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Home , Apollo et Hyacinthus, Idomeneo, Lucio Silla, Se vuol ballare, Zaide

The A - Z of Mozart Classical Opera / Ian Page

6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 1 10/01/2014 16:24 THE A-Z OF MOZART OPERA Page Page 1 et Hyacinthus – Duetto, “Natus cadit” 5’37 12 10 Die Entführung aus dem Serail – , “Konstanze… O wie ängstlich” 4’37 20 Martene Grimson (Melia), Allan Clayton (Oebalus) Andrew Staples (Belmonte) 2 La finta semplice – Aria, “Amoretti, che ascosi qui siete” 4’50 13 11 Le nozze di Figaro – Cavatina, “, signor Contino” 3’12 20 Rebecca Bottone (Rosina) Matthew Rose (Figaro) 3 – Aria, “Diggi, daggi, schurry, murry” 1’29 13 12 – Canzonetta, “Deh vieni alla finestra” 2’06 21 Matthew Rose (Colas) Mark Stone (Don Giovanni) 4 Mitridate, re di Ponto – Duetto, “Se viver non degg’io” (original version) 7’47 13 13 Così fan tutte – Quintetto, “Di scrivermi ogni giorno” 2’32 22 Rebecca Bottone (Aspasia), Martene Grimson (Sifare) Anna Leese (Fiordiligi), Cora Burggraaf (Dorabella), Andrew Staples (Ferrando), Mark Stone (Guglielmo), Matthew Rose (Don Alfonso) 5 Lucio – Aria, “Fra i pensier più funesti” 3’13 14 Anna Leese (Giunia) 14 – Duetto, “Ah perdona al primo affetto” 2’52 24 Rebecca Bottone (Servilia), Cora Burggraaf (Annio) 6 La finta giardiniera – Cavatina, “Geme la tortorella” 4’42 15 Klara Ek (Sandrina) 15 Die Zauberflöte – Quintetto, “Hm! hm! hm! hm!” 6’17 25 Klara Ek, Martene Grimson, Jennifer Johnston (Drei Damen), 7 – Finale, “Viva l’invitto duce” 6’26 15 Allan Clayton (Tamino), Mark Stone (Papageno) Cora Burggraaf (Aminta), Rebecca Bottone (Elisa), Anna Leese (Tamiri), Andrew Staples (Alessandro), The Orchestra of Classical Opera Allan Clayton (Agenore) Ian Page (conductor) 8 – Aria, “Ruhe sanft, mein holdes Leben” 5’59 17 (Zaide) Produced and edited by Richard Sutcliffe. Engineered and mixed by Andrew Mellor. 9 – Quartetto, “Andrò ramingo e solo” 6’00 18 Recorded at St Jude-on-the-Hill, London. Design by gmtoucari.com. Martene Grimson (Ilia), Anna Leese (Elettra), Photographs by Dr Stephen Page (pp.5-6) and Nick White (p.11) This recording was first released on Sony BMG in 2007 Cora Burggraaf (Idamante), Allan Clayton (Idomeneo) Orchestra playing on period instruments, A=430 Hz

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6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 2-3 10/01/2014 16:24 The Orchestra of Classical Opera

Violin 1 Horn Lucy Russell (leader) Joseph Crouch Roger Montgomery Iona Davies Sarah McMahon Gavin Edwards Rodolfo Richter Sarah Sexton Double Mandolin Hannah Tibell Cecelia Bruggemeyer Anthony Robson Daniel Edgar Tim Amherst Violin 2 Flute Steven Devine Jill Samuel Rachel Beckett Oliver Webber Elizabeth Walker Ellen O’Dell William Thorp Stephen Jones Anthony Robson Nia Lewis Kate Latham

Viola Katie Heller Jane Booth Lisa Cochrane Guy Cowley Alfonso Leal del Ojo Colin Kitching Andrew Watts Katrina Russell

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6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 4-5 10/01/2014 16:24 Apollo to Zauberflöte: The A-Z of Mozart Opera

This recording takes its inspiration from the coincidence that Mozart’s first opera begins with ‘A’ and his last with ‘Z’. Considering the almost universal appeal and popularity of his music, it seems extraordinary that less than half of Mozart’s command a regular place in the repertoire of the world’s opera houses, and this chronological journey offers the opportunity not only to see how his genius developed between and Die Zauberflöte, but also to appreciate the immense range and versatility of his writing. Of course no one can pretend that the early operas are as accomplished as the masterpieces of his maturity, any more than one would argue that the plays of Shakespeare are all uniformly great, but like Shakespeare, Mozart had a staggeringly profound and compassionate understanding of human nature which, to a greater or lesser degree, shines through in every one of his stage-works.

