Tenore di forza Kristian Benedikt sings favorite arias DE 3571

Lithuanian National Modestas Pitrėnas, conductor

1 DELOS DE 3571 TENORE DI FORZA • KRISTIAN BENEDIKT SINGS FAVORITE TENOR ARIAS DE 3571 • (707) 996-3844 (707) • Juive La • www.delosmusic.com •

© 2019 Delos Productions, Inc., © 2019 Delos Productions, (800) 364-0645 (800) P.O. Box 343, Sonoma, CA 95476-9998 Box P.O. Pilėnai tenor conductor chorus master chorus master [email protected] [email protected] Arias from: • Vytautas Klova: • Vytautas Klova: Samson et Dalila Samson Saint-Saëns: • Camille Total playing time: 68:10 Total

Kristian Benedikt, Kristian Benedikt, • Fromental Halévy: • Fromental Chénier Andrea • : Ponchielli: Cid • Amilcare Le • Jules Massenet: Modestas Pitrenas, Modestas Pitrenas,

I Lituani Radžiūnas, Česlovas Lithuanian National ChorusLithuanian National TENORE DI FORZA DI TENORE Kristian Benedikt Sings Favorite Tenor Arias Tenor Favorite Sings Benedikt Kristian Lithuanian National Symphony Orchestra Symphony Lithuanian National

Queen of Spades Queen of

• P. I. Tchaikovsky: I. Tchaikovsky: • P. Leoncavallo: • Ruggero Die Walküre iuseppe Verdi: Otello Verdi: Giuseppe Umberto Giordano: • : • Richard Turandot ; West del Fanciulla Puccini: La Giacomo

DELOS DE 3571 TENORE DI FORZA • KRISTIAN BENEDIKT SINGS FAVORITE TENOR ARIAS Tenore di forza Kristian Benedikt sings favorite tenor arias

1. : Otello … Datemi 10. : Turandot … ancor l’eburnea mano — Dio mi potevi Nessun dorma (3:34) scagliar (5:36) 11. CAMILLE SAINT-SAËNS: Samson et 2. CAMILLE SAINT-SAËNS: Samson et Dalila … Vois ma misère, hélas! (9:05) Dalila … Arrêtez, ô mes frères! (6:45) 12. AMILCARE PONCHIELLI: I Lituani … 3. UMBERTO GIORDANO: Andrea Esultiamo nel nome del Signor (3:39) Chénier … Colpito qui m’avvete — Un di 13. VYTAUTAS KLOVA: Pilėnai … all’azzurro spazio (5:01) Aš papuošiu žirgo galvą pinavijom 4. FROMENTAL HALÉVY: La Juive … Va, (3:50) prononcer ma mort — Rachel, quand du Seigneur (8:54) 5. GIACOMO PUCCINI: La Fanciulla del Total Playing Time: 68:10 West … Una parola sola — Or son sei mesi (3:31) 6. RICHARD WAGNER: Die Walküre … Kristian Benedikt, tenor Ein Schwert verhiess mir der Vater (6:22) 7. RUGGERO LEONCAVALLO: Pagliacci Lithuanian National Symphony Orchestra … Recitar! — (3:44) Modestas Pitrenas, conductor 8. : Queen of Spades … Chto nasha zhizn? Igra! Lithuanian National Opera Chorus (3:03) 9. JULES MASSENET: Le Cid … Ah! Tout Česlovas Radžiūnas, chorus master est bien fini — Ô Souverain, ô Juge, ô Père (5:04)

2 1. Datemi ancor l’eburnea mano — d’angoscie e d’onte Dio mi potevi scagliar con calma fronte e rassegnato al volere del ciel. Otello — Giuseppe Verdi’s next-to-last Ma, o pianto, o duol! m’han rapito opera — is a tragic tale of jealousy and il mirraggio treachery, and stands as his greatest dra- dov’io, giulivo, l’anima acqueto. matic masterpiece. The title character, Spento è quel sol, quel sorriso, a brilliant Moorish general, has falsely quel raggio been led to believe by Iago — his trai- che mi fa vivo, che mi fa lieto! torous standard-bearer — that his wife, Tu alfin, Clemenza, pio genio immortal Desdemona, has been having an affair dal roseo riso, with Cassio, his captain. In Act III, Otello copri il tuo viso confronts Desdemona about her rela- santo coll’orrida larva infernal! tionship to Cassio, and — not believing her answer — commands her to leave. • Otello then — in “Datemi ancor l’eburnea Give me your ivory hand again, mano — Dio mi potevi scagliar” — asks I would make amends. God why he has afflicted him in such a I took you (forgive me way. The tragedy comes full circle in the if my thought displeases you) end, when Otello murders Desdemona in for that common courtesan a fit of jealous rage. that married with Othello.

