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GREAT OPERATIC ARIAS GREAT OPERATIC ARIAS CHAN 3096 CHANDOS O PERA IN ENGLISH ELIZABETH FUTRAL

PETER MOORES FOUNDATION CHAN 3096 BOOK.qxd 11/4/07 2:50 pm Page 2 © The Santa Fe Opera/Paul Fe The Santa © Slaughter

GREAT OPERATIC ARIAS with Elizabeth Futral

Elizabeth Futral in the title role in The Santa Fe Opera’s production of Handel’s Semele 3 CHAN 3096 BOOK.qxd 11/4/07 2:50 pm Page 4

Time Page Time Page

George Frideric Handel (1685–1759) 5 ‘A maiden adorning’ 5:14 [p. 51] from Alcina with Diana Montague mezzo-soprano • Peter Wedd tenor Morgana’s Aria (Tornami a vagheggiar) Dean Robinson bass • Geoffrey Mitchell Choir

1 ‘Come take me in your arms’ 5:00 [p. 50] Hector Berlioz (1803–1869) Gaetano Donizetti (1797–1848) from Beatrice and Benedict from Linda di Chamounix Hero’s Aria (Je vais le voir!) Linda’s Recitative and Cavatina (O luce di quest’anima) 6 ‘He has come back’ 9:21 [p. 53]

2 ‘I should have hurried!’ – Wolfgang Amadeus Mozart ‘My soul is filled with love for you’ 6:17 [p. 50] from Così fan tutte Gioachino Rossini (1792–1868) Fiordiligi and Dorabella’s Duet (Ah, guarda, sorella) from Zelmira 7 ‘See here, Dorabella’ 5:15 [p. 54] Zelmira and Emma’s Duet (Perché mi guardi, e piangi) with Diana Montague mezzo-soprano

3 ‘What are these tears and sighs’ 5:58 [p. 50] Charles Gounod (1818–1893) with Diana Montague mezzo-soprano Lucy Wakeford harp • Jane Marshall cor anglais from Romeo and Juliet Juliet’s Waltz-song (Ah! Je veux vivre dans ce rêve) Wolfgang Amadeus Mozart (1756–1791) 8 ‘Ah! Let me live in this dream’ 3:58 [p. 55] from The Abduction from the Seraglio Constanza’s Aria (Ach, ich liebte) Léo Delibes (1836–1891) 4 ‘How I loved him!’ 5:47 [p. 51] from Lakmé Lakmé and Gerald’s Duet (C’est le Dieu de la jeunesse) Vincenzo Bellini (1801–1835) 9 ‘Reckless man! Are you mad?’ – from I puritani ‘He’s the god of youth and springtime’ 8:49 [p. 55] Quartet for Elvira, Enrichetta, Arturo and Giorgio with Barry Banks tenor (Polonaise: Son vergin vezzosa)

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Time Page Lakmé’s Bell Song: Scene and Legend of the Pariah’s Daughter 10

‘Ah!’ – Hesser © Debra ‘Listen all to my daughter’ – ‘The silver moon was shining’ 8:46 [p. 57] with Dean Robinson bass • Geoffrey Mitchell Choir

Carlisle Floyd (b. 1926) from Susannah Susannah’s Aria 11 ‘Ain’t it a pretty night!’ 7:03 [p. 58] Jacques Offenbach (1819–1880) from Robinson Crusoe Edwige’s Waltz-song (Conduisez-moi vers celui que j’adore) 12 ‘Take me away to the one I adore’ 4:08 [p. 58] with Geoffrey Mitchell Choir George Frideric Handel from Semele Semele’s Aria 13 ‘Oh sleep, why dost thou leave me?’ 3:37 [p. 59] with Elizabeth Kenny theorbo • David Cohen cello TT 79:19 Elizabeth Futral soprano Elizabeth Futral as Juliette in Philharmonia Orchestra Florida Grand Opera’s Gareth Hancock assistant conductor production of Gounod’s Steven White Roméo et Juliette 6 CHAN 3096 BOOK.qxd 11/4/07 2:50 pm Page 8

soprano leads in his Faust and Mireille (which Lakmé, based on a novel by Pierre Loti, is Great Operatic Arias had made ample provisions), and, besides, she set in British India, where an English officer was the wife of the theatre’s Director. falls in love with a native who is unfortunately The voice of the light soprano has enchanted What all of these soprano types (the soubrette, In Juliet’s role the coloratura element is the daughter of a hard-line Brahmin priest. listeners for centuries. The appeal is the leggiero and the lyric) have in common is nevertheless quite severely restricted: most of The consequences are dire, but on the way to international, as this recital shows with its that, for the listener, they represent the voice the part (as with that of Marguerite in Faust) the eventual tragedy is so much charming programme of arias from French, German, of youth. lies within the compass of the lyric soprano music that memory tends to retain the opera Italian and even American opera. In time, the Youth stands centre stage, the object of all and, when played complete, is also a strenuous as a mildly exotic entertainment with a selection goes back as far as Handel, who eyes and ears, the dream-come-true of a young one. The heroine of Delibes’s Lakmé (1883) is nominally serious twist which somewhat assuredly did not invent the voice. The light singer’s ambition, as Juliet sings her waltz-song, by comparison much more the property of a distorts its essentially happy nature. The duet soprano, well-trained in the florid style, was ‘Ah! Let me live in this dream’ (‘Ah! Je veux coloratura specialist. Whereas Juliet has been a from Act I (track 9 ) is a fair sample of its heard in the music of Lully and Rameau, vivre dans ce rêve’, track 8 ). It is the perfect role taken by lyric sopranos such as Geraldine melodious appeal and innocently romantic Purcell and Scarlatti, Cavalli and Monteverdi. piece for the light soprano who has all the Farrar, Lucrezia Bori, Janine Micheau and, at nature. Certainly modern producers who The national schools and individual teachers ornaments of her profession at command and the present time, Angela Gheorghiu, Lakmé update and try to make an anti-colonial have preferred different degrees of brightness who can plausibly embody the girl at her first has traditionally been associated with manifesto out of it get small change. The so- and mellowness, but very largely the type has ball, glowing with youth and radiant with the mistresses of the scales, trills, staccati and called Bell Song is more properly the ‘Legend conformed to certain ideals. Freshness and prospect of all life ahead. Gounod’s Romeo and upper ledger-lines, such as Luisa Tetrazzini, of the Pariah’s Daughter’, a song (or, in the purity of tone come first. Sheer volume is less Juliet (1867) was for perhaps half-a-century a Lily Pons and Nathalie Dessay. The first libretto, a recitation) performed by Lakmé for important, though a distinction is generally favourite in the opera houses of Europe and Lakmé was an American, Marie Van Zandt, the entertainment of a mixed crowd in the observed between the light soprano and the America, where some new star was to be petite and jolie, with a notable skill in staccato, market place (she has really been put up to it soubrette. With the lightness comes flexibility revealed to the public or where the admired hence the celebrated Bell Song (track 10 ), by her fanatical father so as to ensnare the and the two together usually facilitate the soprano and tenor of the day could be brought which Delibes wrote with her voice in mind. Englishman). With the unaccompanied development of an extended upper range. In together. It is the original Juliet, Marie Miolan- In Paris she seems to have been the victim of vocalise making a magical introduction, the this, the light (or leggiero) soprano differs from Carvalho, to whom subsequent singers are her own success, with jealous colleagues and narrative tells of a girl who forgets that she is what we think of as the lyric type, who may indebted for this brilliant entrance arietta, to (it is said) a chief of police organising catcalls of the ‘untouchables’ and wanders about the indeed have some or possibly all of these the extent at least that she, specialising in which developed into a riot. She was well forest where she comes upon a stranger qualities but whose appeal lies more within a coloratura roles, requested from Gounod enough received in London and New York, threatened by wild animals. With the bells she medium vocal range and who will normally something of the kind to show off her talents. where she introduced the opera to a public carries around with her the beasts are charmed have fuller reserves of power within that range. At the Théâtre Lyrique she had also taken the that liked both it and its protagonist. and the young man, none other than Vishnu,

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the son of Brahma, is saved. As a reward he The presence of Berlioz in this gallery is tragedy of misconstrued infidelity is averted The Valkyrie and was next to take on Turandot takes her to heaven with him, and to this day perhaps a little more surprising but it certainly and a happy ending contrived. There is even a and Aida. She created a sensation in the role travellers in the forest may hear the tinkle of enriches the programme. In Beatrice and regulation Mad scene. Yet it is also a score and in others of a comparable type, and so the these same magical bells. It is unlikely that Benedict (1862) Hero’s solo (track 6 ) on strong in compassion, and familiarity with it legend of the dramatic coloratura was revived many listening to the solo pay much attention learning of her lover’s happy return from battle will usually breed respect. One unusual and with it the idea that in the future we to the story, and yet this is one of the subtler is cast in classical form, the first half having feature – and in marked contrast to might look to large voices, extending their of operatic texts, having oblique relevance to the noble simplicity of an aria by Gluck. The La sonnambula – is that the ‘showpiece’ aria capabilities accordingly. After all, it was the main plot: not a direct parallel, but second is the traditional allegro, marked by (track 2 ), the liveliest number with the most pointed out, Verdi seemed to expect his fragmented echoes and pre-echoes, as in a originality in every detail of orchestration and captivating tune, instead of serving to make a dramatic sopranos (Lady Macbeth and dream. rhythm. Moreover, Berlioz’s feeling for the brilliant climax to the whole opera, comes Abigaille, for instance) to command the Gounod and Delibes provide in these voice is unfailingly sympathetic, allowing for early in Act I. As it is also the most famous coloratura style. Lilli Lehmann, a paragon in excerpts charming testimony to the part the lyrical purity, which is its essence, and then number, recorded in days of old by celebrated this respect, could combine the light and the played in the light soprano’s repertoire by the providing the touch of brilliance with a coloraturas such as Tetrazzini, Amelita Galli- heroic, as could Callas. What is not much French school of opera. We could add generously extended cadenza. Curci and Toti dal Monte, newcomers to the mentioned in this type of discussion is the examples from Bizet (Leila in The Pearl Fishers It is perhaps significant that with this opera tend to feel that the show is over before cost. The Polonaise, ‘A maiden adorning’ [Les Pêcheurs de perles]) and Massenet, whose particular voice type one should think first of it has properly begun. The aria is nevertheless (‘Son vergin vezzosa’), was specially written Manon sings a gavotte which is one of the the French repertoire rather than the Italian. one of the most radiant in all Donizetti’s large for the great Malibran, and she was another most delightful contributions of all. And there Italian opera still means to us, first and output, and it is good to find it here in whose greatness was achieved at a ruinous are others – Offenbach, for instance, with his foremost, Verdi and Puccini, and their Elizabeth Futral’s recital. cost. Some of the prime excitements of belle Hélène, Olympia the doll in The Tales of sopranos are not characteristically of this type. The inclusion of the Polonaise from Bellini’s operatic singing, we know, carry a certain Hoffmann (Les Contes d’Hoffmann), and in his It is the so-called bel canto school, in the first I puritani (1835, track 5 ) reminds us of sense of danger with them; but there is no Robinson Crusoe (1867) the exigeant Edwige. four decades of the nineteenth century, that another factor, one which came into play with doubt that nature and good sense allot such Her waltz-song (track 12 ) sparkles like gives our soprano her opportunities and best the arrival on the scene of Maria Callas. When solos as these to the kind of voice we hear Marguerite’s jewels and Lakmé’s bells. It also rewards. The heroine of Donizetti’s Linda di she first sang the role of Elvira in 1949 it was singing them now. adds the spice of comedy as it is sung by Chamounix (1842) is a good example. It is also in order to save the production in the absence We speak of Bellini and Donizetti as Crusoe’s fiancée who has arrived on the island easy to understand why this opera, and the of its scheduled soprano, Margherita Carosio. composers of bel canto opera, but it has been with servants and a cannibal-neighbour called role of Linda with it, have been dismissed as Carosio was a soprano of the expected type, argued (notably by Rodolfo Celletti, Storia del Jim Cocks, all to the consternation of Man trivial. As with Bellini’s La sonnambula, the light and lyrical, while Callas had just that belcanto, 1983) that by their time the bel canto Friday (who is a mezzo-soprano). story is very slight, and here too the personal same week been singing Brünnhilde in ideal in composition and performance was

