CHAN 3097 Book Cover.qxd 11/4/07 2:32 pm Page 1 THE THIEVING CHAN 3097(2) CHANDOS O PERA IN ENGLISH MAGPIE CHAN 3097(2) PETER MOORES FOUNDATION CHAN 3097 BOOK.qxd 11/4/07 2:35 pm Page 2

Gioachino Rossini (1792–1868) The Thieving Magpie Melodramma in two acts Libretto by Giovanni Gherardini after La Pie vouleuse, by J.M.T. Badouin and

Lebrecht Collection Lebrecht Louis-Charles Caigniez English translation by Jeremy Sams Fabrizio Vingradito, a rich farmer ...... Jeremy White bass Lucia, his wife...... Susan Bickley mezzo-soprano Giannetto, their son, a soldier...... Barry Banks tenor Ninetta, a servant in their house...... Majella Cullagh soprano Fernando Villabella, Ninetta’s father, a soldier...... Russell Smythe baritone Gottardo, the village mayor ...... Christopher Purves baritone Pippo, a young peasant, in Fabrizio’s service...... Nerys Jones mezzo-soprano Isacco, a pedlar ...... John Graham-Hall tenor Antonio, the jailer ...... Stuart Kale tenor Giorgio, the mayor’s servant...... Toby Stafford-Allen baritone Ernesto, friend of Fernando, a soldier...... Nicholas Garrett bass Judge...... Darren Jeffery baritone { Philip Tebb bass Clerk ...... Daniel Slater Magpie ...... Prunella Scales

Geoffrey Mitchell Choir Gioachino Rossini Philharmonia Orchestra Gareth Hancock and Philip Walsh assistant conductors David Parry 3 CHAN 3097 BOOK.qxd 11/4/07 2:35 pm Page 4

COMPACT DISC ONE Time Page Time Page

Overture (8:58) 14 ‘Goodbye for now, my darling’ 1:08 [p. 104] 1 Maestoso marziale – 2:23 [p. 100] Giannetto, Ninetta, Lucia, Fernando 2 Allegro 6:35 [p. 100] 15 ‘Yesterday, just as the sun was setting’ 1:51 [p. 105] Fernando, Ninetta Act I (70:56) 16 ‘I can be strong no longer’ 2:39 [p. 105] Scene 1 Ninetta, Fernando 3 ‘What a day of celebration’ 2:39 [p. 100] 17 ‘Oh, daughter, let me embrace you’ 5:31 [p. 105] Servants, Pippo, Magpie Fernando, Ninetta 4 ‘Get moving – do something’ 4:07 [p. 100] 18 ‘Good morning, my pretty lady’ 2:01 [p. 106] Lucia, Pippo, Servants, Fabrizio, Magpie Mayor, Ninetta, Giorgio, Fernando 5 ‘I can see my beloved Giannetto’ 2:12 [p. 102] 19 ‘THIS IS MOST URGENT’ 2:27 [p. 107] Fabrizio, Lucia, Pippo, Servants 20 ‘Thank heavens!’ 3:21 [p. 108] 6 ‘Oh, my heart is full of joy!’ 3:05 [p. 102] Ninetta, Mayor, Fernando 7 ‘Spring is returning’ 3:15 [p. 102] 21 ‘We’re alone here’ 5:08 [p. 109] Ninetta Mayor, Ninetta, Fernando 8 ‘Dearest Ninetta, today’s a special day!’ 0:59 [p. 102] 22 ‘Such madness and confusion’ 2:14 [p. 110] Fabrizio, Ninetta, Lucia Fernando, Ninetta, Mayor 9 ‘Penknives and needles, leather patches’ 1:09 [p. 103] Isacco Scene 2 10 ‘I thought so, it’s old Isacco’ 0:29 [p. 103] 23 ‘Penknives and needles, leather patches’ 3:20 [p. 111] Pippo, Isacco Isacco, Ninetta, Pippo, Lucia, Mayor, Giannetto, Fabrizio, Magpie 11 ‘What’s that shouting?’ 1:21 [p. 103] 24 ‘This morning in the house of Fabrizio Vingradito’ 6:08 [p. 113] Ninetta, Servants, Villagers, Pippo Mayor, Giannetto, Ninetta, Fabrizio, Lucia, Pippo 12 ‘Darling! Darling, let me embrace you’ 2:24 [p. 104] 25 ‘Did somebody want me?’ 2:04 [p. 115] Giannetto, Villagers, Servants Isacco, Mayor, Giannetto, Lucia, Pippo, Fabrizio, Ninetta 13 ‘Yes, even in the battle’ 2:35 [p. 104] 26 ‘Grief and calamity tumble around me’ 5:14 [p. 116] Giannetto, Villagers Ninetta, Lucia, Pippo, Mayor, Giannetto, Fabrizio

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Time Page Time Page

27 ‘Someone is coming’ 0:29 [p. 116] 7 ‘Just think that tomorrow, even today’ 0:37 [p. 123] Giannetto, Ninetta, Lucia, Pippo, Fabrizio 8 ‘No, no, I beg you to take it’ 5:43 [p. 123] 28 ‘Take this girl away and throw her into prison!’ 3:06 [p. 117] 9 ‘Lest my darling should forget me’ 3:24 [p. 123] Mayor, Giannetto, Ninetta, Lucia, Pippo, Fabrizio, Servants, Ninetta, Pippo Villagers, Isacco 10 ‘By unanimous verdict – we find her guilty’ 3:06 [p. 124] TT 79:58 Judge, Giannetto, Fabrizio 11 ‘The wheels of justice will crush the guilty’ 4:40 [p. 124] Court 12 ‘Most unhappy of women, your fate is in the balance’ 0:39 [p. 124] COMPACT DISC TWO Judge, Ninetta 13 ‘God protect her!’ 3:19 [p. 125] Act II (71:04) Giannetto, Fabrizio, Mayor, Ninetta Scene 1 14 ‘But, your Honours, you’re mistaken’ 1:24 [p. 125] 1 ‘She’s shut up in that dark and dismal dungeon’ 2:15 [p. 119] Giannetto, Fabrizio, Mayor, Court, Ninetta, Judge, Fernando Antonio, Ninetta, Giannetto 15 ‘Release her!’ 3:14 [p. 126] 2 ‘Maybe one day you’ll forgive me’ 5:34 [p. 119] Fernando, Ninetta, Giannetto, Fabrizio, Mayor, Court Ninetta, Giannetto 16 ‘A chasm of sorrow is yawning before me’ 3:46 [p. 126] 3 ‘You’d better go, and quickly’ 1:21 [p. 120] Ninetta, Giannetto, Fabrizio, Mayor, Fernando, Court Antonio, Giannetto, Ninetta, Mayor 17 ‘If I cried, I would weep forever’ 3:42 [p. 128] 4 ‘You’re so lovely, your eyes are sparkling’ 3:44 [p. 120] Ninetta, Giannetto, Fernando, Fabrizio, Mayor, Court Mayor, Ninetta, Villagers 5 ‘When you hear the sentence’ 3:21 [p. 121] Scene 2 Mayor, Villagers, Ninetta, Court 18 ‘What a dump of a village!’ 1:37 [p. 128] 6 ‘Mr Mayor, Mr Mayor – what are you up to?’ 0:59 [p. 122] Ernesto, Pippo, Giorgio, Antonio Antonio, Pippo, Ninetta

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Time Page

19 ‘Bitter torment burns within you’ 2:06 [p. 129] Villagers Keith Saunders Keith 20 ‘God in heaven, Oh, God of justice’ 5:26 [p. 129] Ninetta, Villagers 21 ‘Giorgio! Giorgio! Ah, we’re so happy!’ 2:36 [p. 129] Pippo, Antonio, Giorgio, Giannetto, Lucia, Fabrizio, Villagers, Mayor 22 ‘Oh, God preserve us’ 1:06 [p. 130] Lucia, Mayor 23 ‘We can see her, she is coming!’ 1:14 [p. 120] Pippo, Antonio, Villagers, Mayor, Giorgio, Lucia, Giannetto, Fabrizio 24 ‘Though I hear your cries of gladness’ 3:29 [p. 131] Ninetta, Lucia, Giannetto, Fabrizio, Fernando, Pippo, Villagers, Mayor, Fernando, Antonio 25 ‘Now that the storm is over’ 2:39 [p. 132] Ninetta, Lucia, Antonio, Fabrizio, Villagers, Mayor, Pippo, Giannetto, Fernando TT 71:04

Majella Cullagh as Ninetta and Christopher Purves as the Mayor in Garsington Opera’s production of The Thieving Magpie

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inessential ones seem to coincide. The major Giannetto, the prolonged ‘I must hurry The Thieving Magpie: A Version omissions are: the first aria of the mayor, a away/you must hurry away’ of the final fast conventional entrance aria which simply section, which seemed to us comic in an The version of Rossini’s The Thieving Magpie We started with these tenets: the recitatives weakens the impact of the character’s first unconstructive way at such a serious juncture (La gazza ladra) presented in this recording is with piano, which are probably by a pupil of appearance; the Act Two aria of Fernando, in and is only mildly interesting as music; and a based on the production which Daniel Slater Rossini and are certainly musically inferior, which he resolves to go to his daughter’s aid, brief cut in the final section of the duet of (director) and I made for Garsington Opera in could be radically cut to provide a tight ‘book’; again an aria which is musically uninteresting, Ninetta and Pippo from the same act. 2002. We had two aims: to present a tight and the musical numbers which we performed composed, one would imagine, simply because The aim, both at Garsington and for this viable theatrical event and to retain the very would, for the most part, be given without such a major rôle (and, therefore, major artist) recording, was to reveal to the audience the best music. The opera, performed complete, is cuts; and we would select, as far as possible, was expected to be given an aria, and which essential core of what is a masterpiece of very long: it seems that audiences in Rossini’s the musically superior and the dramatically weakens the impact and the element of that generosity of the human spirit which day were used to more leisurely evenings in essential pieces. surprise at Fernando’s appearance in the trial Rossini is able to convey so vividly. The the theatre than modern audiences are. Several I have always felt strongly that it is a scene immediately following it; finally, Lucia’s combination of humour and seriousness in the of his operas, especially the serious operas, are mistake to try to reduce operas of the early aria, which is in every way dull. We did make work somehow encapsulates his range and, for almost unfeasibly long and tend to sprawl nineteenth century to an acceptable length by two carefully considered internal cuts: in the me, the opera is one of his greatest dramaturgically. The Thieving Magpie is performing all the musical numbers with a opening duet of Act Two for Ninetta and achievements. described as Opera semi-seria, which is to say great many short internal cuts. This is an that, although it contains comic elements, it is attempt somehow to give a taste of each one; © 2003 David Parry to be taken as a serious drama. Indeed, the but it seems to me to destroy the pacing and story would end tragically but for the post- undermine the impact of the climaxes, an Enlightenment equivalent of the appearance of unsettling experience for the audience, and at a deus ex machina in the form of the king’s the same time fails to make the whole work representative. It seemed to us, though, that, seem shorter: indeed, often it will seem longer despite the apparent unwieldiness of the because it is most common to cut repetitions dramatic structure of the opera, it is of final fast sections, with the result that there fundamentally an important and theatrically is a false preponderance of slow music. viable and engaging drama which it was our So we opted to omit entire numbers. Our job to present in a form which a modern choices were eased by the fact that the weak audience would recognise and enjoy. musical numbers and the dramatically

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a most beautiful subject and I hope (God The Italians were less hidebound. With Rossini: The Thieving Magpie willing) we’ll be able to create a Fine Fiasco. dozens of Italian opera houses looking to stage The ‘beautiful subject’ was taken from an two or three new operas a season, plausible When Rossini’s friend, the novelist Honoré de its principal characters an army deserter and actual occurrence in which a French peasant storylines were a valued commodity. Nor was Balzac first heard La gazza ladra in Paris in which has in its final act a march to the girl was convicted and hung for thefts later Italian intellectual opinion averse to dabbling in 1821, he surrendered himself to the scaffold, surely has some right to the discovered to have been the work of a thieving the stuff of popular literature. The ‘newcomer’ experience. ‘The man smells of drink!’ crowed occasional ‘warlike accompaniment’. The fact magpie. The event had stimulated a substantial Giovanni Gherardini (1778–1861), the man a woman in the seat behind him, but Balzac – is, Mount Edgcumbe disliked noise. To him, body of fiction, including a so-called mélo- who turned La Pie voleuse into an Italian opera who had, indeed, taken the precaution of and other like-minded English amateurs, historique or mélodrame de boulevard entitled libretto, was very grand indeed. A doctor by drinking a bottle of wine and smoking two Rossini was the Heavy Metal of his age. La Pie voleuse which Théodore Badouin training, but a poet, translator and philologist cigars prior to turning up at the Théâtre At the first performance in Milan on d’Aubigny and theatre-manager Louis-Charles by inclination, he earned his living as editor-in- Italien – was able to ignore her jibe. Rossini’s 31 May, 1817, the audience had thrilled to the Caigniez (‘the Racine of the boulevards’) chief of the Giornale Italiano, the Kingdom of music was his new intoxicant. overture’s opening summons on the snare- had staged at Paris’s Théâtre de la Porte Italy’s official newspaper, a position to which he How very different things were on the other drum and the imposing maestoso marziale Saint-Martin in April 1815. Rossini’s had been appointed in 1806 at the age of side of the Channel. When that most which follows. What that first-night audience French biographer, Stendhal, was quick twenty-eight. conservative of English music-lovers, Lord could not have known, however, was how well to sneer: It is an earnest of Gherardini’s artistic and Mount Edgcumbe, heard the opera in tailored the overture was to the events which And to make matters worse, it would seem that intellectual curiosity that his reworking of London earlier that same year, he grizzled and were about to unfold on stage. This was not this disgusting little anecdote is based on reality; La Pie voleuse (pompously retitled A Warning groused: one of Rossini’s famous self-borrowings – a a poor servant girl was in fact hanged at to the Judges) was prepared as a submission to a Its finales and many of its numerous pezzi previously written piece dug out of his Palaiseau and in her memory a Mass, later to be libretto-writing competition organised by concertarti are uncommonly loud, and the lavish portmanteau at the dress-rehearsal – but a known as The Magpie Mass was instituted. La Scala, Milan in 1816. He didn’t win. The use made of the noisy instruments appears to my bespoke composition, several of whose themes Stendhal’s remark reflects the more or less 1000 Austrian Lire first prize (about £800 in judgment singularly inappropriate to the subject, recur in the main body of the opera. unbridgeable gap which existed in France at today’s money) went to a rising young star of which though it might have been rendered In a letter to his mother written at the time the time between these melodramatic plays the Italian theatre, Felice Romani. However, touching, is far from calling for such warlike of the Milan commission in March 1817, with music to which the middle and lower La Scala’s plan to offer the libretto to Rossini accompaniments. Rossini remarked: classes flocked in their thousands, and works quickly ran into trouble. After an exchange of One wonders what Mount Edgcumbe I’m writing an opera The Thieving Magpie. The staged at the Paris Opéra which were the letters in the winter of 1816–17 between imagined the work to be about. An opera, set story’s been versified by a newcomer and as a preserve of the aristocracy and the haute Rossini and Angelo Petracchi, the impresario in a time of revolution, which includes among consequence I’m being driven crazy; however, it’s bourgeoisie. of La Scala, the Gherardini was chosen. We

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know from a letter written by one of the the opera and an obvious variant of the Filippo Galli as Fernando, and designs were than Rossini’s revolutionary resort to plain judges, Romani’s mentor, Vincenzo Monti, Cinderella archetype in which Rossini was commissioned from Alessandro Sanquirico, speech. Perhaps it is not surprising that La that the Gherardini had been well thought of clearly interested. (Negotiations with La Scala one of the most innovative designers of the gazza ladra’s return to the stage in the 1940s by the panel – not least for its orderliness at a over La gazza ladra coincided with his writing age. His setting for the Tribunal Scene was and ’50s owed a good deal to a free-wheeling time when, according to Monti, libretti were and rehearsing La Cenerentola for Rome’s particularly imposing. adaptation (Pesaro, 1941) by Riccardo threatening to become little more than Teatro Valle.) Ninetta herself is surrounded by There are times when by recognising its Zandonai, an avant-garde verismo composer ‘monstrous coagulations of nothing but a bevy of minor characters, including the roots in French mélodrame, La gazza ladra whose tastes turned towards the end of his life senseless words’. servant-boy, Pippo, and the pedlar, Isacco, ends up anticipating the Italian verismo style. to Rossini-inspired neoclassicism. Gherardini’s orderliness was a particular whose whining cavatina provoked Stendhal Ninetta herself is precisely the kind of sweet, In most other respects, La gazza ladra is an virtue in the case of the story of La gazza into inveighing against Polish Jews in terms wronged woman we might expect to find in opera formulated on classical lines. There are ladra. Like Dickens’s The Pickwick Papers, which nowadays would have him locked up. one of Puccini’s operas; and it is she who is no flights of musicological fancy for the which also marries high-spirited adventure (Trabuco in Verdi’s La forza del destino is an central to one of the opera’s most striking eponymous magpie, nor are Rossini’s own with prison scenes of unusual grimness, it obvious descendent of Isacco.) There is also sequences. In Act One, with Ninetta and her forms – duets, trios, set-piece finales and the provides us with a wide range of characters, the striking figure of Ninetta’s father, Fernando father standing before him, the Mayor receives like – sacrificed to short-term considerations sympathetically, sentimentally, and Villabella, an army deserter, though through a letter which provides a full description of the of realism. With the Mayor imminent, Ninetta occasionally quirkily drawn. The story centres no fault of his own. One can only guess at the army deserter. As he has left his spectacles and her father still have their cabaletta; an on a country community, subject to the king impression the humbling of this powerful and behind, the Mayor asks Ninetta to read the expression as much of Rossini’s instinct for but dominated by its bustling, sadistic mayor, compassionate man made on Rossini when he description, which she does – speech over a order as for any lazy compliance with the a kind of rustic Scarpia. At the heart of the read the libretto. His own father, a voluble simmering orchestral accompaniment – forms he himself had helped initiate. community are the genial, wine-bibbing republican as honest as the day was long, had altering it as she reads. Alexander Pushkin, Throughout the opera, it is through the music tenant farmer, Fabrizio Vingradito, his wife, been arrested and imprisoned by the Austrians who saw La gazza ladra in Odessa in itself – through rhythm in particular – that Lucia, and their son, Giannetto, recently in Bologna in 1800. 1823–24, has a more or less identical scene in feelings of ecstasy, liberation, confusion or returned from the wars. (Monti thought the The scale on which Rossini was now his play Boris Godunov, where the False entanglement are expressed. When the kindly role of Giannetto undercharacterised – ‘one building his music-dramas allowed him to set Dmitry avoids arrest by altering the details of jailer, Antonio, tries to part Ninetta and might perhaps wish for a bit more resolution Gherardini’s text in a manner grand enough to an arrest warrant which an illiterate guard has Giannetto lest the Mayor should discover and military zeal’ – a criticism with which it is match even La Scala, Milan’s heightened given him to read. Mussorgsky included the Antonio’s having allowed Ninetta a few difficult to disagree.) expectations. The house itself reciprocated by scene in his opera Boris Godunov, though it moments outside her cell, the situation is Giannetto plans to marry the demure and sparing no expense on the production. A has to be said that his declamatory setting of identical to that in Act Two of The Barber of charming servant-girl, Ninetta, the heroine of distinguished cast was assembled, headed by the letter-reading is a good deal less effective Seville where Figaro is reduced to sly mockery

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of the dallying lovers. Not only is the scene and bewitchingly rustic, the realistic and pizzicato strings, horns and clarinets Perticari and Antaldo Antaldi. In it, from La gazza ladra bereft of comedy, the very idealistic elements fused in a way which must smorzando. he confirms that he is trying to engage the motion of the rhythms and the militaristic have struck Rossini as the ideal embodiment The discovery of the magpie’s nest of services of two stars of the Naples Opera, ostinato which underpins the lovers’ voices tell of his musical and dramatic vision. treasures and Ninetta’s last-minute reprieve Colbran and Nozzari, with a view to staging his an altogether grimmer tale. Those looking for the sounding of a deeper make for a jubilant close. It may not be as newest Neapolitan opera, Armida. The The portrait of the Mayor is similarly note can look to Ninetta’s relationship with stirring as the end of Beethoven’s Fidelio but it negotiations drag on for two months during controlled. First impressions are of a comic her father. Like Verdi, Rossini was easily brings to a triumphant conclusion an opera which time it becomes clear that Pesaro can character but these are modified in the great stirred by the emotion of parental love and in which celebrates – as do all Rossini’s mature neither afford such celebrities nor give any clear Trio which follows the letter-reading. Later, in La gazza ladra it is Fernando who gives the masterpieces, buffa or semiseria – the bonds of indication as to when they will be required. the prison scene in Act Two, as the Mayor is opera much of its fundamental power and human affection and the resilience of the Eventually, La gazza ladra is chosen, though called away to the tribunal, the overture’s appeal. His Act One duet with Ninetta and his human spirit in the face of a disorderly world. this proves almost as difficult to cast and even second subject – snare-drum to the fore – intervention in the trial scene are pointers to more expensive to stage, not least because colours the stretta in a way which is both the kind of thing we shall hear in middle- * * * * * * * Rossini is insisting on employing not only brilliant and threatening. period Verdi. The huge success of La gazza ladra in Milan in Sanquirico, but his even more famous teacher, It is sometimes said that Ninetta is too Rossini’s move to Naples in 1815 had 1817 produced a most interesting after-effect: a Paolo Landriana, to oversee the designs. palely drawn, but this is to miss her artlessness drawn him to serious subjects and grand production of the opera, supervised by Rossini When a plea to his old friend Rosa Morandi and the aptness of the music Rossini provides canvasses. La gazza ladra develops this trend, himself for the gala opening of a new opera to sing Ninetta comes to nothing, Rossini for her. Her cavatina is wonderfully fresh- albeit with more ‘bourgeois’ subject-matter house in his birthplace, Pesaro, in June 1818. engages the eighteen-year-old Giuseppina faced, with its unencumbered, rhythmically than the Neapolitans would have Letters survive – the only letters we have Ronzi De Begnis and, at a reduced fee, her spontaneous cabaletta. There is the major-key countenanced. The unbuttoned mood of the detailing Rossini’s involvement in the staging husband, Giuseppe De Begnis, as the Mayor. pathos of her response to Isacco’s revelations in pastoral scenes looks forward to the variety of of one of his own operas – which confirm The savings made on the De Begnises enable the Act One Finale, and the exquisite prison choral and dance movements in Rossini’s next what informed Rossinians have always known him to engage his protégé, the tenor Alberico duet in which Pippo adds his own touching opera Armida and his last opera Guillaume but which the public image of Rossini the idle Curioni, as Giannetto and Raniero Remorini rejoinders. There is also her prayer at the start Tell. There is also evidence of a growing bon vivant has always wilfully obscured: his as Fernando. Discovering that he is the of the final scene, framed by an eerily scored range and added care in the orchestral huge capacity for work and his obsessive lynchpin of the show, Remorini proves to be march to the scaffold. Though in no sense a writing. The reprise of Ninetta’s march to the attention to detail. both expensive and difficult. ‘He has put me star ‘vehicle’, the role attracted singers such as scaffold creates a complex ensemble as the The correspondence allows us to pick up the through three days of hell. Oh, what trouble!’ Colbran and Pasta. Malibran was, by all procession winds through the village: fortissimo story on 27 January, 1818 with a letter Rossini exclaims Rossini, referring to Remorini’s accounts, a memorable Ninetta, deliberately strings and snare-drum, woodwinds and writes to the project’s organisers, Giulio insistence on having an additional solo.

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This is nothing, however, to the trouble Synopsis also back from the war – turns up. 15 – 17 But Lucia and the jealous Mayor, the finger of Rossini himself is taking over the production. he doesn’t bring welcome news: after a fight suspicion points at Ninetta. In her confusion, Every inch the obsessive perfectionist, he A long time ago in a small French town… with his captain, he finds himself condemned she drops the money that she raised from insists on nominating and acquiring the finest to death, and a deserter. 18 Penniless, he gives Isacco. 25 The pedlar is summoned: though local instrumentalists. The layout of the COMPACT DISC ONE his daughter two pieces of family silver to sell he’s already sold the fork and spoon, he recalls orchestra is specified, including the for him, to cover the cost of his escape. that they were inscribed with the initials F.V. measurement of the spaces between the players 1 – 2 Overture Matters grow more complicated when the 26 – 27 Those are also Fernando’s initials, but and how the music-stands should best be lit. Mayor enters, determined to win Ninetta’s Ninetta’s desperation to protect her father The co-ordination of designers and stage Act 1 favours. She pretends her father is a passing renders her incapable of protesting her machinists is set in train. A reminder is issued Scene One tramp. The Mayor’s assistant, Giorgio, brings innocence. 28 On the Mayor’s orders she is about the whereabouts of the fake magpie. 3 – 5 Great excitement in the house of an arrest order for Fernando: 19 – 21 as he has taken to jail. The effort took its toll. The gala opening on Fabrizio and Lucia Vingradito: today their son, forgotten his glasses, the Mayor asks Ninetta 10 June was a triumph, though shortly Giannetto, is due to return from the war. A to read it to him. She describes someone as COMPACT DISC TWO afterwards Rossini was struck down with ‘a huge party is planned, and it seems that all the unlike her father as possible, but when the severe inflammation of the throat’. His death townsfolk are lending a hand. 6 – 8 No one Mayor continues to press his unwanted claims Act II was noised abroad as far afield as Naples and is more excited than the Vingraditos’ servant, on her, Fernando is so outraged he nearly gives Scene One Paris. Happily, he survived, nursed back to Ninetta, deeply in love with Giannetto. It is the game away. 22 As the three depart, the 1 – 2 The kindly prison warder, Antonio, health at the Villa Perticari. widely assumed that they will marry (even the magpie flies down and steals one of Lucia’s takes pity on Ninetta: he promises to pass a Cheered by the reception La gazza ladra household magpie choruses its agreement), but silver spoons. message to Pippo, and he allows Giannetto to had been accorded, Rossini returned to Pesaro Lucia opposes the match, seeming to blame pay a visit. She convinces her lover of her the following May only to be hounded out of Ninetta for the recent disappearance of a silver Scene Two innocence, 3 – 4 but their interview is cut town by thugs in the pay of Bartolomeo fork. 9 The local pedlar, Isacco, passes and 23 Isacco passes again, and Ninetta sells him short by the arrival of the Mayor. He comes to Bergami, the lover of Caroline, Princess of inquires after Ninetta, 10 but another servant, her father’s silver. Giannetto and his family offer Ninetta a simple deal: she will be set free Wales, the estranged wife of the English Prince Pippo, sends him on his way. 11 – 13 Then, return and he is introduced to the Mayor. if she accepts his advances. Her reply is Regent. Rossini was twenty-seven, and though the moment all have been awaiting: Giannetto Lucia discovers that a spoon is missing, unequivocal: she would rather die than be his. he survived into his seventy-sixth year, he arrives! Drinks all round. Lucia whisks her son prompting the Mayor to insist on an instant 5 The Mayor is summoned to court before never set foot in Pesaro again. off for family visits, leaving Ninetta to lay up investigation. He warns that the law deals he can argue his case further, 6 but Antonio for the party. 14 No sooner has her lover left, strictly with domestic theft: the punishment is has overheard and decides to help Ninetta in © 2003 Richard Osborne than Ninetta’s father, Fernando Villabella – death. 24 Due to the combined efforts of any way he can. Ninetta asks Pippo to put

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some money for her father in an agreed hiding can they save her in time? Shots ring out and New Zealand Opera; Fiordiligi (Così fan tutte) Roles include the title place. 7 – 9 She tries to sell him the cross at the truth dawns: they are too late. 23 And yet for Las Palmas Opera; La Comtesse Adèle role in English National her neck, but he insists on lending her the no – she can be seen coming down the hill! So (Le Comte Ory) for Glyndebourne Touring Opera’s The Rake’s money. They bid each other a painful farewell. why the shots? ‘Mere rejoicing!’ 24 Ninetta Opera; Elsie Maynard (The Yeomen of the Progress; both Belfiore 10 – 14 Ninetta is brought to trial, joins her celebrating friends, but she is still not Guard ) for Welsh National Opera; Melissa in and Libenskof (Il viaggio Catherine Ashmore found guilty, and condemned to death. at peace. Where is her father? As if on cue, he the Opera Theatre Company production of a Reims) in Bologna; 15 – 17 Fernando bursts into the courtroom appears with his saviour Ernesto. 25 Now all Handel’s Amadigi at the Covent Garden Oreste (Ermione) for to try to save his daughter’s life, but it is too can enjoy the happy ending. All, that is, except Festival; and the title role in the British Santa Fe Opera; Tamino late. He is sent to prison, and she to the the Mayor, trapped in a tragedy of his own premiere of Gavin Bryars’s Medea for BBC (Die Zauberflöte) at the scaffold. making. Scotland. Other performances have included Salzburg Festival, La the British Dancing Girl in John Adams’s Monnaie, Leipzig Opera, Scene Two © 2003 Daniel Slater The Death of Klinghoffer at the Amsterdam Glyndebourne Touring Opera and Scottish 18 Out of the blue Ernesto appears. He is an Concertgebouw under Edo de Waart, and Opera; Nemorino (L’elisir d’amore) for army friend of Fernando’s, looking for the Irish soprano Marguerite (Huit Scènes de Faust) at La Fenice, Frankfurt Opera and English National Opera; Mayor’s house, bearing a royal pardon for Majella Cullagh Venice, conducted by Jeffrey Tate. Don Ramiro (La Cenerentola) at Basel Opera; Ninetta’s father. Pippo gives him directions trained with Recordings include the complete version of Flute (A Midsummer Night’s Dream) at the and receives a new silver coin for his trouble. Maeve Coughlan Wallace’s Maritana, Mendelssohn’s Second Metropolitan Opera and with Glyndebourne But the magpie snatches it from his grasp and at the Cork Symphony, for Opera Rara Donizetti’s Zoraida Festival Opera; the title role in Candide for flies with it up to the belfry. Pippo and School of Music, di Granata, Rossini’s Bianca e Falliero and Chicago Lyric Opera; Arnalta (L’incoronazione Antonio climb after the thief. 19 – 20 and at the Elisabetta regina d’inghilterra, and Mercadante’s di Poppea) for San Francisco Opera; Edgardo Meanwhile, Ninetta is being led to execution, National Opera Zaira. For Chandos/Peter Moores Foundation (Lucia di Lammermoor) for Welsh National the crowd trying to comfort her as she passes. Studio, London. she has recorded the role of Donna Anna Opera; Aufidio (Lucio Silla) at the Salzburg The girl makes a brave final speech and goes She now studies with Gerald Martin Moore. (Don Giovanni ). Festival and for Frankfurt Opera; Andres to meet her fate. 21 – 22 From the tower, Roles include Donna Anna (Don (Wozzeck) in Frankfurt; Don Narciso (Il turco Pippo and Antonio excitedly shout down to Giovanni ), Countess Almaviva (The Marriage A graduate of The Royal Northern College of in Italia) in Brussels and Paris; and Giorgio: they’ve found not just the coin but of Figaro) and Micaela (Carmen) for Opera Music (where he was a Peter Moores Scholar), L’Astrologue (Le coq d’or) at the Châtelet. Lucia’s cutlery too in the magpie’s nest! They North; Ninetta (La gazza ladra) for Barry Banks has established himself as one of A committed concert artist, Barry Banks has ring the bells and cry out ‘She is innocent!’ Garsington Opera; Adina (L’elisir d’amore) for the finest tenors of his generation for his performed Rossini’s Petite Messe solennelle with A crowd gathers and passes on the news, but Royal Danish Opera; Massenet’s Manon for outstanding appearances in opera and concert. The Royal Philharmonic Orchestra under

