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Giorgio Caoduro

Anna Viola Cecilia Bernini mezzo-soprano Alessandro Cortello Fabio Maria Capitanucci baritone

Giorgio Caoduro, , Florence 2017 Dandini () Brno Janáček Chorus Pavel Koňárek Chorus master Recorded at Tonstudio Ranchman in Dolní Bojanovice (Czech Republic) from 2 to 4 February 2019 Recording producer: Jiří Gemrot / Sound Engineer: Aleš Dvořák Audio post-production: Tranquilo studio - Milano Virtuosi Brunenses Mix engineer: Stefano Barzan / Assistant: Cinzia Guerreschi Executive producer: Giorgio Caoduro, Michael Sawall (note 1 music) Jacopo Brusa Translations of the essay: note 1 music (Deutsch), Mark Wiggins (English) Design: Mónica Parra direction Booklet editor & layout: Joachim Berenbold Photos Giorgio Caoduro: James Lloyd ℗ & © 2021 note 1 music gmbh, Heidelberg, Germany CD manufactured in The Netherlands Gioacchino Rossini the art of virtuoso baritone

Torvaldo e Dorliska Teatro Valle, Rome, 1815 Teatro , Venice, 1823 1 Air Oh qual voce d’intorno rimbomba (Duca) 5:25 6 Air Si, vi sarà vendetta (Assur) 10:30 with Brno Janáček Chorus with Brno Janáček Chorus

La Cenerentola Teatro Valle, Rome, 1817 L’inganno felice Teatro San Mosè, Venice, 1812 2 Scene & Air Come un’ape ne’ giorni d’aprile (Dandini) 7:17 7 Air Una voce m’ha colpito (Batone) 6:06 with Brno Janáček Chorus, Anna Viola (Clorinda), Cecilia Bernini (Tisbe), Fabio Maria Capitanucci (Don Magnifico), Guillaume Tell Théâtre de l'Académie Royale de Musique, Paris, 1829 Alessandro Cortello (Don Ramiro) 8 Air Sois immobile (Guillaume Tell) 2:51 3 Duet Un segreto d’importanza (Dandini & Don Magnifico) 5:04 with Josef Klíč (solo cello) with Fabio Maria Capitanucci (Don Magnifico)

La Cenerentola Teatro Valle, Rome, 1817 Teatro alla Scala, Milan, 1817 9 Duet scene Si, tutto cangerà (Alidoro & Cenerentola) 9:05 4 Air Accusata di furto (Fernando) 6:09 with Cecilia Bernini (Cenerentola) Air Là del ciel dell'arcano profondo (Alidoro) Teatro San Moisè, Venice, 1813 5 Air Nel teatro del gran mondo (Gaudenzio) 5:37 10 Alle voci della gloria 11:04 Scene & Air for edited by , Ricordi, Milan and low, both for women and men. The identi- portance for the development of Romantic op- The Art of the Rossinian Baritone fication of intermediate voices (mezzo-soprano era in . In contrast to the buffe, semi- Damien Colas and baritone), shifted by a third (and not a fifth) serio works often derive from novels rather than in relation to extreme voices, was done later, plays. The novels of the second half of the eight- for the sake of a rather debatable clarification. eenth century, including Les amours de Faublas In Rossini's time, some bass voices were known by Louvet de Coudray (1787), were a minor Not so long ago, a “” soprano meant ry, opera took the form of a vast cathedral whose to have a large extension in the upper register, literary genre, often intended for women and the highest of all , capable of climbing pilasters were the , miniature concertos for allowing them to deploy spectacular cadences especially designed to fill their boredom. They the high register as well as mastering the most voice and orchestra. The rise of the stars of the over two octaves or even more. These basses abound with episodes of adventures intended to acrobatic passages of virtuosity. This term, al- moment led to feats of virtuosity from the first differed from the more powerful ones, with a make them dream, such as the Polish episode of though still in use, is slowly disappearing. The decades of the century. But a new path slowly heavier voice, less at ease in the upper register Faublas, from which both Cherubini's Lodoïska term "light soprano" is preferred, while “colo- emerged, as a reaction against such vocal acro- and in the art of diminutions. It is to this type (1791) and Rossini's Torvaldo (Rome, 1815) de- ratura” mezzos, and even basses appear. batics. These were the "reforms", or more pre- of "high" bass voice that belonged, rive. Facing the noble hero, on whom the female cisely "attempts" to reform the traditional mod- whose name is inseparable from Rossini's career. readership is invited to fantasize, are villains of Is this an abuse of language? No: all the voices el, which developed in several cities in Europe, The Roman singer, born in 1783, made his debut terrifying wickedness. The Duke of Ordow, in must have the "coloratura". Originally, the term such as Vienna, Stuttgart or Parma. The renun- as a tenor and sang in this range for a decade. Torvaldo, is a scoundrel who holds captive in designated the art of variation by diminutions. ciation of vocal virtuosity was compensated for For reasons that are still unclear, but perhaps his castle the young Dorliska, whom her hus- When a long note was substituted by several by the emergence of other poetic components, on the advice of the composer Paisiello, Galli band Torvaldo is about to free. Just as the Duke short notes, the score changed its appearance. including the primacy of the choral masses and reworked his technique and became bass – that is about to put the two spouses to death, they From white, it was "colored", because the long a growing interest in staage movement and the is, baritone according to the current nomencla- are saved in extremis by the crowd of peasants notes are white and the short ones are black. art of gesture. Rossini's chronological position ture – and it was in this new that he who invade the castle and overthrow the tyrant. The "coloratura" was none other than the art is exceptional: it corresponds very precisely to made his debut, in 1812, in Rossini's L'inganno The "Oh qual voce d'intorno rimbomba" of diminutions, that of playing or singing fast the moment of synthesis of the two currents, felice (The happy stratagem). Obviously, this (track 1) contains, supported by the choir, a cre- notes. Hence its link with virtuosity. It goes during the second decade of the 19th century. new beginning was a good one for him: the new scendo that Rossini will amplify in (1816). without saying that, from soprano to bass, all The performers were the heirs of the art of sing- Galli had a brilliant career, he created the great- In L'inganno felice (Venice, 1812), Batone, having the voices must acquire the mastery of colora- ing of the previous century; the musicians com- est roles in many by Rossini and thepart accepted to be the damned soul of another in- tura. Can you imagine a pianist or a violinist un- posed according to both systems, traditional of Henry VIII in Donizetti's (1830). famous man, Ormondo, tried to drown at sea able to play a passage in sixteenth notes on their and reformed. Isabella, wife of Duke Bertrando, with whom instrument? The , at that time, did actually not , L'inganno felice and La gazza Ormondo was in love. When, years later, Batone know that they had this type of voice. They were ladra belong to the semi-serio genre. It is a vari- recognizes Isabella, remorse awakens in him, if It was in 18th century Italy that vocal virtuosity called basses. Until the middle of the 19th cen- ant of the buffo genre that flourished in the first only for a moment, the voice of nature ("Una reached its peak. At the beginning of this centu- tury, voices were quite simply classified as high decades of the 19th century and was of major im- voce m'ha colpito", track 7). The sentimental

