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Home , Attila (opera), Barbara Frittoli, Constantine Orbelian, Dmitri Hvorostovsky, Franca Mattiucci, Giacomo Aragall

DE 3457 0 13491 34572 7

GIUSEPPE VERDI (1813—1901) Recorded at Kaunas Philharmonic on August 1-7, 2013 (Kaunas, Lithuania).

We would like to thank Algimantas Treikauskas — General Director of the Kaunas City Symphony Orchestra — for his invaluable help in producing this recording. in three acts and a prologue Special thanks to the “Kino & Teatr” Foundation and to their Director of the Board : , based on the play by Stanislav Ershov. Antonio Garcia Gutiérrez; later revised by Executive Producer: Carol Rosenberger Producer: Vilius Keras Balance and Recording Engineer: Vilius Keras Recording Engineer and Editing: Aleksandra Suchova Booklet Editor: Lindsay Koob Art Design/Layout: Lonnie Kunkel Cover and booklet photos of Hvorostovsky and Frittoli in costume: Marty Sohl Bio photo: Alexander Vassiliev © 2015 Delos Productions, Inc., P.O. Box 343, Sonoma, CA 95476-9998 (707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 [email protected] • www.delosmusic.com Made in USA 2 99 3 CD 1: PROLOGO/PROLOGUE

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7 ollowing in the Verdi canon imme- Boito in conjunction with his conservato- diately a!er Les vêpres siciliennes, ry classmate and friend , en- Simon Boccanegra, which had its gaged the 20-year-old to write the poem of premiere at La in Venice on March L’ In n o d e l l e n a z i o n i (), 12, 1857, is rightly considered a product which Verdi composed for performance at of the composer’s so-called Middle Peri- the International Exhibition in London in od. Yet because of the extensive revisions 1862. Unfortunately, congenial relations made to the opera in 1880-81, it also ush- between Verdi and Boito were short-lived. ered in Verdi’s Late Period—one that also Boito and Faccio were members of the includes Otello (1887), Falsta! (1892) (Disheveled Artists), a group and the revised Don Carlo (1884). For of young $rebrands with vague ideals but the text of all these projects, except Don a determination to renew Italy’s artistic Carlo (which was revised in the original traditions by shaking up the existing order French) Verdi relied on Arrigo Boito, and replacing it with themselves. whose constitute his principal artistic achievement, although he was Boito and Faccio thought that Italian op- also a composer, poet and critic. era could rise to new artistic heights if only it could jettison the ballast of tradi- It is o!en said that work on Simon Boc- tion and convention. A dose of the “mu- canegra served as a trial run for Verdi’s col- sic of the future” espoused by a certain laboration with Boito on a complete opera German composer wouldn’t hurt either. written from scratch, Otello. #is is surely Boito thought that I profughi "ammin- a valid way of looking at it, even though ghi (#e Flemish Refugees), the $rst of no hard evidence exists that either of them two by Faccio, decisively put their viewed it as such. But it was not their $rst ideals into practice, though in fact it had collaboration. #at came nearly two de- limited success. At a banquet following cades before, when Verdi, possibly aware the opera’s premiere in 1863, and of the cantata Le Sorelle d’Italia written by apparently a!er some serious drinking,

8 Boito delivered his ode All’arte italiana, ing Mé!stofele to the stage. #e latter was which in an obvious reference to Faccio the "rst opera ever given at La Scala to declared, “perhaps the man has already have a libretto by its composer, but the been born who will set art, modest and premiere there in 1868 was a "asco; when pure, erect on the altar that has been be- a revised version met with success in Bo- fouled like the wall of a brothel.” logna, Verdi took note.

As the man universally recognized to be #e eventual rapprochement was due the preeminent representative of Italian principally to the publishers Tito Ricor- art, Verdi was not amused. In one of sev- di and especially his son Giulio. “If my eral sarcastic references to the perceived memory does not fail me, I know that slight, Verdi wrote to , “if Boito did you some wrong,” Giulio wrote I, too, among others, have soiled the al- Verdi in 1879, “but I am sure he did not tar, as Boito says, let him clean it up, and know what, with his nervous, odd charac- I will be the "rst to come and light a can- ter, he was doing or that he never found a dle.” Boito’s relations with Verdi were not way to make amends.” Tito backed Boito helped when he asserted in an 1864 article to assist on the revisions to La forza del that, prior to his own Mé!stofele, operas Destino (the task went to Antonio Ghis- by composers from Monteverdi to Verdi lanzoni, the librettist of ). Giulio, (mentioning many names in between) aware of Boito’s work on a second opera, lacked form but rather had only formula. Nerone, tried to interest Verdi in an op- era on that subject with Boito’s libretto, Boito spent the remainder of the 1860s but that e$ort too failed. Had Verdi and and the 1870s—with time out, again with Boito begun working together sooner, the Faccio, to "ght for Garibaldi in the Aus- history of Aida (1871) (if, indeed, there tro-Prussian War—producing librettos, was one at all) might have been quite dif- including those for Faccio’s “Amleto” and ferent. Moreover, the decade of the 1870s, for Ponchielli’s “,” and bring- when Verdi thought of himself as retired,

9 could easily have seen the composition of Since Verdi was in and Boito in a new opera. when, between December 1880 and February 1881, the revisions were made, When Giulio Ricordi broached to Verdi the much of their work is documented in cor- idea of a possible Otello in June1879, Boito respondence. Verdi thought Act 1 (which was already integrally involved, having pre- follows the Prologue a"er a time-span of pared a scheme for the libretto. A !rst-dra" 25 years) needed the most work, partic- libretto was soon prepared as well, but Ver- ularly the !nal scene, for which he pro- di’s assent was long in coming. Speculation posed a shi" in locale from a large square persisted for years as to whether Verdi really in Genoa to the Council Chamber of the was at work on Otello, which eventually had doge’s palace. In a letter to Ricordi, Verdi its premiere in 1887. In the meantime, Ver- mentioned two letters of Petrarch, “one to di resolved to “straighten the legs,” as he put [the historical doge] Boccanegra, the oth- it, “of an old dog that was beaten up badly er to the doge of Venice, telling them they in Venice and is called Simon Boccanegra” were about to engage in fratricidal strife, for performance at La Scala. Again Ricordi that both were sons of the same mother, suggested Boito, and this time Verdi agreed. Italy, etc. How wonderful, the feeling for Verdi had concluded that his opera about an Italian fatherland in those days! . . . Boc- a corsair-turned-doge was “too sad, to de- canegra, struck by this thought, would like pressing” and it had been roundly criticized to follow the poet’s advice.” $is was the for its complicated plot. It is the only opera kernel for the Council Chamber Scene, but in Abramo Basevi’s 1859 survey of Verdi’s Boito had ideas too, including the con%a- operas for which the inclusion of a detailed tion of Acts 1 and 2 and the introduction plot summary was thought necessary. Like of a new act in which forces loyal to Boc- , it is based on a play by Antonio canegra are gathered in Genoa’s San Siro Garcia Gutiérrez. church and threatened by attacking rebels; a hand wound sustained by Boccanegra is attended to by the doge’s courtier Paolo

10 with a bandage laced with poison. Verdi, Although the new Council Cham- however, thought this would involve too ber Scene is crowning glory of the re- much work, but the attack of the rebels vised version, the changes elsewhere are found its way into the Council Chamber through-going, surely much more exten- Scene. sive than Verdi initially foresaw. Many required no work from Boito, since they Verdi and Boito discussed myriad details, involved altering musical phrases or har- such as whether they should clue in the monies to make them more expressive or audience about the derivation from Pe- vivid or just more interesting. Likewise, trarch of Boccanegra’s derived motivation Boito touched up verses of the original (they did) or whether women should ap- librettist, Francesco Maria Piave. In oth- pear in the Senate (“It’s well known that er cases, he wrote verses anew, as in the women play important parts in popular short Act 2 scene in which Paolo re"ects uprisings,” said Boito). In one important on his self-curse and administers the case, Verdi explained that he decided to poison and in changes to Act 3 caused have Boccanegra’s speech “Plebe, Patrizi! by plot rami#cations of the new Council Popolo,” which is so important in estab- Chamber Scene. lishing the doge’s humanity and magna- nimity, develop into a pezzo concertato Oddly enough, the revisions did not or big ensemble; accordingly, Boito sent make the opera any less gloomy, nor is additional verses. Another stroke of ge- the plot any easier to follow. But the pre- nius follows that ensemble when Paolo is miere at La Scala on March 24, 1881 was forced to repeat the curse that the people a triumph. $e conductor was none oth- hurled against Amelia’s unknown abduc- er than Faccio who, having forsaken his tor and thus to curse himself. Verdi’s sty- career as a composer, had become music listically advanced music, including some director at La Scala and Italy’s foremost frightening trills in the lower brass, could conductor. As for Verdi and Boito, they be his idea of the music of the future. developed during their collaboration on

11 Boccanegra not just a good working re- demands that he be given his grandchild. lationship but a genuine friendship that Simon explains that she has vanished, and made the miracles of Verdi’s last two op- can’t be found. A#er Fiesco leaves, Simon eras, Otello and Falsta!, possible. enters the palace, where he discovers Ma- ria’s body. Distraught, he staggers outside, — George Loomis where the crowd hails him as the new Doge.

Synopsis [25 years pass between the Prologue and Act I. "e Doge has banished many of his he opera’s Prologue begins in a enemies and seized their property. Fiesco, city square in 14th-century Genoa. now in exile, lives outside Genoa under the Plebeian party leaders Paolo and assumed name of “Andrea” in the Grimal- Pietro are plotting to gain power over the di Palace, where he serves as guardian to nobility (patricians). !ey nominate the a young lady, Amelia Grimaldi. Count popular former corsair (pirate) Simon Grimaldi’s baby daughter had died in a Boccanegra for the o"ce of Doge: the convent near Pisa; but on the day of her Genoan republic’s chief administrator. death, an orphaned girl was found on Simon agrees, hoping that his new pow- the convent grounds, and raised in the er and prestige will enable him to marry dead girl’s place. She was named Amelia his beloved Maria. Having borne Simon Grimaldi when they were banished, thus an illegitimate child, she has been shut giving the Grimaldis an heiress and pro- away by her father, the patrician Fiesco. tecting their property from seizure by the !e plebeians pledge allegiance to Boc- Doge. Amelia, however, is actually Maria canegra. Fiesco appears a#er they leave, Boccanegra: the illegitimate daughter of Si- grieving his daughter Maria’s death. Un- mon and Maria, Fiesco’s deceased daugh- aware of her death, Simon returns and ter; both Fiesco and Simon are unaware of attempts to make peace with Fiesco, who Amelia’s true identity. Amelia’s lover is the

12 patrician Gabriele Adorno, who has been brace. A!er the Doge tells Paolo to forget conspiring with Fiesco, known only to him his desire to marry Amelia, Paolo con- as Andrea.] spires with Pietro to abduct her.

ACT I. Amelia awaits her lover Gabriele As the Doge’s councilors debate a peace in a seaside garden at the Grimaldi pal- treaty with Venice at the Ducal palace, ace. Once he arrives, she warns him not they hear angry shouting from outside. to plot against the Doge, and speaks of A mob chases Gabriele inside a!er he love to divert him. Amelia tells him that has killed a man for attempting to kidnap the Doge wants her to marry his court- Amelia. A!er accusing the Doge of in- ier Paolo. Gabriele resolves to immedi- stigating the abduction, Gabriele tries to ately ask her guardian, “Andrea,” for her stab the Doge, thinking that Amelia is the hand in marriage. Gabriele is undaunted Doge’s mistress. But Amelia intervenes, by Andrea’s revelation that Amelia is ac- pleading for her beloved’s life. Amelia tells tually not a Grimaldi, but an orphan of the council about her abduction, suggest- unknown parentage. Steadfast in their ing that Paolo was behind it, prompting aim to overthrow the Doge, the two de- the Doge to plead for peace between the part as a fanfare announces the Doge’s antagonistic factions. He then commands arrival. Simon then informs Amelia that Paolo to curse the man behind the abduc- he has pardoned her alleged foster broth- tion attempt, and the fearful Paolo must ers. Moved by his magnanimity, she con- obey, even though it means cursing him- fesses that she loves Gabriele, and reveals self. the sad story of her isolated past. Simon, upon hearing her story, shows her a lock- ACT II. At night In the Doge’s chambers, et with a portrait of the dead Maria, and Paolo sends Pietro to free the imprisoned learns that Amelia possesses an identical Gabriele and Andrea/Fiesco. As he recalls likeness. Simon realizes that Amelia is his the curse, he pours slow-acting poison long-lost daughter Maria, and they em- into Simon’s water jug. When the two 13 prisoners enter, Paolo tries to persuade ACT III. Genoa is celebrating Boccane- Fiesco to assassinate the Doge, and to gra’s victory over the rebels. !e con- provoke Gabriele by making salacious demned Paolo, on his way to the sca#old, innuendos about the Doge’s relationship meets the freed Andrea, and admits that with Amelia. !e jealous Gabriele rants he poisoned the Doge. A herald an- furiously until Amelia enters – but before nounces that, to honor the fallen heroes, she can explain, Simon is heard approach- the festivities must stop. Simon – $nally ing. Gabriele hides while Amelia begs the succumbing to the poison – stumbles in. Doge to pardon her beloved, or see her Andrea reveals that he is actually Fiesco, die with him beneath the executioner’s and the Doge tells him that Amelia is in axe; Simon agrees on the condition that fact the old man’s granddaughter. Real- Gabriele quits the conspiracy. izing that the light of truth has dawned on him too late, Fiesco weeps, and tells A"er she leaves, the Doge drinks the Simon of his poisoning at the vengeful poisoned water, and quickly falls asleep. hand of Paolo. As he dies, the Doge bless- Gabriele, who hasn’t heard what was said, es the young couple, and names Gabriele enters and is about to stab the Doge, but to succeed him as the new Doge. Fiesco Amelia hurries to stop him. !e Doge sadly announces to the people that Boc- awakens, and reveals to Gabriele that he is canegra is dead, and asks that they pray Amelia’s father. He forgives the repentant for the peace of his soul. Gabriele as Amelia prays to the heavenly spirit of her mother. A mob bent on rebel- lion gathers outside, and Gabriele swears to calm them or else die defending Simon – whereupon the Doge o#ers to reward him with Amelia’s hand in marriage.

14 PROLOGO PROLOGUE

Scena I Scene 1 Una Piazza di Genova. Nel fondo la chiesa di San A Square in Genoa. In the background, the church of Lorenzo. A destra il palazzo dei Fieschi con gran San Lorenzo. To the right the palace of the Fieschi with a balcone: nel muro di !anco al balcone è un’immag- large balcony: on the wall beside the balcony is a picture ine, davanti a cui arde un lanternino; a sinistra before which burns a lantern; to the le" other houses. altre case. Varie strade conducono alla piazza. È Various streets lead to the square. It is night. Paolo and notte. Paolo e Pietro in Scena, continuando un dis- Pietro on stage are continuing a discussion. corso.

CD 1: CD 1:

1. Prologo – Che dicesti? 1. Prelude - What are you saying? PAOLO: PAOLO: Che dicesti? What are you saying? ... all’onor di primo abate Lorenzin the moneylender Lorenzin, l’usuriere?... for the honor of !rst abbot? PIETRO: PIETRO: Altro proponi Suggest another Di lui più degno! who is more worthy! PAOLO: PAOLO: Il prode che da’ nostri "e warrior who drove Mari cacciava l’african pirata, the African pirates from our seas E al ligure vessillo and restored to the Liguan banner Rese l’antica nominanza altera. it’s ancient high renown. PIETRO: PIETRO: Intesi... e il premio?... Indeed …and the reward? PAOLO: PAOLO: Oro, possanza, onore. Gold, power, honour. PIETRO: PIETRO: Vendo a tal prezzo il popolar favore. For such a price I’ll sell the people’s favor. (Si dan la mano; Pietro parte.) (they shake hands; Pietro leaves) 15 PIETRO: PIETRO: Niun pei patrizi?... None for the patricians? CORO: CHORUS: Niuno. - A Lorenzino No one. All votes will go Tutti il voto darem. to Lorenzino PIETRO: PIETRO: Venduto è a’ Fieschi. He has sold out to the Fieschi. CORO: CHORUS: Dunque chi "a l’eletto? !en whom should we elect? PIETRO: PIETRO: Un prode. A man of courage. CORO: CHORUS: Sì. Yes. PIETRO: PIETRO: Un popolan... A man of the people… CORO: CHORUS: Ben dici... ma fra i nostri So you say…but do you know Sai l’uom? of such a man among us? PIETRO: PIETRO: Sì. Yes. CORO: CHORUS: E chi?... Risuoni il nome suo!... Who then? Call out his name! PAOLO PAOLO (avanzandosi): (coming forward) Simon Boccanegra. Simon Boccanegra. CORO: CHORUS: Il Corsar? !e Corsair? PAOLO: PAOLO: Sì... all’alto scranno... Yes, the high-ranking Corsair… CORO: CHORUS: E qui? Is he here? PAOLO: PAOLO: Verrà. He will come. 18 SIMON: SIMON: Maria! Maria! PAOLO: PAOLO: Negarla Who could keep her Al Doge chi potria? from the Doge? SIMON: SIMON: Misera! Poor girl! PAOLO: PAOLO: Assenti! Agree! SIMON: SIMON: Paolo... Paolo… PAOLO: PAOLO: Tutto disposi... e sol ti chiedo Everything’s arranged … All I ask of you is to take Parte ai perigli e alla possanza... part in the peril and the power… SIMON: SIMON: Sia... So be it… PAOLO: PAOLO: In vita e in morte?... In life and in death? SIMON: SIMON: Sia. So be it… PAOLO: PAOLO: S’appressa alcun... T’ascondi... Someone’s coming … hide yourself… Per poco ancor, mistero ti circondi. Let mystery surround you for a little longer. (Simone s’allontana, Paolo si trae in (Simone goes o!, Paolo places himself apart near disparte presso il palazzo dei Fieschi) the palace of the Fieschi)

Scena IV Scene 4 Paolo, Pietro, Marinari e Artigiani. Paolo, Pietro, Sailors and Artisans PIETRO: PIETRO: All’alba tutti qui verrete? Will you all be here at dawn? CORO: CHORUS: Tutti. All of us.

