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Home , Charles Gounod, Emmanuel Trenque, Mefistofele, Patrizia Ciofi, The Song of the Flea

ORCHESTRE PHILHARMONIQUE DE MARSEILLE LAWRENCE FOSTER

AND OTHER BAD GUYS Kevin Short, Orchestre Philharmonique de Marseille Conducted by Lawrence Foster and Other Bad Guys

CHARLES GOUNOD (1818-1893) From “” (1859) 1 Méphistophélès’ Rondo: “Le veau d’or”(The golden calf) 2. 17 2 Méphistophélès’ Serenade: “Vous qui faites l’endormie” 3. 10

ARRIGO BOITO (1842-1918) From “” (1868/1876) 3 Mefistofele’s Song of the whistle: “Son lo Spirito che nega” 3. 53 4 Mefistofele’s Ballad of the world: “Ecco il mondo” 2. 43

LUDWIG VAN BEETHOVEN (1770-1827) Orchestration by (1906-1975) 5 Es war einmal ein König Op.75,3 2. 13 (Song of the flea from Goethe’s “Faust”) (1809/1975)

LUDWIG VAN BEETHOVEN From “Fidelio” Op. 72 (1805/1814) 6 Pizarro’s Aria: ”Ha! Welch ein Augenblick” 3. 27 Male chorus of the Opéra de Marseille Chorus master: Emmanuel Trenque (1756-1791) From “Die Entführung aus dem Serail” KV 384 (1782) 7 Osmin’s Song: “Wer ein Liebchen hat gefunden” 2. 19 8 Osmin’s Aria: “O, wie will ich triumphieren” 3. 44

CARL MARIA VON WEBER (1786-1826) From “Der Freischütz” J.277 (1821) 9 Caspar’s Aria: “Schweig, schweig, damit dich niemand warnt” 3. 17

JACQUES OFFENBACH (1819-1880) From “Les contes d’Hoffmann” (1881) 10 Lindorff’s Couplets: “Dans les rôles d’amoureux langoureux” 2. 41 11 Dappertutto’s Aria: “Scintille, diamant” 2. 40

GIUSEPPE VERDI (1813-1901) From “I Lombardi” (1843) 12 Pagano’s Aria: “Sciagurata! Hai tu creduto” 5. 02

HECTOR BERLIOZ (1803-1869) From “” Op.24 (1846) 13 Méphistophélès’ Aria: “Voici des roses” 2. 37 14 Méphistophélès’ Serenade: “Devant la maison” 2. 21 GORDON GETTY (born 1933) 15 Mephistopheles to Faust 3. 00 (Lyrics by the composer)

MODEST MUSSORGSKY (1839-1881) Orchestration by (1882-1971) 16 Song of Mephistopheles in Auerbach’s Cellar from Goethe’s “Faust” 3. 09 Pesnya o blokhe (Song of the flea) (1879)

IGOR STRAVINSKY From “The Rake’s Progress” (1951) 17 Shadow’s Aria: “I burn! I freeze!” 1. 49

GIACOMO MEYERBEER (1791-1864) From “” (1831) 18 Bertram’s and Evocation 3. 08 “Voici donc les débris - Nonnes, qui reposez”

RICHARD WAGNER (1813-1883) From ” [Der Ring des Nibelungen]”(1854) 3. 31 19 Alberich’s Aria: “Bin ich nun frei?”

Total playing time: 57. 41 © Susan Beard I am very gratified to present a collection of arias and songs that illustrate and represent a significant swath of music that defines the bass contribution in the lyrical theater.

By virtue of the timbre and color of the bass voice, basses are often inclined to portray characters with a certain gravitas and oftentimes men with less than stellar character. The music associated with these less than stellar characters also represents a broad range both musically and dramatically in ways that propel basses to the forefront of the drama.

The arias and songs represented here are some of the most famous in the bass operatic canon sprinkled with the less familiar and a newly composed aria by Gordon Getty. I am also pleased to have had the outstanding support of all of those associated with this recording starting with the composer Gordon Getty, the brilliant men and women of PENTATONE, my friend and noted author and historian, Francesco Izzo, my first voice teacher, Betty Ridgeway, that inculcated in me the desire to explore many arias presented here many years ago, and my very supportive parents, Cecil and Jane Short.

