Lawrence Brownlee Virtuoso Rossini Arias

0 13491 34355 9 DELOS DE 3455 LAWRENCE BROWNLEEE • VIRTUOSO ROSSINI DELOS DE 3455 LAWRENCEARIAS ROSSINI • VIRTUOSO BROWNLEEE LAWRENCE BROWNLEE DELOS DE 3455 LAWRENCEARIAS ROSSINI • VIRTUOSO BROWNLEEE VIRTUOSO ROSSINI ARIAS

“bel canto at its best” -Shirley Apthorp, Financial Times

1. LA GAZZA LADRA: Vieni fra questa braccia (5:12) 2. LE COMTE ORY: Que les destins prospères (5:15) 3. L’OCCASIONE FA IL LADRO: D’ogni più sacro impegno (5:06) 4. OTELLO: Che ascolto! (6:56) 5. SEMIRAMIDE: Ah dov’è, dov’è il cimento (7:43) 6. IL TURCO IN ITALIA: Tu seconda ail mio desegno (6:20) 7. LA DONNA DEL LAGO: O fiamma soave (8:41) 8. ZELMIRA: Terra amica (9:13)

“With his sweet tone, fastidious pitch, and poetic LAWRENCE BROWNLEE, tenor phrasing, Brownlee made…familiar fare sound CONSTANTINE ORBELIAN, conductor intriguingly fresh, banishing, for a moment, the ghosts of Caruso and Pavarotti.” KAUNAS CITY SYMPHONY ORCHESTRA -Alex Ross, The New Yorker

Total Playing Time: 54:32

© 2013 Delos Productions, Inc., ORIGINAL DIGITAL ORIGINAL DIGITAL P.O. Box 343, Sonoma, CA 95476-9998 DE 3455 (800) 364-0645 • (707) 996-3844 [email protected] www.delosmusic.com LAWRENCE BROWNLEE VIRTUOSO ROSSINI ARIAS

1. La gazza ladra: Vieni fra questa braccia (5:12) 2. Le Comte Ory: Que les destins prospères (5:15) 3. L’occasione fa il ladro: D’ogni più sacro impegno (5:06) 4. Otello: Che ascolto! (6:56) 5. Semiramide: Ah dov’è, dov’è il cimento (7:43) 6. Il Turco In Italia: Tu seconda ail mio desegno (6:20) 7. La donna del lago: O fiamma soave (8:41) 8. Zelmira: Terra amica (9:13)

