CHAN 3127 Wide Book Cover 7/11/05 3:50 PM Page 1

GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3127 CHANDOS O PERA IN ENGLISH

soprano Option 1 PHILHARMONIA ORCHESTRA conducted by DAVID PARRY PETER MOORES FOUNDATION CHAN 3127 BOOK.qxd 12/9/06 4:32 pm Page 2 © Bill Cooper © Bill

Great Operatic Arias with Christine Brewer

On session: Christine Brewer

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Time Page Time Page Richard Wagner (1813–1883) Sir Arthur Sullivan (1842–1900) from Tannhäuser from The Golden Legend Elizabeth’s Greeting (Dich teure Halle) Elsie’s Song 1 ‘Great hall of song’ 4:55 [p. 46] 5 ‘The night is calm and cloudless’ 5:09 [p. 49] with Geoffrey Mitchell Choir Wolfgang Amadeus Mozart (1756–1791) Carl Maria von Weber from Don Giovanni Donna Anna’s Vengeance Aria (Or sai chi l’onore) from Euryanthe 2 ‘Don Ottavio, I’m dying’ – Recitative and Duet of Euryanthe and Eglantine (Unter ist mein Stern ‘He threatened my honour’ 6:14 [p. 46] gegangen) with Barry Banks tenor 6 ‘Ah, what have I done?’ – ‘Fading is the star that guides me’ 3:59 [p. 49] Christoph Willibald Gluck (1714–1787) with Janice Watson soprano from Alceste Emmerich Kálmán (1882–1953) Alceste’s Aria (Divinités du Styx) 3 ‘Almighty gods of death!’ 4:41 [p. 47] from Countess Maritza Ensemble and Maritza’s Entrance (Where is love’s kingdom?) Carl Maria von Weber (1786–1826) 7 ‘Gypsy airs and joyful phrases’ – ‘Where is love’s kingdom?’ 6:54 [p. 50] from Oberon with Geoffrey Mitchell Choir Reiza’s recitative and aria (Ozean! Du Ungeheuer) 4 ‘Ocean! Thou mighty monster’ – Richard Rodgers (1902–1979) ‘Still I see thy billows flashing’ 8:49 [p. 48] from Carousel 8 ‘You’ll never walk alone’ 4:01 [p. 51] with Geoffrey Mitchell Choir

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The gleaming, expressive voice of the

Time Page American soprano Christine Brewer was Franz Lehár (1870–1948) such a revelation when she recorded Christie’s, New York New Christie’s, from Giuditta Fidelio for Opera in English that we Giuditta’s Aria (Meine Lippen sie küssen so heiss) immediately scheduled this recital disc. 9 ‘Why ever should it be’ 5:45 [p. 51] Here, she reveals the beautifully with Geoffrey Mitchell Choir considered balance of her lyric Gioachino Rossini (1792–1868) and dramatic singing from Stabat Mater (Inflammatus) in songs of many 10 ‘Blessed virgin, may the flame of love’ 4:19 [p. 52] moods and from with Geoffrey Mitchell Choir many eras, from Ludwig van Beethoven (1770–1827) Wagner to Richard Concert Aria ‘Ah perfido!’, Op. 65 Rodgers, from 11 ‘Ah! Treachery and falsehood! – Weber to Lehár ‘Ah, my love, how can you leave me’ 13:16 [p. 53] and from Gluck Bob Merrill (1921–1998) to Sullivan. from Carnival Enjoy! Lili’s song (Mira – Can you imagine that?) 12 ‘I came on two buses and a train’ 4:26 [p. 53] TT 73:52 August 2005

Sir Peter Moores examining an archaic Chinese bronze from the collection at Compton Verney 7 6 CHAN 3127 BOOK.qxd 12/9/06 4:32 pm Page 8

which she sings the heroine to Petra Lang’s will all too often be pursued at the expense of Great Operatic Arias Brangaene and Christian Franz’s Tristan. one or all these virtues. Mozart insists on their Already she has been described in the preservation. For record collectors, a programme such as concert aria ‘Ah! perfido’ in her recorded American press as the singer who ‘should be He is represented here by the duet, this is rich in associations. Titles are connected repertoire. Nearer to modern times, we think the Isolde and Brünnhilde everywhere’. There recitative and aria from Don Giovanni with names, arias with singers, and a whole of the cleaving tones of Birgit Nilsson or the is of course a danger in that ‘everywhere’: as (track 2 ). Donna Anna is now the Mozartean network of sonorities is set ringing by richer ones of Jessye Norman in Elizabeth’s Flagstad and Lauritz Melchior found, when a role with which Christine Brewer is most invocation of ‘Ocean, thou mighty monster’ or Greeting. In fact a rare parade of vocal majesty singer has the monopoly of preference in closely associated, the role (for instance) of an Elizabeth’s ‘Hall of song’. These have been passes before the eyes and ears of your certain roles, those roles in turn tend to earlier success in Edinburgh, under Sir Charles traditionally the province of the most regal of collector’s imagination, and in its wake is monopolise the singer. The Wagner-specialist Mackerras in 1995. The disposition of the soprano voices. On records they go back in always the attendant hope of the line’s has to leave a way out. three women’s parts in Don Giovanni has come time to the earliest years of all and to names continuance into our own day and age. The present programme makes it clear that into question in recent years. It used to be retrieved from the nineteenth century. Anna Christine Brewer has an eminent place Christine Brewer has plenty going for her clear enough: Zerlina (now sometimes claimed Bahr-Mildenburg, the great dramatic soprano among the heroic sopranos of our time. outside Wagner. She has in fact a great deal for the mezzo) was always a light soprano, of the Vienna Opera in Mahler’s time, Exceptionally, her voice possesses the ideal more, for she is also an admired concert artist, even a soubrette, Donna Elvira a standard lyric recorded ‘Ocean, thou mighty monster’ in combination of power and firmness, radiance with (particularly) a large repertoire of role and Donna Anna the heavy. Such was the 1904. Lilli Lehmann, veteran of the first and breadth. She has also spirit to match. Schubert Lieder. In opera, among her notable casting of a famous revival at Covent Garden season at Bayreuth and principal Wagnerian A great warmth of feeling and sense of successes have been Britten’s Gloriana and under Bruno Walter in 1926: Elisabeth soprano at Covent Garden and the dramatic conviction are hers, and these extend Barber’s Vanessa. And it is always reassuring to Schumann sang Zerlina, Lotte Lehmann Metropolitan in the ‘Golden Age’ of the to the quieter, intimate expressions of emotion find, as here, that Mozart has played a large Elvira and Frida Leider Anna. In the event it 1890s, made a recording of Donna Anna’s as to the moments of grandeur generally part in a singer’s career. Brewer made both her was felt that Lehmann and Leider both had Vengeance aria and several other items heard regarded as marking the summit of the heroic New York and her London debuts as the such a powerful stage-presence that they here, which are titanic in spirit and often singer’s art. In terms of repertoire, that summit Countess in The Marriage of Figaro, and for seemed to cancel each other out. But it would mightily impressive in voice and technique is usually represented by the two great such a role it is essential that the singer should have been unthinkable for them to have despite her advanced age. Frida Leider, adored Wagnerian roles of Isolde and Brünnhilde. be in full possession of the singerly virtues of exchanged roles, just as it was the invariable by London audiences in the interwar years, A highlight of the 2005 Edinburgh Festival flexibility, pure tone, steady production and arrangement in those years for Lehmann to also shone in that aria, and Kirsten Flagstad, (still a few months ahead at the time of genuine legato. As we hardly need telling, the play Sieglinde to Leider’s Brünnhilde in her successor, was another who included writing) is confidently expected to be the cultivation of sheer volume and the repeated Die Walküre. Modern conductors and ‘Ocean, thou mighty monster’ and Beethoven’s concert performance of Tristan and Isolde in singing of roles most strenuously requiring it producers have been more inclined to ask, in

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Don Giovanni at least, why this should be so. sign of volume as a cult in itself till well on in Alceste’s aria (track 3 ), usually known under Oberon (track 4 ), the scene from Euryanthe Surely Anna is the gentler, more sympathetic the nineteenth century. its French title, ‘Divinités du Styx’, is a good (track 6 ), and two interpolations from what character, Elvira the termagant? Even Mozart’s sopranos seem to have been example of the noble style, plain but forcible, might seem unlikely composers, Rossini and But no discussion of characters in opera gets remarkable for range and agility rather than suiting the voice of what we now recognise as Sullivan. The Rossini (track 10 ) bears several very far without reference to their music, and power, and of Teresa Saporiti, the first Anna, the heroic, dramatic soprano. And it is not far marks of the school of singing which these in this instance it is Donna Anna’s Vengeance it was reported that ‘her voice is somewhat from that to Beethoven and Weber. other composers, from Beethoven to Wagner, aria that settles the matter. The powerful small and she neglects expression in Wilhelmine Schröder-Devrient was not most resolutely supersede: the decorative turns sweep of the phrases, the intensity of angry recitatives’. Some years after the premiere of Beethoven’s first Leonore (she was only one and trills, the encouragement to the singer to emotion (ennobled by restraint) and above all Don Giovanni she became prima buffa assoluta year old when the original version had its exhibit her technical skill as well as the sheer the effect of those climactic high ‘A’s call for a and specialised in roles such as Rosina in premiere in 1805). In 1822, however, at the naked power of her top C. It is clearly written voice of heroic volume and quality: whatever Paisiello’s Barber of Seville. So much for the age of eighteen, she transformed the role, and for a big voice, and when given with full else the role involves, this requires grandeur, notion, dear to cognoscenti, that the ‘creator’ of to some extent the fundamental concept of the orchestra and chorus there is an elemental not only of style but of vocal capacity. a role will provide a reliable index of the opera singer. She was, perhaps, the first thrill, almost like Puccini’s Turandot, in The difference between expectations of that composer’s wishes; or perhaps if anything is distinctly modern soprano. With her, it seems, hearing the soprano voice cleave and ring at capacity in Mozart’s time and our own is to be learned in this instance it is that Mozart dramatic truth came first, and the identity of full volume. Perhaps, then, it is not so perhaps impossible to gauge at all accurately at set the highest store by technical proficiency, the dramatic soprano gained definition. She surprising after all to find the aria from this date. We know that orchestras and, for the with which Saporiti was said to be well was also famous for her singing of Weber and Rossini’s Stabat Mater included. But Sullivan’s most part, theatres were smaller then, but endowed. provides the link forward to Wagner, The Golden Legend (track 5 ) will surely be certainly the power of a voice was a factor in Sometimes a new century does mark a new becoming the first Adriana in Rienzi, then an unexpected item in the programme – for its assessment and had been from the first era, though there seems little reason why it Senta in The Flying Dutchman and Venus in all but a few record collectors with long phases of operatic history. The early treatises should. In 1800 a prime influence in opera’s Tannhäuser. memories. They will recall, perhaps, an HMV on vocal art make much of a singer’s power to progress was still the reformer, Gluck. The The present recital plots, as it were, the brown-label 78 made in 1930, on which, with swell and then diminish on a note, the so- premiere of his Alceste dates back to 1767, journey to Wagner, but stops at Tannhäuser the chorus and orchestra of the Royal Opera, called messa di voce. The famous castrati, but for many years afterwards he and Mozart (track 1 ), not going beyond into what are Covent Garden, conducted by John Barbirolli, Senesino, Carestini and Farinelli for example, were respected by serious musicians as the generally regarded as the ultimate reaches of Florence Austral sings both solos, with her were all praised for their resources of power composers who showed the way ahead for the heroic repertoire, the great roles of Brünnhilde-voice heard in its full splendour. and fullness. All the same, these do not appear opera. For singers this meant that skill in Brünnhilde and Isolde. The stages on the So there is a precedent. to have been top priorities. Beauty of tone and ornamentation lost its dominant place, which journey are Beethoven’s concert aria, ‘Ah! That probably cannot be claimed for the technical skill ranked higher, and there is little was increasingly taken over by expressiveness. perfido’ (track 11 ), Weber’s ‘Ocean’ aria from remaining four tracks in this recital – though,