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already compromised, and that the true period demanding arias but can concentrate rather and not against it. Susannah (1955) is a work Sir André Previn. She of the art runs from the precursors of Handel more on grace and the blend of voices in her that enjoyed some success when it was new, began her career at to Rossini. Rossini himself was brought up duets, ‘See here, Dorabella’ (‘Ah, guarda, produced at the New York City Opera in 1956 the Lyric Opera of 7

among singers and married one: there was not sorella’, track ) being the first of an elegant when the young Beverly Sills became an Chicago with which Christian Steiner much he did not know about voices and their sequence. influential member of the company, and in she has had a long usage. For Isabella Colbran, who sang the role It is often said that the surest foundation of 1999 returned to notice in performances at and close association, of Zelmira at the opera’s premiere in 1822 and a singer’s art lies in the mastery of Mozart and the Metropolitan with Renée Fleming in the performing both a few weeks later became Rossini’s wife, he Handel. Both composers are represented here, title role. It tells the biblical story of Susanna Giannetta and Adina wrote many leading soprano and mezzo roles. with fair specimens of their writing for and the Elders (‘The History of Susanna’, in L’elisir d’amore, Like most in his company, she must have been soprano. Handel’s ‘sleep’ aria from Semele Apocrypha) but in an updated form. The Barbarina and highly proficient in florid singing. The most (1744, track 13 ) puts the breath control to setting is New Hope Valley, Tennessee, and Susanna in Le nozze remarkable features of the duet for Zelmira work, spectacularly in the long run on Susannah is a local girl found by the village di Figaro, and the title role in Handel’s and her friend Emma (track 3 ) are probably, ‘wand’ring’ (‘restore my wand’ring love’). Elders bathing in a stream near her home. Partenope among many others. She won however, the delicacy of its vocal lines and the Handel’s original singer, celebrated as Little Bat Maclean, son of one of the Elders, is wide acclaim for her performance in the 1994 unusual accompaniment by harp and cor ‘La Francesina’, was Elisabeth Duparc, her a friend who gets caught up by the villagers production of Lakmé at the New York City anglais. singing described by Dr Burney as light and who want to discredit Susannah, partly out Opera, and her debut with The Metropolitan Like Rossini, Mozart would also often write airy, ‘lark-like’ in execution. The aria from of jealousy for her prettiness. In this solo Opera in Lucia di Lammermoor was equally with particular singers in mind. In The Alcina, ‘Come take me in your arms’ (track 11 ) she shares with him her yearnings well received. She returned to New York Abduction from the Seraglio (Die Entführung (‘Tornami a vagheggiar’, track 1 ) is of the for the world beyond. The sense of youthful City Opera to sing the title role in Douglas aus dem Serail, 1782) the original cast was contrasting Handelian type, energetic and rapture fills her voice and, as the music soars, Moore’s The Ballad of Baby Doe. In 1996 headed by Caterina Cavalieri, a protégée of the brilliant, in the original version (1735) allotted her imagination is liberated by the wonders of she was invited to sing the title role in Matilde court composer, Salieri, and one of the most to the second soprano, Morgana, and the night sky. di Shabran at the Rossini Opera Festival accomplished singers of the age. Constanza’s promptly transferred the following year to in Pesaro, the first production of this opera two arias are accordingly among the most Alcina herself. © 2003 John Steane for 175 years, and the same year sang testing in the repertoire, ‘How I loved him!’ Chronologically, then, Handel stands at one Catherine in Meyerbeer’s L’Étoile du Nord (‘Ach, ich liebte’, track 4 ) no less so than the end of this survey. At the other, Carlisle Floyd. An artist of great versatility, Elizabeth Futral at the Wexford Festival. Two years later more famous ‘torture’ aria, ‘Martern aller Not as well known on this side of the Atlantic has established herself as a major coloratura she originated the role of Stella in Previn’s Arten’. In Così fan tutte (1790), the leading as in his native USA, he has been a modern soprano in a repertoire that extends from A Streetcar Named Desire at San Francisco soprano, Fiordiligi, has comparably composer of opera who writes for the voice Vivaldi and Handel to Philip Glass and Opera.

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She made her debut with Los Angeles the New York Philharmonic under Zubin Don Giovanni, Lucia di Lammermoor, In concert Steven White has conducted Music Center Opera as Cleopatra (Giulio Mehta, and she was a guest artist in the 2000 La Fille du régiment, Don Pasquale, Macbeth, Messiah in Chicago for the International Cesare) and at Houston Grand Opera has sung New Year’s Eve Gala Concert with the Berlin La traviata, Aida, Roméo et Juliette, Carmen, Music Foundation, and appeared with the Konstanze (Die Entführung aus dem Serail ), Philharmonic under Claudio Abbado. Les Contes d’Hoffmann, Tosca, Madama New World Symphony, Florida Philharmonic, Manon (Manon) and Curley’s Wife (Carlisle Among Elizabeth Futral’s recordings are Butterfly and The Merry Widow. Following Charleston Symphony Orchestra, North Floyd’s Of Mice and Men). At the Bayerische Rossini’s Otello and Pacini’s Carlo di Borgogna two of his first professional engagements, Carolina Symphony and Alabama Symphony Staatsoper in Munich she sang Pamina for Opera Rara and Lucia of Lammermoor for he was named Principal Conductor of Orchestra among others. (Die Zauberflöte) and, under Zubin Mehta, Chandos’ Opera in English series sponsored by both Opera Roanoke and Opera This CD of operatic arias represents his first Nannetta (Falstaff ), performing Susanna with the Peter Moores Foundation. Birmingham. major recording project. the same company and conductor in a tour of Japan. She opened the 2002/03 season at Steven White is Elizabeth Futral as Béatrice in The Washington Opera in the title role of quickly establishing The Santa Fe Opera’s production Lucia di Lammermoor, a role she has also himself in the United of Berlioz’s Béatrice et Bénédict

sung with The Dallas Opera under Richard Christian Steiner States as a promising Bonynge, and went on to perform Marie and sought-after (La Fille du régiment) at Vancouver Opera. operatic conductor. Her operatic repertoire further includes From 1993 to 1997 he Romilda (Serse), Gilda (Rigoletto), Violetta served as Associate © The Santa Fe Opera/Paul Fe The Santa © Slaughter (La traviata), Juliette and Mélisande. Conductor and She participated in concert performances of Chorus Master of the Benvenuto Cellini with the London Symphony Florida Grand Opera Orchestra and repeated the role of Konstanze where he made his operatic debut with in concert performances with the New York Il trovatore. Philharmonic, both under Sir Colin Davis. Since then, conducting engagements have On the concert platform she has also taken him to opera companies throughout performed Brahms’s Ein deutsches Requiem and North America, among them New York City Krenek’s Die Nachtigall with the San Francisco Opera, New Orleans Opera, Arizona Opera, Symphony under Michael Tilson Thomas and Opera Colorado and Vancouver Opera, in a Mahler’s Symphony No. 2 Resurrection with repertoire that includes Le nozze di Figaro,

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SIR PETER MOORES, CBE, DL youth, social and environmental projects. To date, because of his initiatives and life-long Sir Peter Moores was born in Lancashire and educated at Eton College commitment to these causes, he has disbursed more than £85 million of his own money through and Christ Church, Oxford, where he studied Italian and German. He the Foundation and the Peter Moores Charitable Trust – ‘to get things done and to open doors’.

Bill Cooper/PMF Bill had a ‘gap year’ at Glyndebourne working as a behind-the-scenes Projects to help the young have ranged from a scheme to encourage young Afro-Caribbeans to administrator before going to Oxford, then studied for three years at the stay on at school to the endowment of a Faculty Directorship and Chair of Management Studies at Vienna Academy of Music, where he produced the Austrian premiere of Oxford University (providing the lead donation in 1991 for the new School of Management Benjamin Britten's The Rape of Lucretia and was a production assistant Studies). In 1994 a permanent Transatlantic Slave Trade Gallery, initiated by Peter Moores, opened with the Vienna State Opera working as assistant producer of at the Merseyside Maritime Museum, with the aim of fostering discussion about the heritage and performances by Viennese artists at the San Carlo Opera House, Naples, true history of the slave trade. Substantial help was given to the Royal Liverpool Philharmonic at the Geneva Festival and at the Rome Opera. Development Trust, whilst through annual PMF Scholarships established in 1971 well over two In 1957 he joined his father’s business, Littlewoods, becoming hundred young singers have received practical support at the outset of their careers, enabling a Vice-Chairman in 1976, Chairman from 1977 to 1980 and remaining a significant number to become international opera stars. director until 1993. His public appointments include from 1981 to 1983 Governor of the BBC, In 1993 the Foundation acquired Compton Verney, an eighteenth-century mansion, and Trustee of the Tate Gallery from 1978 to 1985 and from 1988 to 1992 a Director of Scottish established the Compton Verney House Trust, an independent charity which it funded in order to Opera. He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from transform the mansion into an art gallery designed especially to encourage newcomers to the visual Christ Church, Oxford in 1975, and was made an Honorary Member of the Royal Northern arts. Alongside major international touring exhibitions, it will house permanent collections of College of Music in 1985. In 1992 he was appointed Deputy Lieutenant (DL) of Lancashire by North European art, Neapolitan paintings and one of the finest collections of archaic oriental HM Queen Elizabeth II. He was appointed a Commander of the British Empire (CBE) in 1991 bronzes in the UK, as well as a British Portrait Collection and a British Folk Art Collection. The and received a Knighthood in the New Year’s Honours List for 2003 in recognition of his gallery is scheduled to open in Spring 2004. charitable services to the arts. Opera has given the Foundation its most public ‘face’. Since Peter Moores initiated the live recording of the ‘Goodall Ring’ at the London Coliseum in the 1970s, the Foundation has enabled PETER MOORES FOUNDATION some eighty recordings to be produced: Chandos Records’ Opera in English series – ‘Opera that Peter Moores’ philanthropic work began with his passion for opera: in his twenties he identified speaks your language’ – is now the largest recorded collection of operas sung in English whilst and helped a number of young artists in the crucial, early stages of their careers, several of whom – Opera Rara’s recordings of rare bel canto operas have opened up an immensely rich repertory Dame Joan Sutherland, Sir Colin Davis and the late Sir Geraint Evans amongst them – became previously only accessible to scholars. In live performance, the Foundation has encouraged the world-famous. He set up his eponymous Foundation in 1964 when he was thirty-two, in order to creation of new work and schemes to attract new audiences, financing the publication of scores develop his charitable aims, not only in music and the visual arts, but also in education, health, and enabling rarely heard works to be staged by British opera companies and festivals.

16 17 CHAN 3096 BOOK.qxd 11/4/07 2:50 pm Page 18 George Landis George © Ken Howard © Ken

Elizabeth Futral as Cleopatra in Los Angeles Elizabeth Futral in the title Music Center Opera’s role in The Dallas Opera’s production of Handel’s production of Donizetti’s Giulio Cesare Lucia di Lammermoor CHAN 3096 BOOK.qxd 11/4/07 2:50 pm Page 20