This is even true of the first three operas – Apollo et Hyacinthus (1767), La finta semplice (1768) and Bastien und Bastienne (1768) – all written before Mozart became a teenager, and the first two in particular contain numerous intimations of the beauties and expressive depths to come. The duet “Natus cadit” from Apollo et Hyacinthus, in which father and daughter lament their estrangement from the god Apollo, is symptomatic of the young composer’s unerring ability to capture the mood and emotional truth of a dramatic situation.

At the beginning of the 1770s, Mozart’s father took him on three separate trips to Italy – still considered the ideal training ground for aspiring composers and singers – and each trip culminated in the première of a new opera in Milan. These were Mitridate, re di Ponto (1770), (1771) and (1772), and they each reveal Mozart’s growing assurance and mastery of his craft. In December 1771, though, Archbishop Schrattenbach of Salzburg died, and his successor, Archbishop Colloredo, took a far less favourable view of the Mozarts’ frequent absences.

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6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 6-7 10/01/2014 16:24 For the rest of the decade they were required to stay in Salzburg and fulfil their duties as operatic writing onto a new level. They collaborated on three operas, Le nozze di Figaro court musicians, and for Wolfgang the only meaningful exceptions were a trip to (1786), Don Giovanni (1787) and Così fan tutte (1790), and this famous sequence of to supervise the première of La finta giardiniera in 1774-75, and the ill-fated visit to Paris works represents the pinnacle of Mozart’s achievement as an opera composer. in 1778-79, during which his mother died. In Salzburg he was commissioned to write Il re pastore in 1775 in honour of a visiting archduke, but he found his home town parochial By the summer of 1791, though, Mozart was out of favour at the Viennese court, debt- and limiting, and was increasingly frustrated by its lack of a proper theatre. In 1779-80 ridden and in ill-health. He agreed to collaborate with on he began work on a new , Zaide, but he was destined never to finish Die Zauberflöte, a magnificent vaudeville comedy written specifically for the ‘popular’ this intriguing work. audiences at the Theater auf der Weiden, and when this work was almost completed, Mozart received a commission to write a new opera for Prague to celebrate the coronation It was with the composition of Idomeneo, commissioned for the 1781 carnival season in of the new Emperor Joseph II as King of Bohemia. He allegedly wrote La clemenza di Munich, that Mozart really came of age as an opera composer. It received its première Tito in an astonishing eighteen days before returning to Vienna to complete Die Zauberflöte, a couple of days after his twenty-fifth birthday, and remains to this day one of his greatest the première of which he conducted on 30 September, but before the end of the year he and most underrated masterpieces. The work is charged with an elemental energy which was dead. It is tempting to view his tragically short career as a perfect, inevitable whole, drives the drama forward with visceral force, and , and ensembles lead possessing the same symmetry that marks his operatic voyage from A to Z. But one cannot into each other with a seamless flow. Nowhere is this more evident than in the extraordinary help wondering what might have been had he lived as long as such contemporaries as quartet from the final act, where all four characters give vent to their various states of Haydn, Gluck or Salieri. anguish and misery. Ian Page Idomeneo provided Mozart with the acclaim and the confidence to escape at last from his servitude in Salzburg, and in 1781 he made a famously acrimonious break from Archbishop Colloredo and set up as a freelance composer in Vienna. He soon received a commission to write a new German comedy, Die Entführung aus dem Serail, which was first performed at the Burgtheater on 16 July 1782, and the next few years were among the happiest of his life. But while he continued to pour out a seemingly endless supply of new music, he struggled to find the right material for his next opera. He started but failed to complete both L’oca del Cairo and Lo sposo deluso, and in 1786 wrote the one-act comedy for a performance in the gardens of Schönbrunn Palace, but it was his collaboration with the librettist Lorenzo da Ponte which took his

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6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 8-9 10/01/2014 16:24 Classical Opera

Classical Opera was founded in 1997 by conductor Ian Page to explore the works of Mozart and his contemporaries, and has emerged as one of the leading exponents in its field. Performing with its own acclaimed period-instrument orchestra, the company has attracted considerable critical and public recognition, not only for the high quality of its performances but also for its imaginative programming and its ability to discover and nurture outstanding young singers.

Classical Opera has performed regularly at many of London’s leading venues, including Sadler’s Wells, Wigmore Hall, the Barbican and Kings Place, and has mounted staged productions of many of Mozart’s operas, including Apollo et Hyacinthus, La finta semplice, Il re pastore, Zaide, Le nozze di Figaro and Così fan tutte. In 2009 it was invited to present The Royal Opera’s new production of Thomas Arne’s Artaxerxes, and it has also given the world première of the ‘original’ version of Mozart’s Mitridate, re di Ponto, the UK premières of Gluck’s La clemenza di Tito and Telemann’s Orpheus, and concert performances of Handel’s Il trionfo del Tempo e del Disinganno, Arne’s Alfred and J.C.Bach’s Adriano in Siria.