CONSTANTINE ORBELIAN, conductor KAUNAS CITY SYMPHONY ORCHESTRA

Total Playing Time: 54:32

2 This album of spectacular cavatinas and heart Ninetta, who is soon to be ac- arias by Gioacchino Rossini (1792-1868) cused of the crime. from tenor extraordinaire Lawrence Brownlee – his first-ever aria collection Vieni fra questa braccia… with orchestra – is long overdue. It not mi balza il corn el sen! only captures one of the most unique D’un vero amor, mio ben, and exciting Bel Canto tenor voices of quest ‘ è il linguaggio. our time at its glorious peak, but it also offers a choice selection of thrilling vo- Anche al nemico in faccia cal blockbusters that you may well nev- m’eri presente ognor: er have heard, drawn as they are from tu m’inspiravi allor several of the old master’s most rarely forza, oraggio e valor. performed operas. Ma quell piacer che adesso, Best-known for its witty and scintillat- o mia Ninetta, io provo, ing overture, the otherwise unfairly ne- è cosi dolce e nuovo glected La gazza ladra (The Thieving che no si può spiegar. Magpie) was composed in great haste in 1817 for Milan’s La Scala. It’s a classic Come to my embrace… example of “melodramma semiseria,” my heart leaps in my breast! a then-popular category of opera that My darling, I speak told a serious story, but with comic el- true love’s language. ements. Here, the sober tale – based on a true story – revolves around a young Even in the face of my enemy, servant girl condemned to die for the my thoughts were ever of you: theft of a silver spoon that had in fact It was you who inspired in me been purloined by a magpie. With his strength, courage and valor Act I cavatina “Vieni fra questa braccia,” the young soldier Gianetto, upon But the pleasure his return from war, greets his sweet- that I now feel, Ninetta, 3 is so sweet, so new Que les destins prospères, that I cannot explain it! accueillent vos prières! La paix du ciel, mes frères, Le Comte Ory (Count Ory – 1828) is, by na- soit toujours avec vous! ture, a comic opera – though it was written in the more formal structure and style May the reconciling fates of a serious opera. Recycling some of the graciously receive your prayers! earlier music from his Il Viaggio a Reims, it May the peace of heaven, my brothers, tells the twelfth-century story of the op- be always with you! portunistic rascal Count Ory, who – with Widows or maidens, most of the court’s men away on Crusade in your cruel suffering, – seeks romantic adventure among the Come to me, my pretty ones: women left behind. In Act I, disguised as To oblige is so appealing! a hermit, he enters the castle grounds and I reunite families, – in his opening cavatina, “Que les des- and even grant husbands tins prospères” – promises sage advice to young maidens. to lonely women, widows and young girls Come, everybody, come. alike, in how to find husbands. L’occasione fa il ladro (Opportunity Que les destins prospères, makes the thief) dates from 1812; it’s accueillent vos prières! one of five early one-act operas (a so- La paix du ciel, mes frères, called burletta per musica or farsa) that soit toujours avec vous! he wrote for a theatre in Venice before Veuves ou demoiselles, he became widely known as an operat- dans vos peines cruelles, ic composer. The work quickly fell into venez a moi, mes belles: obscurity after his death, and remains Obliger est si doux! almost unknown today. This lightheart- L’accorde les familles, ed “farce” presents the unlikely tale of et même aux jeunes filles Count Alberto – who is travelling to je donne des époux. meet the fiancée he has never met. 4 Alberto’s luggage is mistakenly taken strive to overcome me, by another man – who finds the lady’s that high-born contempt portrait among his belongings, and re- which ignites my honor, solves to claim her for his own. In the armed with virtue, confusion that follows, Alberto gives will pale and vanquish voice to his indignation and outrage in audacity so vain. “D’ogni più sacro impegni.” Otello – one of the first of Rossini’s Ne- D’ogni più sacro impegno apolitan operas (1816) – is unusual in sciolta pur sia la fede, that three of the main character roles – amor da voi non chiede Otello, Iago and Rodrigo – are assigned chi amor per voi non ha. to tenors! Rossini took much greater lib- Pera, chi vuol costringere erties with Shakespeare’s classic trage- d’un cor la libertà. dy (like shifting the action from Cyprus to Venice) than Giuseppe Verdi did in Ma se un sopetto indegno his better-known adaptation seven de- di soverchiarmi intende, cades later – but recent performances quel generoso sdegno, of this vigorous and rousing opera have che il mio decoro accende, suggested that the work’s comparative dalla ragione armato, neglect is hardly justified. Rodrigo’s un vano ardir confondere, “Che ascolto!” recitative and aria opens e impallidir farà. act II: in it, he bitterly decries Desdemo- na’s betrayal of his love, and swears that Of all holiest bonds, he knows how to punish his rival, Otello. let faith first be undone. He who has no love for you Che ascolto! Ahime! Che dici! asks you for none. Ah come mai non senti Who wants to confine pietà de’ miei tormenti, the freedom of another’s heart? del mio tradito amor? But should a shameful suspicion Perché pietà, oh Dio, non senti 5 del mio tradito amor? recently murdered husband, King Nino. Ma se costante sei Idreno, a visiting Indian King, is in love nel tuo rigor crudele, with the princess Azema – who, in turn, se sprezzi I prieghi miei, loves another. Towards the end of Act I, saprò con questo braccio he pours out his passion for her in “Ah punire il traditor. dov’ è, dov’ è il cimento.”

