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Chan 3003 CHANDOS O PERA IN LEONCAVALLO ENGLISH Pagliacci

Dennis O’Neill Rosa Mannion Alan Opie William Dazeley Peter Bronder

David Parry London Philharmonic Orchestra David Parry

PETE
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Ruggero Leoncavallo (1857–1919) Pagliacci (The Touring Company)

AKG Opera in a prologue and two acts Libretto by Leoncavallo English translation by Edmund Tracey

Tonio (in the play, Taddeo), a clown ...... Alan Opie baritone Canio (in the play, Pagliaccio), leader of the players...... Dennis O’Neill tenor Beppe (in the play, Harlequin)...... Peter Bronder tenor Nedda (in the play, Columbina), wife of Canio...... Rosa Mannion soprano Silvio, a villager ...... William Dazeley baritone Two locals...... Paul Parfitt bass-baritone • Peter Hall tenor

Geoffrey Mitchell Choir The Peter Kay Children’s Choir

Ruggero Leoncavallo London Philharmonic Orchestra Brad Cohen assistant conductor David Parry conductor

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Prologue 35:26 [p. 54] 13 ‘Be very careful, and then we can surprise them’ 5:00 [p. 57] 1 ‘Hello… Hello…’ 8:12 [p. 48] Tonio, Silvio, Nedda, Canio, Beppe Tonio 14 Introduction ‘Go on stage…’ 0:46 [p. 59] Canio Act I 35:26 [p. 54] 15 Aria ‘Put on your costume’ 2:59 [p. 59] 2 Chorus ‘Hey! They’re back! They’re back!’ 2:58 [p. 49] Canio Chorus, Canio, Beppe 16 Intermezzo 3:45 [p. 60] 3 Aria ‘Your most humble servant’ 2:48 [p. 50] Canio, Chorus, Beppe, Tonio Act II 35:26 [p. 54] 4 Cantabile ‘If he tried it I promise you’ 3:09 [p. 51] 17 Chorus ‘Ohe! Ohe! Quickly! Hurry!’ 4:07 [p. 60] Canio, Nedda, Chorus Chorus, Tonio, Beppe, Silvio, Nedda 5 Chorus ‘You hear them playing?’ 4:10 [p. 51] Chorus, Canio The Play 35:26 [p. 54] 6 Introduction ‘The ugly look he gave me’ 2:44 [p. 52] 18 ‘Pagliaccio, that’s my husband’ 1:40 [p. 62] Nedda Nedda (Columbina) 7 Aria ‘Swallow, fly away’ 2:23 [p. 52] 19 Serenade ‘O Columbina’ 2:45 [p. 62] Nedda Beppe (Harlequin), Columbina, Harlequin 8 Duet ‘It’s you! I thought that you had gone with Canio’ 5:02 [p. 53] 20 ‘She’s waiting. She is a goddess!’ 3:50 [p. 62] Nedda, Tonio Tonio (Taddeo), Columbina 9 Duet ‘Nedda!…’ 1:28 [p. 54] 21 ‘Arlecchin!’ ‘Columbina’ 1:57 [p. 63] Silvio, Nedda Columbina, Harlequin, Taddeo 10 ‘Why do you go on with this tormented life?’ 2:44 [p. 55] 22 ‘Pour the potion in his glass at midnight’ 3:04 [p. 64] Silvio, Nedda Harlequin, Columbina (Nedda), Pagliaccio (Canio), 11 ‘I must be strong’ 3:19 [p. 55] Tonio Nedda, Silvio, Tonio 23 Aria ‘No, we’re not in a play!’ 6:31 [p. 65] 12 ‘How can you tell me you ever loved me’ 4:18 [p. 56] Canio, Chorus, Silvio, Nedda, Beppe, Tonio Silvio, Nedda TT 79:45

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activities of the British Army not forced him to in London in 1911 to conduct Pagliacci and Ruggero Leoncavallo: Pagliacci flee to Ismaila disguised as an Arab! Zazà at the Hippodrome and returned the Next he completed I Medici, part of his following year to conduct a new piece, Zingari trilogy, but though Ricordi had signed a (The Gypsies), written specially for that Another composer’s success and a court case Leoncavallo’s verismo technique is not contract for the work, he did not see fit to theatre. He sought in vain to repeat the were, in a very real sense, the progenitors of unexpected from a man with Leoncavallo’s publish it, more impressed with Leoncavallo as overwhelming success of Pagliacci, and his Leoncavallo’s Pagliacci. Had it not been for biographical and musical background. His a poet of the theatre than as a composer. After reputation will continue to depend on the Mascagni’s Cavalleria rusticana (already father, as we have seen, was a judge, his mother three years attempting to get I Medici survival of his most noted work. available on Chandos’ Opera in English series a painter, famous at the time at Naples, where performed, he wrote Pagliacci, which he gave What is its fascination and worth? Let’s first on CHAN 3004), produced in 1890, it is the composer was born on 8 March 1857. He to Ricordi’s great rival Sonzogno. It proved an look at some contemporary opinions. doubtful whether the publisher Sonzogno studied with various piano teachers before almost immediate success when produced at Hermann Klein, a leading critic of the time, would have accepted Leoncavallo’s work or entering the Naples Conservatory. While a the Teatro dal Verme on 21 May 1892, wrote in his memoirs of its first London whether the composer would have even taken student he heard Tannhäuser at Bologna, an conducted by Toscanini. So successful was it performance in May 1893 (when the composer it to him. experience that made a deep impression on that the following year I Medici was at last was present): ‘The fame of Leoncavallo’s The story of the court case goes back to the him. A meeting with Wagner in the town staged – in the same theatre. As it proved a sensational opera had preceded it, and the composer’s boyhood. His father was a judge, shortly after made an even deeper impression. failure, Leoncavallo did not pursue the public expected something remarkable. They and Leoncavallo vividly recalled the trial of an Apparently Wagner said to him: ‘Voyez, je lutte remaining parts of the trilogy, Savonarola and were not disappointed. I have rarely seen an actor who, seized with jealousy, murdered his encore’ (See, I’m still struggling). The memory Cesare Borgia, but Chatterton was eventually audience so breathless with excitement over the wife at the end of a performance. The prisoner, of those words cheered Leoncavallo during his produced (1896) and then his version of La development of an opera plot.’ He then goes apparently a figure of tragic power, faced up to own years of struggle to gain recognition. bohème (1897), which suffered virtual eclipse on to describe and praise the cast, Fernando de the accusation, grief-stricken yet unbending. Shortly after completing his studies, when he in view of Puccini’s more inspired setting of Lucia as Canio, Melba as Nedda and Mario Leoncavallo remembered years later the man’s was eighteen, he wrote his first opera Chatterton, Murger’s novel. Zazà came next (1900) and Ancona as Tonio, adding that, ‘Leoncavallo, rough voice echoing through the court. This but efforts to get it produced proved abortive. these are the only works of the composer’s still modest and unassuming, waited quietly in the awesome figure, a model for Canio, arose in While earning his living by playing the seen in Italy today other than Pagliacci. background till the end, and then had to be his mind as a subject for a short, taut drama piano he began composing a Wagner-inspired He continued to write until his death in forced on to the stage by the artists to after Cavalleria rusticana had been produced. trilogy entitled Crepusculum, dealing with the 1919. His later works include such curiosities acknowledge the ovation that awaited him… He completed his own libretto and its setting Renaissance in Italy. At one point, while as Der Roland von Berlin, (1904), composed on I found him to be a man of great culture and in five months. Sued later for plagiarism, he touring in the Middle East (1882), he was an express commission from Kaiser Wilhelm strong intellect. He is a poet as well as a had only to tell the true story for the irate offered the post in Cairo as chief of military II, and Are You There?, an operetta written for musician, and in both arts he reveals the grasp author to drop his case. bands, which he might have accepted had the London in 1913. Leoncavallo had already been of a profound thinker.’ 6 7 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 8

Praising the work’s verismo (reality), the is a rudimentary use of Leitmotiv, and neither of Canio. In three moving passages, peace-making member of the troupe. Silvio is Daily Telegraph opined: ‘We appear to have the harmony nor orchestration could have Leoncavallo reveals an honest man felled by something of an operatic cipher though done for the present with legendary heroes and been as it is had Wagner never existed. jealousy and remorse, a fitting successor to Leoncavallo grants the handsome lover some of cloudy myths’ – a sally, of course, at Wagner – However, the work as a whole has a Verdi’s Otello, and requiring a heroic tenor of his most grateful music to sing. All play their ‘Their personages are too far removed; they are recognizably Italian flavour: the choral like mettle. In ‘Un tal gioco, credetimi’ (If he part in a piece whose dramatic conviction not flesh of our flesh and bone of our bones. passages, for instance, place the action tried it, I promise you), the tone of menace, a never fails to move an audience. Nowadays the demand is for Human unmistakably in Southern Italy and, whether warning unheeded by Nedda, shows us a Documents, for characters in tale and drama the composer is being unpretentiously and powerful man, one not to be trifled with. In © 1998 Alan Blyth that are our kin, not our exaggerated selves.’ sensuously tuneful as in Beppe’s (Arlecchino’s) ‘Vesti la giubba’ (Put on your costume), after Synopsis More recently, more succinctly the critic Spike Serenade or Nedda’s Ballatella, or strongly Nedda’s infidelity has been confirmed, a great The action takes place in a Calabrian village on Hughes wrote that Leoncavallo was fulfilling ‘A impassioned, as in the ‘Ridi, Pagliaccio’ (Make soul is racked with torment as the clown the eve of the Feast of the Assumption. The Long Felt Want’. Here were no longer the it amusing) theme of ‘Vesti la giubba’ (Put on unburdens his feelings, heartache mingled with opera opens with a prologue when Tonio steps conventional romantic hero, nor yet again your costume), the music evinces a transalpine nobility of expression. Finally, in ‘No, in front of the curtain and addresses the figures from Norse saga, but real people – lyricism. These and other set pieces, such as the Pagliaccio non son’ (No, we’re not in a play), audience, reminding them that the actors are earthy, passionate, full of life. erotic duet for Nedda and Silvio, are fully Canio reproaches his unfaithful wife, pouring real people and that the story should not be Of course, the tale of the clown whose heart integrated into a unified structure in the out all his grief in the most eloquent passage dismissed as fiction. is breaking but must go on playing out his manner of Verdi’s late masterpieces. Leoncavallo ever penned, beginning ‘Sperai, comic part is not new; nor is the device of a Leoncavallo brings off a brilliant coup de tanto il delirio accecato m’aveva’ (I hoped, so Act I play within a play. Leoncavallo’s skill was to théâtre with the Prologue in which Tonio pokes blind was I, so deluded with passion) and The villagers are celebrating the Feast of the clothe these devices in music that was his head through the curtain, then comes out rising at the climax to a top B. If it pierces the Assumption, and when they see that the touching, immediately accessible and to tell the members of the audience directly heart, as it should, it raises the last pages of the players have arrived in the village rush to greet attractive, tuneful without being tawdry. He that even the actors are men and women like opera from melodrama to true tragedy. them. Canio, the leader of the troupe, comes was an accomplished librettist and by adhering themselves, passionate, rejoicing, suffering. Tonio is also an interesting creation. Again forward and tells the assembled villagers that to the Aristotelian unities of time and space, The play within a play, somewhat reminiscent there is a dichotomy, this time between the the performance will take place that evening. his scenario is at once credible and swift- of that in Hamlet in its relevance to the main fool, Taddeo, who makes love to Nedda as Tonio tries to help Canio’s wife, Nedda, out of moving. His characterization may not run very action, is another effective contrivance calling Colombina in the play, and the deformed, the cart she has been riding in, but Canio deep, but it is convincing enough to make us forth delightful commedia dell’arte music from pathetic figure who has his love cruelly beaten pushes him out of the way and boxes his ears. believe that these are real people. the composer. down by her in real life. Nedda is an A few of the villagers comment that maybe For his score, Leoncavallo took just as much In performance, Pagliacci stands or falls by unthinking woman swayed by her basic Tonio and Nedda should not be left alone as he needed from Wagnerian methods. There the writing for, and interpretation of the role desires, little else. Beppe is the lighthearted, together. Canio is angry and says that while in 8 9 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 10

a play such a thing may be classed as comedy, lover Harlequin (Beppe), as her husband Dr Faust, Germont (La traviata), Eisenstein with the Metropolitan Opera and Chicago in real life the outcome would be very Pagliaccio (Canio) has gone away for the night. and Falke (Die Fledermaus), Sharpless (Madam Lyric Opera, and has given many concert different. When he has calmed down he and Outside Harlequin serenades her. Taddeo Butterfly), Papageno (The Magic Flute), Sancho performances there. Beppe go into the village, and the villagers go (Tonio) enters and declares his secret love for Panza (Don Quixote) and Taddeo (The Italian A frequent guest at the Bayerische to vespers. her, but she scorns him and he leaves when Girl in Algiers). Staatsoper, Munich, his debut in Un ballo in Left alone, Nedda becomes worried about Harlequin enters. Harlequin and Columbina sit He has combined his work at English maschera was followed by a new production of Canio’s outburst, but she soon relaxes in the down to eat and but Pagliaccio returns National Opera with performances for the Il trovatore with Giuseppe Sinopoli, and evening sunshine. Tonio appears and after she unexpectedly and Harlequin escapes through other major UK opera companies (such as appearances in Der Rosenkavalier, Tosca, Simon has finished her song he approaches her and the window. Her farewell words to Harlequin Luisa Miller for Opera North), while his Boccanegra and Aida. Dennis O’Neill is also a declares his love. But Nedda laughs at him, and remind Canio of Nedda’s farewell to her secret international career has taken him to Bayreuth busy concert artist and has sung throughout he gets more and more angry. She is eventually lover earlier that evening. Canio finds it hard (Beckmesser), and the opera houses of Europe with conductors including Riccardo forced to protect herself by striking him in the to keep in character and demands of Chicago, Santa Fé, Paris, Amsterdam, Vienna, Muti, Sir Colin Davis and Simon Rattle. face with a whip. He leaves, but swears revenge. Columbina/Nedda her lover’s name. Nedda Brussels and Berlin. His many recordings Recordings include Tosca and Cavalleria Just after he has gone, Nedda’s lover, Silvio, desperately tries to keep in character, but include the Grammy Award-winning Peter rusticana (both for Chandos/Peter Moores appears. He urges her to run away with him Canio becomes more and more angry. The Grimes (for Chandos), Gloriana, The Rape of Foundation), Der Rosenkavalier under Georg after that night’s performance. At first she does spectators become nervous, and Nedda tries to Lucretia, the title role in Dallapiccola’s Ulisse, Solti, Die Fledermaus, Macbeth, and not agree, but when Silvio questions her love escape. But Canio manages to grab her and he and The Barber of Seville and Pagliacci (for La fanciulla del West. she relents. Tonio overhears part of their stabs her. Silvio rushes to try to save her, but he Chandos/Peter Moores Foundation). conversation and he goes to fetch Canio, who too is stabbed. As Canio stands shocked, he Peter Bronder was born in Hertfordshire of arrives just in time to hear her calling out to announces to the audience that the play is over. Born in Wales of Irish and Welsh parents, German/Austrian parentage and studied at the Silvio who has disappeared over the wall. Dennis O’Neill is one of the world's leading Royal Academy of Music and the National Nedda refuses to tell Canio her lover’s name. tenors and a specialist in the works of Verdi. Opera Studio. After a season with Canio, racked with jealousy, dresses for his part Alan Opie was born in Cornwall and studied He has enjoyed a long association with the Glyndebourne he was principal tenor for Welsh in the comedy. He is sure that her lover will be at the Guildhall School of Music and Drama Royal Opera House, Covent Garden, where his National Opera from 1986–90, where his at the play that evening. and the London Opera Centre. His career roles have included Rodolfo (La bohème), the repertoire included main roles in La bohème, began with English National Opera (then Duke (Rigoletto), Pinkerton, Edgar (Lucia di La traviata, I puritani, La sonnambula, Lucia di Act II Sadler’s Wells) where he has appointed Lammermoor), Macduff (Macbeth), Gustave Lammermoor, The Barber of Seville, Così fan The audience (including Silvio) is assembled principal baritone while still a student. Among (Un ballo in maschera), Foresto (Attila), Otello, tutte, The Magic Flute and Eugene Onegin. He and Nedda collects their money. The play the roles he has performed there include the Don Carlos, Radames (Aida) and Jacopo (I due has also appeared with English National Opera begins. Columbina (Nedda) is waiting for her title roles in The Barber of Seville, and Busoni’s Foscari). He has appeared in the United States (Italian Tenor in Der Rosenkavalier, Almaviva in 10 11 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 12

