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Vincenzo Bellini VINCENZO BELLINI ADELSON & SALVINI 2 2 ADELSON & SALVINI Bradley Williams • Alicia Nafé • Fabio Previati • Aurio Tomicich • Andrea Licata Orchestra e Coro dell’ E.A.R. Teatro Bellini PRODUCTION Danilo Prefumo SOUND ENGINEER Luigi Oselin PRE-EDITING Angelo Sonvico EDITING Roberto Chinellato RECORDING Catania, Teatro Bellini, September 23/27, 1992 232734_booklet_lang_NEU.indd 2 20.01.15 10:05 3 3 VINCENZO BELLINI ADELSON & SALVINI Bradley Williams • Alicia Nafé • Fabio Previati • Aurio Tomicich • Andrea Licata Orchestra e Coro dell’ E.A.R. Teatro Bellini 232734_booklet_lang_NEU.indd 3 20.01.15 10:05 4 4 Alicia Nafé Fabio Previati ADELSON & SALVINI Dramma semiserio in due atti di Andrea Leone Tottola Ricostruzione, revisione e trascrizione della partitura e del libretto di Domenico De Meo Bradley Williams Aurio Tomicich Andrea Licata 232734_booklet_lang_NEU.indd 4 20.01.15 10:05 5 5 VINCENZO BELLINI ADELSON & SALVINI Dramma semiserio in due atti di Andrea Leone Tottola Ricostruzione, revisione e trascrizione della partitura e del libretto di Domenico De Meo SALVINI BRADLEY WILLIAMS FANNY LUCIA RIZZI NELLY AICIA NAFÉ MADAMA RIVERS ELEONORA JANKOVIC LORD ADELSON FABIO PREVIATI STRULEY ROBERTO COVIELLO BONIFACIO AURIO TOMICICH GERONIO GIANCARLO TOSI ORCHESTRA E CORO DELL’ E.A.R. TEATRO BELLINI CHORUS MASTER MARCELLO SEMINARA ANDREA LICATA CO-PRODUCTION WITH E.A.R. TEATRO BELLINI - CATANIA 232734_booklet_lang_NEU.indd 5 20.01.15 10:05 6 6 CD 1 1 Sinfonia 8:21 ATTO PRIMO / ACT ONE 2 “Immagine gradita” (Fanny) ......................................... 3:47 3 “Amici, allegramente!” (Madama Rivers) . 2:19 4 “Andate pure, o cari” (Madama Rivers)................................. 2:34 5 “Geronio ancor non viene” (Struley)................................... 1:06 6 “Tu provi un palpito” (Struley)......................................... 3:50 7 “Ah, se trovassi alfin” (Geronio) ....................................... 3:19 8 “Bonifacio Beccheria” (Bonifacio)..................................... 4:09 9 “In Napoli il far debiti” (Bonifacio) ..................................... 2:06 10 “Speranza seduttrice” (Salvini) ....................................... 6:16 11 “Oh! Quante amare lagrime” (Salvini) ................................. 3:53 12 “Ma che forse vorresti” (Bonifacio) .................................... 3:08 13 “Dopo l’oscuro nembo” (Nelly) ....................................... 6:20 14 “Ma non m’inganno... Sì” (Nelly) ...................................... 2:54 15 “Ah! L’oppresse il dolor” (Salvini)...................................... 3:51 16 “Ah! Se non vuoi, mio ben” (Salvini) ................................... 3:40 17 “Signorina...” (Bonifacio) ............................................. 4:15 18 “Noi, qui l’attenderemo” (Coro) ...................................... 2:57 19 “Obliarti! Abbandonarti!” (Adelson) ................................... 3:13 20 “Oh! Mio caro!” (Madama Rivers)...................................... 7:07 79:12 232734_booklet_lang_NEU.indd 6 20.01.15 10:05 7 7 CD 2 ATTO SECONDO / ACT TWO 1 “Ehi! Geronio!” (Struley)..............................................3:33 2 “È dunque ritornato il mio nemico?” (Struley) ...........................2:27 3 “Ah Bonifacio!” (Madama Rivers) ......................................3:37 4 “Poni l’esca a contatto del fuoco” (Bonifacio) ..........................4:48 5 “Ah, sciagurato!” (Adelson) ..........................................2:12 6 “Torna, o caro, a questo seno” (Adelson) ..............................8:56 7 “Hai ben compreso il tutto?” (Struley) .................................6:39 8 “Taci, attendi, allor vedrai” (Bonifacio) .................................4:33 9 “Sì, venite miei cari’ (Adelson) ........................................7:25 10 “Ecco alfin quel caro oggetto” (Adelson) ..............................5:20 11 “Al foco! Al foco!” (Coro) ............................................7:41 12 “Lieti facciam ritorno” (Coro) . 1:41 13 “Ecco signor la sposa” (Salvini) .......................................4:22 63:21 232734_booklet_lang_NEU.indd 7 20.01.15 10:05 8 english ADELSON E SALVINI: THE STORY OF A FRIENDSHIP Maria Rosaria Adamo «Adelson et Salvini. Anecdote anglaises» passions which, if unchecked, could lead is the title of a story that François–Thomas even the best of men to the most horrible de Baculard d’Arnaud included in his crimes, and developed the theme of collection Les Epreuves du sentiment, friendship, the friendship between the published in Paris between 1772 and English Lord Adelson and the Italian 1781. The unknowing reader would, painter Salvini which was put to the test however, find it difficult to recognise the when the latter, having accompanied tale’s influence on Bellini’s opera – except his friend to