DONIZETTI 2 Cds Lucrezia Borgia Theodossiou • De Biasio • Iori • Palacios Orchestra and Chorus of the Bergamo Musica Festival Gaetano Donizetti

Home , Anna Bolena, Caterina Mancini, Felice Romani, La Danza, Lucrezia (opera), Lucrezia Borgia (opera)

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DONIZETTI 2 CDs Lucrezia Borgia Theodossiou • De Biasio • Iori • Palacios Orchestra and Chorus of the Bergamo Musica Festival Gaetano Donizetti

Photo © Studio UV Gianfranco Rota Tiziano Severini

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Gaetano Luca Dall’Amico Luca Dall’Amico was born in 1978 in Vicenza, where he studied, before vocal training with Sherman Lowe. He made his début in 2003 in Carmen at the Verona Arena, with DONIZETTI appearances as the Bonze in Madama Butterfly and Figaro in Le nozze di Figaro. His (1797–1848) career continued with appearances in 2004 at the Pesaro Rossini Opera Festival, and the following year in Seoul and at La Fenice in Venice, touring with the latter company to China Lucrezia Borgia and in 2007 appearing in Death in Venice and Il barbiere di Siviglia. His career has brought appearances in opera houses throughout Italy and in Spain, with a successful series of Melodramma in a Prologue and Two Acts concert performances. He won third prize in the Adami Corradetti Competition. Libretto by Felice Romani

Lucrezia Borgia ...... Dimitra Theodossiou Gennaro ...... Roberto De Biasio Don Alfonso, Duke of Ferrara ...... Enrico Giuseppe Iori Maffio Orsini ...... Nidia Palacios Tiziano Severini Rustighello ...... Luigi Albani Born in Rome, Tiziano Severini studied violin, composition and conducting there at the Santa Cecilia Conservatorio, continuing his training with Pina Carmirelli, Arthur Grumiaux, Gubetta ...... Giuseppe Di Paola Corrado Romano in Geneva, Salvatore Accardo at the Siena Accademia Chigiana, and with Astolfo ...... Mauro Corna Franc Ferrara. He made his début in Milan in 1982 in an As.Li.Co. production of Jeppo Liverotto ...... Livio Scarpellini Pergolesi’s Il Flaminio, followed by appointment as artistic director of the Treviso Teatro Comunale and principal conductor of the Veneto Philharmonic Orchestra. He went on to Oloferno Vitellozzo ...... Giovanni Manfrin conduct leading symphony orchestras and performances in major Italian theatres, including Apostolo Gazella ...... Luca Dall’Amico La Scala, Milan, La Fenice in Venice and San Carlo in Naples, appearing at distinguished Ascanio Petrucci ...... Dario Giorgelè festivals and as a conductor throughout Europe, the Americas, Russia and Japan. He was appointed Musical Director of the Orchestra Sinfonica del Friuli Venezia Giulia in 2004. Orchestra and Chorus of the His award-winning recordings include a video of La Bohème from San Francisco with Bergamo Musica Festival Gaetano Donizetti Pavarotti, Mirella Freni and Nicolai Ghiaurov, and releases of Anna Bolena, I Lombardi, Vaccai’s Giulietta e Romeo, Smareglia’s Nozze Istriane, Mayr’s Ginevra di Scozia and Conductor: Tiziano Severini Wolf-Ferrari’s Il Segreto di Susanna.

Bergamo Musica Festival Orchestra and Chorus Specially formed in 2006 to participate in the Autumn Bergamo Donizetti Opera season, the Bergamo Musica Festival Orchestra and Chorus is made up in large part of both members of staff and the best students of the Istituto Musicale bergamasco.

