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ELENA OPERA in 2 ACTS Wagner • Ochoa • Graczyk Mallmann • Schäfer • Capitelli Feith • Zhi • Thum • Mattersberger

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ELENA OPERA in 2 ACTS Wagner • Ochoa • Graczyk Mallmann • Schäfer • Capitelli Feith • Zhi • Thum • Mattersberger JOHANN SIMON MAYR ELENA OPERA IN 2 ACTS Wagner • Ochoa • Graczyk Mallmann • Schäfer • Capitelli Feith • Zhi • Thum • Mattersberger Simon Mayr Chorus Concerto de Bassus Franz Hauk WORLD PREMIERE RECORDING 1 Sinfonia 8:15 Scene 8 ^ Trio: Oh Ciel! che miro! 5:12 Act I (Costantino, Riccardo, Carlo) Scene 1 Scene 9 JOHANN SIMON 2 Introduction: Come veloce ruota tu giri 5:15 & Recitative: Povero Costantino, (Peasants, Anna, Ernesta, Urbino) quanti sofferto avrai stenti 1:45 MAYR 3 Recitative: Or bene al padre tuo 1:14 (Riccardo, Costantino, Carlo, Urbino, Anna) (Urbino, Anna, Ernesta) * Finale: Che ascolto! 17:37 (1763–1845) 4 Aria: Che dolce piacere 5:06 (Riccardo, Anna, Urbino, Costantino, Carlo, (Urbino) Ernesta, Herald, Governor, Guards, Paolino, 5 Recitative: Eh vada pure 0:17 Shepherd, Elena, Adolfo) Elena (Anna) Act II Scene 2 Opera semiseria in two acts (1814) 6 Aria: Quanno co la perucca 6:09 Scene 1 Libretto by Andrea Leone Tottola (?–1831) (Carlo) ( Recitative: Entriamo, e al Conte Edmondo 0:57 First performance: 28 January 1814, Teatro de’ Fiorentini, Naples, Italy (Ernesta, Anna, Urbino) Scene 3 ) Trio: S’è ver, che un vivo ardore 3:15 Elena / Riccardo ..........................................................Julia Sophie Wagner, Soprano 7 Recitative: Oh gran virtù del canto! 1:46 (Anna, Ernesta, Urbino) (Carlo, Anna, Ernesta) Costantino ...................................................................................... Daniel Ochoa, Bass 8 Duet: Buon dì … pardon garbato 7:16 Scene 2 Paolino / Adolfo ....................................................................... Mira Graczyk, Soprano (Riccardo, Carlo) ¡ Recitative: Tosto al Governator di Tarascone 2:20 9 Recitative: Or via giacchè siam soli 3:21 (Governor, Ernesta, Anna, Urbino, Edmondo) Carlo ...........................................................................................Niklas Mallmann, Bass (Carlo, Riccardo, Urbino, Anna) Edmondo ....................................................................................Markus Schäfer, Tenor Scene 3 Anna ................................................................. Anna-Doris Capitelli, Mezzo-soprano Scene 4 ™ Oh tu, che ognor fastosa – Aria: Vieni a me … 8:48 0 Aria: Brutto uccello di rapina! 3:52 (Edmondo, Guards) Ernesta ...........................................................................................Anna Feith, Soprano (Anna) Governor ................................................................................................ Fang Zhi, Tenor ! Recitative: Non son chi son 0:55 Scene 4 Herald ..............................................................................................Harald Thum, Tenor (Urbino, Paolino, Riccardo) £ Recitative: Governatore è vero ciò @ Romance: Un Provvenzale d’illustre stato 4:42 che intesi testè? 3:57 Urbino .............................................................................Andreas Mattersberger, Bass (Riccardo, Paolino) (Edmondo, Governor, Carlo) Simon Mayr Chorus Scene 6 Scene 5 # Quartet and Chorus: Cantiam de’ nostri cuori 7:49 ¢ Duet: Chiaro favella, e breve 6:24 Concerto de Bassus (Theona Gubba-Chkheidze, Concertmaster) (Chorus, Carlo, Harvesters, Anna, Ernesta, (Edmondo, Carlo) Franz Hauk Paolino, Urbino) – Recitative: E un vil pastor de miei voler vantarsi $ Scene: Son solo … o miei sospiri! – delusore potrà? 1:52 Recorded: 17–25 August 2018 at Kongregationssaal, Neuburg, Germany Aria: Ah! se mirar potessi 9:43 (Edmondo, Carlo, Governor) (Costantino) The Italian libretto, together with a German translation, may be accessed at www.naxos.com/libretti.660462.htm Scene 6 Scene 7 § I sensi generosi – % Recitative: A dir ver il Signor Governatore 2:45 Aria: Di pietà, che in te favella 4:59 (Carlo, Costantino, Riccardo) (Governor) ¶ Recitative: Tutto rigore egli è, ma il vero ignora 2:52 Scene 8 which death is a real and imminent threat, before suddenly Francesca Checcherini (his daughter Anna, mezzo-soprano), (Edmondo, Elena, Adolfo, Carlo) º Scene and Sextet: Ma qual gente si appressa? 10:27 unravelling thanks to an ultimately benign fate to reach a Paolina Potenza (his daughter Ernesta, soprano), Giovanni (Edmondo, Anna, Elena, Carlo, Chorus, Guards, happy end tricked out with plenty of ‘felicità’ (joy or bliss). Pace (Urbino, a shepherd in Carlo’s service, bass) – and Scene 7 Governor, Costantino) The plot of this particular opera semiseria is complex the composer took several curtain calls. In Milan, only the • Aria: Ah! non partir! 