Thank you all very much! - Kevin Short Voices from the depths one moves both within and away from the bulk of today’s operatic canon, one George Bernard Shaw once famously will find many exceptions to Shaw’s sought to explain many an plot rule. A look at Rossini’s opere serie, for by asserting a simple axiom: ‘Opera example, will reveal that a can is when a tenor and want to sometimes be a father or a villain. A make love, but are prevented from needs not be to be a mother, doing so by a ’. Indeed, this an antagonist, or a psychologically is true of many masterpieces in the complex figure; in numerous nineteenth- canon — from Donizetti’s Lucia di century Italian and French , Lammermoor to Verdi’s and male roles (young persons, heroes, Il trovatore and Puccini’s Tosca. and indeed lovers) are assigned to this female voice. And so on. Beyond the masterly humour, Shaw’s words point to the assumption that in Numerous and diverse associations opera, specific voice types, both male exist also for the bass voice, who can and female, are associated with certain be a father, a villain, an elderly man, a types of characters. The soprano is the religious figure, a comic character — or, young heroine — and she often dies. indeed, a combination of the above. The tenor is the hero — and he often One recurring association for this voice dies too. And so on. To be sure, such an type, however, deserves particular assumption, reasonable though it may attention: that with evil, wicked, even be, is also commonplace, and to be diabolical characters. It is on that taken with more than a grain of salt. If immensely fascinating association that this collection of arias is focused. The in their own right, and have inspired nineteen selections it contains take us a wealth of extraordinary music (one on a journey through a period spanning need only think of Franz Schubert’s some two hundred years, exploring how celebrated 1814 Lied, ‘ composers working in diverse national am Spinnrade’), the domineering and institutional contexts and writing in character in the tale is undoubtedly an array of styles and genres exploited Mephistopheles, who enjoys the unique the bass voice to engage with the status of being as irresistibly alluring depiction of such characters. as quintessentially evil. And from the earliest ‘Faust’ operas (such as Louis To be sure, no one could lead us through Spohr’s 1816 Faust, a ‘Romantische such a journey with greater authority Oper’ not based on Goethe) all the way than the devil himself. Since the to contemporary American composer appearance of Wolfgang von Goethe’s Gordon Getty, whose forceful and tragedy Faust (1808), the timeless neatly structured ‘Mephistopheles legend of the virtuous, learned, and to Faust’ drives the voice into the yet profoundly dissatisfied scholar, extremes of its register, accompanied , tempted and led to by eerie and obsessive sonorities in the damnation by Mephistopheles, enjoyed orchestra, Mephistopheles is almost extraordinary popularity throughout invariably assigned to a bass. An apt the nineteenth century and beyond. entry point into this character is the Although Faust himself and the young so-called ‘song of the flea’, a satirical woman he falls in love with, Gretchen ballad in which Mephistopheles tells of (Marguerite), are remarkable figures a king’s fondness for a giant flea, which grows to the point of providing him with Russian composer . elegant clothes, honours of all kinds, The latter, in 1879, composed his own and even a political appointment as setting for soprano Darya Leonova; minister. The passage, three eight-line nonetheless, the piece was soon stanzas of poetry, appears as one of appropriated by leading basses (the Ludwig van Beethoven’s songs published performance by is in 1809 with opus number 75; its title in legendary); there are some analogies the first edition is simply ‘From Goethe’s with the Beethoven setting, especially Faust’. The musical setting seizes upon in the rhythm, but also a recurring the image of the flea, evoked through ascending five-note motive, and a recurring rhythmic figure in the Mephistopheles’ sardonic laughter, accompaniment that may seem at which stretches the voice through the once bouncy and prickly, and through extreme reaches of its range. an abundance of repeated notes in the vocal line. The version presented Mephistopheles systematically here, brilliantly orchestrated by Dmitri challenges and overturns every Shostakovich, enhances the character conventional order of morality of the accompaniment through a and reason. And he can do so with skilful use of woodwinds and pizzicato eloquence, vehemence, and charm. The strings. Others, after Beethoven, were two excerpts from ’s drawn to the song of the flea, which Faust exemplify two very different ways was subsequently set by the likes of in which he ensnares his audience. In Berlioz (in La Damnation de Faust), the ballad ‘Le veau d’or’, he suddenly Wagner, and, most famously, the materialises and with irresistible rhythmic verve praises the golden calf Gounod’s mind when he composed and , where in a surprising turn to his opera; a guitarist himself, Berlioz the major mode just before the refrain must have taken special pleasure he adopts a hymn-like style to describe in realising the accompaniment, the adoring crowds gathered around fully exploiting the potential of the the idol’s pedestal. In ‘Vous qui faites pizzicato technique. And, experimental l’endormie’ there is again mockery, but and provocative as he was, he must of a much more subtle quality, as he have taken great pleasure in defying satirises a lover serenading his beloved, generic categorisation in this work. the orchestral accompaniment at La Damnation de Faust is not a times suggesting the sound of a guitar, conventional opera; in 1845, during its but also providing sinister chromatic gestation, which grew out of an earlier inflections. The mockery becomes set of ‘Eight Scenes from Faust’ (1828), thoroughly explicit when Mephistopheles the composer used the expression bursts into laughter (something he ‘opéra de concert’, and by the time tends to do with some regularity, as we it received its premiere performance can hear in Mussorgsky’s song and in at the Opéra Comique in , La Boito’s opera). Damnation was presented to the public in concert form and labelled a ‘légende The guitar-like effects are even dramatique’. The practice of staging this more evident in another, earlier work is now widespread, but only began Mephistophelean serenade, the one to develop at the end of the nineteenth in ’s La Damnation de century, well after Berlioz’s death. An Faust, which may well have been in extraordinarily evocative passage is in the scene that