SUPER AUDIO CD SUPER Danish National Concert Choir Concert National Danish Danish National Symphony Orchestra Symphony National Danish Gianandrea mezzo- mezzo-soprano

DALLAPICCOLA PRIGIONIERO IL Stephan Rügamer Stephan Nagy Michael Anna Maria Chiuri Maria Anna MUSICA ITALIANA ,around thetimeofcomposing ‘Ilprigioniero’

Boosey & Hawkes Collection / ArenaPAL Luigi Dallapiccola (1904 – 1975)

Il prigioniero (1944 – 48)* 43:10 A Prologue and One Act Libretto by Luigi Dallapiccola after ‘La Torture par l’espérance’ by Count Villiers de L’Isle-Adam (1838 – 1889) and ‘La Légende d’Ulenspiegel et de Lamme Goedzak’ by Charles De Coster (1827 – 1879)

Time: Second Half of the Sixteenth Century

Prologo 1 La madre: ‘Ti rivedrò, mio figlio!’ – 6:16 2 [Primo Intermezzo Corale] – 1:18

Atto Unico Scena Prima 3 : ‘Ero solo. Tutt’era buio’ – 5:51

Scena Seconda 4 Il prigioniero: ‘Solo. Son solo un’altra volta’ – 13:28

3 Scena Terza 5 Il prigioniero: ‘Signore, aiutami a camminare’ – 1:14 6 [Ricercare primo, super ‘Signore, aiutami a camminare’] – 1:56 7 [Ricercare secondo, super ‘Fratello’] – 3:18 8 [Ricercare terzo, super ‘Roelandt’] – 3:18 9 [Secondo Intermezzo Corale] – 1:26

Scena Quarta (ultima) 10 Il prigioniero: ‘Alleluja!’ 5:02

Prima Serie dei Cori di Michelangelo Buonarroti il Giovane (1933) 9:09 (First Series of the Choruses of Michelangelo Buonarroti the Younger) for Mixed Voices, without Accompaniment A mio padre e a mia madre 11 a Il Coro delle Malmaritate. Moderatamente mosso – Molto meno – Tranquillo – 4:34 12 b Il Coro dei Malammogliati. Vigoroso e un poco ciarlatanesco – Molto meno mosso e pesante – Subito più mosso – Gagliardamente, ma un poco sostenuto – Molto ritmato – Tempo del principio 4:32

4 13 Estate (1932) 3:17 (Summer) Frammento di Alceo (Fragment by Alcaeus) for Men’s Chorus Largamente; molto sostenuto – Leggermente mosso; con soavità – Più sostenuto e deciso – Rallentando a poco a poco – Tempo del principio TT 55:46

Anna Maria Chiuri mezzo-soprano (La madre)* Michael Nagy baritone (Il prigioniero)*

Stephan Rügamer tenor (Il carceriere • Il grande inquisitore)* Adam Riis tenor (Primo sacerdote)* Steffen Bruun bass (Secondo sacerdote)* Danish National Concert Choir Poul Emborg chorus master Danish National Symphony Orchestra* Christina Åstrand leader Gianandrea Noseda

5 Gianandrea Noseda Tony Hitchcock Tony Courtesy of Danish Radio Courtesy of Danish Radio

Danish National Symphony Orchestra, with its Chief Conductor, Fabio Luisi Danish National Concert Choir Bart Van Reyn director soprano I alto I Christine Nonbo Andersen Hanna-Maria Strand Jihye Kim Anna Caroline Olesen Malene Nordtorp Mette Bjærang Pedersen Lise Bech Bendix Lone Selchau Nina Fischer Hanne Struck-Schøning Magdalena Kozyra Rebecca Forsberg Svendsen Anna Carina Sundstedt Line Andersen Anne Christine Berggreen Mariann Amdisen Louise Pape Anna-Kajsa Holmberg Fanny Kempe soprano II Klaudia Kidon alto II Astrid Kastensson Navarro-Alonso Linnéa Lomholt Philippa Cold Tobias Nilsson Julie Borgwardt-Stampe Susanne Balle Hanna Kappelin Kristine Gether Pernille Manly Larsen Aleksandra Vagner Pedersen Louise Odgaard Rose-Ann Selmer Iben Silberg Elenor Wiman Anna Maria Wierød Eva Wöllinger-Bengtson Nina Smidt-Brewer Hedwig Rummel Hetna Regitze Lucie Szabova

8 tenor I bass I Emil Lykke Jakob Soelberg Miskow Adam Riis Johan Bogren Adriano Gaglianello Tore Asbjørn Hansen Jakob Knudsen Pedersen Piet Larsen Jens Rademacher Hans Lawaetz Morten Schønberg Sørensen Lauritz Jakob Thomsen Kristoffer Appel Danny Purtell Tomas Medici Martin Palsmar Benjamin Nellemose Claus Kofod tenor II bass II Gabriel Sin Steffen Bruun John Andert Johan Karlström Jens Olav Heckmann Daniel Åberg Jacob Heide Madsen Jørgen Ditlevsen Otte Ottesen Paul Frederiksen Palle Skovlund Mikkel Tuxen Thomas Zimmermann Stefan Cushion Stephen Yeseta Johan Dornwald Anders Grunth Uffe Henriksen Ove Mynderup

9 Danish National Symphony Orchestra Gianandrea Noseda conductor violin I Anne Marie Kjærulff Vanja Louro Christina Åstrand Andrea Alsted Birgitte Øland Soo-Jin Hong Stanislav Zakrjevski Richard Krug Elna Carr Christian Ellegaard Chul-Geun Park Jan Rohard Ida Balslev Christoffer Bergström Anders Fog-Nielsen Aleksander Kølbel Nina Dolgintseva Helle Hanskov Palm Rebecka Freij Frederik Waage Sarah McClelland Peter Andreas Nielsen Tine Rudloff double-bass Sabine Bretschneider-Jochumsen viola Pedro Vares de Azevedo Patricia Andersen Marthe Grimsrud Husum Joel Gonzalez Anja Zelianodjevo Katrine Bundgaard Einars Everss Madara Petersone Claus Myrup Michael Dabelsteen Erik-Theodor Danciu Gunnar Lychou Henrik Schou Kristensen Christine Bernsted Carina Andersson Ditlev Damkjær Maj Kullberg Kristian Fogh Gerrit H. Mylius Kern Westerberg Astrid Christensen Mads Kristensen Anne Soren violin II Stine Hasbirk flute Teresa La Cour Katarzyna Bugala Ulla Miilmann Kirstine Schneider Alexander Butz Anna Nykvist Monika Malmquist Egholm Magda Stevensson Russell Itani Bodil Kuhlmann Julie Meile cello oboe Marianne Bindel Henrik Dam Thomsen Eva Steinaa Morten Dulong Soo-Kyung Hong Ulrich Ortmann Johan Krarup Sven Buller

10 clarinet trombone percussion Johnny Teyssier Kasper Thaarup Jakob Weber Egholm August Lange Finkas Tobias Larsen Mads Hebsgaard Andersen Klaus Tönshoff Lukas Winther Andersen Patric Raab Søren Elbo Thomas Dahlkvist Alejandro Fernandez Klaes Breiner Nielsen bassoon tuba Sebastian Stevensson Thomas Røisland Dorte Bennike Aksel Kaae Trige harp Zachary James Hatcher horn Berit Spælling Lasse Mauritzen Dominika Piwkowska piano Oskar Lejonklo Per Salo Jakob Arnholtz Rikke Sandberg saxophone organ Jeanette Balland David Bendix Nielsen Maret Petersen timpani trumpet René Mathiesen Michael Frank Møller László Molnár Karl Husum Andreas Jul Nielsen Ketil Christensen

11 Anna Maria Chiuri Dallapiccola: Il prigioniero / Choral Works

Choral works (1568 – 1646), great-nephew of his more famous Luigi Dallapiccola (1904 – 1975) was just namesake. For this ‘first series’, followed by twenty and a student in Florence when, in two more over the next few years, Dallapiccola 1924, Schoenberg paid a visit to conduct the chose words intended for music: lyrics which Italian première of Pierrot lunaire. The young the poet had written for interludes in a play man was captivated, but it took him almost by his friend Niccolò Arrighetti (1586 – 1639). two decades, to the point when Il prigioniero The harmony now is suaver, retracing the was on his immediate horizon, to find a way modal progressions of the Italian Renaissance to engage thoroughly with Schoenberg. There madrigal, the imitative polyphony of which was even a long road to travel before he was is also embraced. Ildebrando Pizzetti’s Due starting to write works that satisfied him, one canzoni corali, of 1913, similarly in six parts, of the first being Estate (Summer), a paean to may have shown Dallapiccola the way here, Mediterranean summer heat and plenitude, on course towards his first , which he composed in 1932 for men’s chorus. (after Antoine de Saint-Exupéry’s novel Vol de As the piece starts, fourths in the harmony nuit []). might suggest by their clang the bursting sun; homophony of this kind alternates with other Il prigioniero textures, and the setting ends with a return of In June 1939, just a couple of months after the opening music. Alcaeus (c. 625 / 20 – having completed Volo di notte, Dallapiccola c. 580 BC), author of the original Greek text, was visiting Paris with his wife. As they were lived on Lesbos and was an associate of browsing through the bookstalls along the Sappho’s. In 1943, shortly before starting work Seine, she picked up a copy of the Nouveaux on Il prigioniero, Dallapiccola returned to his Contes cruels by Villiers de L’Isle-Adam lyrics in Sex Carmina Alcaei. (1838 – 1889) and found a story, ‘La Torture More immediately, in 1933, Estate was par l’espérance’ (Torture by Hope), which she followed by two choruses for mixed voices to thought her husband might make into a second poems by Michelangelo Buonarroti the Younger operatic work. The tale is that of a prisoner of

13 the Spanish Inquisition, who, finding his cell door performance silence is shattered by a motif of open, creeps out, his hope of freedom increasing three chords that, between them, project all to a point of ecstasy when he finds himself twelve notes. At the same time, very typically, outside and in a garden under the stars – only to connections with other ways of hearing are not be embraced there by the Inquisitor. forgotten. Each of these chords has octave- Dallapiccola could not attend to this right doubled fourths at the top and a dissonance away. He was already embarked on another with those fourths in the bass; each of them work on the theme of imprisonment, Canti di can be interpreted as belonging to an octatonic prigionia for chorus with pianos, harps, and scale (of alternating major and minor seconds). percussion, and there were further projects This is music not so different from Dallapiccola’s pressing on him. But, in the last week of 1943, of earlier times. It has the sound of metal and he made the commitment of writing a libretto stone, of the prison, but its ring is also that of (as he had written one for Volo di notte), and the bell of liberation. ‘My prison – my fortress’, in the next month he began setting it. Still, wrote Kafka, and it may be that by imprisoning though, the process was slow. Again, other himself in serialism Dallapiccola was, perhaps works intervened, and not until May 1948 was knowingly, creating a stronghold within which he the score finished. The opera received its could act with deliberation and even freedom. première, as a radio broadcast, on 1 December The three chords of the opening resound 1949, and its first stage production at Florence through the whole opera, but what is not so in May the following year. often repeated is their tutti clangour; on the More than a decade had thus passed contrary, this is generally a score of great between the inception of the work and fineness and economy, in which sometimes its arrival on stage, a period during which only a few instruments maintain the continuity, Dallapiccola made an important shift in the create shadowy or luminous atmospheres, foundations of his music. From having been and place the voices in relief. There are just an interested observer of Schoenberg and three main characters: the Prisoner, his Mother Webern, he became a close student of their (a personage introduced by Dallapiccola and music, the serial techniques of which he present only in the Prologue and First Scene), began to absorb in Sex Carmina Alcaei and and the Jailer, ultimately identified as the Grand other settings of Ancient Greek verse in Italian Inquisitor. There are also three main twelve- translation. Il prigioniero has a full-chromatic note rows, which Dallapiccola named ‘Prayer’, sound right from the start, where the pre- ‘Hope’, and ‘Freedom’, and out of which come