Datemi ancor l’eburnea mano, God! You could have rained upon my head vo’ fare ammenda. every affliction of poverty and shame, Vi credea (perdonate made of my heroic honors in battle se il mio pensiero è fello) a heap of ruination and a lie . . . quella vil cortigian and I would have borne the cross che è la sposa d’Otello. of torment and disgrace gladly and resigned to the will of heaven. Dio! mi potevi scagliar tutti i mali But — O tears and pain! – della miseria, della vergogna, to rob me of that vision far de’ miei baldi trofei trionfali in which my soul was joyfully wedded! una maceria, una menzogna… That sun has been snuffed out, E avrei portàto la croce crudel that smile, that ray

3 which gives me life and happiness! SAMSON That sun has been snuffed out, etc. Arrêtez, ô mes frères! Mercy, thou immortal Et bénissez le nom rose-lipped angel, du Dieu saint de nos pères! cover your holy face Car l’heure du pardon with the terrible mask of hell! est peut-être arrivée! Ou, j’entends dans mon coeur une voix elevée! 2. Arrêtez, ô mes frères! C’est la voix du Seigneur qui parle par ma bouche. Based on the biblical tale of Samson and Ce Dieu plein de bonté, Delilah from the Book of Judges, Camille que la prière touche, Saint-Saëns originally sought to retell the promet la liberté! story as an oratorio — but was persua- Frères, brison nos chaînes, ded to cast it in operatic form (Samson et relevons l’autel et Dalila) instead. It has remained one du seul Dieu d’Israël! of the handful of most beloved French ever since. The Philistines have LE CHOEUR enslaved and brutally oppressed the He- Hélas ! Paroles vaines ! brews. As Act I begins, Samson addresses Pour marcher aux combats, his dispirited fellow Hebrews, and — seek- où donc trouver des armes? ing to revive their faith and spirit of resis- Comment armer nos bras? tance — he exhorts them to rise up against Nous n’avous que nos larmes! their oppressors in his aria “Arrêtez, ô mes frères!” Attacked by the Philistine Satrap SAMSON Abimélech, the preternaturally strong L’as-tu donc oublié, Samson wrests the sword from him and celui dont la puissance kills him. The high priest of the Philistine Se fil ton allié? god Dagon then resolves to enlist the aid Lui qui, plein de clémence, of the beautiful Delilah to learn the secret a si souvent pour toi of his strength. fait parler ses oracles, et rallumé ta foi au feu de ses miracles? Lui qui, dans l’Océan,

4 Sut frayer un passage SAMSON a non pères fuyant O my brothers, cease! un honteux esclavage? and bless the name LE CHOEUR Of the holy God of our fathers! Ils ne sont plus, ces temps For perhaps the hour où le Dieu de nos pères of our pardon has come! protégeait ses enfants, Yes, I hear a most high entendait leurs prières. voice in my heart! It is the voice of the Lord SAMSON speaking though me. Malheureux, taisez-vous! This God, full of goodness, Le doute est un blasphème! moved by prayer, Implorons à genoux, promises our freedom! le Seigneur qui nous aime! Brothers, break our chains, Remettons dans ses mains and restore the altar le soin notre gloire, of the One God of Israel! et puis ceignons nos reins certains de la victoire! CHORUS C’est le Dieu des combats! Alas, empty words! C’est le Dieu des armées! To march to combat, In armera vos bras d’invincibles épées! where are we to find any weapons? How do we take up arms? LE CHOEUR All we have is our tears! Le souffle du Seigneur a passé dans son âme! SAMSON Chassons de notre coeur Can you have forgotten une terreur infame, him who joined et marchons avec lui his force to yours? pour notre délivrance. He, quick to forbear, Jéhovah le conduit Who has so often blessed et nous rend l’espérance! you in his oracles, and rekindled your faith • in the fire of his miracles? He who in the Ocean

5 did open a passage 3. Colpito qui m’avete — Un di to our fathers as they fled all’azzurro spazio a shameful bondage? After several unsuccessful earlier op- CHORUS eratic efforts, Umberto Giordano final- Those days are no more, ly produced his first smash hit, Andrea when the God of our fathers Chénier, in 1896. One reason the opera protected his children has remained in the repertoire is that it and listened to their prayers. is a vocal showcase for the finest . The was adapted from the actual SAMSON life story of the noted French poet André Silence, you wretches! Chénier, who was executed during the Doubt is blasphemy! French Revolution. The convoluted plot Let us kneel and implore ends as the title hero and his beloved the Lord who loves us! Maddalena, a deposed woman of the ar- once more let us entrust istocracy, face the guillotine together. The our glory to his hands, aria “Un dì all’azzuro spazio” (also known and then shall we gird our loins, as “L’improvviso”) comes in Act I, when sure of victory! Maddalena — during a lavish ball — pes- He is the God of battles! ters a reluctant Andrea to recite a poem. He is the God of armies! Finally, angered, he improvises an impas- He will put invincible weapons sioned poem about the true nature of love into your hands! and the misery of the poor, before lashing out at the aristocratic establishment. CHORUS The breath of the Lord Colpito qui m’avete has passed into his soul! ov’io geloso Let us chase from our hearts celo il più puro palpitar dell’anima. a coward’s fear, Or vedrete, fanciulla, qual poema and march with him è la parola “Amor,” for our deliverance. qui causa di scherno! Jehovah leads him and restores our hope. Un di all’azzurro spazio guardai profondo,

