2 CDs Sadovnikova • Gritskova Anderzhanov • Vlad • Zubieta Watanabe • Lewenberg Camerata Bach Choir, Poznan´ • Virtuosi Brunensis Luciano Acocella CD 1 75:12 & Recitativo: Pur mi lice una volta 1:55 (Iroldo, Adelaide, Ottone) 1 Sinfonia Andante maestoso – Allegro vivace 6:03 * No. 7 Duetto: Mi dai corona e vita 7:53 Gioachino (Adelaide, Ottone) Act 1 ( No. 8 Finale I: Schiudi le porte, oh tempio 1:59 ROSSINI No. 1 Introduzione: (Coro, Adelberto, Berengario) (1792-1868) 2 Misera patria oppressa (Coro, Berengario, Iroldo) 2:22 ) Oh degl’itali regnanti 4:13 3 Lasciami! (Adelaide, Berengario, Adelberto) 4:36 (Ottone, Adelaide, Berengario, Adelberto) ¡ 4 Ah! crudel, non lusingarti 2:32 Quale improvviso strepito 2:50 Adelaide di Borgogna (Adelberto, Adelaide, Berengario, Coro) (Ottone, Adelaide, Adelberto, Berengario, Dramma in two acts 5 Recitativo: Nostra è l’Italia 1:14 Ernesto, Coro) by (Berengario, Adelberto, Eurice) No. 2 Coro, Scena e Cavatina: CD 2 47:31 6 Ottone, Emperor of Germany ...... Margarita Gritskova, Mezzo- Salve Italia, un dì regnante (Coro di Soldati) 1:55 7 Oh, sacra alla virtù – Soffri la tua sventura 7:04 Act 2 , widow of Lotario, King of ...... 1 Adelaide Ekaterina Sadovnikova, Soprano (Ottone) No. 9 Introduzione: Come l’aquila che piomba 1:53 Berengario...... Baurzhan Anderzhanov, - 8 Recitativo: Signor, al campo è giunto 2:22 (Coro) 2 Recitativo: Vincemmo, o madre 2:00 Eurice, Berengario’s wife ...... Miriam Zubieta, Soprano (Ernesto, Ottone, Adelberto) (Adelberto, Eurice, Adelaide) No. 3 Duetto: Adelberto, Berengario’s son ...... Gheorghe Vlad, 3 No. 10 Duetto: Della tua patria ai voti 6:00 9 Vive Adelaide in pianto 5:48 Iroldo, former governor of Canossa ...... Yasushi Watanabe, Tenor (Adelberto, Adelaide, Coro) (Ottone, Adelberto) 4 Recitativo: Vederti in pianto 2:00 Ernesto, one of Ottone’s officers ...... Cornelius Lewenberg, Baritone 0 Recitativo: Cadde nel laccio Ottone 1:13 (Iroldo, Adelberto, Eurice) (Berengario, Eurice) 5 No. 12 Scena e Aria: Camerata Bach Choir, Poznań • Chorus-master: Ania Michalak No. 4 Coro: Berengario è nel periglio – Grida, natura 5:45 ! Viva Ottone, il grande, il forte (Coro, Iroldo) 1:39 Virtuosi Brunensis (Karel Mitáš, Artistic Director) @ (Coro, Adelberto) Recitativo e Ripresa Coro: Vedi, Signor? 4:25 6 Recitativo: Vieni: alla mia nemica 3:42 Luciano Acocella (Berengario, Ottone, Adelaide, Coro, Iroldo) # (Eurice, Iroldo, Ernesto, Ottone, Berengario, Music Assistant: Rosella Fracaros • Fortepiano: Michele D’Elia Recitativo: Tacer! sempre tacer! 4:09 Adelberto, Adelaide) (Adelberto, Berengario) 7 No. 13 Quartetto: Adelaide! Oh ciel! che vedo? 6:16 No. 5 Aria: Se protegge amica sorte (Ottone, Adelberto, Berengario, Adelaide) Recorded live at the Trinkhalle, Bad Wildbad, Germany, 19th, 23th and 25th July 2014 (Berengario) 8 Recitativo: Come son brevi (Adelaide, Ottone) 0:55 $ for the XXVI Festival (Artistic director: Jochen Schönleber) Recitativo: L’amor del figlio 2:59 9 No. 14 Scena ed Aria: A Co-production with Deutschlandradio Kultur and ROSSINI IN WILDBAD (Eurice) Ah! vanne – Cingi la benda candida 9:10 No. 5bis Aria: Vorrei distruggere (Adelaide, Ottone, Coro) 0 Critical edition by Florian Bauer for ROSSINI IN WILDBAD C 2014 (Eurice) No. 15 Finale II - Coro, Scena ed Aria: % No. 6 Coro e Cavatina: Serti intrecciar le vergini (Coro) 2:42 Oh ritiro che soggiorno (Coro di Damigelle) 2:44 ! Questi, che a me presenta – ^ Occhi miei, piangeste assai 5:18 Vieni: tuo sposo e amante 7:09 (Adelaide) (Ottone, Adelaide, Adelberto, Berengario, Coro) Gioachino Rossini (1792-1868) of Berengario as the true “villain”, musically it is not a leading debut La cambiale di matriminio. For the bigger orchestra part, something which is also confirmed in the cast list in the available in Rome, however, he augmented the scoring and the Adelaide di Borgogna libretto, since the rôle was assigned to the unknown Gioacchino instrumentation. Adelaide di Borgogna is full of beautiful music Sciarpelletti. Count Chigi, who meticulously documented which does the composer proud. At the same time he favours A political and private belcanto-opera for , dealt with an episode from early medieval Italian performances of opera in Rome, entered in his diary however lyrical moments and as a consequence emphasises private history with some accuracy. the name of the more famous Antonio Ambrosi, who had feelings over the political and warlike aspects of the subject- On 26th October 1817 Rossini sent from to Rome a Adelaide (Adelaide of Burgundy) has been held under probably taken on the rôle at the last minute. But the minor rôle matter. Adelaide is perhaps the last truly “Apollonian” opera by signed contract engaging him to write an inaugural opera for siege in the fortress of Canossa by the besieger Berengario, of the governor of Canossa also raises questions. According to Rossini, in which he presents the sublimation of bel canto in the 1817/1818 carnival at the Teatro Argentina. In the covering who is accused of the murder of her husband, King Lotario. the libretto of the première Iroldo was sung by Luisa Bottesi, so its pure form. letter to the impresario Pietro Cartoni Rossini