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570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 28 3 CDs Also available HAYDN Il ritorno di Tobia Invernizzi • Karthäuser • Hallenberg Dahlin • Borchev VokalEnsemble Köln • Capella Augustina Andreas Spering 8.557380-81 8.557600-01 8.570300-02 28 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 2 Also available Franz Joseph HAYDN (1732-1809) Il ritorno di Tobia Oratorio in Two Parts, Hob. XXI/1 (1775/1784) Text by Giovanni Gastone Boccherini Raffaelle . Roberta Invernizzi, Soprano Sara . Sophie Karthäuser, Soprano Anna . Ann Hallenberg, Alto Tobia . Anders J. Dahlin, Tenor Tobit . Nikolay Borchev, Bass VokalEnsemble Köln (Chorus Master: Max Ciolek) 8.554416 Capella Augustina • Andreas Spering Recorded by Deutschlandfunk, Sendesaal des Funkhauses Köln, Germany in September 2006 A co-production with DeutschlandRadio Producer: Wolfgang Mitlehner • Editing: Claudia Pohl This recording was made possible by the generous support of the Kunststiftung NRW and the Deutsche Leasing AG 8.557958 8.570300-02 227 8.570300-02 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 26 Sara, Anna, Tobia, Tobit ! 17. Coro CD 1 55:28 CD 2 58:16 Ah, perdono, pietà, guerrier celeste! Ebrei 1 (S’inginochiano e si coprono il volto.) Io non oso alzar le ciglia Parte prima 6a. Recitativo: Nell’angeliche sembianze. 1 Sinfonia 6:58 Sara, mia dolce sposa 0:59 Raffaelle (Alzandosi a poco a poco.) (Tobia, Sara) Non paventate, udite: Innanzi al trono 2 1. Coro: 5:31 2 6b. Aria: Del Re de’ Regi, esposi a un tempo istesso Tobit Pietà d’un’infelice Quando mi dona un cenno 12:05 I vostri giusti prieghi: e l’infinita Oh stupore! (Anna, Tobit, Ebrei) Bontà scender m’impose (Tobia) 3 2a. Recitativo: 5:40 A difender Tobia, Anna 3 7a. Recitativo: A concedergli Sara, e a render l’uso Oh meraviglia! Né comparisce Somme grazie ti rendo 0:24 A’ lumi di Tobit. Addio! Seguite (Anna, Tobit) (Sara) Fidi a servir l’eterno Ben; voi siete Sara, Tobia 4 2b. Aria: 4 7b. Aria: I cari figli suoi: soffrite in pace Ei qual nube al Ciel sen va. Sudò il guerriero 7:11 La dura prigionia; tornate pronti Del caro sposo 9:42 A soggiornar col pio Raguel. Lontana Ebrei (Anna) (Sara) L’ora non è, che Ninive superba Decantiam quel Dio pastore, 5 3a. Recitativo: 5 8. Recitativo: Sovvertita sarà; ma i vostri degni Che con noi, sua gregge eletta Deh modera il dolor 0:52 Rivelarti a Dio piacque 5:01 Pronipoti vedranno Non fu Dio della vendetta, (Tobit) D’oro lucente e di preziose gemme (Raffaelle, Tobit, Sara, Anna, Tobia) Ma fu Dio della pietà. 6 3b. Aria: Rifabbricata un dì Gerusalemme. E seguiam quai vere agnelle 6 9. Coro: (Scende una nuvola dal Ciel della compagna: lo Umilmente il santo amore; Ah tu m’ascolta 4:45 Odi le nostre voci 6:46 ricopre, e lo trasporta in alto.) Otterem gloria maggiore (Tobit) (Ebrei, Tobia, Anna, Tobit, Sara, Raffaelle) E maggior felicità. 7 4a. Recitativo: Non è quello Azaria 4:07 Parte seconda (Anna, Raffaelle) 8 4b. Aria: 7 10a. Recitativo: Anna, m’ascolta! 7:49 Oh della santa fé stupendi effetti! 3:19 (Raffaelle) (Anna, Sara, Raffaelle) 9 5a. Recitativo: 8 10b. Aria: Che disse? 1:19 Come se a voi parlasse 7:33 (Anna) (Raffaelle) 0 5b. Aria: 9 11a. Recitativo: Ah gran Dio 7:47 Ad Azaria nel volto 1:19 (Anna) (Anna, Sara) ! 5c. Coro: 0 11b. Aria: Ah gran Dio! 3:30 Non parmi esser fra gl’uomini 11:08 (Ebrei) (Sara) 8.570300-02 26 3 8.570300-02 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 4 CD 3 55:20 7 14b. Aria: Sara Tobit Egli s’appressa. Olà, recate 1 12a. Recitativo: Invan lo chiedi, amico 6:35 (Tobit) (Tobit correndo franco ad occhi aperti e detti; Coro Parte ugual del tesor giunto col figlio Che soave parlar! 