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Home , Fuoco E Cenere, Rinat Shaham

FANTASY BLUE PURCELL&GERSHWINin

RINAT SHAHAM MEZZO-SOPRANO FUOCOeCENERE JAY BERNFELD DIRECTION Classique ACD2 2253 ATMA Livret Fantasy 6/6/01 9:35 AM Page 1 FANTASY BLUE in

1 Summertime (, 1898-1937) 2:24 2 “Cold Song” (, 1659-1695) 2:27 3 Hornpipe (Henry Purcell)*1: 11 4 Bess, you is my woman (George Gershwin)*4:04 5 Someone to watch over me (George Gershwin) 3:29 6 Fantasy 5 (Henry Purcell)*2:47 7 Prelude I (George Gershwin)*1:40 8 Strike the (Henry Purcell) 2:44 9 Round-O (Henry Purcell)*1: 11 10 Embraceable you (George Gershwin) 2:45 11 How blest are shepherds (Henry Purcell)*1:36 12 But Not For Me (George Gershwin) 3:20 PURCELL & 13 Ground (William Croft, 1678-1727)*2:33 GERSHWIN 14 Oft she visits (Henry Purcell) 2:20 15 Sweet and low down (George Gershwin)*1: 31 16 A foggy day (George Gershwin) 3:23 17 Impromptu (George Gershwin)*1:21 18 Chaconny (Henry Purcell)*3:56 19 Three Waltzes in C (George Gershwin)*2:59 20 My man’s gone now (George Gershwin) 3:16 RINAT SHAHAMMEZZO -SOPRANO FUOCOeCENERE 21 Prelude II (George Gershwin)*3:26 22 Dido’s Lament (Henry Purcell) 2:57 JAY BERNFELDDIRECTION * Instrumental Arrangements : Jay Bernfeld Livret Fantasy 6/6/01 9:35 AM Page 3

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Purcell et Gershwin ont chacun avaient imprégné ma vie. «My time of day is the dark time… laissé un opéra-phare : Dido and Les nombreuses règles qui gou- …when the smell of rain-washed pavement comes up sweet and fresh and cold Aeneas et l’opéra américain par excel- vernent l’interprétation sur les instru- and the streetlamp light fills the gutter with gold.» lence Porgy and Bess. Il est clair que ments anciens cachent parfois le FRANK LOESSER l’air de la mort de Didon et visage passionnel et passionnant de 1991. , 3 heures du matin, Ma mémoire musicale trouve Summertime, joyaux du répertoire, Purcell et ne sont d’aucune aide pour dans le quartier de Montparnasse alors quelque chose de Gershwin sont peut-être les airs en langue la musique de Gershwin. cher à Hemingway et sa clique, tou- dans le thème de Purcell… anglaise les plus enregistrés. Ces Je lève mon verre à mes amis jours un centre de la vie nocturne Purcell et Gershwin, étranges compositeurs, tous deux morts avant musiciens, qui m’ont accompagné parisienne. La tristesse du dernier compagnons… un peu comme ces leur quarantième anniversaire, ont dans l’odyssée Purcell–Gershwin verre accompagne les derniers batte- Mozart et ces Tchaïkovski en plâtre été amèrement pleurés par leurs (mais qui ne sont pas tous présents ments des ailes papillonnantes qui se retrouvent en cohabitation publics respectifs. Ils sont également sur ce disque). Ils ont tous fait preuve d’espoir dans la nuit profonde. maladroite à travers le monde sur des liés par l’immortelle popularité de d’énergie et de générosité et Notre décision d’ajouter une des pianos d’appartement. Mais à trois leur musique. surtout… de grande patience. Ils ont grandes fantaisies pour violes à un heures du matin… rien de plus 1999. Transcrire les œuvres de été des merveilleux compagnons de enregistrement consacré à l’œuvre de naturel. Messieurs Purcell et Gershwin était route; ensemble nous avons frémi Purcell que nous avions presque ter- Célébrissimes pour leurs un moment de grâce ainsi que l’é- devant ce monde jeune, passionnel, miné, nous fait travailler tard dans la musiques de théâtre, tous deux coute de superbes voix telles que de printemps éternel… Le monde de nuit. préféraient cependant leur musique Leontyne Price, Ella & Louis, Fred Purcell et de Gershwin. — comme les sons se transfor- «savante». Purcell couronne l’histoire Astaire et Judy Garland ou encore ment la nuit… de la «Fantaisie» au moment où celle- Klaus Nomi (dans une version éton- JAY BERNFELD Chaque nouvelle prise nous rend ci sonne son agonie, et qui d’autre nante de l’air du froid extrait du Roi plus téméraires — insouciants —, et que Gershwin pouvait faire briller des Arthur). Tout coulait de source. Je le motif initial prend une tournure formes fanées comme les valses, n’avais jamais soupçonné à quel résolument «moderne». impromptus et préludes. point les chansons de Gershwin