17 PIETRO: PIETRO: Niun pei patrizi?... None for the patricians? CORO: CHORUS: Niuno. - A Lorenzino No one. All votes will go Tutti il voto darem. to Lorenzino PIETRO: PIETRO: Venduto è a’ Fieschi. He has sold out to the Fieschi. CORO: CHORUS: Dunque chi "a l’eletto? !en whom should we elect? PIETRO: PIETRO: Un prode. A man of courage. CORO: CHORUS: Sì. Yes. PIETRO: PIETRO: Un popolan... A man of the people… CORO: CHORUS: Ben dici... ma fra i nostri So you say…but do you know Sai l’uom? of such a man among us? PIETRO: PIETRO: Sì. Yes. CORO: CHORUS: E chi?... Risuoni il nome suo!... Who then? Call out his name! PAOLO PAOLO (avanzandosi): (coming forward) Simon Boccanegra. Simon Boccanegra. CORO: CHORUS: Il Corsar? !e Corsair? PAOLO: PAOLO: Sì... il Corsaro all’alto scranno... Yes, the high-ranking Corsair… CORO: CHORUS: E qui? Is he here? PAOLO: PAOLO: Verrà. He will come. 18 CORO: CHORUS: E i Fieschi? And the Fieschis? PAOLO: PAOLO: Taceranno. !ey’ll say nothing. (Chiama tutti intorno a sé; (He calls everybody to him; quindi, indicando il palazzo de’ Fieschi, dice loro pointing to the Fieschi palaces, he says to them in a con mistero) mysterious voice)

2. L’atra magion vedete? 2. Do you see that dark abode? De’ Fieschi è l’empio ostello, It is the wicked dwelling of the Fieschi – Una beltà infelice geme sepolta in quello; Buried in there, a wretched beauty moans; Her Sono i lamenti suoi la sola voce umana laments are the only human voice that can be Che risuonar s’ascolta heard echoing in that vast, mysterious tomb. nell’ampia tomba arcana. CHORUS: CORO: It has been several months since that gentle face Già volgono più lune, che la gentil sembianza graced the lonely room’s veranda; every sympa- Non allegrò i veroni della romita stanza; thetic man who passed by desired in vain to be- Passando ogni pietoso invan mirar desia hold the beautiful prisoner, the miserable Maria. La bella prigioniera, la misera Maria. PAOLO: PAOLO: !ose doors open only to high nobles, Si schiudon quelle porte solo al patrizio altero, who purposely enshroud themselves Che ad arte si ravvolge in mysterious shadows. nell’ombre del mistero... But on dark nights, one can Ma vedi in notte cupa per le deserte sale see a sinister #ame Errar sinistra vampa, like a soul from Hell qual d’anima infernale. wandering through the dark rooms CORO: CHORUS: Par l’antro de’ fantasimi!... O qual terror!... It’s like a ghostly cavern! O what terror! PAOLO: PAOLO: Guardate, Watch, (Si vede il riverbero d’un lume) (the re"ection of a light can be seen) La fatal vampa appare... !e fatal #ame appears…

19 CORO: CHORUS: Oh ciel!... Oh Heavens! PAOLO: PAOLO: V’allontanate. Leave now. Si caccino i demoni May the demons be banished col segno della croce... by the sign of the cross… All’alba. At dawn. CORO: CHORUS: Qui. Here. PIETRO: PIETRO: Simon. Simon CORO: CHORUS: Simone ad una voce. Simon, with a single voice. (Partono) (they leave)

Scena V Scene 5 Fiesco esce dal palazzo. Fiesco comes out of the palace. FIESCO: FIESCO:

3. A te l’estremo addio, 3. "e #nal farewell to you, palagio altero, lo!y palace, Freddo sepolcro dell’angiolo rnio!... my angel’s frigid sepulcher! Né a proteggerti io valsi!... And I failed to protect you! Oh maledetto!...O vile seduttore Oh accursed man! O vile seducer E tu, Vergin, so$risti And you, Virgin, did you allow (volgendosi all’immagine) (turning to the picture) Rapita a lei la verginal corona?... him to rob her of her virginal crown? Ma che dissi!... deliro!... ah mi perdona! But what am I saying! I’m delirious! Oh, forgive Il lacerato spirito me! Del mesto genitore #e lacerated spirit Era serbato a strazio of a sad father D’infamia e di dolore. was sustained for the torture Il serto a lei de’ martiri of infamy and sorrow. 20 Pietoso il cielo diè... Heaven, in its mercy, Resa al fulgor degli angeli, gave her the laurel of martyrs, Prega Maria, per me. returned to the bright glory (S’odono lamenti dall’interno of the angels, Maria, pray for me. del palazzo) (lamentations can be heard within the palace) DONNE: WOMEN: È morta!... È morta!... a lei s›apron le sfere!... She is dead! She is dead! "e Heavenly spheres Mai più!... mai più open to her! non la vedremo in terra!... Never again! will we see her on earth. UOMINI: MEN: Miserere!... miserere!... Woe! Woe! (Varie persone escono dal palazzo, e traversando (Several people come out of the palace and sadly mestamente la piazza, s’allontanano) crossing the square, go o!)

Scena VI Scene 6 Detto e Simone che ritorna in Scena esultante. Above and Simone who returns on stage rejoicing. SIMON: SIMON:

4. Suona ogni labbro il mio nome. 4. All lips call my name. O Maria, O Maria, Forse in breve potrai perhaps you will shortly Dirmi tuo sposo!... be able to call me your husband! (scorge Fiesco) (notices Fiesco) Alcun veggo!... chi #a? I see someone! Who is it ? FIESCO: FIESCO: Simon?... Simon? SIMON: SIMON: Tu! You! FIESCO: FIESCO: Qual cieco fato What blind fate A oltraggiarmi ti traea?... has brought you here to insult me? Sul tuo capo io qui chiedea I hereby call the avenging wrath L’ira vindice del ciel. of Heaven on your head. 21 SIMON: SIMON: Padre mio, pietade imploro My father, I beg your mercy, Supplichevole a’ tuoi piedi. I plead at your feet. Il perdono a me concedi... Grant me your pardon… FIESCO: FIESCO: Tardi è omai It is too late now. SIMON: SIMON: Non sii crudel. Don’t be cruel. Sublimarmi a lei sperai I had hoped to rise to her Sopra l’ali della gloria, on wings of glory, Strappai serti alla vittoria bringing the laurels of victory Per l’altare dell’amor! To the altar of our love FIESCO: FIESCO: Io fea plauso al tuo valore, I’ve praised your valor, Ma le o"ese non perdono... but I don’t pardon the o"ense… Te vedessi asceso in trono... Had I seen you raised to the throne… SIMON: SIMON: Taci... Silence… FlESCO: FlESCO: …segno all’odio mio He who o"ended Fiesco E all’anatema di Dio is marked by my hatred È di Fiesco l›o"ensor and accursed by God SIMON: SIMON: Pace... Peace… FIESCO: FIESCO: No - pace non fora No, peace won’t come Se pria l’un di noi non mora. until one of us is dead. SIMON: SIMON: Vuoi col sangue mio placarti? Do you want to avenge yourself with my blood? (Gli presenta il petto) (presents his chest to him) Qui ferisci... Strike me here…

22 FIESCO FIESCO (ritraendosi con orgoglio): (drawing back proudly) Assassinarti?... Assassinate you? SIMON: SIMON: Sì, m’uccidi, e almen sepolta Yes, kill me, and then at least all that hatred Fia con me tant’ira... will be entombed with me. FIESCO: FIESCO: Ascolta: Listen: Se concedermi vorrai if you would but grant me L’innocente sventurata the poor, innocent girl Che nascea d’impuro amor, who was born of that sinful love, Io, che ancor non la mirai, I, who haven’t yet seen her, Giuro renderla beata, swear to make her happy, E tu avrai perdono allor. and pardon would then be yours. SIMON: SIMON: Non poss’io! I cannot! FIESCO: FIESCO: Perché? Why? SIMON: SIMON: Rubella sorte lei rapi... Wayward fate stole her away. FIESCO: FIESCO: Favella. Speak. SIMON: SIMON: Del mar sul lido tra gente ostile "at gentle creature grew up Crescea nell’ombra quella gentile; among foreigners by the sea; Crescea lontana dagli occhi miei, She grew up far from my eyes, Vegliava annosa donna su lei. An aged woman watched over her. Di là una notte varcando, solo Going there alone, one night from my ship, Dalla mia nave scesi a quel suolo. having landed on that shore, Corsi alla casa... n’era la porta I ran to the house…its door Serrata, muta! was locked, it was silent. FIESCO: FIESCO: La donna? "e woman? 23 SIMON: SIMON: Morta. Dead. FIESCO: FIESCO: E la tua #glia?... And your daughter? SIMON: SIMON: Misera, trista, !e poor, sad girl wandered, Tre giorni pianse, tre giorni errò; weeping, for three days; Scomparve poscia, !en she disappeared, né fu, più vista, and was never seen again. D’allora indarno cercata io l’ho. I have since searched for her in vain. FIESCO: FIESCO: Se il mio desire compir non puoi, If you can’t grant my wish, Pace non puote esser tra noi! !ere will never be peace between us! Addio, Simon... Farewell Simon… (Gli volge le spalle) (turns his back on him) SIMON: SIMON: Coll’amor mio I can placate you Saprò placarti. M’odi, m’odi. with my love. Hear me, hear me. FIESCO FIESCO (freddo senza guardarlo): (coldly, without looking at him) No. No. SIMON: SIMON: M’odi. You hate me. FIESCO: FIESCO: Addio. Farewell. (S’allontana, (he goes o!, then stops at a distance Poi si arresta in disparte ad osservare) and watches) SIMON: SIMON:

5. Oh de’ Fieschi implacata, 5. O implacable, horrible race orrida razza! of Fieschi! E tra cotesti rettili nascea Was that pure beauty truly Quella pùra beltà?... Vederla io voglio... born among such reptiles? I want to see her… 24 Coraggio! Courage! (Va alla porta del palazzo e batte tre colpi) (Goes to the door of the palace and knocks times) Muta è la magion de’ Fieschi? Is the Fieschi dwelling silent? Dischiuse son le porte!... !e doors are open! Quale mistero!... entriam. What a mystery! Let’s go in. (Entra nel palazzo) (enters the palace) FIESCO: FIESCO: T’inoltra e stringi Go in and embrace Gelida salma. an icy corpse. SIMON: SIMON: (comparso sul balcone): (appearing on the balcony) Nessuno!... qui sempre Nobody! All here seems Silenzio e tenebra! to be silence and shadows (Stacca il lanternino della Immagine, ed entra; (takes down the lamp from the picture of Mary s’ode un grido poco dopo) and enters; soon, a cry is heard) Maria!... Maria! Maria, Maria! FIESCO: FIESCO: L’ora suonò del tuo castigo... !e hour of his punishment sounded… SIMON: SIMON: (esce dal palazzo atterrito): (comes out of the palace, terri"ed) È sogno!... It’s a dream! Sì; spaventoso, atroce sogno il mio! Yes, a terrifying, dreadful dream! VOCI: VOICES: (da lontano): (from afar) Boccanegra!... Boccanegra! SIMON: SIMON: Quai voci! !ose voices! VOCI: VOICES: (più vicine): (nearer) Boccanegra! Boccanegra! SIMON: SIMON: Eco d’inferno è questo!... !is is Hell’s echo!

25 Scena VII Scene 7 Detti, Paolo, Pietro, Marinai, Above, Paolo, Pietro, sailors, Popolo d’ambo i sessi con $accole accese. Men and women with lighted torches. PAOLO E PIETRO: PAOLO & PIETRO: Doge il popol t’acclama! !e people proclaim you as Doge! SIMON: SIMON: Via fantasmi! Begone, spirits! PAOLO E PIETRO: PAOLO & PIETRO: Che di’ tu?... What are you saying? SIMON: SIMON: Paolo!... Ah!... una tomba... Paolo! Ah! A tomb… PAOLO: PAOLO: Un trono!... A throne! FIESCO: FIESCO: Doge Simon... m’arde l’inferno in petto!.. Simon, the Doge…hell"re burns in my heart! CORO: CHORUS: Viva Simon, del popolo l’eletto! Long live Simon, the people’s chosen one! (S’alzano le $accole, le campane suonano a stormo... ("e torches are raised, the bells ring loudly… tamburi, ecc., ed alle grida ‘viva Simon’ cala il drums etc., and at the cry ‘viva Simon’ the curtain sipario) falls)

ATTO PRIMO ACT I Scena I Scene 1 Giardino de’ Grimaldi fuori di Genova. Garden of Grimaldi, outside Genoa. Alla sinistra il palazzo; di fronte il mare. Spunta To the le#, the palace, in front of it, the sea. Dawn l’aurora. Amelia osservando l’orizzonte. breaks. Amelia is observing the horizon.

6. Preludio 6. Prelude

AMELIA: AMELIA:

7. Come in quest’ora bruna, 7. How, in this hour of darkness, Sorridon gli astri e il mare! the stars and the sea smile! 26 Come s’unisce, o luna, It’s as if they have joined, O moon All’onda il tuo chiaror! on the wave of your light! Amante amplesso pare It seems like a lovers’ embrace Di due verginei cor! with two virgin hearts! Ma gli astri e la marina But the stars and the sea Che pingono alla mente deceive the mind Dell’orfana meschina… of the unhappy orphan La notte atra, crudel, as they depict… Quando la pia morente the cruel, dark night Sclamò: ti guardi il ciel. when the godly woman exclaimed O altero ostel, soggiorno as she died, ‘Heaven watch over you.’ Di stirpe ancor più altera, O lo"y abode, where dwell Il tetto disadorno still more noble forbears, Non obliai per te!... You haven’t made me forget my simple home! Solo in tua pompa austera Alone in your austere pomp Amor sorride a me.. love smiles upon me… (È giorno) (It is day) S’inalba il ciel, ma l’amoroso canto #e sky brightens, but the love song Non s’ode ancora!... still isn’t heard! Ei mi terge.ogni dì, come l’aurora As dawn wipes dew from the $owers, La rugiada dei %or, del ciglio il pianto. so does it wipe the tears from my eyes. UNA VOCE: A VOICE: (lontana): (distant)

8. Cielo di stelle orbato, 8. A sky deprived of stars, Di %or vedovo prato, a meadow widowed of $owers È l›alma senza amor. is a soul without love. AMELIA: AMELIA: Ciel!... la sua voce!... È desso!... Heavens! His voice! It is he! Ei s’avvicina!... oh gioia!... He’s getting closer! Oh joy! UNA VOCE: A VOICE: (più vicina): (nearer) Se manca il cor che t’ama, If you lack a heart that loves you, 27 Non empiono tua brama then jewels, power, honour Gemme, possanza, onor. won’t ful!ll your longing. AMELIA: AMELIA: Ei vien!... l’amor He’s coming! My breast M’avvampa in seno Is all aglow with love, E spezza il freno and the ardent heart breaks L’ansante cor! from delay

Scena II Scene 2 Detta e Gabriele dalla destra. Enter Gabriele from the right GABRIELE: GABRIELE: Anima mia! My soul! AMELIA: AMELIA: Perché sì tardi giungi? Why are you so late? GABRIELE: GABRIELE: Perdona, o cara... I lunghi indugi miei Forgive me, my dear…my long delays are from T’apprestano grandezza... preparing greatness for you… AMELIA: AMELIA: Pavento... I am afraid… GABRIELE: GABRIELE: Che? Of what? AMELIA: AMELIA: L’arcano tuo conobbi... I know your secret… A me il sepolcro appresti, you prepare my tomb, Il patibolo a te!... and your own sca#old! GABRIELE: GABRIELE: Che pensi? What are you thinking? AMELIA: AMELIA: Io amo Andrea qual padre, il sai; You know I love Andrea like a father; Pur m’atterrisce... In cupa but he frightens me…On dark nights, Notte non vi mirai have I not seen you o$en Sotte le tetre volte errar sovente wandering beneath the dim arch, Pensosi, irrequieti brooding and restless? 28 GABRIELE: GABRIELE: Chi? Who? AMELIA: AMELIA: Tu, e Andrea, You, and Andrea, E Lorenzino e gli altri... And Lorenzino and the others… GABRIELE: GABRIELE: Ah taci... il vento Ah, silence…the wind Ai tiranni potria recar tai voci! might carry your voice to the tyrants! Parlan le mura... un delator s’asconde !e walls speak…a spy Ad ogni passo... lurks at every step… AMELIA: AMELIA: Tu tremi?... Are you afraid? GABRIELE: GABRIELE: I funesti fantasmi scaccia! Banish such gloomy musings! AMELIA: AMELIA: Fantasmi dicesti? Musings, you say?