14 the vocal lines, which, he considered, the use (brother), which the Prisoner sings to a three- of twelve notes rather than seven could make note phrase that will give the opera another of the more expressive. its abiding themes. The context here is twelve- In the original story, Villiers de L’Isle-Adam note but consonant, as the orchestra touches does not indicate the period, except indirectly in two minor chords; so once again we meet in naming the Inquisitor as Pedro de Arbués, an emblem of the middle ground, between the who held that office in 1484 – 85, under tonal and the atonal, that Dallapiccola found so Torquemada. This was a time when the Spanish productive. Inquisition, newly instituted, concerned itself The Mother leaves at the approach of the particularly with Jews, and Villiers makes his Jailer, who enters singing ‘Fratello’ his own protagonist accordingly a rabbi. Dallapiccola, way, though in this Second Scene, which is however, must have felt such a situation to again a two-hander, he will later adopt the be totally insupportable in 1943, when Europe Prisoner’s. As Villiers has it, the inquisitor offers was experiencing an anti-Semitic programme the hope of divine forgiveness tomorrow, when on so much more terrible a scale. That could the prisoner will meet his end at the stake. explain his updating the action by almost Dallapiccola, in a work excluding religious a century, from the Spain of Ferdinand and sentiments, needs a promise that is of this Isabella to that of Philip II, whom the Mother, world, not the next, and has the Jailer tell of the in her solo prologue, names as the villain. revolt against Philip II in the king’s domain of Possibly the composer was motivated, too, by the Netherlands. Those initiating chords return the connection he could make with another as the Jailer comes to the ringing of Roeland, opera featuring a Grand Inquisitor: Verdi’s Don the great bell of Ghent, before going on, in an Carlos (though Il trovatore may offer still closer aria in three stanzas, to the victories of the parallels). ‘Beggars’ (rebel Dutch nobility). Material for this Ending the Prologue, the Mother’s ballata, report comes from what was the composer’s or ballad, is dramatically enforced in a ‘choral second literary source, the picaresque novel intermezzo’, setting ironically relevant psalm La Légende et les aventures héroïques, joyeuses verses. There follows the First Scene, for the et glorieuses d’Ulenspiegel et de Lamme Prisoner and his Mother, in which the topics of Goedzak au pays de Flandres et ailleurs by the prayer and hope are introduced. The Prisoner is Belgian writer Charles De Coster (1827 – 1879). encouraged to hope by the gentle address he As the action remains where Villiers placed it, customarily receives from the Jailer: ‘Fratello’ in Saragossa, a puzzle arises as to why the

15 Prisoner should identify with the cause of the itself at the climax, which folds into a second Flemings, about which he is evidently well intermezzo for unseen chorus. informed. However, this lack of precision – The last scene is short. The Prisoner, having together with, of course, the generalised naming attained the garden, exults in his freedom, and of the characters – helps make Il prigioniero the chorus remains in the background through a drama of archetypes, powerful beyond any a sequence notable for its evocative delicacy, particulars of place and time, and inviting ready to bring vocal urgency to a quick new spectators to bring to its metaphor their own climax. Suddenly broken off, this gives way to experience. When the work was new, audiences the reappearance of the Jailer, now as the Grand would probably have recalled the clandestine Inquisitor, offering his terrible greeting. The anti-fascist movements of the recent war. Prisoner recognises that he has been subjected In his Third Scene Dallapiccola stays close to a torture worse than all the rest, that of hope, to the story of Villiers, even including the and a chamber choir enters with a quotation episode of the two priests who, arguing a from the first of the composer’s Canti della point of doctrine, fail to notice the protagonist prigionia, the words of which come from a prayer as he moves along what he thinks will be his attributed to Mary Queen of Scots. Applying his escape route. Otherwise this is necessarily a customary gentleness, worse than ferocity, the solo scene, punctuated by the beginnings of Grand Inquisitor leads the Prisoner back. orchestral ‘ricercares’, as Dallapiccola calls We may feel, however, that the Prisoner them – canonic inventions, that is. The first has indeed made his escape, for he has slid of these is based on the opening line sung by out from the vocal-orchestral apparatus that the Prisoner in the scene, ‘Signore, aiutami a is proceeding through its soft descent. He no camminare’, set to the ‘Prayer’ row, the second longer sings but speaks. ‘Freedom’, he says. on his ‘Fratello’ motif from the First Scene; then And then again, with an audible question mark: these two ricercares overlap. After the priests’ ‘Freedom?’ The opera is by this point vanishing discourse, the third ricercare comes forward, behind him as he stays, to confront the on the chords now associated with the bell audience. Roeland. Following this, all three ricercares © 2020 Paul Griffiths are combined. The chords from the work’s beginning return as the Prisoner reaches the end of the passageway, and then, in the Having graduated from the Conservatorio di percussion, we seem to be hearing Roeland Musica Arrigo Boito in Parma and perfected her

16 technique under Maestro Franco Corelli, Anna Saint-Saëns, and Arvo Pärt, among others, Maria Chiuri is one of the most sought-after and appears in several complete operatic and appreciated mezzo- in the Italian, performances on DVD. German, and French repertoire. A regular guest at major European opera houses, she recently A baritone with Hungarian roots, who was performed in Puccini’s Il trittico at Teatro alla born in Stuttgart, Michael Nagy began Scala in Milan under Riccardo Chailly and at his musical career with the Stuttgarter Teatro del Maggio Musicale Fiorentino, and sang Hymnus-Chorknaben. He studied singing, lied Herodias in a new production of Salome at the interpretation, and conducting with Rudolf Salzburger Festspiele under Franz Welser-Möst, Piernay, Irwin Gage, and Klaus Arp in Mannheim Ulrica (Un ballo in maschera) at National Centre and Saarbrücken and attended master-classes for the Performing Arts in Beijing, and Amneris given by Charles Spencer, Cornelius Reid, and (Aida) at Arena di Verona. She will soon sing Una Rudolf Piernay, whom he still consults. He Donna (Dittico Contemporaneo – Intolleranza built up a repertoire of important roles while 1960) and Herodias at Teatro alla Scala and engaged in his early years at Komische Oper Salzburger Festspiele, appear in performances Berlin and Oper Frankfurt, to which he regularly of Aida at Teatro di San Carlo in Naples and Don returns. He also gives guest performances Carlo at the New National Theater in Tokyo, and on major stages in Vienna, Munich, Hamburg, appear as Barbara (Violanta) at Teatro Regio Berlin, Geneva, and Zurich, continuing to di Torino. She has performed Beethoven’s broaden his repertoire of baritone roles. Having Ninth Symphony at the prestigious Mostly recently made his role debuts as Don Alfonso Mozart Festival at Lincoln Center in New York (Così fan tutte) at Opernhaus Zürich and as and at Teatro Regio di Torino, Verdi’s Messa Amfortas (Parsifal) at Bayerische Staatsoper, da Requiem at the Rudolfinum in Prague and under Kirill Petrenko, he returned to both in Washington D.C., Bruckner’s Te Deum at houses during the 2019 / 20 season. He is Maggio Musicale Fiorentino under Zubin Mehta, also in high demand around the globe as a Mendelssohn’s Ein Sommernachtstraum at concert and oratorio singer, having appeared Teatro Regio di Parma under Yuri Temirkanov, with such renowned orchestras as the Berlioz’s Les Troyens at Teatro Massimo Berliner Philharmoniker, Concertgebouworkest Bellini in Catania, and Mozart’s Requiem in Amsterdam, Symphonieorchester des Florence under Zubin Mehta. Anna Maria Chiuri Bayerischen Rundfunks, Chicago Symphony has recorded works by Sammartini, Bellini, Orchestra, NHK Symphony Orchestra, Tokyo,

17 Orchestre de Paris, Gewandhausorchester also sang his first Erik (Der fliegende Holländer) Leipzig, Konzerthausorchester Berlin, New during a visit by the company to Teatro Real in Japan Philharmonic Orchestra, Tokyo, Madrid in 2003, repeating the role in Berlin in and Sydney Symphony Orchestra. He has 2013 under Daniel Harding. He has appeared performed at numerous festivals, for instance as a guest artist in Frankfurt and Essen as well the Schleswig-Holstein Musik Festival, as Dresden, Hamburg, Munich, and Stuttgart. Rheingau Musik Festival, Salzburger Festspiele, He has performed at Opéra national de Lyon, Tanglewood Music Festival, Grafenegg Festival, and sung Matteo (Arabella) at Théâtre du and Quincena Musical de San Sebastián. Song Châtelet in Paris, Boris and Walther von der recitals and chamber music are a particular Vogelweide (Tannhäuser) at Teatro Real, Madrid, concern of Michael Nagy, who regularly gives the latter under Jesús López Cobos, Marquis recitals accompanied by Gerold Huber or (Prokofiev’s The Gambler), Elisa Bornelius Susanna Klovsky. He most recently appeared in (Rimsky-Korsakov’s The Tsar’s Bride), and Loge Munich, Cologne, Bonn, and Essen, and is soon (Das Rheingold) at Teatro alla Scala in Milan, the to sing in Barcelona, London, and Zürich. last a role he has also performed at the White Nights Festival in St Petersburg under Valery Having received his musical education mainly Gergiev. Additionally he has sung Eisenstein at the Hochschule für Musik in Lübeck, Stephan (Die Fledermaus) with the Israel Philharmonic Rügamer completed his studies with Professor Orchestra under Zubin Mehta, Captain James Wagner and Professor Günter Binge. (Wozzeck) at Opéra national de Paris, and At Theater Lübeck from 1996 to 1998 he Captain and Loge at Grand Théâtre de Genève. sang such roles of the lyric tenor’s repertoire Stephan Rügamer has appeared in concert as Don Ottavio (Don Giovanni), Belmonte all over the world under conductors such as (Die Entführung aus dem Serail), Alfredo Pierre Boulez, Neeme Järvi, Fabio Luisi, Ingo (La traviata), and Alfred (Die Fledermaus). Since Metzmacher, Kent Nagano, and Helmut Rilling. 1999 he has been engaged by Daniel Barenboim as a regular member of Staatsoper Berlin, The Danish National Concert Choir is the large- where he has sung David (Die Meistersinger von scale symphonic chorus of DR – Denmark’s Nürnberg), Froh (Das Rheingold), Steuermann national public-service broadcaster. It was (Der fliegende Holländer), Chevalier (Der ferne established in 1932 as a permanent musical Klang), Boris (Kát’a Kabanová), and Shuysky partner of the Danish National Symphony (Boris Godunov). Under Daniel Barenboim he Orchestra, the two ensembles having since