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Daniele Gatti, Fidelio with the City of vocal training with David Keren and now Philharmonic Orchestra, Britten Sinfonia, the (Idomeneo) for De Vlaamse Opera; Redburn Birmingham Symphony Orchestra under studies with Diane Forlano. Academy of Ancient Music, London (Billy Budd ) for New Israeli Opera; and Walter Weller, War Requiem with the Christopher Purves’s operatic engagements Sinfonietta and City of London Sinfonia. Fernando (La gazza ladra) at the Garsington Orchestre Philharmonique de Strasbourg include appearances with English National Festival. He has also performed at the under Jan Latham-Koenig, Bruckner’s Requiem Opera, Scottish Opera, Welsh National Russell Smythe is one of Britain’s most Hamburg Staatsoper, Vienna Volksoper, Paris with the Scottish Chamber Orchestra under Opera, Opera North, Birmingham Opera experienced international baritones. He Opera, De Nederlandse Opera, Opera Zuid, Sir Charles Mackerras, and a performance of Company, Opera Northern Ireland, the studied at the Guildhall School of Music and in Amsterdam, Antwerp, Basel, Brussels, Rossini’s Armida at the Edinburgh Festival Garsington Festival, and the Edinburgh the London Opera Centre, and became a Frankfurt, Madrid, Nancy, New York, San under Carlo Rizzi. Festival, in repertoire which includes the title founding member of Sebastian, Vancouver, and with Scottish Recordings include Nemorino (The Elixir of role in The Marriage of Figaro, Agamemnon the English Music Opera, Welsh National Opera and Opera Love), Ernesto (Don Pasquale), Don Ottavio (Iphigénie in Aulis), Mayor (La gazza ladra), Theatre in 1976. He North . (Don Giovanni ), and Fenton (Falstaff ) all for Siegfried (Genoveva), Dulcamara (L’elisir then became a Recordings include a number of discs Chandos/Peter Moores Foundation), Un ballo d’amore), Masetto (Don Giovanni ), Forester principal with Welsh for Opera Rara including King Edward in maschera and Trial by Jury, and he has (The Cunning Little Vixen), Leporello National Opera, (L’Assedio di Calais), and Teucer (Rameau’s appeared on video releases of Billy Budd and (Don Giovanni ), Dandini (La Cenerentola), singing roles such as Dardanus). Die Entführung aus dem Serail. Faninal (Der Rosenkavalier), Papageno the title roles in Billy (Die Zauberflöte), Ned Keene (Peter Grimes), Budd and Eugene Born in Liverpool and Christopher Purves Scarpia (Tosca), Marcello (La bohème), Onegin, Papageno educated at Oxford, was a choral scholar Sharpless (Madama Butterfly), and the title (The Magic Flute), Jeremy White enjoys at King’s College, role in Don Pasquale. Foreign engagements Figaro (The Barber of an international career Cambridge where he include performances in Paris, Dublin, Seville), Count (The Marriage of Figaro), and in opera, concert and read English. On Beaune, Lisbon and Barcelona. Yeletsky (The Queen of Spades). recording, in repertoire leaving Cambridge he Christopher Purves has a large concert After leaving Welsh National Opera he ranging from early spent four years repertoire including works by composers performed at the Royal Opera House, Covent music to the latest of performing and ranging from Charpentier and Handel to Garden, and with English National Opera. contemporary recording with the Stravinsky, Honegger and James MacMillan. Roles include Monteverdi’s Orfeo with Opéra composition. He has vocal group Harvey He has appeared with the St James’ Baroque de Lausanne; Sharpless at the Deutsche had a long association and the Wallbangers. Players, the Scottish Chamber Orchestra, The Staatsoper, Berlin and for Castleward Opera; with conductors such as Trevor Pinnock, He then resumed Sixteen, the Gabrieli Consort, Royal Liverpool Aeneas (Dido and Aeneas) and Arbace Andrew Parrott, Adam Fischer and Harry

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Christophers in music by Bach, Handel and Roles have the Salzburg Festival, Nicholas Maw’s Scenes (Orfeo), Flora (La traviata), Pitti Sing Mozart, while engagements in the twentieth- included and Arias, Benjamin’s Upon Silence and (The Mikado), Mercédès (Carmen), Nursing century repertoire have included Webern with Florence Pike Stravinsky’s Requiem Canticles at the BBC Sister (Sister Angelica), Hansel (Hansel and Pierre Boulez and Britten with Graf, as well as (Albert Herring), Proms, and Beethoven’s Missa Solemnis with Gretel ), Cherubino and Sister Mathilde appearances with Luciano Berio, Arvo Pärt Marcellina (Le Les Arts Florissants in Vienna and Paris. She (The Carmelites). and John Adams in their own works. Concert nozze di Figaro), performs with leading conductors including She has performed with the Scottish tours have taken him all over Europe and to Kostelnicka Sir Andrew Davis, Sir Roger Norrington, Chamber Orchestra, the Scottish Early Music the USA, Brazil and Israel. (Jenu˚fa), Gennadi Rozhdestvensky, Nicholas McGegan, Consort, and the National Youth Orchestra of Roles have included Kecˇal (The Bartered Hippolyta Paul McCreesh, Mark Wigglesworth, Oliver Wales. Recitals include the North Wales Music Bride) for The Royal Opera; Varlaam (Boris (A Midsummer Knussen, William Christie and Robert King. Festival and St John’s Smith Square, London. Godunov) and the title role in Rossini’s The Night’s Dream), Recordings include Handel’s Serse, Theodora Other appearances include Cherubino, Turk in Italy for English National Opera; and Mrs Sedley and Solomon, The Fairy Queen, Dido and Rosina and Dorabella for Grange Park Opera, Superintendent Budd (Albert Herring), the (Peter Grimes) for Glyndebourne Festival Aeneas, and Rubbra’s Ode to the Queen for Il mondo della muna and La gazza ladra at King (Aïda), Dikoy (Kat’a Kabanova), Talbot Opera; Anna (The Electrification of the Soviet Chandos. Garsington, and Stewardess (Flight) with (Giovanna D’Arco) and Tiresias (Oedipus Rex) Union), Kabanicha (Katya Kabanova), Donna Reisopera in Holland and Vlaamse Opera. for Opera North; and La bohème at the Elvira (Don Giovanni), Nan (New Year) and Nerys Jones was born Bregenz Festival. Irene (Theodora) for Glyndebourne Touring in Wales and studied An English National Recordings include Israel in Egypt, Opera; Feodor (Boris Godunov) for The Royal at the Royal Scottish Opera company Monteverdi’s Vespers, and, for Chandos, Opera; and Cassandra (The Trojans), Dorabella Academy of Music principal, John Vaughan Williams’s The Pilgrim’s Progress and (Così fan tutte), Andromache (King Priam), and Drama, with Graham-Hall has Britten’s Paul Bunyan, both conducted by Kurfürstin (The Prince of Homburg), Twice Patricia MacMahon. appeared with all the Richard Hickox. Through the Heart and Meg Page (Falstaff ) for In 1994 she joined major British opera English National Opera. She has also appeared English National companies in roles Susan Bickley was born in Liverpool and with Paris Opera, San Francisco Opera, Opera where she including Albert studied music at City University, London and Flanders Opera, New Israeli Opera, at the remained a company Herring, Kudrjas the Guildhall School, where she won the Gold Hong Kong and Göttingen Festivals and in principal for six (Katya Kabanova), Medal for singers. She made her operatic debut Japan seasons, with roles including Cherubino, Flute and Lysander (A Midsummer Night’s in Monteverdi’s Orfeo at the Maggio Musicale Highlights from Susan Bickley’s busy Despina, Zerlina, Second Lady, Melissa Dream), Bob Boles (Peter Grimes), Valzacchi in Florence, singing the role of Proserpina. concert schedule include Ligeti’s Requiem at (Princess Ida), Bird (Blond Eckbert), Proserpina (Der Rosenkavalier), Cassio (Otello), Eisenstein,

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Ferrando, Basilio, Monostatos, Aschenbach Stuart Kale is (The Turn of the Screw) and Truffaldino (The joined English National Opera and with this (Death in Venice), Herod (Salome), Shabby internationally Love for Three Oranges) for English National and other British companies has sung Valletto Peasant (Lady Macbeth of Mtsensk) and Anatole recognised as one of Opera; Zinoviev (Lady Macbeth) in Toulouse (L’incoronazione di Poppea), Henry (The Fairy (War and Peace). the most outstanding and Marseille; Idomemeo in Drottningholm; Queen), Papageno (Die Zauberflöte), Fiorello As an international singer he is a regular singing actors in the and the three tenor roles in Lulu at the (The Barber of Seville), Baron Douphol visitor to Paris, Amsterdam, Brussels, Salzburg, operatic world. A Châtelet; Bob Boles (Peter Grimes) at the (La traviata) and Schaunard (La bohème). His Stuttgart, Toronto, Vancouver, Lisbon, Rome consummate Munich State Opera, Covent Garden, Genova festival performances have included Guglielmo and Antwerp where engagements include musician, his roles and Strasbourg; Captain Vere (Billy Budd ) in (Così fan tutte) at the Aix-en-Provence Festival, Painter (Lulu), Shapkin (The House of the cover a huge range of Cologne; Gregor (The Makropoulos Case) in Mars and Euro in Cesti’s Il pomo d’oro at the Dead ), Basilio, Achilles (King Priam), and repertoire from Strasbourg, and appearances with the State Batignano Festival, Schaunard at the Bregenz Lensky (Eugene Onegin). Other roles include Monteverdi to Opera of South Australia, in Drottningholm, Festival and Grimbald and Aeolos in Purcell’s Alwa (Lulu), Mime (The Ring Cycle), Sylvester Messiaen. He began his career at Welsh Turin and Parma. King Arthur at the Kings Lynn Festival. His (The Silver Tassie), Valzacchi and Sellem (The National Opera before joining English Recordings for Chandos/Peter Moores oratorio repertoire includes the Requiems by Rake’s Progress) (all for English National National Opera, where he remained for eight Foundation include Boris Godunov Mozart and Fauré, Haydn’s Die Schöpfung and Opera); Mayor (Albert Herring) for Opera years, singing roles such as Don Ottavio (Don (highlights), Madam Butterfly, Otello and Bach’s Mass in B minor. North; and Tanzmeister (Ariadne auf Naxos) Giovanni), Michael in Martinu˚’s Julietta, Falstaff. for The Royal Opera. Alfred (Die Fledermaus), and Nanki-Poo in Nicholas Garrett John Graham-Hall has worked with many Jonathan Miller’s production of The Mikado. The baritone Toby Stafford-Allen studied studied at Trinity distinguished conductors including Bernard In 1987 he began his flourishing freelance under Robert Alderson at the Royal Northern College of Music and Haitink, Nikolaus Harnoncourt, Pierre career singing Hauptmann (Wozzeck) at the College of Music, is the recipient of a Boulez, Andrew Davis, Sir Simon Rattle, John Opera du Rhin and in Nancy, also returning where rolls included Wolfson Foundation Eliot Gardiner and Claudio Abbado. His to English National Opera to sing Herod Figaro (Le nozze di Award. Roles include concert career has taken him all over Europe, (Salome). Figaro), the title role Baron Douphol (La working with all the major British orchestras Notable engagements have included the in the baritone traviata) with English and appearing frequently at the Barbican and High Priest in Idomeneo at Covent Garden; version of Werther, National Opera; the South Bank. Recordings include Peter Hauptmann (Wozzeck) in San Francisco, and the Foreman of Colline (La bohème) Grimes for Chandos, The Coronation of Geneva, Zürich, Montpellier, Bordeaux and the Mill ( Jenu˚fa) for Scottish Opera Go Poppea, Carmina Burana and A Midsummer Bologna; Shuisky (Boris Godunov) in among others. On Round; Escamillo (Carmen) for Opera North; Night’s Dream. Strasbourg, Bordeaux and Montpellier; Quint leaving the College he Commendatore/Masetto (Don Giovanni) for

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Pimlico Opera; Sparafucile (Rigoletto), Figaro Quartermaine’s Terms (directed by Harold One of the world’s great orchestras, the which is a commitment to performing and (Le nozze di Figaro) and Nourabad (The Pearl Pinter), and The Merchant of Venice (directed Philharmonia Orchestra is now in its sixth commissioning new music by today’s leading Fishers) for English Touring Opera; Sourin by Timothy West). Television appearances season with renowned German maestro composers. (The Queen of Spades) for Scottish Opera; include Fawlty Towers, Silent Witness, Dalziel Christoph von Dohnányi as Principal An increasing number of the Orchestra’s Jenkins (Of Thee I Sing) for Opera North; and Pascoe, Midsomer Murders, What the Butler Conductor. That post was first held by Otto concerts are being broadcast by BBC Radio 3, Nikitich and Chernikovsky (Boris Godunov) Saw, The Merry Wives of Windsor, A Question of Klemperer, and the Orchestra has since had including its annual performance at the BBC for Opera de Nantes, as well as engagements Attribution and Breaking the Code. Prunella important collaborations with Lorin Maazel Proms. As the world’s most recorded with Grange Park Opera, Opera Holland Park Scales was created a CBE in the 1992 Queen’s (as Associate Principal Conductor), Riccardo symphony orchestra, with over 1000 releases and Almeida Opera. In 2001 he made his Birthday Honours. Muti (as Principal Conductor and Music to its credit, among these a number of debut with The Royal Opera in performances Director), Giuseppe Sinopoli (as Music television and feature film soundtracks, the of Palestrina. Geoffrey Mitchell’s singing career has Director) and, currently, Kurt Sanderling (as Philharmonia Orchestra enjoys a worldwide encompassed a remarkably wide repertoire Conductor Emeritus), Vladimir Ashkenazy (as reputation. The discography includes, for Prunella Scales from early to contemporary music and has Conductor Laureate) and Sir Charles Opera Rara, several recital discs as well as trained at the Old taken him to Scandinavia, Germany, the Mackerras (as Principal Guest Conductor), eleven complete operas, and for Chandos, in Vic Theatre School former Czechoslovakia, Canada and besides such eminent figures as Wilhelm the Opera in English series sponsored by the and with Uta Hagen Australasia. Early conducting experience with Furtwängler, Richard Strauss, Arturo Peter Moores Foundation, Carmen, Wozzeck,

Conway van Gelder Conway van in New York. She the BBC led to a wider involvement with his Toscanini, Guido Cantelli, Herbert von Don Giovanni, The Elixir of Love, Lucia of has appeared in own singers and in turn to the establishment Karajan and Carlo Maria Giulini. It continues Lammermoor, Faust, Carmen, Aida, La bohème, repertory in of the Geoffrey Mitchell Choir. Early to engage world-class conductors and soloists, Madam Butterfly, Turandot, the award-winning Huddersfield, recordings resulted in the Choir’s long-term and attracts Europe’s most talented young Tosca and solo recital albums of operatic arias Salisbury, Oxford, involvement with Opera Rara for which it has players to join its orchestral ranks. with Elizabeth Futral, Bruce Ford, Diana Bristol and the Old made over thirty recordings. The Choir is Resident Orchestra at the Royal Festival Montague, Dennis O’Neill, Alastair Miles, Vic, and has enjoying a growing reputation with further Hall, it maintains a central position in British Yvonne Kenny and John Tomlinson. The performed in Stratford Upon Avon and the work from the BBC and international record musical life also through regional residencies Philharmonia Orchestra continues to Chichester Festival Theatre. Her many theatre companies. For Chandos the Geoffrey which provide an ideal opportunity to expand consolidate its international renown through credits include Just the Three of Us (directed by Mitchell Choir has participated in numerous a dynamic educational and community-based regular tours and through recent prestigious Peter Hall), A Perfect Ganesh and Happy Days recordings in the acclaimed Opera in English programme. Winner of numerous awards, it residencies at the Châtelet Théâtre Musical in (directed by Jude Kelly), Single Spies (directed series sponsored by the Peter Moores has garnered unanimous critical acclaim for its Paris, the Megaron in Athens and the Lincoln by Alan Bennett/Simon Callow), Foundation. innovative programming policy, at the heart of Center for the Performing Arts in New York.

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David Parry studied with Sergiu Celibidache with a tour of Carmen, and in Mexico with the and began his career as Sir John Pritchard’s UNAM Symphony Orchestra. Recent new assistant. He made his debut with English productions he has conducted include Fidelio at

Music Theatre, then became a staff conductor the New Zealand Festival, Lucia di Saunders Keith at Städtische Bühnen, Dortmund and at Lammermoor at New Israeli Opera and Opera North. He was Music Director of Don Giovanni at Staatsoper Hannover. Opera 80 from 1983 to 1987 and since 1992 His work in the recording studio includes has been the founding Music Director of the BBC Television production of Marschner’s Almeida Opera. Der Vampyr and twenty-eight complete opera He works extensively in both opera and recordings under the sponsorship of the Peter concert, nationally and internationally. He has Moores Foundation. Among these are conducted several productions at English numerous discs for the Opera Rara label National Opera and Opera North and appears which have won several awards, including the regularly with the Philharmonia and London Belgian Prix Cecilia for Donizetti’s Rosmonda Philharmonic Orchestras. In 1996 he made his d’Inghilterra. For Chandos he has conducted a debut at the Glyndebourne Festival conducting series of recitals of operatic arias – with Bruce Così fan tutte, following it in 1998 with the Ford, Diana Montague, Dennis O’Neill, world premiere of Jonathan Dove’s Flight. Alastair Miles, Yvonne Kenny, John He is a frequent visitor to Spain where he has Tomlinson, Della Jones and Andrew Shore – given concerts with most of the major Spanish as well as Carmen, Don Giovanni, Don orchestras. He conducted the Spanish premiere Pasquale, The Elixir of Love, Lucia of of Peter Grimes in Madrid and in 1996 the first Lammermoor, Ernani, Il trovatore, Aida, Faust, Spanish production of The Rake’s Progress. He Cavalleria rusticana, Pagliacci, La bohème, has appeared in Germany, Switzerland, and The Turandot, the award-winning Tosca and Netherlands, at the Pesaro Festival in Italy, the highlights from Der Rosenkavalier, all in Hong Kong International Festival, in Japan association with the Peter Moores Foundation.

Christopher Purves as the Mayor in Garsington Opera’s production of The Thieving Magpie

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SIR PETER MOORES, CBE, DL youth, social and environmental projects. To date, because of his initiatives and life-long Sir Peter Moores was born in Lancashire and educated at Eton College commitment to these causes, he has disbursed more than £85 million of his own money through and Christ Church, Oxford, where he studied Italian and German. He the Foundation and the Peter Moores Charitable Trust – ‘to get things done and to open doors’.

Bill Cooper/PMF Bill had a ‘gap year’ at Glyndebourne working as a behind-the-scenes Projects to help the young have ranged from a scheme to encourage young Afro-Caribbeans to administrator before going to Oxford, then studied for three years at the stay on at school to the endowment of a Faculty Directorship and Chair of Management Studies at Vienna Academy of Music, where he produced the Austrian premiere of Oxford University (providing the lead donation in 1991 for the new School of Management Benjamin Britten's The Rape of Lucretia and was a production assistant Studies). In 1994 a permanent Transatlantic Slave Trade Gallery, initiated by Peter Moores, opened with the Vienna State Opera working as assistant producer of at the Merseyside Maritime Museum, with the aim of fostering discussion about the heritage and performances by Viennese artists at the San Carlo Opera House, Naples, true history of the slave trade. Substantial help was given to the Royal Liverpool Philharmonic at the Geneva Festival and at the Rome Opera. Development Trust, whilst through annual PMF Scholarships established in 1971 well over two In 1957 he joined his father’s business, Littlewoods, becoming hundred young singers have received practical support at the outset of their careers, enabling a Vice-Chairman in 1976, Chairman from 1977 to 1980 and remaining a significant number to become international opera stars. director until 1993. His public appointments include from 1981 to 1983 Governor of the BBC, In 1993 the Foundation acquired Compton Verney, an eighteenth-century mansion, and Trustee of the Tate Gallery from 1978 to 1985 and from 1988 to 1992 a Director of Scottish established the Compton Verney House Trust, an independent charity which it funded in order to Opera. He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from transform the mansion into an art gallery designed especially to encourage newcomers to the visual Christ Church, Oxford in 1975, and was made an Honorary Member of the Royal Northern arts. Alongside major international touring exhibitions, it will house permanent collections of College of Music in 1985. In 1992 he was appointed Deputy Lieutenant (DL) of Lancashire by North European art, Neapolitan paintings and one of the finest collections of archaic oriental HM Queen Elizabeth II. He was appointed a Commander of the British Empire (CBE) in 1991 bronzes in the UK, as well as a British Portrait Collection and a British Folk Art Collection. The and received a Knighthood in the New Year’s Honours List for 2003 in recognition of his gallery is scheduled to open in Spring 2004. charitable services to the arts. Opera has given the Foundation its most public ‘face’. Since Peter Moores initiated the live recording of the ‘Goodall Ring’ at the London Coliseum in the 1970s, the Foundation has enabled PETER MOORES FOUNDATION some eighty recordings to be produced: Chandos Records’ Opera in English series – ‘Opera that Peter Moores’ philanthropic work began with his passion for opera: in his twenties he identified speaks your language’ – is now the largest recorded collection of operas sung in English whilst and helped a number of young artists in the crucial, early stages of their careers, several of whom – Opera Rara’s recordings of rare bel canto operas have opened up an immensely rich repertory Dame Joan Sutherland, Sir Colin Davis and the late Sir Geraint Evans amongst them – became previously only accessible to scholars. In live performance, the Foundation has encouraged the world-famous. He set up his eponymous Foundation in 1964 when he was thirty-two, in order to creation of new work and schemes to attract new audiences, financing the publication of scores develop his charitable aims, not only in music and the visual arts, but also in education, health, and enabling rarely heard works to be staged by British opera companies and festivals.

32 33 CHAN 3097 BOOK.qxd 11/4/07 2:35 pm Page 34 Keith Saunders Keith Saunders Keith

Nerys Jones as Pippo in Garsington Opera’s production of The Thieving Magpie Russell Smythe as Fernando in Garsington Opera’s production of The Thieving Magpie CHAN 3097 BOOK.qxd 11/4/07 2:35 pm Page 36

maßgeschneiderte Komposition, von deren Und um alles noch schlimmer zu machen, Rossini: The Thieving Magpie Themen viele im Hauptteil der Oper scheint es, als basiere diese widerwärtige kleine wiederkehren. Anekdote auf einer wahren Geschichte; es gab Als Rossinis Freund, der Schriftsteller Honoré Man fragt sich, worum es Mount In einem Brief an seine Mutter aus der Zeit wirklich ein armes Dienstmädchen, das in de Balzac La gazza ladra 1821 zum ersten Mal Edgcumbes Meinung nach in dem Werk wohl des Mailänder Auftrags im März 1817 schrieb Palaiseau gehängt wurde, und ihr zum Andenken in Paris hörte, gab er sich dem Erlebnis ganz ging. Eine Oper, die in einer Zeit der Rossini: wurde eine Messe, später als Elsternmesse und gar hin. “Der Mann riecht nach Alkohol!” Revolution spielt und zu deren Hauptfiguren Ich komponiere eine Oper La gazza ladra. Die bekannt, eingesetzt. beschwerte sich eine Frau in der Reihe hinter ein Deserteur gehört – vom Marsch zum Geschichte ist von einem Neuling in Verse Stendhals Bemerkung verdeutlicht die mehr ihm, doch Balzac, der wirklich bereits vor Schafott im letzten Akt ganz zu schweigen – gesetzt worden, was mich ganz verrückt macht; oder weniger unüberbrückbare Kluft, die im seinem Besuch des Théâtre Italien hat doch sicherlich ein Recht auf die eine oder doch sie hat ein sehr schönes Thema, und ich damaligen Frankreich zwischen jenen prophylaktisch eine Flasche Wein getrunken andere gelegentliche “kriegerische Begleitung”. hoffe, so Gott will, daß wir ein “feines Fiasko” melodramatischen Theaterstücken mit und zwei Zigarren geraucht hatte, war Tatsache ist, Mount Edgcumbe mochte keinen daraus machen können. Musikbegleitung, welche die mittleren und durchaus in der Lage, diese Stichelei zu Lärm. Für ihn und andere gleichgesinnte Das “schöne Thema” basierte auf der wahren niedrigen Schichten in Massen anzogen, und ignorieren. Die Musik Rossinis war nun sein englische Musikliebhaber war Rossini das Geschichte eines französischen solchen auf der Bühne der Pariser Opéra, dem neues Rauschmittel. Heavy Metal seines Zeitalters. Bauernmädchens, das wegen Diebstählen, die, Zuhause der Aristokratie und der Haute Wie ganz anders alles auf der anderen Seite Bei der Uraufführung am 31.5.1817 in wie sich später herausstellte, von einer Bourgeoisie, herrschte. des Ärmelkanals aussah. Als früher im gleichen Mailand hatte sich das Publikum von dem diebischen Elster begangen worden waren, Die Italiener waren da weniger engstirnig. Jahr gerade jener konservativste unter den eröffnenden Aufruf der kleinen Trommel in verurteilt und gehängt wurde. Dieses Ereignis Da Dutzende italienischer Opernhäuser pro englischen Musikliebhabern, Lord Mount der Ouvertüre und dem anschließenden, war zur Quelle einer großen Anzahl fiktiver Spielzeit zwei oder drei neue Opern auf die Edgcumbe die Oper in London hörte, imposanten Maestoso marziale mitreißen Darstellungen geworden, wie etwa eines Bühne bringen wollten, wurden plausible schimpfte und meckerte er: lassen. In welch großem Maße die Ouvertüre sogenannten Mélo-historique oder Mélodrame de Geschichten hoch geschätzt. Außerdem waren Die Finales und viele der zahlreichen Pezzi auf die Ereignisse, die sich auf der Bühne boulevard mit dem Titel La Pie voleuse, das im intellektuelle Kreise in Italien keineswegs concertarti sind ungemein laut, und der entfalten sollten, zugeschnitten war, konnte April 1815 am Pariser Théâtre de la Porte Saint- abgeneigt, sich mit der populären Literatur zu verschwenderische Einsatz der lärmenden das Premierenpublikum aber nicht wissen. Martin von Théodore Badouin d’Aubigny und beschäftigen. Der “Neuling” Giovanni Instrumente scheint meines Erachtens für den Hier handelte es sich nicht um eine von dem Theatermanager Louis-Charles Caigniez Gherardini (1778–1861), der aus La Pie Stoff völlig ungeeignet, der, obwohl er schon Rossinis berühmten Selbstanleihen, also ein (“der Racine der Boulevards”) auf die Bühne voleuse ein für eine italienische Oper geeignetes anrührend hätte dargestellt werden können, weit bereits fertig komponiertes Stück, das er gebracht worden war. Rossinis französischer Libretto machte, hatte sogar einen recht hohen davon entfernt ist, solch kriegerische Begleitung sozusagen zur Generalprobe aus seinem Biograph, Stendhal, hielt mit seinem Spott Status. Von Hause aus Arzt, aber von seiner zu verlangen. Handkoffer hervorkramte, sondern um eine nicht lange hinter dem Berg: Neigung her Dichter, Übersetzer und

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Philologe, arbeitete Gherardini als leitender Zusammenschmelzungen nichts als sinnloser Hauptperson der Oper und ohne Zweifel eine seine Vertonung von Gherardinis Text mit Redakteur des Giornale Italiano, der offiziellen Worte” zu verkommen, durch seine Ordnung Variante des Aschenputtel-Typus, für den sich genügend Pracht auszustatten, um selbst den Zeitung des Königreichs Italiens – ein Amt, in bestach. Rossini offenbar interessierte. (Die hohen Erwartungen der Mailänder Scala das er bereits 1806 im Alter von Gerade für die Geschichte von La gazza Verhandlungen mit der Scala zu La gazza ladra gerecht zu werden. Das Theater für seinen Teil achtundzwanzig Jahren berufen worden war. ladra war Gherardinis Ordentlichkeit nicht zu fielen zeitlich mit der Komposition und den ließ sich bei den Produktionskosten nicht Es ist ein Unterpfand Gherardinis unterschätzen. Ähnlich wie Charles Dickens’ Proben zu La Cenerentola für das Teatro Valle in lumpen. Es wurde eine distinguierte künstlerischer und intellektueller Neugierde, Roman The Pickwick Papers, der lebhafte Rom zusammen.) Ninetta selbst ist von einer Besetzung, mit Filippo Galli als Fernando daß er seine Bearbeitung von La Pie voleuse Abenteuer mit Gefängnisszenen von Schar kleinerer Charaktere umgeben, zu denen an ihrer Spitze, zusammengestellt, und (etwas gespreizt in Eine Mahnung an die ungewöhnlicher Trostlosigkeit verknüpft, der Dienstjunge Pippo und der Hausierer Alessandro Sanquirico, einer der innovativsten Richter umbenannt) als Beitrag zu einem 1816 besticht auch dieses Stück durch eine breite Isacco gehören, von dessen “jaulender” Kavatine Bühnenkünstler seiner Zeit, wurde mit von der Mailänder Scala organisierten Vielfalt von mitfühlend, sentimental und Stendhal sich zu derartigen Schimpfreden gegen dem Bühnenbild beauftragt. Besonders Librettistenwettbewerb fertigte. Gewinnen tat gelegentlich schrullig gezeichneten die polnischen Juden hinreißen ließ, daß man imposant waren seine Entwürfe für die er nicht. Der erste Preis von 1000 Charakteren. Im Mittelpunkt der Geschichte ihn heutzutage dafür eingesperren würde. Gerichtsszene. österreichischen Lire (etwa €1200 in heutigem steht eine ländliche Gemeinde, dem König (Trabuco in Verdis La forza del destino ist Besinnt man sich auf ihre Wurzeln im Geld) ging an einen jungen Senkrechtstarter untertan, aber dominiert von ihrem eindeutig ein Nachkomme Isaccos.) Außerdem französischen Mélodrame, so nimmt La gazza des italienischen Theaters, Felice Romani. Das geschäftigen, sadistischen Bürgermeister, so gibt es noch die beeindruckende Figur von ladra gleichermaßen den italienischen Verismo Vorhaben der Scala, das Textbuch Rossini einer Art rustikalem Scarpia. Zentrale Figuren Ninettas Vater Fernando Villabella, der von der voraus. Ninetta selbst ist gerade die Art von anzubieten, traf jedoch schon bald auf der Gemeinschaft sind der leutselige, dem Armee desertiert ist, allerdings ohne eigenes liebenswerter und ungerecht behandelter Frau, Schwierigkeiten. Nach einem Briefwechsel Wein äußerst zugetane Pächter, Fabrizio Verschulden. Man kann nur spekulieren, die man in einer Oper von Puccini erwarten zwischen Rossini und Angel Petracchi, dem Vingradito, seine Frau, Lucia, und deren welchen Eindruck wohl die Demütigung dieses würde. Und eben sie ist in einer der Theaterdirektor der Scala, im Winter kürzlich aus den Kriegen zurückgekehrter starken und mitfühlenden Mannes bei der bemerkenswertesten Sequenzen des ganzen 1816–1817 wurde schließlich das Gherardini- Sohn, Giannetto. (Monti hielt die Rolle des Lektüre des Textbuches auf Rossini gemacht Stückes von zentraler Bedeutung. Im ersten Libretto ausgewählt. Aus einem Brief Vincenzo Giannetto für etwas unterbelichtet – “man haben mag. Sein eigener Vater, ein Akt erhält der Bürgermeister, als Ninetta und Montis (Mitglied der Jury und Mentor würde sich schon ein bißchen mehr redegewandter und durch und durch ehrlicher ihr Vater vor ihm stehen, einen Brief, in dem Romanis) geht hervor, daß das Gherardini- Entschlossenheit und militärischen Eifer Republikaner, war nämlich 1800 von den der Deserteur ausführlich beschrieben wird. Textbuch bei der Kommission gut wünschen” –, und in der Tat fällt es schwer, Österreichern in Bologna verhaftet und Da der Bürgermeister seine Brille vergessen angekommen war, und zwar nicht zuletzt, weil sich dieser Kritik nicht anzuschließen.) inhaftiert worden. hat, bittet er Ninetta, die Beschreibung es zu einer Zeit, in der, so Monti, die Libretti Giannetto will das bescheidene und reizende Der Rahmen, in dem Rossini inzwischen vorzulesen. Das tut sie (ihre Worte sind mit drohten, zu kaum mehr als “monströsen Dienstmädchen Ninetta heiraten. Sie ist die seine Musikdramen gestaltete, erlaubte ihm einer siedenden Orchesterbegleitung