sprühende Auftrittsariette verdanken wir in Delibes die Glöckchenarie (Band 10 ). In Paris Große Opernarien gewisser Beziehung der ersten Juliette, der wurde die junge Sängerin schließlich zu einem Koloratursängerin Marie Caroline Miolan- Opfer ihres eigenen Erfolgs, als missgünstige Seit Jahrhunderten bezaubert die Stimme des zwar durchaus einige oder sogar alle dieser Carvalho, die Gounod ausdrücklich um eine Kolleginnen und (so heißt es) ein Polizeichef lyrischen Koloratursoprans das Publikum. Eigenschaften aufweisen kann, dessen Reiz Nummer gebeten hatte, mit der sie glänzen eine Claque von Buhrufern organisierten und Diese Breitenwirkung ist international, wie die jedoch von der mittleren Stimmlage ausgeht konnte. Sie hatte bereits am Théâtre Lyrique die Ablehnung zum Krawall ausartete. Das vorliegende Sammlung von Arien aus der und der deshalb in diesem Bereich die großzügig für sie ausgestatteten weiblichen Publikum in London und New York nahm sie französischen, deutschen, italienischen und normalerweise über größere Kraftreserven Hauptrollen in Faust und Mireille gesungen, jedoch mit offenen Armen auf und wusste selbst der amerikanischen Oper beweist. verfügt. Gemeinsam ist jedoch all diesen und außerdem war sie die Gattin des auch die Oper zu schätzen. Zeitlich beginnt die Auswahl mit Händel, der Soprantypen (Soubrette, Leggiero und lyrischer Theaterdirektors. Lakmé basiert auf einem Roman von Pierre aber keineswegs als erster diesen Stimmtypus Sopran), dass das Publikum in ihnen die Dennoch ist das Koloraturelement in der Loti und spielt im Indien der englischen einsetzte. Lyrische Koloratursoprane hatte man Stimme der Jugend vernimmt. Rolle Juliettes bei weitem nicht übersteigert: Kolonialzeit. Ein englischer Offizier verliebt auch bereits bei Lully und Rameau, Purcell Der Jugend gehört das Rampenlicht, sie Der größte Teil der Partie (wie auch bei sich in eine junge Inderin, ohne zu ahnen, und Scarlatti, Cavalli und Monteverdi gehört. schlägt alle in Bann, sie strebt nach der Marguerite in Faust) liegt im Bereich eines dass sie die Tochter eines strengen Brahmanen Von Land zu Land und von einem Erfüllung ihrer Träume, wie etwa in Juliettes lyrischen Soprans und ist in ungekürzter ist. Obwohl es sich um einen bitteren Konflikt Gesangslehrer zum anderen sind Helligkeit Valse-Ariette “Ah! Je veux vivre dans ce rêve” Fassung auch denkbar anstrengend. Im mit tragischen Konsequenzen handelt, täuscht und Schmelz der Stimme in unterschiedlichem (Band 8 ). Es ist eine perfekte Nummer für Gegensatz dazu hatte Delibes bei der Titelrolle die reizvolle Musik über das Wesen des Grade bevorzugt worden, doch generell hat eine Sopranistin dieses Fachs, die alle von Lakmé (1883) eher eine Dramas hinweg und hinterlässt einen sich der Typus an gewissen Idealen Verzierungen beherrscht und das Mädchen Koloraturspezialistin vor Augen. Während Eindruck von exotischer Unterhaltung, deren ausgerichtet. Frische und Reinheit im Ton auf seinem ersten Ball – voll jugendlicher Juliette von lyrischen Sopranen wie Geraldine Unbeschwertheit nur oberflächlich durch eine stehen an oberster Stelle. Auf das Volumen Begeisterung und strahlender Farrar, Lucrezia Bori, Janine Micheau und ernstere Wendung getrübt zu werden scheint. kommt es weniger an, obwohl man allgemein Lebenserwartung – glaubhaft verkörpern kann. heutzutage Angela Gheorghiu gesungen Das Duett aus dem Ersten Akt (Band 9 ) ist zwischen dem lyrischen Koloratursopran und Mehr als ein halbes Jahrhundert lang gehörte worden ist, verbindet man Lakmé traditionell ein gutes Beispiel für den melodischen Reiz der Soubrette unterscheidet. Zur Lyrik gesellt Gounods Roméo et Juliette (1867) fest auf den mit den Herrscherinnen über Läufe, Triller, und die unschuldige Romantik des Werks, die sich Beweglichkeit, und diese Kombination Spielplan der Opernhäuser Europas und Staccati und obere Hilfslinien, wie Luisa alle Versuche zeitkritischer Regisseure, daraus ermöglicht die Ausbildung der nach oben Amerikas, wenn es galt, dem Publikum ein Tetrazzini, Lily Pons und Nathalie Dessay. Die ein anti-imperialistisches Manifest zu erweiterten Stimmlage. Insofern unterscheidet neues, vielversprechendes Talent vorzustellen, erste Lakmé war eine Amerikanerin, Marie inszenieren, zum Scheitern verurteilt. Bei der sich der lyrische Koloratursopran (oder oder die Gelegenheit bestand, Sopran und Van Zandt, petite und jolie, mit einem sogenannten Glöckchenarie handelt es sich Soprano leggiero) vom lyrischen Sopran, der Tenor des Tages zu verpflichten. Diese bemerkenswerten Staccato; für sie schrieb genauer gesagt um die “Legende von der

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Tochter des Paria”, ein Lied (oder laut Libretto Les Pêcheurs de perles) und Massenet, dessen deren lyrische Reinheit bewahrt und dann mit nicht – wie bei La sonnambula – den eine Erzählung) Lakmés zur Unterhaltung der Manon eine Gavotte von geradezu einer großzügig erweiterten Kadenz ein strahlenden Höhepunkt der Oper, sondern ist bunten Menge auf dem Marktplatz (aber in berückender Schönheit singt, oder Offenbach Feuerwerk entzündet. bereits früh im Ersten Akt eingefügt. Da dies Wirklichkeit arrangiert von ihrem fanatischen mit seiner belle Hélène, der Puppe Olympia in Es ist vielleicht bezeichnend, dass man bei auch die bekannteste Arie der Oper ist Vater, der den Engländer herbeizulocken Les Contes d’Hoffmann und der diesem besonderen Stimmtyp eher an das (unsterblich gemacht von berühmten hofft). Nach der zauberhaften Einleitung anspruchsvollen Edwige in Robinson Crusoé französische als das italienische Repertoire Koloratursängerinnen wie Tetrazzini, Amelita durch die unbegleitete Vokalise erzählt die (1867). Deren Valse-Ariette (Band 12 ) funkelt denkt. Die italienische Oper bedeutet für uns Galli-Curci und Toti dal Monte), könnte man Legende von einer jungen Frau, die vergisst, nicht nur wie Marguerites Juwelen und immer noch vor allem Verdi und Puccini, und meinen, dass die Oper bereits beendet ist, dass sie zur Kaste der “Unberührbaren” gehört, Lakmés Glöckchen, sondern ist auch mit die Sopranpartien dieser Komponisten fallen bevor sie richtig begonnen hat. Aber selbst in und den Wald durchstreift, wo sie auf einen Humor gewürzt, denn gesungen wird die Arie in ein anderes Fach. Der lyrische dem umfangreichen Gesamtwerk Donizettis von wilden Tieren bedrohten Fremden trifft. von der Verlobten Crusoes, die mit ihrer Koloratursopran findet sein bestes italienisches nimmt die Arie eine Ausnahmestellung ein, Mit den Glöckchen, die sie trägt, bannt sie die Dienerschaft und einem benachbarten Material im Belcanto, besonders in den ersten und wir dürfen dankbar dafür sein, sie in Bestien, und der junge Mann – kein anderer Kannibalen namens Jim Cocks auf der Insel vier Jahrzehnten des neunzehnten diesem Recital Elizabeth Futrals zu finden. als Vishnu, der Sohn Brahmas – ist gerettet. eingetroffen ist, sehr zur Bestürzung von Jahrhunderts. Die Titelrolle in Donizettis Die Polonaise aus Bellinis I puritani (1835, Zum Dank nimmt er sie mit in den Himmel, Vendredi (eine Hosenrolle für Mezzosopran). Linda di Chamounix (1842) ist ein gutes Band 5 ) erinnert uns an den Beginn einer und bis auf den heutigen Tag kann man Dass in diesem Zusammenhang der Name Beispiel. Man versteht, warum diese Oper und großen Opernkarriere. Als Maria Callas 1949 zuweilen den Klang dieser Zauberglöckchen Berlioz fällt, mag überraschen, doch das mit ihr die Rolle der Linda als trivial abgetan zum erstenmal die Rolle der Elvira sang, hatte noch im Wald vernehmen. Die wenigsten Programm wird durch ihn auf jeden Fall worden sind. Ähnlich wie bei Bellinis sie für Margherita Carosio einspringen Zuhörer dürften der Erzählung selbst viel bereichert. Die Arie aus Béatrice et Bénédict La sonnambula ist die Handlungsgrundlage müssen. Carosio entsprach als lyrischer Beachtung schenken, und doch ist es einer der (1862), in der Héro die frohe Kunde von der rechts seicht, und die persönliche Tragödie, die Koloratursopran den Rollenerwartungen, subtileren Operntexte, mit einer indirekten Rückkehr ihres geliebten Claudio aus dem aus missverstandener Treulosigkeit erwachsen während Callas gerade erst in jener Woche Anspielung auf die Haupthandlung: keine Krieg besingt (Band 6 ), ist klassisch könnte, wird auch hier zu einem glücklichen Brünnhilde in der Walküre gesungen hatte und direkte Parallele, sondern fragmentierte Echos strukturiert. Die erste Hälfte präsentiert sich Ende abgewendet. Sogar die obligatorische danach als Turandot und Aida auftrat. Ihre und Vorechos, wie in einem Traum. in der noblen Schlichtheit einer Gluck-Arie, Wahnsinnsszene fehlt nicht. Andererseits ist Interpretation dieser Rolle war eine Gounod und Delibes stellen mit diesen die zweite – traditionell allegro gehalten – die Musik von tiefem Mitgefühl erfüllt und Offenbarung, führte zu weiteren, ähnlichen Arien auf wundervolle Weise unter Beweis, wie besticht im Hinblick auf Orchestrierung und verlangt Respekt, je mehr man mit ihr vertraut Verpflichtungen und ließ den dramatischen wichtig der Beitrag der französischen Oper Rhythmus durch Originalität in jedem Detail. wird. Ungewöhnlicherweise bildet die Koloratursopran wiederauferstehen. Die zum Repertoire des lyrischen Koloratursoprans Zudem beweist Berlioz ein unfehlbares Gespür Bravourarie (Band 2 ), die lebhafteste Zukunft versprach uns plötzlich große, ist. Andere Beispiele wären Bizet (Leila in für das Wesen der Stimme, indem er zunächst Nummer mit der eindrucksvollsten Melodie, bewegliche Stimmen mit enormer

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Durchschlagskraft. Verdi schien ja persönlich in ihm auf; es gab nicht viel, was er über wobei “Ah, guarda, sorella” (Band 7 ) eine (1955) wurde mit einigem Erfolg 1956 an von seinen dramatischen Sopranen (Lady Stimmen und ihren Einsatz nicht gewusst elegante Abfolge einleitet. der New York City Opera inszeniert, als die Macbeth und Abigaille beispielsweise) die hätte. Für Isabella Colbran, die Zelmira der Man hört oft, die sicherste Grundlage der junge Beverly Sills zu einem einflussreichen Koloraturtechnik zu verlangen. Lilli Lehmann Uraufführung von 1822 und bald darauf auch Gesangskunst liege in der Beherrschung Mitglied des Ensembles aufstieg, und machte konnte die problematischen technischen seine Ehefrau, schrieb Rossini viele Sopran- Mozarts und Händels. Beide Komponisten 1999 durch Aufführungen an der Met Extreme ebenso wie Callas mustergültig und Mezzosopranrollen. So wie die meisten sind hier mit guten Beispielen ihrer mit Renée Fleming in der Titelrolle erneut miteinander verbinden. Was in dieser Mitglieder seines Ensembles muss sie den Sopranarien vertreten. Händels Schlummerarie von sich reden. Das Werk basiert auf Diskussion oft nicht zur Sprache kommt, ist verzierten Gesang glänzend beherrscht haben. aus Semele (1744, Band 13 ) verlangt der einer modernisierten Fassung der die Kehrseite der Medaille. Die Polonaise “Son Im Duett zwischen Zelmira und ihrer Atemtechnik viel ab – man denke nur an den alttestamentarischen Susanna-Erzählung vergin vezzosa” wurde eigens für die berühmte Freundin Emma (Band 3 ) begeistern uns spektakulären langen Lauf von “wand’ring” (apokrypher Zusatz zum Buch Daniel). Malibran geschrieben, die ebenfalls für ihren aber wohl vor allem die zarte Führung der (“restore my wand’ring love”). Händels erste Schauplatz ist New Hope Valley in Tennessee, Ruhm einen hohen Preis zahlte. Der Vokallinien und die ungewöhnliche Begleitung Sängerin in dieser Rolle war die gefeierte wo Susannah beim Bade in einem Bach Operngesang ist eben nicht zuletzt deshalb so durch Harfe und Englischhorn. Elisabeth Duparc (“La Francesina”), deren unweit ihres Hauses von Dorfältesten aufregend, weil wir wissen, dass damit Ebenso wie Rossini komponierte auch Stimme von Dr. Burney als leicht und luftig, überrascht wird. Nicht zuletzt aus Missgunst, Gefahren verbunden sind; es kann aber auch Mozart oft für ganz bestimmte Sänger. In der ja “lerchenartig” im Vortrag beschrieben die aus der Schönheit der jungen Frau kein Zweifel daran bestehen, dass die Natur Entführung aus dem Serail (1782) wurde die wurde. Die aus Alcina stammende Arie rührt, trachten die Ältesten danach, ihren und der gesunde Menschenverstand Arien wie Originalbesetzung von Caterina Cavalieri “Tornami a vagheggiar” (Band 1 ) ist eine Ruf zu schänden. Little Bat Maclean, Sohn diese solchen Stimmen vorbehalten, die heute angeführt, die in der Gunst des jener energiegeladenen, glänzenden Nummern, eines dieser Männer und mit Susannah damit zu hören sind. Hofkomponisten Salieri stand und zu den die Händel gerne kontrastierend einsetzte; in befreundet, wird in die Geschichte verwickelt. Wir betrachten Bellini und Donizetti gerne großartigsten Interpretinnen ihrer Zeit der Originalversion (1735) gehörte sie In dieser Arie (Band 11 ) singt sie ihm von als Vertreter der Belcanto-Oper, obwohl gehörte. So erklärt sich der hohe zunächst der zweiten Sopranistin, Morgana, ihrer Sehnsucht nach der großen, weiten manche Musikwissenschaftler (vor allem Schwierigkeitsgrad der beiden Arien die sie jedoch im Jahr darauf an die Titelrolle Welt. Susannahs Stimme ist von Rodolfo Celletti in Storia del belcanto, 1983) Konstanzes – “Ach, ich liebte” (Band 4 ) steht abgeben musste. jugendlicher Schwärmerei erfüllt, und argumentieren, dass zur Zeit dieser beiden das in dieser Hinsicht der berühmteren Marterarie Chronologisch betrachtet steht Händel also während die Musik aufschwebt, befreien Belcanto-Ideal unter Komponisten und um nichts nach. In Così fan tutte (1790) wird am Anfang dieses Arienreigens. Am Ende die Wunder des nächtlichen Firmaments ihre Interpreten bereits kompromittiert war und Fiordiligi mit ähnlich schwierigen Aufgaben stoßen wir auf Carlisle Floyd. Der diesseits des Phantasie. die Stilepoche eigentlich nur von den konfrontiert, kann sich jedoch sehr viel stärker Atlantik weniger gut bekannte amerikanische Vorläufern Händels bis Rossini reicht. Rossini auf die Verzierung und die Harmonie der Komponist schreibt moderne Oper für die © 2003 John Steane selbst entstammte dem Sängermilieu und ging Stimmen in ihren Duetten konzentrieren, Stimme, nicht im Konflikt mit ihr. Susannah Übersetzung: Andreas Klatt

