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Home , Aida, Alastair Miles, Aroldo, Attila (opera), Don Carlos discography, I due Foscari

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CHAN 3074(2) CHANDOS O PERA IN ENGLISH CHAN 3074 BOOK.qxd 22/8/07 4:40 pm Page 2

Giuseppe Verdi (1813–1901) in four acts

Lebrecht Collection Lebrecht by , after a scenario by English version by Edmund Tracey

The Pharaoh, King of ...... Peter Rose Amneris, his daughter ...... mezzo- Aida, an Ethiopian slave...... soprano Amonasro, King of Ethiopia, Aida’s father ...... Gregory Yurisich Radames, Captain of the Guards ...... Dennis O’Neill Ramfis, chief priest...... Alastair Miles bass The High Priestess...... Susan Gritton soprano A Messenger ...... Alfred Boe tenor Geoffrey Mitchell Choir Gareth Hancock • Timothy Redmond assistant conductors David Parry

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COMPACT DISC ONE Time Page Time Page Scene 2 1 Prelude 4:04 [p. 86] 13 ‘Almighty, almighty Phtha’ 3:11 [p. 91] High Priestess, Priestesses, Ramfis, Priests Act I (36:05) 14 Sacred Dance of the Priestesses 2:00 [p. 92] Scene 1 15 ‘The gods have shown you favour’ 1:18 [p. 92] 2 ‘Yes, Ethiopia once again has dared’ 1:43 [p. 86] Ramfis, Priests Ramfis, Radames 16 ‘Great Godhead we petition thee’ 4:04 [p. 92] 3 ‘I pray that I be chosen’ 1:04 [p. 86] Ramfis, Radames, Priests, Priestesses 4 ‘Goddess Aida, fair as a vision’ 3:33 [p. 86] Radames Act II (39:34) 5 ‘Have you just heard a joyous tale’ 2:38 [p. 86] Scene 1 Amneris, Radames 17 ‘We hear the hymns and cheering’ 2:54 [p. 93] 6 ‘Aida!’ 1:31 [p. 87] Slave-girls, Amneris Radames, Amneris 18 Dance of the Young Moorish Slaves 2:16 [p. 94] 7 ‘Alas, I hear the cries of war’ 2:00 [p. 87] 19 ‘No more now!’ 0:49 [p. 94] Aida, Amneris, Radames Amneris 8 ‘Grave is the cause’ 3:10 [p. 88] 20 ‘Now the battle is over your people suffer’ 4:03 [p. 94] Pharaoh, Messenger, Aida, Radames, Amneris 21 ‘Tremble! I know your secret…’ 1:35 [p. 95] 9 ‘Now go forward noble army’ 3:06 [p. 89] Amneris, Aida Pharaoh, Ramfis, Chorus, Aida, Radames, Amneris, Messenger 22 ‘But look with pity on my distress…’ 1:57 [p. 95] 10 ‘As victor then return!’ 3:15 [p. 90] Aida, Amneris 11 ‘The sacred names of a father and lover’ 0:49 [p. 91] 23 ‘Now go forward noble army’ 1:26 [p. 96] 12 ‘Hear me, ye gods, pity my cry!’ 2:42 [p. 91] Chorus, Amneris, Aida Aida 24 ‘Hear me, ye gods, pity my cry!’ 1:23 [p. 96] Aida

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COMPACT DISC ONE Time Page Time Page Act III (30:24) Scene 2 1 ‘Thou art to great Osiris’ 2:01 [p. 103] 25 ‘Glory to , goddess fair’ 3:27 [p. 97] Chorus, High Priestess Populace, Priests 2 ‘Come to the shrine of Isis’ 1:59 [p. 103] 26 Fanfare 1:45 [p. 97] Ramfis, Amneris, Chorus 27 Ballabile 1:55 [p. 97] 3 ‘Soon Radames will come!’ 2:33 [p. 103] 28 ‘Glorious warrior Radames’ 2:10 [p. 97] 4 ‘Oh, skies of blue’ 4:00 [p. 103] Populace, Priests Aida 29 ‘Valiant pride of your country’ 1:38 [p. 98] 5 ‘I come, full of concern’ 1:09 [p. 104] Pharaoh, Radames 6 ‘Once again you will see our lofty forests’ 3:42 [p. 104] 30 ‘Worship and glory to all the gods on high’ 1:39 [p. 98] Amonasro, Aida Ramfis, Priests, Aida, Amneris, Amonasro, Pharaoh 7 ‘No more my daughter’ 0:34 [p. 106] 31 ‘As you see, I am wearing the colours of my King’ 4:53 [p. 99] Amonasro, Aida Amonasro, Aida, Slave-girls, Prisoners, Ramfis, Priests, 8 ‘Father… the Egyptians… have not… enslaved me…’ 2:29 [p. 106] Amneris, Populace, Radames Aida, Amonasro 32 ‘O King, by holy Isis’ 2:39 [p. 100] 9 ‘At last I see you, my sweet Aida…’ 1:21 [p. 106] Radames, Pharaoh, Amneris, Priests, Populace, Famfis 10 ‘Your people rise again, arming for battle…’ 1:42 [p. 106] 33 ‘Glory to Isis, goddess fair’ 3:05 [p. 101] Radames, Aida Pharaoh, Populace, Slave-girls, Prisoners, Ramfis, Priests, 11 ‘We’d leave this white oppressive heat’ 4:24 [p. 107] Aida, Radames, Amneris, Amonasro Aida, Radames TT 79:52 12 ‘Ah no! We’ll leave here!’ 2:00 [p. 108] Radames, Aida, Amonasro 13 ‘You! Amonasro! You! The King?’ 1:30 [p. 109] Radames, Aida, Amonasro 14 ‘We’re betrayed!’ 1:00 [p. 109] Amneris, Aida, Amonasro, Radames, Ramfis

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Time Page Act IV (31:27) Scene 1 15 ‘My hated rival has escaped me’ 3:01 [p. 110] Amneris 16 ‘Soon all the priests will gather here’ 2:18 [p. 110] Amneris, Radames 17 ‘Ah! You must live’ 2:48 [p. 111] Clive Barda/PAL Clive 18 ‘Who will save you, wretched madman’ 1:47 [p. 112] Amneris, Radames 19 ‘Alas! I feel I’m dying…’ 2:13 [p. 112] Amneris, Ramfis, Priests 20 ‘Spirit of Isis on us all descending!’ 1:53 [p. 112] Ramfis, Priests, Amneris 21 ‘Radames! Radames! Radames!’ 4:15 [p. 113] Ramfis, Priests, Amneris 22 ‘Priests of Isis: you’re guilty of murder!’ 2:33 [p. 114] Amneris, Ramfis, Priests

Scene 2 23 ‘The fatal cover’s now in place’ 2:26 [p. 114] Radames, Aida 24 ‘My heart foretold this horrifying sentence’ 3:01 [p. 115] Aida, Radames 25 ‘Almighty Phtha’ 5:12 [p. 115] Priestesses, Priests, Aida, Radames, Chorus, Amneris TT 62:00 The extended version of the ballet music, written for Paris, is not included on this recording. ’s production of Aida 8 CHAN 3074 BOOK.qxd 22/8/07 4:40 pm Page 10

by events off-stage. On the public front, the gates of Thebes, the last two acts are enacted Giuseppe Verdi: Aida battle that Radames wins; on the private, the in more confined circumstances and consist to intriguing of the jealous Amneris, which a large extent of duets for the four principals. ‘Tinta’ – colour is the neatest translation – is of more than in written not long culminates in the onstage confrontation with They also confirm that, while the characters of the essence in Verdi’s mature . Indeed it is before and disclosing a quite different ‘tinta’, Aida where, by devious means, she manages to Aida, Radames and Amonasro are hardly the defining quality of his operatic private conflicts take place within the context uncover Aida’s secret love for Radames. This changed by extreme circumstances, that of composition. It is a quality he shares with of public politics and pomp. It is Verdi’s scene, in its turn, proves a prelude to the great Amneris considerably alters. These series of Britten, few others, and is one of the factors genius immediately to introduce both ceremonial scene of triumph which initially duets find Verdi at his most inspired. They are that make both such great creators in the genre. elements into his drama. In the very first scene gained Aida its fame. It has everything: choral supplemented by two solo passages, in which Each of Verdi’s works has a ‘tinta’ that is specific Egyptian general Radames becomes aware of a magnificence, inspiriting dances, bags of local Aida and Amneris respectively dig deep into to that piece and to none other. Nowhere is conflict between his duty to his country and colour in the eruption of the famous their emotional states. They demonstrate how that truer than of Aida (1871, composed for the his love for the Ethiopian slave-girl, Aida, and ‘Egyptian’ , and other instrumental unerringly Verdi makes them reveal their inner inception of the ). Princess Amneris realises that Aida is a rival for devices leading to Radames’s triumphal entry, selves and motivations. From the first bars of the Prelude (Verdi, the love of Radames. Once an Ethiopian then the appearance of the Ethiopian Act III begins with another stroke of after the premiere, composed an Overture but invasion is announced, led by Aida’s father prisoners. There, suddenly, we are back with compositional mastery. Against a background immediately discarded it as inferior to what he Amonasro, and the Egyptian Pharaoh private matters. Amonasro whispers to his of gently swaying music depicting the Nile, had already written) we are wafted into the proclaims Radames as leader in the fight daughter Aida not to reveal his true status as and an off-stage chorus, Amneris and Ramphis mysterious, perfumed air of ancient Egypt and against the enemy, the private and public Ethiopian ruler; then he describes his defeat in disembark from a boat and enter a temple to its world of conflicting loyalties, priestly confrontations are truly under way. They are battle and appeals for clemency. Aida backs up pray. Aida comes out of the shadows and sings intransigence and hot love. The chromatic emphasised by Aida’s solo ‘Ritorna vincitor’ her father’s plea; the Priests vigorously dissent. the romanza, ‘O patria mia’ (‘Oh, dearest theme, introduced on the high strings, which (‘As victor then return’) where her contrasting All this is timed in masterly fashion by home’), a late and inspired addition to the will become recognised as Aida’s motif, and emotions, paternal love for her father, Verdi. So is the huge ensemble that follows, in score, which depicts her longing for her the slightly sinister, contrapuntally developed romantic love for Radames, are so unerringly which the composer displays his ability to homeland in a fluid combination of idea that will come to be associated with the defined. It is another facet of Verdi’s skills that combine complex solo lines against a choral and , the restless accompaniment Priests, set the scene for the drama that is so much of import and relevance to the background, culminating in a touching solo illustrating her troubled yet reflective state of about to unfold. They, and all the melodic and development of the plot can be delineated in moment from Aida. The Egyptian king then mind. Quite apart from that, it is a wonderful rhythmic material that is to follow, belong to such a comparatively short period of music. bestows on Radames his daughter Amneris’s opportunity for a lyric- to Aida alone in terms of feeling and colour. This scene also sets the pace and structure hand as reward for his victory. display her wares in terms of a long line and Aida is unique in another way. Here, even of the opera as a whole. The pace is dictated After the grandiloquence of this scene at the tonal inflections.

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The next scene with her father once more To further persuade him, she even accuses him with all Verdi’s care for matching word to higher, a masterly touch from Verdi. He stays unobtrusively combines passages of parlando of not loving her enough. In a passage of music. She calls for the imprisoned Radames silent, and each time Amneris offers an with lyrical outbursts. Verdi is by now renewed ardour, he agrees to her suggestion to be brought into her presence: indeed with evermore desperate cry. The Priests then give completely free from the formal restraints and they sing an impassioned (what the single word ‘Guardie’ (‘Soldiers’), any their sentence: Radames is to be entombed imposed by before his time was once the fast, closing section of any set Amneris worth her salt can exert her complete alive. All Amneris’s cries for mercy, as she which limited his outlook in his early works. piece). It ends abruptly when she extracts from authority. There ensues yet another gripping prowls up and down the stage, are ignored by Solos are now at the service of the needs of the her lover the route his army will take. Verdi’s duologue. In a declamatory passage, similar for the implacable ministers of hate who repeat drama, not the singer, yet in a sense they ability arrestingly to develop the plot through mezzo and tenor, she begs Radames to defend their injunction ‘Traditor!’ (He shall die!’). demand almost more of the interpreters than music is confirmed when Amonasro emerges himself, he refuses defiantly declaring life She ends by uttering a fearsome oath in their the old style. As Amonasro plays on Aida’s from the shadows in triumphant mood. Before holds nothing more for him. Now in a heart- direction: ‘Empia razza! Anatema su vuoi!’ thoughts of love for her man and her fidelity the three can flee, Amneris, who has, as we rending lyrical passage ‘Ah! tu dei vivere’ (‘Evil vipers, may you all be accurs’d!’) to her country, he painfully makes her aware have noted, been praying in the adjacent (‘Ah! You must die’), Amneris declares her love Whatever may have gone before, I have never that duty and patriotism must come before temple, overhears them and Radames submits in impassioned tones. Once more he answers heard the whole scene fail to make its mark, personal desires. The manner in which Verdi to arrest in a cry of utter despair. her pleas in the negative, but only when she evidence enough of Verdi’s command, at this moulds Amonasro’s determined purpose Some commentators believe that the opera reveals that Aida is still alive and he declares mature stage of his career, over his material. against his daughter’s conflict of emotions should have been named Amneris: in the hands his joy in that outcome, does Amneris lose her One wonders in the theatre whether the shows him at the height of his powers both in of an effective mezzo, the role is one to savour, cool as she explodes in jealous fury. This finale may be anything but anti-climax. But terms of musical command and understanding filled with a generous variety of music in marvellous duet is the very epitome of Grand Verdi, the wise old bird, knows now what to of his characters’ psyche. Verdi’s grandest manner. It culminates in the Opera: two characters stating their position, do: write a short, intimate scene of farewell to In the next scene, which follows on with first scene of Act IV, which virtually belongs to usually from opposite sides of the stage, with a the world that is the antithesis of what has unerring inevitability, Aida now plays on the character. I have heard many a famous complete conviction and with a psychological gone before. As Radames ponders on his love Radames’s emotions as Amonasro had played interpreter bring down the house at its close, as much as physical gap between them. for Aida, he spies what he thinks is a vision, on hers. His display of ardour, showing him in a tribute as much to the composer’s superb The scene of Radames’s trial before the but turns out to be his beloved who has stolen, her powers, means that she can persuade him, writing as to the singer’s gifts. priests is perhaps the most original in the unseen, into the vault to share his fate. Gone in a passage of the most seductively turned Although Radames has been condemned to whole opera. As the judgement begins are the grandeur and the wild changes of music, starting ‘Fuggiam gli ardori inospiti’ death, Amneris determines to save him Amneris is heard anguishing in the ; in their place is a refined, almost (‘We’d leave this white oppressive heat), to provided only that he will forsake Aida and background. After a solemn prayer, they issue otherworldly declaration of true love in consider fleeing with her away from the come to her arms. The extended arioso in a three-part condemnation asking him to tripartite form. First comes Radames’s ‘Morir! horrors of war to a land of pleasure and love. which she mulls over her decision is written exculpate himself, each time a semitone si pur e bella’ (‘To die! So pure and lovely!’), a

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plangent, dignified statement of his sorrow at force of the , which followed three COMPACT DISC ONE return’, a cry in which Aida, in her confusion, Aida’s impending death. As ever, Verdi has years after Aida. Since the opera’s birth, the joins. 10 – 11 Left alone, however, Aida thought himself unerringly into the feelings of work has retained its popularity without Act I scene 1. After a brief prelude (1 ), the reflects that she is torn between the one of his principals. It is a passage of pure faltering. If it is not performed quite as curtain rises on a Hall in the Pharaoh’s Palace irreconcilable claims of her love for her father lyrical beauty, ineffably sad too. Aida’s reply, so frequently today as in the recent past, the in Memphis, the capital of Egypt. 2 Radames and country, and her love for Radames. 12 She ethereal in its shape, suggests that she is reason lies in the difficulty of casting the five is discussing with Ramfis, the High Priest, prays to the Powers for pity. already close to heaven. main roles and in the expense called for to news of a fresh invasion by the Ethiopians. Act I scene 2 is set in the temple of Vulcan Finally, accompanied by chanting from stage it effectively. Ramfis says that the Goddess has appointed a in Memphis. 13 – 14 Priests and priestesses above, a touch of sheer inspiration, the pair General and he is on his way to inform perform ritual dances and chant invocations to bid farewell to the world in an arched, soaring © 2002 Alan Blyth Pharaoh. 3 – 4 Left to himself Radames Phtha. 15 Ramfis calls on General Radames to melody of extreme simplicity ‘O terra addio’ reflects that if he were to be chosen, his dream gird on his sacred sword. 16 All entreat the (‘Farewell, oh life’), which each sings in turn Synopsis could come true. He would lead the victorious gods for an Egyptian victory. and then together in unison. To add to the The opera is set in Egypt under the Pharaohs. army and as victor would have everything he Act II scene 1 is set in Princess Amneris’ intense sorrow of the end, Amneris is heard The priests of the sacred gods, through their could want. 5 Princess Amneris breaks in on private apartments. The Ethiopians have lost and seen above, on her knees, imploring peace ability to interpret the gods’ wishes, have his reverie. 6 – 7 His evident arousal at the the war. 17 – 18 Amneris and her household for the souls of those below her. control of the government. Egypt and her entrance of Aida, alerts Amneris that her are preparing for the triumphal celebrations. Aida stands between the glories of the third neighbour to the south, Ethiopia, have long suspicion is correct that Aida is the object of 19 She dismisses her court as Aida enters, period of his operatic opus, including the been at war; Ethiopian prisoners have regularly his affections. Aida thinks only of her love for 20 and expresses her sympathy for Aida on her revised , A Masked Ball, been sold in the Egyptian slave markets. Radames and the difficulty of her position as a country’s defeat. Seeking to be sure of what The Force of and Don Carlos, and the The reigning Pharaoh has one child: an slave. she already suspects Amneris informs Aida final period which arrived with the unmarried daughter, Princess Amneris. Among 8 Pharaoh enters, calling together his falsely that Radames has been killed. 21 When Shakespearian masterpieces, and . Amneris’ household she numbers an Ethiopian nobles and people, and the priesthood. A Aida cries out Amneris admits that she has It retains the immense energy and wide slave of noble birth, Aida, unaware that this messenger is admitted bringing urgent news: . Aida explodes with joy. Amneris is now scope of its four predecessors (even if its slave is a daughter of the king of Ethiopia, the Ethiopians are marching on Thebes. They certain. She taunts Aida that she too loves concept is not quite as original as that of Amonasro. Amneris harbors an undeclared are led by their King, Amonasro (Aida, aside, Radames, and she is Pharaoh’s daughter while Don Carlos), while looking forward in some passion for Radames, a nobleman and a rising ‘My father!’). Pharaoh announces that Isis has Aida is a slave. Aida faces up to her and starts part to the greater economy of the two final officer in the Royal Army. Radames, however, elected Radames as General, 9 and leads his to say that she also is a princess, but catches operas. It most resembles, not surprisingly, has secretly fallen in love with Aida, who people in a battle hymn, finishing with an herself in time and keeps this secret. 22 She the flexibility, melodic breadth and dramatic returns his love. exhortation to Radames: ‘As victor then begs for the Princess’s sympathy. 23 The

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acclamations of the victory parade are heard freed. Ramphis speaks out against this: the of attack. ‘Who could ever discover?’ she asks. traitor. Amonasro draws a knife on the and the Princess orders Aida to follow her and Ethiopians will start another war. Radames ‘Aida.’ ‘I! No, no, ah, no!’ Then Egyptian Princess but is intercepted by Radames who see how she can compete with her. 24 Aida points out that now King Amonasro is dead, cohorts will descend on Ethiopia. 7 – 8 He tells him to escape and he drags Aida with renews her prayers to the gods for pity. this is unlikely: Ramphis contents himself with repudiates her as his daughter; she is simply a him. The General gives himself up to the Act II scene 2. The Triumph Scene requesting that Aida, the Princess’s favoured slave of the Pharaohs. She begs his forgiveness, priests. An avenue in Thebes before the temple of slave should remain as a hostage, with her but Radames is heard approaching. Amonasro Act IV scene 1. Outside the Great Hall of Ammon. 25 The population has turned out to father. That agreed, Pharoah announces that withdraws to a place where he can hear their Judgement. Radames is to stand trial for celebrate the triumph. Pharaoh enters and his reward for Radames is the hand of Princess conversation. treason. 15 – 16 The Princess has him takes his place on the throne surrounded by Amneris in marriage – with her, he shall one 9 General Radames bounds in, immensely brought to her, but he believes Aida is dead his court, and Amneris takes her place beside day reign over Egypt. 33 The act ends in happy to see Aida again. She stops him in his and no longer wishes to live. 17 – 19 Amneris him with Aida at her feet. 26 – 27 The armies almost universal rejoicing. tracks. He is promised to Princess Amneris. tells him that King Amonasro is dead but Aida march past and trophies of war are exhibited 10 He replies that after he has won the next has disappeared. He refuses to renounce his by dancing girls. Images of the gods are COMPACT DISC TWO war, he will obtain Pharaoh’s agreement to love for Aida or to defend himself, 20 – 21 and displayed, 28 and finally Radames enters marrying. Aida asks who will protect her from is led off to face his priestly judges, who judge under a canopy carried by twelve officers. Act III is set before a temple of Isis on the the Princess, 11 but points out that there is him guilty and condemn him to be entombed 29 Pharaoh hails the general as saviour of banks of the Nile by moonlight. 1 The chant another way – to flee with her to Ethiopia, under the altar of the god. 22 Amneris curses the Fatherland, and offers him any reward he of priestesses is heard inside. 2 Ramfis has where they can live and love together. When them as they emerge. wishes. General Radames requests that the brought Princess Amneris here to spend the he refuses, she points out that the axe will now Act IV scene 2. The stage is divided into prisoners of war should be led in. 30 As they night before her marriage in sacred dedication. fall on her and her father. 12 He gives in and two. Above, the Temple of Vulcan, below, an appear Aida recognizes her father and hastens 3 – 4 Aida comes to keep a farewell they plan their escape. But how will they avoid underground vault. 23 The last stone has been to embrace him. He secretly begs her not to rendezvous with Radames, 5 but she is the Egyptian army? Radames tells Aida where laid above Radames’ head. 24 As he prepares give him away. Pharaoh calls him forward to interrupted by her father. He knows that she is the troops will be stationed and Amonasro for death, he realises that he is not alone. Aida identify himself. 31 He says simply that he is waiting for Radames, that she loves him but appears. The General asks him who he is. has hidden in the vault with the intention of Aida’s father, he fought for his king and Pharaoh’s daughter is her rival. Aida admits ‘Aida’s father, Ethiopia’s King’. 13 Only now dying with him. 25 Priestesses chant in the country, they were beaten and the King killed. she is in Amneris’ power, but her father points does Radames understand the connection distance. As the two lovers fade into an He looks to Pharoah for clemency. The out that Aida could conquer her, regain her between Aida and King Amonasro, and that ecstatic daze, it is left to the Princess to plead people, deeply moved, join in his plea. country, her love. 6 The Egyptians are he is totally dishonoured. 14 Princess Amneris, for peace. 32 Radames claims Pharaoh’s promise of planning an offensive, and he wants to stop who has emerged from the temple and reward: let the Ethiopian captives and slaves be them. The best way is to anticipate their line observed this scene, denounces him as a © 2002 Peter Moores

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Jane Eaglen has one of the most formidable – previously performed by Strauss and Mozart, Mahler’s Eighth Santuzza ( Staatsoper). For English reputations in the opera world today. Born in for and in Los Angeles, Symphony, Beethoven’s Ninth Symphony, National Opera she has performed in Otello, Lincoln, she studied at the Royal Northern Munich and ; the title role in Bruckner’s Mass, , Medea in Corinto for Mary Stuart, The Turn of the Screw (for which College of Music, where she was supported by at The Royal Opera, the , and, for Chandos/Peter Moores she won an Olivier Award) and Puccini’s a Peter Moores Foundation scholarship, and Metropolitan Opera with Pavarotti, in Vienna, Foundation the award-winning , with a The Cloak. Recordings include Mendelssohn’s went on to sing at . Madrid, Seattle, Bologna and at the Bastille, further recording of Turandot. She also features Elijah (on Chandos), Offenbach’s Les Contes Enjoying unique success in the contrasting Paris; Amelia () in on the soundtrack of the film adaptation of d’Hoffmann, Verdi’s , and roles of Norma and Brünnhilde, hers is a Bologna and at the Bastille; the title role in ’s Sense and Sensibility. (for Chandos/Peter Moores Foundation) dramatic soprano of outstanding achievement Tosca for English National Opera, the Teatro Mary Stuart and Otello. earning spectacular reviews worldwide. Her Colon in , and in concert with Rosalind Plowright has enjoyed an immensely performances as Brünnhilde ( ) for the the Cleveland Symphony Orchestra; and the distinguished career. She studied at the Royal Born in Wales of Irish and Welsh parents, and her subsequent title role in for English Northern College of Music and the Dennis O’Neill is one of the world’s leading complete Ring there, with at National Opera. Opera centre, winning both Peter Moores and a specialist in the works of Verdi. , , in San Francisco and in Equally at home on the concert platform Foundation and Peter Stuyvesant scholarships. He has enjoyed a long association with the Vienna gained equally fine reviews. Previous engagements include Verdi’s Requiem with Her 1984 recording of Leonora (Il trovatore) , , where portrayals of Brünnhilde include those for and the City of Birmingham with Placido Domingo, conducted by Carlo his many roles have included Rodolfo Opera Pacific and . Her success Symphony Orchestra; Mahler’s Eighth Maria Giulini, was nominated for a Grammy (La Bohème), the Duke (), Pinkerton as Norma for Scottish Opera (in a production Symphony with ; Act III of Award. That same year she made her debut (), Edgardo (Lucia di supported by the Peter Moores Foundation) Götterdämmerung with and with the Royal Opera as Maddalena (Andrea Lammermoor), Macduff (), Gustavo was followed by critically acclaimed the Boston Symphony Orchestra; in Chénier) with Jose Carreras, and Aida with (Un ballo in maschera), Foresto (), Otello, performances at the Ravenna Festival with Ravenna with Riccardo Muti; Gurrelieder with . Don Carlos, Radames (Aida), (in Muti, for , , at at the Salzburg and Rosalind Plowright has performed at most concert), Carlo (Giovanna d’Arco), and Jacopo the Bastille, Paris, and Scottish Opera. Edinburgh Festivals; Norma in concert at the of the world’s great opera houses, in roles such (I due ). Other memorable operatic performances Tivoli Festival in Copenhagen and at Carnegie as (La Scala, Milan), Leonora in For the Metropolitan Opera he has include Isolde in Seattle, repeated at the Hall; and Strauss’s Four Last Songs with Daniel Il trovatore (), (, appeared as Alfredo (), Radames Metropolitan Opera and the Lyric Opera of Barenboim and the Chicago Symphony ), Ariadne and Medea (Opéra Bastille, (Aida), Turiddu () and Chicago to formidable reviews; her role debut Orchestra. Paris), Medea (The Royal Opera), Desdemona Canio (). Other North American as for the Lyric Opera of Jane Eaglen’s recordings include a disc of and Amelia (Vienna State Opera), Madama engagements have included Chicago Lyric Chicago; Donna Anna () at the by Wagner and Bellini, another with arias Butterfly (Houston ), and Opera, San Francisco, San Diego, Vancouver

