DE 3365 Heroes and Villains — In memoriam, Delos Founder Great Baritone Arias from Russian, French, Italian, and German Operas Amelia S. Haygood (1919-2007)

1 Borodin: Prince Igor • Igor’s aria “Ni sna, ni otdikha” (7:17) 2 Mussorgsky: Boris Godunov • Boris’s aria “Dastik ya vyshei vlasti” (5:31) “I’ve known Amelia for the past seven years. They 3 Mussorgsky: Khovanschina • Shaklovity’s aria “Spit streletskoe gnezdo” (5:03) have been the most exciting and thrilling years of 4 Rubinstein: The Demon • Demon’s aria “Na Vozdushnom akiane” (5:00) my life. At what is probably the highest level of Florence Illi-Hvorostovsky, soprano my career, I’ve been taking steps forward as I dis-

5 Rubinstein: The Demon • Demon’s aria “Ne plach ditya” (2:52) covered where and how to go; taking risks, and 6 Rubinstein: Nero • Vindex’s aria “Epitalama” (3:30) challenging myself increasingly… The entire time, 7 Wagner: Tannhäuser • Wolfram’s aria “Oh du mein holder Abendstern” (4:46) I have cherished Amelia’s unwavering pride and 8 Giordano: Andrea Chenier • Gérard’s aria “Nemico della patria” (4:33) involvement in everything that I’ve been through, 9 Verdi: La Forza del Destino • Carlo’s aria “Urna Fatale” (7:53) every step of the way. Dmitry Kuznetsov, baritone 10 Leoncavallo: Pagliacci • Tonio’s aria Prologue “Si può?” (5:42) “I remember my first talks with Amelia, strolling in the little forest just outside of Moscow, where she 11 Puccini: Tosca • Scarpia’s aria “Te Deum” (3:54) listened to my life stories and talked and talked in return, with charm and wisdom… Ever since, 12 Gounod: Faust • Valentin’s aria “Avant de quitter ces lieux” (4:14) whenever we’ve been together, something important was happening in my life. Red Square, Los Ange- 13 Massenet: Hérodiade • Herod’s aria “Vision fugitive” (4:05) les, the Met, London, Paris, Milan… And through it all, Amelia’s wholehearted interest and enthusi- 14 Bizet: Carmen • Escamillo • Toreador Song “Votre toast” (5:00) asm, her great knowledge and experience, her ongoing advice, have protected me from many mistakes, Marnie Breckenridge, soprano • Viktoria Smirnova, soprano • and have encouraged me to be brave and honest with myself and with other people… Anastasia Chikaeva, mezzo-soprano Thomas: Hamlet • The Drinking Song “Ô vin, dissipe la tristesse” (3:39) 15 “I loved Amelia and love her still. I am sad that I won’t see her coming towards me with her Andrey Azovsky, tenor • Dmitry Kuznetsov, baritone outgoing, warmhearted smile, holding her usual glass of vodka in her hand… , Baritone Philharmonia of Russia, Constantine Orbelian, Conductor and Music Director “I am honored to dedicate this album to Amelia.” Spiritual Revival Choir of Russia, Lev Kontorovich, Music Director Dmitri Hvorostovsky TOTAL PLAYING TIME: 72:59 DE 3365 NOTES ON THE PROGRAM

mitri Hvorostovsky’s gorgeous baritone and his unremitting search for new ence for Massenet’s Hérodiade (Brussels, 1881, rev. Paris, 1884) is not an earlier play but a repertoire find exciting outlet in this program of opera arias, many of which come later opera. The vocal ranges for the principal male characters in Hérodiade are the reverse from roles in which he has yet to appear on stage. The characters include heroes of those in Strauss’s Salome — Herod is a baritone, John the Baptist a tenor — so that Dand villains but mixed among them are such lesser types as a clown and a minstrel. Nor Herod experiences unrequited love typical of the baritone’s lot. In the aria “Vision fugi- do heroes and villains necessarily behave as one might expect. Don Carlo’s quest for re- tive,” Herod anticipates seeing a vision of Salome, channeling his lust into lyrical reflec- venge makes him the villain of Verdi’s La Forza del Destino (St. Petersburg, 1862, rev., tion while smoky tones from the saxophone add to the mood of sexual languor. (track 13) Milan, 1869), but the cantabile of his aria “Urna fatale del mio destino” is nobility itself as The disc’s lone German aria comes from Wagner’s Tannhäuser (Dresden, 1845), the min- he stands by his oath not to examine the papers of the wounded Don Alvaro, even though strel Wolfram von Eschenbach’s supremely lyrical Hymn to the Evening Star (track 7) he suspects the latter of killing his father and seducing his sister. But upon discovering her portrait, he sings a joyous cabaletta of revenge, in which he envisions dispatching Mussorgsky revised Boris Godunov (St. Petersburg, 1874) primarily to meet official objec- both Alvaro and his sister to hell. (track 9) tions that it lacked a major female character. But he also toned down the starkness of the original (1869) by making other changes to enhance the opera’s melodic content, notably Tonio, a clown in an itinerant acting troupe, sings the Prologue to Leoncavallo’s Pagliacci (Milan, 1892), but he becomes uncommonly eloquent when with heartfelt lyricism he urges in the central monologue of the guilt-ridden tsar in his Kremlin apartments, where he is the audience to look beyond the characters’ meager costumes and into their souls. Tonio de- earlier portrayed as a loving father. Hvorostovsky sings the monologue in the original scribes the essence of the verismo movement of Italian opera, of which Pagliacci is a part, version. (track 2) Boris’s tragic fate engages the audience’s compassion, but it is hard to when he says that his troupe will present a slice of life (squarcio di vita). (track 10) Likewise, find any sympathetic character in Khovanshchina (St. Petersburg, 1886), a multi-layered Gérard’s monologue “Nemico della patria” from another verismo opera, Giordano’s Andrea tale of intrigue at the time of Peter the Great. The Boyar Shaklovity is one of the opera’s Chenier (Milan, 1896), blossoms at the end with a flowering melody. Here the servant-turned- murkiest figures, yet he rings true in his monologue when he laments the sorry state of revolutionary recalls the revolutionary ideal of love for mankind, which his own violent pas- Mother Russia — one of several such moments in Russian opera where the listener can- sions have caused him to betray by denouncing his rival in love, the poet Andrea Chénier, as not help but think of yet harder times to come. (track 3) an “enemy of the state.” (track 8) The remorse shown by Gérard is utterly foreign to Baron Scarpia, the corrupt Roman police chief in Puccini’s Tosca (Rome, 1900). At the close of Act 1, Anton Rubinstein is remembered today for his piano piece known as Melody in F, but he in what is perhaps Puccini’s most brilliant act finale, the music builds relentlessly over a re- was also a sensational pianist and prodigious opera composer. The Demon (St. Petersburg, peated figure, as bells, organ, cannon shots and a choral Te Deum contribute to the massed 1875), the best known of his nearly 20 operas, is based on Mikhail Lermontov’s poem The sonority, while Scarpia sings of his lust for the singer Tosca, declaring that she causes him to forget God before adding his voice to the others for a final verse of chant. (track 11) Demon about a fallen angel, a Byronic figure who also resembles those Wagnerian heroes in need of a woman’s redemptive love. Yet his satanic nature rules out redemption as he pur- Rare is the opera whose final form was not shaped by the capabilities and desires of its early sues the maiden Tamara for erotic purposes. In the first of two excerpts he urges her not to singers. For the baritone Charles Santley, Gounod added the aria “Even the bravest heart may weep over the body of her fiancé (whose death he had in fact caused), promising, in a sweep- swell” to Faust (Paris, 1859) when the opera was first performed in English (London, 1864); as ing seductive phrase, to lead her to distant galaxies where she will be mistress of the world. “Avant de quitter ces lieux,” the aria became an indispensable component of the opera. Its (track 4) Later he promises her a release from torment and the prospect of golden dreams in a principal tune was there from the beginning, however, as the central lyrical theme of the prel- state of celestial harmony. (track 5) If Rubinstein’s other operas have disappeared from the ude. (track 12) The theme of the Toreador Song is also heard in the prelude to Bizet’s Carmen stage, the aria “Poyu tebe, bog Gimeney” from Nerone (Hamburg, 1879) remains popular in (Paris, 1875), but when Escamillo sings it as his entrance aria, describing the thrill of the fight to Russia as a detached piece. Commissioned but rejected by the Paris Opéra, Nerone deals with an enraptured crowd, which joins in enthusiastically after each couplet, it makes for an embodi- a love fling of the Roman emperor Nero and boasts some spectacular scenes, including an ment of masculine bravado that neatly balances the sexuality of the opera’s heroine. (track 14) orgy during which this mock Epithalamian, or ode to a bride and groom, is sung. (track 6) Like the Goethe-based Faust, Ambroise Thomas’s Hamlet (Paris, 1868) takes many liberties The heroic campaign waged by the title character of Alexander Borodin’s Prince Igor (St. Pe- with its revered literary source: Shakespeare’s Hamlet has no drinking song. But the rous- tersburg, 1890) against the nomadic warriors known as the Polovsti goes badly, and the ing “Ô vin dissipe la tristesse,” with its stirring refrain, is hardly out of place dramatically, prince finds himself a prisoner. In a two-part aria, he sings first of his desire for freedom, for it creates a false atmosphere of conviviality as Hamlet schemes to reveal King then of his love for his wife, which sustains him in his ordeal. (track 1) Claudius as the murderer of his father. (track 15) For most operagoers, the point of refer- George Loomis VOCAL TEXTS

