q E Susanna non vien Wolfgang Amadeus Mozart (1756-1791) [6.17] SURRENDER Dove sono i bei momenti VOICES OF PERSEPHONE #OUNTESS2OSINA!LMAVIVAsLe nozze di Figaro Act III

w Una voce poco fa Gioachino Rossini (1792-1868) [6.09] 2OSINAs Il barbiere di Siviglia Act I, Scene I 1 Ah! tardai troppo ... Oh luce di quest’anima Gaetano Donizetti (1797-1848) [5.35] e ,INDAs Linda di Chamounix Act I, Scene III Chi e mai, chi e qui in sua vece? ... Lassu in ciel Giuseppe Verdi [5.57] 'ILDA2IGOLETTOsRigoletto Act III 2 Tu as raison. Si, je t’écoute ... Francis Poulenc (1899-1963) [6.01] %LLEs La voix humaine Total timings: [67.04]

3 Tout est sombre ... Lorsque je n’étais qu’une enfant André Messager (1853-1929) [5.49] *ACQUELINEsFortunio Act III ILONA DOMNICH SOPRANO LEO NUCCI BARITONE 4 Denaro! Nient’altro che denaro ... Giacomo Puccini (1858-1924) [6.05] SOUTHBANK SINFONIA -AGDAsLa rondine Act I SIMON OVER CONDUCTOR

5 Je marche sur tous les chemins Jules Massenet (1842-1912) [5.13] www.signumrecords.com Obéissons quand leurs voix appelle (Gavotte) -ANONsManon Act III, Scene 1 Surrender listen to his body and to connect with nature 6 Snegurochka’s Aria Nikolai Rimsky-Korsakov (1844-1908) [3.44] Notes by Ilona Domnich in order to progress. To ‘surrender’ is to fully 3NOW-AIDENsThe Snow Maiden Prologue engage with our own self. For me ‘surrender’ ‘Man cannot discover new oceans until he has is not letting go in a passive way and floating 7 Gualtier Maldè ... caro nome Giuseppe Verdi (1813-1901) [4.54] courage to lose sight of the shore’ in a spiritual blissful peace, but a force that 'ILDAs Rigoletto Act I, Scene 2 André Gide one needs courage to consciously tap into, in 8 Mio padre!... (aria) Giuseppe Verdi [1.47] order to prosper. 9 Tutte le feste al tempio... (duet) [3.53] I see the word ‘surrender’ as an active/dynamic 0 Piangi, fanciulla ... Sì, vendetta [5.38] rendering force. I have an image of someone The word prosper shares its root with Proserpine 'ILDA2IGOLETTOsRigoletto Act II who climbs the mountain, who surrenders to or Persephone, the goddess of the underworld.

- 3 - Persephone’s story is a complex Greek myth of Inspiration come full circle to talk to each other after The myth of Persephone has been interpreted abduction into the underworld. But perhaps in 20 years and here I am returning to my in many ways, one of which mirrors the the words of modern psychology, Persephone ‘For a tree to become tall it must grow tough fascination, through the story of Persephone Edvard Munch painting showing the stages accesses the ruins of her female underworld roots among the rocks’ — the goddess of the underworld and rebirth. of a woman’s life. The picture shows an in search of the inner balance between the Friedrich Nietzsche I am investigating a universal story of the innocent maiden in a long gown, a mature dark and light, the underworld and the earth. ages of woman, illustrated through the great naked woman openly displaying her sexuality, When she finds it she reaches a stage where When I was 8-10 years old my parents went operatic heroines. and a shadowy figure of an older woman, she can draw on vast experience and see things through an excruciatingly painful separation, dressed in black. Munch originally displayed as they are, neither a meadow of flowers nor a which made me want to escape and I escaped Myth the painting under the title Sphinx, a reference vale of tears. Not so much robbed of innocence into the word of literature. I managed to miss to the riddle of the Sphinx whose solution as awakened to complexity, to the cycle of life a year of school, and in that year I discovered a Persephone was the beautiful daughter of – the three ages of man – was deduced by and death. lot of Russian literature including Chekhov, Demeter, the goddess of the harvest. But her Oedipus. Munch’s own notes read: ‘Woman in Tolstoy, Dostoyevsky and Pushkin, together with father, Zeus, allowed his brother Hades, the all her diversity is a mystery to man – Woman For me ‘surrender’ is also a journey of choices, Conan Doyle and Agatha Christie. My greatest god of the underworld, to carry her off to is at one and the same time saint, whore and the courage of listening to the inner voice and fascination was Greek mythology (I memorised his kingdom. Demeter was distraught, and an unhappy devoted one’. connection to myself, to the deepest resources almost word by word all the Greek myths — searched the earth for Persephone, until the of hope, energy, confidence, trust and love. I in Russian). sun god Helios told her where she had been Journey of the CD guess it is part of growing for me and the beauty taken. In her grief, Demeter brought about of facing the wilder and innately instinctual Like all children I loved stories. Now I can a famine across the earth, until Zeus sent What intrigues me is how different women find self. One of the most blissful spiritual surrenders recognise that stories are like medicine: they Hermes to intervene. He told her Persephone the balance between darkness and light, and for me is in singing. have such power, they do not require you to do could be returned, provided she had not tasted what their journeys are into the Renaissance: anything, only listen, for the healing remedies the food of the dead. Hermes entered the women’s initiations through cycles. I am The process of recording this CD was also a are contained in the stories. They awaken world of the dead and Hades agreed to release going beyond the simple trichotomy of virgin/ journey of surrender, discovering the freedom excitement, sadness, questions, longing and his bride. But one of the gardeners shouted whore/mother or lover that afflicts women together with huge strengths. ‘To surrender understanding – just like music! In a sense I out that Persephone had eaten pomegranate in patriarchies. Each stage has complex makes you feel how music is, life is, beauty is, continue to be a child, being fascinated each seeds, so she would have to stay with archetypes: each woman has within herself nature is.’ time I encounter the stories of my operatic Hades. Persephone became the queen of the myriad variations. My operatic women and heroines. It is through them that the human underworld, dividing her time between her their voices help me examine their journeys race’s vitality is restored. My parents have mother and Hades. and choices.

- 4 - - 5 - I think of the third stage as wisdom. Wiser This strong, free woman, reborn from the ruins The three stages 9 Gilda’s duet with Rigoletto ‘Tutte le feste.... woman — not necessary older — but of her own underworld is illustrated by 1. The pure, innocent, stage of discovery, curiosity, Piangi’ from Rigoletto by Verdi. with experience and knowledge, is taking Contessa from Figaro, Magda from La Rondine belief and full trust. 2 Elle’s aria ‘Tu as raison..je t’aime’ from responsibility for her actions, making her and the final duet of Gilda and Rigoletto. 6 Snowmaiden’s aria from The Snowmaiden La voix humaine by Poulenc. own choices, growing roots and wings to fly. She surrenders to life, to love and to her own by Rimsky-Korsakov. 3 Jacqueline’s aria ‘Je n’a voix rien...lorsque She has faith in love, in herself and she has voice. Although I have allocated arias to 7 Gilda’s aria ‘Caro nome’ from Rigoletto je n’ete’ from Fortunio by Messager. inner confidence and contentment. Just as illustrate each stage, within each aria my by Verdi. Persephone achieves balance, there can be women go through changes. Very often I watch w Rosina aria ‘Una voce poco fa’ from Il barbiere 3. Wiser woman who has lived, making her found a profound love, especially if it is rooted my heroine go through all three stages in di Siviglia by Rossini. own choices. She is simply free. in the seeking of one’s own self, to learn the one aria. Some of my heroines do not reach 1 Linda’s aria ‘O luce di quest’anima’ q The Contessa’s aria ‘Dove sono’ from Le nozze deepest aspects of the human soul, to hold on a certain stage, but it is still their choice. from Linda di Chamounix by Donizetti. di Figaro by Mozart to what we have learnt, to speak out for what 4 Magda’s aria ‘Ore dolci e divine’ from we stand for. It takes boundless endurance, 2. Maturity, tasting life, passion, playing with fire, La rondine by Puccini which all my operatic woman have; when experiencing love, loss, disappointment, betrayal, e Gilda’s final duet with Rigoletto by Verdi woman comes from the underworld she is suffering and pain. definitely no longer tame. 5 Manon’s aria ‘Je marche....obeisson’ from Manon by Massenet. Through me, my operatic women live the questions, starting with the young girl who is hungry for experience, trusting, ready to open her heart. Gilda, Rosina and the Snowmaiden set the scene. Next the woman who has tasted life, loved, known disappointment and loss, exploring life and taking chances, playing with fire – Manon and Elle from La voix humaine, and Linda di Chamounix help to tell the story. Finally, the wise, courageous and responsible woman, ready to choose between dark and light or to blend the two.