6 7 vein of L'inganno felice seduced the whole of Italy as well as in London and Paris. Welcomed We meet Filippo Galli again in Semiramide, and might seem surprising today – and the most Europe and imposed the name of Rossini, still with great pomp by Don Magnifico, Dandini Rossini's last work written in Italy (Venice, popular roles were dramatic. Like the De Beg- at the very beginning of his career. Fernando, first of all passes himself off as the prince, which 1823) and one of his most accomplished tragic nis couple, the Dabadie couple were friends of in La gazza ladra (Milan, 1817), on the contrary, gives him the opportunity, in his "Come un works. The legend of Semiramis had, since the Rossini’s and faithful servants of his repertoire. belongs to the clan of persecuted victims. He is 'ape ne' giorni d'aprile" (track 2), to deploy the Renaissance, been the subject of innumerable Henri-Bernard created the roles of Pharaoh in the father of Ninetta, falsely accused of steal- roaring rhetoric of the powerful people of this adaptations for the theater. It is from Voltaire's Moïse, Raimbaud in and the title ing a silver spoon. "Accusata di furto" (track world. It is he himself who will unveil the decep- tragedy (1748) that Rossini's opera is derived. In role of Guillaume Tell (Paris, 1829). The heart- 4) is the cry of despair of a father who has just tion, in Act II, in his scene with Magnifico "Un this tradition, the Queen of Babylon is in love rending prayer "Sois immobile, et vers la terre" learned that his beloved, innocent daughter has segreto d'importanza" (track 3) which remains with her son Ninyas, who was brought up far (track 8) is the moment when William is about just been sentenced to death, and who will do one of Rossini's great comic duets. Alidoro, who from the court and whom she does not know, to undergo the inhuman ordeal of the apple. anything to save her. The three roles of Batone, replaces Perrault's godmother in Rossini's op- but she repents of all her crimes on the very day The chant line answers the solo cello line, with- Ordow and Fernando were created by Filippo era, was sung, during the premiere in Rome, by she recognizes her son. The weight of her guilt out any other ornaments. Galli and illustrate the vocal means at the dis- a second rank bass. Its part had been composed is transferred to Assur, a former accomplice of With his tribute to the great roles of Filippo posal of this interpreter as well as the variety of by a collaborator of Rossini, Luca Agolini. It the queen who murdered King Ninus for her. A Galli and Henri-Bernard Dabadie, as well as a his expressive palette. was during the revival of the opera in 1820 that spectacular scene of hallucinations, "Sì, vi sarà few other baritones of the time, Giorgio Cao- Rossini replaced Agolini's aria by a virtuoso aria, vendetta" (track 6), is reserved for him, and not duro reminds us of the dazzling richness of the Although classified in the genre of , "La del ciel" (track 9), of a formidable virtuosity. for the queen, just before the bloody conclusion repertoire composed for this type of voice, a and built on the same mould as the previous of the work. repertoire in which the old roles of basso buffo, comedies L'italiana in Algeri and Il barbiere di Nicola de Grecis, a Roman basso buffo, had begun the more modern ones of tyrants, afflicted fa- Siviglia, La Cenerentola (Rome, 1817) is close to his career in the 1790s. He was old enough to sing The story of the brilliant aria "Alle voci della thers or repentant criminals converged, and the semi-serio genre. The work derives from a the comedy senex when Rossini started his the gloria" (track 10) is not yet clearly recon- finally where the roles of mature heroes were fairy tale by Perrault (1697), although many the- career. He participated in the creation of several structed. It has long been considered as an aria already appearing, roles to which Verdi would atrical adaptations had preceded Rossini's, and of the farces, including Il signor Bruschino (Venice, intended for Blansac's character in di give, a few years later, their letters of nobility. there are some authentic villains, in this case 1813), the most comic and therefore the most re- seta (1812), and composed in 1813. There are still the shrews Clorinda and Tisbe, Angelina's half- mote from the lamenting universe of L'inganno doubts about this hypothesis, particularly be- sisters, and Don Magnifico, her unworthy fa- felice. Gaudenzio, an old baron, opposes the mar- cause of the presence of brass and percussion, ther. Dandini, Prince Ramiro's footman, on the riage of his daughter Sofia to the man she loves, absent from Rossini's early scores. other hand, is a sunny and humorous character. Florville, and plans to marry her to a certain Br- It was created by the Romagnol baritone Gi- uschino. Gaudenzio appears on stage, full of bit- The French school of singing in the first dec- useppe De Begnis, an excellent friend, like his terness, pontificating about his long-life experi- ades of the 19th century was largely independ- wife the soprano Giuseppina Ronzi De Begnis, ence (“Nel teatro del gran mondo”, track 5). The ent of Italian virtuosity. French voices were of Rossini’s whose repertoire the couple sang in prototype of the old grumpy, so to speak. immense – something that has been forgotten

8 9 basses. Jusqu’au milieu du XIXe siècle, les voix Torvaldo e Dorliska, L’inganno felice et La gazza la- L’art du baryton rossinien étaient classées en aiguës et graves, aussi bien dra appartiennent au genre « semi-serio ». Il s’agit Damien Colas pour les femmes que les hommes, tout simple- d’une variante du genre buffo qui s’épanouit dans ment. L’identification des voix intermédiaires les premières décennies du XIXe siècle, d’une (mezzo-soprano et baryton), décalées d’une importance capitale pour le développement de tierce (et non d’une quinte) par rapport aux voix l’opéra romantique en Italie à partir de Bellini Il n’y a pas si longtemps, un soprano « coloratura » sité vocale atteignit son sommet. L’opéra prit la extrêmes, se fit plus tard, dans un souci de cla- et Donizetti. Contrairement aux opere buffe, les désignait le plus aigu des sopranos, capable aussi forme, au début de ce siècle, d’une vaste cathé- rification assez discutable. À l’époque de Ros- œuvres semi-serie sont souvent tirées de romans bien d’escalader le registre sur-aigu que de maî- drale dont les pilastres étaient les arias, autant de sini, on connaissait des basses ayant une grande plutôt que de pièces de théâtre. Les romans de triser les passages de virtuosité les plus acroba- concertos en miniature pour voix et orchestre. extension dans le registre aigu, ce qui leur per- la seconde moitié du XVIIIe siècle, dont Les tiques. Ce terme, quoique encore utilisé, dispa- La surenchère des stars du moment amena à des mettait de déployer des cadences spectaculaires amours de Faublas de Louvet de Coudray (1787), raît lentement. On lui préfère celui de « soprano exploits de virtuosité dès les premières décennies sur deux octaves, voire plus. Ces basses se dis- constituaient un genre littéraire mineur, destiné léger », alors qu’apparaissent des mezzos, des du siècle. Mais une nouvelle voie se dessina, en tinguaient des basses plus puissantes, à la voix souvent aux femmes et surtout conçu pour com- ténors et même des basses dits « coloratura ». réaction contre les acrobaties vocales. Ce furent plus lourde, moins à l’aise dans l’aigu et dans l’art bler leur ennui. Ils regorgent d’épisodes d’aven- les « réformes », ou plus exactement « tentatives » des diminutions. C’est à ce type de voix de basse tures destinés à les faire rêver, comme l’épisode S’agirait-il d’un abus de langage ? Non : toutes de réforme du modèle traditionnel, qui se déve- « aiguë » qu’appartenait Filippo Galli, dont le polonais de Faublas, dont sont tirés aussi bien la les voix doivent être « coloratura ». À l’origine, loppèrent en plusieurs villes en Europe, dont nom est indissociable de la carrière de Rossini. Lodoïska de Cherubini (1791) que le Torvaldo de ce terme désignait l’art de la variation par di- Vienne, Stuttgart et Parme. On compensait le re- Ce chanteur romain, né en 1783, avait fait ses Rossini (Rome, 1815). Face au noble héros, sur minutions. Lorsque l’on substituait une note noncement à la virtuosité vocale par l’émergence débuts comme ténor et chanta dans cette tes- laquelle le lectorat féminin est invité à fantas- longue par plusieurs notes brèves, la partition d’autres composantes poétiques, dont le primat siture pendant une décennie. Pour des raisons mer, se trouvent des vilains d’une méchanceté changeait d’aspect. De blanche, elle se « colo- des masses chorales et un intérêt grandissant encore non élucidées, mais peut-être d’après les terrifiante. Le duc d’Ordow, dansTorvaldo , est rait », car les notes longues sont blanches et les pour le mouvement scénique et l’art du geste. La conseils du compositeur Paisiello, Galli retra- un scélérat qui retient prisonnière dans son châ- brèves sont noires. La « coloratura » n’était autre position chronologique de Rossini est exception- vailla sa technique et devint basse – c’est-à-dire teau la jeune Dorliska, que son mari Torvaldo que l’art des diminutions, celui de jouer et de nelle : c’est qu’elle correspond très précisément baryton selon la nomenclature actuelle – et c’est s’apprête à libérer. Au moment où le duc s’ap- chanter des notes rapides. D’où son lien avec la au moment de synthèse des deux courants, lors dans cette nouvelle tessiture qu’il fit ses débuts, prête à mettre à mort les deux époux, ceux-ci virtuosité. Il va de soi que, du soprano à la basse, de la seconde décennie du XIXe siècle. Les inter- en 1812, dans L’inganno felice (L’heureux stra- sont sauvés in extremis par la foule des paysans toutes les voix doivent acquérir la maîtrise de prètes étaient les héritiers de l’art du chant du tagème) de Rossini. À l’évidence, ce nouveau qui envahissent le château et renversent le ty- la coloratura. Immagine-t-on un pianiste ou un siècle précédent ; les musiciens composaient départ lui fut propice : le nouveau Galli connut ran. L’aria « Oh qual voce d’intorno rimbomba » violoniste incapable de jouer sur son instrument selon les deux systèmes, traditionnel et réformé. une carrière brillante, il créa les plus grands rôles (track 1) contient, soutenu par le chœur, un cres- un passage en doubles-croches ? du théâtre de Rossini et celui d’Henry VIII de cendo que Rossini amplifiera dans Otello (1816). Les barytons, à cette époque, ignoraient qu’ils l’Anna Bolena de Donizetti (1830). Dans L’inganno felice (Venise, 1812), Batone, ayant C’est au XVIIIe siècle, en Italie, que la virtuo- avaient ce type de voix. On les qualifiait de accepté d’être l’âme damnée d’un autre infâme,

