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ALSO AVAILABLE on signumclassics

Spanish Heroines Silvia Tro Santafé Orquesta Sinfónica de Navarra Julian Reynolds conductor SIGCD152

Since her American debut in the early nineties, Silvia Tro Santafé has become one of the most sought after coloratura mezzos of her generation. On this disc we hear the proof of her operatic talents, performing some of the greatest and most passionate arias of any operatic mezzo soprano.

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Rossini Mezzo Rossini Mezzo gratitude, the composer wrote starring roles for her in five of his early operas, all but one of them If it were not for the operas of Gioachino Rossini, comedies. The first was the wickedly funny Cavatina (Isabella e Coro, L’Italiana in Algeri) the repertory for the mezzo soprano would be far L’equivoco stravagante premiered in Bologna in 1. Cruda sorte! Amor tiranno! [4.26] less interesting. Opera is often thought of as 1811. Its libretto really reverses the definition of following generic lines and the basic opera plot opera quotes above. In this opera, the tenor stops Coro, Recitativo e Rondò (Isabella, L’Italiana in Algeri) has been described as “the tenor wants to marry the baritone from marrying the mezzo and does it 2. Pronti abbiamo e ferri e mani (Coro), Amici, in ogni evento ... (Isabella) [2.45] the soprano and bass tries to stop them”. by telling him that she is a castrato singer in drag. 3. Pensa alla patria, e intrepido il tuo dover adempi [6.07] According to this simplistic formula, the heroine is Unfortunately, this was considered so scandalous Recitativo e cavatina (Tancredi, Tancredi) the soprano which leaves for the mezzo such roles that it was taken off after only a couple of 4. Oh patria! dolce, e ingrata patria! [5.42] 5. Di tanti palpiti, di tanti pene [2.58] as the heroine’s sidekick, mother or nurse. performances. Next came Ciro in Babalonia, not Otherwise she is the villainess; Ortrud to Elsa, merely the exception in that it was not comic, but Finale secondo: Coro e Scena (Angelina, La Cenerentola)* Amneris to Aida, La principessa de Bouillon to it was written as an opera to be performed in Lent 6. Della fortuna istabile [3.16] 7. Nacqui all’affanno e al pianto [6.58] Adriana Lecrouveur. Not too much sympathy need andPietra therefore del paragone based upon a Biblical story, the fall be expended here, evil is much more interesting to of Belshazzar’s Babylon by Cyrus King of Persia. Recitativo e cavatina (Malcom, La Donna del Lago) play on stage - and often a lot easier. However it This was followed the same year (1812) by La 8. Mura felici, ove il mio ben si aggira! [2.41] 9. Elena! oh tu! [6.47] is true that the Romantic opera where the mezzo is , in which the Marcolini role Aria (Malcom, La Donna del Lago) † both centre stage and gets her man at the end of disguises herself as her twin brother, a form of 10. Ah si pera: ormai la morte [4.43] 11. Douglas, Douglas (Coro) [3.15] the evening are few and far between, and nearly drag evidently acceptable for the period. Marcolini all the well-known examples are to be found in the did not appear at the first performance of Recitativo e cavatina (Arsace, Semiramide) works of Rossini. Many of his mezzo roles are of Rossini’s earliest great success, Tancredi, but she 12. Eccomi alfine in Babilonia … [5.24] 13. Ah, quell giorno ognor rammento [6.02] course trouser roles, but he also gave them the appeared as the heroine in his next comedy, Total Timings [61.06] heroines parts. L’Italiana in Algeri (1813). The last Rossini premiere she took part in was Sigismondo (1814) Amaia Azcona Soprano (Clorinda*, Albina†) / Nerea Castellot Mezzo-Soprano (Tisbe*) / Vicente Abril Tenor By chance, during most of his career, the a total failure at the time. The following year, (Don Ramiro*, Serano†) / Ximo Martí Baritone (Don Magnifico*) / Marc Solano Baritone (Dandini*) composer was closely associated with mezzos. Rossini was in Naples with a remarkably generous

Silvia Tro Santafé mezzo-soprano • Orquesta Sinfónica de Navarra Firstly, there was Marietta Marcolini, an contract to write one opera a year for a payment Julian Reynolds conductor • Lluís Vich Vocalis established singer noted for her comic roles, who that included a share of the profits from the opera took the 19 year-old composer under her wing. In house’s gambling tables. www.signumrecords.com

