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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

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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

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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)

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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.

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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. His choruses in particular glowed with a flame parents waiting for Tobias, his return and the curing of Che duol... D’un nero velo ricopersi il volto, that could only be compared with Handel. In short, the the father can all, to a certain extent, be portrayed in Ed a’ miei prieghi i lumi aprì: sofferse entire uncommonly numerous audience was delighted.” ‘real time’. Tobia La tenebrosa luce, This success was no mere accident: Haydn had Haydn sets this model of classicism according to the Che affanno... Che traspirar potea del denso drappo: tailored his first oratorio as much as possible to suit form favoured at the time, whereby he allows the chorus Io le bende alternai più rade ognora: Viennese taste. At this time Vienna was, to a certain to appear at the main points in the action as pillars within Anna, Tobia E più copia di lume ognor sofferse. extent, the bastion of the Italian oratorio north of the the framework at the beginning, in the middle, and at the Impossibile a soffrir! Alfine al par di noi tutto del sole Alps. Such was the extent of preference for the Italian end of the piece; apart from this, he uses the standard Gode il favor. Già corre, language here that performances of works, such as those alternation of recitative and aria for the soloists for the Tobia E alle turbe d’Assiria ed alle Ebree of George Frideric Handel mentioned in the review, most part. At the same time, the composer’s avoidance Piangi, ah madre! L’alta pietà del sommo Dio confessa. were not given in the original English or German of dramatic effects in the recitatives, which are mostly translation, but in Italian. An Italian libretto was accompanied by the whole orchestra, allows greater Anna Anna therefore indispensable, and for his subject matter, flexibility in their descriptions of emotional turmoil and Ah piangi, oh figlio! Oh meraviglia! Haydn had chosen the exceptionally popular story of the forces of nature; the wide-ranging arias are of such blind Tobias: in the eighteenth century, the Old virtuosity that Tobia places great demands on soloists to Tobia Tobia Testament Book of Tobias was found everywhere, in this day. For the first performance Haydn brought to N’hai ragione. Oh gaudio! painting, sculpture, literature and music; in Vienna alone Vienna his own singers from Prince Esterházy’s opera 8.570300-02 24 5 8.570300-02 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 6

company, for whom he had, so to speak, tailor-made the respectively represents a loosening up of the original Tobia 8 15a. Recitativo (Tobia ed Anna.) parts to a certain extent. highly formal structure and serves to break up the Un’altra volta Tobia It is no wonder then that the first performance was a constant alternation of recitative and aria; they are also a Disserra il ciglio. Che fulmine improvviso! Il colpo (oh Dio!) notable success. Within a short space of time copies of magnificent and valuable musical addition to the Il misero cor mio non attendea! the score were circulating throughout Europe and Haydn oratorio. This is made abundantly clear by Andreas Tobit himself counted the work among his most successful. It Spering, who, while certainly abiding by the ‘original Ahi! Quante spine accese Anna (da sé) is also no surprise, however, that as early as 1781 a version’ of 1775 for his new recording of the work on Mi trafiggono! Oh Dio! Perché piange Tobia? planned repeat performance in Vienna failed owing to principle, does not ignore these two gems of the choral (Apre gli occhi e gli richiude.) the subsequent change in public taste; and besides this, repertoire, but integrates them at the points Haydn Incapace son io Tobia as it took almost three hours to perform, the work was intended. This gives us the opportunity to admire all the Di tollerare il dì. Mia genitrice, considered simply too long. The Tonkünstler-Societät treasures of a masterpiece of oratorio certainly forgotten Sono un figlio infelice: odio la vita. therefore asked Haydn to shorten the work, something during the nineteenth century, which makes its Raffaelle which was only practical and not uncommon in the rediscovery in our time all the more worthwhile. Tenta. Anna music profession at the time. However, when the L’opra tentasti invan? composer asked for ‘tickets for a benefit concert or some According to the wordbook for the first performance, the Tobia other bonus payment for his trouble’ as a countermove, oratorio is set in Nineveh: “The scene of the action is the Riprova. Tobia he was refused. When it appeared that it would not be ground floor hall of Tobit’s house with several doors, L’opra ho compita. possible to find a soloist for the particularly demanding some leading to rooms above, others to the road.” Even Tobit Vidi cadere al suolo rôle of Anna, there was a reluctance to perform Tobia if the action is not set directly scene by scene, Il ritorno Non lo sperate più; prima vorrei Da’ rai del genitor gl’immondi panni; again, and so the fate of this work, rather too suited to di Tobia still provides moments of striking theatricality. Mille volte morir, che un altro istante Ma de’ raggi di Febo the Viennese taste of the 1770s, was sealed. In matters of text setting, the Italianate oratorio of the Soffrire il lampo del diurno lume. Al primiero abbagliar richiuse i lumi, Haydn, however, was after all an experienced man eighteenth century followed the opera seria closely: this E ritentato invano of the theatre who had earned his stripes at the begins with the sequence of recitatives and arias and Raffaelle Di resistere al dì, fu l’uomo invitto Esterházys’ opera house, and as such was perfectly continues with the ways in which these formal elements Ma l’antico costume Vinto dal suo dolore; e omai contento capable of tackling the reworking of his Tobia in view of are given shape. The recitative is characterized from the A poco a poco racquistar dovrai. Delle tenebre sue, sdegna ogni cura: its difficulties. The parts of the Tonkünstler-Societät and outset by dialogue and the dramatic structure imposed Ricusa il giorno, e reso Haydn’s autograph testify to this in a variety of ways: by the characters’ immediate reactions to one other. This Tobia Incapace a soffrirlo, Haydn himself made alterations in a number of places in is not even altered by the fact that repeated events Schiudi, oh padre, i tuoi lumi. Lo disprezza, l’aborre, his score to passages of secco recitative, which, being already bygone are brought back to life in the recitatives. Ed a voler morir pria si riduce, accompanied only by the continuo instrument, allow the Following the sinfonia and an initial chorus of Raffaelle Che a ritentar di tolerar la luce. singer greater freedom in which to be creative. On the supplication Pietà d’un’infelice, afflitta genitrice (Have Apri i tuoi rai. other hand the orchestral material contains cuts in much pity on an unhappy, tormented mother, No. 1), we Anna of the extravagant coloratura, and also the repeated witness Tobit and Anna waiting longingly for the return 7 14b. Aria Oh novella funesta! sections in the arias. Not only did this bring about the of their son Tobias who has gone to the town of Rages to Tobit shortening of the work deemed necessary, it also attend to business for his blind father. Anna is in despair: Invan lo chiedi, amico, Tobia reduced the technical demands of the arias significantly, Né comparisce, oh Dio! (He does not come, oh God!, Invan lo speri, o figlio; Rimasi anch’io sol di tremar capace. and so made the rôles easier to cast. It is no longer No. 2a). In the simile aria Sudò il guerriero (The warrior Io pria d’aprire il ciglio possible to reconstruct beyond doubt when exactly and sweats, No. 2b) she reproaches her husband, saying that Costante morirò. Anna for which performance these alterations were made. unlike the warrior, the seafarer and the farmer, the Aborro i rai del giorno, Ah di Ninive audace Only for the two supplementary choruses Ah gran suffering he bears by trusting in God will bring him no Amo le mie tenebre; Il popolo dirà, che noi sedotti Dio! and Svanisce in un momento has it been ascertained reward. Tobit tries to console her: Deh modera il dolor Già schiuder le palpebre Da folle speme e temeraria fede that they were written particularly for a repeat (Restrain thy grief, No. 3a). But he is not heard: because E viver non potrò. Abbiam Tobit ridotto performance of Tobia in 1784. The insertion of these of his blindness, he has not noticed that his wife has (Parte seguito da Raffaelle.) In cecità più ria. movements into the middle of the first and second parts gone. In his despair, he begins to pray: Ah tu m’ascolta, 8.570300-02 623 8.570300-02 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 22