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Opera and concerts with the Philadelphia, earned him tremendous critical praise. Peter Dawson, and, for Chandos/Peter Moores performed his debut UK recital with Roger Cleveland, Montreal, and Ottawa Acclaimed performances include Nabucco at the Foundation, Scarpia (Tosca) and Sharpless Vignoles. Other recordings include, for Symphonies, and for the Cincinnati Festival. Bregenz Festival, with The Royal Opera and in (Madam Butterfly). Chandos/Peter Moores Foundation , A frequent guest at the Bayerische Staatsoper, Geneva; the title role in Rigoletto in Israel, La Bohème and a recital disc of Great Operatic Munich, his debut in Un ballo in maschera was Australia and Athens; the title role in Simon Alastair Miles, internationally recognised as Arias, and for Opera Rara Medea in Corinto, followed by a new production of Il trovatore, Boccanegra, and Escamillo () for English one of this country’s leading singers, has sung Orazi e Curiazi, Rosmonda d’Inghilterra, as well as , Tosca, Lucia di National Opera; the title role Falstaff in at the Metropolitan Opera House (Giorgio in Ricciardo e Zoraide and Maria regina Lammermoor, Simon Boccanegra, Aida and the Australia; Germont Père (La traviata) for San I Puritani and Raimondo in Lucia di d’Inghilterra. title role in Otello. Elsewhere he has visited the Francisco Opera, Australian Opera, and in Tel- Lammermoor); Opera National de Paris- opera houses of Vienna, Berlin, Bonn, Aviv and Geneva; Iago (Otello) with Placido Bastille (Raimondo); Vienna (La Juive and Born in Canterbury, Peter Rose read music at Cologne, Hamburg, Munich, Nice, Zurich, Domingo for the Los Angeles Opera and in Giorgio); San Francisco (Giorgio, Raimondo, the University of East Anglia and studied with Paris, Oslo, Brussels, Barcelona, , Brisbane; Amonasro (Aida), Stankar (Stiffelio), and Basilio in Il barbiere di Siviglia); Ellis Keeler at the Guildhall School of Music Oviedo, the Arena di Verona and , as Scarpia (Tosca), the four villains (Les Contes Amsterdam (Figaro in Le nozze di Figaro); and Drama. In 1985 he won the Kathleen well as English National Opera. He enjoys a d’Hoffmann), and the title role in Guillaume Tell , Madrid (Philip II in Don Carlos); Ferrier Memorial Scholarship and in 1986 the close relationship with . for The Royal Opera. Other roles include English National Opera (the title role in Glyndebourne John Christie Award. He made Dennis O’Neill is also a busy concert artist Sharpless (Madam Butterfly) for Australian Mephistopheles, Zaccaria in Nabucco); and the his operatic debut in 1986 as the and has sung throughout Europe. His own Opera; Balstrode () at the Châtelet Royal Opera, Covent Garden (Elmiro in Commendatore with Glyndebourne Festival television series for the BBC were enormously in Paris and at La Monnaie, Brussels; and his Otello and Frère Laurent in Roméo et Juliette). Opera in Hong Kong. He was principal bass popular, and he has subsequently completed a debut with the Berlin Staatsoper as Alfio His first Fiesco (Simon Boccanegra) was a great with Welsh National Opera between 1986 and television film on Caruso. Recordings for (Cavalleria rusticana) and Tonio (Pagliacci). success, with previous Verdian portrayals 1989, and made his Royal Opera House debut Chandos/Peter Moores Foundation are Gregory Yurisich has made many earning equal acclaim. as Rochefort (Anna Bolena) with Dame Joan Cavalleria rusticana, Pagliacci, Tosca, international appearances on the concert His highly successful concert career takes Sutherland. La Bohème, Il trovatore, and a disc of Great platform including Mahler’s Eighth Symphony him worldwide to perform with leading Roles include: Ramfis (Aida), Fasolt Operatic Arias. Dennis O’Neill was awarded at the Edinburgh Festival; Alberich (Siegfried) in conductors such as Giulini, Mehta, Muti, ( ) Cadmus/Somnus (), the CBE in the 2000 New Year’s Honours list. concert, and Salieri (Rimsky-Korsakov’s Mozart Chung, Masur, Gergiev, Gardiner and the Daland (Der fliegende Holländer), King Marke and Salieri) and Beethoven’s Ninth Symphony world’s most prestigious orchestras, whilst his () and the Commendatore at Gregory Yurisich is now recognised as one of for the Australian ABC Television network. discography currently stands at an impressive the Royal Opera House, Covent Garden; the world’s leading . His recent Recordings include Leporello (Don forty-two including Elijah, Verdi’s Requiem Gessler (Guillaume Tell ), the Commendatore portrayals of the great Verdi repertory have Giovanni), a solo disc devoted to the songs of and Handel’s and . In 2000 he and Basilio (Il barbiere di Siviglia) in San

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Francisco; Kecˇal () for appears regularly in recital throughout Britain, Born in Lancashire, Alfred Boe began his former Czechoslovakia, Canada and Chicago Lyric Opera; Ramfis, Daland and and her extensive concert experience has taken music studies after a national tour with the Australasia. Early experience with Ochs at the Metropolitan Opera; and other her to the Amsterdam Concertgebouw, the D’Oyly Carte Opera Company in 1994. He the BBC led to a wider involvement with his roles for the Vienna Staatsoper, the Deutsche Vienna Konzerthaus, and Philharmonie in studied with Neil Mackie at the Royal College own singers and in turn to the establishment Staatsoper, the Hamburg State Opera, in Berlin. of Music, and finished his studies at the of the Geoffrey Mitchell Choir. Early Amsterdam, and at the Istanbul and Bregenz Susan Gritton’s operatic roles have included in London. recordings resulted in the Choir’s long-term Festivals. Susanna (Le nozze di Figaro) and Zerlina Oratorio performances include Puccini’s involvement with Opera Rara for which it has Concert engagements include Beethoven 9 (Don Giovanni) for Glyndebourne Festival and Messa di Gloria, Mendelssohn’s Elijah, Verdi’s made over thirty recordings. The Choir is with Giulini; Mozart’s Requiem with Daniel Touring Operas; Governess (The Turn of the Requiem, and Rossini’s Petite Messe solennelle enjoying a growing reputation with further Barenboim and ; Mahler 8 with Screw) and Lucia () under and Stabat Mater. Operatic performances work from the BBC and international Tilson Thomas at the Albert Hall; Verdi’s Steuart Bedford at Snape Maltings; Tiny (Paul include Roderigo in (Otello) and the title role recording companies. For Chandos the Requiem at the Barbican; La Damnation de Bunyan) for The Royal Opera; Belinda (Dido in Britten’s . Geoffrey Mitchell Choir has participated in Faust with the Chicago Symphony Orchestra and Aeneas) at the Deutsche Staatsoper, Berlin; In 1999 he returned to the D’Oyly Carte to numerous recordings in the acclaimed Opera and Sir ; Ravel’s L’Enfant et les Fulvia in Handel’s Ezio with the King’s sing Ralph Rackstraw in HMS Pinafore at the in English series sponsored by the Peter sortilèges & L’Heure espagnole with the Consort at the Théâtre des Champs Elysées, Royal Festival Hall and also sang Ernesto in Moores Foundation. Cleveland Orchestra under Boulez; and Paris; Marzelline () with Opera; with Scottish Opera-Go-Round. Beethoven’s Missa Solemnis with the New York and Romilda (Xerxes) with the Bayerische Other roles include Roderigo (Otello) for From auspicious beginnings in 1945, when it Philharmonic under Masur. Recordings Staatsoper. At English National Opera, where La Monnaie in Brussels, Ferrando and Nanki- was established by Walter Legge primarily as a include Le nozze di Figaro, The Seven Deadly she is a Company Principal, her roles include Poo (Mikado) for , and recording orchestra, the Philharmonia Sins, , Un ballo in maschera, and, for Atalanta (Xerxes), Constance (The Carmelites), Rodolfo (La Bohème) for Glyndebourne Orchestra went on to attract some of the Chandos/Peter Moores Foundation, , Pamina (), Drusilla (The Touring Opera. He is one of the first singers twentieth century’s greatest conductors. , Tosca, and a further Coronation of Poppea), Nannetta (Falstaff ), and to be given a place on the Vilar Young Artists Associated most closely with the Orchestra recording of . the title role in . Programme at the Royal Opera House, Covent have been (first Principal Recordings for Chandos include Paul Garden. Conductor), , Riccardo Muti, Winner of the 1994 Kathleen Ferrier Bunyan, The Pilgrim’s Progress, , , , Sir Memorial Prize, Susan Gritton read Botany at Mendelssohn’s St Paul, a number of discs of Geoffrey Mitchell’s singing career has Andrew Davis, Vladimir Ashkenazy and Esa- Oxford and London Universities before taking Haydn’s Masses, and a further recording of encompassed a remarkably wide repertoire Pekka Salonen. Under current Principal up a career in singing. In 1994 she made her Falstaff (for Chandos/Peter Moores from early to contemporary music and has Conductor Christoph von Dohnanyi and with solo recital debut at the Wigmore Hall. She Foundation). taken him to Scandinavia, Germany, the Leonard Slatkin as Principal Guest Conductor

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the Orchestra has consolidated its central La bohème, the award-winning Tosca and six Sweden, The Netherlands, at the Pesaro numerous discs for the Opera Rara label position in British musical life, not only in solo recital albums of operatic arias (with Festival in Italy, the Hong Kong International which have won several awards, including the London where it is Resident Orchestra at the Bruce Ford, Diana Montague, Dennis O’Neill, Festival, in Japan with a tour of Carmen and Belgian Prix Cecilia for Donizetti’s Rosmonda Royal Festival Hall, but also in the wider Alastair Miles, Yvonne Kenny and John in Mexico with the UNAM Symphony d’Inghilterra. For Chandos he has conducted community through regional residencies. Tomlinson.) Orchestra. Recent new productions he has seven recordings of operatic arias (with Bruce The Orchestra has received several major conducted include Fidelio at the New Zealand Ford, Diana Montague, Dennis O’Neill, awards and won critical acclaim for its vitality David Parry studied with Sergiu Celibidache Festival, at Theater Basel and Alastair Miles, Yvonne Kenny, and unique warmth of sound. It has been and began his career as Sir John Pritchard’s Lucia di Lammermoor at New Israeli Opera. and Della Jones), as well as Faust, praised as well for its innovative programming, assistant. He made his debut with English His work in the recording studio includes Don Giovanni, Ernani, Don Pasquale, The at the heart of which is a commitment to Music Theatre, then became a staff conductor the BBC Television production of Marschner’s Elixir of Love, La bohème, Cavalleria rusticana, performing and commissioning new music by at Städtische Bühnen Dortmund and at Opera Der Vampyr and twenty-one complete opera Pagliacci, Il trovatore the award-winning Tosca the world’s leading living composers, among North. He was Music Director of Opera 80 recordings under the sponsorship of the Peter and highlights from Der Rosenkavalier, all in them its current Visiting Composer James from 1983 to 1987 and since 1992 has been Moores Foundation. Among these are association with the Peter Moores Foundation. MacMillan. the founding Music Director of Almeida The Orchestra tours frequently abroad and Opera. is the world’s most recorded symphony He works extensively in both opera and orchestra with well over 1000 releases to its concert, nationally and internationally. He has credit. Among these are, for Opera Rara, conducted several productions at English several discs of operatic arias as well as eleven National Opera and appears regularly with the complete operas (Donizetti’s Ugo, conte di Philharmonia Orchestra. In 1996 he made his Parigi, Ne m’oubliez pas, Emilia di Liverpool, debut at the Glyndebourne Festival with Così L’assedio di Calais, Rosmonda d’Inghilterra and fan tutte, where in 1998 he conducted the , Meyerbeer’s Dinorah, Mayr’s world premiere of Jonathan Dove’s Flight. Medea in Corinto, Mercadante’s Orazi e He is a frequent visitor to Spain where he Curiazi, Pacini’s Maria, regina d’Inghilterra and has given concerts with most of the major Rossini’s Otello). The Orchestra has recorded Spanish orchestras. He conducted the Spanish numerous discs for Chandos including, in the premiere of Peter Grimes in Madrid and in Opera in English series sponsored by the Peter 1996 the first Spanish production of The Moores Foundation, The Elixir of Love, Faust, Rake’s Progress. He has appeared in Germany,

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PETER MOORES, CBE, DL Whilst still in his early twenties, Peter Moores had started giving financial support to various young artists, several of whom – , and the late Peter Moores was born in Lancashire, the son of Sir John Moores, founder of the giant amongst them – were to become world-famous. In 1964 he set aside a substantial part of his Littlewoods mail order, chain store and football pools group. He was educated at Eton and inheritance to establish the Peter Moores Foundation, a charity designed to support those Christ Church, Oxford, where he read modern languages – he was already fluent in German causes dear to his heart: to make music and the arts more accessible to more people; to give and Italian. It was opera, however, which was his great love. He had worked at Glyndebourne encouragement to the young and to improve race relations. Festival Opera before going up to university, and after Oxford he became a production student at the Vienna State Opera, combining this with a three-year course at the Vienna PETER MOORES FOUNDATION Academy of Music and Dramatic Art. In the field of music, the main areas supported by the Peter Moores Foundation are: By the end of his third year at the Academy Moores had produced the Vienna premiere of the recording of operas from the core repertory sung in English translation; the recording Britten’s The Rape of Lucretia, had worked as Assistant Producer or staging of rare Italian opera from the bel canto era of the early nineteenth century at the San Carlo Opera House, Naples, the Geneva Festival and (repertoire which would otherwise only be accessible to scholars); the nurturing of Rome Opera, and seemed set for a successful operatic career. At promising young opera singers; new operatic work. this point he received a letter from his father asking him to The Foundation awards scholarships annually to students and post-graduates for furthering their vocal studies at the Royal Northern College of Music. In addition, project awards may be

come home as he was needed in the firm. Family loyalty being Cooper/PMF Bill paramount, he returned to Liverpool. given to facilitate language tuition in the appropriate country, attendance at masterclasses or From 1981 to 1983 he was a Governor of the BBC, and a summer courses, specialised repertoire study with an acknowledged expert in the field, or Trustee of the Tate Gallery from 1978 until 1985; from 1988 post-graduate performance training. to 1992 he was a director of Scottish Opera. He received the The Foundation encourages new operatic work by contributing to recordings, the Gold Medal of the Italian Republic in 1974, an Honorary MA publication of scores and stage productions. from Christ Church, Oxford, in 1975, and was made an Since 1964 the Foundation has supported the recording of more than forty operas, many of Honorary Member of the Royal Northern College of Music in these sung in English, in translation. It has always been Peter Moores’s belief that to enjoy opera 1985. In May 1992 he became Deputy Lieutenant of to the full, there must be no language barrier, particularly for newcomers and particularly in the Lancashire, and in the New Year’s Honours List for 1991, he popular repertoire – hence the Opera in English series launched with Chandos in 1995. This was made a CBE for his charitable services to the Arts. includes many of the English language recordings funded by the Foundation in the 1970s and Peter Moores, CBE, DL 1980s, and is now the largest recorded collection of operas sung in English.

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wird und der ägyptische König Radames zum dient wiederum als Vorspiel zu der großen, Giuseppe Verdi: Aida Anführer im Kampf gegen den Feind ernennt, feierlichen Triumphszene, der die Oper ihren sind sowohl die privaten als auch die ursprünglichen Ruhm verdankt. Es fehlt ihr an “Tinta” – am ehesten wohl als “Farbe” zu auftaucht und sich bald als das Motiv Aidas zu öffentlichen Konfrontationen nicht mehr nichts: Chorische Pracht, beseelte Tänze, jede übersetzen – ist in den Opern aus Giuseppe erkennen geben wird, und eine recht aufzuhalten. Diese werden in Aidas Arie “As Menge Kolorit beim Einsatz der berühmten Verdis Reifezeit von grundlegender unheimliche, kontrapunktisch entwickelte victor then return” unterstrichen, in der sie “ägyptischen” Trompeten und anderer Wichtigkeit. Sie macht sogar die bestimmende Idee, die im weiteren Verlauf mit den Priestern ihren widersprüchlichen Emotionen, ihrer instrumentaler Kunstgriffe, die in Radames’ Komponente seiner Opernwerke aus. Es einhergeht, leiten das bevorstehende Drama kindlichen Liebe zum Vater und ihrer sieghaftem Auftritt und dem Erscheinen der handelt sich dabei um eine Eigenschaft, die er ein. Was Gefühl und Farbe anbelangt, gehören romantischen Liebe zu Radames so äthiopischen Gefangenen gipfeln. Und dann außer mit mit sonst kaum diese Elemente genauso wie das später noch unzweifelhaften Ausdruck verleiht. Auch sind wir ganz plötzlich wieder in der privaten jemandem teilt, und sie ist einer jener folgende melodische und rhythmische hierbei handelt es sich um eine Facette von Welt. Amonasro flüstert seiner Tochter Aida entscheidenden Faktoren, die beide Material ganz und gar der Aida. Verdis Können, nämlich die Fähigkeit, zu, sie möge seine wahre Identität als Komponisten zu den großen Künstlern ihres Auch in einer anderen Beziehung ist Aida innerhalb eines so verhältnismäßig kurzen äthiopischer Herrscher nicht preisgeben; dann Genres machen. Jedes Werk Verdis besitzt eine einmalig. Mehr noch als sogar im Don Carlos, musikalischen Zeitraums so viel zu zeichnen, beschreibt er seine Niederlage im Kampf und ihm und nur ihm allein eigene “tinta”, und das der nicht lange zuvor entstanden war und eine was von Belang und der Entwicklung der bittet um Milde. Aida stimmt in die Bitte trifft auch und ganz besonders auf die 1871 völlig andere “tinta” aufweist, werden hier Handlung zuträglich ist. ihres Vaters ein, die aber von den Priestern zur Eröffnung des Opernhauses von Kairo private Konflikte im höchst öffentlichen Diese Szene bestimmt obendrein den nachdrücklich abgelehnt wird. komponierte Oper Aida zu. Rahmen von Politik und Pomp ausgetragen. Spannungsaufbau und die Struktur der Die gesamte Abfolge wird von Verdi auf Schon die ersten Takte des Vorspiels (eine Es macht Verdis Genie aus, daß er diese gesamten Oper. Der Spannungsaufbau wird meisterhafte Art und Weise abgestimmt, nach der Premiere komponierte Ouvertüre beiden Elemente unmittelbar in sein Drama durch Ereignisse, die nicht auf der Bühne ebenso wie das darauffolgende Ensemble, in verwarf Verdi gleich wieder, weil er sie dem einzubauen vermag. Schon in der ersten Szene stattfinden, bestimmt, und zwar im dem der Komponist seine Fähigkeit unter ursprünglichen Material gegenüber für wird sich der ägyptische General Radames des öffentlichen Rahmen durch die von Radames Beweis stellt, komplizierte Sololinien mit minderwertig hielt) entführen den Zuhörer in Konfliktes zwischen der Pflicht seinem Land gewonnene Schlacht und im Privaten durch einem chorischen Hintergrund zu die geheimnisvollen, von Duft gegenüber und seiner Liebe zu der die Intrigen der eifersüchtigen Amneris. Diese kombinieren, und welches er zu einem durchdrungenen Lüfte des Alten Ägyptens, äthiopischen Sklavin Aida bewußt, und der erreichen – auf der Bühne – in der ergreifenden Solo für Aida anwachsen läßt. und in seine Welt voller widersprüchlicher Fürstin Amneris wird klar, daß Aida bezüglich Auseinandersetzung mit Aida ihren Der ägyptische König schenkt dann Radames Loyalitäten, unnachgiebiger Priester und der Liebe Radames’ eine Rivalin darstellt. Als Höhepunkt, in der es Amneris gelingt, auf als Belohnung für dessen Sieg die Hand seiner leidenschaftlicher Liebe. Ein chromatisches dann eine Invasion äthiopischer Truppen, mit heimtückische Art und Weise Aidas heimliche Tochter Amneris. Thema, das zuerst in den hohen Streichern Aidas Vater Amonasro an der Spitze, bekannt Liebe zu Radames aufzudecken. Diese Szene Nach der Großartigkeit dieser vor den

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Toren Thebens spielenden Szene finden die widerspiegelt. Außerdem bietet die Musik unmittelbar anschließt, benutzt Aida nun Partie mit einer fähigen Mezzosopranistin letzten beiden Akte im intimeren Rahmen jeder jugendlich-dramatischen Sopranistin eine Radames’ Gefühle in der gleichen Art und besetzt ist, kann sie durchaus ausgekostet statt und bestehen weitgehend aus Duetten für wunderbare Gelegenheit, ihr Können zu Weise, wie Amonasro es mit den ihren getan werden, denn sie wird mit einer großzügigen die vier Hauptpersonen. Sie zeigen auch, daß, zeigen, besonders was lange Linien und hatte. Durch seine offenkundige Leidenschaft Vielfalt von Verdis prachtvollster Musik während Aida, Radames und Amonasro sich klangliche Inflexionen anbelangt. wird ihr klar, daß Radames in ihrer Macht bedacht. Deren Höhepunkt stellt die erste von den extremen Umständen kaum Die darauffolgende Szene mit ihrem Vater steht, so daß es ihr gelingt, ihn mit Hilfe Szene des Vierten Aktes dar, die fast beeinflußt zeigen, der Charakter der Amneris verbindet wieder Parlando-Stellen mit äußerst verführerischer Musik, beginnend mit ausschließlich der Amneris gehört. Ich habe doch wesentliche Veränderungen aufweist. Bei lyrischen Ausbrüchen. Verdi hat sich von den “We’d leave this white oppressive heat”, dazu manche berühmte Interpretin erlebt, die an dieser Folge von Duetten ist Verdi inspirierter formalen Beschränkungen der italienischen zu bringen, an eine gemeinsame Flucht fort ihrem Schluß das Publikum zum Rasen denn je. Hinzu kommen zwei Solopassagen, in Oper vor seiner Zeit, die den Blickwinkel des von den Greueln des Krieges in ein Land der gebracht hat, was sowohl für das meisterhafte denen Aida und Amneris ihre jeweiligen Komponisten in seinen frühen Werken noch Freude und der Liebe zu denken. Um ihn Können des Komponisten als auch für die Emotionen tief ergründen. Hier zeigt sich, wie einschränkten, inzwischen vollkommen weiter zu überreden, wirft sie ihm sogar vor, Begabung der jeweiligen Sängerin spricht. unbeirrbar Verdi seine Protagonistinnen ihr befreit. Soloszenen stehen nun im Dienste der sie nicht genug zu lieben. In einer Passage von Radames wurde zwar zum Tode verurteilt, Innenleben und ihre Motivationen preisgeben Dramatik und nicht des Sängers, jedoch sind erneuter Inbrunst geht er auf ihren Vorschlag doch Amneris ist entschlossen, ihn zu retten, läßt. die Forderungen an die Interpreten in ein, und die beiden singen eine wenn er nur Aida aufgibt und sich stattdessen Der Dritte Akt beginnt mit einem weiteren gewissem Sinne fast größer als beim alten Stil. leidenschaftliche Cabaletta (früher der schnelle in ihre Arme wirft. Das ausgedehnte Arioso, in Beispiel kompositorischer Meisterschaft. Vor Aidas Liebe zu Radames gegen ihre Schlußteil eines beliebigen Stückes). Die dem sie ihre Entscheidung erwägt, zeugt von dem Hintergrund sanft wogender Musik, die Vaterlandstreue ausspielend, macht Amonasro Musik endet jäh, als sie ihrem Geliebten die der Verdi eigenen Sorgfalt bezüglich der den Nil schildert, sowie eines Chores hinter ihr schmerzlich bewußt, daß Pflicht und Route seiner Armee entlockt. Verdis Fähigkeit, Einheit von Text und Musik. Sie läßt den der Bühne steigen Amneris und Ramphis aus Patriotismus über persönlichen Wünschen zu die Handlung auf atemberaubende Art und eingekerkerten Radames zu sich bringen, und einem Boot und betreten einen Tempel, um zu stehen haben. Die Art und Weise, wie Verdi Weise durch Musik weiterzuführen, bestätigt jede Amneris, die etwas taugt, kann mit dem beten. Aida tritt aus den Schatten und singt Amonasros entschlossene Absicht vor dem sich wieder einmal, als Amonasro einzigen Wort “Soldiers” ihre vollkommene die Romanze “Oh, dearest home”, eine späte Hintergrund des Gefühlskonflikts seiner triumphierend aus den Schatten tritt. Bevor Autorität demonstrieren. Es folgt ein weiterer und inspirierte Hinzufügung zu der Partitur, Tochter gestaltet, zeigt ihn auf dem Gipfel die drei fliehen können, hört sie Amneris, die, fesselnder Dialog. In einer, für Mezzosopran die in einer fließenden Kombination aus seines Könnens, sowohl was seine musikalische wie wir ja wissen, im benachbarten Tempel und Tenor ähnlichen, deklamatorischen Rezitativ und Arie die Sehnsucht nach ihrer Souveränität anbelangt, als auch bezüglich des gebetet hat, und mit einem Schrei äußerster Passage fleht sie Radames an, sich zu Heimat darstellt, wobei die unruhige Verständnisses für die Psyche seiner Verzweiflung läßt sich Radames verhaften. verteidigen, doch er weigert sich trotzig und Begleitung ihre unglückliche und doch Charaktere. Es gibt Meinungen, die dahingehen, die erklärt, das Leben habe ihm nichts mehr zu nachdenkliche Gemütsverfassung In der nächsten Szene, die sich zwangsläufig Oper hätte Amneris heißen müssen: wenn die bieten. Es folgt Musik von herzzerreißender

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Lyrik “Ah! You must live”, in der Amneris Gnade, die Amneris ausstößt, während sie “To die! So pure and lovely!”, einen klagenden, ihrer vier Vorgängerinnen bei (wenngleich ihr voller Leidenschaft ihre Liebe gesteht. kreuz und quer über die Bühne läuft, werden würdevollen Ausdruck seiner Trauer über Konzept nicht ganz so einzigartig ist, wie das Abermals verweigert sich Radames ihrem von den unbeugsamen Ministern des Hasses Aidas bevorstehenden Tod. Verdi hat sich wie des Don Carlos), nimmt gleichzeitig aber in Flehen, doch erst als sie verrät, daß Aida noch ignoriert, die nur immer wieder ihr Urteil immer unbeirrbar in die Gefühle einer seiner gewisser Weise die größere Ökonomie der am Leben ist, und er seiner Freude darüber “He shall die!“ wiederholen. Schließlich äußert Hauptpartien hineinversetzt. Es handelt sich beiden letzten Opern vorweg. Am meisten Ausdruck verleiht, gerät Amneris aus der Amneris einen fürchterlichen Fluch in ihre um eine Passage von reiner, lyrischer ähnelt sie jedoch (und das ist nicht weiter Fassung und explodiert voller Wut und Richtung: “Evil vipers, may you all be Schönheit, die gleichzeitig unsäglich traurig verwunderlich) der Flexibilität, dem Eifersucht. Dieses fabelhafte Duett ist die accurs’d!” Egal, was vorhergegangen sein mag – ist. Aidas Antwort, so ätherisch in ihrer Form, melodischen Atem und der dramatischen Kraft Große Oper schlechthin: Zwei Personen, die ich habe es noch nie erlebt, daß diese gesamte läßt vermuten, daß sie dem Himmel bereits des drei Jahre später komponierten Requiems. ihre Standpunkte vertreten, meistens von Szene nicht ins Schwarze getroffen hat, was nah ist. Seit ihrem Entstehen hat diese Oper nicht an gegenüberliegenden Seiten der Bühne aus, wiederum belegt, in welchem Maße Verdi in Begleitet von Gesängen von oben Popularität verloren. Wenn sie heutzutage nicht voller Überzeugung, und getrennt von einem diesem reifen Stadium seiner Laufbahn sein verabschiedet sich das Paar in einem Moment mehr ganz so häufig aufgeführt wird, wie in Abgrund, der sowohl psychologischer als auch Material beherrschte. der puren Inspiration von der Welt, und zwar der jüngeren Vergangenheit, liegt dies an der räumlicher Natur ist. Man fragt sich, ob das Finale nicht in einer bogenförmigen und emporstrebenden Schwierigkeit, die fünf Hauptrollen zu Die Szene, in der die Priester Radames den zwangsläufig eine Enttäuschung sein muß. Melodie von extremer Schlichtheit, “Farewell, besetzen, sowie an den für eine wirksame Prozeß machen, ist vielleicht die einzigartigste Aber Verdi, klug wie Er ist, weiß genau was zu oh life”, die zunächst von den beiden einzeln Inszenierung notwendigen Kosten. der ganzen Oper. Als die Urteilsverkündung tun ist: Er schreibt eine kurze, intime und dann gemeinsam im Unisono gesungen beginnt, hört man im Hintergrund Amneris’ Weltabschiedsszene, die eine Antithese zu wird. Um das intensive Leid am Schluß noch © 2002 Alan Blyth angsterfülltes Flehen. Nach einem feierlichen allem vorher Geschehenen darstellt. Während zu steigern, hört und sieht man Amneris, wie Gebet kündigen die Priester an, der Radames über seine Liebe zu Aida nachdenkt, sie oben auf den Knien liegt und um Frieden Synopsis Angeklagte habe sich zu rechtfertigen, und sieht er etwas, was er für eine Vision hält, die für die Seelen derjenigen im Kerker fleht. Die Oper spielt in Ägypten während der Zeit zwar nachdem jeder einzelne Teil einer sich aber als seine Geliebte entpuppt, welche Aida steht zwischen den Reichtümern der der Pharaonen. Die Priester der heiligen dreiteiligen Verurteilung ausgesprochen sich ungesehen in das Verlies geschlichen hat, dritten Periode in Verdis Opernschaffen, zu der Götter verfügen aufgrund ihrer Fähigkeit, die worden ist – jedesmal ein Halbton höher, ein um sein Schicksal zu teilen. Fort sind die auch der überarbeitete Simon Boccanegra, Un Wünsche der Götter auszulegen, über die meisterhafter Kunstgriff Verdis. Er schweigt Erhabenheit und die wilden ballo in maschera, und Don Regierungsmacht. Ägypten und sein südlicher durchweg, und jedesmal gibt Amneris einen Wechselhaftigkeiten der Leidenschaft; an ihre Carlos gehören, und der letzten Periode, die Nachbar Äthiopien befinden sich seit langer noch verzweifelteren Schrei von sich. Dann Stelle tritt eine reine, dieser Welt fast nicht von den Meisterwerken Shakespeares, Otello Zeit im Krieg miteinander; auf den verkünden die Priester ihre Strafe: Radames mehr zugehörige Liebeserklärung in und Falstaff bestimmt wurde. Aida behält die Sklavenmärkten Ägyptens wird regelmäßig mit soll lebendig begraben werden. Alle Bitten um dreiteiliger Form. Zuerst singt Radames gewaltige Energie und das breite Spektrum äthiopischen Gefangenen gehandelt.

