A Tribute to

DE 3532

John Osborn, Constantine Orbelian, conductor Kaunas City Symphony Orchestra

1 Kaunas State Chorus ORIGINAL DELOS DE 3532 JOHN OSBORN • A TRIBUTE TO GILBERT DUPREZ DIGITAL DE 3532 (707) 996-3844 • www.delosmusic.com • © 2017 Delos Productions, Inc., © 2017 Delos Productions, (800) 364-0645 P.O. Box 343, Sonoma, CA 95476-9998 Box P.O. [email protected] [email protected] ♦

Les martyrs — Les Asile héréditaire — Asile héréditaire

JOHN OSBORN JOHN

— de Lammermoor Lucie A Tribute to Gilbert Duprez Gilbert to Tribute A Sur les monts, les plus sauvages Sur

Total Playing Time: 61:31 Time: Playing Total

Kaunas State Chorus Chorus State Kaunas

Kaunas City Symphony Orchestra Symphony City Kaunas

conductor conductor Orbelian, Constantine

tenor Osborn, John

Guillaume Tell Tell Guillaume ROSSINI: GIOACHINO

ma seule idole ♦

La gloire était était gloire La — Cellini Benvenuto BERLIOZ: HECTOR

Je veux encore entendre ta voix voix ta veux entendre encore — Je VERDI: si pur ♦ Ange — favorite La DONIZETTI:

Seul sur la terre terre la sur Seul

d’armes mes frères Ô mes amis, ♦ temple leur dans j’irai Oui, — Sébastien ♦ Dom croîtra l’herbe des champs Bientôt

ORIGINAL DELOS DE 3532 JOHN OSBORN • A TRIBUTE TO GILBERT DUPREZ DIGITAL John osborn A TribuTe To GilberT Duprez

GIUSEPPE VERDI: 1. Jérusalem — Je veux encore entendre ta voix (5:28) 2. Jérusalem — Ô mes amis, mes frères d’armes (4:33)

GAETANO DONIZETTI: 3. — Ange si pur (5:26) 4. — Oui, j’irai dans leur temple (3:08)

HECTOR BERLIOZ: 5. Benvenuto Cellini — La gloire était ma seule idole (6:26) 6. Benvenuto Cellini — Sur les monts, les plus sauvages (8:30)

GAETANO DONIZETTI: 7. Lucie de Lammermoor — Bientôt l’herbe des champs croîtra (8:23) 8. Dom Sébastien — Seul sur la terre (5:42)

GIOACHINO ROSSINI: 9. Guillaume Tell — Asile héréditaire (13:53)

Total Playing Time: 61:31

John Osborn, tenor Constantine Orbelian, conductor Kaunas City Symphony Orchestra Kaunas State Chorus

2 INTRODUCTION public by storm. As Duprez’s fame and fortune grew, he soon established a new standard in rench tenor, voice teacher, and minor com- vocal technique that has since become uni- poser Gilbert-Louis Duprez (1806-1896), a versal practice for succeeding generations of Fnative of , is all but unknown to today’s operatic . lovers. But he was a pivotal figure in the history and development of Romantic-era op- At the time, no effective training techniques for era and associated vocal technique in Europe such robust (and exhausting) vocal production during the first half of the nineteenth century. existed. A tragic victim of this inadequate vocal training was a lesser-known Italian tenor, Amer- When he first ventured into the Parisian operatic ico Sbigoli, who dropped dead onstage during scene in 1825, Duprez was a practitioner of the an 1831 performance of an opera by Giovanni prevailing tenore altino style, wherein top-end Pacini—apparently from a tension-induced burst notes were sung in an amplified falsetto (falset- blood vessel in his neck while attempting a partic- tone) register: for the most part, a delicate, fluty ularly resounding high note. and decidedly unheroic head-voice sound that was then the norm for operatic tenors. By the mid-to-late , Duprez’s consis- tent use of chest-voice high notes had serious- At first, Duprez achieved only scant success in ly degraded his own vocal abilities, limiting his Paris, owing largely to his comparative lack of appearances and forcing his retirement from accomplishment in the florid style of singing in 1851. But in his new career as a singing initially demanded for op- teacher, he continued to play a vital role in the eras by Rossini, Donizetti and Bellini. After de- development of vocal training techniques for ciding to explore the more robust style of sing- new generations of singers. ing practiced in , Duprez moved to in 1828, where he sought to emulate—and build on—the more vigorous vocal qualities of NOTES ON THE PROGRAM the day’s leading Italian tenors. He soon devel- oped his then-novel technique of singing notes Jérusalem, Verdi’s twelfth opera, is widely per- up to and including thrilling high C’s in full, ring- ceived as a completely original composition— ing “chest voice.” but it was actually a very free French adaptation of his earlier Italian work I Lombardi alla prima Having mastered that skill and earned renown crociata, first staged in in 1843. Yet while for it in Italy, Duprez returned to Paris in 1837, Verdi used some of I Lombardi’s original music where his interpretations of the roles heard in in the new revision, Jérusalem has different role this recording (and others) took the musical names, an adaptation from Italian to French

