PETER MATT: MOZART, WOLFGANGAMADEUS (1756-91) El Finch'han dal vino (, Act I) El Meti di voi qua vadano (Don Giovanni, Act 11)

TCHAIKOVSKY, PYOTRILYICH (1840-93) El Uzhel ta samaya Tatyana (Eugene Onegin, Act Ill)

WAGNER, RICHARD (1813-83) El Bliclc' ich umher in diesem edlen Kreise (Tannhauser,Act 11)

GOUNOD, CHARLES(1818-93) Ei Avant de quitter ces lieux (~aust,~ct11)

MOZART, WOLFGANGAMADEUS El Se vuol ballare (Le Nozze di Figaro, Act I) Hai gii vinta la causa... Vedrt, mentr'io sospiro (Le Nozze di Figaro, Act II I)

WAGNER, RICHARD I4 Wie Todesahnung ... 0, du mein holder Abendstern (Tannhauser,Act Ill)

TCHAlI

MOZART, WOLFGANGAMADEUS Rivolgete a lui lo sguardo, I< 584 (originally intended for Cosi fan tutte, Act I)

TCHAlI(OVSIW, PYOTRILYICH El Vi mnye pisali... I

VERDI, GIU~EPPE(1813-1901) El Son io, mio Carlo ... Per me giunto ... 0 Carlo, ascolta (Don Carlo, Act I11 [IV],Part 11)

BRITTEN, BENJAMIN(1913-76) Loolc! Through the port comes the moonshine astray (Billy Budd, Act 11) (Boosey& Hosvkes)

