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Chan 3010 reat Operatic CHANDOS O PERA I N G ARIAS ENGLISH

Diana Montague PETE MOOES FOUNDATION CHAN 3010 BOOK.qxd 25/7/08 12:16 pm Page 2

Great Operatic Arias with

Diana Montague as Andromaca in the Glyndebourne Festival production of Rossini’s

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Camille Saint-Saëns (1835–1921) (1797–1848) from Samson and Delilah from La favorite 1 Delilah’s and Samson’s Duet – ‘Softly awakes my heart…’ 6:00 Leonora’s , Aria and Cabaletta 8:54 (Mon cœur s’ouvre à ta voix) (O mon Fernand) with 6 ‘Can I believe it?…’ – ‘O my beloved…’ – 5:34 (1818–1893) 7 ‘I submit to heav’nly powers…’ 3:20 from Faust 2 Siebel’s Flower Song – ‘Summer flowers so fair…’ 2:59 Berlioz (1803–1868) (Faites lui mes aveux) from The Damnation of Faust 8 Marguérite’s Romance – ‘The fire of love inside me…’ 9:12 Léo Delibes (1836–1891) (D’amour l’ardente flamme) from Lakmé 3 Lakmé’s and Mallika’s duet – ‘Come, Mallika! See the vines all in flow’r…’ 6:45 Christoph Willibald Gluck (1714–1787) (Viens, Mallika) from and Eurydice with Mary Plazas 9 Orpheus’s Aria – ‘What is life to me without thee…’ 4:09 (Che farò senza Euridice?) Camille Saint-Saëns from Samson and Delilah (1792–1868) Delilah’s Recitative and Aria from Count Ory 4 ‘Tonight, seeking hither my presence…’ – Trio: Count, Isolier and Countess – ‘Night lends her aid…’ 9:23 ‘O love! From thy pow’r let me borrow!…’ 4:46 (A la faveur) (Amour! Viens aider ma faiblesse) 10 ‘Night lends her aid…’ – 2:54 5 Delilah’s Aria – ‘Fair spring is returning…’ 6:06 11 ‘With love and tender yearning…’ 6:29 (Printemps qui commence) with Mary Plazas soprano . Bruce Ford tenor

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Ambroise Thomas (1811–1896) from Mignon 12 Frédéric’s Rondo-Gavotte – ‘Here am I in her boudoir…’ 2:23 (Me voici dans son boudoir) Richard H. Smith Richard

Jacques Offenbach (1819–1880) from La Périchole 13 Périchole’s Griserie – ‘I’ve dined so well, I feel divine…’ 1:56

14 Périchole’s Letter Song – ‘Oh my dearest, from my heart I swear it…’ 3:01

15 Périchole’s Aria – ‘You don’t have looks, you don’t have cash…’ 2:54 (Couplet des aveux)

Ambroise Thomas from Mignon 16 Mignon’s Romance – ‘Have you heard of the land…’ 6:19 (Connais-tu le pays?) TT 75:30

Diana Montague mezzo-soprano Philharmonia Orchestra Diana Montague as Iphigénie in Welsh National ’s production of Gluck’s Iphigénie en Tauride

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beauty, is rather too oratorio-orientated, Rossini’s triumph, Donizetti wrote, in a Great Operatic Arias too heavy for the music’s good. very different vein, for the French Montague’s more boy-like timbre and capital with his romantic tragedy her urgent yet never effusive manner La favorite (1840). Although most often Diana Montague’s recital is as good beloved Eurydice. The role of Orpheus ideally fulfils Gluck’s intentions. heard throughout its history in Italian evidence as one could want for the was created in the middle of the Next in the chronology of mezzo translation with powerful Amneris-like virtues of singing opera in the eighteenth century for a castrato, but roles undertaken there comes the page voices as the unhappy heroine Leonora, vernacular. She deploys a trim, flexible Gluck had to re-compose it for a tenor Isolier’s wooing of Countess Adèle in the role really calls for the kind of more voice in projecting the English text with to cater for Parisian taste, which would Rossini’s late comedy Count Ory contained, less voluminous voice that a full understanding of how to inflect not tolerate castratos. It has been a (1828). The role was taken in 1997 and Montague possesses. She brings to words with maximum effect. She allies favourite with mezzos ever since Pauline 1998 at Glyndebourne by Montague ‘O mon Fernand’ (Oh my beloved) just that virtue to a truly kaleidoscopic Viardot adopted the role in the middle with the agility and quick wit it calls the right touch of longing as Leonora choice of pieces from the French of the nineteenth century in an edition for. Isolier is in love with the Countess sings of her love for the ill-fated repertory, still not as popular as it by Berlioz, specially arranged for her, only to find his master Ory also has his Fernand, then goes on to the should be in this country. This may which, until recently was the one eye – and not only his eye – on her. determined cabaletta often omitted in partly be blamed on the fact that singers regularly performed on stage and This naughty trio has the libidinous separate recordings of the aria. all too often tackle as record. Count (here amusingly characterized by Six years on, in 1846, was the though it were Italian, missing the The aria itself became even more Bruce Ford), hilariously disguised as a scene of the first performance of yet subtlety and lightness of touch it popular in Britain when Kathleen nun, attempting to get into bed with another, and again very different work, requires. It is something that Diana Ferrier made a best-selling 78rpm disc, the lovely Countess while his own page this was Berlioz’s The Damnation of Montague has realized and thereby in English, back in the 1940s. It is a is also wooing her. The mellifluous, Faust. At its very centre lies Marguérite’s mastered. tribute to the power of singing the aria nocturnal mood of Rossini’s sensuous great lament with its long-breathed, sad Gluck’s Orpheus and Eurydice in the vernacular that this record writing in this delicious trio is among main section, where the grieving girl ( or Orphée) was became an immediate favourite with the the glories of Rossinian – and French – expresses all the sorrow in her soul, written in Italian for Vienna, rewritten public, repeated again and again on the opera. followed by a middle section where in French for Paris. In Orpheus’s closing wireless and loved by a new generation All composers at this period sought Berlioz so graphically catches aria he eloquently laments the loss of his today. But Ferrier’s voice, for all its success in Paris, and twelve years after Marguérite’s urgent musings on Faust’s

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touch and kiss before the original innate theatricality making it a surefire form, is an outburst of longing for the in English-speaking opera circles as melody with its sinuous solo success from its inception. The boy South where Mignon is said to have ‘Softly awakes my heart’, (track 1), we returns, its sense of loss even further Siebel, Marguérite’s lover until Faust come from. Thomas wrote a headily hear Delilah actually carrying out her enhanced. The music, as so often with appears, is characterized in his sensuous song for his much-loved plan as at night she lures Samson Berlioz, extends the boundaries of delightfully insouciant Flower Song. It character, calling for suave, velvet tone. (Bruce Ford) into her lair against his musical expression. This is a piece is typical of the sort of piece Gounod Not as complex as its German counter- better judgment. It owns surely one of needing a voice, such as Montague’s, dropped into his serious to parts, it catches as well, if not better the most glorious and memorable hovering between mezzo and soprano, lighten the mood – and they’re usually than they, Mignon’s mysterious nature. melodies in all French opera, fully which the French call a ‘Falcon’, after a assigned to mezzos in trousers as was Saint-Saëns’s bible-based, hieratical justifying its renown, but the other two singer of that name. the tradition then, and it is a genre in opera Samson and Delilah (1877) is also exhibit the composer’s gift for With Gounod’s very different which Montague is particularly adept. another work that achieved immense creating the most grateful line for his rendition of the same Goethe-inspired Mignon (1866), though seldom and well-deserved popularity in and heroine to sing. plot, we reach the high noon of French encountered now in the opera house, outside . It is notable both for its In Lakmé (1883), Delibes proved no opera in Paris during the Second was almost as popular as Faust in its day clever characterization, sense of slouch in writing catchy tunes. It is Empire and the period that immediately and shared with its predecessor as stagecraft and, above all, memorable common knowledge that the duet succeeded it, encompassing the inspiration a work by Goethe, in this melodies. These gifts are all evinced in recorded here has become a hot remainder of the works represented case the novel Wilhelm Meister. Diana the three grand-scale, carefully crafted favourite with the public after it was here. Opera in those days was at the Montague here essays two roles, in the arias the composer lavished on his used as a backing to a BA commercial. centre of popular entertainment in first place yet another boy’s part, that of heroine. Her first solo (track 5), more If a piece can survive that treatment it France. Following the success of such Frédéric, a youth in love with the flighty neutral in feeling than the other two, obviously deserves its popularity. It is composers as Meyerbeer, Auber and Philine. He has this charming Rondo- has the merit of creating the seductress’s sung by Lakmé (Mary Plazas), the Halévy came a new generation headed Gavotte to sing, but of course the waif character as she proclaims the glory of daughter of a Brahmin priest, with her by Gounod and Thomas. Mignon of the title is at the centre spring. In the next (track 4), she calls servant Mallika in Act I. Its artless yet Gounod’s Faust (1859) was probably of the work. Her great Romance, on Love to aid her in her nefarious, bewitching quality is obviously the the most popular work in all French ‘Connais-tu le pays?’ (Have you heard of treacherous aim of seducing, then thing to capture the ear of Gérald, an opera at least until came along, the land), the original text of which betraying the infatuated Samson. Then, Englishman who becomes fatally its heady outpouring of melody and many German composers set in Lieder in the most famous of the three, known infatuated with the lovely girl.