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Der herrschende Pharao hat ein Kind, und haben, was er sich nur wünschen könnte. rufen mit ihren Gesängen die Gottheit Phtà 2. Akt 2. Szene. Die Triumphszene zwar eine unverheiratete Tochter, Prinzessin 5 Prinzessin Amneris unterbricht seine an. 15 Ramphis fordert General Radames auf, Eine breite Allee in Theben vor dem Tempel Amneris. Zu Amneris‘ Haushalt gehört auch Träumereien. 6 – 7 Radames’ augenfällige sein heiliges Schwert anzulegen. 16 Alle flehen des Ammon. 25 Die Bevölkerung hat sich eine äthiopische Sklavin von adliger Geburt, Erregung beim Auftritt Aidas unterstreicht die Götter um einen ägyptischen Sieg an. versammelt, um den Sieg zu feiern. Der namens Aida, wobei Amneris nicht weiß, daß noch Amneris’ Annahme, daß seine Die 1. Szene des 2. Aktes spielt in Amneris’ Pharao tritt auf und nimmt, umgeben von diese Sklavin Tochter des äthiopischen Königs Zuneigung Aida gilt. Aida denkt nur an ihre privaten Gemächern. Die Äthiopier haben den seinem Gefolge, seinen Platz auf dem Thron Amonasro ist. Amneris hegt eine Liebe zu Radames und an die Schwierigkeiten, Krieg verloren. 17 – 18 Amneris und die ein, während sich Amneris neben ihn setzt, unausgesprochene Leidenschaft für Radames, die ihre Position als Sklavin mit sich bringt. Mitglieder ihres Haushalts bereiten sich auf Aida zu ihren Füßen. 26 – 27 Die Armeen einen adligen und aufstrebenden Offizier im 8 Der Pharao tritt ein und ruft seine die Feierlichkeiten anläßlich des Sieges vor. ziehen vorbei, und tanzende Mädchen stellen Heer des Königs. Radames hat sich jedoch Adligen und sein Volk sowie die Priester 19 – 20 Als Aida auftritt, entläßt Amneris ihr Kriegstrophäen zur Schau. Götterbilder heimlich in Aida verliebt, die seine Liebe zusammen. Ein Bote mit dringenden Gefolge und äußert Anteilnahme ob der werden gezeigt, 28 und schließlich tritt erwidert. Nachrichten wird eingelassen: Die Äthiopier Niederlage Äthiopiens. Um ihren Verdacht zu Radames unter einem von zwölf Offizieren marschieren auf Theben. Geführt werden sie bestätigen, teilt Amneris Aida fälschlicherweise getragenen Baldachin auf. COMPACT DISC ONE von ihrem König, Amonasro. (Aida zur Seite: mit, Radames sei umgekommen. 21 Als Aida 29 Der Pharao grüßt den General als Retter “My father!”) Der Pharao verkündet, Isis habe aufschreit, gibt Amneris zu, gelogen zu haben. des Vaterlandes und bietet ihm jede 1. Akt 1. Szene. Nach einem kurzen Vorspiel Radames als General erwählt, 9 und führt Aidas Freudenausbruch gibt Amneris Belohnung, die er nur wünscht. General (1 ) hebt sich der Vorhang über einem Saal im sein Volk in einer Kampfhymne, abschließend Gewißheit. Sie verhöhnt Aida, indem sie ihr Radames bittet darum, daß die Palast des Pharaos in Memphis, der mit der Ermahnung an Radames, er möge zu bedenken gibt, daß sie Radames ebenfalls Kriegsgefangenen hereingeführt werden. Hauptstadt Ägyptens. 2 Radames spricht mit “As victor then return” – ein Aufruf, in den liebe, aber die Tochter des Pharaos sei, Aida 30 Als sie erscheinen, erkennt Aida ihren Vater Ramphis, dem Hohen Priester, über die Aida in ihrer Verwirrtheit einstimmt. dagegen lediglich eine Sklavin. Aida wehrt sich und eilt, ihn zu umarmen. Heimlich bittet er Nachricht eines neuen Übergriffs durch die 10 – 11 Einmal allein reflektiert Aida jedoch und beginnt sogar zu sagen, daß sie selbst auch sie, ihn nicht zu verraten. Der Pharao fordert Äthiopier. Ramphis sagt, daß die Göttin einen über die unvereinbaren Ansprüche ihrer Liebe eine Prinzessin sei, besinnt sich aber noch ihn auf, zu sagen wer er sei. 31 Er antwortet General ernannt hat und daß er selbst zu Vater und Heimat einerseits und der Liebe rechtzeitig und behält dieses Geheimnis für bloß, er sei Aidas Vater, er habe für seinen unterwegs sei, um den Pharao von ihrer Wahl zu Radames andererseits. Zwischen ihnen ist sich. 22 Sie bittet um das Mitgefühl der König und sein Land gekämpft, sie seien zu unterrichten. 3 – 4 Allein gelassen denkt sie völlig hin- und hergerissen, 12 und betet Prinzessin. 23 Die Vorboten des Siegeszuges besiegt und der König getötet worden. Er Radames darüber nach, wie es die Erfüllung um Mitleid. ertönen, und die Prinzessin befiehlt Aida, ihr erhofft sich vom Pharao Milde. Das Volk ist seines Traumes bedeuten würde, sollte er der Die 2. Szene des 1. Aktes spielt im zu folgen und zu sehen, ob sie sich mit ihr tief bewegt und schließt sich seiner Bitte an. Auserwählte sein. Er würde dann das Vulkantempel zu Memphis. 13 – 14 Priester messen kann. 24 Aida fleht die Götter erneut 32 Radames fordert das Versprechen des siegreiche Heer anführen und als Sieger alles und Priesterinnen tanzen rituelle Tänze und um Erbarmen an. Pharaos ein: Die äthiopischen Gefangenen

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und Sklaven mögen freigelassen werden. könne Amneris überwinden und ihr Land und Wie werden sie aber die ägyptische Armee 4. Akt 2. Szene. Die Bühne ist zweigeteilt: Ramphis ist dagegen: Die Äthiopier würden ihre Liebe zurückerobern. 6 Die Ägypter umgehen? Radames verrät Aida, wo die oben der Vulkantempel, unten ein einen neuen Krieg beginnen. Radames weist planen eine Offensive, und er will sie Truppen stationiert sein werden, und unterirdisches Gewölbe. 23 Der letzte Stein darauf hin, daß dies unwahrscheinlich sei, da aufhalten. Das Beste wäre, ihre Angriffslinie Amonasro tritt auf. Der General fragt ihn, wer ist über Radames’ Kopf gelegt worden. der König Amonasro nun tot ist. Ramphis gibt vorwegzunehmen. “Who could ever discover?” er sei. “Aida’s father, Ethiopia’s King.” 13 Erst 24 Während er sich auf den Tod vorbereitet, sich damit zufrieden, daß Aida, die fragt sie. “Aida.” “I! No, no, ah, no!” Dann jetzt begreift Radames die Beziehung zwischen merkt er, daß er nicht allein ist. Aida hat sich Lieblingssklavin der Prinzessin, zusammen mit werden ägyptische Kohorten über Äthiopien Aida und König Amonasro, und daß er selbst in der Gruft versteckt und will mit ihm ihrem Vater, als Geisel bleiben soll. Der herfallen. 7 – 8 Er verstößt sie als seine völlig entehrt ist. 14 Prinzessin Amneris, die sterben. 25 Die Gesänge der Priesterinnen sind Pharao stimmt zu und kündigt an, daß Tochter; sie sei lediglich eine Sklavin der inzwischen aus dem Tempel getreten ist und in der Ferne zu hören. Während das Radames als Belohnung die Hand der Pharaonen. Sie fleht ihn um Verzeihung an, das Geschehen verfolgt hat, bezichtigt ihn des Liebespaar in einen ekstatischen Rausch Prinzessin Amneris erhalten werde – mit ihr doch man hört bereits, wie sich Radames Verrats. Amonasro bedroht die Prinzessin mit verfällt, bleibt es der Prinzessin überlassen, um soll er eines Tages über Ägypten herrschen. nähert. Amonasro zieht sich an einen Ort einem Messer, wird aber von Radames Frieden zu flehen. 33 Der Akt endet in fast einmütigem Jubel. zurück, wo er ihr Gespräch belauschen kann. zurückgehalten, der ihm sagt, er solle fliehen, 9 General Radames stürzt herein, voller und Amonasro schleppt Aida mit sich. Der © 2002 Peter Moores COMPACT DISC TWO Freude, Aida wiederzusehen. Sie bietet ihm General ergibt sich den Priestern. Übersetzung: Bettina Reinke-Welsh jedoch Einhalt. Er ist Prinzessin Amneris 4. Akt 1. Szene. Draußen vor der Großen Der 3. Akt spielt vor einem Isistempel an den versprochen. 10 Er antwortet, daß er die Urteilshalle. Radames ist des Verrats angeklagt. Jane Eaglen genießt in der heutigen Ufern des Nils bei Mondlicht. 1 Von drinnen Zustimmung des Pharaos zu einer Heirat mit 15 – 16 Die Prinzessin läßt ihn zu sich Opernwelt ein fast unvergleichliches ist der Gesang der Priesterinnen hörbar. ihr bekommen werde, nachdem er den bringen, doch er glaubt, Aida sei tot, und will Renommee. Geboren im englischen Lincoln, 2 Ramphis hat die Prinzessin Amneris hierher nächsten Krieg gewonnen habe. Aida fragt, nicht länger leben. 17 – 19 Amneris sagt ihm, studierte sie am Royal Northern College of gebracht, um die Nacht vor ihrer Eheschließung wer sie selbst solange vor der Prinzessin König Amonasro sei tot, Aida aber Music, wo sie von einem Stipendium der Peter in heiliger Weihung zu verbringen. schützen soll, 11 weist aber darauf hin, daß es verschwunden. Er weigert sich, seine Liebe zu Moores Foundation unterstützt wurde, und 3 – 4 Aida trifft zu einer letzten noch einen anderen Weg gäbe, nämlich Aida aufzugeben oder sich zu verteidigen, sang dann an der English National Opera. Zusammenkunft mit Radames ein, 5 wird zusammen mit ihr nach Äthiopien zu fliehen, 20 – 21 und wird abgeführt, um den Einzigartige Erfolge erzielte sie in den aber von ihrem Vater unterbrochen. Ihm ist wo die beiden gemeinsam leben und sich priesterlichen Richtern gegenüberzutreten. gegensätzlichen Rollen der Norma und der klar, daß sie auf Radames wartet, daß sie ihn lieben könnten. Er lehnt diesen Plan ab, Diese erklären ihn für schuldig, und er wird Brünnhilde – ihr dramatischer Sopran ist zu liebt, daß aber die Tochter des Pharaos ihre woraufhin sie ihm jedoch klarmacht, daß nun dazu verurteilt, unter dem Gottesaltar lebendig solch großen Leistungen fähig, dass sie sich Rivalin ist. Aida gesteht, Amneris habe sie in die Axt auf sie und ihren Vater fallen werde. begraben zu werden. 22 Als die Priester weltweit spektakuläres Lob errungen hat. der Hand, doch ihr Vater legt ihr nahe, sie 12 Er gibt nach, und sie planen ihre Flucht. herauskommen, verflucht Amneris sie. Ebenso hervorragende Kritiken bekam sie für

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ihre Auftritte als Brünnhilde (im Siegfried) an Bastille, Amelia (Un ballo in maschera) in Corinto für Opera Rara, und für Opera) und als Santuzza (an der Staatsoper der Lyric Opera of Chicago und dann für Bologna und an der Opéra Bastille, die Chandos/Peter Moores Foundation die Berlin). Für die English National Opera ist sie ihren kompletten Ring am gleichen Haus Titelrolle in Tosca an der English National preisgekrönte Tosca sowie eine Einspielung von in Otello, Mary Stuart, The Turn of the Screw sowie mit Riccardo Muti an der Mailänder Opera, am Teatro Colon in Buenos Aires und Turandot. Sie ist außerdem auf dem (ausgezeichnet mit dem Olivier-Preis) und in Scala, in San Francisco und in Wien. Zuvor als konzertante Aufführung mit dem Soundtrack der Filmfassung von Jane Austens Puccinis The Cloak (Il tabarro) aufgetreten. hatte sie die Brünnhilde schon an der Opera Cleveland Symphony Orchestra, außerdem die Sense and Sensibility zu hören. Zu ihren Aufnahmen auf Tonträger zählen Pacific und der Scottish Opera gegeben. Ihrem Titelrolle der Ariadne auf Naxos für die Mendelssohns Elias, Offenbachs Les Contes Erfolg als Norma an der Scottish Opera (in English National Opera. Rosalind Plowright kann sich einer d’Hoffmann, Verdis Il trovatore und (für einer von der Peter Moores Foundation Jane Eaglen ist ebenso auf dem ausgesprochen glanzvollen Karriere rühmen. Chandos und die Peter Moores Foundation) unterstützten Produktion) folgten von der Konzertpodium zuhause, und zu ihren Sie hat am Royal Northern College of Music Mary Stuart und Otello. Kritik gelobte Darbietungen bei den Engagements zählen Verdis Requiem mit und am London Opera Centre studiert und Festspielen von Ravenna mit Muti, an der Simon Rattle und dem City of Birmingham dafür Stipendien sowohl von der Peter Moores In Wales als Sohn irischer und walisischer Seattle Opera, der Los Angeles Opera, an der Symphony Orchestra, Mahlers Achte Sinfonie Foundation als auch von der Peter-Stuyvesant- Eltern geboren, gehört Dennis O’Neill heute Opéra Bastille in Paris und der Scottish mit Klaus Tennstedt, der dritte Akt der Stiftung erhalten. Ihre 1984 erschienene als Spezialist für die Werke Verdis zu den Opera. Götterdämmerung mit Bernard Haitink und Aufnahme von Il trovatore (als Leonora) mit führenden Tenören der Welt. Er kann auf eine Zu ihren weiteren unvergesslichen dem Boston Symphony Orchestra, Nabucco in Placido Domingo und Carlo Maria Giuliani lange Verbindung zum Royal Opera House Opernauftritten gehören die Isolde in Seattle, Ravenna mit Riccardo Muti, die Gurrelieder am Dirigentenpult wurde für einen Grammy Covent Garden zurückblicken, und dort die sie jüngst erneut an der Metropolitan mit Claudio Abbado bei den Festspielen von Award nominiert. Im selben Jahr gab sie ihr gehörten zu seinen zahlreichen Rollen Opera und der Lyric Opera of Chicago sang Salzburg und Edinburgh, Norma in einer Debüt an der Royal Opera als Maddalena u.a. Rodolfo (La Bohème), der Herzog (und dafür großartige Rezensionen bekam), konzertanten Aufführung beim Kopenhagener (Andrea Chénier) neben José Carreras und als (Rigoletto), Pinkerton (Madama Butterfly), ihr Debüt in der Rolle der Gioconda an der Tivoli Festival und in der Carnegie Hall sowie Aida neben Luciano Pavarotti. Edgardo (Lucia di Lammermoor), Macduff Lyric Opera of Chicago, Donna Anna (Don Strauss’ Vier letzte Lieder mit Daniel Rosalind Plowright ist an den meisten (Macbeth), Gustavo (Un ballo in maschera), Giovanni) an der Metropolitan Opera – die sie Barenboim und dem Chicago Symphony bedeutenden Opernhäusern der Welt Foresto (Attila), Otello, Don Carlos, Radames zuvor schon an der Wiener Staatsoper sowie in Orchestra. aufgetreten, zum Beispiel als Suor Angelica (Aida), Aroldo (im Konzert), Carlo (Giovanna Los Angeles, München und Bologna gegeben Jane Eaglens Aufnahmen auf Tonträger (an der Mailänder Scala), Leonora in d’Arco) und Jacopo (). hatte –, die Titelrolle in Turandot am Royal umfassen eine CD mit Arien von Wagner und Il trovatore (in Verona) und in Stiffelio (am Für die Metropolitan Opera hat er Alfredo Opera House Covent Garden, an der Bellini, eine weitere mit Arien von Strauss und Teatro La Fenice, Venedig), als Ariadne und (La traviata), Radames (Aida), Turiddu Metropolitan Opera (mit Pavarotti), in Wien, Mozart, Mahlers Achte Sinfonie, Beethovens Medea (an der Opéra-Bastille, Paris), als (Cavalleria rusticana) und Canio (Pagliacci) Madrid, Seattle, Bologna und an der Opéra Neunte, Bruckners Messe, Norma, Medea in Madama Butterfly (an der Houston Grand gesungen. Des Weiteren ist er in Amerika an

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der Lyric Opera of Chicago, in San Francisco, Orden Commander of the British Empire Alfio (Cavalleria rusticana) und Tonio Mephistopheles, Zaccaria in Nabucco) und an San Diego, an der Vancouver Opera und im ausgezeichnet. (Pagliacci). der Royal Opera, Covent Garden (Elmiro in Konzert mit den Sinfonieorchestern von Gregory Yurisich hat viele internationale Otello und Frère Laurent in Roméo et Juliette). Philadelphia, Cleveland, Montreal und Ottawa Gregory Yurisich ist heute als einer der Auftritte auf dem Konzertpodium hinter sich, Sein erster Fiesco (Simon Boccanegra) war ein aufgetreten, außerdem beim Cincinnati führenden Baritone der Welt anerkannt. Seine so auch in Mahlers Achter Sinfonie beim ebenso großer Erfolg wie auch schon seine Festival. Als häufiger Gast an der Bayerischen letzten Darstellungen bedeutender Rollen aus Edinburgh Festival, als Alberich in einer vorausgegangenen Verdi-Darbietungen. Staatsoper sang er in München nach seinem dem Verdi-Repertoire wurden hervorragend konzertanten Darbietung von Siegfried, als Seine höchst erfolgreiche Karriere als Debüt in Un ballo in maschera in einer kritisiert. Mit Beifall bedacht wurden unter Salieri (in Rimski-Korsakows Mozart und Konzertsänger führt ihn rund um die Welt, Neuinszenierung von Il trovatore sowie im anderem folgende Auftritte: in Nabucco beim Salieri) und in Beethovens Neunter Sinfonie um mit führenden Dirigenten wie Giulini, Rosenkavalier, in Tosca, Lucia di Lammermoor, Bregenzer Festspiel, an der Royal Opera in für den australischen Sender ABC Television. Mehta, Muti, Chung, Masur, Gergiew, Simon Boccanegra, Aida, ferner die Titelrolle London und in Genf, in der Titelrolle von Zu seinen Aufnahmen auf Tonträger zählen Gardiner und mit dem renommiertesten des Otello. Zudem hat er an den Rigoletto in Israel, Australien und Athen, in der Leporello (Don Giovanni), eine Soloaufnahme Orchestern der Welt aufzutreten, während Opernhäusern von Wien, Berlin, Bonn, Köln, Titelrolle von Simon Boccanegra und als mit Liedern von Peter Dawson und, für seine Diskographie derzeit eindrucksvolle Hamburg, München, Nizza, Zürich, Paris, Escamillo (Carmen) an der English National Chandos und die Peter Moores Foundation, zweiundvierzig Titel umfaßt, darunter Elias, Oslo, Brüssel, Barcelona, Lissabon, Oviedo, in Opera, in der Titelrolle von Falstaff in Scarpia (Tosca) und Sharpless (Madam Verdis Requiem sowie Händels Saul und der Arena di Verona und in Turin sowie an der Australien, als Germont Père (La traviata) an Butterfly). Agrippina. Im Jahr 2000 gab er sein britisches English National Opera gastiert. Daneben der , der Australian Recitaldebüt mit Roger Vignoles. Für pflegt er eine enge Beziehung zur Welsh Opera, in Tel-Aviv und Genf, als Jago Alastair Miles, der international als einer der Chandos und die Peter Moores Foundation National Opera. (Otello) neben Placido Domingo an der führenden Sänger Großbritanniens anerkannt hat er unter anderem Faust, La Bohème und Denis O’Neill ist auch als Konzertsänger Los Angeles Opera und in Brisbane; als ist, hat am Metropolitan Opera House ein Soloprogramm mit großen Opernarien gefragt und hat in ganz Europa gesungen. Amonasro (Aida), Stankar (Stiffelio), Scarpia (Giorgio in I puritani und Raimondo in Lucia aufgenommen, außerdem für Opera Rara Seine eigene Fernsehserien für die BBC waren (Tosca), die vier Bösewichte in Les Contes di Lammermoor) gesungen, an der Opéra Medea in Corinto, Orazi e Curiazi, Rosmonda außerordentlich populär, und er hat seither d’Hoffmann und in der Titelrolle von National de Paris-Bastille (Raimondo), in d’Inghilterra, Ricciardo e Zoraide und Maria einen Fernsehfilm über Caruso fertig gestellt. Guillaume Tell an der Royal Opera. Darüber Wien (in La Juive und Giorgio), in San regina d’Inghilterra. Seine Aufnahmen für Chandos/Peter Moores hinaus hat er Sharpless (Madama Butterfly) für Francisco (Giorgio, Raimondo, sowie Basilio Foundation umfassen Cavalleria rusticana, die Australian Opera gesungen, Balstrode in Il barbiere di Siviglia), in Amsterdam Peter Rose, geboren im englischen Pagliacci, Tosca, La Bohème, Il trovatore sowie (Peter Grimes) am Pariser Théâtre du Châtelet (Figaro in Le nozze di Figaro), am Teatro Real Canterbury, hat an der University of East eine CD mit Großen Opernarien. Dennis und am Théâtre La Monnaie in Brüssel sowie in Madrid (Philipp II. in Don Carlos), an der Anglia Musik studiert und wurde von Ellis O’Neill wurde zu Neujahr 2000 mit dem bei seinem Debüt an der Berliner Staatsoper English National Opera (die Titelrolle von Keeler an der Guildhall School of Music and

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Drama ausgebildet. 1985 wurde er als Thomas in der Londoner , Zerlina (Don Giovanni) für die Glyndebourne mit der D’Oyly Carte Opera Company im Stipendiat des Kathleen Ferrier Memorial Verdis Requiem im Londoner Barbican, Festival und Touring Opera gesungen, die Jahr 1994. Er hat bei Neil Mackie am Royal Scholarship ausgezeichnet, und 1986 erhielt er mit dem Chicago Gouvernante (The Turn of the Screw) und College of Music studiert und vor kurzem sein den Glyndebourne John Christie Award. Sein Symphony Orchestra und Sir Georg Solti, Lucia (The Rape of Lucretia) unter Steuart Studium am National Opera Studio in Operndebüt gab er 1986 als Komtur (Don Ravels L’Enfant et les sortilèges und L’Heure Bedford in Snape Maltings, Tiny (Paul London abgeschlossen. Giovanni) mit der Glyndebourne Festival espagnole mit dem Cleveland Orchestra unter Bunyan) für die Royal Opera, Belinda (Dido Als Oratoriensänger ist er unter anderem in Opera in Hongkong. Er war von 1986 bis und Beethovens Missa solemnis and Aeneas) an der Deutschen Staatsoper Puccinis Messa di Gloria aufgetreten, in 1989 Erster Baß der Welsh National Opera mit dem Orchestra Berlin, Fulvia in Händels Ezio mit dem King’s Mendelssohns Elias, in Verdis Requiem sowie und hat am Royal Opera House neben unter Kurt Masur. Auf Tonträger hat er unter Consort am Théâtre des Champs Elysées in in Rossinis Petite Messe solennelle und Stabat Dame Joan Sutherland als Rochefort anderem Le nozze di Figaro, The Seven Deadly Paris, Marzelline (Fidelio) am Opernhaus von mater. Zu seinen Opernauftritten sind (Anna Bolena) debütiert. Sins, Salome, Un ballo in maschera und, für Rom und Romilda (Xerxes) an der Bayerischen Roderigo in Otello und die Titelrolle von Zu seinen Partien zählen Ramfis (Aida), Chandos und die Peter Moores Foundation, Staatsoper. An der English National Opera, wo Brittens Albert Herring zu rechnen. Fasolt (Das Rheingold ), Cadmus/Somnus Ernani, The Barber of Seville, Tosca und eine sie als Erste Solistin engagiert ist, hat sie unter 1999 kehrte er an die D’Oyly Carte Opera (Semele), Daland (Der fliegende Holländer), Einspielung von Lucia di Lammermoor anderem Atalanta (Xerxes) gegeben, Constance zurück, um Ralph Rackstraw in HMS Pinafore König Marke (Tristan und Isolde) und der aufgenommen. in The Carmelites (Poulencs Les dialogues des in der Royal Festival Hall zu singen; außerdem Komtur am Royal Opera House Covent Carmélites), Pamina (The Magic Flute), gab er Ernesto in Don Pasquale an der Scottish Garden, Gessler (Guillaume Tell ), der Komtur Susan Gritton, 1994 Gewinnerin des Kathleen Drusilla (The Coronation of Poppea), Nannetta Opera-Go-Round. Als Roderigo ist er und Basilio (Il barbiere di Siviglia) in San Ferrier Memorial Prize, hat in Oxford und (Falstaff ) und die Füchsin in The Cunning außerdem am Théâtre La Monnaie in Brüssel Francisco, Kecˇal (Die verkaufte Braut) an der London Botanik studiert, ehe sie ihre Little Vixen. aufgetreten; er hat an der Grange Park Opera Chicago Lyric Opera, Ramfis, Daland und Gesangskarriere startete. Ebenfalls 1994 gab Für Chandos hat sie unter anderem Paul Ferrando und Nanki-Poo (Mikado) sowie Ochs (Der Rosenkavalier) an der Metropolitan sie ihr Recitaldebüt in der Londoner Wigmore Bunyan aufgenommen, The Pilgrim’s Progress, Rodolfo (La Bohème) für die Glyndebourne Opera sowie weitere Rollen an der Wiener Hall. Sie gibt regelmäßig Recitals in ganz Sir John in Love, Mendelssohns Oratorium Touring Opera gesungen. Er gehört zu den Staatsoper, der Deutschen Staatsoper, der Großbritannien, und ihre weitreichende Paulus, mehrere CDs mit Haydn-Messen und ersten Sängern, denen ein Platz im Vilar Hamburgischen Staatsoper, in Amsterdam und Erfahrung als Konzertsängerin hat sie ins eine Falstaff-Aufzeichnung (für Chandos und Young Artists Programme am Royal Opera bei Festspielen in Istanbul und Bregenz. Amsterdamer Concertgebouw, ins Wiener die Peter Moores Foundation). House, Covent Garden zugedacht wurde. Seine Konzertengagements umfassen Konzerthaus und in die Berliner Philharmonie Beethovens Neunte mit Carlo Maria Giulini, geführt. Alfred Boe, geboren in der nordenglischen Geoffrey Mitchells Gesangskarriere hat ihm Mozarts Requiem mit und An Opernpartien hat Susan Gritton unter Grafschaft Lancashire, begann seine ein bemerkenswert breitgefächertes Repertoire Zubin Mehta, Mahlers Achte mit Tilson anderem Susanna (Le nozze di Figaro) und Ausbildung nach einer landesweiten Tournee von der alten bis zur neuen Musik beschert

