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ROSSINI Il Viaggio a Reims

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ROSSINI Il Viaggio a Reims ROSSINI 3 CDs Il viaggio a Reims Giordano • Pizzolato • Mchedlishvili • Marianelli • Mihai Mironov • Palazzi • De Simone • Praticò • Myshketa Camerata Bach Choir, Poznań • Virtuosi Brunensis Antonino Fogliani FIRST RECORDING OF THE COMPLETE OPERA Gioachino Don Prudenzio ........................................................................... Baurzhan Anderzhanov, Bass ROSSINI spa doctor (1792-1868) Don Luigino ............................................................................................... Carlos Cardoso, Tenor cousin of Contessa di Folleville Delia ......................................................................................................... Guiomar Cantò, Soprano Il viaggio a Reims Greek orphan, travelling with Corinna ossia Maddalena ...................................................... Olesya Berman Chuprinova, Mezzo-soprano L’albergo del Giglio d’Oro Spa housekeeper from Caux in Normandy ......................................................................... (The Journey to Reims or The Inn of the Golden Fleur-de-lys) Modestina Annalisa D’Agosto, Mezzo-soprano maid to Contessa di Folleville Dramma giocoso in One Act .................................................................................................. Libretto by Luigi Balochi, partly based on Corinne, ou L’Italie by Mme de Staël Zefirino Artavazd Sargsyan, Tenor messenger ............................................................................................ Corinna ................................................................................................. Laura Giordano, Soprano Antonio Lucas Somoza Osterc, Bass maître d’hôtel poetess, famous Roman improviser Marchesa Melibea ..................................................................... Marianna Pizzolato, Contralto Gelsomino ............................................................................................ Yasushi Watanabe, Tenor Polish widow of an Italian general, killed on the day of their marriage valet La Contessa di Folleville ...........................................................Sofia Mchedlishvili, Soprano a fashionable young widow Camerata Bach Choir, Poznań • Chorus-master: Ania Michalak Madama Cortese ................................................................... Alessandra Marianelli, Soprano Virtuosi Brunensis (Karel Mitáš, Artistic Director) Tyrolean hostess of the spa hotel, wife of a French businessman Antonino Fogliani Il Cavalier Belfiore........................................................................................ Bogdan Mihai, Tenor Musical Assistant and Fortepiano: Michele D’Elia elegant French officer, amateur painter, ladies man, in pursuit of Contessa di Folleville Il Conte di Libenskof ................................................................................ Maxim Mironov, Tenor Recorded live at the Königliches Kurtheater, Bad Wildbad, Germany, 8th, 10th and 12th July 2014 Russian general, impetuous, extremely jealous by nature, in love with Marchesa Melibea for the XXVI ROSSINI IN WILDBAD Festival (Artistic director: Jochen Schönleber) Lord Sidney ...................................................................................................... Mirco Palazzi, Bass A Co-production with Südwestrundfunk English colonel, secretly in love with Corinna Critical edition by M. Elizabeth C. Bartlet, edited by Fondazione Rossini, Pesaro Don Profondo .......................................................................................... Bruno De Simone, Bass in collaboration with Universal Music Publishing, Ricordi S.r.l., Milano scholar, antiquarian, friend of Corinna Il Barole di Trombonok ................................................................................ Bruno Praticò, Bass German major, music-lover Don Alvaro .................................................................................................. Gezim Myshketa, Bass Spanish admiral, in love with Marchesa Melibea CD 1 54:51 5 Recitativo: Milord, una parola… 2:08 9 Polacca: Ai prodi guerrieri 1:21 # Canzone francese: Madre del nuovo Enrico 1:34 (Profondo, Sidney, Corinna, Delia) (Melibea, Tutti) (Folleville, Belfiore, Tutti) 1 No. 1 Introduzione: 6 No. 5 Recitativo e Duetto: 0 Inno russo: Onore, gloria ed alto omaggio 1:33 $ Tirolese: Più vivace e più fecondo 4:29 Presto, presto… su, coraggio! 6:12 Sola ritrovo alfin la bella dea 2:58 (Libenskof, Tutti) (Cortese, Profondo, Tutti) (Maddalena, Coro, Prudenzio, Antonio) (Belfiore, Corinna) ! Canzone spagnola: Omaggio all’augusto duce 1:13 % Strofe d’improvviso: All’ombra amena 10:50 2 Di vaghi raggi adorno 5:09 7 Nel suo divin sembiante 6:11 (Alvaro, Tutti) (Corinna) (Cortese, tutti gli altri) (Belfiore, Corinna) @ Canzone inglese: Dell’aurea pianta 2:11 ^ Stretta: Viva il diletto augusto regnator 5:12 8 3 Or state attenti 2:47 Dunque non v’è speranza? 