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Rossini: Mezzo

Rossini Mezzo

Cavatina (Isabella e Coro, L’Italiana in Algeri) 1. Cruda sorte! Amor tiranno! [4.26]

Coro, Recitativo e Rondò (Isabella, L’Italiana in Algeri)

2. Pronti abbiamo e ferri e mani (Coro), Amici, in ogni evento ... (Isabella) [2.45]

3. Pensa alla patria, e intrepido il tuo dover adempi [6.07] Recitativo e (, Tancredi) 4. Oh patria! dolce, e ingrata patria! [5.42] 5. Di tanti palpiti, di tanti pene [2.58]

Finale secondo: Coro e Scena (Angelina, )* 6. Della fortuna istabile [3.16] 7. Nacqui all’affanno e al pianto [6.58]

Recitativo e cavatina (Malcom, ) 8. Mura felici, ove il mio ben si aggira! [2.41] 9. Elena! oh tu! [6.47] Aria (Malcom, La Donna del Lago) † 10. Ah si pera: ormai la morte [4.43] 11. Douglas, Douglas (Coro) [3.15]

Recitativo e cavatina (Arsace, ) 12. Eccomi alfine in Babilonia … [5.24] 13. Ah, quell giorno ognor rammento [6.02] Total Timings [61.06]

Amaia Azcona (Clorinda*, Albina†) / Nerea Castellot Mezzo-Soprano (Tisbe*) / Vicente Abril (Don Ramiro*, Serano†) / Ximo Martí Baritone (Don Magnifico*) / Marc Solano Baritone (Dandini*)

Silvia Tro Santafé mezzo-soprano • Orquesta Sinfónica de Navarra Julian Reynolds conductor • Lluís Vich Vocalis

www.signumrecords.com

R Rossini Mezzo gratitude, the composer wrote starring roles for her in five of his early , all but one of them If it were not for the operas of , comedies. The first was the wickedly funny the repertory for the mezzo soprano would be far L’equivoco stravagante premiered in Bologna in less interesting. is often thought of as 1811. Its really reverses the definition of following generic lines and the basic opera plot opera quotes above. In this opera, the tenor stops

has been described as “the tenor wants to marry the baritone from marrying the mezzo and does it

the soprano and tries to stop them”. by telling him that she is a castrato singer in drag. According to this simplistic formula, the heroine is Unfortunately, this was considered so scandalous the soprano which leaves for the mezzo such roles that it was taken off after only a couple of as the heroine’s sidekick, mother or nurse. performances. Next came Ciro in Babalonia, not Otherwise she is the villainess; Ortrud to Elsa, merely the exception in that it was not comic, but Amneris to Aida, La principessa de Bouillon to it was written as an opera to be performed in Lent Adriana Lecrouveur. Not too much sympathy need and therefore based upon a Biblical story, the fall be expended here, evil is much more interesting to of Belshazzar’s Babylon by Cyrus King of Persia. play on stage - and often a lot easier. However it This was followed the same year (1812) by La is true that the Romantic opera where the mezzo is Pietra del paragone, in which the Marcolini role both centre stage and gets her man at the end of disguises herself as her twin brother, a form of the evening are few and far between, and nearly drag evidently acceptable for the period. Marcolini all the well-known examples are to be found in the did not appear at the first performance of works of Rossini. Many of his mezzo roles are of Rossini’s earliest great success, Tancredi, but she 13. Ah, quell giorno ognor rammento [6.02] course trouser roles, but he also gave them the appeared as the heroine in his next comedy, T heroines parts. L’Italiana in Algeri (1813). The last Rossini premiere she took part in was (1814) By chance, during most of his career, the a total failure at the time. The following year,

composer was closely associated with mezzos. Rossini was in Naples with a remarkably generous Firstly, there was Marietta Marcolini, an contract to write one opera a year for a payment

established singer noted for her comic roles, who that included a share of the profits from the opera took the 19 year-old composer under her wing. In house’s gambling tables.

