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CHAN 3081(2) CHANDOS O PERA IN ENGLISH

PETER MOORES FOUNDATION CHAN 3081 BOOK.qxd 22/5/07 1:45 pm Page 2

Wolfgang Amadeus Mozart (1756–1791)

The Phoenix Opera production of AKG The Abduction from the Seraglio Comic opera in three acts Libretto by G. Stephanie from a play by C.F. Bretzner Texts of musical numbers translated by Joan Cross and Anne Wood English dialogue translated and adapted by Hugh Mills

Pasha Selim ...... David Kelsey speaking part Constanza, a Spanish lady, betrothed to Belmonte ...... Mattiwilda Dobbs soprano Blonda, her English maid ...... Jenifer Eddy soprano Belmonte, a Spanish nobleman...... Nicolai Gedda tenor Pedrillo, former servant to Belmonte, now gardener to the Pasha ...... John Fryatt tenor Osmin, Pasha Selim’s steward ...... Noel Mangin bass Ambrosian Singers John McCarthy chorus master The Bath Festival Orchestra Robert Masters leader Wolfgang Amadeus Mozart Yehudi Menuhin

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COMPACT DISC ONE Time Page Time Page

Act I 11 ‘They’re coming, sir, they’re coming’ 0:19 [p. 73] Scene 1 Pedrillo 1 Overture 4:11 [p. 68] No. 5: Chorus No. 1: Aria 12 ‘Sing to the mighty Pasha Selim’ 1:35 [p. 73] 2 ‘Here surely I must find her’ 2:39 [p. 68] Chorus 13 3 ‘Constanza, my beloved’ 0:13 [p. 68] ‘Always so sad, my beloved’ 0:50 [p. 73] Belmonte Pasha Selim, Constanza

No. 2: Aria and Duet No. 6: Aria 14 ‘How I loved him, I was happy’ 5:43 [p. 74] 4 ‘You may think you’ve found a maiden’ 2:34 [p. 68] Osmin, Belmonte Constanza 15 ‘Pasha Selim, I’ll be your slave’ 2:44 [p. 74] 5 ‘The devil take you and your song, sir’ 4:18 [p. 69] Belmonte, Osmin Constanza, Selim, Pedrillo, Belmonte 6 ‘There – I got rid of him’ 0:31 [p. 70] No. 7: Trio Osmin, Pedrillo 16 ‘March, march, march, off you go’ 2:18 [p. 76] Osmin, Belmonte, Pedrillo No. 3: Aria 7 ‘These young men who go a-spying’ 5:06 [p. 70] Act II Osmin, Pedrillo 17 ‘Tra-la-le-ra. Tra-la-le-ra’ 0:42 [p. 76] 8 ‘Ouf! Thank God he’s gone’ 2:14 [p. 71] Osmin, Blonda Pedrillo, Belmonte No. 8: Aria No. 4: Aria 18 ‘With smiles and kind caresses’ 3:51 [p. 77] 9 ‘Constanza! Constanza!’ 0:33 [p. 73] Blonda 10 ‘Oh what trembling, oh what passion’ 4:26 [p. 73] 19 ‘Gentleness! Kindness!’ 1:09 [p. 77] Belmonte Osmin, Blonda

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Time Page Time Page No. 9: Duet No. 12: Aria 20 ‘I’m going, but mark what I say’ 1:08 [p. 78] 5 ‘Oh, the happy, happy day’ 2:50 [p. 82] 21 ‘O Englishmen you must be crazy’ 1:17 [p. 78] Blonda Osmin, Blonda 6 ‘Any sign of Osmin?’ 0:42 [p. 82] 22 ‘Be off now!’ 1:07 [p. 79] Pedrillo, Blonda Blonda, Osmin 23 ‘Ah, there’s Constanza’ 0:15 [p. 79] No. 13: Aria 7 ‘Now Pedrillo, now for battle!’ 3:19 [p. 83] No. 10: Recitative and Aria Pedrillo 24 ‘Oh what sorrow overwhelms my spirit’ 2:12 [p. 79] 8 ‘What do you want?’ 1:32 [p. 83] 25 ‘Endless grief tortures my spirit’ 6:24 [p. 79] Osmin, Pedrillo Constanza TT 58:37 No. 14: Duet 9 ‘Here’s to Bacchus, long live Bacchus’ 2:01 [p. 84] Pedrillo, Osmin COMPACT DISC TWO 10 ‘What do you say, brother Osmin?’ 1:16 [p. 84] Pedrillo, Osmin, Belmonte 1 ‘Señorita, try – try – not to lose hope’ 0:58 [p. 80] 11 ‘Belmonte! Is it possible’ 0:10 [p. 86] Blonda, Constanza, Pasha Selim Constanza, Belmonte

No. 11: Aria No. 15: Aria 2 ‘Tortures unrelenting may for me be waiting’ 8:56 [p. 80] 12 ‘When our hearts are overflowing’ 4:53 [p. 86] Constanza Belmonte 3 ‘She shows no signs of weakening’ 0:28 [p. 81] Selim No. 16: Quartet 4 ‘Blonda? Come here, quickly’ 0:48 [p. 81] 13 ‘Ah, Belmonte, ah my dear one!’ 2:54 [p. 86] Pedrillo, Blonda Constanza, Belmonte, Pedrillo, Blonda

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Time Page Time Page

14 ‘And yet within my heart’ 2:00 [p. 87] No. 19: Aria Belmonte, Constanza, Pedrillo, Blonda 21 ‘My triumphant hour’s approaching’ 3:25 [p. 93] 15 ‘I will. Ah, blame me not…’ 1:35 [p. 88] Osmin Belmonte, Pedrillo, Constanza, Blonda 22 ‘What does all this mean?’ 3:27 [p. 93] 16 ‘If men mistrust our honour’ 4:29 [p. 88] Pasha Selim, Osmin, Constanza, Belmonte Constanza, Blonda, Belmonte, Pedrillo No. 20: Recitative and Duet Act III 23 ‘What dreadful fate conspires against us’ 2:42 [p. 95] No. 17: Aria 24 ‘You must suffer for my rashness’ 3:32 [p. 95] 25 17 ‘Love, only love, can now direct me’ 6:36 [p. 90] ‘Then my life I gladly offer’ 3:02 [p. 96] Belmonte Belmonte, Constanza 26 18 ‘Ah, Pedrillo! Is everything well?’ 0:32 [p. 90] ‘Guards! Bring in the two slaves!’ 2:36 [p. 96] Belmonte, Pedrillo Osmin, Pedrillo, Belmonte, Blonda, Pasha Selim, Constanza No. 21: Vaudeville and Chorus No. 18: Romance 27 ‘Your noble mercy passes measure’ 2:47 [p. 97] 19 ‘In Moorish lands a maiden fair’ 3:01 [p. 90] Belmonte, Constanza, Blonda, Pedrillo, Osmin Pedrillo, Belmonte 28 ‘The nobleman despises vengeance’ 1:03 [p. 98] 20 ‘Look, she’s opening the window’ 1:33 [p. 91] Constanza, Blonda, Belmonte, Pedrillo Pedrillo, Belmonte, Blonda, Osmin, Constanza 29 ‘Pasha Selim, live for ever’ 1:22 [p. 98] Chorus TT 74:47

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Ironically, it was through Colloredo that Stephanie the Younger, who had recently been Mozart: The Abduction from the Seraglio Mozart returned for the first time in thirteen appointed director of the German National years to Vienna, which he thereafter made his Singspiel. Although Stephanie had a Mozart’s opera The Abduction from the Seraglio troupe of German-speaking singers worthy of home. The Archbishop paid a lengthy visit to reputation for dishonesty, Mozart was able to – or to use its shorter English title, The an audience that was accustomed to the best. the Habsburg capital for Joseph’s report of him to Leopold (1 August 1781) that Seraglio – had its origins in the desire of the A second problem was repertoire. Though there enthronement in 1781, and required Mozart’s he had proved a good friend, and had recently Habsburg Emperor Joseph II to present his were limited local traditions of opera in the attendance in order to show off his musical handed him a libretto to set to music. ‘The Viennese subjects with regular seasons of opera vernacular in other German-speaking centres, retinue. Having recently been fêted in Munich text is quite good. The subject is Turkish, and in their own language, German. there was practically none in Vienna itself, where on the successful premiere there of his opera is called Bellmont and Konstanze, or the Joseph (1741–1790) was both highly musical Italian- or French-language companies had Idomeneo, Mozart seems to have taken every Seduction from the Seraglio…’ and convinced of the value of the theatre as a hitherto held sway. The answer was threefold. one of the Archbishop’s high-handed actions Despite Mozart’s mistake (‘seduction’ for means of shaping public opinion, so it was Firstly German works produced elsewhere could on this Viennese visit as a calculated insult, ‘abduction’), this is the opera we know as inevitable that he would seek to influence be adapted to suit local taste; secondly popular and more or less engineered his own dismissal The Seraglio. As with many other librettos by operatic life in the Imperial capital. Having pieces by Gluck, Grétry, Paisiello and others from Colloredo’s service in June. Stephanie, it is based on someone else’s work – assumed the title of Emperor on the death of could be translated from French or Italian; and This was the turning point of Mozart’s life. in this case a text by Christoph Friedrich his father, Francis I, in 1765, he reigned jointly lastly new works would be commissioned. The Perceiving the possibilities for making money Bretzner previously set to music by Johann with his mother until her death in 1780. Some venture began on 17 February 1778 with just in the Imperial capital, and having fallen in André and premiered in Berlin on 25 May years prior to this, however, Maria Theresa had such a piece – Die Bergknappen (The Miners), a love with Konstanze Weber, he broke with 1781. Both Stephanie and Mozart hoped that devolved to him the running of the two one-act Singspiel by Ignaz Umlauf. Salzburg and the Archbishop in favour of their version would make a splash on the visit Viennese court theatres, which he proceeded to Mozart undoubtedly knew about this marriage and a freelance existence. The new of the Grand Duke Paul Petrovich of Russia reform, declaring the Burgtheater the German important artistic development, though he was interest in German opera shown by the and his wife, due in mid-September. The visit National Theatre while making the not yet living in Vienna. Instead he spent the Emperor was undoubtedly a factor in his was postponed, however, and the Emperor Kärntnerthortheater available to non-subsidised whole of 1778 in Germany or France in search decision. subsequently decided to treat the Grand Duke companies. His chief concern was with the of a well-paid permanent position. Nothing Once it had been relayed to his father to Gluck instead. Mozart’s opera was former, where two troupes – one of actors and attractive materialised, however, and after a Leopold in Salzburg (where it was predictably eventually deferred until the summer of 1782 one of singers – would perform in the language sixteen-month absence he went back to greeted with dismay) Mozart set out to – no doubt a severe frustration to him, but of the audience. Salzburg to take up the position of court establish himself. A prime mover in the also an opportunity to insist on substantial The acting company proved relatively easy to organist to his detested former employer, Viennese operatic hierarchy was the actor and changes to the libretto that would enable him set up, but it took longer to form an operatic Archbishop Colloredo. writer Johann Gottlieb Stephanie, known as to produce a much more ambitious score.

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The genre – that of the ‘Turkish subject’, as himself had already explored such possibilities his refusal to avenge himself upon the son of biographer, Franz Xaver Niemetschek, Mozart referred to it – was not, of course, in his unfinished Singspiel Zaide (1779–80), the Spaniard who so gravely injured him, and mentions an exchange between emperor and new. Two of Gluck’s French opéra comiques – which Stephanie had turned down as too his action in releasing Constanza and her maid composer. ‘Too beautiful for our ears, my dear Le Cadi dupé (1761) and La Rencontre serious for the Burgtheater. While the Blonda to return to Europe with their Mozart, and monstrous many notes!’ said imprévue (1763), both premiered at the representation of the Turks in The Seraglio is respective partners, raises the closing scene of Joseph, to which Mozart is supposed to have Vienna Burgtheater – were well remembered, clearly not wholly positive, it does contain the comedy to its moving and Enlightenment- replied, ‘Exactly as many as are necessary, Your and indeed the latter, translated into German, positive elements – most notably in the work’s inspired moral. Majesty’. Yet there is something in the remark. had recently enjoyed a highly successful final transfiguring gesture. In many respects, Osmin, on the other hand, whirls himself As in his previous opera, Idomeneo, in The revival. As Mozart was aware, the alla turca the text as a whole presents the kind of off-stage at the end in an obsessive fit of desire Seraglio Mozart is revelling in his capabilities, style used in these scores went down Enlightenment agenda that Joseph was keen to for torture and the death penalty – the latter flaunting a richness of idea and decoration particularly well with local audiences. It promote. to be abolished by Joseph just five years later. that he would eventually pare down to the derived from the music played by the so-called In addition to the chorus, two characters in Earlier, he is routed and rejected by Blonda – comparative simplicity of La clemenza di Tito janissary bands that accompanied Turkish The Seraglio are Turks. The first is the local an Englishwoman and thus a representative of and The Magic Flute. Nowhere is this more armies into battle, with kettledrums and ruler Pasha Selim, whose role is a non-singing the nation the Enlightenment considered the evident than in Constanza’s music. In a letter cymbals to the fore. Simplified and one, as it was also in Bretzner and André’s most progressive of all. (Constanza, Belmonte to his father referring to ‘How I loved him’ westernised, it became associated in operatic original. The second is his steward Osmin, a and Pedrillo are all Spanish: to add further to Mozart himself explained that he had contexts with Turkish themes, or even with the vivid musical creation and a character both the cultural mix, Pedrillo’s serenade ‘In ‘sacrificed Constanze’s aria a little to the Orient in general. comic and menacing. Mozart wrote the role Moorish lands’ naturally has Moorish traits in flexible throat of Mlle Cavalieri’ – the Beyond its purely musical appeal, however, for Ludwig Fischer, the star bass of the its melody.) The cultural commentator company’s star soprano, and almost certainly the Turkish setting of the opera reflected a company and a great favourite with the public. Edward Said has noted how depictions of the the mistress of Mozart’s rival Salieri. But even growing interest in cultural difference inspired Osmin presents a negative image of the Turk – East are often depictions of the West in more ornate is ‘Tortures unrelenting’, which by increasing contacts between east and west. dismissive of the rights of women and disguise, and it is apparent that the reactionary includes parts for no less than four obbligato As Brigid Brophy has written, ‘Missionaries set constantly threatening torture. Even Selim attitudes here associated with Turks existed instruments – flute, oboe, violin and cello – out to Christianise pagans, militarists and threatens Constanza when she rejects his love much closer to Joseph’s capital, and were within its orchestral accompaniment. merchants to subdue and exploit savages. But – though it is hard not to view his sudden precisely those he was most eager to change. Conceived on the grandest of scales, the aria’s from the information they sent back to Europe plunge into anger as essentially an excuse for The Seraglio had its first performance at the form is that of a full-scale concerto first the message read by Enlightened thought was Constanza to sing her grandest and most fiery Burgtheater on 16 July 1782. The most movement, beginning with the regular that pagans and savages might be more moral aria, ‘Tortures unrelenting’, an addition by famous comment made on this occasion may orchestral exposition of its themes during and more civilised than Christendom.’ Mozart Stephanie and Mozart to the original text. Yet be apocryphal. Mozart’s earliest (1798) which the soloist – in this case Constanza –

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remains silent. This vast introduction lasts in 1946 was also in the language of the casting of Blonda gives us an important inquires after Pedrillo, his former servant, more than two minutes out of an aria in total audience. souvenir of the Australian soprano Jenifer Eddy. Osmin responds angrily and, suspecting that five times as long, and has proved a headache The performance presented here, however, The year after making this recording she Belmonte has designs on the Pasha’s harem, for stage directors ever since. derives from a Phoenix Opera production contracted an illness that sadly ended her drives him away. Despite Joseph II’s criticism (if indeed he staged at the Bath Festival in 1967. It singing career: she is now a successful artists’ 6 – 7 Osmin mutters about his hatred of made it), The Seraglio was well received, with represented one of Yehudi Menuhin’s rare agent. The Pedrillo, John Fryatt, was a member Pedrillo, who has ingratiated himself with the eleven further performances being given in excursions into opera, most of which took of the D’Oyly Carte Opera Company in the Pasha and become a gardener in his service. 1782 alone. Between 1783 and 1788 it had place in that city while he was director of its 1950s and later appeared in both tenor and Pedrillo arrives to ask whether the Pasha has thirty more in Vienna’s court theatres. It did festival. It is notable that Menuhin – a true baritone roles for Sadler’s Wells Opera and returned from sailing. 8 Osmin leaves angrily equally well in Germany, and was the work musical internationalist, born in America of subsequently English National Opera. and Belmonte emerges, surprised to find that made Mozart’s name known throughout Ukrainian Jewish parents, subsequently a Pedrillo there. Pedrillo tells Belmonte that the central Europe. Its first performance in Britain British citizen, and one of the first Western © 2002 George Hall Pasha bought him from the pirates, along with was at Covent Garden on 25 November 1827, classical musicians to participate in Constanza and her English maid Blonda when it was sung in English, though with a performances of Indian music and jazz – Synopsis (whom Pedrillo loves), and gave Blonda to much altered plot and some new music by should attack the Turkish music in Mozart’s The opera is set in the grounds of the Pasha Osmin; though Constanza has become the Christian Kramer. In 1866 it was translated score with such evident relish. Selim’s palace, on the Mediterranean coast of Pasha’s favourite of all his harem, she has into Italian and performed at Her Majesty’s When the recording was made the record Turkey. resisted his love. Belmonte says that he has a Theatre: from this version comes the title still company decided to replace Phoenix Opera’s ship ready for their escape. Pedrillo warns him sometimes encountered of Il seraglio. The first original Belmonte with the Swedish tenor COMPACT DISC ONE that it will be difficult to outwit the cunning, performance of the opera in Italy was actually Nicolai Gedda, who not only sings the part ever-watchful Osmin. They decide that, in given as recently as 1935, in Florence. superbly but with outstanding English diction. Act I order to get into the palace, Belmonte will Sir Thomas Beecham revived The Seraglio, Also good to have in permanent form is the 1 – 3 Belmonte, a Spanish nobleman, is assume the role of a distinguished visiting again in English, at His Majesty’s Theatre in Constanza of the American coloratura soprano searching for his beloved Constanza, who has architect. 9 – 11 Belmonte then expresses his 1910, while the British National Opera Mattiwilda Dobbs: other highlights of her been abducted by pirates. Finding himself emotion at the prospect of seeing Constanza Company played it at Covent Garden in career included such roles as Gilda, Oscar and outside a palace, he wonders whether it is that again. English during their 1922–23 season. Both Donizetti’s Lucia at the Met. The New of the Pasha Selim and prays that love might 12 The Pasha arrives and is greeted by his Sadler’s Wells Opera and its successor English Zealand-born bass Noel Mangin was a lead him to Constanza. 4 – 5 Belmonte household. 13 He asks Constanza why she is National Opera have performed it regularly. celebrated Osmin – a part in which he appeared questions Osmin, the Pasha’s overseer, who so sad; he wants her love, but only if she gives The first production at the New York Met regularly for Sadler’s Wells Opera – while the ignores him. However, when Belmonte it freely. 14 She replies that it is separation