6 e ai prati col mi di viole, E dissi: piove va l’oro il sole, Ecco la bellezza della vita! e folgorava d’oro il mondo; Ma, poi, alle vostre parole, parea la Terra un immane tesor, un novello dolor, e a lei serviva di scrigno, m’ha còlto in pieno petto. il firmamento. O giovinetta bella, Su dalla terra a la mia fronte d’un poeta non disprezzate il detto: veniva una ca’rezza viva, un bacio. Udite! Gridai, vinto d’amor: Non conoscete amor, T’amo, tù che mi baci, amor, divino dono, no lo schernir, divinamente bella, del mondo anima e vita è l’amor! o patria mia! E volli pien d’amore pregar! • Varcai d’una chiesa la soglia; You have struck me here, là un prete nelle nicchie dei santi where I, jealous, e de la Vergine, accumulava doni... hide my soul’s purest pulse. e al sordo orecchio Now, young Lady, you will see un tremulo vegliardo invano what a poem the word “Love” is: chiedeva pane, e invan stenddea la mano! Here, a cause for ridicule Varcai degli abituri l’uscio; One day, deep in thought, un uom vi calunniava bestemmiando I looked to the blue spaces, il suolo And to the violet-strewn fields, che l’erario a pena sazia the sun’s gold rained down — e contro a Dio scagliava, illuminating the gold of the earth; e contro a li uomini the Earth seemed a vast treasure, le lagrime dei gli, and the skies served as a coffin to her. in cotanta miseria. La patrizia prole, To my face there came from the earth, che fa? a vibrant caress, a kiss. Sol l’occhio vostro Overwhelmed by love, I shouted, esprime umanamente qui, I love you who kisses me: un guardo di pietà, My divinely beautiful homeland! ond’ io guardato ho a voi sì And I wanted to pray with great love! come a un angelo. I passed through a church’s door,

7 where a priest, in the alcove of the saints 4. Va, prononcer ma mort — Rachel, and of the Virgin, was gathering gifts. quand du Seigneur And to his deaf ear, a trembling old man begged Fromental Halévy’s La Juive (The Jewess) in vain for bread, was one of the nineteenth century’s most and in vain reached out his hand. admired operas, widely considered as an I entered a workman’s hovel, early plea for religious tolerance. Loosely where a man was blaspheming: based on actual medieval history, it tells swearing at the earth the tale of Eléazar, a Jewish goldsmith that barely fills the treasury, who had been banished by his nemesis, swearing against God Count Brogni. By an ironic twist of fate, and against men; Eléazar had found the Count’s lost infant at the tears of his children daughter and raised her as Rachel, his in such misery; the patrician offspring; own child. The unaware Brogni — now a what can they do? cardinal — had her imprisoned and con- Here, only your eye demned to death for her affair with a expresses humanely. Christian nobleman. In his Act IV aria, A look of pity, as I looked at you; “Va, prononcer ma mort — Rachel, quand you, like an angel. du Seigneur,” Eléazar laments that he has And I said: wanted only Rachel’s happiness, but has Here’s life’s beauty! instead caused her condemnation — be- But then, at your words, fore giving voice to his (unsuccessful) de- A new sadness termination to save her by revealing her has seized my heart. true identity. Oh beautiful young lady, don’t demean a poet’s words. Va, prononcer ma mort, ma vengeance Listen! est certaine! You don’t know love. C’est moi qui pour jamais te condamne Love’s a divine gift; don’t ridicule it; a gémir! the life and soul of the world is love! J’ai fait peser sur foi mon éternelle haine et maintenant je puis mourir! Mais ma fille!... O Rachel!... quelle horrible pensée. Vient déchirer mon coeur

8 délire affreux rage insensée But I can hear a voice calling to me: pour me venger c’est toi qu’immole save me from the death which awaits me! ma fureur! I am young and I cling to life! O my father, spare your child! Rachel, quand du Seigneur la grace tutelaire a mes tremblantes mains confia ton berceau, 5. Una parola sola — Or son sei mesi j’avais à ton bonheur voué ma vie entière et c’est moi qui te livre au bourreau! In Giacomo Puccini’s La fanciulla del West, his beautifully crafted operatic Mais j’entends une voix qui me crie: “spaghetti western,” Minnie is a saloon sauvez-moi de la mort qui m’attend! owner at a miners’ camp during Califor- Je suis jeune et je tiens à la vie, nia’s gold rush. A stranger arrives, intro- o mon pere, épargnez votre enfant! ducing himself as Dick Johnson — who is Ah! Rachel, quand ... ecc. actually Ramerrez, the leader of a gang of bandits. Johnson is left alone with Minnie • in the saloon, so that he can rob the min- Go ahead and announce my death, ers’ gold stashed there. He learns where my revenge is assured! the gold is hidden, but swears to protect It is I who will condemn you to grief! both her and the treasure. She then in- I pretended my eternal hatred, vites him to her nearby cabin. In Act II, he and now I can die! arrives at the cabin, where they declare But my daughter! ... their mutual love. Minnie then learns that O Rachel! What a horrible thought. Johnson is in fact the bandit Ramerrez and Just tear apart my heart confronts him. He tells her that he came in frightful, mad rage. to rob her, but couldn’t go through with it To avenge me it is you that ignites my fury! after meeting her. In his aria, “Una parola sola — Or son mesi,” he tells her of his sor- Rachel, when the Lord’s saving grace did life; but that now he no longer wants entrusted your cradle into my hands, to live the life of a criminal. In the end, the I made your happiness pair rides off to begin a new life together. the avowed aim of my whole life — and it is I who am now sending you Una parola sola. to your execution! Non mi difenderò: sono un dannato!