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und ihn nach Skandinavien, Deutschland, in Salonen unterhalten. Unter seinem derzeitigen Maria de Rudenz, Meyerbeers Dinorah, Mayrs Philharmonia Orchestra auf. 1996 gab er sein die ehemalige Tschechoslowakei, nach Kanada Chefdirigenten Christoph von Dohnanyi und Medea in Corinto, Mercadantes Orazi e Debüt beim Glyndebourne Festival mit Così und Australasien geführt. Nachdem er bei der mit Leonard Slatkin als Erstem Gastdirigenten Curiazi, Pacinis Maria, regina d’Inghilterra und fan tutte und hat dort 1998 die Uraufführung BBC erste Dirigiererfahrungen gesammelt hat das Orchester seine zentrale Position im Rossinis Otello). Das Orchester hat für von Jonathan Doves Flight geleitet. hatte, begann er mit eigenen Sängern zu britischen Musikleben gefestigt, und zwar Chandos zahlreiche Aufnahmen auf Tonträger Er ist häufig in Spanien zu Gast und hat mit arbeiten und gründete den Geoffrey Mitchell nicht nur in London, wo es als Hausorchester vorgenommen, beispielsweise für die Reihe den meisten bedeutenden spanischen Choir. Aus ersten Aufnahmen entwickelte sich der Royal Festival Hall fungiert, sondern mit Opera in English unter der Schirmherrschaft Orchestern Konzerte gegeben. In Madrid hat er eine langfristige Zusammenarbeit des Chors Hilfe regionaler Gastspiele auch für ein der Peter Moores Foundation L’elisir d’amore, die spanische Erstaufführung von Peter Grimes mit Opera Rara, für die er über dreißig breiteres Publikum. Faust, La bohème, die preisgekrönte Tosca und dirigiert, und 1996 die erste spanische Tonträger aufgenommen hat. Der Chor Das Orchester hat mehrere bedeutende sechs Soloalben mit Opernarien (mit Bruce Inszenierung von The Rake’s Progress. Er ist in genießt wachsendes Ansehen und ist bei der Preise gewonnen und mit seiner Vitalität und Ford, Diana Montague, Dennis O’Neill, Deutschland, Schweden und den Niederlanden BBC und internationalen Plattenfirmen seinem einzigartig warmen Klang den Beifall Alastair Miles, Yvonne Kenny und John aufgetreten, bei den Festspielen in Pesaro, gefragt. Für Chandos hat der Geoffrey der Kritik gefunden. Außerdem wurde es für Tomlinson). beim Hong Kong International Festival, in Mitchell Choir an zahlreichen Aufnahmen der seine innovative Programmgestaltung Japan anläßlich einer Carmen-Tournee und in hervorragend kritisierten Reihe Opera in gepriesen, in deren Kern die Zielsetzung steht, David Parry hat bei Sergiu Celibidache Mexiko mit dem UNAM Symphony Orchestra. English unter der Schirmherrschaft der Peter neue Stücke der weltweit führenden lebenden studiert und seine berufliche Laufbahn als Zu den Neuproduktionen, die er in letzter Zeit Moores Foundation teilgenommen. Komponisten, zum Beispiel seines derzeitigen Assistent von Sir John Pritchard begonnen. Er dirigiert hat, zählen Fidelio beim New Zealand Gastkomponisten James MacMillan, zu spielen hat am English Music Theatre debütiert und Festival, Maria Stuarda am Stadttheater Basel Seit seinen vielversprechenden Anfängen 1945, und in Auftrag zu geben. wurde dann Dirigent mit Festvertrag an den und Lucia di Lammermoor an der New Israeli als es von Walter Legge hauptsächlich für Das Orchester unternimmt oft Städtischen Bühnen Dortmund und an der Opera. Schallplattenaufnahmen gegründet wurde, hat Auslandstourneen und kann als das am Opera North. Von 1983 bis 1987 war er Seine Tätigkeit im Aufnahmestudio umfaßt das Philharmonia Orchestra einige der häufigsten aufgenommene Sinfonieorchester Musikdirektor der Opera 80 und seit 1992 die Produktion von Marschners Der Vampyr bedeutendsten Dirigenten des zwanzigsten der Welt über tausend Einspielungen für sich Gründungsmitglied und Direktor der Almeida fürs BBC-Fernsehen und einundzwanzig Jahrhunderts für sich gewonnen. Besonders verbuchen. Darunter befinden sich (für die Opera. vollständige Opernaufzeichnungen unter der enge Beziehungen zu dem Orchester haben Reihe Opera Rara) mehrere Aufnahmen mit Er übt in Großbritannien und international Schirmherrschaft der Peter Moores Otto Klemperer (der erste Chefdirigent), Opernarien und elf vollständige eine weitgespannte Tätigkeit in den Bereichen Foundation. Darunter befinden sich zahlreiche Lorin Maazel, Riccardo Muti, Giuseppe Opernaufzeichnungen (Donizettis Ugo, conte Oper und Konzert aus, hat mehrere Aufnahmen des Labels Opera Rara, die Sinopoli, Carlo Maria Giulini, Sir Andrew di Parigi, Ne m’oubliez pas, Emilia di Liverpool, Produktionen der English National Opera mehrere Preise gewonnen haben, beispielsweise Davis, Vladimir Ashkenazy und Esa-Pekka L’assedio di Calais, Rosmonda d’Inghilterra und dirigiert und tritt regelmäßig mit dem den belgischen Prix Cecilia für Donizettis

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Rosmonda d’Inghilterra. Für Chandos hat er die Faust, Don Pasquale, L’elisir d’amore, Aufzeichnung von sieben Programmen mit La bohème, Cavalleria rusticana, Pagliacci,

Opernarien geleitet (mit Bruce Ford, Diana Il trovatore, die preisgekrönte Tosca und Cooper Bill Montague, Dennis O’Neill, Alastair Miles, Highlights aus dem Rosenkavalier, jeweils in Yvonne Kenny, John Tomlinson und Della Zusammenarbeit mit der Peter Moores Jones), außerdem Don Giovanni, Ernani, Foundation.

Rosalind Plowright as Amneris in Scottish Opera’s production of Aida 46 47 CHAN 3074 BOOK.qxd 22/8/07 4:40 pm Page 48

return”, où ses émotions très contrastées, questions privées. Amonasro murmure à sa Giuseppe Verdi: Aïda l’amour filial pour son père, l’amour fille Aïda de ne pas révéler sa véritable qualité romantique pour Radamès, sont définies avec de roi d’Éthiopie; il décrit ensuite sa défaite au La “Tinta” (dont la traduction la plus contrapuntique qui sera associée aux Prêtres, une étonnante précision. On trouve ici une combat et lance un appel à la clémence. Aïda appropriée est “couleur”) est essentielle dans situe le drame sur le point de se dérouler. Ces autre facette de l’habileté de Verdi: le nombre soutient la demande de son père; les Prêtres la les opéras de la maturité de Verdi. En effet, la deux éléments, ainsi que tout le matériel d’éléments importants et déterminants pour le contestent vigoureusement. couleur est la qualité qui définit le mieux ses mélodique et rythmique qui suit, ne se développement de l’intrigue qu’il parvient à Tout est magistralement prévu par Verdi. compositions lyriques. Cette qualité, qu’il trouvent que dans Aïda du point de vue des insérer dans une période musicale relativement Ainsi le grand ensemble qui suit, où le partage avec Britten et quelques rares autres sentiments et de la couleur. courte. compositeur fait preuve de son habileté à compositeurs, est l’un des facteurs qui font de Aïda est un opéra unique à un autre égard. Cette scène fixe également le rythme et la mêler des parties solistes complexes sur un ces deux musiciens d’aussi grands créateurs Ici, encore plus que dans Don Carlos écrit peu structure de l’opéra dans son ensemble. Le arrière-plan choral, ensemble qui culmine dans dans le genre. Chacune des œuvres de Verdi de temps auparavant et qui révèle une “tinta” rythme est dicté par des événements qui se un touchant solo d’Aïda. Le roi d’Égypte possède une “tinta” qui lui est propre et tout à fait différente, les conflits personnels se déroulent en coulisses. Dans le domaine de la accorde ensuite à Radamès la main de sa fille n’appartient à aucune autre. Et cette remarque déroulent dans le contexte de la politique et de vie publique, la bataille remportée par Amneris en récompense de sa victoire. est encore plus vraie dans Aïda (1871, opéra la pompe publiques. Le génie de Verdi consiste Radamès; dans le domaine privé, les intrigues Après la grandiloquence de cette scène aux composé pour l’inauguration de l’Opéra du à introduire immédiatement ces deux éléments de la jalouse Amneris, qui culminent dans la portes de Thèbes, les deux derniers actes se Caire). dans son drame. Dans la toute première scène, confrontation sur scène avec Aïda où, par des déroulent dans un cadre plus restreint et se Dès les premières mesures du Prélude (après le général égyptien Radamès prend conscience moyens détournés, elle parvient à dévoiler composent dans une large mesure de duos la première représentation, Verdi composa une d’un conflit entre son devoir à l’égard de son l’amour secret qu’Aïda porte à Radamès. Cette confiés aux quatre principaux personnages. ouverture, mais y renonça immédiatement, la pays et l’amour qu’il porte à l’esclave scène, à son tour, s’avère être un prélude à la Alors que les caractères d’Aïda, Radamès et jugeant inférieure à ce qu’il avait déjà écrit), éthiopienne Aïda; quant à la princesse grande scène solennelle de triomphe qui valut Amonasro sont à peine altérés par des nous sommes transportés dans l’air mystérieux Amneris, elle comprend qu’Aïda est une rivale initialement sa renommée à Aïda. Tout y est: situations extrêmes, les deux derniers actes et parfumé de l’Egypte antique et dans son dans l’amour qu’elle porte à Radamès. On la magnificence chorale, les danses confirment un changement considérable dans monde de loyautés conflictuelles, annonce l’invasion éthiopienne conduite par le entraînantes, la couleur locale poussée au le caractère d’Amneris. Ces séries de duos, où d’intransigeance des prêtres et d’amour père d’Aïda, Amonasro; le roi d’Égypte charge maximum avec l’apparition des célèbres Verdi est au meilleur de son inspiration, sont passionné. Le thème chromatique, introduit Radamès de mener le combat contre l’ennemi; trompettes “égyptiennes”, et d’autres procédés complétées par deux solos, où Aïda et Amneris par les cordes aiguës, que l’on reconnaîtra par les confrontations privées et publiques instrumentaux menant à l’entrée triomphale se livrent respectivement à une introspection la suite comme le motif d’Aïda, et l’idée commencent alors vraiment. Elles sont de Radamès, puis l’apparition des prisonniers de leurs états émotionnels. Ces duos montrent légèrement sinistre développée sur le plan accentuées par l’air d’Aïda “As victor then éthiopiens. Là, soudain, nous revenons aux comment Verdi les conduit à révéler de

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manière infaillible leur moi profond et leurs l’ancien style. Lorsque Amonasro joue avec les lorsque Aïda arrache à son amant la route que qu’on l’amène en sa présence: en fait, au seul motivations intérieures. pensées d’Aïda, avec l’amour qu’elle porte à prendra son armée. Le talent saisissant de mot de “Soldiers”, toute Amneris digne de ce L’Acte III commence par un autre coup de celui qu’elle chérit et avec sa fidélité envers son Verdi à développer l’intrigue au travers de la nom peut exercer sa complète autorité. Ensuite maître dans l’art de la composition. Sur un pays, il lui fait prendre pleinement conscience musique se confirme quand Amonasro émerge vient encore un autre dialogue captivant. Dans fond musical légèrement oscillant qui dépeint de ce que le devoir et le patriotisme doivent triomphant de l’ombre. Avant que les trois un passage déclamatoire, similaire pour la le Nil, avec un chœur en coulisses, Amneris et passer avant les désirs personnels. La manière protagonistes puissent s’enfuir, Amneris, qui, mezzo et le ténor, Amneris supplie Radamès Ramphis débarquent d’un navire et entrent dont Verdi façonne la volonté absolue comme nous l’avons vu, priait dans le temple de se défendre; il refuse avec défi, déclarant prier dans un temple. Aïda sort de l’ombre et d’Amonasro d’aller à l’encontre des émotions adjacent, les entend par hasard et Radamès se qu’il n’a plus rien à attendre de la vie. Vient chante la romanza, “Oh, dearest home”, une conflictuelles de sa fille le montre au sommet laisse capturer dans un cri de total désespoir. alors un passage lyrique déchirant “Ah! You page inspirée ajoutée plus tard à la partition, de son art tant par la maîtrise musicale que par Certains commentateurs pensent que cet must live”, où Amneris déclare son amour qui dépeint sa nostalgie du pays natal dans un la compréhension du psychisme de ses opéra aurait dû s’intituler Amneris: une d’un ton passionné. Une fois encore, il reste mélange fluide de récitatif et d’aria, personnages. excellente mezzo peut rendre le rôle savoureux, sourd à son appel, mais, lorsque elle lui révèle l’accompagnement agité reflétant son état Dans la scène suivante, qui s’enchaîne de car il regorge d’une musique généreuse et qu’Aïda est toujours vivante, il laisse éclater sa d’esprit inquiet et pourtant réfléchi. En dehors façon absolument inévitable, Aïda joue variée dans le plus grand genre de Verdi. joie à cette nouvelle; Amneris perd alors son de cela, cette romanza offre à une soprano maintenant avec les émotions de Radamès L’ouvrage culmine dans la première scène de sang-froid et laisse libre cours à l’explosion lyrico-dramatique une occasion exceptionnelle comme Amonasro a joué avec les siennes. l’Acte IV, qui est presque entièrement dévolu à d’une fureur jalouse. Ce merveilleux duo est de se mettre en valeur grâce à une longue ligne L’ardeur qu’elle déploie le place à sa merci, ce ce personnage. J’ai entendu de nombreuses l’incarnation même du Grand Opéra: deux et à des inflexions tonales. qui lui permet de le convaincre de fuir avec interprètes se faire applaudir à tout rompre à la personnages exposant leurs positions, La scène suivante avec son père mêle une elle les horreurs de la guerre vers une terre de fin de cette scène, hommage rendu tout autant généralement placés aux deux extrémités de la fois encore avec discrétion des passages de plaisir et d’amour, dans un passage musical à la superbe écriture du compositeur qu’au scène, avec une totale conviction et séparés par parlando et des éclats lyriques. Verdi est alors tourné de façon extrêmement séduisante qui talent de la chanteuse. un vide tout autant psychologique que complètement libéré des restrictions formelles commence par “We’d leave this white Bien que Radamès soit condamné à mort, physique. imposées par l’opéra italien antérieur à son oppressive heat”. Pour le persuader encore Amneris décide de le sauver à la seule La scène du procès de Radamès devant les époque qui limitaient sa conception lyrique davantage, elle l’accuse même de ne pas l’aimer condition qu’il quitte Aïda et se donne à elle. Prêtres est peut-être la plus originale de tout dans ses premiers ouvrages. Les solos sont suffisamment. Dans un passage où l’ardeur est Dans le long arioso où elle tourne et retourne l’opéra. Au moment où commence le désormais au service des besoins du drame et encore renouvelée, il accepte sa proposition et dans sa tête sa décision, Verdi apporte tout le jugement, on entend Amneris exprimer son non plus au service de ceux du chanteur; tous deux chantent une cabaletta passionnée soin nécessaire à son écriture pour que paroles angoisse à l’arrière-plan. Après une prière pourtant, d’un certain point de vue, ils sont (la cabaletta était autrefois la conclusion rapide et musique soient étroitement assorties. Elle solennelle, les Prêtres proclament une presque plus exigeants pour les interprètes que de tout numéro). Elle s’achève brusquement exige qu’on sorte Radamès de sa prison et condamnation à trois voix dans laquelle ils

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demandent à Radamès de se disculper, chaque changements brutaux de passion; ils cèdent la et la période finale qui commence avec les des prisonniers éthiopiens sont régulièrement fois un demi-ton plus haut, touche magistrale place à une déclaration d’amour véritable, chefs-d’œuvre shakespeariens, Otello et Falstaff. vendus sur les marchés d’esclaves égyptiens. de la part de Verdi. Radamès demeure presque détachée du monde, sous forme Aïda conserve l’immense énergie et l’envergure Le pharaon régnant a pour seul enfant une silencieux et, chaque fois, Amneris pousse un tripartite. D’abord “To die! So pure and des quatre opéras qui l’ont précédé (même si fille célibataire: la princesse Amnéris. Celle-ci cri de désespoir plus intense. Les Prêtres lovely!” de Radamès, déclaration mélancolique son concept n’est pas tout à fait aussi original compte parmi ses suivantes une esclave prononcent ensuite leur sentence: Radamès et digne de son chagrin face à la mort que celui de Don Carlos), tout en allant dans éthiopienne d’origine noble, Aïda, dont elle sera enterré vivant. Les cris d’Amneris pour imminente d’Aïda. Comme toujours, Verdi une certaine mesure vers la plus grande ignore qu’elle est fille du roi éthiopien obtenir sa grâce, tout en arpentant la scène en plonge de manière infaillible dans les pensées économie de moyens des deux derniers opéras. Amonasro. Amnéris voue une passion muette tous sens, laissent insensibles les implacables de l’un de ses principaux personnages. En L’ouvrage fait surtout penser, ce qui n’est guère à un officier plein d’avenir de l’armée royale, le ministres de la haine qui répètent leur outre, ce passage de pure beauté lyrique est surprenant, à la souplesse, au souffle noble Radamès. Mais celui-ci est secrètement injonction “He shall die”. Elle finit par particulièrement triste. La réponse d’Aïda, si mélodique et à la force dramatique du épris d’Aïda, qui l’aime en retour. prononcer une malédiction effrayante à leur éthérée dans sa forme, semble indiquer qu’elle Requiem, de trois ans postérieur. Depuis sa encontre: “Evil vipers, may you all be est déjà proche du ciel. création, Aïda a conservé une popularité COMPACT DISC ONE accurs’d”. Quoi qu’il se soit passé auparavant, Finalement, accompagnés par le chant des inébranlable. S’il est moins souvent représenté j’ai toujours entendu cette scène faire ses Prêtres réunis dans le temple, une touche de de nos jours que dans un passé récent, c’est à Acte I, premier tableau. Après un bref preuves, ce qui montre bien à quel point Verdi pure inspiration, Radamès et Aïda font leurs cause de la distribution et de la difficulté à prélude (1 ), le rideau se lève sur une salle du maîtrisait son matériel à ce stade de maturité adieux au monde dans une mélodie d’une réunir les cinq principaux rôles, sans oublier le palais du pharaon à Memphis, capitale de dans sa carrière. extrême simplicité, en forme d’arche, qui montant des dépenses à engager pour une l’Égypte. 2 Radamès s’entretient avec le grand On se demande au théâtre si le finale peut s’élève dans les cieux: “Farewell, oh life”, qu’ils production réussie. prêtre Ramfis de la rumeur d’une nouvelle faire autre chose que passer du sublime au chantent chacun leur tour, puis ensemble à invasion éthiopienne. Ramfis lui apprend que terre à terre. Mais Verdi, ce vieil oiseau sage, l’unisson. Pour accentuer l’intense tristesse de © 2002 Alan Blyth la déesse a nommé un général et qu’il va de ce sait comment procéder: il écrit une scène la fin, on entend Amneris et on la voit au- Traduction: Marie-Stella Pâris pas en informer le pharaon. 3 – 4 Resté seul, d’adieu au monde, courte et intime, l’antithèse dessus de la tombe, à genoux, implorant la Radamès songe que, s’il devait être choisi, de ce qui s’est passé auparavant. Alors que paix pour les âmes de ceux qui sont au-dessous Argument son rêve pourrait devenir réalité. Grâce à la Radamès médite sur son amour pour Aïda, il d’elle. L’action se passe en Égypte au temps des victoire qu’il remporterait à la tête de l’armée, discerne ce qu’il prend pour une vision, mais Aïda se situe entre la glorieuse troisième pharaons. Capables d’interpréter les volontés il pourrait obtenir tout ce qu’il souhaite. qui s’avère être sa bien-aimée; elle est entrée, période de l’œuvre lyrique de Verdi, avec la des dieux sacrés, les prêtres contrôlent le 5 Amnéris interrompt sa rêverie. sans être vue, dans la tombe afin de partager version révisée de Simon Boccanegra, Un ballo gouvernement. Depuis longtemps, l’Égypte est 6 – 7 Le trouble évident que suscite en lui son destin. Plus de grandeur ni de in maschera, La forza del destino et Don Carlos, en guerre avec sa voisine au Sud, l’Éthiopie; l’entrée d’Aïda confirme les soupçons de la

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princesse: c’est son esclave qu’aime Radamès. ont été vaincus. 17 – 18 Amnéris et ses pieds. 26 – 27 Les troupes défilent, un groupe la princesse Amnéris: un jour, il régnera avec Aïda, quant à elle, ne pense qu’à son amour suivantes se préparent à célébrer la victoire. de danseuses exhibe les trophées de guerre; on elle sur l’Égypte. 33 Tous ou presque se pour ce dernier et aux difficultés générées par 19 Lorsqu’arrive Aïda, la princesse renvoie ses apporte les statues des dieux, 28 enfin réjouissent tandis que l’acte s’achève. sa situation d’esclave. esclaves, 20 et assure la jeune femme de sa Radamès fait son entrée, sous un baldaquin 8 Arrive le pharaon qui réunit la cour, le sympathie à l’occasion de la défaite de son porté par douze officiers. COMPACT DISC TWO peuple et les prêtres. On fait entrer un messager, pays. Cherchant à confirmer ses soupçons, elle 29 Le pharaon le proclame sauveur de la porteur d’une nouvelle urgente: les Éthiopiens lui annonce ensuite faussement que Radamès a patrie et se dit prêt à lui accorder la L’acte III se déroule au clair de lune devant marchent sur Thèbes avec à leur tête le roi été tué au combat. 21 Aïda pousse un cri et récompense de son choix. Le général Radamès le temple d’Isis, sur les bords du Nil. Amonasro (aparté d’Aïda: “Mon père!”). Après Amnéris reconnaît avoir menti. La jeune demande que l’on fasse entrer les prisonniers 1 À l’intérieur, on entend le chant des avoir annoncé qu’Isis a désigné Radamès comme Éthiopienne laisse alors exploser sa joie. de guerre.30 Reconnaissant son père parmi prêtresses. 2 Ramfis amène la princesse général des armées,9 le pharaon entonne un N’ayant désormais plus aucun doute, Amnéris eux, Aïda se précipite pour l’embrasser. À voix Amnéris afin qu’elle y passe la nuit à invoquer hymne guerrier repris par tout le peuple. Dans la raille en lui disant qu’elle aussi aime basse, il l’enjoint de ne point le trahir. la déesse, à la veille de ses noces. son émotion, Aïda se joint à l’exhortation finale Radamès mais qu’elle est fille du pharaon 31 Lorsque le pharaon lui demande qui il est, 3 – 5 Aïda arrive à son tour pour adressée à Radamès: “As victor then return”. tandis qu’Aïda n’est qu’une esclave. Piquée au il répond simplement qu’il est le père d’Aïda, retrouver Radamès et lui faire ses adieux 10 – 11 Restée seule, cependant, elle songe vif, la jeune femme est à deux doigts de révéler qu’il s’est battu pour son roi et pour son pays, lorsque survient son père. Il sait qu’elle attend combien elle est écartelée entre les exigences qu’elle est princesse elle aussi mais se rattrape à qu’ils ont été vaincus et que le roi est mort. Il le jeune officier, qu’elle l’aime mais qu’elle a irréconciliables de son amour pour son père et sa temps, garde son secret, 22 et cherche à implore la clémence du pharaon. Le peuple, pour rivale la fille du pharaon. Lorsqu’Aïda patrie d’un côté, pour Radamès de l’autre, éveiller la compassion d’Amnéris. 23 On profondément ému, se joint à sa prière. reconnaît être en son pouvoir, son père 12 et implore la pitié des dieux. entend au dehors les acclamations saluant le 32 Invoquant la récompense promise par le souligne qu’il lui est possible de vaincre Le second tableau de l’acte I se déroule à défilé des guerriers victorieux; la princesse pharaon, Radamès demande la liberté des Amnéris, de reconquérir sa patrie et son l’intérieur du temple de Vulcain, à Memphis. ordonne à Aïda de la suivre: elle verra ainsi si prisonniers et des esclaves éthiopiens. Ramfis amour. 6 Les Égyptiens projettent une 13 – 14 Prêtres et prêtresses exécutent des elle est de taille à lutter contre elle! 24 De s’interpose, craignant que les Éthiopiens ne offensive et il veut les arrêter. Le meilleur danses rituelles et adressent leurs invocations nouveau, Aïda implore la pitié des dieux. reprennent les armes. Radamès estime la chose moyen est de connaître à l’avance leur ligne au dieu .15 Ramfis invite le général Acte II, second tableau. Scène du triomphe. peu probable à présent que le roi Amonasro d’attaque. “Who could ever discover?” Radamès à ceindre l’épée sacrée. 16 Tous Une avenue à Thèbes, devant le temple est mort; le grand prêtre demande alors que demande Aïda. “Aida!” “I! No, no, ah, no!” implorent les dieux de donner la victoire à d’Amon. 25 La population a envahi les rues l’on garde au moins en otages l’esclave favorite Alors, que les cohortes égyptiennes fondent sur l’Égypte. pour célébrer la victoire. Le pharaon entre et de la princesse, Aïda, et son père. Le pharaon l’Éthiopie. 7 – 8 Il la répudie, elle n’est plus Acte II, premier tableau: les appartements prend place sur le trône, entouré de sa cour; le lui accorde et annonce que, pour sa fille; elle n’est que l’esclave des pharaons. privés de la princesse Amnéris. Les Éthiopiens Amnéris s’assied à ses côtés, avec Aïda à ses récompenser Radamès, il lui donne en mariage Aïda implore son pardon mais on entend