MOZART, WOLFGANGAMADEUS El Deh, vieni alla finestra (Don Giovanni, Act 11) 2'02

TT: 63'51 PETERMATTE[ ROYALSTOCKHOLM PHILHARMONIC ORCHESTRA LAWRENCERENES conductor THE BARITONE seen in his relationship to his servant Leporello, an actorin the limelight and the shadows Don Giovanni acquires additional nuances, whilst in Tlre Marriage of Figaro it is the central conflict What would be without ? They are between Figaro and the Count that sets the intri- the requisite villains and heroes who give the cate plot in motion. The Count is driven not only other characters someone to fight against or along- by his lust for Figaro's fiancte but also, to an even side. But the voice type also contains some highly greater extent, by wounded vanity and pride. On unusual and unexpected figures, whether they the other hand, Figaro's driving force is not only carry the entire plot on their shoulders or suddenly his wish to protect Susanna from the Count. He emerge from the shadows. also feels the urge to rebel against authority in The baritone voice made its great break- order to gain full control over his own life. Sim- through in the late eighteenth century, thanks to ilarly, Guglielmo in Cost far1 trrtte is involved in a . Even Mozart's con- game of passion initiated by another baritone, the temporaries were aware of the revolutionary way cynical Don Alfonso. The latter is probably emo- he used the baritone, the most common voice tionally scarred by his own experiences, and he among male singers, and today many listeners, knows what Guglielmo does not yet suspect when, when they think of opera in general, spontaneous- with exaggerated theatricality, he sings about ly think of that have baritones in the lead- love: that it always goes its own way. ing roles - works such as Do11 Giol~arr~ri,The Mozart's baritone characters are profoundly Marriage of Figaro or Tlre Barber of Setdlle. human, and make no effort to conceal the fact - With such a variety of roles, it is often the which means that they have continued to live on baritone who becomes the dramatic engine of the and engage audiences through the ages. Peter plot. A clear example of this is Don Giovanni, pos- Mattei, now one of the world's foremost Mozart sibly Mozart's most complex creation. Even though baritones, summarizes the composer's greatness he remains strangely inscrutable as a character as follows: 'In Mozart the drama always comes throughout the opera, making brief, intensive con- directly from real life. He digs into the innermost tributions to the plot, he is the one who sets the parts of the human soul, and the border between wheels in motion, the person to whom all the others happiness and despair is often wafer-thin. Every- react and by whom they are all changed. The same thing can change in the blink of an eye.' applies to his nineteenth-century descendant, Eu- Mozart's Figaro, master of disguise and of in- gene Onegin. How peacefully country life would trigue, falls into his own trap and tastes the bitter- have carried on for Lensky and his neighbour ness of despair before regaining his belief in love. Tatyana if Onegin hadn't come to visit ... Rossini's version is less clearly drawn: in his fam- Dynamic dramatic effects also arise from the ous aria, he breezily tells us not who he really is, interaction of several different baritone roles. As but only what he does. Like a benevolent variant of Don Giovanni, he passes in and out of people's are also proof that an existence led away from the lives and weaves his web but, amid all the opti- absolute centre of the drama allows for a further mistic scheming, the cheerful barber in fact also range of nuances. Their lot is to stand by and see lacks a secure footing in life. their beloved favour more demonstrative The baritone as a solitary figure recurs time suitors, but they do not acknowledge defeat until aRer time in operatic literature. Few of these char- they have sung of their love with a respectful ten- acters, however, are as obviously lonely and vul- derness and longing that hang in the air for a long nerable as Britten's Billy Budd, the young man time after they have finished. who unwittingly becomes the catalyst in a fateful The baritone voice is one that makes an im- drama. Britten's genius lies in the fact that he has pression on its own terms, alongside the often managed to create an unequivocally unselfish, vir- extravagantly dramatic and sopranos. He tuous character who nonetheless never fails to hold bides his time and, when the moment is right, he our interest and who, in his restrained farewell to steps forward- and steals the limelight! life, is pmfoundly moving without becoming senti- 0Ingrid Giifvert201 0 mental. Verdi conveys the same emotion in Dorr Carlo, when the Marquis of Posa sacrificeshis own life for that of his best friend. Lie Mozart, Verdi is Peter Mattei has earned a place among the Clite known as a great composer of multi-faceted bari- of international singers. With his magnificent voice tone roles, and here he has created something very and magnetic stage personality, he delights audi- unusual: a hero who is satisfied (and even explicitly ences all over the world at venues such as the strives) to remain adjacent to the seat of power. in New York, the Teatro alla When he chooses to take action, he does so without Scala in , the Lyric Opera in Chicago, Covent giving a thought to personal gain - an unadulte- Garden in London, the Staatsoper Unter den Lin- rated expression of his attitude to life. den in Berlin, the Bavarian State Opera in Munich, Baritones may often be cast less than heroic- the Opera Bastille in Paris, the Gran Teatre del ally - as friends, bmthers or scorned suitors - but Liceu in Barcelona, the Royal Opera in Stockholm they suffer such slights in anything but silence, as and at prestigious festivals in Aix-en-Provence, they sing some of the most beautiful arias in the Glyndebourne, Salzburg and Lucerne. Among his operatic repertoire. The death of Posa never fails signature roles are the Count in The Marriage of to engage the audience, whilst in Gounod's Farrsf, Figaro and the title roles in Don Giovars~i,Ezr- Marguerite's brother Valentin may have a role that gene Otiegiri and . His reper- attracts little attention, hut his heartfelt prayer be- toire also includes roles such as Wolfram in Tortn- fore leaving his sister is one of the highlights of Iiiirrser, Rodrigo in Dort Carlo, Marcella in Lo the work. Wagner's Minnesinger, Wolfram vou Bohdnte, the title role in Britten's Billy Budd and Eschenbach, and Tchaikovsky's Prince Yeletsky Shishkov in JanlEek's Fro111the Hozrse of fhe Dead. He has worked with leading directol-s such nidas Kavakos. The RSPO actively strives to renew as Ingmar Bergman, Sir Peter Brook, Patrice ChC- and broaden the range of music for symphony reau and Michael Haneke. orchestra, for instance by means of an annual inter- In concert, Peter Mattei appears with some of national Composer's Festival and the Composer's the world's foremost orchestras in music by such Weekend featuring an up-and-coming Swedish composers as Mozart, Brahms, Mahler, Sihelius, composer. The RSPO pa~ticipatesannually in the Britten and Zemlinsky. He has sung under the baton Nobel Prize Ceremony as well as in the Nobel of Sir , Riccardo Muti, Daniel Baren- Prize Concert in partnership with Nobel Media. hoim, Sir Colin Davis, Esa-Pekka Salonen, Hel-bert Blomstedt, Daniel Hardiig, Riccardo Chailly, An- Having shot to fame in 1995, replacing Riccardo tonio Pappano, Jeffrey Tate, Sir John Eliot Gardiner Chailly to conduct the Royal Concertgebouw and Gustavo Dudamel. Peter Mattei trained at the Orchestra, Lawrence Renes is now an established Royal College of Music in Stockholm and at the conductor with a busy inte~nationalschedule. He University College of Opera in the same city. He has held posts with the Theater Brenlen, the Brenler was appointed Swedish court singer in 2004. Since Philhannoniker, and Het Gelders Orkest. His diary 2009 he has run his own festival in Lulei, Sweden, features engagements with prestigious orchestras presenting concerts and operatic performances of worldwide, including the Bavarian Radio Synl- the highest international calibre. phony Orchestra, Deutsche Symphonie-Orchester Berlin, Orchestre PhilhaIlll~niq~ede Radio France Maintaining a tradition that has existed since 1902, and the Los Angeles Philharmonic. He has also the Royal Stockholm Philharmonic Orchestra established a special relationship n4th the Royal (RSPO) of today enjoys great national and inter- Stockholm Philharmonic Orchestra, conducting at national acclaim. The Finnish conductor Sakari such high-profile occasions as the 2006 Nobel Oramo became its chief conductor and artistic Prize Concert with soloist RenCe Fleming. adviser in 2008, continuing a significant period of Lawrence Renes has gained an excellent repu- development under Alan Gilbert (2000-08). tation in opera with a broad range of repertoire, Oramo has already led the orchestra through a including a number of contemporary operas. He series of high-profile projects and engagements gave the US premisre of Tan Dun's Ten with the which have included a highly successful major Santa Fe Opera. In 2007 he retuined to Netherlands tour of Japan. Recent recordings have confirmed Opera for the European premiere of John Adams' the high artistic standards. Doctor Atorrlic and in 2009 led the work's UK pre- The RSPO works regularly with guest con- mihe at the English National Opera. Recent acti- ductors such as Kurt Masur and Michael Tilson vity also includes his debuts at Seattle Opera (Elek- Thomas and soloists including Anne Sofie vou tra), Den Norske Opera (Carrrrerl) and at Theltre Otter, Martin Frost, Hikan Hardenberger and Leo- Royal de (Tire Rake's Progress). BARYTONEN brollop ar det den centrala konflikten mellan oktor i rarnpljus och skugga Figaro och Greven som satter operans forveck- lingar- i rullninn. Men Greven drivs inte bara av Vad vore opera utan barytonema? De Br de nod- itri till Figaros fastma utan alltmer av shad fi- vandiga skurkama och hjaltarua som ger de ovriga fauga och stolthet, medan Figaros drivkraft inte nigon att k'ampa mot eller tillsammaus med. Men bara ar att skydda sin Susanna mot Greven. For i rollfacket finns ocksi uigra av dc mest ovanliga honom handlar det ocksi om upproret mot over- och oviintade rollfigurema, bide bland dem som heten, om att pi allvar kunna styra over sin egen b'ar en forestallning pi sina axlar och bland dem tillvaro. Guglielmo i Cost fan tlrne tir ocksi han som plotsligt kliver fram ur skuggan. involverad i ett k'auslospel som har iscensatts av Barytonema fick sitt stora genombrott under en rostfackskollega, den cyniske Don Alfonso. slutet av 1700-talet, tack vare Wolfgang Amadeus Sannolikt b't denne iirr i hjartat efter egna erfaren- Mozart. Redan Mozarts samtida kollegor noterade heter, och han vet det som Guglielmo annu inte hans revolutionerande anvandning av baryton- anar nL han overdrivet teatraliskt sjunger om kiir- rosteu, det vanligaste rostfacket fijr en man, och leken, att den alltid gir sina egna vagar. idag L det sakert mhga som spontaut tanker pi Mozarts barytongestalter ar djupt manskliga, operor med barytoner i huvudrollen nar man och visar det infor oppen ridi, vilket gor att de en- tanker pi opera, verk som Dorl Gio~owli,Figaros gagerar och lever vidare genom tiden. Peter Mattei, brollop eller Barberarert i SeviNa. idag en av varldens ledande Mozart-barytoner, I sina mingskiftande roller blir barytonen ofta sammanfattarkompositijrens storhet s&t. verkets motor. Ett tydligt exempel pH detta ar - Hos Mozart ar dramat hamtat diiekt ur livet. Mozarts kanske mest komplexa skapelse, Don Han graver i det innersta av det m5nskliga. och Giovanni. Trots att han genom operau forblir gransen mellan lycka och fortvivlan ar ofta hMm. underligt ogripbar som karaktiir, med sina korta, AUt kan forandras i ett andetag. intensiva instick i handlingen, ar han den som Mozaas Figaro, fiadnademas och intriger- sYter allt i rorelse, den som alla reagerar pi och nas mastare, faller pi eget grepp och f& kanna av forandras av. Detsamma galler hans sena 1800- tvivlets bima sting innan han iter kan tro pH k'ar- talsltfling, den vhrldsvane dandyn Eugen Onegin. leken. I Rossinis version Br han mindre tydligt teck- Hur stillsamt skulle inte livet pH landet ha fiimutit nad. Det Rossinis Figaro beskriver med l'dttsam for hans van Lenskij och dennes granne Tatjana sorgfrihet i sin v;ilk%nda aria Br inte vem han egent- om inte Onegin hade kommit pi besok? ligeu iir utm bara vad han gor. Som en godmodig Ocksi i samspelet mellan olika barytonkarak- variant av Don Giovanni passerar han in och ut ur tarer uppstir dynamiska dramatiska effekter. manniskors liv och spinner sitt nat, men mitt i det Reflekterad i relationen till sin betjiint Leporello livsbejakande intrigerandet saknar &en den muntre fir Don Giovanni extra nyanser, och i Figaros barberaren egentligen en fast punkt i tillvaron. Barytonen som den ensamma aktoren iter- egen k'arlek med en respektfull omhet och Engtan komzner gHng pi ging i operalitteraturen. Fi av som drojer kvar i luften. dessa rollfigurer ar si tydligt ensamma och nt- Barytonens riist ar en riist som gor sig hod pH satta som Brittens Billy Budd, den unge manneu sina egna villkor bland ofta extravagant drama- som omedvetet blir katalysatorn i ett odesdigert tiska tenorer och sopraner. Han bidar sin tid och drama. Briljansen hos Britten tir att han lyckats nar stunden ar inne kliver han fram - och stjal skapa en entydigt osjalvisk och god karaktrir som rampljuset! trots detta aldrig blir ointressant, och som i sitt 0 Ingrid Giifert 2010 llgmalda avsked till livet blir djupt gripande utan att framsti som sentimental. Samma k'isla for- medlar Verdi ntir han liter Markisen av Posa offra Peter Mattei har etablerat sig i toppskiktet av sitt liv for sin bite vhi Do18 Carlo. Verdi, som internationellt verksamma singare. Med vokal tillsarnmans med Mozart tir end som den store glans och magnetisk scenpersonlighet hanfor han kompositoren av mingfacetterade barytonroller, sin publik vdrlden over pl scener som Metro- har skapat nigot sH ovanligt som en hjalte som politan Opera i New York, Teatro alla Scala i nojer sig med, ja till och med uttryckligen efter- Milano, Lyric Opera i Chicago, Covent Garden i stravar, tillvaron vid sidan av maktens centrum. London, Staatsoper Unter den Linden i Berlin, Nit han valjer att agera ar det utan tanke piegen Bayerische Staatsoper i Munchen, Op6ra Bastille i vinning, ett rent uttryck for hans satt att se pH Paris, Gran Teatre del Liceu i Barcelona, Kung- varlden. Liga Operan i Stockholm och prestigefyllda festi- Aven om barytonerna ofta hiinvisas till rollen valer i Aix-en-Pmvence, Glyndehoume, Salzburg som vh, bror eller forsmldd friare tar de en allt och Lucerne. Bland paradrollema marks Greven i annat Bn tyst revansch genom att sjunga nHgra av Figaros brollop och titelrollerna i Don Gioilanni, operalitteraturens vackraste arior. Posas dod enga- Eugerz Onegirl ocb Barberm.e!z i Sevilla. Pi sin gerar ofelbart publiken, och i Gounods Fairst mi repertoar har Peter Mattei aven roller som Wolf- Marguerites bror Valentin ha en roll som passerar ram i Tannhauser,Rodrigo i Don Carlo, Marcello Wgenobemakt, men hans innerliga b'on i&or i La Bohbte, titelrollen i Brittens Billy Bzrdd och avskedet frin system h6r till en av verkets hojd- Shishkov i JanSEeks Fr6n de dadas hirs. Genom punkter. Att tillvaron utanfdr dramats absoluta sin kart& har han arbetat med namnkudniga re- ktirna rymmer ytterligare nyanser visar ocksi gissorer sHsom Ingmar Bergman, Sir Peter Brook, Wagners mimessingare Wolfram von Eschenbach Patrice Ch6mu och Michael Haneke. och Tjajkovskijs prim Jeletskij. De fir fmna sig i I konsertsammanhang framtader Peter Mattei att st%vid sidan om och se sina iilskade sopraner med varldsledande orkestrar i verk av Mozart, foredra mer utagerande friare, men de erk'anner Brahms, Mahler, Sibelius, Britten, Zemlinsky sig inte besegrade innan de hunnit sjunga om sin m.fl. Han har sjungit under ledning av dirigenter