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Die ungemein vielseitige amerikanische Sie debütierte an der Los Angeles Music Thomas und in Mahlers Sinfonie Nr. 2 City Opera, New Orleans Opera, Arizona Sängerin Elizabeth Futral gilt als eine der Center Opera als Cleopatra (Giulio Cesare), (Auferstehungs-Sinfonie) mit der New York Opera, Opera Colorado und Vancouver führenden Koloratursopranistinnen der Welt, und an der Houston Grand Opera erlebte Philharmonic unter Zubin Mehta aufgetreten. Opera, in einem Repertoire von Le nozze mit einem Repertoire, das von Vivaldi und man sie als Konstanze (Die Entführung aus Sie war Gastkünstlerin beim Sylvesterkonzert di Figaro, Don Giovanni, Lucia di Lammermoor, Händel bis zu Philip Glass und Sir André dem Serail ), Manon (Manon) und Curley’s 2000 mit den Berliner Philharmonikern unter La Fille du régiment, Don Pasquale, Macbeth, Previn reicht. Sie begann ihre Karriere an der Wife (Carlisle Floyds Of Mice and Men). An Claudio Abbado. La traviata, Aida, Roméo et Juliette, Carmen, Lyric Opera of Chicago, wo sie über die Jahre der Bayerischen Staatsoper in München sang Elizabeth Futrals Diskographie umfasst Les Contes d’Hoffmann, Tosca und Madama hinweg neben vielen anderen Rollen Giannetta sie Pamina (Die Zauberflöte) und, unter der Rossinis Otello und Pacinis Carlo di Borgogna Butterfly bis zu Die lustige Witwe. Nach zwei und Adina in L’elisir d’amore, Barbarina und Leitung von Zubin Mehta, Nannetta für Opera Rara und Lucia di Lammermoor für seiner ersten professionellen Verpflichtungen Susanna in Le nozze di Figaro sowie die (Falstaff ), und mit diesem Dirigenten und Chandos in der Reihe “Opera in English” mit wurde er von der Opera Roanoke und der Titelrolle in Händels Partenope verkörpert hat. Ensemble unternahm sie als Susanna eine Unterstützung durch die Peter Moores Opera Birmingham zum Chefdirigenten 1994 sang sie in einer hocherfolgreichen Japantournee. Sie eröffnete die Spielzeit Foundation. ernannt. Inszenierung von Lakmé an der New York City 2002/03 an der Washington Opera in der Auf der Konzertbühne hat Steven White Opera, und ihr Debüt an der Metropolitan Titelrolle von Lucia di Lammermoor, die sie Steven White hat sich in den Vereinigten Messiah in Chicago für die International Music Opera in Lucia di Lammermoor stieß auf auch unter der Leitung von Richard Bonynge Staaten als vielversprechender und gefragter Foundation dirigiert und u.a. die New World ebenso begeisterte Zustimmung. In der an der Dallas Opera gesungen hat, und Operndirigent einen Namen gemacht. Von Symphony und die Florida Philharmonic, das Titelrolle von Douglas Moores The Ballad of gastierte als Marie (La Fille du régiment) an der 1993 bis 1997 wirkte er als Assoziierter Dirigent Charleston Symphony Orchestra, die North Baby Doe kehrte sie an die New York City Vancouver Opera. Ihr Opernrepertoire umfasst und Chorleiter an der Florida Grand Opera, wo Carolina Symphony und das Alabama Opera zurück. 1996 trat sie in der Titelrolle außerdem Romilda (Serse), Gilda (Rigoletto), er sein Operndebüt mit Il trovatore gab. Symphony Orchestra geleitet. von Matilde di Shabran bei den Rossini- Violetta (La traviata), Juliette und Mélisande. Seitdem hat er zahlreiche Opernensembles Diese CD mit Opernarien ist sein erstes Opernfestspielen in Pesaro auf, als dieses Werk Sie wirkte an Konzertaufführungen von in Nordamerika dirigiert, u.a. die New York größeres Schallplattenprojekt. zum erstenmal seit 175 Jahren wieder Benvenuto Cellini mit dem London Symphony inszeniert wurde, und im selben Jahr sang Orchestra mit und sang die Rolle von sie Catherine in Meyerbeers L’Étoile du Nord Konstanze in Konzertaufführungen mit der beim Wexford Festival. Zwei Jahre später schuf New York Philharmonic, beides unter der sie die Rolle der Stella in der Leitung von Sir Colin Davis. Konzertant ist sie Welturaufführung von Sir André Previns auch im Deutschen Requiem von Brahms und A Streetcar Named Desire an der San Francisco in Kreneks Die Nachtigall mit der San Opera. Francisco Symphony unter Michael Tilson

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Elizabeth Futral as Zerbinetta in The Santa Fe Elizabeth Futral in the title role Opera’s production of in New Orleans Opera’s Strauss’s Ariadne auf Naxos production of Delibes’s Lakmé CHAN 3096 BOOK.qxd 11/4/07 2:50 pm Page 30

arietta sur laquelle Juliette fait son entrée, cantatrices jalouses et (dit-on) un chef de Grands airs d’opéra puisque c’est elle qui demanda à Gounod un police organisèrent des sifflets qui tournèrent à air pour faire valoir ses talents de colorature. l’émeute. Elle fut assez bien accueillie à La voix de soprano léger enchante les auditeurs surtout dans une tessiture un peu plus grave et Au Théâtre Lyrique, elle avait également été la Londres et à New York où elle présenta cet depuis des siècles. Son charme est dans de grandes réserves de puissance à soprano vedette de Faust et de Mireille (deux opéra à un public qui se prit d’affection pour international, pour preuve le récital que voici l’intérieur de cette tessiture. Ce que ces types rôles qui satisfaisaient amplement sa tessiture); l’œuvre et sa protagoniste. qui aligne des airs de l’opéra français, de soprano (la soubrette, le léger et le lyrique) du reste, elle était l’épouse du directeur du Lakmé, basé sur un roman de Pierre Loti, a allemand, italien et même américain. L’air le ont en commun, c’est qu’ils représentent tous théâtre. pour cadre l’Inde britannique: un officier plus ancien sur ce disque est de Haendel qui, pour l’auditeur la voix de la jeunesse. Dans le rôle de Juliette, l’aspect colorature anglais tombe amoureux d’une jeune fille du assurément, n’inventa pas cette voix. Le La jeunesse occupe le devant de la scène, est néanmoins sévèrement limité: le rôle pays qui, malheureusement, n’est autre que la soprano léger, adepte du style fleuri, intervient c’est l’objet de tous les regards, de toutes les (comme pour la Marguerite de Faust) se situe fille d’un prêtre brahmane intransigeant. Les déjà dans la musique de Lully et de Rameau, oreilles, le rêve devenu réalité pour une jeune pour la plupart dans le registre de la soprano conséquences seront terribles, mais avant de Purcell et de Scarlatti, de Cavalli et de chanteuse ambitieuse, comme le clame Juliette lyrique et c’est un rôle très fatigant lorsqu’il est d’atteindre la conclusion tragique, Delibes Monteverdi. Si les écoles nationales et les dans sa valse, “Ah! Je veux vivre dans ce rêve” interprété dans son intégralité. L’héroïne de nous offre tant d’airs charmants qu’on a professeurs particuliers favorisent différents (plage 8 ). C’est le morceau idéal pour la Lakmé (1883) de Delibes relève bien plus du tendance à garder de cet opéra l’impression degrés de luminosité et de douceur, ce type de soprano légère qui maîtrise parfaitement toute domaine de la colorature. Si le rôle de Juliette d’un divertissement vaguement exotique avec, voix s’est pourtant toujours conformé à l’ornementation de sa profession et qui est une a été tenu par certaines sopranos lyriques pour la forme, un grave coup de théâtre qui certains idéaux. Fraîcheur et pureté de la voix incarnation plausible de la jeune fille à son comme Geraldine Farrar, Lucrezia Bori, Janine change quelque peu la nature essentiellement comptent avant tout. La puissance pure et premier bal, rayonnante de jeunesse et radieuse Micheau et, plus récemment, Angela heureuse de l’œuvre. Le duo du Premier Acte simple est moins importante, bien que l’on à l’idée de ce que la vie lui réserve. Roméo et Gheorghiu, Lakmé est traditionnellement (plage 9 ) est un bel exemple du charme fasse généralement une différence entre le Juliette (1867) de Gounod resta près d’un l’apanage des maîtresses des gammes, des mélodique et du romantisme innocent de cet soprano léger et la soubrette. La légèreté demi-siècle l’un des opéras les plus populaires trilles, des staccatos et du suraigu, comme opéra. Il est sûr que les metteurs en scène s’accompagne de souplesse, toutes deux sur la scène européenne et américaine, Luisa Tetrazzini, Lily Pons et Nathalie Dessay. modernes qui actualisent cet opéra et facilitant en général le développement d’un l’occasion de lancer une nouvelle vedette en La première Lakmé, Marie Van Zandt, était cherchent à en faire un manifeste registre aigu étendu. En cela, le soprano léger public ou encore de réunir sur scène la américaine, petite et jolie, avec un talent anticolonialiste perdent leur temps. Le titre (ou leggiero) diffère de ce que nous qualifions soprano et le ténor les plus prisés du moment. remarquable pour le staccato, d’où le célèbre exact de l’air des clochettes est “La Légende de de soprano lyrique, un type de voix qui aura C’est un peu à la première Juliette, Marie air des clochettes (plage 10 ) que Delibes la jeune paria”, une mélodie (ou, selon le certes parfois certaines qualités du leggiero, Miolan-Carvalho, que les cantatrices des composa à son intention. À Paris, elle fut livret, une récitation) interprétée par Lakmé voire même toutes, mais dont l’attrait réside générations suivantes doivent cette éclatante semble-t-il victime de son propre succès: des pour divertir la foule sur la place du marché