Ed è lo stesso Iddio Tu me l’inspiri. oh Dio (Hear me, oh God, No. 3b). involvement of the chorus is reserved for particularly La lor tranquillità. (A Raffaelle.) This scene would be incomprehensible to the festive types such as the Festa teatrale, in the Italianate listener if the librettist Giovanni Gastone Boccherini had oratorio both parts traditionally concluded with a 6 14a. Recitativo Tobit not expressly written Parte (She leaves) following chorus; usually the choir also played a part in the (Tobit fuggendo da Tobia, e Tobia lo seguita.) Oh Dio! Che pena! Oh Dio! Anna’s aria Sudò il guerriero. This type of remark is opening scene. Besides this, the inclusion of Tobia Che insoffribil martir! more typical of opera than oratorio, and in this scene it contrapuntal techniques is typical of oratorio, which Ah dove corri, oh padre? Almen paventa becomes particularly clear just how close to opera Haydn makes use of in turn in the final chorus from the Qualche mortale inciampo. Raffaelle Joseph Haydn’s Il ritorno di Tobia is and how seriously first part, Odi le nostre voci (Hear our prayer, No. 9): he Caddero i panni. we must take this proximity. The action of the characters sets the Hebrews’ plea Rendi a Tobit la luce, oh della Tobit is also described in detail: we learn that blind Tobit is luce Autor (Give Tobit his sight again, oh Author of Non più, Tobia! Non seguitarmi! È vana Tobia guided by two maidservants, and that Anna looks light) as a closing fugue, thereby giving voice to the La cura tua: più sopportar non posso Padre, libero sei: fine agli affanni. anxiously across the road into the distance while she many whose prayer this is. L’aspro ardente dolor, che mi trapassa waits for her son. There she catches sight of Tobias’s In the second part of the oratorio we witness a Penetrando pungente Tobit travelling companion Asaria alone for the first time: Non conversation between Anna, Sarah and Raphael: Oh Dalle pupille al cor quel sugo amaro. Come? è quello Azaria (Is that not Asaria, No. 4a) and fears the della santa fé stupendi effetti (Oh the marvellous worst: if Asaria returns alone, it can only mean that workings of blessed faith, No. 10a) as well as an Tobia Raffaelle Tobias has suffered an accident. But Asaria, who is in apocalyptic promise from the Archangel: Come se a voi Ah genitore, una sol goccia ancora Schiudi le ciglia. fact the Archangel Gabriel in disguise, has good news: parlasse un messagier del Cielo (As if to you a Soffri ch’io stilli ne’ tuoi lumi. Tobias has slain a monster in the course of his journey messenger from heaven would speak, No. 10b), Tobia (da sé) along the Tigris and married his kinswoman Sarah. illustrated with rushing figures in the accompaniment. Tobit Io sono in porto. What is more, Asaria prophesies that Tobias will cure Haydn gives emphasis to Sarah’s aria Non parmi esser È questo his father’s blindness: Quel figlio a te sì caro (That son, fra gl’uomini (I appear not to be amongst mankind, No. Troppo acerbo dolor. Lasciami, o figlio, Tobit so dear to thee, No. 4b). Anna is now prepared to believe 11b) by its rich scoring for winds - pairs of flutes, oboes, Lasciami viver cieco. Ah se persisti Stelle! Che foco! Eterno Dio, son morto! this promise: Che disse? (What does he say?, No. 5a) cors anglais, bassoons and horns – accompanied for the Nel soverchio desio di risanarmi, (Apre gli occhi, gli richiude e cade.) and praises God for it: Ah gran Dio (Great God, No. 5b). time being only by muted pizzicato strings. Following Di duol m’ucciderai. The chorus that follows (No. 5c) takes up the text of another simile aria, Tobias’s Quel felice nocchier (The Raffaelle Anna’s previous aria as well as its prominent wide leaps, happy boatswain, No. 12b), Haydn again takes the Tobia (da sé) Tobit! a musical depiction of God’s grandeur. opportunity to display his capabilities in the immediacy Misero! Che farò? (Sostenendolo.) Haydn takes the opera as his model not only for the of text setting in Anna’s aria Come in sogno (As in a dialogical texture but also for the aria’s structure. Thus, dream, No. 13b): hideous nightmares have frightened (Raffaelle e detti.) Tobia Tobias’s aria Quando mi dona un cenno il labbro tuo Anna and filled her with terror; she is, however, now Oh Ciel! Che avvenne? soave (When your sweet lips hint to me, No. 6b) is able to give thanks to God. In Svanisce in un momento Raffaelle written in a modified da capo form characteristic of (In a moment disappear, No. 13c), Haydn and Tobia, che fai? Tobit opera seria in the 1770s. There is an extant Boccherini depict the fading confidence of the culprit in Guarda di compir l’opra. Io ti sostengo Appena monde contemporary version of this aria with virtuoso terms of a storm at sea. Il genitor; ma tempo Le mie pupille, il sol di più funesta embellishments. Performance practice was therefore There is still one major hurdle to negotiate: the È di fortezza e zelo, Cecitade ferì! similar in opera and oratorio in that singers were able to curing of Tobit by his son, which constitutes the Non di pietà, né di timor. show their abilities in the best light. Finally, the dramatic culmination of the oratorio. After long years of (Regge il capo a Tobit.) Raffaelle principle of not writing two arias for the same blindness, Tobit’s eyes are no longer accustomed to the Del primo raggio protagonist in succession complies with the conventions daylight, which explains why he experiences only Tobia T’abbaglia lo splendore. of opera. Eventually Sarah introduces herself to the burning pain at first instead of great joy: Che fulmine Coraggio audience with her aria Del caro sposo son fra le mura (I improvviso (The sudden thunderbolt, No. 15a). But (Spreme il fiele negli occhi a Tobit.) am in my dear husband’s house, No. 7b). Asaria has the answer: acting on his advice, Sarah ties a Unlike the opera seria of the time, in which the black cloth round Tobit’s eyes, so that by its gradual 8.570300-02 22 7 8.570300-02 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 8