18 appeared together in many hundreds of and dedicated leader who has taken the concerts. The Choir consists of seventy-five Choir to new heights of achievement and professional singers, including, at its core, the who also works with ensembles such as the eighteen voices of the Danish National Vocal BBC Singers, Vlaams Radiokoor, and SWR Ensemble. Large-scale symphonic works for Vokalensemble Stuttgart. choir and orchestra, both sacred and secular, form the heart of the Choir’s repertoire, in music Founded in 1925 as part of the Danish from the eighteenth century to the present Broadcasting Corporation, the Danish day. But the Choir also regularly performs National Symphony Orchestra is today a cappella: works by Francis Poulenc, Richard one of the leading symphony orchestras in Strauss, and Henryk Górecki, as well as Serge Europe, performing with the world’s most Rachmaninoff’s famous Vespers, among eminent conductors and soloists. Since 2016, others, make up the programme of its recent succeeding the late Spanish maestro Rafael and forthcoming concerts. New music is also Frühbeck de Burgos, its Chief Conductor a significant part of its work – most recently, has been Fabio Luisi. Former Principal the Choir gave the Danish premiere of the Conductors and Principal Guest Conductors St Luke Passion by Sir James MacMillan, directed have included Herbert Blomstedt (Conductor by the composer, in a critically acclaimed Laureate), Thomas Dausgaard, Gerd Albrecht, performance in Copenhagen, performing it also Leif Segerstam, Dmitri Kitajenko, and Yuri in Brussels. The Choir has won international Temirkanov. The Orchestra has performed acclaim through more than forty recordings on with Anne Sophie Mutter, Leonidas Kavakos, labels including Chandos – its 2015 recording of Renée Fleming, Yo-Yo Ma, Leif Ove Andsnes, Olivier Messiaen’s virtuosic Trois Petites Liturgies Lang Lang, Anna Netrebko, Nigel Kennedy, de la Présence Divine winning a Diapason d’Or Daniel Barenboim, Elisabeth Leonskaja, de l’Année. It has also undertaken more than Vladimir Ashkenazy, Yehudi Menuhin, and fifty concert tours in Europe, the USA, and Itzhak Pearlman, among others. It has toured Australia, visiting festivals such as Festival extensively in the USA, South America, China, Présences in Paris, Klarafestival in Brussels, and most countries in Europe, and, a visitor Schleswig-Holstein Musik Festival, and the to the BBC Proms, has performed at such BBC Proms. Since 2016, the Director of the prestigious venues as the Royal Albert Hall, Danish National Concert Choir has been the Carnegie Hall, Berliner Philharmonie, Kölner Belgian conductor Bart Van Reyn, a dynamic Philharmonie, Concertgebouw Amsterdam, and

19 Wiener Musikverein. The Orchestra performs and China and recorded the complete Beethoven everything from classical works by Beethoven Symphonies for release on the Orchestra’s new and Brahms through roman­tic tone poems and label. Noseda also serves as Principal Guest modern masterpieces to new creations by the Conductor of the London Symphony Orchestra composers of tomorrow. At the same time, it and Israel Philharmonic Orchestra, and Artistic has a special feeling for Danish music, from Director of the Stresa Festival. At the start of masters such as Carl Nielsen and Niels W. Gade the 2021 / 22 season, he will become General to young composing talents of today. Each year Music Director of Opernhaus Zürich, where he more than 100,000 music lovers experience the will lead his first Ring cycle. From 2007 to 2018, magic of live symphonic music with the Danish he served as Music Director of Teatro Regio di National Symphony Orchestra, both in the Torino. spectacular hall of DR Koncerthuset, designed He has conducted orchestras such by Jean Nouvel, and on its annual tour abroad. as the Berliner Philharmoniker, Münchner Its popular Thursday Concerts are enjoyed not Philharmoniker, Wiener Philharmoniker, Wiener only by concert audiences but also by many Symphoniker, Orchestre de Paris, Orchestre Danes on radio and television, and millions national de France, Royal Concertgebouw tune in when the concerts are broadcast Orchestra, Orchestra dell’Accademia Nazionale internationally. di Santa Cecilia, Danish National Symphony Orchestra, New York Philharmonic, Chicago One of the world’s most sought-after Symphony Orchestra, Cleveland Orchestra, conductors, Gianandrea Noseda became Philadelphia Orchestra, Met Orchestra, and the seventh Music Director of the National NHK Symphony Orchestra, Tokyo, and at such Symphony Orchestra at the start of the 2017 / 18 leading opera houses and festivals as Teatro season, his contract extended in September alla Scala, Milan, The Royal Opera, Covent 2018 through the end of the 2024 / 25 season. Garden, Salzburger Festspiele, and Opernhaus In addition to his subscription weeks with Zürich. He has amassed a discography of more the Orchestra at its home at the Kennedy than sixty recordings for Chandos and other Center in Washington, D.C., in 2019 he led it labels. Dedicated to the next generations of in critically acclaimed concerts at Carnegie musicians, he has worked with leading youth Hall and Lincoln Center in New York. During orchestras and is founding Music Director of the 2019 / 20 season he and the Orchestra the Tsinandali Festival and its Pan-Caucasian undertook their first international tour to Japan Youth Orchestra, which completed its first

20 season in September 2019. A native of Milan, Conductor of the Year by Musical America in Gianandrea Noseda is Commendatore al 2015 and named Conductor of the Year at the Merito della Repubblica Italiana. He was voted International Opera Awards in 2016. © Stefano Pasqualetti Stefano ©

Gianandrea Noseda

21 Michael Nagy Stephan Rügamer

Simon Pauly Dallapiccola: Il prigioniero / Chorwerke

Chorwerke zu Versen von Michelangelo Buonarroti dem Als zwanzigjähriger Student in Florenz erlebte Jüngeren (1568 – 1646), dem Großneffen Luigi Dallapiccola (1904 – 1975) dort den eigens des gleichnamigen Renaissance-Künstlers. zur italienischen Erstaufführung von Pierrot Für diese “erste Serie” (gefolgt von zwei lunaire angereisten Schönberg. Der junge weiteren in den nächsten Jahren) wählte Mann war fasziniert, aber es dauerte fast zwei Dallapiccola zur Vertonung gedachte Texte, Jahrzehnte, bis er – Il prigioniero vor Augen – die der Dichter für Zwischenstücke in einem einen Weg fand, auf dem er sich gründlich mit Drama seines Freundes Niccolò Arrighetti Schönberg auseinandersetzen konnte. Er tat (1586 – 1639) verfasst hatte. Hier nun gibt sich sich ohnehin schwer, die eigenen Ansprüche die Harmonie gewandter und zeichnet die zu erfüllen, aber eines der ersten ihn selbst modalen Fortschreitungen des italienischen überzeugenden Werke war Estate, ein Lobgesang Renaissance-Madrigals nach, das auch in auf die prallende Hitze des mittelmeerischen seiner imitativen Polyphonie nachwirkt. Sommers, den er 1932 für Männerchor Ildebrando Pizzetti könnte mit seinen ähnlich komponierte. Zu Beginn des Stücks könnte die für sechs Stimmen gesetzten Due canzoni klirrende Quartenharmonik die brennende Sonne corali von 1913 Dallapiccola wichtige Anstöße suggerieren; derartige Homophonie steht im gegeben und ihn dann weiter zu seiner ersten Wechsel mit anderen Texturen, und das Stück Oper, Volo di notte (nach Antoine de Saint- schließt mit einer Rückkehr zum musikalischen Exupérys Roman Vol de nuit [Nachtflug]), Anfang. Alkaios (ca. 625 / 20 – ca. 580 v. Chr.), geführt haben. der Autor des altgriechischen Urtextes, lebte auf Lesbos und war ein Zeitgenosse von Sappho. Il prigioniero 1943, kurz bevor er die Arbeit an Il prigioniero Im Juni 1939, nur wenige Monate nach der aufnahm, kehrte Dallapiccola in Sex Carmina Vollendung von Volo di notte, besuchte Alcaei zur Lyrik des Griechen zurück. Dallapiccola mit seiner Frau Paris. Beim Zunächst aber, 1933, folgten auf Estate Durchstöbern der Bücherstände entlang zwei Chorgesänge für gemischte Stimmen der Seine stieß sie auf die Nouveaux Contes

24 cruels von Auguste de Villiers de L’Isle- interessierte Beobachter von Schönberg Adam (1838 – 1889) und darin die Erzählung und Webern entwickelte sich zu einem “La Torture par l’espérance” (Folter durch engen Schüler ihrer Musik, deren serielle Hoffnung), von der sie sich eine zweite Oper Kompositionstechniken er in Sex Carmina Alcaei ihres Mannes versprach. Die Geschichte und anderen Vertonungen altgriechischer Lyrik handelt von einem Gefangenen der spanischen in italienischer Übersetzung zu absorbieren Inquisition, der entdeckt, dass die Tür seiner begann. Il prigioniero hat von Anfang an einen Zelle nicht fest geschlossen ist, und entkommt. vollchromatischen Klang, bei dem die Stille In seiner bis zur Ekstase gesteigerten Freude vor der Aufführung durch ein Motiv aus drei an der unverhofften Freiheit erreicht er den Akkorden erschüttert wird, die unter sich Garten, wo ihn der Großinquisator unter dem alle zwölf Noten beinhalten. Typischerweise Sternenhimmel wieder gefangen nimmt. werden gleichzeitig Verbindungen zu anderen Dallapiccola konnte sich nicht sofort damit Hörweisen nicht vergessen. Jeder dieser befassen. Er hatte bereits eine weitere Arbeit Akkorde besitzt hohe oktavverdoppelte zum Thema Gefangenschaft ( Quarten und eine Dissonanz mit diesen für Chor mit Klavieren, Harfen und Schlagzeug) Quarten im Bass; jeder kann im Rahmen in Angriff genommen, und er stand unter einer oktatonischen Skala (abwechselnde dem Druck weiterer Projekte. In der letzten Dur- und Moll-Sekunden) verstanden werden. Dezemberwoche 1943 verpflichtete er sich Diese Musik unterscheidet sich kaum von jedoch, so wie für Volo di notte ein weiteres Dallapiccolas früherem Schaffen. Hier hört man Libretto zu schreiben, und im Januar begann Metall und Stein, das Gefängnis, aber auch er mit der Vertonung. Allerdings kam er nur die Freiheitsglocke. “Meine Gefängniszelle – langsam voran. Andere Werke hielten ihn auf, meine Festung”, schrieb Kafka, und womöglich und erst im Mai 1948 vollendete er die Partitur. schuf Dallapiccola durch die selbstauferlegte Die Oper wurde am 1. Dezember 1949 in einer Gefangenschaft im Serialismus vielleicht Hörfunkproduktion uraufgeführt und erlebte im wissentlich eine Festung, in der er überlegt und Mai des folgenden Jahres in Florenz ihre erste sogar frei agieren konnte. Inszenierung. Die drei Eröffnungsakkorde durchziehen Somit lag mehr als ein Jahrzehnt zwischen die gesamte Oper, was hingegen nicht so dem ersten Federstrich und dem Bühnendebüt – oft wiederholt wird, ist ihr Tutti-Klang; ganz eine Zeit, in der Dallapiccola als Komponist eine im Gegenteil ist dies im Allgemeinen eine wichtige Positionsveränderung vollzog: Der Partitur von großer Feinheit und Sparsamkeit,