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Nidia Palacios CD 1 55:56 CD 2 76:45 The Italian-Argentinean mezzo-soprano Nidia Palacios was born in Buenos Aires where 1 Prelude 2:03 Act I, Scene 1 she attended the Music Academy Carlos Lopez Buchardo and later the Academy of Teatro Prologue 1 Tutto eseguisti? (Alfonso, Rustighello, An Usher) 1:40 Colón. She later studied at the Music Academy in Karlsruhe with Maria Venuti. She made her début in Argentina singing the traditional Mozart and Rossini repertory. A winner in 2 Bella Venezia (Gazella, Petrucci, Orsini, 2 Così turbata? (Alfonso, Lucrezia, Gennaro) 4:22 the 1989 Nuevas Voces Liricas competition, she made her European début in Prague. She Liverotto, Vitellozzo, Chorus, Gennaro) 2:42 3 Soli noi siamo (Alfonso, Lucrezia) 5:13 has since appeared in most of the important theatres and with the leading orchestras of 3 Nella fatal di Rimini (Orsini, Liverotto, 4 Oh! a te bada, a te stesso pon mente (Lucrezia, Europe. In 1993 she became a resident artist at the Kassel Staatstheater, with a series of Vitellozzo, Chorus) 4:26 Alfonso) 3:13 leading rôles, and invitations to sing also in Wiesbaden, Stuttgart, Staatsoper Munich, 4 Senti. La danza invitaci (Chorus, Orsini, 5 Trafitto tosto ei sia (Alfonso, Lucrezia, Gennaro) 4:16 Nuremberg, Mannheim, Dresden, and Cologne. In May 1995 she made her début as Petrucci, Liverotto, Vitellozzo, Gazella) 2:58 6 Guai se ti sfugge un moto (Alfonso, Lucrezia, Carmen at the Bolshoy Opera in Minsk, singing the same rôle one month later in Hamburg 5 Tranquillo ei posa (Lucrezia, Gubetta) 5:00 to great acclaim. In 1997 she won the Concorso Internazionale Giuseppe di Stefano in Gennaro) 2:31 Trapani and was cast to sing Cenerentola and Adalgisa in Norma. She was a resident 6 Com’è bello! quale incanto (Lucrezia, Alfonso, 7 Or via: mesciamo! (Alfonso, Gennaro, Lucrezia) 4:36 Rustighello) 3:03 artist at the Frankfurt Opera from 2000 until 2005, where she was heard in such rôles as Act II 7 Mentre geme il cor sommerso (Lucrezia) 3:26 Dorabella, Poppea, Fenena, Hänsel, Ariodante and Angelina. Her career has brought 8 Rischiarata è la finestra (Chorus, Rustighello) 4:41 performances throughout Europe and as far afield as Japan. 8 Ciel! … Che vegg’io? (Lucrezia, Gennaro) 2:50 9 Sei tu? … Son io (Gennaro, Orsini, Chorus, 9 Di pescator ignobile (Gennaro, Lucrezia) 3:45 Mauro Corna Rustighello) 3:12 0 Mauro Corna, born in Chiari in 1975, studied in Milan and Piacenza, with further study Ama tua madre, e tenero (Lucrezia, Gennaro) 3:21 0 Onde a lei ti mostri grato (Orsini, Gennaro) 3:29 in Umbria. He is now continuing his training with the soprano Luisa Maragliano and the ! Gente appressa. Io ti lascio (Lucrezia, Gennaro, ! Sia qual vuolsi il tuo destino (Gennaro, Orsini, tenor Enzo Consuma. He has been successful in a number of competitions and for two Orsini, Liverotto, Vitellozzo, Petrucci, Gazella, Rustighello, Chorus) 2:55 Chorus) 1:28 consecutive years has participated in the Dordrecht Belcanto Festival, where he has sung @ Stolti! Ei corre alla Negoni (Rustighello, Chorus) 1:59 the rôles of Masetto and the Commendatore in Mozart’s Don Giovanni and Ombrino and @ Maffio Orsini, signora, son io (Orsini, Vitellozzo, # Viva il Madera! Viva! Viva! (Liverotto, Tiburzio in the first modern performances of Righini’s Don Giovanni, recorded for Liverotto, Petrucci, Lucrezia, Gennaro, Gazella, Vitellozzo, Gazella, Petrucci, Orsini) 3:09 Bongiovanni. His repertoire ranges from Mozart to Rossini, Bellini, Verdi and Puccini, and Chorus) 5:33 $ Ebbri son già (Gubetta, Gennaro, Orsini, Chorus, in 2005 he made his début in Attila in Busseto. He has sung in Gianni Schicchi in Jesi and Act I, Scene 1 La forza del destino in Piacenza, and made his début as the Commendatore at the Verona Liverotto, Vitellozzo, Petrucci, Gazella) 2:29 # Del veneto corteggio lo ravvisasti? (Alfonso, Filarmonico and in Reggio Emilia. Other appearances include Nabucco in Bologna and % Pace, pace per ora! (Liverotto, Vitellozzo, Orsini, Rustighello, Chorus) 2:43 Savonlinna, Anna Bolena in Bergamo and Tokyo, Il Duca d’Alba at the Montpellier Gennaro, Gubetta, Petrucci, Gazella, Festival and Cazzaniga’s Don Giovanni in Montpellier. $ Vieni: la mia vendetta (Alfonso, Rustighello) 1:51 A Cupbearer) 1:39 % Qualunque sia l’evento (Alfonso, Rustighello) 3:03 ^ Il segreto per esser felici (Orsini, Gazella, Livio Scarpellini ^ Addio, Gennaro (Orsini, Liverotto, Vitellozzo, Liverotto, Petrucci, Vitellozzo, A Voice within, Born in Bergamo, Livio Scarpellini studied the piano at the Bergamo Istituto Santa Cecilia Petrucci, Gazella, Gennaro, Gubetta) 3:02 Chorus, Gennaro) 4:00 and with Franco Federici in Parma. A light tenor, he prefers rôles such as those of Nemorino & Qui che fai? (Rustighello, Astolfo, Chorus) 1:30 & La gioia de’ profani (Chorus, Orsini, Gennaro, (L’elisir d’amore), Count Almaviva (Il barbiere di Siviglia), Ernesto (Don Pasquale) and Liverotto, Vitellozzo, Petrucci, Gazella, Lucrezia) 4:11 Beppe (Rita). He has worked with a number of important choral ensembles, including * Non far motto, parti, sgombra (Chorus, those of La Scala, Milan, the Teatro Regio of Parma, RAI in Milan and RTSI in Lugano Rustighello, Astolfo) 3:07 * Tu pur qui? non sei fuggito? (Lucrezia, Gennaro) 4:04 and has appeared with the Bergamo Music Festival Opera Ensemble in tours of Hungary, ( M’odi, ah m’odi … io non t’imploro (Lucrezia, Rumania, Luxemburg and Sweden and in concerts in the province of Bergamo. His concert Gennaro) 4:51 career has included collaboration in performances of Mayr’s Lamentations of Jeremiah, ) Ah! … Madre se ognor lontano (Gennaro, Mozart’s Requiem, Bach’s St Matthew Passion and Rossini’s Petite Messe Solennelle. He Lucrezia, Alfonso, Chorus) 4:17 works with early music ensembles, including the quartet Soli Deo Gloria. ¡ Era desso il figlio mio (Lucrezia, Chorus) 5:52 8.660257-58 10 3 8.660257-58 660257-58bk Lucrezia:570034bk Hasse 4/11/09 9:24 PM Page 4