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unterlegt), den Text beim Lesen ändernd. In dergleichen – irgendwelchen unmittelbaren Die Darstellung des Bürgermeisters ist bezaubernd rustikale Malibran eine seinem Theaterstück Boris Godunow beschreibt Zugeständnissen an den Realismus geopfert. gleichermaßen berechnet. Zunächst entsteht denkwürdige Ninetta, bei der realistische und Alexander Puschkin, der 1823–24 La gazza Trotz der drohenden Ankunft des der Eindruck einer komischen Figur, der idealistische Elemente derart miteinander ladra in Odessa sah, eine mehr oder weniger Bürgermeisters erhalten Ninetta und ihr Vater jedoch in dem großen Terzett nach der verschmolzen, daß sie Rossinis musikalischer identische Szene, wenn der falsche Dmitri noch ihre Cabaletta, was sowohl von Rossinis Briefszene revidiert werden muß. Wenn der und dramatischer Vision perfekt entsprochen seiner Verhaftung entgeht, indem er die Sinn für Ordnung zeugt, als auch von einem Bürgermeister dann in der Gefängnisszene im haben muß. Angaben eines Haftbefehls ändert, den ihm ein vielleicht etwas trägen Festhalten an den 2. Akt vor das Gericht gerufen wird, färbt das Wer mehr Tiefgang sucht, sollte sich des Lesens unkundiger Wächter zum Vorlesen Formen, die er selbst mit ins Leben gerufen zweite Thema der Ouvertüre – mit sehr Ninettas Beziehung zu ihrem Vater genauer gegeben hat. Modest Mussorgsky übernahm hatte. Während der ganzen Oper ist es die vordergründiger kleiner Trommel – die Stretta anschauen. Wie Verdi war auch Rossini für das diese Szene in seine gleichnamige Oper, Musik selber – und insbesondere ihr auf sowohl brillante als auch bedrohliche Art Thema elterlicher Liebe sehr empfänglich, und allerdings ist seine deklamatorische Vertonung Rhythmus –, durch die Gefühle von Ekstase, und Weise. La gazza ladra verdankt einen großen Teil des Vorlesens um einiges weniger wirkungsvoll Befreiung, Verwirrung und Verstrickung Manchmal heißt es, die Rolle der Ninetta ihrer grundlegenden Macht und Wirkung der als Rossinis revolutionäres Mittel der ausgelöst werden. Wenn der wohlwollende sei zu blaß gezeichnet, wobei aber ihre Figur des Fernando. Sein Duett mit Ninetta Verwendung rein gesprochener Worte. Es ist Gefängniswärter Antonio versucht, Ninetta Unverdorbenheit und die ausgesprochen im 1. Akt sowie sein Eingreifen in die vielleicht nicht weiter erstaunlich, daß und Giannetto von einander zu trennen, um passende Musik, die Rossini für sie schreibt, Gerichtsszene lassen bereits Verdi in dessen La gazza ladra ihre Rückkehr ins Repertoire in zu verhindern, daß der Bürgermeister übersehen werden. Ihre Cavatina, mit ihrer mittlerer Periode ahnen. den 40er und 50er Jahren in nicht entdeckt, daß Antonio Ninetta ein paar unbelasteten, rhythmisch spontanen Cabaletta Rossinis Übersiedlung nach Neapel im Jahre unerheblichem Maße einer frei-innovativen Augenblicke außerhalb ihrer Zelle erlaubt ist wunderbar unverbraucht. Dann sind da 1815 hatte sein Interesse an ernsten Themen Adaption (Pesaro 1941) von Riccardo Zandonai hat, ist die Situation identisch mit derjenigen noch das Dur-Pathos ihrer Antwort auf Isaccos und groß angelegten Handlungsrahmen verdankte, einem Verismo-Komponisten der im zweiten Akt des Barbiere di Siviglia, in der Enthüllungen im Finale des 1. Aktes und das gesteigert. La gazza ladra setzte diese Avantgarde, dessen Vorlieben sich gegen Ende Figaro sich heimlich über die zögernden herrliche Gefängnisduett, in dem Pippo seine Entwicklung fort, allerdings mit seines Lebens einem durch Rossini inspirierten Liebenden lustig macht. Die Szene aus eigenen anrührenden Antworten hinzufügt; “bürgerlicheren” Inhalten, als es die Neoklassizismus zuwandten. La gazza ladra ist jedoch nicht nur bar und schließlich Ninettas Gebet zu Beginn der Neapolitaner gutgeheißen hëtten. Die Ansonsten ist La gazza ladra eine im großen jeglichen Gefühls von Komödie, sondern Schlußszene, umrahmt von einem unheimlich aufgeschlossene Stimmung der pastoralen und ganzen herkömmlich konzipierte Oper. die rhythmische Bewegung sowie das die instrumentierten Marsch zum Schafott. Auch Szenen nimmt die Vielfalt der Chor- und Weder gibt es für die namengebende Elster Stimmen der Liebenden untermalende wenn die Rolle keineswegs als “Star-Vehikel” Tanzsätze in Rossinis nächster Oper Armida irgendwelche musikalischen Höhenflüge, noch militaristische Ostinato erzählen eine bezeichnet werden kann, interessierte sie doch und seiner letzten, Guillaume Tell vorweg. werden Rossinis eigene Formen – Duette, ganz andere und viel unerbittlichere Sängerinnen wie Colbran und Pasta. Allen Außerdem läßt sich im Orchester eine größere Terzette, traditionell aufgebaute Finales und Geschichte. Berichten zufolge war die bewußt und Bandbreite sowie erhöhte handwerkliche

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Sorgfalt konstatieren. Aus der Reprise von Mitarbeit an der Inszenierung einer seiner sondern auch seinen noch berühmteren Lehrer abgemessenen Abstände zwischen den Ninettas Marsch zum Schafott entsteht, eigenen Opern detailliert dokumentiert wird Paolo Landriana als Verantwortliche für das Musikern sowie die beste Art und Weise, die während sich der Zug durch das Dorf windet, –, die gerade das belegen, was gut informierte Bühnenbild zu engagieren. Notenständer zu beleuchten. Die ein komplexes Ensemble: Fortissimo-Streicher Rossini-Anhänger schon immer gewußt haben, Nachdem eine Bitte an seine alte Freundin Koordination zwischen Bühnenbildnern und und kleine Trommel, Holzbläser und was aber durch das gängige Bild des müßigen Rosa Morandi, die Partie der Ninetta zu Technikern wurde in Gang gesetzt. Auch an Pizzicato-Streicher, und Hörner und Bonvivants mutwillig verdeckt wurde, nämlich übernehmen, im Sande verlaufen war, den Aufenthaltsort der Elstern-Attrappe wurde Smorzando-Klarinetten. seine enorme Arbeitsfähigkeit sowie die engagierte Rossini die achtzehnjährige noch einmal erinnert. Die Entdeckung des Horts der Elster und akribische Aufmerksamkeit, die er jedem Giuseppina Ronzi De Begnis zusammen mit Der ganze Aufwand hatte seinen Preis. Die Ninettas Rettung in letzter Minute sorgen für Detail widmete. ihrem Ehemann Giuseppe De Begnis (zu Gala-Eröffnung am 10. Juni war zwar ein ein strahlendes Ende. Auch wenn er nicht so Der Briefwechsel ermöglicht einen Einblick reduzierter Gage) als Bürgermeister. Durch Triumph, aber kurz danach wurde Rossini von bewegend sein mag, wie der Schluß von in die Geschehnisse ab dem 27.1.1818, und die bei dem Ehepaar De Begnis entstandenen einer “schwerwiegenden Halsentzündung” Beethovens Fidelio, bildet er doch den zwar mit einem Brief von Rossini an die Ersparnisse wurde es möglich, seinen Protegé, heimgesucht. Gerüchte von seinem Tod triumphalen Abschluß einer Oper, die – wie Organisatoren des Projekts, Giulio Perticari den Tenor Alberico Curioni als Giannetto erreichten sogar Neapel und Paris, doch alle reifen Meisterstücke Rossinis, ob Buffa und Antaldo Antaldi. Darin bestätigt Rossini, und Raniero Remorini als Fernando zu glücklicherweise überlebte er und wurde in der oder Semiseria – die Bindungen der daß er darum bemüht sei, zwei Stars der Oper verpflichten. Als Remorini klar wurde, Villa Perticari wieder gesund gepflegt. menschlichen Zuneigung und die Stärke des von Neapel, Colbran und Nozzari, zu daß er der Dreh- und Angelpunkt der Von dem positiven Empfang, der La gazza menschlichen Geistes angesichts einer Welt engagieren, und zwar um seine neuste gesamten Oper war, erwies er sich als teuer ladra zuteil geworden war, ermutigt, kehrte voller Unordnung feiert. neapolitanische Oper Armida auf die Bühne und auch schwierig. “Seinetwegen bin ich Rossini im folgenden Mai nach Pesaro zurück, zu bringen. Die Verhandlungen zogen sich drei Tage durch die Hölle gegangen. nur um dort von Raufbolden im Dienste von * * * * * * * über zwei Monate hin, und während dieser O welche Misere!” rief Rossini aus, denn Bartolomeo Bergami, dem Liebhaber von Der riesige Erfolg von La gazza ladra im Jahre Zeit wurde deutlich, daß Pesaro weder in der Remorini bestand auf einem zusätzlichen Caroline, Prinzessin von Wales, der getrennt 1817 in Mailand zog einen besonders Lage war, sich solche berühmten Künstler zu Solo. von ihrem Mann lebenden Ehefrau des interessanten Nebeneffekt nach sich: eine leisten, noch zu sagen, wann sie eventuell doch Im Vergleich zu der Mühe, die sich Rossini englischen Prinzregenten, aus der Stadt verjagt Inszenierung der Oper für die Gala-Eröffnung benötigt würden. Schließlich wurde La gazza wegen der Produktion selbst machte, war das zu werden. Rossini war siebenundzwanzig, eines neuen Opernhauses in Rossinis ladra ausgewählt, obwohl es sich dann jedoch noch gar nichts. Ein durch und durch und obwohl er sechsundsiebzig Jahre alt Geburtsort Pesaro im Juni 1818 unter der herausstellte, daß sie ebenso schwer zu besessener Perfektionist, bestand er darauf, nur werden sollte, kehrte er nie wieder nach Pesaro Oberaufsicht des Komponisten selbst. besetzen war und die Inszenierung sogar noch die besten Instrumentalisten der Gegend für zurück. Es gibt noch Briefe – die einzigen uns teurer wurde, und zwar nicht zuletzt weil sich zu gewinnen. Die Sitzordnung des erhalten gebliebenen in denen Rossinis Rossini darauf bestand, nicht nur Sanquirico Orchesters wurde festgelegt, auch die genau © 2003 Richard Osborne

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Handlung 11 – 13 Dann kommt endlich der Moment, so wutentbrannt, daß der Schwindel fast COMPACT DISC TWO auf den alle gewartet haben: Giannetto auffliegt. 22 Während alle drei abgehen, fliegt Vor langer Zeit in einem kleinen französischen kommt! Der Wein fließt in Strömen. Lucia die Elster herab und stiehlt einen von Lucias 2. Akt Ort… verschwindet bald mit ihrem Sohn, um Silberlöffeln. 1. Szene Familienmitglieder zu besuchen, und überläßt 1 – 2 Dem gutmütigen Gefängniswärter COMPACT DISC ONE es Ninetta, das Fest vorzubereiten. 14 Kaum 2. Szene Antonio tut Ninetta leid. Deshalb verspricht ist ihr Geliebter fort, da taucht Ninettas 23 Isacco kommt erneut vorbei, und Ninetta er, eine Nachricht an Pippo weiterzuleiten und 1 – 2 Ouvertüre Vater, Fernando Villabella, der auch aus dem verkauft ihm das Silber ihres Vaters. Giannetto erlaubt Giannetto sie zu besuchen. Sie Krieg zurückgekehrt ist, auf. 15 – 17 Er kehrt mit seiner Familie zurück und wird überzeugt ihren Geliebten von ihrer Unschuld, 1. Akt bringt jedoch keine willkommenen dem Bürgermeister vorgestellt. Lucia entdeckt, 3 – 4 doch das Treffen wird durch die 1. Szene Neuigkeiten: nach einem Streit mit seinem daß ein Löffel fehlt, was den Bürgermeister Ankunft des Bürgermeisters unterbrochen. Er 3 – 5 Im Hause Fabrizio und Lucia Vorgesetzten wurde er als Deserteur zum dazu veranlaßt, auf eine sofortige kommt, um Ninetta einen einfachen Handel Vingraditos herrscht große Aufregung, da Tode verurteilt. 18 Da er kein Geld hat, gibt Untersuchung zu bestehen. Er warnt, daß das anzubieten: wenn sie seinen Annäherungs- am heutigen Tage ihr Sohn, Giannetto, aus er seiner Tochter zwei Stücke des Gesetz in solchen Fällen häuslichen Diebstahls versuchen nachgibt, kommt sie frei. Ihre dem Krieg zurückkehren soll. Ein großes Familiensilbers zum Verkauf, damit er die äußerst stren sei: sie werden mit der Todesstrafe Antwort ist unmissverständlich – sie würde Fest ist geplant, und es scheint, als wolle Kosten seiner Flucht bezahlen kann. Die geahndet. 24 Aufgrund der vereinten lieber sterben, als sich ihm hingeben. 5 Bevor die gesamte Nachbarschaft mithelfen. Lage wird noch komplizierter als der Bemühungen Lucias und des eifersüchtigen der Bürgermeister weitere Argumente für sich 6 – 8 Niemand ist aufgeregter als Ninetta, Bürgermeister eintritt, entschlossen, Ninettas Bürgermeisters fällt der Verdacht bald auf anführen kann, wird er in den Gerichtssaal das Dienstmädchen der Vingraditos, die Zuneigung zu gewinnen. Sie gibt vor, ihr Ninetta. In ihrer Verwirrung läßt sie das Geld, gerufen, 6 doch Antonio hat das Ganze mit Giannetto von ganzem Herzen liebt. Es wird Vater sei ein vorbeiziehender Bettler. das sie von Isacco bekommen hat, fallen. angehört und entschließt sich, Ninetta, wo er allgemein angenommen, daß die beiden Der Gehilfe des Bürgermeisters, Giorgio, 25 Der Hausierer wird herbeigeholt: obwohl er nur kann, zu helfen. Ninetta bittet Pippo, heiraten werden (eine Vermutung, die sogar bringt einen Haftbefehl gegen Fernando. die Gabel und den Löffel bereits wieder Geld für ihren Vater in ein ausgemachtes die Zustimmung der Hauselster findet), doch 19 – 21 Da der Bürgermeister seine Brille verkauft hat, erinnert er sich, daß sie das Versteck zu bringen. 7 – 9 Sie versucht ihm Lucia ist gegen die Verbindung und scheint vergessen hat, bittet er Ninetta ihm den Monogramm F.V. trugen. 26 – 27 Dies sind das Kreuz, das sie um den Hals trägt, zu Ninetta für das kürzliche Verschwinden einer Haftbefehl vorzulesen. Sie beschreibt auch Fernandos Initialen, aber in ihrem verkaufen, doch er besteht darauf, ihr das Geld Silbergabel verantwortlich zu machen. jemanden, der ihrem Vater so wenig wie verzweifelten Versuch ihren Vater zu schützen, zu leihen. Sie verabschieden sich voller Trauer 9 Der örtliche Hausierer, Isacco, erscheint möglich ähnelt, doch als der Bürgermeister kann Ninetta ihre Unschuld nicht beweisen. voneinander. und erkundigt sich nach Ninetta, 10 doch ein sie weiter mit seinen unerwünschten 28 Auf Anordnung des Bürgermeisters wird sie 10 – 14 Ninetta wird vor Gericht gestellt, anderer Bediensteter, Pippo, schickt ihn fort. Aufmerksamkeiten bedrängt, ist Fernando ins Gefängnis gebracht. für schuldig befunden und zum Tode

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verurteilt. 15 – 17 Fernando dringt in den Schüsse verhallen, und ihnen scheint die (Così fan tutte) für die Oper von Las Palmas; profiliert. Zu seinen Rollen gehören Rakewell Gerichtssaal ein und will versuchen, das Leben Wahrheit zu dämmern: es ist zu spät. 23 Doch La Comtesse Adèle (Le Comte Ory) für die in The Rake’s Progress für die English National seiner Tochter zu retten, doch er kommt zu nein – man sieht Ninetta den Hügel Glyndebourne Touring Opera; Elsie Maynard Opera; Belfiore und Libenskof (Il viaggio a spät. Er wird ins Gefängnis und sie zum hinunterkommen! Warum also die Schüsse? (The Yeomen of the Guard ) für die Welsh Reims) in Bologna; Oreste (Ermione) für die Schafott gebracht. Freudenschüsse! 24 Ninetta gesellt sich zu National Opera; Melissa (Händels Amadigi) in Santa Fe Opera; Tamino (Die Zauberflöte) für ihren feiernden Freunden, doch noch hat sie einer Inszenierung der Opera Theatre die Salzburger Festspiele, La Monnaie, 2. Szene keine Ruhe. Wo ist ihr Vater? Wie auf Company beim Covent Garden Festival; und Opernhaus Leipzig, Glyndebourne Touring 18 Aus heiterem Himmel taucht Ernesto auf. Stichwort erscheint er mit seinem Retter die Titelrolle in der britischen Erstaufführung Opera und Scottish Opera; Nemorino (L’elisir Er ist ein Freund Fernandos aus der Armee, Ernesto. 25 Nun können alle das glückliche von Gavin Bryars’ Medea für BBC Scotland. d’amore) für die Oper Frankfurt und English der eine königliche Begnadigung für Ninettas Ende genießen. Das heißt, alle außer dem Weitere Rollen waren die Englische Tänzerin National Opera; Don Ramiro (La Cenerentola) Vater bei sich trägt und das Haus des Bürgermeister, der in einer selbstgeschaffenen in John Adams’ The Death of Klinghoffer am Stadttheater Basel; Flute (A Midsummer Bürgermeisters sucht. Pippo beschreibt ihm Tragödie gefangen bleibt. (Concertgebouw Amsterdam) unter der Night’s Dream) für die Metropolitan Opera den Weg und erhält zur Belohnung eine neue Leitung von Edo de Waart sowie Marguerite und Glyndebourne Festival Opera; die Silbermünze. Doch die Elster schnappt sie ihm © 2003 Daniel Slater in Huit Scènes de Faust (La Fenice Venedig), Titelrolle in Candide für die Chicago Lyric aus der Hand und fliegt damit hinauf zum Übersetzung: Bettina Reinke-Welsh dirigiert von Jeffrey Tate. Opera; Arnalta (L’incoronazione di Poppea) für Glockenstuhl. Pippo und Antonio klettern der In ihrer Diskographie sind hervorzuheheben die San Francisco Opera; Edgardo (Lucia di Diebin hinterher. 19 – 20 Unterdessen wird Die irische Sopranistin Majella Cullagh eine Gesamtaufaufnahme von Wallaces Lammermoor) für die Welsh National Opera; Ninetta zu ihrer Hinrichtung geführt, begleitet studierte bei Maeve Coughlan an der Cork Maritana, Mendelssohns 2. Sinfonie sowie Aufidio (Lucio Silla) für die Salzburger von einer Menge, die versucht ihr Trost School of Music und am National Opera Donizettis Zoraida di Granata, Rossinis Bianca Festspiele und die Oper Frankfurt; Andres zuzusprechen. Das Mädchen sagt ein paar Studio London. Sie setzt ihre e Falliero und Elisabetta regina d’inghilterra (Wozzeck) in Frankfurt; Don Narciso (Il turco tapfere letzte Worte und geht dann ihrem Gesangsausbildung bei Gerald Martin Moore und Mercadantes Zaira für Opera Rara. Für in Italia) in Brüssel und Paris; und Schicksal entgegen. 21 – 22 Vom Turm aus fort. Chandos/Peter Moores Foundation hat sie die L’Astrologue (Le coq d’or) am du Théâtre rufen Pippo und Antonio aufgeregt Giorgio Ihre Opernrollen umfassen Donna Anna Donna Anna in Don Giovanni aufgenommen. Châtelet in Paris. zu, daß sie nicht nur die Silbermünze, sondern (Don Giovanni), Gräfin Almaviva (Le nozze di Barry Banks ist auch der Konzertbühne auch Lucias Besteck im Nest der Elster Figaro) und Micaela (Carmen) für die Opera Seit seinem Abgang vom Royal Northern verpflichtet; so hat er bei Rossinis Petite Messe gefunden haben! Sie läuten die Glocken und North; Ninetta (La gazza ladra) für die College of Music (wo er als Peter-Moores- solennelle mit dem Royal Philharmonic rufen: “She is innocent!”. Eine Menge Garsington Opera; Adina (L’elisir d’amore) für Stipendiat studierte) hat sich Barry Banks mit Orchestra unter Daniele Gatti mitgewirkt, in versammelt sich und gibt die Neuigkeit weiter, die Königlich-Dänische Oper; Massenets herausragenden Opern- und Konzertauftritten Fidelio mit dem City of Birmingham aber kann Ninetta rechtzeitig gerettet werden? Manon für die New Zealand Opera; Fiordiligi als einer der Spitzentenöre seiner Generation Symphony Orchestra unter Walter Weller, in

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Brittens War Requiem mit dem Orchestre Sein Repertoire umfasst die Titelrolle in Mitbegründer des English Music Theatre. Jeremy White, in Liverpool geboren und in Philharmonique de Strasbourg unter Jan Le nozze di Figaro, Agamemnon (Iphigénie en Danach trat er der Welsh National Opera bei, Oxford ausgebildet, erfreut sich einer Latham-Koenig, in Bruckners Requiem mit Aulide), Podestà (La gazza ladra), Siegfried wo er die Titelrollen in Billy Budd und Eugen internationalen Karriere als Opern-, Konzert- dem Scottish Chamber Orchestra unter Sir (Genoveva), Dulcamara (L’elisir d’amore), Onegin, Papageno (Die Zauberflöte), Figaro und Schallplattenkünstler, mit einem Charles Mackerras sowie bei einer Aufführung Masetto (Don Giovanni ), Förster (Das schlaue (Il barbiere di Siviglia), Graf Almaviva Repertoire von der Alten Musik bis in die von Rossinis Armida beim Edinburgh Festival Füchslein), Leporello (Don Giovanni ), Dandini (Le nozze di Figaro) und Fürst Jeletzki (Pique jüngste Zeit. Mit Dirigenten wie Trevor unter Carlo Rizzi. (La Cenerentola), Faninal (Der Rosenkavalier), Dame) sang. Pinnock, Andrew Parrott, Adam Fischer und Aufgenommen hat er u.a. Nemorino Papageno (Die Zauberflöte), Ned Keene Nach seinem Austritt aus der Welsh Harry Christophers führt er seit langem Musik (The Elixir of Love), Ernesto (Don Pasquale), (Peter Grimes), Scarpia (Tosca), Marcello National Opera gastierte er an der Royal von Bach, Händel und Mozart auf, während er Don Ottavio (Don Giovanni), und Fenton (La bohème), Sharpless (Madama Butterfly) Opera Covent Garden und an der English Werke des 20. Jahrhunderts, u.a. von Webern (Falstaff ), alle für Chandos/Peter Moores und die Titelrolle in Don Pasquale. Auslands- National Opera. Weitere Rollen waren und Britten, unter der Leitung von Boulez Foundation, sowie Un ballo in maschera und verpflichtungen haben ihn nach Paris, Dublin, Monteverdis Orfeo (Opéra de Lausanne), und Graf gesungen und an Augfführungen der Trial by Jury; außerdem hat er bei Videofilmen Beaune, Lissabon und Barcelona geführt. Sharpless (Deutsche Staatsoper Berlin und Musik von Luciano Berio, Arvo Pärt und John von Billy Budd und Die Entführung aus dem Christopher Purves verfügt über ein breit Castleward Opera), Aeneas und Arbace Adams unter Leitung der Komponisten Serail mitgewirkt. gefächertes Konzertrepertoire, das von (Idomeneo, De Vlaamse Opera), Redburn mitgewirkt hat. Konzertreisen haben ihn Charpentier und Händel bis zu Strawinsky, (Billy Budd, New Israeli Opera) und Fernando durch ganz Europa, in die USA, nach Brasilien Christopher Purves war Chorstipendiat am Honegger und James MacMillan reicht, und (La gazza ladra, Garsington Festival). Weitere und Israel geführt. King’s College Cambridge, wo er Anglistik ist mit vielen namhaften Ensembles Stationen waren die Hamburgische Staatsoper, Seine Rollen umfassen Kecal (Die verkaufte studierte. Anschließend trat er vier Jahre lang aufgetreten, u.a. St. James’ Baroque Players, Wiener Volksoper, Opéra National de Paris- Braut ) an der Royal Opera Covent Garden; mit der Gruppe Harvey and the Wallbangers Scottish Chamber Orchestra, The Sixteen, Bastille, De Nederlandse Opera, Opera Zuid, Warlaam (Boris Godunov) und die Titelrolle in auf, bevor er seine Gesangsausbildung bei Gabrieli Consort, Royal Liverpool Amsterdam, Antwerpen, Basel, Brüssel, Rossinis The Turk in Italy für die English David Keren wiederaufnahm; heute studiert er Philharmonic Orchestra, Britten Sinfonia, Frankfurt, Madrid, Nancy, New York, San National Opera; Superintendent Budd (Albert bei Diane Forlano. Academy of Ancient Music, London Sebastian, Vancouver und in Großbritannien Herring), König von Ägypten (Aïda), Dikoj Als Opernsänger ist Christopher Purves an Sinfonietta und City of London Sinfonia. die Scottish Opera, Welsh National Opera (Katja Kabanowa), Talbot (Giovanna D’Arco) der English National Opera, Scottish Opera, und Opera North. und Tiresias (Oedipus Rex) für die Opera Welsh National Opera, Opera North, Russell Smythe ist einer der international Er hat eine Reihe von Rollen für Opera North; sowie La bohème bei den Bregenzer Birmingham Opera Company und Opera erfolgreichsten Baritone Großbritanniens. Er Rara aufgenommen, darunter Edoardo III Festspielen. Northern Ireland sowie bei den Festspielen studierte an der Guildhall School of Music (L’Assedio di Calais) und Teucer (Rameaus Zu seinen Schallplattenaufnahmen gehören von Garsington und Edinburgh aufgetreten. und am London Opera Centre und war 1976 Dardanus). Händels Israel in Egypt, Monteverdis Vespern

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und, für Chandos, The Pilgrim’s Progress von Paris-Bastille, San Francisco Opera, Vlaamse Melissa (Princess Ida), Bird (Blond Eckbert), Heruntergekommener Bauer (Lady Macbeth Vaughan Williams und Brittens Paul Bunyan, Opera und New Israeli Opera, zu den Proserpina (Orfeo), Flora (La traviata), Pitti von Mzensk) und Anatol (Krieg und Frieden). beide unter der Leitung von Richard Hickox. Festspielen von Hongkong und Göttingen Sing (The Mikado), Mercédès (Carmen), Als international gefragter Sänger ist er sowie nach Japan geführt. Schwester Pflegerin (Sister Angelica), Hänsel regelmäßig zu Gast in Paris, Amsterdam, Susan Bickley wurde in Liverpool geboren Im Rahmen ihres umfangreichen (Hansel and Gretel ) und Schwester Mathilde Brüssel, Salzburg, Stuttgart, Toronto, und studierte Musik an der City University Konzertprogramms hat Susan Bickley Ligetis (The Carmelites) sang. Vancouver, Lissabon, Rom und Antwerpen, London und an der Guildhall School of Requiem bei den Salzburger Festspielen, Sie ist mit dem Scottish Chamber u.a. als Maler (Lulu), Sapkin (Aus einem Music, wo sie mit der Goldmedaille für Sänger Nicholas Maws Scenes and Arias, Benjamins Orchestra, dem Scottish Early Music Consort Totenhaus), Basilio, Achilles (King Priam) und ausgezeichnet wurde. Sie gab ihr Operndebüt Upon Silence und Strawinskys Requiem und dem National Youth Orchestra of Wales Lenski (Eugen Onegin). Weitere Rollen waren als Proserpina in Monteverdis Orfeo beim Canticles bei den BBC Proms sowie aufgetreten und hat Solokonzerte beim North Alwa (Lulu), Mime (Der Ring des Nibelungen), Maggio Musicale Fiorentino. Beethovens Missa Solemnis mit Les Arts Wales Music Festival und in St. John’s Smith Sylvester (The Silver Tassie), Valzacchi und Zahlreiche weitere Opernrollen folgten, u.a. Florissants in Wien und Paris gesungen. Square, London, gegeben. Sellem (The Rake’s Progress), alle an der English Florence Pike (Albert Herring), Marcellina Spitzendirigenten wie Sir Andrew Davis, Weitere Rollen waren Cherubino, Rosina National Opera; Mr. Upfold (Albert Herring) (Le nozze di Figaro), Kostelnicka (Jenu˚fa), Sir Roger Norrington, Gennadi und Dorabella für die Grange Park Opera, an der Opera North; und Tanzmeister Hippolyta (A Midsummer Night’s Dream), Rozhdestvensky, Nicholas McGegan, Paul Il mondo della muna und La gazza ladra in (Ariadne auf Naxos) an der Royal Opera und Mrs. Sedley (Peter Grimes) für die McCreesh, Mark Wigglesworth, Oliver Garsington und Stewardess (Flight) für die Covent Garden. Glyndebourne Festival Opera; Anna Knussen, William Christie und Robert King Nationale Reisopera in Holland und De John Graham-Hall hat mit vielen (The Electrification of the Soviet Union), haben ihre Aufführungen geleitet. Vlaamse Opera. namhaften Dirigenten zusammengearbeitet, Kabanicha (Katja Kabanowa), Donna Elvira Sie hat Händels Serse, Theodora und u.a. Bernard Haitink, Nikolaus Harnoncourt, (Don Giovanni), Nan (New Year) und Irene Solomon, Purcells The Fairy Queen und Dido John Graham-Hall gehört der English Pierre Boulez, Andrew Davis, Sir Simon (Theodora) für die Glyndebourne Touring and Aeneas, sowie Rubbras Ode to the Queen National Opera an und ist mit allen Rattle, John Eliot Gardiner und Claudio Opera; Feodor (Boris Godunow) für die für Chandos aufgenommen. namhaften Opernensembles Großbritanniens Abbado. Seine Konzertkarriere hat ihn durch Royal Opera Covent Garden; Cassandra aufgetreten, in Rollen von Albert Herring, ganz Europa geführt, er ist mit allen großen (The Trojans), Dorabella (Così fan tutte), Nerys Jones wurde in Wales geboren und Kudrjás (Katja Kabanowa), Flute und Lysander britischen Orchestern aufgetreten und in Andromache (King Priam), Kurfürstin studierte an der Royal Scottish Academy of (A Midsummer Night’s Dream), Bob Boles London regelmäßig im Barbican und im (The Prince of Homburg), Twice Through the Music and Drama bei Patricia MacMahon. (Peter Grimes), Valzacchi (Der Rosenkavalier) South Bank Komplex zu erleben. Er hat Heart und Meg Page (Falstaff ) für die English 1994 trat sie der English National Opera bei, und Cassio (Otello) über Eisenstein, Ferrando, Peter Grimes für Chandos, L’incoronazione National Opera. Auslandsverpflichtungen wo sie in sechs Spielzeiten Rollen wie Basilio, Monostatos, Aschenbach (Death in di Poppea, Carmina Burana und A Midsummer haben sie auch an die Opéra National de Cherubino, Despina, Zerlina, Zweite Dame, Venice) und Herodes (Salome) bis zu Night’s Dream aufgenommen.