9. Vieni a mirar la cerula 9. Come, behold the blue, Marina tremolante; shimmering sea; Là Genova torreggia !ere Genoa towers over Sul talamo spumante; a wedding bed of foam. Là i tuoi nemici imperano, Your enemies rule there; you Vincerli indarno speri... hope in vain to defeat them… Ripara i tuoi pensieri Turn your thoughts Al porto dell’amor. to the harbor of love. GABRIELE: GABRIELE: Angiol che dall’empireo Angel, who from paradise Piegasti a terra l’ale, bent your wings earthward, E come faro sfolgori and with a beacon shining Sul tramite mortale, on our mortal path, Non ricercar dell’odio do not search the dark I funebri misteri; mysteries of hatred. Ripara i tuoi pensieri Redress your thoughts 29 Al porto dell’amor. to the harbor of love. AMELIA: AMELIA: (passando a destra): (passing on the right) Ah! Ah! GABRIELE: GABRIELE: Che mai "a? What is it? AMELIA: AMELIA: Vedi quell’uom?... qual ombra Do you see that man? Ogni dì appar. He appears every day, like a shadow. GABRIELE: GABRIELE: Forse un rival?... A rival perhaps?

Scena III Scene 3 Detti, un’Ancella, quindi Pietro. Above, a maid and Pietro ANCELLA: MAID: Del Doge A messenger from the Doge, Un messaggier di te chiede. asking about you. AMELIA: AMELIA: S’appressi. Show him in. (L’Ancella esce) (the maid exits) GABRIELE: GABRIELE: Chi sia veder vogl’io... I want to see who it could be… (Va per uscire) (about to leave) AMELIA: AMELIA: (fermandolo): (stopping him) T’arresta. Stop.. PIETRO: PIETRO: (inchinandosi ad Amelia): (bowing to Amelia) Il Doge !e Doge, Dalle caccie tornando di Savona Upon returning from the hunt at Savona, Questa magion visitar brama. wishes to visit this dwelling.

30 AMELIA: AMELIA: Il puote. He may. (Pietro parte) (Pietro leaves)

Scena IV Scene 4 Gabriele ed Amelia. Gabriele and Amelia GABRIELE: GABRIELE: Il Doge qui? !e Doge, here? AMELIA: AMELIA: Mia destra a chieder viene. He is asking for my hand. GABRIELE: GABRIELE: Per chi? For who? AMELIA: AMELIA: Pel favorito suo. - D’Andrea For his favorite. Vola in cerca... Hurry to search for Andrea T’a$retta... va... prepara Hurry… go now… Il rito nuzial...mi guida all’ara Prepare the marriage rite; guide me to the altar. AMELIA/GABRIELE: AMELIA/GABRIELE: Sì, sì dell’ara il giubilo Yes, yes, let the rejoicing Contrasti il fato avverso, confront adverse fate, E tutto l’universo And I will defy the whole universe Io s%derò con te. with you. Innamorato anelito Love’s longing È del destin più forte, is stronger than fate; Amanti oltre la morte as lovers even a#er death, Sempre vivrai con me. you will always be with me. (Amelia entra nel palazzo) (Amelia enters the palace)

31 Scena V Scene 5 Gabriele va per uscire dalla destra e incontra Gabriele is about to exit right and encounters Andrea. Andrea GABRIELE: GABRIELE:

10. Propizio giunge Andrea! 10. Andrea arrives at the right time! ANDREA: ANDREA (Fiesco’s pseudonym): Sì mattutino qui?... Here so soon? GABRIELE: GABRIELE: A dirti... To tell you… ANDREA: ANDREA: Che ami Amelia. !at you love Amelia. GABRIELE: GABRIELE: Tu che lei vegli con paterna cura You raised her with paternal care… A nostre nozze assenti? do you agree to our marriage? ANDREA: ANDREA: Alto mistero A deep secret Sulla vergine incombe. surrounds the maiden. GABRIELE: GABRIELE: E qual? And what is it? ANDREA: ANDREA: Se parlo If I speak, perhaps Forse tu più non l’amerai. you won’t love her any more. GABRIELE: GABRIELE: Non teme My love doesn’t fear Ombra d’arcani l’amor mio! the shadow of secrets! T’ascolto. I’m listening. ANDREA: ANDREA: Amelia tua d’umile stirpe nacque. Your Amelia was born of humble lineage. GABRIELE: GABRIELE: La "glia dei Grimaldi! !e daugher of the Grimaldis! ANDREA: ANDREA: No - la "glia No - the Grimaldis’ daughter 32 Dei Grimaldi morì tra consacrate died among consecrated nuns in Pisa. Vergini in Pisa. Un’orfana raccolta An orphan who was taken Nel chiostro il dì che fu d’Amelia estremo Into the cloister on the same day that was Ame- Ereditò sua cella... lia’s last; she inherited her cell. GABRIELE: GABRIELE: Ma come de’ Grimaldi But how did she too Anco il nome prendea?... take the name of Grimaldi? ANDREA: ANDREA: De’ fuorusciti "e new Doge con#scated Perseguia le ricchezze il nuovo Doge; the riches of exiles without heirs. E la mentita Amelia alla rapace And only the false Amelia Man sottrarle potea. Could keep them from that greedy hand. GABRIELE: GABRIELE: L’orfana adoro! I adore that orphan! ANDREA: ANDREA: Di lei sei degno. You are worthy of her. GABRIELE: GABRIELE: A me #a dunque unita? Can we then be united? ANDREA: ANDREA: In terra e in ciel! In Heaven and in Earth! GABRIELE: GABRIELE: Ah! tu mi dai la vita. Ah! You give me life. ANDREA: ANDREA: Vieni a me, ti benedico Come to me, I bless you Nella pace di quest’ora, in the peace of this hour; Lieto vivi e #do adora Live happily and love faithfully L’angiol tuo, la patria, il ciel! your angel, your countrly, and Heaven! GABRIELE: GABRIELE: Eco pio del tempo antico, A pious echo of ancient times, La tua voce è un casto incanto; your voice casts a holy spell; Serberà ricordo santo "e sacred memory of your words De’ tuoi detti il cor fedel. will keep this heart faithful. (Squilli di trombe) ( sounds) 33 Ecco il Doge. Partiam. !e Doge comes. Let us part. Ch’ei non ti scorga. Don’t let him see you. ANDREA: ANDREA: Ah! presto il dì della vendetta sorga! Ah! May the day of revenge come soon! (Partono) (they exit)

Scena VI Scene 6 Doge, Paolo e seguito, poi Amelia Doge, Paolo, followers; then Amelia from the dal palazzo. palace DOGE: DOGE: Paolo. Paolo. PAOLO: PAOLO:

11. Signor. 11. Sire. DOGE: DOGE: Ci spronano gli eventi, Events compel us, Di qua partir convien. we must leave this place. PAOLO: PAOLO: Quando? When? DOGE: DOGE: Allo squillo dell’ora. As soon as the hour sounds. (Ad un cenno del Doge il corteggio s’avvia dalla (At the sign from the Doge the procession goes o! destra) to the right) PAOLO: PAOLO: (nell’atto di partire scorge Amelia): (in the act of parting, notices Amelia) (Oh qual beltà!) (Oh what a beauty!)

Scena VII Scene 7 Amelia e il Doge. Amelia and the Doge DOGE: DOGE: Favella il Doge Is the Doge speaking Ad Amelia Grimaldi? to Amelia Grimaldi?

34 AMELIA: AMELIA: Così nomata sono. I bear that name. DOGE: DOGE: E gli esuli fratelli tuoi non punge And aren’t your exiled brothers Desio di patria? spurred by desire for their country? AMELIA: AMELIA: Possente... ma... Strongly…but… DOGE: DOGE: Intendo... I understand… A me inchinarsi sdegnano i Grimaldi... "e Grimaldis sco# at bowing to me… Così risponde a tanto See how the Doge orgoglio il Doge... responds to such pride… (Le porge un foglio) (Gives her a paper) AMELIA: AMELIA: (leggendo): (reading) Che veggo!... il lor perdono? What do I see! "eir pardon? DOGE: DOGE: E denno a te della clemenza il dono. I give it to you as a gi$ of mercy. Dinne, perché in quest’eremo Tell me, why is such beauty as yours Tanta beltà chiudesti? con%ned in this retreat? Del mondo mai le fulgide Don’t you weep for Lusinghe non piangesti? the world’s bright adulation? Il tuo rossor mel dice... Your blushes tell me… AMELIA: AMELIA: T’inganni, io son felice... You are mistaken, I am happy… DOGE: DOGE: Agli anni tuoi l’amore... At your age, love… AMELIA: AMELIA: Ah mi leggesti in core! Ah, you read my heart! Amo uno spirito angelico I love an angelic spirit Che ardente mi riama... who loves me back ardently… Ma di me acceso, un per%do, But I in&ame a traitorous man, L’orror dei Grimaldi brama... the Grimaldis’ horror, who wants to… 35 DOGE: DOGE: Paolo! Paolo! AMELIA: AMELIA: Quel vil nomasti!... You name that foul fellow! E poiché tanta And since such compassion Pietà ti muove dei destini miei, for my fate moves you, Vo’ svelarti il segreto che mi ammanta... I want to reveal to you the secret which sur- Non sono una Grimaldi!... rounds me… I am not a Grimaldi! DOGE: DOGE: Oh ! ciel... chi sei?... Oh! Heavens! Who are you? AMELIA: AMELIA:

12. Orfanella il tetto umile 12. An orphan, the humble dwelling M’accogliea d’una meschina, of a pitiable woman received me, Dove presso alla marina there where Pisa rises Sorge Pisa... close by the sea… DOGE: DOGE: In Pisa tu? You, in Pisa? AMELIA: AMELIA: Grave d’anni quella pia !at godly, aged woman Era solo a me sostegno; was my sole sustainer; Io provai del ciel lo sdegno, I felt the wrath of Heaven Involata ella mi fu. that stole her from me. Colla tremola sua mano With trembling hand, Pinta e#gie mi porgea. she gave me a painted portrait. Le sembianze esser dicea She said the likeness was that Della madre ignota a me. of my unknown mother. Mi baciò, mi benedisse, She kissed me, blessed me, Levò al ciel, pregando, i rai... gazed heavenward in prayer. Quante volte la chiamai Over and over I cried to her; L’eco sol risposta diè. an echo was my only reply.

36 DOGE: DOGE: (tra sé): (aside) Se la speme, o ciel clemente, If my hope, O merciful Heaven, Ch’or sorride all’alma mia, now smiling upon my soul, Fosse sogno!... estinto io sia should be a dream…let me die Della larva al disparir! as the mirage fades away! AMELIA: AMELIA: Come tetro a me dolente How mournfully, as I grieved S’appressava l’avvenir! the future drew near to me. DOGE: DOGE: Dinne... alcun là non vedesti? Tell me, did you see no one there? AMELIA: AMELIA: Uom di mar noi visitava... A seaman visited us… DOGE: DOGE: E Giovanna si nomava And was Giovanna the name of the one fate stole Lei che I fati a te rapir? from you? AMELIA: AMELIA: Sì. Yes. DOGE: DOGE: E l’e#gie non somiglia questa? And isn’t the portrait like this one? (Trae dal seno un ritratto, lo porge ad Amelia, che (From his breast he takes a portrait and hands it to fa altrettanto) Amela, who does likewise) AMELIA: AMELIA: Uguali son!... "ey’re identical! DOGE: DOGE: Maria!... Maria! AMELIA: AMELIA: Il mio nome!... My name! DOGE: DOGE: Sei mia $glia. You’re my daughter. AMELIA: AMELIA: Io... I…

37 DOGE: DOGE: M’abbraccia, o "glia mia. Embrace me, O my daughter. AMELIA: AMELIA: Padre, padre il cor ti chiama! Father, my heart calls you father! Stringi al sen Maria che t’ama. Hold close Maria, who loves you. DOGE: DOGE:

13. Figlia! A tal nome palpito 13. Daughter! At that name my heart beats Qual se m’aprisse i cieli... As if Heaven were opening for me… Un mondo d’ine#abili You reveal a world of Letizie a me riveli; joys beyond words to me; Qui un paradiso il tenero Your gentle father will open Padre ti schiuderà... a paradise to you here… Di mia corona il raggio My crown’s radiance La gloria tua sarà. will be your glory. AMELIA: AMELIA: Padre, vedrai la vigile Father, you will see Figlia a te sempre accanto; your vigilant daughter always beside you; Nell’ora malinconica In times of melancholy Asciugherò il tuo pianto... I will wipe your tears… Avrem gioie romite We will have joyful Note soltanto al ciel, times together, known only to Heaven; Io la colomba mite I will be the gentle dove Sarò del regio ostel. of the royal abode. (Amelia, accompagnata dal padre #no alla soglia, (Amelia, accompanied by her father to the thresh- entra nel palazzo; il Doge la contempla estatico old, enters the palace; the Doge contemplates her mentre ella si allontana with delight as she goes o")

38 Scena VIII Scene 8 Doge e Paolo dalla destra. !e Doge and Paolo from the right PAOLO: PAOLO: 14. Che rispose? 14. What was her answer? DOGE: DOGE: Rinunzia ogni speranza. Renounce all hope for her. PAOLO: PAOLO: Doge, nol posso!... Doge, I cannot! DOGE: DOGE: Il voglio. !at’s my wish. (Parte) (exits) PAOLO: PAOLO: Il vuoi!... scordasti che mi devi il soglio? Your wish! have you forgotten you owe your throne to me?

Scena IX Scene 9 Paolo e Pietro dalla destra. Paolo and Pietro from the right. PIETRO: PIETRO: Che disse? What did he say? PAOLO: PAOLO: A me negolla. He won’t yield her to me. PIETRO: PIETRO: Che pensi tu? What are you thinking? PAOLO: PAOLO: Rapirla. We’ll Kidnap her. PIETRO: PIETRO: Come? How? PAOLO: PAOLO: La troverai solinga. At evening, she walks alone Si tragga al mio naviglio; along the seashore Di Lorenzin si rechi Take her to my ship; Alla magion. and deliver her quickly to Lorenzin’s house. 39 PIETRO: PIETRO: S’ei nega? If he refuses? PAOLO: PAOLO: Digli che so sue trame, Tell him that I know of his plotting, E presterammi aita... and will give him my help.. Tu gran mercede avrai... You’ll be well rewarded. PIETRO: PIETRO: Ella sarà rapita. She will be abducted. (Escono) (exits)

Scena X Scene 10 Sala del Consiglio nel Palazzo degli Abati. Council Chamber in the Abati Palace Il Doge seduto sul seggio ducale; !e Doge is seated on a ducal seat; da un lato, dodici Consiglieri nobili; on one side, twelve noble councillors; dall’altro lato, dodici Consiglieri popolani. on the other side twelve plebian councillors. Seduti a parte, quattro Consoli del mare e i Con- Seated apart, four consuls of the Navy and nestabili Knights. Paolo e Pietro stanno sugli ultimi seggi dei popo- Paolo and Pieto are placed on the last seats of the lani. people. Un Araldo. A herald attends. DOGE: DOGE:

15. Messeri, il re di Tartaria 15. Gentlemen, the King of Tartary vi porge pegni di pace hands you pledges of peace e ricchi doni e annunzia And rich gi!s, and announces schiuso l’Eusin alle liguri prore. that the Eusinian Sea is open to Ligurian vessels. Acconsentite? Do you agree? TUTTI: ALL: Sì. Yes. DOGE: DOGE: Ma d’altro voto But for the vote, I ask a more generous wish from Più generoso io vi richiedo. you.