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The first of these was Elisabetta, Regina There is a further reason why Rossini is particularly f d’Inghilterra, written for , then at kind to the mezzo. He usually followed the baroque the peak of her fame and the darling of the Neapolitan tradition of casting the male lead in a serious audience. History dictates that Elisabetta was not opera as a mezzo trouser role. The tenor as hero to get her man, but Colbran fared rather better, was a development of romantic opera - a norm she later married her composer (at the time of the that was established as Rossini’s serious operas opera she was involved with the Impresario who were fading from the repertory. This expectation had given Rossini his contract). It is sometimes had to be broken before they could be said that Colbran was a soprano - at the time the re-established on opera stages in the last forty years. terms were not classified quite as strictly as they are now - but it seems clear that she was a mezzo The music for three of the characters in this recital with a high extension to the voice. What is now are not just trouser roles, but they are also all sometimes called rather unattractively with its three the heroes of their operas, though in the medical suggestion, a mezzosoprano acuto. The case of the rather undashing Malcolm in La donna parts he wrote Colbran lie noticeably higher than del Lago he is only this by virtue of the fact that those he wrote for Marcolini. the heroine loves him and they are united at the end. These trouser roles are always written lower Rossini wrote leading for roles for Colbran in eight than their heroines, which is one reason why the further operas, all for Naples. These include higher roles are now often considered to be Desdemona in , the title-roles in and soprano territory. and Elena in La Donna del Lago. They left Naples and married in 1822 but her voice was 1. Cavatina showing signs of strain and he wrote only one (Isabella e Coro, L’Italiana in Algeri) further opera for his wife, Semiramide (1823). They later separated, but Rossini took care of her Rossini’s first success was his first opera for until her death permitted him to re-marry and he major opera house, the unjustly neglected La always loyally maintained that she was one of the pietra del paragone. Its neglect may partly be greatest interpreters of his music. ascribed to the fact that his next opera, Tancredi was a sensational success. It was perhaps

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fortunate that his next commission was a comedy, 4-5. Recitativo e cavatina especially as it was also premiered in a (Tancredi, Tancredi) mere three months later. Very different from the gentler more sentimental , The success of Tancredi inspired a sort of hysteria. with L’Italiana what we think of as Rossini comedy considered it to be Rossini’s masterpiece, was born. It was perhaps the greatest gift he gave but that was because he considered it to be the to La Marcolini, for the heroine dominates the composer’s most (in comparison with madcap plot in which she single-handedly foils Zelmira which he thought to be his most Teutonic). the marriage plans of Mustafa, fends off the Both operas are based upon French models, which unwanted attentions of Taddeo and rescues her probably encouraged Stendhal in his sweeping lover Lindoro and the whole Italian party from the judgments. In the case of Tancredi, it is a play by clutches of the Algerians. In her first aria, her . However, because it was written for initial dismay at being taken prisoner turns to Venice, it had to be provided with a happy ending laconic acceptance of her plight and as that was the Venetian tradition - the same determination to use her feminine wiles to her tradition required a happy ending to be rewritten best advantage. for the Neapolitan Otello. Rossini however insisted that the librettist supplied an alternative tragic 2-3. Coro, Recitativo e Rondò conclusion that was first performed shortly after (Isabella, L’Italiana in Algeri) in .

The first act of L’Italiana is so perfect that the Tancredi is a trouser role and in his first aria, he second can seem an anti-climax. All rests on the reflects on his (illegal and dangerous) return from shoulders of the Isabella to carry the second act exile to his native Syracuse and his hopes to see through. She decides she needs the help of the his love, Amenaide. The popularity of this aria men who were captured with her and who are now throughout the nineteenth century is attested by far too resigned to their fate as Mustapha’s slaves the fact that Wagner parodies it in Die Meistersinger. for her liking. She attempts in this second act aria to inspire this feeble bunch by appealing to their sense of patriotism.