10 11 Ormondo, a tenté de noyer en mer Isabella, Ramiro, est en revanche un personnage solaire zio, vieux barbon, s’oppose au mariage de sa fille de cuivres et de percussion, absentes des parti- femme du duc Bertrando dont Ormondo était et plein d’humour. Il fut créé par le baryton Sofia avec l’homme qu’elle aime, Florville, pour tions de jeunesse de Rossini. épris. Lorsque, des années plus tard, Batone romagnol Giuseppe De Begnis, excellent ami, la marier de force avec un certain Bruschino. reconnaît Isabella, les remords réveillent en lui, comme son épouse le soprano Giuseppina Ron- Gaudenzio paraît sur scène, plein d’amertume, L’école française de chant, dans les premières ne serait-ce qu’un instant, la voix de la nature zi De Begnis, de Rossini dont le couple chanta en pontifiant sur son expérience de la vie (« Nel décennies du XIXe siècle, était en grande par- (« Una voce m’ha colpito », track 7). La veine le répertoire aussi bien en Italie qu’à Londres teatro del gran mondo », track 5). Le prototype tie indépendante de la virtuosité italienne. Les sentimentale de L’inganno felice séduisit l’Europe et à Paris. Accueilli en grande pompe chez Don du vieux ronchon, en quelque sorte. voix étaient immenses – ce que l’on a oublié et entière et imposa le nom de Rossini, encore au Magnifico, Dandini se fait d’abord passer pour On retrouve Filippo Galli dans Semiramide, der- pourrait nous sembler aujourd’hui étonnant – tout debut de sa carrière. Fernando, dans La le prince, ce qui lui donne l’occasion, dans son nière œuvre de Rossini écrite en Italie (Venise, et les rôles les plus prisés avaient un caractère gazza ladra (Milan, 1817) appartient au contraire « Come un’ape ne’ giorni d’aprile » (track 2), 1823) et l’une de ses œuvres tragiques les plus dramatique. Tout comme les époux De Begnis, au clan des victimes persécutées. Il est le père de déployer la rhétorique ronflante des grands abouties. La légende de Sémiramis avait fait, de- les époux Dabadie furent amis de Rossini et de Ninetta, accusée à tort du vol d’une cuiller en de ce monde. C’est lui-même qui dévoilera la puis la Renaissance, l’objet d’innombrables adap- fidèles serviteurs de son répertoire. Henri- argent. « Accusata di furto » (track 4) est le cri de supercherie, à l’acte II, dans sa scène avec Ma- tations au théâtre. C’est de la tragédie de Voltaire Bernard créa les rôles de Pharaon dans Moïse, désespoir d’un père qui vient d’apprendre que sa gnifico « Un segreto d’importanza » (track 3) qui (1748) qu’est dérivé l’opéra de Rossini. Dans cette de Raimbaud dans Le comte Ory et le rôle-titre fille chérie, innocente, vient d’être condamnée à reste l’un des grands duos comiques de Rossini. tradition, la reine de Babylone est amoureuse de de Guillaume Tell (Paris,1829). La déchirante mort, et qui est prêt à tout pour la sauver. Les Alidoro, qui remplace la marraine de Perrault son fils Ninyas, qui a été élevé loin de la cour et prière « Sois immobile, et vers la terre » (track trois rôles de Batone, Ordow et Fernando furent dans l’opéra de Rossini, était chanté, lors de la qu’elle ne connaît pas, mais elle se repent de tous 8) est le moment où Guillaume s’apprête à subir créés par Filippo Galli et illustrent les moyens première à Rome, par une basse de second rang. ses crimes le jour même où elle reconnait son l’épreuve inhumaine de la pomme. La ligne de vocaux dont cet interprète disposait comme la Sa partie avait été composée par un collabora- fils. Le poids de sa faute est transposé sur Assur, chant répond à la ligne de violoncelle solo, sans variété de sa palette expressive. teur de Rossini, Luca Agolini. C’est lors de la ancien complice de la reine qui a assassiné pour d’autres ornements. reprise de l’opéra en 1820 que Rossini remplaça elle le roi Ninus. C’est donc à lui, et non plus à Bien que classée dans le genre de l’opera buffa, et l’air d’Agolini par un air virtuose, « La del ciel » la reine, qu’est réservée une spectaculaire scène Avec cet hommage aux grands rôles de Filippo construite sur le même moule que les comédies (track 9), d’une redoutable virtuosité. d’hallucinations, « Sì, vi sarà vendetta » (track 6), Galli et d’Henri-Bernard Dabadie, ainsi que de précédentes L’italiana in Algeri et Il barbiere di juste avant le dénouement sanglant de l’œuvre. quelques autres barytons de l’époque, Giorgio Siviglia, La Cenerentola (Rome, 1817) est proche Nicola de Grecis, basso buffo romain, avait com- Caoduro rappelle quelle fut l’éblouissante richesse du genre semi-serio. L’œuvre dérive d’un conte de mencé sa carrière dans les années 1790. Il avait L’histoire de la brillante aria « Alle voci della du répertoire composé pour ce type de voix, un fée de Perrault (1697), même si de nombreuses l’âge de chanter les senex de comédie lorsque gloria » (track 10), n’est pas encore recons- répertoire où convergèrent les anciens rôles de adaptations théâtrales avaient précédé celle de Rossini entra dans la carrière. Il participa à la truite clairement. On l’a longtemps considérée basso buffo, ceux, plus modernes, de tyrans de ro- Rossini, et l’on y trouve d’authentiques vilains, création de plusieurs des farces de jeunesse, comme une aria destinée au personnage de mans, de pères affligés ou de criminels repentis, et en l’occurrence les chipies Clorinda et Tisbe, dont Il signor Bruschino (Venise, 1813), la plus Blansac dans (Venise, 1812), et finalement où paraissaient déjà les rôles de héros demi-sœurs d’Angelina, et Don Magnifico, son comique et par conséquent la plus éloignée de composée en 1813. Il reste des doutes sur cette d’âge mur, auxquels Verdi allait donner, quelques père indigne. Dandini, valet de pied du prince l’univers larmoyant de L’inganno felice. Gauden- hypothèse, notamment en raison de la présence années plus tard, ses lettres de noblesse.

