IN RECITAL | FEBRUARY 25, 2018 Martin Katz, piano
Daniel - Beczala Recital Cover.indd 1 1/23/2018 10:21:36 AM
LYRIC OPERA OF CHICAGO
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2 | February 25, 2018
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4 | February 25, 2018
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6 | February 25, 2018 vvvv
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8 | February 25, 2018 LYRIC OPERA OF CHICAGO
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February 25, 2018 | 9 What would you give for eternal youth?
FAUST GOUNOD MARCH Faust sells his soul to the devil in this innovative new production from renowned visual artist John Frame.
STARRING
Benjamin Bernheim Ailyn Pérez Ana María Martínez Christian Van Horn FAUST MARGUERITE MARGUERITE MÉPHISTOPHÉLÈS
Performed in French with projected English translations Faust is a coproduction of Lyric Opera of Chicago and Portland Opera.
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Piotr Beczała in Recital Martin Katz, piano
Generously made possible by
Lauter McDougal Charitable Fund
February 25, 2018 | 11
LYRIC OPERA OF CHICAGO
PIOTR BECZAŁA, Tenor in Recital MARTIN KATZ, Piano Sunday, February 25, 3:00 p. m., Lyric Opera House
Program
Stefano Donaudy Vaghissima sembianza (1879-1925) Freschi luoghi, prati aulenti O del mio amato ben Ermanno Wolf-Ferrari Quando ti vidi (1876-1948) Jo dei saluti E tanto c’è pericol O sì che non sapevo Ottorino Respighi Lagrime (1879-1936) Scherzo Stornellatrice Nevicata Pioggia Nebbie Francesco Paolo Tosti L’ultima canzone (1846-1916) Chi sei tu che mi parli Ideale
Intermission
Karol Szymanowski 6 Songs, Op. 2 (1882-1937) Daleko został cały świat Tyś nie umarła We mgłach Czasem, gdy długo na pół sennie marzę Słyszalem ciebie Pielgrzym Mieczysław Karłowicz Czasem gdy długo na pół sennie marzę (1876-1909) Na spokojnym, ciemnym morzu Rdzawe liście W wieczorną ciszę Zasmuconej Przed nocą wieczną Zaczarowana królewna Stanisław Moniuszko Dwie zorze (1819-1872) Prząśniczka Polna różyczka Krakowiaczek ci ja
b•a
Projected English Titles Stage Manager Assistant Stage Manager Roger Pines Sandra Zamora Daniel Sokalski
February 25, 2018 | 13 PROFILES | LYRIC OPERA OF CHICAGO
PIOTR BECZAŁA ballo in maschera. Beczała has also been a MARTIN KATZ guest artist with the major companies of One of the most Amsterdam, Brussels, Hamburg, Geneva, One of the world's sought-after tenors of Bologna, Warsaw, and St. Petersburg, among busiest collaborative our time, Piotr Beczała many others. His 20th stage anniversary was pianists, Martin Katz triumphed in his Lyric commemorated with a concert at Warsaw’s has been in constant debut in the title role/ famous Teatr Wielki. demand by the most Faust (2009/10) and Beczała’s extensive discography celebrated vocal soloists returned with equal includes repertoire staples, such as Faust live for four decades. In success last season as Edgardo/Lucia di from Vienna and La traviata from Munich addition to Piotr Beczała, he has appeared Lammermoor. (Grammy nomination, 2008), and also such internationally and recorded regularly with The Polish-born artist began the current rarely-heard works as Szymanowski’s Król Marilyn Horne, Frederica von Stade, Karita season with performances in Barcelona Roger, Offenbach’s Rheinnixen, and Johann Mattila, José Carreras, Samuel Ramey, (Un ballo in maschera), Vienna (Adriana Strauss II’s Simplicius. On CD he also stars David Daniels, Dame Kiri Te Kanawa, Lecouvreur), Munich (Lucia), and Berlin (La opposite Natalie Dessay in Lucia with the Cecilia Bartoli, and Kathleen Battle, to bohème). He comes to Chicago following Mariinsky Opera under Gergiev. Beczała name just a few. concerts and recitals that have brought has released five solo CDs encompassing The Los Angeles native began piano him to such prestigious venues as Madrid’s operatic and operetta in six languages. Opera studies at age five. He attended the Teatro de la Zarzuela, the Zurich Opera News named his Slavic Opera Arias disc University of Southern California and House (where he is a longtime audience Number One on its list of 2011’s “Twelve studied the field of accompanying with its favorite), Barcelona’s Palau de la Música, Best Recital Discs.” pioneering teacher, Gwendolyn Koldofsky. and the Baden-Baden Festspielhaus. He In addition to the Met performances While still a student, he accompanied master repeats his Chicago program at Carnegie previously mentioned, Beczała’s DVD classes of Lotte Lehmann, Jascha Heifetz, Hall on February 28. In New York Beczała releases include a series of acclaimed Pierre Bernac, and Gregor Piatigorsky. Katz will also