drew attention to Adelberto, Berengario’s son, who wants to marry Adelaide, both it must have been a trouser rôle. The musical sources notate “My opera has gone really well; I can be happy” Rossini a clause in the contract, stipulated by the composer himself, for love but above all because of his father’s political scheming the voice part in the introduction and in the recitatives in the wrote laconically to his mother after the première of Adelaide that he wished to take back his autograph score after one year. to legitimise the reign over Italy, is rejected by her. Iroldo, the tenor clef but only in No. 4 in the soprano clef. di Borgogna. His restrained reaction masked a rather lukewarm Cartoni was the same impresario who had been the director of governor of Canossa, has secretly asked Ottone (Otto the At the centre of the opera are the solo arias and duets of reception of the work by the press which, in the light of the the Teatro Valle in the years prior to this and for whom Rossini Great) for help. When the German emperor and his army march the “primadonna soprano” in the title-rôle of Adelaide and the “well-known abilities” of the three first-rate singers, was laid had already written and . into Lombardy he is invited to Canossa by Berengario and “primadonna ” in the trouser rôle of Ottone. Ottone has at the door of the composer “whose genius seems to have Rossini enjoyed a friendly, even familiar, relationship with him Adelberto. While Ottone is reinforcing Adelaide’s rights he falls his first aria (No. 2) soon after the introduction, while Adelaide’s fallen asleep in this opera.” Following the run of performances and was even godfather to Cartoni’s daughter Sofia. This in love with her but as he leads her to the altar he is attacked by cavatina (No. 6) and their duet (No. 7) are placed immediately immediately after the première at the Teatro Argentina the work had not prevented Cartoni – “who, of all the impresarios in his “hosts”, but manages to escape. In the end Ottone defeats before the first finale. In the second act the conclusion of the enjoyed little currency. Until 1825, by when it had vanished Rome, seems to have been one of the most enterprising and the usurpers, is able to marry Adelaide and from then on to opera is formed by successive arias of both primadonnas: completely from the stage, only five productions were recorded most awkward” (Martina Grempler) – from getting the police share with her his German empire which has been extended Adelaide’s scena and aria (No. 14, including parts of Almaviva’s – in Venice and Florence (1820), Padua/Lugo and Lisbon to compel the dilatory composer to leave Naples at the end into Italy. Rondo “Cessa di più resistere” from Il barbiere di Siviglia, which (1822) as well as in Leghorn (1825). After a year had elapsed of 1816 and then to incarcerate him in his house until he had Generally speaking it is confirmed through historical Rossini had already reused in the cantata Le nozze di Teti e di Rossini did get back his score and in 1819 incorporated completed Cenerentola, as the composer and violinist Louis scholarship that these events took place in 951, the year of Peleo and in La Cenerentola) and Ottone’s scena and aria with a few of the main numbers from it into his successful opera Spohr recorded in his diary. In fact, it must have been a bitter Otto’s first Italian campaign, whereas Schmidt’s “Canosso” (in chorus which form the finale (No. 15). . There is every indication that he also had pill for the impresario to swallow that he could only schedule the other words Canossa in Reggio Emilia) is on Lake Garda and Furthermore each one also has a duet with his/her the score with him in London in 1824 in order to compile the opera, which was a triumph, as the second production of the the events take place as early as 947. adversary Adelberto: Ottone in the first act (No. 3) and Adelaide commissioned, but never completed, opera Ugo, re d’Italia – carnival season, not the first as planned, and consequently had Many recitatives which the librettist had made ready were in the second (No. 10). In addition to these appearances the likewise an episode from early medieval Italian history, in which, to miss out on many lucrative performance days. either not set or were cut even before the première; they importance of the tenor rôle is underlined in the great scena apart from the eponymous hero Hugo, are to be found his son Since he now had to open at the Teatro Argentina with a were denoted as omissions in the libretto through “virgolette” and aria (No. 12) in which Adelberto vacillates between love Lotario and his young wife Adelaide of Burgundy. This work, as new opera for the 1817/1818 season, Rossini took pains to (inverted commas). In part they show the librettist’s desire to of his parents and his love for Adelaide. Alongside this vocal well as the Adelaide autograph score, must be considered lost. ensure that he would write to schedule. confer on his historical characters the image of politically skilful hierarchy the bass rôle of Berengario must be ascribed to the The regard that Rossini had for his opera, through the On this occasion