14 15 CHAN 3081BOOK.qxd22/5/071:45pmPage16 however, delightsin her independentspirit. to allow Blonda, theirwomensuchliberties. over thePasha to have Osmin punished. retorts thatshewillexploitConstanza’s influence him, butshewards himoffdisdainfullyand wins affection.He orders her, ashisslave, tolove advances, tellshimitistendernessnotforce that Act II entering thepalacebuttheyfinallygetpasthim. tries toprevent Pedrillo andBelmonte from Pasha agrees toaconsultation.Osmin furiously Belmonte asanItalian-trained architect. The thePasha butconfessesthat isangry her resistance makeshimdesire hereven more. grief; from herbeloved thatiscausingherabject she willnotlove him,shereplies thatshecan the Pasha threatens Constanza withtorture if hope thatBelmonte willrescue them. When TWO DISC COMPACT reflects onherpasthappiness. 21 20 17 1 16 – withPedrillo,Osmin warnshernottoflirt – 24 Blonda triestoconsoleConstanzawiththe Constanza leaves andPedrillo introduces 23 19 – 15 and declares thatEnglishmen are crazy Blonda, outragedatOsmin’s crude 25 Constanza, wrackedwithmisery, 16 love. into action,reflects onthepower andjoy of Act III amorous reconciliation. Belmonte andPedrillo beg forgiveness fortheirjealousyandthere isan andoffended Constanzaishurt but Blonda isfurious. infidelity; Theirecstaticjoy graduallyturnssour as Belmonte andPedrillo accusethewomenof meet. WhenOsmin hassuccumbedto the drink,Pedrillo dispatcheshimtosleepitoff, women. wine, andthetwomenpraiseBacchus and some persuades thereluctant Osmin totry to thewomen,singsan‘oriental’ serenade Alone,Pedrillo summonshis courage fortheimpending‘battle’. Constanza. byOsmin Pedrillo. havingbeendrugged a laddertothewomen’s window atmidnight, arrival andoftheirplan:themenwillbring ThePasha isbaffledandwonders what hemustdotowinher. she fears. toandunfaithfulnesstheonlything forward shedefiantlyresists his threats, sayingthatdeathisallshehastolook only respect him; 17 11 5 – – Belmonte, waitingtoputtherescue plan 4 Pedrillo tellsBlonda ofBelmonte’s 13 18 6 14 thereby givingthelovers achanceto Blonda isdelightedandgoestotell – 10 15 3 19 7 Pedrillo appearsand,asasignal 2 16 8 – 9 He Constanza andreturn home: he despises judgment. He tellsBelmonte totake which theycanremain together. couple welcome deathastheonlystatein the but sheblamesherselfforhisdestruction; laments thathehasbrought Constanzatothis, leaves themunderguard. that Belmonte’s fatherwouldhave ordered and lovers hewillmeteoutthekindofpunishment drove himfrom hishomeland.He tellsthe Belmonte isthesonofhisgreatest enemy, who large ransomforhim. The Pasha realises that Spanish familynamedLostadoswhowillpaya compassion, explainingthatheisfrom anoble she iswillingtodie.Belmonte pleadsfor acted outofloyalty toherbeloved, forwhom admits thatinhiseyes sheisguiltybutthat execution. Osmin isexultant, relishing the prospect oftheirtorture and have alsobeencaptured. Blonda are caught;Belmonte andConstanza and hassummonedguards. Pedrillo and to rescue Blonda. But Osmin hasbeenalerted Belmonte fetchesConstanza awaywhilePedrilloand theyhurry climbsup the Moors. rescue amaiden heldprisonerinthelandof about ayoung knighttravelling from afarto 22 26 The Pasha confronts Constanza;she The Pasha returns todeliver his 20 21 23 – 25 Belmonte 17 EMI Records the Royal Opera Stockholm in1952 mother, hemadehisprofessional début at the sonofaRussian bassandaSwedish as oneofthegreatest ofourtimeand artists Nicolai Gedda revenge andjoinsinpraiseofthePasha. moralthatnothingissohatefulas further foreigners. tortures hewouldliketoinflictonthe more thanOsmin canbearashedescribesthe Allfourexpress their gratitude forthePasha’s benevolence, whichis outrage ofOsmin. begs formercy forhimandBlonda, tothe Constanza asksforforgiveness andPedrillo and willrepay injusticewithclemency. Belmonte’s father toomuchtoimitatehim 28 – is internationallyacknowledged 29 Everyone elsedrawsthe 27 © 2002AlisonLatham works. song ororchestral oratorio, operetta, in thefieldofopera, styleandperiod every encompasses almost repertoire which his commandofa has beenacclaimedfor Born inStockholm, CHAN 3081BOOK.qxd22/5/071:45pmPage18 Gustavus IIIin returned to singBenvenuto Cellini,Alfredo, began hervocal studiesinNew York, andalso Born inAtlanta, Georgia, fan tutte Duke ofMantua in Verdi’s debut with The Royal Opera in1965(asthe the titlerole ofGounod’s 1957 withhisMetropolitan Opera debut(in in 1954by hisdebutattheParis Opera andin he madehisdebutatLaScala,Milan followed years ofrecording forNicolai Gedda. In 1953 B minorMass. Thus theyear 2002marks fifty engaged himtosinginhisrecording ofBach’s was Herbert von Karajan,whoimmediately Le Postillon deLongjumeau. Tell of complete operaperformances recordings tohiscredit. These include most recorded tenorintheworldwith200 lieder. He alsohasthedistinction ofbeingthe regarded asanoutstandinginterpreter of Orff, Barber andMenotti, whileinrecital heis works ofHaydn andMozart toStravinsky, The LastSavage roles inBarber’s Nemorino andLensky. He created leading His operatictriumphshave rangedfrom the , La Bohème and Benvenuto Cellini. , Un balloinmaschera at theMetropolitan Opera. Vanessa Faust , Werther and Menotti’s Faust Mattiwilda Dobbs Rigoletto In theaudience , ). Since his Manon Guillaume ) he , , Così 18 David Farrell season asSusanna, Papagena andDespina. Australia andintheAustralian Opera’s 1956/57 regularly asasoloistfortheABCthroughout prior toherdeparture forEngland, appearing an impressive career asacoloraturasoprano The Australian soprano principal European festivals. sang atLaScala,theParis Opéra andthe included Lucia, Olympia andZerlina. She also was asGilda, andsubsequentroles there debut attheMetropolitan Opera, New York, Olympia andtheForest Bird ( the Queen ( appearances includedConstanze, Zerbinetta, At Glyndebourne and The Royal Opera her capitals, Belgium, France, Italy andEngland. was followed by appearancesinScandinavian She madeherdebutattheRoyal Opera Le Coqd’or Jenifer Eddy ), Gilda, Lucia, Holland Festival. This Le Rossignol role ofStravinsky’s in 1952thetitle and madeherdebut Pierre Bernac inParis, in Californiaand with LotteLehmann Spanish. She studied gained anMAin Siegfried established at the ). Her

Reg Wilson Dream Fledermaus Norina, Musetta, Olympia, Adele ( France andItaly. Her roles includedRosina, festivals inGreat Britain andinGermany, and inexcerpts from Byam Shaw’s production of television, mostnotablyasAdele inGlen frequent andshealsoappeared onBBC Her were BBCbroadcasts andconcerts Fiakermilli, Zerbinetta, Despina andBlonda. Jenifer Eddy Artists’ Management ofwhich in thatcountry, inthesameyear founding pioneered thefieldofartists’ management and up hercareer. Zubin Mehta, before illnessforced hertogive sang Blonda attheMaggio Musicale under Gobbi andSir Geraint Evans. In 1969,she She returned toAustralia in1975 ), Sophie ( ), Tytania( Der Rosenkavalier Don Giovanni A Midsummer Night’s most ofthemajor National Opera, at Opera, Welsh Opera, Scottish English National also appeared with She season until1969. appearing there each Garden in1959, House, Covent Die Fledermaus ), Die with Tito

19 David Farrell Monsieur Triquet( regular atGlyndebourne andthe guest artist National Opera companiesandhasbeena andSadler’sD’Oyly Carte Wells/English Joseph Hislop. He wasamemberofthe and studiedsingingwithFrank Titterton and John Fryatt tomusic. for services was awarded amedalintheOrder ofAustralia she remains Managing Director. In 1997she ( Vancouver, New York andMonte Carlo. Geneva, Lille,Amsterdam, Santa Fe, Palermo, Brussels, Lyon, Chicago,Paris, Nice, Wexford, Hamburg, Bordeaux, Rouen, foreign guestengagementshave takenhimto Glyndebourne Festival Opera. John Fryatt’s Peter Grimes Recordings includeRev. Horace Adams was bornandeducatedin York ), underRichard Hickox for Eugene Onegin Northern Ireland; and Figaro Basilio ( National Opera; Don Butterfly and Goro ( Altoum ( repertoire includes Garden. His Royal Opera, Covent ) forOpera Le nozze di Le nozze ) forEnglish ) for Turandot Madam ) CHAN 3081 BOOK.qxd 22/5/07 1:45 pm Page 20

Chandos, and he has appeared in many Noel Mangin’s most notable roles were Don debut two years later, and later that year he Windsor, as well as an annual festival in television productions and on video recordings Pasquale, Ochs and Osmin, and in 1981 he made his concerto debut playing Lalo’s Gstaad. In 1959 the Bath Festival Orchestra of Orpheus in the Underworld and Cox and Box. was awarded an OBE. He died in 1995. Symphonie espagnole. He made his first (later the Menuhin Festival Orchestra) was recording in 1928 and became one of the most formed, and it was with this group that he Noel Mangin was born in Wellington, New David Kelsey, a trained pianist, baritone, and recorded artists of the last century. In the made over 100 recordings. Zealand, and sang his first solo as a boy lyric and sketch writer, in addition to being a 1930s his family moved to Paris, but after his Amongst the many other things which soprano at the age of eight. He made his debut well-known actor, played the part of Pasha first marriage his principal home was in Yehudi Menuhin achieved were the founding as a tenor at the age of twenty-one after Selim in the Phoenix Opera performances at California. During the Second World War he of the Yehudi Menuhin School in Surrey, Live studying with Ernest the Bath Festival in 1967. He appeared at the gave performances for US and Allied troops Music Now! (an organisation which sends Drake. He sang as a Lyric Theatre and in revue at the Comedy and in 1944 he was the first artist to appear at young professional musicians to play in venues tenor for three years, Theatre in London. He also appeared in a the Paris Opéra after the liberation. or communities where there are few public before his voice number of productions at the Cheltenham In 1947 he was the first Jewish artist to concerts), the International Menuhin Academy underwent a change, Festival, and toured all over the world, appear with the Berlin Philharmonic Orchestra in Gstaad, and the Menuhin Violin and eighteen months including Europe, Australia (where he also under Furtwängler, and he made a number of Competition. He was awarded the Royal later he emerged as a appeared on television), New Zealand and the recordings with the conductor. After his second Philharmonic Society’s Gold Medal in 1972, bass-baritone, singing Far East. marriage, Yehudi Menuhin and his family left and was made an honorary KBE in 1966. Germont Père the United States and made their homes in After adopting British citizenship in 1985 he (La traviata) and Yehudi Menuhin was London and Gstaad, Switzerland. In 1947, was knighted, in 1987 he was awarded the Marcello (La bohème). born in New York in with the Dallas Symphony Orchestra, he began Order of Merit, and in 1993 he was made a By the following year his voice had settled as a 1916 and began violin his second career, as a conductor, and in life peer. Yehudi Menuhin died in 1999 while bass and he sang the role of Sarastro (The EMI Records lessons in San England he directed festivals in Bath and on an orchestral tour in Germany. Magic Flute). He studied in Paris with Francisco at the age Dominique Modesti, and in London with of five. He made Joseph Hislop, and from 1963–67 he sang such rapid progress with Sadler’s Wells Opera. He also made many that he appeared appearances at the Hamburg Staatsoper, and professionally in San Victoria State Opera, and from 1979 he Francisco in 1924, at regularly sang Fafner, Hunding and Hagen in the age of seven, and gave a full-length recital Seattle Opera’s Ring productions. the following year. He made his New York

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Yehudi Menuhin, Nicolai Gedda and Mattiwilda Dobbs and recording Ronald Kinloch Anderson producer Ronald Kinloch Anderson David Farrell David David Farrell David CHAN 3081 BOOK.qxd 22/5/07 1:46 pm Page 24

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 Geraint Evans amongst them – were to become world-famous. In 1964 he set aside a substantial part of his Peter Moores was born in Lancashire, the son of Sir John Moores, founder of the giant inheritance to establish the Peter Moores Foundation, a charity designed to support those Littlewoods mail order, chain store and football pools group. He was educated at Eton and causes dear to his heart: to make music and the arts more accessible to more people; to give Christ Church, Oxford, where he read modern languages – he was already fluent in German encouragement to the young and to improve race relations. and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne Festival Opera before going up to university, and after Oxford he became a production PETER MOORES FOUNDATION student at the Vienna State Opera, combining this with a three-year course at the Vienna In the field of music, the main areas supported by the Peter Moores Foundation are: Academy of Music and Dramatic Art. the recording of operas from the core repertory sung in English translation; the recording By the end of his third year at the Academy Moores had produced the Vienna premiere of or staging of rare Italian opera from the bel canto era of the early nineteenth century Britten’s The Rape of Lucretia, had worked as Assistant Producer (repertoire which would otherwise only be accessible to scholars); the nurturing of at the San Carlo Opera House, Naples, the Geneva Festival and promising young opera singers; new operatic work. Rome Opera, and seemed set for a successful operatic career. At The Foundation awards scholarships annually to students and post-graduates for furthering this point he received a letter from his father asking him to their vocal studies at the Royal Northern College of Music. In addition, project awards may be

come home as he was needed in the firm. Family loyalty being Cooper/PMF Bill given to facilitate language tuition in the appropriate country, attendance at masterclasses or paramount, he returned to Liverpool. summer courses, specialised repertoire study with an acknowledged expert in the field, or From 1981 to 1983 he was a Governor of the BBC, and post-graduate performance training. 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 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 these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy opera an Honorary Member of the Royal Northern College of to the full, there must be no language barrier, particularly for newcomers and particularly in the Music in 1985. In May 1992 he became Deputy Lieutenant popular repertoire – hence the Opera in English series launched with Chandos in 1995. This of Lancashire, and in the New Year’s Honours List for 1991, includes many of the English language recordings funded by the Foundation in the 1970s and he 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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er zu der Zeit noch nicht in Wien lebte. Das Weber verliebt, brach er mit Salzburg und Mozart: The Abduction from the Seraglio ganze Jahr 1778 verbrachte er in Deutschland dem Erzbischof zugunsten von Heirat und und Frankreich auf der Suche nach einer einer Existenz als freischaffender Musiker. Das Mozarts The Abduction from the Seraglio Während die Schauspieltruppe recht leicht gutbezahlten festen Anstellung. Es fand sich neuerwachte Interesse des Kaisers an der (Die Entführung aus dem Serail ) hat ihren zusammenzustellen war, dauerte es länger, mit jedoch nichts Geeignetes, und Mozart kehrte deutschen Oper spielte bei dieser Ursprung in dem Wunsch des Habsburger deutschsprachigen Sängern ein nach sechzehnmonatiger Abwesenheit nach Entscheidung zweifellos eine Rolle. Kaisers Joseph II., seinen Wiener Untertanen Opernensemble aufzubauen, das einem nichts Salzburg zurück, um bei seinem verachteten Nachdem er seine Entscheidung seinem regelmäßig Opern in ihrer eigenen Sprache zu als das Beste gewöhnten Publikum gerecht früheren Dienstherrn Erzbischof Colloredo die Vater Leopold in Salzburg mitgeteilt hatte (wo präsentieren. wurde. Ein zweites Problem war das Stellung eines Hoforganisten anzutreten. diese wie zu erwarten mit Bestürzung Joseph II. (1741–1790) war überaus Repertoire. Während sich in anderen Ironischerweise war es Colloredo, aufgenommen wurde), machte Mozart sich musikalisch und zudem vom Wert des Theaters deutschsprachigen Kulturzentren begrenzte dessentwegen Mozart nach dreizehn Jahren daran, sich zu etablieren. Ein wesentlicher als Mittel zur Bildung der öffentlichen Meinung lokale Operntraditionen in der Landessprache zum ersten Mal nach Wien zurückkehrte, wo Faktor in der Wiener Opernhierarchie war der überzeugt; es war daher unvermeidlich, daß er entwickelt hatten, gab es nichts dergleichen in er sich schließlich niederließ. Der Erzbischof Mime und Autor Johann Gottlieb Stephanie, das Opernleben in der kaiserlichen Hauptstadt Wien, wo bis dahin italienische und stattete der habsburgischen Hauptstadt genannt Stephanie der Jüngere, der kurz zuvor zu beeinflussen suchen würde. Mit dem Tod französische Opernunternehmen das Feld anläßlich von Josephs II. Thronbesteigung zum Direktor des Deutschen Nationalen seines Vaters Franz I. hatte er 1765 die behauptet hatten. Die Lösung des Problems 1781 einen ausgedehnten Besuch ab und Singspiels ernannt worden war. Obwohl Kaiserwürde übernommen und regierte lag auf drei Ebenen. Zum einen konnten verlangte Mozarts Anwesenheit, um seine Stephanie als unehrlich galt, konnte Mozart gemeinsam mit seiner Mutter bis zu deren Tod anderswo inszenierte deutsche Werke dem musikalische Gefolgschaft zu präsentieren. seinem Vater am 1. August 1781 berichten, im Jahr 1780. Einige Jahre zuvor jedoch hatte lokalen Geschmack angepaßt werden; daneben Mozart, der kurz zuvor anläßlich der daß er sich als guter Freund erwiesen und ihm Maria Theresia ihm die Leitung der beiden konnten populäre Stücke von Gluck, Grétry, erfolgreichen Premiere seiner Oper Idomeneo kurz zuvor ein Libretto zur Vertonung gegeben Wiener Hoftheater übertragen, die er zu Paisiello und anderen aus dem Französischen in München gefeiert worden war, scheint jede habe. “– das Buch ist ganz gut. das Sujet ist reformieren begann, indem er zunächst das oder Italienischen übersetzt werden; und einzelne der selbstherrlichen Gesten des türkisch und heist; Bellmont und konstanze. Burgtheater zum Deutschen National-theater schließlich wurden neue Werke in Auftrag Erzbischofs als persönliche Beleidigung oder die verführung aus dem Serail…” erklärte und das Kärntnerthortheater freien gegeben. Das Unternehmen begann am aufgefaßt zu haben, so daß er seine Entlassung Trotz Mozarts Irrtum (“Verführung” Theatergruppen zugänglich machte. Sein 17. Februar 1778 mit eben einem solchen aus den Diensten Colloredos im Juni mehr anstelle von “Entführung”) handelt es sich hier Hauptinteresse galt indes dem erstgenannten, Stück – Die Bergknappen, ein Singspiel in oder weniger selbst inszenierte. um die uns als The Abduction from the Seraglio wo von nun an zwei Ensembles – eines aus einem Akt von Ignaz Umlauf. Dies war der Wendepunkt in Mozarts bekannte Oper. Wie bei zahlreichen anderen Schauspielern, das andere aus Sängern bestehend Mozart wußte zweifellos von dieser Leben. Mit der Aussicht, in der kaiserlichen Libretti aus der Feder Stephanies basiert auch – in der Sprache des Publikums auftraten. wichtigen künstlerischen Entwicklung, obwohl Stadt zu Geld zu kommen, und in Konstanze dieses auf einer fremden Vorlage – hier ein

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Text von Christoph Friedrich Bretzner, der von Janitscharen-Kapellen ab, die, angeführt von In vieler Hinsicht vermittelt der Text als nach Europa zurückkehren zu lassen, erhebt Johann André vertont und am 25. Mai 1781 in Kesseltrommeln und Zimbeln, die türkischen Ganzes die Art aufgeklärter Belange, deren die Schlußszene der Komödie auf ihre Berlin erstaufgeführt wurde. Stephanie und Armeen in die Schlacht geleiteten. In Verbreitung Joseph besonders am Herzen lag. bewegende und aufgeklärte moralische Mozart hofften, daß ihre Fassung bei dem für vereinfachter und für westliche Ohren Neben dem Chor gibt es in der Entführung Ebene. Mitte September angekündigten Besuch des adaptierter Form wurde er in der Oper mit noch zwei weitere türkische Rollen. Die erste Osmin hingegen stürzt am Ende von der Großherzogs Paul Petrovich von Rußland und türkischen Themen oder sogar mit dem ist die des lokalen Herrschers Pascha Selim, Bühne, besessen auf der Suche nach Folter seiner Frau Aufsehen erregen würde. Der Besuch Orient allgemein in Verbindung gebracht. wie in der Vorlage von Bretzner und André und Todesstrafe – die nur fünf Jahre später wurde jedoch verschoben, und der Kaiser Über seinen rein musikalischen Reiz hinaus eine Partie ohne Gesang. Bei der zweiten von Joseph II. abgeschafft werden sollte. beschloß daraufhin, den Großherzog stattdessen jedoch reflektierte das türkische Thema der handelt es sich um seinen Verwalter Osmin, Zuvor muß er die Zurückweisung und mit Gluck zu erfreuen. Mozart Oper wurde Oper ein durch den zunehmenden Kontakt eine lebhafte musikalische Schöpfung und Vertreibung durch Blonde hinnehmen, die schließlich bis zum Sommer 1782 zurückgestellt zwischen Ost und West angeregtes wachsendes zugleich ein ebenso komischer wie Engländerin und damit eine Repräsentantin – zweifellos eine große Enttäuschung für ihn, Interesse an fremden Kulturen. Wie Brigid bedrohlicher Charakter. Mozart schrieb diese der Nation ist, die in der Aufklärung als zugleich aber auch eine Gelegenheit, auf Brophy schreibt, “Missionare machten sich Rolle für Ludwig Fischer, den Star-Baß des besonders fortschrittlich galt. (Constanze, wesentliche Änderungen im Libretto zu auf, die Heiden zu christianisieren, das Militär Ensembles und großen Publikumsliebling. Belmonte und Pedrillo sind Spanier; und die bestehen, die es ihm ermöglichten, eine weitaus und der Handel wollten die Wilden Osmin repräsentiert das negative Bild eines kulturelle Mixtur wird durch Pedrillos ambitioniertere Partitur zu erstellen. unterwerfen und ausbeuten. Doch den nach Türken, der die Rechte der Frauen mißachtet Serenade “In Moorish lands” noch ergänzt, Das Genre – das des “türkischen Sujets”, Europa zurückgesandten Informationen und ständig mit Folter droht. Selbst Selim deren Musik natürlich maurische Elemente wie Mozart es nannte – war natürlich nicht entnahm das aufgeklärte Denken, daß Heiden bedroht Konstanze, als sie seine Liebe enthält. Der Kulturhistoriker Edward Said hat neu. Zwei von Glucks französischen opéras und Wilde möglicherweise moralischer und zurückweist – es fällt jedoch schwer, in seinem bemerkt, wie die Darstellungen des Orients oft comiques – Le Cadi dupé (1761) und zivilisierter waren als die Christenheit.” plötzlichen Wutausbruch mehr als im verhüllte Darstellungen des Westens sind, und La Rencontre imprévue (1763), beide am Mozart selbst hatte solche Möglichkeiten wesentlichen einen Vorwand für Konstanzes offensichtlich waren die hier mit Türken in Wiener Burgtheater erstaufgeführt – waren bereits in seinem unvollendeten Singspiel größte und feurigste Arie “Tortures Verbindung gebrachten reaktionären dem Publikum in guter Erinnerung, und Zaide (1779–80) ausgelotet, das Stephanie als unrelenting” zu sehen, die Stephanie und Einstellungen in Wahrheit viel näher an letztere war kurz zuvor in deutscher für das Burgtheater zu ernsthaft abgelehnt Mozart dem ursprünglichen Text später Josephs Regierungssitz angesiedelt, und eben Übersetzung erfolgreich wiederbelebt worden. hatte. Während die Darstellung der Türken in hinzufügten. Doch seine Weigerung, sich an diese trachtete er zu verändern. Wie Mozart wohl bewußt war, kam der in der Entführung offensichtlich nicht dem Sohn des Spaniers zu rächen, der ihn so Die Entführung erlebte ihre erste diesen Werken verwandte alla-turca-Stil beim ausschließlich positiv ist, enthält sie jedoch sehr verletzt hat, und sein Entschluß, Aufführung am 16. Juli 1782 im Burgtheater. Wiener Publikum besonders gut an. Er leitete positive Elemente – besonders in der Constanze und ihre Zofe Blondchen zu Der berühmteste Kommentar dieses sich von der Musik der sogenannten abschließenden verklärenden Geste des Werks. befreien und mit ihrem jeweiligen Partner Ereignisses ist möglicherweise apokryph.