star as Rodolfo/Luisa Miller at the performances from the Zurich Opera subsequently served as pianist for the U.S. Metropolitan Opera. Later in the season House: Don Giovanni, Rigoletto, La Army Chorus for three years, before moving he returns to Zurich to star in Werther traviata, The Merry Widow, The Abduction to New York, where his busy international and Lehár’s The Land of Smiles, before from the Seraglio, The Magic Flute, and career began in earnest in 1969. singing recitals at Paris’s Palais Garnier and Simplicius. Also available are La bohème, In recent years, he has added Munich’s Bavarian State Opera. Der Rosenkavalier, and Don Giovanni conducting to his schedule, and has led Other starring roles at the Met have from Salzburg. Other recent DVD releases operatic and concert performances for many included the Duke of Mantua (debut, include Beethoven’s Symphony No. 9 with of his recital partners, as well as fully staged 2006), Prince/Rusalka, Edgardo, Lensky/ Christian Thielemann leading the Vienna opera productions for the New National Eugene Onegin (all four seen in HD Philharmonic and numerous opera galas. Theatre of Tokyo, San Francisco Opera's transmissions and now available on DVD), Born in Czechowice-Dziedzice in Merola Program, and at the University Rodolfo/La bohème, Romeo, Faust, and Des Southern Poland, Beczała received his of Michigan, his home base. Katz has Grieux/Manon. On DVD Beczała’s Duke initial training at the Katowice Academy chaired the University's collaborative piano of Mantua in Michael Mayer’s new Rigoletto of Music, where he worked with such program for over 30 years, where he was production in 2013 earned the tenor the illustrious singers as Pavel Lisitsian and Sena named the first Arthur Schnabel Professor ECHO Klassik “Singer of the Year” Award. Jurinac. He began his professional career of Music. He has been a pivotal figure in Among Beczała’s recent stage successes at the Landestheater Linz, developing his the training of countless young artists, both were his first Lohengrin at Dresden’s repertoire further as a company member singers and pianists, who are performing Semperoper (subsequently reprised in of the Zurich Opera House, where he has all over the world. His textbook, The Zurich); a new production of Werther at appeared with great success since 1997. Complete Collaborator, published by Oxford the Opéra National de Paris; and another University Press, is considered a seminal role debut, Maurizio/Adriana Lecouvreur, in work on the subject. Vienna. Beczała is a regular at the Salzburg In addition to his work in Michigan, Festival, where he appeared most recently Katz is a regular guest at The Santa Fe in 2016 as Faust. At La Scala he has earned Opera, Songfest, San Francisco Opera, acclaim as the Duke of Mantua, Puccini’s the Sibelius Academy, Chicago College of Rodolfo, and Verdi’s Alfredo, which he Performing Arts, and the New National sang in a new Traviata production to open Theatre of Tokyo. the house’s 2013/14 season. In Munich the tenor has starred as the Prince, Alfredo, the Singer/Der Rosenkavalier, Werther, and most recently as Edgardo and Gustavo/Un
14 | February 25, 2018 LYRIC OPERA OF CHICAGO Program Notes By Roger Pines
Like the better-known Francesco Paolo Tosti, STEFANO DONAUDY composed songs representing the best of salon music – what Giampiero Tintori, writing in The Italian Musical Salon in the Late 19th Century, considered pieces that found a natural place in houses of the well-to-do,
“for at-home days where a daughter would respond to the request, ‘Play ROSENBERG TODD something for us.’” The short-lived Donaudy (he died at just 46), a native of Palermo and of Italian and French parentage, began composing very early on. His first opera was written at the age of just 13. He studied in his hometown’s conservatory, after which he worked teaching and coaching singers, while also performing throughout Sicily as an accompanist in salon performances. He composed in a number of different genres (including works for orchestra and six operas, all of which were performed in his lifetime), but he is remembered today exclusively for music written for solo voice and piano. The vast majority of his songs are settings of lyrics by his own brother, Alberto. Donaudy never wrote a vocally ungrateful phrase, and the three songs chosen by Piotr Beczała are among the composer’s loveliest works. For that reason, his music has attracted some of the very greatest singers. “Vaghissima sembianza” is yet another example of the skill of which the Piotr Beczała as Edgardo in Lucia di Lammeroor at Lyric very young Donaudy was capable when only 13. The exquisitely