sign in sign up
<<
Home , Amanda Holden (writer), Andrew Shore, Arthur Jacobs, Catalogue aria, Cicisbeo

CHAN 3077 Book Cover.qxd 22/5/07 2:06 pm Page 1

CHAN 3077 reat Operatic CHANDOS O PERA IN G ENGLISH

PETER MOORES FOUNDATION CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 2 Paul Ferris Paul

Great Operatic Arias with Andrew Shore

Andrew Shore as Dulcamara in San Diego ’s production of Donizetti’s The Elixir of

3 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 4

Time Page Time Page (1797–1848) (1792–1868) from The Elixir of Love from Dulcamara’s Bartolo’s 1 ‘Attention! Attention! You country folk!’ 7:56 [p. 56] 5 ‘Dare you offer such excuses’ 6:39 [p. 65] (Udite, udite, o rustici) (A un dottore della mia sorte) with Geoffrey Mitchell from CHAN 3025(2) The Barber of Seville

Nemorino and Dulcamara’s and Duet from The Italian Girl in Algiers 2 ‘Good doctor, beg your pardon’ – Isabella and Taddeo’s Duet ‘It was Tristan who employed it’ 8:04 [p. 58] 6 ‘All the changes in my fortune’ – (Voglio dire… lo stupendo elisir) ‘Ah, yes, as friends united’ 8:00 [p. 66] with Barry Banks (Nemorino) (Ai capricci della sorte) with Della Jones (Isabella) Adina and Dulcamara’s Duet from CHAN 3049 Great Operatic Arias with Della Jones 3 ‘How he loved me!’ — ‘With a look of love and laughter’ 7:09 [p. 61] (1756–1791) (Quanto amore) from with Mary Plazas (Adina) Leporello’s Catalogue Aria 7 ‘Look here: this not so little volume’ – Act II finale ‘Pretty lady, I have something to show you’ 5:54 [p. 68] 4 ‘It will give you cheeks like peaches’ 2:35 [p. 64] (Madamina, il catalogo è questo) (Ei corregge ogni difetto) with Mary Plazas (Adina), Bary Banks (Nemorino), and Ashley Holland (Belcore), from CHAN 3057(3) Don Giovanni Geoffrey Mitchell Choir from CHAN 3027(2) The Elixir of Love

4 5 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 6

Time Page Time Page Gaetano Donizetti (1813–1901) from from Malatesta and Pasquale’s duet Honour Monologue 8 ‘She’ll be here by midday’ – 11 ‘Hey, Page boy!’ 4:55 [p. 75] ‘Quite unexpectedly passions inflame me’ 2:52 [p. 68] (L’onore! Ladri!) (Un foco insolito, mi sento addosso) from CHAN 3079(2) Falstaff with Jason Howard (Malatesta) TT 70:40

Pasquale and Norina’s duet Philharmonia Orchestra (tracks 1–4 & 7) 9 ‘Well good evening! You’re in a hurry’ 5:50 [p. 69] London Philharmonic Orchestra (tracks 6 & 8–10) (Signorina, in tanta fretta) with Lynne Dawson (Norina) David Parry (tracks 1–4 & 6–10)

Malatesta and Pasquale’s Duet Orchestra (tracks 5 & 11) 10 ‘Don Pasquale…’ – Gabriele Bellini (track 5) ‘Ah brother… a living corpse is standing here before you’ 10:05 [p. 71] Paul Daniel (track 11) (Cognato, in me vedete un morto che cammina) with Jason Howard (Malatesta) from CHAN 3011(2) Don Pasquale

6 7 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 8 Hanson Bill Rafferty Bill Andrew Shore in the title role of ’s production of Berg’s

Andrew Shore in the title role of English National Opera’s production of Verdi’s Falstaff CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 10

Donizetti: The Elixir of Love was staged at the Paris Opéra in 1831. (The Great Operatic Arias We were told in book after book that The dashing sergeant in both works was created by Elixir of Love was an opera written at speed; the same singer, Henri-Bernard Dabadie.) A The old arguments about ‘opera in the original norm, even for in Russian or in Czech. the manager of the Canobbiana Theatre in good deal of Romani’s work is straight language’ versus ‘opera in the language of the Covent Garden – where in the postwar years Milan, at his wits’ end when a commissioned translation. (Compare the hero’s opening listeners’ never cease. Nor should they: there is Kirsten Flagstad and Hans Hotter relearned composer suddenly failed to produce, begged cavatina: ‘Qu’elle est jolie!… Elle sait lire… too much to be said on both sides. It was not The Valkyrie and Ljuba Welitsch relearned Donizetti to revamp one of his own old operas Moi, je ne suis qu’un ignorant’ and ‘Quanto è opera as such but, specifically, in Salome in English, and Boris Godunov, The to fill the gap. And Donizetti replied: ‘Are you bella!… Essa legge… Io son sempre un London that Dr Johnson famously described Queen of Spades, Jenuºfa were as a matter of joking? I’m not in the habit of touching up idiota’.) But to the Scribe comedy Romani as ‘an exotic and irrational entertainment’. course translated – has become a foreign- my works, or anyone else’s. Let’s see whether I added a vein of semiseria . The And in a 1711 Spectator Joseph Addison language, ‘exotic’ house, its performances can write a new opera for you. Send for parallels with Bellini’s Sonnambula are wrote: distanced from its audiences. Meanwhile Romani!’ And to Felice Romani, Donizetti deliberate, I believe. (La sonnambula, which There is no question but that our great Grand- English National Opera, at the Coliseum, has then said: ‘A new opera is due from us in a also has a Romani after Scribe, had Children will be very curious to know the sustained the ideals of the men who invented fortnight’s time; I’ll give you a week to prepare appeared in Milan in 1831.) The tender duets Reason why their Forefathers used to sit together opera: drama directly understood, and given the libretto.’ ‘Son geloso del zefiro errante… Son, mio like an Audience of Foreigners in their own new force by music’s power. Wagner and Verdi Be that as it may, a gem of bene, del zefiro amante’ (in La sonnambula) Country, and to hear whole Plays acted before were well aware of, and complained about, the appeared at the Canobbiana on 12 May 1832. and ‘Chiedi all’aura lusinghiera… Chiedi al them in a Tongue which they did not distortions introduced by translation, yet they The Canobbiana, built at the same time as rio perchè gemente’ (in L’elisir) are in similar understand. welcomed it, enjoined it, believing that the La Scala, by the same architect, was for much vein, and similarly placed. Le Philtre had no But nearly three hundred years later people gains outweighed the losses. But they wanted of the nineteenth century La Scala’s ‘second ‘Una furtiva lagrima’. are doing it still. During the second half of the the translations to be good. house’. It specialised in comic operas but also The heroine’s first words in L’elisir are ‘È la twentieth century, opera in the original – what Enough! On this disc Andrew Shore sings had a reputation for introducing interesting storia del Tristano’. She reads the story to the the great American David Bispham comic opera. (The rather special case of Don novelties from abroad, such as Le Comte Ory, company. (Wagner’s version of it was still way called ‘the foreign-language fad’ – gained new Giovanni is discussed below.) The arguments Robert le Diable, Martha. The Elixir of Love in the future.) When the travelling charlatan impetus. And in the great houses of Milan, pro and con change somewhat when comedy’s was revived there the following two seasons – Dulcamara arrives in the village, ‘Attention! Munich, Paris, Vienna, where foreign operas in question. Incominciate! – or, as the standard by which time it had already been widely and Attention!’ (track 1 ) is his lively sales-patter used regularly to be presented in the language English translation of Pagliacci puts it, ‘Ring internationally performed. as he peddles his wondrous ‘elixir’ – a specific of the audience, and in many of the smaller up the curtain!’ – on scenes from some of the Romani took his plot from ‘Scribe’s latest’, against every ill that flesh is heir to. The houses too, ‘original language’ became the greatest comic operas. the libretto for Le Philtre, an Auber opera that lovelorn Nemorino approaches him: does he

10 11 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 12

by any chance stock the potion that aroused The Elixir of Love was first performed in its premiere the opera was deferentially edition as a handbook, since “Manca un the passions of Queen Isolda? ‘Why, I brewed English at the Surrey Theatre and then Drury entitled Almaviva, or The Useless Precaution; foglio” is now very generally substituted for it myself’ Dulcamara replies (in the original Lane, in 1839. The translator was only later that year, in Bologna, was it billed “A un dottor”.’ But ‘Manca un foglio’ is now Italian), and sells Nemorino a bottle of cheap T.H. Reynoldson. The Arthur Jacobs translation with Paisiello’s title. the rarity. wine. Nemorino is delighted: soon the used here was first performed by the Maidstone Dr Bartolo tries to keep his lively young The first English performance of The Barber disdainful Adina is bound to find him Opera Group, in 1964. Arthur Jacobs ward, Rosina, whom he hopes to marry, of Seville, in a translation by John Fawcett and irresistible (track 2 ). (1922–1986 ) translated many operas, including securely under lock and key. But she’s been Daniel Terry, was performed at Covent Garden The potion doesn’t act fast enough. works by Handel, Tchaikovsky, serenaded by a young man who calls himself in 1818. The translation here used is by Amanda Nemorino needs more, but has no more (The Silent Woman), Schoenberg (), Lindoro (he’s really count Almaviva), has fallen and Anthony Holden. money. He enlists in the army, and with and Berg (). Also Rossini’s Cenerentola for him, and has written to him a letter to be twenty scudi of sign-on money thus earned and (see track 6 ) The Italian Girl in Algiers. smuggled out by Figaro, the barber. Rossini: The Italian Girl in Algiers he buys more elixir. Soon every girl in the Dr Bartolo notices an ink-blot on Rosina’s In 1813, in , young Rossini had his village is flocking round him: they know that Rossini: The Barber of Seville finger: ‘That’s where I burned my finger and I first two big hits: Tancredi, at the Fenice on his rich uncle has died and that he is now a Rossini’s The Barber of Seville was one of the put some ink on it.’ He counts the sheets of 6 February, established him as the master of millionaire. He doesn’t know; he thinks it’s operas that – unaccountably, it now seems – writing paper on the desk: only five, when ; and The Italian Girl in Algiers, at the potion at work. Adina’s heart is touched, flopped at its premiere (at the Teatro before there’d been six: ‘I used one of them to the Teatro San Benedetto on 22 May, at last, when she learns that in an endeavour Argentina, in , on 20 February 1816). wrap up some chocolates for Marcellina’. Then established him as the master of comic opera. to win her, Nemorino has sacrificed his Madam Butterfly was another. But The Barber why’s the quill inky?: ‘The pen… I used to The Italian Girl, like Donizetti’s The Elixir of liberty (track 3 ). Dulcamara urges her to was a success at its second performance, and a draw a flower on my sewing.’ Dr Bartolo isn’t Love, was composed when another composer buy some of his potion, to make sure of success it has remained ever since. Rossini, taken in, and bursts into his splendidly, failed to produce. To save time, an old libretto detaching Nemorino from his flock of new who loved Mozart’s music, responded to the comically pompous aria (track 5 ). was brought into service: Angelo Anelli’s, set admirers, but Adina knows a surer way: challenge of setting the Beaumarchais play to It proved difficult for its early performers. by Luigi Mosca for La Scala in 1808. It was ‘I need no magic potion… For my eyes will which The of Figaro had been a It was replaced, after a few performances, by a somewhat revised. It lacks the shapeliness of work the spell.’ successor. There was already a famous Barber simpler number, ‘Manca un foglio’ (‘There’s a The Barber, the Pirandellian by-play of The She redeems Nemorino’s enlistment papers, opera, Giovanni Paisiello’s (1782), and sheet missing’), composed by Pietro Romani. Turk in , the moral truths that make and all ends happily (track 4 ). Dulcamara Paisiello was still alive. (He died three months The substitution became general: in the Cenerentola moving as well as entertaining. departs, acclaimed by everyone – except after the premiere of Rossini’s version). Rossini nineteenth-century Boosey score of The Yet the slightly ramshackle action is clad in Sergeant Belcore, who had hoped to have wrote to him in advance, apologetically, and Barber, edited by , both arias number after number of such invention, Adina for himself. received the elderly composer’s blessing; but at appear, ‘for the convenience of those using this vivacity, and beauty that the score transcends

12 13 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 14

its source, producing, in Stendhal’s famous performance, at the Prague National Theatre her reactions to what she hears are, in the performed at the Théâtre Italien, in Paris, on phrases, ‘a sweeping enchantment, a kind of on 29 October 1787, it was called a dramma theatre, an important element of the scene. 3 January 1843, during those fevered last years musical frenzy that takes hold of orchestra and giocoso, a jolly drama. Winthrop Sargeant, my Is Leporello in this account of his master’s of activity when the composer poured out one audience alike, sweeping one and all away on predecessor on The New Yorker, called it ‘a ‘scores’ simply being amusingly and brutally fine opera after another. Donizetti has been waves of uncontrollable delight.’ profound essay on the subject of mortality’, its frank? Or is he being intricately, sympathetically called a Shakespeare of the lyric stage. His Isabella, sparkling, resourceful, intrepid, has protagonist ‘not a character but an archetype’. brutal in a deliberate endeavour to persuade identification with his characters, his ability to sailed from Leghorn in search of her beloved His essay concludes: ‘The celebration of a poor Elvira to shed her illusions? In other share their plights, to express their feelings, Lindoro. (He has been captured and is a slave myth is a rite, not a performance, and when I scenes he expresses sotto voce sympathy for her was great. The libretto of Don Pasquale was of the Bey of Algiers.) Travelling with her is go to a performance of Don Giovanni I feel I plight, and open disapproval of Giovanni’s way based on Ser Marc’Antonio by Angelo Anelli – her elderly admirer and cicisbeo, Taddeo. am in the presence of a rite.’ Gounod declared of life. Is he perhaps deliberately exaggerating the same man whose Italiana had served Shipwrecked on the shores of Algiers, they are that the harmonic progressions after the the totals? Should there be reproof, rather than Rossini – which had been set for La Scala captured by pirates. Taddeo is to be sold as a opening chords of the ‘freeze one’s gusto, in his recalling of the many conquests? thirty years before by Stefano Pavesi. It’s a new slave. Isabella will become a prize piece in the soul with terror’. Edward J. Dent, striving to Or maybe a touch of both? About Don version of the amorous-old-man-outwitted Bey’ seraglio; he’s been wanting an Italian provide a corrective to the nineteenth century’s Giovanni questions never cease. plot; others versions are The Barber and woman. They pretend to be uncle and romantic awe, stressed the buffo aspects in his Don Giovanni was first sung in English at Strauss’s The Silent Woman (based on Ben daughter, inseparable. They quarrel, and then influential Mozart’s Operas. Covent Garden, in 1817; the translator was Jonson); Lorca’s oft-set Don Perlimplin is a make up again (track 6 ). The scenes with Donna Elvira – the Isaac Pocock. Amanda Holden’s translation, here tragi-comic variant. The Italian Girl in Algiers was first sung in burlesque serenade, her sudden arrivals at used, has been used by many British companies, Don Pasquale has elected his nephew English at the Princess’s Theatre, London, in inopportune moments, her last-plea and was specially revised for the Chandos Ernesto as his heir, but when he learns of 1836, the translator unnamed. The translation appearance at Don Giovanni’s supper – mingle recording. For a note on Amanda Holden, see Ernesto’s choice of bride, the impoverished by Arthur Jacobs heard here was first sung by mirth and heart-break. Yes, she is rather Falstaff, below. Norina, Pasquale decides to get married and English National Opera at the Coliseum in ridiculous. She’s also poignant, tragic. raise a of his own. His doctor, 1968. For a note on Arthur Jacobs see The Elixir Leporello’s catalogue aria, (track 7 ), is Donizetti: Don Pasquale Malatesta, proposes as bride his demure little of Love, above. another scene with Elvira. His part of it is a I have a friend of about Don Pasquale’s age sister, Sophronia; and (track 8 ) the old boy is buffo aria, its text close-modelled on Giovanni who finds Donizetti’s dramma buffo – about delighted. ‘Sophronia’, of course, is really Mozart: Don ’s Don Giovanni for young people ganging up and duping the old Norina, Ernesto’s beloved, who is all shyness All the items on this disc, I said, come from (which appeared in Venice eight months boy – not at all funny. Well, he’s exaggerating, and sweetness before a (mock) marriage comic operas. Don Giovanni? Well, it defies before Mozart’s opera, and was da Ponte’s and knows it; but Don Pasquale is far from ceremony, but becomes a virago once the classification. On the playbill of the first main source). Elvira’s part in it is mute, but being just foolery. The opera was first contract has been signed. She runs up some