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come to think about it, they might have found A note from the singer have included Countess Thomas, Kurt Masur, John Adams, Christoph their way at encore-time into a programme Every year our little Shawnee High School put Almaviva (New York von Dohnányi, Raymond Leppard, Mark with Birgit Nilsson. The operettas of Lehár on a big major musical, and as a seventeen- City Opera and the Wigglesworth, Andrew Litton, John Nelson, and Kálmán (Countess Maritza, track 7 ) are year-old I played the Mother Abbess in Royal Opera, Covent Sir Neville Marriner, Wolfgang Sawallisch and of course vocally from the same tradition as The Sound of Music, singing ‘Climb every Garden), and Donna Ivan Fischer. Her recordings include the title the nineteenth-century operas: they require mountain’, which I still often use as an Anna (Edinburgh role in Fidelio as part of Chandos’ Opera in and reward the allure of an ample voice and a encore piece. Festival under Sir English series, Janácˇek’s Glagolitic Mass and well-preserved singing-line. Giuditta ‘Mira’ is something I’ve been singing for Charles Mackerras and Dvorˇák’s Te Deum with Robert Shaw, Don (track 9 ), in particular, as Lehár’s nearest about fifteen years, again, quite often as an in London, New York Giovanni under Sir Charles Mackerras, approach to the operatic style, has attracted encore. The sentiments expressed by this and Florida). She has Barber’s Vanessa under Leonard Slatkin, and many sopranos not normally associated with young girl in Bob Merrill’s Carnival are so sung Gluck’s Iphigenie en Tauride in Madrid, she appears in Graham Johnson’s complete the sway of a seductive waltz tune. The similar to my own… growing up in a small Leonora (Fidelio) with the St Paul Chamber Schubert Edition. American musicals are a kind of extension of town, and carrying those memories along Orchestra, Weber’s Oberon with Richard Recent concert engagements have included the older operetta tradition, nearer to the wherever I go. I grew up in a town of 500 Hickox in London and Strauss’ Die Aegyptische gala concerts at the Royal Opera House, modern free-and-easy style but still broadly (Grand Tower, Illinois) and now live in a BIG Helena in Santa Fe. She sang her first Isolde Covent Garden (under Bernard Haitink), melodic, even capable of a certain grandeur town of 3,500 (Lebanon, Illinois). So many with the BBC Symphony Orchestra and Dallapiccola’s Il Prigioniero at the Monnaie, when sung by a big voice, as here. The times when I’m travelling to cities like London Donald Runnicles, Britten’s Gloriana with Brussels (under Antonio Pappano), and she homely girl from Mira (track 12 ) may be or New York or Paris, I think back on what it Richard Hickox at the Aldeburgh Festival, and has forged strong links with the BBC Proms, somewhat of an exception to find in the was like to grow up in a town where Chrysothemis (Elektra) with the Cleveland with performances including Britten’s War company of Alceste, Donna Anna and the ‘everybody knew my name…’ Orchestra and Frans Welser-Möst. She has Requiem under Jane Glover, Janácˇek’s rest of their dramatic tribe, but might not achieved international renown for her Glagolitic Mass under Sir Andrew Davis, Brünnhilde herself, if her normal © Christine Brewer performances of Strauss’ Ariadne auf Naxos Wagner’s Die Walküre and Schönberg’s supporting group of nine women’s voices having sung the role for English National Gurrelieder under Donald Runnicles, and were enlarged, as here, into a full operatic American soprano Christine Brewer was born Opera, Opéra de Lyon (in Lyon and Paris), the Mahler’s Eighth Symphony under Sir Simon chorus fit to fill a football stadium, find in Illinois and began her professional career Santa Fe Festival and in her debut at the Rattle. ‘You’ll never walk alone’ (track 8 ) a fine song with Opera Theatre of Saint Louis, with Metropolitan Opera under James Levine. for singing…? whom she has performed Ellen Orford, In concert Christine Brewer appears with One of the world’s great orchestras, the Donna Anna and the title roles in Ariadne auf the major American and British Orchestras Philharmonia Orchestra is now in its sixth © 2005 John Steane Naxos and Haydn’s Armida. Other appearances under Sir Roger Norrington, Michael Tilson- season with renowned German maestro

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Christoph von Dohnányi as Principal An increasing number of the Orchestra’s assistant. He made his a tour of Carmen, and in Mexico with the Conductor. That post was first held by Otto concerts are being broadcast by BBC Radio 3, debut with English UNAM Symphony Orchestra. Recent new Klemperer, and the Orchestra has since had including its annual performance at the BBC Music Theatre, then productions he has conducted include Fidelio at important collaborations with Lorin Maazel Proms. As the world’s most recorded became a staff the New Zealand Festival, Lucia di Lammermoor (as Associate Principal Conductor), Riccardo symphony orchestra, with over 1000 releases conductor at Städtische at New Israeli Opera and Don Giovanni at Muti (as Principal Conductor and Music to its credit, among these a number of Bühnen, Dortmund Staatsoper Hannover. Director), Giuseppe Sinopoli (as Music television and feature film soundtracks, the and at Opera North. His work in the recording studio includes Director) and, currently, Kurt Sanderling (as Philharmonia Orchestra enjoys a worldwide He was Music Director the BBC Television production of Marschner’s Conductor Emeritus), Vladimir Ashkenazy (as reputation. The discography includes, for of Opera 80 from 1983 Der Vampyr and twenty-eight complete opera Conductor Laureate) and Sir Charles Opera Rara, several recital discs as well as to 1987 and since recordings under the sponsorship of the Peter Mackerras (as Principal Guest Conductor), eleven complete operas, and for Chandos, in 1992 has been the Moores Foundation. Among these are besides such eminent figures as Wilhelm the Opera in English series sponsored by the founding Music Director of Almeida Opera. numerous discs for the Opera Rara label Furtwängler, Richard Strauss, Arturo Peter Moores Foundation, The Thieving He works extensively in both opera and which have won several awards, including the Toscanini, Guido Cantelli, Herbert von Magpie, Wozzeck, Don Giovanni, The Elixir of concert, nationally and internationally. He has Belgian Prix Cecilia for Donizetti’s Rosmonda Karajan and Carlo Maria Giulini. It continues Love, Lucia of Lammermoor, Faust, Carmen, conducted several productions at English d’Inghilterra. For Chandos he has conducted a to engage world-class conductors and soloists, Aida, La Bohème, Madam Butterfly, Turandot, National Opera and Opera North and appears series of recitals of operatic arias – with Sir and attracts Europe’s most talented young the award-winning Tosca and solo recital regularly with the Philharmonia and London Thomas Allen, Bruce Ford, Alan Opie, Diana players to join its orchestral ranks. albums of operatic arias with Bruce Ford, Philharmonic Orchestras. In 1996 he made his Montague, Dennis O’Neill, Alastair Miles, Resident Orchestra at the Royal Festival Diana Montague, Dennis O’Neill, Alastair debut at the Glyndebourne Festival conducting Yvonne Kenny, John Tomlinson, Barry Banks, Hall, it maintains a central position in British Miles, Yvonne Kenny and John Tomlinson. Così fan tutte, following it in 1998 with the Della Jones and Andrew Shore – as well as musical life also through regional residencies The Philharmonia Orchestra continues to world premiere of Jonathan Dove’s Flight. Fidelio, The Flying Dutchman, The Marriage of which provide an ideal opportunity to expand consolidate its international renown through He is a frequent visitor to Spain where he has Figaro, A Masked Ball, Idomeneo, Carmen, a dynamic educational and community-based regular tours and through recent prestigious given concerts with most of the major Spanish The Thieving Magpie, Don Giovanni, programme. Winner of numerous awards, it residencies at the Châtelet Théâtre Musical in orchestras. He conducted the Spanish premiere Don Pasquale, The Elixir of Love, Lucia of has garnered unanimous critical acclaim for its Paris, the Megaron in Athens and the Lincoln of Peter Grimes in Madrid and in 1996 the first Lammermoor, Ernani, Il trovatore, Aida, Faust, innovative programming policy, at the heart of Center for the Performing Arts in New York. Spanish production of The Rake’s Progress. He Cavalleria rusticana, Pagliacci, La bohème, which is a commitment to performing and has appeared in Germany, Switzerland, and The Turandot, the award-winning Tosca and commissioning new music by today’s leading David Parry studied with Sergiu Celibidache Netherlands, at the Pesaro Festival in Italy, the highlights from Der Rosenkavalier, all in composers. and began his career as Sir John Pritchard’s Hong Kong International Festival, in Japan with association with the Peter Moores Foundation.

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British philanthropist Sir Peter Moores established the Peter Moores Foundation in 1964 of a Faculty Directorship and Chair of Undergraduate Management Studies at Oxford to realise his charitable aims and, to fulfill one of these, the Compton Verney House Trust University (providing the lead donation which paved the way for the development of the in 1993 to create a new art gallery in the country. Through his charities he has disbursed Said Business School). more than £93 million to a wide variety of arts, environmental and social causes ‘to get things done and open doors for people’. In 1993 the Foundation bought Compton Verney, a Grade 1 Georgian mansion in Warwickshire, designed by Robert Adam, with grounds by Capability Brown. Compton Sir Peter’s philanthropic work began with his passion for opera: in his twenties he helped a Verney House Trust was set up by Sir Peter to transform the derelict mansion into a world- number of young artists in the crucial, early stages of their careers, several of whom – class art gallery that would provide an especially welcoming environment for the ‘first-time’ Dame Joan Sutherland, Sir Colin Davis and the late Sir Geraint Evans amongst them – gallery visitor. The gallery, which houses six permanent collections, a Learning Centre for all became world-famous. ages, and facilities for major visiting exhibitions, was opened in March 2004 by HRH the Prince of Wales. The Compton Verney website can be found at: www.comptonverney.org.uk Today, the Peter Moores Foundation supports talented young singers with annual scholarships awarded through the Royal Northern College of Music, has made it possible Sir Peter Moores was born in Lancashire and educated at Eton College and Christ Church, for Chandos Records to issue the world’s largest catalogue of operas recorded in English Oxford. He was a student at the Vienna Academy of Music, where he produced the translation, and enabled Opera Rara to record rare bel canto repertoire which would Austrian premiere of Benjamin Britten’s The Rape of Lucretia, and worked as an assistant otherwise remain inaccessible to the general public. producer with Viennese artists in Naples, Geneva and Rome, before returning to England in 1957 to join his father’s business, Littlewoods. He was Vice-Chairman of Littlewoods in In live performance, the Foundation has encouraged the creation of new work and 1976, Chairman from 1977 to 1980 and remained a director until 1993. schemes to attract new audiences, financed the publication of scores, especially for world premieres of modern operas, and enabled rarely heard works to be staged by British opera He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from Christ companies and festivals. Church, Oxford, in 1975, and was made an Honorary Member of the Royal Northern College of Music in 1985. In 1992 he was appointed a Deputy Lieutenant of Lancashire by Projects supported by the Foundation to help the young have ranged from a scheme to HM the Queen. He was appointed CBE in 1991 and received a Knighthood in 2003 for encourage young Afro-Caribbeans ‘stay at school’ for further education, to the endowment his charitable services to the arts.

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sowohl im stilleren, intimeren Ausdruck von als gefeierte Konzertinterpretin einen Große Opernarien Gefühlen äußern als auch in den Momenten der Namen gemacht – speziell mit einem Erhabenheit, von denen man gemeinhin außergewöhnlich großen Repertoire an Für Plattensammler ist ein Programm wie eindrucksvoll sind. Die vom Londoner annimmt, daß sie die künstlerischen Schubert-Liedern. In der Oper zählen zu ihren dieses reich an Assoziationen. Titel werden mit Publikum in den Jahren zwischen den Höhepunkte des heroischen Sängers ausmachen. bemerkenswerten Erfolgen auch Brittens Namen in Verbindung gebracht, Arien mit Weltkriegen gefeierte Frida Leider glänzte Im Sopran-Repertoire finden sich diese Gloriana und Barbers Vanessa. Und wie immer Sängern, und die Erwähnung von “Ocean, ebenfalls mit dieser Arie, und auch ihre Höhepunkte gewöhnlich in den beiden großen ist es auch hier beruhigend, daß Mozart in der thou mighty monster” oder Elisabeths “Hall of Nachfolgerin Kirsten Flagstad wählte “Ocean, Wagner-Rollen der Isolde und Brünnhilde. Ein Karriere dieser Sängerin eine wichtige Rolle song” versetzen ein ganzes klingendes thou mighty monster” sowie Beethovens Glanzpunkt des diesjährigen (2005) Edinburgh gespielt hat. Brewer feierte sowohl ihr New Netzwerk in Schwingungen. Schon immer Konzertarie “Ah! perfido” für ihr Festivals wird sicherlich die konzertante Yorker als auch ihr Londoner Debüt in der waren diese Titel die Domäne der Schallplattenrepertoire aus. Näher an der Aufführung von Tristan und Isolde sein, in der Rolle der Gräfin in Die Hochzeit des Figaro, majestätischsten Sopranstimmen. Gegenwart denken wir an die durchdringenden Brewer neben Petra Lang als Brangaene und und für eine solche Rolle ist es von essentieller Tonträgeraufnahmen dieser Melodien reichen Töne einer Birgit Nilsson oder an den volleren Christian Franz in der Rolle des Tristan die Bedeutung, daß die Sängerin Qualitäten wie in die früheste Zeit zurück bis hin zu Namen, Klang von Jessye Norman in Elisabeths Gruß. Titelheldin singt. In der amerikanischen Presse Flexibilität, einen reinen Ton, eine die noch im neunzehnten Jahrhundert zu Tatsächlich zieht eine einzigartige Parade wurde Brewer bereits als die Sängerin ausgewogene Stimmgebung und ein echtes Hause sind. Anna Bahr-Mildenburg, die große stimmlicher Majestäten am geistigen Auge und beschrieben, die “immer und überall die Rollen Legato perfekt beherrscht. Es braucht kaum dramatische Sopranistin der Wiener Oper in Ohr unseres Sammlers vorüber, in deren der Isolde und der Brünnhilde übernehmen erwähnt zu werden, daß die Kultivierung der Ära Gustav Mahlers, machte 1904 eine Nachhut auch immer die Hoffnung mitzieht, sollte”. In diesem “immer und überall” liegt bloßer Lautstärke und die wiederholte Aufnahme von “Ocean, thou mighty monster”. daß diese Reihe sich in unsere eigene natürlich auch eine Gefahr, wie Flagstad und Darbietung von Rollen, die diese Stimmgewalt Lilli Lehmann, die Veteranin der allerersten Gegenwart fortsetzen möge. Lauritz Melchior erfahren mußten – wenn ein unentwegt erfordern, nur allzu oft auf Spielzeit in Bayreuth und erste Wagner- Christine Brewer nimmt unter den Sänger auf bestimmte Rollen ein Monopol hat, Kosten einer oder all dieser Qualitäten Sopranistin in Covent Garden und an der heroischen Sopranen unserer Zeit eine so pflegen diese Rollen umgekehrt auch den geschieht. Mozart jedoch verlangt ihre Metropolitan Opera im “Goldenen Zeitalter” herausragende Stellung ein. Ihre Stimme hat Sänger zu monopolisieren. Der Wagner- Bewahrung. der 1890er Jahre, nahm Donna Annas die einzigartige, ideale Kombination von Kraft Spezialist muß sich in solchen Fällen einen In der vorliegenden Einspielung ist der Rachearie und verschiedene andere hier und Festigkeit, Ausstrahlung und Ausweg offenhalten. Komponist mit dem Duett, dem Rezitativ und ebenfalls eingespielte Titel auf, die trotz des Tragfähigkeit. Außerdem verfügt sie über das Das vorliegende Programm veranschaulicht, der Arie aus Don Giovanni vertreten (Band fortgeschrittenen Alters der Interpretin von hierzu passende Temperament. Sie nennt eine daß auch außerhalb des Wagner-Repertoires 2 ). Die Donna Anna wird unter den titanischem Geist zeugen und in Stimme und große emotionale Wärme und ein Gespür für vieles für Christine Brewer spricht. Sie ist in Mozartschen Rollen am engsten mit Christine Technik meist noch ausgesprochen überzeugende Dramatik ihr eigen, die sich der Tat sehr vielseitig, denn sie hat sich auch Brewer in Verbindung gebracht; so feierte sie