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6-7. Finale secondo: Coro e Scena he wrote poems and only turned to novels around a (Angelina, La Cenerentola) 1814, and it is upon a poem that La Donna del Lago, which appeared in 1819, is based. It cannot Originally, this aria formed the conclusion to Il claim to be the first Scott-inspired opera; the Barbiere, where it was sung by the Count. It is so earliest, which is based upon the same poem much better suited to its new home that it is rarely as Rossini’s opera, seems to be The Knight of heard in the original position; I think for three Snowdoun (Henry Bishop and others) in 1811. His main reasons. Firstly, Il Barbiere is closer to the popularity as a source may be gauged by Guy rapid pace of farce, while most of Cenerentola is Mannering (partly by Mozart’s pupil Thomas slower and more gentle (it is a surprisingly long Attwood) which appeared in 1816 only a year later opera considering it is supposed to have been than the novel. It is often claimed that Rossini written in less than three weeks), and a lengthy here for the first time abandoned his neo- aria suits it better. Secondly, the Count is not Classical stance for the charms of , solely at the heart of the opera, it is also most but curiously the events of Elisabetta closely definitely about Rosina, so an aria sung by one of mirror those of Sir ’s Kenilworth. The them leaves the other politely smiling fixedly for only problem was that it was not yet written. There longer than most divas care to. Cenerentola on the was clearly something in the air. other hand is about the protagonist, any Prince would do really, and so this is not a problem. The plot concerns events in the life of King James Lastly, it is about the journey from scullery to V of Scotland, mostly disguised, for reasons best throne, and the aria forms a fitting image of known to himself, as Uberto. He falls in love with royalty. She delivers and you will sit and listen.] Elena who not only loves Malcolm but is forced by her father, Douglas, to become betrothed to 8-9. Recitativo e cavatina Rodrigo. The opera is blessed with a relatively (Malcom, La Donna del Lago) happy ending - no one seems to mind about the death of poor Rodrigo - when the King forgives For one who was once a high priest of Romanticism, everybody and Elena is allowed to marry her the works of Sir Walter Scott mostly gather dust on Malcolm. In his first aria, he has determined bookshelves. For the first half of his literary career to join the King’s enemies and comes to find

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6 Douglas to tell him, but alone he thinks of his fond and usurped the throne of Babylon. Her son, memories of Elena. Arsace, who had escaped his mother’s murderous rampage is able to take the throne and restore the 10-11. Aria status quo. Appropriately to a drama that calls for (Malcom, La Donna del Lago) spectacular costumes and effects, the score is the most sumptuous of all of Rossini’s Italian operas. Malcolm, on the latter side, is taking a hopefully well-earned rest from the battle that is raging Eccomi alfine in Babilonia is Arsace’s “presentation” between the King’s men and the opposing aria. He has returned from the military campaign Highlanders. He is told that Rodrigo has been summoned by a secret message from Semiramide. killed and Elena has gone to the Palace to seek her Mystified by this, he also thinks of his love for the father. He determines to follow her and to attempt Princess Azema. He is not aware that she has to rescue her even if it costs him his life. summoned him because, not recognising him, she Swashbuckling sentiments, but the ensuing happy has fallen in love with him. An Oedipal conundrum end has more to do with the King’s clemency than only resolved when he accidently kills her. anything Malcolm does. © Tim Coleman

12-13. Recitativo e cavatina (Arsace, Semiramide)

Rossini’s final opera for Italy was written for Venice, perhaps that is why Semiramide deliberately eschews the experimentation of his Neapolitan operas and returns to his greatest Venetian success, Tancredi. Both are adaptations by of tragedies by Voltaire. Rossini was able to get away with the original ending in Venice because though it ends with the death of the title-role, she is an anti-heroine who had murdered her husband