The Barber of Seville), Opera North (Prunier in Richard Hickox, Neville Marriner, Charles conducting invitations from the BBC and Boult, Sir John Pritchard, Bernard Haitink, Sir La rondine, the Captain in Wozzeck), Scottish Mackerras, William Christie and Neeme Järvi. subsequently to a wider involvement with his Georg Solti and Klaus Tennstedt. Its current Opera (Leicester in Mary Stuart), and The Her recordings include Così fan tutte with John own singers and this led to the establishment regular conductors include Music Director Royal Opera (Cassio in Otello, First Jew in Eliot Gardiner, Die Zauberflöte and Orlando of the Geoffrey Mitchell Choir. Early Franz Welser-Möst, and President Bernard Salome, Apparition of Youth in Die Frau ohne with William Christie, Vaughan Williams’s recordings resulted in the choir’s long-term Haitink. Schatten). Serenade to Music and Third Symphony, and involvement with Opera Rara for whom they Since 1964, it has been resident symphony Recordings include Beethoven’s Ninth Beethoven’s Missa solemnis. have recorded 15 operas, and it is currently orchestra at Glyndebourne Festival Opera and, Symphony, Janácˇek’s Fate, Il turco in Italia, enjoying a growing reputation with further in 1992, the orchestra became resident La traviata, Un ballo in maschera and The William Dazeley is a graduate of Jesus College, work from the BBC and international symphony orchestra at the Royal Festival Hall. Rake’s Progress. Cambridge, and he studied singing at the recording companies. It also tours extensively, being the first British Guildhall School of Music and Drama. Prizes orchestra to visit the USSR and China, and its Rosa Mannion was born in Liverpool and include the Decca–Kathleen Ferrier Prize, the The Peter Kay Children’s Choir provides recordings have won many major awards. studied at the Royal Scottish Academy of Richard Tauber Prize and the Walther Gruner young singers with opportunities in opera, Music and Drama, and currently studies with International Lieder Prize. His extensive concerts, commercials (TV and Radio), charity David Parry studied with Sergiu Celibidache Gerald Martin Moore. She made her Covent operatic repertoire includes the title roles in events, festivals and theatre productions in and began his career as Sir John Pritchard’s Garden debut as Pamina in 1993, and has sung Don Giovanni, Owen Wingrave, Billy Budd and UK, France, Belgium, Holland, Germany, assistant. He made his debut with English with all the major British companies in roles Eugene Onegin, Papageno (Die Zauberflöte), Spain and the USA. Its membership is by Music Theatre and went on to become a staff such as Constanze (Die Entführung aus dem Pelléas, Mowgli (Berkeley’s Baa Baa Black invitation and audition, drawing participants conductor at Städtische Bühnen Dortmund Serail), Cordelia (Albert Reimann’s Lear), Sheep), Danilo (The Merry Widow) and the from those already experienced in singing and at Opera North. He was Music Director of Sophie (Werther), Sophie (Der Rosenkavalier), Count and Rudolph (Der ferne Klang). He has performance, at English National Opera where Opera 80 from 1983 to 1987, and since 1992 Atalanta (Xerxes), Countess (The Marriage of appeared with The Royal Opera, Opera North, Peter Kay is Children’s Adviser, Finchley has been the founding Music Director of the Figaro), Magnolia (Showboat), Violetta (La Glyndebourne Touring Opera, Teatro Regio Children’s Music Group, New London contemporary opera festival Almeida Opera. traviata), the four soprano roles in The Tales of Turin, Opera de Lyon and New Israeli Opera. Children’s Choir, The Jennifer Lilleystone He pursues a busy career both in opera and Hoffmann and the title role in Manon. Recordings include Baa Baa Black Sheep, Singers and schools all over London and the in concert. His repertoire extends from Mozart Rosa Mannion also has a busy concert career Britten’s The Rescue of Penelope and Busoni’s south of England. and early nineteenth-century Italian opera to and has appeared with the Monteverdi Choir Faust. Janácˇek, Britten and contemporary music. In and Orchestra, English Chamber Orchestra, The London Philharmonic Orchestra was England he has appeared regularly at English London Mozart Players, City of London Geoffrey Mitchell’s singing career encompassed formed in 1932 by Sir Thomas Beecham. Over National Opera and in concert with the Sinfonia, and the Nash Ensemble, working a remarkably wide repertoire from early to the years it has attracted an unmatchable series Philharmonia. In 1996 he made his debut at with conductors such as John Eliot Gardiner, contemporary music. This resulted in of Principal Conductors, including Sir Adrian the Glyndebourne Festival with Così fan tutte. 12 13 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 14

He is a frequent visitor to Spain where he has Outside Europe David Parry has appeared appeared with most of the opera companies and at the Hong Kong International Festival, Opera in English on Chandos symphony orchestras. He gave the Spanish with the UNAM Symphony Orchestra at premiere of Peter Grimes in Madrid, and in Mexico City, with a tour of Carmen in Japan 1996 he conducted the first Spanish production and, in 1996, conducting a new production of The Rake’s Progress, inaugurated two new of Katya Kabanova for the New Zealand concert halls with Beethoven’s Ninth Festival. Symphony and a new opera house with He has recorded extensively for the Opera Carmen. He has also appeared in Italy, where he Rara label, the most recent issue being conducted Ricciardo e Zoraide in the Rossini Donizetti’s Rosmonda d’Inghilterra, which won Opera Festival at Pesaro, in France, Germany, the Prix Cecilia in Belgium and for Chandos Belgium, Holland, and in Sweden where he he conducted the award-winning recording of conducted an acclaimed production of Britten’s Tosca, recording of operatic arias with Bruce A Midsummer Night’s Dream. Ford, Cavalleria rusticana and La bohème.

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14 15 CHAN 3003BOOK.qxd28/10/071:00pmPage16 CBE for his charitable services totheArts. CBE forhischaritableservices And intheNew Year’s Honours Listfor1991 hewasmadea May 1992hebecameaDeputy LieutenantofLancashire. and a Trustee ofthe Tate from 1978until1985.In Gallery bank. From 1981to1983hewasaGovernor oftheBBC, remaining ontheBoard, andwasdirector ofamerchant later hesteppeddown from thepost,althoughstill was paramountandhereturned toLiverpool immediately. to comehomeashewasneededinthefirm.Family loyalty At thispointhereceived aletterfrom hisfatheraskinghim Rome Opera, andseemedsetforasuccessfuloperaticcareer. San CarloOpera House, Naples, theGeneva Festival andthe ofLucretiaThe Rape enrolled aswell forafour-year courseatthe Viennese Academy ofMusic andDramatic Art. attend morningrehearsals buttheafternoonswere andevening performances, free, sohe Oxford to becomeaproduction studentatthe Vienna State Opera. 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 andfootballpoolsgroup. He waseducatedatEton and Peter Moores wasborninLancashire in1932,sonofSir John Moores, founderofthegiant He hisearlytwenties givingfinancialsupport hadstarted By 1977hewasChairmanofLittlewoods. Three years By theend ofhisthird year Moores hadproduced the Viennese premiere ofBritten’s , hadworked asAssistantProducer atthe EE MOORES,CBE,DL PETER 16 Peter Moores, CBE,DL

Christina Burton/PMF before inEngland. performed visitor –oritmayfundtheproduction atGlyndebourne of £2.50 perticket–theprovision beingthateachticketholdermustbeafirst-time opera 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 from Peter Moores’s own pocket–sofarabout£33millionintoday’s money. fight discriminationandtoimprove racerelations. 99%oftheFoundation’s moneyhascome moremusic andthearts accessibletomore people;togive encouragementtotheyoung; to Moores Foundation, tomake thosecauses deartohisheart: acharitydesignedtosupport of potentialquality. In 1964hesetasidealargesliceofhisinheritance tofoundthePeter Davis –have sincebecomeworld-famous.Moores hasalwaysbeenastuteinhisrecognition to various several young ofwhom–suchasGeraint artists, Evans, Joan Sutherland andColin 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 EE ORSFOUNDATION MOORES PETER bel canto ), which are otherwise onlyaccessibletoscholars. ), whichare otherwise 17 Ermione , a bel canto opera never CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 18

schrieb Leoncavallo seine erste Oper, Verme. Da I Medici aber durchfiel, sah Ruggero Leoncavallo: Pagliacci Chatterton, doch alle Versuche, sie zur Leoncavallo davon ab, die anderen beiden Teile Aufführung zu bringen, waren vergeblich. der Trilogie, Savonarola und Cesare Borgia, Leoncavallo verdiente nun zunächst seinen noch zu komponieren; doch 1896 wurde Der Erfolg eines anderen Komponisten und Monaten schrieb er sein eigenes Libretto und Lebensunterhalt durch Klavierspielen und endlich Chatterton produziert, und 1897 seine ein Rechtsfall waren – im wahrsten Sinne des komponierte die Musik dazu. Auf einen begann mit der Komposition einer von Wagner Fassung von La bohème, die jedoch von Wortes – für die Entstehung von Leoncavallos späteren Plagiatsvorwurf antwortete er, er habe inspirierten Trilogie mit dem Titel Puccinis wesentlich inspirierterer Vertonung Pagliacci verantwortlich. Hätte es nicht schon nur eine wahre Geschichte erzählt, und der Crepusculum, die in der italienischen von Murgers Roman völlig in den Schatten Mascagnis Oper Cavalleria rusticana gegeben erzürnte Autor ließ seine Anklage fallen. Renaissance spielt. Auf einer Reise durch den gestellt wurde. Als nächstes kam Zazà (1900), (bereits erschienen als CHAN 3004 in der Leoncavallos Verismo-Technik überrascht bei Nahen Osten (1882) wurde ihm in Kairo eine und damit wären alle Werke des Komponisten Reihe Chandos’ Opera in English), die 1890 einem Mann mit seinem biographischen und Stellung als Leiter der Militärkapellen genannt, die neben Pagliacci heute noch in zuerst aufgeführt wurde, so wäre zu bezweifeln, musikalischen Hintergrund kaum. Sein Vater angeboten, die er vielleicht auch angenommen Italien zu sehen sind. ob der Verleger Sonzogno Leoncavallos Werk war, wie bereits erwähnt, Richter, seine Mutter hätte, wäre er nicht durch die Aktivitäten der Bis zu seinem Tod im Jahr 1919 angenommen oder ob der Komponist es ihm eine seinerzeit berühmte Malerin in Neapel, britischen Armee gezwungen worden, als komponierte Leoncavallo weiterhin für die überhaupt angeboten hätte. wo Leoncavallo am 8. März 1857 geboren Araber verkleidet nach Ismailia zu fliehen! Oper. Zu seinen späteren Werken gehören Die Geschichte des Rechtsfalls reicht in die wurde. Nachdem er bei verschiedenen Lehrern Als nächstes vollendete er I Medici als Teil Kuriositäten wie Der Roland von Berlin (1904), Kindheit des Komponisten zurück. Sein Vater Klavierunterricht genommen hatte, studierte er der Trilogie, doch obwohl Ricordi für das Werk als dringendes Auftragswerk für Kaiser war Richter, und Leoncavallo erinnerte sich am Konservatorium seiner Heimatstadt. einen Vertrag unterzeichnet hatte, hielt er es Wilhelm II. entstanden, und Are You There?, lebhaft an den Prozeß gegen einen Während seiner Studienzeit hörte er in nicht für zur Veröffentlichung geeignet, da er eine 1913 für London geschriebene Operette. Schauspieler, der am Ende einer Aufführung in Bologna den Tannhäuser – ein Ereignis, das ihn von Leoncavallo eher als Librettist denn als Leoncavallo war bereits 1911 in London einem Eifersuchtsanfall seine Frau ermordete. zutiefst bewegte. Als es wenig später in der Komponist überzeugt war. Nachdem gewesen, um dort Pagliacci und Zazà im Der Gefangene, offensichtlich eine Figur von Stadt zu einer Begegnung mit Wagner kam, Leoncavallo sich drei Jahre vergeblich um eine Hippodrome zu dirigieren, und kehrte im tragischer Größe, stellte sich der Anklage – beeindruckte ihn dies noch mehr. Anscheinend Aufführung bemüht hatte, schrieb er Pagliacci folgenden Jahr in die Stadt zurück, um ein verzweifelt, doch ohne Reue. Noch Jahre später sagte Wagner zu ihm: “Voyez, je lutte encore” und bot diese Oper Ricordis großem Rivalen neues, speziell für dieses Theater komponiertes erinnerte sich Leoncavallo daran, wie die rauhe (Sehen Sie, ich kämpfe immer noch). In den Sonzogno an. Das Werk wurde zuerst am 21. Stück, Zingari (Die Zigeuner), aufzuführen. Stimme des Mannes durch den Gerichtssaal folgenden Jahren, in denen Leoncavallo selbst Mai 1892 im Teatro dal Verme unter Toscanini Er bemühte sich jedoch vergeblich, den tönte. Diese großartige Gestalt, ein Vorbild für um Anerkennung rang, sollte ihn die aufgeführt und war fast unmittelbar ein Erfolg. überragenden Erfolg von Pagliacci zu Canio, kam ihm nach der Produktion von Erinnerung an diese Worte trösten. Kurze Zeit Dieser Erfolg war so durchschlagend, daß im wiederholen, und sein Ruhm wird weiterhin Cavalleria rusticana als Thema für ein kurzes, nach Abschluß seines Studiums – er hatte darauffolgenden Jahr endlich auch I Medici zur von der Rezeption dieses seines bekanntesten straffes Drama in den Sinn. Innerhalb von fünf mittlerweile sein 18. Lebensjahr erreicht – Aufführung kam – ebenfalls im Teatro de Werks abhängen. 18 19 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 20