loosening, Tobit is able to adjust to the unfamiliar the upkeep of the widows and orphans of the society, a CD 3 3 13a. Recitativo brightness: Qui di morir si parla (Death is spoken of grand musical academy at which will be sung for the last Anna here, No. 16). Raphael’s mission to mankind is fulfilled. time an oratorio for five voices by Mr Johann Gaston 1 12a. Recitativo Giusta brama l’affretta; e voglio anch’io In opera, the directive “A cloud descends from heaven, Boccherini, poet to the Imperial Theatre Royal, called: (Anna e Tobia.) Al delicato ufficio esser presente. it covers him, and he ascends in it” would be a cue for The Return of Tobias. The music, the voices and Anna Una moglie assistente stage machinery. In the closing chorus, those who instruments which are estimated to consist of more than Che soave parlar! Io non saprei Forse giovar potrà... Ma qual m’ingombra remain give thanks to their God: Io non oso alzar le 180 persons, is quite new and has been composed by Mr Al figlio desiar più degna sposa. Tetro pensiero! Ah fuggi, ciglia (I dare not lift my eyes, No. 17). Joseph Haydn, Kappelmeister [sic] to His Serene Fuggi dalla mia mente! In quale, oh Dio, Il ritorno di Tobia was performed in Vienna at the Highness, Prince Esterhazzy von Galantha. (…) Tobia Profondo orrido abisso Kärtnertortheater in 1775 and in 1784 at the Following the first part of the oratorio, Mr Xaver Ah cara madre, osserva: è questo il fiele Di confusion, di duolo e di rossore Hofburgtheater, where it was heard again in 1808 Martau, known as Hamer, chamber musician to His Dello squamoso mostro Cadrebbe ognun che t’ama, conducted by Haydn’s pupil, Sigismund Neukomm. Serene Highness, Prince Esterhazy will be heard in a Che sviscerai nel Tigri: Se l’opra invano si tentasse! Ah troppo, Theatres were the usual venues for oratorio in the new concerto on the violoncello. The prices for Deggio spremerne il succo Troppo n’andria giocondo e baldanzoso eighteenth century, and they were a popular alternative admission will be the same as those for the grand Negli occhi al genitor. Dove rimane? Il popol infedele! during Lent when opera was not permitted in many operas.” Giusto Dio d’Israele, places. A theatre bill announced the event in the Anna Non ci umiliar così; per gloria tua customary manner: “On this day, Tuesday 4th of April Annette Oppermann, Christine Siegert Ai miseri or dispensa argento e pane. Fa trionfar la speme, 1775, in the privileged theatre next to the Kärtnerthor (Joseph Haydn-Institut Köln) Che fu tuo don. Ti sento, ah sì, ti sento, will be held for the benefit of the privileged Tobia Benignissimo Dio: mi parli al core, Tonkünstlergesellschaft, established for the purpose of English translation: Neil Coleman Addio. E dolcemente dici: (In atto di partire.) No, non trionferanno i miei nemici.

Anna 4 13b. Aria Dove? Come in sogno un stuol m’apparve D’ombre, spettri, mostri e larve; Tobia E all’aspetto di terrore A Tobit. Io non ho pace, Il mio core Se non compisco l’opra, Inorridì. Che da me attende il popolo d’intorno, Ma disparve Degl’infedeli a scorno, In un momento E per gloria e trionfo L’atro stuolo e lo spavento: Del nostro Dio clemente ed immortale. Più non temo, e non vaneggio, Ah, la tardanza esser potria fatale. Chiari veggio I rai del dì. 2 12b. Aria (Parte.) Quel felice nocchier, che da lungi Scorge il porto bramato e compianto: 5 13c. Coro Si conforti; ma pensi, che intanto Svanisce in un momento Vede il porto, ma in porto non è. Dei malfattor la speme Se allor pigro di più non s’affanna, Come il furor del vento, L’aura altrove trasporta il naviglio, Come tempesta in mar. E gl’invola con nuovo periglio De’ giusti la speranza De’ perigli la dolce mercé. Non cangia mai sembianza, Costante ognor si fa; 8.570300-02 821 8.570300-02 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 20