Classical Opera’s first two recordings – ‘The A-Z of Mozart Opera’ (Sony BMG, 2007) and ‘Blessed Spirit: a Gluck retrospective’ (Wigmore Hall Live, 2010) – were both selected for Gramophone magazine’s annual Critic’s Choice, and they were followed in 2011 by Arne’s Artaxerxes on Linn Records (Opera Choice, BBC Music Magazine; Disc of the Month, Opera). The company recently embarked on new project to record all of Mozart’s operas. The first two CDs in this cycle are Apollo et Hyacinthus (Linn Records, 2012) and Die Schuldigkeit des ersten Gebots (Signum Classics, 2013).

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6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 10-11 10/01/2014 16:24 1 Apollo et Hyacinthus, K.38 – Duetto, “Natus cadit” 2 La finta semplice, K.51 – Aria, “Amoretti, che ascosi qui siete” OEBALUS: OEBALUS: ROSINA: ROSINA: Natus cadit, My son is dead, Amoretti, che ascosi siete, Little Cupids who are hiding here, atque Deus and the god, e volando d’intorno ferite, flying around and inflicting wounds, me nolente, without my wishing it ah, vi prego, da me non venite: ah, I beg you, do not come for me, nesciente and without my knowing it, questo cor non venite a piagar. do not come to pierce this heart. laesus abit. has gone away offended. Regnum sine Numine My kingdom without a god iam non diu stabit: will not now survive for long. Numen! quaeso, flectere, O god, I beg you, have mercy 3 Bastien und Bastienne, K.50 – Aria, “Diggi, daggi, schurry, murry” et ad nos revertere. and turn back to us. COLAS: Diggi, daggi, MELIA: MELIA: schurry, murry, Frater cadit, My brother is dead, horum, harum, atque meus and my bridegroom, lirum, larum, te iubente, at your command Raudi, Maudi, me dolente and to my sorrow, giri, gari, posito, sponsus abit. has gone away. besti, basti, Saron froh, Sponsa sine complice Without a bridegroom, fatto, matto, quid pro quo. quaeso, quid amabit? whom, I ask, is a bride supposed to love? Noli sponsam plectere! Do not punish your bride! Numen! ah regredere. Ah god, come back! 4 Mitridate, re di Ponto, K.87 – Duetto, “Se viver non degg’io” (original version) SIFARE: SIFARE: Se viver non degg’io, If I am not to live, se tu morir pur dei, and if you too must die, lascia, bell’idol mio, let me, my beautiful darling, ch’io mora almen con te. at least die with you.

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6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 12-13 10/01/2014 16:24 ASPASIA: ASPASIA: Già vacillo, già manco, già moro Already I am faltering, am fainting and am dying, Con questi accenti, oh Dio! With these words, oh God, e l’estinto mio sposo ch’adoro and I hasten to follow the faithful shadow cresci gli affanni miei, you increase my torments! ombra fida m’affretto a seguir. of my dead husband, whom I adore. troppo tu vuoi, ben mio, You want too much, my love, troppo tu chiedi a me. you ask too much of me.

SIFARE: SIFARE: 6 La finta giardiniera, K.196 – Cavatina, “Geme la tortorella” Dunque… Then… SANDRINA: SANDRINA: Geme la tortorella The turtle-dove coos her grief ASPASIA: ASPASIA: lungi dalla compagna, far away from her companion, Deh taci. Ah be quiet. del suo destin si lagna, and bemoans her fate; e par che in sua favella and it seems that in her language SIFARE: SIFARE: vogli destar pietà. she wants to arouse pity. Oh Dei! Oh Gods!

ASPASIA, SIFARE: ASPASIA, SIFARE: Barbare stelle ingrate, Cruel, ungrateful stars, 7 Il re pastore, K.208 – Finale, “Viva l’invitto duce!” ah ne uccidesse adesso if only this excess of grief l’eccesso del dolor! would kill me now! TUTTI: ALL: Viva l’invitto duce, Long live our unconquered leader! viva del cielo il dono Long live the gift from heaven più caro al nostro cor. most dear to our heart! 5 Lucio Silla, K.135 – Aria, “Fra i pensier più funesti” ELISA, AMINTA: ELISA, AMINTA: GIUNIA: GIUNIA: Con fortunati auspici With favourable auspices Fra i pensier più funesti di morte Among the most morbid thoughts of death in questi dì più belle during these most lovely of days, veder parmi l’esangue consorte I seem to see my lover’s lifeless body, splendano in ciel le stelle, may the stars shine in heaven, che con gelida mano m’addita who with an ice-cold hand is showing me rida più lieto amor. and may love smile more happily. la fumante sanguigna ferita, his fresh, bloody wound e mi dice: Che tardi a morir? and saying to me: “Why do you hesitate to die?”. TUTTI: ALL: Viva del cielo il dono Long live the gift from heaven più caro al nostro cor. most dear to our heart!