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d’Inghilterra The first of these was Elisabetta, Regina There is a further reason why Rossini is particularly fortunate that his next commission was a comedy, 4-5. Recitativo e cavatina , written for Isabella Colbran, then at kind to the mezzo. He usually followed the baroque especially as it was also premiered in Venice a (Tancredi, Tancredi) the peak of her fame and the darling of the Neapolitan tradition of casting the male lead in a serious mere three months later. Very different from the audience. History dictates that Elisabetta was not opera as a mezzo trouser role. The tenor as hero gentler more sentimental La pietra del paragone, The success of Tancredi inspired a sort of hysteria. to get her man, but Colbran fared rather better, was a development of romantic opera - a norm with L’Italiana what we think of as Rossini comedy Stendhal considered it to be Rossini’s masterpiece, she later married her composer (at the time of the that was established as Rossini’s serious operas was born. It was perhaps the greatest gift he gave but that was because he considered it to be the opera she was involved with the Impresario who were fading from the repertory. This expectation to La Marcolini, for the heroine dominates the composer’s most Italian opera (in comparison with had given Rossini his contract). It is sometimes had to be broken before they could be madcap plot in which she single-handedly foils Zelmira which he thought to be his most Teutonic). said that Colbran was a soprano - at the time the re-established on opera stages in the last forty years. the marriage plans of Mustafa, fends off the Both operas are based upon French models, which terms were not classified quite as strictly as they unwanted attentions of Taddeo and rescues her probably encouraged Stendhal in his sweeping are now - but it seems clear that she was a mezzo The music for three of the characters in this recital lover Lindoro and the whole Italian party from the judgments. In the case of Tancredi, it is a play by with a high extension to the voice. What is now are not just trouser roles, but they are also all clutches of the Algerians. In her first aria, her Voltaire. However, because it was written for del Lago sometimes called rather unattractively with its three the heroes of their operas, though in the initial dismay at being taken prisoner turns to Venice, it had to be provided with a happy ending medical suggestion, a mezzosoprano acuto. The case of the rather undashing Malcolm in La donna laconic acceptance of her plight and as that was the Venetian tradition - the same parts he wrote Colbran lie noticeably higher than he is only this by virtue of the fact that determination to use her feminine wiles to her tradition required a happy ending to be rewritten those he wrote for Marcolini. the heroine loves him and they are united at the best advantage. for the Neapolitan Otello. Rossini however insisted end. These trouser roles are always written lower that the librettist supplied an alternative tragic Rossini wrote leading for roles for Colbran in eight than their heroines, which is one reason why the 2-3. Coro, Recitativo e Rondò conclusion that was first performed shortly after further operas, all for Naples. These include higher roles are now often considered to be (Isabella, L’Italiana in Algeri) in Ferrara. Desdemona in Otello, the title-roles in Armida and soprano territory. Zelmira and Elena in La Donna del Lago. They left The first act of L’Italiana is so perfect that the Tancredi is a trouser role and in his first aria, he Naples and married in 1822 but her voice was 1. Cavatina second can seem an anti-climax. All rests on the reflects on his (illegal and dangerous) return from showing signs of strain and he wrote only one (Isabella e Coro, L’Italiana in Algeri) shoulders of the Isabella to carry the second act exile to his native Syracuse and his hopes to see further opera for his wife, Semiramide (1823). pietra del paragone. through. She decides she needs the help of the his love, Amenaide. The popularity of this aria They later separated, but Rossini took care of her Rossini’s first success was his first opera for men who were captured with her and who are now throughout the nineteenth century is attested by until her death permitted him to re-marry and he major opera house, the unjustly neglected La far too resigned to their fate as Mustapha’s slaves the fact that Wagner parodies it in Die Meistersinger. always loyally maintained that she was one of the Its neglect may partly be for her liking. She attempts in this second act aria greatest interpreters of his music. ascribed to the fact that his next opera, Tancredi to inspire this feeble bunch by appealing to their was a sensational success. It was perhaps sense of patriotism.