8 son1 Sir Georg Solti, Riccardo Muti, Daniel Baren- Lawrence Renes fick sitt genombrott 1995 di boim, Sir Colin Davis, Esa-Pekka Salonen, Her- han med kort varsel ersatte Riccardo Chailly vid belt Blomstedt, Daniel Harding, Riccardo Chailly, en tv-sand konsert med Concertgebouworkestern. Antonio Pappano, Jeffrey Tate, Sir John Eliot 1 dag ar han ar val etablerad som dirigent nled ett Gardiner och Gustavo Dudamel. digert internationellt konsertschema. Han har Peter Mattei ar utbildad vid Kungliga Musik- innehaft posterna som generalmusikdirektor vid hogskolan i Stockholm och Operahogskolan i Bremens teater och filharmoniker och som konst- Stockholm. Ha11 utnamndes till Hovsingare 2004. narlig ledare for Het Gelders Orkest i Amhem, Sedan 2009 driver ban sin egen festival i Lulei och gastdirigerar regelbundet franlstiende orkes- med konserter och opera av hogsta internationella trar sHsom Bayerska radions symfoniorkester. klass. Deutsche Symphonie-Orchester i Berlin, Orchestre Philharmonique de Radio France och Los Angeles Kungliga Filharmonikerna har en ling och Philharmonic. Han iir en iterkommande gist hos handelserik historia: orkestern grundades 1902 Kungliga Filharmonikerna, och dirigerade 2006 och har sedan 1926 hemadressen Stockholms Hrs Nobelkonsert med Renee Fleming som solist. Konserthus. Frin och ined sasongen 2008-09 ar Lawrence Renes har aven gjort sig ett namn finlandaren Sakari Oramo Kungliga Filhar~noni- som operadirigent, med en vittomfattande I-eper- kernas chefdirigent och konstnarlige ridgivare. toar. 2007 ledde han det forsta framforandet i Under Oramos inspirerande ledning har man fort- USA av Tan Duns opera Tea vid Sarita Fe Opera salt det utvecklingsarbete som inleddes under och samma Hr dirigerade han Europa-premiaren fome chefdiiigenten Alan Gilbert (2000-08). Detta av John Adams Doctor Ator~ricvid Nederlandska hat burit frukt i form av framgingsrika turnCer operan. San~maverk di~igeradehan aven i en upp- och en rad uppmarksammade inspelningar som sattning pi English National Opera i London 2009. bekraftat orkesterns hoga konstnarliga nivi. Under senare ir har han ocksi for forsta gir~gen Kungliga Filharmonikerna arbetar regelbundet besokt Seattle Opera (Elekfra),Den Norske Opera med gastdirigenter som Kurt Masur och Michael (Cornre~r)och Theatre Royal de La Monnaie Tilson Thomas och med framstlende solister, (R~rcklarens)rag). bland vilka iterfinns Anne Sofie von Otter, Martin Frost, Hikan Hardenberger och Leonidas Kava- kos. Orkestern arbetar aktivt med att fornya och bredda den traditionella symfoniska repertoaren, till exempel genom de uppmarksammade irliga tonsattap och weekendfestivalerna, och medverkar dessutom under Nobelprisutdelningen samt vid Nobelkonserten i samarbete med Nobel Media.