[1] Borodin: Prince Igor - Prince Igor’s aria Narod zavyl, v mucheniakh iznyvaya, the people moaned, perishing in torments. Ni sna, ni otdikha iznuchennoi dushe... My tortured soul can find no rest, sleep will not Ya velel otkryt im zhitnitsy, ya zlato I ordered granaries to open for them, I scattered Mne noch ne shl’ot otradi i zabvenya; Come….The night withholds from me the comfort Rassypal im, ia im syskal raboty – gold among them, I found labour for them. vsyo proshlaye ya vnov perezhivayu Of oblivion; alone, in the still hours of darkness, I Ani zh minya, besnuyas, praklinali! And they cursed me with fury! odin v tishi nachei: i Boshya znamenia ugrozu, Relive the events of the past; the ill omen sent by God, Pazharnyi ogn ikh domy istrebil, The fire destroyed their homes, i brannai slavi pir visoli, mayu pobedu nad vragom, The merry banquet for the glory of our army, my I vetr raznyos ikh zhaklie lachushki. the wind smashed their wretched huts. i brannai slavi goresni katets, pogrom, i ranu, i moi plen, Victory over the enemy, the pitiful end to the glorious Ya vystroil im novye zhilishcha, I built for them new dwellings, i gibel vsyekh maikh palkov, chesna za rodinu golavi slazhivshikh. Fight- the slaughter, the wounding, my captivity, Ya adezhdy rozdal im, I distributed clothes among them, Pogibla vsyo, i chest maya, i slava; And the loss of my whole host, the men nobly laying Ya prigrel, ya priyutil ikh. I gave them warmth, I sheltered them, pozoram stal ya zemli radnoi! Down their lives for their homeland. All is lost- my Ani zh minya pazharom uprekali! but they blamed me for the fire! Plen, postidnyi plen - vot udel otnine moi, Honour, and glory, I am a disgrace to my people! Vot cherni sut! Such is the mob’s judgment! da mysl’shto vse vinat menya. Captivity, shameful captivity, and the thought that I F simye svaei ya mnil naiti atradu, I hoped to find joy in my family. O, daitye, daitye mnye svobodu, ya moi pozor sumeyu iskupit, Am blamed by all- these are my destiny. Oh, please Gatovil docheri visyolyi brachnyi pir, I was preparing a merry wedding feast for my daughter, spasu ya chest svoyu i slavu, ya Rus ot nyedruga spasu! Hear me, give me my freedom, and I will atone for Maei tsarevne, galupke chistoi. for the Tsarevna, the chaste dove. Ti odna, galupbka lada, ti odna vinit ne stanesh, My disgrace, I will redeem my honour and my good No ne sudil Gaspot mne eto uteshenie - But Lord refused to give me this solace. sertsem chutkim vsyo paimosh ti, vsyo ti meye prastish. Name, I will save Russia from her foe! Kak buria, smert unosit zhenikha… Death, like a tempest, took off the bridegroom! V teremu tvayom vysokam vdal glaza ti pragladela, I tut lukavaya malva And at once the sly rumour druga zhdosh ti dni i nochi, gorka slozy lyosh. You alone, my darling beloved, you alone will not Vinovnikom docherneva vdafstva announced me guilty of my daughter’s widowhood Usheli denza dnom vlachit v plinu besplodna, Blame me, with your warm heart, will understand Shchitala – Bozhe pravednui! – Me, me – o just God! – i snat, shto vrak tirzayet Rus? Vrak, shto luti bars, And forgive me. There, in your lofty tower, you gaze Minya, minya, nishchasnova atsa! her ill-fated father. stonet Rus v kakdakh maguchih i v tom vinit ana mina. Into the distance, waiting, night and day, for your O daitye, daitye meye svobodu, ya svoi pazor sumeyu sikupit, Loved one, and shedding bitter tears. Kto ni umriot – ya vsekh ubiitsa tainyi: Whoever dies, I’m their secret murderer, ya Rus ot nedruga spasu! Ya atravil sestru svaju tsaritsu, I’ve poisoned my sister, the Tsarina, Am I to languish in prison, day after day, knowing Ya uskoril Feodora konchinu, I’ve hastened Feodor’s end. Nii sna, ni otdikha izmuchannoi dushe... That the foe tears Russia asunder? Panther-like, he Ya otroka nishchasnova, tsarevicha, malutku… And the poor youth, the Tsarevich, the little one… Mne noch ne shlot nadeshdi na spasenye, Holds Russia in his cruel grip; she groans and blames lish proshlaye ya vnov pperezhivayu, Me for her pain. Oh, please hear me, give me my odin v tishi nachei, i net iskhoda mne. Freedom, and I will atone for my disgrace, [3] Mussorgsky. Khovanshchina - Shaklovity’s aria Akh, tashka, tashka mne, tashka saznanye bessilya mayevo. I will save Russia from her foe! Spit streletskoe gnezdo. The Streltsy’s nest is asleep. Spi, russkii lud, varok ni dremlet. Sleep, o Russian folk, the enemy is watchful! My tortured soul can find no rest, sleep will not Akh ty, v sudbine zloschasnay, rodnaya Rus! Ah, my dear Russia, how dark is your fate! Come…the night brings me no hope of salvation; Kto sh, kto tibya, pichalnuyu, Who’ll save you, o doleful, Alone, in the still hours of darkness, all I can do is At bedy likhoi spasiot? from your hard misfortune? relive the past and there is no way out for me..oh, Al nedruk tvoi nalozhit ruku The evil enemy is ready I am in torment! The burden of my helplessness Na sudbu tvaju? to get hold of your destiny. Weighs heavy. Al Nemchin zlaradnyi The pernicious Germans expect At sudby tvaei pazhivy zhdiot? to make a profit on your fate. Stonala ty pad yeremom tatarskim, You suffered under the Tartar yoke, [2] Mussorgsky. Boris Godunov - Boris’s aria Shla, brela za umom bayarskim. you dragged yourself, led by the boyars. Dastik ya vyshei vlasti. I’ve attained the highest power. Propala dan tatarskaya Now you haven’t to pay tribute to the Tartars, Shestoi ush got ya tsarstvuyu spakoino. It’s the sixth year of my peaceful reign. Prestala vlast bayarskaya. there is no boyars’ power over you, No shchastia net maei izmuchennai dushe. But there’s no joy in my tormented soul. A ty, pechalnitsa, strazhdesh i zhdiosh… but you, o doleful one, are still suffering! Naprasno mne kudesniki suliat In vain the wizards promise Dni dolgie, dni vlasti bezmyatezhnoi. that the days of my placid power will last long. Gospodi! Ty, s vysot bespredelnykh O Lord! Embracing our sinful world from Thy infinite heights, Ni zhizn, ni vlast, ni slavy obolshchenie, Life and power, the glory’s seduction, Nash greshnyi mir objemlushchyi, and knowing the secrets of all the sick and exhausted hearts, Ni kriki talpy minya ne veselyat… The crowd’s calls — all this doesn’t make me glad… Ty, vedyi tainya fsia serdets boljashchikh, izmuchennykh, grant to Russia the blissful light of reason, Mne shshastia net… I feel no joy… Darui ei izbrannika, toi by spas, give her the chosen one, who’ll save Vaznyos zloschastnuyu Rus-stradalitsu. and exalt the ill-fated suffering Russia. Ya dumal svoi narot I thought to satisfy my people in contentment and glory, Ei, Gospodi, vzemlyai grekz mira, uslysh menya: O Lord, that takest away the sins of the world, heed me: V dovolstvii I slave uspokoit, Ne dai Rusi pagibnut Don’t allow evil mercenaries to gain their love by generous gifts. Shchedrotami liubov ivo sniskat. At likhikh nayomnikof! to destroy Russia! No atlazhil pustoe popechenie. But I have put away that empty hope. O, skol bezumny my, kogda narodnyi plesk, O, how foolish we are, when the people’s groans Il yaryi vopl tshcheslavnoe