Worin liegen die Faszination und Bedeutung verzichten zu wollen” – natürlich ein genug, uns glauben zu machen, daß es sich um Spiel im Spiel erinnert in seiner Relevanz für von Pagliacci? Hierzu zunächst einige Seitenhieb gegen Wagner. “Solche wirkliche Personen handelt. die Haupthandlung an den gleichen Kunstgriff zeitgenössische Äußerungen. Hermann Klein, Persönlichkeiten sind zu entrückt, sie sind Für seine Vertonung verwendete in Hamlet und bietet dem Komponisten eine ein führender Kritiker der Zeit, schrieb in nicht Fleisch von unserem Fleisch, nicht Blut Leoncavallo gerade nur so viel von Wagners weitere wirkungsvolles Gelegenheit, seinen Memoiren von der ersten Londoner von unserem Blut. Heutzutage verlangt man Methoden wie er benötigte. Es findet sich ein wundervolle commedia dell’arte-Musik zu Aufführung im Mai 1893 (bei der der nach dramatischen Geschichten aus dem rudimentärer Gebrauch der Leitmotivtechnik, schreiben. Komponist anwesend war): “Der Ruhm von wirklichem Leben, nach Charakteren, die uns und weder Harmonik noch Orchestrierung In der Aufführung steht und fällt Pagliacci Leoncavallos sensationeller Oper war dem gleich sind und nicht überhöhte Versionen wären ohne Wagners Vorbild denkbar. mit der Rolle des Canio und ihrer Werk vorausgeeilt, und die öffentlichkeit unserer selbst.” In jüngerer Zeit schrieb der Insgesamt jedoch ist das Werk dezidiert Interpretation. In drei bewegenden Passagen erwartete etwas ganz Besonderes. Sie wurde Kritiker Spike Hughes pointierter, Leoncavallo italienischer Prägung: Die Chorpassagen zum enthüllt Leoncavallo einen ehrlichen Mann, nicht enttäuscht. Ich habe selten ein Publikum erfülle “ein schon lange bestehendes Beispiel siedeln die Handlung unverkennbar der von Eifersucht und Reue zerstört wird – so atemlos von der Entwicklung eines Bedürfnis”. Hier sei nicht länger der im südlichen Italien an, und die Musik zeigt ein würdiger Nachfolger von Verdis Otello, der Opernplots erregt gesehen.” Klein fährt fort konventionelle romantische Held, noch eine transalpine Lyrik, ganz gleich ob der auch nach einem Heldentenor gleichen mit einer Beschreibung und lobenden Gestalten aus nordischen Sagen, sondern Komponist unprätentiös und sinnlich Kalibers verlangt. In “Un tal gioco, credetimi” Würdigung der Sänger, Fernando de Lucia als wirkliche Menschen, erdverhaftet, melodiös ist wie in Beppes (Arlecchinos) (If he tried it, I promise you) verrät der Canio, die Melba als Nedda und Mario leidenschaftlich, voller Leben. Serenade oder Neddas Ballatella, oder überaus bedrohende Ton, den Nedda nicht als Ancona als Tonio; er fügt hinzu: “Leoncavallo, Natürlich ist die Geschichte vom Clown, leidenschaftlich wie in dem “Ridi, Pagliaccio” Warnung erkennt, einen kraftvollen Mann, mit zurückhaltend und bescheiden, wartete bis dessen Herz zerbricht und der doch seine (Make it amusing)-Thema von “Vesti la dem nicht zu spaßen ist. Nachdem sich in zum Schluß ruhig im Hintergrund und mußte komische Rolle weiterspielen muß, nicht neu; giubba” (Put on your costume). Diese und “Vesti la giubba” (Put on your costume) dann von den Künstlern auf die Bühne noch ist es der Kunstgriff eines Spiels im Spiel. andere Versatzstücke, wie etwa das erotische Neddas Untreue bestätigt hat, wird die Qual gezwungen werden, um die ihn erwartenden Leoncavallos Talent war es, diese Dinge in Duett für Nedda und Silvio, sind nach der Art einer großen Seele enthüllt, als der Clown Ovationen entgegenzunehmen… Ich lernte Musik zu kleiden, die anrührte, unmittelbar von Verdis späten Meisterwerken vollkommen seine Gefühle ausschüttet und dabei seine ihn als einen Mann von großer Kultiviertheit attraktiv und eingängig war, melodiös ohne in eine einheitliche Struktur integriert. Herzenspein mit noblem Ausdruck vermischt. und starkem Intellekt kennen. Er ist Dichter abgegriffen zu sein. Er war ein versierter Ein brillanter coup de théâtre gelingt In “No, Pagliaccio non son” (No, we’re not in a ebenso wie er Musiker ist, und in beiden Librettist und vermochte es, seine Szenerie Leoncavallo mit dem Prolog, in dem Tonio play) schließlich macht Canio seiner treulosen Künsten zeigt er den Zugriff eines originären durch Beachtung der Aristotelischen Einheit seinen Kopf durch den Vorhang steckt, um Frau Vorwürfe und schüttet seinen ganzen Denkers.” von Zeit und Raum zugleich glaubwürdig zu sodann herauszukommen und dem Publikum Kummer aus in der beredtesten Passage, die Den Verismo des Werks preisend bemerkte gestalten und zügig zu entwickeln. Seine zu erklären, daß selbst die Schauspieler Leoncavallo je schrieb; sie beginnt mit den der Daily Telegraph: “Wir scheinen vorerst auf Charakterisierungen mögen nicht sehr Männer und Frauen wie sie selbst sind, Worten “Sperai, tanto il delirio accecato legendäre Helden und nebulöse Mythen tiefgehend sein, doch sie sind überzeugend leidenschaftlich, voller Freude, voller Leid. Das m’aveva” (I hoped, so blind was I, so deluded 20 21 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 22

with passion) und erreicht ihren Höhepunkt zum Publikum spricht; er erinnert die Zuhörer beendet hat, spricht er sie an und erklärt ihr Harlequin eine Serenade dar. Taddeo (Tonio) auf dem hohen B. Wenn diese Stelle so ins daran, daß es sich bei den Schauspielern um seine Liebe. Doch Nedda lacht ihn aus, und er tritt ein und eröffnet ihr seine heimliche Liebe, Herz sticht wie es der Komponist beabsichtigt wirkliche Menschen handelt und daß die wird immer wütender. Sie sieht sich schließlich doch sie weist ihn zurück; er geht, als hat, so erheben sie die letzten Seiten der Oper Geschichte nicht als fiktiv abgetan werden sollte. gezwungen, ihn mit einer Peitsche ins Gesicht Harlequin erscheint. Harlequin und Columbina vom Melodram auf die Höhe echter Tragödie. zu schlagen, um sich selbst zu schützen. Er läßt setzen sich zu einer Mahlzeit nieder, doch Auch Tonio ist eine interessante Gestalt. I. Akt sie allein, schwört jedoch, sich zu rächen. unerwartet kehrt Pagliaccio zurück und Wiederum gibt es eine Zweiteilung, diesmal Die Dorfbewohner feiern das Fest Mariae Unmittelbar nach seinem Abgang erscheint Harlequin muß durch das Fenster fliehen. zwischen dem Narren, der im Spiel Nedda in Himmelfahrt; als sie sehen, daß die Neddas Liebhaber Silvio. Er drängt sie, nach Columbinas Abschiedsworte an Harlequin der Gestalt der Colombina den Hof macht, Schauspieler im Dorf angekommen sind, eilen der Vorstellung am Abend mit ihm erinnern Canio an Neddas Abschied von ihrem und der deformierten jämmerlichen Figur, die sie ihnen zur Begrüßung entgegen. Canio, der davonzulaufen. Sie sträubt sich zunächst, gibt heimlichen Liebhaber früher am Abend. Canio er im wirklichen Leben abgibt und dessen Leiter der Truppe, tritt hervor und teilt den jedoch nach, als Silvio ihre Liebe in Frage fällt es schwer, in seiner Rolle zu bleiben, und Liebe grausam zurückgewiesen wird. Nedda ist Dorfleuten mit, daß die Aufführung am Abend stellt. Tonio belauscht einen Teil ihrer er verlangt von Columbina/Nedda, den Namen eine gedankenlose Frau, von kaum etwas stattfinden wird. Tonio versucht, Canios Frau Unterhaltung und holt sogleich Canio, der ihres Liebhabers preiszugeben. Nedda versucht anderem getrieben als ihren niederen Nedda beim Aussteigen aus ihrem Karren gerade rechtzeitig hinzukommt, um zu hören, verzweifelt, ihre Rolle weiterzuspielen, doch Instinkten. Beppe ist das heitere, friedliebende behilflich zu sein, doch Canio stößt ihn zur wie Nedda dem hinter einer Mauer Canio wird immer wütender. Die Zuschauer Mitglied der Truppe. Silvio erfüllt in dieser Seite und verpaßt im eine Ohrfeige. Einige der verschwundenen Silvio etwas zuruft. Nedda werden unruhig, und Nedda versucht zu Oper die Rolle eines bloßen Versatzstücks, Dorfleute bemerken, daß man Tonio und weigert sich, Canio den Namen ihres entfliehen. Doch es gelingt Canio, sie zu obwohl Leoncavallo den schönen Liebhaber Nedda vielleicht besser nicht alleine Liebhabers zu verraten. Canio packt die ergreifen, und er ersticht sie. Silvio eilt herbei einige seiner dankbarsten Partien singen läßt. zusammenlassen sollte. Canio ist wütend und Eifersucht, doch er muß sich für seine Rolle in und versucht sie zu retten, doch auch er wird All diese Charaktere haben ihre Rolle in einem sagt, daß so etwas in einem Schauspiel als der Komödie kostümieren. Er ist sich sicher, erstochen. Schockiert von seiner Tat verkündet Stück, dessen dramatische öberzeugung noch Komödie gelten möge, im wirklichen Leben daß Neddas Liebhaber dem Schauspiel am Canio dem Publikum, daß das Schauspiel jedes Publikum bewegt hat. jedoch hätte es andere Konsequenzen. Abend beiwohnen wird. vorbei ist. Nachdem er sich wieder beruhigt hat, geht er Übersetzung: Stephanie Wollny © 1998 Alan Blyth mit Beppe ins Dorf, während die II. Akt Dorfbewohner den Vespergottesdienst Das Publikum (darunter auch Silvio) ist Synopse besuchen. versammelt, und Nedda kassiert das Alan Opie wurde in der englischen Grafschaft Die Handlung spielt in einem kalabrischen Nedda bleibt alleine zurück; sie macht sich Eintrittsgeld. Columbina (Nedda) erwartet Cornwall geboren und an der Guildhall School Dorf am Vorabend des Fests Mariae Sorgen über Canios Ausbruch, doch bald ihren Liebhaber Harlequin (Beppe), da ihr of Music and Drama sowie am London Opera Himmelfahrt. Die Oper beginnt mit einem entspannt sie sich in der Abendsonne. Tonio Ehemann Pagliaccio (Canio) über Nacht Centre ausgebildet. Seine Karriere begann bei Prolog, in dem Tonio vor den Vorhang tritt und erscheint, und nachdem Nedda ihr Lied fortgegangen ist. Von draußen bietet ihr der English National Opera (damals noch: 22 23 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 24

Sadler’s Wells), wo er noch vor Abschluß seines Zusammenarbeit mit dem Royal Opera House Er studierte an der Royal Academy of Music Constanze in Die Entführung aus dem Serail, Studiums als Baritonsolist beschäftigt wurde. Covent Garden zurück, wo er unter anderem und am National Opera Studio. Nach einer die Cordelia in Albert Reimanns Lear, die Zu den Partien, die er gesungen hat, zählen die Rodolfo (La bohème) gesungen hat, den Spielzeit in Glyndebourne war er von Sophie in Werther, die Sophie in Der Titelrollen im Barbier von Sevilla und im Herzog (Rigoletto), Pinkerton, Edgar (Lucia di 1986–1990 erster Tenor der Welsh National Rosenkavalier, die Atalanta in Xerxes, die Gräfin Doktor Faust von Busoni, Germont (La Lammermoor), Macduff (Macbeth), Gustave Opera; sein dortiges Repertoire umfaßte in Die Hochzeit des Figaro, die Magnolia in traviata), Eisenstein und Falke (Die (Un ballo in maschera), Foresto (Attila), Otello, Hauptrollen in La bohème, La traviata, Showboat, die Violetta in La traviata, die vier Fledermaus), Sharpless (Madama Butterfly), Don Carlos, Radames (Aida) und Jacopo I puritani, La sonnambula, Lucia di Sopranrollen in Hoffmanns Erzählungen sowie Papageno (Die Zauberflöte), Sancho Panza (I due Foscari). Darüber hinaus hat er in den Lammermoor, Der Barbier von Sevilla, Così fan die Titelrolle in Manon. (Don Quixote) und Taddeo (Die Italienerin in USA an der Metropolitan Opera und an der tutte, Die Zauberflöte und Eugen Onegin. Er Rosa Mannion verfolgt daneben eine Algier). Chicago Lyric Opera gastiert und zahlreiche trat außerdem in der English National Opera intensive Konzertkarriere; sie trat mit dem Er hat seine Arbeit an der English National Konzertdarbietungen gegeben. auf (Italienischer Tenor in Der Rosenkavalier, Monteverdi Choir and Orchestra, dem English Opera mit Auftritten für die den anderen Sein Debüt an der Bayerischen Staatsoper in Almaviva in Der Barbier von Sevilla), ferner in Chamber Orchestra, den London Mozart führenden Operntruppen Großbritanniens München, wo er häufig zu Gast ist, erfolgte in der Opera North (Prunier in La rondine, Players, der City of London Sinfonia und dem verbunden (z.B. in Luisa Miller für die Opera Un ballo in maschera, gefolgt von einer Hauptmann in Wozzeck), der Scottish Opera Nash Ensemble auf und sang unter Dirigenten North), und seine internationale Karriere hat Neuinszenierung von Il trovatore mit Giuseppe (Leicester in Maria Stuarda) und der Royal wie John Eliot Gardiner, Richard Hickox, ihn sowohl nach Bayreuth geführt (als Sinopoli und Auftritte im Rosenkavalier, in Opera (Cassio in Otello, Erster Jude in Salome, Neville Marriner, Charles Mackerras, William Beckmesser) als auch an die Opernhäuser von Tosca, Simon Boccanegra und Aida. Dennis Erscheinung der Jugend in Die Frau ohne Christie und Neeme Järvi. Ihre Diskographie Chicago, Santa Fé, Paris, Amsterdam, Wien, O’Neill ist außerdem ein vielbeschäftigter Schatten). umfaßt Così fan tutte unter John Eliot Brüssel und Berlin. Unter seinen vielen Konzertsänger und ist in ganz Europa mit Seine Diskographie umfaßt Beethovens Gardiner, Die Zauberflöte und Orlando unter Aufnahmen auf Tonträger befindet sich der mit Dirigenten wie Riccardo Muti, Sir Colin Davis Neunte Sinfonie, Janácˇeks Osud (Das William Christie, ferner Vaughan Williams einem “Grammy” ausgezeichnete Peter Grimes und Simon Rattle aufgetreten. Zu seinen Schicksal), Il turco in Italia, La traviata, Un Serenade to Music und dessen Dritte Sinfonie (für Chandos), Gloriana, The Rape of Lucretia, Aufnahmen auf Tonträger zählen Tosca und ballo in maschera und The Rake’s Progress. sowie Beethovens Missa solemnis. die Titelrolle von Dallapiccolas Ulisse sowie Cavalleria rusticana (beide für Chandos und Der Barbier von Sevilla und Pagliacci (für die Peter Moores Foundation), Der Rosa Mannion wurde in Liverpool geboren William Dazeley ist Absolvent des Jesus Chandos und die Peter Moores Foundation). Rosenkavalier unter der Leitung von Georg und studierte an der Royal Scottish Academy College in Cambridge und hat an der Solti, Die Fledermaus, Macbeth und of Music and Drama; zur Zeit ist sie Schülerin Guildhall School of Music and Drama Gesang Dennis O’Neill, geboren in Wales als Sohn La fanciulla del West. von Gerald Martin Moore. 1993 gab sie ihr studiert. Unter seinen Auszeichnungen sind irischer und walisischer Eltern, ist einer der Covent Garden Debüt als Pamina; seither ist der Decca–Kathleen-Ferrier-Preis zu nennen, führenden Tenöre der Welt und obendrein Peter Bronder wurde in Hertfordshire als Kind sie in allen führenden britischen Opernhäusern der Richard-Tauber-Preis und der Verdi-Spezialist. Er blickt auf eine lange deutscher und österreichischer Eltern geboren. aufgetreten. Ihr Repertoire umfaßt die internationale Liederpreis Walther Gruner. 24 25 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 26