What am I hearing? Alas! What are you Ah dov’ è, dov’ è il cimento? saying! Già di me maggior mi sento; Ah, why do you not feel tu mi rendi la speranza, pity for my suffering, muovo in me rideste ardir. for my love’s betrayal? D’un rival la rea baldanza Why, oh God, do you have no pity Io già avvampo di punir for my betrayed love? But if you firmly persist E se ancor libero in your cruel harshness, è il tuo bel core; if you ridicule my prayers, di quell che accendemi I shall know, by my own hand, tenero amore how to punish my betrayers. in seno almeno senti pietà; Set in ancient Babylon, Semiramide – più fida un’ anima Rossini’s 1823 opera based on Voltaire’s non troverai: tragedy Semiramis – is his final Italian tu sola l’idolo, opera, as well as his magnificent final cara sarai, tribute to the Baroque traditions of che ognora Idreno highly stylized and decorative singing adorerà. that he had grown up with. The opera’s plot follows the complex course of trai- So where, where then is the contest? torous plotting and palace intrigue as to I already feel myself to be the greater; who will succeed Queen Semiramide’s you give me hope, 6 and arouse new daring in me. prompt him – in act II – to dress in Turkish I am now burning garb himself, after expressing his love- to punish an evil rival’s impudence. lorn rage in the spectacular aria, “Tu seconda il mio desegno.” And if your lovely heart is still free, Tu seconda il mio desegno, at least have compassion dolce Amor , da cui mi viene. in your breast Deh!Ricusa a tutti un bene, for the tender love che accordasti solo a me. you awakened in me; Se il mio rival delude! you will never find Se inganno un incostante! a more faithful heart: Per un offeso amante you alone, beloved, vendetta egual non v’ é. shall be the idol Ah! Si, la speme that Idreno che sento in core, adores forever. pietoso amore, mi vien da te. Rossini wrote his Il Turco in Italia (The Turk in Italy) – a true masterpiece of the Support my plan, dramma buffo genre – in 1814. A kind inspired by you, sweet love. of companion piece (but not a sequel) I beg you, refuse to all a favor, to his earlier hit, L’Italiana in Algeri, the which you granted only to me. opera revolves around a hilarious culture If I frustrate my rival, clash involving a Turkish Gentleman who if I deceive a flirtatious girl, – while in Italy – sees no reason why he there’s no better revenge can’t buy a wife as he could in his home- for a wounded lover. land; his effort to do so turns an existing Ah! Yes, the hope love triangle into a “love quadrangle.” that I feel in my heart Amid a chaotic scenario of disguised im- comes to me personation and mistaken identity, the from you, merciful love. Turk’s attentions to Narciso’s beloved 7 La donna del lago (The Lady of the Vederti un momento, Lake), is based on Sir Walter Scott’s bearmi in quel ciglio like-titled epic poem that takes us back è il dolce contento, to sixteenth-century Scotland, amid the che anela il mio cor! country’s long-standing conflict with England. Composed in 1819, it inspired O sweet passion, a veritable flood of Italian operas based that burns in my breast, on Scott’s romantic epics (the best have mercy known being Donizetti’s Lucia di Lam- upon a faithful lover! mermoor). In terms of its stylistic vari- ety and innovation, it’s been called one It is for your sake of the composer’s most engaging and that I face danger like a lunatic; tuneful operas. Uberto – actually King with no regard for myself, James V of Scotland in disguise – has all reason has left me. fallen in love with Elena, the title heroine, whose heart belongs to another. As To see you but for a moment, Act II begins, Uberto – seeking to save to bask in the glow of your gaze – Elena from the threat of imminent bat- this is the happiness tle – gives ardent voice to his passion for that is my heart’s sweetest desire! her with “O fiamma soave.” Zelmira (1822) is the last of Rossini’s O fiamma soave, vaunted “Neapolitan operas,” a series che il sen m’ accendi! of nine mostly serious works written pietosa ti rendi during his seven-year stint in Naples a un fido amator! that – despite the popularity of his Per te forsennato brilliant comic operas – many consid- affronto il periglio: er to be the qualitative core of his life’s non curo il mio stato, work. The scenario takes us back to non ho più consiglio; the island of Lesbos in ancient Greece, where dwells the title heroine: the wife 8 of Prince Ilo and daughter of King Po- dirmi portrò lidoro. Zelmira has, in fact, hidden her quando al mio lato father away from his enemies – but is ti rivedrò. accused by a traitor of having murdered him instead. In “Terra amica” – Ilo’s Act Pleasant land, where dwell I Cavatina – he sings warmly (surround- my wife and beloved son, ed by his soldiers) of his love for the fair what happiness your friendly presence land where dwell his beloved wife and inspires in my heart! child – even with peril all around. There, under arms, Terra amica, ove respire and with dangers all around, la consorte, il figlio amato, my sweetest yearning qual contento in sen m’ispira was to see my wife and son again! quell’ aspetto fusinghier! Dearest one! Ah, wait for me! Là fra l’armi, e mentre intorno To your fairest breast si aggirava a me il periglio, shall I fly! riveder la sposa, il figlio era il dolce mio pensier! Happy is the air that envelops you! Cara! Deh attendimi! How happy the breezes Nel tuo bel seno that caress you! volar saprò. I will only be able to claim true happiness Felici l’aure when, once again, che per te spirano! I see you by my side Felici I zeffiri che a te s’appressano!