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Stuart Kale gilt auf der internationalen am Théâtre du Châtelet in Paris; Bob Boles Requiems von Mozart und Fauré, Haydns Festival Theatre aufgetreten. Zu ihren vielen Opernszene als einer der besten singenden (Peter Grimes) an der Münchner Staatsoper, in Schöpfung und Bachs Messe h-Moll. Bühnenverpflichtungen gehören Just the Three Schauspieler. Das Repertoire dieses Covent Garden, Genua und Straßburg; of Us (Regie: Peter Hall), A Perfect Ganesh und Vollblutmusikers ist denkbar breit gefächert Captain Vere (Billy Budd ) in Köln; Albert Nicholas Garrett studierte am Trinity College Happy Days (Regie: Jude Kelly), Single Spies und reicht von Monteverdi bis Messiaen. Er Gregor (Die Sache Makropulos) in Straßburg, of Music und wurde mit dem Wolfson (Regie: Alan Bennett/Simon Callow), begann seine Karriere an der Welsh National an der State Opera of South Australia, in Foundation Award ausgezeichnet. Er hat Quartermaine’s Terms (Regie: Harold Pinter), Opera, bevor er der English National Opera Drottningholm, Turin und Parma. Barone Douphol (La traviata) für die English und The Merchant of Venice (Regie: Timothy beitrat, wo er in seinen acht Jahren u.a. Don Für Chandos/Peter Moores Foundation hat National Opera, Colline (La bohème) für West). Die Fernsehzuschauer kennen sie aus Ottavio (Don Giovanni ), Michael in Martinu°s er u.a. Boris Godunov (Auszüge), Madam Scottish Opera Go Round, Escamillo Sendungen wie Fawlty Towers, Silent Witness, Julietta, Alfred (Die Fledermaus) und Nanki- Butterfly, Otello und Falstaff aufgenommen. (Carmen) für die Opera North, Dalziel and Pascoe, Midsomer Murders, Poo in Jonathan Millers Inszenierung von Commendatore/Masetto (Don Giovanni ) für What the Butler Saw, The Merry Wives of The Mikado sang. 1987 leitete er seine Der Bariton Toby Stafford-Allen studierte bei die Pimlico Opera, Sparafucile (Rigoletto), Windsor, A Question of Attribution und blühende Karriere als freischaffender Sänger Robert Alderson am Royal Northern College Figaro (Le nozze di Figaro) und Nourabad Breaking the Code. Prunella Scales wurde 1992 mit dem Hauptmann (Wozzeck) an der Opéra of Music, wo er u.a. Figaro (Le nozze di (Les Pêcheurs de perles) für die English Touring mit dem britischen Verdienstorden CBE du Rhin in Straßburg und in Nancy ein, bevor Figaro), die Titelrolle in der Baritonfassung Opera, Sourin (Pique Dame) für die Scottish gewürdigt. er als Herodes (Salome) an der English von Werther und den Altgesellen ( Jenu˚fa) Opera, Jenkins (Of Thee I Sing) für die Opera National Opera gastierte. sang. Anschließend trat er der English North, Nikititsch und Tschernikowski (Boris Geoffrey Mitchells Gesangskarriere hat ihm Bedeutende Rollen waren der Oberpriester National Opera bei und sang mit diesem und Godunow) für die Opéra de Nantes sowie für ein bemerkenswert breitgefächertes Repertoire in Idomeneo für die Royal Opera Covent anderen britischen Ensembles Valletto die Grange Park Opera, Opera Holland Park von der alten bis zur neuen Musik beschert Garden; Hauptmann (Wozzeck) in San (L’incoronazione di Poppea), Henry (The Fairy und Almeida Opera gesungen. 2001 und ihn nach Skandinavien, Deutschland, in Francisco, Genf, Zürich, Montpellier, Queen), Papageno (Die Zauberflöte), Fiorello debütierte er an der Royal Opera Covent die ehemalige Tschechoslowakei, nach Kanada Bordeaux und Bologna; Schuiski (Boris (Il barbiere di Siviglia), Barone Douphol Garden in Palestrina. und Australasien geführt. Nachdem er bei der Godunow) in Straßburg, Bordeaux und (La traviata) und Schaunard (La bohème). BBC erste Dirigiererfahrungen gesammelt Montpellier; Quint (The Turn of the Screw) Zu seinen Festspielrollen gehören Guglielmo Prunella Scales besuchte die Old Vic Theatre hatte, begann er mit eigenen Sängern zu und Truffaldino (The Love for Three Oranges) (Così fan tutte) in Aix-en-Provence, Mars und School und studierte bei Uta Hagen in New arbeiten und gründete den Geoffrey Mitchell für die English National Opera; Sinowi Euro in Cestis Il pomo d’oro in Batignano, York. Sie hat in Repertoiretheatern in Choir. Aus ersten Aufnahmen entwickelte sich (Lady Macbeth von Mzensk) in Toulouse und Schaunard in Bregenz und Grimbald und Huddersfield, Salisbury, Oxford, Bristol und eine langfristige Zusammenarbeit des Chors Marseille; die Titelrolle von Idomemeo in Aeolos in Purcells King Arthur in Kings Lynn London (Old Vic) gespielt und ist in mit Opera Rara, für die er über dreißig Drottningholm; die drei Tenorrollen von Lulu Norfolk. Sein Oratorienrepertoire umfasst die Stratford-upon-Avon und am Chichester Tonträger aufgenommen hat. Der Chor

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genießt wachsendes Ansehen und ist bei der Das Philharmonia Orchestra ist in der L’elisir d’amore, Lucia di Lammermoor, Faust, London Philharmonic Orchestra auf. 1996 gab BBC und internationalen Plattenfirmen Royal Festival Hall ansässig und nimmt eine Carmen, Aida, La bohème, Madama Butterfly, er sein Debüt beim Glyndebourne Festival mit gefragt. Für Chandos hat der Geoffrey zentrale Position im Musikleben Turandot, die preisgekrönte Tosca und Così fan tutte und hat dort 1998 die Mitchell Choir an zahlreichen Aufnahmen der Großbritanniens ein, nicht nur durch seine Opernarien in Solorecitals mit Elizabeth Futral, Uraufführung von Jonathan Doves Flight hervorragend kritisierten Reihe Opera in Londoner Konzerte, sondern auch durch feste Bruce Ford, Diana Montague, Dennis O’Neill, geleitet. English unter der Schirmherrschaft der Peter Kontakte mit Aufführungsstätten in anderen Alastair Miles, Yvonne Kenny und John Er ist häufig in Spanien zu Gast und hat mit Moores Foundation teilgenommen. Teilen des Landes, die eine ideale Gelegenheit Tomlinson aufgenommen. Das Philharmonia den meisten bedeutenden spanischen für die Erweiterung seines dynamischen und Orchestra untermauert seinen internationalen Orchestern Konzerte gegeben. In Madrid hat er Das Philharmonia Orchestra, eines der bevölkerungsnahen musikpädagogischen Rang durch regelmäßige Tourneen und die spanische Uraufführung von Peter Grimes großen Orchester der Welt, steht nun bereits Programms bieten. Das Orchester ist mit Gastauftritte an berühmten Häusern wie dem dirigiert, und 1996 die erste spanische im sechsten Jahr unter der Leitung seines zahlreichen Preisen ausgezeichnet worden und Châtelet Théâtre Musical in Paris, dem Inszenierung von The Rake’s Progress. Er ist in berühmten deutschen Chefdirigenten hat beispiellose kritische Unterstützung für Megaron in Athen und dem Lincoln Center Deutschland, der Schweiz und den Christoph von Dohnányi. Er setzt eine seine innovative Programmpolitik gewonnen, for the Performing Arts in New York. Niederlanden aufgetreten, bei den Festspielen in Tradition fort, die mit Otto Klemperer begann die in ihrem Kern der Bestellung und Pesaro, beim Hong Kong International Festival, und über Lorin Maazel (Erster Gastdirigent), Darbietung neuer Musik von führenden David Parry hat bei Sergiu Celibidache studiert in Japan anläßlich einer Carmen-Tournee und Riccardo Muti (Chefdirigent und Komponisten unserer Zeit verpflichtet ist. und seine berufliche Laufbahn als Assistent von in Mexiko mit dem UNAM Symphony Musikalischer Leiter), Giuseppe Sinopoli Die Konzerte des Orchesters werden immer Sir John Pritchard begonnen. Er hat am English Orchestra. Zu den Neuproduktionen, die er in (Musikalischer Leiter) bis zu Kurt Sanderling häufiger von BBC Radio 3 übertragen, nicht Music Theatre debütiert und wurde dann letzter Zeit dirigiert hat, zählen Fidelio beim (Emeritierter Dirigent), Vladimir Ashkenazy zuletzt im Rahmen der jährlichen BBC Proms. Dirigent mit Festvertrag an den Städtischen New Zealand Festival, Lucia di Lammermoor an (Ehrendirigent) und Sir Charles Mackerras Mit über 1000 Schallplattenaufnahmen Bühnen Dortmund und an der Opera North. der New Israeli Opera und Don Giovanni an (Hauptgastdirigent) führt, aber auch die verfügt das Philharmonia Orchestra über die Von 1983 bis 1987 war er Musikdirektor der der Staatsoper Hannover. Zusammenarbeit mit Wilhelm Furtwängler, größte Orchesterdiskographie der Welt, die Opera 80 und seit 1992 Gründungsmitglied Seine Tätigkeit im Aufnahmestudio umfaßt Richard Strauss, Arturo Toscanini, Guido auch Fernseh- und Filmmusik beinhaltet, und und Direktor der Almeida Opera. die Produktion von Marschners Der Vampyr Cantelli, Herbert von Karajan und Carlo genießt weltweit höchstes Ansehen. Das Er übt in Großbritannien und international fürs BBC-Fernsehen und achtundzwanzig Maria Giulini einbezog. Das Orchester Orchester hat für Opera Rara mehrere Recitals eine weitgespannte Tätigkeit in den Bereichen vollständige Opernaufzeichnungen unter der verpflichtet weiterhin Gastdirigenten und sowie elf komplette Opern eingespielt und in Oper und Konzert aus, hat mehrere Schirmherrschaft der Peter Moores Solisten von Weltrang, während einige der der Reihe “Opera in English” für Chandos mit Produktionen der English National Opera und Foundation. Darunter befinden sich zahlreiche größten europäischen Nachwuchstalente in Unterstützung durch die Peter Moores der Opera North dirigiert und tritt regelmäßig Aufnahmen der Reihe Opera Rara, die seine Reihen aufgenommen werden. Foundation Carmen, Wozzeck, Don Giovanni, mit dem Philharmonia Orchestra und dem mehrere Preise gewonnen haben, beispielsweise

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den belgischen Prix Cecilia für Donizettis Don Giovanni, Don Pasquale, L’elisir d’amore, Rosmonda d’Inghilterra. Für Chandos hat er die Lucia di Lammermoor, Ernani, Il trovatore, Aufzeichnung einer Serie von Programmen Aida, Faust, Cavalleria rusticana, Pagliacci,

mit Opernarien geleitet (mit Bruce Ford, La bohème, Turandot, die preisgekrönte Tosca Saunders Keith Diana Montague, Dennis O’Neill, Alastair und Highlights aus dem Rosenkavalier, jeweils Miles, Yvonne Kenny, John Tomlinson, Della in Zusammenarbeit mit der Peter Moores Jones und Andrew Shore), außerdem Carmen, Foundation.

At the recording sessions: Susan Bickley, Barry Banks, Nerys Jones and Christopher Purves © Bill Cooper © Bill

Majella Cullagh as Ninetta and Nerys Jones as Pippo in Garsington Opera’s production of The Thieving Magpie

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a pour conséquence de me faire tourner en Paris et qui sont la chasse gardée de Rossini: The Thieving Magpie bourrique; mais le sujet est magnifique, et l’aristocratie et de la haute bourgeoisie. j’espère (plaise à Dieu) que nous ferons un Beau Les Italiens sont moins rigides. Avec des Lorsque le romancier Honoré de Balzac, ami personnages principaux un déserteur de Fiasco. dizaines d’Opéras italiens en quête de deux ou de Rossini, entend La gazza ladra pour la l’armée, et dont le dernier acte inclut une Ce “sujet magnifique” est basé sur une trois nouvelles œuvres à mettre en scène première fois à Paris en 1821, il s’abandonne marche à l’échafaud a certainement le droit à histoire réelle, celle d’une jeune paysanne chaque saison, les scénarios plausibles sont une totalement à l’expérience. “Cet homme sent le un occasionnel “accompagnement guerrier”. française condamnée et pendue pour des vols denrée précieuse. L’opinion intellectuelle vin!”, croasse une femme assise derrière lui, La vérité est que Mount Edgcumbe a horreur qui s’avéreront avoir été commis par une pie. italienne n’a rien non plus contre les emprunts mais Balzac – qui a en effet pris la précaution du bruit. Pour lui, et pour d’autres mélomanes L’événement a donné lieu à toute une série à la littérature populaire. Le “poète de fraîche de boire une bouteille de vin et de fumer deux anglais de la même eau, Rossini est à son d’œuvres de fiction, dont un “mélodrame date” Giovanni Gherardini (1778–1861), cigares avant de se rendre au Théâtre-Italien – époque ce que le Heavy Metal est à la nôtre. historique” ou “mélodrame de boulevard” responsable de la transformation de La Pie peut ignorer le sarcasme. La musique de Lors de la création à Milan, le 31 mai 1817, intitulé La Pie voleuse, mis en scène par voleuse en livret d’opéra italien, est d’ailleurs Rossini est sa nouvelle drogue. le public a vibré aux roulements de caisse claire Théodore Badouin d’Aubigny et Louis-Charles une personnalité milanaise. Médecin de La réaction est tout autre outre-Manche. par lesquels débute l’ouverture, et à l’imposant Caigniez, directeur de théâtre (“le Racine des formation, mais poète, traducteur et Ayant entendu l’opéra à Londres quelques maestoso marziale qui leur fait suite. Ce que boulevards”), au Théâtre de la Porte Saint- philologue par inclination, il gagne sa vie mois plus tôt, Lord Mount Edgcumbe, l’auditoire de la première ne peut savoir, Martin, à Paris, en avril 1815. Stendhal, comme rédacteur en chef du Giornale Italiano, mélomane anglais conservateur s’il en fut, cependant, c’est à quel point l’ouverture est faite biographe français de Rossini, est prompt à journal officiel du royaume d’Italie, nommé à ronchonne et maugrée: sur mesure pour les événements qui vont se railler: ce poste en 1806, à l’âge de 28 ans. Ses finales et maints de ses nombreux pezzi dérouler sur la scène. Il ne s’agit pas là d’un des Pour comble de disgrâce, il paraît que cette Gage de sa curiosité artistique et concertati sont incroyablement tonitruants, et célèbres auto-emprunts rossiniens – morceau vilaine histoire est fondée sur la réalité: une intellectuelle, son adaptation de La Pie voleuse l’abondant recours aux instruments bruyants est écrit antérieurement et que le compositeur pauvre servante fut dans le fait pendue jadis à (pompeusement intitulée Avertissement aux selon moi singulièrement inapproprié au sujet, ressort de ses tiroirs à la costumière – mais d’une Palaiseau, en mémoire de quoi l’on fonda une juges) a été réalisée pour participer à un qui aurait pu être traité de manière touchante et page composée sur mesure, et dont plusieurs messe appelée la messe de la pie. concours du meilleur livret organisé par La est loin de demander un accompagnement aussi thèmes reviennent dans le corps de l’opéra. La remarque de Stendhal reflète le gouffre plus Scala de Milan en 1816. Le premier prix, de guerrier. Dans une lettre à sa mère datant de ou moins infranchissable qui existe en France à mille lires autrichiennes (environ mille deux On peut se demander quel est le sujet de l’époque de la commande de Milan, en mars l’époque entre ces pièces mélodramatiques cents euros aujourd’hui), lui échappe pour l’opéra selon Mount Edgcumbe. Une œuvre 1817, Rossini note: accompagnées de musique auxquelles se aller à une jeune étoile montante du théâtre dont l’action se déroule à une époque J’écris un opéra intitulé La gazza ladra. Le livret pressent par milliers les classes populaires et italien: Felice Romani. Mais le projet de La révolutionnaire, qui compte parmi ses a été versifié par un poète de fraîche date, ce qui moyennes, et les œuvres produites à l’Opéra de Scala, d’offrir le livret de ce dernier à Rossini,

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ne tarde pas à rencontrer des difficultés. Après pourrait sans doute souhaiter un peu plus L’envergure que donne désormais Rossini à Pouchkine, qui voit La gazza ladra à Odessa un échange de lettres entre Rossini et de résolution et d’ardeur militaire”– critique ses drames musicaux lui permet de composer en 1823–1824, inclut une scène similaire dans l’impresario de La Scala, Angelo Petracchi, à avec laquelle il est difficile de ne pas être pour le texte de Gherardini une partition sa pièce Boris Godounov, où le Faux Dimitri l’hiver 1816–1817, c’est finalement le livret de d’accord.) suffisamment imposante pour satisfaire La évite l’arrestation en modifiant les détails du Gherardini qui est choisi. Nous savons grâce à Giannetto a pour projet d’épouser la jeune, Scala, le plus exigeant des théâtres milanais. En mandat d’arrêt qu’un garde analphabète lui une lettre d’un des jurés, Vincenzo Monti, modeste et charmante servante Ninetta, héroïne retour, l’Opéra n’épargne aucune dépense pour donne à lire. Moussorgski a repris cette scène mentor de Romani, que le livret de Gherardini de cet opéra et avatar évident de l’archétype de cette production. Une distribution éminente dans son opéra Boris Godounov, mais il faut a fait bonne impression sur le jury, notamment Cendrillon auquel Rossini s’intéresse clairement. est rassemblée, avec à sa tête Filippo Galli dans avouer que la lecture déclamée de la lettre chez par sa discipline formelle à une époque où, (Les négociations avec La Scala à propos de le rôle de Fernando, et des décors sont le compositeur russe est nettement moins selon Monti, les livrets menacent de n’être plus La gazza ladra se déroulent à l’époque où il écrit commandés à Alessandro Sanquirico, l’un des convaincante que l’usage révolutionnaire fait guère qu’un “amas monstrueux de mots vides et met en répétitions La Cenerentola pour le décorateurs les plus innovants de l’époque. Sa par Rossini de la simple voix parlée. Sans de sens, et rien d’autre”. Teatro Valle de Rome.) Ninetta est elle-même conception de la scène du Tribunal est doute n’y a-t-il rien de surprenant à ce que le Dans le cas de La gazza ladra, la discipline entourée d’une nuée de personnages particulièrement imposante. retour sur scène de La gazza ladra dans les formelle de Gherardini est une vertu secondaires, dont le jeune domestique Pippo, et Dans certains passages, La gazza ladra, en années 1940–1950 ait été en grande partie dû particulière. À l’instar des Aventures de le marchand ambulant Isacco, dont la cavatine reconnaissant sa dette à l’égard du mélodrame à l’adaptation très libre de Riccardo Zandonai M. Pickwick (The Pickwick Papers) de Dickens, geignarde incite Stendhal à invectiver les juifs français, finit par anticiper le style vériste (Pesaro, 1941), compositeur vériste d’avant- qui associe pareillement péripéties enlevées et polonais dans des termes qui lui vaudraient italien. Ninetta elle-même est exactement le garde qui a développé, à la fin de sa vie, un scènes de prison d’une rare noirceur, ce livret aujourd’hui la prison. (Trabuco, dans La forza type de jeune femme douce et victime que l’on penchant pour un néo-classicisme inspiré de propose une riche galerie de portraits esquissés del destino de Verdi, est un évident descendant s’attend à trouver dans les opéras de Puccini; et Rossini. avec empathie, sentimentalité, et originalité d’Isacco.) On trouve encore le personnage c’est elle qui est au centre d’une des scènes les Pour le reste, La gazza ladra adopte en parfois. L’histoire est centrée sur une remarquable de Fernando Villabella, père de plus saisissantes de l’opéra. À l’acte I, le grande partie un schéma classique. La pie communauté campagnarde, sujette du roi mais Ninetta qui a déserté l’armée, mais sans que la Podestat reçoit une lettre décrivant par le éponyme ne donne lieu à aucune envolée de dominée par son podestat, affairé, sadique, faute lui en incombe. On peut seulement détail le déserteur recherché, alors même que fantaisie musicologique, et les formes propres à sorte de Scarpia rural. Au cœur de la imaginer les sentiments de Rossini à la lecture Ninetta et son père sont là, devant lui. Rossini – duos, trios, finales à grand effet – ne communauté se trouvent Fabrizio Vingradito, du livret, devant les humiliations subies par cet Comme il a laissé ses lunettes derrière lui, le sont pas sacrifiés à des considérations réalistes riche fermier affable et amateur de bon vin, sa homme énergique et plein de compassion. Son Podestat demande à Ninetta de lui lire cette à court terme. Malgré l’arrivée imminente du femme Lucia, et leur fils Giannetto, qui propre père, républicain volubile et description, ce qu’elle fait – voix parlée sur Podestat, Ninetta et son père ont droit à leur revient tout juste de la guerre. (Monti estimait foncièrement honnête, a été arrêté et incarcéré accompagnement d’orchestre frémissant –, en cabalette: expression de l’instinct d’ordre de le rôle de Giannetto sous-caractérisé – “on par les Autrichiens à Bologne en 1800. la changeant en cours de lecture. Alexandre Rossini autant que d’une quelconque

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observation paresseuse des formes qu’il a lui- D’aucuns reprochent au personnage de duo avec Ninetta, à l’acte I, et son semiserio – les liens de l’affection humaine et la même contribué à instituer. Tout au long de Ninetta de manquer de relief, mais c’est passer intervention lors de la scène du tribunal résistance de l’esprit humain face à un monde l’opéra, c’est au travers de la musique même – à côté de sa simplicité et de la justesse des annoncent certaines pages du Verdi de la chaotique. et du rythme notamment – que s’expriment pages écrites pour elle par Rossini. Sa cavatine maturité. les sentiments d’extase, de libération, de est une merveille de fraîcheur, avec sa cabalette Son départ pour Naples en 1815 a amené * * * * * * * confusion ou d’imbroglio. Lorsqu’Antonio, le sans fioritures inutiles et d’une grande Rossini à se tourner vers les sujets graves et les L’immense succès de La gazza ladra à Milan en geôlier au bon cœur, essaie de séparer Ninetta spontanéité rythmique. Relevons aussi la scène formes vastes. La gazza ladra développe cette 1817 a une conséquence fort intéressante: une et Giannetto, de crainte que le Podestat ne pathétique, en majeur, où elle est confrontée tendance, même si son sujet est plus production de l’opéra, supervisée par Rossini découvre qu’il a autorisé la jeune fille à sortir aux révélations d’Isacco dans le finale de “bourgeois” que ceux généralement en faveur à lui-même, pour le gala d’ouverture d’un quelques instants de sa cellule, la situation est l’acte I; le duo exquis de la prison, donnant à Naples. L’ambiance débridée des scènes nouveau théâtre d’opéra à Pesaro, sa ville identique à celle de l’acte II du Barbier de Pippo des réparties également touchantes; et sa pastorales annonce la variété des scènes natale, en juin 1818. Séville, où Figaro en est réduit à railler en prière au début de la dernière scène, encadrée chorales et dansées de l’opéra suivant de Des lettres ont survécu – les seules lettres aparté le marivaudage des deux amants. Dans par une marche à l’échafaud à l’orchestration Rossini, Armida, et de son dernier opéra, que nous possédions à détailler la participation La gazza ladra, la scène est non seulement lugubre. Bien qu’il ne s’agisse absolument pas Guillaume Tell. L’écriture orchestrale fait aussi de Rossini à la mise en scène d’un de ses dénuée de toute dimension comique, mais la d’un “véhicule” de star, ce rôle a attiré des preuve d’une plus grande diversité et d’un plus propres opéras –, qui confirment ce que les simple pulsion rythmique et l’ostinato chanteuses comme Colbran et Pasta. Malibran grand soin. La reprise de la marche de Ninetta Rossiniens informés ont toujours su mais que militariste sous-tendant les voix des amants fut, au dire de tous, une mémorable Ninetta, vers l’échafaud donne lieu à un ensemble l’image populaire du Rossini oisif et bon nous content une histoire beaucoup plus délibérément et délicieusement rustique, les complexe au fur et à mesure où la procession vivant a toujours sciemment masqué: son sombre. éléments réalistes et idéalistes se fondant s’avance à travers le village: cordes et caisse immense capacité de travail et son attention Le portrait du Podestat est tout aussi d’une façon qui dut sembler à Rossini claire fortissimo, bois et cordes pizzicato, cors et obsessionnelle aux détails. contrôlé. La première impression est celle d’un l’incarnation idéale de sa vision musicale clarinettes smorzando. La correspondance nous permet de personnage comique, mais elle est démentie et dramatique. Avec la découverte du nid de la pie et de reprendre le fil de l’histoire le 27 janvier 1818, par le grand Trio sur lequel débouche la lecture Ceux qui recherchent une tonalité plus son butin, et la grâce in extremis de Ninetta, avec une lettre du compositeur adressée aux de la lettre. Plus tard, à l’acte II, lorsque le profonde s’intéresseront à la relation entre l’opéra s’achève sur une note jubilatoire. Cette organisateurs du projet, Giulio Perticari et Podestat est appelé au tribunal au cours de la Ninetta et son père. De même que Verdi, scène finale n’est sans doute pas aussi Antaldo Antaldi. Il y confirme qu’il cherche à scène de la prison, le deuxième sujet de Rossini se laissait aisément toucher par émouvante que celle du Fidelio de Beethoven, engager deux stars de l’Opéra de Naples, l’ouverture – caisse claire au premier plan – l’émotion de l’amour parental, et La gazza mais elle apporte une conclusion triomphale à Colbran et Nozzari, en vue de monter son apporte une coloration à la fois brillante et ladra doit une grande partie de sa séduction et un opéra qui célèbre – comme tous les chefs- tout nouvel opéra napolitain, Armida. Les menaçante à la strette. de sa force au personnage de Fernando. Son d’œuvre de la maturité de Rossini, buffo ou négociations s’éternisent deux mois, et il

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devient évident que Pesaro n’a ni les moyens production. Obsédé de perfection jusque dans Argument est-il sorti que Ninetta voit surgir son père, d’embaucher de telles célébrités ni une idée les moindres détails, il exige de choisir et Fernando Villabella, lui aussi de retour de la claire des dates auxquelles elles seront requises. d’embaucher les meilleurs instrumentistes Il y a bien longtemps, dans un village français… guerre. 15 – 17 Mais les nouvelles qu’il apporte C’est finalement La gazza ladra qui est choisie, locaux. Il détermine précisément la disposition ne sont pas bonnes: s’étant battu avec son bien qu’elle s’avère en définitive quasiment de l’orchestre et jusqu’aux distances séparant COMPACT DISC ONE capitaine, il a été condamné à mort et a déserté. aussi difficile à distribuer et plus coûteuse les musiciens et aux meilleures façons d’éclairer 18 Il n’a plus un sou et confie à sa fille deux encore à mettre en scène, notamment parce les pupitres. Il met en route la coordination 1 – 2 Ouverture couverts en argent ayant appartenu à sa famille, que Rossini insiste pour employer non entre décorateurs et machinistes et rédige un lui demandant de les vendre pour financer sa seulement Sanquirico, mais aussi son maître, aide-mémoire pour les interventions de la Acte I fuite. La situation se complique avec l’arrivée du plus célèbre encore, Paolo Landriana, pour fausse pie. Scène 1 Podestat, bien décidé à gagner les faveurs de superviser les décors. Ces efforts finissent par avoir un prix. 3 – 5 Branle-bas de combat chez Fabrizio et Ninetta. Celle-ci fait passer son père pour un Ayant en vain demandé à sa vieille amie L’inauguration, le 10 juin, est un triomphe, Lucia Vingradito: leur fils Giannetto doit vagabond. Mais voici que Giorgio, l’assistant du Rosa Morandi de chanter Ninetta, Rossini mais Rossini contracte peu après “une grave aujourd’hui revenir de la guerre. Une grande fête Podestat, apporte un mandat d’arrêt contre engage Giuseppina Ronzi De Begnis, alors inflammation de la gorge”. On annonce déjà est prévue, et tout le village semble y prêter son Fernando; 19 – 21 le Podestat, qui a oublié ses âgée de 18 ans, et, à tarif réduit, son mari, sa mort à l’extérieur, et jusqu’à Naples et Paris. concours. 6 – 8 Nul n’est plus excité que lunettes, demande à Ninetta de le lui lire. Elle Giuseppe De Begnis, dans le rôle du Podestat. Fort heureusement, il survit, remis sur pied à Ninetta, la servante des Vingradito, lui décrit alors un homme en tous points Les économies réalisées sur les contrats des la Villa Perticari. profondément amoureuse de Giannetto. On différent de son père, mais, lorsque le Podestat De Begnis lui permettent de retenir son Encouragé par la réception de La gazza s’accorde à les voir bientôt mariés (la pie renouvelle ses avances, Fernando est si furieux protégé, le ténor Alberico Curioni, dans le rôle ladra, Rossini revient à Pesaro au mois de domestique elle-même joint sa voix au concert); qu’il manque vendre la mèche. 22 Tandis que les de Giannetto, et Raniero Remorini dans celui mai suivant, pour être aussitôt chassé de la seule Lucia est opposée à ce mariage, semblant trois personnages quittent la scène, la pie vient de Fernando. Découvrant qu’il est l’homme- ville par des hommes de main à la solde de blâmer Ninetta pour la récente disparition d’une se poser sur la table pour y voler une des clé du spectacle, Remorini se révèle à la fois Bartolomeo Bergami, amant de la princesse fourchette en argent. 9 Un marchand cuillères en argent de Lucia. cher et difficile. “Il m’a fait passer trois de Galles Caroline, séparée de son époux le ambulant, Isacco, passe et s’enquiert de Ninetta, journées infernales. Oh, que de tracas!” prince régent d’Angleterre. Rossini a alors 10 mais un autre domestique, Pippo, le renvoie. Scène 2 s’exclame Rossini, faisant allusion à l’insistance 27 ans et, bien qu’appelé à vivre jusqu’à 11 – 13 Enfin arrive le moment tant attendu: 23 Ninetta profite d’une nouvelle visite avec laquelle le chanteur lui a réclamé un solo plus de 65 ans, il ne retournera plus jamais à l’arrivée de Giannetto! On trinque. Lucia d’Isacco pour lui vendre l’argenterie de son supplémentaire. Pesaro. emmène sur-le-champ son fils voir le reste de la père. Giannetto revient avec ses parents, qui le Ce n’est cependant rien en comparaison du famille, laissant à Ninetta le soin de mettre la présentent au Podestat. Lucia découvre alors mal que Rossini lui-même se donne pour la © 2003 Richard Osborne table pour le banquet. 14 À peine son amant qu’il manque une cuillère, et le Podestat décide