1:07 d’Ebrei lo seguita.) E i miei più ricchi arredi. 8 (Anna, Tobia) 15a. Recitativo: (Agli Ebrei che partono e tornano un bacili d’oro 2 12b. Aria: Che fulmine improvviso! 1:59 Tobit scrigni e vasi preziosi.) Gloria al divin Benefattor! Consorte, Quel felice nocchier 6:52 (Tobia, Anna) 9 Pur ti riveggo alfine! (Raffaelle e detti.) (Tobia) 15b. Duetto: 3 13a. Recitativo: Dunque, oh Dio 7:22 Anna Raffaelle Giusta brama l’affretta 3:14 (Tobia, Anna) Oh contentezza! A chieder vengo 0 (Anna) 16. Recitativo: Congedo e libertà. Tobit 4 13b. Aria: Qui di morir si parla 8:33 (Sara, Anna, Tobia, Tobit, Raffaelle) Anna, la tua bellezza Tobit Come in sogno un stuol m’apparve 3:57 Non sofferse in ott’anni oltraggio alcuno. L’opere tue ! (Anna) 17. Coro: Esigono di più. Tutti presenti 5 13c. Coro: Io non oso alzar 6:36 Anna Abbiam gl’obblighi nostri; e la mercede Guarda, qual crebbe... A te promessa è pronta; e quello è l’oro, Svanisce in un momento 5:03 (Sara, Anna, Tobia, Tobit, Ebrei) (Accennando Tobia.) Ch’io ti destino in dono; e se, di quanto (Ebrei) In mio poter rimiri, altro t’aggrada, 6 14a. Recitativo: Tobit Prendilo. Ognun di noi grato per uso Ah dove corri, oh padre? 4:01 Ah figlio, a te degg’io T’offre tutto che vuoi. (Tobia, Tobit, Raffaelle) Ed alla sposa tua sì dolce vista; Ma negar non poss’io parte maggiore Raffaelle Del merto ad Azaria: premiarlo bramo. Tutto ricuso. Dimmi or qual premio... Tobit Tobia Perché? Ah padre, Donagli ancor quanto possiedi; ah mai, Raffaelle Mai donargli potrai Mortal non son. Quant’egli meritò. Deggio a quest’uomo Io due volte la vita. Anna Ma chi sei? Sara Io deggio a lui Raffaelle L’onor di viver moglie. Raffaelle son io, l’un di quei sette Angioli eletti a presentare a Dio Anna Le più sante richieste. Ah, noi dobbiamo Tutto a lui solo. Tobia Ei viene. 8.570300-02 4 25 8.570300-02 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 24 Tobia Anna Franz Joseph Haydn (1732-1809) Che trambusto fatal! È giusto il pianto. Il ritorno di Tobia Anna Anna, Tobia Joseph Haydn’s place in the history of the oratorio has it had been set to music dozens of times. Che fier tormento! Io son pronta/o a pianger tanto, been secured by his great vocal masterpieces The This story was employed for the libretto in Tobia Che si plachi Iddio sdegnato. Creation (1798) and The Seasons (1801), which are a accordance with every rule of the classical Italian Mi sento inorridir! Oh, si versi dal mio ciglio, considerable contribution to the genre and are well tradition by Giovanni Gastone Boccherini, who plied his L’alma mia disciolta in pianto. enough known. His first appearance, however, on the trade as poet to the court theatre in Vienna; he was a Anna Ah sarà mia gran ventura, Mount Parnassus of oratorio a good quarter of a century brother of the famous composer for the cello, Luigi Morir mi sento! Se di duolo avvien ch’io moia beforehand is among the better-kept secrets of music Boccherini. First and foremost Boccherini reduced the Quel momento, che di gioia history. Unlike The Creation and the almost equally number of characters involved: the parents Anna and 9 15b. Duetto Dubitai dover morir. popular The Seasons, both of which are still widely Tobit (the father, originally also called ‘Tobias’, is Tobia performed nowadays, Tobia did not establish itself in the renamed here to distinguish him from his son) find their Dunque, oh Dio, quando sperai 0 16. Recitativo (Sara e detti.) repertoire following the first performance in 1775. place opposite