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Ludwig van Beethoven (1770–1827) Fidelio in two acts

Libretto by Joseph von Sonnleithner, with revisions by Stephan von Breuning and

© Lebrecht Music & Music © Lebrecht Arts Library Photo Georg Treitschke, after Jean-Nicolas Bouilly’s Léonore, ou L’amour conjugal

English translation by David Pountney

Rocco, jailer ...... bass Marzellina, his daughter ...... Rebecca Evans soprano Jaquino, Rocco’s assistant...... Peter Wedd tenor Don Pizarro, prison governor ...... Pavlo Hunka bass-baritone Don Fernando, minister and Spanish nobleman ...... Christopher Purves bass Florestan, a prisoner...... Richard Margison tenor Leonora, his wife, and assistant to Rocco, under the name of Fidelio..... soprano First prisoner...... Ashley Catling tenor Second prisoner ...... Christopher Purves bass

Philharmonia Orchestra Geoffrey Mitchell Choir Matthew Rowe associate chorus master

Ludwig van Beethoven

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COMPACT DISC ONE Time Page Time Page 1 Overture 6:31 [p. 92] 12 Dialogue: ‘But Marzellina…’ 0:45 [p. 101] Jaquino, Marzellina, Rocco, Leonora Act I 13 No. 10 Finale: ‘Oh, what delight to breathe the air’ 7:38 [p. 102] Scene 1 Chorus, First prisoner, Second prisoner 2 No. 1 Duet: ‘These people could drive you berserk’ 4:55 [p. 92] 14 ‘What did he say?’ 2:20 [p. 103] Jaquino, Marzellina, Rocco Leonora, Rocco 3 No. 2 Aria: ‘If only we could marry today’ 4:31 [p. 94] 15 ‘Let’s down to work, for time is pressing’ 2:36 [p. 104] Marzellina, Rocco, Leonora Rocco, Leonora 4 No. 3 Quartet: ‘A wonder, clear and pure’ 4:34 [p. 95] 16 ‘Oh, father, do be quick!’ 0:41 [p. 104] Marzellina, Leonora, Rocco, Jaquino Marzellina, Rocco, Jaquino, Leonora 5 No. 4 Aria: ‘If you don’t save up your money’ 3:35 [p. 96] 17 ‘Presumptuous idiot, who are you to take such a liberty’ 1:43 [p. 105] Rocco, Leonora, Marzellina Pizarro, Rocco 6 No. 5 Trio: ‘Good, that’s the stuff!…’ 5:51 [p. 97] 18 ‘Farewell, the warm and radiant light’ 4:19 [p. 106] Rocco, Leonora, Marzellina Chorus of prisoners, Marzellina, Leonora, Jaquino, Pizarro, Rocco TT 67:40 Scene 2 7 No. 6 March – COMPACT DISC TWO Dialogue: ‘This handwriting seems familiar’ 1:45 [p. 99] Act II Pizarro Scene 1 8 No. 7 Aria with choir: ‘Ah! This is ecstasy!’ 3:24 [p. 99] 1 No. 11 Introduction and Aria: Introduction 3:14 [p. 106] Pizarro, Chorus of sentries 2 Aria: ‘God! The darkest hours’ 1:51 [p. 106] 9 No. 8 Duet: ‘Now, Warder, listen!’ 5:20 [p. 100] 3 ‘In the spring of youthful promise’ 4:52 [p. 107] Pizarro, Rocco Florestan 10 No. 9 Recitative and Aria: ‘Vile murderer! Sadistic swine!’ 1:56 [p. 101] 4 No. 12 Melodrama and Duet: ‘How cold it is in these dungeons’ 1:51 [p. 107] 11 ‘Come hope, you faint and distant star’ 5:12 [p. 101] Leonora, Rocco Leonora

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In Beethoven’s great opera we see the victory of hope, feminine courage and Time Page 5 ‘Now bend your back, let’s see you working’ 5:00 [p. 108] perseverance in the face of injustice. Rocco, Leonora, Florestan I am delighted to add this masterpiece 6 No. 13 Trio: ‘In a better world, they surely shall applaud you’ 6:13 [p. 109] Florestan, Rocco, Leonora, Pizarro to our Opera in English catalogue, 7 No. 14 Quartet: ‘You perish!’ 4:44 [p. 111] recorded by a fine cast Pizarro, Florestan, Leonora, Rocco, Jaquino 8 No. 15 Duet: ‘Oh joy beyond all understanding’ 2:48 [p. 113] led by Christine Leonora, Florestan Brewer, Richard Scene 2 Margison and 9 ‘No. 16 Finale: ‘Hear! Hear! Hear how the world wildly rejoices’ 2:03 [p. 114] Robert Lloyd. Chorus of people 10 ‘My noble sovereign’s will and order’ 4:09 [p. 114] Fernando, Chorus of people and prisoners, Rocco, Pizarro, Leonora, Marzellina 11 ‘Oh God, oh God, what ecstasy!’ 2:52 [p. 116] Chorus, Leonora, Marzellina, Florestan, Fernando, Rocco 12 ‘Let our voices tell the story’ 3:39 [p. 116] Chorus, Florestan, Leonora, Rocco, Marzellina, Jaquino, Fernando May 2005 TT 43:20

Sir Peter Moores examining an archaic Chinese bronze from the collection at Compton Verney

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and Dittersdorf –, Italian opera buffa by the beginning of 1804 Beethoven had tired of The Only Opera Cimarosa and Paisiello, some Gluck and three this text, writing to a friend that Schikaneder’s Mozart . The influence of such works ‘empire has really been entirely eclipsed by the “Fidelio”, wrote Thomas Love Peacock at the story in which an aristocrat was rescued from on Beethoven can be heard as early as his light of the brilliant and attractive French time of the work’s first London performances, imprisonment by left-wing revolutionaries. Second (really, First) Piano Concerto, in which operas’. He was referring to both his time in combines the profoundest harmony with melody And, whereas the opera in the form in which the piano appears as a kind of vocal soloist Bonn and to the local success of Cherubini that speaks to the soul. The playfulness of (as on the present recording) it is widely amid orchestral ‘arias’ and ‘recitatives’, but, who, by the end of 1803, had had six of his youthful hope, the heroism of devoted love, the performed today appears to be as clear-cut and perhaps more importantly, in shaping his view recent operas staged in Vienna in less than two rage of the tyrant, the despair of the captive, the inevitable a piece of writing as any of that a dramatic text (be it spoken or set as years. Later to the Austrian capital came work bursting of the sunshine of liberty upon the Beethoven’s major scores, it was in fact the recitative) was an essential component of by Gaveau, Méhul and Spontini (especially gloom of the dungeon… are portrayed with a product of work put in over a period of more effective opera. Thus the operas he most La Vestale). Inspired by this new invasion, force and reality that makes music an intelligible than ten years, taking in four (nearly five) admired – and based his own first efforts Beethoven noted, ‘I have quickly had an old language, possessing an illimitable power of overtures, three musical versions and three on – were Mozart’s The Magic Flute and French libretto adapted and am now pouring forth thought in sound. substantial libretto revisions. Cherubini’s French works Lodoïska, Les Deux beginning to work on it’. This was Léonore, The story of how this ‘opera among operas’ In the then small German provincial town Journées and Médée. ou l’amour conjugal (‘Leonora, or Married (), ‘unique, alike in number and of Bonn, Beethoven’s father was a tenor, and Beethoven’s first operatic composition Love’) by Jean-Nicolas Bouilly, a play with quality’ (), came about is rich the young composer-to-be soon became consisted of extra arias for an existing German extensive music, composed originally by in intriguing contradictions. It did, indeed, involved with the local Court’s theatre comic opera (Umlauf’s The Beautiful Cobbler) Pierre Gaveau. turn out to be Beethoven’s only completed orchestra, playing the cembalo for but, given his admiration for The Magic Flute Work in turning the French Léonore into a work for the lyric stage, although significant performances at the age of twelve and thirteen. and (from 1792 onward) his presence in satisfactory German Fidelio would occupy parts of his life had been involved with opera Later, following a first trip to Vienna during Vienna, it was almost inevitable that his first Beethoven intermittently for the next ten years. houses and people, and the search for suitable which he had a lesson or two from Mozart, full-scale opera project should be in tandem But his search for other librettos both during libretti. Few operas have such a clear political Beethoven returned home to the life of a with Emanuel Schikaneder, the actor/theatre- that decade and later in his career was almost bias – the victory of liberalism over unjust jobbing orchestral musician. As a rank-and-file manager who had written the book for Puccini-like in its insistence. Possible projects reactionary tyranny – or a closer identification viola player over four and a half seasons, he Mozart’s last work. Schikaneder offered him included a Macbeth by the writer for whose with a specific historical event – the fall of experienced at first-hand the contemporary Vesta’s Fire, a tale of virgins in Ancient Rome Coriolan he had written an overture, a Ruins of the Bastille in the first French Revolution of light opera repertoire: German and French who spoke (as Beethoven observed) ‘language Babylon by Treitschke (his third Fidelio 1789 – that it is a surprise to read that its works in which vocal numbers alternated with and verses such as could only proceed out of librettist-to-be), The Return of Ulysses, Romulus libretto was based loosely on a real-life rescue spoken dialogue – composers included Grétry, the mouths of our Viennese apple-women’. By and Remus and Bacchus. In the summer of

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1811, around the time he was working on the the first Léonore – Julie-Angelique Scio – had mission to save her husband. Dom Pizare where the latter had been imprisoned. The Seventh Symphony, Beethoven told a created the roles of Jason and Medea in (Beethoven’s Pizarro) is a name signifying the libretto was prepared by Joseph Ferdinand von correspondent, ‘It is very difficult to find a Cherubini’s Médée.) Thus, spoken dialogue, abuse of royal power by the Spanish Sonnleithner, Secretary to the Court Theatre good libretto for an opera. Since last year I favoured by Beethoven anyway and to prove conquistadors during their brutal conquest of and one of the founders of the city’s famous have turned down no less than twelve or more such an important springboard in Fidelio the New World. The ‘lower’ or ‘comic’ couple concert-giving organisation, the Gesellschaft der of them.’ Although Beethoven was to write between the vocal/instrumental numbers of have typical servant names – Jaquino (‘little Musikfreunde. He based his work on a literal many works for voices and orchestra, the only the opera, was an integral part of his Leonora James’) and Marceline/Marzellina (‘little translation of Bouilly, also taking over all the truly operatic music that survives from these source from the beginning. More of these Mary’). By virtue of its veristic connection with opportunities which the French libretto abortive ventures is two Finale movements for spun memories of Bouilly’s time in office, the recent events of the Revolution – and provided for music and, in consultation with two pasticcios written by Treitschke. again detailing a wife’s unsinkable loyalty to an made more acceptable by the fact that it tells a Beethoven, working up others from hints in the Jean-Nicolas Bouilly, the writer of Léonore, unjustly imprisoned husband, inspired his moral tale in praise of the strength of French dialogue. These new texts for music was a lawyer and judge in the service of libretto Les Deux Journées (‘The Water marriage – Bouilly’s Léonore became a ‘hot’ included the famous Act I Quartet (‘A wonder, various French administrations both before Carrier’) for an 1800 opera by Cherubini that book in operatic Europe. Following Gaveau, it clear and pure’) and all of Pizarro’s scenes, and during the Revolution. While an was a huge hit in Vienna soon afterwards and was set to music in a very short space of time including his first big vengeance aria (‘Ah, this is administrator in Touraine in the Jacobin an important musical and dramatic influence by Ferdinando Paer (in Dresden, 1804) and ecstasy!’) and the dungeon Quartet (‘You years of the 1790s he claimed, according to on Beethoven’s work on the Leonora subject. Simone Mayr (in Padua, 1805) as well as by perish!’) – in the Bouilly/Gaveau work the role memoirs published over forty years later, to Bouilly’s subjects were easily accessible in Beethoven, whose first version reached the stage of Pizarro (‘Dom Pizare’) was a speaking one. have assisted Madame de La Valette, a their straightforward characterisation of good in Vienna in November 1805. In this first version of the score, almost all noblewoman, in her attempts to save and evil, represented by people and situations Beethoven always wanted his opera to be the major music was in place, albeit in slightly her aristocratic husband from the that seemed brutally contemporary by called Leonora after the real name of its heroine, longer or melodically differing form. (Some guillotine – ‘true-to-life historical events’ comparison with the tales from classical rather than Fidelio (preferred by managers and commentators regret the loss by 1814 of the which (he said) inspired the drama of Léonore. mythology that had dominated the eighteenth- publishers to distinguish his work from the accompanied recitative introduction to, and Bouilly’s and Gaveau’s stagework premiered in century theatre. In Leonora every name in the Leonoras of other composers) after the boy’s longer, more florid version of Florestan’s and Paris in February 1798 at the Théâtre Feydeau, cast list told something about that character’s name she assumes to enter service in the state Leonora’s ‘Oh joy beyond all understanding’ whose decidedly superior and unique company personality, or social and political standing. Roc prison. The opera was given at first in three acts, duet.) There were also three numbers which, of singer/actors was as skilled in reciting (Beethoven’s Rocco) is ‘rock-steady’, unmoved the first two corresponding to the present Act I. one might say in retrospect, held up the action dialogue in heroic couplets as it was in singing by anything (except money). Fidelio is from the The original Act III had no change of scene: the (and the musical flow) and fortunately were to opera. (Auspiciously, a year before, the first Latin ‘fidelis’ – faithful, loyal, dependable, all visit of the Minister, Don Fernando, and the be cut in 1814. Two – a comic trio for Florestan – composer Gaveau himself – and the attributes of Leonora on her incognito freeing of Florestan took place in the dungeon Rocco/Marzellina/Jaquino and a duet for

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Marzellina/Leonora – dealt with the opera’s positive but Beethoven decided that the Berlin and Prague – the latter being the with Treitschke’s resonant (and politically less important sub-plot, the proposed marriage theatre’s box office was cheating him and occasion of Beethoven’s writing a third overture radical) new text for the Minister’s opening of Rocco’s daughter Marzellina with her withdrew the score after two apparently for the opera, now called Leonore No 1. address: ‘My noble sovereign’s will and order father’s new apprentice ‘Fidelio’; the third was seriously under-rehearsed performances. Then in 1814 three of the Vienna Court bids me to help all those in need… I count all a second vengeance aria for Pizarro which Almost since his own times, romantically Opera’s singers, perhaps influenced by the people as my brothers, and seek to help them ended the original Act II. inclined commentators have equated huge local reception recently given to as I can.’ With its unmistakeable overtones of The work’s premiere on 20 November 1805 Beethoven’s increasing isolation due to his Beethoven’s topical, but decidedly occasional, the French Revolutionary Convention’s open in Vienna’s Theater an der Wien, birthplace deafness with Florestan’s solitary confinement Battle Symphony, asked if they could revive address to help all the nations of Europe to too of The Magic Flute, was not a public in the underground dungeon, compared the the opera for benefit performances at the throw off their oppressors, this text must have success. Expected Viennese patrons had run words he sings in his aria (‘In the spring of Kärntnertor Theatre. Beethoven agreed, on caused some comment in an imperial Vienna away from the invading Napoleonic troops youthful promise I had all my hopes condition that he could make (major) changes celebrating the imminent downfall of who now occupied the theatre’s seats, but destroyed’) with the cry of despair about his in the work, for which he enlisted the help of Napoleon. failed to recognise the new operas of this true deafness in the Heiligenstadt Testament, and Georg Friedrich Treitschke, the Court The reshaped Fidelio was premiered with child of their own country. More interested identified Leonora, the wife faithful in all Theatre’s poet and stage-manager. Out went much success on 23 May 1814 at the friends persuaded a reluctant Beethoven that adversity, with the life’s partner the composer the three recalcitrant numbers that had slowed Kärntnertor Theatre. In the cast were the three his work was too long and Stephan von never seemed able to find. It does seem the drama before, practically every other beneficiaries who had commissioned the Breuning, a colleague of the composer’s from unlikely that Beethoven simply would have let number saw some adjustment (the Act II Trio, revival, one of whom, Johann Michael Vogl his Bonn days, revised Sonnleithner’s libretto. drop a work which he later described as ‘of all ‘In a better world, they surely shall applaud (Pizarro) was to become the favoured song Three acts became two (in the present lay- my children, the one that cost me the worst you’, and Quartet, ‘You perish!’ were actually interpreter of a young composer in the out), much dialogue and almost every musical birth-pangs, the one that brought me the most extended a little) and, in a major coup, both audience, . Not all the musical number was shortened – some, like Pizarro’s sorrow; and for that reason it is the one most act Finales were radically rewritten. At the end revisions came into play straightaway. A new second aria, drastically. Beethoven resisted dear to me. Before all the others I hold it of Act I, Pizarro’s second aria gave way to the overture (now called ‘Fidelio’, and intended to strong suggestions to cut the two numbers worthy of being preserved and used for the emotive closure of the prisoners’ return to lead more naturally into the comic opera about the Leonora/Marzellina engagement, so science of art’. Nonetheless six years then their cells (‘Farewell, the warm and radiant music of the opening duet) was started by Breuning reordered them in the Act I followed in which Beethoven completed and light’) while, in Act II, the Minister’s arrival Beethoven only two days before the premiere sequence. A second overture (now called had performed Symphonies Nos 4–8, along and Florestan’s pardon, gained both a new and could not be given until the second night; ‘Leonora No. 3’) was written and played with a host of other major compositions, but open-air setting in the light (‘The parade The Ruins of Athens overture was played at the instead of 1805’s ‘Leonora No 2’. Public and the Fidelio project seemed to go quiet, apart ground of the castle’) and a completely first. Rocco’s ‘gold’ aria (‘If you don’t save up press reaction (March/April 1806) was more from unrealised plans for performances in through-composed musical setting. This began your money’), cut in 1806, was restored to the

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opera on July 18, the day on which Leonora’s COMPACT DISC ONE Florestan at once and orders sentries and a the form of an angel, leading him to freedom. great Act I monologue (‘Vile murderer!… trumpeter to be posted on the watch tower to He collapses, exhausted. 4 Rocco and Come hope, you faint and distant star’), with Act I give him warning of the Minister’s approach. Leonora climb down in the cell to dig the some new recitative text by Treitschke Scene 1 9 Rocco refuses to be bribed into grave. 5 – 7 Leonora recognises Florestan’s probably modelled on the equivalent number Rocco’s house committing murder but eventually agrees to voice. Rocco, pitying the prisoner’s suffering, in Mayr’s Léonore opera, was first heard. It was 1 – 2 Jaquino, the prison porter, tries to dig a grave for the disposal of the body; Pizarro gives him a little wine and Leonora gives him a sung by the soprano Anna Milder, whom persuade Rocco’s daughter, Marzellina, to will kill Florestan himself. 10 – 11 When they piece of bread. She starts to dig his grave. Haydn had once auditioned with the accept his proposal of marriage, but she refuses leave, Leonora, who suspects some sort of plot, Rocco gives the signal that everything is compliment, ‘My dear, you have a voice like a because she has fallen in love with Fidelio. bursts out in a stream of indignation and ready. Pizarro draws a dagger, gloating over his house.’ Milder had told Beethoven that she 3 Rocco and the disguised Leonora enter, passionately confirms her love for her husband. victim, and is about to stab Florestan when had found the first version of her scena ‘a hard and Leonora is distressed to find that not only 12 Later she persuades Rocco to let some of Leonora rushes forward and bars his way. To struggle… ugly, unvocal and inimicable’; has she unwittingly ousted Jaquino from the prisoners out into the sun for a while. the amazement of all three, she declares she is nonetheless she was the only singer to appear Marzellina’s affections, but that Rocco has now 13 – 14 As they savour the air and light, Florestan’s wife, and when Pizarro threatens in all three premieres of the opera, and she approved his daughter’s choice. 4 The four Rocco now says that he will not be able to dig her too, she draws a pistol. went on to create the soprano role in the characters each express their reactions to this the grave by himself, and enlists Leonora’s help. A trumpet announces the arrival of the Ninth Symphony. development, after which 5 Rocco advises 15 – 16 Realising that this prisoner might be Minister. Rocco calls for light to accompany the young couple to save money if they want a Florestan, Leonora is overcome with emotion. Pizarro on his way to greet him, and Pizarro © 2005 Mike Ashman happy marriage. 17 – 18 Pizarro returns, angrily orders the rushes off. 8 Leonora and Florestan are 6 Leonora begs to be allowed to help Rocco prisoners back to their cells, and urges the reunited. Synopsis in his work in the lower dungeons of the reluctant Rocco down to the dungeon. prison, and from his reply she deduces that one Scene 2 The opera is set in Spain, in a prison in which of the prisoners may be her husband, Florestan. COMPACT DISC TWO Outside the prison Florestan has been imprisoned by the governor, 9 – 10 The townsfolk cheer the Minister, Pizarro, whom he had accused of corruption. Scene 2 Act II who has come to ensure that the King’s justice Florestan’s wife, Leonora, has been looking for The courtyard of the prison Scene 1 is done. He is astonished when he finds that him since his disappearance two years previously. 7 Pizarro learns that the Minister of State, Don A dungeon in the prison Florestan has been imprisoned by Pizarro. He Now, disguised as a man and calling herself Fernando, is planning a surprise inspection of 1 – 2 Florestan, in solitary confinement and arrests Pizarro and hands Leonora the keys to Fidelio, she has found her way into the prison as the prison, having been informed of Pizarro’s chained to the wall, broods on his terrible fate; her husband’s chains. 11 – 12 Florestan and an assistant to Rocco, the prison warder. malpractices. 8 He resolves to dispose of 3 then in an ecstatic vision he sees Leonora in the people sing in praise of Leonora.

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American soprano having sung the role for English National One of the most A sought-after concert artist, he has Christine Brewer was Opera, Opéra de Lyon (in Lyon and Paris), the critically acclaimed appeared with London’s Royal Philharmonic born in Illinois and Santa Fe Festival and in her debut at the singers on the Orchestra, the Philadelphia Orchestra, the San began her professional under James Levine. international stage Francisco Symphony, the Montreal and career with Opera In concert Christine Brewer appears with today, Canadian tenor Toronto Symphony Orchestras, the National Theatre of Saint the major American and British Orchestras Richard Margison has Arts Centre Orchestra in Ottawa and at the Louis, with whom she under Sir Roger Norrington, Michael Tilson- performed in many of Ravinia Festival. has performed Ellen Thomas, , John Adams, Christoph the world’s leading Richard Margison’s recordings include Orford, Donna Anna von Dohnányi, Raymond Leppard, Mark opera houses including Lanza, a recording made for the film on the and the title roles in Wigglesworth, Andrew Litton, John Nelson, the Metropolitan life of Mario Lanza, in which he sings the title auf Naxos and Sir Neville Marriner, Wolfgang Sawallisch and Opera, the Vienna role, Verdi’s Don Carlos with the Royal Opera Haydn’s Armida. Other appearances have Ivan Fischer. Her recordings include Janácˇek’s Staatsoper, the Deutsche Oper Berlin, the San House Orchestra and Chorus under Bernard included Countess Almaviva (New York City Glagolitic Mass and Dvorˇák’s Te Deum with Francisco Opera, the Théâtre royale de la Haitink, Tchaikovsky’s Mazeppa with the Opera and The Royal Opera, Covent Garden), Robert Shaw, under Sir Charles Monnaie in Brussels, Covent Garden, the Gothenburg Symphony Orchestra, conducted and Donna Anna (Edinburgh Festival under Mackerras, Barber’s under Leonard Sydney Opera and the Netherlands Opera. by Neeme Järvi, three recordings with Richard Sir and in London, New Slatkin, and she appears in Graham Johnson’s Roles include Pollione (Bellini’s Norma) in Bradshaw and the Canadian Opera Company York and Florida). She has sung Gluck’s complete Schubert Edition. Washington; Calaf (Turandot) with the Orchestra: a solo album of French and Italian Iphigenie en Tauride in Madrid, Leonora Recent concert engagements have included Canadian Opera Company in Toronto and for Arias, Rarities by Rossini and Verdi, with Gary (Fidelio) with the St Paul Chamber Orchestra, gala concerts at the Royal Opera House, The Royal Opera; Dick Johnson (La fanciulla Relyea, and Aria, une sélection de Radio- Weber’s Oberon with Richard Hickox in Covent Garden (under ), del West) in Seattle; Bacchus (Ariadne auf Canada with Anita Krause, Wendy Nielson London and Strauss’ Die Aegyptische Helena in Dallapiccola’s Il Prigioniero at the Monnaie, Naxos) for The Royal Opera; Un ballo in and Gary Relyea. Richard Margison was Santa Fe. She sang her first Isolde with the Brussels (under Antonio Pappano), and she has maschera at the Sydney Opera; Manrico named an Officer of the Order of Canada BBC Symphony Orchestra and Donald forged strong links with the BBC Proms, with (Il trovatore), Radamès, Calaf and Bacchus at in 2001. Runnicles, Britten’s with Richard performances including Britten’s War the Metropolitan Opera in New York; Hickox at the Aldeburgh Festival, and under Jane Glover, Janácˇek’s Glagolitic Mass Florestan (Fidelio) for Seattle Opera; Radamès Robert Lloyd was born in Essex and educated Chrysothemis (Elektra) with the Cleveland under Sir Andrew Davis, Wagner’s Die Walküre and Manrico for the ; and at Oxford University. He began life as an Orchestra and Frans Welser-Möst. She has and Schönberg’s Gurrelieder under Donald concert performances of La gioconda at academic historian, before turning to a singing achieved international renown for her Runnicles, and Mahler’s Eighth Symphony Carnegie Hall, and Fidelio with the Vancouver career. In 1972 he was appointed Principal performances of Strauss’ under Sir . Symphony. Bass at the Royal Opera House, Covent

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Garden, where he He has appeared in concert with the has sung Susanna Her extensive concert experience includes sings an enormous Cleveland Orchestra under von Dohnányi, the (Le nozze di Figaro) for appearances at the BBC Proms and Edinburgh range of repertoire. Philadelphia Orchestra under Jansons, the the Santa Fe Opera and International Festival. She has performed He was the first London Philharmonic Orchestra under at the Ravinia Festival; Bach’s with the San Francisco British bass to sing Haitink and the Boston Symphony Orchestra Adele (Die Fledermaus) Symphony Orchestra conducted by Michael the title role in under Frühbeck de Burgos. With the London for the Chicago Lyric Tilson Thomas, and Brahms’ Requiem with Mussorgsky’s Boris Symphony Orchestra under Sir he Opera; Zerlina (Don the Boston Symphony Orchestra conducted by Godunov at the performed and recorded Bottom (A Giovanni), Ann Trulove Jeffrey Tate at the Tanglewood Festival. Royal Opera Midsummer Night’s Dream), and featured in (The Rake’s Progress) and Her many recordings include Pamina House, Covent the Berlioz Odyssey at London’s Barbican Adina (L’elisir d’amore) (The Magic Flute), Susanna (The Marriage of Garden in 1983. He has also appeared at La Concert Hall. for San Francisco Opera; and both Susanna and Figaro) and Ilia (Idomeneo) for Chandos’ Scala, Milan (Der fliegende Holländer and Robert Lloyd has featured in several highly Zerlina for the Metropolitan Opera, New York. Opera in English series, Nanetta (Falstaff ) Parsifal ); the San Francisco Opera (Don Carlos successful television productions, and appeared In Europe, she is a regular guest at the with Sir John Eliot Gardiner, a series of and L’incoronazione di Poppea); the Chicago in a television performance of Duke Bayerische Staatsoper, Munich, where her roles Gilbert and Sullivan recordings with Sir Lyric Opera (Simon Boccanegra); the Deutsche Bluebeard’s Castle which received the Royal have included Susanna, Sophie (Der Charles Mackerras, and a solo recording of Oper Berlin (); the Philharmonic Society Award for Television. He Rosenkavalier), Zdenka (Arabella), Ilia Italian songs. Netherlands Opera (Pelléas et Mélisande, has a vast discography of over seventy audio (Idomeneo) and, most recently, Nanetta Tristan und Isolde, L’incoronazione di Poppea and video recordings and in the 1991 New (Falstaff ) conducted by Zubin Mehta. Peter Wedd studied and Parsifal ); and the Salzburg Festival (Pelléas Year’s Honours List he was created a Elsewhere she has sung Ilia for the at the Guildhall et Mélisande, Les Troyens, Le nozze di Figaro, Commander of the British Empire. Netherlands Opera and Opéra de Lausanne; School of Music Die Zauberflöte and Don Giovanni). His many the title role of The Cunning Little Vixen for and Drama with appearances at the Metropolitan Opera, New Rebecca Evans was born in Pontrhydyfen in Scottish Opera; Susanna, Ilia, Marzelline William McAlpine York include Rigoletto, Parsifal, Die South Wales and studied at the Guildhall (Fidelio), Norina (Don Pasquale) and Hero and subsequently at Zauberflöte, Aida, Faust, Les Troyens, Fidelio, School of Music and Drama. She took part in (Beatrice and Benedict) for Welsh National the National Opera Pelléas et Melisande and Benvenuto Cellini, and Welsh National Opera’s Young Singers Opera; Romilda (Xerxes) for English National Studio. He was a for The Royal Opera he has performed in Sceheme, and received support from the Peter Opera; and Pamina (The Magic Flute under Company Principal Simon Boccanegra, Don Giovanni, Parsifal, Moores Foundation to study with Ronald Sir Charles Mackerras), Zerlina, Nanetta and at The Royal Aida, Die Zauberflöte, La fanciulla del West, Schneider in Vienna. She has established a Johanna (Sweeney Todd ) at the Royal Opera Opera, Covent Garden from 1999 to 2001 Le nozze di Figaro and Turandot. major operatic career in America where she House, Covent Garden. and is a regular guest artist for Welsh National

