Rebecca Evans • Barry Banks • Simon Keenlyside • Alastair Miles

London Philharmonic Orchestra Brad Cohen

CHAN 3156 (1838 –1875)

highlights from The Pearl Fishers © Lebrecht Music & Arts Library Photo Music © Lebrecht in three acts by Eugène Cormon and Michel Carré, English translation by David Parry

Zurga, head fisherman Simon Keenlyside Nadir, fisherman Barry Banks Leïla, priestess of Brahma Rebecca Evans Nourabad, high priest of Brahma Alastair Miles

Geoffrey Mitchell London Philharmonic Orchestra Phillip Thomas assistant conductor Brad Cohen

Georges Bizet 3 Time Page Time Page

from Act I 8 No 4b, Romance 1 Prelude 1:54 [p. 70] ‘Again her voice will haunt me’ 3:11 [p. 74] 2 No 1a, Introduction 9 No 5, Air and Chorus ‘At the break of day with the waves at play’ 3:32 [p. 70] ‘Brahma the god, sovereign of the world’ 5:31 [p. 75] Chorus Leïla, Chorus, Nadir 3 No 1b, Scene and Chorus ‘My friends, you must delay your dances’ 4:03 [p. 70] from Act II Zurga, Chorus, Nadir 10 No 7, and Cavatina 4 No 1c, Recitative and Chorus reprise ‘I am alone here in the night’ 6:50 [p. 76] ‘Stay here and live with us, Nadir’ 2:14 [p. 71] Leïla Zurga, Nadir, Chorus 11 No 8, Chanson 5 No 2a, Recitative ‘My love was weeping while she was sleeping’ 1:53 [p. 76] ‘At last I have found you again!’ 2:37 [p. 72] 12 No 9, Duo Zurga, Nadir ‘Leïla! Leïla!’ 6:49 [p. 76] 6 No 2b, Duet Nadir, Leïla ‘Then from the holy shrine’ 7:11 [p. 72] Nadir, Zurga from Act III 7 No 4a, Recitative 13 No 11, Entr’acte, Recitative and Air ‘Hearing her voice my soul is a cauldron of passion!’ 1:24 [p. 74] ‘The storm has run its course’ 6:22 [p. 78] Nadir Zurga

4 5 On session: Brad Cohen

Time Page

14 No 12a, Recitative ‘(She is here! My heart… is pounding…)’ 1:07 [p. 79] Zurga, Leïla 15 No 12b, Duo ‘(I would speak, but I cannot)’ 10:03 [p. 79] Leïla, Zurga, Chorus 16 No 14, Scene and Duo ‘Spirits of dreadful night’ 4:46 [p. 82] Nourabad, Chorus, Nadir, Leïla

Bonus tracks No 15, Trio (posthumous) 17 ‘Sacred light of being’ 4:03 [p. 84] Leïla, Nadir, Zurga No 2b, Duet (posthumous ending) 18 ‘Then from the holy shrine’ 5:19 [p. 85] Nadir, Zurga TT 79:00

6 Everyone will recognise ‘that famous duet’ (‘Then from the holy shrine’) sung by the fishermen Nadir and Zurga, but how many of us are familiar with the other pearls of melody from Bizet’s exotic opera? There surely is no better way of discovering the jewels in this romantic work than listening to the superb voices of Rebecca Evans, Barry Banks, Simon Keenlyside and Alastair Miles, with the Geoffrey Mitchell Choir and the London Philharmonic Orchestra, brought to life by Brad Cohen, conducting his new edition of Bizet’s original score of 1863. Enjoy your pearl-listening!

Sir Peter Moores, CBE, DL September 2008

Sir Peter Moores with a portrait of Admiral Lord Nelson by Lemuel Francis Abbott, acquired for Compton Verney © Lyndon Parker 8 9 Les Pêcheurs de perles – a publishing history

Like many of Bizet’s projects, Les Pêcheurs de perles (The Pearl evening effectively closes its musical argument, and the ear has well Fishers) had at best a mixed success in his lifetime. It ran for eighteen and truly tired of the theme by the last of its subsequent appearances. performances in the autumn of 1863, then lay forgotten until Bizet’s original idea, of suggesting the theme rather than driving it after his death twelve years later. It was only the eventual success of home, is more original, more theatrical – less hackneyed. It is an , composed in 1873 – 4, which prompted Choudens, who elegant interpretation of the Wagnerian leading motive, expressed published both that opera and Les Pêcheurs de perles, to re-examine through melody and timbre. In addition, the original duet ending their Bizet manuscripts with a view to exploitation. They eventually (performed on this recording as track 6 ) was one of the numbers re-published Les Pêcheurs de perles with additions, alterations and received most favourably in 1863. Its intimacy and refinement omissions in the 1880s, although its modern performance success create a quite different atmosphere from the noisy peroration of the dates from the early twentieth century. This version was accepted posthumous version (track 18 ). for decades as representing Bizet’s intentions, although it diverged in The autograph of Les Pêcheurs de perles is presumed lost. important respects from his own vocal score, published in 1863, which However, a reduction of the full score on six staves, made for the embodied the only version he authorised. performances in 1863, is held by the Bibliothèque nationale in The posthumous version of the duet for Nadir and Zurga is, in Paris. My edition uses this in reconstructing the instrumentation of my view, responsible for much of the criticism which has attached passages for which no autograph exists. Complemented by Bizet’s to Les Pêcheurs de perles in recent decades. The evanescent flute and published vocal score, it presents a clear and instructive framework harp theme from this duet was rightly recognised by Choudens for performing Les Pêcheurs de perles as Bizet composed it. as the most characteristic element of the opera. What they failed to comprehend, in adding a reprise of the theme at the end of the © 2008 Brad Cohen duet, was its larger purpose in the work. Its repetition so early in the (Editor, The Pearl Fishers, published by Peters Edition Ltd, London)

10 11 oriental-sounding music, except for a sudden, formulae of the Opéra-Comique (meaning The Pearl Fishers highly effective chorus sung by the Nubian the institution) with pseudo-oriental musical slaves. details which would lead on to the more While Great Britain could lay claim to predominant. When we look at the repertoire Somewhere in between lay the norm of an concentrated oriental two-act opera colonising ‘wider still and wider’ during of literature, painting, opera and ballet we all-purpose oriental style where the music used and of course to his other exotic (though the nineteenth century, it was surely France can see exoticisms of the North and West as to represent Africa, India and even Japan and Moorish rather than oriental) masterpiece who more than anyone else channelled the well as those which looked towards the East. China were hardly distinguishable. Ubiquitous Carmen. exoticism of foreign lands into the arts, and For the French, anything ‘other’ was fair game amongst musical techniques to evoke the East The critics were unenthusiastic about the certainly were supreme in representing oriental for exploitation, usually in terms of national were drones, and rhythmic ostinati, as well as libretto for Les Pêcheurs which was to have fictions on the operatic stage. The British, it stereotyping. an extensive use of percussion complementing been in the conventional Opéra-Comique must be said, were pretty good at painting the As far as the Orient was concerned, various the use of shiny metal in the costumes. Finger- format of an alternation of spoken material exotic, (albeit a bit later on) but the French levels of musical evocation may be discerned. cymbals and tambourines were particularly and sung numbers. But since the opera was beat them hollow as far as literature and music On the one hand there were composers who favoured as were the use of the oboe and premiered at the Théâtre-Lyrique, whose was concerned. set on Exotic themes to music, making clarinet, and sometimes a piccolo topping, statutes did not require this combination, Surely opera was the ideal medium for no attempt to adopt a style incorporating to mimic Eastern wind instruments, scales the dialogue was turned into recitative portraying the imagined exotic? It combined non-Western musical techniques. An example inflected with odd intervals and a liberal use of shortly before the premiere. Inevitably it was literature, the visual arts and music, and could of this was the highly successful, but entirely acciacciature and fioriture (crushing-notes and compared to the subject-matter of a now- even add a smattering of reality – observed Italianate, Opéra bouffe Le Caïd by Ambroise ornaments). forgotten opera by Spontini, many events – here and there. Above all it could Thomas, a comic opera telling of an Arabic Considered within the expanding repertoire times revived during the nineteenth century triumph over other one-dimensional arts in Kaid or chief. of Oriental operas (which culminated at but whose popularity waned after 1850. fashioning tableaux vivants, where events At the other end of the scale were such the end of the century with such works as Several of its numbers foreshadow similar could be enacted, enhanced by music, and composers as Félicien David (1810 –1876) Massenet’s Thaïs) Bizet emerges as one of movements in Les Pêcheurs in terms of the most importantly danced, for we should not who noted down oriental melodies when on the first to find exotic musical languages libretto, though not at all of the music. underestimate the increasingly central role an extended tour of the Middle East and later to parallel exotic literary themes. In this One such is the prayer scene at the end of the costume-ballet in nineteenth-century published them. David achieved international respect Les Pêcheurs de perles (The Pearl of Act I (track 7 ) where Leïla prays to the French spectacle. acclaim for his Ode symphonique Le Désert Fishers) emerges as a pioneering work and Gods echoed by a backstage chorus. The A word needs to be said about the notion of 1844 which incorporated quasi-Oriental the first where the young Bizet expressed a use of the ‘coulisses’, the unseen backstage, of ‘exoticism’ of which orientalism was melodies and techniques. Berlioz’s Les Troyens à distinguishably individual voice, establishing was a tradition harking back to beyond an important part, but not by any means Carthage (‘The Trojans in Carthage’) has little a way of spicing up many of the expected the eighteenth century in Opéra-Comique

12 13 traditions: no self-respecting librettist- Ceylon of the location. A feature which became the famous duet passage, and a slow melody followed by her Cavatine, which is preceded composer team would miss the opportunity one of Bizet’s hallmarks in exotic music was accompanies in the orchestra: it is a theme – by a recitative, in which she waits for Nadir. to exploit them. In this case the backstage the sudden introduction of strange, held perhaps Leïla’s theme – which will recur several The number is one of the most memorable chorus echoes Leïla’s words. Her sudden chords, such as those on the word ‘chants’. times. The libretto has a typical cliche in moments of the opera even though it has no appearance in prayer is caught by Bizet by Another technique, already observed in oriental make-believes where Zurga remembers trace of oriental techniques (track 8 ). It shows restricting the strings to a low-register cushion Leïla’s prayer, is to revert to unsullied Opéra- the moment when Leïla for a moment lifted Bizet’s mastery of the typical Opéra-Comique of sounds over which she flies, at first adding Comique convention in the central section. her veil: ‘Oh blessed sight! Oh rapture!’ The style , more than a little indebted to the the ornamental flourishes which are oriental When the reprise of the first, more oriental, slow hymn-like motive is stamped out on the style of Gounod. Nadir replies in the form in their effect, but which, as the chorus music occurs, it allows an extended orchestral brass for emphasis. The music becomes an of a Chanson (track 9 ) which has far more begin to sing a conventionally balanced (and passage to give the dancers time to display their affirmation of male friendship and a vow to of an exotic flavour. He approaches, singing delightfully catchy) melody, turns into more talents: overall a brilliant formula to open the chase away jealousy and passion. Appended is from afar accompanied by offstage harps. Bizet typically Théâtre-Lyrique coloratura. Nadir oriental spectacle with a combination of dance, the posthumous ending which reiterates the became increasingly adept at using the coulisses sings, also unseen, marvelling at the sound of song and an opulent set. hymn-like motive which accompanied the not only dramatically but also musically: think her voice. As he calls Leïla she too is shocked There follows the election of Zurga as duet (track 18 ). of the passage in Carmen where Carmen dances to hear him. Within the priestess’s prayer, chief for the time of the pearl-fishing The following scene is Nadir’s, (track 6 ). the Romalis for Don José and the sounds of the a love-duet is subtly woven in as the chorus season, (track 3 ) narrated in a conventional At first he admonishes himself for breaking his bugles of his regiment are heard offstage. moves into the ubiquitous and impossible recitative, and followed by a unison melody. vows, accompanied by tremolando, disturbed Leïla, startled and drawn to him, hears him ‘Ah!’ meant to be done, so says the score, à Strange and powerful chords accompany the harmonies on the strings. The music then coming. The magical song turns into an Allegro bouche fermée (with the mouth closed). number where Zurga welcomes Nadir to the subsides into a Romance where he conjures molto ‘beating heart’ duet (track 10 ) as they The opening of the Prelude to the opera team of divers and perform a dance to the Sun memories of Leïla in a gently lilting song. He meet, the orchestra – by no means uniquely (track 1 ) has no oriental inflections to help to eliminate any evil spirits, (track 4 ). thinks he has heard her voice in this berceuse- in the repertoire – provides the set the scene: Bizet leaves that until later The approach to the celebrated duet ‘Au like aria, again in the typically Opéra-Comique heartbeat rhythms in this, one of the most when an ostinato is accompanied by the fond du temple saint’ (‘Then from the holy style, beautifully and sparsely orchestrated. extended through-composed scenes of the ubiquitous tambourines and a chorus singing: shrine’) dramatises the lifelong friendship Here Bizet’s subtle understanding of harmony opera, ending in a more lyrical duet. in effect a danced tableau vivant (track 2 ) . between Nadir and Zurga, (track 5 ). The comes to the fore, with a gently modal minor The first tableau from Act III is given to a Written as a piece with scenery, dance and two friends reminisce about their discovery of key giving an all-pervading atmosphere of solo from Zurga (track 11 ) after the depiction song it once again combines French operatic Leïla in the Holy Shrine. How cleverly Bizet memory tinged with longing, and a sense of the of a storm in the orchestral introduction, full of convention with some all-purpose oriental modulates from brotherly discussion into this timelessness of a night of waiting. Then comes swirling passages of harmony and underpinned dance music – nothing at all to do with the rose-tinted reminiscence! The harps well up in the scene already mentioned where Leïla prays, by thunderous timpani. From the soliloquy

14 15 which follows it is clear that the storm was a Synopsis (excerpts recorded are shown in bold loves, and left alone, he confesses that he has Act III metaphor for Zurga’s own inner turmoils, and type) followed her here. He listens as Leïla begins Zurga’s anger has passed and he sadly his recitative is punctuated by recurrences her incantation, and he can resist no longer, reflects on Nadir’s fate. Leïla pleads for of the stormy music. He wins through to Act I calling out to her; she breaks off, answering Nadir, saying that she alone was culpable. an attitude where he asks whether Nadir, The action takes place on the island of Ceylon his love. For the first time she sees that Zurga loves his lifelong friend, can pardon him for his in the Indian Ocean, where the inhabitants live her. He relents, but his jealousy reawakens jealousy. Leïla appears (track 12 ) throwing by diving for pearls. After a short prelude we Act II when she shows how much she loves his Zurga into turmoil. The hymn-like motive is see the fishermen and their families working, The fishermen have returned safely, and Leïla rival. Zurga lets Nourabad to take her to the heard in the background and Leïla has her aria singing and dancing. Zurga, head fisherman, is released from her vigil for the evening. As sacrificial pyre. Before she goes, however, that turns into a duet as she pleads for Nadir’s reminds them that they should choose a proof of her ability to keep her promise she she gives Zurga a necklace to be sent to her life. At first forgiving, his turmoil causes him leader, and they unanimously swear loyalty tells the priest Nourabad how, as a little girl, mother. With a cry of recognition, he runs to change his mind as Leïla’s veil is torn from to him. she protected a fugitive and never revealed after them to save her. her. He condemns them to death, asserting his Nadir, a young fisherman, appears and is him to his pursuers. In gratitude, the man she The pearl fishers prepare for the ritual regal power. recognized by Zurga as his old companion. On saved gave her a necklace, which she wears to executions of Leïla and Nadir, to take place This through-composed movement was to their travels, in a temple at Kandy, they had this day. as the sun rises. At the last moment Zurga become Bizet’s way of moving the dramatic both fallen in love with the priestess. They had The priest leaves Leïla and she sings appears with the news that their camp is action forward to its conclusion: a technique separated because of their rivalry, and swore a cavatina, full of love. Nadir makes his on fire, and the women and children are in he was again to use to masterful effect in never to see her again; but now they reaffirm way into the sacred enclosure and they are danger. The fishermen rush off to save them. Carmen, subverting yet expanding the their friendship, vowing that the memory of rapturously reunited. But they are observed Zurga reveals to the captive couple that it was traditional opéra à numéros of the Opéra- the priestess will not come between them. and, as a violent storm breaks overhead, they he that Leïla saved so many years ago, and Comique. As the passion rises, Leïla curses the Nourabad, the High Priest of Brahma, are captured and denounced for sacrilege by that now he must repay his debt of gratitude unforgiving Zurga and calls him a monster. brings a priestess who has been chosen to Nourabad. Zurga tries to protect his friend for her bravery. He himself fired the camp in The chorus has the final word. pray for the fishermen on their forthcoming from the fury of the superstitious natives, who order to give them a chance to get away and, An appendix is the 1893 Trio (track 17 ) pearl fishing expedition, and to ward off evil demand his immediate death. Nourabad whips gratefully, Leïla and Nadir make their escape. where both Nadir and Zurga sing of their love spirits. Zurga imposes an oath of chastity up their frenzy and Leïla’s veil is torn from her. Zurga is left alone to face the consequences of for Leïla who accepts them both. It is attributed upon her on pain of death. Their finest pearl When Zurga recognizes her as the priestess his actions. to the composer Benjamin Godard. will be her reward for keeping the divers safe from the temple in Kandy, he realises that from harm. Although she is veiled, Nadir Nadir has betrayed their oath to forget her and Rebecca Evans (Leïla) was born in South Wales © 2008 Richard Langham Smith recognizes her voice as that of the priestess he angrily demands death for the guilty couple. and studied at the Guildhall School

16 17 of Music and Drama. Chicago and Zerlina, Anne Trulove (The Rake’s The Metropolitan de Strasbourg under Jan Latham-Koenig, She received support Progress) and Adina (L’elisir d’amore) for San Opera, Opéra National Rossini’s Ermione in concert at Carnegie from the Peter Moores Francisco Opera. de Paris, English Hall and Donizetti’s I puritani and Linda di Christian Steiner

© Sian Trenberth © Sian Foundation to study In concert she has appeared at the BBC National Opera, Chamonix at Caramoor Festival. with Ronald Schneider Proms and at the Salzburg, Edinburgh, Théâtre du Châtelet, Barry Banks’ discography includes, for in Vienna. At the Tanglewood and Ravinia Festivals. The the , Chandos’ Opera in English series, Nemorino , orchestras she has worked with include the , The (The Elixir of Love), Ernesto (Don Pasquale), , she San Francisco Symphony, the Boston Santa Fe Opera and Don Ottavio (), Giannetto (The has sung Pamina Symphony, the Orchestra of the Age of Teatro Communale Thieving Magpie) and Tamino () (Die Zauberflöte), Enlightenment with Sir , di amongst as well as a disc of Great Operatic . Other Zerlina (Don Giovanni), Despina (Così fan the Monteverdi Choir and Orchestra with others. His roles include Lindoro (L’italiana recordings include La Bohème, Un ballo in tutte), and Johanna (Sweeney Todd ). A regular and the Sapporo in Algeri), Nemorino (The Elixir of Love), maschera and Trial by Jury. guest at the Bayerische Staatsoper, Munich, Symphony Orchestra with Tadaaki Otaka. Don Ramiro (), Oreste her roles there have included Ginevra A Grammy Award-winning artist, she has (Ermione), Tom Rakewell, Tamino (The Magic Simon Keenlyside (Ariodante), Despina, Zdenka (Arabella), recorded prolifically, and her recordings for Flute), Don Narciso (Il turco in Italia), Belfiore (Zurga) was born