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(en fait, elle y a été forcée par son père D’autres noms viennent à l’esprit – Offenbach, Il est sans doute révélateur que ce type de célèbres que Tetrazzini, Amelita Galli-Curci et fanatique qui veut ainsi piéger l’Anglais). par exemple, avec sa Belle Hélène, avec voix nous fasse d’abord penser au répertoire Toti dal Monte, les non-initiés ont tendance à Après une vocalise non accompagnée en guise Olympie, la poupée des Contes d’Hoffmann et français plutôt qu’italien. L’opéra italien reste penser que le spectacle est terminé avant d’introduction magique, elle raconte l’histoire aussi l’exigeante Edwige dans Robinson Crusoé avant tout pour nous synonyme de Verdi et même que l’opéra ait vraiment démarré. L’aria d’une jeune fille qui oublie qu’elle appartient (1867). Sa valse (plage 12 ) étincelle comme les Puccini, et leurs sopranos ne sont pas typiques demeure pourtant l’une des plus radieuses de aux “intouchables” et qui, lors d’une bijoux de Marguerite et les clochettes de de ce genre. C’est l’école du bel canto, dans les toute la vaste production de Donizetti, et nous promenade en forêt, trouve un étranger Lakmé. Elle apporte aussi une touche de quarante premières années du dix-neuvième sommes ravis qu’Elizabeth Futral ait choisi de menacé par des bêtes sauvages. Elle charme les comédie puisqu’elle est chantée par la fiancée siècle, qui offre à notre soprano légère l’inscrire à son récital. animaux en faisant sonner les clochettes qu’elle de Crusoé qui est arrivée sur l’île avec des l’occasion d’exceller. L’héroïne de Linda di Le choix de la polonaise tirée de I puritani porte sur elle et le jeune homme, qui n’est serviteurs et un voisin cannibale, Jim Cocks, à Chamounix (1842) de Donizetti en est un bon (1835) de Bellini (plage 5 ) nous permet autre que Vishnou, le fils de Brahma, est la consternation de Vendredi (une mezzo- exemple. On comprend aisément pourquoi cet d’évoquer un autre facteur qui apparut avec sauvé. Pour la récompenser, il l’emporte aux soprano). opéra, et le rôle de Linda, ont été rejetés pour l’entrée en scène de Maria Callas. Lorsque cieux et c’est pourquoi aujourd’hui encore, les La présence de Berlioz dans cette galerie leur manque d’intérêt. Comme dans le cas de cette dernière chanta pour la première fois le voyageurs qui passent par cette forêt entendent nous surprend peut-être un peu plus, mais elle La sonnambula de Bellini, l’histoire est rôle d’Elvira en 1949, ce fut pour sauver la parfois tinter ces clochettes magiques. On ne enrichit certainement le programme. Dans insignifiante, et une fois de plus la tragédie production en l’absence de la soprano attitrée, prête guère attention à l’histoire à l’écoute de Béatrice et Bénédict (1862), le solo de Héro personnelle d’une jeune fille accusée à tort Margherita Carosio. Carosio était une leggiero ce solo, et pourtant il s’agit là d’un texte (plage 6 ), lorsqu’elle apprend avec joie le d’infidélité est évitée au profit d’une fin typique, alliant légèreté et lyrisme, alors que la lyrique particulièrement subtil, puisqu’il a un retour imminent de bataille de son amant, est heureuse. Il y a même la scène de folie Callas sortait tout juste du rôle de Brünnhilde rapport oblique avec l’intrigue centrale: non de forme classique: la première section a toute réglementaire. Néanmoins, c’est une partition dans Die Walküre et s’apprêtait à interpréter pas un parallèle direct, mais par-ci, par-là, la simplicité, tout le raffinement d’une aria de pleine de compassion, et ceux qui la Turandot et Aïda. Elle fit sensation dans le quelques échos ou quelques présages, comme Gluck. La seconde section est le traditionnel connaissent bien ont tendance à la respecter. rôle d’Elvira et dans d’autres rôles du même dans un rêve. allegro, débordant d’originalité dans chaque On notera une caractéristique inhabituelle – type, donnant un nouvel essor à la légende de Gounod et Delibes nous offrent dans ces détail de l’orchestration et du rythme. Qui qui tranche nettement avec La sonnambula: le la colorature dramatique et à l’idée qu’à extraits une preuve charmante du rôle, dans le plus est, Berlioz est immanquablement en “clou du spectacle” (plage 2 ), l’aria la plus l’avenir on pourrait considérer pour ces rôles répertoire de la soprano légère, de l’école harmonie avec la voix, lui permettant de pétulante avec la mélodie la plus fascinante, au des voix plus puissantes et, au besoin, lyrique française. On pourrait y adjoindre des s’exprimer avec cette pureté lyrique qui est sa lieu de servir d’apogée grandiose à l’opéra développer leur tessiture. Après tout, Verdi airs tirés de Bizet (Leila dans Les Pêcheurs de quintessence même, avant d’ajouter une entier, intervient au début du Premier Acte. n’attendait-il pas de ses sopranos dramatiques perles) et de Massenet, dont la Manon chante touche de brio avec une cadence d’une bonne Comme il s’agit aussi de l’air le plus connu, (Lady Macbeth et Abigaille, par exemple) une gavotte particulièrement ravissante. longueur. enregistré autrefois par des coloratures aussi qu’elles maîtrisent le style colorature? Lilli

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Lehmann, un modèle du genre, pouvait compagnie, elle maîtrisait certainement que voici, par de beaux échantillons de leur Opera avec Renée Fleming dans le rôle-titre. associer le léger et l’héroïque, tout comme la parfaitement le style fleuri. Mais ce qui écriture pour soprano. L’aria “du sommeil” C’est l’histoire biblique de Suzanne et des deux Callas. Mais une question n’est jamais posée demeure le plus remarquable dans le duo de dans Semele (1744, plage 13) de Haendel exige vieillards (“Suzanne et le jugement de Daniel”, dans ce genre de discussion: à quel prix? La Zelmira et de son amie Emma (plage 3 ), ce une parfaite maîtrise du souffle, et ce de façon apocryphe), mais modernisée. L’action a pour polonaise, “Son vergin vezzosa” (Je suis une sont la délicatesse des lignes vocales et spectaculaire dans la longue roulade sur cadre New Hope Valley, dans le Tennessee; joyeuse jeune fille), fut écrite tout l’accompagnement inhabituel de la harpe et du “wand’ring” (“restore my wand’ring love”). La Susannah est une fille du coin que les Anciens spécialement pour la grande Malibran, autre cor anglais. cantatrice qui créa ce rôle, célèbre sous le du village aperçoivent alors qu’elle se baigne chanteuse qui paya fort cher son succès. Comme Rossini, Mozart composa souvent surnom de “La Francesina”, était Elisabeth dans un ruisseau près de chez elle. Little Bat Certes, les émotions les plus fortes pour le en pensant à une cantatrice particulière. Dans Duparc, et Dr Burney qualifia son chant de Maclean, fils de l’un des Anciens, est un ami public lyrique ont un côté dangereux pour les Die Entführung aus dem Serail (1782), la tête léger et aérien, le comparant à celui de de Susannah que les villageois impliquent dans artistes; mais il est indubitable que la nature et d’affiche originale était Caterina Cavalieri, une l’alouette. L’aria tirée d’Alcina, “Tornami a l’histoire pour nuire à la réputation de la jeune le bon sens attribuent ce genre de solo au type protégée de Salieri, compositeur de la cour, vagheggiar” (plage 1 ), est dans un style fille, car ils sont jaloux de sa beauté. Dans ce de voix qui les chantent aujourd’hui. l’une des chanteuses les plus accomplies de son haendelien tout à fait opposé: c’est un air plein solo (plage 11 ) Susannah avoue à Little Bat Si Bellini et Donizetti sont généralement temps. C’est pourquoi les deux arias de de vigueur et d’éclat, confié dans la version Maclean combien elle aimerait découvrir des assimilés aux compositeurs de bel canto, Konstanze sont parmi les plus éprouvantes du originale (1735) à la seconde soprano, contrées lointaines. Sa voix déborde d’extase et certains (notamment Rodolfo Celletti, Storia répertoire, “Ach, ich liebte” (“Comme je Morgana, mais bien vite réattribué l’année de jeunesse et, tandis que la musique s’élève, del belcanto, 1983) estiment qu’à leur époque l’aimais”, plage 4 ) tout comme “Martern aller suivante à Alcina elle-même. son imagination s’enflamme face aux l’idéal du bel canto dans la composition et Arten”, l’un des plus grands airs pour soprano Chronologiquement parlant, Haendel se merveilles de la voûte céleste. l’interprétation était déjà compromis, et que le de Mozart. Dans Così fan tutte (1790), la situe donc à une extrémité de ce panorama. À bel canto va en fait des précurseurs de Haendel soprano principale, Fiordiligi, a des arias tout l’autre extrémité se trouve Carlisle Floyd. Plus © 2003 John Steane à Rossini. Rossini lui-même fut élevé parmi aussi difficiles, mais peut malgré davantage se connu dans son Amérique natale que de ce Traduction: Nicole Valencia des cantatrices et en épousa une: il savait concentrer sur la grâce et la fusion des voix côté-ci de l’Atlantique, c’est un compositeur pratiquement tout sur les voix et comment dans ses duos comme “Ah, guarda, sorella” moderne d’opéra qui écrit pour la voix et non Artiste aux talents variés, Elizabeth Futral s’en servir. Pour Isabella Colbran, qui chanta le (“Regarde, ma sœur”, plage 7 ), le premier contre elle. L’opéra Susannah (1955) connut compte aujourd’hui parmi les grandes rôle de Zelmira lors de la création de l’opéra d’une élégante série. un certain succès à ses débuts, lorsqu’il fut sopranos colorature dans un répertoire allant en 1822 avant de devenir quelques semaines On dit souvent que les bases les plus sûres monté au New York City Opera en 1956 à de Vivaldi et Haendel à Philip Glass et plus tard l’épouse de Rossini, il écrivit pour l’art d’une chanteuse sont les chefs l’époque où la jeune Beverly Sills devint l’une Sir André Previn. Elle commença sa carrière au plusieurs grands rôles de soprano et de mezzo. d’œuvre de Mozart et de Haendel. Ces deux des vedettes de la compagnie, puis il se Lyric Opera of Chicago et n’a cessé de Comme la plupart des chanteuses de la compositeurs sont représentés sur le disque retrouva l’affiche en 1999 au Metropolitan travailler de près avec cette compagnie pour

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qui elle a été entre autres Giannetta et Adina par ailleurs le rôle de Susanna pour la même de Pacini pour Opera Rara ainsi que Lucia di Lammermoor, La Fille du régiment, dans L’elisir d’amore, Barbarina et Susanna compagnie et avec le même chef d’orchestre Lammermoor pour la série Opera in English de Don Pasquale, Macbeth, La traviata, Aida, dans Le nozze di Figaro et le rôle-titre de lors d’une tournée au Japon. Elle inaugura la Chandos financée par la Peter Moores Roméo et Juliette, Carmen, Les Contes Partenope de Haendel. Elle fit l’unanimité de saison 2002/03 au Washington Opera dans le Foundation. d’Hoffmann, Tosca, Madama Butterfly et la critique et du public dans la mise en scène rôle-titre de Lucia di Lammermoor, un rôle Die lustige Witwe. C’est après avoir honoré de Lakmé au New York City Opera en 1994 et qu’elle tint aussi avec le Dallas Opera sous la Steven White compte aujourd’hui parmi les deux de ses premiers contrats professionnels ses débuts au Metropolitan Opera dans Lucia baguette de Richard Bonynge, puis fut Marie chefs d’orchestres les plus prometteurs et les qu’il fut nommé chef principal d’Opera di Lammermoor furent tout aussi réussis. Elle (La Fille du régiment) au Vancouver Opera. plus actifs des États-Unis. De 1993 à 1997, il Roanoke et d’Opera Birmingham. retrouva la scène du New York City Opera Son répertoire lyrique comprend aussi les rôles fut chef associé et chef de chœur au Florida En concert, Steven White a dirigé le pour tenir le rôle-titre de The Ballad of Baby de Romilda (Serse), Gilda (Rigoletto), Violetta Grand Opera où il fit ses débuts lyriques avec Messiah à Chicago pour l’International Doe de Douglas Moore. En 1996, elle fut (La traviata), Juliette et Mélisande. Il trovatore. Music Foundation et il a travaillé entre invitée à chanter le rôle-titre de Matilde di Elle participa à une version de concert de Depuis, il a été invité à diriger de autres avec le New World Symphony, Shabran dans le cadre du Festival lyrique Benvenuto Cellini avec le London Symphony nombreuses compagnies lyriques à travers le Florida Philharmonic, le Charleston Rossini à Pesaro, la première mise en scène de Orchestra sous la baguette de Sir Colin Davis l’Amérique du Nord, telles le New York City Symphony Orchestra, le North Carolina cet opéra depuis 175 ans, et cette même année et reprit le rôle de Constanze en concert avec Opera, le New Orleans Opera, l’Arizona Symphony et l’Alabama Symphony elle fut Catherine dans L’Étoile du Nord de le New York Philharmonic dirigé par ce même Opera, Opera Colorado et le Vancouver Orchestra. Meyerbeer au Festival de Wexford. Deux ans chef. Dans la salle de concert, elle a également Opera, dans un répertoire comprenant Ce CD d’airs d’opéra est son premier grand plus tard, elle créa le rôle de Stella dans chanté Ein deutsches Requiem de Brahms et Le nozze di Figaro, Don Giovanni, Lucia di projet en studio. A Streetcar Named Desire de Previn au San Die Nachtigall de Krenek avec le San Francisco Francisco Opera. Symphony sous la baguette de Michael Tilson Elle fit ses débuts au Los Angeles Music Thomas ainsi que la Symphonie no 2 Center Opera dans le rôle de Cléopâtre (Giulio Résurrection de Mahler avec le New York Cesare) et interpréta pour le Houston Grand Philharmonic sous la baguette de Zubin Opera Constanze (Die Entführung aus dem Mehta. Elle fut invitée à participer au Concert Serail ), Manon (Manon) et la Femme de de Gala de la Saint Sylvestre en 2000 avec la Curley (Of Mice and Men de Carlisle Floyd). Philharmonie de Berlin dirigé par Claudio À l’Opéra d’état de Bavière de Munich, elle fut Abbado. Pamina (Die Zauberflöte) et, sous la baguette de Parmi les enregistrements d’Elizabeth Futral, Zubin Mehta, Nannetta (Falstaff ), interprétant notons Otello de Rossini et Carlo di Borgogna