E avventurato 9 The most in-demand American tenor Orchestra. His high Cs were on display in the world in the bel canto repertoire, when he was Tonio in La fille du régi- Lawrence Brownlee continues to stupe- ment at the Metropolitan Opera, where fy audiences with the power and agility he is rapidly becoming a house favorite. of his instrument. From firmly American Brownlee recently performed in South roots, Brownlee has become a star on Africa for the first time, a recital as part the international scene, performing op- of Cape Town Opera’s season. posite the leading ladies of contemporary opera, and lauded continually for the Brownlee has been featured in nearly seemingly effortless beauty of his voice. every major theater in the world and en- joys a relationship with many premiere Recent Brownlee performances include conductors and symphony orchestras. a solo recital program at the Wigmore Among his other memorable engage- Hall in London; a debut at Grand Théâtre ments are: Cenerentola in Milan, Hous- de Genève in a production of Il Barbiere ton, Philadelphia and the Met; L’italiana di Siviglia; a Carnegie Hall recital; a San- in Algeri in Milan, Dresden, Boston and ta Fe Opera debut in La donna del lago; Seattle; I puritani in Washington and Se- an appearance at Houston Grand Op- attle; Mosé in Egitto in Rome; Il turco in era in L’italiana in Algeri; Le Comte Ory Italia in Toulouse and Berlin; Tancredi with with Cecilia Bartoli at the Theater an der the Detroit Symphony and on an eight- Wien; a performance of Carmina Burana city European tour with the Orchestre in Russia; La fille du regiment and L’eli- des Champs-Élysées; La donna del lago sir d’amore at the Hamburgische Staat- in Washington; Semiramide and L’elisir soper. The latter marked the first time d’amore, both at the Caramoor Festival; Brownlee appeared as Nemorino in a Armida at the Metropolitan Opera; La fully staged performance. Fille du régiment in Hamburg, Cincinnati and at the Metropolitan Opera; Salieri’s Brownlee had the honor of opening the Axur, re d’Ormus in Zurich; L’ape musicale Mostly Mozart Festival in New York with in Vienna, and the world premiere of Lorin Louis Langrée and the Mostly Mozart Maazel’s 1984 at Covent Garden.

