the sombre Do not give up, O stranger! Thousands of voices sigh Turandot darkness across the land from desert to sea: 20 O Princes who in caravans of splendour flies like a ghost a luminous shadow. The Crowd Princess won’t you come to me! travel far from your own domains Soaring with wings extended Your life’s in danger! Your life’s in danger! All the world will shine! to come here, you come to try your fortune, over infinite sorrows of mankind! Answer!

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Do not give up, O stranger! The Unknown Prince (bounding to his feet, exclaims) The Emperor (still more solemnly) The Unknown Prince Answer! Answer! Ah! With my vict’ry you now belong to me! An oath once made is sacred! 23 Three enigmas that you asked me, I solved them For my fire will thaw you: Turandot! correctly! Liù (beseechingly) The Crowd Now I shall ask you to answer only one: Answer for love’s sake! The Sages (opening the scroll ) An oath once made is sacred! Turandot! Turandot! Turandot! you must tell me my name! You do not know it. The Unknown Prince Turandot (with increasing fury) If you can tell it before the morning, Yes, mighty Princess! The Crowd I’ll not surrender. Ah, never! you can have my life at dawn! For when you gaze upon me Turandot! Turandot! Glory, glory to the victor! The Crowd (Turandot bows her head in assent.) burning yet running cold within me, The Prince has won the trial! it’s blood! At your triumph, let life shine with the smile of love! He put his life in danger! The Emperor I pray to Heaven that, with the sunrise, The Sages (opening the second scroll ) May our mighty Emp’ror be ruler for ten Turandot I shall call you my son! (It’s blood!) thousand years, I shall not be yours! be the light and King of the whole world! The Crowd The Crowd (The Court rises. Banners are waved. The Prince Have courage, stranger, you will solve the Turandot (Filled with anguish she mounts the And you’re the prize for winning! mounts the stairs while the Imperial hymn is sung enigmas! stairs again, close to the Emperor’s throne.) He put his life in danger! once more.) 22 Emp’ror and father! Son of Heaven! An oath once made is sacred! Turandot (pointing out the crowd to the guards) No, do not give your daughter The Crowd Give those wretches a beating. to a stranger! Turandot (to the Prince, rebelling with all her We fall down before your feet, (Turandot comes to the bottom of the staircase might) Light and Ruler of the whole world! The Emperor (solemnly) and leans towards the Prince, who falls on his D’you want me in your arms unwilling, Knowing you to be An oath once made is sacred! knees.) in your arms, unloving? supremely good and wise, ‘Freezing ice that will burn you Turandot (rebelliously) humbly at your feet yet from your fire No, don’t say so! Your daughter is sacred! The Unknown Prince we present our love! grow ever colder. Clear to see, yet so gloomy! You cannot give me to him just like a slave-girl No, no, O defiant Princess! May you live for ten thousand years! And when it sets you free it still enslaves you! to die in shame and sorrow! I want you all ablaze Glory to our Emp’ror! Oh, may you live for ever! When you’re captive it hails you as a King!’ Do not dare look at me! with love! Supreme descendant of Hien-Wang, (The Prince scarcely breathes. Turandot bends over You who laugh at my honour, The Crowd now we cry: him, as over a prey, and sneers.) do not dare look at me! You are daring! Glory to our Emp’ror! Oh, may you live for Can’t you answer! So pale with helpless terror! I won’t be yours! You are noble! ever! For you know you will fail now! Can’t you answer? No, no, I won’t be yours! You are daring! Higher, higher raise the banners! The frost that sets you flaming, can’t you say? I shall not, I shall not! You are mighty! Glory and praise! Glory and praise!