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in dieser Rolle zum Beispiel 1995 in sympathischere Figur und Elvira der auf einer einzelnen Note den Ton anschwellen Können Wert legte, mit dem die Saporiti Edinburgh einen frühen Erfolg unter Hausdrache? und sodann wieder leiser werden zu lassen, angeblich bestens ausgestattet war. Sir Charles Mackerras. Die Klassifizierung der Doch keine Diskussion um die Typisierung eine als messa die voce bezeichnete Technik. Gelegentlich beginnt mit einem neuen drei Frauenrollen in Don Giovanni ist in den von Opernrollen kommt sehr weit, ohne deren Die berühmten Kastraten Senesino, Carestini Jahrhundert auch ein neues Zeitalter, selbst letzten Jahren neu überdacht worden. Die Musik zu berücksichtigen, und da ist es in und Farinelli zum Beispiel wurden alle für ihr wenn es kaum einen Grund gibt, warum dies Situation schien eindeutig genug – Zerlina war diesem Falle Donna Annas Rachearie, die die Kraftpotential und ihre volle Stimme so sein sollte. Im Jahr 1800 ging ein immer ein heller Sopran, ja sogar eine Sache entscheidet. Der kraftvolle Schwung der gepriesen. Zugleich aber scheinen dies nicht wesentlicher Einfluß auf die Entwicklung der Soubrette (heute fällt sie gelegentlich dem einzelnen Phrasen, die Intensität des (durch die wichtigsten Qualitäten gewesen zu sein. Oper immer noch von dem Neuerer Gluck Mezzosopran zu), die Donna Elvira war die Zurückhaltung gleichsam geadelten) Ärgers Schönheit des Tons und technische aus. Die Erstaufführung seiner Alceste fand standardmäßige lyrische Rolle und Donna und vor allem die Wirkung der klimaktischen Fähigkeiten wurden höher bewertet, und bis bereits 1767 statt, aber noch viele Jahre nach Anna galt als der klassische große Sopran. hohen “A”s verlangen eine Stimme, die in weit ins 19. Jahrhundert hinein gibt es kaum diesem Zeitpunkt galten Gluck und Mozart Dem entsprach zum Beispiel auch die Tragfähigkeit wie Qualität gleichermaßen Anzeichen dafür, daß das Stimmvolumen als bei ernsthaften Musikern als diejenigen Besetzung einer berühmten Inszenierung an heroisch ist – was immer die Rolle sonst solches zum Kult wurde. Komponisten, die der Oper den Weg in die Covent Garden unter Bruno Walter im Jahr noch erfordert, hier ist Grandezza nicht nur Selbst Mozarts Soprane scheinen schon eher Zukunft wiesen. Für Sänger bedeutete dies, 1926: Elisabeth Schumann sang die Zerlina, im Stil, sondern auch im Stimmvermögen wegen ihres Stimmumfangs und ihrer daß die Kunst der Ornamentierung ihre Lotte Lehmann die Elvira und Frida Leider die gefragt. Geläufigkeit als wegen ihrer Kraft aufgefallen beherrschende Stellung verlor, die nun Anna. Tatsächlich empfand man, daß sowohl Es ist gegenwärtig wahrscheinlich zu sein, und über Teresa Saporiti, die erste zunehmend von der Expressivität die Lehmann als auch die Leider eine solch unmöglich, den Unterschied zwischen den Anna, berichtete man, “ihre Stimme ist recht eingenommen wurde. Alcestes Arie (Band 3 ), kraftvolle Bühnenpräsenz hatten, daß sie sich Erwartungen, die man heute und denen, die klein und in den Rezitativen mangelt es ihr an die allgemein unter ihrem französischen Titel gegenseitig in den Schatten zu stellen man zu Mozarts Zeiten an dieses Stimm- Ausdruckskraft”. Einige Jahre nach der “Divinités du Styx” bekannt ist, ist ein gutes schienen. Sie ihre Rollen vertauschen zu vermögen knüpfte, auch nur annähernd zu Premiere von Don Giovanni wurde sie prima Beispiel des noblen Stils, der einfach und lassen, wäre jedoch undenkbar gewesen, bestimmen. Wir wissen, daß die Orchester buffa assoluta und spezialisierte sich auf Rollen zugleich kraftvoll ist und zu der Stimme ebenso wie in jener Zeit in der Walküre und meist auch die Theater damals kleiner wie die der Rosina in Paisiellos Barbier von paßt, die wir heute als den heroischen, grundsätzlich Lotte Lehmann die Sieglinde waren, trotzdem aber galt sicherlich schon Sevilla. Soviel also zu der von Kennern dramatischen Sopran einstufen. Und von hier und Frida Leider die Brünnhilde übernahm. damals und eigentlich seit den Anfängen der gehegten Vorstellung, daß der “Schöpfer” einer ist es nicht mehr weit zu Beethoven und Erst die modernen Dirigenten und Regisseure Oper die Kraft einer Stimme als wesentlicher Rolle verläßliche Angaben zu den Wünschen Weber. tendieren zumindest in Bezug auf Don Faktor für ihre Bewertung. Frühe des Komponisten liefern wird; wenn in diesem Wilhelmine Schröder-Devrient war nicht Giovanni zu der Frage, warum das eigentlich Abhandlungen über die Gesangskunst legen Fall überhaupt etwas zu lernen ist, so vielleicht Beethovens erste Leonore – als 1805 die so ist. Sicherlich ist doch Anna die sanftere, großen Wert auf die Fähigkeit eines Sängers, nur, daß Mozart vor allem auf technisches ursprüngliche Fassung zum ersten Mal

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aufgeführt wurde, war sie erst ein Jahr alt. Sullivan. Der Rossini (Band 10 ) enthält einige John Barbirolli. Es gibt also auch hierfür ein dieser dramatischen Versammlung eher eine 1822 jedoch transformierte die Merkmale jener Gesangsschule, die diese Vorbild. Ausnahme darstellen, aber könnte es nicht Achtzehnjährige nicht nur diese Rolle, sondern anderen Komponisten, von Beethoven bis Dies gilt wohl kaum für die verbleibenden selbst Brünnhilde gefallen – wenn ihre übliche in gewisser Hinsicht gleich auch das Wagner, ganz entschieden überwunden vier Nummern dieses Recitals – obwohl sie, Verstärkungsgruppe von neun Frauenstimmen grundlegende Konzept des Opernsängers. haben – die dekorativen Doppelschläge und wenn man es recht bedenkt, als Zugaben ihren wie hier zu einem vollen Opernchor erweitert Sie war vielleicht die erste ausgesprochen Triller, mit denen die Sängerin ermutigt wird, Weg in ein Programm mit Birgit Nilsson würde, dessen Klang ein ganzes Fußballstadion moderne Sopranistin. Für sie, so scheint es, ihre technischen Fähigkeiten sowie auch die gefunden haben könnten. Die Operetten zu füllen imstande wäre –, ein Lied wie “You’ll stand die dramatische Wahrhaftigkeit an schiere Kraft ihres hohen C zur Schau zu von Lehár und Kálmán (Gräfin Maritza, never walk alone” (Band 8 ) zu singen? erster Stelle, und die Identität des stellen. Die Arie ist eindeutig für eine große Band 7 ) gehören stimmlich natürlich dramatischen Soprans begann, Konturen zu Stimme geschrieben, und sofern sie mit vollem derselben Tradition an wie die Opern des © 2005 John Steane gewinnen. Auch für ihre Interpretation der Orchester und Chor gegeben wird, stellt sich 19. Jahrhunderts – sie verlangen und Kompositionen Webers war sie berühmt, und ähnlich wie in Puccinis Turandot beim Hörer versprechen die Attraktion einer üppigen Anmerkungen der Sängerin zugleich stellte sie eine Verbindung in die eine elementare Erregung ein, wenn die Stimme und einer getreu wiedergegebenen Jedes Jahr führte unsere kleine High Zukunft her, zu Wagner – sie war die erste Sopranstimme mit vollem Volumen alles zu Gesangslinie. Giuditta (Band 9 ) School in Shawnee ein großes Musical auf, Adriana in Rienzi, sodann die Senta im zerschmettern scheint. Somit ist es vielleicht insbesondere, mit der Lehár sich dem großen und als Siebzehnjährige spielte ich die Äbtissin Fliegenden Holländer und schließlich die doch nicht so überraschend, daß die Arie aus Opernstil am ehesten nähert, hat viele in The Sound of Music und sang “Climb every Venus im Tannhäuser. Rossinis Stabat Mater in diese Sammlung Sopranistinnen angezogen, die man sonst mountain”, ein Stück, das ich noch heute oft Das hier eingespielte Recital plant aufgenommen wurde. Sullivans The Golden kaum mit dem Wiegen einer verführerischen als Zugabe auswähle. gewissermaßen die Reise zu Wagner, endet Legend (Band 5 ) ist allerdings sicherlich für Walzermelodie in Verbindung brächte. Die “Mira” singe ich auch schon seit etwa aber bei Tannhäuser (Band 1 ) und begibt sich jeden eine unerwartete Nummer in diesem amerikanischen Musicals sind eine Art fünfzehn Jahren, häufig als Zugabe. Die somit nicht in die extremen Gefilde des Programm – mit Ausnahme einiger weniger Weiterentwicklung der älteren Gefühle, die dieses junge Mädchen in Bob heroischen Repertoires mit den großen Rollen Plattensammler mit sehr gutem Gedächtnis. Operettentradition; sie stehen dem freien Merrills Carnival zum Ausdruck bringt, sind der Brünnhilde und Isolde. Die Stationen auf Denn die erinnern sich vielleicht an eine und leichten modernen Stil schon näher, meinen eigenen so ähnlich … – auch ich bin dieser Reise sind Beethovens Kozertarie “Ah! 78er HMV brown-label Einspielung aus den sind aber immer noch weitgehend melodisch in einem kleinen Dorf groß geworden und perfido” (Band 11 ), Webers “Meeres”-Arie aus 1930er Jahren, auf der Florence Austral die und zu einer gewissen Grandezza fähig, wenn nehme diese Erinnerungen immer mit, ganz Oberon (Band 4 ) und die Szene aus beiden Solos mit der vollen Ausdruckskraft sie wie hier von einer großen Stimme gleich wohin es mich verschlägt. Ich bin in Euryanthe (Band 6 ), unterbrochen von zwei ihrer Brünnhilde-Stimme singt, begleitet gesungen werden. Das unscheinbare Mädchen einem Dorf mit 500 Einwohnern (Grand Stücken von vielleicht unerwartet vom Chor und Orchester der Royal Opera in aus Mira (Band 12 ) mag in der Gesellschaft Tower, Illinois) aufgewachsen und lebe erscheinenden Komponisten – Rossini und Covent Garden unter der Leitung von von Alceste, Donna Anna und dem Rest heute in einem GROSSEN Ort mit 3500