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d’instruire aussitôt l’affaire. Il rappelle que les mourir que d’être jamais à lui. 5 Sans avoir le foule tente de la réconforter sur son passage. Londres. Elle étudie maintenant avec Gerald vols domestiques sont sévèrement punis, de la temps de revenir à la charge, le Podestat est Les dernières paroles de la jeune fille, prête à Martin Moore. peine de mort. 24 Les efforts combinés de mandé au tribunal. 6 Mais Antonio, qui a affronter son destin, sont empreintes de Majella Cullagh a chanté dans les rôle de Lucia et du jaloux Podestat ont tôt fait de faire entendu leur conversation, décide de tout faire courage. 21 – 22 Du beffroi, Pippo et Antonio Donna Anna (Don Giovanni), la Comtesse peser les soupçons sur Ninetta. Dans sa pour aider la jeune fille. Ninetta demande à hèlent Giorgio: dans le nid de la pie, ils Almaviva (Le nozze di Figaro), et Micaela confusion, la jeune fille laisse tomber les pièces Pippo de porter de l’argent dans la cachette viennent de retrouver, non seulement la pièce (Carmen) à l’Opera North; Ninetta (La gazza données par Isacco. 25 On fait venir le convenue avec son père. 7 – 9 Elle essaie de d’argent, mais les couverts de Lucia! Sonnant ladra) au Garsington Opera; Adina (L’elisir marchand ambulant: celui-ci a déjà revendu la lui vendre la croix qu’elle porte au cou, mais le les cloches à toute volée, ils clament: “She is d’amore) à l’Opéra royal du Danemark; fourchette et la cuillère, mais se rappelle jeune homme insiste pour lui prêter la somme. innocent!” La foule grossit et la nouvelle passe Manon de Massenet au New Zealand Opera; qu’elles portaient les initiales F.V. 26 – 27 Ce Les deux jeunes gens échangent alors de de proche en proche, mais est-il encore temps Fiordiligi (Così fan tutte) à l’Opéra de Las sont aussi celles de Fernando, mais Ninetta, douloureux adieux. de la sauver? On entend des coups de feu, et Palmas; la Comtesse Adèle (Le Comte Ory) voulant à tout prix protéger son père, ne peut 10 – 14 Conduite devant le tribunal, tous se désespèrent: trop tard! 23 Et pourtant, avec le Glyndebourne Touring Opera; Elsie protester de son innocence. 28 Sur un ordre Ninetta est déclarée coupable et condamnée à non, la voici qui descend la colline! Que Maynard (The Yeomen of the Guard ) au Welsh du Podestat, on l’emmène en prison. mort. 15 – 17 Fernando fait irruption dans la signifiaient alors ces détonations? “Mere National Opera; Melissa dans Amadigi de salle, déterminé à sauver la vie de sa fille, mais rejoicing!” 24 Ninetta rejoint le cortège de ses Haendel produit par l’Opera Theatre COMPACT DISC TWO il est trop tard. On l’envoie en prison, et amis mais ne peut trouver la paix, s’inquiétant Company au Festival de Covent Garden; et le Ninetta à l’échafaud. du sort de son père. Comme au signal, rôle titre dans la création anglaise de Medea de Acte II Fernando apparaît en compagnie de son Gavin Bryars pour la BBC Scotland. Elle a Scène 1 Scène 2 sauveur, Ernesto. 25 Tous peuvent désormais également interprété la British Dancing Girl 1 – 2 Le gardien de prison, Antonio, est un 18 Tout à coup surgit Ernesto. Camarade de se réjouir de cet heureux dénouement. Tous, dans The Death of Klinghoffer de John Adams brave homme, et il prend pitié de Ninetta: il Fernando à l’armée, il est porteur d’un décret sauf le Podestat, bien sûr, pris au piège d’une au Concertgebouw d’Amsterdam sous la lui promet de faire porter un message à Pippo royal graciant le père de Ninetta et recherche tragédie dont il est seul responsable. direction de Edo de Waart, et Marguerite et accepte de laisser entrer Giannetto. Ninetta la maison du Podestat. Pippo lui donne les (Huit Scènes de Faust ) à La Fenice de Venise convainc son amant de son innocence, indications nécessaires et reçoit une pièce © 2003 Daniel Slater sous la direction de Jeffrey Tate. 3 – 4 mais leur entretien est interrompu par d’argent en remerciement. Mais la pie la lui Traduction: Josée Bégaud La discographie de Majella Cullagh inclut la l’arrivée du Podestat. Le marché que celui-ci arrache et va la cacher dans le beffroi. Pippo et version intégrale de Maritana de Vincent propose à la jeune fille est simple: qu’elle Antonio grimpent dans le clocher, à la La soprano irlandaise Majella Cullagh a étudié Wallace, et la Deuxième Symphonie de accepte ses avances, et elle sera libre. La poursuite de la voleuse. 19 – 20 Entretemps, avec Maeve Coughlan à la Cork School of Mendelssohn. Pour Opera Rara, elle a réponse de Ninetta est sans ambiguïté: plutôt Ninetta a pris le chemin de l’échafaud, et la Music, et au National Opera Studio de enregistré Zoraida di Granata de Donizetti,

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Bianca e Falliero et Elisabetta regina Festival de Salzbourg et à l’Opéra de Francfort; littérature anglaise. Après avoir quitté à Stravinski, Honegger et James MacMillan. Il d’Inghilterra de Rossini, Zaira de Mercadante, Andres (Wozzeck) à Francfort; Don Narciso Cambridge, il a travaillé et enregistré pendant a chanté avec les St James’ Baroque Players, le et pour Chandos et la Peter Moores (Il turco in Italia) à Bruxelles et à Paris; et quatre ans avec le groupe vocal Harvey and the Scottish Chamber Orchestra, l’ensemble The Foundation le rôle de Donna Anna (Don l’Astrologue (Le Coq d’or) au Théâtre du Wallbangers. Il a ensuite repris ses études Sixteen, le Gabrieli Consort, le Royal Giovanni ). Châtelet à Paris. vocales avec David Keren et étudie Liverpool Philharmonic Orchestra, le Britten Barry Banks se produit fréquemment en actuellement avec Diane Forlano. Sinfonia, l’Academy of Ancient Music, le Diplômé du Royal Northern College of Music concert, et a chanté dans la Petite Messe Christopher Purves s’est produit avec des London Sinfonietta et le City of London de Manchester où il a étudie grâce à une solennelle de Rossini avec le Royal compagnies lyriques telles que l’English Sinfonia. bourse de la Peter Moores Foundation, Barry Philharmonic Orchestra sous la direction de National Opera, le Scottish Opera, le Welsh Banks s’est imposé comme l’un des meilleurs Daniele Gatti, dans Fidelio avec le City of National Opera, l’Opera North, la Russell Smythe est l’un des barytons ténors de sa génération grâce à ses prestations Birmingham Symphony Orchestra sous la Birmingham Opera Company, l’Opera britanniques les plus chevronnés sur la scène exceptionnelles sur scène et en concert. Il a direction de Walter Weller, dans le War Northern Ireland, au Garsington Festival, et au internationale. Il fit ses études à la Guildhall chanté le rôle titre dans The Rake’s Progress à Requiem avec l’Orchestre philharmonique de Festival d’Edimbourg, dans un répertoire qui School of Music et au London Opera Centre l’English National Opera; Belfiore et Strasbourg sous la direction de Jan Latham- inclut le rôle titre dans Le nozze di Figaro, et fut l’un des membres fondateurs de Libenskof (Il viaggio a Reims) à Bologne; Koenig, dans le Requiem de Bruckner avec le Agamemnon (Iphigénie en Aulide), Gottardo l’English Music Theatre en 1976. Il devint Oreste (Ermione) au Santa Fe Opera; Tamino Scottish Chamber Orchestra sous la direction (La gazza ladra), Siegried (Genoveva), ensuite l’une des vedettes du Welsh National (Die Zauberflöte) au Festival de Salzbourg, au de Sir Charles Mackerras, et dans Armida de Dulcamara (L’elisir d’amore), Masetto (Don Opera, dans des rôles tels le rôle-titre de Billy Théâtre de la Monnaie de Bruxelles, à l’Opéra Rossini au Festival d’Edimbourg sous la Giovanni), le Forestier (Le Petit Renard rusé), Budd et d’Eugène Onéguine ou encore de Leipzig, avec le Glyndebourne Touring direction de Carlo Rizzi. Leporello (Don Giovanni), Dandini (La Papageno (Die Zauberflöte), Figaro (Il barbiere Opera et au Scottish Opera; Nemorino (L’elisir Barry Banks a enregistré Un ballo in Cenerentola), Faninal (Der Rosenkavalier), di Siviglia), le Comte (Le nozze di Figaro) et d’amore) à l’Opéra de Francfort et à l’English maschera et Trial by Jury, et pour Chandos et Papageno (Die Zauberflöte), Ned Keene (Peter Eletski (La Dame de pique). National Opera; Don Ramiro (La Cenerentola) la Peter Moores Foundation Nemorino (The Grimes), Scarpia (Tosca), Marcello (La Ayant quitté le Welsh National Opera, il à l’Opéra de Bâle; Flute (A Midsummer Night’s Elixir of Love), Ernesto (Don Pasquale), Don bohème), Sharpless (Madama Butterfly), et le chanta au Royal Opera House, Covent Garden Dream) au Metropolitan Opera de New York Ottavio (Don Giovanni ) , et Fenton (Falstaff ). rôle titre dans Don Pasquale. A l’étranger, il et avec l’English National Opera. Parmi ses et au Festival de Glyndebourne; le rôle titre Par ailleurs, il figure dans les vidéos de Billy s’est produit à Paris, Dublin, Beaune, rôles, on notera Orfeo de Monteverdi avec dans Candide au Chicago Lyric Opera; Arnalta Budd et de Die Entführung aus dem Serail. Lisbonne et Barcelone. l’Opéra de Lausanne; Sharpless au Deutsche (L’incoronazione di Poppea) à l’Opéra de San Christopher Purves possède un vaste Oper à Berlin et pour Castleward Opera; Enée Francisco; Edgardo (Lucia di Lammermoor) au Christopher Purves a été “Choral Scholar” au répertoire de concert incluant des œuvres de (Dido and Aeneas) et Arbace (Idomeneo) pour Welsh National Opera; Aufidio (Lucio Silla) au King’s College de Cambridge où il a étudié la compositeurs allant de Charpentier et Haendel De Vlaamse Opera; Redburn (Billy Budd )

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pour le New Israeli Opera; et Fernando Jeremy White a chanté Kecal (La Fiancée Donna Elvira (Don Giovanni), Nan l’Ode to the Queen d’Edmund Rubbra pour (La gazza ladra) au Festival de Garsington. vendue) au Royal Opera de Covent Garden; (New Year), et Irene (Theodora) avec le Chandos. Il s’est également produit à l’Opéra de Varlaam (Boris Godunov) et le rôle titre dans Glyndebourne Touring Opera; Feodor (Boris Hambourg, à l’Opéra de Vienne, à l’Opéra de The Turk in Italy de Rossini à l’English Goudonov) au Royal Opera de Covent Garden; Native du Pays de Galles, Nerys Jones fit ses Paris, à l’Opéra Néerlandais, à Opera Zuid, à National Opera; le Superintendant Budd Cassandra (The Trojans), Dorabella (Così fan études à la Royal Scottish Academy of Music Amsterdam, Anvers, Bâle, Bruxelles, Francfort, (Albert Herring), le Roi (Aïda), Dikoy (Kát’a tutte), Andromache (King Priam), la and Drama avec Patricia MacMahon. En Madrid, Nancy, New York, San Sebastian, Kabanová), Talbot (Giovanna d’Arco) et Kurfürstin (The Prince of Homburg), Twice 1994, elle devint membre de l’English Vancouver ainsi qu’avec Scottish Opera, le Tiresias (Oedipus Rex) à l’Opera North; et dans Through the Heart et Meg Page (Falstaff ) à National Opera et en fut l’une des vedettes Welsh National Opera et Opera North. La bohème au Festival de Bregenz. l’English National Opera. Elle s’est également pendant six saisons, tenant des rôles tels Il a enregistré entre autres plusieurs rôles Parmi les enregistrements de Jeremy White, produite à l’Opéra de Paris, au San Francisco Cherubino, Despina, Zerlina, la Seconde pour Opera Rara dont le roi Edward (L’Assedio on citera Israel in Egypt de Haendel, les Vêpres Opera, à l’Opéra des Flandres, au Nouvel Dame, Melissa (Princess Ida), Bird di Calais) et Teucer (Dardanus de Rameau) de Monteverdi, et pour Chandos The Pilgrim’s Opéra d’Israël, au Festival de Hong Kong, au (Blond Eckbert), Proserpina (Orfeo), Flora Progress de Vaughan Williams et Paul Bunyan Festival de Göttingen, et au Japon. (La traviata), Pitti Sing (The Mikado), Né à Liverpool, Jeremy White a fait ses études à de Britten dirigés par Richard Hickox. Très demandée en concert, Susan Bickley a Mercédès (Carmen), la Sœur infirmière Oxford. Il mène une carrière internationale à chanté dans le Requiem de Ligeti au Festival de (Sister Angelica), Hansel (Hansel and Gretel ) l’opéra, en concert et au disque, dans un Née à Liverpool, Susan Bickley a étudié la Salzbourg, dans Scenes and Arias de Nicholas et Sœur Mathilde (The Carmelites). répertoire allant de la musique ancienne aux musique à Londres à la City University et à la Maw, dans Upon Silence de Benjamin et dans Elle a chanté avec le Scottish Chamber plus récentes œuvres contemporaines. Il a Guildhall School of Music and Drama où elle Requiem Canticles de Stravinski à Londres Orchestra, le Scottish Early Music Consort entretenu une longue association avec des chefs a obtenu la Médaille d’or en chant. Elle a fait (BBC Proms), et dans la Missa Solemnis de ainsi que le National Youth Orchestra of tels que Trevor Pinnock, Andrew Parrott, Adam ses débuts à l’opéra dans le rôle de Proserpina Beethoven avec Les Arts Florissants à Vienne Wales. Elle a donné des récitals dans le cadre Fisher et Harry Christophers, interprétant Bach, dans Orfeo de Monteverdi au Maggio Musicale et à Paris. Elle se produit avec des chefs du Festival de musique du Nord du Pays de Haendel et Mozart. Dans le répertoire du de Florence. importants tels que Sir Andrew Davis, Galles et à St John’s Smith Square à Londres. vingtième siècle, il a chanté des œuvres de Parmi les rôles qu’elle a chantés, on citera Sir Roger Norrington, Gennadi Elle a également tenu les rôles de Webern sous la direction de Pierre Boulez, et de Florence Pike (Albert Herring), Marcellina Rozhdestvensky, Nicholas McGegan, Paul Cherubino, Rosina et Dorabella pour Grange Britten sous celle de Graf. Il s’est également (Le nozze di Figaro), Kostelnicka (Jenu˚fa), McCreesh, Mark Wigglesworth, Oliver Park Opera, chanté dans Il mondo della luna et produit avec Luciano Berio, Arvo Pärt et Johns Hippolyta (A Midsummer Night’s Dream), et Knussen, William Christie et Robert King. La gazza ladra au Festival de Garsington et Adams dans leurs propres œuvres. Il a effectué Mrs Sedley (Peter Grimes) au Glyndebourne Les enregistrements de Susan Bickley tenu le rôle de l’Hôtesse de l’air dans Flight des tournées de concerts à travers toute Festival Opera; Anna (The Electrification of the incluent Serse, Theodora et Solomon de avec Reisopera en Hollande et De Vlaamse l’Europe, les États-Unis, au Brésil et en Israël. Soviet Union), Kabanicha (Kát’a Kabanová), Haendel, The Fairy Queen, Dido and Aeneas, et Opera.

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“Company Principal” à l’English National Harnoncourt, Pierre Boulez, Andrew Davies, (Wozzeck) à San Francisco, Genève, Zurich, il a été Valletto (L’incoronazione di Poppea), Opera, John Graham-Hall s’est produit avec Sir Simon Rattle, John Eliot Gardiner et Claudio Montpellier, Bordeaux et Bologne; Shuisky Henry (The Fairy Queen), Papageno toutes les grandes compagnies lyriques Abbado. Il s’est produit en concert à travers toute (Boris Godounov) à Strasbourg, Bordeaux et (Die Zauberflöte), Fiorello (Il barbiere di britanniques dans des rôles tels que Albert l’Europe, avec tous les grands orchestres Montpellier; Quint (The Turn of the Screw) et Siviglia), le baron Douphol (La traviata) et Herring, Kudrjas (Kát’a Kabanová), Flute et britanniques, et fréquemment à Londres au Truffaldino (The Love for Three Oranges) à Schaunard (La bohème). Il a chanté Guglielmo Lysander (A Midsummer Night’s Dream), Bob Barbican Centre et au South Bank. Parmi ses l’English National Opera; Zinoviev (La Lady (Così fan tutte) au Festival d’Aix-en-Provence, Boles (Peter Grimes), Valzacchi (Der enregistrements figurent Peter Grimes pour Macbeth de Mtsensk) à Toulouse et à Marseille; Mars et Euro dans Il pomo d’oro de Cesti au Rosenkavalier), Cassio (Otello), Eisenstein, Chandos, L’incoronazione di Poppea, Carmina Idomeneo à Drottningholm; les trois rôles de Festival de Batignano, Schaunard au Festival Ferrando, Basilio, Monostatos, Aschenbach Burana et A Midsummer Night’s Dream. ténor dans Lulu au Châtelet à Paris; Bob Boles de Bregenz ainsi que Grimbald et Aeolos dans (Death in Venice), Herod (Salome), Shabby (Peter Grimes) à l’Opéra d’état de Munich, à King Arthur de Purcell au Festival de Kings Peasant (La Lady Macbeth de Mtsensk) et Stuart Kale est salué dans le monde entier Covent Garden, Gênes et Strasbourg; le Lynn dans le Norfolk. Son répertoire Anatole (Guerre et paix). comme l’un des chanteurs-acteurs lyriques les Capitaine Vere (Billy Budd ) à Cologne; Gregor d’oratorio comprend les Requiem de Mozart et La carrière internationale de John Graham- plus exceptionnels de notre temps. Musicien (L’Affaire Makropoulos) à Strasbourg. Il s’est Fauré, Die Schöpfung de Haydn et la Messe en Hall le conduit régulièrement à Paris, complet, son répertoire très vaste s’étend de également produit au State Opera of South si mineur de Bach. Amsterdam, Bruxelles, Salzbourg, Stuttgart, Monteverdi à Messiaen. Après avoir débuté sa Australia, à Drottningholm, Turin et Parme. Toronto, Vancouver, Lisbonne et Anvers, dans carrière au Welsh National Opera, il est entré à Pour Chandos et la Peter Moores Nicholas Garrett a étudié au Trinity College des rôles aussi divers que le Peintre (Lulu), l’English National Opera où pendant huit ans Foundation, Stuart Kale a enregistré des of Music de Londres, et a remporté un prix Shapkin (La Maison des morts), Basilio, il a chanté des rôles tels que Don Ottavio (Don extraits de Boris Godunov, Madam Butterfly, de la Wolfson Foundation. Il a chanté le Achilles (King Priam), et Lensky (Eugène Giovanni ), Michael dans Julietta de Martinu˚, Otello et Falstaff. rôle du Baron Douphol (La traviata) à Onéguine). Il a également chanté Alwa (Lulu), Alfred (Die Fledermaus), et Nanki-Poo dans la l’English National Opera; Colline (La bohème) Mime (Der Ring des Nibelungen), Sylvester production de Jonathan Miller de The Mikado. Le baryton Toby Stafford-Allen fit ses études au Scottish Opera Go Round; Escamillo (The Silver Tassie), Valzacchi et Sellem (The En 1987, il a commencé une brillante carrière avec Robert Alderson au Royal Northern (Carmen) à l’Opera North; le Rake’s Progress) (tous à l’English National indépendante en chantant Hauptmann College of Music où il chanta entre autres le Commandeur/Masetto (Don Giovanni ) au Opera); Mr. Upfold (Albert Herring) à l’Opera (Wozzeck) à l’Opéra du Rhin et à Nancy. Il est rôle de Figaro (Le nozze di Figaro), le rôle-titre Pimlico Opera; Figaro (Le nozze di Figaro) et North; et le Maître de ballet (Ariadne auf également revenu à l’English National Opera dans la version pour baryton de Werther ainsi Nourabad (Les Pécheurs de perles) avec Naxos) au Royal Opera de Covent Garden. pour chanter le rôle de Herod (Salome). que le Contremaître du moulin ( Jenu˚fa). À sa l’English Touring Opera; Sourine (La Dame de John Graham-Hall a collaboré avec de Parmi ses engagements importants, on citera sortie du College, il devint membre de pique) au Scottish Opera; Jenkins (Of Thee I nombreux chefs d’orchestre éminents, le rôle du Grand Prêtre dans Idomeneo au l’English National Opera; avec cette Sing) à l’Opera North; Nikitich et notamment Bernard Haitink, Nikolaus Royal Opera de Covent Garden; Hauptmann compagnie et d’autres troupes britanniques, Chernikovsky (Boris Godounov) à l’Opéra de

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Nantes. Il s’est égalemnt produit avec le Durant sa carrière de chanteur, Geoffrey (au poste de chef principal assistant), Ricardo entre autres sa participation annuelle aux Grange Park Opera, l’Opera Holland Park et Mitchell aborda un répertoire Muti (chef principal et directeur musical), Promenade Concerts de la BBC. L’orchestre l’Almeida Opera. En 2001, Nicholas Garrett a remarquablement varié, depuis la musique Giuseppe Sinopoli (directeur musical), une symphonique le plus enregistré au monde, avec fait ses débuts au Royal Opera de Covent ancienne jusqu’à la musique contemporaine, se tradition qui se poursuit aujourd’hui avec Kurt plus de mille disques à son actif, parmi lesquels Garden dans Palestrina. produisant en Scandinavie, en Allemagne, Sanderling (chef émérite), Vladimir Ashkenazy plusieurs bandes originales pour le cinéma et la dans l’ancienne Tchécoslovaquie, au Canada et (chef lauréat) et Sir Charles Mackerras (chef télévision, le Philharmonia Orchestra est réputé Prunella Scales reçut sa formation à l’Old Vic en Australasie. Après avoir fait ses premières principal invité). L’ensemble a également été dans le monde entier. Sa discographie Theatre School à Londres et auprès d’Uta armes de chef d’orchestre avec la BBC, il associé à des personnalités aussi éminentes que comprend, pour Opera Rara, plusieurs disques Hagen à New York. Elle a fait partie de la décida de prendre une part active dans ce Wilhelm Furtwängler, Richard Strauss, Arturo de récitals ainsi que onze intégrales d’opéras et, troupe des théâtres de Huddersfield, Salisbury, domaine avec ses propres chanteurs et fonda le Toscanini, Guido Cantelli, Herbert von pour Opera in English chez Chandos, série Oxford, Bristol et de celle de l’Old Vic à Geoffrey Mitchell Choir. Par suite de ses Karajan et Carlo Maria Giulini. L’Orchestre financée par la Peter Moores Foundation, Londres; elle a également joué à Stratford- premiers enregistrements l’ensemble travaille continue à collaborer avec des chefs et des Carmen, Wozzeck, Don Giovanni, L’elisir d’amore, upon-Avon ainsi qu’au Festival Theatre de depuis longtemps avec Opera Rara pour qui il solistes de stature mondiale et recrute les Lucia di Lammermoor, Faust, Carmen, Aïda, Chichester. Sur scène, elle a joué entre autres a réalisé plus de trente enregistrements. Ce jeunes instrumentistes les plus talentueux La bohème, Madama Butterfly, Turandot, une dans Just the Three of Us (mise en scène de Chœur ne cesse d’élargir sa réputation, d’Europe. version primée de Tosca ainsi que plusieurs Peter Hall), A Perfect Ganesh et Happy Days travaillant avec la BBC et plusieurs maisons de Orchestre résident au Royal Festival Hall, il récitals solistes d’airs lyriques avec Elizabeth (mises en scène de Jude Kelly), Single Spies disques internationales. Pour Chandos, le joue également un rôle central dans la vie Futral, Bruce Ford, Diana Montague, Dennis (mise en scène d’Alan Bennett/Simon Geoffrey Mitchell Choir a participé à plusieurs musicale britannique en choisissant des O’Neill, Alastair Miles, Yvonne Kenny et John Callow), Quatermaine’s Terms (mise en scène enregistrements pour Opera in English, une résidences régionales qui sont l’occasion idéale Tomlinson. Le Philharmonia Orchestra de Harold Pinter) et The Merchant of Venice série de disques très prisés financée par la Peter de développer un programme éducatif consolide constamment sa réputation (mise en scène de Timothy West). Au petit Moores Foundation. dynamique centré sur la communauté. Lauréat internationale grâce à des tournées régulières et écran, on la retrouve dans Fawlty Towers, Silent de nombreux prix, l’ensemble a été salué récemment de prestigieuses résidences au Witness, Dalziel and Pascoe, Midsomer Murders, Reconnu comme l’un des plus grands unanimement par les critiques pour ses Châtelet Théâtre Musical à Paris, au Megaron à What the Butler Saw, The Merry Wives of orchestres du monde, le Philharmonia programmes innovateurs dont l’un des Athènes et au Lincoln Center for the Performing Windsor, A Question of Attribution et Breaking Orchestra a depuis plus de cinq ans le grand objectifs principaux est l’interprétation et la Arts à New York. the Code. Prunella Scales s’est vu conférer le maestro allemand Christoph von Dohnányi commande d’œuvres nouvelles des plus grands titre honorifique de Companion of the British pour chef principal. Le premier à avoir tenu ce compositeurs d’aujourd’hui. Après avoir étudié avec Sergiu Celibidache, Empire par la reine à l’occasion de son poste fut Otto Klemperer et l’Orchestre depuis Un nombre croissant de concerts de David Parry commença sa carrière comme anniversaire officiel en 1992. lors a collaboré avec succès avec Lorin Maazel l’Orchestre sont retransmis par BBC Radio 3, assistant de Sir John Pritchard. Il fit ses débuts

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avec l’English Music Theatre avant de devenir d’UNAM. Il a récemment dirigé plusieurs l’un des chefs d’orchestre au Städtische nouvelles productions dont Fidelio au Festival At the recording sessions: Bühnen à Dortmund et à Opera North. de Nouvelle-Zélande, Lucia di Lammermoor Jeremy White Directeur musical d’Opera 80 de 1983 à 1987, avec le New Israeli Opera et Don Giovanni a Cooper © Bill il est directeur musical d’Almeida Opera l’Opéra d’état de Hannover. depuis sa fondation en 1992. En studio, il a participé entre autres Sa carrière, nationale et internationale, est à la production de la BBC Television de extrêmement remplie, aussi bien sur la scène Der Vampyr de Marschner, dirigeant aussi lyrique qu’en concert. Il a dirigé plusieurs vingt-huit intégrales d’opéras financées par la productions de l’English National Opera et de Peter Moores Foundation. Plusieurs de ces l’Opera North et collabore régulièrement avec intégrales furent enregistrées pour Opera Rara le Philharmonia Orchestra et le London et primées, Rosmonda d’Inghilterra de Philharmonic Orchestra. C’est avec Così fan Donizetti recevant en Belgique le Prix Cecilia. tutte qu’il fit ses débuts au Festival de Pour Chandos, David Parry a dirigé une série Glyndebourne en 1996, une scène qu’il d’enregistrements d’airs d’opéra (avec Bruce retrouva en 1998 pour diriger la création Ford, Diana Montague, Dennis O’Neill, mondiale de Flight de Jonathan Dove. Alastair Miles, Yvonne Kenny, John Il séjourne fréquemment en Espagne où il a Tomlinson, Della Jones et Andrew Shore) dirigé en concert la plupart des grands de même que Carmen, Don Giovanni, orchestres espagnols. C’est lui qui dirigea la Don Pasquale, L’elisir d’amore, Lucia di première espagnole de Peter Grimes à Madrid Lammermoor, Ernani, Il trovatore, Aida, et en 1996 la première production espagnole Faust, Cavalleria rusticana, Pagliacci, de The Rake’s Progress. Il a dirigé en Allemagne, La bohème, Turandot, l’enregistrement primé en Suisse, aux Pays-Bas, au Festival de Pesaro de Tosca et des extraits de Der Rosenkavalier, en Italie, au Festival international de Hong- tous ces enregistrements étant réalisés en Kong, au Japon pour une tournée de Carmen collaboration avec la Peter Moores et au Mexique avec l’Orchestre symphonique Foundation.