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6-7. Finale secondo: Coro e Scena heLago wrote poems and only turned to novels around Douglas to tell him, but alone he thinks of his fond and usurped the throne of Babylon. Her son, Barbiere(Angelina, La Cenerentola) 1814, and it is upon a poem that La Donna del memories of Elena. Arsace, who had escaped his mother’s murderous , which appeared in 1819, is based. It cannot rampage is able to take the throne and restore the Originally, this aria formed the conclusion to Il claim to be the first Scott-inspired opera; the 10-11. Aria status quo. Appropriately to a drama that calls for , where it was sung by the Count. It is so earliest,Snowdoun which is based upon the same poem (Malcom, La Donna del Lago) spectacular costumes and effects, the score is the much better suited to its new home that it is rarely asMannering Rossini’s opera, seems to be The Knight of most sumptuous of all of Rossini’s Italian operas. heard in the original position; I think for three (Henry Bishop and others) in 1811. His Malcolm, on the latter side, is taking a hopefully main reasons. Firstly, Il Barbiere is closer to the popularity as a source may be gauged by Guy well-earned rest from the battle that is raging Eccomi alfine in Babilonia is Arsace’s “presentation” rapid pace of farce, while most of Cenerentola is (partly by Mozart’s pupil Thomas between the King’s men and the opposing aria. He has returned from the military campaign slower and more gentle (it is a surprisingly long Attwood) which appeared in 1816 only a year later Highlanders. He is told that Rodrigo has been summoned by a secret message from Semiramide. opera considering it is supposed to have been than the novel. It is often claimed that Rossini killed and Elena has gone to the Palace to seek her Mystified by this, he also thinks of his love for the written in less than three weeks), and a lengthy here for the first time abandoned his neo- father. He determines to follow her and to attempt Princess Azema. He is not aware that she has aria suits it better. Secondly, the Count is not Classical stance for the charms of Romanticism, to rescue her even if it costs him his life. summoned him because, not recognising him, she solely at the heart of the opera, it is also most but curiously the events of Elisabetta closely Swashbuckling sentiments, but the ensuing happy has fallen in love with him. An Oedipal conundrum definitely about Rosina, so an aria sung by one of mirror those of Sir Walter Scott’s Kenilworth. The end has more to do with the King’s clemency than only resolved when he accidently kills her. them leaves the other politely smiling fixedly for only problem was that it was not yet written. There anything Malcolm does. © Tim Coleman longer than most divas care to. Cenerentola on the was clearly something in the air. other hand is about the protagonist, any Prince 12-13. Recitativo e cavatina would do really, and so this is not a problem. The plot concerns events in the life of King James (Arsace, Semiramide) Lastly, it is about the journey from scullery to V of Scotland, mostly disguised, for reasons best throne, and the aria forms a fitting image of known to himself, as Uberto. He falls in love with Rossini’s final opera for Italy was written for royalty. She delivers and you will sit and listen.] Elena who not only loves Malcolm but is forced by Venice, perhaps that is why Semiramide deliberately her father, Douglas, to become betrothed to eschews the experimentation of his Neapolitan 8-9. Recitativo e cavatina Rodrigo. The opera is blessed with a relatively operas and returns to his greatest Venetian success, (Malcom, La Donna del Lago) happy ending - no one seems to mind about the Tancredi. Both are adaptations by Gaetano Rossi death of poor Rodrigo - when the King forgives of tragedies by Voltaire. Rossini was able to get For one who was once a high priest of Romanticism, everybody and Elena is allowed to marry her away with the original ending in Venice because the works of Sir Walter Scott mostly gather dust on Malcolm. In his first aria, he has determined though it ends with the death of the title-role, she bookshelves. For the first half of his literary career to join the King’s enemies and comes to find is an anti-heroine who had murdered her husband

