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Puccini PETE  M OO  SFOUNDATION ES CHANDOS ENGLISH O PERA IN CHAN 3000(2) BOOK.qxd 22/8/07 1:14 pm Page 2

Giacomo Puccini (1858–1924) Tosca

AKG An in three acts by and after the play by English version by Edmund Tracey

Floria Tosca, celebrated opera singer ...... Mario Cavaradossi, painter ...... Dennis O’Neill Baron Scarpia, Chief of Police...... Gregory Yurisich Cesare Angelotti, resistance fighter ...... Peter Rose Sacristan ...... baritone Spoletta, police agent ...... John Daszak tenor Sciarrone, Baron Scarpia’s orderly ...... Christopher Booth-Jones baritone Jailor ...... Ashley Holland baritone A Shepherd Boy ...... Charbel Michael alto

Geoffrey Mitchell Choir The Peter Kay Children’s Choir , c. 1900 Brad Cohen assistant conductor David Parry

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COMPACT DISC ONE Time Page COMPACT DISC ONE Time Page Act I 2 ‘Richer far is the flavour’ 2:25 084 1 Opening – ‘Ah! Here in safety!’ 2:08 068 Scarpia, Sciarrone, Spoletta Angelotti 3 ‘It seemed wise to arrest him…’ 4:22 085 2 ‘I don’t believe it…’ 3:31 068 Spoletta, Scarpia, Choir, Cavaradossi, Tosca Sacristan, Cavaradossi 4 ‘Now you and I can talk’ 5:15 088 3 ‘Give me my palette!’ 5:45 069 Scarpia, Tosca, Sciarrone, Cavaradossi Cavaradossi, Sacristan, Angelotti, Tosca 5 ‘Enough. Tosca, your answer’ 3:49 090 4 ‘Mario! Mario! Mario!’ 3:01 071 Scarpia, Tosca, Cavaradossi, Spoletta, Sciarrone Tosca, Cavaradossi 6 ‘Floria!’ 4:28 093 5 ‘Our little house in the country’ 4:27 072 Cavaradossi, Tosca, Scarpia, Sciarrone Tosca, Cavaradossi 7 ‘How much?’ 4:41 095 6 ‘What eyes in all the wide world’ 9:34 074 Tosca, Scarpia Cavaradossi, Tosca, Angelotti, Sacristan 8 ‘Life has taught me singing and loving’ 7:15 097 7 ‘All the choir in here at once!’ 1:16 077 Tosca, Scarpia, Spoletta Sacristan, Choir 9 ‘Which route have you chosen?’ 6:55 099 8 ‘You make the church a fairground!’ 1:28 078 Scarpia, Tosca Scarpia, Sacristan, Spoletta Act III 9 ‘Mario?! Mario?!’ 7:12 080 10 ‘No words can cheer me’ 10:12 101 Tosca, Sacristan, Scarpia A Shepherd Boy, Jailor, Cavaradossi 10 ‘Three agents, go in a carriage…’ 4:48 083 11 ‘All the stars shone in heaven’ 5:58 101 Scarpia, Spoletta, Choir Cavaradossi, Tosca TT 46:10 000 12 ‘Oh, hands of mercy’ 8:35 103

COMPACT DISC TWO Cavaradossi, Tosca, Jailor 13 ‘What a time they are taking!’ 4:04 105 Act II Tosca, Spoletta, Sciarrone, Soldiers 1 ‘Tosca, my falcon’ 3:27 084 TT 71:34 000 Scarpia, Sciarrone

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Puccini of this development. In the meantime, composers in the subject. It is only at this Giacomo Puccini: Tosca Puccini had composed Lescaut even point that (1860–1942) though Massenet’s popular setting of that enters the picture. It was in 1889 that the thirty-five-year-old fat profits for and generous subject was not a decade old. In his efforts to A number of writers who have participated Giacomo Puccini saw in royalties for the composer. Fired with the further Puccini’s career, even got in the once-popular game of Puccini-bashing Victorien Sardou’s vintage 1887 , conviction that Sardou’s La Tosca was most possession of the Italian rights to Massenet’s have maintained that Puccini’s interest in the La Tosca, twice, and recognised it as a subject promising material for an opera, in the autumn Manon with the intention of preventing its Tosca subject was aroused only when he heard he much wanted to convert into an opera. The of 1890 Puccini persuaded Ricordi to discover performance in until Puccini’s Manon Franchetti was working on it, and that Puccini play, designed as a vehicle for Bernhardt, from Sardou’s agent in on what terms Lescaut could establish itself in the repertoire. and Ricordi deceived Franchetti about its offered the actress ample opportunities for Sardou would sell the rights for adapting his Brought out at ’s in February suitability, thereby leaving the ground free for high-powered histrionics. With a pseudo- play as an opera. In January 1891, when an 1893, proved an inspiriting Puccini to use it. That this impression is false historical setting the plot allowed her to play agreement about the rights seemed secure, success. has been conclusively demonstrated by the part of an opera singer: temperamental, Ricordi, at Puccini’s suggestion, set the On 29 July 1893 Ricordi wrote to Sardou’s Deborah Burton, who has thoroughly jealous, amorous, imperilled, murderous, grief- librettist Luigi Illica the task of converting agent that Puccini, still in the dark about researched the Ricordi archives for materials stricken, and, in a final theatrical gesture, Sardou’s five-act melodrama into a three-act Sardou’s opinion, was offended by the long pertaining to the composition of Tosca. In July suicidal, as she leaps to her death from the opera text. On 13 December 1891 an silence and had completely withdrawn from 1894 Illica’s libretto was turned over to the ramparts of the Castel Sant’Angelo. announcement that Puccini would compose the project. But by October 1893, Sardou, who wealthy Franchetti, who purchased the rights Seeing the acted in French, a Tosca appeared in Ricordi’s house organ, the had obviously heard good reports about the from Sardou for 25,000 lire. language he scarcely knew, Puccini grasped La Gazzetta Musicale. launching of Manon Lescaut, informed Ricordi Franchetti had made something of a splash Tosca’s potential as a subject well adapted to the These prospects suddenly evaporated in that, after all, Puccini should be the man to in 1892, when on Verdi’s recommendation he lyric stage, as do not communicate by December 1892 when Sardou, who had a compose Tosca. Buoyed by the enthusiasm with had won a commission from Genoa’s Teatro words alone. At this point Puccini had thoroughly practical side to his nature, having which his Manon Lescaut had been received, Carlo Felice to write an opera about Columbus composed two operas, and , heard some of Puccini’s music, decided it was Puccini interpreted Sardou’s sudden shift of to celebrate the four-hundredth anniversary of neither of which had been unconditionally not as promising as Ricordi had tried to opinion as a crass gesture and a personal insult. that navigator’s sailing the ocean blue and successful. Yet both had shown sufficient persuade him it was; but most likely, the Puccini’s change of heart left Ricordi with discovering what proved to be the Western promise for the Milanese music publisher playwright, who had demanded a share in the Illica’s libretto of Tosca on his hands. (By the hemisphere. Giulio Ricordi to continue to pay Puccini a receipts of the operatic Tosca, was disappointed way, the opera’s title omits the play’s definite Franchetti’s success with his Cristoforo modest retainer in the hope that he would at the negligible earning power demonstrated article ‘La’.) And now the canny publisher set Colombo demonstrated that his talents were produce a genuine success, one that would earn by Le Villi and Edgar. Ricordi did not inform about trying to interest another of his stable of more advantageously displayed in a pageant-

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like spectacle than in the dramatic interaction and Ricordi were there, they paid a ceremonial none of them lasting more than about three They recur in altered form when Tosca’s lover, of characters. It was Franchetti himself who visit to the sixty-seven-year-old Sardou, and it minutes, as they are designed not to disrupt the painter Cavaradossi, tells the fugitive decided that Tosca was not a subject suited to was on this occasion that Puccini’s enthusiasm the momentum. Besides these solos, the Angelotti where to hide from Scarpia. And his particular abilities, and in March 1895 he for Tosca was definitely rekindled. Illica, in soprano and the tenor participate in two later in Act I, when Scarpia himself enters the was arguing with Illica about modifying the conjunction with Giacosa, reworked the libretto effective love duets: one in the first act and church having trailed Angelotti there, these libretto. Two months later he had definitely to suit the composer’s exigent sense of theatre. the other in the last, shortly before the ominous chords serve as his calling card. After relinquished the project because, as he later Puccini even contributed to the libretto himself, not-so-mock execution. he has exposed his hypocritical, lecherous explained it, ‘I did not feel the music in it’. supplying the words for one of the most The character of the sadistic Baron Scarpia nature during the , the act ends with Meanwhile, Puccini was composing La popular moments in the score, the tenor’s Act has his solo moments as well, but granting his the ‘Scarpia’ chords blaring menacingly. At the bohème (Turin, 1896) to a libretto by Illica and III , ‘All the stars shone in heaven’ (E evil nature the moments of this baritone’s end of Act II, when Tosca places the candles Giuseppe Giacosa, a work which would prove lucevan le stelle). prominence are rarely encountered outside the about Scarpia’s corpse, the chords are heard even more successful than Manon Lescaut. By At its premiere, which took place at the context of performance in the opera. The first again, now, however, reharmonised and played July 1895 Ricordi had set about persuading Teatro Costanzi in Rome on 14 , of these is the Te Deum at the conclusion to as ‘softly as possible’, according to the direction Puccini that Illica’s libretto for Tosca, back on Tosca proved a great success. Six months later it Act I, where, over a relentlessly repeated in the score. his hands now that Franchetti had definitely was introduced to London, and the following sequence in the bass, he describes his desire to Another theme that recurs with poignant decided against setting it, was an ideal prospect year to New York. Since then it has proved one possess Tosca, whilst the congregation assembles effect is first heard in the E major section of the for a successor to Bohème. Some time would of the hardiest of Puccini’s works, and every to participate in singing a victory hymn. In Act Act I love duet for Tosca and Mario pass before Puccini began to work on it. soprano with a flair for the dramatic is drawn II, before Mario is brought in for interrogation, Cavaradossi, beginning at the words ‘Why so One of Giulio Ricordi’s most useful, and to it like filings to a magnet. Scarpia tersely expounds his brutally hedonistic jealous?’ (Mia gelosa!). According to a note in incidentally profitable, ideas was to send a Three , two for the tenor, and the approach to life and its pleasures. And later on Tosca’s autograph, substantiated by the fact that composer to supervise the introduction of his soprano’s Act II ‘Life has taught me singing in the same act his reply to Tosca’s question it is written on a separate fascicle of music works on their first productions in important and loving’ (Vissi d’arte, vissi d’amore), are the how much it would take to save Mario’s life is a paper, this rapturous melody apparently is the theatres so that an authentic tradition might be most familiar parts of the score. They are brief outpouring of his predatory instinct, set to first music Puccini composed for the work. The established. And so during the next two years among the most frequently recorded pieces of a surging vocal line. melody returns, now imposingly developed, as much of Puccini’s time was spent supervising operatic music in the world, and they are often And speaking of Scarpia, the most an accompaniment to Tosca’s second exit in Act the launching of La bohème in various centres. encountered as popular encores on concert prominent recurring theme of the score is I – after her upsetting colloquy with Scarpia. A In June 1898 he was in Paris at the time when programmes. They share certain qualities: associated with his character. This theme is the hint of it is heard in the prelude to Act III, and La bohème, translated into French, received its Puccini’s lush lyricism and emotional first music one hears, a loud succession of a few minutes later, directly following ‘All the local premiere at the Opéra-Comique. While he expressiveness. Besides, they are relatively short, chords just before the curtain rises on Act I. stars shone in heaven’, this theme serves as the

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basis for the impetuous music accompanying In a plot so filled with intense and clearly Synopsis Angelotti plan the latter’s escape; when it Tosca’s entrance. motivated action, there is scant time for lyric becomes dark he must hurry to Cavaradossi’s Puccini also uses music for descriptive expansiveness. One of Puccini’s most Act I villa in disguise and hide in a well in the purposes. He does this most tellingly in the treasurable gifts as an opera composer is his Interior of the church of Sant’Andrea della Valle garden. A canon shot is heard from the castle prelude to Act III. Not only do we hear an keen sense of the so-called ‘theatrical clock’. He Angelotti hurries into the church and slips into signalling that Angelotti’s escape has been offstage shepherd boy singing a ditty in the understood the optimum duration for every the private Chapel of the Attavanti family. His discovered. At the same time the Sacristan local dialect, but we hear in various perspectives kind of episode. For instance, the suddenness sister, who is married to the Marchese enters with the (false) news of ’s the ringing of church bells from near and far as with which we are pitchforked into the action Attavanti, has hidden the Chapel key for him defeat at Marengo. The church fills with a the day dawns over the Castel Sant’Angelo. And at the beginning of Act I is in stark contrast to whilst visiting the church to pray. The joyous throng and Scarpia enters accompanied in Act II Puccini supplies music, not only as the the leisurely bell-filled prelude to Act III, where Sacristan enters and washes some paintbrushes by Spoletta, commanding the Sacristan to basis for operatic discourse and atmosphere, but this slowly-paced beginning creates suspense belonging to Cavaradossi who is finishing a prepare for a Te Deum in honour of the also as sounds that characters on stage hear as that will be resolved only by the sudden painting of the Magdalene. The painter has victory. He orders his men to look for clues as music from offstage, as in the case of the violence of the final few minutes. blended the charms of his beloved Tosca with to Angelotti’s whereabouts and these are duly shepherd’s song. Near the beginning of Act II, a Tosca is an opera that has had its share of the beauty of an unknown woman he has seen found: a key, a basket empty of provisions little orchestra in the wings is heard playing a detractors, people who are turned off by the at prayer in the church. When the Sacristan which Cavaradossi had left and a fan belonging gavotte. And not long thereafter, apparently melodrama of the plot. It is a mistake, leaves, Angelotti emerges and is recognised by to Angelotti’s sister, the Marchesa Attavanti. from the Queen’s apartments in the Palazzo however, to confuse the opera with its story. All Cavaradossi who locks the church door. When Tosca returns Scarpia uses the fan to Farnese, Tosca and a chorus are heard singing a operas are amalgams in which music and plot Angelotti explains that he has just escaped arouse her jealousy and she hurries to the villa cantata to celebrate a victory which, ironically have become inseparably fused. Puccini’s finely from the Castel Sant’Angelo, where he had hoping to surprise the guilty pair. Scarpia gives enough, later turns out to have been a defeat of paced score converts Sardou’s shoddy characters been imprisoned on the orders of Scarpia. orders for her to be followed and he looks the royalist forces. into memorably expressive ones, fully human They are interrupted by the sound of Tosca’s forward to catching the fugitive and enjoying Other examples of atmospheric music occur in their strengths and weaknesses. One might voice outside the church and Angelotti returns Tosca’s favours. in Act I, set in the Roman church of not expect nowadays ever to encounter to the Chapel. Cavaradossi lets Tosca in and Sant’Andrea della Valle. Just before Mario’s Sardou’s La Tosca on the spoken stage, but she is disturbed by the fact that the painting of Act II arrival, the Sacristan kneels and recites the Puccini’s opera is a fixture in the active the Magdalene resembles the Marchesa Scarpia’s apartment in the Angelus, in a tempo marked Andante religioso. repertory and shows every sign of remaining Attavanti. Cavaradossi explains that he has seen Scarpia is dining alone whilst Queen Caroline At the end of that act, as the church fills with one for a good while to come. her in the Chapel praying, but that he did not entertains below. Spoletta enters with news that worshippers, a Te Deum is sung, as bells are know who she was, and he and Tosca sing a the search of Cavaradossi’s villa proved fruitless, rung and a cannon booms in celebration. © 1996 William Ashbrook love duet. When she has left, Cavaradossi and but that they have arrested him and brought

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him to the palace. During Tosca’s singing of a flock. Cavaradossi asks for a pen and paper so America, including The , bohème, , and cantata in the Queen’s honour, Scarpia that he can write a letter of farewell to Tosca. New York, , Teatro Colon, Pagliacci, the last two, unusually, performed in interrogates Cavaradossi in the presence of the Spoletta appears with Tosca and then leaves. Buenos Aires, and the same evening), , executioner and a judge. Cavaradossi denies all Tosca shows Cavaradossi of safe- opera houses in , Bologna and Madrid, , San Diego Opera, knowledge of Angelotti, and Scarpia gives conduct and he is delighted and relieved. Tosca have won her great acclaim. Her activities on Vancouver Opera and concerts with the orders for him to be tortured in an adjoining is anxious that her lover should play his part concert stages throughout the world have Philadelphia, Cleveland, Montreal and Ottawa room. When questioned, Tosca also refuses to well when it comes to the execution. Indeed he involved appearances with Sir Simon Rattle, Symphony Orchestras and at the Cincinnati reveal Angelotti’s whereabouts until, hearing does, for the rifles are loaded and he is killed. Klaus Tennstedt, Bernard Haitink, Claudio Festival. He is a frequent guest at the Bavarian her lover’s groans, she mentions the well in the News of Scarpia’s murder has broken and the Abbado, , Daniel Barenboim and State Opera, Munich where his performances garden. The torture stops and Sciarrone enters agents are after Tosca. She climbs to the James Conlon among many other have included , Der Rosenkavalier, with news that Napoleon has won the battle of battlements and leaps to her death. distinguished musicians. She is an active Tosca and Simon Boccanegra. Elsewhere in Marengo. recording artist whose performances include Europe he has visited the opera houses of Cavaradossi breaks out in a paean to liberty, A Peter Moores scholar at the Royal Northern the title roles in Mayr’s in Corinto for Vienna, Berlin, Bonn, Cologne, Hamburg, for which Scarpia puts him under arrest again, College of Music, Jane Eaglen has one of the and, for Chandos/Peter Moores Nice, Zurich, Paris, Oslo, Brussels, Verona, and he is taken away to be shot at dawn. most formidable reputations in the opera world Foundation, this Tosca which won a Music Turin and Barcelona. Scarpia then promises to have the painter set today. Enjoying unique success in the Industries Association Award. His many recordings include solo albums, free on condition that Tosca gives in to his contrasting roles of Norma (notably at Scottish Verdi’s Requiem with Sir Colin Davis, La advances. Spoletta returns with news that Opera, Seattle Opera, Los Angeles Opera, Born in Wales of Irish and Welsh parents, fanciulla del West with Leonard Slatkin, videos Angelotti killed himself when they discovered Opéra national de Paris-Bastille and the Dennis O’Neill is one of the world’s leading of Der Rosenkavalier with Sir George Solti, Die him, and Tosca agrees to give herself to Scarpia. Ravenna Festival) and Brünnhilde (Scottish and a specialist in the works of Verdi. Fledermaus with conducted by He tells Spoletta to set up a mock-execution ‘as Opera, Lyric Opera of Chicago, Opera Pacific, He has enjoyed a long association with The Placido Domingo, Macbeth with Giuseppe in the case of Palermi’. Tosca insists that he Teatro alla Scala, and in San Francisco Royal Opera, Covent Garden, where his recent Sinopoli and Mefistofele with San Francisco write a note guaranteeing a safe conduct for and Vienna), hers is a dramatic soprano of roles have included Rodolfo (La bohème), the Opera. For Chandos/Peter Moores Foundation herself and Cavaradossi. While he is doing this outstanding achievement earning spectacular Duke (Rigoletto), Pinkerton (Madama he has recorded La bohème, Cavalleria rusticana, she sees a knife and stabs him. reviews world-wide. Other major roles Butterfly), Edgardo (), Pagliacci and a solo disc of operatic arias. performed are Isolde, La Gioconda, Donna Gustavo (Un ballo in maschera), , Don Act III Anna, , Amelia, Tosca and Ariadne, Carlos and Radames (Aida). Gregory Yurisich is one of the world’s leading A platform in the Castel Sant’Angelo and her appearances at opera houses North American engagements have included whose repertoire includes the title A shepherd boy is heard singing as he drives his throughout Europe and North and South The Metropolitan Opera (La traviata, Aida, La roles in Nabucco, Rigoletto, Simon Boccanegra,

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Falstaff and Guillaume Tell as well as Giorgio Born in Canterbury, Peter Rose read music at Foundation, this award-winning Tosca and The comprise The Elixir of Love, , Germont, Iago, Stankar (Stiffelio), Amonasro, the University of East Anglia and studied with Barber of Seville. La bohème and highlights from Der Barak (Die Frau ohne Schatten), Escamillo, Ellis Keeler at the Guildhall School of Music Rosenkavalier in addition to The Barber of Telramund (Lohengrin), Balstrode (Peter and Drama. He made his operatic debut as the Andrew Shore is acknowledged as Britain’s Seville and this award-winning Tosca. Grimes), Sharpless, the four villains in Les Commendatore with Glyndebourne Festival premier buffo baritone and an outstanding Contes d’Hoffmann, Alfio (Cavalleria rusticana) Opera in Hong Kong in 1986 and was singer/actor. He has worked for all the major The tenor John Daszak studied at the and Tonio (Pagliacci). His career has taken him principal bass with until British companies, including English National Guildhall School of Music and Drama, the to opera houses and festivals the world over, 1989. He has performed under the world’s Opera, , Covent Garden, Royal Northern College of Music under including The Royal Opera, Covent Garden, foremost conductors and appeared with all the , Glyndbourne Festival Opera, Robert Alderson, where he was a Peter Moores English National Opera, San Francisco Opera, major British opera companies, including The Scottish Opera and Welsh National Opera, as scholar, and at the Accademia d’Arte Lirica, , Los Angeles Opera, Victoria Royal Opera, Covent Garden, English National well as having appeared abroad with San Diego Italy. He is currently studying with David State Opera, Opéra de Lyon, Châtelet théâtre Opera and Scottish Opera. Abroad he has sung Opera, New Israeli Opera, Opéra national de Pollard. Operatic roles have included Don José musical, Paris, Opéra national de Paris-Bastille, at The Metropolitan Opera, New York, the Paris-Bastille, Opéra-Comique, Gran teatre del (Carmen), Steva (Jenu˚fa) and the title role in Théâtre royal de la Monnaie, Brussels, Opéra-Comique, Paris, German State Opera, in Barcelona, as well as in Lyon, Nantes, Peter Stein’s production of at Washington Opera and State Opera Unter den Berlin, Hamburg State Opera, Vienna State Montpellier, Copenhagen, Amsterdam, Welsh National Opera, and Steva, Linden, Berlin, the Bregenz Festival, Opera, Lyric Opera of Chicago and New Israeli Vancouver and Ottawa. His many engagements (), Dimitri (Francesca Zambello’s Melbourne International Festival, Edinburgh Opera, Tel Aviv, as well as in San Francisco, have included the title roles of , production of Boris Godunov), Skuratov (From International Festival and Hong Kong Arts Amsterdam, Cologne, Rome and Seattle. He , King Priam, and Don the House of the Dead), Jack (Mahagonny), Pang Festival, as well as to concert and opera stages has also appeared at major festivals throughout Pasquale, as well as Dulcamara (The Elixir of (Turandot) and Max (David Pountney’s in Belfast, Geneva, Munich, , Tel Aviv the world, such as those in Orange, Aix-en- Love), Don Alfonso (Così fan tutte), Figaro production of Der Freischütz) at English and Brisbane. He has worked with such artists Provence, Istanbul, Bregenz and the Maggio (Le nozze di Figaro), Papageno, King Dodon National Opera. Abroad he has appeared at as Dame Joan Sutherland, Dame Kiri Te musicale in Florence. Among his many roles (Le Coq d’or), Leandro (The Love for Three The Netherlands Opera and L’Opéra de Nice Kanawa, Placido Domingo, José Carreras, are Ramfis, Fasolt, Hunding, Pimen, Osmin, Oranges), Dikoy (Kát’a Kabanová), Dr Kolenaty (The Big Convict in From the House of the Dennis O’Neill, Zubin Mehta, Sir Charles King Marke, Baron Ochs, Rocco, Bottom (The Makropulos Affair), Shishkov (From the Dead), Opera Zuid (Michel in Martinu˚’s Mackerras and Sir Roger Norrington and has (A Midsummer Night’s Dream), Banquo House of the Dead), Frank (Die Fledermaus), Julietta), in Lausanne (Jack) and at the Bregenz made several video and sound recordings, (Macbeth), Cadmus/Somnus (Semele), Gessler Baron (La Vie parisienne), Baron Trombonok Festival (Yannakos in Martinu˚’s The Greek including this Music Industries Association (Guillaume Tell), Mustafa (L’italiana in Algeri) (Il viaggio a Reims), Varlaam (Boris Godunov) Passion). As part of an active concert schedule Award-winning Tosca for Chandos/Peter and Walter (). His many recordings and Faninal (Der Rosenkavalier). His recordings he has participated in concert performances of Moores Foundation. include, for Chandos/Peter Moores for Chandos/Peter Moores Foundation Verdi’s (Royal , Covent

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Garden), Oberon (under Richard Hickox), Chandos/Peter Moores Foundation, Julius Geoffrey Mitchell’s singing career has Children’s Adviser, the Finchley Children’s Stravinsky’s Renard ( Royal Ballet), Caesar. encompassed a remarkably wide repertoire Music Group, New London Children’s Choir, Otello (under Sir Colin Davis) and Candide from early to contemporary music and has the Centre for Young Musicians, The Jennifer (under Kent Nagano). Recordings include this Ashley Holland studied at Warwick University taken him to Scandinavia, Germany, the Lilleystone Singers, schools and other choirs all award-winning Tosca for Chandos/Peter and the Royal Northern College of Music, former Czechoslovakia, Canada and over London and the south of England. For Moores Foundation. where he won the Webster Booth/Esso Australasia. Early conducting experience with the Millennium Concert at The Dome the Competition and the Curtis Gold Medal and the BBC led to a wider involvement with his Choir provided soloists for A New Beginning by Christopher Booth-Jones, baritone, started his was a Peter Moores scholar. Recently he also own singers and in turn to the establishment of John Tavener. In 2000 plans include singing operatic career touring with Welsh National won the prestigious RANIERI I cestelli opera the Geoffrey Mitchell Choir. Early recordings many roles for English and Welsh National Opera for All and went on to perform with competition at the Hamburg State Opera. He resulted in the Choir’s long-term involvement Operas. Welsh National Opera, Glyndebourne Festival is currently a principal baritone at English with Opera Rara for which it has made over and Touring Operas, and the National Opera where his roles have included thirty recordings. The Choir is enjoying a From auspicious beginnings in 1945, when it English Music Theatre. Roles at English Belcore (The Elixir of Love), Lescaut (Manon), growing reputation with further work from the was established by primarily as a National Opera have included Papageno, Zurga (The Pearl Fishers), Sharpless (Madam BBC and international recording companies. recording orchestra, the Philharmonia Guglielmo (Così fan tutte), Dr Falke, Butterfly), Guglielmo (Così fan tutte) and Cecil For Chandos the Geoffrey Mitchell Choir has Orchestra went on to attract some of the Schaunard, Denisov (War and Peace), Silvio, (Mary Stuart). Other appearances include Don participated in numerous recordings in the twentieth century’s greatest conductors. Pantaloon (The Love for Three Oranges), Elviro Giovanni for Calgary Opera, Bosun (Billy acclaimed Opera in English series sponsored by Associated most closely with the Orchestra (Xerxes), Count Almaviva (The Marriage of Budd) for Opéra national de Paris-Bastille and the Peter Moores Foundation. have been Otto Klemperer (first Principal Figaro), Music Master (Ariadne auf Naxos), roles in concert performances of Linda di Conductor), , , Faninal (Der Rosenkavalier), and Giorgio Chamounix and Candide. Most recent and The Peter Kay Children’s Choir provides , Carlo Maria Giulini, Sir Germont. He has also appeared with The future appearances include Ford (Falstaff) at young singers with opportunities in opera, Andrew Davis, Vladimir Ashkenazy and Esa- Royal Opera, Covent Garden, and with the Semper Opera, Dresden, Masetto at The concerts, commercials (TV and Radio), charity Pekka Salonen. Under current Principal Opera North where roles have included Royal Opera, Covent Garden, Enrico (Lucia di events, Glyndebourne Festival Opera and Conductor Christoph von Dohnanyi and with Count Danilo (The Merry Widow), Ottokar Lammermoor) at Lyric Opera of Chicago and theatre productions in the UK, France, Leonard Slatkin as Principal Guest Conductor (Der Freischütz), Father (Hansel and Gretel), Ottokar (Der Freischütz) and Marcello (La Belgium, Holland, Germany, Italy, Spain and the Orchestra has consolidated its central Demetrius (A Midsummer Night’s Dream) bohème) at English National Opera. For the USA. Its membership is by invitation and position in British musical life, not only in and Claudio (Béatrice and Bénédict). Chandos/Peter Moores Foundation he has audition, drawing participants from those London where it is Resident Orchestra at the Recordings include Carmen, , Xerxes, recorded The Elixir of Love in addition to this already experienced in singing performance at Royal Festival Hall, but also in the wider Sondheim’s Pacific Overtures and, for award-winning Tosca. English National Opera where Peter Kay is community through regional residencies.