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COMPACT DISC TWO Heralds (still further off ) Ping 3 These girls should please you! Sleep is banished tonight throughout the city! You who gaze at the starlight, lower your eyes (He pushes a group of alluringly beautiful and Act III and pay attention! semi-nude maidens towards the Prince.) Scene 1 Distant Voices (further off ) Pong See them! They’re gorgeous! The Palace garden, vast and undulating; between None shall sleep now! You have the pow’r to save us from destruction! Without their veils they’re even better! the bushes are bronze divinities, lightly illuminated None shall sleep now! from below by the reflex of the glow from the The Unknown Prince Pang Pong and Pang Flesh that you can cling to… incense-burners. 2 None shall sleep now!… You have the power! On the right five steps lead to a Pavilion, closed In your cold room, O Princess, Ping by a richly-embroidered curtain. This Pavilion Ping you, still awake and restless, Ev’ry kind of delightful forms an ante-chamber to one of the wings of the You heard the order! gaze at the starlight sensation freely offered! Palace on the side of Turandot’s chambers. The streets of the city, in ev’ry doorway, that throbs with love and yearning! death ra-ta-tats with the question: ‘His name, It is night. From very far are heard the voices of the The Maidens (surrounding the Prince) But locked within me lies my name, please?’ Heralds proclaiming the Royal edict all over the city. its myst’ry none shall ever learn! Ah, ah! Ah, ah! Other voices, from near and far, re-echo the order. No, no, till with my kisses on your lips The Ministers The Unknown Prince (resisting) Reclining on the steps of the Pavilion, in the I’ll speak my name when morning shines! ‘His name, please?’ or else we are done for! No! No! silence of the night, the Unknown Prince listens to Yes, with a kiss the silence will be broken the Heralds, as if he were living in another world. The Unknown Prince and you’ll be mine! What d’you want me to say? Pong and Pang What then? Heralds Women’s Voices (behind the scenes, rather distant) 1 The Princess Turandot commands Ping No one shall know the Prince’s name, The Ministers that this night none shall sleep throughout the Just tell us now. and we, alas, are doomed to die… Possessions? City! What do you want? All of these treasures are yours! The Unknown Prince Distant Voices (plaintively) Pong All yours! All yours! Dissolve, O darkness! None shall sleep now! What are you seeking? Fade away, O starlight! (At a sign, baskets, chests and bags filled with gold None shall sleep now! Ping Let the night be ended, and precious stones are brought in.) Heralds (further off ) that I may win her love! Is it love you are lacking? Before the morning his name must be discovered, Pang Ping (The three Ministers emerge from the bushes and for concealment death will be the sentence! What do you want? Darkness of night is banished… followed by a small crowd of figures, dim in the Distant Voices darkness of the night and gradually increasing in Ping Pong Death is the sentence! Death is the sentence! number.) What are you seeking? Flaming azure!

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Ping The Unknown Prince (raising his arms in You will die before us and be blasted to hell! Ping …by the flashing of jewels! invocation) What’s your name, your name, come, answer, Pure and heavenly Princess! The secret name of Morning, hasten! Release me from this nightmare! give us your answer! the stranger, Pang Ping (more and more threatening and desperate) within these silent mouths it is hidden. Glittering em’ralds! The Guards (behind the scenes, shouting) We have the instruments to prise them open, O stranger, you don’t know, Here is the answer, the name is here! Pong to what torment the Princess will condemn us, and by extraction of their teeth get the answer! And these brilliant diamonds. you don’t know! (A group of soldiers drags in old Timur and Liù, Turandot (haughty and ironical ) exhausted.) 4 Pang Pong and Pang How pale you look, O stranger! The fiery red of rubies glowing! You don’t know the ghastly tortures The Unknown Prince (rushing forward crying out:) The Unknown Prince that China may make us suffer They do not know it, they cannot know the It’s you in your terror Ping if you remain and keep your name still a secret! answer! veiling my face with morning’s feeble pallor! They are pieces of starlight! They do not know me, not at all! The Ministers and Crowd Ping Pong and Pang The Princess never pardons! Yes, the girl and the old man Turandot (challenging him) Flaming azure! We shall be finished! who were talking last evening with you! You’re lying! We’ll suffer horrible torture! Ping Old man, we’re waiting! We’ll suffer painful torture! Take them! Finders are keepers! The Unknown Prince I want to hear your answer! The scalding irons! Let go of them! (They seize Timur again.) The Unknown Prince Crucifixion! His name is? No! I don’t want your riches! No! The burning, biting, pinching pincers! Ping Extinction little by little! They’ll tell us what your name is! Liù (stepping quickly up to Turandot) The Ministers Don’t cruelly condemn us! (to the guards) The name you want is known by me alone! Would you like glory? We can arrange it all! No, do not make us die! Where were they when you found them? The Crowd The nightmare’s over, now we shall not die! Pong and Pang The Unknown Prince (absolutely firm) The Guards We’ll help you journey with the stars You cannot now dissuade me! They were loitering there, close to the palace! The Unknown Prince to fabulous unimagined Empires! You cannot now prevent me! You cannot know it, slave girl! To hell with China, give me Turandot! The Ministers and Crowd The Crowd Noble Princess! Royal Princess! Liù So get moving! So get moving! The Crowd (fiercely threatening the Prince with I know his secret… Flee at once, go far away! daggers) (Turandot appears – they all fall prostrate on the and it thrills me to keep it Flee at once, go far away, Not a chance! No, not a chance! ground… only Ping advances with great humility within my heart so that we may all be saved! You will die before us! We’re going to kill you! and says:) where no one else can find it!