9

und der Intrige, fallt in die eigene Grube und darf gewiesen wird, revanchieren sie sich alles andere den bitteren Geschmack des Zweifels spuren, be- als leise, indem sie einige der schonsten Arien der vor er wieder an die Liebe glauben kann. In Ros- Opemtiteratur singen. Posas Tod beruhrt das Publi- sinis Version wird er weniger deutlich gezeichnet. kum jedes Ma1 aufs Neue, und in Gounods Fulrst Mit leichter Sorglosigkeit beschreibt dieser Figaro mag Marguerites Bruder Valentin eine recht un- in seiner beriihmten Arie nicht, wer er eigentlich scheinbare Rolle haben, aber sein inniges Gebet ist, sondern nur, was er tut. Wie eine guimutige zum Abschied von der Schwester ist eiuer der Variante von Don Giovanni geht er im Leben der Hijhepunkte des Werkes. Dass die Handlung auller- Menschen ein und aus und spinnt sein Netz, aber halb des dramatischen Ke~nseiner Oper weitere mitten in all dem lebensli~stigenIntrigieren fehlt Nuancen bietet, zeigen auch Wagners Minne- auch dem munteren Barbier eigentlich ein fester sanger Wolfram van Eschenbach und Tschaikow- Bezugspunkt im Leben. skys Prinz Jeletsky. Sie mussen sich damit ab- Der Bariton als einsamer Akteur kehrt in der finden, am Rande zu stehen und zuzusehen, \vie Opernliteratur immer wieder. Wenige dieser Rollen- ihre geliebten Soprane heftiger agierende Freier figuren sind so demonstrativ einsam und verlassen vorziehen, aber sie geben sich nicht geschlagen, wie Brittens Billy Budd, der junge Mann, der un- bevor sie mit respektvoller Empfindsamkeit und bewusst zum Katalysator in einem schicksalsgela- ei~ierSehnsucht, die in der Luft nachhallt, van denen Drama wird. Britten hat hier mit Bravour ihrer eigenen Liebe gesungen haben. die Gratwanderung bewaltigt, einen eindeutig Die Stimme des Baritons verschafft sich auf selbstlosen und guten Charakter zu schaffen, der ihre eigene Weise Gehor, mitten unter oft extra- trotzdem nicht uninteressant wird und in seinem vaganten dramatischen Tenoren und Sopranen. Er bescheidenen Abschied vom Leben ergreifend ist, wartet den richtigen Augenblick ab, und wenn der ohne sentimental zu erscheinen. Dasselbe Gefiihl Zeitpunkt gekommen ist, tritt er hervor - und vermittelt Verdi, der in Don Curlo den Marquis stiehlt den anderen die Show! Posa sein Leben fiir den besten Freund geben Iasst. O Ingrid Gafvert 2010 Verdi, der ebenso \vie Mozart als groller Komponist vielschichtiger Baritonrollen gilt, hat hier etwas so Ungewohnliches \vie einen Helden, der sich damit Peter Mattei hat sich als einer der gefragtesten zufrieden gibt, ja sogar anstrebt, an der Seite des Baritone seiner Generation etabliert. Mit stimm- Machtzentrums zu leben, geschaffen. Als er sich licher Brillanz und einer unwiderstehlichen entscheidet zu handeln, geschieht dies ohne einen Buhnenprasenz reillt er weltweit sein Publikum Gedanken an eigenen Vorteil, ein Ausdruck fur mit, in Opemhausem \vie der Metropolitan Opera seine Art und Weise, die Welt zu sehen. New York, Teatro alla Scala in Mailand, Lyric Auch wenn den Baritonen oft die Rolle des Opera in Chicago, Covent Garden in London, Freundes, Bruders oder verschmlhten Freiers zu- Staatsoper Unter den Linden, Bayerische Staats- oper, Opira Bastille in Paris, Gran Teatre del Liceu und international hoch geschatzter Klangkorper. in Barcelona, der Koniglichen Oper in Stockholm Seit 2008 ist der Finne Sakari Oranlo Chefdirigent sowie auf prestigetrkhtigen Festivals \vie denen und kiinstlerischer Berater, wobei er die bedeu- in Aix-en-Provence, Glyndebourne, Salzburg und tende Entwicklungsauheit, die sein Vorganger Alan Luzern. Zu seinen Paraderollen gehoren der Graf Gilbert (2000-08) hegonnen hatte, fortsetzt. Er in Figarus Hochzeit und die Titelrollen in Do11 hat das Orchester bereits durch einige hoch- Giol~a~l~~i,Erigerle Orregill und den1 Barbier i~ort karatige Projekte und Engagements begleitet, u.a. Seeilln. Dariiber hinaus verkiirpeit er Rollen wie eine sehr erfolgreiche Japan-Tournee. Wolfram in Tarrrthiirrser, Rodrigo in Do11 Carlo, Das RSPO arbeitet regelmdaig mit Gastdiri- Marcello in Ln Bolrdr~le,die Titelrolle in Brittens genten wie Kurt Masur und Michael Tilson Tho- Billy Bridd und Shishkov in JandEeks Alis eir~erir mas sowie mit Solisten wie Anne Sofie von Otter, Toterlharis. Im Lauf seiner Karriere hat er mit Martin Frost, Hikan Hxdenberger und Leonidas namhaften Regisseuren \vie Ingmx Bergman, Sir Kavakos zusammen. Mit dem Ziel, das klassische Peter Brook, Patrice Ch6reau und Michael Haneke und moderne Repertoire zu erneuern und zu er- zusammengearheitet. weitern, veranstaitet das RSPO jihrlich das Stock- Im Konzertsaal tritt Peter Mattei mit den holm International Composer's Festival, bei dem fuhrenden Orchestern der Welt auf, u.a. in Werken ein international renommierter lebeuder Kompo- von Mozart, Brahms, Mahler, Sibelius, Britten nist eingehend vorgestellt wird, und das Com- und Zemlinsky. Er hat unter der Leitung von Diri- poser's Weekend, das sich einem aufstrebenden genten wie Sir Georg Solti, Riccardo Muti, Daniel schwedischen Komponisten widmet. Barenboim, Sir Coli~iDavis, Esa-Pekka Salonen, Jedes Jahr nimmt das RSPO an den Feierlich- Herbert Blomstedt, Daniel Harding, Riccardo keiten anlasslich der Nobelpreisverleihung in Zu- Chailly, Antonio Pappano, Jeffrey Tate, Sir John sammenarbeit mit Nobel Media teil. Eliot Gardiner und Gustavo Dudamel gesungen. Peter Mattei studierte an der Koniglichen Lawrence Renes trat erstmals ins internationale Musikhochschule sowie an der Opernhochschule Rampenlicht, als er 1995 kurzfristig fur Riccardo in Stockholm. 2004 wurde er zum Hovslngare Chailly am Pult des Concertgebouworkest Amster- (Kammersanger) ernannt. Seit 2009 leitet er sein dam einsprang. Heute ist er ein international ge- eigenes Festival in Lulel (Nordschweden) mit schitzter Dirigent, der am Theater Bremen, bei den Konzerten und Opern auf hochstem internatio- Bremer Philhaumonikem und bei Het Gelders Or- nalem Niveau. kest engagiert war und weltweit bei bedeutenden Orchestern wie dem Symphonieorchester des Baye- Die Geschichte des Royal Stockholm Philhar- rischen Rundfunks, dem Deutschen Symphonie- monic Orchestra (RSPO) reicht zuriick bis in das Orchester Berlin, dem Orchestre de Radio France Jahr 1902. Heute ist das Orchester ein national ulid dem Los Angeles Philham~onicgastiert. Eine besondere Beziehnng verbimdet ihn mit dem Royal Premiere von Tan Duns Tea an der Santa Fe Opera. Stockholm Philharmonic Orchestra, das er bei so 2007 leitete er die europaische Premiere von John prominenten Gelegenheiten wie dem Nobelpreis- Adams' Docfor Atomic an der Niederlandischen Konzert 2006 mit der Sopranistin Renee Fleming Oper, 2009 folgte dasselbe Werk an der English dirigierte. National Opera. Inzwischen hat er auch an der Lawrence Renes hat sich einen exzellenten Seattle Opera (Elekha),Den Norske Opera (Car- Ruf als Operndiiigent mit einem breitgefacherten tnerz) und dem Thetre Royal de La Monnaie (The Repertoire, darunter einige zeitgenossische Opern, Rake's Progress) sein Debut gegeben. erworben. Mit @em Erfolg dirigierte er die US- LE BARYTON Des effets dramatiques dynamiques sont cre6s acteur en vedette et dons I'ornbre aussi dans I'interaction entre les divers person- naEes chantis par des harytons. Reflit6 dans sa re- Que serait I'opera sans les barytons? Ils sont les lation avec son valet Leporello, Don Juan acquie~t scCl6rats et les heros necessaires qui donnent aux des nuances suppl6mentaires et, dans Les Noces autres quelqu'un contre qui ou avec qui lutter. Le de Figoro, c'est le conflit central entre Figaro et le r6pertoire renferme aussi quelques personnages Comte qui met en marche les complications de des plus exceptionnels et inattendus, dont ceux I'opCra. Mais le Comte n'est pas tant pousd par qui portent la responsabilitd d'une representation son attraction pour la fiancee de Figaro que par sa sur leurs Bpaules et ceux qui sortent soudainement vanit6 et sa fiertt bless6es tandis que Figaro n'agit de I'ombre. pas seulement pour proteger sa Susanna contre le Les barytons percerent r6solument vers la fin Comte. I1 s'agit aussi pour lui d'une revolte contre du 18' sitcle gr2ce B Wolfgang Amadeus Mozart. l'autoritt, d'un desir serieux de pouvoir mener sa Les colltgues contemporains de Mozart remar- vie comme il I'entend. Dans Cost far1 trrtte, qukrent son emploi rivolutionnau~de la voix de Guglielmo est lui aussi engage dans un jeu senti- baryton, le voix la plus commune pour un homme, mental mis en scene par un autre baryton, le cy- et beaucoup de gens aujourd'hui pensent spon- nique Don Alfonso. Ce deruier porte probable- tanement 1 des operas oa le rBle principal est nlent dans son ceur les cicatrices de ses propres donne B un baryton quand on se souvient de Dorr experiences et il sait ce que Guglielmo ne soup- Juan, des Noces f1e Figam ou du Barbier de Sd- qonne m&mepas encore quand il chante l'amour ~'ille. de maniere exager6ment thejtrale, B savoir qu'il Dans ses divers rBles, le baryton sert souvent suit toujours ses propres voies. de moteur B l'euvre. Un exemple bien clair est le Les personnages pour baryton de Mozart sont personnage peut-Btre le plus complexe de Mozart, profondement humains et ils le montrent B rideau Don Juan. Quoique son caractere reste insaisis- lev& ce qui fait qu'ils engagent et survivent au sable tout le long de l'op61-a avec ses breves et in- temps. Aujourd'hui I'un des grands barytons de tensives apparitions dans I'intrigue, c'est lui qui Mozart au monde, Peter Mattei r6sume ainsi l'im- met tout en mouvement, qui provoque la r6action poltance du compositeur : aChez Mozart, le drame de tous et qui change tous les autres. II en est de provient directement de la vie. I1 creuse en pro- mBme de son parent de la fin dn 19' siikle, le s6- fondeur dans I'humain et la limite entre le bon- dncteur homme du monde Eugene Oniguine. Avec heur et le disespoir est souvent infime. Tout peut quelle tranquillit6 la vie B la campagne n'aurait- changer le temps d'un soupir. z elle pas coulC pour son ami Lenskij et Tatiana, la Le Figaro de Mozart, maitre des deguisements voisine de ce dernier, si On6guine n'6tait pas venu et des intrigues, tombe dans son propre piege et en visite? doit gofiter B l'amertun~e du dtsespoir avant de pouvoir croire de nouveau B I'amour. La version inaper~umais sa pribre fervente au moment de de Rossini le d6crit mains clairemeut. Ce que le dire adieu B sa sceur, fome I'un des sommets de Figaro de Rossini exprime avec d6sinvolte dans l'ceuvre. Le Mir~riesirtger(troubadour) Wolfram son aria bien connue n'est pas qui il est vraiment van Eschenbach de Wagner et le prince Yeletsky mais seulement ce qu'il fait. Comme uue variante de Tchaikovski montrent aussi que la vie hots de joviale de Don Juan, il entre et sort de la vie des 1'6picentre du drame renferme d'autres nuances. gens et tisse sa toile mais, au milieu des intrigues Ils doivent accepter de figurer seulement et de de l'enviromement de Figaro, il manque en fait voir leur bien-aim€e pkfkrer dcs prktcn- au joyeux barbier un point fixe dans la vie. dants plus ext6rioris6s mais ils ue s'avouent pas Le baryton revieut encore et encore dans la vaincus avant d'avoir chant6 leur amour avec une litt6rature de I'op6ra comme un acteur seul. Peu de tendresse respectueuse et un d6sir qui s'attardent ces r6les principaux sont aussi clairement seuls et dans l'air. expos& que Billy Budd de Britten, le jeune home La voix de baryton est une voix qui se fait en- qui devient inconsciemment le catalyseur dans un tendre & ses pro- conditions au milieu parfois drame fatal. Britten est brillant pour avoir r6ussi B de tenors et de sopranos dramatiques exhavagants. chrsans 6quivoque un personnage ban et gem- I1 attend son heure et quand l'beure est venue, il reux qui, malgr6 cela, ne devient jamais ennuyeux s'avance - et vole la vedette! et qui, dans son adieu discret Bla vie, uous touche 0 111gridGaperf 2010 profoud6ment sans paraitre sentimental. Verdi transmet le m8me sentiment quand le marquis de Posa offre sa vie pour son meilleur ami dans Don Peter Mattei s'est Btabli B la toute pointe des Carlo. Connu en compagnie de Mozart comme le chanteurs professionnels internationaux. Avec un grand compositeur de r6les diversifies pour bary- brillant vocal et une persomalit6 sc6nique mag116 ton, Verdi a cr66 quelque chose d'aussi original tique, il euthousiasme son public partout au monde qu'uu h6ros qui se couteute et va msme jusqu'8 sur les scbnes de I'OpCra MBtropolitain B New rechercher une vie B c8t6 du pouvoir. Son choix York, des Teatro alla Scala B Milan, Op6ra Ly- d'action se fait sans pensee de gain propre, c'est rique B Chicago, Covent Garden de Londres, l'expression pure de sa vision du monde. Staatsoper Unter den Lideu h Berlin, Bayerische MCme si les barytons s'accomodent souvent Staatsoper BMunich, Opera Bastille B Paris, Gran du r61e d'ami, de fr2re on de pr6tendant m6pris6, Teatre del Liceu B Barcelone, Kungliga Operan B leur revanche est sonore est renferme certaines Stockholm et h des festivals prestigieux h Aix-en- des arias les plus belles de la litt6rature de I'op6ra. Provence, Glyndehourne, Salzbourg et Lucerne. La mort de Posa engage immauquablement le Le comte des Noces de Figaro, les r6les princi- public et, dans Fairst de Gounod, le frbre de Mar- paux de Don Juan, Etig.211eO~zguiile et du Bar- guerite, Valentin, a un r6le qui passe plutat bier de Sdsille se trouvent parmi ses tales de