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«My time of day is the dark time… theater music, both composers found To obey the many rules deemed …when the smell of rain-washed pavement comes up sweet and fresh and cold greater satisfaction in their “serious” useful for the performance of old and the streetlamp light fills the gutter with gold.» work. Each left one landmark — music and still let shine the insolent FRANK LOESSER Purcell his Dido and Aeneas and youthful fervor of Purcell is rough Gershwin his singular labor of love work. To let go of these rules and find 3 a.m. Paris, Montparnasse: Each reprise makes us more Porgy and Bess. If London adored the Gershwin’s music is no easier. I would fabled haunt of Hemingway and his adventurous (reckless?) and the Orpheus Britannicus, New York like to toast (olive martinis all pack and still a center of Parisian opening motif takes a decidedly reveled in the infectious beat of its around) the workhouse musicians nightlife. modern turn. My musical memory golden boy, Gershwin. who have accompanied me on this Alcohol-sodden despair and the finds something quite Gershwin in Sadly, both composers were dead journey. Some are heard on this last flittings of the butterfly wings of Purcell’s theme. before their fortieth birthday leaving recording—others at earlier perform- hope walk side by side through deep Purcell and Gershwin? devoted and doting publics bereft. ances. All have been generous of time night. At first it seemed like the type of And how can one ignore the undying and energy—no, I haven’t forgotten A last minute decision to add one clumsy pianotop cohabitation that popularity shared by the two! patience! of the great viol fantasies to a record- keeps plaster busts of Mozart in eter- The truth is I was stunned at just All have been the grandest of ing devoted to Purcell has us working nally uneasy company with plaster how well I knew Gershwin, perhaps company and the best of friends with late. To capture the viol’s throaty res- Tchaikovskys, but my 3 a.m. state of better than the arty old music whose whom to share the first blush of onance and the fantasy’s intricate mind had already begun searching study I had undertaken as a viol play- genius, a world of eternal spring- polyphony many microphone checks the parallels between the two: er. These songs, in a way, were the time… are necessary, and so we play the I had already picked up on the soundtrack of my life. My ears filled …The world of Purcell and opening bars over and over again, similarity in their melodic and har- with snippets of Foggy Day, The Man Gershwin savoring the imprint of those first monic styles (both were renowned I Love, But Not For Me—songs I never notes on the night air—how sound for their harmonic daring though knew. And those voices! Fred Astaire, JAY BERNFELD seems changed at night, somehow separated by hundreds of years!). Garland, Sinatra, Ella & Louis, more charged! Justly famous for their brilliant Gertrude Lawrence and Leontyne Price!