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Mozarts frühester (1798) Biograph Franz die eines ausgewachsenen Konzert-Kopfsatzes, Theater seiner Majestät, während die British Belmonte des Phoenix-Opera-Ensembles Xaver Niemetschek erwähnt einen Dialog beginnend mit der üblichen National Opera Company sie in der Spielzeit durch den schwedischen Tenor Nicolai Gedda zwischen Kaiser und Komponist: “Gewaltig Orchesterexposition der Themen, während der 1922/23 ebenfalls auf Englisch in Covent zu ersetzen, der den Part nicht nur viel Noten lieber Mozart!”, sagte Joseph, der Solist – in diesem Fall Konstanze – Garden aufführte. Auch die Sadler’s Wells hervorragend singt, sondern zudem auch worauf Mozart erwidert haben soll: “Gerade so schweigt. Diese ausgedehnte Einleitung dauert Opera und ihre Nachfolgeorganisation English über eine exzellente englische Aussprache viel, Eure Majestät, als nöthig ist”. Doch es ist mehr als zwei Minuten der insgesamt fünfmal National Opera haben das Stück regelmäßig in verfügt. Auch ist es gut, die durch den etwas Wahres an dieser Bemerkung. Wie in so langen Arie und hat Regisseuren seit jeher ihren Spielplan aufgenommen. Die erste amerikanischen Koloratursopran Mattiwilda seiner vorangehenden Oper Idomeneo schwelgt Kopfzerbrechen bereitet. Produktion an der New Yorker Met im Jahr Dobbs interpretierte Partie der Konstanze Mozart auch in der Entführung in seinen Trotz der Kritik Josephs II. (falls er diese 1946 fand ebenfalls in der Sprache des verewigt zu finden; zu weiteren Höhepunkten Fähigkeiten und stellt einen Reichtum an wirklich äußerte) wurde die Entführung positiv Publikums statt. ihrer Karriere zählen die Rollen von Gilda, Gedanken und Verzierung zur Schau, den er aufgenommen und brachte es allein im Jahr Die hier präsentierte Einspielung basiert auf Oscar und Donizettis Lucia an der Met. erst später auf die relative Einfachheit von 1782 auf elf weitere Darbietungen. Zwischen einer Inszenierung der Phoenix Opera Der aus Neuseeland stammende Baß Noel La clemenza di Tito und der Zauberflöte 1783 und 1788 gab es an den Wiener während des Bath Festivals 1967. Sie bildet Mangin war ein gefeierter Osmin – eine reduzieren sollte. Dies wird nirgendwo so Hoftheatern dreißig Aufführungen. Auch in eine von Yehudi Menuhins seltenen Rolle, in der er regelmäßig an der Sadler’s deutlich wie in Konstanzes Musik. In einem Deutschland war das Stück erfolgreich, und es Exkursionen auf das Gebiet der Oper, von Wells Opera auftrat. Die Besetzung der Brief an seinen Vater (26. September 1781), war diese Oper, die Mozarts Namen in ganz denen die meisten während seiner Zeit als Blondchen erhält uns eine wichtige der sich auf “How I loved him” bezieht, Mitteleuropa bekannt machte. Die erste künstlerischer Leiter des Bath Festivals Erinnerung an den australischen Sopran erklärte Mozart selbst, er habe “die aria von britische Aufführung fand am 25. November stattfanden. Es ist bemerkenswert, daß Jenifer Eddy; ein Jahr nach dieser Aufnahme der konstanze … ein wenig der geläufigen 1827 in Covent Garden statt, wo das Werk in Menuhin – ein echter musikalischer erzwang eine Erkrankung das Ende ihrer gurgel der Mad.selle Cavallieri aufgeopfert”; englischer Sprache gesungen wurde, allerdings Internationalist, als Sohn ukrainischer Gesangskarriere, heute ist sie eine erfolgreiche gemeint ist die Starsopranistin des Ensembles, mit stark geänderter Handlung und einigen jüdischer Eltern in Amerika geboren, später Künstleragentin. Der Pedrillo John Fryatt die mit großer Wahrscheinlichkeit die Geliebte neuen Sätzen von Christian Kramer. 1866 britischer Staatsbürger und einer der ersten war in den 1950er Jahren Mitglied der von Mozarts Rivalen Salieri war. Noch reicher wurde das Stück ins Italienische übersetzt und klassischen Musiker des westlichen D’Oyly Carte Opera Company und trat ausgearbeitet ist allerdings die Arie “Tortures im Theater ihrer Majestät aufgeführt; von Kulturkreises, die an Aufführungen von später als Tenor wie auch als Bariton an der unrelenting”, die, eingebettet in die dieser Fassung stammt der heute noch indischer Musik und Jazz teilnahmen – die Sadler’s Wells Opera und späteren English Orchesterbegleitung, Partien für nicht weniger gelegentlich verwendete Titel Il Seraglio. Die türkische Musik in Mozarts Werk mit solch National Opera auf. als vier obligate Instrumente – Flöte, Oboe, erste Darbietung der Oper in Italien fand erst offensichtlichem Vergnügen anging. Violine und Violoncello – enthält. Die Form 1935 in Florenz statt. Sir Thomas Beecham Als die Aufnahme gemacht wurde, © 2002 George Hall der außerordentlich groß angelegten Arie ist gab sie erneut 1910 in englischer Sprache im entschied die Plattenfirma, den ursprünglichen Übersetzung: Stephanie Wollny

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Handlung Kammerzofe Blondchen, von den Piraten Osmin Pedrillo und Belmonte am Betreten des Drohungen und sagt, daß sie sich allein auf Die Oper spielt in der Palastanlage des Paschas gekauft und Blondchen Osmin geschenkt Palastes zu hindern, doch schließlich gelingt es den Tod freue und nur die Treulosigkeit Selim, an der türkischen Mittelmeerküste. habe. Konstanze sei zwar im Harem die ihnen, an ihm vorbeizukommen. fürchte. 3 Der Pascha ist ratlos und Favoritin des Paschas geworden, erwidere überlegt, was er noch tun muß, um sie zu COMPACT DISC ONE aber dessen Liebe nicht. Belmonte sagt, 2. Akt gewinnen. daß ein Schiff zu ihrer Flucht bereit sei. 17 – 19 Blondchen empört sich über Osmins 4 Pedrillo informiert Blondchen über die 1. Akt Pedrillo warnt ihn, daß es schwierig sein plumpe Annäherungsversuche und sagt ihm, Ankunft Belmontes und ihren Plan: Die 1 – 3 Belmonte, ein spanischer Adliger, werde, den gewieften, stets wachsamen nicht mit Gewalt sondern durch Zärtlichkeit Männer werden um Mitternacht eine Leiter sucht seine geliebte Konstanze, die von Piraten Osmin zu überlisten. Sie beschließen, daß gewinne man Liebe. Er befiehlt ihr als seiner zum Fenster der beiden Frauen bringen, entführt worden ist. Er befindet sich vor Belmonte, um überhaupt Zugang zu dem Sklavin, ihn zu lieben, sie wehrt ihn jedoch nachdem Osmin von Pedrillo betäubt worden einem Palast, fragt sich, ob dieser dem Pascha Palast zu erlangen, in die Rolle eines verächtlich ab und erwidert, daß sie ist. 5 – 6 Blondchen freut sich und will es Selim gehöre, und betet, die Liebe möge ihn renommierten Gastarchitekten schlüpfen soll. Konstanzes Einfluß auf den Pascha ausnutzen Konstanze erzählen.7 Einmal allein rafft zu Konstanze führen. 4 – 5 Belmonte 9 – 11 Anschließend verleiht Belmonte werde, um Osmin bestrafen zu lassen. Pedrillo für den bevorstehenden “Kampf ” befragt Osmin, den Aufseher des Paschas, der seinen Gefühlen ob des bevorstehenden 20 Osmin warnt sie davor, mit Pedrillo zu seinen ganzen Mut zusammen. 8 – 9 Er ihn jedoch nicht beachtet. Als Belmonte aber Wiedersehens mit Konstanze Ausdruck. liebäugeln, 21 – 23 und behauptet, die überredet den widerwilligen Osmin, etwas nach Pedrillo, seinem ehemaligen Diener fragt, 12 Der Pascha tritt auf und wird von Engländer seien verrückt, ihren Frauen solche Wein zu probieren, und die beiden Männer antwortet Osmin verärgert und jagt Belmonte, seinem gesamten Haushalt begrüßt. 13 Er Freiheiten zuzugestehen. Blondchen jedoch singen einen Lobgesang auf Bacchus und die den er verdächtigt, hinter dem Harem des fragt Konstanze, warum sie so traurig sei; er genießt ihren unabhängigen Geist. Frauen. 10 Als die Trunkenheit Osmin Paschas her zu sein, fort. möchte ihre Liebe, aber nur wenn sie sie 24 – 25 Konstanze, von Leid gebrochen, übermannt, schickt ihn Pedrillo weg, um 6 – 7 Osmin murrt über seinen Haß freiwillig schenkt. 14 Sie antwortet, daß sie denkt an ihr früheres Glück zurück. seinen Rausch auszuschlafen, 11 – 13 so daß gegen Pedrillo, der sich beim Pascha aufgrund der Trennung von ihrem Geliebten die Liebenden sich treffen können. 14 Ihre eingeschmeichelt hat und in dessen Diensten von großer Trauer erfüllt ist. 15 Daraufhin ist COMPACT DISC TWO ekstatische Freude schlägt jedoch um, als Gärtner geworden ist. Pedrillo trifft ein, um zu der Pascha zwar verärgert, räumt aber ein, daß Belmonte und Pedrillo die Frauen der Untreue fragen, ob der Pascha vom Segeln ihr Widerstand sein Verlangen nur noch 1 Blondchen versucht sie mit der Hoffnung bezichtigen. 15 Konstanze ist verletzt und zurückgekehrt sei. 8 Osmin geht verärgert steigert. auf eine Rettung durch Belmonte zu trösten. beleidigt, Blondchen dagegen wütend. fort, Belmonte erscheint und ist überrascht, 16 Konstanze geht ab, und Pedrillo stellt Als der Pascha Konstanze mit Folter droht, 16 Belmonte und Pedrillo flehen um Pedrillo zu sehen. Dieser erzählt Belmonte, Belmonte als einen in Italien ausgebildeten sollte sie ihm weiter ihre Liebe verweigern, Verzeihung für ihre Eifersucht, und alle daß der Pascha ihn, zusammen mit Konstanze Architekten vor. Der Pascha willigt in eine antwortet sie, daß sie ihn lediglich respektieren Mißverständnisse lösen sich in einer liebenden und deren englischen (von Pedrillo geliebten) Unterredung ein. Wutentbrannt versucht kann. 2 Trotzig widersteht sie seinen Versöhnung auf.

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3. Akt vertrieben hat. Er sagt den Liebenden, er Nicolai Gedda ist international als einer der Stravinsky, Orff, Barber und Menotti, und in 17 Belmonte, der darauf wartet, die werde die gleiche Art von Strafe austeilen, die größten Künstler unserer Zeit anerkannt und Recitals wird er als herausragender Lied- Rettungsaktion in die Tat umzusetzen, denkt auch Belmontes Vater gewählt hätte, und läßt wurde für seine Beherrschung eines Interpret geschätzt. Außerdem zeichnet er sich über die Macht und die Freude der Liebe sie weiter bewachen. 23 – 25 Belmonte Repertoires gefeiert, das nahezu jeden Stil und dadurch aus, mit 200 Einspielungen der nach. 18 – 19 Pedrillo erscheint und singt als beklagt, Konstanze zu ihrem Tode geführt zu jede Epoche in Oper, Oratorium, Operette, meistaufgenommene Tenor zu sein. Hierzu Signal für die Frauen ein “orientalisches” haben, doch sie gibt sich die Schuld für seinen Lied und Orchesterwerk umfaßt. zählen vollständige Opernaufführungen von Ständchen über einen jungen Ritter, der Untergang. Das Paar begrüßt den Tod als die Der in Stockholm gebürtige Sohn eines Wilhelm Tell, La Bohème, Faust, Werther, aus fernen Landen anreist, um ein im Land einzige Art und Weise zusammen bleiben zu russischen Bassisten und einer schwedischen Manon, Così fan tutte und Benvenuto Cellini. der Mooren gefangengehaltenes Mägdelein können. Mutter feierte sein Debut 1952 an der zu erretten. 20 Belmonte holt Konstanze, und 26 Der Pascha kommt zurück, um sein Königlichen Oper Stockholm in Le Postillon de Mattiwilda Dobbs wurde in Atlanta (Georgia) sie eilen davon, während Pedrillo Urteil zu fällen. Er sagt Belmonte, er solle mit Longjumeau. Im Publikum befand sich damals geboren und begann ihre Gesangsstudien emporklettert, um Blondchen zu retten. Konstanze nach Hause zurückkehren: Er Herbert von Karajan, der ihn umgehend für in New York; daneben erwarb sie einen Osmin hat jedoch Verdacht geschöpft und verachtet Belmontes Vater zu sehr, um ihn seine Aufnahme von Bachs H-Moll-Messe M.A. in Spanisch. Sie studierte bei Lotte die Wachen gerufen. Pedrillo und Blondchen nachzuahmen, und will stattdessen engagierte. Somit kann Nicolai Gedda 2002 Lehmann in Kalifornien und bei Pierre Bernac werden erwischt; Belmonte und Konstanze Ungerechtigkeit mit Milde vergelten. auf fünfzig Jahre Aufnahmetätigkeit in Paris und feierte 1952 ihr Debut in der sind ebenfalls gefangen worden. 21 Osmin Konstanze bittet um Vergebung, und Pedrillo zurückblicken. 1953 hatte er sein Debut an Titelrolle von Stravinskys Le Rossignol auf dem ist hocherfreut und genießt die Vorfreude fleht um Gnade für sich und Blondchen, der Mailänder Scala, gefolgt 1954 von ersten Holland-Festival. Es folgten Auftritte in auf ihre bevorstehende Folter und was Osmin vollends empört. 27 Alle vier Auftritten an der Pariser Oper und 1957 an skandinavischen Hauptstädten, Belgien, Hinrichtung. bringen ihre Dankbarkeit für die der Metropolitan Opera (in der Titelrolle von Frankreich, Italien und England. Zu ihren 22 Der Pascha stellt Konstanze zur Rede. Barmherzigkeit des Paschas zum Ausdruck, Gounods Faust). Seit seinem Debut an der Rollen in Glyndebourne und an der Royal Sie gesteht, in seinen Augen schuldig zu sein, und dies ist mehr als Osmin, der die Qualen, Royal Opera 1965 (als Herzog von Mantua in Opera zählten Constanze, Zerbinetta und beteuert aber, aus Treue zu ihrem Geliebten, die er den Fremden zufügen möchte, Verdis Rigoletto) hat er dort Benvenuto Cellini, die Königin (Le Coq d’or), Gilda, Lucia, für den sie zu sterben bereit sei, gehandelt zu beschreibt, ertragen kann. 28 – 29 Alle Alfredo, Gustavus III in Un ballo in maschera, Olympia und der Waldvogel (Siegfried ). haben. Belmonte fleht um Mitleid und erklärt, anderen einigen sich darauf, daß nichts so Nemorino und Lensky gesungen. An der Ihr Debut an der New Yorker Metropolitan daß er aus einer adligen spanischen Familie abscheulich sei, wie die Rache, und preisen Metropolitan Opera schuf er führende Rollen Opera hatte sie in der Rolle der Gilda, später namens Lostados stamme, die ein hohes gemeinsam den Pascha. in Barbers Vanessa und Menottis The Last trat sie dort auch als Lucia, Olympia und Lösegeld für ihn bezahlen werde. Dem Pascha Savage. Zerlina auf. Außerdem sang sie an der Scala, wird klar, daß Belmonte der Sohn seines © 2002 Alison Latham Seine Operntriumphe erstrecken sich von der Pariser Opéra und den großen größten Feindes ist, der ihn aus seiner Heimat Übersetzung: Bettina Reinke-Welsh den Werken Haydns und Mozarts bis hin zu europäischen Festivals.

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zur Aufgabe ihrer Karriere. Adams (Peter Grimes) unter Richard Hickox Er starb 1995. Die australische Sopranistin Jenifer Eddy 1975 kehrte sie nach Australien zurück und aufgenommen, außerdem ist er in zahlreichen David Kelsey, ein ausgebildeter Pianist, begründete ihre eindrucksvolle Karriere als beschritt in ihrem Heimatland neue Wege im Fernsehproduktionen aufgetreten und Bariton, Lyriker und Autor von Sketchen Koloratursopran bereits vor ihrer Übersiedlung Bereich der Künstlervermittlung; im selben erscheint auf Videoaufnahmen von Orpheus in sowie Schauspieler, verkörperte in den nach England; sie trat regelmäßig als Solistin Jahr gründete sie “Jenifer Eddy Artists’ der Unterwelt und Cox and Box. Aufführungen der Phoenix Opera auf dem bei der ABC (Australischer Rundfunk) auf Management”, dessen Geschäftsführerin sie bis Bath Festival 1967 die Rolle des Pascha Selim. sowie als Susanna, Papagena und Despina in heute ist. 1997 wurde ihr in Anerkennung Noel Mangin wurde in Wellington in In London trat er am Lyric Theatre und in der Saison 1956/57 an der Australian Opera. ihrer Verdienste um die Musik eine Medaille Neuseeland geboren und sang sein erstes Solo Revuen am Comedy Theatre auf. Außerdem Ihr Debut am Royal Opera House in des Order of Australia verliehen. als Knabensopran im Alter von acht Jahren. wirkte er bei einer Reihe von Produktionen Covent Garden feierte sie 1959 und trat dort Sein Debut als Tenor feierte der 21jährige nach des Cheltenham Festival mit, und Gastspiele bis 1969 in jeder Spielzeit auf. Sie sang zudem John Fryatt stammt aus York, wo er auch Studien bei Ernest Drake. Nachdem er drei führten ihn in die ganze Welt, nach Europa, an der English National Opera, der Scottish aufwuchs, und studierte Gesang bei Frank Jahre als Tenor gesungen hatte, veränderte sich Australien (wo er auch im Fernsehen auftrat), Opera, der Welsh National Opera sowie auf Titterton und Joseph Hislop. Er war Mitglied seine Stimme, und 18 Monate später trat er als Neuseeland und in den fernen Osten. den meisten größeren Festivals in des D’Oyly Carte und des Sadler’s Baßbariton in den Rollen des Germont Père Großbritannien, Deutschland, Frankreich und Wells/English National Opera Ensembles (La traviata) und des Marcello (La Bohème) Yehudi Menuhin wurde 1916 in New York Italien. Zu ihren Rollen zählen Rosina, sowie regelmäßiger Gast in Glyndebourne und auf. Im darauffolgenden Jahr hatte seine geboren und nahm schon mit fünf Jahren in Norina, Musetta, Olympia, Adele (Die an der Royal Opera in Covent Garden. Sein Stimme das Niveau eines Basses erreicht, und San Francisco Violinunterricht. Er machte Fledermaus), Tytania (A Midsummer Night’s Repertoire umfaßt Altoum (Turandot) und er sang die Rolle des Sarastro (Die Zauberflöte). solch große Fortschritte, daß er bereits als Dream), Sophie (Der Rosenkavalier), Goro (Madam Butterfly) für die English Er studierte bei Dominique Modesti in Paris Siebenjähriger 1924 in San Francisco Fiakermilli, Zerbinetta, Despina und National Opera, Don Basilio (Le nozze di und bei Joseph Hislop in London und wirkte professionell auftrat und im darauffolgenden Blondchen. Hinzu kommen zahlreiche Figaro) für Opera Northern Ireland und von 1963 bis 1967 an der Sadler’s Wells Opera. Jahr ein abendfüllendes Recital gab. Sein New Sendungen und Konzerte bei Radio BBC Monsieur Triquet (Eugen Onegin) für die Außerdem trat er häufig an der Hamburger Yorker Debut feierte er zwei Jahre später, und sowie beim BBC-Fernsehen, besonders als Glyndebourne Festival Opera. Ausländische Staatsoper und der Victoria State Opera auf noch im selben Jahr trat er mit Lalos Adele in Glen Byam Shaws Inszenierung der Gastauftritte haben John Fryatt nach Wexford, und sang ab 1979 regelmäßig den Fafner, Symphonie espagnole zum ersten Mal solistisch Fledermaus und in Auszügen von Don Hamburg, Bordeaux, Rouen, Palermo, Brüssel, Hunding und Hagen in Inszenierungen von mit einem Orchester auf. Seine erste Giovanni mit Tito Gobbi und Sir Geraint Lyon, Chicago, Paris, Nizza, Genf, Lille, Wagners Ring an der Seattle Opera. Aufnahme machte er 1928 und wurde einer Evans. Nachdem sie 1969 an der Maggio Amsterdam, Santa Fe, Vancouver, New York Noel Mangins bekannteste Rollen waren die der am meisten eingespielten Künstler des Musicale unter Zubin Mehta die Rolle des und Monte Carlo geführt. des Don Pasquale, Ochs und Osmin, und vergangenen Jahrhunderts. In den 1930er Blondchen sang, zwang eine Erkrankung sie Für Chandos hat er den Reverend Horace 1981 wurde er mit einem OBE ausgezeichnet. Jahren zog seine Familie nach Paris, doch nach