40 ALCUNI: SOME: Parla. Tell us. DOGE: DOGE: La stessa voce che tuonò su Rienzi; !e very voice that thundered over Rienzi; Vaticinio di gloria e poi di morte, a forecast of glory and then of death Or su Genova tuona. - Ecco un messaggio now thunders over Genoa. Here’s a message (Mostrando uno scritto) (showing a letter) Del romito di Sorga, ei per Venezia from the Hermit of Sorga, pleading for Supplica pace... peace with Venice. PAOLO: PAOLO: (interrompendolo): (interrupting him) Attenda alle sue rime Answer with the minstrel’s rhymes to some blond Il cantor della bionda Avignonese. beauty from Avignon TUTTI: ALL: (ferocemente): (ferociously) Guerra a Venezia! War against Venice! DOGE: DOGE: E con quest’urlo atroce And with this dreadful cry, Fra due liti d’Italia erge Caino Cain raises his cruel club La sua clava cruenta! - Adria e Liguria between the two shores of Italy: Adria and Ligu- Hanno patria comune. ria Are brother countries. TUTTI: ALL: È nostra patria Genova. Our fatherland is Genoa. (Tumulto lontano) (distant tumult) PIETRO: PIETRO: Qual clamor! What a noise! ALCUNI: SOME: D’onde tai grida? Where’s it coming from? PAOLO: PAOLO: (balzando e dopo essere accorso al verone): (jumping up and having run to the balcony) Dalla piazza de’ Fieschi. From the square of the Fieschi

41 TUTTI: ALL: (alzandosi): (getting up) Una sommossa! A riot! PAOLO: PAOLO: (sempre alla #nestra, lo ha raggiunto Pietro): (still at the window, Pietro having reached him) Ecco una turba di fuggenti. Look: it’s a crowd of exiles. DOGE: DOGE: Ascolta. Listen. (Il tumulto si fa più forte) (!e tumult becomes louder) PAOLO PAOLO (origliando): (listening) Si sperdon le parole... You can’t hear the words for the noise… VOCI INTERNE: VOICES WITHIN: Morte! Death! TUTTI: ALL: Morte! Death! PAOLO, PIETRO: PAOLO, PIETRO: È lui? Is it he? DOGE: DOGE: (che ha udito ed è presso al verone): (who overheard and is close to the balcony) Chi? Who? PIETRO: PIETRO: Guarda. Look. DOGE: DOGE: (guardando): (looking) Ciel! Gabriele Adorno Heavens! Gabriele Adorno Dalla plebe assalito... accanto ad esso combatte assaulted by the plebians…a Guelph !ghts next un Guelfo. to him. A me un araldo. Bring me a herald. PIETRO: PIETRO: (sommesso): (in a low voice) Paolo, Fuggi o sei côlto. Paolo, #ee or they’ll take you.

42 DOGE: DOGE: (guardando Paolo che s’avvia): (looking at Paolo who is !eeing) Consoli del mare, Naval consuls, Custodite le soglie! Custodians of the throne! Olà, chi fugge Hey, anyone who "ees È un traditor. is a traitor. (Paolo confuso s’arresta) (Paolo, confused, stops) VOCI: VOICES: (in piazza): (in the square) Morte ai patrizi! Death to the patricians! CONSIGLIERI NOBILI: NOBLE COUNCILORS: (sguainando le spade): (drawing their swords) All’armi! To arms! VOCI: VOICES: (in piazza): (in the square) Viva il popolo! Long live the people! CONSIGLIERI POPOLANI: PLEBIAN COUNCILORS: (sguainando le spade): (drawing their swords) Evviva! Hear, hear! DOGE: DOGE: E che? voi pure? What’s this now? You too? Voi; qui! vi provocate? You, here! You’d provoke them? VOCI: VOICES: (in piazza): (in the square) Morte al Doge. Death to the Doge. DOGE: DOGE: (ergendosi con possente alterezza; sarà giunto (rising with dignity; the herald has arrived) l’araldo): Death to the Doge? Morte al Doge? Very well. Herald, open Sta ben. - Tu, araldo, schiudi the doors of the palace and announce to the Le porte del palagio e annuncia al volgo people, Gentilesco e plebeo ch’io non lo temo patricians and plebians, Che le minaccie udii, that I don’t fear them, 43 che qui li attendo... I’ve heard their threats; I await them here… Nelle guaine i brandi. Sheathe your swords. (Ai Consiglieri che ubbidiscono) (to the Counsel, who obey) VOCI: VOICES: (in piazza): (in the square) Armi! saccheggio! To arms! Pillage! Fuoco alle case! Set !re to the houses! Ai trabocchi! To the trebuchets! Alla gogna! To the sca"old! DOGE: DOGE: Squilla la tromba dell’araldo... ei parla... Sound the heraldic trumpet…let it speak… (Una tromba lontana. (a disant trumpet. All stand waiting, listening. Si- Tutti stanno attenti origliando. Silenzio) lence) Tutto è silenzio.... All is quiet… UNO SCOPPIO DI GRIDA: A CRY BURSTS FORTH: Evviva! Hail! VOCI: VOICES: (più vicine): (nearer) Evviva il Doge! Long live the Doge! DOGE: DOGE: Ecco le plebi! Here are the plebeians!

Scena XI Scene 11 Irrompe la folla dei popolani, i Consiglieri, ecc., ecc, A crowd of people rush in, Councillors, etc, molte donne, alcuni fanciulli, il Doge, Paolo, Pietro. many women, some children, the Doge, Paolo, I Consiglieri nobili sempre divisi dai popolani. Pietro. "e patrician Councillors remain separate. Adorno e Fiesco a#errati dal popolo. Adorno and Fiesco and held by the people. POPOLO: PEOPLE: Vendetta! vendetta! Revenge! Revenge! Spargasi il sangue del !ero uccisor! Blood must avenge the !erce murderer’s crime! DOGE: DOGE: (ironicamente): (ironically) Questa e dunque del popolo la voce? Can this be the people’s voice? 44 Da lungi tuono d’uragan, da presso A tempest roaring form afar, and close by, Gridio di donne e di fanciulli. the bawling of women and children. Adorno, perché impugni L’acciar? Adorno, why are you holding your sword? GABRIELE: GABRIELE: Ho trucidato Lorenzino. I have killed Lorenzino. POPOLO: PEOPLE: Assassin! Murderer! GABRIELE: GABRIELE: Ei la Grimaldi aveva rapita. He kidnapped the Grimaldi girl. DOGE: DOGE: Orror! Horror! POPOLO: POPOLO: Menti! You lie! GABRIELE: GABRIELE: Quel vile "at vile man, before he died Pria di morir disse che un uom possente said that a powerful man Al crimine l’ha spinto pressed him to commit the crime. PIETRO: PIETRO: (a Paolo): (to Paolo) Ah! sei scoperto! Ah! You are discovered! DOGE: DOGE: (con agitazione): (in agitation) E il nome suo? And his name? GABRIELE: GABRIELE: (!ssando il Doge con tremenda ironia): (!xing the Doge with a terrible, ironic look) T’acqueta! il reo si spense Calm down! "e evil man died Pria di svelarlo. before revealing him. DOGE: DOGE: Che vuoi dir? What are you implying? GABRIELE: GABRIELE: (terribilmente): (terribly) Pel cielo! By Heaven! Uom possente tu se’! You are that powerful man! 45 DOGE: DOGE: (a Gabriele): (to Gabriele) Ribaldo! You scoundrel! GABRIELE: GABRIELE: (al Doge slanciandosi): (throwing himself upon the Doge) Audace rapitor di fanciulle! Arrogant abductor of girls! ALCUNI: SOME: Si disarmi! Disarm him! GABRIELE: GABRIELE: Empio corsaro incoronato! Muori! Wicked corsair with a crown! Die! (Disvincolandosi e correndo per ferire il Doge) (freeing himself and rushing to stab the Doge)

Scena XII Scene 12 Amelia e detti. Amelia and above AMELIA: AMELIA: (entrando ed interponendosi (entering and putting herself fra i due assalitori e il Doge): between the two assailants and the Doge) Ferisci! !en strike me! DOGE, FIESCO, GABRIELE: DOGE, FIESCO, GABRIELE:

16. Amelia! 16. Amelia! TUTTI: ALL: Amelia! Amelia! AMELIA: AMELIA: O Doge... ah salva... O Doge…ah save… Salva l’Adorno tu. save Adorno. DOGE: DOGE: Nessun l’o#enda. Let no one harm him. (Alle guardie che si sono impossessate di Gabriele (to the guards who have taken possession of Gabri- per disarmarlo) ele to disarm him) Cade l’orgoglio e al suon del suo dolore Pride falls, and at the sound of her distress, Tutta l’anima mia parla d’amore... my whole spirit speaks of love…

46 CD 2: CD 2:

1. Amelia, di’ come tu fosti rapita 1. Amelia, tell how you were abducted E come al periglio potesti scampar. And how you escaped from peril. AMELIA: AMELIA: Nell’ora soave che all’estasi invita In that sweet hour which invites ecstacy Soletta men givo sul lido del mar. I wandered alone on the shore of the sea. Mi cingon tre sgherri, #ree villains surrounded me, took me to a ship. m’accoglie un naviglio. My mu$ed cries were no use… So!ocati non valsero i gridi... I fainted and when I opened my eyes Io svenni e al novello dischiuder del ciglio the next day I realized I was in Lorenzo’s cham- Lorenzo in sue stanze presente mi vidi.... bers. TUTTI: ALL: Lorenzo! Lorenzo! AMELIA: AMELIA: Mi vidi prigion dell’infame! I saw that I was the villain’s prisoner! Io ben di quell’alma sapea la viltà. I knew well the evil of that heart. Al Doge, gli dissi "en note tue trame, “#e Doge”, I told him, “will know of your plots, if se a me sull’istante non dai libertà. you don’t set me free instantly.” Confuso di tema, mi schiuse le porte... Fear confused him, and he opened the doors to Salvarmi l’audace minaccia potea. me… my bold threat saved me. TUTTI: ALL: Ei ben meritava, quell’empio la morte #at wicked man well deserved death. AMELIA: AMELIA: V’è un più nefando che illeso ancor sta #ere’s another wicked one who is still unharmed. TUTTI: ALL: Chi dunque? Who then? AMELIA: AMELIA: (!ssando Paolo che sta dietro un gruppo di (looking hard at Paolo who stands behind a group persone) of people.) Ei m’ascolta... Discerno le smorte sue labbra. He hears me…I can see his pale lips.

47 DOGE, GABRIELE: DOGE, GABRIELE: Chi dunque? Who then? POPOLI: PEOPLE: Un patrizio. A patrician. NOBILI: NOBLES: Un plebeo. A plebian. POPOLI: PEOPLE: Abbasso le spade! Lower your swords! AMELIA: AMELIA: Terribili gridi! What dreadful cries! NOBILI: NOBLES: (ai Popolani): (to the people) Abbasso le scuri! Put down your axes! AMELIA: AMELIA: Pietà! Have mercy! DOGE: DOGE: (possentemente): (powerfully) Fratricidi! Fratricides!

2. Plebe! Patrizi! Popolo 2. Plebians! Patricians! People Dalla feroce storia Heirs only of the ferocious story Erede sol dell’odio of the hatred between Dei Spinola e dei D’Oria, the Spinolas and the Dorians, Mentre v’invita estatico though the broad kingdom of the seas Il regno ampio dei mari, happily calls to you, Voi nei fraterni lari you break hearts Vi lacerate il cuor. in your brothers’ homes.

3. Piango su voi, sul placido 3. I weep over you, over the peaceful Raggio del vostro clivo light of your hills Là dove invan germoglia where the olive branches Il ramo dell’ulivo. !ower in vain. Piango sulla mendace I weep over your hypocritical 48 Festa dei vostri !or, #ower festival, E vo gridando: pace! and I want to cry: peace! E vo gridando: amor! and I want to cry: love! AMELIA: AMELIA: (a Fiesco): (to Fiesco) Pace! lo sdegno immenso Peace! For mercy’s sake, Ra"rena per pietà! curb your great anger! Pace! t’ispiri un senso Di patria carità Peace! May you be inspired by patriotic charity. PIETRO: PIETRO: (a Paolo): (to Paolo) Tutto fallì, la fuga All has failed, only Sia tua salvezza almen. #ight can save you. PAOLO: PAOLO: (a Pietro): (to Pietro) No, l’angue che mi fruga No, the serpent that drives me È gon!o di velen. bursts with venom. GABRIELE: GABRIELE: Amelia è salva, e m’ama! Amelia is safe, and she loves me! Sia ringraziato il ciel! $ank the heavens! Disdegna ogni altra brama My faithful spirit L’animo mio fedel. sco"s at all other desires. FIESCO: FIESCO: O patria! a qual mi serba O my country! My hope Vergogna il mio sperar! has caused me such shame! Sta la città superba $e splendid city, Nel pugno d’un corsar! in the hands of a corsair! CORO: CHORUS: (!ssando il Doge): (looking hard at the Doge) Il suo commosso accento His words of passion Sa l’ira in noi calmar; are able to calm our anger; Vol di soave vento as a sweet breeze’s breath Che rasserena il mar. calms the restless sea.

49 GABRIELE: GABRIELE: (o!rendo la spada al Doge) (o!ering his sword to the Doge)

4. Ecco la spada. 4. Here is my sword. DOGE: DOGE: Questa notte sola Only for tonight, Qui prigione sarai, !nché la trama Will you remain a prisoner here, until the en- Tutta si scopra. - No, l’altera lama tire plot has been revealed. No, keep your proud Serba, non voglio che la tua parola. blade; your word is enough for me. GABRIELE: GABRIELE: E sia! And so be it! DOGE: DOGE: (con forza terribile): (with terrible strength) Paolo! Paolo! PAOLO: PAOLO: (sbucando dalla folla allibito): (emerging from the astounded crowd) Mio Duce! My master! DOGE: DOGE: (con tremenda maestà e con violenza sempre piu’ (with tremendous majesty and with even more formidabile:) formidable violence) In te risiede In you is vested the solemn justice L’austero dritto popolar, è accolto of the people; civic honour is L’onore cittadin nella tua fede: linked with your allegiance: Bramo l’ausiglio tuo… V’è in I need your loyal aid. queste mura Here in this chamber stands a villain. He listens, Unvil che m’ode, e impallidisce in volto; with pallid face; Già la mia man l’a"era per le chiome. I already feel my hand upon his head. Io so il suo nome… I know his name… È nella sua paura. We can call him a coward. Tu al cospetto del ciel e al mio cospetto Before Heaven and in my presence, Sei testimon. - Sul manigoldo impuro Bear witness to my words. Piombi il tuon del mio detto: Let my curse’s thunder fall upon the wicked rogue: Sia maledetto! E tu ripeti il giuro. May he be cursed! And you, repeat the oath! 50 PAOLO PAOLO (atterrito e tremante): (terri!ed and trembling) Sia maledetto... (Orror!) May he be cursed! (Horror!) TUTTI: ALL: Sia maledetto! May he be cursed!

Atto Secondo Act II

Scena I Scene 1 Stanza del Doge nel Palazzo Ducale in Genova. "e Doges room in the Ducal palace in Genoa. Porte laterali. Da un poggiolo si vede la città. Side doors. From a balcony, thecity can be seen. Un tavolo: un ‘anfora e una tazza. Annotta. A table: a pitcher and a cup. It is growing dark. Paolo e Pietro. Paolo and Pietro. PAOLO: PAOLO: (a Pietro traendolo verso il poggiolo): (to Pietro, taking him towards the balcony)

5. Quei due vedesti? 5. Do you see those two? PIETRO: PIETRO: Sì. Yes. PAOLO: PAOLO: Li traggi tosto Take them quickly Dal carcer loro per l’andito ascoso, from their prison by a secret passage, Che questa chiave schiuderà. which this key will open. PIETRO: PIETRO: T’intesi. I understand. (Esce) (exits)

Scena II Scene 2 Paolo Paolo PAOLO: PAOLO: Me stesso ho maledetto! I have cursed myself! E l’anatéma And the curse 51 M’insegue ancor... still haunts me… e l’aura ancor ne trema! Even the air still shakes with it! Vilipeso... reietto Despised…rejected Dal Senato e da Genova, qui vibro by the Senate and by Genoa, L’ultimo stral pria di fuggir, qui libro here will I thrust the "nal arrow before I #ee, here La sorte tua, Doge, I weigh out your fate, Doge, in quest’ansia estrema. in this extreme anxiety. Tu, che m’o!endi e che mi devi il trono, You, who angered me, and who owes me your Qui t’abbandono throne, Al tuo destino I abandon you here to your fate In questa ora fatale... in this fatal hour.. (Estrae un’ampolla, (takes out a phial, and empties ne vuota il contenuto nella tazza) its contents into the cup) (Qui ti stillo una lenta, atra agonia... Here I pour slow, dark agony for you.. Là t’armo un assassino. $ere I arm an assassin for you. Scelga morte sua via Let death’s path choose Fra il tosco ed il pugnale. either the poison or the dagger.

