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GIOACHINO ROSSINI La Gazza Ladra María José Moreno Kenneth Tarver Lorenzo Regazzo Bruno Praticò Mariana Rewerski Giulio Mastrototaro Luisa Islam-Ali-Zade

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GIOACHINO ROSSINI La Gazza Ladra María José Moreno Kenneth Tarver Lorenzo Regazzo Bruno Praticò Mariana Rewerski Giulio Mastrototaro Luisa Islam-Ali-Zade GIOACHINO ROSSINI La gazza ladra María José Moreno Kenneth Tarver Lorenzo Regazzo Bruno Praticò Mariana Rewerski Giulio Mastrototaro Luisa Islam-Ali-Zade Classica Chamber Choir, Brno Virtuosi Brunensis Alberto Zedda Gioachino CD 1 73:18 Atto II 1 Sinfonia: 5 Recitativo: In quell’orrendo carcere 2:16 Maestoso marziale – Allegro 9:24 (Antonio, Ninetta, Giannetto) ROSSINI 6 No. 10 Duetto: Forse un dì conoscerete 4:53 (1792-1868) Atto I (Ninetta, Giannetto) 2 No. 1 Introduzione: Oh che giorno fortunato! 3:00 7 O mio signor, partite 3:45 (Coro, Pippo) (Antonio, Giannetto, Ninetta) 3 Marmotte, che fate? 4:09 8 Recitativo: Antonio? Conducetemi 1:40 La gazza ladra (Lucia, Pippo, Fabrizio, Coro) (Podestà, Ninetta) Melodramma in due atti di Giovanni Gherardini 4 Là seduto 2:34 9 No. 11 Aria: Sì, per voi, pupille amate 6:59 after La pie voleuse by Théodore Badouin d’Aubigny and Louis-Charles Caigniez (Fabrizio, Pippo, Lucia, Coro) (Podestà, Ninetta, Coro, Antonio) 5 Recitativo: Oh cospetto! 1:22 0 Recitativo: Podestà, Podestà! 1:54 (Fabrizio, Lucia, Pippo) (Antonio, Pippo, Ninetta) 6 No. 2 Cavatina: Di piacer mi balza il cor 6:18 ! No. 12 Recitativo e Duetto: Fabrizio Vingradito, ricco fittaiuolo ........................................Giulio Mastrototaro, Bass (Ninetta) Deh pensa che domani 5:04 7 Lucia, moglie di Fabrizio ...................................... Luisa Islam-Ali-Zade, Mezzo-soprano Recitativo: Prendi queste posate 0:43 (Ninetta, Pippo) (Lucia, Ninetta, Fabrizio) @ A mio nome, deh, consegna 4:16 Giannetto, figlio di Fabrizio, militare ............................................Kenneth Tarver, Tenor 8 No. 3 Cavatina: Stringhe e ferri da calzette 1:10 (Ninetta, Pippo) (Isacco) # No. 13 Scena ed Aria: Chi è? Fernando! 1:39 Ninetta, serva in casa di Fabrizio ...................................... María José Moreno, Soprano 9 Recitativo: Oh, senti il vecchio Isacco 0:45 (Lucia, Fernando) (Pippo, Isacco, Ninetta) $ Accusata di furto… 4:53 Fernando Villabella, padre della Ninetta, militare ...........................Bruno Praticò, Bass 0 No. 4 Coro e Cavatina: Ma qual suono! – (Fernando) Gottardo, Podestà del villagio .................................................... Lorenzo Regazzo, Bass Vieni fra queste braccia… 6:45 (Ninetta, Pippo, Coro, Giannetto) CD 3 47:29 Pippo, giovine contadinello al servigio di Fabrizio ................... Mariana Rewerski, Alto ! No. 5 Brindisi: Tocchiamo, beviamo 4:13 1 No. 14 Recitativo, Coro e Quintetto: (Pippo, Coro) A pieni voti è condannata 2:24 Isacco, merciaiuolo .........................................................................Stefan Cifolelli, Tenor @ Recitativo: Ninetta, tien l’occhio a tutto 1:00 (Pretore, Giannetto, Fabrizio) (Lucia, Pippo, Ninetta, Fernando) 2 Tremate, o popoli 4:35 Antonio, carceriere ...................................................................... Pablo Cameselle, Tenor # No. 6 Recitativo e Duetto: (Coro, Pretore) Ieri, sul tramontar del sole 2:02 3 Ahi qual colpo! 4:01 Giorgio, servo del Podestà .....................................................Maurizio Lo Piccolo, Bass (Fernando, Ninetta) (Ninetta, Giannetto, Fabrizio, Podestà, Pretore, Coro) Il pretore del villagio..................................................................... Damian Whiteley, Bass $ Come frenar il pianto! 7:38 4 Ah no! Fermate! 3:17 (Ninetta, Fernando) (I medesimi, Fernando) % No. 7 Cavatina: Il mio piano è preparato 4:59 5 Che abisso di pene! 3:35 (Podestà) (I medesimi) Gianni Fabbrini, Fortepiano ^ Recitativo: Buon giorno, bella fanciulla 2:38 6 Sino il pianto 3:54 Classica Chamber Choir, Brno • Chorus-master: Pavel Koňárek (Podestà, Ninetta, Giorgio, Fernando) (I medesimi) & No. 8 Scena e Terzetto: M’affretto di mandarvi 6:02 7 Recitativo: Ora mi par che il core 0:26 Virtuosi Brunensis (Karel Mitáš, Artistic Director) (Ninetta, Podestà, Fernando) (Lucia) * Siamo soli 5:26 8 No. 15 Aria: A questo seno 3:54 Alberto Zedda (Podestà, Ninetta, Fernando) (Lucia) ( 9 Music assistant: Gianni Fabbrini Non so quel che farei 3:08 Recitativo: Ora che nel castagno 1:02 (Ninetta, Podestà, Fernando) (Pippo, Giorgio, Antonio) 0 Recorded live at the Kurhaus Bad Wildbad, Germany, 1st, 2nd and 4th July 2009 No. 16 Finale II: Infelice, sventurata 3:48 CD 2 59:25 (Coro, Ninetta) for the XXI ROSSINI IN WILDBAD Festival (Artistic director: Jochen Schönleber) 1 ! A Co-production with Südwestrundfunk Recitativo: Stringhe e ferri da calzette 5:03 Or guidatemi alla morte 3:30 (Isacco, Ninetta, Lucia, Podestà, Giannetto, (Ninetta, Coro) Fabrizio, Pippo) @ Critical edition by Alberto Zedda (Universal Music Publishing, Ricordi S.r.l., Milano) Giorgio, Giorgio! Oh me felice! 