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Opera. As a Company Principal of The Royal oratorios and choral works. Recordings for (Pelléas et Mélisande), Bluebeard (Duke His operatic engagements include Figaro Opera he sang many small roles as well as Chandos’ Opera in English series include Bluebeard’s Castle), Pizarro (Fidelio), Kaspar (Le nozze di Figaro) for Welsh National Opera, Ywain (Gawain and the Green Knight) and Turandot, Jenu˚fa and The Flying Dutchman. (Der Freischütz), the title role in The Flying Scottish Opera and ; Marcello Kudrjas (Kat’á Kabanová), and he returned as a Dutchman, Lysiart (Euryanthe) and many bass- (La Bohème) for Scottish Opera; Papageno guest artist to sing Borsa (Rigoletto). Born in England, the baritone roles in the Russian, Wagnerian and (The Magic Flute), Faninal (Der Rosenkavalier) At Welsh National Opera his roles have son of a Ukrainian Italian repertoires. for Welsh National Opera and Opera North; included Don José (Carmen), Tamino (Die father and an English Highlights of recent seasons include Podesta (La gazza ladra) for Garsington Zauberflöte), Don Ottavio (Don Giovanni), mother, Pavlo Hunka Shaklovity (Khovanshchina) and The Capture of Opera; Siegfried (Genoveva) and Dulcamara Alfredo (La traviata) and Lacˇa ( Jenu˚fa). qualified as a linguist Troy with ; Zunbeltz in (L’elisir d’amore) both for Opera North. He Other appearances in the UK and Ireland have and practised as lawyer Bilbao; Dr Schön/Jack (Lulu) at the Bonn created the role of Executioner in James included Federico (L’arlesiana) and Pluto in the UK before Opera; the title role in Falstaff, Alberich Macmillan’s Ines de Castro and has performed (Orphée aux enfers) for Opera Holland Park, embarking on a singing (Siegfried ) and Hunding (Die Walküre) all at Macmillan’s Parthenogenesis at the Edinburgh Kyska (Sˇarkatán) and Julius (I cavalieri di career. He began his the Canadian Opera Toronto; Tomski (Pique Festival, where he has also appeared as Cecil in Ekebu) at the Wexford Festival, Satyavan vocal studies at the Dame) at the Teatro Real Madrid; and Siskov Maria Stuada under Sir Charles Mackerras. (Savitri) at the Aldeburgh Festival, Rodolfo Royal Northern College of Music, Manchester, (From the House of the Dead ) at Geneva Opera. Concert engagements include Mozart’s (La Bohème) at London’s Royal Albert Hall, and completed them in Switzerland with Mass in C at Aix-en-Provence with the and Tamino for Glyndebourne on Tour. Kammersängerin Maria Sandulescu. Christopher Purves Sixteen, Stravinsky’s Les Noces with Philippe Outside the UK Peter Wedd has sung Tamino He sang many of the major roles in the studied English at Herreweghe in Brussels, Monteverdi’s Vespers and Eisenstein (Die Fledermaus) for European bass-baritone repertoire whilst on contract for King’s College, 1610 with Richard Hickox, John Tavener’s Chamber Opera, as well as Lysander (A three years in Basel, Switzerland. Since then he Cambridge before Apocalypse at with the City of Midsummer Night’s Dream) for the Singapore has sung in most of the leading opera houses performing and London Sinfonia, the St John Passion with Paul Lyric Theatre. in the world, including Paris, Vienna, Munich, recording with the Goodwin in Madrid, Messiah with the Scottish He is much in demand as a concert artist Florence, Amsterdam, London and Salzburg. highly innovative vocal Chamber Orchestra, Les Mamelles de Teresias and has worked with orchestras including the He has sung under , Jeffrey rock and roll group, with the London Sinfonietta under Sir Simon London Philharmonic, Royal Scottish Tate, Semion Bychkov, Zubin Mehta, Peter Harvey and the Rattle, Britten’s and Haydn’s National, Royal Liverpool Philharmonic, City Schneider, and Mark Wigglesworth amongst Wallbangers. With the Creation with the Ulster Orchestra, of London Sinfonia, Northern Sinfonia and others. group’s demise in 1988, he resumed vocal Belshazzar’s Feast with the English Northern the Bournemouth Symphony. His wide Repertoire includes Barak (Die Frau ohne training with David Keren, Diane Forlano and Sinfonia under Paul Daniel, and Lucifer in concert repertoire includes most of the major Schatten), the title role in , Golaud Janice Chapman. Handel’s La Resurrezione for Paul McCreesh.

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Christopher Purves gave his debut recital at and harp at Aldeburgh, and European and Director), Giuseppe Sinopoli (as Music television and feature film soundtracks, the the Aldeburgh Festival in June 2004. His American tours performing and recording Director) and, currently, Kurt Sanderling (as enjoys a worldwide recordings include the title role in The Steve Reich’s new video opera Three Tales with Conductor Emeritus), Vladimir Ashkenazy (as reputation. The discography includes, for Marriage of Figaro, Gottardo (The Thieving the composer. Conductor Laureate) and Sir Charles , several recital discs as well as Magpie), and The Magic Flute, all for Performances include The Stargazer, a new Mackerras (as Principal Guest Conductor), eleven complete operas, and for Chandos, in Chandos’ Opera in English series. London Mozart Players commission for solo besides such eminent figures as Wilhelm the Opera in English series sponsored by the tenor and symphony orchestra by Lynne Furtwängler, , Arturo Peter Moores Foundation, The Thieving Ashley Catling Plowman, Tamino (Die Zauberflöte) with Toscanini, Guido Cantelli, Herbert von Magpie, Wozzeck, Don Giovanni, The Elixir of studied at the Opera by Definition, Die Fledermaus in Karajan and Carlo Maria Giulini. It continues Love, Lucia of Lammermoor, Faust, Carmen, Guildhall School of Dublin Grand Opera House, Normanno to engage world-class conductors and soloists, Aida, La Bohème, Madam Butterfly, Turandot, Music and Drama () for Opera Holland and attracts Europe’s most talented young the award-winning and solo recital with William Park, John Millar Jnr in David Horne’s Friend players to join its orchestral ranks. albums of operatic arias with Bruce Ford, McAlpine and at the of the People for Scottish Opera, Gawain in the Resident Orchestra at the Royal Festival Diana Montague, Dennis O’Neill, Alastair National Opera world premiere of Lynne Plowman’s opera Hall, it maintains a central position in British Miles, Yvonne Kenny and John Tomlinson. Studio, supported by a Gawain and the Green Knight with Music musical life also through regional residencies The Philharmonia Orchestra continues to scholarship from the Theatre Wales, and Tamino (The Little Magic which provide an ideal opportunity to expand consolidate its international renown through Friends of Covent Flute) with Opera North. Recordings include a dynamic educational and community-based regular tours and through recent prestigious Garden and a Nelly Groner Bursary. Operatic Contrabandista, and L’Esule di Granata for programme. Winner of numerous awards, it residencies at the Châtelet Théâtre Musical in roles to date include Ferrando (Così fan tutte), Opera Rara. has garnered unanimous critical acclaim for its Paris, the Megaron in Athens and the Lincoln Nemorino (L’elisir d’amore), Ernesto (Don innovative programming policy, at the heart of Center for the Performing Arts in New York. Pasquale), Fenton (Falstaff ), and Male Chorus One of the world’s great orchestras, the which is a commitment to performing and (The Rape of Lucretia). Philharmonia Orchestra is now in its sixth commissioning new music by today’s leading Geoffrey Mitchell’s singing career has Ashley Catling has appeared in concert at season with renowned German maestro composers. encompassed a remarkably wide repertoire such venues as the Barbican Concert Hall, Christoph von Dohnányi as Principal An increasing number of the Orchestra’s from early to contemporary music and has Royal Glasgow Concert Halls, Queen Conductor. That post was first held by Otto concerts are being broadcast by BBC Radio 3, taken him to Scandinavia, Germany, the Elizabeth Hall, St John’s Smith Square and Klemperer, and the Orchestra has since had including its annual performance at the BBC former Czechoslovakia, Canada and St Martin in the Fields. Recent performances important collaborations with Proms. As the world’s most recorded Australasia. Early experience with include St Matthew Passion in Winchester (as Associate Principal Conductor), Riccardo symphony orchestra, with over 1000 releases the BBC led to a wider involvement with his Cathedral, a recital of Britten songs for voice Muti (as Principal Conductor and Music to its credit, among these a number of own singers and in turn to the establishment

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of the Geoffrey Mitchell Choir. Early National Opera and Opera North and appears Belgian Prix Cecilia for Donizetti’s Rosmonda A Masked Ball, Idomeneo, Carmen, The recordings resulted in the Choir’s long-term regularly with the Philharmonia and London d’Inghilterra. For Chandos he has conducted a Thieving Magpie, Don Giovanni, Don Pasquale, involvement with Opera Rara for which it has Philharmonic Orchestras. In 1996 he made his series of recitals of operatic arias – with Sir The Elixir of Love, Lucia of Lammermoor, made over thirty recordings. The Choir is debut at the Glyndebourne Festival Thomas Allen, Bruce Ford, , Diana Ernani, Il trovatore, Aida, Faust, Cavalleria enjoying a growing reputation with further conducting Così fan tutte, following it in 1998 Montague, Dennis O’Neill, Alastair Miles, rusticana, Pagliacci, La bohème, Turandot, the work from the BBC and international record with the world premiere of Jonathan Dove’s Yvonne Kenny, John Tomlinson, Barry Banks, award-winning Tosca and highlights from Der companies. For Chandos the Geoffrey Flight. Della Jones and Andrew Shore – as well as Rosenkavalier, all in association with the Peter Mitchell Choir has participated in numerous He is a frequent visitor to Spain where he The Flying Dutchman, The Marriage of Figaro, Moores Foundation. recordings in the acclaimed Opera in English has given concerts with most of the major series sponsored by the Peter Moores Spanish orchestras. He conducted the Spanish Foundation. premiere of in Madrid and in 1996 the first Spanish production of David Parry studied The Rake’s Progress. He has appeared in with Sergiu Celibidache Germany, Switzerland, and The Netherlands, and began his career as at the Pesaro Festival in Italy, the Hong Kong Sir John Pritchard’s International Festival, in Japan with a tour of assistant. He made his Carmen, and in Mexico with the UNAM debut with English Symphony Orchestra. Recent new productions Music Theatre, then he has conducted include Fidelio at the New became a staff Zealand Festival, Lucia di Lammermoor at New conductor at Städtische Israeli Opera and Don Giovanni at Staatsoper Bühnen, Dortmund and Hannover. at Opera North. He was His work in the recording studio includes Music Director of Opera 80 from 1983 to the BBC Television production of Marschner’s 1987 and since 1992 has been the founding Der Vampyr and twenty-eight complete opera Music Director of Almeida Opera. recordings under the sponsorship of the Peter He works extensively in both opera and Moores Foundation. Among these are concert, nationally and internationally. He has numerous discs for the Opera Rara label conducted several productions at English which have won several awards, including the

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British philanthropist Sir Peter Moores established the Peter Moores Foundation in 1964 of a Faculty Directorship and Chair of Management Studies at Oxford University (providing to realise his charitable aims and, to fulfill one of these, the Compton Verney House Trust the lead donation which paved the way for the development of the Said Business School). in 1993 to create a new art gallery in the country. Through his charities he has disbursed more than £93 million to a wide variety of arts, environmental and social causes ‘to get In 1993 the Foundation bought Compton Verney, a Grade 1 Georgian mansion in things done and open doors for people’. Warwickshire, designed by Robert Adam, with grounds by Capability Brown. Compton Verney House Trust was set up by Sir Peter to transform the derelict mansion into a Sir Peter’s philanthropic work began with his passion for opera: in his twenties he helped a world-class art gallery that would provide an especially welcoming environment for the number of young artists in the crucial, early stages of their careers, several of whom – ‘first-time’ gallery visitor. The gallery, which houses six permanent collections, a Learning Dame Joan Sutherland, Sir Colin Davis and the late Sir amongst them – Centre for all ages, and facilities for major visiting exhibitions, was opened in March 2004 became world-famous. by HRH the Prince of Wales. The Compton Verney website can be found at: www.comptonverney.org.uk Today, the Peter Moores Foundation supports talented young singers with annual scholarships awarded through the Royal Northern College of Music, has made it possible Sir Peter Moores was born in Lancashire and educated at Eton College and Christ Church, for to issue the world’s largest catalogue of operas recorded in English Oxford. He was a student at the Vienna Academy of Music, where he produced the translation, and enabled Opera Rara to record rare bel canto repertoire which would Austrian premiere of ’s The Rape of Lucretia, and worked as an assistant otherwise remain inaccessible to the general public. producer with Viennese artists in Naples, Geneva and Rome, before returning to England in 1957 to join his father’s business, Littlewoods. He was Vice-Chairman of Littlewoods in In live performance, the Foundation has encouraged the creation of new work and 1976, Chairman from 1977 to 1980 and remained a director until 1993. schemes to attract new audiences, financed the publication of scores, especially for world premieres of modern operas, and enabled rarely heard works to be staged by British opera He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from Christ companies and festivals. Church, Oxford, in 1975, and was made an Honorary Member of the Royal Northern College of Music in 1985. In 1992 he was appointed a Deputy Lieutenant of Lancashire by Projects supported by the Foundation to help the young have ranged from a scheme to HM the Queen. He was appointed CBE in 1991 and received a Knighthood in 2003 for encourage young Afro-Caribbeans ‘stay at school’ for further education, to the endowment his charitable services to the arts.

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Cembalo spielte. Später, nach einem ersten Beethovens erste Komposition in der Seine einzige Oper Besuch in Wien, wo er bei Mozart ein oder Gattung Oper bestand aus einer Reihe von zwei Unterrichtsstunden nahm, kehrte er nach zusätzlichen Arien für eine bereits existierende “Fidelio” schrieb Thomas Love Peacock über ungerechte reaktionäre Tyrannei – oder Hause zurück, wo das Leben eines regulären deutsche komische Oper (Umlaufs Die schöne anläßlich der ersten Aufführungen des Werks identifizieren sich noch unmittelbarer mit Orchestermusikers auf ihn wartete. Während Schusterin); bedenkt man jedoch seine in London, einem spezifischen historischen Ereignis, hier viereinhalb Spielzeiten als einfacher Bratschist Bewunderung für die Zauberflöte und (ab verbindet die tiefsinnigste Harmonik mit einer dem Fall der Bastille in der französischen sammelte er aus erster Hand Erfahrungen mit 1792) seinen Wohnort Wien, so war es fast Melodik, die sich der Seele unmittelbar mitteilt. Revolution von 1789; daher ist es umso der zeitgenössischen leichten Oper – deutsche unvermeidlich, daß sein erstes ausgewachsenes Die Verspieltheit jugendlicher Hoffnung, der überraschender zu erfahren, daß das Libretto und französische Werke von Komponisten wie Opernprojekt in Zusammenarbeit mit Heroismus hingebungsvoller Liebe, die Wut des frei auf eine wahre Rettungsgeschichte Grétry und Dittersdorf, in denen Emanuel Schikaneder entstehen sollte, dem Tyrannen, die Verzweiflung des Gefangenen, das zurückgeht, in der ein Aristokrat von linken Vokalnummern mit gesprochenem Dialog Schauspieler und Theatermanager, der zu Hereinbrechen der Sonne der Freiheit über die Revolutionären aus der Gefangenschaft befreit abwechselten, italienische opera buffa von Mozarts letztem Werk das Textbuch Düsternis des Kerkers … werden mit einer Kraft wurde. Und während die Oper in der Form, in Cimarosa und Paisiello, etwas Gluck sowie geschrieben hatte. Schikaneder bot ihm Vestas und Realität dargestellt, die die Musik zu einer der sie heute (wie auch auf der vorliegenden drei Opern von Mozart. Den Einfluß solcher Feuer an, eine Geschichte über die Vestalinnen verständlichen Sprache machen, welche die Aufnahme) weithin aufgeführt wird, als eine Werke kann man bereits in seinem Zweiten im alten Rom, die (wie Beethoven bemerkte) unbeschränkte Macht besitzt, Gedanken in ebenso klare und zielgerichtete Komposition (eigentlich Ersten) Klavierkonzert hören, in “eine Sprache und Verse von sich gaben, Klängen zu verströmen. erscheint wie jedes andere große Werk dem das Klavier als eine Art Vokalsolist welche eigentlich nur aus den Mündern Die Enstehungsgeschichte dieser “Oper aller Beethovens, war sie in Wirklichkeit das Produkt inmitten von orchestralen “Arien” und unserer Wiener Apfelweiber stammen Opern” (Gustav Mahler), “einzigartig eines mehr als zehnjährigen Arbeitsprozesses, in “Rezitativen” erscheint; noch stärker zu spüren könnten”. Anfang des Jahres 1804 war gleichermaßen in Zahl und Qualität” (Otto dessen Verlauf vier (fast fünf) Ouvertüren und ist er aber in seiner Prägung von Beethovens Beethoven diesen Text leid und schrieb einem Klemperer), ist reich an fesselnden drei musikalische Fassungen entstanden sowie Überzeugung, daß ein dramatischer Text (sei Freund, Schikaneders “Imperium ist vom Widersprüchen. Tatsächlich sollte dies drei grundlegende Revisionen des Librettos er gesprochen oder als Rezitativ gesetzt) Licht der brillianten und reizenden Beethovens einziges vollendetes Werk für die vorgenommen wurden. wesentlicher Bestandteil jeder wirkungsvollen französischen Opern wirklich völlig in den lyrische Bühne werden, obwohl er einen Beethovens Vater wirkte in der damals Oper zu sein habe. Die von ihm am meisten Schatten gestellt worden.” Dabei bezog er sich beachtlichen Teil seines Lebens mit kleinen Provinzstadt Bonn als Tenor, und der bewunderten Opern – auf denen auch seine sowohl auf seine Bonner Zeit als auch auf Opernhäusern und -menschen und der Suche junge angehende Komponist knüpfte schon ersten eigenen Versuche basierten – waren Cherubinis Wiener Erfolg, wo dieser bis Ende nach passenden Libretti verbrachte. Nur wenige bald Kontakte zum Orchester des örtlichen daher Mozarts Zauberflöte und Cherubinis 1803 in weniger als zwei Jahren sechs seiner Opern enthalten eine solch eindeutige Hoftheaters, wo er bereits im Alter von zwölf französische Werke Lodoïska, Les Deux Journées neuesten Opern zur Aufführung gebracht politische Aussage – der Sieg des Liberalismus und dreizehn Jahren bei den Aufführungen und Médée. hatte. Später erreichten die österreichische

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Hauptstadt Werke von Gaveau, Méhul und ein gutes Libretto für eine Oper zu finden. zuvor der erste Florestan – der Komponist Leonore verrät jeder einzelne Name in der Liste Spontini (besonders La Vestale). Von dieser Seit letztem Jahr habe ich nicht weniger als Gaveau selbst – und die erste Léonore – Julie- der Darsteller etwas über die Persönlichkeit, neuen Invasion inspiriert schrieb Beethoven, zwölf oder noch mehr davon abgelehnt.” Angelique Scio – in Cherubinis Médée die den gesellschaftlichen Rang oder die politische “ich habe flink ein altes französisches Libretto Obwohl Beethoven zahlreiche Werke für Rollen des Jason und der Medea geschaffen Einstellung der jeweiligen Figur. Roc überarbeiten lassen und beginne nun mit dem Vokalstimmen und Orchester schreiben sollte, hatten.) Somit war der gesprochene Dialog – (Beethovens Rocco) ist “standhaft wie ein Fels” Komponieren.” Dies war Léonore, ou l’amour beschränkt sich die einzige wirklich opernhafte den Beethoven ohnehin favorisierte und der und läßt sich von nichts (außer Geld) conjugal (“Leonore oder die eheliche Liebe”) Musik, die von diesen erfolglosen Versuchen im Fidelio ein so wichtiges Verbindungsglied bewegen. Fidelio leitet sich von dem von Jean-Nicholas Bouilly, ein Schauspiel mit überlebt hat, auf die Finale-Sätze zu zwei zwischen den vokal-instrumentalen Nummern lateinischen “fidelis” ab – treu, loyal, ursprünglich von Pierre Gaveau komponierten Pasticcios aus der Feder Treitschkes. der Oper bilden sollte – bereits von Anfang an verläßlich, alles Attribute der Leonore während ausgedehnten Musikeinlagen. Jean-Nicholas Bouilly, der Autor von integraler Bestandteil seiner Leonore-Quelle. ihrer geheimen Mission zur Rettung ihres Die Aufgabe, die französische Léonore in Léonore, war vor der Revolution Jurist und Andere derartig ausgesponnene Erinnerungen Mannes. Dom Pizare (Beethovens Pizarro) einen annehmbaren deutschen Fidelio zu Richter im Dienst verschiedener französischer aus Bouillys Amtszeit, die ebenfalls die ist ein Name, der für den Mißbrauch verwandeln, sollte Beethoven – mit Verwaltungen. In seinen mehr als vierzig Jahre unverbrüchliche Loyalität einer Frau ihrem zu königlicher Macht durch die spanischen Unterbrechungen – für die nächsten zehn später veröffentlichten Memoiren behauptet Unrecht eingekerkerten Ehemann gegenüber Conquistadores während ihrer brutalen Jahre beschäftigen. Zugleich aber war seine er, während der jakobinischen Ära der 1790er schildern, regten sein Libretto Les Deux Eroberung der Neuen Welt steht. Das Suche nach anderen Libretti sowohl in diesem Jahre, die er als Administrator in der Touraine Journées (“Der Wasserträger”) an, das “niedere” oder “komische” Paar trägt typische Jahrzehnt als auch später in seiner Laufbahn in verbrachte, die adelige Madame de La Valette Cherubini für seine im Jahr 1800 vollendete Dienstbotennamen – Jaquino (“kleiner Jakob”) ihrer Beharrlichkeit fast eines Puccini würdig. bei ihren Versuchen unterstützt zu haben, Oper verwendete; dieses Werk feierte in Wien und Marceline/Marzelline (“Mariechen”). Mögliche Kandidaten waren unter anderem ihren aristokratischen Mann vor der Guillotine schon bald große Erfolge und bot Beethoven Aufgrund ihrer veristischen Verbindung mit ein Macbeth von der Hand des Autors, für zu retten – “lebenswahre historische bei seiner Arbeit an dem Leonore-Stoff den nur kurze Zeit zurückliegenden dessen Coriolan Beethoven eine Ouvertüre Ereignisse”, die, wie er sagte, ihn zu dem wichtige musikalische und dramatische Ereignissen der Revolution, die durch den geschrieben hatte, ein Werk mit dem Titel Drama der Léonore inspirierten. Bouillys und Anregungen. Umstand zusätzlich akzeptabel gemacht Ruinen von Babylon von Treitschke (der sein Gaveaus Bühnenwerk wurde im Februar 1798 Bouillys Themen waren sehr eingängig in werden, daß es sich um eine Moralgeschichte dritter Fidelio-Librettist werden sollte), sowie im Pariser Théâtre Feydeau uraufgeführt, ihrer geradlinigen Charakterisierung von Gut zur Verherrlichung der Macht der Ehe Die Rückkehr des Odysseus, Romulus und Remus dessen einzigartig begabtes und herausragendes und Böse, dargestellt von Menschen und handelt, wurde Bouillys Léonore in der und Bacchus. Im Sommer des Jahres 1811, Ensemble von Sänger-Schauspielern Dialoge Situationen, die – verglichen mit den europäischen Oper ein “heißer” Stoff. Nach etwa zu der Zeit als er an der Siebten Sinfonie in heroischen Couplets ebenso gekonnt Legenden der klassischen Mythologie, die das Gaveau vertonten es innerhalb kurzer Zeit arbeitete, teilte Beethoven einem rezitierte wie es Opernarien sang. (Ein Theater im achtzehnten Jahrhundert geprägt Ferdinando Paer (1804 in Dresden) und Korrespondenten mit: “Es ist sehr schwierig, vielversprechender Umstand war, daß ein Jahr hatten – auf brutale Weise aktuell wirkten. In Simone Mayr (1805 in Padua) sowie