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Einwohnern (Lebanon, Illinois). Häufig, wenn (Elektra) mit dem Cleveland Orchestra unter Antonio Pappano); außerdem hat sie enge seine Reihen aufgenommen werden. ich in Städte wie London oder New York oder Frans Welser-Möst. Für ihre Darbietung in Verbindungen zu den BBC Proms geknüpft, Das Philharmonia Orchestra ist in der Paris reise, erinnere ich mich wie es war, in Ariadne auf Naxos erlangte sie internationalen mit Aufführungen unter anderem von Brittens Royal Festival Hall ansässig und nimmt eine einem Ort zu leben, wo “jeder meinen Ruhm; inzwischen hat sie die Rolle an der War Requiem unter Jane Glover, Janácˇeks zentrale Position im Musikleben Namen kannte …”. English National Opera, der Opéra de Lyon Glagolitischer Messe unter Sir Andrew Davis, Großbritanniens ein, nicht nur durch seine (in Lyon und Paris), auf dem Santa Fe Festival Wagners Walküre und Schönbergs Gurreliedern Londoner Konzerte, sondern auch durch feste © 2005 Christine Brewer und bei ihrem Debüt an der Metropolitan unter Donald Runnicles sowie Mahlers Achter Kontakte mit Aufführungsstätten in anderen Übersetzung: Stephanie Wollny Opera unter James Levine gesungen. Sinfonie unter Sir Simon Rattle. Teilen des Landes, die eine ideale Gelegenheit Auf dem Konzertpodium tritt Christine für die Erweiterung seines dynamischen und Die amerikanische Sopranistin Christine Brewer mit den großen amerikanischen und Das Philharmonia Orchestra, eines der bevölkerungsnahen musikpädagogischen Brewer stammt aus Illinois und begann ihre britischen Orchestern unter Sir Roger großen Orchester der Welt, steht nun bereits Programms bieten. Das Orchester ist mit künstlerische Laufbahn am Opera Theatre von Norrington, Michael Tilson-Thomas, Kurt im sechsten Jahr unter der Leitung seines zahlreichen Preisen ausgezeichnet worden und Saint Louis, wo sie die Ellen Orford und Masur, John Adams, Christoph von berühmten deutschen Chefdirigenten hat beispiellose kritische Unterstützung für Donna Anna sowie die Titelrollen in Ariadne Dohnányi, Raymond Leppard, Mark Christoph von Dohnányi. Er setzt eine seine innovative Programmpolitik gewonnen, auf Naxos und Haydns Armida gesungen hat. Wigglesworth, Andrew Litton, John Nelson, Tradition fort, die mit Otto Klemperer begann die in ihrem Kern der Bestellung und Weitere Auftritte hatte sie als Gräfin Almaviva Sir Neville Marriner, Wolfgang Sawallisch und und über Lorin Maazel (Erster Gastdirigent), Darbietung neuer Musik von führenden an der New York City Opera und der Royal Ivan Fischer auf. Ihre Diskographie umfaßt die Riccardo Muti (Chefdirigent und Komponisten unserer Zeit verpflichtet ist. Opera in Covent Garden sowie als Donna Titelrolle in Fidelio für die Chandos-Reihe Musikalischer Leiter), Giuseppe Sinopoli Die Konzerte des Orchesters werden immer Anna auf dem Edinburgh Festival unter Sir “Opera in English”, Janácˇeks Glagolitische (Musikalischer Leiter) bis zu Kurt Sanderling häufiger von BBC Radio 3 übertragen, nicht Charles Mackerras und in London, New York Messe und Dvorˇáks Te Deum mit Robert Shaw, (Emeritierter Dirigent), Vladimir Ashkenazy zuletzt im Rahmen der jährlichen BBC Proms. und Florida. Sie hat Glucks Iphigenie en Don Giovanni unter Sir Charles Mackerras (Ehrendirigent) und Sir Charles Mackerras Mit über 1000 Schallplattenaufnahmen Tauride in Madrid gesungen, Leonore (Fidelio) und Barbers Vanessa unter Leonard Slatkin; (Hauptgastdirigent) führt, aber auch die verfügt das Philharmonia Orchestra über die mit dem St. Paul Chamber Orchestra, Webers außerdem wirkt sie an Graham Johnsons Zusammenarbeit mit Wilhelm Furtwängler, größte Orchesterdiskographie der Welt, die Oberon unter Richard Hickox in London und Schubert-Gesamteinspielung mit. Richard Strauss, Arturo Toscanini, Guido auch Fernseh- und Filmmusik beinhaltet, und Strauss’ Die Ägyptische Helena in Santa Fe. Ihre Konzertverpflichtungen umfaßten in Cantelli, Herbert von Karajan und Carlo genießt weltweit höchstes Ansehen. Das erste Isolde sang sie mit dem BBC Symphony jüngerer Zeit die Galakonzerte am Royal Maria Giulini einbezog. Das Orchester Orchester hat für Opera Rara mehrere Recitals Orchestra unter Donald Runnicles, sodann Opera House in Covent Garden (unter verpflichtet weiterhin Gastdirigenten und sowie elf komplette Opern eingespielt und in Brittens Gloriana unter Richard Hickox auf Bernard Haitink) und Dallapiccolas Solisten von Weltrang, während einige der der Reihe “Opera in English” für Chandos mit dem Aldeburgh Festival und Chrysothemis Il Prigioniero an La Monnaie in Brüssel (unter größten europäischen Nachwuchstalente in Unterstützung durch die Peter Moores

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Foundation The Thieving Magpie, Wozzeck, Produktionen der English National Opera und Schirmherrschaft der Peter Moores Tomlinson, Barry Banks, Della Jones und Don Giovanni, The Elixir of Love, Lucia of der Opera North dirigiert und tritt regelmäßig Foundation. Darunter befinden sich Andrew Shore), außerdem Fidelio, The Flying Lammermoor, Faust, Carmen, Aida, mit dem Philharmonia Orchestra und dem zahlreiche Aufnahmen der Reihe Opera Rara, Dutchman, The Marriage of Figaro, A Masked La Bohème, Madam Butterfly, Turandot, die London Philharmonic Orchestra auf. 1996 die mehrere Preise gewonnen haben, Ball, Idomeneo, Carmen, The Thieving Magpie, preisgekrönte Tosca und Opernarien in gab er sein Debüt beim Glyndebourne Festival beispielsweise den belgischen Prix Cecilia für Don Giovanni, Don Pasquale,The Elixir of Solorecitals mit Bruce Ford, Diana Montague, mit Così fan tutte und hat dort 1998 die Donizettis Rosmonda d’Inghilterra. Für Love, Lucia of Lammermoor, Ernani, Dennis O’Neill, Alastair Miles, Yvonne Kenny Uraufführung von Jonathan Doves Flight Chandos hat er die Aufzeichnung einer Il trovatore, Aida, Faust, Cavalleria rusticana, und John Tomlinson aufgenommen. Das geleitet. Serie von Programmen mit Opernarien Pagliacci, La bohème, Turandot, die Philharmonia Orchestra untermauert seinen Er ist häufig in Spanien zu Gast und hat geleitet (mit Sir Thoms Allen, Bruce Ford, preisgekrönte Tosca und Highlights aus dem internationalen Rang durch regelmäßige mit den meisten bedeutenden spanischen Alan Opie, Diana Montague, Dennis O’Neill, Rosenkavalier, jeweils in Zusammenarbeit mit Tourneen und Gastauftritte an berühmten Orchestern Konzerte gegeben. In Madrid hat Alastair Miles, Yvonne Kenny, John der Peter Moores Foundation. Häusern wie dem Châtelet Théâtre Musical in er die spanische Uraufführung von Peter Paris, dem Megaron in Athen und dem Grimes dirigiert, und 1996 die erste spanische Lincoln Center for the Performing Arts in Inszenierung von The Rake’s Progress. Er ist in New York. Deutschland, der Schweiz und den Niederlanden aufgetreten, bei den Festspielen David Parry hat bei Sergiu Celibidache in Pesaro, beim Hong Kong International studiert und seine berufliche Laufbahn als Festival, in Japan anläßlich einer Carmen- Assistent von Sir John Pritchard begonnen. Er Tournee und in Mexiko mit dem UNAM hat am English Music Theatre debütiert und Symphony Orchestra. Zu den wurde dann Dirigent mit Festvertrag an den Neuproduktionen, die er in letzter Zeit Städtischen Bühnen Dortmund und an der dirigiert hat, zählen Fidelio beim New Zealand Opera North. Von 1983 bis 1987 war er Festival, Lucia di Lammermoor an der New Musikdirektor der Opera 80 und seit 1992 Israeli Opera und Don Giovanni an der Gründungsmitglied und Direktor der Almeida Staatsoper Hannover. Opera. Seine Tätigkeit im Aufnahmestudio umfaßt Er übt in Großbritannien und international die Produktion von Marschners Der Vampyr eine weitgespannte Tätigkeit in den Bereichen fürs BBC-Fernsehen und achtundzwanzig Oper und Konzert aus, hat mehrere vollständige Opernaufzeichnungen unter der

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rôles wagnériens d’Isolde et de Brünnhilde. On rôle de ce type, il est essentiel que la cantatrice Grands airs d’opéra s’attend à ce qu’un grand moment du Festival maîtrise parfaitement les qualités vocales de d’Edimbourg 2005 soit l’interprétation en flexibilité, de justesse, de régularité et de legato Un programme comme celui de ce récital est adulée par le public londonien dans l’entre- concert de Tristan et Isolde lors duquel véritable. Il va presque sans dire que rechercher riche en associations pour les collectionneurs de deux-guerres brilla aussi dans cette aria et Christine Brewer chantera le rôle de l’héroïne et privilégier le volume de la voix et chanter à disques. Les titres sont liés à des noms, les arias Kirsten Flagstad, qui lui succéda, enregistra avec Peter Lang dans le rôle de Brangaene et répétition des rôles exigeant impérativement du à des interprètes, et l’évocation de “Ocean thou également “Ocean, thou mighty monster” et Christian Franz dans celui de Tristan. La presse volume portera trop souvent préjudice à ces mighty monster” (“Océan, monstre l’aria de concert de Beethoven “Ah! perfido”. américaine la décrit déjà comme la cantatrice qualités. Mozart insiste pour qu’elles soient redoutable”) ou de “Dich, teure Halle” (Entrée Plus proches, pensons aux coloris émouvants de qui “devrait partout chanter le rôle d’Isolde et préservées. d’Élisabeth) fait chanter toute une palette de Birgit Nilsson ou aux tonalités plus riches de de Brünnhilde”. Ce “partout” recèle bien sûr Mozart est représenté ici par le duo, le sonorités. Ces morceaux figurent Jessye Norman dans La prière d’Élisabeth. Ainsi un danger: de l’avis de Flagstad et de Lauritz récitatif et l’aria de Don Giovanni (plage 2 ). traditionnellement au répertoire des plus défile dans l’imagination du collectionneur un Melchior, quand le public souhaite qu’un Donna Anna est à présent le rôle mozartien merveilleuses voix de soprano. Les cortège d’une rare majesté vocale, et dans son chanteur ait le monopole de certains rôles, ces auquel le nom de Christine Brewer est le plus enregistrements qui en ont été faits sont très sillage se profile l’espoir que la ligne se rôles à leur tour ont tendance à monopoliser le étroitement associé, le rôle (par exemple) qui anciens et ramènent à la vie des voix réputées au poursuivra jusqu’à nos jours. chanteur. Tout spécialiste de Wagner doit se lui valut un vif succès à Édimbourg sous la dix-neuvième siècle. Anna Bahr-Mildenburg, la Christine Brewer occupe une place de choix laisser une porte de sortie. direction de sir Charles Mackerras en 1995. La grande soprano dramatique de l’Opéra de parmi les sopranos héroïques de notre temps. Le présent programme montre que Christine hiérarchie des trois parties pour voix féminines Vienne à l’époque de Mahler, enregistra Sa voix a la particularité exceptionnelle Brewer a manifestement de nombreuses cordes dans Don Giovanni a été remise en question au “Ocean, thou mighty monster” en 1904. Lilli d’associer de manière idéale puissance et à son arc en dehors de Wagner. Elle a davantage cours des dernières années. Il paraissait évident Lehmann qui faisait figure de vétéran lors de la fermeté, éclat et ampleur. Elle a aussi le encore à offrir, car elle est aussi une artiste de que Zerlina (rôle que l’on veut parfois confier première saison à Bayreuth et qui était la tempérament qui convient. Christine Brewer concert très appréciée dont le répertoire de maintenant à la mezzo) soit toujours une principale soprano wagnérienne à Covent est très chaleureuse, elle sait comment Lieder de Schubert est (particulièrement) large. soprano légère, même un rôle de soubrette, Garden et au Metropolitan à l’“Âge d’or” des convaincre dramatiquement; ces qualités A l’opéra, elle s’est notamment distinguée dans Donna Elvira un rôle lyrique standard et années 1890 enregistra l’aria de la Vengeance de imprègnent tant les moments d’émotion Gloriana de Britten et dans Vanessa de Barber. Donna Anna le rôle important. Telle était la Donna Anna et plusieurs autres pièces reprises paisibles et intimes que les moments de Et il est toujours rassurant de constater, comme distribution lors d’une célèbre reprise de ici; en dépit de l’âge avancé de la cantatrice, grandeur généralement considérés comme les ici, que Mozart a joué un rôle important dans la l’opéra à Covent Garden sous la baguette de elles sont titaniques par leur conception et sommets de l’art du chanteur héroïque. En carrière d’une cantatrice. Brewer a fait ses Bruno Walter en 1926: Elisabeth Schumann souvent extrêmement impressionnantes sur la termes de répertoire, ces sommets sont débuts à New York et à Londres dans le rôle de interprétait le rôle de Zerlina, Lotte Lehmann plan vocal et technique. Frida Leider qui fut habituellement illustrés par les deux grands la Comtesse (Les Noces de Figaro), et pour un celui d’Elvira et Frida Leider celui d’Anna. Il