England, met Adelson’s of course for the title itself – for no fewer fiancée Nelly and fell hopelessly in love than four adaptations stand between with her. Caught up in an increasingly the original «Anecdote anglaise» and the uncontrolled passion, despite his pangs second version of Bellini’s opera which of conscience, the painter makes a vain brought about a complete change. suicide attempt and then is about to hand his friend Adelson over to his enemy The grim story invented by Arnaud, a Struley, stopping short of this dreadful master in that sentimental–horror school treachery at the last moment and killing that was so popular in certain types Struley instead. Yet on the day before his of pre–romantic literature, intended friend’s wedding the painter, in a fit of rationally to illustrate the terrible effects of rage, stabs Nelly and is executed for his 232734_booklet_lang_NEU.indd 8 20.01.15 10:05 english 9 crime, after having obtained the pardon Nelly away; Struley manages to get of friend Adelson, who soon follows him in away, yelling as he does so that Salvini death, destroyed by his grief. has killed Nelly. Convinced that he has murdered the woman he loves, Salvini The first person to effect changes in presents himself before the court in the grim story was Prospère Delamare, which the law requires he be judged by who wanted to make a theatrical work Adelson. In reality Nelly has been found of it for production at the Paris Théâtre unharmed and the trial is an expedient Gaieté and thus thought it advisable through which the lord obtains Salvini’s to write a happy ending. Delamare’s repentance, making him understand version centres on the character of the consequences of his disloyalty by Struley, now presented as Nelly’s uncle threatening to show him the corpse who, harbouring an old grudge against of his victim. The trick is effective and Adelson, intends to impede his marriage Salvini’s horror cures him of his unhealthy by abducting his niece, having already passion and wins him Adelson’s pardon. obtained the complicity of Salvini Adelson grants him the hand of Jenny, whom he has convinced that Adelson is a sister of Nelly’s who in turn is in love already married and intends to dishonour with the painter: this character being Nelly with a sham marriage. Having an invention introduced by Delamare discovered the trick while the abduction in order to complete the happy ending is taking place, Salvini then tries to hinder with a double wedding, the reward for the crime by stabbing Struley as he drags the final repentance of Salvini, who 232734_booklet_lang_NEU.indd 9 20.01.15 10:05 10 english being less guilty in this version evades the genuine ranting and becomes a source fate that awaits a murderer. of public hilarity. In 1816 Andrea Leone Tottola was This was the libretto that Bellini chose in seeking a subject for a comic opera 1824 when, as tradition had it, Zingarelli for Valentino Fioravanti, and it was invited his best pupil to crown his years of this ending that helped him to see study at the conservatory by composing in the piece a workable model for a an opera for performance in the little melodramatic adaptation of Baculard theatre of San Sebastiano. d’Arnaud’s story, on to which he grafted an element of comedy through the What was it that led Bellini to prefer addition of the character of Bonifacio, Tottola’s libretto to others? The question is Salvini’s Neapolitan servant. Bonifacio important, for Bellini’s search for librettos expresses himself in pure Naples dialect, was always laborious, and he, as we thus countering its ancient popular know, was always actively engaged in wisdom against the crazes and manias of the drafting of his librettos. These often the painter, which – rendered in all their took on a development and meaning original vehemence such as to heighten far removed from the original source the contrast even further and often work, becoming vehicles for his chosen deliberately overstated – in Bonifacio’s message, which like a fil rouge can be glosses lose any hint of verosimilitude. traced through his various operas; a The end product thus appears to be message that the musician expressed 232734_booklet_lang_NEU.indd 10 20.01.15 10:05 english 11 clearly in the proposition that “the great own interests, and artistic and human strength with which man is endowed convictions. Tradition and convenience and that permits him to overcome the required a work that was not unduly obscure power which, according to the „serious“, one which would entertain fondly held dictates of the romantics, its audience in the Carnival season bears down upon him drawing him to and, in Tottola’s libretto, the ample his ruin, lies in the fraternal support that recited sections larded with Bonifacio’s he can offer and
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