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TEXTS Come si fa. Schiavo gentil? Ah! Se pietà ti desta [Isabella] Sian dolci o ruvidi, Il mio periglio, il mio tenero amor, Se poi va male il gioco... 1. Cavatina Sian flemma o foco, Se parlano al tuo core (Isabella e Coro, L’Italiana in Algeri) Son tutti simili Patria, dovere e onore, dagli altri apprendi [Chorus] A’ presso a poco... A mostrarti Italiano; e alle vicende L’ardir trionferà. [Isabella] Tutti la chiedono, Della volubil sorte Cruda sorte! Amor tiranno! Tutti la bramano, Una donna t’insegni ad esser forte. [Isabella] Questo è il premio di mia fé: Da vaga femmina Pensa alla patria, e intrepido Qual piacer! Fra pochi istanti Non v’è orror, terror, né affanno Felicità. Il tuo dover adempi: Rivedrem le patrie arene. Pari a quel ch’io provo in me. Vedi per tutta Italia (Nel periglio del mio bene Per te solo, o mio Lindoro, 2-3. Coro, Recitativo e Rondò Rinascere gli esempi Coraggiosa amor mi fa.) Io mi trovo in tal periglio. (Isabella, L’Italiana in Algeri) D’ardir e di valor. Da chi spero, oh Dio, consiglio? [Chorus] Chi conforto mi darà? [Chorus] (a Taddeo) Quanto vaglian gl’Italiani Pronti abbiamo e ferri e mani Sciocco! Tu ridi ancora? Al cimento si vedrà. [Chorus] Per fuggir con voi di qua, Vanne, mi fai dispetto. È un boccon per Mustafà. Quanto vaglian gl’Italiani 4-5. Recitativo e cavatina Al cimento si vedrà. (a Lindoro) (Tancredi, Tancredi) [Isabella] Caro, ti parli in petto Qua ci vuol disinvoltura: [Isabella] Amore, dovere, onor. Oh patria! dolce, e ingrata patria! Non più smanie, né paura: Amici, in ogni evento Amici in ogni evento... Alfine a te ritorno! Di coraggio è tempo adesso M’affido a voi. Ma già fra poco io spero, Io ti saluto, o cara terra degli avi miei: ti bacio. Or chi sono si vedrà. Senza rischio e contesa, [Chorus] È questo per me giorno sereno: Di trarre a fin la meditata impresa. Andiam. Di noi ti fida. Comincia il cor a respirarmi in seno. Già so per pratica Perché ridi, Taddeo? Può darsi ancora Amenaide! o mio pensier soave, Qual sia l’effetto Ch’io mi rida di te. [Isabella] Solo de’ miei sospir, D’un sguardo languido, Vicino è già il momento... De’ voti miei celeste oggetto, D’un sospiretto... (a Lindoro) Io venni alfin: io voglio, So a domar gli uomini Tu impallidisci, [Chorus] Sfidando il mio destino, qualunque sia, Dove ti par ci guida. Meritarti, o perir, anima mia. - 8 - - 9 - 170booklet 6/8/09 15:21 Page 11

Tu che accendi questo core, [Chorus] [Don Ramiro] [Cenerentola] Tu che desti il valor mio, Della Fortuna istabile (accennando le sorelle) Padre... sposo... amico... oh istante! Alma gloria, dolce amore, La revolubil ruota Quelle orgogliose... Secondate il bel desio, Mentre ne giungi al vertice [Chorus] Cada un empio traditore, Per te s’arresta immota: [Cenerentola] Degna del Tron tu sei, Coronate la mia fé. Cadde l’orgoglio in polvere, Ah Prence, Ma è poco un Trono a te. Trionfa la bontà. Io cado a’ vostri piè. Le antiche ingiurie Di tanti palpiti, di tante pene, Mi svanir dalla mente. [Cenerentola] Da te mio bene, spero mercé. [Don Ramiro] Sul Trono io salgo, e voglio Non più mesta accanto al fuoco Mi rivedrai… ti rivedrò… (scuotendo Cenerentola) Starvi maggior del Trono, Starò sola a gorgheggiar. Ne’ tuoi bei rai, mi pascerò. Sposa... E sarà mia vendetta il lor perdono. Ah fu un lampo, un sogno, un gioco Deliri, sospiri… Il mio lungo palpitar. Accenti, contenti!... [Cenerentola] Nacqui all’affanno e al pianto. Sarà felice, il cor mel dice, (stupita per la gioia) Soffrì tacendo il core; [Chorus] Il mio destino vicino a te. Signor perdona Ma per soave incanto Tutto cangia a poco a poco, La tenera incertezza Dell’età mia nel fiore, Cessa alfin di sospirar. Mi rivedrai… ti rivedrò… Che mi confonde ancor. Come un baleno rapido Ne’ tuoi bei rai, mi pascerò. Poc’anzi, il sai, La sorte mia cangiò. 