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Radamès approcher. Amonasro se cache Acte IV, premier tableau. À l’extérieur Jane Eaglen possède l’une des réputations les Metropolitan Opera de New York et au Lyric de manière à pouvoir entendre leur de la salle du tribunal. Radamès doit être plus extraordinaires dans le monde de l’opéra Opera de Chicago et recevant chaque fois des conversation. jugé pour trahison. 15 – 16 La princesse le aujourd’hui. Né à Lincoln, elle a étudié au critiques extraordinaires; ses débuts dans le rôle 9 Le général Radamès se précipite auprès fait amener devant elle, mais il croit Aïda Royal Northern College of Music de de La Giaconda au Lyric Opera de Chicago; d’Aïda, infiniment heureux de la revoir. Elle morte et n’a plus aucun désir de vivre. Manchester grâce au soutien d’une bourse de la Donna Anna (Don Giovanni) au Metropolitan l’arrête. Il est promis à la princesse Amnéris. 17 – 18 Amnéris lui dit que le roi Amonasro Peter Moores Foundation, puis elle est entrée à Opera – précédemment chantè au Staatsoper de 10 Il répond que dès qu’il aura gagné la est mort mais qu’Aïda a disparu. Lorsqu’il l’English National Opera. Rencontrant un Vienne, à Los Angeles, à Munich et à Bologne; prochaine guerre il obtiendra l’autorisation du refuse de renoncer à son amour pour elle ou succés sans précédent dans les rôles contrastés le rôle titre dans Turandot au Royal Opera de pharaon de l’épouser. Aïda demande qui la de se défendre, 20 – 21 il est conduit devant de Norma et de Brünnhilde, sa voix est celle Covent Garden à Londres, au Metropolitan protégera de la princesse 11 et suggère qu’il les prêtres qui doivent le juger. Reconnu d’une soprano dramatique exceptionnelle Opera de New York aux côtés de Pavarotti, à existe une autre solution: qu’il s’enfuie avec coupable, il est condamné à être enfermé recevant des critiques sensationnelles dans le Vienne, Madrid, Seattle, Bologne et à l’Opéra- elle en Éthiopie où ils pourront vivre ensemble vivant dans une tombe sous l’autel du dieu. monde entier. Ses interprétations de Bastille à Paris; Amelia (Un ballo in maschera) et s’aimer. Lorsqu’il refuse, elle lui rétorque 22 Les juges quittent le tribunal, et Amnéris Brünnhilde (Siegfried ) au Lyric Opera de à Bologne et à l’Opéra-Bastille; le rôle titre dans que c’est les livrer, son père et elle, à la hache les maudit. Chicago, ses prestations dans le Ring intégral Tosca à l’English National Opera, au Teatro du bourreau. 12 Il cède et tous deux Acte IV, second tableau. La scène est divisée donné ensuite dans ce même théâtre, sous la Colon à Buenos Aires, et en version de concert s’apprêtent à fuir. Mais comment éviteront-ils en deux. En haut, le temple de Vulcain; direction de Riccardo Muti à La Scala de avec le Cleveland Symphony Orchestra; et le l’armée l’égyptienne? Radamès explique à Aïda dessous, un souterrain. 23 Une dernière Milan, à San Francisco et à Vienne lui ont valu rôle titre dans Ariadne auf Naxos à l’English où les troupes seront stationnées; Amonasro pierre l’a fermé au-dessus de la tête de également les critiques les plus enthousiastes. National Opera. surgit et le général lui demande qui il est. Radamès. 24 Il se prépare à mourir lorsqu’il Auparavant, elle chanta le rôle de Brünnhilde à Egalement familière des salles de concert, “Aida’s father, Ethiopia’s King”, répond-il. prend conscience qu’il n’est pas seul. Aïda s’est l’Opera Pacific et au Scottish Opera. Son Jane Eaglen s’est produite dans le Requiem de 13 Alors, seulement, Radamès comprend quels cachée dans le souterrain avec l’intention de succés dans le rôle-titre de Norma au Scottish Verdi avec Simon Rattle et City of liens unissent Aïda et le roi Amonasro et qu’il mourir à ses côtés. 25 On entend le chant des Opera (dans une production soutenue par la Birmingham Symphony Orchestra; dans la est totalement déshonoré. 14 La princesse prêtresses dans le lointain. Tandis qu’un Peter Moores Foundation) fut suivi par des Huitième Symphonie de Mahler avec Klaus Amnéris, qui est sortie du temple et a observé étourdissement extatique gagne peu à peu les interprétations acclamées par la critique au Tennstedt; dans l’Acte III de Götterdämmerung la scène, le dénonce comme traître. Amonasro deux amants, il ne reste plus à Amnéris qu’à Festival de Ravenne avec Muti, à l’Opéra de avec Bernard Haitink et le Boston Symphony se jette sur elle avec un poignard mais implorer la paix. Seattle, à l’Opéra de Los Angeles, à l’Opéra- Orchestra; dans Nabucco à Ravenne avec Radamès s’interpose, lui ordonne de fuir, et le Bastille à Paris, et au Scottish Opera. Riccaro Muti; dans les Gurrelieder avec roi entraîne de force Aïda. Le général se rend © 2002 Peter Moores Parmi d’autres interprétations mémorables de Claudio Abbado au Festival de Salzbourg et au aux prêtres. Traduction: Josée Bégaud Jane Eaglen, on citera Isolde à Seattle, reprise au Festival d’Edimbourg; dans Norma au Festival

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de Tivoli à Copenhague et au Carnegie Hall Maddalena (Andrea Chénier) avec Jose Pinkerton (Madama Butterfly), Edgardo (Lucia Dennis O’Neill donne également de de New York; et dans les Quatre derniers lieder Carreras, et dans Aïda avec Luciano Pavarotti. di Lammermoor), Macduff (Macbeth), Gustavo nombreux concerts, et s’est ainsi produit à de Strauss avec Daniel Barenboim et le Rosalind Plowright s’est produite dans la (Un ballo in maschera), Foresto (Attila), Otello, travers toute l’Europe. Ses propres séries pour Chicago Symphony Orchestra. plupart des plus grandes salles lyriques du Don Carlos, Radames (Aïda), Aroldo (en la BBC Television ont été très populaires, et il Parmi les enregistrements de Jane Eaglen, on monde, chantant des rôles tels que Suor version de concert), Carlo (Giovanna d’Arco), a ensuite terminé un film télévisé consacré à citera un disque d’arias de Wagner et de Bellini, Angelica (La Scala de Milan), Leonora dans et Jacopo (I due Foscari). Caruso. Parmi ses enregistrements pour un autre consacré à des arias de Strauss et de Il trovatore (Vérone), Stiffelio (La Fenice de Aux Etats-Unis, Dennis O’Neill s’est Chandos et la Peter Moores Foundation Mozart, la Huitième Symphonie de Mahler, la Venise), Ariadne et Medea (Opéra Bastille à produit au Metropolitan Opera de New York figurent Cavalleria rusticana, Pagliacci, Tosca, Neuvième Symphonie de Beethoven, la Messe Paris), Medea (Royal Opera de Covent dans le rôle d’Alfredo (La traviata), Radames La Bohème, Il trovatore, et un disque de de Bruckner, Norma, Medea in Corinto pour Garden), Desdemona et Amelia (Staatsoper de (Aida), Turiddu (Cavalleria rusticana) et Canio Grands airs d’opéra. En l’an 2000, Dennis Opera Rara, et pour Chandos et la Peter Vienne), Madama Butterfly (Houston Grand (Pagliacci). Il a également chanté au Chicago O’Neill a été décoré du titre de commandeur Moores Foundation l’enregistrement primé de Opera), et Santuzza (Staatsoper de Berlin). A Lyric Opera, à San Francisco, à San Diego, à de l’Ordre de l’empire britannique (CBE). Tosca ainsi qu’un enregistrement de Turandot. l’English National Opera, Rosalind Plowright l’Opéra de Vancouver; il a donné des concerts Elle figure également sur la bande sonore de a chanté dans Otello, Mary Stuart, The Turn of avec les orchestres de Philadelphie, Cleveland, Gregory Yurisich est aujourd’hui reconnu l’adaptation pour le cinéma de Sense and the Screw (pour lequel elle remporta un Olivier Montréal, Ottawa, et au Festival de comme l’un des plus grands barytons du Sensibility de Jane Austin. Award ) et Il tabarro de Puccini. Parmi ses Cincinnati. Souvent invité à se produire au monde. Ses récentes interprétations des grands enregistrements figurent Elijah de Bayerische Staatsoper de Munich, ses débuts rôles verdiens lui ont valu les louanges très Rosalind Plowright a mené une carrière Mendelssohn (pour Chandos), Les Contes dans Un ballo in maschera furent suivis par une enthousiastes de la critique. Parmi celles-ci particulièrement remarquable. Elle fit ses d’Hoffmann d’Offenbach, Il trovatore de Verdi, nouvelle production de Il trovatore, ainsi que figurent Nabucco au Festival de Bregenz, au études musicales au Royal Northern College of et (pour Chandos et la Peter Moores par Der Rosenkavalier, Tosca, Lucia di Royal Opera de Covent Garden et à Genève; Music de Manchester et au London Opera Foundation) Mary Stuart et Otello. Lammermoor, Simon Boccanegra, Aïda et le rôle le rôle titre dans Rigoletto en Israël, en Centre, remportant la bourse de la Peter titre dans Otello. Dennis O’Neill a par ailleurs Australie et à Athènes; le rôle titre dans Simon Moores Foundation et la bourse Peter Né au Pays de Galles de parents irlandais et chanté dans les théâtres lyriques de Vienne, Boccanegra, et Escamillo (Carmen) à l’English Stuyvesant. Son enregistrement en 1984 du gallois, Dennis O’Neill est un des plus grands Berlin, Bonn, Cologne, Hambourg, Munich, National Opera; le rôle titre dans Falstaff en rôle de Leonora (Il trovatore), avec Placido ténors du monde, et un spécialiste des œuvres Nice, Zurich, Paris, Oslo, Bruxelles, Barcelone, Australie; Germont Père (La traviata) à Domingo sous la direction de Carlo Maria de Verdi. Il a entretenu une longue association Lisbonne, Oviedo, dans les Arènes de Vérone, l’Opéra de San Francisco, à l’Australian Opera, Giulini, fut sélectionné pour un Grammy avec le Royal Opera de Covent Garden à à Turin, et à l’English National Opera. Il à Tel-Aviv et à Genève; Iago (Otello) avec Award. La même année, elle fit ses débuts au Londres où ses nombreux rôles ont inclus entretient des liens étroits avec le Welsh Placido Domingo à l’Opéra de Los Angeles et Royal Opera de Covent Garden dans le rôle de Rodolfo (La Bohème), le Duc (Rigoletto), National Opera. à Brisbane; Amonasro (Aida), Stankar

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(Stiffelio), Scarpia (Tosca), les quatre Alastair Miles s’est produit au Metropolitan La Bohème et un album recital (Great Operatic Ramfis, Daland et Ochs au Metropolitan incarnations du mauvais génie d’Hoffmann Opera de New York (Giorgio dans I Puritani Arias) pour Chandos et la Peter Moores Opera de New York; et d’autres rôles au (Les Contes d’Hoffmann), et le rôle titre dans et Raimondo dans Lucia di Lammermoor); à Foundation, et dans la série Opera Rara, Staatsoper de Vienne, au Deutsche Staatsoper Guillaume Tell au Royal Opera de Covent l’Opéra National de Paris-Bastille (Raimondo); Medea in Corinto, Orazi e Curiazi, Rosmonda de Berlin, à l’Opéra d’Etat de Hambourg, à Garden. Parmi les autres rôles inscrits à son à Vienne (La Juive et Giorgio); à San Francisco d’Inghilterra, Ricciardo e Zoraide et Maria Amsterdam, au Festival d’Istanbul et au répertoire figurent Sharpless (Madama (Giorgio, Raimondo et Basilio dans Il barbiere regina d’Inghilterra. Festival de Bregenz. Butterfly) à l’Australian Opera; Balstrode di Siviglia); à Amsterdam (Figaro dans En concert, Peter Rose s’est produit dans la (Peter Grimes) au Châtelet à Paris et au Le nozze di Figaro); au Teatro Real de Madrid Né à Cantorbéry, Peter Rose a étudié la Neuvième Symphonie de Beethoven avec Théâtre de La Monnaie à Bruxelles; Alfio (Philip II dans Don Carlos); à l’English musique à l’Université d’East Anglia, et avec Carlo Maria Giulini; dans le Requiem de (Cavalleria rusticana) et Tonio (Pagliacci) pour National Opera (le rôle titre dans Ellis Keeler à la Guildhall School of Music and Mozart avec Daniel Barenboim et Zubin ses débuts au Staatsoper de Berlin. Mephistopheles, Zaccaria dans Nabucco), et au Drama de Londres. En 1985, il remporta le Mehta; dans la Huitième Symphonie de Gregory Yurisich s’est produit en concert Royal Opera de Covent Garden (Elmiro dans Kathleen Ferrier Memorial Scholarship, et en Mahler avec Tilson Thomas au Royal Albert dans de nombreuses salles du monde entier, Otello et Frère Laurent dans Roméo et Juliette). 1986 le Glyndebourne John Christie Award. Il Hall de Londres; dans le Requiem de Verdi notamment dans la Huitième Symphonie de Son premier Fiesco (Simon Boccanegra) fut un fit ses débuts à l’opéra en 1986 dans le rôle du au de Londres; dans Mahler au Festival d’Edimbourg; dans le rôle grand succès, et vient après d’autres Commandeur avec le Glyndebourne Festival La Damnation de Faust avec le Chicago d’Alberich (Siegfried ) en version de concert, interprétations verdiennes qui lui valurent les Opera à Hong Kong. Il fut basse principale au Symphony Orchestra sous la direction de dans le rôle de Salieri (Mozart et Salieri de mêmes louanges. Welsh National Opera de 1986 à 1989, et fit Sir Georg Solti; dans L’Enfant et les sortilèges et Rimski-Korsakov), et dans la Neuvième Alastair Miles mène avec grand succès une ses débuts au Royal Opera de Covent Garden L’Heure espagnole de Ravel avec le Cleveland Symphonie de Beethoven pour le réseau carrière internationale en concert, se dans le rôle de Rochefort (Anna Bolena) avec Orchestra sous la direction de Pierre Boulez; et ABC Television en Australie. produisant avec des chefs aussi éminents que Dame Joan Sutherland. dans la Missa Solemnis de Beethoven avec le Parmi ses enregistrements, on citera le rôle Giulini, Mehta, Chung, Masur, Gergiev, Parmi les rôles de son répertoire figurent New York Philharmonic sous la direction de de Leporello (Don Giovanni), un album solo Gardiner et avec les plus prestigieux orchestres Ramfis (Aïda), Fasolt (Das Rheingold ), Kurt Masur. consacré à des mélodies de Peter Dawson, et du monde. Son impressionnante discographie, Cadmus/Somnus (Semele), Daland (Der Parmi les titres de sa discographie, on pour Chandos et la Peter Moores Foundation, qui compte actuellement quarante-deux titres, fliegende Holländer), le Roi Mark (Tristan und citera Le nozze di Figaro, Die sieben le rôle de Scarpia (Tosca) et celui de Sharpless inclut Elijah de Mendelssohn, le Requiem de Isolde) et le Commandeur (Don Giovanni) au Todesünden, Salome, Un ballo in maschera; (Madam Butterfly). Verdi, Saul et Agrippina de Haendel. En l’an Royal Opera de Covent Garden; Gessler pour Chandos et la Peter Moores 2000, il fit ses débuts en récital en Grande- (Guillaume Tell ), le Commandeur et Basilio Foundation, Ernani, Il barbiere di Siviglia, Salué dans le monde entier comme l’un des Bretagne avec Roger Vignoles. Parmi ses (Il barbiere di Siviglia) à San Francisco; Kecal Tosca et un enregistrement de Lucia di plus grands chanteurs britanniques, autres enregistrements, on peut citer Faust, (La Fiancée vendue) au Chicago Lyric Opera; Lammermoor.

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Lauréate du Kathleen Ferrier Memorial Prize (Falstaff ), et le rôle titre dans Le Petit Renard Ernesto (Don Pasquale) avec le Scottish Opera- série de disques très prisés financée par la Peter 1994, Susan Gritton a étudié la botanique à rusé. Go-Round. Parmi d’autres rôles figurent Moores Foundation. l’Université d’Oxford et à l’Université de Parmi les enregistrements de Susan Gritton Roderigo (Otello) au Théâtre de La Monnaie Londres avant d’entreprendre une carrière de pour Chandos figurent , The à Bruxelles, Ferrando et Nanki-Poo Depuis ses excellents débuts en 1945, lorsqu’il chanteuse. En 1994, elle fit ses début en récital Pilgrim’s Progress, Sir John in Love, Paulus de (The Mikado) avec le Grange Park Opera, et fut fondé par Walter Legge essentiellement au Wigmore Hall de Londres. Elle se produit Mendelssohn, plusieurs disques consacrés à des Rodolfo (La Bohème) avec le Glyndebourne pour jouer dans des enregistrements, le régulièrement en récital à travers l’Angleterre, Messes de Haydn, et un enregistrement de Touring Opera. Il est l’un des premiers Philharmonia Orchestra n’a cessé d’attirer et sa grande expérience de concertiste l’a Falstaff (pour Chandos et la Peter Moores chanteurs a recevoir une place dans le Vilar certains des plus grands chefs d’orchestre du conduite au Concertgebouw d’Amsterdam, au Foundation) Young Artists Programme au Royal Opera de XXe siècle. Certains furent associés de près à Konzerthaus de Vienne et à la Philharmonie Covent Garden. l’Orchestre: Otto Klemperer (son tout premier de Berlin. Né dans le Lancashire, Alfred Boe commença chef principal), Lorin Maazel, Riccardo Muti, A l’opéra, Susan Gritton a incarné les rôles ses études musicales après une tournée Durant sa carrière de chanteur, Geoffrey Giuseppe Sinopoli, Carlo Maria Giulini, Sir de Susanna (Le nozze di Figaro) et Zerlina nationale avec la D’Oyly Carte Opera Mitchell aborda un répertoire Andrew Davis, Vladimir Ashkenazy et Esa- (Don Giovanni) au Festival de Glyndebourne Company en 1994. Il étudia avec Neil Mackie remarquablement varié, depuis la musique Pekka Salonen. Sous la direction de leur chef et avec le Glyndebourne Touring Opera; la au Royal College of Music de Londres, et il a ancienne jusqu’à la musique contemporaine, se principal actuel, Christoph von Dohnanyi, et Gouvernante (The Turn of the Screw) et Lucia récemment terminé ses études au National produisant en Scandinavie, en Allemagne, celle de Leonard Slatkin, souvent invité à (The Rape of Lucretia) sous la direction de Opera Studio à Londres. dans l’ancienne Tchécoslovaquie, au Canada et prendre sa relève, l’Orchestre s’est fermement Steuart Bedford à Snape Maltings; Tiny (Paul Il a chanté dans des oratorios tels que la en Australasie. Après avoir fait ses premières installé au cœur de la vie musicale britannique, Bunyan) au Royal Opera de Covent Garden; Messa di Gloria de Puccini, Elijah de armes de chef d’orchestre avec la BBC, il non seulement à Londres puisqu’il est Belinda () au Deutsche Mendelssohn, le Requiem de Verdi, la Petite décida de prendre une part active dans ce orchestre en résidence au Royal Festival Hall, Staatsoper de Berlin; Fulvia dans Ezio de Messe solennelle et le Stabat Mater de Rossini. domaine avec ses propres chanteurs et fonda le mais aussi en province où il se produit Handel avec le King’s Consort au Théâtre des A l’opéra, Alfred Boe a incarné le rôle de Geoffrey Mitchell Choir. L’ensemble travaille régulièrement. Champs Elysées à Paris; Marzelline (Fidelio) à Roderigo (Otello) et le rôle titre dans Albert depuis longtemps avec Opera Rara pour qui il Le Philharmonia Orchestra a remporté l’Opéra de Rome, et Romilda (Xerxes) au Herring de Britten. a réalisé plus de trente enregistrements. Ce plusieurs prix importants et soulevé Bayerische Staatsoper. A l’English National En 1999, Alfred Boe s’est de nouveau Chœur ne cesse d’élargir sa réputation, l’enthousiasme des critiques pour la vitalité et Opera, où elle est “Company Principal”, ses produit avec la D’Oyly Carte Opera travaillant avec la BBC et plusieurs maisons de la chaleur exceptionnelle de son jeu. On a rôles incluent Atalanta (Xerxes), Constance Company, cette fois-ci dans le rôle de Ralph disques internationales. Pour Chandos, le aussi fait l’éloge de ses programmes novateurs (The Carmelites), Pamina (The Magic Flute), Rackstraw (HMS Pinafore) au Royal Festival Geoffrey Mitchell Choir a participé à plusieurs dans lesquels l’ensemble s’engage à interpréter Drusilla (The Coronation of Poppea), Nannetta Hall de Londres. Il a également chanté enregistrements pour Opera in English, une et commander des œuvres nouvelles par les

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plus grands compositeurs contemporains, avec l’English Music Theatre avant de devenir Théâtre de Bâle et Lucia di Lammermoor avec enregistrements d’airs d’opéra (avec Bruce comme James MacMillan, son actuel l’un des chefs d’orchestre au Städtische le New Israeli Opera. Ford, Diana Montague, Dennis O’Neill, compositeur en résidence. Bühnen à Dortmund et à Opera North. En studio, il a participé entre autres à la Alastair Miles, Yvonne Kenny, John L’Orchestre fait souvent des tournées Directeur musical d’Opera 80 de 1983 à 1987, production de la BBC Television de Der Tomlinson et Della Jones) de même que internationales; aucun autre orchestre il est directeur musical d’Almeida Opera Vampyr de Marschner, dirigeant aussi vingt Don Giovanni, Ernani, Faust, Don Pasquale, symphonique dans le monde ne possède une depuis sa fondation en 1992. et une intégrales d’opéras financées par la L’elisir d’amore, La bohème, Cavalleria discographie aussi importante, avec plus de Sa carrière, nationale et internationale, est Peter Moores Foundation. Plusieurs de ces rusticana, Pagliacci, l’enregistrement primé de mille disques à son actif. Notons entre autres extrêmement remplie, aussi bien sur la scène intégrales furent enregistrées pour Opera Rara Tosca et des extraits de Der Rosenkavalier, tous plusieurs disques d’airs d’opéra pour Opera lyrique qu’en concert. Il a dirigé plusieurs et primées, Rosmonda d’Inghilterra de ces enregistrements étant réalisés en Rara ainsi que onze intégrales d’opéras (Ugo, productions de l’English National Opera et Donizetti recevant en Belgique le Prix Cecilia. collaboration avec la Peter Moores conte di Parigi, Ne m’oubliez pas, Emilia di collabore régulièrement avec le Philharmonia Pour Chandos, Parry a dirigé sept Foundation. Liverpool, L’assedio di Calais, Rosmonda Orchestra. C’est avec Così fan tutte qu’il fit ses d’Inghilterra et Maria de Rudenz de Donizetti, débuts au Festival de Glyndebourne en 1996, Dinorah de Meyerbeer, Medea in Corinto de une scène qu’il retrouva en 1998 pour diriger Mayr, Orazi e Curiazi de Mercadante, Maria, la création mondiale de Flight de Jonathan regina d’Inghilterra de Pacini et Otello de Dove. Rossini). L’Orchestre a fait de nombreux Il séjourne fréquemment en Espagne où il a disques pour Chandos, en particulier, dans la dirigé en concert la plupart des grands série Opera in English financée par la Peter orchestres espagnols. C’est lui qui dirigea la Moores Foundation, L’elisir d’amore, Faust, première espagnole de Peter Grimes à Madrid et La bohème, cette version primée de Tosca et en 1996 la première production espagnole de six récitals solistes d’airs d’opéra (avec Bruce The Rake’s Progress. Il a dirigé en Allemagne, en Ford, Diana Montague, Dennis O’Neill, Suède, aux Pays-Bas, au Festival de Pesaro en Alastair Miles, Yvonne Kenny et John Italie, au Festival international de Hong-Kong, Tomlinson.) au Japon pour une tournée de Carmen et au Mexique avec l’Orchestre symphonique Après avoir étudié avec Sergiu Celibidache, d’UNAM. Il a récemment dirigé plusieurs David Parry commença sa carrière comme nouvelles productions dont Fidelio au Festival assistant de Sir John Pritchard. Il fit ses débuts de Nouvelle-Zélande, Maria Stuarda au

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Gregory Yurisich as Amonasro in Dennis O’Neill as Radames in The Royal Opera’s production of Aida The Royal Opera’s production of Aida

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Questa scena inoltre stabilisce il ritmo e la sfondo corale, che culmina in un toccante Giuseppe Verdi: Aida struttura dell’opera in generale. Il ritmo è momento solistico per Aida. Il re egiziano dettato da alcuni eventi fuori scena. Sul fronte quindi concede a Radames la mano di sua “Tinta”: ecco una caratteristica essenziale nelle aspetto. Qui, anche più che nel Don Carlos, pubblico, la battaglia vinta da Radames; su figlia Amneris in premio per la vittoria. opere della maturità di Verdi. Anzi, è la qualità composto non molto prima e con una tinta quello privato, gli intrighi della gelosa Dopo la magniloquenza di questa scena alle determinante della sua composizione operistica. molto diversa, alla politica e al cerimoniale Amneris, culminanti nel faccia a faccia con porte di Tebe, gli ultimi due atti si svolgono in Una qualità che Verdi ha in comune con Britten pubblico si contrappongono alcuni conflitti Aida sulla scena, dove, con mezzi subdoli, la circostanze più limitate e consistono e pochi altri, e uno dei fattori che rendono privati. La genialità di Verdi sta nell’introdurre principessa riesce a carpire alla schiava una largamente in duetti per i quattro protagonisti. entrambi questi musicisti grandi creatori del immediatamente nel dramma entrambi gli confessione del proprio amore segreto per Inoltre confermano che, mentre i personaggi genere. Ogni opera di Verdi ha una tinta che la elementi. Nella primissima scena il generale Radames. Questa scena a sua volta fa da di Aida, Radames e Amonasro rimangono caratterizza come nessun’altra. Questo vale egiziano Radames per la prima volta è preludio al grande cerimoniale del trionfo che quasi immutati dalle circostanze, quello di soprattutto per Aida (1871, composta per combattuto da un conflitto interiore tra il inizialmente rese Aida famosa e che contiene Amneris si modifica notevolmente. In questi l’inaugurazione dell’Opera del Cairo). dovere nei confronti della patria e l’amore per proprio tutto: un coro magnifico, danze brani Verdi raggiunge il culmine Fin dalle prime battute del Preludio (dopo la la schiava etiope Aida, e la principessa Amneris ispiratrici, tanto colore locale con gli squilli dell’ispirazione. I duetti sono accompagnati da prima Verdi compose un’Ouverture, ma la si rende conto che Aida è sua rivale in amore. delle famose trombe “egiziane” e altri due passaggi solistici in cui Aida e Amneris scartò immediatamente considerandola inferiore Quando viene annunciata un’invasione etiope espedienti strumentali che portano all’ingresso rispettivamente esaminano a fondo il proprio a quanto aveva già creato) veniamo trasportati guidata dal padre di Aida, Amonasro, e il re trionfale di Radames, poi all’apparizione dei stato emotivo e dimostrano l’infallibilità del nell’atmosfera misteriosa e profumata egiziano proclama Radames condottiero della prigionieri etiopi. A questo punto, compositore nel rivelare i loro più profondi dell’antico Egitto e nel suo mondo di lealtà lotta contro il nemico, i confronti tra pubblico improvvisamente, si ritorna alle questioni sentimenti. conflittuali, intransigenza sacerdotale e passione. e privato sono veramente avviati. Vengono private. Amonasro sussurra alla figlia Aida di Il Terzo atto inizia con un altro colpo di Il tema cromatico, introdotto dagli archi alti, messi in rilievo dall’assolo di Aida “Ritorna non rivelare la sua vera identità di sovrano genio dell’autore. Su uno sfondo di musica che sarà il motivo di Aida, e l’idea lievemente vincitor” (As victor then return), in cui le etiope; quindi descrive la sua sconfitta in delicatamente ondeggiante che evoca il Nilo e sinistra, sviluppata con tecnica emozioni contrastanti, l’affetto per il padre e battaglia e chiede clemenza. Aida appoggia la un coro fuori scena, Amneris e Ramfis sbarcano contrappuntistica, che sarà legata ai Sacerdoti, l’amore per Radames sono definiti in maniera richiesta del padre; i Sacerdoti esprimono un ed entrano in un tempio a pregare. Aida sbuca stabiliscono l’atmosfera del dramma che sta per infallibile. Il fatto che aspetti tanto importanti vigoroso dissenso. dall’oscurità e canta la romanza svolgersi. Tutto questo, oltre al materiale e pertinenti allo sviluppo della trama possano Tutto questo si svolge con magistrale “O patria mia” (Oh, dearest home), tarda e melodico e ritmico che seguirà, appartiene essere delineati in un brano musicale tempismo, come l’enorme insieme seguente in ispirata aggiunta alla partitura, che illustra la sua esclusivamente al colore e all’atmosfera di Aida. relativamente breve rappresenta un’altra cui il compositore sfoggia la propria abilità di nostalgia per la patria in una combinazione Aida è un’opera unica anche sotto un altro sfaccettatura delle capacità di Verdi. abbinare complessi motivi solistici contro uno fluida di recitativo e aria, con un