trevozhit sertse nashe! or passionate wailing makes our vain heart vibrate! Bokh nasylal na zemlu nashu glad, God sent a famine on our land, [4} A. Rubinstein: The Demon - Demon’s aria [6] A. Rubinstein: Nero - Vindex’s Epitalama DEMON DEMON Payu tibe, bokh Gimeneya! I sing to you, Hymen divine! Na vozdushnom akiane On the oceans of the air, Ty, kto saedinyaish nivestu s zhinikhom, You unite the bride and her husband, Bez rulia i bez vetril Without rudder, without sail, Ty ljubof blagoslovlyaesh, You give your blessing to love. Tikho plavaut f tumane The harmonious host of heavenly bodies Payu tibe, bokh novobrachnykh, I sing to you, god of all newly-weds, Khory stroinye svetil. Glides silently through the mist. Bokh Gimenya, bokh Gimeneya! Hymen divine! Hymen divine! Sred palei niabazrimykh Across the sky’s boundless meadows, Choir: Payom tibe, bokh Gimeneya! Choir: We sing to you, Hymen divine! V nebi khodiat bes slida Elusive flocks of wispy clouds move, Praslavlen Neron, Nero is glorified, Ablakof niulavimykh Leaving no trace. Nevesta neporochna, The bride is a virgin, Valaknistye stada. The moments of parting and reunion Kak nevynnye ochi I kak svetloe chelo! Like innocent eyes, like pure brow, Chas razluki, chas svidanyia – Bring to them neither joy nor sadness, Shchastie, shchastie, blazhenstvo novobrachnym. Happiness and bliss to the newly-weds, Im ne radost, They have no desires for the future, Im v gliadushchem net zhelanya, No regrets for the past. Shchastie, shchastie, blazhenstvo novobrachnym. Happiness and bliss to the newly-weds. Im prashetsheva ne zhal. When unbearable misfortune assails you, Payu tibe i prizyvayu, I sing to you and call on you, V den tamitelnyi neshchastia ty a nikh lish vspomyani – Think of them; be, as they are, Bokh Gimenya, bokh Gimeneya! Hymen divine! Hymen divine! But k zemnomu bez uchastia i bespechna, kak ani. Indifferent to this Earth and untroubled! Choir: Payom tibe, bokh Gimeneya! Choir: We sing to you, Hymen divine! Eros, bokh lubvi, ikh osvyashchaet, May Eros, the god of love, sanctify them, TAMARA TAMARA Venera predlagayet chertogi svai. May Venus open her palaces to them. Kto ty? Moi Li khranitel, Who are you? Are you my guardian? Slava i khvala Krize i Neronu, Glory and praise to Chrysa and to Nero. Posol li, angel — nebozhitel? An envoy, or angel from heaven? Slava i khvala Krize i Neronu, Glory and praise to Chrysa and to Nero. Kto? Kto? Skazhi… skazhi… kto? Who? Who? Tell me… tell me… Who? Payu tibe, bokh Gimenya, I sing to you, Hymen divine! Bokh Gimenya, bokh Gimenei! Hymen divine! Hymen divine! DEMON DEMON Choir: Payom tibe, bokh Gimenei! Choir: We sing to you, Hymen divine! Lish tolko noch svaim pakrovom As soon as the mantle of night Verkhi Kavkaza asenit, Enfolds the Caucasian summits, Lish tolko mir, valshebnym slovom As soon as the world falls silent [7] Wie Todesahnung… (Tannhäuser) Zavorozhonnyi, zamolchiy, Under the spell of the magic word, Wie Todesahnung Dämm’rung deckt die Lande, Like death’s dark shadow night her gloom extendeth, Lish tolko mesyats zolotoi As soon as the amber moon rises, slowly, Umhüllt das Thal mit schwärzlichem Gewande; Her sable wing o’er all the vale she bendeth; Iz-za gary tikhonka vstanet, Beyond the mountain, and steals a glance at you, Der Seele, die nach jenen Höhn verlangt, The soul that longs to tread yon path of light, I na tibya s ulypkoi vzglianet – I will fly to you and Vor ihrem Flug durch Nacht und Grausen bangt. Yet dreads to pass the gate of fear and night. K tibe ya stanu priletat. I will stay by your side until daybreak, Da scheinest du, o! Lieblichster der Sterne, I look on thee, oh star in heav’n the fairest, Gastit ya budu da Dennitsy, Casting golden dreams Dein saustes Licht entsendest du der Ferne, Thy gentle beam thro’ trackless space thou bearest, I na shelkovie resnitsy Onto your silken eyelashes. Die nächt’ge Dämm’rung theilt dein lieber Strahl, The hour of darkness is by thee made bright, Sny zalatye navivat. Yes, I will fly to you and Und freundlich zeigst duden Weg aus dem Thal. Thou lead’st us upward with pure, kindly light. Da, k tibe ya stanu priletat. I will stay by your side until daybreak, Gastit ya budu da Dennitsy, Casting golden dreams O du mein holder Abendstern, Oh, star of eve, thy tender beam I na shelkovie resnitsy Onto your silken eyelashes. Wohl grüsst’ ich immer dich so gern: Smiles on my spirit’s troubled dream; Sny zalatye navivat. Vom Herzen, das sie nie — verrieth, From heart that ne’er its trust betray’d, Grüsse sie wenn sie vorbei dir zieht, Greet, when she passes, the peerless maid, Wenn sie entschwebt dem Thal der Erden, Bear her beyond this vale of sorrow, [5] Rubinstein: The Demon - Demon’s aria Ein sel’ger Engel dort zu werden; To fields of light that know no morrow; Ne plach’, ditja, ne plach naprasno! Do not weep, child! You weep in vain. Wenn sie entschwebt dem Thal der Erden, Bear her beyond this vale of sorrow, Tvoja sliza na trup bezglasnyi Your tears do not fall as reviving Ein sel’ger Engel dort zu werden! To fields of light that know no morrow. Zhivoi rosoi ne upagjot. Dew on the sightless body. On daleko, on ne uznaet, He is far away, he knows nothing about it, Ne otsenit toski tvojei; Yours mean nothing to him. [8] Nemico della patria (Andrea Chenier) Nebesnyi svet teper laskaet The light of heaven caresses his eyes, GERARD GERARD Besplotnyi vzor jevo ochei, Which are now free of care. Nemico della patria?! Enemy of his country? On slyshit raiskije napevy, He hears the songs of paradise… E’ vecchia fiaba! … Ancient fable! … And the public Raiskije napevy… What are life’s brief dreams, che beatamente ancor la beve il popolo! still swallows it beautifully! Shto zhizni melochnye sny? What are the sighs and cries Nato a Costantinopoli? … Born at Constantinople? … Shto ston i sljozy junoi devy? Of a young maiden for a guest of Straniero! An alien! Dlja gostja raiskoi storony? Paradise? I, the free son of the ether, Studiò a Saint-Cyr? … Schooling at St. Cyr? … Tebja ja, volnyi syn efira, Will lead you to far-distant galaxies Soldato! … Soldier! … Vozmy v nadzvezdnye kraja: And there you shall be mistress of Traditore! Traitor! I budesh tam tsaritsei mira, The world, and shall be my friend for ever. di Dumouriez un complice! Accomplice of Dumouriez! Podruga vechnaja moja! E’ poeta? And poet? Sovveritor di cuori e di costumi! … Subversive, destroyer of hearts and traditions! Un dì m’era di gioia passar Once I enjoyed hatred, vengeance, Ciel! Leonora! Heavens! Leonora! fra gli odii e le vendette, puro, innocente e forte! in my alleged purity, innocence, strength! Don Alvaro è il ferito! The wounded man is Don Alvaro! Gigante mi credea! Sono sempre un servo! … A giant I thought me. I am a servant! … Ora egli viva, e di mia man poi muoia! Now let him live, and then die by my hand! Ho mutato padrone! I’ve only changed masters! Un servo obbediente di violenta passione! A servant obeying violent passion! SURGEON SURGEON Ah, peggio! Uccido e tremo! Ah, worse! I kill and tremble! Lieta novella, è salvo! Good news; he's saved. e mentre uccido, io