25 in der manchmal nur wenige Instrumente die des Herrscherpaars Ferdinand und Isabella Kontinuität aufrechterhalten, schattige oder in die Zeit von Philipp II., den die Mutter in lichte Gepräge erzeugen und die Stimmen ihrem Soloprolog als Übeltäter bezeichnet. erhaben herausarbeiten. Nur drei Hauptfiguren Möglicherweise ließ sich der Komponist auch treten auf: der Gefangene, seine Mutter durch die Verbindung motivieren, die er zu (eine von Dallapiccola eingeführte Person, einer anderen Oper mit einem Großinquisitor der wir lediglich im Prolog und in der ersten herstellen konnte: Verdis Don Carlos (obwohl Szene begegnen) und der Kerkermeister, der Il trovatore vielleicht noch engere Parallelen sich am Ende als Großinquisitor erweist. Die bietet). Musik findet vor allem in drei Zwölftonreihen Am Ende des Prologs wird die Ballata Ausdruck, die Dallapiccola als “Gebet”, (Ballade) der Mutter in einem “Chorintermezzo” “Hoffnung” und “Freiheit” bezeichnete und mit ironisch relevanten Psalmversen aus denen die Gesangslinien hervorgehen, dramatisch verstärkt. Es folgt die erste Szene die seiner Ansicht nach mit zwölf statt sieben für den Gefangenen und seine Mutter, in der Noten größere Wirkung erzielen könnten. die Themen Gebet und Hoffnung vorgestellt In der zugrundeliegenden Erzählung gibt werden. Hoffnung beflügelt den Gefangenen, Villiers de L’Isle-Adam den Handlungszeitraum weil er üblicherweise vom Kerkermeister nicht direkt an, spricht jedoch von dem “Fratello” (Bruder) genannt wird, und er singt Inquisitor Pedro de Arbués, der dieses Amt die sanfte Anrede zu einer Drei-Noten-Phrase, in den Jahren 1484 / 85 unter Torquemada die der Oper ein weiteres ihrer nachhaltigen bekleidete. Zu jener Zeit verfolgte die neu Themen gibt. Der Kontext hier ist zwölftönig eingerichtete Spanische Inquisition mit aber konsonant, da das Orchester zwei Moll- besonderer Vehemenz die Juden im Lande, Akkorde einfügt; so begegnen wir erneut einem sodass Villiers bei seinem Protagonisten Emblem des Mittelgrundes zwischen tonal und verständlicherweise an einen Rabbiner dachte. atonal, der für Dallapiccola so ergiebig war. Doch 1943, als in Europa ein systematischer Die Mutter geht, als sich der Kerkermeister Antisemitismus von so viel schrecklicherem nähert, der “Fratello” auf seine eigene Weise Ausmaß betrieben wurde, muss Dallapiccola singt, obwohl er in dieser zweiten Szene wohl eine solche Ausgangslage als völlig (erneut ein Zweipersonenstück) später die unvertretbar empfunden haben. So erklärt Phrase des Gefangenen übernehmen wird. Bei sich vielleicht, dass er die Handlung um fast Villiers bietet der Inquisitor die Hoffnung auf ein Jahrhundert verlagerte, vom Spanien göttliche Vergebung am Tag darauf, wenn der

26 Gefangene auf dem Scheiterhaufen endet. In und die Zuschauer dazu einlädt, ihre eigenen einem Werk, das religiöse Gefühle ausschließt, Erfahrungen in die Metapher einzubringen. braucht Dallapiccola ein Versprechen, das In der ersten Zeit nach dem Erscheinen von dieser Welt ist, nicht von der nächsten, des Werkes hätte sich das Publikum sodass er den Kerkermeister über einen wahrscheinlich an die antifaschistischen Aufstand gegen Philipp II. in Flandern erzählen Untergrundbewegungen des jüngsten Krieges lässt. Die Anfangsakkorde kehren zurück, als erinnert. der Kerkermeister vom Läuten der großen In seiner dritten Szene hält sich Dallapiccola Rolandsglocke in Gent berichtet, bevor er in eng an die Erzählung von Villiers und bezieht einer dreistrophigen Arie zu den Siegen der selbst die beiden Priester ein, die in ein Geusen (der aufständischen Adligen, die theologisches Gespräch vertieft den Gefangenen sich als “Bettler” bezeichnen) übergeht. Das auf seiner Flucht ins Freie nicht bemerken. Im Material für diesen Bericht stammt aus der Übrigen ist dies zwangsläufig eine Soloszene, zweiten literarischen Quelle des Komponisten, unterbrochen von den Anfängen orchestraler dem pikaresken Roman La Légende et les “Ricercari”, wie Dallapiccola sie nennt, also aventures héroïques, joyeuses et glorieuses kanonischen Inventionen. Das erste basiert d’Ulenspiegel et de Lamme Goedzak au pays auf der Eröffnungslinie, “Signore, aiutami a de Flandres et ailleurs (Die Geschichte von camminare”, die der Gefangene in der Szene Ulenspiegel und Lamme Goedzak und ihren gesungen hat, gesetzt zu der “Gebet”-Reihe, heldenmäßigen, fröhlichen und glorreichen während das zweite auf seinem “Fratello”-Motiv Abenteuern im Lande Flandern und anderwärts) aus der ersten Szene beruht; dann überlappen des belgischen Schriftstellers Charles De sich diese beiden Ricercari. Nach dem Diskurs Coster (1827 – 1879). Da die Handlung weiter der Priester tritt das dritte Ricercar zu den dort abläuft wie bei Villiers, in Saragossa, fragt Akkorden hervor, die jetzt mit der Rolandsglocke man sich, warum der Gefangene mit der Sache assoziiert werden. Anschließend werden alle der Flamen, über die er augenscheinlich gut drei Ricercari kombiniert. Die Anfangsakkorde informiert ist, sympathisieren sollte. Andererseits des Werkes kehren zurück, als der Gefangene trägt dieser Mangel an Präzision – natürlich im das Ende seines Fluchtwegs erreicht, und nun Verbund mit der verallgemeinerten Benennung scheinen wir auf dem Höhepunkt im Schlagzeug der Figuren – jedoch dazu bei, Il prigioniero zu die Rolandsglocke selbst zu hören, und die einem Archetypendrama zu machen, das alle Musik mündet in ein zweites Intermezzo für Spezifika von Ort und Zeit machtvoll überwindet unsichtbaren Chor.

27 Die letzte Szene ist kurz. Der Gefangene hat entstammt. In der von ihm gewohnten den Garten erreicht und bejubelt seine Freiheit; Sanftmut, die infamer ist als Grausamkeit, führt unterdessen hält sich der Chor in einer Sequenz der Großinquisitor den Gefangenen ab. von bemerkenswert evokativer Empfindsamkeit Wir mögen aber auch das Gefühl haben, aus dem Hintergrund bereit, einem schnellen dass dem Gefangenen die Flucht gelungen ist, neuen Höhepunkt vokale Dringlichkeit zu denn aus dem Vokal- / Orchester-Apparat, der verleihen. Jäh bricht diese Stimmung ab, seinen sanften Abstieg fortsetzt, hat er sich als der Großinquisitor den Gefangenen in befreit. Er singt nicht mehr, sondern spricht. falscher Brüderlichkeit in die Arme schließt. Der “Freiheit”, sagt er – und wiederholt dann, mit Gefangene erkennt in ihm den Kerkermeister einem hörbaren Fragezeichen: “Freiheit?” Zu wieder und begreift sich als Opfer der diesem Zeitpunkt schwindet die Oper hinter schlimmsten Folterung: durch die Qual der ihm, während er bleibt, um das Publikum zu Hoffnung. Ein Kammerchor tritt mit einem Zitat konfrontieren. aus Dallapiccolas erstem Canto della prigionia auf, dessen Text einem der schottischen © 2020 Paul Griffiths Königin Maria Stuart zugeschriebenen Gebet Übersetzung: Andreas Klatt

28 Dallapiccola: Il prigioniero / Œuvres chorales

Œuvres chorales mixtes, mettant en musique des poèmes de Luigi Dallapiccola (1904 – 1975) avait à peine Michelangelo Buonarroti le Jeune (1568 – 1646), vingt ans et était étudiant à Florence quand, petit-neveu de son célèbre homonyme. Pour en 1924, Schoenberg y séjourna pour y diriger cette “première série” et les deux autres la création en Italie de Pierrot lunaire. Le jeune composées dans les années qui suivirent, homme fut fasciné, mais il lui fallut presque deux Dallapiccola choisit des textes conçus par le décennies, lorsqu’Il prigioniero se profilait à son poète avec une intention musicale puisqu’ils proche horizon, pour trouver un moyen de rentrer devaient servir d’interludes dans une pièce réellement en contact avec le compositeur. Et de son ami Niccolò Arrighetti (1586 – 1639). une longue route lui restait à parcourir avant L’harmonie est ici plus délicate, s’inscrivant de commencer à écrire des œuvres qui le dans la ligne des progressions modales du satisfassent, l’une des premières étant Estate madrigal de la Renaissance italienne dont la (Été), un hymne à la chaleur et à la plénitude de polyphonie imitative est aussi illustrée. Due l’été méditerranéen qu’il composa en 1932 pour canzoni corali d’Ildebrando Pizzetti, datant de chœur d’hommes. Au début de la pièce, des 1913 et aussi à six voix, pourrait avoir orienté quartes dans l’harmonie pourraient suggérer, Dallapiccola lorsqu’il entreprit de composer son par le fracas de leur sonorité, le soleil éclatant; premier opéra, Volo di notte (d’après le roman ce genre d’homophonie alterne avec d’autres Vol de nuit d’Antoine de Saint-Exupéry). textures, et la mise en musique se termine par un retour de l’épisode initial. Alcée (c. 625 / 20 – Il prigioniero c. 580 av. J.-C.), auteur du texte grec original, En juin 1939, quelques mois à peine après vivait sur l’île de Lesbos et était contemporain et avoir terminé Volo di notte, Dallapiccola était très proche de la poétesse Sapphô. En 1943, juste en visite à Paris avec son épouse. Ils flânaient avant de commencer Il prigioniero, Dallapiccola le long de la Seine, jetant un coup d’œil aux retourna à ses textes dans Sex Carmina Alcaei. éventaires des bouquinistes, quand elle prit Peu de temps après Estate, en 1933, en main un exemplaire des Nouveaux Contes Dallapiccola écrivit deux chœurs pour voix cruels de Villiers de L’Isle-Adam (1838 – 1889).