12 13 waren die Erben der Gesangskunst des vorigen tura gab er 1812 sein Debüt in Rossinis L'inganno Die Kunst des Rossinischen Baritons Jahrhunderts; die Musiker komponierten nach felice (dt. „Die glückliche Täuschung“). Offen- Damien Colas beiden Systemen, dem traditionellen und dem sichtlich war dieser Neuanfang ein guter Start reformierten. für ihn: Der neue Galli machte eine brillante Die Baritone wussten zu dieser Zeit noch nicht, Karriere, er gestaltete die größten Rollen in vie- dass sie diese Art von Stimme hatten. Man len Opern von Rossini und die Partie des Hein- Vor nicht allzu langer Zeit war der „Koloratur“- ist, eine Sechzehntelnoten-Passage auf seinem nannte sie Bässe. Bis Mitte des 19. Jahrhunderts rich VIII. in Donizettis Anna Bolena (1830). Sopran der höchste aller Soprane, in der Lage, Instrument zu spielen? wurden die Stimmen ganz einfach als hoch und die hohen Lagen zu erklimmen und auch ak- tief klassifiziert, sowohl für Frauen als auch für Torvaldo e Dorliska, L'inganno felice und La gazza robatischste virtuose Passagen zu meistern. Im Italien des 18. Jahrhunderts erreichte die Männer. Die Festlegung der Zwischenstimmen ladra gehören zum semi-serio Genre. Es ist eine Obwohl dieser Begriff immer noch verwendet stimmliche Virtuosität ihren Höhepunkt. Zu (Mezzosopran und Bariton), die gegenüber den Variante der Buffo-Gattung, die in den ersten wird, verschwindet er langsam. Der Begriff Beginn dieses Jahrhunderts nahm die Oper Extremstimmen um eine Terz (und nicht um Jahrzehnten des 19. Jahrhunderts aufblühte und „leichter Sopran“ wird bevorzugt, während die Form einer riesigen Kathedrale an, deren eine Quinte) versetzt waren, erfolgte später, für die Entwicklung der romantischen Oper in „Koloratur“-Mezzos, -Tenöre und sogar -Bässe Pfeiler die Arien waren, Miniaturkonzerte für einer eher fragwürdigen Präzisierung halber. Italien von großer Bedeutung war. Im Gegen- auftreten. Stimme und Orchester. Der Aufstieg der Stars Zu Rossinis Zeit waren einige Bassstimmen satz zu den Opera buffe basieren die semi-serio dieser Zeit führte in den ersten Jahrzehnten dafür bekannt, dass sie eine große Ausdehnung Werke oft eher auf Romanen als aus Theater- Ist dies ein Missbrauch der Sprache? Nein: Alle zu stimmlichen Meisterleistungen. Doch als in der hohen Stimmlage hatten, wodurch sie stücken. Die Romane der zweiten Hälfte des 18. Stimmen müssen die „Koloratur“ haben. Ur- Reaktion auf diese Vokalakrobatik entwickelte spektakuläre Kadenzen über zwei Oktaven Jahrhunderts, darunter Les amours de Faublas von sprünglich bezeichnete der Begriff die Kunst sich langsam auch ein neuer Weg. Es waren die oder sogar mehr entfalten konnten. Diese Bässe Louvet de Coudray (1787), waren eine weniger der Variation durch Diminutionen. Wenn eine „Reformen“, genauer gesagt die „Versuche“, das unterschieden sich von den kräftigeren, mit ei- bedeutende, oft für Frauen bestimmte litera- lange Note durch mehrere kurze Noten ersetzt traditionelle Modell zu reformieren, die sich in ner schwereren Stimme, die in der oberen Lage rische Gattung, die vor allem ihre Langeweile wurde, veränderte die Partitur ihr Aussehen. mehreren Städten Europas wie Wien, Stuttgart und in der Kunst der Diminutionen weniger ge- stillen sollte. Sie sind reich an Abenteuerfolgen, Von weiß wurde sie „farbig“, weil die langen oder Parma entwickelten. Der Verzicht auf Vo- schmeidig war. Zu dieser Kategorie von „hoher“ die sie zum Träumen bringen sollen, wie die pol- Noten weiß und die kurzen schwarz sind. Die kalvirtuosität wurde durch das Aufkommen an- Bassstimme gehörte Filippo Galli, dessen Name nische Geschichte von Faublas, von der sowohl „Koloratur“ war nichts anderes als die Kunst derer poetischer Komponenten kompensiert, untrennbar mit Rossinis Laufbahn verbunden Cherubinis Lodoïska (1791) als auch Rossinis der Diminutionen, die Kunst, schnelle Noten darunter das Erstarken der Sängermasse und ist. Der 1783 geborene römische Sänger gab sein Torvaldo (Rom, 1815) abstammen. Dem edlen zu spielen oder zu singen. Daher seine Ver- ein wachsendes Interesse an Bühnenbewegung Debüt als Tenor und sang ein Jahrzehnt lang in Helden, über den die weibliche Leserschaft zu bindung zur Virtuosität. Es versteht sich von und der Kunst der Gestik. Die Stellung Rossinis diesem . Aus noch ungeklärten Gründen, phantasieren eingeladen ist, stehen Schurken selbst, dass alle Stimmen, vom Sopran bis zum in der chronologischen Abfolge ist bemerkens- aber möglicherweise auf Anraten des Kompo- von erschreckender Bosheit gegenüber. Der Bass, die Beherrschung der Koloratur erlernen wert: sie passt sehr genau auf den Moment der nisten Paisiello, überarbeitete Galli seine Tech- Herzog von Ordow in Torvaldo ist ein Schurke, müssen. Können Sie sich einen Pianisten oder Synthese der beiden Strömungen im zweiten nik und wurde Bass – d.h. nach der heutigen Be- der in seinem Schloss die junge Dorliska gefan- einen Geiger vorstellen, der nicht in der Lage Jahrzehnt des 19. Jahrhunderts. Die Interpreten zeichnung Bariton – und in dieser neuen Tessi- gen hält, die ihr Mann Torvaldo befreien will.