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proprio talento. Al suo attivo aveva ruoli di dove presentò l’opera a un pubblico che Grandi arie operistiche protagonista di altre opere del compositore, apprezzò entrambe. Faust e Mireille, che le avevano aperto Lakmé, basata su un romanzo di Pierre Loti, La voce del soprano leggero incanta gli quella media, normalmente con riserve di abbondantemente la via al Théâtre Lyrique (ma è ambientata in India al tempo della ascoltatori da secoli. Il suo richiamo è potenza più complete. Per l’ascoltatore, tutti era anche la moglie del direttore del teatro). dominazione britannica. Un ufficiale inglese si internazionale, come dimostra questo recital, questi tipi di soprano (soubrette, leggero e Nel personaggio di Juliette l’elemento della innamora di una ragazza del luogo che, con un programma di arie tratte da opere lirico) hanno in comune una cosa: coloratura è comunque molto limitato: per lo purtroppo, è figlia di un bramino francesi, italiane, tedesche e americane. La rappresentano la voce della giovinezza. più il ruolo (come quello di Marguerite nel tradizionalista. Le conseguenze sono terribili, selezione torna indietro nel tempo fino a La giovinezza è protagonista e richiama su di Faust) rientra nel campo del soprano lirico e, ma nel suo progredire verso la tragedia finale Handel che certamente non inventò questo sé l’attenzione del pubblico: ecco il sogno di se eseguito interamente, è anche molto la musica è così affascinante che la memoria tipo di voce. Il soprano leggero, una giovane cantante di belle speranze che nel faticoso. L’eroina della Lakmé di Delibes tende a ricordare l’opera come uno spettacolo particolarmente esperto nello stile ornato, ruolo di Juliette canta “Ah! Je veux vivre dans (1883) in confronto è molto più adeguata alle leggermente esotico con una svolta interpretò la musica di Lully e Rameau, ce rêve” (traccia 8 ) a tempo di valzer. È il specialiste di coloratura. Mentre il ruolo di nominalmente seria che in qualche modo ne Purcell e Scarlatti, Cavalli e Monteverdi. Le pezzo ideale per un soprano leggero, Juliette è stato scelto da soprani lirici quali distorce la natura sostanzialmente lieta. Il scuole nazionali e i singoli insegnanti hanno perfettamente a suo agio nell’esecuzione di tutti Geraldine Farrar, Lucrezia Bori, Janine duetto del primo atto (traccia 9 ) è un buon dimostrato preferenze diverse per quanto gli abbellimenti e quindi in grado di Micheau e, oggi, Angela Gheorghiu, Lakmé è campione del suo richiamo melodioso e della riguarda il grado di vivacità e dolcezza, ma gli interpretare in maniera credibile il ruolo della tradizionalmente associata a regine delle scale, sua natura romantica e innocente. Per forza i ideali a cui doveva ispirarsi la voce rimangono debuttante al primo ballo, risplendente di dei trilli, dello staccato e delle note più alte, produttori moderni che l’aggiornano e cercano grosso modo gli stessi. Le qualità principali giovinezza e con tutta la vita davanti a sé. Per come Luisa Tetrazzini, Lily Pons e Nathalie di trasformarla in un’accusa contro il sono freschezza e purezza del tono. Il volume è mezzo secolo, forse, Roméo et Juliette (1867) di Dessay. La prima Lakmé fu americana: Marie colonialismo non hanno molto successo. La meno importante, ma si fa distinzione tra Gounod rimase una delle opere preferite nei Van Zandt, petite e jolie, con una notevole cosiddetta aria delle campanelle è più soprano leggero e soubrette. La flessibilità va teatri lirici d’Europa e d’America, uno abilità nello staccato, ispirò la famosa aria delle precisamente la “Leggenda della figlia del di pari passo con la leggerezza e l’abbinamento strumento ideale per rivelare al pubblico una campanelle (traccia 10 ), che Delibes compose paria”, un’aria (o, nel libretto, un recitativo) di queste due qualità favorisce lo sviluppo di nuova stella o per riunire la coppia tenore- per lei. Sembra che a Parigi la cantante fosse eseguita da Lakmé per intrattenere una folla una più estesa gamma di note alte. In questo soprano del momento. Per questa brillante stata vittima del proprio successo; alcuni mista nel mercato (per istigazione del padre sta la differenza tra il soprano leggero e il arietta d’esordio le cantanti devono ringraziare colleghi gelosi e (si dice) un capo della polizia fanatico che desidera identificare l’inglese). cosiddetto soprano lirico, che può essere la prima Juliette: Marie Miolan-Carvalho. avrebbero fatto in modo che venisse fischiata e Con il suo magico vocalizzo introduttivo senza dotato di alcune o anche tutte queste qualità, Questa specialista dei ruoli di coloratura chiese l’episodio si trasformò in rissa. La cantante accompagnamento, la narrazione parla di una ma la cui gamma vocale rimane per lo più a Gounod un pezzo adatto per fare sfoggio del ebbe buona accoglienza a Londra e New York, fanciulla che dimentica di fare parte degli

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“intoccabili” e si aggira nella foresta; qui si quanto viene eseguita dalla fidanzata di della Linda di Chamounix di Donizetti (1842) Maria Callas che interpretò per la prima volta imbatte in uno sconosciuto minacciato da Crusoe, giunta sull’isola con alcuni servi e un ne è un buon esempio. Inoltre è facile il ruolo di Elvira nel 1949 per salvare lo alcune bestie selvagge, le incanta con le vicino cannibale di nome Jim Cocks, tra la comprendere come mai quest’opera, e il ruolo spettacolo, in assenza dell’interprete prevista, campanelle che si porta dietro e salva il costernazione di Venerdì (mezzosoprano). di Linda con essa, siano state considerate Margherita Carosio. La Carosio era un giovane, il quale non è altri che Vishnu, figlio La presenza di Berlioz in questa galleria può insignificanti. Come per La sonnambula di soprano leggero e lirico, mentre la Callas aveva di Brahma. Per ricompensarla egli la porta con sembrare più sorprendente, ma certamente Bellini, l’intreccio è molto tenue e anche qui la cantato quella stessa settimana Brünnhilde in sé in cielo e ancora oggi chi attraversa la arricchisce il programma. In Béatrice et tragedia personale di una pretesa infedeltà Die Walküre e stava per cimentarsi con foresta può sentire il tintinnio delle campanelle Bénédict (1862) l’assolo di Hero (traccia 6 ) viene evitata con un lieto fine artificioso. Non Turandot e Aida. La Callas fece sensazione in magiche. È improbabile che molti ascoltatori nell’apprendere del felice ritorno del suo manca nemmeno una scena di follia. Eppure la questo ruolo e in altri di tipo analogo; la facciano molta attenzione alla storia, eppure innamorato dalla guerra viene presentato in partitura è piena di sentimento e conoscerla in leggenda del soprano drammatico di questo è uno dei testi operistici più sottili, con forma classica; la prima metà dimostra la genere significa apprezzarla. Una caratteristica coloratura risorse e con essa l’idea di un riferimenti indiretti alla vicenda principale: nobile semplicità di un’aria di Gluck. Il inconsueta – e in netto contrasto con possibile futuro in cui le voci grandi potessero non un parallelo diretto, ma echi frammentati secondo è il tradizionale allegro, contrassegnato La sonnambula – è che il pezzo forte estendere le loro capacità. Dopo tutto, si e premonizioni come in un sogno. dall’originalità in ogni dettaglio (traccia 2 ), il brano più vivace con la melodia sottolineò, sembrava che Verdi pretendesse che Questi deliziosi brani di Gounod e Delibes dell’orchestrazione e del ritmo. Inoltre Berlioz più avvincente, invece di servire da punto i suoi soprani drammatici (Lady Macbeth e rappresentano una testimonianza del ruolo dimostra un’attenzione particolare per la voce culminante dell’intera opera arriva all’inizio Abigaille, per esempio) avessero comunque della scuola lirica francese nel repertorio del e prevede la purezza lirica che ne è l’essenza, del primo atto. Dal momento che è anche il padronanza dello stile della coloratura. Lilli soprano leggero. Ad essi possiamo aggiungere offrendo poi un tocco di genio grazie a una brano più famoso, registrato in passato da Lehmann, esemplare da questo punto di vista, alcuni esempi tratti da Bizet (Leila in vasta e generosa cadenza. famosi soprani di coloratura come Luisa riusciva ad abbinare il leggero e l’eroico, come Les Pêcheurs de perles) e Massenet: la gavotta Forse è significativo che parlando di questo Tetrazzini, Amelita Galli-Curci e Toti dal la Callas. Quello di cui non si parla molto in della sua Manon è uno dei più deliziosi particolare tipo di voce si pensi per prima cosa Monte, chi si accosta per la prima volta questo tipo di dibattito è il prezzo da pagare. contributi in assoluto. E ce ne sono altri: al repertorio francese e non a quello italiano. all’opera può avere l’impressione che lo La polacca “Son vergin vezzosa” fu composta Offenbach, per esempio, con la sua belle In genere l’opera italiana si identifica spettacolo finisca prima di iniziare veramente. per la mitica Malibran, un altro soprano che Hélène, la bambola Olympia in Les Contes soprattutto con Verdi e Puccini, e le L’aria è comunque una delle più luminose conquistò la grandezza a caro prezzo. Alcuni d’Hoffmann, e con l’esigente Edwige nel suo caratteristiche dei loro soprani non sono di della vasta produzione di Donizetti e fa piacere dei principali fattori che suscitano entusiasmo Robinson Crusoé (1867). La sua aria a ritmo di questo tipo. È la cosiddetta scuola del ritrovarla qui nel recital di Elizabeth Futral. nella lirica, lo sappiamo, comportano un certo valzer (traccia 12 ) brilla come i gioielli di belcanto, nei primi quarant’anni L’inclusione della polacca tratta dai Puritani senso di pericolo; ma non c’è dubbio che oggi Marguerite e le campanelle di Lakmé. Inoltre dell’Ottocento, a dare al nostro soprano le sue di Bellini (1835, traccia 5 ) ci ricorda un altro in genere questo tipo di assolo venga assegnato aggiunge una sfumatura di commedia in opportunità e le migliori ricompense. L’eroina particolare, emerso con l’arrivo sulla scena di al tipo di voce naturalmente più adatto.