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seiner ersten Heirat war sein Hauptwohnsitz dem er über 100 Plattenaufnahmen einspielte. Kalifornien. Im zweiten Weltkrieg spielte er in Zu den vielen anderen Dingen, die Yehudi Jenifer Eddy, Noel Mangin, Yehudi Menuhin, Konzerten für die amerikanischen und Menuhin bewirkte, zählt die Gründung der Nicolai Gedda, Mattiwilda Dobbs and John Fryatt alliierten Truppen, und 1944 trat er als erster Yehudi Menuhin School in Surrey, England, Künstler nach der Befreiung in der Pariser “Live Music Now!” (eine Organisation, die Opèra auf. junge professionelle Musiker an 1947 trat er als erster jüdischer Künstler mit Veranstaltungsreihen oder Gemeinden den Berliner Philharmonikern unter vermittelt, wo es nur wenige öffentliche Furtwängler auf, mit dem er auch eine Reihe Konzerte gibt), der International Menuhin von Plattenaufnahmen einspielte. Nach seiner Academy in Gstaad und des Menuhin Violin- zweiten Heirat verließen Yehudi Menuhin und Wettbewerbs. 1972 wurde ihm die seine Familie die Vereinigten Staaten und Goldmedaille der Royal Philharmonic Society lebten in London und Gstaad in der Schweiz. verliehen, und 1966 ehrte man ihn mit der 1947 begann er mit dem Dallas Symphony Ernennung zum KBE. Nachdem er 1985 die Orchestra seine zweite Karriere als Dirigent; in britische Staatsbürgerschaft angenommen England dirigierte er auf den Festivals in Bath hatte, wurde er zum Ritter geschlagen, 1987 und Windsor, ferner auf einem jährlich wurde er mit dem Order of Merit stattfindenden Festival in Gstaad. 1959 wurde (Verdienstorden) ausgezeichnet, und 1993 das Bath Festival Orchestra (das spätere wurde er zum Peer auf Lebenszeit erhoben. Menuhin Festival Orchestra) gegründet, mit Yehudi Menuhin starb 1999 während einer Orchestertournee in Deutschland. David Farrell David

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France à la recherche d’un emploi permanent fut sans aucun doute un facteur déterminant Mozart: The Abduction from the Seraglio bien payé. Mais rien d’intéressant ne se dans sa décision. concrétisa, et après seize mois d’absence il Après avoir informé son père Leopold à L’origine de The Abduction from the Seraglio Si la compagnie d’acteurs fut relativement retourna à Salzbourg pour prendre le poste Salzbourg (cette nouvelle le consterna comme (Die Entführung aus dem Serail ) de Mozart se facile à mettre sur pied, il fallut davantage de d’organiste de la cour de son ancien employeur on pouvait s’y attendre), Mozart chercha les trouve dans le désir de l’empereur Joseph II de temps pour constituer une troupe d’opéra qu’il détestait, l’archevêque Colloredo. moyens de s’établir à Vienne. Récemment Habsbourg de présenter à ses sujets viennois chantant en allemand qui soit digne d’un Ironiquement, c’est grâce à Colloredo que nommé directeur du Théâtre national des saisons régulières d’opéras chantés dans public habitué à la plus haute qualité. Un Mozart revint à Vienne pour la première fois allemand, l’acteur et écrivain Johann Gottlieb leur propre langue, l’allemand. autre problème fut celui du répertoire. Malgré en treize ans, et où il allait s’installer par la Stephanie, connu sous le nom de Stephanie le Très musicien lui-même, Joseph II quelques traditions locales d’opéras chantés en suite. L’archevêque fit en effet une longue Jeune, était l’un des personnages influents de (1741–1790) était également convaincu de la allemand dans d’autres centres de langue visite dans la capitale Habsbourg pour le la hiérarchie du milieu de l’opéra viennois. valeur du théâtre comme moyen d’orienter germanique, il n’en existait presque aucune à couronnement de Joseph II en 1781, et il Bien que Stephanie fût réputé malhonnête, l’opinion publique, aussi était-il inévitable Vienne où les compagnies de langue française exigea la présence de Mozart afin d’exhiber son Mozart put rapporter à Leopold (lettre du 1er qu’il cherchât à influencer la vie de l’opéra de et italienne avaient jusque-là dominé. La escorte musicale. Ayant récemment été fêté à août 1781) qu’il s’était montré un ami bon, et la capitale impériale. Ayant assumé le titre réponse était triple. Premièrement, des œuvres Munich où la création de son opéra Idomeneo lui avait récemment confié un livret à mettre d’empereur à la mort de son père François Ier allemandes produites ailleurs pouvaient être remporta un vif succès, Mozart semble avoir en musique. “Le texte est excellent. Le sujet est en 1765, il régna avec sa mère Marie-Thérèse adaptées au goût local; deuxièmement, des interprété chacun des actes despotiques de turc, et s’intitule Bellmont et Konstanze, ou la d’Autriche jusqu’à la mort de celle-ci en 1780. œuvres populaires de compositeurs tels que l’archevêque pendant cette visite viennoise Séduction au sérail…” Quelques années avant sa disparition, Marie- Gluck, Grétry ou Paisiello pouvaient être comme une insulte calculée, et il provoqua Malgré l’erreur de Mozart (“séduction” pour Thérèse lui avait confié la direction des deux traduites du français ou de l’italien; enfin, de plus ou moins son propre licenciement au “enlèvement”), il s’agit bien de l’opéra The théâtres de la cour de Vienne. Il entreprit alors nouvelles œuvres pouvaient être commandées. mois de juin. Abduction from the Seraglio que nous de les réformer, déclarant le Burgtheater L’aventure commença le 17 février 1778 avec Cet événement fut le tournant de la carrière connaissons. Comme pour tant d’autres livrets Théâtre national allemand, et mettant le une pièce de ce genre, Die Bergknappen (Les de Mozart. Percevant les possibilités de gagner de Stephanie, celui-ci s’inspire de l’œuvre d’un Kärntnerthortheater à la disposition de Mineurs), un Singspiel en un acte de Ignaz de l’argent dans la capitale impériale, et étant autre. Il se fonde sur un texte de Christoph compagnies non subventionnées. Il s’intéressa Umlauf. tombé amoureux de Konstanze Weber, il Friedrich Bretzner précédemment mis en essentiellement au Burgtheater où deux Bien qu’il ne vivait pas encore à Vienne, rompit avec Salzbourg et l’archevêque, leur musique par Johann André, et créé à Berlin le troupes, l’une d’acteurs et l’autre de chanteurs, Mozart était sans aucun doute au courant de préférant le mariage et une existence 25 mai 1781. Stephanie et Mozart espéraient se produiraient dans la langue du public ce développement artistique important. Il professionnelle indépendante. Le nouvel que leur version ferait sensation lors de la présent dans la salle. passa toute l’année 1778 en Allemagne et en intérêt porté par l’empereur à l’opéra allemand visite du grand-duc Paul Pétrovitch de Russie

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et de son épouse, prévue à la mi-septembre. Cependant, au-delà de sa pure séduction premier est le monarque local, le pacha Sélim, Plus tôt, il est mis en déroute et repoussé par Mais la visite étant différée, Joseph II décida musicale, le contexte turc de l’opéra reflétait dont le rôle est parlé comme dans l’original de Blonde – une Anglaise, et donc une par la suite de présenter au grand-duc un un intérêt grandissant pour les différences Bretzner et d’André. Le second est le gardien représentante de la nation considérée comme opéra de Gluck, et la création de l’œuvre de culturelles inspiré par les contacts de plus en de son sérail, Osmin, une création musicale étant la plus progressive par les penseurs des Mozart fut repoussée jusqu’à l’été 1782. Bien plus nombreux entre l’Orient et l’Occident. pleine de vie, et un personnage à la fois “Lumières”. (Constanze, Belmonte et Pedrillo que ce retard fût sans aucun doute une grande Comme l’a écrit Brigid Brophy: “Les comique et menaçant. Mozart écrivit le rôle sont tous de nationalité espagnole: pour frustration pour Mozart, il lui donna missionnaires partirent pour aller christianiser pour Ludwig Fisher, la basse vedette de la ajouter encore davantage au mélange culturel, cependant l’occasion de pouvoir insister sur les païens, les militaristes et les marchands compagnie, et un grand favori du public. la sérénade de Pedrillo, “In Moorish lands”, des modifications importantes dans le livret lui pour soumettre et exploiter les sauvages. Mais Osmin présente une image négative du Turc – possède naturellement dans sa mélodie des permettant de réaliser une partition beaucoup à partir des informations qu’ils envoyèrent en ne faisant aucun cas des droits de la Femme, et caractéristiques moresques. Le commentateur plus ambitieuse. Europe, le message lu par la pensée des brandissant constamment la menace de la culturel Edward Said a noté combien les Le genre – le “sujet turc” décrit par Mozart Lumières fut que les païens et les sauvages torture. Même Selim menace Constanze représentations de l’Orient sont souvent des – n’était bien entendu pas nouveau. Tout le pourraient bien être plus moraux et plus quand elle repousse ses avances – il est représentations déguisées de l’Occident, et il monde se souvenait encore de deux opéras civilisés que la chrétienté.” Mozart avait déjà cependant difficile de ne pas voir sa colère est clair que les attitudes réactionnaires comiques français de Gluck créés au exploité de telles possibilités dans son Singspiel soudaine comme une excuse donnée à associées ici avec les Turcs existaient de Burgtheater de Vienne, Le Cadi dupé (1761) et inachevé, Zaide (1779–1780), que Stephanie Constanze pour chanter sa plus grande et sa manière beaucoup plus proche de la capitale La Rencontre imprévue (1763). Traduit en avait refusé comme étant beaucoup trop plus fougeuse aria, “Tortures unrelenting”, une de Joseph II, et étaient précisément celles qu’il allemand, ce dernier avait même été sérieux pour le public du Burgtheater. S’il est addition de Stephanie et de Mozart au texte désirait le plus changer. récemment rejoué avec un très vif succès. clair que dans The Abduction from the Seraglio original. Malgré cela, son refus de se venger The Abduction from the Seraglio fut créé au Mozart avait conscience que le style alla turca la représentation des Turcs n’est pas sur le fils de l’Espagnol qui l’a si gravement Burgtheater le 16 juillet 1782. Le utilisé dans ces partitions était entièrement positive, l’opéra contient offensé, et le fait qu’il laisse Constanze et sa commentaire le plus célèbre fait à cette particulièrement bien accueilli par le public cependant des éléments qui le sont – le plus servante Blonde retourner en Europe avec occasion est peut-être apocryphe. Le premier local. Il dérivait de la musique jouée par les notable étant le geste final transfigurant leurs partenaires respectifs, élève la scène finale biographe de Mozart (1798), Franz Xaver soldats d’infanterie qui accompagnaient les l’œuvre. A bien des égards, le texte dans son de la comédie à son émouvante morale Niemetscheck, mentionne un échange entre armées turques à la bataille, avec timbales et ensemble présente le genre de programme inspirée de l’esprit des “Lumières”. Joseph II et le compositeur. “Trop beau pour cymbales en première ligne. Simplifié et attaché à la pensée des “Lumières” que Joseph Osmin, d’autre part, se précipite hors de nos oreilles, mon cher Mozart, et beaucoup adapté à la mode occidentale, ce style devint II souhaitait promouvoir. scène à la fin en proie à un désir furieux de trop de notes!”, déclara l’empereur. Mozart lui associé dans le mileu de l’opéra avec les thèmes Outre le chœur, deux des personnages de torture et de peine de mort – cette dernière aurait répondu: “Exactement autant qu’il est turcs, voire avec l’Orient en général. The Abduction from the Seraglio sont Turcs. Le sera abolie cinq ans plus tard par Joseph II. nécessaire, Votre Majesté.” Toutefois, cette

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remarque indique quelque chose. Comme Seraglio fut bien reçu, et onze autres La version enregistrée ici provient d’une incarna régulièrement au Sadler’s Wells Opera dans son opéra précédent, Idomeneo, Mozart représentations suivirent rien qu’en 1782. production donnée par le Phoenix Opera au – tandis que le rôle de Blonde nous donne un s’enivre de ses dons dans The Abduction from Entre 1783 et 1788, il fut donné trente fois Festival de Bath en 1967, et nous donne à souvenir précieux de la soprano australienne the Seraglio, étalant une richesse d’idées et dans les théâtres de la cour viennoise. Il entendre l’une des rares incursions de Yehudi Jenifer Eddy. L’année qui suivit cet d’ornementations qu’il réduira plus tard à une connut également un grand succès en Menuhin dans le domaine de l’opéra. Celles-ci enregistrement, elle fut atteinte d’une maladie relative simplicité dans la musique de Allemagne, et rendit célèbre le nom de Mozart eurent lieu en grande partie à Bath pendant la qui devait malheureusement mettre un terme à Constanze. Dans une lettre à son père se dans toute l’Europe centrale. Sa première période où il était le directeur artistique de son sa carrière lyrique. Aujourd’hui, elle poursuit rapportant à “How I loved him”, Mozart représentation en Angleterre eut lieu à Covent festival. Il est notable que Menuhin – un avec succès une importante activité explique qu’il “sacrifia légèrement l’aria de Garden le 25 novembre 1827, dans une artiste véritablement international, né en d’imprésario musical. Le rôle de Pedrillo est Constanze pour la gorge flexible de Mlle version chantée en anglais, avec un argument Amérique de parents juifs d’Ukraine, par la interprété par John Fryatt. Membre de la Cavalieri” – la soprano vedette de la considérablement modifié et de nouveaux suite citoyen britannique, et l’un des premiers D’Oyly Carte Opera Company dans les compagnie, et très probablement la maîtresse morceaux composés par Christian Kramer. musiciens classiques d’Occident à prendre part années 1950, il chanta par la suite des rôles de de Salieri, le rival de Mozart. Mais l’aria L’œuvre fut traduite en italien en 1866 et à des concerts de musique indienne et de jazz ténor et de baryton au Sadler’s Wells Opera, “Tortures unrelenting” est encore plus ornée, représentée à Londres au Théâtre de Sa – devait aborder la musique turque de Mozart puis à l’English national Opera. et comporte des parties pour quatre Majesté (Her Majesty’s Theatre): c’est de cette avec un plaisir aussi évident. instruments obbligato – flûte, hautbois, violon version que provient le titre parfois rencontré Une fois l’enregistrement réalisé, la maison © 2002 George Hall et violoncelle – à l’intérieur de son de Il seraglio. La première de l’opéra en Italie à de disque décida de remplacer le Belmonte de Traduction: Francis Marchal accompagnement orchestral. De proportion Florence eut lieu aussi tard que 1935. Sir la version originale du Phoenix Opera par le monumentale, la forme de l’aria est celle d’un Thomas Beecham remonta The Abduction from ténor suédois Nicolai Gedda, qui non Argument premier mouvement de concerto débutant par the Seraglio, de nouveau en anglais, au Théâtre seulement chante admirablement le rôle, mais L’action se situe dans le parc du palais du pacha l’exposition habituelle de ses thèmes à de Sa Majesté (His Majesty’s Theatre) en également possède une diction anglaise Sélim, sur la côte méditerranéenne de la Turquie. l’orchestre pendant laquelle le soliste – 1910, tandis que la British National Opera exceptionnelle. Il est également bon de Constanze dans le cas présent – demeure Company le chanta en anglais à Covent posséder sur disque la Constanze de la soprano COMPACT DISC ONE silencieux. Cette vaste introduction dure plus Garden au cours de la saison 1922–1923. Le colorature américaine Mattiwilda Dobbs: de deux minutes pour une aria qui en totalise Sadler’s Wells Opera et son successeur parmi d’autres moments importants de sa Acte I cinq en tout, et a toujours posé des difficultés l’English National Opera l’ont représenté carrière figurent des rôles tels que Gilda, Oscar 1 – 3 Belmonte, un noble espagnol, est à la aux metteurs en scène. régulièrement. La première production au et Lucia (Donizetti) au Metropolitan Opera de recherche de sa bien-aimée, Constanze, qui a Malgré la critique de Jospeh II (s’il l’a Metropolitan Opera de New York date de New York. La basse néo-zélandaise Noel été enlevée par des pirates. Il se trouve près vraiment faite), The Abduction from the 1946, et elle fut également chantée en anglais. Mangin fut un célèbre Osmin – un rôle qu’il d’un palais et se demande si c’est celui du

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pacha Sélim. Il prie pour que l’amour le 13 Il demande à Constanze pourquoi elle est si COMPACT DISC TWO 15 Constanze est peinée et offensée, Blonde conduise vers Constanze. 4 – 5 Belmonte triste; il voudrait qu’elle l’aime, mais seulement est furieuse. 16 Belmonte et Pedrillo interroge Osmin, le gardien du sérail, qui si elle lui offre son amour en toute liberté. 1 Blonde tente de consoler Constanze en demandent que leur jalousie leur soit l’ignore. Toutefois, lorsque Belmonte 14 Constanze réplique que c’est la séparation faisant miroiter l’espoir que Belmonte viendra pardonnée et tout se termine en une s’enquiert de Pedrillo, son ancien serviteur, de son bien-aimé qui est la cause de sa les sauver. Lorsque le pacha menace Constanze amoureuse réconciliation. Osmin répond avec emportement et, profonde douleur. 15 Le pacha est courroucé, de la torturer si elle refuse de l’aimer, suspectant que Belmonte a des vues sur le mais il avoue que sa résistance avive son désir. Constanze répond qu’elle ne peut que le Acte III harem du pacha, il le chasse. 16 Constanze quitte et Pedrillo présente respecter. 2 Elle résiste avec provocation à ses 17 Belmonte qui attend la mise en œuvre du 6 – 7 Osmin marmonne et ressasse sa Belmonte comme un architecte formé dans la menaces en disant que la mort est son seul plan de sauvetage réfléchit à l’amour, à sa haine pour Pedrillo qui s’est insinué dans les tradition italienne. Le pacha accepte de le espoir et l’infidélité, sa seule crainte. 3 Le puissance et à sa joie. 18 – 19 Pedrillo apparaît bonnes grâces du pacha et est devenu jardinier consulter. Osmin tente furieusement pacha est déconcerté et ne sait que faire pour et, comme signal à l’adresse des deux femmes, au palais. Pedrillo arrive pour demander si d’empêcher Pedrillo et Belmonte d’entrer au gagner son amour. il chante une sérénade “orientale” évoquant un le pacha, parti faire de la voile, est rentré. palais, mais finalement, ils passent outre. 4 Pedrillo prévient Blonde de l’arrivée de jeune chevalier venu d’une contrée lointaine 8 Osmin quitte rageusement et Belmonte Belmonte et de leur plan: les hommes pour sauver une jeune fille, prisonnière des apparaît, surpris de trouver Pedrillo à cet Acte II placeront une échelle sous la fenêtre des dames Maures. 20 Belmonte vient chercher endroit. Pedrillo raconte à Belmonte que le 17 – 19 Blonde, outragée par les avances à minuit. Auparavant, Pedrillo se sera chargé Constanze et fuit à la hâte avec elle tandis que pacha l’a acheté aux pirates, avec Constanze et grossières d’Osmin, lui dit que c’est la d’enivrer Osmin. 5 – 6 Blonde est ravie et Pedrillo grimpe à l’échelle pour sauver Blonde. sa servante anglaise Blonde (dont Pedrillo est tendresse et non la force qui éveille l’affection. va annoncer la nouvelle à Constanze. 7 Resté Mais Osmin a été averti et a appelé quelques épris), et a donné Blonde à Osmin. Bien que Osmin lui ordonne de l’aimer car elle est son seul, Pedrillo rassemble ses forces pour le gardiens. Pedrillo et Blonde sont arrêtés, Constanze soit devenue la favorite du pacha, esclave, mais elle le repousse dédaigneusement “combat” imminent. 8 – 9 Il persuade Belmonte et Constanze aussi. 21 Osmin jubile elle a résisté à son amour. Belmonte dit qu’un et rétorque qu’elle aura recours à l’influence de Osmin, quelque peu réticent, de goûter d’un à l’idée des tortures et de l’exécution qui les bateau se tient près pour leur évasion. Pedrillo Constanze sur le pacha pour châtier Osmin. certain vin, et les deux hommes font l’éloge de attendent. le prévient que ce sera difficile de déjouer la 20 Ce dernier l’avertit de ne pas flirter avec Bacchus et des femmes. 10 Lorsque le 22 Le pacha affronte Constanze. Elle admet vigilance rusée et assidue d’Osmin. Pour Pedrillo, 21 – 23 et déclare que les Anglais breuvage a exercé ses effets sur Osmin, Pedrillo sa culpabilité à ses yeux, mais dit avoir agi par pénétrer dans le palais, ils décident que sont fous d’accorder de telles libertés à leurs l’envoie cuver son vin, 11 – 13 donnant ainsi loyauté à l’égard de son bien-aimé pour lequel Belmonte assumera le rôle d’un architecte femmes. Blonde, toutefois, se délecte de son une chance aux amants de se rencontrer. elle est prête à sacrifier sa vie. Belmonte distingué, en visite. 9 – 11 Belmonte exprime indépendance d’esprit. 14 La joie extatique de Belmonte et de implore la compassion, expliquant qu’il est alors son émotion à l’idée de revoir Constanze. 24 – 25 Constanze, anéantie de douleur, Pedrillo tourne peu à peu au vinaigre, d’une famille noble espagnole du nom de 12 Le pacha arrive et est salué par sa cour. songe à son bonheur passé. comme ils accusent les femmes d’infidélité. Lostados qui s’acquittera pour le sauver d’une