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The Orchestra has received several major David Parry studied with Sergiu Celibidache Theater Basel and Lucia di Lammermoor at d’Inghilterra. For Chandos he has conducted six awards and won critical acclaim for its vitality and began his career as Sir John Pritchard’s New Israeli Opera. recordings of operatic arias (with Bruce Ford, and unique warmth of sound. It has been assistant. He made his debut with English His work in the recording studio includes Diana Montague, Dennis O’Neill, Alastair praised as well for its innovative programming, Music Theatre, then became a staff conductor the BBC Television production of Marschner’s Miles, Yvonne Kenny and John Tomlinson, the at the heart of which is a commitment to at Städtische Bühnen Dortmund and at Opera Der Vampyr and twenty-one complete opera last three to be issued during 2000), as well as performing and commissioning new music by North. He was Music Director of Opera 80 recordings under the sponsorship of the Peter Faust, Don Pasquale, The Elixir of Love, La the world’s leading living composers, among from 1983 to 1987 and since 1992 has been Moores Foundation. Among these are bohème, Cavalleria rusticana, Pagliacci and them its current Visiting Composer James the founding Music Director of Almeida numerous discs for the Opera Rara label which highlights from Der Rosenkavalier in addition MacMillan. Opera. have won several awards, including the Belgian to this award-winning recording of Tosca, all in The Orchestra tours frequently abroad and is He works extensively in both opera and Prix Cecilia for Donizetti’s Rosmonda association with the Peter Moores Foundation. the world’s most recorded symphony orchestra concert, nationally and internationally. He has with well over 1000 releases to its credit. Among conducted several productions at English these are, for Opera Rara, several discs of National Opera and appears regularly with the

operatic arias as well as eleven complete operas Philharmonia Orchestra. In 1996 he made his Barda Clive (Donizetti’s Ugo, conte di Parigi, Ne m’oubliez debut at the Glyndebourne Festival with Così pas, Emilia di Liverpool, L’assedio di Calais, fan tutte, where last year he conducted the Rosmonda d’Inghilterra and , world premiere of Jonathan Dove’s Flight. Meyerbeer’s Dinorah, Mayr’s Medea in Corinto, He is a frequent visitor to Spain where he Mercadante’s Orazi e Curiazi, Pacini’s Maria, has given concerts with most of the major regina d’Inghilterra and Rossini’s Otello). The Spanish orchestras. He conducted the Spanish Orchestra has recorded numerous discs for premiere of Peter Grimes in Madrid and in Chandos including, in the Opera in English 1996 the first Spanish production of The Rake’s series sponsored by the Peter Moores Progress. He has appeared in Germany, Sweden, Foundation, The Elixir of Love, Faust, La The Netherlands, at the Pesaro Festival in Italy, bohème, this award-winning Tosca and six solo the Hong Kong International Festival, in Japan recital albums of operatic arias (with Bruce Ford, with a tour of Carmen and in Mexico with the Diana Montague, Dennis O’Neill, Alastair UNAM Symphony Orchestra. Recent new Miles, Yvonne Kenny and John Tomlinson, the productions he has conducted include Fidelio Jane Dennis last three to be released during 2000). at the New Zealand Festival, Maria Stuarda at Eaglen O’Neill

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Whilst still in his early twenties, Peter Moores had started giving financial support to various PETER MOORES, CBE, DL young artists, several of whom – Joan Sutherland, Colin Davis and the late Peter Moores was born in , the son of Sir John Moores, founder of the giant amongst them – were to become world-famous. In 1964 he set aside a substantial part of his Littlewoods mail order, chain store and football pools group. He was educated at Eton and inheritance to establish the Peter Moores Foundation, a charity designed to support those Christ Church, Oxford, where he read modern languages – he was already fluent in German causes dear to his heart: to make music and the arts more accessible to more people; to give and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne encouragement to the young and to improve race relations. Festival Opera before going up to university, and after Oxford he became a production student at the Vienna State Opera, combining this with a three-year course at the Vienna PETER MOORES FOUNDATION Academy of Music and Dramatic Art. In the field of music, the main areas supported by the Peter Moores Foundation are: By the end of his third year at the Academy Moores had produced the Vienna premiere of the recording of operas from the core repertory sung in English translation; the recording Britten’s The Rape of Lucretia, had worked as Assistant Producer at the San Carlo Opera or staging of rare from the bel canto era of the early nineteenth century House, , the Geneva Festival and Rome Opera, and seemed set for a successful operatic (repertoire which would otherwise only be accessible to scholars); the nurturing of career. At this point he received a letter from his father asking him to come home as he was promising young opera singers; new operatic work. needed in the firm. Family loyalty being paramount, he returned to Liverpool. The Foundation awards scholarships annually to students and post-graduates for furthering By 1977, he was Chairman of Littlewoods. Three years later their vocal studies at the Royal Northern College of Music. In addition, project awards may be he stepped down from the post, although still remaining on given to facilitate language tuition in the appropriate country, attendance at masterclasses or the Board. He was a director of a merchant bank from 1978 summer courses, specialised repertoire study with an acknowledged expert in the field, or to 1992. From 1981 to 1983 he was a Governor of the BBC, post-graduate performance training. and a Trustee of the Tate Gallery from 1978 until 1985; from The Foundation encourages new operatic work by contributing to recordings, the 1988 to 1992 he was a director of Scottish Opera. He received Christina Burton/PMF publication of scores and stage productions. the Gold Medal of the Italian Republic in 1974, an Honorary Since 1964 the Foundation has supported the recording of more than forty operas, many of MA from Christ Church, Oxford, in 1975, and was made an these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy opera Honorary Member of the Royal Northern College of Music in to the full, there must be no language barrier, particularly for newcomers and particularly in the 1985. In May 1992 he became Deputy Lieutenant of popular repertoire – hence the Opera in English series launched with Chandos in 1995. This Lancashire, and in the New Year’s Honours List for 1991, he includes many of the English language recordings funded by the Foundation in the 1970s and was made a CBE for his charitable services to the Arts. Peter Moores, CBE, DL 1980s and is now the largest recorded collection of operas sung in English.

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entschieden, daß sie so vielversprechend nicht Puccini nun doch den Mann sehe, der Tosca Giacomo Puccini: Tosca war, wie Ricordi ihm weiszumachen versucht komponieren solle. Ermutigt durch die hatte. Tatsächlich war der Dramatiker, der eine Begeisterung, mit der seine Manon Lescaut Man schrieb das Jahr 1889, als der weiterhin eine bescheidene regelmäßige Beteiligung an den Einnahmen aus der aufgenommen worden war, deutete Puccini fünfunddreißigjährige Giacomo Puccini sich Zuwendung zahlte; er hoffte, daß Puccini Opernfassung von Tosca verlangt hatte, wohl Sardous jähen Meinungsumschwung als Sarah Bernhardts wegen zweimal das 1887 von einen echten Erfolg verbuchen würde, der dem enttäuscht über die geringe finanzielle Grobheit und persönliche Beleidigung. Er Victorien Sardou verfaßte köstliche Melodram Hause Ricordi dicke Gewinne und dem Ausbeute von Le Villi und Edgar. Ricordi setzte sich nun tatsächlich von dem Projekt ab, La Tosca ansah und es als Stoff erkannte, den er Komponisten großzügige Tantiemen informierte Puccini nicht über diese und Ricordi blieb auf Illicas Tosca-Libretto gern zur Oper verarbeiten wollte. Das ganz auf einbringen würde. Von der Überzeugung Entwicklung. Inzwischen hatte Puccini Manon sitzen. (Nebenbei sei erwähnt, daß der Titel Sarah Bernhardt abgestimmte Stück bot der getrieben, daß Sardous La Tosca Lescaut komponiert, obwohl Massenets der Oper auf den bestimmten Artikel “La” des Schauspielerin reichlich Gelegenheit für hohe aussichtsreiches Material für eine Oper bot, populäre Vertonung derselben Vorlage nicht Schauspiels verzichtet.) Der schlaue Verleger Dramatik. Die pseudohistorische Handlung überredete Puccini Ricordi im Herbst 1890, einmal zehn Jahre alt war. In seinem unternahm daraufhin den Versuch, einen ermöglichte es ihr, eine Opernsängerin zu bei Sardous Agentur in Paris nach den Bemühen, Puccinis Karriere zu fördern, ging anderen Komponisten aus seinem Stall für den spielen: launisch, eifersüchtig, liebebedürftig, Bedingungen zu fragen, unter denen Sardou Giulio Ricordi soweit, sich die italienischen Stoff zu interessieren. Erst in dieser Phase gefährdet, mordlustig, tief betrübt und als die Rechte auf eine Opernbearbeitung seines Rechte an Massenets Manon zu sichern, so daß erschien Alberto Franchetti (1860–1942) auf abschließende theatralische Geste Stücks abgeben würde. Im Januar 1891, als er deren Aufführung in Italien verhindern der Bildfläche. selbstmörderisch – da springt sie nämlich von eine Vereinbarung bezüglich der Rechte konnte, bis sich Puccinis Manon Lescaut im Eine Anzahl Autoren, die an dem früher so der Brustwehr der Engelsburg in den Tod. gesichert erschien, stellte Ricordi auf Puccinis Repertoire etabliert hatte. Manon Lescaut, beliebten Spiel der Herabwürdigung Puccinis Puccini hatte das Schauspiel auf Französisch Anregung dem Librettisten Luigi Illica die uraufgeführt im Februar 1893 im Teatro Regio beteiligt waren, haben behauptet, daß Puccinis gesehen, also in einer Sprache, die er kaum Aufgabe, Sardous fünfaktiges Melodrama in in Turin, erwies sich als ermutigender Erfolg. Interesse am Thema Tosca überhaupt erst kannte; er hatte das Potential von La Tosca als einen drei Akte langen Operntext Am 29. Juli 1893 schrieb Ricordi an geweckt worden sei, als er hörte, daß für die Opernbühne geeignetes Thema erfaßt, umzuwandeln. Am 13. Dezember 1891 Sardous Agenten, daß Puccini, der über Franchetti daran arbeite. Puccini und Ricordi da sich Opern nicht allein über das verkündete Ricordis Hauszeitung, die Gazzetta Sardous Ansichten immer noch nicht Bescheid hätten Franchetti bezüglich der Eignung des gesprochene Wort vermitteln. Bis dahin hatte Musicale, daß Puccini Tosca komponieren wußte, über das lange Schweigen empört sei Stoffs getäuscht, so daß Puccini freie Bahn Puccini zwei Opern komponiert, Le Villi und werde. und sich völlig aus dem Projekt zurückgezogen bekommen habe, ihn selbst zu bearbeiten. Edgar, von denen keine uneingeschränkt Die günstigen Aussichten zerschlugen sich habe. Dessen ungeachtet teilte Sardou, der Daß diese Auffassung falsch ist, wurde erfolgreich gewesen war. Immerhin aber waren im Dezember 1892; Sardou, der äußerst offensichtlich Gutes über die ersten schlüssig bewiesen von Deborah Burton, die beide so vielversprechend, daß der Mailänder praktisch dachte, hatte eine Kostprobe von Aufführungen von Manon Lescaut gehört die Ricordi-Archive gründlich nach Material Musikverleger Giulio Ricordi Puccini Puccinis Musik gehört und urplötzlich hatte, Ricordi im Oktober 1893 mit, daß er in abgesucht hat, das sich auf die Komposition

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von Tosca bezieht. Tatsächlich wurde Illicas Franchetti endgültig dagegen entschieden Glanzpunkte des Werks lieferte, die Tenorarie abgesehen sind Sopran und Tenor an zwei Libretto im Juli 1894 an den wohlhabenden hatte, es zu vertonen, und war im Juli 1895 “Und es blitzten die Sterne” (E lucevan le wirkungsvollen Liebesduetten beteiligt: eines Franchetti übergeben, der für 25 000 Lire bei schon eifrig dabei, Puccini zu überreden, daß stelle/All the stars shone in heaven) aus dem im ersten Akt, das andere im letzten, kurz vor Sardou die Rechte erworben hatte. es ideale Bedingungen für ein Nachfolgestück III. Akt. der alles andere als vorgetäuschten Franchetti hatte 1892 für Aufsehen gesorgt, zu Bohème biete. Doch es sollte noch einige Gleich bei der Uraufführung, die am Hinrichtung. als er auf Verdis Empfehlung vom Teatro Zeit vergehen, bis Puccini anfing, daran zu 14. Januar 1900 am Teatro Costanzi in Rom Die Figur des sadistischen Baron Scarpia hat Carlo Felice in Genua beauftragt wurde, eine arbeiten. stattfand, war Tosca ein großer Erfolg; sechs ebenfalls ihre solistischen Momente, doch sind Oper über Columbus zu schreiben, die zur Eine der nützlichsten und übrigens auch Monate später kam die Oper in London wegen seines bösen Charakters die Vierhundertjahrfeier von dessen Seefahrt und profitabelsten Ideen Giulio Ricordis bestand heraus und im folgenden Jahr in New York. Augenblicke, in denen sein Bariton in den der Entdeckung der Neuen Welt aufgeführt darin, daß er Komponisten aussandte, um Seither hat sie sich als eines der robustesten Vordergrund tritt, selten vom Kontext der werden sollte. aufzupassen, daß ihre Werke schon bei der Werke Puccinis bewährt, und jede Sopranistin Opernhandlung abgehoben. Der erste ist das Franchettis Erfolg mit Cristoforo Colombo ersten Inszenierung an bedeutenden Bühnen mit einem Hang zur Dramatik fühlt sich Te Deum am Schluß des I. Akts; begleitet von zeigte, daß seine Talente in einem historischen richtig eingeführt wurden und eine Tradition davon angezogen wie Eisenspäne von einem einer unablässig wiederholten Tonfolge im Schauspiel mit Gepränge besser zur Geltung der Authentizität geschaffen wurde. Darum Magneten. Baß, beschreibt Scarpia dort sein Verlangen, kamen als bei der dramatischen Interaktion verwandte Puccini in den nächsten zwei Jahren Drei Arien, zwei für den Tenor und die Tosca zu besitzen, während sich zugleich das mehrerer Figuren. Es war Franchetti selbst, der viel Zeit darauf, den Start von La bohème in Sopranarie “Nur der Schönheit weiht’ ich Volk versammelt, um gemeinsam eine entschied, daß Tosca kein Stoff war, der seinen verschiedenen Städten zu beaufsichtigen. Im mein Leben” (Vissi d’arte, vissi d’amore/Life Siegeshymne zu singen. Im II. Akt, ehe Mario besonderen Fähigkeiten entsprach. Im März Juni 1898 hielt er sich in Paris auf, als La has taught me singing and loving) aus dem Cavaradossi zum Verhör vorgeführt wird, 1895 stritt er sich zunächst mit Illica über bohème, ins Französische übersetzt, dort an der zweiten Akt, sind die bekanntesten Teile des erläutert Scarpia seine brutal hedonistische Änderungen am Libretto. Zwei Monate später Opéra-Comique Premiere hatte. Während er Werks. Sie zählen zu den am häufigsten Einstellung zum Leben und dessen Freuden. hatte er das Projekt endgültig aufgegeben, da und Ricordi dort waren, machten sie dem aufgezeichneten Opernarien der Welt, und Und später im II. Akt verrät sich auf Toscas er, wie er später erklärte, “die Musik darin siebenundsechzigjährigen Sardou ihre man begegnet ihnen häufig als beliebte Frage, was nötig sei, um Marios Leben zu nicht spürte”. Aufwartung, und bei dieser Gelegenheit wurde Zugabe in Konzertprogrammen. Allen dreien retten, in seiner aufbrausend vertonten Mittlerweile komponierte Puccini La Puccinis Begeisterung für Tosca eindeutig neu gemein sind bestimmte Vorzüge: Puccinis Antwort kurz sein Raubtierinstinkt. bohème (Turin, 1896) nach einem Libretto von entfacht. Illica überarbeitete zusammen mit üppig lyrischer Stil und emotionale Da gerade von Scarpia die Rede ist: Das Illica und Giuseppe Giacosa, ein Werk, das Giacosa das Libretto, um dem ausgeprägten Ausdruckskraft. Darüber hinaus sind sie relativ auffälligste der in der Partitur immer sich als noch erfolgreicher erweisen sollte als dramatischen Gespür des Komponisten zu kurz; keine dauert länger als rund drei wiederkehrenden Motive ist mit seiner Figur Manon Lescaut. Ricordi hatte Illicas Libretto genügen. Puccini trug sogar selbst zum Minuten, da sie so gestaltet sind, daß sie den verbunden. Dieses Motiv ist das erste, was für Tosca wieder in Händen, nachdem sich Libretto bei, indem er den Text für einen der Erzählfluß nicht stören. Von diesen Soli man zu hören bekommt – eine laute

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Akkordfolge, kurz bevor der Vorhang zum taucht, nun eindrucksvoll durchgeführt, als eine Niederlage der königstreuen Kräfte war. durch die Melodramatik der Handlung ersten Akt aufgeht. Sie erklingt erneut, wenn Begleitung von Toscas zweitem Abgang im I. Andere Beispiele für Stimmungsmusik abgestoßen fühlten. Es ist jedoch ein Fehler, Toscas Geliebter, der Maler Cavaradossi, dem Akt wieder auf – im Anschluß an ihre kommen im I. Akt vor, der in der römischen die Oper insgesamt mit ihrer Fabel zu flüchtigen Angelotti sagt, wo er sich vor bestürzende Unterredung mit Scarpia. Kirche Sant’Andrea della Valle spielt. Kurz vor verwechseln. Alle Opern sind ein Gemisch, in Scarpia verbergen soll. Und später im I. Akt, Anklänge daran sind im Vorspiel zum III. Akt Marios Ankunft kniet der Mesner nieder und dem sich Musik und Handlung untrennbar wo Scarpia auf Angelottis Spur selbst die zu hören, und einige Minuten später, direkt rezitiert in Andante religioso bezeichnetem verbunden haben. Puccinis wunderbar Kirche betritt, fungieren die unheilvollen nach “Und es blitzten die Sterne”, dient das Tempo das Angelusgebet. Am Ende des Akts ausgeklügelte Partitur verwandelt Sardous Akkorde als seine Visitenkarte. Nachdem er Thema als Grundlage für die ungestüme wird, während sich die Kirche mit Gläubigen schäbige Figuren in einprägsam expressive, die während des Te Deums seine Lüsternheit Musik, die Toscas Auftritt begleitet. füllt, ein Te Deum gesungen, werden Glocken in ihren Stärken und Schwächen echte offenbart hat, klingt der Akt mit den Puccini setzt Musik auch für deskriptive geläutet, erklingt festlicher Kanonendonner. Menschen sind. Man kann heutzutage nicht bedrohlich plärrenden “Scarpia-Akkorden” Zwecke ein. Er tut dies am wirkungsvollsten In einem Text, der so erfüllt ist von damit rechnen, Sardous La Tosca je im aus. Am Ende des II. Akts dagegen sind die im Vorspiel zum III. Akt. Nicht nur hören wir eindrucksvollem, klar motiviertem Handeln, Sprechtheater zu begegnen; dagegen ist Akkorde, an der Stelle wo Tosca um Scarpias hinter der Bühne einen Hirtenjungen im bleibt kaum Platz für lyrische Puccinis Oper ein fester Bestandteil des Leichnam herum die Kerzen aufstellt, noch örtlichen Dialekt ein Liedchen singen, sondern Weitschweifigkeit. Eine von Puccinis gängigen Repertoires und wird es allen einmal zu hören, nun jedoch anders auch aus verschiedener Perspektive das Läuten schätzenswertesten Eigenschaften als Anzeichen nach noch eine ganze Weile bleiben. harmonisiert und laut Partituranweisung “so naher und ferner Kirchenglocken, während Opernkomponist ist sein feines Gespür für leise wie möglich” gespielt. über der Engelsburg der Tag hereinbricht. Im Zeiteinteilung auf der Bühne. Er erkannte die © 1996 William Ashbrook Ein weiteres Thema, das mit ergreifender II. Akt liefert Puccini nicht nur die optimale Dauer für jede nur mögliche Wirkung immer wiederkehrt, ist zum ersten musikalische Grundlage für Text und Episode. So steht beispielsweise die Inhaltsangabe Mal im E-Dur-Teil des Liebesduetts von Tosca Stimmung der Oper, sondern auch wie im Fall Plötzlichkeit, mit der wir im I. Akt in das und Mario Cavaradossi im I. Akt zu hören, des Hirtenjungen Musik, die die Figuren auf Geschehen hineinversetzt werden, in krassem I. Akt angefangen mit den Worten “Warum so der Bühne als Musik von hinter der Bühne Gegensatz zum bedächtigen, von Im Innern der Kirche Sant’Andrea della Valle eifersüchtig?” (Mia gelosa!/Why so jealous?). wahrnehmen. Gegen Anfang des II. Akts hört Glockengeläut erfüllten Vorspiel zum III. Akt; Angelotti kommt in die Kirche geeilt und Aus einer Anmerkung in der Urschrift von man ein kleines Orchester in den Kulissen eine dort erzeugt der langsam voranschreitende schlüpft in die private Kapelle der Familie Tosca geht hervor, daß diese entzückende Gavotte spielen. Und nicht lange danach sind Anfang Spannung, die erst durch die Attavanti. Seine Schwester, die mit dem Melodie offenbar das erste ist, was Puccini für Tosca und der Chor zu hören, offenbar aus unvermittelte Gewalttätigkeit der letzten paar Marchese Attavanti verheiratet ist, hat den das Werk komponierte; dies wird erhärtet den Gemächern der Königin im Palazzo Minuten aufgelöst wird. Schlüssel zur Kapelle für ihn hinterlegt, als sie durch die Tatsache, daß sie auf einem eigenen Farnese; sie singen eine Kantate, um einen Tosca ist eine Oper, die von vielen zum Beten in der Kirche war. Der Mesner Faszikel niedergeschrieben ist. Die Melodie Sieg zu feiern, der, wie sich später herausstellt, verunglimpft wurde, von Leuten, die sich erscheint und reinigt einige Pinsel aus dem