15 parade. Peter Mattei compte aussi dans son riper- veau incluant une importante tournte couronnte toire les r6les de Wolfram dans Tartnharrser-,Ro- de succes au Japon. Les rBcents enregistrements drigo dans Dolt Carlo, Marcello dans La Bol12~1re. ant confirn~tla capacitt artistique ilevte de la Billy Budd dans Billy Btrdf!de Britten et Shishkov formation. dans De la r~raisancles marts de JanBEek. I1 a tra- L'OPRS travaille r6gulibrement avec des chefs vailli au long de sa carrikre avec des metteurs en invites dont Kurt Masur et Michael Tilson Tho- scbne renommts dont Ingmar Bergman, Sir Peter mas et des solistes incluant Anne Sofie von Otter, Brook, Patrice Chireau et Michael Haneke. Martin Frost, Hikau Hardenberger et Leonidas Peter Mattei chante en concert avec des or- Kavakos. L'OPRS s'efforce activemeut de renou- chestres de renomn~ieinternationale des ceuvres veler et d'augmenter I'Btendue de la musique pour de Mozart, Brahms, Mahler, Sibelius, Britten et orchestre syn~phoniquegrlce, par exemple, B I'an- Zemlinsky entre autres. I1 s'est produit avec les nuel et international Composer's Festival et au chefs Sir Georg Solti, Riccardo Muti, Daniel Composer's Weekend prisentant un compositeur Barenboim, Sir Colin Davis, Esa-Pekka Salonen, suidois en plein diveloppement. Herbert Blomstedt, Daniel Harding, Riccardo L'OPRS participe annuellement B la cdr6monie Chailly, Antonio Pappano, Jeffrey Tate, Sir John des prix Nobel ainsi qu'au concert des prix Nobel Eliot Gardiner et Gustavo Dudamel. en collaboration avec Nobel Media. Peter Mattei est un diplami des Kungliga Musikhogskolan et Operahogskolau B Stockholm. Devenu ctlhbre en 1995 qualid il rernplap Ric- I1 fut nommi achanteur de la cour royales en cardo Chailly pour diriger I'Orchestre Royal du 2004. Depuis 2009, il dirige B Lulei son propre Concertgebonw, Lawrence Renes est maintenant festival qui organise des concelts et de I'optra au un chef ttabli aux nombreux engagements inter- plus haut niveau international. nationaux. I1 a occupd des postes avec Theater Bremen, Maintenant une tradition en existence depuis Bren~erPhilhamoniker et Het Gelders Orkest. Son 1902, I'Orchestre Philharmonique Royal de agenda renfern~edes engagements avec des orches- Stockholm (OPRS) d'aujourd'hui jouit d'une trees prestigieux partout au monde dont I'Orchestre grande renommee nationale et internationale. Le Symphonique de la Radio Bavaroise, Deutsche chef finlandais Sakari Oramo en devint chef prin- Symponie-Orchester Berlin, Orchestre Philhaimo- cipal et conseiller artistique en 2008, poursuivant nique de Radio France et Orchestre Philharmo- une importante periode de diveloppement avec nique de Los Angeles. 11 est aussi Btabli un lieu Alan Gilbert (2000-08). La nouvelle programma- spdcial avec I'Orchestre Philharmonique Royal de tion a permis un niveau d'ambition encore plus Stockholm, dirigeant B des occasions aussi magni- Clevi et Oramo a dtjB men6 l'orchestre B travers fiques que le concert des prix Nobel en 2006 avec une sirie de projets et d'engagements de haut ni- la soliste Renee Fleming. Lawrence Renes s'est tail16 une excellente r& Adams et, en 2009, il en dirigea la creation au putation B I'opera avec un r6pertoire varii dont Royaume-Uni avec 1'English National Opera. I1 a plusieurs operas contemporains. Il a donnC la crka- ricemment fait ses debuts B l'Op6ra de Seattle tion americaine de Tea de Tan Dun avee L'OpCra (Elektra), Den Norske Opera (Car~llert)et au de Santa Fe et a requ une critique enthousiaste. En Thestre Royal de La Monnaie (Tlie Rake's Pro- 2007, il retourna B I'opbra des Pays-Bas pour la gress). creation europeenne de Doctor Atonlic de John MOZART:FINCH'HAN DAL VlNO (Don Giovanni: Act I, Scene 5. Libretto: Lorenzo Da Ponte) In his 'Champagne Aria', Don Giovanni gives instructions to his manservant Leporello to organize a party. DON GIOVANNI DON GIOVANNl Finch'han dal \'in0 SOthat the wine Calda la testa May heat ever). head Una grao fesla A splendid p.arly Fa' preparar. You shall prepare. Se trovi in piazza And if you meet Qualche ragazza, Some girl in the atreet, Teco ancor quclla One who is pretty, Cerca menar. Get her to come. Senra alcun ordine \Vithoul any order La danza sia; The hall shall be: Chi'] minuetto, Thus the minuet, Chi la follia, And the follia. Chi l'alemanna And the allemande Farai ballar. Will all be danced. Ed io fra tanto I too shall be busy Dall'altro canto On my own account, Con questa e quella With this girl and that, Yo' amoreggiar. I will carouse. Ah! lamia lista Ah - my list Doman mattina By morning D'una decina Will have grown Devi aumentar. By ten at Icast.

MOZART:META Dl VOI QUA VADANO (Don Giovanni: Act II, Scene 4) Masetto and a company of angry peasants are looking for Don Giovanni who, disguised as Leporello, sends them on a wild goose chase. DON GIOVANNI DON GIOVANNI Meti di wiqua vadano, H~lfof you take this way, E gli altri vadan 18. The rest of you take that one, E pian pianin lo cerchiso, And stealthily look for him, Lontan non Ba di qua. He can't be far from here. Se un uom e una ragaua If you see a man and a maid Passeggian per la piazza. Stroll across the square. Se souo a unafinesua Or hear beneath a window Fare all'amor sentite: The sound of amorous play. Ferite pur, ferite, Then strike him hard, stnke h~m, I1 mio padrnn sari. My master it w~llbe. In testa egti ha un cappello On his head he wears a hat, Con candidi pennacchi. With snow-white plumes, Addosso un gran mantello, On his shoulder a wide cloak. E spada a1 fianco egli ha. And by his side a sword. Andate, fate presto! Leave, and hurry up! Tu sol vmai con me. (to Maseno) You alone will come with me. Noi far dobbiamo il resto. We'll do the rest together, E gih vedrai cos'k. And you'U swn see what that is.

TCHAIKOVSKY:UZHEL TA SAMAYA TATYANA (Eugene Onegin: Act Ill, Scene I. Libretto: Konstantin Shilovsky and the composer, based on the novel in verse by Pushkin) Some years after having spurned the young Tatyana's declaration of love, Onegin sees her again, at a ball in St Petersburg. He isstruck by her transformation into a grand, aristocratic beauty, and regrets his former coldness. ONEGIN ONEGIN Ymem ~a wanTannaa. Is this really the same Tatyana Kumpoii n naepme, To whom, in private, B rnyxoii. nane~n&cmpo~e Far off in the deep countryside, B 6naro~mmy npaeoyvema, In a moral outburst %inn ~oma-m~amemn? I once gave a lecture on principles? Ta neeo.o;a,~ompoir n The same humble girl Ilpenebperan e cwrpennoir none? Who received my disdain? y~miTO OIEi6bma Was this really her, T~KpamHoRyuura, TS c~ena? So poised, so collected?