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rançon importante. Le pacha se rend compte Nicolai Gedda est reconnu dans le monde de Haydn et de Mozart à celles de Stravinsky, à l’Opéra de Paris et dans les principaux que Belmonte est le fils de son plus grand entier comme l’un des plus grands artistes de Orff, Barber et Menotti. En récital, il est festivals européens. ennemi, qui l’a expulsé de sa patrie. Il dit aux notre temps, et il a été acclamé pour sa considéré comme un interprète exceptionnel amants qu’il leur infligera la punition que le maîtrise d’un immense répertoire couvrant de lieder. Il est également le ténor le plus La chanteuse australienne Jenifer Eddy fit une père de Belmonte aurait ordonnée et les laisse presque tous les styles et les périodes dans les enregistré au monde avec 200 disques à son impressionnante carrière de soprano colorature sous bonne garde. 23 – 25 Belmonte regrette domaines de l’opéra, de l’oratorio, du lied et actif. Parmi ceux-ci figurent des opéras avant son arrivée en Angleterre, chantant d’avoir conduit Constanze à la mort, mais elle du chant avec orchestre. complets tels que Guillaume Tell, La Bohème, régulièrement en soliste pour la chaîne ABC à se reproche sa destruction à lui. Le couple Né à Stockholm d’un père russe (chanteur Faust, Werther, Manon, Così fan tutte et travers toute l’Australie, et se produisant lors affronte la mort comme l’unique état qui basse) et d’une mère suédoise, Nicolai Gedda Benvenuto Cellini. de la saison 1956–1957 dans les rôles de puisse les garder ensemble. fit ses débuts professionnels à l’Opéra royal de Susanna, Papagena et Despina à l’Australian 26 Le pacha réapparaît pour leur faire part Stockholm en 1952 dans Le Postillon de Née à Atlanta en Géorgie (USA), Mattiwilda Opera. de son jugement. Il dit à Belmonte d’emmener Longjumeau. Herbert von Karajan se trouvait Dobbs commença ses études de chant à New Elle fit ses débuts au Royal Opera de Constanze et de retourner chez lui: il méprise dans la salle, et l’engagea immédiatement pour York, et obtint également une maîtrise Covent Garden en 1959, et y chanta chaque trop le père de Belmonte pour l’imiter et chanter dans son enregistrement de la Messe d’espagnol. Elle étudia en Californie avec saison jusqu’en 1969. Elle se fit également répondra à l’injustice par la clémence. en si mineur de J.S. Bach. Ainsi, l’année 2002 Lotte Lehmann et à Paris avec Pierre Bernac. entendre à l’English National Opera, au Constanze demande à être pardonnée et marque cinquante ans d’enregistrement pour Après avoir fait ses débuts en 1952 dans le rôle Scottish Opera, au Welsh National Opera, Pedrillo implore la miséricorde pour Blonde et Nicolai Gedda. Il fit ses débuts à La Scala de titre de l’opéra de Stravinsky Le Rossignol au ainsi que dans la plupart des grands festivals de pour lui, au grand scandale d’Osmin. 27 Ils Milan en 1953, à l’Opéra de Paris en 1954, et Festival des Pays-Bas, elle s’est produite dans Grande-Bretagne, en Allemagne, en France et expriment tous les quatre leur gratitude au au Metropolitan Opera de New York (dans le les capitales de Scandinavie, en Belgique, en en Italie. Parmi ses rôles, on citera Rosina, pacha pour sa magnanimité. Ceci est rôle titre de Faust de Gounod) en 1957. Après France, en Italie et en Angleterre. A Norina, Musetta, Olympia, Adele (Die insupportable à Osmin qui décrit les tortures ses débuts au Royal Opera de Covent Garden Glyndebourne et au Royal Opera de Covent Fledermaus), Tytania (A Midsummer Night’s qu’il voudrait infliger aux étrangers. en 1965 (dans le rôle du Duc de Mantoue Garden, elle a interprété des rôles tels que Dream), Sophie (Der Rosenkavalier), 28 – 29 À l’exception de ce dernier, tous dans Rigoletto de Verdi), il revint y chanter Constanze, Zerbinetta, la Reine (Le Coq d’or), Fiakermilli, Zerbinetta, Despina et Blondchen. concluent que rien n’est plus méprisable Benvenuto Cellini, Alfredo, Gustavus III dans Gilda, Lucia, Olympia et l’Oiseau de la forêt Chantant fréquemment à la radio de la BBC que la vengeance et, ensemble, ils font Un ballo in maschera, Nemorino et Lensky. (Siegfried). Elle a fait ses débuts au et en concert, elle se produisit également à la l’éloge du pacha. Il créa des rôles importants dans Vanessa de Metropolitan Opera de New York dans le rôle BBC Television, plus particulièrement dans le Barber et dans The Last Savage de Menotti au de Gilda, et y a chanté également ceux de rôle d’Adele dans la production de Glen © 2002 Alison Latham Metropolitan Opera de New York. Lucia, Olympia et Zerlina. Mattiwilda Dobbs Byam Shaw de Die Fledermaus, et dans des Traduction: Marie-Françoise de Meeûs Ses triomphes à l’opéra sont allés des œuvres s’est par ailleurs produite à La Scala de Milan, extraits de Don Giovanni avec Tito Gobbi et

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Sir Geraint Evans. En 1969, elle chanta le rôle Lille, Amsterdam, Santa Fe, Vancouver, New productions du Ring données à l’Opéra de complet l’année suivante. Il fit ses débuts à de Blondchen au Maggio Musicale de Florence York et Monte Carlo. Seattle. New York en 1927, et ses débuts en concerto sous la direction de Zubin Mehta, mais la La discographie de John Fryatt inclut le Les rôles les plus notables de Noel Mangin avec la Symphonie espagnole de Lalo la même maladie l’obligea ensuite à abandonner sa rôle de Horace Adams (Peter Grimes) sous la furent Don Pasquale, Ochs et Osmin. Il fut année. Après avoir réalisé son premier carrière. direction de Richard Hickox pour Chandos. décoré de l’Ordre de l’Empire britannique enregistrement en 1928, il devint l’un des Jenifer Eddy retourna en Australie en Il figure également dans de nombreuses (OBE) en 1981. Noel Mangin est mort en artistes les plus enregistrés du vingtième siècle. 1975, et faisant œuvre de pionnier dans le productions télévisées, et dans les 1995. Sa famille vint s’établir à Paris dans les années domaine du management d’artistes, elle fonda enregistrements vidéo de Orphée aux Enfers et 1930, mais après son premier mariage, la compagnie Jenifer Eddy Artists’ de Cox and Box. David Kelsey fut non seulement un acteur Menuhin choisit la Californie pour sa Management dont elle est toujours le célèbre, mais également un pianiste, un résidence principale. Au cours de la Seconde Managing Director. En 1997, elle a été Noel Mangin naquit à Wellington en baryton et un auteur de chansons et de Guerre mondiale, il donna des concerts pour décorée de l’Ordre de l’Australie pour services Nouvelle-Zélande, et chanta son premier solo sketches. Il tint le rôle du pacha Selim Bassa les troupes Américaines et celles des forces rendus à la musique. comme garçon soprano à l’âge de huit ans. Il dans les représentations données par le Alliées. En 1944, il fut le premier artiste à se fit ses débuts de ténor à l’âge de vingt-et-un Phoenix Opera lors du Festival de Bath en produire à l’Opéra de Paris après la Libération. Né et éduqué à York, John Fryatt a étudié le ans après avoir étudié avec Ernest Drake. Il 1967. Il s’est produit au Lyric Theatre et en En 1947, Yehudi Menuhin fut le premier chant avec Frank Titterton et Joseph Hislop. chanta des rôles de ténor pendant trois ans, revue au Comedy Theatre de Londres. David artiste juif à se produire avec l’Orchestre de la Il a été membre du D’Oyly Carte Opera et du puis sa voix changeant de registre, il reparut Kelsey a participé également à plusieurs Philharmonie de Berlin sous la direction de Sadler’s Wells/English National Opera, et a été dix-huit mois plus tard comme basse-baryton, productions au Festival de Chletenham, et a Furtwängler, et il réalisa plusieurs régulièrement invité à se produire à chantant Germont le père (La traviata) et effectué des tournées dans le monde entier, enregistrements avec ce dernier. Après son Glyndebourne et au Royal Opera de Covent Marcello (La bohème). L’année suivante, sa notamment en Europe, en Autralie (où il s’est second mariage, Yehudi Menuhin et sa famille Garden à Londres. Son répertoire compte des voix se fixa dans le registre de basse, et il produit à la télévision), en Nouvelle-Zélande quittèrent les Etats-Unis, et choisirent Londres rôles tels que Altoum (Turandot) et Goro chanta le rôle de Sarastro (Die Zauberflöte). Il et en Extrême-Orient. et Gstaad en Suisse comme lieux de résidence. (Madam Butterfly) à l’English National Opera; vint à Paris étudier avec Dominique Modesti, Avec le Dallas Symphony Orchestra, il Don Basilio (Le nozze di Figaro) à l’Opera et à Londres avec Joseph Hislop. De 1963 à Né à New York en 1916, Yehudi Menuhin commença en 1947 une seconde carrière, celle Northern Ireland, et Monsieur Triquet (Eugène 1967, il chanta au Sadler’s Wells Opera. Il se commença l’étude du violon à l’âge de de chef d’orchestre, et en Angleterre, il dirigea Onéguine) au Festival de Glyndebourne. A produisit également au Staastoper de cinq ans à San Francisco. Ses progrès furent les festivals de Bath et de Windsor, ainsi qu’un l’étranger, John Fryatt a chanté à Wexford, Hambourg et au Victoria State Opera. A partir si rapides qu’il put se produire festival annuel à Gstaad. En 1959, le Bath Hambourg, Bordeaux, Rouen, Palerme, de 1979, il chanta régulièrement les rôles de professionnellement à San Francisco dès 1924 Festival Orchestra fut fondé (par la suite Bruxelles, Lyon, Chicago, Paris, Nice, Genève, Fafner, Hunding et Hagen dans les à l’âge de sept ans, et donner un récital rebaptisé Menuhin Festival Orchestra), et

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Menuhin enregistra plus de 100 disques avec de violon Yehudi Menuhin. Il fut créé cette formation. Chevalier de l’Ordre de l’Empire britannique Parmi les nombreuses autres activités de (KBE) à titre honorifique en 1966, et reçut la EMI Records Yehudi Menuhin, on citera la fondation de la Médaille d’or de la Royal Philharmonic Society Yehudi Menuhin School dans le Surrey en en 1972. Après avoir adopté la nationalité Angleterre, Live Music Now! (une organisation britannique en 1985, il fut anobli en 1987, et qui envoie de jeunes musiciens professionnels reçut la médaille de l’Ordre du Mérite en jouer dans des salles et des communautés où les 1987. En 1993, il fut créé pair d’Angleterre à concerts publics sont rares), l’International vie. Yehudi Menuhin est mort en Allemagne en Menuhin Academy de Gstaad, et le Concours 1999 au cours d’une tournée avec orchestre.

Nicolai Gedda

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ritornò a Salisburgo per prendere il posto di prevedibile costernazione di quest’ultimo), Mozart: The Abduction from the Seraglio organista di corte presso il suo detestato ex Mozart cercò di farsi un nome. Una delle protettore, l’arcivescovo Colloredo. figure influenti della gerarchia operistica Le origini dell’opera The Abduction from the Organizzare una compagnia di attori si Per ironia della sorte, fu proprio attraverso viennese era l’attore e commediografo Johann Seraglio (Die Entführung aus dem Serail)o rivelò un’impresa relativamente facile, ma fu Colloredo che Mozart fece ritorno a Vienna Gottlieb Stephanie, detto Stephanie junior, Il ratto dal serraglio di Mozart risalgono al necessario più tempo per formare una troupe per la prima volta dopo tredici anni e decise che era stato da poco nominato direttore del desiderio dell’imperatore Giuseppe II Asburgo operistica di cantanti di lingua tedesca degni poi di stabilirsi qui. L’arcivescovo si era recato Singspiel nazionale tedesco. Nonostante la sua di offrire ai suoi sudditi viennesi regolari di un pubblico abituato al meglio. L’altro nella capitale asburgica per una lunga visita nel fama di disonestà, Mozart scrisse a Leopoldo stagioni operistiche nella loro lingua, il tedesco. problema fu il repertorio. In altri centri di 1781, in occasione dell’insediamento sul trono (1 agosto 1781) che si era dimostrato un buon Oltre ad essere molto musicale, l’imperatore lingua tedesca esisteva, è vero, una tradizione di Giuseppe, e aveva richiesto la presenza di amico e gli aveva consegnato un libretto da Giuseppe (1741–1790) era convinto che il limitata che aveva dato vita ad opere in lingua Mozart per fare sfoggio del proprio seguito musicare. “Il testo è buono. L’argomento è di teatro fosse un mezzo per formare l’opinione locale, ma era praticamente inesistente a musicale. Memore dei recenti festeggiamenti a ispirazione turca e si intitola Bellmont e pubblica; era inevitabile, quindi, che si Vienna, dove fino a quel momento avevano Monaco dopo il successo della prima Konstanze, o seduzione dal Serraglio…” adoperasse per influenzare la vita operistica tenuto banco le compagnie italiane o francesi. dell’Idomeneo, Mozart avrebbe considerato Nonostante l’errore di Mozart si tratta della nella capitale imperiale. Dopo aver assunto il Le alternative erano tre: adattare ai gusti locali insulti premeditati tutte le arroganti iniziative stessa opera. Come per molti altri libretti di titolo di Imperatore alla morte del padre, opere tedesche prodotte altrove, tradurre le dell’arcivescovo durante questa visita a Vienna; Stephanie, si basa su un testo altrui; in questo Francesco I, nel 1765, Giuseppe era stato opere più famose di Gluck, Grétry, Paisiello e in giugno si fece praticamente licenziare. caso di Christoph Friedrich Bretzner, musicato coreggente con la madre fino alla morte di lei, altri dal francese o dall’italiano, e Si trattava di una svolta decisiva nella vita in precedenza da Johann André e presentato avvenuta nel 1780. Alcuni anni prima, però, commissionare nuovi lavori. L’impresa iniziò il del compositore. Avendo intuito che era per la prima volta a Berlino il 25 maggio Maria Teresa aveva lasciato al figlio la direzione 17 febbraio 1778 proprio con un’opera di possibile guadagnar bene nella capitale 1781. Stephanie e Mozart speravano di far dei due teatri di corte viennesi. Giuseppe questo genere: Die Bergknappen (I minatori), imperiale ed essendosi innamorato di colpo con la loro versione in occasione della pensò subito di riformarli: il Burgtheater Singspiel in un atto di Ignaz Umlauf. Konstanze Weber, Mozart tagliò i ponti con visita del granduca russo Paul Petrovic con la divenne così il Teatro Nazionale Tedesco, Mozart era indubbiamente a conoscenza di Salisburgo e con l’arcivescovo per scegliere il moglie, prevista per la metà di settembre. La mentre il Kärntnerthortheater fu messo a questo importante progresso artistico, anche se matrimonio e un’esistenza indipendente. Il visita fu però rimandata e l’Imperatore invece disposizione delle compagnie non non viveva ancora a Vienna. Anzi, aveva nuovo interesse manifestato dall’imperatore decise in seguito di proporre al granduca la sovvenzionate. L’Imperatore curò trascorso tutto il 1778 in Germania o in per l’opera in tedesco fu indubbiamente un musica di Gluck. L’opera di Mozart fu principalmente del primo, dove un gruppo Francia in cerca di un posto permanente ben fattore determinante nella sua decisione. rimandata all’estate del 1782, indubbiamente attori e un altro di cantanti si esibivano nella remunerato, ma senza molta fortuna. Dopo Dopo aver comunicato la propria decisione con grande frustrazione del compositore, ma lingua del pubblico. un’assenza di sedici mesi, il compositore al padre Leopoldo, a Salisburgo (con gli diede anche la possibilità di insistere perché

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venissero apportate delle modifiche sostanziali messaggio recepito dal pensiero illuminato fu aria di Costanza “Tortures unrelenting”, La prima del Seraglio si svolse presso il al libretto che gli consentissero di creare una che i pagani e gli indigeni potevano essere più un’aggiunta di Stephanie e Mozart al testo Burgtheater il 16 luglio 1782. Il più famoso partitura più ambiziosa. retti e più civili del regno cristiano.” Lo stesso originale. Eppure il suo rifiuto di vendicarsi commento di quell’occasione forse è apocrifo. Il Il genere di argomento “turco”, come lo Mozart aveva già analizzato tali possibilità in un del figlio dello spagnolo che l’aveva offeso così primo biografo di Mozart, (1798), Franz Xaver definiva Mozart, non era nuovo, naturalmente. Singspiel incompiuto, Zaide (1779–80), che gravemente e il suo gesto di consentire il Niemetschek, parla di uno scambio di battute Due degli opéra comique francesi di Gluck, Stephanie aveva respinto perché troppo serio ritorno di Costanza e della sua ancella Bionda tra l’imperatore e il compositore. “Troppo bello Le Cadi dupé (1761) e La Rencontre imprévue per il Burgtheater. Per quanto il ritratto dei in Europa con i rispettivi compagni innalza la per le nostre orecchie, mio caro Mozart, e tante (1763), entrambi presentati per la prima volta al turchi del Seraglio non sia del tutto positivo, scena conclusiva con una morale toccante e note!” avrebbe detto Giuseppe. Mozart avrebbe Burgtheater di Vienna venivano ancora ricordati contiene comunque degli elementi positivi, illuminata. replicato: “Nemmeno una più del necessario, e anzi il secondo, tradotto in tedesco, era stato soprattutto nel gesto di clemenza finale Osmino, invece, si precipita fuori scena alla Maestà”. Ma c’è qualcosa nell’osservazione. riproposto recentemente con grande successo. dell’opera. Per molti versi, il testo in generale fine in un accesso ossessivo di desiderio di Come nel precedente Idomeneo, nel Seraglio Mozart sapeva bene che al pubblico del posto propone il messaggio illuminato che Giuseppe tortura e pena di morte – quest’ultima sarebbe Mozart si diletta nelle sue capacità, facendo piaceva particolarmente lo stile alla turca desiderava promuovere. stata abolita da Giuseppe appena cinque anni sfoggio di una ricchezza di idee e abbellimenti utilizzato in queste partiture, perché derivava Oltre al coro, due personaggi del Seraglio dopo. Prima, viene sconfitto e respinto di che alla fine avrebbe ridotto alla relativa dalla musica eseguita dalle bande di giannizzeri sono turchi. Il primo è il sovrano locale, il Bionda, una donna inglese e pertanto semplicità della Clemenza di Tito e del Magic che accompagnavano gli eserciti turchi in pascià Selim, che non ha un ruolo cantato, rappresentante della nazione più progressista Flute. E questo è evidente soprattutto nella battaglia, con tamburi e piatti in prima fila. In come anche nell’originale di Bretzner e André. in assoluto secondo l’Illuminismo. (Costanza, musica di Costanza. In una lettera al padre, lo versione semplificata e occidentalizzata, fu Il secondo è il suo servo Osmino, vivace Belmonte e Pedrillo sono tutti spagnoli; stesso Mozart spiega di aver sacrificato un po’ associata nei contesti teatrali ai temi turchi o creazione musicale e personaggio al tempo un’altra aggiunta al mix culturale è la serenata una delle arie di Costanza “alla voce flessibile di addirittura all’Oriente in generale. stesso comico e minaccioso. Mozart compose il di Pedrillo, “In Moorish lands” naturalmente Mademoiselle Cavalieri”, star della compagnia, Al di là del richiamo puramente musicale, ruolo per il basso Ludwig Fischer, star della con tratti moreschi nella melodia.) Il soprano e quasi certamente amante del rivale tuttavia, l’ambientamento dell’opera compagnia e molto amato dal pubblico. commentatore Edward Said ha sottolineato Salieri. “Tortures unrelenting” è ancora più rispecchiava un interesse crescente per le Osmino presenta un’immagine negativa del che le descrizioni dell’Oriente spesso complessa e include parti per ben quattro differenze culturali ispirato dai crescenti contatti turco, che rifiuta i diritti delle donne e non fa descrivono l’Occidente camuffato, ed è strumenti solisti – flauto, oboe, violino e tra Oriente e Occidente. Brigid Brophy ha altro che minacciare torture. Persino Selim evidente che l’atteggiamento reazionario qui violoncello – nell’accompagnamento osservato: “I missionari partivano per convertire minaccia Costanza quando respinge il suo associato con i Turchi esisteva molto più vicino orchestrale. Concepita su scala grandiosa, la i pagani al cristianesimo, gli esperti militari per amore, anche se è difficile non considerare il alla capitale di Giuseppe ed era esattamente forma dell’aria è quella del primo movimento sottomettere e sfruttare gli indigeni. Ma dalle suo improvviso accesso d’ira come un questo che l’imperatore era ansioso di completo di un concerto, e inizia con la informazioni che essi inviarono in Europa il espediente per dare il via alla più grande e fiera cambiare. normale esposizione orchestrale del tema,