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Besitz Cavaradossis, der dabei ist, ein (unwahre) Nachricht von Königin eine Kantate singt, verhört Scarpia III. Akt Gemälde der Maria Magdalena zu vollenden. Niederlage bei Marengo. Die Kirche füllt sich Cavaradossi in Gegenwart des Henkers und Eine Plattform auf der Engelsburg Der Maler hat die Reize seiner geliebten mit einer jubelnden Menge, und Scarpia eines Richters. Cavaradossi leugnet, Angelotti Man hört einen Hirtenjungen, der singend Tosca mit der Schönheit einer unbekannten erscheint in Begleitung Spolettas, um dem zu kennen, und Scarpia befiehlt, ihn in einer seine Herde zusammentreibt. Cavaradossi bittet Frau verbunden, die er beim Gebet in der Mesner zu befehlen, er solle zur Feier des angrenzenden Kammer der Folter zu um eine Feder und Papier, damit er Tosca einen Kirche beobachtet hat. Nachdem der Sieges ein Te Deum ansetzen. Seine Männer unterziehen. Auch Tosca weigert sich, als sie Abschiedsbrief schreiben kann. Spoletta kommt Mesner gegangen ist, kommt Angelotti hervor weist er an, nach Anhaltspunkten für befragt wird, Angelottis Aufenthaltsort zu mit Tosca und geht wieder. Tosca zeigt und wird von Cavaradossi erkannt, der Angelottis Verbleib zu suchen, und diese verraten, bis sie das Wehklagen ihres Geliebten Cavaradossi den Schutzbrief, und er ist erfreut daraufhin das Kirchenportal verriegelt. werden alsbald gefunden: ein Schlüssel, ein hört und den Brunnen im Garten erwähnt. und erleichtert. Tosca ermahnt den Geliebten, Angelotti berichtet, daß er aus der Engelsburg geleerter Proviantkorb, den Cavaradossi Die Folter wird abgebrochen, und Sciarrone seine Rolle überzeugend zu spielen, wenn es zur geflohen ist, wo er auf Scarpias Befehl dagelassen hat, und ein Fächer von Angelottis erscheint mit der Nachricht, daß Napoleon in Hinrichtung kommt. Und er tut wie geheißen, eingekerkert war. Schwester, der Marchesa Attavanti. Als Tosca der Schlacht von Marengo gesiegt hat. denn die Gewehre sind geladen, und er stirbt Sie werden unterbrochen, als draußen vor zurückkehrt, entfacht Scarpia mit Hilfe des Cavaradossi stimmt ein Loblied auf die tatsächlich. Es hat sich herumgesprochen, daß der Kirche Toscas Stimme erklingt. Angelotti Fächers ihre Eifersucht, und sie macht sich Freiheit an, wofür Scarpia ihn erneut Scarpia ermordet wurde, und die Schergen sind zieht sich erneut in die Kapelle zurück. eilig auf zur Villa, um das schuldige Paar zu festnehmen läßt. Er wird abgeführt und soll hinter Tosca her. Sie erklimmt die Brüstung Cavaradossi läßt Tosca ein, und sie stellt mit ertappen. Scarpia erteilt Befehl, ihr zu folgen, bei Morgengrauen hingerichtet werden. und springt in den Tod. Bestürzung fest, daß das Bild Maria und freut sich, zugleich den Flüchtling Allerdings sagt Scarpia zu, den Maler unter der Magdalenas der Marchesa Attavanti ähnlich einfangen und Toscas Gunst genießen zu Bedingung freizulassen, daß Tosca seine Übersetzung: Anne Steeb/Bernd Müller sieht. Cavaradossi erklärt, daß er sie beim können. Avancen über sich ergehen läßt. Spoletta kehrt Beten in der Kapelle gesehen und nicht mit der Neuigkeit zurück, daß sich Angelotti Jane Eaglen, ehedem Peter-Moores- gewußt habe, wer sie war. Er und Tosca singen II. Akt bei seiner Entdeckung selbst entleibt habe, Stipendiatin am Royal Northern College of ein Liebesduett. Nachdem sie fort ist, planen In Scarpias Gemächern im Palazzo Farnese und Tosca erklärt ihre Bereitschaft, sich Music, hat in der Welt der Oper heute ein Cavaradossi und Angelotti dessen Flucht: Er Scarpia speist allein, während die Königin Scarpia hinzugeben. Er weist Spoletta an, eine außerordentlich hohes Renommee. Sie hat in soll im Schutz der Dunkelheit verkleidet zu Maria Carolina im Erdgeschoß Gäste bewirtet. Scheinhinrichtung “wie im Falle Palermi” so unterschiedlichen Rollen wie Norma Cavaradossis Villa eilen und sich im Garten in Spoletta kommt und meldet, daß sich die vorzubereiten. Tosca besteht darauf, daß er (insbesondere an der Scottish Opera, Seattle einem Brunnen verstecken. Ein Durchsuchung von Cavaradossis Villa als einen Schutzbrief ausstellt, der ihr und Opera, Los Angeles Opera, Opéra national de Kanonenschuß von der Burg verkündet, daß fruchtlos erwiesen hat, daß man jedoch ihn Cavaradossi freies Geleit garantiert. Während Paris-Bastille und bei den Festspielen von Angelottis Flucht entdeckt worden ist. selbst festgenommen und in den Palast er noch dabei ist, erblickt sie ein Messer und Ravenna) und Brünnhilde (Scottish Opera, Gleichzeitig überbringt der Mesner die gebracht hat. Während Tosca zu Ehren der ersticht ihn damit. Lyric Opera of Chicago, Opera Pacific, Teatro

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alla Scala, Mailand, sowie in San Francisco Dennis O’Neill, geboren in Wales als Sohn Tonträger zählen außer Soloalben Verdis State Opera, die Opéra de Lyon, das Châtelet und Wien) einzigartige Erfolge gefeiert und irischer und walisischer Eltern, ist einer der Requiem mit Sir Colin Davis, La fanciulla del théâtre musical in Paris, die Opéra national de besitzt eine außerordentlich leistungsfähige führenden Tenöre der Welt und Verdi- West mit Leonard Slatkin, auf Video Der Paris-Bastille, das Théâtre royal de la Monnaie dramatische Sopranstimme, die ihr auf der Spezialist. Er arbeitet seit langem mit der Rosenkavalier mit Sir Georg Solti, Die in Brüssel, die Washington Opera, die ganzen Welt sensationell gute Kritiken Royal Opera, Covent Garden zusammen und Fledermaus mit Kiri Te Kanawa unter der Staatsoper Unter den Linden in Berlin, die einbringt. Andere große Partien, die sie ist dort zuletzt als Rodolfo (La bohème), Leitung von Placido Domingo, Macbeth mit , Melbourne International gesungen hat, sind Isolde, La Gioconda, Herzog (Rigoletto), Pinkerton (Madama Giuseppe Sinopoli und Mefistofele, eine Festival, Edinburgh International Festival und Donna Anna, Turandot, Amelia, Tosca Butterfly), Edgardo (Lucia di Lammermoor), Produktion der San Francisco Opera. Für Hong Kong Arts Festival sowie auf und Ariadne, und ihre Auftritte an Gustavo (Un ballo in maschera), Otello, Don Chandos und die Peter Moores Foundation Konzertpodien und Opernbühnen in Belfast, Opernhäusern in Europa, Nord- und Carlos und Radames (Aida) aufgetreten. hat er La bohème, Cavalleria rusticana, Genf, München, Athen, Tel Aviv und Südamerika, zum Beispiel an der Metropolitan In Nordamerika war er an der Metropolitan Pagliacci und ein Soloprogramm mit Brisbane. Er hat mit Künstlern wie Dame Joan Opera, New York, der Wiener Staatsoper, Opera engagiert (für La traviata, Aida, La Opernarien aufgenommen. Sutherland, Dame Kiri Te Kanawa, Placido dem Teatro Colon in Buenos Aires, der bohème, Rigoletto, Cavalleria rusticana und Domingo, José Carreras, Dennis O’Neill, English National Opera und Opernhäusern Pagliacci – die letzten zwei wurden Gregory Yurisich ist einer der führenden Zubin Mehta, Sir Charles Mackerras und Sir in München, Bologna und Madrid wurden ausnahmsweise am selben Abend aufgeführt), Baritone der Welt, dessen Repertoire die Roger Norrington zusammengearbeitet und mit viel Beifall bedacht. Ihre weltweite an der Lyric Opera of Chicago, an den Titelrollen von Nabucco, Rigoletto, Simon eine Reihe von Videos und Tonträgern Tätigkeit auf dem Konzertpodium umfaßt Opernhäusern von San Francisco, San Diego Boccanegra, Falstaff und Guillaume Tell aufgenommen, darunter auch die vorliegende, Auftritte mit Sir Simon Rattle, Klaus und Vancouver sowie für Konzerte mit den umfaßt, außerdem Giorgio Germont, Iago, mit dem Preis der Music Industries Tennstedt, Bernard Haitink, Claudio Sinfonieorchestern von Philadelphia, Stankar (Stiffelio), Amonasro, Barak (Die Frau Association ausgezeichnete Tosca-Aufnahme Abbado, Zubin Mehta, Daniel Barenboim, Cleveland, Montreal und Ottawa und beim ohne Schatten), Escamillo, Telramund für Chandos und die Peter Moores James Conlon und vielen anderen Cincinnati Festival. Er ist häufig an der (Lohengrin), Balstrode (Peter Grimes), Foundation. herausragenden Musikern. Sie ist als Bayerischen Staatsoper in München zu Gast, Sharpless, alle vier Bösewichte in Les Contes Schallplattenkünstlerin aktiv und hat unter zum Beispiel in Il trovatore, Der Rosenkavalier, d’Hoffmann, Alfio (Cavalleria rusticana) und Peter Rose wurde in Canterbury geboren, hat anderem die Titelrolle in Mayrs Medea in Tosca und Simon Boccanegra. Anderswo in Tonio (Pagliacci). Seine Karriere hat ihn an an der University of East Anglia Musik Corinto für Opera Rara aufgezeichnet sowie Europa hat er an den Opernhäusern von Opernhäuser und zu Festspielen rund um die studiert und wurde von Ellis Keeler an der für Chandos und die Peter Moores Wien, Berlin, Bonn, Köln, Hamburg, Nizza, Welt geführt, zum Beispiel an die Royal Guildhall School of Music and Drama Foundation die vorliegende Tosca, die mit dem Zürich, Paris, Oslo, Brüssel, Verona, Turin Opera, Covent Garden, die English National ausgebildet. Sein Operndebüt gab er als Preis der Music Industries Association und Barcelona gastiert. Opera, die San Francisco Opera, die Opera Komtur beim Gastspiel der Glyndebourne ausgezeichnet wurde. Zu seinen zahlreichen Aufnahmen auf Australia, die Los Angeles Opera, die Victoria Festival Opera 1986 in Hongkong und war

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dann bis 1989 Baßsolist an der Welsh Andrew Shore gilt als der herausragende folgenden Aufnahmen mitgewirkt: L’elisir seiner regen Konzerttätigkeit hat er an National Opera. Er ist unter der Leitung der Buffo-Bariton Großbritanniens und ist ein d’amore, Don Pasquale, La bohème und konzertanten Aufführungen von Verdis führenden Dirigenten der Welt und mit allen ausgezeichneter Sänger und Schauspieler. Er Highlights aus dem Rosenkavalier sowie Il Alzira (am , Covent bedeutenden britischen Operntruppen hat für alle großen britischen Opernensembles barbiere di Siviglia und die vorliegende Garden), Oberon (unter Richard Hickox), aufgetreten, darunter die Royal Opera, Covent gearbeitet, so auch für die English National preisgekrönte Tosca. Strawinskis Renard (Birmingham Royal Ballet), Garden, die English National Opera und Opera, die Royal Opera, Covent Garden, Otello (unter Sir Colin Davis) und Candide Scottish Opera. Außerhalb Großbritanniens Opera North, die Glyndebourne Festival Der Tenor John Daszak hat an der Guildhall (unter Kent Nagano) teilgenommen. Auf hat er an der Metropolitan Opera in New York Opera, Scottish Opera und Welsh National School of Music and Drama, als Peter-Moores- Tonträger hat er unter anderem die gesungen, an der Opéra-Comique in Paris, der Opera, und ist im Ausland an der San Diego Stipendiat unter Robert Alderson am Royal vorliegende preisgekrönte Tosca für Chandos Deutschen Staatsoper Berlin, der Opera, der New Israeli Opera, der Opéra Northern College of Music und an der und die Peter Moores Foundation Hamburgischen Staatsoper, der Wiener national de Paris-Bastille, der Opéra-Comique, Accademia d’Arte Lirica in Italien studiert und aufgenommen. Staatsoper, der Lyric Opera of Chicago und dem Gran teatro del Liceu in Barcelona, in nimmt derzeit Unterricht bei David Pollard. der New Israeli Opera in Tel Aviv, in San Lyon, Nantes, Montpellier, Kopenhagen, Zu seinen Opernpartien gehören Don José Der Bariton Christopher Booth-Jones begann Francisco, Amsterdam, Köln, Rom und Amsterdam, Vancouver und Ottawa (Carmen), Steva ( Jenu˚fa) und die Titelrolle in seine Opernkarriere auf Tournee mit der Seattle. Er war bei bedeutenden Festspielen aufgetreten. Seine zahlreichen Verpflichtungen Peter Steins Inszenierung von Peter Grimes an Welsh National Opera for All und ist seither auf der ganzen Welt wie jenen in Orange, haben die Titelrollen von Wozzeck, Falstaff, der Welsh National Opera, und er war als an der Welsh National Opera, beim Aix-en-Provence, Istanbul und Bregenz zu King Priam, Gianni Schicchi und Don Pasquale Steva, Achilles (King Priam), Dimitri (in Glyndebourne Festival und mit der Gast, sowie beim Maggio musicale in Florenz. eingeschlossen. Darüber hinaus hat er Francesca Zambellos Boris-Godunow- Glyndebourne Touring Opera, der Kent Zu seinen zahlreichen Partien gehören Ramfis, Dulcamara (L’elisir d’amore) gesungen, Don Produktion), Skuratov (Aus einem Totenhaus), Opera und dem English Music Theatre Fasolt, Hunding, Pimen, Osmin, König Alfonso (Così fan tutte), Figaro (Le nozze di Jack (Mahagonny), Pang (Turandot) und Max aufgetreten. An der English National Opera Marke, Baron Ochs, Rocco, Bottom Figaro), Papageno, den Zaren Dodon (Le Coq (in David Pountneys Freischütz-Inszenierung) hat er unter anderem den Papageno gegeben, (A Midsummer Night’s Dream), Banquo d’or), Leandro (Die Liebe zu den drei Orangen), an der English National Opera zu sehen. außerdem Guglielmo (Così fan tutte), Dr. (Macbeth), Cadmus/Somnus (Semele), Geßler Dikoj (Katja Kabanowa), Dr. Kolenat´y (Die Im Ausland ist er an der Nederlandse Opera Falke, Schaunard, Denissow (Krieg und (Guillaume Tell), Mustafa (L’italiana in Sache Makropulos), Sˇisˇkov (Aus einem und der Opéra de Nice aufgetreten (als der Frieden), Silvio, Pantalon (Die Liebe zu den Algeri) und Walter (Luisa Miller). Auf Totenhaus), Frank (Die Fledermaus), den Baron große Sträfling in Aus einem Totenhaus), an drei Orangen), Elviro (Serse), Graf Almaviva Tonträger hat er unter anderem für Chandos (La Vie parisienne), Baron Trombonok (Il der Opera Zuid (als Michel in Martinu˚s (Le nozze di Figaro), den Musiklehrer (Ariadne und die Peter Moores Foundation die viaggio a Reims), Warlaam (Boris Godunow) Julietta), in Lausanne (als Jack) und bei den auf Naxos), Faninal (Der Rosenkavalier) und vorliegende preisgekrönte Tosca und Il barbiere und Faninal (Der Rosenkavalier). Für Chandos Bregenzer Festspielen (als Yannakos in Giorgio Germont. Außerdem hat er an der di Siviglia aufgenommen. und die Peter Moores Foundation hat er an Martinu˚s Griechischer Passion). Im Rahmen Royal Opera, Covent Garden und an der

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Opera North unter anderem Graf Danilo (Die Zu seinen jüngsten bzw. zukünftigen Rollen hervorragend kritisierten Reihe Opera in Rollen an der English und Welsh National lustige Witwe), Ottokar (Der Freischütz), den gehören Ford (Falstaff ) an der Semper-Oper English unter der Schirmherrschaft der Peter Opera zu singen. Vater (Hänsel und Gretel), Demetrius (A in Dresden, Masetto an der Royal Opera, Moores Foundation teilgenommen. Midsummer Night’s Dream) und Claudio Covent Garden, Enrico (Lucia di Seit seinen vielversprechenden Anfängen 1945, (Béatrice et Bénédict) gesungen. Zu seinen Lammermoor) an der Lyric Opera of Chicago Der Peter Kay Children’s Choir bietet jungen als es von Walter Legge hauptsächlich für Aufnahmen auf Tonträger gehören Carmen, sowie Ottokar (Der Freischütz) und Marcello Sängern die Gelegenheit, an Opern und Schallplattenaufnahmen gegründet wurde, hat Billy Budd, Serse, Sondheims Pacific Overtures (La bohème) an der English National Opera. Konzerten, an Werbespots (TV und Radio), das Philharmonia Orchestra einige der sowie für Chandos und die Peter Moores Für Chandos und die Peter Moores Wohltätigkeitsveranstaltungen und bei Opern- bedeutendsten Dirigenten des zwanzigsten Foundation Giulio Cesare. Foundation hat er außer seiner preisgekrönten und Theaterproduktionen der Glyndebourne Jahrhunderts für sich gewonnen. Besonders Tosca-Darbietung L’elisir d’amore Festival Opera in Großbritannien, Frankreich, enge Beziehungen zu dem Orchester haben Ashley Holland hat an der Universität von aufgenommen. Belgien, den Niederlanden, Deutschland, Otto Klemperer (der erste Chefdirigent), Warwick und am Royal Northern College of Italien, Spanien und den USA teilzunehmen. Lorin Maazel, Riccardo Muti, Giuseppe Music studiert, wo er den Webster Geoffrey Mitchells Gesangskarriere hat ihm Die Aufnahme in den Chor erfolgt auf Sinopoli, Carlo Maria Giulini, Sir Andrew Booth/Esso-Wettbewerb und die Curtis- ein bemerkenswert breitgefächertes Repertoire Einladung und nach Vorsingen; seine Davis, Vladimir Ashkenazy und Esa-Pekka Goldmedaille gewann und Peter Moores- von der alten bis zur neuen Musik beschert Teilnehmer werden unter denen ausgewählt, Salonen unterhalten. Unter seinem derzeitigen Stipendiat war. Vor kurzem hat er außerdem und ihn nach Skandinavien, Deutschland, in die bereits Erfahrungen mit Chefdirigenten Christoph von Dohnanyi und den angesehenen Opernwettbewerb RANIERI die ehemalige Tschechoslowakei, nach Kanada Gesangsdarbietungen haben, sei es an der mit Leonard Slatkin als Erstem Gastdirigenten I cestelli an der Hamburgischen Staatsoper und Australasien geführt. Nachdem er bei der English National Opera, wo Peter Kay als hat das Orchester seine zentrale Position im gewonnen. Zur Zeit ist er als Baritonsolist an BBC erste Dirigiererfahrungen gesammelt Berater für die Arbeit mit Kindern tätig ist, britischen Musikleben gefestigt, und zwar der English National Opera engagiert und hat hatte, begann er mit eigenen Sängern zu oder in der Finchley Children’s Music Group, nicht nur in London, wo es als Hausorchester dort unter anderem Belcore (L’elisir d’amore), arbeiten und gründete den Geoffrey Mitchell beim New London Children’s Choir, am der Royal Festival Hall fungiert, sondern mit Lescaut (Manon), Zurga (Les Pêcheurs de Choir. Aus ersten Aufnahmen entwickelte sich Centre for Young Musicians, bei den Jennifer Hilfe regionaler Gastspiele auch für ein perles), Sharpless (), eine langfristige Zusammenarbeit des Chors Lilleystone Singers und in Schul- und anderen breiteres Publikum. Guglielmo (Così fan tutte) und Cecil (Maria mit Opera Rara, für die er über dreißig Chören in ganz London und Südengland. Das Orchester hat mehrere bedeutende Stuarda) gegeben. Er ist als Don Giovanni an Tonträger aufgenommen hat. Der Chor Beim Eröffnungskonzert des Londoner Preise gewonnen und mit seiner Vitalität und der Calgary Opera aufgetreten, als Bosun genießt wachsendes Ansehen und ist bei der Millennium Dome am Silvesterabend 1999 seinem einzigartig warmen Klang den Beifall (Billy Budd) an der Opéra national de Paris- BBC und internationalen Plattenfirmen hat der Chor Solisten für A New Beginning der Kritik gefunden. Außerdem wurde es für Bastille und hat an Konzertaufführungen von gefragt. Für Chandos hat der Geoffrey von John Tavener gestellt. Für das Jahr 2000 seine innovative Programmgestaltung Linda di Chamounix und Candide mitgewirkt. Mitchell Choir an zahlreichen Aufnahmen der ist unter anderem vorgesehen, zahlreiche gepriesen, in deren Kern die Zielsetzung steht,

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neue Stücke der weltweit führenden lebenden David Parry hat bei Sergiu Celibidache anläßlich einer Carmen-Tournee und in mehrere Preise gewonnen haben, beispielsweise Komponisten, zum Beispiel seines derzeitigen studiert und seine berufliche Laufbahn als Mexiko mit dem UNAM Symphony den belgischen Prix Cecilia für Donizettis Gastkomponisten James MacMillan, zu spielen Assistent von Sir John Pritchard begonnen. Er Orchestra. Zu den Neuproduktionen, die er in Rosmonda d’Inghilterra. Für Chandos hat er die und in Auftrag zu geben. hat am English Music Theatre debütiert und letzter Zeit dirigiert hat, zählen Fidelio beim Aufzeichnung von sechs Programmen mit Das Orchester unternimmt oft wurde dann Dirigent mit Festvertrag an den New Zealand Festival, Maria Stuarda am Opernarien geleitet (mit Bruce Ford, Diana Auslandstourneen und kann als das am Städtischen Bühnen Dortmund und an der Stadttheater Basel und Lucia di Lammermoor Montague, Dennis O’Neill, Alastair Miles, häufigsten aufgenommene Sinfonieorchester Opera North. Von 1983 bis 1987 war er an der New Israeli Opera. Yvonne Kenny und John Tomlinson – die drei der Welt über tausend Einspielungen für sich Musikdirektor der Opera 80 und seit 1992 Seine Tätigkeit im Aufnahmestudio umfaßt letztgenannten kommen im Jahr 2000 heraus), verbuchen. Darunter befinden sich (für die Gründungsmitglied und Direktor der Almeida die Produktion von Marschners Der Vampyr außerdem Faust, Don Pasquale, L’elisir d’amore, Reihe Opera Rara) mehrere Aufnahmen mit Opera. fürs BBC-Fernsehen und einundzwanzig La bohème, Cavalleria rusticana, Pagliacci und Opernarien und elf vollständige Er übt in Großbritannien und international vollständige Opernaufzeichnungen unter der Highlights aus dem Rosenkavalier sowie die Opernaufzeichnungen (Donizettis Ugo, conte eine weitgespannte Tätigkeit in den Bereichen Schirmherrschaft der Peter Moores vorliegende preisgekrönte Tosca-Aufnahme, di Parigi, Ne m’oubliez pas, Emilia di Liverpool, Oper und Konzert aus, hat mehrere Foundation. Darunter befinden sich zahlreiche jeweils in Zusammenarbeit mit der Peter L’assedio di Calais, Rosmonda d’Inghilterra und Produktionen der English National Opera Aufnahmen der Reihe Opera Rara, die Moores Foundation. Maria de Rudenz, Meyerbeers Dinorah, Mayrs dirigiert und tritt regelmäßig mit dem Medea in Corinto, Mercadantes Orazi e Philharmonia Orchestra auf. 1996 gab er sein Curiazi, Pacinis Maria, regina d’Inghilterra und Debüt beim Glyndebourne Festival mit Così Rossinis Otello). Das Orchester hat für fan tutte und hat dort im vergangenen Jahr die Chandos zahlreiche Aufnahmen auf Tonträger Uraufführung von Jonathan Doves Flight vorgenommen, beispielsweise für die Reihe geleitet. Opera in English unter der Schirmherrschaft Er ist häufig in Spanien zu Gast und hat mit der Peter Moores Foundation L’elisir d’amore, den meisten bedeutenden spanischen Faust, La bohème, die vorliegende Orchestern Konzerte gegeben. In Madrid hat preisgekrönte Tosca und sechs Soloalben mit er die spanische Erstaufführung von Peter Opernarien (mit Bruce Ford, Diana Grimes dirigiert, und 1996 die erste spanische Montague, Dennis O’Neill, Alastair Miles, Inszenierung von The Rake’s Progress. Er ist in Yvonne Kenny und John Tomlinson – die drei Deutschland, Schweden und den Niederlanden letztgenannten werden im Jahr 2000 aufgetreten, bei den Festspielen in Pesaro, beim erscheinen). Hong Kong International Festival, in Japan

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entendre. Plus probablement encore le le changement d’opinion soudain de Sardou Giacomo Puccini: Tosca dramaturge, ayant exigé une part des profits de un geste grossier et insultant. Le changement La Tosca de Puccini, fut déçu par le peu d’avis de Puccini laissa Ricordi avec le livret de C’est en 1889 que Giacomo Puccini, alors âgé l’éditeur de musique milanais Giulio Ricordi d’argent qu’avaient rapporté Le Villi et Edgar. Tosca d’Illica sur les bras. (Il est à noter que le de trente-cinq ans, vit à deux reprises Sarah continuât de payer une modeste provision à Ricordi n’informa pas Puccini de ce titre de l’opéra omet l’article défini “La” de la Bernhardt dans le grand mélodrame de Puccini dans l’espoir qu’il composa un véritable changement de situation. Pendant ce temps-là, pièce). L’éditeur tenta alors avec ruse Victorien Sardou datant de 1887, La Tosca, et succès, faisant ainsi faire de gros bénéfices à la Puccini avait composé Manon Lescaut, bien d’intéresser à ce sujet un autre compositeur de s’aperçut qu’il s’agissait-là d’un sujet qu’il Casa Ricordi et octroyant d’importants droits que Massenet eût déjà mis en musique ce sujet son écurie. C’est à ce moment seulement désirait fortement transformer en opéra. La d’auteur au compositeur. Très excité et avec succès, moins de dix ans auparavant. qu’entra en scène Alberto Franchetti pièce, conçue spécialement pour Bernhardt, convaincu que La Tosca de Sardou constituait Dans ses efforts à faire avancer la carrière de (1860–1942). offrait à cette actrice la possibilité de déployer un sujet très prometteur pour un opéra, Puccini, Giulio Ricordi se procura même les Un certain nombre d’écrivains, s’adonnant pleinement ses talents dramatiques. Dans un Puccini persuada Ricordi dans le courant de droits italiens de Manon de Massenet dans au jeu autrefois populaire de dénigrer Puccini, cadre pseudo-historique, l’intrigue lui l’automne 1890 de négocier avec l’agent de l’intention d’en empêcher l’interprétation en ont déclaré que Puccini ne commença vraiment permettait de jouer le rôle d’une cantatrice Sardou à Paris afin de voir si celui-ci accepterait Italie avant que l’opéra de Puccini Manon à s’intéresser au sujet de la Tosca que lorsqu’il tour à tour capricieuse, jalouse, amoureuse, en de vendre ses droits d’adaptation de la pièce en Lescaut fût bien établi au sein du répertoire. apprit que Franchetti y travaillait et que danger, meurtrière, accablée de douleur et, opéra, et dans quelles conditions. Au mois de Présenté au Teatro Regio de Turin en février Puccini et Ricordi dupèrent Franchetti en lui pour finir dans un grand geste théâtral, janvier 1891, alors que l’accord au sujet des 1893, Manon Lescaut se révéla être un succès faisant croire que le sujet était loin d’être idéal, suicidaire, alors qu’elle se jette du haut des droits semblait définitif, Ricordi, à la demande très encourageant. permettant ainsi à Puccini de l’utiliser tout à remparts de Castel Sant’Angelo. de Puccini, chargea le librettiste Luigi Illica de Le 29 juillet 1893 Ricordi écrivit à l’agent son gré. Deborah Burton a démontré de façon Ayant vu la pièce en français, langue que convertir le mélodrame en cinq actes de Sardou de Sardou que Puccini, n’ayant pas encore concluante la fausseté de cette impression en Puccini connaissait à peine, il réalisait en un livret d’opéra en trois actes. Le 13 connaissance de l’opinion de Sardou, était faisant des recherches très complètes dans les parfaitement que le sujet de La Tosca décembre 1891 Ricordi annonça dans sa revue froissé par le long silence de celui-ci et avait archives Ricordi sur les papiers ayant rapport à s’adapterait très bien à la scène lyrique, puisque la Gazzetta Musicale que Puccini allait complètement abandonné le projet. Mais en la composition de Tosca. Au mois de juillet les opéras ne reposent pas seulement sur les composer Tosca. octobre 1893 Sardou, qui avait évidemment 1894, le livret d’Illica fut remis au riche paroles comme moyen de communication. À Ces projets s’évaporèrent soudain au mois appris la réussite de Manon Lescaut lors de la Franchetti, qui acquit les droits de Sardou pour l’époque Puccini avait déjà composé deux de décembre 1892 quand Sardou, qui avait un première, annonça à Ricordi que Puccini la somme de 25,000 lires. opéras, Le Villi et Edgar, aucun des deux côté très pratique, décida après avoir entendu devrait être après tout le compositeur de Tosca. Franchetti avait fait sensation en 1892 n’ayant remporté un succès absolu. Ils étaient de la musique de Puccini que ce n’était pas Encouragé par l’enthousiasme avec lequel lorsque, sur une recommendation de Verdi, il cependant suffisamment prometteurs pour que aussi prometteur que Ricordi le lui avait laissé Manon Lescaut avait été reçu, Puccini vit dans remporta une commande du Teatro Carlo