piango! And as I kill, I weep! CARLO CARLOS Io della Redentrice figlio pel primo ho udito I was first to hear Revolution’s cry È salvo! È salvo! O gioia! He is saved! He is saved! Oh joy! il grido suo pel mondo ed ho al suo throughout the world, and united Ah! Egli è salvo! Oh gioia immensa Ah, he is saved! What immense joy il mio grido unito it to my own. che m’innodndi il cor, ti sento! I feel in my heart! Or smarrito ho la fede nel sognato destino? … And now my faith is lost, and dreams … Potrò alfine il tradimento At last I wreak my vengeance Com’era irradiato di gloria il mio cammino! … How glorious once was my path! sull’infame vendicar. on the villain for his betrayal. La coscienza nei cuori ridestar de le genti! … Restore conscience to the hearts of men! Leonora, ove t’ascondi? Leonora, where are you hidden? Raccogliere le lacrime dei vinti e sofferenti! … Consolation for the suffering, the beaten! Di’: seguisti tra le squandre Tell me — have you followed here Fare del mondo un Pantheon! Gli uomini in dei mutare Create a worldly Eden! Change men into gods, chi del sangue di tuo padre, chi del the man who reddened your face e in un sol bacio e abbraccio tutte le genti amare! and love all humankind in one embrace! sangue di tuo padre with the blood, ti fe’ il volto rosseggiar? with the blood of your father? Ah! felice appien sarei Ah, I should be wholly happy [9] Verdi: La Forza Del Destino “Urna Fatale” se potesse il brando mio if this sword of mine CARLO CARLOS amendue d’averno al Dio might dispatch both in a single blow Morir! Tremenda cosa! To die! A terrible thing — d’un sol colpo consacrar! down to the Lord of Hell! Sì intrepido, sì prode, so fearless, so valiant, Egli è salvo! O gioia immensa! ecc. He is saved! What great joy! etc. ei pur morrà! Uom singolar costui! yet he must die! A strange man, this! Tremò di Calatrava al nome. He shuddered at the name of Calatrava! [10] Si può… (Pagliacci) A lui palese n’ è forse il disonor? Has he perhaps heard of our dishonor? TONIO TONIO Cielo! Qual lampo! Heavens! A sudden thought! Si può?… Signore! Signori!… I may? So please you! My Ladies and Gentlemen! S’ei fosse il seduttore? What if he were the seducer? Scusatemi se da sol mi presento — And pardon me, if alone I present me: Desso in mia mano, e vive! And in my hands - alive! Io sono il Prologo: I am the Prologue! Se m’ingannassi? Questa chiave il dica. But if I am wrong? This key will tell me! Poichè in iscena ancor le antiche maschere Once again the author brings the classic mask Ecco i fogli! Here are the papers! mette l’autore; in parte ei vuol reprendere Before you; so partly to revive for you Che tento! about to open it le vecchie usanze, e a voi di nuovo inviami. The antique usage, he bids me once more E la fè`r che giurai? What am I doing? Ma non per dirvi come pria: Address you! But not to tell you, as of old, E questa vita And the oath I swore? And my life “Le lacrime che noi versiam son false! “The tears we shall shed for you here are false ones! che debbo al suo valor? Anch’io lo salvo! that I owe to his bravery? But I saved him, too! Degli spasimi e de’ nostri martir And the sighs we heave, and our martyrdom here, S’ei fosse quell’ Indo maledetto And what if he were the cursed Indian, non allarmatevi!” No. L’autore ha cercato invece pingervi Must not be ta’en to heart!” No! Your author intends che macchiò il sangue mio? who soiled my blood? uno squarcio di vita. Far rather to draw you a bit of life Il suggello sì franga. I will break the seal, Egli ha per massima sol che l’artista True to nature! ‘Tis his conviction, the artist Niun qui mi vede. no one can see me here. è un uom e che per gli uomini Is first a man, and that for men No? Ben mi vegg’io! No? But I can see myself. scrivere ei deve. — What he writes should be written. Ed al vero ispiravasi. And the truth he has given to you! Urna fatale del mio destino, Away with you, fatal urn of my destiny; Va, t’allontana, mi tenti in vano; you tempt me in vain. Un nido di memorie in fondo a l’anima A throng of recollections within his inmost soul L’onor a tergere qui venni, e insano I came here to redeem my honour, and in madness cantava un giorno, ed ei con vere lacrime One day was stirring, and these with sincerest tears D’un onta nuova nol macchierò, will not stain it with this new shame. scrisse, e i singhiozzi il tempo gli battevano! Has he written, while his sobbing and sighing Un giuro è sacro per l’uom d’onore; An oath is sacred to a man of honour; Dunque, vedrete amar sì come s’amano Beat the time for him. Que’ fogli serbino il lor mistero. these papers shall keep their secret. gli esseri umani; vedrete de l’odio So, then, you’ll see love shown Disperso vada il mal pensiero Perish the evil thought i tristi frutti. Del dolor gli spasimi, As human beings do love each other; you’ll see, too, Che all’atto indegno mi concitò. that spurred me to the unworthy deed. urli di rabbia udrete, e risa ciniche! Of hatred the direful ending, witness woe’s E voi, piuttosto che le nostre povere Sharp agony! Howlings of rage will reach you, E s’altra prova rinvenir potessi? But if I could find some other proof? gabbane d’istrioni, le nostr’amine And scornful laughter! And you must consider, Vediam. Let's see. considerate, poichè noi siam uomini Not so much our poor flimsy costumery of actors, Qui v’ha un ritratto … Here is a portrait. di carne e d’ossa, e che di quest’orfano Rather let our hearts speak to you for us. Suggel non v’è … nulla ei ne disse … It has no seal. He said nothing about this. mondo al pari di voi spiriamo l’aere ! Aya! for we’re men, as well, of flesh and of blood, too, Nulla promisi … s’apra dunque … I promised nothing. Let me open it then. Il concetto vi dissi… Or ascoltate And like you yourselves we are breathing the air of this world com’egli è svolto. Forlorn and lonely! Andiam. Incominciate! Now I’ve given you the notion! Watch you the plot Unfolding before you. Come on! Let us begin, then! [11] Puccini: Tosca “Scarpia’s Te Deum” Toujours la protéger, From every peril, SCARPIA SCARPIA Cette sœur si chérie. My beloved sister. Tre sbirri, una carrozza…Presto, seguila Three men and a carriage… Quick, follow Délivré d’une triste pensée, Freed from this harrowing thought, Dovunque vada, non visto. Provvedi! Wherever she goes! And take care! J’irai chercher la gloire au sein des ennemis, I shall seek glory in the enemy’s ranks, Le premier, le plus brave, au fort de la mêlée, The first, the bravest, in the thick of the fray, SPOLETTA SPOLETTA J’irai combattre pour mon pays. I shall go and fight for my country. Sta bene. Il convegno? Yes sir. And where do we meet? Et si vers lui Dieu me rappelle, And if God should call me to his side, Je veillerai sur toi, fidèle, I shall faithfully watch over you, SCARP IA SCARPIA O Marguerite. O Marguerite. Palazzo Farnese! Farnese Palace! Avant de quitter ces lieux, etc. Before I leave etc. O roi des cieux jette les yeux, O King of Heaven, I beg you to look down Va, Tosca! Go, Tosca! Protège Marguerite, ô roi des cieux. And defend Marguerite, o King of Heaven.