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RINAT SHAHAM

inat Shaham est une nouvelle figure éclatante inat Shaham is a glowing new presence on the vocal scene, an R de la scène vocale, une artiste à l’aise dans une R artist at home in a multitude of genres. Following a 1994 debut as multitude de genres. Suite à ses débuts en 1994 Zerlina, Miss Shaham has been heard as Cherubino (Nozze di Figaro) and dans le rôle de Zerlina, on a pu l’entendre en Idamante (Idomeneo) and has performed in Poulenc’s La Voix Humaine Cherubino (Nozze di Figaro) et en Idamante and Rossini’s Viaggio a Reims. A gala performance designed by Hanae (Idomeneo), ainsi que dans des productions de La Mori and conducted by marked her debut with the Boston Voix Humaine de Poulenc et Viaggio a Reims de Symphony . Miss Shaham has appeared in Ravel’s L’Enfant et Rossini. Elle fit ses débuts avec l’Orchestre sym- les Sortilèges with the under the direction of phonique de Boston lors d’une soirée gala conçue Sir , with the and , and has par Hanae Mori et dirigée par Seiji Ozawa. recorded this work with Andre Previn and the London Symphony Madame Shaham a chanté dans L’Enfant et les Orchestra. In October 2000, she was chosen by maestro Kurt Masur to Sortilèges de Ravel avec la Philharmonie de Los interpret Bernstein’s Jeremiah Symphony with the New York Angeles sous la direction de Sir Simon Rattle, Philharmonic. l’Orchestre du Minnesota avec Eiji Oue, et a enregistré cette œuvre avec Miss Shaham was chosen to incarnate the title role in Purcell’s Dido Andre Previn et l’Orchestre symphonique de Londres. En octobre 2000, and Aeneas for the inaugural season of the Festival d’Art Lyrique d’Aix- elle a été choisie par Kurt Masur pour interpréter la Jeremiah Symphony en-Provence. Recitals as emissary of the Marylin Horne Foundation as de Bernstein avec la Philharmonie de New York. well as performances of baroque masters with Fuoco e Cenere have Madame Shaham a été choisie afin d’interpréter le rôle-titre dans been heard from coast to coast in the as well as Italy and Dido and Aeneas de Purcell pour la saison inaugurale du Festival d’Art . In 2001, Miss Shaham adds two major roles to her repertoire: Lyrique d’Aix-en-Provence. On a pu l’entendre partout aux États-Unis, Charlotte in Massenet’s at the Academy of Music, ainsi qu’en Italie et en France, dans des récitals sous l’égide de la Marylin and Bizet’s fiery heroine . Horne Foundation et dans des œuvres des maîtres baroques avec l’ensemble Fuoco e Cenere. En 2001, Madame Shaham ajoute deux rôles majeurs à son répertoire :Charlotte dans Wertherle de Massenet, au Philadelphia Academy of Music, et l’incandescente héroïne du Carmen de Bizet.

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FUOCO E CENERE JAY BERNFELD

abuleux et éternels, le feu et les cendres du phénix sont l’inspiration abulous and eternal, the phoenix is the inspiration of an ensemble F d’un ensemble voué à la magie de l’événement. F dedicated to magic and drama in music. Avec Jay Bernfeld, âme de l’ensemble, la viole de gambe est presque Fuoco e Cenere is exceptional not only in its choice of repertoire, toujours au rendez-vous, même dans des contextes surprenants, tels which spirals from medieval times to our own century, but foremost in une soirée consacrée aux musiques de Henry Purcell et George its desire to kindle passions and memories that outlast the concert Gershwin, ou encore dans une déclaration d’amour au chant comme experience. dans Seicento — Novecento, programme où se côtoient avec bonheur Guided by Jay Bernfeld, the da gamba is the pulse of the Puccini, Mascagni et Monteverdi. ensemble, frequently in surprising settings:the encounter of Purcell La singularité de Fuoco e Cenere ne se situe pas seulement dans son and Gershwin or Puccini and Monteverdi. répertoire, qui s’étend du Moyen Âge au début de ce siècle, mais surtout The interpretations of Fuoco e Cenere magnify image and expres- dans sa volonté de passionner son public, de lui laisser un souvenir bien sion of superb musical and poetic texts enabling them to shock the au-delà du concert. Ensemble d’interprètes, Fuoco e Cenere cherche à public by their beauty. restituer à des textes poétiques toute la grandeur des sentiments et des Fuoco e Cenere has participated frequently in France’s most presti- images, et à bouleverser par la beauté. gious festivals, particularly the Aix-en-Provence and Ambronnay Jeune ensemble, Fuoco e Cenere a fait ses premiers pas dans des fes- Festivals, and has appeared on such important European stages as the tivals français les plus prestigieux tels Aix-en-Provence, Ambronnay, Opera of Innsbruck and the Teatro Olimpico in Vincenza, Italy. The Saint Bertrand de Comminges et Saint-Guilhem-le-Désert, seul et aux ensemble has performed in and made its US debut in the summer côtés d’ensembles tels A Sei Voci et Capriccio Stravagante. L’ensemble of 2000. s’est également produit à l’Opéra d’Innsbruck et dans le Festival Voice of Music en Israël. Fuoco e Cenere a participé à des représentations de FUOCO e CENERE Jay Bernfeld • viole de gambe/viola da gamba La Dafne de Marco di Gagliano sur la scène légendaire du Teatro Carol Lewis • viole de gambe/viola da gamba Olimpico à Vicenza. Durant l’été 2000, l’ensemble a fait ses débuts américains dans le cadre du Early Music Festival of Amherst. Margaret Little • viole de gambe/viola da gamba Susie Napper • viole de gambe/viola da gamba Patricia Lavail • flûte à bec/recorder 10 11 Livret Fantasy 6/6/01 9:35 AM Page 11 JAY BERNFELD