soulful (2016/17 season). “O del mio amato ben” in particular has been performed in recital and recorded probably more frequently than any other Italian art song written in the past 150 years. This song provides a notable contrast with renamed the Conservatorio) as a composition professor. He also – the sweet charm and buoyancy of “Freschi luoghi, prati aulenti.” very significantly – married a singer, Elsa Sangiacomo, who became a very important influence on his work. He composed ballets, chamber ERMANNO WOLF-FERRARI, born Ermanno Wolf, added his music, and nine operas, but more than anything else, it was his three mother’s maiden name to his own in his late teens. He studied visual art exhilarating symphonic poems – The Fountains of Rome, The Pines of in Rome, but eventually undertook extensive musical training in Munich. Rome, and Roman Festivals – that took his name far beyond Italy. Upon his return to Italy, he quickly made important musical connections, Respighi set a wide variety of poetry, some of it from names as although his first opera to be produced, a version of the Cinderella story, familiar as Boccaccio, Victor Hugo, and Gabriele d’Annunzio. Much of was unsuccessful when premiered at Venice’s Teatro La Fenice in 1902. Respighi’s song output plumbs profound emotional depths, especially Various successes in Germany enhanced his reputation, as did a six-year where love is concerned. Typical is “Lagrime” (1896), in three distinct stint as director of Venice’s prestigious Liceo Musicale. He eventually sections – the outer ones stately and somber, the middle with more taught composition in Salzburg and also spent many years in Zurich, not forward motion, with an accompaniment based on lulling triplet returning to Italy to live until 1946. He died two years later. figures. One of Respighi’s liveliest songs is the brief “Scherzo,” in which Wolf-Ferrari’s operas are his great legacy. A number of them provide a lover delightedly remembers the brush of a kiss against his cheek. exciting vehicles for particularly charismatic performers, especially star “Stornellatrice” (1906) is marked a piacere, and the singer, expressing a sopranos in I gioielli della Madonna (1911) and star tenors – in recent years lover’s ache, is allowed maximum freedom to shape each exquisite line Domingo, Carreras, and Alagna – in Sly (1927). In Italy the comic operas with maximum sensitivity and heart. A steady snowfall is vividly depicted have earned a good deal of attention, and conservatories, colleges, and in “Nevicata” (1921), in which the line begins unusually low in the voice, smaller companies have gotten a good deal of mileage out of the adorable ascending gloriously to a pianissimo high G at the close. comic opera for lyric soprano and baritone, Il segreto di Susanna (1909). A lover bathes his hair in the rain, memorably evoked in the The songs of Wolf-Ferrari are unjustly neglected. Those chosen scintillating “Pioggia” (1909). Dark clouds provide a sad complement by Beczała all communicate the ache of young people falling in love. to the singer’s desperate loneliness in what is possibly Respighi’s most Following “Quando ti vidi,” Beczała turns to the Wolf-Ferrari pieces frequently performed song, the starkly dramatic “Nebbie” (1921), which most frequently heard on the recital platform, the “Quattro Rispetti,” makes especially formidable demands on a singer’s expressive resources. Opus 11, of which the tenor sings the last three of the four songs, with texts taken from Tuscan folksongs: the sweetly sincere “Jo dei saluti,” FRANCESCO PAOLO TOSTI, a native of Ortona sul Mare on the which breathes the sweetness of young love (and what a lovely leap Italian coast north of Naples, was the son of a cereal dealer. Already upward in the vocal line on, appropriately, the word “sole” – “sun”); the composing at the age of 14, he studied at Royal Conservatory in Naples marvelously graceful and increasingly passionate “E tanto c’è pericol”; under scholarship, as both a composer and a violinist, and with his and the effervescent “O sì che non sapevo.” delightful tenor voice, he had an awareness of bel canto traditions from the start. He worked in Ortona for three years as the director of a chapel OTTORINO RESPIGHI, who came from a musical family, was already choir, but eventually had a nervous breakdown, from which he took studying at the musical college of his native Bologna when he was twelve seven months to recover. During that time he wrote his first songs. years old. Trained thoroughly in piano, violin, and viola, as well as in Once he moved to Rome in 1870, he was able to find work composition, he undertook