4:16 (Sidney, Tutti) (Tutti) (Cortese, tutti gli altri) (Belfiore, Corinna) 9 4 Recitativo: Partire io pur vorrei 2:37 Recitativo: Bravo il Signor Ganimede! 0:34 (Cortese, Folleville, Modestina, Luigino, (Profondo) 0 Trombonok, Prudenzio) No. 6 Aria: Medaglie incomparabili 5:25 No. 2 Recitativo ed Aria: (Profondo) ! 5 Ahimè! Sta in gran pericolo… 2:07 Recitativo: Vedeste il Cavaliere? 2:20 (Prudenzio, Trombonok, Luigino, Folleville) (Folleville, Profondo, Alvaro, Libenskof, 6 Partir, oh ciel! desio 5:36 Trombonok, Zefirino) Gioachino Rossini (1792-1868) @ No. 7 Gran pezzo concertato a 14 voci: 4:56 (Folleville, tutti gli altri) Il viaggio a Reims 7 Che miro! ah! qual sorpresa! 6:01 Ah! A tal colpo inaspettato (Folleville, Corinna, Melibea, Delia, Modestina, (Folleville, tutti gli altri) Libenskof, Belfiore, Zefirino, Trombonok, Alvaro, Il viaggio a Reims: “This opera is a feast” tailored precisely to the occasion being celebrated. In Il viaggio 8 Recitativo: Eh! senti, mastro Antonio… 0:57 Sidney, Profondo, Prudenzio, Cortese) numerous international guests have assembled in the real-life (Trombonok, Antonio) # Fra dolci e cari palpiti 4:02 “Occasional works scarcely ever live on after the event for which spa resort of Plombières in order to be taken on to Reims to 9 No. 3 Sestetto: (Tutti) they were written.” It was with this and similar sentences that attend the forthcoming coronation festivities for Charles X. But Sì, di matti una gran gabbia 5:37 critics in Paris regretted the rapid disappearance of Il viaggio a due to the lack of any transport facilities they present their own (Trombonok, Profondo, Alvaro, Melibea, CD 3 53:51 Reims following its première on 19 June 1825. Rossini himself celebration in the hotel garden; each guest sings their own Libenskof, Cortese) 0 did not believe that his “little occasional work” (“petite pièce de national anthem, with an appropriate text, as a message of Non pavento alcun periglio… 5:52 1 Recitativo: Savio della Contessa 2:49 circonstance”) could have any chance of a future. The published greeting. It is logical to suppose that, as soon as the everyday (Libenskof, Alvaro, Profondo, Trombonok, (Belfiore, Profondo, Trombonok, Folleville, libretto carried the description Dramma giocoso, which was politics of the new king took effect, such a work would no longer Cortese, Melibea) ! Alvaro, Cortese, Antonio, Gelsomino) translated literally as an opéra-comique, thus very much like a be of interest. Arpa gentil 8:04 2 No. 8 Scena e duetto: “comic opera”. From the beginning Rossini himself declared the Rossini had been aware of the transient nature of political (Corinna, tutti) Di che son reo? 5:07 piece to be a “cantata” and he used this term even in later years proclamations from his early youth. His father professed himself @ Simbol di pace e gloria 3:52 (Libenskof, Melibea) when he was authenticating its remaining autographed parts. to be a “true Republican”, wedded to the ideals of the French (Tutti) 3 Al barbaro rigore 5:17 For Rossini the term “cantata” was tantamount to being a work Revolution, but when troops loyal to the pope banished the (Melibea, Libenskof) which was outside the main repertoire. Such commissioned French again, he ended up in prison. When in Bologna in 1815 CD 2 48:07 4 Recitativo: Tutto è all’ordin 1:53 cantatas were, for him, always works of a transitory nature, Rossini himself must have experienced how he jeopardized his (Antonio, Gelsomino, Maddalena) meaning that their music either originated from earlier works, career, through his own anthem to an Italian centralized state 1 Recitativo: Zefirin non ritorna… 0:48 5 No. 9 Finale: or was later re-used, or even both. After only four performances as proclaimed by Murat; Murat was defeated by the Austrians at (Cortese) Ballo: Allegretto – Marziale – Allegretto – Allegro – Rossini withdrew Il viaggio a Reims from an enthusiastic public Tolentino and the Napoleonic age came to an abrupt end. In the 2 No. 4 Scena ed Aria: Vivace – Allegretto 4:08 and three years later resurrected long stretches of it in Le period following the restoration Rossini regularly composed for Ah! perché la conobbi? 4:57 6 Coro: L’allegria è un sommo bene 3:46 Comte Ory – to even greater and much more enduring success. the Bourbon court in Naples cantatas for birthdays, recoveries (Sidney) (Coro) His strategy worked out well; the music fitted magnificently into from illness and visits – all occasions which took place on 3 Invan strappar dal core 6:13 7 Recitativo: Ora secondo l’uso 0:48 the new stage-ready work. one particular day, before normal business was resumed. In (Sidney, Coro) (Trombonok) It is no surprise that Rossini regarded
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