Sein umfangreiches Opernrepertoire schließt Der Kinderchor Peter Kay Children’s Choir Residenzorchester bei der Glyndebourne David Parry gastiert häufig in Spanien, wo die Titelrollen von Don Giovanni, Owen bietet jungen Sängern Gelegenheit, in Opern Festival Opera und seit 1992 an der Royal er bereits mit den meisten Opernkompanien Wingrave, Billy Budd und Eugen Onegin ein, und Konzerten aufzutreten, in Werbespots Festival Hall. Es unternimmt zahlreiche und Sinfonieorchestern aufgetreten ist. Die Papageno (Die Zauberflöte), Pelléas, Mowgli (TV und Radio), bei Konzertreisen und besuchte als erstes britisches spanische Premiere von Peter Grimes fand unter (Berkeleys Baa Baa Black Sheep), Danilo Wohltätigkeitsveranstaltungen, auf Festivals Orchester die UdSSR und China. Seine seiner Leitung in Madrid statt; 1996 dirigierte (Die lustige Witwe) sowie den Grafen und und in Bühnenproduktion in Großbritannien, Platteneinspielungen sind vielfach preisgekrönt er die erste spanische Inszenierung von The Rudolph (Der ferne Klang). Er ist an der Royal Frankreich, Belgien, den Niederlanden, worden. Rake’s Progress (Strawinsky) und weihte zwei Opera, der Opera North und der Deutschland, Spanien und den USA. Neue neue Konzertsäle mit der Neunten Sinfonie Glyndebourne Touring Opera aufgetreten, am Mitglieder werden auf Einladung und durch David Parry studierte bei Sergiu Celibidache von Beethoven sowie ein neues Opernhaus mit Teatro Regio in Turin, an der Opéra de Lyon Vorsingen gewonnen, deren Teilnehmer bereits und begann seine Laufbahn als Sir John Carmen ein. In Italien leitete er Ricciardo e und der New Israeli Opera. Er hat unter Erfahrungen mit Gesangsauftritten gemacht Pritchards musikalischer Assistent. Er Zoraide bei dem Rossini-Festival in Pesaro. anderem Baa Baa Black Sheep, Brittens The haben, und zwar an der English National debütierte mit dem English Music Theatre und Er tritt in Frankreich, Deutschland, Belgien, Rescue of Penelope und Busonis Faust auf Opera, wo Peter Kay als Children’s Adviser – wurde Kapellmeister an den Städtischen den Niederlanden und Schweden auf, wo er Tonträger aufgezeichnet. Kinderberater – tätig ist, in der Finchley Bühnen Dortmund sowie an Opera North in eine gefeierte Inszenierung von Britten’s Children’s Music Group, im New London Leeds. Von 1983 bis 1987 fungierte er als Midsummer Night’s Dream dirigierte. Geoffrey Mitchell hat im Lauf seiner Children’s Choir, bei den Jennifer Lilleystone Musikdirektor für Opera 80 und seit 1992 ist Außerhalb Europas ist David Parry bei Gesangskarriere ein erstaunlich umfangreiches Singers und an Schulen überall in London und er der Musikdirektor (und Gründer) des dem Hongkong International Festival und Repertoire erschlossen, von alter bis hin zu im Süden Englands. zeitgenössischen Opern-Festivals Almeida mit dem UNAM Symphony Orchestra in zeitgenössischer Musik. Daraus ergaben sich Opera. Mexico City aufgetreten, war mit Carmen erst Dirigieraufträge von der BBC, dann eine Seit seiner Gründung im Jahr 1932 durch Sir Parrys Tätigkeitsbereich ist nicht nur das in Japan auf Tournee und leitete eine ausgedehntere Zusammenarbeit mit seinen Thomas Beecham hat das London Opernhaus, sondern auch der Konzertsaal. Neuinszenierung von Katja Kabanova für Sängern, die wiederum zur Gründung des Philharmonic Orchestra unter der Leitung Sein Repertoire erstreckt sich von Mozart und das Festival in Neuseeland. Geoffrey Mitchell Choir führte. Frühe unzähliger prominenter Chefdirigenten der italienischen Oper des frühen Parry hat zahlreiche Werke für das Label Schallplattenaufnahmen hatten zur Folge, daß gestanden, darunter Sir Adrian Boult, Sir John 19. Jahrhunderts bis zu Janácˇek, Britten und Opera Rara eingespielt, zuletzt Rosmonda der Chor langfristige Beziehungen zu Opera Pritchard, Bernard Haitink, Sir Georg Solti zeitgenössischer Musik. In England dirigiert er d’Inghilterra von Donizetti, das in Belgien mit Rara einging, für die er 15 Opern und Klaus Tennstedt. Im Augenblick zählen zu regelmäßig an der English National Opera und dem Prix Cecilia ausgezeichnet wurde; für aufgezeichnet hat. Derzeit genießt er dank seinen regulären Dirigenten der Musikdirektor konzertiert mit dem Philharmonia Orchestra, Chandos hat er eine preisgekrönte Tosca, eine weiterer Verpflichtungen für die BBC und des Orchesters, Franz Welser-Möst und der 1996 machte er mit Così fan tutte sein Debüt Aufnahme operatischen Arien, Cavalleria internationale Schallplattenfirmen wachsendes Präsident, Bernard Haitink. bei dem Glyndebourne Festival. rusticana und La bohème aufgenommen. Ansehen. Seit 1964 ist das London Philharmonic 26 27 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 28

d’inspiration wagnérienne, intitulée du compositeur continuant à être représentées Ruggero Leoncavallo: Pagliacci Crepusculum, qui avait trait à la Renaissance en de nos jours en Italie, en plus de Pagliacci. Italie. A un moment donné, au cours d’une Il continua d’écrire jusqu’à sa mort en 1919. tournée au Moyen-Orient (1822), il se vit Ses dernières œuvres incluent des compositions C’est au succès d’un autre compositeur et à un raconter que c’était une histoire véridique pour offrir un poste de chef de musique militaire au étonnantes comme Der Roland von Berlin procès que le Pagliacci de Leoncavallo doit que l’auteur courroucé abandonne toute Caire. Peut-être aurait-il accepté si les activités (1904), écrite sur la commande expresse du d’exister. Sans Cavalleria rusticana de Mascagni poursuite. de l’armée britannique ne l’avaient pas forcé à Keiser Guillaume II, et Are You There?, opérette (disponible chez Chandos dans la série Opera La technique vériste de Leoncavallo ne s’enfuir à Ismaïlia déguisé en Arabe! écrite pour la scène de Londres en 1913. in English – CHAN 3004), qui fut mise en surprend guère de la part d’un homme ayant Il acheva ensuite I Medici, une partie de sa Leoncavallo qui s’était déjà rendu à Londres en scène en 1890, il est peu probable que l’éditeur ses antécédents familiaux et musicaux. Comme trilogie, mais bien que Ricordi eût signé un 1911 pour diriger Pagliacci et Zazà à Sonzogno eût accepté l’œuvre de Leoncavallo nous l’avons vu, son père était juge, sa mère un contrat pour l’œuvre, ce dernier ne jugea pas l’Hippodrome, y retourna l’année suivante ou même que le compositeur la lui eût peintre qui jouissait alors d’une certaine utile de la publier, étant plus impressionné par pour diriger une nouvelle composition, Zingari présentée. réputation dans la ville de Naples où le les dons de poète lyrique de Leoncavallo que (Les bohémiens), écrite spécialement pour ce L’histoire du procès remonte à l’enfance du compositeur était né le 8 mars 1857. Il fut par ses dons de compositeur. Après avoir passé théâtre. Ses efforts pour réitérer l’énorme compositeur. Son père était juge et Leoncavallo l’élève de plusieurs professeurs de piano avant trois années à tenter de faire jouer l’œuvre, le succès de Pagliacci se montrèrent vains, et sa se rappelait très nettement – ce qui n’est guère d’entrer au conservatoire de Naples. Pendant compositeur écrivit Pagliacci qu’il présenta à réputation continue d’être assise sur la survie surprenant – du procès d’un acteur qui, saisi de ses années estudiantines, il entendit Tannhaüser Ricordi, le grand rival de Sonzogno. L’opéra fut de son œuvre la plus célèbre. jalousie, avait tué sa femme à la fin d’une à Bologne et en fut très impressionné, mais, créé au Teatro dal Verme, le 21 mai 1892, sous En quoi l’œuvre nous fascine-t-elle? Que représentation. Le prisonnier, apparemment un peu après, une rencontre avec Wagner dans la direction de Toscanini, et remporta un vaut-elle? Examinons d’abord quelques personnage aux dimensions tragiques, fit face à cette ville l’impressionna encore davantage. succès quasi-immédiat. Ce succès fut tel que opinions contemporaines. Hermann Klein, l’accusation, accablé de douleur et pourtant Wagner lui aurait apparemment dit: “Voyez, je l’année suivante I Medici parvint enfin à être grand critique de l’époque, relata dans ses inflexible. Des années plus tard, Leoncavallo se lutte encore.” Le souvenir de ces paroles joué – dans le même théâtre. Ce fut un échec, mémoires la première à Londres de l’opéra qui rappelait encore de la voix rude de l’homme, apporta du réconfort à Leoncavallo durant les et Leoncavallo ne chercha pas à faire jouer les eut lieu en mai 1893 (en présence du qui résonnait dans le tribunal. Il lui vint à années où il dut lui-même lutter pour être autres parties de la trilogie, Savonarola et Cesare compositeur): “La renommée du sensationnel l’esprit, après la mise en scène de Cavalleria reconnu. Peu après avoir achevé ses études, à Borgia, toutefois Chatterton finit par être mis opéra de Leoncavallo l’avait précédé, et le rusticana, que cette silhouette impressionnante, l’âge de dix-huit ans, il écrivit son premier en scène (1896), suivi par une version de La public s’attendait à voir quelque chose de le modèle de Canio, pourrait faire le sujet d’un opéra Chatterton, mais, en dépit de ses efforts, bohème (1897), d’ailleurs quasiment éclipsée remarquable. Il ne fut pas déçu. J’ai rarement court drame poignant. Il en écrivit le libretto et ne parvint pas à le faire jouer. par la mise en musique plus inspirée que fit vu une salle tenue en haleine de la sorte par le la mise en musique en cinq mois. Lorsqu’il fut Tandis qu’il gagnait sa vie en jouant du Puccini du roman de Murger. Zazà vint développement d’une intrigue d’opéra.” Puis il plus tard poursuivi pour plagiat, il lui suffit de piano, il se mit à composer une trilogie ensuite (1900), et ce sont là toutes les œuvres décrit les participants et en fait l’éloge, 28 29 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 30

Fernando de Lucia en Canio, Melba en Nedda L’histoire du clown dont le cœur est brisé Pagliaccio” (Make it amusing) de “Vesti la “Vesti la giubba” (Put on your costume), après et Mario Ancona en Tonio, ajoutant: mais qui doit continuer à jouer son rôle giubba” (Put on your costume), la musique que l’infidélité de Nedda soit confirmée, nous “Leoncavallo, modeste et sans prétentions, comique jusqu’au bout n’est bien sûr pas exhale un lyrisme transalpin. Ces passages et voyons une âme noble assaillie par le tourment attendit tranquillement dans l’ombre jusqu’à la nouvelle; pas plus que le procédé qui insère d’autres, comme le duo érotique de Nedda et tandis que le clown déverse ses sentiments, le fin, puis les artistes durent le faire entrer de une pièce à l’intérieur d’une autre pièce. L’art Silvio, sont pleinement intégrés dans une chagrin se mêlant à la noblesse d’expression. force sur la scène pour répondre à l’ovation qui de Leoncavallo fut de revêtir ces procédés structure unifiée à la manière des derniers Finalement, avec “No, Pagliaccio non son” (No, l’attendait… J’ai trouvé que c’était un homme d’une musique à la fois touchante, chefs-d’œuvre de Verdi. we’re not in a play), Canio fait des reproches à fort cultivé et d’une grande intelligence. Il est à immédiatement accessible et agréable, mais Leoncavallo réussit un brillant coup de son épouse infidèle, donnant libre cours à son la fois poète et musicien, et dans ces deux arts, mélodieuse sans être vulgaire. C’était un théâtre avec le Prologue dans lequel Tonio chagrin dans le passage le plus éloquent jamais il montre l’emprise d’un penseur accompli.” librettiste accompli, qui en respectant les unités passe la tête entre les rideaux, puis s’avance écrit par Leoncavallo, commençant par “Sperai, Vantant le vérisme de l’œuvre, le Daily de lieu et de temps aristotéliques produisit un pour raconter directement aux membres du tanto il delirio accecato m’aveva” (I hoped, so Telegraph émit l’opinion suivante: “Il semble scénario immédiatement crédible et dépourvu public que les acteurs eux-mêmes sont des blind was I, so deluded with passion) pour que, pour le moment, nous en ayons fini des de lenteur. Il se peut qu’il ait campé ses hommes et des femmes comme eux, avec leurs atteindre un sommet en si aigu. Si ce passage héros légendaires et des mythes nébuleux” – ce personnages sans grande profondeur, mais il les passions, leurs joies et leurs souffrances. La perce le cœur, comme de juste, il fait passer les qui était bien sûr une pointe envoyée à Wagner a rendus suffisamment convaincants pour nous pièce insérée dans l’autre pièce, rappelant en dernières pages de l’opéra du mélodrame à la – “Leurs personnages sont bien trop éloignés faire croire qu’ils sont réels. quelque sorte celle d’Hamlet par le rapport qui vraie tragédie. de nous: ils ne sont ni de notre chair ni de Pour sa partition, Leoncavallo n’emprunta la lie à l’action principale, est une autre Tonio est aussi une création intéressante. notre sang. De nos jours, on exige des que le nécessaire aux méthodes wagnériennes. invention efficace qui inspire une délicieuse On se trouve à nouveau en présence d’une documents authentiquement humains, des On y trouve une utilisation rudimentaire du musique de commedia dell’arte au compositeur. dichotomie, cette fois entre le bouffon personnages de récits et de théâtre qui sont Leitmotiv, et certainement l’harmonie et Sur scène, la réussite de Pagliacci repose sur courtisant Nedda en Colombine dans la pièce, comme nous, et non pas l’exagération de nous- l’orchestration n’auraient pu être les mêmes si l’écriture et l’interprétation du rôle de Canio. A et la silhouette difforme et pathétique voyant mêmes.” Plus récemment et de façon plus Wagner n’avait jamais existé. Toutefois, il se l’aide de trois passages émouvants, Leoncavallo dans la réalité son amour pour la jeune femme succincte, le critique Spike Hughes écrivit que dégage de l’ensemble de l’œuvre une saveur dépeint un honnête homme abattu par la cruellement repoussé à coups de fouet. Nedda Leoncavallo avait satisfait “un besoin bien italienne: les passages choraux, par jalousie et le remords, digne successeur de est une femme sans discernement, qui ne longtemps ressenti”. On ne se trouvait plus en exemple, situent l’action en Italie du sud, et, l’Otello de Verdi, et nécessitant un ténor semble guidée que par ses désirs instinctifs. présence d’un héros romantique que le compositeur écrive des passages d’une héroïque de même envergure. Dans “Un tal Beppe est l’aimable membre pacificateur de la conventionnel, ni même du retour persistant beauté voluptueuse et sans prétention comme gioco, creditimi” (If he tried it, I promise you), troupe, tandis que Silvio fait en quelque sorte de personnages issus des sagas nordiques, mais dans la sérénade de Beppe (en Arlequin) ou la le ton de la menace, avertissement ignoré par figure de nullité opératique, bien que de personnages authentiques, terre à terre, ballatella de Nedda, ou des morceaux Nedda, nous montre un homme plein de Leoncavallo donne à cet amant de belle mine passionnés, pleins de vie. passionnés comme dans le thème “Ridi, puissance, à ne pas traiter à la légère. Dans une de ses musiques les plus élégantes. Tous 30 31 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 32