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schließlich auch Beethoven, dessen erste Beethoven, indem er Hinweisen in den der weniger wichtigen Nebenhandlung der Abfolge des Ersten Akts um. Eine zweite Fassung in Wien im November 1805 auf die französischen Dialogen folgte. Zu diesen Oper, der geplanten Vermählung von Roccos Ouvertüre (heute als “Leonore Nr. 3” Bühne kam. neuen für musikalische Szenen verwendeten Tochter Marzelline mit dem neuen Lehrling bezeichnet) wurde anstelle der 1805 Beethoven wollte immer, daß seine Oper Texten gehört das berühmte Quartett im ihres Vaters, “Fidelio”; bei der dritten handelte erklungenen “Leonore Nr. 2) gespielt. Die nach dem Namen seiner wahren Heldin Ersten Akt (“A wonder clear and pure” – “Mir es sich um eine zweite Rachearie für Pizarro, Reaktion von Öffentlichkeit und Presse im Leonore benannt werde und nicht – wie es die ist so wunderbar”) sowie die gesamte Musik mit der der ursprüngliche Zweite Akt endete. März/April 1806 war positiver, doch Manager und Herausgeber vorzogen, um sein Pizarros, darunter auch seine erste große Die Premiere der Oper am 20. November Beethoven entschied, daß die Theaterkasse ihn Werk von den Leonore-Vertonungen anderer Rachearie (“Ah, this is ecstasy” – “Ha! Welch 1805 im Theater an der Wien, wo auch die betrog, und zog die Partitur nach zwei Komponisten zu unterscheiden – Fidelio nach ein Augenblick”) und das Kerkerquartett (“You Zauberflöte an die Welt trat, war kein offensichtlich schlecht geprobten dem Jungennamen, den sie annimmt, um in perish” – “Er sterbe!”); bei Bouilly/Gaveau fiel Publikumserfolg. Die erwarteten Wiener Aufführungen zurück. den Dienst des Staatsgefängnisses zu treten. Pizarro (“Dom Pizarre”) lediglich eine Gönner waren vor den hereinbrechenden Beinahe bis in Beethovens eigene Zeit Die Oper bestand zunächst aus drei Akten, Sprechrolle zu. napoleonischen Truppen geflohen, die nun die zurückverfolgen lassen sich die romantischen von denen die ersten beiden dem heutigen In dieser ersten Fassung des Werks hatten Theatersessel besetzten, die jedoch unfähig Deutungen einiger Kritiker, die die durch Ersten Akt entsprechen. Der ursprüngliche schon fast alle großen Nummern ihren Platz, waren, die neuen Opern dieses wahren Kindes seine Taubheit bedingte zunehmende Isolation Dritte Akt enthielt keinen Szenenwechsel: Der allerdings in geringfügig längerer oder ihres Landes zu erkennen. Interessiertere mit Florestans Einzelhaft in dem Besuch des Ministers Don Fernando und die melodisch abweichender Form. (Einige Freunde überzeugten den widerstrebenden unterirdischen Kerker gleichsetzten, die von Befreiung Florestans spielten beide in dem Kritiker bedauern den bereits 1814 Beethoven davon, daß das Werk zu lang sei, diesem in seiner Arie gesungenen Worte (“In Kerker, in dem letzterer gefangensaß. Das eingetretenen Verlust der begleiteten Rezitativ- und Stephan von Breuning, ein Kollege des the spring of youthful promise I had all my Libretto schrieb Joseph Ferdinand von Einleitung zu Florestans und Leonores “O Komponisten aus seiner Bonner Zeit, hopes destroyed” – “In des Lebens Sonnleithner, Sekretär des Hoftheaters und namenlose Freude!” (“Oh joy beyond all überarbeitete daraufhin Sonnleithners Frühlingstagen ist das Glück von mir geflohn”) eines der Gründungsmitglieder der berühmten understanding”) sowie der längeren und Libretto. Aus drei Akten wurden zwei (in der mit dem Ausruf der Verzweiflung über seine konzertveranstaltenden Organisation der ausgeschmückteren Fassung dieses Duetts.) gegenwärtigen Anordnung), viel Dialog und Gesundheit in seinem Heiligenstädter Stadt, der Gesellschaft der Musikfreunde. Sein Auch gab es drei Nummern, die, so könnte fast jede einzelne musikalische Nummer Testament verglichen und Leonore, die trotz Text basierte auf einer wortgetreuen man rückblickend meinen, die Handlung (und wurden gekürzt, davon einige – etwa Pizarros aller Widrigkeiten standhafte Gattin, mit der Übersetzung von Bouilly, wobei auch den musikalischen Fluß) aufhielten und zweite Arie – drastisch. Beethoven weigerte Lebenspartnerin identifizierten, die zu finden sämtliche in der französischen Vorlage glücklicherweise 1814 ebenfalls entfernt sich, dem wärmstens geäußerten Rat zu folgen Beethoven nie vergönnt gewesen zu sein enthaltenen Gelegenheiten für Musikeinlagen wurden. Zwei von ihnen – ein komisches Trio und die beiden von der Verlobung Marzellines scheint. Es ist kaum anzunehmen, daß übernommen wurden; weitere Nummern für Rocco/Marzelline/Jaquino und ein Duett mit Leonore handelnden Nummern zu Beethoven einfach ein Werk fallen lassen schuf Sonnleithner in enger Abstimmung mit für Marzelline/Leonore – befaßten sich mit streichen, also stellte Breuning sie in der würde, von dem er später schrieb, es sei “von

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allen meinen Kindern dasjenige, das mir die zurückgriff, der als Dichter und Bühnenleiter Revolutionsversammlung, allen europäischen großer Monolog aus dem Ersten Akt zum schlimmsten Geburtswehen bereitete, das mir am Hoftheater wirkte. Die drei störrischen Nationen zu helfen, ihre Unterdrücker ersten Mal erklang (“Vile murderer!… Come den größten Schmerz brachte; und aus diesem Nummern, die das Drama verlangsamt hatten, abzuschütteln, muß dieser Text in einem hope, you faint and distant star” – Grund ist es mir das liebste. Mehr als alle wurden entfernt, fast jede der verbleibenden kaiserlichen Wien, das den unmittelbar “Abscheulicher! Wo eilst du hin” … “Komm, anderen halte ich es für wert, erhalten zu Nummern wurde einigen Anpassungen bevorstehenden Untergang Napoleons feierte, Hoffnung, laß den letzten Stern”), mit dem bleiben und für die Kunstwissenschaft unterzogen (das Trio “Euch werde Lohn in einiges an Reaktionen provoziert haben. von Treitschke teilweise neugefaßten verwendet zu werden.” Trotzdem folgten nun bessern Welten” und das Quartett “Er sterbe!” Der neugefaßte Fidelio wurde am 23. Mai Rezitativtext, der sich wahrscheinlich an der sechs Jahre, in denen Beethoven neben einer (“You perish!”) im Zweiten Akt wurden 1814 mit großem Erfolg am Kärntnertor- Parallelnummer in Mayers Léonore-Oper Vielzahl anderer größerer Kompositionen seine übrigens etwas erweitert) und die Finale der Theater uraufgeführt. Unter den Mitwirkenden orientierte. Gesungen wurde er von der Sinfonien Nr. 4–8 vollendete und zur beiden Akte in einem großen Wurf radikal waren auch die drei Organisatoren, die die Sopranistin Anna Milder, der Haydn einmal Aufführung brachte, während es um das umgeschrieben. Pizarros zweite Arie am Ende Neuinszenierung in Auftrag gegeben hatte; anläßlich eines Vorsingens das Kompliment Fidelio-Projekt still wurde – abgesehen von des Ersten Akts mußte dem emotionalen einer von ihnen, Johann Michael Vogl (Pizarro) gezollt hatte, “Meine Liebe, Sie haben eine nicht realisierten Plänen für Aufführungen in Schlußchor weichen, in dem die Gefangenen in sollte der bevorzugte Liedinterpret eines jungen Stimme wie ein Haus.” Milder hatte Beethoven Berlin und Prag; letztere waren übrigens der ihre Zellen zurückkehren (“Farewell, the warm Komponisten werden, der sich unter den mitgeteilt, daß sie die erste Fassung ihrer Szene Anlaß, zu dem Beethoven eine dritte and radiant light” – “Leb wohl, du warmes Zuhörern befand – Franz Schubert. Nicht alle als einen “harten Kampf” empfunden habe, Ouvertüre zu der Oper schrieb, die heute als Sonnenlicht”), während im Zweiten Akt die musikalischen Revisionen wurden sofort “häßlich, unsanglich und feindselig”; sie war Leonore Nr. 1 bezeichnet wird. Ankunft des Ministers und Florestans umgesetzt. Nur zwei Tage vor der Premiere die einzige Sängerin, die an allen drei 1814 schließlich fragten drei Sänger der Begnadigung einen neuen Schauplatz im Freien begann Beethoven, an einer neuen Ouvertüre Premieren der Oper mitwirkte, und sollte Wiener Hofoper – möglicherweise unter dem gewannen (“Paradeplatz des Schlosses”) und die zu arbeiten (die heute den Titel “Fidelio” trägt später die Sopranrolle in der Neunten Sinfonie Eindruck des überaus großen Erfolgs, der kurz zugehörige Musik nun vollständig und eine natürlichere Überleitung zu der realisieren. zuvor in Wien Beethovens aktueller, doch auch durchkomponiert war. Die Szene begann mit komödiantischen Musik des Eröffnungsduetts ausgesprochen an das Tagesgeschehen Treitschkes klangvollem (und politisch bilden sollte); diese konnte erst am zweiten © 2005 Mike Ashman gebundener Schlachtsymphonie zuteil geworden radikalem) neuen Text für die Abend gespielt werden, während am ersten die war – ob sie die Oper für Benefiz- Eröffnungsansprache des Ministers: “Des besten Ouvertüre zu Die Ruinen von Athen erklang. Die Handlung Aufführungen am Kärntnertor-Theater neu Königs Wink und Wille/führt mich zu euch, Roccos “Gold”-Arie (“If you don’t save up your inszenieren könnten. Beethoven stimmte unter ihr Armen, her,/…/Es sucht der Bruder seine money” – “Hat man nicht auch Gold Der Schauplatz der Oper ist ein Gefängnis in der Bedingung zu, daß er an dem Werk Brüder,/und kann er helfen, hilft er gern”. Mit beineben”), die 1806 gestrichen worden war, Spanien, wo Florestan von dem Gouverneur (größere) Eingriffe vornehmen könne, für die er seinen unmißverständlichen Anklängen an den wurde am 18. Juli wieder in die Oper Pizarro eingekerkert worden ist, da er diesen der auf die Hilfe von Georg Friedrich Treitschke offenen Appell der französischen eingegliedert – an dem Tag, an dem Leonores Korruption bezichtigt hat. Florestans Frau,

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Leonore, sucht ihn seit seinem Verschwinden vor Gefängnisses zu helfen, und schließt aus seiner begreift, daß es sich bei dem Gefangenen um den Weg versperrt. Zur Verwunderung der zwei Jahren. Nun hat sie sich, als Mann Antwort, daß einer der Gefangenen ihr Florestan handeln könnte, wird Leonore von drei Männer gibt sie sich als Florestans Frau zu verkleidet und unter dem Namen Fidelio, als Ehemann Florestan sein könnte. ihren Gefühlen überwältigt. 17 – 18 Pizarro erkennen, und als Pizarro auch sie bedroht, Gehilfe von Rocco dem Gefängniswärter Zugang kehrt zurück, schickt verärgert die Gefangenen zieht sie eine Pistole. zum Gefängnis verschafft. Szene 2 in ihre Zellen zurück und drängt den Eine Trompete kündigt die Ankunft des Der Gefängnishof zögernden Rocco in das Verlies hinunter. Ministers an. Rocco ruft nach Licht, um COMPACT DISC ONE 7 Pizarro erfährt, daß der Staatsminister Don Pizarro hinaufzubegleiten, ihn zu begrüßen, Fernando eine überraschende Inspektion des COMPACT DISC TWO doch Pizarro eilt hinweg. 8 Leonore und Erster Akt Gefängnisses plant, nachdem er von Pizarros Florestan sind wieder vereint. Szene 1 Übeltaten erfahren hat. 8 Er beschließt Zweiter Akt Roccos Haus daraufhin, sich Florestans unverzüglich zu Szene 1 Szene 2 1 – 2 Jaquino, der Gefängnispförtner, entledigen und befiehlt, daß Wachen und ein Ein Verlies im Gefängnis Vor dem Gefängnis versucht, Roccos Tochter Marzellina dazu zu Trompeter auf dem Wachturm postiert 1 – 2 Florestan, in Einzelhaft und an die 9 – 10 Die Bürger jubeln dem Minister zu, bewegen, seinen Heiratsantrag anzunehmen, werden, die ihn beim Auftauchen des Wand gekettet, denkt über sein schreckliches der gekommen ist, um sicherzugehen, daß doch sie weigert sich, weil sie sich in Fidelio Ministers warnen sollen. Schicksal nach; 3 dann plötzlich sieht er in königliche Gerechtigkeit walte. Er ist verliebt hat. 9 Rocco lehnt es ab, sich bestechen zu einer ekstatischen Vision Leonore in der überrascht zu erfahren, daß Florestan von 3 Rocco und die verkleidete Leonore lassen, einen Mord zu begehen, willigt aber Gestalt eines Engels, der ihn in die Freiheit Pizarro eingekerkert wurde. Er verhaftet Pizarro erscheinen; Leonore ist bekümmert darüber, schließlich ein, für die Beseitigung der Leiche hinaus führt. Er bricht erschöpft zusammen. und gibt Leonore die Schlüssel, um die Ketten daß sie nicht nur unbeabsichtigt Jaquino der ein Grab auszuheben; Pizarro wird Florestan 4 Rocco und Leonore steigen in die Zelle ihres Mannes zu lösen. 11 – 12 Florestan und Zuneigung Marzellinas beraubt hat, sondern selber töten. 10 – 11 Als sie sich entfernen, hinunter, um das Grab auszuheben. das Volk singen ein Loblied auf Leonore. daß Rocco jetzt auch noch die Wahl seiner bricht Leonore in einen Wortschwall der 5 – 7 Leonore erkennt Florestans Stimme. Tochter befürwortet. 4 Die vier Figuren Entrüstung aus und beteuert leidenschaftlich Rocco, der für das Leiden des Gefangenen Übersetzung: Stephanie Wollny bringen ihre jeweiligen Reaktionen auf ihre Liebe zu ihrem Mann. 12 Später Mitleid empfindet, gibt ihm ein wenig Wein, diese jüngste Entwicklung zum Ausdruck, überredet sie Rocco, einige der Gefangenen für während Leonore ihm ein Stück Brot zusteckt. Die amerikanische Sopranistin Christine 5 woraufhin Rocco dem jungen Paar den Rat eine Weile ans Sonnenlicht herauszulassen. Sie beginnt, sein Grab zu schaufeln. Brewer stammt aus Illinois und begann ihre gibt, Geld zu sparen, wenn sie eine glückliche 13 – 14 Als diese sich in Luft und Licht Rocco gibt das Signal, daß alles bereit ist. künstlerische Laufbahn am Opera Theatre von Ehe führen möchten. ergehen, sagt Rocco nun, er sei nicht in der Pizarro zieht einen Degen, beugt sich hämisch Saint Louis, wo sie die Ellen Orford und 6 Leonore bittet um Erlaubnis, Rocco bei Lage, das Grab ganz allein zu schaufeln, und über sein Opfer und will Florestan gerade Donna Anna sowie die Titelrollen in Ariadne seiner Arbeit in den unteren Verliesen des erbittet Leonores Hilfe. 15 – 16 Als sie erdolchen, als Leonore hervorstürzt und ihm auf Naxos und Haydns Armida gesungen hat.

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Weitere Auftritte hatte sie als Gräfin Almaviva Marriner, Wolfgang Sawallisch und Ivan Fischer Monnaie in Brüssel, Covent Garden, die Bernard Haitink, Tchaikovskys Mazeppa mit an der und der Royal auf. Ihre Diskographie umfaßt Janácˇeks Sydney Opera und die Niederländische Oper. dem Göteborger Sinfonieorchester unter der Opera in Covent Garden sowie als Donna Glagolitische Messe und Dvorˇáks Seine bisherigen Rollen umfassen Pollione Leitung von Neeme Järvi sowie drei Anna auf dem Edinburgh Festival unter Sir Te Deum mit Robert Shaw, Don Giovanni unter (Bellinis Norma) in Washington, Calaf Einspielungen mit Richard Bradshaw und dem Charles Mackerras und in London, New York Sir Charles Mackerras und Barbers Vanessa unter (Turandot) mit der Canadian Opera Company Canadian Opera Company Orchestra – ein und Florida. Sie hat Glucks Iphigenie en ; außerdem wirkt sie an Graham in Toronto und für die Royal Opera, Dick Soloalbum mit dem Titel French and Italian Tauride in Madrid gesungen, Leonore (Fidelio) Johnsons Schubert-Gesamteinspielung mit. Johnson (La fanciulla del West) in Seattle, Arias, Rarities by Rossini and Verdi mit Gary mit dem St. Paul Chamber Orchestra, Webers Konzertverpflichtungen umfaßten in Bacchus (Ariadne auf Naxos) für die Royal Relya und Aria, une sélection de Radio-Canada Oberon unter Richard Hickox in London und jüngerer Zeit die Galakonzerte am Royal Opera, Un ballo in maschera an der Sydney mit Anita Krause, Wendy Nielson und Gary Strauss’ Die Ägyptische Helena in Santa Fe. Ihre Opera House in Covent Garden (unter Opera, Manrico (Il trovatore), Radamès, Calaf Relya. Richard Margison wurde 2001 mit dem erste Isolde sang sie mit dem BBC Symphony Bernard Haitink) und Dallapiccolas Il und Bacchus an der Metropolitan Opera in Titel eines Officer of the Order of Canada Orchestra unter , sodann Prigioniero an La Monnaie in Brüssel (unter New York, Florestan (Fidelio) für die Seattle ausgezeichnet. Brittens Gloriana unter Richard Hickox auf Antonio Pappano); außerdem hat sie enge Opera, Radamès und Manrico für die San dem Aldeburgh Festival und Chrysothemis Verbindungen zu den BBC Proms geknüpft, Francisco Opera sowie konzertante Robert Lloyd wurde in der Grafschaft Essex (Elektra) mit dem Cleveland Orchestra unter mit Aufführungen unter anderem von Brittens Aufführungen von La gioconda an der geboren und studierte an der Oxford Frans Welser-Möst. Für ihre Darbietung in War Requiem unter Jane Glover, Janácˇeks Carnegie Hall und Fidelio mit der Vancouver University. Er begann sein Berufsleben als Ariadne auf Naxos erlangte sie internationalen Glagolitischer Messe unter Sir Andrew Davis, Symphony. Historiker, bevor er sich einer Ruhm; inzwischen hat sie die Rolle an der Wagners Walküre und Schönbergs Gurreliedern Als gefragter Konzertsänger hat Richard Gesangslaufbahn zuwandte. 1972 wurde er am English National Opera, der Opéra de Lyon unter Donald Runnicles sowie Mahlers Achter Margison mit dem Londoner Royal Royal Opera House in Covent Garden als (in Lyon und Paris), auf dem Santa Fe Festival Sinfonie unter Sir Simon Rattle. Philharmonic Orchestra, dem Philadelphia Erster Baß verpflichtet und hat dort seither ein und bei ihrem Debüt an der Metropolitan Orchestra, der San Francisco Symphony, den äußerst vielfältiges Repertoire gesungen. Opera unter James Levine gesungen. Der kanadische Tenor Richard Margison ist Sinfonieorchestern von Montreal und Toronto, 1983 sang er als erster britischer Baß am Auf dem Konzertpodium tritt Christine heute auf dem internationalen Podium einer dem National Arts Centre Orchestra in Ottawa Royal Opera House in Covent Garden die Brewer mit den großen amerikanischen und der von der Kritik am enthusiastischsten und auf dem Ravinia Festival gesungen. Titelrolle in Mussorgskys Boris Godunov. britischen Orchestern unter Sir Roger gefeierten Sänger und hatte Auftritte an vielen Seine Diskographie umfaßt Lanza, den Weitere Auftritte führten ihn an die Mailänder Norrington, Michael Tilson-Thomas, Kurt der weltweit führenden Opernhäuser, darunter Soundtrack für einen Film über das Leben von Scala (Der fliegende Holländer und Parsifal ), Masur, John Adams, Christoph von Dohnányi, die Metropolitan Opera, die Wiener Mario Lanza, in dem er die Titelrolle singt, die San Francisco Opera (Don Carlos und Raymond Leppard, Mark Wigglesworth, Staatsoper, die Deutsche Oper Berlin, die San Verdis Don Carlos mit dem Chor und L’incoronazione di Poppea), die Chicago Lyric Andrew Litton, John Nelson, Sir Neville Francisco Opera, das Théâtre royale de la Orchester des Royal Opera House unter Opera (Simon Boccanegra), die Deutsche Oper

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Berlin (Tristan und Isolde), die Niederländische wirkte an einer Fernsehaufzeichnung von (Der Rosenkavalier), Zdenka (Arabella), Ilia Sullivan-Aufnahmen mit Sir Charles Oper (Pelléas et Mélisande, Tristan und Isolde, Ritter Blaubarts Burg mit, die mit dem (Idomeneo) und unlängst Nanetta (Falstaff ) Mackerras und eine Solo-CD mit italienischen L’incoronazione di Poppea und Parsifal ) und Fernsehpreis der Royal Philharmonic Society unter der Leitung von Zubin Mehta gesungen Liedern aufgenommen. auf das Salzburger Festival (Pelléas et Mélisande ausgezeichnet wurde. Er hat eine hat. Weitere Rollen waren Ilia an der und Les Troyens, Le nozze di Figaro, Die beeindruckende Diskographie von mehr als Nederlandse Opera und Opéra de Lausanne, Peter Wedd studierte an der Guildhall School Zauberflöte und Don Giovanni). Seine siebzig Audio- und Video-Einspielungen und die Titelrolle in Das schlaue Füchslein an der of Music and Drama bei William McAlpine zahlreichen Auftritte an der Metropolitan wurde in der New Year’s Honours List von Scottish Opera, Susanna, Ilia, Marzelline und anschließend am National Opera Studio. Opera in New York umfassen Rigoletto, 1991 mit dem Titel eines Commander of the (Fidelio), Norina (Don Pasquale) und Héro Er war von 1999 bis 2001 erster Tenor an der Parsifal, Die Zauberflöte, Aida, Faust, Les British Empire ausgezeichnet. (Béatrice et Bénédict) an der Welsh National Royal Opera Covent Garden und gastiert Troyens, Fidelio, Pelléas et Mélisande und Opera, Romilda (Xerxes) an der English regelmäßig an der Welsh National Opera. Als Benvenuto Cellini, während er für die Royal Rebecca Evans wurde in Pontrhydyfen National Opera sowie Pamina (Die Zauberflöte erster Tenor an der Royal Opera sang er Ywain Opera in Simon Boccanegra, Don Giovanni, (Südwales) geboren und studierte an der mit Sir Charles Mackerras), Zerlina, Nanetta (Gawain and the Green Knight) und Kudrjás Parsifal und Aida sowie in der Zauberflöte, Guildhall School of Music and Drama. Sie und Johanna (Sweeney Todd ) an der Royal (Kat’á Kabanová), und er hat auch als Borsa La fanciulla del West, Le nozze di Figaro und nahm am Förderprogramm für Opera Covent Garden. (Rigoletto) gastiert. An der Welsh National Turandot gesungen hat. Nachwuchssänger der Welsh National Opera Zu ihren umfangreichen Opera ist er als Don José (Carmen), Tamino Im Konzert ist Robert Lloyd mit dem teil und wurde von der Peter Moores Konzertverpflichtungen gehören die BBC (Die Zauberflöte), Don Ottavio (Don Cleveland Orchestra unter von Dohnányi, Foundation in ihrem Studium bei Ronald Proms und die Edinburgher Festspiele. Sie hat Giovanni) und Lacˇa Klemen (Jenu˚fa) dem Philadelphia Orchestra unter Jansons, Schneider in Wien unterstützt. Als Bachs Magnificat mit dem San Francisco aufgetreten. dem London Philharmonic Orchestra unter Opernsängerin hat sie besonders in Amerika Symphony Orchestra und Michael Tilson Weitere Verpflichtungen waren Federico Haitink und dem Boston Symphony viel Beachtung gefunden, so etwa als Susanna Thomas und das Requiem von Brahms mit (L’arlesiana) und Pluto (Orphée aux enfers) mit Orchestra unter Frühbeck de Burgos (Le nozze di Figaro) an der Santa Fe Opera dem Boston Symphony Orchestra und Jeffrey der Opera Holland Park, Kyska (Sˇarkatán) aufgetreten. Mit dem London Symphony und beim Ravinia Festival, Adele (Die Tate beim Tanglewood Festival. und Julius (I cavalieri di Ekebù) beim Wexford Orchestra unter Sir Colin Davis hat er die Fledermaus) an der Chicago Lyric Opera, Neben zahlreichen anderen Schallplatten Festival sowie Satyavan (Savitri) beim Rolle des Bottom (Ein Sommernachtstraum) Zerlina (Don Giovanni), Ann Trulove (The hat Rebecca Evans Pamina (Die Zauberflöte Aldeburgh Festival. Außerdem hatte er großen gesungen und aufgenommen, außerdem hat er Rake’s Progress) und Adina (L’elisir d’amore) an mit Sir Charles Mackerras), Susanna (Le nozze Erfolg als Rodolfo (La bohème) in der Royal an der Berlioz-Odyssee im Konzertsaal des der San Franciso Opera sowie Susanna und di Figaro), Ilia (Idomeneo) und Marzelline Albert Hall London, und Tamino mit Londoner Barbican mitgewirkt. Zerlina an der Metropolitan Opera New York. (Fidelio) für die Chandos-Serie “Opera in Glyndebourne on Tour. Er hat Tamino und Robert Lloyd war an mehreren überaus In Europa gastiert sie regelmäßig an der English”, Nanetta (Falstaff ) mit Sir John Eliot Eisenstein (Die Fledermaus) mit der erfolgreichen TV-Produktionen beteiligt und Bayerischen Staatsoper, wo sie Susanna, Sophie Gardiner, eine Reihe von Gilbert-und- Europäischen Kammeroper sowie Lysander

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(A Midsummer Night’s Dream) am Lyric Paris, Wien, München, Florenz, Amsterdam, Gesangsausbildung bei David Keren, Diane War Requiem und Haydns Schöpfung mit dem Theatre Singapur gesungen. London und Salzburg. Er hat unter Claudio Forlano und Janice Chapman wieder auf. Ulster Orchestra, Belshazzar’s Feast mit der Als vielgefragter Konzertkünstler ist er u.a. Abbado, Jeffrey Tate, Semion Bychkov, Zubin Hervorzuheben unter seinen Opernrollen English Northern Sinfonia unter Paul Daniel mit dem London Philharmonic Orchestra und Mehta, Peter Schneider, Mark Wigglesworth sind Figaro (Le nozze di Figaro) an der Welsh sowie Lucifer in Händels La Resurrezione für dem Royal Scottish National Orchestra, der und anderen gesungen. National Opera, Scottish Opera und Opera Paul McCreesh. City of London Sinfonia und der Northern Pavlo Hunkas Repertoire umfaßt den Barak North, Marcello (La Bohème) an der Scottish Christopher Purves gab sein Solodebüt Sinfonia sowie dem Bournemouth Symphony (), die Titelrolle in Opera, Papageno (Die Zauberflöte), Faninal beim Aldeburgh Festival im Juni 2004. Für die Orchestra aufgetreten. Peter Wedd hat bei Wozzeck, Golaud (Pelléas et Mélisande), Blaubart (Der Rosenkavalier) an der Welsh National Chandos-Serie “Opera in English” hat er die Festspielen wie in Covent Garden und (Ritter Blaubarts Burg), Pizarro (Fidelio), Kaspar Opera und Opera North, Podesta (La gazza Titelrolle in Le nozze di Figaro, Gottardo (La Edinburgh, Maribor (Slowenien) und Cernier (Der Freischütz), die Titelrolle in Der fliegende ladra) an der Garsington Opera sowie gazza ladra) und Die Zauberflöte (Schweiz) gesungen. Holländer, Lysiart (Euryanthe) sowie zahlreiche Siegfried (Genoveva) und Dulcamara (L’elisir aufgenommen. Für die Chandos-Serie “Opera in English” Rollen für Baßbariton im russischen, d’amore) an der Opera North. Er schuf die hat er Turandot, Jenu˚fa und Der fliegende Wagnerschen und italienischen Repertoire. Rolle des Executioner in James Macmillans Ashley Catling studierte an der Guildhall Holländer aufgenommen. Höhepunkte der letzten Spielzeiten waren Ines de Castro und ist in Macmillans School of Music and Drama bei William Shaklovity (Khovanshchina) und The Capture Parthenogenesis bei den Edinburgher McAlpine sowie am National Opera Studio, Pavlo Hunka, der Sohn eines ukrainischen of Troy an der English National Opera, Festspielen aufgetreten, wo man ihn auch als unterstützt von einem Stipendium der Friends Vaters und einer englischen Mutter, wurde in Zunbeltz in Bilbao, Dr. Schön/Jack (Lulu) an Cecil in Maria Stuarda unter der Leitung von of Covent Garden und einem Nelly Groner England geboren; er qualifizierte sich zunächst der Bonner Oper, die Titelrolle in Falstaff, Sir Charles Mackerras erlebt hat. Bursary. Zu seinen bisherigen Opernrollen als Linguist und arbeitete als Jurist, bevor er Alberich (Siegfried ) sowie Hunding (Die Auf seinem Konzertprogramm standen zählen Ferrando (Così fan tutte), Nemorino sich einer Karriere als Sänger zuwandte. Er Walküre) an der Canadian Opera in Toronto, Mozarts Messe C-Dur in Aix-en-Provence mit (L’elisir d’amore), Ernesto (Don Pasquale), begann seine Gesangsstudien am Royal Tomski (Pique Dame) am Teatro Real in The Sixteen, Strawinskys Les Noces mit Fenton (Falstaff ) und eine Rolle als Mitglied Northern College of Music in Manchester und Madrid und Siskov (From the House of the Philippe Herreweghe in Brüssel, Monteverdis des Männerchors in The Rape of Lucretia. vollendete sie in der Schweiz bei der Dead ) an der Genfer Oper. Vespro della Beate Vergine mit Richard Auf dem Konzertpodium ist Ashley Catling Kammersängerin Maria Sandulescu. Hickox, John Taveners Apocalypse bei den in der Barbican Concert Hall, den Royal Während eines dreijährigen Engagements in Christopher Purves studierte Anglistik am Proms mit der City of London Sinfonia, die Glasgow Concert Halls und der Queen Basel sang er viele der großen Rollen des King’s College Cambridge, bevor er mit der Johannespassion mit Paul Goodwin in Madrid, Elizabeth Hall, in St. John Smith Square und Repertoires für Baßbariton. Seither hatte er innovativen Rockgruppe Harvey and the Messiah mit dem Scottish Chamber Orchestra, in St. Martin in the Fields aufgetreten. Zu Auftritte an den meisten führenden Wallbangers von sich reden machte. Als sich Les Mamelles de Teresias mit der London seinen Engagements in jüngerer Zeit zählen Opernhäusern der Welt, unter anderem in die Gruppe 1988 auflöste, nahm er seine Sinfonietta unter Sir Simon Rattle, Brittens die Matthäus-Passion in der Winchester