Scena III Scene 3 Detto, Fiesco e Gabriele dalla destra, Above, Fiesco and Gabriele from the right, condotti da Pietro, che si ritira. led by Pietro who withdraws. FIESCO: FIESCO:

6. Prigioniero in qual loco m’adduci? 6. Where are you taking me as a prisoner? PAOLO: PAOLO: Nelle stanze del Doge, e favella a te Paolo. Into the Doge’s rooms, and Paolo is speaking to you. FIESCO: FIESCO: I tuoi sguardi son truci... Your gaze is dark… PAOLO: PAOLO: Io so l’odio che celasi in te. I know the hatred that hides in you. Tu m’ascolta. Listen to me.

52 FIESCO: FIESCO: Che brami? What do you want? PAOLO: PAOLO: Al cimento preparisti de’ Have you prepared the Guelph army for the ven- Guel! la schiera? ture? FIESCO: FIESCO: Sì. Yes. PAOLO: PAOLO: Ma vano !a tanto ardimento! But that daring is in vain! Questo Doge, abborrito da me "is Doge, whom I hate Quanto voi l’abborrite, v’appresta as much as you do, prepares Nuovo scempio... new violence for you… FIESCO: FIESCO: Mi tendi un agguato. You’re trying to entrap me. PAOLO: PAOLO: Un agguato?... Di Fiesco la testa A trap? Has not the tyrant singled out Il tiranno segnata non ha?... the head of Fiesco? Io t’insegno vittoria. - I will help you triumph. FIESCO: FIESCO: A qual patto? On what terms? PAOLO: PAOLO: Trucidarlo qui, mentre egli dorme. Stab him here, while he sleeps. FIESCO: FIESCO: Osi a Fiesco proporre un misfatto? You dare propose such a misdeed to Fiesco? PAOLO: PAOLO: Tu ri!uti? You refuse? FIESCO: FIESCO: Sì. Yes. PAOLO: PAOLO: Al carcer ten va. "en go away to prison. (Fiesco parte dalla destra; Gabriele fa per segurio, (Fiesco leaves to the right. Gabriele is about to ma è arrestato da Paolo) follow him but is stopped by Paolo)

53 Scena IV Scene 4 Paolo e Gabriele. Paolo and Gabriele PAOLO: PAOLO:

7. Udisti? 7. Did you hear? GABRIELE: GABRIELE: Vil disegno! A vile plan! PAOLO: PAOLO: Amelia dunque mai tu non amasti? So you never loved Amelia? GABRIELE: GABRIELE: Che dici? What are you saying? PAOLO: PAOLO: È qui. She is here. GABRIELE: GABRIELE: Qui Amelia! Here, Amelia? PAOLO: PAOLO: E del vegliardo She is singled out Segno è alle infami dilettanze. by the old man for wanton delights. GABRIELE: GABRIELE: Astuto Dimon, cessa... Stop, insidious demon… (Paolo corre a chiuder la porta di destra) (Paolo hurries to close the door on the right) Che fai? What are you doing? PAOLO: PAOLO: Da qui ogni varco t’è conteso. - Ardisci From here, every door is closed to you. Il colpo... O sepoltura Dare to strike him…or these walls will be your Avrai fra queste mura tomb. (Parte frettoloso dalla porta sinistra, che si chiude (leaves hastily by the door on the le!, which he dentro) closes behind him)

54 Scena V Scene 5 Gabriele Gabriele

GABRIELE: GABRIELE: (solo): (alone) O inferno! Amelia qui! O hell! Amelia here - the old man’s mistress! L’ama il vegliardo!... And I’m forbidden to vent E il furor che m’accende the fury burning me up! You killed my father… M’è conteso sfogar!... Tu m’uccidesti you steal my treasure away… Il padre... tu m’involi il mio tesoro... Tremble, wicked man… one crime was already Trema, iniquo... già troppa era un’o!esa, too much, Doppia vendetta hai sul tuo capo accesa. Now you’ve kindled a double vendetta..

8. Sento avvampar nell’anima 8. I feel furious jealousy Furente gelosia; Burning in my soul; Tutto il suo sangue spegnerne not even all of your blood L’incendio non potria; could quench the "re; S’ei mille vite avesse, If he had a thousand lives, Se mieterle potesse and my fury could strike them D’un colpo il mio furor, all down with a single blow, Non sarei sazio ancor. I still wouldn’t be satis"ed. Che parlo!... Ohimè!... What am I saying! Alas! Piango!... pietà, I’m weeping! Oh Lord God, gran Dio, del mio martiro!... take pity on my su!ering!

9. Cielo pietoso, rendila, 9. Merciful Heaven, bring her back, Rendila a questo core, return her to this heart, Pura siccome l’angelo as pure as the angel Che veglia al suo pudore; who watches over her virtue; Ma se una nube impura but if something impure Tanto candor m’oscura, clouds such purity to me, Priva di sue virtù, deprived of her virtue, Ch’io non la vegga più. May I never see her again. 55 Scena VI Scene 6 Detto ed Amelia dalla sinistra. Above and Amelia from the le!.

AMELIA: AMELIA:

10. Tu qui? 10. You here? GABRIELE: GABRIELE: Amelia! Amelia! AMELIA: AMELIA: Chi il varco t’apria? Who let you in? GABRIELE: GABRIELE: E tu come qui? And how came you here? AMELIA: AMELIA: Io... I… GABRIELE: GABRIELE: Ah sleale! Ah faithless! AMELIA: AMELIA: Ah crudele!... Ah cruel one! GABRIELE: GABRIELE: Il tiranno ferale... !e fatal tyrant… AMELIA: AMELIA: Il rispetta... Respect him… GABRIELE: GABRIELE: Egli t’ama... He loves you… AMELIA: AMELIA: D’amor santo... With holy love… GABRIELE: GABRIELE: E tu?... And you? AMELIA: AMELIA: L’amo al pari... I love him the same way… GABRIELE: GABRIELE: E t’ascolto, How can I hear you Né t’uccido? and not kill you? 56 AMELIA: AMELIA: Infelice!... mel credi, Woe is me! Believe me, Pura io sono... I am pure! GABRIELE: GABRIELE: Favella. Speak. AMELIA: AMELIA: Concedi Swear to keep a secret Che il segreto non aprasi ancor. that no one should yet know. GABRIELE: GABRIELE: Parla - in tuo cor virgineo Speak, in your virginal heart Fede al diletto rendi - Have faith in your beloved. Il tuo silenzio è funebre Your silence is a deadly Vel che su me distendi. veil that hangs over me. Dammi la vita o il feretro, Give me life or death, Sdegno la tua pietà. I scorn your pity. AMELIA: AMELIA: Sgombra dall’alma il dubbio... Don’t burden your soul with doubt. Santa nel petto mio Your image lives L’immagin tua s’accoglie in my heart as purely Come nel tempio Iddio. as it would in God’s temple No, procellosa tenebra No, love’s sky Un ciel d’amor non ha. Has no stormy clouds. (S’ode uno squillo) (a trumpet blast is heard) Il Doge vien - scampo non hai. !e Doge’s coming – there’s no escape. T’ascondi! Hide! GABRIELE: GABRIELE: No. No. AMELIA: AMELIA: Il patibol t’aspetta. !e sca"old waits for you. GABRIELE: GABRIELE: Io non lo temo. It doesn’t scare me.

57 AMELIA: AMELIA: Nell’ora stessa teco avrò morte... I will die along with you Se non ti move di me pietà. if you don’t take pity on me. GABRIELE: GABRIELE: Dite pietade?... You say pity? (Tra sé) (to himself) (Lo vuol la sorte... (Fate wills it… Si compia il fato... Egli morrà..) Let the deed be done…He will die) (Amelia nasconde Gabriele sul poggiolo) (Amelia hides Gabriele on the balcony)

Scena VII Scene 7 Detta e il Doge, Above and the Doge who enters ch’entra dalla destra leggendo un foglio. from the right, reading a letter.. DOGE: DOGE:

11. Figlia! 11. Daughter! AMELIA: AMELIA: Sì a!itto, o padre mio? O my father, are you a!icted? DOGE: DOGE: T’inganni... You’re mistaken… Ma tu piangevi. But you weep. AMELIA: AMELIA: Io... I… DOGE: DOGE: La cagion m’è nota I know what causes your tears… Delle lagrime tue... Già mel dicesti... You already told me… Ami; bene e se degno "a You’re in love, so be happy if the one you’ve cho- Dite l’eletto del tuo core... sen is worthy of your heart… AMELIA: AMELIA: O padre, O father, Fra’ Liguri il più prode, the bravest of the Ligurians, il più gentile... the most courtly…

58 DOGE: DOGE: Il noma. His name. AMELIA: AMELIA: Adorno... Adorno… DOGE: DOGE: Il mio nemico! He’s my enemy! AMELIA: AMELIA: Padre!... Father! DOGE: DOGE: Vedi qui scritto il nome suo?... congiura See his name written here? Coi Guel!... He conspires with the Guelphs. AMELIA: AMELIA: Ciel!... perdonagli!... Heavens! Pardon him! DOGE: DOGE: Nol posso. I can’t. AMELIA: AMELIA: Con lui morrò... I will die with him… DOGE: DOGE: L’ami cotanto? You love him that much? AMELIA: AMELIA: Io l’amo d’ardente, I love him with an ardent, D’in!nito amor. O al tempio in!nite love. Either lead me to the church with Con lui mi guida, o sopra entrambi cada him, La scure del carne!ce... or let the axe take both of us on the sca"old. DOGE: DOGE: O crudele destino! O cruel fate! O dileguate mie speranze! I see my hopes are scattered to the wind! Una !glia ritrovo; ed un nemico I regain a daughter; and my enemy A me la invola... Ascolta: steals her from me… S’ei ravveduto… But listen: if he repents… AMELIA: AMELIA: Il !a... He will…

59 DOGE: DOGE: Forse il perdono Allor... "en perhaps I will pardon him…. AMELIA: AMELIA: Padre adorato!... Beloved father! DOGE: DOGE: Ti ritraggi - You must leave me. Attender qui degg’io l’aurora... I wait here until dawn… AMELIA: AMELIA: Lascia Let me wait Ch’io vegli al !anco tuo... along with you… DOGE: DOGE: No, ti ritraggi... No, withdraw… AMELIA: AMELIA: Padre!... Father! DOGE: DOGE: Il voglio... I wish it… AMELIA: AMELIA: (entrando a sinistra): (exiting le!) Gran Dio! Come salvarlo? Great God! How can I save him?

Scena VIII Scene 8 Il Doge e Gabriele nascosto. "e Doge and Gabriele hidden

DOGE: DOGE: Doge! ancor proveran Doge! Will the traitors la tua clemenza i traditori? seek my clemency again? - Di paura segno fora il castigo. Punishment might be seen as fear. - M’ardono le fauci. My mouth burns. (Versa dall’anfora nella tazza e beve) (he pours from the pitcher into the cup and drinks) Per!n l’onda del fonte è amara al labbro Even spring water is bitter Dell’uom che regna... on the lips of one who rules… O duol... la mente è oppressa... O pain…my mind is oppressed… Stanche le membra... my limbs are tired… 60 ahimè... mi vince il sonno. Alas…sleep overtakes me. (Siede) (sits)

12. Oh! Amelia… ami... un nemico... 12. Oh! Amelia…you love…an enemy… (S’addormenta) (falls asleep) GABRIELE: GABRIELE: (entra con precauzione, s’avvinca al Doge e lo (enters cautiously, approaches the Doge and con- contempla) templates him) Ei dorme!... Quale He slumbers! Why do I hesitate? sento ritegno?... E riverenza o tema?... Is it reverence or fear? Vacilla il mio voler?... Does my will vaccilate? Tu dormi, o veglio, You sleep, old man, Del padre mio carne!ce, tu mio the executioner of my father, my rival… Rival... Figlio d’Adorno!... la paterna "e son of the Adorno! My father’s shade Ombra ti chiama vindice... demands vengeance of you… (Brandisce un pugnale e va per tra!ggere il Doge, (brandishes the dagger and goes to stab the Doge, ma Amelia, che era ritornata, va rapidamente a but Amelia, who had returned, goes quickly and porsi tra esso ed il padre) puts herself between him and her father)

Scena IX Scene 9

AMELIA: AMELIA: Insensato! Vecchio inerme Madman! Your arm strikes il tuo braccio colpisce! a defenseless old man! GABRIELE: GABRIELE: Tua difesa mio sdegno raccende. Your defense rekindles my disdain. AMELIA: AMELIA: Santo, il giuro, è l’amor che ci unisce, Holy is the love which unites us, I swear it Né alle nostre speranze contende. And it doesn’t con#ict with our hopes. GABRIELE: GABRIELE: Che favelli?... What are you saying?

61 DOGE: DOGE: (destandosi): (waking) Ah!... Ah! AMELIA: AMELIA: Nascondi il pugnale, Hide your dagger, Vien... ch’ei t’oda... Come…let him hear you… GABRIELE: GABRIELE: Prostrarmi al suo piede? Must I kneel at his feet? DOGE: DOGE: (entra improvvisamente fra loro, dicendo a (suddenly coming to, says to Gabriele): Gabriele) Ecco il petto... colpisci, sleale! Here’s your target, traitor…strike me! GABRIELE: GABRIELE: Sangue il sangue d’Adorno ti chiede. Blood for blood is the cry of Adorno. DOGE: DOGE: E !a ver?... chi t’aprì queste porte? Could this be? Who let you in? AMELIA: AMELIA: Non io. Not I. GABRIELE: GABRIELE: Niun quest’arcano saprà. You’ll never know that secret. DOGE: DOGE: Il dirai fra tormenti... Torture will make you speak… GABRIELE: GABRIELE: La morte, I don’t fear death, Tuoi supplizi non temo. or your torture. AMELIA: AMELIA: Ah pietà! Ah have mercy! DOGE: DOGE: Ah quel padre tu ben vendicasti, Ah, how well you avenge your father, Che da me contristato già fu... whom I rightly persecuted Un celeste tesor m’involasti... You stole a heavenly treasure from me… La mia !glia... My own daughter…

62 GABRIELE: GABRIELE: Suo padre sei tu! You are her father!

13. Perdono, Amelia, Indomito 13. Pardon, Amelia, mine was Geloso amor fu il mio... A wild and jealous love. Doge, il velame squarciasi... Doge, the veil is torn open… Un assassin son io.. I am a murderer… Dammi la morte; il ciglio Give me death; I dare A te non oso alzar. not even look you in the eye. AMELIA: AMELIA: Madre, che dall’empireo Mother, who watches over Proteggi la tua !glia, your daughter from above Del genitor all’anima Inspire my father’s heart Meco pietà consiglia... to have pity on me… Ei si rendea colpevole He is guilty only of Solo per troppo amor. Loving me too much. DOGE: DOGE: Deggio salvarlo e stendere Should I save him and extend La mano all’inimico? a hand to an enemy? Sì - pace splenda ai Liguri, Yes, let peace shine in Liguria, Si plachi l’odio antico; let the old hatreds be forgiven; Sia d’amistanze italiche let peace in Italy be the epitaph Il mio sepolcro altar. that marks my tomb. CORO: CHORUS: (interno): (within)