jouent leur rôle dans cette composition si passer pour drôle mais que dans la réalité les Colombine (Nedda) attend son amoureux commença sa carrière avec l’English National convaincante sur le plan dramatique qu’elle ne événements risqueraient de prendre une Harlequin (Beppe), car son mari Pagliaccio Opera (alors Sadler’s Wells) où il fut nommé manque jamais d’émouvoir son public. tournure bien différente. Lorsqu’il s’est calmé, (Canio) est absent pour la nuit. Dehors, bariton principal alors qu’il était encore lui et Beppe se rendent au village et les Harlequin lui donne la sérénade. Taddeo (Tonio) étudiant. Il y a chanté les rôles titres du Barbier © 1998 Alan Blyth villageois vont aux vêpres. entre et déclare son amour secret pour elle mais de Séville et du Dr Faust de Busoni, et ceux de Traduction: Marianne Fernée Restée seule, Nedda s’inquiète de l’éclat de celle-ci le dédaigne et il s’en va au moment où Germont (La traviata), Eisenstein et Falke (La Canio, mais bientôt le crépuscule exerce sur arrive Harlequin. Harlequin et Colombine chauve-souris), Sharpless (Madama Butterfly), Argument elle son effet apaisant. Tonio apparaît et à la fin s’asseoient et mangent mais Pagliaccio revient à Papageno (La flûte enchantée), Sancho Pancha L’action se déroule dans un village de Calabre à de sa chanson, il s’approche d’elle et lui déclare l’improviste et Harlequin s’échappe par la (Don Quichotte) et Taddeo (L’italienne à Alger). la veille de la fête de l’Assomption. L’opéra son amour. Mais Nedda se rit de lui, ce qui fenêtre. Ses mots d’adieu à l’intention Parallèlement à ses activités avec l’English débute par un prologue durant lequel Tonio excite sa colère. Elle doit finalement se d’Harlequin rappellent à Canio l’adieu de National Opera, il s’est produit avec d’autres apparaît devant le rideau et s’adresse au public, défendre en le frappant au visage avec son Nedda à son amant mystérieux un peu plus tôt grandes compagnies britanniques (notamment lui rappelant que les acteurs sont des personnes fouet. Il s’en va tout en jurant de se venger. dans la soirée. Canio parvient difficilement à dans Luisa Miller avec l’Opera North). Sur le réelles et que l’histoire ne doit pas être Peu après son départ, l’amant de Nedda, demeurer dans le strict cadre de son personnage plan international, il fut invité à chanter à considérée comme une fiction. Silvio, fait son apparition. Il la presse de et exige de Colombine/Nedda qu’elle lui avoue le Bayreuth (Beckmesser), et aux opéras de s’enfuir avec lui après la représentation du soir. nom de son amant. Nedda essaie desespérément Chicago, Santa Fé, Paris, Amsterdam, Vienne, Acte I D’abord, elle n’accepte pas, mais lorsque Silvio de s’en tenir à son rôle mais Canio entre dans Bruxelles et Berlin. Ses nombreux Les villageois célèbrent la fête de l’Assomption l’interroge au sujet de son amour pour lui, elle une colère de plus en plus noire. Les spectateurs enregistrements incluent Peter Grimes (pour et lorsqu’ils voient les comédiens pénétrer dans se laisse fléchir. Tonio entend une partie de leur s’impatientent et Nedda tente de s’échapper. Chandos) qui a reçu un Grammy Award, le village, ils se précipitent pour les accueillir. conversation et s’empresse d’aller chercher Mais Canio parvient à l’empoigner et la Gloriana, The Rape of Lucretia, le rôle titre de Canio, le chef de la troupe, vient au devant Canio qui arrive juste à temps pour l’entendre poignarde. Silvio accourt pour la sauver mais il Ulisse de Dallapiccola, Le barbier de Séville et d’eux et déclare à l’assemblée des villageois que appeler Silvio qui a disparu derrière le mur. est poignardé à son tour. Canio complètement Pagliacci (réalisé par Chandos et la Peter la représentation aura lieu le soir même. Tonio Nedda refuse d’avouer à Canio le nom de son sous le choc, annonce à l’assistance que la Moores Foundation). tente d’aider l’épouse de Canio, Nedda, à amant. Canio, rongé par la jalousie, revêt son représentation est terminée. descendre de la charette dans laquelle elle est costume de scène. Il est persuadé que l’amant Né au Pays de Galles de parents gallois et arrivée mais Canio le repousse et lui donne une assistera à la représentation de la soirée. Traduction: Karin Py irlandais, Dennis O’Neill est l’un des plus gifle. Quelques villageois observent qu’il ne grands ténors de notre temps, et un éminent faudrait peut-être pas laisser Tonio et Nedda se Acte II Né en Cornouailles, Alan Opie a fait ses études spécialiste des œuvres de Verdi. Il a longtemps retrouver seuls. Canio est en colère et dit que Le public (y compris Silvio) est réuni et Nedda à la Guildhall School of Music and Drama de travaillé avec la Royal Opera House de Covent dans une comédie ce genre d’incident pourrait collecte leur argent. La pièce commence. Londres et au London Opera Centre. Il Garden où il a chanté les rôles de Rodolfo 32 33 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 34

(La bohème), le Duc (Rigoletto), Pinkerton, 1986 à 1990, où son répertoire comprenait des (Showboat), Violetta (La traviata), ainsi que les Royal Opera de Covent Garden, à l’Opera Edgar (Lucia di Lammermoor), Macduff rôles principaux dans La bohème, La traviata, quatre rôles de soprano dans Les contes North, avec le Glyndebourne Touring Opera, (Macbeth), Gustave (Un ballo in maschera), I puritani, La sonnambula, Lucia di d’Hoffmann et le rôle titre dans Manon. au Teatro Regio de Turin, à l’Opéra de Lyon et Foresto (Attila), Otello, Don Carlos, Radames Lammermoor, Le barbier de Séville, Così fan Rosa Mannion exerce une carrière de au New Israeli Opera. Parmi ses enregistre- (Aida) et Jacopo (I due Foscari ). Aux Etats- tutte, La flûte enchantée et Eugène Onéguine. Il a concertante très suivie et est apparue aux côtés ments figurent Baa Baa Black Sheep, The Rescue Unis, il s’est produit au Metropolitan Opera de également fait des apparitions à l’English du Chœur et de l’Orchestre Monteverdi, de of Penelope de Britten et Dr Faust de Busoni. New York et au Lyric Opera de Chicago, et a National Opera (Ténor italien dans Le chevalier l’English Chamber Orchestra, des London donné de nombreux concerts. à la rose, Almaviva dans Le barbier de Séville), à Mozart Players, du City of London Sinfonia et La carrière de chanteur de Geoffrey Mitchell a Régulièrement invité par le Bayerische l’Opera North (Prunier dans La rondine, le du Nash Ensemble, travaillant en compagnie de couvert un répertoire d’une remarquable Staatsoper de Munich, ses débuts dans Un Capitaine dans Wozzeck), à l’Opéra Ecossais chefs tels que John Eliot Gardiner, Richard étendue allant de la musique ancienne à la ballo in maschera furent suivis d’une nouvelle (Leicester dans Marie Stuart) ainsi qu’à l’Opéra Hickox, Neville Marriner, Charles Mackerras, musique contemporaine. Elle prit son essor à la production de Il trovatore sous la direction de Royal (Cassio dans Otello, le premier Juif dans William Christie et Neeme Järvi. Ses enregistre- suite de plusieurs invitations à diriger que lui Giuseppe Sinopoli. Il y a également chanté Salomé, l’apparition de la Jeunesse dans La ments comprennent Così fan tutte avec John offrit la BBC, et à une collaboration plus dans Le chevalier à la rose, Tosca, Simon femme sans ombre). Eliot Gardiner, La flûte enchantée et Orlando étroite avec ses propres chanteurs. C’est ainsi Boccanegra et Aida. Dennis O’Neill donne de Ses enregistrements comprennent la avec William Christie, la Serenade to Music de qu’il fut amené à fonder le Geoffrey Mitchell nombreux concerts, et s’est produit à travers Neuvième symphonie de Beethoven, Le destin Vaughan Williams ainsi que la Troisième Choir avec lequel il a enregistré quinze opéras toute l’Europe sous la direction de chefs tels de Janácˇek, Le turc en Italie, La traviata, Un Symphonie et la Missa solemnis de Beethoven. pour Opera Rara. Jouissant d’une réputation que Riccardo Muti, Colin Davis et Simon ballo in maschera ainsi que The Rake’s Progress. grandissante, ils ont d’autres projets avec la Rattle. Ses enregistrements comprennent Tosca William Dazeley est diplômé du Jesus College BBC et des maisons de disques internationales. et Cavalleria rusticana (tous deux réalisés par Rosa Mannion est née à Liverpool et étudia à la de Cambridge, et a étudié le chant à la Chandos et la Peter Moores Foundation), Le Royal Scottish Academy of Music and Drama, Guildhall School of Music and Drama de Le Peter Kay Children’s Choir offre à de chevalier à la rose sous la direction de Solti, La et elle poursuit actuellement sa formation Londres. Il est lauréat du Decca–Kathleen jeunes chanteurs la possibilité de se produire à chauve-souris, Macbeth et La fanciulla del West. auprès de Gerald Martin Moore. Elle fit ses Ferrier Prize, du Richard Tauber Prize et du l’opéra, au concert, à la télévision, à la radio, débuts à Covent Garden dans Pamina en 1993 Walther Gruner International Lieder Prize. Son lors de galas de bienfaisance, dans des festivals Peter Bronder est né à Hertfordshire de parents et elle chanté avec les plus grandes compagnies vaste répertoire inclut les rôles titres de Don et des productions théâtrales en Grande- d’origine allemande et autrichienne. Il fit ses britanniques dans des rôles tels que Constance Giovanni, Owen Wingrave, Billy Budd et Eugène Bretagne, en France, en Belgique, aux Pays- études à la Royal Academy of Music ainsi qu’au (L’enlèvement au Sérail), Cordélia (Lear de Onéguine, Papageno (La flûte enchantée), Bas, en Allemagne, en Espagne e aux Etats- National Opera Studio à Londres. Après une Albert Reimann), Sophie (Werther), Sophie (Le Pelléas, Mowgli (Baa Baa Black Sheep de Unis. Ses membres sont recrutés sur invitation saison à Glyndebourne, il devient le premier chevalier à la rose), Atalanta (Xerxes), La Berkeley), Danilo (La veuve joyeuse) et le Comte et sur audition, attirant des participants ténor de l’Opéra national du Pays de Galles de comtesse (Les noces de Figaro), Magnolia et Rudolph (Der ferne Klang). Il s’est produit au possédant déjà une expérience de la scène, à 34 35 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 36

l’English National Opera où Peter Kay est d’Opera North. Directeur musical d’Opera 80 Festival international de Hong Kong, a dirigé d’enregistrements pour le label Opera Rara, le conseiller pour enfants, avec le Finchley de 1983 à 1987, il est depuis 1992 le directeur l’UNAM Symphony Orchestra à Mexico, a fait plus récent étant Rosmonda d’Inghilterra de Children’s Music Group, le New London musical fondateur du festival d’opéra une tournée consacrée à Carmen au Japon, et, Donizetti, qui a remporté le prix Cecilia en Children’s Choir, les Jennifer Lilleystone contemporain Almeida Opera. en 1996, a dirigé une nouvelle mise en scène Belgique, et c’est chez Chandos qu’il a dirigé Singers, et dans des écoles de Londres et du Il poursuit une carrière très active à l’opéra de Katya Kabanova au Festival de Nouvelle- son enregistrement primé de Tosca, une disque sud de l’Angleterre. et dans les salles de concert. Son répertoire va Zélande. d’aries operatiques avec Bruce Ford, Cavalleria de Mozart et d el’opéra italien du début du Il a réalisé un grand nombre rusticana et La bohème. L’Orchestre philharmonique de Londres qui a XIXe siècle à Janácˇek, Britten et à la musique été formé par Thomas Beecham en 1932 a contemporaine. En Angleterre, il a fait des attiré au fil des années une série inégalable de apparitions régulières à l’English National premiers chefs, dont Adrian Boult, John Opera et lors de concerts avec le Philharmonia. Pritchard, Bernard Haitink, Georg Solti et En 1996, il a fait ses débuts au Festival de Klaus Tennstedt. Parmi les chefs qui le dirigent Glyndebourne avec Così fan tutte. régulièrement à l’heure actuelle se trouvent son Il se rend fréquemment en Espagne où il directeur musical, Franz Welser-Möst, et son s’est produit avec la plupart des troupes d’opéra président, Bernard Haitink. et des orchestres symphoniques. Il a donné la L’orchestre qui est depuis 1964 l’orchestre première espagnole de Peter Grimes à Madrid symphonique en résidence au Glyndebourne et, en 1996, a dirigé la première mise en scène Festival Opera est devenu en 1992 l’orchestre espagnole de The Rake’s Progress. Il a aussi symphonique en résidence au Royal Festival inauguré deux nouvelles salles de concert avec Hall. Il effectue aussi de vastes tournées – il a une interprétation de la Neuvième symphonie été le premier orchestre à se rendre en URSS et de Beethoven et un nouvel opéra avec Carmen. en Chine – et ses enregistrements ont remporté Il s’est également produit en Italie où il a dirigé maintes récompenses prestigieuses. Ricciardo et Zoraide au Festival d’opéra de Pesaro (consacré à Rossini), mais il s’est aussi David Parry étudia avec Sergiu Celibidache et rendu en France, en Allemagne, en Belgique, commença sa carrière comme assistant de Sir en Hollande, et en Suède où il a dirigé une John Pritchard. Il fit ses débuts avec l’English mise en scène très applaudie du Songe d’une Music Theatre et devint plus tard chef nuit d’été de Britten. appointé du Städtische Bühnen Dortmund et Hors d’Europe, David Parry s’est produit au 36 37 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 38

piano cominciò a comporre una trilogia di Puccini del romanzo di Murger. Venne poi Ruggero Leoncavallo: Pagliacci d’ispirazione wagneriana, intitolata Zazà (1900), e queste sono le uniche Crepusculum, ambientata nell’Italia composizioni di Leoncavallo che ancora rinascimentale. Ad un certo punto di un suo appaiono in Italia, oltre Pagliacci. Il successo di un altro compositore ed un Citato in seguito per plagio, bastò che rivelasse viaggio nel Medio Oriente (1882) gli venne Leoncavallo continuò a scrivere fino alla sua processo in tribunale furono, in senso assai la vera storia perché l’irato autore ritirasse offerto al Cairo l’incarico di dirigente delle morte nel 1919. Le sue più tarde composizioni reale, i progenitori di Pagliacci di Leoncavallo. l’accusa. bande militari, impiego che forse avrebbe includono certe curiosità come Der Roland von Se non fosse stato per Cavalleria rusticana di La tecnica verista di Leoncavallo non è accettato se le attività dell’esercito britannico Berlin (1904), composta su espressa Mascagni (che già appare nella serie inaspettata in un uomo con i suoi precedenti non lo avessero costretto a rifugiarsi ad Ismaila commissione del Kaiser Wilhelm II, e Are You discografica Opera in English, di Chandos, cat. biografici e musicali. Suo padre, come si è travestito da arabo! There?, un’operetta scritta per Londra nel n. CHAN 3004), rappresentata nel 1890, c’è visto, era magistrato, sua madre una pittrice a I Medici, parte della sua trilogia, venne 1913. Leoncavallo era stato a Londra nel 1911 da chiedersi se l’editore Sonzogno avrebbe quel tempo famosa a Napoli, dove il successivamente completata ma sebbene a dirigere Pagliacci e Zazà all’Hippodrome e vi accettato l’opera di Leoncavallo o se il compositore era nato il 8 maggio 1857. Ricordi avesse firmato un contratto per l’opera tornò l’anno seguente a dirigere un nuovo compositore gliela avrebbe persino portata. Leoncavallo studiò con vari maestri di piano non ritenne opportuno pubblicarla, avendo pezzo, Zingari, scritto espressamente per quel La storia del processo risale all’infanzia del prima d’iscriversi al Conservatorio di Napoli. una migliore opinione di Leoncavallo come teatro. Invano tentò di ripetere lo schiacciante compositore. Suo padre era magistrato e non Mentre era studente assistette ad una poeta del teatro che come musicista. Dopo aver successo di Pagliacci, e la sua reputazione sorprende che Leoncavallo abbia conservato esecuzione del Tannhäuser a Bologna, tentato per tre anni di farla eseguire, continuerà a dipendere dalla sopravvivenza vivida memoria del processo di un attore che, un’esperienza che gli fece una profonda Leoncavallo scrisse Pagliacci che diede a della sua opera più famosa. in un attacco di gelosia, aveva ucciso la moglie impressione. Un incontro con Wagner nella Sonzogno, grande rivale di Ricordi. L’opera Qual’è il suo fascino e quale il suo valore? alla fine di una rappresentazione. L’accusato – a stessa città poco dopo lo colpi ancora più ebbe quasi immediato successo allorché venne Consideriamo anzitutto alcune opinioni quanto pare una figura di tragica potenza – profondamente. A quanto pare Wagner gli rappresentata al Teatro dal Verme il 21 maggio contemporanei. Hermann Klein, un influente aveva fatto fronte all’accusa, accasciato dal disse: “Voyez, je lutte encore” (Vedete, mi 1892. Tale fu il successo che l’anno dopo critico dell’epoca, scrisse nelle sue memorie dolore ma con irremovibile fermezza. Anni batto ancora). La memoria di quelle parole I Medici venne finalmente messa in scena – della prima esecuzione di Pagliacci a Londra dopo Leoncavallo ricordava la ruvida voce rincuorò Leoncavallo durante gli anni in cui nello stesso teatro. Poiché fece fiasco nel maggio 1893 (alla quale fu presente il dell’uomo che risonava attraverso il tribunale. lui stesso si batteva per farsi apprezzare. Poco Leoncavallo non persistette con le parti compositore). “La fama della sensazionale Questa temibile figura, modello per Canio, dopo aver finito gli studi, quando aveva rimanenti della trilogia, Savonarola e Cesare opera di Leoncavallo l’aveva preceduta, e il gli balzò alla mente quale soggetto per un diciotto anni, compose la sua prima opera, Borgia, ma Chatterton finì per essere pubblico si aspettava qualcosa di eccezionale. dramma breve e conciso dopo la Chatterton, ma gli sforzi per farla rappresentare rappresentata nel 1896; fece seguito la sua Non fu deluso. Raramente ho visto un rappresentazione di Cavalleria rusticana. Scrisse rimasero futili. versione de La bohéme (1897), che venne pubblico trattenere a tal punto il fiato per il libretto e compose la musica in cinque mesi. Mentre si guadagnava da vivere suonando il virtualmente eclissata dalla più ispirata versione l’eccitazione allo svolgimento della trama di 38 39 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 40