- 6 - - 7 - ABOUT THE ARIAS 2 Tu as raison. Si, je t’écoute ... 3 Tout est sombre ... Lorsque je n’étais more time with him, he makes her dream, La voix humaine Elle qu’une enfant he makes her realise that the world she is living 1 Oh luce di quest’anima Francis Poulenc (1899-1963) Fortunio Jacqueline in is fake, and she falls for him. Clavaroch Linda di Chamounix Linda André Messager (1853-1929) is planning to kill Fortunio, as he senses the Gaetano Donizetti (1797-1848) Every time I sing Elle I plunge into the nightmare change in Jacqueline. Fortunio is ready to die world of a fragile woman, whose only link Jacqueline is in her 20s, one year into marriage for the woman of his dreams. Even if Jacqueline This is such a fun aria to sing, a brilliant with reality is the telephone voice of her ex-lover. with M. Andre, a wealthy lawyer in his 60s. was finding it hard to trust in true and show piece full of elegance and charm. In most productions, including the ones I It’s a marriage of convenience, to improve her tender love, she is finally convinced and gives Linda believes she is in love with Carlo, who have sung, Elle kills herself by taking pills, social status, like many other young girls of her heart to Fortunio. She loves how Fortunio she thinks is a painter, while he is in reality hanging herself on the telephone cord or her time. Her life is limited to his public makes her feel but, even more, she loves the a nobleman. She goes to live with him in slitting her throat with a knife, symbolically appearances, listening to him, with no real change his love has made in her. Jacqueline Paris and is found by her father in these cutting the human voice. I have sung it in chance to express herself. But she loves him is three-dimensional, unlike her husband or compromising circumstances. He curses her, three different productions and in the most recent like a father: they don’t share a bedroom. Clavaroch, who are static commedia dell’arte causing her to lose her sanity. Her loyal my daring Elle didn’t die. On the last chord, The arrival of an attractive officer shakes her characters. She has a sense of humor, but it is Pierotto brings her back home and into the she cut the telephone wire, never to speak to this pleasant, boring existence. Clavaroch charms not a comic role: she and Fortunio are serious arms of the man she loves, and she is man again, never to hear his voice, never to let her, she gives in to his forceful advances, lovers, who experience deep emotions and go revived to the delight of everyone on stage herself suffer because of him. It was the most perhaps out of curiosity, and he awakens her through dramatic changes. She changes and and in the audience. Her journey is full of light satisfying experience to set her free, to end her sexual freedom. She discovers that she can learns from her mistakes. and she never loses hope. Her suffering is suffering. The orchestra was caressing my voice, have excitement, be physically satisfied. internal and overwhelms her mind; the symbol gently caring for it, surrounding and cushioning However this doesn’t last long. Clavaroch is 4 Denaro! Nient’altro che denaro ... Ore dolci of this is that she herself is lost, unable to it through the ups and downs of her suffering. extremely vain — apart from his looks and e divine comprehend reality. She goes into a state of I felt that the audience were listening to every sex appeal, there is not much depth to him. La rondine Magda somnambulism, she gives up her passionate, word and being touched deeply by it. I was Soon she realises that he is using her and Giacomo Puccini (1858-1924) creative and instinctive life. She is suspended so happy at the end: the extraordinary effort doesn’t really love her, but he opens the door in this state until she sees the light in the of concentration during the performance, the for her to search for fuller, deeper love. First I imagine Magda as a sensuous, elegant eyes of her beloved to whom she was always constancy of being true to the character filled she is touched by the simplicity and honesty woman full of mystery and conspiratorial constant. I adore singing Donizetti and can’t my heart with endless joy. After her suffering of Fortunio’s poetic expression. The beauty of charm. She has a magnetic presence, yet her wait to be singing Linda, Adina, Norina, Lucia I let her go and wanted to dance, jump and raw emotion touches her and she is moved by soul is a complex combination of passion and eventually the Queens. fly — that is how joyous I was. his honest view of life. She wants to spend and lyricism. She is a character with a rich

- 8 - - 9 - internal life living out her ultimate fantasy, go. Through the pain of separation, she Her journey continues, she craves for des and experiences and then letting go, with the energy of a consummate actress who grows up, and on the other side of her pain Grieux’s love and returns to him. For me her surrendering herself to life and the beauty of almost fools herself into believing her assumed is the realisation that she can’t live this life final moments always pose a question. Does nature; becoming a part of nature herself. I role. An expert seducer consciously allowing of deceit and must take a new path. I am she regret anything, is she reconciled to love the pagan tales of ancient Russia: there herself to be seduced, Magda uses Ruggero not convinced that she goes back to Rambaldo. everything, and does she ever find balance in is something so beautiful in worshipping nature, to fall in love with love again. She is playing I feel that for her it is a new beginning, a the depths of her unsettled soul? Does she it makes you appreciate and be grateful for with fire, the way she pursues Ruggero rebirth. But of course many La rondine lovers really want to find it or does she simply follow the beauty that we are surrounded by. The tales is both touchingly desperate and coldly will disagree! the different inner voices of each moment are filled with wisdom and teach us about deliberate; yet when her fantasy threatens until she dies? She is definitely an enigma for the circles of life and human relationships. to become real, the complexity of her sorrow 5 Je marche sur tous les chemins me. I love how Massenet’s music is full of is truly moving. Obéissons quand leurs voix appelle (Gavotte) vitality and charm, and the story is most 7 Gualtier Maldè ... caro nome Manon Manon endearing and heartwarming. Rigoletto Gilda Magda goes through pain and heartbreak; I Jules Massenet (1842-1912) Giuseppe Verdi (1813-1901) both love and pity her. Magda is an enigma 6 Snegurochka’s Aria and I long to understand her joys, pains, Manon starts as a fragile and confused young The Snow Maiden Snow Maiden Gilda is my favorite heroine, who journeys what excites her, what is important to her. woman, on her way to the convent when she Nikolai Rimsky-Korsakov (1844-1908) through the three stages. What is she dreaming of, searching for? Is meets des Grieux. In an instant they fall in she bored or has she been hurt so much love and flee together. Already there are hints The daughter of Spring and Father Frost Is Gilda innocent? Gilda is innocent in her that she no longer trusts herself or other of incompatibility, he aspires to create a family yearns for the companionship of mortal lack of experience or knowledge, curious about people? And does she find temporary healing and she yearns for the excitement of Paris. humans. She likes Lel, but her heart is unable love and life. But she has the mental capacity in constant entertainment? Perhaps her While they are together she is still hungry for to love. She is asking for a loving heart and to understand everything on the deepest desperation comes from her one-dimensional adventure and changes her heart to go with as soon as she falls in love she melts in the level, to love fully, to forgive generously, to relationship with Rambaldo, with her soul Bretigny. This aria “Obéissons quand leur voix first rays of the sun. There is a parallel in take responsibility for her actions, and to urging her to look for a deeper human appelle” (“Let us obey when their voice calls melting and surrendering for me in the make her own choices about her life. connection that brings real joy and freedom in us”) comes in Act Three. Her impulsive nature Snowmaiden’s journey, her courage and togetherness. Yet until she meets Ruggero pushes her to live in the moment and play with determination; it is her choice. I don’t see it How does Gilda develop? It is a journey of she doesn’t know how to get there and is fire. She is admired and loved — or so she as the story of a naïve girl, melted by the extreme psychological change. Locked up, locked in the same pattern. I admire her thinks. Her driving force is to enjoy youth fully sun, but as a story of courage, wanting to longing to escape her father’s house, falling decision to tell him the truth and let him before it passes her by. break free, curious and passionate about life in love with the Duca, abducted to his