14. All’armi, all’armi, o Liguri, 14. To arms, to arms, O Ligurians, Patrio dover v’appella - Patriotic duty calls - Scoppiò dell’ira il folgore; the lightning bolts of anger strike again; E notte di procella. it is the night of the tempest. Le guelfe spade cingano Guelph swords surround Di tirannia lo spalto - tyranny’s back. Del coronato veglio, Come, strike the dwelling 63 Su, alla magion, l’assalto. of the crowned old man. AMELIA: AMELIA: (corre al poggiolo): (runs to the balcony) Quai gridi?... What are those cries? GABRIELE: GABRIELE: I tuoi nemici.. Your enemies. DOGE: DOGE: Il so. I know. AMELIA: AMELIA: S’addensa il popolo. !e crowd thickens DOGE: DOGE: (a Gabriele): (to Gabriele) T’unisci a’ tuoi... Go and join your men… GABRIELE: GABRIELE: Che pugni contro di te?... Mai più. To "ght against you? Never again. DOGE: DOGE: Dunque messaggio. !en bring them Ti reca lor di pace, a message of peace, E il sole di domani and prevent tomorrow’s sun Non sorga a rischiarar fraterne stragi. from dawning upon the massacre of brothers. GABRIELE: GABRIELE: Teco a pugnar ritorno, I’ll return to "ght with you, Se la clemenza tua non li disarmi. if your pardon does not disarm them. DOGE: DOGE: (accennando Amelia): (pointing to Amelia) Sarà costei tuo premio. She will be your reward. GABRIELE E AMELIA: GABRIELE & AMELIA: O inaspettata gioia! O unexpected joy! AMELIA: AMELIA: O padre! O father! DOGE E GABRIELE: DOGE & GABRIELE: (snudando le spade): (drawing their swords) All’armi! To arms! 64 Atto Terzo Act III

Scena I Scene 1 Interno del Palazzo Ducale. Within the Ducal palace Di prospetto grandi aperture dalle quali On the façade, large openings through which sorgerà Genova illuminata a festa: in fondo il Genoa rises. mare. lit for a festival: in the background, the sea. Un capitano dei balestrieri, con Fiesco, dalla A captain of the crossbow men with Fiesco from destra; the right; poi dalla sinistra Paolo in mezzo alle guardie. then Paolo from the le! amid guards. GRIDA: A CRY: (interne): (o"stage)

15. Evviva il Doge! 15. Long live the Doge! ALTRE GRIDA: ANOTHER CRY: Vittoria! Vittoria! Victory, victory! CAPITANO: CAPTAIN: (rimettendo a Fiesco la sua spada): (giving back to Fiesco his sword) Libero sei: ecco la spada. You are free: here is your sword. FIESCO: FIESCO: E i Guel!? And the Guelphs? CAPITANO: CAPTAIN: Scon!tti. Defeated. FIESCO: FIESCO: O triste libertà! - O sad liberty! (A Paolo:) (to Paolo) Che?... Paolo?! What? Paolo? Dove sei tratto? Where are you being taken? PAOLO: PAOLO: (arrestandosi): (stopping) All’estremo supplizio. To my !nal punishment. Il mio demonio mi cacciò fra l’armi My demon pursued me through the rebel armies

65 Dei rivoltosi e là fui colto; ed ora and there I was captured. Mi condanna Simon; ma da me prima And now Simon condemns me; Fu il Boccanegra condannato a morte. but he was condemned to death before I was. FIESCO: FIESCO: Che vuoi dir? What are you trying to say? PAOLO: PAOLO: Un velen... più nulla io temo, A poison consumes his life… Gli divora la vita I fear nothing now. FIESCO: FIESCO: (a Paolo): (a Paolo) Infame! Vile man! PAOLO: PAOLO: Ei forse He may already be Già mi precede nell’avel!... preceeding me to the tomb! CORO INTERNO: CHORUS OFFSTAGE: Dal sommo delle sfere From the height of the spheres Proteggili, o Signor; Protect him, O Lord, Di pace sien foriere may this marriage of love Le nozze dell’amor) be the harbinger of peace. PAOLO: PAOLO: Ah! orrore! Ah! Horror! Quel canto nuzial, che mi persegue, !at nuptial hymn, which pursues me – L’odi?... in quel tempio Gabriello Adorno do you hear it? In that temple, Gabriello Adornois Sposa colei ch’io trafugava... marrying the one I carried away… FIESCO: FIESCO: (sguainando la spada): (drawing his sword) Amelia?! Amelia? Tu fosti il rapitor? Mostro! You abducted her? Monster! PAOLO: PAOLO: Ferisci. Strike.

66 FIESCO: FIESCO: (trattenendosi): (restraining himself) Non lo sperar; sei sacro alla bipenne. Don’t hope for that; you’re condemned to the axe. (Le guardie trascinano Paolo fuori di Scena) (!e guards take Paolo o"stage)

Scena II Scene 2 Fiesco Fiesco FIESCO: FIESCO: (solo): (alone) Inorridisco!... no, I’m horri!ed!… Simon non questa No, Simon did not ask Vendetta chiesi, d’altra meta degno for this revenge upon you, your fate Era il tuo fato. - deserved otherwise. Eccolo... il Doge. - Al!ne Here is the Doge. At last the hour comes È giunta l’ora di trovarci a fronte! for us to meet face to face! (Si ritira in un angolo d’ombra) (he withdraws into a corner in the shadows)

Scena III Scene 3 Il Doge: lo precede il Capitano !e Doge, above and the Captain con un trombettiere, Fiesco in disparte. with a bugler, Fiesco on one side.

CAPITANO: CAPTAIN: (al verone): (from the balcony) Cittadini! per ordine del Doge Citizens, by order of the Doge, S’estinguano le faci e non s’o"enda put the torches out and don’t o"end Col clamor del trionfo i prodi estinti. the valiant dead with the clamour of triumph. (Esce seguito dal trombettiere) (exits followed by the bugler) DOGE: DOGE:

16. M’ardon le tempia 16. My forehead burns, un’atra vampa sento I feel a dark #ame Serpeggiar per le vene... snaking through my veins…

67 Ah! ch’io respiri Ah! Let me breathe the open air’s blessed breeze L’aura beata del libero cielo! Oh, how refreshing! "e sea air! Oh refrigerio!... la marina brezza!... "e sea! "e sea! Whenever I see it, Il mare!... il mare!... quale in rimirarlo memories of glory and sublime rapture Di glorie e di sublimi rapimenti appear to me. Mi si a!accian ricordi! "e sea! "e sea! Il mare!... perché in suo grembo Why couldn’t I #nd my grave non trovai la tomba?... in your bosom? FIESCO: FIESCO: (avvicinandosi): (approaching) Era meglio per te! It would have been better for you! DOGE: DOGE: Chi osò inoltrarsi?... Who dares to intrude? FIESCO: FIESCO: Chi te non teme... One who doesn’t fear you… DOGE: DOGE: (verso la destra chiamando): (calling towards the right) Guardie? Guards? FIESCO: FIESCO: Invan le appelli... You call them in vain… Non son qui i sgherri tuoi - Your henchmen aren’t here - M’ucciderai, ma pria m’odi... But before you kill me, hear me out… DOGE: DOGE: Che vuoi? What do you want? (I lumi della città e del porto cominciano a spegnersi) (the lights of the ciy and the port begin to go out) FIESCO: FIESCO: Delle faci festanti al barlume In the $icker of the festive torches Cifre arcane, funebri vedrai you will see arcane, fatal letters; Tua sentenza la mano del nume God’s own hand wrote your sentence Sopra queste pareti vergò. on these walls. Di tua stella s’eclissano i rai; Your star’s rays are in eclipse; La tua porpora in brani già cade; Your purple robes are now disintegrating rags; Vincitor fra le larve morrai You will die victorious only amid those ghosts 68 Cui la tomba tua scure negò denied a tomb by your axe. DOGE: DOGE: Quale accento? Whose voice is that? FIESCO: FIESCO: Lo udisti un’altra volta. You’ve heard it before… DOGE: DOGE: Fia ver? - Risorgon dalle tombe i morti? Could it be? #e dead rising from the tomb? FIESCO: FIESCO: Non mi ravvisi tu? Don’t you recognize me? DOGE: DOGE: Fiesco!... Fiesco! FIESCO: FIESCO: Simon, I morti ti salutano! Simon, the dead salute you! DOGE: DOGE: Gran Dio!... Great God! Compiuto al!n di quest’alma è il desio! My heart’s desire is ful!lled! FIESCO: FIESCO:

17. Come fantasima 17. Fiesco appears to you Fiesco t’appar, as a ghost, to avenge Antico oltraggio a vendicar. the old o"ense. DOGE: DOGE: Di pace nunzio Fiesco will be Fiesco sarà, a messenger of peace; Suggella un angelo our friendship sealed Nostra amistà. By an angel. FIESCO: FIESCO: Che dici? What do you mean? DOGE: DOGE: Un tempo il tuo perdon m’o"risti... Once you o"ered me your pardon… FIESCO: FIESCO: Io? I?

69 DOGE: DOGE: Se a te l’orfanella concedea Weeping for her, I gave you the orphan I thought Che perduta per sempre allor piangea, was lost to me forever, In Amelia Grimaldi a me fu resa, She was given back to me as Amelia Grimaldi, and E il nome porta della madre estinta. she carries the name of her dead mother. FIESCO: FIESCO: Cielo!... perché mi splende il ver sì tardi? Heavens! Why does truth dawn on me so late? DOGE: DOGE: Piangi?... Perché da me volgi gli sguardi?... Do you weep? Why do you look away from me? FIESCO: FIESCO:

18. Piango, perché mi parla 18. I weep because Heaven’s voice In te del ciel la voce; speaks to me through you; Sento rampogna atroce Your pity causes such Fin nella tua pietà terrible remorse in me. DOGE: DOGE: Vien, ch’io ti stringa al petto, Come, let me hold you to my breast, O padre di Maria; O father of Maria; Balsamo all’alma mia Your pardon will be Il tuo perdon sarà. a balm to my soul. FIESCO: FIESCO: Ahimè! morte sovrasta... un traditore Alas! Your death looms… Il velen t’apprestò. a traitor prepared poison for you. DOGE: DOGE: Tutto favella, I feel everything Il sento, a me d’eternità... speaking to me of eternity… FIESCO: FIESCO: Crudele Fato! Cruel fate! DOGE: DOGE: Ella vien... She is coming… FIESCO: FIESCO: Maria... Maria…

70 DOGE: DOGE: Taci, non dirle... Be quiet, don’t tell her… Anco una volta benedirla voglio. I want to bless her one last time. (S’abbandona sopra un seggiolone) (sinks onto a chair)

Scena ULTIMA Final Scene Detti, Maria, Gabriele, Senatori, Dame, Above, Maria, Gabriele, Senators, Ladies, Gentiluomini, Paggi con torce, ... Gentlemen, Pages with torches… MARIA: MARIA: (vedendo Fiesco): (Seeing Fiesco)

19. Chi veggo! 19. Who do I see! DOGE: DOGE: Vien... Come… GABRIELE: GABRIELE: Fiesco! Fiesco! MARIA: MARIA: (a Fiesco): (to Fiesco) Tu qui! You, here! DOGE: DOGE: Deponi la meraviglia - Put aside your amazement. In Fiesco il padre vedi dell’ignota Maria, You see before you, in Fiesco, the father of the un- Che ti die’ vita known Maria, who gave you life. MARIA: MARIA: Egli?... Fia ver?... He? Can it be true? FIESCO: FIESCO: Maria!... Maria! MARIA: MARIA: Oh gioia! Dunque Oh joy! Gli odii funesti han !ne! "en the deadly old hatreds are ended! DOGE: DOGE: Tutto !nisce, o !glia... Everything is ending, O daughter…

71 MARIA: MARIA: Qual ferale What deadly thought saddens you Pensier t’attrista sì sereni istanti? at such a serenely happy moment? DOGE: DOGE: Maria, coraggio... A gran dolor t’appresta… Take courage, Maria…a great sorrow awaits you… MARIA : MARIA: (a Gabriele): (to Gabriele) Quali accenti! oh terror! Such words! Oh terror! DOGE: DOGE: Per me l’estrema For me the !nal hour Ora suonò! has sounded! (Sorpresa generale) (general surprise) MARIA, GABRIELE: MARIA, GABRIELE: Che parli?... What are you saying? DOGE: DOGE: Ma l’Eterno But the Eternal one In tue braccia, o Maria, allows me give up my spirit Mi concede spirar... in your arms, O Maria. MARIA, GABRIELE: MARIA, GABRIELE: (cadendo a’piedi del Doge): (falling at the feet of the Doge) Possibil !a?... Is it possible? DOGE: DOGE: (sorge, e imponendo sul loro capo (rising, and placing his hands on their heads le mani solleva gli occhi al cielo, e dice): raises his eyes to Heaven and says:)

20. Gran Dio, li benedici 20. Great God, bless them Pietoso dall’empiro; With Heaven’s mercy; A lor del mio martiro transform the thorns of my su"ering Cangia le spine in !o into #owers for them. MARIA: MARIA: No, non morrai, l’amore No, you won’t die. Vinca di morte il gelo, Love overcomes death’s chill; Risponderà dal cielo mercy from Heaven will 72 Pietade al mio dolor. respond to my sorrow. GABRIELE: GABRIELE: O padre, o padre, il seno Oh father, o father, dreadful anger tears at my Furia mi squarcia atroce... heart… how swi"ly the hour Come passò veloce l’ora del lieto amor! of happy love passed by. FIESCO: FIESCO: Ogni letizia in terra All earthly joy È menzognero incanto, is a false delusion, D’interminato pianto Tears endlessy #owing Fonte è l’umano cor. are the human heart’s fountain. DOGE: DOGE: T’appressa, o !glia... io spiro... Come closer, O daughter…I am dying… Stringi... il morente... al cor! ... Hold a dying man to your heart! CORO: CHORUS: Sì - piange, piange, è vero, Yes, she weeps, she weeps, it is true, Ognor la creatura s’avvolge la natura Nature always enfolds In manto di dolor! creation in a cloak of pain! DOGE: DOGE: Senatori, sancite il voto estremo. - Senators, grant my !nal wish. (I Senatori s’appressano) (the Senators approach) Questo serto ducal la fronte cinga Place my ducal crown Di Gabriele Adorno. - on Gabriele Adorno’s head. Tu, Fiesco, compi il mio voler... You, Fiesco, see to it that my wish is ful!lled… Maria! Maria! (Spira) (dies) MARIA, GABRIELE: MARIA, GABRIELE: (s’inginocchiano davanti al cadavere): (kneeling before the corpse) O padre!... O father! FIESCO: FIESCO: (s’avvicina al verone circondato da’Senatori (approaches the balcony surrounded by Senators e paggi che alzano le !accole): and pages who raise torches) Genovesi!... In Gabriele Genoans! Adorno il vostro Doge or acclamate. Proclaim Gabriele Adorno now as your Doge. 73 VOCI: VOICES: (dalla piazza): (from the square) No - Boccanegra! No! Boccanegra! FIESCO: FIESCO: È morto... He is dead… Pace per lui pregate!... Pray for his soul’s peace! CORO: CHORUS: Pace per lui: Pray for his soul’s peace! (Lenti e gravi tocchi di campana. (Slowly and sadly the bells toll. Tutti s’inginocchiano). Everyone kneels)

74 Dmitri Hvorostovsky (Simon Boccanegra)

Internationally acclaimed Russian bari- tone Dmitri Hvorostovsky was born and studied in , . In 1989, he won the prestigious BBC Cardi! Sing- er of the World Competition. From the start, audiences were bowled over by his cultivated voice, innate sense of musical line and natural legato. A"er his West- ern operatic debut at the Nice Opera in Tchaikovsky’s Pique Dame, his career ex- ploded to take in regular engagements at the world’s major opera houses and appearances at renowned international festivals, including , Covent Garden, New York’s , Opera, , , La Scala Milan, State Opera and Chicago Lyric Opera.

A celebrated recitalist in demand in ev- ery corner of the globe – from the Far East to the Middle East, from Australia to South America – Dmitri has appeared at such venues as Wigmore Hall, Lon- don; Queen’s Hall, Edinburgh; Carne- gie Hall, New York; the Teatro alla Scala, 75 Milan; the Tchaikovsky Conservatoire, thousands of people to commemorate the ; the , Barcelona; the Sun- soldiers of the Second World War. tory Hall, Tokyo; and the Musikverein, Vienna. !e singer performs in concert Dmitri’s extensive discography spans re- with top orchestras like the New York citals and complete operas. He has also Philharmonic and the Rotterdam Phil- starred in Unmasked, an harmonic, and conductors, including award-winning "lm (by Rhombus Media) , , Clau- based on the Mozart opera, tackling the dio Abbado, Lorin Maazel, Zubin Meh- dual roles of Don Giovanni and Leporello. ta, Yuri Termikanov and . Recently Dmitri has established a new col- laboration with the Russian popular com- Dmitri retains a strong musical and per- poser Igor Krutoi, with very successful con- sonal contact with . He became the certs in Moscow, St Petersburg, Kiev and "rst opera singer to give a solo concert New York. with orchestra and chorus on in Moscow; this concert was televised in Recent CD recordings include In !is over 25 countries. Dmitri has gone on to Moonlit Night (lieder by Tchaikovsky. sing a number of prestigious concerts in Mussorgsky & Taneyev); Rachmaninov Ro- Moscow as a part of his own special series, mances (both with pianist Ivari Ilja); a cho- ‘Dmitri Hvorostovsky and Friends’. He has ral recording !e Bells of Dawn (Russian invited such celebrated artists as Renée Sacred and Folk Songs); a DVD starring Fleming, Barbara Frittoli, , Sondra Dmitri alongside Renee Fleming in a "lm Radvanovsky, , Marcello set in St Petersburg and DVD recording Giordani and Askar Abdrazakov. In 2005 Live from Red Square Moscow with Anna he and conductor Netrebko as well as the Il Trovatore from gave an historic tour throughout the cit- the Metropolitan Opera. With conductor ies of Russia at the invitation of President Constantine Orbelian, he has also record- Putin, singing to crowds of hundreds of ed Verdi , Heroes and Villains (mixed 76 arias), Verdi Opera Scenes (with ), Wait for Me – a collection of Russian wartime songs – and the DVD, Hvorostovsky in Moscow; all have met with much critical acclaim.