3 history, much new music and heavy cuts to One in Gaetano Donizetti’s seemingly endless the old—all of which led Verdi to admit that parade of , La favorite had its 1840 pre- I Lombardi had been transformed “beyond all miere in Paris, with Duprez in the leading role recognition.” of Fernand. It tells the convoluted tale of a love triangle between the Castilian King Alphonse In portraying the heroic character of Gaston, XI, his mistress Leonor (“the Favorite”), and her Duprez played perhaps his final historically sig- lover, Fernand. The story is set in Spain in the nificant role, his voice being in decline by the era of the Moorish invasions. time of the opera’s 1847 premiere. The com- poser’s typically complex plot takes us from Fernand has led Castilian forces to victory over France to Palestine on a crusade to capture the Moors, and has been granted Leonor’s the title city. We thrill to the usual love story— hand in marriage by the king, his unknown spiced by jealousy, murder, exile, and mistaken rival. But Fernand’s last-minute discovery that identities as well as final triumph and forgive- Leonor had been the king’s mistress compels ness—and we revel in exotic scenarios, like an him to return, brokenhearted, to the monastery emir’s palace, complete with the obligatory from whence he first came. It is there, in Act IV, harem! that—in “Ange si pur”—Fernand pours out his mournful grief over his betrayed love and the The “Je veux encore entendre ta voix” loss of Leonor, and prays for forgetfulness. comes in the second scene of Act II. Captured and incarcerated by the Emir of Ramla, Gaston awaits a meeting with him. But his thoughts Les martyrs grew out of Donizetti’s original take him back to the last time he saw his be- three-act, Italian- version . Set in loved Hélène in France four years earlier, inspir- ancient Roman-occupied Armenia, its “sacred” ing fierce feelings of nostalgia and longing. theme of early martyrdom of a Christian saint at the hands of the pagan Romans ran afoul Gaston sings “O mes amis, mes frères d’armes” of the notoriously touchy Neapolitan censors, in scene 2 of the third act, after the crusading and—ultimately—the reigning king. Enraged at Christians have recaptured Gaston, who had the banning of his creation just before its first been falsely accused of an earlier murder at- scheduled performances in 1838, Donizetti re- tempt and condemned to die. As his execution solved to move to Paris, where he recast what draws nigh, he tearfully pleads his case, be- had been his “most personal” opera (contain- moaning the loss of his honor and proclaiming ing some of his loveliest music) into a four-act his innocence. extravaganza designed to appeal to prevailing French tastes. And, after its 1840

4 premiere, it did just that—with its exotic tem- rarely been presented, owing to its many differ- ples and other edifices, gladiators battling in ent versions, staging difficulties, and sometimes a grand coliseum, varied ballet episodes, and bizarre, rhythmically quirky music—though the even the protagonists’ final martyrdom by genius behind it cannot be denied. means of ravenous lions.

As part of his adaptation for Paris’s grand opera In the second act’s “La gloire était ma seule aficionados, Donizetti extensively rewrote the idole,” Cellini rhapsodizes to his assistants that original Poliuto aria in its French version, “Oui, he considers love to be even greater than fame, j’irai dans leur temple,” specifically to showcase and sings of his passion for his beloved Terese. Duprez’s chesty high C in the role of . “Sur les monts, les plus sauvages” comes later He sings the aria in the opening scene of Act III, in the same act, when—fed up with the clam- when—against the fervent imploring of his wife or and hard work of city life—he sings a wist- (and leading lady) Pauline—Polyeucte bravely ful reverie of his longing for a life of pastoral agrees to go to the temple, even at the risk of peace, as a shepherd with no tasks more chal- impending martyrdom. lenging than looking after his flock.

Hector Berlioz is the only native Frenchman Arguably Donizetti’s most beloved and frequent- among this album’s composers. His first opera, ly performed opera, ’s Benvenuto Cellini, is the album’s sole work of original Italian version was first heard in “”—loosely defined as an op- in 1835, with Duprez performing the role of Ed- era with an essentially serious theme, but laced gardo, the work’s tragic hero. After the original with frequent episodes of comic relief. Named Italian Lucia was produced in Paris, a French after the famous sixteenth-century Florentine version was commissioned, and Donizetti’s fairly sculptor, the opera—originally cast in two acts, extensive revision, Lucie de Lammermoor, was but later in three (though shorter)—is a heavily premiered there in 1839. While some increased fictionalized account of the creation of Cellini’s attention has been paid to it in recent decades, actual masterpiece, the bronze statue of Per- the original Italian version has remained by far seus. The plot relates a complex and twisted the most popular. story full of intrigue, deceit, betrayal and artistic arrogance. In Act III, not long after Lucie’s justly famous “” (following her murder of her de- Its 1838 Paris premiere, starring Duprez in the title spised new husband), Edgard appears at his role, was a resounding flop, and was withdrawn ancestral tombs, suicidally distraught over the after only four performances. Since then, it has marriage of his beloved to another. In his final

5 full -and-aria, “Bientôt l’herbe des its theme of rebellion against royal authority that champs croîtra,” he sings brokenheartedly of his prompted widespread censorship in its day—led impending death—which comes to pass by his to a checkered performance history. Despite some own hand soon thereafter, when he hears that notable revivals and much memorable music his adored Lucie has died and resolves to join (including its marvelous overture), the work has her in Heaven. never made its way into modern mainstream op- eratic repertoire.