Raffaelle 9 11a. Recitativo (Anna e Sara.) Roberta Invernizzi Il portento imminente Anna Confonderà gl’infidi; e in gloria e gioia Ad Azaria nel volto Born in Milan, Roberta Invernizzi studied piano and double bass before turning to Dio cangerà gli scherni, Rifulge un tal seren; tal suon celeste singing, studying with Margaret Heyward. She went on to specialise in baroque and Ch’or soffre il popol suo. Hanno gli accenti suoi, che, mentre parla, classical repertoire and is now one of the most sought after soloists in the field of early È forza prestar fede music. She has sung in many of the most important theatres in Europe and the United Anna Perfino a quel, ch’ogni credenza eccede. States, working with conductors such as Nikolaus Harnoncourt, Ton Koopman, Gustav Ma dov’è il figlio? Leonhardt, Andrew Parrot, Jordi Savall, Alan Curtis, Giovanni Antonini, Fabio Biondi, Sara Antonio Florio, Rinaldo Alessandrini and Ottavio Dantone and collaborating regularly Raffaelle Ma da chi nacque un uom sì giusto e saggio with ensembles such as Concentus Musicus Wien, Accademia Bizantina, Il Giardino De’ suoi cammelli a disgravare il dorso, E da Dio favorito? Armonico, Cappella de’ Turchini, Concerto Italiano, Europa Galante, La Risonanza, I E mezzi all’opra ad apprestar. Sonatori della Gioiosa Marca, Archibudelli and RSTI Lugano. In 2005/2006 she sang Anna the rôle of Armida in Handel’s Rinaldo at the Teatro alla Scala in Milan, Minerva in Il ritorno d’Ulisse in patria in Anna Ei d’esser vanta Cremona and Ottavia in L’incoronazione di Poppea in Italy with O. Dantone, Galuppi’s Olimpiade at the Teatro La Ma dimmi: Progenie d’Anania, Fenice with Andrea Marcon, Mozart’s C Minor Mass and Davide Penitente at the Musikverein in Vienna and Chi mai ti suggerì sì gran consiglio? German del mio consorte. Styriarte Festival with Nikolaus Harnoncourt, and Vivaldi’s La Senna Festeggiante at the Lufthansa Festival in Chi te ne apprese i modi? London with Ivor Bolton. Recent opera performances include principal rôles in Handel’s Aci, Galatea e Polifemo at Sara the Salzburg Festival with Il Giardino Armonico, Cavalli’s La Statira (title rôle) at the Teatro San Carlo in Naples Raffaelle Abbiam comune with Cappella de’ Turchini, Scarlatti’s La Santissima Trinità (EMI Virgin recording) at the Théâtre des Champs Più non cercar. Ti basti, La stirpe e la tribù. Elysées in Paris and in Palermo with Europa Galante, Handel’s Trionfo del Tempo with Martin Haselböck at the Che Tobit ti vedrà cogli occhi suoi: Salzburg Festival, and Scarlatti’s La Vergine dei Dolori at Teatro San Carlo in Naples with Rinaldo Alessandrini. Che il consiglio è di Dio, che i modi io detto Anna Roberta Invernizzi has made over sixty recordings with major record companies, many of which have been Inspirato da Dio, che a darvi parte Tobia lo scelse recognised by the musical press with awards such as Diapason d’Or de l’Année, Choc du Monde de la Musique, Di sua beneficenza Iddio mi elesse. Pel cammin della Media Goldberg’s Five Stars, Deutsche Schallplatten Preis and Gramophone awards. Her solo CD Dolcissimo Sospiro with E Dio non manca mai le sue promesse. Suo compagno e sua guida; Accademia Strumentale Italiana and Alberto Rasi won the renowned Midem Classical Awards 2007. She gives E sceglier non potea scorta più fida. master-classes in singing at the Civica School in Milan. 8 10b. Aria Come se a voi parlasse Sara Sophie Karthäuser Un messagier del Cielo: Suocera, è vero. Io non discerno in questa Credete a quel ch’io svelo, Fortunata famiglia, With the financial support of the British Council and the Belgian Foundation for Talent, Tremate al mio parlar. Chi più splenda in virtù. Del pari ammiro soprano Sophie Karthäuser completed her studies with Noelle Barker at the Guildhall Un dì, sanguigna e torbida I pregi d’Anania School of Music and Drama. In September 2003, she received the audience prize and Cintia risplenderà, E d’Anna e di Tobit e di Tobia. the third prize at the Wigmore Hall competition, one of the most important song E Febo in nere tenebre contests. Sophie Karthäuser has worked with ensembles such as the Academy of I raggi avvolgerà: 0 11b. Aria Ancient Music, Les Arts Florissants (William Christie), the European Baroque Cadran le stelle fulgide, Non parmi esser fra gl’uomini Orchestra (Roy Goodman and Edward Higginbottom), Archibudelli (Anner Bylsma) E agli astri ed alle sfere Della tribù di Neftali; and the Philharmonic Orchestra of Liège (Louis Langrée). Sophie Karthäuser also gives Il Cielo mancherà, Mi sembra esser fra gl’angioli recitals with her pianist Eugene Asti in places such as the Théâtre Royal de la Monnaie, Mancherà il suolo agl’uomini, Della magion del Ciel. the Palais des Beaux Arts, the Flanders Opera and the Opéra de Lille. Sophie Karthäuser Mancheran l’onde al mar; Ah, se fra voi mi lice took part in Thésée (Lully) with William Christie and the European Baroque Academy of Ambronay. At the Ma le parole vere Passar la vita mia: Guildhall School she performed the rôles of Almirena in Handel’s Rinaldo and Nina in Donizetti’s Il Giovedì Del sommo Dio veridico Son io la più felice Grasso. After her first Barbarina at the Théâtre Royal de la Monnaie, she was invited back to sing in L’enfant et les Mai non potran mancar. Del popol d’Israel. sortilèges under the direction of Marcello Viotti, in Monteverdi’s Orfeo (La Musica, Euridice, Echo) with René (Parte.) Jacobs, and Zerlina in Mozart’s Don Giovanni. In 2005 she made her debut as Pamina in Mozart’s Die Zauberflöte 8.570300-02 20 9 8.570300-02 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 10