Ilia (Idomeneo) and Susanna (Le nozze di Chandos’ Opera in English series include and Libenskof (Il viaggio a Reims), L’Astrologue Arens Uwe in London, studied Figaro). She has sung Despina at the Deutsche Gretel (Hansel and Gretel ), Pamina (The Magic (Le Coq d’or), Don Ottavio (Don Giovanni) zoology at Cambridge Staatsoper, Berlin; Ilia for the Netherlands Flute), Ilia (Idomeneo), Marzellina (), and Uberto (La donna del lago). and singing at the Opera and, for English National Opera, and Susanna (). Other As a concert artist Barry Banks has sung Royal Northern Romilda (Xerxes), and Governess (The Turn recordings for Chandos include Beethoven’s Rossini’s Petite Messe solennelle with Royal College of Music in of the Screw). A favourite at Welsh National Mass in C major and Delius’ Mass of Life. Philharmonic Orchestra under Daniele , where he Opera, her roles there have included Mimì Gatti, Jaquino (Fidelio) with the City of was a Peter Moores (La Bohème), Pamina, Gretel (Hänsel und A graduate of The Royal Northern College of Birmingham Symphony Orchestra under Scholar. Gretel ) and Norina (Don Pasquale). Music where he was a Peter Moores Scholar, Walter Weller, Bruckner’s with He made his operatic debut at the Hamburg She has also established a major operatic Barry Banks (Nadir) has established himself as the Scottish Chamber Orchestra under State Opera as Count Almaviva (Le nozze career in America where she has sung Susanna one of today’s finest interpreters of the Italian Sir Charles Mackerras, and Rossini’s di Figaro). He has since sung in Geneva and Zerlina for the , bel canto repertoire. He is much in demand on at the Edinburgh Festival under Carlo Rizzi. ( and Pelléas), Zurich (Don Giovanni), New York; Susanna in Santa Fe; Pamina and the international opera platform, performing Other highlights have included Britten’s War Barcelona (Hamlet), Madrid (Posa), San Adèle () for the Lyric Opera of at House Covent Garden, Requiem with the Orchestre Philharmonique Francisco (Pelléas), Sydney and Berlin (Figaro),

18 19 Brussels (Orfeo), Paris (Papageno, Pelléas, di Figaro). A disc of orchestral arias won Opera (the title role in Boito’s Mephistopheles, Geoffrey Mitchell’s singing career has Guglielmo, Yeletsky and Dandini), Vienna the Gramophone 2007 best recital award. Zachariah, de Silva, and Ford in Sir John in encompassed a remarkably wide repertoire (Figaro, Marcello, Count Almaviva, Billy Recordings for Chandos have included Love); and the Royal Opera, Covent Garden from early to contemporary music and Budd, Don Giovanni, Papageno and Posa), the title role in , and Papageno (Rodolfo in La Sonnambula, Elmiro in , has taken him to Scandinavia, Germany, Munich (Marcello, Count Almaviva and (The Magic Flute) as part of the Opera in Frère Laurent in Roméo et Juliette, Banquo the former Czechoslovakia, Canada and Wolfram), at the Metropolitan Opera (Belcore, English series. in , and concert performances of Australasia. Early conducting experience with Marcello, Papageno and Count Almaviva), the Donizetti’s Dom Sebastien (also recorded the BBC led to a wider involvement with his Salzburg Festival (Guglielmo and Papageno), Alastair Miles by )); and Mephistopheles in own singers and in turn to the establishment of , (Papageno and Count (Nourabad), is La Damnation de in concerts with the the Geoffrey Mitchell Choir. Early recordings

Almaviva), and at the Royal Opera House, Rock Sheila internationally London Symphony Orchestra and Sir Colin resulted in the Choir’s long-term involvement Covent Garden (in roles including Billy Budd, recognised as one of Davis in London and New York. with Opera Rara for which it has made over Count Almaviva, Don Giovanni, Valentin, the world’s leading His highly successful concert career thirty recordings. The Choir is enjoying a Pelléas, Guglielmo, Papageno, and Prospero basses. He has sung has taken him worldwide to perform with growing reputation with further work from in the world premiere of Adès’ ). at the Metropolitan conductors including Giulini, Mehta, Muti, the BBC and international record companies. For Billy Budd at English National Opera and Opera House (Giorgio Chung, Masur, Gergiev, Gardiner and For Chandos the Geoffrey Mitchell Choir has Winston in the world premiere of 1984 at the in I Puritani and Sir and the world’s most participated in numerous recordings in the Royal Opera House, he won the 2006 Olivier Raimondo in Lucia prestigious orchestras. His discography acclaimed Opera in English series sponsored by Award for outstanding achievement in Opera. di Lammermoor); Opéra National de Paris- currently stands at over fifty recordings the Peter Moores Foundation. Simon Keenlyside enjoys extensive concert Bastille (Raimondo); Vienna (Philip II in including, for Opera Rara, Mayr’s Medea work, and has appeared in recital in New York, , Zachariah in Nabucco, Cardinal in Corinto, Mercadante’s , The 2007/08 season saw the London San Francisco, Lisbon, Geneva, Moscow, Paris, Brogni in Halévy’s La Juive, de Silva in Ernani, Donizetti’s Rosmonda d’Inghilterra, Philharmonic Orchestra celebrate its seventy- Amsterdam, Rome, Brussels, London, at the and Giorgio); Bayerische Staatsoper, Munich Meyerbeer’s Margherita d’Anjou and Thomas’ fifth birthday. It also inaugurated Vladimir Edinburgh, Aldeburgh, Salzburg and Munich (title role in Saul and Zoroastro in Orlando), La Cour de Célimène. Other recordings Jurowski as its new Principal Conductor and Festivals, at La Scala Milan and in Vienna. San Francisco (Giorgio, Raimondo and Basilio include Elijah, Verdi’s Requiem and Handel’s moved back into its splendidly restored Royal Recordings include recital discs of Schubert in Il barbiere di siviglia); Amsterdam (Figaro in Saul and Agrippina, and for Chandos’ Festival Hall home. and Strauss, a disc of Schumann Lieder, Le nozze di Figaro); La Gioconda in Barcelona; Opera in English series he has recorded With its performances in the concert hall Des Knaben Wunderhorn, the title role in Teatro Real, Madrid (Philip II and Raimondo); Mephistopheles (Faust), Ramfis (Aida), and opera house, its many award-winning Don Giovanni, Carmina Burana, Marcello in Palermo (Walter in ); Seville Colline (La Bohème) and a disc of Great recordings, its trail-blazing international tours La Bohème, and Count Almaviva (Le nozze (Mephistopheles in Faust); English National Operatic Arias. and pioneering education work, the London

20 21 Philharmonic Orchestra has long since Stuttgarter for Opera New Zealand, Die Fledermaus for Frank Zappa, and commissioning music for earned a high reputation for versatility and Philharmoniker, Opera Queensland, Madama Butterfly, Manon the opening of the Millennium Dome. In 2002 artistic excellence. Distinguished musicians Stavanger Symphony Lescaut, Pearl Fishers, Norma and Nabucco for he was Musical Director of Jonathan Dove’s who have held positions with the Orchestra Orchestra, Het Gelders Opera Holland Park, La traviata for Luzern, television opera When She Died: Death of a since its foundation in 1932 by Sir Thomas Orkest, Melbourne Armida, Tancredi, Le Comte Ory, Cavalleria Princess. In 2006 the same team created the TV Beecham have included Sir , Sir Symphony Orchestra, rusticana & in the Royal Albert Hall, opera Man on the Moon for Channel Four. He John Pritchard, , Sir Georg National Symphony Luisa Miller and Manon for the Nederlands also led the Australian premiere of Jonathan Solti, Klaus Tennstedt, Franz Welser-Möst and Orchestra of Ireland, Nationale Reisopera, and Dove’s opera Flight at the 2006 Adelaide Kurt Masur. Resident symphony orchestra at Royal Liverpool for Angers/Nantes Opera. Festival. the Royal Festival Hall since 1992, presenting Philharmonic Brad Cohen has a strong involvement in Brad Cohen has become an accomplished its main series of concerts there between Orchestra, Scottish Chamber Orchestra, City the performance of new music. His diverse operatic editor, and he has completed and September and May each year, the London of London Sinfonia, and the Orchestra of St activities in this field include filming modern published editions of Maometto secondo, Philharmonic Orchestra has also been the John’s Smith Square. opera for TV, touring the ensemble pieces of Il barbiere di Siviglia, and Norma. resident symphony orchestra at He has conducted From the House of the Festival Opera for more than forty years; it Dead and Carmen for English National Opera; performs besides at venues around the UK, Carmen, , Roméo et Juliette, has made numerous tours across Europe, to L’elisir d’amore and La Cenerentola for Opera America and Japan, and visited India, Hong Australia; The Magic Flute, The Pearl Fishers Kong, China, Australia and South Africa. and The Reluctant King for Opera North; and and Figaro for English Touring Brad Cohen graduated from St John’s College, Opera. For Almeida Opera he conducted the Oxford, and studied with Celibidache and world premiere of Thomas Adès’ Powder her Bernstein in Germany, making his professional Face (also at the Cheltenham Festival and in debut at the 1992 Almeida Festival. In Bath and Oxford) and Guo Wenjing’s Wolfcub 1994 he was awarded first prize in the Leeds Village and Night Banquet (also at the Hong Conductors’ Competition, and has since Kong Festival). conducted the London Philharmonic, Royal Other operatic work includes Les vêpres Philharmonic, BBC National Orchestra of siciliennes, , Anna Bolena, Andrea Chénier Wales, BBC Scottish Symphony Orchestra, and Macbeth for Chelsea Opera Group, Macbeth

22 23 On session: Simon Keenlyside On session: Barry Banks British philanthropist Sir Peter Moores established the Peter Moores Foundation in 1964 to University (providing the lead donation which paved the way for the development of the realise his charitable aims and, to fulfill one of these, the Compton Verney House Trust in Said Business School). 1993 to create a new art gallery in the country. Through his charities he has disbursed many millions to a wide variety of arts, environmental and social causes ‘to get things done and In 1993 the Foundation bought Compton Verney, a Grade I Georgian mansion in open doors for people’. Warwickshire, designed by Robert Adam, with grounds by Capability Brown. Compton Verney House Trust was set up by Sir Peter to transform the derelict mansion into a world- Sir Peter’s philanthropic work began with his passion for opera: in his twenties he helped a class art gallery that would provide an especially welcoming environment for the ‘first-time’ number of young artists in the crucial, early stages of their careers, several of whom – Dame gallery visitor. The gallery, which houses six permanent collections, a Learning Centre for all , Sir Colin Davis and the late Sir Geraint Evans amongst them – became ages, and facilities for major visiting exhibitions, was opened in March 2004 by HRH the world-famous. Prince of Wales. The Compton Verney website can be found at: www.comptonverney.org.uk

Today, the Peter Moores Foundation supports talented young singers with scholarships, Sir Peter Moores was born in Lancashire and educated at Eton College and Christ Church, has made it possible for Chandos Records to issue the world’s largest catalogue of operas Oxford. He was a student at the Vienna Academy of Music, where he produced the Austrian recorded in English translation, and enabled Opera Rara to record rare bel canto repertoire premiere of ’s , and at the same time was an assistant which would otherwise remain inaccessible to the general public. producer with the , working with Viennese artists in Naples, Geneva and Rome, before returning to England in 1957 to join his father’s business, Littlewoods. He In live performance, the Foundation has encouraged the creation of new work and schemes was Vice-Chairman of Littlewoods in 1976, Chairman from 1977 to 1980 and remained a to attract new audiences, financed the publication of scores, especially for world premieres director until 1993. of modern operas, and enabled rarely heard works to be staged by British opera companies and festivals. He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from Christ Church, Oxford, in 1975, and was made an Honorary Member of the Royal Northern Projects supported by the Foundation to help the young have ranged from a scheme College of Music in 1985. In 1992 he was appointed a Deputy Lieutenant of Lancashire by to encourage young Afro-Caribbeans ‘stay at school’ for further education, to the HM the Queen. He was appointed CBE in 1991 and received a Knighthood in 2003 for his endowment of a Faculty Directorship and Chair of Management Studies at Oxford charitable services to the arts.

26 27 Am anderen Ende der Skala fanden sich den großzügigen Einsatz von Acciaccatura und The Pearl Fishers Komponisten wie Félicien David (1810 – Fioritura (Schleifern und Verzierungen). 1876), der auf einer ausgedehnten Reise durch Im Kontext des expandierenden Repertoires Während Großbritannien im 19. Jahrhundert Rolle des Kostümballetts in den französischen den Mittleren Osten orientalische Melodien von Opern mit orientalischen Sujets (die als Kolonialmacht die größeren Erfolge Bühnenwerken des 19. Jahrhunderts aufzeichnete und diese später veröffentlichte. am Ende des Jahrhunderts in Werken wie verbuchen konnte, war es vor allem in unterschätzen. David erlangte internationalen Ruhm für seine Massenets Thaïs kulminierten) fand Bizet Frankreich, dass man – mehr als andernorts – Ein Wort sei noch zu dem Begriff des 1844 entstandene Ode symphonique Le Désert, als einer der ersten passende musikalische die Exotismen fremder Länder in den Künsten “Exotismus” gesagt, zu dem als wesentlicher in der er quasi-orientalische Melodien und Idiome zur Darstellung exotischer literarischer reflektierte, und ganz besonders tat man sich aber keineswegs beherrschender Bestandteil Techniken verarbeitete. Berlioz’ Les Troyens à Themen. In dieser Hinsicht erweisen sich darin hervor, orientalische Fiktionen auf die auch der Orientalismus gehört. Wenn wir das Carthage enthält kaum orientalisch klingende Les Pêcheurs de perles (Die Perlenfischer) als Opernbühne zu bringen. Zugegeben, die gängige Repertoire von Literatur, Malerei, Musik, mit Ausnahme eines unvermutet ein Pionierwerk, in dem der junge Bizet Briten waren sehr gut, wenn es darum ging, Oper und Ballett betrachten, so finden sich einsetzenden überaus wirkungsvollen Chors zugleich auch erstmalig zu einer eigenen das Exotische zu malen (allerdings zu einer Exotismen aus dem Norden und Westen der nubischen Sklaven. Musiksprache fand, die ihm die Möglichkeit etwas späteren Zeit); in der Literatur und wie auch solche, die nach Osten blicken. Irgendwo dazwischen lag die Norm eines an die Hand gab, viele der formelhaften Musik jedoch schlugen die Franzosen sie um Für die Franzosen war alles “Andersartige” orientalischen Allzweckstils, bei dem man die Wendungen der Opéra-Comique (gemeint ist Längen. willkommenes Material zur Präsentation von zur Repräsentation Afrikas, Indiens und sogar hier die Institution) mit pseudo-orientalischen Ganz offensichtlich war die Oper das nationalen Stereotypen. Japans und Chinas verwendete Musik kaum musikalischen Details zu würzen, die später zu ideale Medium zur Darstellung imaginärer Was den Orient betrifft, so lassen sich unterscheiden konnte. Allgegenwärtig unter all der noch dichter mit orientalischen Motiven exotischer Welten. Sie verband Literatur, verschiedene Ebenen der musikalischen den musikalischen Techniken zur Darstellung arbeitenden zweiaktigen Oper Djamileh sowie die bildenden Künste und Musik und Anspielung unterscheiden. Einerseits gab des Ostens waren Bordune und rhythmische natürlich zu seinem anderen exotischen (wenn konnte hier und da sogar ein wenig die es Komponisten, die Libretti zu exotischen Ostinati sowie auch der ausgiebige Gebrauch auch eher maurischen als orientalischen) Realität – in Form tatsächlich beobachteter Themen vertonten, ohne zu versuchen, einen des Schlagzeugs als passende Ergänzung zum Meisterwerk Carmen führen sollten. Ereignisse – einflechten. Ganz besonders Stil zu finden, der nicht-westliche musikalische glänzenden Metall der Kostüme. Besonders Die Kritiker zeigten sich von dem Libretto aber konnte sie über andere eindimensionale Techniken berücksichtigte. Ein Beispiel hierfür beliebt waren Fingerzimbeln und Tamburine zu Les Pêcheurs, das für das konventionelle Künste triumphieren, indem sie tableaux war die überaus erfolgreiche doch völlig dem wie auch der Einsatz von Oboe und Klarinette, Format der Opéra-Comique mit vivants darbot, in denen die Ereignisse italienischen Kompositionsstil verpflichtete zu denen sich gelegentlich noch eine alternierenden gesprochenen Passagen und schauspielerisch dargestellt, durch Musik Opera buffa Le Caïd von Ambroise Thomas, Piccoloflöte gesellte, um eine orientalische gesungenen Nummern gedacht war, wenig vertieft und vor allem getanzt wurden, denn eine komische Oper, die von einem arabischen Bläsergruppe zu imitieren; ferner gab es begeistert. Doch da die Oper am Théâtre- man sollte nicht die zunehmend zentrale Kaid oder Stammesfürsten handelt. Tonleitern mit eigenwilligen Intervallen sowie Lyrique uraufgeführt wurde, dessen Statuten