8-9. Recitativo e cavatina Fra la cenere immonda... (Malcom, La Donna del Lago) 6-7. Finale secondo: Coro e Scena Ed or sul Trono un serto mi circonda. (a Don Magnifico, e sorelle) (Angelina, La Cenerentola) No no, tergete il ciglio. Mura felici, ove il mio ben si aggira! [Don Magnifico] Perché tremar, perché? Dopo più lune io vi riveggo: Cenerentola (corre in ginocchio) A questo sen volate; Ah! Voi più al guardo mio non siete, Clorinda Altezza... a voi si prostro… Figlia, Sorella, Amica, Come lo foste un dì, ridenti, e liete! Tisbe Tutto trovate in me. Qui nacque, fra voi crebbe Dandini [Cenerentola] L’innocente mio ardor: Don Magnifico Né m’udrò mai chiamar la figlia vostra? [Chorus] Quanto soave fra voi scorrea mia vita Don Ramiro M’intenerisce, e m’agita: Al fianco di colei, Chorus E’un Nume agli occhi miei. Che rispondea pietosa a’ voti miei!

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Nemico nembo or vi rattrista, 10-11. Aria [Albina, Serano] Della divinità! - Quale nel seno e agghiaccia il povero mio cor! (Malcom, La Donna del Lago) Avverso Ciel! A me, guerrier, nudrito Mano crudele a voi toglie, a me invola... Fra l’Orror delle pugne, ora si desta, oh rio martorò! [Malcolm] [Chorus] Del Nume formidabile all’aspetto, La vostra abitatrice, il mio tesoro. Ah si pera, ah si pera: ormai la morte Ha vinto di Scozia il Re… Insolito terror, sacro rispetto! Fia sollievo a’ mali miei, E da me questo Nume Elena! oh tu, che chiamo! Se s’invola a me colei, [Malcolm] Che può voler? Morendo il genitore Deh vola a me un istante! Che mi rese in vita ognor. Che sento! Qui m’inviò: segreto Tornami a dir’: Io t’amo! Ah! Mio tesoro! Io ti perdei! Cenno di Semiramide mi chiama Serbami la tua fé! Dolce speme del mio cor! [Chorus] Rapido alla sua reggia... ed anelante E allor, di te sicuro, Ne insegue, E dà spavento Ad Azema, al suo ben l’ardente core Anima mia! lo giuro, [Chorus] Già l’oste vincitrice... Sì, sì Qui volava sull’ali dell’amore. Ti toglierò al più forte, Douglas! Douglas! Ti salva! Ah! quel giorno ognor rammento O morirò per te. [Malcolm] Di mia gloria e di contento, Grata a me fia la morte, [Albina, Serano] Che sento! Oh me infelice! Che fra’ barbari potei S’Elena mia non è. Quai voci! Elena! Amici! Oh Dio! Vita e onore a lei serbar. Fato crudele, e rio! L’involava in queste braccia Oh quante lagrime, finor versai [Malcolm] Fia pago il tuo furor! Al suo vile rapitore; Lungi languendo, da’ tuoi bei rai! E chi si avanza? Ah! chi provò del mio Io sentìa contro il mio core Ogni altro oggetto, è a me funesto, Più barbaro dolor! Il suo core palpitar. Tutto è imperfetto, tutto detesto; [Chorus] Schiuse il ciglio, mi guardò... Di luce il Cielo, no più non brilla, Douglas dov’è? [Chorus] Mi sorrise... sospirò... Più non sfavilla, astro per me. Fato crudele e rio! Fia pago il tuo furor. Oh! come da quel dì Cara! tu sola, mi dai la calma, [Malcolm] Tutto per me cangiò! Tu rendi all’alma grata mercé! Che avvenne? 12-13. Recitativo e cavatina Quel guardo mi rapì, (Arsace, Semiramide) Quest’anima avvampò: [Chorus] Il Ciel per me s’aprì, Ah più non v’è speranza... Eccomi alfine in Babilonia. È questo Amore m’animò... Cadde Rodrigo estinto… Di Belo il tempio. - Qual silenzio augusto D’Azema e di quel dì Più venerando ancor rende il soggiorno Scordarmi io mai saprò. - 12 - - 13 - 170booklet 6/8/09 15:21 Page 15