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accompagnamento agitato che illustra il suo appassionate del giovane, sintomo del fatto che musica alla maniera più grandiosa di Verdi e furia gelosa. Questo meraviglioso duetto è un stato d’animo turbato ma riflessivo. Inoltre è l’uomo è in suo potere, consentono ad Aida di culmina nella prima scena dell’Atto IV, che vero simbolo del grand opéra: due personaggi una meravigliosa opportunità per un soprano convincerlo, in un passaggio di musica praticamente appartiene a questo personaggio. che ribadiscono la loro posizione, in genere da lirico-drammatico di fare sfoggio delle proprie estremamente seducente, iniziando con Ho sentito molte famose interpreti far crollare parti opposte della scena, con completa qualità in termini di respiro e inflessioni tonali. “Fuggiam gli ardori inospiti” (We’d leave this il teatro dagli applausi alla sua conclusione, un convinzione, separati da un abisso psicologico La scena successiva con il padre abbina white oppressive heat), a prendere in omaggio tanto alla superba opera del e materiale. ancora una volta con discrezione passaggi di considerazione una fuga con lei, lontano dagli compositore quanto alle doti della cantante. La scena del processo di Radames davanti ai parlando con esplosioni liriche. Verdi è ormai orrori della guerra, alla volta di una terra di Sebbene Radames sia stato condannato a sacerdoti è forse la più originale dell’intera completamente libero dai legami formali piacere e d’amore. Per convincerlo morte, Amneris decide di salvarlo, a opera. Mentre inizia il giudizio, Amneris sfoga imposti dall’opera italiana prima del suo ulteriormente, lei lo accusa addirittura di non condizione che dimentichi Aida. L’ampio il suo dolore in lontananza. Dopo una solenne tempo, che avevano limitato la sua prospettiva amarla abbastanza. In un passaggio di arioso in cui medita sulla propria decisione è preghiera, i sacerdoti emettono una condanna nelle prime opere. Gli assolo sono a servizio rinnovato ardore, il guerriero accetta il suo scritto con tutta l’attenzione di Verdi per in tre parti e chiedono al prigioniero di delle esigenze del dramma, non del cantante, suggerimento e insieme cantano una cabaletta l’abbinamento tra parole e musica. Chiede che discolparsi, ogni volta un semitono più alto, eppure in un certo senso richiedono più appassionata (un tempo questa era la sezione il prigioniero Radames sia portato al suo un tocco magistrale di Verdi. Radames rimane dall’interprete rispetto a quelli di vecchia rapida conclusiva di ogni aria convenzionale), cospetto: qualunque Amneris che si rispetti in silenzio e ogni volta Amneris emette un maniera. Facendo leva sui pensieri d’amore di che termina bruscamente quando la donna può esercitare un’autorità completa con la sola grido sempre più disperato. I Sacerdoti quindi Aida per il suo uomo e la sua fedeltà alla riesce a farsi rivelare l’itinerario dell’esercito. parola “Guardie” (Soldiers). Segue un’altra pronunciano la sentenza: Radames sarà patria, Amonasro le ricorda dolorosamente che L’abilità del compositore di sviluppare in avvincente scena a due. In un passaggio seppellito vivo. Tutte le esclamazioni di il dovere e il patriottismo devono venire prima maniera avvincente la trama attraverso la declamatorio, simile per mezzosoprano e Amneris per chiedere grazia, mentre si aggira dei desideri personali. Con il suo modo di musica viene confermata quando Amonasro tenore, la principessa supplica Radames di furtivamente sulla scena, vengono ignorate plasmare l’obiettivo deciso di Amonasro in emerge dalle ombre trionfante. Prima che difendersi; l’uomo rifiuta recisamente, dagli implacabili ministri dell’odio che contrapposizione con il conflitto emotivo della possano fuggire, vengono uditi da Amneris dichiarando che la vita non ha più niente per ripetono la loro ingiunzione “Traditor!” figlia, Verdi dimostra di essere al culmine dei che, come abbiamo notato, stava pregando nel lui. In uno straziante brano lirico “Ah! tu dei (He shall die!). Amneris finisce per maledirli: suoi poteri in termini di padronanza musicale tempio adiacente, e Radames si lascia arrestare vivere” (Ah! You must live), Amneris dichiara “Empia razza! Anatema su voi!” (Evil vipers, e di penetrazione psicologica nei confronti dei con un’esclamazione di estrema disperazione. appassionatamente il proprio amore, ma la may you all be accurs’d). Qualunque cosa suoi personaggi. Secondo alcuni commentatori, l’opera si reazione alle sue suppliche è ancora una volta possa essere accaduta prima, non ho mai visto Nell’inevitabile scena successiva, Aida adesso sarebbe dovuta intitolare Amneris: nelle mani negativa. Solo quando rivela che Aida è ancora la scena mancare il bersaglio, prova sufficiente gioca sulle emozioni di Radames come aveva di un bravo mezzosoprano, questo è un ruolo viva e Radames manifesta la propria gioia, della padronanza di Verdi sul suo materiale in fatto Amonasro con lei. Le manifestazioni da assaporare, pieno di una grande varietà di Amneris perde la pazienza ed esplode in una questo stadio maturo della propria carriera.

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Ci si chiede in teatro se il finale non possa ciascuno canta prima da solo e poi La trama potrebbe avere tutto ciò che desidera. essere altro che un anticlimax. Ma Verdi, da insieme all’unisono. L’intensa tragedia L’opera si svolge nell’antico Egitto all’epoca dei 5 A interrompere le sue riflessioni arriva la vero esperto, sa cosa fare: comporre una breve, finale è sottolineata dall’intervento di Amneris Faraoni. Il controllo del governo è in mano ai principessa Amneris con Aida. 6 – 7 Alla intima scena d’addio al mondo, cioè l’antitesi che, in alto, inginocchiata, implora pace sacerdoti, i soli in grado di interpretare la vista di quest’ultima, Radamès non può di quello che è accaduto prima. Mentre per le anime della coppia nella caverna volontà degli dei. L’Egitto e l’Etiopia, paese impedirsi di trasalire e questo avverte Amneris Radames medita sul proprio amore per Aida, sotto di lei. confinante con esso a sud, sono da tempo in che i suoi sospetti sono fondati: Aida è gli sembra di scorgere una visione; si tratta Aida si colloca tra i capolavori del terzo guerra; i prigionieri etiopi vengono venduti l’oggetto del suo affetto. Aida pensa solo al suo però della sua innamorata che si è introdotta periodo della produzione verdiana – la regolarmente nei mercati egiziani degli schiavi. amore per Radamès e alla difficoltà della sua furtivamente nella tomba per condividere il revisione di Simon Boccanegra, Un ballo in L’unica figlia del Faraone, Amneris, ha una posizione di schiava. suo destino. Sono scomparsi la grandiosità e i maschera, La forza del destino e Don Carlos – schiava etiope, Aida, ma ignora che si tratti 8 Entra il Faraone, che riunisce i nobili, voltafaccia selvaggi della passione; al loro posto e il periodo finale dei capolavori della figlia del re di Etiopia, Amonasro. il popolo e i sacerdoti. Entra un messaggero troviamo una dichiarazione di vero amore shakespeariani, Otello e Falstaff. Conserva Amneris è segretamente innamorata di latore di notizie preoccupanti: gli Etiopi raffinata, quasi ultraterrena, in forma l’immensa energia e l’ampia portata delle Radamès, nobile e promettente ufficiale marciano su Tebe guidati dal re Amonasro tripartita, preceduta da “Morir! si pur e quattro opere precedenti (anche se il suo dell’esercito reale. Radamès, invece, è (Aida, a parte, “My father”). Il faraone bella” (To die! So pure and lovely!) di concetto non è originale come quello del innamorato di Aida, che lo ricambia. annuncia che Iside ha scelto Radamès Radames, una dichiarazione alta e lamentosa, Don Carlos), mentre prelude in parte alla come generale 9 e guida il suo popolo ma dignitosa del suo dolore al pensiero maggiore economia delle due ultime opere. COMPACT DISC ONE in un inno di battaglia, che termina con della prossima morte di Aida. Come sempre, Soprattutto somiglia, e non sorprende, alla l’esortazione “As victor then return” a Verdi si è calato infallibilmente nei sentimenti flessibilità, al respiro melodico e alla forza Atto I scena 1. Dopo un breve preludio (1 ), Radamès, un’esclamazione che Aida, nella di uno dei suoi protagonisti. Si tratta di un drammatica del Requiem, che seguì Aida dopo il sipario si alza su una Sala nel palazzo del sua confusione, pronuncia anche lei. brano di pura bellezza lirica, ineffabilmente tre anni. Fin dalla sua nascita, quest’opera ha Faraone a Menfi, capitale dell’Egitto. 10 – 11 Rimasta sola, tuttavia, la donna è triste anche. La risposta di Aida, così eterea mantenuto intatta la propria popolarità. Il 2 Radamès e l’Alto sacerdote Ramfis parlano combattuta tra due sentimenti inconciliabili – nella sua forma, fa pensare che sia già vicina fatto che oggi non venga rappresentata spesso di una nuova invasione degli Etiopi. Ramfis l’amore per il padre e per la patria e quello per al paradiso. come nel passato recente è dovuto alle dichiara che la dea ha scelto un generale e che Radames – 12 e prega gli dei perché abbiano Infine, accompagnata da una cantilena difficoltà nella scelta dei cinque ruoli lui sta andando a rivelarne il nome al Faraone. pietà di lei. dall’alto, un tocco di pura ispirazione, la principali e alle spese che comporta un buon 3 – 4 Rimasto solo, Radames si augura di Atto I scena 2 il tempio di Vulcano a coppia dà l’addio al mondo innalzando una allestimento teatrale. essere il guerriero prescelto. In tal modo Menfi. 13 – 14 Un gruppo di sacerdoti e melodia armoniosa di estrema semplicità, potrebbe avverarsi il suo sogno di condurre sacerdotesse esegue danze rituali e canta “O terra addio” (Farewell, oh life), che © 2002 Alan Blyth l’esercito alla vittoria; inoltre, come vincitore invocazioni a Fthà. 15 Ramfis chiede al

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generale Radamès di cingere la sacra spada. 25 La popolazione è riunita per festeggiare il che Aida, schiava preferita della principessa, questo modo, però, le coorti egiziane saranno 16 Segue un’invocazione di tutti agli dei, per la trionfo. Il faraone entra e siede sul trono, venga trattenuta come ostaggio, con il padre. libere di invadere l’Etiopia. 7 – 8 Amonasro vittoria egiziana. circondato dalla corte, e Amneris prende Il Faraone acconsente e dichiara che il suo ripudia la figlia che si dimostra una semplice Atto II scena 1 l’appartamento privato della posto accanto a lui con Aida ai suoi piedi. premio personale per Radamès è la mano della schiava dei faraoni. Aida lo supplica di principessa Amneris. Gli Etiopi sono stati 26 – 27 Gli eserciti sfilano davanti a loro e principessa Amneris: con lei, il generale perdonarla, ma intanto si avvicina Radamès. sconfitti. 17 – 18 Amneris e le sue ancelle si alcune fanciulle danzano con i trofei di guerra. regnerà un giorno sull’Egitto. 33 L’atto si Amonasro si nasconde per ascoltare la loro preparano per i festeggiamenti del trionfo. Sfilano anche i simulacri degli dei, 28 e infine conclude tra la gioia di quasi tutti i presenti. conversazione. 19 – 20 All’ingresso di Aida, la principessa entra Radamès sotto un baldacchino 9 Il generale Radamès entra congeda la corte per esprimerle la propria trasportato da dodici ufficiali. COMPACT DISC TWO impetuosamente, felicissimo di rivedere Aida, solidarietà in occasione della sconfitta della sua 29 Il faraone saluta il generale, Salvatore ma la donna lo interrompe. Ormai è il patria. Per confermare i propri sospetti, della Patria e gli offre in premio qualunque Atto III: davanti al tempio di Iside sulle rive promesso sposo della principessa Amneris. Amneris inoltre le comunica la falsa notizia cosa desideri. Il generale Radamès chiede che del Nilo. È una notte di luna. 1 Dall’interno 10 Lui risponde che, dopo aver vinto la della morte di Radamès. 21 Quando Aida si vengano condotti i prigionieri di guerra. si leva il cantico delle sacerdotesse. 2 Ramfis seconda guerra, riuscirà a convincere il lascia sfuggire un’esclamazione, la principessa 30 Mentre essi entrano, Aida riconosce suo ha condotto qui la principessa Amneris perché Faraone. Aida si chiede chi la proteggerà dalla ammette di aver mentito. Aida manifesta una padre e si precipita ad abbracciarlo, ma lui le trascorra la notte prima delle nozze in pio principessa, 11 ma insinua che esiste un’altra gioia irrefrenabile. Non ci sono più dubbi. fa cenno di non tradire il suo segreto. Il raccoglimento. soluzione: fuggire insieme in Etiopia dove Amneris rivela ad Aida di essere sua rivale faraone gli ordina di farsi avanti e identificarsi. 3 – 4 Arriva Aida per un ultimo incontro potranno vivere finalmente insieme e amarsi nell’amore per Radames, ma lei è la figlia del 31 L’uomo risponde semplicemente di essere il con Radamès, 5 ma viene interrotta dal liberamente. Quando Radamès rifiuta, Aida Faraone, mentre Aida è una schiava. A questo padre di Aida e di aver combattuto per il suo padre, ormai a conoscenza dell’appuntamento ribatte che in questo modo la scure si punto l’etiope ha un moto d’orgoglio e sta per re e per la patria, ma il re è caduto e la patria è segreto, dell’amore tra i due giovani e della abbatterà di lei e su suo padre. 12 L’uomo cede lasciarsi sfuggire che anche lei è una stata sconfitta. Chiede clemenza al Faraone. Il rivalità con la figlia del Faraone. Aida ammette e insieme progettano la fuga. Ma come fare a principessa, ma si trattiene in tempo, 22 e popolo, profondamente commosso, appoggia di essere alla mercè di Amneris, ma il padre evitare l’esercito egiziano? Radamès rivela ad chiede alla principessa di compatirla. 23 Tra le la supplica. 32 Radamès chiede al Faraone di ribatte che è possibile sconfiggerla, Aida dove saranno stanziate le truppe e a acclamazioni della processione trionfale, concedergli in ricompensa la libertà dei riconquistare la patria e l’amore del generale. questo punto appare Amonasro. Il generale gli Amneris ordina ad Aida di seguirla e la sfida a prigionieri e degli schiavi etiopi. Ramfis si 6 Gli Egiziani progettano un’offensiva e chiede chi è: “Aida’s father, Ethiopia’s King”, è rivaleggiare con lei. 24 Aida rinnova le sue dichiara contrario: gli Etiopi inizieranno devono essere fermati. Il modo migliore è la risposta. 13 Solo adesso che conosce il preghiere agli dei chiedendo pietà. un’altra guerra. Radamès ribatte che la morte quello di prevenire il loro piano d’attacco. legame tra Aida e re Amonasro, Radames sa di Atto II scena 2. Il trionfo di re Amonasro è morto rende questo è “Who could ever discover?”, chiede la essere disonorato completamente. 14 La Tebe: un viale davanti al tempo di Ammone. improbabile. Ramfis si accontenta di chiedere fanciulla. “Aida!” “I! No, no, ah, no!” In principessa Amneris, che è uscita dal tempio e

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ha osservato la scena, lo denuncia per Jane Eaglen ha una reputazione formidabile Opera di Chicago con spettacolare successo; La discografia di Jane Eaglen comprende tradimento. Amonasro tenta di pugnalare la nel mondo della lirica di oggi. Nata a Lincoln, l’esordio nel ruolo di Gioconda per la una registrazione di arie di Wagner e Bellini, principessa, ma Radamès glielo impedisce e gli ha studiato presso il Royal Northern College Lyric Opera di Chicago; Donna Anna una di arie di Strauss e Mozart, l’Ottava dice di fuggire portando via Aida; poi si of Music, con una borsa di studio della Peter (Don Giovanni) alla Metropolitan Opera, sinfonia di Mahler, la Nona sinfonia di consegna ai sacerdoti. Moores Foundation, e poi è entrata all’English interpretata in precedenza all’Opera di Vienna e Beethoven, la Messa di Bruckner, Norma, Atto IV scena 1. Davanti alla Sala delle National Opera. Ha riscosso un successo a Los Angeles, Monaco e Bologna; il ruolo di Medea in Corinto per Opera Rara e, per sentenze. Radamès attende di essere processato straordinario nei ruoli molto diversi di Norma protagonista nella Turandot al Covent Garden, Chandos/Peter Moores Foundation una per tradimento. 15 – 16 La principessa chiede e Brünnhilde, con il suo straordinario soprano alla Metropolitan Opera con Luciano Pavarotti, registrazione premiata di Tosca, più un altro che sia condotto da lei, ma il giovane, convinto drammatico si è conquistata spettacolari a Vienna, Madrid, Seattle, Bologna e all’Opéra disco di Turandot. La sua voce compare anche che Aida sia morta, non desidera più vivere. recensioni in tutto il mondo. La sua Bastille di Parigi; Amelia (Un ballo in maschera) nella colonna sonora di Sense and Sensibility, 17 – 19 Amneris gli dice che Amonasro è interpretazione del ruolo di Brünnhilde a Bologna e all’Opéra Bastille; il ruolo di adattamento cinematografico del romanzo di morto, ma Aida è sparita. Rifiuta di rinunciare (Siegfried ) per la Lyric Opera di Chicago e la protagonista in Tosca per English National Jane Austen. al suo amore o di difendersi 20 – 21 e viene successiva partecipazione al ciclo completo del Opera, al Teatro Colón di Buenos Aires e in condotto alla presenza dei sacerdoti, che lo Ring nello stesso teatro, con Riccardo Muti concerto con la Cleveland Symphony Rosalind Plowright vanta una carriera giudicano colpevole e lo condannano ad essere alla Scala di Milano, a San Francisco e a Orchestra; il ruolo di protagonista in Ariadne estremamente illustre. Ha studiato presso il sepolto vivo sotto l’altare di Vulcano. 22 Vienna hanno riscosso unanimi consensi da auf Naxos per English National Opera. Royal Northern College of Music e il London Amneris li maledice mentre escono. parte della critica. Sempre nel ruolo di Jane Eaglen si trova altrettanto a proprio Opera Centre, aggiudicandosi le borse di Atto IV scena 2. La scena è divisa in due Brünnhilde, la cantante era apparsa in agio nelle sale da concerto. Ha interpretato il studio della Peter Moores Foundation e di piani. 23 Sopra, il tempio di Vulcano, sotto, una precedenza all’Opera Pacific e alla Scottish Requiem di Verdi con Simon Rattle e la City Peter Stuyvesant. La sua registrazione del ruolo cripta sotterranea, su cui viene rotolata l’ultima Opera. Il suo successo nelle vesti di Norma per of Birmingham Symphony Orchestra; l’Ottava di Leonora (Il trovatore) con Plácido pietra. 24 Radamès si prepara a morire, ma si la Scottish Opera (in un allestimento sinfonia di Mahler con Klaus Tennstedt; Domingo, diretta da Carlo Maria Giulini nel rende conto di non essere solo. Aida si è nascosta finanziato con l’appoggio della Peter Moores il III atto di Götterdämmerung con Bernard 1984, è stata candidata a un Grammy. Nello nella cripta per morire con lui. 25 Le Foundation) si è ripetuto al Festival di Haitink e la Boston Symphony Orchestra; stesso anno ha esordito con la Royal Opera sacerdotesse cantano in lontananza. Mentre i due Ravenna con Muti, all’Opera di Seattle e di Nabucco a Ravenna con Riccardo Muti; i nelle vesti di Maddalena (Andrea Chénier) con innamorati affrontano serenamente la morte, la Los Angeles, all’Opéra Bastille di Parigi e alla Gurrelieder con Claudio Abbado ai festival di José Carreras e in Aida con Luciano Pavarotti. principessa invoca la pace per le loro anime. Scottish Opera. Salisburgo e di Edimburgo; Norma in concerto Rosalind Plowright è comprasa nei migliori Altre interpretazioni memorabili al Tivoli Festival di Copenaghen e al Carnegie teatri lirici del mondo, affrontando ruoli tra © 2002 Peter Moores comprendono Isolde a Seattle, riproposta di Hall; Vier letzte Lieder di Strauss con Daniel cui Suor Angelica (Teatro alla Scala, Milano), Traduzione: Emanuela Guastella recente alla Metropolitan Opera e alla Lyric Barenboim e la Chicago Symphony Orchestra. Leonora nel Trovatore (Verona), Stiffelio

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(La Fenice, Venezia), Ariadne e Medea (Opéra Turiddu (Cavalleria rusticana) e Canio Dennis O’Neill è stato insignito della carica di concerto sulla scena internazionale Bastille, Parigi), Medea (The Royal Opera), (Pagliacci). Altri impegni in Nordamerica lo CBE. interpretando, tra l’altro, l’Ottava sinfonia di Desdemona e Amelia (Opera di Vienna), hanno visto alla Lyric Opera di Chicago, a San Mahler al Festival di Edimburgo; Alberich Madama Butterfly (Houston Grand Opera), Francisco, San Diego, all’opera di Vancouver e Gregory Yurisich oggi è considerato uno dei (Siegfried) in concerto e Salieri (Mozart e e Santuzza (Staatsoper, Berlino). Per English in concerto con le orchestre sinfoniche di principali baritoni del mondo. Le sue recenti Salieri di Rimskij-Korsakov) e la Nona National Opera ha interpretato Otello, Mary Philadelphia, Cleveland, Montreal e Ottawa, interpretazioni del grande repertorio verdiano sinfonia di Beethoven per la rete televisiva Stuart, The Turn of the Screw (per cui si è oltre che al Festival di Cincinnati. Frequente gli hanno conquistato enorme apprezzamento australiana ABC. aggiudicata un premio Olivier) e The Cloak ospite dell’Opera di Monaco, ha esordito qui da parte della critica e comprendono Nabucco La discografia comprende Leporello (Il tabarro) di Puccini. La discografia in Un ballo in maschera e ha interpretato al festival di Bregenz, con la Royal Opera e a (Don Giovanni), un disco di brani solistici comprende Elijah di Mendelssohn (per successivamente un nuovo allestimento del Ginevra; il ruolo di protagonista nel Rigoletto dedicato ai motivi di Peter Dawson e, per Chandos), Les Contes d’Hoffmann di Offenbach, Trovatore, oltre a Der Rosenkavalier, Tosca, in Israele, in Australia e ad Atene; il ruolo di Chandos/Peter Moores Foundation, Scarpia Il trovatore di Verdi e (per Chandos/Peter Lucia di Lammermoor, Simon Boccanegra, Aida protagonista in Simon Boccanegra, e quello di (Tosca) e Sharpless (Madam Butterfly). Moores Foundation) Mary Stuart e Otello. e il ruolo di protagonista in Otello. Inoltre è Escamillo (Carmen) per English National comparso nei teatri lirici di Vienna, Berlino, Opera; il ruolo di protagonista di Falstaff in Alastair Miles, considerato uno dei principali Nato in Galles da padre irlandese, Dennis Bonn, Colonia, Amburgo, Monaco, Nizza, Australia; Germont padre (La traviata) per cantanti inglesi, ha cantato alla Metropolitan O’Neill è uno dei principali tenori del mondo Zurigo, Parigi, Oslo, Bruxelles, Barcellona, l’Opera di San Francisco, la Australian Opera e Opera House (Giorgio in I Puritani e ed è specializzato nel repertorio verdiano. Ha Lisbona, Oviedo, all’Arena di Verona e a a Tel-Aviv e Ginevra; Iago (Otello) con Plácido Raimondo in Lucia di Lammermoor), all’Opéra al suo attivo una lunga collaborazione con la Torino, oltre che all’English National Opera. Domingo per la Los Angeles Opera e a National de Paris-Bastille (Raimondo, a Royal Opera House, Covent Garden, dove ha Ha uno stretto rapporto di collaborazione con Brisbane; Amonasro (Aida), Stankar (Stiffelio), Vienna (La Juive e Giorgio ), a San Francisco interpretato numerosi ruoli, tra cui Rodolfo la Welsh National Opera. Scarpia (Tosca), le quattro personificazioni del (Giorgio, Raimondo, e Basilio ne Il barbiere di (La Bohème), il Duca (Rigoletto), Pinkerton Dennis O’Neill svolge inoltre una ricca cattivo genio (Les Contes d’Hoffmann) e il Siviglia); Amsterdam (Figaro ne Le nozze di (Madama Butterfly), Edgardo (Lucia di attività concertistica e si è esibito in tutta ruolo di protagonista del Guillaume Tell per la Figaro), al Teatro Real di Madrid ( Filippo II Lammermoor), Macduff (Macbeth), Gustavo Europa. Le sue serie televisive per la BBC Royal Opera. Altri ruoli comprendono in Don Carlos), all’English National Opera (Un ballo in maschera), Foresto (Attila), Otello, hanno riscosso enorme successo e sono state Sharpless (Madama Butterfly) per la Australian (protagonista di Mephistopheles, Zaccaria nel Don Carlos, Radamès (Aida), Aroldo (in seguite da un originale televisivo su Caruso. Opera; Balstrode (Peter Grimes) allo Châtelet Nabucco) e al Covent Garden (Elmiro in concerto), Carlo (Giovanna d’Arco) e Jacopo Le registrazioni per Chandos/Peter Moores di Parigi e al teatro La Monnaie di Bruxelles; Otello e Frère Laurent in Roméo et Juliette ). (I due Foscari). Foundation comprendono Cavalleria rusticana, Alfio (Cavalleria rusticana) e Tonio (Pagliacci) Il suo primo Fiesco (Simon Boccanegra)ha Per la Metropolitan Opera ha indossato le Pagliacci, Tosca, La Bohème, Il trovatore e un con cui ha esordito alla Berlin Staatsoper. riscosso un enorme successo, come molte altre vesti di Alfredo (La traviata), Radamès (Aida), disco di Grandi arie operistiche. Nel 2000 Gregory Yurisich si è esibito spesso in interpretazioni verdiane.