Donizetti’s Dom Sébastien, Roi de Portugal, The plot revolves around ’s subju- was the final opera that he managed to com- gation by the Hapsburg Austrians and a rebel- plete before sinking into insanity and his final lion led by Tell. Arnold, the tenor lead, is torn illness. First staged in 1843, with Duprez in the between his love for the Austrian governor’s title role, this tragic tale of military defeat, false daughter and his devotion to his fatherland. identity, doomed love and national conquest As Act IV begins—by which time the tyrannical has been called “a funeral in five acts.” Austrian governor has executed his father and imprisoned Tell—Arnold gazes upon the ruins of Set in Lisbon and Morocco, the Christian Por- his father’s house where he grew up and gives tuguese king Dom Sébastien has left his uncle, sad and bitter voice to his loss in his recitative Dom Antonio, to rule in his stead while embark- and aria “Asile héréditaire”—which moves into ing upon a crusade against the Moors in Mo- “Amis! secondez ma vengeance,” as he arms a rocco—where his army is soon annihilated by band of his countrymen (the men’s chorus) from forces under the Moorish chief, Abayaldos. As a hidden cache of weapons. Arnold then spurs Act II draws to a close, Sébastien is left on the on his compatriots to follow him into battle to battlefield, wounded and in utter desolation. He liberate their homeland (and the imprisoned gives voice to his shame and misery in “Seul sur Tell), bringing the scene to a thrilling close. la terre,” finding his only consolation in knowing that he still has “the love of a woman and the —Lindsay Koob heart of a soldier.”

Gioachino Rossini’s Guillaume Tell, first per- formed in Paris in 1829, was the last of the com- poser’s thirty-nine operas before he retired from the operatic stage at the age of thirty-seven. Its four-hour length and other factors—including

6 Verdi: Jérusalem

1. Recitative and aria (Gaston) Je veux encore entendre ta voix I want to hear your tender voice again

L’Emir, au près de lui m’appelle The Emir calls me to his presence. Que dois-je craindre encore? Of what must I still be afraid? De la France banni, Banished from France, Captif au sein d’une ville infidèle Captive in a faithless city; Je ne pourrai combattre dans mon zèle I could not battle in my zeal Pour les ingrats qui m’ont injustement puni. For the ingrates who unjustly punished me.

Hélène est près de moi dans leur camp. Helen is close to me in their camp. Chère Hélène, Dear Helen, Dont un destin cruel m’a séparé. Whom cruel destiny has separated from me. Ne pas te voir quand le ciel te ramène; Not to see you when heaven brings you back; Je briserai ma chaine et je te reverrai! I’ll break my chain, and I’ll see you again!

Je veux encore entendre ta voix si tendre. I want to hear your tender voice again. Pour fuir il faut attendre les ombres du soir. To escape, I must wait for evening’s shadow. Anges vers qui s’envole mon rêve d’espoir; Angels to whom flies my dream of hope; Ah! Belle ange, Ô mon idole, je veux encore, Ah! Beautiful angel, O my idol, I still want Encore te voir! To see you again!

2. Recitative and aria (Gaston) Ô mes amis, mes frères d’armes O my friends, my brothers in arms

L’infamie! Prenez ma vie! Infamy! Take my life! Vos bourreaux je les défie! I defy your executioners! Mais mon honneur... ô douleur! But my honor ... O such pain!

Ô mes amis, mes frères d’armes O my friends, my brothers in arms Voyez mes pleurs; voyez mes larmes! Look at my sobbing; look at my tears! Le déshonneur c’est trop affreux! The dishonor is too awful! N’accablez pas un malheureux. Do not overwhelm an unhappy man.

7 Mon dernier jour me sera doux My last day will be sweet, Et je l’implore à vos genoux. And I implore it at your knees. Mais, par le ciel, moi, traitre infâme But, by heaven, I, an infamous traitor Je pleure, hélas! comme une femme! I weep, alas! Like a woman! Ah! c’est la pitié que je réclame Ah! It is pity that I implore, Par quels accents vous attendrir. You will feel it in my words. Ô, mes amis, sans me flétrir O, my friends, without withering me, Ah! laissez moi mourir. Ah! Let me die.

Donizetti: La favorite

3. Recitative and aria (Fernand) Ange si pur Angel so pure La maîtresse du roi? The mistress of the king? La maîtresse du roi! The mistress of the king! Dans l’abime creusé In the deeply dug abyss Sous un piège infernal Under an infernal trap Ma gloire est engloutie, My glory is swallowed up, Et de mon triste coeur And from my sad heart L’espérance est sortie. Hope is gone.

Ange si pur, que dans un songe Angel so pure, who in a dream J’ai cru trouver, vous que j’aimais! I thought to find—you, whom I loved! Avec l’espoir, triste mensonge Sad lie, with all hope, Envolez-vous et pour jamais, Fly away and forever, Envolez-vous et pour jamais. Fly away and forever. En moi, pour l’amour d’une femme, In me, for the love of a woman, De Dieu l’amour avait faibli pitié! By God, the love made me weak, have pity! Je t’ai rendu mon âme, pitié, I have restored my soul to you, have pity, Seigneur, rends-moi l’oublie, pitié, pitié... Lord, make me forget, pity, pity ... Ange si pur, que dans un songe Angel so pure, that in a dream J’ai cru trouver, vous que j’aimais! I thought I found—you, whom I loved! Avec l’espoir, triste mensonge Sad lie, with all hope, Envolez-vous et pour jamais, Fly away and forever, Loin de mon coeur, vous que j’aimais. Far from my heart, you whom I loved.