at the Théâtre Royal de la Monnaie in Brussels to much acclaim. (“... La vraie reine de cette Flûte est Anna Ebrei incontestablement la Pamina, que campe la jeune soprano belge Sophie Karthäuser, jolie comme un cœur. Une Figlio, la tua stanchezza e la tua sposa Rendi a Tobit la luce Pamina aux aigus lumineux, fraîche, tendre et sensible – un peu de finesse dans ce monde de brutes.” Marie-Aude Chiede riposo e cibo. Oh della luce Autor. Roux - Le Monde “...mais il y a beaucoup d’espoirs à fonder sur la Pamina de la jeune Belge Sophie Karthäuser, dont les aigus cristallins à la Gundula Janowitz resteront comme les rares moments de poésie d’une soirée sans Tobia Sara magie.” Christian Merlin - Le Figaro). In December 2000 Sophie Karthäuser made her début at the Frankfurter II dolce ufficio Da chi sperar potrebbesi, Oper singing Papagena in Die Zauberflöte. The 2003/2004 season has been very exciting for her: she performed in Prima compir desio. Con preci e voti Se non dalla tua mano, Peter Grimes (2nd niece) at La Monnaie and in Bilbao, Zerlina in Don Giovanni at the Opéra de Lille and at the Imploriamo devoti Un atto sovrumano, Grand Théâtre de Luxembourg, Eritea in Cavalli’s Eliogabalo with René Jacobs at La Monnaie and at the L’assistenza del Cielo in tal periglio. Un’opra di stupor? Innsbrucker Festwochen, Hanako in Hanjo (Hosokawa) at the Festival International d’Art Lyrique of Aix-en- Provence, Amore in the Monteverdi trilogy at the Grand Théâtre de Genève and at the Opéra de Caen with Il Tobit Ebrei Giardino Armonico, Hosokawa’s Hanjo in Brussels. Her recording of Grétry arias received some very warm Di degno figlio mio degno consiglio. Rendi a Tobit la luce Oh della luce Autor. comments from the international press, including a “diapason découverte” from the French magazine Diapason. 6 9. Coro She also recorded Myslivecek’s La Passione with Christoph Spering. Ebrei Raffaelle Odi le nostre voci, Per te il superbo Satana Ann Hallenberg Tu che dai legge ai fati In tenebre arde e freme; Fra’ cherubini alati, Ma un uom, che t’ama e teme, The Swedish mezzo-soprano Ann Hallenberg has appeared at opera houses such as the In trono di splendor. Non viva in fosco orror. Teatro alla Scala Milan, Teatro Carlo Felice Genoa, Opéra National Paris, Opéra de Tobia Lyon, Opéra du Rhin Strasbourg, Opernhaus Zürich, Semperoper Dresden, Vlaamse Se il tuo voler benefico Ebrei Opéra Antwerp, Staatsoper Stuttgart, Komische Oper Berlin, Opéra Garnier Monaco, L’opra a tentar m’induce: Mira le calde lagrime Opéra Montpellier, Norwegian National Opera, Royal Swedish Opera, Drottningholm Rendi a Tobit la luce, Che il popol tuo produce. Theatre Stockholm, and festivals such as Wiener Festwochen, Dresdener Oh della luce Autor. Rendi a Tobit la luce Musikfestspiele, Festival d’opéra baroque de Beaune, Utrecht Festival for Old Music, Oh della luce Autor. Tanglewood Festival, and Boston Early Music Festival. She has also appeared at Ebrei (Partono.) concert venues throughout Europe and North America. Ann Hallenberg has worked Rendi a Tobit la luce, with conductors such as Riccardo Muti, Christophe Rousset, Emmanuelle Haïm, Oh della luce Autor. William Christie, Marc Minkowski, Andreas Spering, Christoph Spering, Philippe Herreweghe, Fabio Biondi, Alan Parte seconda Curtis, Ivor Bolton, Ottavio Dantone, Paul McCreesh, Alessandro De Marchi, Federico Maria Sardelli, Michael Anna Hofstetter, Jean-Christophe Spinosi, Roy Goodman, Arnold Östman, Patrick Fournillier, Francesco Corti, Jos van Non temeraria supplica 7 10a. Recitativo Veldhoven, Marcus Creed, and Kwame Ryan. Her repertoire includes Isabella in L’italiana in Algeri, Orfeo in È il chiederti un prodigio; (Anna, Sara e Raffaelle.) Gluck’s Orfeo ed Euridice, the title rôle in Gluck’s Aristeo, the title rôle in Carmen, Charlotte in Werther, Orlofsky E dov’è un tuo vestigio Anna in Dei Fledermaus, the title rôle in Vivaldi’s Juditha Triumphans, Bradamante in Vivaldi’s Orlando Furioso, Senza un prodigio ancor? Oh della santa fé stupendi effetti! Servilia in Vivaldi’s Tito Manlio, Clarice in The Love for Three Oranges, Isseo in Antonio Salieri’s Europa Già ferma speme inonda Riconosciuta, and Deianira in Cavalli’s Ercole Amante. Her many Handel rôles include Dejanira in Hercules, Ebrei Ogn’alma ed ogni core. I fidi Ebrei Ruggiero and Bradamante in Alcina, the title rôle in Orlando, Tauride in Arianna, Tedata in Flavio, Cornelia in Rendi a Tobit la luce, Attendon lieti a questo albergo intorno Giulio Cesare, Tirinto in Imeneo, Storgé in Jephta, Arsamene in Serse, the title rôle in Siroe, Irene in Tamerlano, Oh della luce Autor. Veder con franco pié correr veloce Cyrus in Belshazzar, and Piacere in Il tronfo del tempo e del disinganno. Ann Hallenberg studied at the University Senza scorta Tobit. College of Opera in Stockholm with Kerstin Meyer and Erik Sædén, as well as with Joy Mammen in London. Tobit Oh Tu, che il sole illumini Sara E fai rifulger gli astri, Ma intanto sono Dà fine a’ miei disastri, Dileggiati e scherniti Dà fine al mio dolor. Dagl’increduli ed empi Niniviti. 8.570300-02 10 19 8.570300-02 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 18

5 8. Recitativo (Lascia Anna e va ad inginocchiarsi a Tobit.) Anders J. Dahlin (Raffaelle e Tobit, Sara e poi Anna conducendo Tobia.) Raffaelle Tobit The young Swedish tenor Anders Dahlin studied at the Music Conservatory in Falun, Rivelarti a Dio piacque il ver nel sonno. Figlio diletto, at the Norwegian State Academy of Music in Oslo, and at the Royal Danish Academy (A Tobit.) Sara gentil, venite... of Opera. He has worked with conductors such as Christophe Rousset, Hervé Niquet, Sir John Eliot Gardiner, William Christie, Frans Brüggen, Philippe Herreweghe, Tobit Anna Alessandro De Marchi, Adam Fischer, Robert King, Manfred Honeck, Philip Pickett, E acquisteran le mie pupille il lume A’ piedi tuoi Stephen Layton, Iona Brown, Erik Eriksson, Tõnu Kaljuste, Philippe Pierlot, Andreas Per mano di Tobia? (S’inginocchia anch’essa a Tobit.) Spering, Christoph Spering, Eric Hull, and Roy Goodman. Engagements have taken Vengo a prostrarmi anch’io, saggio consorte. him to Sweden, Norway, Denmark, France, Germany, Italy, Spain, Austria, Raffaelle Oh quanto a torto io t’oltraggiai! Perdona Switzerland, Holland, Belgium, Slovenia, the Czech Republic, Poland, the United Non dubitarne. I miei ciechi trasporti. States, Morocco, and Japan. Anders Dahlin regularly sings with major orchestras throughout Europe. As a concert singer he has appeared at the Tonhalle Zürich, Konzerthaus Berlin, Palais des Sara (da sé) Tobia Beaux Arts Brussels, Concertgebouw Amsterdam, De Doelen Rotterdam, Festspielhaus Baden-Baden, St John’s Quello è Tobit! Ah genitor... Smith Square London, Philharmonic Hall Liverpool, Teatro de la Maestranza Sevilla, Auditorio Zaragoza, Teatro (Stringendoli la mano.) Carventes Málaga, Palacio dela Opera La Coruña, Auditorium de Lyon, Opéra Royal Versailles, National Theatre Raffaelle Warsaw, Oslo Concert Hall, Berwald Hallen Stockholm, and the Danish Radio Concert Hall. He has received much Tobit, è a te presente Anna acclaim as the Evangelist in Bach’s Passions, as the tenor soloist in Britten’s Serenade for Tenor, Horn and Strings, La sposa del tuo figlio. Tobit... and in French baroque music. He has also had enormous success with a programme with songs by Dowland and (Come sopra.) Monteverdi. His opera engagements have included the title rôle in Rameau’s Zoroastre in Amsterdam as well as at Tobit Drottningholm Theatre in Stockholm, Atis in Rameau’s Les Paladins on tour in Europe, Oberon, The Chinese man Amabil padre Sara and Phoebus in Purcell’s The Fairy Queen in Bilbao, Málaga and Salamanca, Coridon and Un Insulaire in Lully’s Del mio sposo adorato, accetta i primi, Suocero amato... Roland at the opera in Lausanne as well as in concerts in Amsterdam, Brussels, and Montpellier, the Nurse in Ch’a’ tuoi piedi offerisco, (Come sopra.) L’incoronazione di Poppea in Toulouse, Un Habitant and Un Plaisir in Henry Desmarest’s Venus et Adonis at the Di rispettoso amor sinceri omaggi. Opéra de Nancy, Lucano and First Soldier in L’incoronazione di Poppea at the Opéra de Lyon, the title rôle in (S’inginocchia, e bacia la mano a Tobit.) Tobit Rameau’s Platée at Oper Kiel, Carlos and Tacmas in Rameau’s Les indes galantes in Holland and Italy, Corinthien Sia benedetto Dio, che a noi ti guida Nuora... figlio... consorte... Ah qual mi toglie I, Captif de l’Amour III and un Démon in Charpentier’s Médée in Metz, Lyon, Versailles, and Rouen, Tom e ti protegge, oh Sara. Spettacolo di gioia e tenerezza Wingfield in Antonio Bibalo’s opera The Glass Menagerie at the Norwegian National Opera, and Abel in the world Il mio crudel destin! Sorgete almeno, première of Henrik Hellstenius’ opera Sera with Opera West, Bergen. Raffaelle E stringetevi tutti a questo seno. Ecco Tobia (Tutti s’alzano ed abbracciano Tobit.) Nikolay Borchev Fra gl’amplessi materni. Tobia The Russian baritone Nikolay Borchev was born in 1980. His musical education started Anna Sì, ti conforta, o genitor. La cara at the age of seven at the Music Academy of Moscow with piano, flute, and organ. At Ah venga, o figlio, Luce degl’occhi tuoi renderti io spero. the age of sixteen he started to train his voice at Moscow’s Tchaikovsky Conservatory, Venga pur la mia morte; io vissi assai continuing at the Hanns Eisler Hochschule für Musik in Berlin. He took part in several Or che ti rimirai. Tobit master-classes, and was first prize-winner at the international 1998 Moscow Bella Voce Figlio, mio caro figlio, e sarà vero? Singing Competition, taking second prize at the Sylvia Geszty International Singing Tobia Competition in 2002 in Murcia, with other prizes from the Hanns Eisler Madre amorosa, Tobia Musikhochschule, DAAD and the 2005 Festival Mecklenburg-Vorpommern. He has Quella al pie’ di Tobit è la mia sposa; Vieni, si effettui l’opra. appeared with the Moscow Ave Maria Vocal Ensemble in Austria, Belgium, France, Lascia ch’io pur imprima i dolci baci (In atto di condurre via Tobit.) Germany, Latvia, Luxembourg, and Russia. Nikolay Borchev’s concert repertoire Di riverente affetto includes C.P.E. Bach’s Magnificat, J.S. Bach’s St John Passion, Magnificat, St Matthew Passion, and Christmas Sulla paterna man. Oratorio, Beethoven’s C Major Mass, Brahms’s Ein deutsches Requiem, Fauré’s Requiem, Handel’s Alexander’s 8.570300-02 18 11 8.570300-02 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 12