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Cathedral, ein Recital mit Liedern für Tradition fort, die mit Otto Klemperer begann die in ihrem Kern der Bestellung und Geoffrey Mitchells Gesangskarriere hat ihm Vokalstimme und Harfe von Benjamin Britten und über Lorin Maazel (Erster Gastdirigent), Darbietung neuer Musik von führenden ein bemerkenswert breitgefächertes Repertoire in Aldeburgh sowie Tourneen in Europa und Riccardo Muti (Chefdirigent und Komponisten unserer Zeit verpflichtet ist. von der alten bis zur neuen Musik beschert den USA, auf denen Steve Reichs neue Video- Musikalischer Leiter), Giuseppe Sinopoli Die Konzerte des Orchesters werden immer und ihn nach Skandinavien, Deutschland, in Oper Three Tales gemeinsam mit dem (Musikalischer Leiter) bis zu Kurt Sanderling häufiger von BBC Radio 3 übertragen, nicht die ehemalige Tschechoslowakei, nach Kanada Komponisten aufgeführt und eingespielt (Emeritierter Dirigent), Vladimir Ashkenazy zuletzt im Rahmen der jährlichen BBC Proms. und Australasien geführt. Nachdem er bei der wurde. (Ehrendirigent) und Sir Charles Mackerras Mit über 1000 Schallplattenaufnahmen verfügt BBC erste Dirigiererfahrungen gesammelt Aufführungen umfassen The Stargazer, ein (Hauptgastdirigent) führt, aber auch die das Philharmonia Orchestra über die größte hatte, begann er mit eigenen Sängern zu neues Auftragswerk der London Mozart Zusammenarbeit mit Wilhelm Furtwängler, Orchesterdiskographie der Welt, die auch arbeiten und gründete den Geoffrey Mitchell Players für Tenor solo und Sinfonieorchester Richard Strauss, , Guido Fernseh- und Filmmusik beinhaltet, und Choir. Aus ersten Aufnahmen entwickelte sich von Lynne Plowman, Tamino (Die Cantelli, und Carlo genießt weltweit höchstes Ansehen. Das eine langfristige Zusammenarbeit des Chors Zauberflöte) mit Opera by Definition, Die Maria Giulini einbezog. Das Orchester Orchester hat für Opera Rara mehrere Recitals mit Opera Rara, für die er über dreißig Fledermaus am Dubliner Grand Opera House, verpflichtet weiterhin Gastdirigenten und sowie elf komplette Opern eingespielt und in Tonträger aufgenommen hat. Der Chor Normanno (Lucia di Lammermoor) an der Solisten von Weltrang, während einige der der Reihe “Opera in English” für Chandos mit genießt wachsendes Ansehen und ist bei der Opera Holland Park, John Millar Junior in größten europäischen Nachwuchstalente in Unterstützung durch die Peter Moores BBC und internationalen Plattenfirmen David Hornes Friend of the People an der seine Reihen aufgenommen werden. Foundation The Thieving Magpie, Wozzeck, gefragt. Für Chandos hat der Geoffrey Scottish Opera, Gawain in der Das Philharmonia Orchestra ist in der Don Giovanni, The Elixir of Love, Lucia of Mitchell Choir an zahlreichen Aufnahmen der Welturaufführung von Lynne Plowmans Oper Royal Festival Hall ansässig und nimmt eine Lammermoor, Faust, Carmen, Aida, La Bohème, hervorragend kritisierten Reihe Opera in Gawain and the Green Knight mit dem Music zentrale Position im Musikleben Madam Butterfly, Turandot, die preisgekrönte English unter der Schirmherrschaft der Peter Theatre Wales sowie Tamino (The Little Magic Großbritanniens ein, nicht nur durch seine Tosca und Opernarien in Solorecitals mit Bruce Moores Foundation teilgenommen. Flute) an der Opera North. Einspielungen Londoner Konzerte, sondern auch durch feste Ford, Diana Montague, Dennis O’Neill, umfassen Contrabandista, und L’Esule di Kontakte mit Aufführungsstätten in anderen Alastair Miles, Yvonne Kenny und John David Parry hat bei Sergiu Celibidache Granata für Opera Rara. Teilen des Landes, die eine ideale Gelegenheit Tomlinson aufgenommen. Das Philharmonia studiert und seine berufliche Laufbahn als für die Erweiterung seines dynamischen und Orchestra untermauert seinen internationalen Assistent von Sir John Pritchard begonnen. Er Das Philharmonia Orchestra, eines der bevölkerungsnahen musikpädagogischen Rang durch regelmäßige Tourneen und hat am English Music Theatre debütiert und großen Orchester der Welt, steht nun bereits Programms bieten. Das Orchester ist mit Gastauftritte an berühmten Häusern wie dem wurde dann Dirigent mit Festvertrag an den im sechsten Jahr unter der Leitung seines zahlreichen Preisen ausgezeichnet worden und Châtelet Théâtre Musical in Paris, dem Städtischen Bühnen Dortmund und an der berühmten deutschen Chefdirigenten hat beispiellose kritische Unterstützung für Megaron in Athen und dem Lincoln Center Opera North. Von 1983 bis 1987 war er Christoph von Dohnányi. Er setzt eine seine innovative Programmpolitik gewonnen, for the Performing Arts in New York. Musikdirektor der Opera 80 und seit 1992

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Gründungsmitglied und Direktor der Almeida Israeli Opera und Don Giovanni an der Opera. Staatsoper Hannover. Er übt in Großbritannien und international Seine Tätigkeit im Aufnahmestudio umfaßt eine weitgespannte Tätigkeit in den Bereichen die Produktion von Marschners Der Vampyr

Oper und Konzert aus, hat mehrere fürs BBC-Fernsehen und achtundzwanzig Barda/ArenaPalClive Produktionen der English National Opera und vollständige Opernaufzeichnungen unter der der Opera North dirigiert und tritt regelmäßig Schirmherrschaft der Peter Moores mit dem Philharmonia Orchestra und dem Foundation. Darunter befinden sich London Philharmonic Orchestra auf. 1996 zahlreiche Aufnahmen der Reihe Opera Rara, gab er sein Debüt beim Glyndebourne Festival die mehrere Preise gewonnen haben, mit Così fan tutte und hat dort 1998 die beispielsweise den belgischen Prix Cecilia für Uraufführung von Jonathan Doves Flight Donizettis Rosmonda d’Inghilterra. Für geleitet. Chandos hat er die Aufzeichnung einer Er ist häufig in Spanien zu Gast und hat Serie von Programmen mit Opernarien mit den meisten bedeutenden spanischen geleitet (mit Sir Thoms Allen, Bruce Ford, Orchestern Konzerte gegeben. In Madrid hat Alan Opie, Diana Montague, Dennis O’Neill, er die spanische Uraufführung von Peter Alastair Miles, Yvonne Kenny, John Grimes dirigiert, und 1996 die erste spanische Tomlinson, Barry Banks, Della Jones und Inszenierung von The Rake’s Progress. Er ist in Andrew Shore), außerdem The Flying Deutschland, der Schweiz und den Dutchman, The Marriage of Figaro, A Masked Niederlanden aufgetreten, bei den Festspielen Ball, Idomeneo, Carmen, The Thieving Magpie, in Pesaro, beim Hong Kong International Don Giovanni, Don Pasquale, The Elixir of Festival, in Japan anläßlich einer Carmen- Love, Lucia of Lammermoor, Ernani, Tournee und in Mexiko mit dem UNAM Il trovatore, Aida, Faust, Cavalleria rusticana, Symphony Orchestra. Zu den Pagliacci, La bohème, Turandot, die Neuproduktionen, die er in letzter Zeit preisgekrönte Tosca und Highlights aus dem dirigiert hat, zählen Fidelio beim New Zealand Rosenkavalier, jeweils in Zusammenarbeit mit Festival, Lucia di Lammermoor an der New der Peter Moores Foundation. Monte Pederson as Don Pizarro and Robert Lloyd as Rocco in The Royal Opera’s production of Fidelio

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quatre saisons et demie, il eut une expérience d’opéra proprement dit soit une collaboration Un opéra unique directe du répertoire lyrique léger de l’époque: avec Emanuel Schikaneder, l’acteur et ouvrages allemands et français dans lesquels les directeur de théâtre qui avait écrit le livret du “Fidelio”, écrivait Thomas Love Peacock à – la prise de la Bastille pendant la Révolution numéros chantés alternaient avec des dialogues dernier ouvrage de Mozart. Schikaneder lui l’époque des premières représentations de 1789 –, et il est donc étonnant d’apprendre parlés – composés par des musiciens comme proposa Vestas Feuer, une histoire de vestales londoniennes de l’ouvrage, que son livret fut vaguement basé sur une Grétry ou Dittersdorf –, opera buffa italien de de la Rome antique qui parlaient (comme le associe l’harmonie la plus profonde à des histoire de sauvetage inspirée d’un fait réel, où Cimarosa ou Paisiello, quelques œuvres de fit observer Beethoven) “un langage et des vers mélodies parlant à l’âme. L’enjouement des un aristocrate fut tiré de prison par des Gluck et trois opéras de Mozart. L’influence de tels qu’ils ne pouvaient sortir que de la bouche espoirs juvéniles, l’héroïsme d’un amour fervent, révolutionnaires de gauche. De plus, alors que ces compositions sur Beethoven s’entend dès de nos marchandes des quatre-saisons la rage du tyran, le désespoir du prisonnier, le l’opéra, tel qu’il est aujourd’hui largement son Deuxième (en réalité, Premier) Concerto viennoises”. Dès le début de 1804, Beethoven soudain éclat du soleil de la liberté triomphant représenté (et tel qu’il est enregistré ici), pour piano, dans lequel le piano apparaît s’était lassé de ce texte, écrivant à un ami que de l’obscurité du cachot […] sont représentés semble être une composition aussi claire et comme une sorte de soliste vocal au milieu “l’empire [de Schikaneder] a réellement été avec une puissance et un réalisme qui font de la inévitable que n’importe quelle autre partition d’“arias” et de “récitatifs” orchestraux, mais elle entièrement éclipsé par l’éclat des brillants et musique un langage intelligible, possédant un majeure de Beethoven, il fut en fait le fruit de détermine aussi, et de manière sans doute plus séduisants opéras français”. Il faisait référence à pouvoir illimité d’épancher la pensée sous forme plus de dix ans de travail incluant quatre importante, sa conception du texte dramatique la fois à ceux qu’il avait entendus à Bonn et au sonore. (presque cinq) ouvertures, trois versions (qu’il soit parlé ou sous forme de récitatif) succès local de Cherubini qui, à la fin 1803, L’histoire de la genèse de cet “opéra entre les musicales et trois révisions substantielles du comme élément essentiel d’un opéra réussi. avait vu monter à Vienne six de ses opéras opéras” (Gustav Mahler), “unique, à la fois en livret. Ainsi les opéras qu’il admirait le plus – et sur récents en moins de deux ans. La capitale nombre et en qualité” (Otto Klemperer), est Dans ce qui était alors la petite ville de lesquels il basa ses premières tentatives – autrichienne accueillit ensuite des œuvres de riche de contradictions intrigantes. Ce fut, de province allemande de Bonn, le père de étaient-ils La Flûte enchantée de Mozart et les Gaveau, Méhul et Spontini (notamment La fait, la seule œuvre pour la scène lyrique Beethoven était ténor, et le jeune futur ouvrages français de Cherubini, Lodoïska, Vestale). Inspiré par cette nouvelle invasion, achevée par Beethoven, bien qu’il ait passé des compositeur ne tarda pas à s’impliquer dans Les Deux Journées et Médée. Beethoven nota: “J’ai aussitôt fait adapter un périodes significatives de sa vie en contact avec l’orchestre du théâtre de la Cour local, jouant La première composition lyrique de vieux livret français et y travaille à présent.” Il les théâtres lyriques et les créateurs d’opéras, et du clavecin en public à l’âge de douze et treize Beethoven consista en airs supplémentaires s’agissait de Léonore, ou l’amour conjugal de à la recherche de livrets adaptés. Peu d’opéras ans. Par la suite, après un premier voyage à pour un opéra comique allemand existant Jean-Nicolas Bouilly, un ouvrage comprenant ont un parti pris politique aussi clair – la Vienne au cours duquel il prit une ou deux (Die schöne Schusterin d’Umlauf) mais, étant de nombreux épisodes musicaux, composés par victoire du libéralisme sur une tyrannie leçons avec Mozart, Beethoven retourna chez donné son admiration pour La Flûte enchantée Pierre Gaveau à l’origine. réactionnaire injuste – ou s’identifient aussi lui pour y mener la vie d’un musicien et (à partir de 1792) sa présence à Vienne, il Le travail pour transformer la Léonore étroitement à un événement historique précis d’orchestre au cachet. Altiste du rang pendant était presque inévitable que son premier projet française en un Fidelio allemand satisfaisant

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allait occuper Beethoven par intermittences venu en aide à une dame de la noblesse, dramatique sur Beethoven alors qu’il travaillait l’Europe lyrique. Après Gaveau, elle fut mise pendant les dix années suivantes. Mais sa Madame de La Valette, qui tentait de sauver à Léonore. en musique, en l’espace de quelques années, recherche de nouveaux livrets, aussi bien son mari aristocrate de la guillotine, Les sujets de Bouilly étaient très accessibles non seulement par Beethoven, dont la pendant cette décennie que dans la suite de sa “événements historiques réels” qui (dit-il) dans leur caractérisation sans ambages du bien première version atteignit la scène viennoise en carrière, fut presque digne de Puccini de par inspirèrent le drame de Léonore. L’ouvrage et du mal, représentés par des personnes et des novembre 1805, mais aussi par Ferdinando son insistance. Parmi les projets envisageables scénique de Bouilly et Gaveau fut créé à Paris situations qui semblaient brutalement Paer (Dresde, 1804) et par Simone Mayr figurèrent une Macbeth par l’auteur du en février 1798 au Théâtre Feydeau, dont la contemporaines comparées aux récits tirés de (Padoue, 1805). Coriolan pour lequel il avait écrit une compagnie indubitablement hors pair de la mythologie classique qui avaient dominé le Beethoven souhaita toujours intituler son ouverture, des Ruines de Babylone de Treitschke chanteurs/acteurs était aussi apte à réciter les théâtre du XVIIIe siècle. Dans Léonore, les opéra Léonore, d’après le nom réel de l’héroïne, (qui serait plus tard le troisième librettiste de dialogues en distiques héroïques qu’à chanter noms de tous les personnages disaient quelque plutôt que Fidelio (préféré par les directeurs de Fidelio), Le Retour d’Ulysse, Romulus et Remus, l’opéra. (Détail de bon augure, un an chose de leur caractère ou de leur statut social théâtre et les éditeurs pour distinguer son et Bacchus. À l’été 1811, à peu près à l’époque auparavant, le premier Florestan – le et politique. Roc (Rocco chez Beethoven) est opéra des Léonore d’autres compositeurs) où il composa la Septième Symphonie, compositeur Gaveau lui-même – et la première “ferme comme le roc”, insensible à tout (sauf à d’après le nom masculin qu’elle adopte pour se Beethoven déclara à un correspondant: “Il est Léonore – Julie-Angélique Scio – avaient créé l’argent). Fidelio vient de fidelis en latin: faire embaucher à la prison d’État. L’opéra fut très difficile de trouver un bon livret d’opéra. les rôles de Jason et de Médée dans la Médée fidèle, loyal, fiable, toutes les qualités de donné tout d’abord en trois actes, les deux Depuis l’année dernière, j’en ai refusé pas de Cherubini.) Ainsi, les dialogues parlés, Léonore au cours de la mission qu’elle premiers correspondant à l’actuel acte I. L’acte moins de douze ou plus.” Alors qu’il devait favorisés de toute façon par Beethoven et qui entreprend incognito pour sauver son mari. III original ne comportait aucun changement écrire de nombreuses œuvres pour voix et devaient s’avérer être un tremplin si important Dom Pizare (Pizarro chez Beethoven) renvoie de décor: la visite du ministre, Don Fernando, orchestre, la seule musique véritablement dans Fidelio entre les numéros vocaux et à l’abus du pouvoir royal par les conquistadors et la libération de Florestan se déroulaient dans opératique qui survit de ces tentatives avortées instrumentaux de l’opéra, faisaient dès le espagnols durant leur conquête brutale du le cachot où celui-ci avait été emprisonné. Le consiste en deux finales pour deux pasticcios de départ partie intégrante de sa source, Léonore. Nouveau Monde. Le couple “commun”, ou livret fut préparé par Joseph Ferdinand von la plume de Treitschke. Un autre épisode de ces mémoires romancés “comique”, porte des prénoms typiques de Sonnleithner, secrétaire du Théâtre impérial et Jean-Nicolas Bouilly, l’auteur de Léonore, fut de la carrière de Bouilly, décrivant à nouveau serviteurs: Jaquino (“petit Jacques”) et l’un des fondateurs de la célèbre société de avocat et juge au service de diverses la loyauté infatigable d’une épouse envers son Marceline/Marzellina (“petite Marie”). Grâce concerts de la ville, la Gesellschaft der administrations françaises avant et pendant la mari injustement emprisonné, inspira son à ses liens véristes avec les récents événements Musikfreunde. Il basa son travail sur une Révolution. Il raconta, dans des mémoires livret Les Deux Journées pour un opéra de de la Révolution – et rendue plus acceptable traduction littérale de Bouilly, reprenant aussi publiés plus de quarante ans plus tard, qu’alors Cherubini, en 1800, qui remporta un vif du fait qu’elle contait une histoire morale toutes les occasions de mise en musique qu’il était administrateur en Touraine pendant succès à Vienne peu de temps après et qui louant la force du mariage –, la Léonore de qu’offrait le livret français et en créant d’autres, la période jacobine des années 1790, il était exerça une importante influence musicale et Bouilly devint un sujet très recherché dans en consultation avec Beethoven, à partir des

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possibilités présentées par les dialogues mariage entre la fille de Rocco, Marceline, et le II” de 1805. Les réactions du public et de la Néanmoins, six ans s’écoulèrent ensuite au français. Ces nouveaux passages musicaux nouvel apprenti du père, “Fidelio”; le troisième presse (mars-avril 1806) furent plus positives, cours desquels Beethoven acheva et fit jouer incluaient le célèbre Quatuor de l’acte I était un second air de vengeance de Pizarro par mais Beethoven décida que le bureau de ses Symphonies nos 4 à 8, ainsi qu’une pléiade (“Quel sentiment étrange” – “A wonder clear lequel se terminait l’acte II original. location du théâtre le grugeait et retira sa d’autres compositions importantes, tandis que and pure”) et toute la musique de Pizarro, y La création de l’œuvre, le 20 novembre partition après deux représentations très le projet Fidelio semblait dormir, hormis des compris son premier grand air de la vengeance 1805 au Theater an der Wien de Vienne, lieu insuffisamment répétées, semble-t-il. projets non réalisés de représentations à Berlin (“Ah! quel instant que celui-ci!” – “Ah, this de naissance également de La Flûte enchantée, Depuis l’époque de Beethoven ou presque, et à Prague, ces dernières donnant à Beethoven ecstasy”) et le Quatuor du cachot (“Qu’il ne fut pas un succès public. Une partie du des commentateurs au tempérament l’occasion d’écrire une troisième ouverture meure!” – “You perish!”) – dans l’œuvre de public viennois attendu s’était enfuie devant romantique ont rapproché l’isolation pour son opéra, aujourd’hui connue sous le Bouilly et Gaveau, le rôle de Pizarro (Dom l’invasion des troupes napoléoniennes, qui croissante du compositeur suscitée par sa nom de “Léonore I”. Pizare) était parlé. occupèrent dès lors les fauteuils du théâtre surdité de l’emprisonnement solitaire de Puis, en 1814, trois chanteurs de l’Opéra de Dans cette première version de la partition, mais qui ne reconnurent pas le nouveau Florestan dans son cachot souterrain, comparé la Cour de Vienne, peut-être influencés par pratiquement tous les grands passages rejeton lyrique de ce véritable enfant de leur les paroles de l’aria (“Aux jours du printemps l’immense succès réservé à la Bataille de musicaux étaient en place, bien que sous une patrie. Des amis plus intéressés persuadèrent de la vie, le bonheur a fui loin de moi” – “In Vittoria, œuvre d’actualité de Beethoven, mais forme légèrement plus développée ou Beethoven, contre son gré, que son œuvre était the spring of youthful promise I had all my éminemment de circonstance, demandèrent différente mélodiquement. (Certains trop longue, et Stephan von Breuning, hopes destroyed”) avec le cri de désespoir du s’ils pouvaient reprendre l’opéra pour des commentateurs regrettent la disparition, en collègue du compositeur depuis l’époque où il compositeur concernant sa santé dans le représentations à leur profit au 1814, de l’introduction en récitatif vivait à Bonn, révisa le livret de Sonnleithner. Testament de Heiligenstadt, et identifié Kärntnertortheater. Beethoven accepta, à la accompagné et de la version plus longue et Les trois actes furent condensés en deux (selon Léonore, l’épouse fidèle en toute adversité, à la condition de pouvoir apporter des plus ornementée du duo entre Florestan et le plan actuel), une grande partie du dialogue compagne de vie que Beethoven ne parvint modifications (importantes) à son œuvre, pour Léonore, “Oh! c’est une indicible joie!” – “Oh et pratiquement tous les numéros musicaux apparemment jamais à trouver. Il semble lesquelles il s’assura de l’aide de Georg joy beyond all understanding”) Elle furent raccourcis – certains, comme le second véritablement peu plausible que Beethoven ait Friedrich Treitschke, poète et régisseur du comportait aussi trois numéros qui, peut-on air de Pizarro, de manière radicale. Beethoven simplement abandonné une œuvre qu’il Théâtre impérial. Les trois numéros dire a posteriori, retardaient l’action (et le flux refusa de fortes suggestions de couper les deux décrira plus tard comme: “de tous mes enfants, récalcitrants qui ralentissaient le drame jusque- musical) et qui furent heureusement coupés en numéros relatifs aux fiançailles de Léonore et celui dont l’enfantement m’a coûté le plus de là furent supprimés, pratiquement tous les 1814. Deux – un trio comique entre Rocco, de Marceline, aussi Breuning les déplaça-t-il douleurs et qui m’a causé le plus grand souci; autres numéros subirent des ajustements (le Marceline et Jaquino, et un duo entre dans l’enchaînement de l’acte I. Une deuxième et de ce fait celui qui m’est le plus cher. Plus trio de l’acte II, “Soyez récompensés dans les Marceline et Léonore – se rapportaient à ouverture (aujourd’hui appelée “Léonore III”) que tout autre, je l’estime digne d’être mondes meilleurs” (“In a better world they l’intrigue secondaire de l’opéra, le projet de fut composée et jouée à la place de la “Léonore conservé et utilisé pour la science de l’art”. surely shall applaud you”), et le Quatuor,

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“Qu’il meure!” (“You perish!”), furent en fait Fidelio ainsi remanié fut créé avec un grand en lui disant, en guise de compliment: “Ma d’accepter sa demande en mariage, mais celle- un peu allongés), et, révolution majeure, les succès le 23 mai 1814 au Kärntnertortheater. chère, vous avez une voix comme une ci refuse car elle est tombée amoureuse de Finales des deux actes furent radicalement La distribution comprenait les trois maison.” Milder avait dit à Beethoven qu’elle Fidelio. réécrits. À la fin de l’acte I, le second air de bénéficiaires commanditaires de cette reprise, avait trouvé la première version de cette scène 3 Arrivent Rocco et Léonore, déguisée; Pizarro laissa la place à la conclusion dont l’un, Johann Michael Vogl (Pizarro) “un rude combat […] laide, non vocale et cette dernière se désole de constater que non émouvante du retour des prisonniers dans leurs devait devenir l’interprète de lieder favori d’un inamicale”; elle fut le seul membre de la seulement elle a supplanté Jaquino dans le cellules (“Adieu, chaude lumière des rayons du jeune compositeur présent parmi le public, distribution à figurer dans les trois créations de cœur de Marcelline, mais que Rocco approuve soleil!” – “Farewell, the warm and radiant Franz Schubert. Toutes les révisions musicales l’opéra, et elle devait par la suite créer le rôle désormais le choix de sa fille. 4 Les quatre light”), tandis qu’à l’acte II, l’arrivée du ne furent pas intégrées d’emblée. Une nouvelle de soprano de la IXe Symphonie. personnages expriment chacun leur réaction à ministre et le pardon de Florestan bénéficièrent ouverture (aujourd’hui appelée “Fidelio”, et cette évolution de la situation, 5 puis à la fois d’un nouveau décor à l’air libre et à la conçue pour mener plus naturellement à la © 2005 Mike Ashman Rocco conseille au jeune couple de mettre de lumière (“La place d’armes du château”) et musique d’opéra comique du duo initial) ne l’argent de côté s’ils veulent être heureux en d’une composition musicale complètement fut ébauchée par Beethoven que deux jours Argument mariage. continue. La scène commençait avec le avant la première et ne put être jouée que le L’opéra se passe en Espagne, dans une prison où 6 Léonore supplie Rocco de lui permettre nouveau texte marquant (et politiquement deuxième soir; l’ouverture des Ruines d’Athènes Florestan a été emprisonné par le gouverneur, de l’aider dans sa tâche dans les souterrains de radical) attribué par Treitschke au ministre fut jouée lors de la première. L’air “de l’or” de Pizarro, qu’il a accusé de corruption. L’épouse de la prison, et déduit de sa réponse qu’un des pour son entrée en scène: “Le bon plaisir du Rocco (“Si l’on n’a pas de l’or aussi” – “If you Florestan, Léonore, le recherche depuis qu’il a prisonniers pourrait bien être son mari, meilleur des rois m’amène jusqu’à vous qu’a don’t save up your money”), coupé en 1806, disparu deux ans auparavant. Au moment où Florestan. frappés le malheur. […] Je ne viens pas ici en fut réintégré le 18 juillet, jour où l’on entendit débute l’opéra, déguisée en homme et se faisant tyran insensible. C’est un frère qui cherche à pour la première fois le grand monologue de appeler Fidelio, elle a réussi à pénétrer dans la Scène 2 connaître ses frères. S’il peut venir en aide, il le l’acte I de Léonore (“Ah! monstre prison comme aide du geôlier, Rocco. La cour de la prison fait de bon gré” – (“My noble sovereign’s will abominable… Oh ! espoir, viens à moi, ne 7 Pizarro apprend que le ministre, Don and order”…). Avec ses échos caractéristiques laisse pas s’éteindre cette dernière étoile” – COMPACT DISC ONE Fernando, projette une inspection surprise de du discours d’ouverture de la Convention “Vile murderer!… Come hope, you faint and la prison, ayant été informé de ses agissements. révolutionnaire française proposant d’aider distant star”), avec un texte en partie nouveau Acte I 8 Il décide de se débarrasser sur-le-champ de toutes les nations d’Europe à se libérer de leurs de Treitschke pour le récitatif, probablement Scène 1 Florestan et ordonne que des sentinelles et un oppresseurs, ce texte dut susciter des inspiré par son équivalent dans l’opéra Léonore La maison de Rocco sonneur de trompette soient postés sur la tour commentaires dans une Vienne impériale de Mayr. Il fut chanté par la soprano Anna 1 – 2 Jaquino, le portier de la prison, essaie de garde pour l’avertir de l’approche du célébrant la chute imminente de Napoléon. Milder, que Haydn avait un jour auditionnée de convaincre la fille de Rocco, Marcelline, ministre.