concludes Part II. Having provided the texts for Giuseppe wandered to a green area by the Elbe, Verdi’s final masterpieces, Méphistophélès lulls Faust to sleep by (1887) and (1893), introduces conjuring visions of blooming flowers Mephistopheles much like, some twenty and ruby-coloured kisses and evoking a years later, he will introduce Jago in chorus of heavenly and earthly spirits. the strikingly original ‘Credo in un Here there is no trace of mockery; dio crudel’. Mephistopheles’ visiting the melody is diatonic, for the most card to Faust, ‘Son lo spirito che nega part sitting comfortably in the middle sempre tutto’, is chillingly rational, register, and the accompaniment, and overtly calls for universal ruin, remarkably scored for two bassoons, sin, and death. Whilst the opening a cornet, and three , refrain forces a comparison with ‘Le contributes to establishing a warm, veau d’or’ from Gounod’s opera, the calming mood. What is truly diabolical fierce whistling (‘fischia violentemente’, about this passage is that it is infinitely Boito’s instruction reads) characterises noble, soothing, and gently seductive; Mephistopheles as boisterous and who, one might ask, would not yield to unashamedly vulgar. His philosophy the allure of such song? becomes all the more explicit in Act II, when he presides over the Sabbath All subtlety is gone when we turn to the holding a globe of glass—a globe which, dark, cynical, and coarse utterances he claims, is as empty as it is round. from ’s opera Mefistofele. With such a beginning, the piece can Boito, who wrote his own and only end with infernal laughter; and so some twenty years later famously it does, as Mephistopheles smashes the globe to the ground over a descending Act I is introduced by dark sonorities chromatic scale in the orchestra. and minor chords, whereas the thought of his impending triumph triggers a It bears to be reminded, at this point, jubilant closing passage in D major. that to be evil, one need not be The disquieting modal mixture at the Mephistopheles in the flesh (and in the end, however, signals that Caspar’s voice). The operatic repertoire is filled confidence is premature. Bertram with characters who are not directly in Meyerbeer’s Robert le Diable is derived from the myth of Faust, but another character who is not the Devil nonetheless seem to live under its himself, but a father who is knowingly spell. The romantic predilection for the damned but also provided with a irrational, the supernatural, and for genuinely human side; in a spectacular extreme conflicts between opposing scene toward the end of Act III, a ideas and forces is often expressed quintessential moment of grand opéra, through characters who are committed he summons the nuns to rise from their to evil causes (typically the corruption graves. And ’s ‘opéra of a good, righteous soul). In Weber’s fantastique’, Les Contes d’Hoffmann, Der Freischütz, the devil-like character contains several incarnations of evil. is the ‘Black Huntsman’, Samiel (a The first of them, Councillor Lindorf, speaking role), to whom the forester unashamedly states that he is ‘like a Caspar seeks to offer a victim on his devil’ (note the repetition of these words own behalf. Believing to have found near the beginning of his couplets). one in Max, one of his fellow foresters, Another is Dapertutto, who in Act III Caspar exults; his aria at the end of entices Giulietta to steal on his behalf the poet Hoffmann’s reflection in a Pagano in Verdi’s I lombardi alla prima mirror, promising a diamond in return crociata is driven by a desire for revenge for her service. His ‘Scintille, diamant’ is over his own brother, Arvino, who many not explicitly devilish, but as elegant and years previously had married the woman tempting as ‘Voici des roses’ in Berlioz’s he had wanted for himself. His double Damnation, the strokes of triangle aria conveys anger and agitation in a depicting the diamond’s glitter. shivering figure in the accompaniment of the slow movement, and his hope for The picture would not be complete vengeance is expressed in an energetic without characters whose evil nature cabaletta (stated twice, with added has no superhuman connotations embellishments by the singer in the whatsoever. The wickedness of Pizarro in repeat) punctuated with dotted figures. Beethoven’s Fidelio, for example, is due There are also comic characters in to political conflict, and the imminent this lot, such as Osmin in Mozart’s Die arrival of the minister prompts him to Entführung aus dem Serail, who wishes to act against his prisoner, Florestan. The find a sweetheart but in his ridiculously reasons for his hatred are not explained repetitive cantilena, ‘Wer ein Liebchen in the libretto, but his desire for revenge hat gefunden’, is already planning to is vigorously stated; the aria begins lock her up to keep her faithful. His tensely, with a ninth chord held over own anticipation of victory is filled several bars before resolving on D minor. with rhythmic drive, but the numerous Pizarro’s rage is amplified by a whole leaps and sudden drops into the low chorus of guards who do not know his register convey none of the foreboding motives but are ready to obey him. encountered in Caspar’s triumph aria. Sometimes the evil, wicked, ungodly, or of it. The ‘death-curse’ motif, a series of outright diabolic figures encountered ascending thirds outlining an unresolved in this fascinating collection meet their half-diminished seventh chord, is there retribution—sometimes not. Whilst it to stay, and will be recalled frequently would be tempting (for we’ve been throughout Wagner’s ‘Ring’ cycle. Thus, dealing with all along) to at the end of our journey, Alberich end on a moralistic note, with the evil seems to tell us that the devil, the ‘bad Nick Shadow in The Rake’s Progress guy’, is not necessarily a supernatural being dragged down to hell (just as, being—one who sings, whistles, laughs, before him, evildoers such as Bertram and smashes all-too-fragile globes or, of course, Mozart’s ), it made of glass. It is actually inside makes sense instead to conclude with ourselves, ready to be awakened at the the notes of Alberich, the Nibelung sight of a magical object; we might seek dwarf who, rejected and mocked by the to control it—but may never completely pulchritudinous Rhine maidens, steals elude or suppress it. their magic gold and forges it into a ring that allows him to rule the world. Once Wotan forcibly lays hold of the ring, Alberich takes leave from us with a curse: broadly intended, that curse warns us that we shall desire what we do not possess, and that once we possess it we shall be enslaved by it, live in anguish, and ultimately die because Kevin Short Opera