he was able to write his first serious and rational figures and in deference to this conception they minor parts and accordingly he has just a one-part aria (No. recycling of countless numbers from it, justifies a reinvolvement opera for Rome and although Romans liked to indulge in comic were allowed to stay in the published libretto. But evidently 5), which probably originated from Carafa. The same applies to with it, as well as the fact that it deals with a not insignificant during carnival time, here too it was opera seria which Rossini wanted to keep the secco recitatives, which were still Iroldo, whose appearance is confined to one stand-out moment event from early Italian-German history in a historically truthful was considered more prestigious. customary in Rome, as short as possible, in favour of musical from the chorus (No. 4). The rôle of Eurice is also not without manner. Unfortunately, following the first modern-day concert Rossini had already had a libretto written in Naples and numbers. One casualty of the pruning was the rôle of Iroldo, problems, since the source of two surviving arias (Nos. 5bis revival in London in 1978 there have been too few further – immediately after the première of Armida (on 9th November whose significance is marginalised. In some places the text, and 11) is not clear. In this recording No. 11 is omitted and performances. Following a staged performance in 1984 in 1817) – he started work there on the composition, drawing on as set to music, departs from the printed libretto for reasons of Eurice sings only the ‘inauthentic’ alternative aria No. 5bis – i.e. Martina Franca there were sporadic concert performances the help of his colleague Michele Carafa. He used the time after censorship: the sections celebrating the ancient unity of Italy one not inserted under Rossini’s supervision – which turns up (Paris 1988, Liège 1992, Edinburgh 2005 and Pesaro 2006). A his arrival in Rome, on 5th December, to complete the opera were unwelcome in the light of the re-awakening of nationalistic occasionally in both old and new performance practice. second staged production was given at the 2011 Rossini Opera and for the rehearsals, in order to be able to be on time for fervour in the Papal States. As always in Rossini, apart from the introduction, itself in Festival but it is only with the production recorded here in 2014 the opera to go onto the stage on 27th December 1817. The A newspaper review mentioned the “three main rôles in several parts (No. 1) and the first finale (No. 8), there is also a at Rossini in Wildbad that Adelaide di Borgogna, at one time the published libretto did not bear the librettist’s name, but one of the cast” – those of Adelaide, Ottone and Adelberto, which large ensemble number, in this case a quartet (No. 13). A chorus wife of Otto the Great, also found her way to Germany in her the singers taking part informed a friend of hers that “The title of were written for the renowned singers Elisabetta Manfredini- (No. 9) opens the second act and the whole opera is preceded musical embodiment by Rossini. the opera is Adelaide di Borgogna by the poet Smits.” Giovanni Guarmani, Elisabetta Pinotti and Savino Monelli. by an overture which Rossini had already written as a concert Schmidt, who had previously provided Rossini with the libretto In spite of the dramaturgical importance of the bass rôle overture during his student days and which he used in his stage Reto Müller Synopsis will return immediately to Canossa with Ottone. Eurice is full CD2 would be in vain. He confronts the captive Berengario with of doubt but Berengario has faith in his plan. He asks his wife his futile deceitfulness. Adelberto comes and tells Ottone of CD1 to play along. ! Iroldo and the people acclaim Ottone as the Act 2 his agreement to the exchange. But Berengario indignantly defender of Adelaide. @ Berengario emphasizes to Ottone Inner courtyard. rejects the request; for him the forfeiture of the regency 1 Sinfonia that he will not find himself in enemy territory. Ottone demands 1 The soldiers of Berengario and Adelberto exult at their outweighs death. In return for Adelaide he demands of Ottone to see Adelaide and is deeply moved by the sight of her. She successful ambush and at Ottone’s flight. 2 Adelberto the throne of Insubria at the least. Ottone is in agreement and Act 1 tells him that her one and only sin is her desire for revenge for informs his mother of the victory over the Germans, who wishes to finalise the deal immediately. Suddenly Adelaide The inner courtyard of the fortress of Canossa. the murder of the king and the humiliation incurred. She asks were caught unawares. As soon as Berengario returns he, appears. 7 She declares that Cupid loosened her shackles. for Ottone’s sympathy. He announces to her and the people Adelberto, will marry Adelaide, whom he wants to put out of Ottone shows his relief while Berengario and Adelberto 2 To the laments of the people Berengario triumphantly that they should regard her as his bride. Iroldo and the people her misery. Eurice wishes him much success. In the light of express their chagrin. Ottone asks Adelberto to leave the enters the fortress of Canossa which could not withstand his look forward to peaceful times and the forthcoming marriage. Ottone’s defeat Adelberto offers Adelaide the throne through encampment and to brace himself for a new outcome on the siege. Considering the might of the oppressor the governor # Adelberto is alarmed at Berengario’s inaction but the latter their celebration of marriage. She rejects this as an affront. 