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Noi parliamo di Bellini e Donizetti come di più difficili del repertorio, “Ach, ich liebte” Da punto di vista cronologico quindi, musica si innalza, la sua immaginazione è compositori di opere di belcanto, ma è stato (traccia 4 ) non meno della più famosa aria Handel è il punto di partenza della nostra liberata dalle meraviglie del cielo di notte. detto (in particolare da Rodolfo Celletti nella della tortura, “Martern aller Arten”. In Così indagine. Dall’altra parte si trova Carlisle sua Storia del belcanto, 1983) che alla loro fan tutte (1790) il primo soprano, Fiordiligi, Floyd. Meno noto sul nostro versante © 2003 John Steane epoca l’ideale del belcanto nella composizione ha alcune arie analogamente difficili, ma può dell’Atlantico rispetto al suo paese di nascita, Traduzione: Emanuela Guastella e nell’esecuzione era già compromesso e che il concentrarsi maggiormente sulla grazia e gli Stati Uniti, è un compositore moderno e ha vero periodo di questa tecnica va dai l’accostamento delle voci nei duetti: “Ah, realizzato opere per la voce e non contro di Artista di grande versatilità, Elizabeth Futral si precursori di Handel fino a Rossini. Lo stesso guarda, sorella” (traccia 7 ) è il primo di essa. Susannah (1955) ebbe un certo successo è affermata come importante soprano di Rossini fu allevato tra cantanti, ne sposò una, un’elegante sequenza. all’inizio; fu prodotta alla New York City coloratura in un repertorio che va da Vivaldi e e sapeva tutto sulla voce e sul suo utilizzo. Per Spesso si dice che le basi più salde nell’arte Opera nel 1956 quando la giovane Beverly Handel a Philip Glass e Sir André Previn. La Isabella Colbran, che interpretò il ruolo di di una cantante debbano essere nella Sills era divenuta un influente membro della sua carriera è iniziata alla Lyric Opera di Zelmira alla prima dell’opera nel 1822 e padronanza del repertorio di Mozart e compagnia e nel 1999 ritornava alla ribalta in Chicago, compagnia con cui il soprano vanta qualche settimana dopo divenne la moglie di Handel. Entrambi i compositori sono un allestimento del Metropolitan con Renée una lunga e stretta collaborazione e per cui ha Rossini, il compositore scrisse molti ruoli di rappresentati qui, con begli esempi delle loro Fleming nel ruolo di protagonista. Narra interpretato, tra i tanti ruoli, Giannetta e soprano e mezzosoprano. Come quasi tutte composizioni per soprano. La ninna-nanna l’episodio biblico di Susanna e gli anziani Adina in L’elisir d’amore, Barbarina e Susanna nella sua compagnia, la cantante deve essere di Handel dalla Semele (1744, traccia 13 ) (Storia di Susanna, Daniele 13, 1 versione di in Le nozze di Figaro e il ruolo di protagonista stata molto abile negli abbellimenti. Le esercita il controllo del respiro in maniera Teodozione) in versione aggiornata, nella Partenope di Handel. La sua caratteristiche più notevoli del duetto per spettacolare nella lunga frase sulla parola ambientata nella New Hope Valley del interpretazione nell’allestimento della Lakmé Zelmira e la sua amica Emma (traccia 3 ) “wand’ring” (“restore my wand’ring love”). Tennessee. Susannah è una ragazza del posto alla New York City Opera nel 1994 è stata sono probabilmente, però, la delicatezza del La cantante originale di Handel, la famosa scoperta dagli anziani del villaggio mentre fa il particolarmente apprezzata e il suo esordio con canto e l’inconsueto accompagnamento di arpa “Francesina”, fu Elisabeth Duparc, e la bagno in un ruscello vicino a casa sua. Il la Metropolitan Opera nella Lucia di e corno inglese. sua interpretazione leggera e ariosa fu piccolo Bat Maclean, figlio di uno degli Lammermoor ha incontrato lo stesso favore. Come Rossini, Mozart spesso compose per paragonata al canto di un’allodola dal anziani, è suo amico, ma viene coinvolto dagli L’artista ha fatto ritorno alla New York City alcune cantanti particolari. In Die Entführung Dr Burney. L’aria tratta da Alcina, “Tornami a abitanti del villaggio che vogliono screditare Opera per interpretare il ruolo di protagonista aus dem Serail (1782) il cast originale era vagheggiar” (traccia 1 ), è di tono Susannah perché gelosi della sua bellezza. In in The Ballad of Baby Doe di Douglas Moore. guidato da Caterina Cavalieri, protetta del contrastante, energico e brillante, assegnato questo assolo (traccia 11 ) la fanciulla gli Nel 1996 è stata invitata a cantare il ruolo compositore di corte, Salieri, e una delle al secondo soprano, Morgana, nella versione confida il suo desiderio di vedere il mondo al principale nella Matilde di Shabran al festival cantanti più raffinate del suo tempo. Le due originale (1735) e subito trasferito l’anno di là del villaggio. Un senso di giovanile rossiniano di Pesaro (primo allestimento arie di Konstanze sono di conseguenza tra le dopo ad Alcina. rapimento riempie la sua voce e, mentre la dell’opera in 175 anni) e lo stesso anno ha

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cantato Catherine in L’Étoile du Nord di con la New York Philharmonic, in entrambi i Opera, in un repertorio che comprende In concerto Steven White ha diretto il Meyerbeer al Wexford Festival. Due anni dopo casi per la direzione di Sir Colin Davis. In Le nozze di Figaro, Don Giovanni, Lucia di Messiah a Chicago per la International ha creato il ruolo di Stella in A Streetcar concerto ha eseguito Ein deutsches Requiem di Lammermoor, La Fille du régiment, Music Foundation ed è comparso con la New Named Desire di Previn all’Opera di San Brahms e Die Nachtigall di Krenek con la San Don Pasquale, Macbeth, La traviata, Aida, World Symphony, Florida Philharmonic, Francisco. Francisco Symphony diretta da Michael Tilson Roméo et Juliette, Carmen, Les Contes Charleston Symphony Orchestra, North Ha esordito con la Los Angeles Music Thomas e la Sinfonia n. 2 Resurrezione di d’Hoffmann, Tosca, Madama Butterfly e Carolina Symphony e Alabama Symphony Center Opera nelle vesti di Cleopatra (Giulio Mahler con la New York Philharmonic e La vedova allegra. Dopo due dei suoi primi Orchestra, tra l’altro. Cesare) e alla Houston Grand Opera ha Zubin Mehta, ed è stata ospite al Concerto di impegni professionali è stato nominato Questo CD di arie operistiche rappresenta cantato Konstanze (Die Entführung aus dem gala della vigilia di Capodanno 2000 con i Direttore stabile di due istituzioni teatrali: il suo primo importante progetto Serail ), Manon (Manon) e la moglie di Curley Berliner Philharmoniker diretti da Claudio Opera Roanoke e Opera Birmingham. discografico. (Of Mice and Men di Carlisle Floyd). Alla Abbado. Bayerische Staatsoper di Monaco è stata La discografia di Elizabeth Futral Pamina (Die Zauberflöte) e, per la direzione di comprende Otello di Rossini e Carlo di Elizabeth Futral (left) as Susanna in Lyric Opera of Rest Dan Zubin Mehta, Nannetta (Falstaff ); ha Borgogna di Pacini per Opera Rara, oltre alla Chicago’s production of interpretato il ruolo di Susanna con la stessa Lucia di Lammermoor per la serie Opera in Mozart’s Le nozze di compagnia e lo stesso direttore in una tournée English di Chandos sponsorizzata dalla Peter Figaro in Giappone. Ha aperto la stagione 2002/03 Moores Foundation. alla Washington Opera nelle vesti di protagonista nella Lucia di Lammermoor, e ha Steven White si sta rapidamente conquistando interpretato lo stesso ruolo con l’Opera di una reputazione negli Stati Uniti come Dallas diretta da Richard Bonynge, seguita da promettente e richiesto direttore di opera. Dal Marie (La Fille du régiment) all’Opera di 1993 al 1997 è stato Associate Conductor e Vancouver. Il suo repertorio teatrale include Chorus Master della Florida Grand Opera, inoltre Romilda (Serse), Gilda (Rigoletto), con cui ha esordito in teatro dirigendo Violetta (La traviata), Juliette e Mélisande. Il trovatore. Elizabeth Futral ha partecipato ad Da allora i suoi impegni lo hanno portato esecuzioni in concerto del Benvenuto Cellini in molti teatri dell’America del Nord, tra cui con la London Symphony Orchestra e ha New York City Opera, New Orleans Opera, riproposto il ruolo di Konstanze in concerto Arizona Opera, Opera Colorado e Vancouver

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Elizabeth Futral as Cleopatra in Los Angeles Music Center © Ken Howard © Ken © Ken Howard © Ken Opera’s production of Handel’s Giulio Cesare

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from Alcina Look at these flowers that he left here for me! Emma from I puritani Ah! How I love him! What fateful thoughts obsess you! Morgana’s Aria Quartet for Elvira, Enrichetta, Arturo and His heart is kind and tender, Leave him here, leave him here! Giorgio Morgana though he is poor and humble! You put his life in danger when love delays you still. 1 Come take me in your arms, Poverty will never daunt us! Elvira Zelmira Come feast upon my charms, We’ll live on love and daydreams. 5 A maiden adorning Let me embrace you… This ever faithful soul Though still an unknown artist, the blaze of the morning; Once more embrace you… Longs for you only, he will succeed one day, a bride fair and simple But why this sighing? Darling, with his great talent; as lilies in spring. But why this weeping? Come take me in your arms, and then we two can marry! Your garland encloses Come feast upon my charms, Oh, joy unending! Zelmira and Emma my forehead with roses; This ever faithful soul Ah, who is blind to pain so violent; I shine with the radiance Adores you only, My soul is filled with love for you, with love and joy forever, In his cruel breast lies hidden your diamonds bring. I adore you only. The heart of a monstrous tyrant, our fates together joined Enrichetta and Arturo I’ve given you my heart, on earth and high above. Or else no heart at all. Andrea Leone Tottola, after Dormont de Belloy, Her beauty shines as purely And, faithful from the start, So come to me, stay close to me, translation by David Parry as heaven’s moon at night, I never could be cruel and take this love I offer, whose rays so tender surely Or leave you lonely. my heart is yours forever, from The Abduction from the Seraglio will light the skies above. I live for you alone! Da capo Giorgio Anonymous, after Ludovico Ariosto, Gaetano Rossi, after Adolphe-Philippe d’Ennery Constanza’s Aria translation by Amanda Holden and Gustave Lemoine, Her tuneful song is truly translation by Henrietta Bredin Constanza a nightingale in flight, 4 How I loved him! loved so truly, from Linda di Chamounix who breathes at dawn so early from Zelmira Doubt or pain were both unknown; a sigh of ardent love. Linda’s Recitative and Cavatina For I promised to be faithful, Zelmira and Emma’s Duet And my life was all his own. Elvira Linda A bride as simple 2 I should have hurried! Zelmira But misfortune tore me from him: as lilies in springtime, 3 I’m here now, where I’ve so often waited What are these tears and sighs, Fate has placed us far apart. a bride, yes, yes, yes. but I have missed him, my own beloved Carlo… Son I have loved and cherished? Now my eyes are dim with weeping; A maiden adorning etc. I’ll never know now Can what I read in your eyes Fatal grief has pierced my heart. how much he must have suffered, Be the moment of farewell, Christoph Friedrich Bretzner and Gottlieb Stephanie, Enrichetta, Arturo and Giorgio but I am suff’ring, too! The moment of our last farewell? translation © Michael Irwin Her song is

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a nightingale in flight, yes, Arturo and Giorgio Giorgio faithful friend in flight, yes, yes, yes. Forgive her, do, and help her, (Elvira in her veil will prepare you at once. Her beauty shines as pure etc. so innocent and fair, is like the scented air, Your faithful friend you help her straightaway… a mermaid young and fair, will come at once. Elvira Her beauty shines as pure etc. a rainbow full of light; Carlo Pepoli, after J.-A. F.-P. Ancelat and Xavier, Listen, I have a favour… yes, yes, yes. I beg you, heav’nly God, translation by David Parry Enrichetta Elvira to grant my simple pray’r: Ask what you will, my angel. from Beatrice and Benedict You tremble, sweet maiden, to see her always wreathed in charm.) Elvira unseen in your veil: Chorus Hero’s Aria I want to be as lovely I too shall keep hidden Elvira, Elvira, Hero as the bright morning star: my own secret fear. your wedding awaits you. 6 He has come back. prepare my curls and ringlets; Unrivalled in beauty, Soon I shall see him. Elvira adorn my golden hair. and trembling as well, His noble brow is glowing Ah! Most faithful of friends, Enrichetta are you not the virgin Because he wears the victor’s prize. prepare me at once. Yes, I am ready straightaway, whose marriage draws near? Here will they come to meet him, you charming little creature, Enrichetta Enrichetta Here shall I stand to greet him, a goddess fair indeed, (Concealed beneath the veil, (I beg you, heav’nly God, My heart is overflowing, yes, yes, yes. I know that I can hide do not ignore my pray’r: Doubting, yet surely knowing the anguish deep inside I shall behold him and I shall Elvira I beg you, lend your ear my ever fearful heart; Look into his eyes. I want to see the likeness: and keep me safe from harm.) I beg you, heav’nly God, Dear Claudio, had I a crown to bring you, you try the veil instead; do not ignore my pray’r: Arturo That would I freely give, do not be shy to place it I beg you keep me safe from harm.) (I beg you, heav’nly God, And you would share my throne. upon your own sweet head, to hear my humble pray’r My heart I have given, yes, yes, yes. Arturo and keep the queen from fear, (Concealed beneath the veil, and it is yours alone. Arturo from danger and from harm.) which hides her from the day, My love returns triumphant; Her feelings overwhelm her: Your faithful friend, yes, I seem to see a ray Wounded hopes now are mended, she floats as light as air. will prepare you at once. of blessed hope shine out; All our doubts and torments are ended, Giorgio I beg you, heav’nly God, Giorgio For we shall never part. Forgive her and help her, to hear my humble, humble Your wedding awaits you: His faith unchanging, courage undaunted, forgive her and help her. pray’r and save the queen from harm.) withdraw now and your Have won my hand and heart.