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6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 14-15 10/01/2014 16:24 ELISA: ELISA: TAMIRI, ALESSANDRO: TAMIRI, ALEXANDER: Nell’adorarti ognora By adoring you forever Alme liete, alme care, Happy souls, dear souls, qual sia un felice amore, my heart will know, beloved, sì, godete nell’amar. yes, enjoy your love. caro, il mio cor saprà. what blissful love is. ELISA, TAMIRI, AMINTA, AGENORE: ELISA, TAMIRI, AMINTA, AGENORE: AMINTA: AMINTA: No, che ad amore un cor No heart knows Se quel tuo cor m’adora, If your heart adores me, resistere non sa. how to resist love. cara, più dolce ardore there is no sweeter ardour, beloved, no, che l’amor non dà. than love. TUTTI: ALL: Viva l’invitto duce, Long live our unconquered leader! ALESSANDRO: ALEXANDER: viva del cielo il dono Long live the gift from heaven Questo è per me contento. This for me is what contentment is. più caro al nostro cor. most dear to our heart!

AGENORE: AGENORE: Gioia ne provo al cor. I feel joy in my heart. 8 Zaide, K.344 – Aria, “Ruhe sanft, mein holdes Leben” ELISA, TAMIRI, AMINTA, AGENORE: ELISA, TAMIRI, AMINTA, AGENORE: ZAIDE: ZAIDE: No, che ad amore un cor No heart knows Ruhe sanft, mein holdes Leben, Rest gently, my dearest love, resistere non sa. how to resist love. schlafe, bis dein Glück erwacht; sleep until your happiness awakes; da, mein Bild will ich dir geben, there, I will give you my portrait; ELISA: ELISA: schau, wie freundlich es dir lacht. see how kindly it smiles at you. Vaghe luci, mio tesoro… Lovely eyes, my treasure… Ihr süßen Träume, wiegt ihn ein, Sweet dreams, rock him to sleep, AMINTA: AMINTA: und lasset seinem Wunsch am Ende and in the end let his wishes Cari accenti del mio bene… Dear words of my beloved… die wollustreichen Gegenstände of a joyful conclusion zu reifer Wirklichkeit gedeihn. prosper as a ripening reality. ELISA, AMINTA: ELISA, AMINTA: … nel mirarti mi conviene … in looking at you I must dolcemente sospirar. sweetly sigh.

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6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 16-17 10/01/2014 16:24 9 Idomeneo, K.366 – Recitativo e Quartetto, “Andrò ramingo e solo” ILIA: ILIA: M’avrai compagna al duolo, You will have me as your companion in sorrow IDOMENEO (ad Idamante): IDOMENEO (to Idamante): dove sarai, e dove tu moia, io morirò. wherever you are, and where you die I shall die. Parti, te lo comando, Leave, I command you, fuggi il paterno lido, e cerca altrove sicuro flee your native shore, and look elsewhere for IDAMANTE: IDAMANTE: asilo. safe refuge. Ah no! Ah, no!...

ILIA (ad Elettra): ILIA (to ): IDOMENEO: IDOMENEO: Ahimè! Pietosa principessa, Alas! Gentle princess, Nettun spietato! Pitiless Neptune! ah mi conforta! please comfort me! chi per pietà m’uccide? Who, out of pity, will slay me?

ELETTRA: ELECTRA: ELETTRA: ELECTRA: Ch’io ti conforti? e come?... I, comfort you? And how?... (Quando vendetta avrò?) (When shall I have revenge?) (Ancor m’insulta l’indegna.) (Again the unworthy woman insults me.) ILIA, IDAMANTE (ad Idomeneo): ILIA, IDAMANTE (to Idomeneo): IDAMANTE: IDAMANTE: Serena il ciglio irato. Calm your troubled brow. Dunque io me n’andrò… ma dove?... Then I shall go… But where?... Oh Ilia, oh genitor! Oh Ilia! Oh father! ILIA, IDAMANTE, IDOMENEO: IDOMENEO, ILIA, IDAMANTE: Ah il cor mi si divide! Ah, my heart is split apart! ILIA: ILIA: O seguirti, o morir, mio ben, vogl’io. I want to follow you or to die, my beloved. TUTTI: ALL: Soffrir più non si può. I can bear no more. IDAMANTE: IDAMANTE: Peggio è di morte Worse than death Deh resta, oh cara, e vivi in pace. Addio! No, stay, my darling, and live in peace. si gran dolore. is such great sorrow. Farewell! Più fiera sorte, A harsher fate, pena maggiore a greater pain, Andrò ramingo e solo, I shall go and wander, alone, nissun provò! no one has ever felt. morte cercando altrove looking for death elsewhere fin che la incontrerò. until I find it. IDAMANTE: IDAMANTE: Andrò ramingo e solo. I shall go and wander, alone.