Gaetano Donizetti (1797–1848) Dimitra Theodossiou Lucrezia Borgia The Greek soprano Dimitra Theodossiou came to international attention as Odabella in Attila in Bologna and Parma. She sang Lina in Stiffelio in Lisbon and Trieste, Norma in There can be few figures who have come down in history cried “they insist upon seeing you; they are striding over Verona, Catania, Tokyo and Macerata, Giselda in I Lombardi in Florence, Anna Bolena with such a bad reputation as the real Lucrezia Borgia. the orchestra and forcing their way on to the stage; you in Naples, Munich and Bergamo, Elvira in Ernani in Madrid, Leonora in Il trovatore and Her name is synonymous with intrigue and poisoning and must appear or they will break everything they lay hands Lucrezia in I due Foscari at La Scala under Muti, Desdemona in Otello in Venice, Elisabetta it is easy to see why her life story has appealed to writers upon”. Replied the author: “I give the public my thoughts. in Don Carlo in Naples, Rome, and Zurich, Violetta in La traviata in Rome, Florence, and musicians in search of a dramatic tale. How far this I do not give it my person”. Tokyo, and Seoul, Amalia in I Masnadieri in Palermo, Brussels and Vienna, Medea in

reputation may be deserved is uncertain, but the closest It is hardly surprising that Donizetti was keen to Eiichiro SAKATA, AERA Lisbon, Elisabetta in Roberto Devereux, Abigaille in Nabucco, as well as Margherita/Elena