28 29 nicht diese Kombination von Text und Erzielung orientalischer Effekte typischen nichts mit Ceylon als realem Schauplatz der Unmittelbar vor dem gefeierten Duett Gesang verlangten, wurden die Dialoge kurz Verzierungen, doch dann, als der Chor mit Handlung zu tun hat. Ein später für Bizets “Au fond du temple saint” (“Aus der Tiefe vor der Premiere in Rezitative umgewandelt. einer konventionell geformten (und wunderbar exotische Musik typisches musikalisches des heiligen Tempels”) wird die lebenslange Vergleiche mit der Thematik der im eingängigen) Melodie einsetzt, mit den im Merkmal war das unvermittelte Auftauchen Freundschaft zwischen Nadir und Zurga 19. Jahrhundert viele Male inszenierten, Théâtre-Lyrique üblicherweise zu hörenden von eigenwilligen lang ausgehaltenen thematisiert (Band 5 ). Die beiden Freunde nach 1850 jedoch in Vergessenheit geratenen Koloraturen. Akkorden wie zum Beispiel die auf dem Wort erinnern sich an ihre Entdeckung von Léïla in Oper La Vestale von Spontini waren Als nächstes ist Nadir zu hören – auch er “chants” (singt). Eine weitere Technik, die dem heiligen Tempel, wobei Bizet hier äußerst unausweichlich. Mehrere Nummern dieses ungesehen –, der sich über den Klang ihrer bereits in Léïlas Gebet zu beobachten ist, ist geschickt von dem brüderlichen Gespräch Werks nehmen bereits ähnlich gestaltete Stimme wundert. Als er Léïla anspricht, die Rückkehr zu reinen Konventionen der zu den romantisch gefärbten Reminiszenzen Sätze von Les Pêcheurs vorweg, allerdings nur erschrickt auch sie darüber, seine Stimme zu Opéra-Comique im Mittelteil. Wenn dann überleitet. In dem berühmten Duett treten die bezüglich des , nicht aber hinsichtlich vernehmen. Nun wird mit dem Gebet der die Reprise der ersten, stärker orientalisch Harfen immer deutlicher in den Vordergrund, der Musik. Priesterin subtil ein Liebesduett verwoben, wobei gefärbten Musik erklingt, ergibt sich begleitet von einer langsamen Melodie im Eine solche Szene ist das Gebet am Ende der Chor zu dem allgegenwärtigen und zugleich die Gelegenheit zu einer ausgedehnteren Orchester; dieses Thema – das man vielleicht des ersten Akts (Band 7 ), wo Léïla die Götter unmöglichen “Ah!” anhebt, das, wie es in der Orchesterpassage, während der die Tänzer als Léïlas Thema bezeichnen könnte – anruft, unterbrochen von den Einwürfen Partitur verlangt wird, à bouche fermée (mit ihr Können zur Schau stellen. Insgesamt wird noch mehrere Male wiederkehren. eines hinter der Bühne platzierten Chors. Die geschlossenem Mund) ausgeführt werden soll. ist dies eine brillante Eröffnungsformel für Das Libretto enthält an dieser Stelle ein Verwendung der “coulisses”, des verborgenen Das Prélude zu der Oper (Band 1 ) enthält dieses orientalische Spektakel mit seiner typisches Cliché, das eine orientalische Welt Bühnenhintergrunds, war eine Tradition zunächst noch keine orientalischen Elemente Kombination von Tanz, Gesang und einem vorgaukeln soll – Zurga erinnert sich an der Opéra-Comique, die bis in die Zeit vor zur Einstimmung auf den Schauplatz der opulenten Bühnenbild. den Augenblick, als Léïla für einen Moment dem 18. Jahrhundert zurückreichte; und Handlung; diese reserviert Bizet für einen Als nächstes folgt die Wahl von Zurga zum ihren Schleier hob: “Oh gesegneter Anblick! weder Librettist noch Komponist ließen späteren Zeitpunkt, zu dem ein Ostinato Anführer während der Perlenfischer-Saison Oh Verzückung!” Das hier verwendete je freiwillig eine Gelegenheit aus, sie zu von den allgegenwärtigen Tamburinen und (Band 3 ), die in einem konventionellen langsame hymnenartige Motiv wird durch nutzen. Im vorliegenden Fall wiederholt einem Chor begleitet wird – tatsächlich Rezitativ geschildert wird, gefolgt von einer die rhythmischen Bläser besonders betont. der Chor “dans la coulisse” Léïlas Worte. handelt es sich um ein getanztes Tableau Melodie in unisono. Fremd klingende und Die Musik wird hier zu einer Bestätigung der Ihr plötzliches Auftauchen im Gebet wird vivant (Band 2 ). Konzipiert als ein Stück mit zugleich kraftvolle Akkorde begleiten die Freundschaft und mündet in den Schwur, von Bizet wirkungsvoll inszeniert, indem Bühnenbild, Tanz und Gesang, werden auch Nummer, in der Zurga Nadir in der Gruppe Eifersucht und Leidenschaft zu verbannen. er die Streicher auf einen Klangteppich hier wieder Konventionen der französischen der Taucher willkommen heißt und ein Tanz Angehängt ist das posthume Ende der Szene, in tiefer Lage beschränkt, über dem sich Oper mit Elementen orientalischer Allzweck- zu Ehren der Sonne aufgeführt wird, um böse das das hymnenartige Motiv wiederholt, ihre Stimme erhebt – zunächst mit den zur Tanzmusik verknüpft, wobei das Ganze Geister abzuwenden (Band 4 ). welches das Duett begleitete (Band 18 ).

30 31 Die folgende Szene gehört Nadir (Band 6 ). (Band 9 ), die schon wesentlich deutlicher eine nachfolgenden Monolog wird deutlich, dass Ungeheuer. Das letzte Wort hat schließlich der Dieser macht sich zunächst Vorwürfe, weil er exotische Atmosphäre vermittelt. Er nähert der Sturm als Metapher für Zurgas innere Chor. sein Versprechen gebrochen hat; die Szene ist sich singend aus der Distanz, begleitet von Erregung dienen sollte, weshalb auch sein Angehängt findet sich das 1893 entstandene untermalt von durchbrochenen Tremolando- hinter der Bühne spielenden Harfen. Bizet Rezitativ mehrfach von wiederkehrenden Trio (Band 17 ), in dem Nadir und Zurga Klängen in den Streichern. Die Musik geht entwickelte mehr und mehr Geschick darin, Passagen der stürmischen Musik unterbrochen von ihrer Liebe zu Léïla singen, die sie beide sodann in eine Romanze über, in der Nadir in die coulisses nicht nur dramatisch, sondern wird. Schließlich ringt er sich zu einer erhört. Dieser Satz ist Benjamin Godard einem sanft trällernden Lied Erinnerungen an auch musikalisch zu nutzen; man denke nur Haltung durch, die ihn sich fragen lässt, ob zugeschrieben. Léïla heraufbeschwört. Er glaubt in dieser an an die Passage in Carmen, wo Carmen für sein lebenslanger Freund Nadir ihm seine © 2008 Richard Langham Smith eine Berceuse erinnernden Arie, die wiederum Don José den Romalis tanzt und hinter der Eifersucht verzeihen kann. Nun taucht Léïla Übersetzung: Stephanie Wollny im typischen Stil der Opéra-Comique gehalten Bühne die Trompetensignale seines Regiments auf (Band 12 ) und versetzt Zurga erneut und sehr ausdrucksstark, zugleich aber sehr erklingen. in Unruhe. Während im Hintergrund das sparsam orchestriert ist, ihre Stimme gehört zu Die überraschte Léïla hört, wie er sich hymnenhafte Motiv erklingt, singt Léïla ihre Inhaltsangabe (die eingespielten Ausschnitte haben. Hier zeigt sich ganz besonders Bizets nähert, und kommt ihm entgegen. Indem sie Arie, die sich zu einem Duett entwickelt, sind fett gedruckt) subtiler Sinn für Harmonik – mithilfe einer aufeinander treffen, wird das beschwörende in dem sie Zurga anfleht, Nadirs Leben zu leicht modal gefärbten Molltonart vermittelt er Lied zu einem Allegro-molto-Duett schonen. Dieser will zunächst Gnade walten Erster Akt eine überzeugende Atmosphäre sehnsuchtsvoller “pochender Herzen” (Band 10 ) – in nicht nur lassen, doch als Léïla der Schleier abgerissen Die Handlung spielt auf der Insel Ceylon Reminiszenz und das Gefühl der Zeitlosigkeit für das französische Opernrepertoire typischer wird, wird er erneut so erregt, dass er sich im Indischen Ozean, wo die Einwohner von einer Nacht des Wartens. Nun kommt die Weise imitiert das Orchester hier, in einer noch einmal anders entscheidet. Er verurteilt der Perlenfischerei leben. Nach einer kurzen bereits erwähnte Szene, in der Léïla ihre Gebete der längsten durchkomponierten Szenen der die beiden zum Tode und setzt damit seine musikalischen Einleitung erblicken wir die spricht, gefolgt von ihrer Cavatina, der ein Oper, den Rhythmus des Herzschlags, wobei absolute Macht durch. Fischer und ihre Familien bei der Arbeit, Rezitativ vorangeht, in dem sie auf Nadir wartet. das Duett zum Ende hin eine eher lyrische Mit diesem durchkomponierten Satz fand singend und tanzend. Zurga, der Anführer Diese Nummer ist eine der eingängigsten Stellen Stimmung annimmt. Bizet seine eigene Methode, die dramatische der Fischer, erinnert sie daran, dass sie ein der gesamten Oper, auch wenn sich hier nicht Bei dem ersten Tableau des dritten Aktes Handlung ihrem Ende entgegenzutreiben. Oberhaupt wählen müssen, und sie bezeugen eine Spur von orientalischen Stilelementen handelt es sich um ein Solo für Zurga Diese Technik sollte er auch in Carmen ihm einstimmig ihre Loyalität. findet (Band 8 ). Die Passage demonstriert (Band 11 ); es folgt auf eine instrumentale überaus effektvoll anwenden, wobei er die Ein junger Fischer namens Nadir taucht Bizets meisterliche Beherrschung der Arie im Einleitung, in der das Orchester einen Sturm traditionelle opéra à numéros der Opéra- auf und Zurga erkennt in ihm seinen alten typischen Stil der Opéra-Comique, wobei sie schildert – voller Passagen durcheinander Comique zugleich umstürzte und erweiterte. Gefährten. Sie hatten sich beide auf ihren nicht unwesentlich von Gounod beeinflusst wirbelnder Harmonien, die von donnernden Mit wachsender Leidenschaft verflucht Léïla Reisen in einem Tempel in Kandy in die ist. Nadir antwortet im Stile einer Chanson Pauken untermalt werden. Aus dem den erbarmungslosen Zurga und nennt ihn ein Priesterin verliebt. Wegen ihrer Rivalität

32 33 hatten sie sich getrennt und geschworen, sie einen Flüchtigen beschützte und zu keiner Zeit erwacht jedoch erneut, als Leïla zeigt, wie and Drama ausgebildet. Mit finanzieller nie wiederzusehen, doch nun erneuern sie an seine Häscher verriet. Als Zeichen seiner sehr sie seinen Rivalen liebt. Er lässt sie von Unterstützung der Peter Moores Foundation ihre Freundschaft und schwören, dass die Dankbarkeit habe der von ihr gerettete Mann Nourabad zum Scheiterhaufen führen, auf studierte sie zudem bei Ronald Schneider in Erinnerung an die Priesterin sie nicht noch ihr eine Halskette geschenkt, die sie bis zu dem sie geopfert werden soll. Doch bevor sie Wien. Am Royal Opera House Covent Garden einmal entzweien soll. diesem Tag trage. geht, gibt sie Zurga ihre Halskette und bittet hat sie die Pamina (Die Zauberflöte), Zerlina Nourabad, der Hohepriester von Brahma, Nourabad verlässt Léïla und sie singt eine ihn, diese ihrer Mutter zu schicken. Mit einem (Don Giovanni), Despina (Così fan tutte) und erscheint mit einer Priesterin, die ausgewählt Cavatina, die ihre Liebe zum Ausdruck bringt. Aufschrei des Erkennens läuft er den beiden Johanna (Sweeney Todd) gesungen. Sie ist wurde, für die bevorstehende Expedition der Nadir schleicht sich in die heiligen Gemächer nach, um sie zu retten. regelmäßig an der Bayerischen Staatsoper in Perlenfischer die Gebete zu sprechen und die und sie sind in ihrer Liebe wieder vereint. Die Perlenfischer bereiten die rituelle München zu Gast, wo ihre bisherigen Rollen bösen Geister abzuwenden. Zurga zwingt Doch die beiden werden beobachtet und Hinrichtung von Léïla und Nadir vor, die die Ginevra (Ariodante), Despina, Zdenka sie unter Androhung der Todesstrafe, einen während sich über ihnen ein heftiger Sturm bei Sonnenaufgang vollzogen werden soll. (Arabella), Ilia (Idomeneo) und Susanna Eid der Keuschheit abzulegen. Wenn sie die entlädt, nimmt Nourabad sie gefangen und Im letzten Augenblick erscheint Zurga mit (Le nozze di Figaro) umfassten. Ferner hat Perlentaucher vor Unglück bewahrt, wird sie bezichtigt sie des Sakrilegs. Zurga versucht, der Nachricht, das Lager stehe in Flammen sie die Despina an der Deutschen Staatsoper als Belohnung deren schönste Perle erhalten. seinen Freund vor der Wut der abergläubischen und die Frauen und Kinder befänden sich in Berlin, die Ilia an der Niederländischen Oper Obwohl die Priesterin verschleiert ist, erkennt Menge zu schützen, die seinen sofortigen Gefahr. Die Fischer laufen fort, um ihnen zu sowie an der English National Opera die Nadir an ihrer Stimme, dass sie die Frau ist, Tod verlangt. Nourabad hetzt sie noch weiter helfen. Zurga enthüllt dem gefangenen Paar, Romilda (Xerxes) und die Gouvernante die er liebt; und als sie allein sind, gesteht auf und sie entreißen Léïla ihren Schleier. dass er es war, den Léïla von vielen Jahren (The Turn of the Screw) gegeben. er, dass er ihr an diesen Ort gefolgt sei. Er Als Zurga in ihr daraufhin die Priesterin aus rettete, und will sich nun aus Dankbarkeit für Auch in den USA hat Rebecca Evans große lauscht, als Leïla ihre Gesänge beginnt, doch dem Tempel in Kandy erkennt, begreift er, den von ihr bewiesenen Mut revanchieren. Erfolge gefeiert, so in den Rollen der Susanna dann kann er sich nicht länger beherrschen dass Nadir ihren Schwur, sie zu vergessen, Er selbst hat im Lager Feuer gelegt, um ihnen und Zerlina an der Metropolitan Opera in und ruft nach ihr; sie bricht ihre Gebete ab gebrochen hat; und nun verlangt auch er, dass eine Gelegenheit zur Flucht zu verschaffen. New York, als Susanna an der Santa Fe Opera, und erwidert seine Liebe. das schuldige Paar mit dem Tod bestraft werde. Dankbar entkommen die beiden. Zurga bleibt als Pamina und Adèle (Die Fledermaus) an der allein zurück und stellt sich den Konsequenzen Lyric Opera of Chicago sowie als Zerlina, Anne Zweiter Akt Dritter Akt seiner Tat. Trulove (The Rake’s Progress) und Adina (L’elisir Die Fischer sind wohlbehalten zurückgekehrt Zurgas Wut hat sich gelegt und er denkt d’amore) an der . Übersetzung: Stephanie Wollny und Leïla ist für den Abend von ihrer traurig über Nadirs Schicksal nach. Léïla setzt Konzertaufführungen umfassen Auftritte Wache befreit. Um zu beweisen, dass sie ihr sich für ihn ein und besteht darauf, sie allein bei den BBC Proms und auf den Festivals Versprechen halten kann, erzählt sie dem sei schuldig. Erst jetzt erkennt sie, dass Zurga Rebecca Evans (Léïla) wurde in Südwales von Salzburg, Edinburgh, Tanglewood und Priester Nourabad, wie sie als kleines Mädchen sie liebt. Er zeigt Mitleid, seine Eifersucht geboren und an der Guildhall School of Music Ravinia. Zu den Orchestern, mit denen sie

34 35 zusammengearbeitet hat, zählen San Francisco Châtelet, auf dem Salzburg Festival, an Nemorino (The Elixir of Love), Ernesto Almaviva) sowie am Royal Opera House Symphony, Boston Symphony, das Orchestra La Monnaie, an der Santa Fé Opera und am (Don Pasquale), Don Ottavio (Don Giovanni), Covent Garden (wo seine Rollen Billy Budd, of the Age of Enlightenment unter Sir Charles Teatro Communale di Bologna gesungen. Zu Giannetto (The Thieving Magpie) und Tamino Graf Almaviva, Don Giovanni, Valentin, Mackerras, Monteverdi Choir & Orchestra seinen Rollen zählen Lindoro (L’italiana in (Die Zauberflöte) sowie eine CD mit großen Pelléas, Guglielmo, Papageno und Prospero unter Sir John Eliot Gardiner sowie das Sapporo Algeri), Nemorino (The Elixir of Love), Don Opernarien. Weitere Einspielungen umfassen in der Welturaufführung von Adès’ Symphony Orchestra unter Tadaaki Otaka. Ramiro (La Cenerentola), Oreste (Ermione), La Bohème, Un ballo in maschera und Trial by The Tempest umfassten). Für Billy Budd Ausgezeichnet mit dem Grammy Award, Tom Rakewell, Tamino (Die Zauberflöte), Jury. an der English National Opera und Winston hat Rebecca Evans neben zahlreichen anderen Don Narciso (Il turco in Italia), Belfiore und in der Welturaufführung von 1984 am Royal Einspielungen in der Chandos-Reihe “Opera Libenskof (Il viaggio a Reims), L’Astrologue Simon Keenlyside (Zurga) wurde in London Opera House wurde er im Jahr 2006 mit dem in English” die Rollen der Gretel (Hansel (Le Coq d’or), Don Ottavio (Don Giovanni) geboren und studierte Zoologie in Cambridge Olivier Award für herausragende Leistungen and Gretel ), Pamina (The Magic Flute), Ilia und Uberto (La donna del lago). sowie Gesang am Royal Northern College of im Bereich der Oper ausgezeichnet. (Idomeneo), Marzellina (Fidelio) und Susanna Auf dem Konzertpodium hat Barry Banks Music in Manchester, wo er Stipendiat der Simon Keenlyside tritt zudem häufig auf (The Marriage of Figaro) gesungen. Weitere Rossinis Petite Messe solennelle mit dem Royal Peter Moores Foundation war. dem Konzertpodium auf; Recitals haben ihn CD-Produktionen für Chandos umfassen Philharmonic Orchestra unter Daniele Gatti, Sein Operndebüt feierte er an der nach New York, San Francisco, Lissabon, Beethovens Messe in C-Dur und Delius’ Jaquino (Fidelio) mit dem City of Birmingham Hamburger Staatsoper in der Rolle des Genf, Moskau, Paris, Amsterdam, Rom, Mass of Life. Symphony Orchestra unter Walter Weller, Grafen Almaviva (Le nozze di Figaro). Seither Brüssel und London, auf die Festivals Bruckners Requiem mit dem Scottish Chamber hatte er Engagements in Genf (Hamlet und von Edinburgh, Aldeburgh, Salzburg und Barry Banks (Nadir) absolvierte sein Studium Orchestra unter Sir Charles Mackerras und Pelléas), Zürich (Don Giovanni), Barcelona München sowie an die Mailänder Scala und als Stipendiat der Peter Moores Foundation Rossinis Armida auf dem Edinburgh Festival (Hamlet), Madrid (Posa), San Francisco nach Wien geführt. am Royal College of Music und hat sich unter Carlo Rizzi gesungen. Weitere Highlights (Pelléas), Sydney und Berlin (Figaro), Brüssel Seine CD-Einspielungen umfassen Recital- inzwischen als einer der herausragenden seiner Karriere sind Benjamin Brittens War (Orfeo), Paris (Papageno, Pelléas, Guglielmo, Einspielungen von Schubert und Strauss, eine zeitgenössischen Interpreten des italienischen Requiem mit dem Orchestre Philharmonique Yeletsky und Dandini), Wien (Figaro, CD mit Liedern von Schumann, Des Knaben Belcanto-Repertoires einen Namen gemacht. de Strasbourg unter Jan Latham-Koenig, eine Marcello, Graf Almaviva, Billy Budd, Don Wunderhorn, die Titelrolle von Don Giovanni, Er ist ein häufig gefragter Gast auf den konzertante Darbietung von Rossinis Ermione Giovanni, Papageno und Posa), München Carmina Burana, Marcello in La Bohème und Bühnen der internationalen Opernwelt in der Carnegie Hall sowie Donizettis I puritani (Marcello, Graf Almaviva und Wolfram), an Graf Almaviva (Le nozze di Figaro). Seine und hat unter anderem am Royal Opera und Linda di Chamonix auf dem Caramoor der Metropolitan Opera (Belcore, Marcello, CD mit Orchesterarien wurde im Jahr 2007 House Covent Garden, an der Metropolitan Festival. Papageno und Graf Almaviva), auf dem mit dem Gramophone Best Recital Award Opera, an der Opéra National de Paris, an Zu Barry Banks’ Diskographie in der Salzburg Festival (Guglielmo und Papageno), ausgezeichnet. Zu seinen Aufnahmen für der English National Opera, am Théâtre du Chandos-Reihe “Opera in English” zählen an der Mailänder Scala (Papageno und Graf Chandos zählen die Titelrolle in Billy Budd