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TEXTS Come si fa. S Sian dolci o ruvidi, 1. Cavatina Sian flemma o foco, (Isabella e Coro, L’Italiana in Algeri) Son tutti simili A’ presso a poco... [Isabella] Tutti la chiedono, Cruda sorte! Amor tiranno! Tutti la bramano, Questo è il premio di mia fé: Da vaga femmina Non v’è orror, terror, né affanno Felicità. Pari a quel ch’io provo in me. Per te solo, o mio Lindoro, 2-3. Coro, Recitativo e Rondò Io mi trovo in tal periglio. (Isabella, L’Italiana in Algeri) Da chi spero, oh Dio, consiglio? Chi conforto mi darà? [Chorus] Pronti abbiamo e ferri e mani [Chorus] Per fuggir con voi di qua, È un boccon per Mustafà. Quanto vaglian gl’Italiani Al cimento si vedrà. [Isabella] Qua ci vuol disinvoltura: [Isabella] Non più smanie, né paura: Amici, in ogni evento Di coraggio è tempo adesso M’affido a voi. Ma già fra poco io spero, Or chi sono si vedrà. Senza rischio e contesa, Di trarre a fin la meditata impresa. Già so per pratica Perché ridi, Taddeo? Può darsi ancora Qual sia l’effetto Ch’io mi rida di te. D’un sguardo languido, D’un sospiretto... (a Lindoro) So a domar gli uomini Tu impallidisci,

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T Schiavo gentil? Ah! Se pietà ti desta [Isabella] Il mio periglio, il mio tenero amor, Se poi va male il gioco... Se parlano al tuo core Patria, dovere e onore, dagli altri apprendi [Chorus] A mostrarti Italiano; e alle vicende L’ardir trionferà. Della volubil sorte Una donna t’insegni ad esser forte. [Isabella] Pensa alla patria, e intrepido Qual piacer! Fra pochi istanti Il tuo dover adempi: Rivedrem le patrie arene. Vedi per tutta Italia (Nel periglio del mio bene Rinascere gli esempi Coraggiosa amor mi fa.) D’ardir e di valor. [Chorus] (a Taddeo) Quanto vaglian gl’Italiani Sciocco! Tu ridi ancora? Al cimento si vedrà. Vanne, mi fai dispetto. 4-5. Recitativo e cavatina (a Lindoro) (Tancredi, Tancredi) Caro, ti parli in petto Amore, dovere, onor. Oh patria! dolce, e ingrata patria! Amici in ogni evento... Alfine a te ritorno! Io ti saluto, o cara terra degli avi miei: ti bacio. [Chorus] È questo per me giorno sereno: Andiam. Di noi ti fida. Comincia il cor a respirarmi in seno. Amenaide! o mio pensier soave, [Isabella] Solo de’ miei sospir, Vicino è già il momento... De’ voti miei celeste oggetto, Io venni alfin: io voglio, [Chorus] Sfidando il mio destino, qualunque sia, Dove ti par ci guida. Meritarti, o perir, anima mia. 9

Tu che accendi questo core, [Chorus] [ Tu che desti il valor mio, Della Fortuna istabile Alma gloria, dolce amore, La revolubil ruota Secondate il bel desio, Mentre ne giungi al vertice Cada un empio traditore, Per te s’arresta immota: Coronate la mia fé. Cadde l’orgoglio in polvere, Trionfa la bontà. Di tanti palpiti, di tante pene, Da te mio bene, spero mercé. [Don Ramiro] Mi rivedrai… ti rivedrò… (scuotendo Cenerentola) Ne’ tuoi bei rai, mi pascerò. Sposa... Deliri, sospiri… Accenti, contenti!... [Cenerentola] Sarà felice, il cor mel dice, (stupita per la gioia) Il mio destino vicino a te. Signor perdona La tenera incertezza Mi rivedrai… ti rivedrò… Che mi confonde ancor. Ne’ tuoi bei rai, mi pascerò. Poc’anzi, il sai, Fra la cenere immonda... 6-7. Finale secondo: Coro e Scena Ed or sul Trono un serto mi circonda. (Angelina, La Cenerentola) [Don Magnifico] Cenerentola (corre in ginocchio) Clorinda Altezza... a voi si prostro… Tisbe Dandini [Cenerentola] Don Magnifico Né m’udrò mai chiamar la figlia vostra? Don Ramiro Chorus

