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Constantine Orbelian Kaunas City Symphony DE 3591 THE OTHER CLEOPATRA QUEEN OF ARMENIA IL TIGRANE ARIAS Hasse · ViValdi · Gluck isabel bayrakdarian soprano constantine orbelian kaunas city sympHony DE 3591 1 DELOS DE 3591 ISABEL BAYRAKDARIAN BAYRAKDARIAN DELOS DE 3591 ISABEL DELOS DE 3591 ISABEL BAYRAKDARIAN DELOS DE 3591 ISABEL BAYRAKDARIAN THE OTHER CLEOPATRA QUEEN OF ARMENIA HASSE: IL TIGRANE (1729) Aria: “Vuoi chi’io t’oda?” • Recitative: “E’i parte…Ma che parlo” Aria: “Che gran pena” • Aria: “Strappami pure il seno” • Recitative: “Del suo duol” • Aria: “Degli’Elisi alle Campagne” • Recitative: “Parte, parte Tigrane…” • Aria: “Press’all’onde” • Overture VIVALDI: IL TIGRANE (1724) Recitative: “Lasciatemi in riposo” • Aria: “Qui mentre mormorando” · THE OTHER CLEOPATRA: QUEEN OF ARMENIA CLEOPATRA: THE OTHER · Aria: “Squarciami pure il seno” • Aria: “Lascierà l’amata” THE OTHER CLEOPATRA: QUEEN OF ARMENIA CLEOPATRA: THE OTHER GLUCK: IL TIGRANE (1743) Aria: “Nero turbo il ciel imbruna” • Aria: “Priva del caro bene” Aria: “Presso l’onda” Isabel Bayrakdarian, soprano Constantine Orbelian, conductor Kaunas City Symphony Jory Vinikour, harpsichord Total Playing Time: 64:06 THE OTHER CLEOPATRA: QUEEN OF ARMENIA IL TIGRANE (1729, Naples) IL TIGRANE (1743, Crema) Johann Adolph Hasse (1699–1783) Christoph Willibald Gluck (1714–1787) 1. Act I, Scene 8 Aria: “Vuoi chi’io t'oda?” 14. Act I, Scene 13 Aria: “Nero turbo il (4:41) ciel imbruna” (8:04) 2. Act I, Scene 13 Recit/Accomp: 15. Act II, Scene 14 Aria: “Priva “E’i parte…Ma che parlo” (2:28) del caro bene” (05:09) 3. Aria: “Che gran pena” (6:31) 16. Act III, Scene 12 Aria: “Presso l’onda” 4. Act II, Scene 4 Aria: “Strappami (02:17) pure il seno” (3:15) 5. Act II, Scene 15 Recit: “Del suo duol” (0:43) 6. Aria: “Degli’Elisi alle Campagne” (5:42) 7. Act III, Sc. 11 Recit: “Parte, parte ISABEL BAYRAKDARIAN, soprano Tigrane…” (1:59) CONSTANTINE ORBELIAN, conductor 8. Aria: “Press'all'onde” (4:58) 9. OVERTURE (5:22) THE KAUNAS CITY SYMPHONY ORCHESTRA IL TIGRANE (1724, Rome) JORY VINIKOUR, harpsichord Antonio Vivaldi (1678–1741) 10. Act II, Scene 1 Recit: “Lasciatemi Total Playing time: 64:06 in riposo” (0:51) 11. Aria: “Qui mentre mormorando” (2:23) 12. Act II, Scene 4 Aria: “Squarciami pure il seno” (3:29) 13. Act II, Scene 11 Aria: “Lascierà l’amata” (6:10) 2 INTRODUCTION completely, instead concentrating on the accomplishments of her husband. In fact, s part of my research at the Uni- Cleopatra of Pontus was instrumental in versity of California, Santa Barbara, making Tigranes II the greatest king in AI have undertaken extensive schol- Armenian history, by the alliance through arly work on Baroque composers who marriage of two mighty nations: Armenia have written operas about the Armenian and Pontus. And that is how my project King Tigranes II (140–55 BCE). There are “The Other Cleopatra: Queen of Armenia” at least twenty-four operas about him; was born. most are lost. I have now gathered three operas — in entirety and in excerpts — by Cleopatra is viewed from the perspective Hasse, Vivaldi and Gluck. All three bear of three prolific composers — Hasse, Vi- the title Il Tigrane and all are based on the valdi and Gluck — using the same text to same libretto by Abate Francesco Silvani animate very different artistic expressions. (1660–1728). While there are many won- Vocally, the composers’ choice of tessitu- derful arias and ensembles in these new- ra for the role of Cleopatra sits differently, ly discovered operas, to give my project making for a diverse vocal showcase. The more focus — and more importantly, to music of Hasse and Gluck in this project make it fit my voice and temperament — I has never been recorded before, and the have concentrated on one of the main entire recording features eleven arias for roles in the opera: Cleopatra. Cleopatra and one overture, together for the first time. The Hasse and Vivaldi scores No, not that Cleopatra (although I did re- require string orchestra with cembalo/ cord rare Baroque arias about Cleopatra continuo (plus two horns in the Hasse of Egypt, released as Cleopatra on CBC Overture), while the Gluck arias add two Records in 2005). This project’s Cleopatra horns and two oboes. of Pontus (110–58 BCE) was the daughter of Mithridates VI, and became the Queen — Isabel Bayrakdarian Consort of King Tigranes II, known as Ti- granes the Great of Armenia. As an aside, when I was growing up and learning about The Plot Armenian history in school, we learned about Tigranes, of course, but historians The story tells of the love between King Ti- omitted Cleopatra’s name and existence granes and Cleopatra, the daughter of King 3 Mithridates