members of her family undoubtedly made careers out of capitalise on such a triumph and within a year his opera © in Boito’s Mefistofele in leading opera houses throughout the world. murder and treachery. She was the daughter of Rodrigo was itself on the stage, at La Scala, Milan, playing to its Borgia who, thanks to serious bribery and corruption, was own enthusiastic audiences. able to get himself elected Pope, as Alexander VI, in 1492. Preparations for the first production of the opera were Lucrezia was born in 1480, died in 1519 and during that rushed, to say the least. A month before the first per- Roberto De Biasio time married three husbands, the last of whom, Alfonso formance was scheduled Romani had only just completed Born in Sicily, Roberto de Biasio studied in Naples, graduating in flute, and at Cassino d’Este, Prince of Ferrara, also features as a character in his text and rehearsals began the following week, not University in modern literature. He had his vocal training with Mara Naddei, then with Victor Hugo’s play Lucrèce Borgia. Inspired by this entirely smoothly. Donizetti composed quickly but not Malcolm King and Dennis O’Neill, and made his début in Candide in Trento. He sang Un French drama, Felice Romani prepared a libretto for the always to his own highest standards. The temperamental ballo in maschera in the first performance at the Tirana Opera Theatre and at Poly Theatre composer Gaetano Donizetti. So (perhaps regrettably) leading soprano, Henriette Méric-Lalande, refused to wear in Beijing, with appearances in Petrassi’s La morte dell’aria at La Fenice in Venice and apart from its title, this grand melodramatic opera can the mask that has considerable significance in the second La Bohème in Pordenone. He sang in the world première of Liberovici’s Titania la Rossa claim little connection with the real, Renaissance, scene of the Prologue, for fear that her public would not in Piacenza, and Pulcinella in a tour of Spain and Portugal, and made his début as Pinkerton Lucrezia. recognise her, and she demanded an extended bravura in a first centenary performance in Kyoto. He made his début in Bergamo as Edgardo in Romani was the most admired writer of Italian opera aria in the final scene; hardly appropriate, it might be Lucia di Lammermoor, followed by Leicester in Maria Stuarda at the Sferisterio in libretti during the first half of the 19th century. He was thought, for the tragedy of a woman who has just Macerata, Gennaro in Lucrezia Borgia in Bergamo, and appearances in Lucia di certainly much in demand and several celebrated - and murdered her own son, albeit unintentionally. Donizetti Lammermoor in Tokyo, Osaka and Lecce, La Traviata, Macbeth, Oberto conte di san some now less well known - composers of the period reluctantly agreed to her request and composed such a Bonifacio and Nabucco in Parma, Attila in Modena and Piacenza, Roberto Devereux and commissioned libretti from him. The first was for Simon piece with which to end the opera. Madame Méric- La rondine in Trieste, and Nabucco at La Fenice. Mayr, in 1813; there followed a string of over ninety Lalande was anyway sadly past her vocal prime; the more, including seven for Vincenzo Bellini. Rossini and leading tenor, Francesco Pedrazzi, did not fully find Verdi, too, used his services and so, with equal success, favour either, though the baritone, Luciano Mariani, and Enrico Giuseppe Iori did Donizetti. For, in addition to Lucrezia Borgia, Romani mezzo, Marietta Brambilla, were more generously Enrico Iori studied as an opera singer at the Parma Arrigo Boito Conservatory and was a wrote the texts for his Anna Bolena, Gianna di Parigi, received. So the première was not quite the success that member of the Accademia Verdiana of the Arturo Toscanini Foundation. In 1996 he took L’elisir d’amore and four other operas. Like some other had been expected; happily for the composer and librettist, a vocal course at the Accademia Chigiana in Siena, and received a diploma of merit. He composer/librettist relationships, it was not always easy subsequent performances, which featured other singers, also won the Busseto International Competition Voci Verdiane. He made his début in as a friendship but Romani certainly produced fine results. fared better and soon the Milanese public took Lucrezia Rome in Rigoletto, for which he won the International Città di Roma Competition. At the After Victor Hugo’s Lucrèce Borgia had its première Borgia to their hearts; it was the 31st of Donizetti’s Teatro Ventidio Basso in Ascoli Piceno he participated in productions of Il trovatore and in Paris on 2nd February 1833 its potential as the basis for prolific output of 55 operas, composed between 1816 and L’amico Fritz, and appeared at the Teatro Regio in Parma in La Bohème, Mozart’s Requiem a new opera was clear. The play was a success from the 1843 and the fourth to receive its first performance in and Un ballo in maschera. He has been a guest at the summer festival of San Gimignano start. After the first performance it was recorded that: 1833. Seven years later, when Lucrezia was revived at and sang the rôle of Don Quixote in Manuel de Falla’s El retablo de Maese Pedro. ‘… the manager rushed behind the scenes, his dress in La Scala, Donizetti changed the ending by removing disorder, his linen tumbled as if he had just escaped from Lucrezia’s closing aria and composing instead a lovely some desperate situation. “Save my life M. Hugo” he final air for the dying Gennaro. (The production at which