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T [Don Ramiro] [Cenerentola] (accennando le sorelle) Padre... sposo... amico... oh istante! Quelle orgogliose... [Chorus] [Cenerentola] Degna del Tron tu sei, Ah Prence, Ma è poco un Trono a te. Io cado a’ vostri piè. Le antiche ingiurie Mi svanir dalla mente. [Cenerentola] Sul Trono io salgo, e voglio Non più mesta accanto al fuoco Starvi maggior del Trono, Starò sola a gorgheggiar. E sarà mia vendetta il lor perdono. Ah fu un lampo, un sogno, un gioco Il mio lungo palpitar. Nacqui all’affanno e al pianto. Soffrì tacendo il core; [Chorus] Ma per soave incanto Tutto cangia a poco a poco, Dell’età mia nel fiore, Cessa alfin di sospirar. Come un baleno rapido La sorte mia cangiò. 8-9. Recitativo e cavatina (Malcom, La Donna del Lago) (a Don Magnifico, e sorelle) No no, tergete il ciglio. Mura felici, ove il mio ben si aggira! Perché tremar, perché? Dopo più lune io vi riveggo: A questo sen volate; Ah! Voi più al guardo mio non siete, Figlia, Sorella, Amica, Come lo foste un dì, ridenti, e liete! Tutto trovate in me. Qui nacque, fra voi crebbe L’innocente mio ardor: [Chorus] Quanto soave fra voi scorrea mia vita M’intenerisce, e m’agita: Al fianco di colei, E’un Nume agli occhi miei. Che rispondea pietosa a’ voti miei!

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Nemico nembo or vi rattrista, 10-11. Aria [ e agghiaccia il povero mio cor! (Malcom, La Donna del Lago) Mano crudele a voi toglie, a me invola... oh rio martorò! [Malcolm] La vostra abitatrice, il mio tesoro. Ah si pera, ah si pera: ormai la morte Fia sollievo a’ mali miei, Elena! oh tu, che chiamo! Se s’invola a me colei, Deh vola a me un istante! Che mi rese in vita ognor. Tornami a dir’: Io t’amo! Ah! Mio tesoro! Io ti perdei! Serbami la tua fé! Dolce speme del mio cor! E allor, di te sicuro, Anima mia! lo giuro, [Chorus] Ti toglierò al più forte, Douglas! Douglas! Ti salva! O morirò per te. Grata a me fia la morte, [Albina, Serano] S’Elena mia non è. Quai voci!

Oh quante lagrime, finor versai [Malcolm] Lungi languendo, da’ tuoi bei rai! E chi si avanza? Ogni altro oggetto, è a me funesto, Tutto è imperfetto, tutto detesto; [Chorus] Di luce il Cielo, no più non brilla, Douglas dov’è? Più non sfavilla, astro per me. Cara! tu sola, mi dai la calma, [Malcolm] Tu rendi all’alma grata mercé! Che avvenne?

[Chorus] Ah più non v’è speranza... Cadde Rodrigo estinto…

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[Albina, Serano] Della divinità! - Quale nel seno Avverso Ciel! A me, guerrier, nudrito Fra l’Orror delle pugne, ora si desta, [Chorus] Del Nume formidabile all’aspetto, Ha vinto di Scozia il Re… Insolito terror, sacro rispetto! E da me questo Nume [Malcolm] Che può voler? Morendo il genitore Che sento! Qui m’inviò: segreto Cenno di Semiramide mi chiama [Chorus] Rapido alla sua reggia... ed anelante Ne insegue, E dà spavento Ad Azema, al suo ben l’ardente core Già l’oste vincitrice... Sì, sì Qui volava sull’ali dell’amore. Ah! quel giorno ognor rammento [Malcolm] Di mia gloria e di contento, Che sento! Oh me infelice! Che fra’ barbari potei Elena! Amici! Oh Dio! Vita e onore a lei serbar. Fato crudele, e rio! L’involava in queste braccia Fia pago il tuo furor! Al suo vile rapitore; Ah! chi provò del mio Io sentìa contro il mio core Più barbaro dolor! Il suo core palpitar. Schiuse il ciglio, mi guardò... [Chorus] Mi sorrise... sospirò... Fato crudele e rio! Fia pago il tuo furor. Oh! come da quel dì Tutto per me cangiò! 12-13. Recitativo e cavatina Quel guardo mi rapì, (Arsace, Semiramide) Quest’anima avvampò: Il Ciel per me s’aprì, Eccomi alfine in Babilonia. È questo Amore m’animò... Di Belo il tempio. - Qual silenzio augusto D’Azema e di quel dì Più venerando ancor rende il soggiorno Scordarmi io mai saprò. 13

