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Le Siège De Corinthe

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Le Siège De Corinthe ROSSINI 2 CDs Le Siège de Corinthe Lorenzo Regazzo • Majella Cullagh • Michael Spyres Marc Sala • Gustavo Quaresma Ramos • Matthieu Lécroart Camerata Bach Choir, Poznań • Virtuosi Brunensis Jean-Luc Tingaud CD 1 75:41 CD 2 76:38 1 Ouverture: Allegro vivace – Acte 2: fin Marche lugubre grecque – Allegro assai 8:46 1 1er Air de danse 6:32 2 2ème Air de danse 6:57 Gioachino Acte 1 3 No. 9 Hymne: Divin prophète 6:34 ROSSINI 2 No. 1 Introduction: No. 1: (Chœur) (1792-1868) Ta noble voix seigneur 10:32 Récitatif: Quel bruit se fait entendre? (Chœur, Cléomène, Néoclès) (Mahomet, Néoclès, Omar, Pamyra) Récitatif: Vaillants guerriers 4 No. 10 Finale II: Il est son frère – (Cléomène, Hiéros, Néoclès, Chœur) Corinthe nous défie 12:51 Le Siège de Corinthe Récitatif: La Grèce est libre encore (Mahomet, Pamyra, Néoclès; Omar, Ismène, Chœur) Tragédie-lyrique in Three Acts (Cléomène, Hiéros) 3 No. 2 Scène et Trio: Acte 3 Libretto by Giuseppe Luigi Balocchi and Louis Antoine Alexandre Soumet Ta fille m’est promise – Disgrâce horrible! 12:18 5 No. 11 Récitatif et Prière: (Néoclès, Cléomène, Pamyra; Chœur) Avançons – O toi que je révère 9:24 4 No. 3 Marche et Chœur: La flamme rapide 3:05 Mahomet II, leader of the Turks ....................................................... Lorenzo Regazzo, Bass (Néoclès, Adraste; Chœur) (Chœur) 6 No. 12 Air: Grand Dieu, faut-il qu’un peuple 5:19 Cléomène, governor of Corinth .................................................................... Marc Sala, Tenor 5 No. 4 Récitatif et Air: (Néoclès) 7 Pamyra, his daughter ....................................................................... Majella Cullagh, Soprano Qu’à ma voix – Chef d’un peuple indomptable 5:28 No. 13 Scène et Trio: (Mahomet, Chœur) Cher Cléomène – Céleste providence 9:44 Néoclès, a young Greek officer ......................................................... Michael Spyres, Tenor 6 No. 5 Scène et Finale I: Nous avons triomphé – (Néoclès, Cléomène, Pamyra) Hiéros, an old grave-custodian ...................................................... Matthieu Lécroart, Bass Ah! l’amant qui m’enchaîne 11:33 8 No. 14 Récitatif, Scène et Chœur: (Omar, Mahomet, Cléomène, Pamyra, Je viens de parcourir – ................................ Adraste, confidant of Cléomène Gustavo Quaresma Ramos, Tenor Chœur, Ismène) Fermez-vous tous vos cœurs – Omar, confidant of Mahomet .......................................... Marco Filippo Romano, Baritone Répondons à ce cri de victoire 10:12 Acte 2: début (Hiéros, Cléomène; Hiéros et Chœur avec Pamyre, .......................................... Ismène, confidante of Pamyra Silvia Beltrami, Mezzo-soprano 7 No. 6 Récitatif et Air: Ismène, Néoclès, Cléomène) Que vais-je devenir? – Du séjour de la lumière 9:28 9 No. 15 Récitatif et Prière: L’heure fatale approche – Camerata Bach Choir, Poznań (Pamyra, Chœur) Juste ciel! 5:40 Chorus-master and Assistant Conductor: Iñaki Encina Oyón 8 No. 7 Scène, Duo et Chœur: (Pamyra, Chœur) Virtuosi Brunensis (Artistic Director: Karel Mitas) Rassure-toi – Que vois-je 10:32 0 No. 16 Finale III: (Mahomet, Pamyra; Omar, Chœur) Jean-Luc Tingaud Mais quels accents se font entendre... 3:26 Récitatif: Triomphe Pamyra (Pamyra, Chœur, Mahomet) (Mahomet) Recorded live at the Trinkhalle, Bad Wildbad, Germany, 18th, 20th, 23rd July 2010 9 No. 8 Ballade: L’hymen lui donne une couronne 3:59 for the XXII ROSSINI IN WILDBAD Festival (Artistic director: Jochen Schönleber) (Ismène, Chœur) A Co-production with Südwestrundfunk Revision of the original edition and the parts for the first performance (Théâtre de l’Académie de Musique, Paris, 9 October 1826) by Jean-Luc Tingaud. New edition for ROSSINI IN WILDBAD by Florian Bauer. Gioachino Rossini (1792-1868): reform. Soumet was considered to be a reformer of the theatre; the historical action, carried for the most part by the choruses. his stipulation that French theatre, fossilized in its rigid classical The fact that this action is relocated from the Venetian colony of Le Siège de Corinthe conventions, should align itself with the German model, and Negroponte to the Greek city of Corinth is, on the other hand, of Rossini’s Le Siège de Corinthe and the conventions of the genre and composed an opera with a tragic ending, in above all with Schiller, caused a particular sensation, and it was secondary importance and can be accounted for by pragmatic French opera the French first version of Olimpie in 1819. Here the female no coincidence that it was Schiller who supplied the model for political topicality: the Greek struggle for freedom from the protagonist, in a hopeless situation, stabs herself at the end Rossini’s later opera Guillaume Tell. Turks found many sympathisers in the Paris of the 1820s. When in 1824 Rossini was contracted to go to Paris, French of the opera with the same dagger which her mother had used Soumet wrote the new sections of the French version Rossini replaced the original final aria of the heroine Pamyra grand opera was in a state of grave crisis. The Opéra had not previously to take her own