9 Lo so, lo so! Ma non vi avrei rubato! Now it’s been six months since my Sono Ramerrez: nacqui vagabondo father’s death ... era ladro il mio nome And then I knew! da quando venni al mondo. My only means of supporting Ma fino a che fu vivo my mother and brothers, mio padre, io non sapevo. the only thing he left us, was a gang of highway robbers Or son sei mesi che mio padre morì... and bandits! Sola ricchezza mia, I accepted it — that was my fate! per la madre e pei fratelli, alla dimane, But then one day I met you, veredità paterna: and I dreamed of going far Una masnada di banditi da strada! away together L’accettai. Era quello il mio destino! to make amends with a new life Ma un giorno v’ho incontrata of honest work and love … ho sognato d’andarmene con voi And my lips mouthed tanto lontano a fervent prayer: e redimermi tutto in una vita Oh God! May she never know my shame! di lavoro e d’amore... But that prayer was in vain. E il labbro mio mormorò Alas! Now I’m finished. un’ardente preghiera: Oh Dio! Ch’ella non sappia mai la mia vergogna! 6. Ein Schwert verhiess mir der Vater Il sogno è stato vano! Ahimè! Ora ho finito. In Die Walküre — the second of the four • operas comprising Richard Wagner’s mas- Let me just say one word. sive Ring of the Niebelungs quadrilogy, But not in self-defense: the hero Siegmund — as he is being pur- I am accursed. I know! I know! sued by his enemies — stumbles upon But I would not have robbed you! a house built around a huge ash-tree. I am Ramerrez, vagabond by birth: Wounded and weaponless, he enters and From the day of my birth I was raised on faints from exhaustion. Sieglinde — the stolen money. unwilling wife of the property’s owner, But while my father was living I didn’t Hunding — rouses him and gives him re- know it. freshment. Hunding arrives, asking for

10 the stranger’s story — and soon realizes bricht mir hervor aus der Brust, that Siegmund is his enemy. Nonetheless, was wütend das Herz noch hegt? he allows Siegmund to stay the night, but warns that they must fight to the death in Was gleißt dort hell im Glimmerschein? the morning. After Hunding retires for the Welch ein Strahl bricht aus der night, Siegmund — who has fallen in love Esche Stamm? with Sieglinde (actually his long-lost twin Des Blinden Auge leuchtet ein Blitz: sister) — sings in “Ein Schwert verhiess mir lustig lacht da der Blick. der Vater” — that his father Wälse (a.k.a. Wie der Schein so hehr das Herz Wotan, the king of the gods) had promised mir sengt! him a sword in his hour of greatest need. Ist es der Blick der blühenden Frau, Then, in the dwelling’s dim light, he spies den dort haftend sie hinter sich ließ, a gleaming sword buried to the hilt in the als aus dem Saal sie schied? ash-tree’s trunk. Later, Sieglinde — having drugged Hunding into a deep sleep — re- Nächtiges Dunkel deckte mein Aug’, turns and tells Siegmund how the sword ihres Blickes Strahl streifte mich da: came to be there. Siegmund then raptur- Wärme gewann ich und Tag. ously pulls the sword from the tree, swear- Selig schien mir der Sonne Licht; ing to protect his “bride and sister” with it den Scheitel umgliß mir ihr before they run off together into the night. wonniger Glanz — bis hinter Bergen sie sank. Ein Schwert verhieß mir der Vater, ich fänd’ es in höchster Not. Noch einmal, da sie schied, Waffenlos fiel ich in Feindes Haus; traf mich abends ihr Schein; seiner Rache Pfand, raste ich hier: - selbst der alten Esche Stamm ein Weib sah ich, wonnig und hehr: erglänzte in goldner Glut: entzückend Bangen zehrt mein Herz. da bleicht die Blüte, das Licht verlischt; Zu der mich nun Sehnsucht zieht, nächtiges Dunkel deckt mir das Auge: die mit süßem Zauber mich sehrt, tief in des Busens Berge im Zwange hält sie der Mann, glimmt nur noch lichtlose Glut. der mich Wehrlosen höhnt! Wälse! Wälse! Wo ist dein Schwert? • Das starke Schwert, My father promised me das im Sturm ich schwänge, that I would find a sword

11 to serve me in my hour of direst need. And again, as she departed, I came to my enemy’s house; her visage shone upon me as at sunset; where I now lie, a helpless hostage. even the ash tree’s ancient trunk I saw a woman, wondrous and fair, gleamed in its golden radiance: who made my heart tremble with bliss. the blossoms grow pale as the light dims; The woman who has captivated me The darkness of night covers my vision: with wounds of sweet enchantment, deep in the mountains of my bosom, is held in thrall by the man only the embers’ soft glow remains. who mocks his unarmed foe. Wälse! Wälse! Where is your sword? The mighty sword, 7. Recitar — Vesti la giubba that will serve me in battle, when the fury in my heart Ruggero Leoncavallo’s La Bohèmemay Breaks forth from my bosom? have fallen into neglect, but Pagliacci, his dramatically gripping “play within a play,” What gleams there so brightly in has kept his name alive. Cast in two brief the dimness? acts, the work is usually paired with an- What ray shines forth from the ash other short opera, most often Mascagni’s tree’s trunk? : a pairing popularly A bolt of lightning strikes the blind eye, known as “Cav-and-Pag.” Canio, direct- and the vision laughs merrily. ing an itinerant troupe of actors, suspects How the sublime light scalds my heart! that his wife, Nedda, is having an affair. Is it the blooming woman’s glance In “Recitar — Vesti la giubba,” one of the that remained behind most iconic of tenor arias, is Canio’s heart- when she left the room? rending outpouring as he sings that he must don his clown’s costume and make Night’s darkness had covered my eyes, his audience laugh — even though he is but as the beam of her gaze weeping within at his wife’s infidelity. Fi- stroked them, nally, the actual betrayal plays itself out warmth and daylight came upon me. before an unsuspecting audience, ending The sun’s light shone blessedly upon me; when Canio murders both Nedda and her in parting, her loving glance glowed lover onstage. until it sank behind the mountains.