Z BIOGRAPHIES

Silvia Tro Santafé

Silvia Tro Santafé was born in Valencia and studied at the Conservatorio “Joaquin Rodrigo” with Ana Luisa Chova, later studying with Carlo Bergonzi, Walter Berry, Gerard Souzay, Félix Lavilla, Magda Olivero, Monserrat Caballé and Renata Scotto. After her professional debut in di Seta at the in in 1992 she won a place at the Julliard School in New York and was awarded first prize in the Opera Index Competition.

At the beginning of her operatic career, she was in great demand for Baroque roles and in particular she made a name for singing Handel, with roles in o r

t e Alcina, Giulio Cesare, and Rinaldo which she i P

i d

performed in such houses as the Opera de Paris, o m i

s s

Champs-Elysee and major festivals throughout a M

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Europe including Innsbruck and Salzburg. Soon t a c r however, she developped a reputation not just as a M

a i

s a great Rossini Singer but also as a wonderful s e l A

a commedienne. Since then she has been regularly l e h c i M

invited to sing Rossini’s Rosina, Cenerentola and L’Italiana (Isabella) in such houses as Vienna, ©

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Zurich, Berlin, Munich, Barcelona, Toulouse, Gruberova’s Norma in Hamburg and Berlin, was a Amsterdam and Bologna. In Italy, Silvia has also great public and critical success and she has appeared in Bologna (Barbiere and Giulio Cesare), been invited to join Edita Gruberova again for Rome (Contes d’Hoffman), Venice (Finta Semplice) performances of Lucrezia Borgia. Recent work has Bari (Gluck’s Orfeo) and Naples (Scarlatti’s La also included a return to Vienna for L’Italiana, a Vergine dei Dolori). new Massenet Don Quichotte in Brussels, singing Dulcinée, and L’Italiana at the Teatro Real Madrid. Her United States debut was at the Future plans also include performances of the role Festival where she sang Cherubino (Le Nozze) and of Giovanna Seymore in Anna Bolena opposite she will return again to the States to open the . Washington Opera Season in 2009 singing Rosina. Among the many conductors she has worked with Silvia has an extensive concert and recital repertoire. are baroque specialists Marc Minkowski, Christophe Her recording for Globe of Spanish songs was Rousset, René Jacobs, Harry Bicket and William given a top rating by Diapason Magazine. Other Christie. She has also collaborated with artists recordings include La Verbena de la Paloma with such as Jesús López Cobos, Frübeck de Burgos, Placida Domingo, Zerlina in Don Giovanni on Kikko Lorin Maazel, Charles Dutoit, Michel Plasson, Classics, Serse (Amastre) with William Christie for Nello Santi, Adam Fischer, Neville Marriner, Virgin and Scarlatti’s Griselda for Harmonia Mundi , singing a great variety of opera with René Jacobs. Her recent CD of Spanish and concert repertoire. Heroines for the Signum Label has been highly acclaimed since its appearance in 2008.

julian reynolds Among the highlights of recent seasons have been

Alcina at the Chatelet, the title roles in L’Enfant et les Sortileges, Ariodante and Cenerentola in the Conductor Julian Reynolds enjoys a highly

Liceu Barcelona, Il Barbiere at the Staatsoper in successful international career both in opera and

Vienna, Luxembourg and Amsterdam and Rinaldo, in concert repertoire. Highlights of recent seasons Barbiere, and L’Italiana with the Staadtsoper have included engagements at the Netherlands