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9 Rocco refuse de tuer pour de l’argent, la liberté. Il s’effondre, épuisé. 4 Rocco et arrête ce dernier et tend à Léonore les clés forgée une réputation sur la scène mais finit par accepter de creuser une tombe Léonore descendent dans le cachot pour des chaînes de son époux. 11 – 12 Florestan internationale grâce à son interprétation où sera enterré le corps; Pizarro se chargera creuser la tombe. 5 – 7 Léonore reconnaît et le peuple chantent les louanges de d’Ariadne auf Naxos de Strauss, un rôle qu’elle lui-même d’assassiner Florestan. 10 – 11 Une la voix de Florestan. Rocco, pris de pitié Léonore. a tenu pour l’English National Opera, l’Opéra fois les deux hommes partis, Léonore, qui devant les souffrances du prisonnier, lui donne de Lyon (à Lyon et à Paris), le Festival de soupçonne un complot, donne libre cours à un peu de vin, et Léonore un morceau de Traduction: Josée Bégaud Santa Fe ainsi que pour ses débuts au son indignation et réaffirme avec passion son pain. Elle se met à creuser sa tombe. Metropolitan Opera sous la baguette de James amour pour son époux. 12 Puis elle persuade Rocco indique par un signal que tout est Née dans l’Illinois, la soprano américaine Levine. Rocco de laisser sortir quelques-uns des prêt. Pizarro tire un poignard, se réjouissant Christine Brewer commença sa carrière En concert, Christine Brewer a chanté avec prisonniers au soleil. 13 – 14 Tandis qu’ils par avance de la mort de sa victime, et professionnelle avec l’Opera Theatre of Saint les principaux orchestres britanniques et savourent l’air et la lumière, Rocco déclare s’apprête à frapper Florestan lorsque Léonore Louis, avec qui elle a chanté Ellen Orford, américains sous la baguette de chefs tels Sir qu’il ne sera pas capable de creuser la tombe à se précipite pour lui barrer le chemin. À la Donna Anna et les rôles-titres d’Ariadne auf Roger Norrington, Michael Tilson Thomas, lui seul et demande à Léonore de l’aider. plus grande stupéfaction des trois personnes Naxos et d’Armida de Haydn. Parmi ses autres Kurt Masur, John Adams, Christoph von 15 – 16 Réalisant que ce prisonnier est peut- présentes, elle déclare qu’elle est l’épouse de prestations, notons la comtesse Almaviva (New Dohnányi, Raymond Leppard, Mark être Florestan, cette dernière est submergée par Florestan, et, menacée par Pizarro, sort un York City Opera et The Royal Opera, Covent Wigglesworth, Andrew Litton, John Nelson, l’émotion. 17 – 18 Pizarro revient, ordonne pistolet. Garden), Donna Anna (au Festival Sir Neville Marriner, Wolfgang Sawallisch et avec colère que les prisonniers regagnent leurs Une trompette annonce l’arrivée du d’Edimbourg sous la baguette de Sir Charles Ivan Fischer. Elle a enregistré entre autres la cellules, et enjoint Rocco, réticent, de ministre. Rocco demande qu’on apporte des Mackerras et à Londres, New York ainsi qu’en Messe glagolitique de Janácˇek et le Te Deum de descendre au plus vite dans le cachot. torches pour raccompagner Pizarro, qui doit Floride). Elle a chanté Iphigénie en Tauride de Dvorˇák avec Robert Shaw, Don Giovanni avec accueillir l’homme d’État, et le gouverneur Gluck à Madrid, Leonore (Fidelio) avec le Sir Charles Mackerras, Vanessa de Barber sous COMPACT DISC TWO s’éloigne précipitamment. 8 Léonore et St Paul Chamber Orchestra, Oberon de Weber la baguette de Leonard Slatkin et elle a Florestan sont réunis. avec Richard Hickox à Londres et Die participé à l’Edition intégrale de Schubert par Acte II Aegyptische Helena de Strauss à Santa Fe. Elle Graham Johnson. Scène 1 Scène 2 interpréta le rôle d’Isolde pour la première fois Récemment, elle a pris part aux concerts de Un cachot sous terre Devant la prison. avec le BBC Symphony Orchestra et Donald gala du Royal Opera House, Covent Garden 1 – 2 Florestan, à l’isolement, enchaîné au 9 – 10 Le peuple acclame le ministre, venu Runnicles, chanta Gloriana de Britten avec (sous la baguette de Bernard Haitink), chanté mur, médite sombrement sur son terrible sort; s’assurer de la bonne exécution de la justice du Richard Hickox au Festival d’Aldeburgh et fut Il Prigioniero de Dallapiccola au Théâtre de la 3 puis, dans une vision d’extase, Léonore lui roi. Le ministre est stupéfait de découvrir que Chrysothemis (Elektra) avec le Cleveland Monnaie à Bruxelles (avec Antonio Pappano) apparaît sous les traits d’un ange, le menant à Florestan a été emprisonné par Pizarro. Il Orchestra et Frans Welser-Möst. Elle s’est et forgé des liens solides avec les Promenade

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Concerts de la BBC, chantant entre autres le San Francisco Opera; et il a participé à des Né dans l’Essex, Robert Lloyd fit des études En concert, il a chanté avec le Cleveland War Requiem de Britten sous la baguette versions de concert de La gioconda à Carnegie d’histoire à l’Université d’Oxford avant de se Orchestra et von Dohnányi, le Philadelphia de Jane Glover, la Messe glagolitique de Janácˇek Hall et de Fidelio avec le Vancouver tourner vers la carrière de chanteur. En 1972 il Orchestra sous Jansons, le London avec Sir Andrew Davis, Die Walküre de Symphony Orchestra. fut nommé principale basse du Royal Opera Philharmonic Orchestra sous Haitink et le Wagner et les Gurrelieder de Schoenberg sous Très demandé en concert, Richard Margison House, Covent Garden où il interprète un Boston Symphony Orchestra sous la baguette Donald Runnicles ainsi que la Huitième s’est produit avec le Royal Philharmonic répertoire extrêmement varié. de Frühbeck de Burgos. Avec le London symphonie de Mahler sous Sir Simon Rattle. Orchestra, le Philadelphia Orchestra, le San Il fut la première basse britannique à Symphony Orchestra dirigé par Sir Colin Francisco Symphony Orchestra, les Orchestres chanter le rôle-titre de Boris Godounov de Davis, il a chanté et enregistré le rôle de Comptant parmi les chanteurs les plus symphoniques de Montréal et Toronto, le Moussorgsky au Royal Opera House, Covent Bottom (A Midsummer Night’s Dream) et a appréciés sur la scène internationale National Arts Centre Orchestra à Ottawa et Garden en 1983. Il s’est également produit à participé à l’Odyssée Berlioz au Barbican à contemporaine, le ténor canadien Richard dans le cadre du Festival de Ravinia. La Scala de Milan (Der fliegende Holländer et Londres. Margison s’est produit dans certains des plus La discographie de Richard Margison Parsifal); au San Francisco Opera (Don Robert Lloyd a participé à plusieurs mises grands théâtres du monde tels le Metropolitan comprend entre autres Lanza, un Carlos et L’incoronazione di Poppea); au en scène télévisées très réussies et chanté pour Opera, l’Opéra de Vienne, le Deutsche Oper enregistrement pour le film sur la vie de Mario Chicago Lyric Opera (Simon Boccanegra); au la télévision dans Le Château de Barbe-Bleue, Berlin, le San Francisco Opera, le Théâtre de Lanza dans lequel il chante le rôle-titre, Don Deutsche Oper à Berlin (Tristan und Isolde); à une version qui remporta le Royal la Monnaie à Bruxelles, The Royal Opera, Carlos de Verdi avec l’Orchestre et le Chœur l’Opéra néerlandais (Pelléas et Mélisande, Philharmonic Society Award for Television. Covent Garden, le Sydney Opera et l’Opéra du Royal Opera House sous la baguette de Tristan und Isolde, L’incoronazione di Poppea et Robert Lloyd possède une vaste discographie néerlandais. Bernard Haitink, Mazeppa de Tchaïkovsky Parsifal ); et au Festival de Salzbourg (Pelléas et regroupant plus de soixante-dix Il a chanté entre autres Pollione (Norma de avec l’Orchestre symphonique de Gothenburg Mélisande et Les Troyens, Le nozze di Figaro, enregistrements sonores et vidéo. La Reine lui Bellini) à Washington; Calaf (Turandot) avec le sous la baguette de Neeme Järvi ainsi que trois Die Zauberflöte et Don Giovanni ). Il s’est remit le titre de Commandeur de l’Empire Canadian Opera Company à Toronto et pour enregistrements avec Richard Bradshaw et le souvent produit sur la scène du Metropolitan britannique à l’occasion de la Nouvelle Année le Royal Opera, Covent Garden; Dick Johnson Canadian Opera Company Orchestra: un Opera à New York, entre autres dans 1991. (La fanciulla del West) à Seattle; Bacchus album en soliste intitulé Arias françaises et Rigoletto, Parsifal, Die Zauberflöte, Aida, (Ariadne auf Naxos) pour le Royal Opera, italiennes, un disque de Pièces rares de Rossini Faust, Les Troyens, Fidelio, Pelléas et Mélisande Rebecca Evans est née à Pontrhydyfen dans le Covent Garden; Un ballo in maschera au et Verdi, avec Gary Relyea, et Aria, une et Benvenuto Cellini; pour le Royal Opera, Sud du Pays de Galles et a fait ses études à la Sydney Opera; Manrico (Il trovatore), sélection de Radio-Canada avec Anita Krause, il a chanté dans Simon Boccanegra, Don Guildhall School of Music and Drama. Elle a Radamès, Calaf et Bacchus au Metropolitan Wendy Nielson et Gary Relyea. Richard Giovanni, Parsifal, Aida, Die Zauberflöte, participé au Young Singers Scheme du Welsh Opera à New York; Florestan (Fidelio) pour le Margison a reçu le titre d’Officier de l’Ordre La fanciulla del West, Le nozze di Figaro et National Opera et a reçu le soutien de la Seattle Opera; Radamès et Manrico pour le du Canada en 2001. Turandot. Fondation Peter Moores pour travailler avec

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Ronald Schneider à Vienne. Elle fait une la BBC et au Festival international José (Carmen), Tamino (Die Zauberflöte), Né en Angleterre d’un père ukrainien et d’une grande carrière lyrique aux États-Unis, où d’Édimbourg. Elle a chanté le Magnificat de Don Ottavio (Don Giovanni) et Lacˇa mère anglaise, Pavlo Hunka reçut une elle a interprété les rôles de Susanna (Les Noces Bach avec l’Orchestre symphonique de San (Jenu˚fa). formation de linguiste et travailla comme de Figaro) à l’Opéra de Santa Fe et au Festival Francisco sous la direction de Michael Tilson Parmi ses autres prestations en Grande- juriste au Royaume-Uni avant de se lancer de Ravinia; Adele (La Chauve-souris) au Lyric Thomas, et le Requiem allemand de Brahms Bretagne et en Irlande, on citera Federico dans la carrière de chanteur. Il commença ses Opera de Chicago; Zerlina (Don Giovanni), avec l’Orchestre symphonique de Boston sous (L’Arlesiana) et Pluto (Orphée aux enfers) à études de chant au Royal Northern College of Ann Trulove (Le Libertin [The Rake’s Progress]) la direction de Jeffrey Tate au Festival de l’Opera Holland Park, Kyska (Sˇarkatán)et Music à Manchester et les acheva en Suisse et Adina (L’Elixir d’amour) à l’Opéra de San Tanglewood. Julius (I cavalieri di Ekebù) au Festival de avec Maria Sandulescu. Francisco; et Susanna ainsi que Zerlina au Ses nombreux enregistrements comprennent Wexford, Satyavan (Savitri) au Festival Il chanta plusieurs des grands rôles du Metropolitan Opera de New York. Pamina (La Flûte enchantée) sous la direction d’Aldeburgh. Il remporta un très vif succès répertoire baryton-basse lors des trois années En Europe, elle est régulièrement invitée au de Sir Charles Mackerras, Susanna (Les Noces dans le rôle de Rodolfo (La Bohème) au qu’il passa à Bâle en Suisse. Depuis il a chanté Bayerische Staatsoper de Munich, où ses rôles de Figaro), Ilia (Idoménée) et Marcelline Royal Albert Hall de Londres. Hors du dans la plupart des grands théâtres du monde, ont été notamment Susanna, Sophie (Fidelio) pour la série “Opera in English” de Royaume Uni Peter Wedd a chanté Tamino et entre autres à Paris, Vienne, Munich, Florence, (Le Chevalier à la rose), Zdenka (Arabella), Ilia Chandos, Nanetta (Falstaff ) avec Sir John Eisenstein (Die Fledermaus) avec l’Opéra de Amsterdam, Londres et Salzbourg. Il a chanté (Idoménée) et, plus récemment, Nanetta Eliot Gardiner, une série d’enregistrements de chambre européen, ainsi que Lysander sous la baguette de chefs aussi prestigieux que (Falstaff ) sous la direction de Zubin Mehta. Gilbert et Sullivan avec Sir Charles Mackerras (A Midsummer Night’s Dream) au Lyric Claudio Abbado, Jeffrey Tate, Semion Dans d’autres pays, elle a chanté Ilia à l’Opéra et un enregistrement en soliste de mélodies Theatre de Singapore. Bychkov, Zubin Mehta, Peter Schneider et néerlandais et à l’Opéra de Lausanne; le rôle italiennes. Très demandé en concert, il a travaillé avec Mark Wigglesworth. titre de La Petite Renarde rusée au Scottish des orchestres tels que le London Son répertoire comprend le rôle de Barak Opera; Susanna, Ilia, Marcelline (Fidelio), Peter Wedd étudia à la Guildhall School of Philharmonic, le Royal Scottish National, le (Die Frau ohne Schatten), le rôle-titre de Norina (Don Pasquale) et Hero (Béatrice et Music and Drama de Londres avec le regretté City of London Sinfonia, le Northern Sinfonia Wozzeck, les rôles de Barbe Bleue (Le Château Bénédict) au Welsh National Opera; Romilda William McAlpine, puis au National Opera et le Bournemouth Symphony. Peter Wedd de Barbe-Bleue), Pizarro (Fidelio) et Kaspar (Xerxes) à l’English National Opera; et Pamina Studio. Il fut “Company Principal” de 1999 à s’est produit au Festival de Covent Garden et (Der Freischütz), le rôle-titre du Vaisseau (La Flûte enchantée sous la direction de 2001 au Royal Opera de Covent Garden où il au Festival d’Édimbourg, en Slovénie au Fantôme, le rôle de Lysiart (Euryanthe) et bien Sir Charles Mackerras), Zerlina, Nanetta et chanta Ywain (Gawain and the Green Knight) Festival de Maribor, et en Suisse au Festival de d’autres rôles de baryton-basse des répertoires Johanna (Sweeney Todd) au Royal Opera et Kudrjas (Kat’á Kabanová), et il est retourné Cernier. russe, wagnérien et italien. House de Covent Garden. pour chanter le role de Borsa (Rigoletto). Il est Peter Wedd a enregistré Turandot, Jenu˚fa et Parmi les moments forts de ces dernières Sa vaste expérience dans le domaine du régulièrement invité à se produire au Welsh The Flying Dutchman pour la série Opera in saisons, notons le rôle de Chaklovity (La concert comprend des prestations au Proms de National Opera dans des rôles tels que Don English de Chandos. Khovanchtchina) et The Capture of Troy avec

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l’English National Opera, Zunbeltz à Bilbao, Parthenogenesis de Macmillan au Festival McAlpine et au National Opera Studio grâce pour Scottish Opera, Gawain dans la Dr Schön/Jack (Lulu) à l’Opéra de Bonn, le d’Édimbourg, où il a également interprété le au soutien financier des Amis de Covent création mondiale de l’opéra de Lynne rôle-titre de Falstaff, Alberich (Siegfried ) et rôle de Cecil dans Maria Stuarda sous la Garden et à une bourse Nelly Groner. Parmi Plowman Gawain and the Green Knight Hunding (Die Walküre), tous pour le direction de Sir Charles Mackerras. ses rôles lyriques, notons Ferrando (Così fan avec Music Theatre Wales, et Tamino Canadian Opera de Toronto, Tomski (La En concert il a chanté la Messe en ut de tutte), Nemorino (L’elisir d’amore), Ernesto (The Little Magic Flute) avec Opera North. Dame de pique) au Teatro Real de Madrid et Mozart à Aix-en-Provence avec les Sixteen, Les (Don Pasquale), Fenton (Falstaff ) et le Chœur Il a enregistré entre autres Contrabandista, Siskov (De La Maison des morts) à l’Opéra de Noces de Stravinski avec Philippe Herreweghe d’hommes (The Rape of Lucretia). et L’Esule di Granata pour Opera Rara. Genève. à Bruxelles, les Vêpres de Monteverdi avec En concert, Ashley Catling s’est produit au Richard Hickox, Apocalypse de John Tavener Barbican Concert Hall, au Royal Glasgow Reconnu comme l’un des plus grands Christopher Purves a fait des études d’anglais aux Proms avec le City of London Sinfonia, la Concert Halls, au Queen Elizabeth Hall, à orchestres du monde, le Philharmonia au King’s College de Cambridge avant de Passion selon saint Jean avec Paul Goodwin à St John’s Smith Square et à St Martin in the Orchestra a depuis plus de cinq ans le chanter et de faire des enregistrements avec le Madrid, Le Messie avec le Scottish Chamber Fields. Parmi ses prestations les plus récentes, grand maestro allemand Christoph von groupe de rock and roll vocal très novateur Orchestra, Les Mamelles de Tiresias avec le notons la Passion selon saint Matthieu à la Dohnányi pour chef principal. Le premier à Harvey and the Wallbangers. Lors de la London Sinfonietta sous la direction de Sir cathédrale de Winchester, un récital de avoir tenu ce poste fut Otto Klemperer et disparition de ce groupe en 1988, il a repris sa Simon Rattle, le War Requiem de Britten et chansons de Britten pour voix et harpe à l’Orchestre depuis lors a collaboré avec succès formation vocale avec David Keren, Diane La Création de Haydn avec l’Orchestre Aldeburgh et des tournées en Europe et aux avec Lorin Maazel (au poste de chef principal Forlano et Janice Chapman. d’Ulster, Belshazzar’s Feast avec l’English Etats-Unis durant lesquelles il interpréta et assistant), Ricardo Muti (chef principal et Ses engagements lyriques comprennent les Northern Sinfonia sous la direction de Paul enregistra le nouvel opéra vidéo de Steve directeur musical), Giuseppe Sinopoli rôles de Figaro (Les Noces de Figaro) au Welsh Daniel, et Lucifer dans La Resurrezione de Reich, Three Tales, avec le compositeur lui- (directeur musical), une tradition qui se National Opera, au Scottish Opera et pour Haendel avec Paul McCreesh. même. poursuit aujourd’hui avec Kurt Sanderling Opera North; Marcello (La Bohème) au Christopher Purves a fait ses débuts en Il a interprété entre autres The Stargazer, (chef émérite), Vladimir Ashkenazy (chef Scottish Opera; Papageno (La Flûte enchantée), récital au Festival d’Aldeburgh en juin 2004. une œuvre pour ténor et orchestre lauréat) et Sir Charles Mackerras (chef Faninal (Le Chevalier à la rose) au Welsh Ses enregistrements comprennent le rôle titre symphonique de Lynne Plowman commandée principal invité). L’ensemble a également été National Opera et pour Opera North; Podestà des Noces de Figaro, Gottardo (The Thieving par les London Mozart Players, Tamino associé à des personnalités aussi éminentes que (La Pie voleuse) à l’Opéra de Garsington; Magpie), et La Flûte enchantée, tous pour la (Die Zauberflöte) avec Opera by Definition, Wilhelm Furtwängler, Richard Strauss, Arturo Siegfried (Genoveva) et Dulcamara (L’Elixir série “Opera in English” de Chandos. Die Fledermaus au Grand Opera House de Toscanini, Guido Cantelli, Herbert von d’amour) pour Opera North. Il a créé le rôle Dublin, Normanno (Lucia di Lammermoor) Karajan et Carlo Maria Giulini. L’Orchestre de l’Executioner (Le Bourreau) dans Ines de Ashley Catling fit ses études à la Guildhall pour Opera Holland Park, John Millar Jnr continue à collaborer avec des chefs et des Castro de James Macmillan et a chanté dans School of Music and Drama avec William dans Friends of the People de David Horne solistes de stature mondiale et recrute les

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jeunes instrumentistes les plus talentueux Lucia of Lammermoor, Faust, Carmen, Aïda, travaillant avec la BBC et plusieurs maisons de orchestres espagnols. C’est lui qui dirigea la d’Europe. La Bohème, Madam Butterfly, Turandot, une disques internationales. Pour Chandos, le première espagnole de Peter Grimes à Orchestre résident au Royal Festival Hall, il version primée de Tosca ainsi que plusieurs Geoffrey Mitchell Choir a participé à plusieurs Madrid et en 1996 la première production joue également un rôle central dans la vie récitals solistes d’airs lyriques avec Bruce Ford, enregistrements pour Opera in English, une espagnole de The Rake’s Progress. Il a dirigé en musicale britannique en choisissant des Diana Montague, Dennis O’Neill, Alastair série de disques très prisés financée par la Peter Allemagne, en Suisse, aux Pays-Bas, au résidences régionales qui sont l’occasion idéale Miles, Yvonne Kenny et John Tomlinson. Le Moores Foundation. Festival de Pesaro en Italie, au Festival de développer un programme éducatif Philharmonia Orchestra consolide international de Hong-Kong, au Japon pour dynamique centré sur la communauté. Lauréat constamment sa réputation internationale Après avoir étudié avec Sergiu Celibidache, une tournée de Carmen et au Mexique avec de nombreux prix, l’ensemble a été salué grâce à des tournées régulières et récemment David Parry commença sa carrière comme l’Orchestre symphonique d’UNAM. Il a unanimement par les critiques pour ses de prestigieuses résidences au Châtelet Théâtre assistant de Sir John Pritchard. Il fit ses débuts récemment dirigé plusieurs nouvelles programmes innovateurs dont l’un des Musical à Paris, au Megaron à Athènes et au avec l’English Music Theatre avant de devenir productions dont Fidelio au Festival de objectifs principaux est l’interprétation et la Lincoln Center for the Performing Arts à New l’un des chefs d’orchestre au Städtische Nouvelle-Zélande, Lucia di Lammermoor avec commande d’œuvres nouvelles des plus grands York. Bühnen à Dortmund et à Opera North. le New Israeli Opera et Don Giovanni a compositeurs d’aujourd’hui. Directeur musical d’Opera 80 de 1983 à 1987, l’Opéra d’état de Hannover. Un nombre croissant de concerts de Durant sa carrière de chanteur, Geoffrey il est directeur musical d’Almeida Opera En studio, il a participé entre autres l’Orchestre sont retransmis par BBC Radio 3, Mitchell aborda un répertoire depuis sa fondation en 1992. à la production de la BBC Television de entre autres sa participation annuelle aux remarquablement varié, depuis la musique Sa carrière, nationale et internationale, est Der Vampyr de Marschner, dirigeant aussi Promenade Concerts de la BBC. L’orchestre ancienne jusqu’à la musique contemporaine, se extrêmement remplie, aussi bien sur la scène vingt-huit intégrales d’opéras financées par la symphonique le plus enregistré au monde, produisant en Scandinavie, en Allemagne, lyrique qu’en concert. Il a dirigé plusieurs Peter Moores Foundation. Plusieurs de ces avec plus de mille disques à son actif, parmi dans l’ancienne Tchécoslovaquie, au Canada et productions de l’English National Opera et de intégrales furent enregistrées pour Opera Rara lesquels plusieurs bandes originales pour le en Australasie. Après avoir fait ses premières l’Opera North et collabore régulièrement avec et primées, Rosmonda d’Inghilterra de cinéma et la télévision, le Philharmonia armes de chef d’orchestre avec la BBC, il le Philharmonia Orchestra et le London Donizetti recevant en Belgique le Prix Cecilia. Orchestra est réputé dans le monde entier. Sa décida de prendre une part active dans ce Philharmonic Orchestra. C’est avec Così fan Pour Chandos, David Parry a dirigé une série discographie comprend, pour Opera Rara, domaine avec ses propres chanteurs et fonda le tutte qu’il fit ses débuts au Festival de d’enregistrements d’airs d’opéra (avec plusieurs disques de récitals ainsi que onze Geoffrey Mitchell Choir. Par suite de ses Glyndebourne en 1996, une scène qu’il Sir Thomas Allen, Bruce Ford, Alan Opie, intégrales d’opéras et, pour Opera in English premiers enregistrements l’ensemble travaille retrouva en 1998 pour diriger la création Diana Montague, Dennis O’Neill, Alastair chez Chandos, série financée par la Peter depuis longtemps avec Opera Rara pour qui il mondiale de Flight de Jonathan Dove. Miles, Yvonne Kenny, John Tomlinson, Moores Foundation, The Thieving Magpie, a réalisé plus de trente enregistrements. Ce Il séjourne fréquemment en Espagne où il a Barry Banks, Della Jones et Andrew Shore) Wozzeck, Don Giovanni, The Elixir of Love, Chœur ne cesse d’élargir sa réputation, dirigé en concert la plupart des grands de même que The Flying Dutchman,

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The Marriage of Figaro, A Masked Ball, La bohème, Turandot, l’enregistrement primé Idomeneo, Carmen, The Thieving Magpie, de Tosca et des extraits de Der Rosenkavalier, Don Giovanni, Don Pasquale, L’elisir d’amore, tous ces enregistrements étant réalisés en Lucia di Lammermoor, Ernani, Il trovatore, collaboration avec la Peter Moores Aida, Faust, Cavalleria rusticana, Pagliacci, Foundation. Mike Hoban Mike Bill Cooper Bill