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s’avéra que Lehmann et Leider avaient toutes que les orchestres et la plupart des théâtres les souhaits du compositeur; s’il faut retenir originale de l’opéra en 1805). Toutefois à l’âge deux une telle présence sur scène qu’elles étaient plus petits à cette époque, mais il est quoi que ce soit de cet exemple, c’est que de dix-huit ans, en 1822, elle métamorphosa semblaient s’éclipser l’une l’autre, mais il aurait certain que la puissance d’une voix était un Mozart attachait beaucoup de prix aux le rôle, et jusqu’à un certain point la été impensable pour elles d’échanger leurs facteur d’évaluation et il l’a été dès l’aube de compétences techniques et Saporiti semblait conception fondamentale de la cantatrice à rôles, tout comme il était invariablement de l’histoire de l’opéra. Les premiers traités sur être très douée à cet égard. l’opéra. Elle fut peut-être la première soprano coutume à l’époque que dans Die Walküre l’art vocal accordent beaucoup d’importance à Un siècle nouveau marque véritablement vraiment moderne. Avec elle il semble que la Lehmann chante Sieglinde lorsque Leider la faculté d’un chanteur d’enfler une note, puis une ère nouvelle parfois bien qu’il n’y ait guère vérité dramatique soit devenue primordiale et chantait Brünnhilde. Les chefs et producteurs de diminuer le son, ce que l’on nomme messa de raison qui le justifie. En 1800, c’est par que l’identité de la soprano dramatique se soit contemporains ont eu tendance plus souvent à di voce. Les célèbres castrats, Senesino, Gluck, un compositeur féru de réforme, que précisée. Elle était aussi réputée pour son demander, dans Don Giovanni du moins, Carestini et Farinelli par exemple, étaient tous l’évolution de l’opéra fut fondamentalement interprétation de Weber et ainsi est franchie la pourquoi il devait en être ainsi. Anna est-elle très appréciés pour la puissance et la plénitude influencée. La création de son Alceste date de passerelle vers Wagner: elle devint la première manifestement le caractère plus sympathique, de leur voix. Et cependant ces qualités ne 1767, mais ensuite et pendant de nombreuses Adriana dans Rienzi, puis Senta dans le plus doux, et Elvira, la harpie? semblent pas avoir été des priorités absolues. années, Gluck, tout comme Mozart, fut Vaisseau fantôme et Vénus dans Tannhäuser. Mais aucun débat sur les personnages La beauté du son et l’habileté technique respecté par les musiciens sérieux qui les Le présent récital retrace en quelque sorte d’opéra ne peut progresser sans qu’il soit fait primaient, et ce n’est qu’assez tardivement au considéraient comme les pionniers de l’opéra l’itinéraire du voyage qui conduit à Wagner, référence à la musique qu’ils interprètent, et en 19e siècle qu’apparut quelque indice d’un futur. Il en résulta, pour les interprètes, que mais il s’arrête à Tannhäuser (plage 1 ) sans l’occurrence c’est l’aria de la Vengeance de culte du volume en soi. l’agilité vocale dans l’ornementation perdit sa inclure les rôles généralement considérés Donna Anna qui règle la question. La Même les sopranos de Mozart semblent position dominante et céda de plus en plus le comme l’accomplissement ultime dans le puissante envolée des phrases, l’intensité de la avoir été remarquées pour leur tessiture et leur pas à l’expressivité. L’aria d’Alceste (plage 3 ) répertoire héroïque, les grands rôles de colère (que la maîtrise anoblit) et surtout l’effet agilité vocale plus que pour leur puissance, et généralement connue sous son titre français, Brünnhilde et Isolde. Les étapes du voyage de ces “la” très élevés, formant un climax, l’on a dit de Teresa Saporiti, la première Anna: “Divinités du Styx”, est un bon exemple du sont l’aria de concert de Beethoven “Ah! exigent une voix héroïque par son ampleur et “sa voix est un peu faible et elle néglige style noble, simple mais imposant, convenant perfido” (plage 11 ), l’aria “Ocean” de l’opéra sa qualité: le rôle donc, en plus de toutes ses l’expression dans les récitatifs”. Quelques à la voix que nous considérons maintenant Obéron (plage 4 ) de Weber et la scène autres facettes, demande de la grandeur dans le années après la première de Don Giovanni, elle comme celle de la soprano héroïque, d’Euryanthe (plage 6 ), et enfin deux ajouts style mais aussi dans la capacité vocale. devint prima buffa assoluta et se spécialisa dans dramatique. Et de là il n’y a qu’un pas vers de compositeurs dont la présence semble Peut-être est-il impossible d’estimer des rôles comme celui de Rosina dans le Beethoven et Weber. inattendue, Rossini et Sullivan. La pièce de exactement aujourd’hui en quoi les attentes en Barbier de Séville de Paisiello. Et peu importe Wilhelmine Schröder-Devrient ne fut pas la Rossini (plage 10 ) est marquée en différents la matière à l’heure actuelle diffèrent des ce que prétendent les connaisseurs qui pensent première Leonora de Beethoven (elle n’avait endroits par l’école de chant résolument attentes à l’époque de Mozart. Nous savons que le “créateur” d’un rôle reflètera fidèlement qu’un an lors de la création de la version supplantée par ces autres compositeurs, de

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Beethoven à Wagner; ces empreintes sont chantées en bis dans un programme avec Birgit que “You’ll never walk alone” (plage 8 ) est Née dans l’Illinois, la soprano américaine perceptibles au travers des arabesques et des Nilsson. Vocalement, les opérettes de Lehár et une jolie mélodie à chanter…? Christine Brewer commença sa carrière trilles ornementales, de la manière dont la Kálmán (Countess Maritza, (plage 7 ) sont professionnelle avec l’Opera Theatre of Saint cantatrice est encouragée à déployer son agilité bien sûr dans la ligne de la tradition des opéras © 2005 John Steane Louis, avec qui elle a chanté Ellen Orford, technique ainsi que dans la puissance pure et du dix-neuvième siècle: elles exigent et Note de la cantatrice Donna Anna et les rôles-titres d’Ariadne auf sans artifice du do élevé. La pièce est de toute valorisent les atouts d’une voix ample et Chaque année la petite Shawnee High School Naxos et d’Armida de Haydn. Parmi ses autres évidence écrite pour une voix imposante, et d’une ligne vocale bien préservée. Giuditta montait une grande comédie musicale, et à dix- prestations, notons la comtesse Almaviva (New lorsqu’elle est exécutée avec grand orchestre et (plage 9 ), en particulier, étant l’œuvre dans sept ans, interprétant le rôle de l’Abbesse dans York City Opera et The Royal Opera, Covent chœur, une très profonde émotion, proche de laquelle Lehár est le plus proche du style The Sound of Music, j’ai chanté “Climb every Garden), Donna Anna (au Festival celle qu’éveille Turandot de Puccini, est créée opératique, a attiré de nombreuses sopranos mountain”, que j’offre souvent encore en bis. d’Edimbourg sous la baguette de Sir Charles par la voix de soprano qui fend l’air et résonne dont la voix n’était pas normalement associée Quant à “Mira”, c’est un air que je chante Mackerras et à Londres, New York ainsi qu’en à plein volume. Peut-être ne sera-t-on guère au balancement d’un air de valse séduisant. depuis quinze ans environ, assez souvent en bis Floride). Elle a chanté Iphigénie en Tauride de surpris dès lors de voir l’aria du Stabat Mater Les comédies musicales américaines sont en aussi. Les sentiments exprimés par cette jeune Gluck à Madrid, Leonore (Fidelio) avec le de Rossini reprise dans ce programme. quelque sorte une extension de la tradition plus fille dans Carnival de Bob Merrill ressemblent St Paul Chamber Orchestra, Oberon de Toutefois la présence de The Golden Legend ancienne de l’opérette; elles sont plus proches tellement à ce que j’éprouve… moi qui ai passé Weber avec Richard Hickox à Londres et de Sullivan (plage 5 ) paraîtra certes insolite à du style moderne désinvolte mais encore ma jeunesse dans une petite ville et qui Die Aegyptische Helena de Strauss à Santa Fe. tous les auditeurs, excepté quelques mélodiques dans l’ensemble et donne même emporte mes souvenirs partout où je vais. J’ai Elle interpréta le rôle d’Isolde pour la première collectionneurs de disques doués d’une l’impression d’une certaine grandeur grandi dans une ville de cinq cents habitants fois avec le BBC Symphony Orchestra et excellente mémoire. En effet, ils se lorsqu’elles sont chantées par une voix (Grand Tower, Illinois) et je vis à présent dans Donald Runnicles, chanta Gloriana de Britten souviendront sans doute d’un 78 tours HMV imposante, comme c’est le cas ici. La jeune fille une GRANDE ville de trois mille cinq cents avec Richard Hickox au Festival d’Aldeburgh et (étiquette brune) réalisé en 1930: avec le sans prétentions de Mira (plage 12 ) fait peut- habitants (Lebanon, Illinois). Si souvent fut Chrysothemis (Elektra) avec le Cleveland chœur et l’orchestre du Royal Opera, être figure d’exception en compagnie d’Alceste, quand mes voyages me conduisent dans des Orchestra et Frans Welser-Möst. Elle s’est Covent Garden, dirigés par John Barbirolli, de Donna Anna et des autres représentants de endroits comme Londres, New York ou Paris, forgée une réputation sur la scène Florence Austral chante les deux solos avec sa ce clan d’interprètes dramatiques, mais je repense à ce qu’était ma jeunesse dans une internationale grâce à son interprétation superbe voix de Brünnhilde. Il y a donc un Brünnhilde elle-même ne pourrait-elle pas ville où “tout le monde connaissait mon d’Ariadne auf Naxos de Strauss, un rôle qu’elle précédent. trouver, si le groupe des neuf voix de femmes nom…” a tenu pour l’English National Opera, l’Opéra Ce n’est pas le cas sans doute pour les qui la soutiennent était élargi, comme ici, et de Lyon (à Lyon et à Paris), le Festival de Santa quatre autres plages de ce récital – bien que si devenait un chœur d’opéra à part entière © Christine Brewer Fe ainsi que pour ses débuts au Metropolitan l’on y pense, ces pièces auraient pu être pouvant occuper tout un terrain de football, Traduction: Marie-Françoise de Meeûs Opera sous la baguette de James Levine.

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En concert, Christine Brewer a chanté avec Reconnu comme l’un des plus grands unanimement par les critiques pour ses Châtelet Théâtre Musical à Paris, au Megaron à les principaux orchestres britanniques et orchestres du monde, le Philharmonia programmes innovateurs dont l’un des Athènes et au Lincoln Center for the américains sous la baguette de chefs tels Orchestra a depuis plus de cinq ans le grand objectifs principaux est l’interprétation et la Performing Arts à New York. Sir Roger Norrington, Michael Tilson maestro allemand Christoph von Dohnányi commande d’œuvres nouvelles des plus grands Thomas, Kurt Masur, John Adams, Christoph pour chef principal. Le premier à avoir tenu ce compositeurs d’aujourd’hui. Après avoir étudié avec Sergiu Celibidache, von Dohnányi, Raymond Leppard, Mark poste fut Otto Klemperer et l’Orchestre depuis Un nombre croissant de concerts de David Parry commença sa carrière comme Wigglesworth, Andrew Litton, John Nelson, Sir lors a collaboré avec succès avec Lorin Maazel l’Orchestre sont retransmis par BBC Radio 3, assistant de Sir John Pritchard. Il fit ses débuts Neville Marriner, Wolfgang Sawallisch et Ivan (au poste de chef principal assistant), Ricardo entre autres sa participation annuelle aux avec l’English Music Theatre avant de devenir Fischer. Elle a enregistré entre autres le rôle-titre Muti (chef principal et directeur musical), Promenade Concerts de la BBC. L’orchestre l’un des chefs d’orchestre au Städtische dans Fidelio pour le serie de Chandos “Opera in Giuseppe Sinopoli (directeur musical), une symphonique le plus enregistré au monde, avec Bühnen à Dortmund et à Opera North. Engloish”, la Messe glagolitique de Janácˇek et le tradition qui se poursuit aujourd’hui avec Kurt plus de mille disques à son actif, parmi lesquels Directeur musical d’Opera 80 de 1983 à 1987, Te Deum de Dvorˇák avec Robert Shaw, Don Sanderling (chef émérite), Vladimir Ashkenazy plusieurs bandes originales pour le cinéma et la il est directeur musical d’Almeida Opera Giovanni avec Sir Charles Mackerras, Vanessa de (chef lauréat) et Sir Charles Mackerras (chef télévision, le Philharmonia Orchestra est réputé depuis sa fondation en 1992. Barber sous la baguette de Leonard Slatkin et principal invité). L’ensemble a également été dans le monde entier. Sa discographie Sa carrière, nationale et internationale, est elle a participé à l’Edition intégrale de Schubert associé à des personnalités aussi éminentes que comprend, pour Opera Rara, plusieurs disques extrêmement remplie, aussi bien sur la scène par Graham Johnson. Wilhelm Furtwängler, Richard Strauss, Arturo de récitals ainsi que onze intégrales d’opéras et, lyrique qu’en concert. Il a dirigé plusieurs Récemment, elle a pris part aux concerts de Toscanini, Guido Cantelli, Herbert von pour Opera in English chez Chandos, série productions de l’English National Opera et de gala du Royal Opera House, Covent Garden Karajan et Carlo Maria Giulini. L’Orchestre financée par la Peter Moores Foundation, l’Opera North et collabore régulièrement avec (sous la baguette de Bernard Haitink), chanté continue à collaborer avec des chefs et des The Thieving Magpie, Wozzeck, Don Giovanni, le Philharmonia Orchestra et le London Il Prigioniero de Dallapiccola au Théâtre de la solistes de stature mondiale et recrute les The Elixir of Love, Lucia of Lammermoor, Faust, Philharmonic Orchestra. C’est avec Così fan Monnaie à Bruxelles (avec Antonio Pappano) jeunes instrumentistes les plus talentueux Carmen, Aïda, La Bohème, Madam Butterfly, tutte qu’il fit ses débuts au Festival de et forgé des liens solides avec les Promenade d’Europe. Turandot, une version primée de Tosca ainsi Glyndebourne en 1996, une scène qu’il Concerts de la BBC, chantant entre autres le Orchestre résident au Royal Festival Hall, il que plusieurs récitals solistes d’airs lyriques avec retrouva en 1998 pour diriger la création War Requiem de Britten sous la baguette de joue également un rôle central dans la vie Bruce Ford, Diana Montague, Dennis O’Neill, mondiale de Flight de Jonathan Dove. Jane Glover, la Messe glagolitique de Janácˇek musicale britannique en choisissant des Alastair Miles, Yvonne Kenny et John Il séjourne fréquemment en Espagne où il a avec Sir Andrew Davis, Die Walküre de résidences régionales qui sont l’occasion idéale Tomlinson. Le Philharmonia Orchestra dirigé en concert la plupart des grands Wagner et les Gurrelieder de Schoenberg sous de développer un programme éducatif consolide constamment sa réputation orchestres espagnols. C’est lui qui dirigea la Donald Runnicles ainsi que la Huitième dynamique centré sur la communauté. Lauréat internationale grâce à des tournées régulières et première espagnole de Peter Grimes à Madrid symphonie de Mahler sous Sir Simon Rattle. de nombreux prix, l’ensemble a été salué récemment de prestigieuses résidences au et en 1996 la première production espagnole

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de The Rake’s Progress. Il a dirigé en Allemagne, recevant en Belgique le Prix Cecilia. Pour en Suisse, aux Pays-Bas, au Festival de Pesaro Chandos, David Parry a dirigé une série en Italie, au Festival international de Hong- d’enregistrements d’airs d’opéra (avec

Kong, au Japon pour une tournée de Carmen Sir Thomas Allen, Bruce Ford, Alan Opie, Howard © Ken et au Mexique avec l’Orchestre symphonique Diana Montague, Dennis O’Neill, Alastair d’UNAM. Il a récemment dirigé plusieurs Miles, Yvonne Kenny, John Tomlinson, nouvelles productions dont Fidelio au Festival Barry Banks, Della Jones et Andrew Shore) de de Nouvelle-Zélande, Lucia di Lammermoor même que Fidelio, The Flying Dutchman, avec le New Israeli Opera et Don Giovanni a The Marriage of Figaro, A Masked Ball, l’Opéra d’état de Hannover. Idomeneo, Carmen, The Thieving Magpie, En studio, il a participé entre autres Don Giovanni, Don Pasquale, L’elisir d’amore, à la production de la BBC Television de Lucia di Lammermoor, Ernani, Il trovatore, Der Vampyr de Marschner, dirigeant aussi Aida, Faust, Cavalleria rusticana, Pagliacci, vingt-huit intégrales d’opéras financées par la La bohème, Turandot, l’enregistrement primé de Peter Moores Foundation. Plusieurs de ces Tosca et des extraits de Der Rosenkavalier, tous intégrales furent enregistrées pour Opera Rara ces enregistrements étant réalisés en et primées, Rosmonda d’Inghilterra de Donizetti collaboration avec la Peter Moores Foundation.

