CHAN 3083 Book Cover.qxd 21/5/07 5:49 pm Page 1 CHAN 3083(2) CHANDOS O PERA IN ENGLISH CHAN 3083 BOOK.qxd 21/5/07 5:52 pm Page 2 Gaetano Donizetti (1797–1848) Lucia of Lammermoor Tragic drama in three acts Lebrecht Collection Lebrecht Libretto by Salvatore Cammarano after Walter Scott’s novel The Bride of Lammermoor English translation by David Parry Lucia ........................................................................................................ Elizabeth Futral soprano Enrico Ashton, Laird of Lammermoor, Lucia’s brother.....................................Alan Opie baritone Lord Arturo Bucklaw, Lucia’s bridegroom...........................................................Peter Wedd tenor Edgardo, Lord of Ravenswood................................................................Paul Charles Clarke tenor Raimondo Bidebent, a Calvinist chaplain...............................................................Peter Rose bass Alisa, Lucia’s companion ...................................................................Christine Rice mezzo-soprano Normanno, huntsman, a retainer of Enrico...............................................Stephen Chaundy tenor Geoffrey Mitchell Choir Philharmonia Orchestra Simon Over assistant conductor Gaetano Donizetti David Parry 3 CHAN 3083 BOOK.qxd 21/5/07 5:52 pm Page 4 COMPACT DISC ONE Time Page Time Page Part One: The Parting No. 4: Scena and Duet 11 ‘Here is Edgardo…’ 2:52 [p. 102] Scene 1 A garden at Ravenswood Castle Alisa, Edgardo, Lucia No. 1: Prelude and Introductory Chorus 12 ‘Pray remember that my father’ 3:18 [p. 103] 1 Prelude 2:47 [p. 98] 13 ‘Let us swear to love for ever’ 2:23 [p. 104] 2 ‘Through the park and the woods that surround it’ 2:03 [p. 98] Edgardo, Lucia Normanno, Chorus 14 ‘Imagine when the breezes sigh’ 4:51 [p. 104] Lucia, Edgardo Scene 2 No. 2: Scena and Cavatina 3 ‘You seem unhappy’ 2:55 [p. 98] Part Two, Act I: The Marriage Contract Normanno, Enrico, Raimondo 4 ‘Trembling, I feel the horror’ 2:15 [p. 99] Scene 1 Enrico’s room in Ravenswood Castle Enrico, Normanno, Raimondo No. 5: Scena 15 ‘Lucia is coming to you soon’ 3:13 [p. 105] Scene 3 Normanno, Enrico 5 ‘Your suspicions are confirmed now’ 2:09 [p. 100] Chorus, Normanno, Enrico, Raimondo Scene 2 6 ‘All in vain do you try’ 3:36 [p. 100] No. 6: Duet Enrico, Chorus, Raimondo 16 ‘Come here to me, Lucia’ 1:12 [p. 105] Enrico Scene 4 The Park 17 ‘In my eyes, as I approach you’ 4:41 [p. 106] No. 3: Scena and Cavatina 18 ‘In secret I suffered the loneliness’ 3:56 [p. 106] 7 [Introduction] 2:34 [p. 101] 19 ‘What is that?’ 1:29 [p. 106] 8 ‘He is not here yet!…’ 1:47 [p. 101] Lucia, Enrico 9 ‘In deepest night a silence reigned’ 4:27 [p. 102] 20 ‘Your refusal will destroy me’ 3:19 [p. 107] 10 ‘When, in the burning ecstasy’ 4:52 [p. 102] Enrico, Lucia Lucia, Alisa 4 5 CHAN 3083 BOOK.qxd 21/5/07 5:52 pm Page 6 Time Page Time Page Scene 3 Part Two, Act II No. 7: Scena and Aria Scene 1 Wolf’s Crag tower 21 ‘At last!’ 1:55 [p. 108] No. 9: Scena and Duet Lucia, Raimondo 7 ‘Violent and cruel is the night’ 2:18 [p. 115] 22 ‘Ah! Listen, listen to friendly guidance’ 2:17 [p. 109] Edgardo, Enrico 23 ‘In making such a sacrifice’ 3:33 [p. 109] Raimondo, Lucia Scene 2 TT 68:35 8 ‘Ashton!’ 5:52 [p. 115] 9 ‘I long for the moment when daylight is dawning’ 2:45 [p. 117] COMPACT DISC TWO Edgardo, Enrico Scene 4 A hall prepared for Arturo’s reception No. 8a: Finale II Scene 3 The Castle hall 1 ‘We welcome you to celebrate’ 3:40 [p. 110] No. 10a: Chorus Chorus, Arturo 10 ‘So great the happiness that we are voicing’ 1:46 [p. 117] Chorus No. 8b: Scena and Quartet 2 ‘Where is Lucia?’ 1:44 [p. 110] Scene 4 Arturo, Enrico, Chorus No. 10b: Gran Scena with Chorus 3 ‘Our mother’s death still grieves her…’ 2:13 [p. 111] 11 ‘Stop at once your celebrations’ – Enrico, Lucia, Arturo, Raimondo, Alisa, Chorus ‘From the chamber’ 3:00 [p. 117] 4 ‘What restrains me at such a moment?’ 3:29 [p. 111] Raimondo, Chorus Edgardo, Enrico, Lucia, Raimondo, Alisa, Arturo 12 ‘What you have told us is past believing!’ 3:02 [p. 118] Chorus, Raimondo No. 8c: Continuation and Stretta of Finale II 5 ‘Wretched man, do as we tell you’ 3:22 [p. 112] Scene 5 Arturo, Enrico, Edgardo, Raimondo, Lucia, Chorus No. 10c: Scena and Aria 6 ‘Go, you villain, detested and hated!’ 2:21 [p. 114] 13 ‘Oh God in heaven!’ 