Feast and Dettinger Te Deum, Haydn’s The Seasons, Mahler’s Des Knaben Wunderhorn, Mendelssohn’s Elijah Mediche mani ei compirà? Mio Dio! Tobia and Paulus, Pärt’s Passio Domini nostri Jesu Christi secundum Johannem, Rossini’s Petite Messe Solennelle, and Sì, crederlo vogl’io. Troppo mi pento Forse Azaria Saint-Saëns’ Oratorio de Noël. His recital repertoire includes Beethoven’s An die ferne Geliebte, Mahler’s Lieder Di mia debol fiducia e de’ rinfacci, Per il calle comune a noi gli affretta, eines fahrenden Gesellen, Ravel’s Don Quichotte à Dulcinée, Shostakovich’s Spanish Songs, Schubert’s Die Onde il cor punsi del consorte. A lui E la scelta da me più corta via schöne Müllerin, Die Winterreise, Schwanengesang, Schumann’s Dichterliebe and Liederkreis, and Wolf’s Italian Ne chiederò perdono; a te, buon Dio, Gli allontanò da noi. Songbook. On stage Nikolay Borchev has sung Belcore in L’elisir d’amore, Malatesta in Don Pasquale, Guglielmo Lo chiedo intanto, e dal tuo amor lo spero. in Così fan tutte, the title rôle in Don Giovanni, Count Almaviva in Le nozze di Figaro, Papageno in Die Increato Fattor, se d’un tal figlio Sara Zauberflöte, Dandini in La cenerentola, Figaro in Il barbiere di Siviglia, Taddeo in L’italiana in Algeri, the title Mi riconcedi il dono, Caro Tobia, rôle in Eugene Onegin, and Elezkiy in Pique Dame. Since the season 2004/05 Nikolay Borchev has been a member Allor che degna io sono Riedi, cercagli intorno, impaziente of the Bavarian State Opera in Munich. He has performed with the Akademie für Alte Musik Berlin, Freiburger De’ castighi più fieri, Al par di te son io d’essergli al piede. Barockorchester, London Mozart Players at the Festwochen für Alte Musik in Innsburck, Brühler Schlosskonzerte, Quando di tua pietà fia ch’io disperi? Festspiele-Mecklenburg-Vorpommern, Göttinger Händel-Festspiele, Salzburger Pfingstfestspiele, and worked with Tobia conductors such as Ivor Bolton, Fabio Luisi, René Jacobs, Zubin Mehta, Kent Nagano, Andreas Spering, and 0 5b. Aria Mia degna sposa, in ubbidirti io sento Marcello Viotti. Ah gran Dio, se un core ingrato Il contento maggior d’ogni contento. Come il mio rendi felice: VokalEnsemble Köln Quai contenti sperar lice 2 6b. Aria Ad un’anima innocente Quando mi dona un cenno The VokalEnsemble Köln has made a number of recordings and television appearances, working with conductors Dalla tua benignità? Il labbro tuo soave such as Patrick Davin, Michael Schneider and Reinhard Goebel. The ensemble was founded in 1997 by Max Ciolek Sol Tu sei quello che sei: Spira virtude e senno, and has performed at festivals in Spain, Hanover, Brühl and Bonn, making its début at the Cologne Philharmonic Vero, grande, onnipotente, Grazia, dolcezza e amor. in a millennium concert. Its world première recording of Johann Christian Bach’s opera L’Endimione under Bruno E non ponno i labbri miei Mi forza con diletto Weil was awarded the Echo 2000 Classical Prize of the German Phonoakademie. There has been a particularly Esplicar la tua bontà. A compiacerti amando, fruitful collaboration with Andreas Spering, under whom recordings have been made of Handel’s opera Imeneo, (Parte per la via di campagna.) E mostra un tuo comando, Haydn’s cantatas for the Esterházys and, for Naxos, Haydn’s Creation (8.557380-81), acclaimed as 2006 CD of the Quant’hai gentile il cor. Year by the Classical Internet Award. They have also recorded the opera Andromeda und Perseus under Reinhard ! 5c. Coro (Parte per la via di campagna.) Goebel. Ah gran Dio! Sol Tu sei quello che sei: 3 7a. Recitativo Max Ciolek Vero, grande, onnipotente, Sara E non ponno i labbri miei Somme grazie ti rendo, The founder and director of the VokalEnsemble Köln, Max Ciolek, studied church music and is today a tenor of Esplicar la tua bontà. Padre del padre Adam. Tu prosperasti international repute. He has sung in almost all European countries, in the United States, China and Morocco, and Il mio viaggio, ancora at the Leipzig Gewandhaus and Amsterdam Concertgebouw. He is a frequent guest at international festivals and Piacciati prosperar la mia dimora. has drawn encouragement and inspiration in his work as a singer and choral conductor through collaboration with CD 2 conductors such as Ton Koopman, Philippe Herreweghe, Hermann Max, Sigiswald Kuijken, Thomas Hengelbrock 4 7b. Aria and Peter Neumann. 1 6a. Recitativo Del caro sposo (Sara e Tobia da altro lato.) Son fra le mura, Tobia E m’assicura Sara, mia dolce sposa, eccoti alfine La sua virtù. Nel mio paterno albergo. Ma in te ripongo, Mio Dio, la speme, Sara Che d’ogni bene E dov’è il padre? Fonte sei Tu. Dov’è la madre tua? In atto di partire.