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La Périchole (1868) actually Offenbach could be. Piquillo, by Her frequent concert engagements have went on to become a staff conductor at appeared before the previous two works, chance, is also recruited into the included many performances with Städtische Bühnen Dortmund and at but as it derives from a different genre, Viceroy’s service – expressly to marry leading conductors including Georg . He was Music Director of that of opéra-bouffe, it demands to be his latest ‘favourite’, none other than Solti, James Levine, Riccardo Muti, Opera 80 from 1983 to 1987, and since dealt with separately. It came at the Piquillo’s own beloved. When they get , Seiji Ozawa, Jeffrey 1992 has been the founding Music height of Offenbach’s popularity and, married, Périchole gets drunk and sings Tate and Andrew Davis. Recent Director of the contemporary opera after its Paris premiere, was soon heard her delightful tipsy song (track 13). All engagements have included Junon festival Almeida Opera. in New York, then in London. The these aspects of the role are easily (Platée with The Royal Opera), He pursues a busy career both in street-singer of the title is one of the encompassed by Montague. Marguérite (La damnation de Faust in opera and in concert. His repertoire composer’s most delightful creations. In Geneva), Benvenuto Cellini with extends from Mozart and early love with her professional partner © 1998 Opera, Iphigénie en Tauride in Buenos nineteenth-century Italian opera to Piquillo, she goes through various Aires, Madrid and with Welsh National Janácˇek, Britten and contemporary tribulations before true love triumphs. Diana Montague was born in Opera, Ermione (Glyndebourne), music. In England he has appeared All three of Périchole’s solos are sung Winchester and studied at the Royal (in Lausanne, Rome and regularly at and here (with tremendous gusto) by Northern College of Music. Since her Glyndebourne) and Ariadne auf Naxos in concert with the Philharmonia. In Montague. In the first (track 15) the debut as Zerlina with Glyndebourne in Lisbon. 1996 he made his debut at the heroine sings, in amorous mode, of the Touring Opera she has appeared in the Diana Montague’s many recordings Glyndebourne Festival with Così fan charms of her impecunious lover, world’s leading opera houses and include I Capuleti e i Montecchi, Norma, tutte. whom she dotes on, ‘Je t’adore, concert halls including: the Royal Opera , Iphigénie en He is a frequent visitor to Spain brigand’ in the original (‘I adore you, House, Covent Garden; the Tauride, Il crociato in Egitto (for Opera where he has appeared with most of the you wretch’, as it’s rendered here). But , New York; the Rara) and Cavalleria rusticana (for opera companies and symphony she needs money to stave off hunger. Monnaie, Brussels; the Paris Bastille; Chandos/Peter Moores Foundation). orchestras. He gave the Spanish Offered a place as Lady-in-Waiting at a Teatro Colon, Buenos Aires; and the premiere of in Madrid, and Viceroy’s palace, she cannot refuse and Bayreuth and Salzburg Festivals. David Parry studied with Sergiu in 1996 he conducted the first Spanish writes a tender letter of farewell (track Her repertoire includes the major Celibidache and began his career as Sir production of The Rake’s Progress, 14) to Piquillo in waltz time, which mezzo-soprano roles by Mozart, Gluck, John Pritchard’s assistant. He made his inaugurated two new concert halls with reveals just how seriously affecting Strauss, Rossini, Bellini and Berlioz. debut with English Music Theatre and Beethoven’s Ninth Symphony and a

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new opera house with Carmen. He has Carmen in Japan and, in 1996, also appeared in Italy, where he conducting a new production of Katya conducted in the Kabanova for the New Zealand Festival. at , in He has recorded extensively for the

France, , Belgium, Holland, label, the most recent issue Barda/P.A.L. © Clive and in Sweden where he conducted an being Donizetti’s Rosmonda d’Inghilterra, acclaimed production of Britten’s which won the Prix Cecilia in Belgium A Midsummer Night’s Dream. and for Chandos he conducted the Outside Europe David Parry has award-winning recording of , a appeared at the Hong Kong International recording of operatic arias with Bruce Festival, with the UNAM Symphony Ford, La bohème, Cavalleria rusticana Orchestra at Mexico City, with a tour of and Pagliacci.

Diana Montague as Junon in the Royal Opera production of Rameau’s Platée

14 15 CHAN 3010BOOK.qxd25/7/0812:16pmPage16 Lieutenant ofLancashire. AndintheNew Year’s 1985. In May 1992 he becameaDeputy Trustee ofthe Tate from 1978until Gallery 1983 hewasaGovernor oftheBBC,anda was director ofamerchant bank.From 1981to post, althoughstillremaining ontheBoard, and Three years laterhesteppeddown from the returned toLiverpool immediately. the firm.Family loyalty wasparamountandhe asking himtocomehomeashewasneededin this pointhereceived aletterfrom hisfather seemed setforasuccessfuloperaticcareer. At the Geneva Festival andtheRome Opera, and Producer attheSan CarloOpera House, Naples, ofLucretiaThe Rape produced the Viennese premiere ofBritten’s Viennese Academy ofMusic andDramatic Art. he enrolled aswell forafour-year courseatthe buttheafternoonswereperformances, free, so attend morningrehearsals andevening Oxford tobecomeaproduction studentatthe Vienna . He wasrequired to Glyndebourne before goinguptouniversity, andattheendofhissecondyear heleft German andItalian. It wasoperawhichhisgreat love, however. He hadworked at Christ Church, Oxford, where heread Modern Languages.He wasalready fluentin mailorder,Littlewoods chainstore andfootballpools group. He waseducatedatEton and Peter Moores wasborninLancashire in1932,sonofSir John Moores, founderofthegiant By 1977hewasChairmanofLittlewoods. By theendofhisthird year Moores had , hadworked asAssistant EE MOORES,CBE,DL PETER 16 Peter Moores, CBE,DL.

Christina Burton/PMF before inEngland. performed visitor –oritmayfundtheproduction atGlyndebourne of £2.50 perticket–theprovision beingthateachticket holdermustbeafirst-timeopera Welsh National foraweek Opera, attheLiverpool performing Empire andchargingonly Accessibility isthekeyword. (theageof nineteenth century is goingon’. Others are ofinteresting Italian butunperformed operasfrom theearly repertoire, ‘what peoplewantistobeablefollow theplotofanoperaandunderstandwhat Many are sunginEnglish, intranslation,becauseMoores believes thatinthepopular the repertoire. to enableasingerstudyabroad, role ortowork withanacknowledged onanew in expert opera singersthrough theRoyal Northern CollegeofMusic. Financial helpmaybegiven also In thefieldofmusic,Peter Moores Foundation awards scholarshipstopromising young about £33millionintoday’s money. relations. 99%oftheFoundation’s moneyhascomefrom Peter Moores’s own pocket–sofar people; togive encouragementtotheyoung; tofightdiscriminationandimprove race more tomakemusicandthearts accessibletomore thosecausesdeartohisheart: to support aside alargesliceofhisinheritancetofoundthePeter Moores Foundation, acharitydesigned famous. Moores hasalwaysbeenastuteinhisrecognition ofpotentialquality. In 1964heset whom –suchasGeraint Evans, andColinDavis –have sincebecomeworld- totheArts. for1991hewasmadeaCBEhischaritableservices Honours List h i sawy h ae availability. ‘Share andenjoy’ ishisphilosophy. The aimisalwaysthesame: The samecriterionholdswhere live operaisconcerned. So theFoundation maysponsor In thelasttwenty years theFoundation therecording hassupported operas. ofthirty-nine He tovarious hisearlytwenties several young givingfinancialsupport of hadstarted artists, EE ORSFOUNDATION MOORES PETER bel canto ), which are otherwise onlyaccessibletoscholars. ), whichare otherwise 17 Ermione , a bel canto opera never CHAN 3010 BOOK.qxd 25/7/08 12:16 pm Page 18

und wieder im Radio erklang und heute im Bett der Gräfin zu landen, die Große Opernarien von einer neuen Generation entdeckt gleichzeitig von seinem eigenen Pagen wird, ist ein Tribut an die Wirkung, die bedrängt wird. Die in diesem diese Arie hat, wenn man sie in der zauberhaften Trio entfaltete melodiöse Diana Montagues Recital demonstriert Orpheus eloquent den Verlust seiner Landessprache singt. Doch die Stimme Nachtstimmung von Rossinis in überzeugender Weise, welche Vorteile geliebten Eurydice. Die Rolle des der Ferrier ist trotz all ihrer Schönheit sinnlichem Stil gehört zu den es hat, Oper in der Landessprache zu Orpheus wurde Mitte des etwas zu sehr am Oratorium orientiert, Höhepunkten Rossinischer – und singen. Sie entfaltet zur Darstellung des 18. Jahrhunderts für einen Kastraten für diese Art von Musik zu schwer. Das französischer – Oper. englischen Textes eine präzise und geschaffen, doch Gluck mußte sie für eher knabenhafte Timbre der Montague Alle Komponisten dieser Zeit suchten zugleich flexible Stimme, mit großem einen Tenor umarbeiten, um dem und ihr drängender, doch nie ihren Erfolg in Paris, und zwölf Jahre Verständnis für die Inflektion der Worte Pariser Geschmack gerecht zu werden, überschwenglicher Vortrag hingegen nach Rossinis Triumph schrieb mit maximalem Effekt. Diese Tugenden der Kastraten nicht duldete. Seit Pauline erfüllen Glucks Intentionen in idealer Donizetti – in sehr anderer Manier – verbindet sie mit einer wirklich Viardot Mitte des 19. Jahrhunderts die Weise. für die französische Hauptstadt seine kaleidoskopischen Auswahl von Stücken Partie in einer von Berlioz speziell für Als nächstes in der Chronologie der romantische Tragödie La favorite aus dem französischen Repertoire, die in sie arrangierten Ausgabe für sich hier vorgestellten Mezzo-Rollen kommt (1840). Obwohl die Rolle der England bei weitem noch nicht so adoptierte, gehört sie zu den Repertoire- die Arie des Pagen Isolier, der in unglücklichen Heldin Leonora in ihrer bekannt sind, wie es ihnen zustände. Favoriten für Mezzosoprane; diese Rossinis später Komödie Graf Ory Aufführungsgeschichte meist in Dies mag zum Teil daran liegen, daß Fassung wurde bis vor kurzem (1828) die Gräfin Adäle umwirbt. Die italienischer Übersetzung mit Sänger allzu oft französische Oper wie regelmäßig für die Bühne wie auch für Montague sang diese Rolle 1997 und kraftvollen Stimmen von der Art der das italienische Repertoire behandeln Schallplattenaufnahmen bevorzugt. 1998 in Glyndebourne mit gebotener Amneris gehört wurde, verlangt sie und auf diese Weise die gebotene In England wurde diese Arie noch Leichtigkeit und Esprit. Isolier ist in die eigentlich eher nach einer Finesse und Leichtigkeit missen lassen. populärer, als Kathleen Ferrier sie in den Gräfin verliebt, muß jedoch beherrschteren, weniger voluminösen Glucks Orpheus und Eurydice 1940er Jahren auf Englisch auf eine herausfinden, daß auch sein Herr, Ory, Stimme, wie die Montague sie besitzt. (Orphée, oder Orfeo ed Euridice), wurde 78er-Platte einspielte, die zum Bestseller ein Auge auf sie geworfen hat. In Sie verleiht der Arie “O mon Fernand” in Italien für Wien geschrieben und für wurde. Die Tatsache, daß diese diesem gewagten Trio versucht der (Oh my beloved) gerade das richtige Paris ins Französische übertragen. In Schallplatte sofort zum lüsterne Graf (hier amüsant von Bruce Maß an Sehnsucht, mit der Leonora seiner abschließenden Arie beklagt Publikumsliebling wurde, der wieder Ford dargestellt), als Nonne verkleidet, von ihrer Liebe für den unglückseligen