14 15 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 16

stupendous bills. And on the night Verdi: Falstaff bars beginning ‘So che se andiam, la notte’ is a Andrew Shore is acknowledged as Britain’s Don Pasquale (track 9 ) finds her dressed to In his last opera, produced at La Scala on buffo aria in miniature. Falstaff’s Honour premier buffo baritone and an outstanding go out to the theatre. In the first part of a 9 February 1893, when he was eighty, Verdi Monologue, here recorded (track 11 ), has singer/actor. He has worked with English three-movement duet, he tries in vain to assert brought together strands that had run through several ‘sections’ (Boito fashioned its text from National Opera, The Royal Opera, Opera his authority. She smacks his face. In a his long career: among them his lifelong three different Shakespeare scenes), yet it flows North, Glyndebourne Festival Opera, Scottish touching central section, Pasquale feels that his devotion to Shakespeare, his mistrust of the as a whole. The composer Stanford, who went Opera and Welsh world has come to an end, while the ‘real’ fickle public, his generous love of humanity, to Milan to hear the premiere of Falstaff, and National Opera, Norina, in asides, feels sorry for him. In the his tenderness toward young love, his respect wrote two eloquent essays on the work, called and has appeared third section (omitted here) she reassumes her for craftsmanship, his instinctive feeling for it the smiling counterpart of Iago’s Credo in abroad with San vixen role. Sweeping out, she carefully drops – theatrical effect. And now there is a mellow Otello. It begins like accompanied recitative, Diego Opera, for him to find – a letter arranging an acceptance – no longer bitter, but joyful – that moves into more regular periods, grows free New Israeli assignation that night in the garden. The new young men have risen to take the centre again, but with subtle motivic underpinning. Opera, Opéra shattered Don Pasquale summons Malatesta of the stage, even while the old man can still A ‘’, beginning ‘Quickly! Quickly!’, National de Paris- (track 10 ) and tells him what has happened. show them a trick or two. The score is a lasts (counting the orchestral close) just Bastille, Opéra Malatesta proposes that together they should miracle of grace, beauty, mercurial invention, twenty-two bars. It’s all scored in wonderfully Comique, Gran catch ‘Sophronia’ with her lover. If she’s really and fine but never intrusive detail. High spirits subtle colours. Teatre del guilty, he’ll take his ‘sister’ away. and poetic refinement go hand in hand. Often Falstaff was published with Italian, in Barcelona, as Need one add that all ends happily? In a recitative and aria seem to have become one. English, German, and French texts. The first well as in Lyon, Nantes, Santa Fe, Montpellier, final twist of the stratagem, ‘Sophronia’ The vocal line moves freely in response to performance in English (translation by Copenhagen, Amsterdam, Vancouver and declares that she will leave the house if another Boito’s polished text, but there are glimpses W. Beatty Kingston, revised by Fritz Hart) was Ottawa. woman, Norina, dare enter it. So Pasquale along the way of the old, regular forms. given by students of the Royal College of Music, His many have included the orders Ernesto to marry Norina at once. When Within the space of a few bars the composer at the London Lyceum in 1896. Stanford title roles in Wozzeck, Falstaff, , he learns the truth, he’s also learned a lesson. catches the essence of a number that might conducted. Amanda Holden, whose translation is and Don Pasquale, as well as He blesses the young couple. have spread over pages in an earlier opera. heard here, has translated more than fifty operas. Dulcamara (The Elixir of Love), Don Alfonso Don Pasquale was first performed in English Alice’s reading of Falstaff’s letter, ‘Come una Falstaff was the first of them. It was first (Così fan tutte), Figaro (Le nozze di Figaro), at the Princess’s Theatre, London, in 1843; the stella’, is at once parody of a high romantic performed by the City of Birmingham Touring Papageno (The Magic Flute), King Dodon translator, as of The Elixir of Love four years aria and a beautiful melody in itself. A second Opera, in 1987. (Le Coq d’or), Leandro (The Love for Three earlier, was T.H. Reynoldson. The translation ‘aria’ for her, complete with cabaletta, is woven Oranges), Dikoy (Kát’a Kabanová), Dr here used is by David Parry. into the first scene of Act III. Falstaff’s eight © 2002 Andrew Porter Kolenaty (The Makropulos ), Shishkov

16 Sarah Pring as Despina and Andrew Shore as Don Alfonso in 17 Glyndebourne Festival Opera’s production of Mozart’s Così fan tutte CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 18

(From the House of the Dead ), Frank Recordings include the title roles in (Die Fledermaus), Baron (La Vie parisienne), Falstaff and Don Pasquale, Leporello (Don

Baron Trombonok (Il viaggio a Reims), Giovanni), Dr Bartolo (The Barber of Seville), Andrew Shore as Dulcamara in English National Opera’s Rafferty Bill George Wilson (The Great Gatsby), Alberich in Dulcamara (The Elixir of Love), the Sacristan production of Donizetti’s The Elixir of Love concert performances of Das Rheingold, in , Faninal in Der Rosenkavalier Varlaam (Boris Godunov) and Faninal (highlights), and La Bohème, all for (Der Rosenkavalier). Chandos/Peter Moores Foundation.

Sarah Pring as Despina and Andrew Shore as Don Alfonso in Glyndebourne Festival Opera’s production of Mozart’s Così fan tutte Guy Gravett Guy

18 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 20

Whilst still in his early twenties, Peter Moores had started giving financial support to various PETER MOORES, CBE, DL young artists, several of whom – Joan Sutherland, Colin Davis and the late Geraint Evans amongst them – were to become world-famous. In 1964 he set aside a substantial part of his Peter Moores was born in Lancashire, the son of Sir John Moores, founder of the giant inheritance to establish the Peter Moores Foundation, a charity designed to support those Littlewoods mail order, chain store and football pools group. He was educated at Eton and causes dear to his heart: to make music and the arts more accessible to more people; to give Christ Church, Oxford, where he read modern languages – he was already fluent in German encouragement to the young and to improve race relations. and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne Festival Opera before going up to university, and after Oxford he became a production PETER MOORES FOUNDATION student at the Vienna State Opera, combining this with a three-year course at the Vienna In the field of music, the main areas supported by the Peter Moores Foundation are: Academy of Music and Dramatic Art. the recording of operas from the core repertory sung in English translation; the recording By the end of his third year at the Academy Moores had produced the Vienna premiere of or staging of rare Italian opera from the era of the early nineteenth century Britten’s The Rape of Lucretia, had worked as Assistant Producer (repertoire which would otherwise only be accessible to scholars); the nurturing of at the San Carlo , Naples, the Geneva Festival and promising young opera singers; new operatic work. Rome Opera, and seemed set for a successful operatic career. At The Foundation awards scholarships annually to students and post-graduates for furthering this point he received a letter from his asking him to their vocal studies at the Royal Northern College of Music. In addition, project awards may be

come home as he was needed in the firm. Family loyalty being Cooper/PMF Bill given to facilitate language tuition in the appropriate country, attendance at masterclasses or paramount, he returned to Liverpool. summer courses, specialised repertoire study with an acknowledged expert in the field, or From 1981 to 1983 he was a Governor of the BBC, and post-graduate performance training. a Trustee of the Tate Gallery from 1978 until 1985; from The Foundation encourages new operatic work by contributing to recordings, the 1988 to 1992 he was a director of Scottish Opera. He received publication of scores and stage productions. the Gold Medal of the Italian Republic in 1974, an Honorary Since 1964 the Foundation has supported the recording of more than forty operas, many of MA from Christ Church, Oxford, in 1975, and was made these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy opera an Honorary Member of the Royal Northern College of to the full, there must be no language barrier, particularly for newcomers and particularly in the Music in 1985. In May 1992 he became Deputy Lieutenant popular repertoire – hence the series launched with Chandos in 1995. This of Lancashire, and in the New Year’s Honours List for 1991, includes many of the English language recordings funded by the Foundation in the 1970s and he was made a CBE for his charitable services to the Arts. Peter Moores, CBE, DL 1980s, and is now the largest recorded collection of operas sung in English.

20 21 CHAN 3077BOOK.qxd22/5/072:11pmPage22 Andrew Shore asPapageno and in ’s production of Linda Kitchen asPapagenaLinda Kitchen Mozart’s The Magic Flute

Roger de Wolf production ofRossini’s Andrew Shore as Dr Bartolo inKent Opera’s The Barber ofSeville

Roger de Wolf CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 24

Oper. (Auf den Sonderfall Don Giovanni La Scala und von demselben Architekten Große Opernarien gehen wir weiter unten ein.) Wenn es um gebaut worden war, galt über weite Strecken Humor geht, verschiebt sich das Für und des 19. Jahrhunderts als die “Nebenbühne” Die Diskussion darüber, ob Oper in der die “Originalsprache” zur Norm, selbst bei Wider etwas. Incominciate! – oder um in der Scala. Man war dort auf komische Opern Originalsprache gesungen werden sollte oder russischen oder tschechischen Werken. Aus deutscher Übersetzung aus I Pagliacci zu spezialisiert, hatte aber ebenfalls einen Ruf für in der Sprache des Hörers, wird nie enden. Covent Garden – wo Kirsten Flagstad und zitieren: Den Vorhang auf! – zu Szenen aus den Import interessanter Novitäten aus dem Wir brauchen sie auch, denn für beide Seiten Hans Hotter in den Nachkriegsjahren The einigen der großartigsten komischen Opern! Ausland, wie etwa Le Comte Ory, Robert le lässt sich viel sagen. Der viel zitierte englische Valkyrie neu einstudieren mussten und Ljuba Diable und Martha. L’elisir wurde dort in den Schriftsteller Samuel Johnson bezog sich Welitsch Salome auf Englisch zu lernen hatte, Donizetti: The Elixir of Love nächsten beiden Spielzeiten erneut aufgeführt spezifisch auf die italienische Oper in London, wo Boris Godunov, The Queen of Spades, Jenuºfa In vielen Büchern ist zu lesen, dass L’elisir – und mittlerweile hatte die Oper auch ihren als er sie als “eine exotische und irrationale selbstverständlich in englischer Übersetzung d’amore in größter Eile entstand; der Leiter des internationalen Siegeszug angetreten. Unterhaltung” bezeichnete. Bereits 1711 hatte inszeniert wurden – ist ein fremdsprachiger, Canobbiana-Theaters in Mailand, durch die Romani lehnte sich bei seiner Handlung an Joseph Addison im Spectator geschrieben: “exotischer” Tempel geworden, an dessen Unzuverlässigkeit eines anderen Komponisten “das Neueste von Scribe” an, das Libretto für Fraglos werden unsere Enkelkinder sich sehr Aufführungen das Publikum nur distanziert in Verlegenheit gebracht, bedrängte Donizetti Le Philtre, eine Oper von Auber, die 1831 an darüber wundern, warum ihre Vorväter pflegten, teilzuhaben vermag. Die English National mit dem Wunsch, er möge eine seiner eigenen, der Pariser Opéra uraufgeführt worden war. in ihrem eigenen Land wie eine Gruppe von Opera, um die Ecke im Coliseum beheimatet, älteren Opern als Notlösung umschreiben. (Den feschen Sergeanten sang in beiden Ausländern zusammenzusitzen und Schauspiele hat unterdessen die Ideale jener Männer Worauf Donizetti erwiderte: “Belieben Sie zu Werken Henri-Bernard Dabadie.) Viel zu erleben, die in einer ihnen unverständlichen gewahrt, von denen die Oper einmal scherzen? Ich pflege nicht, meine Werke – übernahm Romani in direkter Übersetzung. Sprache dargeboten wurden. ausgegangen ist: unmittelbar verständliches oder die anderer – aufzufrischen. Sehen wir, (Man vergleiche die einleitende Kavatine der Fast dreihundert Jahre später hat sich daran Drama, gesteigert durch die Macht der Musik. ob ich nicht eine neue Oper für Sie schreiben Heldin: “Qu’elle est jolie!… Elle sait lire… nichts geändert. In der zweiten Hälfte des Wagner und Verdi wussten sehr wohl über die kann. Schicken Sie nach Romani!” Diesem Moi, je ne suis qu’un ignorant” mit “Quanto è 20. Jahrhunderts verstärkte sich neuerlich der im Zuge der Übersetzung eingeführten wiederum erklärte Donizetti: “In vierzehn bella!… Essa legge… Io son sempre un Wunsch nach Oper im Original – etwas, was Verzerrungen und waren darüber entrüstet, Tagen haben wir eine neue Oper abzuliefern; idiota”.) Doch Romani bereichterte die der berühmte amerikanische Bariton David und doch befürworteten sie die Praxis, riefen ich gebe Ihnen eine Woche für die Erstellung Komödie von Scribe um eine semiseria Bispham den “Fremdsprachenfimmel” nannte. sogar dazu auf, weil sie darin das kleinere Übel des .” Romanze. Die Parallelen zu Bellinis La An den großen Bühnen von Mailand, sahen. Nur gut sollten die Übersetzungen sein. Wie dem auch immer gewesen sein mag, sonnambula sind meiner Meinung nach München, Paris und Wien, wo regelmäßig Damit genug! Auf dieser CD singt Andrew am 12. Mai 1832 wurde am Canobbiana ein beabsichtigt. (La sonnambula, ebenfalls mit Oper in der Heimatsprache inszeniert wurde, Shore in zeitgemäßer Übersetzung für ein Juwel von einer komischen Oper gegeben. Das einem Libretto Romanis nach Scribe, war und auch in vielen kleineren Häusern wurde Englisch sprechendes Publikum komische Canobbiana, das etwa zur gleichen Zeit wie 1831 in Mailand inszeniert worden.) Die

