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CHAN 3142 Book.Indd CHAN 3142 72 73 CCHANHAN 33142142 BBook.inddook.indd 772-732-73 227/2/077/2/07 009:23:339:23:33 Great Operatic Arias with Jennifer Larmore © Ken Howard © Ken 3 CCHANHAN 33142142 BBook.inddook.indd 22-3-3 227/2/077/2/07 009:22:529:22:52 Time Page Time Page Francesco Cilea (1866 –1950) Amilcare Ponchielli (1834 –1886) from Adriana Lecouvreur from La Gioconda Princess of Bouillon’s aria Gioconda and Laura’s duet 1 ‘The torment of desire, exquisite torture’ – 4 ‘My curse upon you!’ – ‘Star of the Evening’ 4:18 [p. 56] ‘Love like mine is the light of creation’ 3:43 [p. 57] (O vagabonda stella d’oriente) (L’amo come il fulgor del creato) with Susan Patterson soprano Gaetano Donizetti (1797–1848) from La favorita (The Mistress) Wolfgang Amadeus Mozart (1756 –1791) Leonora’s aria from Don Giovanni 2 ‘Can I believe it?’ – Donna Elvira’s recitative and aria ‘Oh my beloved’ – 5 ‘To what atrocity’ – ‘I submit to heav’nly powers!’ 8:02 [p. 56] ‘That ungrateful man betrayed me’ 5:46 [p. 58] (O, mio Fernando) (Mi tradì) Giuseppe Verdi (1813–1901) Richard Wagner (1813 –1883) from Il trovatore (The Troubadour) from Rienzi Azucena’s canzone Adriano’s scena 3 ‘Fierce fl ames are raging’ 2:54 [p. 57] 6 ‘Oh righteous God’ – (Stride la vampa) ‘Where was I?’ 9:19 [p. 59] (Wo war ich?) 4 5 CCHANHAN 33142142 BBook.inddook.indd 44-5-5 227/2/077/2/07 009:22:549:22:54 Time Page Time Page Gaetano Donizetti Vincenzo Bellini (1801–1835) from La favorita from Norma Leonora and Fernando’s duet Norma and Adalgisa’s Duet 7 ‘You, most courteous maiden’ – 10 ‘Take my children’ – ‘My beloved’ 10:26 [p. 60] ‘See, O Norma’ 10:49 [p. 63] (Ah, mio bene) (Mira, O Norma) with Colin Lee tenor and Ffl ur Wyn soprano with Susan Patterson soprano George Frideric Handel (1685 –1759) Giuseppe Verdi from Semele from Don Carlos Juno’s aria Princess Eboli’s aria 11 8 ‘Hence, Iris hence away!’ 3:40 [p. 62] ‘O hated gift’ 4:35 [p. 64] (O don fatale) Gioachino Rossini (1792 –1868) from Tancredi Charles Gounod (1818 –1893) Tancredi’s Aria from Romeo and Juliet 12 9 ‘Tell me, my beating heart’ 2:56 [p. 63] Juliet’s Waltz Song 3:44 [p. 65] (Di tanti palpiti) (Je veux vivre) TT 71:27 Philharmonia Orchestra Gareth Hancock assistant conductor David Parry 6 7 CCHANHAN 33142142 BBook.inddook.indd 66-7-7 227/2/077/2/07 009:22:549:22:54 On session: ?? © Winnie © Winnie Klotz © Maximo Parpagnoli / Teatro Colón Teatro / Parpagnoli © Maximo Jennifer Larmore in the title role of Rossini’s Elisabetta, regina d’Inghilterra at the Teatro Colón, Jennifer Larmore in the title role of the Metropolitan Opera’s production of Rossini’s Buenos Aires La Cenerentola 8 9 CCHANHAN 33142142 BBook.inddook.indd 88-9-9 227/2/077/2/07 009:22:549:22:54 It was a delight to make this recording with American mezzo-soprano Jennifer Larmore for our Opera in English recital series. Renowned on both sides of the Atlantic for her spirited portrayals of bel canto heroes and heroines (and villains!), here she reveals her versatility further in a wide-ranging series of arias and duets from Mozart to Cilea. Please ‘dip in’ and discover for yourself the many pleasures this collection has to offer. Sir Peter Moores, CBE, DL April 2007 Sir Peter Moores with a portrait of Admiral Lord Nelson by Lemuel Francis Abbott, acquired for Compton Verney © Lyndon Parker 10 11 CCHANHAN 33142142 BBook.inddook.indd 110-110-11 227/2/077/2/07 009:22:569:22:56 her career. She has her own radio show in the chooses the mysterious Leonora. Larmore’s Great Operatic Arias USA, and is a valued ambassador for UNICEF, recital includes Leonora’s guilt-stricken aria having inherited her parents’ concern for the just before the wedding: what will Fernando’s Jennifer Larmore is designated a ‘mezzo- came Rosina in the Barber, from then on one underprivileged. How does she fi t it all in? reaction be when he fi nds out about her past? soprano’, but that term seems barely adequate of her signature roles. She says she still sings But versatility is perhaps her over-riding The cavatina, (track 2 ) launched by horns to describe an artist of the range and versatility it in as many as fi ve different productions a quality, as all that follows shows more than and harp, is one of Donizetti’s most suave and demonstrated on this recital disc – after all, it is year, and will continue to do so until people clearly. seamless melodies, and the ensuing cabaletta not every mezzo who sings Juliet’s Waltz Song stop asking her – fat chance. This was the role La favorita (The