36 37 sowie Papageno (Die Zauberflöte) in der Donizettis Dom Sebastien (das letztgenannte ihn nach Skandinavien, Deutschland, in die hat sich das London Philharmonic Orchestra Chandos-Reihe “Opera in English”. Werk wurde auch für “Opera Rara” ehemalige Tschechoslowakei, nach Kanada und längst einen hervorragenden Ruf für eingespielt)). Zudem hat er in konzertanten Australasien geführt. Nachdem er bei der BBC Vielseitigkeit und hohen künstlerischen Alastair Miles (Nourabad) hat sich Aufführungen von La Damnation de Faust erste Dirigiererfahrungen gesammelt hatte, Rang erworben. Zu die Reihe renommierter international als einer der führenden Bassisten mit dem London Symphony Orchestra unter begann er mit eigenen Sängern zu arbeiten Musiker, die seit der Gründung des Orchesters einen Namen gemacht. Engagements haben Sir Colin Davis in London und New York den und gründete den Geoffrey Mitchell Choir. durch Sir im Jahre 1932 ihn an die Metropolitan Opera (Giorgio Mephistopheles gesungen. Aus ersten Aufnahmen entwickelte sich eine mit ihm verbunden waren gehören Sir Adrian in I Puritani und Raimondo in Lucia di Seine überaus erfolgreiche internationale langfristige Zusammenarbeit des Chors mit Boult, Sir John Pritchard, Bernard Haitink, Lammermoor), die Opéra National de Konzertlaufbahn hat ihn mit Dirigenten Opera Rara, für die er über dreißig Tonträger Sir , Klaus Tennstedt, Franz Welser- Paris-Bastille (Raimondo), die Wiener Oper wie Giulini, Mehta, Muti, Chung, Masur, aufgenommen hat. Der Chor genießt Möst und Kurt Masur. Als fest ansässiges (Philipp II. in Don Carlos, Zachariah in Gergiev, Gardiner und Sir Colin Davis sowie wachsendes Ansehen und ist bei der BBC Sinfonieorchester der Royal Festival Hall Nabucco, Cardinal Brogni in Halévys den weltweit renommiertesten Orchestern und internationalen Plattenfirmen gefragt. seit 1992 stellt das London Philharmonic La Juive, de Silva in Ernani sowie Giorgio), zusammengeführt. Seine Diskographie umfasst Für Chandos hat der Geoffrey Mitchell Choir Orchestra dort jedes Jahr zwischen September die Bayerische Staatsoper in München gegenwärtig mehr als fünfzig Einspielungen, an zahlreichen Aufnahmen der hervorragend und Mai seine Hauptkonzertreihe vor; (Titelrolle von Saul und Zoroastro in darunter für “Opera Rara” Mayrs Medea kritisierten Reihe Opera in English unter der außerdem ist es seit über vierzig Jahren Orlando), nach San Francisco (Giorgio, in Corinto, Mercadantes Orazi e Curiazi, Schirmherrschaft der Peter Moores Foundation Hausorchester der Glyndebourne Festival Raimondo und Basilio in Il barbiere di Donizettis Rosmonda d’Inghilterra, Meyerbeers teilgenommen. Opera. Daneben tritt es an Veranstaltungsorten Siviglia), Amsterdam (Figaro in Le nozze Margherita d’Anjou und Thomas’ La Cour de in ganz Großbritannien auf, hat zahlreiche di Figaro), Barcelona (La Gioconda), an Célimène. Zu seinen weiteren Einspielungen In der Spielzeit 2007/2008 feierte das London Konzertreisen durch Europa, Amerika und das Teatro Real in Madrid (Philipp II. und zählen Elijah, Verdis Requiem sowie Händels Philharmonic Orchestra seinen 75sten Japan unternommen und Indien, Hongkong, Raimondo), nach Palermo (Walter in Luisa Saul und Agrippina; für die Chandos-Reihe Geburtstag. Zudem wurde Vladimir Jurowski als China, Australien und Südafrika besucht. Miller) und nach Sevilla (Mephistopheles in “Opera in English” hat er Mephistopheles neuer Chefdirigent eingeführt und das Orchester Faust) geführt, ferner an die English National (Faust), Ramfis Aida( ), Colline (La Bohème) kehrte in sein Stammhaus, die prachtvoll Brad Cohen absolvierte sein Studium am Opera (Titelrolle von Boitos Mephistopheles, und eine CD mit großen Opernarien restaurierte Royal Festival Hall, zurück. St. John’s College in Oxford und studierte bei Zachariah, de Silva sowie Ford in Sir John in aufgenommen. Mit seinen Aufführungen im Konzertsaal Celibidache und Bernstein in Deutschland; Love) und an die Royal Opera Covent Garden und im Opernhaus, seinen zahlreichen sein professionelles Debüt feierte er im (Rodolfo in La Sonnambula, Elmiro in Otello, Geoffrey Mitchells Gesangskarriere hat ihm ein preisgekrönten Einspielungen, den Rahmen des Almeida Festivals von 1992. Frère Laurent in Roméo et Juliette, Banquo in bemerkenswert breitgefächertes Repertoire von bahnbrechenden internationalen Tourneen Im Jahr 1994 gewann er bei der Leeds Macbeth sowie konzertante Aufführungen von der alten bis zur neuen Musik beschert und und seiner Pionierarbeit im Erziehungsbereich Conductors’ Competition den ersten Preis.

38 39 Seither hat er das London Philharmonic Chelsea Opera Group, Macbeth für Opera On session: Rebecca Evans Orchestra, das Royal Philharmonic Orchestra, New Zealand, Die Fledermaus für Opera das BBC National Orchestra of Wales, das Queensland, Nabucco, Madama Butterfly, BBC Scottish Symphony Orchestra, die , The Pearl Fishers und Norma Stuttgarter Philharmoniker, das Stavanger für Opera Holland Park, La traviata in Sinfonieorchester, Het Gelders Orkest, Luzern, Armida, Tancredi, Le Comte Ory, das Melbourne Symphony Orchestra, das Cavalleria rusticana und Pagliacci in der Royal National Symphony Orchestra of Ireland, Albert Hall, Luisa Miller und Manon für die das Royal Liverpool Philharmonic Orchestra, Nederlands Nationale Reisopera sowie Lucia di das Scottish Chamber Orchestra, die City of Lammermoor an der Oper von Angers/Nantes. London Sinfonia und das Orchestra of Brad Cohen engagiert sich vor allem auch St. John’s Smith Square dirigiert. für die Aufführung von neuer Musik. Zu Zudem hat er an der English National seinen verschiedenen Aktivitäten auf diesem Opera From the House of the Dead und Carmen, Gebiet gehören die Verfilmung moderner an der Opera Australia Carmen, The Merry Opern für das Fernsehen, Konzerttourneen Widow, Roméo et Juliette, L’elisir d’amore mit Ensemblewerken von Frank Zappa sowie und La Cenerentola, an der Opera North ein Kompositionsauftrag für die Eröffnung Die Zauberflöte, The Pearl Fishers und des Millennium Dome. 2002 wirkte er als The Reluctant King sowie für die English Musikdirektor an Jonathan Doves TV-Oper Touring Opera Rigoletto und Figaro When She Died: Death of a Princess. Dasselbe dirigiert. An der Almeida Opera leitete er die Team realisierte 2006 für BBC Channel Four Welturaufführung vom Thomas Adès’ Powder die TV-Oper Man on the Moon. Zudem leitete her Face (ebenso auf dem Cheltenham Festival Brad Cohen auf dem Adelaide Festival von sowie in Bath und Oxford) und Guo Wenjings 2006 die australische Premiere von Jonathan Wolfcub Village und Night Banquet (wie auch Doves Oper Flight. auf dem Hongkong Festival). Auch als Herausgeber von Opern hat Brad Weitere Opernengagements umfassen Cohen sich einem Namen gemacht; bisher hat Les vêpres siciliennes, Poliuto, Anna Bolena, er Maometto secondo, Il barbiere di Siviglia und Andrea Chénier und Macbeth für die Norma ediert.

40 avant de les publier. David remporta un succès des œuvres comme Thaïs de Massenet), Bizet The Pearl Fishers international avec son ode symphonique émerge comme l’un des premiers compositeurs Le Désert (1844), qui comprenait des mélodies capables de trouver des langages musicaux En matière de colonisation, si la Grande- Il convient de dire un mot de la notion et des techniques quasi orientales. Dans exotiques dignes des thèmes littéraires Bretagne peut prétendre avoir été le plus d’“exotisme” dont l’orientalisme constituait Les Troyens à Carthage de Berlioz, il y a peu exotiques. À cet égard, Les Pêcheurs de perles loin et avoir occupé le plus vaste terrain une part importante, mais en aucun cas de musique qui sonne comme de la musique apparaissent comme une œuvre novatrice, la au cours du XIXe siècle, c’est sûrement la prédominante. Lorsque l’on regarde le orientale, à l’exception d’un chœur inattendu première où le jeune Bizet exprime une voix France qui a canalisé plus que tout autre répertoire de la littérature, de la peinture, et très efficace chanté par les esclaves nubiens. nettement personnelle, créant une façon de l’exotisme des terres étrangères dans les arts de l’opéra et du ballet, on peut trouver des Quelque part entre ces deux extrêmes, on pimenter de nombreuses formules convenues et s’est particulièrement distinguée dans la exotisme du Nord et de l’Ouest ainsi que trouvait la norme d’un style oriental polyvalent de l’Opéra-Comique (l’institution) avec des représentation de fictions orientales sur la ceux qui se tournaient vers l’Orient. Pour les où les musiques censées représenter l’Afrique, détails musicaux pseudo orientaux, qui allait scène lyrique. Les Britanniques, il faut le dire, Français, tout ce qui était “autre” était bon l’Inde et même le Japon et la Chine étaient mener à l’opéra oriental en deux actes plus ont assez bien peint l’exotisme, mais (un peu à être exploité, généralement en termes de difficiles à identifier. Parmi les techniques concentré Djamileh et, bien sûr, à son autre plus tard) les Français les ont battus à plates stéréotypes nationaux. musicales omniprésentes pour représenter chef-d’œuvre exotique (même s’il est plus coutures dans les domaines de la littérature et En ce qui concerne l’Orient, on peut l’Orient, les compositeurs utilisaient les mauresque qu’oriental) Carmen. de la musique. distinguer divers niveaux d’évocation musicale. bourdons et les ostinatos rythmiques, tout en La critique s’enthousiasma pour le livret L’opéra était certainement le moyen D’une part, il y avait des compositeurs qui faisant une large place aux percussions pour des Pêcheurs de perles qui aurait dû s’adapter d’expression idéal pour présenter l’exotisme mettaient en musique des opéras sur des compléter la présence de métal brillant dans au format conventionnel de l’Opéra- supposé. Il alliait la littérature, les arts thèmes exotiques, sans chercher à adopter un les costumes. Les cymbales à doigts et les Comique, avec alternance de dialogues parlés visuels et la musique et pouvait même ajouter style intégrant des techniques musicales non tambours de basque étaient particulièrement et de numéros chantés. Mais comme cet quelques bribes de réalité – des événements occidentales. On en trouve un exemple dans prisés, de même que le hautbois et la clarinette, opéra fut créé au Théâtre-Lyrique, où cette observés – ici et là. Et surtout, il pouvait Le Caïd, opéra bouffe d’Ambroise Thomas, et parfois un piccolo pour compléter le tout, contrainte n’était pas imposée, les dialogues triompher d’autres arts unidimensionnels entièrement italianisé, un opéra comique qui afin d’imiter les instruments à vent orientaux, furent transformés en récitatifs peu avant la en façonnant des tableaux vivants, où des raconte l’histoire d’un caïd ou chef arabe et qui les gammes étant modulées avec des intervalles première. Inévitablement, on le compara au événements pouvaient être joués, mis en remporta un immense succès. étranges et une utilisation généreuse des sujet d’un opéra aujourd’hui oublié, La Vestale valeur par la musique et surtout dansés, car il À l’autre extrémité de l’échelle, il y avait des acciacaturas et des fioritures (appogiatures de Spontini, qui fit l’objet de nombreuses ne faut pas sous-estimer le rôle de plus en plus compositeurs comme Félicien David (1810 – brèves et ornements). reprises au XIXe siècle, mais dont la popularité central du ballet costumé dans le spectacle 1876), qui avait noté des mélodies orientales Au sein du répertoire d’opéras orientaux en diminua après 1850. Plusieurs de ses numéros français du XIXe siècle. lors d’une longue tournée au Moyen-Orient, plein essor (qui a culminé à la fin du siècle avec annoncent des mouvements analogues dans

42 43 Les Pêcheurs de perles en ce qui concerne subtilité alors que le chœur fait entendre un Vient ensuite l’élection de Zurga comme le motif en forme d’hymne qui accompagnait le livret, mais absolument pas sur le plan “Ah!” omniprésent et impossible, qui, selon la chef pour la durée de la saison de pêche à la le duo (plage 18 ). musical. partition, doit être chanté “à bouche fermée”. perle (plage 3 ), racontée dans un récitatif La scène suivante est celle de Nadir Il y a notamment la scène de la prière à la Le début du Prélude de l’opéra (plage 1 ) conventionnel et suivie d’une mélodie à (plage 6 ). Il commence par s’admonester fin de l’acte I (plage 7 ), où les propos que ne comporte aucune inflexion orientale pour l’unisson. Des accords étranges et puissants pour avoir rompu son serment, sur un Léïla adresse aux dieux sont repris en écho camper la scène: Bizet réserve cela à plus tard accompagnent le numéro où Zurga accueille accompagnement harmonique perturbé, par un chœur en coulisse. L’utilisation des lorsqu’un ostinato accompagné d’omniprésents Nadir dans l’équipe des plongeurs et exécute tremolando, aux cordes. La musique s’apaise “coulisses”, invisibles, était une tradition qui tambours de basque et du chant d’un chœur une danse au Soleil pour éliminer tout esprit ensuite en une Romance où il évoque avec remontait au-delà du XVIIIe siècle dans les se transforme en un tableau vivant dansé mauvais (plage 4 ). respect des souvenirs de Léïla dans un usages de l’Opéra-Comique: aucune équipe (plage 2 ). Écrit comme une pièce avec décor, L’approche du célèbre duo “Au fond du chant doux et mélodieux. Il pense avoir librettiste-compositeur qui se respectait danse et chant, ce tableau allie une fois encore temple saint” dépeint l’amitié qui a toujours entendu sa voix dans cet air qui ressemble à n’aurait manqué une occasion de les exploiter. les conventions lyriques françaises et une uni Nadir et Zurga (plage 5 ). Les deux amis une berceuse, une fois encore dans le style Dans ce cas, le chœur “dans la coulisse” se musique de danse orientale polyvalente – sans se souviennent de leur découverte de Léïla typique de l’Opéra-Comique; l’orchestration fait l’écho des paroles de Léïla. Bizet traduit le moindre point commun avec Ceylan, où dans le temple saint. Avec quelle habileté est légère et magnifique. Ici la subtilité son apparition soudaine en prière en limitant se déroule l’intrigue. Un élément deviendra Bizet module de la discussion fraternelle harmonique de Bizet ressort, dans une les cordes à un coussin sonore dans le registre l’une des caractéristiques de Bizet dans la à cette réminiscence à l’eau de rose! Les tonalité mineure doucement modale qui grave sur lequel elle évolue; il ajoute tout musique exotique; c’est l’introduction soudaine harpes émergent dans le célèbre passage lui donne une atmosphère envahissante de d’abord des fioritures ornementales qui ont d’étranges accords tenus, comme ceux qu’il en duo, et une lente mélodie accompagne souvenir teinté de nostalgie et le sens de un effet oriental, mais lorsque le chœur place sur le mot “chants”. Une autre technique, à l’orchestre: c’est un thème – peut-être le l’éternité d’une nuit d’attente. Vient ensuite commence à chanter une mélodie équilibrée et déjà observée dans la prière de Léïla, consiste à thème de Léïla – qui reviendra plusieurs la scène déjà mentionnée où Léïla prie, suivie conventionnelle (délicieusement entraînante), revenir à la convention originelle de l’Opéra- fois. Le livret comporte un cliché typique de sa Cavatine, précédée d’un récitatif, où cet effet se transforme en un coloratura Comique dans la section centrale. Lorsque des contes de fées orientaux: lorsque Zurga elle attend Nadir. Ce numéro est l’un des typique des usages en vigueur au Théâtre- survient la reprise de la première musique, se souvient du moment où Léïla a levé son moments les plus mémorables de l’opéra, Lyrique. plus orientale, elle s’autorise un long passage voile pendant un instant: “Ô vision! Ô rêve!”, même s’il ne comporte aucune trace de Nadir chante, tout aussi invisible, orchestral pour donner aux danseurs le temps les cuivres soulignent le lent motif en forme techniques orientales (plage 8 ). Il montre s’émerveillant du son de sa voix. Lorsqu’il de montrer leur talent: dans l’ensemble, c’est d’hymne pour lui donner plus d’emphase. La la maîtrise qu’avait Bizet de l’aria typique appelle Léïla, elle aussi est choquée de une brillante formule pour ouvrir le spectacle musique devient une affirmation de l’amitié du style de l’Opéra-Comique, largement l’entendre. Au milieu de la prière de la oriental avec une combinaison de danse, de masculine et le vœu de chasser la jalousie et la redevable à celui de Gounod. Nadir répond prêtresse, un duo d’amour se tisse avec chant et un décor somptueux. passion. S’y ajoute la fin posthume qui réitère sous la forme d’une Chanson beaucoup