their son Tobias and his wife Sarah; the Di provar le gioie estreme: Sara Il ritorno di Tobia had a promising enough start: in only additional character is Tobias’s travelling È perduta ogni mia speme, Qui di morir si parla, e tutto esulta April 1775 Haydn directed the first two performances of companion Asaria, who reveals himself as the E schernita è la mia fé! Il popol d’Israel. his work, written for the Vienna Tonkünstler-Societät, at Archangel Raphael at the end of the piece. The plot is two benefit concerts “for the upkeep of their widows and also considerably curtailed so that the fourteen, at times, Anna Anna orphans”, which brought the society a remarkable highly dramatic chapters of the extensive story of Tobias Dunque, oh Dio, de’ nostri lai Perché? financial profit of 1712 gulden together with are reduced in Boccherini’s version to his return from Gl’infedeli esulteranno, considerable artistic success for the composer. On 6th abroad and the curing of his blind father. We hear about E confusi rimarranno Tobia April 1775 the Viennese Realzeitung reported that in Tobias’s journey and the numerous adventures that he Quanti, oh Dio, fidaro in te! Che dici? this work, the “famous kapellmeister Hayden” had has to endure on it, as well as his joyful marriage to “shown the ability for which he is famous to best Sarah only from retrospective accounts. Whereas this Tobia Sara advantage once more. Expression, Nature and Art were paring down admittedly leads to a loss of dramatic Oh, che orror! All’afflitto Tobit, che pria l’ardente so skilfully finely combined throughout his work that opportunity, it does, however, allow for the Aristotelian Foco sofferto avria del dì lucente, the audience was compelled to enjoy and wonder at all principal of the unity of time, place and action: the Anna Per cenno d’Azaria of these.
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  • Francis Poulenc

    Francis Poulenc

    Francis Poulenc Stabat Mater | Les Biches Marlis Petersen Soprano SWR Vokalensemble Stuttgart | NDR Chor | Radio-Sinfonieorchester Stuttgart des SWR | Stéphane Denève 02 Francis Poulenc (1899 – 1963) Stabat Mater 03 Stabat Mater [30:38] Les Biches [34:09] 1 Stabat Mater dolorosa Christi Mutter stand mit At the cross her station keeping, Für Sopran, gemischten Chor Ballett mit Gesang in einem Akt Juxta crucem lacrimosa Schmerzen Stood the mournful Mother, und Orchester für Chor und Orchester Dum pendebat filius. Bei dem Kreuz und weint’ von weeping, Herzen, Close to Jesus at the last. 1 Stabat Mater dolorosa. Très calme [03:29] 13 Nr. 1: Ouverture. Tranquillo [03:06] Als ihr lieber Sohn da hing. 2 Cujus animam gementem. 14 Nr. 2: Rondeau. Largo [03:34] 2 Cuius animam gementem, Durch die Seele voller Trauer, Through her soul, of joy Allegro molto (très violent) [01:05] 15 Nr. 3: Chanson dansée [04:37] Contristatam et dolentem, Seufzend unter Todesschauer bereaved, 3 Pertransivit gladius. Jetzt das Schwert des Leidens Bowed with anguish, deeply O quam tristis. Très lent [02:43] 16 Nr. 4: Adagietto [03:55] ging. grieved, 4 Quae moerebat. Andantino [01:29] 17 Nr. 5: Jeu [03:44] Now at length the sword hath 5 Quis est homo. Allegro molto [01:28] 18 Nr. 6: Rag-Mazurka [05:54] passed. 6 Vidit suum. Andante [03:25] 19 Nr. 7: Andantino [03:11] 3 O quam tristis et afflicta Welch ein Weh der Auserkornen, O, that blessed one, grief-laden, 7 Eja Mater. Allegro [01:13] 20 Nr. 8: Petite chanson dansée [02:01] Fuit illa benedicta Da sie sah den Eingebornen, Blessed Mother, blessed Maiden, 8 Mater unigeniti! Wie er mit dem Tode rang! Mother of the all-holy One.