his first professional work as a viola player composing for social occasions arranged by the wealthy (in many of in Russia, where he had the benefit of instruction in orchestration from these salon concerts, he also sang with considerable charm). Gradually none other than Nikolai Rimsky-Korsakov. He continued to work as an he made his way, particularly once he was appointed as personal singing instrumentalist when he returned home to Bologna, while also serving teacher of the future Queen of Italy, Margherita di Savoia. Also very as an accompanist for many singers. Among his early major works were significant was the initiation of his longtime association with the Ricordi the opera Semirama (1910) and the cantata Aretusa (1911). Eventually music-publishing house, which began publishing Tosti in 1873. When he moved to Rome, where he worked at the Santa Cecilia Liceo (later he traveled to London, his music made a tremendous impact among
February 25, 2018 | 15 PROGRAM NOTES | LYRIC OPERA OF CHICAGO truly unmistakably Italian); “Chi sei tu che Coruscating, Tchaikovsky-esque mi parli,” with its mesmerizing legato quite accompaniment supports the charmingly DAN REST devastatingly projecting the singer’s aching confiding vocal line of “Czasem gdy długo na melancholy; and the romantic, matchlessly pół sennie marzę,” as we hear that the singer beautiful “Ideale,” justly beloved by recitalists would willingly follow the voice he hears in for more than 130 years. his dreams. The stately andante sostenuto of One of Eastern Europe’s musical giants of the “Na spokojnym ciemnym morzu” suits the interwar years, KAROL SZYMANOWSKI sentiments of the singer, who hopes to cast off widely acknowledged as Poland’s finest all his cares lying in a boat on the dark sea. The composer between the death of Chopin and rhythmic bounciness of “Rdzawe liście” belies the emergence 110 years later of Kryzstof the sentiments expressed (the singer lamenting Penderecki. Szymanowski, whose musical that his dreams have been taken away), education was solidified with his studies in Warsaw in his mid-teens, began as a composer while the very brief “W wieczorną cisze,” of a good deal of piano music, along with an appropriately marked agitato, uses groups of orchestral overture. At the same time, however, 16-note quadruplets to simulate the distant he began early on composing songs, working river. We don’t know why the young girl of with texts by some of the most exciting poets “Zasmuconej” is so unhappy, but the singer of the younger Polish literary generation comforts her with the comforting gentleness at the time. As he proceeded through his of his concern for her. Matters turn painfully musical career, he worked in a style notably soulful in another very brief song, “Przed nocą influenced by composers as diverse as Debussy, Piotr Beczała as Gounod’s Faust, his Lyric Scriabin and Stravinsky, while also taking on wieczną.” Matters turn first sweet and then debut role (2009/10 season). very significant nationalistic influences. He very dramatic in “Zaczarowana królewna,” made incomparably eloquent and innovative as the singer tells of a knight in his ill-fated contributions in the area of the stage (most pursuit of an enchanted princess. the salons, as he continued to produce songs prominently the opera King Roger, premiered in in Italian while also composing extensively in 1926), choral music, songs with orchestra, and English. His output eventually amounted to STANISŁAW MONIUSZKO, the son of songs with piano. very culturally oriented parents, was devoted nearly 400 songs. Op. 2 begins with “Daleko zostal caly His continuing success in London swiat,” painting an utterly bleak picture of the to opera from a very young age. This prompted him to settle there in 1880. An entire singer’s longing, marked by a shattering leap developed significantly during his years of generation of singers was coached by him at to the climactic high A (marked ff). Emotional study in Berlin. In adulthood, as a resident of the Royal College and Royal Academy. He was devastation continues in the adagio of “Tyś nie Vilnius, he worked teaching piano, playing the also singing teacher and music administrator umarła, a jednak zaiste,” the lover lamenting organ, and conducting in the local theater. He to the Royal household, utlimately becoming that although his beloved isn’t dead, her lips a central figure in the final decades of the reign was already composing operas and operettas have turned cold. It’s the chill of evening fog when in his early twenties. His struggles as of the now-aging Queen Victoria, herself an that is evoked in “We mglach”which builds a working