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Renée Fleming © Decca/Andrew Eccles OPENING NIGHT: RENÉE FLEMING 6 CONCERT PROGRAM Maurice Ravel Wednesday, September 21, 2016 Alborada del gracioso 7:00pm Shéhérazade Peter Oundjian I. Asie (Asia) conductor II. La flûte enchantée (The enchanted flute) III. L’indifférent (The indifferent one) Renée Fleming soprano Intermission Gioachino Rossini Overture to La scala di seta Giacomo Puccini “Sì, mi chiamano Mimì” from La bohème Francesco Paolo Tosti/orch. Alberto Vindrola “Aprile” Stefano Donaudy “O del mio amato ben” Ruggero Leoncavallo “Mattinata” William Walton/arr. Christopher Palmer “Touch her soft lips and part” from Henry V: A Shakespeare Scenario Richard Rodgers/Oscar Hammerstein II Selections from The King and I “I Whistle a Happy Tune” (orch. Robert R. Bennett) “Something Wonderful” (orch. Johnny Green) “Shall We Dance?” (orch. Robert R. Bennett) 7 For texts and translations, THE DETAILS please turn to pages 11 to 14. Peter Oundjian Music Director Like much of the orchestral music by Maurice Ravel (1875–1937), Alborada del gracioso began life as a piano piece—the fourth in the five-movement suite Miroirs, completed in 1905. Meaning “The Jester’s Morning Serenade”, Opening night! A great new season! Ravel’s later transcription for orchestra clearly And the wonderful Renée Fleming illustrates his life-long love for Spanish music, joins us for this dazzling and delightful with the simulation of strumming guitars and evening! What better way to start lively dance rhythms. After the rousing opening, such a scintillating evening than with the solo bassoon takes up a melancholic song, Ravel’s Alborada del gracioso, a brilliant before the whirl of the dance returns to close. showpiece for the whole orchestra. Renée then joins us for Ravel’s gorgeous Shéhérazade by Ravel is a three-song cycle interpretation of the Scheherazade composed in 1903. The title character is the story—exotic, elegant, and ravishingly legendary narrator of The Arabian Nights or beautiful. The second half opens One Thousand and One Nights, who tells with Rossini’s Overture to La scala di fascinating cliffhanger stories to her evil sultan seta, a joyful romp from one of the husband every night, thus avoiding the fate of composer’s most amusing comedies. death that his previous wives have suffered. The Then Renée takes over the stage to poems were by Tristan Klingsor, the pen name of bring us a cornucopia of delights. First, Wagner-loving Léon Leclère, a French musician, a group of Italian favourites—from painter, and poet, and a good friend of Ravel’s. one of Puccini’s most famous arias, Klingsor was more interested in the rhythms of through an intimate song by Tosti, to the words than the rhymes, an aspect that Ravel a concert aria by Donaudy, beloved of picked up on, providing the songs with a certain so many great singers, and closing with freedom of speech-like rhythms and natural Leoncavallo’s well-known “Mattinata”. inflections. Musically, Ravel used scales and Walton’s song from Henry V changes the harmonies evoking the elegance and restraint of pace to slow and sensual. And finally, the Asian music that was very popular in France at showstoppers—selections from Rodgers the time. The three songs grow in intensity, from and Hammerstein’s timeless favourite, the richness of Asie to the lyricism of La flûte The King and I. What a wonderful way enchantée, to the sensuality of L’indifférent. to start another season of exceptional music-making and celebration! 8 Although the 1812 opera La scala di seta Sir Francesco Paolo Tosti (1846–1916) never (The Silken Ladder) by Gioachino Rossini composed an opera, but is loved by opera (1792–1868) is rarely staged today, the Overture singers as the composer who created many is a popular concert item. The plot of the opera Italian popular songs for the nineteenth-century deals with a secret marriage and the ensuing salon. Adored in England where he lived and confusion and comedic escapades, while the was knighted in 1908, a publisher once offered title refers to the silken ladder the husband must Tosti 10,000 lire apiece, if he could write a secretly scale every night to his wife’s bedroom. minimum of four songs per year. “Aprile”, one of This overture is one of the first to employ the his best-loved, praises the return of spring and “Rossini crescendo”, a clever and effective trick the season of love. developed by Rossini that increases drama, tension, and anticipation by slowly increasing volume from soft to loud. La bohème by Giacomo Puccini (1858–1924) Stefano Donaudy (1879–1925) composed six is often among the top five operas of the world’s operas, as well as piano pieces, chamber and most popular operas from year to year. Since orchestral music, but today his fame rests almost the première in 1896, music lovers have flocked entirely on a collection