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Fernand singt, und fährt fort mit der sie hat –, die zwischen Mezzo und unbekümmerte Blumenlied Lied vertonten, ist ein Ausbruch der entschlossenen Cabaletta, die in Sopran schwebt; die Franzosen nennen charakterisiert den Jungen Siebel, Sehnsucht nach dem Süden, aus dem Einzelaufnahmen der Arie häufig das eine “Falcon”, nach der Marguérites Liebhaber bevor Faust Mignon angeblich herstammt. Auch ausgelassen wird. gleichnamigen Sängerin. auftaucht. Das Stück ist typisch für die Thomas schrieb für diese beliebte Figur Sechs Jahre später, 1846, war Paris Mit Gounods sehr anders gearteter Einlagen, die Gounod in seine ernsten ein betörend-sinnliches Lied, das nach Schauplatz der Erstaufführung eines Vertonung desselben von Goethe Opern einzubauen pflegte, um die einem geschmeidig-samtigen Ton weiteren, ganz anders gearteten Werks, entlehnten Stoffs kommen wir zur Stimmung aufzuheitern; solche Partien verlangt. Seine Komposition mag Die Verdammung des Faust von Blütezeit der französischen Oper in waren gewöhnlich Mezzos in vielleicht nicht so komplex sein wie die Berlioz. Im Zentrum dieser Paris im Zeitalter des zweiten Empire Hosenrollen zugedacht – ein Genre, für deutschen Parallelvertonungen, doch sie Komposition steht Marguérites großes und dem unmittelbar darauffolgenden das die Montague sich besonders eignet. fängt Mignons mysteriöses Wesen Lamento mit seinem elegischen, Zeitraum, dem die verbleidenden hier Obwohl Mignon (1866) heute auf mindestens ebensogut ein wie diese. traurigen Hauptteil, in dem das vorgestellten Werke entstammen. In den Spielplänen der Opernhäuser selten Ein weiteres Werk, das innerhalb und untröstliche Mädchen sich ihren Frankreich stand die Oper in dieser anzutreffen ist, war das Werk seinerzeit außerhalb Frankreichs immense und Schmerz von der Seele singt, gefolgt von Epoche im Zentrum populärer fast so populär wie Faust; mit seinem wohlverdiente Popularität erreichte, ist dem Mittelteil, in dem Berlioz Unterhaltung. Nach dem Erfolg solcher Vorgänger teilt es die Inspiration durch die auf der Bibel basierende hieratische Marguérites drängende Gedanken an Komponisten wie Meyerbeer, Auber Goethe (hier dessen Roman Wilhelm Oper Samson und Delilah (1877) von Fausts Berührung und Kuß überaus und Halévy erschien eine neue Meister). Diana Montague bietet hier Camille Saint-Saëns. Das Werk ist vor anschaulich einfängt, bevor die Generation, mit Gounod und Thomas zwei Rollen aus der Oper, zunächst eine allem für seine intelligente Anfangsmelodie mit ihrem an der Spitze. weitere Knabenrolle, die des Frédéric, Charakterzeichnung, seinen Sinn für geschmeidigen Englischhorn-Solo Gounods Faust (1859) war der die flatterhafte Philine liebt. Dramatik und besonders seine wiederkehrt, die in ihr ausgedrückte vermutlich von allen französischen Frédéric fällt es zu, die charmante einprägsamen Melodien berühmt. Diese Empfindung des Verlusts noch Opern die populärste – zumindest bis Rondo-Gavotte zu singen, doch im Qualitäten zeigen sich sämtlich in den verstärkend. Wie so oft bei Berlioz Carmen auftauchte; die betörende Zentrum des Werks steht natürlich die drei großangelegten, sorgfältig gelingt es der Musik, die Grenzen Vielzahl von Melodien und dem Stück Waise Mignon. Ihre große Romance, ausgearbeiteten Arien, mit denen der musikalischer Ausdrucksfähigkeit zu eigene Theatralik machten die Oper von “Connais-tu le pays?” (Have you heard Komponist seine Heldin bedachte. Das überschreiten. Dieses Stück verlangt Anfang an zu einem sicheren Erfolg. of the land), deren Originaltext erste Solo (Spur 5), in seinen Gefühlen nach einer Stimme – wie die Montague Das hier vorgestellte entzückend zahlreiche deutsche Komponisten als noch verhaltener als die anderen beiden,

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entwickelt den Charakter der Verwendung als Hintergrundsmusik für Komplikationen durchstehen, bevor die werden von der Montague mit Verführerin, während sie die einen Werbespot der British Airways ein wahre Liebe triumphiert. Leichtigkeit bewältigt. Herrlichkeit des Frühlings verkündet. In großer Publikumsrenner wurde. Wenn Alle drei Soli von Périchole werden der zweiten Arie (Spur 4) beschwört sie ein Stück eine solche Behandlung hier – mit großem Elan – von der © 1998 Alan Blyth die Liebe, sie in ihrer ruchlosen übersteht, hat es seine Popularität Montague gesungen. Im ersten (Spur Übersetzung: Stephanie Wollny betrügerischen Absicht zu unterstützen, offensichtlich verdient. Das Duett wird 15) singt die Heldin in verliebter den verliebten Samson zu verführen und im ersten Akt der Oper von Lakmé Stimmung von den Reizen ihres Diana Montague wurde im britischen sodann zu verraten. In der dritten und (Mary Plazas), der Tochter eines bettelarmen Geliebten, von dem sie Winchester geboren und hat am Royal berühmtesten Arie (Spur 1) schließlich, Brahmanen, und ihrer Dienerin Mallika betört ist, “Je t’adore, brigand” im Northern College of Music studiert. Seit in englischsprechenden Opernkreisen gesungen. Die einfache und doch Original (hier “I adore you, you ihrem Debüt als Zerlina mit der als “Softly awakes my heart” bekannt, verzaubernde Melodie betört das Ohr wretch”). Doch ihr fehlt das nötige Glyndebourne Touring Opera ist sie in hören wir wie Delilah ihren Plan des Engländers Gérald, der sich in das Geld, ihren Hunger zu stillen. Als ihr den führenden Opernhäusern und tatsächlich ausführt, indem sie Samson liebliche Mädchen unsterblich verliebt. eine Stellung als Hofdame im Palast des Konzertsälen der Welt aufgetreten, so (Bruce Ford) in der Nacht gegen sein La Périchole (1868) erschien Vizekönigs angeboten wird, kann sie auch am Royal Opera House Covent besseres Wissen in ihre Falle lockt. eigentlich vor den beiden zuletzt diese nicht ausschlagen und schreibt Garden, an der New Yorker Dieser Arie eignet sicherlich zu Recht vorgestellten Werken, da es aber zu Piquillo einen zärtlichen Brief im Metropolitan Opera, am Théâtre Royal eine der glorreichsten und einem anderen Genre, dem der Opéra- Walzerrhythmus (Spur 14); die Arie de la Monnaie in Brüssel, an der Opéra einprägsamsten Melodien des gesamten bouffe gehört, wird es hier separat zeigt, wie wirkungsvoll Offenbach zu de Bastille in Paris, am Teatro Colón in französischen Opernrepertoires, doch behandelt. Die Oper entstand auf der komponieren vermochte. Das Glück Buenos Aires und bei den Festspielen auch die anderen beiden demonstrieren Höhe von Offenbachs Ruhm und will es, daß auch Piquillo in die Dienste von Bayreuth und Salzburg. die Fähigkeit des Komponisten, seiner erklang bald nach seiner Pariser des Vizekönigs tritt – ausdrücklich, um Ihr Repertoire umfaßt die großen Heldin die dankbarsten Partien zu Premiere auch in New York und dessen jüngste “Favoritin” zu heiraten, Mezzosopranrollen von Mozart, Gluck, schaffen. schließlich in London. Die die niemand anders ist als Piquillos Strauss, Rossini, Bellini und Berlioz. Delibes’ Lakmé (1883) enthält eine Straßensängerin des Titels ist eine der eigene Geliebte. Auf ihrer Hochzeit Unter ihren häufigen Reihe unvergeßlicher Melodien. Es ist entzückendsten Schöpfungen des betrinkt sich Périchole und singt ihr Konzertengagements befinden sich allgemein bekannt, daß das hier Komponisten. In ihren Kumpanen köstliches beschwipstes Lied (Spur 13). zahlreiche Auftritte mit führenden eingespielte Duett nach seiner Piquillo verliebt, muß sie verschiedene Die verschiedenen Facetten dieser Rolle Dirigenten wie Georg Solti, James