Nel tuo cuor s’annida Scarpia!… Now Scarpia digs a nest within your heart! [13] Ce breuvage pourrait… (Herodiade) Va, Tosca! È Scarpia che scioglie a volo Go, Tosca! Scarpia now sets loose Ce breuvage pourrait me donner un tel rêve! This potion might give me such dreams! Il falco dela tua gelosia. The roaring falcon of your jealousy! Je pourrais la revoir … contempler sa beauté! I might see her again … admire her beauty! Quanta promessa nel tuo pronto sospetto! How great a promise in your quick suspicions! Divine volupté à mes regards promise … Godlike pleasure promised to my eyes … Nel tuo cuors’annida Scarpia!… Now Scarpia digs a nest within your heart! Espérance trop brève Fleeting hope Va, Tosca! Go, Tosca! qui viens bercer mon coeur et troubler ma raison … that comes to touch my heart and disturb my reason … Ah! ne t’enfuis pas, douce illusion! Ah, do not vanish, gentle illusion! CORO CHORUS Adjutorum nostrum in nomine Domini Adjutorum nostrum in nomine Domini Vision fugitive et toujours poursuivie, Fleeting and long-sought vision, Qui fecit coelum et terram Qui fecit coelum et terram ange mystérieux qui prends toute ma vie … you mysterious angel who have seized my life … Sit nomen Domini benedictum Sit nomen Domini benedictum Ah! c’est toi que je veux voir, Ah, it is you I would see, Et hoc nunc et usquen in saeculum. Et hoc nunc et usquen in saeculum. ô mon amour! ô mon espoir! O my love, O my hope! Vision fugitive! c’est toi Fleeting vision, it is you SCARPIA SCARPIA qui prends toute ma vie! who have seized my life! A doppia mira tendo il voler, My will takes aim now at a double target, Te presser dans mes bras! To press you in my arms! Nè il capo del ribelle è la più preziosa… Nor is the rebel’s head the bigger prize… Sentir battre ton coeur To feel your heart beating Ah di quegli occhi Vittoriosi veder la fiamma illanguidir Ah, to see the flame of those imperious eyes d’une amoureuse ardeur! with a loving excitement! Con spasimo d’amor, fra le mie braccia illanguidir d’amor… Grow faint and languid with passion… Puis, mourir enlacés Then to die embracing L’uno al capestro, For him, the rope, dans une même ivresse … in the same drunkenness … L’altra fra le mie braccia… And for her, my arms… Pour ces transports, pour cette flamme, For such raptures, for such fire, ah! sans remords et sans plainte ah! without regret or complaint CORO CHORUS je donnerais mon âme, I would give my soul, Te Deum Laudamus: Te Deum laudamus; pour toi, mon amour! mon espoir! for you, my love, my hope! Te Deum confitemur! Te Deum confitemur! Vision fugitive! c’est toi Fleeting vision, it is you qui prends toute ma vie! who have seized my life! SCARPIA SCARPIA Oui, c’est toi, mon amour! Yes, it is you, my love! Tosca, mi fai dimenticare Iddio!… Tosca you make me forget God! Toi, mon seul amour, mon espoir! You, my only love, my hope!