3:16 [p. 118] Arturo, Enrico, Chorus, Raimondo, Lucia, Edgardo, Alisa Chorus, Lucia 6 7 CHAN 3083 BOOK.qxd 21/5/07 5:52 pm Page 8 Time Page Elizabeth Futral in the title role of Dallas Opera’s production of 14 ‘Alas! I see the spectre between us’ 3:59 [p. 118] Lucia di Lammermoor Lucia 15 ‘They bring the incense’ 6:33 [p. 118] Lucia, Raimondo, Normanno, Chorus Scene 6 16 ‘Here is Enrico’ 3:03 [p. 119] Raimondo, Enrico, Chorus, Lucia 17 ‘Scatter your tears of anguish’ 4:40 [p. 120] Lucia, Enrico, Raimondo, Chorus Scene 7 Ravenswood tombs No. 12: Aria Finale 18 ‘My ancestors lie here buried’ 4:13 [p. 120] 19 ‘A lonely grave will shelter me’ 3:25 [p. 120] Edgardo Scene 8 20 ‘Such misfortune!’ 4:13 [p. 121] Chorus, Edgardo, Raimondo 21 ‘Rest in peace, for I shall follow’ 4:46 [p. 122] Edgardo, Raimondo, Chorus TT 73:52 © 2001 George Landis/Dallas© 2001 George Opera 8 CHAN 3083 BOOK.qxd 21/5/07 5:52 pm Page 10 Roberto Devereux – back to life. In London, approached. In Donizetti’s final, fevered years Donizetti: Lucia of Lammermoor Janet Baker sang Mary Stuart (available in a of activity, before madness clouded his mind, live recording on Chandos, CHAN 3017(2)). he was inspired – as if he knew that he had Lucia of Lammermoor holds a special place The second half of twentieth century And the composer once thought beneath little time left – to pour out one wonderful among Donizetti’s works, both in operatic brought a new surge of international acclaim serious consideration has been the subject of opera after another in every genre: comic, history and in people’s affections. While for Lucia, impelled in the first place by two learned musicological monographs and high semiseria, tragic, heroic. And the more we hear Donizetti’s other serious operas were neglected, famous sopranos. Maria Callas, first in Mexico championship. Philip Gossett, invited to of Donizetti, the more evident it becomes that largely forgotten, Lucia was still performed. At City in 1952, sang Lucia in thirteen cities, in inaugurate Oxford’s ‘Studies in Musical Lucia of Lammermoor is probably the most Covent Garden, where it was introduced in five countries, and she recorded it twice. And Genesis and Structure’ series with a scrutiny of consistent of his serious operas, the score with 1847, with Fanny Tacchinardi-Persiani in the Joan Sutherland, first at Covent Garden in the sketches for Beethoven’s Pastoral the smallest admixture of shoddy. The general role she had created in Naples twelve years 1957, sang Lucia in thirty cities, in ten Symphony, chose instead to write a book public was right, as so often it is, when it earlier, it appeared almost every season for six countries, and also recorded it twice. The about Anna Bolena. Herbert von Karajan decided that Lucia should live on while Imelda decades, with Patti (1861–79), Emma Albani serious Donizetti was rediscovered. As a conducted Lucia. Careful ‘critical editions’ of de’ Lambertazzi, Sancia di Castiglia, Gabriella (1872–7), Marcella Sembrich (1880–84), schoolboy, I read in Gerald Abraham’s the scores are being published. In 1997, di Vergy and Gemma di Vergy, Pia de’ Tolomei, Melba (1888–1907), and finally Tetrazzini textbook A Hundred Years of Music (1938) that bicentennial observance of the composer’s and many other operas were forgotten. (1907–9) prominent among the heroines. In ‘at best one can hope to hear nothing more birth brought, amid much else, a revival of his Lucia was composed at an important point New York, Lucia was the second opera ever than occasional concert excerpts from huge, grand Dom Sébastien in Bergamo (his in Donizetti’s career. Three times during that performed by the Metropolitan Opera (Faust was Donizetti or a sporadic half-dead “revival” for birthplace) and in Bologna (in the theatre, long career and Bellini’s short one, a new the first), with Sembrich, in 1883. Seven the benefit of some star singer.’ (In 1925, after inaugurated by Gluck, that was Wagner’s opera was commissioned from each composer ‘German years’ followed. Lucia returned in 1892, a long absence, Lucia returned to Covent Italian entry-point). to be presented by the same company. In with Patti, and thereafter it has seldom been long Garden (with Toti dal Monte), and was So we hear more and know more of 1829, when a group of noblemen engaged a absent. Melba, Tetrazzini, Frieda Hempel, Galli- dropped after a single performance, as Donizetti than our grandparents did. He has team of stars for a season at the Teatro Curci figure early in the Met’s role call, which ridiculous old rubbish.) But I’ve grown up to been called a Shakespeare of the lyric stage. Carcano, in Milan, Donizetti composed for continues with Toti dal Monte, Lily Pons, hear half of Donizetti’s seventy operas in Amid the greatness, the passionate, specific them his Anna Bolena and Bellini began an Roberta Peters, Anna Moffo, Renata Scotto, performance, and many of them in vivid, delineation of individual plight, there are Ernani.