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Levine, Riccardo Muti, John Eliot Music Theatre und wurde Kapellmeister spanische Inszenierung von The Rake’s Symphony Orchestra in Mexico City Gardiner, Seiji Ozawa, Jeffrey Tate und an den Städtischen Bühnen Dortmund Progress (Strawinsky) und weihte zwei aufgetreten, war mit Carmen in Japan Andrew Davis. In letzter Zeit war sie sowie an Opera North in Leeds. Von neue Konzertsäle mit der Neunten auf Tournee und leitete eine unter anderem als Junon (Platée an der 1983 bis 1987 fungierte er als Sinfonie von Beethoven sowie ein neues Neuinszenierung von Katja Kabanova Royal Opera) und Marguerite (La Musikdirektor für Opera 80 und seit Opernhaus mit Carmen ein. In Italien für das Festival in Neuseeland. damnation de Faust in Genf) 1992 ist er der Musikdirektor (und leitete er Ricciardo e Zoraide bei dem Parry hat zahlreiche Werke für das verpflichtet, für Benvenuto Cellini am Gründer) des zeitgenössischen Opern- Rossini-Festival in Pesaro. Er tritt in Label Opera Rara eingespielt, zuletzt Opernhaus Rom, für Iphigénie en Festivals Almeida Opera. Frankreich, Deutschland, Belgien, den Rosmonda d’Inghilterra von Donizetti, Tauride in Buenos Aires, Madrid und an Parrys Tätigkeitsbereich ist nicht nur Niederlanden und Schweden auf, wo er das in Belgien mit dem Prix Cecilia der Welsh National Opera, für das Opernhaus, sondern auch der eine gefeierte Inszenierung von Britten’s ausgezeichnet wurde; für Chandos hat in Glyndebourne, Le comte Konzertsaal. Sein Repertoire erstreckt Midsummer Night’s Dream dirigierte. er eine preisgekrönte Tosca, eine Ory in Lausanne, Rome und sich von Mozart und der italienischen Außerhalb Europas ist David Parry Aufnahme operatischen Arien, La Glyndebourne sowie Ariadne auf Naxos Oper des frühen 19. Jahrhunderts bis zu bei dem Hongkong International bohème, Cavalleria rusticana und in Lissabon. Janácˇek, Britten und zeitgenössischer Festival und mit dem UNAM Pagliacci aufgenommen. Zu Diana Montagues zahlreichen Musik. In England dirigiert er Aufnahmen auf Tonträger zählen I regelmäßig an der English National Capuleti e i Montecchi, Norma, Lucia di Opera und konzertiert mit dem Lammermoor, Iphigénie en Tauride, Il Philharmonia Orchestra, 1996 machte crociato in Egitto (für die Reihe Opera er mit Così fan tutte sein Debüt bei dem Rara) und Cavalleria rusticana (für Glyndebourne Festival. Chandos und die Peter-Moores- David Parry gastiert häufig in Stiftung). Spanien, wo er bereits mit den meisten Opernkompanien und David Parry studierte bei Sergiu Sinfonieorchestern aufgetreten ist. Die Celibidache und begann seine Laufbahn spanische Premiere von Peter Grimes als Sir John Pritchards musikalischer fand unter seiner Leitung in Madrid Assistent. Er debütierte mit dem English statt; 1996 dirigierte er die erste

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la langue vernaculaire. Cependant, la parmi les gloires de l’opéra rossinien, et Grands airs d’opéra voix de Ferrier, malgré toute sa beauté, français. est trop lourde pour cette musique. Le Tous les compositeurs de cette timbre de jeune garçon de Montague et période ont cherché le succès à Paris, et Le récital que nous propose Diane d’Eurydice sa bien-aimée. Le rôle l’urgence de son expression dépourvue douze ans après le succès de Rossini, Montague est la preuve que rien ne vaut d’Orphée fut créé au milieu du néanmoins d’effusion excessive satisfont Donizetti écrivit, dans une veine bien un opéra chanté dans la langue du pays XVIIIe siècle pour un castrat mais de façdon idéale les intentions de Gluck. différente, sa tragédie romantique où il est entendu. Elle déploie une voix Gluck fut forcé de le réécrire pour un Très proche dans la chronologie des La favorite (1840) pour la capitale élégante et flexible en projetant le texte ténor afin de se conformer au goût rôles de mezzo se trouve la sérénade française. Bien que tout au long de son anglais avec une maitrise parfaite dans la parisien, qui ne supportait pas les d’Isolier à la Comtesse Adèle dans l’une histoire, on ait souvent entendu le rôle manière de moduler les mots. Elle allie castrats. Ce rôle n’a cessé d’être le favori des dernières comédies de Rossini, de Léonore, l’héroïne malheureuse, dans ce talent avec un choix extrêmement des mezzos depuis que Pauline Viardot Le comte Ory (1828). Le rôle fut une traduction italienne par des voix varié et coloré de pièces issues du l’eut adopté au milieu du XIXe siècle interprété à deux reprises par Montague puissantes rappelant Amneris, il exige répertoire français, pourtant beaucoup dans une version que Berlioz avait lors des édition de 1997 et de 1998 du vraiment le type de voix plus contenue moins connues qu’elles ne devraient spécialement arrangée pour elle et qui, Festival de Glyndebourne avec l’agilité et et moins volumineuse que possède l’être dans ce pays. Il faut peut-être en jusqu’à très récemment, était la légèreté qu’il requiert. Isolier est Montague. Elle apporte à l’air “O mon chercher la raison dans le fait que les régulièrement enregistrée et jouée sur amoureux de la Comtesse jusqu’au Fernand” (Oh my beloved) cette touche chanteurs abordent l’opéra français scène. moment où il découvre que son maître de mélancolie si juste dans le passage où comme s’il s’agissait de répertoire italien, L’aria elle-même devint encore plus Ory a jeté son dévolu sur elle. Le trio Léonore chante son amour pour omettant ainsi la subtilité et la légèreté populaire en Grande-Bretagne lorsque s’organise alors: le Comte libidineux l’infortuné Fernand, puis enchaîne avec que requiert cette langue. C’est ce que Kathleen Ferrier enregistra un soixante- (incarné ici avec beaucoup de drôlerie la cabaletta pleine de détermination, Diane Montague a réalisé avec brio. dix-huit tours, en anglais, qui fit un par Bruce Ford) se déguise en nonne et souvent omise dans les différents Orfeo ed Euridice ou Orphée de best-seller dans les années quarante. Le tente de mettre la jolie Comtesse dans enregistrements de l’aria. Gluck fut écrit en italien pour Vienne, succès immédiat de ce disque, joué et son lit tandis que son propre page lui Six ans plus tard, Paris fut le théâtre puis réécrit en français pour Paris. Dans rejoué sur les ondes et aimé aujourd’hui fait aussi la cour. Le caractère doucereux de la première représentation d’une l’aria finale de l’Orpheus, celui-ci pleure par une nouvelle génération, représente et nocturne de l’écriture voluptueuse de autre oeuvre, bien différente, qui était avec beaucoup d’éloquence la perte un hommage au pouvoir du chant dans Rossini dans ce délicieux trio compte La damnation de Faust. Le cœur de

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cette œuvre est bien sûr la grande divertissements populaires en France. source d’inspiration, tirée de l’oeuvre de l’étranger. Il est remarquable, à la fois plainte de Marguérite et sa section Entrainée par le succès des Meyerbeer, Goethe, ici le roman Wilhelm Meister. par ses personnages si bien plantés, son principale longue et triste où la jeune Auber et Halévy, une nouvelle Diane Montague aborde deux rôles, le sens de la technique scénique et, par fille affligée exprime toute la souffrance génération fit son apparition avec à sa premier étant encore un rôle de jeune dessus tout, ses mélodies inoubliables. de son âme, suivie d’une section tête Gounod et Thomas. garçon, celui de Frédéric, un jeune Ces qualités se voient toutes évincées par centrale dans laquelle Berlioz parvient à Le Faust (1859) de Gounod fut homme amoureux de l’inconstante les trois grandes arias dont le saisir d’une manière très pittoresque la probablement l’œuvre la plus populaire Philine. Elle interprète le charmant compositeur a doté son héroïne. Son rêverie de Marguérite se rappelant les de l’opéra français, du moins jusqu’à la Rondo-Gavotte, mais bien entendu premier solo (plage 5), dont l’expression caresses et les baisers de Faust avant que création de Carmen, sa profusion Mignon, l’enfant abandonné, est au est plus neutre que les deux autres, a le la mélodie d’origine avec son solo de cor mélodique et sa théâtralité naturelle en centre de l’œuvre. Sa grande Romance, mérite de planter le personnage de anglais ne réapparaisse, renforçant faisant un succès garanti dès le début. “Connais-tu le pays?” (Have you heard séductrice tandis qu’elle proclame la encore chez elle le sentiment de sa perte. Le personnage de Siebel, l’amoureux de of the land), texte original qui inspira gloire du printemps. Dans le suivant La musique, comme souvent chez Marguérite, jusqu’à l’apparition de des Lieder à de nombreux compositeurs (plage 4), elle appelle l’Amour et lui Berlioz, repousse les limites de Faust, est caractérisé par le Chant de la allemands, est un épanchement de la demande son aide dans sa perfide l’expression musicale. C’est une pièce fleur, d’une délicieuse insouciance. C’est nostalgie de Mignon pour le Sud, censé tentative de séduction, puis de trahison qui exige une voix, comme celle de absolument typique du genre de passage être son pays d’origine. Thomas écrivit du pauvre Samson amoureux. Ensuite, Montague, s’étendant entre le registre de dont Gounod pouvait parsemer ses une mélodie très voluptueuse pour son dans le plus célèbre des trois (plage 1), mezzo et celui de soprano, que les opéras sérieux afin d’en alléger personnage tant aimé, requérant un connu dans l’opéra en langue anglaise Français appellent un “Falcon”, d’après l’atmosphère – et ils sont souvent timbre aussi doux que du velours. Avec sous le nom de “Softly awakes my heart” le nom d’un chanteur. attribués à des mezzos en pantalon, peut-être moins de complexité que ses (Mon cœur s’ouvre à ta voix), nous Avec l’adaptation très personnelle de comme le voulait la tradition en ce pendants allemand, il parvient à saisir entendons Dalila mettre son plan à l’intrigue de Goethe par Gounod, nous temps, et c’est un genre qu’affectionne aussi bien, si ce n’est mieux, la exécution lorsque, à la nuit tombée, elle atteignons le sommet de l’opéra français tout particulièrement Montague. mystérieuse nature de Mignon. attire dans son repère Samson (Bruce pendant le Second empire ainsi que la Mignon (1866), bien que très peu Le hiératique opéra de Saint-Saëns Ford) qui a perdu tout son bon sens. période qui suit, comprenant le reste des joué de nos jours, fut presque aussi basé sur la Bible, Samson et Dalila C’est sûrement l’une des mélodies les oeuvres proposées ici. A cette époque, populaire que Faust en son temps et (1877), jouit d’une immense popularité plus glorieuses et mémorables de l’opéra l’opéra était le plus important des partageait avec son prédécesseur sa bien méritée, en France comme à français, justifiant pleinement sa