CORO, SCARPIA CHORUS, SCARPIA [14] Votre Toast (Carmen) Te aeternum Te aeturnum ESCAMILLO ESCAMILLO Patrem omnis terra veneratur! Patrem omnis terra veneratur! Votre toast, je peux vous le rendre, For a toast, your own let me hand you, Señors, car avec les soldats, Señors, for though of different fame, [12] O sainte médaille … (Faust) Oui, les toréros peuvent s’entendre, Well we toreros can understand you: VALENTIN VALENTIN Pour plaisirs ils ont les combats! When we fight we both feel the same! O sainte médaille, O holy medal, Le cirque est plein du haut en bas. On holidays the ring is crowded, Qui me vient de ma sœur, Which my sister gave me, Les spectateurs perdant la tête, The ring is full from rim to floor; Au joir de la bataille On the day of battle Les spectateurs s’interpellent à grand fracas! Men call to others, wildly excited, Pour écarter la mort, Remain on my heart Apostrophes, cris et tapage And start to send up a roar! Reste là sur mon cœur! To ward off Death! Poussés jusques à la fureur! Shouts of greeting, and bets and wagers, … … … … Car c’est la fête des gens de coeur! Reach a frenzy, fade, and rise again! Avant de quitter ces lieux, Before I leave this town, C’est la fête des gens de coeur. They know the day is filled with dangers! Sol natal de mes aïeux, My forefathers’ native place, Allons! en garde! ah! It’s the day of courageous men! A toi, seigneur et roi des cieux, To you, Lord and King of Heaven, Toréador, en garde! Go on! get ready! ah! Ma sœur je confie. Do I entrust my sister. Et songe bien, oui, songe en combattant, Toreador, stand bravely! Daigne de tout danger I beg you to defend her Qu’un oeil noir te regarde And don’t forget that even as you fight, Dark eyes watch from afar; Et que l’amour t’attend! Love will be yours tonight! COMÉDIENS ACTORS O liqeur enchanteresse, O elixir of potent charm (Chorus: Toréador, en garde! etc. …) (Chorus: Toreador, stand bravely! etc. …) Verse l’livresse brings vinous balm Et l’oubli dams moncoeur! and oblivion to my heart. Tout d’un coup, on fait silence, Suddenly the crowd is silent; Verse nous l’ivresse! Brings us rapture! On fait silence, ah! que se passe-t-il? What is this dread they feel? Plus de cris, c’est l’instant! le taureau s’élance Tense is the moment, when the bull, with violent MARCELLUS et HORATIO MARCELLUS and HORATIO En bondissant hors du toril! Leaping, bounds from the toril! Il cherche l’oubli dans ivresse I search for obvlivion in my heart Ils’élance! Il entre, il frappe! On he comes! he turns, he charges! a horse is falling, Un cheval roule, entraînant un picador, Dragging down a picador; HAMLET HAMLET “Ah! bravo! Toro!” hurle la foule; “Ah! bravo! Toro!” the crowd is calling! La vie est sombre, Life is dark Le taureau va, il vient, et frappe encor! Now he goes on, he stops, he turns, charges once more! Les ans son courts’ The years are short; En secouant ses banderilles, He brandishes his banderillas, De nos beaux jours God knows the number Plein de fureur, il court! le cirque est plein de sant! And mad with pain he comes; his blood has stained the sand! Dieu sait le nombre of our good days. On se sauve, on franchit les grilles! All escape, run behind the barriers! Chaeun, hélas! Port ici-bas Each of us, alas, carries here below C’est ton tour maintenant! Only you stand your ground! Sa lourde chaine! his own heavy chain! Allons! engarde! ah! Go on! get ready! ah! Cruels devoirs, Cruel duties Toréador, en garde! etc. Toreador, stand bravely! etc. Longs désespoirs Endless despair De l’âme humaine! of the human spirit! [15] O vin, dissipe la tristesse (Hamlet) HAMLET HAMLET MARCELLUS et HORATIO MARCELLUS and HORATIO O vin, dissipe la tristesse O wine, dispel the sorrow Qu’a-t-il donc? What then? Qui pèse sur mon coeur! that weighs heavy on my heart! A moi les rêves de l’ivresse Give me the dreams of ecstacy COMÉDIENS ACTORS Et le rire moqueur! and the scoffing laugh! Qu’a-t-il donc? What then? O liqueur enchanteresse, O elixir of potent charm, Verse l’ivresse bring vinous balm HAMLET HAMLET Et l’oubli dans mon coeur! and oblivion to my heart! Loin de nous, Far from us, Douce liqueur! Sweet elixir! Noirs présages! etc. Black omens! O liqueur enchanteresse, etc. O elixir of potent charm, etc. Les plus sages The wisest Sont les fous!…Ah! Are the fools! — Ah! Le vin dissipe la trstesse Wine dispels the sorrow qui pèse sur mon coeur! that weighs heavy on my heart!