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The Crowd The Unknown Prince great joy to my heart, because it is for him Liù (desperately) Let the girl be bound and tortured, Let go of her! my pain is given… I cannot bear it! till she answers, till you’ve killed her! And by my silence I shall give him even more… I can suffer no more! Liù Your love too, great Princess, I shall give him, by Release me, I implore you! The Unknown Prince (standing in front of Liù to No… no… I’ll cry no more! They have not hurt losing all I have, (trying to break through the crowd that surrounds protect her, threateningly) me! by giving up the hopeless dream I cherished! her) You shall pay for what you do to her! No, no one has touched me. (to the guards) Release me, I implore you! You shall answer for her torment! (to the soldiers) So shackle me and torture me! Twist harder… only bind my mouth, The Crowd Turandot (violently to the guards) Torment me endlessly! I beg you, lest he should hear me! Answer! Answer! Take hold of him! Punish me! (weakening) Ah! As an ultimate offer of my love. Liù (A guard shackles the Unknown Prince’s feet and I can bear no more! Yes, mighty Princess, I shall speak! holds the rope-ends, while two other soldiers seize hold The Crowd Turandot (violently) 6 You who with ice are shrouded, of his arms. Turandot resumes her aloof attitude.) Answer! Tell his secret! Tear out this woman’s secret! will soon by fire be melted: Liù love for him will claim you too! Turandot Ping They shall not make me speak! Love for him will conquer you! Let her go now! Go summon Pu-Tin-Pao! Now that the day is dawning, (Liù is held down kneeling on the ground.) Answer! The Unknown Prince (struggling violently) I shall close my eyes for ever… Ping Liù No, devil take you! so that he yet may win you, Who is he? No. I’d rather die! while I shall see his face no more! The Crowd (yelling) Liù Turandot Destroy her! Destroy her! Destroy her! (In a flash, she snatches a dagger from a soldier and No! What can it be that gives your heart such stabs herself. She looks around with agonised eyes – courage? Ping looks at the Prince with intense tenderness, staggers Ping Intensify the torture! towards him and falls dead at his feet.) Who is he? Liù Mighty Princess, for I love him! The Crowd (yelling) Liù The Crowd (savagely) Ah! Answer! Answer! Who is he? Who is he? I humbly beg your forgiveness, but I cannot say! Turandot Lay on the torture! (A soldier twists her wrist.) You love him? Yes, destroy her! The Unknown Prince Ah! Answer! Ah! Life surrendered, dead and finished, Liù (raising her eyes full of tenderness) Lay on the torture! O my poor little Liù!… Timur 5 Yes, I love him so deeply, with secret feelings Why are you crying? so deep and strong that these dark tortures bring (The executioner appears.) (There is a long terrified silence.)