8 Envolez vous et pour jamais! Fly away and forever! Loin de mon coeur... avec l’espoir... Far from my heart ... along with my hope ... Ah! envolez-vous et pour jamais... Ah! Fly away and forever ...

Donizetti: Les martyrs

4. Aria (Polyeucte) Oui, j’irai dans leur temple Yes, I will go to their temple

Oui, j’irai dans leur temple! Yes, I will go to their temple! Bientôt tu m’y verras. Soon you will see me there. Dieu saint qui me contemple Holy God, who watches over me Et qui conduit mes pas. And who drives my steps. Par ton souffle inspiré, j’irai! By your inspired breath, I will go! Oui, j’irai dans leur temple Yes, I will go to their temple! Bientôt tu m’y verras. Soon you will see me there. Dieu saint qui me contemple, j’irai! Holy God, who watches over me, I will go!

Oui, l’instant est venu Yes, the moment has come Dieu m’appelle et m’inspire. God calls me and inspires me. Oui, je dois d’un ami partager le martyre. Yes, I must, as a friend, deliver the martyr. Allons! et des bourreaux pour hâter le signal. Come! And persecutors hasten the signal. Allons briser ces dieux de pierre et de métal. Let us break these gods of stone and metal.

Allons! Ah! Oui, j’irai dans leur temples Come on! Ah! Yes, I will go to their temples Bientôt tu m’y verras Soon you will see me Dieu saint qui me contemple The holy God, who watches over me Et qui conduit mes pas! And who guides my steps! Part ton souffle inspiré, j’irai! Share your inspired breath, I will go! Allons briser ces dieux de pierre et de métal. Let us break these gods of stone and metal. Allons! briser ces dieux... Allons! Come on! Break these gods. Dieu m’inspire! J’irai! J’irai! God inspires me! I will go! I will go!

9 Berlioz: Benvenuto Cellini 5. Recitative and aria (Cellini) La gloire était ma seule idole Glory used to be my only idol Une heure encore, et ma belle maîtresse One hour yet, and my beautiful mistress Va venir dans ces lieux! Will come to these places! Une heure encore, amour, et, si tu veux, Another hour, love, and, if you will, De tous ces coeurs fous d’allégresse. Of all those hearts crazy with joy. Le mien sera le plus joyeux. Mine will be the most joyful. Ah! tu serais ingrat Ah! You would be ungrateful Si tu trompais mes voeux. If you were to mislead my wishes.

La gloire était ma seule idole; Glory used to be my only idol; Un noble espoir que je n’ai plus. A noble hope that I no longer have. Ceignait mon front de l’auréole Girded my forehead with the halo Que l’art destine à ses élus. That art destines to its chosen one. Mais cet honneur je le dédaigne; But this honor I disdain; Teresa seule en mon coeur règne. Teresa alone in my heart reigns. Teresa, seule, Teresa, alone, Teresa seul en mon coeur règne. Teresa alone in my heart reigns. Oui, cet honneur je le dédaigne; Yes, I disdain this honor; Vois donc, amour… See then, love ... Vois donc, amour, ce que je fais pour toi: See then, love, what I do for you: Protège-la, protège-moi! Protect her, protect me!

Ma bien aimée était heureuse; My beloved was happy; Et comme un fleuve, ses beaux jours, And as a river, its beautiful days, Loin de la mer sombre, orageuse, Far from the dark, stormy sea, Paisiblement suivaient leur cours. Peacefully followed their course. Mais au repos elle préfère But at rest she prefers Ma vie errante et ma misère, My wandering life and my misery, Au repos, au repos elle préfère At rest, at rest she prefers Ma vie errante et ma misère, My wandering life and my misery, Vois donc, amour… See then, love ... Vois donc, amour, ce qu’elle fait pour toi; See then, love, what she does for you; Protège-la, protège-moi! Protect her, protect me! 10 6. Recitative and aria (Cellini) Sur les monts, les plus sauvages On the most savage mountains

Seul pour lutter, seul avec mon courage! Alone to struggle, alone with my courage! Et me regarde! Rome! And Rome is watching me! Rome! Allons, vents inhumains, soufflez, Come and blow, inhuman winds, Gonflez les flots, et vogue dans l’orage Expand the waves, and bring, with the storm, La nef de nos sombres destins! The nave of our dark destinies! Quelle vie! Quelle vie! What a life! What a life!

Sur les monts les plus sauvages On the most savage mountains, Que ne suis-je un simple pasteur. If I were but a simple shepherd. Conduisant aux pâturages Driving to the pastures Tous les jours un troupeau voyageur! Every day a traveler’s flock! Libre, seul et tranquille, Free, alone and tranquil, Sans labeur fatiguant, Without tiring labor, Errant loin des bruits de la ville, Wandering far from the noises of the city, Je chanterais gaîment; I would gaily sing; Puis le soir dans ma chaumière, Then, at evening in my cottage, Seul, ayant pour lit la terre, Alone, having the earth for a bed, Comme aux bras d’une mère Like in the arms of a mother Je dormirais content. I would sleep contently.