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banquet, declares that one more will be required – for him ) … and, before the poison takes its fatal effect, he begs this recording was made followed modern practice by interpreters and sang Lucrezia on either side of the – and as his five companions are taken away … only to die in her arms. The Duke arrives, content to see retaining both.) The composer also took the opportunity Atlantic; and for both these divas it proved to be their that his supposed rival for Lucrezia’s love is dead. But it to improve other parts of the score that had been too final rôle on the operatic stage. A number of great tenors, * … Lucrezia implores Gennaro to take the antidote. But, is Lucrezia’s own evil actions that have unwittingly hurriedly prepared for the first performance. too, have made a fine impression as Gennaro, in one of as there is insufficient for all his companions too, he spurns brought about her son’s demise. Unfortunately the censors were not impressed by Donizetti’s great lyrical tragic parts. it, preferring to die with them; as he makes to stab her, Lucrezia Borgia. Even during early rehearsals they were Lucrezia Borgia was first staged at Covent Garden in she reveals that he, like herself, is a member of the Borgia ¡ After explaining to the Duke who Gennaro really was, at work, and banned a scene from the opera which had 1847 (again with Grisi and Mario) and at the New York family. and mourning his death, she collapses beside the dead made a great – indeed terrifying – effect in Hugo’s play. Met in December 1904, when the little-remembered Maria body of her son. The display of coffins on stage, ready for Lucrezia’s de Macchi made her American début in the title rôle. She ( He is her son and she is the unknown mother he has for victims at Princess Negroni’s banquet, was thought quite and Enrico Caruso (as Gennaro) gave little pleasure, at so long loved. Gennaro still refuses to save himself … Paul Campion improper and thus one of the great dramatic moments that least to the critic of The New York Times, whose review- Romani and Donizetti planned had to be omitted. Even heading: ‘Reason for this opera’s revival not apparent’ after the première, the plot was considered by some to be may account for its being withdrawn after just the one inappropriate for the operatic stage and over two years performance. elapsed before its next production. The early twentieth century was not generally a good In June 1839 Lucrezia Borgia was presented at Her time for revivals of Donizetti’s operas and productions Majesty’s Theatre in London, with a cast headed by the were few. ‘La Borgia’ was seen in Buenos Aires in 1919, offstage partnership of Giulia Grisi and Giovanni Mario with Ester Mazzoleni and Beniamino Gigli as Gennaro; in (whose London début this was). But the opera remained 1933 in Florence, with Giannina Arangi-Lombardi and stubbornly controversial and, at the time of its Paris Gigli again; and back home at La Scala, Milan, in 1951 première at the Théâtre des Italiens in 1840, Victor Hugo with Caterina Mancini and Mirto Picchi. It was not until took out an injunction which forbade further performances the 1960s that Lucrezia Borgia was re-discovered by a under its original title. To overcome this problem, in new generation of singers and since then it has been different theatres Lucrezia Borgia was produced under a performed extensively, fully justifying its place as one of Photo © Studio UV Gianfranco Rota variety of new names, including Elisa da Fosco, Donizetti’s finest operas. This production, recorded at the Eustorgia da Romano and Giovanna I di Napoli. With Teatro Donizetti in Bergamo, and staged as part of the some changes to the libretto it was deemed suitable for Bergamo Music Festival dedicated to the composer’s performance but Lucrezia herself would surely have found works, shows convincingly how well it holds the stage. all this business somewhat undignified. Matters improved With a young cast and dynamic conductor, Lucrezia after the second production was mounted at La Scala in Borgia will continue to maintain her hold on an opera 1840 and the opera subsequently proved to be a popular public eager to hear fine singing in the best Italian vehicle for celebrated dramatic sopranos for many years. tradition. Giulia Grisi and Thérèse Tietjens were among the greatest Paul Campion

