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Home , Antonino Fogliani, Carlo Colombara, Eduard Tumagian, Guillaume Tell (Grétry), Kurt Rydl, Les Huguenots

Boomin and Bari one

BEST LOVED ARIAS Best loved opera arias for Bass and

1 (1792–1868) 6 (1819–1880) 11 Gioachino ROSSINI 15 (1685–1759) Il barbiere di Siviglia 4:57 Les Contes d’Hoffmann 4:09 (‘’) (1829) 2:41 Acis and Galatea (1718) 3:26 (‘’) (1816) (‘’) (1881) Act III, Finale – Aria: Sois immobile (Guillaume) Act II – Aria: O ruddier than the cherry Act I – Cavatina: Act II – Scintille, diamant! (Dappertutto) Andrew Foster-Williams, Bass-baritone (Polyphemus) della città (Figaro) Samuel Ramey, Bass • Radio Orchestra Virtuosi Brunensis • Antonino Fogliani Jan Opalach, Bass • Seattle Symphony Orchestra Lado Ataneli, Baritone Julius Rudel (8.555355) (8.660363-66) Gerard Schwarz (8.572745-46) Württemberg Philharmonic Orchestra 7 (1756–1791) 12 (1813–1901) 16 Gioachino ROSSINI Lodovico Zocche Le nozze di Figaro 4:01 (1842) 4:14 Mosè in Egitto 4:55 (8.572438) (‘’) (1786) Act II, Scene 2 – Recitative: (‘Moses in Egypt’) (1818, version 1819) 2 (1838–1875) Act I, No. 10 – Aria: Non più andrai (Figaro) Vieni, o Levita! (Zaccaria) Act II – Dal Re de’ Regi (Mosè) (1875) 4:53 Renato Girolami, Baritone , Bass-baritone , Bass-baritone Act II – Couplets: Votre toast, je peux Nicolaus Esterházy Sinfonia • Michael Halász Filarmonica Württemberg Philharmonic Orchestra vous les rendre (Toreador Song) (Escamillo) (8.660102-04) Orchestra Giovanile della Via Emilia Antonino Fogliani (8.660220-21) Lado Ataneli, Baritone Francesco Ivan Ciampa ( CDS7867) 8 Wolfgang Amadeus MOZART 17 (1791–1864) Württemberg Philharmonic Orchestra Die Zauberflöte 2:59 13 Giuseppe VERDI Les (‘The Huguenots’) (1836) 3:01 Lodovico Zocche (‘The Magic ’) (1791) (1851) 4:16 Act I – Piff, paff, piff, cernons-les! (Marcel) (8.572438) Act II, No. 10 – Aria and Chorus: Act II – Cortigiani, vil razza dannata Soon-Won Kang, Bass • Bratislava Chamber Choir (1818–1893) O Isis und Osiris (Sarastro, Chorus) (Rigoletto) Orchestra Internationale d’Italia (1859, revised version 1864) Kurt Rydl, Bass • Hungarian Festival Chorus Eduard Tumagian, Bass-baritone Renato Palumbo (Dynamic CDS422) 3 Act II, Scene 3 – Ronde du Veau d’or: 1:56 Failoni Chamber Orchestra Czecho-Slovak Radio Symphony Orchestra 18 Le Veau d’or est toujours debout! Michael Halász (8.660030-31) (Bratislava) • Alexander Rahbari (8.660013-14) (1900) 4:18 (Méphistophélès) 9 (1813–1883) 14 Giacomo PUCCINI (1858–1924) Act I – Tre sbirri, una carrozza 4 Act III, Scene 10 – Il était temps! 1:48 Der fliegende Holländer 4:59 La Bohème (1896) 1:40 (Te Deum) (Scarpia, Chorus) (Méphistophélès) (‘The Flying Dutchman’) (1843) Act IV – Vecchia zimarra, senti (Colline) Silvano Carroli, Baritone Carlo Colombara, Bass Act I, No. 2 – Aria: Die Frist ist um (Daland) Ivan Urbas, Bass Slovak Philharmonic Chorus Croatian National Theatre Erich Knodt, Bass Czecho-Slovak Radio Symphony Orchestra Slovak Radio Symphony Orchestra in Rijeka Opera Orchestra ORF Symphony Orchestra (Bratislava) • Will Humburg (8.660003-04) Alexander Rahbari (8.660001-02) Ville Matvejeff (8.660456-58) Pinchas Steinberg (8.660025-26) 5 (1842–1918) 10 Richard WAGNER (1868, revised version 1875) 2:51 Die Walküre (‘The Valkyrie’) (1870) 3:19