un’opera.” Continua poi a descrivere e a lodare Naturalmente, la storia del clown dal cuore manifesta un lirismo transalpino. Questi, ed torturata dal tormento: nello sfogo del gli interpreti: Fernando de Lucia (Canio), infranto, che però deve continuare a recitare altri numeri vocali, come l’erotico duetto di pagliaccio lo sconforto si mischia alla nobiltà Melba (Nedda) e Mario Ancona (Tonio), fino in fondo la commedia, non è nuova; né è Nedda e Silvio, sono pienamente integrati in d’espressione. Infine, in “No, Pagliaccio non aggiungendo che “Leoncavallo, modesto e nuova la trovata di un dramma all’interno del una struttura unificata alla maniera dei son” (No, we’re not in a play) Canio schivo, ha aspettato in silenzio nello sfondo dramma. L’abilità di Leoncavallo sta nell’aver capolavori del tardo Verdi. rimprovera la moglie infedele, scaricando tutta fino alla fine, e poi gli interpreti hanno dovuto dato a questi espedienti una veste musicale Leoncavallo realizza un brillante coup de la sua angoscia nel più eloquente passaggio che costringerlo a presentarsi sulla scena per capace di commuovere, immediatamente théâtre con il Prologuo, in cui Tonio caccia la Leoncavallo abbia mai scritto, cominciando ricevere l’ovazione che l’attendeva… L’ho accessibile ed attraente, melodiosa senza cattivo testa fuori del sipario e poi esce a dire con “Sperai, tanto il delirio accecato m’aveva” trovato uomo di grande cultura e forte gusto. Valente librettista, e rispettoso delle direttamente agli spettatori che anche gli attori (I hoped, so blind was I, so deluded with intelligenza. È un poeta, oltre che un unità aristoteliche di tempo e spazio, egli riusci sono uomini e donne come loro, soggetti alla passion), e salendo al culmine fino ad un si musicista, e in ambedue le arti rivela la a creare un canovaccio che è al contempo passione, alla gioia, al tormento. Il dramma acuto. Se trafigge il cuore – come dovrebbe – percettività di un profondo pensatore.” credibile e agile. La sua caratterizzazione può all’interno del dramma, che abbastanza ricorda trascina le ultime pagine dell’opera dal Nel lodare il verismo dell’opera il Daily non penetrare molto in profondità, ma è quello dell’Amleto nella sua pertinenza melodramma alla vera tragedia. Telegraph stimò che “Ci sembra che ne abbastanza convincente da indurci a credere all’azione principale, è un’altra invenzione Tonio è anche lui una creazione interessante. abbiamo abbastanza, per il momento, di eroi che queste persone siano reali. d’effetto che ispira al compositore deliziosa Anche qui c’è una dicotomia, questa volta fra il leggendari e di miti fumosi” – una stoccata, Per la sua partitura Leoncavallo prese giusto musica da commedia dell’arte. semplicione che fa all’amore con Nedda – naturalmente, a Wagner. “I loro personaggi ci quanto gli occorreva dai metodi wagneriani. Nell’esecuzione Pagliacci si regge Colombina – nella commedia, e la figura sono troppo distanti; non sono carne della C’è un uso rudimentale del Leitmotiv, e né interamente sulla scrittura e patetica e deforme che vede il suo amore nostra carne e ossa delle nostre ossa. Il nostro l’armonia ne la strumentazione avrebbero sull’interpretazione della parte di Canio. In tre crudelmente calpestato da lei nella vita reale. tempo vuole Documenti umani, personaggi potuto essere come sono se Wagner non fosse toccanti passaggi Leoncavallo rivela un uomo Nedda è una donna scervellata dominata dalle che nella storia e nel dramma sono nostri mai esistito. Peraltro, il lavoro, nel suo insieme, onesto, distrutto dalla gelosia e dal rimorso, sue voglie elementari e nient’altro. Beppe è il consanguinei, non un’esagerata espressione di ha un riconoscibile gusto italiano: i passaggi legittimo successore dell’Otello verdiano, che membro spensierato, il paciere della troupe. noi stessi.” Più recentemente, più corali, per esempio, pongono l’azione richiede un tenore eroico dello stesso stampo. Silvio è una specie di nullità operistica, anche succintamente, il critico Spike Hughes scrisse inequivocabilmente nell’Italia Meridionale, e In “Un tal gioco, credetemi” (If he tried it, I se la musica accordata da Leoncavallo al che Leoncavallo appagava “Un desiderio da sia che il compositore appaia spontaneamente e promise you) il tono è di minaccia, un bell’amoroso è fra le più gradite da cantare. tempo avvertito”. Qui non c’era più il sensualmente melodioso, come nella Serenata avvertimento che Nedda non raccoglie; ci Tutti i personaggi sostengono la loro parte in convenzionale eroe romantico, ne venivano di Beppe (Arlecchino), o nella Ballatella di mostra un uomo di carattere fermo, con il un pezzo la cui convinzione drammatica non riproposte figure delle saghe nordiche, ma Nedda, oppure frenetico come nel tema di quale non si scherza. In “Vesti la giubba” (Put manca mai di appassionare il pubblico. personaggi veri, terreni, appassionati, pieni di “Ridi, Pagliaccio” (Make it amusing), in “Vesti on your costume), dopo che l’infedeltà di vita. la giubba” (Put on your costume), la musica Nedda è stata confermata, un’anima grande è © 1998 Alan Blyth 40 41 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 42

La trama le dichiara il suo amore, ma Nedda lo deride e e Arlecchino scappa dalla finestra. L’addio di English National Opera, Alan Opie ha preso L’azione si svolge in un paesino della Calabria lui si fa sempre più irato. Alla fine ella è Colombina ad Arlecchino ricorda a Canio quello parte alle rappresentazioni di altri principali alla vigilia della Festa dell’Assunzione. L’opera costretta a difendersi colpendolo al viso con la di Nedda al suo amante segreto poco prima nel teatri britannici (fra le quali, Luisa Miller, per comincia con un prologo nel quale Tonio si frusta. Tonio parte giurando vendetta. pomeriggio. Canio stenta a continuare a Opera North), mentre la sua carriera in campo presenta alla ribalta e si rivolge al pubblico, Partito Tonio arriva l’amante di Nedda, recitare la sua parte ed esige da internazionale lo ha portato a Bayreuth ricodandogli che gli attori sono persone vere e Silvio, che l’esorta a fuggire con lui quella sera Nedda/Colombina il nome del suo amante. (Beckmesser) e si è estesa alle stagioni liriche di che la storia non andrà presa superficialmente dopo la recita. Dapprima Nedda non Nedda tenta disperatamente di continuare la Chicago, Santa Fe, Parigi, Amsterdam, Vienna, come una drammatica finzione. acconsente, ma quando Silvio mette in dubbio cominedia, ma Canio s’infuria sempre più. Il Bruxelles e Berlino. I suoi numerosi dischi il suo amore ella cede. Non visto, Tonio ha pubblico s’innervosisce e Nedda cerca di includono Peter Grimes (per Chandos, Atto I ascoltato parte della loro conversazione e va a fuggire, ma Canio riesce ad afferrarla e la vincitore del premio Grammy Awards), Gli abitanti del paese stanno festeggiando prendere Canio che arriva guisto in tempo per pugnala. Silvio accorre a difenderla ma anche Gloriana, The Rape of Lucretia, il ruolo di l’Assunzione e quando vedono che sono sentire Nedda rivolgersi a Silvio mentre egli lui viene colpito. Canio, impetrito dallo shock, protagonista nell’Ulisse di Dallapiccola e il arrivati in paese i commedianti si affrettano ad sparisce al di là del muretto. Nedda si rifiuta di annunzia al pubblico che la commedia è finita. Barbiere di Siviglia e Pagliacci (per andare a salutarli. Canio, il capocomico, si fa svelare a Canio il nome del suo amante. Roso Chandos/Peter Moores Foundation). avanti e dice agli astanti che la recita avrà luogo dalla gelosia Canio si veste per la parte che Traduzione: Marcella Barzetti la sera stessa. Tonio cerca di aiutare Nedda, la reciterà nella commedia. È sicuro che l’amante Nato nel Galles da genitori irlandesi-gallesi, moglie di Canio, a scendere dal carro sul quale della moglie sarà presente quella sera alla recita. Alan Opie è nato in Cornovaglia e ha studiato Dennis O’Neill è tenore di fama mondiale e è arrivata, ma Canio lo respinge e lo alla Guildhall School of Music and Drama e specialista del repertorio verdiano. Da anni è schiaffeggia. Alcuni paesani commentano che Atto II presso il London Opera Centre. Ha iniziato la legato alla Royal Opera House Covent Garden forse sarebbe meglio non lasciare Tonio e Il pubblico (che include Silvio) si è radunato e sua carriera con la English National Opera dove i suoi ruoli hanno incluso Rodolfo (La Nedda soli insieme. Canio s’infuria e dice che Nedda va in giro raccogliendo i denari dei (allora Sadler’s Wells) dalla quale fu ingaggiato bohème), il Duca (Rigoletto), Pinkerton sebbene certe cose possano essere classificate biglietti. Comincia la commedia. Colombina quale primo baritono quando era ancora (Madama Butterfly), Edgar (Lucia di come una commedia in una recita, nella realtà (Nedda) sta aspettando il suo amante studente. Fra i ruoli che ha cantato per questa Lammermoor), Macduff (Macbeth), Gustavo il risultato potrebbe essere ben diverso. Arlecchino (Beppe) giacche il marito, Pagliaccio compagnia si citano: la parte di protagonista nel (Un ballo in maschera), Foresto (Attila), Otello, Quando si è calmato va in paese con Beppe e i (Canio), passa la notte via da casa. Fuori, Barbiere di Siviglia e nel Dr. Faust di Busoni; Don Carlos, Radames (Aida) e Jacopo (I due paesani vanno ai vespri. Arlecchino le fa la serenata. Taddeo (Tonio) Germont (La traviata); Eisenstein e Falke (Die Foscari). Negli Stati Uniti ha cantato per la Rimasta sola Nedda si preoccupa della entra e le dichiara di amarla in segreto, ma lei Fledermaus); Sharpless (Madama Butterfly); Metropolitan Opera e la Chicago Lyric Opera sfuriata di Canio ma non tarda a rilassarsi al lo respinge e lui parte mentre entra Arlecchino. Papageno (Il flauto magico); Sancho Panza (Don e in numerosi concerti. sole pomeridiano. Appare Tonio e quando Colombina e Arlecchino si siedono a mangiare, Chisciotte) e Taddeo (L’italiana in Algeri). È spesso ospite della Bayerische Staatsoper di Nedda ha finito la sua canzone le si avvicina e ma d’improvviso arriva, inaspettato, Pagliaccio Contemporaneamente alla sua attività con la Monaco di Baviera dove il suo debutto nel 42 43 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 44

Ballo in maschera è stato seguito da un nuovo Primo Ebreo in Salome, Apparizione della William Christie, la Serenade to Music e la nonché la consequente formazione del allestimento de Il trovatore con Giuseppe gioventù nella Donna senz’ombra). Terza sinfonia di Vaughan Williams e la Missa Geoffrey Mitchell Choir. Dopo le prime Sinopoli, e dalla sua partecipazione a Der La sua discografia include la Nona Sinfonia solemnis di Beethoven. registrazioni su disco il complesso ha potuto Rosenkavalier, Tosca, Simon Boccanegra e Aida. di Beethoven, Fate de Janácˇek, Il turco in Italia, stabilire regolari rapporti di lavoro con la Dennis O’Neill conduce inoltre un’intensa La traviata, Un ballo in maschera e La carriera William Dazeley si è laureato presso Jesus compagnis Musica Rara, per la quale ha attività concertistica ed ha cantato in tutta di un libertio. College, Cambridge, e ha studiato canto alla registrato ben 15 opere. Attualmente gode di l’Europa con direttori quali Riccardo Muti, Sir Guildhall School of Music and Drama. I premi crescente reputazione grazie agli ulteriore Colin Davis e Simon Rattle. La sua discografia Rosa Mannion è nata a Liverpool ed ha da lui conseguiti includono il Decca–Kathleen incarichi ricevuti dalla BBC e dalle case include Tosca e Cavalleria rusticana (ambedue studiato alla Royal Scottish Academy of Music Ferrier Prize, il Richard Tauber Prize e il discografiche internazionali. per Chandos/Peter Moores Foundation), Der and Drama; attualmente studia con Gerald Walther Gruner International Lieder Prize. Il Rosenkavalier, diretta da Georg Solti, Die Martin Moore. Ha debuttato al Covet Garden suo esteso repertorio lirico comprende la parte Il Peter Kay Children’s Choir (Coro di Fledermaus, Macbeth e La fanciulla del West. nel 1993 nella parte di Pamina, ed ha cantato di protagonista in Don Giovanni, in Owen fanciulli) offre ai giovani cantanti buone con tutte le principali compagnie britanniche Wingrave, in Billy Budd e in Eugene Onegin, prospettive in materia di opera lirica, concerti, Peter Bronder è nato nello Hertfordshire da nei ruoli di Constanze (Il ratto Papageno (Il flauto magico), Pelleas, Mowgli annunci pubblicitari televisivi e radio, attività genitori austro-tedeschi ed ha studiato alla dal serraglio), Cordelia (Lear di Albert (Baa Baa Black Sheep di Berkeley), Danilo di beneficienza, festival e produzioni teatrali, in Royal Academy of Music e al National Opera Reimann), Sophie (Werther), Sophie (Der (La vedova allegra) e il Conte e Rodolfo (Der Gran Bretagna, Francia, Belgio, Olanda, Studio. Dopo una stagione con la Rosenkavalier), Atalanta (Xerxes), la Contessa (Le ferne Klang). Ha cantato per la Royal Opera, Germania, Spagna ed USA. I suoi membri Glyndebourne Opera è stato primo tenore con nozze di Figaro), Magnolia (Showboat), Violetta Opera North, Glyndebourne Touring Opera, sono stati prescelti tra adolescenti con la Welsh National Opera dal 1986 al 1990. Il (La traviata), i quattro soprani nei Racconti di Teatro Regio di Torino, Opera de Lyon e New esperienza di esecuzioni corali, previo invito ed suo repertorio per questa compagnia ha incluso Hoffmann e la parte di protagonista in Manon. Israeli Opera. I suoi dischi includono Baa Baa audizione presso l’English National Opera, di ruoli principali in La bohème, La traviata, Rosa Mannion svolge inoltre un’intensa Black Sheep, The Rescue of Penelope di Britten e cui Peter Kay è consultente, il Finchley I puritani, La sonnambula, Lucia di carriera concertistica ad ha cantato con la il Faust di Busoni. Children’s Music Group, il New London Lammermoor, Il barbiere di Siviglia, Così fan English Chamber Orchestra, Monteverdi Children’s Choir, The Jennifer Lilleystone tutte, Il flauto magico e Eugene Onegin. Ha Choir and Orchestra, London Mozart Players, La carriera vocale di Geoffrey Mitchell si Singers, nonché varie scuole di tutta Londra e cantato inoltre con la English National Opera City of London Sinfonia e il Nash Ensemble, distingue per il repertorio eccezionalmente dell’Inghiltera meridionale. (il Tenore Italiano ne Der Rosenkavalier, sotto la direzione di John Eliot Gardiner, ampio, che va dalla musica antica a quella Almaviva nel Barbiere di Siviglia), Opera Richard Hickox, Neville Marriner, Charles contemporanea. Tale fatto gli ha fruttato La London Philharmonic Orchestra, costituita North (Prunier in La rondine, il Capitano in Mackerras, William Christie e Neeme Järvi. numerosi inviti della BBC ad esibirsi nel ruolo nel 1932 da Sir Thomas Beecham, ha attratto Wozzeck), Scottish Opera (Leicester in Maria I suoi ruoli includono Così fan tutte con John di direttore e, in seguito, un’attività più nel corso degli anni una successione Stuarda), e la Royal Opera (Cassio in Otello, Eliot Gardiner, Il flauto magico e Orlando con impegnativa in sintonia con propri cantanti incomparabile di primi direttori, tra cui 44 45 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 46