life, in order to escape a forced of Le Siège de Corinthe, especially the new closing scenes. with some new text and the inclusion of further material in the succeeded by its own endeavours in filling the void left by the marriage to the murderer of her father. Alongside him was Giuseppe Luigi Balocchi, who was wedding tableau at the beginning of Act 2. On the other hand departure of Gaspare Spontini, so Rossini was required to write Admittedly this 1819 version still did not seem to be responsible for the transformation of the sections borrowed the finale of Act 2 was newly composed. The first part of Act 2 new operas. Even so, he struggled much more than might be reasonable to its spectators: the opera was harshly criticised from the Italian version and of their adaptation into music. consists of an introductory scene from a multi-movement trio in supposed. The reasons for Rossini’s difficulties, however, lay and already after its eighth and final performance the press The finale of the first Italian version concentrates entirely on Italian form, which portrays the protagonist as a typical “volatile not in the composer’s personality, as is alleged time and again reported on a new version in which the shocking double suicide the tragedy of the female protagonist, whose suicide prompts heroine” torn between her love for the foreign conqueror and in writings about him, but solely in the genre itself. For, long was to be removed and the action to have a happy ending. It an extensive final aria. Soumet also retains the suicide of the loyalty to her fatherland – personified here by Mahomet’s Greek before Rossini’s arrival, it had been confronted by aesthetic was not the French authors, however, who implemented this heroine, but adds to it a closing ensemble, which is set within rival Néoclès. The resolution of the conflict is realized in a stark demands which were, in part, mutually exclusive. On the one solution but the musical man of letters E.T.A. Hoffmann who the context of a tableau of the blazing city of Corinth. Just like staged effect: the back curtain is raised to reveal a view of the hand opera, as distinct from spoken theatre, remained biased was summoned from Berlin to help and who adapted the libretto Olimpie before her, Pamyra appeals once more to her lover. In citadel on whose walls the Greek defenders can be seen. The towards classical conventions, so that the starting-point of an to have a happy ending. To this end he resorted to exactly the his setting Rossini does away with this closing scene and his sight of this inspires Pamyra’s decision to fight on the side of operatic plot had to be “quick, unexpected, believable and same theatrical trick which de Jouy had used in La Vestale. At version ends with the coup de théâtre tableau of the sacking of the Greeks, which is achieved musically by a two-movement happy” according to the formula devised in 1826 by the leading the end, the statue of a god reveals that the rival of Olimpie’s the city and its going up in flames. choral tableau: in its martial style the first choral movement dramatist of the Empire, Victor-Joseph Étienne de Jouy. But by lover was the real murderer, so that she can no longer be This solution, in which the tragic fate of an individual characterizes the true heroism of the Greeks, which captivates the same token “historical truth” was increasingly required of happily united with her lover. Doubtless this version conforms to is immaterial to the collective demise, undoubtedly points the heroine and with it brings about the reversal of the action. an opera libretto. the genre but it in no way conforms to the demand for historical towards the catastrophe finales of later grand operas. In so Musically the ensuing Turks’ chorus of revenge is in the idiom This literary category of truth was closely related to the and reasonably expressive “truth”. But for Rossini it was this doing Rossini renounces the heroine’s story-line in favour of an typical of Rossini’s choral finales, with an orchestral waltz and “truth of expression” which, according to this, was achievable final version of Olimpie which was the work of reference to be incisive closure to the terrible scene, even though until then it closing stretto. With Pamyra’s decision to align herself with the only if the dramatic situation set to music was itself credible. considered definitive. To that end Rossini collaborated with the was this personal story that had carried the entire dramaturgy Greeks and so against an alliance with the conqueror Mahomet But believable historical tragedies rarely end happily, and the theatrical reformer Alexandre Soumet in order to adapt for the of the opera. Just as Soumet’s adaptation aimed to embed the the personal plot-line is concluded by the end of the second classical solution, of pulling from the theatrical box of tricks a French stage his Italian opera Maometto II of 1820 with the title individual tragedy of the heroine within the historical action, so act – the third act is entirely in accordance with the historical deity at the end and allowing this deus ex machina to resolve of Le Siège de Corinthe.
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