3 battlefield. Adelberto demands the release of Berengario, to Iroldo sees no more hope for queen Adelaide. 3 Adelaide defends his strategy of pretending to offer Ottone security Adelberto tries to convince Adelaide that his wish is also that which Adelaide agrees, since she had promised that to Eurice. rejects Adelberto’s marriage request and accuses him and and to wait for reinforcements. He reckons that, with the of the fatherland but she accuses him of cowardly deception; Berengario rejects this ignoble deal. But finally he leaves the his father Berengario of treachery. She is hoping for help from kindness of fate, Ottone will soon be rendered harmless. $ Adelberto is taken aback. Then terrified soldiers report that encampment with Adelberto in order to defend Canossa while Ottone, while Adelberto and Berengario pretend that they Eurice is torn between love for her son and lust for power. Ottone has surprisingly gained the upper hand and that Ottone, now assured of success, and Adelaide anxiously await have no fear of him. 4 The two men threaten vengeance The fulfilment of Adelberto’s hopes for Adelaide’s hand would Berengario has been taken prisoner. Adelaide reveals her the forthcoming battle for reconquering Canossa. 8 Adelaide in the face of Adelaide’s stubbornness, and the people call divest her of her royal crown. Her desire for power has robbed joy, but Adelberto reasserts that she will never be the bride confesses her anxiety but Ottone reassures her. 9 Ottone on her to think of her own personal wellbeing. 5 Berengario her of her peace. of another, even if he were to lose the throne; he has her led embraces Adelaide once again. She ties around him a ribbon tries to allay Adelberto’s concerns about the advance of off. 4 Iroldo would sacrifice himself if his death could save from her veil as a token of her love. Ottone goes off to battle. Ottone’s troops. Eurice rushes in and tells her husband and Adelaide’s private rooms in the fortress. the queen. Adelaide meditates alone and hopes that her tears will find son that Ottone has already reached Lake Garda. Because of favour in heaven. She is wrenched out of her thoughts by Ottone’s superior numbers Berengario wishes to confront him % Adelaide’s ladies-in-waiting rejoice at their mistress’s The entrance hall. the chorus of soldiers: the enemy has been defeated more not with arms but with guile. impending happiness. ^ Adelaide has wept enough but now quickly than expected. Adelaide surrenders herself to an she counts on her liberator, whose picture she carries in her Eurice implores her son to consent to the exchange of indescribable feeling of happiness after so much worry. An encampment outside Canossa overlooking Lake Garda. heart. & Joyfully Iroldo announces the arrival of Ottone and prisoners proposed by Ottone, otherwise Berengario must the forthcoming marriage. Ottone asks Adelaide for her hand, die, but Adelberto finds his mother’s laments unworthy of her. Outside the fortress of Canossa. 6 The German soldiers extol the ancient virtues of Italy, not because of the promised wedding arrangement but out 5 Adelberto’s people appeal to his love for his father. He is which they wish to help restore to its one-time greatness. of love. Adelaide bestows on him her hand and her heart. * torn between love for Adelaide and the natural feelings for his 0 At the open gates of Canossa the people cheer the 7 Ottone is moved by the fate of Italy and of Adelaide and The strategic purpose behind the marriage tie gives way to father. He himself begs nature to give him strength so that victorious Ottone, who appears in a triumphal chariot, in his pledges to avenge the murder of her husband Lotario. He the vows of love between Ottone and Adelaide. virtue will prevail; torn by conflicting feelings he goes off with wake Berengario and Adelberto in chains. ! Ottone values feels that the happiness of both of them is close at hand. 8 his men. 6 Eurice decides to make it possible for her enemy the approbation of the people more than his own crown but Ernesto reports that Adelberto, as Berengario’s messenger, Square in Canossa. Adelaide to flee, so that Berengario can return; Iroldo praises most of all he values the love of Adelaide. He places his crown would like to speak with Ottone, but Ottone suspects a trick. the resolve of married love. on her head and Adelaide reaffirms her love. He proclaims Adelberto is admitted and offers Ottone peace. Ottone also ( The people rejoice at the forthcoming marriage ceremony. that he will share the empire with her as the queen of Italy. wants peace, but only by handing back the country to the Berengario and Adelberto are privately delighted at the An encampment. While Berengario and Adelberto stand dejectedly to one side, rightful regent; he wants to see Adelaide and to dispense change of plan. ) To the general rejoicing of the people Adelaide and the people share in Ottone’s joy. justice. 