Sur les monts les plus sauvages On the most savage mountains, Que ne suis-je un simple pasteur. If I were but a simple shepherd. Conduisant aux pâturages Driving to the pastures Tous les jours un troupeau voyageur! Every day a traveler’s flock! Libre, seul, tranquille… Alone, free, tranquil… Seul, libre, je chanterait gaîment. Alone, freely I would gaily sing. Ah! Pour lit la terre. Ah! The earth for a bed Sans labeur intitule! Without useless labor! Sur les monts, les plus sauvage On the mountains, the most savage Que ne suis-je an simple pasteur. If that I were a simple shepherd, Conduisant aux pâturages Driving to the pastures Tous les jours un troupeau… Every day a flock… Ah! que ne suis-je un pauvre pasteur Ah! If only I were a poor shepherd.

11 Donizetti: Lucie de Lammermoor

7. Recitative and aria (Edgard) Bientôt l’herbe des champs croîtra Soon the grass of the fields will grow

Tombes de mes aïeux d’une famille éteinte Tombs of my ancestors, of an extinct family Recueillez le dernier, l’infortuné débris! You collect the last, the unfortunate debris! Plus de colère, ah! plus de plainte! No more anger, ah! No more complaint! Ce monde ingrat et dur This ungrateful and hard world Pour moi n’a plus de prix. For me no longer has value. Mon sang Asthon je te le livre, My blood, Ashton, I deliver to you, Car je ne puis plus vivre, Lucie, For I can no longer live, Lucy, Hélas! après tous les mépris. Alas! After all the contempt. Ah! je te vois au bal, de fleurs parée, Ah! I see you at the ball, adorned with flowers, Fendre en riant cette foule abhorrée, To smite this abhorred crowd, Ingrate! et moi, portant mes maux Ungrateful one! and I, carrying my evils sous lesquels je succombe, Under which I succumb, Je tourne vainement mon front pâli vers toi! I vainly turn my pale face towards you! Tu cherches le plaisir, Lucie, You search for pleasure, Lucy, Et moi la tombe. And I the tomb.

Bientôt l’herbe des champs croîtra Soon the grass of the fields will grow Sur ma pierre isolée, On my isolated stone, Et pas un pleur ne mouillera And not a cry will wet Le triste mausolée: The sad mausoleum: Mon âme au ciel s’envolera, My soul in heaven will fly away, Plaintive et désolée. Ordinary and desolate. Lucie, un jour, si ton Arthur Lucy, one day, if your Arthur Te mène en ce lieu sombre, Brings you to this dark place, Passe en silence; un mot d’amour Pass in silence; a word of love Éveillerait mon ombre. Ah! Would awaken my shadow. Ah! Respecte au moins, femme sans foi, Respect at least, faithless woman, L’amant qui meurt pour toi. The lover who dies for you.

12 Donizetti: Dom Sébastien

8. Aria (Sébastien) Seul sur la terre Alone on the earth

Seul sur la terre en vain j’espère Alone on the earth, I hope in vain. Dans ma misère je n’ai plus rien! In my misery I have nothing more! Ange céleste, toi seul me reste. Heavenly Angel, only you are still with me. Ange céleste, sois mon soutien. Heavenly Angel, be my support. Ah! Seul sur la terre en vain j’espère Ah! Alone on the earth, I hope in vain. Dans ma misère je n’ai plus rien! In my misery I have nothing more!

Ah! que ne puis-je offrir un jour Ah! How can I someday offer Une couronne à tant d’amour. A crown to so much love. Moi, que je donne une couronne. Me, that I give a crown. Ah! qu’ai-je dit? Ah! qu’ai-je dit? Ah! What have I said? Ah! What have I said? Moi! Moi! Ah! Me! Me! Ah! Sur ce rivage triste et sauvage, On this sad and savage shore, Hors mon courage je n’ai plus rien! Beyond my courage, I have nothing more!

Toi seule ranimes mon âme You alone revive my soul. Dans le sort qui m’abat. In the fate that battles me. J’ai l’amour d’une femme I have the love of a woman Et le coeur d’un soldat. And the heart of a soldier. Oui, toi seule ranimes mon âme Yes, you alone revive my soul. Dans le sort qui m’abat. In the fate that battles me. J’ai l’amour d’une femme I have the love of a woman Oui! l’amour d’une femme Yes! The love of a woman Et le coeur d’un soldat! And the heart of a soldier!

13 Rossini: Guillaume Tell

9. Recitative and aria (Arnold) — with men’s chorus Asile héréditaire Ancestral refuge

Ne m’abandonne point Do not abandon me Espoir de la vengeance. Hope of revenge. Guillaume est dans les fers, William is in chains, Et mon impatience And my impatience Presse le moment des combats! Presses the moment of battle!

Dans cette enceinte, quel silence! In this chamber, what a silence! J’écoute... I listen... Je n’entends que le bruit de mes pas. I hear only the sound of my steps. Chassons une terreur secrète! Let’s hunt for a secret terror! Entrons! Let’s enter! Devant le seuil, malgré moi je m’arrête. Before the threshold in spite of myself, I stop. Mon père est mort! Je n’y rentrerai pas. My father is dead! I can’t enter ever again.