Glyndebourne Festival Opera’s production of Fidelio

Scottish Opera’s production of Fidelio

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Dittersdorf, poi Cimarosa e Paisiello con le bocca delle fruttivendole viennesi”. All’inizio L’opera unica loro opere buffe, qualcosa di Gluck e tre opere del 1804 Beethoven si era stancato di questo di Mozart. L’influenza di questi lavori su testo e scrisse a un amico che l’impero di All’epoca delle prime rappresentazioni sorprendente sapere che questo libretto si ispiri Beethoven si può notare già nel suo secondo Schikaneder “era stato interamente eclissato londinesi dell’opera, Thomas Love Peacock a un episodio realmente accaduto: un (per la verità primo) Concerto per pianoforte, dalla luce delle brillanti e attraenti opere scrisse: aristocratico era stato salvato dalla prigione da in cui questo strumento rappresenta una sorta francesi”. Si riferiva al tempo passato a Bonn e Fidelio accosta la più profonda armonia a una alcuni rivoluzionari della sinistra. E mentre di voce solista tra “arie” e “recitativi” al successo locale di Cherubini: alla fine del melodia che parla all’anima. La giocosità della l’opera, nella forma in cui viene rappresentata orchestrali. Forse, soprattutto, fu così che 1803 a Vienna erano state allestite sei delle sue speranza giovanile, l’eroismo dell’amore devoto, per lo più oggi (come nella presente nacque in lui la convinzione che il testo opere più recenti in meno di due anni. In l’ira del tiranno, la disperazione del prigioniero, registrazione), sembra una composizione drammatico (parlato o musicato come seguito nella capitale austriaca arrivarono opere l’esplosione del sole della libertà sulla desolazione definita e inevitabile come tutte le altre recitativo) fosse essenziale in un’opera riuscita. di Gaveau, Méhul e Spontini (soprattutto La della cella… sono ritratti con una forza e un partiture di Beethoven, in realtà fu il prodotto Così gli esempi più ammirati e ispiratori per i Vestale). Stimolato da questa nuova invasione, realismo che rendono comprensibile il linguaggio di oltre dieci anni di lavoro e comprese quattro suoi primi tentativi furono Il flauto magico di Beethoven scrisse: “Ho fatto adattare in fretta della musica, con la sua potenza irresistibile di (quasi cinque) ouverture, tre versioni musicali Mozart e le opere francesi di Cherubini: un libretto francese e adesso comincio a riversare il pensiero nel suono. e tre approfondite revisioni del libretto. Lodoïska, Les Deux Journées e Médée. lavorarci”. Si trattava di Léonore, ou l’amour La genesi di questa “opera tra le opere” Nell’allora piccolo centro provinciale La prima composizione teatrale di conjugal di Jean-Nicolas Bouilly, un dramma (Gustav Mahler), “unica, per numero e tedesco di Bonn, il padre di Beethoven, tenore, Beethoven fu rappresentata da alcune arie con molta musica composta originariamente qualità” (Otto Klemperer), è ricca di e il giovane aspirante compositore presto si aggiuntive per un’opera comica tedesca (Il bel da Pierre Gaveau. affascinanti contraddizioni. Fu l’unica impegnarono con la locale orchestra teatrale di calzolaio di Umlauf) ma, considerata la sua Il lavoro per trasformare la Léonore francese composizione beethoveniana completa corte dove, all’età di dodici-tredici anni, ammirazione per il Flauto magico e la sua in un soddisfacente Fidelio tedesco avrebbe destinata al teatro, sebbene il compositore Ludwig suonava il clavicembalo. In seguito, presenza a Vienna (dal 1792 in poi), fu quasi occupato Beethoven a intermittenza per i collaborasse spesso con impresari e teatri e dopo un primo viaggio a Vienna per prendere inevitabile che il primo progetto operistico successivi dieci anni. Ma la sua ricerca di altri fosse sempre alla ricerca di libretti adatti. lezioni da Mozart, Beethoven ritornò alla vita completo si svolgesse in collaborazione con libretti durante quel decennio e in seguito Poche opere hanno un tema così chiaramente di musicista orchestrale. Come violista per Emanuel Schikaneder, l’attore/impresario che durante la sua carriera fu insistente quasi come politico – (la vittoria del liberalismo oltre quatto stagioni e mezzo, fece esperienza aveva scritto il libretto per l’ultima opera di quella di Puccini. Possibili progetti compresero sull’ingiusta tirannia reazionaria) o si diretta del repertorio contemporaneo Mozart. Schikaneder gli propose Il fuoco di un Macbeth (il compositore aveva già creato avvicinano maggiormente a un particolare dell’opera leggera: opere tedesche e francesi in Vesta, una storia di vergini nell’antica Roma un’ouverture per un altro testo shakespeariano, evento storico (la caduta della Bastiglia cui i brani cantati si alternavano al parlato. I che parlavano (per dirla con Beethoven) “una il Coriolano), Le rovine di Babilonia di durante la Rivoluzione francese del 1789) ed è compositori comprendevano Grétry e lingua e versi che potevano venire solo dalla Treitschke (che sarebbe stato il terzo librettista

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del Fidelio), Il ritorno di Ulisse, Romolo e Remo prima, il primo Florestano – lo stesso irremovibile (ma cede di fronte al denaro). i primi due corrispondevano all’attuale Atto I. e Bacco. Nell’estate del 1811, all’incirca compositore Gaveau – e la prima Léonore – Fidelio, nome di chiara derivazione latina, è L’Atto III originale non aveva cambiamento di durante il periodo in cui lavorava alla settima Julie-Angelique Scio – avevano creato i ruoli di fedele, leale, affidabile – tutti attributi di scena: la visita del ministro, don Fernando, e Sinfonia, Beethoven scrisse nella sua Giasone e Medea nell’opera omonima di Leonora nella sua missione segreta per salvare la liberazione di Florestano si svolgevano nel corrispondenza: “È molto difficile trovare un Cherubini.) Così il dialogo parlato, favorito il marito. Dom Pizare (il Pizarro di Beethoven) sotterraneo dove quest’ultimo era stato buon libretto per un’opera. Dall’anno scorso comunque da Beethoven e che si sarebbe ricorda l’abuso di potere legato ai imprigionato. Il libretto fu preparato da Joseph ne ho rifiutati dodici o più”. Sebbene avrebbe dimostrato un importante trampolino di conquistadores spagnoli durante la brutale Ferdinand von Sonnleithner, segretario del scritto molte opere per voci e orchestra, l’unica lancio nel Fidelio tra i brani vocali/strumentali conquista del Nuovo Mondo. La coppia Teatro di Corte e tra i fondatori della famosa musica veramente operistica sopravvissuta dell’opera, fu parte integrante della Léonore fin “comica” di gente comune ha i nomi tipici dei associazione concertistica della città, dopo queste avventure fallite sono due dall’inizio. Altri ricordi dell’attività ufficiale di servitori – Jaquino (“Giacomino”) e Gesellschaft der Musikfreunde. Egli basò il suo movimenti di Finale per due pastiche scritti da Bouilly, anche in questo caso con i dettagli Marceline/Marzellina. Per virtù del suo lavoro su una traduzione letterale di Bouilly, Treitschke. della fedeltà incrollabile di una moglie verso collegamento veristico con i recenti eventi approfittò di tutte le opportunità che forniva il Jean-Nicolas Bouilly, autore di Léonore, fu un marito ingiustamente imprigionato, della Rivoluzione – e ancora più accettabile libretto francese per la musica e, in avvocato e giudice al servizio di diverse ispirarono il suo libretto Les Deux Journées (o perché racconta una storia morale che esalta la consultazione con Beethoven, ne trovò altre da amministrazioni francesi prima e durante la Il portatore d’acqua) per un’opera di Cherubini validità del matrimonio – la Léonore di Bouilly alcuni spunti nel dialogo francese. Questi Rivoluzione. Durante il suo lavoro in Touraine del 1800 che ebbe enorme successo a Vienna divenne un libro “caldo” nell’Europa nuovi testi comprendevano il famoso quartetto negli anni del decennio giacobino del 1790, in poco dopo e un’importante influenza musicale operistica. Dopo Gaveau, fu musicato in un dell’Atto I (“Mir ist so wunderbar” – “A base a memorie pubblicate più di quarant’anni e drammatica nel lavoro di Beethoven tempo brevissimo da Ferdinando Paer (a wonder clear and pure”) e tutta la musica di prima, egli dichiarò di aver aiutato Madame imperniato su Léonore. Dresda, nel 1804) e da Simone Mayr (a Pizarro, compresa la sua prima grande aria di de La Valette, una nobildonna, a sottrarre alla I soggetti di Bouilly erano facilmente Padova nel 1805) oltre che da Beethoven, la vendetta (“Welch ein Augenblick!” – “Ah, this ghigliottina il suo aristocratico marito. accessibili: il bene e il male erano rappresentati cui prima versione raggiunse il teatro a Vienna is ecstasy”) e il quartetto del sotterraneo (“Er L’episodio, “fedele ad avvenimenti storici reali” direttamente attraverso personaggi e situazioni nel novembre 1805. sterbe!” – “You perish!”). Nell’opera di avrebbe ispirato il dramma Léonore. La prima brutalmente contemporanei rispetto ai Beethoven avrebbe voluto che la sua opera Bouilly/Gaveau il ruolo di Pizarro (‘Dom dell’opera teatrale di Bouilly e Gaveau si racconti della mitologia classica che avevano si intitolasse Léonore dal vero nome della sua Pizare’) era parlato. svolse a Parigi nel febbraio 1798 al Théâtre dominato il teatro del Settecento. In Léonore eroina, anziché Fidelio (preferito dai direttori e Nella prima versione della partitura era Feydeau, che vantava una compagnia di ogni nome nell’elenco dei personaggi rivela dagli editori per distinguerla dalle Léonore presente quasi tutta la musica principale, cantanti/attori di levatura decisamente una qualità del personaggio o della sua degli altri compositori) dal nome maschile che anche se in forma leggermente più lunga o superiore, data la loro abilità di recitare in posizione sociale e politica. Roc (il Rocco di assume per entrare a servizio nella prigione di diversa dal punto di vista melodico. (Alcuni distici eroici e anche di cantare. (Un anno Beethoven) è “saldo come una roccia”, stato. L’opera fu inizialmente divisa in tre atti; commentatori hanno lamentato la perdita nel

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1814 dell’introduzione con un recitativo divennero due (nella disposizione attuale), Beethoven avrebbe abbandonato un’opera che in qualche modo modificati (il trio dell’atto II accompagnato e la più lunga e florida versione gran parte del dialogo e quasi tutti i numeri in seguito avrebbe definito “di tutti i miei figli, “Euch werde Lohn in bessern Welten” (“In a del duetto “O namenlose Freude!” (“Oh joy musicali furono abbreviati – alcuni l’unico che mi sia costato i peggiori dolori di better world they surely shall applaud you”), e beyond all understanding”) di Florestano e drasticamente, come la seconda aria di Pizarro. parto, l’unico che mi abbia portato il maggior il quartetto “Er sterbe!” furono ampliati) e il Leonora.) Esistevano anche tre numeri che, si Beethoven rifiutò di tagliare i due numeri sul dolore; e per questo motivo, quello che mi è più finale di entrambi gli atti fu radicalmente potrebbe dire col senno di poi, ostacolavano fidanzamento tra Leonora e Marcellina, perciò caro. Più di tutti gli altri lo ritengo degno di riveduto. Alla fine dell’Atto I, la seconda aria l’azione (e il fluire della musica) e Breuning li riordinò nella sequenza dell’Atto I. essere preservato e usato per la scienza dell’arte”. di Pizarro lasciò il posto a una commovente fortunatamente sarebbero stati tagliati nel Fu composta una seconda ouverture (la Tuttavia, seguirono sei anni in cui Beethoven conclusione con il ritorno dei prigionieri alle 1814. Due – un trio comico per “Leonore N. 3” di oggi) ed eseguita al posto completò e fece eseguire le sinfonie 4–8, loro celle (“Leb wohl,/du warmes Rocco/Marcellina/Jaquino e un duetto per della “Leonore N. 2”. La reazione del pubblico insieme con una serie di altre importanti Sonnenlicht” – “Farewell, the warm and Marcellina/Leonora – vertevano sulla trama e della stampa (marzo/aprile 1806) fu più composizioni, ma il progetto del Fidelio venne radiant light”) mentre, nel Secondo atto, secondaria dell’opera, il matrimonio tra la positiva, ma Beethoven decise che il accantonato, a parte i progettati allestimenti a l’arrivo del ministro e il perdono di Florestano figlia di Rocco, Marcellina, con il nuovo botteghino del teatro lo stava truffando e ritirò Berlino e Praga che non furono mai realizzati. guadagnarono entrambi una nuova apprendista del padre “Fidelio”; il terzo era la partitura dopo due spettacoli In quest’ultima occasione Beethoven compose ambientazione all’aria aperta e alla luce (“La un’altra aria di vendetta per Pizarro che apparentemente molto mal preparati. una terza ouverture per l’opera, oggi detta spianata del castello”) e un accompagnamento concludeva il secondo atto originale. Quasi fin dai tempi del compositore i Leonore No 1. musicale completo. Questo iniziava con il La prima dell’opera il 20 novembre 1805 al commentatori di indole più romantica hanno Poi nel 1814 tre dei cantanti dell’Opera di risonante (e radicale dal punto di vista Theater an der Wien di Vienna, luogo di paragonato il crescente isolamento causato dalla corte di Vienna, forse influenzati dall’enorme politico) nuovo testo di Treitschke per il nascita anche del Flauto magico, non ebbe sordità di Beethoven alla solitaria prigionia di accoglienza locale concessa alla Sinfonia “La discorso di esordio del Ministro: “Des besten successo di pubblico. Gli spettatori viennesi si Florestano nel sotterraneo, e le parole che vittoria di Wellington”, attuale per l’epoca, ma Königs Wink und Wille” (“My noble erano dati alla fuga davanti all’invasione delle quest’ultimo pronuncia nella sua aria (“In des decisamente d’occasione, chiesero un revival sovereign’s will and order”) seguito da un truppe napoleoniche che adesso occupavano le Lebens Frühlingstagen/ist das Glück von mir dell’opera per alcuni spettacoli di beneficenza appello alla fratellanza. Con gli inconfondibili poltrone del teatro, ma che non riconobbero le geflohn” – “In the spring of youthful promise I al teatro Kärntnertor. Beethoven accettò, a sottintesi legati all’aperta dichiarazione della nuove opere di questo vero figlio della loro had all my hopes destroyed”) al grido di condizione di poter apportare (importanti) Convenzione rivoluzionaria francese che patria. Alcuni amici solleciti convinsero un disperazione del testamento di Heiligenstadt. modifiche all’opera, per cui si rivolse Georg sollecitava tutte le nazioni d’Europa a riluttante Beethoven che la sua opera era Leonora, la moglie fedele a dispetto di ogni Friedrich Treitschke, poeta e direttore artistico rovesciare i propri oppressori, questo testo troppo lunga e Stephan von Breuning, collega avversità, è stata paragonata alla compagna di del Teatro di Corte. Furono eliminati i tre sicuramente fece parlare di sé nella Vienna del compositore dai tempi di Bonn, si occupò una vita che il compositore non sembrò mai numeri che avevano rallentato il dramma imperiale che celebrava l’imminente caduta di di rivedere il libretto di Sonnleithner. I tre atti capace di trovare. Sembra improbabile che prima, praticamente tutti gli altri brani furono Napoleone.

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Il Fidelio nella sua nuova forma fu eseguito grande come una casa”. La Milder dichiarò a ragazza rifiuta perché si è innamorata di personalmente Florestano. 10 – 11 Quando i per la prima volta con grande successo il Beethoven di aver trovato la prima versione Fidelio. due escono, Leonora ha il sospetto che le due 23 maggio 1914 al Kärntnertortheater. Il cast della sua scena “una dura lotta… brutta, non 3 Entrano Rocco e Leonora, travestita. complottarano. Ha un’esplosione di comprendeva i tre beneficiari che avevano musicale e ostile”; fu l’unica cantante ad Leonora è addolorata per aver indignazione e conferma appassionatamente il commissionato il revival, uno dei quali, Johann apparire in tutte e tre le prime dell’opera e involontariamente allontanato Jaquino da suo amore per il marito. 12 In seguito Michael Vogl (Pizarro) sarebbe diventato fu il primo soprano a interpretare la nona Marcellina, e soprattutto perché Rocco adesso convince Rocco a lasciare uscire al sole alcuni l’interprete di lieder preferito di un giovane Sinfonia. ha approvato la scelta di sua figlia. 4 I prigionieri per godere un po’ dell’aria aperta. compositore presente tra il pubblico: Franz quattro personaggi esprimono i loro diversi 13 – 14 Rocco dice che non riesce a scavare la Schubert. Non tutte le revisioni musicali © 2005 Mike Ashman stati d’animo, dopo di che 5 Rocco consiglia fossa da solo e chiede l’aiuto di Leonora. furono adottate subito. A soli due giorni dalla alla giovane coppia di risparmiare per avere un 15 – 16 Rendendosi conto che il prigioniero a prima, Beethoven iniziò una nuova ouverture Argomento matrimonio felice. cui è destinata potrebbe essere Florestano, (“Fidelio”, che doveva condurre più 6 Leonora supplica Rocco di farsi aiutare Leonora è sopraffatta dall’emozione. naturalmente alla musica comica del duetto di L’opera è ambientata in Spagna, in una prigione. nel lavoro nei sotterranei della prigione e dalla 17 – 18 Ritorna Pizarro, ordina irosamente ai apertura) che non poté essere eseguita fino alla Pizarro, il governatore, ha rinchiuso qui sua risposta deduce che uno dei prigionieri prigionieri di tornare in cella e sollecita il seconda serata e fu inizialmente sostituita da Florestano, con l’accusa di corruzione. Leonora, possa essere suo marito Florestano. riluttante Rocco a scendere nel sotterraneo. Le rovine d’Atene. L’aria dell’ “oro” di Rocco moglie di Florestano, in cerca del marito da due (“Hat man nicht auch Gold beineben” – “If anni, si è travestita da uomo e si fa chiamare Scena 2 COMPACT DISC TWO you don’t save up your money”), eliminata nel Fidelio. Così è riuscita a entrare nella prigione e Il cortile della prigione 1806, fu ripristinata il 18 luglio, il giorno in a farsi assumere come assistente di Rocco, il 7 Pizarro viene a sapere che il ministro di Atto II cui fu udito per la prima volta il grande carceriere. stato, Don Fernando, informato delle sue Scena 1 monologo di Leonora nell’atto I prevaricazioni, ha in programma un’ispezione Un sotterraneo nella prigione (“Abscheulicher… Komm’, Hoffnung, laß’ den COMPACT DISC ONE a sorpresa della prigione. 8 Decide di 1 – 2 Florestano, incatenato alla parete, in letzten Stern” – “Vile murderer!… Come hope, togliere subito di mezzo Florestano e ordina isolamento, medita sul suo terribile destino; you faint and distant star”), con un nuovo Atto I alle sentinelle e a un trombettiere di piazzarsi 3 poi in un’estatica visione gli appare recitativo di Treitschke, probabilmente Scena prima sulla torre per avvisarlo dell’arrivo del Leonora nelle vesti di un angelo, che lo modellato sul numero equivalente nella Léonore Casa di Rocco ministro. conduce alla libertà. L’uomo si accascia, di Mayr. L’interprete fu il soprano Anna 1 – 2 Jaquino, il portiere della prigione, 9 Rocco rifiuta di essere pagato per esausto. 4 Rocco e Leonora scendono nella Milder, a cui Haydn aveva rivolto il seguente cerca di convincere Marcellina, figlia di uccidere il prigioniero, ma alla fine accetta di cella per scavare la fossa. 5 – 7 Leonora complimento: “Mia cara, avete una voce Rocco, ad accettarlo come marito, ma la scavargli la fossa; Pizarro ucciderà riconosce la voce di Florestano. Rocco,

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impietosito dalla sofferenza del prigioniero, gli Christine Brewer, soprano americano, è nata britanniche e direttori quali sir Roger canadese Richard Margison si è esibito in dà un po’ di vino e Leonora gli porge un pezzo nell’Illinois. La sua carriera professionale è Norrington, Michael Tilson-Thomas, Kurt molti dei principali teatri lirici del mondo, tra di pane. Poi inizia a scavare. iniziata con l’Opera Theatre di Saint Louis, Masur, John Adams, Christoph von cui Metropolitan Opera, Vienna Staatsoper, Rocco dà il segnale che tutto è pronto. Con con cui ha interpretato Ellen Orford, Donna Dohnányi, Raymond Leppard, Mark Deutsche Oper Berlin, San Francisco Opera, gioia maligna Pizarro sguaina la spada sulla Anna e i ruoli di protagonista in Ariadne auf Wigglesworth, Andrew Litton, John Nelson, Théâtre royale de la Monnaie di Bruxelles, vittima e sta per colpire Florestano, quando Naxos di Strauss e Armida di Haydn. Altre sir Neville Marriner, Wolfgang Sawallisch e Covent Garden, Sydney Opera e Netherlands Leonora si precipita a impedirglielo. Con apparizioni hanno compreso la Contessa Ivan Fischer. La discografia include la Messa Opera. somma meraviglia degli altri tre, la donna Almaviva (New York City Opera e Royal Glagolitica di Janácˇek e il Te Deum di Dvorˇák I ruoli comprendono Pollione (Norma di dichiara di essere la moglie di Florestano e, Opera, Covent Garden), Donna Anna con Robert Shaw, Don Giovanni diretto da sir Bellini) a Washington; Calaf (Turandot) con quando Pizarro minaccia anche lei, estrae una (Festival di Edimburgo per la direzione di Charles Mackerras, Vanessa di Barber con la Canadian Opera Company di Toronto e per pistola. sir Charles Mackerras e Londra, New York e Leonard Slatkin, oltre alla partecipazione la Royal Opera; Dick Johnson (La fanciulla Uno squillo di tromba annuncia l’arrivo del Florida). Ha cantato Iphigenie en Tauride di all’Edizione Schubert integrale di Graham del West) a Seattle; Bacchus (Ariadne auf ministro. Rocco chiede un lume per Gluck a Madrid, Leonora (Fidelio) con la Johnson. Naxos) per la Royal Opera; Un ballo in accompagnare Pizarro ad accoglierlo e Pizarro St Paul Chamber Orchestra, Oberon di Weber Gli impegni concertistici più recenti hanno maschera alla Sydney Opera; Manrico fugge precipitosamente. 8 Leonora e con Richard Hickox a Londra e Die compreso serate di gala alla Royal Opera (Il trovatore), Radamès, Calaf e Bacchus alla Florestano sono riuniti. Aegyptische Helena di Strauss a Santa Fe. Ha House, Covent Garden (con Bernard Haitink), Metropolitan Opera di New York; Florestan esordito nel ruolo di Isolda con la BBC Il Prigioniero di Dallapiccola al teatro La (Fidelio) per la Seattle Opera; Radamès e Scena 2 Symphony Orchestra e Donald Runnicles, Monnaie di Bruxelles (diretta da Antonio Manrico per la San Francisco Opera; e Davanti alla prigione Gloriana di Britten con Richard Hickox al Pappano), e un solido impegno nella serie dei interpretazioni in concerto de La gioconda al 9 – 10 Gli abitanti della città acclamano il festival di Aldeburgh e Chrysothemis (Elektra) BBC Proms, in cui ha interpretato, tra l’altro, Carnegie Hall e Fidelio con la Vancouver ministro, venuto per assicurare che sia fatta con l’Orchestra di Cleveland e Frans Welser- il War Requiem di Britten per la direzione di Symphony. giustizia per conto del Re. Il ministro è Möst. Ha ottenuto fama internazionale per le Jane Glover, la Messa Glagolitica di Janácˇek Molto richiesto per i concerti, Richard stupefatto quando scopre che Florestano è sue interpretazioni di Ariadne auf Naxos di con sir Andrew Davis, Die Walküre di Wagner, Margison è comparso con la Royal stato imprigionato da Pizarro. Arresta il Strauss per English National Opera, Opéra de i Gurrelieder di Schönberg diretti da Donald Philharmonic Orchestra di Londra, la governatore e consegna a Leonora le chiavi Lyon (a Lione e Parigi), il Festival di Santa Fe Runnicles, e l’ottava Sinfonia di Mahler diretta Philadelphia Orchestra, la San Francisco delle catene del marito. 11 – 12 Florestano e il e al debutto alla Metropolitan Opera con da sir Simon Rattle. Symphony Orchestra, le orchestre sinfoniche popolo cantano le lodi di Leonora. James Levine. di Montreal e Toronto, la National Arts Christine Brewer si è esibita in concerto con Uno dei cantanti più apprezzati attualmente Centre Orchestra di Ottawa e ha partecipato Traduzione: Emanuela Guastella le più importanti orchestre americane e dalla critica sulla scena internazionale, il tenore al Festival di Ravinia.