Sir Adrian Boult, Sir John Pritchard, Bernard English National Opera ed in concerti sinfonici Haitink, Sir Georg Solti e Klaus Tennstedt. con la Philharmonia. Nel 1996 ha debuttato al Opera in English on Chandos Attualmente si alternano periodicamente sul festival di Glyndebourne con Così fan tutte. podio il Direttore musicale Franz Weiser-Möst Dirige spesso in Spagna nella maggior parte ed il Presidente Bernard Haitink. dei teatri lirici e con orchestra sinfoniche. Ha Dal 1964 questo complesso è l’orchestra diretto la prima spagnola di Peter Grimes a sinfonica stabile della Glyndebourne Festival Madrid e nel 1996 il primo allestimento Opera (Compagnia lirica del Festival spagnolo della Carriera di un libertino, ha omonimo) e dal 1992 del Royal Festival Hall. inaugurato due nuove sale di concerti con la Inoltre, ha effettuato tournée in ogni parte del Nona sinfonia di Beethoven ed un nuovo mondo ed è la prima orchestra britannica ad teatro lirico con la Carmen. Altre tournées esibirsi nell’URSS e in Cina. Le sue l’hanno portato in Italia, dove ha diretto reguistrazioni discografiche le hanno meritato Ricciardo e Zoraide al Festival Rossini di Pesaro, numerosi importanti premi. in Francia, Germania, Belgio, Olanda, e Svezia dove ha diretto con grande successo Il sogno di David Parry ha studiato con Sergiu una notte di mezza estate di Britten. Celibidache ed ha iniziato la sua carriera come Fuori d’Europa David Parry si è esibito al assistente di Sir John Pritchard. Ha fatto il suo festival internazionale di Hong Kong, con CHAN 3006 CHAN 3004 debutto con l’English Music Theatre ed è poi l’orchestra sinfonica UNAM a Città del diventato direttore stabile della Städtische Messico e in una serie di rappresentazioni della Bühnen Dortmund e di Opera North. Dal Carmen in Giappone. Nel 1996 ha diretto 1983 al 1987 è stato direttore artistico di Katya Kabanova in un nuovo allestimento per Opera 80 e dal 1992 Direttore Musicale il festival della Nuova Zelanda. fondatore del festival di opera contemporanea Ha iniciso numerosi dischi per Opera Rara, dell’Almeida Opera. fra questi il più recente è quello di Rosmonda Svolge un’intensa attività sia nel teatro lirico d’Inghilterra di Donizetti, che ha vinto il Priz sia in campo sinfonico. Il suo repertorio da va Cecilia in Belgio; per Chandos ha diretto Mozart e l’opera italiana del Settecento a l’acclamato disco della Tosca, un disco di Janácˇek e Britten e la musica contemporanea. In grandi arie operistiche, Cavalleria rusticana e Inghilterra ha diretto frequentemente alla La bohème. 46 47 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 48

Prologue So then, his tale of love (The curtain rises.) There’s the comic, the leading actor! is just the same as Give him a welcome. Chorus Tonio the love of real people; You are our favourite star, 2 Hey! 1 Hello…Hello… it tells of love our favourite actor! They’re back! they’re back! Dear ladies and gentlemen, you’ll pardon me. and its gloomy outcome, You’re welcome! They’ve all come back… for this solo performance. of the pangs a lover feels, Now make us laugh again The leading man… I am the Prologue. and that if rage consumes them with your performance! His pretty wife… Our author has decided men can be cynical. Come on, come on, and all their company. we’ll all wear masks again Dear public, remember, we’re ready to applaud you. You hear the laughter as in the old days, that when we’re performing Just look… Just look… he’ll tell a story and, since he is reviving in our costumes and our make-up, The sad one, he’s so funny! and make a joke. all these ancient customs we have feelings too, Just look, the sad one, And look at that one… he sends me to raise the curtain. we have all suffered, isn’t he funny! bowing so formally, isn’t he funny! But not to say, as in the past: for we are flesh and blood, We want to laugh! Come on! He’s pulling faces, isn’t he funny! ‘These actors pretend to be sad… our hearts beat as yours do, The lads all cheer with excitement. Canio they’re weeping… and that in this world They’re going mad as they cheer. Thank you! Thank you! And now… they’re in agony full of sorrows but it’s not like real life… like you we all fight for survival! Boys Chorus and boys don’t be upset by them.’ Now you know what we’re here for… Now then, here is our Give us a play tonight! No! No! The author will show you, I think you’ll find the story will grip you. favourite comic! Canio (beating the drum to drown the voices of the here in our theatre, Come on, bring up the curtain! Canio (from behind ) crowd ) a slice of life as we live it. Go to the devil, you! Listen to me. He has a theory that man Act I Beppe (from behind ) Chorus and boys and the actor are one, Scene 1 Stop! Stop, you little bastard! Oh, please stop it! and that our work is done only for people. Scene. The entrance of a village, where two roads You’ll drive us mad! We just to show them the truth in life. meet. On the right a travelling theatre. As the (Boys whistle and shout behind, and then enter He weaves his timeless story, curtain rises, sounds of an out-of-tune trumpet and running.) Canio Now will you let me speak? made up of memories, a drum are heard; laughter, shouting, whistling, Chorus and boys made up of passion. voices approaching. Enter villagers in holiday attire. They’ve got their costumes, Chorus and boys He wept as he wrote it, Tonio looks up the road on the left. Then, worried and make-up… Ha! Ha! Ha! Ha! Ha! real tears of sorrow, by the crowd which stares at him, he lies down in Just look at that one… He’s right. and his sobbing front of the theatre. The time is 3 o’clock. There is They’re wonderful… That’s enough of that, inspired these brooding melodies. bright sunlight. Aren’t they a sight to see. we’ll listen and let him speak. 48 49 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 50

Canio (Beppe drags off the cart. Tonio chases the boys away.) Canio (smiling, with a frown) (Canio approaches Nedda and kisses her forehead.) 3 Your most humble servant Eh! Eh! You think so? Boys and women (rushing to the left and looking Tonio (aside, as he goes) 4 has written a new play… If he tried it, I promise you off ) Tonight you may see it One day I’ll get you, you bastard! he’d find he had to reckon with me, 5 You hear them playing? but only if you pay! (Tonio enters the theatre. A group of locals goes up I mean it. You’ll like the new tale to Canio.) Let Tonio and all of you remember: Men with its comedy touches: (gesturing around him) It’s time for church. you’ll see me prevail A Local (egged on by the others) Here is life, there the theatre… We’d better be going. with a handsome young duchess! Friend, now will you have a drink? the two are very different. Sweet is the sound (He indicates Nedda.) We’ll all invite you if you’d like to join us. If, in a play the husband of their musical piping, The tragical Tonio Please, say yes. surprises his fair lady deep is the note will surely amuse you, of the Vesper bell chiming! Canio embraced by some young officer, and then he’ll confuse you, Let’s be going. Yes, I’d like to. he’ll preach a funny sermon, there’ll be a surprise! full of outrage, and the officer Come on. Come here, won’t you honour us Beppe (joining them) will give him such a thrashing! We’re going to service. dear friends with your presence What a good idea… Then the public applaud him Women at half past eleven. I won’t be long. and you all laugh your heads off! Ah! Come on! But if Nedda deceived me Hear the bells ring… Chorus (Canio passes towards the theatre. Beppe throws his So long as you make us laugh, and betrayed me, They call us to service. whip in front of the theatre and goes in to change I can tell you there’d be tears that’s all that we ask for: his clothes.) Canio at half past eleven. instead of laughter, As long as you’re there tonight and the ending would be tragic! Canio (calling) at half past eleven. (Tonio advances to help Nedda down from the cart, If she tried it, I promise you, Hey Tonio! but Canio, who has already alighted. boxes his ears.) she’d certainly regret it! (Canio smiles and nods to those who have invited Come and join us. him, and disappears behind the theatre. The pipers Canio (knocking Tonio aside and helping Nedda Nedda (aside) enter with young and old villagers in couples, down) Tonio (from within) Has he found out? addressing those who are on the stage.) Let her go! The lights will need some fixing… Chorus Set one up for me. Chorus Chorus (laughing) O come now, Come on! Come on! Ah! Ah! Ah! Ah! Another local (joking) do you mean what you’re saying? (Both groups join and form in couples.) That surprised you, handsome lover! You should be careful. Canio Ding dong, do you hear the bells? Boys (making fun) He only wants to stay here Me? I’m joking… I made it up! Young lovers, come on! Handsome lover! to be alone with Nedda! I love my darling Nedda. We go to Vespers, hand in hand. 50 51 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 52

As the sunset glows I cannot fathom. you are lost to view. And yet I am human, so bright and so fair, (looking to the sky) Soaring on high I long to be happy, our mothers are watching us, Ah, the swallows are flying… to find an airy heaven, I have a heart too. so better take care! Just watch them diving seen in your dreams, But when you ignore me All the world is bright with and soaring… but for what? but forever denied. and don’t even see me, youth and with love: Who knows? My mother knew, Ever higher you fly, I try to keep quiet but the old eyes are watching us, she could see in the cards what would happen… drawn by the power and not show my grief: they do not approve! and she knew what the birds sang… that rules over your spirit. believe what I tell you… Ding dong, the bells ring out their song now I remember On high, on high, on high. to me you’re an angel, and all the world is bright the song she sang me… I’ve fallen in love! with youth and love. Ah! Ah! (During her song, Tonio comes out from behind the (approaching her) 7 Swallow, fly away, theatre and stands listening in rapture. At the end of Allow me, I beg of you, to tell you… (The couples go off by road at the back. The chorus no one can catch you, her song, Nedda turns and sees him.) goes out and is heard singing in the distance. Canio spread out your wings, Nedda (breaking in and bursting into laughter) and Beppe, now in their street clothes, leave with Nedda (sharply) fly up in the ocean of blue. 8 You love me! Ha! Ha! Ha! Ha! Ha! Ha! the locals. Nedda is left alone.) It’s you! But swallow have a care now, I thought that you had gone with Canio. (elegantly, taking up a fan) the sun will scorch you, There’s time for your words of love. Scene 2 you’re soaring, soaring, Tonio This evening I’ll hear them. Nedda (musing) you are lost to view! Your song gave me such pleasure, 6 The ugly look he gave me! Fly up higher and higher, and just to hear you made me feel happy. Tonio I turned away, fast as an arrow, Nedda! Nedda (laughing mockingly) so afraid that he might read thirsty for the sunlight Ha! Ha! What an inspiration! Nedda in my eyes and thirsty for heaven’s blue: This evening you’ll tell the secret I’m hiding. follow your true love, Tonio me the story on stage, If ever he discovered, your dream of flying together… Don’t mock me Nedda!. on stage and in costume. he’d beat me like a dog. You’re soaring, soaring Nedda I’m crazy… forget him! you are lost to view. Why? Don’t you deserve it? Tonio It’s just his jealousy Winds may pursue you, Don’t mock me Nedda. that makes me frightened. and storms may blow around you, Tonio Oh, how enchanting the summer sun is! fly little swallow, defying them all. I’m not tall and handsome, Nedda (bowing theatrically) I feel life pulsing through me Though sheets of lightning I know you despise me, There’s time then! You’ll tell me and everything within me in a flash surround you, I know I arouse the story, on stage. seems to burn with desires you’re soaring, soaring, only hatred in you… Ha! Ha! Ha! Ha! 52 53 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 54

Tonio Nedda (drawing back) Canio and Beppe Nedda! Nedda, don’t leave me! Believe what I tell you, Watch out! are drinking with their cronies… Tonight the show will end, to me you’re an angel! I saw them going, I promise! you will have gone tomorrow. Tonio (rushing to catch her) Don’t mock me, no! Don’t be frightened… Nedda! Nedda! I’ll take you if I have to! Don’t mock me! I was longing to see you… When you have gone away Nedda (picking up the whip, and striking Tonio in I just had to. and left me lonely, ah then, Nedda the face) what shall I do? Don’t bother. Nedda Don’t you dare touch me! My life will be over! Don’t bother, you’re wasting my time. We must be careful… Tonio (screaming and drawing back) and Tonio might have seen you. Nedda (moved) Tonio Now I take an oath Silvio! To me you’re an angel, Silvio (laughing) by all that’s holy, I’ve fallen in love! Oh, scared of Tonio? Silvio Nedda I’ll get you Nedda! Nedda, Nedda I beg of you… and I’ll make you suffer! Nedda No, I’m here and I must tell you now. You don’t love Canio. That Tonio is a monster! You’ve got to stay and listen! Nedda (motionless, watching him as he goes off ) You have never loved him, He loves me and just now he tried to… I love you, I’m going mad for you. Viper! Go! you told me how you hated to have his way… I’ve got to have you, I’ve got to! I see now what you’re made of! your cheap and false way of life in the theatre. and to make love… Oh, how I loathe you… If you love me so much, Nedda (with studied insolence) he tried to kiss me… the sight of you! if you mean all you say, Oh, really master Tonio. He was like some wild beast! You’re twisted in your mind and body… come away with me now. Your hunchback isn’t the trouble. filthy! Silvio Nedda, be mine! Or should I give you a thrashing My God! for you to satisfy your lust? Nedda Scene 3 11 I must be strong, Nedda Tonio Silvio (appearing on the wall) do not tempt me, do not destroy me! Oh, he’ll regret it… You’re laughing… you despise me! 9 Nedda! Silvio, Silvio, I tamed him nicely… Now, as God is my witness Nedda! no, no you are dreaming… it can’t be! Nedda I gave him a beating! I swear that you’ll be sorry! Silvio! Trust and believe what I say… Silvio (approaching Nedda sadly and tenderly) I live for you alone! Nedda Here so early? 10 Why do you go on Don’t spoil this love of ours, I’ll show you… This is madness. with this tormented life? don’t wreck the joy we’ve known! Wait till Canio hears the story! Silvio (laughing) Nedda, Nedda! I must be strong, I must be strong Tonio (moving towards her) So what! Don’t worry, (He takes her hand and leads her down-stage.) I love you so! But not before I kiss you! I’m certain no one saw me. You will decide my fate. I must be strong, I love you so! 54 55 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 56

And yet who knows? how can you go Nedda Nedda (turning at the shout and seeing Canio, calls Sometimes I like this sort of life. and leave me to die? Take me away with you, we cannot part now. towards the wall) Fate decides what’s to be… Why did you kiss Hurry! our words can’t help at all! and why did you hold me, Silvio (Canio rushes to the wall, but Nedda bars his way. But still my love is true, were all your kisses I’ll take you away with me, we cannot part now. There is a short struggle. He pushes her aside and I cannot tear it from me… of love a lie? You’ll come? jumps over the wall.) It lives here in my heart Have you forgotten Nedda this sweet love you awakened! long hours of loving? Yes, kiss me! Nedda (listening anxiously) Silvio I can’t forget them, Dear God, Ah! Nedda, my love! and long for more. Nedda and Silvio protect him now! Nedda don’t leave me. I want to hold you, Yes, I’ll love you for ever! I want to kiss you. Canio (off-stage) But what am I to do, Coward, I’ll get you! How can I live without you? I want to love you for evermore! Scene & Finale Don’t go! Nedda! Nedda (overcome and yielding) (Tonio and Canio appear.) Tonio (laughing comically) My love, my love. Ha! Ha! Ha! Never forget Tonio (holding Canio back) (Tonio appears from the back.) and never reproach me… 13 Be very careful, Ah, stay here with me, my love! Nedda (turning to Tonio) Can you not see in my eyes and then we can surprise them. Well done, my clever Tonio! No, you don’t love me! how much I love you? Tonio (choking) Let me stay close Silvio (half over the wall and holding to it) Tonio Ah! I’ve got you, you vermin! beside you, your arms around me, At dead of night, Part of the service! one sweet lifetime of love (He hurries off by the path, threatening.) I’ll hide over there! Nedda we two together! Nedda (leaping over) You like to stir up trouble. You are my master, What! Don’t let them see you. I am yours forever. Come down and you will find me. Tonio (bowing) Silvio Take me and hold me, (He disappears.) I can do even better, You don’t love me! I’ll follow and obey you, don’t you worry. Nedda never to part. Nedda (to Silvio) Ah, yes I love you! Yes tonight, Nedda Silvio and forever I’ll be yours. You disgust me. I hate you! Silvio Never to part. Then stay here, do not leave me! Canio (from where he is standing he overhears the Tonio 12 How can you tell me Nedda and Silvio words and shouts) Oh, don’t you know yet, you ever loved me, How I’ve longed for this moment of passion. Ha! that’s what I like! 56 57 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 58