9 Adelberto warns Ottone of Adelaide’s duplicity. Ottone and Adelaide affirm their union; Berengario and Ernesto informs Ottone that Adelberto wishes to come to He wants arms to be laid down and offers Ottone hospitality Adelberto feign indifference. ¡ As the bridal pair proceeds him to discuss the exchange of prisoners. Ottone hopes that Reto Müller in Canossa; Ottone agrees to the suggestion. Privately each to the church a sudden noise of weapons rises up. Adelberto Adelberto will agree to this, for without Adelaide his victory English translations by David Stevens despises his adversary whom he would rather confront with recognises the sound as that of the requested reinforcements force than with dissimulation. and he and Berengario grab their swords. Ernesto, who has rushed in with a few German soldiers, urges the betrayed The entrance hall in the fortress. Ottone, who has also grabbed his sword, to flee; the horrified Adelaide is seized by Berengario’s soldiers. The scene ends 0 Berengario reports that his son has been successful and in a general tumult of battle. Ekaterina Sadovnikova Yasushi Watanabe The Russian soprano Ekaterina Sadovnikova studied at the St Petersburg Conservatory and the Hochschule für The Japanese tenor Yasushi Watanabe was born in Niigata in 1984. He studied at the Kunitachi College of Musik in Dresden, embarking on a career that has taken her to several major opera houses. Her engagements Music in Tokyo, and in 2014 at the Arrigo Boito Conservatory in Parma. He has sung the roles of Clistene in include the roles of Gilda in Rigoletto at Covent Garden, Teatro , Opéra Royal de Wallonie, Canadian Mysliveček’s L’Olimpiade in Bologna, Paolino in Il matrimonio segreto in Mantua, and Ferrando in Così fan Opera Company, and at the Baths of Caracalla in Rome; Violetta in La traviata at Teatro La Fenice, Teatro San tutte in Tenerife, as well as further roles in Wildbad and Montepulciano. Yasushi Watanabe is a member of the Carlo and Opéra Royal de Wallonie; in L’elisir d’amore with the Mikhailovsky Theatre and Bolshoi Theatre; LTL Opera Studio. as Musetta in La Bohème, and the title role in with Teatro La Fenice. She was among the winners at the International Opera Competition in Dresden in 2006 and the Elena Obraztsova International Competition. Cornelius Lewenberg Born in Stuttgart, Cornelius Lewenberg started his career as a boy chorister at the Stuttgart State Opera, and Margarita Gritskova from 2005 to 2007 as a member of the Stuttgart Youth Opera. He studied in his native Stuttgart and also in The Russian mezzo-soprano Margarita Gritskova was born in St Petersburg, and studied at the St Petersburg Karlsruhe, with further training at the Hochschule der Künstein in Zurich. He has appeared in Orff’s Der Mond Conservatory. She has been a prize-winner in various international competitions, including the Luciano Pavarotti and Henze’s El Cimarrón, and at Karlsruhe as Monsieur Presto in Poulenc’s Les mamelles de Tirésias and Competition in Modena and the Spanish Concurso Internacional de Canto ‘Villa de Colmenar Viejo’. Her as Count Almaviva in Mozart’s Le nozze di Figaro. Other appearances have included Wolfgang Rihm’s Jakob performances have included roles such as under Mariss Jansons in St Petersburg, Cherubino at the Lenz in Darmstadt, and as Starveling in Britten’s A Midsummer Night’s Dream in England. Since 2013 he has St Moritz Summer Festival and in Salzburg, and Rosina at the Hungarian State Opera. In Weimar she sang been a fellow at the Da Ponte Foundation in Darmstadt. Cherubino, Flora, Maddalena, Ottone, Bradamante, Marthe, Carmen and Olga, as well as Dorabella, Angelina, Bersi, Smeton, Idamante, and Rosina at the Vienna State Opera, where she made her début in 2012. Luciano Acocella After completing his studies in composition, piano and conducting at the Conservatorio di Santa Baurzhan Anderzhanov Cecilia in Rome and at the Royal Academy of Music in Copenhagen, Luciano Acocella continued his training The bass-baritone Baurzhan Anderzhanov was born in Aksu, Kazakhstan in 1985 and studied there at the Astana at the Accademia Musicale Chigiana in Siena, the Accademia Nazionale di Santa Cecilia in Rome, and Academy of Music. From 2005 he was a soloist with the Astana National Opera Theatre and from 2009 to 2013 attended the Kondrashin conducting masterclass in Hilversum. He also studied classical literature and studied at the Osimo Accademia d’Arte Lirica in Italy, performing in several productions and singing the role of musicology at La Sapienza University in Rome. In 1996 he won the International Prokofiev and Dimitri Dulcamara in L’elisir d’amore at the Teatro La Nuova Fenice, Osimo. In 2012 he took first prize in the Concorso Mitropoulos conducting competitions which led to his appointment as assistant to Daniele Gatti. He has Anita Cerquetti and the Teatro di Spoleto Special Prize. He sang in Shostakovich’s The Nose at the Teatro conducted extensively across