24 25 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 26

zärtlichen Duette “Son geloso del zefiro reicher Onkel gestorben ist und ihm alles Rossini: The Barber of Seville Wirklichkeit Almaviva) hat ihr ein Ständchen errante… Son, mio bene, del zefiro amante” vermacht hat. Er weiß es nicht und glaubt, Rossinis The Barber of Seville gehört zu jenen gebracht, und sie ist ihm zugeneigt; sie hat (in La sonnambula) und “Chiedi all’aura dass hier der Liebestrank am Werke ist. Adina Opern, die aus heute unerklärlich scheinenden ihm heimlich einen Brief geschrieben, den lusinghiera… Chiedi al rio perchè gemente” geht schließlich in sich, als sie erfährt, dass Gründen bei der Premiere (am 20. Februar Figaro, der Barbier, aus dem Haus schmuggeln (in L’elisir) sind ähnlich geartet und plaziert. Nemorino aus Liebeskummer seine Freiheit 1816 am Teatro Argentina in Rom) eklatant soll. Dr. Bartolo bemerkt einen Tintenfleck an In Le Philtre gab es keine Arie wie “Una geopfert hat (Band 3 ). Dulcamara drängt sie, durchfielen. Madam Butterfly wäre ein anderes Rosinas Finger: “Ich habe mich verbrannt, und furtiva lagrima”. von seinem Elixir zu kaufen, damit sich Beispiel. Doch die zweite Aufführung des mit der Tinte wollte ich es kühlen.” Er zählt Adina, die Heldin in L’elisir, stellt sich dem Nemorino auch wirklich von seinen neuen Barbiere war ein Erfolg, und ein Erfolg ist die die Blätter Schreibpapier auf dem Tisch – Publikum mit der “storia del Tristano” vor, die Bewunderinnen trennt, doch weiß Adina Oper seitdem geblieben. Rossini, ein großer fünf, wo es doch sechs waren: “Ich brauchte sie den Erntearbeitern vorliest. (Wagners einen besseren Weg: “I need no magic Verehrer der Musik Mozarts, nahm die eins, um Konfekt zu Barbarina zu schicken.” Fassung lag noch weit in der Zukunft.) Als der potion… For my eyes will work the spell.” Herausforderung an, jenes Schauspiel von Warum ist dann die Feder feucht? “Ich wollte reisende Quacksalber Dulcamara im Dorf Sie kauft dem Sergeanten Nemorinos Beaumarchais zu vertonen, an das sich eine Blume auf meine Sticktrommel erscheint, versucht er mit “Attention! Werbeschein wieder ab, und alles endet in Die Hochzeit des Figaro angeschlossen hatte. zeichnen.” Dr. Bartolo lässt sich davon nicht Attention!” (Band 1 ) lebhaft, sein als Glückseligkeit (Band 4 ). Dulcamara wird Eine sehr erfolgreiche Barbiere-Oper, von überzeugen und stimmt seine glänzende, Allheilmittel gepriesenes “Elixir” unter die freudig verabschiedet – nur nicht von Sergeant Giovanni Paisiello (1782), existierte bereits, komisch-pompöse Arie an (Band 5 ). Leute zu bringen. Der liebeskranke Nemorino Belcore, der Adina für sich selbst erhofft hatte. und Paisiello lebte noch (er starb drei Monate Sie sollte sich für die ersten Interpreten als geht auf ihn ein: Hat er vielleicht auch den The Elixir of Love wurde 1839 in englischer nach der Uraufführung der Rossini-Version). schwierige Aufgabe erweisen. Schon nach Liebestrank der Königin Isolda? “Na, ich Sprache zuerst am Surrey Theatre und dann Rossini wandte sich vorsorglich mit einem wenigen Aufführungen wurde sie durch eine destilliere ihn selbst”, erwidert Dulcamara und Drury Lane Theatre inszeniert. Die Übersetzung Entschuldigungsschreiben an den greisen einfacherere Nummer, “Manca un foglio” verkauft ihm eine Flasche billigen Wein. stammte von T.H. Reynoldson. Die der Komponisten, der ihm daraufhin sein (“Da fehlt ein Blatt”), des Komponisten Pietro Nemorino ist begeistert: Bald wird ihm die vorliegenden Aufnahme zugrundeliegende Wohlwollen ausdrückte; mit Rücksicht auf Romani ersetzt. Die Substitution setzte sich hochmütige Adina nicht widerstehen können Textfassung von Arthur Jacobs wurde 1964 zum Paisiello nannte Rossini das Werk zunächst allgemein durch: In der von Boosey im (Band 2 ). erstenmal von der Maidstone Opera Group Almaviva, oder die unnütze Vorsicht, bevor es 19. Jahrhundert veröffentlichten Partitur des Der Liebestrank wirkt nicht schnell genug. aufgeführt. Arthur Jacobs (1922–1986) dann im weiteren Verlauf des Jahres in Barbiere, editiert von Arthur Sullivan, Nemorino benötigt mehr davon, doch fehlt übersetzte zahlreiche Opern, darunter Werke von Bologna unter dem Titel Paisiellos im erscheinen beide Arien, “im Sinne jener, die ihm das Geld. Er verdingt sich als Soldat, und Händel, Tschaikowski, Strauss (The Silent Programm erschien. diese Ausgabe als Handbuch benutzen, da mit den zwanzig Scudi Werbegeld kauft er Woman), Schönberg (Erwartung) und Berg Dr. Bartolo gedenkt, sein eifersüchtig ‘Manca un foglio’ heute generell an die Stelle mehr Elixir. Bald sind alle jungen Mädchen (Lulu), sowie Rossinis Cenerentola und (siehe gehütetes Mündel Rosina zu heiraten. Doch von ‘A un dottor’ tritt.” Inzwischen ist jedoch des Dorfes nett zu ihm: Sie wissen, dass sein Band 6 ) The Italian Girl in Algiers. ein junger Mann namens Lindoro (in “Manca un foglio” eher die Ausnahme.

26 27 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 28

Die erste englische Aufführung von Vorlage hinauswächst. Das Ergebnis ist – um Mozart: Don Giovanni Heiterkeit mit Leid. Ja, sie ist eine lächerliche The Barber of Seville, in einer Übersetzung von mit Stendhal zu sprechen – “eine mitreißende Alle Arien auf dieser CD stammen wie gesagt Erscheinung. Sie ist aber auch ergreifend, John Fawcett und Daniel Terry, fand 1818 in Verzauberung, eine Art musikalisches Fieber, aus komischen Opern. Don Giovanni? Nun, tragisch. Leporellos Register-Arie, die hier Covent Garden statt. Der hier verwendete Text das Orchester und Publikum gleichermaßen dieses Werk entzieht sich jedem Versuch einer enthalten ist (Band 7 ), entstammt einer stammt von Amanda und Anthony Holden. erfasst und allesamt auf Wellen unzähmbaren Kategorisierung. Auf dem Theaterzettel für die weiteren Szene mit Elvira. Er singt eine Buffo- Vergnügens hinfort trägt.” Uraufführung, die am 29. Oktober 1787 im Arie, im Text eng angelehnt an Giovanni Rossini: The Italian Girl in Algiers Isabella – feurig, findig, furchtlos – hat sich Prager Nationaltheater stattfand, erschien es Bertatis Don Giovanni für Giuseppe Gazzaniga 1813 feierte der junge Rossini in Venedig seine von Leghorn aus auf die Suche nach ihrem als oder “heiteres Drama”. (der in Venedig acht Monate vor der Mozart- ersten beiden großen Erfolge: Tancredi, am geliebten Lindoro gemacht (er ist in Winthrop Sargeant, mein Vorgänger beim Oper erschienen war und da Pontes 6. Februar am Fenice uraufgeführt, etablierte Gefangenschaft geraten und dient als Sklave New Yorker, nannte es “einen profunden Essay Hauptquelle darstellte). Elviras Rolle ist ihn als Meister der Opera seria, während dem Bey von Algier). Begleitet wird sie von über das Thema der Sterblichkeit”; sein stumm, aber ihre Reaktionen auf das Gehörte L’Italiana in Algeri (22. Mai, Teatro San ihrem ältlichen Verehrer Taddeo. Vor der Protagonist sei “keine Figur, sondern ein leisten auf der Bühne einen wichtigen Beitrag Benedetto) ihm den gleichen Rang in der algerischen Küste werden sie schiffbrüchig und Archetyp”. Und er schließt mit den Worten: zum Geschehen. Ist Leporello mit dieser verschaffte. L’Italiana in Algeri von Korsaren aufgegriffen. Taddeo soll als “Die Feier des Mythos ist ein Ritus, keine Bilanz der “Errungenschaften” einfach nur entstand, ebenso wie Donizettis L’elisir Sklave verkauft werden, Isabella den Harem Darbietung, und wenn ich zu einer amüsant und von brutaler Offenheit? Oder ist d’amore, als Verlegenheitswerk beim Ausfall des Beys bereichern – er verlangt seit einiger Aufführung des Don Giovanni gehe, habe ich er auf raffinierte, sympathisierende Weise einer anderen Auftragsarbeit. Um Zeit zu Zeit nach einer Italienerin. Isabella und das Gefühl, einem Ritus beizuwohnen.” bewusst brutal, um die arme Elvira von ihren sparen, griff man auf ein altes Libretto zurück: Taddeo wollen sich untrennbar als Onkel und Gounod erklärte: “Die harmonischen Illusionen zu befreien? In anderen Szenen eine Vorlage von Angelo Anelli, die 1808 von Nichte ausgeben. Die beiden streiten Progressionen nach den Eröffnungsakkorden bringt er sotto voce Mitgefühl für ihr Schicksal Luigi Mosca für die Scala vertont worden war miteinander und versöhnen sich (Band 6 ). der Ouvertüre frieren einem die Seele mit und offene Ablehnung von Giovannis und nur geringfügig überarbeitet wurde. Man 1836 wurde The Italian Girl in Algiers zum Angst ein”. Edward J. Dent, der darum Lebensart zum Ausdruck. Übertreibt er die vermisst die ansprechende Form des Barbiere, erstenmal in englischer Sprache am Princess’s bemüht war, die romantische Ehrfurcht des Zahlen vielleicht absichtlich? Sollte in der die pirandellische Nebenhandlung von Il turco Theatre London aufgeführt. Der Verfasser des 19. Jahrhanderts abzubauen, hob in seiner Rückschau auf die Eroberungen mehr Ekel als in Italia, die moralischen Wahrheiten, die La ursprünglichen Textes ist unbekannt, die einflussreichen Abhandlung Mozart’s Operas Begeisterung durchklingen? Vielleicht auch Cenerentola ebenso rührend wie unterhaltsam vorliegende Übersetzung von Arthur Jacobs die Buffo-Aspekte des Werkes hervor. etwas von beidem? Die Fragen zu Don machen. Doch die eher chaotische Handlung wurde 1968 zum erstenmal von der English Die Szenen mit Donna Elvira – die burleske Giovanni wollen nie enden. entwickelt sich mit einer Nummer nach der National Opera im Coliseum gesungen. Näheres Serenade, ihre plötzlichen Auftritte zu Der erste englische Don Giovanni wurde anderen in derartiger Phantasie, Lebhaftigkeit zu Arthur Jacobs erfahren Sie unter The Elixir ungelegenen Zeiten, ihr flehender Appell beim 1817 in Covent Garden aufgeführt; die und Schönheit, dass die Partitur über ihre of Love weiter oben. Festmahl Don Giovannis – verbinden Übersetzung stammte von Isaac Pocock. Der hier

28 29 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 30

verwendete Text von Amanda Holden ist auch an Stoff ist ein beliebtes Thema (ein ausdrückt. Im dritten (hier ausgelassenen) Teil Verdi: Falstaff vielen anderen Bühnen gesungen und für die liebeshungriger Alter wird überlistet), u.a. im nimmt sie ihre Furienrolle wieder auf. Bei In seiner letzten Oper, die am 9. Februar 1893 Chandos-Aufnahme eigens überarbeitet worden. Barbiere und in der Schweigsamen Frau (nach ihrem demonstrativen Abgang lässt sie an der Scala uraufgeführt wurde, verknüpfte Näheres über Amanda Holden erfahren Sie unter Ben Jonson) von Strauss verarbeitet; Lorcas geschickt einen von ihm zu findenden Brief der nunmehr achtzigjährige Verdi die Fäden, Falstaff weiter unten. gern herangezogener Don Perlimplin ist eine fallen, in dem es um ein Stelldichein im die sein langes Leben durchzogen hatten: seine tragikomische Variante. Garten am selben Abend geht. Don Pasquale Verehrung für Shakespeare, sein Misstrauen Donizetti: Don Pasquale Als Don Pasquale erfährt, dass sein Neffe ist erschüttert und ruft Malatesta herbei gegenüber dem wankelmütigen Publikum, Ich habe einen Bekannten etwa im Alter von Ernesto die verarmte Norina heiraten will, (Band 10 ), um ihm die Ereignisse zu seine selbstlose Menschlichkeit, seine Don Pasquale, der Donizettis dramma buffo – beschließt er, ihm die Erbschaft zu verderben, berichten. Malatesta regt an, die beiden Zärtlichkeit gegenüber der jungen Liebe, sein über einige junge Leute, die sich dazu indem er selbst in den Ehestand eintritt und könnten ja gemeinsam “Sophronia” mit ihrem Respekt für das Handwerk, sein Instinkt für verbünden, einen alten Knaben zum Narren dine eigene Familie gründet. Sein Hausarzt, Verehrer überraschen. Wenn sie sich den Bühneneffekt. Hinzu kam seine abgeklärte zu machen – überhaupt nicht komisch findet. Malatesta, schlägt ihm seine schüchterne tatsächlich schuldig machen sollte, werde er Einsicht – nicht mehr bitter, sondern freudig – Nun ja, er übertreibt, und das weiß er auch; kleine Schwester, Sophronia, als gute Partie seine “Schwester” fortbringen. dass nun junge Nachwuchskomponisten das aber in Don Pasquale geht es bei weitem nicht vor, und der alte Knabe ist begeistert Muss man erwähnen, dass alles ein Rampenlicht beanspruchten, obwohl ihnen nur um Schabernack. Die Oper wurde am (Band 8 ). Bei “Sophronia” handelt es sich in glückliches Ende nimmt? In einer letzten der Alte immer noch einiges beibringen 3. Januar 1843 am Théâtre-Italien in Paris Wirklichkeit aber um Norina, die Angebete Wendung des Komplotts erklärt “Sophronia”, konnte. Die Partitur ist ein Wunder an uraufgeführt, in jenen letzten, hektischen Ernestos, die vor der (gestellten) Vermählung sie werde das Haus unter Protest verlassen, Eleganz, Schönheit, quecksilbriger Jahren, als Donizetti eine großartige Oper kein Wässerchen trüben könnte, sich dann falls je eine andere Frau, Norina, den Fuß über Erfindungsgabe und herrlichem, jedoch nie nach der anderen hervorbrachte. Man hat aber als Xanthippe erweist. Unaufhörlich die Schwelle setzen sollte. Erleichtert weist aufdringlichem Detail. Gehobene Stimmung Donizetti als einen Shakespeare des laufen ihre Rechnungen ein, und am Pasquale seinen Neffen an, sofort Norina zu und poetische Raffinessen gehen Hand in Musiktheaters bezeichnet. Wie er sich mit Hochzeitsabend entdeckt Don Pasquale heiraten. Als er die Wahrheit erfährt, hat er Hand. Oft scheinen Rezitativ und Arie seinen Protagonisten identifizieren, ihr (Band 9 ), dass sie sich für einen selber daraus gelernt, und er gibt dem jungen ineinander zu verfließen. Die Vokallinie Schicksal teilen, ihre Gefühle zum Ausdruck Theaterbesuch vorbereitet hat. Im ersten Teil Paar seinen Segen. bewegt sich frei zu Boitos geschliffenem Text. bringen konnte, das war schon beachtlich. Das eines dreisätzigen Duetts versucht er Die erste englischsprachige Aufführung des Doch hin und wieder machen sich alte, Libretto von Don Pasquale stützte sich auf vergeblich, seine Autorität geltend zu machen. Don Pasquale fand 1843 am Princess’s Theatre strengere Formen bemerkbar. Innerhalb Ser Marc’Antonio von Angelo Anelli (dessen Er wird von ihr geohrfeigt. In dem rührenden London statt; die Übersetzung besorgte, wie weniger Takte erfasst er das Wesen einer Italiana ja schon Rossini inspiriert hatte) – ein Mittelteil glaubt Pasquale, das Ende der Welt schon bei The Elixir of Love vier Jahre zuvor, Nummer, die sich in früheren Werken Stück, das dreißig Jahre vorher von Stefano sei gekommen, während die “wirkliche” T.H. Reynoldson. Der hier verwendete Text vielleicht über mehrere Seiten erstreckt hätte. Pavesi für die Scala vertont worden war. Der Norina in Nebenbemerkungen ihr Mitleid stammt von David Parry. Wenn Alice den Brief von Falstaff liest