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durante la quale la cantante, Costanza, rimane English National Opera, sua successiva basso Noel Mangin nato in Nuova Zelanda fu alcune domande a Osmino, custode in silenzio. Questa vasta introduzione dura più incarnazione, l’hanno rappresentata un famoso Osmino, un ruolo che interpretò dell’harem del pascià, ma viene ignorato. di due minuti e l’aria prosegue per dieci regolarmente. Il primo allestimento al regolarmente per la Sadler’s Wells Opera – Quando però chiede notizie di Pedrillo, suo minuti ed è da sempre un incubo per i registi Metropolitan di New York nel 1946 fu nella mentre il ruolo di Bionda ci propone un servitore, Osmino reagisce con ira e, teatrali. lingua del pubblico. significativo ricordo del soprano australiano sospettando che Belmonte abbia delle mire Nonostante l’appunto di Giuseppe II L’esecuzione presentata nella registrazione, Jenifer Eddy. L’anno dopo la registrazione la sull’harem del pascià, lo caccia via. (sempre che sia stato effettivamente invece, risale a un allestimento della Phoenix cantante fu colpita da una malattia che pose 6 – 7 Osmino rivela di odiare Pedrillo, pronunciato), il Seraglio ebbe buona Opera presentato al festival di Bath nel 1967. fine alla sua carriera; oggi è un’agente di che si è ingraziato il pascià ed è entrato a suo accoglienza e fu rappresentato altre undici Si tratta di una delle rare escursioni di Yehudi successo. Pedrillo, John Fryatt, apparteneva servizio come giardiniere. Arriva Pedrillo per volte solo nel 1782. Tra il 1783 e il 1788 ebbe Menuhin nel campo dell’opera, concentrate alla compagnia lirica D’Oyly Carte negli anni chiedere se il pascià abbia fatto ritorno con la altre trenta rappresentazioni nei teatri di corte proprio in questa città nel periodo in cui il Cinquanta e in seguito è apparso in ruoli per sua nave. 8 Osmino si allontana furibondo e di Vienna. Altrettanto successo riscosse in musicista era direttore del suo festival. tenore e baritono con la Sadler’s Wells Opera e Belmonte esce allo scoperto, sorpreso di vedere Germania e fu l’opera che diede fama al nome Menuhin, vero internazionalista musicale, nato poi con la English National Opera. qui il suo servitore. Pedrillo racconta di essere di Mozart nell’Europa centrale. La sua prima in America da genitori ebrei ucraini, stato venduto al pascià dai pirati insieme a in Gran Bretagna fu al Covent Garden il successivamente divenuto cittadino britannico © 2002 George Hall Costanza e alla sua ancella inglese Bionda (di 25 novembre 1827, e allora l’opera fu eseguita e uno dei primi musicisti classici occidentali a cui Pedrillo è innamorato). Il pascià ha in inglese, ma con una trama notevolmente partecipare ad esecuzioni di musica indiana e Trama concesso Bionda ad Osmino; Costanza è modificata e l’inclusione di nuovi brani jazz, affronta la musica “turca” della partitura L’opera è ambientata nel parco del palazzo del divenuta la favorita dell’harem, ma continua a musicali di Christian Kramer. Nel 1866 venne mozartiana con evidente piacere. Pascià Selim, sulla costa mediterranea della respingere tutte le profferte del pascià. tradotta in italiano ed eseguita presso Her All’epoca della registrazione, la società Turchia. Belmonte dichiara di avere una nave pronta Majesty’s Theatre: da questa versione deriva il discografica decise di sostituire il Belmonte per la fuga. Pedrillo lo avverte che sarà difficile titolo che si incontra talvolta, Il ratto dal originale della Phoenix Opera con il tenore COMPACT DISC ONE ingannare l’astuto Osmino, sempre all’erta. serraglio. La prima rappresentazione in Italia svedese Nicolai Gedda, un interprete superbo, Entrambi decidono che, per entrare nel avvenne in realtà nel 1935 a Firenze. Sir dall’ottima dizione inglese. Un altro elemento Atto I palazzo, Belmonte assumerà il ruolo di un Thomas Beecham la ripropose, in inglese, valido, in forma permanente, è la Costanza del 1 – 3 Belmonte, nobile spagnolo, va in illustre architetto in visita. 9 – 11 Quindi presso His Majesty’s Theatre nel 1910, mentre soprano americano di coloritura Mattiwilda cerca dell’amata Costanza, rapita dai pirati. Belmonte manifesta la propria emozione la British National Opera Company la eseguì Dobbs: altri momenti salienti della sua carriera Fermo davanti a un palazzo, si chiede se sia all’idea di rivedere Costanza. al Covent Garden in inglese durante la hanno compreso i ruoli di Gilda, Oscar e quello del Pascià Selim e invoca amore perché 12 – 13 Arriva il pascià, salutato dai suoi stagione 1922–23. La Sadler’s Wells Opera e la Lucia di Lammermoor al Metropolitan. Il lo guidi fino a Costanza. 4 – 5 Rivolge servi, e chiede a Costanza il perché della sua

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grande tristezza; desidera il suo amore, ma COMPACT DISC TWO e la scena si conclude con un’amorosa Belmonte, quindi li lascia sotto sorveglianza. solo se la donna è disposta a concederlo riconciliazione. 23 – 25 Belmonte si accusa di aver portato spontaneamente. 14 Costanza risponde che la 1 Bionda cerca di consolarla esprimendo la Costanza a morte, ma la donna si rimprovera causa del suo profondo dolore è la lontananza speranza che Belmonte verrà a salvarle. Atto III della rovina di lui; entrambi attendono la dal suo innamorato; 15 il pascià si infuria, ma Quando il pascià minaccia di torturare 17 In attesa di mettere in pratica il suo piano morte, unica via per rimanere insieme. confessa che la resistenza della donna acuisce Costanza se non l’ama, la donna risponde che di salvataggio, Belmonte riflette sul potere e la 26 Il pascià ritorna e pronuncia la sua il suo desiderio. può concedergli solo del rispetto. 2 Resiste gioia dell’amore. 18 – 19 Arriva Pedrillo per sentenza: Belmonte deve tornare in patria con 16 Costanza esce e Pedrillo presenta sdegnosamente alle minacce: non le resta che dare alle donne il segnale prestabilito, Costanza. Selim disprezza troppo il padre di Belmonte, dichiarando che si tratta di un desiderare la morte e l’infedeltà è l’unica cosa cantando una serenata “orientale” che parla di Blemonte per imitarlo e intende ripagare architetto italiano. Il pascià accetta una che la spaventa. 3 Il pascià, sbigottito, si un cavaliere giunto da lontano per salvare una l’ingiustizia con la clemenza. Costanza chiede consulenza. Osmino, irosamente, cerca di chiede come fare a conquistarla. fanciulla prigioniera nella terra dei Mori. perdono e Pedrillo supplica grazia per se stesso impedire a Pedrillo e Belmonte di entrare nel 4 Pedrillo comunica a Bionda che è 20 Belmonte va a prendere Costanza e i due e Bionda, con grande sdegno di Osmino. palazzo, ma i due alla fine riescono ad aggirarlo. arrivato Belmonte e rivela il loro piano: a fuggono mentre Pedrillo sale per salvare 27 Le due coppie esprimono la loro gratitudine mezzanotte, i due uomini porteranno una scala Bionda. Ma Osmino è stato avvisato e ha per la benevolenza del pascià. È davvero troppo Atto II alla finestra delle donne, dopo che Pedrillo avrà chiamato le guardie. Entrambe le coppie per Osmino, il quale invece descrive le torture 17 – 19 Disgustata dalle rozze avance di drogato Osmino. 5 – 6 Bionda, felice, va a vengono catturate. 21 Osmino esulta, che gli piacerebbe infliggere agli stranieri. Osmino, Bionda gli dichiara che l’affetto si riferirlo a Costanza. 7 Da solo, Pedrillo fa pregustando la prospettiva della loro tortura ed 28 – 29 Tutti traggono la conclusione che conquista con la tenerezza, non con la forza. appello al proprio coraggio in vista della esecuzione. nulla è odioso quanto la vendetta e si Osmino le ordina di amarlo in quanto sua “battaglia” imminente. 8 – 9 Convince il 22 Il pascià affronta Costanza, che ammette aggiungono al coro di lodi del pascià. schiava, ma la donna lo respinge riottoso Osmino a provare del vino e i due la propria colpevolezza: ha agito per fedeltà sdegnosamente e ribatte che sfrutterà uomini esaltano Bacco e le donne. 10 Osmino al suo innamorato ed è disposta a morire per © 2002 Alison Latham l’ascendente di Costanza sul pascià per farlo finisce per alzare il gomito e Pedrillo lo manda lui. Belmonte chiede clemenza, spiegando Traduzione: Emanuela Guastella punire. 20 Osmino le proibisce di flirtare con a dormire. 11 – 13 Finalmente gli innamorati che discende dalla nobile famiglia spagnola Pedrillo, 21 – 23 e dichiara che gli inglesi sono hanno la possibilità di incontrarsi. 14 La gioia dei Lostados, che pagherà un sostanzioso Nicolai Gedda è uno dei più grandi artisti del pazzi a concedere tanta libertà alle loro donne. iniziale gradualmente si trasforma in un litigio riscatto per lui. Il pascià si rende conto che nostro tempo ed è apprezzato per la sua Bionda, invece, è fiera del proprio spirito quando Belmonte e Pedrillo accusano le Belmonte è figlio del suo più grande nemico, padronanza di un repertorio che abbraccia indipendente. donne di infedeltà; 15 Costanza è ferita e che l’ha allontanato dalla sua patria e dichiara quasi tutti gli stili e le epoche nel campo 24 – 25 Costanza, oppressa dalla tristezza, offesa, ma Bionda va su tutte le furie. agli innamorati che subiranno la stessa dell’opera, dell’oratorio, dell’operetta, del lied e ricorda la sua passata felicità. 16 Belmonte e Pedrillo chiedono perdono punizione che avrebbe ordinato il padre di delle composizioni per orchestra.

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Nato a Stoccolma da padre russo e madre Nata ad Atlanta, in Georgia, Mattiwilda per tutte le stagioni fino al 1969, oltre a parte delle compagnie D’Oyly Carte e svedese, ha esordito come professionista alla Dobbs iniziava a studiare canto a New York lavorare con la English National Opera, Sadler’s Wells/English National Opera ed Royal Opera di Stoccolma nel 1952 con Le e conseguiva una laurea in spagnolo. Ha Scottish Opera, Welsh National Opera e a è stato regolarmente ospite a Glyndebourne Postillon de Longjumeau. Tra il pubblico si studiato con Lotte Lehmann in California intervenire a moltissimi dei principali festival e alla Royal Opera, Covent Garden. Il suo trovava Herbert von Karajan, che lo ingaggiò e Pierre Bernac a Parigi; l’esordio risale al in Gran Bretagna, Germania, Francia e Italia. repertorio comprende Altoum (Turandot) immediatamente per la registrazione della 1952 nel ruolo di protagonista en titre di I suoi ruoli hanno incluso Rosina, Norina, e Goro (Madam Butterfly) per English Messa in si minore di Bach. Nel 1953 Nicolai Le Rossignol di Stravinskij in occasione Musetta, Olympia, Adele (Die Fledermaus), National Opera; Don Basilio (Le nozze di Gedda esordiva alla Scala di Milano, nel 1954 dell’Holland Festival. Seguivano apparizioni Tytania (A Midsummer Night’s Dream), Sophie Figaro) per Opera Northern Ireland; Monsieur all’Opéra di Parigi e nel 1957 con il nelle capitali scandinave, in Belgio, Francia, (Der Rosenkavalier), Fiakermilli, Zerbinetta, Triquet (Eugenio Onieghin) per la Metropolitan (nel ruolo di protagonista Italia e Inghilterra. Le interpretazioni a Despina e Blondchen. Frequenti anche le Glyndebourne Festival Opera. All’estero si è del Faust di Gounod). Ha esordito con la Glyndebourne e alla Royal Opera trasmissioni e i concerti per la BBC; la esibito a Wexford, Amburgo, Bordeaux, Royal Opera nel 1965 (con il duca di comprendono Constanze, Zerbinetta, la cantante è comparsa anche in televisione per Rouen, Palermo, Bruxelles, Lione, Chicago, Mantova nel Rigoletto di Verdi) e vi ha fatto Regina (Le Coq d’or), Gilda, Lucia, Olympia e la BBC, soprattutto nel ruolo di Adele Parigi, Nizza, Ginevra, Lille, Amsterdam, ritorno per cantare Benvenuto Cellini, Alfredo, l’uccellino (Siegfried ). L’esordio alla nell’allestimento di Glen Byam Shaw Santa Fe, Vancouver, New York e Monte Gustavo III in Un ballo in maschera, Metropolitan Opera di New York è stato nel dell’opera Die Fledermaus e in alcuni brani dal Carlo. Nemorino e Lenski. Ha creato ruoli di ruolo di Gilda, e in seguito ha interpretato Don Giovanni con Tito Gobbi e sir Geraint La discografia comprende il ruolo del protagonista in Vanessa di Barber e The Last Lucia, Olympia e Zerlina. Ha cantato anche Evans. Nel 1969 ha cantato il ruolo di Rev. Horace Adams (Peter Grimes) con Savage di Menotti al Metropolitan. alla Scala, all’Opéra di Parigi e ai principali Blondchen al Maggio Musicale con Zubin Richard Hickox per Chandos. John Fryatt è I suoi trionfi operistici vanno dalle opere di festival europei. Mehta, prima che una malattia l’obbligasse ad comparso in numerosi spettacoli televisivi e Haydn e Mozart a Stravinskij, Orff, Barber e abbandonare la carriera. videoregistrazioni di Orphée aux Enfers e Menotti, mentre in recital viene considerato L’australiana Jenifer Eddy aveva già una Di ritorno in Australia nel 1975, la cantante Cox and Box. uno straordinario interprete di lieder. Inoltre è notevole carriera come soprano di coloratura sarebbe diventata una delle prime agenti per uno dei tenori con la discografia più ricca del per le sue regolari apparizioni per l’ABC in artisti in quel Paese, creando nello stesso anno Noel Mangin nasceva a Wellington, in Nuova mondo. Il 2002 segna il cinquantesimo tutta l’Australia e nella stagione 1956/57 la società Jenifer Eddy Artists’ Management di Zelanda e già a otto anni compariva in anniversario della sua prima registrazione e oggi dell’Australian Opera nei ruoli di Susanna, cui è ancora Managing Director. Nel 1997 ha pubblico come voce bianca solista. Esordiva l’artista ha al suo attivo 200 titoli discografici, Papagena e Despina, prima della sua partenza ricevuto una medaglia dell’Order of Australia come tenore all’età di ventuno anni dopo aver comprendenti versioni integrali delle opere per l’Inghilterra. per il suo contributo alla musica. studiato con Ernest Drake. Per tre anni Guillaume Tell, La Bohème, Faust, Werther, Esordiva alla Royal Opera House, Covent John Fryatt, nato a York, ha studiato canto avrebbe continuato a cantare ruoli da tenore, Manon, Così fan tutte e Benvenuto Cellini. Garden nel 1959, dove avrebbe fatto ritorno con Frank Titterton e Joseph Hislop. Ha fatto ma poi la sua voce subiva un cambiamento;

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diciotto mesi dopo interpretava due ruoli per anche in televisione), Nuova Zelanda ed Uniti per trasferirsi a Londra e Gstaad, in che promuove esibizioni di giovani musicisti baritono basso, Germont padre (La traviata) Estremo Oriente. Svizzera. Nel 1947, con l’Orchestra sinfonica professionisti in locali o comunità in cui i e Marcello (La bohème). L’anno successivo la di Dallas, iniziava la seconda carriera, quella concerti pubblici sono rari), la International sua voce si era stabilizzata nel registro di basso Yehudi Menuhin, nato a New York nel 1916, di direttore d’orchestra. In Inghilterra dirigeva Menuhin Academy a Gstaad e il concorso e il cantante interpretava il ruolo di Sarastro iniziava a studiare violino a San Francisco i festival di Bath e Windsor, oltre a un festival per violinisti intitolato al suo nome. L’artista (Il flauto magico). Ha studiato a Parigi con all’età di cinque anni. Il suo progresso fu annuale a Gstaad. Nel 1959 si costituiva la ha ricevuto la medaglia d’oro della Royal Dominique Modesti e a Londra con Joseph talmente rapido che la prima apparizione da Bath Festival Orchestra (in seguito avrebbe Philharmonic Society nel 1972 e il titolo Hislop; nel periodo 1963–67 si è esibito con professionista a San Francisco risale al 1924, preso il nome di Menuhin Festival Orchestra); onorario di KBE nel 1966. Divenuto la Sadler’s Wells Opera, oltre a comparire all’età di sette anni, seguita da un recital con questo gruppo Menhuin avrebbe cittadino britannico nel 1985 veniva insignito spesso all’Opera di Amburgo e alla Victoria completo l’anno successivo. Due anni dopo, effettuato oltre 100 registrazioni. del titolo di cavaliere, nel 1987 riceveva State Opera. Dal 1979 in poi avrebbe l’esordio a New York e quello in concerto, con Tra le numerosissime iniziative di l’Order of Merit e nel 1993 veniva nominato interpretato regolarmente i ruoli di Fafner, l’interpretazione della Symphonie espagnole di fondazione di Yehudi Menuhin vanno pari a vita. Yehudi Menuhin è morto nel Hunding e Hagen negli allestimenti del Ring Lalo. Nel 1928 effettuava la prima ricordate la Yehudi Menuhin School nel 1999 durante una tournée con l’orchestra dell’Opera di Seattle. registrazione, che lo avrebbe portato a Surrey, Live Music Now! (un’organizzazione in Germania. I ruoli più memorabili di Noel Mangin diventare uno degli artisti più registrati del sono stati quelli di Don Pasquale, Ochs e secolo scorso. Negli anni ’30 la sua famiglia si Osmin. Nel 1981 veniva insignito della carica trasferiva a Parigi, ma dopo il primo onoraria di OBE. È morto nel 1995. matrimonio la sua dimora principale divenne la California. Durante la seconda Guerra David Kelsey, pianista, baritono e autore di mondiale, Menuhin si esibì per le truppe liriche e sketch teatrali, oltre ad essere un noto americane e alleate e nel 1944 fu il primo attore, ha interpretato il ruolo del pascià Selim artista a comparire all’Opéra di Parigi dopo la negli spettacoli della Phoenix Opera al Festival liberazione. di Bath del 1967. È comparso al Lyric Theatre Nel 1947 Yehudi Menuhin era il primo e ha partecipato a spettacoli di rivista al artista ebreo a comparire con i Berliner Comedy Theatre di Londra. Ha partecipato Philharmoniker diretti da Furtwängler, con cui inoltre a diversi spettacoli del Festival di avrebbe effettuato una serie di registrazioni Cheltenham e ha svolto tournée in tutto il con lui. Dopo il secondo matrimonio, il mondo, in Europa, Australia (dove è comparso violinista e la sua famiglia lasciarono gli Stati

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Thea King (basset horn) and Archie Camden (bassoon) in the woodwind section of the

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(Belmonte, seeing someone approaching, quickly Belmonte Osmin To make it easy to skip large sections of dialogue, hides. Osmin enters.) 5 The devil take you and your song, sir, Eh? etc. all dialogue is shown in grey shaded boxes. I’ve had to listen far too long, sir. No. 2: Aria and Duet Osmin There’s something I should like to ask. I am in service here, my friend. Osmin Osmin COMPACT DISC ONE 4 You may think you’ve found a maiden Belmonte And who are you to talk to me sir, who’ll be faithful all her life. How can I speak to young Pedrillo to brag and boast and worry me sir? Act I You should charm her with your kisses, for I am told he’s working here? Who are you? give her tender sweet caresses, The courtyard of the Pasha Selim’s palace near Hurry I must go! Osmin be her comfort, be her friend. the coast of Turkey: at the back, the main gates. The villain, I should like to hang him. Tra-la-le-ra, tra-la-le-ra etc. Belmonte On one side the palace and the harem, and on Find out yourself, I will not tell. Is that the Pasha Selim’s house? the other, Osmin’s quarters and the gardens. Belmonte (coming out of his hiding place) Belmonte The scene is the same in all three acts. Hey, friend! Is this the Pasha Selim’s palace? Osmin Of all the rude and surly fellows! etc. Eh? 1 Overture Osmin Osmin But to make quite sure she’s faithful, Belmonte No. 1: Aria Pedrillo’s right place is the gallows! etc. lock the door and turn the key. Is that the Pasha Selim’s house? Belmonte (enters the courtyard through the main For you’ll find the dainty creature Belmonte Osmin gates.) has a restless, roving nature, You’re wrong, he is a fine young man. 2 That is the Pasha Selim’s house. Here surely I must find her. far too fond of liberty. Osmin Constanza, my beloved. Tra-la-le-ra, tra-la-le-ra etc. Belmonte O heaven, hear my pleading, I’m right, I’ll hang him if I can. Belmonte (interrupting again) A moment please! bring comfort to my heart, Belmonte Hey! You there! Are you deaf ! Is this the Pasha Osmin my aching heart. It’s very plain you do not know him, etc. Bereft of her I suffer such anguish, Selim’s palace? O what a worry! such endless pain. Osmin Belmonte Osmin O now with joy reward me. Most of all you must be careful A word! I’d like to throw him to the devil, etc. O heaven, guide me to her again, etc. when the moon is shining bright, Osmin Belmonte (scanning the palace walls) for it’s then she welcomes danger Be quick, I’m in a hurry, etc. He is an honest simple soul, etc. 3 Constanza, my beloved, am I near to you at last? from the first young handsome stranger. Are you really a prisoner here? If so, how can I Then to virtue say goodnight. Belmonte Osmin enter? How can I speak to you? Tra-la-le-ra, tra-la-le-ra etc. Are you in service here, my friend? I’d stick his head upon a pole, etc.