Zurich, Berlin, Munich, Barcelona, Toulouse, Gruberova’s Norma in Hamburg and Berlin, was a BIOGRAPHIES Amsterdam and Bologna. In Italy, Silvia has also great public and critical success and she has appearedVergine dei in BolognaDolori (Barbiere and Giulio Cesare), been invited to join Edita Gruberova again for Rome (Contes d’Hoffman), Venice (Finta Semplice) performances of Lucrezia Borgia. Recent work has Silvia Tro Santafé Bari (Gluck’s Orfeo) and Naples (Scarlatti’s La also included a return to Vienna for L’Italiana, a ). new Massenet Don Quichotte in Brussels, singing Silvia Tro Santafé was born in Valencia and Dulcinée, and L’Italianaat the Teatro Real Madrid. studied at the Conservatorio “Joaquin Rodrigo” Her United States debut was at the Santa Fe Opera Future plans also include performances of the role with Ana Luisa Chova, later studying with Carlo Festival where she sang Cherubino (Le Nozze) and of Giovanna Seymore in Anna Bolena opposite Bergonzi, Walter Berry, Gerard Souzay, Félix she will return again to the States to open the Mariella Devia. Lavilla, Magda Olivero, Monserrat Caballé and Washington Opera Season in 2009 singing Rosina. Renata Scotto. After her professional debut in La Among the many conductors she has worked with Silvia has an extensive concert and recital repertoire. Scala di Seta at the Rossini Opera Festival in are baroque specialists Marc Minkowski, Christophe Her recording for Globe of Spanish songs was Pesaro in 1992 she won a place at the Julliard Rousset, René Jacobs, Harry Bicket and William given a top rating by Diapason Magazine. Other School in New York and was awarded first prize in Christie. She has also collaborated with artists recordings include La Verbena de la Paloma with the Opera Index Competition. such as Jesús López Cobos, Frübeck de Burgos, Placida Domingo, Zerlina in Don Giovanni on Kikko Lorin Maazel, Charles Dutoit, Michel Plasson, Classics, Serse (Amastre) with William Christie for At the beginning of her operatic career, she was in Nello Santi, Adam Fischer, Neville Marriner, Virgin and Scarlatti’s Griselda for Harmonia Mundi great demand for Baroque roles and in particular Alberto Zedda, singing a great variety of opera with René Jacobs. Her recent CD of Spanish she made a name for singing Handel, with roles in and concert repertoire. Heroines for the Signum Label has been highly Alcina, Giulio Cesare, and Rinaldo which she acclaimed since its appearance in 2008. performed in such houses as the Opera de Paris, les Sortileges julian reynolds Champs-Elysee and major festivals throughout Among the highlights of recent seasons have been Europe including Innsbruck and Salzburg. Soon Alcina at the Chatelet, the title roles in L’Enfant et however, she developped a reputation not just as , Ariodante and Cenerentola in the Conductor Julian Reynolds enjoys a highly a great Rossini Singer but also as a wonderful Liceu Barcelona, Il Barbiere at the Staatsoper in successful international career both in opera and commedienne. Since then she has been regularly Vienna, Luxembourg and Amsterdam and Rinaldo, in concert repertoire. Highlights of recent seasons invited to sing Rossini’s Rosina, Cenerentola and Barbiere, and L’Italiana with the Staadtsoper have included engagements at the Netherlands L’Italiana (Isabella) in such houses as Vienna, © Michela Alessia Marcato / Massimo di Pietro Berlin. Her recent debut, singing Adalgisa to Edita Opera for Il barbiere di Siviglia and Norma,