30 31 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 32

(“Come una stella”), dann ist dies nicht nur Studenten des Royal College of Music im (Die Zauberflöte), King Dodon (Le Coq d’or), (Boris Godunow) und Faninal (Der eine Parodie auf die hochromantische Arie, Londoner Lyceum. Stanford dirigierte. Amanda Leandro (Die Liebe zu den drei Orangen), Rosenkavalier). sondern auch eine wunderschöne Melodie an Holden, deren Text hier gesungen wird, hat mehr Dikoy (Kát’a Kabanová), Dr. Kolenaty Zu seinen Schallplattenaufnahmen gehören sich. Eine zweite “Arie” für sie, komplett mit als fünfzig Opern übersetzt. Falstaff machte den (Die Sache Makropulos), Siskov (Aus einem die Titelrollen in Falstaff und Don Pasquale, Cabaletta, ist in der 1. Szene von Akt 3 Anfang. Die Erstaufführung erfolgte durch die Totenhaus), Frank (Die Fledermaus), Baron Leporello (Don Giovanni), Dr. Bartolo (The verwoben. Die mit “So che se andiam, la City of Birmingham Touring Opera im Jahr (La Vie parisienne), Baron Trombonok Barber of Seville), Dulcamara (The Elixir of notte” beginnenden acht Takte Falstaffs sind 1987. (Il viaggio a Reims), George Wilson (The Great Love), Mesner (Tosca), Faninal in Der eine Buffo-Arie en miniature. Der hier Gatsby), Alberich in konzertanten Rosenkavalier (Auswahl) und La Bohème, alle enthaltene Ehrenmonolog Falstaffs (Band 11 ) © 2002 Andrew Porter Aufführungen von Das Rheingold, Varlaam für Chandos/Peter Moores Foundation. weist mehrere “Sektionen” auf (Boito baute Übersetzung: Andreas Klatt den Text aus drei verschiedenen Shakespeare- Andrew Shore as Dr Bartolo, Eiran James as Rosina and Szenen zusammen), fließt aber als Ganzes. Der Andrew Shore gilt als führender britischer Peter Bronder as Count Almaviva in English National Clive Barda Clive Komponist Stanford, der sich zur Premiere des Baritonbuffo und als herausragender Opera’s production of Rossini’s The Barber of Seville Falstaff nach Mailand begab und zwei Sänger/Schauspieler. Er hat mit der English aufschlussreiche Essays über das Werk schrieb, National Opera, The Royal Opera, Opera nannte diesen Monolog das lächelnde North, Glyndebourne Festival Opera, Scottish Gegenstück zu Iagos Credo in Otello. Er Opera und Welsh National Opera beginnt wie ein Rezitativ mit Begleitung, geht zusammengearbeitet und ist im Ausland mit zu einem regelmäßigeren Rhythmus über, der San Diego Opera, New Israeli Opera, befreit sich erneut, doch diesmal auf subtile Opéra National de Paris-Bastille, Opéra Weise motivisch untermauert. Eine “Quickly! Comique und dem Gran Teatre del Liceu in Quickly!” beginnende Cabaletta dauert Barcelona sowie in Lyon, Nantes, Santa Fe, (einschließlich Orchesterabschluss) nur Montpellier, Kopenhagen, Amsterdam, 22 Takte. Alles ist in herrlich feinen Farben Vancouver und Ottawa aufgetreten. orchestriert. Sein Repertoire umfasst u.a. die Titelrollen Falstaff erschien mit italienischen, englischen, in Wozzeck, Falstaff, King Priam, Gianni deutschen und französischen Texten. Die erste Schicchi und Don Pasquale sowie Dulcamara englische Aufführung (von W. Beatty Kingston (L’elisir d’amore), Don Alfonso (Così fan tutte), übersetzt und von Fritz Hart überarbeitet) gaben Figaro (Le nozze di Figaro), Papageno

32 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 34

voici, Andrew Shore chante des airs de l’opéra époque que La Scala, par le même architecte, Grands airs d’opéra comique. (J’aborderai plus loin le cas assez fut pendant la plus grande partie du XIXe particulier de Don Giovanni.) Les arguments siècle la “deuxième salle” de La Scala. Faut-il privilégier l’opéra dans l’original ou lui langue du public, ainsi que dans bon nombre pour et contre le texte original sont légèrement Spécialisé dans l’opéra comique, il était préférer une traduction dans la langue des de petits théâtres, “l’original” devint la norme, différents lorsqu’il s’agit de comédie. également réputé pour ses productions de auditeurs? Le débat continue de faire rage. Et même pour les opéras en russe ou en tchèque. Incominciate! – ou, comme nous le dirait une nouveautés intéressantes venues de l’étranger, c’est tant mieux: car les arguments abondent Covent Garden – où, dans les années d’après- traduction française de Pagliacci, Que le rideau comme Le Comte Ory, Robert le Diable, d’un côté comme de l’autre. Ce n’est pas guerre, Kirsten Flagstad et Hans Hotter d’une se lève! – sur quelques scènes tirées des plus Martha. The Elixir of Love y fut remonté l’opéra en général mais plus particulièrement part et Ljuba Welitsch d’autre part réapprirent grands opéras comiques! durant les deux saisons suivantes – alors qu’il l’opéra italien à Londres que Dr. Johnson respectivement La Walkyrie et Salomé en connaissait déjà un large succès sur la scène qualifia de cette phrase célèbre, “un anglais, et où Boris Godounov, La Dame de Donizetti: The Elixir of Love internationale. exotique dépourvu de raison”. Pique et Jenuºfa étaient automatiquement Nous lisons partout que The Elixir of Love fut Romani emprunta son intrigue à la dernière Et dans un numéro de 1711 du Spectator, traduits – Covent Garden lui-même est composé à la hâte; le directeur du Théâtre création en date de Scribe, son livret pour Joseph Addison écrivit: devenu un théâtre “exotique” adepte des Canobbiana à Milan, ne sachant plus à quel Le Philtre, un opéra d’Auber monté à l’Opéra Il est certain que nos arrières Petits-Enfants langues étrangères, un théâtre qui se distancie saint se vouer lorsqu’un compositeur manqua de Paris en 1831. (Le fringant sergent fut créé seront curieux de découvrir pourquoi leurs de son public dans ses représentations. de livrer une œuvre dans les délais prévus, dans les deux œuvres par le même chanteur, Ancêtres avaient l’habitude de se réunir comme Pendant ce temps, l’English National Opera, supplia Donizetti de rafraîchir un de ses Henri-Bernard Dabadie.) L’œuvre de Romani un Public d’Etrangers dans leur propre Pays pour basé au Coliseum à Londres, a maintenu les anciens opéras pour combler ce vide. Donizetti en est en grande partie une traduction directe. écouter des Drames entiers se dérouler devant idéaux de ceux qui conçurent l’opéra: un lui répondit: “Vous voulez rire? Je n’ai pas (Comparez donc la cavatine initiale du héros: eux dans une Langue qu’ils ne comprenaient pas. drame qui se comprend immédiatement et l’habitude de retoucher à mes œuvres, ni à “Qu’elle est jolie!… Elle sait lire… Moi, je ne Pourtant, près de trois siècles plus tard, rien auquel la musique donne une force nouvelle. celles des autres, d’ailleurs. Je vais voir si je suis qu’un ignorant” et “Quanto è bella!… n’a changé. Durant la seconde moitié du Wagner et Verdi étaient tout à fait conscients peux vous écrire un nouvel opéra. Faites venir Essa legge… Io son sempre un idiota”.) Mais XXe siècle, l’opéra dans l’original – ce que le que la traduction risquait de déformer un texte Romani!” Et Donizetti annonça alors à Felice Romani ajouta à la comédie de Scribe une grand baryton américain David Bispham et ils le déploraient, mais ils accueillirent cet Romani: “On nous demande un nouvel opéra touche de romance semi seria. Je pense que les qualifia d’“engouement pour la langue exercice à bras ouverts et recommandèrent son pour dans deux semaines; je vous donne une parallèles avec La Somnambule de Bellini sont étrangère” – prit un nouvel essor. Et dans les emploi, certains que les avantages dépassaient semaine pour préparer le livret.” délibérés. (La Somnambule, dont le livret est grands théâtres de Milan, Munich, Paris et les inconvénients. Ils exigèrent cependant que Quoi qu’il en soit, cette perle de l’opéra aussi de Romani d’après Scribe, avait été créé à Vienne, où l’on avait eu l’habitude de monter les traductions soient de bonne qualité. comique fut créée au Théâtre Canobbiana le Milan en 1831.) Les tendres duos “Son geloso régulièrement les opéras étrangers dans la Mais j’en ai assez dit! Sur le disque que 12 mai 1832. Ce théâtre, construit à la même del zefiro errante… Son, mio bene, del zefiro

34 35 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 36

amante” (dans La Somnambula) et “Chiedi s’agglutinent autour de lui: elles ont appris Rossini: The Barber of Seville Bartolo remarque une tache d’encre sur all’aura lusinghiera… Chiedi al rio perchè qu’un riche oncle de Nemorino vient de mourir The Barber of Seville de Rossini fait partie de le doigt de Rosine: “Je me suis brûlée, et gemente” (dans L’Elixir) sont dans le même et que ce dernier est maintenant millionnaire. ces opéras qui firent un four – totalement je me suis servi d’encre pour faire passer la esprit et se situent à des moments identiques. Mais Nemorino n’en sait rien et pense que c’est inexplicable à nos yeux – lors de leur création douleur.” Il compte les feuilles de papier Le Philtre ne comprenait pas une célèbre aria l’effet de la potion. Adina finit par être émue (au Teatro Argentina à Rome, le 20 février sur le bureau; il n’y en a que cinq, alors qu’il comme “Una furtiva lagrima”. lorsqu’elle apprend que Nemorino a sacrifié sa 1816). Tout comme Madama Butterfly. Mais le y en avait six: “J’en ai utilisé une pour Les premiers mots de l’héroïne dans L’Elixir liberté pour tenter de gagner son cœur (3 ). Barbier fut un succès dès la deuxième envelopper des bonbons que j’ai envoyés à sont “È la storia del Tristano”. Adina lit l’histoire Dulcamara l’exhorte à acheter de sa potion pour représentation et le reste encore de nos jours. Barbarina.” Alors pourquoi la plume est-elle de Tristan aux jeunes filles et aux moissonneurs. séparer à jamais Nemorino de ses nombreuses Rossini, qui adorait la musique de Mozart, couverte d’encre?: “J’étais en train de tracer (La version de Wagner ne viendrait que bien des admiratrices, mais Adina connaît un moyen releva le défi de mettre en musique la pièce de un motif sur ma broderie.” Le docteur Bartolo années plus tard.) Lorsque le charlatan ambulant plus sûr: “I need no magic potion… For my Beaumarchais qui avait précédé Le nozze de ne s’y laisse pas prendre et se lance dans Dulcamara arrive au village, il débite son eyes will work the spell.” Figaro. Il existait déjà un opéra célèbre du une aria pompeuse d’un comique boniment enjoué – “Attention! Attention!” 1 – Elle rachète la feuille d’enrôlement de Barbier, celui de Giovanni Paisiello (1782) et merveilleux (5 ). pour vendre son merveilleux “élixir” – un Nemorino et tout est bien qui finit bien (4 ). Paisiello était encore en vie. (Il mourut trois Les premiers interprètes trouvèrent cette aria remède qui guérira tous les maux dont l’homme Dulcamara s’en va, acclamé par tous – sauf par mois après la création de la version de difficile. Elle fut remplacée, après quelques peut souffrir. Nemorino, qui languit d’amour le sergent Belcore qui avait espéré garder Adina Rossini). Rossini lui écrivit avant la première représentations, par une mélodie plus simple, pour Adina, s’approche de lui: a-t-il par hasard pour lui. pour s’excuser et le compositeur vieillissant lui “Manca un foglio” (Il manque une feuille), cette potion qui sut éveiller la de la reine The Elixir of Love fut donné pour la donna sa bénédiction; mais à sa création, par composée par Pietro Romani. Ce changement Isolde? “Pensez-vous, je l’ai concoctée moi- première fois en anglais au Surrey Theatre puis à respect pour Paisiello, l’opéra fut intitulé fut adopté partout: dans l’édition Boosey du même” lui répond Dulcamara (dans l’italien Drury Lane en 1839. Le traducteur était Almaviva, ou la Précaution inutile; ce n’est que Barbier réalisée au XIXe siècle par Arthur original) et il vend à Nemorino une bouteille de T.H. Reynoldson. La traduction d’Arthur Jacobs plus tard cette année-là, à Bologne, que le titre Sullivan, les deux arias sont présentes, “pour vin bon marché. Nemorino est ravi: la utilisée ici fut chantée pour la première fois par le de Paisiello apparut sur l’affiche. convenir à ceux qui se servent de cette édition dédaigneuse Adina va sûrement le trouver Maidstone Opera Group en 1964. Arthur Jacobs Le docteur Bartolo essaie de garder sous clef comme texte, puisque ‘Manca un foglio’ irrésistible (2 ). (1922–1986) traduisit de nombreux opéras, sa pupille Rosine, une jeune fille pétulante remplace aujourd’hui le plus souvent ‘A un La potion n’agit pas assez vite. Nemorino en entre autres des œuvres de Haendel, Tchaïkovski, qu’il espère épouser. Mais elle s’est éprise d’un dottor’.” De nos jours, c’est “Manca un foglio” veut une autre bouteille, mais il n’a plus Richard Strauss (The Silent Woman), jeune homme qui dit s’appeler Lindoro (il qui est rarement interprétée. d’argent. Il s’enrôle dans l’armée et avec les Schoenberg (Erwartung) et Berg (Lulu). s’agit en fait d’Almaviva) et qui lui a joué une La première représentation en anglais du vingt scudi de sa solde il achète un peu plus Il traduisit également Cenerentola et The sérénade; elle lui a écrit une lettre que le Barber of Seville, dans une traduction de John d’élixir. Bientôt toutes les filles du village Iatlian Girl in Algiers (cf. ()6 de Rossini. barbier Figaro doit lui faire passer. Le docteur Fawcett et Daniel Terry, eut lieu à Covent

36 37 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 38

Garden en 1818. La traduction utilisée ici est La pétillante Isabella, une jeune femme la première qui eut lieu au Théâtre national de près du Don Giovanni de Giovanni Bertati d’Amanda et Anthony Holden. intrépide et ingénieuse, a quitté Livourne pour Prague le 29 octobre 1787 annonçait un pour Giuseppe Gazzaniga (qui parut à Venise parcourir les mers à la recherche de son dramma giocoso, un drame joyeux. Winthrop huit mois avant l’opéra de Mozart et fut la Rossini: The Italian Girl in Algiers Lindoro bien-aimé. (Après avoir été capturé, Sargeant, mon prédecesseur au New Yorker, y source principale de Da Ponte). Elvira ne dit C’est en 1813, à Venise, que le jeune Rossini ce dernier est devenu l’esclave du Bey d’Alger.) vit “un essai profond sur la mortalité”, avec un pas un mot durant cette scène, mais ses connut ses deux premiers grands succès: Elle voyage en compagnie de Taddeo, son héros qui “n’est pas un personnage mais un réactions sur scène aux paroles de Leporello Tancrède, au Théâtre de la Fenice le 6 février, soupirant vieillissant et chevalier servant. archétype”. Il conclut son essai en déclarant: ont leur importance. En racontant les succès l’imposa comme le maître de l’opera seria; et Rejetés sur les côtes d’Alger à la suite d’un “La célébration d’un mythe est un rite, et non de son maître, Leporello fait-il preuve L’Italienne à Alger, au Théâtre San Benedetto naufrage, ils sont capturés par des pirates. un spectacle; lorsque j’assiste à une simplement d’une franchise à la fois drôle et le 22 mai, comme celui de l’opéra comique. Taddeo va être vendu comme esclave. Isabella représentation de Don Giovanni, j’ai brutale? Ou bien choisit-il d’être brutal par L’Italienne à Alger, tout comme L’Elixir d’amour sera une addition précieuse au sérail du Bey l’impression d’être en présence d’un rite.” compassion, pour tenter de convaincre la de Donizetti, fut composé lorsqu’un autre qui voulait depuis longtemps une Italienne. Ils Quant à Gounod, il trouva que les pauvre Elvira qu’elle doit perdre ses illusions? compositeur manqua de livrer une œuvre. Pour se font passer pour un oncle et sa nièce, progressions harmoniques après les accords Dans d’autres scènes, il compatit à voix basse gagner du temps, Rossini reprit un ancien livret inséparables. Ils se querellent puis font la paix initiaux de l’ouverture étaient “à vous figer aux misères d’Elvira et désapprouve d’Angelo Anelli que Luigi Mosca avait mis en ().6 l’âme de terreur”. Edward J. Dent, de son ouvertement le comportement de Giovanni. musique pour La Scala en 1808. Il lui fit subir The Italian Girl in Algiers fut chanté pour la côté, voulant rectifier cette crainte révérentielle Exagère-t-il délibérément le nombre des quelques révisions. Cet opéra n’a pas les belles première fois en anglais au Princess’s Theatre à ressentie par le XIXe siècle romantique, fit conquêtes? Devrait-il les évoquer avec dégoût proportions du Barbier, il ne renferme ni les Londres en 1836, dans une traduction anonyme. ressortir le côté buffo de l’œuvre dans son plutôt que panache? Ou avec un peu des deux? intrigues secondaires à la Pirandello du Turc en La traduction d’Arthur Jacobs que l’on entend ici important volume intitulé Mozarts Operas. Don Giovanni reste la source de questions Italie, ni les vérités morales qui font de fut chantée pour la première fois par l’English Les scènes avec Donna Elvira – la sérénade infinies. Cenerentola un opéra aussi émouvant que National Opera au Coliseum en 1968. Pour de burlesque, ses entrées subites aux moments les Don Giovanni fut chanté pour la première divertissant. Et pourtant l’action quelque peu plus amples détails sur Arthur Jacobs, se reporter moins opportuns, son ultime supplication fois en anglais à Covent Garden en 1817; le branlante revêt d’une aria à l’autre tant à The Elixir of Love ci-dessus. durant le souper de Don Giovanni – mêlent traducteur était Isaac Pocock. La traduction d’ingéniosité, de vivacité et de beauté que la gaieté et douleur. Il est bien vrai qu’elle est d’Amanda Holden que l’on entend ici a servi à partition transcende sa source, pour nous offrir Mozart: Don Giovanni assez ridicule. Mais elle est aussi poignante et de nombreuses compagnies britanniques, et fut ce que Stendhal qualifia d’enchantement Comme je l’ai dit plus tôt, tous les extraits tragique. C’est à Donna Elvira que Leporello révisée tout spécialement pour l’enregistrement de majestueux, une sorte de frénésie musicale qui figurant sur ce disque proviennent d’opéras débite la liste des conquêtes de son maître. l’œuvre pour Chandos. Se reférer à Falstaff ci- saisit l’orchestre comme le public et les entraîne comiques. Et Don Giovanni? Voilà bien un Cette aria, reproduite sur ce disque (7 ), fait dessous pour de plus amples détails sur Amanda sur des vagues de plaisir incontrolable. opéra qui défie toute classification. L’affiche de partie du répertoire buffo; son texte s’inspire de Holden.