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Alastair Miles riscuote altrettanto successo e ha debuttato alla Royal Opera House nel comprende Le nozze di Figaro, The Seven Staatsoper. Presso l’English National Opera, nella sua carriera concertistica che lo ha ruolo di Rochefort (Anna Bolena) con dame Deadly Sins, Salome, Un ballo in maschera e, dove è solista, i suoi ruoli comprendono portato in tutto il mondo e lo ha visto Joan Sutherland. per Chandos/Peter Moores Foundation, Atalanta (Xerxes), Constance (The Carmelites), affiancare importanti direttori quali Giulini, I suoi ruoli comprendono: Ramfis (Aida), Ernani, The Barber of Seville, Tosca, e una Pamina (The Magic Flute), Drusilla (The Mehta, Muti, Chung, Masur, Gergiev, Fasolt (Das Rheingold ) Cadmus/Somnus registrazione della Lucia di Lammermoor. Coronation of Poppea), Nannetta (Falstaff ) e il Gardiner e le più prestigiose orchestre del (Semele), Daland (Der fliegende Holländer), ruolo di protagonista in The Cunning Little mondo. La sua discografia attualmente re Marke (Tristan und Isolde) e il Susan Gritton ha studiato botanica presso le Vixen. comprende ben 42 registrazioni, tra cui vanno Commendatore alla Royal Opera House, università di Oxford e Londra prima di La discografia per Chandos comprende Paul ricordati Elijah, il Requiem di Verdi e Saul e Covent Garden; Gessler (Guillaume Tell ), il intraprendere la carriera di cantante. Nel 1994 Bunyan, The Pilgrim’s Progress, Sir John in Love, Agrippina di Handel. Nel 2000 si è esibito per Commendatore e Basilio (Il barbiere di ha vinto il Kathleen Ferrier Memorial Prize e St Paul di Mendelssohn, una serie di la prima volta in recital nel Regno Unito con Siviglia) a San Francisco; Kecˇal (La sposa ha esordito come solista in un recital presso la registrazioni di messe di Haydn e un’altra Roger Vignoles. La discografia per venduta) per la Chicago Lyric Opera; Ramfis, Wigmore Hall. Svolge una regolare attività registrazione di Falstaff (per Chandos/Peter Chandos/Peter Moores Foundation Daland e Ochs alla Metropolitan Opera. A concertistica in tutta la Gran Bretagna e Moores Foundation). comprende Faust, La Bohème e un disco di questi vanno aggiunti altri ruoli interpretati all’estero, dove si è esibita al Concertgebouw grandi arie operistiche; per Opera Rara, Medea alla Vienna Staatsoper, Deutsche Staatsoper, di Amsterdam, alla Konzerthaus di Vienna e Nato nella regione del Lancashire, Alfred Boe in Corinto, Orazi e Curiazi, Rosmonda l’Opera di Amburgo, ad Amsterdam, e ai alla Philharmonie di Berlino. ha intrapreso gli studi musicali dopo una d’Inghilterra, Ricciardo e Zoraide e Maria regina festival di Istanbul e Bregenz. I ruoli operistici di Susan Gritton tournée con la D’Oyly Carte Opera Company d’Inghilterra. In concerto, Peter Rose ha interpretato la comprendono Susanna (Le nozze di Figaro) e nel 1994. Ha studiato con Neil Mackie presso Nona sinfonia di Beethoven con Giulini; il Zerlina (Don Giovanni) per la Festival Opera e il Royal College of Music, e ha completato gli Nato a Canterbury, Peter Rose ha studiato Requiem di Mozart con Daniel Barenboim e la Touring Opera di Glyndebourne; la studi di recente presso il National Opera musica presso la University of East Anglia e Zubin Mehta; l’Ottava sinfonia di Mahler con Governante (The Turn of the Screw) e Lucia Studio di Londra. poi con Ellis Keeler alla Guildhall School of Tilson Thomas all’Albert Hall; il Requiem di (The Rape of Lucretia) per la direzione di Alfred Boe ha interpretato numerosi oratori, Music and Drama. Nel 1985 si aggiudicava la Verdi al Barbican; La Damnation de Faust con Steuart Bedford a Snape Maltings; Tiny tra cui la Messa di Gloria di Puccini, Elijah di Kathleen Ferrier Memorial Scholarship e nel la Chicago Symphony Orchestra e sir Georg (Paul Bunyan) per la Royal Opera; Belinda Mendelssohn, il Requiem di Verdi e la Petite 1986 il Glyndebourne John Christie Award. Solti; L’Enfant et les sortilèges e L’Heure (Dido and Aeneas) alla Deutsche Staatsoper di Messe solennelle e lo Stabat Mater di Rossini. In teatro ha esordito nel 1986 nelle vesti del espagnole di Ravel con la Cleveland Orchestra Berlino; Fulvia in Ezio di Handel con il King’s Le apparizioni in teatro lo hanno visto nel Commendatore con la Glyndebourne Festival diretta da Boulez; la Missa Solemnis di Consort al Théâtre des Champs Elysées di ruolo di Roderigo in Otello e in quello di Opera a Hong Kong. È stato basso solista per Beethoven con la New York Philharmonic Parigi; Marzelline (Fidelio) con l’Opera di protagonista in Albert Herring di Britten. la Welsh National Opera tra il 1986 e il 1989 diretta da Kurt Masur. La discografia Roma; Romilda (Xerxes) con la Bayerische Nel 1999 ha fatto ritorno alla D’Oyly Carte

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per interpretare il ruolo di Ralph Rackstraw in partecipato a numerose registrazioni nelle programmazione innovativa, al centro della come assistente di Sir John Pritchard. Ha HMS Pinafore alla Royal Festival Hall applaudite serie di Opera in English con il quale vi è un impegno ad interpretare e debuttato all’English Music Theatre, quindi è ed è comparso nelle vesti di Ernesto nel patrocinio della Peter Moores Foundation. commissionare una musica nuova dei diventato direttore d’orchestra presso la Don Pasquale con la Scottish Opera-Go- principali compositori viventi al mondo, tra i Städtische Bühnen Dortmund e la Opera Round. Altri ruoli comprendono Roderigo Dai buoni auspici degli inizi nel 1945, quando quali l’attuale Compositore in Visita James North. È stato Direttore Musicale di Opera 80 (Otello) per il teatro La Monnaie di Bruxelles, fu creata da Walter Legge principalmente MacMillan. dal 1983 al 1987 e dal 1992 è stato Direttore Ferrando e Nanki-Poo (Mikado) per la Grange come orchestra di registrazione, la L’Orchestra si reca frequentemente all’estero Musicale fondatore dell’Opera di Almeida. Park Opera e Rodolfo (La Bohème) per la Philharmonia Orchestra ha continuato ad in tournée ed è l’orchestra sinfonica più Lavora copiosamente in opere e concerti, a Glyndebourne Touring Opera. Alfred Boe è attirare alcuni fra i direttori più importanti del registrata al mondo con ben più di 1000 livello nazionale ed internazionale. Ha diretto uno dei primi cantanti partecipanti al Vilar ventesimo secolo. Hanno collaborato più incisioni all’attivo. Tra queste vi sono, per Opera diverse produzioni presso la English National Young Artists Programme della Royal Opera frequentemente con l’Orchestra Otto Rara, parecchi dischi di arie d’opera nonché Opera e appare regolarmente con la House, Covent Garden. Klemperer (primo Direttore Principale), undici opere complete (Ugo, conte di Parigi, Ne Philharmonia Orchestra. Nel 1996 ha Lorin Maazel, Riccardo Muti, Giuseppe m’oubliez pas, Emilia di Liverpool, L’assedio di debuttato con Così fan tutte al Glyndebourne La carriera di cantante di Geoffrey Mitchell Sinopoli, Carlo Maria Giulini, Sir Andrew Calais, Rosmonda d’Inghilterra e Maria de Festival, dove nel 1998 ha diretto la prima racchiude un repertorio notevole che spazia Davis, Vladimir Ashkenazy e Esa-Pekka Rudenz di Donizetti, Dinorah di Meyerbeer, mondiale di Flight di Jonathan Dove. dalla musica antica a quella contemporanea e Salonen. Attualmente diretta dal Direttore Medea in Corinto di Mayr, Orazi e Curiazi di È un frequente visitatore della Spagna dove che l’ha portato in Scandinavia, Germania, Principale Christoph von Dohnanyi e con Mercadante, Maria, regina d’Inghilterra di Pacini si è esibito in concerto con la maggior parte nella ex Cecoslovacchia, in Canada e Leonard Slatkin in qualità di Direttore e l’Otello di Rossini). L’Orchestra ha registrato delle maggiori orchestre spagnole. Ha diretto Australasia. L’esperienza di direzione degli inizi Ospite Principale, l’Orchestra ha numerosi dischi per la Chandos, tra cui, nelle la prima spagnola di Peter Grimes a Madrid e con la BBC lo ha condotto ad un maggiore consolidato la sua posizione centrale nella serie di Opera in English con il patrocinio della nel 1996 la prima produzione spagnola di The coinvolgimento con i suoi stessi cantanti e vita musicale britannica, non solo a Londra Peter Moores Foundation, L’elisir d’amore, Faust, Rake’s Progress. È apparso in Germania, Svezia, inoltre alla creazione del Geoffrey Mitchell dove è Orchestra Residente al Royal La bohème, Tosca vincitrice di un premio e sei Paesi Bassi, al Festival di Pesaro in Italia, al Choir. Le prime registrazioni sono sfociate nel Festival Hall, ma anche nella società in album con recital da solista di arie d’opera (con Festival Internazionale di Hong Kong, in coinvolgimento a lungo termine del Coro con senso più ampio attraverso soggiorni sul Bruce Ford, Diana Montague, Dennis O’Neill, Giappone con una tournée della Carmen e in Opera Rara, per la quale ha inciso più di territorio. Alastair Miles, Yvonne Kenny e John Messico con la UNAM Symphony Orchestra. trenta registrazioni. Il Coro gode di una fama L’Orchestra ha ricevuto diversi premi Tomlinson). Recenti nuove produzioni da lui dirette sempre maggiore con ulteriore lavoro dalla importanti ed ha conquistato il plauso della comprendono il Fidelio al Festival della Nuova BBC e da case discografiche internazionali. Per critica grazie alla sua vitalità e al calore unico David Parry ha studiato con Sergiu Zelanda, Maria Stuarda al Teatro di Basilea e la Chandos il Geoffrey Mitchell Choir ha del suono. È stata lodata sia per la sua Celibidache ed ha cominciato la sua carriera Lucia di Lammermoor alla New Israeli Opera.

82 83 CHAN 3074BOOK.qxd22/8/074:41pmPage84 d’Inghilterra tra cuiilbelgaPrix Ceciliaper la Opera Rarachehannovintiparecchi premi, questi visononumerosi dischiperl’etichetta patrocinio dellaPeter Moores Foundation. Tra registrazioni operistichecompleteconil Vampyr comprende laproduzione dellaBBCdi Il suo lavoro instudiodiregistrazione di Marschner nonchéventuno di Donizetti. Per Chandosha Rosmonda Der 84 Faust e Della Jones), nonché Alastair Miles, Yvonne Kenny, John Tomlinson Bruce Ford, Diana Montague, Dennis O’Neill, diretto setteregistrazioni diaried’opera (con bohème Peter Moores Foundation. Rosenkavalier (vincitrice diunpremio) ebranisceltida , Don Pasquale , Cavalleria rusticana , tutteincollaborazioneconla , L’elisir d’amore Don Giovanni, Ernani, , Pagliacci , La , Tosca Der David Parry, Dennis O’Neill andCharlesKilpatrick 85

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COMPACT DISC ONE Ramfis (meaningfully, looking fixedly at Radames) noble elation seems to glow inside you! Amneris Nobly born, he’s young and valiant. The god has How all the world would envy (I will die if I have found a 1 Prelude spoken: and honour the woman who merely by her darkly hidden secret love!) now I must tell the King. presence The action takes place in Memphis and Thebes at (Aida enters.) and her beauty could waken in you such ardour! the time of the Pharaohs. (Ramfis leaves. Romance) Radames (seeing Aida) Radames 6 Act I Radames Aida! 3 A soldier’s heart beats faster I pray that I Amneris (to herself; watching) Scene 1 when he’s dreaming of glory. Isis today be chosen and achieve my (He is troubled… Ah, what a Hall in the palace of the King of Memphis has named the man who will command our army dream of glory! look of devotion was there! (Pharaoh). To the right and left a colonnade with and lead them forth to face the foe… With a glorious valiant army Aida! Is she my rival? statues and flowering shrubs. At the back a grand Ah! if only and I as leader… Is he in love with her?) gate from which may be seen the temples and I might achieve that honour! Egypt victorious,… acclaimed (turning to Aida) palaces of Memphis and the Pyramids. by the whole of Memphis! Amneris Come, my dear, come close to me… Introduction. Radames and Ramfis in To you my sweet Aida Another dream more charming, never a slave I find you! consultation I’d enter crowned with glory… still more sweet, still more lovely, You are a sister dear to me, Ramfis saying: ‘for you I battled, for you I conquered!’ may captivate your heart. Have you a longing… with sweetest ties I bind you… 2 Yes, Ethiopia once again has dared to 4 Goddess Aida, fair as a vision, a devotion… more tender? Weeping? And will you share defy our power: on the Nile we are threaten’d magic in beauty, glowing with light, with a sister the sorrow, Radames and in the state of Thebes. I sent a messenger like some fair planet you shine above me, causing you tears of woe? Me? (What a question. to find the truth. you are the ruler of my whole life. Surely she can’t discover Aida Home to your country I would return you, 7 the love that burns inside me.) Alas, I hear the cries of war, Radames back to the sweet-scented land you love: Have you consulted the fearful shouts re-echo… then with a garland I would adorn you, Amneris the will of Isis? What will befall my countrymen? build you a throne nearer to the sun! (I’ll die if there’s another… For them, for you, I’m dying. Home to your country I would return you Ramfis a rival holding him as lover!) Amneris She has decided and let you savour the air you love. Radames Is this the truth? No other reason who will take the supreme (Amneris enters. Duet and Trio) (Can she have guess’d my secret causes your dismay? command of all our armies. Amneris by looking in my eyes? (Aida! Beware my anger!) Radames 5 Have you just heard a joyous She read my secret (Aida casts down her eyes and tries to hide her Ah, what an honour! tale that stirs you? A valiant in my eyes.) emotion.)

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Radames (watching Amneris) Amneris The Messenger Amneris (I see her eyes are flashing… Oh slave, beware my anger, They are led by a warrior as savage Our leader! Our leader! for in your heart I’ll find the truth! as a tiger – Amonasro. Amneris (aside, regarding Aida) Aida I mean to know the truth about your blushes, I tremble, I tremble! Aida, beware my anger! your blushes and all your tears! All Tremble, slave, beware my wrath! The King! The Pharaoh Radames Aida (aside) Now go to Vulcan’s temple …with anger and suspicion…) (The Pharaoh enters, preceded by his guards and (My father!) brave Radames, you must put followed by Ramfis, ministers, priests, officers, etc. on the armour of victorious Egypt! Amneris Scene and Concerted Piece) The Messenger In your heart I’ll find the secret! 9 Now go forward noble army, Now Thebes has risen; from every door and The Pharaoh guard the shores of sacred Nile; Radames gateway 8 Grave is the cause that every voice proclaim our war cry: Can she have read the secret our men are rushing forth hurling summons round their King the faithful men of death and destruction fall upon the foe! that’s hidden in our hearts?… fire and sword upon the wild invader. Egypt. Ramfis Amneris From the Ethiopian front a messenger The Pharaoh Bow in homage. Glory to Isis! I mean to know the truth has arrived now. Hear what he has to tell you. Let death and battle be our only war cry! She it is who guides our fortunes. His news is urgent. Great her might high in the heavens; of your blushes and of your tears! All (to an official ) Isis rules the world below. Battle! Battle! Radames Now bring him here before us! Bow down in homage! Hidden inside our hearts? Destruction, no quarter given! Great the might of Isis. (The Messenger enters.) The Pharaoh (addressing Radames) Aida She guides our fortune, Isis, our holy goddess, Ah! No, sighs for my country The Messenger Isis rules the world below! has chosen her commander, now vie in my heart with other sorrows, Our sacred land has been defiled by fierce the man to lead our glorious troops to battle. Ministers and Captains these tears fast flowing are mourning Ethiopian invaders… they ravaged all our Radames! Now go forward noble army a sad, unlucky love! fields and our farmsteads, burnt all our we shall form a human barrier; harvests… emboldened All every voice proclaim our war cry: Radames by so easy a triumph, the savage troops Radames! death and destruction fall upon the foe! I see in her eyes an angry flash are advancing on the city. an angry flash, suspecting our love! Radames The Pharaoh She reads the tender passion, All Ah! My thanks to Heaven. Yes, now go forward noble army, that’s hidden deep in our hearts! They would not dare to! My prayers have been heard! now go forward to the river.

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Let every voice proclaim the cry; Ministers and Captains a country, and a palace, the royal name All hope is gone, joy comes no more. destruction fall upon the foe! Now go forward, noble army, I am forced to keep unspoken? Do I pray Ah, fatal love, ah, mighty love, we shall form a human barrier etc. he kill my brothers?… Yes there I see him, stained come, break my heart, leave me to die! Aida (to herself ) with the blood I cherish, carried high in triumph Hear me, ye gods, hear my cry. Amneris Who can tell me who I weep for, who I pray by Egyptian battalions. Behind his chariot, I pray it guide you Scene 2 for? a King, my father, led in chains of bondage! Ah, this fatal power that binds me! may it guide you, may it light you, Interior of the Temple of Vulcan at Memphis. Dare I love him, yes, love him yes, may it light you on the valiant path you go. Oh Heaven, forgive all A mysterious light from above. A long row of the mad words I utter! columns, one behind the other, vanishing in both a stranger and a foe? Aida Restore to a dear loving darkness. Statues of various deities. In the middle of Radames (Who can tell me who I weep for, who I pray for?) father his daughter; the stage, above a platform covered with carpet, I can feel the flame of glory All (except Aida) destroy them, destroy all the armies rises the altar surmounted with sacred emblems. fire my mind and quite consume me! Battle! Battle! Battle! that so oppress our land! Ah! – Golden tripods emitting fumes of incense. Grand We will fight and we will conquer: Destroy them! Death and vengeance upon the Wretched madness, how can I? My own beloved! Scene of the Consecration and First Finale death and destruction will fall upon the foe! foe! How could I turn against him, High Priestess (alone) with his fervent devotion when all turned from 13 Amneris (handing a standard to Radames) Aida Almighty, almighty Phtha, the me? spirit of life in us all, ah! From my hand, oh noble leader, Dare I give him my heart, and love His smile was like the sun shining upon me. take this standard bright with glory; both a stranger and a foe? Ah! (with chorus of Priestesses from within) Shall I invoke the death We here implore thee! may it guide you, long may it light you Dare I love him of Radames, the man I love so dearly? on the valiant path you go! both a stranger and a foe? Ramfis and Priests Ah, shall I ever bear Who, from the void, created The Pharaoh Amneris this cruel, deadly anguish, this burning sorrow? earth, air, and sea, and sky, Now go forward, noble army etc. As victor then return! 11 The sacred names of a father and lover, we here implore thee! All I cannot even utter, nor yet recall. High Priestess Ramfis Confused and trembling… the one and the Bow in homage men of Egypt! As victor then return! Almighty, almighty Phtha, the fruitful other… spirit of life in us all, ah! Mighty Isis guides our fortunes: (Exit all but Aida. Scene and Romance) I only want to weep… I want to pray. hers the might and hers the glory! (with Priestesses) Aida Is it a crime to confess such a feeling, We here implore thee! Holy Isis rules the world below! a crime for me to weep, a crime to sigh? 10 As victor then return! How can I utter Ramfis and Priests Radames and Messenger words full of betrayal? That they conquer In darkest night all my senses are reeling, Lord God of ancient mystery, Fight and conquer! my own father, a man who wages war just in cruel distress I long to die! who art both son and sire, Fight and we will be victorious! etc. for me, just to restore me 12 Hear me, ye gods, pity my cry! we here implore thee!

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High Priestess Priests Radames Radames and Ramfis Fire uncreated beyond all time, The sacred sword Come, grant us aid, protect us and defend us. Almighty Phtha! whence came the light and sun! Ah! of the god shall serve you, striking the invaders Protect our holy Egyptian soil! All (with Priestesses) and spreading dismay, massacre, carnage. Priestesses Almighty Phtha! We here implore thee! Ramfis Almighty, almighty Phtha. Massacre, carnage. Act II Ramfis and Priests Ramfis, Radames, Priests and Priestesses Life spirit universal, (turning to the god ) Scene 1 16 Almighty Phtha. great fount of deathless love, Great Godhead we petition thee, A hall in the apartments of Amneris. Amneris we here implore! our guardian and avenger, Priestesses surrounded by female slaves who attire her for the come, raise thy hand in blessing, Life spirit in us all. triumphal feast. Tripods emitting perfumed Priestesses over Egyptian soil. vapours. Young Moorish slaves waving feather fans. Almighty Phtha! Ramfis, Radames, Priests and Priestesses Radames Life spirit in us all, Introduction. Scene, Chorus of Women and Dance Ramfis and Priests Great Godhead we petition thee, who has from nothing the world created, of the Moorish Slaves We here implore! great judge and holy leader. thou who from nothing waves hast Slave-girls Come, grant us thy protection, created, earth, air and Heaven, 17 We hear the hymns and cheering, 14 (Sacred Dance of the Priestesses. Radames, save us, protect Egyptian soil. we here implore thee! praising all his glory and fame; unarmed, is brought into the Temple and Ramfis Who hast created us from nothing, his gaze is god-like, fierce and terrible, conducted to the altar. A silver veil is placed on Grant us thy blessing. we here implore thee! he shines in our acclaim. his head.) Come, raise thy hand in blessing Priestesses Let sweetest flowers rain on you, Priestesses over our holy Egyptian soil. Ah! – Ah! competing with laurels around your brow; Almighty Phtha! Priests Almighty Phtha! let songs of glory celebrate Great Godhead we petition thee, Breathing spirit of life in all, your lover’s tender vow. Priests our guardian and avenger, fruitful spirit of life in all. Amneris We here implore! come, raise thy hand in blessing, All the others Ah, come to me, ah, come my love, enslave me, Ramfis (to Radames) blessing over Egyptian soil! We here implore! and set my heart on fire. 15 The gods have shown you favour: to you they Ramfis Slave-girls Priestesses now Great Godhead we petition thee, The hordes of fierce barbarians, Almighty Phtha! entrust the future of Egypt. The sacred sword our guardian and avenger, all have melted away. of the god shall serve you, striking the invaders come, raise thy hand in blessing, All the others Like sunlight melting winter snows, and spreading dismay, massacre, carnage. blessing over Egyptian soil! We here implore! our armies won the day.

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A victory resounding Aida Aida Amneris has won our hero fame and glorious high reward. Oh, how can I be happy, A longing? Don’t deny it! And after deeds of glory so far from all my people, hearing no word about Amneris But one word further: the truth will the voice of love is heard. the fate of my father and my brothers? A cruel destiny be clear… Come, let me watch you… Amneris came only to a few men… I have deceived you… Radames lives… Amneris Ah, how you grieve me! All human misfortune and one, our fearless leader, Ah, come to me, ah, come, my love awaken me Aida (falling to her knees) must some time have an end… time will bring fell on the field of battle… and speak a tender word! Lives! comfort Aida Oh, gods I thank you! 18 Dance of the Young Moorish slaves and heal your present misery… You cannot mean it! Radames! Amneris (The slaves continue attiring Amneris.) Greater than time too, a god more mighty… the god of love. Amneris And still you would deceive me? Yes, Radames was killed Yes… you love him… I love him too… Slave-girls Aida (much moved, aside) Let sweetest flowers rain on you etc. in battle… (with utmost fury) Ah, love, ah, love, oh, joy and torment… You understand? Behold your rival… sweetest elation, then dark despair… Aida Amneris I who am Pharaoh’s daughter. in all your sorows I feel life quicken… Wretched fate! Ah, come to me, ah, come my love, enslave me, a smile from you can open Heaven’s gate. and set my heart on fire. Amneris Aida (drawing herself up with pride) Amneris (to herself ) You cannot mourn him? You my rival… 19 Well then so be it… I too… could be… No more now! Aida makes her way towards us… Ev’ry expression… all her confusion Aida (checking herself and falling at the feet of Amneris) child of the vanquished, to me her grief is sacred. tell of the secret fever of love… I’ll mourn him for evermore! (At a sign from Amneris, the slaves retire. Dare I still ask her? Have I the courage? Ah! What have I said? Forgive! Aida enters, carrying the crown.) I share the torments of all her alarm. Amneris Forgive me! Ah! But when I see her, my fearful The gods now have avenged you… (to Aida, eyeing her fixedly) 22 But look with pity on my distress… doubts come back to plague me… But now a new anxiety Aida It’s true I adore him with all my heart… I’ll discover the secret she is hiding! disturbs you, sweet Aida? The gods have always You are so happy and you are mighty, Scene and Duet Come share your secret thoughts with me, denied me what I longed for… I live alone for one glance of love! (to Aida with feigned affection) trust in my friendship, my love and Amneris (breaking out in anger) 20 Now the battle is over your people suffer, understanding. Amneris 21 Tremble! I know your secret… O poor Aida! The sorrow Among the men who went to war I will destroy you, I’ll break your heart… You love him… that oppresses your heart, may I not share it? fighting against your country… Daring to love him could mean your downfall. Accept the hand of friendship… it may be that one has kindled Aida I hold your future in my hand, Nothing shall be denied you… live, be happy! longing in your secret heart? Love him? hatred and vengeance now rule in my heart.

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Aida Aida Scene 2 we worship and adore them Ah! You are happy and you are mighty… Ah, no more! An avenue to the City of Thebes. In front of a on this victorious/most blessed day. I live alone for one glance of love! clump of palms. On the right a temple dedicated to Ah, look with pity on my distress. Amneris Ammon. On the left a throne with a purple canopy. Populace (women) – to compete with me. At the back a triumphal arch. The stage is crowded Dance fervently and slowly, Amneris What it means to compete with me. with people. Grand Finale Two Honour the leader we hail! Tremble in slavery! (men) I’ll break your heart, you hateful slave girl! Aida (Enter the Pharaoh followed by the Court – officers, Praise we in festive song, I hold your future in my hand, Ah, no more, priests, captains, fan bearers, standard bearers. we praise our King in festive song! and hate and vengeance now rule in my heart. this love will perish within the grave. Afterwards Amneris with Aida and salves. The No more! No more! Pharaoh takes his seat on the throne. Amneris Priests Chorus (outside) places herself at his left hand.) Worship, bow down before them 23 Now go forward noble army, Amneris on this victorious/most blessed day. guard the Nile, our sacred river; Ah, what it means Populace ev’ry voice proclaim our war cry: to compete with me. 25 Glory to Isis, goddess fair, 26 Trumpet Fanfare death and destruction fall upon the foe! Come, attend me – you who protect and shelter. Our King who rules the Delta, (The Egyptian troops march past the Pharaoh: then Amneris Chorus (outside) praise we in festive song! dancing girls with the spoil captured from the To the triumph now preparing, Let destruction strike the foe! Glory! Glory! Glory! Ethiopians.) you, Aida, will attend me; Glory, oh King! 27 Ballabile you prostrated in the dust and I, Amneris I enthron’d beside the King. – and I will show you Women Populace The lotus buds and laurel what it means to vie with me. 28 Glorious warrior Radames, Aida entwine in fragrant bowers! victor of all our foes; Ah, have pity, what is left me? Chorus A cloud of summer flowers we strew before our heroes, My whole life is now a desert; Let destruction strike the foe! hides all the swords in a veil. laurel and fragrant bay! live and reign in highest glory, Now dance Egyptian maidens I will learn to calm your rage. (Exit Amneris.) to music sweet and holy, Priests This fond love that has enraged you dance fervently and slowly, The gods are everlasting, Aida will soon perish in the grave. bow down before them, 24 honour the leader we hail. Hear me, ye gods, pity my cry! worship the gods and adore them Amneris All hope is gone and joy comes no more. Priests on this most blessed day. Come with me and I will show you Hear me, ye gods, pity my cry! All praise and glory to mighty gods what it means – Ah, hear my prayer, ah, hear my prayer! in Heaven; now bow down before them; (Radames enters.)