VI (Eupator Dionysius) of Pon- virtue and revokes his claim to Cleopatra’s tus. Contrary to historical events, the kings hand. Mithridates decides that there will be are presented as enemies. To get Cleopatra’s a double wedding: Apamia and himself, and attention, Tigranes joins the army of Mithri- Cleopatra and Tigranes, and the opera ends dates under a false name, fights Mithridates’s in celebration. foes, and wins Cleopatra’s love. Apamia, a high-ranking lady in the court of Pontus, The Composers is also in love with Tigranes and becomes Cleopatra’s arch rival. When Tigranes reveals During his lifetime, Johann Adolph his true identity to King Mithridates, his en- Hasse (1699–1783) was one of the best- emy, Mithridates condemns him to death known opera composers. He had a fine and commands Cleopatra to marry Orontes, voice and was also a talented actor with a Apamia’s brother, or be executed. Mithridates keen understanding of drama, all of which himself plans to marry Apamia. Cleopatra and contributed to his skill as a composer of Tigranes vow to remain true to each other. opera. Charles Burney, the foremost mu- sic historian of the time, called Hasse “the Mithridates arrives at the Temple of Jupi- most natural, elegant, and judicious com- ter to celebrate his marriage to Apamia, poser of vocal music.” which will feature the sacrifice of Tigranes to the gods. Suddenly Orontes rushes in Antonio Vivaldi (1678–1741) has long with the news that after a surprise attack enjoyed a stellar reputation as a com- the city has fallen to the army of Cleartes, poser of instrumental music, especially of a friend of Tigranes. Cleopatra pleads with concertos. Now his vocal music and op- her father to flee to safety, but Mithridates eras are beginning to receive attention. prefers to fight to the last. When Cleartes Written during the high point of Vivaldi’s and his men burst into the temple with their career, Il Tigrane was a collaboration with swords drawn, Tigranes announces that he two other composers, who wrote the mu- will fight to protect Cleopatra’s father, even sic for Acts I and III. Only the music to Act though Mithridates had sworn undying en- II has survived; fortunately, this is the act mity toward him and planned to have him with Vivaldi’s contribution. sacrificed. Moved by the young prince’s magnanimous gesture, the king undergoes Il Tigrane is an early opera of Christoph a sudden change of heart. Even his rival Willibald Gluck (1714–1787), coming out Orontes is swayed by Tigranes’ display of only two years after his first opera. Gluck 4 went on to compose more than one hun- • dred operas in his long career, and although Il Tigrane predates Gluck’s “reform operas” Aria: of the 1760s, it is still in a forward-looking style that helped usher in the classical era Do you want me to hear you out? in music. Do you want me to listen? Say, you fools, that you’re worthy J.A. Hasse, Il Tigrane of my scorn and disdain, Act I, Scene 8, Aria: “Vuoi ch’io t’oda?” and then I’ll listen to you both. Your countenance is Apamia, a high-ranking lady of the court a friend’s, and yours is a lover’s, and you in Pontus, is the unwilling object of the show how prideful you are, widower King Mithridates’ passion, for but I despise you [Apamia], and do not she secretly loves young Tigranes instead. love you [Orontes]: I will hate you both. Apamia’s brother Orontes seeks to marry Cleopatra, the king’s daughter, and thus Act I, Scene 13: Recit/ Accomp./Aria: stake his future claim to the throne of “E’i parte . Ma che parlo . Pontus, but she rejects his advances. In Che gran pena” this aria Cleopatra resists attempts by her rival and suitor to persuade her to aban- Here, in the final scene of Act I, after a don her love for the foreigner Tigranes. quarrel with Tigranes ends with the prin- cess haughtily telling him to go to his own Aria: death, Cleopatra, left alone on stage, is overcome with remorse, and reaffirms her Vuoi, ch’io t’oda? Vuoi, che ascolti? love for the young foreign king. Dite o stolti d’esser degni del mio scherno, e de’ miei sdegni, ed Recitative: allor v’ascolterò. Tu d’amica e tu d’amante hai sembiante, Ei parte. Oh Dio, che fò? Riedi ben mio; e mostri orgoglio, deh riedi a me, più non ti scaccio, e, spen- Te disprezzo, e te non voglio, l’uno e ta l’inimicizia antica, l’altra in odio avrò. sono amante con te, non più nemica. Ma che parlo? ove corro? 5 Qual cieco amore i passi miei consiglia? ning? What blind love counsels my steps? Posso Tigrane amar, quando son figlia? Sì; Can I love Tigranes, when I’m [my fa- ch’ei parta, che mora: ther’s] daughter? Yes, let him depart, let vinca il dovere, e vinca l’odio ancora.
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