Christine Brewer in the title role of Santa Fe Opera’s production of Richard Strauss’s The Egyptian Helen

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di Tristan and Isolde in cui la cantante interpreta perseguita a spese di una o di tutte queste virtù. Grandi arie operistiche il ruolo dell’eroina accanto alla Brangaene di Mozart insiste che vengano preservate. Petra Lang e al Tristan di Christian Franz. La Il compositore è qui rappresentato dal duetto, Per i collezionisti di dischi, un programma concertistica di Beethoven “Ah! perfido” nella stampa americana l’ha già definita “un’interprete recitativo e aria dal Don Giovanni (traccia 2 ). come questo è pieno di associazioni. I titoli sua discografia. Più avanti nel tempo, pensiamo obbligata di Isolde e Brünnhilde, dovunque”. Donna Anna oggi è il ruolo mozartiano con cui rimandano ad altri nomi, le arie ricordano altri ai toni avvolgenti di Birgit Nilsson o quelli più Ma quel “dovunque” nasconde un rischio: come Christine Brewer è più strettamente legata, il cantanti e tutta una rete di sonorità si accende ricchi di Jessye Norman nel Saluto di Elisabeth. scoprirono la Flagstad e Lauritz Melchior, ruolo (per esempio) di un suo successo passato a con l’invocazione “Ocean, thou mighty Una rara processione di ugole maestose sfila quando una cantante ha il monopolio delle Edimburgo, con sir Charles Mackerras nel 1995. monster” dell’Oberon o “Dich, teure Halle” di davanti agli occhi e alle orecchie preferenze per determinati ruoli, a loro volta tali La disposizione delle tre parti femminili nel Elisabeth nel Tannhäuser. Questi brani sono nell’immaginazione del nostro collezionista, ruoli finiscono per monopolizzare l’interprete. Don Giovanni è stata messa in discussione negli tradizionalmente appannaggio delle regine della seguita sempre dall’inevitabile speranza di un La specialista wagneriana deve lasciarsi una via ultimi anni. Un tempo era sufficientemente voce, in una discografia delle origini, con nomi prolungamento nei nostri giorni. d’uscita. chiara: Zerlina (ruolo oggi talvolta rivendicato dell’Ottocento. Anna Bahr-Mildenburg, il Christine Brewer occupa un posto di primo Il presente programma rivela con chiarezza dal mezzosoprano) era sempre stata un soprano grande soprano drammatico dell’Opera di piano tra i soprani eroici del nostro tempo. La che Christine Brewer ha molto da offrire al di là leggero, una soubrette addirittura, Donna Elvira Vienna all’epoca di Mahler, registrò “Ocean, sua voce è eccezionale per la combinazione di Wagner. Molto di più, in quanto è anche un normale ruolo lirico e Donna Anna era il thou mighty monster” nel 1904. Lilli ideale di potenza e fermezza, luminosità ed apprezzata in concerto, con un grande repertorio pezzo grosso. Ecco il cast di un famoso revival al Lehmann, veterana della prima stagione di estensione, accompagnate da una personalità a di lieder schubertiani (in particolare). In teatro Covent Garden diretto da Bruno Walter nel Bayreuth e primo soprano wagneriano al tutto tondo. Il suo caldo sentimento e alcuni dei suoi maggiori successi sono legati a 1926: Elisabeth Schumann nel ruolo Zerlina, Covent Garden e al Metropolitan durante il l’interpretazione drammatica convincente si Gloriana di Britten e Vanessa di Barber. Ed è Lotte Lehmann in quello di Elvira e Frida Leider decennio aureo del 1890, eseguì un’incisione estendono alle espressioni più tranquille e sempre rassicurante scoprire, come qui, che nelle vesti di Anna. Alla fine si disse che la dell’aria della vendetta di Donna Anna e diversi intime, come ai momenti grandiosi che Mozart è stato una pietra miliare nella carriera di Lehmann e la Leider avessero entrambe una tale altri brani inclusi nella presente registrazione, nell’opinione generale segnano la vetta dell’arte una cantante. La Brewer ha debuttato a New presenza scenica da annullarsi apparentemente a di spirito titanico e spesso straordinariamente del cantante eroico. Per quanto riguarda il York e a Londra cantando la Contessa nelle vicenda. Ma sarebbe stato impensabile uno notevoli per la sua voce e tecnica nonostante repertorio, tale vetta è generalmente Nozze di Figaro, ruolo che esige un pieno scambio di ruoli: in quegli anni la regola fissa era l’età avanzata dell’artista. Anche Frida Leider, rappresentata dai due grandi ruoli wagneriani possesso delle virtù liriche della flessibilità, del Sieglinde per la Lehmann accanto alla adorata dal pubblico londinese negli anni tra le di Isolde e Brünnhilde. Uno dei momenti tono puro, della produzione stabile e del vero Brünnhilde della Leider in Die Walküre. due guerre mondiali, si distinse in quell’aria; d’oro del festival di Edimburgo del 2005 legato. Non c’è bisogno di dire che la cura del I moderni direttori d’orchestra e produttori sono seguì Kirsten Flagstad, che incluse anche lei (ancora a qualche mese di distanza mentre si volume puro e semplice e la ripetuta esecuzione stati più inclini a chiedersi perché le cose “Ocean, thou mighty monster” e l’aria scrive) dovrebbe essere l’esecuzione in concerto di ruoli che lo richiedono viene troppo spesso debbano stare in questo modo, almeno nel

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Don Giovanni. Dopo tutto Anna è un precedenze assolute. La bellezza del tono e la agli abbellimenti perse il suo posto dominante, e Isolde. Le tappe del viaggio sono personaggio più delicato, più comprensivo, tecnica erano considerate di valore superiore e occupato sempre più dall’espressività. L’aria di rappresentate dall’aria da concerto di mentre Elvira è la bisbetica… pochi sono gli indizi del culto del volume in sé Alceste (traccia 3 ), generalmente nota con il Beethoven “Ah! perfido” (traccia 11 ), l’aria Ma nessun discorso sui personaggi di fino a Ottocento avanzato. titolo francese “Divinités du Styx”, è un buon dell’Oceano dall’Oberon (traccia 4 ) e la scena un’opera va molto lontano senza fare riferimento Persino i soprani di Mozart sembrano essere esempio dello stile nobile, semplice ma da Euryanthe (traccia 6 ) di Weber, e due alla musica a loro assegnata, e in questo caso è stati notevoli per gamma e agilità piuttosto che energico, adatto alla voce di quello che oggi si interpolazioni di due compositori decisiva l’aria della vendetta di Donna Anna. La per potenza e di Teresa Saporiti, la prima Anna, definisce un soprano drammatico, eroico. E da apparentemente incongrui: Rossini e Sullivan. potente avanzata delle frasi, l’intensità dell’ira si disse: “ha una voce piuttosto piccola e qui a Beethoven e Weber il passo non è lungo. Il brano di Rossini (traccia 10 ) porta numerosi (nobilitata dal ritegno) e soprattutto l’effetto dei trascura l’espressione nei recitativi”. Alcuni Wilhelmine Schröder-Devrient non fu la segni della scuola di canto risolutamente la acuti culminanti richiedono una voce di anni dopo la prima del Don Giovanni la prima Leonora di Beethoven (aveva appena un superata dalla generazione che va da Beethoven volume e qualità eroici: qualunque altra cosa cantante divenne la prima buffa assoluta e si anno nel 1805, che vide la prima della a Wagner: i gruppetti e i trilli ornamentali, comporti il ruolo, questo richiede grandiosità specializzò in ruoli come quello di Rosina nel versione originale). Nel 1822, però, a diciotto l’incoraggiamento dello sfoggio di abilità non solo di stile, ma di capacità vocale. Barbiere di Siviglia di Paisiello. Questo anni, trasformò il ruolo e in qualche modo il tecniche in una cantante, oltre alla pura e La differenza tra ciò che si pretendeva da smentisce l’idea, cara ai conoscitori, che il concetto fondamentale della cantante lirica. semplice potenza del suo do di petto. Il brano questa capacità all’epoca di Mozart rispetto ai “creatore” di un ruolo offra un indice affidabile Forse fu il primo soprano distintamente è chiaramente pensato per una voce grande e nostri giorni forse è impossibile da verificare dei desideri del compositore; o forse, se c’è moderno. Con il suo avvento, sembra, la verità quando viene proposto con un’orchestra e con precisione. Sappiamo che le orchestre e la qualcosa da imparare in questo caso, è che per drammatica conquistò il primo posto, e coro al completo è trascinante, quasi come la maggior parte dei teatri dell’epoca erano di Mozart la cosa più importante era la tecnica, di l’identità del soprano drammatico guadagnò voce del soprano che si innalza e risuona a dimensioni più ridotte, ma sicuramente uno cui la Saporiti si diceva fosse ben dotata. definizione. La cantante fu anche famosa per pieno volume nella Turandot di Puccini. dei fattori importanti nella valutazione di una Talvolta un nuovo secolo contrassegna la sua interpretazione di Weber e rappresenta Forse quindi non sorprende l’inclusione voce era la sua potenza, come del resto è davvero una nuova era, anche se l’anello di congiunzione con Wagner: fu lei la dell’aria dallo Stabat Mater di Rossini. accaduto fin dall’inizio nella storia della lirica. apparentemente senza ragione. Nel 1800 prima Adriana nel Rienzi, quindi Senta nell’ Ma The Golden Legend di Sullivan I primi trattati sull’arte del canto dedicano un’influenza fondamentale nel progresso Olandese volante e Venere nel Tannhäuser. (traccia 5 ) sarà certamente un brano inatteso ampio spazio alla capacità di crescere e poi dell’opera rimaneva la riforma di Gluck. La Il presente recital traccia, per così dire, un – per tutti tranne per alcuni collezionisti di diminuire su una nota, nella cosiddetta messa prima della sua Alceste risale al 1767, ma per itinerario che si spinge fino a Wagner, ma si dischi con una memoria di ferro, i quali forse di voce. I famosi castrati Senesino, Carestini e molti anni in seguito lo stesso compositore e ferma al Tannhäuser (traccia 1 ) e non ricorderanno un’etichetta marrone HMV 78 Farinelli, per esempio, erano tutti apprezzati Mozart con lui furono rispettati dai musicisti raggiunge quelle che vengono generalmente giri registrata nel 1930 dal coro e dall’orchestra per le loro risorse di potenza e pienezza. Ma seri in quanto erano stati loro a indicare la via. considerate le estreme propaggini del della Royal Opera, Covent Garden, diretti da non sembra comunque che queste fossero delle Per i cantanti questo significò che l’abilità legata repertorio eroico, i grandi ruoli di Brünnhilde John Barbirolli, dove Florence Austral esegue