Act II, Scene 2 – Ecco il mondo Act III, Scene 3 – Leb’ wohl, du kühnes, Total Timing: 65:12 (Mefistofele) herrliches Kind! (Wotan’s Farewell) (Wotan) Samuel Ramey, Bass Matthias Goerne, Baritone Munich Radio Orchestra Hong Kong Philharmonic Orchestra Julius Rudel (8.555355) Jaap van Zweden (8.660394-97)

8.578191 2 3 8.578191 Best loved opera arias for and this opened the way for more experimental The Baritone and Bass Voice Bass and Baritone works, such as Mozart’s Le nozze di Figaro The highest operatic male voice produced 7 , with its innovative use of ensembles and without falsetto is the . One step lower is the Introduction great music combined with powerful stories… emotional variety. baritone and the lowest is the bass. Somewhere In 1755, the great English lexicographer From its birth, opera has been about real In the early 19th century, this in turn between the two latter lies the bass-baritone. As Dr Johnson defined opera asexotic and irrational. emotions, and real situations, but heightened to developed into a new style called with so many other musical categories, these He wasn’t wrong. It’s full of people who a point of sublimity. (literally ‘beautiful singing’) which emphasised terms are often very loosely applied and – as if say things like ‘Farewell, my child, farewell’, As with all art forms, conventions soon singers’ virtuosity in long-held phrases and to add to the confusion – there are further sub- 10 but who don’t leave the stage, or who sing arose. Songs for individual characters became brilliantly sparkling fast passages 1 11 16 . categories as well. marvellous tunes while slowly dying of stab- known as arias. Quick-paced dialogue, in a Verdi then pushed this style to encompass ever- The terms bass and baritone first came into wounds, and all usually in a language audiences less melodic style, was called recitative. An greater emotional intensity, and sometimes use in the 17th century, but it was not until the don’t understand. But here’s the thing. Although opera might have some duets, or trios, or a also employed the bigger crowd-scenes and 19th century that they were widely applied: in opera is not realistic, it is real. Opera takes the chorus. The accompanying orchestra began epic backdrops of 12 13 . Opera the Baroque period, any lower-sounding male great moments of life – death, love, vengeance, to grow too. had another flowering in the late 19th-century voice was usually simply called bass. In the sex, parting – and stretches them out for us so Certain musical forms began to dominate style, which exploited sexually bel canto era, composers like Rossini began that we may feel them more fully. the art form. In the Baroque period (early 18th heightened conflicts 14 18 , before it headed to exploit the upper-reaches of the low male Opera offers truths which are otherwise century) mostly fell into the category into several different modern pathways, some voice, with florid passages and longer-breathed inexpressible. of opera seria. The distinguishing feature of more successful than others, in the 20th and melodies, and it was to this type of sound an opera seria is a type of aria which always 21st centuries. that the term baritone (as we now understand A History of Opera repeats its opening section after a contrasting If you’re wondering why this history has it) came to be attached. Later in the century For an art form which has had such a interlude. Although Handel’s Acis and Galatea only covered – partly it’s because Wagner began to demand more stamina and profound impact on global culture, opera has is defined as apastoral rather than an opera the Italians were first on the scene and so power in the lower register from his , a surprisingly short history. It was invented in (it’s a moot point), the aria ‘O ruddier than the controlled the field. But it is also because the and the term bass-baritone arose. about 1600 in . A group of academics, cherry’ 15 is a good example of a da capo aria. Italian language, with its open vowels and easy There are several common features in the hoping to recreate the chanted speech of At this stage, it was the singers – not consonants, is a wonderfully straightforward repertoire for these voices. In a typical bel canto ancient Greek theatre, developed a method composers, not librettists, not producers – language to sing. All other national schools opera, the central conflict revolves around a of giving sung notes to the words of dramatic who were the most important people of the of opera – including French 2 3 4 6 17 , love-triangle of heroine-lover-villain, in which characters. Hey presto! – they’d stumbled upon opera world, and sometimes they demanded German 9 10 , Russian, and English – have the baritone almost always takes the latter opera: drama told through music. ridiculous changes in storytelling merely to suit thus defined themselves in apro or contra adversarial role, with and tenor taking It quickly took off. The wrenching pathos, their egos. In 1762 Gluck tried to reform opera relationship with the globally dominant the other two. In comic works, basses are often the opportunities for comedy, the grandeur of back to purer principles in Orfeo ed Euridice, Italian product. seen as pompous pratfall figures (giving rise

