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Johann Simon Mayr Franz Hauk 2 CDs JOHANN SIMON MAYR JOHANN SIMON MAYR TELEMACO SAFFO Siri Karoline Thornhill Andrea Lauren Brown • Markus Schäfer Andrea Lauren Brown • Jaewon Yun • Katharina Ruckgaber Jaewon Yun • Marie Sande Papenmeyer • Katharina Ruckgaber • Daniel Preis Markus Schäfer • Niklas Mallmann Members of the Bavarian State Opera Chorus Members of the Bavarian State Opera Chorus Simon Mayr Chorus • Concerto de Bassus Simon Mayr Chorus • Concerto de Bassus Franz Hauk Franz Hauk CD 1 72:44 ¢ Recitativo: Mentore, amico, senti... 1:08 (Telemaco, Mentore, Calipso) 1 Sinfonia 5:06 ∞ Recitativo: Là, tosto l’audace stringete 1:13 Atto Primo (Calipso, Mentore, Telemaco) 2 Aria e Ballo: Dal seno dell’onda 2:35 § Finale I – Terzetto: Dov’è, dov’è la morte? 7:04 (Eucari) (Mentore, Telemaco, Calipso) 3 Recitativo: Compagni... amici... udite 1:07 Johann Simon (Eucari, Sacerdote di Venere, Calipso) Atto Secondo ¶ 4 Recitativo: Disprezzata, schernita, vilipesa 0:18 Recitativo: Ah, dimmi, e donde mai 1:37 MAYR 5 Aria: No; lasciatemi; tacete 2:08 (Eucari, Sacerdote di Venere) • (1763-1845) 6 Recitativo: Eucari, mia fedel... sei tu? 1:57 Aria: La Diva paventa 1:53 (Calipso, Eucari) (Sacerdote di Venere) ª 7 Recitativo: Ah, voi, numi possenti 1:44 Recitativo: Dunque s’eviti tosto l’incontro 3:30 Telemaco (Calipso) (Eucari, Calipso, Mentore) º nell’isola di Calipso 8 La tempesta 3:55 Recitativo: Olà, che dici? Menzognero, audace! 1:15 9 ⁄ Duetto: Chi sei tu? Non sei mortale 5:11 Dramma per musica in tre atti (1797) Recitativo: Ferma... non fulminar... 1:44 (Telemaco) (Calipso, Mentore) ¤ Libretto by Antonio Simeone Sografi (1759-1818) 0 Recitativo: Qual voce!... 0:49 Coro e Ballo: Eccheggi il suono intorno 2:03 (Eucari, Telemaco) (Chorus) ‹ ! Recitativo: Ella fuggì... potessi almen, oh, Dio! 0:11 Recitativo: Popoli, amici, alfine torna Calipso 1:08 Telemaco (Telemachus) ................................................ Siri Karoline Thornhill, Soprano @ Recitativo: Numi eterni del Ciel 0:54 (Calipso) › Calipso (Calypso) .......................................................... Andrea Lauren Brown, Soprano (Telemaco) Quartetto e Coro: Sciogli vezzosa Dea 1:17 # Aria e Coro: Quel silenzio con quel pianto 4:08 (Telemaco, Eucari, Sacerdote di Venere, Eucari (Eucharis) ............................................................................ Jaewon Yun, Soprano (Telemaco, Chorus) Sacerdote di Bacco, Chorus, Calipso) fi Mentore (Mentor) ........................................................................... Markus Schäfer, Tenor $ Recitativo: Io tremo ancor... 3:46 Cavatina: Amore è un Nume 2:09 (Eucari, Telemaco, Calipso) (Calipso) Sacerdote di Venere (Priest of Venus) .......................... Katharina Ruckgaber, Soprano % Recitativo: Ad espiar del padre 0:38 ^ CD 2 63:07 Sacerdote di Bacco (Priest of Bacchus) .................................... Niklas Mallmann, Bass Aria: Pensa, che ancor sospesa 1:56 1 (Calipso) Recitativo: Mentore, a che ti stai muto 0:27 Boys and Girls dedicated to Venus, Young Bacchantes (non-speaking roles), & (Calipso, Mentore) Recitativo: Ninfe accorrete 0:33 2 Chorus of Ithacans, Others (Sacerdote di Venere) Cavatina: L’alloro guerriero 2:29 * Ballo 1:05 (Mentore) ( 3 Recitativo: Mentore, intesi: i dubbi tuoi 1:06 Recitativo: Qual beato soggiorno 1:14 4 Members of the Bavarian State Opera Chorus (Telemaco, Calipso, Eucari) Cavatina: La bella età d’amore 2:39 ) (Telemaco) Simon Mayr Chorus • Concerto de Bassus Cavatina: Bella Dea, de’ Numi amore 2:07 5 (Telemaco) Sestetto e Coro: Su risuoni d’intorno la selva 2:11 Theona Gubba-Chkeidze, Concertmaster ¡ Coro: Madre d’amor, discendi 1:19 (Calipso, Eucari, Telemaco, Mentore, (Chorus) Sacerdote di Venere, Sacerdote di Bacco, Chorus) ™ 6 Ballo 1:50 Recitativo: A che dunque si tarda? 