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Populace () today shall be granted. Any wish shall not be We were defeated… All I sought was death. Aida, Slave-girls and Prisoners Hail Radames! denied to you… By Egypt’s (indicating his uniform) Forbear! Praise him, let all rejoice. glorious crown I swear it: the gods are witness. 31 As you see, I am wearing the colours Ramfis and Priests Hail Radames, victor of all our foes, of my King and my country in battle; Radames Let the will of the gods be obey’d. we strew before the heroes Fate was hostile to us and our armies… First let the captive slaves be brought to stand laurels twin’d with bay. all our courage and might were in vain. Aida, Slave-girls and Prisoners before your throne… Hail glorious warrior, victor of all our foes. At my feet in the dust of the battle Forbear! (other voices) (The Ethiopian prisoners enter, escorted by guards. lay our King badly mangled and bleeding; Aida Glory, glory, glory! The last of them is Amonasro, dressed as an officer.) if to fight for your country is an evil, But you O King, are great in glory, Hail Radames! Praise him, we are guilty, and ready to die! Ramfis and Priests show us mercy tho’ you are victorious… praise him glorious hero! (to the Pharaoh, in supplication) 30 Worship and glory to all the gods on high, Hail Radames, victor of all our foes. Mighty King, you are noble and glorious, Amneris (to herself ) bow down in worship on this most blessed day. We strew before the heroes show us mercy, tho’ you are victorious. O, what glances, like a doting lover! All priase to the gods. laurels twin’d with bay. We today have been struck down by fortune. How they glow when they see one another! Aida (rushing towards Amonasro) Ah, maybe tomorrow will be your turn to die. Priests Amonasro Oh Heaven! Captive! My father! Worship the gods, Aida We today tho’ have been struck down by fortune, give them praise and glory! All (except Aida) Mighty King, you are noble and glorious etc. but one day it may be your turn to die! Worship the gods and sing their praise. Her father! The Pharaoh Adore them, adore the gods and praise them. Slave-girls and Prisoners Amneris We today have been struck down by fortune; Now that fortune smiles in favour on our city, Populace And in our power! here we kneel to implore your compassion; let us temper our justice with mercy… Glory! Glory! Glory! Aida (embracing her father) may you never be fated to suffer Slave-girls and Prisoners Glory to Egypt! You! Captive here! all the shame we have suffer’d today! Here we kneel down to implore pity and (The Pharaoh descends from the throne to embrace kindness. Amonasro (whispering to Aida) Ramfis and Priests Ah, forbear, forbear! Radames.) Don’t speak my name. Death, O King, to these savage invaders, Populace The Pharaoh close your heart when they try to persuade us. – The Pharaoh (to Amonasro) Priests of Isis, your anger dismays us. 29 Valiant pride of your country, I here salute you. Come forward… Aida, Slave-girls and Prisoners Hear the prayer of the vanquish’d. Hero, see, my daughter is at hand to greet you Who then… are you? Forbear! with Egypt’s crown of triumph. Ramfis and Priests (Radames bows before Amneris, who crowns him.) Amonasro Ramfis and Priests Destruction! Destruction! Destruction! Your heart’s desire Her father. I also fought… They are mark’d by the gods for destruction. – O King, these invaders all deserve to die!

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Radames (to himself ) Ramfis and Priests The Pharaoh but there’s a better pledge of peace and safety Ah, that grief which the Fates send to tear her Let the will of the gods be obey’d! I swore. for the future. Radames, your country’s seems in my eyes to make her still fairer; Death to savage invaders! debt is unbounded. Take in holy marriage Radames ev’ry precious lament that she utters Let them perish; they are mark’d for destruction. Princess Amneris; you shall be Pharaoh with her Then listen: for all prisoners here, I beg of you, reawakens my heart’s tender love. Let the powerful will of the gods be obey’d. at your side when I am gone. grant them their lives, let them go free. Ev’ry precious lament that she utters reawakens my longing and love. Aida Amneris (to herself ) Amneris (to herself ) Mighty King, you are noble and glorious etc. Not all of them! (Slave, you are nothing! Amneris (to herself ) Now will you dare to steal my lover from me?) O, what glances, he dotes like a lover! Radames Priests How they’re glowing to see one another! Ah, her grief seems to make her still fairer etc. Death to our country’s hated enemies! The Pharaoh and Populace I’m abandon’d, I am sad and rejected, 33 Glory to Isis, goddess fair, Amonasro bitter vengeance is born in my heart! Populace you who protect and shelter, Mighty King, you are noble and glorious etc. Grant mercy to the wretched! Amonasro the lotus buds and laurel We implore, show us pity we beg you. The King Ramfis (to the Pharaoh, then to Radames) entwine over the victor’s brow. Ah, forbear! Mercy rises etc. Beware O King. The King And you our Slave-girls and Prisoners Now that fortune has smiled on our city Slave-girls and Prisoners glorious hero, yield to the voice of wisdom; Glory to Egypt’s clement ways, let us temper our justice with mercy! We today have been struck down by fortune etc. they are battle-hardened fighters. you who have loosed our fetters, Ah, forbear! Mercy rises to Heaven Ramfis and Priests They have vengeance in their hearts. you give us back our liberty reaffirming kingly pow’r. Death to savage invaders etc. If you give them all their freedom, and in our native land. Aida Populace they will take up arms again! Show pity I beg you… Ramfis and Priests King most mighty, you O King, are mighty Radames we have today been struck down by fortune, Offer a hymn to Isis in power, ah, let mercy disarm you today. Without Amonasro, their warrior King, all hope but tomorrow it may be your own turn to die. defender of our great country! Ah, show mercy to our vanquish’d foe. of revenge has perish’d. And pray that the smile of fortune Slave-girls and Prisoners will always be kind to our land. Forbear, forbear. Ah, forbear! Amneris Ramfis I’m abandon’d, I, Amneris etc. Show your pity we beg, As pledge of Aida (to herself ) peace and security to all, keep show your pity we implore. Radames Alas what hope is left me now? as hostage Aida’s father. Populace 32 O King, by holy Isis For him a glorious future… Priests of Isis your anger dismays us. and by your crown in its shining splendour, The Pharaoh for me the end, the bitter tears Hear the prayer of the vanquish’d, we beg you! you swore to grant me all I wanted… I’ll do as you advise me, of my despairing love.

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Radames (to himself ) Ah! now I glow with happiness, COMPACT DISC TWO Amneris The gods have turn’d away from me. joy never came so sudden. Yes, and I will pray that Radames may truly Their thunder falls upon me… Amonasro Act III give me his heart, because my own belongs Ah, no, the throne of Egypt Take heart, a time of comfort The banks of the Nile – granite rocks with palm to him forever… rates low by my Aida’s heart. trees. On the summit of the rocks a temple comes soon for your dear country; Ramfis dedicated to Isis half-hidden in foliage. Starry, Amneris (to herself ) for us the day of vengeance Now enter. moonlit night. Introduction, Prayer-Chorus, Ah, how I glow with happiness, now very soon will dawn. You will pray till the sunrise: I shall be with Romance joy never came so sudden; The Pharaoh and Populace you. here in one day I realise Glory to Egypt! Chorus (in the temple) the dream I hold so dear. Glory to Isis, (All enter the temple.) 1 Thou art to great Osiris goddess fair, Ramfis bride and immortal mother. Chorus you who protect and shelter. We pray that fortune always Goddess who wakest chaste desire Have pity on us. The lotus buds and laurel will smile on our holy land. deep in the human heart… Grant us thy aid and pity, entwine over the victor’s brow! font of almighty love, The Pharaoh and Populace Ramfis and Priests High Priestesses have pity on us. Glory! We praise the Gods! We sing in praise of Isis fair. Have pity on us… (Aida enters cautiously.) Glory! Glory! Offer a hymn to Isis Chorus Aida Amonasro (aside, to Aida) defender of our great country. Grant us thy aid and pity 3 Soon Radames will come! What will he tell me? Take heart, a time of comfort And pray that the smile of fortune font of almighty love, I tremble. Ah, cruel man, is coming for your country; will always be kindly. have pity on us. if you’re coming to say farewell for ever, for us the day of vengeance Aida (to herself ) the deep Nile will surely bury me… now very soon will dawn. For me black oblivion, the bitter tears. (Amneris, Ramfis, attendants and guards Ah! Alas what hope is left me now? hide me for ever… Radames alight from a boat that has drawn into the Then I may find there peace and a long For him a glorious future… riverbank.) The gods have turned away from me! for me the end, the bitter tears oblivion. Then thunder falls upon me! Oh, dearest home, no more to see my home. of my unhappy love! Ramfis (to Amneris) Ah, no! the throne of Egypt Slaves and Prisoners 2 Come to the shrine of Isis, and on the night 4 Oh, skies of blue, oh, soft, caressing breezes, rates low by my Aida’s heart! Glory to Egypt’s clement ways, before you are married invoke land where my childhood serenely passed in joy… Amneris you who have loosed our fetters. the holy goddess’s favour. To holy Isis Oh, fertile meadows… oh, fragrant summer All in a day I realise You give us back our liberty ev’ry human heart is open; all that is hidden flowers… the sweetest dream I hold so dear. and in our native land. deep inside us is known to Isis. Oh, dearest country, no more to see my home?

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Oh, fragrant valleys, oh, blessed haven! Amonasro Aida See there, from gloomy caves below Once I had hopes of true and faithful love… The happy bride of him you love and treasure, I! shades of the dead are rising… Now that my dream of love vanishes for ever… your whole existence only to enjoy… all of them point at you and cry: oh, how I long to be in my native land. Amonasro ‘Destroyer of your land!’ Aida Ah, dearest country, no more to see my home. Radames comes here to meet you… A single day of such enchanting pleasure… (Amonasro enters. Duet) he loves you… Aida To know an hour of sweetest joy, and then to die! Heav’n! My father! and commands the Egyptians… you follow? Forbear! Forbear! Father, forbear! Amonasro Amonasro Aida Amonasro (sotto voce) Now remember the blasphemous Egyptians 5 I come, full of concern Betray him! Now I see a phantom profaning our temples, our altars and our for you Aida. Not one look has Betray the man I love? No, no, ah, no. rising among the shadows… homes… escaped me. I realise you Horror! It marks your features – hanging fetters on innocent young virgins… Amonasro (with savage fury) love Radames… he loves you… you will meet mothers… children… they all were put to Destroy us, you armies Aida him, death. of Egypt, destroy us! Ah! the Pharaoh’s only daughter is your rival… Reduce all our cities Curse the Pharaoh! Curse Amneris! Aida to ashes and dust… Amonasro They would destroy us! Ah, I remember days of bitter grieving! spread fury and terror, Pointing a shrivelled arm… Weeping, lamenting, we were in despair. Aida destruction and slaughter, Great gods, oh hear me, show us now your mercy, Aida And I am in her power! I, Amonasro’s for now there is nothing and a fair season of peace again. Father!… daughter! to stand in your way. Amonasro Amonasro Aida Amonasro Remember. Do you not see… Ah, father, father! You are in her power. No! If you wish it I’ll wait no longer. Our people now are waiting you can fight with Amneris and defeat her. Aida for my orders; ev’rything’s prepared… Amonasro (repulsing her) Then homeland and sceptre and love, shall all be No! Success is sure… One vital piece is missing. My daughter yours! We must know by what path our foe will Amonasro 6 no longer! Once again you will see our lofty forests, march… …your mother’s hand… our fragrant valleys, our temples bright with gold! Aida (thrown to the ground and begging) Aida No more, no more, no more! Aida Aida Who could ever discover? But who? Ah! Once again I shall see our lofty forests, Amonasro our fragrant valleys, our temples bright with Amonasro Rivers of blood will drown all our Amonasro gold! Aida! ruined and beaten cities… …raised up to curse you?…

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Aida (with utmost terror) Aida Aida Abandoning my homeland, Ah no, dear father, spare your child! Tomorrow’s dawn will bring your marriage vows. Do you not fear Amneris – the altars of our gods! Amneris loves you… of her rage? Her dreadful vengeance, The soil where I first gathered Amonasro (repulsing her) like the lightning from heaven, my laurel leaves of glory, 7 No more my daughter… Radames will fall on me, upon my father, my people. the place of our first loving, for you are only a slave of Pharaoh! What’s that to me? Radames how could we both forget? Aida (with a cry) My own Aida, I live for you. I will defend you. Aida Ah! Forgive, forgive, forgive! The gods above us are witness I love you. There in the virgin forests etc. (dragging herself to her father’s feet) Aida 8 Father… the Egyptians… Aida In vain! You could not help me… Radames have not… enslaved me… Ah, do not swear it if it is false. Yet if you love me, there is always a course How to forget the place where we declared our Ah, do not curse me… do not despise me… Hero I loved, I cannot love a liar. for us to take… love? I am your daughter… do not disown me… Radames Radames Aida I shall be worthy of you and my land. But do you doubt my love, dear Aida? Tell me! Beneath my sky a freer love would flourish more than ever, Amonasro Aida Aida and there we’d pray together Think of the torment our people suffer, To leave… through you alone they can rise again. Do you sharing our gods as well. imagine you’ll baffle the charms of Amneris, Radames Aida Radames the will of the King, and the wish of the people, To leave here! Oh, dearest country, how much you cost me! Abandon my dear homeland and of the priests in their fury? Aida (with impulsive warmth) and leave my household gods! Amonasro 11 We’d leave this white oppressive heat The place of our first loving, Have courage, he’s coming… there I shall hide… Radames Listen Aida. and all this barren desert, how could we both forget? (He hides among the palm trees as Radames enters. 10 Your people rise again, arming for battle… turn to another fatherland, Aida Duet, Scene – Finale Three) the troops are gathering… soon they will where love could blossom truly. Ah, come, ah, come! There in the virgin forests, Radames march… Radames 9 perfum’d with fragrant flowers At last I see my sweet Aida… and when invaders strike across our borders, Aida! I will be chosen, I shall command. in ecstasy of love Aida And in the triumph, when we’re victorious, we’ll bury all regret. Aida It’s useless… Leave me… What hope is left? I’ll kneel to Pharaoh, open my heart – Radames You don’t love me… Go! Radames then you will wear the crown of my glory, To seek another country Radames A lover’s passion has led me here to you. and we will live in the bliss of true love. and both together fly. Not love you!

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Aida Fragrant valleys and summer meadows, Amonasro Aida Go! the only marriage bed we lie on, Aida’s father, Ethiopia’s King. Ah no! in their courses stars will shine Radames Amonasro with a limpid light above. Radames (with the utmost agitation and surprise) There never was a man nor 13 You! Amonasro! You! The King? No! even a god who burned with love as I for you. Aida and Radames Heaven! You cannot… Come away, we’ll fly together, Radames Aida No… It is false… it is false, leave behind this land of sorrow! For you I played the traitor! No! No! Amneris awaits this is a nightmare. How I love you, how I love you! For you I sold my fatherland! to take you… Come, and love will be our guide. Aida Amonasro Radames (They begin to hurry away, when Aida stops.) Ah no, be calm, and trust in me – No. No guilt can fall on you. No! I swear… Aida Aida Amonasro Aida You swear? You mean it? But tell me, by what path You need the love of Aida… Ah, trust me… Then let the axe fall swiftly can we avoid the troops of Aida Amonasro on me and on my father. marching soldiers? My loving hand will lead you. There where the Nile is glittering, Radames (with impassioned resolution) Radames soldiers of mine are waiting. Ah, no! We have settled that the road Amonasro Ev’ry desire that your heart has longed for 12 We’ll leave here! where my men will attack will be deserted Her love will bring you a throne. will soon be crowned in love. until the morning… Come then, quickly, quickly. Hand in hand we’ll fly together, Radames find a pathway across the desert; Aida My name has been dishonour’d! (dragging Radames) here misfortune rules forever; And where is that? For you I’ve played the traitor and sold my there the heavens smile with love. Amneris (coming out of the temple, with Ramfis) Radames fatherland! Barren deserts will roll around us, 14 We’re betrayed! The gorges the only marriage bed we lie on, Aida of Napata… Aida in their courses stars will shine Ah, trust me! My rival here! with a limpid light above. Amonasro (coming forward ) Amonasro Amonasro (rushing at Amneris with a dagger) Aida The gorges of Napata! No, no! No guilt can fall on you; Would you dare to spoil my triumph? Daily heaven smiles to bless us There I will post my army! it was the will of fate, it had to happen… Die then! in my father’s land of plenty; Radames sweet and balmy airs caress us, But who has Radames Radames (rushing between them) flowers blossom in ev’ry grove. heard us? My name has been dishonour’d! Don’t strike her, you madman!

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Amonasro Destroy them! Destroy them! Amneris Amneris Oh, fury! Oh! Gods forgive me! I love him, You will die… I?… Do you think I murdered her! I love him… This insane, despairing No, she is living… Ramfis Radames love for him is driving me to madness. Guards there, come here! My life is Ah! If only he could love me! Radames hateful! Ev’ry pleasure Living! Radames (to Aida and Amonasro) I long to save him… But can I? is turned to bitter ashes, I have to! Soldiers: Radames may enter. Quickly! Go quickly! and hope is gone for ever. Amneris (Radames is brought in by the guards.) Amonasro (dragging Aida) I pray that I may die. Egypt had tasted victory… 16 Soon all the priests will gather here, the foe was fleeing blindly… Quickly my daughter! judgment will soon be spoken; Amneris down went her father… Ramfis (to the guards, who pursue Aida and you are accused of treachery; May die! Amonasro, who have escaped ) your silence must be broken; 17 Ah! You must live, ah, yes Radames Follow closely! defend yourself I beg you; for my love must live. And she? I will appeal to Pharaoh For you already I have felt Radames (to Ramfis) and beg his royal favour the dreadful pains of death. Amneris Priest of Isis, I yield to you. and beg that he will grant I love you… I sigh and languish… Vanish’d and no one here has forgiveness and spare your life. At night I cry in anguish… seen her… Act IV My country, my sceptre, my throne and my life, Radames Scene 1 Radames all I would surrender, I’d surrender it all for you. The judges will never hear from me The gods will lead her to A hall in the King’s palace. On the left a large Radames any defence or reason; safety among her people, portal leading to the subterranean hall of justice. A traitor to my country… I pray that the gods may witness here she’ll never know the torments A passage on the right leading to the prison of I am dishonour’d and all for her… of one who dies for her! Radames. Scene and Duet I never plotted treason. In innocence I uttered Amneris Amneris (Amneris crouched before the portal ) the words that have offended, No more of her… But if I save you, swear to me Amneris but all that I intended Radames you’ll never see her again… 15 was to be true, I swear. Dishonour My hated rival has escaped me. Radames awaits me, and you would save me? And from the priests now Radames is waiting Amneris I cannot! the punishment of traitors. A traitor he is not… Then save your life, defend yourself. Misery overwhelms me, yet he revealed the secret plan of battle… Aida is taken from me… Amneris He was about to leave here… Radames You may have killed her… before You must renounce her and with Aida. They both are traitors! No! offering life to me. for ever… life will be yours!

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Radames Radames (Radames and the guards cross the stage, and enter You did desert I cannot! Full of rejoicing I die for her. the hall.) Egypt’s armies the day before the start of Amneris Human anger cannot touch me, Ramfis and Priests battle… defend yourself! show me pity if you dare. Once more I ask you; Spirit of Isis – Priests renounce Aida… (Amneris falls despairingly on a chair, Radames Amneris (seeing Radames, with a cry) Defend yourself! Radames leaves surrounded by guards. Scene of the Ah! who will save him? Ramfis It’s useless… Judgement) Ramfis and Priests He is silent… Amneris Amneris (alone, in the utmost despair) – on us all descending! Ramfis and Priests You really want to die then? 19 Alas! I feel I’m dying… Ah, who will save him? Amneris He must die! Radames He is now in their power, I pray that death come soon. Ah, who will save him? I feel I will die! Amneris I’m guilty… he is lost! Oh, how I curse the Alas! Alas! I feel I will die! Amneris jealousy that drove me! His death is certain; Ah, have pity, gods, you must save him, 18 Who will save you, wretched madman, for me a life of endless grief and mourning! Ramfis (in the crypt) ah, hear my pray’r! 21 who will save you from destruction? (The Priests process into the subterranean hall.) Radames! Radames! Radames! Ramfis Since you spurn the love I offer, Oh, how I fear them, these You did betray Radames! Radames! Radames! all my joy is turned to hate. cruel judges, the lords of destruction… your country’s highest secrets to Amonasro… You broke your oath Gods in heaven grant me vengeance; Ah, I’ll not look upon these pallid phantoms! defend yourself! and were false to your country, your King and (She covers her face with her hands.) see my tears of black despair. Priests your honour! He is now in their power… Radames Defend yourself! Defend yourself! and I have sealed his fate! Death I greet you, welcome I give you, I’m guilty! He is lost! Ramfis Priests since I die for her I cherish. He is silent… Defend yourself! Amneris Ramfis and Priests (from the hall ) Ah, who will save you? 20 Spirit of Isis on us all descending! Ramfis and Priests Ramfis Lighten our darkness with your flame eternal; He must die! He is silent… Radames now thro’ our lips express thy justice unending! Full of joy, knowing I perish, Amneris Ramfis and Priests He must die! full of immense accord with her. Amneris Ah, have pity, gods, you must save him, hear my pray’r! Amneris Oh, gods have pity on my tears of anguish; Amneris Gods in heaven, grant me vengeance, for he is innocent and you must save him, Ramfis Ah, have pity, gods, you must save him, see, oh, see my tears of black despair. you must save him or I shall die of sorrow. Radames! Radames! Radames! ah, hear my pray’r!

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Ramfis and Priests Ramfis and Priests This is my tomb for ever. I’ll never see see how his golden wings shine… Radames, our decision is taken; Of death! the daylight again… never behold Aida… He comes to tell us of our joy you will suffer the death of a traitor; Amneris Aida, where are you now? May you at least be and carry us above… by the shrine of the god you’ve forsaken, Ah, you punish, you kill an innocent man. carefree and happy. Pray that you never learn I see the gates of paradise you’ll be buried alive in a tomb Ah, no, oh, no, he shall not die. my horrible fate! I heard a sound! It’s a and then the smile of gods divine… phantom… Is it a vision?… No! It’s a human We two will live in ecstasy, Amneris He has commited no crime… figure… eternally in love. To be buried alive? Cruel monsters! Ah no, a traitor he is not. Heav’ns! Aida! You will always be thirsty for blood… Oh, spare his life! Priestesses (from the temple above) and you say you are servants of God! Ramfis and Priests Aida 25 Almighty Phtha, the breathing Beside you… Ramfis and Priests (returning from the crypt) He has to die! spirit of life in us all. He shall die! He shall die! He shall die! He shall die, he shall die, he shall die! Radames (with utmost despair) We here implore thee. You… in this Amneris (The priests leave.) Priests 22 dark prison! Priests of Isis: you’re guilty of murder! Amneris Ah! We here implore thee. Pitiless tigers, you reek of destruction. Evil vipers, may you all be accurs’d! Aida (sadly) 24 Aida All the earth and the gods condemn your Heaven’s vengeance shall fall upon you! My heart foretold this horrifying sentence. verdict… I saw them raise the cover to confine you! Solemn chanting! Ah, you punish an innocent man. Scene 2 I crept inside to find you… Radames and here, away from ev’ry human presence, Ramfis and Priests The stage is divided into two levels. The upper floor Yes, the rites of close in your arms, I only wish to die here! Sentence of death! Sentence of death! Of death! represents the interior of the Temple of Vulcan the priests of Isis… resplendent with gold and glittering light. The Radames Amneris (to Ramfis) Aida lower floor is a crypt. Long arcades vanishing in the To die! So pure and lovely! Priests of Isis, the man you condemn, Our hymn of death is ascending. gloom. Colossal statues of Osiris with crossed hands To die… because you love me… you know too well, was my heart’s dear beloved… support the pillars of the vault. Radames is delicate, precious flower, so delicate a flower Radames (trying to displace the stone closing the may the curse of a woman broken-hearted, discovered in the crypt on the steps which lead to fade for ever! vault) fall on your senses, avenging his blood! down into the vault. Above, two priests in the act of It was for love you were by Heav’n created, Gods, give my arms the power! Ramfis and Priests letting down the stone which closes the subterranean and now you die because I loved too deeply. Surely my strength can move this dark, fatal Sentence of death! Sentence of death! Of death! apartment. Scene and Duet No, do not die! cover! Last Finale Amneris How I adore you, you are so lovely! Aida All the earth and the gods condemn your Radames Aida (in a delirium) Alas! Now all is over, verdict… 23 The fatal cover’s now in place above me… See now the messenger of death: there is no hope on earth.

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Radames Ir’s over, it’s over. Aida Farewell, oh life, farewell, oh valley of sorrow… Our dream of joy has faded far away… but now the beauty of heav’n is open wide and now our souls will fly up to the light of our eternal day. Radames Farewell, oh life, farewell, oh valley etc. Aida Oh, earth I leave you… etc. Chorus Almighty Phtha we here implore! Aida and Radames Ah! the beauty of heav’n! Farewell, oh life, farewell, oh valley of sorrow. etc. Amneris (dressed in mourning, prostrates herself on the stone which seals the vault ) Grant me your pardon!… Beloved hero… May Isis hear you and give you peace! Chorus We here implore almighty Phtha! Aida and Ramades (as she dies) Of Heav’n… eternal day! Amneris Grant me your pardon. Grant me your pardon. Peace. Chorus Almighty Phtha!

English version by Edmund Tracey Rafferty Bill 116 English National Opera’s production of Aida CHAN 3074 BOOK.qxd 22/8/07 4:41 pm Page 118 Bill Cooper Bill Cooper Bill ON SESSION

Rosalind Plowright and Peter Moores Jane Eaglen 118 119 CHAN 3074BOOK.qxd22/8/074:41pmPage120 ON SESSION Dennis O’Neill 120

Bill Cooper Gregory Yurisich 121

Bill Cooper CHAN 3074 BOOK.qxd 22/8/07 4:41 pm Page 122 Clive Barda Clive Fritz Curzon Fritz Nicola Majocchi Nicola

Jane Eaglen Rosalind Plowright Dennis O’Neill Gregory Yurisich

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Alastair Miles Peter Rose Susan Gritton Alfred Boe

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CHAN 3065(16) CHAN 3045(4) CHAN 3060(5) CHAN 3074 BOOK.qxd 22/8/07 4:41 pm Page 138 Aida Chandos 24-bit Recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 24-bit recording. 24-bit has a dynamic range that is up to 48dB greater and up to 256 times the resolution of standard 16-bit recordings. These improvements now let you the listener enjoy more of the natural clarity and ambience of the ‘Chandos sound’.

Jane Eaglen appears courtesy of Sony Clasical

Staging and off-stage conducting: Charles Kilpatrick Language and vocal consultant: Ludmilla Andrew

Recording producer Brian Couzens of production Opera’s National English Sound engineer Ralph Couzens Assistant engineer Christopher Brooke Editor Jonathan Cooper Operas administrator Sue Shortridge Recording venue Blackheath Halls, London; 23–28 April 2001 Front cover Photo of Jane Eaglen’s eyes by Bill Cooper Back cover Photo of David Parry by Bill Cooper Design Cass Cassidy Booklet typeset by Dave Partridge Booklet editor Kara Reed Copyright English version by Edmund Tracey p 2002 Chandos Records Ltd c 2002 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HQ, Printed in the EU

138 Bill Rafferty

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hh tt TT 79:52 tt ss aa Acts I & I Acts II ii ee rr ll rr ee gg bb pp nn ii EE OO LL Ramfis, chief priest ...... AIDA Choir Mitchell Geoffrey Orchestra Philharmonia Parry David The Pharaoh, King of Egypt...... The Pharaoh, Radames, Captain of the GuardsRadames, Captain ...... Aida, an Ethiopian slaveAida, an Ethiopian ...... Amonasro, King of Ethiopia, Aida’s father...... Aida’s KingAmonasro, of Ethiopia, A Messenger ...... Amneris, his daughter...... PriestessThe High ...... COMPACT DISC ONE CHANDOS RECORDS LTD Colchester . Essex . England

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