musician made his great success enormously appreciative fan of vocal music from intimacy to grand-scale expression and (he also knew very well her oldest son, both back again, as did the previous two songs as well with the Warsaw production of Halka (1858) as the Prince of Wales and later King Edward as the song that follows, “Czasem, gdy dlugo na doubly gratifying; that work initiated his rise VII). Tosti became arguably the most dearly pot sennie marze” (a text also sung by Beczała to fame as the greatest of all Polish opera loved composer in Europe, with his songs in the Karłowicz setting). The most lyrically composers. His fame rests largely on an output inspiring devotion from people in all walks of ravishing moments in all of Op. 2 are the two of stage works that numbers more than 20, life. Returning to Rome in 1912 as a retiree leaps to soft F-sharps in the in the singer’s rapt after an incredibly productive and satisfying many heavily influenced by folk melodies recollection of the voice he loves. The group and rhythms, and stories of common people. life, he died four years later. Following some concludes with the sweet “Pielgrzym,” the decades of neglect, his music attracted renewed ineffably touching confession of a wanderer, Poland’s “national opera” is Halka, but outside popularity during the heyday of the Three contented with the simplest things in life. of Poland it is his other masterpiece, The Tenors. Tosti’s hometown, Ortona, created a Haunted Manor (1861), that is heard more National Tosti Institute in 1982. MIECZYSŁAW KARŁOWICZ would frequently. Tosti’s excellence arose from his doubtless be a more familiar figure The lilting, folklike 6/8 feel of “Dwie background in bel canto and his understanding internationally had he not died at the zorze” exudes charm in keeping with the of how to flatter the voice. The late Francesco tragically early age of 32. He composed only singer as he sees his beloved appear, as Sanvitale, most eminent of Tosti scholars, 22 songs over a period of six years (1892-98). lovely as the dawn. “Przasniczka,” marked noted that the composer boasted “perfect Apparently he rejected song once his student knowledge of the vocal medium, a taste days in Berlin were past, preferring to focus presto, is characterized by wildly scampering for the instinctively natural, a refined sense his energy on orchestral music. His years there groups of 16th notes from start to finish, of melody, subtle thematic and rhythmic were hugely important, given his exposure to perfectly bringing to life the whirring of the balance between music and words and careful the gamut of German music, from Weber and maiden’s spinning wheel. “Polna rozyczka” and knowledgeable choice of poetic texts...a Wagner to Strauss. exudes as much charm as Schubert’s more high degree of originality, both in terms of Karłowicz’s lyrically highly rewarding, famous setting of the same tale of the plucked compositional technique and musical delight. instantly sympathetic style draws on influences rose (“Heidenröslein”). Machismo comes Beczała has chosen “L’ultima canzone,” as early as Schubert but also Chopin and in which the allegro marking belies the lover’s Tchaikvosky. His songs are not lengthy, to the fore in the assertive vocal line of unhappiness that his Nina is marrying another often strophic, and unlike his German “Krakowiaczek,” the syncopations throughout (and what a ravishing melody Tosti gives contemporaries, he generally did not work vividly evoking the ardent lover’s horse in its the second half of each verse – a melody with especially distinguished texts. vigorous prancing.
16 | February 25, 2018 SATURDAY, MARCH 10 AT 7:30PM
BALDWIN Celebrating 100 Years of BERNSTEIN
Featuring Kate Baldwin, Susan Graham, GRAHAM Nathan Gunn, and the Lyric Opera Orchestra conducted by David Chase
Join us for a performance of Trouble in Tahiti and beloved Bernstein favorites.
Celebrating 100 Years of Bernstein concert is generously made possible by Lead Sponsor Liz Stiffeland cosponsors James N. and Laurie V. Bay. GUNN
COMING APRIL 27 – MAY 20 U.S. Premiere of the ANDREW LLOYD WEBBER & TIM RICE Olivier Award-Winning Production
JESUS CHRIST SUPERSTAR Music by Andrew Lloyd Webber Lyrics by Tim Rice Lyric Opera premiere of Lloyd Webber’s Jesus Christ Superstar generously made possible In Association with The Really Useful Group Limited Production by The Regent's Park Theatre London by Lead Sponsor The Negaunee Foundation and cosponsors an Anonymous Donor and 2016/17 REGENT’S PARK OPEN AIR THEATRE CAST. PHOTO: JOHAN PERSSON Mr. and Mrs. J. Christopher Reyes.
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