Berlin. Her recent debut, singing Adalgisa to Edita Opera for Il barbiere di Siviglia and Norma,

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(available on DVD on Opus Arte) in Sankt Gallen S for Tosca, Norma, and Hänsel und Gretel, at the Grand Théâtre de la Ville in Luxembourg with Il barbiere di Seviglia, and acclaimed performances of Puccini’s Il trittico in Modena, Ferrara, and Piacenza. He made his debut at Théâtre Royal de la Monnaie in Bruxelles with Elisabetta Regina d’Inghliterra. This will be followed by Lucia de Lammermoor and . Madame Butterfly at the Torre del Lago and Don Giovanni in Riga.

In 1986, Julian Reynolds was appointed Assistant Music Director at the Netherlands Opera in Amsterdam, conducting Bluebeard’s Castle, Mitridate, Le nozze di Figaro, L’italiana in Algeri, Luisa Miller, and L’elisir d’amore, among others. During his tenure at the Netherlands Opera, he worked with other opera companies in the country, most notably in productions of Madama Butterfly and The Cunning Little Vixen for Opera Zuid.

lead a new production of Verdi’s Don Carlos, Julian Reynolds made his German debut with followed by Samson et Dalila, and the Kirov’s first Otello at the Staatstheater Stuttgart, followed by a ever production of Le nozze di Figaro. new production of Luisa Miller with the Staatstheater Mainz. He has been a regular guest He made his North American debut at the conductor with the Kirov Opera in the Maryinsky in Toronto with Theatre St. Petersburg, making his debut with the L’italiana in Algeri. In the same season, he made company conducting La traviata, and went on to his Wexford Opera Festival debut with Weinberger’s

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( Svanda dudák, the recording of which is available Hvorostovsky, Susan Graham, and Dame Kiri Te on Naxos. He has led Carmen at both the Teatro Kanawa, both in recital and as conductor. Regio di Parma and at the Arena di Verona, and Adelina at the Rossini Opera Festival in Pesaro, His recordings include CDs of Rossini , and made his debut on the Sankt Gallen podium Ravel’s Ma Mère l’Oye, Saint-Saens’ Le Carnaval des with La Cenerentola and Otello, and conducted animaux and several Rossini rarities, for Globe Lucrezia Borgia at the Festivales de Musica Records. As a pianist he has recorded the complete de Castillon. works for piano and of Beethoven, Schubert and Schumann with violinist Johannes Leertouwer. Exciting new plans include a return to La Monnaie, Brussels for Nabucco and Lucrezia Borgia, Linda ORQUESTA SINFÓNICA DE de Chamonix in Oviedo and a concert tour of NAVARRA (NAVARRA Europe and Japan with Barbara Frittoli. SYMPHONY ORCHESTRA)

Julian Reynolds has been a guest conductor of the The Orquesta Sinfónica de Navarra was founded Rotterdam Philharmonic Orchestra, City of by Pablo Sarasate in 1879, which makes it the Birmingham Symphony Orchestra, the Royal oldest orchestral ensemble currently active in Philharmonic Orchestra, the Australian Chamber Spain. Since 1997, its Principal Conductor has Orchestra, Aukland Philharmonia, Dutch Radio been Maestro Ernesto Martínez Izquierdo. Philharmonic, Netherlands Philharmonic, Netherlands Chamber Orchestra, Melbourne Nowadays the Orquesta Sinfónica de Navarra is International Festival, in regarded as one of Spain’s best orchestras, Naples, and the orchestra of the Deutsche Oper collaborating regularly with internationally am Rhein, where he led his own orchestration of renowned soloists and conductors and frequently Lieder by Alma Mahler. He has recorded these with invited to perform in celebrated national and soprano Charlotte Margiono on the Globe label. international venues and festivals. In 2007-08, the Orchestra visited Bilbao, Warsaw, Dortmund, A regularly requested recital accompanist, Julian and Paris. During the past two seasons, the OSN Reynolds has worked extensively with Dmitri has been invited three times to the prestigious