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Anna Raffaelle Capella Augustina Uccidimi alfin. Che fu del figlio? No. Per consiglio mio la fatal notte Parla, t’affretta. Ah no. Taci, Azaria, A pie’ del nuzial letto arse quel core The Capella Augustina, the orchestra of the Brühler Schloss Concerts, was founded in 1996 by Andreas Spering, Taci se dir mi vuoi: morto è Tobia. Del mostro ucciso, e colla sposa orando who has remained closely associated with these musicians, who have served as members of other well known Asmodeo lo trovò: L’odore, il fumo ensembles. With a repertoire ranging from the Baroque to the twentieth century, they pay considerable attention to Raffaelle Lo sbigottì; confuso correct historical performance practice and to the relevant instrumentation. Baroque opera and oratorio of the Vienna Giunti che fummo al Tigri, De’ sacri carmi al suon fuggì deluso. classical period form an important element in the work of the Capella Augustina, reflected in recordings such as that Ei s’immerse nell’onda; of Handel’s Imeneo in 2003 and Haydn’s Creation. In 2005 the ensemble recorded the two orchestral Serenades of Ed ecco un mostro algoso in aspre guise Anna Brahms. In 2006 the Capella Augustina collaborated in performances of Haydn’s marionette opera Die Feuersbrunst Gli s’avventò... Oh Dio benigno! E il figlio? at the Potsdam Festival, followed by Handel’s oratorio Il Trionfo del Tempo e del Disinganno at the Lower Saxony Festival. Anna Raffaelle Lo divorò, l’uccise? Già torna colla sposa; io lo prevenni Andreas Spering Accelerando i passi. Raffaelle No. Spaventollo solo. Io lo difesi, Anna The German conductor Andreas Spering is among the leading specialists in early E a pugnar l’eccitai, vincer gli appresi: Andiamo... Ah sento music. He was strongly influenced by his studies with Gerd Zacher in Essen, and his Tal ché inesperto giovinetto imbelle L’eccesso del contento position as harpsichordist with Musica Antiqua Köln and Reinhard Goebel from 1990 Del ceto trionfò, lo trasse a terra, Che mi trae fuor di me. Tobia voliamo to 1994. Since 1996 he has served as artistic director of the Brühl Castle Concerts as E sviscerollo ancor. Ad incontrar. No, vanne, well as with the Capella Augustina, which he founded. Joseph Haydn holds an Cerca Tobit, il venerabil cieco important place in the summer concerts, establishing the first and only festival in Anna Guida sull’orme mie. Correr vorrei Germany dedicated exclusively to that composer. As an opera conductor Spering has Respiro. Al figlio ed al consorte in una volta; undertaken guest engagements in Essen, Berne, Kiel and Potsdam. In Gothenburg he E di piacer mi perdo. conducted Mozart’s Entführung aus dem Serail and Beethoven’s Fidelio, at the opera- Raffaelle houses in Antwerp and Ghent Handel’s Rinaldo and Mozart’s Don Giovanni, and at the E giunto Raffaelle Leipzig Opera Mozart’s Mass in C minor. In 1999 he was appointed Music Director of the Handel Festival at the Tuo figlio in Ecbatana, 8 Anna, m’ascolta! Baden State Theatre in Karlsruhe, where he has conducted Scarlatti’s Il trionfo dell’onore, many other Handel Inspirato da Dio, chiese ed ottenne operas, and in 2004 a highly acclaimed new discovery, Reinhard Keiser’s opera Octavia. In the concert hall Andreas La figlia di Raguel. 4b. Aria Spering has appeared as a guest conductor with the radio orchestras in Hanover, Leipzig, Munich and Kaiserslauten, Quel figlio a te sì caro, as well as with the West German Radio Symphony Orchestra. Other guest engagements have taken him to the Anna Che alfine il Ciel ti rende, symphony orchestras of Lahti, Stavanger, Antwerp, Winterthur, Frankfurt/Oder and Osnabrück, as well as to the Ciel! Vide in sogno Al padre, che l’attende, Basle Chamber Orchestra and the Lausanne Chamber Orchestra. His recordings include Handel’s Siroe and Imeneo, Tobit il vero! E non son morti a Sara La vista renderà. as well as the world première recording of Reichardt’s Erwin und Elmire. In 2005 he recorded for Naxos an Nel momento primiero Sarà ministro il figlio internationally acclaimed release of Haydn’s The Creation (8.557380-81), and other recordings include a group of Degli sponsali sette sposi? Dell’opra portentosa, early Haydn cantatas and the two Serenades of Brahms. E la sua man pietosa Raffaelle L’opra compir saprà. È vero. (Parte.) Ma per ragione di retaggio ardito, non temendo Tobia restare afflitto... 9 5a. Recitativo Anna Anna Che disse? Il figlio mio del cieco padre Ah fu l’ottavo a rimaner trafitto? Monderà le pupille? L’opra tentata invan dalle più dotte 8.570300-02 16 13 8.570300-02 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 14