44 45 plus exotique (plage 9 ). Il approche, en Léïla apparaît (plage 12 ) et jette Zurga dans Acte I Léïla commencer son incantation, il ne peut chantant de loin accompagné par les harpes le désarroi. On entend en arrière-plan le L’action se déroule sur l’île de Ceylan dans plus résister et l’appelle. Elle s’interrompt et en coulisses. Bizet est devenu de plus en motif en forme d’hymne et l’air de Léïla l’Océan indien, où les habitants vivent de la répond à son amour. plus expert en l’art d’utiliser les coulisses, se transforme en duo lorsqu’elle implore la pêche des perles. Après un court prélude, on non seulement sur le plan dramatique, mais clémence pour Nadir. Zurga commence voit les pêcheurs et leurs familles travailler, Acte II également sur le plan musical: pensez au par pardonner, mais son désarroi l’amène à chanter et danser. Zurga, qui est à la tête des Une fois les pêcheurs rentrés sains et saufs, passage de Carmen, où Carmen danse la changer d’avis lorsque le voile de Léïla lui est pêcheurs, leur rappelle qu’ils doivent choisir Leïla est libérée de sa veille pour la soirée. romalis pour Don José et où l’on entend le arraché. Il les condamne à mort, affirmant sa un chef; ils lui jurent loyauté à l’unanimité. Pour prouver son aptitude à tenir une son des clairons de son régiment en coulisses. puissance royale. Nadir, un jeune pêcheur, arrive et Zurga promesse, elle raconte au prêtre Nourabad Léïla, effrayée et attirée par lui, l’entend Ce mouvement en forme ouverte allait reconnaît en lui son ancien compagnon. que, lorsqu’elle était petite fille, elle a venir. Le chant magique se transforme en devenir pour Bizet le moyen de faire Au cours de leurs voyages, dans un temple protégé un fugitif sans jamais rien dire à un duo Allegro molto, le “cœur battant” avancer l’action dramatique jusqu’à sa de Candi, ils étaient tous deux tombés ses poursuivants. En signe de gratitude, cet (plage 10 ), lorsqu’ils se rencontrent, c’est conclusion: une technique qu’il allait amoureux de la prêtresse. Ils s’étaient homme lui a offert un collier, qu’elle porte l’orchestre qui donne la pulsation cardiaque – réutiliser magistralement dans Carmen, où il séparés en raison de leur rivalité et s’étaient encore à ce jour. ce qui est assez fréquent dans le répertoire bouleverse tout en l’allongeant le traditionnel jurés de ne plus jamais la revoir; mais ils Le prêtre quitte Léïla, qui chante une lyrique français. C’est l’une des plus longues opéra à numéros de l’Opéra-Comique. La réaffirment maintenant leur amitié et jurent cavatine pleine d’amour. Nadir pénètre dans scènes en forme ouverte de l’opéra et elle se passion montant, Léïla maudit l’impitoyable que le souvenir de la prêtresse ne les séparera l’enceinte sacrée et ils se retrouvent avec termine sur un duo plus lyrique. Zurga et le traite de monstre. Le chœur a le pas. extase. Mais on les observe et, au moment Le premier tableau de l’acte III est un solo dernier mot. Nourabad, le grand prêtre de Brahma, où une violente tempête éclate dans le ciel, de Zurga (plage 11 ) qui suit la représentation Dans le Trio de 1893 qui figure en amène une prêtresse qui a été choisie pour ils sont capturés et accusés de sacrilège par d’un orage dans l’introduction orchestrale, appendice (plage 17 ), Nadir comme Zurga prier pour les pêcheurs durant leur prochaine Nourabad. Zurga tente de protéger son ami aux harmonies tourbillonnantes, étayée par chantent leur amour pour Léïla qui les expédition de pêche à la perle et pour chasser de la fureur des indigènes superstitieux, qui des timbales assourdissantes. Le soliloque qui accepte tous les deux. Il est attribué au les esprits mauvais. Zurga lui impose un exigent sa mort immédiate. Nourabad attise suit montre à l’évidence que l’orage était une compositeur Benjamin Godard. serment de chasteté sous peine de mort. Leur leur frénésie et arrache le voile de Léïla. métaphore du propre désarroi de Zurga, et plus belle perle sera sa récompense pour avoir Lorsque Zurga reconnaît en elle la prêtresse © 2008 Richard Langham Smith son récitatif est ponctué par des réapparitions mis les pêcheurs à l’abri du mal. Bien qu’elle du temple de Candi, il comprend que Nadir a de la musique de l’orage. Il prend finalement soit voilée, Nadir reconnaît sa voix, celle trahi leur serment par lequel ils s’engageaient le dessus en se demandant si Nadir, son ami Argument (les extraits figurant sur cet de la prêtresse qu’il aime, et, une fois seul, à l’oublier; il exige avec colère la mort du de toujours, pourra lui pardonner sa jalousie. enregistrement sont en caractères gras) il avoue qu’il l’a suivie jusqu’ici. Écoutant couple coupable.

46 47 Acte III Rebecca Evans (Léïla) est née en Galles du En concert, elle a chanté aux Proms de la National Opera, au Théâtre du Châtelet, La colère de Zurga s’est apaisée et il pense avec Sud et a fait ses études à la Guildhall School of BBC et aux festivals de Salzbourg, Édimbourg, au Festival de Salzbourg, à la Monnaie, à tristesse au destin de Nadir. Léïla plaide en sa Music and Drama. Elle a reçu le soutien de la Tanglewood et Ravinia. Parmi les orchestres l’Opéra de Santa Fe et au Teatro Communale faveur, en disant qu’elle est la seule coupable. Peter Moores Foundation pour travailler avec avec lesquels elle a travaillé figurent l’Orchestre de Bologne. Parmi les rôles qu’il a chantés Pour la première fois, elle découvre que Zurga Ronald Schneider à Vienne. Au Royal Opera symphonique de San Francisco, l’Orchestre figurent ceux de Lindoro L’Italienne( à Alger), l’aime. Il se calme, mais sa jalousie se réveille House de Covent Garden, elle a interprété les symphonique de Boston, l’Orchestra of Nemorino (L’Elixir d’amour), Don Ramiro à nouveau lorsqu’elle lui montre à quel point rôles de Pamina (La Flûte enchantée), Zerlina the Age of Enlightenment avec Sir Charles (La Cenerentola), Oreste (Ermione), Tom elle aime son rival. Il laisse Nourabad emmener (Don Giovanni), Despina (Così fan tutte) Mackerras, le Monteverdi Choir and Rakewell, Tamino (La Flûte enchantée), Léïla au bûcher du sacrifice. Avant de partir, et Johanna (Sweeney Todd). Régulièrement Orchestra avec Eliot Gardiner et l’Orchestre Don Narciso (Le Turc en Italie), Belfiore et toutefois, elle remet à Zurga un collier pour invitée à la Bayerische Staatsoper de Munich, symphonique de Sapporo avec Tadaaki Otaka. Libenskof (Le Voyage à Reims), l’Astrologue qu’il l’envoie à sa mère. Il le reconnaît et court elle y a chanté Ginevra (Ariodante), Despina, Elle a reçu un Grammy Award et enregistre (Le Coq d’or), Don Ottavio (Don Giovanni) derrière eux pour la sauver. Zdenka (Arabella), Ilia (Idoménée) et Susanna de manière prolifique ; dans la collection Opéra et Uberto (La donna del lago). Les pêcheurs de perles se préparent aux (Les Noces de Figaro). Elle a incarné Despina en anglais de Chandos, ses enregistrements En concert, Barry Banks a chanté la Petite exécutions rituelles de Léïla et de Nadir, qui à la Deutsche Staatsoper de Berlin, Ilia à comprennent les rôles de Gretel (Hansel und Messe solennelle de Rossini avec le Royal auront lieu au lever du soleil. Au dernier l’Opéra des Pays-Bas et Romilda (Xerxes), Gretel), Pamina (La Flûte enchantée), Ilia Philharmonic Orchestra sous la direction moment, Zurga apparaît et annonce que ainsi que la Gouvernante (Le Tour d’écrou) (Idoménée), Marzellina (Fidelio) et Susanna de Daniele Gatti, Jaquino (Fidelio) avec leur camp est en feu et que les femmes et les à l’English National Opera. Elle est l’une (Les Noces de Figaro). Chez Chandos, elle a l’Orchestre symphonique de la Ville de enfants sont en danger. Les pêcheurs partent en des chanteuses préférées au Welsh National également enregistré la Messe en Ut majeur de Birmingham sous la direction de Walter courant pour les sauver. Zurga révèle au couple Opera, où elle a été Mimì (La Bohème), Beethoven et Mass of Life de Delius. Weller, le Requiem de Bruckner avec le captif que c’est lui que Léïla a sauvé il y a de Pamina, Gretel (Hänsel und Gretel) et Norina Scottish Chamber Orchestra sous la baguette nombreuses années et qu’il doit maintenant (Don Pasquale). Diplômé du Royal Northern College of Music, de Sir Charles Mackerras et Armida de Rossini lui rembourser sa dette de gratitude pour le Elle mène également une importante carrière où il bénéficia d’une bourse de la Peter Moores au Festival d’Édimbourg sous la direction de courage dont elle a fait preuve. Il avoue avoir lyrique aux États-Unis, où elle a interprété les Foundation, Barry Banks (Nadir) s’est affirmé Carlo Rizzi. Parmi les autres points forts de cette lui-même mis le feu au camp pour leur donner rôles de Susanna et Zerlina au Metropolitan comme l’un des meilleurs interprètes actuels carrière, on peut citer le de Britten une chance de partir et, avec reconnaissance, Opera de New York, Susanna à Santa Fe, du répertoire du bel canto italien. Il est très avec l’Orchestre philharmonique de Strasbourg Léïla et Nadir s’échappent. Resté seul, Zurga Pamina et Adèle (La Chauve-souris) au Lyric demandé sur la scène lyrique internationale, sous la direction de Jan Latham-Koenig, doit faire face aux conséquences de ses actes. Opera de Chicago, et Zerlina, Anne Trulove se produisant notamment au Royal Opera Ermione de Rossini en concert à Carnegie Hall, (The Rake’s Progress) et Adina (L’Elixir d’amour) House de Covent Garden, au Metropolitan ainsi que Les Puritains et Linda di Chamonix de Traduction: Marie-Stella Pâris à l’opéra de San Francisco. Opera, à l’Opéra national de Paris, à l’English Donizetti au Festival de Caramoor.

48 49 La discographie de Barry Banks comprend, la Scala de Milan (Papageno et le comte Budd et Papageno (The Magic Flute) dans la La Damnation de Faust en concert avec dans la collection Opéra en anglais de Almaviva) et au Royal Opera House de Covent collection Opéra en anglais. l’Orchestre symphonique de Londres et Chandos, Nemorino (The Elixir of Love), Garden (notamment Billy Budd, le comte Sir Colin Davis à Londres et à New York. Ernesto (Don Pasquale), Don Ottavio (Don Almaviva, Don Giovanni, Valentin, Pelléas, Alastair Miles (Nourabad) est reconnu dans Sa très brillante carrière de concertiste lui Giovanni), Giannetto (The Thieving Magpie) et Guglielmo et Papageno, ainsi que Prospero le monde entier comme l’une des plus grandes a permis de chanter dans le monde entier Tamino (The Magic Flute) ainsi qu’un disque lors de la création mondiale de La Tempête basses au monde. Il a chanté au Metropolitan avec des chefs d’orchestre tels Giulini, Mehta, de grands airs d’opéra. Il a également enregistré d’Adès). Son interprétation de Billy Budd à Opera (Giorgio dans Les Puritains et Muti, Chung, Masur, Gergiev, Gardiner et La Bohème, Un bal masqué et Trial by Jury. l’English National Opera et de Winston lors Raimondo dans Lucia di Lammermoor), à Sir Colin Davis et avec les plus prestigieux de la première représentation mondiale de l’Opéra national de Paris-Bastille (Raimondo), orchestres au monde. Sa discographie Simon Keenlyside (Zurga) est né à Londres; 1984 au Royal Opera House lui a valu l’Olivier à Vienne (Philip II dans Don Carlos, Zachariah comprend actuellement plus de cinquante il a étudié la zoologie à Cambridge et le chant Award 2006 de la réussite exceptionnelle dans dans Nabucco, le Cardinal Brogni dans La Juive enregistrements, dont, chez Opera Rara, au Royal Northern College of Music de le domaine de l’Opéra. d’Halévy, de Silva dans Ernani, et Giorgio), Medea in Corinto de Mayr, Orazi e Curiazi Manchester, où il a bénéficié d’une bourse de la Simon Keenlyside jouit d’une longue à la Bayerische Staatsoper de Munich (le rôle de Mercadante, Rosmonda d’Inghilterra de Peter Moores Foundation. carrière de concertiste et s’est produit en titre de Saul et Zoroastro dans Orlando), à Donizetti, Margherita d’Anjou de Meyerbeer Il a fait ses débuts lyriques à l’Opéra récital à New York, San Francisco, Lisbonne, San Francisco (Giorgio, Raimondo et Basilio et La Cour de Célimène de Thomas. Il a aussi d’État de Hambourg dans le rôle du comte Genève, Moscou, Paris, Amsterdam, Rome, dans Le Barbier de Séville), Amsterdam enregistré Elias, le Requiem de Verdi, Saul et Almaviva (Les Noces de Figaro). Depuis lors, Bruxelles, Londres, aux festivals d’Édimbourg, (Figaro dans Les Noces de Figaro), Barcelone Agrippina de Haendel, et, dans la collection il a chanté à Genève (Hamlet et Pelléas), d’Aldeburgh, de Salzbourg et de Munich, à la (La Gioconda), au Teatro Real de Madrid Opéra en anglais de Chandos, il a enregistré Zurich (Don Giovanni), Barcelone (Hamlet), Scala de Milan et à Vienne. (Philippe II et Raimondo), à Palerme (Walter Mephistophelès (Faust), Ramfis Aida( ), Colline Madrid (Posa), San Francisco (Pelléas), Parmi ses enregistrements on trouve des dans Luisa Miller); Séville (Mephistophelès (La Bohème) et un disque de grands airs Sydney et Berlin (Figaro), Bruxelles (Orfeo), récitals de Schubert et Strauss, des lieder de dans Faust), à l’English National Opera d’opéra. Paris (Papageno, Pelléas, Guglielmo, Eletski Schumann, Des Knaben Wunderhorn, le rôle (le rôle titre dans Mephistofele de Boito, et Dandini), Vienne (Figaro, Marcello, titre de Don Giovanni, Carmina Burana, Zachariah, de Silva, et Ford dans Sir John in Durant sa carrière de chanteur, Geoffrey le comte Almaviva, Billy Budd, Don Marcello dans La Bohème et le comte Almaviva Love), et au Royal Opera de Covent Garden Mitchell aborda un répertoire remarquablement Giovanni, Papageno et Posa), Munich (Les Noces de Figaro). En 2007, il a remporté le (Rodolfo dans La Somnambule, Elmiro dans varié, depuis la musique ancienne jusqu’à la (Marcello, le comte Almaviva et Wolfram), prix du meilleur récital décerné par le magazine Otello, Frère Laurent dans Roméo et Juliette, musique contemporaine, se produisant en au Metropolitan Opera (Belcore, Marcello, Gramophone pour un disque d’airs avec Banquo dans Macbeth, et Dom Sebastien Scandinavie, en Allemagne, dans l’ancienne Papageno et le comte Almaviva), au Festival orchestre. Au nombre de ses enregistrements de Donizetti en concert (enregistré par Tchécoslovaquie, au Canada et en Australasie. de Salzbourg (Guglielmo et Papageno), à chez Chandos on peut citer le rôle titre de Billy Opera Rara)); et Mephistophelès dans Après avoir fait ses premières armes de

50 51 chef d’orchestre avec la BBC, il décida de rôle au sein de l’Orchestre depuis philharmonique de Stuttgart, l’Orchestre Manon Lescaut, Les Pêcheurs de perles, Norma prendre une part active dans ce domaine avec sa fondation en 1932 par Sir Thomas philharmonique de Stavanger, le Het et Nabucco à l’Opéra de Holland Park, La ses propres chanteurs et fonda le Geoffrey Beecham incluent, entre autres, Sir Adrian Gelders Orkest, l’Orchestre symphonique de traviata à Lucerne, Armida, Tancrède, Le Mitchell Choir. Par suite de ses premiers Boult, Sir John Pritchard, Bernard Haitink, Melbourne, l’Orchestre symphonique national Comte Ory, Cavalleria rusticana et Paillasse au enregistrements l’ensemble travaille depuis Sir Georg Solti, Klaus Tennstedt, Franz d’Irlande, le Royal Liverpool Philharmonic Royal Albert Hall, Luisa Miller et Manon au longtemps avec Opera Rara pour qui il a Welser-Möst et Kurt Masur. Orchestre Orchestra, le Scottish Chamber Orchestra, le Nederlands Nationale Reisopera, et Lucia di réalisé plus de trente enregistrements. Ce symphonique résident du Royal Festival Hall City of London Sinfonia et l’Orchestre de St Lammermoor à l’Opéra d’Angers/Nantes. Chœur ne cesse d’élargir sa réputation, depuis 1992, il présente dans cette salle ses John’s Smith Square. Brad Cohen est très engagé dans le travaillant avec la BBC et plusieurs maisons grandes séries de concerts entre septembre et Il a dirigé De la maison des morts et Carmen répertoire de la musique nouvelle. Parmi de disques internationales. Pour Chandos, le mai chaque année. Il est également orchestre à l’English National Opera; Carmen, La Veuve ses diverses activités dans ce domaine, il Geoffrey Mitchell Choir a participé à plusieurs symphonique résident du Glyndebourne joyeuse, Roméo et Juliette, L’Elixir d’amour s’intéresse à l’enregistrement vidéo d’opéras enregistrements pour Opera in English, une Festival Opera depuis plus de quarante et La Cenerentola à Opera Australia; La modernes pour la télévision; il a donné en série de disques très prisés financée par la Peter ans. Il se produit par ailleurs sur l’ensemble Flûte enchantée, Les Pêcheurs de perles et The tournée les pièces d’ensemble de Frank Zappa Moores Foundation. du Royaume-Uni et a fait de nombreuses Reluctant King à Opera North; Rigoletto et Les et il a commandé de la musique nouvelle tournées en Europe, en Amérique et au Japon, Noces de Figaro avec l’English Touring Opera. pour l’inauguration du Millenium Dome. Au cours de la saison 2007/2008, le London visitant aussi l’Inde, Hong-Kong, la Chine, À l’Almeida Opera, il a dirigé la création En 2002, il a assuré la direction musicale de Philharmonic Orchestra a célèbre son soixante- l’Australie et l’Afrique du Sud. mondiale de Powder her Face de Thomas Adès l’opéra télévisé de Jonathan Dove When She quinzième anniversaire. Il a aussi accueilli son (également au Festival de Cheltenham, ainsi Died: Death of a Princess. En 2006, la même nouveau chef d’orchestre permanent, Vladimir Brad Cohen a obtenu son diplôme de qu’à Bath et à Oxford) et Wolfcub Village et équipe a créé l’opéra télévisé Man on the Moon Jurowski, et s’est réinstallé au Royal Festival St John’s College à Oxford, puis a travaillé Night Banquet de Guo Wenjing (ainsi qu’au pour Channel Four. Brad Cohen a aussi dirigé Hall magnifiquement rénové. avec Celibidache et Bernstein en Allemagne; Festival de Hong Kong). la première représentation australienne de Avec ses interprétations en concert ou à il a fait ses débuts professionnels au Festival Dans le domaine lyrique, il a également l’opéra de Jonathan Dove Flight au Festival l’opéra, ses nombreux enregistrements primés, d’Almeida en 1992. En 1994, il a reçu le dirigé Les Vêpres siciliennes, Poliuto, Anna d’Adélaïde de 2006. ses tournées internationales originales et son premier prix au Concours de direction Bolena, André Chénier et Macbeth avec le Brad Cohen est devenu un éditeur accompli travail pédagogique novateur, le London d’orchestre de Leeds et, depuis lors, il a Chelsea Opera Group, Macbeth à l’Opéra dans le domaine lyrique; il a réalisé et publié Philharmonic Orchestra mérite depuis dirigé l’Orchestre philharmonique de de Nouvelle-Zélande, La Chauve-Souris à des éditions de Maometto secondo, Le Barbier de longtemps sa renommée pour son excellent Londres, le Royal Philharmonic, le BBC l’Opéra de Queensland, Madama Butterfly, Séville et Norma. niveau artistique et les multiples facettes de son National Orchestra of Wales, le BBC talent. Des musiciens éminents qui ont joué un Scottish Symphony Orchestra, l’Orchestre