BIOS

The internationally acclaimed Russian baritone Dmitri Hvorostovsky was born in Kras- Symphony Orchestra, premiered in May 2002. The distinguished Russian composer noyarsk, Siberia, and studied in Krasnoyarsk. He made his western operatic debut at the Georgi Sviridov wrote a song cycle, St Petersburg, especially for Dmitri Hvorostovsky, Nice Opera in Tchaikovsky's Pique Dame, and his career rapidly expanded to include reg- who often includes this cycle and other music by Sviridov in his recitals. ular engagements at all major opera houses, including the Royal Opera House, Covent He retains strong musical and personal contacts with Russia. Dmitri became the first Garden, the Metropolitan Opera, New York, the Paris Opera Bastille and Chatelet, the Russian opera singer to give a solo concert with orchestra and chorus on Red Square in Bavarian State Opera, Munich, the Teatro alla Scala, Milan, the Vienna State Opera, and Moscow; this concert was televised in over 25 countries. In 2005 Dmitri Hvorostovsky gave the Chicago Lyric Opera in addition to appearances at the major international festivals. an historic tour throughout the cities of Russia at the invitation of President Putin, singing Dmitri Hvorostovsky is also a celebrated recitalist and has given concerts in the world's to crowds of hundreds of thousands of people to commemorate the soldiers of the Second major international recital venues, including the Wigmore Hall, London, Queen's Hall, Edin- World War. The tour stretched from Moscow and St Petersburg, to Krasnoyask, Samara, burgh, Carnegie Hall, New York, the Teatro alla Scala, Milan, the Tchaikovsky Conserva- Omsk, Kazan, Novosibirsk and Kemerovo. Dmitri now tours the cities of Russia on an an- toire, Moscow, the Liceu, Barcelona, the Suntory Hall Tokyo and the Musikverein, Vienna. He has also given recitals in Istanbul, Jerusalem and Australia, South America and across the nual basis. Far East. Dmitri Hvorostovsky's many recordings include recital and aria discs for Philips He appears regularly in concert with orchestras such as the New York Philharmonic, Classics and for Delos Records, as well as complete opera performances on CD and DVD. the Symphony Orchestra and the Rotterdam Philharmonic, and conductors He has also starred in Don Giovanni Unmasked, a film (by Rhombus Media) based on with whom he has worked include James Levine, Bernard Haitink, Claudio Abbado, Mozart's Don Giovanni. Lorin Maazel, Zubin Mehta, Yuri Termikanov and Valery Gergiev. Giya Kancheli wrote his symphonic work “Do not grieve” for Dmitri Hvorostovsky and the San Francisco “Constantine Orbelian stands astride two great societies, and finds and promotes synergis- In the Year 2000, Constantine Orbelian brought together Russia's finest musicians to form a tic harmony from the best of each.” (Fanfare) The brilliant American pianist /conductor is a “crème de la crème” symphony orchestra, the Philharmonia of Russia. The core of the central figure in Russia’s musical life. As Music Director of the celebrated Moscow Chamber group was none other than Orbelian's elite Moscow Chamber Orchestra, celebrating its 50th Orchestra and Permanent Guest Conductor of the Moscow Philharmonic Orchestra, Orbe- Anniversary in 2006. The MCO, known for playing “as a single, luminous, singing voice” lian has a unique leadership position with two of Russia’s most illustrious orchestras. His ap- (Sensible Sound) and channeling “all of their emotion into the music” (The Daily Telegraph, pointment in 1991 as Music Director of the Moscow Chamber Orchestra was a breakthrough London), gave the young Philharmonia its heart and soul. Outstanding colleagues of the event: he is the first American ever to become music director of an ensemble in Russia. This MCO musicians were handpicked to expand the Philharmonia; and from the outset both “American in Moscow” is also well known as a tireless champion of Russian-American cul- groups of musicians reported feeling inspired by the new experience. The result is an or- tural exchange and international ambassadorship through his worldwide tours with the chestra epitomizing Russian style on a grand scale, while retaining the subtlety and seam- Moscow Chamber Orchestra. In January, 2004, President Putin awarded Orbelian the cov- less ensemble of the group's MCO core. eted title “Honored Artist of Russia,” a title never before bestowed on a non-Russian citizen. Orbelian's first symphonic spectacular recording with the Philharmonia, “Vodka and “Orbelian has star quality, and his orchestra plays with passion and precision,” The Caviar, the ultimate Russian spectacular,” featuring music Audio Critic wrote of Maestro Orbelian’s acclaimed series of over 30 recordings on Delos, of Tchaikovsky, Borodin and Khachaturian (Delos DE which features both the Moscow Chamber Orchestra and the Philharmonia of Russia. Orbe- 3288), immediately established this splendid orchestra as lian’s recent worldwide tours with the MCO include concerts in New York, Washington, “world-class” (The Absolute Sound). “The Philharmonia of Miami, London, Paris, Munich, Frankfurt, Tokyo, Seoul, Prague, Istanbul, Moscow, and St. Russia plays with precision and verve,” reported Petersburg. Opera News calls Constantine Orbelian “the singer’s dream collaborator,” and Stereophile. “File this one under ‘Guilty Pleasures,’ if you commented that he conducts vocal repertoire “with the sensitivity of a lieder pianist.” like, but don’t miss it." Maestro Orbelian has subsequently Among his recent concert collaborators are Ewa Podles', Roberto Alagna, Renée Fleming, led the Philharmonia in another 13 albums for Delos, in- Galina Gorchakova, Sumi Jo and Dmitri Hvorostovsky. cluding “The Khachaturian Centennial Album,” Orbelian’s frequent collaborations with Hvorostovsky include the spectacular “Songs of Tchaikovsky's “Queen of Spades, great scenes,” Arensky's the War Years” program recorded on the Delos album “Where Are You, My Brothers?” and one-act opera “Raffaello,” and “Passione di Napoli” and featuring songs from the World War II era. In January 2006 the “War Years” program toured “Verdi Arias” with Dmitri Hvorostovsky. Ewa Podles', New York’s Lincoln Center, Washington’s Kennedy Center, San Francisco, Los Angeles, Galina Gorchakova, Marina Domashenko, Olga Toronto and London. The May 2005 “War Years” concert at Moscow’s Kremlin Palace was Guryakova and Daniil Shtoda are all featured on Philhar- attended by 80 Presidents and Heads of State from all over the world, commemorating the monia aria recordings. An album with Nina Kotova features Bloch's Shelomo. 60th Anniversary of the end of World War II. A “Hero Cities” tour of Russia followed, culmi- In 2006, the Philharmonia, Orbelian and Hvorostovsky toured the U.S., appearing in nating in St. Petersburg, where both Orbelian and Hvorostovsky were awarded the Presi- New York's Lincoln Center, Washington DC's Kennedy Center, San Francisco's Davies dent’s Konstantinov Medal. The “War Years” concert in Moscow’s Red Square was attended Hall, the Los Angeles Opera and Miami; and , appearing in London's Barbican by an audience of 10,000, including President Putin, and telecast live throughout Russia and Theatre, and in concerts in Moscow and St. Petersburg joined by Renée Fleming. The Phil- to 37 countries worldwide. harmonia's 2007 tours include performances with Hvorostovsky and Orbelian in London, Born in San Francisco to Russian and Armenian emigré parents, Constantine Orbelian Paris, Guadalajara, Monterrey, Los Angeles, Berkeley, Dallas, New York's Lincoln Center, made his debut as a pianist with the at the age of 11. After grad- Miami, Washington D.C., Boston, Chicago, Montreal, Quebec, and Toronto. uating from Juilliard in New York, he embarked on a career as a piano virtuoso that in- cluded appearances with major symphony orchestras throughout the U.S., U.K., Europe, and Russia. His recording of the Khachaturian piano concerto won “Best Concerto Recording of the Year” award in the . Orbelian is Founder and Music Director of the annual Palaces of St. Petersburg Interna- tional Music Festival, and of Moscow’s unique concert series, “Musical Treasures at the Mu- seums of the Kremlin.” In 2001 he was awarded the Ellis Island Medal of Honor, an award given to immigrants, or children of immigrants, who have made outstanding contributions to the . OTHER RELEASES • CREDITS