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Synopsis another figure, Astolfo. Both are searching for Gennaro, Act II the one at the Duke’s behest, the other at Lucrezia’s. CD 1 8 … and he awakes, amazed by the beautiful woman Scene 1: A small courtyard close to Gennaro’s lodging before him. He tells her that there is only one woman he * When Rustighello’s henchmen join him, Astolfo is 8 loves more than her – his mother, whom he has never seen. forced to leave the square and he departs, outmanoeuvred. Rustighello and his companions arrive, hoping to arrest The action takes place in Venice and Ferrara during the Gennaro once more; they lie in wait for him. early 16th century. CD 2 9 Gennaro relates how he was an orphan, raised in a poor 9 Orsini begs Gennaro not to leave the town immediately 1 Prelude fisherman’s family; but one day a mysterious soldier came to him and passed him a message saying that he should Scene 2: Inside the Ducal Palace but to stay with him and attend a banquet hosted by Prologue never try to discover his mother’s identity. Princess Negroni; Gennaro expresses his fears about 1 Gennaro has been apprehended by the Duke’s men. remaining in Ferrara, which Orsini dismisses lightly. Scene 1: The Grimani Palace in Venice. 0 Lucrezia urges him, nevertheless, to love his unknown Two wine decanters, one of gold and the other of silver, are 0 parent. ordered to be prepared for the Duke. The gold one contains Despite his misgivings, Gennaro finally agrees to go to 2 The young soldier Gennaro and his companions have poison for which he will soon have a use. the banquet and the two friends decide to quit the town been celebrating in the palace, whose terrace overlooks ! Gennaro’s friends return to the terrace and Lucrezia is the next morning. 2 the Giudecca Canal. They will be travelling next day to instantly recognised. Lucrezia is furious that her crest has been spoiled, ! Ferrara, home of the Duke Alfonso d’Este and his wife demanding vengeance on the culprit. Gennaro is brought Vowing never to be parted, whatever may befall, they Lucrezia, a woman who each of the companions has a @ Each one tells of a family member for whose death she in and Lucrezia is appalled when he confesses to the crime. leave the courtyard together. was responsible and when Gennaro demands to know who special reason to fear. One among them – Gubetta – is not 3 @ the woman is, they tell him that she is the dreaded Borgia; In private, she begs her husband to spare Gennaro’s Rustighello has overheard it all and he tells his the friendly fellow he seems, but is a secret agent of life but the Duke is adamant that the young man shall die companions that there is now no need to arrest Gennaro, Lucrezia. the young man is horrified and Lucrezia herself falls, pleading, at their feet. – for he is still convinced that he and Lucrezia are lovers. as events will tragically prove. 3 Maffio Orsini, Gennaro’s true friend, tells of a strange 4 Act I He offers her only the choice of whether Gennaro shall Scene 2: Princess Negroni’s Banqueting Hall meeting with an old man in a forest, who warned them to die by poison or by the sword. beware of Lucrezia and her family. Gennaro tires of the # Scene 1: A square in Ferrara The banquet is well under way … story, falls asleep and so does not accompany his 5 Distraught, she chooses the former. When Gennaro is companions … $ # Rustighello informs the Duke that Gennaro is now again brought before them he is told – treacherously – by … when Gubetta purposefully taunts Orsini, leading the Duke that his life is, after all, to be spared. Gennaro to threats of a fight. The fearful ladies withdraw from the 4 living in Ferrara and in this very square. … as they leave to rejoin the party. recalls that on one occasion in the past he saved the life of hall and … $ The Duke looks forward to his grim revenge on the the Duke’s father – news which the Duke hears with Scene 2 % young man … insincere gratitude. He offers Gennaro a glass of wine … … peace is restored. Drinking glasses are brought in by a sinister servant and Gennaro notices that Gubetta does 5 A gondola draws up beside the terrace and a masked 6 not taste his wine, though everyone else quaffs heartily. woman steps out; it is Lucrezia. Gubetta warns her that % … whom he believes to be his wife’s lover. … and all three characters express their different she may be in danger of insult if her identity is revealed. feelings at their situation. ^ Gennaro, with his friends, leaves the lodgings and, ^ Orsini sings a drinking song but when mysterious 7 voices are heard in a solemn funeral chant … 6 Lucrezia espies the sleeping Gennaro and is attracted to showing his scorn for the Borgia family, defaces the initial Lucrezia is forced to pour wine for Gennaro from the letter of their name on the crest on the palace wall, leaving gold, whilst the Duke himself drinks from the silver the handsome youth. She does not see her husband and & simply the vile word ‘orgia’. The companions see that they decanter. Once the young man has drunk the poison, the … the torches in the hall go dim and the doors are found Rustighello, his servant, hiding close by, who suspect that to be locked. To the horror of the guests, Lucrezia appears she loves the young man. are being watched and leave the square, while Gennaro Duke leaves and Lucrezia urges Gennaro to take the returns to his house. antidote that she has ready. When he has done so, she begs and tells them coldly that they have been poisoned by the wine; five coffins are prepared for them in the next room. 7 him to escape to safety through a secret door before her Her heart softening towards Gennaro, Lucrezia touches Gennaro, whom Lucrezia had not expected to be at the his arm … & Rustighello re-enters, heavily cloaked, and is joined by jealous husband returns. 8.660257-58 6 7 8.660257-58 660257-58bk Lucrezia:570034bk Hasse 4/11/09 9:24 PM Page 6