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Belmonte if that’s the way you answer my question. into our business prying, (Belmonte enters.) But listen here – Now do keep calm and show some sense. but I, I’m not taken in; but I, I’m not taken in. Belmonte (astonished) Osmin (Belmonte leaves.) Pedrillo! What is it now? All your plotting, all your spying, Osmin all your scheming, all your lying, Pedrillo (equally surprised) Belmonte 6 There – I got rid of him. If only I could get rid it will never pay. Señor Belmonte! Dear Señor Belmonte! But wait a bit! of Pedrillo as easily. But he’s done nothing but If you could deceive me, It can’t be! I’d begun to think I’d never see you Osmin curry favour with the Pasha since he was bought you’d be smart – believe me. again! What is it now? as a slave – a slave – huh! I have some sense too – Pedrillo? Is that you? Come here! yes, I have some sense too. (They embrace.) Belmonte These young men who go a-spying, etc. I want to enter here. (Pedrillo comes in from the gardens.) Night and day I think it over. Belmonte Are you all right, Pedrillo? Osmin (sarcastically) Pedrillo By the Prophet’s beard I swear You want to enter here, Well – how is everything, Osmin? The Pasha not somehow I shall soon discover Pedrillo to prowl around here and steal our women. back yet? how to make you dance on air, etc. Yes, sir. And you? Off, for we don’t want you in the place. Osmin Pedrillo You’re a murderous old cut-throat, aren’t you? Belmonte Belmonte If you want to know go and look. Yes, yes, of course – but tell me – I hardly dare You may refuse me, but why abuse me? What have I done to you? Nothing! Pedrillo ask you. Donna Constanza – is she still alive? I haven’t hurt you, and yet you Osmin Oh come, Osmin. Why must you always be so fling a lot of insults in my face! You have a fiendish, scoundrelly face. Pedrillo hostile? Osmin That is enough! Indeed, sir, she is! Osmin First of all, have you tortur’d, It’s stuff and nonsense, I’ve had enough! etc. Belmonte Why? Because I hate the sight of you. after that, I’ll have you slaughter’d. Oh thank God! And well? Belmonte Have you fried, have you toasted, You cannot scare me with all your bluff, etc. No. 3: Aria have you boiled, I’ll have you roasted, etc. Pedrillo First of all, have you tortur’d, etc. Osmin Osmin And well – considering what we’ve been through. Go to the devil, you shall be punished. 7 These young men who go a-spying, (Osmin goes into the Palace.) You will be flogged without mercy. Belmonte always after women prying – Pedrillo And the English girl? Her maid? Be off, I say! yes, I hate them all like sin, 8 Ouf! Thank God he’s gone, suspicious old toad. Belmonte oh, I hate them all like sin. But let him wait. I haven’t finished with him yet! Pedrillo You are a madman – no doubt about it Such young gentlemen spend all their time Oh no! Blonda? Oh yes, she’s here too.

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Belmonte Belmonte Pedrillo He is greeted by his guards and ladies from the Thank heaven I sent you to escort them, Pedrillo. You mean she’s faithful to me? The Pasha’s taken her sailing, but they should be harem.) What would have become of them alone? In the returning soon. I’ll go and see. No, no, you wait hands of pirates! Pedrillo here! No. 5: Chorus But of course, sir, you should know her too well 12 Sing to the mighty Pasha Selim Pedrillo to doubt that. No. 4: Aria songs of loyalty and joy. Don’t worry sir – we’re all three safe and sound. May our praises bid him welcome But how did you find us? Belmonte Belmonte as we lead him from the shore. But she’s in his power – suppose he forces 9 Constanza! Constanza! Belmonte Blow, gentle breezes, whisper around him, her – To see you once more – you! I have searched the entire Mediterranean for you! carry him softly, gentling rippling waves, 10 Oh what trembling, oh what passion Finally in Sicily I heard your ship had been Pedrillo birds of the air, O sing him your chorus, fills my anxious beating heart, etc. captured by pirates and taken into No. What he wants is her consent. It’s curious, echo the love that sings in his heart. Once again to be united, Constantinople! And there I found a slave dealer but he’s a gentleman. Of course he’s pressing Sing to the mighty Pasha Selim, etc. never from my love to part. who remembered you and he sent me here. Who very hard but I can tell you that his suit, so far, Uncertain I falter, my senses betray me (Guards, attendants and ladies leave.) is this Pasha Selim? has been stubbornly rejected. I wish I felt as confident about my lovely Blonda. Unluckily as hope is revived in my heart, etc. Pasha Selim Pedrillo the Pasha gave her to his steward, Osmin – and Was that her whisper? 13 Always so sad, my beloved. Don’t you think it He’s the man who bought us. And he’s treated us he’s no gentleman at all. I dare not believe it. strange, Constanza, that I can love you so much very well. Of course, Blonda and I have to work. Was that her sighing? – and yet I’ve never even seen you smile? I’m in charge of the gardens. Belmonte My spirit with hope is filled. Sometimes I try to imagine it. Of course I Now listen, Pedrillo. This is my plan of escape. Does love deceive me, was it a dream? etc. cannot order you to smile. I cannot order you to Belmonte Out there, beyond the headland, I have a ship. And Constanza? Does she have to work too? Pedrillo (entering) love me. I could force you to pretend. But that is All I have to do is to make a signal and a boat not what I desire. What I desire is your love, will be sent ashore to take us off. 11 They’re coming, sir, they’re coming! Now you Pedrillo will have to keep out of sight! And when I have a Constanza – given of your own free will. Oh no! Good heavens no! He’s in love with her! Pedrillo chance to introduce you, I’ll say that you’re – let Constanza It was love at first sight, sir. Oh but wait a minute, wait a minute, sir. It’s not me see – a well-known architect – visiting the Pasha Selim, you are a most generous man. If I Belmonte (horrified) going to be as easy as that. We shall have to famous palaces of Turkey. He’ll be flattered! He’ll could return your touching devotion – I would. What? get the women out and they’re heavily guarded – show you everything! You’ll have the run of the eunuchs – with scimitars. place! Out of sight now, quickly sir. Into the Selim Pedrillo gardens, through here, follow me. But Constanza, why can’t you? Tell me. Tell me Oh, she’s not in love with him! I didn’t mean Belmonte your thoughts, my beloved – just for once tell that – Where is Constanza now? (The Pasha enters with Constanza and attendants. me your thoughts.

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No. 6: Aria enchant me and command my admiration. This he has everything he needs. Osmin must be love indeed that makes me love still (to Belmonte) Where do you think you’re going? Constanza more what I should hate. Yes – this must be love Good day, Sir. 14 How I loved him, I was happy, Pedrillo indeed. I knew not the pain of love; Belmonte (bowing again) Inside! when I promised my beloved (Selim goes towards the palace door. Pedrillo and Good day, Your Highness – and thank you. to be true for evermore. Belmonte emerge from the hiding place.) Osmin (The Pasha goes into the palace.) All too swiftly we were parted, And who is this? Pedrillo hours of joy were all too brief. Pedrillo (sotto voce) May we disturb Your Highness’s exalted Pedrillo Now with tears my eyes are blinded, Triumph! Triumph! Oh well done, Sir, well meditation? This gentleman is in the Pasha’s service. and my heart is torn with grief. done! How I loved him, I was happy, etc. Selim (graciously) Osmin Belmonte What is it Pedrillo? Who is this? He could be in the Hangman’s service for all I 15 Pasha Selim, I’ll be your slave until the end of At last! At last I’ve seen her! The best, the truest! care – but he’s not going inside. my life. But don’t ask me to love you, because I Pedrillo My beautiful Constanza! Oh, Pedrillo, I nearly cannot. This gentleman, Your Highness, is one of the lost my head and came rushing out to seize her Belmonte Let me tell you you’re dealing with a man of Selim (harshly) most distinguished architects in the whole of in my arms! Italy. Having heard of Your Highness’s beautiful rank. Constanza, you are ungrateful! Have you Pedrillo palaces, he has travelled all this way to see them forgotten that you owe me your life? Hm. Well I’m glad you didn’t. You’d have lost it Pedrillo and he hopes – knowing of Your Highness’s lofty in more ways that one. We must be quick – but Osmin, you idiot! He’s the Pasha’s new architect. Constanza architectural ambitions – to have the honour of we must be careful too. Please, grant me a little longer to forget my grief placing himself at the service of Your Most Osmin – if I can forget it. Exalted Highness. Belmonte Then you’d better tell him what happened to the Pedrillo, I must speak to her! Selim Belmonte (with an elaborate bow) old one. You have until tomorrow to make up your mind. Sir, I should indeed be happy if Your Highness Pedrillo Pedrillo (angrily) would deign to take advantage of my modest Constanza (as she goes) Very well. We’ll go inside. But if you set the Get out of the way! The Pasha told me to show talents. Tomorrow… slightest value on our lives be very discreet, sir. him round! Selim The Bastinado and the gallows are as common as (Constanza goes into the harem.) Osmin I shall be pleased to talk of architecture with breakfast here – and the very flowers have ears. Come along. What! Selim (overcome) such a distinguished visitor. Tomorrow you may I threaten her – but these are empty threats. Her show me some of your drawings. Pedrillo, let our (They go to the palace entrance but just before they Pedrillo pain, her tears, even her loyalty to another man guest have the freedom of the palace and see that reach it Osmin enters and bars their way.) Out of the way!

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No. 7: Trio Belmonte and Pedrillo Osmin But surliness and rudeness, Now in we go, etc. I’ll do what I like. and bawling, scolding, nagging, Osmin Now, now, now, you will be very sorry. will only bring disaster, 16 March, march, march, off you go, Blonda Ha, ha, ha, ha, etc. and love will soon depart, etc. or else the bastinado will help you on your way. Not with me, you won’t. With smiles and kind caresses, etc. Osmin Belmonte and Pedrillo Osmin With gentleness and kindness, etc. Clear off, clear off, clear off! Now, now, now, you will be sorry You seem to forget that you’re in Turkey now Osmin you’ve treated us this way. Belmonte and Pedrillo and I’m your master. 19 Gentleness! Kindness! Who the devil put all that Stand back, stand back, stand back! Osmin Blonda stuff into your head? Don’t you come near me. Osmin Oh, nonsense! (aside) I shall explode, etc. She’ll drive me crazy! Belmonte and Pedrillo Osmin (to Blonda) Belmonte and Pedrillo Now clear the doorway. But it isn’t nonsense – the Pasha gave you Look here, Blonda – I order you to love me. Now in we go, etc. Osmin to me! Blonda I shall explode, etc. (Belmonte and Pedrillo finally manage to push past Blonda (withering) Osmin and go into the palace.) I don’t suppose I should love you, if you were Belmonte and Pedrillo ‘Gave’ me to you? What do you think I am? the last male on the face of the earth. What you Let’s go inside, etc. A box of Turkish Delight? Act II can’t you get into your head is that I am English. Osmin (Osmin is sitting on a garden divan, with a low Osmin And in England women are treated with Quick march! etc. table in front of him laden with fruit and He gave you to me. Don’t you understand? profound respect. They are never ordered to do sweetmeats. Blonda stands fanning him.) You’re my slave! anything. They are asked what they would like to Belmonte and Pedrillo do. That is what happens in England. Stand back! etc. Osmin Blonda 17 Well, you’d better not treat me like one. You’ll Pedrillo and Belmonte Tra-la-le-ra. Tra-la-le-ra. Why are these grapes Osmin get nothing out of me by barking commands. We’re not afraid, now in we go, etc. not cooled? Why have you not peeled them? Yes. And I believe the climate also leaves much to be desired. Blonda Osmin No. 8: Aria (amorously) You shan’t go in! etc. You! Will you never stop grumbling and bullying? Blonda Oh, Blonda – Osmin 18 Osmin With smiles and kind caresses, (He puts his arm round her.) March, march, march, off you go, Ha, ha, ha! with tenderness and teasing, or else the bastinado will help you on your way. Blonda a man has hope of pleasing Blonda You shan’t go in! etc. Oh! Leave me alone! a gentle maiden’s heart. Hands off, or I’ll hit you!

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Osmin Osmin Osmin Osmin I’ll wager you don’t talk to Pedrillo like that. I’ve Now promise. O Englishmen, etc. And here I shall stay. got an eye on you two. Though what you see in Blonda Blonda Blonda him I can’t imagine. It’s time you were gone. Be off now! Whatever you say, you are going! Blonda Osmin Osmin Osmin What I see in Pedrillo is a handsome, adorable The devil! You say that to me? etc. Was ever so brazen a hussy? man. And what I see in you is a pompous old wind-bag. Blonda Blonda Blonda Go, leave me alone! I warn you! I’ll scratch out your eyes, etc. Osmin (furiously) I’ve had enough! Into the house! At once! Osmin Osmin Osmin By Allah, I don’t mean to leave you, etc. And here I shall stay! etc. I’m only too happy to leave you. Blonda till you swear obedience to me. I’m going as fast as I can! etc. Certainly not, I will not go into the house! Blonda My mistress told me to meet her here. And Blonda Whatever you say, you are going, etc. (Blonda, laughing, pushes Osmin into his house. incidentally don’t forget that the Pasha will do Obey you, obey you. Then she turns and stops dead as she sees Constanza Osmin anything for her. One word from her – that’s all Oh no, sir, oh no, sir. coming out of the harem for her evening walk in Was ever so brazen a hussy? etc. it needs to get you fifty lashes! Not if you were the Pasha himself, etc. the garden.) Blonda Osmin Blonda Osmin 21 O Englishmen you must be crazy, I’ll scratch out your eyes in a moment. 23 She’s a devil! Ah, there’s Constanza – but how sad she looks. such freedom to grant to your women. You’d better be off while you can. (Osmin goes towards his door in a fury but turns Blonda Osmin No. 10: Recitative and Aria back.) I’m only too happy to leave you. The woman who’s born into freedom, Constanza will never surrender to slav’ry. I beg you to spare me the blow. No. 9: Duet 24 Oh what sorrow overwhelms my spirit, since the And though you may put her in prison day when fate decreed our parting. Belmonte, she still remains free as a queen. Blonda Osmin 22 Be off now! here in my exile I recall those days of endless 20 I’m going, but mark what I say Osmin pleasure. Nothing now is left me; only pain and and don’t let Pedrillo come near you. Oh how we’d be scorned and derided Osmin suff’ring. Nothing now remains but unavailing if ever we had such ideas. You say that to me? tears. Blonda I’m taking no orders from you, Blonda Blonda 25 Endless grief tortures my spirit, you know that I cannot abide them. The woman who’s born, etc. I warn you! from my love forever torn, etc.

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Like the faded rose of autumn, Constanza but one thing could make me falter. Blonda like the withered grass in winter, Don’t let him see me! If I ever should betray my love – What is it? fades my hopeless life away. one thing would make me falter; Blonda Pedrillo Oft I tell the gentle breezes if my love I should betray. Too late! Speak to him wisely, Señorita. And I’ve got wonderful news. all my spirit’s bitter smart. If you do love me above all, don’t anger him. But the breezes will not hear me. let me go free. Blonda They return all my lamenting (Blonda goes into Osmin’s house as the Pasha enters.) And heaven above you What? to my sore and lonely heart. will bless the deed, etc. Pasha Selim Pedrillo Endless grief tortures my spirit, etc. If you do love me, etc. Well Constanza? Have you changed your mind? The señor is here, Blonda! Oft I tell the gentle breezes… etc. If your heart you harden …to my sore and broken heart. Constanza I will gladly suffer pain and grief. Blonda (unable to believe it) Pasha Selim, it is not my mind that must be Order me, compel me, The señor? changed – it is my heart. That you will never do bind me, force me, slay me. COMPACT DISC TWO Pedrillo – and nor shall I. At last release will come in death, etc. If you do love me, etc. Hm! Blonda Selim 1 If your heart you harden, etc. Blonda Señorita, try – try – not to lose hope. And you don’t fear what tomorrow may bring? (Constanza runs into the gardens.) Here? Constanza Constanza Pedrillo Blonda, if the sun goes down today without our No, I do not. I know that all I can expect is Selim 3 Yes. having news, there’ll be no hope. death. She shows no sign of weakening. The thought of death – so far from breaking – seems to Blonda Blonda Selim (furiously) strengthen her resolve. The more I threaten her Oh! Señor Belmonte? Is this true? Oh! Señorita, don’t despair, just think, Belmonte Not death – but tortures, unrelenting tortures. the more her courage mounts. As to my gifts – must find us soon. (As Pedrillo nods vigorously.) she spurns them. But what other method is But when did – (Trying to be cheerful.) No. 11: Aria there? I must find a way. How do we know he won’t arrive tomorrow with Pedrillo Constanza (Exit Selim into the palace. As the Pasha goes into a ransom? Now don’t start firing off a lot of questions. I’m 2 Tortures unrelenting the palace, Pedrillo enters with a conspiratorial air telling you he’s here. He’s in the palace! He’s the Constanza may for me be waiting. and knocks timidly on Osmin’s door.) Pasha’s guest! And he has a ship waiting beyond Don’t breathe the word ‘tomorrow’, I dare not I disdain them, I disdain them, the headland. think of it. all your tortures I disdain. Pedrillo 4 (Blonda sees the Pasha approaching from the palace.) No fear, no force Blonda? Come here, quickly. Blonda (overjoyed) Señorita! The Pasha, he’s here! shall make me alter, (Blonda comes out of the house, rather hesitantly.) Heavens! Pedrillo! I must go and tell Constanza.

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Pedrillo (Pedrillo comes back with a basket containing two No. 13: Aria Pedrillo Ah! Wait, wait. Tell her the senõr will be large flasks of wine, as well as two goblets and a Pedrillo Oh, you’re always talking about poison and underneath her widow at midnight. My small bottle of sleeping draught.) plots, and stabs in the back. Come on, be 7 Now Pedrillo, now for battle! singing is the signal for you both to be friendly, have a drink. Pedrillo Only cowards are afraid. ready to leave. Do not waver, do not tremble. Osmin 6 Any sign of Osmin? Blonda Is it fear that makes you shiver? Mahomet would never allow it. What about Osmin? Blonda Youth and courage must prevail. Pedrillo No. Ah no – I shall not fail, etc. Mahomet’s asleep, and in any case he has much Pedrillo Only cowards are afraid, etc. Don’t worry, I’ll take care of him. I’m going to more important things to bother about than Pedrillo Now Pedrillo, now for battle! ram a sleeping draught down that old vulture’s you. Now listen. I’ve just spoken to Señor Belmonte. Only cowards are afraid. etc. neck if it’s the last thing I do. Keep watch for a He insists on seeing the señorita now – if Osmin (looking greedily at the wine) minute while I go and get it. (Pedrillo plucks up courage to go and knock on Well – I don’t know, what wine is it? only for a few minutes. I told him to be here Osmin’s door. Having done so he hurries to where (Pedrillo goes into the palace.) in half an hour’s time – after I’ve dealt with he has left the wine. Osmin opens the door.) Pedrillo (opening the bottle) Osmin. Now go into the garden, Blonda. Cyprus. No. 12: Aria Keep watch, and as soon as you see me here Osmin alone with Señor Belmonte bring Constanza 8 What do you want? Osmin (impressed ) Blonda to us. You understand? Cyprus! Hum – that’s a very good wine indeed – 5 Oh the happy, happy day, Pedrillo or so I’ve been told. all the world is bright and gay. I just wanted to drink your health. That’s all. Blonda Pedrillo Now my lady I must see her, Perfectly. Rely on me, Pedrillo. And good luck! Osmin (suspiciously) There you are. Taste it. say her lover’s here to free her, Drink my health? Why? Huh? Why are you so and with laughter I can cheer her (Blonda goes into the gardens. Pedrillo turns cheerful? Osmin say her lover now is near her, towards Osmin’s door.) Well, there’s no harm in that, I suppose. bringing joy to her again. Pedrillo Well it’s no good being an old kill-joy, and Pedrillo Oh what joyful news to tell her Pedrillo cheerfulness runs in the family. Besides, wine Oh, don’t sip it – drink it off – or you won’t get and what comfort I shall bring her. Thank you, I’ll need it. Well – now for it! always helps to keep you happy and optimistic. the full effect. With my laughter I can cheer her, (going to door) You know, your father Mahomet made a terrible Osmin tell her that her lover’s near her. Oh dear, he who hesitates is lost. And with pleasure she will smile again, mistake when he forbade wine. Oh! Oh! Oh! No wonder it’s forbidden! after days of weary pain, (He raises his hand to knock on Osmin’s door but is Osmin Pedrillo she will smile again, etc. far too nervous to do so.) Ah! It’s poison. Have some more!

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Osmin Osmin Osmin Pedrillo Oh no – no! Well – I suppose – There, I have drunk it, wine I have tasted. Hm. Hm. Do you drink I’ve thunk more than I Oh, come along, brother Osmin, this way. They say nothing venture, nothing gain. should? Off we go. Pedrillo Y’know, you and I are going to be good friends, Pedrillo and Osmin Pedrillo (Pedrillo eventually gets Osmin to the door of his Osmin. There’s nothing like wine for creating a We’ll drink to the ladies, Oh, you’ll be all right in the morning. Come on, house.) brotherly feeling. I’ll put you to bed – it’s getting late. the young and the pretty, Osmin Osmin the fair and the dark ones. Osmin Where are we going to, brother Peddle? Are we It seems the Prophet did make a slight mistake in Long life to the ladies, What is? going far? forbidding this. Perhaps if we drink to the we drink their health! Prophet’s health he won’t be too annoyed. Pedrillo Pedrillo Pedrillo I beg your pardon? You’re not. But I am. Pedrillo That’s delicious! Oh no. It’s Bacchus we must drink to, brother Osmin (Pedrillo dumps his burden in the house.) Osmin. Osmin What’s getting late? That’s prodigious! Osmin Osmin (a shade recklessly) Pedrillo (irritably) Tra-la-le-ra, etc. Pedrillo and Osmin All right! I don’t mind whom we drink to! What do you mean, what’s getting late? Pedrillo Ah, ’tis fit for gods to drink. It’s getting late. Goodnight Osmin! Sleep well! No. 14: Duet Here’s to Bacchus, long live Bacchus, (During which they drink copiously and Pedrillo Bacchus who invented wine! etc. Osmin (swaying, but trying hard to understand) (As he comes back, Belmonte enters.) We’ll drink to the ladies, etc. All of it? steals Osmin’s keys.) Belmonte Pedrillo Pedrillo Pedrillo (impatiently) Well done, Pedrillo! I didn’t think he would 9 Here’s to Bacchus, long live Bacchus, 10 What do you say, brother Osmin? Shall we finish Oh, get off to bed, you half-witted old pike. succumb so easily! Bacchus is the man for me! etc. the bottle? Osmin Pedrillo Osmin Osmin I don’t want to go to bed, you old kill-joy. It was a new selnsaintion for him. He’ll have Dare I risk it, dare I drink it? Ouf! What a wonderful selnsaintion. another new sensation in the morning. What if Allah looks my way? Pedrillo (He listens to this sentence, after speaking it, rather But you must, we can’t stay out here. The Pasha Belmonte Pedrillo uneasily.) might discover us. Where is the señorita? Now do not waver, drink up, man, go on, man, Pedrillo Osmin (Pedrillo goes and looks into the gardens. Then he no longer delay! You are tired, aren’t you? Oh, if you dare betray me – turns to Belmonte again.)