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6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 18-19 10/01/2014 16:24 10 Die Entführung aus dem Serail, K.384 – Recitativo ed Aria, e la Susanna… secreta ambasciatrice: and my Susanna… as ‘confidential attachée’; “O wie ängstlich, o wie feurig” non sarà, non sarà. Figaro il dice. it shall not be, it shall not be! Figaro says so!

BELMONTE: BELMONTE: Se vuol ballare, signor Contino, If you want to dance, my dear little Count, Konstanze! dich wiederzusehen! – dich! – Konstanze, to see you again! – you! – il chitarrino le suonerò. I’ll play the guitar. Se vuol venire nella mia scuola, If you want to come to my dancing school, O wie ängstlich, o wie feurig Oh how fearfully, oh how fervently la capriola le insegnerò. I’ll teach you how to caper. klopft mein liebevolles Herz! my heart is beating, full of love! Saprò… ma piano, I shall know... but wait, Und des Wiedersehens Zähre, And the tears which I shall shed on seeing her again meglio ogni arcano I can better uncover any secret plot lohnt der Trennung bangen Schmerz. are recompense for the bitter pain of parting. dissimulando scoprir potrò. by dissembling. Schon zittr’ ich und wanke, Already I tremble and I falter, schon zag ich und schwanke, already I hesitate and I shrink; L’arte schermendo, The art of mocking, es hebt sich die schwellende Brust. my heart swells and beats faster. l’arte adoprando, the art of manipulating, di qua pungendo, here fighting, Ist das ihr Lispeln? Is that her whisper? di là scherzando, here joking, Es wird mir so bange. Anxiety fills me. tutte le macchine rovescierò. I’ll turn all your schemes upside down. War das ihr Seufzen? Was that her sigh? Es glüht mir die Wange. My cheeks are on fire. Täuscht mich die Liebe, Did love deceive me? war es ein Traum? Was it a dream? 12 Don Giovanni, K.527 – Canzonetta, “Deh vieni alla finestra” DON GIOVANNI: DON GIOVANNI: 11 Le nozze di Figaro, K.492 – Recitativo e Cavatina, “Se vuol ballare, signor Contino” Deh vieni alla finestra, o mio tesoro, Oh come to the window, my treasure, deh vieni a consolar il pianto mio: oh come to console my grief; FIGARO: FIGARO: se neghi a me di dar qualche ristoro, if you deny me such a solace, Bravo, signor padrone!... Well done, most worthy lord!... davanti agli occhi tuoi morir vogl’io. I shall die here before your eyes. Ora incomincio a capir il mistero… Now I begin to understand the secret… e a veder schietto and to see clearly Tu ch’hai la bocca dolce più che il miele, You whose lips are sweeter that honey, tutto il vostro progetto: your entire project; tu che il zucchero porti in mezzo il core, you who have a heart of sugar, a Londra, è vero? – so we’re off to London, are we? – non esser, gioia mia, con me crudele: do not be, my joy, cruel to me; voi ministro, io corriero, you as minister, I as courier, lasciati almen veder, mio bell’amore. let me at least see you, my beautiful love.

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6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 20-21 10/01/2014 16:24 13 Così fan tutte, K.588 – Recitativo e Quintetto, “Di scrivermi ogni giorno” FIORDILIGI, DORABELLA: FIORDILIGI, DORABELLA: Muoio d’affanno! I die of grief! DON ALFONSO: DON ALFONSO: Non v’è più tempo, amici; There is no more time, friends; FIORDILIGI: FIORDILIGI: andar conviene ove il destino, you must go where destiny, Di scrivermi ogni giorno. Write to me every day. anzi il dover v’invita. or rather duty, summons you. Giurami, vita mia. Swear, my life.

FIORDILIGI: FIORDILIGI: DORABELLA: DORABELLA: Mio cor… My heart… Due volte ancora tu scrivimi se puoi. And you write to me twice a day if you can.

DORABELLA: DORABELLA: GUGLIELMO: GUGLIELMO: Idolo mio… My idol… Non dubitar, mio bene. Have no doubt, my love.

FERRANDO: FERRANDO: FERRANDO: FERRANDO: Mio ben… My love… Sii certa, o cara. Be sure, my dear.

GUGLIELMO: GUGLIELMO: DON ALFONSO: DON ALFONSO: Mia vita… My life… (Io crepo se non rido.) (I’ll burst if I don’t laugh.)