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Felice de Gênes afin d’écrire un opéra sur le L’une des idées de Giulio Ricordi les plus suivante à New York. Depuis lors c’est devenu contexte de l’interprétation de l’opéra. Son sujet de Christophe Colomb pour célébrer le utiles, et les plus fructueuses également, fut l’une des œuvres de Puccini les mieux établies premier solo est le Te Deum de la fin du quatre centième anniversaire du voyage du d’envoyer un compositeur pour superviser la dans le répertoire et toute soprano ayant un premier acte dans lequel, sur une séquence navigateur et de sa découverte de ce qui était présentation de ses œuvres lors des premières penchant pour les œuvres dramatiques s’y sans cesse répétée à la basse, il décrit son désir en fait l’hémisphère ouest. productions de celles-ci dans les grands trouve attirée comme à un aimant. de posséder Tosca tandis que, pendant ce Le succès que remporta Franchetti avec son théâtres afin d’établir une tradition Trois airs, deux pour ténor, et l’air de la temps-là, l’assemblée se réunit pour chanter un Cristoforo Colombo démontra que ses talents authentique. Ainsi au cours des deux années soprano du deuxième acte “D’art et d’amour hymne victorieux. Dans le deuxième acte, étaient mieux mis en valeur dans un spectacle suivantes, Puccini passa une grande partie de je vivais toute” (Vissi d’arte, vissi d’amore/Life avant que l’on fasse entrer Mario pour de type reconstitution historique que dans un son temps à superviser les débuts de La bohème has taught me singing and loving) sont les l’interroger, Scarpia expose avec violence son spectacle favorisant l’interaction dramatique dans divers opéras. Au mois de juin 1898 il se morceaux les plus connus de la partition. Ils approche hédoniste brutale de la vie et de ses des personnages. C’est Franchetti lui-même trouvait à Paris pour la première représentation comptent également parmi les extraits d’opéra plaisirs. Plus tard, toujours dans le deuxième qui décida que Tosca ne convenait pas à son de La bohème à l’Opéra-Comique dans une les plus fréquemment enregistrés dans le acte, en réponse à Tosca qui lui demande talent particulier et au mois de mars 1895, il traduction française. Il profita de son séjour à monde entier, et on les trouve souvent en bis comment elle pourrait sauver Mario, il laisse discutait avec Illica des changements du livret. Paris avec Ricordi pour faire une visite d’usage fort appréciés du public dans des programmes brièvement entrevoir son côté prédateur dans Deux mois plus tard il avait définitivement à Sardou, alors âgé de soixante-sept ans et c’est de concert. Ils ont en commun certaines une ligne vocale puissante. abandonné le projet car, comme il l’expliqua à cette occasion que l’enthousiasme de Puccini caractéristiques parmi lesquelles le lyrisme et Toujours à propos de Scarpia, le thème que par la suite, “Je n’y sentais pas la musique”. pour Tosca se ranima. Illica, avec l’aide de l’expressivité émotionnelle riches de Puccini. l’on retrouve le plus souvent dans la partition Pendant ce temps, Puccini composait La Giacosa, retravailla le livret pour qu’il Par ailleurs, ils sont relativement courts, aucun est celui qui est lié à son personnage. Ce bohème (Turin, 1896) sur un livret d’Illica et corresponde aux exigences du sens théâtral du d’entre eux ne durant plus de trois minutes thème est la première musique que l’on de Giuseppe Giacosa, œuvre qui allait compositeur. Puccini contribua même environ, puisqu’ils sont conçus de manière à entend, une forte succession d’accords juste remporter un succès encore plus grand que personnellement au livret, écrivant les paroles ne pas interrompre l’action. En plus de ces avant le lever de rideau du premier acte. Ces Manon Lescaut. En juillet 1895 Ricordi avait de l’un des plus grands moments de la trois solos, la soprano et le ténor prennent part accords réapparaissent, ayant subi des tenté de persuader Puccini que le livret d’Illica partition, l’air du ténor du troisième acte “Le à deux duos d’amour saisissants: l’un dans le transformations, lorsque l’amant de Tosca, le de Tosca, désormais de nouveau entre ses ciel luisait d’étoiles” (/All the premier acte et l’autre dans le dernier acte, peintre Cavaradossi, dit au fugitif Angelotti où mains puisque Franchetti y avait stars shone in heaven). juste avant le faux simulacre d’exécution. se cacher pour échapper à Scarpia. Par la suite, définitivement renoncé, constituait une œuvre Tosca remporta un grand succès lors de la Le personnage du sadique Baron Scarpia a toujours dans le premier acte, lorsque Scarpia idéale pour faire suite à La bohème. Il fallut première qui eut lieu au Teatro Costanzi de également des solos mais, étant donné sa lui-même entre dans l’église, ayant retrouvé la attendre un certain temps avant que Puccini Rome le 14 janvier 1900. Six mois plus tard mauvaise nature, ses moments proéminents en piste d’Angelotti, ces accords sinistres lui ne se mît au travail. l’œuvre fut présentée à Londres et l’année tant que baryton sont rares en dehors du servent de carte de visite. Après avoir exposé sa

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nature hypocrite et lubrique au cours du Te juste après “Le ciel luisait d’étoiles”, ce thème Juste avant l’arrivée de Mario, le sacristain peu intéressants de Sardou en des personnages Deum, l’acte se termine par les “accords de sert de base à l’impétueuse musique s’agenouille et récite l’Angélus, dans un tempo mémorablement expressifs, tout à fait humains Scarpia” retentissant de façon menaçante. À la accompagnant l’entrée de Tosca. marqué Andante religioso. À la fin de cet acte, dans leurs forces et leurs faiblesses. On ne fin du deuxième acte, cependant, alors que Puccini utilise également la musique à des tandis que l’église se remplit de fidèles, on s’attendrait pas de nos jours à voir La Tosca de Tosca dispose des bougies autour du cadavre fins descriptives, ce qu’il fait de manière très chante un Te Deum pendant que les cloches Sardou au théâtre, mais l’opéra de Puccini est de Scarpia, les accords se font de nouveau éloquente dans le prélude du troisième acte. sonnent et que l’on tire des coups de canon bien établi dans le répertoire et cela entendre mais ils sont désormais harmonisés Nous entendons non seulement dans les pour les festivités. apparemment pour longtemps. de manière différente et joués “aussi coulisses le jeune berger chanter une Dans une intrigue si pleine d’action intense doucement que possible” selon les indications chansonnette dans le dialecte local, mais nous et clairement motivée, il y a peu de place pour © 1996 William Ashbrook de la partition. entendons également retentir sous des angles l’effusion lyrique. L’un des plus grands talents Traduction: Florence Daguerre de Hureaux Un autre thème réapparaît régulièrement différents des cloches proches et lointaines de Puccini en tant que compositeur lyrique est avec un effet poignant et on l’entend d’abord tandis que le jour se lève sur le Castel son sens aigu de ce que l’on appelle “le Argument dans la section en mi majeur du duo d’amour Sant’Angelo. Et dans le deuxième acte, Puccini minutage théâtral”. Il connaissait parfaitement du premier acte entre Tosca et Mario utilise de la musique non seulement comme la durée optimale de chaque section. Par Acte I Cavaradossi, qui commence avec les paroles base du discours lyrique et de l’atmosphère exemple, la soudaineté avec laquelle nous L’intérieur de l’église Sant’Andrea della Valle “Ma jalouse!” (Mia gelosa!/Why so jealous?). mais également en tant que sonorité que les sommes lancés dans l’action au début du Angelotti entre en hâte dans l’église et se glisse D’après une note dans la partition autographe personnages sur scène entendent en musique premier acte est en parfait contraste avec le à l’intérieur de la chapelle privée de la famille de Tosca, renforcée par le fait qu’elle est écrite de fond provenant des coulisses, comme c’est prélude tranquille du troisième acte rempli de Attavanti. Sa sœur qui a épousé le marquis sur un morceau de papier à musique séparé, le cas du chant du berger. Au tout début du sons de cloches, où ce commencement lent Attavanti a caché la clé de la chapelle à son cette ravissante mélodie est apparemment la deuxième acte, un petit orchestre en coulisses crée un suspense qui ne disparaît qu’avec la intention lors d’une visite à l’église pour prier. première musique qu’ait composé Puccini joue une gavotte. Et, peu après, apparemment soudaine violence des quelques dernières Le sacristain entre pour nettoyer des pinceaux pour cette œuvre. Cette mélodie réapparaît, dans les appartements de la reine au Palazzo minutes. appartenant à Cavaradossi qui est en train de désormais développée de manière Farnese, Tosca et le chœur chantent une Tosca subit beaucoup de critiques à cause du finir un tableau représentant Marie-Madeleine. impressionnante, sous forme cantate pour célébrer une victoire qui, côté mélodramatique de l’intrigue. C’est Le peintre y a mêlé les charmes de sa Tosca d’accompagnement de la deuxième sortie de ironiquement, se révèle être par la suite une toutefois une erreur de confondre l’opéra avec bien-aimée à la beauté d’une inconnue qu’il a Tosca au premier acte – après sa discussion défaite des forces royalistes. son intrigue. Tous les opéras sont des vue prier dans l’église. Lorsque le sacristain désagréable avec Scarpia. Puccini y fait Nous trouvons d’autres exemples de amalgames dans lesquels musique et intrigue s’en va, Angelotti, qui sort de sa cachette, est également allusion dans le prélude du musique ambiante dans le premier acte, dans sont devenus inséparables. La partition bien reconnu par Cavaradossi qui ferme à clé la troisième acte et quelques minutes plus tard, l’église romaine de Sant’Andrea della Valle. mesurée de Puccini transforme les personnages porte de l’église. Angelotti explique qu’il vient

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de s’échapper du château Saint-Ange où il éventail appartenant à la sœur d’Angelotti, la gloire de la liberté, est remis aux arrêts par Après avoir étudié au Royal Northern College avait été emprisonné sur l’ordre de Scarpia. marquise Attavanti. Lorsque Tosca revient, Scarpia et emmené pour être fusillé à l’aube. of Music grâce à une bourse de Peter Moores, Leur conversation est interrompue par le Scarpia se sert de l’éventail pour éveiller la Scarpia promet alors de remettre le peintre en Jane Eaglen est aujourd’hui une personnalité son de la voix de Tosca à l’extérieur de l’église, jalousie de la jeune femme qui se rend en tout liberté à condition que Tosca cède à ses marquante de l’opéra. Elle a connu un succès Angelotti retourne dans la chapelle. hâte à la villa, espérant y surprendre les deux avances. Spoletta revient pour annoncer inégalé dans des rôles aussi différents que ceux Cavaradossi fait entrer Tosca qui est troublée coupables. Scarpia donne l’ordre qu’on la qu’Angelotti s’est tué lorsqu’ils l’ont découvert, de Norma (notamment avec Scottish Opera, le de voir que le portrait de Marie-Madeleine suive, se réjouissant d’avance à l’idée d’attraper et Tosca accepte de se donner à Scarpia. Ce Seattle Opera, le Los Angeles Opera, l’Opéra ressemble à la marquise Attavanti. Cavaradossi le fugitif et d’obtenir les faveurs de Tosca. dernier dit à Spoletta de simuler une exécution national de Paris-Bastille et dans le cadre du explique qu’il a vu cette dernière prier dans la “comme pour Palermi”. Tosca insiste pour Festival de Ravenne) et Brünnhilde (avec chapelle, mais qu’il ne savait pas qui elle était, Acte II qu’il rédige un sauf-conduit pour Cavaradossi Scottish Opera, le Lyric Opera de Chicago, les deux amants chantent ensuite un duo Les appartements de Scarpia au palais Farnèse et elle; mais, tandis qu’il s’exécute, la jeune Opera Pacific, le Teatro alla Scala à Milan ainsi d’amour. Une fois Tosca partie, Cavaradossi et Scarpia dîne seul tandis qu’à l’étage inférieur la femme, voyant un couteau, le frappe avec. qu’à San Francisco et Vienne); son soprano Angelotti préparent la fuite de ce dernier: reine Caroline reçoit. Spoletta entre pour dramatique remarquable lui a valu des critiques quand la nuit tombera, portant un annoncer que la villa de Cavaradossi a été Acte III dithyrambiques dans le monde entier. Parmi ses déguisement, il devra se rendre en hâte à la fouillée en vain, mais qu’ils ont arrêté le Une terrasse du château Saint-Ange autres rôles majeurs, notons Isolde, La villa de Cavaradossi et se cacher dans un puits peintre et l’ont amené au palais. Pendant que On entend un jeune berger chanter en Gioconda, Donna Anna, Turandot, Amelia, du jardin. On entend un coup de canon Tosca chante une cantate en l’honneur de la conduisant son troupeau. Cavaradossi Tosca et Ariadne. Ses interprétations à l’opéra provenant de la citadelle – il signale que reine, Scarpia interroge Cavaradossi en demande plume et papier pour écrire une font l’unanimité en Europe comme sur le l’évasion d’Angelotti a été découverte. Le présence du bourreau et d’un juge. Comme le lettre d’adieu à Tosca. Spoletta entre continent américain, au Metropolitan Opera à sacristain entre en même temps pour annoncer peintre nie toute connaissance d’Angelotti, accompagné de Tosca, puis se retire. Tosca New York, à l’Opéra d’état de Vienne, au la (fausse) nouvelle de la défaite de Napoléon à Scarpia ordonne qu’il soit torturé dans une montre le sauf-conduit à Cavaradossi qui est Teatro Colon à Buenos Aires, à l’English Marengo. Un foule joyeuse emplit l’église et pièce attenante. Questionnée, Tosca refuse ravi et soulagé. Tosca est soucieuse de voir son National Opera ainsi que sur les scènes de Scarpia, entrant accompagné de Spoletta, aussi de révéler la cachette d’Angelotti jusqu’à amant bien jouer son rôle au moment de Munich, Bologne et Madrid. Elle chante aussi commande au sacristain de préparer un Te ce que, entendant les plaintes de son amant, l’exécution. Il ne peut guère faire autrement, en concert dans le monde entier, s’associant à Deum pour célébrer la victoire. Il ordonne à elle mentionne le puits se trouvant dans le car il est tué – les fusils étaient chargés. d’illustres musiciens comme Sir Simon Rattle, ses hommes de chercher des indices pouvant jardin. La torture s’arrête et Sciarrone entre La nouvelle du meurtre de Scarpia s’est Klaus Tennstedt, Bernard Haitink, Claudio les amener à Angelotti, et ces indices sont bien avec la nouvelle que Napoléon a triomphé à la répandue et ses agents sont à la poursuite Abbado, Zubin Mehta, Daniel Barenboim et entendu trouvés: une clé, un panier vidé de ses bataille de Marengo. de Tosca. Elle monte sur les remparts et se James Conlon, pour n’en citer que quelques- provisions que Cavaradossi a laissé et un Cavaradossi, qui entame un hymne à la jette dans le vide. uns. Elle travaille souvent en studio et a

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enregistré entre autres le rôle-titre de Medea in d’état de Bavière à Munich où il a chanté entre d’Hoffmann, Alfio (Cavalleria rusticana) et Né à Canterbury, Peter Rose étudia la Corinto pour Opera Rara et, pour Chandos en autres dans Il trovatore, Der Rosenkavalier, Tonio (Pagliacci). Sa carrière l’a mené sur les musique à l’Université d’East Anglia puis fut collaboration avec la Peter Moores Foundation, Tosca et Simon Boccanegra. Il s’est également scènes lyriques et dans les festivals du monde l’élève d’Ellis Keeler à la Guildhall School of la présente version de Tosca qui remporta un produit sur d’autres scènes lyriques entier, depuis le Royal Opera à Covent Music and Drama à Londres. Il fit ses débuts prix de la Music Industries Association. européennes, à Vienne, Berlin, Bonn, Garden, l’English National Opera, le San sur la scène lyrique dans le rôle du Cologne, Hambourg, Nice, Zurich, Paris, Francisco Opera, Opera Australia, le Los Commandeur avec le Glyndebourne Festival Né au Pays de Galles de parents irlandais et Oslo, Bruxelles, Vérone, Turin et Barcelone. Angeles Opera, le Victoria State Opera, Opera à Hong Kong en 1986 et fut première gallois, Dennis O’Neill, un spécialiste des Parmi ses nombreux enregistrements, notons l’Opéra de Lyon, le Châtelet théâtre musical à basse du Welsh National Opera jusqu’en 1989. œuvres de Verdi, compte aujourd’hui parmi les des disques en soliste, le Requiem de Verdi avec Paris, l’Opéra national de Paris-Bastille, le Il a chanté avec les principaux chefs plus grands ténors au monde. Il collabore Sir Colin Davis, avec Théâtre royal de la Monnaie à Bruxelles, le d’orchestre dans le monde et les plus grandes depuis longtemps avec le Royal Opera à Leonard Slatkin, ses vidéos de Der Rosenkavalier Washington Opera et l’Opéra d’état Unter den troupes lyriques britanniques comme The Covent Garden où il a récemment interprété avec Sir George Solti, de Die Fledermaus avec Linden à Berlin jusqu’au Festival de Bregenz, Royal Opera à Covent Garden, l’English Rodolfo (La bohème), le duc de Mantoue Kiri Te Kanawa sous la baguette de Placido au Festival international de Melbourne, au National Opera et Scottish Opera. Sa carrière (Rigoletto), Pinkerton (Madama Butterfly), Domingo, de Macbeth avec Giuseppe Sinopoli Festival international d’Edimbourg et au internationale l’a conduit au Metropolitan Edgardo (Lucia di Lammermoor), Gustavo (Un et Mefistofele avec l’Opéra de San Francisco. Festival des arts de Hong Kong, se produisant Opera à New York, à l’Opéra-Comique à ballo in maschera), Otello, Don Carlos et Pour Chandos, en collaboration avec la Peter aussi sur la scène lyrique ou en concert à Paris, à l’Opéra d’état allemand à Berlin, à Radames (Aida). Moores Foundation, il a enregistré La bohème, Belfast, Genève, Munich, Athènes, Tel Aviv et l’Opéra d’état de Hambourg, à l’Opéra d’état En Amérique du nord, il a chanté au Cavalleria rusticana, Pagliacci et, en soliste, un Brisbane. Il a travaillé avec les plus grands de Vienne, au Lyric Opera de Chicago et au Metropolitan Opera (La traviata, Aida, La disque d’airs d’opéra. noms, Dame Joan Sutherland, Dame Kiri New Israeli Opera à Tel Aviv de même qu’à bohème, Rigoletto, Cavalleria rusticana et Te Kanawa, Placido Domingo, José San Francisco, Amsterdam, Cologne, Rome et Pagliacci, ces deux derniers titres, chose rare, Gregory Yurisich est aujourd’hui l’un des plus Carreras, Dennis O’Neill, Zubin Mehta, Seattle. Il a aussi participé aux plus grands figurant au même programme), au Lyric grands barytons du monde; son répertoire Sir Charles Mackerras et Sir Roger Norrington festivals dans le monde entier, à Orange, Aix- Opera de Chicago, à l’Opéra de San Francisco, comprend les rôles-titres de Nabucco, Rigoletto, entre autres; il a fait plusieurs enregistrements, en-Provence, Istanbul, Bregenz et à Florence à ceux de San Diego et Vancouver, et il s’est Simon Boccanegra, Falstaff et Guillaume Tell de disques et vidéos, participant entre autres à (Maggio musicale). Il a été entre autres produit en concert avec l’Orchestre même que les rôles de Giorgio Germont, Iago, celui de Tosca réalisé par Chandos en Ramfis, Fasolt, Hunding, Pimène, Osmin, le symphonique de Philadelphie et ceux de Stankar (Stiffelio), Amonasro, Barak (Die Frau collaboration avec la Peter Moores roi Marke, le baron Ochs, Rocco, Bottom Cleveland, Montréal et Ottawa, participant ohne Schatten), Escamillo, Telramund Foundation, un enregistrement qui (A Midsummer Night’s Dream), Banquo également au Festival de Cincinnati. Il est (Lohengrin), Balstrode (Peter Grimes), reçut un Prix de la Music Industries (Macbeth), Cadmus/Somnus (Semele), Gessler fréquemment invité à travailler avec l’Opéra Sharpless, les quatre scélérats dans Les Contes Association. (Guillaume Tell), Mustafa (L’italiana in Algeri)

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et Walter (Luisa Miller). Parmi ses nombreux Makropoulos), Chichkov (Souvenirs de la dans Souvenirs de la maison des morts), à Opera également produit avec le Royal Opera à enregistrements, notons pour Chandos, en maison des morts), Frank (Die Fledermaus), le Zuid (Michel dans Julietta de Martinu˚), à Covent Garden et avec Opera North, collaboration avec la Peter Moores baron (La Vie parisienne), le baron Trombonok Lausanne (Jack) et au Festival de Bregenz interprétant entre autres les rôles du comte Foundation, la présente version primée de (Il viaggio a Reims), Varlaam (Boris Godounov) (Yannakos dans La Passion grecque Danilo (Die lustige Witwe), d’Ottokar (Der Tosca et Il barbiere di Siviglia. et Faninal (Der Rosenkavalier). Pour Chandos de Martinu˚). Il chante fréquemment en Freischütz), du Père (Hänsel und Gretel), de en collaboration avec la Peter Moores concert et a participé à des versions de concert Demetrius (A Midsummer Night’s Dream) et de Andrew Shore est considéré comme le Foundation, il a enregistré L’elisir d’amore, Don d’Alzira de Verdi (Royal Opera House à Claudio (Béatrice et Bénédict). Parmi ses principal baryton bouffe en Grande-Bretagne Pasquale, La bohème et des extraits de Der Covent Garden), d’Oberon (sous Richard enregistrements, notons Carmen, Billy Budd, aujourd’hui, remarquable pour ses talents de Rosenkavalier, de même qu’Il barbiere di Hickox), de Renard de Stravinsky (Birmingham Serse, Pacific Overtures de Sondheim et, pour chanteur et d’acteur. Il a travaillé avec la Siviglia et cette version primée de Tosca. Royal Ballet), d’Otello (sous Sir Colin Davis) et Chandos en collaboration avec la Peter Moores plupart des grandes compagnies britanniques, de Candide (sous Kent Nagano). Il compte Foundation, Giulio Cesare. comme l’English National Opera, le Royal Le ténor John Daszak fit ses études à la parmi ses enregistrements cette version primée Opera à Covent Garden, Opera North, le Guildhall School of Music and Drama à de Tosca pour Chandos en collaboration avec la Ashley Holland fit ses études à l’université de Glyndebourne Festival Opera, Scottish Opera Londres, au Royal Northern College of Music Peter Moores Foundation. Warwick et au Royal Northern College of et le Welsh National Opera, se produisant sur avec Robert Alderson grâce à une bourse de Music où, boursier de Peter Moores, il remporta de nombreuses scènes lyriques internationales, Peter Moores et à l’Accademia d’Arte Lirica en Le baryton Christopher Booth-Jones débuta le concours Webster Booth/Esso et la Médaille comme l’Opéra de San Diego, le New Israeli Italie. Il étudie à présent avec David Pollard. sa carrière lyrique en tournée avec le Welsh d’or Curtis. Il a récemment remporté le Opera, l’Opéra national de Paris-Bastille, Parmi ses rôles lyriques, notons, pour le Welsh National Opera for All avant de se produire prestigieux concours lyrique RANIERI I cestelli l’Opéra-Comique, le Gran teatre del Liceu à National Opera, Don José (Carmen), Steva avec le Welsh National Opera, le à l’Opéra d’état de Hambourg. Il est Barcelone ainsi qu’à Lyon, Nantes, ( Jenu˚fa), le rôle-titre de Peter Grimes dans la Glyndebourne Festival Opera et le actuellement l’un des principaux barytons de Montpellier, Copenhague, Amsterdam, mise en scène de Peter Stein et, pour l’English Glyndebourne Touring Opera, Kent Opera et l’English National Opera avec qui il a chanté Vancouver et Ottawa. Il a tenu entre autres les National Opera, Steva, Achilles (King Priam), l’English Music Theatre. Pour l’English entre autres Belcore (L’elisir d’amore), Lescaut rôles-titres de Wozzeck, Falstaff, King Priam, Dimitri (Boris Godounov, dans la mise en scène National Opera, il a été Papageno, Guglielmo (Manon), Zurga (Les Pêcheurs de perles), Gianni Schicchi et Don Pasquale, chantant de Francesca Zambello), Skouratov (Souvenirs (Così fan tutte), Dr Falke, Schaunard, Denisov Sharpless (Madama Butterfly), Guglielmo (Così aussi Dulcamara (L’elisir d’amore), Don de la maison des morts), Jack (Mahagonny), (Guerre et Paix), Silvio, Pantalone (L’Amour des fan tutte) et Cecil (Maria Stuarda). Il a Alfonso (Così fan tutte), Figaro (Le nozze di Pang (Turandot) et Max (Der Freischütz, mis trois oranges), Elviro (Serse), le comte Almaviva également été Don Giovanni pour l’Opéra de Figaro), Papageno, le roi Dodon (Le Coq d’or), en scène par David Pountney). Sa carrière (Le nozze di Figaro), le maître de musique Calgary, Bosun (Billy Budd) pour l’Opéra Leandro (L’Amour des trois oranges), Dikoj internationale l’a conduit à l’Opéra des Pays- (Ariadne auf Naxos), Faninal (Der national de Paris-Bastille et il a participé à des (Katia Kabanova), Dr Kolenaty (L’Affaire Bas, à l’Opéra de Nice (Le grand prisonnier Rosenkavalier) et Giorgio Germont. Il s’est versions de concert de Linda di Chamounix et