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réputation, mais les deux autres composa au sommet de sa gloire et, Piquillo. Lorsqu’ils se marrient, direction de chefs aussi éminents que démontrent tout aussi bien le talent du après sa première parisienne, elle fut Périchole boit un peu trop et entame Georg Solti, James Levine, Riccardo compositeur lorsqu’il écrit pour ses rapidement jouée à New York puis son délicieux air d’ivrogne (plage 13). Mutti, John Eliot Gardiner, Seiji Ozawa, héroïnes des airs aussi parfaitement Londres. La chanteuse des rues du titre Montague parvient aisément à rendre Jeffrey Tate et Andrew Davis. Parmi ses seyants. est l’une des plus délicieuses créations tous ces aspects du rôle. récentes prestations, on peut noter le Dans Lakmé (1883), Delibes prouve du compositeur. Amoureuse de son rôle de Junon (Platée avec le Royal également son aptitude à composer des partenaire professionnel Piquillo, elle © 1998 Alan Blyth Opera), Marguérite (La damnation de airs entraînants. Tout le monde sait que traverse de nombreuses tribulations Traduction: Karin Py Faust à Genève), Benvenuto Cellini à le duo enregistré ici est devenu célèbre avant que ne triomphe l’amour. l’Opéra de Rome, Iphigénie en Tauride à auprès du public après avoir été utilisé Les trois solos de Périchole sont ici Née à Winchester, Diana Montague a Buenos Aires, Madrid et au Welsh dans la publicité pour British Airways. chantés (avec un immense plaisir) par fait ses études au Royal Northern National Opera, Ermione de Rossini à Si une pièce peut survivre à un tel Montague. Dans le premier (plage 15), College of Music. Depuis ses débuts Glyndebourne, Le comte Ory à traitement, c’est qu’elle mérite l’héroïne chante, amoureusement, les dans le rôle de Zerline avec le Lausanne, Rome et Glyndebourne, et largement sa popularité. Le duo est charmes de son amant démuni, auquel Glyndebourne Touring Opera, elle s’est Ariadne auf Naxos à Lisbonne. chanté par Lakmé (Mary Plazas), la fille elle adresse des “Je t’adore, brigand”. produite dans les plus grandes salles Parmi les nombreux enregistrements du prêtre Brahmine, et sa servante Mais elle a besoin d’argent pour apaiser d’opéra et de concert du monde, de Diana Montague, on peut citer Mallika au cours de l’acte I. Son sa faim. Elle se voit proposé une place de notamment au Covent Garden de I Capuleti e i Montecchi, Norma, Lucia caractère enchanteur et cependant dame d’honneur dans un palais du Vice- Londres, au Metropolitan Opera de di Lammermoor, Iphigénie en Tauride, dépourvu d’artifices, est visiblement Roi, elle ne peut refuser et écrit une New York, au Théâtre de la Monnaie de Il crociato in Egitto (pour Opera Rara) et apte à séduire l’oreille de Gérald, un tendre lettre (plage 14) d’adieu sur un Bruxelles, à l’Opéra Bastille, au Teatro Cavalleria rusticana (enregistré par Anglais qui tombe éperdumment rythme de valse à Piquillo, qui démontre Colon de Buenos Aires, et dans les Chandos et la Peter Moores Foundation). amoureux de l’adorable jeune fille. à quel point Offenbach pouvait feindre festivals de Bayreuth et de Salzbourg. La Périchole (1868) est en fait le sérieux. Piquillo, par hasard, se voit lui Son répertoire comprend les grands David Parry étudia avec Sergiu antérieure aux deux oeuvres précédentes, aussi recruté au service du Vice-Roi – rôles de mezzo-soprano de Mozart, Celibidache et commença sa carrière mais elle dérive d’un genre différent, chargé expressément d’épouser la Gluck, Strauss, Rossini, Bellini et comme assistant de Sir John Pritchard. celui de l’opéra-bouffe. Elle exige donc dernière “favorite” de son maître, qui Berlioz. Elle donne de nombreux Il fit ses débuts avec l’English Music d’être traitée séparément. Offenbach la n’est autre que la propre bien-aimée de concerts, et s’est produite sous la Theatre et devint plus tard chef

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appointé du Städtische Bühnen un nouvel opéra avec Carmen. Il s’est Dortmund et d’Opera North. Directeur également produit en Italie où il a dirigé Grandi arie operistiche musical d’Opera 80 de 1983 à 1987, il Ricciardo et Zoraide au Festival d’opéra est depuis 1992 le directeur musical de Pesaro (consacré à Rossini), mais il fondateur du festival d’opéra s’est aussi rendu en France, en Il recital di Diana Montague è la la perdita dell’amata Euridice. Il ruolo contemporain Almeida Opera. Allemagne, en Belgique, en Hollande, et miglior prova che si possa volere delle di Orfeo fu creato nella metà del Il poursuit une carrière très active à en Suède où il a dirigé une mise en virtù di cantare l’opera in vernacolo. Settecento per castrato, ma Gluck l’opéra et dans les salles de concert. Son scène très applaudie du Midsummer Essa dispiega una voce snella e flessibile, dovette riscriverlo per tenore, in répertoire va de Mozart et de l’opéra Night’s Dream de Britten. enunciando il testo inglese con una osservanza al gusto parigino che non italien du début du XIXe siècle à Hors d’Europe, David Parry s’est piena cognizione di come modulare le avrebbe tollerato castrati. È stato Janácˇek, Britten et à la musique produit au Festival international de parole per ottenere il massimo effetto. favorito dai mezzosoprani da quando contemporaine. En Angleterre, il a fait Hong Kong, a dirigé l’UNAM Tale virtù si allea ad una scelta Pauline Viardot adottò la parte nella des apparitions régulières à l’English Symphony Orchestra à Mexico, a fait veramente caleidoscopica di pezzi tratti metà dell’Ottocento in una versione di National Opera et lors de concerts avec une tournée consacrée à Carmen au dal repertorio francese tuttora non così Berlioz, trascritta espressamente per lei, le Philharmonia. En 1997, il a fait ses Japon, et, en 1996, a dirigé une nouvelle popolare in questo paese come e che, fino a poco fa, è stata quella débuts au Festival de Glyndebourne mise en scène de Katya Kabanova au meriterebbe di essere. In parte la colpa regolarmente eseguita in teatro e in avec Così fan tutte. Festival de Nouvelle-Zélande. può essere ascritta ai cantanti che dischi. Il se rend fréquemment en Espagne Il a réalisé un grand nombre troppo spesso affrontano l’opera L’aria stessa divenne ancora più où il s’est produit avec la plupart des d’enregistrements pour le label Opera francese come se fosse italiana, popolare in Gran Bretagna quando troupes d’opéra et des orchestres Rara, le plus récent étant Rosmonda lasciandosi sfuggire la finezza e Kathleen Ferrier incise in inglese, negli symphoniques. Il a donné la première d’Inghilterra de Donizetti, qui a leggerezza di tocco che richiede. È un anni 40, un disco a 78rpm di grande espagnole de Peter Grimes à Madrid et, remporté le prix Cecilia en Belgique, et fatto che Diana Montague ha avvertito e tiratura. Il fatto che questo disco sia en 1996, a dirigé la première mise en c’est chez Chandos qu’il a dirigé son in conseguenza ha dominato. diventato immediatamente un scène espagnole de The Rake’s Progress. Il enregistrement primé de Tosca, une L’Orfeo ed Euridice (Orphée) di beniamino del pubblico, ripetuto a aussi inauguré deux nouvelles salles de disque d’aries operatiques avec Bruce Gluck fu scritta in italiano per Vienna, innumerevoli volte per radio e tutt’oggi concert avec une interprétation de la Ford La bohème, Cavalleria rusticana et riscritta in francese per Parigi. Nella sua amato da una nuova generazione, è Neuvième symphonie de Beethoven et Pagliacci. aria finale Orfeo eloquentemente piange chiaro omaggio all’efficacia dell’opera