14 15 Gerade als der Herzog im Begriff ist, die beiden La Cenerentola (Rom, 1817) gehört zwar zur einem Mitarbeiter Rossinis, Luca Agolini, kom- wiedererkennt, bereut sie all ihre Verbrechen. Ehegatten zu töten, werden sie in höchster Not Gattung der Opera buffa und wurde auf der poniert worden. In der Wiederaufnahme der Die Last ihrer Schuld wird auf Assur übertra- von der Bauernschar, die in das Schloss ein- gleichen Grundlage wie die früheren Komödi- Oper im Jahr 1820 ersetzte Rossini Agolinis Arie gen, einen ehemaligen Komplizen der Königin, dringt und den Tyrannen stürzt, gerettet. en L'italiana in Algeri und Il barbiere di Siviglia durch eine virtuose Arie, „La del ciel“ (Titel 9), der König Ninus für sie ermordet hat. Ihm und Die Arie „Oh qual voce d'intorno rimbomba“ geschaffen, ist aber dem Genre des Semi-Serios die von beeindruckender Virtuosität ist. nicht der Königin ist eine spektakuläre Szene (Track 1) enthält, unterstützt vom Chor, ein nahe verwandt. Das Werk geht auf ein Märchen mit Wahnvorstellungen, „Sì, vi sarà vendetta” Crescendo, das Rossini in Otello (1816) weiter von Perrault (1697) zurück, wenngleich zahlrei- Nicola de Grecis, ein römischer basso buffo, hat- (Track 6), vorbehalten, kurz vor dem blutigen verstärken wird. In L'inganno felice (Venedig, che Theateradaptionen Rossinis Version vor- te seine Karriere bereits in den 1790er Jahren Ende des Werkes. 1812) versucht Batone, nachdem er akzeptiert ausgegangen waren; man findet darin einige au- begonnen. Er war an der Gestaltung mehrerer hatte, die verdammte Seele eines anderen be- thentische Schurken, in diesem Fall die Vetteln Farcen beteiligt, darunter Il signor Bruschino Die Geschichte der brillanten Arie „Alle voci rüchtigten Mannes, Ormondo, zu sein, Isa- Clorinda und Tisbe, Angelinas Halbschwestern, (Venedig, 1813), der komischsten und daher am della gloria“ (Track 10) ist noch nicht eindeutig bella, die Frau des Herzogs Bertrando, in den und Don Magnifico, ihr unwürdiger Vater. Dan- weitesten entfernt vom klagenden Kosmos von rekonstruiert. Sie galt lange Zeit als eine Arie, Ormondo verliebt war, im Meer zu ertränken. dini, der Kammerdiener von Prinz Ramiro, ist L'inganno felice. Gaudenzio, ein alter Baron, wi- die für die Figur Blansacs in La scala di seta (1812) Als Batone Jahre später Isabella wiedererkennt, dagegen ein sonniger und humorvoller Charak- dersetzt sich der Heirat seiner Tochter Sofia mit bestimmt war und 1813 komponiert wurde. Es erwacht in ihm, wenn auch nur für einen Mo- ter. Die Rolle wurde von dem romagnolischen dem Mann, den sie liebt, Florville, und plant, sie gibt noch immer Zweifel an dieser Hypothe- ment, die Stimme der Natur („Una voce m'ha Bariton Giuseppe De Begnis ausgeführt. Er war, mit einem gewissen Bruschino zu verheiraten. se, insbesondere wegen der Verwendung von colpito“, Track 7). Die sentimentale Ausprägung wie auch seine Frau, die Sopranistin Giuseppina Voller Bitterkeit erscheint Gaudenzio auf der Blechbläsern und Schlagwerk, die in Rossinis von L'inganno felice zog ganz Europa in seinen Ronzi De Begnis, ein geschätzter Weggefährte Bühne und doziert über seine langjährige Er- frühen Partituren fehlen. Bann und etablierte den Namen Rossini, der Rossinis, und das das Paar sang Rossinis Reper- fahrung („Nel teatro del gran mondo“, Track 5). noch ganz am Anfang seiner Karriere steht. toire in Italien sowie in London und Paris. Von Sozusagen der Prototyp des alten Griesgrams. Die französische Gesangsschule in den ersten Fernando in La gazza ladra (Mailand, 1817) hinge- Don Magnifico mit großem Pomp empfangen, Jahrzehnten des 19. Jahrhunderts war von der gen gehört dem Clan der Verfolgten an. Er ist der gibt sich Dandini zunächst als Prinz aus, was Wir treffen Filippo Galli in Semiramide wieder, italienischen Virtuosität weitgehend unabhän- Vater von Ninetta, die fälschlicherweise des Dieb- ihm die Möglichkeit gibt, in seinem „Come un Rossinis letztes in Italien geschriebenes Stück gig. Die französischen Stimmen waren gewal- stahls eines Silberlöffels beschuldigt wird. „Accu- 'ape ne' giorni d'aprile“ (Track 2) die donnernde (Venedig, 1823) und eines seiner vollendetsten tig – was heute in Vergessenheit geraten ist und sata di furto“ (Track 4) ist der Verzweiflungsschrei Rhetorik der Mächtigen dieser Welt zu entfal- tragischen Werke. Die Legende der Semiramis überraschend erscheinen mag – und die belieb- eines Vaters, der gerade erfährt, dass seine gelieb- ten. Er selbst ist es, der im zweiten Akt in seiner war seit der Renaissance Gegenstand unzähliger testen Rollen waren dramatisch. Wie das Ehe- te, unschuldige Tochter zum Tode verurteilt wur- Szene mit Magnifico „Un segreto d'importanza“ Bearbeitungen für das Theater. Aus Voltaires paar De Begnis war auch das Ehepaar Dabadie de, und alles tun wird, um sie zu retten. Die drei (Track 3) – eines von Rossinis großen komischen Tragödie (1748) leitet sich die Oper Rossinis ab. mit Rossini befreundet und stellten sich ganz in Rollen des Batone, Ordow und Fernando wurden Duetten – die Täuschung enthüllen wird. Alido- Entsprechend der Überlieferung ist die Köni- die Dienste seines Repertoires. Henri-Bernard von Filippo Galli gestaltet und veranschaulichen ro, der in Rossinis Oper Perraults Taufpatin er- gin von Babylon in ihren Sohn Ninyas verliebt, gestaltete die Rollen des Pharaos in Moïse, die stimmlichen Mittel dieses Interpreten sowie setzt, wurde bei der Premiere in Rom von einem der fern vom Hof erzogen wurde und den sie Raimbaud in Le comte Ory und die Titelrolle des die Vielfalt seiner Ausdruckspalette. zweitrangigen Bass gesungen. Sein Part war von nicht kennt. Aber amTag, an dem sie ihren Sohn Guillaume Tell (Paris, 1829). Das herzzerreißende

16 17 Gebet „Sois immobile, et vers la terre“ (Track 8) ist der Moment, in dem Wilhelm die unmensch- liche Zerreißprobe des Apfelsschuss bevor- steht. Die Gesangslinie antwortet auf die Linie des Solo-Cellos, ohne weitere Verzierungen.

Mit seiner Hommage an die großen Partien von Filippo Galli und Henri-Bernard Daba- die wie auch einiger anderer Baritone der Zeit erinnert Giorgio Caoduro an die schillernde Reichhaltigkeit des Repertoires, das für diesen Gesangstyp komponiert wurde: ein Repertoire, das die alten Partien des Basso buffo mit den mo- derneren von Tyrannen, betrübten Vätern oder reuigen Verbrechern verbindet, wo schließlich bereits die Rollen der großen Helden erschei- Fabio Maria Capitanucci baritone Alessandro Cortello tenor nen, denen Verdi einige Jahre später ihre Adels- briefe ausstellen sollte.

Cecilia Bernini mezzo-soprano Anna Viola soprano 18 Born in Monfalcone, Italy, Giorgio Caoduro is Giorgio made his debut at the San Francisco one of the leading Italian baritones of his gene- Opera as Belcore in Donizetti’s L'elisir d’amore, a ration and one of the reigning singers role he reprised for La Scala (alongside Rolando of today. He has appeared at such renowned Villazón and Nino Machaidze), Berlin Staats- opera houses as the Royal Covent oper, Rome Opera, Torino, Teatro Garden, Opéra National de Paris, La Scala, Tea- Colón Buenos Aires, Teatro Carlo Felice di Ge- tro dell’Opera di Roma, Teatro del Maggio Mu- nova. He sang Enrico in in sicale Fiorentino, Teatro Regio Torino, Berlin Sydney, Melbourne, Barcelona and and Staatsoper, Deutsche Oper Berlin, Semperoper debuted at the Los Angeles Opera as Dulcama- Dresden, Frankfurt Opera, Barcelona, ra in L'elisir d’amore under James Conlon. He Toulouse Théâtre du Capitole, San Francisco appeared as Peter the Great in Il borgomastro di Opera, Los Angeles Opera, and Sydney Opera Saardam for the Festival Donizetti in Bergamo. House. Giorgio has collaborated with conduc- Particularly fond of Mozart, he performed tors such as Carlo Rizzi, Jesús López Cobos, the title role in Le Nozze di Figaro at the Berlin Daniele Gatti, Riccardo Frizza, Bruno Bartolet- Staatsoper, Deutsche Oper Berlin, Aix-en-Pro- ti, Daniel Harding, Bruno Campanella, Nicola vence Festival, and was Papageno in Die Zauber- Luisotti, Daniel Oren, James Conlon, Michel flöte at the Sanxay Festival. Plasson, and Zubin Mehta. Giorgio Caoduro made his debut at the Wa- Renowned for his Rossini and Donizetti, he shington National Opera as Lescaut in Puccini’s performed the title role in Il Barbiere di Sivig- Manon Lescaut. He appeared as Marcello in lia for La Scala, La Fenice, Maggio Musicale La Bohème for the Los Angeles Opera, Berlin Fiorentino, Opéra National de Paris, Opéra de Staatsoper and Sydney Opera House. Lausanne, Toulouse Théâtre du Capitole, Syd- His Verdi roles include Germont (La Travia- ney Opera House, Bari Teatro Petruzzelli. He ta) at the Florida , Ford (Falstaff) was Dandini in La Cenerentola in Paris, Nice, at the Festival Verdi in Parma, Rodrigo (Don Lausanne, Rome, Florence, Bologna, Frank- Carlo) in Hong Kong, Rolando (La Battaglia di furt, Glyndebourne, Cardiff. He could also be Legnano) in Trieste and Hamburg, the title role seen on stage as Taddeo in L’Italiana in Algeri at in at the Sydney Opera House, Guy the Liceu Barcelona, Berlin Staatsoper, Rome de Montfort (Les Vêpres siciliennes) for the Rome Opera, Aix-en-Provence Festival, and as Don Opera and the Welsh National Opera where he Profondo in at the Melbourne also starred as Escamillo in Bizet’s Carmen. Arts Centre and Sydney Opera House.