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Theatre des Champs-Elysées in Paris, Its most recent recordings include the CD Heroínas V R accompanying soloists such as Daniella españolas (Spanish Heroines) with mezzo-soprano Barcelona, Juan Diego Flórez and Roberto Alagna. Silvia Tro Santafé, the CD-book El violín de The OSN returned to Paris for the new production Sarasate and the first steps of a new complete of Cyrano de Bergerac, featuring Plácido Domingo recording of Sarasate’s works for Naxos, which will in the title role, at the Theatre du Châtelet in Paris be concluded in November 2009. where they also performed a critically lauded symphonic concert. The OSN will return to Châtelet The Orquesta Sinfónica de Navarra receives during the next season with Villa-Lobos’s financial support from the Government of Navarra Magdalena. In its role as cultural ambassador of and the City of Pamplona, and it is sponsored by Navarra, the orchestra also toured China recently, private companies such as NH Hoteles, Diario de performing the music of its founder, Pablo Navarra, Caja Navarra and Gas Natural Navarra. Sarasate, in 7 concerts across 5 cities. LLUÍS VICH VOCALIS The Orchestra is also one of the most popular in Spain, selling more than 2,700 season tickets The chorus Lluís Vich Vocalis of Valencia (also annually in Pamplona. It is the resident orchestra known as Cor de Cambra Lluís Vich) is a 10- to 12- of the Gayarre singing competition and the voice male chamber choir chiefly specialising in Sarasate violin competition and collaborates the performance of vocal music from the frequently in opera and zarzuela performances in Renaissance and Early Baroque periods. Pamplona, Spain and abroad. Its members also perform with other noted early-

The Orquesta Sinfónica de Navarra has also music groups, such as Capella Reial de undertaken a remarkable educational role, with Catalunya, Hesperion XX, Capella de Ministrers concerts at schools and a series of popular and “Musica Ficta”. concerts including soundtracks, live music to accompany silent films and collaborations with Since its first appearance in 1985 the group has internationally renowned jazz stars. concentrated on performing lesser-known

repertory, in particular music composed in

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T Valencia. The group has taken part in the most Recently the group has recorded a TV programme important music festivals in Valencia, performed with pieces of Misteri and music by Ginés Pérez, throughout Spain and France, and has also toured and alongside the Capella de Ministrers they have in Taiwan. performed in the Olivier Messiaen Hall in Paris for Radio France. The group has made several recordings of early Valencian polyphony, Composers of the Cathedral Prior experience of the music of Rossini includes a of Valencia and the Misteri d’Elx. The choir’s stage production of L’italiana in Algeri in Castillon recordings also include: L’Esperit de la Contrareforma, de la Plana. a CD devoted to works written according to the musical instructions laid down by the Council of The work of the choir is supported by the University Trent; Paribus Vocibus, a recording of works by of Valencia. Victoria, and; Ad Honorem Virginis, their most recent recording, which was awarded a prize by the magazine “Compact CD”.

Recorded at the Auditorio de Baranain, Pamplona, Spain on 26 - 28 January 2009 P 2009 The copyright in this recording is owned by Signum Records Ltd. C 2009 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd.

Producer - Anna Barry Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Engineers - Mike Hatch & Mike Cox Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Editor - Matt Howell Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or Cover Image - © Michela Alessia Marcato / Massimo di Pietro otherwise, without prior permission from Signum Records Ltd. Design and Artwork - Woven Design www.wovendesign.co.uk SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK +44 (0) 20 8997 4000 E-mail: [email protected]

www.signumrecords.com

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ALSO AVAILABLE on signumclassics

Spanish Heroines Silvia Tro Santafé Orquesta Sinfónica de Navarra Julian Reynolds conductor SIGCD152

Since her American debut in the early nineties, Silvia Tro Santafé has become one of the most sought after coloratura mezzos of her generation. On this disc we hear the proof of her operatic talents, performing some of the greatest and most passionate arias of any operatic mezzo soprano.

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

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