Barbara Frittoli (Amelia)

Born in Milan, soprano Barbara Frittoli graduated with the highest honors from the Conservatory in Mi- lan, where she studied with Giovanna Ca- netti. She later was the winner of several international competitions.

Among her career’s most remarkable performances were in Le Nozze di Figaro (Contessa d’Almaviva) in Ferrara, Otello (Desdemona) at the Salzburg Festival and at in Turin with Claudio Ab- bado, Così fan Tutte (Fiordiligi) at the Vi- enna City Opera and at the Ravenna Fes- tival with ; also with at Covent Garden.

She sang Don Giovanni at the Salzburg Festival with Lorin Maazel,

77 (Liù) at Opéra Bastille with Georges Donna Elvira in Don Giovanni, Sifare in Prêtre and on tour with the Maggio Musi- Mitridate, Re di Ponto in Turin and Par- cale Fiorentino and . At the is with Christophe Rousset, Medora in Metropolitan she was Desdemona in Otel- Il Corsaro, Antonia in Les Contes d’Ho!- lo with James Levine, a role which she has mann; and Alice in Falsta! in with performed in Brussels (Pappano), Vien- Daniele Gatti, in Florence with Pappano, na, Nice, Florence (Mehta), and in which and at Covent Garden with Haitink. She she made her debut in under the was Amelia in Simon Boccanegra, Mar- baton of Mehta. She sang Don Giovanni gherite in , and Elisabetta in Don (Donna Anna) at Glyndebourne, the Vi- Carlo at Teatro Comunale in Florence enna State Opera and the Metropolitan; under Zubin Mehta, and Liù in Turandot the roles of Elettra in in Dres- at Gran Teatre Liceu di Barcelona. den under the baton of Colin Davis and Vitellia in , as well as She has recently sung "aïs in Turin, Così the title role in at the Royal fan Tutte in Valencia and Vienna; Le Noz- Opera House. Also memorable is her re- ze di Figaro in , Paris and Munich; turn to Opéra National de Paris in Simon Simon Boccanegra (under James Levine) Boccanegra and Otello. in and New York; and Don Giovanni at the Metropolitan Opera; At Teatro alla Scala, she sang Leonora in Il Falsta!, La Bohème and Luisa Miller in Trovatore, Alice in Falsta!, Desdemona in Zurich; La Bohème in Tokyo; Don Giovan- Otello, La Contessa d’Almaviva in Le Noz- ni in Washington and Milan, Adriana Le- ze di Figaro, Anaide in Mosè in Egitto and couvreur in Barcelona, Don Carlo in New most recently in Il Trittico. York and Turin, Il Tabarro in Verbier, and Falsta! at Teatro Colon in . Her repertoire also includes Pergolesi’s Il Notable among her future engagements Flaminio, La Bohème at the Vienna State are , Me#stofele and at Opera and at the Metropolitan Opera, the Metropolitan Opera, Simon Boccaneg-

78 ra in Barcelona, Vienna and Hamburg and (Fiesco/Andrea) Madama Butter!y in Bilbao. Ildar Abdrazakov has established him- Her vast concert repertoire includes Ver- self as one of opera’s most sought-a!er di’s with Riccardo Muti, Claudio basses. Since making his La Scala debut Abbado, , Zubin Mehta, in 2001 at 25, the Russian singer has be- Valery Gergiev, and Gi- come a mainstay at leading houses world- anandrea Noseda – along with orchestras wide, including New York’s Metropolitan such as the and Vienna Philhar- Opera, the , and Mu- monics, the Chicago Symphony, the Or- nich’s Bavarian State Opera. His powerful chestra Filarmonica della Scala, and the yet re"ned voice coupled with his com- Boston Symphony. Her repertoire further pelling stage presence have prompted encompasses Brahms’ Ein Deutsches Re- critics to hail him as a “sensational … quiem, Mozart’s Great Mass in C Minor who has just about everything – imposing (London Symphony/Colin Davis), the sound, beautiful legato, oodles of "nesse” settings of Pergolesi and ("e Independent). Also an active concert Rossini (Royal Concertgebouw Orches- artist, he has performed at London’s BBC tra/Riccardo Chailly) and Mahler’s Sym- Proms and at New York’s Carnegie Hall, phony No. 4 (Concertgebouw/Bernard as well as with leading international or- Haitink). chestras, including the Chicago Sympho- ny and . Her recordings include the famous Turan- dot in the Forbidden City (under Zubin Me- Abdrazakov headlined the gala opening hta) in both CD and DVD formats; Pucci- of the Met’s 2014-15 season in the title ni’s Il Trittico, Rossini’s Il Barbiere di Siviglia role in a new Sir Richard Eyre production and , and the Stabat Ma- of Le nozze di Figaro under James Levine. ters of Pergolesi and Rossini. It was ten years ago under the baton of the revered maestro that the young bass 79 made his company debut in another Mo- captured on DVD and Blu-ray by Deut- zart opera, Don Giovanni. Other high- sche Grammophon. Other notable Met lights of Abdrazakov’s fall season includ- productions include his role debut as ed an appearance at the Richard Tucker Henry VIII opposite Music Foundation’s annual gala at New in to open the company’s York’s Avery Fisher Hall, a return to the 2011-12 season, Dosifei in Mussorgsky’s role of Escamillo in the Met’s Carmen, , and the title role in a and back-to-back Live in HD broadcasts new production of Verdi’s under of both Figaro and Carmen to movie the- the baton of Riccardo Muti. At La Scala, aters around the globe. European opera Abdrazakov joined Muti in concert for engagements in 2014-15 include Moïse the reopening of the theater in 2004-05, in Rossini’s Moïse et Pharaon at the Mar- and that same season he sang Moses in a seille Opera, Méphistophélès in Gounod’s production of Rossini’s Moïse et Pharaon Faust at the Paris Opera and the Teatro that was recorded and released on CD Regio di Torino, and Mustafà in L’Italiana and DVD. It was in the same role – in a in Algeri at the Vienna State Opera. On new production led by Muti – that the the concert stage, Abdrazakov presents a bass made his Salzburg Festival debut in solo program for the Palm Beach Opera’s 2009, and he has also sung Moses with the annual gala and joins the Staatskapelle Italian maestro in Rome. Abdrazakov "rst Dresden under the baton of Christian appeared at London’s Royal Opera House !ielemann for performances of Verdi’s in 2009, performing Verdi’s Requiem in Requiem at the Salzburg Easter Festival. concert with Sir Antonio Pappano, and he has since returned there to sing Don Over the past decade since his house de- Basilio in Rossini’s Barber of Seville. but, Abdrazakov has become a mainstay at the Metropolitan Opera. Last season !e title role in !e Marriage of Figaro was he sang the title role in a new staging of the vehicle for Abdrazakov’s 1998 house Borodin’s – a performance debut at St. Petersburg’s Mariinsky !e- 80 atre. Among his other signature roles are both the title character and Leporello in Mozart’s Don Giovanni; Méphistophélès in Gounod’s Faust and Berlioz’s La damna- tion de Faust; Oroveso in Bellini’s ; Selim in Rossini’s , and Assur in his . !e Russian bass is noted for Verdi roles including Walter in Luisa Miller and the title character in , as well as Attila and Banquo.

Abdrazakov has appeared with virtually every major opera company in the and . Besides those already mentioned, he has sung on the stages of Barcelona’s Teatre Liceu, Madrid’s , Paris’s Opéra Bastille, the San Fran- cisco Opera, the Washington National Opera, and the . On the concert stage, he has given recitals in Rus- sia, Italy, Japan, and the United States, and performed with orchestras including the Chicago Symphony, the Vienna Philhar- monic, the Leipzig Gewandhaus Orchestra, the Bayerischer Rundfunk, the Rotterdam Philharmonic, the Orchestre National de France, the Orchestra Filarmonica della Scala, and Rome’s Accademia Nazionale 81 di Santa Cecilia. Among the noted con- bicentennial, May 2013 saw Abdrazakov’s ductors with whom he has collaborated star turn in the title role of Attila immor- are Riccardo Muti, Valery Gergiev, James talized on the Mariinsky label’s #rst DVD/ Levine, , Bertrand de Blu-ray release. Billy, , Riccardo Chailly, and Sir Antonio Pappano. Abdrazakov was born in 1976 in the city of , then the capital of the Soviet re- Abdrazakov’s debut solo album, Power public of Bashkiria. His parents were both Players, a celebration of the great Russian artists: his mother was a painter and his bass roles, was released in early 2014 on late father, a director. Abdrazakov began Delos, to great critical acclaim. His re- acting in his father’s stage and #lm pro- cording of Verdi’s Requiem with Riccardo ductions at age four, and it was these early Muti and the Chicago Symphony won a experiences that inspired him to pursue a Grammy Award, and he has recorded un- career in the arts. Upon graduating from published arias by Rossini with Riccardo the Ufa State Institute of Arts, he joined Chailly and the Symphony Orchestra of the Bashkirian Opera and Ballet "eatre. Milan, Giuseppe Verdi for Decca, and In the late 1990s, he won a string of pres- Cherubini’s Mass with Muti and the Bay- tigious vocal competitions: the Moscow erischer Rundfunk for EMI Classics. For Grand Prix named a$er , Chandos, he has recorded Shostakov- the Glinka International Vocal Competi- ich’s Suite on Verses of Michelangelo and tion, the Rimsky-Korsakov Internation- Rachmanino!’s !e Miserly Knight, both al Competition, and the International with Gianandrea Noseda and the BBC Obraztsova competition. His 2000 win at Philharmonic. "e bass’s DVD releases the International Television include Moïse et Pharaon from La Scala, Competition in Parma thrust him into Oberto from Bilbao, Norma from Par- the international spotlight and led to his ma, and from the debut at La Scala the following year. Metropolitan Opera. Marking the Verdi 82 (Gabriele)

Tenor Stefano Secco began his studies of and singing under the guidance of Alberto Soresina and subsequently received a diploma in percussion with Tullio De Pis- copo. Secco privately worked with Maestri like and , and attended master classes led by and , among others. A!er his "rst professional experiences and various tours in Italy and abroad, he sang the role of Fenton in Falsta! at in Sassari and was immediately engaged by Teatro dell’Opera in Rome as the so- loist for Puccini’s Messa di Gloria and Ber- lioz’s Te Deum. On the same stage, he sang the role of Rodolfo in a successful produc- tion of La Bohème.

Following these performances, Secco was soon cast to sing many important roles on the major stages worldwide, includ- ing: (Duke of Mantua) at Teatro Regio in Turin, Vienna State Opera, #e- ater of Toulouse, Oper Frankfurt, in Palermo, Venice, Baltimore, Coruna, Arena of Avenches,

83 and Opéra Bastille in Paris; La Bohéme He was highly praised at Teatro Filar- (Rodolfo) at Teatro Regio in Parma, Te- monico in Verona in the di"cult role of atro dell’Opera in Rome, Opéra Bastille Osiride in Mosè in Egitto. He then sang in Paris, at the Puccini Festival in Torre Rossini’s Stabat Mater at Teatro dell’Op- Del Lago and together with Angela Ghe- era in Rome and Berlioz’s Roméo et Ju- orghiu in a Gala in Wiesbaden; La Travi- liette at the new Auditorium Parco della ata (Alfredo) in Venice, Tokyo, Barcelona, Musica in a live radio broadcast under Hamburg, Frankfurt, Florence and under Myung-whun Chung; La Bohème at Te- the baton of Riccardo Muti at La Scala in atro Regio in Parma, Rigoletto and the Milan; Madama Butter!y (Pinkerton) at role of Don Carlo at Opéra Bastille in a Teatro dell’Opera in Rome, at the Puccini successful new production directed by Festival in Torre Del Lago and at Teatro , in Tokyo, the Comunale in Florence; Lucia di Lammer- acclaimed debut in Luisa Miller at the Sta- moor (Edgardo) at Deutsche Oper Berlin atoper in Munich, Lucia di Lammermoor and in Liège; Roberto Devereux in Ovie- at Teatro Comunale in Florence, a new do and at the Vienna State Opera; Arturo production of at Opéra Bastille in at Teatro Bellini in Catania in Paris, and Werther at Oper Frankfurt. under the baton of Gustav Kuhn and re- corded by BMG; Gualtiero in Il Pirata in Highlights of the 2009-10 season includ- Amsterdam, Nemorino in L’Elisir d’Amore ed Simon Boccanegra in Toulouse and La at Teatre Liceu in Barcelona and at Royal Bohème at Opéra Bastille and at Deutsche Opera House in London; the important Oper Berlin, Rigoletto at La Scala, and his role of Des Grieux in Massenet’s Manon debut in Gounod’s Faust (title role) at San at Grand !eatre of Geneve and at Liceu Francisco Opera with great reviews from in Barcelona; Simon Boccanegra (Gabri- public and critics. ele) at Opéra Bastille in Paris, at La Scala and in Cagliari. !e following years saw Mr. Secco per- forming on the major stages worldwide:

84 La Traviata at in Venice and at maschera at Arena di Verona, Madama Teatro Regio in Turin, the return to San Butter!y in Barcelona, Dresden, Chicago, Francisco Opera as Pinkerton in Madama Tokyo and Florence, Carmen in Venice Butter!y, La Bohème in Munich and Rome, and in Seoul, Simon Boccanegra at Vien- in , Macbeth and Simon na State Opera, La Traviata in Palermo, Boccanegra in Bilbao, Rigoletto at Monte- La Bohème at Opéra Bastille, and Simon carlo Opera, Verdi’s Requiem in Frankfurt, Boccanegra in Munich. His future plans at Macerata Festival, include Madama Butter!y in Hamburg Roméo et Juliette at Arena di Verona, and and Toronto, in Seattle and Paler- Roberto Devereux in Marseille. mo, Un Ballo in Maschera at La Monnaie in Brussels, and L’Elisir d’Amore at the Vi- He earned great acclamation from public enna State Opera. and critics alike singing Verdi’s Messa da Re- quiem in Moscow with La Scala on the oc- casion of Bolshoi’s !eatre new opening and Kostas Smoriginas (Pietro) in St. Petersburg with Teatro Regio di Parma, Simon Boccanegra with Placido Domingo in One of the Baltic region’s leading bari- the title role in Los Angeles, in tones, Kostas Smoriginas studied at the , Madama Butter!y in Seattle and Ber- Lithuanian Music and !eatre Acade- lin, Carmen in Venice, Roméo et Juliette again my, the Royal College of Music and was at Arena di Verona, Les Contes d’Ho"mann a member of the Jette Parker young art- at Opéra Bastille, Macbeth in Madrid and at ist program at House La Scala, Don Carlo in Oviedo, La Bohème in (ROH). He represented his country at the Zürich, Bilbao and at Festival Pucciniano in BBC Cardi" Singer of the World in 2005. Torre del Lago. His regular roles include Escamillo in Most recently, he has appeared in Na- Carmen (Berlin Staatsoper, Beijing’s Na- bucco, Roméo et Juliette and Un ballo in tional Centre for the Performing Arts,

85 Semperoper Dresden, ROH, Sante Fe Opera, and Salzburg Easter Festival’s Car- men with the under , recorded for EMI), the title role in Le Nozze di Figaro (San Francis- co Opera, Washington National Opera); Colline in La Bohème (ROH); Masetto in Don Giovanni (Teatro alla Scala; Aix- en-Provence Festival); Leporello in Don Giovanni (Opéra National de Bordeaux); the title role in Don Giovanni (Teatro Municipal de Santiago, Chile; Toulouse); as well as the title role in , Guglielmo in Così fan tutte, and Count Almaviva in Le nozze di Figaro (Vilnius City Opera).