38 39 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 40

Donizetti: Don Pasquale Pasquale décide de se marier et de fonder une “Sophronia” déclare qu’elle quittera la maison une merveille d’élégance, de beauté, d’invention J’ai un ami à peu près de l’âge de Don Pasquale famille. Son médecin, Malatesta, lui propose si une autre femme, Norina, ose y entrer. Et et de vivacité, débordant de détails raffinés mais qui trouve que ce dramma buffo de Donizetti – comme épouse sa petite sœur très sage, Pasquale ordonne donc à Ernesto d’épouser jamais importuns. L’entrain et le raffinement dans lequel de jeunes gens s’associent pour Sophronia; et le vieil homme est ravi (8 ). sur-le-champ Norina. Lorsqu’il découvre le pot poétique y vont de pair. Le récitatif et l’aria ne tromper un vieux garçon – n’est pas du tout “Sophronia”, bien sûr, n’est autre que Norina, aux roses, il a aussi appris sa leçon. Il bénit le semblent souvent faire qu’un. La ligne vocale drôle. Certes, mon ami exagère, et il le sait bien; celle qu’Ernesto aime, qui se montre douce et jeune couple. évolue sans contrainte en réponse au texte mais Don Pasquale est bien plus qu’une simple timide avant la soi-disant cérémonie de mariage Don Pasquale fut chanté pour la première fois accompli de Boito, bien que l’on entrevoie par bouffonnerie. L’opéra fut créé au Théâtre Italien mais devient une vraie mégère une fois le contrat en anglais au Princess’s Theatre à Londres en moments les anciennes formes classiques. En à Paris le 3 janvier 1843 durant les dernières soi-disant signé. Elle s’endette de façon 1843; le traducteur n’était autre que l’espace de quelques mesures, le compositeur années créatrices exaltées de Donizetti qui virent prodigieuse. Et la nuit de ses noces, Don T.H. Reynoldson, qui avait traduit The Elixir of saisit l’essence même d’un air qui aurait pu durer le compositeur enchaîner succès sur succès. On Pasquale la trouve dans ses plus beaux atours Love quatre ans plus tôt. La traduction utilisée plusieurs pages dans un opéra antérieur. La a dit de Donizetti qu’il était le Shakespeare de la prête à sortir au théâtre (9 ). Dans la première ici est de David Parry. lecture par Alice de la lettre de Falstaff, “Come scène lyrique. Le talent avec lequel il s’identifiait partie d’un duo en trois mouvements, il tente en una stella”, est à la fois une parodie des arias à ses personnages, partageait leurs ennuis, vain d’affirmer son autorité. Elle le gifle. Dans Verdi: Falstaff ultra romantiques et une très belle mélodie à exprimait leurs sentiments, était sublime. une section centrale fort touchante, Pasquale a Dans son dernier opéra, monté à La Scala le part entière. Une seconde aria, avec cabaletta, est Le livret de Don Pasquale est basé sur Ser l’impression que son monde s’écroule, tandis 9 février 1893, alors qu’il avait quatre-vingts ans, confiée à Alice dans la première scène de l’Acte Marc’Antonio d’Angelo Anelli – son Italiana que la “vraie” Norina, en aparté, le plaint. Dans Verdi réunit tous les fils conducteurs qui avaient III. Les huit mesures de Falstaff commençant avait déjà inspiré Rossini – qui avait été mis en la troisième section (omise sur ce disque), elle dominé sa longue carrière: comme,entre autres, “So che se andiam, la notte” forment une aria musique pour La Scala trente ans plus tôt par reprend son rôle de mégère. Durant sa sortie son profond attachement à Shakespeare, sa buffo miniature. Le monologue sur l’honneur de Stefano Pavesi. C’est une nouvelle version du majestueuse, elle prend soin de faire tomber une méfiance à l’égard d’un public inconstant, son Falstaff, que l’on entend ici (11 ), comprend thème classique du vieil homme amoureux qui lettre – que Pasquale doit trouver – arrangeant amour sans bornes de l’humanité, son regard plusieurs “sections” (Boito en emprunta le texte se laisse duper; un thème abordé entre autres un rendez-vous ce soir-là dans le jardin. tendre sur les jeunes amoureux, son respect du à trois différentes scènes shakespeariennes) et dans Le Barbier et dans La Femme silencieuse de Bouleversé, Don Pasquale appelle Malatesta (10 ) métier bien fait, son appréciation instinctive des forme un tout extrêmement fluide. Le Strauss, un opéra basé sur Ben Jonson); le et lui raconte ce qui vient de se passer. Malatesta effets dramatiques. Il accepte maintenant avec compositeur Stanford, qui se rendit à Milan populaire Don Perlimplin de Lorca en est une suggère qu’ensemble ils surprennent “Sophronia” sérénité – et avec une joie dont l’amertume pour assister à la création de Falstaff et écrivit variante tragi-comique . avec son amant. Si elle est vraiment coupable, il passée est tout à fait absente – le fait qu’une deux essais éloquents sur cette œuvre, y vit Don Pasquale a choisi pour héritier son neveu reprendra sa “sœur”. nouvelle génération domine maintenant la l’homologue souriant du Credo de Iago dans Ernesto mais lorsqu’il découvre que ce dernier a Est-il besoin d’ajouter que tout se termine scène, bien que lui le vieillard possède encore Otello. Commençant comme un récitatif décidé d’épouser Norina, qui n’a pas un sou, bien? Dans un dernier coup de théâtre, plus d’un tour dans son sac. Cette partition est accompagné, il se développe en phases plus

40 41 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 42

régulières puis croît à nouveau librement tout en National Opera. A l’étranger, il s’est produit à conservant cependant une subtile base l’Opéra de San Diego, au Nouvel Opéra motivique. La cabaletta qui commence sur d’Israël, à l’Opéra National de Paris-Bastille, à Haramaty “Quickly! Quickly!” ne dure pas plus de vingt- l’Opéra Comique, au Gran Teatre del Liceu de deux mesures, conclusion orchestrale y Barcelone, ainsi qu’à Lyon, Nantes, Santa Fe, comprise. La palette orchestrale est Montpellier, Copenhague, Amsterdam, merveilleusement subtile. Vancouver et Ottawa. Falstaff fut publié avec un texte en italien, en Parmi les nombreux engagements d’Andrew anglais, en allemand et en français. La première Shore figurent les rôles titres dans Wozzeck, en anglais (dans une traduction de W. Beatty Falstaff, King Priam, Gianni Schicchi et Don Kingston, révisée par Fritz Hart) fut donnée par Pasquale, ainsi que Dulcamara (L’elisir d’amore), des étudiants du Royal College of Music au Don Alfonso (Così fan tutte), Figaro (Le nozze Lyceum, sous la direction de Stanford. Amanda di Figaro), Papageno (Die Zauberflöte), le Roi Holden, dont on entend ici la traduction, a Dodon (Le Coq d’Or), Leandro (L’Amour des traduit plus de cinquante opéras. Falstaff fut le trois oranges), Dikoy (Kát’a Kabanová), le tout premier. Sa version fut donnée pour la Docteur Kolenat (L’Affaire Makropoulos), première fois par le City of Birmingham Touring Chichkov (La Maison des morts), Franck (Die Opera en 1987. Fledermaus), le Baron (La Vie parisienne), le Baron Trombonok (Il viaggio a Reims), Georges © 2002 Andrew Porter Wilson (The Great Gatsby), Alberich en versions Traduction: Nicole Valencia de concert de Das Rheingold, Varlaam (Boris Goudonov) et Faninal (Der Rosenkavalier). Andrew Shore est considéré comme étant le Au disque, Andrew Shore a enregistré pour plus remarquable baryton bouffe de Grande- Chandos et la Peter Moores Foundation le rôle Bretagne, et comme un acteur/chanteur titre dans Don Pasquale, Leporello (Don exceptionnel. Il a travaillé à l’English National Giovanni), le Docteur Bartolo (The Barber of Opera, au Royal Opera de Covent Garden, à Seville), Dulcamara (The Elixir of Love), le Andrew Shore as Don Alfonso in l’Opera North, au Glyndebourne Festival Sacristain dans Tosca, Faninal dans Der New Israeli Opera’s production of Opera, au Scottish Opera et au Welsh Rosenkavalier (extraits), et La Bohème. Mozart’s Così fan tutte 42 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 44

alcune scene tratte dalle più grandi opere successive, ma ormai era stato molto spesso Grandi arie operistiche comiche! rappresentato a livello internazionale. Per l’intreccio, Romani si ispirò all’ “ultimo L’annosa querelle che contrappone l’opera “in norma, persino per le opere in russo o in ceco. Donizetti: The Elixir of Love Scribe”, il libretto di Le Philtre, un’opera di lingua originale” a quella “nella lingua degli Il Covent Garden – dove negli anni del L’elisir d’amore fu un’opera composta in fretta, Auber rappresentata all’Opéra di Parigi nel ascoltatori” non finirà mai. Ed è giusto: troppe dopoguerra Kirsten Flagstad e Hans Hotter come ribadiscono innumerevoli testi; il 1831. (Il focoso sergente di entrambe le opere sono le argomentazioni pro e contro. La avevano imparato da capo La valchiria e Ljuba direttore del teatro della Canobbiana di fu creato dallo stesso cantante, Henri-Bernard famosa definizione di “spettacolo esotico e Welitsch la Salome in inglese, e Boris Godunov, Milano, disperato perché un compositore lo Dabadie). In gran parte, l’opera di Romani fu irrazionale” del dottor Johnson non si riferiva La dama di picche, Jenuºfa venivano aveva abbandonato, supplicò Donizetti di una traduzione diretta. (Confrontare la all’opera come tale ma, appunto, all’opera normalmente tradotte – è diventato un teatro riproporre una delle sue opere passate per cavatina d’esordio del protagonista: “Qu’elle est italiana a Londra. E in un numero dello “esotico” della lingua straniera, in cui gli tappare il buco. E Donizetti rispose: “Volete jolie!… Elle sait lire… Moi, je ne suis qu’un Spectator del 1711, Joseph Addison rilevava: spettacoli prendono le distanze dal pubblico. scherzare? Non è mia abitudine ritoccare le ignorant” e “Quanto è bella!… Essa legge… Io I nostri pronipoti saranno indubbiamente molto Nel frattempo, al Coliseum, la English opere mie o altrui. Vediamo se ne posso son sempre un idiota”). Ma alla commedia di curiosi di sapere come mai i loro antenati National Opera si fa paladina degli ideali dei comporre una nuova. Mandatemi Romani!” Scribe, Romani aggiunse una vena romantica amassero riunirsi in un pubblico di stranieri nel creatori dell’opera: un intreccio A Felice Romani, il compositore disse poi: semiseria. I paralleli con la Sonnambula di proprio paese, per assistere ad intere immediatamente comprensibile e rafforzato “Dobbiamo preparare una nuova opera entro Bellini sono intenzionali, secondo me. (La rappresentazioni in una lingua per loro ulteriormente dalla potenza della musica. quindici giorni; avete una settimana di tempo sonnambula, anch’essa su libretto di Romani incomprensibile. Wagner e Verdi ne erano molto consapevoli e per scrivere il libretto”. ispirato a Scribe era stata rappresentata a A distanza di quasi trecento anni, si si lamentarono delle distorsioni introdotte Comunque sia, il 12 maggio 1832 alla Milano nel 1831). I teneri duetti “Son geloso continua a fare lo stesso. Durante la seconda dalla traduzione, ma l’accolsero, l’accettarono, Canobbiana veniva consegnato un gioiello del zefiro errante… Son, mio bene, del zefiro metà del Ventesimo secolo, l’opera in lingua convinti che i pro superassero i contro. Le comico. Il Teatro della Canobbiana, costruito amante” (La sonnambula) e “Chiedi all’aura originale – “la moda della lingua straniera”, traduzioni, però, dovevano essere valide. alla stessa epoca della Scala, dallo stesso lusinghiera… Chiedi al rio perchè gemente” per usare la definizione del grande baritono Premesso questo, passiamo ad altro. In architetto, fu per gran parte dell’Ottocento il (L’elisir) sono in una vena simile e hanno una americano David Bispham – si è diffusa questo disco Andrew Shore interpreta brani di “secondo teatro alla Scala”. Era specializzato in collocazione simile. Le Philtre non aveva nulla sempre più. E nei grandi teatri lirici di opere comiche. (L’eccezione rappresentata dal opere comiche, ma aveva anche una di simile a “Una furtiva lagrima”. Milano, Monaco, Parigi, Vienna, dove le opere Don Giovanni viene esaminata di seguito). I reputazione perché proponeva opere Le prime parole della protagonista dell’Elisir straniere venivano regolarmente presentate pro e i contro cambiano quando si parla di interessanti dall’estero, come per esempio sono “È la storia del Tristano”, mentre legge la nella lingua del pubblico e anche nei teatri più commedia. Incominciate! Con quest’ordine Le Comte Ory, Robert le Diable, Martha. L’elisir storia alla compagnia. (La versione wagneriana piccoli, la “lingua originale” è diventata la inizia l’opera Pagliacci. Si alzi il sipario su d’amore fu riproposto nelle due stagioni era ancora di là da venire). Nel villaggio arriva