5:48 ⁄ Recitative: Guardie, colui che tanto cercaste and characteristic of this type of pièce à sauvetage. First the ensemble – Giuseppina Fabbrè (Elena), Ranieri Remorini (Elena) è in poter vostro 3:12 events leading up to the opera. Duke Costantino, the son of (Costantino), Carolina Pedrotti (Adolfo), Claudio Bonoldi ª Recitative: Oh cor di madre (Edmondo, Carlo, Anna, Costantino, Elena, Adolfo, ruler of Arles in southern France, was falsely accused (Edmondo), Giovanni Antonio Biscottini (the Governor), a che non giungi mai? 1:05 Governor, Adolfo, Urbino) of murdering his father by Romualdo, one of Adolfo’s Nicola Bassi (Carlo), Orsola Fei (Anna), Carolina Ghiappa (Edmondo, Carlo, Elena) relatives. This enabled Romualdo to usurp the throne, and (Ernesta) and Luigi Picchi (Urbino) – was given this honour Scene 9 Costantino had to flee the country. Elena, Costantino’s because, a contemporary source tells us, Mayr only visited ¤ Finale: Gnorsì … nuje ve credimmo 2:02 consort and princess of Tarascon, fled separately, disguised La Scala incognito. (Carlo, Chorus, Adolfo, Edmondo, Anna, Governor, as a man. In the end, she arrived at the property of Carlo, a ‘The first opera this season was an opera semiseria, Urbino, Costantino, Elena) Neapolitan farmer who had settled in Provence many years Elena e Constantino, composed two years ago by previously with his daughter Anna and the shepherd Urbino. Kapellmeister Sim. Mayr in Naples. The music is pleasant Elena, under the pseudonym Riccardo, and her son Adolfo, and was liked here in Milan’, the Leipzig Allgemeine Johann Simon Mayr (1763–1845) alias Paolino, entered Carlo’s service. Now the usurper has musikalische Zeitung wrote of the autumn 1816 season died, though not before confessing his crime to his son and at La Scala. Everyone singled out the opera’s big draw, Elena heir Edmondo. the sextet in Act II. The French critic and novelist Stendhal A rescue opera based on a French model These French subjects are in the rescue opera mould Act I opens with Carlo suspicious about Elena’s identity (the pen-name of Marie-Henri Beyle, who was intimately popular during the post-revolutionary Napoleonic era, in and finally discovering the truth. Tired of his long banishment, acquainted with the Italian opera scene of the time, a Simon Mayr spent the 1813–14 carnival season in Naples, and which an innocent hero or heroine is accused of a capital Costantino returns to Tarascon to obtain news of his wife. connoisseur, and an early biographer of Rossini) reported on 28 January 1814, at the Teatro de’ Fiorentini, he produced offence they have not committed and condemned to death, He has a chance encounter with Carlo, who guesses who he that people travelled long distances to hear this ‘morceau an opera semiseria entitled simply Elena after its heroine. before finally, after various mishaps and complications, is; a rumour is circulating that the banished Costantino has de génie’. This alerted even Goethe to it, with the result The work was subsequently revived in cities in northern Italy escaping by the skin of their teeth and having their names returned. Elena and Costantino meet, but are handed over that he asked his friend Zelter to get a copy of the music – first at La Scala in Milan in the autumn of 1816, and then cleared. Catering for a popular audience, the Teatro de’ to Edmondo’s henchmen. The Governor and people call for for him. at the Teatro degl’Intrepidi in Florence in spring 1819. For Fiorentini in particular had innumerable sources adapted both to be killed, while Carlo tries in vain to free them from The opera comprises an overture and 16 music both stagings, the composer or a local director of music and to create Neapolitan one-act farces or two-act semiseria their predicament. At the start of Act II, Edmondo is torn. On numbers, which were linked by spoken dialogue in Naples librettist made alterations, changes and adaptations to suit operas. This intermediate semiseria genre with its prevailing the one hand, he faces the shame of Romualdo’s crime, on and secco recitatives in northern Italy. Using the accepted the needs and demands of the theatre in question. As a result earnest, seria tone, is enriched with elements of opera buffa; the other he sees the necessity of giving Costantino justice. forms of a musical language shaped by late Neapolitan of this, the opera also appeared under the title Elena e Co(n) there is usually a comic character (in the present work, the rich The couple and their son are discovered and brought before opera and Viennese Classicism, Mayr employs choruses stantino (the two main characters). Neapolitan large-scale farmer Carlo) who speaks Neapolitan a court. In the meantime, however, Edmondo has abandoned and recitatives to develop the dramatic action and The libretto was the work of the Neapolitan house dialect, whereas the more socially elevated characters use his loyalty to his dead father and reveals the crime and drive it forward, and punctuates it with arias, romances librettist Andrea Leone Tottola. Tottola was an
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