20 Torvaldo e Dorliska La Cenerentola in two Acts, by Cesare Sterbini in two Acts, Libretto by Jacopo Ferretti Premiere 26.12.1815 - Teatro Valle, Rome Premiere 25.1.1817 - Teatro Valle, Rome

1 Ah qual voce d’intorno rimbomba 2 Come un’ape ne’ giorni d’aprile Air of Duca, Act II Scene with Air of Dandini, Act I

Duca Duca Coro Chorus Ah qual voce d’intorno rimbomba? Ah, what voice is rumbling around me? Scegli la sposa, affrettati: Make haste and choose a wife: Che m’accade? Ove son? Chi m’aita? What is happening to me? Where am I? Who can S'invola via l'età. Time is passing by. Ah qual gelo sull’alma mi piomba, help me?... Ah, what frost is falling on my soul, La principesca linea Otherwise, the princely line che mi agghiaccia d’insolito orror? that chills me with unusual horror? se no, s'estinguerà. Will die out. Tu tradirmi! Oh destino tiranno! You betrayed me! Oh tyrannical fate! Voi felici! Oh mio barbaro affanno! You happy ones! Oh, barbarous pain! Dandini Dandini Io fra ceppi! Ah spietata mia sorte! I'm in chains! What a merciless fate! Come un’ape ne’ giorni d’aprile Like a bee that in April days Né m’uccide la rabbia, il furor? Why does my anger, my fury kill me not? For va volando leggiera e scherzosa; Flies lightly and joyful Per pietà, mi traete alla morte, pity's sake, please kill me corre al giglio, poi salta alla rosa, Darts to the lily, then jumps to the rose del mio fato compite il rigor. Fulfill my fate's plan. dolce un fiore a cercare per sé; Looking for a sweet blossom for itself, Cento larve già intorno mi stanno; One hundred ghosts are already around me; tra le belle m‘aggiro e rimiro: I go roving around the fair maids and look them over, mille furie straziando mi vanno, A thousand furies tear me apart, ne ho vedute già tante e poi tante, And I’ve seen so many and many more, ah la cruda spietata mia sorte Alas, the raw ruthlessness of my fate ma non trovo un giudizio, un sembiante, But I can’t find a mind or a face; d’ogni morte mi sembra peggior. Seems worse to me than every death. un boccone squisito per me. A delicious titbit to suit me. Coro Choir Clorinda Clorinda Morte, morte al crudele, al tiranno; Death, death to the cruel one, to the tyrant; Prence... Prince... morte, morte a quel vil traditor. death, death to the vile traitor. Tisbe Tisbe Sire... Sire... Clorinda e Tisbe Clorinda and Tisbe Ma quanti favori! But what a tremendous favour! Don Magnifico Don Magnifico Che diluvio! che abisso di onori! What a deluge! What a torment of honours!

22 23 Dandini Dandini Don Magnifico Don Magnifico Nulla, nulla; It's nothing, it's nothing at all! È già cotto, stracotto, spolpato, He is cooked, stewed, weak with love. Vezzosa, graziosa! How charming! How graceful! L'Eccellenza si cangia in Maestà. Excellency is turning into majesty. (Dico bene?) (Am I doing well?) Son tutte papà. They are just like their papa. Coro Chorus Scegli la sposa, affrettati: Make haste and choose a wife: Ramiro Ramiro S'invola via l'età. Time is passing by. Bestia! Attento! Ti scosta di quà! Steady on, you scoundrel, away with you! La principesca linea. Otherwise the princely line. Se no, s'estinguerà. Will die out. Dandini Dandini Per pietà quelle ciglia abbassate. For pity's sake lower your eyes. galoppando sen va la ragione My senses have all but left me, e fra i colpi d’un doppio cannone And 'neath a double cannonade 3 Un segreto d’importanza Duet of Dandini & Don Magnifico, Act II spalancata la breccia è di già. My defenses have already been breached. Vezzosa! Graziosa! So charming! So graceful! Dandini Dandini Son tutte papà. They are just like their daddy! Un segreto d’importanza, A secret of importance, Ma alla fine della nostra commedia But at the end of our comedy, un arcano interessante An absorbing mystery che tragedia qui nascer dovrà! what a tragedy will be born! io vi debbo palesar: I must reveal to you: è una cosa stravagante, It is something extravagant, Clorinda e Tisbe Clorinda and Tisbe vi farà trasecolar. You'll be asumed. Ei mi guarda. Sospira, delira. He looks at me, sighs, is madly in love with me, Non v'è dubbio: è mio schiavo di già. there is no doubt, he is already my slave Don Magnifico Don Magnifico Senza battere le ciglia, Without batting an eyelash, Dandini Dandini senza manco trarre il fiato, Without even drawing breath, Dico bene? Am I not doing well? io mi pongo ad ascoltar: I prepare to listen: Ramiro Ramiro starò qui pietrificato I will stay here petrified Bestia! Idiot! ogni sillaba a contar. Counting each syllable. Dandini Dandini Dandini Dandini Grazie. Thank you! Uomo saggio e stagionato A wise and mature man sempre meglio ci consiglia, Can always offer the best advice, Ramiro Ramiro se sposassi una sua figlia, If I married one of your daughters, Ah! Perché qui non viene colei, Ah! why does she not come, come mai l'ho da trattar? How should I have to treat her? con quell'aria di grazia e bontà? Who is so graceful and kind? 24 25 Don Magnifico Don Magnifico È una burla il principato, My princely power is a jest, Consiglier son già stampato. I'm appointed counsellor now! sono un uomo mascherato; I am a man masquerading; Ma che eccesso di clemenza! But what an excess of graciousness! ma venuto è il vero principe, But the real prince has returned, Mi stia dunque sua eccellenza... Then listen to me, Your Excellency... m’ ha strappata alfin la maschera, And has at last torn off my mask, Bestia. Altezza ad ascoltar. I mean your Highness. io ritorno al mio mestiere, I return to my job, Abbia sempre pronti in sala Always have ready in the hall son Dandini il cameriere, I'm Dandini, the valet, trenta servi in piena gala, Thirty servants in full livery, rifar letti, spazzar abiti, I make the beds, brush the clothes, centosedici cavalli; One hundred and sixteen horses; far la barba e pettinar. Do the shaving and dress the hair. duchi, conti e marescialli Dukes, counts and marshals Don Magnifico a donzine convitati, Guests by the dozen, Don Magnifico pranzi sempre coi gelati, Always dinners with ice-creams, Far la barba e pettinar? Do the shaving and dress the hair? poi carrozze, poi landò. Then carriages and travelling trunks. Di quest’ ingiuria, For this insult, di quest’ affronto For this affront Dandini Dandini il vero principe The real prince Vi rispondo senza arcani, I answer you without secret, mi renda conto. Will account to me. che noi siamo assai lontani; That we are very far from that; Dandini io non uso far de' pranzi, I do not give dinner-parties, Dandini mangio sempre degli avanzi; I always eat up the scraps; Oh! Non s’ incomodi, Oh! don't bother non m'accosto a gran signori, I don't hobnob with fine gentlemen, non farà niente: He won't do a thing. tratto sempre servitori; I always mix with servants; ma parta subito But leave at once ma ne vado sempre a piedi. Always travel on foot. immantinente. Immediately. Don Magnifico Don Magnifico Don Magnifico Don Magnifico Mi corbella? You must be joking? Non partirò. I will not leave. Dandini Dandini Dandini Dandini Gliel prometto. I promise you I'm not. Lei partirà. You will leave. Don Magnifico Don Magnifico Don Magnifico Don Magnifico Questo dunque? Then all this? Ci rivedremo, We’ll see about this, ci parleremo. We certainly will. Dandini Dandini Dandini È un romanzetto. It is a hoax. Dandini Ci rivedremo, We’ll see about this, Ci parleremo. We certainly will. 26 27 Don Magnifico Don Magnifico La gazza ladra Non partirò. I will not leave. Melodramma in two Acts, Libretto by Giovanni Gherardini Premiere 31.5.1817 - Teatro alla Scala, Milan Dandini Dandini