44 45 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 46

il ciarlatano Dulcamara, venditore ambulante, La donna riscatta i documenti di Paisiello (1782), all’epoca ancora in vita. L’aria si rivelò difficile per i primi interpreti. che pretende “Attention! Attention!” arruolamento di Nemorino e tutto finisce bene (Morì tre mesi dopo la prima della versione di Dopo alcune rappresentazioni, fu sostituita da (brano 1 ); questo è il suo vivace richiamo (brano 4 ). Dulcamara riparte, acclamato da Rossini). Rossini gli scrisse in anticipo, per un brano più semplice, “Manca un foglio”, mentre decanta il suo straordinario elisir, una tutti, tranne che dal sergente Belcore, che scusarsi, e ottenne la benedizione dell’anziano appositamente composto da Pietro Romani, panacea contro tutti i mali. Nemorino, aveva sperato di conquistare Adina. compositore; ma alla prima l’opera venne che venne adottato spesso. Nella partitura innamorato infelice, si rivolge a lui: avrebbe la The Elixir of Love fu rappresentato in inglese deferentemente intitolata Almaviva o L’inutile ottocentesca di Boosey, a cura di Arthur pozione che accese la passione della regina per la prima volta presso il Surrey Theatre e poi precauzione; solo più tardi nello stesso anno a Sullivan, compaiono entrambe le arie, “per Isotta? “L’ho creata io stesso” è la risposta di nel teatro di Drury Lane, nel 1839, nella Bologna l’opera fu ribattezzata con lo stesso comodità di coloro che utilizzano Dulcamara, che vende a Nemorino una traduzione di T.H. Reynoldson. La versione di titolo di quella di Paisiello. quest’edizione come manuale, dal momento bottiglia di vino dozzinale. Nemorino è felice: Arthur Jacobs qui utilizzata fu adottata per la Il dottor Bartolo cerca di tenere sotto che ‘Manca un foglio’ oggi molto spesso viene la sdegnosa Adina ben presto non potrà che prima volta dal Maidstone Opera Group, nel chiave la sua vivace e giovane pupilla, Rosina, eseguita al posto di ‘A un dottor’.” Ma oggi la trovarlo irresistibile (brano 2 ). 1964. Arthur Jacobs (1922–1986) ha tradotto che intende sposare. Ma la ragazza, oggetto situazione si è ribaltata. La pozione non fa effetto. Nemorino ne numerose opere di Handel, Tajkovskij, Richard delle serenate di un giovane che si fa chiamare La prima rappresentazione inglese di The vuole dell’altra, ma non ha più denaro. Si Strauss (The Silent Woman), Schoenberg Lindoro (ed è in realtà il conte di Almaviva) Barber of Seville, in una traduzione di John arruola e con i venti scudi dell’ingaggio così (Erwartung) e Berg (Lulu). Inoltre la si è innamorata di lui e gli ha scritto un Fawcett e Daniel Terry, fu rappresentata al guadagnati compra dell’altro elisir. Ben presto si Cenerentola di Rossini e (v. brano 6 ) biglietto che Figaro, il barbiere, deve Covent Garden nel 1818. La traduzione ritrova intorno tutte le ragazze del villaggio, le The Italian Girl in Algiers. consegnargli di nascosto. Il dottor Bartolo utilizzata qui è di Amanda e Anthony Holden. quali sono venute a sapere saputo che il ricco nota una macchia d’inchiostro sul dito di zio del giovane è morto, lasciandolo erede di un Rossini: The Barber of Seville Rosina: “L’ho bruciato e ho usato l’inchiostro Rossini: The Italian Girl in Algirs patrimonio. Nemorino non lo sa ed è convinto Il barbiere di Siviglia di Rossini fu una delle per calmare il bruciore.” Il vecchio conta i I primi due grandi trionfi del giovane Rossini che sia tutto merito della pozione. Ma quando opere che fecero inspiegabilmente fiasco alla fogli di carta da lettera sulla scrivania: sono furono rappresentati nel 1813, a Venezia. le rivelano che per cercare di conquistarla prima (Teatro Argentina di Roma, 20 febbraio cinque, ma prima erano sei. “Ne ho usato uno Tancredi, presentato alla Fenice il 6 febbraio, Nemorino ha sacrificato la propria libertà, 1816). Un’altra fu Madama Butterfly. Ma il per incartare dei dolci che dovevo mandare a suggellò il suo successo di maestro dell’opera Adina si intenerisce (brano 3 ). Dulcamara la Barbiere ebbe successo alla seconda Barbarina.” E allora come mai la penna è seria; L’italiana in Algeri, al Teatro San esorta a comprare la sua pozione per assicurarsi rappresentazione e lo ha mantenuto da allora. sporca d’inchiostro?: “Stavo copiando un Benedetto il 22 maggio, consacrò il suo di staccare Nemorino dal codazzo delle sue Rossini, che amava la musica di Mozart, decise disegno per il mio ricamo.” Il dottor Bartolo successo di maestro dell’opera buffa. L’italiana nuove ammiratrici, ma Adina ha una soluzione di cimentarsi con la commedia di rimane incredulo e si lancia in un’aria in Algeri, come L’elisir d’amore di Donizetti, fu più sicura: “I need no magic potion… For my Beaumarchais che precede Le nozze di Figaro. splendidamente, comicamente boriosa composta per rimediare alla mancata promessa eyes will work the spell”. Esisteva già un famoso Barbiere, di Giovanni (brano 5 ). di un altro compositore. Per risparmiare

46 47 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 48

tempo, fu riutilizzato un vecchio libretto, The Italian Girl in Algiers fu rappresentata di buffo nel suo autorevole scritto Mozart’s innumerevoli conquiste provoca in lui quello di Angelo Anelli, musicato da Luigi in inglese per la prima volta al Princess’s Theatre Operas. disgusto, anziché piacere? O tutt’e due le cose? Mosca per La Scala nel 1808, che fu alquanto di Londra nel 1836, in una traduzione di Le scene in cui compare Donna Elvira – la Le domande sul Don Giovanni non finiscono riveduto. Mancano la proporzione del anonimo. La versione di Arthur Jacobs registrata burlesca serenata, i suoi ingressi improvvisi in mai. Barbiere, il commento secondario del Turco in qui fu eseguita per la prima volta da English momenti inopportuni, la sua estrema supplica Don Giovanni fu eseguito in inglese per la Italia, le verità morali che rendono Cenerentola National Opera al Coliseum nel 1968. Una nota alla cena di Don Giovanni – sono prima volta al Covent Garden nel 1817; la commovente oltre che divertente. Eppure su Arthur Jacobs è riportata sopra (v. The Elixir caratterizzate da un insieme di allegria e traduzione è di Isaac Pocock. La versione di l’intreccio leggermente traballante si ammanta of Love). strazio. Donna Elvira è piuttosto ridicola, Amanda Holden, utilizzata qui, è stata adottata di una successione di brani di tale inventiva, bisogna ammetterlo. Ma è anche commovente, da numerose compagnie britanniche ed è stata vivacità e bellezza che la partitura trascende la Mozart: Don Giovanni tragica. Il catalogo di Leporello, incluso in appositamente riveduta per la registrazione di propria fonte, producendo, per dirla con le Ho detto che tutti i brani di questo disco sono questa registrazione (brano 7 ), è una delle Chandos. Altri particolari su Amanda Holden in famose parole di Stendhal, “un incanto tratti da opere comiche. E il Don Giovanni? scene in cui compare Elvira ed è un’aria da Falstaff, di seguito. travolgente, una sorta di frenesia musicale che Impossibile catalogarlo. Nel programma buffo; il testo si ispira a quello del Convitato di si impossessa dell’orchestra e del pubblico della prima esecuzione, al Teatro Nazionale pietra di Giovanni Bertati per Giuseppe Donizetti: Don Pasquale insieme, trascinando tutti con ondate di di Praga il 29 ottobre 1787, fu definito Gazzaniga (rappresentato a Venezia otto mesi Per un mio amico, all’incirca dell’età di incontrollabile delizia”. dramma giocoso. Secondo Winthrop prima dell’opera di Mozart e principale fonte Don Pasquale, quest’opera comica di Isabella, brillante, piena di risorse, intrepida, Sargeant, che mi ha preceduto al New Yorker, per Da Ponte). Elvira qui non parla, ma le sue Donizetti che vede due giovani unire le si è imbarcata da Livorno in cerca dell’amato si tratta di “un profondo saggio sulla reazioni a quello che sente sono, in teatro, un proprie forze per ingannare un vecchio, non è Lindoro, che in realtà è stato catturato e adesso mortalità” e il protagonista “non è un importante elemento della scena. Con la sua affatto divertente. È un’esagerazione di cui è si trova in schiavitù presso il bey di Algeri. Con personaggio, ma un archetipo”. Il suo saggio narrazione delle conquiste del padrone, consapevole, ma Don Pasquale non è affatto lei viaggia un cicisbeo attempato, il suo conclude: “la celebrazione di un mito è un Leporello è semplicemente divertente e un’opera buffa. Fu rappresentato per la prima corteggiatore Taddeo. Dopo un naufragio sulle rito, non uno spettacolo e quando io vado a brutalmente franco? O è brutale perché sta volta al Théâtre des Italiens di Parigi il 3 coste di Algeri, entrambi vengono catturati dai uno spettacolo del Don Giovanni ho la tentando in maniera sollecita, ma confusa, di gennaio 1843, durante gli ultimi, febbrili anni pirati. Taddeo è destinato ad essere venduto sensazione di assistere a un rito”. Gounod convincere la povera Elvira a non illudersi più? di attività del compositore, che produsse un come schiavo, Isabella diventerà una preziosa dichiarò che “le progressioni armoniche dopo In altre scene l’uomo esprime sotto voce capolavoro dopo l’altro. Donizetti è stato aggiunta all’harem del bey, che da molto tempo gli accordi di inizio dell’ouverture riempiono solidarietà per la situazione della donna, e definito uno Shakespeare del teatro lirico; desidera una sposa italiana. I due fingono di l’animo di terrore agghiacciante”. Edward J. aperta disapprovazione delle abitudini di don aveva una straordinaria capacità di essere zio e nipote, inseparabili. Dopo un Dent, nel tentativo di alleggerire la soggezione Giovanni. Forse esagera intenzionalmente le immedesimarsi totalmente con i propri battibecco, fanno pace (brano 6 ). romantica dell’Ottocento, sottolineò gli aspetti cifre totali? La sua rievocazione delle personaggi, mettersi nei loro panni, esprimere

48 49 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 50

i loro sentimenti. Il libretto di Don Pasquale commovente sezione centrale, don Pasquale Verdi: Falstaff viene intessuta nella prima scena dell’Atto III. era ispirato a Ser Marc’Antonio di Angelo sente che il suo mondo è finito, mentre la L’ultima opera dell’ottantenne Verdi, allestita Le otto battute di Falstaff che iniziano con Anelli – lo stesso autore a cui Rossini si era “vera” Norina, a parte, lo commisera. Nella alla Scala il 9 febbraio 1893, riunisce temi che “So che se andiam, la notte” è un’aria per rivolto per l’Italiana in Algeri – musicato per terza parte (che non compare in questo disco) avevano caratterizzato la lunga carriera del buffo in miniatura. Il monologo dell’Onore La Scala trent’anni prima da Stefano Pavesi. la donna riprende il ruolo di prepotente. compositore: la sua lunga devozione a di Falstaff, registrato qui (brano 11 ), è È un’altra versione della trama del vecchio Uscendo, lascia cadere intenzionalmente Shakespeare, la sua diffidenza per l’incostanza composto da diverse “sezioni” (Boito adattò innamorato ingannato, come Il barbiere e una lettera dà convegno a un amante quella del pubblico, il suo amore generoso per il testo attingendo a tre scene diverse La donna silenziosa di Strauss (ispirato a notte stessa, nel giardino. Don Pasquale, l’umanità, il suo affetto per l’amore tra i dell’opera di Shakespeare) che scorrono con un’opera di Ben Jonson); una variante ormai sconfitto, chiama Malatesta giovani, il suo rispetto per l’arte, il suo istinto fluidità. Il compositore Stanford, che si tragicomica è il Don Perlimplin, spesso (brano 10 ) e gli racconta l’accaduto. Malatesta per l’effetto teatrale. E a tutto questo si recò a Milano per assistere alla prima del musicato, di Lorca. gli suggerisce di cogliere sul fatto “Sofronia” e aggiunge una matura accettazione, non più Falstaff e scrisse due eloquenti saggi Don Pasquale ha dichiarato proprio erede il il suo amante. Se la sorella è veramente amara, ma gioiosa, del fatto che altri giovani si sull’opera, lo definì la controparte comica nipote Ernesto, ma quando viene a sapere che colpevole, la porterà via. sono impadroniti della scena, anche se il del Credo di Iago nell’Otello. Inizia come Ernesto desidera sposare Norina, una donna Naturalmente tutto si conclude nel vecchio ha ancora qualcosa insegnare. La un recitativo accompagnato, si sposta in povera, decide di sposarsi e avere figli propri. migliore dei modi. In un colpo di scena partitura è un miracolo di grazia, bellezza, periodi più regolari, diventa libero ancora Il suo medico, Malatesta, gli propone di finale, Sofronia dichiara che lascerà la invenzione brillante e dettagli delicati, ma una volta, ma con una sottile base di melodia. prendere in moglie una sua sorella minore, una casa se un’altra donna, Norina, oserà mai invadenti. Vivacità e raffinatezza poetica Una cabaletta che inizia con “Quickly! donna modesta, Sofronia; e il vecchio è felice mettervi piede. Così Don Pasquale ordina a vanno di pari passo. Spesso recitativo e aria Quickly!”, dura (se si conta la conclusione (brano 8 ). Sofronia, che in realtà è Norina, Ernesto di sposare immediatamente sembrano divenire una cosa sola. La linea orchestrale) appena ventidue battute ed è l’innamorata di Ernesto, inizialmente appare Norina. La verità viene infine a galla: vocale si sposta liberamente, in obbedienza al orchestrata in colori meravigliosamente timidissima e dolcissima, ma dopo aver Don Pasquale ha imparato la lezione e raffinato testo di Boito, con saltuari ritorni alle delicati. firmato un contratto durante una finta concede la propria benedizione alla giovane vecchie forme regolari. In poche battute il Falstaff fu pubblicato in italiano, inglese, cerimonia di matrimonio si trasforma in coppia. compositore coglie l’essenza di un brano che tedesco e francese. La prima rappresentazione in despota; presto arrivano fatture enormi. E la Don Pasquale fu rappresentato per la prima avrebbe potuto occupare pagine intere in una inglese (traduzione di W. Beatty Kingston, sera delle nozze, Don Pasquale (brano 9 ) la volta in inglese al Princess’s Theatre di Londra, delle sue opere precedenti. Il momento in cui riveduta da Fritz Hart), interpretata dagli trova vestita di tutto punto per andare a teatro. nel 1843, su traduzione di T.H. Reynoldson, Alice legge la lettera di Falstaff, “Come una studenti del Royal College of Music al Lyceum, fu Inutilmente, nella prima parte di un duetto in come The Elixir of Love, rappresentato quattro stella”, è allo stesso tempo una parodia dell’aria diretta da Stanford. La versione utilizzata in tre movimenti, cerca di imporre la propria anni prima. Qui è stata seguita la traduzione di romantica e una bellissima melodia a sé stante. questa registrazione è di Amanda Holden, che ha autorità. La donna lo schiaffeggia. In una David Parry. Una seconda “aria”, completa di cabaletta, tradotto più di cinquanta opere dopo Falstaff,

50 51 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 52

rappresentata dalla City of Birmingham Touring e Don Pasquale, oltre a Dulcamara (L’elisir Opera nel 1987. d’amore), Don Alfonso (Così fan tutte), Figaro (Le nozze di Figaro), Papageno (Il flauto © 2002 Andrew Porter magico), re Dodon (Le Coq d’or), Leandro Traduzione: Emanuela Guastella (L’amore delle tre melarance), Dikoy (Kát’a Mildenhall Richard Kabanová), Dr Kolenaty (L’affare Makropulos), Andrew Shore è ritenuto il miglior buffo in Shishkov (Da una casa di morti), Frank Gran Bretagna ed è uno straordinario (Die Fledermaus), il barone (La Vie parisienne), cantante/attore. Ha lavorato con la English il barone Trombonok (Il viaggio a Reims), National Opera, la , Opera George Wilson (The Great Gatsby), Alberich in North, la Glyndebourne Festival Opera, la alcune interpretazioni di Das Rheingold in Scottish Opera e la Welsh National Opera e si concerto, Varlaam (Boris Godunov) e Faninal è esibito all’estero con l’Opera di San Diego, la (Der Rosenkavalier). New Israeli Opera, l’Opéra National de Paris- La discografia include il ruolo di Bastille, l’Opéra Comique, il Gran Teatre del protagonista nel Falstaff e Don Pasquale, Liceu di Barcellona, a Lione, Nantes, Santa Fe, Leporello (Don Giovanni), don Bartolo (The Montpellier, Copenhagen, Amsterdam, Barber of Seville), Dulcamara (The Elixir of Vancouver e Ottawa. Love), il sagrestano in Tosca, Faninal in I suoi numerosi impegni lo hanno visto Der Rosenkavalier (momenti salienti), e interpretare il ruolo di protagonista in La Bohème, tutti per Chandos/Peter Moores Wozzeck, Falstaff, King Priam, Gianni Schicchi Foundation.

