Rachmaninoff Francesca da Rimini BBC Singers BBC Philharmonic CHAN 10442 GIANANDREA NOSEDA CCHANHAN 1104420442 WWideide BBookletooklet CCover.in1over.in1 1 119/12/079/12/07 009:44:319:44:31 Serge Rachmaninoff (1873 –1943) Francesca da Rimini, Op. 25 An opera in two scenes with prologue and epilogue Libretto by Modest Tchaikovsky, after Dante © Lebrecht Music & Arts Photo Library cast in order of appearance: The Shade of Virgil Gennady Bezzubenkov bass Dante Evgeny Akimov tenor Lanceotto Malatesta, a Lord of Rimini Sergey Murzaev baritone Francesca, his wife Svetla Vassileva soprano Paolo, his brother Misha Didyk tenor Spectres of Hell; the retinues of Malatesta and of the Cardinal BBC Singers Stephen Betteridge chorus master BBC Philharmonic Yuri Torchinsky leader Gianandrea Noseda Serge Rachmaninoff with performers from the fi rst performance of ‘Francesca da Rimini’ in 1906; Georgi Baklanov as Lanceotto and Nadezhda Salina as Francesca. 3 CCHANHAN 1104420442 BBooklet.inddooklet.indd 22-3-3 119/12/079/12/07 009:43:419:43:41 Time Page Rachmaninoff: Francesca da Rimini Prologue 20:14 1 [Largo] 6:10 p. 31 ‘There is no greater sorrow than to recall a happy he worked with Tchaikovsky’s brother Modest – the 2 I. The First Circle of Hell. The Shade of Virgil, followed by Dante 5:38 p. 31 time in wretchedness; and this your teacher knows.’ librettist of The Queen of Spades – on two ideas (so 3 II. The Second Circle. Dante and Virgil on the edge of the precipice 8:26 p. 33 The famous lines are spoken by Francesca da Rimini, much for the legend of total artistic block following the most heartbreaking of those ‘carnal sinners’ in the failure of the First Symphony’s premiere earlier the second circle of Dante’s Inferno, to the author, that year). The fi rst, based on Shakespeare’s Scene One 22:04 attributing special understanding to his guide, the Richard II, was soon superseded by another. That 4 Rimini. The Malatesta castle. 1:26 p. 37 Latin poet Virgil. The young Rachmaninoff’s spiritual summer Modest proposed a theme drawn from mentor, Pyotr Ilyich Tchaikovsky, knew that sorrow too. Canto V of Dante’s Inferno. Its main substance is the 5 ‘My answer is plain.’ 3:00 p. 37 The tempestuous fl anks and central love-scene of his narrative in which the shade of Francesca da Rimini, Lanceotto 1876 ‘Fantasy-Overture’ Francesca da Rimini precede married around 1275 to Gianciotto Malatesta, tells Rachmaninoff’s completed opera by nearly three Dante and Virgil of her tragic infatuation with her decades; and he only lived just long enough to fi nd husband’s younger brother Paolo, a silent, weeping 6 ‘Nothing can extinguish these jealous thoughts.’ 9:01 p. 39 ‘delightful’ the nineteen-year-old Rachmaninoff’s fi rst onlooker in the second circle of hell, and their Lanceotto opera Aleko, a precocious graduation piece very much joint murder at the hands of Gianciotto. In addition in Tchaikovsky’s more lugubrious vein. The lesson of the to Tchaikovsky’s ‘Fantasy-Overture’ and Liszt’s master was not to be forgotten in the decades to come. even earlier depiction of the two lovers in the fi rst 7 ‘My Lord called for me?’ 8:37 p. 43 After the fi rst fl ourishes of Aleko, making episodic movement of his Dante Symphony, there had also Francesca work of Pushkin’s verse-tale The Gypsies in which a been a four-act opera by Eduard Nápravník, better dispossessed city man strikes up a fatal liaison with known to posterity as a conductor, and it was a full- Scene Two 18:35 a gypsy girl, Rachmaninoff’s operatic talents were length work which Rachmaninoff also proposed. temporarily diverted into studying and executing the Francesca, however, hung fi re until 1904. By 8 Rimini. A room in the castle. 2:32 p. 47 wider repertoire. As he had wisely observed at the then Rachmaninoff had accepted a more prestigious time of Aleko, operatic post, as conductor at Moscow’s Bolshoi 9 ‘ “The fair Guinevere…” ’ 16:03 p. 47 All fi rst operas by young composers usually fail, Theatre, and had started work on The Miserly Knight, Paolo and for a good reason: they are full of defects another Pushkin subject in the shape of a ready- that can’t be corrected until we know the stage. made ‘little tragedy’ which Rachmaninoff set virtually It was while he was serving as second conductor in word for word. As this was a one-act opera, and 10 Epilogue 3:45 p. 59 the wealthy merchant Savva Mamontov’s ambitious Rachmaninoff hoped to present it in a double-bill at TT 64:46 but often ramshackle Private Opera in 1897 that the Bolshoi, Francesca had to be drastically shorn 4 5 CCHANHAN 1104420442 BBooklet.inddooklet.indd 44-5-5 119/12/079/12/07 009:43:449:43:44 of several scenes in order