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Franco Faccio Paolo Carignani Franco Faccio (1840–1891) AMLETO Pavel Černoch • Iulia Maria Dan • Claudio Sgura Dshamilja Kaiser • Eduard Tsanga • Paul Schweinester Prague Philharmonic Choir Wiener Symphoniker Paolo Carignani Act I 39:02 # Recitativo: E son presti i cantor? 5:03 (Amleto, Polonio, Gertrude, Ofelia, Gonzaga, Part I Giovanna, Orazio) Franco 1 Introduzione e Ballabile: Viva il Re! 7:47 $ Finale II: Regina nel core 5:28 (Laerte, Polonio, Chorus, Amleto, Gertrude, Claudio) (Claudio, Gertrude, Amleto, Orazio, Ofelia, 2 Sortita d’Ofelia: Principe Amleto! 3:01 Chorus, Luciano, Polonio) FACCIO (Ofelia, Amleto) (1840–1891) 3 Scena: È pertinace invero un tal corruccio – Act III 37:36 Brindisi: Requie ai defunti 7:20 (Claudio, Gertrude, Amleto, Ofelia, Laerte, Chorus) Part I 4 Racconto e Orgia: Prence – Signor 3:37 % Scena: O nera colpa! – AMLETO (Marcello, Orazio, Amleto, Laerte, Polonio, Chorus) Preghiera: O Padre nostro 6:51 (‘Hamlet’) 5 Invito alla Danza: Signor, questa notte 1:05 (Claudio, Amleto) Tragedia lirica in four acts (1865) (Orazio, Amleto, Claudio, Laerte, Marcello) ^ Gran Scena: Qui l’attendete – 6 Orgia: Su la danza si scateni 1:46 Terzetto: Figliuol, dal cieco furiar rimanti 11:18 Libretto by Arrigo Boito (1842–1918) (Chorus) (Polonio, Gertrude, Amleto, Lo spettro) after William Shakespeare (1564–1616) & Scena: Ah! Che alfine all’empio scherno – Part II Aria: Io rea, che il padre 5:12 7 Preludio e invocazione: (Gertrude) Amleto .......................................................................................................... Pavel Černoch, Tenor Soffia la brezza acuta 6:00 Claudio .....................................................................................................Claudio Sgura, Baritone (Amleto, Orazio, Marcello) Part II Polonio ..........................................................................................................Eduard Tsanga, Bass 8 Racconto e Finale I: Tu dêi saper 8:26 * Preludio – Scena: Morte al Re! – (Lo spettro, Amleto, Orazio, Marcello) Pazzia di Ofelia: La bara involta 14:15 Orazio .......................................................................................................Sébastien Soulès, Bass (Chorus, Claudio, Laerte, Ofelia) Marcello ........................................................................................Bartosz Urbanowicz, Baritone Act II 28:42 Act IV 28:50 Laerte .................................................................................................... Paul Schweinester, Tenor Part I Ofelia ...................................................................................................... Iulia Maria Dan, Soprano 9 Egli ha mania di gironzar soventi 2:01 Part I (Polonio, Claudio, Gertrude) ( Oggi a me, domani a te – Marcia Funebre Gertrude ............................................................................... Dshamilja Kaiser, Mezzo-Soprano 0 Monologo d’Amleto: Essere o non essere! 5:00 (Primo becchino, Amleto, Orazio) 12:09 Lo spettro (‘Ghost’) / Un sacerdote (‘Priest’) .................................... Gianluca Buratto, Bass (Amleto) ) Elegia: Serena, ridente, ripiena d’amore 5:50 Un araldo (‘Herald’) / Il re Gonzaga (‘King Gonzaga’) ..................... Jonathan Winell, Tenor ! Duetto: Chi vien? La giovinetta Ofelia 9:03 (Gertrude, Un sacerdote, People, Primo becchino, (Amleto, Ofelia, Polonio) Claudio, Laerte, Amleto, Orazio) La regina Giovanna (‘Queen Giovanna’) .......................................... Sabine Winter, Soprano Luciano / Primo becchino (‘First Gravedigger’) ...................................Yasushi Hirano, Bass Part II Part II @ Gran Marcia Danese: Viva il Re! 2:07 ¡ Illustri cortigiani e cavalieri 10:51 (Chorus) (Un araldo, Chorus, Claudio, Laerte, Amleto, Orazio) Prague Philharmonic Choir (Lukáš Vasilek, Chorus Master) Members of the Bregenz Festival Choir (Benjamin Lack, Chorus Master) Stage orchestra in cooperation with Vorarlberger Landeskonservatorium Wiener Symphoniker Paolo Carignani musician need not concern himself with what is no concern of in Shakespeare as a willing accomplice, who confesses her Franco Faccio (1840–1891) his. Hamlet is of no concern to a musician.’ Did he know Faccio guilt in her third act aria: ‘I am guilty: I robbed my son of father Amleto (1865) and Boito’s Amleto, we might wonder? and throne, I am no mother’. The prince has learnt the manner of Faccio and Boito were the first authors of an operatic his father’s murder from the apparition of the dead king. Instead Hamlet on the Altar of Art also painters and sculptors. Boito had already written the adaptation of Hamlet who genuinely felt bound by of promptly carrying out the instruction to take vengeance, text to Verdi’s hymn Inno delle nazioni (‘Hymn of the Nations’) Shakespeare’s original. Of course even they had to shorten Hamlet resorts to the medium of the theatre: he has a troupe of ‘If, as Boito writes, I have profaned the altar of art, then let in 1862, a year before he made his public criticisms of the this long and complex play, remove certain characters and travelling performers, recently arrived at court, act out a play in him cleanse it: I shall be the first to come and light a candle.’ composer. Nevertheless, it was not Boito but another author adapt scenes for the operatic stage. This, though, they did accordance with a scenario devised by himself: another brutal This was Giuseppe Verdi’s reaction, as expressed in a letter, from the Scapigliatura, Emilio Praga, who Faccio chose to in a conscientious, precise fashion. The very opening of the regicide, The Murder of Gonzago. Whereas at the start of the to the accusatory words of the writer and composer Arrigo be the librettist for his first opera, which was taken off the opera reveals how skilfully Shakespeare’s drama and indeed opera Hamlet could only look on in disgust at the sight of the Boito. He had taken the occasion of Franco Faccio’s first programme after five disappointing performances at La Scala. the theatrical practice of his time have been translated into the riotous celebrations, he becomes an active shaper of events opera I profughi fiamminghi (‘The Flemish Refugees’) on 11 Boito was keen to propagate a new form of Italian opera new context. Music, noises and plot narration all play a major after the appearance of the Ghost. He takes on the role of a November 1863 to accuse Verdi – implicitly if not by name – of and set out his proposals in the magazine Figaro, which he role in Shakespeare’s text, replacing a stage setting that is often madman, and subsequently himself becomes the director of having ‘sullied the altar of art like the wall of a brothel’. A few published together with Praga. Alongside a greater degree of merely implied, or entirely absent. The opera departs from events. days later Boito’s words were published under the headline musical unity within acts he aimed for a more equal relationship the play in opening with a lively party to celebrate the newly Shakespeare’s play and Boito’s libretto both leave the ‘All’arte italiana’ (‘To Italian art’) in a Milan journal. between libretto and music and argued that artists should crowned king Claudius – Hamlet’s uncle and now his mother’s question open as to whether Hamlet is aware that the royal Almost 20 years later, on 24 March 1881, the premiere of study German chamber music and, more especially, the husband. In the play, the prince tells Horatio: ‘The king doth couple and Polonius are eavesdropping on him during his Verdi’s opera Otello, based on William Shakespeare’s play, music dramas of Richard Wagner. Faccio and Boito’s opera wake tonight and keeps his rouse, / Keeps wassails and the famous ‘To be or not to be’ speech. If he does know, he fulfils took place at the Teatro alla Scala in Milan. The libretto was Amleto (‘Hamlet’) was to serve as a prime example of this kind swaggering upspring reels, / And as he drains his draughts of the expectations of his listeners. ‘But look where sadly the poor written by Boito and Franco Faccio was the conductor. Boito of nuovo melodramma – this new form of opera. It was first Rhenish down, / The kettledrum and trumpet thus bray out / wretch comes reading’, says the queen in the opera. If Hamlet’s and Verdi, who all those years before had exchanged such performed in Genoa in 1865. the triumph of his pledge.’ In the lavish opening scene of the vocal line has thus far been principally characterised by a kind unvarnished aesthetic opinions about each other’s work, The choice of Shakespeare’s drama presented the two opera this jubilant celebration and ecstatic dancing, along with of violent energy – in the preceding scene he vociferously swore had managed to put together an adaptation of Shakespeare artists with a major challenge. Unlike several successful Hamlet’s disgusted reaction, all mingle together. Where Hamlet vengeance to the Ghost – his voice now takes on a reflective that remains unparalleled to this day. At the age of 20 Boito Shakespeare plays such as Julius Caesar, Romeo and Juliet, refers in the play to music that can be heard beyond the stage, tone, with a melodic line only hesitantly emerging. Faccio did had already taken on one of the greatest of all Shakespeare’s Othello and Macbeth, Italy tended to struggle with Hamlet. Boito and Faccio put that music on stage. not compose the soliloquy as an aria, but instead connected dramatic challenges, in the aim of reinventing Italian opera: Hamlet’s famous ‘To be or not to be’ soliloquy was first In this scene Boito characterises the king with a drinking various and recitative
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