29 Elle y trouva une histoire, “La Torture par s’imprégnant de leurs techniques sérielles l’espérance”, qui, pensait-elle, pourrait inspirer pour Sex Carmina Alcaei et d’autres mises en son époux pour l’intrigue d’un second opéra. Au musique de poèmes en grec ancien transposés cœur de l’intrigue se trouve un prisonnier, sous en italien. Il prigioniero adopte dès le début l’Inquisition espagnole, qui apercevant la porte un style pleinement chromatique, le silence de sa cellule ouverte, la quitte discrètement, qui précède la représentation étant rompu son espoir de liberté s’intensifiant jusqu’à par un motif de trois accords qui, entre eux, l’extase quand il se retrouve dehors dans un projettent les douze notes. Mais à la fois, très jardin, sous un ciel étoilé – mais l’Inquisiteur typiquement, le compositeur ne néglige pas l’y attend. certaines connexions avec d’autres modes de Dallapiccola ne put se pencher tout de suite perception. Ces accords comportent chacun sur ce récit, car il avait déjà entrepris une autre des quartes doublées d’octaves dans l’aigu œuvre sur le thème de l’emprisonnement, Canti et une dissonance avec ces quartes dans les di prigionia pour chœur, avec pianos, harpes et graves; chacun peut être considéré comme percussions, et d’autres projets l’attendaient appartenant à une gamme octatonique (de aussi. Mais au cours de la dernière semaine de secondes majeures et mineures alternées). 1943, il décida de se mettre à écrire un livret Cette musique n’est pas tellement différente qui s’en inspirait (comme il l’avait fait pour Volo de celle qu’écrivit Dallapiccola plus tôt. Elle di notte), et le mois suivant, il en commença a le son du métal et de la pierre, de la prison, la mise en musique. Mais il ne progressait mais elle tinte aussi comme la cloche de la que lentement, car une fois encore, d’autres libération. “Ma prison – ma forteresse”, écrivit œuvres vinrent interrompre son travail, et la Kafka, et il se peut qu’en s’emprisonnant dans partition ne fut donc achevée qu’en mai 1948. le sérialisme, Dallapiccola créa, consciemment L’opéra fut créé à la radio le 1er décembre 1949, peut-être, une forteresse dans laquelle il et sur scène, à Florence, en mai 1950. pouvait agir délibérément et même en toute Plus d’une décennie s’écoula donc entre liberté. la mise sur le métier de l’œuvre et son arrivée Les trois accords initiaux résonnent tout sur la scène, une période au cours de laquelle au long de l’opéra, mais leur tutti fracassant Dallapiccola modifia significativement les est moins souvent répété; au contraire, cette fondements de sa musique. Lui qui avait partition se caractérise dans l’ensemble par observé Schoenberg et Webern avec intérêt, beaucoup de finesse et d’économie, et parfois se mit à analyser en profondeur leur musique, seuls quelques instruments assurent la

30 continuité, créent les atmosphères, sombres aussi par la connexion qu’il pouvait établir avec ou lumineuses, et mettent les voix en relief. Il un autre opéra mettant en vedette un Grand n’y a que trois protagonistes: le Prisonnier, sa Inquisiteur: Don Carlos de Verdi (bien que des Mère (un personnage introduit par Dallapiccola parallèles plus évidents encore s’offrent à nous et présent seulement dans le prologue et dans dans Il trovatore). la première scène) et le Geôlier, identifié au Et terminant le prologue, la ballata ou ballade stade ultime comme le Grand Inquisiteur. Il y a de la Mère s’impose dramatiquement dans aussi trois grandes séries dodécaphoniques un “intermezzo choral”, une mise en musique que Dallapiccola appela “Prière”, “Espoir” et ironique de psaumes s’y appropriant. La “Liberté”, d’où sont issues les lignes vocales première scène suit alors, avec le Prisonnier rendues plus expressives, selon lui, par le et sa Mère, dans laquelle il est question de recours à douze notes plutôt qu’à sept. prière et d’espoir. La manière agréable dont le Dans le récit original, Villiers de L’Isle- Geôlier s’adresse au Prisonnier habituellement Adam ne donne aucune indication quant l’encourage à espérer. “Fratello” (frère), lui à l’époque où se déroule l’action, sauf dit-il, ce que le Prisonnier chante sur trois indirectement en donnant à l’Inquisiteur le notes qui conféreront à l’opéra un autre de nom de Pedro de Arbués qui occupa cette ses thèmes mémorables. Le contexte ici est fonction en 1484 – 1485, sous Torquemada. dodécaphonique, mais consonnant, l’orchestre C’était la période où l’Inquisition espagnole, intervenant par deux accords mineurs; une fois nouvellement instituée, se préoccupait de plus donc, nous sommes en terrain mixte, particulièrement des Juifs, et donc, Villiers fait entre le tonal et l’atonal, ce que Dallapiccola de son protagoniste un rabbin. Dallapiccola trouvait si productif. dut toutefois ressentir cette situation comme La Mère quitte quand entre le Geôlier en insupportable quand il commença à écrire le chantant “Fratello” à sa manière, bien que livret en 1943, du fait que l’Europe était alors dans cette deuxième scène, qui ne réunit de victime d’un programme antisémite sur une nouveau que deux des protagonistes, il adopte échelle infiniment plus terrible. Peut-être plus tard le ton du Prisonnier. Comme Villiers est-ce pour cette raison qu’il postposa l’action le note, l’inquisiteur laisse entrevoir l’espoir du d’environ un siècle, de l’Espagne de Ferdinand pardon divin le lendemain, quand le prisonnier et Isabelle à celle de Philippe II, que la Mère, périra au bûcher. Dallapiccola, dans une œuvre dans son prologue en solo, traite de scélérat. excluant tout sentiment religieux, a besoin Il est possible que le compositeur fut motivé d’une promesse qui soit de ce monde, non

31 pas d’un monde futur, et il donne la parole au point de doctrine, ne voient pas le protagoniste Geôlier qui évoque la révolte contre Philippe II, s’échapper et avancer sur ce qu’il pense être chez lui, aux Pays-Bas. Les accords du début la voie de la liberté. Ceci est nécessairement résonnent de nouveau lorsque le Geôlier parle une scène solo, ponctuée par les débuts des de la grande cloche de Gand, Roeland, qui “ricercares” orchestraux, comme Dallapiccola sonne, puis une aria de trois strophes suit, les nomment – des inventions canoniques relatant les victoires des “Gueux” (la noblesse en quelque sorte. Le premier d’entre eux est rebelle des Pays-Bas). Le matériau de cette fondé sur la ligne introductrice chantée par le partie provient de ce qui fut la seconde source Prisonnier dans la scène, “Signore, aiutami a littéraire du compositeur, le roman picaresque camminare”, mise en musique par la série de la La Légende et les aventures héroïques, joyeuses “Prière”, et le deuxième, sur le motif “Fratello” et glorieuses d’Ulenspiegel et de Lamme de la première scène; puis ces deux ricercares Goedzak au pays de Flandres et ailleurs par se superposent. Après la discussion des l’auteur belge Charles De Coster (1827 – 1879). moines, le troisième ricercare se fait entendre, L’action se poursuit dans le lieu choisi par sur les accords maintenant associés à la Villiers, Saragosse, mais une énigme surgit cloche Roeland. Ensuite les trois ricercares quant à la raison pour laquelle le Prisonnier sont combinés. Les accords du début de s’identifie avec la cause des Flamands, dont il l’œuvre sont repris une fois encore alors que le est de toute évidence bien informé. Toutefois, Prisonnier atteint le bout du couloir, puis il nous ce manque de précision – s’ajoutant bien sûr à semble entendre, aux percussions, Roeland la manière peu précise, elle aussi, de dénommer elle-même en un climax qui se transforme en les différents personnages – contribuent à faire un second intermezzo pour chœur, qui reste d’Il prigioniero un drame d’archétypes, d’une invisible. force supérieure à tout aspect de lieu ou de La dernière scène est brève. Le Prisonnier, temps, et invitant les spectateurs à apporter à arrivé au jardin, savoure sa liberté, et le chœur cette métaphore leur propre expérience. Quand reste en toile de fond tout au long d’un épisode l’œuvre vit le jour, le public songea sans doute remarquable par sa délicatesse expressive, aux mouvements antifascistes de la récente prêt à contribuer à un rapide nouveau climax. guerre. Une brusque interruption survient et le Geôlier Dans la troisième scène, Dallapiccola reste réapparaît, maintenant en tant que Grand proche du récit de Villiers, reprenant même Inquisiteur, lui adressant son terrible salut. Le l’épisode des deux moines qui, discutant d’un Prisonnier se rend compte qu’il a été victime

32 de la pire des tortures, celle de l’espoir, et un l’ensemble vocal et orchestral, qui poursuit sa chœur de chambre fait son entrée avec une lente descente. Il ne chante plus, mais parle. citation du premier des Canti della prigionia “Liberté”, dit-il. Puis une fois encore, posant du compositeur, dont les mots viennent d’une clairement une question: “Liberté?” L’opéra prière attribuée à Marie Stuart, reine d’Écosse. maintenant semble s’évanouir en toile de fond Avec sa douceur habituelle, qui est pire que tandis que lui reste sur place, pour faire face à de la férocité, le Grand Inquisiteur reconduit le l’auditoire. Prisonnier. On sent toutefois que le Prisonnier s’est © 2020 Paul Griffiths réellement échappé, car il n’est plus dans Traduction: Marie-Françoise de Meeûs

33 Danish National Concert Choir, with its Director, Bart Van Reyn © Stefano Pasqualetti Stefano ©

Gianandrea Noseda Il prigioniero The Prisoner Prologo Prologue Si alza subito la tela, dietro cui appare un velario The screen rises suddenly, behind which nero. appears a black curtain.

Davanti al velario appare la Madre, vestita In front of the curtain the Mother appears, di nero. Soltanto il suo volto bianchissimo, dressed in black. Only her face, white as a illuminato spietatamente, risulterà visibile. sheet, ruthlessly illuminated, will be visible.

La madre The Mother 1 Ti rivedrò, mio figlio! I shall see you again, my son! Ti rivedrò... I shall see you again... Ma una voce nel cuor mi sussurra: However, a voice whispers in my heart: “Questa è l’ultima volta!” ‘This is the last time!’

Ti rivedrò, mio figlio! I shall see you again, my son! Da più mesi mi struggo For months I have been consumed ne la brama di te, by yearning for you e l’affanno per te, and my grief for you e l’accorato amor di te, mio figlio, and my earnest love for you, my son, mio solo bene! my only treasure! Il mio sogno... il mio sogno... That dream... that dream... Tutte le notti m’opprime... Every night torments me... sempre uguale... it is the same, always... A poco a poco s’aprono le nebbie Gradually rises the haze del sonno. of my sleep. (quasi senza fiato) (almost without breath) Ecco: agli occhi m’appare And then my eyes perceive un antro quasi buio, a cave, almost black, interminabile. endless. Lontano, in fondo, una figura, At its furthest point, far away, a shape, un’ombra, a shadow, uno spettro..., – non so –, a ghost... – I know not –, avanza su di me advances upon me

36 lentissimo, pauroso. very slowly, terrifying. Tento di volger gli occhi... I try to avert my eyes... tento I try di non vedere... not to see... Ma c’è qualcosa assai But something much di me più forte stronger than I che tien le mie pupille aperte e fisse. holds my pupils open and focused.

[Ballata] [Ballad] Velo! Lo riconosco! I see him! I recognise him! (Porta un farsetto nero. (He wears a black doublet. Il toson d’oro al collo brilla sinistro.) At his collar the Golden Fleece shines sinisterly.) Avanza. He is moving forward. Le sue labbra di ferro His iron lips non san che sia il sorriso; know not what a smile is; sembra un rintocco funebre his heavy step il suo pesante passo. seems to strike a funereal knell. Gli balena negli occhi il riflesso dei roghi In his eyes flashes the reflection of the blazes che a volte alimentò he sometimes stoked col proprio fiato. Tace. with his own breath. He is silent.

Non sugli uomini impera, He rules, not men, ma sopra un cimitero but a cemetery il Re che turba il mondo the King who dismays the world col suo fantasticare. with his fantasies. È lui, Filippo, il Gufo, figlio dell’Avvoltoio, ’Tis he, Philip, the Owl, son of a Vulture, poggia la fronte pallida leaning his pale forehead a una vetrata. against a glass wall. Infine solleva il braccio destro in alto, Finally he lifts his right arm high, mormorando: whispering: “Dio Signore è del cielo; ‘God is the Lord of the heavens; Io son Re sulla terra.” I am King upon Earth.’