12 Recitar! laugh, clown, so the crowd will cheer! Mentre preso dal delirio, Turn your anguish and tears into jest, non so più quel che dico, your agony and sobs into a funny e quel che faccio! face — Ah! Eppur è d’uopo, sforzati! Bah! Laugh, clown, Sei tu forse un uom? at your broken love! Tu se’ Pagliaccio! Laugh at the misery that poisons your heart! Vesti la giubba e la faccia infarina. La gente paga, e rider vuole qua. E se Arlecchin t’invola Colombina, 8. Chto nasha zhizn? Igra! ridi, Pagliaccio, e ognun applaudirà! P. I. Tchaikovsky’s Queen of Spades is set Tramuta in lazzi lo spasmo ed il pianto in eighteenth-century Russia. The army in una smor a il singhiozzo il dolor, officer Hermann has become obsessed Ah! with gambling. He falls in love with Liza, Ridi, Pagliaccio, the granddaughter of the elderly countess sul tuo amore infranto! known as the “Queen of Spades,” who al- Ridi del duol, che t’avvelena il cor! legedly has a secret formula for winning at cards. Hermann sneaks into the countess’s • chambers to compel her to reveal her se- Act! cret, but she dies of fright as he threatens Though in such delirium, her with a pistol. Early in Act III, the ghost I no longer know what I’m saying, of the countess appears, revealing to him or what I’m doing! her three-card winning formula. As the act And yet I must make the effort! Bah! draws to a close, Hermann bets extrava- Aren’t you a man? gantly in a game and wins with the first You’re a clown! two cards, prompting the aria “Chto na- sha zhizn? Igra!” But when he loses every- So don your costume and powder thing upon playing the third card — which your face. turns out to be the queen of spades — the People pay to come here, countess’s ghost reappears, laughing at and they want to laugh. him, driving him to suicide. And if Harlequin steals your Columbina,

13 Chto nosy povesili? Let the loser weep, cursing his fate! Vam strashno? Vam strashno? What is the truth? Only death! Vina! Vina! Like the shore in a sea of torment, it is a haven for us all. Chto nasha zhizn? Igra! Which of us is the favored ones, Dobro I zlo — odni mechty! my friends? Trud, chestnost — skazki dlya babya! Today you — and tomorrow, me! Kto prav, kto schastliv zdes, druzya? Give up the struggle, seize the moment Segodnya ty, a zavtra ya! of good fortune! Tak broste zhe borbu, lovite mig udachi! Let the loser weep, and curse his destiny! Pust neudachnik plachet, klyanya, klyanya Let’s go again? svoyu sudbu! Chto verno! Smert odna! Kak bereg morya suyeti, nam vsem pribe- 9. Ah! tout est bien fini — Ô Souverain, zhische ona. ô Juge, ô Père Kto zh yei milei iz nas, druzya? Segodnya ty, a zavtra ya! The remarkably prolific Jules Massenet Tak broste zhe borbu, lovite mig udachi! was a prominent and highly influential Pust neudachnik plachet, klyanya figure on the French late-Romantic scene. svoyu sudbu! Quite a few of his nearly three dozen op- Idyot yescho? eras enjoyed widespread initial success, though only Werther and Manon have re- • tained a consistent toehold in the modern Why are you so gloomy?) repertory. Some interest in Le Cid, first Are you scared? Are you scared? staged in 1885, has lately been revived, Give me wine! wine! with several notable productions in recent seasons after nearly a century of neglect. What is life? A game! Set in eleventh-century Spain, during the Good and evil — only dreams! height of the Moorish wars, “O Souver- Work and honesty — old wives’ tales! ain, o Juge, o Père” is the hero Rodrigues’ Which of you is right or happy, friends? fervent Act III prayer on the eve of battle Today, you — and tomorrow, me! against an overwhelming Moorish army, Give up the struggle, grasp the moment before leading his forces to victory. of success!

14 Ah! tout est bien fini. Ah, so it is now finally done, Mon beau rève de gloire, my sweet dream of glory mes rèves de bonheur and my dream of happiness s’envolent à jamais! have gone away forever. Tu m’as pris mon amour, You take away my love, tu me prends la victoire, you take away my victory. Seigneur, je me soumets! Lord, I submit myself to you

Ô Souverain, ô Juge, ô Père, Oh sovereign Lord, my Judge, my Father; toujour viole, present toujours ever veiled, but always present. Je t’adorais au temps prospere, I’ve loved you in good times, et te benis aux sombres jours. and I even bless you on sad days. Je vais ou ta loi me reclame I will follow your law, libre de tous regrets humains. free of human remorse.

Ô Souverain, ô Juge, ô Père, Oh sovereign Lord, my Judge, my Father; ta seul image est dans mon ame none but your image que je remet entre tes mains. will I place in your hands

O firmament, azur, lumiere, Oh heaven above, so blue, so bright. esprits d’en haut penche sur moi Oh bright spirits soaring above me, c’est le soldat qui desespere this soldier may be in anguish, mais la chretien garde sa foi. but this Christian’s faith will endure.

Tu peux venir, tu peux paraitre You may come, you may appear to me aurore du jour eternal. on that eternal day.