Festival, Kentucky Opera and the Opera Theatre of St. Louis to name but Versatile bass-baritone Kevin Short is a sample of the many companies where thrilling audiences around the globe in he’s performed. a wide range of repertoire ranging from Mozart’s Die Entführung aus dem Serail Making Switzerland his home now and Monteverdi’s L’incoronazione di for a number of years, Kevin is also Poppea, to Verdi’s Attila and Don Carlos, coming to the attention of European and Bizet’s . theaters and has performed at Paris’ Opéra Comique, Théâtre Caen, Grand In North America, Kevin has performed Théâtre du Luxembourg, Oper der multiple roles with the Metropolitan Stadt Köln, Staatstheater Stuttgart, Opera, Lyric Opera of Chicago, Houston Theater Aachen, Teatro Comunale , Los Angeles Opera, di Bologna, Teatro Lirico di Cagliari, Washington Opera, Seattle Opera, Theater Basel, Theater Bern, Theater Opera Company of Philadelphia, St. Gallen, and Teatro Nacional di São Canadian Opera Company, Vancouver Carlos in such roles as Attila, Philippe in Opera, Edmonton Opera, Santa Fe Don Carlos, Leporello in Don Giovanni, Opera, Sarasota Opera, Opera Pacific, Méphistophélès in Faust, Osmin in Die Lyric Opera of Kansas City, Indianapolis Entführung aus dem Serail, Escamillo Opera, Utah Symphony, Opera de las in Carmen, Nick Shadow in The Rake’s Americas, Opera Memphis, Berkshire Progress, Figaro and Il Conte in Le Nozze Opera Company, Nashville Opera, Opera di Figaro, and Porgy in Porgy and Bess. Omaha, Opera , New Jersey Important festivals at which Kevin has performed include the Bregenzer Orchestra, New Japan Philharmonic, Festspiele, Baden-Baden, Festival Hiroshima Symphony, and the Winter d’Aix-en-, Sarasota Opera Olympics Festival Orchestra for the Winter Festival, the Saito Kinen festival opening ceremonies of the winter in Matsumoto, Japan, and festivals in Olympics in Nagano, Japan. His vast Beijing, China; Hanoi, Vietnam; and concert repertoire include works by Bach Granada, Valencia, and Santiago de and Beethoven and continue to the late Compostela, Spain. 20th century, including Verdi’s and Mendelssohn’s Elijah. Kevin also enjoys an active concert schedule and has worked with important Kevin received his training at Morgan orchestras in the U.S. and around the State University, B.S., the Curtis Institute world including the Boston Symphony, of Music, M.M., and the Juilliard School Philadelphia Orchestra, San Francisco of Music Opera Center. While attending Symphony, Cleveland Orchestra, St. these institutions he was a prize winner Louis Symphony, National Symphony, in numerous competitions, but a few Baltimore Symphony, Detroit Symphony, highlights include the Metropolitan the New York Pops Orchestra, and Opera National Council Auditions, the the Opera Orchestra of New York. In International Competition for Verdian Europe and Asia, he has performed Voices, the Rosa Ponselle International with the Czech Philharmonic Orchestra, Vocal Competition, the Bruce Yarnell Netherlands Radio Filharmonisch Orkest, Competition for Basses and , Swiss and Italian RAI Orchestra, Radio the Opera America Competition, the Orchestra, Parma Reggio Emilia Liederkranz Competition, and received awards and grants from the Sullivan Dutilleux, Florentz, Charpentier, Barber, Foundation, the Shoshana Foundation, Bernstein, Gershwin and Leon. The and Opera Index. orchestra has worked together with famous conductors such as Jean- Orchestre Philharmonique Claude Casadesus, Armin Jordan, de Marseille Evelino Pidó and Nello Santi, as well as internationally renowned soloists such In 1965, when the ORTF Regional as , Patrizia Ciofi, Angela Orchestra was dissolved, the City Georghiù, Ludovic Tézier, Olga Borodina, of Marseille decided to create the Delunsch, Natalie Dessay, Orchestre de l’Opéra de Marseille. In Renaud and Gautier Capuçon, Brigitte 1981, the new director of music János Engerer and José van Dam. In addition, Fürst launched a campaign to create the orchestra participates in the actions l’Orchestre Philharmonique de Marseille offered by the Opéra towards young and it is thanks to the exclusive support audiences, schoolchildren, students of the municipality that the staff was and handicapped. It also collaborates then expanded to 88 musicians. with other theaters and festivals and participated in several television Since then, l’Orchestre Philharmonique productions. Since February 2012, de Marseille has aimed to disseminate Lawrence Foster has been the Music not only the great works of the classical Director of the Marseille Philharmonic and romantic repertoire but also to pay Orchestra, giving a new impetus to the tribute to 20th-century composers such orchestral phalanx. as Messiaen, Tomasi, Lesur, Chaynes, Orchestre Philharmonique de Marseille © Jean-Marie Geijsen Together with Maestro Foster, the de Chambre de Lausanne. Mr. Foster orchestra performed in China and at is frequently invited to work with the Bad Kissingen festival in 2014 and internationally renowned orchestras 2016. As from 2015, the orchestra plays such as Orchestre Philharmonique at the Festival International de Piano de Radio France, Montréal Symphony de la Roque d’Anthéron every summer, Orchestra, Copenhagen Philharmonic, and ocassionally at Chorégies d’Orange. Konzerthausorchester Berlin as well In the summer of 2017, the orchestra as orchestras in Cologne, Frankfurt, participated in two other PENTATONE Budapest, Shanghai, and Hong Kong. recordings: Martinů Double Concertos He has deep musical friendships with and A Certain Slant of Light (both outstanding soloists such as Evgeny released in 2018). Kissin, Arcadi Volodos, and Arabella Steinbacher. Lawrence Foster, conductor In addition to highly successful productions in Marseille, he regularly Conductor Lawrence Foster has been conducts at the opera houses in Music Director of l’Opéra de Marseille Frankfurt, Hamburg, San Francisco and and l’Orchestre Philharmonique de Monte Carlo. With great success he led Marseille since 2012. Previously he a concert performance of Hindemith’s has held Music Directorships with the Mathis der Maler at the Enescu Festival Orquestra Simfònica de Barcelona, in Bucharest and a production of La Jerusalem Symphony Orchestra, Traviata at the Savonlinna Opera Houston Symphony, and Orchestre Festival. Following a fruitful decade- long tenure as Artistic Director and Enescu - he was decorated for his merits Chief Conductor of the Gulbenkian to Romanian music by the Romanian Orchestra, Mr. Foster was appointed President. Conductor Laureate. International tours have led him and the orchestra to Germany, Spain, Brazil, as well as to important festivals such as Kissinger Sommer, many times with famous soloists like Lang Lang.