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Pedrillo No. 16: Quartet Pedrillo have you been true to me? Señor – she’s here! Now, my Blonda, are you ready? Have you been true? Constanza When the midnight hour is near 13 Ah, Belmonte, ah my dear one! Blonda (Pedrillo goes out to find Blonda.) we must steal away from here. You fool! You dare to doubt me! (Constanza enters from the gardens.) Belmonte Blonda The question, sir, you ask Ah, Constanza, my beloved! Belmonte Oh Pedrillo, I’ll not fail you. might well be put to you! Constanza! Constanza I am counting every minute. Pedrillo Do I see you, do I hear you! When the midnight hour is near About Osmin – about Osmin – about Osmin – (They rush into each other’s arms and embrace.) Are you here at last to cheer me I’ll be with you, never fear. Constanza after days of cruel pain? All Blonda 11 Go on then! Belmonte! Is it possible, after so much anguish, Belmonte Dawns at last the happy morning, that I am in your arms again? Oh, what joy at last to find you! now the weary night is past. Constanza Sorrow now is far behind you. With enchantment, hope is waking, Hide it from me no longer. Belmonte Now with joy we smile again. love will triumph now at last. Don’t cry, my Love, don’t cry. With enchantment, hope is waking, etc. Belmonte Constanza They say – Belmonte Ah, for joy my tears are falling. No. 15: Aria 14 And yet within my heart Pedrillo Belmonte where pain should have no part, About Osmin – Belmonte All our tender love recalling. there lies a secret sorrow. 12 When our hearts are overflowing Belmonte and our cheeks are wet with tears of joy, Constanza Constanza That you – My love, what can it be? from your face to kiss those tears away Hope henceforth my star shall be. Pedrillo Oh tell me what is wrong? is the lover’s sweetest, best reward. About Osmin – Ah, Constanza, thus to see you, Belmonte Speak out – no more delaying. Yes, today you shall be free. oh what rapture, what enchantment! Belmonte Constanza Yes, today you shall be free. In my loving arms to hold you They say – I hear – that you – I’m waiting! is a prize beyond compare, etc. Constanza Blonda When our hearts are overflowing, etc. Constanza Only hope henceforth my star shall be. Go on then! Now that once more we are together, I’m waiting! deep in our hearts, we shall remember (Pedrillo and Blonda enter discussing their Pedrillo Constanza what despair all parting brings, etc. escape.) There’s just one point now, Blonda. Tell me for pity’s sake.

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Belmonte Constanza Then faithful they must be, Belmonte 15 I will. Ah, blame me not… Belmonte has been told from all reproaches free. I’m repentant! A rumour reached my ears, the Pasha is my lover. Pedrillo Pedrillo I scarcely dare to tell it. Pedrillo Dearest Blonda, please forgive me! I’m repentant! Ah, let your words dispel it. My Blonda has been true, I am full of shame, believe me. Have you been true to me? Constanza and Blonda there’s no two ways about it! Any penance I’ll not shirk. Pedrillo I believe you, and forgive you. Belmonte Blonda I wonder if Osmin – All Constanza’s true to me, No! Your pleading is rejected. We know he had a right, Make an end of doubt and pain, let no one dare to doubt it. So unjustly to suspect me as Lord and Master – yes, an end of doubt and pain. with a fat and foolish Turk. and then suppose he had insisted? Constanza May love now be lasting. I’d have a wretched bargain! Belmonte has been told Belmonte For nothing shall kindle the Pasha is my lover. Constanza Ah, Constanza! Ah, beloved! the fires of jealousy Ah, how you wound my heart! Blonda I implore you to forgive back into flame, etc. Pedrillo now declares the foolish fear I rashly spoke. (Blonda slaps Pedrillo.) Constanza and Blonda I have another lover. Constanza No word, no deed, Blonda Belmonte How, Belmonte, you could think it; shall kindle jealousy back into flame. That’s my reply to you! Constanza’s true to me, that my love for you could alter, let no one dare to doubt it. that my heart could ever change! Belmonte and Pedrillo Pedrillo …the fires of jealousy Now you’ve made it clear! Pedrillo Blonda back into flame, etc. Your pleading is rejected, etc. Belmonte My Blonda has been true, All Constanza, ah forgive! there’s no two ways about it! Pedrillo Constanza and Blonda Dearest Blonda, ah, forgive me, etc. May love now be lasting, etc. Blonda 16 If men mistrust our honour No word, no deed, You’re not worth my love! Belmonte shall kindle jealousy back into flame, etc. and think we are deceivers, Ah, Constanza! Ah, beloved! etc. Constanza they look on us with scorn; (They see a Guard approaching outside the locked You ask if I’ve been true. such conduct can’t be borne. Belmonte gates. Constanza hurries into the harem and Ah forgive me! Blonda Belmonte and Pedrillo Pedrillo locks her in with Osmin’s keys – in case the Pedrillo now declares When women’s hearts are grieving Pedrillo Guards on their rounds try the door. Blonda goes I have another lover. at being thought deceivers. Ah, forgive me! into Osmin’s house, Belmonte back to the palace

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and Pedrillo into the gardens – to wait until it is Pedrillo Lovely her face and dark her hair, I have no fear of arms or might, safer to make their escape.) Oh, go and look again while I begin my song to weeping she pined in her despair, we can escape at dead of night, warn the ladies. for liberty she sighed, you’ll be free for evermore, Act III for liberty she sighed. yes, free for evermore. Belmonte (The time is shortly before twelve, the same night. Hither there came a gallant knight So as he said, at midnight hour Are they not watching for us? Belmonte has crept out of the house to meet Pedrillo. who heard the pris’ner cry. the gallant knight was there, He has been signalling the boat from his window.) Pedrillo Touched by the maiden’s wretched plight gently he helped the maiden down Listening, Señor. It’s safer – you can’t be seen vowed that to free her he would fight, and with the dawn the cell was bare. No. 17: Aria listening. As soon as she hears my song, the and rescue her or die, The bird had flown, la la, Belmonte señorita will come to the window of the harem and rescue her or die. flown off, la la la la. 17 Love, only love, can now direct me. and I will meet Blonda at Osmin’s door. Oh, I Belmonte (returning) Pedrillo My faith in love will never die. hope that sleeping draught is still working. It’s here, it’s here. The boat is on the shore. 20 Look, she’s opening the window. With love to keep me and protect me, Belmonte Pedrillo all threat’ning dangers I’ll defy. Suppose someone else hears you. Belmonte With love alone to help me, Yes, but where is the señorita? Constanza, my beloved, come down. Pedrillo Pedrillo all threat’ning dangers I’ll defy. Belmonte will wait for you at the boat. Get Blonda Oh, no one will be surprised – I sing out here We try in vain the world may say, Heaven preserve us, I hope nothing’s gone wrong. quickly. yet love will always find a way. almost every night. Pedrillo Pedrillo Love, only love, can now direct me, etc. Belmonte I hope they haven’t fallen asleep. Yes. (Pedrillo comes in with his guitar.) Where is the ladder? 18 Ah, Pedrillo! Is everything well? Belmonte (Constanza has come out of the house and she and Pedrillo (impatiently) Belmonte hurry through the courtyard gates toward Pedrillo Fallen asleep? At a moment like this? Oh, it’s here. Señor. It’s here! Do for goodness the harbour.) The palace is asleep, Señor. Is the boat on the sake go and look for the boat! Pedrillo Blonda, where are you? Blonda, hurry up! beach? Ha, women are capable of anything! I’ll sing (He gives Osmin’s keys to Belmonte to open the Belmonte another verse. Blonda courtyard gates.) I am coming, Pedrillo. Not yet. Belmonte Pedrillo No. 18: Romance Not another verse, Pedrillo! Pedrillo Oh, thank heavens. Quickly. Are you sure they saw the signal? Pedrillo Pedrillo Belmonte 19 In Moorish lands a maiden fair I’ll come to you in darkest night, Blonda Certain. in prison sadly cried. my love, unlock your door. I think Osmin’s awake.

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Osmin (from the depths of his house) Guard Osmin Osmin Where… what… where… how… Thieves! This way. Put them all in chains. The señorita, Your Highness. Ho there! Guards! Guards! Pedrillo (The Guards drag them all off.) (A moment’s pause. Selim looks at those around (Guards and Servants rush in as Pedrillo and Stop! him. Then his anger explodes.) Blonda try to follow Belmonte and Constanza.) No. 19: Aria (Four more Guards come in, dragging Belmonte Selim Guards (severally) and Constanza. They too are led up to Osmin.) Osmin Who tried to abduct the señorita? He shall die Stop thief! I’ve got him! Give me the ladder! 21 My triumphant hour’s approaching, tonight! Guard Hold him! painful death is now encroaching We just found these two, Steward Osmin, down Osmin and the noose is getting tight, etc. Blonda by the harbour. The so-called architect and the cunning slave, I’ll be singing, jumping, dancing, Stop! Take your hands off me! Stop it, both of Pedrillo, planned to carry off the lady Constanza Belmonte and I’ll split my sides with laughing, you! and my Blonda. Wait! Let me speak! then at last I’ll have some rest, etc. Selim Guards Osmin (laughs) My triumphant hour’s approaching, etc. Where are they now? Did they get away? There they are, sir. The architect! By Allah! The architect. And the Like two mice you both came creeping when you thought we all were sleeping, Osmin Osmin lady Constanza. So! You also! Oh – wait till the but the cat was wide awake. Oh no, Your Highness! No one escapes the Pedrillo… so! It’s you! I guessed as much. Pasha hears of this! The worst crime of all! In his clutches he has caught you, watchful eye of Osmin! I caught the four of them (holding the lantern to Blonda) (shaking his fist in Belmonte’s face) and he’ll very soon have taught you as they were making off. I immediately And you! My little Blonda! How could you run Abduction! Abduction from the harem! This is punishable by death! that you’ve made a big mistake, etc. surrounded them – and clapped them all in irons. off with this low-down cur! So Pedrillo thought Like two mice you both came creeping, etc. he’d make me drunk… Constanza Selim (to Pedrillo again, furiously) Have mercy, Osmin, have mercy on us! (The Pasha enters from the palace, accompanied by Bring the señorita to me! And my so-called guest! Attendants and lanterns.) Didn’t you? I’ll have you tortured to within an Belmonte Osmin inch of your life for this! Here is a purse of gold. Allow us to go free and Pasha Selim Ho there! Guards! Bring them forward. 22 What does all this mean? Osmin? What is going Pedrillo (desperate) it is yours. on? (Guards bring on Belmonte and Constanza, in It’s a joke, brother Osmin. We are only going for Osmin chains.) a walk. I don’t want your gold! I want your heads! Osmin An attempted abduction, Your Highness. Selim (when they are standing before him) Osmin Guards take them away. So – the guest I welcome to my house – was an Well, you’ll go for a walk to the torture chamber Guards Selim (in a whisper) enemy. Are you aware what punishment we now! Come on, both of you. Just a moment, you two. Not the señorita! reserve in this country for traitors?

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Constanza Selim (softly, amazed ) (to Constanza, almost as an afterthought) Constanza Sir, I beg you to punish me and me alone – You – are the son – of Don Lostados? The As to you, Constanza – I will grant you one last Ah, to save my life you perish, you will perish, if you will spare Belmonte. one-time Commandant of Oran? privilege! You shall watch your lover’s torture yet ’tis I who caused your suff’ring. before you face your own! I – I who caused your bitter suff’ring. Belmonte Selim Let me perish now beside you, I am, Your Highness – and proud to be. (The Pasha and Selim go into the palace.) You dare to plead for this man’s life? yes, perish now beside you. Selim (exploding) Welcome then will be death’s call. Constanza No. 20: Recitative and Duet Proud! You have no reason to be proud! You I plead for more than that, Your Highness – (During the duet Selim re-enters. He observes Both have reason to be sorry! Oh, what a happy I plead to be allowed to die for him. Belmonte and Constanza from the shadows at the Ah, beloved, life beside you moment is this – for me! How generous of Fate back.) was my hope and all I longed for. Selim (contemptuously) – to throw into my power the son of my most It were pain with you away, And what is the reason for this noble gesture? hated enemy! Belmonte longer in the world to stay, 23 What dreadful fate conspires against us. We are Constanza Belmonte (in dismay) longer, longer in the world to stay. defeated at the final moment. Ah Constanza, He is the only man whom I have ever loved – Your enemy? My father? Belmonte or ever shall. through me you now must suffer. O cruel pain! Selim (grimly) You must suffer for my rashness. Belmonte Yes. When I was young I lived in Algiers, where Constanza Constanza Your Highness, let me speak. my father was the emissary of the Caliph. And Ah, my beloved, do not grieve so vainly, for Ah, to save my life you perish, you will perish. what is death? The path to rest and peace. And if while I was still a youth, the town was sacked by Belmonte Selim with you I share it, it will lead us to new your compatriots. The Spanish soldiers – under Ah, Constanza, my beloved, Go on. happiness. your father’s generalship – gave themselves up to can you bear to look upon me? looting, murder. My father died at your father’s (Belmonte kneels.) Belmonte Constanza hands! All my happiness – position – fortune – Oh my dearest, your love consoles me. It gives Belmonte everything – was deliberately and ruthlessly Yes, ’tis I who cause your suff’ring, me comfort, and from my trembling heart you let me perish now beside you. Pasha Selim, you see before you a Spaniard of destroyed by the General Don Lostados. take away the pain of death. But ah, I drag you noble birth. I have never in my life before gone (Dropping his voice.) to your grave. Belmonte on my knees to any man. But now I kneel to Even my betrothed – my beloved wife-to-be – I alone have caused you death. you, Your Highness, and I beg for mercy – for us was taken from me by your father while I lay 24 You must suffer for my rashness. Constanza both. My father will pay any ransom that you unconscious, given up for dead. (Pause.) Ah Constanza, my beloved, Welcome then will be death’s call. care to name. I beg you send messengers to him Now, after all these years, Fate has decided to can you bear to look upon me? now – at his palace in Castile. His name is redress the balance! Since you’re so proud of I alone have brought you death! Belmonte Lostados. being your father’s son you shall absolve his debt! I alone have brought you death! I alone have caused you death.

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Constanza Belmonte I shall ask for nothing more. (to the Guards) Welcome, welcome then will be death’s call. Let us face death calmly, Pedrillo. (slight pause) Take off their chains. Not even from you, Constanza. Both Blonda Osmin (indignantly) Ah beloved, life beside you, etc. After all, everyone has to die sooner or later. Constanza (softly) You’re not going to pardon these two, Your Pedrillo You mean that I am free as well? Highness. Belmonte Yes, but everyone doesn’t get boiled in oil first! Selim 25 Then my life I gladly offer. Selim (The Pasha now comes forward and all turn to him.) The love you give to your Belmonte is the only love Constanza worth having. It was the love I wanted for myself, Why not, Osmin? Do you want to end up as a Belmonte Gladly pain and death I’ll suffer. but – it is his. Nothing that I can do will ever take blind old man? Pasha Selim, we are ready to receive our sentence. it from him. Nothing that I can do will ever make Both Osmin Pasha Selim it mine. Therefore, go with him and be happy! Blind? Why should I go blind? For in death I’ll near you lie, etc. And I am ready to pronounce it. Be sure it will Constanza With you beloved, be just. Señor Belmonte, if I take vengeance on Selim My lord, how can we every repay you? I am well content to die. your father’s savagery I shall resemble him. Not You certainly would if you married her – O endless happiness! only at the moment of my action but for ever. It Selim she’d scratch your eyes out in no time. If I may die beside you, would distress me to resemble – for the rest of Remove their chains, Osmin. I’ll die in sweet enchantment. (Pedrillo and Blonda, freed of their chains, kneel time – someone whom I despise. You may (Guards take the chains from Constanza and Your love my heart sustaining, and kiss the Pasha’s hands.) consider, therefore, that this reckoning is blotted Belmonte.) I’ll bid the world farewell. out – expunged: discharged and cancelled to the Belmonte No. 21: Vaudeville and Chorus Yes, gladly, I’ll bid the world farewell. full. You shall not suffer and you shall not die. O endless happiness, etc. Pasha Selim, this act of grace will never be Constanza (involuntarily) forgotten. Belmonte (Osmin comes out of the palace.) Oh – thank God! 27 Your noble mercy passes measure. (Pedrillo edges his way forward.) I never can my debt repay. Osmin Belmonte Pedrillo I know until my dying day 26 Guards! Bring in the two slaves! Come on, come Your Highness! There’s just one other little matter outstanding, your great example I will treasure. on! Forward! Bring them over here! Selim Your Highness. And if your kindness we forget Take your freedom, Belmonte, and when you are then we deserve the fate we get. (Pedrillo and Blonda are unceremoniously dragged once again in fair Castile, inform your father Selim forward, in chains, and placed next to Belmonte truthfully of what has passed. Tell him that his Yes, yes, I know! I haven’t forgotten you, Pedrillo! Constanza, Blonda, Belmonte, Pedrillo and and Constanza.) injustice was atoned for by this act of mercy. If I probably never shall! You’re the worst gardener Osmin Pedrillo this should make him more humane and I ever had! Go home! And take this young woman And if your kindness we forget Señor, it would seem this is the end of us. merciful himself, then all will be redeemed, and with you. then we deserve the fate we get.

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Constanza Osmin My grateful thanks to you I offer. The dogs will drive me to distraction. Now I can be Belmonte’s wife. They’re always snapping at my heels. I owe to you my happy life. I’ll let them know just how it feels, My deepest gratitude I offer. and hope it gives them satisfaction G. MacDominic And if your kindness we forget to get their due reward from me. then we deserve the fate we get. First of all they’ll be tortur’d, Constanza, Blonda, Belmonte, Pedrillo and after that I’ll have them slaughter’d. Osmin Have them fried, have them toasted, And if your kindness we forget have them boiled and have them roasted, etc. then we deserve the fate we get. Constanza, Blonda, Belmonte and Pedrillo Pedrillo 28 The nobleman despises vengeance. It is your princely favour surely His mercy tempers every deed. that kept my head from noose or sword. And his compassion holds the seed And when at last I’m safe on board of noble greatness, it will sit on my shoulders more securely. of true and noble greatness. And if your kindness we forget then we deserve the fate we get. Constanza Constanza, Blonda, Belmonte, Pedrillo and And if this moral we forget Osmin then we deserve the fate we get. And if your kindness we forget Constanza, Blonda, Belmonte and Pedrillo then we deserve the fate we get. And if this moral we forget Blonda then we deserve the fate we get. A thousand thanks, my gracious master. May happy years await you too. Chorus And if Osmin escapes disgrace, 29 Pasha Selim, live for ever! let him recall I taught him how to woo. Glorious is his mighty name! For if my lesson he forget Long live noble Pasha Selim, a nagging wife will teach him yet. full of honour, full of fame! Yehudi Menuhin Translation by Joan Cross, Anne Wood and Hugh Mills

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Opera in English on Chandos

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Recording producer Ronald Kinloch Anderson Sound engineer Neville Boyling Dialogue production Wendy Toye Recording venue No. 1 Studio, Abbey Road, London; 6–15 October & 22 December 1967 Front cover Design based on a photograph of Nicolai Gedda in Manon at The Metropolitan Opera, New York, © Metropolitan Opera Archives Back cover Photograph of Yehudi Menuhin (EMI Records) Design Sean Coleman Booklet typeset by Dave Partridge Booklet editor Kara Reed Copyright Copyright Control Digitally remastered p 2002 by Chandos Records Ltd from a p 1968 recording c 2002 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU CHAN 3079(2) 115 SOLOISTS/BATH FESTIVAL ORCHESTRA/MENUHIN CHAN 3081(2) bass tenor tenor soprano soprano 1968 recording 1968 recording p speaking part CHAN 3081(2) John Fryatt John Noel Mangin Noel Nicolai Gedda Nicolai Jenifer Eddy Jenifer Mattiwilda Dobbs Mattiwilda David Kelsey David 2-disc set 2002 Chandos Records Ltd Printed in EU the c 2002 by Chandos Records a from Ltd p DIGITAL ADD Digitally remastered Digitally remastered (1756–1791) CHANDOS 58:37 74:47 COMPACT DISC ONE COMPACT DISC TWO ...... , a Spanish lady, betrothed to Belmonte betrothed lady, , a Spanish ...... , a Spanish nobleman, a Spanish ......

, former servant to Belmonte, now gardener to the Pasha...... gardener , former servant now to Belmonte, , maid...... her English , Pasha Selim’s steward...... Selim’s , Pasha 24 Belmonte Pedrillo Osmin Blonda Constanza Ambrosian Singers Ambrosian Orchestra Festival The Bath Menuhin Yehudi Wolfgang Amadeus Mozart Amadeus Mozart Wolfgang of production Opera The Phoenix the Seraglio from The Abduction acts Comic opera in three Bretzner C.F. a play by from G. Stephanie by Libretto Wood and Anne Cross Joan of musical numbers translated by Texts Mills Hugh by dialogue translated and adapted English Selim Pasha bit digitally re-mastered CHANDOS RECORDS LTD Colchester . Essex . England

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