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He has returned, Dorabella Fiordiligi and Dorabella from Lakmé My love comes back victorious, His face is expressive, …my darling, may Fate take revenge on my Lakmé and Gerald’s Duet Our debts and fears are ended. so gracious, so kindly and charming, heart! Lakmé Doubt is resolved, yet he is manly and possessive, Lorenzo da Ponte, 9 Reckless man! Are you mad? And wounded hopes are mended. so possessive! translation by Ruth and Thomas Martin Your audacious intrusion And nevermore shall we part; Fiordiligi surely will be punished by death! All our trials are ended, I’m ever so happy, from Romeo and Juliet Indeed I blush for showing fear, And we shall never part. contended and happy! and I pray that no one ever will discover His courage and truth with honour have won. Juliet’s Waltz-song the outrage of a stranger My heart and hand are his. Dorabella Juliet profaning this most sacred Berlioz, after Shakespeare, I’m ever so happy, 8 Ah! Let me live in this dream, this translation by Jeffrey Dunn, reproduced by so happy! of temples that shelters my father! permission of Oxford University Press lovely, magical dream, Forget what you have seen! Fiordiligi and Dorabella all my life long! Yes, forever, forget! Go now! Go now! If this love of mine ever fails in affection, Deep within my soul this Begone! You offend all my gods! moment I shall treasure, or turns in another direction, Gerald I’ll remember for evermore! from Così fan tutte my darling, may Fate take revenge on my heart. Do not ask me to forget you, Let me live in this dream etc. trembling with such indignation Fiordiligi and Dorabella’s Duet Dorabella But, alas, the joys of youth are as you threaten me with death! Beloved, may Fate take revenge on my heart. fleeting and soon fade away. Fiordiligi Though your lips speak words of anger, Flown forever joy and pleasure; 7 See here, Dorabella, Guglielmo, my lover! Fiordiligi still your childlike eyes betray you, tears will fill ev’ry day. Tell me, sister, where could you discover If ever my feelings should waver or alter, and I know you mean no harm! Forever flown all joys of youth! so great a nobility as shows in his face? if ever a discord should tear us apart… Do not ask me to forget you Ah! Let me live in this dream etc. though you tremble in your fury, Fiordiligi and Dorabella Ah! Let me slumber sweetly, Dorabella still I know you mean no harm! This one of Ferrando, I love it! …my darling, may Fate take revenge on my far away from the sad winter day, What light in his glances! heart. and let me breathe the roses, Lakmé It sparkles, and dances, Fiordiligi breathe the scent of roses while still I may. You speak with impudent daring, and lends him such grace! Beloved, may Fate take revenge on my heart. Ah! Sweetest moment of delight, as no man has ever spoken! stay within my soul forever more! Sacriligious, foolish man! Fiordiligi Dorabella Jules Barbier and Michel Carré, Don’t you know my god will punish The face of a hero, If ever my candour should weaken or falter, after Shakespeare, your profane and evil boldness! audacious, yet disarming! if ever my fervour should fail or depart… translation by Natalie Peters Now go! Begone! Leave this place!

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Gerald He dares to come here, just for me! your modest blushes, Chorus Do not ask me to forget you, Ah, what pow’r guides him and compels him? your shy, pensive eyes, Listen now to the legend, listen all! all your lovely, graceful features Nothing seems to daunt him! your charm and your grace and your charming, candid glance. Can you tell me what god gives you such courage? enchant my heart forever. Lakmé Ah! I cannot bear to leave you! What mighty god makes you so brave? The silver moon was shining, Just one word from you will save me, Lakmé and Gerald high in the sky above. Gerald for my life belongs to you! Ah! Through the fragrant mimosas What god? What god? Ah! Do not ask me to forget you, He’s the god of youth and springtime etc. a Hindu maiden ran. all your graceful, candid features! He’s the god of youth and springtime, Lakmé She was born of the Pariah, Ah, you captivate and charm me! god of youth, god of spring! Oh, heav’ns, it is my father! shunned and despised by all! Just one word from you will save me, He awakens ardent feelings Go! Go! I beg, I implore! As she ran through the forest, for my life belongs to you! within our empty hearts. Go at once, at once! along the mossy ground, Like a rose unfolds its petals all her sorrows forgetting, Lakmé beneath the sun’s caress, Gerald sweetly smiling and dreaming, What strange, new emotion so the god of love arouses love in us! Though I go now, as you ask, ah! all her sorrows forgetting, fills my heart with rapture never shall I forget! Lakmé she laughed at the night. Ah! when I look at him? Edmond Gondinet and Philippe Gille, Burning and strange new emotions Within the dark and sombre forest, My heart trembles when I look upon him, after Pierre Loti, a stranger tries to find his way, and I feel my heart burning consume my heart and my being, translation by Natalie Peters and I tremble with delight! but he is lost and stumbles in the darkness, with a new emotion. while savage beasts watch him with fierce, Ah, begone! I’ve never heard such words before! Ah! from Lakmé burning eyes, You must leave this sacred temple He’s the god of youth and springtime, and growling and roaring with pleasure or you’ll pay with your life! god of youth, god of spring! Lakmé’s Bell Song: Scene and Legend of the they’re ready to pounce on their prey! There is danger around you! Go! He awakens ardent feelings Pariah’s Daughter But the girl runs to help him within our empty hearts. If they find you, nothing can save you from Lakmé and bravely drives them off! Like a rose unfolds its petals She carries a magical wand, death! Go! 10 Ah! beneath the sun’s caress, with bells that chime so sweetly, Gerald so the god of love arouses love in us! Nilakantha the tiny bells ring out their magic spell! Let me stay! Let me gaze into your eyes. God of love! Listen all to my daughter, who, inspired by the Ah! ah! ah! ah! ah! ah! ah! Lakmé Gerald gods, Then he gazed at the maiden, Though he knows how my people hate him, Ah! Stay here! Stay with me! will now tell you the legend of a daughter of the she was stunned and bewildered. he risks certain death just for me. Your charming, graceful presence, Pariah… He was more handsome than a Rajah!

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She felt ashamed that she, a lowly outcast, an’ see way beyond where we can: Take me to where I can be evermore Edwige was the one who had saved him from death! They can see way beyond them mountains With the one, the only one that I adore! Take me away to the one I adore. But he, gently smiling, embraced her. to Nashville and Asheville an’ Knoxville. Diamonds! Diamonds and pearls in my hair. Ah! Ah! The one I adore. Then he carried her up to Heaven, I wonder what it’s like out there, Music! Music is ringing out, and said to her: ‘Your place is here!’ out there beyond them mountains Filling the air with singing and bringing out Chorus of Tamayos He was Vishnu, son of Brahma! where the folks talk nice, an’ the folks dress nice Twinkling stars who wish they were me! The one she has been waiting for. And since that day, if you are lost like y’ see in the mail-order catalogs. Lovebirds join in the chorus of love. Saranha claims his bride. deep in the forest you will hear I aim to leave this valley some day Angels are happy for us in heaven above, Saranha claims his bride. a delicate distant ringing an’ find out fer myself: Because we’re in love, and I feel so heavenly! Saranha claims his bride. of bells that chime so sweetly, To see all the tall buildin’s Ah! Ah! Ah! Ah! He’s waited for. Eugène Cormon and Hector-Jonathan Crémieux, the tiny bells ring out their magic spell! and all the street lights Take me away to the one I adore! etc. after Daniel Defoe, Ah! ah! ah! ah! ah! ah! ah! an’ to be one o’ them folks myself. An orchestra is playing, translation by Don White Edmond Gondinet and Philippe Gille, I wonder if I’d get lonesome fer the valley though, A thousand violins. after Pierre Loti, fer the sound of crickets an’ the smell of pine straw, All the world is whirling and swaying translation by Natalie Peters fer soft little rabbits an’ bloomin’ things As a waltz begins. from Semele an’ the mountains turnin’ gold in the fall. Ten thousand dancers dancing, from Susannah But I could always come back if I got homesick Then one by one they’re gone. Semele’s Aria Susannah’s Aria fer the valley. But the waltz is entrancing Semele Susannah So I’ll leave it someday an’ see fer myself. So we dance on and on. 13 Oh sleep, why dost thou leave me? 11 Ain’t it a pretty night! Someday I’ll leave an’ then I’ll come back Ah! Ah! Ah! Ah! Why thy visionary joys remove? The sky’s so dark and velvet-like when I’ve seen what’s beyond them mountains. Chorus of Tamayos Oh sleep, again deceive me, and it’s all lit up with stars. Ain’t it a pretty night. Happy will Saranha be evermore. To my arms restore my wand’ring love! It’s like a great big mirror The sky’s so heavy with stars tonight etc. She is the goddess he’s been waiting for. William Congreve, after Ovid reflectin’ fireflies over a pond. Carlisle Floyd Look at all them stars, Little Bat. The longer y’ look the more y’ see. from Robinson Crusoe The sky seems so heavy with stars Edwige’s Waltz-song that it might fall right down out of heaven and cover us all up in one big blanket Edwige of velvet all stitched with diamon’s. 12 Take me away to the one I adore, Ain’t it a pretty night. The one that my heart knows I’ve been waiting Just think, them stars can all peep down for.

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Artistic consultant to the Peter Moores Foundation: Patric Schmid Language and vocal consultant: Ludmilla Andrew Translation research: Henrietta Bredin Music librarian: Jacqui Compton

Recording producer Brian Couzens Sound engineer Jonathan Cooper Assistant engineer Michael Common Editor Rachel Smith Operas administrator Sue Shortridge Recording venue Blackheath Halls, London; 21–24 June 2002 Front cover Photograph of Elizabeth Futral by Christian Steiner Back cover Photograph of Elizabeth Futral and Steven White by Christian Steiner Design Sean Coleman Booklet typeset by Dave Partridge Booklet editor Finn S. Gundersen Copyright © 1999 King’s Music (Alcina, edited by Clifford Bartlett), © 1965 Oxford University Press (Beatrice and Benedict ), Copyright Control (Così fan tutte), Boosey & Hawkes Music Publishers Ltd (Susannah), © 1982 Josef Weinberger Ltd (Robinson Crusoe), © 1998 King’s Music (Semele, edited by Clifford Bartlett) Publishers Éditions Heugel, Paris/United Music Publishers Ltd, London (Linda di Chamounix, Zelmira, I puritani, Romeo and Juliet, Lakmé ), Alkor-Edition-Kassel GmbH (The Abduction from the Seraglio, Beatrice and Benedict, Così fan tutte) p 2003 Chandos Records Ltd c 2003 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex, England Printed in the EU CHAN 3094(2) 79 CHAN 3096 Inlay.qxd 11/4/07 2:48 pm Page 1 GREAT OPERATIC ARIAS: Elizabeth Futral/White GREAT OPERATIC ARIAS: Elizabeth Futral/White GREAT OPERATIC ARIAS CHANDOS DIGITAL CHAN 3096 Elizabeth Futral George Frideric Handel Charles Gounod from Alcina from Romeo and Juliet 1 ‘Come take me in your arms’ 5:00 8 ‘Ah! Let me live in this dream’ 3:58

Gaetano Donizetti Léo Delibes from Linda di Chamounix 2 9 from Lakmé ‘My soul is filled with love for you’ 6:17 ‘He’s the god of youth and springtime’ 8:49 with Barry Banks tenor Gioachino Rossini 10 ‘The silver moon was shining’ 8:46 from Zelmira with Dean Robinson bass • Geoffrey Mitchell Choir 3 ‘What are these tears and sighs’ 5:58 with Diana Montague mezzo-soprano Carlisle Floyd Lucy Wakeford harp • Jane Marshall cor anglais from Susannah 11 Wolfgang Amadeus Mozart ‘Ain’t it a pretty night!’ 7:03 4 from The Abduction from the Seraglio Jacques Offenbach ‘How I loved him!’ 5:47 from Robinson Crusoe 12 ‘Take me away to the one I adore’ 4:08 Vincenzo Bellini with Geoffrey Mitchell Choir from I puritani 5 ‘A maiden adorning’ 5:14 George Frideric Handel with Diana Montague mezzo-soprano • Peter Wedd tenor from Semele Dean Robinson bass • Geoffrey Mitchell Choir 13 ‘Oh sleep, why dost thou leave me?’ 3:37 Hector Berlioz with Elizabeth Kenny theorbo • David Cohen cello from Beatrice and Benedict TT 79:19 6 ‘He has come back’ 9:21

Wolfgang Amadeus Mozart HN3096 CHAN HN3096 CHAN CHANDOS CHANDOS Elizabeth Futral soprano 7 from Così fan tutte ‘See here, Dorabella’ 5:15 Philharmonia Orchestra with Diana Montague mezzo-soprano Steven White

p 2003 Chandos Records Ltd c 2003 Chandos Records Ltd • Chandos Records Ltd • Colchester • Essex • England LC 7038 DDD Printed in the EU