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Candide. Parmi ses projets les plus récents et série de disques très prisés financée par la Peter pour jouer dans des enregistrements, le symphonique dans le monde ne possède une ceux à venir, notons Ford (Falstaff) au Semper Moores Foundation. Philharmonia Orchestra n’a cessé d’attirer discographie aussi importante, avec plus de Opera à Dresde, Masetto pour le Royal Opera à certains des plus grands chefs d’orchestre du mille disques à son actif. Notons entre autres Covent Garden, Enrico (Lucia di Lammermoor) Le Peter Kay Children’s Choir offre à de jeunes XXe siècle. Certains furent associés de près à plusieurs disques d’airs d’opéra pour Opera au Lyric Opera de Chicago et Ottokar (Der chanteurs l’occasion de se produire à l’opéra, en l’Orchestre: Otto Klemperer (son tout premier Rara ainsi que onze intégrales d’opéras (Ugo, Freischütz) et Marcello (La bohème) à l’English concert, dans des publicités (télévision et radio), chef principal), Lorin Maazel, Riccardo Muti, conte di Parigi, Ne m’oubliez pas, Emilia di National Opera. Pour Chandos, en lors de concerts de bienfaisance, dans le cadre Giuseppe Sinopoli, Carlo Maria Giulini, Sir Liverpool, L’assedio di Calais, Rosmonda collaboration avec la Peter Moores Foundation, des productions du Glyndebourne Festival Andrew Davis, Vladimir Ashkenazy et Esa- d’Inghilterra et Maria de Rudenz de Donizetti, il a enregistré L’elisir d’amore ainsi que cette Opera et celles de théâtres au Royaume-Uni, en Pekka Salonen. Sous la direction de leur chef Dinorah de Meyerbeer, Medea in Corinto de version primée de Tosca. France, en Belgique, en Hollande, en principal actuel, Christoph von Dohnanyi, et Mayr, Orazi e Curiazi de Mercadante, Maria, Allemagne, Italie, Espagne et aux Etats-Unis. celle de Leonard Slatkin, souvent invité à regina d’Inghilterra de Pacini et Otello de Durant sa carrière de chanteur, Geoffrey Les membres sont recrutés sur invitation et sur prendre sa relève, l’Orchestre s’est fermement Rossini). L’Orchestre a fait de nombreux Mitchell aborda un répertoire audition parmi les jeunes ayant déjà chanté installé au cœur de la vie musicale britannique, disques pour Chandos, en particulier, dans remarquablement varié, depuis la musique pour l’English National Opera où Peter Kay est non seulement à Londres puisqu’il est la série Opera in English financée par la ancienne jusqu’à la musique contemporaine, se responsable des enfants, parmi les membres du orchestre en résidence au Royal Festival Hall, Peter Moores Foundation, L’elisir d’amore, produisant en Scandinavie, en Allemagne, Finchley Children’s Music Group, du New mais aussi en province où il se produit Faust, La bohème, cette version primée de dans l’ancienne Tchécoslovaquie, au Canada et London Children’s Choir, du Centre for Young régulièrement. Tosca et six récitals solistes d’airs d’opéra en Australasie. Après avoir fait ses premières Musicians, des Jennifer Lilleystone Singers et Le Philharmonia Orchestra a remporté (avec Bruce Ford, Diana Montague, Dennis armes de chef d’orchestre avec la BBC, il parmi les enfants des écoles et autres chorales de plusieurs prix importants et soulevé O’Neill, Alastair Miles, Yvonne Kenny et décida de prendre une part active dans ce Londres et du sud de l’Angleterre. Pour le l’enthousiasme des critiques pour la vitalité et John Tomlinson, les trois derniers devant domaine avec ses propres chanteurs et fonda le Concert du Millénaire au Dome à Londres, la chaleur exceptionnelle de son jeu. On a paraître en 2000.) Geoffrey Mitchell Choir. L’ensemble travaille c’est ce Chœur qui fournit les solistes dans A aussi fait l’éloge de ses programmes novateurs depuis longtemps avec Opera Rara pour qui il New Beginning de John Tavener. Le Chœur dans lesquels l’ensemble s’engage à interpréter Après avoir étudié avec Sergiu Celibidache, a réalisé plus de trente enregistrements. Ce travaillera fréquemment avec l’English National et commander des œuvres nouvelles par les David Parry commença sa carrière comme Chœur ne cesse d’élargir sa réputation, Opera et le Welsh National Opera tout au long plus grands compositeurs contemporains, assistant de Sir John Pritchard. Il fit ses débuts travaillant avec la BBC et plusieurs maisons de de l’an 2000. comme James MacMillan, son actuel avec l’English Music Theatre avant de devenir disques internationales. Pour Chandos, le compositeur en résidence. l’un des chefs d’orchestre au Städtische Geoffrey Mitchell Choir a participé à plusieurs Depuis ses excellents débuts en 1945, lorsqu’il L’Orchestre fait souvent des tournées Bühnen à Dortmund et à Opera North. enregistrements pour Opera in English, une fut fondé par Walter Legge essentiellement internationales; aucun autre orchestre Directeur musical d’Opera 80 de 1983 à 1987,

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il est directeur musical d’Almeida Opera nouvelles productions dont Fidelio au Festival depuis sa fondation en 1992. de Nouvelle-Zélande, Maria Stuarda au Giacomo Puccini: Tosca Sa carrière, nationale et internationale, est Théâtre de Bâle et Lucia di Lammermoor avec extrêmement remplie, aussi bien sur la scène le New Israeli Opera. Fu nel 1889 che il trentacinquenne Giacomo nella speranza che producesse un genuino lyrique qu’en concert. Il a dirigé plusieurs En studio, il a participé entre autres à la Puccini vide, due volte, Sarah Bernhardt nel successo, tale da fruttare ricchi profitti per productions de l’English National Opera et production de la BBC Television de Der melodramma di Victorien Sardou, La Tosca Casa Ricordi e generosi diritti d’autore per il collabore régulièrement avec le Philharmonia Vampyr de Marschner, dirigeant aussi vingt et (dell’anno 1887), e lo riconobbe quale un compositore. Spronato dalla convinzione che Orchestra. C’est avec Così fan tutte qu’il fit ses une intégrales d’opéras financées par la Peter soggetto che assai avrebbe desiderato La Tosca di Sardou offriva materiale oltremodo débuts au Festival de Glyndebourne en 1996, Moores Foundation. Plusieurs de ces intégrales convertire in opera. Il dramma, inteso come promettente per un’opera, nell’autunno del une scène qu’il retrouva l’an dernier pour furent enregistrées pour Opera Rara et primées, strumento per l’arte della Bernhardt, offriva 1890 Puccini persuase Ricordi a scoprire diriger la création mondiale de Flight de Rosmonda d’Inghilterra de Donizetti recevant en all’attrice ampie possibilità di gagliardi dall’agente parigino di Sardou a quali Jonathan Dove. Belgique le Prix Cecilia. Pour Chandos, Parry a istrionismi. La trama, posta in un ambiente condizioni Sardou avrebbe venduto i diritti per Il séjourne fréquemment en Espagne où il a dirigé six enregistrements d’airs d’opéra (avec pseudo-storico, le assegnava il ruolo di una versione operistica del suo dramma. Nel dirigé en concert la plupart des grands Bruce Ford, Diana Montague, Dennis O’Neill, cantante lirica: capricciosa, gelosa, amorosa, gennaio 1891, quando pareva raggiunto un orchestres espagnols. C’est lui qui dirigea la Alastair Miles, Yvonne Kenny et John vulnerabile, micidiale, affranta e, in un ultimo accordo sui diritti, Ricordi, dietro première espagnole de Peter Grimes à Madrid Tomlinson, les trois derniers devant paraître gesto teatrale, suicida allorché si getta dai suggerimento di Puccini, diede al librettista et en 1996 la première production espagnole durant 2000) de même que Faust, Don bastioni di Castel Sant’Angelo. Luigi Illica il compito di ridurre il de The Rake’s Progress. Il a dirigé en Allemagne, Pasquale, L’elisir d’amore, La bohème, Cavalleria Vedendo il dramma recitato in francese, melodramma in cinque atti di Sardou in un en Suède, aux Pays-Bas, au Festival de Pesaro rusticana, Pagliacci et des extraits de Der lingua che Puccini conosceva appena, egli testo per un’opera in tre atti. Il 13 dicembre en Italie, au Festival international de Hong- Rosenkavalier sans parler du présent afferrò la potenzialità de La Tosca come soggetto 1891 un annuncio che Puccini avrebbe Kong, au Japon pour une tournée de Carmen enregistrement primé de Tosca, tous ces che ben si adattava alla scena lirica, dato che le composto La Tosca apparve sulla Gazzetta et au Mexique avec l’Orchestre symphonique enregistrements étant réalisés en collaboration opere non comunicano con le sole parole. Musicale, organo interno di Casa Ricordi. d’UNAM. Il a récemment dirigé plusieurs avec la Peter Moores Foundation. A questo momento Puccini aveva composto Tali prospettive svaporarono due opere, Le Villi e Edgar: in ambedue i casi improvvisamente nel dicembre 1892 allorché il successo non era stato incondizionato. Sardou, che aveva in sé una natura Eppure tutt’e due avevano dimostrato profondamente pratica, avendo ascoltato sufficienti promesse da persuadere l’editore alcuni estratti della musica di Puccini decise musicale milanese Giulio Ricordi a continuare che non appariva così promettente come a pagare a Puccini un modesto appannaggio Ricordi aveva cercato di prospettarla, ma –

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molto probabilmente – l’autore, che aveva subitaneo cambiamento d’opinione di Sardou vinto una commissione dal Una delle idee più utili – e per di più preteso una percentuale sui proventi del La come un gesto grossolano ed un insulto di Genova per un’opera su Colombo in vantaggiose – che ebbe Giulio Ricordi fu Tosca operistica, era rimasto deluso dalla personale. Il mutamento d’animo di Puccini commemorazione del quattrocentesimo quella di mandare il compositore a presiedere negligibile capacità di guadagno dimostrata da lasciò il libretto scritto da Illica per Tosca sulle anniversario della partenza del navigatore al alla presentazione delle sue opere nei loro Le Villi e da Edgar. Ricordi non informò spalle di Ricordi. (A proposito, il titolo largo dell’oceano e la sua scoperta di quello primi allestimenti in importanti teatri, affinche Puccini di questo sviluppo. Frattanto Puccini dell’opera omette l’articolo “La” che appare nel che fu rivelato essere l’emisfero occidentale. si potesse stabilire una tradizione autentica. E aveva composto Manon Lescaut, nonostante la dramma). A questo punto l’astuto editore si Il successo che Franchetti ebbe con il suo così, durante i due anni successivi, Puccini popolare versione di Massenet dello stesso mise a cercare d’interessare al soggetto un altro Cristoforo Colombo dimostrò che il suo talento passò gran parte del suo tempo a presiedere soggetto non avesse ancora dieci anni di vita. compositore della sua scuderia. È solo a questo traeva maggior vantaggio da un soggetto alla presentazione de La bohème in diversi Nei suoi sforzi di promuovere la carriera di momento che entra in argomento Alberto spettacolare che non dall’azione drammatica centri. Nel giugno del 1898 era a Parigi al Puccini Giulio Ricordi persino s’impossessò Franchetti (1860–1942). reciproca dei personaggi. Fu lo stesso tempo in cui La bohème, tradotta in francese, dei diritti italiani della Manon di Massenet con Un certo numero di scrittori che hanno Franchetti a decidere che Tosca non era un veniva rappresentata per la prima volta l’intenzione di precludere la sua partecipato nello sport, un tempo popolare, di soggetto adatto alle sue particolari capacità, e localmente all’Opéra-Comique. Mentre lui e rappresentazione in Italia fin quando la denigrare Puccini, hanno affermato che nel marzo 1895 stava discutendo con Illica la Ricordi erano a Parigi, fecero una visita di Manon Lescaut di Puccini non si fosse l’interesse di Puccini al soggetto della Tosca possibilità di modificare il libretto. Due mesi circostanza al sessantasettenne Sardou, e fu in affermata nel repertorio. Presentata al Teatro venne risvegliato solo quando seppe che dopo aveva definitivamente abbandonato il questa occasione che l’entusiasmo di Puccini Regio di Torino nel febbraio 1893 Manon Franchetti stava lavorandoci, e che Puccini e progetto giacché, come spiegò in seguito, per Tosca venne definitivamente risvegliato. Lescaut registrò un successo incoraggiante. Ricordi ingannarono Franchetti circa la sua “Non vi sentivo la musica”. Illica, in collaborazione con Giacosa, rifece il Il 29 luglio 1893 Ricordi scrisse all’agente adattabilità, con ciò lasciando a Puccini via Nel frattempo Puccini stava componendo libretto per adattarlo all’esigente senso del di Sardou che Puccini, tuttora all’oscuro libera per la sua realizzazione. Che tale La bohème (Torino, 1896) su libretto di Illica e teatro del compositore. Puccini persino dell’opinione di Sardou, era offeso dal lungo impressione sia falsa è stato pienamente Giuseppe Giacosa, opera che finì per avere collaborò personalmente al libretto, fornendo silenzio e si era interamente ritirato dal dimostrato da Deborah Burton che ha fatto persino maggior successo della Manon Lescaut. le parole per uno dei più popolari momenti progetto. Ma nell’ottobre 1893 Sardou, che minuziose ricerche negli archivi di Ricordi per Nel luglio 1895 Ricordi si apprestò a dell’opera, l’aria del tenore dell’Atto III “E ovviamente aveva ricevuto buoni rendiconti quanto si riferisce alla composizione di Tosca. persuadere Puccini che il libretto per Tosca di lucevan le stelle” (All the stars shone in del lancio di Manon Lescaut, informò Ricordi Nel luglio 1894 il libretto di Illica venne Illica, ormai nuovamente in sue mani dopo heaven). che, dopotutto, Puccini sarebbe stata la trasferito al fascoltoso Franchetti che acquistò i che Franchetti aveva definitivamente deciso di Alla prima, che ebbe luogo al Teatro persona adatta a comporre Tosca. Esaltato diritti da Sardou per 25.000 lire. non metterlo in musica, si presentava come Costanzi a Roma, il 14 gennaio 1900, Tosca dall’entusiasmo con il quale la sua Manon Franchetti aveva fatto un po’ di scalpore nel ideale successore di Bohème. Passò del tempo ebbe grande successo, e sei mesi dopo fu Lescaut era stata ricevuta, Puccini interpretò il 1892, allorché, raccomandato da Verdi, aveva prima che Puccini iniziassea lavorarci. presentata a Londra, e l’anno successivo a New

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York. Da allora si è dimostrata una delle più nell’Atto I, in cui descrive, su una ripetizione termine dell’Atto II, peraltro, quando Tosca canzonetta nel dialetto locale, ma sentiamo durevoli delle opere di Puccini, ed ogni inesorabile nel basso, il suo desiderio di pone le candele intorno al cadavere di Scarpia, anche, in varie prospettive, campane che soprano con talento drammatico è attratta dal possedere Tosca, mentre i fedeli si uniscono gli accordi si sentono di nuovo, ma adesso suonano, vicine e lontane, mentre sorge il personaggio come da una calamita. nel cantare un inno alla vittoria. Nell’Atto II, armonizzati diversamente e suonati “più piano giorno su Castel Sant’Angelo. E Puccini, Tre arie, due per il tenore, e l’aria del prima che Mario venga portato nella stanza possibile” secondo le istruzioni della partitura. nell’Atto II, fornisce musica non solo di base soprano nell’Atto II “Vissi d’arte, vissi per essere interrogato, Scarpia concisamente Un altro tema che ricorre con emozionante per il discorso operistico e per l’atmosfera, ma d’amore” (Life has taught me singing and elucida il suo atteggiamento, brutalmente effetto è quello che appare dapprima nella anche come suoni che i personaggi sulla scena loving), sono i momenti più famosi della edonistico, verso la vita e i suoi piaceri. E più sezione in mi maggiore del duetto d’amore di sentono come musica fuori scena, com’è il caso partitura. Esse sono fra i pezzi d’opera più in là, nell’Atto II, la sua risposta alla domanda Tosca e Mario Cavaradossi nell’Atto I, che della canzonetta del pastorello. Vicino all’inizio frequentemente incisi di tutto il repertorio di Tosca di quanto costerebbe salvare la vita a comincia con parole “Mia gelosa!” (Why so dell’Atto II un’orchestrina fra le quinte sta lirico esistente nel mondo e s’incontrano Mario, è un breve sfogo del suo istinto jealous?). Secondo una nota nel manoscritto suonando una gavotta. E poco dopo, spesso come popolari bis in programmi di predatorio inserito in una linea vocale autografo di Tosca, sostanziata dal fatto che è apparentemente dagli appartamenti della concerti. Hanno in comune certe qualità: il ascendente. scritta su un fascicolo separato di carta da Regina in Palazzo Farnese, si sentono Tosca ed lirismo lussureggiante di Puccini e la sua E a proposito di Scarpia, il tema più musica, questa incantevole melodia è un coro che cantano una cantata per celebrare espressività emotiva. Inoltre, sono eminentemente ricorrente nella partitura è apparentemente il primo pezzo di musica una vittoria che, ironicamente, più tardi risulta relativamente brevi (nessuna di esse dura più connesso al suo carattere. Questo tema è il composto da Puccini per quest’opera. Questa essere stata una sconfitta per la regale armata. di tre minuti circa) giacché hanno lo scopo di primo frammento musicale che si senta: una melodia ritorna, abbondantemente sviluppata, Altri esempi di musica atmosferica sono non intralciare l’impulso drammatico. Oltre rumorosa sequenza di accordi poco prima che come accompagnamento alla seconda uscita di nell’Atto I, ambientato nella chiesa romana di questi tre pezzi solistici, soprano e tenore la tela si alzi sull’Atto I. Essi riappaiono, in scena di Tosca nell’Atto I – dopo il suo Sant’Andrea della Valle. Poco prima dell’arrivo partecipano in due duetti d’amore di grande forma alterata, quando l’amante di Tosca, il conturbante colloquio con Scarpia. Un di Mario, il Sagrestano si genuflette e recita effetto: uno nel primo atto e l’altro pittore Cavaradossi, dice al fuggiasco Angelotti accenno alla stessa appare nel preludio l’Angelus, in un tempo marcato Andante nell’ultimo, poco prima della non proprio dove nascondersi da Scarpia. E più avanti, dell’Atto III, e pochi minuti dopo, religioso. Alla fine di quell’atto, mentre la finta esecuzione. nell’Atto I, quando lo stesso Scarpia entra in direttamente al seguito di “E lucevan le stelle”, chiesa si riempe di fedeli, si canta un Te Il carattere del sadistico Barone Scarpia ha chiesa, sulla traccia di Angelotti, questi questo tema serve da base alla musica Deum, mentre afesta suonano le campane e pure i suoi momenti solistici, ma vistala sua minacciosi accordi si presentano come il suo impetuosa che accompagna l’ingresso di Tosca. tuona il cannone. malefica natura i momenti prominenti del biglietto da visita. Dopo che egli ha esposto la Puccini adopera la musica anche per scopi In una trama così fitta di azione intensa e baritono raramente s’incontrano nell’opera sua natura ipocrita e lasciva durante il Te descrittivi, in modo particolarmente eloquente chiaramente motivata, c’è appena tempo per fuori del contesto dell’azione. Il primo di Deum, l’atto si conclude con gli accordi di nel preludio all’Atto III. Non solo sentiamo un espansività lirica. Uno dei più preziosi doni di questi è alla conclusione del Te Deum “Scarpia” che squillano minacciosamente. Al pastorello, fuori scena, che canta una Puccini quale compositore di opere liriche è il

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suo acuto senso del cosidetto “orologio La trama Cavaradossi e Angelotti progettano un piano Carolina tiene festa al piano di sotto. Entra teatrale”. Egli comprese qual’era la perfetta di fuga per quest’ultimo: a buio egli dovrà Spoletta con la notizia che la ricerca nella villa durata di qualsiasi tipo di episodio. Per Atto I affrettarsi, mascherato, alla villa di Cavaradossi di Cavaradossi non ha portato frutti, ma che lo esempio, la repentinità con la quale veniamo Interno della chiesa di Sant’Andrea della Valle e nascondersi in un pozzo nel giardino. Si hanno arrestato e portato al palazzo. Mentre scaraventati nell’azione all’inizio dell’Atto I è Angelotti entra di fretta nella chiesa e s’infila sente dal Castello un colpo di cannone che Tosca sta cantando una Cantata in onore della innetto contrasto con il preludio dell’Atto III, nella cappella privata della famiglia Attavanti. segnala la scoperta della fuga di Angelotti. Allo Regina, Scarpia interroga Cavaradossi alla tranquillo e pieno di scampanii, in cui il passo Sua sorella, che è sposata con il Marchese stesso tempo il Sagrestano entra con la (falsa) presenza del boia e di un giudice. Cavaradossi moderato dell’inizio crea un senso di ansiosa Attavanti, ha nascosto per lui la chiave della notizia della sconfitta di Napoleone a nega di sapere alcunché di Angelotti e Scarpia sospensione che verrà risolta solo cappella mentre era in chiesa a pregare. Entra Marengo. La chiesa si riempe di una folla ordina che gli venga applicata la tortura nella dall’improvvisa violenza dei pochi minuti il Sagrestano e si mette a sciacquare dei festosa e Scarpia entra, accompagnato da stanza adiacente. Anche Tosca, quando viene finali. pennelli appartenenti a Cavaradossi che sta Spoletta, ordinando al Sagrestano di fare interrogata, si rifiuta di rivelare il nascondiglio Tosca è un’opera che ha avuto la sua parte di terminando un dipinto della Maddalena. Il preparativi per un Te Deum in onore della di Angelotti fin quando, udendo i gemiti del detrattori, di critici che provano avversione per pittore ha mescolato le grazie della sua amata vittoria. Ingiunge ai suoi sbirri di scovare suo amante, menziona il pozzo nel giardino. il melodramma della trama. È però un errore Tosca con la bellezza di una donna sconosciuta indizi sul nascondiglio di Angelotti e questi Viene sospesa la tortura ed entra Sciarrone con confondere l’opera con la sua storia. Tutte le che ha visto in preghiera nella chiesa. Quando vengono presto trovati: una chiave, un la notizia della vittoria di Napoleone a Marengo. opere sono un amalgama in cui musica e esce il Sagrestano Angelotti emerge ed è canestro, svuotato delle provviste che Cavaradossi esplode in un inno alla libertà e trama si sono fusi inseparabilmente. La riconosciuto da Cavaradossi che chiude a Cavaradossi aveva lasciato, ed un ventaglio di conseguenza Scarpia lo fa mettere di nuovo partitura pucciniana, così finemente chiave la porta della chiesa. Angelotti spiega appartente alla sorella di Angelotti, l agli arresti ed egli viene portato via per essere controllata, tramutai meschini personaggi di che è appena fuggito da Castel Sant’Angelo Marchesa Attavanti. Quando torna Tosca fucilato all’alba. Scarpia allora promette di far Sardou in esseri memorabilmente espressivi, dove era stato imprigionato per ordine di Scarpia usa il ventaglio per accendere la sua liberare il pittore a condizione che Tosca si interamente umani nella loro forza e nelle loro Scarpia. gelosia ed essa accorre alla villa sperando di sottometta ai suoi desideri. Spoletta torna con debolezze. Oggi non ci si potrebbe Essi vengono interrotti dalla voce di Tosca sorprendervi la coppia fedigrafa. Scarpia la notizia che Angelotti si è suicidato quando menomamente aspettare d’incontrare La Tosca fuori della chiesa e Angelotti ritorna nella ordina che venga seguita e pregusta la lo hanno scoperto e Tosca acconsente a cedere di Sardou sulla scena di un teatro di prosa, ma cappella. Cavaradossi fa entrare Tosca che è soddisfazione di acchiappare il fuggiasco e alle voglie di Scarpia. Questi dice a Spoletta di l’opera di Puccini è un cardine del repertorio turbata dal fatto che la Maddalena somiglia godere i favori di Tosca. preparare una finta esecuzione “come nel caso attivo e dà tutte le prove di volerci restare per alla Marchesa Attavanti. Cavaradossi spiega di Palermi”. Tosca insiste che egli firmi un un bel po’ di tempo. che l’ha vista in chiesa in preghiera ma che Atto II salvacondotto per Cavaradossi e per lei. non sapeva chi era e canta con Tosca un L’appartamento di Scarpia nel Palazzo Farnese. Mentre egli lo sta scrivendo Tosca scorge un © 1996 William Ashbrook duetto d’amore. Quando Tosca è partita Scarpia sta cenando da solo mentre la Regina coltello e lo pugnala.