DMITRI HVOROSTOVSKY ON DELOS INTERNATIONAL

“Hvorostovsky continues to astonish, and his voice remains one of the most beautiful of the world.” — The Guardian

TCHAIKOVSKY ROMANCES • PUSHKIN ROMANCES • Ivari Where Are You, My Brothers? - I Met You, My Love – Old Russ- Verdi Arias • Mario Bernardi, Ivari Ilya, piano (DE 3392) Ilya, piano (DE 3392) Songs of the War Years Orbelian, ian Romances • Orbelian, MCO, Philharmonia of Russia (DE 3292) MCO, Style of Five, Spiritual Revival Style of Five (DE 3293) Choir of Russia (DE 3315)

MOSCOW NIGHTS • Constantine Tchaikovsky: Queen of Spades ~ Passione di Napoli ~ Neapolitan Sviridov: Petersburg: a vocal Orbelian, Moscow Chamber Or- great scenes • Orbelian, Philharmo- Songs • Orbelian, Philharmonia of poem; Six Pushkin Songs • chestra (DE 3339) nia of Russia, Spiritual Revival Choir Russia (DE 3290) with Mikhail Arkadiev (DE 3311) of Russia (DE 3289) TO RUSSIA WITH LOVE • The St. Petersburg Concert – Live DVD • Constantine Orbelian, Moscow Chamber Orchestra , Style of Five Recording Producer: Tatiana Vinnitskaya (for SVIP Produc- Engineers: Tatiana Vinnitskaya, Oleg Ivanov tions, Ltd) Assistant Engineer: Andrey Myagkov Folk Ensemble (DV 7005) Recorded by: Tatiana Vinnitskaya, Oleg Ivanov Mastering: Oleg Ivanov Assistant Engineers: Andrey Myagkov, Alexander Zaitsev, Photos: Pasha Antonov Evgeny Aleshin Creative Direction: Harry Pack, Tri Arts and Associates Recorded in the Svetlanov Hall of the Moscow International Graphics: Mark Evans Performing Arts Center in September 2005 Special Thanks: Vitaly Matrosov, Igor Kavalev, Michael Editing and Mixing: SVIP Studios, Moscow Godfrey and the personnel of the Moscow International Editing: Dmitri Misailov Performing Arts Center

7 W 2007 Delos Productions, Inc., P.O. Box 343, Sonoma, California 95476-9998 (707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 www.delosmusic.com Great Baritone Arias from Russian, French, Italian, and German Operas

1 Borodin: Prince Igor • Igor’s aria “Ni sna, ne otdikha” (7:17) 2 Mussorgsky: Boris Godunov • Boris’s aria “Dastig ya vyshei vlasti” (5:31) 3 Mussorgsky: Khovanschina • Shaklovity’s aria “Spit Streletskoe gnezdo” (5:03) 4 Rubinstein: The Demon • Demon’s aria “Na Vozdushnom akiane” (5:00) 5 Rubinstein: The Demon • Demon’s aria “Ne plach ditya” (2:52) 6 Rubinstein: Nero • Vindex’s aria “Epitalama” (3:30) 7 Wagner: Tannhäuser • Wolfram’s aria “Oh du mein holder Abendstern” (4:46) 8 Giordano: Andrea Chenier • Gérard’s aria “Nemico della Patria” (4:33) 9 Verdi: La Forza del Destino • Carlo’s aria “Urna Fatale” (7:53) 10 Leoncavallo: Pagliacci • Tonio’s aria Prologue “Si può?” (5:42) 11 Puccini: Tosca • Scarpia’s aria “Te Deum” (3:54) 12 Gounod: Faust • Valentin’s aria “Avant de quitter ces lieux” (4:14) 13 Massenet: Hérodiade • Herod’s aria “Vision fugitive” (4:05) 14 Bizet: Carmen • Escamillo • Toreador Song “Votre toast” (5:00) 15 Thomas: Hamlet • The Drinking Song “O vin, dissipe la tristesse” (3:39)

TOTAL PLAYING TIME: 72:59

#13491DDGFCh 7 W 2007 DELOS PRODUCTIONS, INC. DE 3365 P.O. Box 343, Sonoma, California 95476-9998 Disc Made in Canada. Assembled in the USA. • www.delosmusic.com