- 10 - - 11 - palace, making love to him, explaining to her (even though it is false). Verdi gives her a new beginning and happiness, and this is doubt and pain, her inner turmoil and father, witnessing the Duca’s betrayal, yet whole aria to contemplate, fantasize, and her destiny. questions. Then the memory of how it was continuing to love him and have faith in his discover her sensuality, all on the dearest when they first met and how much she wants love. She overhears the assassination plot name of her heart. She is ready to fall for the q E Susanna non vien ... that back, and finally the vision of a clear path. against the Duca or her father, decides to Duca. She believes him and trusts him, and Dove sono i bei momenti Her own choice of what to do with her life sacrifice her life and is killed. As she dies, perhaps sees in him the potential to change, Le nozze di Figaro Countess Rosina Almaviva and how to do it. It is the most beautiful she begs her father to forgive and promises to to love deeply. Perhaps if he was with her, she Wolfgang Amadeus Mozart (1756-1791) example of a woman finding her inner balance pray for his soul. Here is the parallel with could heal him, help him find contentment so and unafraid to act to make her life better, happier. Persephone, abducted into the underworld that he will finally love both her and himself: Of course the opera is called The Marriage of and returned reborn. Gilda is the only character deeply, not selfishly like he does now. This is Figaro and is about Figaro and Susanna, but w Una voce poco fa in the opera who undergoes change; she the first age of woman. But he is a pathetic I really like it when La Contessa is given a Il barbiere di Siviglia Rosina grows up very quickly and finds strength in coward; he betrays her and essentially himself; chance to be the centre of attention. She goes Gioacchino Rossini (1792-1868) herself to escape all the weak men around her heart is wounded. She continues to love on an incredible journey: after marrying the her. For a woman of her status, death is him and to have faith in him despite him not Count she finds that her marriage is limiting; This aria establishes Rosina’s character: probably her only option. Was abduction giving anything in return. Here is the second she was locked in with Bartolo and will not be she is gentle, she is sweet, but if you step on secretly desirable to Persephone/Gilda? Were they age of woman: she chooses to sacrifice her life. locked in again. Yet my Rosina is not naïve, her you must beware. The opening chords show destined to go through such dramatic changes? not waiting for things to come her way: she the beauty and nobility of her character, and Her choice to save him from death can be decides to take control of her life, to let go of the many coluratura runs are there to express 8 - 0 Mio padre!... (aria) interpreted in many ways. I think it has more negative feelings and surrender to her own emotion: joy, sadness, laughter, happiness. Tutte le feste al tempio... (duet) to do with her own journey than her love for voice. This inner voice tells her to keep faith, Every note is there for a reason. I think you Piangi, fanciulla ... Sì, vendetta him. Here is the third age of woman: there to find a solution. ‘If love is the answer, can have to have experienced life to understand Giuseppe Verdi is nothing she can do for her father or for you rephrase the question.’ She turns her what Rosina is all about, where she is going Rigoletto Gilda and Rigoletto the Duca, because they are not prepared to world upside down to make this change happen. to and why, before you can sing this role. She is change, so she frees herself from them. Gilda shapely and very witty, hair in ringlets, cheeks Does Gilda really love the Duca? understands that in life there is always ‘Dove sono’ is probably the most difficult aria like summer roses, eyes full of laughter and a choice, even in the most difficult situation. and the most satisfying. There is not a single the daintiest little fingers. Rosina knows what Gilda’s initial longing is to escape from her In Rigoletto, there is a theme of destiny, emotion that can escape from Mozart’s she wants and is full of confidence, but this father, to find her identity. When she meets the curse, inevitable fate ... yet Gilda’s death sensitive score. The three stages of the opera is not all about fun and laughter for her. Duca, he is the first man to tell her his name can be seen as a symbol of freedom, rebirth, Countess in one aria. The recitative is full of She faces the trial of losing trust in Almaviva.

- 12 - - 13 - So even comic heroines dive into the ruins of their hearts and into her own heart. But she is Experience of recording and performing my voice and understand what they needed. their own underworld to search for balance. losing the battle; no one is prepared to The process of this recording and the results change. They are fearful, weak men, locked For a few days before the recording, I sat took me by surprise and brought great joy. I love singing bel canto, everything is in the in repeated patterns of behaviour. Rigoletto quietly and thought about all the heroines I was This is my journey and this CD reflects that. I music. Not only the emotions, but one can also blames everything and everyone: Destiny for about to sing. I created an image for each of was taking inspiration from people around me, hear the way the characters look and walk. his being a hunchback and for losing his them as if they were standing in front of me, young musicians, who were there with me It is fantastic. And I love singing this music wife; the Duca for his being a jester; a curse as if I was looking into their eyes. Incredible and for me. I hope this CD becomes one of because I can demonstrate the acrobatics of for what happens to him and Gilda. He never warmth spread through my body and I realised many, all different, presenting a phase or a a lyric soprano coloratura voice. After all bel takes responsibility for his actions, he is never they are all bursting to speak, wanting their fascination in my own life. But I will always canto is not so much about the beautiful voice, honest with himself or with Gilda. Even Gilda’s voices to be heard; through me their stories remember this first opera CD, the youngest but about what this voice can do. death doesn’t make him understand anything. will be sung. orchestra I have ever sung with, and the discovery The Duca is locked into a different pattern. of surrender. The dance with many partners: e Chi e mai, chi e qui in sua vece? ... He is a womaniser, which he thinks will get The recording lasted 3 days, after 2 days of your soul, the words, the music, the conductor Lassu in ciel him closer to happiness and help him find rehearsals. Each day was as different as the and orchestra. This recording was an exhilarating Rigoletto Gilda & Rigoletto peace and contentment. He is in denial, always phases of my women; I am grateful for each dance of many voices. Giuseppe Verdi after the next woman for temporary salvation one of them. I discovered freedom, surrender, instead of looking courageously into his I discovered huge new strengths and how Why is she so forgiving, and why does she ask own heart. He takes no responsibility for the good it feels to really connect to myself, listen everyone to forgive? pain he is causing all these women. to my own voice, to what I need and want. The recording presented challenges and tested When Gilda talks about forgiveness she is my stamina. It stretched my vocal ability as not saying that what they did to her was far as I have ever gone, mainly because of the acceptable, but that she is not going to let it intense and demanding schedule. I discovered ruin her happiness forever: her happiness that in many cases giving less yielded greater is freedom. She is begging her father to let results: that some emotions are better put go of revenge, to break free of weak people aside, as they stand in the way and block the who cause pain and to find inner peace. freedom of your mind and soul: the more Gilda is begging all the men around her to complex the situation, the simpler the solution. change, to face the truth, to look deep into All I had to do was to listen to my body and

- 14 - - 15 - TEXTS & TRANSLATIONS che te sospira e brama, That sighs for you and desires you, che per te sol vivrà. Which will live for you alone. 1 Linda di Chamounix Linda Act I, Scene 3 2 La voix humaine Elle Ah! tardai troppo ... Oh luce di quest’anima Tu as raison. Si, je t’écoute ... Gaetano Donizetti (1797-1848) Francis Poulenc (1899-1963)