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DONIZETTI 2 CDs Lucrezia Borgia Theodossiou • De Biasio • Iori • Palacios Orchestra and Chorus of the Bergamo Musica Festival Gaetano Donizetti

C M Y K 8.660257-58 12 O Also available: P E R A C L 8.660161-62 8.660222-23 A S S I C S 8.660261-62 8.660235-36

C M Y K NAXOS NAXOS Based on Victor Hugo’s most sensational play, Lucrèce Borgia, a scandalous tale of murder, torture, incest, homosexuality, drunkenness and orgies, Donizetti’s opera is one of the great masterpieces of Italian bel canto repertoire. While omitting some of its more excessive elements, the libretto by Felice Romani inspired Donizetti to compose superb arias, duets, 8.660257-58 DONIZETTI: DONIZETTI: ensembles and choruses, bringing each act to a stirring conclusion. Brimming with high drama and pathos, this production stars Greek diva Dimitra Theodossiou in the infamous DDD title rôle, praised for her stupendous acting and singing as England’s Queen Elizabeth I in Donizetti’s Roberto Devereux (Naxos CD 8.660222-23 / DVD 2.110232). Playing Time 132:41 Gaetano Recorded by Lucrezia Borgia Lucrezia Borgia DONIZETTI (1797–1848) Lucrezia Borgia Lucrezia Borgia ...... Dimitra Theodossiou Gennaro ...... Roberto De Biasio Don Alfonso, Duke of Ferrara ...... Enrico Giuseppe Iori in English • from Dynamic • Booklet notes and synopsis Ltd under licence Naxos Rights International www.naxos.com ൿ Maffio Orsini ...... Nidia Palacios Printed & Assembled in USA

Rustighello ...... Luigi Albani 2009 & Gubetta ...... Giuseppe Di Paola Astolfo ...... Mauro Corna Ꭿ Disc Made in Canada

Orchestra and Chorus of the 2010 Bergamo Musica Festival Gaetano Donizetti Tiziano Severini

CD 1 1 Prelude / 2–@ Prologue / #–*Act I, Scene 1 55:56 C CD 2 1–7Act I, Scene 2 / 8–¡ Act II 76:45 8.660257-58 8.660257-58 M A full track list can be found on page 3 of the booklet The Italian libretto may be accessed at www.naxos.com/libretti/660257.htm Recorded live at the Teatro Donizetti, Bergamo, Italy, 30 November & 2 December 2007 Y Producer: Alberto Dellepiane • Engineer & Editor: Rino Trasi Booklet notes: Paul Campion • Cover image from photos © Studio UV Gianfranco Rota K This recording is also available on Naxos DVD 2.110264