Andrew Shore in the title role of English National Opera’s production of Puccini’s Gianni Schicchi 52 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 54 Sue Adler Sue Robert Workman Robert

Andrew Shore in the title role of Andrew Shore as Shishkov in Opera North’s English National Opera’s production of production of Janácˇek’s Tippett’s King Priam From the House of the Dead CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 56

from The Elixir of Love who swear I speak the truth. For all complaints cholerical, Villagers My learning academical, dyspeptical, arthritical, Seven florins! Oh, how generous! Dulcamara’s Cavatina both physical and chemical, asthmatical, hysterical, We’ve no need to hesitate. Dulcamara enabled me to brew it, bronchitical, paralytical, Dulcamara 1 Attention! Attention! You country folk! as only I can do it. rheumatical, scorbutical, Then observe! This mighty potion, Be silent! Pay attention! Even a man of seventy of pellicle or cuticle, which renews a man or beast, I’m sure I need not inform you all by this regains his youth. and all the smartest illnesses, I could sell the whole world over of whom you see before you. A man of over seventy which folk in town have got. for ten florins at the least. A doctor anatomical, regains his lusty youth. For pellicle or cuticle, But if you would like to savour physician astronomical. ’Twould hardly be surprising rheumatical, scorbutical, its electrifying flavour, From here to the Sahara to see a dead man rising asthmatical, hysterical, then I’ll only ask three florins. renowned is Dulcamara. if but one drop of this were poured dyspeptical, cholerical, Yes, for you I do a favour. For my skill with my cases between his tongue and tooth. come all you gallant gentlemen, is known in all the universe come all you pretty ladies, For ’tis clear as stars in heaven, and… and… in other places. Villagers the medicine that I’m selling, three from ten will leave you seven. I clear out all the hospitals Oh! will cure you like a shot. Seven florins are your profit, by curing all diseases. Dulcamara Come young and old and buy of me, as you all have understood. etc. No malady can baffle me You ladies growing elderly, come all of high and low degree, Villagers from broken legs to sneezes. with foreheads that are wrinkling, come buy the sovereign remedy, Yes, that’s true. Indeed, I’ll take it. etc. The cure for all and sundry shampoo with what I sell to you. which I alone have got. Oh, what learning went to make it. etc. is the medicine I have got. Come on, it will not cost a lot, etc. be pretty in a twinkling! Dulcamara Come buy of me, come buy of me. You girls around my carriage, It will not cost a lot. Take it, d’you wish for happy marriage? The ingredients are rarer, three florins. Come buy of me, come buy of me. Young men, whate’er your trade is, than the costliest of spices. Don’t wait until you rot. etc. Step forward, d’you want to please the ladies? You will ask me, tell us quickly, three florins. It cures all kinds of toothache Then buy the sovereign remedy, tell us quickly what the price is. or a painful irritation. which I alone have got. Eighty florins? No! Forty? No! Twenty? Villagers It drives away pneumonia, It will not cost a lot, etc. At that I could sell plenty. Oh, how generously he treats us, relieves your constipation. Come all you lads and lasses, but since you have been so pleasant, as no other doctor would. etc. It’s all authenticated. come sirs and pretty ladies, I shall make you all a present, Dulcamara I’ve letters signed and dated come buy my sovereign remedy, and to all who buy a bottle, Ah, because I love my neighbours, from grateful former sufferers, it will not cost a lot. seven florins I’ll donate. I delight to do them good.

56 57 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 58

Villagers from The Elixir of Love Nemorino Dulcamara Oh, how generous, how very generous... Nemorino and Dulcamara’s Recitative and Duet Oh, how lucky! And you supply it? On my travels here and yonder, Dulcamara There’s a fool where’er I wander. etc. Recitative Dulcamara Ah, because I love my neighbours, With that little laddie there, Nemorino Why, of course. I sell it daily. I delight to do them good. I’ve seen nothing to compare. 2 Good doctor, beg your pardon, but am I right in Nemorino I’ve seen nothing, truly nothing, Villagers thinking At what price do people buy it? truly nothing to compare… etc. Yes, he treats us you understand the passions? as no other doctor would. Dulcamara Nemorino Dulcamara Very cheaply. Just a moment, if you please, sir. Dulcamara Quite correct, sir. Just a moment, if you please, sir. I delight... yes, I delight… Medical science plumbs to the depth of nature. Nemorino What’s the proper way to take it? Villagers Nemorino Cheaply? …as no other doctor would. Dulcamara Then can you let me have Dulcamara Hold the bottle very firmly Dulcamara the potion that aroused the passions of Queen That is, according… …I delight to do them good. Isolda? and remember first to shake it. Nemorino Then uncork it, but be careful Villagers Dulcamara … as no other doctor would. For a florin? I have no more. to prevent evaporation What? Who? Speak plainly! of the magic distillation. Dulcamara Duet Dulcamara Ah, I love my suffering neighbours, Nemorino Just the sum I sell it for. Nemorino and delight to do them good. Right. It was Tristan who employed it Nemorino Villagers to awaken love’s desiring. Here’s the money, you are welcome. etc. Dulcamara No other would. Dulcamara When you’re ready, you may taste it. Dulcamara Dulcamara Ah, why yes! I follow exactly. Go, Sir Tristan, drink your liquor. Ah, I love my suffering neighbours, I have just what you’re requiring, Nemorino and delight to do them good. Nemorino Right. Nemorino To do them good, etc. Thank you kindly. Oh, thank you kindly. Have you really? Dulcamara Villagers You have made me so contented. But be careful you do not waste it. I’m sure no other doctor would, etc. Dulcamara With a potion, the best invented, Felice Romani after Eugène Scribe’s Le Philtre, Yes, yes indeed. I can say goodbye to care. Nemorino English version by Arthur Jacobs It’s a thing which many people seem to need. Thank you kindly. Thank you kindly. etc. Right.

58 59 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 60

Dulcamara I’ve seen nothing, truly nothing, You’re a fortunate young fellow, Nemorino And the benefits I promised, truly nothing to compare. etc. for tomorrow every woman (Smiling fortune my plan has aided. will arrive without delay. etc. (as Nemorino makes to leave) could be deep in love with you. Hopes that faded now shall rise anew.) etc. They will certainly arrive without delay. Just a moment! Come! Listen! Drink it up and you’ll be mellow. etc. Felice Romani after Eugène Scribe’s Le Philtre, English version by Arthur Jacobs Nemorino Nemorino Nemorino Will they really? Yes, doctor? Ah! Good doctor, by heavens above me, one alone I wish to love me. from The Elixir of Love Dulcamara Dulcamara And no other, despite her beauty, One day of waiting, Mum’s the word. Keep quiet, quiet. could persuade me to be untrue. Adina and Dulcamara’s Duet then you’ll find it’s operating. Tell no one, Keep quiet. (Smiling fortune my plan has aided. (By that time I shall be out of here This is such a powerful liquor, Hopes that faded now rise anew.) etc. Adina and fifty miles away.) it’s illegal to supply it. 3 (How he loved me! And I so cruel, Dulcamara I denied a love so true!) Nemorino Nemorino (By tomorrow, never doubt it, And the flavour? Oh! I’ll have disappeared from view.) etc. Dulcamara Go and drink my distillation. (She is quite infatuated.) Dulcamara Dulcamara You’ll enjoy a new sensation. You will love it. Yes, I’m afraid it isn’t legal to supply it. From tomorrow every woman Adina If it came to public knowledge, Nemorino will be deep in love with you. (So cruel.) then we both should be in jail. I will love it? (By tomorrow, never doubt it, Therefore, tell no one. Dulcamara Dulcamara I’ll have disappeared from view.) etc. (She should have my potion too.) You will love it. Nemorino But be sure to keep it quiet. (Beaujolais, bought yesterday!) Adina Take my solemn word of honour, Nemorino (So cruel.) Nemorino not a soul shall hear the tale. Never fear, sir. Thank you kindly. Oh, thank you kindly. (to Dulcamara) Dulcamara Dulcamara What’s become, then, of Nemorino? You have made me so contented. Remember! With a potion, the best invented, It’s illegal to supply it. Is his love at last requited? Nemorino I can say goodbye to care. Nemorino Dulcamara Take my solemn word of honour. Thank you kindly. Thank you kindly. etc. All is clear, sir. Girls in dozens come to court him, Rest assured, I shall not fail. Dulcamara Dulcamara flocking round him all excited. But with that little laddie there, Dulcamara (By tomorrow, never doubt it, It’s a happy situation. I’ve seen nothing to compare. Drink it up and you’ll be mellow. I’ll have disappeared from view.) etc. I’ve no doubt that he’s delighted.

60 61 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 62

Adina You are caught now, I can deduce it, Adina Dulcamara (aside) (Ah! Which among them may hope to gain him? from your manner so sad and tearful. I would hardly call it vital. She is really far too clever. Which of them may now detain him?) I can help you. There’s no need of doctors here. Dulcamara No, there’s no need of doctors here. etc. Dulcamara Adina Noble suitors ten or twenty? With a choice of ten or twenty You help? How so, sir? Adina he’s delighted there are plenty. Adina With a look of love and laughter, Dulcamara Like a cock you might have found him Nemorino will be plenty. with a smile and a suggestion I will tell you if you come a little closer. when the hens are all around him. I lead the man I’m after If you want to find the answer, Dulcamara to be bold and put the question. Adina there’s a remedy I know. etc. What I sell is scientific. Though at first he be defiant, (Oh, how foolishly I acted… It is very scientific Adina he is mine once I have picked him. and the price is very low. Dulcamara Yes, I’m sure it’s quite terrific. Very soon he’ll be compliant (She is quite infatuated.) etc. Adina and a more than willing victim. Dulcamara Though its power may be terrific, So I need no magic potion, Adina The result I guarantee. it is not for me, I know. for my eyes will work the spell. (… I denied a heart so true.) Dulcamara Adina With a look of love and laughter, Dulcamara Do you wish a thousand suitors I’m afraid it’s not for me. with a smile and a suggestion, etc. (She should have my potion, too.) etc. at your feet with love expiring? No, not for me. etc. Your remedy is really not for me. Dulcamara Adina Adina Ah, I see it. I have nothing (Oh, disaster! Oh, disaster! I denied a heart so No, I only wish for one, sir, Dulcamara in reply to your female intuition. true.) etc. and a thousand would be tiring. What I sell, what I sell, Pretty rascal! Pretty rascal! Dulcamara what I sell is scientific. etc. Oh, my learning! I have nothing Dulcamara With a choice of ten or twenty, The result I guarantee. etc. in reply to all your female intuition. You can make all women jealous he’s delighted there are plenty. Naughty creature, are you daring, It will help you more than I will of your fortunate position. Like a cock you might have found him, all my science to disparage? in achieving your ambition. when the hens are all around him. Adina Yes, more than I will in achieving your ambition. Adina (She’s quite infatuated. She’s quite infatuated. etc. Making enemies of others I have nothing in reply to all your female There’s an even better way, sir, She should have my potion, too.) is no part of my ambition. intuition. when a woman hopes for marriage. Fair Adina! Just a moment! Dulcamara Just you wait and Nemorino Adina There is hope still! Come, be cheerful! Do you want to wed a title? will be mine, you need not fear. Spare me, doctor!

62 63 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 64

Dulcamara Dulcamara of a guardian over-zealous. Dulcamara It will help you more than I will Ah! I see it! I have nothing It will bring you bonny babies Good people! God bless you! etc. in achieving your ambition. in reply to your female intuition. etc. and protect your dog from rabies Villagers and awaken love and passion Adina Adina May he soon come back again! etc. better far than China tea. Spare me, doctor! For if I love I can compel, for in my eyes I own a spell, etc. Villagers Belcore Dulcamara Go to hell and there remain! Dulcamara Oh, I’d like a double ration. By your beauty so abundant Make it two or even three. all my skill is now redundant… If I had the skill that you have, Adina, Nemorino, Dulcamara and Villagers that’s the medicine I would sell. etc. Dulcamara (His carriage having reappeared on God bless you! Adina Felice Romani after Eugène Scribe’s Le Philtre, stage, he prepares to depart.) He is mine once I have picked him… English version by Arthur Jacobs Now, good people, I must leave you. Belcore Dulcamara But I warn you as a brother, Go to hell and there remain. … For you practise all the chemistry from The Elixir of Love let no charlatan deceive you Go to hell! with some substitute or other. of Cupid, I can tell… Act II Finale Adina, Nemorino, Dulcamara and Villagers For my potion serves the nation. God bless you! Adina Dulcamara All the rest is imitation. … Such a willing, willing victim. 4 It will give you cheeks like peaches Felice Romani after Eugène Scribe’s Le Philtre, So remember Dulcamara, English version by Arthur Jacobs to conform with good aesthetics. who can banish every pain. Dulcamara It improves a woman’s features … I can very quickly tell. better far than her cosmetics, Villagers If I had the skill that you have, cures your warts and your carbuncles We’ll remember Dulcamara. from The Barber of Seville that’s the medicine I would sell. and dispatches wealthy uncles, May he soon come back again! Bartolo’s Aria makes your bees produce more honey Adina and Nemorino Adina Bartolo and from worry keeps you free. He alone has made me happy, So I need no magic potion… 5 Dare you offer such excuses for his wonder-working potion Villagers to an eminent physician? Dulcamara has been quick to ease my pain, Oh, good doctor, here’s my money. From a girl in your position Ah, you sly one! to ease my pain, etc. Give me one or two or three. I expected better lies, Adina Dulcamara Belcore I expected something better. … For my eyes will work the spell. It will soften the suspicions Why, you old pretentious humbug! Sending sweets to Marcellina? With a look of love and laughter, of a who is jealous, Go to hell and there remain, Sketching flowers to embroider? with a smile and a suggestion, etc. or relax the prohibitions to hell and there remain. etc. Burnt your finger? What nonsense!

64 65 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 66

You must find a taller story from The Italian Girl in Algiers Isabella Taddeo or I’ll cut you down to size. But if I’m left alone ‘mid all these , But, oh, that Turk, my lady, Isabella and Taddeo’s Duet You must find me something taller. how shall I carry on, how face the dangers? oh, how he frightens me. Isabella Where’s that missing sheet of paper? How can I find my way? What shall I do? 6 All the changes in my fortune Don’t deny you wrote a letter, Isabella I could bear with some assurance. Taddeo you should really know me better, No use anticipating, But I’m angry past endurance What if I’m put to work, work most unpleasant? don’t you think that you can charm what is to be must be. when a jealous word I hear. How shall I soften them, if she’s not present? me… Yes, I’m angry, such jealous words to hear. hold your tongue, you can’t placate me. Isabella and Taddeo Taddeo and Isabella No, my dear girl, don’t underrate me Taddeo How can I find my way? What shall I do? Ah, yes, in we’ll be united, or you’re in for a big surprise! To be slandered, and by a woman, out faith unending once more is plighted. Taddeo Come, Rosina, don’t be stubborn, what a damnable position. Just as the niece and uncle would do. Lady Isabella… and I promise I won’t be vexed. But whatever our condition And that is what they’re going to see. Pretty villain, still so sullen? it’s the future that I fear. Isabella Taddeo Then I know what I’ll do next. Yes, I fear it, it’s the future that I fear. Mr Taddeo… But, oh, that Turk, my lady… In the future when I leave you Isabella But that… I will see that you are guarded, Taddeo (aside) Stupid suitors, they don’t amuse me. Ah! The gorgon’s calm again! tell the servants you’re regarded Isabella Taddeo now as under house arrest. Isabella (aside) No use anticipating, Cunning women, how they confuse me. Do not try to win me over Smiling? What a donkey! what is to be must be. with your crying and your sighing. Isabella Taddeo So have no fear, no, no, no! Now the penalty for lying Turk or booby, Turk is better. could be more than you had guessed. Are we still quarreling? Taddeo For my innocent Rosina, Taddeo But, oh, that Turk, my lady… She’ll deceive me if I let her. Isabella now it’s solit’ry confinement… Or are we friends? B… b… b… b… Yes, yes, ’til you show me some Isabella refinement, Devil take you sir, and good riddance. Isabella and Taddeo Isabella I will teach you who knows best. You’re the rudest man I know. Ah, yes, as friends united What is to be must be! If you offer such excuses our faith once more is plighted. then you’re in for a big surprise. Taddeo We act just as we should do, Taddeo Cesare Sterbini after Beaumarchais, Well goodbye then. Thank you kindly. as niece and uncle would do. Oh, how he frightens me. translation by Amanda and Anthony Holden I’ll be happy when you go. And that is what they’re going to see. A. Anelli, translated by Robert David MacDonald