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La discografia comprende Lanza, una inoltre alla Scala di Milano (Der fliegende Robert Lloyd ha interpretato numerose Nanetta (Falstaff ) per la direzione di Zubin registrazione realizzata per il film biografico su Holländer e Parsifal ), alla San Francisco Opera produzioni televisive di grande successo ed è Mehta. Inoltre ha cantato Ilia per la Mario Lanza, in cui il tenore interpreta il (Don Carlos e L’incoronazione di Poppea), alla comparso in un allestimento televisivo di Duke Netherlands Opera e l’Opéra de Lausanne; il ruolo del protagonista, Don Carlo di Verdi con Chicago Lyric Opera (Simon Boccanegra), alla Bluebeard’s Castle che ha ricevuto il premio ruolo di protagonista in The Cunning Little l’Orchestra e il Coro della Royal Opera House Deutsche Oper di Berlino (Tristan und Isolde), televisivo della Royal Philharmonic Society. La Vixen per la Scottish Opera; Susanna, Ilia, diretti da Bernard Haitink, Mazeppa di alla Netherlands Opera (Pelléas et Mélisande, sua vasta discografia riunisce più di settanta Marzelline (Fidelio), Norina (Don Pasquale), Ciaikovskij con l’Orchestra Sinfonica di Tristan und Isolde, L’incoronazione di Poppea e registrazioni audio e video. Nel 1991 è stato Hero (Beatrice and Benedict) per la Welsh Göteborg diretta da Neeme Järvi, tre Parsifal ) e al Festival di Salisburgo (Pelléas et insignito del titolo di Commander of the National Opera; Romilda (Xerxes) per la registrazioni con Richard Bradshaw e la Mélisande e Les Troyens, Le nozze di Figaro, British Empire. English National Opera; Pamina (Il flauto Canadian Opera Company Orchestra: un Die Zauberflöte e Don Giovanni). Le sue magico) diretta da sir Charles Mackerras, album solistico, French and Italian Arias, numerose apparizioni alla Metropolitan Opera Rebecca Evans è nata a Pontrhydyfen nel Zerlina, Nannetta e Johanna (Sweeney Todd ) Rarities by Rossini and Verdi, con Gary Relyea, di New York comprendono Rigoletto, Parsifal, Galles del sud e ha studiato presso la Guildhall alla Royal Opera House, Covent Garden. e Aria, une sélection de Radio-Canada con Die Zauberflöte, Aida, Faust, Les Troyens, School of Music and Drama. Ha partecipato al La sua intensa attività concertistica Anita Krause, Wendy Nielson e Gary Relyea. Fidelio, Pelléas et Mélisande e Benvenuto progetto Young Singers della Welsh National comprende apparizioni ai Prom della BBC e al Richard Margison è stato insignito del titolo di Cellini. Per la Royal Opera di Londra ha Opera e ha studiato con Ronald Schneider a Festival internazionale di Edimburgo. Ha Officer of the Order of Canada nel 2001. interpretato Simon Boccanegra, Don Giovanni, Vienna con l’appoggio della Peter Moores interpretato il Magnificat di Bach con la San Parsifal, Aida e Die Zauberflöte, La fanciulla Foundation. Ha un’importante carriera teatrale Francisco Symphony Orchestra diretta da Robert Lloyd è nato nella regione inglese del West, Le nozze di Figaro e Turandot. in America dove ha cantato Susanna (Le nozze Michael Tilson Thomas, e il Requiem di dell’Essex e ha studiato all’Università di È apparso in concerto con la Cleveland di Figaro) per la Santa Fe Opera e al Festival di Brahms con la Boston Symphony Orchestra Oxford. Dopo un inizio come storico Orchestra diretta da Cristoph von Dohnányi, Ravinia; Adele (Die Fledermaus) per la diretta da Jeffrey Tate al festival di Tanglewood. accademico, ha intrapreso la carriera di la Philadelphia Orchestra con Mariss Jansons, Chicago Lyric Opera; Zerlina (Don Giovanni ), La ricca discografia di Rebecca Evans cantante. Nel 1972 è stato nominato basso la London Philharmonic Orchestra con Ann Trulove (The Rake’s Progress) e Adina comprende Pamina (Il flauto magico) diretta da solista alla Royal Opera House, Covent Bernard Haitink e la Boston Symphony (L’elisir d’amore) per la San Francisco Opera; sir Charles Mackerras, Susanna (The Marriage Garden, dove ha interpretato un repertorio Orchestra con Frühbeck de Burgos. Con la Susanna e Zerlina per la Metropolitan Opera of Figaro) Ilia (Idomeneo) e Marzelline (Fidelio) vastissimo. London Symphony Orchestra diretta da sir di New York. per la serie Opera in English di Chandos, È stato il primo basso britannico a Colin Davis ha interpretato e inciso il ruolo di In Europa è ospite regolare della Bayerische Nanetta (Falstaff ) con sir John Eliot Gardiner, interpretare il ruolo di protagonista nel Boris Bottom (A Midsummer Night’s Dream) ed è Staatsoper di Monaco, per cui ha interpretato, una serie di registrazioni di Gilbert e Sullivan Godunov di Mussorgsky alla Royal Opera comparso nella serie Odyssey dedicata a tra l’altro, Susanna, Sophie (Der Rosenkavalier), con sir Charles Mackerras, e una registrazione House, Covent Garden nel 1983. È comparso Berlioz al Barbican di Londra. Zdenka (Arabella), Ilia (Idomeneo) e di recente solistica di brani italiani.

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Peter Wedd ha studiato presso la Guildhall Royal Scottish National, City of London Il repertorio comprende Barak (Die Frau (Le nozze di Figaro) per la Welsh National School of Music and Drama con il compianto Sinfonia, la Northern Sinfonia e la ohne Schatten), il ruolo di protagonista nel Opera, Scottish Opera e Opera North; William McAlpine e successivamente presso il Bournemouth Symphony. Peter Wedd ha Wozzeck, Golaud (Pelléas et Mélisande), Marcello (La Bohème) per la Scottish Opera; National Opera Studio. È stato solista della partecipato ai Festival del Covent Garden Barbablù (Il castello del principe Barbablù), Papageno (The Magic Flute), Faninal (Der Royal Opera, Covent Garden dal 1999 al e di Edimburgo e all estero al Maribor Pizarro (Fidelio), Kaspar (Der Freischütz), il Rosenkavalier) per la Welsh National Opera e 2001 ed è regolarmente ospite della Welsh Festival in Slovenia e al Cernier Festival in ruolo di protagonista ne L’Olandese volante, Opera North; il Podestà (La gazza ladra) per la National Opera. Come solista della Royal Svizzera. Lysiart (Euryanthe) e molti ruoli per baritono Garsington Opera; Siegfried (Genoveva) e Opera ha cantato Ywain (Gawain and the La discografia per la serie Opera in English basso nel repertorio russo, wagneriano e Dulcamara (L’elisir d’amore) entrambi per Green Knight) e Kudrjas (Kat’á Kabanová), e è di Chandos comprende Turandot, Jenu˚fa, e italiano. Opera North. Ha creato il ruolo invitato catare il ruolo di Borsa (Rigoletto). The Flying Dutchman. I momenti salienti delle ultime stagioni dell’Executioner nella Ines de Castro di James Alla Welsh National Opera i suoi ruoli hann comprendono Shaklovity (Khovanshchina) e Macmillan e ha interpretato Parthenogenesis di compreso Don José (Carmen), Tamino (Die Nato in Inghilterra, figlio di padre ucraino e The Capture of Troy con la English National Macmillan al Festival di Edimburgo, dove è Zauberflöte), Don Ottavio (Don Giovanni) e madre inglese, Pavlo Hunka si è laureato in Opera, Zunbeltz a Bilbao, Dr Schön/Jack comparso inoltre nelle vesti di Cecil nella Lacˇa (Jenu˚fa). lingue e ha lavorato come avvocato nel Regno (Lulu) all’Opera di Bonn, il ruolo di Maria Stuarda diretta da sir Charles Altre apparizioni nel Regno Unito e in Unito prima di intraprendere la carriera di protagonista nel Falstaff, Alberich (Siegfried) e Mackerras. Irlanda hanno compreso Federico (L’Arlesiana) cantante. Ha iniziato a studiare canto al Royal Hunding (Die Walküre) per la Canadian Opera I suoi impegni concertistici comprendono la e Pluto (Orphée aux enfers) per Opera Northern College of Music di Manchester e si di Toronto, Tomski (La dama di picche) al Messa in do maggiore di Mozart ad Aix-en- Holland Park, Kyska (Sˇarkatán) e Julius è perfezionato in Svizzera con la Teatro Real di Madrid e Siskov (Da una casa Provence con i Sixteen, Les Noces di Stravinskij (I cavalieri di Ekebù) al Wexford Festival, e Kammersängerin Maria Sandulescu. di morti) all’opera di Ginevra. con Philippe Herreweghe a Bruxelles, i Vespri Satyavan (Savitri) al Festival di Aldeburgh e ha Ha interpretato molti dei principali ruoli del 1610 di Monteverdi con Richard Hickox, riscosso grande successo nel ruolo di Rodolfo del repertorio per baritono basso durante un Christopher Purves ha studiato lettere presso Apocalypse di John Tavener ai Prom con la City (La bohème) alla Royal Albert Hall di Londra. contratto triennale a Basilea in Svizzera. Da il King’s College di Cambridge e poi si è of London Sinfonia, la Passione secondo San Peter Wedd ha cantato Tamino e Eisenstein allora ha cantato nella maggior parte dei esibito con l’innovativo complesso di rock and Giovanni con Paul Goodwin a Madrid, il (Die Fledermaus) per la European Chamber principali teatri lirici del mondo, tra cui Parigi, roll Harvey and the Wallbangers con cui ha Messiah con la Scottish Chamber Orchestra, Opera oltre a Lysander (A Midsummer Vienna, Monaco, Firenze, Amsterdam, effettuato alcune registrazioni. Allo Les Mamélles de Tiresias con la London Night’s Dream) per il Lyric Theatre di Londra, Salisburgo, con direttori del calibro di scioglimento del gruppo nel 1988, ha ripreso a Sinfonietta diretta da sir Simon Rattle, il War Singapore. Claudio Abbado, Jeffrey Tate, Semion studiare canto con David Keren, Diane Requiem di Britten e la Creazione di Haydn È molto richiesto nei concerti e ha lavorato Bychkov, Zubin Mehta, Peter Schneider e Forlano e Janice Chapman. con la Ulster Orchestra, Belshazzar’s Feast con tra l’altro con la London Philharmonic, la Mark Wigglesworth. I ruoi ruoli teatrali comprendono Figaro la English Northern Sinfonia diretta da Paul

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Daniel, e Lucifero ne La Resurrezione di video Three Tales di Steve Reich con il Giuseppe Sinopoli (Direttore Musicale) e, gode di una reputazione a livello mondiale Handel per Paul McCreesh. compositore. attualmente, Kurt Sanderling (Direttore ed è l’orchestra sinfonica che ha inciso di più Christopher Purves ha interpretato il suo Le interpretazioni comprendono Emerito), Vladimir Ashkenazy (Direttore in tutto il mondo, con un catalogo di oltre primo recital al Festival di Aldeburgh nel The Stargazer, una nuova opera per tenore Laureato) e Sir Charles Mackerras (Direttore 1000 incisioni, tra cui una serie di colonne giugno 2004. La discografia comprende il solista e orchestra di Lynne Plowman Principale Ospite), oltre che con artisti sonore per film e televisione. La sua ruolo di protagonista en titre in The Marriage commissionata dai London Mozart Players, importanti come Wilhelm Furtwängler, discografia include, per Opera Rara, of Figaro, Gottardo (The Thieving Magpie), e Tamino (Die Zauberflöte) con Opera by Richard Strauss, Arturo Toscanini, Guido numerosi dischi di recital, oltre a undici opere Il flauto magico entrambi per la serie Opera in Definition, Die Fledermaus alla Grand Opera Cantelli, Herbert von Karajan e Carlo Maria complete, e nella serie Opera in English per English di Chandos. House di Dublino, Normanno (Lucia di Giulini. L’Orchestra continua a collaborare Chandos, sponsorizzata dalla Peter Moores Lammermoor) per Opera Holland Park, John con direttori e solisti di fama mondiale, oltre Foundation, The Thieving Magpie, Wozzeck, Ashley Catling ha studiato presso la Guildhall Millar Jnr in Friend of the People di David ad attrarre nelle sue fila i giovani musicisti Don Giovanni, The Elixir of Love, Lucia of School of Music and Drama con William Horne per la Scottish Opera, Gawain nella europei di maggiore talento. Lammermoor, Faust, Carmen, Aida, La McAlpine e presso il National Opera Studio, prima mondiale di Gawain and the Green Orchestra Residente presso la Royal Festival Bohème, Madam Butterfly, Turandot, la Tosca, con borse di studio dei Friends of Covent Knight di Lynne Plowman con Music Theatre Hall di Londra, occupa una posizione centrale vincitrice di un premio, e vari album di Garden e di Nelly Groner. I ruoli operistici Wales, e Tamino (The Little Magic Flute) con nella vita musicale britannica anche attraverso recital, con assoli di arie d’opera eseguite da comprendono Ferrando (Così fan tutte), Opera North. La discografia comprende residenze regionali che offrono un’opportunità Bruce Ford, Diana Montague, Dennis Nemorino (L’elisir d’amore), Ernesto (Don Contrabandista, e L’Esule di Granata per Opera ideale per espandere il suo dinamico O’Neill, Alastair Miles, Yvonne Kenny e Pasquale), Fenton (Falstaff ), e Male Chorus Rara. programma educativo, basato sulle comunità. John Tomlinson. La Philharmonia (The Rape of Lucretia). Vincitrice di numerosi premi, è stata lodata Orchestra continua a consolidare la sua Ashley Catling si è esibito in concerto alla La Philharmonia Orchestra, una delle più all’unanimità dai critici per la sua politica di fama internazionale con frequenti tournèe e Barbican Concert Hall, Royal Glasgow grandi orchestre del mondo, è diretta per la programmazione particolarmente innovativa attraverso le recenti, prestigiose residenze Concert Halls, Queen Elizabeth Hall, St John’s sesta stagione consecutiva dal famoso maestro e fortemente incentrata sull’impegno ad presso il Châtelet Théâtre Musical di Smith Square e St Martin in the Fields. Le tedesco Christoph von Dohnányi, in qualità di eseguire e commissionare musiche nuove Parigi, il Megaron di Atene e il Lincoln interpretazioni più recenti comprendono la Direttore Principale. In precedenza questa firmate dai maggiori compositori Center for the Performing Arts di New Passione secondo San Matteo nella Cattedrale di carica era appartenuta a Otto Klemperer e da contemporanei. York. Winchester, un recital di brani di Britten per allora l’Orchestra ha collaborato con nomi di I concerti dell’Orchestra sono trasmessi La carriera di cantante di Geoffrey Mitchell voce e arpa ad Aldeburgh e alcune tournée in prestigio come Lorin Maazel (Direttore sempre più frequentemente da BBC Radio 3, racchiude un repertorio notevole che spazia Europa e America durante le quali ha Principale Associato), Riccardo Muti incluso l’apparizione annuale in occasione dalla musica antica a quella contemporanea e interpretato e registrato la nuova opera per (Direttore Principale e Direttore Musicale), dei BBC Proms. La Philharmonia Orchestra che l’ha portato in Scandinavia, Germania,

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nella ex Cecoslovacchia, in Canada e diverse produzioni presso la English National cui il belga Prix Cecilia per la Rosmonda A Masked Ball, Idomeneo, Carmen, The Australasia. L’esperienza di direzione degli inizi Opera e la Opera North e appare regolarmente d’Inghilterra di Donizetti. Per Chandos ha Thieving Magpie, Don Giovanni, Don Pasquale, con la BBC lo ha condotto ad un maggiore con la Philharmonia Orchestra e la London diretto una serie di registrazioni di arie d’opera The Elixir of Love, Lucia of Lammermoor, coinvolgimento con i suoi stessi cantanti e Philharmonic Orchestra. Nel 1996 ha (con Sir Thomas Allen, Bruce Ford, Alan Opie, Ernani, Il trovatore, Aida, Faust, Cavalleria inoltre alla creazione del Geoffrey Mitchell debuttato con Così fan tutte al Glyndebourne Diana Montague, Dennis O’Neill, Alastair rusticana, Pagliacci, La bohème, Turandot, Tosca Choir. Le prime registrazioni sono sfociate nel Festival, dove nel 1998 ha diretto la prima Miles, Yvonne Kenny, John Tomlinson, Barry (vincitrice di un premio) e brani scelti da coinvolgimento a lungo termine del Coro con mondiale di Flight di Jonathan Dove. Banks, Della Jones e Andrew Shore), nonché Der Rosenkavalier, tutte in collaborazione con Opera Rara, per la quale ha inciso più di È un frequente visitatore della Spagna dove The Flying Dutchman, The Marriage of Figaro, la Peter Moores Foundation. trenta registrazioni. Il Coro gode di una fama si è esibito in concerto con la maggior parte sempre maggiore con ulteriore lavoro dalla delle maggiori orchestre spagnole. Ha diretto BBC e da case discografiche internazionali. la prima spagnola di Peter Grimes a Madrid e Per la Chandos il Geoffrey Mitchell Choir nel 1996 la prima produzione spagnola di ha partecipato a numerose registrazioni The Rake’s Progress. È apparso in Germania, nelle applaudite serie di Opera in English Svizzera, Paesi Bassi, al Festival di Pesaro in con il patrocinio della Peter Moores Italia, al Festival Internazionale di Hong Kong, Foundation. in Giappone con una tournée della Carmen e in Messico con la UNAM Symphony David Parry ha studiato con Sergiu Orchestra. Recenti nuove produzioni da lui Celibidache ed ha cominciato la sua carriera dirette comprendono il Fidelio al Festival della come assistente di Sir John Pritchard. Ha Nuova Zelanda, Lucia di Lammermoor alla debuttato all’English Music Theatre, quindi è New Israeli Opera e Don Giovanni alla diventato direttore d’orchestra presso la Staatsoper di Hannover. Städtische Bühnen di Dortmund e la Il suo lavoro in studio di registrazione Opera North. È stato Direttore Musicale di comprende la produzione della BBC di Opera 80 dal 1983 al 1987 e dal 1992 è stato Der Vampyr di Marschner nonché ventotto Direttore Musicale fondatore dell’Opera di registrazioni operistiche complete con il Almeida. patrocinio della Peter Moores Foundation. Tra Lavora copiosamente in opere e concerti, a questi vi sono numerosi dischi per l’etichetta livello nazionale ed internazionale. Ha diretto Opera Rara che hanno vinti parecchi premi, tra

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On session: Christine Brewer On session: Richard Margison

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On session: Robert Lloyd On session: Rebecca Evans

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On session: Peter Wedd On session: Pavlo Hunka

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COMPACT DISC ONE Jaquino (Someone knocks.) My answer for this time and always and ever My words seem to stick in my gullet, Oh damn them, they keep interrupting. is no. 1 Overture you look at me full of contempt. (aside) Jaquino I’ve struck him a terrible blow. Marzellina Act I Oh, damn them, they keep interrupting, For always and ever it’s no. The courtyard of a State Prison. In the background Speak up, you are being pathetic, and just when it’s all going right, is the main gate, and a battlement towering over you won’t get a second attempt. my quarry vanishes out of my sight, Jaquino the tree. Within the closed gate there is a small So say what you came here to say, my quarry has gone, Your heart must be harder than steel. wicket which can be opened to admit pedestrians. then leave me in peace for the day. it vanishes out of my sight. I plead and I beg, you don’t care what I feel. By the gate is the porter’s lodge. The wings on stage Jaquino let show the living quarters of the prisoners; all the Marzellina Marzellina (aside) So hear what I came here to say, windows have bars, and the numbered doors have Well, that’s got him out of the way. If I do not lay down the law, and then you can send me away. iron reinforcements and heavy bolts. In the farthest His love is a pitiful sight. he’ll clutch at the tiniest straw. I… I asked you… suggested… downstage wing is the door to the warder’s house. I’ve hurt him, and that is not right. that we could get married. Jaquino On the right are trees, protected by iron railings, (Jacquino goes to open the door.) Remember? So, you mean that you’ll never, never accept me? next to which is a garden gate indicating the I can’t bear to see how he suffers. Is that it? entrance to the castle gardens. Marzellina I’m sorry I’ve hurt him, poor boy! How could I forget? Fidelio fills me with longing, Marzellina Scene 1 to love him is heavenly joy. Go on, on your way. Jaquino No. 1. Duet If… if you should… accept my proposal… Jaquino (returning, aside) Jaquino Jaquino (in love, wringing his hands) Say ‘yes’ then… Where was I? What? I’m not allowed even to look at you? 2 These people could drive you berserk! She’s turning her back! In silence? My darling, at last we’re together! Marzellina I’ve not said it yet. Marzellina (aside) Marzellina Marzellina (carrying on with her work) Already! Another attack! All right, you can stay. But I must get on with my work – Jaquino I know you, you’ll go on for ever. It won’t take so long to arrange things… Jaquino (to her) Jaquino So what has become of your promise? Jaquino Marzellina So, why won’t you give me your answer? You beast, you can spare me a word. What cheek! So you’ve settled the day? I can’t wait any longer to know. Marzellina You cheeky boy, so you’ve settled the day? My promise? I did no such thing. Marzellina Marzellina (aside) That is a dreadful thing to say. Well, say what you came here to say, Jaquino Oh, why must he make me be cruel? but don’t be absurd. It won’t take so long to arrange things… (to him) (knocking again)

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Jaquino Marzellina Dialogue Leonora Damnation, yet more interruptions. Poor Jaquino… I used to be so fond of him, but Rocco I do my best. since Fidelio came, I feel like a new person in a Where has Fidelio got to? Marzellina (aside) new world. It’s nearly time for me to take the Governor his Rocco Thank God, now he must go away. post. You’re a good lad, you’ll get your reward. That sound has saved me again. No. 2. Aria Marzellina Leonora Marzellina I wasn’t thinking of any reward. Jaquino (aside) 3 If only we could marry today, Here he is. I’m sure that she really was moved. I could express my feelings. Rocco Maybe my chances have improved. (Leonora is wearing a dark jacket, a red waistcoat, There is so much I dare not say, trousers, short boots, a broad black leather belt with Don’t worry… do you think I can’t see into your Marzellina so much my heart’s concealing. a copper buckle. Her hair is hidden in a net hood. heart? It hurts me to cause him such pain. As wife, no blush need hide my face On her back she has a sack with provisions, and in when I desire your warm embrace: her arms she carries some chains which she drops at No. 3. Quartet Dialogue alone you shall caress me. the porter’s lodge. At her side hangs a tin box on a Marzellina (while Rocco examines Leonora with Jaquino (She sighs and lays a hand on her breast.) strap.) approval, Marzellina watches and sings to herself ) 4 That must have been the two hundredth time That hope engulfs my heart with fire, A wonder, clear and pure with fierce unearthly sweet desire, Rocco has gripped my heart with fear. today! There you are! Now, can we have a word in peace? such happiness shall bless me, He loves me, I am sure, such blissful happiness shall bless me. Poor boy, you’ve earned your keep today! a happy life is near. Rocco (offstage) To simple, calm domestic life Leonora Jaquino! I wake up ev’ry morning. I won’t deny it – I’m tired. Leonora (aside) The husband sweetly greets his wife, The smith worked for such a long time on these Can slender hopes endure. Marzellina each day their passion warming. chains. When danger’s so severe? Father wants you… it’s probably about Fidelio. And when the routine work is done, She loves me, that is sure, Rocco the velvet dusk of night has come, my heart is full of nameless fear. What did they cost? Jaquino alone you shall caress me. Oh, Fidelio! Of course! Rocco (during the above, Rocco comes downstage That hope engulfs my heart with fire, Leonora and sings to himself ) Here’s the exact account. Rocco (offstage) with fierce unearthly sweet desire, She loves the boy, that’s sure, Jaquino? such blissful happiness, joy shall bless me. Rocco her way ahead is clear. (Rocco comes out of the garden. Jaquino has some You’re a clever fellow… This couple will endure. Jaquino gardening tools with him, and takes then into the With prices like these we can double our Their life of happiness is so near, I’m coming. house.) money… their happy married life is near.

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Jaquino (watching them and gradually moving to But when you can jingle the coins in your purse, Leonora Rocco the side, somewhat behind the others) your future will always look sunny. Has he been here long? That’s the spirit! So what is his allure? For love and power, for better or worse, Why does her father cheer? can always be purchased for money. Rocco No. 5 Trio I feel so insecure, Since all the world is bought and sold, About two years. Rocco alone and full of fear. the finest thing to have and hold is gold, yes, gold. Leonora 6 Good, that’s the stuff!… If you marry naught with zero, He must be a dangerous criminal. You must be tough, Dialogue you’ll give birth to even less. for real life is gritty. Rocco Love won’t feed your hungry hero, Rocco But daily grind Fidelio, I may have no idea who you are or and a hungry man means stress. Or have powerful enemies. It comes to much the Makes heart and mind where you come from, but I mean to make you But if you’ve a nice little sum in the bank, same thing. impervious to pity. my son-in-law. you’re rich, and your marriage is rosy: Marzellina Leonora (vigorously) a sweetheart to cuddle and father to thank Marzellina Why is he here? I shall be bold, ruthless and cold that you can grow old, warm and cosy. Soon? in spite of fear around me. Since all the world is bought and sold, Rocco Gives me the steel, love’s high ideal, Rocco the finest thing to have and hold is gold, yes gold. The less we know, the better. He can’t survive to face the horrors all around me. Oh, not so hasty! much longer. The Governor has to make his report; the day Dialogue Marzellina (affectionately) after he leaves we’ll have you married. Leonora Leonora (aside) This hateful role That’s easy for you to say; for me the source of God help me! your noble soul Leonora true happiness lies in the union of two will surely suffer harder. Tomorrow! passionate souls, but even more important for Rocco But you’ll return I’ve been cutting his rations – Governor’s orders, Rocco me at the moment is your trust. When you come and love will burn, of course! In the last twenty-four hours he’s had Now look, children, you’re in love, I can see that, home from work in the cells you’re always worn with even fiercer ardour. nothing but a scrap of bread and half a glass of but that’s not all you need for a happy home. out. Won’t you let me help you? water. Rocco Rocco I see your fortune surely grow. No. 4. Aria The Governor is a stickler for the rules, but I Marzellina Leonora Rocco think I can persuade him to let you help in the Father, whatever you do, don’t take Fidelio down 5 I put my trust in God and justice. If you don’t save up your money, cells. Apart from one that is… there. He couldn’t bear to see such misery. happiness is hard to find. Marzellina Being poor is never funny, Marzellina Leonora Look in my eyes: their light is shining. life becomes a tedious grind. Is that the prisoner you’ve spoken about? Why ever not? I have courage and strength! That love is power, it will endure.

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Rocco Rocco Scene 2 and twist the knife inside him, I see your fortune growing. I am worn out and close to death. I scream into his ear: 7 No. 6 March I have a premonition, I’ve won, I’ve won, I’ve won, Leonora During the March, which has already begun, the mine is the vict’ry here! I put my trust in God and justice. Marzellina (affectionately) main gate is opened from outside. Officers march But dearest father that can’t be true. in with a platoon, followed by Pizarro, and the Marzellina Chorus of Sentries Your loving children depend on you. door is then closed again. Our happiness is sure. He raves with wild elation Rocco of death and mutilation. Leonora Dialogue If we take care, To watch him is to fear, My happiness is sure. Pizarro (examining the post) the chance is there, This handwriting seems familiar. ‘Dear Friend, he raves, to watch him is to fear. Rocco to fill your cup to over-flowing. the Minister has been informed that among your Pizarro Their happiness is sure. Marzellina prisoners are some who are the victims of illegal Ah, this is ecstasy! Rocco If you will dare detention. He is setting off tomorrow in order to My fury will be sated, It’s up to him! then we can share carry out a surprise inspection.’ If he realised now let him how in anguish. I’ll get the Governor’s permission in joy beyond all knowing. that the Florestan who so mysteriously The victor I shall vanquish. for you to help me in the jail. disappeared is actually rotting here in chains… Ah, this is ecstasy! Leonora Well, there is one solution. To satisfy my fury, Leonora What I shall dare Fate summons you to bleed. I shall not rest until your mission to spite despair No. 7. Aria with choir The victory is mine, yes, it’s mine. has been accomplished: do not fail! wins joy beyond all knowing. Pizarro Marzellina I gave my hand, 8 Ah! This is ecstasy! Chorus of Sentries Papa, the sooner you can ask him by that I stand, To satisfy my vengeance, He raves with wild elation the sooner I shall be his wife. though bitter tears are flowing. Fate summons you to bleed, of death and mutilation. to hack his flesh in pieces To watch him is to fear, Rocco Rocco titanic, glorious deed. he raves, to watch him is to fear. Give her your hand, I’ll get permission for you He almost overcame me, and proudly stand to help me in the jail. to mock me and defame me, Dialogue while tears of joy are flowing. One foot is in the grave already. to make me writhe Pizarro Leonora Marzellina in the dust beneath his feet. Sergeant! Take a trumpeter up to the tower My will is weak, my nerve unsteady. I proudly stand Now let him howl in anguish. and keep watch on the road from Seville. As Come hope, I need your calming breath. to give my hand the victor I shall vanquish. soon as you see the Minister’s outriders give a Come, hope, bring your calming breath. while sweetest tears are flowing. And as I stand beside him signal.