52 53 On session: Simon Keenlyside and Barry Banks On session: Alastair Miles poca musica di tipo orientale, fatta eccezione Comique (l’istituzione) con dettagli musicali The Pearl Fishers per un improvviso coro di schiavi nubiani, orientaleggianti che avrebbero portato al più molto efficace. concentrato melodramma in due atti Djamileh Per quanto la Gran Bretagna potesse da orientaleggiante che ne fu parte importante, Il nucleo di questi esperimenti fu e, naturalmente, all’altro capolavoro esotico, vantare l’impero coloniale più vasto ed ma non predominante. Passando in rassegna normalmente uno stile orientale generico da Carmen (di sapore moresco piuttosto che esotico durante il XIX secolo, fu la Francia, il repertorio della letteratura, della pittura, del cui scaturirono brani quasi indistinguibili che orientale). più di tutti, ad attingere all’esotismo dei melodramma e del balletto, emergono aspetti rappresentavano l’Africa, l’India e persino La critica accolse senza entusiasmo il paesi lontani per utilizzarlo nell’arte, esotici del Nord e dell’Ovest ,oltre ai panorami il Giappone e la Cina. Onnipresenti tra le libretto dei Pêcheurs, che doveva rientrare nel conquistandosi una supremazia di diritto in dell’est. I Francesi sfruttarono ogni nozione tecniche musicali per evocare l’Oriente furono tradizionale formato per l’Opéra-Comique fatto di rappresentazioni di vicende orientali di “altro”, per creare il più delle volte nuovi bordoni e ostinati ritmici, oltre a una vasta con dialoghi alternati a brani cantati. Dal nel teatro lirico. I Britannici, bisogna dire, stereotipi nazionali. presenza della percussione che si accompagnò momento che l’opera venne allestita al Théâtre- furono bravissimi a dipingere l’esotico (per Per quanto riguarda l’Oriente, si possono all’uso di metallo lucido nei costumi. Gli Lyrique, i cui statuti non richiedevano questa quanto più tardi), ma i Francesi li eclissarono rilevare diversi livelli di descrizione musicale. strumenti prediletti furono i cimbalini a dita combinazione, il dialogo fu però trasformato in completamente per quanto riguarda la Alcuni compositori crearono opere sul tema e i tamburelli, oltre all’oboe e al clarinetto e recitativo alla vigilia della prima. Fu inevitabile letteratura e la musica. dell’Esotico senza fare alcuno sforzo per talvolta l’ottavino, per riprodurre gli strumenti il paragone con l’argomento di un’opera Il melodramma rappresentava un mezzo adottare uno stile che includesse le tecniche a fiato orientali; le scale vennero alterate con oggi dimenticata, La Vestale di Spontini, ideale per ritrarre l’esotico immaginario, perché musicali non occidentali. Un esempio è intervalli strani e si fece abbondante uso di riproposta molte volte durante l’Ottocento, ma riuniva letteratura, arte visiva e musica. Qua Le Caïd di Ambroise Thomas, opera buffa acciaccature e fioriture. accantonata dopo il 1850. Molti dei suoi brani e là era possibile persino aggiungere qualche su un kaid o capo musulmano, che riscosse Nell’ambito del repertorio sempre più preannunciano movimenti simili nei Pêcheurs accenno di realtà, derivato dall’osservazione molto successo, per quanto fosse di sapore nutrito di opere orientali (che culminò alla per quanto riguarda il libretto, ma non per la di alcuni eventi. Era possibile superare gli altri completamente italiano. fine del secolo in esemplari comeThaïs di musica. tipi arte attraverso la creazione di tableaux All’estremo opposto stanno compositori Massenet), Bizet fu uno dei primi compositori Uno di questi esempi è la scena alla fine vivants, che proponessero eventi drammatici, come Félicien David (1810 –1876) che ad adeguare il linguaggio musicale ai temi dell’Atto I (traccia 7 ) in cui Léïla rivolge sottolineati dalla musica e, soprattutto, dalla viaggiò in Medio Oriente e prese nota delle letterari esotici. Da questo punto di vista, una preghiera agli dei, accompagnata dal danza, perché non bisogna sottovalutare il melodie orientali, pubblicandole in seguito. Les Pêcheurs de perles (I pescatori di perle) coro dietro le quinte. L’uso delle “coulisses”, ruolo sempre più determinante del balletto in David fu apprezzato a livello internazionale rappresenta un esempio pionieristico ed è la il retroscena del teatro, era una tradizione costume nello spettacolo francese ottocentesco. per la sua Ode-symphonie Le Désert del 1844 prima opera in cui il giovane Bizet scopre una che risaliva oltre l’Ottocento nelle tradizioni È utile spendere qualche parola sulla che includeva melodie e tecniche di sapore voce originale, creando un modo per insaporire dell’Opéra-Comique: nessun sodalizio nozione di “esotismo”, in cui rientrava la mo orientale. Les Troyens à Carthage di Berlioz ha molte delle formule prevedibili dell’Opéra- librettista-compositore degno di rispetto si

56 57 sarebbe lasciato sfuggire l’opportunità di dell’ambientazione. Una caratteristica che ricordo felice con una modulazione magistrale. struggente, e un senso dell’eternità di una notte sfruttarlo. In questo caso, il coro echeggia le divenne uno dei marchi di Bizet nella musica Nel famoso duetto emergono le arpe, d’attesa. Poi arriva la scena già citata in cui parole di Léïla. La sua improvvisa apparizione esotica fu l’introduzione improvvisa di strani accompagnate da una lenta melodia intonata Léïla prega, seguita dalla sua Cavatina, dopo in preghiera viene inquadrata da Bizet con accordi tenuti, come quelli sulla parola come un inno dall’orchestra; è un tema – forse un recitativo in cui attende Nadir. Il brano è un accompagnamento basso degli archi “chants”. Un’altra tecnica, già osservata nella il tema di Léïla – che ritornerà diverse volte. Il uno dei momenti più memorabili dell’opera, su cui si innalza la sua voce, aggiungendo preghiera di Léïla, è quella di ritornare alla libretto utilizza un gruppo di luoghi comuni anche se non reca traccia alcuna delle tecniche prima abbellimenti di effetto orientale e poi convenzione incontaminata dell’Opéra- tipicamente orientali che ricorrono quando cui orientali (traccia 8 ). Dimostra la padronanza trasformandoli in coloratura tipica da Théâtre- Comique nella sezione centrale. Quando Zurga ricorda il momento in cui Léïla per un di Bizet della tipica aria in stile Opéra- Lyrique, mentre il coro intona una melodia più si verifica la ripresa del primo motivo, più attimo aveva sollevato il suo velo: “Ô vision! Comique, con un sensibile debito allo stile di tradizionale (e deliziosamente orecchiabile). orientale, un ampio passaggio orchestrale Ô rêve!” il lento motivo viene sottolineato Gounod. Nadir risponde con una Chanson Nadir canta, anche lui non visto, sorpreso consente ai ballerini di avere tempo per uno enfaticamente dagli ottoni. La musica diventa (traccia 9 ) in cui si riconoscono tangibili nel sentire la voce di lei. Poi chiama Léïla e la sfoggio del loro talento: in complesso, si tratta un’affermazione di amicizia e una promessa tracce di gusto esotico. Si avvicina, cantando donna rimane altrettanto sorpresa nel sentire la di una brillante formula per aprire lo spettacolo di rinuncia alla gelosia e alla passione. La da lontano, accompagnato dalle arpe fuori voce di lui. Nella preghiera della sacerdotessa si orientale con una combinazione di danza, conclusione postuma ripete il lento motivo che scena. Bizet divenne sempre più abile nell’uso insinua un delicato duetto d’amore, mentre il canto e scenografia opulenta. ha accompagnato il duetto (traccia 18 ). dell’espediente delle coulisses, non solo dal coro procede verso l’onnipresente e impossibile Segue la scelta di Zurga come capo per la La scena seguente è dedicata a Nadir, punto di vista drammatico, ma anche da quello “Ah!” che, secondo la partitura, andrebbe stagione di pesca delle perle, (traccia 3 ) narrata (traccia 6 ). Inizialmente il giovane si musicale: basti pensare al brano di Carmen in eseguito a bocca chiusa (à bouche fermée). con un convenzionale recitativo e seguita da una rimprovera per aver infranto le sue promesse, cui la protagonista danza la Romalis per Don Il Preludio dell’opera (traccia 1 ) inizia melodia all’unisono. Accordi strani e potenti accompagnato da un tremolando con armonie José, mentre fuori scena si sente il suono delle senza inflessioni che facilitino l’inquadratura accompagnano il brano con cui Zurga accoglie agitate degli archi. Poi la musica si trasforma trombe della ritirata. della scena. Bizet le aggiunge più tardi, Nadir nel gruppo di pescatori ed esegue una in una Romanza che evoca Léïla in un motivo Léïla, scossa e affascinata, lo sente arrivare. accompagnando un ostinato con gli danza dedicata al Sole per allontanare gli spiriti delicatamente cadenzato. Nadir pensa di Il magico brano si trasforma nell’Allegro molto onnipresenti tamburelli e un coro; si tratta del male, (traccia 4 ). aver sentito la voce di lei in quest’aria simile di un duetto da “batticuore” (traccia 10 ) con in realtà di un tableau vivant danzato L’avvicinarsi del famoso duetto “Au fond du a una berceuse, ancora una volta in tipico l’incontro della coppia; è l’orchestra – cosa (traccia 2 ). Concepito come brano con temple saint” (‘Then from the holy shrine’) stile da Opéra-Comique, meravigliosamente non infrequente nel repertorio operistico scenografia, danza e canto, abbina ancora narra dell’amicizia che unisce da sempre e misuratamente orchestrata. Qui emerge la francese – a suggerire il ritmo del batticuore una volta la tradizione dell’opera francese Nadir e Zurga, (traccia 5 ). I due ricordano il raffinata conoscenza dell’armonia da parte in questa scena musicale, una delle più lunghe con una musica genericamente orientale giorno in cui avevano visto Léïla nel tempio e di Bizet: una chiave minore delicatamente dell’opera, che si conclude con un duetto più da balletto – nulla a che fare con la Ceylon Bizet passa dalla discussione fraterna a questo modale crea un’atmosfera di ricordo e desiderio lirico.

58 59 Il primo tableau dell’Atto III è dedicato Un’appendice è il Trio del 1893 (traccia 17 ) in e tenere a bada gli spiriti del male, in vista degli indigeni superstiziosi, che ne chiedono a un assolo di Zurga (traccia 11 ) dopo la cui Nadir e Zurga cantano del loro amore per Léïla della prossima spedizione di pesca. Zurga le la morte immediata. Nourabad alimenta la descrizione di un temporale nell’introduzione che li accetta entrambi; è attribuito al compositore impone un voto di castità, pena la morte. La sommossa e a Léïla viene strappato il velo. orchestrale, piena di passaggi con vorticose Benjamin Godard. perla più bella sarà la sua ricompensa per la Riconoscendo in lei la sacerdotessa del tempio armonie e sottolineata dal tuono dei timpani. protezione che darà ai pescatori. Per quanto di Kandy, Zurga si rende conto che Nadir ha © 2008 Richard Langham Smith Dal soliloquio che segue è chiaro che la la donna sia velata, Nadir ne riconosce la tradito e condanna irosamente a tempesta è una metafora del tormento intimo voce: è la sacerdotessa di cui si è innamorato morte la coppia colpevole. di Zurga e il suo recitativo è punteggiato Argomento (I brani registrati sono in e, rimasto solo, confessa di averla seguita fin a tratti dalla musica della tempesta. Zurga grasetto) qui. Rimane in ascolto mentre Léïla inizia Atto III infine arriva a chiedersi se Nadir, il suo amico la preghiera, ma non riesce a resistere e la La rabbia di Zurga si è placata e l’uomo di sempre, possa perdonare la sua gelosia. Atto I chiama; lei si interrompe e risponde con medita tristemente sul destino di Nadir. Léïla Entra Léïla (traccia 12 ) e sconvolge Zurga. La vicenda si svolge tra un gruppo di pescatori amore. cerca di intercedere per lui, assumendosi In lontananza ritorna il lento motivo simile di perle che abitano sull’isola di Ceylon, esclusivamente la colpa di tutto. Per la prima a un inno e l’aria di Léïla si trasforma in nell’Oceano Indiano. Dopo un breve preludio Atto II volta si rende conto che Zurga è innamorato un duetto mentre supplica di risparmiare la si vedono i pescatori e le loro famiglie mentre I pescatori sono rientrati sani e salvi, e di lei. L’uomo si lascia commuovere, ma la vita di Nadir. Inizialmente Zurga perdona, lavorano, cantano e ballano. Zurga, ricorda a Leïla è libera dalla veglia della sera. Come sua gelosia si riaccende quando la donna ma poi il suo tormento gli fa cambiare idea tutti che è necessario eleggere un capo e tutti dimostrazione della sua capacità di mantenere manifesta il suo profondo amore per il rivale, mentre il velo di Léïla viene strappato. Li gli altri, concordi, gli giurano fedeltà. la promessa, racconta a Nourabad che, da e la consegna a Nourabad perché la conduca condanna entrambi a morte, facendo valere il Entra un altro giovane pescatore, Nadir, bambina, aveva salvato la vita di un fuggiasco alla pira sacrificale. Prima di allontanarsi, suo potere. e Zurga lo riconosce: è un suo vecchio e non lo aveva mai consegnato ai suoi però, la donna consegna a Zurga una collana Questo momento interamente musicale compagno. Durante i loro viaggi, in un inseguitori. In segno di gratitudine, l’uomo le da inviare a sua madre. L’uomo la riconosce e sarebbe diventato il modo di Bizet per portare tempio di Kandy, entrambi si erano ritrovati aveva regalato una collana che lei porta tuttora. rincorre i due per salvarla. l’azione drammatica alla conclusione, una rivali, innamorati della stessa sacerdotessa. Per Nourabad lascia Léïla e lei canta una I pescatori di perle si preparano al rito tecnica che avrebbe utilizzato ancora una questo si erano separati e avevano giurato di cavatina, piena d’amore. Nadir la raggiunge dell’esecuzione di Léïla e Nadir, fissato per volta magistralmente in Carmen sovvertendo, non rivederla mai più, ma oggi si promettono nel recinto sacro e i due si ritrovano, felici. l’alba, quando entra Zurga e annuncia che ma ampliando la tradizionale opéra à numéros eterna amicizia: il ricordo della sacerdotessa Ma sono stati scoperti e, mentre si scatena l’accampamento ha preso fuoco: le donne e i dell’Opéra-Comique. Mentre la tensione sale, non li separerà. una violenta tempesta, vengono catturati e bambini sono in pericolo. I pescatori di perle Léïla maledice lo spietato Zurga e lo definisce Il gran sacerdote di Brahma, Nourabad, denunciati per sacrilegio da Nourabad. Zurga si precipitano a salvare i propri cari. Zurga un mostro. L’ultima parola spetta al coro. conduce la sacerdotessa scelta per pregare cerca di proteggere il suo amico dalla furia rivela alla coppia prigioniera che era lui il