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cantata in vernacolo. Ma la voce della della sensuale scrittura in questo ancora un’altra opera, anch’essa del tutto successivo che comprende il resto delle Ferrier, nonostante tutta la sua bellezza, delizioso terzetto è fra le glorie diversa: La damnation de Faust di opere qui rappresentate. A quel tempo è un po’ troppo orientata verso dell’opera – e francese. Berlioz. Esattamente al centro dell’opera l’opera lirica era il fulcro dello l’oratorio, troppo pesante per il bene Tutti i compositori di questo periodo è piazzato il grande lamento di spettacolo popolare in Francia. Al della musica. Il timbro della Montague, cercarono il successo a Parigi e dodici Marguérite: all’affranta e distesa sezione successo di compositori come che più si avvicina a quello di una voce anni dopo il trionfo di Rossini, principale, nella quale l’angosciata Meyerbeer, Auber e Halévy fece seguito bianca, e il suo stile, pressante ma mai Donizetti compose per la capitale fanciulla esprime tutta la tristezza che ha una generazione capeggiata da Gounod effusivo, soddisfa in modo ideale le francese – in vena del tutto diversa – nell’anima, segue una sezione centrale in e Thomas. intenzioni di Gluck. la sua tragedia romantica La favorite cui Berlioz tanto graficamente afferra il Il Faust di Gounod (1859) fu Segue, nella cronologia dei ruoli per (1840). Sebbene l’opera compaia per cocente ricordo di Marguérite del probabilmente l’opera più popolare di mezzosoprano curati in questo disco, tutta la sua storia più frequentemente contatto e del bacio di Faust, prima del tutto il repertorio francese – almeno quello del paggio Isolier che corteggia la nella tradizione italiana, con l’infelice ritorno della melodia originale con l’a fino all’arrivo della Carmen – la sua Contessa Adele nel Comte Ory (1828), eroina Leonora affidata ad una voce solo del sinuoso corno inglese, che inebriante effusione melodica ed innata tarda opera comica di Rossini: ruolo potente di tipo Amneris, la parte in ancora di più intensifica il senso teatralità assicurandole un successo interpretato da Diana Montague a realtà richiede un timbro più contenuto, d’abbandono. La musica, come tanto garantito sin dall’inizio. Il giovinetto Glyndebourne nel 1997 e 1998 con meno voluminoso, quale appunto è la spesso accade in Berlioz, estende i Siebel, amante di Marguérite fin quell’agilità e arguzia che la parte esige. voce posseduta da Diana Montague. confini dell’espressione musicale. quando non appare Faust, è Isolier, innamorato della bella Contessa, La Montague porta all’aria “O mon Questo è un pezzo che richiede una caratterizzato nella deliziosamente scopre che anche il suo padrone Ory ha Fernand” (Oh my beloved) il tocco voce come quella della Montague, spensierata Romanza dei fiori. Essa è posato gli occhi – e non solo gli occhi – proprio giusto a descrivere lo librata fra il mezzo e il soprano: quella tipica dei pezzi che Gounod seminava su di lei. Questo procace terzetto mostra struggimento di Leonor mentre canta che i francesi denominano “Falcon”, da nelle sue opere per allegerire lo spirito – il libidinoso Conte (qui caratterizzato in del suo amore per il disgraziato una cantante così chiamata. e sono generalmente pezzi affidati al modo ameno da Bruce Ford) che, Fernand, procedendo poi alla risoluta Con la versione interamente diversa mezzosoprano in pantaloni, come voleva comicamente travestito da suora, cerca cabaletta spesso omessa in separate di Gounod della storia goethiana si allora la tradizione: genere che d’intrufolarsi nel letto della Contessa, registrazioni dell’aria. giunge all’ora di punta dell’opera particolarmente si attaglia alla mentre il suo stesso paggio pure la Sei anni dopo, nel 1846, Parigi fu la francese a Parigi durante il Secondo Montague. corteggia. La soave atmosfera notturna scena della prima rappresentazione di impero ed il periodo immediatamente Mignon (1866), sebbene raramente

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presente oggi sulla scena lirica, fu a suo La jeratica opera di Saint-Saëns, possiede sicuramente una delle più poiché deriva da un genere diverso, tempo quasi tanto popolare quanto il Samson et Dalila (1877), d’ispirazione splendide e memorabili melodie di tutto quello dell opéra-bouffe, richiede di esser Faust, opera con cui condivide biblica, è un altro lavoro che ha il repertorio lirico francese, che trattata separatamente. Venne all’apice l’ispirazione goethiana, in questo caso il acquistato immensa e ben meritata pienamente giustifica la sua fama; ma della popolarità di Offenbach e dopo la romanzo Wilhelm Meister. Diana popolarità in Francia e altrove. Essa si anche le altre due mostrano la capacità sua première parigina apparve presto a Montague qui si cimenta in due parti: la distingue tanto per la sua intelligente di Saint-Saëns di comporre per la sua New York e poi a Londra. La cantastorie prima è di nuovo un ruolo maschile, caratterizzazione quanto per il suo senso eroina la più incantevole linea vocale. del titolo è una della più deliziose quello di Frédéric, un giovane del teatro, e sopratutto per le sue In Lakmé (1883) Delibes dimostrò creature del compositore. Innamorata innamorato della volubile Philine. Tocca memorabili melodie. Queste doti si che neanche lui si faceva pregare per del suo partner professionale Piquillo, a Frédéric cantare questa incantevole manifestano tutte in tre arie, costruite scrivere melodie orecchiabili. È un dato essa attraversa varie tribolazioni prima Rondo-Gavotte, ma naturalmente è la su larga scala e con attenta maestria, che di fatto che il duetto qui inciso è del trionfo del vero amore. trovatella Mignon al centro dell’opera il compositore ha donato alla sua eroina: diventato un gran favorito del pubblico Tutti e tre i pezzi solistici di Périchole che a lei s’intitola. La sua grande la prima (solco 5), più neutrale nel dopo essere stato adoperato come sono qui eseguiti da Diana Montague Romanza, “Connais-tu le pays?” (Have sentimento delle altre due, ha la virtù di musica di sfondo per uno spot con tremendo entusiasmo. Nel primo, you heard of the land), il cui testo creare il carattere della seduttrice nella pubblicitario della British Airways. Se (solco 15), l’eroina decanta con amoroso originale è stato messo in musica in sua affermazione della gloria della un pezzo riesce a sopravvivere a un trasporto le attrattive del suo forma di Lied da molti compositori primavera; nella seconda, (solco 4), trattamento simile ovviamente si merita squattrinato amante di cui è invaghita: tedeschi, è uno sfogo di nostalgia per Dalila chiede aiuto ad Amore per la sua popolarità. È cantato da Lakmé, “Je t’adore, brigand”, nell’ originale (“I quel Meridione dal quale si ritiene portare a termine il suo iniquo e (Mary Plazas), figlia di un sacerdote adore you, you wretch!” nella presente provenga Mignon. Thomas compose subdolo scopo di sedurre e poi tradire bramino, insieme al suo servo Mallika, traduzione). Ma occore denaro per una Romanza d’inebriata sensualità per l’infatuato Sansone; quindi nella terza, nell’Atto I. La sua innocente ma tenere a bada la fame. Avendo avuto questo personaggio molto amato, (solco 1), e più famosa, nota nella seducente qualità è certamente atta a l’offerta di entrare come dama di richiedente un timbro soave e vellutato. versione inglese come “Softly awakes my captare l’orecchio di Gérard, un inglese compagnia nel palazzo del Viceré, non Non così complessa come le sue heart” (Mon cœur s’ouvre à ta voix), si che finisce per invaghirsi mortalmente può rifiutarla. Scrive una tenera lettera controparti tedesche, essa coglie sente Dalila che di notte mette in atto il della vezzosa fanciulla. d’addio a Piquillo, (solco 14), a tempo altrettanto bene, se non addirittura suo piano adescando nel suo covo lo La Périchole (1868) in effetti apparse di valzer, che veramente rivela quanto meglio, la misteriosa natura di Mignon. sconsigliato Sansone (Bruce Ford). L’aria prima delle ultime due opere, ma seriamente romantico Offenbach sapeva

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essere. Per combinazione, anche Piquillo Il suo repertorio include i principali come assistente di Sir John Pritchard. due nuove sale di concerti con la Nona viene reclutato al servizio del Viceré – il ruoli per mezzosoprano di Mozart, Ha fatto il suo debutto con l’English sinfonia di Beethoven ed un nuovo suo incarico essendo quello di sposare Gluck, Strauss, Rossini, Bellini e Music Theatre ed è poi diventato teatro lirico con la Carmen. Altre l’ultima sua “favorita” – ne’ più ne Berlioz. Nella sua intensa attività direttore stabile della Städtische Bühnen tournées l’hanno portato in Italia, dove meno che l’amante stessa di Piquillo. concertistica ha cantato più volte con Dortmund e di Opera North. Dal 1983 ha diretto Ricciardo e Zoraide al Festival Quando si sposano Périchole prende distinti direttori quali Georg Solti, al 1987 è stato direttore artistico di Rossini di Pesaro, in Francia, Germania, una sbornia e canta la sua incantevole James Levine, Riccardo Muti, John Eliot Opera 80 e dal 1992 Direttore Musicale Belgio, Olanda, e Svezia dove ha diretto canzone inebriata, (solco 13). Tutti Gardiner, Seiji Ozawa, Jeffrey Tate e fondatore del festival di opera con grande successo Il sogno di una notte questi aspetti del ruolo rientrano con Andrew Davis. Recenti ingaggi hanno contemporanea dell’Almeida Opera. di mezza estate di Britten. facilita nel raggio interpretativo di incluso Junon (Platée con la Royal Svolge un’intensa attività sia nel Fuori d’Europa David Parry si è Diana Montague. Opera), Marguerite (La damnation de teatro lirico sia in campo sinfonico. Il esibito al festival internazionale di Hong Faust a Ginevra), Benvenuto Cellini al suo repertorio da va Mozart e l’opera Kong, con l’orchestra sinfonica UNAM © 1998 Alan Blyth Teatro dell’Opera di Roma, Iphigénie en italiana del Settecento a Janácˇek e a Città del Messico e in una serie di Traduzione: Marcella Barzetti Tauride a Buenos Aires, Madrid e con la Britten e la musica contemporanea. In rappresentazioni della Carmen in Welsh National Opera, Ermione a Inghilterra ha diretto frequentemente Giappone. Nel 1996 ha diretto Katya Diana Montague è nata a Winchester e Glyndebourne, Le comte Ory a Losanna, alla English National Opera ed in Kabanova in un nuovo allestimento per ha studiato al Royal Northern College Roma e Glyndebourne e Ariadne auf concerti sinfonici con la Philharmonia. il festival della Nuova Zelanda. of Music. Dal suo debutto nel ruolo di Naxos a Lisbona. Nel 1996 ha debuttato al festival di Ha iniciso numerosi dischi per Opera Zerlina con la Glyndebourne Touring La sua copiosa discografia include Glyndebourne con Così fan tutte. Rara, fra questi il più recente è quello di Opera è apparsa nei principali teatri I Capuleti e i Montecchi, Norma, Lucia Dirige spesso in Spagna nella maggior Rosmonda d’Inghilterra di Donizetti, che lirici e sale di concerti, quali: la Royal di Lammermoor, Iphigénie en Tauride, parte dei teatri lirici e con orchestra ha vinto il Priz Cecilia in Belgio; per Opera House Covent Garden a Londra; Il crociato in Egitto (per Opera Rara) e sinfoniche. Ha diretto la prima spagnola Chandos ha diretto l’acclamato disco la Metropolitan Opera a New York; il Cavalleria rusticana (per Chandos/Peter di Peter Grimes a Madrid e nel 1996 il della Tosca, un disco di grandi arie Teatro della Monnaie a Brusselle; il Moores Foundation). primo allestimento spagnolo della operistiche, La bohème, Cavalleria Teatro della Bastiglia a Parigi; il Teatro Carriera di un libertino, ha inaugurato rusticana e Pagliacci. Colon a Buenos Aires e ai festivals di David Parry ha studiato con Sergiu Bayreuth e Salisburgo. Celibidache ed ha iniziato la sua carriera