ay Bernfeld est un violiste d’une rare ay Bernfeld is increasingly admired as a performer of great expres- J expressivité; son amour pour la voix et son J sivity on the viola da gamba. He is widely acclaimed as a soloist and admiration profonde pour la soprano italienne continuo player, and for his performances of ornamental and impro- Renata Tebaldi l’ont conduit à adopter une visatory styles. Award winning releases of Pièces de Violes by Antoine perspective nouvelle quant à l’exécution du Forqueray and François Couperin as well as the Folies d’Espagne of répertoire ancien. Il a agi en tant qu’assistant and a premiere recording of works by Johann Schenk have auprès du chef David Stern pour des productions received extravagant praise in the international press. des Nozze di Figaro de Mozart et du Dido and As a teenager Jay Bernfeld witnessed hundreds of live performanc- Aeneas de Purcell au Festival d’Aix-en-Provence et es of the great singers, foremost among them Renata Tebaldi.It is large- à l’Opéra de Rouen. Membre fondateur du ly due to his appreciation of the dramatic voice that he has developed a Cappricio Stravagante, ensemble avec lequel il a new perspective on the performance of earlier repertoires. He has fait des tournées et enregistré, il a dirigé avec Skip served as assistant conductor to maestro David Stern for productions of Sempé les Intermedii della Pellegrina ainsi que Mozart’s Nozze di Figaro and Purcell’s Dido and Aeneas at the festival La Dafne de Gagliano au Teatro Olimpico de Vicenza; sa production de d’Aix-en-Provence and at the Opéra de Rouen. With Skip Sempé and the Il Ritorno d’Ulisse in Patria de Monteverdi a été choisie pour inaugurer la Capriccio Stravagante, of which he is a founding member, he has direct- salle de concert Dimitri Mitropulos du Palais de la Musique d’Athènes. ed la Pellegrina and Gagliano’s Dafne at Vicenza’s Teatro Olimpico; his Il est reconnu comme soliste et comme spécialiste de la basse production of Monteverdi’s Ritorno d‘Ulisse in Patria was chosen to continue, des ornementations baroques et des improvisations. Ses inaugurate the Dimitri Mitropulos Concert Hall at the Athens Music enregistrements tels que les Pièces de viole d’Antoine Forqueray et de Palace. François Couperin, les Folies d’Espagne de Marin Marais, ainsi qu’en Devoted to the privileged association of voices and , the group première mondiale les Pièces de viole de Johannes Schenck, ont reçu de Fuoco e Cenere, which Mr. Bernfeld directs, has appeared at major festi- nombreuses récompenses de la presse internationale. vals in Europe, Israel, and the Americas. Le groupe Fuoco e Cenere, que dirige monsieur Bernfeld, se consacre à l’association privilégiée des voix et des violes. L’ensemble s’est produit lors de festivals importants en Europe, en Israël et dans les Amériques.

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5 Someone to watch over me George Gershwin