Mr. Foster’s discography includes a number of highly acclaimed recordings for PENTATONE, notably of violin works with Arabella Steinbacher as well as of Bartók’s Two Portraits, Ligeti’s Romanian Concerto, Kodály’s Dances of Galánta and Háry János Suite, the Four Symphonies by Robert Schumann with the Czech Philharmonic Orchestra, and Strauss’s Zigeunerbaron with NDR Radiophilharmonie Hannover. Born in 1941 in Los Angeles to Romanian parents, Lawrence Foster has been a major champion of the music of George Lawrence Foster © Marc Ginot CHARLES GOUNOD Faust, “Le veau d’or”

Méphistophélès Mephistopheles 1 Le veau d’or est toujours debout ! The golden calf is still standing, On encense sa puissance, His might Is celebrated D’un bout du monde à l’autre bout ! From one end of the world to the other! Pour fêter l’infâme idole Nations and kings mix together Roi et peuples confondus, To hail the infamous idol Au bruit sombre des écus, And to the sinister clink of coins Dansent une ronde folle They whirl in a frenzied ring Autour de son piédestal ! Round and round his pedestal! Et Satan conduit le bal ! And Satan leads the dance!

Le veau d’or est vainquer des dieux ! The golden calf triumphs over the gods; Dans sa gloire dérisoire Basking in his preposterous glory Le monstre abjecte insulte aux cieux The base monster insults Heaven! Il contemple, ô rage étrange ! He looks down, o strange madness! À ses pieds le genre humain On the human race at his feet Se ruant, le fer en main, Sallying forth, sword in hand, Dans le sang et dans la fange Through blood and filth, Où brille l’ardent métal ! Where the burning metal is shining! Et Satan conduit le bal ! And Satan leads the dance! CHARLES GOUNOD Faust, “Vous qui faites l’endormie”

Méphistophélès Mephistopheles 2 Vous qui faites l’endormie You who pretend to sleep N’entendez-vous pas, Do you not hear, Ô Catherine, ma mie, O Catherine, my love, Ma voix et mes pas ? ... My voice and my footsteps?… Ainsi ton galant t’appelle, Thus your suitor calls to you, Et ton cœur l’en croit ! ... And your heart believes him!... N’ouvre la porte, ma belle, Don’t open the door, my pretty one, Que la bague au doigt. Till the ring is on your finger.

Catherine que j’adore, My beloved Catherine, Pourquoi refuser Why do you deny À l’amant qui vous implore To your entreating lover Un si doux baiser ? So sweet a kiss? Ainsi ton galant supplie Thus your suitor pleads Et ton cœur l’en croit !... And your heart believes him!... Ne donne un baiser, ma mie, Don’t grant any kisses, my pretty one, Que la bague au doigt !... Till the ring is on your finger! ARRIGO BOITO Mefistofele, Song of the Whistle “Son lo spirito che nega”

Mefistofele Mephistopheles 3 Son lo Spirito I am the spirit who denies Che nega sempre, tutto; everything always; L’astro, il fior. the stars, the flowers. Il mio ghigno e la mia bega My sneering and my hostility Turbano gli ozi al Creator. disturb the Creator’s leisure. Voglio il Nulla e del Creato I want Nothingness and the La ruina universal, universal ruin of Creation. È atmostera mia vital, My vital atmosphere is Ciò che chiamasi peccato, what is called Sin, Morte e Mal. Death and Evil! Rido e avvento questa sillaba: I laugh and snarl this monosyllable: «No!» “No!” Struggo, tento, ruggo, sibilo: I destroy, I tempt, I roar, I hiss: “No!” “No!” Mordo, invischio, I bite, I ensnare, Struggo, tento, ruggo, sibilo: I destroy, tempt, roar, hiss: Fischio! Fischio! Fischio! I whistle, whistle, whistle!

(Fichia violentemente colle dita fra le (Placing two fingers between his lips, he labbra) whistles fiercely) Parte son d’una latebra I am part of the innermost Del gran tutto: Oscurità. recesses of the great All: Obscurity. Son figliuol della Tenebra I am the child of Darkness Che Tenebra tornerà. who will return to Darkness. S’or la luce usurpa e afferra If now light usurps and seizes Il mio scettro a ribellion, my sceptre in rebellion Poco andrà la sua tenzon: the fight will not last long, V’è sul Sole e sulla Terra, over the Sun and over the Earth Distruzion! there hovers: Destruction! Rido e avvento questa sillaba: I laugh and snarl this monosyllable: «No!» “No!”

(Fischia violentemente colle dita fra le (Placing two fingers between his lips, he labbra) whistles piercingly) ARRIGO BOITO Mefistofele, Ballad of the World “Ecco il mondo”

Mefistofele Mephistopheles 4 Ecco il mondo, Behold the world, Vuoto e tondo, Empty and round. S’alza, scende, It rises, falls, Balza e splende. Dances, glitters. Fa carole intorno al sole, Whirls about under the sun, Trema, rugge, dà e distrugge, Trembles, roars, creates, destroys, Ora sterile or fecondo. Now barren, now fecund. Ecco il mondo. Such is the world.

Sul suo grosso Upon its huge Antico dosso And rounded back V’è una schiatta Dwells an unclean E sozza e matta, And mad race, Fiera, vile, ria, sottile, Proud, vile, wicked, subtle, Che ad ogn’ora si divora Which forever devours itself, Dalla cima sino al fondo From the depths to the heights Del reo mondo. Of the guilty world.

Fola vana è a lei Satana, Satan they take Riso e scherno for a fiction, a fake, E‘ a lei l‘inferno, Hell’s an idea at which they sneer, Scherno e riso il Paradiso. They laugh about heaven. Oh per Dio! O lord, how daft! Che or rido anch’io, It makes me laugh, Nel pensare ciò When I think Che le ascondo. That I ascend to them. Ah! Ah! Ah! Ah! Ah! Ah! Ah! Ah! Ecco il mondo! Behold the world!

LUDWIG VAN BEETHOVEN Es war einmal ein König

Es war einmal ein König, There once was a king, 5 Der hatt‘ einen großen Floh, who had a large flea, Den liebt‘ er gar nicht wenig, whom he loved not a bit less, Als wie seinen eig‘nen Sohn. than his very own son. Da rief er seinen Schneider, He called his tailor Der Schneider kam heran; and the tailor immediately came; „Da, miß dem Junker Kleider “Here - make clothing for this knight, Und miß ihm Hosen an!“ and cut him trousers too!”