60 61 fuggiasco salvato da Leila molti anni prima e incluso Mimì (La Bohème), Pamina, Gretel Diplomato presso il Royal Northern College Carlo Rizzi. Altre collaborazioni importanti che adesso desidera ripagare il proprio debito. (Hänsel und Gretel) e Norina (Don Pasquale). of Music dove ha studiato grazie a una borsa lo hanno visto interprete del War Requiem di È stato proprio lui ad appiccare il fuoco Rebecca Evans svolge un’importante carriera di studio della Peter Moores Foundation, Britten con l’Orchestre Philharmonique de all’accampamento per dare alla coppia la operistica anche in America, dove ha cantato Barry Banks (Nadir) si è conquistato un posto Strasbourg diretta da Jan Latham-Koenig, possibilità di allontanarsi e, con gratitudine, Susanna e Zerlina alla Metropolitan Opera di tra i migliori interpreti odierni del repertorio Ermione di Rossini in concerto al Carnegie Léïla e Nadir fuggono. Zurga rimane solo ad New York, Susanna a Santa Fe; Pamina e Adèle belcantistico. È molto richiesto nei teatri lirici Hall e I puritani e Linda di Chamonix di affrontare le conseguenze delle sue azioni. (Die Fledermaus) alla Lyric Opera di Chicago internazionali e ha collaborato con la Royal Donizetti al Caramoor Festival. e Zerlina, Anne Trulove (The Rake’s Progress) Opera House, Covent Garden, la Metropolitan La discografia di Barry Banks include, Traduzione: Emanuela Guastella e Adina (L’elisir d’amore) all’Opera di San Opera, l’Opéra National de Paris, la English per la serie Opera in English di Chandos, Francisco. National Opera, il Théâtre du Châtelet, il Nemorino (The Elixir of Love), Ernesto Rebecca Evans (Léïla) è nata in Galles e L’attività concertista include la partecipazione Festival di Salisburgo, La Monnaie, l’Opera (Don Pasquale), Don Ottavio (Don Giovanni), ha studiato presso la Guildhall School of ai Prom della BBC e ai festival di Salisburgo, di Santa Fe e il Teatro Comunale di Bologna, Giannetto (The Thieving Magpie) e Tamino Music and Drama. Con l’appoggio della Edimburgo, Tanglewood e Ravinia. L’artista tra l’altro. I suoi ruoli comprendono Lindoro (The Magic Flute) oltre a un disco di arie Peter Moores Foundation si è perfezionata ha collaborato con la San Francisco Symphony (L’italiana in Algeri), Nemorino (L’elisir famose (Great Operatic Arias). Altre con Ronald Schneider a Vienna. Alla Orchestra, la Boston Symphony Orchestra, d’amore), Don Ramiro (La Cenerentola), registrazioni comprendono La Bohème, Royal Opera House, Covent Garden, ha l’Orchestra of the Age of Enlightenment con Oreste (Ermione), Tom Rakewell, Tamino Un ballo in maschera e Trial by Jury. cantato Pamina (Die Zauberflöte), Zerlina sir Charles Mackerras, il Monteverdi Choir (Il flauto magico), Don Narciso (Il turco in (Don Giovanni), Despina (Così fan tutte), e and Orchestra con Eliot Gardiner e la Sapporo Italia), Belfiore e Libenskof (Il viaggio a Reims), Simon Keenlyside (Zurga) è nato a Londra, Johanna (Sweeney Todd). È ospite regolare Symphony Orchestra con Tadaaki Otaka. L’Astrologue (Le Coq d’or), Don Ottavio (Don ha studiato zoologia a Cambridge e canto della Bayerische Staatsoper di Monaco, Rebecca Evans ha ricevuto un Grammy Giovanni) e Uberto (La donna del lago). presso il Royal Northern College of Music di dove ha interpretato, tra l’altro, Ginevra e ha al suo attivo una ricca discografia. Le In concerto, Barry Banks ha interpretato Manchester, con il sostegno di una borsa di (Ariodante), Despina, Zdenka (Arabella), registrazioni per la serie Opera in English la Petite Messe solennelle di Rossini con la studio di Peter Moores. Ilia (Idomeneo) e Susanna (Le nozze di di Chandos comprendono Gretel (Hansel Royal Philharmonic Orchestra diretta da Il suo esordio in teatro si è svolto all’Opera Figaro). È stata Despina per la Deutsche and Gretel), Pamina (The Magic Flute), Daniele Gatti, Jaquino (Fidelio) con la City di Amburgo nelle vesti del Conte Almaviva Staatsoper di Berlino, Ilia per la Netherlands Ilia (Idomeneo), Marzellina (Fidelio) e of Birmingham Symphony Orchestra diretta (Le nozze di Figaro); in seguito è comparso nei Opera e, per English National Opera, Susanna (The Marriage of Figaro). Tra le da Walter Weller, il Requiem di Bruckner teatri di Ginevra (Hamlet e Pelléas), Zurigo Romilda (Xerxes), e la Governante (The Turn altre registrazioni per Chandos ricordiamo la con la Scottish Chamber Orchestra diretta (Don Giovanni), Barcellona (Hamlet), Madrid of the Screw). È una beniamina della Welsh Messa in do maggiore di Beethoven e la Mass da sir Charles Mackerras e Armida di Rossini (Posa), San Francisco (Pelléas), Sydney e National Opera e qui i suoi ruoli hanno of Life di Delius. al Festival di Edimburgo, per la direzione di Berlino (Figaro), Bruxelles (Orfeo), Parigi

62 63 (Papageno, Pelléas, Guglielmo, Yeletsky e orchestrali ha vinto il premio Gramophone Juliette, Banquo in Macbeth, e interpretazioni e che l’ha portato in Scandinavia, Germania, Dandini), Vienna (Figaro, Marcello, Conte 2007 per i recital. Le registrazioni per Chandos in concerto di Dom Sebastien di Donizetti, nella ex Cecoslovacchia, in Canada e Almaviva, Billy Budd, Don Giovanni, hanno compreso il ruolo di protagonista in melodramma registrato anche da Opera Rara); Australasia. L’esperienza di direzione degli inizi Papageno e Posa), Monaco (Marcello, Conte Billy Budd e Papageno (The Magic Flute) infine, Mephistopheles ne La damnation con la BBC lo ha condotto ad un maggiore Almaviva e Wolfram), Metropolitan Opera nell’ambito della serie Opera in English. de Faust in alcuni concerti con la London coinvolgimento con i suoi stessi cantanti e (Belcore, Marcello, Papageno e Conte Symphony Orchestra diretta da sir Colin Davis inoltre alla creazione del Geoffrey Mitchell Almaviva), Festival di Salisburgo (Guglielmo Alastair Miles (Nourabad) ha una reputazione a Londra e New York. Choir. Le prime registrazioni sono sfociate e Papageno), La Scala di Milano (Papageno internazionale ed è considerato uno dei L’artista ha riscosso grandi successi anche nel coinvolgimento a lungo termine del Coro e Conte Almaviva) e Royal Opera House, migliori bassi a livello mondiale. Ha cantato in nella sua attività concertistica, che lo ha visto con Opera Rara, per la quale ha inciso più di Covent Garden (in ruoli tra cui Billy Budd, numerosi teatri, tra cui la Metropolitan Opera esibirsi in tutto il mondo con importanti trenta registrazioni. Il Coro gode di una fama Conte Almaviva, Don Giovanni, Valentin, House (Giorgio nei Puritani e Raimondo in direttori tra cui Giulini, Mehta, Muti, Chung, sempre maggiore con ulteriore lavoro dalla Pelléas, Guglielmo, Papageno e Prospero nella Lucia di Lammermoor), l’Opéra National de Masur, Gergiev, Gardiner e sir Colin Davis e BBC e da case discografiche internazionali. prima mondiale di The Tempest di Adès). Le Paris-Bastille (Raimondo) Vienna (Filippo con le orchestre più prestigiose. La discografia Per la Chandos il Geoffrey Mitchell Choir interpretazioni dei ruoli di Billy Budd per la II in Don Carlos, Zaccaria in Nabucco, il attualmente riunisce oltre 50 registrazioni ha partecipato a numerose registrazioni nelle English National Opera e Winston nella prima Cardinal Brogni ne La Juive di Halévy, de tra cui, per Opera Rara, Medea in Corinto applaudite serie di Opera in English con il mondiale di 1984 alla Royal Opera House gli Silva in Ernani e Giorgio); la Bayerische di Mayr, Orazi e Curiazi di Mercadante, patrocinio della Peter Moores Foundation. hanno conquistato nel 2006 un Olivier Award. Staatsoper di Monaco (ruolo di protagonista Rosmonda d’Inghilterra di Donizetti, Margherita Simon Keenlyside si esibisce spesso in nel Saul e Zoroastro in Orlando). È comparso d’Anjou di Meyerbeer e La Cour de Célimène Durante la stagione 2007/08 la London concerto ed è comparso in recital a New York, inoltre a San Francisco (Giorgio, Raimondo di Thomas. Altre registrazioni comprendono Philharmonic Orchestra ha festeggiato il San Francisco, Lisbona, Ginevra, Mosca, e Basilio nel Barbiere di Siviglia), Amsterdam Elijah, la Messa da requiem di Verdi, Saul e settantacinquesimo anniversario, ha dato Parigi, Amsterdam, Roma, Bruxelles, Londra, (Figaro nelle Nozze di Figaro), Barcellona Agrippina di Handel, e, per la serie Opera in il benvenuto a un nuovo Direttore stabile, ai festival di Edimburgo, Aldeburgh, Salisburgo (La Gioconda), al Teatro Real di Madrid English di Chandos, i ruoli di Mephistopheles Vladimir Jurowski ed è ritornata nella e Monaco, alla Scala di Milano e a Vienna. (Filippo II e Raimondo), Palermo (Walter in (Faust), Ramfis Aida( ), Colline (La Bohème), propria sede, la Royal Festival Hall, oggi La discografia include recital di brani Luisa Miller), Siviglia (Mefistofele nelFaust ), oltre a un disco di brani operistici famosi splendidamente ristrutturata. di Schubert e Strauss, un disco di lieder di English National Opera (ruolo di protagonista (Great Operatic Arias). Grazie alle sue esibizioni nelle sale da Schumann, Des Knaben Wunderhorn, il ruolo nel Mefistofele di Boito, Zaccaria, de Silva, concerto e nei teatri lirici, alle numerose di protagonista nel Don Giovanni, Carmina e Ford in Sir John in Love), Royal Opera, La carriera di cantante di Geoffrey Mitchell registrazioni premiate, alle tournée Burana, Marcello in Bohème, e il Conte Covent Garden (Rodolfo nella Sonnambula, racchiude un repertorio notevole che spazia internazionali di straordinario successo e al Almaviva (Le nozze di Figaro). Un disco di arie Elmiro in Otello, Frère Laurent in Roméo et dalla musica antica a quella contemporanea pionieristico lavoro didattico, la London

64 65 Philharmonic Orchestra ha tempo conquistato of Wales, BBC Scottish Symphony Orchestra, Tancredi, Le Comte Ory, Cavalleria rusticana e Londra. Nel 2002 è stato direttore musicale un’altissima reputazione di versatilità ed Stuttgarter Philharmoniker, Stavanger Pagliacci alla Royal Albert Hall, Luisa Miller e del melodramma When She Died: Death of a eccellenza artistica. I collaboratori illustri Symphony Orchestra, Het Gelders Orkest, Manon per la Nederlands Nationale Reisopera, Princess di Jonathan Dove per la televisione. dell’Orchestra dal 1932, anno della sua Melbourne Symphony Orchestra, National e Lucia di Lammermoor per il teatro lirico di Nel 2006 la stessa équipe ha creato l’opera fondazione ad opera di sir Thomas Beecham, Symphony Orchestra of Ireland, Royal Angers/Nantes. TV Man on the Moon per Channel Four. Brad sono sir Adrian Boult, sir John Pritchard, Liverpool Philharmonic Orchestra, Scottish Brad Cohen è molto impegnato Cohen ha inoltre diretto la prima australiana Bernard Haitink, sir Georg Solti, Klaus Chamber Orchestra, City of London Sinfonia nell’esecuzione di musica nuova. Le dell’opera Flight di Jonathan Dove al Festival Tennstedt e Franz Welser-Möst e Kurt Masur. e l’Orchestra di St John’s Smith Square. sue molteplici attività in questo campo di Adelaide nel 2006. Orchestra sinfonica residente dal 1992 presso In teatro ha diretto From the House of the comprendono le riprese televisive di opere Brad Cohen è un illustre editore di opere la Royal Festival Hall, dove presenta ogni Dead e Carmen per English National Opera; moderne, tournée di esecuzione dei brani di e ha completato e pubblicato edizioni di anno la sua principale serie di concerti tra Carmen, The Merry Widow, Roméo et Juliettte, Frank Zappa e commissioni di musica per Maometto secondo, Il barbiere di Siviglia e settembre e maggio, la London Philharmonic L’elisir d’amore e La Cenerentola per Opera l’inaugurazione del Millennium Dome a Norma. Orchestra è anche l’orchestra sinfonica Australia; The Magic Flute, The Pearl Fishers residente della Glyndebourne Festival Opera and The Reluctant King per Opera North; da oltre quarant’anni; in più si esibisce in tutto Rigoletto e Figaro per English Touring Opera. il Regno Unito, ha svolto numerose tournée in Per l’Almeida Opera ha diretto la prima Europa, America e Giappone, raggiungendo mondiale di Powder Her Face di Thomas Adès’ l’India, Hong Kong, la Cina, l’Australia e il (in seguito anche al Cheltenham Festival, Sudafrica. a Bath e Oxford), Wolfcub Village e Night Banquet di Guo Wenjing (anche all’Hong Brad Cohen ha conseguito la laurea a Kong Festival). Oxfort (St John’s College) e ha studiato con Le altre collaborazioni in teatro comprendon Celibidache e Bernstein in Germania. Ha Les vêpres siciliennes, Poliuto, Anna Bolena, esordito in veste professionale all’Almeida Andrea Chénier e Macbeth per il Chelsea Opera Festival nel 1992. Nel 1994 vinceva il primo Group, Macbeth per Opera New Zealand, premio al concorso per direttori d’orchestra Die Fledermaus per Opera Queensland, di Leeds; in seguito ha diretto numerose Madama Butterfly, Manon Lescaut, Pearl orchestre tra cui London Philharmonic, la Fishers, Norma e Nabucco per Opera Holland Royal Philharmonic, BBC National Orchestra Park, La traviata per Lucerna, Armida,

66 67 On session: Barry Banks and Rebecca Evans On session: Brad Cohen

68 from Act I No 1b, Scene and Chorus Chorus I have returned! Welcome back, welcome back Zurga We shall obey! your friend. 3 My friends, you must delay your dances and 1 Prelude your games; Zurga Chorus for today we must choose a leader to command us So be it! I accept, I accept. Come on, come on, welcome back our friend. who will protect us and will defend us: No 1a, Introduction a man we all can trust, who is good, who is brave. Chorus Chorus We shall obey, for now the power shall be in your No 1c, Recitative and Chorus reprise 2 At the break of day with the waves at play Chorus hands! Zurga we obey our calling. The man we want to be our master We shall obey, we shall obey. 4 Stay here and live with us, Nadir, with those Let the maidens dance in a magic trance and we will choose to take command. But who is this? who love you. till the night is falling. Zurga, dear friend, Zurga, dear friend, is you! ‘Away, away!’ let them shout, Zurga Nadir ‘away, away, evil spirits out!’ Zurga Nadir! Nadir! My dearest friend from childhood. Yes, I share your desires; I shall live here among Let the maidens dance in a magic trance. Who, me? Can it be true that you are here? you. We claim the mighty ocean: here our bounty will lie. Chorus Chorus Zurga To the waves’ constant motion Yes, you shall be our lord! Friend Nadir, you’ve returned at last. My friend, you’ll drink and you’ll dance. we come prepared to die. Yes, you must take command! For now the time has come: Far beneath them we forage Zurga, Zurga shall be our king and take Nadir we must dive and take our chance. where deeper currents whirl. command! Yes, Nadir! From my wandering years But first, we shall dance in devotion A pearl rewards our courage, I havecome back to you, to your love and your to the gods of the sun, the sky, the mighty ocean. a pure, a shining pearl. Zurga friendship. At the break of day with the waves at play And will you swear to obey me? In the jungle’s darkest heart Chorus we obey our calling. I learned that man has to live apart, At the break of day with the waves at play Let the maidens dance in a magic trance Chorus in the jungle’s darkest heart, we obey our calling. till the night is falling. We shall obey! I learned the mystery of total silence. Let the maidens dance in a magic trance ‘Away, away!’ Let them shout, Tiger crouching with burning eye till the night is falling. ‘away, away, evil spirits out!’ Zurga and panther waiting to seize his prey, ‘Away, away!’ let them shout, Dance on, dance all night, dance on And the power shall be in my hands? and I with dagger at the ready! ‘away, away, evil spirits out!’ in a magic trance, dance on! I lived with mortal danger out there: Dance on in a magic trance, you face it here as well. Yes, let the maidens dance in a magic trance!

70 71 No 2a, Recitative you will remember still what happened on our Zurga Zurga Zurga journey, She lifts her veil a moment… A raging fire overwhelms me! 5 At last I have found you again! when we arrived outside the city gates. Oh blessèd sight! Oh rapture! After so many days, so many weeks and months The people fall to the ground… Nadir when we have lived our lives far away from each Zurga Again it drives us apart! other The sun had set! Nadir and Zurga Brahma gives us joy and brings us back together. The priests, wreathed in gold, had appeared Yes, a goddess, truly a goddess Zurga But tell me, have you been always faithful to your and their chanting rang out through the warm of such rare, radiant beauty! Again it drives us apart! vow? scented air Yes, a goddess, truly a goddess Am I reunited with a friend or with a traitor? as they summoned the crowd of worshippers to sent among us on earth Nadir prayer. for our delight and torment Both our hearts are filled with anger: Nadir who beside her have no worth. we are enemies once more. However deep my love, I learned to be its master. No 2b, Duet Nadir Zurga Zurga Nadir Slowly she moves among them, No, let nothing come between us! Well then! Come, let us drink to friendship’s 6 Then from the holy shrine, still intent on her duty… sweet return. adorned with flowers and jewels, Nadir I, too, learned to be calm, to cast away my sadness like a phantom she rose, Zurga Nothing! and to forget that day of madness… the girl that haunts my soul. …but already her veil conceals her radiant beauty… Zurga Nadir Zurga Our friendship shall never end! No, no, you lie! …like a phantom she rose, Nadir I see that you may be calm, but I swear you the girl that haunts my soul. And her face, alas, cannot be seen… Nadir and Zurga cannot forget! I swear, our friendship shall never end! Nadir Zurga Friendship is sacred so let the friendship that Zurga A hush descended round her; She is gone! we plighted What do you mean? people stared, full of wonder, banish from my soul passion’s fatal call. in the stillness they sighed: Nadir We shall go hand in hand, our wandering Nadir Look there! Behold the goddess. She is gone! paths united, Zurga, even when we two are old and grey, She has come here among us But like a stab of pain an unknown desire engulfs faithful unto death, till our final breath. when the hopes and the dreams of youth are See her arms opened wide! me! We shall go hand in hand, our wandering erased from our fading thoughts, paths united…

72 73 We shall live as one, ah! my friend, until we both No 4a, Recitative No 5, Air and Chorus I gaze out there to keep those I guard in sight. shall die. Nadir Leïla Hear me, I implore you, let my heart adore you! 7 Hearing her voice my soul is a cauldron of 9 Brahma the god, My voice will soar light as a bird over you Zurga passion! sovereign of the world, we salute you! evermore. I kept my word for since the day we met her What desperate hope has made me behave in this I have lived far away here and have seen her no fashion? Chorus Chorus more. Alas, so many times before, inflamed with love, Brahma the god! Brahma the god! Sing on, sing on forever! my eyes have conjured up her sweet face from Sweet voice, sing on forever! Nadir above… Leïla Watch over us, we pray, I had to flee, for I could not forget her: No, no, I am on fire… Shiva the fair, and keep all danger far away! so in the jungle’s heart I tried to find a cure. Remorse has made me giddy… reigning at his side, we salute you! Zurga shall know the truth, Leïla Nadir and Zurga I should have told him already. Chorus Ah! Here at your side I shall help you forget her. I took a solemn oath and betrayed it for love. Shiva the fair! we shall live here as brothers now, as we did I knew I had to see her: to seek her out by stealth. Nadir before! On the darkest of nights, so quiet I held my Leïla Gods! I hear her! Leïla! Leïla! Friendship is sacred: so let the friendship we breath, Come, spirits, here, come, we salute you! You have nothing to fear! plighted I at last heard her voice borne aloft on the breezes. From the rock, the waters, the skies… I am here at your side! banish from my soul passion’s fatal call. At my voice arise, at my voice arise! Ready to die for you, We shall go hand in hand, our wandering to shed my blood to save you! paths united, No 4b, Romance Nadir faithful until death, till our final breath. Nadir Ah! That sweet voice again… Chorus We shall go hand in hand, wandering paths 8 Again her voice will haunt me with Sing on, sing on forever! united… memories of love, Chorus Sweet voice, sing on forever! We shall live as one, ah! my friend, until her voice as sweet as honey, as the song of the dove. Spirits of earth! Spirits of water! Spirits of air! we both shall die. Oh sing of passion’s fever, of love’s forbidden Leïla Our sacred friendship shall unite us. store! Leïla He is there! He is listening! Faithful unto death, till our final breath, Oh let me dream once more, dream forever or Through the azure twilight, I sing for you, I adore you, we two shall live as one, my friend, until we die. perish! Radiant in the starlight, sing my song forever, Through a night full of longing the stars above Through the heady air of the scented night, my song for you, my dearest forever. will shine Faithful to my station I guard my new nation He is there! He is listening! on her image still hovering like some angel divine.