Ah! tardai troppo, Ah! I delayed too long Tu as raison ... Si, je t’écoute ... Je serai sage ... You are so right ...Yes, I am listening ... I shan’t e al nostro favorito convegno and did not find my beloved Carlo Je répondrai à tout, je te jure ... Ici ... Je n’ai rien be foolish ...and I will keep my head, I promise io non trovai il mio diletto Carlo; at our favourite meeting place! mangé ... Je ne pouvais pas ... J’ai été très malade ... Right here ... I didn’t eat a thing ... I simply e chi sa mai quant’egli avrà sofferto! Who will ever know how much he has suffered! ... Hier soir, j’ai voulu prendre un comprimé pour couldn’t ... Last night I meant to take a pill that Ma non al par di me! But not compared with me! dormir; je me suis dit que si j’en prenais plus, je would put me to sleep. I thought that if I took Pegno d’amore questi fior mi lasciò! He left me these flowers as a pledge of his love! dormirais mieux et que si je les prenais tous, je more than one, I’d sleep so much better. I thought Tenero core! Tender heart! dormirais sans rêves, sans réveil, je serais morte. that if I took them all I’d sleep without a dream E per quel core io l’amo, And for that I love him, (Elle pleure.) ... J’en ai avalé douze ... Dans de and never wake – I’d sleep forever! (She weeps.) unico di lui bene. it is the one thing he has to his name. l’eau chaude ... Comme une masse. Et j’ai eu ... And so I swallowed twelve ... In hot water ... All Poveri entrambi siamo, Both of us are poor, un rêve. J’ai revé ce qui est. Je me suis réveillée in a lump ... Then I was dreaming. You were going viviam d’amor, di speme; We live upon love, upon hope; toute contente parce que c’était un rêve, et quand away. And then when I awoke I felt so happy, pittore ignoto ancora A painter as yet unknown, j’ai su que c’était vrai, que j’étais seule, que je because it was just a dream. But when I knew it egli s’innalzerà co’ suoi talenti! He will exalt himself by dint of his talents! n’avais pas la tête sur ton cou, j’ai senti que je was true, that I was alone, that my head was not Sarà sua sposo allora. I shall then be his bride. ne pouvais pas vivre ... Légère, légère et froide against your shoulder, then I knew I could not go Oh noi contenti! O how happy we shall be! et je ne sentais plus mon coeur battre et la mort on living ... My body felt cold and light, and my était longue àvenir et comme j’avais une angoisse heart was no longer beating, and death was slow O luce di quest’anima, O my soul’s delight, épouvantable, au bout d’une heure j’ai téléphoné in coming. Since I was in terrible pain, after delizia, amore e vita, My joy, my love and my life, à Marthe. Je n’avais plus le courage de mourir an hour I managed to phone Martha, I lacked the unita la nostra sorte Our destiny will be linked seule ... courage to die alone in terra, in ciel sarà. Both on earth and in heaven. Deh! vieni a me, riposati Ah! come to me: lay your head ...Chéri ... Chéri .. ... Chéri ... Chéri ... su questo cor che t’ama, Upon this heart that loves you,

- 16 - - 17 - Non ... non ... A Marseille? ... Ecoute, chéri, No ... no ... To Marseilles? , .. Oh listen, chéri. Que ce billet qu’il a reçu n’est pas de moi ... He did not receive the message from me ... puisque vous serez à Marseille aprèsdemain soir, Since you will be in Marseilles at least for a week, Que c’est un piège, un piège tendu par Whether it is a trap, a trap set by je voudrais ... enfin j’aimerais ... j’aimerais que tu may I ask ... I really would like ... I would like it if Clavaroche. Clavaroche. ne descendes pas à l’holet où nous descendons you did not go to that little hotel where we always Que faire pour le sauver? ... What to do to stop it? ... d’habitude. Tu n’es pas fâché? ... Parce que les stayed together. You are not angry? ... Because S’il vient tout est perdu! If he comes all is lost! choses que je n’imagine pas n’existent pas, ou the things I don’t have to imagine do not exist. Hélas, je fus cruelle Alas, I was cruel bien elles existent dans une espèce de lieu très Or let’s say that they exist in some very vague Et faible, et lâche; et je me fis un jeu And weak and cowardly; I made myself a game vague et qui fait moins de mal ... tu comprends? kind of place that does not hurt so much ... You De son amour ... mais, mon Dieu, of lovers ... but, my God, ... Merci ... merci. Tu es bon. Je t’aime ... (Elle understand? ... Thank you ... thank you. You are Ne me faites pas criminelle. Do not make me a criminal. se lève et se dirige vers le lit avec l’appareil à la good. I love you (She gets up and walks towards main.) Alors, voilà ... j’allais dire machinalement: the bed with the telephone in her hand.) ... So Lorsque je n’étais qu’une enfant, When I was a child, à tout de suite ... J’en doute ... Oh! ... C’est mieux here we are ... I was about to say, out of habit, Je courais au matin riant, I ran laughing at morning ... Beaucoup mieux ... (Elle se couche sur le lit et “I’ll see you soon” ... I doubt it ... Oh! ... It’s better Dans mon jardin plein de rosée, To my garden full of dew, serre l’appareíl dans ses bras.) ... Much better ...(She lies down on the bed and Je savais choisir en jouant I could choose, clasps the telephone in her arms.) Le plus blanc d’entre les lis blancs The whitest of white lilies Et des roses, la plus rosée. And of roses, the pinkest. ... Mon chéri ... mon beau chéri ... Je suis forte. ... Oh darling ... my sweet darling ... I’ll be brave. Dépêche-toi. Vas-y. Coupe! Coupe vite! Je t’aime, Let’s make an end. Go on. Hang up! Hang up Je savais trouver le plus clair I could find the lightest, je taime, je t’aime, je t’aime ... t’aime . . . quickly! I love you, I love you, I love you, I love you Des beaux oeillets couleur de chair, The beautiful skin-coloured carnations, (Le récepteur tornbe par terre.) ... love you ...(The telephone falls to the ground.) La plus odorante verveine, The fragrant verbena, Des iris le mieux irisé, The most iridescent irises, Et je rentrais les yeux grisés I came home with my eyes dimmed 3 Fortunio Jacqueline Act IV, Scene 1 Les mains de parfums toutes pleines. And my hands full of fragrances. Tout est sombre ... Et maintenant que me voici And now here I am Lorsque je n’étais qu’une enfant Une femme au coeur indécis, A woman of undecided heart, André Messager (1853-1929) Je n’ai pas su dans ma faiblesse I have not known my weakness Choisir l’amour le plus aimant, To chose the most loving love, Tout est sombre. All is dark. Le plus noble et le plus charmant The noblest and most charming Pourvu que Madelon l’ai prévenu... As long as Madelon has giving warning ... Et la plus pure des tendresses. And the most pure and tender.

