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Adelaide Di Borgogna

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Adelaide Di Borgogna Gioachino ROSSINI 2 CDs Adelaide di Borgogna 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) Libretto by Giovanni Schmidt (Berengario, Adelberto, Eurice) No. 2 Coro, Scena e Cavatina: CD 2 47:31 6 Ottone, Emperor of Germany .......................................... Margarita Gritskova, Mezzo-soprano 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 Italy ................................ 1 Adelaide Ekaterina Sadovnikova, Soprano (Ottone) No. 9 Introduzione: Come l’aquila che piomba 1:53 Berengario .................................................................. Baurzhan Anderzhanov, Bass-baritone 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, Tenor 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 ROSSINI IN WILDBAD 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 opera 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 Armida, 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 Naples 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 Torvaldo e Dorliska and La Cenerentola. into Lombardy he is invited to Canossa by Berengario and “primadonna contralto” 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). Eduardo e Cristina. 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.
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