38 39 CHAN 3010 BOOK.qxd 25/7/08 12:16 pm Page 40 © Ben Christopher/P.A.L. © Ben © Clive Barda/P.A.L. © Clive

Diana Montague as Dorabella in the Royal Opera production of Mozart’s Così fan tutte Diana Montague as Andromaca in the Glyndebourne Festival production of Rossini’s Ermione

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from Samson and Delilah Ah! Once again then say you adore me! holy water. Each evening she comes here Mallika Delilah Ah! I implore thee, see! I implore thee. to pray, Marguerite. Dear mistress! 1 Softly, awakes my heart as the flowers Ah! Once again then say you adore me! Well now, try again… pluck another… This hour when I behold you smiling awaken Samson (gathering another flower) is one of gladness, to Aurora’s tender zephyr. Yes, with my kisses I would dry thy tears, Is it dying? No! Satan, I’ll knock your for I can read the secrets locked within But say, O well-beloved, no more I’ll be and from your heart I would banish thy power! the heart of Lakmé! forsaken. fears! (addressing the flowers) Speak again, O speak forever! Delilah, Delilah, I love thee! Summer flowers so fair, now tell her true. Lakmé and Mallika All you flowers before me, O say that from Delilah you never will F. Lemaire, translation Eugène Oudin Here is harmony, part! let her hear of my story, here is loveliness, How I long for my care to turn to bliss! all our senses enthralling, Your burning vows repeat; vows so dear from Faust to my heart. All my trust is in you, now tell her true. and the rivulet, Ah! Once again then I implore thee! Siebel Say my love has the power: gently murmuring, Ah! Once again then say you adore me! 2 Summer flowers so fair, in the heart of each flower all contentment recalling; Ah! I here implore thee, see! I implore thee. Oh hear my pray’r. she’ll discover a rare and tender kiss, sweet and low hear it, hear it call to us, Ah! Once again then say you adore me! Will you say I adore her, yes a sweet and loving kiss. come then and fall before enchantment, for a kiss I implore her, Barbier and Carré, lulled into surrender, Samson I am so much in love I pine away! English translation by Edmund Tracey, while overhead Delilah! Delilah! I adore thee! Summer flowers so fair, © 1997 Josef Weinberger Ltd, reprinted by birds are on the wing, permission of Josef Weinberger Ltd Delilah Oh hear my pray’r. birds make melody, singing gaily; E’en as to whisp’ring winds sways the Now you know what I’m feeling, here is harmony, waving grain, let your fragrance be healing here is loveliness, from Lakmé to and fro, so gently moving: on the branches above be sweet, I pray. all our senses enthralling! so sways my trembling heart consoling all (He plucks a flower.) Lakmé its pain, It’s withered! Alas, so that conjuring devil 3 Come, Mallika! See the vines all in flow’r Lakmé to thy voice, so dear, so loving! charm’d my luck away! already cast a shadow upon the sacred Yet in my heart a new fear has arisen, The arrow in its flight is not swifter than I, (He throws the flower away and plucks stream I know not why. when, leaving all behind, to your arms another, which instantly sheds its petals.) that makes a gentle music If my father has gone where the faithless I fly! Can it be, when I pluck a flower, it now attuned to the song of awakening may seize him, Ah! Once again then I implore thee! withers away! I know about the pow’r of birds! I tremble, alas, for his life.

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Mallika from Samson and Delilah from Samson and Delilah that my burning love Kindly Ganessa will surely protect him. I’ll cherish for his return. Delilah Delilah Come to the stream where the swans are Forgetting my sorrow 4 Tonight, seeking hither my presence 5 Fair spring is returning at play, and my bitter pain Samson will come to my side. fond hearts now are burning and preen their snowy white wings. I will wait for the morrow Thou art come, oh sweet hour of with hope and love. There will we gather lotus blooms. and my love I’ll cherish for his return. vengeance! Soft zephyrs are blowing, F. Lemaire, Lakmé At last will our Gods be satisfied. the meadows are glowing, translation Eugène Oudin Yes, near the swans with snowy white wings O love! From thy pow’r let me borrow! blue skies are above. we’ll gather lotus blooms in flow’r. Pour a poison in his heart! Away with all sighing, our tears you are drying Lakmé and Mallika Grant that this Samson fall tomorrow, from La favorite gone is all our grief. Here is harmony, a slave, a captive to my art. Leonora To earth now you render here is loveliness, ’Tis in vain that he tries to banish 6 Can I believe it? O mystery so tender, all our senses enthralling, my image, my name from his heart! Oh God… He… Fernando… bud, and flower and leaf. and the rivulet, Burning memories will not vanish! To marry… Leonora! Ah! In vain I am burning, gently murmuring, Of his soul I am now a part! It must be true, but I am full of doubt my heart is bereft. all contentment recalling; Yes, he is mine; and naught can save still; I await his returning, sweet and low hear it, hear it call to us, him! this sudden joy makes me tremble… alone I am left. come then and fall before enchantment, My brothers’ fears he doth deride. Fernando… my husband? How can I be Tho’ hoping I languish lulled into surrender, I, yes, I alone, dare to brave him so shameless? My heart is forlorn; while overhead and keep him captive at my side! I bring a dowry of dishonour to his name… and lives in its anguish, birds are on the wing, O love! From thy pow’r let me borrow! No, never! Though he must surely hate on joys that are gone! birds make melody, singing gaily; Pour a poison in his heart! me I must flee: When night’s shadows hover here is harmony, Grant that this Samson fall tomorrow, soon he will know what sort of woman I mourn him, my lover; here is loveliness, a slave, a captive to my art! he adores so blindly. I’ll sit by the stream, all our senses enthralling! Against my love his strength is vain, I’ll cherish my dream! Gondinet and Gille, and he, the bravest of the brave, Oh my beloved, my poor heart would translated Claude Aveling, © Bourne Music Ltd who’d save his people, break their chain, Forgetting my sorrow, surrender will be my captive and my slave! forgetting my pain, all earthly treasures to keep you in my praying for the morrow F. Lemaire, translation Eugène Oudin care;

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But soon the love I give you, so pure and Peace of mind gone forever O caresses are burning, What is life to me without thee, tender, because we had to part. for his carress I will sigh. what is left if thou art dead? shall be poisoned by terror and despair. Left alone, sad and tearful, My one supreme desire is What is life; life without thee? The truth will strike you, and as I watch I am prey to despair. in his embrace to die. What is life without my love? you alter, For the torment of his leaving Berlioz, Gondonnière and de Nerval, What is life if thou art dead? I shall discover my own pain and dread. I still cannot repair. translation Hugh MacDonald Calzabigi, translation Claude Aveling Then if your righteous anger, but once And now my head is spinning should falter, reason loses its hold, from Count Ory Oh God in heaven, vent all your fury on my feeble heart surrenders from Orpheus and Eurydice Count my head. and my blood runs cold. 10 Night lends her aid, amid these shadows His fine eloquent bearing, Orpheus Come you monsters, what can delay you? 9 What is life to me without thee, hidden For in heaven my fate is known. his looks so keen and wise, I make my way, disturb not her repose; he’s charming, he’s smiling, what is left if thou art dead? 7 I submit to heav’nly powers! I must obey all this torment unbidden, the kindness in his eyes. What is life; life without thee? Come, the wedding feast is waiting! What is life without my love? for love enfolds me, yet no slumber See the altar decked with flowers His voice overwhelmed me, bestows. carried me away on waves of bliss, What is life if thou art dead? and the tomb below me gaping! 11 With love and tender yearning my heart the caress of his hand so inflamed me, Eurydice! Eurydice! Veiled in black, I hide my face Ah, hear me! Make answer! beats fast tonight, for the shame and degradation; Oh! Yes, and then his kiss! The shadows and the silence all conspire The fire of love inside me Thy dear lord am I so faithful, I shall never know redemption, thy faithful lord who loves thee, to my delight. God will never grant me rest. consumes my wounded heart. Peace of mind gone forever who doth love thee! Isolier I am evil, I am worthless, With fear and tender yearning my heart God will never grant me rest. because we had to part. What is life to me without thee, what is left if thou art dead? beats fast tonight. You monsters, you monsters! I wait here at my window, The shadows and the silence against him Meilhac and Halévy, What is life; life without thee? ever hoping to see all unite. translation © 1998 David Parry my lover in the shadows What is life without my love? on his way back to me. What is life if thou art dead? Countess from The Damnation of Faust My heart beats with palpitation Eurydice! Eurydice! With fear and yet with yearning my heart Marguérite thinking he might be near; In my dread anguish none can comfort, beats fast tonight. 8 The fire of love inside me I’d tremble with elation none can aid me, The shadows and the silence redouble all consumes my wounded heart. if I could see him here. earth is cruel, heav’n is cold! my fright.