of thirty-six Arie di stile to the work’s impulsive passion, humanity, and antico, or “Arias in the ancient style”, published warmth, not to mention the memorable music. in 1918. Of these, “O del mio amato ben” has At the end of Act I, the two lovers, Rodolfo and been popular with several generations of singers, Mimi, become acquainted as they search in including Enrico Caruso, Rosa Ponselle, Luciano the darkness for her lost apartment key. After Pavarotti, Arleen Auger, Sumi Jo, Andrea Bocelli, Rodolfo tells her a bit about himself and admits and Renée Fleming. his love for her, he asks Mimi to tell her own story, which she does in the beautiful aria, “Sì, mi chiamano Mimi.” 9 THE DETAILS “Mattinata” or “Morning Serenade” by Ruggero The King and I by the team of composer Leoncavallo (1857–1919) was apparently the first Richard Rodgers (1902–1979) and librettist song ever composed expressly to be recorded Oscar Hammerstein II (1895–1960) was based by the British HMV Gramophone Company. on a true story of the relationship and love Dedicated to and recorded by the great tenor of a widowed British governess and the King Enrico Caruso in 1904, with the composer at the of Siam in the 1860s. The musical premièred piano, it continues to be a perennial favourite of successfully on Broadway in 1951, but is perhaps singers and audiences alike. best known for the 1956 film starring Deborah Kerr as the governess, and Yul Brynner as the Siamese king—a role with which he became closely identified. “I Whistle a Happy Tune” is heard shortly after the curtain rises on Act I. The governess Anna instructs her young son not to be afraid as they arrive in the kingdom to serve the monarch. Later in Act I, in “Something Wonderful”, Lady Thiang, the king’s head wife (of many), tries to persuade Anna to accept the king as he is, despite his faults. In Act II, Anna and the Sir William Walton (1902–1983) composed king have a disagreement over the meaning and music for many movies, the most famous being value of love, and after the king expresses his the three Shakespeare films he scored for the perspective, Anna explains some of the western legendary British actor and director Sir Laurence customs of courtship in “Shall We Dance?” The Olivier: Richard III, Hamlet, and Henry V. Olivier, king then demands that she teach him to dance who produced, adapted, directed, and starred in and they experience a love for each other that the 1944 Henry V, loved and admired the score can never properly be expressed. by Walton and believed that the film’s overall success owed much to the composer. For most Program notes by Rick Phillips, a Toronto of it, Walton combined quasi-medieval music writer, teacher, lecturer, and music tour host. with twentieth-century styles, but the excerpt, soundadvice.com “Touch her Soft Lips and Part”, was apparently based on an actual medieval English dance. 10 THE ARTISTS Peter Oundjian conductor A dynamic presence in the conducting world, Toronto-born conductor Peter Oundjian is renowned for his probing musicality, collaborative spirit, and engaging personality. Oundjian’s appointment as Music Director of the Toronto Symphony Orchestra in 2004 reinvigorated the Orchestra with numerous recordings, tours, and acclaimed innovative programming as well as extensive audience growth, thereby significantly strengthening the ensemble’s presence in the world. In 2014, he led the TSO on a tour of Europe which included a sold-out performance at Amsterdam’s Concertgebouw and the first performance of a North American orchestra at Reykjavik’s Harpa Hall. Oundjian was appointed Music Director of the Royal Scottish National Orchestra (RSNO) in 2012. Under his baton, the orchestra has enjoyed several successful tours including one to China, and has continued its relationship with Chandos Records. Last season, Oundjian and the RSNO opened the Edinburgh Festival with the innovative Harmonium Project to great critical and audience acclaim. Few conductors bring such musicianship and engagement to the world’s great podiums—from Berlin, Amsterdam, and Tel Aviv, to New York, Chicago, and Sydney. He has also appeared at some of the great annual gatherings of music and music- lovers: from the BBC Proms and the Prague Spring Festival, to the Edinburgh Festival and The Philadelphia Orchestra’s Mozart Festival where he was Artistic Director from 2003 to 2005. Oundjian was Principal Guest Conductor of the Detroit Symphony Orchestra from 2006 to 2010 and Artistic Director of the Caramoor International Music Festival in New York between 1997 and 2007. Since 1981, he has been a visiting professor at the Yale School of Music, and was awarded the university’s Sanford Medal for distinguished service to music in 2013. 15 THE ARTISTS Renée Fleming soprano Renée Fleming made her TSO début in February, 1996.
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