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Timur (totters up and kneels down by her) Pong (with profound compassion) I am the daughter of heaven… Turandot 7 Liù!… Liù!… What is this painful feeling, within my ageing pure and unfettered. The shame of Lo-u-Ling shall Wake up! It is the hour heart, that so disturbs me? You’ve torn through my icy cover, never re-occur! Ah! No! when all should be waking! but still my soul is on high! The Unknown Prince Bright morning… little dove… Pang The Unknown Prince You shall be mine! Open your eyes my dearest! How that young girl, by dying, places on my old heart a heavy burden! Though your soul may be skyborn, Turandot Ping (goes up to Timur) here beside me dwells your body! Do not defile me, stranger! Come along, get up! She’s dead now! (The sad procession moves away.) With my smouldering fingers This is an outrage! I shall fondle the gleaming Timur (with a cry) The Crowd The Unknown Prince golden hem of your garment… Ah! Disastrous horror! We are all of us guilty! Liù, so good, forgive us, forgive us! No! A kiss from you will grant eternal life! and my quivering kisses Liù’s wounded spirit will demand revenge! Liù, so good! Liù, so gentle! Softly sleep! Turandot Liù! Gracious spirit! I shall press on your mouth! (With religious solemnity the little corpse is carried An outrage! Turandot away, in the midst of the deep respect of the (They have now all departed. The Prince and (In saying these words, strong in the conviction of Do not defile me! crowd.) Turandot remain alone, facing each other. The his right and of his love, he takes Turandot in his Princess, rigid as a statue under her ample veil, The Unknown Prince arms and kisses her passionately. Turandot offers no The Crowd remains motionless.) Ah! To feel you living! resistance against so much impetuosity, her voice Innocent phantom, do not bring us to evil! fails her, she has no more strength or will.) Agonised spirit, forgive us! The Unknown Prince (with sombre impetuosity) Turandot 8 Deathly Princess, so heartless! Don’t touch me! Turandot (with accents of supplication, almost Timur childlike, she murmurs:) Icy Princess, so monstrous! The Unknown Prince Liù, so good! Liù, so gentle! 9 What have you done? Destroyed me! Leave your tragic remoteness! To feel you living! (taking the dead girl’s little hand in his) Come, descend from your heaven! Ah! Let us walk together even further… The Unknown Prince Do not keep yourself hidden! Turandot My flower! like this, your hand and my hand held together! Lift your veil and be human! Do not defile me! I know where you’ve gone. O my flower of the morning! See what Liù has surrendered: The Unknown Prince My flower, how I breathe you! And I shall follow you: purest blood shed for you! we shall rest beside each other There’s no ice in your body! As fragrant as a lily you tremble as I hold you! in the endless night that knows no morning! (He rushes towards her and tears off her veil.) Turandot You are melting No! I shall not be yours! Ping Turandot (authoritatively) and fainting now with Never have I been witness Stranger, you are too daring! The Unknown Prince sweetness, white and tender to a death so mysteriously impressive! I am no earthly creature… You shall be mine! in your silvery garment!

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Turandot Turandot (transformed – exaltedly) a greater victory! Scene 2 How have you conquered? Of my first tears. Leave now, O stranger, The outside of the Imperial Palace, all sculptured in Ah! with your name unknown! white marble, tinted like flowers by the rosy The Unknown Prince 10 I never wept before O stranger, reflection of the dawn. The Unknown Prince Weeping? yet when I saw you, On a high staircase in the centre of the scene, is I have no secret! No, no more! Be mine now! for the first time I felt the Emperor, surrounded by his court, his Turandot You who tremble if I touch you, a sudden premonition dignitaries, wise men and soldiers. It’s morning! It’s morning! It’s morning! you who quiver when I kiss you, that you might so On both sides of the square the huge crowd forms But my sun is setting! can kill me if you wish, torment me. a semi-circle. for together my life and name I give you: Distant Voices I have seen many men die I am Calaf, son of King Timur! Morning, light and living! for me! The Crowd 11 All is perfect! And I despised them: Turandot Glory to our Emp’ror! Oh, may you live for ever! All is holy! only you I feared! Now I know you! Now I know you! Turandot In your weeping You had the light of heroes Calaf Noble father, I now can speak the name such sweet gladness! in your eyes, shining light! All my glory lies in your arms! of the stranger! You had the light of triumph The Unknown Prince (looking straight at Calaf who is at the foot of the when you dared to approach me… Turandot It’s morning! It’s morning! staircase) And for that light I reviled you, Listen! Trumpets are sounding! And love wakes with the sunlight. And his name is Love! and that light made me love you. Calaf Turandot I was torn and divided (Calaf runs swiftly up the stairs and the lovers And all my life rests now in your kiss! Would that none could see me… by my conflicting passions: embrace, while the crowd scatters flowers and bursts All my glory is ended! crush you or be at your mercy? Turandot into rejoicings.) But I was crushed… Ah! Calaf! It’s time! The Unknown Prince (with impetuous fervour) Crushed, but not when you solved the riddles, It’s time for the trial! The Crowd No! It is beginning! (in veiled tones) Love! O love, O sun, eternal life! but by this passion which has come from you! Calaf The sun that lights the world is love! Turandot I’m not frightened! In our laughter and singing and delight we shine I am disgraced! The Unknown Prince like the sun above! Turandot You’re mine now, mine now! Like the sun! Glory! The Unknown Prince Ah! Calaf, prepare to face the crowd with me! O miracle! Now your glory is shining Turandot English translation by William Radice in the enchantment of your first kiss, Stranger, all that you wanted Calaf Reproduced by permission of of your first tears. you have achieved! Do not seek Now you have won! Casa Ricordi-BMG-Ricordi S.p.A. (Milan)