- 18 - - 19 - 4 La rondine Magda “Piccola adorata mia, il tuo nome vuoi dir?” “My little darling, what is your name?” Denaro! Nient’altro che denaro ... Io sul marmo scrisi; egli accanto il nome suo I scribbled on the marble, and he wrote his name Giacomo Puccini (1858-1924) tracciò. alongside mine. E là, fra la mattana di tutta quella gente, And there, among the chatter of all those people, Denaro! Nient’altro che denaro! Ma via! Money! Is there nothing else but money! Come ci siamo guardati ma senza dir niente. we looked at our names without saying anything. Siate sincere! now! Be truthful! M’impaurii? Non lo so! Did I become frightened? I do not know! Son persuasa che voi m’assomigliate e spesso I’m convinced that you are like me and often Poi fuggi! Più non so! Did I run off? I do not know! rimpiangete a piccola “grisette” felice del suo regret not being that little “grisette” who is happy Cantava una triste canzone la musica strana, He sang a sad song such strange music, innamorato! with her lover! e una voce lontana diceva così: and a distant voice went like this: Può darsi! Ma che non si dimenticano più! Maybe! But I can never forget those dreams. “Fanciulla, è sbocciato l’amore! “Little girl, love has blossomed! Ah, quella sera che son scappata alla mia vecchia Ah! That evening that I escaped from my old aunt. Difendi, difendi il tuo cuore! Defend, defend your heart! zia! Mi pare ieri! It seems like yesterday! Dei baci e sorrisi l’incanto Of kisses and smiles the charm Perchè non potrebbe essere ancora domani? Why could it not happen again tomorrow? si paga con stille di pianto!” you pay with drops of tears!” Perchè? Ore dolci e divine di lieta baraonda Why not? Sweet, divine hours of happy bedlam Potessi rivivere ancora la gioia d’un ora! I wish I could still feel the joy of that time! fra studenti e sartine d’una notte among students and seamstresses one night at a Bullier! Bullier! 5 Manon Manon Come andai? Non lo so! How did I get there? I don’t know! Je marche sur tous les chemins Come uscii? Non lo so! How did I leave? I don’t know! Jules Massenet (1842-1912) Cantava una lenta canzone la musica strana, e The strange music sang a slow song and a una voce lontana diceva così: distant voice was saying, Je marche sur tous les chemins I walk on every street “Fanciulla, è sbocciato l’amore! Difendi, difendi il “Young lady, love has blossomed. Watch out Aussi bien qu’une souveraine; just like a sovereign. tuo cuore! Dei baci e sorrisi l’incanto si paga con that your heart is not broken! The enchantment On s’incline, on baise ma mains, They bow to me, they kiss my hand, stille di pianto!” of kisses and smiles must be paid for with Car par la beaute je suis reine! because thanks to my beauty, I am queen! Quando ci sedemmo, stanchi, estenuati teardrops!” When we sat down, tired, exhausted Mes chevaux courent a grands pas; My horses run fast. dalla danza, la gola arsa, ma l’anima piena from dancing, our throats were parched, but our Devant ma vie aventureuse The powerful approach, hat in hand, d’allegrezza, mi parve che si schiudesse tutta una souls were filled with happiness, it seemed that a Les grands s’avancent chapeau bas; before my thrilling life. nuova esistenza! whole new existence had opened up for me! Je suis belle, je suis hereuse! I am beautiful, I am happy! “Due bocks,” egli disse al garzone! Stupita “Two beers,” he said to the waiter. I stared Autour de moi, tout doit chanter, fleurir! Everything around me must flower! fissavo quel grande scialone! Gettò venti soldi. amazed at that great spendthrift! He threw down Je vais à tout ce qui charme et m’attire I go to whatever attracts me! Aggiunse: “Tenete!” 20 and added “Keep the change!” - 20 - - 21 - Et, si Manon devait jamais mourir, And should Manon ever have to die, Replying to merry-voiced companions, Ce serait, mes amis, dans un eclat de rire! It will be, my friends, in a burst of laughter! A’ou, A’ou ! To sing in chorus, after Lel repeats Obéissons quand leur voix appelle Obey when their voices are calling, The joyous songs that celebrate the spring, Aux tendres amours, beckoning us to tender loves, Oi, Lado Lel! Toujours, toujours, toujours, always, always, always; Such is my dream, were my delight; Tant que vous êtes belle, usez sans les compter as long as you are beautiful, use up your days For without song vos jours, tous vos jours! without counting them, all of your days! I cannot live. Profitons bien de la jeunesse, Let’s take advantage of youth, Consent, dear father, Des jours qu’amène le printemps; days that spring provides; and when you return. Aimons, rions, chantons sans cesse, let’s love, laugh, and sing without stopping, With Winter to deep forest fastnesses. Nous n’avons encor que vingt ans! while we’re still only twenty! At fall of night then I will sing, I’ll sing. To lend our loneliness a needed cheer. Le coeur, Mias! le plus fidele, Even the most faithful heart, The gayest of the songs I know. oublie en un jour l’amour, alas, forgets love in a day, ‘Tis handsome Lei who’ll teach me them. l’amour, et la jeunesse love, and youth, spreading its wings And I’ll be quick to learn. ouvrant son aile a disparu to flyaway, disappears, never sans retour, sans retour. to return, never to return. 7 Rigoletto Gilda Profitons bien de la jeunesse, Let’s take full advantage of our youth, Gualtier Maldè ... caro nome bien courte, helas! est le printemps! the springtime season, alas, is very short! Giuseppe Verdi (1813-1901) Aimons, chantons, rions sans cesse, Let’s love, sing, and laugh without stopping, nous n’aurons pas toujours vingt ans! we won’t be twenty forever! Gualtier Maldè...nome di lui sì amato, Gaultier Maldè...name of the man I love, ti scolpisci nel core innamorato! be thou engraved upon my lovesick heart! 6 The Snow Maiden Caro nome che il mio cor Beloved name, who made my heart Snegurochka’s Aria festi primo palpitar, throb for the first time, Nikolai Rimsky-Korsakov (1844-1908) le delizie dell’amor thou shalt remind me ever mi dêi sempre rammentar! of the delights of love! Translation Col pensier il mio desir In my thoughts, my desire To go a’strawberrying in the woods, a te sempre volerà, will ever fly to thee,

- 22 - - 23 - e fin l’ultimo mio sospir, and my last breath of life GILDA GILDA caro nome, tuo sarà. shall be, beloved name, of thee. Arrossir voglio innanzi a voi soltanto... To you alone I confess... Gualtier Maldè! Gaultier Maldè!. RIGOLETTO RIGOLETTO 8 Rigoletto Gilda & Rigoletto Ite di qua voi tutti! Off with you, all of you! Mio padre!... (aria) Se il Duca vostro d’appressarsi osasse, And if your Duke should dare approach, Tutte le feste al tempio... (duet) ch’ei non entri, gli dite, e ch’io qui sono. tell him not to enter, tell him I am here. Piangi, fanciulla ... Sì, vendetta Giuseppe Verdi RIGOLETTO RIGOLETTO Parla...siam soli. Speak...we are alone. GILDA GILDA Mio padre! Father! 9 GILDA GILDA Ciel! dammi coraggio! O Heaven, give me courage! RIGOLETTO RIGOLETTO Tutte le feste al tempio Each holy day, in church, Dio! mia Gilda! Oh, God! My Gilda! mentre pregava Iddio, as I prayed to God, Signori, in essa è tutta Sirs, she is all bello e fatale un giovine a fatally handsome young man la mia famiglia. the family I have. offriasi al guardo mio... stood where I could see him... Non temer più nulla, angelo mio... Don’t be afraid now, my angel child... Se i labbri nostri tacquero, Though our lips were silent, Fu scherzo, non è vero? It was only a joke wasn’t it? dagli occhi il cor parlò. our hearts spoke through our eyes. Io, che pur piansi, or rido. I, though I wept before, now laugh. Furtivo fra le tenebre Furtively, only last night he came E tu a che piangi? Why do you still weep? sol ieri a me giungeva... to meet me for the first time. “Sono studente e povero”, “I am a student and poor,” GILDA GILDA commosso mi diceva, he said so tenderly, Ah, l’onta, padre mio! The shame, father! e con ardente palpito and with passionate fervour amor mi protestò. told me of his love. RIGOLETTO RIGOLETTO Partì ... il mio core aprivasi He went ... my heart was rapt Cielo! che dici? Good God! What do you mean? a speme più gradita, in the sweetest dreams, quando improvvisi apparvero when suddenly the men broke in color che m’han rapita, who carried me away;

- 24 - - 25 - e a forza qui m’addussero they brought me here by force, di quest’anima è solo desio. Yes, revenge, terrible revenge nell’ansia più crudel. cruelly afraid. Di punirti già l’ora s’affretta, is all that my heart desires. che fatale per te suonerà. The hour of your punishment hastens on, RIGOLETTO RIGOLETTO Come fulmin scagliato da Dio, that hour which will be your last. Ah! Solo per me l’infamia Ah! I asked infamy, O God, te colpire il buffone saprà. Like a thunderbolt from the hand of God, a te chiedeva, o Dio... only for myself, the jester’s revenge shall strike you down. ch’ella potesse ascendere so that she might be raised quanto caduto er’io. as high as I had fallen. GILDA GILDA Ah, presso del patibolo Ah, beside the gallows O mio padre, qual gioia feroce O my father, what a fierce joy bisogna ben l’altare! one must raise an altar! balenarvi negli occhi vegg’io! flashes in your eyes! Ma tutto ora scompare, But all is now lost, l’altar si rovesciò! the altar is cast down! RIGOLETTO RIGOLETTO Vendetta! Revenge! 0 Piangi, fanciulla, piangi ... Weep, my child, weep ... GILDA GILDA GILDA GILDA Perdonate: a noi pure una voce Forgive him: and then we too may hear Padre! Father! di perdono dal cielo verrà. the voice of pardon from Heaven.