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Isolier Countess from Mignon I might be a little tight, Now begin! He presses my hand to his heart. But oh! Not a soul must know! Sh! Frédéric Countess Isolier 12 Here am I in her boudoir, A little vague my words may seem, Who is there? Beauty so virtuous, and I feel my heart beat high with hope! Yes I am floating in a rosy dream. Count to him be courteous, Ah, I wait for the hour when we shall I feel a smile upon my face ’Tis I, ’tis sister Clara. Sleep would not make him happy, meet. Which I’m unable to erase. bring me comfort, here in my lonely cell ’twill cost you naught. Yes, I feel my heart beat high with hope! I might be a little tight, where the night fills my soul with terror. Coquette, here I wait for the hour when But oh! Not a soul must know! Sh! Alas! Alas! Oh hear my pray’r, let me stay Count we shall meet! Meilhac and Halévy, here, by your side all is well. Oh hear my Kind heav’n, oh what joy unto me thou Ah, cruel fair, in the end I’ll vanquish, translation Maurice Valency, prayer. hast brought. she must be made to heed my anguish! printed by permisssion of Boosey and Hawkes With love and tender yearning my heart Music Publishers Ltd Isolier I would have her love me, and I hope, ah beats fast tonight. yes, I hope to enjoy as I woo! How can he be so daring? The shadows and the silence here all How sad ’twill be for all those who love from La Périchole Countess conspire to my delight. her too! How can he be so daring! Coquette, here I wait the hour when we Périchole Isolier 14 shall meet! Oh my dearest, from my heart I swear it, Count With fear and tender yearning my heart I love you more than I can say. Wond’rous moment of rapture! For my heart, how dear the hope! beats fast tonight. But this life, I can no longer bear it, Here by your side terrors depart. ’Tis now the hour when we shall meet! The shadows and the silence here against and I can see no other way. him all unite. For my heart, how dear the hope! Isolier Yes, my heart beats high with hope! Oh do not think I reprove you. When he is by your side? Countess Carré and Barbier, translation Dr Thomas Baker You must know it in your heart Count With fear and yet with yearning my heart that it’s best. Oh God, how I love you! That it’s best that we two should part. Ah! All my peace I recapture. beats fast tonight. from La Périchole The shadows and the silence redouble all Can I always be true and tender Countess my fright. Périchole while my body is starved for bread? What does this mean? E. Scribe and C.G. Delestre-Poirson, 13 I’ve dined so well, I feel divine. Oh how hard it is not to surrender Count translation Tom Hammond, Oh what an extraordinary wine! when love itself cries to be fed! My fears no more return when this dear reproduced by permission of English National My head is in a lovely whirl, It would be in vain to discover hand lies on my heart. Opera Benevolent Fund I am a very happy girl. where I’ve gone or what I do.

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I leave you now, oh my lover, and dining with my rich Monsieur, there in that happy land, I am banished dance all through the night, never to return to you. whereas with you life will be hell: by fate! and the waters of the lake where, glinting It is hard for me to write this, I’ll die of hunger now, I’m sure. My home! My home! I long to return there, in the sun, but I write it from my soul, He was kind, did what he was told; to love, to live and to die. glide countless little boats, each one just and I sign myself despite this, he made me happy, more or less; My home! I long to return there, yes my like a swan? ever yours, your Périchole. I had silks and furs, pearls and gold, home! Alas! Though my spirit belongs there, everything I want… Nonetheless… I shall laugh with other laughter, Have you heard of the house where they there in that distant land I am banished I adore you; you wretch, I’m ashamed, I shall weep with other pain, wait for me still, by fate! but it’s true. but despite what comes hereafter, the room panelled with gold, full of My home! My home! I long to return I adore you and can’t live without loving I shall never love again! statues so white, there, Meilhac and Halévy, translation Maurice Valency, you. that, through the evening gloom seem to to love, to live and to die. printed by permisssion of Boosey and Hawkes Meilhac and Halévy, My home! I long to return there, my Music Publishers Ltd beckon and call, translation © 1998 David Parry, and the courtyard outside where we home! Yes, my home! Carré and Barbier, translation ©1998 David Parry from La Périchole from Mignon Périchole Mignon 15 You don’t have looks, you don’t have cash, 16 Have you heard of the land where the your conversation is absurd; orange-tree flowers, No one could say you cut a dash, where the fruits are of gold and the leaves a laughing stock is more the word. are of jade, As for brains, that’s another matter: where upon balmy airs every bird proudly they’re simply missing, I confess; soars, and what it takes to charm and flatter, where the bee’s idle hum forever fills each well, that’s missing too… Nonetheless… glade? I adore you; you wretch, I’m ashamed, In that land seems to rule, under an azure but it’s true. sky, I adore you and can’t live without loving an everlasting spring like a gift from on you. high! I didn’t mind living so well Alas! Though as my spirit belongs there,

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Great Operatic Arias on Chandos Opera in English on Chandos

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Producer Brian Couzens Engineer Ralph Couzens Assistant engineer & editor Peter Newble Recording venue Blackheath Concert Halls; 10–14 September 1997 Front cover Artwork after Erte, Roman de Tirtoff. Illustrated by D.M. Cassidy Back cover Photo of Diana Montague as Andromaca in the Glyndebourne Festival production of Rossini’s Ermione (© Ben Christopher/P.A.L.) Design D.M. Cassidy Booklet typeset by Michael White-Robinson Booklet editor Kara Lyttle Copyright Josef Weinberger Ltd/Edmund Tracey (track 2), Bourne Music Ltd/Claude Aveling (track 3), translation David Parry (tracks 6, 7, 15 & 16), Hugh MacDonald (track 8), Ricordi/Claude Aveling (track 9), ENO/Tom Hammond (tracks 10 & 11), Editions et David Parry Cie., United Music Publishers Ltd, London, Dr Thomas Baker. By permission of G. Schirmer, Inc. (track 12), English translation by Maurice Valency, printed by permission of Boosey & Hawkes Music Publishers Ltd (tracks 13 & 14) P 1998 Chandos Records Ltd C 1998 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU

54 55 CHAN 3010 Inlay.qxd 25/7/08 12:18 pm Page 1 GREAT OPERATIC ARIAS - Montague/Philharmonia Orchestra/Parry ARIAS - Montague/Philharmonia OPERATIC GREAT Orchestra/Parry ARIAS - Montague/Philharmonia OPERATIC GREAT bit CHANDOS DIGITAL CHAN 3010 20

from Saint-Saëns’s Samson and Delilah from Gluck’s Orpheus and Eurydice 1 Delilah’s and Samson’s Duet – 9 Orpheus’s Aria – ‘Softly awakes my heart…’ 6:00 ‘What is life to me without thee…’ 4:09 (Mon cœur s’ouvre à ta voix) (Che farò senza Euridice?) with Bruce Ford tenor from Rossini’s Count Ory* from Gounod’s Faust 10 - 11 Trio: Count, Isolier and Countess – 9:23 2 Siebel’s Flower Song – ‘Summer flowers so fair…’ 2:59 ‘Night lends her aid…’ (Faites lui mes aveux) (A la faveur) . from Delibes’s Lakmé* with Mary Plazas soprano Bruce Ford tenor 3 Lakmé’s and Mallika’s duet – from Thomas’s Mignon ‘Come, Mallika! See the vines all in flow’r…’ 6:45 12 Frédéric’s Rondo-Gavotte – (Viens, Mallika) ‘Here am I in her boudoir…’ 2:23 with Mary Plazas soprano (Me voici dans son boudoir) from Saint-Saëns’s Samson and Delilah 4 Delilah’s Rectitative and Aria – from Offenbach’s La Périchole 13 ‘Tonight, seeking hither my presence…’ – Périchole’s Griserie – ‘I’ve dined so well, I feel divine…’ 1:56 ‘O love! From thy pow’r let me borrow…’ 4:46 14 Périchole’s Letter Song – ‘Oh my dearest, from my heart (Amour! Viens aider ma faiblesse) I swear it…’ 3:01 5 Delilah’s Aria – ‘Fair spring is returning…’ 6:06 15 Périchole’s Aria – ‘You don’t have looks, you (Printemps qui commence) don’t have cash…’ 2:54 from Donizetti’s La favorite* (Couplet des aveux) 6 - 7 Leonora’s Rectitative, Aria and Cabaletta – ‘O my beloved…’ 8:54 from Thomas’s Mignon 16 (O mon Fernand) Mignon’s Romance – ‘Have you heard of the land…’ 6:19 (Connais-tu le pays?) from Berlioz’s The Damnation of Faust* TT 75:30 8 Marguérite’s Romance – ‘The fire of love inside me…’ 9:12 Diana Montague mezzo-soprano (D’amour l’ardente flamme) Philharmonia Orchestra HN3010 CHAN HN3010 CHAN CHANDOS CHANDOS *premiere recordings in English David Parry DDD

CHANDOS RECORDS LTD. p 1998 Chandos Records Ltd. c 1998 Chandos Records Ltd. Colchester . Essex . England Printed in the EU

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