1 (Ira Gershwin, H. Dietz) Summertime There's a saying old, says that love is Although he may not be the man some George Gershwin blind; girls think of (DuBose Heyward, Ira Gershwin) Still we're often told, "Seek and ye shall As handsome, find." To my heart he carries the key. Summertime 2 I'm about to seek a certain lad I've had in And the livin’ is easy, “Cold Song” mind. Won't you tell him, please, to put on Fish are jumpin', Henry Purcell (John Dryden) Searching everywhere... haven't found some speed, And the cotton is high. him yet; Follow my lead, Oh yo’ daddy's rich, What power art thou, who from below He's the big affair I cannot forget; Oh, how I need An’ yo’ ma is good lookin', Hast made me rise unwillingly and slow Only man I ever think of with regret. Someone to watch over me. So hush, little baby, From beds of everlasting snow? Don’ yo’ cry. See’st thou not how stiff and wondrous I'd like to add his initials to my monogram. One of these mornin's old, Tell me, where is the shepherd for this You goin’ to rise up singin', Far unfit to bear the bitter cold, lost lamb? Then you’ll spread yo’ wings I can scarcely move or draw my breath? 8 An’ you’ll take to the sky. Let me, let me freeze again to death. There's a somebody I'm longing to see. But till that mornin' I hope that he turns out to be Strike the Viol There’s-a nothin' can harm you Someone who'll watch over me. Henry Purcell (Anonymous) With Daddy an’ Mammy Standin' by. I'm a little lamb who's lost in the wood; Strike the Viol, touch the Lute; I know I could always be good Wake the Harp, inspire the Flute: To one who'll watch over me. Sing your Patronesse's Praise, Sing, in cheerful and harmonious Lays.

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14 But12 Not For Me Oft she visits George Gershwin (Ira Gershwin) Henry Purcell (Nahum Tate)

Old Man Sunshine, listen, you! I was a fool to fall Oft she visits this lov’d mountain, 10 Never tell me “Dreams come true!” And get that way; Oft she bathes her in this fountain, Embraceable you Just try it, Heigh ho! Alas! and also Lackaday! Here Acteon met his fate; George Gershwin (Ira Gershwin) And I'll start a riot. Although I can’t dismiss Pursued by his own hounds, Beatrice Fairfax, don't you dare The memory of his kiss And after mortal wounds Embrace me, Ever tell me he will care; I guess he’s not for me. Discover’d too late My sweet embraceable you! I'm certain Here Acteon met his fate. Embrace me, It's the final curtain. He's knocking on a door, You irreplaceable you! I never want to hear But not for me; Just one look at you, From any cheer- He'll plan a two by four, 16 My heart grew tipsy in me; ful Pollyannas, But not for me. Who tell you fate A foggy day You and you alone George Gershwin Bring out the gypsy in me! Supplies a mate, I know that love's a game; I love all It's all bananas! I'm puzzled, just the same (S.K. Lauren, Pagano, P.G.Wodehouse) The many charms about you; Was I the moth or flame? A foggy day in London Town Above all, They're writing songs of love, I'm all at sea. Had me low and had me down. I want my arms about you. But not for me; I viewed the morning with alarm. Don't be a naughty baby A lucky star's above, It all began so well, The British Museum had lost its charm. Come to papa, come to papa, do! But not for me. But what an end! How long, I wondered, could htis thing My sweet embraceable you. With love to lead the way, This is the time a fell- I've found more clouds of gray er needs a friend, last? Than any Russian play But the age of miracles hadn´t passed, Could guarantee. When ev'ry happy plot For, suddenly, I saw you there— Ends with the marriage knot And through foggy London Town And there's no knot for me. The sun was shining ev’rywhere.

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20 My man's gone now George Gershwin (DuBose Heyward, Ira Gershwin)

My man's gone now, ain' no use a-listenin' for his tired footsteps 22 climbin' up de stairs. Ah... Dido’s Lament Ol' Man Sorrow's Henry Purcell (Nahum Tate) come to keep me comp'ny, whisperin' beside me When I am laid in earth, may my wrongs when I say my prayers. Ah... create Ain' dat I min' workin', No trouble in thy breast. work an' me is travelers Remember me, but ah! forget my fate. journeyin' togedder to de promise land. But Ol' Man Sorrow's marchin' all de way wid me tellin' me I'm ole now since I lose my man. Ol' Man Sorrow sittin' by de fireplace, lyin' all night long by me in de bed. Tellin' me de same thing mornin’, noon an' eb'nin', that I'm all alone now since my man is dead. Ah... Enregistrement et réalisation / Recorded and produced by:Johanne Goyette Église Saint-Augustin, Saint-Augustin de Mirabel (Québec) Since my man is dead! 7, 8, 9 août 2000 / August 7, 8, 9, 2000 Adjoints à la production / Production assistants:Valérie Leclair, Jacques-André Houle Graphisme / Graphic design:Diane Lagacé

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