8.578191 4 5 8.578191 to the ‘buffo-bass’ or ‘comic-bass’ category), between the thrills of bull-fighting and the excesses of the Second French Empire in 6 Scintille, diamant! (‘Sparkle, diamond!’) but in more serious works they also frequently excitements of love. this aria. from Les Contes d’Hoffmann (1881) appear as wise priests and noble kings Escamillo’s aria has one of the Hoffmann has fallen in love with the 8 12 16 . Lastly, whenever a whiff of sulphur is catchiest tunes ever written (it also appears 4 Il était temps! (‘It was time!’) fascinating Venetian courtesan, Giulietta. desired – perhaps with a hint of comedy too in the orchestral prelude to the opera) from Faust (1859, revised 1864) The malevolent Captain Dappertutto – a composer often turns to basses and bass- which has been used in countless films and Méphistophélès watches as Faust climbs promises Giulietta a diamond if she is able baritones for operatic devils and demons adverts. But Bizet’s use of it is actually more into Marguerite’s window in order to to steal her lover’s reflection from a mirror (see 3 4 5 6 9 ). subtle that at first appears: Escamillo is not seduce her, and takes pleasure in the tragic and give it to him. only singing generally about love, but is events which must surely follow. Hoffmann faces several different 1 Largo al factotum della città also directly trying to capture the heart of The downward sliding melody which enemies during the course of the opera, but (‘Make way for the odd-job man’) the beautiful Carmen who is ignoring him. opens this passage cleverly suggests a all of them are usually performed by the same from Il barbiere di Siviglia (1816) The French word ‘toast’ (taken from musical descent to hell: and yet the melody bass. It is one of the extraordinary qualities Figaro is the titular barber of Seville, but English), meaning ‘to drink to someone’s which follows is seductively beautiful, as if of the piece that although their motivations is also many other things – a romantic go- health’, refers to the 17th-century custom Méphistophélès can’t help but admire the are never made clear, their mysterious between, a wily fixer, an odd-job man, and of flavouring drinks with spiced toast, love from which he is forever barred. cumulative effect has the psychological lots besides. In this energetic entrance aria, apparently. power of a frightening dream. he announces all of which he is capable. 5 Ecco il mondo (‘Here is the world’) This aria was not included in As if to show how clever and flexible 3 Le Veau d’or (‘The Golden Calf’) from Mefistofele (1868, revised 1875) performances of Hoffmann until 1905, long the baritone playing Figaro must be, from Faust (1859, revised 1864) During a celebration of the black sabbath, after Offenbach’s death, and is based on Rossini pushes his voice to an extreme test Méphistophélès appears in the middle a group of witches give Mefistofele a a tune from the 1875 operetta Le Voyage of dexterity and agility. Figaro’s patter- of a crowd, and then sings a rousing globe. He sees a world contained within, dans la lune (‘The Voyage to the Moon’). song, with its famously fast repetitions and irreverent song about mankind’s and describes his hatred of it. (‘Figaro, here! Figaro, there!’), has become susceptibility to greed. They say the devil has the best tunes, 7 Non più andrai (‘You shall go no more’) one of the best-loved comic numbers in the The story of the golden calf in the Bible and certainly Mefistofole’s wickedly from Le nozze di Figaro (1786) operatic repertoire. refers to the worship of false idols. Here cheerful and waltz-like number is one of Count Almaviva, hoping to get rid of the Méphistophélès suggests that a general the highlights of the opera which bears amorous pageboy Cherubino from his 2 Votre toast (‘I’ll raise a glass’) love of money has become a case of false his name. Interestingly, Boito originally palace, sends the young man into the from Carmen (1875) worship, so, while he is amusing the crowd composed the role of Faust for a baritone army. Figaro mocks poor Cherubino, and Escamillo, a handsome and self-confident with his catchy number, he is also mocking against the bass of Mefistofele, possibly to imagines his future life as a soldier without toreador, enters a tavern to shouts of them to their faces. Perhaps Gounod, avoid comparisons with Gounod’s 1859 any more female company. acclaim. In this aria, he makes a comparison likewise, was holding a mirror up to the opera; later he changed the role to a tenor. With a melody this comical and jaunty,