Europe, Asia and the United States to critical acclaim. He was General Music dell’Opera in Rome under director Peter Stein and conductor Alejo Pérez. He is a soloist of the Astana Opera in Director of the Opéra de Rouen-Haute Normandie between 2011 and 2015. Kazakhstan and at the Aalto Theater in Essen. Michele D’Elia Miriam Zubieta As a child Michele D’Elia studied the cello and piano, followed by studies at the Teatro Lirico Sperimentale di The Spanish soprano Miriam Zubieta was born in Pamplona and studied in Barcelona and at the University di Spoleto and at the Accademia delle Arti of the Teatro alla Scala in in Milan. He has taken part in numerous for Music and the Performing Arts in Vienna. She has won success in an impressive number of competitions, performances in festivals and theatres at home and abroad. As an accompanist and répétiteur he has and her performances include the roles of Despina in Così fan tutte and Susanna in Le nozze di Figaro at the collaborated with Mirella Freni, Renato Bruson, Luciana Serra, Katia Ricciarelli, Juan Diego Flórez, Luciana Schlosstheater at Schönbrunn, and Sister Constance in Poulenc’s Les dialogues des carmélites in Barcelona. D’Intino, Raina Kabaivanska, as well as with younger artists, including , Maria Agresta, Veronica Simeoni and Pretty Yende. He is a senior teacher at the Accademia del Teatro alla Scala di Milano, a free-lance pianist and a guest of important international musical and operatic events. Camerata Bach Choir, Poznań Gheorghe Vlad The Camerata Bach Choir was founded in 2003 by Tomasz Potkowski in Poznań. The The tenor Gheorghe Vlad was born in Romania and started his career as a singer in Bucharest. He made his members consist mainly of soloists from the Poznań Opera chorus and the Kraków operatic début in 2009 at the Bucharest National Opera, singing Carlino in Fioravanti’s Le cantatrici vilane. In 2012 Philharmonic Choir. The choir collaborates closely with the Wrocław Philharmonic. The he made his bel canto début there, singing Don Ramiro in La cenerentola and Nemorino in L’elisir d’amore. Since choir’s repertoire includes works by Bach, Handel and Mozart. Since 2010 the choir 2013 he has been a member of the Hamburg Chamber Opera, singing Lindoro in Rossini‘s L’Italiana in Algeri and has served as ensemble in residence for the Rossini in Wildbad Opera Festival. Dimsdale in Kroll’s The Scarlet Letter during his first season. He made his début at the Rossini in Wildbad Opera Festival in 2014 as Adelberto in Adelaide di Borgogna and as Geroldo in Morlacchi‘s Tebaldo e Isolina. Virtuosi Brunensis besiegt Ottone aber die Usurpatoren, kann Adelaide heiraten „primadonna contralto“ in der Hosenrolle des Ottone. Gleich The Virtuosi Brunensis chamber orchestra was established in 2007 from two of the und sein nunmehr um Italien erweitertes Deutsches Reich mit nach der Introduktion hat Ottone seine Auftrittsarie (Nr. 2), best known Czech orchestras, the Brno Janáček Theatre Orchestra and the Brno ihr teilen. während die Kavatine Adelaides (Nr. 6) und deren beider Duett Philharmonic. Under the guidance of artistic director Karel Mitáš the orchestra has Diese Ereignisse werden im Großen und Ganzen von (Nr. 7) direkt vor dem ersten Finale platziert sind. Im zweiten appeared, among other engagements, at the Bad Hersfeld Opera Festival and at the der Geschichtsschreibung zu Ottos erstem Italienfeldzug Akt bestreiten die beiden Primadonnen den Abschluss der Rossini in Wildbad Opera Festival, where it has recorded Rossini’s , L’Italiana in des Jahres 951 bestätigt, auch wenn bei Schmidt „Canosso“ Oper in zwei aufeinanderfolgenden Arien, der Szene und Arie Algeri, and Guillaume Tell, Vaccaj’s La sposa di Messina and Mercadante’s (d.h. Canossa bei Reggio Emilia) am Gardasee liegt und die Adelaides (Nr. 14, mit Teilen von Almavivas Rondo „Cessa I briganti for Naxos. Ereignisse schon 947 stattfinden. di più resistere“ aus dem Barbiere di Siviglia, das Rossini Zahlreiche Rezitative, die der Dichter vorbereitet bereits in der Kantate Le nozze di Teti e di Peleo und in La hatte, wurden nicht vertont oder noch vor der Premiere Cenerentola wiederverwendet hatte) und Chor, Szene und wieder gestrichen; sie wurden im Libretto durch „Virgolette“ Arie des Ottone, die das Finale (Nr. 15) bilden. Beide haben (Anführungszeichen) als Auslassung gekennzeichnet. außerdem auch je ein Duett mit dem Widersacher Adelberto: Sie zeigen teilweise den Willen des Librettisten, seinen Ottone im ersten (Nr. 3), Adelaide im zweiten Akt (Nr. 10). Gioachino Rossini (1792-1868) historischen Charakteren das Profil politisch geschickt Die Bedeutung der Tenorrolle wird neben diesen Auftritten Adelaide di Borgogna argumentierender Personen zu verleihen, und sind wohl auch auch durch die große Szene und Arie (Nr. 12) unterstrichen, mit Rücksicht auf diese Konzeption im Librettodruck stehen in der Adelberto zwischen Eltern- und Frauenliebe schwankt. gelassen worden. Rossini wollte aber offenbar die in Rom Die Bassrolle des Berengario ist in dieser vokalen Hierarchie Eine politisch-private Belcanto-Oper konnte, und obwohl die Römer gerade während des Karnevals noch üblichen Secco-Rezitative