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Atto III un soprano drammatico dai sorprendenti Royal Opera, Covent Garden, dove ha con Giuseppe Sinopoli e Mefistofele con Uno spalto di Castel Sant’Angelo. risultati, che si è guadagnato critiche recentemente interpretato, tra gli altri, Rodolfo l’Opera di San Francisco. Per Chandos/Peter Si sente cantare un pastorello che guida il spettacolari in tutto il mondo. Altri ruoli (La bohème), il Duca (Rigoletto), Pinkerton Moores Foundation ha registrato La bohème, gregge. Cavaradossi chiede carta e penna per principali da lei interpretati sono Isolde, La (Madama Butterfly), Edgardo (Lucia di Cavalleria rusticana, Pagliacci e un disco da scrivere una lettera d’addio a Tosca. Spoletta Gioconda, Donna Anna, Turandot, Amelia, Lammermoor), Gustavo (Un ballo in maschera), solista di arie d’opera. appare con Tosca e poi parte. Tosca mostra a Tosca e Ariadne, e le sue apparizioni nei teatri Otello, Don Carlos e Radames (Aida). Cavaradossi il salvacondotto ed egli è lirici di tutta l’Europa e dell’America del Nord I suoi impegni nordamericani comprendono Gregory Yurisich è uno dei principali baritoni racconsolato e felice. Tosca è ansiosa che il suo e del Sud, tra i quali The Metropolitan Opera, The Metropolitan Opera (La traviata, Aida, al mondo il cui repertorio comprende i ruoli amante reciti bene la sua parte quando arriva il New York, Opera nazionale di Vienna, Teatro La bohème, Rigoletto, Cavalleria rusticana e da protagonista di Nabucco, Rigoletto, Simon momento dell’esecuzione, ciò che egli fa con Colon, Buenos Aires, English National Opera Pagliacci, nelle ultime due, insolitamente, si è Boccanegra, Falstaff e Guillaume Tell nonché naturalezza giacché i moschetti sono caricati e nei teatri lirici di Monaco, Bologna e esibito nella stessa serata), Lyric Opera di Giorgio Germont, Iago, Stankar (Stiffelio), ed egli viene ucciso. È giunta notizia Madrid, le hanno conquistato un unanime Chicago, San Francisco Opera, San Diego Amonasro, Barak (Die Frau ohne Schatten), dell’assassinio di Scarpia e gli sbirri sono alla consenso. I suoi concerti sui palcoscenici di Opera, Vancouver Opera nonché concerti con Escamillo, Telramund (Lohengrin), Balstrode caccia di Tosca. Ella sale sui bastioni del tutto il mondo hanno comportato apparizioni le Orchestre Sinfoniche di Filadelfia, (Peter Grimes), Sharpless, i quattro villani in castello e si getta nel vuoto. con Sir Simon Rattle, Klaus Tennstedt, Cleveland, Montreal e Ottawa e al Festival di Les Contes d’Hoffmann, Alfio (Cavalleria Bernard Haitink, Claudio Abbado, Zubin Cincinnati. È spesso ospite dell’Opera rusticana) e Tonio (Pagliacci). La sua carriera lo Traduzione: Marcella Barzetti Mehta, Daniel Barenboim e James Conlon tra nazionale della Baviera, a Monaco, dove le sue ha portato nei teatri lirici e nei festival di tutto molti altri illustri musicisti. È un’artista attiva interpretazioni includono Il trovatore, Der il mondo, tra i quali The Royal Opera, Covent Borsista Peter Moores al Royal Northern nelle registrazioni, le cui interpretazioni Rosenkavalier, Tosca e Simon Boccanegra. Garden, English National Opera, San College of Music, Jane Eaglen attualmente includono i ruoli della protagonista in Medea Altrove in Europa ha visitato i teatri lirici di Francisco Opera, Opera Australia, Los Angeles possiede una delle reputazioni più formidabili in Corinto di Mayr per Opera Rara e, per Vienna, Berlino, Bonn, Colonia, Amburgo, Opera, Victoria State Opera, Opéra de Lyon, nel mondo dell’opera. Ha goduto di un Chandos/Peter Moores Foundation, questa Nizza, Zurigo, Parigi, Oslo, Bruxelles, Verona, Châtelet théâtre musical, Parigi, Opéra successo unico nei ruoli contrastati di Norma Tosca che ha vinto il Music Industries Torino e Barcellona. national de Paris-Bastille, Théâtre royal de la (in particolare alla Scottish Opera, Seattle Association Award. Le sue innumerevoli registrazioni includono Monnaie, Bruxelles, Washington Opera e Opera, Los Angeles Opera, Opéra national de album da solista, il Requiem di Verdi con Sir Opera nazionale Unter den Linden, Berlino, ai Paris-Bastille e al Festival di Ravenna) e Nato in Galles da genitori irlandesi e gallesi, Colin Davis, La fanciulla del West con Leonard Festival di Bregenz, Melbourne International Brunilde (Scottish Opera, Lyric Opera of Dennis O’Neill è uno dei principali tenori a Slatkin, video di Der Rosenkavalier con Sir Festival, Edinburgh International Festival e Chicago, Opera Pacific, Teatro alla Scala di livello mondiale e uno specialista nei lavori di George Solti, Die Fledermaus con Kiri Te Hong Kong Arts Festival, nonché a Milano e a San Francisco e Vienna), il suo è Verdi. Ha potuto collaborare a lungo con The Kanawa diretta da Placido Domingo, Macbeth palcoscenici per concerti e opere a Belfast,

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Ginevra, Monaco, Atene, Tel Aviv e Brisbane. Amsterdam, Colonia, Roma e Seattle. È anche Vancouver e Ottawa. I suoi numerosi impegni Steva, Achilles (King Priam), Dimitri (la Ha lavorato con artisti del calibro di Dame apparso nei principali festival di tutto il hanno incluso il ruolo da protagonista in produzione di Francesca Zambello del Boris Joan Sutherland, Dame Kiri Te Kanawa, mondo, come quelli di Orange, Aix-en- Wozzeck, Falstaff, King Priam, Gianni Schicchi Godunov), Skuratov (Da una casa di morti), Placido Domingo, José Carreras, Dennis Provence, Istanbul, Bregenz e al Maggio e Don Pasquale, nonché Dulcamara (L’elisir Jack (Mahagonny), Pang (Turandot) e Max (la O’Neill, Zubin Mehta, Sir Charles Mackerras musicale di Firenze. Tra i numerosi ruoli da lui d’amore), Don Alfonso (Così fan tutte), Figaro produzione di David Pountney di Der e Sir Roger Norrington ed ha inciso varie interpretati Ramfis, Fasolt, Hunding, Pimen, (Le nozze di Figaro), Papageno, Re Dodon (Le Freischütz) alla English National Opera. registrazioni video e sonore, tra cui questa Osmin, Re Marke, Barone Ochs, Rocco, Coq d’or), Leandro (L’amore delle tre All’estero è apparso all’Opera dei Paesi Bassi e Tosca vincitrice del Music Industries Association Bottom (A Midsummer Night’s Dream), melarance), Dikoy (Kát’a Kabanová), Dr a l’Opéra de Nice (il condannato in Da una Award per la Chandos/Peter Moores Banquo (Macbeth), Cadmus/Somnus (Semele), Kolenaty (Il caso Makropulos), Shishkov (Da casa di morti), Opera Zuid (Michel in Julietta Foundation. Gessler (Guillaume Tell), Mustafa (L’italiana in una casa di morti), Frank (Die Fledermaus), il di Martinu˚), a Losanna (Jack) e al Festival di Algeri) e Walter (Luisa Miller). Le sue Barone (La Vie parisienne), il Barone Bregenz (Yannakos in greca di Nato a Canterbury, Peter Rose ha studiato numerose registrazioni comprendono, per Trombonok (Il viaggio a Reims), Varlaam (Boris Martinu˚). Parte di un fitto programma di musica all’Università dell’East Anglia ed ha Chandos/Peter Moores Foundation, questa Godunov) e Faninal (Der Rosenkavalier). Le sue concerti, ha partecipato a esibizioni studiato con Ellis Keeler alla Guildhall School Tosca che si è aggiudicata un premio e Il registrazioni per Chandos/Peter Moores concertistiche dell’Alzira di Verdi (Royal of Music and Drama. Ha debuttato nell’opera barbiere di Siviglia. Foundation comprendono L’elisir d’amore, Don Opera House, Covent Garden), Oberon nel ruolo di Commendatore al Glyndebourne Pasquale, La bohème e brani scelti da Der (diretto da Richard Hickox), Renard di Festival Opera di Hong Kong nel 1986 ed è Andrew Shore è riconosciuto come il primo Rosenkavalier oltre Il barbiere di Siviglia e Stravinsky (Birmingham Royal Ballet), Otello stato basso principale con la Welsh National baritono buffo della Gran Bretagna e come questa Tosca, vincitrice di un premio. (diretto da Sir Colin Davis) e Candide (diretto Opera fino al 1989. Si è esibito diretto dai sorprendente cantante/attore. Ha lavorato per da Kent Nagano). Le registrazioni includono primi direttori al mondo ed è apparso con tutte le principali compagnie britanniche, Il tenore John Daszak ha studiato alla questa Tosca vincitrice di un premio per tutte le maggiori compagnie liriche compresa la English National Opera, The Guildhall School of Music and Drama, il Chandos/Peter Moores Foundation. britanniche, tra cui The Royal Opera, Covent Royal Opera, Covent Garden, Opera North, Royal Northern College of Music diretto da Garden, English National Opera e Scottish Glyndbourne Festival Opera, Scottish Opera e Robert Alderson, dove è stato borsista Peter Christopher Booth-Jones, baritono, ha Opera. All’estero ha cantato alla Metropolitan Welsh National Opera, oltre ad essere apparso Moores, e all’Accademia d’Arte Lirica in Italia. iniziato la sua carriera operistica in tournée Opera, New York, all’Opéra-Comique, Parigi, all’estero con San Diego Opera, New Israeli Attualmente studia con David Pollard. I suoi con la Welsh National Opera for All e ha Opera nazionale tedesca, Berlino, Opera Opera, Opéra national de Paris-Bastille, ruoli operistici hanno incluso Don José continuato ad esibirsi con la Welsh National nazionale di Amburgo, Opera nazionale di Opéra-Comique, Gran teatre del Liceu a (Carmen), Steva ( Jenu˚fa) e il ruolo da Opera, al Glyndebourne Festival nonché Vienna, Lyric Opera di Chicago e New Israeli Barcellona, nonché a Lione, Nantes, protagonista nella produzione di Peter Stein Touring Operas, Kent Opera e all’English Opera, Tel Aviv, nonchè a San Francisco, Montpellier, Copenaghen, Amsterdam, del Peter Grimes alla Welsh National Opera, e Music Theatre. Ruoli all’English National

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Opera hanno incluso Papageno, Guglielmo (Madama Butterfly), Guglielmo (Così fan tutte) Opera Rara, per la quale ha inciso più di Dai buoni auspici degli inizi nel 1945, quando (Così fan tutte), Dr Falke, Schaunard, Denisov e Cecil (Maria Stuarda). Tra le altre trenta registrazioni. Il Coro gode di una fama fu creata da Walter Legge principalmente (Guerra e pace), Silvio, Pantaloon (L’amore delle apparizioni il Don Giovanni per Calgary sempre maggiore con ulteriore lavoro dalla come orchestra di registrazione, la tre melarance), Elviro (Serse), Il Conte di Opera, Bosun (Billy Budd) per l’Opéra BBC e da case discografiche internazionali. Per Philharmonia Orchestra ha continuato ad Almaviva (Le nozze di Figaro), Maestro della national de Paris-Bastille e alcuni ruoli in la Chandos il Geoffrey Mitchell Choir ha attirare alcuni fra i direttori più importanti del musica (Ariadne auf Naxos), Faninal (Der esibizioni concertistiche in Linda di partecipato a numerose registrazioni nelle ventesimo secolo. Hanno collaborato più Rosenkavalier), e Giorgio Germont. È apparso Chamounix e Candide. Tra le apparizioni più applaudite serie di Opera in English con il frequentemente con l’Orchestra Otto anche con la Royal Opera, Covent Garden, e recenti e tra quelle future troviamo Ford patrocinio della Peter Moores Foundation. Klemperer (primo Direttore Principale), Lorin con l’Opera North dove ha interpretato i ruoli (Falstaff) alla Semper Opera di Dresda, Maazel, Riccardo Muti, Giuseppe Sinopoli, del Conte Danilo (Die lustige Witwe), Ottokar Masetto presso The Royal Opera, Covent Il Peter Kay Children’s Choir fornisce ai Carlo Maria Giulini, Sir Andrew Davis, (Der Freischütz), il Padre (Hänsel und Gretel), Garden, Enrico (Lucia di Lammermoor) alla giovani cantanti opportunità in opere, Vladimir Ashkenazy e Esa-Pekka Salonen. Demetrius (A Midsummer Night’s Dream) e Lyric Opera di Chicago e Ottokar (Der concerti, spot (TV e Radio), eventi di Attualmente diretta dal Direttore Principale Claudio (Béatrice et Bénédict). Tra le Freischütz) e Marcello (La bohème) presso la beneficienza, Glyndebourne Festival Opera e Christoph von Dohnanyi e con Leonard registrazioni: Carmen, Billy Budd, Serse, Pacific English National Opera. Per Chandos/Peter produzioni teatrali in Regno Unito, Francia, Slatkin in qualità di Direttore Ospite Overtures di Sondheim e, per Chandos/Peter Moores Foundation ha registrato L’elisir Belgio, Olanda, , Italia, Spagna e Principale, l’Orchestra ha consolidato la sua Moores Foundation, Giulio Cesare. d’amore oltre a questa Tosca vincitrice di un USA. La sua appartenenza avviene per invito e posizione centrale nella vita musicale premio. audizione, e porta i partecipanti da coloro che britannica, non solo a Londra dove è Ashley Holland ha studiato all’Università di hanno già esperienza nelle interpretazioni Orchestra Residente al Royal Festival Hall, ma Warwick e al Royal Northern College of La carriera di cantante di Geoffrey Mitchell canore alla English National Opera dove Peter anche nella società in senso più ampio Music, dove ha vinto la Competizione Webster racchiude un repertorio notevole che spazia Kay è Consulente per i bambini, al Finchley attraverso soggiorni sul territorio. Booth/Esso e la Medaglia d’oro Curtis (Curtis dalla musica antica a quella contemporanea e Children’s Music Group, New London L’Orchestra ha ricevuto diversi premi Gold Medal) ed è stato borsista Peter Moores. che l’ha portato in Scandinavia, Germania, Children’s Choir, al Centre for Young importanti ed ha conquistato il plauso della Recentemente ha vinto anche la prestigiosa nella ex Cecoslovacchia, in Canada e Musicians, The Jennifer Lilleystone Singers, a critica grazie alla sua vitalità e al calore unico competizione lirica RANIERI I cestelli presso Australasia. L’esperienza di direzione degli inizi scuole e altri cori di tutta Londra e del sud del suono. È stata lodata sia per la sua l’Opera nazionale di Amburgo. Attualmente è con la BBC lo ha condotto ad un maggiore dell’Inghilterra. Per il Concerto del Millennio programmazione innovativa, al centro della il principale baritono della English National coinvolgimento con i suoi stessi cantanti e al Dome il Coro ha fornito i solisti per A New quale vi è un impegno ad interpretare e Opera dove, tra gli altri, ha interpretato i ruoli inoltre alla creazione del Geoffrey Mitchell Beginning di John Tavener. Nel 2000 è in commissionare una musica nuova dei principali di Belcore (L’elisir d’amore), Lescaut (Manon), Choir. Le prime registrazioni sono sfociate nel programma di cantare anche numerosi ruoli compositori viventi al mondo, tra i quali Zurga (Les Pêcheurs de perles), Sharpless coinvolgimento a lungo termine del Coro con per la English e la Welsh National Operas. l’attuale Compositore in Visita James MacMillan.

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L’Orchestra si reca frequentemente all’estero dal 1983 al 1987 e dal 1992 è stato Direttore questi vi sono numerosi dischi per l’etichetta Tomlinson, le ultime tre usciranno nel 2000), in tournée ed è l’orchestra sinfonica più Musicale fondatore dell’Opera di Almeida. Opera Rara che hanno vinti parecchi premi, nonché Faust, Don Pasquale, L’elisir d’amore, registrata al mondo con ben più di 1000 Lavora copiosamente in opere e concerti, a tra cui il belga Prix Cecilia per la Rosmonda La bohème, Cavalleria rusticana, Pagliacci e incisioni all’attivo. Tra queste vi sono, per livello nazionale ed internazionale. Ha diretto d’Inghilterra di Donizetti. Per Chandos ha brani scelti da Der Rosenkavalier oltre a questa Opera Rara, parecchi dischi di arie d’opera diverse produzioni presso la English National diretto sei registrazioni di arie d’opera (con registrazione della Tosca vincitrice di un nonché undici opere complete (Ugo, conte di Opera e appare regolarmente con la Bruce Ford, Diana Montague, Dennis O’Neill, premio, tutte in collaborazione con la Peter Parigi, Ne m’oubliez pas, Emilia di Liverpool, Philharmonia Orchestra. Nel 1996 ha Alastair Miles, Yvonne Kenny e John Moores Foundation. L’assedio di Calais, Rosmonda d’Inghilterra e debuttato con Così fan tutte al Glyndebourne Maria de Rudenz di Donizetti, Dinorah di Festival, dove l’anno scorso ha diretto la prima Meyerbeer, Medea in Corinto di Mayr, Orazi e mondiale di Flight di Jonathan Dove. Curiazi di Mercadante, Maria, regina È un frequente visitatore della Spagna dove d’Inghilterra di Pacini e l’Otello di Rossini). si è esibito in concerto con la maggior parte L’Orchestra ha registrato numerosi dischi per delle maggiori orchestre spagnole. Ha diretto la Chandos, tra cui, nelle serie di Opera in la prima spagnola di Peter Grimes a Madrid e Barda Clive English con il patrocinio della Peter Moores nel 1996 la prima produzione spagnola di The Foundation, L’elisir d’amore, Faust, La bohème, Rake’s Progress. È apparso in Germania, Svezia, questa Tosca vincitrice di un premio e sei Paesi Bassi, al Festival di Pesaro in Italia, al album con recital da solista di arie d’opera Festival Internazionale di Hong Kong, in (con Bruce Ford, Diana Montague, Dennis Giappone con una tournée della Carmen e in O’Neill, Alastair Miles, Yvonne Kenny e John Messico con la UNAM Symphony Orchestra. Tomlinson, le ultime tre usciranno nel 2000). Recenti nuove produzioni da lui dirette comprendono il Fidelio al Festival della Nuova David Parry ha studiato con Sergiu Zelanda, Maria Stuarda al Teatro di Basilea e Celibidache ed ha cominciato la sua carriera Lucia di Lammermoor alla New Israeli Opera. come assistente di Sir John Pritchard. Ha Il suo lavoro in studio di registrazione debuttato all’English Music Theatre, quindi è comprende la produzione della BBC di Der diventato direttore d’orchestra presso la Vampyr di Marschner nonché ventuno Städtische Bühnen Dortmund e la Opera registrazioni operistiche complete con il Gregory Peter North. È stato Direttore Musicale di Opera 80 patrocinio della Peter Moores Foundation. Tra Yurisich Rose

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COMPACT DISC ONE 2 Sacristan (enters at the back holding a bunch of painter stands silent in front, observing it carefully. How strange a thing is beauty, paint brushes and talking out loud as if addressing Turning to speak to Cavaradossi, the Sacristan sees in its differing faces! Act I somebody) the uncovered picture and exclaims in So dark my Floria, astonishment:) so passionate and loving. Scene: The Church of Sant’Andrea della Valle I don’t believe it… Nothing but dirty brushes. Why do all painters leave such mess behind them? Holy Mother! How do you know her? (On the right the Attavanti Chapel. On the left Sacristan (grumbling) Signor, excuse me… Cavaradossi scaffolding: on it a large picture covered by a cloth. (To hear this heathen scorn the laws of Heaven!) (He looks towards the scaffolding where the picture Know who? Various painter’s tools. A basket.) is and exclaims in surprise at seeing no-one there.) (He goes and gets water to clean the brushes.) No! There’s no one! Sacristan Angelotti Cavaradossi (Dressed like a prisoner, in rags, exhausted, I’d swear I heard him, he thinks he can avoid me. That lovely lady: these last few mornings before My noble friend Cavaradossi. the Madonna And you, my golden beauty, trembling with fear, enters out of breath, almost in your innocent sweetness! running, from the side door. He looks around (He puts the brushes down, gets on to the (and he points at the Madonna where Angelotti scaffolding, looks into the basket and says:) had found the key) You have smiling blue eyes, quickly.) Tosca’s blaze so darkly! 1 Ah! Here in safety! I’m in such a panic No, I’m dreaming. praying with such devotion… He’s not had his lunch yet. Sacristan (returning from the back and still shocked) I’m suspicious of everyone who passes. Cavaradossi (smiling) (More calmly he looks around again carefully and (He climbs down from the scaffolding. The Angelus (To hear this heathen scorn the laws of Heaven!) sounds. The Sacristan kneels and prays quietly.) You saw her! surveys the place closely. He heaves a sigh of relief She was so rapt in contemplation, praying with (He continues washing the brushes.) on seeing the column with the stoup of holy water Angelus Domini nuntiavit Mariae, et concepit de Spiritu Sancto. such fervour, so I painted her likeness; a gift and the Madonna.) from heaven. Cavaradossi The font… And the column… Ecce ancilla Domini; Art is a strange enigma, ‘In front of the Madonna’ fiat mihi secundum verbum tuum Sacristan (shocked) with the power to blend all kinds of beauty; is what my sister told me… et verbum caro factum est et habitavit in (Satan, get thee behind me!) but though I paint the fair one (He approaches, searches at the foot of the nobis… all my thoughts are of Tosca; Cavaradossi Madonna for the key and cannot suppress his joy at Cavaradossi (from the side door, seeing the ah, my thoughts are all of you, 3 Give me my palette! finding it.) Tosca, of you! Sacristan kneeling) (The Sacristan obeys. Cavaradossi begins to paint Here is the key… At prayer? rapidly, often pausing to study his work: the Sacristan and that must be the Chapel! Sacristan (rising) Sacristan comes and goes, carrying a small basin in They’re all the same, these women, (He points at the Attavanti Chapel; cautiously he Saying the Angelus. which he continually washes brushes. Suddenly who think they can compete inserts the key into the lock, opens the gate and (Cavaradossi steps on to the scaffolding and Cavaradossi stops painting; from his pocket he takes with the Madonna, enters the Chapel closing the gate behind him, and uncovers the picture which is of Mary Magdalene a medallion containing a miniature and his eyes they all stink of the devil. disappears.) with large blue eyes and flowing golden hair. The wander from the medallion to the picture.) (Cavaradossi continues painting.)

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(He dries the washed brushes, grumbling to himself.) (The Sacristan leaves at the back. Cavaradossi Angelotti Angelotti (To hear this heathen scorn the laws of Heaven! turns his back to the Chapel and continues to work. I have escaped from Castel Sant’Angelo… Thank you! Free-thinking dogs, atheists and schemers, Angelotti, assuming the church to be empty, appears Cavaradossi Cavaradossi who set themselves against the Holy Office! from behind the gate and inserts the key to open it.) I am yours to command. They’re too far gone in evil! Quickly! Cavaradossi (turns on hearing the squeaking of the Tosca (from outside) To hear this heathen scorn the laws of Heaven! (Angelotti enters the Chapel.) They’re nothing but incorrigible sinners! lock) Mario! Someone’s inside there! (He lays the basin down under the scaffolding and Cavaradossi (Hearing Tosca’s voice, Cavaradossi Tosca (from outside, pettishly) 4 puts the brushes in a pot near the picture.) (Terrified by Cavaradossi’s movement, Angelotti is signals Angelotti to be quiet.) Mario! Mario! Mario! So let us make the sign against the devil.) about to take refuge again in the Chapel, but, It’s Tosca’s voice. Cavaradossi (Affecting calm, he opens the door to (to Cavaradossi) looking up, he shouts out with a cry of joy which he Go and hide in the Chapel Tosca.) If you don’t mind, I’ll go. immediately represses. He has recognised the painter I’ll send her off in just a moment. I’m here. Cavaradossi and stretches his arms towards him having found Tosca (from outside) (Tosca bursts in, pushes aside Mario who wants to Yes, if you want to! such unexpected help.) Mario! embrace her and looks around suspiciously.) (He continues painting.) Angelotti Cavaradossi (towards the small door from where You! Cavaradossi! Tosca Sacristan (pointing to the basket) Tosca’s voice is heard) The man I needed! Why was it locked? You haven’t eaten… Can you be fasting? Here I am! (Cavaradossi doesn’t recognise Angelotti and Cavaradossi Cavaradossi remains, dazed, on the scaffolding. Angelotti moves Angelotti (Suddenly feeling weak, he leans against The Sacristan insisted… No, I’m not hungry. closer to make himself known.) the scaffolding.) I am faint with exhaustion Am I so much altered? Tosca Sacristan (with irony, rubbing his hands together) and with hunger… Oh… What a pity! Has prison changed my face so you don’t know I heard you talking… (but he cannot repress a gesture of joy and a greedy me? Cavaradossi (Quickly, he jumps onto the scaffolding, steps down with the basket and, Cavaradossi glance at the basket which he places aside a little; Cavaradossi (Recognising him, he quickly puts pushing him, urges Angelotti towards the Chapel.) To you! he takes two pinches of snuff ) down his palette and brushes and comes down from This basket will soon revive you; there’s wine too. Mind you lock up behind you. the scaffolding towards Angelotti, looking around Tosca Cavaradossi cautiously.) Angelotti To someone else; I heard you whisper. Go! Angelotti! The Roman Republic’s Thank you! She’s here. noble and persecuted Consul. Sacristan Cavaradossi Cavaradossi Gone! (He runs to close the side door.) Quickly! Who?

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Tosca fills the air and charms the heart. shine on us sweetly, silver moon above. Cavaradossi Don’t lie. It’s a woman! I heard Don’t you feel happy? Ah, you starry vaults of night, let passion rain Oh, just a model. You like her? her rapid steps and the rustle of her clothing… down. Tosca (She sits on the steps near Cavaradossi.) Tosca burns with ardent love! Cavaradossi She’s too attractive! Nonsense! Cavaradossi (absent-mindedly) Cavaradossi Happy! Cavaradossi (laughing and bowing) Ah, you bind me with your fetters, You praise me highly. Tosca my beloved. You swear it? Tosca (taken aback by his cold tone) Say it again! Tosca (suspicious) Tosca Do I? Cavaradossi See how Tosca is all on fire with love! I swear I love you! Cavaradossi I’ve seen those pale blue eyes before, I’ll swear it… Happy! Cavaradossi Tosca (reproaching him mildly) Cavaradossi (with indifference) Tosca (angry) My beloved, I’m yours! Oh! in front of the Madonna… Oh, you must have seen many! I don’t believe you. I don’t believe you. No, Mario, no, let me Tosca (resting her head on Cavaradossi’s shoulder; 5 Our little house in the country is waiting, Tosca (trying to remember) pray for a moment, give my flowers. almost immediately he moves away a little, looking the shady garden forever inviting. I know her! I know her… (She slowly approaches the Madonna and arranges over to where Angelotti disappeared) No one has seen our pretty olive grove, It’s Attavanti! the flowers she has brought with her around the Oh, my darling! place of secrets and of love. statue. She kneels and prays devoutly, then crosses Cavaradossi (laughing) We shall hear in the stillness, Cavaradossi herself and rises. She speaks to Cavaradossi who Brava! through the starlit spaces Now you must let me finish. meanwhile has started to resume his work.) the murmurs of the night Tosca (blind with jealousy) Mario, listen to me… tonight I’m singing, with all its delicate voices! Tosca You know her? Love her? but I finish quite early. Come around to my From all the woods and meadows, I don’t want to. ? You love her? dressing room and meet me, from fruitful vineyards, from towers, we’ll drive down to your villa, we’ll be alone Cavaradossi from tombs of vanished glory, Cavaradossi (attempts to calm her) there. It’s important, you know! all scented with flowers, I never met her. Cavaradossi (inattentive) the whispers of the night go out Tosca (annoyed, rising) Tosca (not listening to him, furious with jealousy) This evening? from one to another I’m going, I’m going! Those whispers, those rustling footsteps… and often promise falsely (She moves away from Cavaradossi and, turning to Ah, just now she was with you! Tosca vows that melt ev’ry lover. look at him, she sees the painting and rushes back The moon is full, Oh, blossom all you meadows, to Cavaradossi highly agitated.) Cavaradossi the heavy scent of flowers all you fresh sea breezes, caress me, But who is that golden vision up there? Please, listen.