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(availablebarbiere di on Seviglia, DVD on Opus Arte) in Sankt Gallen Svanda dudák, the recording of which is available Hvorostovsky, Susan Graham, and Dame Kiri Te for Tosca, Norma, and Hänsel und Gretel, at the on Naxos. He has led Carmen at both the Teatro Kanawa, both in recital and as conductor. Grand Théâtre de la Ville in Luxembourg with Il Regio di Parma and at the Arena di Verona, and and acclaimed performances Adelina at the Rossini Opera Festival in Pesaro, Hisanimaux recordings include CDs of Rossini Overtures, of Puccini’s Il trittico in Modena, Ferrara, and and made his debut on the Sankt Gallen podium Ravel’s Ma Mère l’Oye, Saint-Saens’ Le Carnaval des Piacenza.d’Inghliterra. He made his debut at Théâtre Royal de with La Cenerentola and Otello, and conducted and several Rossini rarities, for Globe Lammermoor la Monnaie in Bruxelles with Elisabetta Regina Lucrezia Borgia at the Festivales de Musica Records. As a pianist he has recorded the complete This will be followed by Lucia de de Castillon. works for piano and violin of Beethoven, Schubert and Ermione. Madame Butterfly at and Schumann with violinist Johannes Leertouwer. the Torre del Lago and Don Giovanni in Riga. Excitingde Chamonix new plans include a return to La Monnaie, Brussels for Nabucco and Lucrezia Borgia, Linda ORQUESTA SINFÓNICA DE In 1986, Julian Reynolds was appointed Assistant in Oviedo and a concert tour of NAVARRA (NAVARRA Music Director at the Netherlands Opera in Europe and Japan with Barbara Frittoli. SYMPHONY ORCHESTRA) Amsterdam, conducting Bluebeard’s Castle, Mitridate, Le nozze di Figaro, L’italiana in Algeri, Julian Reynolds has been a guest conductor of the The Orquesta Sinfónica de Navarra was founded Luisa Miller, and L’elisir d’amore, among others. Rotterdam Philharmonic Orchestra, City of by Pablo Sarasate in 1879, which makes it the During his tenure at the Netherlands Opera, he Birmingham Symphony Orchestra, the Royal oldest orchestral ensemble currently active in worked with other opera companies in the country, Philharmonic Orchestra, the Australian Chamber Spain. Since 1997, its Principal Conductor has most notably in productions of Madama Butterfly Orchestra, Aukland Philharmonia, Dutch Radio been Maestro Ernesto Martínez Izquierdo. and The Cunning Little Vixen for Opera Zuid. Philharmonic, Netherlands Philharmonic, Netherlands Chamber Orchestra, Melbourne Nowadays the Orquesta Sinfónica de Navarra is lead a new production of Verdi’s Don Carlos, International Festival, Teatro di San Carlo in regarded as one of Spain’s best orchestras, Julian Reynolds made his German debut with followed by Samson et Dalila, and the Kirov’s first Naples, and the orchestra of the Deutsche Oper collaborating regularly with internationally Otello at the Staatstheater Stuttgart, followed by a ever production of Le nozze di Figaro. am Rhein, where he led his own orchestration of renowned soloists and conductors and frequently new production of Luisa Miller with the Lieder by Alma Mahler. He has recorded these with invited to perform in celebrated national and Staatstheater Mainz. He has been a regular guest He made his North American debut at the soprano Charlotte Margiono on the Globe label. international venues and festivals. In 2007-08, conductor with the Kirov Opera in the Maryinsky Canadian Opera Company in Toronto with the Orchestra visited Bilbao, Warsaw, Dortmund, Theatre St. Petersburg, making his debut with the L’italiana in Algeri. In the same season, he made A regularly requested recital accompanist, Julian and Paris. During the past two seasons, the OSN company conducting La traviata, and went on to his Wexford Opera Festival debut with Weinberger’s Reynolds has worked extensively with Dmitri has been invited three times to the prestigious