Ô Souverain, ô Juge, ô Père, Oh sovereign Lord, my Judge, my Father; le serviteur d’un juste maitre as a servant of a just master, répond sans crainte a ton appel. fearless, I will obey your call. Ô Souverain, ô Juge, ô Père! Oh sovereign Lord, my Judge, my Father! •

15 10. Nessun dorma Ed il mio bacio scioglierà il silenzio che ti fa mia! One of the most popular tenor arias in all of opera, “Nessun dorma” comes in Act (le donne) III of Puccini’s Turandot, after its hero, Il nome suo nessun saprà Calàf, has avoided execution by correct- E noi dovrem, ahimè, morir, morir... ly answering all three of Princess Turan- dot’s riddles, thereby winning her hand Dilegua, o notte! in marriage. Turandot, however, reneges Tramontate, stelle! on her promise to marry the successful Tramontate, stelle! suitor and resolves to execute him any- All’alba vincerò! way, unless she fails to discover his true Vincerò, vincerò! name by dawn the next day. Calàf — con- fident that nobody will reveal his identity • to her — sings ecstatically of his imminent (choral reprise — see notes above) victory. Listeners are reminded that Pucci- ni left Turandot unfinished at the time of Nobody will sleep! his death, but the lesser Franco Nobody will sleep! Alfano was commissioned to complete Even you, o Princess, it. In this recording, the performers have in your frigid chamber, chosen the very unusual extra step of at- gaze at the stars, taching Alfano’s choral finale (reprising that shiver with love and with hope. the “Nessun dorma” tune) to the aria itself. But I hide my secret within me, and no one shall know my name. Nessun dorma! Nessun dorma! No, no, Tu pure, O Principessa, I will tell it upon your mouth nella tua fredda stanza, when the light shines. guardi le stelle And my kiss will melt che tremano d’amore the silence that makes you mine! e di speranza. Ma il mio mistero è chiuso in me, (women) il nome mio nessun saprà! His name no one will know... No, no, sulla tua bocca lo And we shall have, alas, to die, to die...! dirò quando la luce splenderà!

16 Vanish, o night! Je ne suis plus qu’un objet de risée. Fade, stars! Fade, stars! Ils m’ont ravi la lum!ère du ciel; At sunrise, I will win! ils m’ont versé l’amertume et le fiel! I will win! I will win! CHOEUR DES HÉBREUX (Choral reprise) Samson, qu’as-tu fait de tes frères? Qu’as-tu fait du Dieu de tes pères?

11. Vois ma misère, hélas! SAMSON Hélas! Israel dans les fers, In the second of this program’s arias from du ciel attirant la vengeance, Saint-Saëns’ Samson et Dalila, the high a perdu jusqu’à l’espérance priest of the Philistine god Dagon has en- par tous les maux qu’il a soufferts! listed the beautiful Delilah to ensure Sam- Que nos tribus à tes yeux trouvent grâce! son’s downfall by discovering the secret of Daigne à ton peuple épargner la douleur! his massive physical strength. Upon learn- Apaise-toi devant leurs maux, Seigneur, ing (and reporting to the high priest) that toi, dont jamais la pitié ne se lasse! his long hair is his secret, Samson is ar- rested. His hair is then shorn and his eyes LES HÉBREUX are gouged out. In Act III, imprisoned, he Dieu nous confiait à ton bras prays to God for forgiveness and the lib- pour nous guider dans les combats; eration of his people in the aria “Vois ma Samson, qu’as-tu fait de tes frères? misère, hélas!” God then — after Samson Qu’as-tu fait du Dieu de tes pères? is brought to the Philistine temple — re- stores his full strength, and he tears down SAMSON the edifice’s supporting columns, killing Frères! votre chant douloureux, himself, Delilah and his enemies. pénétrant dans ma nuit profonde, d’une angoisse mortelle inonde SAMSON mon cour coupable et malheureux. Vois ma misère, hélas! Vois ma détresse! Dieu! prends ma vie en sacrifice Pitié! Seigneur! pitié pour ma faiblesse! pour satisfaire ton courroux! J’ai détourné mes pas de ton chemin: bientôt de moi tu retireras ta main. Je t’offre, ô Dieu, ma pauvre âme brisée.

17 LES HÉBREUX CHORUS OF HEBREWS Pour une femme il nous vendait, Samson, what have you done with the de Dalila payant les charmes. God of your fathers? What have you done with your brothers? SAMSON D’Israël détourne tes coups, SAMSON Et je proclame ta justice! Alas! Israel locked in irons, drawing the vengeance of heaven, LES HÉBREUX has lost its last hopes Pour une femme il nous vendait, with all the evils it has suffered. de Dalila payant les charmes. May our offerings find favor in your eyes. Deign to spare your people from suffering! SAMSON Let their misfortunes appease you, Lord. A tes pieds, brisé, mais soumis, You, whose mercy never fails! je bénis la main qui me frappe. Fais, Seigneur, que ton peuple échappe HEBREWS a la fureur des ennemis! God entrusted us to your arms, to lead us in battle. LES HÉBREUX Samson, what have you done with Samson, qu’as-tu fait de tes frères? your brothers? Qu’as-tu fait du Dieu de tes pères? What have you done with the God of your fathers? • SAMSON SAMSON See my misery, alas! See my distress! Brothers! Your desolate song, Take pity, Lord! Pity on my weakness! piercing the darkness of my night, My steps have strayed from your path: floods my guilty, wretched heart Soon afterwards you held back with a fatal grief. your hand. O God! Take my life as a sacrifice I offer you, o God, my poor broken soul! to quench your anger! Now I am just an object of derision! They took from me the light of heaven; HEBREWS they have poured their bitter bile upon me. For a woman he sold us, as payment for Delilah’s charms

18 SAMSON nel nome del Signor,” he prompts the cel- Turn your blows away from Israel, ebrants to dance and sing. In the end, af- and I will proclaim your justice! ter the have decisively beaten the Teutons, his true identity is revealed HEBREWS to them, and he is sentenced to death. For a woman he sold us, Rather than fall into the enemy’s hands, as payment for Delilah’s charms he takes poison — and dies, exulting in his peoples’ triumph. SAMSON At your feet, broken but obedient, WALTER (CORRADO), CORO: I bless the hand that strikes me. Esultiamo nel nome del signor! Let your people, Lord, E il nappo allegri i cor! escape the furor of our foes! PARTE DEL CORO HEBREWS Ombrata ha la fronte Samson, what have you done with the di foschi pensier... God of your fathers? sfavillano i lampi What have you done with your brothers? dall’occhio sever...