(Canio re-enters, from over the wall, out of breath Nedda We all know Canio and mopping his forehead.) No! I would rather die! Canio has a temper. 14 Go on stage… (Beppe appears from the left.) It’ll pass. and my life broken in pieces… Canio (with suppressed anger) I won’t know what I’m saying… What a fool they’ve made me! Canio (Rushing on Nedda, Beppe holds him back, Canio (holding his head in his hands) how can I do it? Lost him! It’s clear snatches the knife from him and throws it away.) I hate her, I hate her! But no, you have to… Force yourself! that he knows his way around. Damn you, I’ll kill you! (Beppe goes with Nedda into the theatre.) Well! (furiously to Nedda) (angrily) Beppe I shall find him: Tonio (softly to Canio pushing him down to the Call yourself a man! Oh, what is this? the lover who just left you… front) (mocking) Let her be, I tell you. Tell me his name. Calm down a bit… Ah! Ah! Ah! Ah! Ah! It’s time for the performance. Stop shouting… You’re just an actor! Any moment now they’ll all be coming… Nedda (turning) Pretend it’s all a joke. (taking his head in his hands in despair) Who? Now listen, just control yourself! Her lover will come back, 15 Put on your costume Canio Canio (struggling) then we will find a way! and your wig and your make-up. You! God is my witness. Don’t try to stop me! I will observe her… They pay their money, And I’ll tell you the reason Who is he? Who is he? You do the show as usual. and you must make them laugh. Who knows maybe he’ll come If, in the play, (drawing a dagger from his belt) Beppe to see her act tonight… your lady takes a lover, why I haven’t Tonio, and he’ll betray himself. make it amusing, cut your throat. help me to hold him. It’s because, before I plant it Calm down… be sure to raise a laugh. in your treacherous bosom, Canio You must deceive them both You turn to laughter your pain you shameless harlot, Who is he? to get your way. and betrayal, you tell a story, I’ll make you tell me (Tonio, seizing him by the arm, leads him down (Beppe comes from the theatre. Tonio goes up.) who is your lover, tell me! pull faces, play the part. left.) Ah! Make it amusing, Beppe though your life has been shattered. Nedda Beppe We’re waiting Canio, Who wants to know Your threats are useless. Come on now… you mustn’t shout so loud! Your costume’s here… that grief has poisoned your heart. I swear I’ll tell you nothing. Here comes the public. get ready. (to Nedda) (to Tonio) (He moves slowly towards the theatre weeping, Canio (shouting) And Nedda, get away from him, And you, give us a drum roll Tonio. Who is it? Who is it? it’s time to go and dress. pushes the curtain roughly as if not wishing to enter, Spit it out, you wretched woman! (pushing her towards the theatre) (Both go off behind the theatre.) then begins to weep again. He takes his head in his 58 59 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 60

hands and hides his face, takes a few steps towards Tonio Tonio Silvio the curtain. He enters and disappears.) We’re nearly ready! Come on, be quick, I shall be waiting We’re nearly ready, quickly, quickly! we’re nearly starting. after the show. 16 Intermezzo Men (Tonio exits behind the theatre, carrying away the Women and men Just look around, those pretty girls drum. Beppe goes to settle the women who are Let’s start, we’re ready now. Act II are so attractive, quarelling about their seats.) Why are we waiting? Let’s start! (Beppe comes from behind, blowing a trumpet; aren’t they attractive! We want to see some action! Tonio follows, beating the big drum, and goes to Oh Lord what a crush! Women Let’s start! Let’s start! take up his position on left of theatre. Meanwhile, Come here and sit by me Will you stop pushing me! Beppe people come from all directions to the play and you lovely creature! I wasn’t pushing you! Stop shouting! Damn it all! Beppe places the benches for the women.) I’ll tell you the story! Stop pushing! You’re crazy! Some haven’t paid yet! Stop! Who? Give it to Nedda! Stop! Oh Beppe, lend a hand. Scene 1 Women Women and men I hate the way they push! I’m so exhausted. Women and men (from behind the scene) I’ve paid! I’ve paid! Men 17 Ohe! Ohe! It’s time to start! Come on Tonio Sit down along the side here! Quickly! Hurry! Get to your places! why are we waiting? Let’s get a move on! See they have come to blows! It’s time to start! Come on Come on! Will no one stop them! Hurry along with you, Hurry along! Sit down! ring up the curtain! come on, look lively! Sit down and stop that dreadful noise. We’ll make a scene Let’s get a move on, Women and men Stop all that shouting there! yes, yes, we’ll all start yelling! don’t waste time! Down in the front row! (Silvio passes on the right seeing Nedda going round You know quite well Down in the front row! with plate for the money, and approaches her.) it’s gone half past eleven. Tonio (beating a drum) Hurry along with you (A bell is heard being rung.) Come on, be quick, Beppe or they’ll have started. Ah! They must be starting! we’re nearly starting! Sit down and Aren’t there a few more seats don’t make such a noise! No shouting, no yelling, they’re starting! Chorus down in the front there? We’re ready! Hoorah! Hoorah! Hoorah! Hurry along with you, Well, here we are. Silvio or they’ll have started! Come, we are ready now, Nedda! The Play Don’t be impatient! we want some action. Nedda Scene 2 Will you stop pushing me… Why do we have to wait? Be careful! The curtain of the theatre is drawn aside. The scene, If you don’t move now We want some action! Don’t let him see you! roughly painted, represents a little room with two we’ll miss the start! Give us the play! side doors, and a practicable window at the back. 60 61 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 62

There is a table and two common chairs on right. 19 O Columbina, let our Columbina Taddeo Nedda is dressed as Columbina. love affair begin. Has Pagliaccio come home yet? I know you’re faithful, (As the curtain opens, Columbina is seated near the Poor Arlecchin… you’d not deceive your husband… With love I’m sighing, Taddeo (sneering) table; from time to time she looks anxiously to the Oh no, not yet! door on right. She rises, goes to look out of the maybe I’m dying. so honest, you’d not deceive him! Ah, won’t you let me in! (Meanwhile Harlequin jumps in through the window, and then returns to the front, walking Columbina (aside) window, puts down a bottle and goes cautiously about restlessly.) Columbina (coming down-stage) I’d really like to kick him! behind Taddeo.) I’ll give the signal (to Taddeo) Columbina And, though you’d spurn me, 18 in a moment… he’s waiting… he’ll see it Now did you buy a chicken? Pagliaccio, that’s my husband, spurn me so harshly, dines out this evening… won’t be home till late. and then we’ll be together. Taddeo You’ll never force me to forget you. (Columbina sits down again impatiently. She gets (Columbina sits again at table. Tonio, dressed as Here you are, goddess from heaven! No, never! up and comes down stage.) Taddeo, peeps through door and watches Nedda.) (He kneels down and offers his basket.) That idiotic servant, Harlequin (taking Taddeo by the ear and kicking My lady, I and the chicken old Taddeo, Taddeo (in mock tragic style) him) implore your favour. why on earth is he so late? 20 She’s waiting. Off with you quickly! Fate has chosen this moment (Columbina, hearing the sound of a guitar off-stage, (lifting his hands and the basket upwards) for me to tell you Taddeo rushes to the window with a cry of joy, but does not She is a goddess! of the love in my heart. Heavens! A lover! open it.) (The audience laughs.) See, I am your slave, I do as you command, sir, I long to woo her, Harlequin (off-stage) my queen. and give my blessing. Columbina, faithful I long to tell her (retreating to the door) Arlecchino’s near. of my love… Columbina (interrupting) Yes, I’ll keep a lookout, If she spurns me I’ll compel her! Can you not hear? I hope you didn’t spend much money? (Taddeo exits and the spectators laugh and applaud. Gone is the husband, With love he’s sighing, Columbina and Harlequin watch each other with and there’s my angel. (Columbina snatches the basket from him, places it maybe dying exaggerated looks of love.) Why won’t she see me? on table, then goes to the window, opens it and if you don’t appear! Columbina Won’t you let me kiss There’s no one by to catch us. makes a signal.) 21 Arlecchin! your pretty lips my dear… Oh turn and kiss me. Ah. Taddeo Harlequin Do not delay. Columbina (turning without rising) Nothing to speak of… Columbina! You must surrender How I adore you, You’re there, numbskull! Oh my queen, how I love you! here I implore you: to my undying love! one loving kiss Taddeo (without moving) Columbina (close to the table) Columbina and then I’ll go away. I am here, yes! Leave it here and be off! Oh I’m so hungry! 62 63 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 64

(Columbina takes knives, forks and spoons for two, He will kill you. (still trying to restrain himself ) Canio and places the chicken on table, while Harlequin I’ll hide behind this curtain! Ah! What about the table: 23 No, we’re not in a play! takes up the bottle which he left on the ground.) (Spectators laugh.) there are places for two. You see how pale I am, You see, my love, well that’s from horror Nedda this tasty dish: Columbina (to Harlequin) and shame that you betrayed me. I sat there I hope it will excite you. Hurry! See, the actor is human, with Taddeo. you know his broken heart Harlequin Harlequin (as he leaps out of the window) In fright he hid behind the curtain. 22 is bleeding, he must have vengeance! Why yes, my love, Pour the potion in his glass at midnight! (going towards the door) No! We’re not in a play! and here’s a glass (Canio, dressed as Pagliaccio, enters.) Come out! Tell him! of wine that will delight you! Have you forgotten me, Columbina (at the window) Tonio (from behind, pretending to be afraid ) how I nursed you Columbina and Harlequin Yes, tonight… Believe her, sir. She is faithful! to health and fed and clothed you. My appetite is keener And forever I shall be yours. She’d never tell a lie, You were helpless and starving… when I take wine at dinner! Canio (aside) she’d not deceive you. I even married you Harlequin Just the same promise and gave you love (The audience laughs loudly.) My greedy Columbina! that she gave to her lover! like some stupid old madman! Columbina (advancing to play his part) Canio (fiercely, to the audience) (He falls overwhelmed on the chair by the table.) Oh pour me out another! God help me! Stop your laughing! Groups of women (aloud ) Harlequin (softly, to Nedda) Great acting… he has made me cry. I heard another voice. Columbina! I mean it! I have the right, You’d think he really meant it. (He takes a little phial which he has concealed Nedda the right of every husband… Groups of men about him.) What nonsense! What is his name? Will you shut up! Here’s a potion that I’ve prepared; You’ve been drinking? Nedda Stop talking there! Give it to Pagliaccio: Canio (restraining himself with difficulty) But who? It will make him drowsy, Been drinking? Silvio (aside) and then we’ll run away! Yes! (eyeing her with meaning) All evening! Canio If I could only help her! Tell me now. I want to know his name… Columbina Nedda the handsome lover Canio Oh, lovely! You’re home so early. who embraced and kissed you. I hoped so blind was I, Taddeo (He enters with mock alarm.) Canio (pointedly) Oh, I could kill you! so deluded with passion, I warn you… Too early? that you’d be kind and pity me. Pagliaccio is here… He’s in a passion… You’re trembling, Nedda (joking) I gave everything up for you He’s got a weapon! my little darling. Pagliaccio! Pagliaccio! to keep you happy. 64 65 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 66

I believed like a blind man, Don’t be so fierce and tragic. Beppe Canio (to Nedda) that you were true to me. It’s true I had a caller… I am frightened. Take that you slut! But no, you are possessed I offered him some supper… Nedda Chorus and Beppe in heart and soul by evil: His name… It was only, You shout and threaten… Stop him! Oh help! you don’t care about me, that boy Arlecchino! Nothing can stop my loving… you have no sense of shame! Canio (laughter in the crowd, immediately checked at You deserve no remorse, Canio And as your blood is choking you, Canio’s attitude) you worthless little peasant. Ah! say his name. I long to wipe your Canio (violently) Nedda Nedda (shreiking) loathsome presence from the world. Ah, you’re still playing… I will not say! Ah! You haven’t understood me. Women and men No! I swear it, I will die first! (Nedda falls, making a gurgling sound in her Give me your answer. Bravo! throat.) Who is he? Who is your lover? Who is he? Canio Where are you (with a last effort) Silvio? Nedda (calm and serious) Who is he? Nedda (bursting out) Enough! You’ve decided Nedda (defiantly) Silvio No! No! You can kill me! I’m not worth keeping, No! Nedda! You want to, I can see it… so kick me out this minute. Why don’t you do it? Canio (Canio turns at the voice of Silvio, rushes toward Canio (laughing) I’m not afraid to die! Who is he? him, and stabs him in the heart.) Ha! Ha! That’s just exactly Men and Women The Crowd Canio what you’d like Ah! so you could turn This isn’t acting. Ah! It’s you! You’re welcome! Sounds like they mean it. to see your lover. Silvio (drawing his dagger) (Silvio falls as if struck by lightning.) You’d like that. Will you shut up! Look at the knife he has! No! By God. You’re going nowhere Can it be true, they mean it? He’ll kill her! Men until I know your lover. Arrest him! Silvio (Some of the women run away, and some of the men What’s his name? If only I could help… hold Silvio, not understanding his excitement. Women Nedda (trying to resume the play, with a forced Oh my God, what will happen! Nedda tries to escape towards the spectators, but Heaven forgive them! smile) Beppe Canio seizes her, and strikes her with his knife.) (The crowd tries to disarm Canio.) You really mean to frighten me, Go in and stop them, Tonio. I’d never have believed it! Chorus (all rising to their feet, general confusion) Tonio (to the spectators) We’re only playing comedy. Tonio (holding Beppe) Dear God! Our comedy is over! (going towards the door) Let them finish! Translation: Edmund Tracey 66 67 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 68 Robert Carpenter Turner Carpenter Robert

Alan Opie Peter Bronder

Rosa Mannion Dennis O’Neill

William Dazeley

68 69 CHAN 3003 BOOK.qxd 28/10/07 1:00 pm Page 70

Opera in English on Chandos We would like to keep you informed of all Chandos’ work. If you wish to receive a copy of our catalogue and would like to be kept up-to-date with our news, please write to the Marketing Department, Chandos Records Ltd, Chandos House, Commerce Way, Colchester, Essex CO2 8HQ, United Kingdom.

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Producer Brian Couzens Sound engineer Ben Connellan CHAN 3007 CHAN 3008(2) Assistant engineer Richard Smoker Editor Jonathan Cooper Recording venue Blackheath Concert Halls; 7–10 August 1997 Operas administrator Sue Shortridge Staging director Duncan Williams Front cover Acrobats (on holiday near Paris) by Victor Vasnetsov (The Russian Museum, St Petersburg) Back cover Photo of David Parry Design D.M. Cassidy Booklet typeset by Dave Partridge Booklet editor Kara Lyttle P 1998 Chandos Records Ltd C 1998 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU

70 71 CHAN 3003 Inlay.qxd 28/10/07 1:03 pm Page 1 ENAAL:PGICI-Slit P/Parry LPO/ / LEONCAVALLO: PAGLIACCI - Soloists Parry LPO/ / LEONCAVALLO: PAGLIACCI - Soloists bit CHANDOS DIGITAL CHAN 3003 20 Ruggero Leoncavallo (1857–1919) Pagliacci (The Touring Company)

Opera in a prologue and two acts Libretto by Leoncavallo English translation by Edmund Tracey

Tonio (in the play, Taddeo), a clown...... Alan Opie baritone Canio (in the play, Pagliaccio), leader of the players ...... Dennis O’Neill tenor Beppe (in the play, Harlequin) ...... Peter Bronder tenor Nedda (in the play, Columbina), wife of Canio ...... Rosa Mannion soprano Silvio, a villager ...... William Dazeley baritone Two locals...... Paul Parfitt bass-baritone • Peter Hall tenor TT 79:45

Geoffrey Mitchell Choir DDD The Peter Kay Children’s Choir London Philharmonic Orchestra Brad Cohen assistant conductor HN3003 CHAN HN3003 CHAN CHANDOS CHANDOS David Parry conductor

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