10 In the orchestral arena, he has been Berliner Philharmoniker on EuroArts/ heard in: Bach’s Magnificat in Cincinna- Opus Arte (a CD version of this perfor- ti; Messiah in Houston, San Francisco, mance already exists on EMI Classics). Detroit, Baltimore and Indianapolis; Is- rael in Egypt in Cleveland; the Mozart Other releases include three CD sets: on Mass in C minor in Chicago and Balti- Opera Rara, an exploration of Rossini more; Carmina Burana with the Boston songs, and on Naxos, L’italiana in Al- Symphony Orchestra at Tanglewood, geri conducted by Alberto Zedda. A live and highlights from Porgy and Bess with recording of Mayr’s Medea in Corinto the New York Philharmonic (including a from St. Gallen was released by Oehms “Live From Lincoln Center” telecast). Classics. Additionally, Deutsche Gram- mophon released a DVD of the Metro- Brownlee has performed recitals at politan Opera’s 2009 production of La the Kennedy Center, Lincoln Center’s Cenerentola with Elīna Garanča as An- Avery Fisher Hall, in Atlanta, Tokyo, on gelina. Among his earlier CD releases is London’s Rosenblatt Series, and others his first solo disc (EMI Classics) featuring around the United States under the aus- Italian songs by Schubert, Verdi, Doni- pices of the Marilyn Horne Foundation. zetti, Bellini and Rossini, accompanied by Martin Katz. Song released a live Il Brownlee’s discography/videography barbiere di Siviglia. Decca has released continues to grow impressively. The a DVD of a performance from the Cov- 2010-11 season saw the EMI Classics CD ent Garden world premiere run of Lorin release of Rossini’s Stabat Mater, fea- Maazel’s 1984, in which Brownlee took turing Anna Netrebko, Joyce DiDonato on the role of Syme. and Ildebrando d’Arcangelo, with Anto- Brownlee was named the Seattle Op- nio Pappano leading the Accademia Na- era’s 2008 Artist of the Year, received zionale di Santa Cecilia, as well as a pair the Opera Company of Philadelphia’s of DVDs: the Met Opera’s 2010 HD relay 2007 Alter Award for Artistic Excellence, of Armida on Decca and Carmina Bu- and was the winner of both the 2006 rana with Sir Simon Rattle leading the 11 Marian Anderson and Richard Tucker collaborations to tours in Europe, UK, Awards, a feat never before achieved by Japan, Korea, and other music capitals any artist in the same year. He partici- throughout the world. pated in young artist programs at both the Seattle and Wolf Trap Operas. Orbelian’s appointment in 1991 as Mu- sic Director of the Moscow Chamber Or- The Ohio-born Brownlee received a Bach- chestra was a breakthrough event: he is elor of Arts degree from Anderson Univer- the first American ever to become music sity and a Master of Music degree from director of an ensemble in Russia. This Indiana University. He is a Life Member of “American in Moscow” is well known as Kappa Alpha Psi Fraternity Inc. a tireless champion of Russian-Ameri- can cultural exchange and international “Constantine Orbelian stands astride ambassadorship through his worldwide two great societies, and finds and pro- tours. In January 2004, President Pu- motes synergistic harmony from the tin awarded Orbelian the coveted title best of each.” (Fanfare) “Honored Artist of Russia,” a title never before bestowed on a non-Russian For over 20 years the brilliant American citizen. In May 2010, Orbelian led the pianist/conductor has been a central opening Ceremonial Concert for the figure in Russia’s musical life — as Music Cultural Olympics in Sochi, Russia — the Director of the Moscow Chamber Or- first event setting the stage for Russia’s chestra and the Philharmonia of Russia, hosting of the Olympic Games in 2014. and as frequent guest conductor with other illustrious Russian orchestras. In “Orbelian has star quality, and his or- 2013 he also became Chief Conductor of chestra plays with passion and pre- the Kaunas City Symphony Orchestra. cision,” The Audio Critic wrote of his He tours with American stars in Russian acclaimed series of over 30 recordings and European music centers, and with on Delos. Among his recent concert Russian stars in North American music and televised appearances are collab- centers, and extends these splendid orations with stars Renée Fleming and 12 Dmitri Hvorostovsky, and with Van Cl- es of St. Petersburg International Music iburn in Cliburn’s sentimental return to Festival. Moscow, the great pianist’s last performance. Opera News calls Orbelian “the Born in San Francisco to Russian and singer’s dream collaborator,” and com- Armenian emigré parents, Constantine mented that he conducts vocal reper- Orbelian made his debut as a piano toire “with the sensitivity of a lieder pia- prodigy with the San Francisco Sym- nist.” Orbelian’s frequent collaborations phony at the age of 11. After graduating with Hvorostovsky include repertoire from Juilliard in New York, he embarked from their Delos recordings “Where on a career as a piano virtuoso that in- Are You, My Brothers?” and “Moscow cluded appearances with major sym- Nights,” featured on many tours and phony orchestras throughout the U.S., telecasts. On several occasions he has U.K., Europe, and Russia. His recording conducted historic live telecasts from of the Khachaturian piano concerto Moscow’s Red Square, the latest of with conductor Neeme Järvi won “Best which took place on June 19, 2013, with Concerto Recording of the Year” award Hvorostovsky and Anna Netrebko. in the United Kingdom.