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Tosca 6 What eyes in all the wide world can equal Cavaradossi Cavaradossi Ah, what a harlot! those dark fiery eyes of my Tosca? My Tosca, dearest Goddess, My love, I promise! Go! You’re false to me! In them I find myself. My life and being I adore your ev’ry passion; Tosca Wild fits of anger or the ecstasy of love! Cavaradossi (serious) are only for Tosca. Why all this hurry? Eyes that in love are tender, then blaze with anger. She comes here daily, kneels to the Madonna, Tosca What eyes can ever be found to equal Cavaradossi (with mild reproach, aware of her prays with deep devotion, Yes, you would forgive me the dark eyes of Tosca? jealousy) she never even saw me. if you knew the pain of my love! Not trust me? Tell me how you love me truly, Tosca Tosca (in ecstasy, leaning her head on Cavaradossi’s Tosca (falling into his arms and offering him her come console me… Swear it. shoulder) cheek) Tell me, tell me! Cavaradossi Oh, how you understand me; Yes, forgive me! How you can make me love you! I swear it. Cavaradossi (maliciously) Cavaradossi (smiling) My dearest love, Tosca (her eyes still fixed on the picture) But make the eyes look darker! Before the Holy Virgin? my Floria Tosca, See how she stares intently! Tosca Cavaradossi I shall always love you. She understands me! Cavaradossi Why so jealous? Ah! Don’t be jealous Come on now! for my love is all for you! (They kiss. Tosca, moving to go, looks at the picture Tosca again.) Tosca Yes, I know it, Tosca (freeing herself from Cavaradossi) (maliciously) She laughs at me and mocks me. I torment you night and morning. Oh! What are you doing? But make the eyes look darker! My hair is all untidy. Cavaradossi Cavaradossi (Tosca runs off quickly. Cavaradossi remains moved What nonsense! Why so jealous? and pensive, listening for her steps to die away, Cavaradossi then carefully he opens the door and looks outside. (Cavaradossi pushes her gently down the steps. She Tosca Now go, I must work! Seeing all clear, he runs to the Chapel. Angelotti descends backwards always looking at the picture But I’m certain you’d forgive me. appears at once from behind the gate. Cavaradossi and holding her hands high in Cavaradossi’s Tosca opens the gate for Angelotti and they shake hands hands.) Well, stay till this evening Cavaradossi affectionately.) and finish the picture. Make me a promise; Tosca (reproaching him mildly) Why so jealous? you’ll talk to no women, Cavaradossi (to Angelotti who clearly has heard Ah! those eyes! Tosca not golden-haired nor dark-haired, their conversation) Cavaradossi (he holds Tosca close to himself Yes, I’m certain you’ll forgive me, no matter where they pray. My Tosca is so honest she believes affectionately, gazing at her) if you knew the pain of my love! Promise me, Mario. she has to tell all that she knows in confession.

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I tell her nothing. Angelotti Angelotti Cavaradossi (with enthusiasm) We have to move with caution. She stopped at nothing Must I wear them? Shoot to kill if we’re challenged! to rescue me from Scarpia, vile assassin! Angelotti Cavaradossi (They exit quickly from the Chapel. The Sacristan We’re alone here? Cavaradossi There is no need, for now enters running, flustered.) the path is deserted… Cavaradossi Scarpia? That dirty bigot who beneath the cloak of religion gratifies Sacristan (shouting) Yes. Now tell me what your plan is. Angelotti (about to leave) Great news, Signor Cavaradossi! his squalid lusts and passions. God bless you! Angelotti There is no one he cannot buy over, (He looks towards the scaffolding and is surprised I have a simple choice: churchman as well as hangman! Cavaradossi (rushing again towards Angelotti) not to find the painter there.) to leave the country Whatever it may cost me If anything happens Where’s he gone? Oh, that’s annoying. or stay in Rome in hiding. I’ll save your life! there is a well in the garden. If you mortify a heathen, My young sister… But to stay here till evening is too risky. It’s very deep, you are granted an indulgence! but halfway down a small narrow passage (They run on from all sides, Acolytes, Brethren, Cavaradossi Angelotti leads inside to a secret cavern; Students and the Chapel Choir. They all enter in Attavanti? Someone will see me! it’s absolutely safe and no one knows it! riotous fashion.) Angelotti 7 All the Choir in here at once! (A cannon shot; they look at each other very Yes. She brought women’s clothing Cavaradossi (pointing) Quickly! shaken.) and concealed it there, under the altar… From this Chapel Choir (in great confusion) raincoat, dress, hat, a fan. you will come to an orchard, then to a stream Angelotti What then? (He looks around, frightened.) which winds along through the meadows The alarm from the castle! I’ll put them on to my villa… Cavaradossi Sacristan (pushing them towards the Sacristy) when it is dark this evening. Angelotti They will guess where you’re hiding. Come on, don’t dawdle! Cavaradossi I know it… And Scarpia will marshall his agents. Choir Now I follow! Cavaradossi What has happened? Such caution in her manner, Angelotti Here is the door key… Good-bye, friend! such continual praying I will rejoin you there this evening; Sacristan in one so young and lovely now, where did you say are the things your sister Cavaradossi (with sudden resolution) Haven’t they told you? Bonaparte. aroused my deep suspicion left you? I’m coming too. We must be careful. The scoundrel Bonaparte. of some forbidden love! Now I follow! (Angelotti goes to pick up the clothes hidden by his Angelotti Choir Purest love of a sister! sister.) Someone is here! Go on! Go on!

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Sacristan Praise the King! Scarpia (to Spoletta) (to himself ) They’ve been plucked and drawn and quartered. We shall have a celebration! And you, go, ferret out everything, It was a careless mistake and search every corner! to fire the cannon. The bird Now they’re boiling in a pot. Sacristan flew up and away Choir Go and get ready! Spoletta from our clutches. Tenors At once, sir! Choir Here’s a clue that may guide us… What’s he saying? An evening of gala! (He signals two men to follow him.) Whose is it? Boys and We shall have a celebration! (waving it in the air) Scarpia (to other Guards who obey) Imagination! Praise the King! Praise the King! This fan! Te Deum… Gloria! Guard every entrance, don’t arouse suspicion! Some accomplice must have helped him to Sacristan Great victorious celebra… (to the Sacristan) escape. It is absolutely true. As for you, think well before you answer. (The shouting and laughter reaches a climax when (He remains pensive, then looks closely at the fan; They have just received dispatches. Today a dangerous prisoner suddenly he notices a coat-of-arms on it and an ironic voice suddenly interrupts the vulgar din. has broken out of Castel Sant’Angelo… Choir exclaims forcefully.) It is Scarpia who appears suddenly from the small He headed for this church. Will there be a celebration? door: behind him Spoletta and some Guards. The Marchesa Attavanti! It’s her crest! Sacristan (He looks around, searching every corner of the Sacristan Seeing Scarpia they all stop, pallid with fear as if under a spell.) Oh God, protect us! church: his eyes stop on the scaffolding, on the We are to have a torchlight procession, painter’s tools, on the picture… and he recognises also a gala tonight at the Palace. Scarpia Scarpia the well-known features of the Attavanti in the face 8 For the occasion a new cantata You make the church a fairground! Maybe he’s still here. of the saint.) with Floria Tosca! Show respect! Now where’s the Chapel of the Attavanti? And that’s her portrait! And in the churches hymns to the Lord! Sacristan (stammering, frightened ) (to the Sacristan) Now go and get ready and stop this noise! Sacristan Your Excellency, the great victory. Do you know who did this painting? Go, go, go and get dressed. There it is! Scarpia (He goes to the gate and sees it ajar.) Sacristan Choir (laughing and shouting joyously) Are you ready for the Te Deum? It’s open! Oh, saints above! The Cavalier Cavaradossi… Ah, ah, ah, ah, ah, (They all move off downhearted and the Sacristan Another key! ah, ah, ah, ah, ah! also tries to disappear but Scarpia quickly detains Scarpia Scarpia him.) Him! Sopranos and Tenors How intriguing… Go in then. Stay here, you! Double money. Te Deum. (They enter the Chapel, then return: Scarpia, (One of the Guards who followed Scarpia returns All Sacristan (softly, terrified ) somewhat annoyed, holds a closed fan which he from the Chapel carrying the basket that Gloria! I’m not moving! waves nervously.) Cavaradossi gave to Angelotti.)

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Sacristan (seeing it) Sacristan Who knows where he’s gone? Scarpia Heavens! There’s his basket! Not in the Chapel, As if by magic Your lead is the one we follow. as he hadn’t a key, he’s completely disappeared. With heaven’s grace and its sweet inspiration, Scarpia (pursuing his thoughts) and, what is more, he had said he wasn’t hungry. you revive human faith in God our Saviour Him! The lover of Tosca! That’s why I placed the basket here in safety. (He sneaks away.) through the pow’r of your singing! He’s on our black list. Believes in Voltaire! (He shows where he had hidden the basket and Tosca Sacristan (who had gone to look in the basket) leaves it there, then, frightened by Scarpia’s stern, Tosca (abstracted and pensive) Has he tricked me? No… no… Kindly spoken. Empty! Empty! silent bearing, to himself:) He won’t betray our love, (Libera me Domine!) Scarpia he won’t betray our love! Scarpia Scarpia (to himself ) It is rare that a woman What is it? (Scarpia turns round the column and presents (Ah, that explains it. and in such a profession (seeing the Guard with the basket) himself to Tosca, who is surprised by his sudden So the Sacristan’s provisions should come to church at all to kneel in prayer. Come on! appearance. He dips his fingers into the stoup and fed the hungry Angelotti!) offers her the holy water; outside, the church bells Tosca (surprised) Sacristan (taking the basket) (Tosca enters, greatly excited: she goes straight to the are ringing inviting people to church.) I don’t follow. He found this basket in the Chapel. scaffolding, but, not finding Cavaradossi there, still This fellow here. very agitated, goes in search of him down the Scarpia (insinuating and courteous) Scarpia Scarpia central nave of the church. Scarpia, having seen Tosca, dear angel, To another who may look like an angel, Is it familiar? Tosca enter, has swiftly hidden himself behind the if you’ll allow (He points at the portrait.) Sacristan column with the stoup of holy water, making an my hand awaits you, visiting a church may have as a motive Very! The painter brings it here imperious sign to the Sacristan to stay put. The grace it with your fingers; just a meeting of lovers! Sacristan, trembling, embarrassed, approaches the now don’t misunderstand me, (hesistant and frightened) Tosca (losing her temper) but, if I may, sir… painter’s scaffolding.) I only want to offer holy water. Tosca? She must not see me. What? Of lovers? Scarpia (With a handkerchief Iago Tosca (touches Scarpia’s fingers and crosses herself) But prove it! But prove it! Spit it out, spit it out! Thank you, Signor. drove a jealous lover to utter madness. Scarpia (showing her the fan) I’ll use a fan!) Sacristan (Gradually people enter the church and go up the A useful thing to have for painting. I left it here myself, Tosca (returns to the scaffolding, calling principal nave, Parishioners, Bourgeois, Peasants, filled with food and wine this morning, impatiently in a loud voice) Tosca (seizes it) Locals, Soldiers, Shepherds, Beggars, etc: then a For painting? But where was it? the painter’s tasty lunch! 9 Mario?! Mario?! Cardinal with the Chapter proceeds to the main Scarpia (attentive, investigating the situation) Sacristan (approaching Tosca) altar; the congregation, turning towards the main Scarpia Well then, he ate it! Do you mean Cavaradossi? altar, crowd together in the principal nave.) There, by the canvas.

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Something must have startled Scarpia (insinuating) Scarpia Chapter our naughty love bird, I’d give my life 10 Three agents, go in a carriage… Sit nomen Domini bene dictum. and as she flew away to be able to console you. Quickly! Follow wherever she leads you… All she lost her feathers! Don’t lose her… Be careful! Tosca (not listening to him) Et hoc nunc et usque in saeculum. Tosca (examining the fan) I stand here weeping while in another’s arms Spoletta Scarpia The coronet! The crest! he makes a joke of my feelings. We will, sir. Where do we meet you? Two targets draw me, The Attavanti! The one I suspected… Scarpia I must have my way. (Poison, bite deeper.) Scarpia Scarpia The head of Angelotti (So my plan is effective!) Tosca (very bitterly) Palazzo Farnese! is a prize I long for. Where are they? (Spoletta exits hurriedly.) Ah, but to quell Tosca (With great feeling, holding back tears with If only I could surprise and catch them. (with a sardonic smile) the dark imperious eyes of Tosca, difficulty, she is oblivious of the place and Scarpia.) (even more worried ) Go, Tosca! see her grow faint and languish in my arms, I came here full of sorrow Oh, what a suspicion. Now your fate is ruled by Scarpia… feel her surrender, languishing in my arms… just to tell him: when evening falls The villa gave refuge to two pairs of lovers. Go, Tosca! One to the gallows we cannot be together. He’s unfaithful… He’s unfaithful… (Cannon shots are heard.) and my arms round the other. Tonight the lovesick Tosca is a captive! My pretty nest is defiled and degraded! Now Scarpia unleashes the savage falcon Choir (decisively) guarding your jealous passion. Scarpia Te Deum laudamus: I’ll go there now and catch them! Maybe I’ll profit from your doubts and (Now my poison bites deeper.) te Dominum confitemur! (She turns threateningly to the painting.) suspicions! Now your fate is ruled by Scarpia… Tosca You shall not have my Mario, I swear it. Go, Tosca! (The sacred song from the back of the church stirs At the gala this evening I’m a prisoner! Scarpia (shocked, as if reproaching her) Scarpia, as though waking him from a dream. He (Scarpia bows and prays as the Cardinal passes. composes himself, makes the sign of the cross Scarpia In church! The Cardinal blesses the congregation which bows looking all around him.) (Poison, bite even deeper.) Tosca reverently.) (in dulcet tones) God will forgive me… Scarpia Someone has made you deeply unhappy. For he sees how I’m weeping… Chapter Tosca, you turn my thoughts away from God! Why are these tears of bitterness falling (Tosca leaves greatly agitated: Scarpia accompanies Adjutorum nostrum in nomine Domini. over your lovely delicate features? Scarpia and Choir her, feigning reassurance. As soon as Tosca has left, Te aeternum Patrem omnis terra veneratur! Fairest of ladies, what has upset you? All the church gradually fills up with people. Scarpia Qui fecit coelum et terram. Tosca returns to the column and makes a sign. Spoletta End of Act I Nothing! appears at once.)

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COMPACT DISC TWO (to Sciarrone) turn to new sensations. Scarpia Go down and wait for Tosca at the entrance. God has made beautiful wines, And Angelotti? Act II Tell her I’ll be expecting her beautiful women… I want them all! after the performance… I must devour all the fruits of creation. Spoletta Scene: Palazzo Farnese He wasn’t there, sir! (Sciarrone moves to leave; calling him back.) (He drinks.) Or better, (The Farnese Palace. Scarpia’s room on the upper Scarpia (with increasing anger) (He gets up, goes over to the desk and hastily writes Sciarrone (entering) floor. A well-furnished table. A large window You mongrel! You filthy traitor! a note.) Spoletta’s back now. looking out to the Palace courtyard. It is night. Your ugly snout will whimper on the gallows! Scarpia is sitting at the table and dining. From time make sure she gets this letter. Scarpia to time he interrupts his meal for reflection. He takes (handing it to Sciarrone, who exits) Splendid! Show him in. Spoletta (trembling, he seeks to mitigate Scarpia’s out his watch: he is restless and deep in thought.) Now she will come… (Sciarrone goes out to call Spoletta and rage) (He returns to the table and, pouring himself accompanies him into the room, then remains by Dear God! Scarpia something to drink, says:) the door at the back. Scarpia sits down and (timidly) 1 Tosca, my falcon. For the love of her Mario! questions Spoletta without looking at him, whilst The painter was there… Surely by now my savage hounds For the love of her Mario continuing his meal.) have tracked them to their hiding place. she will be mine, completely mine. Well then, Spoletta. Did you have good hunting? Scarpia At dawn the gallows People who love like Tosca Cavaradossi? will welcome traitor Angelotti find only grief and betrayal. Spoletta (moving forward a little frightened ) and his fine accomplice Mario! 2 Richer far is the flavour (Saint Ignatius protect me!) Spoletta (nodding in agreement and adding (He rings the bell, Sciarrone appears.) of a violent conquest Close on the track of the lady we followed. immediately) Is Tosca here yet? than a gentle surrender… We found a lonely old house He knows where the other is hiding… hidden by bushes and pine trees. He was so scornful; every word Sciarrone Romantic whispers and sighing in the milky moonlit dawn She went inside and came out some time later. that he said was sarcastic and mocking. Yes, sir, an officer 3 are much overrated. I gave the word to scale the wall around the garden It seemed wise to arrest him… has gone to find her. and we entered and stormed the villa. I can’t strum the strings of a guitar Scarpia (with a sigh of satisfaction) Scarpia (pointing to the window) or read fortunes in the flowers, Scarpia That sounds better! Open it. Darkness has fallen. I do not choose to simper My clever Spoletta! (From the floor below, where the Queen of Naples, or to coo like a turtle dove! (Scarpia paces up and down in thought. He stops Maria Carolina, is giving a party in honour of (He rises but does not move away from the table.) Spoletta (wavering) suddenly – from the open window can be heard the Melas, the sound of an orchestra can be heard.) Conquest! I conquer Then I scratched around… rummaged… Cantata performed by the Choir in the Queen’s Still no cantata; they’re waiting for Tosca, whatever I lust for. (Scarpia perceives Spoletta’s hesitation, stands up, room. So Tosca has returned – she is there – so they strum a gavotte. When I’m sated I cast it from me, pale with anger and frowning.) beneath him.)

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Choir Scarpia Scarpia Cavaradossi Sale, ascende l’uman cantico, I see! Yet somebody claimed it was you Of course I laughed, I’m laughing still. varca spazi, varca celi (He stares at Cavaradossi before questioning him.) who assisted him in Sant’Andrea, Scarpia (Terrifying, he rises.) per ignoti soli empirei You’ve heard of the escape from… providing him with food and with clothing… You’ll find tears more appropriate! profetati dai Vangeli, Tosca Cavaradossi (resolute) (threatening) a te giunge o re dei re! A te quest’inno di gloria voli a te That’s nonsense! Be careful! Spoletta (pointing to the antechamber) Or voli quest’uman inno di gloria a te. I warn you! I want answers! He is there. Scarpia (continuing to remain calm) Choir …and that later you took him Tosca and Choir Scarpia (An idea strikes him and immediately he Questo canto voli a te. to your house outside the city… A te giunge, o re dei re! says to Spoletta:) Quest’inno di gloria a voli a te. Cavaradossi (Irritated and disturbed by the singing, Scarpia Now you may bring the prisoner in. Sommo Iddio della vittoria Never. Now prove it. goes to close the window.) (Spoletta exits.) che fosti innanzi ai secoli, (to Sciarrone) alle cantiche degli angeli. Scarpia (sweetly) Scarpia (imperious, to Cavaradossi) We’ll need Roberti, I have a faithful witness. Where’s Angelotti? and see the judge is ready. Tosca Sale, ascende l’uman cantico (Sciarrone exits. Scarpia sits at the table again. Cavaradossi Cavaradossi varca spazi, varca celi. The facts, man! Can you prove it? I don’t know. Spoletta and three Guards bring in Cavaradossi, A te o re dei re! then Roberti the torturer, the Judge.) My house was ransacked but your spies found Choir nothing. Scarpia Cavaradossi (proud, advancing impetuously) Sale, ascende l’uman cantico You gave him a basket of provisions? You insult me. Scarpia varca spazi, varca celi. Clearly he’s been well hidden. Cavaradossi Scarpia (with affected courtesy) A te giunge, o re dei re! Never! Tosca and Choir Cavalier, please take a chair, I beg you. Cavaradossi (Hearing Tosca’s voice, he exclaims Sale, ascende l’uman cantico Scarpia Cavaradossi with emotion:) varca spazi, varca celi And clothing? Tell my why. That is Tosca! Scarpia (pointing to a seat on the opposite side of Scarpia (who had broken off to hear Tosca, continues) Cavaradossi Cavaradossi the table) I’m sure you must have heard Your spies are mistaken! Never! Be seated. of someone escaping from Castel Sant’Angelo. Spoletta (Offended, he breaks in.) Scarpia Cavaradossi (refusing) Cavaradossi All the time we were searching, And refuge in your villa, I’m waiting. I heard nothing. he laughed and mocked us… and that’s where he’s hiding?

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Cavaradossi (forcefully) Scarpia Tosca Scarpia Never! Never! Mario Cavaradossi, the judge is waiting; I’m so easily jealous. Only the truth can assist him you must now bear witness. No one! No one! to shorten hours of horrible suffering. Scarpia (astutely, appearing calm again) (He signals Sciarrone to open the door leading into Now, Cavaliere, do consider; (Scarpia takes a chair, puts it in front of Tosca, sits the torture chamber, then turning to Roberti:) Tosca (surprised) all this defiant obstinacy will not help you. down and stares at her.) First the normal procedure… Of horrible suffering? What d’you mean? A prompt confession later… I’ll give orders. Scarpia What’s happening inside there? saves you from intolerable pain. (Sciarrone opens the door. The Judge enters and the Indeed?! Let me advise you; answer; Scarpia others follow him, leaving Tosca and Scarpia. tell me, where is he hiding? The law must be maintained to the letter. Spoletta withdraws to the door at the back of the Tosca (very annoyed ) No one there! Cavaradossi room. Sciarrone closes the door. Tosca acts surprised: Tosca I don’t know. Scarpia, with affected politeness, reassures her.) Scarpia Oh! God! But tell me what you mean… 4 Now you and I can talk So much passion? Is there something Scarpia Scarpia like friends together. you’re frightened of betraying? (with an expression of ferocity and with increasing I ask you for the last time. Say where! There’s no need to look so frightened. (turning towards the door of the torture chamber, force) Cavaradossi Tosca (sits, with studied calm) calling:) His hands and feet are tied I don’t know. I’m perfectly at ease… Sciarrone: what says our noble friend? and there’s a ring of iron with spikes around his Spoletta (Scarpia passes behind the sofa where Tosca is Sciarrone (appears round the edge of the door) temples. Good, he’s in for a whipping. sitting and leans against it.) Nothing. At each denial they tighten further tearing his flesh. (Tosca enters gasping: she sees Cavaradossi and runs Scarpia Scarpia (louder) to embrace him.) The fan is quite forgotten? Then persuade him. Tosca (jumping to her feet) Is it true? Is it true? Tosca (feigning indifference) (Sciarrone re-enters, closing the door.) Scarpia (seeing Tosca) You poisonous murderer… So stupid to be jealous. (Here she is!) Tosca (laughing) (She listenes with great anxiety, her hands Tosca Scarpia Oh! It’s useless! The Attavanti was not installed at the villa? nervously clutching the back of the sofa.) Mario, you here?! Scarpia Tosca Cavaradossi (a prolonged cry) Cavaradossi (softly to Tosca who indicates she has (Gravely: he rises and walks around.) No: no one was with him. Ah… understood ) We shall see, my dear lady. No word of what you saw today or they’ll kill Scarpia Tosca Tosca me! No one? You’re absolutely certain? Clearly, if he’s to please you, he had better tell lies? They’re killing him. Oh God… Oh God…

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Scarpia Say nothing, nothing. (Tosca, horrified, moves away from Scarpia who Scarpia But you could save him. I scorn the pain. with sudden ferocity turns to Spoletta, shouting:) Say, where is Angelotti? Throw open the door. Speak up, tell me truly, Tosca Scarpia (approaching Tosca) Let her hear how he suffers. don’t lie to me again. I will… You must stop them this minute. 5 Enough. Tosca, your answer. Where is he hiding? (Spoletta opens the door and stands upright on the Scarpia (turning and going up to the door) Tosca (encouraged) Say where! threshold.) Sciarrone, release him. I know nothing. Tosca Sciarrone (appearing at the door) Scarpia Cavaradossi (from within) Ah! ah! ah! I can’t bear it! Completely? That sample did not move you? I defy you! Ah! What horror! (moves to approach the door) Ah! This torture must stop. Scarpia Scarpia (shouting to Roberti) Roberti, we’ll continue. It’s more than I can bear, Completely. Still tighter! Still tighter! more than I can bear, (Sciarrone returns to the torture chamber, closing Tosca Cavaradossi (from within) more than I can bear! the door.) No! You mustn’t. I defy you! And now I want the truth… Cavaradossi (a loud moan) Scarpia Scarpia (to Tosca) Ah! Tosca Then will you answer? Your answer. Let me see him!… (Tosca turns imploringly to Scarpia who motions to Tosca Tosca Spoletta to allow Tosca to approach: she goes up Scarpia No! No! You monster… I cannot. close to the door and, aghast at what she sees, turns No! I hate you. You monster, to Cavaradossi.) (Gradually Tosca succeeds in drawing near to the you’ll kill him, you’ll kill him… Scarpia Ah, you’ll kill him! Come on now! Tosca (in anguish) door.) Mario… allow me Tosca Scarpia Tosca to tell him? But you are the one who will kill him, Mario! Ah! I know nothing! Cavaradossi by your silence. (desperate) Cavaradossi (within, painfully) No! No! (He laughs.) Do I have to lie? Tosca! Tosca Tosca Tosca Scarpia I cannot bear any more… Say, where is Angelotti? Are they hurting you still? You’re laughing, deriding my torment. Cavaradossi Cavaradossi Scarpia (with cruel irony) Tosca Nonsense. Tell what? No. Have courage. On stage you were never more tragic than this. No! No! You don’t know…

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Scarpia (At Cavaradossi’s cry, Tosca jumps up and Cavaradossi (reviving) Cavaradossi (lets himself fall, breathless) (Annoyed by Cavaradossi’s words and fearing that immediately whispers to Scarpia.) 6 Floria! I reject you! Tosca will be heartened to keep silent, he bellows to Tosca Spoletta.) Tosca Tosca Mario! Roberti, shut him up! The well in the garden… My darling… Sciarrone (breaking in, breathless) (Spoletta enters the torture chamber but soon Scarpia Cavaradossi I have dreadful news to tell you! returns while Tosca, overcome by emotion, falls on We’ll find Angelotti? My love… the sofa and in a sobbing voice turns to Scarpia, Scarpia (surprised) Tosca Tosca who stands by impassively and silently.) Tell me quickly what has happened? Yes! How you have suffered, my dearest love! Tosca Scarpia (loud, towards the torture chamber) But God will punish this cruel fiend! Sciarrone I have never done you harm. Enough, Roberti. All our forces are defeated… So how can you inflict all this torture on my Cavaradossi Scarpia spirit, Sciarrone (appearing at the door) Tosca, did you tell them? All defeated? How? Where? yes, my spirit. He has fainted! Tosca Spoletta No, my love… Sciarrone Tosca (to Scarpia) At Marengo… Judex ergo cum sedebit You assassin! Cavaradossi quidquid latet apparebit. I want to see him… You promise? Scarpia (impatient, shouting) Nil in ultum remanebit. Spit it out man! Scarpia (to Sciarrone) Tosca Tosca Go, bring him in here! No! Sciarrone Why do you torture my spirit? Bonaparte has beaten us… (Sciarrone appears followed immediately by Guards Scarpia (vehemently, to Spoletta) Spoletta who carry the unconscious Cavaradossi and place Hidden in the garden well, Scarpia Nil in ultum remanebit. him on the sofa. Tosca rushes over to him but the run, Spoletta! Melas… ghastly sight of her lover covered in blood is too (Scarpia, making the most of Tosca’s despair, goes to Sciarrone much for her and she covers her face in horror – (Spoletta exits.) the torture chamber and signals for the torture to No! Melas retreated! start again.) then ashamed of her weakness, she kneels by him, Cavaradossi (rises inveighing against Tosca) kissing him and crying. Sciarrone, the Judge, You’ve betrayed me!… (Cavaradossi, hearing Sciarrone’s words with Cavaradossi (a heart-rending scream, intense and Roberti and the Scribe exit at the back, whilst, at a increasing anxiety, finds the strength in his prolonged ) sign from Scarpia, Spoletta and the Guards Tosca (beseeching) enthusiasm to get up and face Scarpia Ah! remain.) Mario! threateningly.)