37 Son risalite intanto Meanwhile, again rises le nebbie del mio sonno. the haze of my sleep. (raccontando) (recounting) A poco a poco il Gufo Slowly the Owl muta i suoi lineamenti: changes its features: svaniti gli occhi, quasi per magia, his eyes have vanished, as if by magic, (con ribrezzo) (with disgust) son restate le occhiaie the sockets remain bianche e vuote... white and empty... Si scavano le guance The cheeks are hollowed ed i capelli cadono... and the hair falls away... Ad un tratto non è più Re Filippo Suddenly it is no longer King Philip che mi fissa: staring at me: (gridato) (shouting) è la Morte! it is Death! Sgomenta, caccio un grido: In dismay I scream: “Mio figlio! Mio figlio!” ‘My son! My son!’

2 [Primo Intermezzo Corale] [First Choral Intermezzo] Coro interno Chorus from inside Fiat misericordia tua, Domine, super nos. May your mercy, God, be upon us. Quemadmodum speravimus in Te. As we set our hopes in you. Sacerdotes tui induantur justitiam. May your priests be clad in justice. Et sancti tui exultent. And your saints exult.

(Si apre lentamente il velario nero.) (Slowly the black curtain opens.)

Atto Unico Single Act Scena Prima First Scene Un’orribile cella nei sotterranei dell’Official di A horrible cell in the basement of the Office Saragozza: un giaciglio di paglia, un cavalletto, of the Inquisition in Saragossa: a straw bed, un fornello, una brocca. In fondo, una porta di a three-legged stand, a stove, a jug. In the ferro. È il crepuscolo: la cella è quasi buia. Sul background, an iron door. It is dusk: the cell is giaciglio sta il Prigioniero: accanto a lui la Madre. quite dark. On the bed sits the Prisoner: next to him the Mother.

38 Il prigioniero (come continuando una narrazione) The Prisoner (as if continuing a narrative) 3 Ero solo. Tutt’era buio. I was alone. Everything was dark. Buio era in questa cella. There was darkness in this cell. Buio era nel mio cuore. Darkness was in my heart. No, non sapevo ancora No, I had never before known di poter soffrir tanto it would be possible to suffer so much e non morire... without dying...

La madre (con angoscia, ma repressa) The Mother (with anguish, but repressed) Figlio... figliolo... Son... dear son...

Il prigioniero The Prisoner Temevo il sonno, I feared sleep, quasi per timore almost dreading dovesse esser eterno; it should be eternal; temea la veglia, anch’essa I also feared wakefulness, it, too, piena d’ombre e di visioni... full of shadows and visions...

La madre The Mother Mio figlio... My son...

Il prigioniero The Prisoner ...quando il Carceriere pronunciò ...but then the Jailer finally finalmente una parola: uttered a word: (cantato) (singing) “Fratello”. Dolcissima parola ‘Brother’. Sweetest word che mi diede ancor fiducia nella vita. giving me back my trust in life.

La madre (fra sé; mormorando) The Mother (to herself; murmuring) ...che ti diede ancor fiducia nella vita? ...giving you back your trust in life?

Il prigioniero The Prisoner Come dire How to tell di dove venga la speranza! where hope might come from?

39 Come s’insinui nel nostro cuore? How it may penetrate our hearts? (soave) (sweetly) “Fratello”. Dolcissima parola ‘Brother’. Sweetest word che mi ridiede il senso della luce. giving me back the feel of light.

La madre The Mother ...che ti ridiede il senso della luce? ...giving you back the feel of light?

Il prigioniero The Prisoner Dopo torture che non so narrare, After indescribable torture, dopo che corda e morsa e cavalletto after rope and vice and rack tutto il mio corpo avevano piagato... had broken my whole body...

La madre The Mother Figlio, figliolo mio!... Son, my dear son!...

Il prigioniero The Prisoner ...udivo alfine una parola amica: ...at last I heard a friendly word: (soave) (sweetly) “Fratello”. Dolcissima parola... ‘Brother’. Sweetest word... Da quella sera ho ripreso From that night onward I started once more a pregare... to pray...

E prego sempre, quando cade And I am always praying, at the end il giorno: of the day: Signore, aiutami Lord, help me a camminare, walk, così lunga è la via che mi pare the road is so long that I think di non poterla finire. I may not reach the end. Signore, aiutami a salire. Lord, help me climb it.

La madre (fra sé) The Mother (to herself) Che mi ricordano Of what do they remind me, queste parole? those words?

40 Mi fan pensare ad They make me think of un tempo lontano: a time long ago: Così pregavi quand’eri bambino... That was your prayer when you were a child... Triste è riandare How sad it is to hearken back al tempo tuo felice... to your happy days...

(abbraccia il prigioniero) (embraces the Prisoner)

Figlio! figliolo! Son! My dear son! che più ci è rimasto di allora? what is left to us from that time?

(Si scuote.) (She rouses herself.) (senza muoversi) (without moving)

Il prigioniero The Prisoner È il Carceriere. It is the Jailer.

(Si apre la porta nel fondo.) (The door in the background opens.)

La madre The Mother È questo, dimmi, proprio Tell me, is this really l’ultimo nostro addio? our last farewell?

(Il prigioniero non risponde e resta immobile.) (The Prisoner does not respond and stands (La madre esce.) motionless.) (The Mother exits.)

Scena Seconda Second Scene Il prigioniero The Prisoner 4 Solo. Son solo un’altra volta. Alone. I am alone again. Solo coi miei pensieri. O madre mia! Alone with my thoughts. Oh mother!

(Il Carceriere appare improvvisamente nel vano (The Jailer suddenly appears in the doorway, della porta, tenendo in mano una lampada holding in one hand a lighted lamp.) accesa.)

41 (Avanza di qualche passo.) (He takes a few steps forward.)

Il carceriere The Jailer Fratello... Brother...

Il prigioniero The Prisoner Questa voce..., quest’unica parola This voice..., this word alone nel silenzio e nel buio... amidst the silence and darkness...

Il carceriere The Jailer Fratello... spera... Brother... hope...

(Avanza ancora lentamente, ma si trova sempre (He draws slowly nearer, but stands always at alquanto lontano dal prigioniero.) some distance from the Prisoner.)

Il prigioniero The Prisoner Udire infine Finally to hear una parola umana a human word là dove tutto tace... where everything is silent...

Il carceriere The Jailer Spera, fratello, spera ardentemente; Hope, brother, hope passionately; devi sperare sino a spasimarne: you must hope until you ache: devi sperare ad ogni ora del giorno; you must hope every hour of the day; vivere devi you must live per poter sperare. so that you can hope.

(Avanza ancora di qualche passo... è ormai (He takes another few steps forward... he now vicino al prigioniero.) stands next to the Prisoner.)

Fratello... Brother... (Avanza ancora di un passo.) (He takes yet another step.) (all’orecchio del prigioniero) (into the Prisoner’s ear) Nelle Fiandre Flanders

42 (Si guarda intorno.) (He glances around.) divampa la rivolta... is alight with rebellion...

Il prigioniero The Prisoner Ah!... Ah!...

Il carceriere The Jailer Nelle strade di Gand tumultia il popolo. In the streets of Ghent the people are in tumult.

Il prigioniero (scuotendosi) The Prisoner (startled) Ah!... Ah!...

Il carceriere The Jailer Carlo strappò la lingua Charles ripped out the tongue di sua madre il dì che tolse of its mother the day he took away la fiera campana a Gand, the proud bell in Ghent, che forte parlava alle Fiandre, which loudly spoke to Flanders: Roelandt, l’orgoglio di tutta una terra. Roeland, the pride of a whole country.

Il prigioniero The Prisoner Roelandt, com’eri solenne nell’aria Roeland, how solemn in the air mentre il tuo motto scandivi pacata: was your word, serenely spoken: “Quando rintocco vuol dir ‘When I ring it means che c’è incendio; that there is a fire; quando rintocco il paese è in rivolta...” when I ring the country is in turmoil...’

Il carceriere The Jailer Roelandt ancora Roeland once more risonare udrai! you will hear ring! Giorno di gioia alfin A happy day at last per tanti cuori oppressi... to many oppressed hearts... Fratello, sappi a quei rintocchi Brother, those rings will tell you che il Sant’Uffizio that the Inquisition e Filippo tramontano! and Philip are on the wane!

43 Il prigioniero The Prisoner Ah! Ridilla ancora Ah! Say it again, la parola attesa! that longed for word!

Il carceriere The Jailer Flessinga è conquistata dai Pezzenti; Flushing was taken by the Beggars; sta per cadere Veere; Veere is about to fall; a Gorcum si combatte... they do battle in Gorkum...

Il prigioniero The Prisoner Combattono i Pezzenti! The Beggars fight!

[Aria (in tre strofe)] [Aria (in three strophes)] Il carceriere The Jailer Sull’Oceano, sulla Schelda, Upon the Ocean, on the Schelde, con il sole, con la pioggia, under the sun, under the rain, con la grandine e la neve, in the hail and the snow, sui vascelli – lieti in volto – on their ships – with happy faces – i Pezzenti passano. do the Beggars sail. Con le vele aperte ai venti, With their sails to the wind, bianchi cigni white swans che svolazzano, flitting, cigni della libertà! swans of freedom!

Il prigioniero The Prisoner Cigni della libertà! Swans of freedom!

Il carceriere The Jailer Tre colori ha lo stendardo Three colours has the banner che accompagna i prodi in mare: accompanying those brave men on the sea: bianco è per la libertà, white for liberty, è l’azzurro per la gloria, and azure for glory, arancione è per il Principe. orange is for the Prince.

44 Con le vele aperte ai venti With their sails to the wind, i Pezzenti passano, do the Beggars go, cigni della libertà. Ah! swans of freedom. Ah!

Il prigioniero The Prisoner ...della libertà! ...of freedom!

Il carceriere The Jailer Volano sul fiume rapidi, They fly fast over the river, sembran nubi they look like clouds al vento nordico; in the Northern wind; con la prora fendon l’onde, their prow cleaves the waves, mentre in alto, dalle stelle, while from high, from the stars, ai Pezzenti Iddio sorride. God smiles upon the Beggars. Dio dei liberi, God of the free, ci aiuta! help us! Sono i cigni candidi, They are pure white swans, cigni della libertà! Ah! swans of freedom! Ah!

Il prigioniero The Prisoner ...della libertà! ...of freedom!

Il carceriere The Jailer Il grido di vendetta The cry for vengeance scoppia in Fiandra: bursts out in Flanders: vibrano i cuori hearts vibrate (gridato) (shouted) come corde tese... like taut strings...

Il prigioniero (quasi fra sé) The Prisoner (as if to himself) Filippo, sanguinario, dove sei? Bloodthirsty Philip, where are you? D’Alba feroce, dove ti nascondi? Ferocious Alba, where are you hiding?

45 Il carceriere The Jailer Dopo la strage riprende la vita... After the massacre life resumes... (sussurrato) (whispered) Non odi intorno voci di fanciulli? Can you not hear around voices of children? Torna, sole, sulle città liberate! Shine back, sun, over free cities! Campane, spandete nell’aria Bells, spread in the air il vostro rintocco your peals di gioia... of joy... Sorridono i volti ed i cuori... Faces and hearts smile...