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No. 8. Duet Rocco Under the floor there is a well. I know your heart’s a sea of hatred, Pizarro Oh, Sir! When it is open give the signal. raging and anger there I find. 9 Now, Warder, listen! That is his grave! I see a glorious rainbow arching. Pizarro An urgent mission! It sheds its rays on all mankind. Do not delay, Rocco You make the right decision Its light is calm, serenely falling, (aside) And then? And then? and you’re a wealthy man. nostalgic memories recalling I dare not leave him living, (giving him money) Pizarro of long-forgotten peaceful time. he knows too much for me. Take this, a small advance. Then with my cloak about my face 11 Come hope, you faint and distant star, Alive, he makes me nervous, I’ll come, his assassin: last ray of light for those in fear and anguish. his death will set me free. Rocco (He shows the dagger.) Oh, come, make bright my way, be it so far, Alive, he always makes me nervous. So tell me, tell me quickly, I strike, and he is dead! the pow’r of love will surely vanquish. for that I’d take a chance. Rocco Rocco Come, oh come, star of hope, Pizarro His rage is unforgiving, Starvation, thirst and torture, distant star of hope. So many brutal dealings but how can I agree? his body wracked with pain! For all who must live in fear and anguish, blunted your finer feelings. If I myself must murder, So let the knife release him make bright my way, be it so far, No squeamish qualms can haunt a warder. it’s gone too far for me. and set him free again. that love, will surely vanquish. To kill is not my duty, My inner voices fire me, Pizarro Rocco my job is guarding the gaol. I will not bend nor ever yield: What is it? Tell me! To terminate his torture duty and love inspire me Pizarro is something of a shame. I will not yield, Pizarro Then I shall do the killing, But once he has been silenced, for duty and undying love inspire me. Murder! Your nerve, it seems, would fail. I will be safe again. Oh you, for whom I can bear all, Be quick, or they have caught us: if only I could trace you Rocco (startled) (He exits into the garden; Rocco follows.) go down to the secret quarters where evil holds you in its thrall, What? (Leonora alone, in a state of violent emotion.) you know… you know... and in my arms embrace you. Pizarro Rocco No. 9. Recitative and Aria (She exits into the garden.) Don’t look so amazed. That living death Leonora (Marzellina comes out of the house. Jaquino follows 10 You’re scared? But you’ll obey? who’s like a corpse with breath? Vile murderer! Sadistic swine! her.) Be warned, it’s now or never: What is this plan? a danger to the State, Pizarro (grimly) What base, perverted act is brewing? Dialogue before it is too late, Yes, him! No cry for help, no plea for mercy, Jaquino must be dispatched for ever. Go to the cell. does nothing touch your evil mind? 12 But Marzellina… I was always your dear Jaquino…

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Marzellina (Rocco goes off into the garden. Leonora and Chorus Rocco So you were. But since Fidelio came here I have Jaquino open the cell doors, and then go into the Speak softly, we are overheard. The man who’s nearly dead. learned what true love really is. background with Marzellina to watch the prisoners Ev’ry word. The powers above hear ev’ry word. For weeks I’ve fed him nothing, coming out.) yes, nothing but some scraps of bread. Jaquino (Before the chorus is completely ended, Rocco What? With some passer-by who came from appears in the background, and talks urgently with Leonora God knows where… No. 10. Finale (During the prelude the prisoners gradually fill the Leonora. The prisoners gradually disappear into the Ah! Are we going to free him? garden. Marzellina and Jaquino follow them. Marzellina stage.) Rocco Rocco and Leonora come downstage.) …and who was poor and needed help… and Oh no! whom I am going to marry. Chorus 13 Oh, what delight Leonora Leonora Jaquino 14 to breathe the air What did he say? That’s what you think! What then? What then? of freedom in our being! Rocco Oh, what delight, Rocco Rocco (mysteriously) Quarrelling again? the sun our senses freeing: The news is good. Not in that sense. the dungeon reeks of death. I put the case as best I could, He will be, shall we say, be saved. Marzellina and told him of our plan and asked permission, He keeps insisting that I should marry him. I think it providential, First Prisoner but his reply was a shock: but keep it confidential, Rocco We trust that God will aid us. your wedding may take place at once, and in we must prepare his grave. What? You think I would marry my only We know His love has not betrayed us. addition daughter to a nothing like you? For hope still whispers of release, from today you’re cleared for work inside the Leonora Leonora we shall be free, we shall find peace. prison block. So he is dead? Master Rocco! Chorus Leonora (breaking out) Rocco You’ve promised so many times to allow the Oh, heaven! Rescue! Already! Already! Not yet, not yet. prisoners out for some air and exercise. The Noble theme! Oh, I am glad, I feel so happy! Leonora (recoiling) Governor will never know… and it’s such a Oh freedom may we still dream? beautiful day. Rocco Are you to murder him as well? (An officer appears on the wall, and then You’re very open-hearted, Marzellina Rocco Oh, yes, do let them. vanishes.) and we’ve a job to do. We’ll go down and get started. No, my dear fellow can’t you tell? Rocco Second Prisoner I’m careful, I keep my conscience clear. You’re right, just this once we can afford to take Speak softly, we are overheard. Leonora I’m sure the Governor himself will strike the blow. the risk. Jaquino, open up the ordinary cells. The pow’rs that be hear ev’ry word. Go down? Where to? Our job is just to dig his grave.

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Leonora (aside) Rocco Jaquino (Marzellina exits after Jaquino.) To dig the grave for one I married, The boy is crying, poor boy, I think he’s crying. Yes, she is right. Pizarro brutal torture can’t be worse. (aloud) Leonora 17 Presumptuous idiot, who are you to take such a No, no, you stay here, there’s no denying Rocco Let’s get away. liberty with me? it is too much, you stay here, He will be better dead and buried, What right have you to let an apprentice go out yes, that is no place for boys like you. Rocco to give him food would make things worse. and set the pris’ners free? Will someone say that he knows they’re out. Leonora (desperately pleading with him) Leonora Rocco (in confusion) I have to come, I have to see that wretched victim, Leonora What? But Sir! But Sir! no matter what I have to suffer, Yes, without a doubt. Rocco I have to come though it will tear my heart in two. Pizarro 15 Let’s down to work, for time is pressing, Marzellina Speak up! Speak up! Rocco we need your help, the task’s depressing. One of his men has told him the pris’ners are No, no, you stay here! Rocco (looking for an excuse) Work! Work! For a jailer, life is hard. walking in the garden. The sun is shining, Leonora and Rocco Leonora it is the festive month of May, So that’s resolved, we’re on our way: Rocco I’ll follow you till death us part. and… When duty calls, we must obey. Then get them back – (composing himself ) Rocco I’ll ask his pardon. (Jaquino and Marzellina rush in.) surely you don’t need reminding, We have to open the cistern. it is a very special day? Marzellina Then throw the body in its grave. Marzellina (taking his cap off ) He rages like a Titan, I don’t like it any more than you do, 16 Oh, father, do be quick! Today’s the King’s official birthday. he loses all control. you’ll find it gruesome, but be brave. That we must surely celebrate. Rocco (softy to Pizarro) Leonora What’s gong on? Leonora (aside) It’s just I’ve never touched a corpse, Dear God, I am so frightened, Your victim dies, so let the others be free No, I’ve never touched one before. Jaquino it shakes me to the soul. to walk out in the sunshine. Get out of sight. Save your anger for the man you hate. Rocco Rocco (aside) Pizarro (softly) I’d rather spare you such a chore, Rocco My decision was enlightened, Go dig his grave and dig it deeper; but I am old and growing frail; But what is wrong? so let him take his toll. here I want peace, and you’re its keeper. the master’s strict, I dare not fail. Marzellina Marzellina Get the pris’ners under lock and key, Leonora (aside) Pizarro’s in extreme alarm: He rages like a Titan, and don’t dare take liberties with me. It breaks my heart. he’s shouting with rage at you. He loses all control. No, never take liberties with me.

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Chorus of prisoners (returning from the Rocco Yet I trust in God’s intention. Leonora (looking anxiously around) garden) Yes, Sir, I’ll work with all my might. I shan’t complain, I began to think we would never find the 18 Farewell, the warm and radiant light, The cistern will be waiting. for all I suffer comes from Thee. entrance. our glimpse of day is fading. No, I dare not frustrate him; 3 In the spring of youthful promise Rocco (going to Florestan’s side) The darkness all-pervading I’ll do my job, thought that’s not right. I had all my hopes destroyed. He’s over there. surrounds our lives in endless night. I spoke out the truth too rashly, (The prisoners return to their cells, which Leonora now I perish in this void. Leonora (with a broken voice, trying to recognise and Jaquino lock behind them.) Marzellina (watching the prisoners) Though I suffer degradation, him) How eagerly they sought the light, pain and joy to me are one, He doesn’t seem to move at all. how sadly they’re parading. COMPACT DISC TWO in the trust and consolation God help them, their life is so degrading, that my duty has been done, Rocco how can my joy and love be right? Act II (with rapture bordering on madness, but Maybe he’s dead. A dark, underground dungeon. On the left is a nonetheless calm) Leonora (shuddering) Leonora (to the prisoners) cistern covered with stones and rubble. In the What breezes are stirring to sweeten the night? You think so? You must obey: get out of sight. background are various openings blocked by iron What vision arises before me? your dream of bliss is fading. (Florestan makes a movement.) bars, through which one can see a staircase leading Angelic, it hovers, a creature of light (aside) from above. On the right are the last few steps, and whose tender caresses restore me. Rocco Oh, this is so degrading, the door into the cell. A lamp is burning. My angel Leonora, my angel, No, no, he’s sleeping. is there no justice? Will no one stand and fight? So much the better – we can get on with our Scene 1 my love who leads me Jaquino (to the prisoners) to freedom in heaven above. work. Florestan sits on a stone. Around his body is a long There’s no time to lose. You must obey: get out of sight. chain which is fixed to the stone at one end. (Exhausted by his excited movements, he sinks Down there your cells are waiting. down onto the stone with his face in his hands.) Leonora (aside) (observing Rocco and Leonora) No.11 Introduction and Aria (By the light of a lamp Rocco and Leonora can be It’s impossible to make out his features. What are these two debating? 1 Introduction seen coming down the stairs, carrying a jug and God give me strength if it really is him. They have some plot in mind tonight. digging tools. The door into the cell opens, and half Rocco (puts his lantern down on the rubble) Aria the stage is illuminated.) Pizarro Florestan That cistern I told you about is somewhere under this rubble. Now Rocco, work with all your might. 2 God! The darkest hour, No. 12 Melodrama and Duet Don’t keep our victim waiting. when silence howls with tension. Leonora (under her breath) We won’t have to dig far to find the opening. (aside, watching the others) Here this lifeless waste, 4 How cold it is in these dungeons. Give me the pick, and stand nearby. Stay there till you have put him here, nothing lives but me. Rocco (He goes down in the hole as far as his midriff, puts deep in his grave and out of sight. Unending torture! Well, yes of course… they’re very deep. the jug down, and lays his bunch of keys down

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beside him. Leonora stands at the edge, and gives Leonora I’ll never let you think I’m shirking. help me, send a message to Leonora Florestan… him the pick.) Take care! Just let me catch my breath a moment, Tell her I am lying here in chains. You’re trembling. Are you frightened? then you will see what I can do. Rocco Rocco Leonora (forcing herself to sound confident) It moved! Rocco I would just destroy myself without helping you No, no. It’s only that it’s so cold. at all. Leonora It won’t be long before he’s due. Rocco (quickly) Now once again! (Rocco drinks. Florestan recovers and lifts his head, Florestan Then if I have to die here, let me die quickly… The get to work. Rocco without turning towards Leonora.) That’ll soon warm you up! It’s quite a weight… Rocco Duet Dialogue I’ve got a little wine left over. Fidelio… give him Leonora Leonora this. (During the introduction, Rocco sets to work, and Just one more try. while he is bent down, Leonora uses the He’s awake! (to Leonora) (They let the stone roll away over the rubble, and You seem to very upset. opportunity to observe the prisoner.) Rocco draw breath.) Rocco (sotto voce, while he’s working) Did you manage to get some rest? Leonora Rocco (carrying on with the work) Who wouldn’t be? 5 Now bend your back, let’s see you working, Florestan it won’t be long before he’s here. Now bend your back, let’s see you working, Rocco it won’t be long before he’s due. How could I? Now bend your back, let’s see you working. Do you still refuse to hear my story? It’s true, there’s something about his voice. Leonora Leonora (likewise working) Leonora Just let me catch my breath a moment, Leonora (aside) I’ll never let you think I’m shirking, It pierces my heart. there is not so much more to do. God, it’s him! I’ll do my share, you need not fear. (carrying on with the work) Rocco No. 13 Trio Rocco (trying to lift a large stone at the (aside, trying to see the prisoner) My job is to follow orders. Florestan entrance) Though you may be a total stranger, 6 In a better world, they surely shall applaud you, Come here, this stone, let’s see if we can shift it. by God, you will come out alive. Florestan for God in His mercy has sent you to me. Take care, take care it’s quite a weight I swear I’ll save you from the danger, Surely you can tell me who is the Governor of My thanks at least are free, you shall be free, you shall survive. the prison. Leonora (helping to lift it) That is the only way I can repay you, I’ve got it now. Rocco (suddenly standing up) Rocco the only way I can ever reward you. Let me try, and I will see if I can shift it. Come on boy, duty must come first. It’s Don Pizarro. Rocco (lightly to Leonora, who he draws to his side) Rocco Leonora (getting back to work) Florestan The wine I very gladly give, Another push! I’m ready now, another burst. The one whose crimes I exposed. If you want to poor man, he has not long to live.

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Leonora (aside) Rocco The boy seems almost moved to tears Pizarro O heaven, still my beating heart, Don’t go too far. and in his look some hope appears, No! Hurry – time is pressing. with joy and pain it’s torn apart. that I may yet find liberty. Leonora (as before) My heartfelt gratitude is all I have to give. No. 14 Quartet Florestan (aside) Not even in his dying hour? Pizarro The boy seems almost moved to tears. Leonora Rocco 7 You perish! Leonora All right then, have your way! I know you will do all you can But, let us be certain O heaven, still my beating heart. I did not see it. to help this suff’ring man. you know who rips you with his knife: This is the hour of destiny (Florestan eats the bread.) revenge, tear down the secret curtain, Which must bring death of victory, Leonora (very moved, giving Florestan the bread ) reveal who comes to take his life. yes, death if not victory. Here, take and eat this bread, unhappy man. Dialogue (He throws open his cloak.) Rocco Florestan (grasping Leonora’s hand, and pressing it Rocco Pizarro, you’ll regret your error, I dare not bend the rules too far, to him) Everything’s ready. I’ll give the signal. Pizarro, when you scream in terror no matter what my feelings are. My heartfelt thanks, my thanks… for now my vengeance strikes. In a better world they shall applaud you. Florestan Florestan (calmly) Florestan Is that the signal for my death? And in his looks some hope appears Leonora A murderer! that I may yet find liberty, May heaven come to your defence, Leonora A murderer’s what you are! that somehow fate will rescue me. your freedom my reward: No. Keep calm. Never forget that there is such a Pizarro the answer to my prayer, thing as Providence. Rocco I’ll pay you blow for blow your freedom be the answer to my prayer. No matter what my feelings are. (Pizarro enters, wrapped in a cloak.) for ev’rything you’ve said. What they have done to him I cannot forgive. Speak up, in just a second you are dead… Leonora (softly to Rocco, as she gets a piece of Pizarro bread from her pocket) Rocco (He goes to stab Florestan.) To see such pain my heart relents, Is everything ready? This scrap of bread I had it hidden, Leonora (rushing in with a piercing scream, and but breaking the rules is more than I can dare. though I had quite forgotten where… Rocco shielding Florestan with her body) But still I’ll do the best I can, Yes. Go back… Rocco he’ll soon be gone, the wretched man. It would be kind, but I don’t dare: Poor man, he has not long to live. Pizarro Florestan you know how strictly that’s forbidden. Keep out of the way. Oh God! Florestan Leonora (ingratiatingly) For in his mercy God sent you here. Rocco Rocco But, I know how kind you really are. My grateful thanks at least are free. Shall I take off his chains? Oh no!

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Leonora Florestan Florestan The power of devotion …or kill me, for till my dying breath Leonora! Ah, I have been rescued, thanks to God. inspired us to be brave. I’ll stand here to defend him Leonora (to the others) Pizarro (stunned ) Pizzaro from your desire for death. I am his wife, Ha, that is the signal. I curse this hour of vengeance, Pizarro (hurling her aside) I’ve sworn I shall save his life All is lost. I am ruined. from which he has been saved. and cast you down. For now he’s free to mock me, What impudence! Rocco His overbearing will shall never win. not rotting in his grave. Rocco (to Leonora) What does that mean? Get back! Florestan (to Leonora) Give thanks to God! Rocco I dread this hour of vengeance, I’m overcome with joy, (The trumpet sounds again, louder.) Florestan and I feel my heart stand still. they’ll know how I behaved. O God! (Soldiers with torches appear at the grille at the top But if I can be clever, Rocco of the steps.) my skin may still be saved. Pizarro Such terror makes me ill! What impudence! Dialogue (Pizarro rushes out. As Rocco leaves, he gives I’ll see you hang for this, Pizarro (aside) Jaquino Leonora a reassuring sign. The soldiers with torches yes, you will die for this. Would you defy my will? Master Rocco! The Minister has arrived! follow.) Ha ha, should I be thwarted by a woman? Rocco (once again threatening Leonora and Florestan) Rocco Dialogue Get back! Are you mad? No, better to send the pair of them to hell. Thank God for that! Florestan We’re coming, we’re coming immediately… You incomparable woman. What have you Leonora (once more shielding her husband ) You swore to share your lives in sickness and in health, Send someone down to escort the Governor out endured for me? First kill his wife! of here. so now fulfil your oath and share his death as well. Leonora Pizarro Nothing, dearest Florestan. Leonora Quartet His wife? Leonora You shall not approach him, No. 15 Duet In this, the hour of vengeance, Rocco you’ll have to kill me first. 8 Oh joy beyond all understanding! at last you have been saved. His wife? (suddenly drawing a pistol) My husband in my arms! The power of devotion Stay where you are, I have a gun! How deeply we have suffered Florestan can make us cowards brave. for love’s ecstatic charms. My wife? (The trumpet sounds from the tower.) Florestan And now I wrap my arms around you. Leonora (to Florestan) Leonora (her arms around Florestan’s neck) In this, the hour of vengeance, Oh, thanks to God for such sweet grace, Yes, I am Leonora! Ah, you have been rescued, thanks to God. thank God, I have been saved. my dearest man, in my embrace.

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Florestan (The castle guards march in and parade in an Rocco Fernando (even more astonished ) Oh joy beyond all understanding! open square formulation. Then the Minister Then help these victims of oppression. Leonora? In Leonora’s arms! Don Fernando enters from one side, accompanied Pizarro (to Rocco) Rocco How deeply we have suffered by Pizarro and officers. The people hurry in. You traitor! Go! I too can scarcely believe my eyes. for love’s ecstatic charms. From the other side Jaquino and Marzellina She came to me... By God’s great/eternal mercy I have found you. lead in the prisoners, who kneel before Rocco (to Pizarro) Oh, thanks to God for such sweet grace Fernando.) That worries you? Pizarro my dearest wife in my embrace. A word in private… No. 16 Finale Pizarro (to Rocco) It’s you! Chorus of people Be quiet! Fernando Leonora 9 Hear! Hear! Hear how the world wildy rejoices Fernando (to Rocco) Not now. She came… It is! to greet a long awaited dream. We’ll hear you. Rocco Hear how the world wildly rejoices Florestan Yes, in disguise, and asked for work, to praise the theme, the people’s dream: Rocco Delirious excitement! and was so convincing I took her on, that truth and justice join their voices Have compassion, Leonora and even agreed that she could take my to brand these gates of death obscene. unite this couple once again. It’s you! ( presenting Florestan) daughter’s hand. Florestan Fernando Don Florestan… Marzellina 10 My noble sovereign’s will and order It is! Fernando (astonished ) God help me! bid me to help all those in need. We thought him dead! How shall I ever understand? Leonora I shall defeat the powr’s of darkness Noble soul who always fought for truth! Delirious excitement! which crush your lives with lust and greed. Rocco Florestan No, you need not kneel in subjugation, Rocco This monster’s plan was that before you arrived Leonora! (The prisoners stand up.) And what he suffered you must know. he’d kill him with his knife. I am a moderate, liberal man. Fernando Pizarro (enraged ) Leonora I count all people as my brothers, Florestan! My friend I thought was murdered? With his assistance! and seek to help them as I can. In fetters, pale, but still alive. Florestan Rocco (to Fernando) Chorus of people and prisoners My Leonora! Leonora Yes, I admit that! Hear how the world wildly rejoices! Yes, Florestan, he did survive. But your arrival saved his life. Hear! hear! Scene 2 Rocco Chorus The parade ground of the castle, with a statue of (Rocco pushes his way through the guards, with Yes, Florestan, he did survive. For crimes against humanity the King Leonora and Florestan behind him.) And Leonora. that man shall pay the price.

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Justice will draw her shining sword Chorus against all men of vice. 12 Let our voices tell the story (At a signal from Fernando, Pizarro is led away by of a noble, loving wife. the guards.) See her triumph, see her glory; Fernando (to Rocco) liberty and love of life! Clive Barda/ArenaPalClive You were prepared to dig his grave, Florestan now, unlock his chains and set him free. Through your faith I live in freedom, But wait! You, noble wife, were true: evil fears loves burning flame. surely that task belongs to you. Leonora (taking the key, and with the deepest Leonora emotion releasing Florestan from his chains: he It was love that gave me courage: sinks into her arms) love treats terror with disdain. Oh God, oh what ecstasy! Chorus Florestan Come, let our hearts and minds be fired Is this the first breath of the free? by the courage she inspired. Fernando Florestan (stepping forward, and indicating Thy judgement, God, is merciful and just. Leonora), then Chorus, Rocco, Marzellina, Marzellina and Rocco Jaquino and Fernando You test us, you reward our trust. May our voices tell the story of a noble loving wife. Chorus, Leonora, Marzellina, Florestan, See her triumph, see her glory: Fernando and Rocco liberty and love of life. 11 Oh God, oh God, what ecstasy! Is this the breath to make us free? Leonora (embracing Florestan) Thy judgement, God, is strong and just, Love, and love alone led me to glory, you test us, you reward our trust. to defy the murdered’s knife. All Only love redeems my fearful story, Love alone redeems my/our story, Florestan returns to life. to defy the murderer’s knife. Translation by David Pountney The Royal Opera’s production of Fidelio

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The Opera in English series: CHAN 3103(2) Mozart: Idomeneo CHAN 3011(2) Donizetti: Don Pasquale CHAN 3113(3) Mozart: The Marriage of Figaro CHAN 3027(2) Donizetti: The Elixir of Love CHAN 3121(2) Mozart: The Magic Flute CHAN 3083(2) Donizetti: Lucia of Lammermoor CHAN 3022 Strauss: Der Rosenkavalier (The Knight CHAN 3017(2) Donizetti: Mary Stuart of the Rose, highlights) CHAN 3073 Janet Baker sings scenes from Mary Stuart CHAN 3119(2) Wagner: The Flying Dutchman CHAN 3003 Leoncavallo: Pagliacci (The Touring CHAN 3054(3) Wagner: The Rhinegold Company) CHAN 3038(4) Wagner: The Valkyrie CHAN 3004 Mascagni: Cavalleria rusricana (Rustic CHAN 3045(4) Wagner: Siegfried Artistic consultant to the Peter Moores Foundation: Patric Schmid Chivalry) CHAN 3060(5) Wagner: Twilight of the Gods Vocal and language consultant: Ludmilla Andrew CHAN 3005(2) Pagliacci & Cavalleria rusticana CHAN 3065(16) Wagner: Complete Ring Cycle Staging director: Charles Kilpatrick CHAN 3008(2) Puccini: La bohème CHAN 3101(2) Janácˇek: The Cunning Little Vixen Translation research: Henrietta Bredin CHAN 3070(2) Puccini: Madam Butterfly CHAN 3029(2) Janácˇek: Osud (Fate) CHAN 3000(2) Puccini: Tosca CHAN 3106(2) Janácˇek: Jenu˚fa Dialogue director: Christopher Cowell CHAN 3066 Jane Eaglen sings Tosca CHAN 3007 Mussorgsky: Boris Godunov (highlights) Repetiteur: Gareth Hancock CHAN 3086(2) Puccini: Turandot CHAN 3042(2) Tchaikovsky: Eugene Onegin CHAN 3025(2) Rossini: The Barber of Seville Great Operatic Arias Session photographs by Bill Cooper CHAN 3097(2) Rossini: The Thieving Magpie CHAN 3096 Elizabeth Futral CHAN 3074(2) Verdi: Aida CHAN 3035 Yvonne Kenny CHAN 3052(2) Verdi: Ernani CHAN 3099 Yvonne Kenny 2 Recording producer Brian Couzens CHAN 3079(2) Verdi: Falstaff CHAN 3049 Della Jones Sound engineer Ralph Couzens CHAN 3116(2) Verdi: A Masked Ball CHAN 3010 Diana Montague Assistant engineers Michael Common and John Benton CHAN 3068(2) Verdi: CHAN 3093 Diana Montague 2 Editor Jonathan Cooper CHAN 3030(2) Verdi: Rigoletto CHAN 3112 Barry Banks CHAN 3023(2) Verdi: La traviata CHAN 3006 Bruce Ford Operas administrator Sue Shortridge CHAN 3036(2) Verdi: Il trovatore (The Troubadour) CHAN 3100 Bruce Ford 2 Recording venue Blackheath Halls, London; 21–25 August 2004 CHAN 3067 A Verdi Celebration CHAN 3088 Bruce Ford sings Viennese Operetta Back cover Photograph of David Parry CHAN 3091(2) Bizet: Carmen CHAN 3013 Dennis O’Neill Design Tim Feeley CHAN 3014(3) Gounod: Faust CHAN 3105 Dennis O’Neill 2 CHAN 3089(2) Gounod: Faust (abridged) CHAN 3085 Alan Opie Booklet typeset by Dave Partridge CHAN 3033(2) Massenet: Werther CHAN 3077 Andrew Shore Booklet editor Kara Reed CHAN 3094(2) Berg: Wozzeck CHAN 3032 Alastair Miles p 2005 Chandos Records Ltd CHAN 3019(2) Handel: Julius Caesar CHAN 3044 John Tomlinson c 2005 Chandos Records Ltd CHAN 3072 Janet Baker sings scenes from Julius Caesar CHAN 3076 John Tomlinson 2 CHAN 3081(2) Mozart: The Abduction from the Seraglio CHAN 3078 Baroque Celebration Chandos Records Ltd, Colchester, Essex CO2 8HQ, UK CHAN 3057(3) Mozart: Don Giovanni CHAN 3118 Sir Thomas Allen Printed in the EU

118 119 SOLOISTS/PHILHARMONIA ORCHESTRA/PARRY CHAN 3123(2) bass bass bass tenor tenor tenor soprano soprano England • bass-baritone Essex CHAN 3123(2) • Peter Wedd Peter Robert Lloyd Robert Printed in the EU Ashley Catling Rebecca Evans Rebecca Recorded in 24-bit/96kHz Recorded LC 7038 DDD TT 111:00 Richard Margison Richard Christopher Purves Christopher Christopher Purves Christopher Christine Brewer Christine Colchester Pavlo Hunka Pavlo • 2-disc set TT 67:40 TT 43:20 COMPACT DISC ONE COMPACT DISC TWO DIGITAL Léonore, ou L’amour conjugal ou L’amour Léonore, (1770–1827) 2005 Chandos Records Ltd Ltd Chandos Records c CHANDOS ...... , minister and Spanish nobleman, minister and Spanish ...... , prison governor ...... , his daughter ...... , a prisoner...... , his wife, and assistant to Rocco, under the name of Fidelio..... under the name , his wife, and assistant to Rocco, , Rocco’s assistant...... , Rocco’s 2005 Chandos Records Ltd , jailer ...... p Second prisoner Second Florestan Leonora prisoner First Don Fernando Don Don Pizarro Don Marzellina Jaquino Philharmonia Orchestra Philharmonia Choir Mitchell Geoffrey Parry David Fidelio in two acts Opera and Breuning von Stephan by with revisions Sonnleithner, von Joseph by Libretto Bouilly’s after Jean-Nicolas Treitschke, Georg Pountney David translation by English Rocco Ludwig van Beethoven Beethoven van Ludwig

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