RIGOLETTO RIGOLETTO RIGOLETTO RIGOLETTO ... scorrer fa il pianto sul mio cor. ... and let your tears fall upon my breast. Vendetta! Revenge! GILDA GILDA GILDA GILDA Perdonate... Forgive him! Padre, in voi parla un angiol Father, an angel speaks through you per me consolator. and consoles me. RIGOLETTO RIGOLETTO No! No! RIGOLETTO RIGOLETTO No, vecchio, t’inganni ... un vindice avrai. No, old man, you’re wrong ... you shall be GILDA GILDA Sì, vendetta, tremenda vendetta avenged. Mi tradiva, pur l’amo; gran Dio, He betrayed me, yet I love him; great God, per l’ingrato ti chiedo pietà! I ask for pity on this faithless man!

- 26 - - 27 - q Le nozze di Figaro Countess Rosina Ah! se almen la mia costanza, Ah! if only my faithfulness, E Susanna non vien ... Nel languire amando ognor, Which still loves amidst its suffering, Dove sono I bei momenti Mi portasse una speranza Could bring me the hope Wolfgang Amadeus Mozart (1756-1791) Di cangiar l’ingrato cor! Of changing that ungrateful heart E Susanna non vien! Sono ansiosa And Susanna doesn’t come! I’m anxious di saper come il Conte to know how the Count took her proposition. w Il barbiere di Siviglia Rosina accolse la proposta. Alquanto ardito The scheme seems Una voce poco fa il progetto mi par, e ad uno sposo too bold to me, and to a husband Gioachino Rossini (1792-1868) sì vivace, e geloso! so wild and jealous! Ma che mal c’è? Cangiando i miei vestiti But what harm is there? Changing my clothes Una voce poco fa A voice has just con quelli di Susanna, e i suoi co’ miei... with those of Susanna, and hers with mine ... qui nel cor mi risuono’ echoed here into my heart al favor della notte... oh cielo, a quale shielded by the night’s face ... oh heavens, il mio cor ferito e’ gia’, my heart is already wounded umil stato fatale io son ridotta to what a humiliating state I am reduced e Lindor fu che il piago’. and it was Lindoro who shot. da un consorte crudel, che dopo avermi by a cruel husband, who, after marrying me, Si’, Lindoro mio sara’ Yes, Lindoro will be mine con un misto inaudito with an unheard of mixture lo giurai, la vincero’. I’ve sworn it, I’ll win. d’infedeltà, di gelosia, di sdegni, of infidelity, jealousy and scorn, Il tutor ricusera’, The tutor will refuse, prima amata, indi offesa, e alfin tradita, first loved, then offended and at last betrayed me, io l’ingegno aguzzero’. I’ll sharpen my mind fammi or cercar da una mia serva aita! now makes me turn to one of my servants for Alla fin s’acchetera’ finally he’ll accept, help! e contenta io restero’ and happy I’ll rest. Si’, Lindoro mio sara’ Yes, Lindoro will be mine Dove sono i bei momenti, Where are those lovely moments, lo giurai, la vincero’. I’ve sworn it, I’ll win. Di dolcezza e di piacer? Of sweetness and pleasure? Io sono docile, son rispettosa, I’m gentle, respectful Dove andaro i giuramenti Where have the promises gone sono obbediente, dolce, amorosa I’m obedient, sweet, loving Di quel labbro menzogner? That came from those lying lips? mi lascio reggere, mi fo guidar. I let be ruled, I let be guided Perchè mai, se in pianti e in pen Why, if all is changed to sorrows Ma se mi toccano dov’e’ il mio debole But if they touch where my weak spot is Per me tutto si cangiò, And to tears, for my poor heart saro’ una vipera e cento trappole I’ll be a viper and a hundred traps La memoria di quel bene Dal miosen non The remembrance of my happiness prima di cedere faro’ giocar. before giving up I’ll make them fall trapassò? Is not departed with them?

- 28 - - 29 - e Rigoletto Gilda & Rigoletto Ah, mio ben solo in terra ... Ah, my only joy on earth ... Chi è mai, chi e qui in sua vece? Mi guarda ... mi conosci ... look at me ... say who I am ... Lassu in cielo Giuseppe Verdi GILDA GILDA Ah, padre mio! Ah, my father! RIGOLETTO RIGOLETTO Chi è mai, chi è qui in sua vece? Who can this be, here in his stead? RIGOLETTO RIGOLETTO (lampeggia) (lightning) Qual mistero! ... Che fu? ... I’m mystified! ... What happened? ... Io tremo ... È umano corpo! I tremble ... It’s a human body! Sei tu ferita? ... Dimmi ... Are you wounded? Tell me ... Mia figlia! ... Dio! ... mia figlia! My daughter! ... O God! ... My daughter! Ah no...è impossibil! Ah, no, it cannot be! GILDA (indicando al core) GILDA (pointing to her heart) Per Verona è in via! She has left for Verona! L’acciar qui mi piagò. The dagger wounded me here. (inginocchiandosi) (kneeling) Fu vision ... È dessa! It was a spectre ... It is she! RIGOLETTO RIGOLETTO O mia Gilda: fanciulla, a me rispondi! Oh, my Gilda, child, answer me! Chi t’ha colpita? Who struck you?

L’assassino mi svela...Olà?... Tell me the murderer’s name! Hello ... GILDA GILDA Nessuno? Is no one there? V’ho ingannato ... colpevole fui ... I deceived you ... I was guilty ... (Picchia disperatamente alla porta.) (knocking desperately at the door) L’amai troppo ... ora muoio per lui! I loved him too much ... now I die for him! Nessun!... No one!... (tornando presso Gilda) (returning to Gilda) RIGOLETTO (da sé) RIGOLETTO (to himself) Mia figlia? Mia Gilda? ... Oh, mia figlia! My daughter? My Gilda? ... Oh, my daughter! Dio tremendo! Ella stessa fu colta Great God in heaven! She was struck by the bolt dallo stral di mia giusta vendetta! that I, in righteous vengeance, loosed! GILDA GILDA (a Gilda) (to Gilda) Chi mi chiama? Who calls me? Angiol caro! mi guarda, m’ascolta! Beloved angel! Look at me, listen to me! Parla, parlami, figlia diletta. Speak, speak to me, dearest child. RIGOLETTO RIGOLETTO Ella parla! ... si muove! ... She speaks!... She moves! ... GILDA GILDA È viva! ... oh Dio! She is alive! Oh, God! Ah, ch’io taccia! a me, a lui perdonate. Let me be silent! Forgive me, and him.

- 30 - - 31 - Benedite alla figlia, o mio padre ... Bless your daughter, O my father ... Ah, la maledizione! Ah, the curse! Lassù in cielo, vicina alla madre, in heaven above, near my mother, (Strappandosi i capelli, cade sul cadavere (Tearing his hair in anguish, he falls senseless in eterno per voi pregherò. I shall pray for you evermore. della figlia.) upon his daughter’s body.)

RIGOLETTO RIGOLETTO Non morire, mio tesoro, pietade! Do not die, my treasure, have pity! Mia colomba, lasciarmi non dêi! Oh, my dove, you must not leave me! ILONA DOMNICH GILDA GILDA Lassù in cielo, ecc. In heaven above, etc. Ilona Domnich is a rising opera star described by critics as a memorable voice of silken RIGOLETTO RIGOLETTO beauty with a luminous edge to the tone, a Oh, mia figlia! Oh my daughter! sensitive musician and an actress of magnetic No, lasciarmi non dêi, non morir. No, you must not leave me, do not die. presence. She was chosen by Opera Now as Se t’involi, qui sol rimarrei. If you go away, I shall be alone! one of its Top 10 high flyers, a new Non morire, o ch’io teco morrò! Do not die, or I shall die beside you! generation of sopranos who are destined to have impressive careers. GILDA GILDA Non più...a lui perdonate. No more...Forgive him. Originally a pianist, Ilona was plucked by Mio padre...Addio! My father ... Farewell! a legendary singing teacher Vera Rosza during Lassù in ciel, ecc. In heaven above, etc. one of her masterclasses. She went on to win the prestigious Wingate Scholarship to RIGOLETTO RIGOLETTO study at the Royal College of Music. Her career Oh mia figlia! Oh mia Gilda! Oh my daughter, my Gilda! is growing steadily worldwide. No, lasciarmi non dêi, non morir! No, you must not leave me, do not die! (Gilda muore.) (She dies.) Operatic highlights include Rosina (Il barbiere di Siviglia), Jacqueline (Fortunio), Elle (La voix RIGOLETTO RIGOLETTO humaine), Mélisande (Pelléase et Mélisande), Gilda! mia Gilda!...È morta! Gilda! My Gilda! She is dead! Gilda (Rigoletto), Magda (La Rondine), Tatyana