IL RITORNO DI TOBIA Anna Anna La tua mercé. Chi sa, s’ei giunto in Raghi Taci tu co’ tuoi sogni e le tue vane Chiaro si vede CD 1 da Gabael ricuperò quell’oro, Mal fondate speranze. Il figlio estinto Che fra’ tuoi vanti che a richieder mandasti? Lasciami lacrimar. Tu lo volesti Un vero merito 1 Sinfonia Allontanare a mio dispetto, ed ora Giammai non c’è. Tobit Vorresti anche ingannare il cor materno? (Parte.) Parte prima Io non ne temo. Ah parla chiaro il mio dolore interno. 5 3a. Recitativo 2 1. Coro (Tobit, Anna e Coro d’Ebrei.) Anna Tobit Tobit Anna, Tobit, Ebrei Tu nulla temi; eppur da che sperai Eppur... Deh modera il dolor; non contristarmi Pietà d’un’infelice, Veder tornar Tobia, tornò l’aurora Con rimproveri falsi ed ira insana. Afflitta genitrice, Quindici volte, ed ei non riede ancora! Anna Alfine il caro figlio Pietà d’un padre misero, Vuoi di sinistri eventi Folle, perdesti Gl’occhi tuoi rivedranno. Al grand’Iddio Oh Padre d’Israel! Certezza più funesta? Per soverchia pietà degl’insepoliti Grazie ne renderai con somma lode. Ritorni omai Tobia, La luce de’ tuoi lumi; Anna, sentimi almeno! Anna non m’ode. Salvo Tobia ritorni: Tobit Forse invidiavi a me la dolce vista Cessin del pianto i giorni, Forse il figlio soggiorna in gioia e in festa. D’un tal figlio? 6 3b. Aria Oh sommo Re del Ciel. Ah tu m’ascolta, oh Dio, Anna Tobit E in questo mio Ebrei E creder puoi... Ma... Cordoglio Calma e perdona i palpiti Dal tuo supremo soglio D’un cor materno e debole; Tobit Anna Volgi uno sguardo a me. Premia la speme intrepida Sognai, che Sara, figlia Torna Io t’amo, e credo, e spero D’un genitor fedel. Di Raguel mio cugino, Col rischio della vita In te, gran Dio Per celeste consiglio A seppellir gli estinti e a dargli tomba Verace. 3 2a. Recitativo Ad onta d’Asmodeo sposò mio figlio. Invece di cibarti. Un’altra volta Deh mostra, se ti piace, Anna Ninive, anzi l’Assiria Che invan non spero in te. Né comparisce, oh Dio! Anna Ti pagherà di scherni. E dove sono (Parte.) (Osserva per la via di campagna.) Oh vani sogni! Quello spirto immondo L’elemosine tue? Le tue bell’opre, Oh Dio, Tobit, il lusingarsi è vano. Sai pur che uccide quanti sposi a Sara Quando mai ti fruttaro, 7 4a. Recitativo (Anna e poi Raffaelle.) (Tornando a Tobit.) Ardiscano accostarsi? Se non un frutto acerbo, aspro ed amaro? Anna Il caro figlio, il nostro Or sì, che morto piangerei Tobia, Non è quello Azaria, l’uom mercenario, Amabile Tobia, dolce sostegno Se amante sconsigliato 4 2b. Aria (Osservando verso la campagna d’onde viene Raffaelle.) Di nostra etade, ed unico conforto A Sara dato avesse incauta fede. Sudò il guerriero, Compagno eletto di Tobia? Gran Dio! Di nostra schiavitù, misero, è morto! Ma gloria ottenne; Solo ritorna. Oh mio (Piange.) Tobit Tremò il nocchiero, Troppo giusto timore! Io manco... Ah tempo A lui s’appartenea d’esserne erede. Ma s’arricchì. È questo di costanza. Uniamo al core Tobit Geme talora Tutta di mia virtù la forza estrema. Anna, consorte, ah credi a me, non piangere; Anna L’agricoltore; Udiam da forte... Oh come il cor mi trema! (Scende, e s’avanza sempre guidato da due servi.) Erede d’una sposa Ma lo ristora Non tormentar te stessa Che in dote arreca morte? La messe un dì. Raffaelle (detto Azaria) Con ingiusto timore. Il figlio vive, Tu passi gl’anni Anna... E starà poco assente; Tobit Fra pene e pianti, Credil come l’avessi omai presente. Taci, amata consorte... E sono i danni 8.570300-02 14 15 8.570300-02 570300-02 bk Haydn Tobia US 9/14/07 1:46 PM Page 14

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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

8.570300-02 227 8.570300-02 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 CMYK NAXOS NAXOS

Although Haydn’s place in the history of the oratorio has been secured by his great vocal masterpieces The Creation (Naxos 8.557380-81) and The Seasons (8.557600-01), his first oratorio, Il ritorno di Tobia (The Return of Tobias), is among the better-kept secrets of music history. The Italian libretto deals with the return of Tobias and the curing of his blind father, an exceptionally popular story in eighteenth century Vienna. With its vivid portrayal of the protagonists’ emotional turmoil, achieved DDD largely through wide-ranging arias of great virtuosity, Il ritorno di Tobia is a work of considerable beauty and dramatic impact. This recording includes the two magnificent choruses Ah gran Dio! and 8.570300-02 Svanisce in un momento written for a performance of Tobia in 1784.

Playing Time VokalEnsemble Köln • Capella Augustina • Andreas Spering Franz Joseph 2:49:04 Invernizzi • Karthäuser Hallenberg • Dahlin Borchev

HAYDN: HAYDN (1732-1809) Il ritorno di Tobia Oratorio in Two Parts, Hob. XXI/1 (1775/1784)

Il ritorno di Tobia Raffaelle ...... Roberta Invernizzi, Soprano Sara ...... Sophie Karthäuser, Soprano Anna ...... Ann Hallenberg, Alto Tobia ...... Anders J. Dahlin, Tenor Tobit ...... Nikolay Borchev, Bass www.naxos.com Made in Canada Italian libretto included Booklet notes and synopsis in English VokalEnsemble Köln [Chorus Master: Max Ciolek] &

Capella Augustina • Andreas Spering 2007 Naxos Rights International Ltd.

CD 1 55:28 CD 2 58:16 CD 3 55:20 1 Sinfonia 6:58 1-6 Parte prima 1-! Parte seconda 2-! Parte prima (Conclusion) 34:57 (Conclusion) 55:20 (Beginning) 48:30 7-0 Parte seconda (Beginning) 23:19 A full track list can be found on pages 3 and 4 of the booklet Recorded by Deutschlandfunk, Sendesaal des Funkhauses Köln, Germany in September 2006 8.570300-02 8.570300-02 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 Cover image: The young Tobias heals his blind father by Harmensz van Rijn Rembrandt (1606-1669) (akg-images / Erich Lessing)