0:49 7 Franz Hauk, Harpsichord and Conductor (Calipso, Telemaco, Mentore) Recitativo: Che vidi, o Numi! 1:54 £ (Eucari, Telemaco, Calipso) Aria e Coro: Vivo ancor, sì, tremate indegni! 3:12 8 (Mentore, Telemaco, Chorus, Calipso, Eucari, Recitativo: Fermati, traditor: t’arresta, audace 1:14 Sacerdote di Venere, Sacerdote di Bacco) (Calipso, Telemaco, Eucari, Sacerdote di Venere, Sacerdote di Bacco, Due del Coro) 9 Coro e Recitativo: Tace! Sospira!... freme!... 1:44 Atto Terzo Johann Simon Mayr (1763-1845) (Coro, Calipso) ) Recitativo: Che tumulto d’affetti 2:30 0 Born in the Bavarian town of Mendorf, near Ingolstadt, for Venice and then for La Scala, Milan, and for other Italian Aria: A languir tra pianti, e lai 4:37 (Telemaco, Un Itacese, Mentore) in 1763, Simon Mayr was the son of a schoolteacher and theatres, with an increasingly large number of performances ¡ (Calipso) Recitativo: T’intenerisci, o figlio 1:13 showed some early ability as a musician. He was a pupil at abroad. In 1802 he followed Lenzi as maestro di cappella at ! Recitativo: Uditemi, compagni: or or dovremo 0:46 ™ Aria: Ti lascio in sen d’amore 2:35 the Jesuit College in Ingolstadt, before entering the university the cathedral of Santa Maria Maggiore in Bergamo, becoming to study theology, while continuing to demonstrate great director of the cathedral choir school three years later. Mayr @ Aria: Quell’orgogliosa fronte 1:48 (Mentore) £ versatility as a musician. His musical training, however, only held these positions until his death in 1845. As a teacher he (Sacerdote di Bacco) Recitativo: Ei parte!... Egli mi lascia 0:27 began in earnest in 1787, when a patron, noticing his talent, won the particular respect of his pupil Gaetano Donizetti. He # Recitativo: Qual soggiorno! Qual mai loco 1:57 (Telemaco) took him to Italy. There, from 1789, he studied with Carlo did much to promote the knowledge of the Viennese classical (Mentore, Telemaco) ¢ Coro: Ah, che fai! Ah, non sai 1:20 Lenzi, master of the music at Bergamo Cathedral. There composers, Haydn, Mozart and Beethoven, in Italy. His own followed, through the generosity of another patron, a period style reflects something of this, but essentially in an Italian $ (Chorus, Telemaco) Recitativo: Eccoti solo alfine 2:45 of study with Bertoni in Venice. His early commissioned context. He was, needless to say, immensely prolific as a – (Telemaco, Calipso) Recitativo: Non ci abbandona il Ciel 0:19 compositions were largely in the form of sacred oratorios, composer, with nearly seventy operas to his credit between % Terzetto e Coro: Eccola, santi Numi! 7:21 (Mentore) but in 1794 his opera Saffo was staged in Venice. His turning 1794 and 1824, and some six hundred sacred works. to opera owed much to the encouragement he received from (Telemaco, Chorus, Mentore, Calipso) § Recitativo: Ah, Mentore, pietà! 