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Scrivo l’opera che ha per titolo La Gazza Ladra. appartenenti alle classi medie e basse e i Rossini: The Thieving Magpie Il Libro è versificato da un poeta di fresca data drammi allestiti all’Opéra di Parigi che erano ed in conseguenza mi fà impazzire; il soggetto appannaggio dell’aristocrazia e dell’alta Quando lo scrittore Honoré de Balzac, amico ambientata all’epoca di una rivoluzione, con però è bellissimo e spero (se piace a Dio) faremo borghesia. di Rossini, assisté per la prima volta alla un disertore tra i protagonisti e una marcia un Fiasco Fotuto. In Italia la mentalità era più aperta. Decine rappresentazione della Gazza ladra a Parigi nel verso il patibolo nell’ultimo atto avrà pur Il “bellissimo soggetto” era ispirato a un di teatri andavano in cerca di opere nuove per 1821, ne fu completamente conquistato. diritto a qualche “accompagnamento marziale” fatto realmente accaduto: una paesana francese allestirne due o tre per stagione, quindi le “Quest’uomo puzza di vino!” esclamò una di tanto in tanto. Il fatto è che a Mount era stata condannata e impiccata per alcuni trame plausibili erano un bene prezioso. donna seduta dietro di lui, ma Balzac, che Edgcumbe non piaceva il rumore. Per lui e per furti che si sarebbero poi rivelati opera di una Inoltre all’opinione intellettuale italiana non aveva appunto preso la precauzione di scolarsi altri appassionati inglesi come lui, Rossini gazza ladra. Dall’evento erano nati numerosi dispiaceva affatto il materiale popolare. Il una bottiglia di vino e fumare due sigari prima doveva essere l’equivalente del genere heavy racconti, compreso un cosiddetto mélo- “poeta di fresca data” Giovanni Gherardini di presentarsi al Théâtre Italien, riuscì a metal. historique o mélodrame de boulevard intitolato (1778–1861), che trasformò La Pie voleuse in ignorare la frecciata. La musica di Rossini era Alla prima esecuzione a Milano il La Pie voleuse che Théodore Badouin un libretto italiano, era in realtà una persona molto più inebriante. 31 maggio del 1817, il pubblico era rimasto d’Aubigny e il direttore teatrale Louis-Charles molto importante. Medico, ma anche poeta, Sull’altra sponda della Manica, le cose entusiasta dell’ouverture con i suoi tamburi Caigniez (“il Racine dei boulevard”) avevano traduttore e filologo per inclinazione, lavorava andarono molto diversamente. Lord Mount militari e l’imponente maestoso marziale. messo in scena al Théâtre de la Porte Saint- dal 1806 come editore del Giornale Italiano. Edgcumbe, il più conservatore dei melomani Quello che il pubblico di quella prima non Martin di Parigi nell’aprile 1815. Il biografo Il rimaneggiamento de La Pie voleuse inglesi, che aveva assistito all’opera in poteva sapere, tuttavia, era che l’ouverture era francese di Rossini, Stendhal, si affrettò a (pomposamente ribattezzato Avviso ai giudici) precedenza durante lo stesso anno, reagì con stata creata appositamente per gli eventi che schernirli: fu preparato da Gherardini per un concorso una serie di lamentele: stavano per essere rappresentati sulla scena. E per peggiorare le cose, sembra che questo dell’Impresa dei Reali Teatri di Milano nel I suoi finali e molti dei tanti pezzi concertati sono Non si trattava di uno dei famosi prestiti di piccolo e disgustoso aneddoto sia basato sulla 1816. Non vinse. Il primo premio di 1000 lire eccessivamente fragorosi, e l’uso abbondante Rossini dalle proprie opere, un brano realtà; una povera serva fu davvero impiccata al austriache (circa 1200 euro di oggi) andò a un degli strumenti rumorosi mi sembra composto in precedenza e tirato fuori alla Palaiseau e in suo ricordo fu istituita una messa, giovane astro nascente del teatro italiano, singolarmente inadeguato all’argomento che prova generale, ma una composizione su che in seguito sarebbe stata nota come la Messa Felice Romani. La Scala intendeva offrire avrebbe potuto essere reso toccante, ma è ben misura, di cui diversi temi ricorrono nel corpo della gazza. subito il libretto a Rossini, ma il progetto lungi dal richiedere un accompagnamento così principale dell’opera. L’osservazione di Stendhal rispecchia l’abisso incontrò degli ostacoli. Dopo uno scambio marziale. In una lettera inviata a sua madre all’epoca più o meno incolmabile esistente in Francia tra epistolare nell’inverno del 1816–17 tra Rossini Viene da chiedersi se Mount Edgcumbe della commissione di Milano nel marzo 1817, questi melodrammi accompagnati dalla musica e Angelo Petracchi, impresario della Scala, fu sapesse di cosa stava parlando. Un’opera Rossini rivelava: che erano la passione di migliaia di scelto il libretto di Gherardini. Sappiamo da

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una lettera scritta da uno dei giudici, Vincenzo Giannetto desidera sposare la modesta e riunito un cast illustre, capeggiato da Filippo della lettera è molto meno efficace del Monti, mentore di Romani, che il testo di deliziosa domestica Ninetta, eroina dell’opera e Galli (Fernando) e furono commissionati rivoluzionario esperimento di Rossini con il Gherardini era stato molto apprezzato dalla ovvia variazione dell’archetipo di Cenerentola bozzetti ad Alessandro Sanquirico, uno degli normale parlato. Forse non è sorprendente che commissione, soprattutto per il suo ordine in che doveva stare particolarmente a cuore a scenografi più innovativi dell’epoca. I disegni il ritorno della Gazza ladra in teatro negli anni un’epoca in cui, secondo Monti, i libretti Rossini. (Le trattative con La Scala per per la scena del tribunale furono ’40 e ’50 debba molto a un adattamento a drammatici minacciavano di diventare un La gazza ladra coincisero con la composizione particolarmente imponenti. ruota libera (Pesaro, 1941) di Riccardo “mostruoso coagulo di parole vòte di senso, e e le prove della Cenerentola per il Teatro Valle Ci sono momenti in cui, rivelando le Zandonai, compositore verista d’avanguardia i null’altro”. di Roma.) Ninetta è circondata da una proprie radici collegate al melodramma cui gusti, verso la fine della sua vita, si L’ordine di Gherardini era una virtù quantità di personaggi minori, tra cui il servo francese, La gazza ladra finisce con il rivolsero a un neoclassicismo di ispirazione particolare nel caso della storia della Gazza Pippo e il venditore ambulante Isacco, la cui preannunciare lo stile del verismo italiano. rossiniana. ladra. Come Il circolo Pickwick (The Pickwick lamentosa cavatina spinse Stendhal a inveire Ninetta è appunto la donna dolce, offesa che Per molti altri aspetti La gazza ladra è Papers) di Dickens, alterna a momenti di contro gli ebrei polacchi in termini che oggi lo potremmo ritrovare in una delle opere di un’opera formulata su linee classiche. Non avventura scene di prigionia stranamente avrebbero fatto finire in galera. (Trabuco ne La Puccini, ed è lei il fulcro di una delle sequenze sono previsti voli pindarici musicologici per la sinistre, ci presenta tutta una serie di forza del destino di Verdi è chiaramente un più notevoli dell’opera. Nel primo atto, gazza eponima e le forme tipiche di Rossini – personaggi caratterizzati in maniera solidale, discendente di Isacco.) C’è anche la suggestiva davanti a Ninetta e a suo padre, il podestà duetti, trii, finali convenzionali e simili – non sentimentale e occasionalmente bizzarra. La figura del padre di Ninetta, Fernando riceve una lettera con una descrizione vengono sacrificate sull’altare di qualche storia si incentra su una comunità di Villabella, disertore suo malgrado. Si può solo completa del disertore e chiede alla ragazza di effimera considerazione di realismo. Mentre si campagna, governata da un re, ma dominata cercare di indovinare l’impressione che deve leggerla perché ha dimenticato gli occhiali. attende il podestà, Ninetta e suo padre hanno da un podestà faccendiere, sadico, una sorta di aver fatto a Rossini l’umiliazione di quest’uomo Con un parlato su un tremolo orchestrale, sempre la loro cabaletta, espressione tanto Scarpia campagnolo. Alcuni importanti forte e pietoso quando lesse il libretto. Suo Ninetta obbedisce, ma la modifica mentre la dell’istinto di Rossini per l’ordine quanto del rappresentanti della comunità sono il geniale padre, onestissimo repubblicano dalla parola legge. Alexander Pusˇkin, che vide La gazza pigro rispetto delle forme di cui lo stesso Fabrizio Vingradito, fittaiolo dal nome pronta, era stato arrestato e imprigionato dagli ladra a Odessa nel 1823–24, crea una scena compositore aveva favorito la nascita. In tutta indicativo, sua moglie Lucia e il figlio austriaci a Bologna nel 1800. più o meno identica nel dramma Boris l’opera attraverso la musica, e soprattutto Giannetto, rientrato da poco dalla guerra. Le dimensioni che adesso Rossini assegnava Godunov, quando il falso Dimitri sfugge attraverso il ritmo, vengono espresse le (Secondo Monti il ruolo di Giannetto era ai suoi drammi musicali gli consentirono di all’arresto modificando un mandato di cattura sensazioni di estasi, liberazione, confusione o poco caratterizzato: “sarebbe a desiderarsi un musicare il testo di Gherardini in maniera che una guardia analfabeta gli ha dato da intrigo. Quando il carceriere buono, Antonio, poco più di risoluzione e di impeto militare”. sufficientemente grandiosa da soddisfare leggere. Musorgskij incluse la scena nell’opera cerca di separare Ninetta e Giannetto perché il Difficile non essere d’accordo con questa persino le pretese della Scala di Milano. Il omonima, anche se bisogna dire che podestà non si accorga che ha lasciato uscire critica). teatro ricambiò senza badare a spese. Fu l’accompagnamento declamatorio della lettura Ninetta per qualche momento dalla cella, la

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situazione è identica a quella del secondo atto da Pippo. C’è anche la sua preghiera all’inizio pregustare la varietà di movimenti corali e di di Rossini nell’allestimento di una delle sue del Barbiere di Siviglia, in cui Figaro è della scena finale, incorniciata da danza dell’opera successiva di Rossini, Armida, opere, che confermano quello che i rossiniani costretto a un’ingegnosa presa in giro degli un’orchestrazione che incute timore per la e della sua ultima opera, Guglielmo Tell. Esiste competenti sanno da sempre, ma che innamorati che perdono tempo. Nella scena marcia al patibolo. Sebbene questo non sia un anche prova di una gamma crescente e di una l’immagine pubblica di pigro bon viveur del della Gazza ladra manca la commedia e il ruolo da star, ha conquistato cantanti come la maggiore cura nella scrittura orchestrale. La compositore ha sempre ostinatamente nascosto: movimento stesso dei ritmi e l’ostinato Colbran e la Pasta. Per opinione universale la ripresa della marcia di Ninetta al patibolo crea la sua enorme dedizione al lavoro e l’ossessione militaristico che sottolinea le voci degli Malibran fu una Ninetta memorabile, un insieme complesso mentre la processione per i particolari. innamorati suggeriscono un’atmosfera molto decisamente rustica e affascinante; nella sua attraversa il villaggio: fortissimo per archi e Abbiamo la possibilità di ripercorrere la più sinistra. interpretazione la fusione tra gli elementi tamburi, pizzicato per legni e archi, smorzando storia attraverso il carteggio rossiniano. Il 27 Il ritratto del podestà è controllato in realistici deve essere stata per il compositore la per corni e clarinetti. gennaio 1818 Rossini scrive una lettera agli maniera analoga. Inizialmente il suo può personificazione ideale del suo ideale musicale La scoperta del nido della gazza con i suoi organizzatori del progetto, Giulio Perticari e apparire un personaggio comico, ma questa e drammatico. tesori e il perdono all’ultimo momento di Antaldo Antaldi in cui conferma che sta impressione cambia nel grande trio che segue Chi va in cerca del tema più profondo può Ninetta portano a una conclusione esultante. cercando di ingaggiare due star dell’Opera di la lettura della lettera. Nella scena della esaminare il rapporto tra Ninetta e suo padre. Non sarà entusiasmante come l’epilogo del Napoli, la Colbran e Nozzari, per la sua ultima prigione nel secondo atto, quando il podestà Come Verdi, Rossini era sensibile al Fidelio di Beethoven, ma chiude trionfalmente opera napoletana: Armida. Le trattative si viene chiamato in tribunale, il secondo sentimento dell’amore paterno e nella Gazza un’opera che celebra, come tutti i capolavori trascinano per due mesi, durante i quali si soggetto dell’ouverture, con i tamburi in ladra è Fernando a conferire in gran parte buffi o semiseri della maturità di Rossini, i capisce che Pesaro non può permettersi tali primo piano, colora la stretta in maniera all’opera il suo potere e il suo richiamo di legami dell’affetto e la resistenza dello spirito celebrità né dare indicazioni chiare sulla data in brillante e al contempo minacciosa. fondo. Il suo duetto con Ninetta nell’atto tra il disordine del mondo. cui saranno necessarie. Alla fine viene scelta La È stato detto che Ninetta è disegnata in primo e il suo intervento nella scena del gazza ladra, ma risulta quasi altrettanto difficile maniera troppo pallida, ma così si perde di processo preannunciano il periodo medio * * * * * * * trovare gli interpreti e il costo dell’allestimento vista la sua semplicità, esaltata in maniera del verdiano. L’enorme successo della Gazza ladra a Milano è ancora maggiore, anche perché Rossini insiste tutto appropriata dalla musica che Rossini le Dopo il suo trasferimento a Napoli nel nel 1817 produsse un interessantissimo nell’assumere non solo Sanquirico, ma anche il assegna. La sua cavatina è meravigliosamente 1815, Rossini si era appassionato agli fenomeno successivo: un allestimento suo ben più famoso insegnante, Paolo ingenua, con la cabaletta libera, dal ritmo argomenti seri e ai grandi affreschi. La gazza dell’opera controllato dallo stesso Rossini per il Landriana, per controllare i bozzetti. spontaneo. C’è il pathos in tonalità maggiore ladra sviluppa questa tendenza, anche se con gala di inaugurazione del Nuovo Teatro di Quando una supplica alla sua vecchia amica della sua risposta alle rivelazioni di Isacco nel un argomento più ‘borghese’ di quanto i Pesaro, sua città natale, nel giugno 1818. Rosa Morandi perché interpreti Ninetta cade finale del primo atto e lo squisito duetto in napoletani avrebbero tollerato. Lo stato Rimangono alcune lettere, le uniche in nel vuoto, Rossini ingaggia la diciottenne prigione, con le commoventi repliche aggiunte d’animo libero delle scene pastorali fa nostro possesso con dettagli del coinvolgimento Giuseppina Ronzi De Begnis e, a un

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compenso ridotto, suo marito, Giuseppe De Rallegrato dall’accoglienza concessa alla fanciulla a servizio dei Vingradito e chiede a Ninetta di leggerglielo. La fanciulla Begnis, nel ruolo del podestà. Questi risparmi Gazza ladra, Rossini tornò a Pesaro il maggio profondamente innamorata di Giannetto. descrive una persona il più possibile diversa dal gli consentono di ingaggiare il suo protetto, il successivo solo per essere bandito dalla città da A detta di tutti i due giovani finiranno per padre, ma quando il Podestà insiste nel farle la tenore Alberico Curioni, nel ruolo di alcuni energumeni al soldo di Bartolomeo sposarsi (persino la gazza di casa si aggiunge al corte, Fernando è talmente sdegnato che quasi Giannetto e Raniero Remorini in quello di Bergami, amante della principessa di Galles, coro generale), ma Lucia è contraria all’unione si tradisce. 22 Mentre i tre si allontanano, la Fernando. Ma quando viene a sapere che il suo Carolina, moglie separata del principe e sembra prendersela con Ninetta perché da gazza scende e ruba uno dei cucchiai d’argento ruolo è quello del perseguitato, Rumorini alza reggente inglese. Rossini aveva appena qualche tempo è sparita una forchetta di Lucia. il prezzo e fa il difficile. “Mi ha fatto passare ventisette anni e gli rimaneva ancora mezzo d’argento. 9 Isacco, il venditore ambulante tre giorni infernali. Oh, che guaio”, esclama secolo da vivere, ma non rimise mai più locale, passa e chiede di Ninetta 10 ma Scena seconda Rossini, riferendosi alle insistenze di Remorini piede a Pesaro. un altro servo, Pippo, lo manda via. 23 Ritorna Isacco e Ninetta gli vende che pretende un assolo in più. 11 – 13 Infine ecco il momento tanto atteso: l’argenteria del padre. Rientrano Giannetto e i Ma tutto questo è nulla in confronto © 2003 Richard Osborne l’arrivo di Giannetto. Viene offerto da bere a suoi genitori che lo presentano al Podestà. all’impegno di Rossini per l’allestimento. tutti. Lucia porta via il figlio a far visita ai Lucia scopre che manca un cucchiaio, e Perfezionista assoluto, il compositore insiste COMPACT DISC ONE parenti e lascia Ninetta a preparare la tavola questo spinge il Podestà a insistere perché si nel nominare e ingaggiare i migliori per la festa. 14 Non appena Giannetto è uscito svolga subito un’indagine: la legge è molto strumentisti locali. Vengono specificate la Trama arriva Fernando Villabella, padre di Ninetta, severa in fatto di furti domestici, che vengono disposizione dell’orchestra e persino le misure anch’egli reduce dalla guerra. 15 – 17 Ma non puniti con la pena capitale. 24 A causa degli spazi tra i musicisti e l’illuminazione Tanto tempo fa in un villaggio francese… è latore di buone notizie: dopo un litigio con il dell’ostilità di Lucia e della gelosia del migliore dei leggii per gli spartiti. Viene suo capitano, è stato dichiarato disertore e Podestà, i sospetti si incentrano su Ninetta. impostato il coordinamento tra scenografi e 1 – 2 Ouverture condannato a morte. 18 Dal momento che Nella confusione la fanciulla lascia cadere il macchinisti. Viene emesso un promemoria sui non ha denaro, consegna alla figlia due posate denaro che ha avuto da Isacco. 25 Viene movimenti della falsa gazza. Atto I d’argenteria di famiglia da vendere, per poter convocato il venditore ambulante: ha già Tutto questo sarebbe costato caro a Rossini. Scena prima fuggire. Le cose si complicano con l’ingresso venduto la forchetta e il cucchiaio, però L’inaugurazione di gala del 10 giugno fu un 3 – 5 C’è un gran trambusto in casa di del Podestà, deciso a conquistare le grazie di ricorda che sulle posate erano incise le iniziali trionfo, ma poco dopo il compositore si Fabrizio e Lucia Vingradito: il loro figlio, Ninetta. La fanciulla finge che suo padre sia di Fernando, F.V. 26 – 27 Nel disperato ammalò di una seria infiammazione della gola. Giannetto, oggi torna dalla guerra. Si prepara un mendicante di passaggio. Giorgio, tentativo di proteggere il padre, Ninetta è Si sparse la notizia della sua morte a Napoli e un’enorme festa e sembra che tutti gli abitanti assistente del Podestà, porta un mandato incapace di protestare la propria innocenza. persino a Parigi. Fortunatamente si riprese e fu del villaggio siano qui a dare una mano. d’arresto per Fernando: 19 – 21 dal momento 28 Per ordine del Podestà viene condotta in curato presso Villa Perticari. 6 – 8 Ma la più felice di tutti è Ninetta, una che si è dimenticato gli occhiali, il Podestà tribunale.

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COMPACT DISC TWO Scena seconda 25 Adesso tutti possono rallegrarsi per il lieto interpretazioni comprendono la British 18 Compare all’improvviso Ernesto, un fine. Tutti, tranne il Podestà, naturalmente, Dancing Girl in The Death of Klinghoffer di Atto II militare amico di Fernando, latore di un vittima di una tragedia di cui egli stesso è stato John Adams al Concertgebouw di Amsterdam Scena Prima perdono reale per lui. Chiede dove si trovi la artefice. per la direzione di Edo de Waart, e Marguerite 1 – 2 Antonio, un carceriere dal cuore casa del Podestà; Pippo gli dà delle indicazioni (Huit Scènes de Faust ) alla Fenice di Venezia per buono, ha compassione di Ninetta; promette e viene ricompensato con una moneta © 2003 Daniel Slater la direzione di Jeffrey Tate. di consegnare un messaggio a Pippo e consente d’argento nuova di zecca, ma la gazza gliela Traduzione: Emanuela Guastella La discografia include la versione integrale a Giannetto di farle visita. La fanciulla strappa di mano e si innalza in volo per della Maritana di Wallace, la seconda Sinfonia convince l’innamorato della propria innocenza, portarla sul campanile. Pippo e Antonio la Il soprano irlandese Majella Cullagh ha di Mendelssohn, Zoraida di Granata di 3 – 4 ma il loro colloquio viene interrotto inseguono. 19 – 20 Nel frattempo Ninetta studiato con Maeve Coughlan presso la Cork Donizetti, Bianca e Falliero ed Elisabetta regina dall’arrivo del Podestà, che viene ad offrire a viene condotta al patibolo; la folla cerca di School of Music e presso il National Opera d’Inghilterra di Rossini e Zaira di Mercadante Ninetta un accordo: è disposto a liberarla confortarla al suo passaggio. La fanciulla Studio di Londra. Oggi studia con Gerald per Opera Rara. Per Chandos/Peter Moores purché accetti le sue profferte. La risposta della pronuncia un ultimo discorso coraggioso Martin Moore. Foundation ha registrato il ruolo di Donna ragazza è inequivocabile: preferisce morire che e si avvia per ché si compia il suo destino. I suoi ruoli comprendono Donna Anna (Don Anna (Don Giovanni ). concedersi a lui. 5 Il Podestà viene chiamato 21 – 22 Dal campanile arrivano le Giovanni ), la contessa Almaviva (Le nozze di in tribunale prima di poter insistere, 6 ma esclamazioni eccitate di Pippo e Antonio che Figaro) e Micaela (Carmen) per Opera North; Dopo aver conseguito il diploma del Royal Antonio ha sentito e decide di fare di tutto per richiamano l’attenzione di Giorgio: nel nido Ninetta (La gazza ladra) per la Garsington Northern College of Music grazie a una borsa aiutare Ninetta. La fanciulla chiede a Pippo di della gazza, oltre alla moneta, hanno trovato Opera; Adina (L’elisir d’amore) per la Royal di studio Peter Moores, Barry Banks si è nascondere del denaro per suo padre in un anche le posate di Lucia! Entrambi suonano le Danish Opera; Manon di Massenet per la New affermato tra i migliori tenori della sua posto convenuto 7 – 9 e cerca di vendergli campane e gridano: “She is innocent!” Si Zealand Opera; Fiordiligi (Così fan tutte) per generazione per le sue notevoli interpretazioni la croce che porta al collo, ma lui insiste nel radunano alcune persone che si passano la l’Opera di Las Palmas; la contessina Adèle in teatro e in concerto. I suoi ruoli prestarle il denaro. I due si danno un doloroso notizia. Riusciranno a salvare la fanciulla in (Le Comte Ory) per la Glyndebourne Touring comprendono quello di protagonista in The addio. tempo? Alcuni spari farebbero pensare che sia Opera; Elsie Maynard (The Yeomen of the Rake’s Progress per English National Opera; 10 – 14 Ninetta viene processata, troppo tardi, 23 ma non è così: eccola Guard ) per la Welsh National Opera; Melissa Belfiore e Libenskof (Il viaggio a Reims) a dichiarata colpevole e condannata a morte. scendere dalla collina. E allora come mai gli nell’allestimento dell’Amadigi di Handel della Bologna; Oreste (Ermione) per l’Opera di 15 – 17 Fernando irrompe nella sala del spari? “Mere rejoicing!” 24 Ninetta si unisce Opera Theatre Company per il Covent Garden Santa Fe; Tamino (Die Zauberflöte) al festival tribunale per cercare di salvarle la vita, ma è agli amici che festeggiano, ma non è ancora Festival; il ruolo di protagonista della Medea di di Salisburgo, al teatro La Monnaie, all’Opera troppo tardi. Viene condotto in prigione tranquilla. Dov’è suo padre? Per tutta risposta, Gavin Bryars in occasione della prima di Lipsia, per la Glyndebourne Touring Opera mentre la figlia è scortata verso il patibolo. eccolo comparire con il suo salvatore Ernesto. britannica per la BBC scozzese. Altre e la Scottish Opera; Nemorino (L’elisir

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d’amore) per l’Opera di Francoforte ed English Ottavio (Don Giovanni) e Fenton (Falstaff) Ned Keene (Peter Grimes), Scarpia (Tosca), Dopo aver lasciato la Welsh National Opera National Opera; Don Ramiro (La Cenerentola) per Chandos/Peter Moores Foundation, Marcello (La bohème), Sharpless (Madama il baritono si è esibito presso la Royal Opera all’Opera di Basilea; Flute (A Midsummer Un ballo in maschera e Trial by Jury. Il tenore Butterfly), e il ruolo di protagonista nel Don House, Covent Garden, e con la English Night’s Dream) alla Metropolitan Opera e con è comparso in registrazioni su video di Billy Pasquale. All’estero si è esibito a Parigi, National Opera. I suoi ruoli comprendono la Glyndebourne Festival Opera; il ruolo di Budd e Die Entführung aus dem Serail. Beaune, Lisbona e Barcellona. l’Orfeo di Monteverdi con l’Opéra de protagonista in Candide per la Chicago Lyric Christopher Purves ha un vasto repertorio Lausanne; Sharpless alla Deutsche Staatsoper Opera; Arnalta (L’incoronazione di Poppea) per Christopher Purves ha ottenuto una borsa di concertistico che spazia da compositori come di Berlino e per la Castleward Opera; Aeneas l’Opera di San Francisco; Edgardo (Lucia di studio per il coro presso il King’s College di Charpentier e Handel a Stravinskij, Honegger (Dido and Aeneas) e Arbace (Idomeneo) per Lammermoor) per la Welsh National Opera; Cambridge, dove ha frequentato il corso di e James MacMillan. Ha cantato con numerosi l’Opera De Vlaamse; Redburn (Billy Budd ) Aufidio (Lucio Silla) al Festival di Salisburgo e laurea in inglese. Dopo la laurea si è esibito organici, tra cui: St James’ Baroque Players, per la New Israeli Opera; Fernando (La gazza all’Opera di Francoforte; Andres (Wozzeck) a per quattro anni con il gruppo vocale Harvey Scottish Chamber Orchestra, The Sixteen, ladra) al Garsington Festival. Si è esibito Francoforte; Don Narciso (Il turco in Italia) a and the Wallbangers con cui ha effettuato Gabrieli Consort, Royal Liverpool inoltre in diversi teatri quali l’Opera di Bruxelles e Parigi; e l’astrologo (Il gallo d’oro) alcune registrazioni. Ha ripreso poi a studiare Philharmonic Orchestra, Britten Sinfonia, Amburgo, la Volksoper di Vienna, l’Opéra di allo Châtelet. canto con David Keren e oggi con Diane Academy of Ancient Music, London Parigi, la Nederlandse Opera, l’Opera Zuid, Barry Banks svolge una ricca attività Forlano. Sinfonietta e City of London Sinfonia. oltre che ad Amsterdam, Anversa, Basilea, concertistica e ha interpretato la Petite Messe I suoi impegni operistici comprendono Bruxelles, Francoforte, Madrid, Nancy, New solennelle di Rossini con la Royal Philharmonic apparizioni con English National Opera, Russell Smythe è un baritono britannico di York, San Sebastian, Vancouver, e con la Orchestra diretta da Daniele Gatti, Fidelio di Scottish Opera, Welsh National Opera, straordinaria esperienza a livello internazionale. Scottish Opera, Welsh National Opera e Beethoven con la City of Birmingham Opera North, Birmingham Opera Company, Ha studiato presso la Guildhall School of Opera North . Symphony Orchestra diretta da Walter Weller, Opera Northern Ireland, Garsington Festival Music e il London Opera Centre, ed è La discografia include diversi dischi per il War Requiem di Britten con l’Orchestre ed Edinburgh Festival, in un repertorio che diventato uno dei membri fondatori Opera Rara tra cui King Edward (L’Assedio di Philharmonique de Strasbourg diretta da Jan include il protagonista en titre delle Nozze dell’English Music Theatre nel 1976. In Calais), e Teucer (Dardanus di Rameau). Latham-Koenig, il Requiem di Bruckner con la di Figaro, Agamennone (Iphigénie en Aulide), seguito è stato solista presso la Welsh National Scottish Chamber Orchestra diretta da sir il Podestà (La gazza ladra), Siegfried Opera, con cui ha interpretato ruoli di Nato a Liverpool ed educato a Oxford, Jeremy Charles Mackerras e Armida di Rossini al (Genoveva), Dulcamara (L’elisir d’amore), protagonista in Billy Budd ed Eugenio White svolge una carriera internazionale in Festival di Edimburgo per la direzione di Masetto (Don Giovanni ), il guardacaccia Onieghin, oltre a Papageno (Il flauto magico), teatro, in concerto e in registrazioni in un Carlo Rizzi. (La volpe astuta), Leporello (Don Giovanni ), Figaro (Il barbiere di Siviglia), il Conte repertorio che va dalla musica antica alle La discografia comprende Nemorino (The Dandini (La Cenerentola), Faninal (Der (Le nozze di Figaro), ed Eleckij (La dama di composizioni contemporanee più recenti. Elixir of Love), Ernesto (Don Pasquale), Don Rosenkavalier), Papageno (Die Zauberflöte), picche). Collabora da tempo con direttori quali Trevor

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Pinnock, Andrew Parrott, Adam Fischer e I ruoli comprendono Florence Pike (Albert McCreesh, Mark Wigglesworth, Oliver Il mondo della luna e La gazza ladra a Harry Christophers con cui ha eseguito brani Herring), Marcellina (Le nozze di Figaro), Knussen, William Christie e Robert King. Garsington, Stewardess (Flight) con la di Bach, Handel e Mozart, mentre i suoi Kostelnicka (Jenu˚fa), Hippolyta (A Midsummer La discografia include Serse, Theodora e Reisopera in Olanda e la Vlaamse Opera. impegni nel repertorio del XX secolo lo hanno Night’s Dream) e Mrs Sedley (Peter Grimes) per Solomon di Handel, The Fairy Queen, Dido visto interpretare Webern con Pierre Boulez e la Glyndebourne Festival Opera; Anna (The and Aeneas di Purcell e Ode to the Queen di Britten con Graf, oltre ad apparizioni con Electrification of the Soviet Union), Kabanicha Rubbra per Chandos. Solista della English National Opera, John Luciano Berio, Arvo Pärt e John Adams nelle (Kat’a Kabanová), Donna Elvira (Don Graham-Hall è comparso con le principali loro opere. Ha svolto tournée concertistiche in Giovanni ), Nan (New Year) e Irene (Theodora) compagnie liriche britanniche in ruoli che tutta Europa e in USA, Brasile e Israele. per la Glyndebourne Touring Opera; Fjodor Nerys Jones è nata in Galles e ha studiato comprendono Albert Herring, Kudrjas (Kat’a I suoi ruoli hanno compreso Kezal (La sposa (Boris Godunov) per la Royal Opera; Cassandra presso la Royal Scottish Academy of Music Kabanova), Flute e Lysander (A Midsummer venduta) per la Royal Opera; Varlam (Boris (The Trojans), Dorabella (Così fan tutte), and Drama con Patricia MacMahon. Nel 1994 Night’s Dream), Bob Boles (Peter Grimes), Godunov) e il ruolo di protagonista en titre del Andromaca (King Priam), Kurfürstin (The entrava alla English National Opera dove Valzacchi (Der Rosenkavalier), Cassio (Otello), Turk in Italy di Rossini per English National Prince of Homburg), Twice Through the Heart e rimaneva come solista per sei stagioni, con Eisenstein, Ferrando, Basilio, Monostatos, Opera; il sovrintendente Budd (Albert Herring), Meg Page (Falstaff ) per English National ruoli che comprendevano Cherubino, Aschenbach (Morte a Venezia), Herod (Salome), il re (Aïda), Dikoy (Kat’a Kabanova), Talbot Opera. Ha cantato anche con l’Opera di Despina, Zerlina, Seconda signora, Melissa il contadino ubriaco (La lady Macbeth del (Giovanna d’Arco) e Tiresia (Oedipus Rex) per Parigi, di San Francisco, delle Fiandre, la New (Princess Ida), Bird (Blond Eckbert), Proserpina distretto di Mzensk) e Anatole (Guerra e pace). Opera North; La bohème al festival di Bregenz. Israeli Opera, è intervenuta ai festival di Hong (Orfeo), Flora (La traviata), Pitti Sing Come cantante internazionale visita La discografia comprende Israel in Egypt, Kong e Göttingen e si è esibita in Giappone. (The Mikado), Mercédès (Carmen), la suora regolarmente Parigi, Amsterdam, Bruxelles, I Vespri di Monteverdi e, per Chandos, The Tra i momenti salienti dell’intenso infermiera (Sister Angelica), Hansel (Hansel Salisburgo, Stoccarda, Toronto, Vancouver, Pilgrim’s Progress di Vaughan Williams e Paul programma concertistico di Susan Bickley and Gretel ), Cherubino e sorella Mathilde Lisbona, Roma e Anversa dove i suoi impegni Bunyan di Britten, entrambi diretti da Richard vanno ricordati il Requiem di Ligeti al festival (The Carmelites). comprendono il pittore (Lulu), Shapkin Hickox. di Salisburgo, Scenes and Arias di Nicholas Si è esibita con la Scottish Chamber (Da una casa di morti ), Basilio, Achilles (King Maw, Upon Silence di Benjamin e Requiem Orchestra, lo Scottish Early Music Consort e Priam) e Lenski (Eugenio Onieghin). Altri ruoli Susan Bickley è nata a Liverpool e ha studiato Canticles di Stravinskij ai Prom della BBC, e la la National Youth Orchestra of Wales. È comprendono Alwa (Lulu), Mime (Tetralogia musica presso la City University di Londra e la Missa Solemnis di Beethoven con Les Arts comparsa in concerto al North Wales Music del Ring), Sylvester (The Silver Tassie), Guildhall School, dove ha vinto la Medaglia Florissants a Vienna e Parigi. La cantante si Festival e presso St John’s Smith Square a Valzacchi e Sellem (The Rake’s Progress) (tutti d’oro di canto. Ha esordito in teatro nell’Orfeo esibisce con importanti direttori tra cui sir Londra. per English National Opera); Mayor (Albert di Monteverdi al Maggio Musicale fiorentino, Andrew Davis, sir Roger Norrington, Gennadi Altre apparizioni comprendono Cherubino, Herring) per Opera North; Tanzmeister nel ruolo di Proserpina. Rozhdestvensky, Nicholas McGegan, Paul Rosina e Dorabella per Grange Park Opera, (Ariadne auf Naxos) per la Royal Opera.