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Cavaradossi Tosca My supper has been rudely interrupted. No!… No!… Victorious! Victorious! Oh, pardon him! Mario!… with you… with (seeing Tosca, downhearted, motionless, still beside (insinuating) God of vengeance appear, you! the door) A lovely woman can never tempt me fill the wicked with fear! Why so dejected? with common bribes of money. Scarpia (Irritated by Cavaradossi’s words, he orders Surge up, Liberty, Come, my lovely young lady, come and sit down. When I betray my oath of office and trust, the Guards.) crushing all tyranny! Together we may find a way of rescuing your lover. I’ll ask some other payment; I want him out of here! Now then… I’ll ask a far sweeter payment. Tosca (desperate, clinging to Cavaradossi Tosca (He sits down, inviting Tosca at the same time to The moment I have prayed for! attempting to calm him) Oh, pardon him! do likewise.) How I have ached with love for the diva! Mario, quiet, be calm, I pray! Mario… with you… be seated… let’s talk a little. But tonight my eyes were opened: Cavaradossi (He cleans a glass with a napkin, then looks at it (He gets up, very excited.) Scarpia Do you see me take pride through the light of the candelabra.) I saw you as a woman! You’re dead already! in the torture you tried… We’ll have some wine first, a fine Rioja. All your tears were like lava, scalding my senses, while your blood runs colds, Tosca (pouring, with courtesy) and the hatred darting out of your dark eyes oh, Scarpia, you murderer! No, no! A little, it would refesh you. increased my hungry craving! With the grace of a leopard Scarpia (smiles sarcastically) Scarpia (Tosca sits down opposite Scarpia staring at him, you enfolded your lover, Your blustering, shouting, Go, go! then, resting her elbows on the table with her hands Ah! I vowed that you would be completely mine. go on then, reveal the depths of infamy supporting her face and in a tone of the most Tosca in your nature. profound contempt, she asks Scarpia:) (Scarpia moves towards Tosca, extending his arms: You’re dead already, Ah! Mario, Mario! Tosca, having listened motionless and petrified to for the hangman’s noose awaits you! …with you… with you! Tosca Scarpia’s lustful sentiments, rises abruptly and takes 7 How much? refuge behind the sofa.) Tosca (seeking to force her way but obstructed by Scarpia) Tosca Be calm! Mario! Scarpia (pushing Tosca back and closing the door) Scarpia (impassive, pouring himself a drink) Ah! (to Scarpia) Not you! How much? Pay no attention! Scarpia Tosca (with a groan) Tosca Be kind, be kind! You’ll be mine! Oh, save his life! Your price! Cavaradossi Tosca Scarpia Scarpia (He laughs.) You murderer! You murderer! Ah! I?… You! Ah, they say I’m corrupt Scarpia (He goes back to the table, sees his meal only half- but a lovely woman cannot tempt me Scarpia (almost running after her) Get out! finished and, smiling, recovers his calm.) with common bribes of money… You’ll be mine!

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Tosca (horrified, runs to the window pointing to it) (She avoids Scarpia in horror.) They’re starting. They will escort Scarpia Ah! I’d rather swallow poison. the prisoners to the gallows. Your answer? Scarpia (drawing still closer to her) And time is passing! See! Scarpia (coldly) Does it matter? (Having listened with great anxiety, Tosca draws away Tosca (kneels before Scarpia) Your Mario still remains my prisoner! Throbbing with anger… throbbing with desire! from the window and leans on the sofa, exhausted.) On my knees must I implore you? Tosca Tosca Work is going forward down there already. Mercy… See, I stretch out my hands to beg you! Ah, I despise and hate this horrible bargain! Viper! Listen! You’ll soon hear the firing squad. Hear me… Mercy. All I ask is a single word of pity. (The idea occurs to her to go to the Queen and she For your Mario, one hour is left, Scarpia (tries to seize her) and you have the power to save him. runs towards the door. Scarpia, who guesses her Tosca! Scarpia thought, draws to one side.) (Tosca, overcome with grief, falls back onto the sofa. Your mystifying beauty, your loving nature, Tosca (takes refuge behind the table) Unmoved, Scarpia goes and leans on a corner of the I yield. The price is so meagre. Scarpia Viper! I won’t restrain you by force. table, pours himself some coffee and drinks it whilst You gain a whole life, I the meerest fleeting You’re free to go, I mean it. Scarpia (pursuing Tosca) he continues to look at Tosca.) instant. Tosca! (With a cry of joy Tosca moves to leave: Scarpia Tosca (with great sorrow) Tosca (rising, contemptuously) with a gesture detains her, laughing ironically.) 8 Life has taught me singing and loving. No, no! But your hopes are misguided. Tosca Ah, help me! I never did harm to one living creature. How you disgust me! No, no! Royal pardons are seldom granted to a dead man. Often in secret (Knocking is heard at the door.) (Tosca retreats in horror and, staring at Scarpia, Scarpia (loudly) I offered help to the poor and the needy. she falls onto the sofa: then in a gesture of supreme You’re mine! Daily I pray sincerely. Scarpia contempt and hatred she looks away from him.) My prayers Tosca Who’s there? (in a convinced tone and with satisfaction) ascend from so many holy churches in Rome… Ah, help me! How you must hate me! And every day my flowers grace the altar of God. Spoletta (entering hurriedly and all out of breath) Tosca Scarpia (shouting) But now when I am suffering, Your Lordship, Angelotti took his life on our Oh, God! You’re mine! do you, dear Lord, reject me? arrival. Ah, why do you reward your servant so? Scarpia (approaching her) Scarpia (to Spoletta) Tosca I gave my jewels for the Madonna’s mantle, And that is how I want you! Ah, help me! So then, let them hang his corpse on the gallows! I gave my singing And what about his friend? Tosca (with disgust) (They stop at the sound of a distant drumroll.) to glorify the Angels of Heaven, Do not touch me, you demon! yet now in my distress, Spoletta I hate you, hate you, hate you, Scarpia ah, why, ah, why, dear Lord, The Cavalier Cavaradossi? despise you, loathe you! Listen! There’s the drum beat. ah, why do you reward me so, dear Lord? Everything’s ready, your lordship.

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Tosca (stares meaningfully at Spoletta who nods Scarpia table and still eyeing Scarpia. Having finished (Heaven help me!) repeatedly to show that he understands Scarpia’s I’ve done as you commanded. writing the permit, he seals it, and folds it: then, intentions) opening his arms, he goes over to Tosca to embrace her.) Scarpia Tosca (stopping him) I have changed my decision. (to Spoletta) Just one moment. Scarpia I want the prisoner to be shot. Don’t go yet. You must give me a safe-conduct Tosca, now at last you’re mine! (Tosca jumps up, terrified.) (softly to Tosca) so that I can leave the country with him. (But his voluptuous tone suddenly changes into a Now mark me, Your answer? terrible cry as Tosca stabs him fully in the chest.) just as we did in the case of Palmieri… Scarpia (with courtesy) (Tosca nods in agreement and, weeping out of God in heaven! Do you intend to leave us? shame, buries her head in the cushions on the sofa.) Spoletta Tosca (to Spoletta) An execution… Tosca That was the kiss of Tosca! Listen. Scarpia (suddenly, with clear deliberation) Yes, for ever! Scarpia Tosca (immediately interrupting Scarpia) …but a fake one as we did with Count Palmieri! Scarpia Ah, help me, murder! But give the word to free him this instant! You understand me? Then may your wish be granted. (Staggering, he tries to grab hold of Tosca who 9 (He goes over to his desk and begins to write, Spoletta draws back, terrified.) Scarpia (to Tosca) stopping to ask Tosca:) I understand you. Ah, help me! Murder! Ah! We have to move with care. Which route have you chosen? Scarpia I can’t be seen to release him. (Tosca finding herself caught between Scarpia and Go. Tosca The world must believe the table and realising that he is about to touch her, The shortest! that Cavaradossi has been shot. Tosca repels him in horror. Scarpia falls, screaming and (He points to Spoletta.) I want to tell him myself. Scarpia choking in his own blood.) This faithful man will arrange it all. Civitavecchia? Scarpia Tosca (with hatred ) Tosca You shall. Tosca You blood foams and chokes you. How can I trust you? (to Spoletta) Yes. He will arrange it. Scarpia Scarpia (While Scarpia is writing, Tosca goes over to the Mind now; as dawn is breaking… Oh, help me! I’ll give him his orders table and with trembling hand takes the glass of Tosca here in your presence. Spoletta wine, filled by Scarpia, but just as she lifts it to her Your blood foams and chokes you. (to Spoletta) Yes. Just like Palmieri… mouth she notices a sharp pointed knife on the table; Spoletta, close it. (Spoletta leaves. Scarpia stands by the door, listens she glances briefly at Scarpia who is still writing, Scarpia (struggles in vain and tries to get up (Spoletta quickly goes to close the door, then returns to Spoletta’s footsteps, then, changing his expression and with infinite care attempts to grasp the knife, clinging to the sofa) near Scarpia.) and gestures, approaches Tosca passionately.) which she then hides behind her back, leaning on the Oh, help me!

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Tosca Tosca writing implements. On one of the walls is a the soldiers down the stairs. The Jailor turns to Ah! It’s over! Now I forgive him! crucifix and a lamp suspended in front of it. On Cavaradossi.) Scarpia (Without taking her eyes off Scarpia’s body, Tosca the right, the opening of a small staircase which One hour is left you. Murder! Murder! goes to the table, takes a bottle of water and rises to the platform. In the background the Vatican A priest is here. moistening a napkin she washes her fingers, then and St Peter’s. It is still night: gradually as dawn Will you make your last confession? Tosca she tidies her hair, looking at herself in the mirror. approaches the light becomes a murky grey: the The blow struck by a woman! Cavaradossi She remembers the permit, searches for it on the church bells sound for Matins. The voice of a No. But grant me, I beg you, one final favour. Scarpia desk but doesn’t find it; she looks for it again, Shepherd can be heard leading his flock.) Please, help me! finally she sees it in the clasped hand of Scarpia. Jailor She lifts his arm and then lets it fall, inert, rigid, A Shepherd Boy I’d like to. Tosca 10 having removed from it the paper, which she hides No words can cheer me. I repaid all your torture! Cavaradossi in her breast. She stops to look at Scarpia’s body.) My heart is sad and heavy. I leave behind me someone Scarpia (growing weaker) And this is the man who terrorised the whole of Blow, winds, and carry I love so dearly. Oh, help me! Murder! Rome. my sighs of love away. Would you give me leave Can you not see my heart is breaking? (He makes a final effort, then slumps backwards.) (She extinguishes the candelabra above the table to write her a letter? Golden haired beauty, soon I must die! (removing a ring from his finger) Tosca and is about to leave, but changes her mind and, seeing a lit candle on the desk, she takes it and (A Jailor with a lantern climbs up the stairs, goes to All that is left me of any value is this gold ring. Can you still hear me? Tell me! If you will promise that you’ll deliver Look at me! I am Tosca! Oh, Scarpia! lights the other candle. She places the candles on the cell and lights the lamp before the crucifix, then either side of Scarpia’s head. She looks around the one on the table: he sits down and waits half- what I write to a lady, Scarpia again and, noticing a crucifix, she unhooks it from asleep. A little later a patrol, led by a Sergeant on you may keep it. Oh, help me, I’m dying! the wall and, carrying it devoutly, kneels to place it duty, climbs onto the platform accompanying Jailor (hesitates a moment, then accepts and Tosca on Scarpia’s chest; then she gets up and with great Cavaradossi: the patrol stops and the Sergeant leads motions to Cavaradossi to sit at the table, while he Does your blood choke you? caution departs; closing the door behind her.) Cavaradossi into the cell, handing the Jailor a piece sits on the bench) of paper. The Jailor examines it, opens the register I promise. Scarpia (gasping for breath) End of Act II and writes in it while questioning.) Murder! Cavaradossi (begins to write, but after a few lines Tosca (bending over Scarpia’s face) Act III Jailor memories interrupt his thoughts and he stops Die and be damned. Mario Cavaradossi? writing) Scene: Castel Sant’Angelo 11 Die! Die! Die! (Cavaradossi nods in agreement. The Jailor hands All the stars shone in heaven (The platform of Castel Sant’Angelo. On the left, a the pen to the Sergeant.) and the night air was scented. Scarpia (remaining rigid ) prison cell: placed there is a bench, a chair and a Please, sign. I heard the gate creak open Ah! table on which stands a lamp, a large register and (The Sergeant signs the register, then leaves with and then on the pathway a footstep.

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I breathed her fragrant perfume, Tosca Cavaradossi Cavaradossi then she ran to embrace me. You’re free to go! You? With this hand you destroyed him, Liberty! Oh, sweetest kisses, oh, languishing caresses! for my sake, and you so good and kind! With trembling fingers Cavaradossi (looks at the paper and reads the Tosca I loosed the veil that hid her dark-eyed beauty! signature on it) Tosca Liberty! My dream of love Scarpia! Blood from his heart was all over my hands. Cavaradossi has vanished now for ever. Kindness from Scarpia? Out to sea! That hour has faded, (looking at Tosca intently) Cavaradossi (taking Tosca’s hands between his own His first act of true compassion… and now no hope is left me… lovingly) Tosca 12 Oh, hands of mercy, innocent and loving, but now no hope is left me! Tosca (takes the permit and replaces it in her bag) No more grief in all the world… oh, hands intended for compassion and goodness, And just when life was full of hope and promise, His final one! Smell the scent of roses? so full of promise! and made to care for children and gather roses, See how every living thing (He bursts into tears covering his face with his Cavaradossi and join in prayer for those in trouble! awaits the sunrise as if it were a lover! hands.) His final one? But those hands fashioned by the God of loving (Spoletta comes up the stairs accompanied by the were chosen by the sacred goddess of justice. Cavaradossi (with more tender feeling) Sergeant and followed by Tosca: the Sergeant carries Tosca His death was your deed, oh, hands of retribution, I minded death because I had to leave you, a lantern, Spoletta indicates to Tosca where to find He demanded my love for your life. oh, hands of mercy, innocent and loving! for you’re the soul of everything I live for; Cavaradossi, then calls the Jailor to him: together My tears and my pleas were useless. me deepest hope, my joy and tender longing… they return back down the stairs, but not without I turned, frantic with fear, Tosca (snatching her hands away) centre on you, for you alone inspire me. first having given an order to the Guard, who is at to the Madonna, but she would not hear me. Listen… dawn is approaching. The flashing storms and paling skies of heaven the back, to keep an eye on the prisoner. Tosca, who Then the monster informed me: (showing him the bag) take form and colour when you are beside me, meanwhile has been highly agitated, sees now the gallows raise I gathered all my money and jewels… and all the glorious beauties of nature Cavaradossi weeping: she rushes over to him and their hideous arms to heaven! and then we’ll be together… touch my heart when you love and desire me. unable to speak for emotion she raises his head with The drums began their rolling. But first – and now you will laugh – both hands, showing him at the same time the He laughed at me, the monster, and gloated, first they are going to shoot you, Tosca permit. Cavaradossi, seeing Tosca, jumps to his feet sharpened his claws to pounce on his prey! their rifles will have blank cartridges… Oh love, that knew the way to win your freedom, surprised, then reads the paper that Tosca gives to ‘You’re mine now!’ Yes, Just a sham execution. you be our guide on land, our pilot at sea! him.) ready to die with shame, I promised. They fire, you fall. We’ll follow where the voice of love is calling. Ah! Safe-conduct for Floria Tosca… And then my eye was caught by a knife blade. Then the soldiers will leave us… We’ll be alone, the two of us together, He wrote the order that set us free, and then to freedom, ah, then to freedom. floating away, like clouds as sunset is falling… Tosca and Cavaradossi so certain I’d surrender. Off to Civitavecchia… we’ll take a boat there… and then we’ll find a paradise for ever, and for the man who is her companion. Deep in his heart I drove the shining blade. put out to sea! paradise for ever, paradise for ever!

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(They remain impassioned, silent, then Tosca, We feel your glorious joy… Tosca puts her hands over her ears to block out the sound bringing them back to reality looks around We hear in our hearts music of sweet desire! (And fall correctly.) of the shots, then she signals to Cavaradossi to fall. intently.) A volley of shots) Cavaradossi (smiling) What is keeping them? Tosca There! Fall Now! (I’ll copy Tosca’s performance.) (to Cavaradossi with great affection) I’ll press upon your eyes a thousand kisses (Seeing him on the ground she blows him a kiss.) Mind now! and tell you how I love no one but you. Tosca Ah, what an artist! You have to fall at the moment (Meanwhile a party of Soldiers mounts the stairs: (Stop laughing.) (The Sergeant approaches the body and observes it you hear the soldiers firing. carefully; Spoletta also takes a look and dismisses an Officer marshals the Soldiers at the rear; Cavaradossi (becoming sombre) the Sergeant, preventing him from giving the coup Cavaradossi Spoletta, the Sergeant and the Jailor follow: (Like this?) de grâce. The Officer lines up the Soldiers, the I’ll not fail you. Spoletta gives the necessary instructions. The sky Tosca Sergeant withdraws the sentinel at the back, and When they fire I will fall down, grows lighter as dawn rises and four o’clock sounds. (Like that.) then all follow Spoletta down the staircase. Tosca is utterly lifeless. The Jailor approaches Cavaradossi and, taking off his hat, points out the Officer, then, having taken (Cavaradossi follows the Officer first having said very agitated: she watches these movements fearing Tosca (insistant) the prison register, he descends the stairs.) goodbye to Tosca, who moves to the left in the cell that Cavaradossi, through impatience, might move But do be careful, try to fall correctly! in order to follow what is going on on the platform. and speak too soon.) In the theatre we learn it, Jailor She sees the Officer and the Sergeant lead (to Cavaradossi, restrained) I should know how to do it. Ready? Cavaradossi to the wall opposite her: the Sergeant Oh! Mario, do not move yet. wants to blindfold Cavaradossi who, smiling, They’re going now… Quiet. They’re off. Cavaradossi Cavaradossi (interrupting her and drawing her refuses. Such lugubrious preparations exhaust Tosca’s There they go. There they go. I am ready. close) patience.) They mustn’t see you moving. Tell me again of our journey together; Tosca (to Cavaradossi in a low voice and laughing 13 What a time they are taking! (Seeing the platform deserted, she goes over to listen your voice is sweeter than the lark at morning! secretly) I can’t bear this delay! by the entrance to the stairs: she stops there, Tosca (lets herself go as if in ecstasy, then becoming (Don’t forget now… Sunrise already… trembling, anxious, afraid suddenly that the more and more excited ) you hear them firing… down…) Now what else will they think of ? Soldiers, rather than disappearing, will return to United in our exile It isn’t serious. I know… the platform. She listens. They have all gone. She Cavaradossi (whispering, also laughing) but still this waiting drives me frantic! goes over to the platform. She listens. They have all we shall create a world of love around us (Down!) with a glory of colour, (The Officer and the Sergeant arrange the gone. She goes over to the parapet and, leaning out Tosca platoon of Soldiers, giving them the appropriate cautiously, she looks below, then runs towards Tosca and Cavaradossi (Do not stir till you hear me give a signal.) orders.) Cavaradossi.) with a glory of music by night and day… Now then! At last they are ready… Quickly up! Mario! Mario! World of love, shining with hope and Cavaradossi My dear Mario’s so handsome! Now quickly! Let’s go! flaming with passion, ever increasing holy fire… (No, my darling.) (Seeing the Officer ready to lower his sabre, Tosca (touching him, troubled, turning him over)

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Up, Up! Mario! Mario! Ah! Sciarrone Tosca look below. Spoletta stands still, terrified and Murdered! Murdered! Murdered! Scarpia. With my own! aghast.) Oh! Mario, murdered? You? Like this? Oh! Scarpia in sight of God! Tosca You finish like this! You finish like this! End of Opera Mario! (With incoherent words, sighs, sobs she throws (She throws herself into space.) herself onto Cavaradossi, not fully comprehending Spoletta English version by Edmund Tracey his terrible fate.) It must be Tosca. (Sciarrone and some Soldiers, having climbed the © 1980 Josef Weinberger Ltd You murdered… murdered? stairs in confusion, rush over to the parapet and Reprinted by permission of Josef Weinberger Ltd Tosca (Meanwhile from the courtyard below, from the Mario! parapet and above from the small staircase the voice Sciarrone and Soldiers (closer) of Sciarrone, Spoletta and other Soldiers can be We must catch her! heard gradually becoming more distinct.) Spoletta and Sciarrone Spoletta Stand guard at the bottom of the staircase!

Ah! Chlala Hanya

Spoletta, Sciarrone and Soldiers Workman Robert Sciarrone Stand guard at the bottom of the staircase! Ah! (Spoletta appears on the stairs while Sciarrone Some Soldiers behind him cries out pointing at Tosca.) Ah! Sciarrone Sciarrone She’s there! I tell you someone’s killed him! Spoletta Tosca Ah! Tosca, you will pay most dearly Mario… for his life…

Spoletta and Soldiers (shouting) (Spoletta moves to throw himself on Tosca, but Scarpia? springing to her feet she pushes him away so violently that he almost falls back down the stairs, Tosca (weeping) then she runs to the parapet and from the top cries Andrew John Why have you left your Floria? out:) Shore Daszak

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Opera in English on Chandos Hanya Chlala Hanya Robert Carpetner Turner Carpetner Robert CHAN 3025(2)

Christopher Booth-Jones Ashley Holland CHAN 3008(2) CHAN 3014(3)

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Opera in English on Chandos Opera in English on Chandos CHAN 3004 CHAN 3003 CHAN 3017(2) CHAN 3019(3) CHAN 3029 CHAN 3023(2)

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Opera in English on Chandos Opera in English on Chandos

CHAN 3027(2) CHAN 3006 CHAN 3010

CHAN 3011(2) CHAN 3013

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Opera in English on Chandos

You can now purchase Chandos CDs directly from us. For further details please telephone +44 (0) 1206 225225 for Chandos Direct. Fax: +44 (0) 1206 225201. Chandos Records Ltd, Chandos House, Commerce Way, Colchester, Essex CO2 8HQ, UK E-mail: [email protected] website: www.chandos.net

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Repetiteur: Duncan Williams CHAN 3030(2) Producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Richard Smoker CHAN 3005(2) Editor Jonathan Cooper Recording venue Blackheath Halls; 25–27 & 29–30 August 1995 Front cover Montage of photograph of Jane Eaglen by Larry Merkle and photograph of the Castel Sant’Angelo by John Ferro Sims Back cover Photograph of David Parry by Russell Duncan Design Cass Cassidy Booklet typeset by Dave Partridge Publisher J. Weinberger Ltd P 1996 Chandos Records Ltd C 2000 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU

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CHAN 3000 OO OO TT TT 2000 Chandos Records Ltd DDD TT CC TT CC Act I Act Acts II and III Acts c -disc set alto bass by Victorien Victorien Sardou by 2 tenor tenor soprano baritone baritone baritone baritone La Tosca 1996 Chandos Records Ltd p DIGITAL CHANDOS (1858–1924) , painter O’Neill ...... Dennis ...... Charbel Michael ...... Charbel Michael , resistance fighter, resistance Rose ...... Peter , Chief of Police...... Gregory Yurisich , Chief of Police...... GregoryYurisich , celebrated opera singer...... Jane Eaglen , celebrated opera singer...... Jane ...... Andrew Shore Shore ...... Andrew , Baron Scarpia’s orderly Scarpia’s , Baron ...... Christopher Booth-Jones , police agent Daszak ...... John ...... Ashley Holland Holland ...... Ashley Baron Scarpia Baron Angelotti Cesare Sciarrone English version by Edmund Tracey Edmund by version English Tosca Floria Cavaradossi Mario Sacristan Spoletta Jailor Boy A Shepherd Giacomo Puccini Giacomo Tosca acts An opera in three after the play Illica and Luigi Giacosa Giuseppe by Libretto Choir Mitchell Geoffrey Choir Kay Children’s The Peter Orchestra Philharmonia Parry David CHANDOS RECORDS LTD Colchester . Essex . England

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