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Johann Simon MAYR Franz Hauk

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Johann Simon MAYR Franz Hauk Johann Simon MAYR Markus Scha..fer • Yvonne Prentki Andrea Lauren Brown • Andreas Mattersberger Katharina Konradi • Uwe Gottswinter Members of the Bavarian State Opera Chorus Simon Mayr Chorus • Concerto de Bassus Franz Hauk WORLD PREMIERE RECORDING Act I ( Recitativo accompagnato: Trema, Tamaro 1:09 1 Sinfonia 6:10 (Tusnelda, Tamaro) Johann Simon 2 Scene 1: Introduction: Udite – ) Duet: Taci… 7:20 Scene 2: Vinta cadrà Cheruscia 4:38 (Tamaro, Tusnelda) (Chorus, Zarasto) ¡ Scene 13: Recitativo secco: MAYR(1763–1845) 3 Scene 3: Recitativo secco: Che intesi! 1:08 Dunque non v’è più speme – (Carilo, Zarasto) Scene 14: Figli del Nume! 2:21 4 Scene 4: Chorus: Fra noi ritorni il giubilo – (Ercilda, Carilo, Zarasto) Sortita: Al valor 7:45 ™ Scene 14: Finale I: De’ sommi Numi al soglio – (Chorus, Treuta) Scene 15: Che farò! – DrammaI Cherusci per musica in due atti (1808) 5 Recitativo secco: Sostegni illustri dello stato 0:38 Scene 16: A un dolce sguardo – Libretto by Gaetano Rossi (1774–1855) (Treuta, Carilo) Scene 17: Pur ti trovo – 6 Il Ministro de’ Numi s’avanza 0:46 Scene 18: Vieni Tusnelda 14:52 (Chorus) (Zarasto, Chorus, Treuta, Tamaro, Tusnelda) Treuta .............................................................. Markus Schäfer, Tenor 7 Scene 5: Recitativo secco: Che ci reca Zarasto? 2:02 Act II Tusnelda .................................................... Yvonne Prentki, Soprano (Treuta, Zarasto) £ Scene 1: Duet and Chorus: 8 Scene 6: Cavatina: Eccomi a voi 5:06 Nume della vendetta 4:28 Tamaro .............................................Andrea Lauren Brown, Soprano (Tusnelda) (Chorus, Carilo, Ercilda) 9 Recitativo secco: Che si chiede da me? – ¢ Scene 2: Recitativo secco: Ho risoluto 3:43 Zarasto.................................................Andreas Mattersberger, Bass Scene 7: I Cherusci discendono alle mura 3:13 (Treuta, Tusnelda) (Tusnelda, Zarasto, Treuta, Araldo) – Recitativo accompagnato: Tronchiamo 1:50 Ercilda.................................................... Katharina Konradi, Soprano 0 Aria: La pietade col nemico 3:36 (Treuta, Tusnelda) (Zarasto) § Duet: Vanne pur 8:39 Carilo .............................................................Uwe Gottswinter, Tenor ! Scene 8: Recitativo accompagnato: (Treuta, Tusnelda) Ecco, o fidi il soggiorno 2:04 ¶ Scene 3: Recitativo secco: Dunclamo ............................................................ Harald Thum, Tenor (Tamaro) Dunque s’ardisce ancora 0:55 @ Aria: Paventi quel tiranno 4:52 (Zarasto) Un Araldo ..........................................................Markus Zeitler, Tenor (Tamaro, Chorus) • Scene 4: Ecco l’ombrifero 1:48 # Recitativo secco: E Rendo ancor non torna? – (Chorus) Scene 9: A pace 2:47 ª Recitativo accompagnato: Ove son! 2:44 (Tamaro, Treuta, Zarasto) (Tamaro) Members of the Bavarian State Opera Chorus $ Recitativo accompagnato: Tu sospiri? 1:52 º Scene 5: Aria: Ombra dolente e pallida 5:38 (Tamaro, Treuta) (Tamaro) Simon Mayr Chorus % Duet: Mia non è! 6:23 ⁄ Scene 6: Recitativo secco: Giovine sconsigliato! – (Tamaro, Treuta) Scene 7: Ah Carilo i disastri 1:49 Concerto de Bassus (Theona Gubba-Chkheidze, Concertmaster) ^ Scene 10: Recitativo secco: Carilo? 1:31 (Carilo, Ercilda) (Ercilda, Carilo) ¤ Scene 7: Aria: Fosca nube in ciel minaccia 4:10 Franz Hauk, Harpsichord and Conductor & Aria: Se pietosi o giusti Numi 4:49 (Carilo) (Ercilda) ‹ Scene 8: Recitativo accompagnato: * Scene 11: Recitativo secco: Fida Ercilda – Ah sì tutto è perduto 2:48 Scene 12: Eccola 1:29 (Tusnelda) › Critical edition: Franz Hauk, Manfred Hößl with the assistance of Marion Englhart and Diemut Hauk (Tusnelda, Ercilda, Carilo, Tamaro) Recitativo secco: Io non ho pace! 1:17 (Treuta, Tusnelda) fi Recitativo accompagnato and Chorus: · Scene 11: Recitativo secco: Padre mio! 1:59 which proves that Tusnelda is the daughter of King Treuta opera – the daughter of the king of the Marcomanni and Qual suono 8:59 (Tusnelda, Dunclamo, Zarasto, Ercilda) whom everyone had believed lost. bride of a Cheruscan – has little more in common with (Tusnelda, Treuta, Chorus) ‚ Recitativo accompagnato: Eccoli… – Meanwhile, in the temple, Zarasto has begun the grisly her than her name. The prince of the Suevi, Marbod, fl Scene 9: Recitativo secco: Misera dove fuggo! – Scene 12: Ah padre! 1:01 ceremony. who features in Kleist’s play, rose to be leader of the Scene 10: Ferma, Signor 4:03 (Ercilda, Tusnelda, Tamaro, Treuta, Carilo, Is it still possible to avert the imminent death of an Marcomanni, but he bears no relation to Treuta, the leader (Ercilda, Dunclamo, Carilo, Treuta) Zarasto, Dunclamo) innocent victim? The crucial showdown comes in the finale of the Marcomanni in Mayr’s opera. ‘La Poesia è tutta ‡ Recitativo accompagnato: Che ascoltai! 