Asile héréditaire Ancestral refuge Où mes yeux s’ouvrirent au jour. Where my eyes first opened to the day. Hier encore ton abri tutélaire. Only yesterday was your protective shelter … Offrait un père à mon amour. A father’s offering to my love. J’appelle en vain douleur amère! I call in vain, bitter grief! J’appelle il n’entend plus ma voix! I call, he cannot hear my voice! Murs chéris qu’habitait mon père Cherished walls where dwelled my father. Je viens vous voir pour la dernière fois! I come to see you for the last time!

Asile héréditaire Ancestral refuge Où mes yeux s’ouvrirent au jour. Where my eyes first opened to the day. Murs chéris qu’habitait mon père. Cherished walls where dwelled my father. Je viens vous voir pour la dernière fois! I come to see you for the last time!

Choeur: Chorus: Vengeance! Vengeance! Revenge! Revenge!

14 Arnold: Arnold: Quel espoir, j’entends des cris d’alarmes! What hope, I hear cries of alarm!

Choeur: Chorus: Vengeance! Vengeance! Revenge! Revenge!

Arnold: Arnold: Ce sont mes compagnons, They are my companions, Je les vois accourir! I see them running here!

Choeur: Chorus: Guillaume est prisonnier William is a prisoner Et nous sommes sans armes And we are without arms! Nous voulons tous le secourir! We all want to help him! Des armes! Et nous saurons mourir. Weapons! And we shall know how to die. Des armes! Weapons!

Arnold: Arnold: Des longtemps Guillaume et mon père Long have William and my father On prévu l’heure des combats; Foreseen this hour of battle; Sous le rocher au font du chalet solitaire Look under the rock at the solitary chalet Courez, armez vos bras! Run and arm yourselves!

Choeur: Chorus: Courons, armons nos bras! Courons! Let’s run, and arm ourselves! Let’s run!

Arnold: Arnold: Plus de crainte inutile, No more needless fear, Plus de l’arme stérile No more the sterile weapon! Gesler tu périras! Gesler, you will perish! Pour toi qui prive ma tendresse To you who takes from me the tenderness De mon père et de ma maîtresse Of my father and my mistress. Est-ce assez que le trépas! Enough of your wrongdoings!

15 Choeur: Chorus: Mèlchtal que ton espoir renaisses Mèlchtal, in your hope is reborn -- Enfin le glaive arme nos bras! Mèlchtal! Finally we are armed with the sword! Mèlchtal!

Arnold: Arnold: Amis, amis secondez ma vengeance! Friends, friends, join in my revenge! Si notre chef est dans les fers If our leader is in chains, C’est à nous qu’appartient sa défense! It’s up to us to aid his defense! D’Altdorf les chemins sont ouvert! From Altdorf the paths are opened! Suivez moi! D’un monstre perfide Follow me! From a treacherous monster Trompons l’espérance homicide! We deceive the homicidal hope! Arrachons Guillaume à ses coups! Let’s snatch William from his grasp!

Choeur: Chorus: Suivons le! d’un tyran cruel et perfide Follow him! From a cruel and awful tyrant Trompons l’espérance homicide! We deceive the homicidal hope! Cette tâche est digne de nous! This task is worthy of us! Suivons le aux combats! Let’s follow him into battle!

Arnold: Arnold: Aux armes! To arms!

16 American tenor John Osborn was born in Sioux burger Festspiele, Bruxelles' Palais de Bozar, City, Iowa. He received his Bachelor of Music De- and Arena di Verona); Prince Léopold in La gree in Vocal Performance from Simpson Col- Juive by Fromental Halévy (Opéra National de lege in Indianola, Iowa. He studied voice with Paris; Dutch National Opera; Opernhaus Zürich; Anne Larson, and was a winner of the Metro- Bayerische Staatsoper München); Raoul de politan Opera National Council Auditions when Nangis in ( de Munt he was only twenty-one years old. He became Bruxelles) and Jean de Leyde in Le prophète by a member of the Metropolitan Opera Young (Aalto Musiktheater Essen; Artist Development Program, and continued Capitôle de Toulouse); the title role in Werther his vocal studies with Edward Zambara. He was (Frankfurt am Main) and Des Grieux in also First Prize Winner of the 1996 Operalia by Jules Massenet (Teatro Colón Buenos Aires; Voice Competition of Placido Domingo in Bor- Opéra de Lausanne); Hoffmann in Les contes deaux, France. d’Hoffmann by (Salle Pleyel de Paris; Opéra de Lyon; Bunkamura Orchard Mr. Osborn has gained international acclaim in Hall in Tokyo); Nadir in Les pêcheurs de perles the bel canto and French grand opera repertoire. by (debut In his early career, he performed internationally as Covent Garden). He has had huge success as Il conte d’Almaviva in Il barbiere di Siviglia, Principe Cellini in Hector Berlioz’s masterpiece Benve- Ramiro in La cenerentola, Il conte di Libenskof in nuto Cellini, in a critically acclaimed production Il viaggio a Reims, Don Narciso in Il turco in Italia, by at the Dutch National Opera and Lindoro in L’italiana in Algeri by Gioachino in Amsterdam. His performances in that pro- Rossini. He also gave performances as Don Otta- duction marked his debut at the Teatro dell’op- vio in , Belmonte in Die Entführung era di Roma, where he was recently awarded aus dem Serail, and Prinz Tamino in Die Zauber- the Franco Abbiati Award (Italian Critics), and flöte by ; Arturo Talbot also his debut at the Teatro in Barcelona, in , Elvino in La sonnambula, and (later) where he was awarded “Best Male Singer” in Pollione in , and Gualtiero in by the Critical Awards by the “Los amics del Liceu,” ; Nemorino in L’elisir d’amore, season 2015-2016. Ernesto in , and Tonio in La fille du régiment. Later, he sang Edgardo in Lucia di Lam- As a specialist in the French repertoire, he sings mermoor and the title role in by other lead roles in bel canto masterpieces in Gaetano Donizetti. the original French language, including Arnold Melchtal in Guillaume Tell by Gioachino Rossi- As he has transitioned into the French rep- ni (L’accademia di Santa Cecilia in Rome; Royal ertoire, Mr. Osborn has performed Roméo in Opera Covent Garden; L’Opéra de Genève) and Roméo et Juliette by (Salz- Fernand in La favorite by Gaetano Donizetti (Te-