FIORDILIGI: FIORDILIGI: FIORDILIGI: FIORDILIGI: Ah, per un sol momento… Ah, for a single moment… Sii costante a me sol. Be true to me alone.

DON ALFONSO: DON ALFONSO: DORABELLA: DORABELLA: Del vostro reggimento già è partita la barca. Your regiment’s ship has already left. Serbati fido! Stay faithful! Raggiungerla convien coi pochi amici You’ll have to overtake it with the few friends che su legno più lieve attendendo vi stanno. who are waiting for you on a lighter boat. FIORDILIGI, DORABELLA, FERRANDO, FIORDILIGI, DORABELLA, FERRANDO, GUGLIELMO: GUGLIELMO: FERRANDO, GUGLIELMO: FERRANDO, GUGLIELMO: Addio! Mi si divide il cor, bell’idol mio. Farewell! My heart is breaking, my beautiful idol. Abbracciami, idol mio. Embrace me, my idol. DON ALFONSO: DON ALFONSO: (Io crepo se non rido.) (I’ll burst if I don’t laugh.)

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6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 22-23 10/01/2014 16:24 14 La clemenza di Tito, K.621 – Duetto, “Ah, perdona al primo affetto” 15 Die Zauberflöte, K.620 – Quintetto, “Hm! hm! hm! hm!” ANNIO: ANNIO: PAPAGENO: PAPAGENO: Ah, perdona al primo affetto Ah, forgive and ascribe to my former love Hm! hm! hm! hm! hm! hm! hm! hm! Hm! hm! hm! hm! hm! hm! hm! hm! questo accento sconsigliato: this thoughtless word; colpa fu del labbro usato it was the fault of lips TAMINO: TAMINO: a così chiamarti ognor. always accustomed to call you so. Der Arme kann von Strafe sagen, The poor chap is sorely punished, denn seine Sprache ist dahin! for he is unable to speak! SERVILIA: SERVILIA: Ah, tu fosti il primo oggetto, Ah, you were the first person PAPAGENO: PAPAGENO: che finor fedel amai; whom I ever truly loved; Hm! hm! hm! hm! hm! hm! hm! hm! Hm! hm! hm! hm! hm! hm! hm! hm! e tu l’ultimo sarai and you will be the last ch’abbia nido in questo cor. to be sheltered in my heart. TAMINO: TAMINO: Ich kann nichts tun, als dich beklagen, I can do nothing but pity you, ANNIO: ANNIO: weil ich zu schwach zu helfen bin! for I am too weak to help! Cari accenti del mio bene. Dear words of my beloved. PAPAGENO: PAPAGENO: SERVILIA: SERVILIA: Hm! hm! hm! hm! hm! hm! hm! hm! Hm! hm! hm! hm! hm! hm! hm! hm! Oh mia dolce, cara speme. Oh my sweet, dear hope. ERSTE DAME: FIRST LADY: ANNIO, SERVILIA: ANNIO, SERVILIA: Die Königin begnadigt dich, The Queen pardons you, Più che ascolto i sensi tuoi, The more I hear your words, erläßt die Strafe dir durch mich. and through me relieves you of your punishment. in me cresce più l’ardor. the greater grows my passion. Quando un’alma è all’altra unita, When one soul unites with another, PAPAGENO: PAPAGENO: qual piacere un cor risente! what joy a heart feels! Nun plaudert Papageno wieder! Now Papageno can chatter again! Ah, si tronchi dalla vita Ah, eliminate from life tutto quel che non è amor. all that is not love. ZWEITE DAME: SECOND LADY: Ja plaud’re, lüge nur nicht wieder! Yes, chatter, but no more lying!

PAPAGENO: PAPAGENO: Ich lüge nimmermehr, nein, nein! I shall never lie again, no, no!

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6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 24-25 10/01/2014 16:24 DREI DAMEN: THREE LADIES: PAPAGENO: PAPAGENO: Dies Schloß soll deine Warnung sein! Let this padlock be a warning to you! Nun, ihr schönen Frauenzimmer – Well, lovely ladies, darf ich – so empfehl’ ich mich. if I may, I’ll take my leave. PAPAGENO: PAPAGENO: Dies Schloß soll meine Warnung sein! This padlock will be a warning to me! DREI DAMEN: THREE LADIES: Dich empfehlen kannst du immer, You can take your leave another time, ALLE: ALL: doch bestimmt die Fürstin dich, for the Queen has decreed Bekämen doch die Lügner alle If only all liars were given mit dem Prinzen ohn’ Verweilen that with the Prince and without delay ein solches Schloß vor ihren Mund: a padlock to seal their lips: nach Sarastros Burg zu eilen. you should hurry to Sarastro’s castle. statt Haß, Verleumdung, schwarzer Galle instead of hatred, slander and seething bile bestünde Lieb’ und Bruderbund. there would be love and brotherhood. PAPAGENO: PAPAGENO: Nein, dafür bedank’ ich mich. No, thank you very much. ERSTE DAME: FIRST LADY: Von euch selbsten hörte ich You yourselves have told me O Prinz! Nimm dies Geschenk von mir, O Prince! Take this gift from me. daß er wie ein Tigertier! that he is as fierce as a tiger. dies sendet unsre Fürstin dir. Our Queen sends it to you. Sicher ließ’ ohn’ alle Gnaden I’m sure that without any hesitation Die Zauberflöte wird dich schützen, This magic flute will protect and support you mich Sarastro rupfen, braten, Sarastro would have me plucked and baked im größten Unglück unterstützen. even in the greatest misfortune. setze mich den Hunden für. and served up to the dogs.