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españolas Theatre des Champs-Elysées in Paris, Its most recent recordings include the CD Heroínas Valencia. The group has taken part in the most Recently the group has recorded a TV programme accompanying soloists such as Daniella Sarasate (Spanish Heroines) with mezzo-soprano important music festivals in Valencia, performed with pieces of Misteri and music by Ginés Pérez, Barcelona, Juan Diego Flórez and Roberto Alagna. Silvia Tro Santafé, the CD-book El violín de throughout Spain and France, and has also toured and alongside the Capella de Ministrers they have The OSN returned to Paris for the new production and the first steps of a new complete in Taiwan. performed in the Olivier Messiaen Hall in Paris for of Cyrano de Bergerac, featuring Plácido Domingo recording of Sarasate’s works for Naxos, which will Radio France. in the title role, at the Theatre du Châtelet in Paris be concluded in November 2009. The group has made several recordings of early where they also performed a critically lauded Valencian polyphony, Composers of the Cathedral Prior experience of the music of Rossini includes a symphonic concert. The OSN will return to Châtelet The Orquesta Sinfónica de Navarra receives of Valencia and the Misteri d’Elx. The choir’s stage production of L’italianain Algeri in Castillon during the next season with Villa-Lobos’s financial support from the Government of Navarra recordings also include: L’Esperit de la Contrareforma, de la Plana. Magdalena. In its role as cultural ambassador of and the City of Pamplona, and it is sponsored by a CD devoted to works written according to the Navarra, the orchestra also toured China recently, private companies such as NH Hoteles, Diario de musical instructions laid down by the Council of The work of the choir is supported by the University performing the music of its founder, Pablo Navarra, Caja Navarra and Gas Natural Navarra. Trent; Paribus Vocibus, a recording of works by of Valencia. Sarasate, in 7 concerts across 5 cities. Victoria, and; Ad Honorem Virginis, their most LLUÍS VICH VOCALIS recent recording, which was awarded a prize by The Orchestra is also one of the most popular in the magazine “Compact CD”. Spain, selling more than 2,700 season tickets The chorus Lluís Vich Vocalis of Valencia (also annually in Pamplona. It is the resident orchestra known as Cor de Cambra Lluís Vich) is a 10- to 12- of the Gayarre singing competition and the voice male chamber choir chiefly specialising in Sarasate violin competition and collaborates the performance of vocal music from the frequently in opera and zarzuela performances in Renaissance and Early Baroque periods. Pamplona, Spain and abroad. Its members also perform with other noted early- Recorded at the Auditorio de Baranain, Pamplona, Spain on 26 - 28 January 2009 P 2009 The copyright in this recording is owned by Signum Records Ltd. Catalunya, Hesperion XX, Capella de Ministrers C 2009 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. The Orquesta Sinfónica de Navarra has also music groups, such as Capella Reial de Producer - Anna Barry Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact undertaken a remarkable educational role, with Engineers - Mike Hatch & Mike Cox Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Editor - Matt Howell Licences for public performances or broadcasting may be obtained from Phonographic Performance concerts at schools and a series of popular and “Musica Ficta”. Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or concerts including soundtracks, live music to Cover Image - © Michela Alessia Marcato / Massimo di Pietro otherwise, without prior permission from Signum Records Ltd. accompany silent films and collaborations with Since its first appearance in 1985 the group has Design and Artwork - Woven Design www.wovendesign.co.uk SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, internationally renowned jazz stars. concentrated on performing lesser-known Middx UB6 7JD, UK +44 (0) 20 8997 4000 E-mail: [email protected]

repertory, in particular music composed in www.signumrecords.com

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