17 18 atro ). Included in this realm would be Chamber Orchestra and the Philharmonia of Henri in ’s Les Vêpres sicilienne Russia, and more recently as guest conductor (Bel Canto at Caramoor). with a number of illustrious Russian orchestras. Currently Chief Conductor of the Kaunas City John Osborn has received several awards for Symphony Orchestra in Lithuania, Orbelian his performances and contributions to culture, leads concerts and recordings there with some including the 2011 Goffredo Petrassi Award for of the world’s greatest singers, in projects such his portrayal as Arnold in Guillaume Tell with as a recording of , with Dmitri conducting the orchestra Hvorostovsky in the title role. In 2016 he became and chorus of L’Accademia di Santa Cecilia in Artistic Director of the State Academic Opera Rome, Italy; the 2012 Aureliano Pertile Award and Ballet Theater in Yerevan, Armenia. in Asti, Italy, for his portrayal as Roméo at the Arena di Verona; the 2014 Premio Bellini D’Oro Opera News calls Orbelian “the singer’s dream in Catania, Sicily, for his Elvino in La sonnambula collaborator,” commenting that he conducts in Bari’s Teatro Petruzzelli and Alfredo Germont vocal repertoire “with the sensitivity of a lieder in at the Arena di Verona; the 2016 pianist.” The California-based conductor tours "Prix d’Amis" from the Friends of the Dutch Na- and records with American stars such as Son- tional Opera for his performances as Cellini in dra Radvanovsky and Lawrence Brownlee, and Benvenuto Cellini; and the Italian “Franco Ab- with Hvorostovsky and other renowned Russian biati” Critics Award for “Best Male Singer” for singers in European, North American, Russian, his critically acclaimed performances as Fer- and Asian music centers. He is also the founder nand in La favorite in Teatro La Fenice, Cellini and Music Director of the annual Palaces of St. in Benvenuto Cellini at Teatro dell’opera di Roma, Petersburg International Music Festival. and the title role in : ossia il moro di Venezia by Rossini at the Teatro San Carlo di Napoli in the “Orbelian has star quality, and his orchestra plays 2016 season. He has also won the Oscar della with passion and precision,” The Audio Critic wrote Lirica 2017 as Best Tenor. of his acclaimed series of more than fifty record- ings on Delos. Among his concert and televised appearances are collaborations with stars Renée Grammy-nominated conductor Constantine Fleming and Dmitri Hvorostovsky, and with Van Orbelian “stands astride two great societies, and Cliburn in Cliburn’s sentimental return to Moscow, finds and promotes synergistic harmony from the great pianist’s last performance. Orbelian’s the best of each.” (Fanfare) For more than twen- frequent collaborations with Hvorostovsky include ty-five years, the brilliant American pianist-con- repertoire from their Delos recordings of universal ductor has been a central figure in Russia’s mu- sentimental songs Where Are You, My Brothers? sical life: first as Music Director of the Moscow and Moscow Nights, as well as Wait for Me, their