Recently Orbelian has turned to film to From his 1995 performance at the 50th create more of his unique American/ Anniversary Celebrations of the United Russian collaborations. His first film Nations in San Francisco, to his 2004 production, “Renée Fleming and Dmi- performance at the U.S. State Depart- tri Hvorostovsky: An Odyssey in St. Pe- ment commemorating 70 years of dip- tersburg,” was filmed in St. Petersburg’s lomatic relations between Washington most glorious palaces, and stars Renée and Moscow, and a repeat State Depart- Fleming and Dmitri Hvorostovsky in op- ment appearance in 2007, all with the era scenes and arias. The film is in some Moscow Chamber Orchestra, Orbelian ways a culmination of Orbelian’s efforts continues to use his artistic eminence in St. Petersburg, since he is founder in the cause of international goodwill. and Music Director of the annual Palac- He and his orchestras also participate in 13 cultural enrichment programs for young appears in around 50 concerts per year. A people, both in Russia and the U.S. In highly versatile ensemble, the orchestra 2001 Orbelian was awarded the Ellis Is- specializes in various genres of classical land Medal of Honor, an award given to and contemporary music, including immigrants, or children of immigrants, crossover projects with such groups as who have made outstanding contribu- The Scorpions, Smokie, and the Electric tions to the United States. Light Orchestra, to name a few.

The orchestra also appeared at the The Kaunas City Symphony Orchestra opera contest show Arc of Triumph grew from the Kaunas Chamber Orch- for two years on Lithuanian National estra, which was founded in 1988 Television. and since 2000 has been managed by Algimantas Treikauskas. Its previous Among the group’s prominent principal conductors were Pavel Berman, highlights in the 2012/2013 season are Modestas Pitrenas and Imants Resnis; its collaboration with famous baritone the position now belongs to American Dmitri Hvorostovsky and Maestro maestro Constantine Orbelian. Orbelian, as well as its appearance at the Murten Classics festival in Switzerland The Kaunas City Symphony Orchestra under the baton of Kaspar Zehnder. gives concerts at home in Lithuania The orchestra’s discography includes and abroad – including Latvia, Estonia, several CDs. A number of recent Norway, Switzerland, Germany, Fin- projects were recorded for Delos with land, and Italy. It appears regularly at several of today’s most famous voices, various international festivals, presents conducted by Maestro Orbelian. There special concert projects and gives is also a new recording of Giuseppe theme-oriented concerts. Many famous Verdi’s Simon Boccanegra starring Lithuanian as well as foreign soloists Dmitri Hvorostovsky, Barbara Frittoli and conductors have collaborated with and Stefano Secco (DE 3457). The latter the orchestra – which organizes and will be released in September 2014. 14 Recorded at Kaunas Philharmonic April 1-5, 2013 (Kaunas, Lithuania) Balance Engineer and Editing: Vilius Keras Recording Engineer: Aleksandra Suchova Equipment: Neumann, Schoeps and DPA microphones; Mogami cables; RME pre- amplifiers and A/D converters; Sequoia workstation; Dynaudio AIR loudspeakers; Sennheiser headphones. Photos of Lawrence Brownlee: Alabastro Photography Photo of Constantine Orbelian: Vladimir Semenikhine We would like to thank Algimantas Treikauskas-General Director of the Kaunas City Symphony Orchestra for his invaluable help in producing this recording.