Ho .m, co mioii? R KaK no cne! What's wrong with me? It's as in I a dream! qrn meuemnynocbB my6nne What is stirring in thedepths nyuui xonormoii n ne~lmoii? Of my cold, listless heart? nocana, cyemomb wb BHOB~, Vexation, vanity or, once more, 3a6o~a101roc~1i- nwSwb? That concern of youth - love? Alas, there's no doubt: I'm in love, In Love lrke a boy, wlth all the passlon of youth. Let me perlsh but first Be dazzled bp hope. Let me taste desire's magic poison, Dnnk more than my fill of dreams! Everywhere before my eyes Is that cherished,desired rmage! Everywhere before my eyes!

WAGNER:BLICIC' ICH UMHER IN DIESEM EDLEN I(REISE (Tannhauser:Act II, Scene 4. Libretto: Richard Wagner) At a singer's contest on the theme of love arranged by the Landgrave ofThuringia, the poet-knight Wolfram von Eschenbach competes with the young singer Tannhauser, addressing himself to the Landgrave's niece Elisabeth. WOLFRAM WOLFRAM Blich' ich umher in diesem edlen Kreisc, As 1 look around on this noble assembly, welch hoher Anblick macht mein Hen ergluhn! Such an exalted sight makes my heart glow! So vie1 der Helden, tapfer,deutsch und wveise, So many heroes, val~ant.German and wise, ein stolzer Eichwald, herrlich, frrrch und grun A proud oak forest, splendid, fresh and green; Und hold und tngendsam erblick' ich Frauen, And lovely and virtuous ladies I see, liehlicherBliiten duftereichster Kranz. Fair flowersin a frdgrant garland. Es wird der Blick wohl trunken mir vom Schauen. Mv eves are dazzled hv thir disnlav . > r ,, mein Lied verstummt vor solcher Anmut Glanz. My song is silencedbefore the glow of such grace. Da bhck' ~chauf zu einem nur der Steme, Then I raise my eyes to one single star der an dem Himmel,der mich blendet, steht: Up in the sky which dazzles me: Es s~ammeltsich meln Gein aus jeder Feme, My mind collects itself from faraway, andrhtig sinkt dre Seele in Gebet. Devout my soul sinks down in prayer. Und s~eh!Me zerget sich ern Wunderbmnnen, And see! A wondrous founfain appears ln den mein Geist voll hohen Stannens blickt; Into which my splnt gazes, filled with wonder: aus ihm er sch6pfet gnadenre~cheWomen, From there it draws blissful joy durch die mern Hen er namenlos erquickt. By which it quickens magically my heart. Und n~mmermocht' ich dresen Bronnen Wben, And never would I want to sully that fountain beruhren ntcht den Quell mit frevlem Mul: Or cloud its waters with sinful thoughts! In Anbetung mocht' ich mich opfemd liben, In devotion I would give myself vergiekn froh mein letztes Henenshlut! And gladly spill the last drop of my heart's blood. Ihr Edlen mogt in diesen Worten lesen, Noble meo, you may from these words gather wie ich erhenn' der L~ebereinstes Wesenl How I revere the purest essence of love. GOUNOD: AVANT DE QUITTER CES LlEUX (Faust: Act II, Scene 2. Text to this aria: Onksime Pradgres) In this aria, added after the opera's first performance, the young soldier Valentin sings an invocation to God to protect his sister Marguerite, before leaving for the war. VALENTIN VALENTlN Avant de qultter ces Iieux, Before I leave this place, Sol natal de mes aieux Native soil of my forefathers, A toi, Seigneur ct Roi des cleux, To you, Lord and K~ngof Heaven. Ma scenrje confie. Do 1 entrust my sister. Daigne de tout danger Please, from aU danger Toujours, toujours la pmt6ger. Protect her, forever protect her. Cette sour, si cherie, This sister, so dear to me, Daigne la prutiger de tout danger! Please protect her from all danger. DClivd d'une trtste pensee Relieved from heavy thoughts, J'irai chercher la gloire, I shall seek glory, La gloire an sein des ennemis. Glory in the midst of the enemy. Le premier, le plus brave, The first and the bravest, Au fort do la mBlb, In the thick of the fray, J'lrai combattre pour mon pays. I shall fight for my country. Et si, vers lui,Dieu me rappelle, And if God should gather me to his side, Je ve~lleraisur toi fi&le, I shall watch over you faithfully, 0 Marguerite! 0 M~~ueritel Avant de quitter etc. Before I leave, etc 6 Roi des cieux,jette les yeux, 0 King of Heaven, look to me, Protkge Marguerite, Roi des cieuxl And defend Marguerite, 0 King of Heaven.

MOZART:SE VUOL BALLARE (Le Nozze di Figaro: Act I, Scene 2. Libretto: Lorenzo Da Ponte) Figaro has discovered that his employer, the Count, has plans to sleep with Susanna. Figaro's bride-to be, before the marriage has been consummated. FIGARO RGARO Se vuol ballare, Signor Contino, If you woulddance, my dearest Count, 11 chitamno le suouer6. The tune is for me to dec~de. Se vuol venire nella mia scuola If you would come to my schwl. la capriola le insegnerb. How to jump is for me to teach. Saprb.. . ma piano, megiio ogni arcano I'll find out. .. but with care; his secret plans dissimulando scoprir ptrb! I'll sooner reveal by dissembling! L'arte schennendo, i'arte adoprando, The art of fencing and manipulation, di qua pungendo, di 18 scherzando, Here stinging, there joking; tutte le macchine muescerb. All your plots 1'11 overthrow. Se vuol ballare, Signor Contino, If yon would dance, my dearest Count, il chitarnno le suonerb. The tune is for me to decide.

MOZART:HAI CIA VINTA LA CAUSA... VEDR~MENTR'IO SOSPIRO (Le Nozze di Figaro: Act Ill, Scene 4) Having overheard a conversation between Figaro and Susanna, the Count realizes that there is a plot to trick him IL CONTE COUNT Hai gii vinta la causa! Cosa sento! 'We've won our ease!' What do 1hear! In qua1 laccio io cadea? Pedidil In what trap have I fallen?The scoundrels! 10 voglio di tal modo punirvi, a piacer mio I'll punish them in such a way that thesentence la sentenw s&. brings me pleasure. Ma s'ei pagasse la vecchia pretendente? But what if he pays off off the oldwoman? Pagarla! In qua1 maniera! Pay her? And how? E poi v'e Antonio, che a un incognito Figam And then there's Antonio, who to an unknown Rgam ricusa di dare una nipote in matrimonio. will refuse his niece's hand. Coltivando I'mgoglio dl questo meutecatto, If I flatter the pride of that half-wit, tutto giova a nn raggiro, il colpo & falto. All favours my plot. The die is east. Aria: Aria: Vedrb mentre io sospiro, Must I, filled with sighs, felice un servo mio! See my servant happy? E un ben ch'invan desio, Shall a treasure I descre in vain ei posseder dovri? Be possessed by him? Vedrb per man d'amore Must I see. bound by love unlta a un vile oggetto To a simple serf, chi in me destb un affetto The one who roused in me a passion che per me pinon ha? She does not feel for me? Ah no! Lasciarti in pace? Ah no, I won't leave yon to it, Mon vo' questo contento. Won't give yon the satisfaction. Tu non nascesti, audace, You were not bom, bold fellow, per dare a me tormento, To torment me e forse ancor per ridere And indeed to jest di mia infeliciti. At my unhapp~ness. Gih la speranza sola Now the hope alone delle vendette mie Of getting my revenge qnest'anima consola, Comforts my soul e giubilar mi fa. And makes me rejoiw.