8.578191 6 7 8.578191 it is hard to believe that Cherubino’s fate once called upon Satan, and is now cursed which Die Walküre is the second), reaches their idolatry and turn their worship to the will be as hard as Figaro pretends – and to wander the seas forever. He longs for a peak in this scene. At the mention of the true God of the Israelites. indeed, things turn out quite comfortably death, but once in every seven years he ‘future hero’, the representing Nabucco is one of a minority of for Cherubino in the end. The tune became may come ashore, and if he can find a is heard, even though he has operas which have a baritone in the title something of a hit, and Mozart used it wife who will be true to him, the curse will not yet been born. In the next works in role. It also has a plum role for a bass, who again in during a scene in be broken. the cycle, the hero Siegfried will go on to is given this stirring aria. which a band serenades Giovanni while The Dutchman is the earliest of rescue his aunt Brünnhilde, fall in love with he is eating supper. (‘Oh yes, I know that Wagner’s monumental bass-baritone roles. her, and then betray her. 13 Cortigiani (‘Vile courtiers’) tune!’ says his insolent servant Leporello.) The part demands a voice of enormous from Rigoletto (1851) power and stamina, and an ability to 11 Sois immobile (‘Be still’) Rigoletto is a hunchbacked jester who has 8 O Isis und Osiris from Die Zauberflöte communicate inner torment and the pain of from Guillaume Tell (1829) spent his life mocking courtiers. When he (1791) a divided self. The villainous Gesler seizes Guillaume Tell’s learns that his daughter has been abducted The young hero and heroine of the opera For an opera which has such a son, and orders him to shoot an arrow at by the Duke of Mantua, he pleads with the must undergo several trials of initiation powerfully gloomy atmosphere, it’s curious an apple placed on top of the boy’s head. same courtiers to help him find her. They before they can reach true enlightenment to learn that Wagner’s principal source If he refuses, both will die. Guillaume tells refuse, and he unleashes his fury. and join wise Sarastro in his priestly for the story was a little comic episode his son to remain calm and be still. Earlier in this scene Rigoletto tries to brotherhood. He invokes the gods Isis and from Heine’s The Memoirs of Mister von Wilhelm Tell was a legendary folk appear nonchalant and unconcerned, Osiris to protect the couple on their journey. Schnabelwopski, in which the Dutchman hero of , who first appeared and he sings a carefree, mocking melody Mozart enjoyed exploiting the legend is sent up and parodied. in print in the early 14th century. In the to the words ‘la la la’. It means that when extremes of the human voice in Die 19th, he became a general symbol of he releases his real emotions – his helpless Zauberflöte. Sarastro has one of the 10 Leb’ wohl (‘Farewell’) nationalistic rebellion against dominating rage, his powerless fury – the effect is all lowest roles in the operatic repertoire, from Die Walküre (1870) foreign powers. the more brutal. and his villainous counterpart The Queen Wotan, the king of the gods, must punish Although Rossini lived for forty more of the Night has one of the highest. The his daughter Brünnhilde for disobeying years, he never wrote another opera 14 Vecchia zimarra (‘Old coat’) resounding low notes here suggest calm him. He bids her farewell, then surrounds after this. The reasons for his retirement from La Bohème (1896) authority and solidity. her with a magical wall of fire. The spell remain unclear. When Mimì is discovered near to death may only be broken by a true hero. from tuberculosis, her cash-strapped friends 9 Die Frist ist um (‘The time is up’) Wagner’s use of Leitmotifs, snatches of 12 Vieni, o Levita! (‘Come, oh Levite!’) resolve to buy some medicine for her. All from Der fliegende Holländer (1843) melody which represent people, places or from Nabucco (1842) that the philosopher Colline has to pawn is A mysterious pale sailor steps ashore from objects within the story of the Ring Cycle Zaccaria, the high priest of the Jews, prays his old overcoat. He sings a fond farewell a ghostly vessel, lamenting his fate. He (Wagner’s cycle of four music dramas, of that the heathen Assyrians will renounce to it.