Lei partirà. You will leave. 4 Accusata di furto Air of Fernando, Act II Don Magnifico Don Magnifico Accusata di furto... Oh, rossore! Me accused of theft? What a shame! Tengo nel cerebro I have a double-bass Ah, qual nube m’ingombra le ciglia! Ah, what a cloud is muddling my eyes! un contrabbasso, Rumpling in my brain Freddo il sangue mi piomba sul cor. When cold blood is reaching my heart. che basso basso That deep down Condannata! Ah, si vada, si cerchi: Condemned! Ah, go on, search: frullando va Goes whirling around. ma che fo? Son confuso, perplesso: What am I doing? I am confused, perplexed: Da cima a fondo, From top to bottom, se mi scopro, oh Dio, io perdo me stesso; If I reveal myself, O God, I lose myself; poter del mondo! Almighty God! se più tardo ella fosse… Oh, spavento! If she is late... Alas! Che scivolata, What a landslide, Che cimento! Che fiero dolor! What a situation! What a pain! che gran cascata! What a slump! Ah, lungi il timore! Ah, let’s not fear! Eccolo, eccolo, Look, look, Si tenti la sorte: Let’s tempt fate: tutti diranno, Everyone will say, coraggio, mio core, Have courage, my heart, mi burleranno They will make fun of me si sprezzi la morte: Let’s despise death: per la città. All over town. la figlia diletta Let’s try to save Dandini Dandini si corra a salvar. My beloved daughter. Povero diavolo! Poor devil! Coraggio, mio core; Have courage, my heart; È un gran sconquasso, It’s a mighty smash, vo’ tutto arrischiar. I'll risk everything. che d'alto in basso That makes him plunge piombar lo fa. From the heights to the dephts. Vostr’ eccellenza Your Excellency abbia prudenza; Be sensible; Se vuol rasoio, If you need razor, sapone e pettine, Soap and comb, saprò arricciarla, I can curl you, sbarbificarla... Shave you Ah! ah! Guardatelo, Ah! ah! Just look at him, l'allocco è là. There is that great ninny.

28 29 Il Signor Bruschino Semiramide Opera in two Acts, Libretto by Giuseppe Foppa in two Acts, Libretto by Gaetano Rossi Premiere 27.1.1813 - Teatro San Moisè, Venice Premiere 3.2.1823 - Teatro La Fenice, Venice

5 Nel teatro del gran mondo 6 Sì, vi sarà vendetta Air of Gaudenzio, Act I Air of Assur, Act II

Nel teatro del gran mondo In the theatre of the great world Sì, vi sarà vendetta. Io vivo ancora: Yes, there will be revenge. I still live: cerca ognun la sua fortuna: Everybody seeks their own fortune: io solo basto. Per ignota via, I alone am enough. By an unknown path, ma, stia ben da capo a fondo, But, even if they are healthy from head to toe, none is di Nino nella tomba I shall descend to Nino’s grave. l’uom contento mai non è. ever really happy. là si discende... Io solo I will, alone, Se la cerca nel denaro, They look for happiness in money, l’empio a svenar, a vendicarvi io volo. avenge that treacherous man! più ne acquista più ne vuole. The more they get, the more they want. Trema, Arsace... Ah! Che miro! Tremble, Arsace... Ah! What a sight! Se la brama negli onori If they long for honors, Su quella soglia! E che! Folle! deliro? On that threshold! What? Am I delirious, Am I tenta il vol di là dal sole. They try to fly beyond the sun. Qual mano! Man di ferro mi respinge? insane? Whose hand is that? What hand takes my Sempre avanti, sempre avanti No matter where you are, E chi? Desso! Oh! Quai sguardi! sword? Who is that? It is him! What eyes! va scontento l’uom di sé. Everybody is unhappy. Un brando ei stringe... He has a sword… Io cercai la mia fortuna I sought my fortune S‘avventa a me. Fuggiamo... He comes at me. Let's run away... in un certo non so che; Somewhere–I don’t even know where– Ah! Ch‘ei m‘arresta... He stops me… ma ho trovato poi l’intoppo But I found a problem Lasciami. Il crin m’afferra. Let me go. He grasps my hair. che de’ guai provar mi fé. That made me face trouble. D’un piè sfonda la terra He is pressing his foot against the soil, Eh godiam di quel che viene, Let’s enjoy what is there, l’abisso! Ei me l‘addita... He is sending me to the abyss… né cerchiam quel che non c’è. let’s not seek what is not there. Ei mi vi spinge... Ah! No... Ciel! He is pushing me to hell… Ah, heaven! Ho trovato a Sofia un buon partito I found a good match for Sofia: Né poss‘io da lui fuggir? Why can I not escape? nel giovane Bruschino. Ma contento Young Mr. Bruschino. But I won’t be happy, Come salvarmi! Oh Dio! How can I save myself? O God! io non sarò, se pria non me la paga If Mr. Florville gets Deh! Ti ferma, ti placa, perdona... Alas, please, stop, calm down, forgive me. quel signor di Florville. What he deserves first. Togli a me quel terribile aspetto: Take that away from me: Quell’acciaro già sento nel petto... I already feel that sword in my breast… Quell’abisso mi colma d’orror. That abyss frightens me… Alla pace dell‘ombre ritorna... Go back to the peace of shadows. Ah! Pietà dell‘oppresso mio cor. Have mercy on my troubled heart.

30 31 L’inganno felice Guillaume Tell per musica, Libretto by Giuseppe Foppa Grand opéra in four Acts, Libretto by Victor-Joseph Étienne Premiere 8.1.1812 - Teatro San Mosè, Venice de Jouy & Hippolyte Bis Premiere 3.8.1829 - Théâtre de l'Académie Royale de 7 Una voce m’ha colpito Musique (Salle Le Peletier), Paris Air of Batone, Act I 8 Sois immobile Una voce m’ha colpito A voice struck me Air of Guillaume Tell, Act III dalla cima sino al fondo, From top to bottom, e se un poco mi confondo And you must forgive me Sois immobile, et vers la terre Be motionless, and bend a knee mi dovete perdonar. If I get a little confused. Incline un genou suppliant. Begging towards the earth. (Nel fissarle gli occhi adosso (Staring into her eyes, Invoque Dieu : c’est lui seul, mon enfant, Invoke God: it is he alone, my child, di veder già lei mi pare I think I already see Qui dans le fils peut épargner le père. Who in the son can spare the father. che soletta e abbandonata That I left her alone Demeure ainsi, mais regarde les cieux. Remain thus, but look up to the heavens. ho lasciato in preda al mare. Abandoned to the sea. En menaÇant une tête si chère, Threatening such a dear head, Mi si scalda omai la testa, My head gets hot, Cette pointe d’acier peut effrayer tes yeux. This steel spike can scare your eyes. freme intorno la tempesta, The storm is rumbling around, Le moindre mouvement... The slightest movement... e il timor ed il sospetto And fear and suspicion Jemmy, songe à ta mère ! Jemmy, think of your mother! or mi fanno vacillar.) Make me waver.) Elle nous attend tous les deux ! She's waiting for both of us! È un casetto, un romanzetto... It's a little thing, a cheap novel, Sono cose da risate. Just a joke. Cara figlia, perdonate, Dear daughter, forgive me, or di più non so spiegar. I cannot explain more to you.