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Peter Sidhom, Mark Le Brocq, Clive Bayley during Peter Wedd during recording recording sessions sessions CHAN 3086 BOOK.qxd 21/5/07 5:38 pm Page 118

Mary Plazas and Peter Moores during recording sessions

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Opera in English on Chandos Opera in English on Chandos

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Opera in English on Chandos

Jane Eaglen appears courtesy of Sony Classical

Booklet photographs of The Royal Opera’s production of Turandot, and photographs from the recording sessions by Bill Cooper

Artistic Consultant to the Peter Moores Foundation: Patric Schmid Staging director and off-stage conductor: Charles Kilpatrick Staging: Stuart Stratford Vocal and language consultant: Ludmilla Andrew

Recording producer Brian Couzens CHAN 3081(2) Sound engineer Ralph Couzens Assistant engineer and editor Christopher Brooke CHAN 3074(2) Operas administrator Sue Shortridge Recording venue Blackheath Halls, London; 28 April– 3 May 2001 Front cover Montage including a photograph of Jane Eaglen’s eyes by Bill Cooper Back cover Photograph of Dennis O’Neill as Calaf in The Royal Opera’s production of Turandot by Bill Cooper Design Sean Coleman Booklet typeset by Dave Partridge Booklet editor Kara Reed Copyright Published by G. Ricordi & C., Milan/United Music Publishers Ltd, London p 2002 Chandos Records Ltd c 2002 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU

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SOLOISTS/PHILHARMONIA ORCHESTRA/PARRY CHAN 3086(2) bit 24 DDD Printed in the EU 78:13 40:26 recorded in 96 kHz 96 CHAN 3086(2) 2002 Chandos Records Ltd COMPACT DISC ONE COMPACT DISC TWO c bass tenor tenor tenor tenor tenor 2-disc set soprano soprano baritone baritone 2002 Chandos Records Ltd p DIGITAL CHANDOS ...... Peter Wedd Wedd ...... Peter } (1858–1924) , her father...... Nicolai Gedda ...... Jane Eaglen ...... Jane ...... Simon Bailey Bailey ...... Simon , the dispossessed King of Tartary...... Clive Bayley Bayley Tartary...... Clive of , the dispossessed King , his son O’Neill ...... Dennis , Chief Cook , General Purveyor, General Ministers Le Brocq ...... Mark , Grand Chancellor Sidhom , Grand ...... Peter , a slave-girl ...... Mary Plazas Prince of PersiaPrince Le Brocq ...... Mark A Mandarin Geoffrey Mitchell Choir Mitchell Geoffrey Choir London Children’s New Orchestra Philharmonia Parry David Giacomo Puccini Puccini Giacomo Turandot acts drama in three Lyric dramatic fairy-tale Gozzi’s after Simoni, and Renato Adami Giuseppe by Libretto Turandot Princess The Emperor Altoum The Emperor Timur Liù Ping Pang Pong Calaf CHANDOS RECORDS LTD Colchester . Essex . England

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