8.578191 8 9 8.578191 Although lugubrious, the mood of Mosè (Moses) warns that God will punish , is in church. He has just set a plot ensembles, and almost gave up the idea this aria is gently satirical: even the word him with the death of all firstborn sons and in motion to catch both the revolutionary of turning it into an opera. But his clever Colline uses for his shabby coat, ‘zimarra’, then, in this aria, he calls on the Almighty young painter Cavaradossi and also snare librettists provided him with spectacular is humorously literary and overblown. to pour his anger out on the Egyptians. his lover Tosca. Just as he exults that his moments such as this, which both forward It provides a moment of semi-light relief After the terrifying promise of the death plan is working, a crowd in the church the plot and offer moments of thrilling before the opera draws to its inexorable of the firstborn sons, Mosè’s plea to God is begin to celebrate a Te Deum. ‘Tosca, you musical grandeur. tragic ending. couched in music of lyrical and plaintive make me forget even God!’ cries Scarpia, The low bass voice is most often beauty, suggesting his close relationship before joining in the prayer. Warwick Thompson associated with power, age, and authority. with his Creator. The play upon which Tosca is based is © Naxos Rights US, Inc. It is one of Puccini’s witty strokes to cast a wordy thriller, with plenty of exposition the as one of the impecunious 17 Piff, paff, piff from Les Huguenots (1836) and lots of characters. At first Puccini could For the sung texts please visit young students of La Bohème. Marcel is the servant of Lord Raoul; both not see room for any arias, choruses and https://www.naxos.com/catalogue/item.asp?item_code=8.578191 are Huguenot Protestants. When Marcel 15 O ruddier than the cherry meets a group of Catholics, they ask him from Acis and Galatea (1718) to have a drink to bury any grudges. The monster Polyphemus describes the Then they ask him to sing. He obliges beautiful Galatea in lavish terms. with this mocking song, a Huguenot battle Warwick Thompson The high, piping sopranino recorder cry, which calls for the extermination Warwick Thompson is a freelance journalist, presenter, and accompanist, which accompanies the low bass sound of Catholics. specialising in vocal music and opera. His work has appeared in Metro, of Polyphemus, suggests that his love for The genre of ‘grand opera’, of which The Times, Bloomberg.com, The Wall Street Journal, Opera, Opera Now, Galatea is more comical than heartfelt. It is Les Huguenots is a prime example, pits Pianist Magazine, and in many other outlets. He has also frequently hosted one of Handel’s masterstrokes that he can personal tragedies and romantic conflicts educational events for Glyndebourne Festival Opera. inject humour into a story which actually against a background of great historical has a tragic outcome – Polyphemus kills his upheavals. It is sometimes hard for a rival Acis, whose body is then transformed composer to find ways of varying the tone by Galatea into a fountain. through such works, but with ‘Piff, paff’ Meyerbeer injects a note of jollity into an 16 Dal Re de’ Regi (‘From the King of Kings’) otherwise sombre tale. from Mosè in Egitto (1818) 1 2 ℗ 2009 Naxos Rights International Ltd 3 4 ℗ 2019 Naxos Rights (Europe) Ltd 5 6 ℗ 2002 HNH International Ltd 7 ℗ 2004 Naxos Rights International Ltd 8 ℗ 1994 Naxos Rights US, Inc. 9 ℗ 1993 Naxos Rights US, Inc. 10 ℗ 2016 Naxos 18 The Egyptian Pharaoh has gone back on his Te Deum from Tosca (1900) 11 12 13 14 18 Rights US, Inc. ℗ 2015 Naxos Rights US, Inc. ℗ 2020 Dynamic S.r.l. ℗ 1991 Naxos Rights US, Inc. ℗ 1990 Naxos promise to let the Jews leave their captivity. Scarpia, the villainous chief of police in Rights US, Inc. 15 ℗ 2012 Naxos Rights International Ltd 16 ℗ 2007 Naxos Rights International Ltd 17 ℗ 2003 Dynamic S.r.l.