His concert repertoire includes the Requi- ems of Verdi, Mozart and Faure; Handel’s Messiah, Mendelssohn’s Elijah, Janáček’s Glagolitic Mass, Dvořák’s Te Deum and Szymanowski’s Stabat Mater, which he sang with Ed Gardner and the City of Bir- mingham Symphony Orchestra and with the London Symphony Orchestra under Valery Gergiev. Kostas won rave reviews for his BBC Proms debut in Stravinsky’s Les Noces under the baton of Ed Gardner

86 at the Royal Albert Hall. He has won ac- claim for his interpretations of Dvořak’s Te Deum with the Orchestre de Paris and Rachmanino"’s !e Bells with the Boston Symphony Orchestra, conducted by An- dris Nelsons. A native Russian speaker, his song repertoire features a great variety of Russian Songs.

Kostas’s upcoming engagements include his return to the BBC Proms in 2015, con- certs with the Paci#c Symphony Orches- tra and the Latvian National Symphony Orchestra; the title role in Le Nozze di Figaro at New Orleans Opera, Aleko with La Monnaie Brussels; as well as his return to Santa Fe and Toulouse plus several fur- ther appearances at Covent Garden.

Marco Caria (Paolo)

Marco Caria is one of Italy’s most exciting young to have emerged in recent years. Mr. Caria returned to the Vienna State Opera in the 2012-2013 season for Belcore in L’e l i s i r d’a m o r e , Marcello in La Bohème, and Paolo in Simon Boccaneg-

87 ra (opposite Placido Domingo). He made land (Verbier), England and Peru – as his debut there in the 2010 season and was well as the opening performance of the subsequently heard as Figaro in Il Barbi- inaugural season at the refurbished Te- ere di Siviglia, Sharpless in Madama But- atro Colon in Buenos Aires. He has ap- ter!y, Silvio in I Pagliacci, Ford in Falsta#, peared frequently in Cincinnati, with Albert in Werther and Enrico in Lucia di both the city’s opera and symphony. Lammermoor. "is season, he also returns to Venice’s Teatro La Fenice in Venice for Mr. Caria graduated from the Conser- Madama Butter!y, before making his Lon- vatorio di Sassari and furthered his vo- don debut in a gala concert opposite Juan cal studies at the Accademia Nazionale Diego Florez and Joyce DiDonato, to be re- di Santa Cecilia in Rome. A$er winning leased on DVD by Decca. several international competitions, Caria has pursued advanced vocal studies with Highlights of the 2013-2014 season have famed Italian soprano since included the above roles in Falsta# at 2005. Other signi#cant competition wins the Los Angeles Opera and Simon Boc- include the prestigious canegra at the Teatro dell’Opera di Roma scholarship prize, Germany’s Emmerich as well as Enrico in Lucia di Lammer- Smola Award and two prizes at Placido moor with the Netherlands Opera. He also Domingo’s “Operalia” in 2007. Sardini- joined the Rome Opera’s tour to Japan an by birth, Mr. Caria and his wife make under Maestro Muti for Simon Boccane- their home in Vienna. ga and , and portrayed his #rst Di Luna in Il trovatore in Venice in 2014. 2015 will bring an appearance as Renato Eglė Šidlauskaitė (Ancella) in Un ballo in maschera in Bologna. Mezzo soprano Eglė Šidlauskaitė was born Recent seasons have witnessed presti- in Kaunas and studied at the Lithuanian gious Festival appearances in in Switzer- Academy of "eater and Music in her home

88 town as well as the Conservatorio di Musica Giuseppe Verdi in Milan. She has competed successfully in several international singing competitions, including winning !rst priz- es at the Capriolo Franciacorta and G. Co- belli competitions and being a !nalist and special prizewinner in the Competizione dell’Opera 2011. Ms. Eglė won scholarships to join the 2013 Verbier Festival Academy for young singers and in 2010 the Solti Te Kanawa Academy to work intensively on vocal technique and performance.

She toured in Germany, Austria and France in 2010 as Azucena in Il trova- tore with Opera Italiana di Milano. In the 2011/2012 season, she was a member of the newly established Opera Studio at the State #eater in Kassel, where her roles included #ird Lady in Mozart’s Die Zau- ber!öte, #ird Flowermaiden in Wagner’s Parsifal and Sonjetka in Shostakovich’s Lady Macbeth of Mtsensk. In 2012/2013 Eglė performed Fenena in Verdi’s Nab- ucco and the Composer in R. Strauss’s Ariadne auf Naxos at the Freiburg Opera; also Olga in Tchaikovsky’s Eugene Onegin at the Lithuanian National Opera House.

89 Eglė has worked with many distinguished international artists including , , Dame and "omas Quastho#.

Kęstutis Alčauskis (Capitano)

Lithuanian tenor Kęstutis Alčauskis – fol- lowing studies at the Lithuanian Acade- my of Music and "eatre and the Mannes College of Music – has since been regu- larly engaged at the Lithuanian National Opera and Ballet "eater, musical the- aters in Kaunas and Klaipeda, and the Es- tonian National "eater. He has received many national and municipal prizes and awards in his native Lithuania.

His operatic repertoire encompasses sev- eral Mozart roles (Tamino in Die Zauber- !öte, Don Ottavio in Don Giovanni, and Ferrando in Cosi fan Tutte); he has also appeared as Lensky in Tchaikovsky’s Eu- gene Onegin, as Leopold in Halevy’s La Juive, and as Tybalt in Gounod’s Romeo et Juliette – among many other roles.

90 He is also in constant demand as a con- Orbelian’s appointment in 1991 as Music cert artist, with appearances in works like Director of the Moscow Chamber Or- the Mozart and Lloyd-Webber requiems, chestra was a breakthrough event: he is and in the major oratorios by J. S. Bach the !rst American ever to become music and Mendelssohn. His guest appearances director of an ensemble in Russia. "is have taken him to Germany, Switzerland, “American in Moscow” is well known as Poland, the Netherlands, the USA and a tireless champion of Russian-American elsewhere. cultural exchange and international am- bassadorship through his worldwide tours. In January 2004, President Putin awarded Constantine Orbelian stands astride Orbelian the coveted title “Honored Artist two great societies, and !nds and promotes of Russia,” a title never before bestowed on synergistic harmony from the best of each.” a non-Russian citizen. In May 2010, Orbe- (Fanfare) For over 20 years the brilliant lian led the opening Ceremonial Concert American pianist/conductor has been a for the Cultural Olympics in Sochi, Rus- central !gure in Russia’s musical life — as sia — the !rst event setting the stage for Music Director of the Moscow Chamber Russia’s hosting of the Olympic Games in Orchestra and the Philharmonia of Russia, 2014. In 2012, Orbelian was awarded the and as frequent guest conductor with oth- Russian Order of Friendship (ROF) Med- er illustrious Russian orchestras. In 2013 al, the highest Russian award bestowed on he also became Chief Conductor of the non- whose work contributes to Kaunas City Symphony Orchestra. He tours the betterment of relations with the Rus- with American stars in Russian and Euro- sian Federation and its people. pean music centers, and with Russian stars in North American music centers, and ex- “Orbelian has star quality, and his orches- tends these splendid collaborations to tours tra plays with passion and precision,” !e in Europe, UK, Japan, Korea, and other mu- Audio Critic wrote of his acclaimed series sic capitals throughout the world. of over 30 recordings on Delos. Among

91 his recent concert and televised appear- ances are collaborations with stars Renée Fleming and Dmitri Hvorostovsky, and with in Cliburn’s sentimental return to Moscow, the great pianist’s last performance. calls Orbelian “the singer’s dream collaborator,” and com- mented that he conducts vocal repertoire “with the sensitivity of a lieder pianist.” Or- belian’s frequent collaborations with Hvo- rostovsky include repertoire from their Delos recordings “Where Are You, My Brothers?” and “Moscow Nights,” featured on many tours and telecasts. On several occasions he has conducted historic live telecasts from Moscow’s Red Square, the latest of which took place on June 19, 2013, with Hvorostovsky and Anna Netrebko.

Recently Orbelian has turned to !lm to create more of his unique American/Rus- sian collaborations. His !rst !lm produc- tion, “Renée Fleming and Dmitri Hvoros- tovsky: An Odyssey in St. Petersburg,” was !lmed in St. Petersburg’s most glorious palaces, and features the two superstars in opera scenes and arias. "e !lm is in some ways a culmination of Orbelian’s e#orts

92 in St. Petersburg, since he is founder and international goodwill. He and his orches- Music Director of the annual Palaces of St. tras also participate in cultural enrichment Petersburg International Music Festival. programs for young people, both in Russia and the U.S. In 2001 Orbelian was award- Born in to Russian and Ar- ed the Ellis Island Medal of Honor, an menian emigré parents, Constantine Orbe- award given to immigrants, or children of lian made his debut as a piano prodigy with immigrants, who have made outstanding the at the age of contributions to the United States. 11. A!er graduating from Juilliard in New York, he embarked on a career as a piano virtuoso that included appearances with John Fisher’s multifaceted international major symphony orchestras throughout career encompasses distinguished accom- the U.S., U.K., Europe, and Russia. His re- plishments as an opera director, opera cording of the Khachaturian piano concer- manager, conductor, vocal coach and re- to with conductor Neeme Järvi won “Best cord producer. Concerto Recording of the Year” award in the . A native of Glasgow, he is a graduate of Glasgow University, the Royal Academy From his 1995 performance at the 50th of Music and the London Opera Centre. Anniversary Celebrations of the United Nations in San Francisco, to his 2004 per- His operatic career began in 1972, when formance at the U.S. State Department he became the Music Director of the commemorating 70 years of diplomatic ’s “Opera For All” relations between Washington and Mos- project, designed to enhance modern au- cow, and a repeat State Department ap- diences’ appreciation of the genre. From pearance in 2007, all with the Moscow 1973-1975 he was a repetiteur and vocal Chamber Orchestra, Orbelian continues coach as well as Music Director of the to use his artistic eminence in the cause of Opera Studio at La Monnaie in Brussels.

93 In 1975, Fisher joined the Music Sta! at De Nederlandse Opera in Amsterdam, working there until 1977, when he was appointed Head of Music Sta! at La Scala, Milan, and served as the company’s Ar- tistic Administrator from 1981 until 1988. He further served ’s as an artistic/musical consultant from 1983 to 1988. In 1989, he became Artistic Director at La Fenice, Venice: the "rst non-Italian to hold that position.

From there, Fisher moved on in 1994 to the sta! of Ge- sellscha# in Hamburg, where he was Di- rector of Opera and Vocal Productions and Executive Producer. In 1997 he was became Director of Music Administration at New York’s Metropolitan Opera, moving on in 2006 to the position of General Director with the Welsh National Opera.

In addition, John has been closely asso- ciated with the BBC’s “Cardi! Singer of the World” competition, the Opera Summer School, and the Juilliard School, among many others worldwide. He has worked extensively with Decca

94 records and with Unitel !lms, collaborat- #e Kaunas City Symphony Orchestra ing with Jean-Pierre Ponnelle on several grew from the Kaunas Chamber Orche- opera !lms. stra, which was founded in 1988 and since 2000 has been managed by Algimantas In August 2014, in the !nal concert of Treikauskas. Its previous principal con- the 2014 Pažaislis Music Festival, Fisher ductors were Pavel Berman, Modestas conducted the Kaunas City Symphony Pitrenas and Imants Resnis; the position Orchestra and State Choir (heard here) now belongs to American maestro Con- in a performance of Verdi’s Requiem, in stantine Orbelian. commemoration of the 70th anniversary of the liquidation of the Jewish ghetto in #e Kaunas City Symphony Orchestra Kaunas. gives concerts at home in Lithuania and abroad – including Latvia, Estonia, Norway,

95 Switzerland, Germany, Finland, and Italy. today’s most famous voices, conducted It appears regularly at various international by Maestro Orbelian. In addition to the festivals, presents special concert projects present album, tenor and gives theme-oriented concerts. Many stars in a Delos March 2014 release famous Lithuanian as well as foreign showcasing some of the most demanding soloists and conductors have collaborated bel canto repertoire (DE 3455), which with the orchestra – which organizes and was nomitated for a GRAMMY. appears in around 50 concerts per year. A highly versatile ensemble, the orchestra specializes in various genres of classical !e Kaunas State Choir was founded in and contemporary music, including cross- 1969 by Petras Bingelis, a graduate of the over projects with such groups as !e Lithuanian Music and !eatre Academy. Scorpions, Smokie, and the Electric Light Having successfully appeared in Lithuania, Orchestra, to name a few. the choir met with international success very quickly. It began giving concerts !e orchestra also appeared at the in the major cities of Russia and soon opera contest show Arc of Triumph was invited to participate in famous for two years on Lithuanian National festivals, such as Russian Winter and Television. Among the group’s prominent Moscow Stars, and to give concerts in the highlights in the 2012/2013 season are prestigious concert halls of Moscow and its collaboration with famous . !eir performances also Dmitri Hvorostovsky and Maestro Orbe- won acclaim in Hungary, Germany, Spain, lian, as well as its appearance at the Italy, France, Norway and elsewhere. Murten Classics festival in Switzerland under the baton of Kaspar Zehnder. !e orchestra’s discography includes several CDs. A number of recent projects were recorded for Delos with several of

96 Since 1989 the Kaunas State Choir has been include Notre Dame Cathedral and Pleyel regularly invited to important international Hall in Paris and the Auditorium Parco music festivals, including the Turku Music della Musica in Rome. !ey have appeared Festival (Finland), the Bordeaux Spring and successfully at Buenos Aires’ Colón !eater Mediterranean Sea festivals, Reims (France), and the opera houses of Santiago, Cairo, the New and Old Ways to India (Spain), the Genoa, Bologna, Munich and Warsaw. Schleswig–Holstein Festival and the Festival of Middle European Countries (Germany). !e ensemble’s excellent reputation has !e choir has delivered concerts in many of prompted invitations to perform with the world’s most famous concert venues – to many of the "nest symphony orchestras: 97 the BBC Symphony Orchestra, the Colón it one of the #nest musical ensembles he !eatre Orchestra, the orchestras of Paris had worked with. and Bordeaux, the Moscow and Saint Petersburg Philharmonic orchestras, and !e Kaunas State Choir has given over the Philharmonia of the Nations. Together 3,000 concerts, including a memorable with the latter orchestra, the Kaunas concert at the Berlin Stadium, where, upon State Choir took part in a gala concert performing Carl Or$’s cantata Carmina celebrating the UNESCO decision to Burana, it was heartily applauded by include the manuscript of Beethoven’s an audience of 75,000. !e choir o"en Symphony No. 9 in the catalogue of performs in honor of distinguished documentary heritage, Memory of the visitors to Lithuania. Such occasions World. include Pope John Paul II ’s apostolic visit and the opening ceremony of the Following Lithuania’s restoration of Palace of the Grand Dukes of Lithuania, independence – and particularly a"er where the choir sang for the gathering of the choir began its collaboration with monarchs and political leaders of nations the legendary 20th century violinist across Europe. and conductor (1916– 1999) – the Kaunas State Choir’s concert !e Kaunas State Choir’s repertoire is life became particularly active and vast, including over 150 classical vocal- purposeful. Conducted by the maestro, instrumental compositions: oratorios, the choir toured many countries and cantatas, masses, passions, and operas. recorded a number of CDs. !e choir also developed an especially meaningful artistic friendship with revered cellist and conductor (1927– 2007), who had a very high opinion of the choir’s professional mastery – calling

98 GIUSEPPE VERDI (1813—1901) Recorded at Kaunas Philharmonic on August 1-7, 2013 (Kaunas, Lithuania).

We would like to thank Algimantas Treikauskas — General Director of the Kaunas City SIMON BOCCANEGRA Symphony Orchestra — for his invaluable help in producing this recording. Opera in three acts and a prologue Special thanks to the “Kino & Teatr” Foundation and to their Director of the Board Libretto: Francesco Maria Piave, based on the play by Stanislav Ershov. Antonio Garcia Gutiérrez; later revised by Arrigo Boito Executive Producer: Carol Rosenberger Producer: Vilius Keras Balance and Recording Engineer: Vilius Keras Recording Engineer and Editing: Aleksandra Suchova Booklet Editor: Lindsay Koob Art Design/Layout: Lonnie Kunkel Cover and booklet photos of Hvorostovsky and Frittoli in costume: Marty Sohl Barbara Frittoli Bio photo: Alexander Vassiliev © 2015 Delos Productions, Inc., P.O. Box 343, Sonoma, CA 95476-9998 (707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 [email protected] • www.delosmusic.com Made in USA 2 99