In Sammet und in Seide In silk and satin War er nun angetan, was the flea now dressed; Hatte Bänder auf dem Kleide, he had ribbons on his clothing, Hatt‘ auch ein Kreuz daran, and also a cross there, Und warsogleich Minister, and had soon become a minister Und hatt‘ einen großen Stern. and had a large star. Da wurden seine Geschwister Then his siblings became Bei Hof auch große Herrn. great lords and ladies of the court as well.

Und Herrn und Frau‘n am Hofe, And the lords and ladies of the court Die waren sehr geplagt, were plagued enormously; Die Königin und die Zofe the queen and her ladies-in-waiting Gestochen und genagt, were pricked and bitten, Und durften sie nicht knicken, and they dared not flick Und weg sie jucken nicht. or scratch them away. Wir knicken und ersticken But we flick and crush them Doch gleich, wenn einer sticht. as soon as one bites! LUDWIG VAN BEETHOVEN Fidelio, “Ha! Welch ein Augenblick”

Pizarro Pizarro 6 Ha, welch ein Augenblick! Ah, time has come! Die Rache werd‘ ich kühlen, Revenge I’ll take on him, Dich rufet dein Geschick! Your fate is calling you! In seinem Herzen wühlen, I shall probe his heart, O Wonne, großes Glück! Oh joy, oh great delight! Schon war ich nah, im Staube, I almost was in the dust, Dem lauten Spott zum Raube, At the sneering scoffer’s mercy, Dahingestreckt zu sein. Knocked miserably down. Nun ist es mir geworden, But now my chance has come, Den Mörder selbst zu morden; To be the murderer’s slayer; In seiner letzten Stunde, In his final hour, Den Stahl in seiner Wunde, With the steel deep in his wound, Ihm noch ins Ohr zu schrein: To shout into his ears: Triumph! Der Sieg ist mein! Triumph! Victory is mine!

Chor der Wache Chorus of the Guards Er spricht von Tod und Wunde! He speaks of death and wounds! Nun fort auf unsre Runde, Let’s go now on our rounds, Wie wichtig muss es sein! How important it must be! Er spricht von Tod und Wunde! He speaks of death and wounds! Wacht scharf auf eurer Runde, Look out, when on your rounds! Wie wichtig muss es sein! How important it must be!

WOLFGANG AMADEUS MOZART Die Entführung aus dem Serail, “Wer ein Liebchen hat gefunden”

Osmin Osmin 7 Wer ein Liebchen hat gefunden, He who’s found himself a sweetheart Die es treu und redlich meynt, Who is faithful and true, Lohn‘ es ihr durch tausend Küsse, Must reward her with a thousand kisses; Mach‘ ihr all das Leben süsse, Must make her life a delight, Sey ihr Tröster, sey ihr Freund. Must be her comforter and friend. Trallalera, trallalera! Trallalera, trallalera!

Doch sie treu sich zu erhalten, But to ensure that she remains faithful, Schliess‘ er Liebchen sorglich ein: He’d better lock up his sweetheart with Denn die losen Dinger haschen care; Jeden Schmetterling, und naschen Since the mischievous young things Gar zu gern von fremdem Wein. chase Trallalera, trallalera! Every passing butterfly, and are All too fond of eating stolen fruit. Trallalera, trallalera! Sonderlich bey‘m Mondenscheine, By the light of the moon in particular, Freunde, nehmt sie wohl in Acht! Friends, watch them well! Oft lauscht da ein junges Herrchen, Oft young gentlemen are lurking, Kirrt und lockt das kleine Närrchen, Whispering sweetly to the little fools Und dann, Treue, gute Nacht! And then: good night to fidelity! Trallalera, trallalera! Trallalera, trallalera!

WOLFGANG AMADEUS MOZART Die Entführung aus dem Serail, “O, wie will ich triumphieren”

Osmin Osmin 8 O! wie will ich triumphieren! Oh, how I shall triumph! Wenn sie euch zum Richtplatz führen When they conduct you to the scaffold Und die Hälse schnüren zu; And put the garrotte round your Hüpfen will ich, lachen, springen throats! Und ein Freudenliedchen singen I shall gambol, laugh and jump about Denn nun hab‘ ich vor euch Ruh. And sing a song of delight, Schleicht nur säuberlich und leise Since I am rid of you at last. Ihr verdammten Harems-Mäuse, No matter how softly and carefully you Unser Ohr entdeckt euch schon; prowl, Und eh‘ ihr uns könnt entspringen, You confounded harem mice, Seht ihr euch in unsern Schlingen, Our ear is bound to detect you; Und erhaschet euren Lohn. And ere you can escape us, O! wie will ich triumphieren! etc. you find yourselves caught in our snares, And will get what you deserve. Oh, how I shall triumph! etc.

CARL MARIA VON WEBER Der Freischütz, “Schweig, schweig, damit dich niemand warnt!”

9 Caspar Caspar Schweig, schweig, damit dich niemand Hush, hush, that none may warn you! warnt! Hush, that none may warn you! Schweige, damit dich niemand warnt! Hell has entwined you in its net! Der Hölle Netz hat dich umgarnt! Nothing can save you from the Nichts kann vom tiefen Fall dich retten, precipitous fall Nichts kann dich retten vom tiefen Fall! From the precipitous fall can nothing Umgebt ihn, ihr Geister mit Dunkel save you! beschwingt! Surround him, you dark spirits Schon trägt er knirschend eure Ketten! Already he gnashes his teeth wearing Triumph! Triumph! Triumph! die Rache your chains! gelingt! Triumph, triumph, triumph! Revenge is achieved! JACQUES OFFENBACH “Dans les rôles d’amoureux langoureux”

Lindorf Lindorf 10 Dans les rôles d’amoureux langoureux Playing the part of a languishing lover, Je sais que je suis pitoyable ; I know that I’m absurd; Mais j’ai de l’esprit comme un diable, But I have the spirit of a devil! Mes yeux lancent des éclairs, My eyes shoot lightning J’ai dans tout le physique And all of my body Un aspect satanique has a satanic appearance Qui produit sur les nerfs That acts on the nerves L’effet d’une pile électrique, Like an electric shock Par les nerfs j’arrive au cœur ; By the nerves, I arrive at the heart; Je triomphe par la peur ! I triumph through fear!