Mistress) is a late work, is appropriately rip-roaring. The opera ends from Gounod’s opera. In a career of twenty of her Met debut in 1995, following Bellini’s written for Paris in 1840 and within fi ve unhappily: the ceremony of Fernando, having years Larmore has traversed the whole gamut Romeo in concert in New York the previous years performed all over Europe and in the returned to the bosom of the church, taking of the operatic repertoire, from the Baroque to year and winning the prestigious Richard USA. It was popular well into the twentieth his fi nal vows is interrupted by the repentant, the contemporary, and proved herself amongst Tucker Award. Since then she has been a Met century in France, and survives in Italy in its mortally-ill Leonora’s coming to die in his the most popular and admired of American regular, in the title roles of Giulio Cesare and (slightly altered) Italian version. The setting arms. singers, and one who is made more than La Cenerentola, as Isabella in L’Italiana in is fourteenth-century Castile. Fernando, Francesco Cilea’s Adriana Lecouvreur welcome in all the major opera houses of the Algeri, as Humperdinck’s Hansel, and in 2005 the tenor hero, is a novice monk who has (Milan, 1902) is based on both fact and a world. appearing there in the premiere Tobias Picker’s renounced his vows, having fallen in love with somewhat overheated melodrama by Eugène She was born in Atlanta, Georgia, and An American Tragedy. an unknown woman. There are two extracts Scribe. Lecouvreur was a famous eighteenth- studied at Princeton and, signifi cantly, with Her list of recordings is bewilderingly from this fi ne, very carefully composed opera. century actress, and her lover of the moment, Regina Resnik, another singer who crossed wide-ranging, from Handel’s Giulio Cesare In the second (track 7 ) Fernando questions Maurice, Maréchal de Saxe was likewise a accepted soprano-to-mezzo-to-contralto to Carmen, from Gluck’s Orfeo to Rossini’s the evasive maid Ines about his beloved historical fi gure (the marble slab on which boundaries. Like many American singers in Elisabetta, regina d’Inghilterra, with much rare Leonora’s identity. Leonora herself is no more his body was embalmed may be seen in the earlier days – happily this is no longer the Donizetti, Pacini and Rossini in between. communicative as they rapturously declare Château de Chambord). But Maurice has a pattern – she had a substantial and successful Early Baroque music, a disc of French arias, their love. Her secret, hinted at in an agonised discarded mistress, the Princess of Bouillon, career in Europe before becoming a star in her unknown Vivaldi, she has done it all. Her aside, is that she is the long-standing mistress and in this extract (track 1 ) she waits in homeland. She made her professional debut in Rosina can be seen on DVD in the famous of King Alfonso XI. At their parting, she fevered anticipation for his arrival at a secret 1986 in Nice as Sesto in La clemenza di Tito, Dario Fo production, where the sense of gives Fernando a military commission, and rendezvous. Has he betrayed her? Of course, and stayed with the company for three years, humour that is so much part of her make-up in the course of the opera he attains military but the Princess gets the fi nal word by sending demonstrating her versatility with Donizetti’s as an artist is much in evidence, and of course glory and is rewarded by the King with the Adriana a bunch of violets sprinkled with Giovanna Seymour and Rossini’s Isolier. Then her fi lm-star looks have been no hindrance to prize of any wife of his choice – he of course poison which, fatally, she inhales. 12 13 CCHANHAN 33142142 BBook.inddook.indd 112-132-13 227/2/077/2/07 009:22:579:22:57 Tancredi (Venice, 1813), based on Voltaire’s Rome, Rienzi, seeks unsuccessfully to reconcile Bellini’s masterpiece Norma (Milan, 1831) but is now infatuated with his son Carlos. tragedy, was Rossini’s fi rst great opera seria, an patricians and plebeians. The young nobleman is perhaps the ultimate icon of bel canto opera, Discovering that Carlos is in love with his instant success and seldom out of the repertoire Adriano Colonna, written for mezzo-soprano, and at its centre is ‘Mira o Norma’ (track 10 ), stepmother Elisabeth, she has jealously ever since. Legend has it that every errand supports him and is in love with his sister a prime example, much imitated, of the conveyed to the King evidence of his wife’s boy in Venice was soon whistling the tune of Irene.
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