32 33 La Cenerentola perché t’ho data poca colazione, just because I only gave you a little to eat, Dramma giocoso in two Acts, Libretto by Jacopo Ferretti tu mi vieni a burlar? Va’ via... va’ via! you think you can make fun of me. Please go... leave Premiere 25.1.1817 - Teatro Valle, Rome Voglio serrar la porta... me! I want to lock the door... 9 Sì, tutto cangerà possono entrar de’ ladri, e allora... e allora... In case some thieves come by, and then... and then... Duet Scene of Alidoro & Cenerentola, Act I starei fresca davvero. I'd be in real trouble Là del ciel nell'arcano profondo Air of Alidoro, Act I Alidoro Alidoro No! Sublima il pensiero! Ah no! Lend wings to your thoughts! Alidoro Alidoro Tutto cangiò per te! Everything has changed for you! Sì, tutto cangerà. Ah yes, everything will change. Calpesterai men che fango i tesori, You will exchange your rags for jewels, Quel folle orgoglio poca polve sarà, This mad pride will turn to dust, rapirai tutti i cuori. And you will charm all hearts. gioco del vento; To a toy of changing winds; Vien meco e non temer: per te dall’alto Come with me and do not fear: a god inspires e al tenero lamento And following this mild complaining m’ispira un nume a cui non crolla il trono. me from on high whose throne will never falter. succederà il sorriso. We'll have laughter. E se dubiti ancor, mira chi sono! And if you still doubt me, see who I am! Figlia... Figlia... Daughter... Daughter... Aria Alidoro Air Alidoro Cenerentola Cenerentola Là del ciel nell’arcano profondo, There in the arcane dephts of Heaven, Figlia voi mi chiamate? Oh questa è bella! You call me daughter? How it pleases! del poter sull’altissimo trono On the high throne of all power Il padrigno barone non vuole essermi padre; My stepfather, the Baron doesn't wish to be veglia un nume, signore del mondo, Presides the Lord of this our world, our God, e voi... Peraltro guardando i stracci vostri my father... yet you... al cui piè basso mormora il tuono. At whose feet the thunder stills its rage. e i stracci miei, When comparing your rags and mine, Tutto sa, tutto vede, e non lascia Of all he is aware: he sees all things and will degna d’un padre tal figlia sarei. I should be a worthy daughter of such a father. nell’ambascia perir la bontà. Not bear that the good shall die of pain. Alidoro Alidoro Fra la cenere, il pianto, l’affanno, He sees you, innocent maid Taci, figlia, e vien meco. Peace, my daughter, come with me. ei ti vede, o fanciulla innocente, In ashes, tears, and sorrow, e cangiando il tuo stato tiranno, And changes your most painful state Cenerentola Cenerentola fra l’orror vibra un lampo spendente. By letting forth just lightning bolts. Teco? e dove? With you? Where? Non temer, No, you mustn't be afraid si è cambiata la scena: For everything has changed Alidoro Alidoro la tua pena cangiando già va. Your suffering will be eased. Del principe al festino. To the Prince's festival. Un crescente mormorio Do not fear! Don nor fear! Cenerentola Cenerentola non ti sembra d’ascoltar? A sound approaches, don't you hear it? Ma dimmi, pellegrino: Now listen, stranger, Ah, sta’ lieta: è il cocchio mio Rejoice: it is my carriage

34 35 su cui voli a trionfar. Which will hurry you to triumph. Se in tal contrasto Atar s'offrisse a me, If, on the other hand, Atar were to offer himself to Tu mi guardi, ti confondi? You look at me, are you confused? saprei che? me, what should I do? Ehi ragazza, non rispondi? Now, good maid, why don't you answer? Forse vendicarmi? Perhaps to revenge myself? Sconcertata è la tua testa Your mind is all bewildered, A si basso e vil pensiero How could I entertain such a base and vile e rimbalza qua e là And costs about hither and thither io potrei dar ricetto? Ah non fia vero! thought? Let it not be true! come nave in gran tempesta Like a ship in a terrible storm che di sotto in su sen va. Which is tossed up and down. Aria Air Alle voci della gloria The voices of glory Ma già il nembo è terminato, But now the storm is past, l'alma mia s'accende e scuote. Enflame and inspire my heart. scintillò serenità. And joy is radiant. Tutte a me del pari ignote All the ways of evil Il destino s’è cangiato, Fortune has changed, son le vie della viltà. Are equally unknown to me. l’innocenza brillerà. And your innocence shall triumph. Da te lunghi, o mio tesoro, Far from you, oh my treasure ardo, avvampo, smania, e moro, I burn, I blaze; I rage and die. di frenar non son capace. I cannot curb questo cor che vola a te. This heart which flies to you. 9 Alle voci della gloria Vieni, amico, tu che sei Come, friend, you who are Scene & Air for Bass fida scorta a'passi miei, The faithful escort of my footsteps, text by Francesco Bianchi, Tarara, La virtù premiata deh! Mi guida al coro oggetto Ah! Lead me the dear one 1813 del mio amor, della mia fe'. To whom my love and faith are given. Aspasia a me rapita! Apasia taken from me! Qual furor m'ispirò What anger has aroused me nella più viva parte dell'alma mia! In my innermost soul Straziar mi sento. I'm torturing myself. Osmin non torna Osmin doesn't return oh, indugio che mi tormenta! Oh, the delay torments me! Aspasia, anima mia, vorrei volarti in seno, Aspasia, my soul, I would fly to your heart, ma come osarlo col rischio tuo? But how can I dare it, when it endangers you? Parmi sentire... Osmino non è... I seem to hear... It is not Osmin... sarà il crudele. It is the monster of cruelty. Ah! Ch'io deliro fra onor, dovere, sospetto, Ah, how I am torn between honour, duty, amore e gelosia. Suspicion, love and jealousy.

36 37 Jacopo Brusa is considered one of the most interesting conductors of his generation. Nati- onal and international critics have defined him from the very beginning as "a pleasant discove- ry" and, several times, his concertation is judged "impeccable". Born in Pavia in 1985, he began his musical stu- dies at the age of seven at the Istituto Musica- le "Franco Vittadini" in his city attending the harpsichord course. He then moved to the "G. Verdi" Conservatory in Milan where he gradua- ted in Organ and Organ Composition. He later specialised in institutions such as Hochschule für Musik in Hamburg, Conservatorio "G. Tarti- ni" in Trieste, and Conservatorium van Amster- dam under the guidance, among others, of Gus- tav Leonhardt and Pieter van Dijk. As organist, the "Virtuosi Brunenses" Orchestra of Brno, to he is a winner of international competitions and name a few. The Czech Opera Orchestra, known in its nati- The Orchestra has been in residence in participates in numerous festivals in Italy, Ger- Moreover, he has been guest of theatres and fes- ve land as the Virtuosi Brunenses, was found- Germany’s ‘’ Festival for the many, Holland, Denmark, Poland and Portugal. tivals such as the Verdi Theatre in Trieste, the ed by conductor and violinist Karel Mitas, con- seasons 2008 to 2014, performing a broad range He began also studying conducting by taking Macerata Opera Festival, the "Rossini in Wild- certmaster of the Janacek Opera Orchestra in of operatic repertoire. part in the "Wiener Musik Seminar" (Vienna), bad" Belcanto Opera Festival, the Donizetti the city of Brno’s National Opera House. Virtuosi Brunenses have also made successful in the prestigious Accademia Chigiana in Siena Foundation in Bergamo, the Fraschini Theatre The orchestra membership includes leading CD productions, such as Mercadante's La Spo- with , in the "Bottega Maag" in Pavia, the Municipal Theatre in Piacenza, musicians from the Janacek Opera Orchestra, sa di , Rossini's Otello, Le Siege de Corin- with Donato Renzetti and obtained a diploma and the Teatro dell'Opera Giocosa in Savona. Brno Philharmonic and first chairs/section lea- the, Semiramide, and L'Italiana in Algeri under in conducting at the "G. Tartini" Conservatory Jacopo Brusa has made his debut for the fol- ders of other top Czech Republic Orchestras. the baton of and with in Trieste in the class of . lowing operas: Guglielmo Tell (Rossini), Madama With this wealth of musical experience and outstanding soloists as , Jessica He worked as a conductor in both operatic and Butterfly (Puccini), La traviata (Verdi), La Cene- background, the Orchestra is able to offer a Pratt, , Marianna Pizzolato, symphonic orchestras, collaborating with en- rentola (Rossini), Carmen (Bizet), La serva padro- broad range of opera and orchestral works, as and Bruno Praticò, who are at home in the most sembles such as the "Carlo Felice" Theatre Or- na (Pergolesi), L'inganno felice (Rossini), and La well as chamber orchestra repertoire. famous opera houses as La Scala di Milano, or chestra of Genoa, the "G. Verdi" of Trieste, the cambiale di matrimonio (Rossini), the later issued New York. Philharmonic "Bruno Bartoletti", on DVD.

38 39 gcd 923525

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