Oui, chère prima donna Yes, dear prima donna, Quand on a la beauté parfaite When one possesses perfect beauty On doit dédaigner un poète ! One should disdain a poet! De ce boudoir parfumé, May the devil carry me off, Que le diable m’emporte If I don’t open the door of that Si je n’ouvre la porte ! Perfumed bedroom! Mon rival est aimé, My rival is loved, Je ne le suis pas, que m’importe ? I’m not, what does that matter to me! Sans parler du positif : Without even mentioning my positive Je suis vieux, mais je suis vif ! qualities: I’m old, but I am alive!

JACQUES OFFENBACH Les Contes d’Hofmann, “Scintille, diamant”

11 Dapertutto Dapertutto Scintille, diamant, Glitter, diamond, Miroir où se prend l’alouette Mirror that caches the lark Scintille, diamant, Sparkle, diamond, fascine, attire-la, Fascinate, draw her, L’alouette ou la femme The lark or the woman A cet appât vainqueur to this conquering bait Vont de l’aile ou du cœur ; Will fly with her wings or her heart; L’une y laisse la vie One leaves her life there, et l’autre y perd son âme. The other loses her soul.

GIUSEPPE VERDI I Lombardi, “Sciagurata! Hai tu creduto”

Pagano Pagano 12 Sciagurata! hai tu creduto Wretch! I hate thee Che obliarti too well remembered avrei potuto, is the treasure of which you robbed me, Tu nel colmo del contento, While you repose in heights of cold Io nel colmo del dolor? contentment, Qual dall’acque l’alimento I am plunged in gulfs of sorrow, Tragge l’italo vulcano, Never the waters of fountains playing Io così da te lontano never will quench the fierce volcano Crebbi agli impeti d’amor. I am so far away from you, Far away from the one I love.

O speranza di vendetta, O hope of revenge, Già sfavilli sul mio volto; You already sparkle on my face; Da tant’anni a me diletta For so many years I only cared Altra voce non ascolto; About the voice of my beloved; Compro un di col sangue One day I will buy with blood A vrei quell’incanto di beltà! that enchanting beauty! Ah! or alfine, or mia tu sei. Ah! then at last, you will be mine. Altri il sangue spargerà. And blood will flow. HECTOR BERLIOZ La Damnation de Faust, “Voici des roses”

Méphistophélès Mephistopheles 13 Voici des roses, Here are roses, De cette nuit éclose. Blossoming in this night Sur ce lit embaumé, On this embalmed bed, Ô mon Faust bien-aimé, My beloved Faust, Repose! Rest! Dans un voluptueux sommeil In a luxurious sleep Où glissera sur toi plus d’un baiser In which more than one ruby kiss will vermeil, find you, Où des fleurs pour ta couche ouvriront In which flowers will open their blossoms leurs corolles, for your bed, Ton oreille entendra de divines paroles. Your ear shall hear divine words. Écoute ! écoute ! Listen! Listen! Les esprits de la terre et de l’air The spirits of the earth and the air Commencent pour ton rêve un suave Will begin, for your dream, with their concert. sweet concert. HECTOR BERLIOZ La Damnation de Faust, “Devant la maison”

Méphistophélès Mephistopheles 14 Devant la maison In front of the house De celui qui t’adore, Of the one who adores you, Petite Louison, Little Louison, Que fais-tu dès l’aurore ? What have you been doing since dawn? Au signal du plaisir, At the sign of pleasure Dans la chambre du drille, In the fellow’s room Tu peux bien entrer fille, You can go in maiden Mais non fille en sortir. But not come out maiden. Devant la maison, etc. In front of the house, etc.

GORDON GETTY Mephistopheles to Faust

Mephistopheles 15 I am a part of that which once was all, The mother darkness before light was born And shape and breath and destiny, before The Word ordained the courses of the stars, Ordained the law, ordained the forfeiture, Defiance and defilement of the way Which once was all, and will be all again When shape and breath and stars and destiny Lapse in the mother stillness. I am he Who held and holds to that more ancient faith, And teaches those who seek.

MODEST MUSSORGSKY (orch. Igor Stravinsky), Song of Mephistopheles in Auerbach’s Cellar from “Faust”

Zhil, buil karol’ kagda-ta, There lived a king once upon a time, 16 Pri nyom blakha zhila, With him lived a Flea. Blakha! Blakha! A Flea! A Flea! Milyey radnova brata Dearer than his own brother Ana yemu buila. It was to him. Blakha, kha, kha, kha, kha, kha. A Flea, ha, ha, ha, ha, ha.

Zavyot karol’ partnova: The king called for a tailor: “Paslushay, tui, churban! “Listen, you, stupid guy, Dlya druga daragova For my dear friend Sshyey barkhatnuiy kaftan!“ Make a velvety caftan!” Blakhye kaftan? Kha, kha, kha, kha, kha. For the Flea a caftan? Ha, ha, ha, ha, ha.

Shtob zharka yi parka blakha maya Wearing gold and a coat my Flea lived, zhila, And complete freedom in the palace it Yi polnaya zbaboda yei pri dvarye dana. was given. Pri dvorye khye-khye-khye-khye-khye, In the palace ha-ha-ha-ha-ha, for the Blakhye kha-kha-kha. Flea, for the Flea, ha-ha-ha.