2:00 Piccinni and Peter von Winter, and other operas followed Keith Anderson ^ Recitativo: La Regina s’attenda 0:45 (Telemaco, Mentore) (Sacerdote di Bacco, Sacerdote di Venere, Calipso) ¶ Duetto: Giura, che i passi miei tu seguirai 3:33 & Recitativo: Ah, Regina, è pur vero 0:31 (Mentore, Telemaco) Telemaco (Telemaco) • Recitativo: Regina, eccoli: osserva 0:41 * The Son of Odysseus as a result – Télémaque addresses the subject of the ideal Recitativo: Ah, tutto puoi sperar... 1:02 (Eucari, Calipso, Mentore) ruler who seeks peace, serves his people and does not (Calipso, Telemaco) ª Recitativo: Ah inique stelle! Ah, Numi impotenti 1:39 Telemachus features in the first four books of Homer’s abuse his absolute power. ( Finale II – Duetto: Dal primo orrendo istante 5:30 º Finale III – Aria: Furie spietate, orribili 4:14 Odyssey; indeed the Telemachy is even considered to Fénelon’s “novel of education” was read throughout be a narrative chronicling his development from boyhood Europe and continued to exert an influence far beyond its own (Calipso, Telemaco) (Calipso) to maturity that has been inserted into the epic. The fate time as it was reinterpreted in the spirit of the Enlightenment. of Telemachus is closely bound up with that of his father, The encyclopédiste Jean-Baptiste d’Alembert defined the Odysseus. Telemachus’ “development” begins with a failure importance of Fénelon’s Télémaque not least in terms of – he is unable to eject from Ithaca the suitors who are its transformation from a book to educate princes into one importuning his mother, Penelope, while his father is away. that the middle classes could read and learn from. The work Telemachus himself seems to be the one who is being driven was also read as a love story. Having begun life as a private out when he sets off for Pylos to visit Nestor and for Sparta to schoolbook, it soon became a public textbook. Télémaque see Menelaus, in search of his father or at least of personal combined political, moral and sentimental readings. testimonies about him. He is mentored by Mentor, in whom The reprints and translations of Télémaque were the goddess Athene, alias Minerva, is revealed. illustrated, and the stages of his journey, his “trials” and François Fénelon (1651–1715), who was Archbishop of the elaboration of a hero who is only a minor character in Cambrai from 1695, wrote the Suite du quatrième livre de Homer’s Odyssey influenced other literary genres, not least l’Odyssée d’Homère, ou les Aventures de Télémaque, fils characters for the stage such as the prince, Tamino, in d’Ulisse (Sequel to Book Four of Homer’s Odyssey, or The Mozart’s Zauberflöte. The story of Telemachus’ experiences Adventures of Telemachus, son of Ulysses) as a didactic increasingly came to be presented in visual form, in all kinds novel for his seven-year-old pupil Louis de Bourbon, dauphin of media – in fine art in the works of Angelika Kauffmann of France and Duke of Burgundy, a grandson of Louis XIV (1741-1807) and Jacques-Louis David (1748-1825), for and possible heir to the throne. When it was published in example, but also represented on carpets, enamelled onto 1699, the novel was interpreted as a subtle critique of Louis porcelain and adorning walls in the form of tapestries. (The XIV’s reign, however, and Fénelon was banished from court magnificent 1818 oil painting by Jacques-Louis David, the painter who exerts a formative influence on our image of fashionable Italian opera seria was very much inspired by the Grassini.
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