- 32 - - 33 - (Onegin), Zerlina (Don Giovanni), Pamina (Die ‘Lobgesang’, Ravel Shéhérazade and the roles slightly aloof, beautifully costumed and moving Zauberflöte), Eurydice (Der neue Orpheus), of Tatyana and Gilda, led to the creation of like a panther...her voice with occasional Venus (Judgement of Paris), Mimi (La Bohème), this CD. Other symphonic repertoire includes moments of lyrical power absolutely soared Contessa (Le nozze di Figaro), Madam Herz Mahler’s Symphony 2 and 4, Mozart’s C minor over the orchestral texture that underpins her.” (Der Schauspieldirektor). She also covered the Mass, Shostakovich’s Symphony 14, and The Financial Times roles of Gilda, Olympia, Antonia, Gulietta for Dvorák’s Te Deum. English National Opera. LEO NUCCI “The most compelling performance of the Ilona has appeared with English National piece I’ve ever witnessed: not big in gesture... Leo Nucci was born in Castiglione dei Pepoli Opera, BBC Concert Orchestra, Grange Park but minutely observed, utterly credible, and sang (Bologna) in 1942 and lives in Lodi, hometown Opera, Buxton Opera Festival, English Touring with disarming, jewel-like beauty.” Opera Now of his wife, Adriana. After winning several Opera, London Concert Orchestra, Bury competitions, in 1967 he made his debut at Court Opera, Iford Arts Festival and Bampton “Rosina (Domnich) simpers and sulks, delivering Teatro Sperimentale (A. Belli) of Spoleto as Classical Opera as well as Festival de sublime lyricism, superb staccati and ease Figaro in Il barbiere di Siviglia. Musique de Menton, Trasimeno, Anghiari and of coloratura.” Theatre Critics Ischia festivals in Italy, Chopin Festival in He studied with Maestro Mario Bigazzi Mallorca, Wotton House music Festival, “Ilona Domnich’s radiant, childlike Mélisande, before completing his studies in Bologna Aldeburgh Festival, Corbridge Festival, North the most mesmerising, tender and idiomatic with Maestro Giuseppe Marchesi. After a Norfolk festival, London Song Festival, Jersey impersonation of this role that I have seen.” brief interruption to his career in 1970, he international Festival. Ilona has appeared in Evening Standard was persuaded to continue by Maestro concerts in London at Queen Elizabeth Hall, Ottaviano Bizzarri. Since his performance 1977 Westminster Cathedral, St. Johns’ Smith “It was all so touching, so delicate, as complex with Il barbiere di Siviglia, he has regularly square, St. Martin in the Fields and as a woman’s soul ... a dreamlike interpretation: performed at Teatro alla Scala in Milan. internationally in Paris, Jerusalem, Tokyo, a secure, firm voice of attractive colour; her Nagoya, Kyoto and Osaka. performance at times like a frightened animal, For Teatro alla Scala he has recorded Don at times like a comforting mother .” The Guardian Carlo, two editions of Aida, Il barbiere di Ilona’s fruitful collaboration with Southbank Siviglia, Simon Boccanegra, Il trovatore, Otello, Sinfonia and Simon Over, with whom she has “Ilona Domnich looked the part in spades from Tosca and Gianni Schicchi with conductors performed the Brahms Requiem, Mendelssohn the moment she sauntered onstage: elegant, such as Claudio Abbado, Riccardo Chailly, © R Ricci

- 34 - - 35 - Riccardo Muti, Lorin Maazel and Sir Georg Solti. important theatres in the world – on April Liege and Madrid and I due Foscari in successful in Italy and will land tour abroad in In 2007 he performed a historic concert 4th, 2014 he celebrated his five hundredth Piacenza and Marseille. After the success of the future. to celebrate 30 years of performance at Teatro performance at the Wiener Staatsoper. Luisa Miller in Busseto, in 2014 Leo Nucci alla Scala, an event that has been released continued his work there as stage director, as Nucci will continue his international tour with on DVD (Leo Nucci: Trent’anni alla Scala, He has recorded under the direction of Herbert well as training young singers of the Academy concerts together with the Italian Opera Chamber produced by C major). von Karajan, Sir Georg Solti, Riccardo Muti, in Piacenza, where he recently staged L’elisir Ensemble, with whom he recently recorded Claudio Abbado, Lorin Maazel, Riccardo Chailly, d’amore: both productions have been very an album dedicated to Giuseppe Verdi. In 1979 he made his debut at the Staatsoper James Levine, Zubin Mehta, Carlo Maria in Vienna with Il barbiere di Siviglia. In this Giulini, Giuseppe Patanè, Nello Santi, Bruno theater he has made nearly 300 performances Bartoletti and Daniel Oren, collaborating with SOUTHBANK SINFONIA CD recording session with Ilona Domnich and Southbank Sinfonia and several recordings, receiving the honor colleagues from the world of opera. He starred of “Kammersänger” and “Ehrenmitglied”. in two opera films: Macbeth by Claude D’Anna At the Metropolitan in New York he made his presented at Cannes in 1987, and Il barbiere debut in 1980 with Un ballo in maschera. He di Siviglia. participated in several new productions, recording Un ballo in maschera, La forza del A book has recently been released, dedicated destino, L’elisir d’amore, Il barbiere di Siviglia to him: “Leo Nucci, un baritono per caso” and several Gala concerts. He made his written by Achille Mascheroni, Azzali edition debut at London’s Covent Garden in 1978 of Parma. with Luisa Miller and since then has maintained an enduring collaboration through performances Recent highlights include a critically lauded and recordings. He has performed in Arena performance of Nabucco at Teatro alla Scala, di Verona for 31 years, performing in more which he also performed at Covent Garden than 100 performances, singing the role in London and Florence, as well performances of Rigoletto for nine editions and recording of Rigoletto in Seville and on tour in Japan numerous DVDs. with Teatro alla Scala and in Bilbao. Future engagements include La traviata in Leo Nucci may be the only baritone in history Madrid and Berlin, Nabucco in Valencia, to have sung Rigoletto in all the most Simon Boccanegra in Vienna, Rigoletto in