to make a fi t companion. Rachmaninoff is on his fi rmest ground in hell, Second Piano Concerto and Second Symphony. to the drama, pointing the way forward to the It also needed much more text for Gianciotto where Modest sticks closest to Dante’s text. He This fi ve-note, syncopated, descending fi gure of multi-faceted full-length opera which Rachmaninoff, (Lanceotto in the libretto), since Rachmaninoff starts intimately, with that familiar musical wail so wistful grace serves throughout as a portrait of the despite toying with Flaubert’s Salammbô and had written the long central monologue in The memorably insisted upon in Mussorgsky’s portrait delicate Francesca. Rachmaninoff fi rst develops it making some headway with Maeterlinck’s Monna Miserly Knight for the great bass Fyodor Chaliapin, of the Yurodivy or Holy Fool in Boris Godunov with chamber-musical translucency as she stands Vanna, was never to complete. his old colleague from the Mamontov Opera days, (the fall is from a minor sixth to a fi fth). Then, like before her husband in the fi rst scene of the opera and wanted him to play a major part here too. Tchaikovsky, Rachmaninoff accumulates chromatic proper, and miraculously avoids monotony in its Synopsis Unfortunately Chaliapin, who had already done so intensity, but with more elaborate counterpoint and many reappearances throughout the long love Prologue much to give Aleko an extended lease of life, either across a greater span so as to delay the climax, duet; there is an especially poignant use of it in Dante and his guide Virgil, poised on the brink of failed to learn the music in time or else – according with its mounting choral sighs, to the middle of the cellos while Francesca weaves a complimentary ‘the blind abyss’, hear the sighs of the damned in to other sources – pleaded a prior engagement, and the Prologue’s second scene, when the whirlwind line above, promising Paolo bliss in another world. the fi rst circle of hell. The shade of Virgil tells Dante both roles were taken by a young singer, Georgi fi nally strikes with full force. Some commentators Once past the anxious, shadowy strings punctuating that what he takes for fear in his expression is in Baklanov, at the premiere on 11 January 1906. have detected the infl uence of Wagner, whose Ring the theme at the beginning of the love-scene, and fact sympathy for the tormented (the lines come Evidently Baklanov was good enough to convince cycle Rachmaninoff saw in 1902, but here, as in the the memorable sighs and woodwind fi gures which from Canto IV of Dante’s Inferno, lines 13 – 22). critics that the long central scene for the covetous climactic wrath of Malatesta, Tchaikovsky remains introduce Paolo’s reading of the tale of Lancelot and The second circle. Virgil explains to Dante that baron outshone all else in the evening; the press a much more obvious model (though Tchaikovsky, Guinevere, the essential tone of the duet is bright the shrieking, wailing and lamenting souls here, agreed with Rachmaninoff that The Miserly Knight too, had seen the fi rst Bayreuth Ring just before he and assertive, with little of Tchaikovsky’s bittersweet buffeted by the unceasing whirlwind, are ‘the carnal was the better work. composed his Francesca and found it odd, he told nostalgia. sinners’, ‘those who have subjected their reason There had certainly been problems with Modest’s his protegé Taneyev, that he ‘should have submitted On the other hand, the enveloping gloom of to the passion of love’. Dante wonders about two libretto. First it had strung out to unnatural length to the infl uence of a work of art I fi nd in general the inferno is internalised in the extended portrait of them, ‘who go so lightly upon the wind’: these what in Dante is a short and elliptical narrative (as extremely antipathetic’). Rachmaninoff’s obsessive, of Malatesta, with backbone for the might of the are Francesca da Rimini and Paolo Malatesta, who more details about the circumstances of the real doom-laden repetition and the increasingly military man in the shape of a rising fi gure in jointly lament, ‘There is no greater sorrow in the Francesca’s life, including the fact that she had fallen hysterical groans of the chorus were to fi nd further dotted rhythms (the perfect complement to the world than to recall happy times in misery.’ Their in love with Paolo before her marriage, when he outlets respectively in his symphonic poem inspired leitmotif of Francesca). Despite the promise of a story follows: wooed for his brother by proxy, had been ferreted by Böcklin’s painting The Isle of the Dead and the big tune from the brass in the introduction to his out by Giovanni Boccaccio).