66 67 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 68

from Don Giovanni in the summer, tall and slender; Malatesta I can see six of them, if she’s buxom, he won’t fail her, Calm down, I say. I can see twelve of them, Leporello’s Catalogue Aria like a mountain he will scale her! laughing and playing Pasquale Leporello If she’s tiny, teeny tiny, for our delight. Oh bless you! 7 Look here: this not-so-little volume overflows he’ll overwhelm her; Giovanni Ruffini and Gaetano Donizetti, with the names of all his conquests: every village, he’ll take pleasure Malatesta after A Anelli, translation by David Parry every city and every nation tells its own tale of with old ladies, But listen… his amorous aspiration. just to have them here on these pages; Pasquale (He takes a list from his pocket and reads…) but the highest common factor Not a murmur… from Don Pasquale Aria is a virgin who’s intacta; Malatesta Pasquale and Norina’s Duet Pretty lady, I have something to show you, rich or poor, or or whore, Yes, but… the account of my master’s seductions; behind the door or on the floor, Pasquale it’s a list that’s been long in production, he’ll seize his chance if hidden by a curtain; Pasquale 9 Well good evening! You’re in a hurry; pay attention and read it with me! any creature with a skirt on, No more buts, no more buts… tell me where: it’s most confusing. First Italians, six hundred and forty; you already know his way. Malatesta Norina then the Germans, two hundred and thirty; Lorenzo da Ponte, translation by Amanda Holden If… I am going to the theatre, a hundred in France, only ninety in Turkey; where I find it more amusing. but, here in Spain one thousand and three, from Don Pasquale Pasquale thousand and three. Just hurry, just hurry, Pasquale Malatesta and Pasquale’s Duet lest 1 should fall down dead. There are chambermaids a plenty, But your husband might be tempted Ah! Quite unexpectedly passions inflame me; country girls and city gentry, Malatesta (with an air of mystery) to interfere in such a matter. if I give in to them baronesses and countesses, 8 She’ll be here by midday. no one can blame me. Norina marchionesses and princesses, Pasquale (surprised) The pains of ageing He’d do better to be silent: there are girls of every class No, really? touch me no longer: no one listens to his chatter… and every shape and every age. I feel as if I were Malatesta (in confidence) Pasquale (imitating her) With the blonde ones, passion grows stronger twenty or younger. You prepare yourself. To his chatter? every hour he spends beside her; Hurry my darling one, I’ll fetch her straightaway. with a dark one, he’ll stay longer, let me embrace you! Norina if she’s fair-skinned, woe betide her. Pasquale (embracing him) You shall have beautiful He’d do better to be silent: In the winter, plump and tender, Oh bless you! children to grace you; no one listens…

68 69 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 70

Pasquale (with mounting rage) Norina from Don Pasquale I forbade it… and with her hand she slapped my I advise you to be careful, This is boring. face! Malatesta and Pasquale’s Duet not to push me to the limit. Pasquale Malatesta (amazed ) To your bedroom now, this minute! Malatesta What! She struck you? I insist that you shall stay. Shameless hussy! 10 Don Pasquale… Pasquale Norina (mockingly) Norina (angrily) Pasquale (solemnly and sadly) Yes, she struck me, yes, indeed, sir! When I tell you to be less heated Old man, I warned you… Ah, brother… a living corpse Malatesta (aside) and be quiet, I mean it kindly. is standing here before you. Pasquale Here we go! It’s your bedtime: you sleep soundly, Malatesta Shameless hussy! (to Don Pasquale) and we’ll talk another day. Can you tell me exactly what’s the matter? You are lying: Sofronia is the sort of woman Norina (slapping his face) (She goes towards the door.) Pasquale (without taking any notice, almost who can see, who can hear, can do no evil: Take this! speaking to himself ) this must be just a pretext to remove her, To think that, for the sake of being spiteful some tale that you’ve invented. Pasquale (barring her way) Pasquale I am reduced to this! My poor sister, unjustly accused of being I forbid you! Ah! I’d give Ernesto a thousand Norinas! disrespectful! Norina (ironically) Norina Malatesta (to himself ) Do you really? Pasquale That will teach you not to shout. I’m delighted to hear it! My cheek can act as witness: Pasquale (to Don Pasquale) it shows you what happened. Pasquale (aside) But will you please explain… This is tiring. It is over, Don Pasquale: Malatesta you are absolutely broken! Pasquale It is not true. Norina (about to leave) There is nothing left to do now At least half a year’s income This is boring. Pasquale but to crawl away and die. has gone on bonnets and ribbons! But that is nothing. It’s completely true. Pasquale Norina (aside) I forbid you! Malatesta Malatesta I chastise him far from gladly, What else then? I beg you, it is not proper Norina but I have to treat him badly: to shout in that manner. I won’t listen. now’s the climax of our story, Pasquale now’s the moment to do or die. My dear young wife wished to go to the theatre: Pasquale Pasquale Giovanni Ruffini and Gaetano Donizetti, I attempted to dissuade her; But it’s you who have made me This is tiring. after A Anelli, translation by David Parry she won’t listen to reason, she simply mocks me; lose my temper!

70 71 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 72

Malatesta (calming himself ) Pasquale Pasquale Pasquale Very well, continue. I’ve thought of every detail… Just be patient. She shall not come back to my house. Heaven bless you! (to himself ) Be seated. I won’t compromise at all. Tell me, tell me quickly. Keep it up, Malatesta! Malatesta Malatesta Malatesta. We should both observe them Pasquale I’ll sit down then, but… speak quietly. This affair is inauspicious: The slap is nothing, Oh no! your response must be judicious. closely in the darkness till we’re absolutely certain: There is worse to come yet; Pasquale Pasquale if they’re guilty of the crime, pray read this. No more words, not even whispers: Be judicious, be expeditious, but… then I will take my sister home. (He hands Malatesta the letter.) straightaway now to the garden! I won’t have her in my house, no, no. Taking all the servants with us Pasquale Malatesta (reading, feigning first surprise and then to surround the woods and guard them. Malatesta You are brilliant, you are brilliant! horror) When we find the guilty couple, But a scandal would annoy you… That’s a good plan, now I’m happy. I can’t believe it! they will know that they’re in trouble: Pasquale (aside) Malatesta at my signal they’ll be handcuffed That is nothing. Yes. Keep your face straight. and led off at once to jail. (to Don Pasquale) Malatesta Pasquale How is it that my sister, Malatesta And the shame might yet destroy you. Now I’m happy. so well behaved and kindly… I would say… let’s not be foolish: Pasquale What a disaster, my little schemer: Pasquale we two only should go down there; That is nothing. we should hide amongst the bushes I am the master, You may think she is kindly: Malatesta and see everything we can there. you are the dreamer; I know she isn’t. It’s a wrong move, not a strong move. If we catch them in flagrante, I’m catching up now, Let’s consider how we act. Malatesta we can threaten them with jail, I’m overtaking, I’m still not certain but accept their solemn promise (He reflects a moment.) there’s no mistaking: that she is really guilty. you’ll have to pay. to conclude the sordid tale. Pasquale (imitating him) I will not tolerate Pasquale Not a strong move, it’s a wrong move… the way you cheated me, I’m so completely certain of her guilt now Pasquale But she slapped me, that’s a fact. your smiling tenderness, that I called you here tonight expressly If I were to be so lenient, (Don Pasquale and Malatesta ponder.) beguiling tearfulness. that you might witness my act of vengeance. it would be much too convenient… I would say that… See the moment comes Malatesta Malatesta Malatesta (with sudden inspiration) when I’m revenged on you: All right… but on reflection… But remember, she’s my sister. Now I have it! you’re in the trap I laid

72 73 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 74

and there you’ll stay. Malatesta Malatesta But you, you tattered scroungers, I am the master, We’ll observe them Caught in our snare with your offensive, twisted and catlike I’m overtaking. in the darkness, he can’t get away! glances, there’s no mistaking, if they’re guilty… Pasquale and ghastly sneering laughter, can boast of you’ll have to pay. There’s no mistaking, honour. Pasquale Honour indeed! What honour? Malatesta (aside) you’ll have to pay. We’ll observe them What nonsense! What humbug! The poor things dreaming Giovanni Ruffini and Gaetano Donizetti, in the darkness, Can this honour put a meal in your belly? that he’s the master, after A Anelli, translation by David Parry if they’re guilty, No. but all his scheming you’ll take her back then. Can it mend an arm or a leg that is broken? leads to disaster: from Falstaff Not so. blinded by anger, Malatesta (aside) Honour Monologue An ankle? No. A finger? No. Or a whisker? No. old and unwary, While he enumerates Falstaff Then honour’s not a surgeon. caught in our snare the possibilities, (calling his page) What is it? It’s an expression. he can’t get away. he cannot realise 11 Hey, Page boy! And what is in this expression? Just a passing While he enumerates that they are fantasies, (to Bardolph and Pistol) impression. Most ingenious. the possibilities, or see, the simpleton, You two, go hang yourselves, but not on me. Does honour help him who died last he cannot realise that he himself will fall (to Robin) Wednesday? No. that they are fantasies, into the trap he laid. Two letters, take them to these two ladies. Lives it with the living? That neither, or see, the simpleton, Run off like lightning. because it’s falsely puffed up by human flattery. that he himself will fall Pasquale (aside) Hurry, run quickly, go, quickly, go, go, go! It is pride that corrupts it, and calumny into the trap he laid See if I tolerate Your honour? Vermin! pollutes it. by break of day. the way you cheated me, You are forbidden by your honour, you? As for me, I don’t want it. No! Blinded by anger, your smiling tenderness, You stink of pure hypocrisy, But getting back to you, you villains, old and unwary, beguiling tearfulness. When you both know full well, I’ve had enough now, I’ll do without you. caught in our snare See the moment comes we all have human failings. Get out! Quickly, at the double, at the double! he can’t get away. when I’m revenged on you: We all do, yes, I do, I do. It’s the rope that will suit you the best. (to Don Pasquale) you’re in the trap I laid Sometimes I choose to wander, Quickly, quickly, at the double, at the double! If they’re guilty of the crime, and there you’ll stay. risking the wrath of heaven, Villains! Villains! Villains! Villains! I will take my sister home. What a disaster! and find myself astray without my honour. Out you go! Out you go! Pasquale Malatesta and Pasquale My stratagem is being equivocal, enigmatic and Arrigo Boito after Shakespeare’s The Merry of You are brilliant! Now I’m happy. Ha, ha, ha, ha, ha! elusive. Windsor and Henry IV, translation by Amanda Holden

74 75 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 76

Opera in English on Chandos Opera in English on Chandos

CHAN 3011(2) CHAN 3017(2)

CHAN 3079(2) CHAN 3027(2) CHAN 3077BOOK.qxd22/5/072:11pmPage78 Opera inEnglish onChandos

CHAN 3013 CHAN 3006

CHAN 3032 CHAN 3010 Opera inEnglish onChandos

CHAN 3049 CHAN 3035

CHAN 3076 CHAN 3044 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 80

Opera in English on Chandos Opera in English on Chandos

CHAN 3052(2) CHAN 3036(2) CHAN 3030(2) CHAN 3023(2)

CHAN 3068(2) CHAN 3067 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 82

Opera in English on Chandos Opera in English on Chandos CHAN 3007 CHAN 3014(3)

CHAN 3004 CHAN 3003 CHAN 3022 CHAN 3005(2) CHAN 3057(3) CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 84

Opera in English on Chandos Opera in English on Chandos

CHAN 3042(2) CHAN 3033(2) CHAN 3000(2) CHAN 3008(2)

CHAN 3019(3) CHAN 3029 CHAN 3070(2) CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 86

Opera in English on Chandos Opera in English on Chandos

CHAN 3078

CHAN 3025(2)

CHAN 3066

CHAN 3073 CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 88

Opera in English on Chandos Opera in English on Chandos

CHAN 3054(3) CHAN 3038(4)

CHAN 3065(16) CHAN 3045(4) CHAN 3060(5) CHAN 3077 BOOK.qxd 22/5/07 2:11 pm Page 90

Opera in English on Chandos

Staging director: Charles Kilpatrick Vocal and language consultant: Ludmilla Andrew

Recording producer Brian Couzens Sound engineers Ralph Couzens & Jonathan Cooper (Falstaff ) Mastering engineer Michael Common Operas administrator Sue Shortridge Recording venues Blackheath Halls, London; 7–11 February 1999 (tracks 1–4), 12–16 March 2000 (track 6), 22–27 August 2000 (track 7), 15, 17, 18, 20 & 21 November 1997 (tracks 8–10), & 27 May–3 June (track 11); Goldsmiths College, London; 9–14 August 1994 (track 5) Front cover Main photograph of Andrew Shore as Don Esteban in Paris Opéra’s production of CHAN 3081(2) Zemlinsky’s Der Zwerg (photograph by Eric Mahoudeau.) Background photographs of Andrew Shore as Dulcamara (photograph by Paul Ferris), and as Gianni Schicchi (photograph by Richard CHAN 3074(2) Mildenhall) Back cover Photograph of David Parry by Bill Cooper Design Sean Coleman Booklet typeset by Dave Partridge Booklet editor Kara Reed Copyright © 1979 per l’edizione critica by Casa Ricordi-BMG Ricordi SpA (tracks 1–4), G. Ricordi & C SpA, Milan, translation © Amanda & Anthony Holden (track 5), translation © Robert David MacDonald (track 6), translation © Amanda Holden (tracks 7 & 11) p 1995, 1998, 1999, 2001, 2002 Chandos Records Ltd This compilation p 2002 Chandos Records Ltd c 2002 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU

91 CHAN 3077 Inlay.qxd 22/5/07 2:08 pm Page 1 GREAT OPERATIC ARIAS: Andrew Shore GREAT OPERATIC ARIAS: Andrew Shore CHANDOS DIGITAL CHAN 3077

from Donizetti’s The Elixir of Love from Donizetti’s Don Pasquale 1 ‘Attention! Attention! You country folk!’ 7:56 8 ‘She’ll be here by midday’ – with Geoffrey Mitchell Choir ‘Quite unexpectedly passions inflame me’ 2:52 with Jason Howard (Malatesta) 2 ‘Good doctor, beg your pardon’ – ‘It was Tristan who employed it’ 8:04 9 ‘Well good evening! You’re in a hurry’ 5:50 with Barry Banks (Nemorino) with Lynne Dawson (Norina) ‘Ah brother… a living corpse is 3 ‘How he loved me!’ — 10 ‘With a look of love and laughter’ 7:09 standing here before you’ 10:05 with Mary Plazas (Adina) with Jason Howard (Malatesta)

Act II finale from Verdi’s Falstaff 4 ‘It will give you cheeks like peaches’ 2:35 11 Honour Monologue 4:55 with Mary Plazas (Adina), Barry Banks (Nemorino) Ashley Holland (Belcore) and Geoffrey Mitchell Choir TT 70:40

from Rossini’s The Barber of Seville Andrew Shore baritone ‘Dare you offer such excuses’ 6:39 5 with Mary Plazas, Lynne Dawson, from Rossini’s The Italian Girl in Algiers Barry Banks, Jason Howard and Geoffrey Mitchell Choir 6 ‘All the changes in my fortune’ – ‘Ah, yes, as friends united’ 8:00 Philharmonia Orchestra (tracks 1–4 & 7) with Della Jones (Isabella) London Philharmonic Orchestra (tracks 6 & 8–10) David Parry (tracks 1–4 & 6–10) from Mozart’s Don Giovanni English National Opera Orchestra (tracks 5 & 11) 7 Leporello’s Catalogue Aria 5:54 Gabriele Bellini (track 5) HN3077 CHAN HN3077 CHAN CHANDOS CHANDOS Paul Daniel (track 11) DDD

CHANDOS RECORDS LTD p 1995, 1998, 1999, 2001, 2002 Chandos Records Ltd. This compilation p 2002 Chandos Records Ltd Colchester . Essex . England c 2002 Chandos Records Ltd Printed in the EU