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John Graham-Hall ha lavorato con molti Nancy e facendo ritorno alla English National nella versione per baritono del Werther, e di Commendatore/Masetto (Don Giovanni ) illustri direttori d’orchestra tra cui Bernard Opera per interpretare Herod (Salome). mugnaio ( Jenu˚fa) tra gli altri. Dopo aver per la Pimlico Opera; Sparafucile (Rigoletto), Haitink, Nikolaus Harnoncourt, Pierre Tra i suoi principali impegni vanno ricordati conseguito il diploma è entrato alla English Figaro (Le nozze di Figaro) e Nourabad Boulez, Andrew Davis, sir Simon Rattle, John l’Alto Sacerdote in Idomeneo al Covent National Opera e con questa e altre compagnie (I pescatori di perle per English Touring Opera; Eliot Gardiner e Claudio Abbado. La sua Garden; Hauptmann (Wozzeck) a San inglesi ha interpretato i ruoli di Valletto Sourin (La dama di picche) per Scottish Opera; carriera concertistica lo ha portato in tutta Francisco, Ginevra, Zurigo, Montpellier, (L’incoronazione di Poppea), Henry (The Fairy Jenkins (Of Thee I Sing) per Opera North; Europa, dove ha lavorato con le principali Bordeaux e Bologna; Sciuiski (Boris Godunov) Queen), Papageno (Die Zauberflöte), Fiorello Nikitich e Chernikovsky (Boris Godunov) per orchestre britanniche, comparendo spesso al a Strasburgo, Bordeaux e Montpellier; Quint (Il barbiere di Siviglia), barone Douphol l’Opéra de Nantes, oltre a impegni con Grange Barbican e al South Bank. Le registrazioni (The Turn of the Screw) e Truffaldino (The Love (La traviata) e Schaunard (La bohème). Le sue Park Opera, Opera Holland Park e Almeida comprendono Peter Grimes per Chandos, for Three Oranges) per English National Opera; partecipazioni ai festival musicali lo hanno Opera. Nel 2001 ha esordito alla Royal Opera Il coronazione di Poppea, Carmina Burana e Zinovij (La lady Macbeth del distretto di visto interpretare il ruolo di Guglielmo (Così nell’allestimento di Palestrina. A Midsummer Night’s Dream. Mzensk) a Tolosa e Marsiglia; Idomemeo a fan tutte) al Festival di Aix-en-Provence, Drottningholm; e i tre ruoli per tenore nella quelli di Marte ed Euro in Il pomo d’oro di Prunella Scales reçut sa formation à l’Old Vic Stuart Kale ha una reputazione a livello Lulu allo Châtelet; Bob Boles (Peter Grimes) Cesti al Festival di Batignano, quello di Theatre School à Londres et auprès d’Uta internazionale come uno dei più notevoli all’Opera di Monaco, al Covent Garden, a Schaunard al Festival di Bregenz e quelli di Hagen à New York. Elle a fait partie de la cantanti-attori del mondo della lirica. È un Genova e a Strasburgo; Captain Vere (Billy Grimbald e Aeolos nel King Arthur di Purcell troupe des théâtres de Huddersfield, Salisbury, eccellente musicista; i suoi ruoli coprono un Budd ) a Colonia; Gregor (L’affare al Kings Lynn Festival nel Norfolk. Il suo Oxford, Bristol et de celle de l’Old Vic à repertorio estremamente vasto che va da Makropoulos) a Strasburgo. Inoltre è comparso repertorio di opere da oratorio comprende Londres; elle a également joué à Stratford- Monteverdi a Messiaen. Ha iniziato la sua con la State Opera of South Australia a le messe da Requiem di Mozart e Fauré, upon-Avon ainsi qu’au Festival Theatre de carriera alla Welsh National Opera prima di Drottningholm, Torino e Parma. Die Schöpfung di Haydn e la Messa in Chichester. Sur scène, elle a joué entre autres entrare alla English National Opera, dove è Le registrazioni per Chandos/Peter Moores si minore di Bach. dans Just the Three of Us (mise en scène de rimasto per otto anni, interpretando, fra Foundation comprendono Boris Godunov Peter Hall), A Perfect Ganesh et Happy Days l’altro, il ruolo di Don Ottavio (Don (brani salienti), Madam Butterfly, Otello e Nicholas Garrett ha studiato presso il Trinity (mises en scène de Jude Kelly), Single Spies Giovanni), Michael nella Julietta di Martinu˚, Falstaff. College of Music e ha ricevuto un premio (mise en scène d’Alan Bennett/Simon Alfred (Die Fledermaus) e Nanki-Poo della Wolfson Foundation. I suoi ruoli Callow), Quartermaine’s Terms (mise en scène nell’allestimento del Mikado per la regia di Il baritono Toby Stafford-Allen ha studiato comprendono il barone Douphol (La traviata) de Harold Pinter) et The Merchant of Venice Jonathan Miller. Nel 1987 iniziava una con Robert Alderson presso il Royal Northern con English National Opera; Colline (mise en scène de Timothy West). Au petit carriera indipendente di successo cantando College of Music, dove ha interpretato i ruoli (La bohème) per Scottish Opera Go Round; écran, on la retrouve dans Fawlty Towers, Silent Hauptmann (Wozzeck) all’Opéra du Rhin e a di Figaro (Le nozze di Figaro), di protagonista Escamillo (Carmen) per Opera North; il Witness, Dalziel and Pascoe, Midsomer Murders,

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What the Butler Saw, The Merry Wives of sesta stagione consecutiva dal famoso maestro fortemente incentrata sull’impegno ad eseguire David Parry ha studiato con Sergiu Windsor, A Question of Attribution et Breaking tedesco Christoph von Dohnányi, in qualità di e commissionare musiche nuove firmate dai Celibidache ed ha cominciato la sua carriera the Code. Prunella Scales s’est vu conférer le Direttore Principale. In precedenza questa maggiori compositori contemporanei. come assistente di Sir John Pritchard. Ha titre honorifique de Companion of the British carica era appartenuta a Otto Klemperer e da I concerti dell’Orchestra sono trasmessi debuttato all’English Music Theatre, quindi è Empire par la reine à l’occasion de son allora l’Orchestra ha collaborato con nomi di sempre più frequentemente da BBC Radio 3, diventato direttore d’orchestra presso la anniversaire officiel en 1992. prestigio come Lorin Maazel (Direttore incluso l’apparizione annuale in occasione dei Städtische Bühnen di Dortmund e la Opera Principale Associato), Riccardo Muti BBC Proms. La Philharmonia Orchestra gode di North. È stato Direttore Musicale di Opera 80 La carriera di cantante di Geoffrey Mitchell (Direttore Principale e Direttore Musicale), una reputazione a livello mondiale ed è dal 1983 al 1987 e dal 1992 è stato Direttore racchiude un repertorio notevole che spazia Giuseppe Sinopoli (Direttore Musicale) e, l’orchestra sinfonica che ha inciso di più in tutto Musicale fondatore dell’Opera di Almeida. dalla musica antica a quella contemporanea e attualmente, Kurt Sanderling (Direttore il mondo, con un catalogo di oltre 1000 Lavora copiosamente in opere e concerti, a che l’ha portato in Scandinavia, Germania, Emerito), Vladimir Ashkenazy (Direttore incisioni, tra cui una serie di colonne sonore per livello nazionale ed internazionale. Ha diretto nella ex Cecoslovacchia, in Canada e Laureato) e Sir Charles Mackerras (Direttore film e televisione. La sua discografia include, per diverse produzioni presso la English National Australasia. L’esperienza di direzione degli inizi Principale Ospite), oltre che con artisti Opera Rara, numerosi dischi di recital, oltre a Opera e la Opera North e appare regolarmente con la BBC lo ha condotto ad un maggiore importanti come Wilhelm Furtwängler, undici opere complete, e nella serie Opera in con la Philharmonia Orchestra e la London coinvolgimento con i suoi stessi cantanti e Richard Strauss, Arturo Toscanini, Guido English per Chandos, sponsorizzata dalla Peter Philharmonic Orchestra. Nel 1996 ha inoltre alla creazione del Geoffrey Mitchell Cantelli, Herbert von Karajan e Carlo Maria Moores Foundation, Carmen, Wozzeck, Don debuttato con Così fan tutte al Glyndebourne Choir. Le prime registrazioni sono sfociate nel Giulini. L’Orchestra continua a collaborare Giovanni, L’elisir d’amore, Lucia di Lammermoor, Festival, dove nel 1998 ha diretto la prima coinvolgimento a lungo termine del Coro con con direttori e solisti di fama mondiale, oltre Faust, Carmen, Aida, La bohème, Madama mondiale di Flight di Jonathan Dove. Opera Rara, per la quale ha inciso più di ad attrarre nelle sue fila i giovani musicisti Butterfly, Turandot, la Tosca, vincitrice di un È un frequente visitatore della Spagna dove trenta registrazioni. Il Coro gode di una fama europei di maggiore talento. premio, e vari album di recital, con assoli di arie si è esibito in concerto con la maggior parte sempre maggiore con ulteriore lavoro dalla Orchestra Residente presso la Royal Festival d’opera eseguite da Elizabeth Futral, Bruce Ford, delle maggiori orchestre spagnole. Ha diretto BBC e da case discografiche internazionali. Hall di Londra, occupa una posizione centrale Diana Montague, Dennis O’Neill, Alastair la prima spagnola di Peter Grimes a Madrid e Per la Chandos il Geoffrey Mitchell Choir ha nella vita musicale britannica anche attraverso Miles, Yvonne Kenny e John Tomlinson. La nel 1996 la prima produzione spagnola di partecipato a numerose registrazioni nelle residenze regionali che offrono un’opportunità Philharmonia Orchestra continua a consolidare The Rake’s Progress. È apparso in Germania, applaudite serie di Opera in English con il ideale per espandere il suo dinamico la sua fama internazionale con frequenti tournèe Svizzera, Paesi Bassi, al Festival di Pesaro in patrocinio della Peter Moores Foundation. programma educativo, basato sulle comunità. e attraverso le recenti, prestigiose residenze Italia, al Festival Internazionale di Hong Kong, Vincitrice di numerosi premi, è stata lodata presso il Châtelet Théâtre Musical di Parigi, il in Giappone con una tournée della Carmen e La Philharmonia Orchestra, una delle più all’unanimità dai critici per la sua politica di Megaron di Atene e il Lincoln Center for the in Messico con la UNAM Symphony grandi orchestre del mondo, è diretta per la programmazione particolarmente innovativa e Performing Arts di New York. Orchestra. Recenti nuove produzioni da lui

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dirette comprendono il Fidelio al Festival della d’Inghilterra di Donizetti. Per Chandos ha Nuova Zelanda, Lucia di Lammermoor alla diretto una serie di registrazioni di arie d’opera New Israeli Opera e Don Giovanni alla (con Bruce Ford, Diana Montague, Dennis Staatsoper di Hannover. O’Neill, Alastair Miles, Yvonne Kenny, John Cooper © Bill Il suo lavoro in studio di registrazione Tomlinson, Della Jones e Andrew Shore), comprende la produzione della BBC di nonché Carmen, Don Giovanni, Don Pasquale, Der Vampyr di Marschner nonché ventotto The Elixir of Love, Lucia di Lammermoor, registrazioni operistiche complete con il Ernani, Il trovatore, Aida, Faust, Cavalleria patrocinio della Peter Moores Foundation. Tra rusticana, Pagliacci, La bohème, Turandot, Tosca questi vi sono numerosi dischi per l’etichetta (vincitrice di un premio) e brani scelti da Opera Rara che hanno vinti parecchi premi, Der Rosenkavalier, tutte in collaborazione con tra cui il belga Prix Cecilia per la Rosmonda la Peter Moores Foundation. © Bill Cooper © Bill

At the recording sessions: Susan Bickley, Brian Couzens (Producer) and Christopher Purves

At the recording sessions: John Graham-Hall

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At the recording sessions: Barry Banks © Bill Cooper © Bill Cooper © Bill

At the recording sessions: Majella Cullagh CHAN 3097 BOOK.qxd 11/4/07 2:36 pm Page 100

COMPACT DISC ONE Pippo Pippo and Servants a woman’s choice is always better. Who is it? Giannetto, the hero, is coming today! And our son’s wife will be… Overture 1 Maestoso marziale – Servants Lucia Magpie 2 Allegro It’s the magpie. Hey Ninetta! Where is she now? Ninetta! Ninetta! Is she deaf or am I dumb? Pippo Fabrizio And where’s that fool Fabrizio? Act I Stupid bird, what is the matter? Ah, the magpie guessed the answer. Yes, where are you, husband dear? Scene 1 Will you never stop your chatter? Lucia The house of Fabrizio Vingradito Pippo and Servants Magpie Where’s Fabrizio? Don’t be stupid! Servants Pippo? Pippo? Look no further, look, he is here! Fabrizio 3 What a day of celebration! What a happy day! Pippo Fabrizio Guessed it right! That’s enough, that will do! I am here, my dear Lucia, Well done! Well done! Pippo Stupid magpie. come like Bacchus, yes like Bacchus in his glory. Ow, ow, ow! After many months of fighting, Do shut up or it will be the worse for you. I have emptied out my cellar for the party, Lucia doing battle with the enemy, I’ve enough to see that ev’ryone is hearty, he returns to join his family. Servants What happened? Pippo? I am laden with Chianti and Frascati. Our young master’s on his way, he’s on his way. Let us praise the God of Wine, the God of Wine! Fabrizio Welcome, welcome. Curse the bird, it went and bit me! Pippo Lucia, Pippo, Fabrizio and Servants Servants Quiet. That will do. Long live Bacchus, our great protector, Lucia Let us welcome our Giannetto, for his nectar is divine! That serves you right! let us welcome our young hero. Lucia 4 Get moving – do something. Lucia (to Fabrizio) Fabrizio Magpie My God, you’re so lazy. Oh what joy that our Giannetto Still the magpie guessed the answer. Pippo? Pippo? There’s work to do – get busy. is returning from the war! Lucia You people amaze me! Pippo Fabrizio Don’t be stupid! Who is calling? There’s food to get ready and tables to lay, I’ve told you my son is coming here today. And if I could see him married, Fabrizio Servants Just look at you standing there that would please me even more. Guessed it right! Couldn’t tell you. there’s work to be done. Lucia Pippo and Servants Magpie You know that my son is coming today. You can leave all that to me, Yes, the magpie guessed the answer, Pippo? Pippo? My doubts and misgivings are fading away. for I am sure that you agree, and it fills us with delight! Yes, yes!

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Fabrizio They’ll soon be here, they’ll soon be here. Ninetta Isacco 5 I can see my beloved Giannetto, One will hold me to his heart, Oh no, you know I’d rather die than see that I’m buying as well as selling. I’ve bargains at all with the girl of his choice by his side, but the other – what will he do? happen again. prices. I’ve ribbons and I’ve laces, and petticoats not forgetting his dutiful father God of Love, I trust in you, and earrings who’ll be bursting with pride. for my heart is pure and true. Lucia 7 The usual protestations – in the meantime that Pippo Lucia Spring is returning, silver fork has not been found yet. Be off – we don’t want you! I can see my beloved Giannetto, sunlight is burning, with the girl of his choice by his side, now all my sorrows are past. Isacco Ninetta not forgetting his dutiful mother It is the end of all my sadness, Give my compliments to the lovely Ninetta. That wasn’t my fault! who’ll be bursting with pride. now joy and gladness are mine at last. (Fabrizio enters.) (Isacco leaves.) Pippo Lucia I can see our beloved Giannetto, Fabrizio None the less. Ninetta 11 with the girl of his choice by his side, 8 Dearest Ninetta, today’s a special day! What’s that shouting? What is it? not to mention his mother and father My son, I know you like him… Fabrizio For God’s sake, let’s go. Servants and Villagers who’ll be bursting with pride. Ninetta Be patient, Ninetta! Bravo! Bravo! Sir! But what are you saying? Lucia and Pippo Ninetta He will thrill us with tales of the battle, . Fabrizio (Fabrizio and Lucia leave.) Is he coming? tales of courage and bloodshed and valour. Giannetto doesn’t hide things from his father – Lucia, Pippo, Fabrizio and Servants why should he? He loves you. He does, and Isacco Villagers 9 In the meanwhile we’ll all be rejoicing. come to that, who can blame him? Penknives and needles, leather patches, He is coming. We’ll be toasting the bridegroom and bride. combs and scissors and sulphur matches, Ninetta knives and forks and pots from Hungary, Pippo (They all leave. Ninetta comes into the Just what I longed for. lots and lots of ironmongery! It’s Giannetto! courtyard.) Fabrizio Come to the pedlar, oh, don’t be shy! Ninetta Cavatina Quiet! Here comes Lucia! What will you barter, what will you buy? My best beloved. I have nothing more to fear! Penknives and needles! Ninetta How I longed to see this moment! Ninetta How my aching heart has yearned! 6 Oh, my heart is full of joy! Thank you, Fabrizio. Pippo For my father, my father dear, Lucia 10 I thought so, it’s old Isacco. Be off now. You can Pippo and my love, my darling boy, Take this and lay the tables – be very careful that spare us all your knick knacks and your beautiful Quickly, quickly, ev’rybody – very soon will both be here. nothing should go missing! singing. for the hero has returned!

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Villagers and Servants Giannetto Fernando Tears are my consolation. Bravo! You are welcome! 14 Goodbye for now, my darling. Listen, I’ll tell you – I’ll tell you! Now all my strength has left me. Welcome to the hero! 15 Yesterday, just as the sun was setting, I arrived in But on the far horizon, Bravo, bravo, Giannetto Ninetta Paris with my regiment. I asked my Captain a hope begins to shine, you are welcome, welcome home' Yes, but you’ll be back very soon. leave to come and see you, as a favour – cruelly yes on the distant horizon, Lucia and contemptuously he refused me. So I swore, I a ray of hope begins to shine. Cavatina cursed him, insulted my superior. ‘Ah, how dare You’re a sweet little magpie. Come here, kiss Fernando you!’ he shouted. He drew his sword and fell Giannetto (to Ninetta) mummy’s hand. Goodbye then, Ninetta. No, no, all hope has vanished. 12 upon me. My fury boiled the blood in my veins Darling! Darling, let me embrace you – My daughter, not even you can save me! (Lucia leaves.) – I drew my sabre – attacked him. The clash of and clasp you to my breast. Ninetta, I will be banished. weapons rang out across the camp. The soldiers For thus is my love expressed, Long lonely days of exile, Ninetta heard the commotion, rushed to the scene – they the language of my longing. God, how I love him. It’s time to count the a dreadful fate is mine. Even in doubt and danger, pinned me down, restrained me. silverware. My hero, my Giannetto, my darling. Long days of exile await me, still you were by my side. Ninetta You were my angel and guide, Fernando a dreadful fate is mine. Oh, father, then what happened? 17 filling me with courage, valour, honour, This is the house. Oh, daughter let me embrace you. with courage and with pride. Fernando (Ah no, I cannot bear it! Ninetta Now, hear the worst! I was imprisoned, then For we alone can share it, Villagers and Servants No, nothing’s missing. Ah, heavens! What’s that. they condemned me... to death... this bitter, bitter pain!) Bravo! Bravo! The poor man is weeping. Tell me, how can I Ninetta You must stay and never part! help you? Ninetta It cannot be. Oh, father, let me embrace you. Giannetto Fernando (Ah no, I cannot bear it! 13 Yes, even in the battle, Oh my darling, my daughter! Fernando For we alone can share it, your love was there to guide me, Ah, but my friends helped me escape. Brave this bitter, bitter pain!) and now you’re here beside me, Ernesto disguised me, led me here. ‘My friend, Ninetta Fernando I swear we’ll never part. God bless you’ he stammered. He could not bear Ah, dearest father! Listen carefully. No, no, no, no! And now you’re here beside me, to say farewell. I swear we’ll never part. Fernando Ninetta Ninetta Careful! Don’t give me away! Yes, my father Villagers 16 I can be strong no longer, A loving oath has bound them both Ninetta for now all my courage deserts me, Fernando forever heart to heart. Bless them! What are you saying? for now all my strength has left me. There is something I must tell you. Ah, Ninetta.

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Ninetta Ninetta Mayor Ninetta There’s someone coming. Your servant. But why are you so coy and so standoffish? (God in heaven!)

Fernando Mayor (Enter Giorgio.) Mayor But who is it? Tell me, who is this man? Giorgio Not so fast, sir, one moment. This paper is the Ninetta Ninetta Sir, these papers are urgent – and you should description of a deserter who has escaped. Then It is the Mayor. Only a poor old beggar, he asked me for help. read them. there are further details I can’t read without my spectacles. My love, would you be a dear and Fernando Mayor Mayor read them for me? Then I’m done for – you must tell me what to do! So you gave him a drink. To tell you the truth Oh yes – and who has sent them? I’m thirsty myself. Ninetta Ninetta Giorgio (May Heaven either kill me at once or save my Sit down and wait. Ninetta A sergeant. father!) I will get some more then. 19 THIS IS MOST URGENT. THE Fernando Fernando DESCRIPTION OF A SOLDIER – If he finds me… Mayor A sergeant! I think you understand. SENTENCED TO DEATH – WHO HAS Ninetta Ninetta ESCAPED MY CUSTODY. HIS NAME IS… Quickly, quickly hide these clothes! Ninetta Ah dearest father, you must escape! Had you heard that Giannetto’s returned? Mayor Fernando Fernando Is what? Mayor My poor heart, can I bear it? But how, Ninetta? With no money, with nothing? That’s why I’ve come here – to join in the Ninetta Ninetta and Fernando celebrations. Ninetta ‘FER – FER – FER – NAN – DO’. (God of Can I bear this cruel fate? God help us – for I’ve no money either! mercy, inspire me – how can I rescue my father?) I tremble with terror, I shudder in torment. Ninetta The storm is upon us, as danger approaches. Well you’ve missed him. They’ve all gone to Fernando Mayor Ah, doom and foreboding are freezing my heart! Church. Well then, here’s two bits of cutlery, they’re all (Look how she’s blushing – it makes her twice as The fate which has brought us together Mayor that I possess. Go quickly and sell them, but lovely!) has chosen to drive us apart. That doesn’t matter. As long as you’re here, I’m careful, do it in secret. Up on the hillside there’s The rolling of thunder will drive us asunder, happy. Oh, if only you knew, my darling, how a hollow tree, a chestnut, you remember, take Ninetta now fate has conspired to drive us apart. I’ve been longing to find you here alone! the money and hide it there. ‘HIS NAME IS FERNANDO VI… VINELLA’ Mayor Ninetta Mayor Mayor 18 Good morning, my pretty lady. Oh, come Sir, you’re joking. Ninetta? Pray, continue.

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Ninetta Ninetta Mayor I detest you, I abhor you, (Oh heavens, if I read on, my father is done for!) ‘YELLOW UNIFORM WITH SCARLET Get moving! D’you hear me? Get moving and be and you fill me with disgust! ‘His age approaching forty – his height, five foot TRIMMINGS – WHITE BOOTS – IF YOU on your way! (Fernando has come back into the courtyard.) six.’ SHOULD SEE THIS DANGEROUS MAN, (Fernando hides in a doorway.) IMPRISON HIM AT ONCE…’ Fernando Mayor Fernando Rage and hatred burn within me What’s wrong? I can’t hear you! Read out loud Mayor (Oh great God of justice, and my heart cries out for vengeance! and stop mumbling! I will, with pleasure. Who knows, we may be Ah, do not reject me. I can hear the roar of thunder lucky. Hey you wake up there! Fernando Smile down and protect me, as the storm begins to break! (Poor Ninetta!) Ninetta have mercy I pray!) But I have to hide my anger (Oh Heav’ns!) for my darling daughter’s sake. Ninetta Mayor It is almost illegible. Fernando (Oh great Aphrodite, Mayor My lord. look down and protect me. Rage and hatred begin to burn within me. Mayor She must not reject me; Mayor Now my heart cries out for vengeance! Here – if I had my glasses. I must have my way!) Get up will you, and let me see your face. I can hear the roar of thunder (He fumbles in his pocket.) Ninetta as the storm begins to break. Ninetta (Oh great God of justice, I was wrong to show my anger, Ninetta (God help me,) my approach was a mistake. I can read it. (Now heaven help me.) Ah, do not reject me! ‘AGE: TWENTY-FIVE; HEIGHT: SIX FOOT Mayor Smile down and protect me, Ninetta TWO INCHES.’ Ha, ha, age twenty-five, well almost – high of have mercy I pray!) Rage and hatred begin to burn within me, forehead with blonde hair, and dark eyes, and (Fernando leaves.) now my heart cries out for vengeance! Mayor round of face. Such a handsome young man Now the storm begins to break. Mayor A pity – let’s hear the rest. cannot be you, sir! But I have to hide my anger 21 We’re alone here – quite alone here. Ninetta for my darling father’s sake. Ninetta Oh, God of love, pour down your blessing 20 (Thank heavens!) ‘HAIR, BLONDE, EYES DARK, HIGH OF on my passion and inspire me. Mayor FOREHEAD AND ROUND OF FACE.’ Mayor (taking Ninetta by the hand ) If you say you don’t desire me, What’s the point in being angry? (My darling.) Mayor you are heartless and unjust! Come with me, I’ll calm you down. Good heavens! You make him sound like a real Fernando (to Ninetta, as if he wants to tell her Ninetta Fernando Adonis – dark eyes, blonde hair… something) We’re alone here – quite alone here. What an outrage! What a scandal! delightful! My lady… No one listening, so I do not need to spare you. Such behaviour! This is disgraceful!

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And at your age – in your position! Ninetta Scene 2 Ninetta Do you not have any shame? Quickly, father! Then thank you. But pedlar, not a word to a Isacco Your behaviour is a scandal – soul! Fernando 23 Penknives and needles, leather patches, do you not have any shame? Yes, I’ll leave you. combs and scissors and sulphur matches. You, a man in your position, Isacco Mayor I can keep secrets. do you not have any shame? If I see your face again. Ninetta Mayor (to Ninetta, taking her by the hand ) Isacco! Isacco! Pippo What the devil? Will you trust me? Isacco Please will you tell me, how could you deign to deal with him, or even talk to that disgusting old Ninetta I’m here – Isacco at your service! Fernando pedlar? What a way to treat an innocent young woman! You disgust me, you disgust me! Ninetta Fernando Ninetta Ninetta Pedlar – I have something, something to sell you. Now I’ve found you, I must leave you, I was in desperate need of money, and that’s why Father, father you must be careful! oh, my daughter, we must part! Isacco I sold him something. Mayor Let’s have a look then. Ninetta Pippo Ah, how dare you! Now you’ve found me, you must leave me, (She hands him the cutlery.) Ah, I’m with you. You sold some old odds and oh, my father, we must part! Fernando Ninetta ends which… Keep your voice down! Mayor What will you give me? I will teach you to deceive me Ninetta Ninetta (aside, to Fernando) and to trifle with my heart! Isacco I sold him something, and that’s the long and You must take care, you must take care or we are Fernando, Ninetta and Mayor Not very heavy – but matching – let’s call it ten. short of it. Now leave me, please. Really, I’ve got ruined! so much to do. 22 Such madness and confusion, Ninetta Mayor passion and delusion! Ah, that won’t do! Pippo Come, Ninetta. Ah, my poor heart will break, Miss High and Mighty. I’ve even more to do yes, it is more than I can bear! Isacco Ninetta than you have, and I’m exhausted. Ah, such a dreadful moment, Ah, well then, if you’re twisting my arm... let us Do not touch me! what anguish, what despair. say fifteen. Can’t say fairer than that! Ninetta Fernando Mayor Ninetta I’ll go quickly and put the money inside the What a way to treat an innocent young woman! I will catch you, yes, I’ll catch you, I have no choice. hollow tree. Mayor when I do, then you beware! Isacco (Lucia, Giannetto and the Mayor enter. Lucia Who the hell do you think you are? (The magpie flies down and snatches up a spoon.) Five, ten fifteen, I’m the loser! presents Giannetto to the Mayor.)