19 2015 recording in the same series. On several oc- Orbelian’s appointment in 1991 as Music Di- casions Orbelian has conducted historic live tele- rector of the Moscow Chamber Orchestra was casts from Moscow’s Red Square, with such artists a breakthrough event: He is the first American as Hvorostovsky and Anna Netrebko. ever to become music director of an ensemble in Russia. A tireless champion of Russian-Ameri- Born in San Francisco to Russian and Armenian can cultural exchange and international ambas- emigré parents, Constantine Orbelian made his sadorship through his worldwide tours, he was debut as a piano prodigy with the San Francisco awarded the coveted title “Honored Artist of Symphony at the age of eleven. After graduat- Russia” in 2004, a title never before bestowed on ing from Juilliard in New York, he embarked on a a non-Russian citizen. In May 2010, Orbelian led career as a piano virtuoso that included appear- the opening Ceremonial Concert for the Cultur- ances with major symphony orchestras through- al Olympics in Sochi—the first event setting the out the United States, United Kingdom, Europe, stage for Russia’s hosting of the Olympic Games and Russia. His recording of the Khachaturian pi- in 2014. In 2012 the Consulate in San Francisco ano concerto with conductor Neeme Järvi won awarded him the Russian Order of Friendship “Best Concerto Recording of the Year” award in Medal, whose illustrious ranks include pianist Van the United Kingdom. Cliburn and conductor , and which 20 singles out non-Russians whose work contrib- The Kaunas City Symphony Orchestra grew utes to the betterment of international relations from the Kaunas Chamber Orchestra, which was with the Russian Federation and its people. founded in 1988 and since 2000 has been man- aged by Algimantas Treikauskas. Its previous prin- From his 1995 performance at the 50th Anniver- cipal conductors were Pavel Berman, Modestas sary Celebrations of the United Nations in San Pitrenas, and Imants Resnis; the position now be- Francisco, to his 2004 performance at the U.S. longs to American maestro Constantine Orbelian. State Department commemorating seventy years of diplomatic relations between Washington and The Kaunas City Symphony Orchestra gives Moscow (and a repeat State Department ap- concerts at home in Lithuania and abroad— pearance in 2007, all with the Moscow Chamber including Latvia, Estonia, Norway, Switzerland, Orchestra), Orbelian continues to use his artistic Germany, Finland, and Italy. It appears regularly eminence in the cause of international goodwill. at various international festivals, presents spe- He and his orchestras have also participated in cial concert projects, and gives theme-oriented cultural enrichment programs for young people, concerts. Many famous Lithuanian as well as both in Russia and the United States. In 2001 foreign soloists and conductors have collabo- Orbelian was awarded the Ellis Island Medal of rated with the orchestra—which organizes and Honor, an award given to immigrants, or children appears in about fifty concerts per year. A high- of immigrants, who have made outstanding con- ly versatile ensemble, the orchestra specializes tributions to the United States. in various genres of classical and contemporary

21 music, including crossover projects with such The choir has collaborated with the prominent groups as The Scorpions, Smokie, and the Elec- violinist and conductor Yehudi Menuhin, re- tric Light Orchestra, to name a few. nowned German pianist and conductor Justus Frantz, legendary cellist and conductor Ms- For two years, the orchestra also appeared on the tislav Rostropovich, and revered composer and opera contest show Arc of Triumph on Lithuanian conductor Krzysztof Penderecki, among many National Television. Among the group’s prom- other prominent artists. They have also worked inent highlights in the 2012-2013 season were with some of the world’s great orchestras and its collaboration with legendary Dmitri have undertaken concert tours to France, Italy, Hvorostovsky and Maestro Orbelian, as well as Spain, Germany, Egypt, Russia, Argentina, and its appearance at the Murten Classics festival in Chile, among other nations. Switzerland under the baton of Kaspar Zehnder. The orchestra’s discography includes a number of recent CD projects recorded for Delos with sev- eral of today’s most acclaimed singers, conduct- ed by Maestro Orbelian. Among these are the complete opera Simon Boccanegra, with Dmitri Hvorostovsky in the title role (DE 3457), which was released by Delos in 2015; tenor Lawrence Brown- lee’s 2014 Delos release showcasing Rossini (DE 3455), which received a Grammy nomination; and a second album featuring Brownlee, Allegro io son (DE 3515), which was released in 2016.

The men’s ensemble heard in this recording is part of the Kaunas State Choir, founded in Kaunas, Lithuania, in 1969. Under the leader- ship of its founder, Professor Petras Bingelis, the chorus has developed an extensive repertoire ranging from medieval to modern music and in- Left to right: conductor Constantine Oberlian, cluding more than 150 large-scale compositions: Lynette Tapia (artist’s wife), orchestra manager Algimantas Treikauskas, tenor John Osborn, oratorios, cantatas, masses, and passions, as well sound engineer Aleksandra Kerienė, and as staged and concert versions of operas. producer Vilius Keras.

22 My special thanks go out to the members of the Kaunas City Symphony Orchestra for their pro- fessionalism and enthusiasm; to Constantine Orbelian, for his cool display of patience and under- standing as we explored new repertoire; to Ann Ziff, the generous American philanthropist who introduced me to Maestro Orbelian; to my wonderful recording producer Vilius Keras and his lovely wife, engineer Aleksandra Kerienė (both of Baltic Mobile Recordings) for their superb skills and meticulous attention to detail; and last, but not least, to my beautiful wife, Lynette Tapia, for her unflagging love, support and patience, as well as for her keen ear, her attention to my vocal health and to my continuing evolution as an artist and as a human being. Thanks to her and our almighty God above, all things are truly possible. —John Osborn

Recorded at Kaunas Philharmonic (Kaunas, Lithuania) from September 13-16, 2016 Co-producers and recording engineers: Vilius Keras and Aleksandra Kerienė of Baltic Mobile Recordings, www.bmr.lt Booklet production and editing: Lindsay Koob, Anne Maley, and David Brin Art design/layout: Lonnie Kunkel Photo credits: cover and bio photos of John Osborn, Matilde Fassò; rear cover photo, Matthias Baus

We would like to thank Algimantas Treikauskas — General Director of the Kaunas City Symphony Orchestra — for his indispensable assistance in producing this recording.

© 2017 Delos Productions, Inc., P.O. Box 343, Sonoma, CA 95476-9998 (707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 [email protected] • www.delosmusic.com Made in USA 23 Gilbert Duprez as Fernand and Rosina Stoltz as Leonor in La favorite DE 3532

Gilbert Duprez as Fernand and Rosina Stoltz as Leonor in La favorite DE 3532 24