DREI DAMEN: THREE LADIES: DREI DAMEN: THREE LADIES: Hiermit kannst du allmächtig handeln, It will make you all-powerful, Dich schützt der Prinz, trau’ ihm allein, The Prince will protect you; trust no one but him. der Menschen Leidenschaft verwandeln, transforming man’s sorrows. dafür sollst du sein Diener sein. In return you shall be his assistant. der Traurige wird freudig sein, The joyless will become happy, den Hagestolz nimmt Liebe ein. the confirmed bachelor will fall in love. PAPAGENO: PAPAGENO: Daß doch der Prinz beim Teufel wäre. The devil take the Prince. ALLE: ALL: Mein Leben ist mir lieb. My life is dear to me. O so eine Flöte Oh, such a flute Am Ende schleicht, bei meiner Ehre, In the end, upon my honour, ist mehr als Gold und Kronen wert, is worth more than gold and crowns, er von mir wie ein Dieb. he’ll steal away from me like a thief. denn durch sie wird Menschenglück for through it human joy und Zufriedenheit vermehrt. and contentment will be increased. ERSTE DAME: FIRST LADY: Hier, nimm dies Kleinod, es ist dein! Here, take this treasure, it is yours!

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6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 26-27 10/01/2014 16:24 PAPAGENO: PAPAGENO: TAMINO, PAPAGENO: TAMINO, PAPAGENO: Ei! Ei! Was mag da drinnen sein? Aha! I wonder what’s inside? Drei Knäbchen, jung, schön, hold und weise, Three boys, young, fair, gentle and wise, umschweben uns auf unsrer Reise? will appear to us on our journey? DREI DAMEN: THREE LADIES: Darinnen hörst du Glöckchen tönen! Inside you’ll hear bells tinkle! DREI DAMEN: THREE LADIES: Sie werden eure Führer sein, They will be your guides; PAPAGENO: PAPAGENO: folgt ihrem Rate ganz allein. follow only their advice. Werd’ ich sie auch wohl spielen können? But will I be able to play them? ALLE: ALL: DREI DAMEN: THREE LADIES: So lebet wohl! Wir wollen gehn; Then farewell! We have to go! O ganz gewiß! Ja, ja, gewiß! Oh certainly! Without a doubt! lebt wohl, lebt wohl, auf Wiedersehn! Farewell, farewell, until we meet again!

ALLE: ALL: Silberglöckchen, Zauberflöten Silver bells and magic flutes sind zu eurem/unserem Schutz vonnöten. are needed for your/our protection. Lebet wohl! Wir wollen gehn. Farewell! We have to go! Die Einführung und kurze Zusammenfassungen der einzelnen Titel sind in deutscher Lebet wohl, auf Wiedersehn! Farewell, until we meet again! Sprache verfügbar auf www.classicalopera.co.uk/a-z-mozart-opera-cd

TAMINO: TAMINO: L’introduction ainsi que les résumés de chaque piste sont disponibles français sur Doch schöne Damen, saget an… But lovely ladies, please tell us… www.classicalopera.co.uk/a-z-mozart-opera-cd

PAPAGENO: PAPAGENO: … wie man die Burg wohl finden kann? …where is the castle to be found?

DREI DAMEN: THREE LADIES: Drei Knäbchen, jung, schön, hold und weise, Three boys, young, fair, gentle and wise, umschweben euch auf eurer Reise. will appear to you on your journey. Sie werden eure Führer sein, They will be your guides; folgt ihrem Rate ganz allein. follow only their advice.

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6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 28-29 10/01/2014 16:24 What the critics have said about With special thanks to the members of the A-Z Recording Syndicate: Kevin Lavery, Dr Stephen Page and Anthea Morland, Sir Vernon and Lady Hazel Ellis, Classical Opera’s recordings Hamish and Carol Ritchie, Philip and Chris Carne, Kate Bingham and Jesse Norman.