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Lucia Fabrizio Giannetto I’ll see you change your tune. Here he is – here’s my Giannetto! Our young Nothing to cry about! But… What’s the name of your father? Speak! hero, who has earned so much glory! Mayor (to Lucia) Mayor Ninetta Mayor Quickly, bring pen and paper. Be silent! Giorgio, take down the evidence. Fernando Villabella! So young, so courageous! 24 This morning in the house of Fabrizio Vingradito, Fabrizio a precious object was stolen. Mayor Giannetto I repeat, I want no trials in my house. Villabella! I don’t believe it! I do not deserve such commendation. Giannetto Now I see that you have cheated me; Lucia It was mislaid, not stolen. Lucia Be quiet, idiot! Only the guilty need be that scoundrel was your father! My God! Now a spoon has gone missing. What frightened, for when the culprit has been Mayor Do not worry, for my men is happening? discovered they will be punished. Silence! will apprehend him very soon, and then the villain will be here before your eyes, Ninetta Mislaid or stolen, it’s all the same. Giannetto Put stolen. Now what was stolen? and the the villain will be here before our eyes! Mistress! Oh heavens, for such a little thing! Yes, a spoon made of silver – Lucia, Pippo, Giannetto and Fabrizio Lucia Mayor to wit a silver spoon. What is happening? Yes, it is missing – you can see for yourself. And in such cases the law is very severe, for all Ninetta and Giannetto Can you explain it? Now a spoon has domestic larceny is punishable by death! Mayor disappeared – and before it was a fork. It’s too A terrible disaster. Oh, nothing serious, just a stupid little girl, There’s nothing I can do. much to bear. All who’s trying to fool us with her lies. By death! Ninetta, Giannetto and Fabrizio Mayor Ninetta You’ve reason and cause to be angry, there are A terrible disaster Giannetto is sure to happen soon! Oh, heavens, I cannot bear it! thieves in this house. We will investigate, we’ll Who can have done it – who can it be? press charges. Lucia (Ninetta drops the money she received from Isacco.) Magpie Fabrizio I treated her unfairly, Ninetta! perhaps I spoke too soon. Lucia I’ll have no trials in my house. I won’t allow it! But what is all this money? Ninetta! Fabrizio Pippo Again sir, I beseech you – this matter must go no What judgement, oh, what wisdom, Ninetta Ninetta further! the stupid old buffoon! It’s mine, my lady, I swear it. She’s right, though. Something’s missing, a spoon, and yet I counted just now and they were Mayor Mayor Lucia all there. Impossible. You thought that you would thwart me, You little liar, you little liar!

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Mayor Mayor Mayor Mayor Quickly, put it all on the record! But why all this confusion? I will teach you to be proud and to disdain me, Tell us what she sold you a short while ago! Deny it if you dare. I will teach you that I always have my way! Ninetta Isacco It’s mine, you must believe it! But we can draw our own conclusion Now’s the moment of my triumph, from the evidence that’s there. I’ll be sure to make you pay! Just one silver spoon, and also a fork. Pippo Ninetta, Giannetto, Lucia, Pippo and Fabrizio Ninetta Giannetto Yes, I saw her receive it – she got it from Isacco. (This dreadful situation will drive me to despair, Oh, my father, I cannot help you, Ninetta! Ninetta! You really are guilty! Mayor this dreadful situation is more than I can bear!) there is nothing that I can say! (And I thought that she was pure and honest, The pedlar? What has she done for him? was I wrong?) Mayor If I speak, then I betray you, Pippo Ah, now she’s mine completely. Ah, my strength has drained away! Oh, beloved father, what can I say? Lucia He gave it in return for certain trifles that he I caught her in my snare! I knew she was guilty, bought. Lucia Giannetto I knew all along! She is pale and she is trembling. Mayor Let’s fetch Isacco! Ah, it fills me with such dismay! Pippo She sold him certain trifles, eh? Like what? Pippo I do not know what to think or feel, I did not foresee this, Ninetta Certainly. I don’t know what to say! I’m sure she is honest, I cannot tell you. I’m sure that they’re wrong! Fabrizio (to Pippo, who is leaving) Giannetto Mayor You’ll find him in the village. What to think, ah, what to feel, Fabrizio I’ve caught you in my trap! I do not know what I should say! Lucia, Giannetto and Fabrizio Perhaps she is guilty, What should I say? Giannetto Soon all this pain and anguish perhaps I was wrong. Ah, Heavens, what should I say? Be silent! Tell us everything. will vanish into air. Mayor Ninetta Mayor (to Ninetta) Fabrizio I knew she was guilty, I cannot. I had better keep the money. She is pale, and she is trembling. I knew all along. Ah, it fills me with dismay! Giannetto Ninetta I do not know what to think or what to feel, Ninetta Please, just tell us. Keep the money! Oh someone – please help me! ah, I do not know what to say! But where have you put them? Lucia Mayor Oh God, I don’t know what to say! Please tell them! You’re shaking, you look nervous! It belongs to the Exchequer. (Isacco enters.) Isacco Ninetta Ninetta Isacco I bought them to sell them, No, no, my lady, I’m hoping... This is more than I can bear. 25 Did somebody want me? the goods have been sold.

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Ninetta Pippo Mayor she is petrified with fear!) Oh God – a catastrophe! Grief and calamity tumble around me, 28 Take this girl away and throw her into prison! It is the moment of my triumph, darkness and misery, Oh God, what can we do? I have won her! Mayor Giannetto Giorgio, go quickly, do what I tell you! Ninetta Ninetta Darkness and misery, what can I do? If you touch her I swear you will regret it! Giannetto Ah Giannetto! Mayor Were they initialled? Lucia and Pippo Darkness and misery, what can we do? That’s an order! Giannetto My love! Ninetta Fabrizio Ninetta Oh, God in heaven; they were initialled with the Heartbreak and tragedy, how can I help her? Oh Heavens! Mayor same letters – How can this be? Darkness and misery, what can we do? Get away from her! Lucia, Pippo and Fabrizio Mayor Ninetta Do not take her! Oh my God! Ninetta and Giannetto Were they initialled? Darkness and misery, what can I do? You are heartless! What shall I do? Mayor Isacco No, I have to. Do you dare to disobey me? Lucia, Pippo, Fabrizio, Servants and Villagers Well, there was an ‘F’ and a ‘V’ together. Lucia, Pippo, Giannetto and Fabrizio Grief and calamity tumble around me, Giannetto You are cruel! Ninetta What shall we do? Will you hear me? Will you listen? Mayor 26 Grief and calamity tumble around me! Mayor Take hold of her! Darkness and misery, oh God what can I do? Mayor You’re in my power, so what can you do? Be quiet! It’s going splendidly, could not be better, All Lucia and Pippo (Now I’ve caught her, I’m delighted!) Oh, my Lord! Darkness and misery, what can we do? it’s going splendidly, pretty Ninetta! Ninetta, Lucia, Pippo, Giannetto, Fabrizio, You’re in my power, so what can you do? Mayor Servants and Villagers Mayor Now I have conquered you, what shall I do? Enough, get her out of here! Such emotions are raging within me, Grief and calamity, it’s going splendidly. Giannetto I am frozen with fear! Ninetta (Now you’re in my power, there’s nothing you 27 Someone is coming. can do.) Such fury is raging within me, Must I leave you? Ninetta, Lucia, Pippo, Giannetto and Fabrizio I am frozen with fear! Ninetta Heavens, the army! Lucia, Giannetto and Fabrizio Darkness and misery, what can I do? Mayor Ninetta! Lucia, Pippo, Giannetto and Fabrizio (Now at last she is mine, Lucia and Pippo Spare her, your worship, she’s completely in my power, Mayor Darkness and misery, what can we do? have mercy, I pray! she is petrified with terror, Enough of this, enough of this!

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All Lucia, Giannetto, Isacco, Fabrizio and Villagers COMPACT DISC TWO Ninetta Such emotions are raging within me, Who will take a dagger and plunge it into his heart, But you have been so generous. I am frozen with fear! in his dark evil heart! Act II Antonio Such fury is raging within me, Entrance hall of the prison Mayor And then, who is to know. Young man, please I am frozen with fear, She is mine, and for ever, Antonio enter. I’ll leave you alone. I am frozen with terror! she brings pleasure 1 She’s shut up in that dark and dismal dungeon, and joy to my heart! groaning with grief and sorrow. No one could (Antonio leaves.) Ninetta She is mine and forever, see her, could see how she is suffering without Ninetta Don’t forget poor Ninetta. we never will part! feeling her pain. Dearest Ninetta, I’ll do the best Darling! Ah, have pity on my broken heart! For the girl brings such pleasure I can to alleviate her anguish. Hey, young lady. Giannetto My poor broken heart! and joy to my heart! (He opens her cell door.) If I’m still your darling, then banish my suspicions. Ninetta Tell me the truth. Tell me if you are guilty. Oh no! Ninetta Antonio I am not guilty. No, don’t be frightened, it’s Antonio, a friend. Giannetto Come, come with me, yes, come into the Then why did you not try to clear your name? daylight, you can enjoy a brief breath of fresh air. Ninetta Ninetta I have nothing I can present in my own defence. Oh, thank you, I’m so grateful. Tell me, do you know Pippo? Could you possibly tell him, only Giannetto if it’s no trouble, that I would like a word. If you persist, persist in saying nothing and keeping your secret, I’m fearful. Maybe today’s Antonio the day that you must… I cannot say it. Hmm. I’m not sure, I’ll try, but I’m not sure if... (Someone is heard at the door.) Ninetta Who is there? That I must go to my death. I know, I know it. 2 Maybe one day you’ll forgive me, Giannetto you will know I was not guilty, Open up. Let me in, I beg of you. you will see that you misjudged me. Antonio But if you should weep for me, That’s not possible. those are tears I’ll never see.

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Giannetto Giannetto Yes, trust me, you know I love you! Mayor Dry your eyes, oh, my beloved, Farewell. Yes, I promise, that I will save you, But the sentence? you must fight and not surrender. (Giannetto leaves.) if you listen to my plea! Ninetta (In that heart so young and tender Yes, I promise that I will save you I’m not frightened. there’s no guilt that I can see, Antonio if you listen to my humble plea. yet she may be lost to me.) This is intriguing. Why is the Mayor being quite I promise I will save you, Mayor so relentless and so severe? The crime scarcely They may shoot you. Ninetta and Giannetto but you must do something for me. deserves it. Yes, there’s more to this business than Ninetta Only death can bring more anguish, meets the eye. Ninetta so much sorrow and such despair. Never, never! Let them do it. Now my poor heart is breaking, Mayor Mayor Mayor it’s more than I can bear. Antonio, do you hear me? Bring out the prisoner Ungrateful creature… I warn you, I warn you! Go then, I curse you. With so much sorrow my heart is breaking, – quickly – and then leave us! Ninetta – Ninetta. You are unworthy, ah, yes, it’s more than my heart can bear. Aha! Come here, my little darling, come closer – Villagers you’ll regret your foolish pride! my heart is bleeding with compassion for your Ah, Ninetta, poor Ninetta! Curse you, I hate you! Antonio plight. I have forgotten that you dared to insult 3 Mayor 5 When you hear the sentence, You’d better go, and quickly. The Mayor is on me. I’d love to save you. Do not lose heart. We’ll I hear voices, someone’s coming! you’ll beg me for mercy, his way. have you out of prison. You have my promise. Ah, let me hold you, and let me kiss you! your words of repentance 4 You’re so lovely, your eyes are sparkling. Giannetto Curses – they’re coming! will come much too late! Oh, my beloved… I’ll do anything you ask me, The love you denied me Villagers but my darling, if I’m to save you, has curdled inside me, Ninetta Now the Council has assembled, but the Mayor then you must do something for me. the passion you spurned My darling… is still not there! Ninetta now has turned into hate. Antonio Mayor Who can help me? Villagers I’ll have to lock you up again. (I must leave her for I cannot keep them waiting. Mayor You heard that? The drumming. Giannetto I must leave her, I must leave her, how Don’t you worry! Mayor I’m going. frustrating.) Ninetta Yes I heard you, just a moment! Patience, I’m coming, I’m coming! Ninetta Who can help me? patience – I’ll join you! Villagers My darling. Mayor Did you hear that? It’s now or never! The signal, the signal! Antonio Don’t you worry – put your trust in one who Ninetta Mayor Go quickly, young man, go quickly. loves you! My resolve will last forever. Be patient, be patient! Your answer?

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Ninetta Court Pippo Pippo I’ve decided. You see how his features are twisted with hate! Ah, keep it, I implore you. It really is an honour My tears are flowing openly, Court You hear him, let’s leave him! to do something for you. to see her sorry plight! Your worship. Oh God in heaven shine down on us (The Mayor leaves.) Ninetta and grant your holy light! Mayor Antonio Take this cross as a pledge. Oh, may you grant us your holy light! One moment. Ninetta? 7 Just think that tomorrow, even today, this most 6 Mr Mayor, Mr Mayor – what are you up to? Ninetta Ninetta How dare you do this, abusing that poor girl. precious object will be mine no longer! 9 Lest my darling should forget me, I’ve decided. Pippo Pippo give this ring to Giannetto! Court Ninetta – Ninetta! On no, you must not say that. Keep it, I pray! Your worship. I will be yours forever! Pippo Ninetta Such devotion and such compassion, Mayor I have need of your help. All that I ask is the Ninetta I have never, never known! No, no! I’m coming. loan of thirty lire. Will you please go and hide 8 No, no, I beg you to take it, That ungrateful creature will soon know her fate! them where I tell you. Take this cross as a in memory of our friendship. Ninetta Court pledge. Ah, this is all I ask you. Say until my final moment You see how his features are twisted with hate! Do not refuse me, I pray! I am his, and his alone. Pippo Do not tell him of my torment or my heartache. Mayor Slow down, slow down. Tell me what to do with Pippo Ah, this is torture, will I see my love again? When you hear the sentence the money. Yes! I will treasure it always, you’ll beg me for mercy, I’ll keep it safe forever. Pippo your words of repentance Ninetta It will be my companion For heaven’s sake, do stop it! will come much too late! Do you remember that hollow chestnut tree we until my dying day. No, no, I will not fail you. The love you denied me used to play in high on the hillside? Hide the It will be my companion, It will be done. I’ll tell him. has curdled inside me. money inside it, and do it, if it’s possible, before yes, I will guard it till my dying day. The passion you spurned nightfall. Be sure that no one sees you. Ninetta Do not forget. now has turned into hate! Pippo Ninetta You mock me and deride me, I will be careful. My tears are flowing openly, Pippo the love you denied me to see his sorry plight! How could I? I’ve given you my promise. has curdled inside me. Ninetta Oh God in heaven shine down on us The passion you spurned But Pippo, you need to take my cross as a and grant your holy light! Ninetta now has turned into hate! pledge. Oh, may you grant us your holy light! Poor darling Pippo, farewell!

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Pippo Judge Ninetta Giannetto Farewell! (If I don’t leave her my heart will break Silence. God protect me! 14 But, your Honours, you’re mistaken. in two!) You are punishing an innocent. Fabrizio Giannetto, Fabrizio and Mayor Ninetta She has a secret – no one can guess it. You must be careful! 13 God protect her! This is the last time that we’ll be together. This poor girl conceals a secret in her heart, yes, a secret in her heart. Now and forever, dear friend we must part! Judge Ninetta Bring in the prisoner and draw up the sentence. Pippo Darkest death begins to cast his shroud around Fabrizio and Mayor This is the last time that we’ll be together. Court me. A secret! 11 Death has cast his shroud around me. Now and forever, my dearest friend we must part! The wheels of justice will crush the guilty, Court (to Ninetta) Now she is weeping, her eyes are shining! so let this punishment be an example! Giannetto and Fabrizio What is your secret? Ninetta Goddess omnipotent, mighty and merciless, Darkest death begins to cast his shroud around Now he is weeping, his eyes are shining! punish us equally, justice is blind. her. Ninetta Goddess omnipotent, mighty and merciless, Death has cast his shroud around her. Do not force me to reveal it – respect my silence. Pippo send down your sentence on all of mankind. Giannetto Ah, such sweet emotion, Although the innocent have your protection, Fernando Ah, Ninetta! such friendship and devotion a hail of thunderbolts awaits the criminal – Now her face is racked with torment, within her loving heart! for crime and punishment will be as one! who can bear such bitter pain? Fabrizio Tender emotion, love and devotion Sulphur and thunderbolts fall on the criminal, You must tell us! shine in her loving heart! justice is done! Yes, justice will be done. Ninetta and Giannetto Ninetta And if I survive this moment Ninetta Judge Ah, such sweet emotion, will I ever be happy again? Do not force me, for pity’s sake! 12 Most unhappy of women, your fate is in the such friendship and devotion Who can bear such bitter pain? balance. Put your trust in the Lord. Here is the Mayor within his loving heart! sentence. Mayor (Pray that this is no mistake.) Tender emotion, love and devotion Every face is racked with torment, Giannetto shine in his loving heart! Clerk of the Court who can bear such bitter pain? Now her heart begins to break. The Courtroom THE ACCUSED, NINETTA VILLABELLA, What a dreadful, dreadful moment, STANDS CONVICTED OF LARCENY. BY what a bitter, bitter blow. Fabrizio Judge UNANIMOUS VOTE AND IN 10 Now my heart begins to break. By unanimous verdict – we find her guilty. ACCORDANCE WITH THE LAW, THIS Fabrizio Giannetto ROYAL TRIBUNAL SENTENCES HER TO Ah, her face is racked with torment, Judge Oh heavens – you can’t allow this! DEATH! who can bear such bitter pain? She says… nothing.

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Court Court Fernando Court Enough! Remove her and carry out the sentence. Seize him! A father and a daughter who face death and Come, no more procrastination, dishonour, take them down to face their sentence, (Enter Fernando.) Ninetta, Giannetto and Fabrizio my poor heart will never be happy again! Oh heavens! Ninetta Fernando Ninetta, Giannetto, Fabrizio, Mayor and Ah, my father, before I die… No, no! Court Fernando 15 Release her! Imprison him! Fernando A father and a daughter who face death and My daughter – Barbarians! Get away from me! Ninetta Ninetta, Giannetto and Fabrizio dishonour, Oh no, father? God help him – it can’t be true! my poor heart will never be happy again! Court Do your duty. Giannetto, Fabrizio and Mayor Fernando Ninetta, Giannetto, Fabrizio and Mayor Who is this then? I’ll gladly be your prisoner, Ah, who can bear so much pain? (Guards separate them.) I’ll gladly mount the scaffold, Mayor but spare my darling daughter! Court Ninetta and Fernando Who is this then? For she is pure and innocent. Take them away. Oh, Heaven help us! Fernando You must not shed her blood. Giannetto Giannetto and Fabrizio I have come to save Ninetta, You must not shed my daughter’s blood. I cannot bear this any more. Ah, Ninetta! come to save my darling daughter Court Fabrizio Mayor at the risk of my own life. The decision has been taken What can we do? (I regret this!) God in heaven, grant me courage and the sentence must proceed! and protect me in my quest! Ninetta Ninetta Fernando This is madness, father, madness! Ah Giannetto! Ah, Fabrizio? Ninetta, Giannetto and Fabrizio But tell me, what is the sentence? I will gladly die to save you, God in heaven, grant him courage but you have chosen to share my fate! Court and protect him in his quest! Court Off to jail and execution. Yours is imprisonment, but hers is execution. Mayor Fernando For justice is immutable, Ninetta My Lords I know this man – he’s the scoundrel What are you saying? for none can change the law! May I not embrace my father? we’ve been after. Fabrizio The unkindest cut of all! This man is a deserter! Ninetta, Giannetto, Fabrizio, Mayor and Tell us. Here’s a description and with it you’ll find the Fernando Giannetto and Fabrizio legal documents 16 Ah! A chasm of sorrow is yawning before me, Giannetto May she not embrace her father? which order his arrest! a desert of horror, of heartache and pain! Everything. The unkindest cut of all!

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Fernando dog who could perhaps direct me to the mayor’s Giorgio (Pippo and Antonio are in the belfry. Pippo puts May I not embrace my daughter? house, nor that of Fabrizio… I must find out the Oh look, look! his arm in a hole and pulls something out. The The unkindest cut of all! whereabouts of Fernando, my old comrade-in magpie has flown away.) Pippo I may not embrace my daughter! arms. He’ll be overjoyed to see his friend Ernesto He’s got my coin! He’s flown up to the steeple. Pippo and Antonio and to hear the happy news that I bring him! Fabrizio If I could catch him, if I could catch him… 21 Giorgio! Giorgio! Ah, we’re so happy! Ah, Heaven bless you, oh most merciful king, She may not embrace her father! I will try it. for you have pardoned the most worthy of men! Giorgio The unkindest cut of all! Ah, thank God, a sign of life! Excuse me, but Antonio What about? What’s this commotion? Fernando can you tell me how I can find the Mayor’s Let’s go and see. Pippo and Antonio My daughter! Barbarians! house? Pippo Now the truth has been discovered, Ninetta, Giannetto, Fernando and Fabrizio Pippo I curse you, thieving magpie. (showing the cutlery) 17 If I cried, I would weep for ever. The Mayor’s house? That’s simple: down there, all the goods have been recovered. (Pippo and Antonio run off.) If I sighed, my poor heart would burst. just past the villa, you’ll see an archway: the first Quick, before it is too late! Heavenly Father, advise us and guide us. gate, no, it’s the second gate on the left. Villagers Giorgio Grant us courage to face the worst. 19 Ernesto Bitter torment burns within you Are you crazy? Fabrizio, Mayor and Fernando Thank you. as you face your final moment. Pippo and Antonio No more weeping or I’ll weep forever, But your death may bring you comfort, (Ernesto gives Pippo a coin and leaves.) Hey you! Hey you there! We must stop them – no more sighing, my heart will be breaking. when you die you rest in peace. won’t you listen, won’t you wait? Heavenly Father, advise us and guide us. Pippo But your death may bring you comfort Won’t you listen, you barbarians? Grant us courage to face the worst. You little devil. Just you wait and I’ll catch you. as a merciful release. Giorgio Mayor and Court Giorgio Ninetta 20 Ah my friends, it’s very sad, No more weeping or I’ll weep forever, Who you talking to? God in heaven, Oh, God of justice, you’ve completely lost your senses. no more sighing, my heart will be breaking. God of love, hear my lonely cry! Pippo (Pippo and Antonio ring the bell.) But our justice can never be altered, I will suffer to save my father, To that repiulsive magpie. Antonio, what’s the Ringing bells for no good reason, and our sentence cannot be reversed! Ah, I pray that I alone will die! news? I am ready now – soon my sorrows will be over – there’s the proof they’ve both gone mad. Scene 2 Antonio I will go to meet my fate. Giannetto The village square Alas, they have condemned her. Villagers What is wrong? Ernesto (The magpie flies down and takes Pippo’s shiny Ah, the hardest hearts would soften Lucia and Fabrizio 18 What a dump of a village! No one, not even a coin. It flies up to the steeple.) if they saw her sorry fate. Yes, what has happened?

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Antonio Mayor Villagers Lucia, Fabrizio and Giannetto She is innocent, I tell you, completely innocent! I don't know what you’re saying! She is coming, never fear, When delight is least expected, yes, she is coming never fear! it delights you all the more! Lucia, Fabrizio and Villagers Lucia Ah, Ninetta! We know she isn’t guilty! Lucia Villagers Antonio We’re going to find Ninetta, Can this be? Love and joy to our Ninetta, For the fork and the spoon we’re going to set her free! to the girl the world adores. Villagers and the money have all been found. Giorgio We’ve discovered that the culprit She is coming. Mayor We’re going to set her free! Ah, this is the price of vengeance, was the magpie! Mayor and it fills me with remorse. Lucia, Giannetto, Fabrizio and Giorgio Mayor But the shooting? On no this cannot be! God in heaven! What a merciful relief! Villagers Ninetta 24 Though I hear your cries of gladness, Pippo (Shots are heard.) Mere rejoicing! though they move me – your happy voices – My lady, get ready, and hold out your apron. Lucia Lucia they will never soothe my sadness. (Lucia takes the silver.) 22 Oh, God preserve us – too late – she’s dead – Can this be? For although you’re all rejoicing, I can never share your delight! Giannetto and Fabrizio she’s dead! Villagers The silver! Oh heavens! Mayor You will see! Lucia and Giannetto Villagers I am freezing, I am burning! Mayor What’s the matter, dear Ninetta? Let’s hurry to stop them before it’s too late! My heart has turned to lead! She is living? Everything has turned out right! I am filled with nameless dread! Pippo, Antonio, Lucia, Giannetto and Fabrizio Fabrizio Poor perjured Ninetta approaches her fate! Villagers Pippo and Antonio (from the belfry) Yes, your Honour. Ninetta! Ninetta! Ah, Ninetta – are you all right? Villagers 23 We can see her, she is coming! Ninetta Let’s hurry to stop them before it’s too late! Pippo and Antonio Villagers Ninetta!! No, no. Where is my father? Mayor Bravo, brave, our Ninetta! Our Ninetta is alive! Will no one tell me? Is he alive? Now what’s all this commotion? Lucia Who dared to ring the bell? Mayor Ah, my daughter. (Fernando and Ernesto appear.) I don’t believe it! Lucia Giannetto Fernando Such happiness, your Honour – Giorgio Let Ninetta have her freedom. Ah daughter, yes, I’m here, yes, now and always! such joyful news to tell! Oh, did you hear? She is pardoned by the law. I will be by your side.

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Ninetta Pippo Lucia, Antonio, Fabrizio and Villagers Ninetta, Lucia, Pippo, Giannetto, Fabrizio and Ah, father – now all my pain’s forgotten. Dear Ninetta, I am here! Now fate has been decided, Fernando How could my joy be greater? now we can breathe once more. Now fate has been decided Lucia What more could Fate provide? now we can breathe once more. Here’s Giannetto. He is your husband, Mayor Now that the sea has subsided, Now that the storm is over, Ninetta, Lucia, Pippo, Giannetto, Fabrizio and Ninetta now we are safe once more. and now that the sea’s subsided, Villagers Ah, my lady, this is far too much to hope for! How could our joy be greater, we have been safely guided Mayor what more could Fate provide? Lucia to a safe and happy shore. Would that the storm were over And I hope that you’ll forgive me. A father and a daughter, Lucia, Antonio, Fabrizio and Villagers and would that the sea had subsided, happily side by side, Fabrizio Now fate has been decided, I have been mocked and derided what greater joy could Fate provide? Bravely spoken, my Lucia. now we can breathe once more. by one that I adore. Mayor Ninetta Pippo and Giannetto Villagers Who has dared to help the traitor? Ah, my love, at last you’re with me, Now that the tempest is over, Now that the storm is over Who released him from the prison? hold me close, my darling boy! and now that the sea has subsided, and now the sea’s subsided, Fernando Giannetto finally we’ve been guided now fate has been decided, I’ve an order for my pardon Ah, my love, at last you’re with me, to a safe and happy shore. now we can breathe once more. and the King has signed his name. hold me close, your darling boy! Translation by Jeremy Sams Ninetta, Lucia, Pippo, Giannetto and Fabrizio Ninetta, Lucia, Pippo, Giannetto, Antonio, Ah, the King has smiled upon us, Fabrizio, Fernando and Villagers let us praise his noble name! Face to face with so much happiness, I will weep with tears of joy! Cooper © Bill Villagers Mayor He’s confused and he’s astonished, Face to face with so much happiness, do you see him blush for shame? I will weep, but not with joy! Mayor Ninetta I’m confounded and embarrassed, 25 Now that the storm is over, I am mortified with shame, bitter shame! and now that the sea’s subsided, Ninetta we have been safely guided At the recording sessions: Where is Pippo? He should be here. to a bright and happy shore. Majella Cullagh and Barry Banks

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Opera in English on Chandos Steinway Concert Grand provided and maintained by Steinway & Sons, London Published by BMG Ricordi S.p.A. Milan/United Music Publishers Ltd, London Artistic consultant to the Peter Moores Foundation: Patric Schmid Repetiteur: Nick Bosworth Staging director: Charles Kilpatrick Vocal and language consultant: Ludmilla Andrew Staging consultant: Daniel Slater Music librarian: Jacqui Compton Translation research by Henrietta Bredin Production shots of Garsington Opera’s 2002 production of The Thieving Magpie by Keith Saunders Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Matthew Walker Editor Jonathan Cooper Operas administrator Sue Shortridge Recording venue Blackheath Halls, London; 21–23 & 27–28 September 2002 Front cover Digital montage including photograph of magpie by Chris Gomersall (www.rspb-images.com) Back cover Photograph of David Parry by Russell Duncan Design Sean Coleman Booklet typeset by Dave Partridge Booklet editor Kara Reed Copyright English translation © Jeremy Sams p 2003 Chandos Records Ltd c 2003 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HQ, UK Printed in the EU CHAN 3096

151 SOLOISTS/PHILHARMONIA ORCHESTRA/PARRY CHAN 3097(2) Printed in the EU CHAN 3097(2) TT 79:58 TT 71:04 England • Recorded in 24-bit/96kHz Recorded LC 7038 DDD TT 151:02 COMPACT DISC ONE COMPACT DISC TWO Essex • Geoffrey Mitchell Choir Mitchell Geoffrey Orchestra Philharmonia Parry David 2-disc set Colchester • bass bass bass tenor tenor tenor soprano baritone baritone baritone baritone Daniel Slater Daniel mezzo-soprano mezzo-soprano Prunella Scales Prunella Philip Tebb Philip Stuart Kale Stuart Barry Banks Jeremy White Jeremy DIGITAL Nicholas Garrett Nicholas Darren Jeffery Darren , by J.M.T. Badouin J.M.T. , by Russell Smythe Russell Majella Cullagh Majella { John Graham-Hall John Nerys Jones Nerys Christopher Purves Christopher Susan Bickley Susan Toby Stafford-Allen Toby ...... La Pie vouleuse La Pie ...... CHANDOS (1792–1868) ...... 2003 Chandos Records Ltd Ltd Chandos Records ...... c a rich farmer Ninetta’s father, a soldier father, Ninetta’s , , ...... their son, a soldier the village mayor , the jailer , the mayor’s servant the mayor’s a servant in their house friend of Fernando, a soldier friend of Fernando, , ...... , , , a pedlar a young peasant, in Fabrizio’s service peasant, in Fabrizio’s a young his wife , , ...... , 2003 Chandos Records Ltd p Antonio Giorgio Ernesto Clerk Magpie Gioachino Rossini Gioachino MAGPIE THE THIEVING in two acts Melodramma after Gherardini Giovanni by Libretto and Louis-Charles Caigniez Sams Jeremy translation by English Vingradito Fabrizio Ninetta Fernando Villabella Fernando Gottardo Pippo Isacco Judge Lucia Giannetto

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