WAGNER:WIE TODESAHNUNG ... 0, DU MElN HOLDER ABENDSTERN (Tannhduser: Act Ill, Scene 2) TannhBuser has disappeared, and Elisabeth searches for him in vain, returning broken-hearted to the castle. Wolfram. who loves her with faithful devotion, has a presentiment of her death. WOLFRAM WOLFRAM Tie Todesahnung Damm'Nng deckt die Lande, Like a harbinger of death, twilight covers the earth; umhnllt das Tal mlt schwarzhchem Gewande, It wraps the valley in its robe of bld~kness; der Seele, me nach jenen Hoh'n verlangt, The soul that longs to attain those heights, vor ~hremFlug durch Nacht und Grausen hangt Is afraid lo take its flight through the night and its horrors. Da schelnest du,o liebl~chsterder Sterne, There you shine, most kindly of the stars, de~nsanftes Licht entsendest du der Ferne, You emlt your gentle l~ghtfrom far away; d~enacht'ge Damm'~ngtellt dein Ireber Strahl, Your benign beam sunders the dark twllight und freuudhch zergst du den Weg aus dem TdI And kindly you indicate the way out of the valley. 0,du man holder Abendstern, 0,my fair evening slar. wohl grub' ich ~mmerdich so gern, Indeed I always greeted thee so gladly: vom Herzen. das sle nie vemet, From the heart that ne'er betrayed her, grulle sie, wenn sle vorbel du z~ebt, Greet her when she passes by, wenn sle entschwebt dem Tal der Erdeu, When she soars aloft from this earthly valley eln sel'ger Engel dort zu werden To become a blessed angel up above.

TCHAIKOVSKY:YA VAS LYUBLYU (The Queen ofspades: Act 11, Scene I. Libretto: Modest Tchaikovsky, based on story by Pushkin) At a masked ball in St Petersburg, Prince Yeletsky reassures his fiancee Liza of his love for her. YELETSKY YELEiTSKY X sac ~uo6m0,moSnm6e3hiep~0, I love you beyond meaqure Ees sac ne %m~cmoRHR np~mrm And can't think of Irving a day w~thoutyou Pi nomsr CII~I6ecnpicbiepuoil The most impossiblefeats rom~ceZlqac w sac c~eplmlla. I am ready to do for you. Ho snainx cepm nauero cao6ogy But remember. the 'eedom of your heaa Hurehc n He xolry mccmb, 1will not restrict TO'TOB CKpbrBa7bCII BaM B If you so wish,I*Il vanish m IIhUl peBluU3blX qynCTB YHXTh, And keep my jealousy chained. Ha nce, Ha Bce mm nac m! I would do anylhing for you1 Hemre~onm6mupv cynpymM, Not just a loving husband, But a servant useful at times, And your friend I yearn to he, Someone to comfort you always!

Ho ncuo nimy, U~BCTBYIO Tenepb n, But now I clearly see and feel, Kyna ce6n B MeUTaX mBneK, How I was fdedby my dreams, KaK Mall0 B BaC KO MHe Jpepb8, How little trust you have m me, K~Krym s naM u Kau ~ane~! How strange and distant I am to you! Ax, X Tep3itlWb 3mk UWhH), Oh, I am pained by this distance; COCTP- nab! n ncefi gymoii, I feel for you with my entire heart, IIesanmcb aameir n nmanbm I'm saddened by your grief, M nnary smero crre3ofi. .. And cry with your tears... Ax, n Tepamcb 3ml uanbm, Oh, I am pained by this distance; Coc~pmqye.a~ n xek gymofil I feel for you with my entire heart! II nac nfo6~0,m05nm 6e3hcepu0, I love yon heyondmeasure Be3 nac He M~ICNOUHR npoxn~b, And can't think of living a day without you. II nomfcrcnnhf 6ecnpmhcepmoii The most impossible feats rmoa ceilrac arm sac csepmfnbl I am ready to do for you! 0, human, uoaepbTecb acme! Oh my dearest, trust in me!

ROSSINI: LARGO AL FACTOTUM (I1 barbiere disiviglia: Act I, Scene 2. Libretto: Cesare Sterbini) Figaro, a barber in the city of Seviile, makes his nrst appearance in the opera. introducing himself and his many and varied skills. FIGARO FIGARO La ran la le ra la ran la la. La ran la le ra la ran la la. Largo a1 factotum della citt8, largo! Make way for the factotum of the city. La ran la le ra la ran la la. La ran la la, etc. Presto a bottega che I'alha b gib, presto! Rushing to his shop for dawn is here.. La ran la le ra la ran la la. La ran la la, etc. Ah, che he1 vivere, che be1 piacere What a merry life, what merry pleasures per un barbiere di qualit%! For a barber of quality. Ah, bravo Figam, bravo, bravissrmo. hravo! Ah. hravo Figam, bravo, hravissmo, bravo! La ran la le ra la ran la la. La ran la la, etc. Fortunatissimo per veritk! Bravo! Most fortunate of men, Indeed you are! La ran la le ra la ran la la. La ran la la, etc. Pronto a far tutlo, Prepared to do everything la notte e 11 giomo By night or by day, sempre d'mtomo in gim sta. Always in bustle,mnning about. Miglior cuccagna per un barblere, A better lot for a barber, vita pih nohde, no, non SI da. Afiner life does not exist. La ran la le ra la ran la la. La ran la la, etc. Rasori e pettini Razors and combs, lancelte e forhici, Lancets and scissors, al mocomando At my command tutto qui sta. Everything's ready. V'i la risorsa, Then there are 'extras' poi, del mestiere Part of my trade, colla donnena, w1 cavaliere... Business for ladles and gentlemen... La ran la le ra la ran la la. La ran la la, err. Ah, che be1 vivere, cbe be! placere Ah, what a merry life, what meny pleasures per un barhiere di qualit&! For a hberof quality. Tutti m chledono, tutti mi vogliono. All call for me, aU want me, donne, ragazzi, vecchi, fanciulle: Ladies and boys,old men and girls Qua la parmcca ...Presto la barha. .. I need a wig, 1 want a shave, Qua la sanguigna... Leeches to bleed me, Presto il higlietto. .. Quick, take ths note. Qua la parmcca, presto la harba, I need a wig, I want a shave, Presto il higlieno.ehi! Quick, take this note. Flgam! Flgam! Figaro! Ho, Figaro, Figm,Flgaro! Ahimi,che furia! Heavens! what a commotion! Ahim*, che folla! Heavens! \mat a cmwd! Uno alla volta,per carita! One at a time, forplty's sake. Ehi,Figaro! Son qua. Ho, Figam! - I am here! Wgam qua, Figam 18, Rgam here, Figaro there, Figaro su, Figam gil, Figam up, F~gamdown. Pmnto prontissimo son come d fulmine: Quicbr and quicker 1'111 Iike the lightning. sono il factotum della citti?. I am the factotum of the city Ah, bravo Figam, bravo, bravissimo; Ah, hravo, Figaro, hravo, bravissimo, ate fortuna non mancherh. On you good fortune will always smtle. La ran la le ra la ran la la. La ran la la, etc. Sono il factotum della citta. I am the factotum of the city. MOZART:RIVOLGETE A LUI LO SGUARDO, K 584 (Text: Lorenzo Da Ponte) This aria was originally intended for Act I, Scene 11 of Cosifan tutte, in which Guglielmo and his friend Ferrando, in disguise, are testing the fidelity of their fiancees Fiordiligi and Dorabella. GUGLIELMO GUGLIELMO Rivolgele a lui lo sguardo (tu Fiordiligi) Turn your gaze on him e w'edrete come sta. And see the state he's in. Tutto dice: io gelo, io ardo ... All about him says: I freeze, 1 bum ... idol mio, pieti! My beloved, have mercy! E voi, cara, un sol momento (to Dorubellu) And you, dear. just for a while il be1 ciglio a mc volgete, Turn your fair eyes my way: e nel mio ritro\'erete In mine you will discover quel che il labbro dir non sa. That which lips cannot speak. Un Orlando innamorato An Orlando in love non i: niente in mio confronto; Is nothing compared to me; un Medoro il sen piagato A Medoro \w,ith wounded breast, verso lui per nulla io conto; Neat to him (points nt Fermrdo) I count as null. son di faco i miei sospiri. Of fire are my sighs, son di bronro i suoi desiri. Of bronze are his desires. Se si parka poi di merito. And if one speaks of merit. certo io sono, ed egli i: certo, I am certain, and cerfain is he, che gli uguali non si trovano That our equals cannot be found da Vienna al Canadi. From Vienna to Canada. Siani due Cresi per richez~a, In wealth we are two Cmsuses, due Narcisi per bellezza; In beauty two Narcissuses; in amor i Marcantoni In love, all the Mark Antonys verso noi sarian buffoni; Next to us ate buffoons. siam pih forti d'un Ciclopo, We are stronger than a Cyclops, letterati al par di Esopo; As well-read as Esop; se balliamo, un Pich ne cede, If we dance, elpenPique would yield, sl gentile snello 2 il piede. So graceful and fleet are our feet. Se cantiam col trillo solo If we sing, even onc single trill facciam torlo all'usignuolo. Will embarrass the nightingale, e qualch' aluo capitale And some other assets wve have ahbiam poi che alcun non sa. \Vhich no one knows about. (I,rdigrmnnt{s the prorg luclie. Bella, bella, tengon sodo: Well, well, they hold strong. Se ne vanno ed io ne godo; Had they stayed, 1 would have grieved; Eroine di costanza. Heroines of constancy, specchi son di fedelti. They are mirrors of fidelity. VI MNYE PISALI... ~(OGDABI ZHlZN DOMASHNIM I