0:34 a Scene 12: Finale II: Ah di quel giubbilo 3:32 of Act II. nuova’ – ‘the work is totally new’, claims the libretto of (Treuta) (Tusnelda, Tamaro, Ercilda, Treuta, Mayr’s opera, which was performed at the Teatro di Torre ° Aria: Ah qual gioja… 6:36 Chorus, Zarasto, Carilo) Markus Schäfer Argentina in Rome during Carnival, 1808. (Treuta, Tusnelda, Zarasto, Carilo, Dunclamo) It is possible to trace a link from Kleist to Mayr across the year 1808, when the play was written and the opera Simon Mayr’s Zeitoper I Cherusci performed while Napoleon’s occupying forces were ‘uniting’ Europe. Mayr’s ‘new’ libretto did, in fact, have a Cherusci, in both Italian and Latin, is the name of one of the past history. Its claim to be newly written may have been ancient Germanic tribes. The Cherusci, also known as the partly motivated by marketing considerations on the one Herusci, inhabited the Harz Mountains, between the rivers hand and the need to circumvent the ‘monopoly’ that Johann Simon Mayr (1763–1845) Weser and Elbe. Julius Caesar mentions the tribe in his affected works composed for the Teatro La Fenice in Commentaries on the Gallic Wars. The Romans were at war Venice on the other. The libretto Mayr used for I Cherusci I Cherusci with the Cherusci. Arminius (known in modern German as was an adaptation of a text Gaetano Rossi had written The Drama bloodshed and to rescue the slave girl in his care. ‘Hermann der Cherusker’) and his battle with Varus in 9 AD for Stefano Pavesi. Pavesi’s opera of the same name had Tamaro arrives from the camp of the enemy Cherusci and went down in the annals of history and was celebrated in been staged in Venice during Carnival the previous year. Historical Background Bardi. He asks the victor, Treuta, for diplomatic negotiations, literature. The Romantic writer Heinrich von Kleist (1777– Michele Calella has already given a detailed account of the 1 The librettist, Gaetano Rossi, interwove historical events so that he can secure the release of his beloved, Treuta’s 1811) wrote his play Die Hermannsschlacht in Dresden in connection between the two works . and legends to create his opera text. The setting is slave girl Tusnelda. Suspicious of Treuta’s obvious affection 1808. His epigraph reads: ‘Wehe, mein Vaterland, dir! Die The first reference to Mayr’s commission for a new ancient Germania around the time of the birth of Christ. A for Tusnelda, who has been promised to Tamaro, the Leier, zum Ruhm dir, zu schlagen, ist, getreu dir im Schoß, opera for the ‘Teatro d’Argentina’ for Carnival 1808 is found confederacy of Marcomanni, Druids and Sarronidi led by Cheruscan quickly becomes dangerously jealous. mir deinem Dichter, verwehrt.’ (‘Woe to you, my fatherland! in a letter to Mayr by the theatrical agent Angiolo Bentivoglio Treuta, King of the Marcomanni, has defeated the Cherusci Dunclamo, a Cheruscan and Tusnelda’s foster father, To strum the lyre in your praise is denied to me, your poet, (Bologna, 15 November 1806). The management of the after a lengthy series of battles. Inevitably, the King’s only appears late on in the drama, but then the situation develops faithful here in your bosom.’) This can be interpreted very theatre briefed Mayr in advance on which singers would daughter has fallen into enemy hands during the conflict. He rapidly much as a public confession. Kleist’s historical drama be at his disposal at the Teatro Argentina. In his letter of is suffering. Carilo, leader of the Sarronidi, and Ercilda are allied with was understood as a politically motivated play about 9 September 1807, Domenico Leofreddi wrote from Rome Treuta. They are probably friends, exchanging views and freedom in the context of the Napoleonic occupation and giving Mayr, who was in Bergamo, their names: ‘Madama Act I commenting on the action. Carilo is more of a realist, Ercilda traditionally viewed in this light by its audiences. The highly Carlotta Hayser: Bella voce di Soprano perfetto, arte The scene is set in the temple of Mars, god of the cannot give up his hope that everything will turn out well. charged political situation prevented it being performed sublime di cantare […] il Tenore Tacchinardi Professore, Marcomanni, and then in various rooms within the palace. When all the players clash in the Act I finale, general at the Burgtheater in Vienna in 1809; simplistic readings di buoniss:[im]a voce, e soprattutto impegniato sempre a The beautiful Cheruscan slave girl Tusnelda, who has been confusion escalates into chaos. equated the Cherusci with the Prussians, the Suevi with the fare il suo dovere. La Vergè anch’essa Soprano perfetto captured by the Marcomanni, is to be sacrificed in order to Act II Austrians, and the Romans whom they needed to defeat eseguirà la Parte di Primo Soprano. Il Basso è un tal propitiate Mars, god of war.
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