(Il prigioniero che ha prestato sempre maggiore (The Prisoner, who has been paying increasing attenzione alle parole del carceriere, dalla attention to the words of the Jailer, from the precedente espressione di ferocia è passato preceding expression of fierceness has moved a una espressione di gioia serena: tenta di to one of serene joy: he tries to repeat the riprendere la frase del carceriere, ma la gola gli phrase of the Jailer, but his throat tightens and si chiude e scoppia in singhiozzi.) he succumbs to sobs.)

Il prigioniero The Prisoner Ah! Fratello, grazie a te, Ah! Brother, thank you, che m’hai fatto sperare! for giving me hope!

(Alza le braccia, giungendo le mani e, in tale (He raises his arms, stretching out his hands, atteggiamento rimane immobile, come assorto and he remains motionless in this attitude, as if in una visione.) absorbed in a vision.)

Il carceriere (silenziosamente si avvicina al The Jailer (silently moves over to the prigioniero) Prisoner) Fratello... Brother... (sussurrato) (whispered) C’è chi veglia su te. Someone watches over you. La libertà tanto agognata The freedom you yearn for forse ti è vicina. is perhaps nearing. Abbi fede, fratello. Have faith, brother. Dormi... e spera! Sleep... and hope!

46 (Raccatta la lampada e si appresta a uscire.) (He retrieves the lamp and prepares to leave.) (Il carceriere si sofferma presso la porta... Esce.) (The Jailer stops to pause near the door... Exits.) (Il prigioniero si stende sul suo giaciglio.) (The Prisoner lies down on his bed.) (Da uno spiraglio, fra la porta e il muro, filtra (Through a chink, between the door and the dall’esterno un raggio di luce: il riflesso della wall, filters a ray of light: a glimmer of the Jailer’s lampada del carceriere.) lamp.) (Un altro raggio di luce, più debole. Il prigioniero (Another ray of light, weaker. The Prisoner si scuote.) shivers.)

Il prigioniero (quasi senza fiato) The Prisoner (almost without breath) No, no... vaneggio. No, no... I am delirious. Questa debolezza estrema This extreme weakness of mine mi causò tant’altre volte gave me so many more times visioni allucinanti. blinding visions. Quel riflesso... That glare... mai prima d’ora l’avevo notato. I had never noticed it before. Quel riflesso... La lampada... That glare... The lamp... Ho udito i passi che s’allontanavano... I heard steps moving away... Mai prima d’ora li avevo notati. I had never noticed them before. (con voce tremola) (with trembling voice) La lampada... The lamp... (parlato) (spoken) Nel buio, all’improvviso, piombava This cell would suddenly plunge questa cella le altre sere. into darkness on all other evenings. M’ha detto: He told me: “Abbi fede, fratello. ‘Have faith, brother. Dormi. Spera.” Sleep. Hope.’ (come prendendo una decisione... Striscia (as if taking a decision... He creeps carefully cautamente verso la porta.) towards the door.) M’ha detto: He said: “C’è chi veglia su te.” ‘Someone watches over you.’

47 (Tocca la porta, che cede subito alla (He touches the door, which yields immediately pressione.) to the pressure.) (soffocato) (with stifled voice) Ah! Ma allora, questo... Ah! But then, this... non è un sogno! is not a dream! “Spera!” m’ha detto... “Spera!” ‘Hope!’ he said... ‘Hope!’

(Si precipita fuori della porta.) (He rushes out through the door.)

Cala la tela The screen falls. (Cambiamento di scena) (Change of scene)

Si alza lentamente la tela. The screen rises slowly.

Scena Terza Third Scene Il sotterraneo dell’Official di Saragozza, The basement of the Office of the Inquisition in illuminato appena qua e là da lampade bluastre. Saragossa, lit just here and there by blue-tinged [Scenario girevole] lamps. [Revolving stage] (Il sotterraneo, lunghissimo e di cui non si vede (The long basement, the end of which cannot be la fine, dovrà far pensare a quello che la madre, seen, should make one think of that which the nel Prologo, racconta di aver veduto in sogno.) Mother, in the Prologue, recounted having seen (Il prigioniero striscia lungo una parete del in a dream.) sotterraneo... s’inginocchia.) (The Prisoner creeps along one wall of the basement... He kneels.)

Il prigioniero The Prisoner 5 Signore, aiutami a camminare. Lord, help me walk. Così lunga è la via che mi pare The way is so long that I think di non poterla finire. I may not reach the end. Signore, aiutami a salire. Lord, help me climb it.

6 [Ricercare primo, super “Signore, aiutami a [First Ricercare, on ‘Lord, help me walk’] camminare”] (The Prisoner rises and resumes creeping along (Il prigioniero si alza e riprende a strisciare lungo the wall.) la parete.)

48 Il prigioniero (parlato) The Prisoner (spoken) Buio. Silenzio. Come fra le tombe. Darkness. Silence. As if among tombs. (Passa rapido e silenzioso un fra redemptor, che (A Brother Redeemer passes rapidly and silently, tiene in mano uno strumento di tortura. Svolta holding in one hand an instrument of torture. He e scompare.) turns and disappears.) (quai soffocato dal terrore!) (almost choking with terror!) Chi viene? Who is coming? (Si rannicchia in un angolo buio.) (He crouches in a dark corner.) (fra sé ; immobilizzato dallo spavento) (to himself; petrified with fear) Che angoscia, Iddio! What anguish, God! Sulle carni straziate On my tortured flesh risento il morso I feel again the bite di quelle tenaglie... of those pincers... risento il ferro... il fuoco... I feel again the iron... the fire... (S’inginocchia.) (He kneels.) Signore, aiutami a camminare... Lord, help me walk...

(Tenta di alzarsi.) (He tries to rise.)

7 [Ricercare secondo, super “Fratello”] [Second Ricercare, on ‘Brother’]

Il prigioniero (quasi senza fiato) The Prisoner (almost without breath) Non reggo. I cannot take the strain. Sorpreso qui, la notte, Were I caught here, at night, evitar non potrei I could not avoid nuovi, atroci supplizi. new, terrible tortures. Che fare? What to do? Ritornare nella mia cella scura Go back to my dark cell ad aspettare ancora to wait once more e sempre invano! and still in vain!

49 “Vieni fuori!” una voce ‘Come out!’ a voice disse a Lazaro un giorno: said to Lazarus once: e dalla fossa umida e buia and from the damp and dark tomb Lazaro apparve. Lazarus appeared. (Fa qualche passo... Si ferma.) (He takes a few steps... He stops.) Odo una simile voce I hear a similar voice a me intorno: around me: dal buio mi chiama alla luce... calling me from darkness to light... m’incanta, mi vuole enchanting me, wanting me a sé dall’ombra near, from the shadow con magica parola... with a magic word...

(Appaiono improvvisamente Due Sacerdoti. (Suddenly two Priests appear. The Prisoner Il prigioniero si rannicchia di nuovo, ma non crouches again, but not far from the sheen of lontano dal riflesso di una lampada.) a lamp.)

Il prigioniero The Prisoner Ahimè! Alas!

Primo sacerdote (come continuando una First Priest (as if continuing a conversazione) conversation) La Comunione sub utraque specie... Communion under either form...

Secondo sacerdote (parlato) Second Priest (speaking) Silenzio... Hark... M’era sembrato d’udire... I thought I heard...

Primo sacerdote (calmissimo) First Priest (in utter calm) Che cosa! What!

Secondo sacerdote Second Priest Come il sospiro di qualcun... Almost a sigh from someone... che viva... alive...

50 Primo sacerdote (sempre calmissimo) First Priest (ever calm) E chi potrebbe vivere qui intorno? But who could live around here? I carcerati dormon nelle celle: The prisoners sleep in their cells: li attende all’alba assai at dawn awaits them più lungo sonno. a much longer sleep.

Secondo sacerdote (con fervore) Second Priest (with fervour) Voglia il Cielo toccare i loro cuori May Heaven touch their hearts in quest’ultima notte... in this, their last night...

Primo sacerdote (fissa a lungo il punto in cui il First Priest (stares towards the point at which prigioniero è rannicchiato; come riprendendo la the Prisoner is hiding; as though resuming the conversazione dell’inizio) conversation from the beginning) La Comunione sub utraque specie... Communion under either form...

(Si dispongono a uscire.) (They make ready to leave.) (Escono.) (They exit.)

Secondo sacerdote (già fuori di scena) Second Priest (already off-stage) Negano la reale Presenza... They deny the real Presence...

8 [Ricercare terzo, super “Roelandt”] [Third Ricercare, on ‘Roeland’]

Il prigioniero (con terrore) The Prisoner (terrified) Quegli occhi mi guardavano! Those eyes were looking at me! Occhi tremendi... Terrible eyes... ancor vi vedo impressi I still see you imprinted su quest’umido muro... on this damp wall...

(con voce tremola) (with trembling voice)

No... no... son le pupille No... no... it is my eyes che ritengono ancora quello still keeping that sguardo incancellabile. irremovable look.

51 M’hanno veduto Did they see me quei terribili occhi? those terrible eyes? (Riprende stancamente il cammino.) (He wearily resumes his course.) Così lunga è la via che mi pare... The road is so long that I feel... (Striscia lungo la parete.) (He creeps along the wall.) (Si ferma.) (He stops.) (quasi parlato) (half-spoken) Sulle mie mani passa On my hands I felt un soffio d’aria... una fredda carezza... a breath of air... a cold caress... donde viene? where does it come from? La porta non dev’essere lontana... The door cannot be far away... (sempre strisciando lungo la parete) (always creeping along the wall) (Si alza e accelera il passo... Si ferma.) (He straightens himself and hastens his step... Signore, aiutami a salire... He stops.) (Accelera ancora il passo.) Lord, help me climb... (gridando) (He picks up his pace.) La porta! La porta! Sono al fine! (shouting) (Si ferma improvvisamente.) The door! The door! I have reached the end! La campana di Gand! (He stops suddenly.) (vacillando) The bell of Ghent! La gran campana! (hesitating) Roelandt, la fiera! Filippo! Filippo! The great bell! (Accelera il passo:... è vicinissimo... alla... porta...) Roeland, the proud! Philip! Philip! I giorni del tuo regno son contati! (He hastens his step:... he is... almost... at... the... door...) The days of your kingdom are numbered!

9 [Secondo Intermezzo Corale] [Second Choral Intermezzo] Coro Chorus Domine, labia mea aperies Lord, open my lips et os meum annuntiabit laudem tuam. and my mouth will announce your praise.

52 Scena Quarta (ultima) Fourth Scene (last) Un vasto giardino, sotto il cielo stellato. Un A large garden, under a starry sky. A large cedar grande cedro nel mezzo della scena. In distanza, in the middle of the stage. Distantly, in the nello sfondo, le montagne. Aria di primavera. background, the mountains. Spring is in the air.

Il prigioniero (precipitandosi in scena) The Prisoner (rushing onto the stage) 10 Alleluja! Halleluiah! (Appena ora si guarda intorno, stupito.) (Just now he looks around, astonished.) (quasi senza fiato) (almost breathless) (A poco a poco raggiungere il parlato.) (Little by little he regains his speech.) Quest’aria... questa luce... La libertà! This air... this light... Freedom!

Il coro interno Chorus from inside Domine... Domine... Lord... Lord...

Il prigioniero (cantato; con devozione) The Prisoner (sung; with devotion) Non ho sperato invano, I did not hope in vain, non ho sperato invano... I did not hope in vain...