74 75 Nadir No 8, Chanson Leïla Nadir I will stay by your side! Nadir But how could you have come? Ah! The dawn is far away still and nothing can 11 My love was weeping while she was sleeping, The path is dark and narrow: below lies an abyss. disturb us. Leïla a flower beneath the waters cold; Ah! Leïla, ah! Leïla, look kindly on your slave! Ah! Ah! she woke thereafter and her sweet laughter Nadir rang out the theme of joys untold The spirits led me here, the call of joy and sorrow: Leïla Nadir like chimes of gold. no, nothing could deny me this. No, you cannot stay! Leïla! I will stay… Leïla! At your side… Nadir Leïla Nadir A gloomy place full of malice But you should not have come! Ah! How can you deny… would try to hide her from my sight;… Go, for death will reward you… from Act II but none could capture the bright rapture… Leïla of eyes that shine through darkest night… Nadir You know that they will kill me! No 7, Recitative and Cavatina their radiant light, their radiant light! Ah, do not be afraid, I beg you! Leïla Nadir 10 I am alone here in the night. Leïla Leïla The desires that fill me? Alone in this abandoned place, Gods! By my vow you know I cannot listen, alas! deep silence all around me. That voice in the distance… not even look at you. Leïla I am trembling with fear: In the depths of my being… Ah! Ah go! I shall not sleep tonight. Heavens! Ah! His voice! Nadir But he is there, I know that he has come to find me. Ah, Show some pity! Nadir As once before in night’s deep silence, Leïla Leïla! out there where the dark shadows move, No 9, Duo Leïla he watches and I feel his presence Nadir The penalty is death! Leïla and I can sleep dreaming of love. 12 Leïla! Leïla! Ah! You bring us certain death! He watches over me as once before. Nadir Ah! Leave at once, I beg of you. I know it was him that I saw, Leïla Do not reject me now! I know that he did not forget me. Mighty gods, he is here! Nadir Radiant joy! I never expected: Leïla Alas! he has returned to me once more. Nadir Ah! Ah go! Your heart would never beat with mine: He is there; he has returned; Yes, I am here at last! when, lost in the night’s sweet embrace, and my heart beats with joy, ah!

76 77 hearing your song’s unearthly grace, when, lost in the night’s darkest place, I dreamt that you were scheming: Zurga my soul leapt and my heart would race, I felt you watch with silent grace I know you could not bear the shame, Very well. your heart would never beat with mine. and my soul longed for love’s embrace, that I have only myself to blame. Go! Leave her here. your beating heart was not alone. I was weak… I was mad… Leïla Your heart was not ever alone. What have I done? No 12b, Duo Your beating heart was not alone: Oh Nadir, once a tender love would bind us… Leïla when, lost in the night’s darkest place, Nadir Oh Leïla, radiant soul set apart… 15 (I would speak, but I cannot: I felt you watch with silent grace Yes! Your heart I know would beat with mine: Oh Nadir, oh Leïla, can you pardon my act of for a heart full of anger, alas, does not want to and my soul longed for love’s embrace, when, lost in the night’s sweet embrace, blindness hear. your beating heart was not alone. hearing your song’s unearthly grace, the folly of my heart, Beneath his gaze I tremble with terror, my soul leapt and my heart would race, of my shattered, tormented heart? for a heart full of anger does not want to hear. Nadir I know your heart would beat with mine. I am filled with remorse and anguish! I would speak, but I cannot, I gave my word to renounce you forever, Nadir! Leïla! Alas! under his gaze I am trembling with fear. that I’d be silent until I die. I shudder at what I have done. Alas, he will never want to hear, alas, with a heart But I have failed alas! from Act III Ah! Can you pardon the folly of my shattered full of anger!) Look! I tremble with fever! heart? A love so deep is too strong to deny. No 11, Entr’acte, Recitative and Air Can you forgive? Zurga Zurga (I am weak as I watch her… Leïla, mine no Leïla 13 The storm has run its course, longer, Through lonely nights, uncertain nights of the winds will howl no longer: No 12, Scene and Duo yet more lovely now she must perish, near to silence, the gods have forgotten their anger; No 12a, Recitative death yet more dear! my soul had gazed in the depths of your soul: but I cannot be calm, can find no peace of mind. Zurga Yes, the gods, eager to punish, so I could wait, wait for your shining presence, A terrible obsession like a fever devours me 14 (She is here! eager to punish me, have brought her here. wait for the joy of our love’s final call. to haunt my soul forever: Nadir, Nadir, ah! My heart… is pounding… Yes, I am weak, I am weak… Ah! Leïla, mine no Nadir will die at dawn and the blame must be I am on fire just to see her once more…) longer!) Nadir mine. It is you! You need not fear. Come closer, come closer: Can it be? Can it be? Oh Nadir, once a tender love would bind us: Who has sent you? I will listen. You are mine evermore? oh Nadir now I have sentenced you to death. Oh Nadir, alas, will rage and passion blind us, Leïla Leïla Leïla will jealous rage and passion blind us May I speak to you here? Zurga, I come to kneel before you, Ah! in the hour of your final breath? You alone… that by Brahma the god Your beating heart was not alone: No, no, I have been dreaming,

78 79 humbly I may implore you Leïla Ah Nadir! I had hoped to find a way to free him Leïla to spare a blameless man, and let me die alone. I fear not for myself, Zurga, and save his life, Ah! I’m frightened for Nadir! for sacred friendship’s sake… Zurga Ah! Be our saviour, our supporter: But you love him, you love him, you love him! Zurga What? Blameless man? He, Nadir? Is it true? blind anger must not win. That one word has filled my soul with hate and You thought that you could save him Tell me quickly! You were waiting for him in our His soul is mine forever: bitter rage! but instead reawakened most sacred shrine… he is my one, my all. all the fury and hatred Today that passion, alas, must answer to death’s call. Leïla that was burning in my jealous heart. Leïla Oh gods, I am weak! You will lose him forever, I swear it was by chance he found me, not design. Zurga Gods! while I laugh here in pleasure (His soul is hers…) to see you die together today Zurga (…answer death’s call…) Zurga and spend eternity in torment apart. Can I believe you? Trying to save his life you condemned him to Leïla death. Leïla Leïla Pity us, Zurga, pity us! Ah! My love for him becomes a crime that he must May I be cursed forever if I am lying to you now. Soften your righteous anger, Leïla die for. Ah Zurga, I come to kneel before you, hear my despairing cry, For pity’s sake be kind! Avenge yourself on me: let that be your reward. alas, that by Brahma the god ah, tell me you will save his life, you may spare him, that blameless man, Zurga I beg you, tell me you will save him, Zurga Zurga and let me die alone, Zurga. that in peace I may die. Your pleas will never soften… His crime was being loved when I had been Ah! Pity me, Zurga, consent, consent, ignored. ah! to spare a blameless man, and let me die alone. Zurga Leïla You tried to have his life and condemned him Consent, Zurga, consent, ah! What is this? For pity’s sake be kind! to death.

Zurga Leïla Zurga Leïla (Can it be? To our vow Hear my despairing cry: …my jealous heart! How can you spill his blood? and to our sacred friendship, can it be? ah, tell me you will save him, I am the one who is guilty! To our vow and to our sacred friendship, that in peace I may die. Leïla he was true? Jealous? Zurga Nadir, you did not break your word, no, Zurga You love him… Nadir, you did not break your word! That in peace you may die… Zurga Oh what joy! Oh what joy! Yes! Nadir! Ah!) That in peace you may die! He and I, Leïla, he and I both loved you!

80 81 Leïla Zurga Nadir Leïla You are cruel! I tremble, blind with rage! Leïla! To the halls of splendour I am eaten up with jealous fury. through an open door Zurga Listen! Ah! Leïla as one soul we enter, You love him… All hope is lost: now I take my vengeance, I shall be glad to die at last.… reunited evermore. blind with rage and jealous fury… Leïla You will lose him forever! Nadir Chorus You are harsh! It is over: all hope is lost; Come! No ray of light relieves the gloom of darkest night. and you will die with him. The light of dawn will fill the sky. Zurga Yes, you both shall die. Leïla and Nadir Then he must die! It is over… All hope is lost! Ah! I shall be glad to die beside my love. Leïla and Nadir Ah, no more! Ah, no more! Sacred life of being! Come on! Leïla Embrace unseeing! We never shall be afraid! So be it! Chorus Sacred life of being! Ah! Sacred light of being! Laugh! Take your revenge! Ah! Great god! The powers of darkness Embrace unseeing! Come on, laugh, come on, laugh! cannot make me fear the moment of death. Sacred light of being! Laugh when you see our torment, Our god will protect us! The powers of darkness yes, enjoy your brief moment: No 14, Scene and Duo Our god will accept us! cannot make me fear the moment of death. laugh till endless remorse Nourabad Yes he will protect us! Our god will protect us! comes to tear your soul apart. 16 Spirits of dreadful night, And I shall not tremble in your loving arms, And he will accept us! You will lose us forever we shall destroy them who offend your sight. yes, your arms at the hour of my final breath. To the halls of splendour when we die for your pleasure: through heaven’s open door ah! but in heaven together Chorus Nourabad and Chorus as one soul we enter, we shall live as one loving heart. Spirits of dreadful night, Look there! They defy us! as one soul united for evermore. Laugh at our torment! Laugh while you may! we shall destroy them who offend your sight. Laugh till remorse comes to tear your soul apart. Nadir Nadir Laugh, you monster, laugh, come on: Nadir In the radiant heavens Farewell, Leïla, farewell, farewell. then remorse will tear your soul apart. Ah! shines a purer light: Ah! You monster! we shall know that radiance, Leïla Laugh, come on! Zurga, I curse your name… Leïla shall live in that light. Farewell, Nadir, farewell, farewell. curse your soul! For I love him evermore! Nadir!

82 83 Chorus Oh gods unseeing! Mighty gods unseeing! people stared, full of wonder, The light of dawn will fill the sky. I can die at last. The threat has vanished; in the stillness they sighed: Such love lasts forever! our fears are banished: Look there! Behold the goddess for we have been saved from death at the last. who has come here among us Bonus tracks Leïla See her arms opened wide! Mighty gods unseeing! Zurga No 15, Trio (posthumous) Oh gods! Such love lasts forever! Zurga Leïla and Nadir Nadir Sacred light of being! She lifts her veil a moment… 17 Sacred light of being! In the radiant heavens Mighty gods unseeing! Oh blessèd sight! Oh rapture! Mighty gods unseeing! shines a purer light: My tears have vanished: The people fall to the ground… The threat has vanished; we fly to that radiance, I who saved them both can die at the last! our fears are banished: to that shining light. Nadir and Zurga for we have been saved from death at the last. Leïla and Nadir Yes, a goddess, truly a goddess Leïla I shall not leave you; of such rare, radiant beauty! Zurga To the halls of splendour none shall tear me from you at the last! Yes, a goddess, truly a goddess Sacred light of being! through an open door Here in your arms I shall rest! sent among us on earth Mighty gods unseeing! as one soul we enter, for our delight and torment My tears have vanished: reunited evermore. who beside her have no worth. I who saved them both can die at the last. No 2b, Duet (posthumous ending) Leïla and Nadir Nadir Nadir Leïla and Nadir Darkness enfolds the earth: 18 Then from the holy shrine, Slowly she moves among them, Zurga came to save us… no dawn to light the sky. adorned with flowers and jewels, still intent on her duty… Life once more he gave us. like a phantom she rose, I shall not leave you: Zurga the girl that haunts my soul. Zurga ever in your loving arms I shall rest. Darkness enfolds the earth: …but already her veil conceals dawn will soon light the sky. Zurga her radiant beauty… Zurga Darkness enfolds us: …like a phantom she rose, O gods! See them together: very soon dawn will light up the sky. the girl that haunts my soul. Nadir such love lasts forever. And her face, alas, cannot be seen… My tears have vanished: Leïla and Nadir Nadir I die at the last. Come on! Our hearts united in love! A hush descended round her; Oh light of being! Sacred light of being!

84 85 Zurga Zurga On session: Rebecca Evans She is gone! No, let nothing come between us!

Nadir Nadir She is gone! Nothing! But like a stab of pain an unknown desire engulfs me! Nadir and Zurga Our friendship shall never end! Zurga I swear, our friendship shall never end! A raging fire overwhelms me! Yes, a goddess, truly a goddess who unites our two souls again; Zurga and Nadir I shall hold true to my promise Again it drives us apart! and as brothers we shall live as one. A goddess, truly a goddess Nadir who unites our two souls again! Both our hearts are filled with anger: Yes, we shall tread one single path, we are enemies once more! faithful until the hour of death.

Libretto by Eugène Cormon and Michel Carré, English translation by David Parry, English translation © Peters Edition Ltd, London

86 87 The Opera In English Series Great Operatic Arias

CHAN 3011(2) Donizetti: Don Pasquale CHAN 3136(2) Verdi: Nabucco CHAN 3103(2) Mozart: Idomeneo CHAN 3127 Christine Brewer CHAN 3027(2) Donizetti: The Elixir of Love CHAN 3068(2) Verdi: Otello CHAN 3113(3) Mozart: The Marriage of Figaro CHAN 3096 Elizabeth Futral CHAN 3083(2) Donizetti: Lucia of Lammermoor CHAN 3030(2) Verdi: Rigoletto CHAN 3121(2) Mozart: The Magic Flute CHAN 3035 Yvonne Kenny CHAN 3017(2) Donizetti: Mary Stuart CHAN 3023(2) Verdi: La traviata CHAN 3022 Strauss: Der Rosenkavalier (The CHAN 3099 Yvonne Kenny 2 CHAN 3073 sings scenes from Mary CHAN 3036(2) Verdi: (The Troubadour) Knight of the Rose, highlights) CHAN 3049 Della Jones Stuart CHAN 3067 A Verdi Celebration CHAN 3119(2) Wagner: The Flying Dutchman CHAN 3142 Jennifer Larmore CHAN 3003 Leoncavallo: Pagliacci (The Touring CHAN 3091(2) Bizet: Carmen CHAN 3148(4) Wagner: The Mastersingers CHAN 3010 Diana Montague Company) CHAN 3014(3) Gounod: Faust CHAN 3054(3) Wagner: The Rhinegold CHAN 3093 Diana Montague 2 CHAN 3004 Mascagni: Cavalleria rusricana CHAN 3089(2) Gounod: Faust (abridged) CHAN 3038(4) Wagner: The Valkyrie CHAN 3112 Barry Banks (Rustic Chivalry) CHAN 3033(2) Massenet: Werther CHAN 3045(4) Wagner: Siegfried CHAN 3006 Bruce Ford CHAN 3005(2) Pagliacci & Cavalleria rusticana CHAN 3134(2) Poulenc: The Carmelites CHAN 3060(5) Wagner: Twilight of the Gods CHAN 3100 Bruce Ford 2 CHAN 3008(2) Puccini: La bohème CHAN 3130(3) Berg: Lulu CHAN 3065(16) Wagner: Complete Ring Cycle CHAN 3088 Bruce Ford sings Viennese Operetta CHAN 3070(2) Puccini: Madam Butterfly CHAN 3094(2) Berg: CHAN 3133 Bartók: Bluebeard’s Castle CHAN 3013 Dennis O’Neill CHAN 3000(2) Puccini: Tosca CHAN 3019(3) Handel: Julius Caesar CHAN 3101(2) Janácˇek: The Cunning Little Vixen CHAN 3105 Dennis O’Neill 2 CHAN 3066 Jane Eaglen sings Tosca CHAN 3147 Handel: Acis and Galatea CHAN 3029(2) Janácˇek: Osud (Fate) CHAN 3085 Alan Opie CHAN 3086(2) Puccini: CHAN 3072 Janet Baker sings scenes from Julius CHAN 3106(2) Janácˇek: Jenu˚fa CHAN 3077 Andrew Shore CHAN 3025(2) Rossini: Caesar CHAN 3138(2) Janácˇek: The Makropulos Case CHAN 3032 Alastair Miles CHAN 3097(2) Rossini: The Thieving Magpie CHAN 3143(2) Humperdinck: Hansel and Gretel CHAN 3145(2) Janácˇek: Katya Kabanova CHAN 3044 John Tomlinson CHAN 3074(2) Verdi: Aida CHAN 3081(2) Mozart: The Abduction from the CHAN 3007 Mussorgsky: Boris Godunov CHAN 3076 John Tomlinson 2 CHAN 3052(2) Verdi: Ernani Seraglio (highlights) CHAN 3118 Sir CHAN 3079(2) Verdi: CHAN 3152(3) Mozart: Così fan tutte CHAN 3128(2) Smetana: The Bartered Bride CHAN 3155 Sir Thomas Allen 2 CHAN 3116(2) Verdi: A Masked Ball CHAN 3057(3) Mozart: Don Giovanni CHAN 3042(2) Tchaikovsky: CHAN 3078 Baroque Celebration

88 89 On session: Rebecca Evans and Brad Cohen

91 Also Available Also Available CHAN 3091 CHAN 3121

92 93 Also Available

Vocal and language consultant: Ludmilla Andrew Staging director: Charles Kilpatrick Music librarian: Richard Payne, London Philharmonic Orchestra Picture research: Helen Anderson Translation research: Henrietta Bredin

Session photos by Bill Cooper

Executive producer Brian Couzens Producer and editor Rachel Smith Sound engineer Ralph Couzens Assistant engineer Peter Newble Operas administrator Sue Shortridge Recording venue Blackheath Halls; 10 – 12 September 2007 Front cover Montage by designer Back cover Photo of Brad Cohen by Bill Cooper Design Cassidy Rayne Creative Booklet editor Kara Reed Copyright Peters Edition Ltd, London

CHAN 3143(2) p 2008 Chandos Records Ltd © 2008 Chandos Records Ltd

94 95 B i ze t B i ze t CHANDOS DIGITAL CHAN 3156 : : The Pe a r l F i shers h ig lig t s - Printed in the EU MCPS The Pe a r l F i shers h ig lig t s - LC 7038 DDD TT 79:00 Georges Bizet (1838 –1875) Recorded in 24-bit/96kHz

highlights from THE Pearl Fishers Published by Peters Edition Ltd, London

Opera in three acts

Libretto by Eugène Cormon and Michel Carré, English translation by David Parry oloists Zurga, head fisherman Simon Keenlyside baritone oloists Nadir, fisherman Barry Banks tenor / /

LPO Leïla, priestess of Brahma Rebecca Evans soprano LPO Nourabad, high priest of Brahma Alastair Miles bass / / Cohen Cohen Geoffrey Mitchell Choir London Philharmonic Orchestra Brad Cohen

CHAN 3156 CHAN TT 79:00 3156 CHAN

p 2008 Chandos Records Ltd c 2008 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England