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entrambi gli assoli con voce da valchiria nel Nota dell’interprete apparizioni hanno compreso la Contessa Ivan Fischer. La discografia include il ruolo di suo pieno splendore. Un precedente esiste. Ogni anno la nostra piccola Shawnee High Almaviva (New York City Opera e Royal protagonista nel Fidelio per la serie Opera in Lo stesso forse non si può sostenere per le ultime School allestisce un grande musical. A Opera, Covent Garden), Donna Anna English da Chandos, la Messa Glagolitica di quattro tracce, anche se, a ripensarci, potrebbero diciassette anni io interpretai il ruolo della (Festival di Edimburgo per la direzione di Janácˇek e il Te Deum di Dvorˇák con Robert essere state utilizzate come bis in qualche Madre Badessa in The Sound of Music, e cantai sir Charles Mackerras e Londra, New York e Shaw, Don Giovanni diretto da sir Charles programma con Birgit Nilsson. Dal punto di vista “Climb every mountain”, che uso ancora Florida). Ha cantato Iphigenie en Tauride di Mackerras, Vanessa di Barber con Leonard vocale, le operette di Lehár e Kálmán (Countess spesso come bis. Gluck a Madrid, Leonora (Fidelio) con la Slatkin, oltre alla partecipazione all’Edizione Maritza, traccia 7 ) rientrano naturalmente nella Eseguo “Mira” da circa quindici anni, anche St Paul Chamber Orchestra, Oberon di Weber Schubert integrale di Graham Johnson. stessa tradizione delle opere ottocentesche: in questo caso spesso come bis. I sentimenti con Richard Hickox a Londra e Die Gli impegni concertistici più recenti hanno richiedono e premiano il fascino di una voce espressi da questa giovane nel Carnival di Bob Aegyptische Helena di Strauss a Santa Fe. Ha compreso serate di gala alla Royal Opera grande e la fedeltà alla linea vocale. In particolare Merrill sono talmente simili ai miei… anch’io esordito nel ruolo di Isolda con la BBC House, Covent Garden (con Bernard Haitink), Giuditta (traccia 9 ), la composizione di Lehár più sono cresciuta in un paesino e mi porto Symphony Orchestra e Donald Runnicles, Il Prigioniero di Dallapiccola al teatro La vicina allo stile operistico, ha attirato molte voci sempre dietro quei ricordi ovunque. Il mio Gloriana di Britten con Richard Hickox al Monnaie di Bruxelles (diretta da Antonio che non verrebbero di norma associate con il ritmo paese d’origine (Grand Tower, Illinois) contava festival di Aldeburgh e Chrysothemis (Elektra) Pappano), e un solido impegno nella serie dei di un seducente valzer. I brani dei musical 500 abitanti, mentre oggi abito in un con l’Orchestra di Cleveland e Frans Welser- BBC Proms, in cui ha interpretato, tra l’altro, americani sono una sorta di prolungamento della GROSSO centro di 3.500 abitanti (Lebanon, Möst. Ha ottenuto fama internazionale per le il War Requiem di Britten per la direzione di più antica tradizione dell’operetta, più vicini allo Illinois). Così spesso quando vado in città sue interpretazioni di Ariadne auf Naxos di Jane Glover, la Messa Glagolitica di Janácˇek stile moderno disinvolto, ma sempre largamente come Londra, New York o Parigi, ripenso a Strauss per English National Opera, Opéra de con sir Andrew Davis, Die Walküre di Wagner, melodico, persino capaci di una certa grandiosità se cosa significa crescere in un paese in cui “tutti Lyon (a Lione e Parigi), il Festival di Santa Fe i Gurrelieder di Schönberg diretti da Donald eseguiti da una grande voce, come qui. La ragazza conoscono il mio nome”. e al debutto alla Metropolitan Opera con Runnicles, e l’ottava Sinfonia di Mahler diretta senza pretese dalla Mira (traccia 12 ) sarà forse James Levine. da sir Simon Rattle. un’eccezione che si accompagna ad Alceste, Donna © 2005 Christine Brewer Christine Brewer si è esibita in concerto con Anna e le altre della stessa tribù drammatica. Ma le più importanti orchestre americane e La Philharmonia Orchestra, una delle più forse proprio Brünnhilde, avendo a disposizione un Christine Brewer, soprano americano, è nata britanniche e direttori quali sir Roger grandi orchestre del mondo, è diretta per la coro operistico completo in grado di riempire uno nell’Illinois. La sua carriera professionale è Norrington, Michael Tilson-Thomas, Kurt sesta stagione consecutiva dal famoso maestro potrebbe apprezzare la bellezza di un motivo come iniziata con l’Opera Theatre di Saint Louis, Masur, John Adams, Christoph von tedesco Christoph von Dohnányi, in qualità di “You'll never walk alone” (traccia 8 ). con cui ha interpretato Ellen Orford, Donna Dohnányi, Raymond Leppard, Mark Direttore Principale. In precedenza questa Anna e i ruoli di protagonista in Ariadne auf Wigglesworth, Andrew Litton, John Nelson, carica era appartenuta a Otto Klemperer e da © 2005 John Steane Naxos di Strauss e Armida di Haydn. Altre sir Neville Marriner, Wolfgang Sawallisch e allora l’Orchestra ha collaborato con nomi di

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prestigio come Lorin Maazel (Direttore incluso l’apparizione annuale in occasione dei come assistente di Sir John Pritchard. Ha dirette comprendono il Fidelio al Festival della Principale Associato), Riccardo Muti BBC Proms. La Philharmonia Orchestra gode debuttato all’English Music Theatre, quindi è Nuova Zelanda, Lucia di Lammermoor alla (Direttore Principale e Direttore Musicale), di una reputazione a livello mondiale ed è diventato direttore d’orchestra presso la New Israeli Opera e Don Giovanni alla Giuseppe Sinopoli (Direttore Musicale) e, l’orchestra sinfonica che ha inciso di più in Städtische Bühnen di Dortmund e la Staatsoper di Hannover. attualmente, Kurt Sanderling (Direttore tutto il mondo, con un catalogo di oltre 1000 Opera North. È stato Direttore Musicale di Il suo lavoro in studio di registrazione Emerito), Vladimir Ashkenazy (Direttore incisioni, tra cui una serie di colonne sonore Opera 80 dal 1983 al 1987 e dal 1992 è stato comprende la produzione della BBC di Laureato) e Sir Charles Mackerras (Direttore per film e televisione. La sua discografia Direttore Musicale fondatore dell’Opera di Der Vampyr di Marschner nonché ventotto Principale Ospite), oltre che con artisti include, per Opera Rara, numerosi dischi di Almeida. registrazioni operistiche complete con il importanti come Wilhelm Furtwängler, recital, oltre a undici opere complete, e nella Lavora copiosamente in opere e concerti, a patrocinio della Peter Moores Foundation. Tra Richard Strauss, Arturo Toscanini, Guido serie Opera in English per Chandos, livello nazionale ed internazionale. Ha diretto questi vi sono numerosi dischi per l’etichetta Cantelli, Herbert von Karajan e Carlo Maria sponsorizzata dalla Peter Moores Foundation, diverse produzioni presso la English National Opera Rara che hanno vinti parecchi premi, Giulini. L’Orchestra continua a collaborare The Thieving Magpie, Wozzeck, Don Giovanni, Opera e la Opera North e appare regolarmente tra cui il belga Prix Cecilia per la Rosmonda con direttori e solisti di fama mondiale, oltre The Elixir of Love, Lucia of Lammermoor, con la Philharmonia Orchestra e la London d’Inghilterra di Donizetti. Per Chandos ha ad attrarre nelle sue fila i giovani musicisti Faust, Carmen, Aida, La Bohème, Madam Philharmonic Orchestra. Nel 1996 ha diretto una serie di registrazioni di arie d’opera europei di maggiore talento. Butterfly, Turandot, la Tosca, vincitrice di un debuttato con Così fan tutte al Glyndebourne (con Sir Thomas Allen, Bruce Ford, Alan Orchestra Residente presso la Royal Festival premio, e vari album di recital, con assoli di Festival, dove nel 1998 ha diretto la prima Opie, Diana Montague, Dennis O’Neill, Hall di Londra, occupa una posizione centrale arie d’opera eseguite da Bruce Ford, Diana mondiale di Flight di Jonathan Dove. Alastair Miles, Yvonne Kenny, John nella vita musicale britannica anche attraverso Montague, Dennis O’Neill, Alastair Miles, È un frequente visitatore della Spagna dove Tomlinson, Barry Banks, Della Jones e residenze regionali che offrono un’opportunità Yvonne Kenny e John Tomlinson. La si è esibito in concerto con la maggior parte Andrew Shore), nonché Fidelio, The Flying ideale per espandere il suo dinamico Philharmonia Orchestra continua a delle maggiori orchestre spagnole. Ha diretto Dutchman, The Marriage of Figaro, A Masked programma educativo, basato sulle comunità. consolidare la sua fama internazionale con la prima spagnola di Peter Grimes a Madrid e Ball, Idomeneo, Carmen, The Thieving Magpie, Vincitrice di numerosi premi, è stata lodata frequenti tournèe e attraverso le recenti, nel 1996 la prima produzione spagnola di Don Giovanni, Don Pasquale, The Elixir of all’unanimità dai critici per la sua politica di prestigiose residenze presso il Châtelet Théâtre The Rake’s Progress. È apparso in Germania, Love, Lucia of Lammermoor, Ernani, programmazione particolarmente innovativa e Musical di Parigi, il Megaron di Atene e il Svizzera, Paesi Bassi, al Festival di Pesaro in Il trovatore, Aida, Faust, Cavalleria rusticana, fortemente incentrata sull’impegno ad eseguire Lincoln Center for the Performing Arts di Italia, al Festival Internazionale di Hong Kong, Pagliacci, La bohème, Turandot, Tosca e commissionare musiche nuove firmate dai New York. in Giappone con una tournée della Carmen e (vincitrice di un premio) e brani scelti da maggiori compositori contemporanei. in Messico con la UNAM Symphony Der Rosenkavalier, tutte in collaborazione con I concerti dell’Orchestra sono trasmessi David Parry ha studiato con Sergiu Orchestra. Recenti nuove produzioni da lui la Peter Moores Foundation. sempre più frequentemente da BBC Radio 3, Celibidache ed ha cominciato la sua carriera

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from Tannhäuser Donna Anna Donna Anna Remember him wounded For pity’s sake, you must rescue me! Silently he approaches, and attempts to embrace and think of him falling; Elizabeth’s Greeting me: I try to escape; he holds me fiercely: I’m the body, the bloodshed, Elizabeth Don Ottavio shouting. But no one hears; with one hand he the sight was appalling; 1 Great hall of song once more I greet you. My darling, try to have courage. tires to stifle my cries, with the other he holds don’t ever forget him, me tight in his grasp, I dread that he will take me. your heart filled with rage. I honour you with all my heart. Donna Anna You ring with echoes of his singing, God save me! God save me! Don Ottavio He threatened by honour etc. and waken me from dismal dreams. That is the murderer of my poor father! Treachery! And then? Lorenzo da Ponte, translation by Amanda Holden Since he arose and left us Donna Anna how empty you have seemed. Don Ottavio from Alceste The peace I knew forsook me, What are you saying? And then the shame, the horror of this dreadful all pleasure fled from you. violation gives me the strength to repulse him, Alceste’s Aria But now my heart with joy is beating Donna Anna by struggling, twisting, turning, fighting him, in Alceste and now your silent days are past. Now there can be no doubt; those final words, desperation, thus I escape him. 3 Almighty gods of death! For he who filled our lives with music, the way that villain spoke and the sound of his Don Ottavio Immortal fiends of hell! he has returned to us at last. voice, bring back fearsome mem’ries of the Oh God! What torture! In your cruel embrace, Great hall of song. intruder who broke into my chamber… I’ll die for ever grateful. Donna Anna I pay you homage, To save my husband’s life, Don Ottavio So then I begin to shout once more, louder and Great hall of song, mine is bid farewell: Oh God! It is possible that he… beneath the louder; the villain flees. I follow in pursuit out I pay you homage will all my heart. my duty as a wife mantle of friendship… But tell me more… into the street to try to stop him, so now the Wagner, translation by Rodney Blumer who is ever faithful. Just tell me the truth of what has happened. prey turns on the hunter. My father approaches, Almighty gods of death! bravely challenges, but the villain, who was Immortal fiends of hell! Donna Anna stronger by far than my poor father, crowned all from Don Giovanni To die for my belovèd, Darkness had fallen. It was late in the evening, his evil doing with bloody murder! Donna Anna’s Vengeance Aria when I was in my chamber all alone, as is such a sweet farewell; misfortune would have it, I saw a man enter Aria a loving gift so true and blissful. Recitative with his cloak about him, a man who, for a He threatened by honour, My heart is filled with joy Donna Anna moment, I mistook for you; but very soon I attempted to rape me; as love casts a magic spell. and that was the traitor I fear not death however painful, 2 Don Ottavio, I’m dying! realised my eyes had deceived me. who slaughtered my father. to save my husband from a fate so shameful. Don Ottavio Don Ottavio I beg you for vengeance, My heart is filled with joy What has happened? Heavens! And then what? your heart filled with rage. as love casts a magic spell.

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Almighty gods of death! On the storm whose misty train from The Golden Legend Eglantine Immortal fiends of hell! like some shatter’d flag is streaming, Fear no danger her beside me, Elsie’s Song In your cruel embrace, or horse’s wild and flying mane! now that I have earned your trust! I’ll die forever grateful. And now the sun bursts forth, Elsie Euryanthe Marie François Louis and Louis Grand Leblanc Roullet the wind is lulling fast, 5 The night is calm and cloudless, Ah! I broke my vow of silence! after Calzabigi, translation by Kenneth Richardson and the broad wave but pants from fury past. and still as still can be, Cloudless o’er the blushing water Fading is the star that guides me. the stars come forth to listen, Dire foreboding holds me fast! now the setting sun is burning, to the music of the sea; from Oberon like a victor, red with slaughter, in snow-white robes uprising Eglantine to his tent in triumph turning. the ghostly choirs respond, In my arms find peace anew. Reiza’s Recitaive and Aria Ah, perchance these eyes may never and sadly and unceasing Love and comfort are waiting there for you. Recitative look upon its light again! the mournful voice sings on,… Yes, you feel your heart awaken, 4 Ocean! though mighty monster, thou liest curl’d Fare thee well, bright orb, for ever, And the snow-white choirs still answer by my heart renewed; like some green serpent round about the world! thou for me will rise in vain. Christe eleison. know your trust will not be broken. To musing eye thou art an awful sight, But what gleams so white and fair, J. Bennett after Longfellow You are all I ask for, and only you. when calmly sleeping in the morning light; heaving with the heaving billow? Know your trust will not be broken, but when thou risest in thy wrath, as now, ’Tis a sea-bird, wheeling there I will find my all in you. and flingst thy folds around some fated prow, o’er some wretch’s wat’ry pillow. from Euryanthe Euryanthe crushing the strong-ribb’d bark as ’twere a reed, No, it is no bird I mark, Duet of Euryanthe and Eglantine Love and comfort, sweet and true, then, Ocean, thou art terrible indeed! joy! it is a boat! A sail! And yonder rides a gallant bark, love awaits me, sweet and true. Euryanthe Aria unimpair’d by the gale! Yes, I feel my heart awaken, 6 Ah, what have I done? Still I see thy billows flashing, Oh transport! gladly by your heart renewed; Betrayed what Adolar kept secret? through the gloom their white foam flinging, My Huon! haste down to the shore! you will keep my trust unbroken. God! I broke my sacred vow. and the breakers’ sullen dashing Quick, quick for a signal, this scarf shall be wav’d, You are all I ask for, and only you. in mine ear hope’s knell is ringing! They see me! They answer! They ply the strong Eglantine You will keep my trust unbroken, But lo! methinks a light is breaking oar! Dismiss your fears! I will find my all in you. slowly o’er the distant deep, Huon, Huon, Huon! Helmina von Chezy, like a second morn awaking My husband, my love, we are sav’d! Euryanthe translation by Christopher Cowell pale and feeble from its sleep. James Robinson Planché after Christoph Martin Fading is the star that guides me; Brighter now, behold, ’tis beaming! Wieland’s Oberon dire foreboding holds me fast!