Il coro interno Chorus from inside Domine, labia mea aperies... Lord, open my lips...

Il prigioniero (estatico) The Prisoner (ecstatically) Le stelle! Il cielo! questa è la salvezza... The stars! The sky! this is salvation... Fuggir per la campagna... Escaping into the countryside... Con le prime luci At the first light dell’alba sarò sui monti... of dawn I shall be on the mountains... Il profumo dei cedri... La libertà... The smell of cedars... Freedom...

Il coro interno Chorus from inside Et os meum annuntiabit laudem tuam... And my mouth will announce your praise...

Il prigioniero (con immenso fervore) The Prisoner (with immense fervour) Alleluja! Halleluiah!

53 (Il prigioniero si avvicina al grande cedro e, al (The Prisoner moves towards the great cedar colmo dell’estasi, allarga le braccia, in un impeto and, in the height of ecstasy, spreads his di amore per tutta l’umanità. Due braccia enormi, arms, in a surge of love for all humanity. Two quasi nascoste tra i rami più bassi, lentamente enormous arms, almost hidden among all the si muovono e ricambiano la stretta: il prigioniero lowest branches, slowly move to reciprocate si trova fra le braccia del Grande Inquisitore.) the grasp: the Prisoner finds himself in the arms of the Grand Inquisitor.)

Il grande inquisitore (Il carceriere) The Grand Inquisitor (The Jailer) (soavissimo) (with utmost sweetness) Fratello... Brother...

Il prigioniero (riconoscendo la voce del The Prisoner (recognising the voice of the carceriere emette un suono inarticolato e resta Jailer, utters an inarticulate sound and stands soffocato dallo spavento) suffocated by fear) Ah! Ah!

Il grande inquisitore (con l’accento della più The Grand Inquisitor (with a note of the most sincera pietà e tenendo sempre abbracciato il sincere piety and always retaining the Prisoner prigioniero) in his embrace) Alla vigilia della tua salvezza On the eve of your salvation perché mai why ever ci volevi abbandonare? did you want to abandon us?

(Apre le braccia.) (He opens his arms.)

Il prigioniero (come colpito da improvvisa The Prisoner (as though stunned by a sudden rivelazione muove rapidamente verso il revelation, moves quickly to the front of the proscenio) stage) S’è fatta luce! Vedo! Vedo! There is light! I see! I see! La speranza... l’ultima tortura... Hope... the final torture... (come ripiegandosi su se stesso) (as if folding in on himself)

54 Di quanto mai sofferte, Of all the pains suffered, la più atroce... the most atrocious... (Dal fondo della scena s’alza un bagliore: il (From the back of the stage a glowing light prigioniero si volge.) begins to rise: the Prisoner turns.) Il rogo! Ah! The stake! Ah!

(Ride come un pazzo.) (He laughs like a madman.)

Il grande inquisitore The Grand Inquisitor Coraggio... Courage...

Coro da camera (dietro la scena; collocato dalla Chamber Choir (behind the scene; located on parte opposta a quella del grande coro) the opposite side to that of the full Chorus) Languendo, gemendo et genuflectendo... Languishing, groaning, and kneeling...

Il grande inquisitore (con estrema dolcezza The Grand Inquisitor (with utmost gentleness prende per mano il prigioniero e muove con lui taking the Prisoner by the hand and moving with qualche passo) him a few steps) Vieni... Come...

(Si ferma.) (He stops.)

Il coro interno Chorus from inside Domine, labia mea aperies... Lord, open my lips...

Il prigioniero (con incoscienza; sussurrato) The Prisoner (unconsciously; whispering) La libertà... Freedom...

(Guarda in alto.) (He looks up.)

Coro da camera Chamber Choir O Domine Deus! O God, my Lord! Languendo, gemendo et genuflectendo... Languishing, groaning, and kneeling...

55 Il grande inquisitore The Grand Inquisitor Fratello... andiamo... Brother... let us go...

(Riprende per mano il prigioniero e con lui si (Again he takes the Prisoner by the hand and avvia verso il fondo della scena.) with him moves towards the back of the stage.)

Il coro interno Chorus from inside Et os meum annuntiabit laudem tuam... And my mouth will announce your praise...

Il prigioniero (con incoscienza; sussurrato. Ma The Prisoner (unconsciously; whispering. But questa volta con tono nettamente interrogativo) this time in a distinctly questioning tone) La libertà? Freedom?

Cala la tela. The screen falls.

Libretto by Luigi Dallapiccola English translation by Emanuela Guastella © Edizioni Suvini Zerboni Reprinted by permission of Edizioni Suvini Zerboni All rights reserved

Prima Serie dei Cori di Michelangelo First Series of the Choruses of Buonarroti il Giovane Michelangelo Buonarroti the Younger 11 a. Il Coro delle Malmaritate a. Chorus of the Ill-married Women All’altrui spese, donzelle, imparate, From the errors of others, young girls, learn, All’altrui spese imparate, donzelle, Learn from the errors of others, young girls, Per non aver a dir piangendo poi: So that, afterwards, you will not tearfully say: Triste, malmaritate! Unhappy, ill-married! Quant’era me’ per noi! How much better would it have been for us! Chiuderci per le celle, If we had shut ourselves in a monastery cell, Scavezzarci le chiome, Shaved our hair, Mutarci abito e nome, Changed our attire and name, Vestir nero, bigio o bianco, Dressed in black, grey, or white, Arrandellarci ’l fianco Belted our sides tight

56 Di cordigli e di cuoi With ropes and leather Quant’era me’ per noi! It would have been much better for me! Quant’era me’ per noi How much better would it have been for me Levarci a’ mattutini, To get up at matins, Dar mano a’ lumicini Light tapers Prima che canti il gallo! Before the cock crows! Cacciarci in un Bigallo, To get into Bigallo, Entrare in un Rosano, To enter Rosano, Metterci in un Majano, To get set into Majano, Al Portico, al Boldrone To go to the Portico, to Boldrone, Darci, o’in Pian di Mugnone Or to the Plain of Mugnone, Farci vestire a Lapo, Dress as Lapo, O ver ficcare il capo Or else lower our heads ’N un Monticel di buoi. Under the yoke like oxen. Quant’era me’ per noi! How much better it would have been for us! Però imparate e pensateci ben ben ben ben So learn; think hard upon it, well, well, well, well prima, before, Ch’e’ non vi s’abbia a dir poi: lima, lima. So you would not have to say after: eat yourself away.

12 b. Il Coro dei Malammogliati b. Chorus of the Ill-married Men Chi imparar vuole a tòr moglie He who would learn how to get a wife, Mastri esperti eccoci qui; Expert masters, here we are; E diciam che chi la toglie And we say that whoever takes her Dato aver vedrà in duo dì Will see in two days ’N una diavolo infernale, A hellish devil, ’N una zucca senza sale. Whose head has no wisdom.

Me ne stetti al detto altrui: I listened to what others said: Un buon uom mi disse: “Fa”; A good man told me: ‘Go ahead’; Oh minchion, minchion ch’io fui! Oh what a pillock, a pillock was I! Inciampai (e ben mi sta) I came across (it serves me right) ’N una diavola infernale, A hellish devil, ’N una zucca senza sale. Whose head has no wisdom.

57 Ohimé! Ché per bellezza Alas! Despite her beauty Ch’era tutta frondi e fior She was all fronds and flowers Colsi poi frutti d’asprezza, But her fruits were sour, M’incontrai, ebbro d’amor, Drunk with love, I had stumbled upon ’N una diavola infernale, A hellish devil, ’N una zucca senza sale. Whose head has no wisdom.

Zie, sorelle, madri e nonne Aunts, sisters, mothers, and grandmothers Lo staranno a inzipillar, Will be urging him on, E dieci altre mone Cionne And ten more worthless women Per finirlo d’affogar Will finish him off ’N una diavola infernale, A hellish devil, ’N una zucca senza sale. Whose head has no wisdom.

Michelangelo Buonarroti il Giovane Translation by Emanuela Guastella (1568 – 1646)

13 Estate Summer Di vin bagna le fauci; chè il suo giro compie il Drench your mouth with wine as the weather sidere; does its turn; greve è l’afa: sitibonde le cose son per l’alido. the heat is heavy, harsh and dry, making things Dalle frondi soave la cicala echeggia; e il cantico thirsty. penetrante fitto versa dall’ali, quando fiammeo From the branches come the sweet echoes of piomba il raggio del sol sopra la terra, e tutto cicadas, and their thick, brucia. sharp song pours from their wings, when the Mette fiori il cardo. Più lascive son le femmine, flaming e spossati gli uomini: e gambe e teste fiacca ray of the sun hits the ground, and all is ablaze. Sirio. Thistles bloom. Women are more lascivious, and men exhausted: and Sirius wears out legs Alcaeus of Mytilene (c. 625 / 20 – c. 580 BC) and heads. Italian translation: Ettore Romagnoli (1871 – 1938) Alcaeus of Mytilene (c. 625 / 20 – c. 580 BC) Translation by Emanuela Guastella

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63 Executive producer Chandos Ralph Couzens Chief executive and Artistic director DR Kim Bohr Head of artistic planning DR Tatjana Kandel Executive producer DR Henrik Overgaard Kristensen Recording producer Bernhard Güttler Sound engineer Mikkel Nymand Editor Bernhard Güttler Chandos mastering Alex James A & R administrator Sue Shortridge Recording venue Koncertsalen, DR Koncerthuset, Copenhagen, Denmark; 20 and 21 September 2019 Front cover ‘Human hands on rusty cage bars with barbed wire’, photograph © A. Zemdega / Getty Images Back cover Photograph of Gianandrea Noseda © Stefano Pasqualetti Design and typesetting Cap & Anchor Design Co. (www.capandanchor.com) Booklet editor Finn S. Gundersen Publishers Edizioni Suvini Zerboni, Milano (Il prigioniero), Carisch S.A. Editori, Milano (Prima Serie dei Cori di Michelangelo Buonarroti il Giovane), Edizioni G. Zanibon – BMG Ricordi Music Publishing S.p.A. (Estate) p 2020 Chandos Records Ltd c 2020 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Country of origin UK

64 CHANDOS DALLAPICCOLA: IL PRIGIONIERO, ETC. CHSA 5276 England • Essex • Chandos Records Ltd Chandos Records CHSA 5276 2020 Chandos Records Ltd 2020 Chandos Records Ltd 2020 Chandos Records Colchester p c can be played on can be played CD players. standard This Hybrid SA-CD 3:17 9:09 43:10

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mezzo-soprano (La madre) (La mezzo-soprano tenor (Il carceriere carceriere (Il tenor leader

(1933) bass (Secondo sacerdote)bass (Secondo

baritone (Il prigioniero) (Il baritone

chorus masterchorus

(1932) tenor (Primo sacerdote) (Primo tenor

Gianandrea Noseda Gianandrea il Giovane il Estate Steffen Bruun Danish National Concert Choir EmborgPoul Prima Serie dei Cori di Michelangelo Buonarroti Chiuri MariA Anna Nagy Michael Rügamer Stephan Riis Adam Luigi DallapiccolaLuigi prigionieroIl Christina Åstrand Christina Danish National Symphony Orchestra Symphony National Danish A Prologue and One Act Libretto by Luigi Dallapiccola (First Series of the Choruses of Michelangelo Buonarroti Younger)the for Mixed Voices, without Accompaniment Chorus Men’s for

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