WALTER (CORRADO), CORO 12. Esultiamo nel nome del Signor Esultiam nel signor!... Pur, io non odo Amilcare Ponchielli’s unfairly neglected che un mormorio sinistro I Lituani — premiered in 1874 — is set in di fioche voci — a funebre corteggio the fourteenth century, during the inva- adunati non siam... No! Per iddio!... sion of by the Teutonic Knights. Monaci fummo del tempio ai riti, Walter, the Lithuanian patriot and leader, qui siam guerrier... has infiltrated the — and, under the name of Corrado, is secretly Dal letargo vi destate, working to ensure the Lithuanians’ victo- menestrelli e trovatori! ry. As Act II opens, Walter/Corrado — who Su! cantate ~ su, danzate, has been appointed as the Grand Master vaghe figlie dei re mori! of the Teutonic Order — is leading the re- Nel fragor dell’orge insane sulting celebration. In his aria “Esultiamo mille affanni il core oblia...

19 E una notte di follia 13. Aš papuošiu žirgo galvą pinavijom di alti eventi affretta il dì! Vytautas Klova’s opera Pilėnai, composed • in 1955, has become a cherished cultur- WALTER (CONRAD), CHORUS al treasure in Lithuania, though it is all but Let us rejoice in the name of the Lord! unknown in the West. While grounded in And may the chalice cheer our hearts! historical fact, the story has become the stuff of legend. In 1336, the hill fort of Pilė- PART OF THE CHORUS nai in the Grand Duchy of Lithuania was Dark thoughts attacked by a massive army of Teutonic shade our brows… knights during one of their northern cru- Lightning sparks sades. When — vastly outnumbered — the From stern eyes… defenders’ defeat was assured, Duke Margi- ris, the fort’s commander, ordered his troops WALTER (CONRAD), CHORUS to commit suicide after burning all of their Let us rejoice in the Lord! belongings. This event (at around 4,000 And yet, I hear only dead) remains history’s largest-ever mass the sinister murmur suicide. The aria “Aš papuošiu žirgo galvą Of feeble voices — Let us not gather pinavijom,” is heard as the attack is about In a mournful cortege… No! By God! to begin. Udrys, a youthful soldier, ardently Once we were monks of the temple rites, implores Duke Margiris to let him fight their but here we are warriors… Teutonic foe. Kristian Benedikt has told us that the aria was originally written for high Rouse yourselves, , but that he has recorded it here in Minstrels and troubadors! a slightly higher tenor range. Come sing! Come dance, alluring daughters of Moorish kings! Aš papuošiu žirgo galvą pinavijom, In the rush of insane orgies, apkaišysiu pavadėlį žaliom rūtom. the heart forgets a thousand cares… Ir valdovui tartum tėvui, And a night of madness nusiėmęs kepurėlę, hastens a day of noble deeds! nusilenksiu. Ir valdovui tartum tėvui, nusiėmęs kepurėlę, nusilenksiu, nusilenksiu.

20 Duok, valdove, kilpinėlį eiklų, taiklų, Give me, my lord, a bow that’s lithe kalaviją kieto plieno kalvėj lietą, and swift, kirvį aštrų, ilgakotį, a hard steel sword straight from the forge, kuoką sunkią pakyloti, a sharpened axe equipped with the duok, valdove! longest handle, Kirvį aštrų, ilgakotį, a heavy bludgeon that I can barely hold. kuoką sunkią pakyloti, Give me, my lord! duok, valdove! Duok, valdove! A sharpened axe equipped with the longest handle, Nusibodo girioj stumbrą varinėti, a heavy bludgeon that I can barely hold. nusibodo tavo sakalus penėti. Give me, my lord! Give me, my lord... Jei medžioti, tai medžioti nuožmų vanagą kryžiuotį I can no longer chase bison in the woods, priešo žemėj. I can no longer feed your falcons. Aš papuošiu žirgo galvą pinavijom, If we’re to hunt, then we shall hunt apkaišysiu pavadėlį žaliom rūtom. the fiercest hawk — the crusader - Kad skrajūno mano žirgo in the land of the enemy. vis’ bijotų piktos širdys pikto priešo. I will dress my steed’s head in Kad skrajūno mano žirgo flower garlands, vis’ bijotų I will adorn his reins with greenest rue. Piktos širdys pikto priešo, So that my nimble steed pikto priešo, pikto priešo… will sow great terror in the bitter hearts of wicked foes. • So that my nimble steed I will dress my steed’s head in will sow great terror flower garlands, in the bitter hearts of wicked foes, I will adorn his reins with greenest rue. of wicked foes, of wicked foes... And to my lord, as to my father, upon taking off my cap, Notes by Lindsay Koob I will bow. And to my lord, as to my father, upon taking off my cap, I will bow, I will bow.

21 22 Considered one of the finest singers of the the title roles in Andrea Chénier, Ernani, title role in Verdi’s Otello, Lithuanian tenor Rienzi and Lohengrin. Kristian Benedikt has performed it more than 120 times in Europe’s capital cities as Tenore di forza is Kristian Benedikt’s de- well as in North and South America. but recording.