zugunsten der musikalischen den Nebenrollen zuzurechnen und hat entsprechend nur eine gerne den komischen Opern frönten, galt die Opera seria Nummern möglichst knapp halten. Ein Opfer der Kürzungen einteilige Arie (Nr. 5), die von Carafa stammen dürfte. Gleiches Am 26. Oktober 1817 schickte Rossini aus Neapel einen auch hier als prestigeträchtiger. Rossini ließ sich bereits in ist auch die Rolle Iroldos, dessen Bedeutung marginalisiert gilt für Iroldo, dessen Auftritt sich auf den einer Koryphäe im unterzeichneten Vertrag nach Rom, der ihn zur Komposition Neapel ein Libretto schreiben, begann dort – wohl unmittelbar wird. An einigen Stellen weicht der in Musik gesetzte Text Chor (Nr. 4) beschränkt. Auch die Rolle der Eurice ist nicht der Eröffnungsoper für den Karneval 1817/18 am Argentina- nach der Premiere von Armida (9. November 1817) – mit der aus Zensurgründen von dem des gedruckten ab: unproblematisch, denn die Herkunft von zwei überlieferten Theater verpflichtete. Im Begleitschreiben an den Impresario Komposition und nahm die Hilfe seines Kollegen Michele Carafa Es handelt sich um Stellen, die die einstige Einheit Italiens Arien ist nicht klar (Nr. 5bis und 11). In dieser Aufnahme Pietro Cartoni legte er Wert auf die von ihm verlangte Klausel, in Anspruch. So reichte ihm die Zeit nach seiner Ankunft in hochleben lassen, was angesichts des Wiedererwachens von singt sie eine als nicht authentisch geltende – also nicht unter wonach er das Autograph seiner Oper nach einem Jahr Rom am 5. Dezember für die Vollendung der Komposition und Nationalgefühlen von der Regierung im Papststaat nicht gerne Rossinis Aufsicht eingefügte – Alternativarie, die in der alten zurückhaben wollte. Der Impresario war derselbe, der in den für die Proben, um rechtzeitig am 27. Dezember 1817 in Szene gesehen wurde. und neuen Aufführungspraxis gelegentlich auftaucht (Nr. Jahren zuvor das Teatro Valle geleitet und für den Rossini gehen zu können. Das gedruckte Libretto nannte den Namen Eine Zeitungsrezension sprach von „drei Hauptrollen in 5bis). Wie immer gibt es bei Rossini neben der mehrteiligen bereits Torvaldo e Dorliska und La Cenerentola geschrieben des Dichters nicht, aber eine der beteiligten Sängerinnen teilte der Besetzung“ – dabei handelt es sich um Adelaide, Ottone Introduktion (Nr. 1) und dem ersten Finale (Nr. 8) ein großes hatte. Mit ihm unterhielt Rossini eine freundschaftliche, einem Bekannten über die bevorstehende Oper mit: „Der Titel und Adelberto, die für die namhaften Sänger Elisabetta Ensemble, hier ein Quartett (Nr. 13). Ein Chor (Nr. 9) eröffnet ja familiäre Beziehung, war er doch der Taufpate seiner lautet Adelaide di Borgogna von dem Dichter Smits“. Giovanni Manfredini-Guarmani, Elisabetta Pinotti und Savino Monelli den zweiten Akt, und der ganzen Oper geht eine Ouvertüre Tochter Sofia. Das hatte Cartoni – „der von allen römischen Schmidt, der zuvor für Rossini den Text zu Armida verfasst geschrieben wurden. Die Bassrolle des Berengario ist trotz voraus, die Rossini bereits während seines Studiums als Impresari einer der rührigsten und unbequemsten gewesen hatte, behandelte mit einiger Genauigkeit eine Episode aus der ihrer dramaturgischen Bedeutung als eigentlicher „Bösewicht“ Konzertouvertüre komponiert und für sein Bühnendebüt mit zu sein scheint“ (Martina Grempler) – Ende 1816 nicht frühmittelalterlichen Geschichte Italiens. keine musikalische Hauptrolle, was auch der Besetzungszettel La cambiale di matrimonio verwendet hat. Für das größere daran gehindert, den säumigen Komponisten polizeilich zur Adelaide (Adelheid von Burgund) muss sich auf der des Librettos bestätigt, da der unbekannte Gioacchino Orchester in Rom erweiterte er freilich den Satz und die Abreise aus Neapel zu drängen und ihn bei sich zu Hause Festung Canossa dem Belagerer Berengario, der des Mordes Sciarpelletti aufgeführt wird. Der Herzog Chigi, der die Besetzung. Adelaide di Borgogna ist voll prächtiger Musik, einzusperren, bis er seine Cenerentola fertig geschrieben an ihrem Gatten, König Lothar, bezichtigt wird, ergeben. römischen Opernaufführungen minutiös dokumentierte, trug in die ihrem Komponisten alle Ehre macht. Dabei privilegiert haben würde, wie der Komponist und Violinist Louis Spohr Adelberto, der Sohn Berengarios, der sie aus Liebe und vor sein Tagebuch allerdings den namhafteren Antonio Ambrosi er die lyrischen Momente und unterstreicht somit eher die in seinem Tagebuch festhielt. In der Tat muss es für den allem aus politischem Kalkül des Vaters heiraten will, um ein, der die Rolle wahrscheinlich kurzfristig übernommen privaten Gefühle als die politischen und kriegerischen Aspekte Unternehmer eine bittere Pille gewesen sein, dass er die Oper, die Regentschaft über Italien zu legitimieren, wird von ihr hatte. Auch die Nebenrolle des Statthalters von Canossa wirft des Stoffes. Adelaide ist vielleicht die letzte, noch wirklich die ein Triumph wurde, nicht wie geplant als erste, sondern nur abgewiesen. Iroldo, der Statthalter von Canossa, hat heimlich Fragen auf: Iroldo wurde laut Uraufführungslibretto von Luisa „apollinische“ Oper Rossinis, in der er die belkantistische als zweite Produktion der