  • Die Edition Zum 80. Geburtstag

    Die Edition Zum 80. Geburtstag

    PETER SCHREIER DIE EDITION ZUM 80. GEBURTSTAG »Ich genieße es, keine Zeitnot mehr zu haben« als Kompensation für das, was im echten Salzburg an Freizeit nicht möglich war? Nach sei- nem Debüt 1967 als Tamino in Mozarts Zauber öte war Schreier ein Vierteljahrhundert lang ununterbrochen bei den Salzburger Festspielen engagiert. Sprich: in jedem Sommer sechs bis eter Schreier steht auf dem Balkon seines Landhauses und genießt den weiten Blick acht Wochen gebunden. »Im Grunde bedeutete das, 25 Jahre lang keinen Urlaub zu haben.« gen Süden, das Erwachen der Natur an diesem milden, freundlichen Tag. Er lauscht Peter Schreier sagt es nachdenklich, mit etwas Wehmut. Nur wenige müssen Salzburg mit dem Gesang der Vögel, der nun immer stimmreicher und lebha er wird. Der Früh- harter Arbeit verbinden – hier au retende Künstler schon. Die physischen und psychischen Pling erreicht Lungkwitz etwas später als das nahe Elbtal. »In ein paar Tagen ist dort Grenzen seines Berufs spürte er bereits als junger Sänger, als er 19-jährig mit der Evangelis- alles weiß«, weiß Peter Schreier und zeigt auf die san ansteigenden Hänge gegenüber, wo die tenpartie von Bachs Matthäus-Passion in der Dresdner Kreuzkirche einbrach. Eine wichtige ersten Obstbäume blühen. Erfahrung für einen Lebensweg, der Selbstvertrauen benötigt, Selbstüberschätzung dagegen Hinter diesem Höhenrücken liegt Maxen. Von seinem Haus aus kann Peter Schreier den nicht. Das Niveau, auf dem Peter Schreier sang, hält sich nicht von alleine. Ort nicht sehen. Doch »aus dem Auge« heißt nicht »aus dem Sinn« und Maxen wird ihn, Acht CDs soll die Sammlung zum runden Geburtstag umfassen? Dem baldigen Jubilar ebenso wie Kreischa, stets an einen Komponisten erinnern, der ihm nahe am Herzen liegt, in scheint das zunächst zu viel, dann ist er gespannt auf die Auswahl.
  • Associació Wagneriana. Apartat Postal 1159. Barcelona 08080 Http

    Associació Wagneriana. Apartat Postal 1159. Barcelona 08080 Http

    WAGNERIANA CATALANA Nº 32 ANY 2010 TEMA10: ALTRES TEMES TÍTOL: URFASSUNG (VERSIÓ ORIGINAL) ÒPERA ROMÀNTICA ALEMANYA EN VÍDEO / DVD (PRIMERA PART) AUTOR: Josep Maria Rota i Aleu ______________________ Aquest treball constitueix una bona guia de l’òpera romàntica alemanya des de Beethoven a Wagner, que el seu autor ha desitjat compartir amb tots els lectors de WAGNERIANA. Un article interessant i ben documentat que agradarà i interessarà sens dubte, als nostres lectors aficionats a les produccions d’obres originals respectuoses amb les indicacions dels seus autors. Per a completar la informació seguirà una segona part sobre el mateix tema d’autors posteriors a Wagner. L'aparició i, sobre tot, la difusió del DVD ha restituït els enregistraments d'òpera a la seva veritable dimensió. La placa de 78 rpm. va permetre les primeres audicions de fragments, que passaren al disc de 45 rpm. i després a l'LP de 33 rpm. La irrupció del CD digital va revolucionar el món de l'audiòfil, que es va gastar tot el que tenia en refer el seu arxiu en aquest nou format. Això servia per a la música de recital i concert, des d'una sonata de Beethoven a una simfonia de Bruckner, però no per a l'òpera o el ballet: escoltar una òpera en CD és com seguir un partit de futbol per la ràdio. Una òpera només escoltada transmet només una part del seu valor artístic; això que acabo de dir afecta de manera gradual, des de molt poc en determinats repertoris ( Bel canto ) fins a molt o moltíssim en d'altres (Wagner).