VERDI: SON 10, MI0 CARLO... PERME GIUNTO... 0 CARLO, ASCOLTA (Don Carlo: Act Ill [IV], Part 11, Scene I. Libretto (in French): Camille du Locle and Joseph M6ry. Italian translation: Achille de LauziPres/Angelo Zanardini) Rodrigo, Marquis of Posa, visits Don Carlo, crown prince of Spain in his prison cell, to tell him that he will be released, but that Posa himselfwill have to die. While he is singing he is shot by a shadowy figure. RODRIGO RODRIGO Son io, niio Carlo. It is I, m), Carlos. Felice ancora son se abbracchr te poss'io! How happy I am to once more embrace you! 10 ti salvai! I iiavc saved you! Convien qui dirci addio. Now we must part! 0,n~io Carlo! Yes, Carlos! Per me giunto 6 il di sspremo. This is for me nly finest day, No, mai pih ci rivedrem; No, \ve'll never meet again here; Ci congiunga lddio nel ciel, God will bring us together in heaven Ei che premia i suoi fedel. Where lie rewards the faithful. Sul tuo cigiio il pianto io miro; In your eyes I see pain: La,gimar COG,perchC? \Wiy weep like this? No, fa cor, I'estremo spiro No, have courage: the final breath Lieto 8 a chi morr3 per te. Is joyous to him that dies for you. 0 Carlo, ascolta: la madre t'aspetta Listen, Carlos... Your mother expects you A San Giusto doman; tutto ella sa.. . Tomorrow at Saint-Just; she knows all ... Ah! la terrami manca. .. Ah! The nrorld slips away ... Carlo mio, a me porgi la man! 0 Carlos! Give me your hand! 10 morrb, ma lieto in core, I die, but with a happy heart, Chi potei cosi serbar As I could preserve Alla Spagna un salvatore! A saviour for Spain! Ah! ... di me non ti scordar! Ah! Do not forget me! Regnare tu do\revi, ed io morir per te. You must reign, and I must die for you! Ah! 10 morrb, ma lieto in core, I die, but with a happy healt. Ch6 potei cost serbar As I could preserve Alla Spagna un salvatore! A saviour for Spain! Ah!. .. di menon ti scordarl Ah! Do not forget me! Ah! la terra mi manca... la mano a me, a me... Ah! The worldslipsaway ... give me your hand ... Ah! salva la Fiandra, Carlo, addio ah! Ah! Ah! Save Flanders! Carlos, farewell, ah!

H BRITTEN: LOOK! THROUGHTHE PORT COMES THE MOONSHINE ASTRAY (Billy Budd: Act II, Scene 3. Libretto by E.M. Forster and Eric Crozier, adapted from the story by Herman Melville) The young sailor Billy Budd has been se~ltencedto death for having killed a sadistic superior in a rage. In his cell he prepares himself for the execution, scheduled to take place at day-break. BILLY BUDD Look! Through the pat comes the moonshine asbay! It tips the guard's cutlass and silvers this nook; But '!will die in the dawning of Billy's last day. Ay, ay, all is up; and1 must up too Early in the morning, aloft from below. On an empty stomach, now, never would it do. They'll give me a nibble bit of biscuit ere I go. Sure, a messmate WIU reach me the last parting cup: But turning, hlming, turning heads away From the hoist and the belay. Heaven knows who will have the mnnlng of me up! No plpe to those halyards. But ain't it all sham? A blur's in my eyes; it is dreaming that I am. But Donald he has promised to stand by the plank, So I'll shake a friendly hand ere I sink. But no! no! It is dead then I'l! be, come to think. They'll lash me in hammock, drop me deep, Fathoms down. fathoms- how I'll dream fast asleep. I feel it stealing now; roll me over fair. I'm sleepy and the oozy weeds about me twlst. BCopynghI tgs byHowkes & Son (London) Ltd. Reproduced bypermission ofBoosey& Hawkes MusrcPubUshersLtd MOZART:DEH, VlENl ALLA FINESTRA (Don Giovanni:Act II, Scene 3) Disguised as Leporello, Don Giovanni attempts to seduce the maid of Donna Elvira, his discarded mistress, by performinga serenade beneath her window, accompanying himself on the mandolin. DON GIOVANNI DON GIOVANNI Deh, vieni alla finestra, o mio tesoro, Come to the window, my darling, Deh, vienl a consolar il pianto mlo. Come to console my tears. Se neghi a me di dar qualche ristom, If you wtil not give me some solace Davantl agli occhi Noi morir vogl'io! I shall dle before your eyes! Tu ch'hai la hocca dolce pih che il miele, You, whose lips are sweeter than honey, Tu che il zucchero porti in mezzo il core, You, whose hem is full of sugar, Non esser, gioia mia, con me cmdele: Don't, my precious. be cmel lo me: Lasciati almen veder, mio bell'amore! At least show yourself tome, my fair love! The music on this Hybrid SACD can be played back in Stereo (CD and SACD) as well as in 5.0 Surround sound (SACD). 1 Our surround sound recordings aim to reproduce the natural sound in a concert venue as faithfully as possible, using the newest technology. In order to do so, all five channels are recorded using the full frequency range, with no separate channel added: a so called 5.0 configuration. Ifyour sub-woofer is switched on, however, most systems will also automatically feed the bass signal coming from the other channels into it. In the case of systems with limited bass reproduction, this may be of benefit to your listening experience.

Recording: November 2008. March 2009 and October 2010 at the Stockholm Concert Hail, Sweden Producer: Thore Brinkmann Soundengineec Fabian Frank Equipment: Neurnann microphones; RME Mtcstacy microphone preamplifierand high resoluttonAID converter: MAD1 opticalcabling; Yarnaha o2Rg6 dig~talrnixer;Sequoia Workstation; Pyramix DSD Workstation; B&W Nautilus 802 loudspeaker%STAX headphones Post-production: Editing: Elisabeth Kemper, Michaela Wiesheck, Thore Brlnkrnann Mixing:Thore Bdnkmann Executhre producer: Robert Suff BWKLE~U~DGmlc DESIGN Covert&@ Inmid GPfvert zoio Translationr: An'brew Batnett (English): Anna Larnberli (German); Arlette Lemleux.Chen6 (French) Front cover photograph: OKen Howard IMetropolitan Opera Typesetting, lay.out:Andrew Barnett, Compact Design Ltd. Saltdean, Brighton. England BIS recordings can be ordered from our distributors worldwide. iiwe have no representationin yourcountry, please contact: BIS Records AB. StationsvIgen20, SE-184 50Akersberga, Sweden Tel.: 08 0nt.+46 8) 54 4102 30 Fax: 08 (Intit4681 54 41 02 40 [email protected] www.bls.se

BIS-SACD-1749 8 2010 & O 2011, BIS Records AB, Akersberga. Front cover: Peter Mattei as Figaro (I1 barbiere diSiviglia. act 1) at the Metropolitan Opera, p November 2006.0 Ken Howard 1 Metropolitan Opera Finch'han dal vino Mozart, Don Giovanni MetB di voi qua vadano Mozart, Don Giovanni Uzhel ta samaya Tatyana Tchaikovsky, Eugene Onegin Blick' ich umher Wagner, Tannhlluser Avant de quitter ces lieux Gounod, Faust Se vuol ballare Mozart, Le Norre di Figaro Hai giB vinta la causa Mozart, Le Noue di Figaro Wie Todesahnung Wagner. Tannhlluser Ya vas lyublyu Tchaikovsky, The Queen of Spades Largo al factotum Rossini, 11 barbiere di Siviglia Rivolgete a lui lo sguardo Mozart, K 584 Vi mnye pisali Tchaikovsky, Eugene Onegin Son io, mio Carlo Verdi, Don Carlo Look! Through the port Britten, Billy Budd Deh, vieni alla finestra Mozart, Don Giovanni

PETERMATTEI baritone ROYAL STOCKHOLMPHILHARMONIC ORCHESTRA LAWRENCE RENESconductor

TT: 63'51 Recording praduiecThore Brinkmann Sound engineer: Fabian Frank THIS HYBRID DISC PLAYS ON BOTH CD & SACD PLAYERS @ 2010 a Q 2011, BIS RECORDS AB SACD SURROUND / SACD STEREO / CD STEREO