Karnevalssaison ansetzen konnte Ottone (Otto der Große) um Hilfe gebeten. Als der deutsche Bottesi gesungen, dürfte also eine Hosenrolle gewesen sein. Sublimierung in Reinform präsentiert. und somit auf viele lukrative Vorstellungstage verzichten Kaiser mit seinem Heer in die Lombardei einmarschiert, wird Die musikalischen Quellen notieren die Stimme aber in der „Meine Oper ist recht gut gelaufen, ich kann zufrieden musste. Für die Karnevalssaison 1817/18, die er nun am er von Berengario und Adelberto nach Canossa eingeladen. Introduktion und in den Rezitativen im Tenorschlüssel und nur sein“, schrieb Rossini nach der Premiere von Adelaide Teatro Argentina mit einer neuen Oper eröffnen sollte, sorgte Während Ottone die Rechte Adelaides bekräftigt, sich in in der Nr. 4 im Sopranschlüssel. di Borgogna ziemlich lakonisch an seine Mutter. Seine Rossini selbst für einen pünktlichen Ablauf vor. Dieses Mal sie verliebt und sie vor den Altar führt, wird er von den Im Zentrum der Oper stehen die Soloarien und Duette der zurückhaltende Reaktion kaschierte eine ziemlich gleichgültige ging es um seine erste ernste Oper, die er für Rom schreiben „Gastgebern“ angegriffen, kann aber entkommen. Schließlich „primadonna soprano“ in der Titelrolle der Adelaide und der Aufnahme der Oper, die von der Presse angesichts der „bekannten Fähigkeiten“ dreier erstrangiger Sänger ganz Die Wertschätzung, die Rossini seiner Oper durch dem Komponisten angelastet wurde, „dessen Genie in dieser Wiederverwendung zahlreicher Stücke entgegenbrachte, Oper eingeschlafen zu sein scheint“. Das Werk fand nach der rechtfertigt eine erneute Beschäftigung mit ihr ebenso wie Aufführungsserie am Teatro Argentina kaum Verbreitung. Bis der Umstand, dass sie sich in sehr geschichtstreuer Weise 1825, als sie bereits komplett von der Bühne verschwand, mit einem nicht unbedeutenden Ereignis aus der frühen Also available sind nur fünf Produktionen registriert, nämlich Venedig und italienisch-deutschen Geschichte befasst. Leider ist es nach Florenz (1820), Padua/Lugo und Lissabon (1822) sowie der ersten modernen konzertanten Wiederaufführung 1978 in (1825). Rossini hat sein Autograph nach Ablauf eines London nur zu wenigen weiteren Aufführungen gekommen: Jahres zurückbekommen und einige Hauptnummern bereits im Einer szenischen Aufführung 1984 in Martina Franca folgten April 1819 in seine Erfolgsoper Eduardo e Cristina einfließen sporadische konzertante Reprisen (Paris 1988, Lüttich 1992, lassen. Und einiges spricht dafür, dass er die Partitur auch Edinburgh 2005 und Pesaro 2006). Eine zweite szenische 1824 in London bei sich hatte, um daraus die bestellte, aber Aufführung gab es 2011 beim , aber erst nie vollendete Oper Ugo, re d’Italia zu erstellen – ebenfalls mit der hier dokumentierten Aufführung bei Rossini in Wildbad eine Episode aus der frühmittelalterlichen Geschichte Italiens, 2014 fand Adelheid von Burgund wie einst als Gemahlin Ottos in der neben dem Titelhelden Hugo auch sein Sohn Lothar und des Großen auch in ihrer musikalischen Ausgestaltung durch dessen junge Gattin Adelheid von Burgund vorkommen. Diese Rossini den Weg nach Deutschland. Komposition gilt heute, ebenso wie das Adelaide-Autograph, als verschollen. Reto Müller

8.660314-15 8.660329-30

8.660312-13 8.660331-32 Set in medieval Italy, Rossini’s rarely performed Adelaide di Borgogna is based on dramatic historical events that led to Otto the Great (Ottone) of Germany conquering the Kingdom of Italy. Despite its political and warlike subject, Adelaide di Borgogna is full of beautiful music, Rossini using lyrical moments to emphasise emotions and express the triangle of passionate love and rivalry between Adelaide, Ottone and Adelberto. Adelaide is bel canto in its purest form and was held in high regard by its composer, who recycled much of it in his subsequent operas. Gioachino ROSSINI (1792-1868) Adelaide di Borgogna Dramma in two acts • Libretto by Giovanni Schmidt Ottone ...... Margarita Gritskova, Mezzo-soprano Adelaide ...... Ekaterina Sadovnikova, Soprano Berengario...... Baurzhan Anderzhanov, Bass-baritone Eurice ...... Miriam Zubieta, Soprano Adelberto ...... Gheorghe Vlad, Tenor Iroldo ...... Yasushi Watanabe, Tenor Ernesto ...... Cornelius Lewenberg, Baritone

Camerata Bach Choir, Poznań • Chorus-master: Ania Michalak Virtuosi Brunensis (Karel Mitáš, Artistic Director) Luciano Acocella Music Assistant: Rosella Fracaros • Fortepiano: Michele D’Elia

CD 1 1-¡ Act I 75:12 CD 2 1-! Act II 47:31 Recorded live at the Trinkhalle, Bad Wildbad, Germany, 19th, 23rd and 25th July 2014 for the XXVI ROSSINI IN WILDBAD Festival (Artistic director: Jochen Schönleber) A Co-production with Deutschlandradio Kultur and ROSSINI IN WILDBAD • Producer: Siegbert Ernst Engineers: Norbert Vossen and Siggi Mehne • Editor: Stefan Lang Booklet notes and Synopsis: Reto Müller • Cover Photo by Patrick Pfeiffer: Ekaterina Sadovnikova, stage production of Adelaide di Borgogna (Stage Director: Antonio Petris) at the Trinkhalle during the XXVI ROSSINI IN WILDBAD, 2014 • Critical edition by Florian Bauer for ROSSINI IN WILDBAD C 2014 The Italian libretto may be accessed at www.naxos.com/libretti/660401.htm