Karol’ yei san ministra yi z nim zvezdu The King made it a minister and gave it dayot, a medal, Yi z nyeyu yi drugiye pashli fsye Blokhi f And all its relatives were given the same, khod a-kha. a-ha. Yi samoi Karolyevye yi fryeilinam yeya And the Queen and her ladies-in- Ad blokh nye stala mochi, nye stala yi waiting zhit’ya kha-kha. Could not touch the Flea, and were afraid, ha-ha.

Yi tranyut’ta bayatsya nye ta shtobui What a pity that they cannot touch or yikh bit’, kill the Flea, A mui, khto stal kusat’sya, totchas davai As for us, we will kill it as soon as it bites dushit’. us. Kha-kha-kha-kha etc. Ha-ha-ha-ha etc.

IGOR STRAVINSKY The Rake’s Progress, “I burn, I freeze!”

Nick Shadow 17 I burn! I freeze! In shame I hear my famished legions roar. My own delay lost me my prey, and damns myself the more!

Defeated, mocked, Again I sink in ice and flame to lie. But heaven’s will I’ll hate, and till Eternity defy.

Your sins, my foe, before I go, give me some power to pain; To reason blind shall be your mind. Henceforth, be you insane! Robert le diable, “Voici donc les débris- Nonnes, qui reposez”

Bertram Bertram 18 Voici donc les débris Here are the remains of the ancient du monastère antique, monastery, Voué par Rosalie aux culte du Seigneur, Dedicated by Rosalie to the Lord’s Ces filles des autels, worship, dont l’infidèle ardeur, The altar’s daughters, whose unfaithful Brûlant pour d’autres dieux ardour, un encens impudique, Burning for other gods a shameless Où régnaient la vertu fit incense, régner le plaisir ! Where reigned virtue made the pleasure reign!

Nonnes, qui reposez Nuns, who rest under this cold stone, sous cette froide pierre, Do you hear me? M’entendez‐vous ? For an hour leave your funeral bed, Pour une heure quittez Get up! votre lit funéraire, Do not be afraid of an immortal saint, Relevez‐vous ! The terrible wrath! Ne craignez pas King of Hell, d’une sainte immortelle, it’s me who calls you, Le terrible courroux ! Me, damned like you! Roi des enfers, Nuns, do you hear me? c’est moi qui vous appelle, Moi, damné comme vous ! Nonnes, m’entendez‐vous ?

RICHARD WAGNER Das Rheingold (Der Ring des Nibelungen), “Bin ich nun frei?”

Alberich 19 Bin ich nun frei? Alberich Wirklich frei? Am I now free? So grüß‘ euch denn meiner Freiheit Actually free? erster Gruß! Thus greets you then my freedom’s Wie durch Fluch er mir gerieth, first salute! verflucht sei dieser Ring! As by curse it came to me, Gab sein Gold mir Macht ohne Maaß, so cursed be this ring! nun zeug‘ sein Zauber Tod dem, der ihn As its gold gave measureless might, trägt! let now its magic deal death to its lord! Kein Froher soll seiner sich freu‘n, Its wealth shall yield pleasure to none, keinem Glücklichen lache sein lichter its light brilliance won’t cheer a happy Glanz! mind! Wer ihn besitzt, den sehre die Sorge, He who holds it, is haunted by worries und wer ihn nicht hat den nage der and envy gnaw him who holds it not! Neid! All shall chase after its delights, Jeder giere nach seinem Gut, yet no one will prosper from making it doch keiner genieße mit Nutzen sein! his! Ohne Wucher hüt‘ ihn sein Herr; It won’t bring gain to its lord; doch den Würger zieh‘ er ihm zu! yet murder awaits its owner instead! Dem Tode verfallen feßle den Feigen die To death devoted, chained be the Furcht: craven by fear: so lang‘ er lebt sterb‘ er lechzend dahin, his whole life long daily wasting away, des Ringes Herr als des Ringes Knecht! the treasure’s lord as the treasure’s Bis in meiner Hand slave! den geraubten wieder ich halte! Till again once more So segnet in höchster Noth in my hand regained I shall hold it! der Nibelung seinen Ring: So blesses, in direst need, behalt‘ ihn nun, the Nibelung now his ring: hüte ihn wohl! then hold it fast, Meinem Fluch fliehest du nicht. guard it with heed! But my curse you cannot flee. Acknowledgments

PRODUCTION TEAM Executive producer Job Maarse | Recording producer Job Maarse Balance engineer Jean-Marie Geijsen | Recording engineer Erdo Groot Editing Erdo Groot

Liner notes Francesco Izzo | Cover photo Susan Beard Design Joost de Boo Product management Kasper van Kooten

This album was recorded at Palais du Pharo, Marseille, France July-August 2016.

PENTATONE cordially thanks the Municipality of Marseille for graciously allowing use of the recording venue.

Copyrights: Beethoven: Es war einmal ein König (Song of the Flea): Musikverlag Hans Sikorski, Hamburg Gordon Getty: Mephistopheles to Faust: Rork Music, USA Mussorgsky: Pesnya o blokhe (Song of the Flea): W. Bessel & Cie, Paris and Breitkopf & Härtel, Wiesbaden Stravinsky: I burn! I freeze! : Boosey & Hawkes, London

PENTATONE TEAM Vice President A&R Renaud Loranger | Director Simon M. Eder A&R Manager Kate Rockett | Head of Marketing, PR & Sales Silvia Pietrosanti What we stand for:

The Power of Classical Music PENTATONE believes in the power of classical music and is invested in the philosophy behind it: we are convinced that refined music is one of the most important wellsprings of culture and essential to human development.

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