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from Countess Maritza casts a spell upon the scene: Maritza (and Chorus) At the end of the storm is a golden sky headlong, burning, reckless, yearning, Where is love’s kingdom? and the sweet silver song of a lark. Ensemble and Maritza’s Entrance wild, alluring Czardas dream! Who can define it? Walk on thru the wind, Chorus Where is Love’s kingdom? walk on thru the rain, Maritza 7 Gypsy airs in joyful phrases And who can find it? tho’ your dreams be tossed and blown, See the blood-red bubbles winking, gladly sing our lady’s praises; walk on, walk on with hope in your heart hear the Tokay glasses clinking, Maritza hear their merry voices! and you’ll never walk alone do not waste your time in thinking; I long to kiss until my heart’s desire When the lively syncopation you’ll never walk alone. play for me, Zigeuner! sets my very soul on fire, beats a festive invitation, ‘You’ll never walk alone’. Say the world will never part us, one night of joy divine! everyone rejoices! Words by Oscar Hammerstein II and music by offer me your eager heart as Just once to kiss until my heart’s desire Welcome home, Mariza! Richard Rodgers. gyspy lovers dance the Czardas; sets my very soul on fire; Copyright © 1945 Williamson Music Shout a toast from every corner play for me, Zigeuner! just one night of joy divine! International, USA. in the bride’s especial honour; Talk of love, its gentle aching, EMI Music Publishing Ltd, keep the fountains flowing Maritza and Chorus drink until the dawn is waking London WC2H 0QY with your finest Tokay! Just one night of joy divine! even as your heart is breaking; Welcome home, Mariza! Julius Brammer and Alfred Grünwald, play for me Zigeuner! Gypsy airs in joyful phrases translation by Christopher Cowell Play! Play! Play; tender, sad or gay! compliment Mariza’s graces; from Giuditta we will keep our spirits high Chorus Giuditta’s Aria with a glass of fine Tokay! Tender, sad or gay! Giuditta Maritza from Carousel Maritza 9 Why ever should it be When I her the madly reeling We are slaves and you’re the master; You’ll Never Walk Alone that men at once make love to me? music of the violins, through our tears and through our laughter When they are near me, hidden hopes and buried feelings Chorus gypsy rhythms lead the way. there they stand. wake as the refrain begins. 8 On and on, walk on and on, Where is Love’s kingdon? Their eyes look deep in mine Then a sultry Czardas dream thru rain and storm, Who knows the way there? they always kiss my hand. casts a spell upon the scene; you’ll never walk alone. Where is Love’s kingdom? Why ever should it be, headlong, burning, reckless, yearning, I long to stray there. Soloist then Chorus They speak of magic charms in me. wild, alluring Czardas dream! When will I hear my heart say ‘no’ to sorrow, When you walk thru a storm That no man can resist? Chorus and Maritza kiss and kiss, forget tomorrow; hold you head up high, For ev’ry time they look at me Then a sultry Czardas dream one night of joy divine! and don’t be afraid of the dark. these charms persist.

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But when the soft lights glint and glance Chorus Ah! perfido You reject the love I offer As midnight hours go by, When her feet haunting rhythms inspire, and you laugh to see me cry? they hear me sing, in her eyes gleam the flames of desire. Scena Gods in heav’n, am I not worthy they see me dance: 11 Ah! treachery and falsehood! of compassion in my plight? Giuditta it’s then that I know why. Deaf to my anguished cries, you leave me? Metastasio, translation by David Parry When I dance, then I know Fate’s design. On my lips ev’ry kiss is like wine: Are these lame excuses your words of parting? On my lips ev’ry kiss is like wine. in my arms love is more than divine. How can you bear to deal me such a cruel blow? Operetta by Paul Knepler and Fritz Löhner. It’s engraved in the stars high above me; Go, wretched creature! Go, escape while you from Carnival English version by Geoffrey Dunn. men must kiss me, men must love me. may! © Glocken Verlag Limited. Lili’s Song When my feet haunting rhythms inspire, But you will never escape heavenly anger! 12 Reprinted by permission I came on two buses and a train. In my eyes the gleam the flames of desire And if the gods are just, if they are kind, Can you imagine that? When I dance, then I know Fate’s design. they will conspire as rivals to see you punished! Can you imagine that? On my lips ev’ry kiss is like wine. from Stabat Mater They shall avenge me! Two buses and a train. Wherever you are hiding your torment will I have a dancer’s blood, Aria and Chorus Would you believe, this is the first I’ve travelled. inspire me… I came from a town, the kind of town that rules me like a throbbing flood. Soprano It gives me pleasure to imagine the thunderbolts 10 where you live in a house, ’til the house falls down, My mother was the dancing star Blessed virgin, of heaven rain down on you in fury… without a rival at the golden Alcazar. may the flame of love eternal But if it stands up, you stay there. Ah no! Ah no! It’s funny but that’s the way there. How great she must have been! be my shield from fires infernal You gods of vengeance, be patient! In dreams I have so often seen on that dreadful day of judgment, I come from the the town of Mira Spare the man that I love: beyond the bridges of Saint Claire. the raptures when she danced when I go to meet my god. the pain is mine now! she held each heart enthralled I guess you’ve never heard of Mira, Chorus Though I mean nothing to him, and ev’ry eye entranced. it’s very small but still it’s there. That great day of reckoning, I can’t forget him; Her spirit wakes in me again, They have the very greenest trees when I go to meet my god. I lived for his sake and I shall die without him. my fortune wills it so. and skies as bright as flame. At night I dance as she did then, Soprano and chorus Aria But what I liked the best in Mira, and this is all I know. May the holy cross prepare me; Ah, my love, how can you leave me, is ev’rybody knew my name. On my lips ev’ry kiss is like wine: may our Saviour’s death inspire me; leave me here to weep and sigh? Can you imagine that? in my arms love is more than divine. may the radiant grace of heaven You must know that I will suffer, Can you imagine that? It’s engraved in the stars high above me; now and ever guard my soul. that in torment I will die. Ev’rybody knew my name. men must kiss me, men must love me. translation by David Parry Ah, you scorn my tears of anguish! A room that’s strange is never cosy, Are you glad that I should die? a place that’s strange is never sweet.

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I want to have a chair that knows me, Can you imagine that? Christine Brewer as the and walk a street that knows my feet. Can you imagine that? Countess in The Royal Opera’s I’m very far from Mira now, Ev’rybody knows my name. production of Mozart’s and there’s no turning back. Words and Music by Bob Merrill The Marriage of Figaro I have to find a place, © 1961 EMI Catalogue Partnership, EMI Robbins

I’ve got to find a place Catalog Inc and EMI United Partnership Ltd, USA Barda/ArenaPALClive where ev’rything can be the same. Worldwide print rights controlled by Alfred A street that I can know, Publishing/IMP Ltd and places I can go Reproduced by permission of International Music where ev’rybody knows my name. Publications Ltd. All rights reserved © Bill Cooper © Bill

On session: David Parry and Christine Brewer

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The Opera in English series: CHAN 3067 A Verdi Celebration Great Operatic Arias CHAN 3011(2) Donizetti: Don Pasquale CHAN 3091(2) Bizet: Carmen CHAN 3096 Elizabeth Futral CHAN 3088 Bruce Ford sings Viennese Operetta CHAN 3027(2) Donizetti: The Elixir of Love CHAN 3014(3) Gounod: Faust CHAN 3035 Yvonne Kenny CHAN 3013 Dennis O’Neill CHAN 3083(2) Donizetti: Lucia of Lammermoor CHAN 3089(2) Gounod: Faust (abridged) CHAN 3099 Yvonne Kenny 2 CHAN 3105 Dennis O’Neill 2 CHAN 3017(2) Donizetti: Mary Stuart CHAN 3033(2) Massenet: Werther CHAN 3049 Della Jones CHAN 3085 Alan Opie CHAN 3073 Janet Baker sings scenes from Mary Stuart CHAN 3123(2) Beethoven: Fidelio CHAN 3010 Diana Montague CHAN 3077 Andrew Shore CHAN 3003 Leoncavallo: Pagliacci (The Touring CHAN 3094(2) Berg: Wozzeck CHAN 3093 Diana Montague 2 CHAN 3032 Alastair Miles Company) CHAN 3019(2) Handel: Julius Caesar CHAN 3112 Barry Banks CHAN 3044 John Tomlinson CHAN 3004 Mascagni: Cavalleria rusricana (Rustic CHAN 3072 Janet Baker sings scenes from Julius Caesar CHAN 3006 Bruce Ford CHAN 3076 John Tomlinson 2 Chivalry) CHAN 3081(2) Mozart: The Abduction from the Seraglio CHAN 3100 Bruce Ford 2 CHAN 3078 Baroque Celebration CHAN 3005(2) Pagliacci & Cavalleria rusticana CHAN 3057(3) Mozart: Don Giovanni CHAN 3008(2) Puccini: La bohème CHAN 3103(2) Mozart: Idomeneo Also available CHAN 3070(2) Puccini: Madam Butterfly CHAN 3113(3) Mozart: The Marriage of Figaro CHAN 3000(2) Puccini: Tosca CHAN 3022 Strauss: Der Rosenkavalier (The Knight CHAN 3066 Jane Eaglen sings Tosca of the Rose, highlights) CHAN 3086(2) Puccini: Turandot CHAN 3119(2) Wagner: The Flying Dutchman CHAN 3025(2) Rossini: The Barber of Seville CHAN 3054(3) Wagner: The Rhinegold CHAN 3097(2) Rossini: The Thieving Magpie CHAN 3038(4) Wagner: The Valkyrie CHAN 3074(2) Verdi: Aida CHAN 3045(4) Wagner: Siegfried CHAN 3052(2) Verdi: Ernani CHAN 3060(5) Wagner: Twilight of the Gods CHAN 3079(2) Verdi: Falstaff CHAN 3065(16) Wagner: Complete Ring Cycle CHAN 3116(2) Verdi: A Masked Ball CHAN 3101(2) Janácˇek: The Cunning Little Vixen CHAN 3068(2) Verdi: Otello CHAN 3029(2) Janácˇek: Osud (Fate) CHAN 3030(2) Verdi: Rigoletto CHAN 3106(2) Janácˇek: Jenu˚fa CHAN 3023(2) Verdi: La traviata CHAN 3007 Mussorgsky: Boris Godunov (highlights) CHAN 3036(2) Verdi: Il trovatore (The Troubadour) CHAN 3042(2) Tchaikovsky: Eugene Onegin CHAN 3123(2) Beethoven Fidelio

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Christine Brewer as Queen Elizabeth I in Opera Theatre of St Louis’ production of Britten’s Gloriana © CoryWeaver

Artistic consultant to the Peter Moores Foundation: Patric Schmid Staging director: Charles Kilpatrick Vocal and language consultant: Ludmilla Andrew Translation research: Henrietta Bredin Music administrator: Jacqui Compton

Recording producer Brian Couzens Sound engineer Jonathan Cooper Assistant engineer Michael Common Editors Jonathan Cooper Operas administrator Sue Shortridge Recording venue Blackheath Halls, London; 7, 9 & 10 March 2005 Front cover Photograph of Christine Brewer by Clive Barda Back cover Photograph of David Parry by Russell Duncan Design Cass Cassidy Booklet typeset by Dave Partridge Booklet editor Kara Reed Copyright Novello & Co. Ltd (track 5), Williamson Music, Inc., New York (track 8), track 12 published by Tams-Witmark Music Library, Inc. p 2005 Chandos Records Ltd, c 2005 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HQ, UK. Printed in the EU

59 GREAT OPERATIC ARIAS: Christine Brewer/Parry CHANDOS CHAN 3127 4:01 TT 73:52 CHAN 3127 CHAN 2005 Chandos Records Ltd c (Inflammatus) LC 7038 DDD Printed in the EU Carnival Countess Maritza Carousel Giuditta Stabat Mater Geoffrey Mitchell Choir Geoffrey Mitchell Choir Geoffrey Mitchell Geoffrey Mitchell Choir Geoffrey Mitchell Choir DIGITAL with Ludwig van Beethoven Concert Aria: ‘Ah! perfido’Bob Merrill from ‘Mira – Can you imagine that?’ 13:16 4:26 Emmerich Kálmán Emmerich Kálmán from kingdom?’‘Where is love’s with Richard Rodgers from ‘You’ll never walk alone’ with 6:54 Franz Lehár from wine’‘On my lips ev’ry kiss is like with Gioachino Rossini 5:45 from ‘Blessed virgin, may the flame of love’‘Blessed virgin, may the flame 4:19 2005 Chandos Records Ltd p 9 7 8 10 11 12 Janice Watson • CHANDOS Barry Banks David Parry • • soprano tenor Euryanthe Alceste Oberon The Golden Legend Tannhäuser Don Giovanni Janice Watson Geoffrey Mitchell Choir Barry Banks Christine Brewer Christine Carl Maria von Weber from ‘Fading is the star that guides me’with 3:59 with with Christoph Willibald Gluck from ‘Almighty gods of death!’Carl Maria von Weber from ‘Ocean! Thou mighty monster’ Sir Arthur Sullivan 4:41 from ‘The night is calm and cloudless’ 8:49 5:09 Richard Wagner Richard Wagner from song’‘Great hall of Wolfgang Amadeus Mozart from ‘He threatened my honour’ 4:55 6:14 Geoffrey Mitchell Choir 6 4 5 2 3 1 CHANDOS RECORDS LTD Colchester . Essex . England Philharmonia Orchestra with GREAT OPERATIC ARIAS OPERATIC GREAT CHANDOS GREAT OPERATIC ARIAS: Christine Brewer/Parry CHAN 3127 Inlay 7/11/05 9:33 AM Page 1 Page AM 9:33 7/11/05 Inlay 3127 CHAN CHAN 3127