5:08 2 No. 9 Finale I: In casa di Messere 6:11 (Pippo, Antonio, Giorgio, Giannetto, Fabrizio, (Podestà, Giannetto, Ninetta, Fabrizio, Lucia, Pippo) Lucia, Podestà, Coro) 3 Isacco chiamaste 6:50 # Queste grida di letizia 3:20 (I medesimi, Isacco) (I medesimi, Ninetta, Fernando) 4 In prigione costei sia condotta 4:01 $ Ecco cessato il vento 4:35 (I medesimi, Coro) (Ninetta, Giannetto, Fernando, Pippo, Podestà, Coro) Gioachino Rossini (1792-1868): The plot is based on a real incident and seems too weak Louis-Charles Caigniez, which was performed for the first time on a basis for the enormous musical edifice that Rossini builds on 25th April 1815 at the Théâtre de la Porte Saint-Martin in Paris. La gazza ladra it. But the addition of fairytale-like and naturalistic elements, In chapter XXII of his Vie de Rossini (Life of Rossini) Stendhal An introduction the contrasts between the tragic and the comic into a beautiful the elevation of insignificant details in symbolic situations, the mentions that the poor innocent maidservant was hanged in sparkling diamond, yet this fusion does not really happen: not presence of dark forces and the marked contrast of exemplary Palaiseau and adds that, to commemorate this miscarriage of Whenever Rossini reaches an important turning-point in until opera semiseria, of which La Cenerentola is a precursor, feelings create a meaningful genre characteristic. The struggle justice, a mass, the so-called Magpie Mass, was inaugurated. his artistic development he composes a “special” opera will Rossini succeed in achieving the notional fusion of genres. between good and evil is enriched by many-faceted emotions. In order to understand such a punishment, which is out of all which takes up all the diverse experiences that preceded Without doubt, of his semi-serious operas, La gazza ladra The tragic atmosphere, already conveyed in the overture by proportion to the crime of which the person is accused, one the occurrence of the idea and marks it with the particular comes closest to the intended ideal. The comic element confers the menacing snare-drum, is tempered by the melancholy should bear in mind that the story is set in the darkest time of the characteristic of unusual length. Three operas with such lasting plausibility on the feelings of the characters and so humanizes which accompanies Ninetta’s thwarted love for Giannetto and Napoleonic counter revolution, in which the death penalty was significance tower above all others: Semiramide, Guillaume the story in order to impart (to it) the semblance of real life. Pippo’s gentle and secret enthusiasm. The emotional drama, intended even for trifles. Tell (William Tell) and La gazza ladra (The Thieving Magpie) Through the device of shifting the story into the world of ordinary emphasized by the powerful orchestral recitatives, in which From its very first performance La gazza ladra was a huge which, apart from their scale, display another common feature, people (a popular feature of comic opera) Rossini manages to Fernando’s fear is clearly expressed, also leaves room for the success. Even though it was produced at the end of the season the dispensing with self-borrowing, otherwise such a frequent create characters who behave in a realistic and convincing way, comic, with which the arrogance of power, as well as the passive 27 further performances were given following the première, on characteristic. Semiramide, which encapsulates and completes without assuming any idiosyncrasies of verismo. These artistic attitude of society, are castigated. Giovanni Gherardini’s libretto, 31st May 1817 in Milan. According to tradition Rossini himself the “Apollonian” group of opere serie begun with Tancredi, results in La gazza ladra allow us quickly to forget notions of a competent literary work with seasoned dramatic skill, depicts a took his place at the harpsichord for the first three performances; marks Rossini’s final withdrawal from Italian operatic life. genre and instead to admire a great tragic opera which has story in which the lieto fine, brought about by a happy accident, the principal rôles were taken by the most famous singers of the Guillaume Tell represents the type of “Dionysian” opera, begun a happy ending. For the most part it is a “dramma giocoso” does not allow us to forget the underlying pessimism. day: Teresa Giorgi-Belloc (Ninetta), Savino Monelli (Giannetto), in Naples and then taken up in Paris, which makes a feature of like Don Giovanni, an opera which Rossini loved, and which Initially, Gherardini had submitted a first version of the libretto, Filippo Galli (Fernando), Antonio Ambrosi (Podestà) and Teresa the urge for exploration of new ground and experimentation and embodies a comic subject with a tragic dénouement. highly praised by Vincenzo Monti, with the title Avviso ai giudici (A Gallianis (Pippo). Rossini himself was thrilled by his opera
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