“ This is one of the most impressive pieces of programming I have experienced in a long time... an auspicious début recording of intelligence, finesse and quality.” Gramophone (The A-Z of Mozart Opera)

“ Conductor, instrumentalists and singers alike make sound the servant of the sense, with stylish, eloquent and dramatic music-making of the highest order.” International Record Review (Blessed Spirit – a Gluck retrospective)

“ A remarkable evening of arias sung with passion, urgency and drama… This is a terrific, unmissable disc.”

Gramophone (Blessed Spirit – a Gluck retrospective) www.signumrecords.com

“ The performance is thrilling, with exemplary singing and playing.” Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Gramophone (Arne: Artaxerxes) Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic “ This is a fine achievement… Tempos, balance and phrasing all convey the Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored impression we are in the company of that rare beast, an instinctive Mozartian.” in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. Opera (Mozart: Apollo et Hyacinthus) ௚ 2007 The copyright in this recording is owned by Classical Opera. “ An auspicious and thrilling start to what will surely prove to be an historic © 2014 The copyright in this CD booklet, notes and design is owned recording project. Bravo!” by Signum Records Ltd and Classical Opera. SA-CD.net (Mozart: Apollo et Hyacinthus) Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, Tel: +44 (0) 20 8997 4000 Email: [email protected]

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6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 30-31 10/01/2014 16:24 Also available on Signum Classics

The second release in Classical Opera’s ongoing complete Mozart opera cycle

DIE SCHULDIGKEIT D E S E R S T E N G E B O T S

CLASSICAL OPERA IAN PAGE (CONDUCTOR)

“In the hands of conductor Ian Page and his superb line-up of soloists the work has a freshness and zip which is irresistible, and The Orchestra of Classical Opera plays like a dream. The First Commandment is ‘Honour the Lord with all thy heart’. I’m sure there will be many awe-struck listeners who’ll honour Mozart the same way after hearing this game-changing work.” Sinfi ni Music

6719_CLA_The A-Z of Mozart Opera_BOOKLET_FINAL.indd 32 10/01/2014 16:24 The A-Z of Mozart Opera Classical Opera / Ian Page SIGCD373 4 10/01/2014 13:16 2 3 ” 7 3 0

2 1 2 5 3

6 GRAMOPHONE My personal pick My personal this for giving year is Classical glorious Opera’s The A-Z of Mozart Opera. “ DDD LC15723 6’17 4’42 3’12 3’13 7’47 5’59 6’26 5’37 2’52 4’37 1’29 4’50 2’32 6’00 2’06 , Cora Burggraaf, 24 bit digital recording

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Total PlayingTotal 67’47 Time:

Classical Opera



2014 2014 Signum Records

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, “Konstanze… O wie ängstlich” SIGCD373 , “Geme la tortorella” , “Se viver non degg’io” (original version) , “Se vuol ballare, signor Contino” , “Diggi, daggi, schurry, murry”, “Diggi, , “Ah perdona, “Ah al primo affetto” , “Deh vieni alla finestra” , “Hm! hm! hm! hm!” hm! , “Hm! hm! , “Di scrivermi ogni giorno” , “Amoretti, che ascosi, “Amoretti, qui siete” , “Andrò ramingo e solo” , “Andrò , “Viva l’invitto duce” , “Fra i pensier, “Fra funesti” più , “Ruhe sanft, mein holdes Leben” of Mozart Opera Z

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A Apollo et Hyacinthus Duetto, – “Natus cadit” La finta semplice – Aria Bastien und Bastienne – Aria Mitridate, re di Ponto – Duetto Don Giovanni – Canzonetta Così fan tutte – Quintetto La clemenza di Tito – Duetto Die Zauberflöte – Quintetto LucioSilla – Aria La finta giardiniera – Cavatina Il re pastore – Finale Zaide – Aria Idomeneo – Quartetto Die Entführung aus dem Serail – Aria Le nozze di Figaro – Cavatina

3 4 5 1 2 6 7 8 9

11 10 14 15 12 13

Perivale, Middx UB6 7JD, United Kingdom Middx UB6 7JD, Perivale, www.signumrecords.com Signum Records Ltd, Suite 14, 21 Wadsworth Road, Wadsworth 21 Suite 14, Signum Records Ltd, Rebecca Bottone, Klara Martene Ek, Grimson, Susan Gritton, Anna Leese Jennifer Johnston (mezzo Allan sopranos), Clayton, Andrew Staples Mark (), Stone Matthew (baritone), Rose (bass) The Orchestra of Classical Opera, Ian Page (conductor) Classical Opera / Ian Page Opera Classical The The

The A-Z of Mozart Opera Mozart of A-Z The Classical Opera / Ian Page Ian / Opera Classical SIGCD373 1 6719_CLA_The A-Z of Mozart Opera_JEWEL_CASE_FINAL.indd