8.578191 10 11 8.578191 NAXOS BEST LOVED opera arias for Bass and Baritone 8.578191 , 1993, 2004, 2007, 2009, 2012 Naxos Rights International Ltd 2002 HNH International Ltd 1990, 1991 1994, 2015, 2016 Naxos Rights US, Inc. 2019 Naxos Rights (Europe) Ltd 2003, 2020 Dynamic S.r.l. www.naxos.com A detailed track list can be found the bookletinside Includes comprehensive booklet notes in English ℗ ℗ ℗ ℗ ℗ (see booklet for details) This compilation © 2021 Naxos Rights US, Inc. 3:19 2:41 4:14 4:16 1:40 3:26 4:55 3:01 4:18

(1685–1759) (1791–1864) (1858–1924) (1813–1901) Giacomo MEYERBEER Les Huguenots (‘The Huguenots’) Giacomo PUCCINI Tosca (‘The Valkyrie’) Die Walküre (‘William Tell’) Guillaume Tell Nabucco Rigoletto La Bohème George Frideric HANDEL Acis and Galatea Gioachino ROSSINI Mosè in Egitto (‘Moses in Egypt’) Piff, paff, piff, cernons-les! Deum) una carrozza (Te sbirri, Tre Leb’ wohl, du kühnes, herrliches Kind! Leb’ wohl, du kühnes, Farewell) (Wotan’s Sois immobile Vieni, o Levita! Cortigiani, vil razza dannata zimarra, senti Vecchia O ruddier than the cherry Dal Re de’ Regi Richard WAGNER Gioachino ROSSINI Giuseppe VERDI Giuseppe VERDI Giacomo PUCCINI

17 18 10 11 12 13 14 15 16

2:51 1:56 4:09 4:01 2:59 4:59 4:57 4:53 1:48

Total Timing: 65:12 Total

BEST LOVED opera arias for BEST LOVED opera

(1756–1791)

Bass and Baritone

(1819–1880) (1792–1868) (1818–1893) (1813–1883) (1838–1875) (1842–1918)

Die Frist ist um Non più andrai O Isis und Osiris Der fliegende Holländer (‘The Flying Dutchman’) Ecco il mondo Scintille, diamant! Le nozze di Figaro (‘The Marriage of Figaro’) Die Zauberflöte Flute’) (‘The Magic Song) (Toreador Mefistofele of Hoffmann’) Les Contes d’Hoffmann Tales (‘The Cavatina: Largo al factotum della città Cavatina: Largo al toast, je peux vous les rendre Votre Charles GOUNOD Faust Il barbiere di Siviglia (‘The Barber of Seville’) Il barbiere di Siviglia Carmen MOZART Amadeus Wolfgang Richard WAGNER Jacques OFFENBACH MOZART Amadeus Wolfgang Arrigo BOITO Gioachino ROSSINI Gioachino ROSSINI Georges BIZET Ronde du Veau d’or: Le Veau d’or d’or: Le Veau Ronde du Veau Il était temps! est toujours debout!

Opera can be defined as drama told through music, and at the height of its popularity conventions conventions of its popularity height and at the music, through told as drama defined can be Opera which certainarose in the love triangles it is features. With common character came to share voice types priests or wise and noble pompous are either comically of the villain; basses who takes the role baritone Figaro, jack-of-all-trades, From the devils and demons. be cast as operatic and both voices can or kings; these the mischievous Méphistophélès, to heroic William Tell and from the jester Rigoletto, to the impotent with powerful music combined of great all represent the grandeur characters larger-than-life stories.

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NAXOS BEST LOVED opera arias for Bass and Baritone 8.578191