He made his debut at the Metropolitan Op- For more about Kristian Benedikt, see era in 2018 in the role of Samson in Saint- www.kristianbenedikt.com Saëns’ Samson et Dalila. 2019 sees him again at the Met as Herman in The Queen of Spades and as Erik in The Flying Dutchman The Lithuanian National Symphony Or- along with Bryn Terfel and Irene Theorin. chestra was founded in 1940 by compos- er, conductor and pianist Balys Dvarionas. He began his career as a lyric tenor at the In 2015, Modestas Pitrenas was appoint- Lithuanian National Opera and Ballet The- ed as the Artistic Director and Principal atre where he performed more than 20 Conductor. In addition to performances in different roles. In his first international ap- Lithuania, the orchestra tours throughout pearance, he sang with Placido Domingo Europe, appearing in concert venues such in Ponchielli’s . as the Musikverein in Vienna, philharmon- ic halls in Cologne and , the Barbi- He has gone on to perform at the Vienna can Centre in London, the Alte Oper in , at Covent Garden in London, Frankfurt and the Concertgebouw in Am- at the Mariinsky Theatre in St. Petersburg, at sterdam, to name but a few. The orchestra the Moscow Bolshoi Theatre, in Barcelona, has also performed in Japan, South Korea, Dresden, , and other European capi- South Africa and South America. tals, as well as in Beijing and Santiago, Chile. The Lithuanian National Symphony Or- Kristian Benedikt has a repertoire of over chestra has been led by celebrated guest forty roles, including Don Jose (Carmen), conductors including Kurt Masur, Neeme Cavaradossi (Tosca), Calaf (Turandot), Järvi, Mstislav Rostropovich, Krzysztof Pinkerton (Madama Butterfly), Canio Penderecki and Christoph Eschenbach. (Pagliacci), Dick Johnson (La fanciulla del Illustrious soloists such as Montserrat Ca- West), Edgardo (Lucia di Lammermoor), ballé, Jessye Norman, Emil Gilels, Daniel Hoffmann (Les Contes d’Hoffmann), and Pollack, Sergio Tiempo, Gidon Kremer,

23 Leonid Kogan, Mischa Maisky, David Ger- sive activity as both orchestra and opera ingas, Yuri Bashmet and many others have conductor. He made his debut with Mo- appeared with the orchestra. zart’s Magic Flute at the Cologne Opera, and he has conducted opera performan- The orchestra has recorded for the Melodi- ces at the Deutsche Oper am Rhein, the ya, Marco Polo, Col legno, Ella, Naxos, and Bolshoi Theater in Moscow, the National Avie labels. Tenore di forza is the orchestra’s Opera in Warsaw, the Aalto Theater Essen, first recording for Delos. the Stuttgart Opera, the Finnish National Opera Helsinki and the Theater Basel.

Modestas Pitrenas is one of the most Former Chief Conductor of the City successful Lithuanian conductors of the Symphony Orchestra in Lithuania and Na- younger generation. He has established tional Music Director of the Latvian National himself internationally through his exten- Opera in Riga, Modestas Pitrenas is currently

24 25 Principal Conductor and Artistic Director of with the Lithuanian National Opera and the Lithuanian National Symphony Orches- Ballet Theatre in international tours. tra in Vilnius and principal conductor of the Symphony Orchestra and Theater St. Gallen, Chief Chorus Master of the Lithuanian Na- a performing arts center in Switzerland. tional Opera Chorus since 1989, Česlovas Radžiūnas graduated from the Lithuanian Academy of Music in 1977 and completed The Lithuanian National Opera Chorus the postgraduate course in opera conduct- was founded in 1920 and has become ing at the Moscow Conservatory in 1984. the most important professional chorus He has taught at the Lithuanian Academy of in Lithuania. The chorus is comprised of Music since 1985 and now holds the posi- eighty active members, consisting of 40 tion of Professor. The press has consistently female and 40 male voices. With its siz- praised the high professional standard that able repertoire, the chorus performs in the Lithuanian Opera Chorus has achieved all current opera and in several ballet under his artistic leadership. Česlovas productions of the Lithuanian National Radžiūnas has been awarded many prizes Opera and Ballet Theatre. The chorus has including the Lithuanian order of Merit– collaborated with many of Lithuania’s dis- Knight Grand Cross and the Culture and Art tinguished conductors and has appeared Prize given by the Lithuanian government.

26 SPECIAL THANKS TO The Remigijus & Dalia Lapinskas Foundation The LNOBT Charity Foundation, The Lyre of Orpheus Jurate Kazickas, Jura Drukteinis, Aleksandras Šepkus, Marija Raudys, Povilas Kilius, Gražina Liautaud, Egidijus Ancius

Recorded at Lithuanian National Philharmonic, January 2018

Recording producers: Vilius Keras and Aleksandra Kerienė Recording editing: Dainius Veršulis Recording mixing and mastering: Vilius Keras, Baltic Mobile Recordings Vocal Coach: Gaiva Bandzinaite Booklet assembly and editing: Lindsay Koob, David Brin Art design and layout: Lonnie Kunkel assistance: Dennis Adams (French and Italian), Marija Silk (Lithuanian), Lindsay Koob (German)

© 2019 Delos Productions, Inc., P.O. Box 343, Sonoma, CA 95476-9998 (707) 996-3844 • (800) 364-0645 [email protected] • www.delosmusic.com

27 From left to right: Gaiva Bandzinaite, vocal coach; Modestas Pitrenas, conductor; Kristian Benedikt, tenor; Alytis Peseckas, concertmaster

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