- 36 - - 37 - Violin I Cello Horn Southbank Sinfonia is an orchestra of young John’s Waterloo, in the heart of London, where Maria Fiore Mazzarini Svetlana Mochalova Jonathan Maloney professionals described by The Times as ‘a its regular free Rush Hour concerts give Marc Charles-Montesinos Guðný Jónasdóttir Kirsty Howe dashing ensemble who play with exhilarating many people their first ever experience of live Tam Mott Thomas Wraith Charles Hutchinson fizz, exactness and stamina’. It is internationally orchestral music. Douglas Harrison Alice Murray David Horwich recognised as a leading orchestral academy, Joan Martinez Joana Ly Bass Trumpet providing graduate musicians from all over Southbank Sinfonia receives no public funding Eugene Lee Mark Lipski Rebecca Crawshaw the world with a much-needed springboard into and is indebted to its many individual donors, Ksenia Berezina David Cousins Richard Blake the profession. trusts and foundations, and corporate Julia Loucks Jakub Cywinski supporters who believe in the potential of its Nuno Carapina Trombone Every year its players, each supported by a young musicians. To find out how you can Flute William Yates bursary, undertake an intensive and wide- support the orchestra and discover more Violin II Nicola Crowe / Nicola Smedley Rupert Whitehead ranging nine month programme of performance about its next exciting performances, visit Emily Bouwhuis Holly Melia / Simon Gilliver Hilary Belsey and professional development. This comprises www.southbanksinfonia.co.uk. Stefano D’Ermenegildo James Buckle performances across Britain and Europe Heloisa Gaspar Ribeiro Oboe Avril Freemantle Clara Pérez Sedano Tuba involving orchestral repertoire, chamber ‘In such lively bands as Southbank Sinfonia, Harriet Murray Julia Hantschel Mike Poyser music, opera, dance and theatre, alongside bright, open-minded young players are Minsi Yang Amy Turner development sessions embracing leadership redefining everything about classical music Zanete Uskane Percussion and teamwork, and opportunities to be concerts, from where they take place, to what Matthew Bethel Clarinet Timothy Brigden role-models, inspiring many younger musicians you hear and how you behave. If you haven’t Som Howie Craig Apps on London’s Southbank and beyond. been to an orchestral concert for a while – or Viola Daniel Broncano ever – give this brilliant new breed of bands a Jennifer MacCallum Thomas Caldecote Harp A distinctive and integral part of the programme try. You may be watching a revolution.’ Charley Lake Daniel de Fry is the orchestra’s creative partnerships with Richard Morrison, The Times Victoria Stephenson Bassoon Cameron Campbell Kylie Nesbit Celeste leading performing arts organisations including Tegen McGrahan Holly Reardon Helen Nicholas the Royal Opera, National Theatre, BBC Jennifer Coombes Ruth Rosales Concert Orchestra, Academy of St Martin in the Fields, and acclaimed artists such as Patrons Vladimir Ashkenazy and Edward Gardner. Principal Partner of Southbank Sinfonia The orchestra is proud to be based at St

- 38 - - 39 - SIMON OVER while in 2011 Simon received, on behalf Simon has worked both as conductor and of Southbank Sinfonia, the Japan Art accompanist with many internationally-acclaimed Simon Over studied at the Amsterdam Association Praemium Imperiale Grant for artists, including Sir Thomas Allen, Sir James Conservatoire, the Royal Academy of Music Young Artists in the presence of Prince and and Lady Galway, Dame Emma Kirkby, and Oxford University. From 1992 to 2002 Princess Hitachi and HM the Queen. Dame Felicity Lott, Sir Willard White, Dame Simon was a member of the music staff of Edna Everage, Alessio Bax, Emma Johnson, Westminster Abbey, and Director of Music at In 2006, Simon was appointed Conductor of Simon Keenlyside, Malcolm Martineau, and both St Margaret’s Church and in the Chapel the Malcolm Sargent Festival Choir and has Amanda Roocroft. of St Mary Undercroft in the Palace of been associated with the Samling - working Westminster. He is the Founder-Conductor with young professional singers - since its As a pianist, his performances with American of the UK Parliament Choir and has conducted inception. He is also Artistic Director of the violinist Miriam Kramer at the Wigmore Hall all the choir’s performances in conjunction Music Festival in Anghiari (Tuscany) and, and Lincoln Center, New York – as well as with the City of London Sinfonia, La since 2010, Music Director of Bury Court on several recordings – have received high Serenissima, the London Festival Orchestra Opera for whom he has conducted Dido and critical acclaim. and Southbank Sinfonia. Aeneas, Rigoletto, La Cenerentola, Eugene Onegin, The Fairy Queen and The Rake’s Simon founded Southbank Sinfonia in 2002 Progress. Further credits include Guest and has conducted many of its concerts Conductor of the City Chamber Orchestra throughout the UK and Europe at St (Hong Kong), the Goyang Philharmonic Orchestra George’s Chapel, Windsor Castle; St James’s (Korea) and directing Mozart’s Bastien und Palace; the Royal Opera House, Covent Garden; Bastienne for the 2011 Vestfold International Westminster Abbey; the Queen Elizabeth Hall Festival in Norway. Recently appointed and the Royal Albert Hall. He has conducted Principal Guest Conductor of the Southern Southbank Sinfonia in recordings with cellist Sinfonia, New Zealand, in 2013, he conducted Raphael Wallfisch, tenor Andrew Kennedy a joint concert with the Yamagata Symphony and pianist Alessio Bax. In 2009 and 2010 Orchestra and the Southern Sinfonia, he conducted the orchestra in 71 performances representing Australia and New Zealand in of Every Good Boy Deserves Favour (Tom Tokyo’s Asia Orchestra Week. Stoppard/André Previn) at the National Theatre,

- 40 - - 41 - Special thanks to the sponsors: The Henri Moerel Foundation (Arnout Van Der Veer and Jantiene T. Klein Roseboom) Michael Likierman Louise Allen (nèe Traill) David Gladstone David and Jane Gosman

Suzanne Lemieux Recorded in St Augustine’s Church, Highbury, from 18-22 August 2014 Margaret and Nicolas Lykiardopoulos Producer & Recording Engineer – Rupert Coulson Svetlana Omelchenko Recording Assistants – Mike Cox, Robin Hawkins, Chris Kalcov Editor & Mastering – Chris Kalcov Mark and Sara Payne Teresa Tilden Cover Image & Photos of Ilona – © Mike Hoban

Also to: Style and Costume Supervisors – Francis O’Connor and Estelle Butler Hair – Rhoda Gallagher Susan Roberts, Ludmilla Andrew, Mike Hoban, Quirjin de Lang, David Gladstone, Tim Cooke, the Southbank Sinfonia Design and Artwork – Woven Design www.wovendesign.co.uk Team (James Murphy, Jan Bonar, Jo Perry, Sam Le Roux), Ethan, Aviva, Dror and Svetlana P 2015 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd © 2015 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd

The Henri Moerel Foundation (HMF) supports young musicians and singers in fulfilling their potential. The Foundation Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, was established by Henri Moerel (1920-2012) in memory of his father Salomon Maurits Moerel. Salomon Moerel, an or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. esteemed physician, perished in Auschwitz in 1944, together with his wife, and daughter Carla, Henri’s younger sister. The aim of the Foundation is to enrich lives by giving beauty, to offset some of the darkness of the past. SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com Music was very important to the Moerel family. Emotions invoked and conveyed by music are a universal language, and the importance of such a universal language in today’s world is more urgent than ever. We are very proud to be the main sponsor of “Surrender” by Ilona Domnich and Southbank Sinfonia. We hope you will be touched by the beauty of the music performed by one of the most promising sopranos of today, supported by an orchestra consisting of some of the most promising young musicians from all over the word. www.henrimoerelfoundation.org

- 42 - - 43 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD419 BLACK Job Title: Surrender

SIGNUM CLASSICS

SIGCD419 Surrender

1 Ah! tardai troppo ... Oh luce di quest’anima Gaetano Donizetti [5.35]

Linda di Chamounix 2 Tu as raison. Si, je t’écoute ... Francis Poulenc [6.01] La voix humaine SURRENDER 3 Tout est sombre ... Lorsque je n’étais qu’une enfant André Messager [5.49] Fortunio 4 Denaro! Nient’altro che denaro ... Giacomo Puccini [6.05] La rondine DOMNICH / SOUTHBANK SINFONIA / OVER OVER / SINFONIA SOUTHBANK / DOMNICH 5 Je marche sur tous les chemins ... Obéissons quand leurs Jules Massenet [5.13] Manon 6 Snegurochka’s Aria Nikolai Rimsky-Korsakov [3.44] The Snow Maiden 7 Gualtier Maldè ... caro nome Giuseppe Verdi [4.54] Rigoletto 8 - 0 Mio padre! ... Tutte le feste ... Piangi, fanciulla Giuseppe Verdi [11.18] Rigoletto q E Susanna non vien ... Dove sono i bei momenti Wolfgang Amadeus Mozart [6.17] DOMNICH / SOUTHBANK SINFONIA / OVER Le nozze di Figaro w Una voce poco fa Gioachino Rossini [6.09] Il barbiere di Siviglia e Chi e mai, chi e qui in sua vece? ... Lassu in ciel Giuseppe Verdi [5.57] Rigoletto SURRENDER

Total timings: [67.04]

LC15723

Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD419

CLASSICS Road, Perivale, Middx UB6 7JD, United Kingdom. P 2015 Signum Records DDD SIGCD419 © 2015 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 04192 5 SIGNUM